Uncategorized
Did crypto-Jews invent the modern tarot deck?
Imagine you were a Jewish converso, secretly living in Italy or France after King Ferdinand and Queen Isabella had expelled your family from Spain. You could not affix a mezuzah to your door or light Shabbat candles. If you were caught avoiding treyf, or if you were a male converso and someone discovered you were circumcised, your life and that of your family were in immediate danger. In these circumstances, how could a secret Jew living in antisemitic medieval Europe learn about Judaism?
Enter tarot — the deck of playing cards used in fortune-telling and divination — and specifically, the Jean Noblet Tarot de Marseille deck. Each tarot card represents a specific archetype that the “reader” of the deck uses to try and understand their future, or answer a specific question.
According to Stav Appel, an amateur tarot historian and author of The Torah in the Tarot — a new guidebook and reissued deck of the Jean Noblet Tarot, the contemporary tarot deck may have been a medieval Jewish invention to preserve Jewish knowledge in the face of overwhelming antisemitic oppression. Each card is replete with hidden Jewish knowledge, Appel says, and the deck as a whole functioned as a crypto-Jewish educational tool.
The deck, Appel writes, can be “understood as a parade of crypto-Jews, each card bearing a false name and a false face to mask its true identity from a hostile world.”
An accidental tarot historian
Appel is not a historian by training. He lives in upstate New York, has an MBA from Yale and has spent his professional life as an organizational design consultant and data analyst. Some of his formative years were spent in Israel, where he studied at the Hebrew University of Jerusalem, but he is not a rabbi or any sort of formal Torah educator. Rather, Appel is the sort of humble, mundane Torah scholar that is increasingly rare in 21st-century Jewish life.
Orthodox synagogues are full of scholars more learned in Torah than he is, he said, but “when you study a little bit of Torah every day for 40 years, it accumulates.”
According to Appel, tarot “had no presence in his life whatsoever” until about 10 years ago, when his wife visited a bookstore that was closing and had a shelf full of tarot cards at bargain prices. On a whim, she bought a deck — a version of the Tarot de Marseille — and suggested to a bemused Appel that he use them to make up stories for their children.
When Appel and his kids started playing with the cards, he instantly noticed that they were filled with Bible stories: On one card, four divine animals that the prophet Ezekiel sees in his vision; on another, a collapsing grand building that looked like a depiction of the destruction of the Second Temple.
“The Judaic references were obvious,” he said, but he thought they were merely references to the Old Testament, and not indicative of a Jewish backstory to tarot. Nevertheless intrigued, he joined a Facebook group about tarot and began to research on his own. He wanted to know “who put all these Bible stories in a deck of playing cards?”
The Rider-Waite tarot deck (also known as the Rider-Waite-Smith deck) was released in 1909 and is one of the most popular tarot decks ever created, with thousands of variations. Though the Rider-Waite contains a hodge-podge of esoteric traditions, numerous cards bear Hebrew letters.
Appel learned that the Rider-Waite had been copied from a much, much older deck called the Tarot de Marseille, which dates back to at least the late 15th century. The older the version of the Tarot de Marseille deck Appel saw, the clearer the biblical references were. When he tracked down a replica of a 1650 deck, he recalled thinking, “Oh my God.”
“These aren’t Bible stories at all,” he thought. “These are Torah stories. This is Judaica.’”
The discovery
One card in the Jean Noblet deck was particularly stunning: The Magician.
In Rider-Waite and other tarot decks, the Magician is typically depicted holding aloft what looks like a wand. In the Noblet deck, however, it’s slightly different.
“What do you think he’s holding in his hand?” Appel asked me.
I leaned in to look, and realized it was obvious: “A circumcised penis” — the symbol of Abraham’s eternal covenant with God.
In his written guide for the reissued deck, Appel points out that on the table before the Magician is a complete antique circumcision kit, including a knife and its sheath for cutting the foreskin, and a shield to protect the penis.
Once your eyes are trained to see the Judaica, Appel’s right; it can be obvious. The top of the hat the Magician wears, for example, is the tip of a circumcised penis emerging from its cut foreskin. The helmet of the Emperor in another card is a disguised dreidel tipped onto its side. On the Chariot card, the Chariot itself resembles a bimah, and its wheels are Torah scrolls.
Often, though, finding the hidden Judaica can require a considerable level of Torah knowledge, a sophisticated eye for symbology and a dash of imagination. For example, each card has a secret Hebrew letter within it. In the Magician, the Hebrew letter aleph (א) is hidden in the figure’s curved arms.
How did this remain hidden?
There had been speculation for years about the Jewish influence on tarot, particularly given that there are 22 Major Arcana cards (a tarot deck is divided into 22 named Major Arcana cards and 56 numbered Minor Arcana cards), and there are 22 letters in the Hebrew aleph bet. Yet over the centuries, Jewish mysticism had been widely distorted by Christian occultists. Tarot historians believed that any traces of Hebrew or biblical influence left on the tarot cards were evidence of this appropriation, and not of any inherent Jewish origins.
As Appel studied the Noblet deck and found more and more hidden Judaica, he reached out to tarot historians who told him he was speaking “utter nonsense.”
“Their emotional response was quite fascinating,” Appel reflected. “It’s a real challenge to these very accomplished tarot historians who have built a very different narrative that does not make space for Jews and Judaism.”
Jewish historians were more receptive, but dubious. If the tarot deck was a hidden educational tool of Torah study, why hadn’t this been discovered already by a rabbi or someone with, say, a Ph.D.?
Appel decided to self-publish a deck, and started an Instagram account, where he posted images of the cards and shared his theories on their Judaic origins. Many people began pointing out additional hidden Jewish objects and symbols that he had missed. “People really pushed me, and collectively, we went much deeper into the cards,” he said.
Crypto-teaching aid
With each new Judaic subtlety revealed, Appel and his online community marveled at the sophistication of the Judaic knowledge they contained, and the skillfulness with which it was hidden. “It’s a masterpiece of art and a major accomplishment of cryptography,” he said, describing the cards as an “incredibly efficient system” to teach about Jewish practice — the Jean Noblet deck contains a full curriculum of Judaic studies.
Appel emphasizes that he is not a formal historian and cannot be 100% certain of his hypotheses. Perhaps the cards were just Jewish fortune-telling cards, or an example of Jewish mystical art. But the density of Judaic content seemed to support his contention that the cards were used as a tool for Jewish education. “The only reason someone would be motivated to conceal so much information is they wanted it to be a memory device for a teacher,” Appel said. “It’s like a really fancy teaching aid.”
Appel has lectured at synagogues and community centers and given a presentation at the Society for Crypto-Judaic Studies, where he says he was received warmly. One of the attendees, Corinne Brown, the chair of the conference, told me in an email that Appel’s arguments were “iron clad.” She compared his discovery to that of finding King Tut’s tomb, where “an entire culture had been assembled for an unknown afterlife.”
Academics at the conference told him there had been studies where crypto-Jews had reported the tradition of gathering over playing cards as a cover story to learn Torah. In a note included with the deck’s reissue, the society wrote that while they are not tarot historians, “we can confirm the development of clandestine means of Jewish continuity was a common practice in crypto-Jewish communities following the exile of Spanish Jewry in 1492.”
The origins of the word tarot potentially lend Appel’s ideas some credibility. The word tarot comes from an Italian dialect word tarocci, which means “the fool,” and was first documented in 1516 in Ferrara, Italy. It supplanted, somehow, the name trionfi (meaning “cards”), which was first used to describe 13th- and 14th-century Italian playing cards that had allegorical images.
Tarot historians do not have any answers as to how the word tarocci replaced trionfi, and why it happened specifically in the early 1500s and in cities like Ferrara and Avignon, France. Appel thinks the etymological shift was due to a wave of conversos fleeing Spain who began using the cards as a secret Jewish tool, as both Ferrara and Avignon were home to many crypto-Jews. There is currently no evidence to support this theory, but it is a compelling possible explanation.
What now?
Appel’s hope in reissuing the deck is that it will provoke more serious scholarship and research. He has also come to a new appreciation of tarot and the Jewish magical and esoteric rituals that went underground in the face of violent Christian persecution.
Given that divination is explicitly outlawed in the Torah, I was curious if Appel had received any rabbinic pushback to his claims that Jews may have invented the preeminent tool of fortune telling in an effort to preserve Jewish continuity. There was some, he acknowledged, but it was ironic given the rich history of Jewish mysticism, magic and esoteric practice. Jews were seen by their Christian neighbors as a source of magic in the Middle Ages, Appel told me, with “a robust culture of spell casting.”
“In the 20th century, we’ve done a really good job of cleaning up Judaism to make it look really neat and tidy, as if it was always this hyper-rationalist religion,” Appel said. “That’s a contemporary invention, and it’s just not the truth.”
The post Did crypto-Jews invent the modern tarot deck? appeared first on The Forward.
Uncategorized
Gene Shalit, a mensch with a personality as big as his mustache, turns 100
The television entertainment personality Gene Shalit, who celebrated his centenary on March 25, semaphored a Jewish appearance for decades to viewers of NBC’s early morning gabfest The Today Show.
With his Jew-fro hairstyle that fascinated celebrity interviewees and his abundant mustache that outdid Groucho Marx’s mere greasepaint simulacrum, Shalit was one of a kind. Born in New York City in 1926, he clearly aimed to be recognizable even through half-opened bleary eyes of half-asleep viewers. And audible too. Shalit’s precise pronunciation, always at a vigorous decibel level, sought to be comprehensible even during voiceovers. The Canadian comedian Eugene Levy, transfixed by this persona, imitated him on SCTV roaring at high decibel levels.
In one skit, Levy embodied Shalit with haimish affection, hawking a remedy for a migraine presumably caused by his own bellowing. In another, Levy spoofed Hollywood celebrities who were notorious fressers at local restaurants, including the American Jewish actress Shelley Winters (born Shirley Schrift). In still another lampoon, Levy-as-Shalit danced and also kibitzed with the late Catherine O’Hara as the Jewish gossip columnist Rona Barrett (born Burstein).
Shalit apparently kvelled at the notion that he was prominent enough in media culture to be affectionately kidded like other Jewish noteworthies Levy imitated, including Howard Cosell, Henry Kissinger, Menachem Begin, Milton Berle, Judd Hirsch, Jack Carter, James Caan, Lorne Greene, Norman Mailer and Neil Sedaka.
Years later, Levy recalled that when the SCTV comedy troupe was invited to appear on The Today Show, before the segment was filmed, chairs were arranged so that Catherine O’Hara was seated next to Shalit. Suddenly Shalit exclaimed: “Wait a minute, shouldn’t the person who [imitates] me be sitting beside me?” Another Jewish comedian, Jon Lovitz, would likewise attempt to imitate Shalit on Saturday Night Live, but without the zest of Levy’s indelible incarnation.
Shalit once told showbiz reporter Eileen Prose that at first, his looks limited him to radio jobs in more conventional times for TV talent. By the more liberated late 1960s, when long hair and a hirsute upper lip were more common, he was hired as quasi-permanent house Jew on The Today Show. Although his mustache fit the counterculture in the mode of Jewish activist Jerry Rubin’s, Shalit as an aspiring journalist may have grown his facial hair more in tribute to earlier literati like the playwright William Saroyan or the eminent humorist Mark Twain.
At times, Shalit’s appearance could be clown-like or cartoonish, so it was natural that characters inspired by him would appear on animated series such as SpongeBob SquarePants and Family Guy as well as The Muppet Show.
Famous interviewees like Peter Sellers were plainly at ease with Shalit’s persona. A conversation filmed shortly before Sellers’ untimely death was cordial, with the sometimes tetchy actor on his best behavior, acknowledging Shalit as a fellow entertainer. And with Mel Brooks in 1987, Shalit looked to be in paradise.
A warm-hearted empathizer and enthusiast, Shalit was more suited to promoting films than criticizing them. In 1989, a tzimmes occurred when a memo drafted by Bryant Gumbel, a Today Show colleague, deemed Shalit a “specialist in gushing over actors and directors” and added that Shalit’s interviews “aren’t very good.” To his credit, Shalit minimized the controversy, telling The Los Angeles Times that Gumbel’s disses were “not big whacks.”
“Listen, I’ve been interviewing people on the show for 17 years,” Shalit said. “I must be doing something right.”
Part of his inspiration was a sincere appreciation for humor, Jewish and otherwise. His 1987 anthology, Laughing Matters featured contributions by Jewish wits such as Dorothy Parker, S. J. Perelman, Woody Allen, Fran Lebowitz, Samuel Hoffenstein, Philip Roth, Mel Brooks, George S. Kaufman, Milt Gross, Arthur Kober, Leo Rosten, Allan Sherman, Max Shulman, Calvin Trillin, Rube Goldberg, Sam Gross, Roz Chast, B. Kliban, Robert Mankoff, J. B. Handelsman, Jules Feiffer and George Burns. The volume was dedicated to, among others, the Jewish screenwriter Samson Raphaelson, who was Shalit’s instructor at the University of Illinois at Urbana-Champaign.
His visceral reaction to Jewish parody was such that during one commuter train ride, Shalit admitted in a preface, Perelman’s story “No Starch in the Dhoti, S’il Vous Plait” caused a conductor to lean down with concern, stating: “A passenger says you’re crying.” To which Shalit retorted, choking and rubbing away tears: “I’m laughing.”
The subliminal message of Shalit’s book was that without Jews, America would have distinctly fewer tears of laughter. And he regretted not being able to include funny Jews like Jack Benny and Ed Wynn whose performances could not be transferred to the printed page.
Shalit also reviewed books for years. Sticking firmly to the content of cultural products with a few brief hints of value judgment, Shalit seemed to have neither the time nor presumably the inclination to subject new items to analysis of Freudian intensity. He clearly preferred boosting things to panning them, and when a film displeased Shalit, he could be uncomfortable saying so.
One occasion when Shalit raised hackles was his response on The Today Show to the 2005 film Brokeback Mountain. Shalit described one of the gay characters as a “sexual predator.” The LGBTQ media group GLAAD objected to Shalit’s characterization as a homophobic stereotype. Shalit’s son Peter wrote an open letter to GLAAD, identifying himself as a gay physician with a Seattle practice helping the gay community. Peter Shalit admitted that his father “did not get” the film in question, but was “not a homophobe.” He might have added that his father had even included an excerpt from Harvey Fierstein’s Torch Song Trilogy in the aforementioned humor collection.
Shalit followed up with his own apology, stating in a mensch-like way that he did not intend to cast “aspersions on anyone in the gay community or on the community itself.” When Shalit finally retired from broadcasting at age 84, with the Yiddish-inflected declaration: “It’s enough, already,” he left behind admiring viewers and decades of bonhomie as one of morning television’s most genial protagonists.
Mazel tov, Gene Shalit. Biz hundert un tsvantsik (May you live until 120)!
The post Gene Shalit, a mensch with a personality as big as his mustache, turns 100 appeared first on The Forward.
Uncategorized
How a song about the food chain became a Seder mainstay
I’m almost positive I heard about the old lady who swallowed a fly before the father who bought a goat for two zuzim.
This occurred to me a few years ago while riding in my sister’s minivan. My niece was in her car seat fidgeting with a toy that plays a catalogue of public domain children’s songs. But unlike the version I’d grown up hearing, where the old lady’s ravenous habit of devouring ever-larger animals is met with the prognostic shrug of “perhaps she’ll die,” the refrain was changed to the more kid-friendly “oh me oh my.”
The Seder tune “Chad Gadya,” which involves a quite similar conceit, has no such timidity when it comes to the ravages of death.
Jack Black once described it as the “original heavy metal song” for the way it progresses along the chain of life from a little goat bought for two zuzim, to the cat who ate the goat, to the dog who bit the cat, all the way up to the angel of death. (“Very Black Sabbath.”)
It is pretty metal — in a kosher Kidz Bop, tot Shabbat kinda way. But why we sing it should, in Jewish circles, be as popular a seasonal question as what a bunny with a clutch of eggs has to do with Jesus’ resurrection. (Some Haggadot explain the greater significance of “Chad Gadya;” my Maxwell House does not.)
Dating the song or rooting out its precise origins is not easy.
As historian Henry Abramson wrote, scholars have noted the song’s similarities to a late Medieval German folk rhyme. While the fact that it is mostly in Aramaic, not the vernacular in Europe in the Middle Ages, suggests an earlier provenance, it is missing from extant Sephardic and Yemenite Haggadot, where one would expect to find texts originating in the language, and the Aramaic itself has many errors.
Abramson reasons that, given the surviving written versions, it was likely adapted sometime in the 14th century from a German children’s rhyme called “The Foreman that Sent Jockel Out,” about an idler named Jockel who a foreman tries to rouse to fieldwork with an escalating series of messengers, ending with a hangman. (Abramson notes the original is characterized by “some Teutonic weirdness,” like a witch sent to subdue a vulture.)
“Chad Gadya” belongs, like its Seder companion “Echad Mi Yodea,” to a genre called “cumulative song,” where verses build with new information a la “12 Days of Christmas.” But “Chad Gadya” stands out for its strangeness and its more oblique message.
Abramson and others see the goat, small and vulnerable, standing in for the Jewish people, and the ensuing parade of antagonists corresponding to historical enemies (Assyrians, Babylonians) and periods of time (Exodus, various conquests), ending with redemption in the Messianic age when the Holy One smites death.
As Rabbi Jonathan Sacks wrote in a commentary for his Haggadah, the song “teaches the great truth of Jewish hope: that though many nations (symbolized by the cat, the dog, and so on) attacked Israel (the goat), each in turn has vanished into oblivion.”
That this truth is conveyed in song, with much banging on the table or animal noises, speaks to the centrality of children in the Passover Seder. And, some think, its inclusion serves a practical purpose: keeping the kids awake through the last leg of a long ritual meal.
My own interpretation is admittedly less lofty. I don’t think of Israel’s tribulations. I do think of the abundance of stray cats in Jerusalem, said to have originated during the British mandate when the city had a rat problem.
And, in the years since my own days as designated Four Questions asker, I’ve been reading “Chad Gadya” into non-Jewish contexts. “The White Cat,” off of Mitski’s new album, Nothing’s About to Happen to Me, contains a lyric that recalls the song, only altered to be a metaphor for the predations of capitalism.
In it, the speaker says she must work to pay for the cat’s house and “for the bugs who drink my blood/and the birds who eat those bugs/so that white cat can kill the birds.”
These cycles speak across cultures and time because they represent a fundamental rule of nature: There’s always a bigger fish (or cat or dog or stick).
To erase death from the equation, like my niece’s toy does with that hapless, insect-ingesting pensioner, is a concession to today’s sensitivities. That’s not to say “The Old Lady Who Swallowed a Fly” represents anything more homiletic than a choking hazard warning, but in the case of “Chad Gadya,” death is the story, and an end to death is the hope.
“The Haggadah ends with the death of death in eternal life,” Rabbi Sacks concluded his drash on the song, which ends when God strikes down the Angel of Death. “A fitting end for the story of a people dedicated to Moshe’s great command, ‘Choose life.’”
I know it’s a principle of faith all over the Haggadah, but I’m more agnostic as to that Messianic promise and maybe more in the camp of our old lady. My understanding of Jewishness, which accords with Moshe’s command, says life is best lived knowing that — perhaps — we’ll die.
The post How a song about the food chain became a Seder mainstay appeared first on The Forward.
Uncategorized
Katz: ‘Israel’s Goal in Lebanon is to Disarm Hezbollah’
Then-Israeli transportation minister Israel Katz attends the cabinet meeting at the Prime Minister’s office in Jerusalem, Feb. 17, 2019. Katz currently serves as the foreign minister. Photo: Sebastian Scheiner/Pool via REUTERS
i24 News – Israel’s Defense Minister Israel Katz held a situation assessment Friday with senior military and defense officials, reiterating that the country’s policy in Lebanon remains focused on disarming Hezbollah by military and political means. Katz emphasized that the goal applies “regardless of the Iran issue” and pledged continued protection for Israeli northern communities.
Katz said the Israel Defense Forces are completing ground maneuvers up to the anti-tank line to prevent direct threats to border towns. He outlined plans to demolish houses in villages near the border that serve as Hezbollah outposts, citing previous operations in Rafah and Khan Yunis in Gaza as models.
The Defense Minister added that the IDF will maintain security control over the Litani area and that the return of 600,000 residents of southern Lebanon who had evacuated north will not be permitted until northern communities’ safety is ensured. Katz also reaffirmed that the IDF will continue targeting Hezbollah leaders and operatives across Lebanon, noting that 1,000 terrorists have already been eliminated since the start of the current campaign.
“We promised security to the northern towns, and that is exactly what we will do,” Katz said. He further warned that the IDF will act decisively against rocket fire from Lebanon, stating that Hezbollah “will pay heavy prices.”