camoin method-Example for analysis- Yaraluna#1

[yaraluna]

ok...here's a reading a did for my friend..
she is moving in the next two weeks due to a change in her relationship with her -until recently- life partner. She's been hesitant about the change since the relationship has accostumed her to certain life style that now is changing.

i did a quick reading and these are the cards using the Jodo deck...


.................... le mat
.................. [[ l'hermite]]....... le bateleur
.................... (reversed)
l'empereur....... le chariot........... XIII
....................................... (reversed)
past ............. present ............future

i drew the bateleur as a solution to the reversed XIII card. however, i immediately noticed that all the cards are insistently looking (regardent) to the left. so i wanted to know what they were all looking at that was so important, and the reversed 'hermite showed up! the last solution is le mat.

sorry. I have to come back later as i need to type this more properly and see if i can scan it, although i don't guarantee it since my scanner is not set up now.
thank you for your input and analysis
PA: sorry about the typing...
yara

 

[Lee]

Hi yaraluna, if you type the diagram, you need to type periods instead of spaces, otherwise it won't come out right, as you see.

 

[Paul]

Hi Yaraluna --

Thanks for sticking your neck out with a sample reading.

Your spread is incomplete, so let's get it nice and tidy first:

-- L'Empereur looks to the left, need to keep placing cards to the left and following reversals and gazes.
-- L'Hermite will look the the left once the problem that he signifies is solved and he is uprighted. So, we go ahead and place the card(s) now, following any further gazes and reversals.
-- XIII will be looking to the right once he is solved and uprighted. So, placement is needed here.

Happy regarding!

Paul

 

[Flavio]

I'm surprised to see the new reading examples for analysis, currently reading them to catch up, look forward to join this one.

 

[yaraluna]

oh no... i will ahve to redo the reading again...!! i didn't know that i had to place a card to the side of the gaze, regardless. i thought it was only for reversals and that the one for the gazes was optional.

oh well, i won't share this with my friend yet then.

her eit is with the extra cards...

............................................ le mat
....................Le pendu..... [[ l'hermite]]....... le bateleur.......la maison dieu
........................................ (reversed)...........................
...le toille.........l'empereur....... le chariot........... XIII.........la roue de fortune
............................................................. (reversed).........(reversed)
.......................past ............. present ............future........................


holy cow. now i have to look at this one over again with the extra cards...

 

[Paul]

Don't shoot me...need to follow Le Toille's gaze...and Le Mat.

(Ducking)

 

[yaraluna]

Don't shoot me...need to follow Le Toille's gaze...and Le Mat.

(Ducking)

ok. i give up. my simple reading (first ones i posted) was so straight forward and insightful when i first saw it.
now with all this never ending regardent cards...what the heck! it has become muddy. at least to me and thus unable to share this with the querent.

perhaps, b/c i thought i got the message for her in the first spread. i am overwhelmed. next time I know now how extensive it can be, but shouldn't this extensiveness be an option instead of a must?

yara-the frustrated one.

 

[Lee]

Don't despair, yaraluna!

Here's my suggestion (as another beginner in this method who likes to keep things simple). First, lay out cards for Letoille's and Le Mat's gazes. Then, turn all the cards face down except for the three original cards (Past, Present, Future). Then you can look at those three cards to get a basic idea of the direction of the spread.

Now turn over the other two cards on the bottom row. Remember, not all cards need be given equal weight, and not every card must be analyzed for hours. The important thing is to look for individual symbols which repeat, and for patterns which seem to form. (I'm not saying any of this with any authority, mind you; this is just how I would do it.) The "gaze" cards tell you something about what the gazing figure is regarding. See if you can fit the two gaze cards into the context of the original three cards.

Next, when you feel you have a fairly good idea of the bottom row, now you can turn over the cards on the top row. Again, not every card need be given equal weight or analyzed for hours. Some cards may be there for very simple and succinct reasons. You already have a basis to start investigating these cards -- remember, gaze cards are there to tell you something about what the gazing figures are regarding, and solution cards are there to solve the problem of the card beneath. Look at this row through those lenses, and also continue to look for repeating symbols from the bottom row to confirm the direction that the spread is going.

Then finally turn over the top cards and interpret them the same way.

I know Paul has said that he likes to get the whole spread out at once, but for beginners like us, I think it may help to keep cards face down until we're ready to deal with them so that we're not looking at ten cards at once.

So, let us know about the two (or more) needed cards...

 

[Paul]

I'm with Lee, yaraluna!

Fear not. I know just how you feel. When I started the method, the larger readings were seemingly impossible.

But, let's get the cards out and analyze together, slowly but surely.

As regard the regards: Not to muddy things, but to clarify, the storyline tends to go from LEFT to RIGHT and BELOW to ABOVE. So, although we place cards according to the regards/gaze system, once they're placed, we can see a storyline from left to right, most of the time. This is to say, we're not always considering (in your reading for example) who L'Empereur regards as part of the meaning of L'Empereur, but rather that "first comes Le Toille and then comes L'Empereur" and this is the story. I offer this to simplify and encourage, because it helps in reading a row in a sentence-like manner. What gets confusing about he gazes/regards system is if one thinks that there is always special meaning in whom the card regards. Rather often this is simply a matter of card placement, and then the storyline is formed by stepping back and looking at the sentence.

I love what Lee said about not hyper-analyzing. As you start reading the "sentences" or storylines of the rows, you will realize that one card can simply be a teeny part of a message or idea combined with another. Or, it could be repeating an idea from the card before it or after it. For example, XIII + Le Maison Dieu us a Medical Hospital. Not every card needs in depth analysis. If we sat there and pondered the profundity of XIII or XVI, we'd miss the elegant simplicity that the cards are showing us a skeleton with a building = hospital.

Come on girl, get back in the ring and finish those gazes!

 

[Lee]

Not to muddy things, but to clarify, the storyline tends to go from LEFT to RIGHT and BELOW to ABOVE. So, although we place cards according to the regards/gaze system, once they're placed, we can see a storyline from left to right, most of the time. This is to say, we're not always considering (in your reading for example) who L'Empereur regards as part of the meaning of L'Empereur, but rather that "first comes Le Toille and then comes L'Empereur" and this is the story. I offer this to simplify and encourage, because it helps in reading a row in a sentence-like manner. What gets confusing about he gazes/regards system is if one thinks that there is always special meaning in whom the card regards. Rather often this is simply a matter of card placement, and then the storyline is formed by stepping back and looking at the sentence.

I'm glad you wrote this, Paul, as this was something that I wasn't entirely understanding, even though you've said it before -- I guess it took a while to penetrate my thick cranium! I can see how that would help keep things flexible, if we don't always have to see a gaze card as reflective of what the gazing figure is gazing at.