Essential Lenormand by Rana George Study Group - Subject+Modifier

Padma

Teheuti and Lee, thanks so much for those posts! I now see that I did not have it wrong, at least not in context of Mountain, and roughly for the other cards! I really thought I had misunderstood entirely! Teheuti, it was so helpful of you to look up Mountain, thanks!

Lee, this is how I had personally interpreted it - so I am glad to see Rana describes it like that -

Lee said:
On page 264 of the book, Rana says: "A tip on Combining: while it isn't a hard and fast rule, start by looking at the first card as the subject o[f] the matter and the card following it as a description modifying that subject.

English is not my first language, so even the concept of what a noun is was not super-clear to me. (Though Verb and Adjective I understand.)

I am very grateful for this information :) I have the book of course, and have skimmed through most of it, but did not do an in-depth reading. I am beginning again with it tomorrow. I am so happy you set up this study group, Lee! Thanks :)
 

Lee

Short spread require a clear syntax in order to be able to give a definitive answer.
I'm sympathetic to your viewpoint, but I'm restricted by the fact that this is a study group of a particular book, in which the factors that you mention are suggested or implied, and utilized in examples, but aren't stated in a forthright manner. Also, a study group for a book isn't really the best way for a particular method to be taught by somebody, other than to the extent that the book's author's viewpoint gets explored. It's more of a mutual exploration than a teaching vehicle. I realize this may be frustrating for people who want to see particular points made and methods taught.

One way to get your points across, if you are so inclined, would be to post in the study group threads in what I've called Exercise A, where members can post their thoughts, comments, or questions on Rana's interpretation. It would be great if someone of your skill and experience wanted to comment on Rana's interpretations by highlighting the factors you speak of, and such contributions would be highly welcome by me. You might also, in the other exercises, explain your own interpretations in the same fashion. But that's up to you of course. It would be a way for you to advocate for and explain your viewpoint without violating the study group rule (which is also a Lenormand Forum Posting Rule) that "grading" of other members' interpretations isn't allowed.

Another possibility is starting your own study group, which I would also welcome. Just PM me and I'd be happy to discuss it.
 

Teheuti

I'm sympathetic to your viewpoint, but I'm restricted by the fact that this is a study group of a particular book, in which the factors that you mention are suggested or implied, and utilized in examples, but aren't stated in a forthright manner.
. . .
One way to get your points across, if you are so inclined, would be to post in the study group threads in what I've called Exercise A, where members can post their thoughts, comments, or questions on Rana's interpretation.
Sorry. I've learned as much from Rana personally over the past several years as I have from her book, so I get mixed up. I've deleted my post.
 

Lee

I've been going through Rana's book, looking for specific advice on methods for combining in lines, particularly on pages 269 to 274 where she goes over the "Answer Line" spread (i.e. five-card or seven-card lines).

In those readings, examples of Subject+Modifier have been hard to find, at least for me. Rather, Rana seems to read in a looser manner, and relying mostly on a combining method that Caitlín Matthews in her book calls "forward narration," in which the cards are considered mainly individually, with connecting words such as "and," "to," "about," etc. to construct a sentence.

In Caitlín's book, she emphasizes Subject+Modifier for two-card readings, but she says that three-card readings are generally read in either forward narration or by choosing any of the three as a subject card, with the other cards modifying. Or sequential reading is used: this happened, then this happened, then this happened. Rana's book doesn't state these things outright, but her reading examples seem to reflect these same sorts of thinking.

It seems to me that we can say that Subject+Modifier applies mostly to two-card readings. For lines longer than two cards, Subject+Modifier seems to fade in importance, except that sometimes focusing on a two-card Subject+Modifier combination within the line can reveal nuances.

So I'm considering adding some combination guidelines to the rules/guidelines in the first post of each of the threads in this study group, something relatively succinct, perhaps some like this:

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Suggestions for combining cards:

When performing these reading exercises, participants can combine the cards any way they like. For those who wish to have some guidance on combining lines of cards, the following is offered:

1) For two-card readings, the "Subject+Modifier" method is suggested. For A + B, card A would be the subject card, either a noun or a verb. Card B would be an adjective, adverb, or modifier.

For example:

Noun + adjective: Rider + Mountain (blocked news)
Verb + adverb: Mice + Book (to secretly diminish)

2) For three-card readings, you might use the Sequential method (this happened, then this happened, then this happened, etc.)

For example:

Bouquet + Letter + Lily: I received a present, then I wrote a thank-you note, and then something long-term resulted.

Or you might use the Forward Narration method, in which you read the cards from left to right, using small words such as
"and," "to," "about," etc. to connect the cards together into a sentence.

For example:

Bouquet + Letter + Lily: I was surprised (Bouquet) with a pleasant letter (Letter) about virtue (Lily).

Another consideration you might use is the ability of certain cards to have their own rules of how they affect adjacent cards. Examples: Coffin can bring an end to cards on its left, while cards on its right show a new beginning; Scythe and Clouds can affect adjacent cards according to which way the point is facing for Scythe, or dark clouds for Clouds.

The Subject+Modifiers method can also be used, where any of the three cards can be chosen as a subject, and the other two cards serve as modifiers.

For example:

Bouquet + Letter + Lily: A pleasant (Bouquet) and virtuous (Lily) letter (Letter).

3) Finally, in lines of three or more cards, several combining methods can be combined. For example, in a line of five, you might read the first three cards using the Sequential method, then read the final two as a Subject+Modifier pair. Also, methods can overlap; for example, the Coffin might modify the card to its left as being enclosed (Subject+Modifier), and at the same time the Coffin may be acting to bring the cards to its left to a swift end.

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How does everyone feel about this? Is it too complicated, or too simple? I want to provide some succinctly-stated guidelines for those who would find them helpful and to point us in the general direction. If anyone has any additions or suggestions or thinks any of these aren't good, please let me know, I'd prefer this to be a group effort.

I'll be posting the study group thread for Clover in the next few days, so I'll add whatever we come up with starting with that thread.
 

Teheuti

Essentially this is the point I made in my earlier post that I deleted it: i.e., Subject+Modifer is an excellent discipline to learn (for the sake of precision - my point), but in actual practice (as you note in Rana's example readings), other factors may take precedence. I then gave an example from Erna Drosbeke (probably the most influential European Lenormand author as she is translated into at least five languages), where she shows how the same card can be both a focus and a modifier. This helped me see what Rana and other very experienced readers were actually doing. Also, a three-card reading can be seen as three paired-combinations. (a 5-card layout has 6 pairs), out of which the answer to the question is then extrapolated taking into account a sequentlal time-line, card-directionality, positive-negative, etc. (this is where intuition plays a big role). Each of these elements is a potential building block that may (or may not) be used.
 

pickled pixie

My brain hurts already!! 😦😊
 

Lee

Also, a three-card reading can be seen as three paired-combinations. (a 5-card layout has 6 pairs), out of which the answer to the question is then extrapolated taking into account a sequentlal time-line, card-directionality, positive-negative, etc. (this is where intuition plays a big role). Each of these elements is a potential building block that may (or may not) be used.
Mary, do you think I should include the three-card as three pairs in my proposed guidelines? If so, I can certainly add it.
 

Teheuti

Mary, do you think I should include the three-card as three pairs in my proposed guidelines? If so, I can certainly add it.
Definitely. I really appreciate your articulating the different possibilities so well. It helps then if everyone giving an interpretation also says which approach they used.
 

Seraphina

Sounds good to me!

I personally think it's a good idea to include those different ways of combining the cards Lee.

I am still a beginner and have not got passed a three card daily draw as yet, I usually use the sequential method, I like that and I find it helps me very much, sometimes I use the forward narration too. I only do daily draws so do not ask a specific question, just something along the lines of " how will my day be" that kind of thing.
Rana does say in her book, page 267, that you can read a daily 3 card draw as a whole if you want to, I like that way too.

I'm sure some may prefer the other combining methods you have mentioned, it's great we will have those choices in the study group and a big bonus for me is to learn how others use the different methods!

It's a wonderful learning opportunity, I will stick with my 3 card method but I'm really looking forward to expanding into other ways as we move further along :)