the key to 5uCC'essful performance), but it provides usefull!xperienO!! in handling i~rent types of paper. And the lear ll'"Sults in paper that is tom uniformly and completely as ~ yi~ in8 no large pieres, thus abetting privacy I security needs as well. 201
202 Contribution This section of the Quarto exposition adds elegant IOI.I~ clever handlings. and useful advice contributed by 60flle skilled billet workers who have dected to employ the Rl-Ol family " ,(>thodology in their own work. Appmiate that the first two of these contributors Uilt index cards, whkh Ill(' easy for audiences to iIH, ,nd yield pieres that ~ IB~ tllough to obviate trickery. From John Wells A Propitious f eek Cerebral mentalist John Wells very graciously granted me permission to relate I 5ubtlriy that he originally dt"'elo~ for hi, own billet tear. bul subsequently used when he ronvertm II) mine. He performs his p<.>ek5 not d~ri"g tJv. tears, but joIlowi"8 them. That is, he keept his I!)'tS averted while the paper is ~ing tom,. then---<lS his hands bring I ..... pie<:e:s together_ lake a fleeti ng glimpse when they are c\osoe 010Ugh to be comfortably read with II single glance. John noted thai it takes II bit of practice to Sf:e the pieces ll5 II single image (and be awart that his use of indu cards definitely fa cilita tes this technique), but the disarming timing of the ~k makes the effort wf!ll worthwhlk-. A Peek Pnscription John c~utioned that, w~n performing peeks in general, you not look diredly at the paper. Instead, look at somethinS elsl!, whilf! ensuring that the area 10 be peeked is includf!d within your lineof l ight. When handing the tom pi«es 10 the participant, he often lIsed the playful (and misdir«ting) I~. "1 need you to swaUow these." Index InsIghts He also observed that, when one llSe5 traditioruallined index cards. the (typical) red line will be locate<:! at the top, flCing you. whf!n the folded billet is rorrectly oriented for the tear. And that s-ame linf! will be back at the top prior to the final tear (that p~ing the serond peek).
From Tom Jorgensonl57 Tear for Two Tom noles thai this is the only tear he knows of in which one can have two different people write information down on the same billet: it needn't be the same person writing in both areas. So you have two people, two reveBls, and- with the proper routining_two different effects. All taken care of in the same almosHnstant tear. To this he adds that, following the tear, you can have the second person drop the pieces into a coin envelope, and la ter "psychometrize" that envelope to tune into both participants' heads. Here's a fu rther logical disconnect from Tom's fertile imagina tion: fail to reveal the thoughts of the oot'cond person (getting not the wrong message. but rather no message at all: pemaps the participant in question is better suited to "receiving" than Hsending"?), but then have her whisper the name/word / whatever to a stranger ... and nail that stranger's thought. This Can appear even more amazing. especially since the third person hasn't written anything down. It's nice to follow up at some later point by coming back to the second person (the "receiver") and doing something that involves her receiving a thought. Jorgensonian Justifications ... for the peek moment (and hinging on the use of inde" cards)'''": u.1~ in Ih~ tearing sequence, the !H>kh of lern pil"CtS will M diffirnltto tear. 11 is at this reintl1wt you mention huw difficult it is 10 tear this ma~y iayas, tllen gtl a rIlIlural puk while sptllking. as you Iry-<md fail-lQ tror Ont more lime. Cl'lIot trying. Qnd hold the lxIlell up by your fingertips /Q show pecpl , 8'lIing your sromd Wok (for mtmory). The" pick scJnl'llne /0 ~Ip. rt-dose tht fold, give I~r the bottom Iw/f oflhe pile, al1d you both finish t~ring.lf you ensure /lUll her pori has Ihe ;~dividUl1I pi«($ SlrlCkro. (not reve/lro. edges),;1 will ~ IuIrd for I~r 10 lettr as well. Remark with a la~gh, "Nol (Q$Y. is it?N '57. 'I",," Jor:;<n"'" " " """. ~Y )', 00.' of ,1>,,,,,, folk> who ,-.n , ... ~ ... ","""d "" '0 ,h." ,k<ply "I'H" . nr """ >J ,I .. , h, ""', • • nd ,Jol hj, .... n ~erio u. "'",,,;,,,, l~ , "",I ,,,," ""', .. n'''II Item, j" ,[,rt "',, ... '''' '"""Or ofT.Hn', ""u;"~< '" """rib,,,..- h, <1,,-. ro c1c,r><t<"" H_ , Jdl, .... ' "" o<h,~ off ,I", R2.Dl ,,""l' M,"), ,h..nb 'Q T"," io< ,h.,,;n~ h .. 1>'r!"1 "11(,.,;,,< "'''<p<' ... 1 fru.,f"1 « pl .... ",io" of ;"1"'.'01 Qu.>"" ,.,oori". . lie "'." ,h" ,h" I"""""U ' ''''''$''n' ,;ob,,,, "I,,,;'., ,~ . """I, in~ in pi«<. ,of d;,,;m;b, "", . , ,t.,. ,,,,,d,~ion "" I" ..." . 203
Givr !loth mulling slacks of confrll; 101M main participan, /0 /told, ~nd gtt 011 wilh IhesJww . .•. for teuing up the billet'" f'mIiotl$ly in my pt:rform~nu, /'11f1 apIaintd ,,110111 proj«ting imagt5 and rnwlions in fr"tli of u._ mtthing "",.11 d_nd Ihal psychics CIDl bt I,aintd 10 pick up Ih= imlgn. Wt n«rilo gellhr« 1X'rts of Ih~ brai" tlull no,mally do "01 work 'ogelhtr, working al Ille SlIme lime; /empora'. spoilliai. a"d $O,nt "tI,..,.. parI. IIfkr Iht pile i, in Iht h~"ds of Iht parlia p/ml, h"w htr e/(}$t her fiSI, open htr fist II"d start IIttht pile, Ihen cI~ il o~in. Wr.rt now dont with th~ par"'. Ha!>t h" imogint IhM pilt of colrfr/ti large, tWoul two fttl wide. ill fronl of you. Now org.ge .~olher PII,t of Ira braill; lemporlll. HIl!Ie her g" b4d; ill limt • • nd W/lld! lhe pitaS moot', IIIffl joill loge/he, ulltil il is one pm, lind she am rtfld II..,.. nllllle on Iht fronl (you Iwzvr "'""or Ihis ""lilt 011 1M front of Iht foJlUd "illel /JtftNt ,'.rlingJ. Whtn she hils dOM this, Iurw ht. ;""'gint "",,";"g t/Jtp!Ipt'Tdowrrward, lira! sidnwys, rmlil *('11" '" 1M IlIrget name wriUtn I,, ~ in mid""i,. 00 d" booga-booga II"d mInIl. The lIn:miry of tellring hQ5 /on:omt s<lf-exp/Q""lory 101M III/diener: you mU51 /~r it w Ihll/ you (lin 8" bo:rcm.ds in lilm wilh your mind "Nd pul it bIIck logelht. "8"in. The juSlijiCillioll for petking ;5 cltlln, lind Ihe pW: ;,wisiblt simply bwzus< il is ,,"/urlli. You gel two c1tlm, Idsurtly looks, nolh ing furtivt ... IIlId 111/ while Ihe audimet i, 'Iaring .II/Je pitce:l /00, when till: MIll is On. The I1f1ry besl lime, wlltn everyone is ,I"';ng III lilt piau. IIIwt /Ound /JuI1 this <!pprDfld! (wltkh will/lib" ftw IUTns until you tin rdtu i"l" it} ~ down well wil" 1/1. ,"udiella', lind f/ow$ with 110 5U5pirion,: tah fronr il wlurt )'Oil wish. I'll add tha t ~rting a bit of time between opening lind reading i$ eff«live, because when reading there's no moveml'r'lt or suspicious action. Divide the open-read..cloMo into th~ separa te things; don't do them lit the same time. More d~ptiv/!. Relax. Slow down. IS\!. I fetl ,,,,,,,,,,,1i00i '" "",n""" ,"", how ~"ptr ,nM><ed I u n '0 I"." fw ,hlS I' '''Oc"''' ...t",.,., .. ,I>< ~ -Whr ,;, ,,,, ... , ,foe, hoDo:.!" ........ ... I, .... , ." ~ "Yk pr.k«lJ" •• """ 204 i_,n'ly. ~ ~ r .. , .,If.j""ify"'f" o:/w....,,;"i< I ""'<net.- .. . 'n 011 '0»' pr""' .... , .................
From Bill Fritz The best billet lear presentations w ill always incorporate self-.evident (i.e~ 1>01 requiring explicit ""planation) justifialion for both w riting something and su~uenlJy ripping il inlO pita$. Hell', tru.nks 10 his ~nel'05ity, is an elegant solu tion crafted by Ameriun mentalist Bill Fritz. Dust &: Effect Effect &: Presentalion: Introduce the notion of cause and eff....:!. It's obvious when Ihis takes place in the physical world: for example, you knock down a domino and, as it falls, il hits ftnd knocks down the nexl domino ... and so on. lJut cause and eff~t happens with thoughts as well: you t"ll your wife she looks grea t in that dress, and she smiles; her mood is uplifted. Suggl'lit 1I thought e~periment. If you were to ask someone to choose any word, the po6Sibilities would be endlH6. lnslead, you'd like to attempt to U"<i'ate a moment of ·cause and effect". Two participMts a~ selected: Jack and Diane. Tum OVl!r your business card.. d raw two horizontal lines (~ under the other. as illustI"ilted below), fold the card in quarh'rs. open it up "gain, and hand it to Jack. Ask him 10 think o f a simple word, 50fnething easily visualized, prinl it clearly on the top line (so Diane can easily read it), and close the cnd back up, k~ping the word 10 himself for the moment. nus word acts as the ·causeH • x x Have Jack pass the (still folded) card 10 Diane. Explain tha t in a moment, she will Opo!n theard andseethe word for the fin;1 time. She is then to think of a new word tha t_for whatevff rellson_<.:mmects 10 Jack's word. Stress the importance of he r not going with the first thought that comes to mind, as that might be too obvious. For ~~mple, if she were to ~ad Ndog", she might first think "cal" . But a bit mOle thought might result in her dog's name, "Rocky", or a breed of dog, lib a. "pug". Perhaps she might shift her thinking 205
206 to Mhot dog".I~,ding her t(l Mmustard". Emph~siw that her thought should result from the original cause. Mdog'". but not be tooobvious a choice. AsIc Diilne to print (so tNt J~ck can ~,d it) her chosen word under lack's, and then dooe the cud back up. A third Jnrticipant (Bru~) is invited to lake the Clrd from Dianf', open it" and verify thilt the connection between tlw two thoughts is not overly obvious, thus easily guessed.. Getron.firmation tha t it's I\Qt iI simple connect..d thought. Take back the (do:o;ed-up) card and rip it up: it has served its purpose, and is no longer required. [As you do so, peek the words via the Quarto methodology.) During this action, you may, if you choose, comment thaI each of the words is known by at IU$llwo people at this point" S(l there can't be any cheating. You're now ready to reveal Diane's thought: just don't ,"",veal it to() usily. Continue to eJ<plo,,~ the idea of cause and effed: how Jilck crea!i!d a "t.'IuseM with his thought" which led to the ~effecr of Diilfle'$ own,. uniqul!! thousht. Ask Diane to replilY in her mind the !housht 9I!qUf!flCf! she went through \0 a"h-e at her chosen word_ Ask hi!!r. if yO\l wish. some questions to "better under$tand how she thinks". 01 COUI$f'.. i!IOIT>e of your proclaimed analysis of this pn.><.YSs might be in/o~ by your own (secret) knowledge of the actual two words.. E~ntually, print Diane's word on a l're$h urd, and hand it to Bruce. asking him if you are "dose". He nods. Ask Diane to-for the fil"St time-nnnouncc her thought, and then have Bruce show everyone what you wrote. Offer to take the experiment one step fu rther, by 3ltempting to backtrack from Diane's "effect" to Jrl's iniHiOl HcauseH. Then do so, sua:essfully. Aftertholl&hts: $@veratmodificationsmightbemade totheabove pJl!!;l!fllalion, depending on your Jnrticub r circumslllrKeS and prefeMnce$. Use of the third participant can be eliminated by employing Jack to coolirm thilt the two dlosen thoughts an! not too obviously connected. This approoch, in addition loinvo!vingone fewer person, only sligh!ly detracts from the reason for the words to be written down. Alte matively, you yourself cou ld write the initial (Ncauseff ) word, the ma in pilrtidpant then writing the Neffeet" thought, with a second pilrticipant v~tifying the results. This approach plays more quickly, but leads to only a single revelatiOSl.
ot OOUI'lit, it could Ix! done tor just I single pn rtlcip.1nt, eliminati ng th~ verification step, but this offers les.<; usl fi '~>n for the nt.'L..:I at, written bUIltt. From lain Dllnford A Trnelu rd Tip Those who travel in the U.K. will I,.-, famlliM with the ubiquik:Jt.e Travelcard, shown below; used / expired tickets li ke th ~ arc "".ldily ava ilable there. . '-r - --:... 'I . ~ . - •.. '- ,l 1"" ...... ...._ ... -. """" 1lI'I!IM.S u·. ..... .. . _-... , - British entertainer Jain Dunford noticed thai these C~N.~ r re$o!nt an ideal layout for the Quarto billel tea r, as well i\IO an it.' m {>fl wht-.:h to base a releva nt p resentation: an im.1gined ;oUITh.':'·, "'I'!l, ,t:c<i.~ the e on the front of the ticket, in COll(Crt with n pr...t •. ..,.f\,' lo...... t;"'(!;. and ticket cost (or travelling companion, etc.). ,\ , ""'Nl,,,t ''''''-,-t impromptu menta lism! From Rudolf Kiinzli A Savvy Subtlety n~bascd men talist Rudolf Kllnt.1I ."I,ls " i1\'I ''' ""' psychologically strong louch In i~ u.'!I.' \,1' Uu,"h' ,>, l',,,, .;,\\\\I\:'I ;,.,\ his use of the .. mOvi .... SCf(."('n ~ ~y"ut. 11I<'1 1",'llnl\ 1111' " nllh'l\.\> "" 1",,,-, of the dra wi ng 10 the pa rllcipnnl, Ill' M~M I~· ,· h' Im,lt\uII' 1\\'I\ ...t-,., \Po.
sitting hert~, drawing a head on one of the aud ience membf'rs, and a.ddi~ the p;1r1k:i~nt's initi als, much like this: / "- / /\ /\ ,\1\ R~ '''''\ \ 1\/\/\/\/\1\/\1\/\/\ /\/\/\/\/\"""""" Asman point 10 be , ure, but just the sort of thing that adds another subtle layer of credibility to II. presentation. Rudolf has also devised II. manning presentation that exploits the doubl1!·peek ability of Quarto. WIth his kind pennission, here is From the Ash~ of the Phoenix'" inITodudion: During my entire CilJeer in n'llmtalism I have loved the use olthl! renlre leM. The only drawback was finding a logi(al reason to perform iL [ spent some weeJu on hatching this egg and have found II solution tha t fits my needs, one tNt works like the phoenix reborn from the ashes ... Effect: The mentalist starts telling the tllle of the phoenix. the wonderful coloured bird from ancient mythologies. He invites a lad y to think of an old wish she had, bul one that is no longer importan t. He Iighl5l candle and hands the lady II. business card on which she is to write d own a single word that describes this wish. Next, the lady thinks of a new desire or idea that is much Slrooger than the old one. She writes down II. single word thai describes this new desire. lhe bosine$$ card is folded twiCl' and handed to tke mentalist. Explllining that it ;, oommon practi"" to destroy old ·things~ and ideas to make room for new ones, tho! mentalist tE'ars the business a rd m to small pieo.,. Next, he holds the pieces to Ike nllme of the clndle and $et5 them on fire. He drops the burning pieces into the smlll Ciuldron on the table. A gre.n nash bursts from the cauldron. which is then d~d by II. cover. While this happens, the mentalist ends the story of the p~, which bums and i~ red uced to ashes after sever,l hundred years, only to be reborn. The ttle is a symbol I eiO . fWdoIf ,,.d,,. -f.ll";.,.., , .. :-.:..",'i..,-. f"n. !lor", hlutJ."" I>ooIt Atr T_, 11_" 208 of.J..M;..I fs.."I,o.liIIlll
for getting rid of our ,,1.1 dl\'.lOlls ,111.} .!,~ i .. ", Im<l I"mllly, I" ""~, 'II"''>. The mentalist loltl ~ ,1 1\,\I.1il1); an'lm.} Ilk' 10'1..1\ " f II ". J''' , VI!.;' t, ,_ disappeared ill t~ 11.1<n •• "", .lnd th,,. Ik'W ."rn,.,1 '"~ ', whl, I, r>'l"""''' ~ the fu ture. Props: • (andle matches (do nol Ulie ~ lighter; it ","' ... lIut ull ,he pl" l) • busine$s card or billet • small fi reproof cauldron >vith oovcr p<!ncil or pen nash pape r (I use green paper) Prep~ra io : On the ~ble are th". tandle, ma,ches, and the mall cauldron. Pu, some nash paper into the cauldron and clost' It with the lid. Ha ~ some bUSiness cards or billets ~folded and reopened in your pocko.1. logether with a pencil Or ballpoint pen. Presentation: On the table. a candl". is placed on a blarl< tablecloth. The mentalist $larb; his p""er as follows.: 1 am 511 ft /hal YO" hill!<' hmrd ~ t"l" of/ht phonIi:c,,, mylhicvl bird a'jm aHollrf'" pllIlIIlISf lind IIll1il of gOO/ llM SCIIr/,,1 (er purple, I>/lIt, ,,"d gum "<wrding 10 SOIIIl' l"8"ndsJ. II has Il 500 10 1000 YftI, lifr<yclt. nttIr /Ill' tnd of which il builds ibt:lf" nfSl of twigs wJ,j,h thtn isnitt; /.tolh "",I lind bird bllm Jitretly and Drt rtdllad to aMtS, froln which" /!tW, YOling pilorlli:c (or photmir tSSI orisrs. /.torn OntW 10 lire osoin. 'Tk "rw plloenir j$ ~I;' td 10 liw lI$/o"S as ils old 5#1f. This Inle ~ks 10 ws ofbirlh, d~l , nnd rtbirl1l. The mtanins is sym/.tolic ""d m~y mtOll anylhi"g 10 any prrsc:m. In owr C4l5t, let Ihis ,hing bt " ",i~, " r Il dnirt. The mentalist lights the candle with a matm . Hr nvi~, lady to ilSSist him In the oncoming ritual. illSk YO" to pilI all your tjJoTI inlo ",mmlMing ~ mast imporUmt dtsirt you htld in yo", pil$1, II drslrt which is no kmgu imporlanl /0 YO" today. Imagint this wish A5 a disltppraring picturt lind Ihink ofhow to describt il In ant word. 'mogillt Ihis word;l1 bold Itllrn in Y"'" mind. He reaches Into his pocket and takes the business card (billet) before reaching into his pocket again to pull out the pencil. The mentalist marks two lines on the b lank side of the business card, one at the top and the other at the bottom. He ha nds the card and the pencil to Ihe assistant. Now J would Ii~ you 10 il~ llult word dawn Oil Ihe "pptr /jJ!t of Ihe
210 Qlrd, but Utp il 10 yo~rstlf. D<l not In m~, or IInytme f ist, s« what you are wril,'ngl W7lfn you htrW fl"isJ,rd lum the card Olltl'. GfWlll NOfD, 1 W01Ild likr to IIsl: you again to pul QII your tffiirl into Ihinling IIbouI Q dtSire you IunJ<t jW the fulurt, • dl$irt llult is grow;ng mlm imporlJlnl twry dgy. lmQgillf this wish as. picture thai i1 ng "rongtT lind Ihin. of IrINJ /0 dtsCTil1f' it in ont word. IlI1lIgin~ t/,i$ word in bold IftlfTS in YOMr mind. Naw I WIInl)'l'u 10 ""ilf th~t word down on tilt lower lint of tht arrd. but kup;1 10 )'I'urstlf. Do nOl lfl mf, or anYOM eist, SN what}'Ou Ort writing! WIlt" you haw flnislttd. fold !he CIIrd !wi{'/' with yo"r writing insidt. Without mentioning or otherwise drawing tt~nti on 10 it, the ~n allst re,ches out with his right hand and takts the penal from the lady. The pencil is placed back in the ins;de jack pocket. He reaches out with his right hand once more III\d takes the folded business card from the lady assist1lnt. Tht firsl thing ontdots to ~I rid of Inything is 10 dl$Iroy il. He starts to tear the business cards into small pieces while peeking the two wiswon the card. While peo"king th~ new wish, the mentalist t~ about the imporLlIv.:t' of letting go of old wi5hes and dreams and while preking the old wish. he reiteratl'S the idea that we must put all effort into !lew wishes 10 make them happen. After the card has boim torn. the mentalist continues: In /III ancirnllimtt; /lnd in all ril:u/s, flrt plQY1 Q mQp, rolf. 11 is Iht tpikJnlt of the !'urifl(QI;"n of obj«ts and swbj«I,. II is a part of WMI wt'.' rail 'ti')COrnalicn, ./rangingfrorn Qld 10 new and bt;ns p~riJied. 1.£1 us npply l/tt ~rn( proctdurt to Ihtst pif(tS, /a Slrtltgtlrffl your new wish and desirt so il may happt:n ont dlly in your fi'lwrt. The mentalist hQlds the piea$ Ov~r the ~ndl e until some pieces ~re on fire. He opens the cauldron and puts the piKC$ into it. A gTem name bur&h from the cauldron. After the fire is gon.:, the lid is replared to close il P/t1lV thifli RPlP IIIIout )"'Ir Ills! wish lIT dlSirt. I/«I i/ di511pp<'4ring right now, gtlllllg weIII«r and wrrzktr-.l atn '" ",mt pcr" ()j i/ /nit thty nTe wry di'joinled. Wasn'l il ",-, ... ? CuefuUy, the mentalist gives a brif-f reading about the old wish (first prek) without l'I'Vi'aling the word, whilst his words are still easy to understand for the lady. This reading is very shor!, since the wish is disappe~ring from the lady's mind. Then he turns over to the new wish or desire. He enters into a longer and more impressive reading. This is because the wish is remarkably stronger In the lady's mind.
Ul us lurl1 l10111 10 Iht Julul? und tht wish you },o~ to ~ _lily one duy. 1M fil? h~s dt$Iro~d ull pQ5t <rnd you 1m! 11"'" il1 1M I1tw, rrl>om ';m( of your lift. /I is imporlg", for you /0 COI1{'(,,', Q/t 0" IhQI wis./I. Right """'! 1 Q", VI/i"g /I 5/ronSt" imprtSsion. It li«m$ il Ms 10 do willt " . ? MIrY lite Spi''''s ",1lk you, ww, l"tItrn' "Ut! The mentalist puts oot the candle and thanks the lady for her COOJ>C'ration. Afterthoughts: The wishes are never revealed ., simple words written on the businl!5S , aros. Instead. yoo ta lk around the wishes, emotions, and thoughts that have the word as a subject. The lady should know and feel what you are talking about. but for the res! of the audience this should be less clea r. This will create an intimate atmosphere! If the wishes are too personAl/in tima te and it is not a one-!o..one siwation, quite a lot of ~on will be needed from the mentalist to assure the lady will not be uncomfortable! From Misaki Gabrielli Another popular justification (disposing of an unneeded imn) for the billet-tearing proca:shu been well integrated into a presentation devised by the dever Italian me ntalW wno publishes under the name ~M ~ki GabrieUiw. e::< posited he-rr with his kind permission. Among other benefits, it yields a p retty much perfect e::<ample of the importar>Ce of context in devising a theatrical performana!. City Cflltrt'" Effed: A billet is handed to a participant, with the request that she write the name of. city: ... No/hiITg looOOscul?,lIloclltiun !IMI most oj USMI'! would immtdillltly ~IT U'. lne ente-rtainfT proceeds to """,al t:I.e se~ city, and draw a thought..of landmark from same. Modus ~rlndi: Following the writing of the city name, and the taking back of the (re)folded binet, the entertainer asks: INforr: we INgi" OIl' ~immt It I mt r:sk if you hsrot lJuittd thi$ (ity. At this point. the performana! takes one of two paths, depending on the response. If the participant replies in ~ affirmatI ve: Turijic! ThtM pulMps W<! (On do wmtlhil1g eWIT mOl? imprwoiw. If the participant replies in the n ega tive: AIt, you'w I1nItT brn! 1M"? Thai mighl btQ problt m . • , AI""",, ' .... , .... IOdd .. FIMo ~'" pUbliohtd • t<b,<d ;,1,:.0 1ft Mol"~.....,...,. 211
212 The entertainer now tears up the billet (~king the city name during the tear). whiJecontinuing with: 0", yoIIlhink of Q largt, wdl-bunull IQlldmaric ill this dry, Vllt lI ... t WI' shou/J all trCOfniu' Y($? Ptrftcl, toor ptrlrllpS you could try to drtnD il for lIS IItn ... While the p1rOOp.1nl is drAwing, the entertaiMr turr1$ his bdck. lhis is.Iso. good time 10 read Ihecity name. if il has been lilolen for a delayed read (in lieu of doing a re~ -lime peek). TIll:- entertainer. using a little pumping, now determines the landmark. which he reveals by creating a drawing of same, incorpor~ting the city's name.
Codici· Six Bi let Layouts These half dozen layouts are intended to be suggestive (not proscriptive) in r'I~ h.J~, in the hope of encouraging you to think creatively when developing new presentations. Fl{;\lre I illustra tes a bask, twowritten·item l.yout. As people generally follow the lines, their writings are neatly confined to tJw, two target areas. Laywl 2 offerll anQther possibility for collecting two written i(Oms, though a bit more <:onstrlliniRg of their sizes. You might print the participant's name in the overlap area, and have her add (in the main ovals) the first names of the two people who mOSt innucn.:ro her life. JU$t beause Quarto offers two peek areasd oesn', mean tha t you have to use them both. Layool 3 offers up the popular -movie 8ttemM image, which can be viewed with a single peek. If you eliminate the "audience" portion of the movie screen drawing.. be su rt! to occupy the lower half of the card wl!h something elselike the participant'S name-in order to justify the olbe! screen. x'--__ x /,-- 1 --lk I ... '''''''''''''''''''' "",,, ... ,,,,,,,,,,, \ " " " " " " " '" " ,", 213
214 L.a.yout 4 shows an alternative ~p~ (one that could even be rinted) for a singlel simple d rawil'l&- $uch as an "ESP"' $ymboL Y(IIJ elln also use such. ~scret'n to capture a pair of thoughts. drawing a horizontal line to seplr!te the two. Many ·concept pairs" might be: used: past "" pIl!SCnt. male ,," female, dirmer "" dessert. name "" birthday, desti""tiOl'l$ visited "" imagined, etc. Simple labels ~ded to each half CllI'I serve ilS prompts, and add/'l'5S the orientation issue ilS ~n. Laoyout 5 illustrates both of these suggestions. Fin;!.\ty, layout 6 pre:;ents a concept for another two-writteniterrul plot (though adding a slight risk that the target areas will be excccdl'<i). o + "" ~tl __ 1 ,'" d' Confident mtl'lt!lists might considn tliminating layouts entirely, simply having a drawing madt on the bad< of the a ni. lhe Quarto ttar ex!l'I*'S enough of the image to ma~ il5 ddumination a pretty easy d10re fOt" not-IOO-wmplex. designs.
Zenermancy A Treatise on Divination Using Zm er ("Esr) Symbols
- I , l
ntroduction Cartomancy and the Tarol Cartomancy (the use of ClIrds for divinatory purposes) has .. long and distinguished history, beginning with traditional playing cards in the 14" Cl'Iltury. Tarot cards e~ introduced in thc following century by adding a number of "trump" (originally Irionji, meaning "triumph") cards to the original decks"". in order to faci litate playing the thenpopular game of Ta rocchi (Italian) or Tarot (French). Tarot cards (the French name was favoured in English-speaking countries, as were the French playing card suits) took on no particularly occult significance ulliil more than thret' centuries later, when mystiu; and alchemists got invot ved. DO$pite this, the standard deck remained-somewhat surprisingly- the favoured choice of most cartomancers until the la te 2O"'century, when ta rot packs <:arne more into vogue for this purpose. Today. such cards dominate the divinatory landscape: a visitor to a typical "psychic fair" will find more than 80% of its readers using the tarot. And this suggests one of the reasons why tarot may not be the best choice for those who wish to do readings commercially: irs a crowded. highly competitive field. making it difficult to differentiate oneself. Another reason is taror s strong identification with the occult: many people are quite frightened of these ca rds. and/or ascribe to beliefs that prohibit their use. One option. of rourse, is for the reader to return to the tr .. ditional (non-tarot) deck. In addition to being a more historically affiJrate approach. this can be an effective solution. e5p<'cially when using cards featuring older designs'''. Another is to seek out cards with different symbolism altogether; various typ<'s of special Nfortunetelling" decks are manufactured for this purpose, but I think a prererable choice is one with a real-world history, though still rontaining useful symbolism. So-c.llled NESP testing cards" (actually; Zener symbol cards) are one alluring possibility; they carry an interesting "scientific" cachet, 16l. "" <O"''''r ' " ,h., rOI'"b. 1>.1;,( , h" ",d"r', )i "~ " ,J. .'" ,II< <k"" •• l:u", 01 .ne'"'' "ro' cd~ In roc .. ,I.e ", ... ,,'" ;, "" "" 'r ,he ,~'" 10 . '),1 N,'~ ( nnp, /I .'"," ..... ; '''9'' _ e _ 1 I ~ ""' "'IVI"" of!, ~h ~ ... li", ,;a,,), '" • ''''''''t of 01.1.-•• k;, "'"«O'l""."r <k>, . 217
although they have not (aside from their nQtable role in the 2000 fi lm The Gift"', with Care Blandwtt as a gif!~ card reader) ~ widely viewed in a divina tory rontex:t. I hope thaI this trealise. by offering • solid foundation for the underst.tnding and interpretation of Zener symbolism. will have some small effect in changing lhat perception. ana Symbol Cards Zener (ZEf II ~) symbols were created al Duke UniYflsity (Du rham, North Carolina) in the late 1930s, by per.:eplual psychologist Karl Edward Zener"·. He did so at the behest of colleague Joseph Banks Rh ineltl, for use in a 5I'ries of experiments to test lra~rJsory ptruption ('·ESr-). Although the Soet of symbols went through a few early modiflcations, they quickly evolv~d into the set familiar to us today: 0+ Whtn considered for divinatory purpoostS, Zener symbols appear at first to offer less ri<:hness of interpretation than the opulent tarot pack$ of today.M> Fortunately, however, the average pen;on will be quitel$toni5hed todiscover the depths of meaning-and subsequent interpretive possibilities-that await discovery in the classic Zener symbols. This should not be altogether surprising, u it rums ou t, because much of this interpreta tion slems from a philosophy that predate-s traditional playing (and th us tarot) cards by more than two millennia! 164 1Il00. ""'-..-h;ch "I"-' in .-.-, <!!)OJ. b -.),.~ .... I .. popuIiw ... ~ 01 __ who .... ....!inp ...... u.u aodo. .... ,..,.... ,,,,,", \0 no 0<" .. 1 .. rtho>d .. ~-. . _ ,hi .. d.uJn ,"",. 0.. boo.. (l9(I}-I<;ooM) _Id """_ u..i""," of 1:>00""'" I,.,.." .... " oJ ""'Wor. 166. 0,.. Mk, ... '11- I~JI " .. "', .... , ' pol> .. I.otop, by " _,"",, . k", ~ t.;" ", ,,,,,,,,b,,,..J .. "'" r."odn.,c DIrk'. f, ..... , I""i><)'lt""'w k>ho"''''Y. 167. Sud> 01"'''''''''' no< .. """Oly. 1:"".1 ,h,,'I:' "'''o'~ ''' r ..... ,. p,i"";,> ....... Jo .... ,,' ri<w<.d .. ,t.., <>I, "",",i< ~ ,'"" ....... ~ ..... in,",n .. ". O<M ,,",, dJ,,,,,'Y oI ... "",,,,,bId- «><Ii." oho, •• ,.,.,. , .... 1<1 (Alp""'''''' i." ""cd, "pl.i."", ,i>< ..... " .. 001 -. .... ni""'-.I "'. 218 atdo.
""II phcnomt"Q Qrf ordtmlllCCOrding !IJ tltt Yi" YQIIg ~IId tht FM PhllStS of Wood. Firr, Esrth. Mtt~l, ~Nl Wdttr." - Neipng Suwen (- 240 BCE) The Evolution of Zener Symbol Cards --"~W D ;:--, +D~ n 0 +0 219
Wu Xing From the wisdom tradition of anti£,nt China nme two key philO5Ophical concepts that penneated Ooinese philosophy, medicine, u~i<. military strategy, and martialarls. Even to.by they infonn the tl.'adtings of Taoism (pronounced'" oow-rz,w). and lie at the heart of practical arta ranging from Chinese trad itional medicine (including acu puneh.lre) to feng shui (rI:HNG SlIWAY) to t' ai chi em JU). Both concepts predate written accou nts, being already fully formed when they were first recorded in the ~iji"g SUI ... ", a book dated approximately 240 BCE. The first of these OO!lCI'!ptS is that of YIn and Yang (y<.:lfo,(; l, the f.milia r symbol of which-the ~taijih.l ~ (nf"/u-lOO}-represl'nts YIn with the dark p!lrt.. Yang with the light; the tiny circle nmlind us th.! Ym always contains some aspea of Y"ng.. and vi~ versa. 80th concqlt and symbolll1'atlPnlpl:5 10 represent the interdependent polarity of th rOOy I mind and the na~ f change. Yang is 5y",I,."lized as fire, and associated with warmth, .-.ward movement, activ ity, hardness, maselllin and light. YIn is symbolized as water, ~nd a,,,'eia!ed with coolness, downward movement, in",.tivity, TIlI}111I softness, femininity, and darkness. Neither Yin nor Yang Can exist independently, and they give birth 10 olle other in mysterious, ceaseless cycles. SimultaneoU5ly a very simple and very de\'p idea, the notion of Ym .nd Yang is central to an understanding of Chinese culture. The second roocq>t. and the one that chiefly roocerns us here, is that of the Wu Xing (lOIJOSHIM:;). the Fi ve IOCI!$So.~ '', termed ·Wood~, 161. ("'- """t o ............. ,,_ ........... " ""' ....... _ , ...... I"obk~ ..... _ So ~, "...._'-1;." ..... .. _."._,_ 16'). A. ""'''" .. "....uo .... of' '''. )(;"!. ~ """'"" . .. p«hop ~ ..... ""-1 ... 1 ...... '5" ,t.., . og •• 1"''' ""'''~ ·r .... ·. ~ >it""" """"!;hI. ·X"'tI" ~ """ ..... r ",ooJ.«J I. \I;',~". n,,,,,,,,,, '" J' .... ,,. .. ~~ " ...... «« ',),.., """ ~ "" .. II)- . ...... " ,>«1 r .. ", of ·"", ,..",'. t", ljn& ,h. c+ti" 0< " ,. r,.., 'l'I'" "i <hi (}I f) " .. 'mi..,,,,,~ '" oilft"", "n,>, t, i. ",~0.,U} io 0" ....... • ·.ill.S '0 ~m-i",. 10..0"" ph" .. ,,·. cu"",," of "',,""0<,. ""'~h (" O' """ mc-'.i ~ if ,II< ",i",,1 ph,~ ... ~ "'" ,<!Yn,.,,<o/, I)," X'II!: i< .. ", , ... h """pit In 'h" '''''','' I "'" ,o... "",.J . """""' . .. ... t."," I "",.O!er ,f.. ""-'" "'-'rUt." «nJ~' ... ",o.., " .. ",,1>1< t"Of'\".'I' [ ... ..t i. 220 "'" ti,,,, ... ,,, .. , . ('110",,- • ..t u, ............. ·
Fi re", "Earth", "Metal", and ater". I have initially listed these using qunte ma rks to emphasize that they are intended.s archttyrNs, symbolic ep~n ali ons nf universal processes/phases that share bll$ic similarities. lhe wOI"ds ate not meant to be taken literally as static constituents of matter'1O. Ra ther, they are I n attempt to cast the abstract Yin-Yang philosophy in a more practical, functional form. Each of the five'" ro<.:t'~ is giveo II symbolic "anrt culled from na ture, the resulting set visualized in I spedflc stquencr. Wood .. Fire .. Earth .. Me/al .. Water We can e/lSily im~gine. then, the nllture of wood to bend and straighten nnce mnw, of fire to I,,'at and rise upward, of earth tn be fertile, of metal to [email protected] redinto variousforms, andnfwater to moisten and flow downward (many additional characteristks are usodated with each ~y bol, and will be addresstd in subsequent chapters). 'The Five Proce,"", ~, com be wccessfully used to d~ribe such natural cycles u , ., .. hanges of the 5easoTl5, pll5Slges through. lik!, and. energy tr. ' mna tions within the body. Wu Xing is thus an elaboration of 11 . case\ess cycles of Yang and Yin as Wl'spital tnward our event .. ·. ,MI. 170. n... ........... (n, .. nI, ....... 1r<I ...... Eooror<o- ___ .... , ......... .., "_,--,,, ... X'""",' ... -1'10,- u....n .. -. , ....... ..... "..&N~ DiOO, ..... pIoI""""*'r bd"", ',,-'N W _I»< "" \10\\0 XIaJ,.;,h .... ,,--~ -..... .w_ Dilooot tG.".l.·1 pIo ao.. ~ .. ,:.u ... w:.u. Au, .,.J R ... tb ... '''1"_.1 by A ... " .. t< ~ i<octudc • liI .~ ........ ~ ~J "". ",1oIct. ... '" Mo" .. , ..... ...t ,II< 0, ...... 1 "~"' il>, ...... ..... Mki i. 1 .. 1 ...... h ... ,p ,k,' (~ .JJI" """" .......... <It" ,h>t ,t.. ", .... ,~"" II .. ",. « •. _'" .... ""'~' .. "'" s"'<H ,o .ht ~, , -,.",_ 1..-1»< . ""'''m.-''l" pIo ,.i<i~ ""sIM .. 11 1 ..... ' wi" "'I'. b<M'''''', "p .... "'.Iow .. ",,"'I. ,7, Wh,,;,.,,, ,~"" .... , ",,~ .. I ""n,b<, '" ~.dr I>." ,~". who >ow ,M h"m'. I"", ' PI".Il,., •. ~_,.... ,. ",0>. "'''''',),,' ",.f .. , ,nicn""",">< «pi", '" "n .J< h~, I"II~ " ",""." ,, ",,"WO_ 'Ihi, h.",,,,,, ........ ,' I~'",,,· , H .. "" t\',~ "," ,,'" I\"~, .. iJ ,h. ~"i"~'>,,' ''< \'''' """"'''' of I"',k." .... , .. ",I .,1,., ,I., ,,""ob. •• ",. ~.,~"" "'!'I""" .hi U. ) ~ iI~ ..... t. ". 01 ....... ~"P of • "'*'1, ,"" "O'"!>" "'" onoplo<. """" ........ ,. """,,,, •• \, '" , .... 'OJ)' ,n , pr<>«<i Gf '"",k'''''''''''
222 "FoTlu tU-~lIi"g is to prtdict wh~ t er~,tly willlulppell at a artain limt In a ClTla,',. SJNI~. DIl1ina/ioll is to C(lmmuIIIcMt willi tilt Uniwr5e of wllich wr "" a/l • part. AI a pari WO!' call commwnkvle wilh Ihe wllolt. " ... A plunt-Idlu may Idl you Ihal yo~ will haw an i/Ulpproprjalt aJfo;r wilh _lit and il is t'ltry cosily. A diviner may ttll you Illal you will faa • filial a/tTIICtion and fun/wi you CAn I'lSilllht Itlllpllllicn. it is liUly yo .. will ,uffu" kit b«.USl of tht affair. "Fortl/llt-tdling is IMstd On 'n.oaylhillg is written lin Iht rod<s and ",,"not I¥ cJu"'gcd'. "Diuinalicm is to dtaNh Iitt ~t from tilt Uniwrst 10 aplain to Il5 /Itt CA"_ and tJJ«t. Iitt liUJihtJod of 50mtlhing ", prtstnl "nd in IItt 11m, futuu. 1* Clan cJ,"ngf lilt /llIlcomt by lin"''''' i.'t «tion! "Jlhough we m"Y nol I¥ abJt ,,, lurll twTylhillg ,,,,,,,lid.· - Joseph 'Vu (Toronto, Canada)
Symbo s: ntroduction Most poop!\! who haW' studied Zener symbols hive discov",!'@d (or been inforllK'<i 00 their inherent urdu, arising from the number of lines used to draw the symbols (and whkh 11$0 inlroduee their symbolic mel ni ~). 1 0 one colllillUOllS line continuity, wholeness 2 + two illlm:.tclillg lines intersecting personalities 3 • three pamlld lines repetition, growth 4 0 four co""IXlra lines connectedness. stability 5 0 fi ve lilll"' .' points!.> aspir.ltions (M wish upon~) Knowing thison k of the symbols \y , with the followin, ,lkes it mucneasier to understand the association Ie fi ve ordeN processes of the Wu Xing. along ily remembem::l rorrt'Spondences: o Wood + Fi.e • .. rtk o Metal WIler The circle repreSoenlS the tn.mk of a tree in cross-section (think of all those rings), The cross repre5l.'ntll CTOSlled swords generating sparks---<lr, rubbing two sticks together. The wavy lines represent ploughed furrows in the earth---<>r,. think -amber waves of gfllin,N 'The squire ff1lTtients a metal platel sMel/ oo><-Of', enviSllge I metal belt buckle. The stu repre5mts • water-dwelling sea star--or, picture a snowflake. 223
224 Finally, wecan format our newfound understandingas a traditional Wu Xing diagram, showing the relationships and connections tha t we will begin to uncover: ~ ~ Earth Fire Begin 0' Wood Water Diagrammatic Representation of the Wu Xing, with Zener Symbols Beginning with the circle (Wood), the natural progreso;ion of the processes is in a clockwise direction, ending with the star (Water) and then cycling bad< to the beginning. And while the Wu Xing can be used to represent many natural phenomena (from the colours of the rainbow to the movement of blood to the pasSOlge of the seasons), the "stage" ferminology in this diagram is relevant to many of the natural cycles that form an important component of readings.
Symbols: nterpretation In order to properly interpret Zener card layoulS for tM bfonefit of cli{!1lts, the reader must first learn the meanings depict«l by each of the five symbols. These are derived from two sources: • the traditional symbolism of the graphiC:S themselves • the chara.cteristics represented by their aSSOCiatior15 with the Five Processes (the Wu Xing) In subsequent fnlg<'s, this information is elaborated for each symbol. The following len major proccss-.-rela ted characteristics are list/!d: ~ f- SlagI' of development f- Suson of the year f- c1 on (compass point) ,n f---- 1\1enl,,1 Tra it (association) f-' .• o tion (+) of positive nature L. notion (-) of negative n&tul'1! Relationship style Energy characteristic Climate (aso;oc:ialion) Colour (associa tion) To reiterak, thesoe ~racte ristics should always be considered as archetypal and not (ne<:ess<>rilyJ 10 be taken literally. The g~ral notion of spring/summer/autumn ! winter could just as easil ~nd rorreclly--be interpl'\'ted as mo ming ! dternoon! evening! night. should it prove mol'\' germane to a particular !'tading. 171. 1'1;"" "",, "" ",' M .oII,..t u~"5 ,I>< ." ",",n,," -.. ",~ ,w·. ioJ" .. I"" " ~" kt I") k .-.., ",t.", 'I""'"" ~~~ .;, 1" ....... 1 ,.L "'~l ''' ,t." w.. "kif Ji 'l'''''' .. " h f"Ol ""' ........ , . ... ",,,llm,,r.t ,I"", ..... 225 '
The eire e Wood Charartenstus " Stage Beginning, Birth, Sf"outing Season Spring [think "S<ll'ling"J Direction E,,' [think "taijituff ]'" Mental Tra it Soo-nsitivity Emotion (-+ ) Patience Emotion (-) Anger, Frustration Relationship Ruler/Subject Energy Generative, New-Found aimate Windy Colou r Green; also (])e(,p) Brown ~ Cirell' Slflllbolism • o The circle symboli7.es wholeness and the experience of unity. It also repres<>nts the Iwman spirit, the jl10ter it,divjdllal (as opposed to the personality ~rccived by others), Finally, it can denote the tftrnal, that withollt btgiullillg or end, a state of QII possibilities (and, consequently, ullcertainty and drllmatje d,an ). Wood represents birth and the vibrant new growlh of spring.. suggesting early growlh and development of the core po?rson. P:l_ No, .11 p<O«"" rn.r.., .. ~,;" ,,, "n"""" ... ,"" in ,h" ' ... 't'''''' ,"" ,,~, .. "" m,,J,,, 1 ",><I """ .. I "",hu"" . '" ..... p,,,",", .. ly""'I'(u' ," ,,.j,"~., "'"k'. h"",.""" '" " 'I""KkJ ," ,00" tOO"",,,,,_ Woo,I, fo' ... n'f>l,', ; •• 1", """'''«J ~· m .f>< I<n ... , ,~ ~ •.• 1« ;,,<k, Ii"",., • ",u, 1I>."", .• oJ . "",<I ,,0-,.,,. 226 , ~4. 'Ih" d",ul" 'Ymbnil"" f'>S' 220) ;, .""" ... ,,1 ",i., Lh" r .. t~'L <Ch i" ."
The Cross Fire Charac trm/l(S STage IGrowing. Bloomi ng ~son ~mm('r [thmk "hot fire") Direction South (think "hot south"I'" Menta l Trail Creativity Emotion (+) Joy Emotion H Ovc .... Excitation Relationship f'a"mt/QUld .- LL Energ' ' pansive Clima(, . , Colou r .I; al~~~ ) Yellow, Or· l, e, Pur Ie, Pink ~ Cross Symbolism + TIl<' (t.oquidistant) cross ~ymbol :l.:es rel(l tionship and iUll'gmlio!l; it suggestS the net'<! fo r COllneclioll. via coupling. integrating. synthesit.ing. or ba[i1ncing. It can al!iO denote /X'rfocliim and things pll!fSical (such as mltller and ror/hl Ii , as distinct from the s "ritual). Fire $uggeslll the development of fam!' and rep uta tion; however, a Lack of care In this prOC1'S<; can lead to ed ravaganN, or money bcing burned up more quickly than it is earned. 11'. 1" ,, I~. ", ... "",'<1 ~i,j, ,t,< "'''''' of ~_h , ,II< n,iJdi< 6"J<~. J !>l"" H •..,.c .• nd, ",_1>0..1 <OJ ... ,_ 116. "Il>no<- 1ft ,1,< _ho'on 1" .. ",~pII"" un >I,,,,,,.,i,,'" ,hlok <of " ...... inS ..... h 'Q .....,.. ,h. . 227
The Wavy Lines EarUl C/lUractcnsilCs Stage an~ rr ng, Ri pening. Abu ndance Se~son Change, Replenishment Direction Centre J Zenithl Neutral Mental Trail Clarity Emotion (.) Empathy, LoVf~ Emotion (-) Worry, Anxiety Relationship Spousal M<<gy Stabilizing aimate Damp Colou r (Light) Yellow; also (Light) Brown, Sand IEarth The wavy lines symbolize growth and ew/utio.".;",;; .. len a repetitive process, returning to the same I- (albeit at a different leveL seeing things from a perspective). They also denote an active to passive) illtellect. Earth is considered supportive of future growth,. adding stability to one's life and endeavours: a stable home, education, and family strength are seen as crudal foundations to living a healthy, happy lire ... improving the luck of children in the family through education finding a suitable mate or maintaining a successful marriage. P7. JO.."I,;' , 1>0 .....,.;",," w;,h ,I,.; "'"'" .,( ''''., ,i", ,hun"" • ' ''"''' Il.>'<)"., , not • f"'ll"" " 228 <>do""
I he Square 'ioO n OireelioTl Ithmk ~ , Menta l Tr,lil (C o I J ~ i • al'..'(l Gray ~ The square symbolizes stability, 5Olidity, and security, often a foundation. As an expression of the two dimensions thai constitute a surface, it can represent land or I~in, but can also suggest a barritt. Menu symbolizes the late stages of adulthood. the fruit!; of one's labours. benefit to the children in one's home, and attracting helpful people into oJ'l(!'S life. 171. 1-1..... 1;. '*' ..,. ... ..1 ";,h ,ho """" of 1. ,I>< n.'S ~"5'T, • pu .... ' L ....... , .oJ • "",rid .. ..,.,., 229
The Star Wale! Charactenstlcs , Stage Closing. Domlanl, Storing $ea:;<m Winter [think "icr/snow"J Direction North [think "north star"] Menial Trait Spontaneity Emotion(+) Calmness Emotion (-) Fear, L.a<:k of Will Relationship Friend Energy Conserving Climate Cold Colour BIlle; also Black Star Slim/wi/sill • Water is associated with ca~r success and luck with money, because of ilS flowing nature: viewing money like a river, one whose flow you should culti vate to move towards you. A wise choice of careers can vastly improve financial well-bein g. 17'). w.",,;, ilio ......,io«<l ,.;,h ,he 1<"'" of "" tio,~ ,h< U"I. finS" , ... hI' 0..""". ",d , 230 """,n ",,,",Of.
Transi tions: ntroduction As noted previously. the philosophical concepts upon which Zenermancy is based are rooted in changt: they al'(' 1I0t static components. but processes that embody the constant ebb and flow of yin and yang'"" throughout the uniwrse. As such, it should come as no surprise that the transitions among processes (and the symbols that represent them) are an important part of readings. The simples! transition (and Ine only one IhM does 1I0t involve a cllo~ge) is that between a p~/symbol and i~[f. This transition is considered self ~viden , thus not explicitly illustrated in the Wu Xing diagram on page 220 of this treiltise, The diagram ~s, howev .. !; convey the remaining transitions that can be obsl'rvl'<l. The drde shows the sequential oonnections between symbol pairs. \Vh lIe the pentagram shows thO' alternating cormections; the transition d,rection can be either clockwise or counter-dockwise in both cases. Consequentl\'. one can see that from earth ( ... l, a transition can be made to metal O J along the cirmlar p.'Ith in the clockwise direction, !Q fire (+) along the same path in the counter-dockwise direction, to wa ter (tt) along the pentangular path in the clockwise direction, and !Q wood (OJ along the same path in the counter-clockwise diredion. Simila rly, it is possible to denote the transition between any pair of differing symbols. For ease of understanding, these twenty transilions-aU of which denote chn!lgf!S--are organized into four groups, traditionally referred 10 as "cycles", each with an illustrative name'" . h ' C " \:.-$ meUlJ fU ll y~ng • an 1 new Y'" Igl l h< ,,.. ,,1<> '" ,h,' I. '" ."h t,k< ,,",,.. "f ,t", I' ~""'" ,h.." ,,.,~. ,, . . ,,,. _ ",,,,,kkd to I", ",I,," 1", .. 11, ~, w,'", """" ... 11.· ,t..,,,,,, '" I.; no",u,",,';, in U~' "" ,h",,,,,,,,,inS ,he !''''''''' "-1.",,,,,,11'1" d", "",,~t ,."" ,j ,t~ " , .. n- ,'h ,-..J _" '".-",1 <l."" "'"~' So "",,,,', ,honk or, r", <>-''''1'1.;. -- ",,,,t,,,,, "I~ '"~ ;"",,,,.,1., '''!!'''''' i" , i"'VI .. · , '"''oi L'''' ' hem",,, p ..... "', 231
The Enhancing Cycle Also known as the #generating#, "creating", "productive", and Mnourishing" cycle, this is the basic/natural /sequential order (the clockwise circular path): wood (0) .. fire (+) .. earth (.) ~ metal (0 ) " water (<CI), returning again to wood (0). For mnemonic purposes, of course, this sequence can most easily be re::alled as I .. 2 .. 3 .. 4 .. 5. It's easy to sef! where the notion of enhancement / genera tion! creation/ nourishment arises within this cycl~: water enhances wood by nourishing its growth; wood enhances fire by providing its fuel; fire enhances earth by fertilizing it with ashes; earth yields metal by extrarnon and refinement; and metal becomes liquid (like water) when it is melted.'" The Weakening Cycle Also known as the #exhausting~ cycle, this is simply a reverse (counter-clockwise) traversal of the generating cycle: water (,::r) .. metal (0) .. earth (.) .. fire (+) .. wood (0), returning again to water (,::r). Or, numerically, 5 .. 4 .. 3 .. 2 .. 1. The Controlling Cycle Also known as the "destroying~ and Nsubjugating" >;C. d e, this follows the clockwise pentangular path, skipping a prnceR . o·ith each transition: wood (0) .. earth (.) .. water (,::r) .. fire (+) .. " etal (0), returning again to wood (0). Or. 1 .. 3 .. 5 .. 2 .. 4. Similarly to the enhancing cycle, the titular notion of control! destruction /subjugation is clearly apparent here' wood po:netrates earth; earth blocks water; water quenches fire; fire melts metal; and melal fells wood. The lnsuIting Cycle This is merely a reverse (counter-dockwise)traversalof thecontrolling cycle: metal (0) .. fire (+) .. water (,::r) .. earth (¥I) .. wood (0), returning again to metal (D). Or, 4 . 2 .. 5 .. 3 .. 1. ' ymbol. ... d "'I" ;"" "'''''f''''''"''' ~ "'" ",><ko-. '82. "II>< .. pL."".,. of ,oj, t,,,,,," " ' 0';"0. ~ •• " ",Iko, ",m;n.,k, ,h" 0"" >1"",10 ~'Y' 232 """,.1,,, 'h< I"'f<~in ,,,,,,,,,,«I ~o;,h I"'''''''' ... . nd .. " .u,omp ' "' ;""" P"" ,,",,,, 1.,..,,11;-.
Transitions: nterpretation lhe cycle names introduced in the previous maple. are included primarily for historical acnuacy; it', unnecessary 10 know or use them in order to give readings. In fact, it Is almost certainly more convenllmt to think of transitions within these cycles as directional mlnltm~nl$: enhancing cyde weakening cycle controlling cyd e •• insulting cycle lorward stEp (+1). backward step (.1). forward hop (*2). bii ckw rd hop (-2). And fina lly, su l!i 001 to omit the mmsition that does not involV(" cl\lmg~ A t'lInsHion b, ,ween like symbols IS a pause (iOJ. The use of Zen". symbols (with their instantly recognizable numeric equivalents) mJkes it a trivial ma tter to determint' which of the five transitions is involved: O .. t. is II forward step (4 pIllS Ont .. 5);. " 0 is . ~kward hop (3 minus /wo = 1); etc:. 'The transition between any two symbols oea'SSiIrily lakesOfM' of these five forms. Remember that transitions inV(>lving motion-6leps and hopsrepresent ch.,nges in the cliet1I's condition. They are typically taken in the race of connict and oppooitio<1.. particularly (but not e><dusively) when moving forward. The Pau~ Wheneve r II pause manifests itself, the reader must ta n its cause. In some caS('s, it may bean indicator of st~gnlltiOI1, but is more li ke ly to suggest a marshalling of fo~t'S before proc:eeding. Often it prescribes sHcking-and bringing persistence-to the current plan, 23J
234 ratoo than changing one's ~pproa<:h to ~ life COrl<:f:rn. The danger. of t'OUr5I!. is that an o~ly intense focu s can lead to imbalanres. The Forward Step In the cont<!xt of I reading-as in life-a forward step is the natural 0I"0e. a transition to beexpected. and part of the fundamental order of Il/Iture. A ~uen<:f: of forward steps embodies our insti~tive notioo of the normal course of events: nnin s: wood (0) ~ fi re (+) Growth: fil\' (+) ea rth (. ) Transformation: earth (.-) .. metal (0) __ rv~ti g: metal (OJ .. wat<!r (0) CIosure ISIO~: water (..:r) ~ wood (OJ I The forward 5tep is the most relial:>le transition, the least fraught with roncem. lt can be viewed asslow---<:,ven plodding-but it .~ surf!. The Backward Step A backward step is motion along 11 contrary path, ga iT' "gainst the grain". This is also a natural movement, so not a5~" n, I 10 cast a negative light backtracking may well be necessary wI , earlier actions tum out to have been pre!IUlture. Some pt.'opk , ,,hibit a n~tur lly contrarian bent. A reverse motion can also offer J diffe ...... nt perspective on a situation. That s aid. it is more likely to represen t the unexpected consequence of some (possibly) unanticipated circumstance. The Forward Hop A lively, surprising path is the likely consequence of forw .. rd hops. S\>ch transitions can Cfll3inly be eliciting. but they bring with them not 11 little danger; often in the form of hard landings. Such motion can still be seen as goa l-direo:iM, though the tnaetor may be trying to skip necessary steps. Those who prefe!" hoppingl sltipping {jumpingl leaping may need to learn the advalllages of more staid movements.
The Backward Hop Hopping b.lckwilros is iI risky_ven dangerous-adventure, resulting in an exhilarating and bumpy journey. It can be the most creative of all the paths, but it is illso a perilous one, as it is difficult to know where you are actually heading, and what will eventuate. A person who;s prone to this type of transition should bewilre of ha rd, disorienting landings. Steps vs. Haps Steps, as a rule, yield more predictable outcomes-, with gentler landings; they are straightforwaTd, relatively easy, and more certain. Hops, on the other hand, are a considerably riskier business, and more likely to raise conAicts. That said, they are also the more fertile source of revela tions (both welcome and unwelcome). Transition Probabilities A simple thrt,<,-card spread yields 125 possible combina tions of Zener symbol_ with a maximum of two transitions (between the first and second, ,md second and third symbols). The distribution of possibilities loc , like this: XXX " j, . • IVe cases (4%), there will be no transition (all ~e symbol "'-' identical): being somewhat rare, thiS can be viewed 1 powerful, albeit cautionary, indicator. XYY " I. twenty cases (16%), there will be an early transition (I.e., oct,,, 'Cn the first two symbols), but no Llte one. XXY:: in twenty cases (1 6%), there will be a late transition (i.e., between the second and third symbols), but no early one. XYX :: In twenty cases (l6%), there will be two transitions, with a return to the original proCl'SS (note that this does not neces:;arily indicate a Hreturn to square one", as the client or some other aspect of the situation may have changed in the interim), XY2 " In sixty cases (48%), there will be two transitions. ending with a different process/symbol. In one-third (tw<:'nty) of these cases, both transitions will be of the same Iype: in the remaining two·tltiros (forty), they will differ. nus provides a sense of the frequency with which these pattenlS will appear in Zen<,rmancy readings. 235
A Reader Prepares Most su~cessful readers would agree thai the principal Hsecret" to giving well-rffeived readings is to give a lot of them. Wi~ <:ounse!, to be sure, but not always helpful to the beginning reader, who often has trepidations aboul starting out So here's another piece of advice: begin the journey with small steps.. Don" try to master everything at once, bul ralher commence with simple readings that confine themselves soLely to the hasic symbolism of the Zener shapes (as deii[l(>ated in the "symbolism" bo>< €s of the "Symbols: Interpretation" ch~pter). Then, as your skills (and confid ence) improve, add in the Wu Xing concept of five p~ses, with their attendant characteristics. Finally, incorporate the symbol transitions, and you will have mastered a contemporary divinatory syst..,m that is rich with compl p"ity and tradition. First SfqJs: A Simple "Symbological Reading" The late anthropologist Angele s Arrien identified'" at she considered It.e "five universal shapes": ciocle, cross, SpiTJi >qual"(>, and triangle. Thes<' correspond almost perfectly with th, Zener symbols, the only notable differenc.>'" being her choice of the spiral in place of the wavy lines. Even this difference is nOI a substantial one: bott. the ,piral and wavy lines consist exclusively of non-ciocular curves. and bring identical symbolic properti.-s to their respedive sets, being the sole shapes that: • are fundamentally unCO!\$trained. characterizing growth and evolution • invoke parallelism, suggl!Sting a pattern of repetition Consequentially, the Zener symbols are perfectly !lUitable for Arrien's symbological reading technique (which she terms the 183. ~'of/4d',., y.,. •. 19')11 " II""·,,, "'I""~,·d II .... ,,,cJ ,,,.,,,,,,,," ' ,I.: ~,.< .,m·"",1 ,h,f'" ,",I t._ ", "''' ,"",.: 18i, 11 ... "~"l:"I" ,,~ of ,"",ocr. ""'-' iWt''''l' , ... ",., ,i '" ;~.<c<~~ n;,ope-" ,n ;" ''''f"'=''''" '«<If"~A," br A«k-n. c"' .... ~r, ,h"" ~ .. ....,.,.,1 ,.;.j,.",,, ,h" 1.«,,,', .,Ig!",1 'J "'bo. ~ .," P"'I"',>I,,,,I • .kJ. "I.ns" t.., ,I. .. , IU.;,,,, "kru du, " "' "l.I""J I,), .... "1' Ii"",. , 236 ,,,-.II"" ""'Y ",><I "'1" ,-..1. ,,~-n ,h< ;",,,<kl ~.J 1"v.1r dill"" ,,,,,,,d ,1"1'<1,
"Preferential Sh~pe$ Test"), in whi ch the client is asked to designate the five symbols in order of preference at that moment in time. A simple way to do so is by having her arrange five cardt-<.mO:' of each symbol type-in a line, from ff\05t- to least-preferred symbol. A N.sic reading C4Jl !hen be constructed" IN.sed solely on the purely symbolic meaning5 of the designs (i.e., disregarding the Wu Xing model), with respect to their CUlnmt order of preference. The spl!Ci6c interpre ta tions aswciated with the five positions (arranged in decrtasing order of prefurence) are as follows: Position 1, where the client thinks she is: This symbol represents the aspect of the client's life that currently commands her greatest attention. provides her "comfort WIle", and is possibly her view of the future. It is "ct, however, wheR' she rMlJy is. p..,ition 2, the client'. stre th~: This symbol ret\ecl$ the dominant. inherent 51reogth exhibited by theclienl. lt may conflict withherview ofher belli qualities. but win be reflected by the views and comments of thosf: in Me life. Position 3, " representa tive wa}/3 the mO!'i t should focus I " the d ient "chullly is: This symbol is most th" current stage of the client', growlh. In many 'Ortant symbol of the reading. it suggests where she tt"ntion for maJ(imiz.ation of her present polential. Position 4, Ih dient's motivation: This symbol suggests the motivational impetus that has brought the client to her current position (that d"notoo by the middle symbol), and can help clarify the change in her perspective. It can also represent resolved issues. POftitilln S,old/unfi nished busi ~: Thissymbol refellii tounresolved issues in the dienrs life, ones thai she h3sset aside due to feelings of dislike, ""isulla', denial judgment. or having outgrown them. They need 10 be mntegrated with the dienrs lifE-, but not at the pre.o;ent time. Mone det~il on thi!; particular reading modd, and symbolic interpr(!t~tion" c.n be found in the Amen book .... , but the above should prove suffidentlo Jru1 ke a good beginning. And irs easy to get bogged down (and frustrated) by an overly ~na ytic persp«tive: beller to master the fu ndamentals. and then lei your intuitive skills blossom and shine through. 237
238 Mnemonic Aids for the Symbologico.l Readirlg Unquestionably, the greatest hurdle for the nascent reader is the delivery of those first readings. Even with the simplest of models, Ihere is still a fair amount of information to be assimilated pretty much ~rfrctly: well enough to bring forth without a moment's hesitation, Consequently, the availability of mnemonic aids can considerably ease the process. Here are two suggestions for recalling the basics of the symbological reading. First, the basic symbolism meanings; o wholeness (hole), unity (single line) + relationship (two), integration (mtersecting) .. growth, change (rising from the earth. flowering) o stability, solidity (heavy, solid. iron plate I slab I rube) "tr goals, dreams, visions (reaching for a star) These should not present too much difficulty, as the inherent symbolic meanings are fairly universal in nature. Perhal'" ,he most difficult are the wavy Imes: remembering that this is the symbol corresponding to(Qrlh should invoke imagesof growth, development, and evolutionary change. Next rome interpretations of the five layout positions, wni eh can be imagmed as positions on the human body, beginning at the top: ...... 1 (head) where the client l!,inks she is +- 2 (shoulders) the dient' s sf"ngtj,s ...... 3 (heart) where the client acl~ally is +- 4 (stomach) the client's moliwlum +- 5 (gut) oId/llnfinish«l business
The e}(tent to which these are self-evident will ~rge y predict thciJsuccessful mnemonic use, but to clarily: the head ~ wh~ .... thinking takes plare; w~ll-developed shoulders and bireps a .... dearly visible indications 01 strength; the heart 01 something is its co .... constituent; motivation i~ olten Indica ted by feelings in the stomach (hunger,. fear, etc.); and otd-but still unfinished-prod ucts of the body reside in the gut. This is such a strong visualization that I rommonly have the clil'nt lay oot the cards in a vertical fashion. with the most-liked at the top; this ~ probably a more apt .... prnentation of best·liked vs. least-liked in any Cil5e. And even though I don' t ~ify the particular correlations, I might point to the corresponding ca rds while making such observations as, 1"his is what you' A:.' thinki"g (head). but this is what you' .... frrling (stomac:hr, and -n,is is .... ally at the heart of your situation-. "The value of sp«ific mnemonic aids is always a very personal matter: when they work. thl>y CiUI be a re<l l boon,. and when they don't. they can 1x-1l d istuction. Throughout this discussion I d~be mnemonic ide,,. that have been helpful to me, but are to be taken as nothing m· than potentially beneficial ~'iQI1', in no way nC<:e5Sary 10 II , . .. ~ of Zene, symbols fOT diyina tlon purposes. EncoumgilZg Dinloglle It is my vie,,' rh,)! a reader sho(11d enCO(1.age conversa tion with the dient. ill oroe' Ihal the rcading is pe rceived less a~ an authoritarian pronounremCnl. and more as an interactive exploration of the dlvina tory land sc~ po! . So consider making a habit 01 inserting questions into the reading. Irs wise to avoid the use of qUt"$lions clurly designed to elicit information or verifiut;on (the blalant "Does thai make sense to you'" is better phrased as "[5 this releyant to your roncems?" or simila r). Bt,lIer, use que ries along the lines 01, " Wl' .... you aware of lhatr", - Is this presenting a problem to you?-, and -Do you see how that Id be happening?- Sample Symbological Reading' 1 In this example, the dient has Ol"dered. the cards--:>ne of each symbol type-in the horiwntal lint shown, beginnin& at the left with the most-prelerred symbol, and progressing to the least·preferred 00 the right. A subsequent reading might proreecl as follows: 239
240 0+ o Thr tirele rt~nl~ whoIOItsS imd u"ity PItJt:rltg il in th' firsl position 'ndiCD/tS Y'lu r dtsil? /0 be jndtp(mdtlU "nd sdf-suffidwi. This prfl(fSS is (U rrt'diy II" focus of your tll/mllon: il providt$/1 strong SOllret of jn'pi'Qlioti 10 YOI/, bu/ you mu$l,," Itt il dis/ra" you from olhn mort immtdia/t Clmurns. T/", cross is symboli, of malionships lind inltJWnn«tion. I'I~ci"g il hanusgtsts llull tht ,}taring of journqs iSQ foirly t/forlltsS process for you, though YI1I' "'II)' not fully apprrci~1c this. YOII. bt/!II[>iour, Iho" ~lr. IMom it oIItliOIlS to olllilrs IIuII YOU' inttrpnsonlll skills 1m' /I WltTU 1>/ ""tSidtrablt 51rrnglh. IMI !'O" haw 11M IIbility to dtt¥lap rrllllillll$h,P' ffl$il" Rnd Ihat lIChiflJin, 11.11.11« OOmts IIII/uri/ity. You'd bt w~ 10 m~ morr -' flh~ !>bililits. Hm lindiClting the third position] is what is colISidn"" of /I", mll/Ur", YOII' chcia of I~ QlQvy li~-wlrjch dellctt r. growth - is 1111 ttIeoll,agi"g O~, /?Willing II slreng i"""lt , ha"dl, dumgt; wrrr you ",",T!' of Ihlll? Y,m, ~clions dtfinitd know Ihal YfJII'Tt f1~%ibll and 1= Ihl ability 10 deal ,,"Ih mGl oncr. 'If(' /rell" " lIona1)' blli/y 10 '1 others dlings at The 5/fUIl.t il! p<>Silwn four QlmounCt'S Ihal CDr/iii' ~porls,/Ji/ily and l/aO~n lQ//I'lily i$swes ltd yo"la maKt significllnl alltnllioHS 1M YOllr 11ft. Pasl ,ilwalions ttq~iring consistellcy "Old slam/ily bolh pttpilrtd ""d rrrOliPllled yow to dtll/ tff«/irMly wilh !fUll' p~! niN 10 l/frctiwly "'Q"/~ c/umgl. Whtor IJuo "II' is follnd In position ji"f, il indjcqlts l/rlll you ""'!J lit ll00idlng- 11r ttrtn ~isling-IM P1'f)ff$S of numi{rsling yrmr drtllm5, nroisifming _ p«&lIi1ilits, lind tslllbii5hing gOliIs. 15 this II cxrnam UJ !fOil III Ihis lime? You shotl/d artainly lfIIIinlllin YO"' foell.' on YOII.' OUTtnl pr0ctS5, bill don'lld //111/ di!ltrlllll you. IIl1rnlion from lilt OlhlT impurlllnl 4SptClS of your lift.
Sample Symbological Reading 11 2 Here's another 5ymbolog;,,1 reading. using II different card order, but again ron,idered lcft-to-right (m05t-to-lelist-preferrNI symbol): ,----, "---" o + 'T'M SlJ'Ulrt iJ II ... symbol of J/Ilbildy, solidity. gnd s«urity. PlllCmg it hut 5uggtslS "'nl "nbi/ity and ~II/htnhcily lui"" mum 01 your curro!! allnllion, ~IId prwidr impiraliollQI $OlIn:tlI. y"" par/feu/lUfy wlut lilt alignmtnt of wlllIl ,5 /11'1"8 SIIId kJ what;' briltg dom ... wha/llClions Qrt lating plna. AIll rf)".~ , rlris is (trlalllly 01 w/ue, you musln'l Itt II dttrll(1 from mort prtSsmg ,,'HcrrilS ill YOlir lifo. Choosillg Ille i'" ~ /jilts for Ihe s«ond po$ition Indicat(5 tlrot you'rt a ptrsollilble 10 h,," hll n_~ mort miJily Ih/ln most; wert you IlWIIrt 01 thlll? Your Dctio"J inft' ,-II,m lhat your Smltc-I 5trtllSI1I5 art fluibilily and 1M ability to har,,! """Y things sirnullnrltrmsly. Tht mllrt /XI> , mosl rtf/tet, tht COrt 01 ytJur nalur(. Tht pr~nc.:ol llu: circle Irtrt rtr' ,', ~ s/rlms in!JOllltlllt nt will, individuatioll, When fully engaged, l/lis prCK, "/"ChifU;lIg I1l1d fXpnit"d"S ;"dtptndtllu will llllow your natu,.,,1 crcal,,', ,tlld mlomli!!!!' abililic- to mdiate ;1110 al/ ".ttr5 01 your lift, Tilt Slnr in /lrr fim rlh posltioll ;, imlirtlli!>t 01 pasl IItlroviouTS, s/lm"ilts Ihol s/q>S you /raw laken 10 follow your drtf,lrn5 h""" mQliVflI~ you /0 ma~ mNlliltglu/ mllrrSN ill you. lifo. TIIOSt torlltr ~isiollS and gools prtpllmi ~lId illspirtd you Ifl mo~ in Iht dirtClHlII 01 yowr primQry PrTl('l$$ ill lire prtsml [indicating the cirdeL lire nfirrtmtll/ lind slrtlfglhming of your pt'rsonalldmlity. 17rt (ross IItrt in position /ifJf ""',.,s /hd! you IIIII)' lit ~igh ing -or tvtn dismiM'ng - 11.t imporlallc.: 01 mnliotl5lrip$ III your lifo. WI'ilt Ih= /I", 110/ issut:S /luzl dm/aM your CUnYlltaUentilm, you will ntotd 10 misillllelll in 1M Julu",. 241
242 ZeneRhyme The insight for Jose ph Banks Rhine'· Choice of perfect E.5.P. designs Came from the demeanour Of Karl Edward Zener: Square, circle, star. cross, wavy Lines.
Reading Dynamics Ritual The manner in which thecaros are mixed, selected, and organized for analysis should not be undertaken casually: this process constitutes a form~1 r;III~I, and its va lue to the divination process is d ifficult 10 overestimate. The cards themselves should aLways be tn!ated/ handled with a certain amount of reve!\'nce, following a definite procedure. How are the cards mixed, and by whom? If Ihe pack is rut who doc$so, and which hand is used? How arecardsseleo:ted for the layout, and in which order an> they placed? By whom? Most of this .,mounts to personal preference. Some readers, for "xample, pref(', that their clients never handle the cards; others ent<;>urage il. Set your own rules, but make them wnsistent, and sacrosanct. Ideally ...... l ' cards are placed into a spread, they are dea lt face down, in so(w .:>ecified order, lru,.n turned OVt'f as necessary for study with;1 context of the particular layout, prior to beginning the interpre1. ". To illuSh; ny own ritual involves cutting thl! pack into two roughly egu. i<:s, placing them side-by-side on the table. I then use the palm· ' my hands to rotate the two halves simultanwusly in opposite d" ,'lions (the left pile clockwise, the right pile cQunterclockwise). forming two attractive !"OSE'tte·like patterns: (Note that. when working psychic fair5 or the equivall!nt,. itean be quite effective to leave the eards-between readings--Qn the table in this somewhat intriguing configuration.) Immediately prior to the reading. I ask the client to push the two piles together, following which I align the resulting pile of cards 243
244 (which have at this point been given the equivalent of a riffle shuffle, without the need for the d ient knowing how to do a regular one). I then ask the client if she is right- or left-handed; 1 take (first asking permission) whicheve r hand she specifies in my own, and ask her to use the remaining (non-dominant) hand to cut the pack wherever she pleases. finally, I release her hand, complete the cut if necessary, and deal the cards a~ down) into the desired layout. Suggested CArd Spreads (LAyouts) The literature of cartomancy is filled with endless card layout options, from a single card to entire packs, in a d izzying variety of configurations. Here I suggest a few examples for a diversity of reading situations, but encourage you to apply Zener symbol divination principles to layouts that you find elsewhere (or devise yourself). Wi th complex picture (ards, such as found in most tarot packs, a single card can sometimes suffice to give a bri"f, simple rc ding. 1Me Wu Xing. though, is primarily about transitions and changes, SO one really needs multiple symbols to develop meaningful int e'l tations. Additionally, effl'Ctive layouts will of len convey som· ..ense of chronological dirernon. in order that the transitions , be too comple:>( (for the client or the reader). Threecards-representingpasl, p~"I, and ful~l"t--<an provide the basis lor an effectivl' Zener symbol reading. with the (aros arranged horizontally (p6s1 On theldt) or vertically (pIisl on the boll, ml. 11lese needn't represent lengthy periods of time: wl1en addressing a specific problem, for example, they might symbolize what led to the difficulty, the problem as it currently manifests itself, and the path to resolution. Don't dismiss such a layout as too simple; when coming to grips with transitions in particular, it is well to master this before attempting more elaborate layouts. A five-<:ard spread adds a "precursor" Slate and a "d osing" one, pemaps taking the form of a linear layout as seen in the previous chapter's symbological readi ngs_ Another approach positions the cards in a ciIde, dealing the cards clockwise in the order indicated by the pentagram lines of th~ Wu Xing diagram (that is, in the path of the oontrolling cycle), but then reading them using the circular path (beginning at the top). For more elaborate / extensive Zener symbol readings, one would be hard-pressed to improv" on Max Maven's thoughtfuUy<onsidered
eight...:ard elaboration 0/ the past-present-future layout"', which lends itself perffftly to quite det ailed analyses. Max Maven's "Span Layout" In this layou~ the basic past- p resent- future (A-a-c) cards are augmented by various "influences". The D- E cards ~resent influences iollerna/ to the client, the F- G cards altrnQI ones; in both cases, the le/t card of the pair indiCiltes influences affecting the past .. present transition, the right card those affecting the passage from present .. future. Finally, in p<lsilion H. is the CQrd c/Commt lllm-y, used after the other cards have been "'ad, as a guide toward a deeper analysis 0/ the remainder of the ",ading taken as a whole. l!J ~ ~ C4J ~~ Additional 5Qur es ~ I make availalJl,·, via the Decepli,mmy Web site''', sets of business-cardsized Z/:-ner 5ynlbol cards: thesecan be conveniently ca rried. and used in theabsenccof a complet", de.:k togivebasicsymbologicaJ readings. More importantly, the opposite sid", of each card summarizes the core meanings of its associated symbol. and can be used asa learning aid to help you memorize same, leading to better informed. more appropriate interpretations of card sequences. These cards can also be gifted to high-value clients as souvenirs of their reading experiences. You will also find there a pair of interactive tools tQ generate randem thre<'-and five-card displays ef Zener symbols. in conjunction with clie-nt descriptiQns and suggested subjfft topics These make excellent practiC<:' vehicles for learning to give fluid, pertinent, coherent readings. Finally, if yeu h~ve not y..,t discovered it, you will find "MR 18 ) . . \1." "',,' ~ .1< "" ... >n 1~ J"'>U ·. dud ,,!: ~ f""" ... t it),"" ,i,,,,,1. in M"" M .. ",", BHi< _/1'0 .. "",,,",11"1 (N< ~' \'",k. 1 ')<12) p~ .. 17-.. 19. 11j(;. "«r,·II .. w .. ·J,."«}><"'''''r.",,,,1 245
CHEAT"-a useful mnemonic aid for the management of readings-- in th is book's chapter on "The Natal Square". A CIerornanfic Alternative This discussion addresses readings with Zener symbols, and most of the examples herein depict such symbols printed on cards. This need not necessarily be the ease, h(lwever. Divinatory read ings using dice (a form of dtromancy), for example, predate recorded history, and were thus used long before ca rtomancy, ru nes, astrology, etc. The oldest preserved dice date back more than 5000 years. You might be surprised to discover that it is possible to construct a fair die with five sides. One such design (shown here) was awarded U.s. patent #6926275 in 2005. This partirularshape--essentially a triangular prism wilh beveled edges (tofacilitate rolling}-isdesigned to land, with equal probability, on any of its two "faces" and three "edges·. nw triangular faces are marked with the digits 1 and 5. When landing on an edge, the result is displayed by the matching pair of digits (2, 3, or 4) do~t to Ihe prism's ape~. u" A die such as this can be very helpful when doing readings in restricted spaces: simply draw the deSired layoul on a piece of paper, letting rolls of tile die detennine the symbol to be written at each position. Irs also a useful, inexpensive, and inherently interesting randomizing tool for praclicing readings. Not to mention being the epitome of Hpacks small, ptays big"! 187. S<..h d ... .,. .".uf><,u«<l '" • ' '''''7 " .......,,,.oJ ""'I"""'<;'~ by U".",S,;i<no<. 246 Mt ' f / ... ". c;o".s~;., ... . ""'.,.J " .. I.M, {""n """"I oo·li ... "".,.Jo" .• nd..tinB<s..~.
Reading Styles Readings t~nd to /all into on~ of two laSSl!S: personality {lifestyle or situational. [n the former, lhe I'('ading ~ mOn! broadly based, with a focus on the client's ~rsonal characteristics and ovt'rallUfe situalion{pmgres5ion. (Pa lmistry is a prototypical oracle for this ty~of read ing. as the potential relationship with the sha~ and lines of the hand appcal'$ qu ite credible.) Such readings-<lf which the pre ... ious chapter's ~symbologkal readlngsN are good examples-are typically shorter, and more likely to bf. u~ in entertainmentsettings (though ex-rtainly not e~du ively so). Situational readings are ~ characteristic of a NquesHon and answer" envimn~nt, where thedient hasspecificconcems in mind. and is searching for solutions t()--()l" at least a deepE-r understanding of-life probl~ms.. They are more apt to be longer, with greater detail. and in ... i~ a more interactive conversation. None 0/ these ob5ervations is proposed as II hard and fast rule. Both types (If re~ ing can bf. shcnt (IT kmg. detailed or su~rficial, and util ~ a wid:! variety of oracll'$.. Zent'rmancy is well suited to both mooes. thou, .ieep situationall"f"adings bring a greater likelihood of invol ... ing th red~ai\ed Wu Xingand transition characteristics, SQ it would be to postpone giving such readings until one acquires an effective 'Ny of the symbolic principles. The Extm.· ,'{ending When cond o ug longer read ings-and situational readings in particular-it. wise to ha ... e an overall ·plan of attack", rather than just make it up as you g<:I. With Zenermancy, [ suggest a structure somewhat along the following lines ... Begin by taking note of the selec ted symbols as they are revealed: consider their individual meanings, and the number and positions of any du plica tes. Next. obse .... e the transitions, 'ooth the number and ty~ of each (in a bask three-ca.d layout, you will recall'" that there can be :aro, one. or two transitions in e ... idence). Finally, try to capture a #big pictu re~ ~flIpective on the entire Layout; this will not always bf. immediately possible, but when it is, it will facilita te delivery of the reading. Then conduct the reading, generally in chronological sequence. 247
248 A Sample Extended Reading A longer rea.ding. especially when d rawn from a more elaborate layout am be quite detailed aTld extmsive. like .n readings, it should .Iso be appropriate to tho! client (taking into acrount age, gender, dass, circumstances, etc.), and (for a situational reading) should addres6 the posited question, Such readi"8S will be more rl'fle<:live of the style and inclinations of the reader than the previous two symboLogical read ings. Con5t<jltently, the following abbreviated e~ ample will touch only on the more gl'l1erk/ core elements, omitting many of thcissue-rela ted detail, that would normally be el<plored in II lengthier dialogue: , , 0 ~~~ 0 IBig Pkturell'm 8'fUing lin 0""1111 impT'f'S$iOll of all al/tlllp' 'II brt<lk fru from n ,ilualion Ihal/ms bream. 5"m~~1 '''/rtn,hni. [The Squ. rel This situation, which lIDS txis/td for 5"'''' limt ill your pilSt. is a prt//y SlQbk'-tvr'1I ~re-o"e, but il has /)c(:ome 51)1l1d/,i"8 of Q w rritr In your /ulllrt growth , /I dotS suggrst Ihal you l,aW Ir",,,,lIrd ~ more collragcows "nd rewarding pi>lh than mOSl 1>Mp/t h/ltlll 'IJImog(!{i /0 IIch;~, 1111 1 Ont thlll hils b«mnt stagnant, "lid 5"mtthi"g of an tntrgy drDin. [The Wavy Lines) Colliitljwn/ly, you'N rrctIrrly t nltrtd II ,mo, IIlId "'~Iy UMXp«kd, tl'iln$jilrmQlionlll slAgt in your 'jfr, on, /1'111 is proviJing Incl'tfl5d dllrily lind mridli"g ,01" fomily CMntetion$, but- btcllu$t it invoiM c1.~mgt i1 prtl!<' ~t ing itstlf lIS bti~g a bit ,isky; you'lT liktly txptr;"rn:mg SO",., IInndy i~ Ihis rtS,"d. In fod. II"'rt QTI' n frw fn/$t slurt:; I" t/Jidmn, maybt II Itt/illg of ·spi"ni"g your w/wls· /I !>il. aul 1 s« /I continuation -mllyht tw'n lin ttltnlUII/ i"crrrI$t-in Iht slQbi/ity nf your ,allnliou, (The Circle) U/timalliy, I/.is pall. Is carrying you 10 a mOlT compltlt $t/f a moll' wholt, bt/ltr-rounded person. II mO". ~x le"sil>t rallKf of po!isibililits lilT unfolding, a/uug with IItt ~xcitt"'tnt of nw growlh. lift will I timl!S
foel more "nrrrtain, (,ut YOllr inner :self is lYcoming /Jellef ablt /0 withstand Iht inlllilab/t challenges of new and exciting possibility. Tha~'5 a slrong Indica/io" here of an east-to-west mowmenl; this could M a physical mCIle of some kind. bul mlly alsc be suggesting /I clumgt in Ihe Joeus of your allrnlion on some "'lItler from an easlern /0 II mOTt u>e$tem persp«liV(. There is dearlyan app~alingfulu1t ht>'ll, lin inle.vsling mix of theexlernal (incrrosed possibility) and inlemu/ (a Slrengthenro unity of splriO. Bul II's " f"lure Ihal w,m 'I be a!lained without one or two bold - ewn brow-sleps on your pari, 50 ~xp«1 scme ex/lila roling- possibly unarla;n - mcmtnis. With proper allen/ion and IhougMjul choicts, /I.ollgh, YO" 'II find frustralion replaced by palienu, u"exp«lro growth, and II nnq../O""d unily of purp()S('. 24
An Abecedarian Adjunct An additiOrllll lool /or the reader emerges from tIw ract that each of the fiv", :z..n",. ~ymbols can easily be associated with one of the fiv@ vow"ls"' of the Latin / Roman alphabet as follows: fr A E + I o 0 o u U co respo r. ~ to the This enables the association of one or more specific symbols with word s in g .. neral, and people's NUlles in particular. Thus it is possible to relate individuals to explicit symbols (e.g., ~MlIry would be th .. stat ElIen~ the wavy lines. ~Doug~ the cirde, and ynn ~ the cross)'''', Thl' notion of a peroonaUy assigned-and uniquely resonantsymbol can be very appealing to clients, as well as suggestive of talismaruc properties thlt may be conferred. Thus this b«omes a useful arrow in the reader', quive r. ,.., .. , ........... y .. _-Iy .. ."Io,od ... --'.,........1, ....... _, ......... _..1 .. ,1>< 10:< .... I. "" ..-"'ion _ ,10. "'"'" t+) I, ,ht~ . Pf"'<'I'rio ........ __ _ 1\111. ~ .. _ .... I ... '" Km ... ( __ 1' "'" ~ ...... ~ .WpiiJ<J """'" of 1Wr . ... 1d'''ft5oopo<to>r Moci<. Iml. "'" b.. ~ 10"'..-' ....... «1 ",or ~ t.,. Rt.n Moorio>, 250 /01""510.:,,,, ... W,",,, .. ·I ....... ~ .... t....i _'" , ... ,.I .. ,,~