Chapter 1: Multiple levels of symbolism
There is one theme that the reader must keep in mind while going through the analysis of individual symbols. This is the concept of multiple layers of symbolism. In a letter to his patron, Can Grande della Scala of Verona, Dante states that the Commedia should be read at the same four layers of interpretation that was used to interpret sacred scripture (Seward 1954). These four layers may be new to the modern reader and some background will be helpful (de Lubac 1959).
The first level is the "Literal". Throughout the Commedia, Dante converses with recently deceased souls who talk about the history and political intrique in Dante's native Florence. These conversations represent the literal or surface of the system. Similarly, the Tarot symbol of the Hangedman can be taken literally as a "shame painting", i.e., a common way to depict a traitor (Moakley 1966).
At a second and deeper layer, one can interpret the characters in the Commedia as "Allegorical". A simple example may be the three guides that lead Dante through his spiritual journey. The first, Virgil, is literally the Roman poet. But Virgil is also an allegorical symbol of human reason. Virgil guides Dante through his descent into the depth of hell in the Inferno and through his laborious ascent of Mount Purgatory in the second section of the Commedia. These are the stages of the spiritual journey accessible to reason alone. But at the top of Purgatory, Virgil (reason) can lead him no further and Beatrice appears as his second guide. Literally Beatrice is the girl that Dante loved but allegorically she is "faith". Beatrice guides Dante through the spheres of the Paradisio where she explains truths that are revealed through faith – beyond the reach of human logic. But in the highest level of the Paradisio, Beatrice can no longer guide and St. Bernard (mystical insight) takes over as guide. Neither reason nor faith can lead one to the final experience of God-union. Thus, the three literal guides are also allegories for the three methods needed to reach the peak experience. Similarly, the Hangedman might be an allegorical symbol of willing sacrifice or "letting go".
At the third level, one seeks the "Moral/Mystical" meaning. The symbols now become a map of the spiritual experience of the individual. The journey of Dante is a symbol of the journey of the individual "Fool". The Inferno represents the descent into the inner reaches of the self, the despair, the dark night of the soul (Luke 1975). At the bottom of the Inferno, Dante has a conversion experience (Hangedman ?) and begins the long and laborious climb up the practice of virtue (Freccero 1986). At the entrance to Purgatory, an angel places 7 marks on Dante's brow, representing the seven deadly sins (Mandelbaum 1995). As he climbs through the terraces of the Purgatorio, the stains are removed one at a time. In Dante's mystical journey through the heavenly spheres of the Paradisio, the higher mysteries are explained to him, preparing him for the final gift of the Beatific vision.
At the fourth and deepest level one finds the "Esoteric/Apocalyptic" level of interpretation. This prophetic level is clear in a number of Dante's symbol. Thus, the Emperor is not only the literal figure of the contemporary Holy Roman Emperor, Henry VII, but is also the "Good Leader" who was expected to come and reunite the Christian world prior to the end of time and Final Judgment. Beatrice points out to Dante that there are few empty thrones remaining in the Paradisio – thus the end of time was close. The Pope is not only the literal figure of Boniface VIII but is also the "Anti-Christ" who would appear just before the advent of the final times. These signs of the final days were prophesized by Joachim of Fiore, who Dante places with the wisest theologians in Paradise (Kaske 1983).
With this brief introduction let us now consider the 22 symbols of the Tarot majors. We will be interested to see if these symbols occur in the Commedia and its illustrations. We will be particularly interested to see if their use in Dante can help clarify how the 15th century card-player might have viewed the Tarot.
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