It means non-reciprocated love.Ross G. R. Caldwell wrote:
If I read between the lines, does it mean "and to favor unrequited loves"?
Ross
Best,
EE
It means non-reciprocated love.Ross G. R. Caldwell wrote:
If I read between the lines, does it mean "and to favor unrequited loves"?
Ross
Perfect, thanks - I understood it then!EnriqueEnriquez wrote:It means non-reciprocated love.Ross G. R. Caldwell wrote:
If I read between the lines, does it mean "and to favor unrequited loves"?
Ross
Best,
EE
Exactly!Ross G. R. Caldwell wrote:Essentially, the proximity of the two beans labelled for the querents' relationship, and the angle they fell at, would be the key to the divination. Ruggiero relates this to domestic relationships, how things occur in the household.
Sure. Based on other things I have read from you I think you ave a very good sense of Spanish.Ross G. R. Caldwell wrote: Perfect, thanks - I understood it then!
Sorry, my english is very bad and poor.EnriqueEnriquez wrote: * The Spanish word here is ‘espiráis’ which is the second-person plural for ‘espirar’. ‘Espirar’ means ‘to exhale’. I am taking the use of this word as a reference to the way we exhale air during our speech. The word may be referring to ‘talk to the living’. But I also could see word as signifying, in this context, ‘to inspire’ as in ‘to inspire the living’.
Best,
EE
Pablo comments that ‘espirais’ could also be taken to mean here: ‘to expire’ since at the time the letter X was pronounced/used as the letter J, as in:eltarot78 wrote:
A lo que hace alucion en espiráis, tambien puede ser tomado como expirar o bien morir, fallecer.
Ya que en esa epoca la "x"era mas bien utilizada como "j", de alli que solo lo escriban de ese modo.
Cuando dice así me espiéis, es una invocacion al aliento divino de parte de la Santa, a poder ser inspirada, o sea invocando a la inspiracion.
La traduccion podria llegar a quedar algo así:
"Señora Santa Marta,
que estas en la iglesia,
resucitas a los muertos,
ya que los vivos vamos a morir:
así me inspires con estos naipes lo que les pido..."
Muchas gracias y saludos.
Thank you very much, you are bilingual and very generous. I'll never be "picky", but I do understand how difficult it is to translate from a mother-tongue into a second language, no matter how well mastered (not to compose, which draws only from one's own store of phrases, but to translate -that seems to be the most difficult of tests).EnriqueEnriquez wrote: Unless I am caught up with something, I will be more than happy to help you with any translation from Spanish if you aren’t picky with my English.
I (almost) fully agree. I think this is how card divination should have developed. Like plucking daisy leaves for "he loves me, he loves me not, he loves me, he loves me not..."The first thing that came to mind was that these techniques are closer to the casting of lots than to what we understand as cartomancy. There are no assigned meanings for each card, nor means to activate any discerning narrative from them. This is, there is no storytelling, only the seek for omens.
I think our readings here are half "simple" and half "complex". The good-suit bad-suit reading is simple, although one wonders why the Jack of Bastones was the card chosen. The 13-card circle seems more complex, and the sentence"the prediction would be made according to the characteristics of the first five cards shown" is unexplained. This is a few generations later than the earliest kinds of readings though, so we should expect a refinement of technique.Somehow it feels very close to the kind of divination practiced by traditional cultures with tools other than cards. If you cast the Obí (four coconut shells) for example, you only care for the binary result: how many fall mouth up, how many fall mouth down. There is no sense of micro-dramatics as it would be presented in South-African bone casting, for example, in which the proximity and spatial relationship between two or more bones generates narrative information. The same idea of micro-dramatics is present in the kind of readings we do today, in which we seek for relationships/connections between all the cards and we draw narrative conclusions from it. A complex card spread, for example, mirrors the sense of dramatic orientation that diviners would have by paying attention to where their lots fall on the ground: the right means something, the left means something else, far from the client means something, near to the client something different, etc.
Naturally it does! It seems to me that cards as impetrated omens or narrative machines should be something that is susceptible of being made into a historical narrative (and not just a fantasy one), and that's what I'm trying to do.But I don’t know if any of that would interest you.
Indeed - I think an argument or a theory could be made that this kind of card reading developed from the bean-o-mancy.EnriqueEnriquez wrote: The impression one gets from these examples is that the cards were used like ‘beans’, this is, more like objects than like images.
EE
Thanks Pablo and Enrique - yes I see how this reading could make sense also.eltarot78 wrote: La traduccion podria llegar a quedar algo así:
"Señora Santa Marta,
que estas en la iglesia,
resucitas a los muertos,
ya que los vivos vamos a morir:
así me inspires con estos naipes lo que les pido..."