Isis and Osiris Perfume Oil
Faces of the Lovers

ISIS AND OSIRIS

Death had come into the land from the time Osiris had been closed in the chest through the cunning of Sêth; war was in the land; men always had arms in their hands. No longer did music sound, no longer did men and women talk sweetly and out of the depths of their feelings. Less and less did grain, and fruit-trees, and the vine flourish. The green places everywhere were giving way to the desert. Sêth was triumphant; Thout and Nephthys cowered before him.

And all the beauty and all the abundance that had come from Rê would be destroyed if the pieces that had been the body of Osiris were not brought together once more. So Isis sought for them, and Nephthys, her sister, helped her in her seeking. Isis, in a boat that was made of reeds, floated over the marshes, seeking for the pieces. One, and then another, and then another was found. At last she had all the pieces of his torn body. She laid them together on a floating island, and reformed them. And as the body of Osiris was formed once more, the wars that men were waging died down; peace came; grain, and the vine, and the fruit-trees grew once more.

And a voice came to Isis and told her that Osiris lived again, but that he lived in the Underworld where he was now the Judge of the Dead, and that through the justice that he meted out, men and women had life immortal. And a child of Osiris was born to Isis: Horus he was named. Nephthys and the wise Thout guarded him on the floating island where he was born. Horus grew up, and he strove against the evil power of Sêth. In battle he overcame him, and in bonds he brought the evil Sêth, the destroyer of his father, before Isis, his mother. Isis would not have Sêth slain: still he lives, but now he is of the lesser Gods, and his power for evil is not so great as it was in the time before Horus grew to be the avenger of his father.
– Padraic Colum

In the account preserved by Plutarch in On Isis and Osiris, Osiris is betrayed by the cunning of Set and sealed within a chest, a king slain and committed to silence and darkness, his body later torn and scattered across the land he once made fertile. Death enters Egypt with that closing of the lid of his sarcophagus. Destruction engulfs the kingdom, and the fertile soil of grain and vine yield to the encroaching desert.

Isis refuses the reign of fragmentation and shadows. In a boat of reeds, she searches the marshes, patient and relentless, gathering one fragment and then another, though the gods’ penis has been consumed by a river fish. She laid the pieces together and reformed Osiris through spell and sacred utterance, enacting the mystery that Plutarch describes as the restoration of the good and ordered principle against chaos and devastation. She fashioned a phallus for Osiris through her craft and magic, and conceived their son, Horus. As Osiris was reconstituted, peace returned, the fields bloomed green once more, and through their union, a third god is created. Alchemically, the body is dissolved into multiplicity, scattered into chaos, and through the labor of love is gathered and consecrated into renewed form. From this restored polarity emerges a third: Horus, the child born of their union, guarded by wise Thoth and steadfast Nephthys, raised to confront and overcome Set. In Horus, the Lovers create continuity and correction, a living reconciliation that tempers destruction without erasing it, for even Set remains, diminished and bound within a larger order.

Esoterically, this is sacred marriage enduring beyond death, the Lovers as integration and reconciliation of life and afterlife and the power of the passion and devotion of the lovers to create new life from death. Isis does not deny mortality but transforms it. Through her love and labor, Osiris lives again, enthroned in the Underworld as Judge of the Dead, dispensing justice and granting immortality through balance. The union of Isis and Osiris is altered yet unbroken, shifted from earthly kingship to eternal dominion.

This is the Lovers as cosmological force, the force of the reassembly of creation itself. Isis and Osiris embody the Lovers as divine covenant transcending death, unconditional devotion that restores wholeness, and the sacred act through which two become not only one, but three. Their bond does not end at the tomb; it passes through it, transforms it, and returns bearing life immortal, a testament that love, when joined in true polarity, does not perish but remakes the world.


Blue lotus incense and kyphi resin dancing in a dusk-shadowed temple, black loam of the Nile and green papyrus crushed beneath bare feet, myrrh and cassia steeped in date honey, a glimmer of lapis and gold leaf pressed into linen, and a surge of floodwater returning to parched earth.

5ml Perfume Oil
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The Fool's Journey: The Lovers

If one wants to form a picture of the symbolic process, the series of pictures found in alchemy are good examples, though the symbols they contain are for the most part traditional despite their often obscure origin and significance… It also seems as if the set of pictures in the Tarot cards were distantly descended from the archetypes of transformation…
“The symbolic process is an experience in images and of images. Its development usually shows an enantiodromian structure like the text of the I Ching, and so presents a rhythm of negative and positive, loss and gain, dark and light. Its beginning is almost invariably characterized by one’s getting stuck in a blind alley or in some impossible situation; and its goal is, broadly speaking, illumination or higher consciousness, by means of which the initial situation is overcome on a higher level. As regards the time factor, the process may be compressed into a single dream or into a short moment of experience, or it may extend over months and years, depending on the nature of the initial situation, the person involved in the process, and the goal to be reached. The wealth of symbols naturally varies enormously from case to case. Although everything is experienced in image form, i.e., symbolically, it is by no means a question of fictitious dangers but of very real risks upon which the fate of a whole life may depend.”

– Carl Jung, Archetypes of the Collective Unconscious

The Lovers card first appears in recognizable form in the 15th-century Italian tarot, such as the Visconti-Sforza Tarot. In its earliest versions, the image does not always depict a single romantic couple, but rather a scene of choice: a young man between two women, sometimes with Cupid above. This iconography aligns closely with medieval moral allegory. A particularly relevant source is Psychomachia, in which virtues and vices are personified as figures competing for the soul. Likewise, in De remediis utriusque fortunae, Francesco Petrarch stages dialogues between personified Reason and the Passions, framing love as a moral and philosophical test rather than mere sentiment. In this context, the Lovers card represents not only erotic attachment but the ethical tension between higher and lower forms of desire.

By the Renaissance, Neoplatonic currents shaped the interpretation of love as a ladder between earthly and divine realities. In De amore, Ficino describes love as a force that draws the soul upward toward divine beauty. This idea resonates strongly with later tarot imagery in which an angel presides above the couple, suggesting that true union is sanctioned or guided by celestial harmony. The Lovers thus becomes an emblem of concordia, or harmony between opposites: reason and desire, body and spirit.

Alchemical literature deepens this symbolism. In Rosarium Philosophorum, one of the most famous woodcuts depicts a crowned king and queen standing together beneath a descending dove, imagery strikingly parallel to later tarot depictions. The accompanying Latin text reads: “Hic est coniunctio maris et foeminae” (“Here is the conjunction of the male and the female”), describing the coniunctio, the sacred union of opposites necessary for the Philosopher’s Stone. Similarly, Theatrum Chemicum collects texts emphasizing that the opus begins with the reconciliation of dual principles: Sol and Luna, sulfur and mercury. The Lovers card, read through this lens, is not simply about romance but about integration; it is the alchemical marriage that produces wholeness.

Thus, grounded in medieval moral allegory and Renaissance alchemical symbolism, the Lovers card signifies choice, union, and transformation. It is the tension before synthesis and the blessing upon right alignment: the moment when opposites recognize each other as necessary halves of a greater unity.

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