Meaning and interpretation L’Amoureux / The lovers

Cupid, this Roman mythological figure, embodies love in its most divine and conquering form. Through the ages, he has been depicted in multiple ways, each revealing different facets of this universal feeling. Take, for example, the 1793 work by Antonio Canova, “Psyche revived by love's kiss” where Cupid is seen placing a kiss on Psyche, symbolizing the triumph of divine love over mortal.

In this representation, Cupid's wings are not just a simple addition; they illustrate his celestial nature, while Psyche's nudity evokes the vulnerability of the human soul. Another painting, “The Blindness of Cupid” by Bronzino, dating from 1545, shows a blindfolded Cupid, a powerful metaphor for love that does not see flaws, that loves without judgment.

Lorenzo Lotto's painting, “Cupid Unfastening the Belt of Venus” (1565), presents Cupid freeing Venus from her belt, a symbolic act of the power of love over beauty. Venus, in turn, is the personification of love and beauty, and in these works, Cupid is often depicted as a child or young man, highlighting the innocence and lightness of love.

His attributes, the bow and arrow, are not just simple weapons but metaphorical tools, illustrating love's ability to touch and transform the heart. The presence of Psyche reinforces this idea, representing the human soul touched by divine love, while Venus reinforces the themes of love, desire, and the union between celestial and earthly realms.

In the Charles VI tarot, created in Florence around 1460, "L'Amoureux" card presents an aristocratic wedding scene with three couples, one of whom seems deeply in love. Above them, not one, but two Cupids float on a cloud, highlighting the duality and complexity of love.

Unlike the cherubs of the late Renaissance, Cupid is depicted as a classical young man, reflecting a more mature vision of love.

The famous myth of Hercules evokes the dilemma where the hero must choose between the path of ease and that of glory. Hannibal Carracci's painting, “Hercules at the Crossroads” painted in 1596, perfectly embodies this theme. We see Hercules, sitting between two women: one, voluptuous, invites him to a life of ephemeral pleasures; the other, modestly dressed, shows him the arduous path leading to eternal glory.

• Hercules: In the center, Hercules is depicted as a muscular and vigorous young man, symbolizing strength and potential. He stands at the crossroads, hesitating between two opposite directions.
• Virtue: To the left of Hercules, Virtue is depicted as a noble and austere woman. She points to a steep and difficult path, symbolizing the trials and efforts necessary to achieve glory and wisdom. Her posture and serious expression embody discipline and determination.
• Pleasure: To the right, Pleasure is embodied by a seductive and voluptuous woman. She invites Hercules to follow an easy and pleasant path, but one that leads to depravity and vice. Her smile and open gestures embody the allure of immediate and superficial pleasures.
• Pegasus: In the background, Pegasus, the winged horse, symbolizes the aspiration to high ideals and the possibility of transcending earthly difficulties. Pegasus is often associated with poetry and divine inspiration.
• The masks: Scattered throughout the composition, the masks represent the illusions and deceptions of the world. They remind us that life choices can be influenced by deceptive appearances and superficial desires.
• The landscape: The background landscape is divided into two distinct parts. The path of Virtue leads to steep mountains, symbolizing the challenges to be overcome, while the path of Pleasure leads to a lush valley, symbolizing deceptive ease.

This allegory, already present in Socrates, has traversed the ages to reach us, reminding us that choice is not only a matter of the heart but also of destiny. The Tarot of Marseille, with its central figure of man, emphasizes the importance of this choice, inviting us to reflect.

We can also talk about the other myth of the Judgment of Paris, where the Trojan prince Paris must choose between three goddesses, each promising him different rewards. This mythological story is a striking parallel to "L'Amoureux" card, where the choice is not only romantic but also moral and spiritual. The angel or Cupid, often present in religious art as a messenger of divine will, reinforces this spiritual dimension, suggesting that our choices are guided by forces greater than ourselves.

The first mention of this card dates back to the Visconti tarot, created in 1441 to celebrate the marriage of Bianca Maria Visconti and Francesco Sforza. On this card, the heraldry of the two families is depicted, testifying to the political and military union of the time.

A small white dog, a symbol of marital fidelity, and the word “love” discreetly inscribed on the canopy, remind us that despite political arrangements, idealized love had its place in the collective imagination. The aristocrats of the time, perhaps to escape the less romantic reality of their arranged marriages, adored the stories of Lancelot and Guinevere, the Romance of the Rose, and the songs of the troubadours.

The art of this period, including tarot cards, reflected this fascination with romance, depicting wedding parades imbued with idealism. In the Visconti-Sforza tarot, "L'Amoureux" card presented a couple under the benevolent gaze of a Cupid or an angel, ready to shoot his arrow, symbolizing romantic love in its purest form. This celestial figure symbolizes divine intervention, love, and the inevitable choices made under the influence of higher powers.

Hand-painted Italian tarots, originating from the aristocracy, often depict romantic events related to their arranged marriages, while popular tarots illustrate more the love games of the lower classes, where the man, on his knees, proposes or offers flowers even before the marriage proposal.

In the Rosenwald Tarot, Cupid seems to point his arrow at the woman who is most receptive to the man's advances, which can be interpreted as the power of love and desire to shape our decisions. This highlights the idea that, although we may face difficult choices, it is often attraction and affection that tip the balance.

With the Anonymous Paris Tarot, there is a break since the card shows a rather mature couple and Cupid directs his arrow more towards the man. This card thus illustrates how later the Marseille Tarot will diverge from Italian tarots because Cupid's target is no longer the woman but the man. Thus, the title of the card, "L'Amoureux", shows that the man depicted on the card becomes the most important figure.

Waite has a decidedly different approach for his Lovers card, speaking of Christian mysticism. This card, rich in Christian, astrological, and Kabbalistic elements, depicts Adam and Eve in the Garden of Eden, symbolizing the origins of human love.

Adam, placed in front of the Tree of Life, is surrounded by flaming fruits, while Eve stands near the Tree of Knowledge, with a serpent and apples by her side. This scene illustrates love in its most innocent and spiritual form, before material desire corrupts it.

The angel, not identified by Waite but later associated with Raphael by initiates of the Golden Dawn, spreads his blessings, symbolizing the balance between masculine and feminine polarities. This winged figure embodies the divine influence that permeates human love.

Tarot readers who integrate psychology into their readings might see in the three characters the trinity of the mind: conscious, unconscious, and superconscious. Adam and Eve, in their state of original purity, reflect spiritual love before it is altered by earthly temptations.

Adam, as the embodiment of the conscious and rational mind, turns towards Eve, who connects with the superconscious realm, represented by the angel. This dynamic illustrates the connection between the human and the divine, where love is seen as a bridge to higher consciousness.

Beyond the biblical representation, Waite's Lovers card invites us to reflect on the duality of love: between innocence and experience, between spirituality and desire.

The crossroads of the heart: the balance between passion and choice

Positive Aspects

• Deep Romantic Connection: The presence of a couple at the center of the card symbolizes intense romantic love and mutual attraction. This often indicates the potential for a deeply fulfilling relationship, where harmony and balance prevail, overseen by an angelic or divine figure blessing the union.
• Significant Choice: The depiction of a young man between two women illustrates a decisive moment, a crossroads where one must choose a path aligned with our deepest values and desires. It is a call to follow a personal moral code and achieve greater self-awareness.
• Divine Guidance and Spiritual Growth: The angel in the Rider-Waite-Smith tarot is a powerful symbol of divine guidance, suggesting spiritual and emotional development that often manifests through relationships and personal choices.
• Solid Partnership: The figures standing side by side represent solid partnerships and lasting connections, whether romantic, familial, or professional.

Negative Aspects

• Indecision and Confusion: Hesitation between two choices can lead to a state of indecision, confusion, and an inability to make clear decisions, which can result in stagnation.
• Disconnection and Disharmony: The reversed position of the card or the presence of conflicting elements like the serpent suggests conflicts, disharmony, and imbalance in relationships or within oneself, requiring introspection and realignment.
• Temptations and Moral Dilemmas: The serpent near the tree of knowledge represents temptation and moral dilemmas, with the potential to make choices that could lead to negative consequences.
• Lack of Responsibility: A lack of responsibility for our actions and decisions, as suggested by the reversed position of the card, can lead to additional complications and conflicts.