Strategies to approach the Celtic Cross

Barleywine

When I started in 1972, there were only a handful of spreads offered in the books I was able to find. Among the Celtic Cross, the astrological spread, the Opening of the Key and the Tree of Life spread, the CC was the simplest, so it's what I learned first and stayed with for many years. Today, with the number of beginner books available that take a more incremental approach to learning, I would most likely do it differently. The CC may not be the ideal starter spread, but it seems to me anyone with a nimble and curious mind and an appetite for learning would soon feel rather "boxed in" by the narrow "card-a-day" and three-card pull approach, endlessly journaling every scrap of information. I mean, take me to the salt mines! Much like the Grand Tableau in Lenormand. the CC can reward jumping in at the deep end because it gives an immediate sense of how the cards can work together to create a compelling story. If one has even a shred of story-telling impulse, it's well-served by the CC.

The trick is to find or create a version of the spread that promotes this kind of flow. I've spent years refining my own version because I never liked Waite's original (although Marcus Katz seems to have traced it back to Florence Farr in the Golden Dawn) and many of his position meanings. His "Sign of the Cross" arrangement grated on my non-Christian sensibilities. I much preferred Eden Gray's clockwise flow and her handling of the "hopes/fears" conundrum. More recently, I find that Anthony Louis, in Tarot Beyond the Basics, arrived at some of the same conclusions I reached (although I don't recall him mentioning Gray as an influence). More recent attempts to "psychologize" the CC also don't do much for me; I don't see a reason to allocate positions to "conscious" and "subconscious" when those elements can be found elsewhere on the "staff" side of the spread. Similarly, I wouldn't waste a position on "advice," since the point of the whole spread is advice, with the outcome card as the last word in that regard, and having a separate "Self" position seems redundant to Waite's Significator.

Currently, my only real quibble with it is the time it takes to do it right, which I find difficult to accomplish in 20-minute public reading sessions. I find 45 minutes about right in most straightforward cases, but half an hour works too as long as I don't spend too much time on preliminary stage-setting with my sitters. Asking them whether they've had readings before (most have) is a step in the right direction.
 

headincloud

I tend to keep it simple first looking for any commonalities in the cards irrelevant of positions to get a feel for the spread, for example 3S and 9S tell us the person is stressed and suffering whereas 9C and 10P tells us this person is secure and happy, the pips I find easier to get a feel for than the majors so I start with those then look to the majors to find out what the situation relates to for example the lovers may point to a relationship or choice whilst the pips tell us how the querent is coping with or dealing with this decision, life choice or relationship.

If there are cards with commonalities such as 8W rx (energy dissipating, out of control etc) and knight W rx (out of control, pushiness, ego etc) you can be sure this influence will be doubly strong and very significant in any position.

Another way I piece it together is simply home in on the story through whatever card jumps out which tends to be the cards I'm most familiar with and can therefore connect with, usually the pips so for example I see the 4C and know this person is bored, discontent and withdrawing, I then try and discern what the person is bored and withdrawing from by scanning the other cards for clues, it's really like detective work I guess and great fun.

For me as I've progressed I tend to take less notice of the positions and don't dissect in the manner you've explained rather I home in on a card and build on it always looking for the 'why' and 'how'which allows intuition free reign rather than adopting a fixed process.
 

Barleywine

I agree, regardless of how you do it, it's great fun! :)
 

toadwytch

Doing a CC right out of the book frustrated me, but there's so many variations out there. And most LWBs don't talk about the relationships between the cards, which are just as important as the individual meanings.

I ended up pulling bits and pieces from variations that resonated with me and writing my own definitions, drew a little sketch of the relationships between the cards, and ended up rewriting some of the definitions after that. I really think that most people do their best readings organically with spreads they've made themselves because we all have different patterns of thought and find certain connections stronger than others.

The Celtic Cross is so much more rewarding now because I feel like I get the message almost immediately instead of trying to wrestle the cards into an order that makes sense to me. Then I can spend my time drifting through the layers instead of feeling like I'm forcing a meaning into it and getting a shallow message.

I ended up adding to my notes after reading through a lot of these posts!
 

Barleywine

Doing a CC right out of the book frustrated me, but there's so many variations out there. And most LWBs don't talk about the relationships between the cards, which are just as important as the individual meanings.

I ended up pulling bits and pieces from variations that resonated with me and writing my own definitions, drew a little sketch of the relationships between the cards, and ended up rewriting some of the definitions after that. I really think that most people do their best readings organically with spreads they've made themselves because we all have different patterns of thought and find certain connections stronger than others.

The Celtic Cross is so much more rewarding now because I feel like I get the message almost immediately instead of trying to wrestle the cards into an order that makes sense to me. Then I can spend my time drifting through the layers instead of feeling like I'm forcing a meaning into it and getting a shallow message.

I ended up adding to my notes after reading through a lot of these posts!

The challenge I set for myself a long time ago was to be able to read the Celtic Cross as a "gestalt" pattern in the same way I learned to read the astrological birth chart even longer ago. Like you, I tinkered with the model until it served that purpose. Read that way, the whole becomes more than simply the sum of its parts, behaving like a kind of three-dimensional isometric projection where some features may stand out above others but still remain an integral part of the whole. In thinking about it, this approach owes as much to the storyteller's art as it does to analysis, spelling the difference between whether the reading lurches along like Frankenstein's monster or glides effortlessly like a ballroom dancer.
 

RavenOfSummer

blueeyetea said:
First, you can lay the cards face down, and you read each card by itself in the order of the spread. Laying them all face-up will distract you, especially if you see card 10.


This part of the discussion really caught my eye...I'm wondering, in general when you all are working with a spread, do you usually lay the cards out face up? I ALWAYS lay the cards out face down and turn them one by one, whether for a CC or in any multiple card spread. I consider each card, then as I turn more over I also consider them in relation to what came before, and finally after the last one I consider them all together.

Just goes to show everyone has their different reading habits and rituals I guess! :)
 

Barleywine

This part of the discussion really caught my eye...I'm wondering, in general when you all are working with a spread, do you usually lay the cards out face up? I ALWAYS lay the cards out face down and turn them one by one, whether for a CC or in any multiple card spread. I consider each card, then as I turn more over I also consider them in relation to what came before, and finally after the last one I consider them all together.

Just goes to show everyone has their different reading habits and rituals I guess! :)

I always lay the cards face up, except for the outcome card, which I leave face down to introduce a small element of drama into the process for the sitter; I tell them it's part of the "theater of tarot." Because I use the "gestalt" approach I mentioned above, I want to see the big picture first, and then I start peeling back the layers. I want to see any broader emphases in the first scan - things like an absence or abundance of any factor, such as suits/elements, courts, trumps, number sets or sequences, reversals, that sort of thing.
 

toadwytch

The challenge I set for myself a long time ago was to be able to read the Celtic Cross as a "gestalt" pattern in the same way I learned to read the astrological birth chart even longer ago. Like you, I tinkered with the model until it served that purpose. Read that way, the whole becomes more than simply the sum of its parts, behaving like a kind of three-dimensional isometric projection where some features may stand out above others but still remain an integral part of the whole. In thinking about it, this approach owes as much to the storyteller's art as it does to analysis, spelling the difference between whether the reading lurches along like Frankenstein's monster or glides effortlessly like a ballroom dancer.

That is such lovely way to describe it. I'm still not a particularly talented reader, but I did a CC about a week ago that just flowed in all directions and it absolutely amazed me. Even though it's not the first time I've walked away from a reading feeling a little richer for it, it was the first time I could feel how dynamic the cross was as soon as I lay the last card. Soaking it in was a long process, but so smooth and easy, like reading a book. The first few CCs I did 8 months ago were definitely poorly stitched, lumbering monstrosities.

I started recording my notes aloud when I do readings because it's hard to verbalize relationships that lie in neat, interwoven layers like that, and it gives me practice. If I knew any really good readers in town, I'd love to sit for a reading to hear someone else's style in action.
 

velvetina

My version of the Celtic Cross is a result of my not quite following instructions correctly the first time I read it (in the LWB that accompanied the Rider Waite Smith deck.

First of all, the Querent chooses their significator by randomly selecting a card from the deck. I used this as a 'test' to see if the card matches the Q. - does it resonate with them?

Then that card is returned to the deck and I begin to shuffle. I shuffle at least 9 times. Then I lay the cards:

1 - the situation as it seems to stand
2 (crossing) - the challenge or obstacle or another point of view.

3 - lies below the central pair - internal influence
4 - placed to the left - past influence, that is still relevant
5 - lies above the central pair - an important external influence or sometimes the aspiration of the querant in this matter.

6 - placed to the right of the central pair - the coming influence.

Then the column.

7 - who the querant really is
8 - the context of the situation
9 - the advice the tarot offers
10 - the potential outcome