A Suggestive Inquiry into the Hermetic Mystery

«A hard task were it indeed and almost infinite to discuss every particular that has been presented by individuals concerning the art of Alchemy; and as difficult to fix with certainty the origin of a science which has been successively attributed to Adam, Noah and his son Cham, to Solomon, Zoroaster, and the Egyptian Hermes.» — Atwood abre la primera parte declarando indeterminable el origen del arte y enumerando las atribuciones corrientes: Adán, Noé y su hijo Cham, Salomón, Zoroastro y el Hermes egipcio.

«Nor, fortunately, does this obscurity concern us much in an inquiry which rather relates to the means and principles of occult science than to the period and place of their reputed discovery.» — y desactiva la cuestión: su indagación versa sobre los medios y principios de la ciencia oculta, no sobre el tiempo y el lugar de su supuesto descubrimiento.

«Nothing, perhaps, is less worthy or more calculated to distract the mind from points of real importance than this very question of temporal origin, which, when we have taken all pains to satisfy and remember, leaves us no wiser in reality than we were before.» — el motivo con que descarta la cuestión del origen temporal: distrae de lo importante y, resuelta, no deja más sabio a nadie.

«What signifies it, for instance, that we attribute letters to Cadmus, or trace oracles to Zoroaster, or the kabalah to Moses, the Eleusian mysteries to Orpheus, or Freemasonry to Noah; whilst we are profoundly ignorant of the nature and true beginning of any one of these things, and observe not how truth, being everywhere eternal, does not there always originate where it is understood?» — el argumento general, con la serie de atribuciones —las letras a Cadmo, los oráculos a Zoroastro, la cábala a Moisés, los misterios eleusinos a Orfeo, la masonería a Noé— y la razón: la verdad no se origina donde se la entiende.

«whether in truth that Smagardine table, whose singular inscription has been transmitted to this day, is attributable to Hermes or to any other name.» — y su abstención expresa sobre la atribución de la Tabla Esmeralda, que deja sin resolver entre Hermes y cualquier otro nombre; el troceo imprime *Smagardine* por Smaragdine.

«It may suffice the present need to accept the general assertion of its advocates, and consider Alchemy as an antique arifice coeval, for aught we know to the contrary, with the universe itself.» — la posición que adopta mientras tanto: acepta la afirmación general de sus defensores y tiene a la alquimia por artificio antiguo coetáneo del universo mismo. El troceo imprime *arifice* donde se espera *artifice*.

«For although attempts have been made, as by Herman Conringius 1, to slight it as a recent invention, and it is also true that by a singularly envious fate, nearly all Egyptian record of the art has perished; yet we find the original evidence contained in the works of A. Kircher 2, the learned Dane Olaus Borrichius 3, and Robert Vallensis in the first volume of the Theatrum Chemicum 4, more than sufficient to balance every objection of this» — los testimonios que opone a quien tiene el arte por invención reciente —así Herman Conringius—: Kircher, el danés Olaus Borrichius y Robert Vallensis en el primer volumen del Theatrum Chemicum. Las cifras sueltas dentro de la cita son las llamadas a nota final, que el troceo deja pegadas al texto.

«This once famous Art, then, has been represented both as giving titles and receiving them from its mother land, Cham; for so, during a long period, according to Plutarch, was Egypt denominated, or Chemia, on account of the extreme blackness of her soil:» — la etimología que recoge de Plutarco: el arte da o recibe su nombre de Cham, como se llamó a Egipto, o Chemia, por la negrura extrema de su suelo.

«But by the word Chemia, says Plutarch, the seeing pupil of the human eye was also designated, and other black matters, whence in part perhaps Alchemy, so obscurely descended, has been likewise stigmatized as a Black Art» — y el segundo sentido que atribuye a Plutarco —Chemia como la pupila del ojo y otras materias negras—, del que hace derivar en parte el estigma de arte negra.

«Etymological research has doubtless proved useful in leading on and corroborating truths once suggested, but it is not a way of first discovery; derivations may be too easily conformed to any bias, and words do not convey true ideas unless their proper leader be previously entertained.» — el límite que pone al método etimológico: sirve para corroborar verdades ya sugeridas, no para descubrirlas, porque las derivaciones se acomodan a cualquier sesgo.

«to take a point of time, we may begin the Hermetic story from Hermes, by the Greeks called Trismegistus, Egypt’s great and far-reputed adeptest king, who, according to Suidas, lived before the time of the Pharoahs, about 400 years previous to Moses, or, as others compute, about 1900 before the Christian era» — la fecha que da para Hermes Trismegisto siguiendo a Suidas: antes de los faraones, unos 400 años antes de Moisés, o hacia el 1900 antes de la era cristiana según otros cómputos.

«This prince, like Solomon, is highly celebrated by antiquity for his wisdom and skill in the secret operations of nature, and for his reputed discovery of the quintessential perfectibility of the three kingdoms in their homogeneal unity; whence he is called the Thrice Great Hermes, having the spiritual intelligence of all things in their universal law» — lo que la antigüedad le adjudica, según Atwood: el descubrimiento de la perfectibilidad quintaesencial de los tres reinos en su unidad homogénea, de donde el nombre de Tres Veces Grande.

«It is to be lamented that no one of the many books attributed to him, and which are named in detail by Clemens Alexandrinus, escaped the destroying hand of Dioclesian» — la pérdida que consigna: ninguno de los libros atribuidos a Hermes y enumerados por Clemente de Alejandría escapó, dice, a la destrucción de Diocleciano.

«Both are preserved in the Latin of Ficinus, and have been well translated into our language by Dr Everard.» — la cadena textual por la que llegan a ella el Asclepio y el Poimandres: el latín de Ficino y la traducción inglesa del doctor Everard.

«The latter, though a small work, surpasses most that are extant for sublimity of doctrine and expression; its verses flow forth eloquent, as it were, from the fountain of nature, instinct with intelligence; such as might be more efficacious to move the rational skeptic off from his negative ground into the happier regions of intelligible reality, than many theological discourses which, of a lower grade of comprehension, are unable to make this highly affirmative yet intellectual stand.» — el juicio de valor que hace del Poimandres: supera a casi todo lo existente en sublimidad de doctrina y expresión, y sería más eficaz que muchos discursos teológicos para mover al escéptico racional.

«But the subjects treated of in the books of the Poemander and Asclepias are theosophic and ultimate, and denote rather our divine capabilities and promise of regeneration than the physical ground of either» — la división de materias que establece: el Poimandres y el Asclepio son teosóficos y últimos, y hablan de las capacidades divinas y de la promesa de regeneración, no del fundamento físico.

«this, with the practical method of alchemy being further given in the Tractatus Aureus, or Golden Treatise, an admirable relic, consisting of seven chapters, attributed to the same author» — y dónde sitúa lo práctico: en el Tractatus Aureus o Golden Treatise, reliquia de siete capítulos atribuida al mismo Hermes.

«The Smaragdine Table, which, in its few enigmatical but remarkable lines, is said to comprehend the working principle and total subject of the art, we here subjoin: from the original Arabic and Greek copies, it has been rendered into Latin by Kircher as follows:» — la procedencia que declara para la versión de la Tabla que imprime: de los originales árabe y griego, vertida al latín por Kircher. No es, pues, la Tabla sin más, sino la Tabla según Kircher.

«Tabula Smaragdina Hermetis / The Smaragdine Table of Hermes "True, without error, certain and most true; that which is above is as that which is below, and that which is below is as that which is above, for performing the miracles of the One Thing; and as all things were from one, by the mediation of one, so all things arose from this one thing by adaptation;» — apertura de la Tabla Esmeralda en la versión que el volumen imprime —la que Atwood declara vertida al latín por Kircher desde los originales árabe y griego—: lo de arriba como lo de abajo, y todas las cosas nacidas de una por adaptación.

«the father of it is the Sun, the mother of it is the Moon; the wind carries it in its belly; the nurse thereof is the Earth. This is the father of all perfection, or consummation of the whole world.» — continuación de la misma versión de la Tabla: Sol padre, Luna madre, el viento que la lleva en el vientre y la Tierra por nodriza.

«The power of it is Integral, if it be turned into earth. Thou shalt separate the earth from the fire, the subtle from the gross, gently with much sagacity; it ascends from earth to heaven, and again descends to earth: and receives the strength of the superiors and of the inferiors — so thou hast the glory of the whole world;» — el precepto operativo de la Tabla en esta versión: separar la tierra del fuego y lo sutil de lo grueso con mucha sagacidad, y el ascenso y descenso que recoge la fuerza de superiores e inferiores.

«This is the strong fortitude of all fortitudes, overcoming every subtle and penetrating every solid thing. So the world was created. Hence were all wonderful adaptations of which this is the manner. Therefore I am I called Thrice Great Hermes, having the Three Parts of the philosophy of the whole world. That which I have written is consummated concerning the operation of the Sun» — cierre de la Tabla en la versión de Kircher que Atwood imprime, con la firma de Hermes Tres Veces Grande y las tres partes de la filosofía del mundo entero.

«This Emerald Table, unique and authentic as it may be regarded, is all that remains to us from Egypt of her Sacred Art.» — el estatuto que Atwood le da: sea cual sea su autenticidad, es lo único que de Egipto queda de su Arte Sagrado.

«For what did the nations flock to Memphis? For what did Pythagoras, Thales, Democritus, and Plato become immured there for several solitary years, but to be initiated in the wisdom and learning of those Egyptians?» — el argumento de la peregrinación: Pitágoras, Tales, Demócrito y Platón se recluyeron años en Menfis, sostiene, para ser iniciados en la sabiduría egipcia.

«Shall we suppose the ancient accounts fallacious because they are too wonderful to be conceived; or have we not now present before our eyes the plain evidence of lost science and the vestiges of an intelligence superior to our own?» — la pregunta con que rechaza desestimar los relatos antiguos por maravillosos: los monumentos que sobreviven serían la evidencia de una ciencia perdida y de una inteligencia superior a la propia.

«Oh, Egypt! Egypt! Fables alone shall remain of thy religion, and these such as will be incredible to posterity, and words alone shall be left engraved in stones narrating thy pious deeds. The Scythian also, or Indian, or some other similar nation, shall inhabit Egypt. For divinity shall return to heaven, all its inhabitants shall die, and thus Egypt bereft both of God and man shall be deserted.» — primeras líneas de la profecía asclepiana que Atwood transcribe: de la religión de Egipto solo quedarán fábulas, y el país quedará desierto de dios y de hombre. La voz es la del Asclepio, no la suya.

«Why do you weep, O Asclepias? Egypt shall experience yet more ample evils; she was once holy, and the greatest lover of the gods on earth, by the desert of her religion. And she, who was alone the reductor of sanctity and the mistress of piety, will be an example of the greatest cruelty.» — continuación de la misma profecía del Asclepio: la que fue la mayor amante de los dioses será ejemplo de la mayor crueldad.

«And darkness shall be preferred to light, and death shall be judged to be more useful than life. No one shall look up to heaven. The religious man shall be counted insane; the irreligious shall be thought wise; the furious, brave; and the worst of men shall be considered good.» — la inversión de valores que anuncia la profecía del Asclepio en la transcripción de Atwood: el religioso tenido por insano, el irreligioso por sabio, el furioso por valiente.

«immortal, or conceives it shall attain to immortality, conformable to what I have explained to you, shall not only be the subjects of laughter, but shall be considered as vanity.» — sigue la profecía del Asclepio al otro lado del corte de plana: cuanto se refiera a la inmortalidad del alma será objeto de risa y tenido por vanidad; el troceo parte la frase a media palabra y la cita empieza donde ella reaparece.

«Believe me, likewise, that a capital punishment shall be appointed for him who applies himself to the Religion of Intellect.» — y la pena capital que la profecía asigna a quien se aplique a lo que el texto llama la Religión del Intelecto.

«New statutes and new laws shall be established, and nothing religious, or which is worthy of heaven or celestial concerns, shall be heard or believed in the mind. Every divine voice shall, by a necessary silence, be dumb: the fruits of the earth shall be corrupted; and the air itself shall languish with a sorrowful stupor.» — cierre del pasaje profético: leyes nuevas, voz divina enmudecida, frutos corrompidos y el aire mismo languideciendo.

«Greeks, and some inscrutable hieroglyphics are still to be found quoted in certain of the alchemical records: but the originals are entirely swept away.» — lo que sobrevive del arte egipcio, según Atwood: jeroglíficos inescrutables citados en los registros alquímicos, mientras los originales desaparecieron por completo.

«These events, and such an old age of the world as this, shall take place — such irreligion, inordination, and unseasonableness of all good» — cierre de la profecía asclepiana en la transcripción de Atwood: una vejez del mundo hecha de irreligión, desorden e inoportunidad de todo bien.

«Such is the substance of a prediction which, as it was supposed to have reference to the Christian era, has been abused and reputed a forgery by the faithless learned of modern times.» — cómo describe la suerte de esa profecía: tenida por referida a la era cristiana, fue maltratada y reputada falsificación por los doctos sin fe de los tiempos modernos.

«It is, however, difficult to conceive why it should have been considered so obnoxious, for the early history of Christianity certainly does not fulfill it; it was a falling off from Divinity that was predicted, and not such a revival as took place upon the teachings of Jesus Christ and his apostles.» — la objeción que le opone: la historia temprana del cristianismo no cumple la profecía, porque lo anunciado era un apartamiento de lo divino y no un renacimiento como el que ella atribuye a la enseñanza de Jesús.

«If the prediction had been a forgery of Apuleius, or other contemporary opponent of Christianity, the early fathers must have known it, which they did not as is plain from Lactantius, and St Augustine mentioning, without expressing any doubt about its authenticity;» — el argumento de autoridad con que sostiene la antigüedad del texto: si fuera falsificación de Apuleyo o de otro adversario contemporáneo, Lactancio y san Agustín lo habrían sabido, y lo mencionan sin poner en duda su autenticidad.

«and though the latter (then adopting probably the popular notion) esteemed it instinctu fallacies spiritus12, he might subsequently perhaps have thought otherwise, had he lived so long.» — y la reserva que añade sobre Agustín: si lo tuvo por *instinctu fallacies spiritus* fue, conjetura ella, adoptando la noción popular, y acaso habría pensado de otro modo de haber vivido más.

«The fulfillment, with respect to Egypt, appears to have taken place in part long previously, and in part to have been reserved to later times, when sacred mysteries, too openly exposed to the multitude, became perverted and vilified by their abuse.» — el cumplimiento que le adjudica: parte ya ocurrido mucho antes y parte reservado a tiempos posteriores, cuando los misterios sagrados, expuestos con demasiada franqueza a la multitud, se pervirtieron por el abuso.

«The period of her true greatness is, as is well known, shrouded in oblivion; but, during the long succession of the Ptolemies, the influx of strangers, so long before successfully prohibited, became excessive: her internal peace was destroyed, but her Art and Wisdom spread abroad with her renown: foreigners obtained initiation into the mysteries of Isis; and India, Arabia, China and Persia vied with her and with each other in magian skill and prowess.» — el cuadro que traza del Egipto ptolemaico: paz interna destruida por el influjo de extranjeros, arte y sabiduría difundidos fuera, extranjeros iniciados en los misterios de Isis, e India, Arabia, China y Persia rivalizando en pericia mágica.

«Pliny informs us that it was Ostanes, the Persian sage accompanying the army of Xerxes, who first inoculated Greece with the portentous spirit of his nation» — lo que atribuye a Plinio: fue Ostanes, el sabio persa que acompañaba al ejército de Jerjes, quien inoculó a Grecia el espíritu portentoso de su nación.

«Subsequently the Greek Philosophers, both young and old, despising the minor religion of their own country, became anxious to visit the eastern temples, and that of Memphis above all, in order to obtain a verification of those hopes to which a previous spirit of inquiry and this new excitement had abundantly given rise.» — y el movimiento que siguió: los filósofos griegos, despreciando la religión menor de su país, quisieron visitar los templos orientales y sobre todo el de Menfis.

«is Democritus of Abdera, who has been frequently styles the father of experimental philosophy, and who, in his book of Sacred Physics, treats especially of the Hermetic art, and that occult discovery on which the systems of ancient philosophy appear to have been very uniformly based» — la posición que da a Demócrito de Abdera: padre de la filosofía experimental, cuyo libro de *Sacred Physics* trata del arte hermético y del descubrimiento oculto en que se basarían de manera uniforme los sistemas antiguos. El troceo imprime *styles* por styled.

«Of this valuable piece there are said to be several extant editions, and Synesius has added to it the light of a commentary» — la tradición textual que le adjudica a esa obra: varias ediciones existentes y un comentario de Sinesio.

«Nicholas Flamel also, of more recent notoriety, has given extracts from the same at the conclusion of a very instructive work» — y el otro testigo que aduce: Nicolás Flamel, que habría dado extractos de la misma obra al final de un trabajo muy instructivo.

«That its authenticity should have been disputed by the ignorant is not wonderful; but the ancients are nowhere found to doubt about it.» — el desacuerdo que consigna sobre esa autenticidad: disputada por los ignorantes, no puesta en duda en ninguna parte por los antiguos.

«Seneca also mentions his artificial confection of precious stones18; and it is said that he spent all his leisure, after his return home, in these and such-like hyperphysical researches.» — lo que adjudica a Séneca sobre Demócrito: la confección artificial de piedras preciosas, y un ocio entero dedicado a investigaciones hiperfísicas.

«During the sojourn of Democritus at Memphis, he is said to have become associated in his studies with a Hebrew woman named Maria, remarkable at that period for the advances she had made in Philosophy, and particularly in the department of the Hermetic Art.» — la asociación que refiere entre Demócrito y una mujer hebrea llamada Maria, notable por sus adelantos en filosofía y en particular en el arte hermético.

«A treatise entitled Sapientisima Maria de Lapide Philosophica Praescripta is extant; also Maria Practica, a singularly excellent and esteemed fragment, which is preserved in the alchemical collections» — las dos piezas que le atribuye: el tratado *Sapientisima Maria de Lapide Philosophica Praescripta* y la *Maria Practica*, fragmento conservado en las colecciones alquímicas.

«But amongst the Greeks, next Democritus, Anaxagorus is celebrated as an alchemist. The remains of his writing are unfortunately scanty, and even those to be found in manuscript only, with exception of some fragments which have been accidentally translated.» — el lugar que da a Anaxágoras entre los griegos y el estado en que dice hallarse su obra: restos escasos y solo manuscritos, salvo fragmentos traducidos por accidente. El troceo imprime *Anaxagorus*.

«From these, however, we are led to infer favorably of the general character of his expositions, which Norton, our countryman also, in the Proheme to his quaint Ordinal of Alchemy, lauds, thus holding him up in excellent» — el juicio que apoya en Norton: su *Ordinal of Alchemy* elogia a Anaxágoras frente a los escritores envidiosos de su tiempo. La cita se corta donde el troceo cambia de plana.

«All masters that write of this solemn werke, Have made their bokes to manie men full derke, In poysies, parables, and in metaphors alsoe, Which to schollors causeth peine and woe; Forin their practice wen they would assaye They leefe their costs, as men see alle daye. Hermes, Rasis, Geber, and Avicen, Merlin, Hortolan, Democrit and Morien, Bacon and Raymond with many moe Wrote under coverts and Aristotle alsoe. For what hereof they wrote clear with their pen, Their clouded clauses dulled; from manie men Fro laymen, fro clerks, and soe fro every man They hid this art that noe man find it can.» — primeras líneas del proemio del *Ordinal of Alchemy* de Thomas Norton, que Atwood transcribe en su inglés medio: los maestros escribieron oscuro, en poesías, parábolas y metáforas, y escondieron el arte de todo hombre. La voz es de Norton.

«By their bokes thei do shew reasons faire, Whereby much people are brought to despaire: Yet Anaxagoras wrote plainest of them all In his boke of Conversions Naturall; Of the old Fathers that ever I founde, He most discloses of this science the grounde;» — continuación del proemio de Norton: solo Anaxágoras, en su *Boke of Conversions Naturall*, habría escrito llanamente y descubierto el fundamento de la ciencia.

«Whereof Aristotle had great envy, And him rebuked unrightlfully, In manie places, as I can well report, Intending that men should not to him resort,» — cierre del pasaje de Norton que Atwood transcribe: la envidia que imputa a Aristóteles y el reproche que este habría hecho a Anaxágoras para que nadie acudiera a él. El troceo imprime *unrightlfully*, y la estrofa sigue al otro lado del corte de plana.

«Aristotle is much blamed by Adepts in general for the manner in which he has not only veiled the knowledge which he secretly possessed, but also for having willfully, as they complain, led mankind astray from the path of true experiment.» — la acusación corriente entre los adeptos que ella registra: que Aristóteles veló el conocimiento que poseía en secreto y desvió a los hombres del camino del experimento verdadero.

«We hesitate to judge this question, since, however much the barrenness of his philosophy may be deplored, it appears improbable that any philosopher, much less one who took such pains as Aristotle, should designedly labor to deceive mankind.» — y su propia abstención sobre esa acusación: le parece improbable que un filósofo de tanto trabajo se propusiera engañar, por mucho que se deplore la esterilidad de su filosofía.

«His metaphysics indeed, which are the natural touchstone of his whole system, differ in no one fundamental aspect or particular that is essential from those of Anaxagoras, Plato and Heraclitus.» — la continuidad doctrinal que sí le concede: su metafísica no difiere en nada fundamental de la de Anaxágoras, Platón y Heráclito.

«Certain epistles to Alexander the Great on the Philosophers’ stone, attributed to Aristotle, are preserved in the fifth volume of the Theatrum Chemicum; and the Secreta Secretorum is generally acknowledged to be authentic.» — las piezas alquímicas que circulan bajo el nombre de Aristóteles según ella: las epístolas a Alejandro sobre la piedra, en el quinto volumen del Theatrum Chemicum, y el *Secreta Secretorum*, que dice reconocido como auténtico.

«But the whole philosophy of Plato is hyperphysical; the Phaedrus, Philebus, and seventh book of Laws, the beautiful and sublime Parmenides, the Phaedo, Banquet, and Timaeus have long been admired by the studious without being understood; a mystic semblance pervades the whole, and recondite allusions baffle the pursuit of sense and ordinary imagination.» — la lectura que hace de Platón: toda su filosofía es hiperfísica, y los diálogos que enumera han sido admirados sin ser entendidos.

«Yet the philosopher speaks more familiarly in his Epistles; — and if the correspondence with Dionysius of Syracuse had concerned moral philosophy only and the abstract relations of mind, why such dread as is there expressed about setting the truth to paper?» — el indicio que saca de las Cartas: si la correspondencia con Dionisio de Siracusa hubiera tratado solo de filosofía moral, no se explicaría el terror a poner la verdad por escrito.

«But the science which drew the tyrant to the philosopher was more probably practical and profitably interesting than abstracts would appear to be to such a mind.» — la conjetura que deriva de ahí: la ciencia que llevó al tirano hasta el filósofo sería más práctica y provechosa de lo que las abstracciones podrían resultar a una mente así.

«Indeed, O son of Dionysius and Doris, this your inquiry concerning the cause of all beautiful things is endued with a certain quality, or rather it is a parturition respecting this ingenerated in the soul, from which he who is not liberated will never in reality acquire truth» — el pasaje de la carta que Atwood transcribe como de Platón: la indagación sobre la causa de todo lo bello es un parto engendrado en el alma, y quien no se libere de él no alcanzará la verdad.

«There is a treatise on the philosophers’ stone in the fifth volume of the Theatrum Chemicum attributed to Plato, but the authenticity is doubtful; and since the principal Greek records of the art were afterwards destroyed with the remnant of Egyptian literature at Alexandria, we are not desirous to enroll either of these names without more extant evidence to prove their claim to the title of Hermetic philosophers.» — su reserva sobre la atribución platónica: hay un tratado de la piedra atribuido a Platón en el quinto volumen del Theatrum Chemicum, pero la autenticidad es dudosa y no quiere inscribir esos nombres sin más pruebas.

«They are mentioned here in their series, because we hope to make it probable, as the nature of the subject comes to be developed, that the most famous schools of theosophy have in all ages been based on a similar experimental ground and profound science of truth in their leaders.» — la tesis que anuncia para toda la obra: que las escuelas teosóficas más famosas se han fundado en todas las épocas sobre un mismo terreno experimental y una ciencia profunda de la verdad en sus cabezas.

«For he was large of his cunnying and love, God have his soul in bliss above; And such as sowed envious seede God forgive them for their mis» — los últimos versos del proemio de Norton al otro lado del corte: el elogio a Anaxágoras y el perdón pedido para los que sembraron semilla envidiosa. La cita se corta antes del guion de fin de renglón con que el troceo parte *misdeede*.

«neither for gold or silver or any intermediate benefit, lest these all should be denied together without the discovery of their source.» — continuación, ya en la plana siguiente, de la máxima con que Atwood cierra el pasaje platónico: ni oro ni plata ni beneficio intermedio, so pena de que todo se niegue junto sin hallar su fuente.

«It was about the year 284 of the Christian era when, as Suidas relates, the facility with which the Egyptians were able to make gold and silver, and in consequence to levy troops against Rome, excited the envy and displeasure of the Emperor to such an extent, that he issued an edict, by which every chemical book was to be seized and burned together in the public market-place; vainly hoping, as the historian adds, by this shameful act, to deprive them of the means of annoying him any more.» — el episodio que toma de Suidas: hacia el año 284 el emperador, molesto por la facilidad con que los egipcios hacían oro y plata y levantaban tropas contra Roma, mandó por edicto quemar en la plaza pública todo libro químico.

«Thus Suidas also endeavors to account for the silence of antiquity with respect to the Egyptian Art» — y el uso que hace de ese episodio: explicaría el silencio de la antigüedad respecto del arte egipcio.

«Yet, notwithstanding all this sacrilege, the art appears to have been continually revived in Egypt throughout the whole period of her decline; and, though the records are scanty, we have the memorable story of Cleopatra, the last monarch, dissolving her earring in such a sharp vinegar as is only known to philosophers on the ground of nature.» — la continuidad que sostiene pese al edicto, con el caso de Cleopatra disolviendo su arete en un vinagre agudo que dice conocido solo por los filósofos.

«Mystical tales, too, there are related to her pursuits with Mark Antony, and certain chemical treatises attributed to this princess are yet extant» — y lo que adjudica a Cleopatra además: relatos místicos ligados a Marco Antonio y tratados químicos que aún se le atribuyen.

«It will be unnecessary to delay our enquiry long at Rome; a city so pre-eminently famous for luxury and arms was not likely to arrive at much perfection in the subtler sciences of nature.» — el juicio con que despacha a Roma: ciudad famosa por el lujo y las armas, poco propensa a perfeccionar las ciencias sutiles de la naturaleza.

«Some failing attempts of Caligula there are recounted by Pliny 26 and Virgil, Ovid, Horace, Vitruvius, and other men noted of the Augustan Age, have been gravely accused of sorcery and dabbling in the black art.» — lo que sí registra de Roma: intentos fallidos de Calígula según Plinio, y la acusación de hechicería hecha a Virgilio, Ovidio, Horacio y Vitruvio.

«But the perpetual lamps best prove, and without offence, that the Romans understood something of chemistry and the occult laws of light; several of these are described by Pancirollus; and St. Augustin mentions one consecrated to Venus in his day, that was inextinguishable.» — la prueba que prefiere: las lámparas perpetuas, que le parecen mostrar sin escándalo que los romanos sabían algo de química y de las leyes ocultas de la luz; cita a Pancirolo y la lámpara de Venus que menciona san Agustín.

«But the most remarkable were those found in Tullia's (Cicero's daughter's) tomb; — and that one near Alestes in the year 1500, by a rustic who, digging deeper than usual, discovered an earthen vessel or urn containing another urn, in which last was a lamp placed between two» — el caso que juzga más notable: las lámparas de la tumba de Tulia, hija de Cicerón, y la hallada cerca de Alestes en 1500 por un campesino, dentro de una urna metida en otra.

«cylindrical vessels, one of gold the other of silver, and each of which was full of a very pure liquor, by whose virtue it is probable these lamps had continued to shine for upwards of fifteen hundred years; and, but for the recklessness of barbarian curiosity, might have continued their wonderful illumination to this time.» — la continuación del hallazgo al otro lado del corte de plana: dos vasos cilíndricos, uno de oro y otro de plata, llenos de un licor purísimo por cuya virtud la lámpara habría ardido mil quinientos años.

«Platoni sacrum munus ne attingite fures: Ignotum est vobis hac quod in urna latet. Namque elementa gravi clausit digesta labore Vase sub hoc modico Maximus Olybius Adsit fecundo custos sibi copia cornu, Ne pretium tanti depereat laticis.» — los versos latinos que Atwood transcribe de la urna hallada cerca de Alestes, con el nombre de Maximus Olybius y la advertencia a los ladrones. No traduce aquí: la versión inglesa viene a continuación.

«Plunderers, forbear this gift to touch 'Tis awful Pluto's own ; A secret rare the world conceals To such as you unknown. Olybius, in this slender vase, The elements has chained. Digested With laborious art, From secret science gained. With guardian care, two copious urn. The costly juice confine, - Lest through the ruins of decay, The lamp should cease to shine.» — la traducción inglesa de esos mismos versos que el volumen imprime a continuación, sin declarar traductor; Olybius habría encadenado los elementos en el vaso por arte laborioso.

«Abite hinc pessimi fures! Vos quid voltis vestris cum oculis emissititiis? Abite hinc vestro cum Mercurio petasato caduceatoque! Maximus maximo donum Plutoni hos sacrum facili.» — los versos de la urna menor, en latín, contra los saqueadores de ojos curiosos y contra su dios patrono de sombrero alado y caduceo.

«Plunderers, with prying eyes, Away! What mean you by this curious stay? Hence with your cunning patron god, With bonnet winged and magic rod! Sacred alone to Pluto's name This mighty art of endless fame!» — y su versión inglesa impresa al lado, que cierra declarando el arte consagrado solo al nombre de Plutón.

«Hermolaus Barbaras, in his corollary to Dioscorus, or some other, where he is treating of the element of water in general, alludes to a particular kind that is distinct from every other water or liquor, saying, —There is a celestial, or rather a divine water of the chemists, with which both Democritus and Trismegistus were acquainted, calling it divine water, Scythian latex, &c., which is a spirit of the nature of the ether and quintessence of things; whence potable gold, and the stone of philosophers, takes its beginning:» — lo que atribuye a Hermolao Bárbaro: hay un agua celestial o divina de los químicos, conocida de Demócrito y de Trismegisto y llamada latex escítico, espíritu de la naturaleza del éter y quintaesencia de las cosas, de la que arrancan el oro potable y la piedra.

«The ancient author of the Apocalypse of the Secret Spirit of Nature is also cited by H. Khunrath, concerning this water; and he devoutly affirms, that the ether in this praeter-perfect aqueous body will burn perpetually, without diminution or consumption of itself, if the external air only be restrained» — y lo que atribuye, vía Khunrath, al autor antiguo del *Apocalypse of the Secret Spirit of Nature*: el éter en ese cuerpo acuoso ardería perpetuamente sin consumirse si solo se contuviera el aire exterior.

«There are also, besides those mentioned by Pancirollus, modern accounts of lamps found burning in monuments and antique caves of Greece and Germany.» — los testimonios modernos que suma a los de Pancirolo: lámparas halladas ardiendo en monumentos y cuevas antiguas de Grecia y Alemania.

«But the Bononian Enigma, long famous, without a solution, should not be omitted here, since this relic has puzzled many learned antiquaries; and the adepts claim it as having exclusive reference to the occult material of their art.» — el enigma de Bolonia, que introduce diciendo que ha desconcertado a los anticuarios y que los adeptos reclaman como referido en exclusiva a la materia oculta de su arte.

«LUCIUS AGATHO PRISCUS Nec maritus, nec amator, nec necessarius, Neque moerens, neque gaudens, neque flens, Hanc Neque molem, neque pyramidem. neque sepulcrum. Sed omnia, Scit et nescit cui posuerit, Hoc est sepulcrum certe. cadaver Non habens, sed cadaver idem, Est et sepulcrum!» — la segunda mitad de la inscripción, la de Lucius Agatho Priscus: ni mole ni pirámide ni sepulcro, sino todo, y un sepulcro que sin cadáver es a la vez el cadáver.

«The following excellent translations appeared amongst some original contributions in the early number of a literary periodical, a few years since» — la procedencia que declara para las versiones inglesas que imprime a continuación: contribuciones originales de un número temprano de una publicación literaria, unos pocos años antes. No nombra ni la revista ni al traductor.

«Nor male, nor female, nor hermaphrodite, Nor virgin, woman, young or old, Nor chaste, nor harlot, modest hight, But all of them you’re told — Not killed by poison, famine, sword, But each one had its share, Not in heaven, earth, or water broad It lies, but everywhere!» — la versión inglesa de la primera inscripción, en la traducción anónima que el volumen levanta de esa publicación.

«All these contradictory claims are said by the alchemists to relate to the properties of their universal subject, as we shall hereafter endeavor to explain.» — la lectura que los alquimistas hacen del enigma según Atwood: todas esas contradicciones se referirían a las propiedades de su sujeto universal, cosa que ella promete explicar más adelante.

«Michael Maier has detailed the whole allusion in his Symbola 31. And N. Barnaud, in the Theatrum Chemicum, has a commentary on the same» — y los dos comentaristas que nombra para ese enigma: Michael Maier en sus *Symbola* y N. Barnaud en el Theatrum Chemicum.

«AELIA LAELIA CRISPIS Nec vir, nec mulier, nec androgyna, Nec puella, nec juvenis, nec anus, Nec casta, nec meretrix, nec pudica, Sed omnia! Sublata neque fame, neque ferro, neque» — la inscripción boloñesa en su latín, tal como el volumen la imprime: ni varón ni mujer ni andrógino, ni doncella ni joven ni vieja, sino todo. El troceo corta la frase en el cambio de plana.

«Veneno, sed omnibus! Nec coola, nec terris, nec aquis, Sed ubique jacet!» — la continuación de esa inscripción al otro lado del corte: ni en los cielos ni en las tierras ni en las aguas, sino que yace en todas partes. El troceo imprime *coola* donde se espera caelo.

«Knows or knows not, for whom is placed This — what? This pyramid, so raised and graced, This grave, this sepulcher? ‘Tis neither, ‘Tis neither — but ’tis all and each together. Without a body I aver, This is in truth a sepulchre; But notwithstanding, I proclaim Both corpse and sepulcher the same!» — la versión inglesa de la segunda inscripción boloñesa, cuyo primer verso queda del otro lado del corte de plana: ni pirámide ni tumba, sino todo junto, y cadáver y sepulcro la misma cosa.

«But to proceed; transferring our regards from Rome to Alexandria, we find many Christian Platonists and divines studying and discussing the Occult Art in their writings.» — el paso de Roma a Alejandría, donde sitúa a platónicos y teólogos cristianos estudiando y discutiendo el arte oculto en sus escritos.

«St John, the Evangelist Apostle, is cited as having practiced it for the good of the poor; not only in healing the sick, but also confecting gold, silver and precious stones for their benefit.» — lo que atribuye al apóstol Juan: haber practicado el arte en beneficio de los pobres, no solo sanando enfermos sino confeccionando oro, plata y piedras preciosas.

«St Victor relates the particulars in a commentary, and the Greek Catholics were accustomed to sing the following verses in a hymn appointed for the mass on St John’s day.» — la fuente que aduce para eso: un comentario de san Víctor y un himno de la misa del día de san Juan entre los católicos griegos.

«Cum gemmarum partes fractas Solidasset, has distractas Tribuit pauperibus. Inexhaustum fert thesaurum Qui de virgis fecit aurum Gemmas de lapidibus» — los versos latinos de ese himno que el volumen transcribe: quien de varas hizo oro y de piedras gemas lleva un tesoro inagotable.

«Looking to the general testimony of the Fathers, we observe that the early Church Catholic did not neglect to avail herself of the powers which sanctify of life and a well-grounded faith had gotten her.» — la lectura que hace del testimonio de los padres: la Iglesia antigua no dejó de valerse de los poderes que le habían dado la santidad de vida y una fe bien fundada.

«There is no doubt either that the Apostles, when they instituted and left behind them certain ordinances and elementary types, as of water, oil, salt» — y lo que sostiene de los signos materiales: que las ordenanzas y tipos elementales dejados por los apóstoles significaban eficacias reales; la enumeración se corta en el cambio de plana y sigue con la luz.

«But our Reformers, mistaking these things for superstitions, and since they had ceased to have any meaning, turned them all out of doors; retaining, indeed, little more of the mystery of regeneration than a traditional faith.» — el reproche que dirige a los reformadores: tomaron esos signos por supersticiones y los echaron fuera, quedándose poco más que con una fe tradicional.

«The Papists, on the other hand, equally oblivious, evinced only to what a length of human credulity and ignorance may be carried, by placing inherent holiness in those material signs, apart from the spirit and only thing signified; adding, moreover, to the original ordinations many follies of their own, they fell into a very slavish and stupid kind of idolatry.» — y el que dirige a los papistas: pusieron santidad inherente en los signos materiales, aparte del espíritu significado, y cayeron en una idolatría servil y estúpida. El desacuerdo se consigna a las dos bandas.

«And since one of the most fertile sources of dissension that have arisen in the Christian Church has been about these very shadows and types of doctrines, it is to be hoped that, if ever again they should come to be generally reintroduced, it will not be on the ground of ecclesiastical persuasion, or any mere written authority, which, however high and well supported, has never yet been found sufficient to produce unanimity; but from a true understanding and cooperation of that original virtue, apart from which they do but mimic an efficacy, and gather unwholesome fruits.» — la condición que pone para una eventual reintroducción de esos signos: no por persuasión eclesiástica ni por autoridad escrita, que nunca bastaron para producir unanimidad, sino por entendimiento y cooperación de la virtud original.

«There is a curious story of an early Christian mission to China, related by Thomas Vaughan, in his Magia Adamica, showing how the faith became originally established there and elsewhere by its open efficacy, and the power of works, in healing and purifying the lives of men.» — el relato que atribuye a Thomas Vaughan en su *Magia Adamica*: una misión cristiana temprana a China que habría establecido la fe por su eficacia abierta y por el poder de las obras.

«But we are at Alexandria, and during that grand revival which took place and continued there some centuries subsequent to the Christian epoch, Plotinus, Philo-Judaeus, Proclus, Porphyry, Jamblicus, Julian, and Apuleius, each professing a genuine knowledge of the Theurgic art, and experimental physics on the Hermetic ground.» — los nombres que alinea en el renacimiento alejandrino —Plotino, Filón el Judío, Proclo, Porfirio, Jámblico, Juliano y Apuleyo—, a los que adjudica conocimiento genuino del arte teúrgico y física experimental en terreno hermético.

«Heliodorus, Olympiodorus, Synesius, Athenagoras, Zosimus, and Archelaus, have each left treatises which are extant on the philosophers’ stone» — la lista de los que, según ella, dejaron tratados existentes sobre la piedra: Heliodoro, Olimpiodoro, Sinesio, Atenágoras, Zósimo y Arquelao.

«The excellent Hypatia, also, should be mentioned amongst these, so celebrated for her acquirements and untimely end; it was from this lady that Synesius learned the occult truths of that philosophy, to which he ever afterwards devoted his mind, and which he never abandoned, pursuing it still more zealously when, converted to Christianity, he became a bishop of the Alexandrian Church.» — el lugar que da a Hipatia: de ella habría aprendido Sinesio las verdades ocultas de esa filosofía, que no abandonó ni siquiera al convertirse y ser obispo de Alejandría.

«He was careful, however, to protect the mysteries of his religion from vulgar abuse, and refused to expound in public the philosophy of Plato; he and his brethren having unanimously bound themselves by oath to initiate none but such as had been worthily prepared and duly approved by the whole conclave» — y la regla de secreto que le adjudica: se negó a exponer en público la filosofía de Platón, ligado por juramento con sus hermanos a no iniciar sino a los dignamente preparados y aprobados por el cónclave.

«Of Synesius, we have the remaining Alchemical commentary on Democritus before mentioned, with an admirable piece commonly found appended to other treatises, those of Artephius and» — las obras de Sinesio que dice conservadas: el comentario alquímico a Demócrito y una pieza que suele ir apéndice de otros tratados, los de Artefio entre ellos; la frase se corta en el cambio de plana.

«and translated into English, with Basil Valentine’s Chariot of Antimony and the useful commentaries of the adept Kirchringius» — y su vehículo inglés: la traducción impresa junto al *Chariot of Antimony* de Basilio Valentín con los comentarios de Kirchringius.

«Heliodorus was a familiar friend of Synesius, and brother adept; besides the writings already named, the mystical romance of Theagenes and Chariclea being attributed to him as an offence, rather than disavow it, as was required, he relinquished his bishopric of Tricca, in Thessaly, and went to pursue his studies in poverty and retirement.» — lo que refiere de Heliodoro: antes que desautorizar la novela mística de *Theagenes and Chariclea* que se le imputaba, renunció a su obispado de Trica en Tesalia y se retiró a estudiar en pobreza.

«Zosimus was an Egyptian, and reputed a great practitioner. The name of Athenagoras is familiar in Church history; his tract, which has been translated into French, and entitled Du Parfait Amour, shows him to have been practically conversant with the art he allegorizes.» — y lo que adjudica a Zósimo y a Atenágoras: el primero egipcio y gran practicante; del segundo, que su *Du Parfait Amour* lo muestra versado en la práctica del arte que alegoriza.

«and light, signified some real and notable efficacies.» — la continuación de esa frase al otro lado del corte: la luz entre los tipos elementales, y la eficacia real que les atribuye.

«The taking of Alexandria by the Arabs, in the year 640, dispersed the choice remnant of mind yet centered there; and it was not long afterwards that the Calif Omar, mad in his Mohamedan zeal, condemned her noble and unique library to heat the public baths of the city, which it is said to have done for a space of six miserable months.» — el episodio con que cierra Alejandría: la toma árabe del 640 dispersó lo que quedaba, y el califa Omar condenó la biblioteca a calentar los baños públicos durante seis meses.

«A wild religious fanaticism now prevailed; Christians and Mahomedans struggling for temporal supremacy: --- and here we may observe something similar to a fulfillment of the Asclepian prophecy, but the evil was more profusely spread even than was predicted; for religion had everywhere fallen off from her vital foundation; tradition and secular delirium had taken place of intellectual enthusiasm, and idle dreams were set up as oracles in the place of Divine inspiration.» — el cumplimiento de la profecía asclepiana que ve en ese momento, y que juzga más extendido que lo predicho: tradición y delirio secular en lugar del entusiasmo intelectual, y sueños ociosos erigidos en oráculos.

«The priests, above all blameworthy, having forsaken the law of conscience, attempted to wield without it the rod of magic power. Confusion and licentiousness followed; and from gradual sufferance grew, and came to prevail, in the worst imaginable forms.» — la culpa que reparte: los sacerdotes, ante todo, habrían abandonado la ley de la conciencia y pretendido empuñar sin ella la vara del poder mágico.

«Necessity, at length, compelled an abandonment of the Mysteries; Theurgic rites, no longer holy, were proscribed; and a punishment, no less than death, was menaced against him who dared to pursue the "Religion of Intellect"» — el desenlace que describe: abandono de los misterios, ritos teúrgicos proscritos y pena de muerte contra quien siguiera lo que llama, retomando la profecía, la Religión del Intelecto.

«In the interim, those few who had withstood the torrent of ambitious temptation, indignant at the multiform folly, and observing by the aid of their remaining wisdom, that the ingression of evil was not yet fulfilled, hastened rather than delayed the crisis; and by burying themselves with their saving science in profound obscurity, have left the world to oblivion, and the deceit of outer darkness, with rare individual exceptions, to this day.» — y lo que hicieron los pocos que resistieron: enterrarse con su ciencia salvadora en profunda oscuridad, dejando al mundo en el olvido hasta hoy salvo raras excepciones individuales.

«It is a peculiarity of the Hermetic science that men of every religion, time and country and occupation, have been found professing it;» — el rasgo que atribuye a la ciencia hermética: hombres de toda religión, tiempo, país y oficio se han hallado profesándola.

«It is not known exactly when Prince Geber lived; but since his name has become notorious, and is cited by the oldest authors, whereas he himself quotes none, he merits, at all events, an early consideration. Besides, he is generally esteemed by adepts as the greatest, after Hermes, of all who have philosophized through this art.» — lo que dice de Geber: no se sabe cuándo vivió, pero como lo citan los autores más viejos y él no cita a ninguno merece consideración temprana, y los adeptos lo tienen por el mayor después de Hermes.

«Of the five hundred treatises, said to have been composed by him, three only remain to posterity: The Investigation of Perfect, The Sum of the Perfect Magistery, and his Testament37; and the light estimation in which these are held by more modern chemists, forms a striking contrast to the unfeigned reverence and admiration with which they were formerly reviewed and cited by the adepts, Albertus Magnus, Lully, and many more of the brightest luminaries of their age.» — el contraste que registra: de los quinientos tratados que se le atribuyen quedan tres, y la estima escasa de los químicos modernos se opone a la reverencia de Alberto Magno y Lulio.

«If we look back to the seventh century (we quote from the address given at the opening meeting of the Faraday Society, 1846), the alchemist is presented brooding over his crucibles and alembics that are to place within his reach the philosophers’ stone, the transmutation of metals, the alkahest, and the elixir of life. With these we associate the name of Geber, the first authentic writer on the subject; from whose peculiar and mysterious style of writing we derive the word geber or gibberish» — el pasaje que transcribe del discurso de apertura de la Faraday Society de 1846, con la etimología que allí se propone: de Geber vendría la palabra *gibberish*. La voz es la de ese discurso, no la suya.

«Yet, notwithstanding this and much more that they descant upon, if our modern illuminati were but half as experienced in nature as they might be --- had they one ray even of the antique intellect they deride, how different a scene would not that remote age present to them?» — y la objeción que le opone: si los *illuminati* modernos tuvieran un rayo del intelecto antiguo que desprecian, aquella edad remota les presentaría otra escena.

«of imagining greedy dotards brooding over their crucibles and uncouth alembics, in vain hope of discovering the elixir and stone of the philosophers, they would observe the philosophers themselves, by a kindred light made visible, on their own ground; experimenting, indeed, but how and with what? Not with our gross elements, our mercuries, sulfurs, and our lifeless salts; but in a far different nature, with stranger arts, and with laboratories too, how different from those now in use: --- of common fittings, yet not inferior either; but most complete with vessels, fuel, furnaces, and every material requisite, well adapted together and compact in one.» — cómo imagina ella el laboratorio de los filósofos frente al del chusco codicioso: no con elementos groseros, mercurios, azufres y sales sin vida, sino en otra naturaleza y con otras artes. La cita empieza donde el troceo parte la plana.

«Right skillfully has old Geber veiled a fair discovery, by his own art alone to be unmasked: his gibberish is not of the present day’s commonplace, tame and tolerable; but such ultrafoolishness in literality are his receipts, as folly is never found to venture or common sense invent.» — la lectura que hace del estilo de Geber: su galimatías no es el lugar común de hoy, y la literalidad de sus recetas es una ultraestupidez que ni la locura ni el sentido común inventarían.

«For they are a part of wisdom’s envelope, to guard her universal magistery from an incapable and dreaming world; calculated they are, nevertheless, though closely» — y la función que atribuye a ese velo: parte de la envoltura de la sabiduría, para guardar su magisterio universal de un mundo incapaz y soñador; la frase se corta en el cambio de plana.

«They who have really understood Geber, his adept compeers, declare with one accord that he has spoken the truth, though disguisedly, with great acuteness and precision: others, therefore, who do not profess to understand, and to whom those writings are a mere unintelligible jargon, may take warning hence, lest they exhibit to posterity a twofold ignorance and vanity of thought.» — el argumento con que responde a quien tiene esos escritos por jerga: los adeptos que los entienden declaran a una que Geber dijo la verdad de modo disfrazado, con agudeza y precisión.

«Rhasis, another Arabian alchemist, was even more publicly famous than Geber, on account of the practical displays he made of his transmuting skill. Excellent extracts from his writing, which are said to exist principally in manuscript, often occur in the works of Roger Bacon.» — lo que dice de Rasis: más famoso públicamente que Geber por sus exhibiciones de transmutación, con extractos que sobreviven sobre todo en manuscrito y en las obras de Roger Bacon.

«A very attractive and esteemed work, purporting to be a dialogue between himself and Calid, is extant under the name of Morien, and copied into many of the collections38. Calid also wrote some treatises: his Liber Secretorum, or Secret of Secrets, as it has been styled, is translated into English, French, and Latin.» — las piezas que adjudica a ese linaje: el diálogo entre Morieno y Calid conservado bajo el nombre de Morien, y el *Liber Secretorum* del propio Calid en tres lenguas.

«Prince Averroes, and the notorious Avicenna, next demand notice. The latter became known to the world somewhere between the ninth and tenth centuries. His strong but ill-directed genius, so similar to that of Paracelsus, was the occasion of much suffering and self-desolation; but his name was illustrious over Asia, and his authority continued pre-eminent in the European schools of medicine until after the Reformation. He is said to have carried on the practice of transmutation, with the magical arts in general, to a great extent; but his Alchemical remains are neither lucid nor numerous, not those at least which are well authenticated» — lo que consigna de Avicena: genio mal dirigido que compara al de Paracelso, autoridad preeminente en las escuelas médicas europeas hasta después de la Reforma, y restos alquímicos ni lúcidos ni numerosos entre los bien autenticados.

«Artephius was a Jew who, by the use of the elixir, is reported to have lived throughout the period of a thousand years, with what truth or credibility opinions may vary; he himself affirms it, and Paracelsus, Pontanus, and Roger Bacon appear to give credence to the tale» — la longevidad que se atribuye a Artefio —mil años por el elixir— y la cadena de quienes, según ella, le dan crédito: él mismo, Paracelso, Pontano y Roger Bacon.

«I, Artephius, having learnt all the art in the books of the true Hermes, was once, as others, envious; but having lived one thousand years, or thereabouts (which thousand years have already passed since my nativity, by the grace of God alone, and the use of this admirable quintessence), as I have seen, through this long space of time, that men have been unable to perfect the same magistery on account of the obscurity of the words of the philosophers, moved by pity and a good conscience, I have resolved, in these my last days, to publish it all sincerely and truly; so that men may have nothing more to desire concerning this work.» — el pasaje que Atwood transcribe del tratado de Artefio, en su voz: habiendo vivido mil años por la quintaesencia y visto que los hombres no perfeccionan el magisterio por la oscuridad de los filósofos, resuelve publicarlo todo con sinceridad.

«I except one thing only, which it is not lawful that I should write, because it can be revealed truly only by God, or by a master. Nevertheless, this likewise may be learned from this book, provided one be not stiffnecked, and have a little experience» — y la reserva con que Artefio acota esa promesa: hay una cosa que no le es lícito escribir porque solo Dios o un maestro pueden revelarla, aunque también ella se aprendería del libro si no se es obstinado y se tiene algo de experiencia.

«This Artephius forms a sort of link in the history of Alchemy, carried as it was in the course of time from Asia into Europe, about the period of the first crusades, when a general communication of the mind of different nations was effected by their being united under a common cause. Sciences, arts, and civilization, which had heretofore flourished in the East only, were gradually transplanted into Europe; and towards the end of the twelfth century, or thereabouts, our Phoenix too bestirred herself, and passed into the West.» — la función que le da en su historia: el eslabón por donde la alquimia pasa de Asia a Europa con las cruzadas, cuando ciencias y artes se trasplantaron al occidente.

«Roger Bacon was amongst the first to fill his lamp from her reviviscent spirit; and with this ascending and descending experimentally, he is said to have discovered the secret ligature of natures, and their magical dissolution; he was moreover acquainted with theology in its profoundest principles; medicine, likewise physics and metaphysics on their intimate ground; and, having proved the miraculous multiplicability of light by the universal spirit of nature, he worked the knowledge to such effect, that in the mineral kingdom he produced gold» — lo que adjudica a Roger Bacon: el descubrimiento de la ligadura secreta de las naturalezas y su disolución mágica, y, probada la multiplicabilidad milagrosa de la luz, la producción de oro en el reino mineral.

«Yet it does not appear that he was selfishly prompted even in this particular reservation; it was conscience, as he declares, that warned him to withhold a gift somewhat over rashly and dangerously obtained.» — el motivo que le atribuye para callar la práctica: no el egoísmo sino la conciencia, que le advirtió de retener un don obtenido con demasiada temeridad y peligro.

«His acutely penetrative and experimental mind, not content even with enough led him by a fatal curiosity, as it is suggested, into forbidden realms of self-sufficiency and unlawful peace of mind, and finally induced him to abandon altogether those researches, in order to retrieve and expiate in solitude the wrongs he had committed.» — y el desenlace que refiere: una curiosidad fatal lo habría llevado a terrenos prohibidos y por fin a abandonar esas investigaciones para expiar en soledad.

«The rejection of his books at Oxford has often been cited as an instance of the exceeding bigotry of those times, as indeed it was; and yet are we not nearly as far off perhaps from the truth in our liberality as were our forefathers in their superstition?» — la vuelta de tuerca que da al caso: el rechazo de sus libros en Oxford se cita como ejemplo de la beatería de aquellos tiempos, y ella pregunta si la liberalidad presente no estará igual de lejos de la verdad.

«An accusation of magic has not occurred of late, nor would be likely to molest seriously any philosopher of the present age; but then it did occur often during the dark ages, and who can tell whether it may not again at some future day, when men are even more enlightened and intimate with nature than they are now?» — y la pregunta con que lo cierra: la acusación de magia no molestaría hoy a ningún filósofo, pero ocurría en las edades oscuras y nadie sabe si no volverá cuando los hombres sean más ilustrados.

«There are still remaining two or three works of Roger Bacon, in which the roots of the Hermetic science are fairly stated; but the practice most carefully concealed, agreeably to that maxim, which in his later years he penned, that truth ought not to be shown to every ribald, for then that would become most vile, which, in the hands of a philosopher, is the most precious of all things» — la máxima que le atribuye de sus últimos años: la verdad no ha de mostrarse a todo rufián, porque se volvería vilísima lo que en manos de un filósofo es lo más precioso.

«sealed, to awaken rational curiosity, and lend a helping hand to those who have already entered on the right road; but to deceive in practice only the most credulous and inept.» — la continuación de esa frase al otro lado del corte: el velo está calculado para despertar la curiosidad racional y ayudar a quien ya entró en el camino recto, y engañar en la práctica solo a los más crédulos e ineptos.

«The story of Morienus, how in early life he left his family and native city (for he was a Roman), to seek the sage Adfar, a solitary adept, whose fame had reached him from Alexandria; the finding him, gaining his confidence, and becoming at length his devoted disciple; --- is related by his biographer in a natural and very interesting manner; also his subsequent sojournings, after the death of his patron, his intercourse with King Calid, with the initiation and final conversion of that prince to Christianity.» — la historia de Morieno que resume: dejó su familia y su ciudad natal —era romano— para buscar al adepto solitario Adfar en Alejandría, y más tarde trató con el rey Calid y lo convirtió al cristianismo.

«Many great lights shone through the darkness of those middle ages; Magians, who were drawn about the fire of nature, as it were, into communication with her central source. Albertus Magnus, his friend and disciple the acute Aquinas, Scotus Erigina the subtle doctor, Arnold di Villa Nova, and Raymond Lully, all confessed adepts.» — los adeptos confesos que alinea en la Edad Media: Alberto Magno, Tomás de Aquino, Escoto Erígena, Arnaldo de Vilanova y Ramón Lulio.

«John Reuchlin, Ficinus the Platonist, Picus di Mirandola, blending alchemy and therapeutics with neoplatonism and the cabalistic art. Spinoza also was a profound metaphysician and speculator on the same experimental ground.» — y la segunda fila: Reuchlin, Ficino, Pico de la Mirándola mezclando alquimia y terapéutica con neoplatonismo y cábala, y Spinoza como especulador en el mismo terreno experimental.

«Alain de l’Isle the celebrated French philosopher, Merlin (St Ambrose), the abbot John Trithemius, Cornelius Agrippa his enterprising pupil, and many more subsequent to these, great, resolute, and philosophic spirits, who were not alone content to rend asunder the veil of ignorance from before their own minds, but held it still partially open for others, disclosing the interior lights of science to such as were able to aspire, and willing to follow their great example, laboring in the way.» — la tercera fila y lo que les atribuye: Alain de Lille, Merlín identificado con san Ambrosio, Tritemio y Agripa, que no solo rasgaron el velo de la ignorancia ante su propia mente sino que lo dejaron entreabierto para otros.

«Medium minds set limits to nature, halting continually, and returning, before barriers which those others overleaped almost without perceiving them. Faith was the beacon light that led them on to conviction, by a free perspicuity of thought beyond things seen, to believe and hope truthfully, which is the distinguishing prerogative of great minds.» — el contraste que traza: las mentes medianas ponen límites a la naturaleza y se detienen ante barreras que aquellos saltaban sin advertirlas, porque la fe fue su faro hacia la convicción.

«But it will be necessary to regard this extraordinary epoch of Occult Science more in detail, with the testimony of its heroes, whose reputation, together with that of alchemy, has suffered from the faithlessness of biographers, compilers, commentators, and such like interference.» — el motivo que da para entrar en detalle: la reputación de esos hombres y la de la alquimia han sufrido de la infidelidad de biógrafos, compiladores y comentaristas.

«Most of the alchemical works of Albert, for instance, have been» — la apertura del caso de Alberto Magno; la frase, que se corta en el cambio de plana, dice que sus obras alquímicas quedaron excluidas de las grandes ediciones.

«Therein he describes the first matter of the adepts with the characteristic minuteness of personal observation, and recommends alchemy as the best and most easy means of rational investigation.» — y lo que ese tratado hace, según ella: describir la primera materia de los adeptos con la minucia de la observación personal y recomendar la alquimia como el medio mejor y más fácil de investigación racional.

«De transmutatione horum corporum metallicorum et mutatione unius in aliud non estphysici determinare, sed artis quae est Alchimica. Est autem optimum genus hujus inquisitionis et certissimum, quia tunc per causam unius cujusque rei propriam, res cognoscitur, et de accidentibus ejus mimime dubitatur, nec est difficile cognoscere» — el pasaje latino de Alberto que transcribe en apoyo: determinar la transmutación de los cuerpos metálicos no toca al físico sino al arte alquímica, que es el género de indagación óptimo y certísimo. El troceo imprime *estphysici* y *mimime*.

«This passage is one amongst many that might be adduced from his own pen to prove that Albert was an alchemist; but Aquinas’ disclosures are ample, removing all doubt, even if he himself had left room for any.» — el uso que hace de esa cita y el testimonio que suma: las revelaciones de Tomás de Aquino quitarían toda duda sobre la práctica alquímica de Alberto.

«Besides the treatise of minerals already mentioned, there is the Libellus de Alchemia, published with his other works45; also, the Concordanditia Philosophorum de Lapide, the Secretum Secretorum, and Breve Compendium in the Theatrum Chemicum, all treating of the same subject.» — las demás piezas alquímicas que atribuye a Alberto: el *Libellus de Alchemia*, la *Concordanditia Philosophorum de Lapide*, el *Secretum Secretorum* y el *Breve Compendium* del Theatrum Chemicum.

«Albert’s authority is the more to be respected in that he gave up every temporal advantage, riches, fame, and ecclesiastical power, to study philosophy in a cloister remote from the world during the greater portion of a long life.» — el argumento biográfico con que refuerza su autoridad: renunció a riquezas, fama y poder eclesiástico para estudiar filosofía en un claustro la mayor parte de una vida larga.

«An opinion has commonly obtained that the philosophers’ stone was sought after from selfish motives and a blind love of gain; and that such has been frequently the case there is no doubt; but then such searchers never found it.» — la objeción corriente que recoge y su respuesta: sí ha habido quien buscó la piedra por codicia, pero esos buscadores nunca la hallaron.

«Avarice is of all motives the least likely to be gratified by the discovery of wisdom. It is philosophers only that she teaches to make gold.» — y la razón que da: la avaricia es el motivo menos capaz de ser satisfecho por el descubrimiento de la sabiduría, que solo a los filósofos enseña a hacer oro.

«Querant Alchimiam, falsi quoque recti; Falsi sine numero, sed hi sunt rejecti; Et cupiditatibus, heu, tot sunt infecti Quod inter mille millia, vix subt tres electi Istam as scientiam» — los versos latinos que cita en apoyo: buscan la alquimia los falsos y los rectos, y entre mil millares apenas tres son elegidos para esa ciencia. El troceo imprime *subt* y *as*.

«The true adepts have been rare exceptions in the world, despite of all calumny, famous, and favored above their kind. Let any one but with an unprejudiced eye regard the writings of those who may be believed on their own high authority to have succeeded in this art, and he will perceive that the motives actuating them were of the purest possible kind; truthful, moral, always pious and intelligent, as those of the» — el contraste moral que establece: los adeptos verdaderos serían excepciones raras y calumniadas, y los motivos de quienes por su alta autoridad se cree que lograron el arte, de la especie más pura; el contrapunto con los seudoalquimistas queda al otro lado del corte de plana.

«excluded from the great editions of his works, and the authenticity of all has been disputed, but without lasting effect; for in that long and laborious treatise, De Mineralibus, unquestionably his own, even if the rest were proved spurious, there is sufficient evidence of his belief and practice to admit all.» — la continuación de esa frase: la autenticidad de todas ellas se disputó sin efecto duradero, porque el largo *De Mineralibus*, que ella tiene por indudablemente suyo, basta como prueba de su creencia y su práctica.

«pseudo-alchemists, on the other hand, were reckless and despicable.» — y el contrapunto al otro lado del corte: los seudoalquimistas, temerarios y despreciables.

«The truth was not likely to die in such hands; Aquinas wrote largely and expressly on the doctrineof transmutation, and in his Thesaurus Alchimiae, addressed to his friend, the Abbot Reginald, he alludes openly to the practical successes of Albert and himself in the Secret Art» — lo que adjudica a Tomás de Aquino: escribió largo y expresamente sobre la transmutación, y en su *Thesaurus Alchimiae*, dirigido al abad Reginaldo, alude abiertamente a los éxitos prácticos de Alberto y suyos.

«Vain, therefore, are attempts of his false panegyrists, who, anxious it would seem rather for the intellectual than the moral fame of their hero, have ventured to slur over his assertions as dubious. Aquinas is much too far committed in his writings for their quibbling exceptions to tell in proof against his own direct and positive affirmation.» — y la objeción que dirige a sus panegiristas: cuidando más la fama intelectual que la moral de su héroe, han querido desdibujar esas aserciones como dudosas, cosa que sus escritos no consienten.

«Metalla transmutari possunt unum in aliud", says he, "cum naturalia sint et ipsorum material eadem". Metals can be transmuted one into another, since they are of one and the same matter» — la sentencia de Aquino que transcribe en latín y traduce en la misma línea: los metales pueden transmutarse unos en otros, porque son de una y la misma materia. El troceo imprime *material* por materia.

«Declarations more or less plain to the same effect are frequent, and his treatise, De Esse et Essentia, is eminently instructive.» — y las demás piezas que invoca: declaraciones semejantes frecuentes y el *De Esse et Essentia*, que juzga eminentemente instructivo.

«It is true he slurs over points and sophisticates also occasionally in order to screen the doctrine from superficial detection; for Aquinas was above all anxious to direct inquirers to the higher purposes and application of the Divine Art, and universal theosophy, rather than to rest its capabilities of quickening and perfection in the mineral kingdom, as at that period many were wont to do, sacrificing their whole life’s hope to the multiplication of gold.» — la razón que atribuye a los disimulos de Aquino: quería dirigir a los indagadores a los fines altos del arte divino y de la teosofía universal, no a la multiplicación del oro en que muchos gastaban la vida.

«Fac sicut te ore tenens docui, ut scis quod tibi non scribo, quoniam peccatum esset hoc secretum virissecularibus revelare, qui magis hanc scientiam propter vanitatem quam propter debitum finem et Dei honorem quaerunt» — el pasaje latino que transcribe como de Aquino: haz como te enseñé de viva voz, pues sería pecado revelar este secreto a hombres seculares que buscan la ciencia por vanidad y no por su fin debido y el honor de Dios.

«ne sis garrulous sedpone ori tuo custodiam; et it filiam sapientum margaritam ante porcas non projicies. Noli te, charissime, cum majori opere occupare, quia propter salutis et Christi praedictionis officium;et lucrandi tempus magni debes attendere divitiis spiritialibus, quam lucris temporibus inhiare» — y el segundo pasaje latino: no seas charlatán, pon guardia a tu boca, no eches la perla de los sabios ante los puercos, y atiende más a las riquezas espirituales que a las temporales. El troceo imprime *garrulous* y *sedpone* pegados.

«The pretensions of Arnold di Villa Nova have not been contested, nor are his writings the only evidence of his skill in the Great Art. Contemporary scholars bear him witness, and instances are related of the wonderful projections he made with the transmuting powder.» — lo que sostiene de Arnaldo de Vilanova: sus pretensiones no han sido contestadas, y hay testimonios contemporáneos y relatos de sus proyecciones con el polvo transmutante.

«The Jurisconsult, John Andre, mentions him, and testifies to the genuine conversions of some iron bars into pure gold at Rome. Oldradus also and the Abbot Panorimitanus of about the same period, praise the Hermetic Art as beneficial and rational, and the wisdom of the alchemist Arnold di Villa Nova.» — los testigos que nombra: el jurisconsulto John Andre, que atestigua la conversión de barras de hierro en oro puro en Roma, y Oldrado y el abad Panormitano, que alaban el arte como benéfico y racional.

«The Rosarium Philosophicum, esteemed amongst the best, is published in the Theatrum Chemicum, and at the end of the folio edition of his works. The Speculum, a luminous treatise; the Carmina, Questiones ad Bonifacium, the Testamentum, and some others are given entire in the Theatrum Chemicum, but have not been translated.» — el inventario de obras de Arnaldo que da: el *Rosarium Philosophicum* entre las mejores, publicado en el Theatrum Chemicum, y el *Speculum*, los *Carmina*, las *Questiones ad Bonifacium* y el *Testamentum*, sin traducir.

«About this time and towards the close of the 14th century, an excitement began to be perceptible in the public mind. So many men of acknowledged science and piety, one after another, agreeing about the reality of transmutation, and giving tangible proofs of their own skill, could not fail to produce an effect; the art became in high request, and its professors were invited from all quarters, and held in high honor by the world.» — el cambio de clima que describe a fines del siglo XIV: tantos hombres de ciencia y piedad coincidiendo sobre la realidad de la transmutación pusieron el arte en alta demanda y a sus profesores en honor.

«Alain de l’Isle is said to have obtained the Elixir, but his chief testimony has been excluded by the editors of his other works; soften and unscrupulously has private prejudice interfered to defraud the public judgment of its rights and true data.» — el caso de Alain de Lille y la queja editorial que le acompaña: se dice que obtuvo el elixir, pero los editores excluyeron su testimonio principal, y el prejuicio privado habría defraudado al juicio público de sus datos verdaderos.

«The rejected treatise, however, was printed separately, and may be found in the third volume of the Theatrum Chemicum52. This philosopher also wrote a commentary on the Prophecies of Merlin, which are reported to have sole reference to the arcane of the Hermetic Art» — dónde dice hallarse ese tratado —impreso aparte, en el tercer volumen del Theatrum Chemicum— y qué más le atribuye: un comentario a las profecías de Merlín que se dice referido por entero al arcano del arte hermético.

«Raymond Lully is supposed to have become acquainted with Arnold, and the Universal Science, late in life; but when the fame of his Christian zeal and talents had already become known and acknowledged abroad, his declarations in favor of alchemy had the greater weight.» — lo que dice de Ramón Lulio: habría conocido a Arnaldo y la ciencia universal ya tarde, cuando su fama de celo cristiano daba a sus declaraciones en favor de la alquimia más peso.

«Unlike his cloistered predecessors, secluded and known as they were by name only to the world, Raymond had traveled over Europe, and a great part of Africa and Asia; and with his former fame was at length mingled the discovery of alchemy and the philosophers’ stone.» — y qué lo distingue de sus predecesores: Lulio había viajado por Europa y buena parte de África y Asia, y a su fama previa se sumó el descubrimiento de la alquimia y de la piedra.

«John Cremer, Abbot of Westminster, had worked for 30 years, it is related, assiduously with the hope of obtaining the secret. The enigmas of the old adepts had sadly perplexed and led him astray; but he had discovered enough to convince him of the reality, and to encourage him to proceed with the investigation;» — la historia de John Cremer, abad de Westminster: treinta años de trabajo asiduo, extraviado por los enigmas de los viejos adeptos, pero convencido de la realidad del arte.

«when, Lully’s fame having reached him, he determined to seek that philosopher, then resident in Italy; was fortunate in meeting with him and gaining his confidence, and not a little edified by the pious and charitable life Lully led there, and recommended to others.» — cómo sigue esa historia: Cremer buscó a Lulio en Italia, ganó su confianza y se edificó con la vida piadosa y caritativa que allí llevaba.

«Lully, still as ever zealous for the promulgation of the Christian religion, promised to produce for the king all monies requisite, if he felt disposed to engage in the crusades anew.» — la condición que pone Lulio al rey, según el relato: producir todo el dinero necesario si Eduardo se disponía a emprender de nuevo las cruzadas.

«The artist accordingly set to work, soothe story runs, in a chamber set apart for him in the Tower, and produced 50,000 pounds weight of pure gold.» — el episodio de la Torre de Londres tal como ella lo refiere: Lulio trabajó en una cámara apartada y produjo cincuenta mil libras de oro puro. El troceo pega *soothe* donde se lee *so the*.

«Converti una vice in aurum 50 milliapondo argenti vivi, plumbi, et stannic. I converted", says he, "at one time 50,000 pounds weight of quicksilver, lead and tin, into gold» — las palabras que Atwood atribuye al testamento del propio Lulio, en latín y traducidas en la misma línea: convirtió de una vez cincuenta mil libras de azogue, plomo y estaño en oro.

«The king no sooner received this, than breaking faith with Lully, in order to obtain more, the artist was made a prisoner in his own laboratory, and without regard at all for the stipulation, before engaged in, ordered to commence on his productive labors anew.» — lo que sigue en el relato: el rey rompió la fe dada, hizo prisionero al artista en su propio laboratorio y le mandó empezar de nuevo.

«This base conduct on the part of the king was much lamented by Cremer, who expresses indignation thereat openly in his Testament55; and the whole story has been repeatedly recorded in the detailed chronicles of those times.» — los apoyos que da para esa historia: la indignación que Cremer expresa en su *Testament* y las crónicas detalladas de la época.

«But to be short, our hero fortunately escaped from his imprisonment, and a coinage of the gold was struck in pieces weighing about 10 ducats each, called Nobles of the Rose.» — el desenlace: Lulio escapó y con aquel oro se acuñaron piezas de unos diez ducados llamadas Nobles de la Rosa.

«Those who have examined these coins pronounce them to be of the finest metal, and the inscription round the margin distinguishes them from all others in the Museums, and denotes their miraculous origin.» — lo que dice de esas monedas: quienes las han examinado las declaran del metal más fino, y la inscripción del margen las distingue y denota su origen milagroso.

«They are described in Camden’s Antiquities, and for the truth of the whole story, we have, besides Cremer’s evidence and the declarations of Lully, a great deal of curious allusion to be found in the books of Olaus Borrichius, R. Constantius, l’Englet Dufresnoy, and Dickenson.» — la nómina de testigos que alinea para la historia entera: Camden, la evidencia de Cremer, las declaraciones de Lulio, Olaus Borrichius, R. Constantius, Lenglet Dufresnoy y Dickenson.

«The last relates that some time after the escape of Lully, there was found in the cell he occupied at Westminster with Cremer, whilst it was undergoing some repairs, a certain quantity of the powder of transmutation, by means of which the workmen and architects became enriched» — y el remate que atribuye a Dickenson: en la celda que Lulio ocupó en Westminster con Cremer se halló, en unas obras, cierta cantidad del polvo de transmutación, con que se enriquecieron obreros y arquitectos.

«Lully’s writings on Alchemy are, as the rest, obscure; and have only been understood with great pains and application even by those who have been so fortunate as to possess the key of his cabalistic mind.» — el juicio que hace de la escritura de Lulio: oscura como las demás, entendida a duras penas aun por quienes poseen la clave de su mente cabalística.

«Whether his equivocal and contradictory language was so contrived to baffle the sordid chemists; or whether, as before said, he learned the art late in life, and was convinced at last only by Arnold exhibiting the transmutation in his presence; it would require scrupulous examination to judge at this day:» — y la alternativa que deja abierta sin resolver: si el lenguaje equívoco fue trazado para desconcertar a los químicos sórdidos, o si aprendió el arte tarde y solo se convenció al ver a Arnaldo transmutar en su presencia.

«Those were singular times when few any longer doubted the possibility of gold-making, and individuals of the highest repute devoted their lives to the subtle investigation. We have adduced this notable instance of Lully’s prowess in England, as one only amongst many others, quite as well authenticated, which are told by the authors before cited» — cómo caracteriza aquella época: pocos dudaban ya de la posibilidad de hacer oro, e individuos de la más alta reputación dedicaban su vida a la indagación.

«Public curiosity was stimulated to the highest pitch; experiments were made reckless of consequences, and the spirit of avarice, bursting forth expectant, absolutely raged.» — y el efecto que describe: experimentos hechos sin medir consecuencias y un espíritu de avaricia desatado.

«Whether the incaution of adepts, in making their art too publicly profitable, had given rise to the frenzy, or whether it was spontaneously kindled, or from whatever cause, the fact is lamentably certain; the Stone was no longer sought after by philosophers alone; not only have we Lully, Cremer, Rupicessa, De Meun, Flamel, John Pontanus, Basil Valentine, Ripley, and the host of cotemporary worthies, successively entering the lists; but with these a spurious brood of idlers living on the public credulity, and which the practical evidence of these others continued to ferment; men of all ranks, persuasions and degrees of intelligence, of every variety of calling, motive and imagination, were, as monomaniacs, searching after the stone.» — el resultado que consigna sin decidir la causa: la piedra dejó de ser cosa de filósofos y hombres de todo rango y oficio la buscaban como monomaníacos, entre ellos una cría espuria de ociosos que vivía de la credulidad pública.

«which leave room for controversy, though none, we think, virtually denying the art, whilst his essays in favor of it are acknowledged excellent and numerous; as many as 200 are given in the catalogue of Dufresnoy treating exclusively on this subject» — lo que da por cierto sobre esos escritos, ya en la plana siguiente: dejan lugar a la controversia pero ninguno niega el arte, y el catálogo de Dufresnoy le cuenta doscientos ensayos en favor.

«As Popes with Cardinals of dignity, Archbyshops with Byshops of high degree With Abbots and Priors of religion, With Friars, Hermites, and Preests manie one, And Kings with Princes and Lords great of bloode, For everie estate desireth after goode; And the Merchaunts alsoe, which dwelle in fiere Of brenning covetise, have thereto desire; And common workmen will not be out-lafte For as well as Lords they love this noble crafte.» — los versos del *Ordinal* de Norton que Atwood transcribe para pintar la fiebre: papas, cardenales, arzobispos, abades, frailes, ermitaños, reyes, mercaderes y obreros comunes tras el oro. La voz es de Norton.

«For sights in their craft meveth them to believe; But wonder it is that Brewers deale with such werkes, Free Masons, and Tanners, with poore parish clerkes; Ailors and Glaziers woll not therefore cease, And eke sely Tinkers will put them in prease With great presumption; yet some collour there was For all such men as give tincture to glasse; But manie Artificers have byn over swifte, With hastie credence to sume away their thrift; Yet ever in hope continued their hearte; Trustinge some tyme to speede right well, Of manie such truly I can tell; Which in such hope continued all their lyfe, Whereby they were made poore and made to unthrive: It had byne good forthem to have left off In seaon, for noughte they founde except a scoffe, For trewly he that is not a great clerke, Is nice and lewd to medle with this werke; Ye may trust me it is no small inginn, To know alle secrets pertaining to this myne. For it is most profounde philosophye This subtill science of holy Alkimy» — la continuación de esos versos al otro lado del corte: cerveceros, masones libres, curtidores, sastres y vidrieros metidos en la obra, y la advertencia de que quien no sea gran clérigo es necio al meterse en ella.

«Many usurped the title of the adepts, who had no knowledge even of the preliminaries of the Art; sometimes deceiving, at others, being themselves deceived;» — la distinción que introduce: muchos usurparon el título de adepto sin conocer siquiera los preliminares, unas veces engañando y otras engañados ellos mismos.

«and it has been principally from the fraudulent pretensions of those dabblers that the world has learned to despise alchemy, confounding the genuine doctrine with their sophistical and vile productions;» — y la causa que adjudica al desprecio moderno: las pretensiones fraudulentas de esos aficionados, que hicieron confundir la doctrina genuina con sus producciones sofísticas.

«For a multitude of books were put forth with the merest purpose of deception, and to ensnare the unwary; some indeed affirming, that the truth was to be found in salts, or niters, or boraxes; but others, in all vegetable bodies indiscriminately, committing a multifarious imagination to posterity.» — el desacuerdo entre esos libros de engaño que consigna sin armonizar: unos afirmaban que la verdad estaba en las sales, los nitros o los bóraxes, y otros en todos los cuerpos vegetales indistintamente.

«that day, but it must introduce mutilated editions of the old masters, filled with inconsistencies, and the wicked inventions of designing fraud; and thus, as the adept observes, they have blasphemed the Sacred Science, and by their errors have brought contempt on men philosophizing.» — el cargo que hace a las ediciones mutiladas de los viejos maestros, llenas de incoherencias e invenciones de fraude: habrían blasfemado la ciencia sagrada y traído desprecio sobre los que filosofan.

«As of that Monke which a boke did write Of a thousand receipts in malice for despighte, Which he copied in manie a place, Whereby hath byn made manie a pale face And manie gowndes have been made bare of hewe, And men made fals which beforetimes were trewe» — los versos de Norton sobre el monje que escribió por malicia un libro de mil recetas copiado en muchos lugares, de donde caras pálidas, ropas descoloridas y hombres vueltos falsos.

«Nor has the literature alone suffered from such knavish interpolation; but the social consequences are described, at the time, as deplorable; rich merchants, and others, greedy of gain, were enduced to trust quantities of gold, silver, and even precious stones, which they lost, in vain hope of getting them multiplied ; and these rogueries became so frequent and notorious, that at last acts of Parliament were passed in England, and Pope’s Bull’s issued over Christendom, forbidding transmutation, on pain of death, and the pursuit of alchemy» — las consecuencias sociales que consigna: mercaderes que perdieron oro, plata y piedras confiadas para multiplicarlas, y de ahí actas del Parlamento inglés y bulas papales que prohibían la transmutación bajo pena de muerte.

«But this, whilst giving an external check, did not smother the desire of riches, or that morbid desire of them, so long fostered in the expectation; experiments continued to be carried on in secret with no less ardour than before, both by knaves and philosophers.» — el efecto que atribuye a esas prohibiciones: freno externo que no apagó el deseo de riqueza, y experimentos continuados en secreto por bribones y por filósofos.

«Pope John XXII who interdicted it, is said to have practiced the art himself extensively, and to have wonderfully enriched the public treasury through its means.» — la contradicción que registra sin armonizar: del papa Juan XXII, que interdijo el arte, se dice que lo practicó extensamente y enriqueció con él el tesoro público.

«I, Nicholas Flamel, Scrivener, living in Paris, in the year of our Lord, 1399, in the Notary street, near St James, of the Boucherie, though I learned not much Latin, Because of the poverty of my parents, who, notwithstanding were, even by those who envy me most, accounted honest and good people; yet, by the blessing of God, I have not wanted an understanding of the books of the philosophers, but learned them, and attained to a certain kind of knowledge, even of their hidden secrets.» — el arranque del relato que Atwood transcribe en primera persona de Flamel: escribano en París en 1399, sin mucho latín por la pobreza de sus padres, y con todo llegado a cierto conocimiento de los secretos de los filósofos.

«After the death of my parents, I Nicholas Flamel, got my living by the art of writing, ingrossing, and the like; and in the course of time, there fell by chance into my hands a gilded book, very old and large, which cost me only 2 florins.» — cómo Flamel cuenta el hallazgo: viviendo del arte de escribir, le cayó por azar en las manos un libro dorado, muy viejo y grande, por solo dos florines.

«It was not made of paper or parchment, as other books are, but of admirable rinds, as it seemed to me, of young trees; the cover of it was brass, well bound, and graven all over with a strange kind of letters, which I took to be Greek characters, or some such like.» — la descripción del libro en la voz de Flamel: no de papel ni de pergamino sino de cortezas admirables de árboles jóvenes, con tapa de latón grabada de letras extrañas que tuvo por griegas.

«This I know, that I could not read them; but as to the matter which was written within, it was engraven, as I suppose, with an iron pencil, or graver, upon the said bark leaves; done admirably well, and in fair neat Latin letters, and curiously colored. It contained thrice seven leaves, for so they were numbered on the top of each folio, and every seventh leaf was without writing; but in place thereof were several images and figures painted» — y lo que dice de su interior: grabado con punzón de hierro en hojas de corteza, en latín claro y coloreado, tres veces siete hojas con la séptima siempre sin escritura y con imágenes en su lugar.

«Further, going on to describe the book and these hieroglyphics minutely, Flamel relates how, at length, after much study and fruitless toil, their meaning was explained to him by a Jew stranger , whom he met with in his travels;» — el eslabón que Atwood resume del relato: el sentido de los jeroglíficos se lo explicó un judío desconocido que Flamel encontró en sus viajes.

«He that would see the manner of my arrival home, and the joy of Perenelle, let him look upon us two in the city of Paris, upon the door of the chapel of James, in the boucherie, close by one side of my house, where we are both painted, kneeling, and giving thanks to God: for through the grace of God it was, that I attained the perfect knowledge of all that I desired.» — cómo Flamel remite a la prueba pública de su hallazgo: la puerta de la capilla de Santiago de la Boucherie, donde él y Perenelle están pintados de rodillas dando gracias a Dios.

«I had now the prima material, the first principles, yet not their preparation, which is a thing most difficult above all things in the world; but in the end I had that also, after a long aberration and wandering in the labyrinth of errors, for the space of three years.» — la distinción que hace Flamel entre tener la materia y saber prepararla: lo segundo le costó tres años de extravío en el laberinto de los errores. El troceo imprime *prima material*.

«I did nothing but study and search and labor, so as you see me depicted without this arch, where I have shown my process, praying also continuously unto God, and reading attentively in my book, pondering the words of the philosophers, and then trying and proving the various operations which I thought they might mean by their words.» — el método que Flamel declara para esos tres años: estudio y trabajo, oración continua, lectura atenta del libro y prueba de las operaciones que creía significadas en las palabras de los filósofos.

«At length, I found that which I desired; which I also soon knew, by the scent and odor thereof. Having this, I easily accomplished the magistery. For knowing the preparations of the prime agents, and then literally following the directions in my book, I could not then miss the work if I would.» — cómo dice haber reconocido el hallazgo: por el olor, y una vez sabidas las preparaciones de los agentes primeros, siguiendo al pie de la letra su libro, ya no podía errar la obra.

«Having attained this, I came now to the Projection; and the first time I made projection, was upon mercury; a pound and a half whereof, or thereabouts, I turned into pure silver, better than that of the mine; as I proved by assaying it myself, and also causing others to assay it for me, several times.» — la primera proyección que Flamel declara: libra y media de mercurio vuelta plata pura, mejor que la de mina, ensayada por él y por otros varias veces.

«This was done in the year AD 1382, January 17th, about noon, in my own house, Perenelle alone being present with me.» — la fecha y el testigo únicos que da para esa primera proyección: 17 de enero de 1382, hacia el mediodía, en su casa y con Perenelle sola presente.

«Again following the same direction in my book, word by word, I made projection of the Red Stone, on a like quantity of mercury, Perenelle only being present, and in the same house; which was done in the same year, April 25, at five in the afternoon.» — y la segunda, la de la Piedra Roja: el 25 de abril del mismo año a las cinco de la tarde, también con Perenelle por única testigo.

«This mercury I truly transmuted into almost as much gold, much better indeed than common gold, more soft also, and more pliable. I speak in all truthfully.» — lo que Flamel dice haber obtenido: casi otro tanto de oro, mejor que el común, más blando y más dúctil.

«I have made three times with the help of Perenelle, who understands it as well as myself; and without doubt, if she would have done it alone, she would have brought the work to the same, or full as great perfection as I had done.» — el lugar que da Flamel a Perenelle: lo hizo tres veces con su ayuda, y ella lo entendía tanto como él y sola lo habría llevado a igual perfección.

«I had truly enough, when I had once done it; but I found exceeding great pleasure and delight in seeing and contemplating the admirable works of nature, within the vessels.» — el motivo que Flamel declara para repetirlo: no la necesidad, sino el placer de ver y contemplar las obras admirables de la naturaleza dentro de los vasos.

«And to show you that I had then done it three times, I caused to be depicted under the same arch, three furnaces, like to those which serve the operations of the work.» — y el modo en que lo dejó consignado: tres hornos pintados bajo el mismo arco, semejantes a los que sirven a las operaciones de la obra.

«I was much concerned for a long time, lest Perenelle, by reason of extreme joy, should not hide her felicity, which I measured by my own; and lest she should let fall some words among her relations, concerning the great treasure which we possessed.» — el temor que confiesa: que Perenelle, de pura alegría, dejara caer entre sus parientes alguna palabra sobre el tesoro.

«But the goodness of the great God, had not only given and filled me with this blessing, in giving me a sober chaste wife; but she was also a wise prudent woman, not only capable of reason, but also to do what was reasonable; and made it her business, as I did, to think of God, and to give ourselves to the works of charity and mercy.» — y cómo lo resuelve: la llama mujer sobria, casta, prudente y capaz de obrar lo razonable, dedicada como él a pensar en Dios y a las obras de caridad.

«Before the time wherein I wrote this discourse, which was at the latter end of the year 1413, after the death of my beloved companion; she and I had already founded and endowed with revenues 14 hospitals, 3 chapels, and 7 churches, in the city of Paris; all which we had built from the ground, and were able to enrich with gifts and revenues.» — las fundaciones que Flamel declara haber hecho antes de finales de 1413, tras morir Perenelle: catorce hospitales, tres capillas y siete iglesias en París, levantados desde el suelo.

«Building, therefore, these hospitals, churches, etc, in the aforesaid cities, I caused to be depicted under the said fourth arch, the most true and essential marks and signs of this art, yet under veils and types and hieroglyphical characters, demonstrating to the wise and men of understanding, the direct and perfect way of operation and lineary work of the philosophers’ stone;» — lo que dice haber pintado bajo el cuarto arco: las marcas más verdaderas y esenciales del arte, bajo velos, tipos y caracteres jeroglíficos, para los sabios y los entendidos.

«which being perfected by anyone, takes away from him the root of all sin and evil; changing his evil into good, and making him liberal, courteous, religious, fearing God, however wicked he was before, provided only he carries through the work to its legitimate end.» — el efecto moral que Flamel atribuye a la obra cumplida: quita la raíz de todo pecado y vuelve liberal, cortés y religioso a quien antes fuera malvado, con la condición de llevarla a su fin legítimo.

«For from thenceforward he is continually ravished with the goodness of God, and with his grace and mercy, which he has obtained from the foundation of eternal goodness; with the profundity from the fountain of eternal goodness; with the profundity of his Divine and adorable power, and with the contemplation of his admirable works» — el cierre del relato de Flamel; el troceo repite aquí, por defecto de la capa de texto, la cláusula sobre la fuente de la bondad eterna.

«Bologne about the same as at Paris, besides our private charities, which it would be unbecoming to particularize.» — las fundaciones de Bolonia que Flamel dice haber hecho como en París, aparte de caridades privadas que no le parece decoroso detallar; el troceo corta la frase a media palabra en el cambio de plana.

«Part of this relation is given of himself by the author in his Hieroglyphics, and part is taken from his Testament; and chronicle recount as late as the year 1740, that the evidence of his charitable deeds remained and the symbols of the art in the cemetery of the Holy Innocents at the church of St James, on the Marivaux door, at the portal of St Genevieve» — la procedencia que Atwood declara para ese relato: parte de los *Hieroglyphics* del propio Flamel y parte de su *Testament*, con crónicas que hasta 1740 daban por subsistentes los signos del arte en el cementerio de los Inocentes.

«Amongst the writings of Flamel, besides those already quoted from, we have La Sommaire Philosophique, in French verse, which is also translated in the Theatrum Chemicum, an esteemed work, with important annotations at the end; Le Desir desiree, and Le Grand Eclaircissement, which are more rarely to be met with.» — el resto de la obra de Flamel que inventaría: *La Sommaire Philosophique* en verso francés, traducida en el Theatrum Chemicum con anotaciones, *Le Desir desiree* y *Le Grand Eclaircissement*, más raros.

«The Isaacs, father and son, Dutch adepts, are said to have worked successfully, and are much lauded by Boorhaave, who appears not either to have been a stranger to their pursuit or to the principles of occult science» — lo que consigna de los Isaac, padre e hijo, adeptos holandeses, y de Boerhaave, que los alaba y que no le parece ajeno ni a su búsqueda ni a los principios de la ciencia oculta.

«But Basil Valentine is the star of the 15 the century; he is generally reported to have been a Benedictine hermit; but a mystery hangs about his individuality which has never been satisfactorily cleared up, though careful researches have been made, and his numerous works written in all languages, called forth much curiosity on their appearance and have been held in high esteem by students in the Hermetic Art.» — el lugar que da a Basilio Valentín —estrella del siglo XV— y la reserva que mantiene: se le reputa ermitaño benedictino, pero un misterio sobre su individualidad nunca se ha aclarado. El troceo imprime *15 the century*.

«He ranks high amongst his brethren for having, as they say, discovered a new method of working the Red Elixir, and facilitated the process materially, which had been hitherto laborious and a rare effect, as appears from those lines of Norton.» — y lo que los adeptos le atribuyen: un método nuevo de trabajar el Elixir Rojo que facilitó materialmente un proceso hasta entonces laborioso y de efecto raro.

«How that manie men patient and wise, Found our White Stone with exercise; After that they were trewly taught, With great labor, that stone they caught, But few (saith he) or scarcely one; In fifteen kingdoms hath our Red Stone.» — los versos de Norton que Atwood aduce en apoyo: muchos hallaron con ejercicio la Piedra Blanca, pero apenas uno en quince reinos ha tenido la Roja.

«Wheom to seeke it availeth right noughte, Till the white medicine be fully wrought; Neither Albertus Magnus, the Black Freere, Neither Freer Bacon his compeere, Had not of our Res Stone consideration Him to increase in multiplication» — la continuación de esos versos: buscarla no vale de nada hasta que la medicina blanca esté hecha, y ni Alberto Magno ni Bacon habrían tenido consideración de la Piedra Roja. El troceo imprime *Res Stone* por Red Stone.

«The Hamburg edition of Basil Valentine’s works may be considered the most perfect 64. The English translations are rambling and incomplete: with the single exception of that one which is taken from the Latin of Kirchringius, with his admirable commentary on the Triumphal Chariot of Antimony and Stone of Fire.» — el juicio editorial que emite: la edición de Hamburgo le parece la más perfecta y las traducciones inglesas incompletas, salvo la hecha del latín de Kirchringius con su comentario al *Triumphal Chariot of Antimony*.

«The Twelve keys are rendered in the Bibliotheque des Philosophes Chimiques, second edition.» — y dónde sitúa las Doce Llaves: en la segunda edición de la *Bibliotheque des Philosophes Chimiques*.

«Neither was he ignorant of the subject, if we may judge by the preface and curious notes appended to his Theatrum, wherein he exposes certain principles of magic, and alludes to the manual artifice without much disguise.» — lo que adjudica a Elias Ashmole: el prefacio y las notas de su *Theatrum* expondrían ciertos principios de magia y aludirían al artificio manual sin mucho disfraz.

«I must profess, says he, I know enough to hold my tongue, but not enough to speak; and the no less real than miraculous fruits I have found, in my diligent inquiry in these arcane, lead me on to such degrees of admiration, they command silence, and force me to lose my tongue,» — el pasaje que Atwood transcribe de Ashmole en su propia voz: sabe bastante para callar y no lo bastante para hablar, y los frutos hallados en su indagación le imponen silencio.

«lest, being not wholly experiences, as he goes on the say, I should ass to the many injuries the world has already suffered, by delivering the bare medley of my apprehensions without the confident attestations of practice;» — y la razón que Ashmole da para callar: no siendo del todo experto, añadiría a los daños ya sufridos por el mundo entregando la mera mezcla de sus impresiones sin atestación de la práctica. El troceo imprime *experiences* y *the say*.

«Norton’s Ordinal, dated 1477, with which this Hermetic Theater opens, is a praiseworthy performance, and with the exception of the Subject Matter and certain preliminaries, which are constantly concealed, the process is presented in a candid, orderly, and attractive manner.» — el juicio que hace del *Ordinal* de Norton, fechado en 1477 y puesta de apertura del Theatrum: salvo la materia del sujeto y ciertos preliminares siempre ocultados, presenta el proceso de modo franco y ordenado.

«So much cannot be said for the Canon Ripley of Bridlington, whose private misfortunes would seem to have made him envious. His composition is disorderly, and those Twelve Gates have, we conceive, little edified any without the Lodge.» — y el que hace del canónigo Ripley: composición desordenada, cuyas Doce Puertas habrían edificado poco a quien esté fuera de la Logia, con desgracias privadas que ella conjetura le hicieron envidioso.

«Added also to his own willful misguidance, the verses are said to have suffered spoliation and displacement from the order in which they were originally written, according to the mischievous cabalistic method in vogue at that time.» — la causa adicional que registra para esa oscuridad: se dice que los versos sufrieron expolio y desplazamiento del orden original, según el método cabalístico entonces en boga.

«Ripley, therefore, is universally complained of, though reputed a good adept.» — el balance que hace con Ripley: universalmente objetado y a la vez reputado buen adepto; el desacuerdo queda como está.

«The commentary published by the celebrated anonymous Eirenaeus Philalethes, under the title of Ripley Revived, though it explains a great deal practically and may serve to lead on the initiated, yet will appear infamously sophistical and inevitably disgust a beginner» — y el juicio sobre el comentario anónimo de Eirenaeus Philalethes, *Ripley Revived*: explica mucho en lo práctico y puede guiar al iniciado, pero parecerá infamemente sofístico al principiante.

«All Ashmole’s collection is valuable, even were it only as a specimen of early mystic literature. The Fragment from Pierce, the Black Monke, Bloomfield’s Blossoms, and Philosophy and Experience, are among the most instructive.» — lo que salva de la colección de Ashmole: valiosa como espécimen de literatura mística temprana, con el fragmento de Pierce el Monje Negro y los *Blossoms* de Bloomfield entre lo más instructivo.

«Ashmoles intention of collecting the English prose writings on Alchemy was not accomplished; only a few scattered portions were edited and those not of the best.» — y la deuda editorial que consigna: el propósito de Ashmole de reunir la prosa alquímica inglesa no se cumplió, y lo poco editado no fue lo mejor.

«Ficinus, an Italian of highly cultivated genius, well known as the Latin translator of Plato, and savior of other valuable remnants of antique literature, was also an amateur in the Hermetic art. He collected and translated the works imputed to Hermes, before mentioned, from Greek into Latin, and took pains elsewhere theoretically to explain the art» — lo que atribuye a Ficino: traductor latino de Platón y salvador de restos de la literatura antigua, reunió y tradujo del griego al latín las obras imputadas a Hermes y se esforzó por explicar el arte en teoría.

«Picus, prince di Mirandola, was his contemporary, and wrote a treatise, in which he connects Alchemy with the most profound metaphysical science» — y lo que atribuye a Pico de la Mirándola: un tratado donde enlaza la alquimia con la ciencia metafísica más profunda.

«Then we have the remarkable instance of Cornelius Agrippa, a man of powerful and penetrating genius who, having possessed himself of the means and principles of the Occult Science from his friend, the wary and learned Abbot Trithemius, set to work something it would seem after the example of Friar Bacon, proving them in a self-sufficient order.» — de dónde hace venir la ciencia de Agripa: de su amigo el abad Tritemio, con quien se habría hecho de los medios y principios del arte para probarlos por su cuenta.

«His three books of Occult Philosophy, especially the first two, illustrate the practical bias and enterprising nature of his mind; but as» — lo que ve en los tres libros de la *Occulta Philosophia*, sobre todo en los dos primeros: el sesgo práctico y el temple emprendedor de Agripa; la frase se corta en el cambio de plana.

«But it was this discovery, made later in life, which caused him to be discontented with his former revelation, and to publish that book on the Vanity of the Sciences, which has been considered as a recantation of his former philosophy; but which is in fact no recantation at all, but a consummation rather and conclusion in general of his works.» — la lectura que propone del *De vanitate scientiarum*: no es la retractación que se ha dicho, sino la consumación y conclusión de su obra, nacida de un descubrimiento tardío.

«Any one taking the pains to read may perceive that Agrippa wrote it neither in ignorance nor in despair of human knowledge. It was by searching and proving the magnitude of the Mystery that he arrived at that final and convictive faith, which is as much above ordinary science as the vulgar credulity of mankind is below it.» — y el argumento con que lo sostiene: Agripa no lo escribió por ignorancia ni por desesperación del conocimiento humano, sino desde una fe convictiva alcanzada al probar la magnitud del misterio.

«The vanity of particular and temporal sciences is discovered by comparison only in the broad day light of universal truth; and there stood the magician at last when, as it were from the top of Celsus’ ladder, looking down upon the steps by which he had climbed, and whereon he had successively rested, he observed their inferiority and the small prospect they afforded in comparison with that which he now, at their clear summit, enjoyed.» — la imagen con que explica esa vanidad: solo a la luz de la verdad universal se descubre, y el mago, desde lo alto de la escalera de Celso, veía la inferioridad de los peldaños por los que había subido.

«I could tell many tings of this art, if I had not sworn to keep silence, and this silence is so constantly and religiously observed of the ancient philosophers, that there is bound no faithful writer of approved authority that hath openly described this art: which thing has induced many to believe that all books of this art were but of late years invented, etc.» — el pasaje de Agripa que transcribe del capítulo sobre la alquimia: podría decir muchas cosas si no hubiera jurado silencio, y el silencio de los antiguos ha hecho creer a muchos que los libros del arte son de invención reciente. El troceo imprime *tings* por things.

«Finally of the one blessed stone alone, besides which there is no other thing, the subject of the most holy stone of the philosophers, to speak rashly, would be a sacrilege and I should be foresworn» — y el cierre de ese pasaje en voz de Agripa: hablar a la ligera del sujeto de la piedra santísima sería sacrilegio y perjurio.

«Looking to the final chapters of the same work also, we observe the ground of the whole Hermetic philosophy laid out, and the relative vanity of worldly science to that, which is universal, rational, and divine.» — lo que ve en los capítulos finales de esa misma obra: el terreno entero de la filosofía hermética trazado, y la vanidad relativa de la ciencia mundana frente a la universal y divina.

«The capabilities of the subject are great; and had it been treated in the usual and masterly style of a scholar of Nettesheim, it would have remained a work of lasting value; but he was fettered by oaths and had been somewhat conscience stricken;» — la razón que da para que el libro no quedara a la altura: Agripa estaba atado por juramentos y algo herido en la conciencia.

«and the monks, whom he had formerly censured, eagerly promulgated the whole as a recantation of former errors, holding it in this light and as an acknowledgment of the sufficiency of their own doctrine and of the common faith for salvation.» — y el uso que los frailes hicieron de él según ella: lo promulgaron como retractación de errores y como reconocimiento de la suficiencia de la fe común para la salvación.

«he declares, he had not, when he wrote them, arrived at a full experience, nor was he able to make the philosophers’ stone.» — la reserva del propio Agripa que Atwood recoge al otro lado del corte: cuando escribió esos libros no había llegado a experiencia plena ni sabía hacer la piedra.

«In the beginning of his extraordinary career, Theophrastus Paracelsus proposed openly to discover the hidden secret of philosophy; but the world scoffed at his pretensions, abused and persecuted him; and all the revenge he indulged in was to leave it unenlightened.» — lo que refiere del arranque de Paracelso: propuso abiertamente descubrir el secreto oculto de la filosofía, y ante la burla y la persecución su única venganza fue dejar al mundo sin luz.

«The writings he put forth are, with few exceptions, filled with subtle malice, as it were, so many sarcasms upon mankind and leading them far away, through alluring sophisms, from the straight way of truth.» — y el juicio que hace de esos escritos: llenos de malicia sutil, como sarcasmos contra el género humano que apartan del camino recto por sofismas atrayentes.

«Surely, as Ashmole remarks, incredulity appears to have been given to the world as a punishment; yet neither in its belief did it speed better, but has still plodded on in error for want of thought, and through all ages men have suffered in ignorance, on account mainly of the indefiniteness and selfishness of their desires.» — la sentencia que toma de Ashmole y prolonga: la incredulidad parece dada al mundo como castigo, pero tampoco en su creer le fue mejor, por falta de pensamiento y por lo indefinido y egoísta de los deseos.

«Of the numerous books attributed to Paracelsus, and given together as his works, the three Addresses to the Athenians, and the Aurora, are amongst the best.» — lo que rescata del corpus paracelsiano: las tres *Addresses to the Athenians* y la *Aurora* entre lo mejor.

«Those to the Athenians have been translated into English, and published with The Philosophy of J. Crollius, a disciple, and the Aurora also is to be met with, though more rarely, in company with the Water Stone of the Wise Men, by J. Grasseus.» — y sus vehículos ingleses: las *Addresses* con la filosofía de Crollius, y la *Aurora*, más rara, en compañía del *Water Stone of the Wise Men* de Grasseus.

«With respect to the private history and character of this extraordinary man, accounts differ, and opinions accordingly; but his fame, and the authority of his doctrine, lasted down through a long period of time.» — el desacuerdo que consigna sin arbitrar: las cuentas y las opiniones sobre la vida y el carácter de Paracelso difieren, mientras su fama y la autoridad de su doctrina duraron largo tiempo.

«His early death has been adduced as an argument against the probability of his being possessed of the elixir he boasts; and by others as a proof of his having been poisoned:» — las dos lecturas contrarias de su muerte temprana que registra: argumento contra la posesión del elixir que se jactaba de tener, o prueba de que lo envenenaron.

«but the poison of intemperance and irregular living has also been considered as especially likely to be fatal to one who was in the habit of taking a potent spiritual medicine, which would heighten the spiritual consequences of depravity and habitual excess, and accelerate dissolution in the conflict of opposite principles» — y la tercera lectura que añade: el veneno de la intemperancia sería especialmente fatal a quien toma una medicina espiritual potente, que agravaría las consecuencias de la depravación.

«Paracelsus, notwithstanding the world’s neglect, had numerous disciples, increasing also after his decease: some intelligent and worthy the name of philosophers, as Van Helmont, Crollius, Fludd, Helvetius, Faber, and many more anonymous,» — los discípulos que le cuenta entre los dignos del nombre de filósofos: Van Helmont, Crollius, Fludd, Helvecio, Faber y otros anónimos.

«but there were others, montebank pretenders, more in number still, who, pursuing the baser line of their master’s example, whilst they enviously suppressed the little truth they knew, wrote and practiced for lucre, leading mankind into error and the commitment even of egregious crimes by their receipts.» — y los otros: charlatanes más numerosos aún que, suprimiendo con envidia la poca verdad que sabían, escribieron y practicaron por lucro. El troceo imprime *montebank*.

«And the world which would not be drawn by the true light, gave easy way to their false stimulants, and encouraged the enemies growth in literature, until the tares possessed the field; nor could it be well otherwise, as a modern adept has observed on the occasion, for this bushel being placed over the light, the darkness of it invited ignorance abroad.» — el remate que atribuye a un adepto moderno sin nombrarlo: puesto el celemín sobre la luz, su oscuridad invitó a la ignorancia a salir.

«The burlesque of Erasmus, which, towards the close of the 16th century, were turned upon the follies then continually going on» — lo que lee en las burlas de Erasmo de fines del siglo XVI: iban dirigidas a las locuras que corrían entonces; la frase se corta en el cambio de plana.

«Chaucer, in the tale of the Chanon’s Yeoman, gives an example of this kind of the boastings, bereavements, and surpassing beliefs of ignorance;» — y el testimonio que suma de Chaucer: el cuento del criado del canónigo como ejemplo de las jactancias, los despojos y las creencias desmedidas de la ignorancia.

«Made solucyons full many a one, Of spyrytts, ferments, salts, yerne and steele; Wenying so tomake the philosophers; stone; But finally I lost eche dele, After my bokes yet wrought I well; Which evermore untrew I provyd, That made me oft full sore agrevyd.» — primeras estrofas de los *Erroneous Experiments* de Ripley que Atwood transcribe en su inglés medio: soluciones de espíritus, fermentos, sales, hierro y acero, con las que creyó hacer la piedra y lo perdió todo. La voz es de Ripley.

«Waters corrosive and water ardent, With which I wrought in divers wyse, Many one I made but all was shent; Egg shells I calcenyd twyse or thryse, Oylys fro calcys I made up ryse; And every element fro other I did twye But profytt found I right none therein.» — continuación de los experimentos fallidos que enumera Ripley: aguas corrosivas y ardientes, cáscaras de huevo calcinadas, aceites sacados de cales y los elementos separados unos de otros, sin provecho alguno.

«Also I wrought in sulphur and in vitriall, Which folys doe call the Grene Lyon, In arsenicke, in orpemint, fowle mot them fall; In delibi principio was myne inception: Therefore was frawde in fine the conclusion: And I blew my thrift at the cole, My clothes were bawdy, my stomache was never hole.» — y la tercera estrofa: azufre y vitriolo que los necios llaman el León Verde, arsénico y oropimente, un principio confuso y un fraude por conclusión.

«amongst the credulous chemists and their dupes, show that it was the prevailing mania of the age; when rich men and potentates fell easily into the snares of the lowest vagabonds, who had acquired the tact only to write and talk mysteriously.» — la continuación de esa frase: aquellas burlas probarían que la manía era la dominante de la época, cuando ricos y potentados caían en trampas de vagabundos que solo sabían escribir y hablar con misterio.

«I proved uryns, eggs, here, and blod, The scalys of yern which smthys do off smyte. Oes, ust, and crokefer which dyd me never good: The sowle of Saturn and also marchisyte, Lythage and antimony not worth a mite: Of which gey tinctures I made to shew, Both red and white which were untrew.» — cuarta estrofa de los experimentos fallidos de Ripley: orinas, huevos, cabello y sangre, escamas de hierro, el alma de Saturno, marquesita, litargirio y antimonio, y las tinturas alegres que sacó de ellos, rojas y blancas, todas falsas.

«Oyle of Lune and water with labor great, I made calcynyng yt with salt precipitate, And by hytself with vyolent heatt Grindyng with vinegar tyll I was fatygate: And also with a quantitye if syces acuate; Upon a marble which stode me oft in cost And oyles with corrosives I made; but all was lost.» — y la quinta: aceite de Luna calcinado con sal precipitada, molido con vinagre sobre un mármol hasta la fatiga, y aceites con corrosivos, todo perdido.

«Thus I rostyd and boyled as one of Geber’s cooks, And oft times I was dysceivyd with many falce books Whereby untrue, thus truly I wrought: But all such experiments avaylyd me nought; But brought me in danger and cumbraunce, By loss of goods and other grievaunce» — el cierre del pasaje de Ripley: asó y coció como uno de los cocineros de Geber, engañado muchas veces por libros falsos, sin provecho y con pérdida de bienes.

«The tide so long encroaching, however, began at last to fluctuate; and as mistrust, gathering from disappointment, ripened, a change somewhat suddenly took place in the public mind, and turned finally into an absolute odium of the deluding alchemists and the art.» — el vuelco que describe: madurada la desconfianza, el ánimo público cambió de pronto y se volvió odio declarado contra los alquimistas engañadores y contra el arte.

«Then it was that several were obliged to retire into exile; and even the true adepts --- for the public knew not to distinguish --suffered equal cruelty and abundant inconvenience.» — y a quién alcanzó ese odio: varios tuvieron que exiliarse, y aun los adeptos verdaderos —porque el público no sabía distinguir— sufrieron igual crueldad. El troceo imprime la raya como triple guion y, la segunda vez, pegada a la palabra siguiente.

«lauded in hopes of obtaining gold, or the means of making it, were arrested and tortured, in order to extort confession; accordingly we find» — el trato que dice haber recibido quien pasaba por adepto: arrestados y torturados para extorsionarles confesión; la frase se corta en el cambio de plana.

«Alexander Seton was hunted through Europe in disguise, not daring to remain in any town, for fear of detection.» — el caso con que lo ilustra: Alexander Seton perseguido por Europa disfrazado, sin atreverse a permanecer en ninguna ciudad.

«a continual banishment: deprived of the society of friends and family, and, as if driven by the Furies, am compelled constantly to fly from place to place and from kingdom to kingdom, without delaying anywhere.» — el pasaje que transcribe en primera persona del autor del *Open Entrance*: destierro continuo, privado de amigos y familia, huyendo de lugar en lugar y de reino en reino.

«And thus, though I possess all things, I have no rest or enjoyment of any, except in the truth, which is my whole satisfaction.» — la paradoja que ese autor declara: poseyéndolo todo, no tiene descanso ni goce de nada salvo en la verdad.

«They who have not a knowledge of this art imagine, if they had, they would do many things: I also thought the same, but am grown circumspect by experience of many dangers and the peril of life.» — y la corrección que hace de su propia expectativa juvenil: quien no conoce el arte imagina que haría muchas cosas, y él pensaba igual antes de volverse circunspecto por los peligros.

«I have seen so much corruption in the world, and those even who pass for good people are so ruled by the love of gain, that I am constrained even from the works of mercy, for fear of suspicion and arrest.» — el motivo que da para abstenerse incluso de las obras de misericordia: tanta corrupción vio, y hasta los que pasan por buenos están regidos por el amor a la ganancia.

«I have experienced this in foreign countries, where, having ventured to administer the medicine to sufferers given over by physicians, the instant the cures became known, a report was spread about of the Elixir, and I have been obliged to disguise myself, shave my head, and change my name, to avoid falling into the hands of wicked persons, who would try to wrest the secret from me, in hopes of making gold.» — el episodio concreto que refiere: administrada la medicina a enfermos desahuciados, en cuanto se supieron las curas corrió el rumor del elixir y tuvo que disfrazarse, raparse y cambiar de nombre.

«Would to God that gold and silver were as common as the street mud; we should not then be obliged to fly and hide ourselves, as if we were accursed like Cain» — el deseo con que cierra ese testimonio: ojalá el oro y la plata fueran tan comunes como el lodo de la calle, y no tuvieran que huir y esconderse como malditos al modo de Caín.

«Michael Sendivogius was imprisoned by his prince; even the pious Khunrath is moved to bitterness, when speaking of the treatment he had experienced: George Von Welling, Fichtuld, Muller, Harprecht, also; for the good and innocent now suffered more and more than ever cautious to conceal their names, with the evidence of Alchemy, from the world.» — los demás casos que suma: Sendivogio preso por su príncipe, Khunrath amargado por el trato recibido, y Von Welling, Fichtuld, Muller y Harprecht cada vez más cautos en ocultar sus nombres.

«And as the mind of the day became gradually engaged in puritanical discussions, and the interests of political leaders, indifference to the art again succeeded, and a skepticism, as blind and nearly pernicious as the former credulity settled upon the minds of men.» — el vuelco siguiente que registra: absorbido el ánimo en discusiones puritanas y en la política, la indiferencia volvió y con ella un escepticismo que juzga tan ciego y casi tan pernicioso como la credulidad anterior.

«But philosophers were content to have it so; observing the incapability of the common herd, and how little they cared for the truth, or the witness of nature’s greatest miracles, in comparison with their own selfish emolument.» — y cómo lo recibieron los filósofos según ella: contentos de que así fuera, vista la incapacidad del vulgo y su poco cuidado por la verdad.

«Some gathered themselves together for better protection, and carrying on their work into the Rosicrucian Fraternity, a widely celebrated, though secret association, established, as the report is, by a German adeptest who had traveled into the East, and in Arabia was initiated into many arcane mysteries of nature.» — la fundación de la Fraternidad Rosacruz tal como la refiere: una asociación célebre y secreta establecida, según se dice, por un adepto alemán que viajó a Oriente y fue iniciado en Arabia.

«Their Fame and Confession, with the story of their first institution, has been rendered into English with an excellent preface by Thomas Vaughan, and an appendix» — el vehículo inglés de esos textos: la *Fama* y la *Confessio* traducidas al inglés con un prefacio de Thomas Vaughan y un apéndice; la frase se corta en el cambio de plana.

«But we must not omit to notice the names of Dee and Kelly, two notorious magicians of Queen Elizabeth’s time; for though the latte was somewhat of a knave, and a little over-presumptuous, yet there is reason to believe that he practiced transmutation, and became possessed of the Red Powder by some secret kind of information, if not of the means of perfecting it by his own art.» — cómo introduce a Dee y Kelly: dos magos notorios del tiempo de Isabel, y de Kelly —algo bribón y presuntuoso— hay razón para creer, dice, que practicó la transmutación y tuvo el Polvo Rojo. El troceo imprime *latte* por latter.

«Thus it was generally reported of Dr Dee and Kelly, that they were so strangely fortunate as to discover a large quantity of the Powder of Projection in a niche amongst the ruins of Glastonbury Abbey, and which was so rich in virtue (being 1 upon 272,330) that they lost a great portion in trial before they found out the true height of the medicine.» — el relato del hallazgo que consigna como reporte general: una gran cantidad de Polvo de Proyección en un nicho de las ruinas de Glastonbury, tan virtuoso —uno sobre 272 330— que perdieron mucho en las pruebas.

«With this treasure they went abroad, fixed their abode at Trebona, and transmuted occasionally. In Dee’s diary we have the account of Kelly making projection with one small grain (in proportion no larger than the least grain of sand) upon an ounce and a quarter of common mercury, which produced almost an ounce of pure gold» — y la proyección que toma del diario de Dee: un grano no mayor que el menor grano de arena sobre onza y cuarto de mercurio común, del que salió casi una onza de oro puro.

«Then there is the story of the warming-pan, related by Ashmole, from no very distant testimony, of a piece of metal being cut out and, without Kelly touching or handling it, or melting the copper even, only warming it in the fire, the elixir being projected thereon, it was transmuted into pure silver.» — la historia del calentador que atribuye a Ashmole: cortado un pedazo de metal y proyectado el elixir sin que Kelly lo tocara ni fundiera el cobre, quedó vuelto plata pura.

«The pan, he goes on to relate, was sent to the Queen Elizabeth by her ambassador, who then lay at Prague; that by fitting the piece into the place whence it was cut out, it might exactly prove to be once a part of that pan.» — y la comprobación que Ashmole refiere: el calentador fue enviado a la reina Isabel por su embajador en Praga, para que encajando la pieza en su hueco se probara que había sido parte de él.

«mixed up with their philosophy, bitter complaints of injury, thefts, murders, and unjust imprisonments.» — la continuación de esa frase: de ahí que se mezclen en su filosofía quejas amargas de daño, robo, asesinato y prisión injusta.

«showing the true nature of their philosophy, place of abode, and other particulars connected with their magian prowess and renown.» — el contenido del apéndice rosacruz que describe al otro lado del corte: la naturaleza verdadera de su filosofía, su lugar de morada y otros pormenores de su destreza mágica.

«Bloomfield had likewise seen in the hands of one Master Tyre and Scroope, rings of Sir Edward Kelly’s gold, the fashion of which was only gold wire twisted thrice about the finger; of which fashioned rings he gave away to the value of 4000 l. at the marriage of one of his servants.» — otro testimonio del oro de Kelly: anillos de alambre de oro torcidos tres veces al dedo, de los que dice haber regalado por valor de cuatro mil libras en la boda de un criado.

«This was highly generous; but to say the truth, he was openly profuse beyond the modest limits, as Ashmole observes, of a sober philosopher.» — y el juicio que Ashmole le merece a ella: la generosidad fue mucha, pero Kelly fue abiertamente pródigo más allá de los límites modestos de un filósofo sobrio.

«This kind of profusion has been frequently exhibited by such as are reported to have come by the treasure casually, never by those who have themselves confected it.» — la regla que deriva de ahí: esa prodigalidad se da en quienes llegaron al tesoro por casualidad, nunca en quienes lo confeccionaron ellos mismos.

«During the abode at Trebona, Dee and Kelly appear to have tried many experiments, and their conversations with their spiritual informants are ludicrously mundane and abortive» — el juicio que hace de las acciones de Trebona: muchos experimentos, y conversaciones con sus informantes espirituales que le parecen ridículamente mundanas y abortadas.

«Whether or not they finally succeeded in the object of their research remains uncertain; the story runs that they did not, but that the secret of making of the Powder was confided to Kelly some years afterwards by a dying monk.» — la incertidumbre que declara sobre el resultado, con la versión corriente al lado: que no lo lograron, pero que el secreto del Polvo le fue confiado a Kelly años después por un monje moribundo.

«In Dee’s Diary, towards the latter end, there certainly are expressions of joy and gratitutde, as if he had suddenly attained to some great and important discovery; — Haec est dies quam fecit» — el indicio que saca del diario de Dee: expresiones de alegría y gratitud hacia el final, como si hubiera dado de pronto con un gran descubrimiento. La frase latina se corta en el cambio de plana.

«Dominus, omne quod vivit laudet Dominum; and upon the thirtieth day of the month following, he writes, --- Master E. Kelly did open the great secret to me, God be thanked.» — y la entrada que transcribe: el treinta del mes siguiente, Dee escribe que el maestro E. Kelly le abrió el gran secreto.

«Things were not carried on so privately abroad, but the Queen had notice of the proceedings of her subjects; and she sent letters and messages summoning them to return home: Dee obeyed, but Kelly remained behind, was taken prisoner by Emperor Rudolph, who had long set a watch on their movements.» — el desenlace: la reina los llamó de vuelta, Dee obedeció y Kelly quedó preso del emperador Rodolfo, que llevaba tiempo vigilándolos.

«It was during this detention that he wrote that little book, De Lapide Philosophorum, which is commonly to be met with, but it is of little more value than repute.» — lo que atribuye a esa prisión y el juicio que le merece: el *De Lapide Philosophorum* de Kelly, corriente de hallar y de poco más valor que su fama.

«The death of Kelly is involved in mystery, and Dee is said to have expired in poverty in Mortlake.» — lo que consigna de los dos finales: la muerte de Kelly envuelta en misterio y Dee muerto en la pobreza en Mortlake.

«The writings of Jacob Boehme, the profound theosophist of Prague, and those of the Pordage and Lead school. May not be undervalued, since these enthusiasts were all on the same original track; and the first would seem to have attained something better even than a view of the Promised Land.» — el lugar que da a Jacob Böhme y a la escuela de Pordage y Lead: van por la misma huella original, y al primero le atribuye haber alcanzado algo mejor que una vista de la Tierra Prometida. Lo llama teósofo de Praga.

«Moreover, Boehme has discovered such a ground of experience and principles of the Divine Art in his writings, as may help the student to conceive profoundly and lead him to the means of understanding the enigmas of the old adepts. For this author is, of all who have hitherto entered experimentally into the mystery, the plainest, simplest, and most confidential exponent.» — el uso que le da: en Böhme habría terreno de experiencia y principios del arte divino que ayudan a entender los enigmas de los viejos adeptos, por ser el expositor más llano y confidencial de cuantos entraron en el misterio.

«The Aurora, or Day Spring; The Discourse of the Three Principles; The Mysterium Magnum; The Tree of Life; The Turned Eye, or 40 Questions Concerning the Life of Man, and his Epistles, are full of explicit indications concerning the physical basis of magic and occult material of the philosophers’ stone» — las obras de Böhme que enumera como llenas de indicaciones explícitas sobre la base física de la magia y el material oculto de la piedra: la *Aurora*, los *Tres Principios*, el *Mysterium Magnum*, el *Árbol de la Vida*, las *Cuarenta Preguntas* y las epístolas.

«Whateer the Eastern Magi sought, Or Orpheus sung,or Hermes taught, Whatever Confucius would inspire, Or Zoroaster’s mystic fire; The symbols that Pythagoras drew, The wisdom godlike Plato knew, What Socrates debating proved, Or Epictetus lived and loved;» — los versos que copia de un manuscrito hallado en un volumen de Böhme: cuanto buscaron los magos de Oriente, cantó Orfeo, enseñó Hermes, quiso inspirar Confucio o supo Platón. El volumen no declara autor de estos versos.

«The sacred fire of saint and sage, Thro’ every clime in every age, In Boehme’s wondrous page we view, Discoverd and revealed anew» — el cierre de esos versos: el fuego sagrado de santos y sabios de todo clima y edad, visto de nuevo en la página de Böhme.

«Revealed anew, it will be observed, theosophically, but not intellectually. Nothing, since the Greeks, has been found to approach their doctrine of Wisdom in perspicuity, grace of utterance, and scientific explication of the divine source.» — la acotación con que Atwood recorta ese elogio: revelado de nuevo teosóficamente, no intelectualmente, porque nada desde los griegos se acerca a su doctrina de la sabiduría en perspicuidad y explicación científica de la fuente divina.

«Of all the successors on the same road, none have exceeded their authority, and very few have attained to the perfect veracity and ideality of their ground;» — y su jerarquía: ninguno de los sucesores ha excedido la autoridad de los griegos y muy pocos han alcanzado la veracidad e idealidad de su terreno.

«Numerous works on Alchemy have issued from the German press, detailing the experience of excellent and learned adepts; amongst those of later years may be mentioned Ambrose and Phillip Mueller 76; Herman Fichtuld 77; and his friend George Von Welling 78; J. Crollius 79; the Van Helmonts, father and son 80; Grasseus, the reputed author of the Water Stone 81, a personal friend of Boehme’s; Henry Khunrath, a pious and learned adeptest 82; Andrew Libavius 83; J.J. Beccher 84; and J. Tollius, a Dutchman and an elegant classical expositor on the same ground» — la nómina alemana que levanta: Ambrose y Phillip Mueller, Fichtuld, Von Welling, Crollius, los Van Helmont, Grasseus como supuesto autor del *Water Stone* y amigo de Böhme, Khunrath, Libavio, Beccher y Tollius.

«but of all those who have connected ancient fable with philosophy, and explained them by the Hermetic key, Michael Maier ranks first; and his works are more esteemed and sought after even in the present day, than is easily accountable, since he is profoundly guarded in his revelations» — el primer lugar que da a Michael Maier entre los que enlazan la fábula antigua con la filosofía por la clave hermética, y la paradoja que anota: se le busca más de lo que sería fácil explicar, siendo tan guardado en sus revelaciones.

«Highly curious engravings and woodcuts adorn the works of these authors, and even the title pages of many of them convey more idea and food for reflection than other modern tomes, oftentimes throughout the whole of their development.» — lo que dice del aparato gráfico de esos libros: grabados y xilografías, y aun las portadas dan más idea y materia de reflexión que otros tomos modernos enteros.

«The Novum Lumen Chemicum, which passes under the name of Michael Sendivogius, the Polish adept, is one of the best known and popular of modern works on the subject. It has been translated into English by John French, also a practitioner» — cómo presenta el *Novum Lumen Chemicum*: de los más conocidos y populares entre los modernos, pasa bajo el nombre de Sendivogio y fue traducido al inglés por John French, también practicante.

«whose introductory preface is bold and striking, and was published in London under the title of The New Light of Alchemy, with the nine books of Paracelsus, De Natura Rerum, in 1650.» — los datos de esa edición inglesa: *The New Light of Alchemy* en Londres, con los nueve libros del *De Natura Rerum* de Paracelso, en 1650.

«This New Light, professedly drawn from the fountain of nature, and grounded in manual experience, is cleverly handled, and of an attractive character; though in consequence of the willful disorder and perplexity of the composition, repeated perusal and a certain knowledge are requisite, in order to gather its recondite drift;» — el juicio que hace de esa obra: declarada sacada de la fuente de la naturaleza y fundada en experiencia manual, exige relectura y cierto conocimiento por el desorden deliberado de su composición.

«and so much the more, as its theory and asserted facts are at variance with our common» — y la dificultad añadida que señala: su teoría y sus hechos afirmados chocan con las concepciones comunes sobre lo que la naturaleza puede. La frase salta el corte de plana.

«The French edition of this work, also, has been translated by Digby, and contains, besides the Treatise on Salt omitted in the above, other curious additions, with a concluding Dialogue, which is instructive» — lo que añade sobre la edición francesa traducida por Digby: trae el tratado de la sal omitido en la inglesa y un diálogo final que juzga instructivo.

«There is a multitude of little English books on alchemy afloat on the book-stalls; amongst them some original, well-written, and worthy of perusal; for although Britain has not been so fertile in adepts as France and Germany, yet her scarce ones have been great;» — el balance nacional que hace: Gran Bretaña no fue tan fértil en adeptos como Francia y Alemania, pero los pocos suyos fueron grandes.

«D ’ailleurs on ne scauroit disconvenir que les Anglois n ’ecrivent sur la science hermetique avec beaucoup de lumiere et de profondeur. Ils y font paroitre leur jugement et leur esprit de relexion.» — el pasaje francés que transcribe de Dufresnoy, a quien llama escéptico: no puede negarse que los ingleses escriben sobre la ciencia hermética con mucha luz y profundidad, y muestran en ello juicio y espíritu de reflexión.

«This piece of flattering French testimony refers, we suppose, to the writings of our early adepts; otherwise, of all that have flourished in latter times, the most celebrated and facile princeps, is that Anonymous who styles himself Eirenaeus Philalethes: the many works that have appeared under this signature indicate so excellent and perfect an artist, that his brethren, always speaking with admiration, unanimously award him the garland.» — el primer lugar que da entre los modernos al anónimo que se firma Eirenaeus Philalethes: sus hermanos le conceden por unanimidad la guirnalda.

«Yet of himself, his name, and habits of life nothing is known; no cotemporary mentions him; Starkey, indeed, professes to have been his servant once for a time in America, and to have assisted him in the art; and describes him as an English gentleman of an ancient and honorable family then living on his own estate and rarely learned.» — la negativa que consigna sobre su identidad —nada se sabe, ningún contemporáneo lo menciona— y el único testigo: Starkey, que dice haber sido su sirviente en América y lo describe como caballero inglés de familia antigua que vivía de su hacienda.

«I saw", says he, "in my master’s possession the White and Red elixir in very large quantity; he gave me upwards of two ounces of the White medicine of sufficient virtue to convert 120,000 times its weight into the purest silver: with this treasure I went to work ignorantly and was caught in the trap of my own covetousness, for I expended or wasted nearly all of this tincture, and did not know its value until it was nearly gone.» — el testimonio de Starkey que Atwood transcribe en su voz: vio en poder de su maestro los elixires blanco y rojo en gran cantidad, recibió más de dos onzas del blanco y lo dilapidó por codicia antes de conocer su valor.

«However, I made projection of a part, and have tinged many hundreds of ounces by it into the best silver: of a pound of mercury I have made within less than a scruple of a pound of silver» — y lo que Starkey dice haber logrado con la parte que le quedó: cientos de onzas tingidas en la mejor plata, y de una libra de mercurio menos de un escrúpulo por debajo de una libra de plata.

«He himself informs us that he was born in England, somewhere towards the beginning of the 17th century, that he possessed the secret at a very early age, and was the victim of unremitting persecution.» — lo que el propio Filaleteo declara de sí: nacido en Inglaterra hacia comienzos del siglo XVII, dueño del secreto muy joven y víctima de persecución incesante.

«His principal works are, An Open Entrance to the Shut Palace of the King, Ripley Revived, The Marrow of Alchemy, in verse; Metallorum Metamorphoses, Brevis Manuductio as Rubinum Coelestum, Fons Chemicae Veritatis, and a few others in the Museum Hermeticum and in Manget’s collection.» — las obras principales que le atribuye: *An Open Entrance to the Shut Palace of the King*, *Ripley Revived*, *The Marrow of Alchemy* en verso y varias piezas latinas del Museum Hermeticum y de la colección de Manget.

«Thomas Vaughan, whose pseudonym of Eugenius Philalethes has, notwithstanding the very obvious distinction of his mind and style, caused him to be confounded with the foregoing Eirenaeus, was the author of several luminous little treatises, bearing on the higher grounds of this mystic science, full of ideas and the recondite spirit of antiquity.» — la distinción que establece entre los dos Filaleteos: el seudónimo Eugenius de Thomas Vaughan lo hizo confundir con Eirenaeus pese a la diferencia evidente de mente y estilo.

«In these Vaughan makes casual reference to the gold-making possibility, but is at little pains to attract in this direction, or indicate, as is usual, any sophistic order of practical operation; and thus repelling impertinent inquiry, he leads at once to the true and only valuable speculation of the subject.» — lo que caracteriza a Vaughan según ella: alude de pasada a la posibilidad de hacer oro pero no se esfuerza en atraer por ahí ni finge orden práctico sofístico, y así lleva de una vez a la especulación valiosa. El troceo parte *gold-making* en el salto de renglón.

«Moreover, unless we be mistaken, the one Art and medium of vital perfectibility is more clearly shown in his writings than in those of any other English author.» — y el juicio que emite con reserva: a menos que se engañe, el arte único y el medio de perfectibilidad vital se muestran en Vaughan con más claridad que en ningún otro autor inglés.

«They are as follows: Magia Adamica, or the Antiquity of Magic; whereto is added, A Discovery of the Coelum Terrae, or Magician’s Heavenly Chaos; Anthroposophia Theomagica, a discourse on the nature of man grounded on the protochemistry of Hermes, and verified by a practical examination of principles;» — el inventario de Vaughan que da: la *Magia Adamica* con el *Coelum Terrae*, y la *Anthroposophia Theomagica*, discurso sobre la naturaleza del hombre fundado en la protoquímica de Hermes.

«Anima Magia Abscondita, a discourse of the universal spirit of nature, with its strange, abstruse, and miraculous ascent and descent; Euphrates, or Waters of the East, a practical discourse of that secret fountain whose water flows from fire; Lumen de Lumine, a new magical light discovered and consummated, with an allegorical display of the first matter, and other valuable magnetical introductions and guides.» — la continuación de ese inventario: la *Anima Magia Abscondita* sobre el espíritu universal de la naturaleza, el *Euphrates* sobre la fuente secreta cuya agua fluye del fuego, y el *Lumen de Lumine* con su despliegue alegórico de la primera materia.

«This author’s death is reported to have befallen extraordinarily, something after the manner of Virgil’s, and from an overdose of the elixir; nor should it appear wonderful, as the narrative runs, that the subtle light of life should in these instances have been swallowed up in the superior attraction of a greater flame.» — cómo refiere la muerte de Vaughan: al modo de la de Virgilio y por una dosis excesiva del elixir, con la explicación que le parece coherente de una luz de vida absorbida por la atracción de una llama mayor.

«Agrippa gives a similar account of the death of Alexander the Great, saying that he died suddenly by the hand of his preceptor, administering the venom of the waters of the Styx, to whom the youthful monarch had previously intrusted his life, body and soul without reservation» — el paralelo que toma de Agripa: Alejandro habría muerto de pronto por mano de su preceptor, que le administró el veneno de las aguas de la Estigia.

«The Authors we have brought forth as distinguished and genuine, are but few in comparison with the whole number; some reckon as many» — la cautela que declara al hacer su nómina: los autores que trae por distinguidos y genuinos son pocos frente al número total; la cifra queda del otro lado del corte de plana.

«Borricius, from standing testimony, counts as many as 2500 94. L’Englet Dufresnoy has reduced the number still more, but then he was ignorant of the subject and excludes according to titles, rather that the matter, of several books covertly treating of the Hermetic art» — el desacuerdo entre censos que consigna: unos cuentan cuatro mil autores, Borrichius dos mil quinientos y Dufresnoy menos aún, este por excluir según los títulos y no la materia. El troceo imprime *Borricius*.

«The Bodlerian library contains many hundred volumes by separate authors. The Royal Library of France was reputed still richer in 1742, especially in manuscripts; and the Vatican and Escurial have large and valuable collections in the same branch.» — los depósitos que enumera: cientos de volúmenes en la Bodleiana, la Biblioteca Real de Francia reputada más rica en 1742 sobre todo en manuscritos, y el Vaticano y El Escorial. El troceo imprime *Bodlerian*.

«It is also reported that Eiranaeus was intimate with the chemist Boyle; but the rumors are all uncertain, and, as if to increase the mystery, he has been confounded with other English adepts, as Harprecht and Thomas Vaughan, and his writings also with those of Sendivogius, who has been identified with him» — las confusiones de identidad que registra sin resolver: se le hace íntimo de Boyle, se le confunde con Harprecht y con Thomas Vaughan, y sus escritos con los de Sendivogio. El troceo escribe *Eiranaeus* y la frase se corta en el cambio de plana, donde sigue el nombre de Alexander Seton.

«as 4000 93; but there are enough without forcing any into the ranks.» — la cifra que queda al otro lado del corte y la cautela con que la maneja: algunos cuentan hasta cuatro mil autores, pero hay bastantes sin forzar a nadie en las filas.

«And it is in these archives alone that the ancient Art is now preserved, in which we hoard the memory of long bygone hopes.» — el estado presente que declara: solo en esos archivos se conserva ya el arte antiguo, donde se atesora la memoria de esperanzas muy pasadas.

«declare a man an Alchemist in the present day would be to brand him as insane, and the Hermetic ground is as far out of the road of common thought as if it were tabooed; not indeed that anyone regards it as sacred, but devilish rather, or delirious, or ridiculous, as the bias may be.» — cómo describe el descrédito de su siglo: llamar alquimista a alguien sería tildarlo de insano, y el terreno hermético está tan fuera del camino del pensamiento común como si estuviera tabuado. El troceo imprime *O declare* por To declare y la cita empieza donde la palabra es legible.

«Meanwhile, therefore, to reconcile this science or the teachers of it to the world, we should feel to be a task above our ability, were it very far greater than it is; the prejudice having grown so old and strong that neither reason nor authority is longer able to balance it.» — la renuncia que declara: reconciliar esta ciencia con el mundo le parece tarea sobre sus fuerzas, porque el prejuicio ha crecido tanto que ni razón ni autoridad lo equilibran.

«But in whatever light we be disposed to regard Alchemy, whether as the acme of human folly, or contrariwise, as the recondite perfection of wisdom and causal science, it appears almost equally remarkable:» — el dilema que plantea: tomada la alquimia por el colmo de la locura humana o por la perfección recóndita de la sabiduría, resulta casi igual de notable.

«considered in the former way we have before us a huge amount of avarice, mad credulity, and fraud accumulating on continually from immemorial time, with the deplorable conclusion, that the greater part of those to whom the world has been taught to look up as philosophical authorities were in fact dupes and worse deceivers;» — la primera rama de ese dilema: una acumulación inmemorial de avaricia, credulidad y fraude, con la conclusión deplorable de que casi todas las autoridades filosóficas fueron incautas o engañadoras.

«on the other hand, if we hesitate in thus denouncing all the many well-approved and religious professors of this art, and suppose them, even in this particular, to have been sincere, what then ought we to conclude?» — y la segunda rama: si se vacila en denunciar a tantos profesores bien aprobados y religiosos y se los supone sinceros, queda por decidir qué concluir.

«That they were deluded? It is true their assertions are startling, but then the means of realization proposed are actual; the transmutation of metallic bodies was a proof addressed to the senses and so uniformly stated as to preclude subterfuge or any medium fulfillment.» — y el argumento con que aprieta esa segunda rama: la transmutación era una prueba dirigida a los sentidos y enunciada con tal uniformidad que excluye el subterfugio o un cumplimiento a medias.

«I have seen the Stone and handled it", says Van Helmont, "and projected the fourth part of one grain, wrapped in paper, upon eight ounces of quicksilver boiling in a crucible, and the quicksilver, with a small voice, presently stood in its flux, and was congealed like to yellow wax; after a flux by blast we found eight ounces all but eleven grains which were wanting of the purest gold;» — el testimonio de Van Helmont que Atwood transcribe: proyectó un cuarto de grano envuelto en papel sobre ocho onzas de azogue hirviendo, que se cuajó como cera amarilla y dio ocho onzas menos once granos de oro purísimo.

«He who gave me that powder" (the stranger Butler, whom he first found in prison) "had so much as would transmute 200,000 pounds worth of gold» — de quién dice Van Helmont haber recibido el polvo: el forastero Butler, a quien halló primero en prisión, que tenía cuanto bastaba para transmutar doscientas mil libras de oro.

«Our tincture of gold", says Paracelsus, "has within it an astral fire which conquers all things and changes them into a nature like itself; it is a most fixed substance and immutable in the multiplication; it is a powder having the reddest color, almost like saffron, yet the whole corporeal substance is liquid like resin, transparent like crystal, frangible like glass.» — la descripción de la tintura del oro que atribuye a Paracelso en su voz: un fuego astral dentro que vence todo y lo cambia en su propia naturaleza, polvo del color más rojo, casi azafrán, líquido como resina y frágil como vidrio.

«It is of a ruby color of the greatest weight; and this is a true sign of the tincture of the philosophers, that by its transmuting force all imperfect metals are changed, and this gold is better than the gold of the mines; and out of it may be prepared better medicines and arcane» — y la señal que Paracelso da de la tintura verdadera: por su fuerza transmutante todos los metales imperfectos cambian, y el oro resultante es mejor que el de las minas.

«So likewise Friar Bacon says, and Lully, and Arnold in his Speculum, that he had seen and touched, after much labor and industry, the perfect thing transmuting» — los testimonios que suma en una línea: Bacon, Lulio y Arnaldo en su *Speculum*, que dice haber visto y tocado, tras mucho trabajo, la cosa perfecta que transmuta.

«The things are manifest in which the verity of the work is nigh, and we have considered the things perfecting this work is nigh, and we have considered the things perfecting this work by a true investigation, with certain experience, whereby we are assured that all the words are true which are by us written in our volumes, according as we found them by experiment and reason» — el pasaje de Geber que transcribe; el troceo duplica aquí por defecto de la capa de texto la cláusula sobre las cosas que perfeccionan la obra.

«By the goodness of God’s instigation and by our own incessant labor, we have searched out and found, and have seen with our eyes and handled with our hands the completement of matters sought after in our magistery» — el segundo pasaje de Geber: por instigación de Dios y por labor incesante habrían visto con sus ojos y manejado con sus manos el cumplimiento de lo buscado en el magisterio.

«I come now", says the prince, "to relate what my eyes have seen plainly without veil or obscurity; one of my friends, who is now living, has made gold and silver several times in my presence, and I have seen it and done it myself» — el testimonio que atribuye a Pico de la Mirándola en su *De Auro*: un amigo suyo vivo hizo oro y plata varias veces en su presencia, y él mismo lo vio y lo hizo.

«We do not adduce these testimonials in proof either of the truth or plausibility of the Hermetic art; but to lead on inquiry, without which it would be equally vain to believe as to deny;» — la reserva metodológica con que enmarca todos esos testimonios: no los aduce como prueba de la verdad ni de la plausibilidad del arte, sino para llevar a la indagación, sin la cual creer y negar serían igual de vanos.

«and further, to show the pretension was not ambiguous, but absolutely provable, if at all, we have the story of the transmutation before Gustavus Adolphus in the year 1620, the gold of which was coined into medals bearing the king’s effigy with the reverse, Mercury and Venus; and that other at Berlin, before the king of Prussia, widely celebrated in 1710» — los casos públicos que añade para mostrar que la pretensión era comprobable: la transmutación ante Gustavo Adolfo en 1620, con el oro acuñado en medallas, y la de Berlín ante el rey de Prusia en 1710.

«The story related by Kircher in his Mundus Subterraneus also is explicit, and that of Helvetius; but the foregoing, taken casually, may be sufficient to indicate that the evidence of Alchemy was neither abstract nor» — las dos historias más que nombra: la de Kircher en el *Mundus Subterraneus* y la de Helvecio, que le bastan para indicar que la evidencia alquímica no era abstracta ni oculta.

«And that if there was deception at all, it must have been willful and not the offspring of self-delusion on the part of the adepts.» — la disyuntiva que deja planteada: si hubo engaño, tuvo que ser deliberado y no fruto de autoengaño de los adeptos.

«And then what should induce men to invent, age after age, and to reiterate and confirm a shameful and unpopular falsehood? --- Pious hermits and ecclesiastics, physicians and metaphysicians, men of high rank and reputation, far above and out of the way of sordid allurements, most of whom had in fact relinquished station, power, wealth, and worldly benefices for the science, sake and the cause of true religion?» — y la pregunta con que la aprieta: qué habría movido a ermitaños, eclesiásticos, médicos y metafísicos de alto rango, que dejaron posición y riqueza, a inventar y repetir una falsedad vergonzosa e impopular.

«Or shall we conclude that Ripley wither was so mad and simple a knave as to write the offer to his king to show him the actual working of the Stone, if he had possessed nothing?» — el caso concreto con que la cierra: si Ripley no tenía nada, cabría tenerlo por bribón tan loco como para ofrecer a su rey mostrarle la obra en marcha. El troceo imprime *wither* por either.

«But he even promises to unfold the whole confection conditionally. Would he so far have ventured, or what motive had he to deceive?» — y la vuelta de tuerca: Ripley promete además desplegar la confección entera bajo condición, lo que le hace preguntar qué motivo tendría para engañar.

«Never trewly for merke nor for pounde Make yt I common; but to you conditionedly That to yourself ye shall keep yt secretly; And only yt use, as may be God’s pleasure, Els in tyme comynge of God I shoulde abye For my discoveringe of hys secret treasurye» — los versos de Ripley que transcribe con esa condición: ni por marco ni por libra lo hará común, sino con la condición de que el rey lo guarde en secreto y lo use como plazca a Dios, so pena de pagarlo por revelar el tesoro secreto. La voz es de Ripley.

«therefore one grain of this powder would transmute 19,186 parts of quicksilver into the best gold. I am constrained to believe, for I have made projections divers times of one grain of the philosophers’ gold upon some thousands of grains of boiling quicksilver, to the» — la razón de multiplicación que Van Helmont calcula de ahí y la repetición que declara: proyecciones diversas veces sobre miles de granos de azogue hirviendo. La frase se corta en el cambio de plana.

«vaguely opinable, But clean, experimental and determinable» — los versos que cita sin nombrar autor para caracterizar esa evidencia: no vagamente opinable, sino limpia, experimental y determinable.

«I write not fables", says H. Khunrath in his Ampitheater; "with thine own hands thou shalt handle and with thine own eyes thou shalt see Azoth, viz., the Universal Mercury, which alone with its internal and external fire is sufficient for thee; which transforms itself into what it will by the fire» — el pasaje de Khunrath que Atwood transcribe de su *Amphitheatrum*: con las propias manos se manejará y con los propios ojos se verá el Azoth, el mercurio universal, que con su fuego interno y externo basta y se transforma en lo que quiere por el fuego.

«I have traveled much and visited those esteemed to know what by experience and not in vain, amongst whom, I call God to witness, I got of one the universal tincture, and the blood of the Lion, which is the gold of the philosophers. I have seen it, touched it, tasted it, smelt it, and used it efficaciously towards my poor neighbors in most desperate cases. Oh, how wonderful is God in his works!» — el segundo pasaje de Khunrath: dice haber recibido de uno la tintura universal y la sangre del León, que es el oro de los filósofos, haberla visto, tocado, gustado y olido, y usado con eficacia en casos desesperados de sus vecinos pobres.

«The liberal mind naturally experiences a difficulty in disbelieving where, a possibility being granted, the testimony in support of a matter is fair and honorable.» — el principio de crédito que enuncia: concedida la posibilidad, a la mente liberal le cuesta descreer cuando el testimonio en apoyo es honesto y honorable.

«And though sensible evidence and more than this sometimes is required to silence negative assertion; yet reason,» — y la reserva que le pone: a veces hace falta evidencia sensible y aun más para acallar la negación, pero la razón; la frase se corta en el cambio de plana.

«It is said that Lord bacon instituted certain experiments with a view to the discovery of the philosophers’ stone, and in the Advancement of Learning he faithfully recognizes the possibility, as does also Sir Isaac Newton in his works: nor did either of these great men, though they were practically unsuccessful themselves, condemn the ancient tradition or deny its validity.» — lo que consigna de Bacon y de Newton: se dice que Bacon hizo experimentos con vistas a la piedra y que reconoce la posibilidad en el *Advancement of Learning*, como Newton en sus obras, y que ninguno condenó la tradición antigua pese a no lograrlo.

«Yet it would seem to be more ordinarily natural to the human mind to reject these things, which it has neither been early imbued in the belief of, nor instructed to understand; besides individual research into mere possibilities, and because facts only are alleged, is too hopeless and arduous for this short life, which requires a definite assurance of success, and fruit even from the smallest labor.» — la explicación que da del rechazo ordinario: la mente desecha lo que no aprendió a creer ni a entender de temprano, y la investigación de meras posibilidades resulta demasiado ardua para una vida corta que exige fruto.

«And this is the world’s palliation for despising Alchemy, and many things which the ancients have asserted in like manner, without the requisite means of realization.» — y el atenuante que concede al mundo: desprecia la alquimia y otras cosas de los antiguos porque se afirmaron sin los medios requeridos de realización.

«For they would not, not have they anywhere openly declared, even the common Subject of their Art; but left mankind to imagine, as they did, all that was erroneous concerning it, as of their salts, sulfurs, mercuries, magic elements, and occult confections.» — el cargo que hace a los adeptos mismos: no declararon en parte alguna ni siquiera el sujeto común de su arte, y dejaron al mundo imaginar lo erróneo sobre sus sales, azufres, mercurios y confecciones ocultas. El troceo imprime *not have they* por nor have they.

«What a chaos of metaphor and monstrous allusion does not the literature of Alchemy present at first view! With what fantastic images and inconclusive positions is it not replete --- sings, symbolisms, and subtle enigmas innumerable, as if to try the ingenuity at every point?» — la impresión que declara ante esa literatura: un caos de metáfora y alusión monstruosa, lleno de imágenes fantásticas y enigmas sutiles, como para probar el ingenio a cada paso. El troceo imprime *sings* por signs.

«Contrary to the usual endeavor of writers to enlighten, by rendering their ideas intelligible, the adepts appear to have a directly contrary aim, at least so it would occur to anyone from a cursory survey; now leading along by some ingenious allegory, full of deep and exciting suggestions, yet withal enveloped in a mystery so obscure that without more light it were impossible to penetrate it; then, further to seduce, adding, it may be, another gleam of argument, tantalizing the hope and wearying the understanding with unequal assertions, until all passes away again, with all possibility of discernment, behind some clouded metaphor or word of warning that the secret of the ages may not be profaned.» — el procedimiento que describe en los adeptos: alegoría que sugiere y a la vez envuelve, un destello más de argumento que tantaliza la esperanza, y luego todo se retira tras una metáfora nublada o una advertencia.

«A variety of artifices according to the cabalistic method, moreover, have been employed, and the Hermetic discourses are not infrequently found introverted in their order, and dispersed with repetitions, to prevent the truth from becoming openly obvious, even to those who had already become possessed of the true key; but only of the vestibule and entrance rights;» — los artificios cabalísticos que consigna: discursos herméticos invertidos en su orden y sembrados de repeticiones para que la verdad no quede obvia ni aun a quien tenga la clave del vestíbulo.

«For is not our art cabalistic", asks Artephius, "and full of mysteries? And you, fool, believe we teach the secret of secrets openly, and understand our words according to the letter; be assured, we are not envious, but he that takes the philosophers’ saying according to the outward sense and signification has already lost the clue to Ariadne, and wanders up and down the labyrinth, and it would be of the same benefit to him as if he had thrown his money into the sea» — el pasaje de Artefio que transcribe: quien toma el dicho de los filósofos en su sentido externo ha perdido el hilo de Ariadna y vaga por el laberinto, con igual provecho que si tirase su dinero al mar.

«I would", says he, "have the candid reader be admonished that he understand my writings, not so much from the outside of my words as from the possibility of nature; let him consider that this Art is for the wise, not for the ignorant; and that the sense of the philosophers is of another nature than to be understood by vaporizing Thrasoes, or the letter learned scoffers, or vicious, against their own consciences; or ignorant montebanks, who, most unworthily defaming the most commendable art of Alchemy, have with their Whites and Reds deceived almost the whole world» — el prefacio de los *Doce Tratados* que atribuye a Sendivogio: que el lector entienda sus escritos no por el exterior de las palabras sino por la posibilidad de la naturaleza, porque el arte es para los sabios y no para los ignorantes.

«All things indeed", says the adept, "might have been comprehended in a few lines; but we are willing to guide into the knowledge of nature indirectly, by reasons and examples: that thou may knowest what the thing truly is thou shouldst seek after, also that thou might have nature, her light and shadow, discovered to thee. Be not displeased if thou meetest sometimes with contradictions in my treatises, it being the custom of philosophers to use them; thou hast need of them: if thou understandest them, thou shalt not find a rose without prickles» — el epílogo del mismo autor: todo podría haberse comprendido en pocas líneas, pero guía indirectamente por razones y ejemplos, y avisa de que las contradicciones son costumbre de los filósofos y hacen falta, porque no hay rosa sin espinas.

«Each artist striving yt how to conceal Lest wretched caitiffs shulde the treasure steal. Nor villains shulde their vyllanyes maintain By this rare art; which danger they to heal In horrid metaphors veiled are an art most plain,» — los versos que trae sobre el motivo del ocultamiento: cada artista se afana en encubrirlo para que los rufianes no roben el tesoro ni sostengan con el arte sus villanías, y por eso el arte más llano va velado en metáforas horrendas; el último verso queda del otro lado del corte de plana.

«supported by her witnesses, may enervate it, and induce that strict investigation and thought which should always precede experiment, but which the multitude have never yet been found willing to undertake; and are consequently led astray in progress, and learn as it were by chance.» — la continuación de esa frase: la razón apoyada en sus testigos puede debilitar la negación e inducir la investigación estricta que debe preceder al experimento, cosa que la multitud nunca ha querido emprender.

«Be out of order set by the old clerkes, As I said before, the master of this arte, Every and each of them disclosed but a parte; Wherefore tho’ ye perceived themas ye woulde, Yet ye cannot order or joine them as ye shoulde» — los versos de Norton sobre el desorden deliberado, al otro lado del corte: cada maestro descubrió solo una parte, y aunque se las perciba no se las puede ordenar ni juntar como se debiera.

«Lest each fool knowing yt shulde yt when known disdayne» — el verso que cierra ese pasaje al otro lado del corte: para que ningún necio lo desdeñe una vez conocido.

«And Roger Bacon advises, therefore, to leave off experiments until the ground of wisdom is properly conceived. — "And though I say, take this, and this, believe me not but operate according to the blood; i.e., according to the understanding, and so of all; leave off experiments, apprehend my meaning, and you will find, believe me, being a lighted candle» — el consejo que atribuye a Roger Bacon: dejar los experimentos hasta concebir bien el fundamento de la sabiduría, y operar según el entendimiento y no según la letra del *toma esto y esto*.

«And Basil Valentine and Eiranaeus, and most adepts in short, warn their readers against running into the practice upon vague premises, and before they have attained to a full understanding of the matter to be taken in hand;» — la advertencia común que atribuye a Basilio Valentín, a Eirenaeus y a casi todos los adeptos: no correr a la práctica sobre premisas vagas ni antes de entender del todo la materia.

«yet, notwithstanding all their injunctions, many seekers, and faithful ones too, have been led astray: Geber’s receipts, Basil’s and Glauber’s, though at variance with all common-sense probability, have been the means of surrounding many a literal soul with stills, coals, and furnaces, in hope by such lifeless instruments to sublime the Spirit of Nature; or by salt, sulfur and mercury, or the three combined with antimony, to extract the Form of gold.» — y lo que pasó pese a esas advertencias: las recetas de Geber, de Basilio y de Glauber rodearon a muchas almas literales de alambiques, carbones y hornos para sublimar con instrumentos sin vida el espíritu de la naturaleza.

«But they who have thus fallen to practice, without the true Light or heeding their injunctions, had no right to charge their error on the adepts, the disappointment and misery of those fanatical chemists having been attributable to their own misunderstanding bias, and more frequently owing to the deceit of sophists than to the genuine tradition of Hermetic science.» — y a quién adjudica la culpa de ese fracaso: a los propios practicantes y al engaño de los sofistas, no a los adeptos ni a la tradición hermética genuina.

«Since difficulties however are apparent, and the pretenders to the Art were in latter times far more numerous than the true adepts, and the literature has suffered in consequence grievous disgrace and spoliation, it is not surprising that the public, having been so long and grossly deluded, should at length have shut out Alchemy from amongst its credenda.» — la concesión que hace al público: siendo tantos más los pretendientes que los adeptos y habiendo sufrido la literatura desgracia y expolio, no sorprende que la alquimia quedara excluida de lo creíble.

«If there was no desire to search deeper, it was wisely done, and checked the raging of a sore distemper.» — y el crédito que da a esa exclusión: si no había deseo de buscar más hondo, fue cosa sabia y frenó el furor de un mal grave.

«But that many have fallen into error and suffered, or others proved deceivers, or that the world has chosen to disbelieve, are no proofs in philosophy, even if it were without so many witnesses, that the Hermetic mystery is groundless.» — el límite que le pone en seguida: que muchos erraran, que otros engañaran o que el mundo descrea no son pruebas en filosofía de que el misterio hermético carezca de fundamento.

«The world is fully as ignorant of the genuine doctrine and Art of Wisdom as were the imposters whomit repudiated, and their judgment concerning it is of as little value.» — y el argumento que añade: el mundo es tan ignorante de la doctrina genuina como los impostores que repudió, y su juicio vale tan poco como el de ellos. El troceo pega *whomit*.

«The words of the philosophers remain, though modern science is not able to confirm them, or present anything analogous to the powers they professed, not in the advancement of the mineral kingdom only, but over all nature.» — el estado de cuentas que fija: las palabras de los filósofos siguen ahí aunque la ciencia moderna no pueda confirmarlas ni presentar nada análogo a los poderes que profesaban, no solo en el reino mineral sino sobre toda la naturaleza.

«Est in Mercurio quicquid quaerunt Sapientes — Turba Ecercit.1.» — el lema latino con que abre el capítulo 2 de la parte 1, atribuido a la Turba: en el mercurio está cuanto buscan los sabios. El troceo imprime *Ecercit*.

«The theory of Alchemy, though arcane, is very simple; its basis indeed may be comprehended in that only statement of Arnold di Villanova, in his Speculum, — That there abides in nature a certain pure matter, which, being discovered and brought by art to perfection, converts to itself proportionally all imperfect bodies that it touches.» — la teoría entera reducida a una sola frase de Arnaldo de Vilanova en su *Speculum*: hay en la naturaleza cierta materia pura que, descubierta y llevada por arte a perfección, convierte en sí proporcionalmente todos los cuerpos imperfectos que toca.

«And this would seem to be the true ground of metalline transmutation, and of every other; namely, the homogeneity of the radical substance of things; and on the alleged fact that metals, minerals, and all diversified natures, being of the same created first principles, may be reduced into their common basis or mercurial first matter, the whole Hermetic doctrine appears to hinge and proceed.» — el fundamento que declara para toda la doctrina: la homogeneidad de la sustancia radical de las cosas, y el hecho alegado de que metales, minerales y toda naturaleza diversa pueden reducirse a su base mercurial común.

«The multiform body of the world lies open, but the source everywhere is occult; nor does ordinary analysis at all discover this Universal Matter of the adepts.» — el límite que fija a la ciencia ordinaria: el cuerpo multiforme del mundo está abierto, pero la fuente es oculta en todas partes, y el análisis corriente no descubre esa materia universal.

«It has been accordingly objected, that natural species cannot be transmutable, because the transmutation of different species one into another necessarily implies mixtion and a spurious offspring: thus, that if it were even admitted possible by any means to infuse gold into lead or other inferior form, it would still remain imperfect, and the better species be defiled by the vile admixture; that the result would not in fact be gold at all, but of a middle nature, according to the proportionate virtue of the metals conjoining, golden or leaden, or as the case might be.» — la objeción que expone con todo su peso: transmutar especies implicaría mezcla y prole espuria, de modo que infundir oro en plomo daría una naturaleza media y no oro.

«Since species are indestructible, therefore, the transmutation of metals has been regarded as a sophistical proposition and not a true art.» — y la conclusión de esa objeción: siendo indestructibles las especies, la transmutación de los metales se ha tenido por proposición sofística y no por arte verdadero.

«And this argument the alchemists also admitting, have sometimes seemed to contradict themselves and their science; but such is not really the case and only from want of understanding them has it been supposed so.» — la clave con que la desactiva: los alquimistas admiten ese argumento, y si han parecido contradecirse es porque no se los entiende.

«It is not species that they profess to transmute; nor do they ever teach in theory that lead as lead, or mercury as mercury specificate, can be changed into gold, any more than a dog into a horse; a tulip into a daisy, or vice versa, in this way, anything of unlike kind;» — la distinción que hace: no profesan transmutar especies, ni enseñan que el plomo como plomo o el mercurio como mercurio especificado se vuelvan oro, como no se vuelve un perro caballo ni un tulipán margarita.

«but it is the subject-matter of these metals, the radical moisture of which they are uniformly composed, that they say may be withdrawn by art and transported from inferior Forms, being set free by the force of a superior ferment or attraction.» — sino lo que sí afirman según ella: la materia sujeta de esos metales, la humedad radical que los compone uniformemente, puede retirarse por arte y transportarse desde las formas inferiores.

«Species, says Friar Bacon, are not transmuted, but their subject-matter rather, Species non transmutantur, sed subjecta specierum optime et propriisime: — therefore the first work is to reduce the body into water, that is, into mercury, and this is called Solution, which is the foundation of the whole art» — el pasaje de Roger Bacon que transcribe en latín y en inglés: no se transmutan las especies sino su materia sujeta, y de ahí que la primera obra sea reducir el cuerpo a agua, esto es, a mercurio, lo que se llama Solución.

«And the first preparation and foundation of the Hermetic art, says the author of the Rosarium, is Solution and a reduction of the body into water, which is argent vive: for it is well known to artists that species cannot, as themselves, be transmuted,» — y el mismo principio en el autor del *Rosarium*: la primera preparación y fundamento del arte es la Solución, la reducción del cuerpo a agua, que es argento vivo.

«since they are not liable to sensible action and corruption; but the Subjects of species rather, since they are corruptible and may be changed; yet neither can the Subjects of species be transmuted, unless they are reduced first into their first matter, and made free to pass from one into another form.» — la continuación del argumento del *Rosarium*: ni los sujetos de las especies se transmutan si no se reducen antes a su primera materia y quedan libres para pasar de una forma a otra.

«But this is not contrary to reason, because one form being expelled, another may be introduced, as is evident in rustic operations --- as in the making of glass from flints, stones and ashes: much more then should the experienced philosopher be able to corrupt the Subject-matter of natures and to introduce a new Form» — y la analogía con que lo hace razonable: como en las operaciones rústicas se hace vidrio de pedernales, piedras y cenizas, expulsada una forma puede introducirse otra.

«Arnold, also admitting that species are indestructible, advises therefore that the Subject be freed by an artificial reduction 113. Species non transmutari sed individual specierum» — la misma doctrina en Arnaldo: admitida la indestructibilidad de las especies, aconseja liberar el sujeto por reducción artificial. El troceo imprime *individual* por individua.

«As the Philosopher who in the Book of Meteors did wryte, That the likeness of bodyes metallyne be not transmutable. But afterwards he added theis words of more delyte, Without they be reduced to their beginning materiable; Wherefore such bodies as in nature be liquable Mineral and metalline may be mercurizate, Conceive ye may theis science is not opinable, But very true by Raymond and others determinate» — los versos de Ripley que trae en apoyo: el Filósofo escribió en el Libro de los Meteoros que las semejanzas de los cuerpos metálicos no son transmutables, pero añadió que sí lo son reducidas a su principio material.

«When therefore Lully, speaking of the Art, declares tha species are absolute and cannot be changed one into another, — Elementiva habent vera conditiones et una species se non transmutet in aliam» — la sentencia de Lulio que recoge en latín: los elementos tienen condiciones verdaderas y una especie no se transmuta en otra. El troceo imprime *tha* por that.

«We shall not understand him as denying the art by any means, but a false position of it only; the fundamental possibility and principle of transmutation being not of species, but of their Universal Subject or first matter.» — y cómo la lee: no como negación del arte sino de una posición falsa de él, porque la posibilidad fundamental no está en las especies sino en su sujeto universal.

«And this Universal Subject is the alleged foundation of the whole Hermetic experiment; not only the thing transmutable in natures, as is above the thing transmutable in natures, as is above shown, but the thing transmuting also, when set free and segregated in its proper essentiality, the fermented Spirit assimilates the Light throughout.» — el papel doble que atribuye a ese sujeto universal: lo transmutable en las naturalezas y también lo transmutante, cuando se libera en su esencialidad propia. El troceo repite aquí una cláusula por defecto de la capa de texto.

«Trust not, says the adept, those imposters who tell you of a sulphur tingens, and I know not what fables; who pin also the narrow name of Chemia on a science ancient and infinite.» — la advertencia que atribuye al adepto: no fiarse de quienes hablan de un azufre tingente ni de quienes prenden el nombre estrecho de Chemia a una ciencia antigua e infinita.

«It is the Light only that can be truly multiplied, for this ascends and descends from the first fountain of multiplication and generation. This Light (discovered and perfected by art) applied to any body, exalts and perfects it in its own kind: if to animals, it exalts animals; if to vegetables, vegetables; if to minerals, ir refines minerals, and translates them from the worst to the best condition;» — la tesis de ese mismo pasaje: solo la Luz puede multiplicarse de veras, y aplicada a cualquier cuerpo lo exalta en su propio género, animal, vegetal o mineral.

«where, note by the way, that every body hath passive principles in itself for this Light to work upon, and therefore needs not to borrow any from gold or silver» — y el corolario con que corrige el error corriente: todo cuerpo tiene en sí principios pasivos sobre los que esa Luz obra, y no necesita tomar ninguno del oro ni de la plata.

«This last advice is given to correct a common error, that the alchemists extracted from the Form out of these metals to transmute and increase with.» — el error que dice corregir con esa advertencia: que los alquimistas extraían la Forma de esos metales para transmutar y aumentar con ella.

«Gross misconception of their initial principle has indeed caused their positions frequently to appear ridiculous; as of the common talk, for instance, of weighing and proportioning the elements so exactly as to constitute them into lasting accord; of consolidating the metalline vapor by heat artificially introduced, or by the rays of the sun and moon drawn to simultaneous cooperation, and several such-like literally imputed follies, far from their minds,» — las locuras que dice imputadas por mala lectura del principio inicial: pesar y proporcionar los elementos con exactitud, o consolidar el vapor metálico con calor artificial o con rayos del sol y de la luna.

«having assumed to themselves another principle and another method of generating metals, by which they were enabled to follow nature independently, and help her to exceed the ordinary limits of her law: not by the condensation of imaginary vapors in the mines, or by the assistance of the great luminary or lunar light, but by working, as it is said, the only universal living and occult nature by and through itself, scientifically, which contains within itself the original of all these, even of the whole manifested existence.» — lo que en cambio sostiene que asumieron: otro principio y otro método de generar metales, trabajando por sí misma y a través de sí misma la única naturaleza universal viva y oculta.

«A certain thing is found in the world Which is also in every thing and in every place. It is not earth, nor fire, nor air, nor water, Albeit it wants neither of these things, Nay it can become to be fire, air, water, and earth;» — los versos de la *Lucerna Solis* que transcribe: hay en el mundo cierta cosa que está en toda cosa y en todo lugar, que no es tierra ni fuego ni aire ni agua y puede llegar a ser las cuatro.

«For it contains all nature in itself purely and sincerely; It becomes white and red, is hot and cold, It is moist and dry and is diversifiable every way. The band of Sages only have known it, And they call it their salt.» — la continuación de esos versos al otro lado del corte: contiene toda la naturaleza en sí, se vuelve blanca y roja, caliente y fría, y solo la conoce la banda de los sabios, que la llaman su sal.

«It is extracted from their earth: And has been the ruin of many a fool; For the common earth is worth nothing here, Nor the vulgar salt in any manner, But rather the salt of the world, Which contains in itself all Life: Of it is made that medicine which will preserve you from all maladies» — y el cierre: se extrae de su tierra, ha arruinado a muchos necios, y no vale aquí la tierra común ni la sal vulgar sino la sal del mundo, que contiene toda la vida.

«The Stone is one, says the monk in his Rosary; the medicine is one, in which the whole mystery consists, to which we add nothing nor take away anything, only in the preparation, removing superfluities» — la sentencia del monje del *Rosarium* que transcribe: la piedra es una y la medicina es una, y en la preparación no se añade ni se quita nada salvo las superfluidades.

«All is made of Mercury, says Geber; for when Sol is reduced to his first original, i.e., the mercury, then nature embraceth nature, and by open and manifest proof we have concluded that our Stone is no other than a foetant spirit and living water, which we have named dry water, by natural proportion cleansed and united with such union, that they can never more be absent each from other» — la de Geber: todo se hace de mercurio, y reducido el Sol a su original la naturaleza abraza a la naturaleza; la piedra no sería sino un espíritu fétido y agua viva, llamada agua seca.

«It is Mercury alone which perfects in our work, and we find in it all we have need of; nothing different must be added.» — la de Aquino: solo el mercurio perfecciona en la obra, y en él se halla cuanto hace falta sin añadir nada distinto.

«Some, mistaking, believe that the work cannot be perfected with mercury alone without his sister (i.e., as agent and patient) that thou addest nothing different from mercury; and know also that gold and silver are not unlike in kind to this our Mercury; for it is their root: if thou workest therefore with Mercury alone, without foreign intervention, thou obtainest thy desire.» — y la corrección que ese mismo pasaje hace: no hay que añadir nada distinto del mercurio, y el oro y la plata no son de género ajeno a él porque es su raíz.

«The White and Red proceed from one root, for it dissolves and coagulates itself; whitens, rubifies, and makes itself to be both yellow and black; it unites with itself, conceives itself, and brings itself forth, to the full perfecting of its intention» — el cierre del pasaje de Aquino: blanco y rojo salen de una raíz, porque ese mercurio se disuelve y se coagula, se blanquea y se rubifica, se une consigo, se concibe y se da a luz a sí mismo.

«It is well known, that the Greeks and eastern sages derived all things in common from a certain pure and hidden fire; Stoics, Pythagoreans, Platonists, and Peripatetics view with each other in celebrating the occult virtues of the Ether; its all-pervading essence and perfective power: in it they place the providential regulation of nature; it was the very life and substance of their theosophy, in which from the highest to the lowest confines of existence, from Jove to the last link in the infernal monarchy, all were inhabiting the ethereal world;» — el linaje que traza para la doctrina del éter: estoicos, pitagóricos, platónicos y peripatéticos celebrando sus virtudes ocultas y poniendo en él la regulación providencial de la naturaleza.

«Principio coelum, ac terras, composque liquentes, Lucentemque globum Lunae, Titaniaque astra, Spiritus intus alit; totamque infusaper artus Mens agitat molem, et magno se corpore miscet» — los versos de Virgilio que transcribe en latín: un espíritu alimenta por dentro el cielo, las tierras, los llanos líquidos, el globo luciente de la Luna y los astros, y una mente mueve la mole entera. El troceo imprime *composque* e *infusaper*.

«And the assertions of the Ethnics, about the Anima Mundi, differ very little or nothing in substance from the Hebrew doctrine, but in words only; neither are their opinions so heinous or ridiculous as the zealous policy of ignorance, under a Christian guise, has too often caused them to appear.» — la equivalencia que establece sin arbitrar: lo que los gentiles afirman del Alma del Mundo difiere poco o nada en sustancia de la doctrina hebrea, solo en palabras.

«That there is a fluid or vitalizing principle invisibly permeating all things, and resident in the air we breathe, common experience indicates, for life cannot subsist without air, not in all kinds of air; but there is some one quality or ingredient in the atmosphere which is a secret food of life, and on which it immediately depends;» — el argumento de sentido común con que lo apoya: la vida no subsiste sin aire ni en cualquier aire, luego hay en la atmósfera una cualidad que es alimento secreto de la vida.

«what this aliment is, though many names have been invented, the moderns in default of knowledge are not agreed; and seeing it escapes the test of their closest vessels and analyses, and that it can be neither seen, heard, felt, nor naturally understood, the ancient theory of the One Element has been very much derided.» — y la negativa que consigna del lado moderno: no hay acuerdo sobre qué sea ese alimento, y como escapa a los vasos y análisis más cerrados, la teoría antigua del Elemento Único ha quedado muy escarnecida.

«The chemist, Homberg, indeed, with Boerhaave, Boyle, and others eminent of that period, hold with the alchemists, that there is a distinct substance universally» — los modernos que alinea del lado de los alquimistas: Homberg, Boerhaave, Boyle y otros eminentes de su tiempo sostendrían que hay una sustancia distinta universalmente difundida; la frase se corta en el cambio de plana.

«Bishop Berkeley, too, in his Siris, contends learnedly in favor of the same universal material, which he likewise calls ether, and a pure invisible fire --- the most subtle and elastic of all bodies pervading all, and considers that it is from thence, and not from any mingled property, that the air has its power of sustenance and vitalization.» — y lo que atribuye a Berkeley en su *Siris*: el mismo material universal, al que llama éter y fuego puro invisible, del que vendría la virtud sustentadora del aire y no de ninguna propiedad mezclada.

«These then, with a few others, in recent times have so far concurred with the ancients in distinguishing the fontal Spirit of nature, apart from its manifestation, and as distinct from that elementary ignition with which we are sensibly familiar; for they do not allow that to be fire indeed, but an excitation only or effect of the antecedent potency which they describe.» — en qué coinciden esos modernos con los antiguos según ella: distinguen el espíritu fontal de la naturaleza de su manifestación, y no admiten por fuego la ignición elemental sino por mera excitación de una potencia antecedente.

«But then they could adduce no tangible proof of their doctrine. The worked could not see their invisible fire. It has therefore been regarded as a mere speculative chimera (which in part it was perhaps, in their minds, without experience), and, accordingly, disbelieved.» — y el límite que les pone con todo: no pudieron aducir prueba tangible, el mundo no podía ver su fuego invisible, y la doctrina quedó por quimera especulativa. El troceo imprime *worked* por world.

«For philosophy, at length, laudably anxious to prove all things, yet too idle to theorize, will suppose nothing that is not openly shown; how then should she recognize that recondite fire?» — el reproche que dirige a la filosofía de su tiempo: laudablemente ansiosa de probarlo todo y demasiado ociosa para teorizar, no supone nada que no se le muestre abiertamente.

«Neither are we desirous absolutely to assume it here, for though experiments of recent date seem to supply concurrent evidence, and the phenomena of Mesmerism have helped to force again on the minds of the more observing portion of mankind the supposition of a New Imponderable, or Odic Force, yet, few believe;» — la abstención que declara sobre ese fuego: no quiere darlo por supuesto, y aunque los experimentos recientes y los fenómenos del mesmerismo hayan reintroducido la suposición de un Nuevo Imponderable o Fuerza Ódica, pocos creen.

«and we pass it now to continue our research concerning that elder Quintessence of the magi which they introduce, not as a being of speculation merely, but of experimental science; not perceptible only in mingled forms, in the common air or elementary water, but as an essence compact and tangible without heterogeneity; in which pure estate, the Kabalists, also describing, call it, Lumen Vestimenti, the Vehicle of Light;» — lo que en cambio se propone seguir: la quintaesencia antigua de los magos, no como ser de especulación sino de ciencia experimental, esencia compacta y tangible sin heterogeneidad.

«and the Greeks, the Free Ether, that is to say, freed from the prison of gross matter, and able to work of itself intimately by the virtue of its own included light.» — el nombre griego que le da y su sentido: Éter Libre, es decir, liberado de la prisión de la materia grosera y capaz de obrar por sí por la virtud de su propia luz incluida.

«Thus Zeno defines it, — Ignem esse artificiosum, ad gignendum progredientem via; — as a plastic fire, ever generating by rule.» — la definición de Zenón que transcribe en latín y traduce en la misma línea: un fuego artificioso que avanza por vía a engendrar, es decir, un fuego plástico que genera siempre por regla.

«And Cicero, as that coelestis alstissima aethereaque natura, id est ignea aquae per se omnia gignat, --- that most heavenly high ethereal» — la definición que atribuye a Cicerón, en latín y con la traducción empezada: aquella naturaleza celeste altísima y etérea, ígnea, que engendra por sí todas las cosas. El troceo imprime *alstissima* e *ignea aquae*, y la traducción se corta en el cambio de plana.

«apparent in ordinary life; but, since these alchemists profess to have enjoyed another experience, and through their Art to have discovered her in her simple essentiality, to be that total which works all conditionedly throughout existence, it will therefore be requisite to consider their whole doctrine with reference to this presumed unity, and by no means be led aside by their metaphoric language into a common misconstruction of its meaning; but since, according to the old maxim, All is in Mercury which the wise men seek, let us seek therefore if we may be able at all to identify this mercury, and whether the same ancient material be yet on earth.» — el programa que fija para lo que sigue: considerar la doctrina entera con referencia a esa unidad presumida, sin dejarse llevar por el lenguaje metafórico, y buscar si es posible identificar ese mercurio y si la materia antigua sigue en la tierra.

«diffused, though sensible only in its mixed forms and powerful effects; that it is the alone pure and active source of all things, and most firm bond of the natural elements, giving life to all bodies, penetrating and sustaining all things, and enlivening all; that this mighty Ether moreover is always at hand, ready to break forth into action on predisposed subjects; fermenting, producing, destroying, and governing the total course of nature.» — la continuación de lo que atribuye a Homberg, Boerhaave y Boyle: fuente única, pura y activa de todas las cosas, vínculo firmísimo de los elementos, éter siempre a mano y pronto a obrar sobre sujetos predispuestos.

«igneous nature, which spontaneously begets all things» — el final de la traducción de Cicerón al otro lado del corte: naturaleza ígnea que engendra espontáneamente todas las cosas.

«For the goddess is subtilely mingled in nature commonly observable in her action only, as adepts say, and to the world unknown, as we, as we may observe Lully, amongst others telling us, she is of another birth, and cannot be brought to knowledge without sagacious handling and human help.» — y cómo se conoce esa diosa según los adeptos: mezclada sutilmente en la naturaleza, observable solo en su acción, de otro nacimiento y no traída al conocimiento sin manejo sagaz y ayuda humana.

«Imo argentums vivum nostrum est aqua alterius naturae, quae reperiri non potest supra terram, cum in actionem venire non posit per naturam, absque adjutorio ingenii et humanarum manuum operationibus» — el pasaje latino de Lulio en que apoya eso: nuestro argento vivo es un agua de otra naturaleza que no puede hallarse sobre la tierra, porque no llega a la acción por naturaleza sin la ayuda del ingenio y de las manos humanas. El troceo imprime *argentums*.

«Hoc vere nulibi est quod quaerimus. Nowhere; for the ethereal spirit does not subsist of itself,» — la sentencia latina que subraya esa ausencia y su glosa inmediata: lo que buscamos no está en ninguna parte, porque el espíritu etéreo no subsiste por sí mismo sobre la tierra. El troceo imprime *nulibi*.

«but, giving subsistence to other beings, is occultated even in their life, and defiled.» — cómo explica esa ausencia: dando subsistencia a otros seres, ese espíritu queda ocultado dentro de la vida de ellos y contaminado.

«It is moreover, an especial doctrine of adepts, that nature operates her ordinary manifestation in direct contrariety to her perfect law; that, as darkness and imperfection are now apparent, the true Light is made occult;» — la doctrina que llama especial de los adeptos: la naturaleza obra su manifestación ordinaria en contrariedad directa a su ley perfecta, y por eso la Luz verdadera queda oculta mientras se ven oscuridad e imperfección.

«and that neither sanity nor beauty can permanently supervene in bodies, unless the contrary be operated in them; so that that which is fixed becoming volatile and the volatile nature fixed, the adventitious or externally generated image may be constricted utterly, and the central form contrariwise developed into life and act.» — y la consecuencia operativa: ni salud ni belleza sobrevienen de modo permanente a los cuerpos si no se obra en ellos lo contrario, fijando lo volátil y volatilizando lo fijo, para que la imagen externa se constriña y la forma central se desarrolle.

«Si fixum solvas faciasqu volare solutum Et volucrem figas, facient te vivere tutum: Solve, Coagula, Fige.» — el dístico latino con su divisa que transcribe: si disuelves lo fijo y haces volar lo disuelto y fijas lo volátil, vivirás seguro. Solve, coagula, fige. El troceo imprime *faciasqu*.

«has proved imperfections to be accidental to nature, and introduced to her from without; that as water, spread abroad upon a many-colored surface of earth, salts, or spices takes the hue and flavor of the spot on which it rests, so it is with the prolific source of things; specie subsist in it adventitiously, as it were, by sufferance, and may be expelled, and ought to be for the attainment of perfection.» — la tesis que atribuye a esa inversión experimental: las imperfecciones son accidentales a la naturaleza y le vienen de fuera, como el agua toma el color y el sabor del suelo donde se posa. La frase salta el corte de plana.

«Whoever desires to attain this end, says Arnold, let him understand the conversion of the elements, to make light things heavy, and to make spirits no spirits, then he shall not work in a strange thing. Converte elementa et quod quaeris invenies» — el precepto de Arnaldo que transcribe: quien quiera alcanzar este fin entienda la conversión de los elementos, haga pesadas las cosas ligeras y no espíritus a los espíritus, y no trabajará en cosa extraña.

«And if any skillful minister of nature shall apply force to nature; and, by design, torture and vex it in order to its annihilation, says the philosopher; it, on the contrary, being brought to this necessity, changes and transforms itself into a strange variety of shapes and appearances; for nothing but the power of the Creator can annihilate it or truly destroy; so that, at length, running through the whole circle of transformations, and completing its period, it in some degree restores itself, if the force be continued.» — el pasaje que transcribe sobre torturar a la naturaleza: forzada hacia su aniquilación se transforma en una variedad extraña de figuras, porque solo el poder del Creador puede aniquilarla, y al completar el círculo se restituye en algún grado.

«And that method of torturing or detaining will prove the most effectual and expeditious which makes use of manacles and fetters; i.e., lays hold and works upon matter in the extremist degree» — y el método que ese pasaje prefiere: el que usa esposas y grillos, es decir, el que agarra y obra sobre la materia en el grado extremo.

«So much does Lord Bacon assume upon the declaration of Democritus; our philosopher had in him the bright light of genius, which enabled in him independently of experience to conceive well and grapple with the possibility of nature.» — a quién adjudica ese pasaje: Bacon lo asume sobre la declaración de Demócrito, y le concede una luz de genio que le permitía concebir la posibilidad de la naturaleza sin experiencia.

«Though chained to the superficies, observing and collecting facts, he honored those sages who long before him had experimented into the center, and proved there a firm and immutable foundation of truth; but thither he was not himself able to pass, for he knew nothing of their Great Art, or of its subject even, and naturally mistook their hidden ground.» — el límite que le pone a Bacon: honró a los sabios que habían experimentado hacia el centro, pero no supo pasar allá porque nada sabía de su gran arte ni de su sujeto, y erró su terreno oculto.

«Had the smallest glimpse only been revealed to him, he would have imagined all differently, or even proposed that the dissolution of nature should be attempted mechanically, or by help of such “particular digesters applied to the fire”, as in the Sylva Sylvarum he seriously designs for this end» — y lo que deduce de esa ignorancia: de haber tenido el menor atisbo no habría propuesto disolver la naturaleza mecánicamente con los digestores particulares aplicados al fuego que diseña en la *Sylva Sylvarum*.

«Such instruments do, in fact, expel the very nature which the ancients prized; leaving us without all recompense in the dead ashes of her consuming vesture;» — el efecto que atribuye a esos instrumentos: expulsan justamente la naturaleza que los antiguos apreciaban y dejan sin recompensa las cenizas muertas de su vestidura consumida.

«It is requisite, however, to distinguish airs here, lest we speak profanely, calling that Jove which is not Jove; and mistaking Olympus, embrace some cloud whilst the life-giving Juno is far away above all» — la distinción que exige antes de seguir: hay que distinguir los aires para no llamar Júpiter a lo que no lo es ni abrazar una nube por el Olimpo mientras Juno, la que da la vida, queda muy por encima. La frase se corta en el cambio de plana.

«whereas, the proposal of Democritus is not only to reduce the matter, with her false forms, to the verge of annihilation, but» — lo que en cambio propondría Demócrito: no solo llevar la materia con sus formas falsas al borde de la aniquilación, sino algo más; la frase se corta en el cambio de plana.

«But if she is suffered to depart invisibly without pursuit or amendment, which is the common catastrophe, then she is caught up by other external compellants, and becoming defiled, is imprisoned by them and no better than she was before.» — y lo que pasa si no se hace: la naturaleza se va invisible, la recogen otros compelentes externos, queda contaminada y presa, y no está mejor que antes.

«The contrariation proposed by the proposed by the alchemists, indeed, is not the power of ordinary art, any more than of nature herself; but she passes through death from one form into another, as in the chemic vessels, without self-discovery, being instigated by a most forcible excentric will, which she has no power but to obey:» — la salvedad que hace sobre esa contrariación: no es poder del arte ordinario ni de la naturaleza misma, que pasa de una forma a otra sin descubrirse a sí, instigada por una voluntad excéntrica a la que solo puede obedecer. El troceo duplica aquí *the proposed by*.

«And that magic, says Paracelsus, is the most singular secret that directed such an entrance into nature; which, if it were divinely done by God alone, it would be to no purpose to study for it. But the Deity doth not make himself especially operative herein: if that magic then were natural, certainly it was most wonderful, very excellent for quickness of separation, the like whereof nature can neither give nor express.» — lo que atribuye a Paracelso sobre esa magia: sería el secreto más singular, y si lo hiciera Dios solo no valdría la pena estudiarlo; siendo natural, es excelentísima por la prontitud de la separación.

«The greatest miracle of all in philosophy is separation: separation was the principle and beginning of all generation. And as it was in the great mystery, so it is in the lesser. The truphat, or matter of the metals, brings everything into its due form» — la sentencia de Paracelso que sigue: el mayor milagro de la filosofía es la separación, principio y comienzo de toda generación, y así en el misterio mayor como en el menor.

«Convert the elements, says Arnold, and you will find what you seek; for our operation is nothing else than a mutation of natures, and the method of conversion in our Argent vive is the reduction of natures to their first root» — la fórmula de Arnaldo repetida: convierte los elementos y hallarás lo que buscas, porque la operación no es sino una mutación de naturalezas y su reducción a la raíz primera.

«The elements of Mercury being separated, says Ripley, and again commixed by equal weight or proportion, make the elixir complete» — y la de Ripley: separados los elementos del mercurio y vueltos a mezclar por peso o proporción iguales, queda completo el elixir.

«Now as we are taught from the beginning, that the whole of the Hermetic theory and practice proceeds upon the assumption of a certain Universal Being in nature, which is occult, and since the whole Art therefore has respect to this, we may be careful to observe that in speaking of elements, our authors do not allude to the common elements — as of fire, air and water — with which we are familiarly conversant, or to those subtler gases, so called simples of modern Chemistry, all of which are impure and equally irrelevant to this philosophy» — la advertencia de lectura que subraya: cuando esos autores hablan de elementos no aluden al fuego, el aire y el agua comunes ni a los gases simples de la química moderna, que juzga impuros e irrelevantes para esta filosofía.

«but the elements they speak of, as being introverted and transformed are the elements of the Mercury, properties of the» — los elementos que esos autores sí nombran según ella: los del mercurio, propiedades de un espíritu que la frase nombra al otro lado del corte de plana.

«We must not limit, says Paracelsus, an element to a bodily substance or quality. That which we see is only the receptacle; the true element is a spirit of life, and grows in all things, as the soul in the body of man.» — la definición de elemento que atribuye a Paracelso: no ha de limitarse a sustancia ni cualidad corporal, porque lo que se ve es solo el receptáculo y el elemento verdadero es un espíritu de vida que crece en todo como el alma en el cuerpo.

«This is the First Matter of the elements, which can neither be seen nor felt, and yet is in all things; and the first matter of the elements of the elements is nothing else but that life which the creatures have; and it is these magical elements which are of such an excellent and quick activity that nothing besides can be found or imagined like them» — y su continuación: la primera materia de los elementos no puede verse ni palparse y está en todo; la de los elementos de los elementos no es sino la vida que tienen las criaturas.

«We do not know whether we have set the position clearly, that the order of natural procedure ought to be introverted for a true and perfect manifestation; the point is subtle, and as it may be more easily apprehended hereafter on more intimate ground, we leave it for the present to consider especially what that nature was, which the alchemists profess to have revolutionized, in order that gathering their definitions of the whole, we may be better able afterwards to conceive the particulars.» — la reserva con que cierra ese tramo: no sabe si dejó clara la posición de que el orden natural debe invertirse, y prefiere pasar a considerar qué naturaleza es la que los alquimistas dicen haber revolucionado.

«Qui Proteum non novit, adeum Pana. Fortis subtilis Pan, integer et generalis; Et totus ignis, aura, terra, sive aqua, Qui resides solio cum tempore semper eodem Medio, supreme et infimo regno tuo. Concipiens, generans, producens, omnia servans, Exordium rerumque finis omnium» — los versos latinos a Pan que transcribe: quien no conoce a Proteo, que vaya a Pan; fuerte y sutil, íntegro y general, todo fuego, aire, tierra o agua, que concibe, engendra, produce y guarda todas las cosas, principio y fin de todo.

«Yet not in his elementary immanifest diffusion let us invoke the most Ancient Nature, but as he was discovered by the Hermetic masters; whole, and singularly, and before any alteration had been induced in his uniform substance by their art.» — cómo quiere invocar a esa naturaleza antiquísima: no en su difusión elemental inmanifiesta, sino tal como la descubrieron los maestros herméticos, entera y antes de que su arte alterara su sustancia uniforme.

«to entrap the bare spirit and help her on from thence to operate her own intrinsical freed will, which according to this testimony she possesses, and is able to manifest, wrapping herself spontaneously about it, even to a recreation.» — la continuación de la propuesta de Demócrito al otro lado del corte: atrapar el espíritu desnudo y ayudarlo a obrar su propia voluntad libre, que se envuelve espontáneamente hasta una recreación.

«universal spirit; in which, and by which alone, they profess to have operated the perfective miracle of their Stone.» — y el final de esa frase: los elementos del mercurio son propiedades del espíritu universal, en el que y por el que solo profesan haber obrado el milagro perfectivo de su piedra.

«Thus Albertus Magnus defines the mercury of the wise to be a watery element, cold and moist, a permanent water, an unctuous vapor, and the spirit of body; and again, --- the first material of the metals is an unctuous subtle humidity, forcibly incorporated with a subtle terrestreity» — la definición de Alberto Magno que recoge: el mercurio de los sabios es elemento acuoso, frío y húmedo, agua permanente, vapor untuoso y espíritu del cuerpo, y la primera materia de los metales una humedad untuosa y sutil incorporada por fuerza a una terrestreidad sutil.

«Atrephius describes it as a white fume, in substance like to pure silver, resolving bodies into their original whiteness; and as a vegetable life making all things to grow, multiply and resuscitate» — la de Artefio: un humo blanco, en sustancia como plata pura, que resuelve los cuerpos a su blancura original y obra como vida vegetal que hace crecer, multiplicar y resucitar. El troceo imprime *Atrephius*.

«Which Lully, not dissimilarly viewing, calls Hyle, saying, that it is a clear compounded water, most like in» — la de Lulio: la llama Hyle y dice que es un agua clara compuesta; la comparación con el argento vivo queda al otro lado del corte de plana.

«Seek our Argent vive, says Arnold, and you will have all you desire from it; it is a stone and no stone, in which the whole Art consists, spirit, soul and body; which if thou coagulatest, it will be coagulated; an if thou makest it fly, it will fly; for it is volatile, and clear as a tear.» — la de Arnaldo: busca nuestro argento vivo y de él tendrás cuanto deseas; es piedra y no piedra, espíritu, alma y cuerpo, y si lo coagulas se coagula y si lo haces volar vuela.

«And afterwards, it is made citrine, then saltish, but without crystals; and no man may touch it with his tongue, for it is a deadly poison.» — la continuación de Arnaldo: después se vuelve citrino y luego salino sin cristales, y nadie lo toque con la lengua porque es veneno mortal.

«Behold, I have described it to thee; but I have not named it, lest it should become common in the hands of all; nevertheless, I will in a manner name it, and tell thee that if thou say it is water, thou dost say truth; and if thou sayest it is not water, thou dost lie.» — y la manera en que Arnaldo lo nombra sin nombrarlo: si dices que es agua dices verdad, y si dices que no es agua mientes.

«Be not therefore deceived with manifold descriptions and operations, for it is One Thing to which nothing extraneous is added» — el cierre del pasaje de Arnaldo: no engañarse con la multitud de descripciones y operaciones, porque es una sola cosa a la que nada extraño se añade.

«There is another found speaking after the same sense — Belus, in the classic synod of Aristaeus; and this, he says, amongst all great philosophers is magisterial, that our stone is no stone; though with the ignorant this is ridiculous; for who will believe that water can be made a stone, or a stone water; noting is more different than these two? Yet, in very truth, it is so; for this very permanent water is the stone, but whilst it is water it is no stone» — el testimonio de Belo en el sínodo clásico de Aristeo: que nuestra piedra no es piedra es magistral entre los grandes filósofos, y el agua permanente es la piedra mientras que, siendo agua, no es piedra.

«The whole art depends on it; For he who has the vapor of this thing, Has the gilded splendor of the Red Lyon, The pure and clear Mercury.» — y su continuación: quien tiene el vapor de esa cosa tiene el esplendor dorado del León Rojo, el mercurio puro y claro.

«substance to argent vive, that it is found flowing upon earth, and is generated in every compound out of the substance of the air, therefore the moisture is extremely heavy» — la continuación de la definición de Lulio: semejantísima en sustancia al argento vivo, se halla fluyendo sobre la tierra y se genera en todo compuesto de la sustancia del aire, de donde la humedad es extremadamente pesada.

«It is a stone and no stone, In which the whole art consists; Nature has made it such, But has not yet brought it to perfection. You will not find it on earth, since there it has no growth; It grows only in the caverns of the mountains.» — los versos que transcribe sobre la piedra que no es piedra: la naturaleza la hizo tal y no la llevó a perfección, y no se halla sobre la tierra sino que crece en las cavernas de los montes.

«And Rupecissa says the same: and Ripley, that is not like any common water or earthy material, but a middle substance, — Aquosa substantia sicca reperta, — partaking of extremes celestial and terrestrial;» — la de Rupescissa y Ripley: no se parece a agua común ni a material terrestre, sino que es sustancia media —*aquosa substantia sicca reperta*— que participa de los extremos celeste y terrestre.

«and though it may seem contradictory so to speak of a fist matter, as of a middle, or third; yet this is done in respect to its generation by active and passive relations of the Universal Spirit, whence it proceeds as a third, yet homogeneal from its radix; Lully also calls it tertium, and compounded in this sense;» — cómo resuelve la aparente contradicción de llamar media o tercera a una primera materia: por su generación en relaciones activa y pasiva del espíritu universal, de donde procede como tercera y homogénea desde su raíz. El troceo imprime *fist* por first.

«Corpus anima spiritus in duobus existit, Ex quibus tota res procedit: Procedit ex uno et est res una, Volatile et fixum simul colliga, Sunt duo et tria et saltem unum Si non intelliges, nihil obtines» — los versos latinos de Basilio Valentín que transcribe: cuerpo, alma y espíritu existen en dos, de los que procede la cosa entera; procede de uno y es una sola cosa; liga a la vez lo volátil y lo fijo; son dos y tres y al fin uno, y si no lo entiendes nada obtienes.

«And Vaughan, for example of a modern authority, say that the First Matter is indeed the union of masculine and feminine spirits; the quintessence of four, the ternary of three, and the tetract of one; and that these are his generations, physical and metaphysical.» — la definición de Vaughan que da por autoridad moderna: la primera materia es la unión de los espíritus masculino y femenino, quintaesencia de cuatro, ternario de tres y tetracta de uno.

«The thing itself, continues he, is a world without form, a divine animated mass of complexion like silver, neither mere power nor perfect action, but a weak virgin substance, a certain soft prolific Venus, the very love and seed of nature, the mixture and moisture of heaven and earth» — la continuación de Vaughan: un mundo sin forma, masa divina animada de tez como de plata, ni potencia mera ni acto perfecto, sino una sustancia virgen débil, cierta Venus blanda y prolífica.

«As Sendivogius likewise declares, — Our water is heavenly, not wetting the hands, not of the vulgar, but almost rain water» — la de Sendivogio: nuestra agua es celestial, no moja las manos, no es la vulgar, y es casi agua de lluvia.

«and by such familiar analogies as tears, rain, dew, milk, wine, and oil, the fermental principle of the spirit and her distilled quintessence are very ordinarily denoted.» — las analogías con que dice que se denota de ordinario ese principio fermental y su quintaesencia destilada: lágrimas, lluvia, rocío, leche, vino y aceite.

«It is, says this esteemed author, speaking of the same Matter, a clear Light, which fills with true virtue every mind that has once perceived it; it is the nucleus and bond of all the elements which are contained in it, and the spirit which nourishes all things, and by means of which nature operates universally; it is the virtue, true beginning, and end of the whole world;» — el pasaje del libro antiguo de Sinesio y del *New Light* que transcribe: una luz clara que llena de virtud a toda mente que la percibe, núcleo y lazo de los elementos, espíritu que nutre todas las cosas y por el que la naturaleza obra universalmente.

«in plain terms, the quintessence is no other than our viscous celestial and glorious soul drawn from its minera by our magistery.» — y su definición llana en ese mismo pasaje: la quintaesencia no es otra cosa que nuestra alma viscosa, celestial y gloriosa, sacada de su mina por el magisterio.

«But nature alone engenders it; it is not possible to make it by art; for to create is proper to God alone; but to» — el límite que ese pasaje pone al arte: solo la naturaleza la engendra y no cabe hacerla por arte, porque crear es propio de Dios; la excepción concedida al filósofo queda al otro lado del corte de plana.

«And this Latex is the sharp vinegar which makes gold a pure spirit, seeing she is even that blessed water which engenders al things, Our subject is presented to the eyes of the whole world, and it is not known!» — la identificación que hace ese pasaje: el latex es el vinagre agudo que vuelve al oro espíritu puro, el agua bendita que engendra todas las cosas, y el sujeto está ante los ojos del mundo entero sin ser conocido.

«O our heaven, O our water, O our mercury, O our slat nitre, abiding in the sea of the world! O our vegetable; O our sulfur, fixed and volatile; O our caput mortuum, or dead head, or foeces of our sea! Our water, that wets not the hands; without which nothing grows or is generated in the whole world!» — la letanía de nombres que sigue en ese pasaje: nuestro cielo, nuestra agua, nuestro mercurio, nuestro nitro, nuestro vegetal, nuestro azufre fijo y volátil, nuestra cabeza muerta, nuestra agua que no moja las manos. El troceo imprime *slat* por salt.

«And these are the Epithetes of Hermes, his Bird, which is never at rest. It is of small account, yet no body can be without it, and so thou hast discovered to thee a ting more precious than the whole world; which I plainly tell thee is nothing else than our sea water, which is congealed in gold and silver, and extracted by the help of our chalybs, or steel, by the art of philosophers, in a wonderful manner by a prudent son of science.» — y el cierre de ese pasaje: son los epítetos del ave de Hermes, que nunca descansa, y lo llamado no es sino agua de mar congelada en oro y plata, extraída con ayuda del *chalybs* o acero.

«declares it to be comparable to no manifested particular whatever, and that all description fails in respect of it, without the light of true experience.» — la definición negativa que atribuye a Basilio Valentín: la primera materia no es comparable a ningún particular manifiesto, y toda descripción falla sin la luz de la experiencia verdadera.

«make things that are not perceived, but which lie in the shadow to appear, and to take from them their veil, is granted to an intelligent philosopher by God, through nature.» — la excepción que ese pasaje concede al filósofo inteligente: hacer aparecer lo que no se percibe y yace en la sombra, y quitarle el velo, le está concedido por Dios a través de la naturaleza.

«Thus obscure, after all, is the true Matter of the Alchemists; and if we presume to add here, that it is the simple generated substance of life and light, immanifestly flowing throughout nature, and define it as that without which nothing that exists is able to be, we are not for this yet wiser how to obtain or work it apart; nor are words sufficient to convey a just notion where there is no ground of apprehension; and whether a thing be most like water, earth, fire, quicksilver, azote, or ether, is indifferent to the mind, needing actual experience to fix its idea.» — el balance que hace de todas esas definiciones: la materia verdadera queda oscura, y aunque se la defina como la sustancia simple generada de vida y luz, eso no enseña a obtenerla ni a trabajarla aparte.

«This the art promises to a patient and true philosopher, but as a reward of individual labor and perseverance only.» — y la condición que el arte pone según ella: promete esa experiencia al filósofo paciente y verdadero, pero solo como recompensa de labor y perseverancia individuales.

«We may content ourselves thus early, therefore, with the exclusive assurance that it is no one of the many things with which sense brings us acquainted; that it is neither water, nor earth, nor air, nor fire, though it contains in principle the nature of all these; neither gold, nor silver, nor mercury, nor antimony, nor any alkali, or gas, or vitriol of the vulgar; though these titles are found interspersed abundantly with others, equally deceptive, in the pages of the adepts.» — la única seguridad que da de momento, y en forma negativa: no es ninguna de las cosas que los sentidos conocen, ni agua ni tierra ni aire ni fuego, ni oro ni plata ni mercurio ni antimonio ni álcali ni vitriolo del vulgo.

«Neither is it animal absolutely, or vegetable, or mineral, or any natural particular whatever: but the alone Laelia Aelia latent in and about all, which the Enigma celebrates as comprehending all; but which the Alchemists alone teach experimentally to expound.» — y lo que sí dice que es: la sola Laelia Aelia latente en todo y alrededor de todo, que el enigma celebra por comprenderlo todo y que solo los alquimistas enseñan a exponer experimentalmente.

«The ordinary phenomena of light, however, may occur, as not dissimilar from those which they describe; only that they are shadowy and mingled, compared with the alleged virtue and perfective properties of the Philosophic Subject.» — la analogía que admite y a la vez recorta: los fenómenos ordinarios de la luz no son disímiles de lo que describen, salvo que resultan sombríos y mezclados junto a las virtudes que se alegan del sujeto filosófico.

«Yet as colors — blue, red, yellow and purple — are blended in the one uniform solar light, and are» — la comparación prismática con que explica al Pan alquímico: los colores van mezclados en la luz solar única; la frase se corta en el cambio de plana.

«The ever varying substance of the whole Etherial, watery, earthy general soul, Immortal Fire! Even all the world is thine And pars of thee, O Proteus, power divine; Since all things nature first to thee consigned, And in thy essence omniform combined.» — los versos a Proteo que transcribe: sustancia siempre cambiante del alma general etérea, acuosa y terrestre, fuego inmortal, a quien la naturaleza consignó todas las cosas combinadas en su esencia omniforme.

«Then, again, as light and heat mingle with bodies entering their composition, hardening some, softening others, destroying or cherishing, changing their aspect continually, and modifying their qualities; so is the Mercurial quintessence said to produce all various effects, but within itself consummately without external reference, or elementary confusion.» — la segunda analogía que propone: como luz y calor se mezclan con los cuerpos endureciendo o ablandando, así la quintaesencia mercurial produciría todos los efectos, pero dentro de sí misma y sin referencia externa.

«Hitherto we have had account of the Matter only as it first appears, pure, as they say, and white, out of the philosophical contrition; and so far, we find the testimony sufficiently congruous:» — el punto en que se reconoce: hasta aquí solo ha dado cuenta de la materia tal como aparece primero, pura y blanca tras la contrición filosófica, y hasta ahí los testimonios le resultan bastante congruentes.

«but when the wise artist has brought all into this annihilate condition, and pressed out the waters of her extreme life; nature re-acting, as it is said, exhibits from out her unity three great magnetic principles of being — the Salt, Sulfur, and Mercury of adepts, in relation to each other of agent, patient, and offspring universal, — perpetually flowing forth to multitudinous manifestation.» — y lo que sigue según los adeptos: exprimidas las aguas de su vida extrema, la naturaleza reacciona y exhibe de su unidad tres principios magnéticos —sal, azufre y mercurio— como agente, paciente y prole universal.

«For Pan contains Proteus, as we have seen before from Democritus, and exhibits himself through this god; evolving every particular property and form of beings, out of his central will, of necessity, as the Orphic oracles declares;» — la relación que establece entre las dos figuras: Pan contiene a Proteo y se exhibe por medio de él, evolucionando de su voluntad central toda propiedad y forma, como declararían los oráculos órficos.

«Hear me, O Mercury, and Son of Maia; the bright expositor of things!» — la invocación que cita con la misma alusión: Mercurio, hijo de Maya, expositor brillante de las cosas.

«shown apart simply by a prismatic parting of the rays, or particles of their essence; and again, when the disposition is exchanged, relapsing, they exhibit the uniform whiteness whence they came; so is it said to be with the Alchemical Pan, who, being but one himself, is in his offspring multitudinous, and manifold in every diversity of form, hue, and complexion.» — la continuación de esa comparación: separados los colores por el prisma y devueltos a su disposición reaparece la blancura uniforme, y así el Pan alquímico, siendo uno, es multitudinario en su prole.

«This Proteus, then, or Mercury, or quintessence of philosophers, is warily concealed by them under an infinity of names, all more or less applicable, yet delusive; for though every epithet is admissible, inasmuch as nothing can be said amiss of a Universal Subjet, yet the right conception is hard to gather from their books.» — la razón que da de la dificultad: ese Proteo o mercurio está ocultado bajo una infinidad de nombres, todos admisibles porque nada se dice mal de un sujeto universal y todos por eso engañosos. El troceo imprime *Subjet*.

«Proceeding homogeneal through each omniform variety, and returning into herself manifestly the life and all phenomena which she as constantly supplies, the great Identity is as herself unchanged;» — y lo que permanece bajo esas mutaciones: procediendo homogénea por cada variedad omniforme y volviendo a sí misma, la gran Identidad queda inalterada.

«Et, quanto illa magis formas se vertet in omnes, Tanto, nate, magis tenacia vincla» — el dístico virgiliano que cita a ese propósito: cuanto más se vuelva ella a todas las formas, tanto más tenaces, hijo, han de ser las ataduras.

«Adepts have taken advantage of the mutable nature of their subject, to baffle the blind searcher, as well to confound false premises as to led the intelligent to a discovery of the simple truth;» — el uso doble que atribuye a esa mutabilidad: desconcertar al buscador ciego y confundir las premisas falsas, y a la vez llevar al inteligente al descubrimiento de la verdad simple.

«and where we find them speaking confusedly of elements, colors, and operations, it is very requisite to bear in mind the idiosyncracy of their ground, and that it is to the qualities and changes which take place during the preparation, and multiplying the Mercury by its proper Light, they allude, and not to any superficial phenomena or those elements which the moderns have so triumphantly decomposed.» — la regla de lectura que deriva: cuando hablan confusamente de elementos, colores y operaciones aluden a los cambios de la preparación y de la multiplicación del mercurio por su propia luz, no a los elementos que los modernos descompusieron.

«The three principles, the Salt, Sulfur, and Mercury, are merely different as modes of being of the same thing, and the many names arising out of the action and passion of these, do but indicate the stages of progress and development, as of a tree, which with its leaves, trunk, flowers, buds, fruit and branches, all differing, is nevertheless one individual, of one original, and of one root.» — la unidad que sostiene bajo los tres principios: sal, azufre y mercurio son modos de ser de la misma cosa, y los muchos nombres solo indican estadios, como en un árbol cuyas hojas, tronco, flores y frutos difieren siendo uno.

«In the common estate, as the Spirit is in nature, said to be everywhere, it is called a thing vile and cheap; in its perfectly prepared form, a medicine the most potent and precious in the whole world; and the intermediate stages partake of the predominance of either extreme;» — la escala que traza entre los dos extremos: en el estado común, por estar en todas partes, se la llama cosa vil y barata; en su forma perfecta, la medicina más potente y preciosa del mundo.

«being sublimed at first, it is called a serpent, dragon, or green lion, on account of its strength and crude vitality, which putrefying, becomes a stronger poison, and their venomous toad; which afterwards appearing calcined by its proper fire, is called magnesia and lead of the wise;» — los nombres de los estadios intermedios que enumera: sublimada al principio, serpiente, dragón o león verde por su cruda vitalidad; al pudrirse, su sapo venenoso; calcinada por su propio fuego, magnesia y plomo de los sabios.

«which again dissolving, becomes their vitriolic solvent and most sharp acetum; and this afterwards is changed into an oil, which, whitening, is called milk, dew, quintessence, and by may other names; until raised to the final perfection, it is henceforth a phoenix, salamander, their royal essence and Red Stone.» — y la continuación de esa escala hasta el final: disuelta otra vez, solvente vitriólico y acetum agudísimo; cambiada en aceite que al blanquear se llama leche, rocío y quintaesencia; y al fin fénix, salamandra, esencia real y Piedra Roja. La frase salta el corte de plana.

«Our great Elixir most high of price, Our Azot, our Basiliske, and our Adrop, our Cockatrice. Some call it also a substance exuberate, Some call it Mercury of metalline essence, Some limus derti from his body evacuate, Some the Eagle flying fro’ the northwith violence, Some call it a Toade for his great vehemence, But few or none at all doe name it in its kinde, It is a privy quintessence; keepe it well in minde» — los versos que transcribe con esa nómina de nombres: el gran elixir, el azoth, el basilisco, el adrop, el cocatriz, el águila que vuela del norte con violencia y el sapo por su vehemencia, y pocos o ninguno lo nombran por su especie.

«Some speaking of it thus in metaphor, others in abstract terms, and all ambiguously; one regarding only certain properties, which another as entirely passes by, now describing in the natural state, then in its purified condition, or otherwise in any one of the intermediate stages through which it passes, without note of order in the art; altogether it passes, without note of order in the art; altogether it is by no means wonderful that so many erroneous conclusions have arisen respecting it, ingenuity having been rather directed to obscure than reveal the truth, which indeed can hardly be well conceived, without an insight» — la explicación que da de tanta confusión: unos hablan en metáfora y otros en abstracto, todos con ambigüedad, cada cual atendiendo a propiedades distintas y en estadios distintos sin nota de orden. El troceo duplica aquí una cláusula por defecto de la capa de texto.

«undergoes are manifold; and as the common life of nature, it becomes any and every conceivable thing in turn that it wills to be; now it is mineral, now vegetable, now animal; by predominance of either principle, it is fire, spirit, body, air, earth, and water; a stone, a vapor, or an aqua sicca; an essential oil of life, and a most sharp vinegar, a phoenix, a salamander, a poisonous devouring dragon, and a chameleon; every color, every thought is included in its circulations; nourishing, destroying, living, dying, corrupting, purifying, it is all things; and, anon, it is nothing, --- but a potential chaos and egg of philosophers; a precedential, nameless principle, always in mutation, becoming to be, — first, last, greatest, least, the servant of art and queen of nature.» — la serie de mutaciones que atribuye al sujeto durante su fermentación artificial: mineral, vegetal, animal, fuego, espíritu, cuerpo, piedra, vapor, aceite esencial de vida, vinagre agudísimo, fénix, salamandra, dragón devorador y camaleón, y al cabo nada, sino un caos potencial y huevo de los filósofos.

«into the experimental ground. And there are other difficulties which beset an exoteric theory of occult science, and inconsistencies will continually appear betwixt the sound of alchemical writings and their true sense, until the initial ground is understood.» — la dificultad que declara para su propia empresa: una teoría exotérica de la ciencia oculta hará aparecer sin cesar inconsistencias entre el sonido de los escritos alquímicos y su sentido verdadero hasta que se entienda el terreno inicial.

«Practice in the beginning is required, therefore, to interrogate and discern, from amongst so many shadowy representatives, the true light. Constantly holding in mind the simplicity of the Substance, whence these images are all derived, we may nevertheless be enabled to thread in comparative security this Hermetic labyrinth of birds and wild beasts:» — y el hilo que propone: la práctica desde el comienzo para discernir entre tantos representantes sombríos, teniendo siempre presente la simplicidad de la sustancia de donde salen todas esas imágenes.

«and when Geber says, that the thing which perfects in minerals, is the substance of argent vive and sulfur, proportionally commixt in the bowels of clean inspissate earth» — el ejemplo que da de lo que no hay que leer literalmente: Geber diciendo que lo que perfecciona en los minerales es la sustancia del argento vivo y del azufre mezclados en las entrañas de tierra limpia espesada.

«or Sendivogius, that the matter of the metals is twofold148;or Lully, or Ripley, or Basil, calls it a third thing; we shall not understand them, or any others so speaking, as of a» — los demás dichos que no hay que leer literalmente —Sendivogio con su materia doble de los metales, Lulio, Ripley y Basilio con su tercera cosa—; la frase se corta en el cambio de plana. El troceo pega el número de nota a la palabra siguiente.

«And from the foregoing we may also judge that when Hermes says that the separation of the ancient philosophers is made upon Water, dividing into four substances149, that it is not the common elementated water to which he alludes; any more than did Thales when he said that all things were generated from thence, or Moses when he taught that the Spirit of God moved creatively upon the face of the same.» — la misma regla aplicada al agua: la separación que Hermes hace sobre el agua no se refiere al agua elementada común, ni tampoco la de Tales al decir que de ahí se genera todo, ni la de Moisés al enseñar que el espíritu de Dios se movía sobre ella.

«This water they speak of is not the fluid with which in this life we are conversant, either as dew, or of clouds, or air condensed in caverns of the earth, or artificially distilled in a receiver out of sea fountains, either of pits, or rivers, as the empirical chemists formerly imagined — but it is the ethereal body of life and light which they profess to have discovered, — a certain tortured water, having suffered alteration by art and becomes corporified.» — lo que sí sería esa agua según ella: no rocío, ni nube, ni aire condensado, ni destilado de fuentes, pozos o ríos, sino el cuerpo etéreo de vida y luz, cierta agua torturada que por arte quedó corporificada.

«O how wonderful, exclaims the Arabian, is that thing which has in itself all things which we seek, to which we add nothing different or extract, only in the separation removing superfluities» — la exclamación del árabe que transcribe: qué maravillosa es la cosa que tiene en sí todo lo que buscamos, a la que no se añade ni se extrae nada y solo se le quitan superfluidades en la separación.

«The sense of all these philosophers is the same and from their gathered evidence we may infer that their stone is nothing more or less than the pure Ethereality of nature, separated by artificial means, purified and made concrete by constriction and scientific multiplication of its proper Light — the preparation, generation, birth, specification — all proceeding, arte mirabili, on the hidden basis of its primal eduction.» — la inferencia que saca del conjunto: la piedra no sería sino la etereidad pura de la naturaleza, separada por medios artificiales, purificada y hecha concreta por constricción y multiplicación científica de su propia luz.

«Earliest and easiest it attains to the perfection of the mineral kingdom; and the seed of gold, says the adept, is a fiery form of Light inspissate, and this is the Stone of Fire; — Lapis noster, hic est ignis, ex igne creatus, et in ignem veritur, et anima ejus in igna moratur» — dónde alcanza antes la perfección y con qué latín lo sostiene: en el reino mineral, y la simiente del oro sería una forma ígnea de luz espesada, la Piedra de Fuego, nacida del fuego y vuelta al fuego. El troceo imprime *veritur* e *igna*.

«Thus nature, by the help of art, is said to transcend herself, and Light is the true fermental principle which perfects the Ether in its proper kind.» — la fórmula con que cierra ese tramo: por ayuda del arte la naturaleza trasciende a sí misma, y la luz es el principio fermental verdadero que perfecciona el éter en su propio género.

«Nor can one be so stupid as to think That water of its own accord should cause Within itself so great a change, and link Sulphur and mercury with so firm laws, Its own dimensions to penetrate So many times a metal to create.» — los versos que trae contra la explicación puramente material: nadie es tan estúpido como para pensar que el agua por sí misma produzca semejante cambio y ligue azufre y mercurio con leyes tan firmes.

«No, there must be an inward agent granted, Else would a thing unchanged still remain; This agent is the form that matter wanted, While it its proper nature did retain; This Form is Light, the source of central heat, Which clothed with mater doth a seed beget.» — y la conclusión de esos versos al otro lado del corte: ha de concederse un agente interior, y ese agente es la Forma que faltaba a la materia; esa Forma es la Luz, fuente del calor central. El troceo imprime *mater* por matter.

«The seed no sooner is produced, but soon Essays to bring the matter to a change, On it it stamps its character, which done, The Matter lives, and that which may seem strange, Co-worketh with the Form t’attain the end To which the seed implanted doth intend» — el cierre de esos versos: apenas producida la semilla intenta cambiar la materia, estampa en ella su carácter, y la materia vive y coopera con la Forma al fin que la semilla pretende.

«This of the mineral kingdom, where the Formal Light, by multiplication in its Ethe, is said to produce gold; through superior skill and coction in the vegetal life, the elixir of the wise; and more rarely yet in the animal kingdom, and most of all in man;» — la escala de los tres reinos que traza: la luz formal multiplicada en su éter produce oro en el mineral, el elixir de los sabios en el vegetal por coción superior, y más raramente aún en el animal y sobre todo en el hombre. El troceo imprime *Ethe*.

«wherein all these are include, and a mystery of Universal being, profound and difficult to govern and no less arduous than glorious to sustain. For though the material is one throughout, forms are diverse, and in him it assumes an Image that is Divine and more potent than all the rest: which is in this life yet an embryo, but when unfolded through a new birth in universal intelligence, transcends the limits of this nether sphere, and passes into communion with the highest life, power, science, and most perfect felicity.» — y lo que el hombre añade a esa escala según ella: una imagen divina más potente que las demás, embrión en esta vida, que desplegada por un nuevo nacimiento en la inteligencia universal pasa a comunión con la vida más alta.

«variety of things, of sulfur, mercury, or earth in a commonsense interpretation, but of the magnetic relation, action, and passion of the Ethereal being in itself.» — la lectura que ella propone para todos esos dichos, al otro lado del corte: no hablan de una variedad de cosas —azufre, mercurio o tierra en sentido común— sino de la relación magnética, la acción y la pasión del ser etéreo en sí mismo.

«Of the phenomena of light, electricity, magnetism, etc., great account is taken at the present day; both to exhibit them, and to apply their various potencies to the affairs of life: but of the real source of these potencies, or of the true efficient in any case, nothing is known.» — el estado de la ciencia de su tiempo tal como lo describe: mucha cuenta se hace de la luz, la electricidad y el magnetismo y de aplicar sus potencias, pero de la fuente real de esas potencias no se sabe nada.

«The beam has been tried and tortured, through prismatic glasses and crystals, every chemical agent has been exhausted upon it, and electrical machines have been instituted to trap the fluid, but in vain.» — los intentos que enumera: el rayo torturado por prismas y cristales, agotado todo agente químico sobre él, y máquinas eléctricas instituidas para atrapar el fluido.

«The learned are free to admit that, though they have discovered much of the mysterious influences of light, the more is discovered the more miraculous do they appear. — It has passed through every test without» — la confesión que atribuye a los doctos: cuanto más se descubre de las influencias misteriosas de la luz, más milagrosas parecen, y ha pasado toda prueba sin revelar su secreto; la frase se corta en el cambio de plana.

«These phenomena are effects then of a Cause unknown, and that very unknown Cause it was the alleged object of the Hermetic experiment to prove. Shall we no therefore revert t the inquiry, and search to ascertain whether, recovering the ancient method of philosophizing, we may advance by it to the same end?» — la conclusión con que enlaza las dos cosas: esos fenómenos son efectos de una causa desconocida, y probar esa causa era el objeto alegado del experimento hermético. El troceo imprime *Shall we no* y *revert t*.

«Truth is no where manifested upon the earth, because her forms or sulfurs are perplexed, and the passive spirit of nature is included and impure. She is moreover specified elsewhere, and does not consequently, as a true passive, reflect without truly to itself.» — la razón que da de que la verdad no se manifieste en la tierra: sus formas o azufres están perplejos y el espíritu pasivo de la naturaleza va incluido e impuro, y por eso no refleja verdaderamente.

«But by the Hermetic dissolution the right recipient is said to be obtained, the pure is separated from the impure, the subtle from the gross, and the agent and the patient are one identity, as in the Emerald Table it is graven, --- That which is below is as that which is above, and that which is below is as that which is above, for the performing of the miracles of the One Thing whence all the rest proceed by adaptation.» — lo que la disolución hermética lograría según ella: obtener el recipiente adecuado, separar lo puro de lo impuro y lo sutil de lo grueso, y volver una sola identidad al agente y al paciente, como en la Tabla Esmeralda. La cita de la Tabla que aquí imprime repite dos veces la cláusula inferior.

«And on this unitary basis of production the metamorphosis of species is not so ridiculous.» — el efecto que atribuye a esa base unitaria: sobre ella la metamorfosis de las especies deja de ser ridícula.

«Have we not example in the common process of fermentation, the mild juice of grapes converted into wine, and milk into butte and cheese and whey; and these each proceeding out of one thing without requiring the addition of anything different: but only by operation of their own ferment they become changed into different specific natures?» — la analogía con que lo sostiene: el jugo de uva vuelto vino y la leche vuelta manteca, queso y suero, cada cosa saliendo de una sola sin añadirle nada distinto, solo por obra de su propio fermento. El troceo imprime *butte*.

«Just so is the Vital Spirit said to be, by the art of Alchemy, promoted from one form of being into another by its won prepared must or leaven; and as such, in turn, it reacts convertively on the elements of its original extraction; having previously passed on, through many stages, from imperfection to perfection.» — y el paralelo que traza: el espíritu vital sería promovido por el arte de una forma de ser a otra por su propio mosto preparado, y reacciona luego convirtiendo los elementos de su extracción original. El troceo imprime *won* por own.

«Analogy of this, likewise, we have in the animal kingdom; caterpillars changing their neuter forms quiescently, and becoming winged moths.» — la segunda analogía: las orugas cambiando quietamente sus formas neutras y volviéndose polillas aladas.

«There remains the great difference, however, that whereas, in these familiar examples, imprisoned nature rests necessarily within the limiting law of her species; the will of the philosophic Proteus is free to be drawn without hindrance to form itself about the universal magnet of its own infinite self-multiplicative Light; which being transmuted, transmutes; and multiplying, multiplies its proper substance freely, in proportion to the virtue which it has acquired in the fermentation.» — la diferencia que marca enseguida entre esas analogías y su objeto: en ellas la naturaleza presa queda dentro de la ley de su especie, mientras la voluntad del Proteo filosófico es libre de formarse en torno al imán universal de su propia luz automultiplicativa.

«And hence it may be better conceived, perhaps, how this fermented Spirit or Stone, (as in the crystalline perfectness of its essence it has been called,) when brought into contact with the crude life of nature whence it sprung, transmutes, i.e., attracts the same away from other forms into intimate coalescence with its own assimilative light.» — cómo define entonces transmutar: la piedra, puesta en contacto con la vida cruda de la naturaleza de donde salió, la atrae desde otras formas a coalescencia íntima con su propia luz asimiladora.

«And notwithstanding metals and all things in the world, as the adepts say, derive their origin from» — la premisa de la que arranca para explicar la afinidad del oro: metales y todas las cosas derivan del mismo espíritu; la frase se corta en el cambio de plana.

«And I say to you, adds Sendivogius, that you must seek for that hidden thing, out of which is made, after a wonderful manner, such a moisture or humidity which doth dissolve gold without violence or noise, but sweetly and naturally; if you find this out you have that thing out of which gold is produced by nature. And although all metals have their origin from thence, yet nothing is so friendly to it as gold; it is even like a mother to it; and so finally I conclude» — el consejo de Sendivogio que transcribe: buscar la cosa oculta de la que se hace la humedad que disuelve el oro sin violencia ni ruido, dulce y naturalmente, porque nada le es tan amigo como el oro, que le es como una madre.

«revealing its secrets, and even the effects which it produces in its path are unexplained problems still to tax the intellects of men» — la continuación de esa confesión: la luz ha pasado toda prueba sin revelar sus secretos, y aun los efectos que produce a su paso quedan por problemas sin explicar.

«the same Spirit, yet nothing is reputed so nearly allied to it as gold; for in all other metals there is some impurity, and therefore a certain weight is lost in transmuting from them; but in gold there is none, but the Formal Light is wholly swallowed up in it without residue, dissolving intimately, gently, and naturally, as they compare it to ice in warm water; an excellent simile, by the way, inasmuch as the commingling natures differ in state only and were originally one.» — por qué el oro sería el más afín: en los demás metales hay impureza y se pierde peso al transmutar, mientras en el oro la luz formal queda absorbida sin residuo, disolviéndose como hielo en agua tibia.

«And the method of working to this discovery, and to supply the deficiency of Form to the purified body of the Spirit, is described as the same in each of the three kingdoms of nature: the preparation only being diversified according to the variety of things indigent or intended to be changed.» — lo que sostiene sobre el método: es el mismo en los tres reinos de la naturaleza, y solo la preparación se diversifica según la variedad de lo que se quiere cambiar.

«And if the Art has been more frequently proved in the mineral kingdom than in the other two, we learn that this has happened, not because the power is limited here, or because adepts have desired gold above every other good, but because the metalline radix first presents itself in the experimental process, and is most easily apportioned; and because the responsibility involved is less vital and consequential, it has been more freely exhibited and worked at large.» — y por qué se ha probado más en el mineral: no porque el poder esté limitado ahí ni porque los adeptos quisieran el oro sobre todo bien, sino porque la raíz metálica se presenta primero y la responsabilidad es menos vital.

«In metals,says Geber, is lesser perfection than in animals; and the perfection of them consists more in proportion and composition than in anything else. Therefore, seeing in them less perfection than the other, we can more freely perfect these. For the Most High hath so distinguished perfections from each other in many forms; and those things in which the natural composition were weakest (i.e., where life predominates over corporeal consistency), are by God endued with greater and more ignoble perfection, viz., that which is from the way of proportionate mixtion of the matter» — el pasaje de Geber que trae en apoyo: hay en los metales menos perfección que en los animales, y por eso cabe perfeccionarlos con más libertad. El troceo pega *metals,says*.

«But metals, notwithstanding their inferiority of proportion, are said to be produced originally, as all other things are produced, from metalline seeds out of the Universal Spirit or Mercury, by which also they may be exalted and multiplies, and by no other thing; for that without this spirit growth is impossible, or transmutation or increase, and by it all natures are generated externally in their proper kinds.» — lo que sí afirma de los metales: se producen de simientes metálicas sacadas del espíritu universal o mercurio, y solo por él pueden exaltarse y multiplicarse, porque sin él no hay crecimiento ni transmutación.

«And the reason that is given why metals which thus include the prolific principle do not naturally increase, is a deficiency of heat, the Spirit being overcome in the gross, preponderating elements of their hard composition, so that they» — la razón que da de que los metales no crezcan por sí: una deficiencia de calor, con el espíritu vencido en los elementos groseros de su dura composición; la frase se corta en el cambio de plana.

«Vulgar gold Sendivogius compares to a herb without seed, which when it is ripe bears seed; and as trees from southern climates cease to blossom and bear fruit when transplanted into colder soils, so it is with the metals hindered by the crud earth f which they are composed.» — la comparación de Sendivogio que recoge: el oro vulgar es como una hierba sin semilla que la da al madurar, y como los árboles del sur dejan de dar fruto trasplantados a suelos fríos, así los metales quedan estorbados por la tierra cruda que los compone.

«But, he adds, if at any time nature be sweetly and wittily helped, then art may perfect that which nature could not: gold may yield fruit and seed in which it» — y la salida que Sendivogio deja abierta: ayudada la naturaleza con dulzura e ingenio, el arte puede perfeccionar lo que ella no pudo, y el oro daría fruto y semilla. La frase se corta en el cambio de plana.

«cannot fructify, unless they be first purged from their terrestreity and their tincture set free in the subtle Origin of all life.» — la continuación de esa frase: los metales no fructifican mientras no se los purgue de su terrestreidad y su tintura quede libre en el origen sutil de toda vida.

«multiplies itself by the industry of a skillful artificer, who knows how to exalt nature, and this by no other medium than fire or heat; but seeing this cannot be done, since in a congealed metallic body there appear no spirits, it is necessary that the body be loosened and dissolved, and the pores thereof opened, whereof nature may work» — la continuación del pasaje de Sendivogio: el oro se multiplica por la industria de un artífice que sabe exaltar la naturaleza, y solo por fuego o calor; y como en un cuerpo metálico congelado no aparecen espíritus, hay que aflojarlo, disolverlo y abrirle los poros.

«And thus, continues another, when the mineral spirit is pure, it will, by its especial forms, do more than generate their forms to produce something like themselves, for it will work such an alteration in things of like nature with themselves, that they shall equalize the Philosophical Elixir, whose divine virtues wise men so much admire, and fools condemn because their blinded eyes cannot penetrate within to the center of the mystery» — y lo que añade otro autor sin nombre: el espíritu mineral puro obraría en las cosas de su naturaleza una alteración que las iguale al elixir filosófico, cuyas virtudes los sabios admiran y los necios condenan.

«We do not presume to suppose that such a view of nature will be immediately acceptable, or that the Hermetic theory presents itself even in a plausible aspect as yet; the Laws on this ground are directly inverse to our ordinary notions of natural procedure and to our acquired conception of simplicity and specific variation.» — la advertencia que hace al lector: no supone que esa visión sea aceptable de inmediato, porque sus leyes van directamente al revés de las nociones ordinarias sobre el proceder natural.

«But we are not investigating for those who make their mere individual experience a negative measure of belief, and who understand the possibilities of nature and art so far as to limit them; but for such who, more observing, see reason for hope beyond their present vision, and are able to imagine at least those surpassing realities which the ancients assert convectively as having apprehended in intellect and experimentally known.» — y para quién dice escribir: no para quienes hacen de su experiencia individual medida negativa de lo creíble, sino para los que ven razón de esperanza más allá de su visión presente.

«We have hitherto brought their testimony so far only as to the existence of a Homogeneal Subject in nature, showing that the same was the material basis of their philosophy, and the only principle of transmutation, life, increase, and perfection.» — el balance que hace de lo hecho hasta aquí: ha traído el testimonio solo en cuanto a la existencia de un sujeto homogéneo en la naturaleza, base material de esa filosofía y principio único de transmutación, vida, aumento y perfección.

«It is vain, therefore, to seek for that in nature which is an effect beyond her strength; she must be helped,» — el corolario que saca: es vano buscar en la naturaleza un efecto que excede su fuerza, y hay que ayudarla; la frase se corta en el cambio de plana.

«For the Mercury of the philosophers is not found of itself on earth, nor can be detained or perfected without this occult and needful Art assisting her.» — y por qué hace falta el arte: el mercurio de los filósofos no se halla por sí en la tierra ni puede retenerse ni perfeccionarse sin ese arte oculto que asiste a la naturaleza.

«And these are the grand desiderate, to know what the true matter is, where and how it may be taken, and to find an artist able and fitted to perfect it: -- without the former we are advised to attempt nothing; and without the latter the former can be preactically of no avail.» — los tres desiderata que enuncia: saber cuál es la materia verdadera, dónde y cómo tomarla, y hallar un artista capaz de perfeccionarla; sin lo primero no hay que intentar nada y sin lo segundo lo primero no sirve. El troceo imprime aquí la raya como doble guion y escribe *preactically*.

«Having premised thus much concerning the matter with the ground of the hermetic theory, so far only, however, as may enable us to guard against gross misapprehension; we propose, previous to entering on a more intimate discussion, to set the whole fairly before the reader’s judgment, in the following translation of the Tractatus Aureus, or Golden Treatise of Hermes, concerning the Physical Secret of the Philosopher’s Stone, which has been considered to be one of the most ancient and complete pieces of alchemical writing extant; and may be regarded as an exposition in epitome of the whole Art.» — cómo presenta el capítulo siguiente: una traducción del *Tractatus Aureus* o Golden Treatise de Hermes, tenida por una de las piezas alquímicas más antiguas y completas y por epítome de todo el arte.

«Mystical and disorderly as this relic is, and must especially appear at first to any one unaccustomed to the antique style, we trust that the short pains may not be grudged that it will cost in passing on with us to the discovery of its idea.» — la advertencia con que la introduce: mística y desordenada como es, pide unas pocas penas al lector no acostumbrado al estilo antiguo.

«The treatise has been held in high esteem by the alchemists, and the Scholia given in part may assist in the perusal. Whoever the author may have been (for, though it bears the name of Hermes, the true origin is doubtful), it wears the impress of very great antiquity, and claims better than to be frivolously judged of by those who are uninitiated in science and ignorant of the kind of wisdom it unfolds.» — la reserva que mantiene sobre la atribución: lleva el nombre de Hermes pero el origen verdadero es dudoso, aunque el texto tenga impreso el sello de una antigüedad muy grande.

«Prudence, patience, and penetration, the author owns, are required to understand him, and more than these for the discovery of his Great Art. Books were not written in those days for the information of the illiterate, as though any vulgar distiller or mechanic might carry away the golden fleece; or in such a guise that the covetous, who made gold their only idol, should readily, without research or the due Herculean labor, gather the apples of the Hesperides:» — lo que el autor del tratado exige de su lector según ella: prudencia, paciencia y penetración, y más aún para el descubrimiento del arte; los libros de entonces no se escribían para que cualquier destilador se llevara el vellocino.

«not yet that any, though learned, as the adept adds, should by once or twice overly and slightly reading, as the dogs lap the waters of Nilus, straightway be made a philosopher. No, the magistery of this science forbids so great a sacrilege: our books are made for those who have been or intend to become conversant about the search of nature» — y el límite que el adepto pone: ni el docto que lee una o dos vez por encima, como los perros lamen las aguas del Nilo, queda hecho filósofo, porque los libros son para quienes han tratado o quieren tratar la búsqueda de la naturaleza.

«For this is the first step towards the recovery of truth, to be diligent in the investigation; other requirements there are and reasons for the extraordinary caution that has been used to keep the Art concealed, which may in the sequel be appreciated when it is intimately understood.» — el primer paso que fija para recobrar la verdad: ser diligente en la investigación; de las razones del secreto promete dar cuenta cuando el asunto se entienda íntimamente.

«that she may exceed herself, or all will be useless.» — el final de esa frase al otro lado del corte: hay que ayudar a la naturaleza para que se exceda a sí misma, o todo será inútil.

«Even thus saith Hermes: Through long years I have not ceased to experiment, neither have I have spared any labour of mind; and this science and art I have obtained by the inspiration of the living God alone, who judged fit to open them to me His servant» — arranque del Golden Treatise que la obra reproduce entero: Hermes declara haber obtenido esta ciencia y arte por inspiración del Dios vivo solo. La voz es la del tratado atribuido a Hermes, en la traducción que Atwood imprime.

«For myself, I had never discovered this matter to anyone had it not been from fear of the day of judgment, and the perdition of my soul, if I concealed it. It is a debt which I am desirous to discharge to the faithful, as the Father of the faith did deign to bestow it upon me» — el motivo que el tratado da para publicar: no lo habría descubierto a nadie si no fuera por temor del día del juicio y la perdición de su alma, y por una deuda que quiere saldar con los fieles.

«Understand ye then, 0 sons of Wisdom, that the knowledge of the four elements of the ancient philosophers was not corporally or imprudently sought after, which are through patience to be discovered according to their causes and their occult operation. For their operation is occult, since nothing is done except it be compounded, and because it is not perfected unless the colours be thoroughly passed and accomplished» — la doctrina de los cuatro elementos en el Golden Treatise: no se buscaron corporal ni imprudentemente, y su operación es oculta porque nada se hace si no se compone y nada se perfecciona si los colores no pasan del todo. El troceo imprime un cero por la O vocativa.

«Know then, that the division that was made upon the Water, by the ancient philosophers, separates it into four substances; one to two, and three to one; the one third part of which is colour, that is to say --- a coagulating moisture; but the two third waters are the Weights of the Wise» — la división del agua en el mismo tratado: en cuatro sustancias, una a dos y tres a una, con la tercera parte por color, esto es, humedad coagulante, y las dos terceras aguas por los Pesos de los Sabios.

«Take of the humidity an ounce and a half, and of the Meridian Redness, that is the soul of gold, a fourth part, that is to say, half an ounce; of the citrine Seyre, in like manner, half-an-ounce; of the Auripigment, half --- which are eight --- that is three ounces; and know ye that the vine of the wise is drawn forth in three, and the wine thereof is perfected in thirty» — la receta con pesos que el tratado da: onza y media de la humedad, un cuarto de la Rojez Meridiana que es el alma del oro, media onza del Seyre citrino y media del oropimente; y la viña de los sabios se saca en tres y su vino se perfecciona en treinta.

«Understand the operation, therefore, Decoction lessens the matter, but the tincture augments it; because Luna after fifteen days is diminished; and in the third, she is augmented. This is the beginning and the» — la regla de la coción en el tratado: la decocción disminuye la materia y la tintura la aumenta, porque la Luna mengua a los quince días y al tercero crece. La frase se corta en el cambio de plana.

«Behold, I have declared that which has been concealed, since the work is both with you and about you; taking what is within and fixed, thou canst have it either in earth or sea» — el aviso del tratado sobre dónde está la obra: contigo y a tu alrededor, y tomando lo que está dentro y fijo se la puede tener en la tierra o en el mar.

«Keep, therefore, thy Argent vive, which is prepared in the innermost chamber in which it is coagulated; for that is Mercury which is spoken of concerning the residual earth» — el precepto sobre el argento vivo: guardarlo, preparado en la cámara más íntima donde se coagula, porque es el mercurio del que se habla a propósito de la tierra residual.

«He therefore, who now hears my words, let him search into them; I have discovered all things that were before hidden concerning this knowledge, and disclosed the greatest of all secrets» — la declaración de apertura total que hace el tratado: ha descubierto todo lo antes oculto sobre este conocimiento y revelado el mayor de los secretos.

«Know ye, therefore, Enquirers into the rumor, and Children of Wisdom, that the vulture standing upon the mountain crieth out with a loud voice, I am the White of the Black, and the Red of the White, and the Citrine of the Red, and I speak the very truth» — el emblema del buitre en el Golden Treatise: de pie sobre el monte grita que es el Blanco de lo Negro, el Rojo de lo Blanco y el Citrino de lo Rojo, y que dice la pura verdad.

«And know that the chief principle of the art is the Crow, which in the blackness of the night and clearness of the day, flies without wings. From the bitterness existing in the throat, the tincture is taken; the red goes forth from his body, and from his back is taken a pure water» — el emblema del cuervo: principio capital del arte, que vuela sin alas en la negrura de la noche y la claridad del día; de la amargura de su garganta se toma la tintura y de su espalda un agua pura.

«Understand, therefore, and accept this gift of God. In the caverns of the metals there is hidden the stone that is venerable, splendid in colour, a mind sublime, and an open sea. Behold, I have declared it unto thee; give thanks to God, who hath taught you this knowledge; for He loves the grateful» — dónde sitúa la piedra el tratado: escondida en las cavernas de los metales, venerable, espléndida en color, mente sublime y mar abierto, y manda dar gracias a Dios, que ama a los agradecidos.

«Put the matter into a moist fire, therefore, and cause it to boil in order that its heat may be augmented, which destroys the siccity of the incombustible nature, until the radix shall appear; then extract the redness and the light part, till the third part remains» — la operación del fuego húmedo: hervir la materia para aumentar su calor, que destruye la sequedad de la naturaleza incombustible hasta que aparezca la raíz, y extraer entonces la rojez hasta que quede la tercera parte.

«Sons of the Sages! For this reason are philosophers said to be envious; not that they grudged the truth to religious or just men, or to the wise; but to the ignorant and vicious, who are without self-control and benevolence, lest they should be made powerful in evil for the perpetuation of sinful things; and in consequence philosophers are made accountable to God. Evil men are unworthy of this wisdom» — la explicación que el tratado da de la envidia de los filósofos: no niegan la verdad a los religiosos, a los justos ni a los sabios, sino a los ignorantes y viciosos, no sea que se hagan poderosos en el mal.

«Know that this matter I call the Stone; but it is also named the feminine of magnesia, or the hen, or the white spittle, or the volatile milk, the incombustible ash in order that it may be hidden from the inept and ignorant, who are deficient in goodness and self-control;» — los nombres que el tratado da a la materia para ocultarla: la femenina de la magnesia, la gallina, la saliva blanca, la leche volátil y la ceniza incombustible.

«nevertheless signified to the wise by one only epithet, viz., the Philosopher's Stone. Include, therefore, and conserve in this sea, the fire, and the heavenly Flyer, to the latest moment of his exit.» — el único epíteto que el tratado reserva a los sabios —la Piedra de los Filósofos— y el precepto que sigue: incluir y conservar en ese mar el fuego y el Volador celeste hasta el último momento de su salida.

«But I abjure you all, Sons of philosophy, by our Benefactor who gives to you the ornament of His grace, that to no fatuous, ignorant, or inept person ye open this Stone» — el juramento con que el tratado cierra ese pasaje: conjura a los hijos de la filosofía a no abrir esta piedra a ninguna persona fatua, ignorante o inepta.

«I have received nothing from any, to whom I have not returned that which had been given me, nor have I failed to honour and highly respect Him» — la declaración de reciprocidad que hace la voz del tratado: nada ha recibido de nadie sin devolver lo que le fue dado, ni ha dejado de honrar a Aquel.

«This, O son, is the concealed Stone of many colours; which is born in one colour; know this and conceal it. By this, the Almighty favouring, the greatest diseases are escaped, and every sorrow, distress, and evil and hurtful thing is made to depart. It leads from darkness into light, from this desert wilderness to a secure habitation, and from poverty and straights, to a free and ample fortune» — las virtudes que el tratado atribuye a la piedra escondida de muchos colores nacida en un color: escapar de las mayores enfermedades, hacer partir toda pena, y llevar de la oscuridad a la luz y de la pobreza a una fortuna amplia.

«My Son, before all things I admonish thee to fear God, in whom is the strength of thy undertaking; and the bond of each separated element.» — arranque de la segunda sección del Golden Treatise: antes que nada temer a Dios, en quien está la fuerza de la empresa y el lazo de cada elemento separado.

«My son, whatsoever thou hearest, consider it rationally. For I hold thee not to be a fool. Lay hold, therefore, of my instructions and meditate upon them, and so let thy heart be fitted, as if thou wast thyself the author of that which I now teach.» — el modo de estudio que el tratado manda: considerar racionalmente cuanto se oiga y disponer el corazón como si uno mismo fuera el autor de lo que se enseña.

«If thou appliest cold to any nature that is hot, it will hurt it: in like manner, he who is rational shuts himself within from the threshold of ignorance;» — la primera regla física del tratado y su moral: aplicar frío a una naturaleza caliente la daña, y del mismo modo el racional se encierra desde el umbral de la ignorancia.

«Take the flying volatile and drown it flying and divide and separate it from its rust, which yet holds it in death; draw it forth, and repel it from itself, that it may live and answer thee, not by flying away into the regions above, but by truly forbearing to fly.» — el precepto del volátil en el Golden Treatise: ahogarlo al vuelo, separarlo de su herrumbre y repelerlo de sí para que viva y responda, no huyendo a las regiones de arriba sino absteniéndose de volar.

«For if thou shalt deliver it out of its strainess, after this imprisonment, and in the days known to thee shalt by reason have ruled it, then will it become a suitable companion unto thee, and by it thou wilt become to be an conquering lord, with it adorned» — y la promesa que sigue: liberado de su estrechez tras la prisión y regido por razón en los días sabidos, se hará compañero apto y hará del operador un señor conquistador. El troceo imprime *strainess*.

«Extract from the ray its shadow and impurity by which the clouds hang over it, defile and keep away the light; since by means of its constriction and fiery redness, it is burned. Take, my Son, this redness, corrupted with the water, which is as a live coal holding the fire, which if thou shalt withdraw so often until the redness is made pure, then it will associate with thee, by whom it was cherished, and in whom it rests» — la operación sobre el rayo: extraerle la sombra y la impureza que lo nublan, y retirar tantas veces la rojez corrompida con el agua —brasa que retiene el fuego— hasta que quede pura.

«Return, then, O my son, the extinct coal to the water for thirty days, as I shall note to thee; and, henceforth, thou art a crowned king, resting over the fountain as known to thee, and drawing from thence the Auripigment dry, without moisture.» — el término de treinta días que fija el tratado: devolver el carbón extinto al agua, y el operador queda rey coronado que descansa sobre la fuente y saca de allí el oropimente seco, sin humedad.

«Observe, then, that the water was first in the air, then in the earth; restore thou it also, to the superiors by its proper windings, and altering skillfully before collecting; then to its former red spirit let it be carefully conjoined» — la circulación que manda: siendo el agua primero en el aire y después en la tierra, restituirla a los superiores por sus vueltas propias y conjuntarla luego con su antiguo espíritu rojo.

«Know, my Son, that the fatness of our earth is sulphur, the auripigment, siretz, and colcothar, which are also sulphur, of which auripigments, sulphur, and such like, some are more vile than others, in which there is a diversity, of which kind also is the fat of glewy matters, such as are hair, nails, hoofs, and sulphur itself, and of the brain, which too is auripigment; of the like kind also are the lions' and cats' claws, which is siretz; the fat of white bodies, and the fat of the two oriental quicksilvers, which hunt the sulphurs and contain the bodies» — el catálogo de azufres del tratado: la gordura de la tierra es azufre, oropimente, siretz y colcótar, con diversidad de viles y menos viles, incluidas la grasa de materias glutinosas como pelos, uñas y pezuñas, y las garras de leones y gatos.

«I say, moreover, that this sulphur doth tinge and fix, and is the connection of the tinctures; oils also tinge, they fly away, which in the body are contained, which is a conjunction of fugitives with sulphurs and albumninous bodies, which hold also and detain the fugitive Ens» — lo que el azufre hace según el tratado: tiñe, fija y es la conexión de las tinturas, mientras los aceites tiñen y huyen, en conjunción de fugitivos con azufres y cuerpos albuminosos. El troceo imprime *albumninous*.

«The disposition sought after by the philosophers, O son, is but one in our egg; but this in the hen's egg can, by no means be found. But lest so much of the Divine Wisdom as is in a hen's egg should be extinguished, its composition is from the four elements adapted and composed» — la distinción entre el huevo de los filósofos y el de gallina: la disposición buscada es una sola en nuestro huevo y no se halla de ningún modo en el de la gallina, cuya composición es con todo de los cuatro elementos.

«Know, My son, that in the hen's egg is the greatest proximity and relationship in nature; for in it there is a spirituality and conjunction of elements, and an earth which is golden in its tincture» — y lo que sí concede al huevo de gallina: la mayor proximidad y parentesco en la naturaleza, con espiritualidad, conjunción de elementos y una tierra dorada en su tintura.

«But the Son, enquiring of Hermes, saith --- The sulphurs which are fit for our work, whether are they celestial or terrestrial? And he answers, certain of them are heavenly, and some are terrestrial» — el diálogo entre el Hijo y Hermes que el tratado introduce aquí: preguntado si los azufres del arte son celestes o terrestres, Hermes responde que unos son celestes y otros terrestres.

«The Son — Father, I imagine the heart in the superiors to be heaven, and in the inferiors earth. But saith Hermes --- It is not so; the masculine truly is the heaven of the feminine, and the feminine is the earth of the masculine» — la corrección que Hermes hace al Hijo: no que los superiores sean cielo y los inferiores tierra, sino que lo masculino es el cielo de lo femenino y lo femenino la tierra de lo masculino.

«The Son — Father, which of these is more worthy than the other, to be the heaven or the earth? He replies --- Each needs the other; for the precepts demand a medium. As if thou should say that a wise man governs all mankind, because every nature delights in Society of its own kind, and so we find it to be in the Life of Wisdom where Equals are conjoined.» — la respuesta sobre cuál de los dos vale más: cada uno necesita del otro, porque los preceptos exigen un medio y toda naturaleza se deleita en la sociedad de su género. La pregunta salta el corte de plana.

«But what, rejoins the Son, is the mean betwixt them? To whom Hermes replies --- In every nature there are three from two, first the needful water, then the oily tincture, and lastly, the faeces or earth which remains below» — y el medio que Hermes nombra: en toda naturaleza hay tres a partir de dos, el agua necesaria, la tintura oleosa y las heces o tierra que queda debajo.

«But a Dragon inhabits all these, and are his habitation; and the blackness is in them, and by it he ascends into the air. But, whilst the fume remains in them. But, whilst the fume remains in them, they are not immortal.» — el dragón que habita esos tres: la negrura está en ellos y por ella asciende al aire, y mientras el humo permanezca en ellos no son inmortales. El troceo duplica aquí una cláusula por defecto de la capa de texto.

«Take away therefore the vapour from the water, and the blackness from the oily tincture, and death from the faeces: and by dissolution thou shalt achieve a triumphant reward, even that in and by which the possessors live» — y el remedio: quitar el vapor al agua, la negrura a la tintura oleosa y la muerte a las heces, para alcanzar por disolución aquello en lo que y por lo que viven los poseedores.

«Know then, my Son, that the temperate unguent, which is fire, is the medium between the faeces and the water and is the Perscrutinator of the water. For the unguents are called sulphurs, because between fire and oil and the sulphurs there is a very close propinquity, even as so the fire burns, so does the sulphur also» — el ungüento templado que el tratado llama fuego: medio entre las heces y el agua y escrutador del agua, llamado azufre porque entre fuego, aceite y azufres hay propincuidad estrechísima.

«All the wisdoms of the world, O son, are comprehended in this my hidden Wisdom; and the learning of the Arts consists in discovering these wonderful hidden elements beneath which it hides completed.» — la pretensión total del Golden Treatise: todas las sabidurías del mundo estarían comprendidas en esa sabiduría oculta, y el aprendizaje de las artes consiste en descubrir los elementos ocultos bajo los que se esconde completa.

«It behooves him, therefore, who would be introduced to this hidden Wisdom, to free himself from the vice of arrogance; and to be just and good, and of a profound reason, ready at hand to help mankind, of a serene countenance, diligent to save, and be himself a guardian of the secrets of philosophy open to him» — las condiciones morales que el tratado pone al que quiera entrar: librarse del vicio de la arrogancia, ser justo y bueno, de razón profunda, presto a ayudar, de semblante sereno y guardián de los secretos que se le abran.

«And this know, that except one understandeth how to mortify and induce generation, to vivify the Spirit, to cleanse and introduce Light, until they fight with each other and grow white and freed from their defilements, as blackness and darkness, he knoweth nothing, nor canst perform anything; but if thou knoweth this, he will be of a great dignity, so that the kings shall reverence him.» — la condición técnica que añade: quien no sepa mortificar e inducir generación, vivificar el espíritu, limpiar e introducir luz hasta que combatan y blanqueen, nada sabe ni puede hacer.

«These secrets, son, it behooves us to guard and conceal from the wicked and foolish world» — y el mandato de secreto que cierra ese pasaje: guardar y ocultar esos secretos del mundo malvado y necio.

«Understand, also, that our Stone is from many things and of various colours, and composed from four elements, which we ought to divide and dissever in pieces, and segregate in the limbs; and mortifying the» — la composición de la piedra según el tratado: de muchas cosas y de varios colores, compuesta de cuatro elementos que hay que dividir, desunir y segregar en los miembros; la frase se corta en el cambio de plana.

«O, blessed watery pontic form, that dissolvest the elements: Now it behooves us, with this watery soul, in order to possess ourselves of the sulphurous Form, to mingle the same with our Acetum. For when, by the power of the water, the composition is dissolved, it is the key of the restoration; then darkness and death fly away from them, and Wisdom proceeds» — la apóstrofe a la forma acuosa póntica que disuelve los elementos: mezclada con el acetum se posee la forma sulfúrea, y disuelta la composición por el poder del agua se tiene la llave de la restauración.

«Know, my son, that the philosophers bind up their matter with a strong chain, that it may contend with the Fire; because the spirits in the washed bodies desire to dwell therein and rejoice in them. And when these spirits are united to them, they vivify them and inhabit them, and the bodies hold them, nor are they separated any more from them» — arranque de la tercera sección: los filósofos atan su materia con cadena fuerte para que contienda con el fuego, porque los espíritus desean morar en los cuerpos lavados y, unidos a ellos, los vivifican.

«Then the dead elements are revived, the composed bodies tinge and are altered, and operate wonderful works which are permanent, as saith the philosopher» — y lo que resulta de esa unión: los elementos muertos reviven, los cuerpos compuestos tiñen y se alteran y obran obras maravillosas y permanentes.

«O, permanent watery Form, creatrix of the regal elements! who, having united to thy brethren and by a moderate regimen obtained the tincture, findest rest» — la segunda apóstrofe de esa sección: forma acuosa permanente, creadora de los elementos regios, que unida a sus hermanos y por régimen moderado obtiene la tintura y halla reposo.

«Our most precious stone cast forth upon the dunghill, being most dear is made altogether vile. Therefore, it behooves us to mortify two Argent vives together, and to venerate the Argent vive of Auripigment, and the oriental Argent vive of Magnesia» — la paradoja de la piedra en el muladar: siendo carísima se vuelve del todo vil, y de ahí que haya que mortificar dos argentos vivos juntos y venerar el del oropimente y el oriental de la magnesia.

«O, Nature, the most potent creatrix of Nature, which containest and separatest natures in a middle principle. The Stone comes with light, and with light it is generated, and then it generates and brings forth the black clouds or darkness, which is the mother of all things» — la tercera apóstrofe, a la naturaleza: contiene y separa las naturalezas en un principio medio, y la piedra viene con luz y con luz se genera y engendra luego las nubes negras que son la madre de todas las cosas.

«But when we marry the crowned king to our red daughter, and in a gentle fire, not hurtful, she doth conceive a son, conjoined and superior, in it, and he lives by our fire. But when thou shalt send forth fire upon the foliated sulphur, the boundary of hearts doth enter in above it, let it be washed from the same, and the refined matter thereof be extracted.» — el matrimonio regio del tratado: casado el rey coronado con la hija roja en fuego suave, ella concibe un hijo conjunto y superior que vive por ese fuego.

«The Dragon, who watches the crevices, shuns the sunbeams, and our dead son will lives king comes forth from the fire and rejoices in the espousal; the occult treasures will be laid open, and the virgin's milk is whitened.» — el dragón que vigila las hendiduras y rehúye los rayos del sol: el hijo muerto sale del fuego como rey y se goza en el desposorio, los tesoros ocultos quedan abiertos y la leche de la virgen se blanquea.

«The Son, already vivified, is become a warrior in the fire and over the tincture super-eminent. For this son is himself the treasury, even himself bearing the Philosophic Matter» — y lo que el hijo llega a ser: guerrero en el fuego y supereminente sobre la tintura, porque él mismo es el tesoro y él mismo lleva la materia filosófica.

«Approach, ye sons of Wisdom, and rejoice; let us now rejoice together, for the reign of death is finished, and the son doth rule, and now he is invested with the red garment, and the purple is put on» — el cierre de la tercera sección: acabado el reinado de la muerte, el hijo reina investido de la vestidura roja y con la púrpura puesta.

«same by its proper nature, which is also in it, to preserve the water and fire dwelling therein, which is from the four elements and in their waters, to contain its water: this, however, is not water in its true form, but fire, containing in a pure vessel the ascending waters, lest the spirits should fly away from the bodies; for, by this means they are made tinging and fixed» — la continuación de esa frase: mortificar los elementos por su naturaleza propia para preservar el agua y el fuego que moran en ellos, conteniendo el agua en un vaso puro para que los espíritus no huyan de los cuerpos.

«fire remains red, as flesh. But our son, king-born, takes his tincture from the fire, and death even and darkness, and the waters flee away» — el final de ese pasaje al otro lado del corte: la tintura queda roja como carne, y el hijo nacido rey toma su tintura del fuego mientras la muerte, la oscuridad y las aguas huyen.

«Understand, ye Sons of Wisdom, the Stone declares; Protect me, and I will protect thee; give me my own, that I may help thee! My Sol and my beams are most inward and secretly in me. My own Luna, also, is my light, exceeding every other light; and my good things are better than all other good things; I give freely, and reward the intelligent with joy and gladness, glory, riches, and delights; and what they ask about it I make to know and understand and to possess divine things.» — arranque de la cuarta sección, donde habla la piedra misma: protégeme y te protegeré, dame lo mío para que te ayude; su sol y sus rayos están dentro de ella y su luna es luz que excede a toda otra luz.

«Behold, that which the philosophers has concealed is written with seven letters; for Alpha follows, viz.: Yda and Liber; and Sol, in like manner, follows: nevertheless, if desirous to have dominion to guard the Art, join the son to Buba, which is Jupiter and a hidden secret» — el criptograma de siete letras que el tratado propone: Alfa sigue, a saber, Yda y Liber, y el Sol de igual modo, y para tener dominio hay que juntar el hijo a Buba, que es Júpiter y un secreto oculto.

«Hearers, understand: then let us use our judgment; for what I have written I have with most subtle contemplation and investigation demonstrated to you; the whole matter I know to be one only thing.» — la declaración de unidad del tratado: cuanto ha escrito lo ha demostrado con contemplación e investigación sutilísimas, y sabe que la materia entera es una sola cosa.

«But who is he that understands the true investigation and inquires rationally into this matter? There is not from man anything but what is like him; nor from the ox and bullock; and if any creature conjoins with one of another species, that which is brought forth is like neither» — y la ley de la semejanza con que la apoya: nada viene del hombre sino lo que se le parece, ni del buey y el novillo, y si una criatura se junta con otra especie lo engendrado no se parece a ninguna.

«Now saith Venus: I beget light, nor is the darkness of my nature, and if my metal were not dry all bodies would desire me, for I liquefy them and wipe away their rust, and I extract their substance. Nothing, therefore, is better or more venerable than I and my brother being conjoined» — el parlamento de Venus en el tratado: engendra luz y la oscuridad no es de su naturaleza; si su metal no fuera seco todos los cuerpos la desearían, porque los licúa, les quita la herrumbre y les extrae la sustancia.

«for, being chained to the arms and breast of my mother, and to her substance, I cause my substance to keep together; and I compose the invisible from the visible, making the occult matter to appear. And everything which the philosophers have hidden will be generated from us» — la continuación del parlamento del Rey: encadenado a los brazos, al pecho y a la sustancia de su madre, hace que su sustancia se sostenga y compone lo invisible a partir de lo visible, haciendo aparecer la materia oculta.

«But the King, the ruler, his brethren attesting, saith: I am crowned, and I am adorned with a diadem: I am clothed with the royal garment, and I» — el parlamento del Rey en el Golden Treatise: coronado, adornado con diadema y vestido con la ropa regia. La frase se corta en el cambio de plana.

«anything else. Meditate on this letter, and reject superfluities» — el cierre del pasaje del tratado sobre la generación del hombre a partir del principio de la naturaleza: meditar la letra y rechazar las superfluidades.

«Thus saith the philosopher: Botri is made from the Citrine, which is extracted out of the Red, and from nothing else; and if it be citrine and nothing else know it will be thy Wisdom. Be not concerned if thou art not anxious to make extract from the Red. Behold, I have written to the point, and if ye understand I have all but opened the thing» — el dicho del filósofo que el tratado recoge: el Botri se hace del citrino, que se extrae del rojo y de nada más, y si es citrino y nada más, eso será tu sabiduría.

«Ye Sons of Wisdom! Burn then the Brazen Body with an exceeding great fire; and it will imbue you with the grace which you seek. And make that which is volatile so that it cannot fly from that which flies not. And that which rests upon the fire though itself a fiery flame, and that which in the heat of the boiling fire is corrupted is Cambar» — el precepto del cuerpo de bronce: quemarlo con fuego grandísimo para que imbuya la gracia buscada, y hacer que lo volátil no pueda huir de lo que no vuela; lo que se corrompe en el hervor es el Cambar.

«And know ye that the Art of this permanent water is our brass, and the colourings of its tincture and blackness is then changed into the true red» — y lo que sigue: el arte de esa agua permanente es su bronce, y los colores de su tintura y su negrura se cambian entonces en el rojo verdadero.

«I declare before God, I have spoken nothing but the truth. The destroyers are the renovators, and hence the corruption is made manifest in the matter to be renewed, and hence the melioration will appear and each side is a signal of Art» — el juramento de veracidad del tratado y la doctrina que lo acompaña: los destructores son los renovadores, y por eso la corrupción se manifiesta en la materia a renovar y de ahí aparece la mejora.

«My Son, that which is born of the crow is the beginning of this Art. Behold, I have obscured matter treated of, by circumlocution, depriving it of light. I have termed this dissolved, and this joined, this nearest I have termed furthest off» — arranque de la quinta sección, donde el tratado confiesa su propio método de ocultamiento: ha oscurecido la materia por circunloquio, privándola de luz, llamando disuelto a lo unido y lejanísimo a lo más cercano.

«Roast those things, therefore, and boil them in that which comes from the horse's belly for seven, fourteen, or twenty-one days. Then it becomes the Dragon eating his own wings and destroying himself; this being done, let it be put into a furnace, which lute diligently, and observe that none of the spirit may escape. And know that the periods of the earth are in the water which is bound until you put the bath upon it» — la operación con plazos que da la quinta sección: asar y hervir en lo que viene del vientre del caballo por siete, catorce o veintiún días, hasta que se haga el dragón que come sus propias alas y se destruye.

«The matter being thus melted and burned, take the brain thereof and triturate it in most sharp vinegar till it becomes obscured. This done, it lives in the putrefaction; the dark clouds which were in it before it died in its own body will be changed. This process being repeated, as I» — la trituración en vinagre agudísimo que manda la quinta sección: hecho eso, la materia vive en la putrefacción y las nubes oscuras que tenía antes de morir en su propio cuerpo se cambian; la frase se corta en el cambio de plana.

«In the life and death thereof we work with the spirits, for as it dies by the taking away of the spirit, so it lives in the return and is revived and rejoices in them. Being arrived then at this, that which thou hast been searching for is made apparent. I have even related to thee the joyful signs, that which doth fix its own body.» — la doctrina de vida y muerte del tratado: se obra con los espíritus, y como muere al quitárselos, así vive al volver y se regocija en ellos.

«It behooves us to give thanks to God, who bestows liberally to the wise, who delivers us from misery and poverty. Along with the fullness of his substance and his provable wonders I am about to try and humbly pray God that whilst we live we may come to him.» — arranque de la sexta sección: acción de gracias a Dios, que da liberalmente a los sabios y libra de la miseria y la pobreza.

«Away the, O sons of Science, with the unguents extracted from fats, hair, verdigrease, tragacanth, and bones, which are written in the books of our fathers» — lo que la sexta sección descarta: los ungüentos sacados de grasas, pelo, cardenillo, tragacanto y huesos que están escritos en los libros de los padres. El troceo imprime *Away the* por Away then.

«It is the Form of all other unguents in which is the occult and buried unguent, and of which there appears to be no preparation. It dwells in his own body, as fire in trees and stones, which by most subtle art and ingenuity it behooves us to extract without combustion» — y el ungüento que sí busca: la forma de todos los demás, en que está el ungüento oculto y sepultado, que mora en su propio cuerpo como el fuego en árboles y piedras y hay que extraer sin combustión.

«And know that the Heaven is to be joined mediately with the Earth; but the middle nature, which is the Water, is a form along with the Heaven and the Earth. But the water holds of all the first place which goes forth from this Stone; the second is gold; and the third is our almost or medial gold which is more noble than the water with the faeces» — la jerarquía de tres que da la sexta sección: el cielo se junta con la tierra por medio del agua, que es la naturaleza media; el agua tiene el primer lugar de lo que sale de la piedra, el oro el segundo y el oro medial el tercero.

«But in these are the smoke, the blackness, and the death. It behooves us, therefore, to drive away the vapour from the water, the blackness from the unguent, and death from the feces, and this by dissolution. Which being done we have the sovereign philosophy and secret of all hidden things» — y la operación que repite: ahuyentar el vapor del agua, la negrura del ungüento y la muerte de las heces por disolución, con lo que se tiene la filosofía soberana y el secreto de todo lo oculto.

«have described; it dies again as I said, thence it lives» — la continuación de esa frase: repetido el proceso, la materia muere otra vez y de ahí vive.

«But these things, and how they attained to the knowledge of this secret, are given by our ancestors in figures and types: I have opened the riddle, and the book of knowledge is revealed; the hidden things I have uncovered and have brought together the scattered truths within their boundary, and have conjoined many various forms, even I have associated the Spirit.» — lo que el tratado reclama haber hecho: abrir el acertijo que los antepasados dejaron en figuras y tipos, revelar el libro del conocimiento, juntar las verdades dispersas dentro de su linde y asociar el espíritu.

«Know ye then, O sons of Science, there are seven bodies — of which gold is the first, the most perfect, the king of them, and their head --- which neither the earth can corrupt nor the fire devastate, nor the» — arranque de la séptima sección: hay siete cuerpos, y el oro es el primero, el más perfecto, su rey y su cabeza, que ni la tierra corrompe ni el fuego devasta; la frase se corta en el cambio de plana y el troceo imprime la raya como triple guion.

«nor is there anything in it which is superfluous, therefore the philosophers have preferred and magnified it, saying that this gold, in relation of other bodies, is as the sun amongst the stars, more splendid by his light; and as, by the will of God, every vegetable and all the fruits of the earth are perfected through it, so gold, which is the ferment Ixir, vivifies and contains every metallic body» — por qué los filósofos lo magnifican según el tratado: nada hay superfluo en él, es entre los cuerpos como el sol entre las estrellas, y como fermento Ixir vivifica y contiene todo cuerpo metálico.

«For as dough, without a ferment, cannot be fermented, so when thou hast sublimed the body and purified it, separating the uncleanness from the faeces, thou wilt then conjoin and mix them together, and put in them the ferment confecting the earth with the water until the Ixir ferment even as dough ferments. Think of this, meditate and see how the ferment in this case doth change the former natures to another thing; observe, also, that there is no ferment otherwise than from a kindred nature» — la analogía del fermento y su condición: sublimado y purificado el cuerpo se conjuntan y mezclan y se les pone el fermento, y no hay fermento sino de naturaleza afín.

«Observe, moreover, that the ferment whitens the confection and hinders it from combustion, and holds the tincture lest it should fly, and rejoices the bodies, and makes them intimately to be joined and to enter one into another, and this is the Key of the philosophers and the end of their works; and by this science bodies are meliorated, and the operation of them, God assisting, is consummated» — lo que el fermento hace según el tratado: blanquea la confección, la libra de combustión, retiene la tintura para que no vuele y hace que los cuerpos se junten y entren uno en otro; esto es la clave de los filósofos y el fin de sus obras.

«But, through negligence and a false opinion of the matter, the operation is perverted, as bad leaven on the dough, or curds for cheese, and musk among aromatics» — y lo que la echa a perder: la negligencia y una opinión falsa de la materia, como mala levadura en la masa, cuajo para el queso o almizcle entre los aromas.

«The colour of the golden matter points to redness, and the nature thereof, is not sweetness; therefore we make of them Sericum, i.e., Ixir; and of them we make the encaustic of which we have written, and with the king's seal we tinge the clay, and in that have set the colour of heaven which augments the sight of them that see it» — el color de la materia áurea y lo que se hace con ella: apunta al rojo y su naturaleza no es dulzura; de ella se hace el Sericum o Ixir y el encáustico, y con el sello del rey se tiñe la arcilla.

«The Stone, therefore, is the most precious gold without spots — evenly tempered, which neither fire nor air, nor water, nor earth is able to corrupt; the Universal Ferment rectifying all things by its composition, which is of the yellow or true citrine colour» — la definición de la piedra con que cierra el tratado: oro precioso sin manchas, templado por igual, incorruptible a los cuatro elementos, fermento universal que rectifica todas las cosas por su composición, de color amarillo o citrino verdadero.

«The gold of the wise, concocted and well digested, with a fiery water, makes Ixir; for the gold of the wise is more heavy than lead, which, in a temperate composition is the ferment Ixir, and contrariwise, becomes distempered by an equal composition.» — y el oro de los sabios: cocido y bien digerido con agua ígnea hace el Ixir, y es más pesado que el plomo; en composición templada es el fermento Ixir y en composición igual se destempla.

«For the work begins from the vegetable, next from the animal, as in the egg of a hen, in which is great support; and our earth is gold, of all» — el orden de los reinos con que el tratado remata: la obra empieza por el vegetal y sigue por el animal, como en el huevo de gallina, y su tierra es oro. La frase se corta en el cambio de plana.

«Opus vobuscum et apud est, quod intus arripens et permanens in terra vel in mare habere potes. Tractatus Aureus, cap. 1» — el lema latino del *Tractatus Aureus* con que abre la parte 2: la obra está contigo y cerca de ti, y tomándola dentro y permaneciendo puedes tenerla en la tierra o en el mar.

«Hitherto we have regarded this mystic labyrinth of Alchemy from without, considering the superficial scheme only; before we enter, it may be well to offer the consenting reader our clue, lest, observing merely our indirect and sudden outset, he suppose the way mistaken, and losing faith accordingly, should decline to pass with us further to the end.» — el balance con que entra en la parte 2: hasta aquí ha mirado el laberinto desde fuera, y antes de entrar quiere ofrecer su hilo para que el lector no crea equivocado el camino por lo súbito del arranque.

«For the paths through which we would conduct him are dark, intricate, lonely, and in a measure fearful; far receding, and out of reach of this outer daylight, with all its corporeal witnesses and scenes. Nor has the way become smoother from beings so long a while untrodden. We shall have to thread many windings, to pass round and through thick tangles of doubt and overgrown prejudice, which time has accumulated and thrown up together at the gates; before we can hope to enter the sanctuary of Minerva, much less behold the sacred light which burns there before her pure presence for ever, refulgent and still.» — cómo describe el camino que propone: oscuro, intrincado, solitario y en cierta medida temible, fuera del alcance de esta luz exterior, con marañas de duda y prejuicio acumuladas en las puertas del santuario de Minerva.

«For though aqua fortis and aqua regia seem to dissolve metals, and many salts be found useful in analysis, and fire for the tearing in pieces of bodies; yet nothing vitally alternative is achieved, unless the vital force be present and in action.» — el límite que pone a la química: aunque el agua fuerte y el agua regia parezcan disolver metales y el fuego despedace los cuerpos, nada vitalmente alterante se logra si la fuerza vital no está presente y en acción.

«But modern art drives out, in fact, the very nature which the ancients prized; distilling and dissecting superficies, harassing forever, without the more evolving any true cause, just because their notion of experience and method of experimenting are superficial and essentially atheistic.» — el cargo que hace al arte moderno: expulsa la naturaleza misma que los antiguos apreciaban, destilando y disecando superficies sin sacar causa alguna, porque su noción de experiencia le parece superficial y esencialmente atea.

«The pseudo-Alchemists dreamed of gold, and impossible transformations, and worked with sulfur, mercury, and salt of the mines, torturing all species, dead and living, in vain, without rightly divining the true Identity of nature; the means they employed were from literal readings of receipts; they had no theory whereby to direct their research, and making trial of nature; as if she were a thing of chance, by chance, found nothing.» — y el cargo paralelo a los seudoalquimistas: soñaron con oro y transformaciones imposibles, torturaron toda especie sin adivinar la identidad verdadera de la naturaleza, y probándola al azar no hallaron nada.

«It is declared, in the ancient book of Tobit, to be honorable to reveal the works of the Lord; but good t keep close the secret of a king; and old adepts, as if emulous of the sacred ordinance, whilst they display all the grandeur and abundant riches of his monarchy, make little or no mention of the king at all.» — el precepto del libro de Tobías que invoca y cómo lo aplica: es honorable revelar las obras del Señor y bueno callar el secreto del rey, y los viejos adeptos, desplegando la riqueza del reino, casi no mencionan al rey. El troceo imprime *good t keep*.

«And whilst the light has remained so long under the bushel of ignorance, with the Divine Wisdom under the bark of the Law, it is deplorable to think how many worthy and truth-loving intellects have languished and perished for lack of knowledge; knowledge too that is attainable, since it has been attained.» — la queja que enuncia: bajo el celemín de la ignorancia y la corteza de la Ley han languidecido intelectos amantes de la verdad por falta de un conocimiento que es alcanzable, porque ha sido alcanzado.

«For their few sakes, we now write therefore, and feel emboldened to hazard evidence of the forbidden truth; and without, we trust, transgressing the spirit of the prophet’s advice, it may be allowed to lay open the regalia so far as we shall induce inquiry, and a more respectful consideration than heretofore.» — el permiso que se concede a sí misma para escribir: por esos pocos, y sin transgredir, confía, el espíritu del consejo profético, se atreve a abrir la regalía hasta donde induzca a indagar.

«The inquiries hitherto made by us, concerning the physical basis of the Hermetic Science, have helped to identify it with a matter now, at best, hypothetically conceived of only, since the means of proving it are unknown, and the obscure instructions of the ancients concerning the nature of their conceptive vehicle, has caused incalculable error and confusion;» — el estado en que quedó la indagación previa: una materia concebida a lo sumo por hipótesis, porque los medios de probarla se ignoran y las instrucciones oscuras sobre el vehículo conceptivo causaron error y confusión incalculables.

«and though the says of gross credulity have passed away, and a more widespread education has helped to awaken the common sense of mankind to a perception of the improbable and ridiculous in most things, yet other obstacles supervene, as great, if not more obnoxious to the pursuit of causal science.» — y el obstáculo nuevo que ve: pasada la credulidad grosera y despertado el sentido común, sobrevienen estorbos tan grandes o más para la ciencia causal. El troceo imprime *says* por days.

«The human mind, indeed, has been so long unaccustomed truly to know anything, or even think of, much less investigate, its own intrinsical phenomena, that to speak of them at the present time may subject us to every imputation of error and presumption.» — en qué consiste ese estorbo según ella: la mente humana lleva tanto tiempo desacostumbrada a conocer y aun a pensar sus propios fenómenos intrínsecos, que hablar de ellos expone a toda imputación de error y presunción.

«And why a barren period has supervened; and man has no longer any experience in the life of wisdom, nor yet surmises the virtue that is in him, to prove and magnify the Universal Source.» — el diagnóstico de época que hace: un periodo estéril en que el hombre no tiene ya experiencia de la vida de la sabiduría ni sospecha la virtud que hay en él.

«to these, who had glimpses of the Universal Subject, endeavored to draw light into focus of their vessels, to compress and entice the ether by mangetical disposition and attractions of various kinds; but their hopes were too vaguely based, there was no wisdom in their magistery, being ignorant of that internal fire and vessel of the adepts, so essential to the accomplishment of the Hermetic work.» — el segundo grupo que distingue: los de imaginación superior que atisbaron el sujeto universal y quisieron atraer el éter por disposiciones magnéticas, sin sabiduría en su magisterio por ignorar el fuego y el vaso internos de los adeptos.

«Yet that was the foundation of the whole Hermetic magistery, whence it is said, that if the wise had not found a proper vessel in which to concoct it, the ethereal corner stone would never have been brought to light.» — el papel decisivo que da al vaso: sin un vaso propio en que cocerla, la piedra angular etérea nunca habría salido a la luz.

«This Hali declares and Morien, and Albert, saying, that the place is the principle also of the supernatural generation; and Hermes, vas» — los testigos que alinea sobre el vaso: Hali, Morieno y Alberto, para quienes el lugar es también el principio de la generación sobrenatural, y Hermes, cuya sentencia latina se corta en el cambio de plana.

«philosophorum est aqua eorum; but they do not openly reveal either, as Maria concludes in her admonition, --- Philosophers have spoken sufficiently of all that is necessary concerning the work, with exception of the vessel; which is a divine secret, hidden from idolators, and without this knowledge no one can attain to the magistery» — la sentencia de Hermes completada al otro lado del corte y la admonición de Maria: los filósofos hablaron bastante de todo lo necesario salvo del vaso, que es secreto divino escondido a los idólatras y sin el cual nadie alcanza el magisterio.

«Thus, it appears to have been a religious principle with the ancients, to withhold the means of proving their philosophy from an incapable and reckless world; and if by hazard, less prudent or envious than the rest, alluded openly in his writings wither to the concealed vessel or art of vital administration, his revealment was instantly annulled by false or weakening commentaries, or as quickly as possible withdrawn by means not less sure, because hidden from the world.» — el principio religioso que atribuye a los antiguos: retirar al mundo incapaz los medios de probar su filosofía, y anular por comentarios falsos o retirar cuanto antes la revelación del vaso hecha por alguno menos prudente.

«Of the former expedient we have a notable example in Sendivogius, who, towards the conclusion of his treatises, referring to the honest Hermit Morien’s advice to King Calid, — This matter, O king, is extracted from thee — endeavors to draw attention off from it, by inveigling the reader into a doubt artfully raised about some gold found sticking between a dead man’s teeth» — el ejemplo que da de esa maniobra: Sendivogio, tras citar el consejo de Morieno a Calid de que la materia se extrae del propio rey, desvía la atención con una duda sobre un oro hallado entre los dientes de un muerto.

«Such instances are not rare, and it has been found easy by such similar equivocations, without absolute denial, to protect from foolish and profane intrusion that living temple wherein alone the wise of all ages have been securely able to raise their rejected Corner Stone and Ens of Light.» — y lo que esas equivocaciones protegen según ella: ese templo viviente donde los sabios de todas las edades han podido levantar su rechazada piedra angular y ente de luz.

«When, however, the writings of Jacob Boehme appeared in Germany, some century and a half ago, the Alchemists who lived at that period, write as if they supposed their art could little longer remain a secret; a similar alarm had previously arisen amongst certain Rosicrucians about the books of Agrippa and Paracelsus’ disciples, and in both instances because those great theosophists spoke openly, applying the practice of Alchemy to human life; suggesting also, as did the latter, the method and medium of attraction.» — la alarma que registra entre los alquimistas: con Böhme, y antes entre ciertos rosacruces con Agripa y los discípulos de Paracelso, porque esos teósofos hablaron abiertamente aplicando la práctica de la alquimia a la vida humana.

«For, notwithstanding these, in common with the rest, teach that the Mercurial Spirit is everywhere, and to be found in all things according to the nature of each, yet they do not so much profess to have sought for it in many things, or that it may with equal advantage be drawn forth from all; since it is neither apt to become universal of its own accord, or in every Form of virtue sufficient for the Hermetic work.» — la distinción que hace enseguida: enseñan que el espíritu mercurial está en todas partes, pero no que pueda sacarse con igual ventaja de todo, porque no es apto para volverse universal por sí ni suficiente en toda forma.

«Therefore, they say, the best and noblest ought to be chosen to operate with, unless the searcher proposes to waste labor and ingenuity without obtaining his desired end.» — y el corolario práctico: hay que escoger lo mejor y más noble para operar, so pena de gastar labor e ingenio sin llegar al fin deseado.

«Besides, to search out the identity through all creatures and minerals, by way of experiment, would seem to be a matter of no small difficulty if we must need investigate each; but if one subject should be presented which contains all, and the comprehension of each subordinate form in a superior essence, then this one needs only» — el argumento de economía que añade: buscar la identidad por experimento en todas las criaturas sería dificilísimo, pero si se presentara un solo sujeto que los contenga a todos bastaría investigar ese. La frase se corta en el cambio de plana.

«But the universal orb of the earth, adds the Moorish philosopher, contains not so great mysteries and excellences as Man reformed by God into his image; and he that desires the primacy amongst the students of nature, will nowhere find a greater or better reserve to obtain his desire than in himself, who is able to draw to himself the Central Salt of nature in abundance, and in his regenerate Wisdom possesseth all things, and with this light can unlock the most hidden and recluse mysteries of nature» — la respuesta que toma del filósofo moro: el orbe entero de la tierra no contiene misterios tan grandes como el hombre reformado por Dios a su imagen, que puede atraer a sí la sal central de la naturaleza en abundancia.

«As Agrippa, moreover, testifies, that the soul of man, being estranged from the corporeal senses, adheres to a divine nature, from which it receives those things which it cannot search into by it sown power;» — el testimonio de Agripa que transcribe: el alma del hombre, extrañada de los sentidos corporales, se adhiere a una naturaleza divina de la que recibe lo que no puede escrutar por su propio poder. El troceo pega *it sown* por its own.

«for when the mind is free, the reins of the body being loosed and going forth, as out of a close prison, it transcends the bonds of the members, and nothing hindering, being stirred up in its proper essence, comprehends all things.» — la continuación de ese pasaje de Agripa: suelta la mente y las riendas del cuerpo, sale como de una cárcel cerrada, trasciende los lazos de los miembros y, excitada en su esencia propia, lo comprende todo.

«And therefore man was said to be the express Image of God, seeing he contains the Universal Reason within himself, and has a corporeal similitude also with all, operation with all, and conversation with all.» — la razón que Agripa da para llamar al hombre imagen expresa de Dios: contiene en sí la razón universal y tiene semejanza corporal con todo, operación con todo y trato con todo.

«But he symbolizes with matter in a proper subject; with the elements in a fourfold body; with plants in a vegetable virtue; with animals in a sensitive faculty; with the heavens in an ethereal spirit and influx of the superior parts upon the inferior; with the angelical sphere in understanding and wisdom, and with God in all.» — la escala de simbolizaciones que Agripa enumera: con la materia en un sujeto propio, con los elementos en un cuerpo cuádruple, con las plantas en virtud vegetal, con los animales en facultad sensitiva, con los cielos en espíritu etéreo, con la esfera angélica en entendimiento y con Dios en todo.

«He is preserved with God and the intelligences by faith and wisdom; with celestial things by reason and discourse; with all inferior things by sense and dominion; and acts with all, and has power on all, even on God Himself, continues the magician, by knowing and loving Him.» — y el remate de Agripa: obra con todo y tiene poder sobre todo, incluso sobre Dios mismo, por conocerlo y amarlo. La duplicación del pasaje en las planas 93 y 94 es defecto de la capa de texto, no del argumento.

«Whosoever, therefore, shall know himself, shall know all things in himself; but especially he shall know» — la máxima que cierra ese pasaje: quien se conozca a sí mismo conocerá en sí todas las cosas. La frase se corta en el cambio de plana.

«God, according to whose image he was made; he shall known the world, the resemblance of which he beareth; he shall know all creatures with which in essence he symboliseth, and what comfort he can have and obtain from stones, plants, animals, elements; form spirits, angels, and everything; and how all things may be fitted for all things, in their time, place, order, measure, proportion, and harmony; even how he can draw and bring them to himself as a loadstone, iron» — el remate del pasaje de Agripa al otro lado del corte: quien se conozca conocerá a Dios, al mundo y a las criaturas con que simboliza, y podrá atraerlas a sí como el imán al hierro. El troceo imprime *known* por know.

«And this the adept, Sendivogius, moreover declares: That nature, having her proper light, is by the shadowy body of sense, hidden from our eyes; but if, says he, the light of nature doth enlighten any one, presently the cloud is taken away from before his eyes, and without any let, he can behold the point of our lodestone, answering to each center of the beams (viz. of the sun and moon philosophical) for so far doth the light of nature penetrate and discover inward things; the body of man is a shadow of the seed of nature; and as man’s body is covered with a garment, so is man’s nature covered with the body.» — lo que Sendivogio declara sobre la luz de la naturaleza: la naturaleza tiene luz propia, oculta a los ojos por el cuerpo sombrío del sentido, y quien esa luz ilumina ve el punto de su imán.

«Man was created of the earth, and lives by virtue of the air; for there is in the air a secret food of life, whose invisible congealed spirit is better than the whole world.» — la doctrina del alimento del aire en Sendivogio: el hombre fue creado de la tierra y vive por virtud del aire, donde hay un alimento secreto de vida cuyo espíritu congelado invisible vale más que el mundo entero.

«The eyes of the wise look upon nature otherwise than the eyes of common men. The most high Creator, having been willing to manifest all natural things to man, hath even showed us that celestial things themselves were naturally made; by which his absolute power and wisdom might be so much the better known;» — la diferencia de mirada que Sendivogio establece y la razón que le da: el Creador mostró que aun las cosas celestes se hacen naturalmente, para que su poder y sabiduría absolutos se conocieran mejor.

«for which cause they esteemed this art of Alchemy, viz., not so much out of covetousness for gold or silver, but for the knowledge’s sake; not only of all natural things, but also of the power of the Creator.» — el motivo que Sendivogio adjudica a los filósofos para estimar la alquimia: no la codicia de oro o plata, sino el conocimiento de las cosas naturales y del poder del Creador.

«But they are willing to speak of these things sparingly only, and figuratively, lest those divine mysteries, by which nature is illustrated, should be discovered to the unworthy; which thou, if thou knowest how to know thyself, and art not of a stiff neck, mayest easily comprehend, who art created after the likeness of the great world, yea after the image of God.» — y por qué hablan con parquedad según él: para que los misterios divinos no se descubran a los indignos, cosa que puede comprender fácilmente quien sepa conocerse a sí mismo y no sea de cerviz dura.

«Thou hast in thy body the anatomy of the whole world, and all thy members answer to some celestials;» — la correspondencia que Sendivogio afirma: en el cuerpo está la anatomía del mundo entero y todos los miembros responden a algún celeste. La frase salta el corte de plana.

«therefore, the searcher of this Sacred Science know that the soul in man, the lesser world or microcosm, substituting the place of its center, is the king, and is placed in the vital spirit in the purest blood. That governs the mind, and the mind the body; but this same sol, by which man differs from other animals and which operates in the body, governing all its motions,» — el lugar que Sendivogio da al alma: rey del microcosmo, puesta en el espíritu vital en la sangre purísima, que gobierna la mente y la mente el cuerpo. El troceo imprime *sol* por soul.

«hath a far greater operation out of the body, because out of the body it absolutely reigns; and in this respect, it differs from the life of other creatures which have only spirit and not the soul of Deity» — y lo que distingue al hombre según él: esa alma opera mucho más fuera del cuerpo, donde reina en absoluto, mientras las demás criaturas tienen espíritu y no alma de la Deidad.

«Such are the distinctive assertions of one esteemed an adept by his contemporaries, and who professes to ground them also on his own manual experience in the proto-chemistry of Hermes.» — la cautela con que introduce a ese testigo: tenido por adepto entre sus contemporáneos y que declara fundar lo dicho en su propia experiencia manual en la protoquímica de Hermes.

«And, whether they be entirely credited or not, these may help to elucidate the words of Trismegistus, where, in the first chapter of the Golden Treatise, he says, — that the work is both in us and about us; and that the whole mystery is comprehended in the hidden elements of his Wisdom» — el uso que les da: crédito aparte, esas aserciones ayudarían a elucidar lo que Trismegisto dice en el capítulo primero del Golden Treatise, que la obra está en nosotros y a nuestro alrededor.

«And Geber, in the same sense, where he declares that he who in himself knows no natural principles, is very remote from this sacred science, because he has not the true root in him whereon to base his labor and intention» — el pasaje de Geber en el mismo sentido: quien en sí mismo no conoce los principios naturales está lejísimos de esta ciencia sagrada, porque no tiene en sí la raíz verdadera sobre la que fundar su labor.

«Observe, therefore, and take heed, says Basil, that all metals and minerals have one root from whence their descent is; he that knows that rightly needs not destroy metals in order to extract the spirit from one, the sulfur from another, or salt from another; for there is a nearer place yet in which these three, viz., the mercury, slat and sulfur — spirit, body and soul — lie hid together in one thing, well known, and whence they may with great praise be gotten.» — lo que Basilio manda observar: todos los metales y minerales tienen una raíz, y hay un lugar más cercano donde mercurio, sal y azufre —espíritu, cuerpo y alma— yacen juntos en una cosa bien conocida. El troceo imprime *slat* por salt.

«He that knows exactly this golden seed or magnet, and searcheth thoroughly into its properties, he hath the true root of life, and may attain to that which his heart longs for; wherefore I intreat, continues the monk, all true lovers of mineral science, and sons of art, diligently to inquire after this metallic seed, or root, and be assured that it is not an idle chimera or dream, but a real and certain truth» — y el ruego con que Basilio lo cierra: que los amantes de la ciencia mineral indaguen esa semilla o raíz metálica, seguros de que no es quimera ni sueño sino verdad real y cierta.

«It was from such an internal intimacy, and central searching of the mystery, that the Paracelsian Crollius tells us he came to know that the same light and mineral vapor, which produces gold within the bowels of the earth is also in man, and that the same is the generating spirit of all creatures» — lo que atribuye a Crollius el paracelsista: por esa intimidad interna llegó a saber que el mismo vapor mineral que produce oro en las entrañas de la tierra está también en el hombre.

«And Albertus Magnus, in his book of Minerals, after asserting that gold may be found everywhere, in the final analysis of every natural thing, concludes by showing that the highest mineral virtue nevertheless resides in man; for fire, which is the true aurific principle in the life of all, burns more than all glorious in him erect.» — lo que atribuye a Alberto Magno en su libro de los minerales: que el oro puede hallarse en todas partes y que con todo la virtud mineral más alta reside en el hombre, donde el fuego arde más glorioso.

«Remember how man, ys most noble creature In Erth’s composycion that ever God wrought, In whom are the fowre elements proportioned by nature, A naturall mercuryalyte which cost right nought, Out of hy myner by arte yt most be brought; For our mettalls be nought ells but miners too, Of our Soon and Moone, wyse Reymond seyd so» — los versos de Ripley que trae en apoyo: el hombre es la criatura más noble de la composición de la tierra, en quien los cuatro elementos van proporcionados, con una mercurialidad natural que no cuesta nada y hay que sacar por arte de su mina.

«And though the philosophers have chosen to say little about it, on account of the shortness of this work, as Maria says, yet they themselves found out these hidden elements, and themselves increased them.» — la reserva que toma de Maria: los filósofos dijeron poco de eso por lo breve de la obra, pero ellos mismos hallaron esos elementos ocultos y los aumentaron.

«And thou, oh, Man, cries the Arabian Aliphili, even thou art he who through the breath and power of the water and earth in thyself, conjoinest the elements and makest them one; and thyself not knowing what a treasure thou hast hidden in thee, from the coagulation and consent of these powers, producest an essence, called, by us, the expert, the great and miraculous mystery of the world; that is the true fiery water.» — la apóstrofe del árabe Aliphili que transcribe: el hombre mismo conjunta los elementos por el aliento y el poder del agua y la tierra que hay en él, y sin saber qué tesoro esconde produce el agua ígnea verdadera.

«Eschva mayim, Erascha mayim, yea, it surmounts in its power, the fire, air, earth and water; for it dissolves radically, incrudates even the mature, constant, and very fixed, fiery and abiding mass and matter of gold, and reduces it into a fit black earth, like to black spittle;» — lo que ese pasaje atribuye a esa agua: supera en poder al fuego, al aire, a la tierra y al agua, disuelve radicalmente y reduce la masa fija del oro a una tierra negra como saliva negra.

«wherein we find a water and the true salt destitute of all odor, vehemency, and corrosive nature of the fire: there is nothing in the whole world besides to be found which can do this; to which nothing is shut; and though it is a precious thing, more precious than everything, yet the poor as well as the rich may have it in the same equal plenty. The wise men have sought this thing, and the wise men have found it» — y el remate de Aliphili: nada hay en el mundo que pueda hacer eso, nada le está cerrado, y siendo cosa preciosísima la pueden tener por igual el pobre y el rico.

«And it behooves him, therefore, who would be introduced to this hidden Wisdom, says Hermes, to quit himself from the usurpations of vice, to be good and just and of a profound reason, ready at hand to help mankind; for these subtle chemical secrets may never be handled by the idle or vicious unbelievers of these matters in which they are only ignorant, who, being destitute of light, defile by an evil imagination» — las condiciones morales que repite de Hermes: dejar las usurpaciones del vicio, ser bueno, justo y de razón profunda; los ociosos y viciosos, destituidos de luz, ensucian con mala imaginación lo que la frase nombra al otro lado del corte de plana.

«Omne Aurum est aes, sed non omne aes est aurum:» — la sentencia latina que intercala: todo oro es bronce, pero no todo bronce es oro.

«and the true physician, according to Crollius (whom Paracelsus called a natural divine) is true, sincere, intelligent, faithful: and being well exercised in the vital analysis of bodies, knows that there is no constant quality of any body which is not to be found in the salt, mercury, and sulfur thereof» — el retrato del médico verdadero que toma de Crollius: verdadero, sincero, inteligente, fiel, y bien ejercitado en el análisis vital de los cuerpos, sabe que no hay cualidad constante de un cuerpo que no esté en su sal, su mercurio y su azufre.

«And these three principles of attraction, repulsion, and circulation, the universal accord of life, are everywhere and in all.» — la traducción que hace de esos tres principios: atracción, repulsión y circulación, el acuerdo universal de la vida, están en todas partes y en todo.

«Blood containeth the three things I have told, And in his tincture hath nature of gold: Without gold, no metal may shine bright; Without blood no body hath light: So doth the greater and less world still Hold the circle according to God’s will.» — los versos sobre la sangre que transcribe: contiene las tres cosas dichas y tiene en su tintura naturaleza de oro; sin oro no hay metal que brille y sin sangre no hay cuerpo con luz.

«Blood hath true proportion of th’ elements foure. And of the three parts spoke of before; For blood is the principle matter of each thing, Which hath any manner of increasing. The true blood to find without labour or cost, Thou knowest where to have it, worthy wits be lost; See out the noblest, as I said before, And now of the Matter, I dare say no more» — la continuación de esos versos: la sangre tiene proporción verdadera de los cuatro elementos y de las tres partes dichas, y es la materia principal de todo lo que crece; el poeta dice no atreverse a decir más.

«Or, what more shall I say? (asks Morien, emphatically, discoursing with the Arabian monarch about the confection of the Stone, and after showing the distinctive supremacy of man in nature). The thing, O king, is extracted from thee, in the which mineral thou dost even exist; with thee it is found; by thee it is received; and when thou shalt have proved all by the love and delight in thee, it will increase; and thou wilt know that I have spoken an enduring truth» — el pasaje de Morieno al monarca árabe, que Atwood pone como la formulación más clara: la cosa se extrae de ti, en ese mineral existes, contigo se halla y por ti se recibe.

«Although few write so clearly to the purpose as those we have selected, yet the more modern class of adepts have in general left hints and suggestions to the same effect; they describe the life of man,» — el balance que hace de los modernos: han dejado en general indicaciones del mismo sentido y describen la vida del hombre; la frase se corta en el cambio de plana.

«And though it might be supposed, according to the alleged diffusion of the Matter, that, if the Art of separating it were known, it might be taken anywhere (which in part also is true) yet we may consider the object was not simply to obtain the Matter or prove it only, but to improve, perfect, and bring the Causal light to manifestation.» — la precisión que hace sobre dónde tomar la materia: aunque por su difusión pudiera tomarse en cualquier parte, el objeto no era solo obtenerla o probarla sino mejorarla y llevar la luz causal a manifestación.

«And in what our human circulatory system differs and occultly approximates, so that it can be made to comprehend all inferior existences, and supersede nature in her course, may be gathered from this philosophy; and may reasons are given why the most noble subject was chosen, and this only vessel for its elaboration.» — y lo que promete explicar: en qué difiere y se aproxima ocultamente el sistema circulatorio humano, y por qué se escogió el sujeto más noble y ese único vaso para elaborarlo.

«philosophic, fiery, vital — which may be mixed with all metals and again be separated from them; it is prepared in the innermost chamber of life, and there it is coagulated, as the Hermetic phrase runs, and where metals grow where they may be found» — la fórmula del mercurio que cierra el pasaje de Alberto: filosófico, ígneo y vital, mezclable con todos los metales y separable de ellos, preparado y coagulado en la cámara más íntima de la vida.

«the very Spirit that ought to be refined.» — lo que esos ociosos y viciosos ensucian según Hermes, al otro lado del corte: el espíritu mismo que debía refinarse.

«as by their Art revealed, to be a pure, naked, and unmingled fire of infinite capability, differing from that of the prone creatures in form, educability, and capacity for melioration in itself.» — cómo describen los modernos la vida del hombre según ella: fuego puro, desnudo y sin mezcla, de capacidad infinita, que difiere del de las criaturas inclinadas en forma, educabilidad y capacidad de mejora.

«Attraction is the first principle of motion in nature; this is generally admitted, but the origin of this universal attraction is occult and incomprehensible to the ordinary human understanding. Repulsion is the second principle, and a necessary consequence of the first by reaction. Circulation is the third principle, proceeding from the conflict of the former two.» — los tres principios del movimiento que enuncia: la atracción, cuyo origen declara oculto e incomprensible para el entendimiento ordinario; la repulsión, consecuencia necesaria por reacción; y la circulación, que procede del conflicto de las dos.

«All motion is derived from this threefold source in its reciprocal relations, which are diversified according to its qualifications with the matter. The attraction, repulsion and circulation in the sun and stars move the planets in their orbits; the same principle in each globe performs the rotation on its axis, and the satellites partake the same motion from their primaries.» — la extensión cosmológica que les da: atracción, repulsión y circulación mueven los planetas en sus órbitas, hacen girar cada globo sobre su eje y comunican a los satélites el movimiento de sus primarios.

«Hence chemical affinity, called Elective Attraction, is ruled by the same laws; and it is found that when two matters unite, one is attractive and the other repulsive; when either attraction or repulsion predominates in a matter, the circulation is in ellipse; but when they are in equilibrium, a circle is produced.» — cómo aplica esos tres principios a la química: cuando dos materias se unen una es atractiva y la otra repulsiva, y si predomina una la circulación es elipse mientras que en equilibrio se produce un círculo.

«Repulsion, being produced in its origin by attraction, equals it, as reaction equals action: but in nature one principle is everywhere more latent or inert, or weaker than another; and there are degrees accordingly, in which either predominates in external manifestation; hence the different degrees of natural affinity for union.» — la asimetría que introduce: la repulsión iguala a la atracción como la reacción a la acción, pero en la naturaleza un principio está siempre más latente o inerte que otro, de donde los distintos grados de afinidad.

«But the medium is always in the circulation produced from the action and reaction of centrifugal and centripetal forces, and the equality of these forms a circle, as was before observed, and which labors to harmonize the conflict of these two, and will succeed if the matter be duly qualified for it.» — el papel que da a la circulación: es siempre el medio producido por la acción y reacción de las fuerzas centrífuga y centrípeta, y trabaja por armonizar el conflicto de las dos si la materia está calificada para ello.

«But, according to the Alchemists, there is but One Matter truly qualifiable or capable of qualifying matter to be harmonized in this way, since nature has fallen off from her original balance, and the wheel of human life turns forth, deviating from its axis, into a line which terminated finally in dissolution; which nothing but their Antimonial Spirit rectified by Art, being in bright lines of equal attraction and repulsion, as it were a perfect magnet in a star-like circle of irradiated circulation, can contrariate or withstand» — la excepción que los alquimistas ponen según ella: solo hay una materia capaz de calificar a otra para esa armonía, porque la naturaleza cayó de su equilibrio original y la rueda de la vida humana gira desviada de su eje hacia la disolución.

«And the agent in the preparation of this spirit, continues Bohme, is the Invisible Mercury, and no process can finally fail where the invisible Universal Mercury, or spiritual air of Antimony, is present, condensed in its proper vehicle in any of the degrees of permanency; and the Principle of its operation consists in the power of harmonizing the three discordant principles ofAttraction, Repulsion, and Circulation» — el agente que atribuye a Böhme en esa preparación: el mercurio invisible o aire espiritual del antimonio, cuyo principio de operación consiste en armonizar los tres principios discordantes. El troceo imprime *Bohme* y pega *ofAttraction*.

«and this is the vital spirit of the arterial blood, where the universal principles are in their natural generation unequally composed: the repulsive force so far predominating over the interior attraction, that the total circulatory life is expulsive, and drawn without to a debilitated consciousness away from its First Cause.» — dónde sitúa ese espíritu: en el espíritu vital de la sangre arterial, donde los principios universales están compuestos desigualmente y la fuerza repulsiva predomina, de modo que la vida circulatoria es expulsiva.

«Which inverse order of relationship and vital ignorance it is the object of the Hermetic art to remedy, and, by occultation of the opposive principle, to restore the true rector to his original rule.» — y lo que el arte hermético se propone contra eso: remediar ese orden inverso y esa ignorancia vital y, ocultando el principio opuesto, restituir al rector verdadero su regla original.

«Sanquinem urinamque pariter dat nobis natura, et ab horum natura salem dat Pyrotechnia, quem circulat ares in salem Paracelsi. Hoc addam: sanquinis salem per urinaceum fermentum sic transmutari debere, ut ultiman vitam amittat, mediamque servet, salsedinemque retineat» — el pasaje latino que intercala sobre la sal de la sangre y de la orina: la naturaleza da ambas, de su naturaleza la pirotecnia saca la sal, y la sal de la sangre debe transmutarse por fermento urinoso de modo que pierda la vida última, conserve la media y retenga la salsedumbre.

«This know, therefore, says Hermes, that except thou understandeth how to mortify and induce generation, to vivify the spirit, to cleanse and introduce light, until they fight and contend with each other, and grow white and freed form their defilements, rising, as it were, from blackness and darkness, thou knowest nothing, nor canst perform anything; but if thou knowest this, thou shalt be of a great dignity» — el pasaje de Hermes repetido aquí: quien no entienda mortificar e inducir generación, vivificar el espíritu, limpiar e introducir luz hasta que contiendan y blanqueen, nada sabe ni puede hacer.

«All which our modern exponent, further illustrating the Hermetic process, confirms. For, in three months circulation, says he, by digestion, the powder becomes black, the opposition of attraction and repulsion ceases (in the vital spirit), and the attraction of the fixed which produced the repulsion of the volatile, is slain by the circulation which also dies itself, and all three enter into rest.» — el régimen de tiempos que toma de su expositor moderno: en tres meses de circulación por digestión el polvo se vuelve negro, cesa la oposición de atracción y repulsión, y los tres entran en reposo.

«Then there is no more compression or expansion, ascent or descent, but the action and reaction have, by the equilibriate radiation of forces and the subtlety of the spirit, formed a circulation which has consumed all discordant opposites, and sunk down black and motionless.» — y el estado que sigue: ni compresión ni expansión, ni ascenso ni descenso, sino una circulación formada por radiación equilibrada que ha consumido los opuestos discordantes y se ha hundido negra e inmóvil.

«And thus the head of Hermes’ crow is said to be in the beginning of this work; that which at first was fixed, viz., the sentient medium, is dissolved, and by the same process more profoundly operating, the original evil is made manifest in the matter to be renewed, and hence the principle of amendment and rectification also will appear, and on either side it is a signal of Art.» — cómo lee la cabeza del cuervo de Hermes: lo que era fijo, el medio sintiente, queda disuelto, y con la operación más profunda el mal original se manifiesta en la materia a renovar, de donde aparece el principio de enmienda.

«The same Three Principles gradually assume a new life, continues Boehme, infinitely more powerful in virtue, but without any violent contest, and in three months farther, mild action of the principles in harmony have produced a brilliant whiteness in the matter, which in three months more become a brilliant yellow, red, or purpling tincture:» — la escala de colores con sus plazos que atribuye a Böhme: tres meses más de acción suave dan una blancura brillante, y otros tres, una tintura amarilla, roja o purpúrea.

«for the reign of sin is finished, and the king doth rule, and now he is invested wit the red garment, and now the scarlet color is put on» — la variante del cierre del Golden Treatise que imprime aquí: *reign of sin* y *the king doth rule* donde la sección tercera decía reino de la muerte y el hijo reina, y color escarlata donde decía púrpura. Las dos lecciones se consignan sin armonizar. El troceo imprime *wit* por with.

«That was the process of working with the Vital Spirit, so often reiterated by Hermes, Democritus, and the rest before cited, which also is many times passed through for the practical accomplishment.» — lo que declara de ese régimen: era el modo de obrar con el espíritu vital que Hermes, Demócrito y los demás reiteran, y que se recorre muchas veces para el cumplimiento práctico.

«But every other matter labors for this perfection in vain; it can only attain to combustion, heat, and temporary light, and the consumption of the common elements in their analysis is a separation into gas and ashes; but this mystical nature revives, fortified from every successive dissolution, renewing its Whole resolutely from either extreme by union.» — el contraste que traza: cualquier otra materia trabaja en vano por esa perfección y solo llega a combustión y ceniza, mientras esta naturaleza mística revive fortificada de cada disolución sucesiva.

«This Spirit is so full of life, says the adept, that if the process fails in any stage, an addition of the same will renew it.» — lo que el adepto promete de ese espíritu: está tan lleno de vida que si el proceso falla en cualquier etapa, una adición del mismo lo renueva.

«The white or red powder is increased tenfold in strength and quantity by each digestion of it with fresh i, wet with gas water, or oil of this antimony, and each digestion is made in tenfold shorter time than the preceding from a week to a few hours.» — la ley de multiplicación que da: el polvo blanco o rojo se decuplica en fuerza y cantidad con cada digestión, y cada digestión tarda diez veces menos que la anterior, de una semana a unas horas.

«For this gold is endued with a magnetical virtue, which by the inspissate fulgor of its tincture, draws the divine increase after it; in which nature expends all her forces, but leaves the victory to Art,» — la virtud magnética que atribuye a ese oro: por el fulgor espesado de su tintura arrastra tras de sí el incremento divino, y la naturaleza gasta en ello todas sus fuerzas y deja la victoria al arte.

«which by graduation to the full height, adds to the natural effulgence a supernatural light; for what else but light should multiply?» — y la pregunta con que lo cierra: el arte añade a la efulgencia natural una luz sobrenatural, porque qué otra cosa sino la luz habría de multiplicarse.

«Know, therefore, and consider, says Basil Valentine, that this true tincture of Antimony, which is the medicine of men and metals, is not made of crude melted antimony, such as the apothecaries and merchants sell, but is extracted from the true mineral, as it is taken from the mountains; and how that extraction should be made, is a principal secret in which the whole art of Alchemy consists.» — lo que Basilio Valentín manda considerar: la tintura verdadera del antimonio, medicina de hombres y metales, no se hace del antimonio crudo que venden boticarios y mercaderes sino del mineral verdadero tal como se toma de los montes.

«Lapis noster inter duos monticulos nascitur; in te et in me at in nostri similibus latet» — la sentencia latina con que cierra esa página: nuestra piedra nace entre dos montículos y se esconde en ti, en mí y en nuestros semejantes.

«And when the mechanical part of the Three Principles passes into the hands of its proper manufacturers equally and generally in all countries, concludes Boehme, then will the school of adepts come out from this captivity, and will find their proper level as true physicians for the body and soul, dispensing the leaves of life for the healing of the nations.» — la profecía que atribuye a Böhme: cuando la parte mecánica de los tres principios pase por igual a manos de sus verdaderos operarios en todos los países, la escuela de los adeptos saldrá de su cautiverio.

«But now the Seal of God lieth before it, to conceal the true ground, unless a man knew for certain that it would not be misused; for there is no power to obtain, no art or skill availeth, unless one intrust another with somewhat (as Hermes and Arnold bear witness); yet the Work is easy and simple, but the wisdom therein is great and the greatest mystery» — y la condición que pone mientras tanto: el sello de Dios está delante para ocultar el fundamento verdadero mientras no se tenga certeza de que no se abusará, y la obra es fácil y simple aunque la sabiduría sea el mayor misterio.

«the triumphal Chariot of Antimony turned swift upon the current wheel of life; and this is the Stone of Fire seen in bright lines, of equal attraction and repulsion, when made manifest, as it were, an armed magnet included and circulating in a perpetual heaven» — los nombres que de ahí derivan, al otro lado del corte: el Carro Triunfal del Antimonio girado sobre la rueda de la vida y la Piedra de Fuego vista en líneas brillantes de atracción y repulsión iguales, como un imán armado circulando en un cielo perpetuo.

«The greatest mystery of all is in Existence, and the only mystery; and as fire and light are one and everywhere perceived after the same manner, so is life in every particular the same inscrutable Identity through all.» — la tesis con que abre ese tramo: el mayor misterio y el único está en la existencia, y como el fuego y la luz son uno y se perciben igual en todas partes, así la vida es en cada particular la misma identidad inescrutable.

«Or does a vast and filled creation hang before our eyes, and we think it to be without a foundation? Do we ourselves exist and consciously breathe, denying a mystery; or rather, admitting this, does anyone doubt that it is discoverable? Does not everything imply a necessary cause, and is not each sustained still living in the same? And is it not absurd to suppose that we are entirely depending on externals, or that being in part self-dependent, we are so far depending on nothing?» — la serie de preguntas con que empuja: si una creación vasta y llena cuelga ante los ojos sin fundamento, si existiendo y respirando conscientemente se niega el misterio, y si cabe pensarse dependiendo por entero de lo externo.

«If, therefore, we contain within us a proper principle of being, why should not this, thus proximate, be known?» — la pregunta que le sirve de bisagra: si contenemos en nosotros un principio propio de ser, por qué no habría de conocerse siendo tan próximo.

«Behold, says the apostle, He is not far off from every one of us; for in Him we live, and move, and have our being,» — el texto del apóstol que trae: no está lejos de ninguno de nosotros, porque en él vivimos, nos movemos y somos.

«And again, to those forgetful Athenians, --- God made man to the end that he should seek the Lord, if haply he might feel after him he should seek the Lord, if haply he might feel after him and find him» — y el segundo texto del mismo discurso a los atenienses: Dios hizo al hombre para que buscara al Señor, por si a tientas pudiera hallarlo. El troceo repite aquí la cláusula por defecto de la capa de texto.

«And is not this a promise worth the certifying, an end worthy to be sought out, to feel and know God? Seek and ye shall find, knock and it shall be opened unto you; yet it remains hidden still:» — la pregunta con que la aplica: si no vale la pena certificar esa promesa y buscar ese fin de sentir y conocer a Dios, pues aunque se prometa hallar y abrir, sigue oculto.

«It were a foolish presumption, he observes, if a lapidary should undertake to state the value or luster of a jewel that is shut up, before he opens the cabinet; yet men will presume to judge of invisible celestial things, which are shut up within the closet of matter, and all the while perusing the outside which is the crust of nature.» — el símil de Vaughan: sería presunción necia que un lapidario tasara una joya encerrada antes de abrir el cofre, y con todo los hombres juzgan de lo celeste encerrado en la materia leyendo solo la costra.

«But advise them to use their hands and not their fancies, and to change their abstractions into extractions; for verily as long as they lick the shell after their fashion, and pierce not experimentally into the center of things, they can do no otherwise than they have done; they cannot know things intrinsically, but only describe them by their outward effects and motions, which are subject and obvious to every common eye.» — y el consejo práctico de Vaughan: usar las manos y no las fantasías y cambiar las abstracciones por extracciones, porque mientras laman la cáscara solo describirán las cosas por sus efectos externos.

«Let them consider, therefore, that there is in nature a certain Spirit which applies himself to the matter, and actuates in every generation; that there is also a passive intrinsical principle where he is more immediately resident than in the rest, and by mediation of which he communicates with the more gross material parts.» — la doctrina que Vaughan propone en su lugar: hay en la naturaleza un espíritu que se aplica a la materia y actúa en cada generación, y un principio pasivo intrínseco donde reside más inmediatamente.

«For there is in nature a certain chain or subordinate propinquity of complexions between visibles and invisibles, and this is it by which the superior spiritual essences descend and converse here below with the matter.» — y la cadena que postula: una propincuidad subordinada de complexiones entre visibles e invisibles, por la que las esencias espirituales superiores descienden y conversan aquí abajo con la materia.

«But, he continues, have a care lest you misconceive me. I speak not in this place of the divine spirit, but I speak of a certain Art by which a Particular Spirit may be united to the Universal; and nature by consequence be strangely exalted and multiplied» — la salvedad expresa de Vaughan: no habla del espíritu divino, sino de cierto arte por el que un espíritu particular puede unirse al universal y la naturaleza quedar exaltada y multiplicada.

«indeed advises that we give ourselves no trouble about these mysteries, or attempt to dabble in the subtle philosophy of Wisdom, until we have a knowledge of the Protochemic Artifice; for that by means of this, and this only, the true foundation is discoverable, and without it nothing can be intrinsically understood.» — el consejo que atribuye a Vaughan, a quien llama el galés filaléteo: no darse trabajo con esos misterios ni meterse en la filosofía sutil de la sabiduría hasta tener conocimiento del artificio protoquímico, porque solo por él se descubre el fundamento verdadero.

«And Agrippa speaks yet more specifically to this point, where, in the third book of his Occult Philosophy, he declares (calling Apuleius also to witness) that by a certain mysterious recreation and appeasing, the human mind, especially that which is simple and pure, may be converted and laid asleep from its present life so utterly as to be brought into its divine» — el pasaje del libro tercero de la *Occulta Philosophia* que recoge, con Apuleyo por testigo: por cierta recreación y apaciguamiento misteriosos la mente humana, sobre todo la simple y pura, puede adormecerse de esta vida; la frase se corta en el cambio de plana.

«Both these passages are in allusion to the art of Alchemy; and this, persists Agrippa, is that which I would have you know; because in us is the Operator of all wonderful effects; who know how to discern and to effect, and that without any sin or offense to God, whatsoever the monstrous mathematicians, the prodigious magicians, the envious alchemists, and bewitching necromancers can do by spirits, in us, I say, is the Operator of miracles.» — la lectura alquímica que hace de esos pasajes de Agripa y la sentencia que le atribuye: en nosotros está el Operador de todos los efectos maravillosos, y en nosotros el Operador de los milagros.

«How many earnest and curious books there have been written relative to the powers of magic and transformations by spells, talismans, and circumstantial conjurations of all sorts, which, taken according to the letter, are ridiculous without the key.» — el juicio que hace de la literatura mágica: cuantos libros se escribieron sobre poderes de magia, hechizos, talismanes y conjuros resultan ridículos tomados a la letra y sin la clave.

«But the records of Alchemy are, above all, calculated to mislead those who have gone abroad thoughtlessly seeking for that perfection which was to be found only by experimentally seeking at home within themselves.» — y el cargo que hace a los registros alquímicos: son los más calculados para extraviar a quienes salieron a buscar fuera la perfección que solo se halla buscando experimentalmente dentro de sí.

«Quid mirum noscere mundum Si possunt hominess, quibus est et mundus in ipsis Exemplumque Dei quisque est in imagine parva?» — los versos latinos que trae: qué hay de asombroso en que conozcan el mundo unos hombres que llevan el mundo en sí mismos y son cada uno ejemplo de Dios en imagen pequeña.

«Man then, shall we conclude at length, is the true laboratory of the Hermetic art; his life the subject, the grand distillatory, the thing distilling and the thing distilled, and Self-Knowledge to be at the root of all Alchemical tradition?» — la tesis central de la parte 2, puesta en forma de pregunta: el hombre sería el laboratorio verdadero del arte, su vida el sujeto y la destilería, lo destilante y lo destilado, y el autoconocimiento estaría en la raíz de toda la tradición alquímica.

«Or, is any one disappointed at such a conclusion, imagining difficulties, or that the science is impracticable because it is humanly based? --- Or some may possibly think the pursuit dangerous, or inexpedient, or unprofitable, scientific investigation having been so long and successfully carried on in every adverse direction?» — las objeciones que se anticipa: que la ciencia sea impracticable por estar fundada en lo humano, o que la búsqueda resulte peligrosa, inoportuna o improductiva.

«Behold we invite not the unwilling, nor will these studies be found to reward the sordid seeker after riches or gold only; such may find better employ and better emolument from the abundant offering of the precious metal upon the earth, nor do we anticipate that many will in the present day be attracted to our goal.» — a quién excluye expresamente: no invita a los que no quieren, y estos estudios no premiarán al buscador sórdido de riquezas, que hallará mejor empleo en la oferta abundante del metal precioso.

«Yet, notwithstanding so much skepticism and the slur which ignorance has cast now for centuries upon the every early creed and philosophy, modern discoveries tend evermore to reprove the same; identifying light, as the common vital sustenant, to be in motive accord throughout the human circulatory system with the planetary spheres and harmonious dispositions of the occult medium in space;» — lo que ve del lado de los descubrimientos modernos: identifican la luz, sustentante vital común, en acuerdo motriz a través del sistema circulatorio humano con las esferas planetarias y el medio oculto del espacio.

«and as human physiology advances with the other sciences in unison, the notion of out natural correspondency enlarges, proving things more and more minutely congruous, until at length, the conscious relationship would seem to be almost only wanting to confirm the ancient tradition and lead into its full faith.» — y la dirección que cree ver: al avanzar la fisiología, la noción de correspondencia natural se agranda y solo faltaría la relación consciente para confirmar la tradición antigua.

«Yet on no ground with which we are now actually acquainted could it be proved that man is a perfect microcosm, wherein, as it was said, the great world and all its creatures might be summarily discerned: we have no evidence of any such thing; our affinities with external nature are bounded in sense, and our knowledge of her integral operations is proportionately defective.» — el límite que ella misma se pone: con lo hoy conocido no puede probarse que el hombre sea microcosmo perfecto, porque las afinidades con la naturaleza externa están acotadas en el sentido.

«Yet this was taught and believed formerly, not either as it were an arbitrary conceit, but as a truth understood and proved beyond speculation.» — y lo que con todo consigna: eso se enseñó y se creyó antaño, no como capricho arbitrario sino como verdad entendida y probada más allá de la especulación.

«It may be well to observe, however, and lest misunderstanding should at all arise in this respect, that it is not so much with reference to physical particulars, either to the perfection of his bodily constitution, or because he is composed of the four elements, that man was formerly distinguished; for these other animals and vegetables even partake, and often in a superior degree:» — la precisión que hace sobre en qué se distinguía al hombre: no por la perfección de su constitución corporal ni por componerse de los cuatro elementos, cosa que animales y vegetales comparten y a veces en grado superior.

«but it was rather on account of a Divine Reason, on occult principle of Causal Efficience, said to be originally resident in his life, that man was made to rank so high in the cabalistic scriptures and schools of antique experience.» — sino por lo que sí lo distinguía según ella: una razón divina, principio oculto de eficiencia causal residente en su vida, por la que el hombre ocupa tan alto rango en las escrituras cabalísticas.

«nature, and become enlightened with the divine light, and withal receive the virtue of some wonderful effects» — el final de ese pasaje de Agripa al otro lado del corte: la mente así adormecida es llevada a su naturaleza divina, queda iluminada con la luz divina y recibe además la virtud de algunos efectos maravillosos.

«But the Spirit begetting all doth in us dwell» — el verso que cierra ese pasaje al otro lado del corte: el Espíritu que todo lo engendra mora en nosotros.

«Yet man, say they, is demonstrated to be a compendium of the whole created nature, and was generated to become wise and have a dominion over the whole of things; having within him, besides those faculties which he exerts ordinarily and by which he judges and contemplates sensible phenomena, the germ of a higher faculty or Wisdom, which, when revealed and set alone, all the forms of things and hidden springs of nature become intuitively known and are implied essentially.» — lo que dicen los antiguos según ella: el hombre es compendio de toda la naturaleza creada y tiene, además de las facultades ordinarias, el germen de una sabiduría superior por la que las formas de las cosas se conocen intuitivamente.

«This Being, moreover, or Faculty of Wisdom, is reputed so to subsist with reference to nature as her substratal source, that it works magically withal, discovering latent properties as a principle, governing and supplying all dependent existence; and of this they speak magisterially, as if in alliance they had known the Omniscient Nature and, in their own illumined understanding, the structure of the universe.» — y el estatuto que le dan: esa facultad subsistiría respecto de la naturaleza como su fuente sustratal, obrando mágicamente y descubriendo propiedades latentes como principio que gobierna toda existencia dependiente.

«Now if it be true that such an experience was ever granted to man on earth, it is now either wholly departed or the conditions are estranged. We can but with difficulty imagine, much less are we able to believe, ourselves capable of enjoying that free perspicacity of thought in universal consciousness which is cognizant by rapport with essential being.» — la reserva que introduce enseguida: si tal experiencia se concedió alguna vez, hoy está del todo ida o las condiciones se han extrañado, y apenas cabe imaginarse capaz de esa perspicacia libre en la conciencia universal.

«Man from his birth employs sense prior to reflection, and all our knowledge begins in this life with sensible observation; most persons pass on well contented with such evidence as legitimate, or, indeed, possible objects of knowledge.» — el orden que describe: desde el nacimiento el sentido precede a la reflexión, todo conocimiento empieza por la observación sensible, y casi todos se contentan con esa evidencia.

«It is not those who have studied the philosophy of the ancients that have denounced it as chimerical; our metaphysicians, without exception amongst those deserving the appellation, and who aspired after the same convictive truth, have lamented the inadequacy of natural reason, at the same time that they recognized the supremacy of its Law as measuring and determining sensible particulars;» — la objeción que hace a los detractores: no son quienes estudiaron la filosofía antigua los que la han denunciado por quimérica, y los metafísicos dignos del nombre lamentaron la inadecuación de la razón natural reconociendo la supremacía de su ley.

«but they have not been able to redeem it from dependency on these; for every attempt of the unassisted reason terminates negatively, as the Subject Identity slides evermore behind the retardant mind; it is only able at best, therefore, to maintain a counter ground, whereby to prove the shifting evidence of its own and other earthly phenomena.» — y el límite que fija a la razón sin ayuda: toda tentativa termina en negativo, porque la identidad-sujeto se desliza siempre por detrás de la mente retardante.

«But although satisfaction is thus denied to modern inquiry, and philosophers have disputed about the conditions and difficulty of the Absolute ground, yet are there none found, even in latter times, so presumptuous as to deny the possibility, seeing it thus doubly implied, no less in the testimony of the highest reason than of tradition:» — el desacuerdo que registra sin arbitrar: los filósofos disputan sobre las condiciones del terreno absoluto, pero ninguno ni aun en los últimos tiempos es tan presuntuoso como para negar su posibilidad.

«and so they have honored the ancients afar off either in despair or admiration of their Wisdom, unable themselves to break the enchantment which isolates the reflective faculty, and disables it in the inquiry after that Fontal Nature which, by a necessary criterion, it craves.» — y lo que hacen entonces: honrar de lejos a los antiguos en desesperación o en admiración, sin poder romper el encantamiento que aísla la facultad reflexiva y la inhabilita para la indagación que reclama.

«that we do know is learned by observation, and we should be hardly induced, from anything we are commonly conversant with, to conclude that Self-Knowledge would be a way to the knowledge of the Universal Nature.» — la consecuencia que saca del límite anterior: todo lo que se sabe se aprende por observación, y nada de lo corriente induciría a concluir que el autoconocimiento sea vía al conocimiento de la naturaleza universal. La frase empieza donde el troceo parte la plana.

«ages, exceptions to the multitude, intellects in whom the standard of reality has been too far unfolded to suffer them to yield implicitly to the conclusions of sense.» — la excepción que registra: en todas las edades ha habido intelectos en los que el criterio de realidad estaba demasiado desplegado para ceder implícitamente a las conclusiones del sentido.

«For we may observe, that the evidence of reason, even in common life, is irresistible, or, more exactly to speak, intuition is the evidence and end of every rational proof.» — el principio que enuncia sobre la razón: su evidencia es irresistible aun en la vida común, o más exactamente, la intuición es la evidencia y el fin de toda prueba racional.

«We believe in the phenomenon of existence spontaneously, but in a power of antecedents to produce their effects necessarily; in the idea of time, eternity is implied; with bound, infinity; as the unit is included in each dependent of a numerical series, and the mathematics have their evidence in intellectual assent;» — los ejemplos con que lo sostiene: en la idea de tiempo va implicada la eternidad, con el límite el infinito, y la unidad va incluida en cada término de una serie numérica.

«nor do we ever question the validity of the Law, which thus abstractedly concludes within us, though our inferences from external facts are for ever varying, and perpetually at fault.» — el contraste que traza: nunca se cuestiona la validez de la ley que concluye abstractamente dentro de nosotros, mientras las inferencias sacadas de hechos externos varían siempre y yerran de continuo.

«Locke, discoursing upon the intrinsic superiority of the Intellectual Law in his Essay, observes that Intuitive faith is certain beyond all doubt, and needs no proof beyond itself, nor can have any, this being the highest of all human certainty.» — lo que toma de Locke: la fe intuitiva es cierta más allá de toda duda, no necesita prueba fuera de sí ni puede tenerla, y es la más alta certeza humana.

«And it is this very truth, that a no less eminent French philosopher, Victor Cousin, has successfully employed within these few years, to shake the sensual system of Locke and Condillac to its foundation» — y el uso que dice haber hecho de esa verdad Victor Cousin: sacudir en pocos años los cimientos del sistema sensualista de Locke y Condillac.

«And this subsistence of Universals in the human mind deserves to be profoundly considered by all who are interested in the pursuit of truth; for it includes a promise far beyond» — por qué le importa la subsistencia de los universales en la mente humana: incluye una promesa que va más allá de sí misma; la frase se corta en el cambio de plana.

«Aristotle compares the subsistence of Universals in the natural understanding to colors, since these require the splendor of the sun to discover their beauty, as do those the inspiring afflux of their frontal illumination:» — el símil que toma de Aristóteles: los universales en el entendimiento natural son como los colores, que necesitan el esplendor del sol para descubrir su belleza.

«therefore, too, he denominates human reason, intellect in capacity, both on account of its subordination to essential intellect, and because it is from a new awakening, a divine recreation, as it were, that it conceives the full perfection of a life in accordance with its won intelligible beauty, goodness, and truth.» — y por qué Aristóteles llama a la razón humana intelecto en capacidad según ella: por su subordinación al intelecto esencial y porque solo de un nuevo despertar concibe la perfección plena de una vida conforme a su belleza inteligible. El troceo imprime *won* por own.

«And here we remark the grand divergence between modern and ancient metaphysics: that same Law which the former recognizes but as an abstract boundary of thought only, having its object in sensibles, the latter proclaims absolutely to be the catholic subject of the great efficient force of nature, as known also, and proved in the human conscience, when this is purified and passed back into contacting experience with its source.» — la divergencia que señala entre metafísica antigua y moderna: la moderna reconoce esa ley solo como límite abstracto del pensamiento con su objeto en lo sensible, y la antigua la proclama sujeto católico de la gran fuerza eficiente de la naturaleza.

«And this was Wisdom, Intellect, Divination; and the true man, according to Plato and Aristotelians, is this Intellect; for the essence of everything is the summit of its nature.» — la identificación que hace: eso era sabiduría, intelecto y adivinación, y el hombre verdadero, según Platón y los aristotélicos, es ese intelecto, porque la esencia de cada cosa es la cumbre de su naturaleza.

«And as man is the summit of this sublunary creation, and reason is the highest faculty with which he is here endowed, should not this probably be the next in progress to make manifest the alleged divinity of his first source?» — y la pregunta que deja abierta: si el hombre es la cumbre de esta creación sublunar y la razón su facultad más alta, no sería la razón lo próximo en manifestar la divinidad alegada de su fuente primera.

«Thus Aristotle, for first example, since he will not be rated altogether as an enthusiast, in the beginning of his Metaphysics, declares Wisdom to» — por qué empieza por Aristóteles: porque no se lo tendrá por entusiasta, y ya al comienzo de su *Metafísica* declara la sabiduría. La frase se corta en el cambio de plana.

«itself and stable proof of another subsistence however consciously unknown.» — el final de esa frase al otro lado del corte: y la prueba estable de otra subsistencia, por inconscientemente desconocida que sea.

«science and intellection of things most honorable by nature; that though this par this small in bulk, yet it abounds in energy, and as much exceeds the composite nature of man in power as in this energy, which is the most delectable of all energies» — la definición de sabiduría que atribuye a Aristóteles al abrir la *Metafísica*: ciencia e intelección de las cosas más honorables por naturaleza, pequeña en bulto y abundante en energía. El troceo imprime *this par this small*.

«And throughout the Metaphysics, but more especially in the Twelfth Book, he demonstrates the necessary subsistence of incorporeal (i.e., essential) being, and its efficacy in operation when by the help of certain mystical exercises and preparations, the human Understanding Medium is made to pass into contact with its Antecedent Cause; that then it becomes to be a life in energy, and enjoys the most exalted and excellent faculty of discernment, which was before occult, and the knowledge of which is inexpressibly blessed, and not to be conceived of by such as are not duly initiated and capable of this deification.» — lo que lee en el libro duodécimo: la subsistencia necesaria del ser incorpóreo y su eficacia cuando, por ejercicios y preparaciones místicas, el medio del entendimiento humano pasa a contacto con su causa antecedente.

«True Intellect, he says, is that which is essentially the most essential of that which is most essential; and it becomes intelligible by contact and intellection; and that Intellect is the same with the intelligible, the understanding recipient of the intelligible essence» — la definición de intelecto que transcribe de Aristóteles: lo esencialmente más esencial de lo más esencial, que se vuelve inteligible por contacto e intelección y es lo mismo que lo inteligible.

«But Plato yet more plainly declares that to know oneself is Wisdom and the highest virtue of the soul; for the soul rightly entering into herself will behold all other things, and Deity itself; as verging to her own union and to the center of all life, laying aside multitude and the variety of all manifold powers which she contains, she ascends to the highest watchtower of beings» — lo que atribuye a Platón: conocerse a sí mismo es la sabiduría y la virtud más alta del alma, porque el alma que entra rectamente en sí contempla todo lo demás y a la divinidad misma.

«According to Socrates, also, in the Republic, we read that Wisdom is generative of truth and intellect; and in the Theaetus Wisdom is defined to be that which gives perfection to things imperfect, and calls forth the latent Intellections of the soul» — las dos definiciones que toma de la *República* y del *Teeteto*: la sabiduría es generativa de verdad e intelecto, y da perfección a lo imperfecto llamando fuera las intelecciones latentes del alma.

«and again, by Diotima, in the Banquet, that mind which is become wise needs not to investigate any further (since it possesses the true Intelligible); that is to say, the proper object of intellectual inquiry in itself; and hence the doctrine of Wisdom according to Plato may be sufficiently obvious.» — y la de Diotima en el *Banquete*: la mente que se ha hecho sabia no necesita investigar más, porque posee el inteligible verdadero.

«But Wisdom, says the Pythagorean Archytas, as much excels all the other faculties as sight does the other corporeal senses, or the sun the stars: and man was constituted to the end that he might contemplate the Reason of the whole nature, in order that, being himself the work of Wisdom, he might survey the Wisdom of all things, which exist.» — lo que atribuye al pitagórico Arquitas: la sabiduría excede a las demás facultades como la vista a los otros sentidos o el sol a las estrellas, y el hombre fue constituido para contemplar la razón de toda la naturaleza.

«Wisdom is not conversant with a certain definite existing thing but simply with all things; and so subsists with reference to all that it is the province of it to know and contemplate the universal accidents of things and discover the Principles of all Being.» — la continuación de Arquitas al otro lado del corte: la sabiduría no trata de una cosa determinada sino simplemente de todas, y le toca conocer los accidentes universales de las cosas y descubrir los principios de todo ser.

«Whoever therefore is able to analyze all the genera which are contained under one and the same principle and again to compose and connumerate them, he appears to be wise and to possess the most perfect veracity.» — la prueba de sabiduría que Arquitas propone: quien pueda analizar todos los géneros contenidos bajo un mismo principio y volver a componerlos y enumerarlos aparece sabio y con la veracidad más perfecta.

«Further still he will have discovered a beautiful place of survey, from which it will be possible to behold Divinity and all things that are in coordination with and successive to Him, subsisting separately and distinct from each other,» — y lo que ese análisis abre según Arquitas: un hermoso lugar de vista desde el que es posible contemplar a la divinidad y todo lo coordinado y sucesivo a ella.

«Having likewise entered this most ample road, being impelled in a right direction by Intellect, and having arrived at the end of his course, he will have conjoined ends with beginnings, and will know that God who is the principle, middle, and end of all things which are accomplished according to justice and right reason» — el remate de Arquitas: entrado en ese camino amplísimo e impelido por el intelecto, quien llega al fin conjunta los fines con los comienzos y conoce al Dios que es principio, medio y fin.

«Here again we have a faculty discussed which is far above ordinary reason, since this verges to sensibles and is dependent on them; but Wisdom implies the whole of life, being returned into its principle, and coming into the consciousness of a vision at once powerful and sublime.» — la distinción que fija: se discute una facultad muy por encima de la razón ordinaria, que verge a lo sensible y depende de ello, mientras la sabiduría implica la vida entera devuelta a su principio.

«Thus Crito, of the same school: God so fashioned man as to comprehend the Good according to right reason, and gave him a sight called Intellect, which is capable of beholding God. For it is not possible without God to discern that which is best or most beautiful; nor without Intellect to see God.» — lo que atribuye a Critón de la misma escuela: Dios formó al hombre para comprender el bien según recta razón y le dio una vista llamada intelecto, capaz de contemplar a Dios.

«And every mortal nature is established (in this life) with a kindred privation of Intellect; this however is not deprived by God but by the essence of generation» — y la reserva de Critón sobre esa privación: toda naturaleza mortal está establecida en esta vida con una privación afín de intelecto, que no viene de Dios sino de la esencia de la generación.

«The term Intellect, as it is here taken in its highest sense, is synonymous with Wisdom, and bears the same relation to our Intellectual Law as does this to the reasoning faculty, being the self-evident antecedent and end of its inquiry, which, according to these philosophers, is God.» — la equivalencia que fija: intelecto en su sentido más alto es sinónimo de sabiduría, y guarda con la ley intelectual la misma relación que esta con la facultad razonante, siendo el antecedente evidente y el fin de su indagación.

«Pythagoras himself defined Wisdom as the science of truth which is in all beings264; and Iamblicus in his life of this Samian, speaking of Wisdom, says that it is truly a science which is conversant with the first and most beautiful objects (i.e., the Divine Exemplars), and these undecaying, possessing invariable sameness of subsistence; but the participation of which other things also may be called beautiful» — las definiciones que atribuye a Pitágoras y a Jámblico: ciencia de la verdad que está en todos los seres, y ciencia versada sobre los objetos primeros y más bellos, que poseen mismidad invariable de subsistencia.

«Proclus, Porphyry, the graceful Plotinus, and others of the Neoplatonists, too numerous to mention, dilate on the same asserted ground; and there is, according to all these philosophers, a Principle of Universal Science latent in human life, real and efficacious though cognizable only under certain conditions which they specify, and wherein reason becomes also into the substantive experience of her Law.» — lo que sostiene para los neoplatónicos en bloque: hay un principio de ciencia universal latente en la vida humana, real y eficaz aunque cognoscible solo bajo ciertas condiciones que ellos especifican.

«This is that which the Egyptians, industrious searchers of Nature, proclaimed upon their temple’s front, that Man should know himself: and this advice was meant experimentally and ontologically, though modern fancy has slighted it and taken every ethnic fable and mythology in a profane sense.» — cómo lee el precepto délfico que atribuye a los egipcios: el *conócete a ti mismo* se dijo experimental y ontológicamente, y la fantasía moderna lo desdeñó tomando toda fábula étnica en sentido profano.

«And here we are reminded of a difficulty in endeavoring to make these positions respecting the nature of true Being obvious and of drawing them into a form related to sensible intelligence. Every science is difficult to treat of to the uninitiated mind, and this kind of speculation more particularly is irrelevant to many and naturally abstruse.» — la dificultad de exposición que reconoce: toda ciencia es difícil de tratar ante la mente no iniciada, y esta especulación en particular resulta ajena a muchos y naturalmente abstrusa.

«Those to whom nature has granted such a ray of experience in the inner life as would otherwise appear favorable to a more profound investigation, are often indifferent to the rational ground, and remain accordingly satisfied in the dreams and deluding visions of an included imagination;» — el primero de los estorbos que enumera: quienes reciben un rayo de experiencia en la vida interior suelen ser indiferentes al terreno racional y se quedan en los sueños de una imaginación encerrada.

«others more awakened to reason on the other hand, but in whom the spirit of inquiry is wholly drawn to externals, disregard as vain every proposition that does not immediately address the senses or pander to some apparent individual interest;» — el segundo: los despiertos a la razón pero con el espíritu de indagación vuelto del todo hacia fuera, que desdeñan por vana toda proposición que no se dirija a los sentidos o a un interés aparente.

«even the most reflective and educated class have rare inducements in these days, or permission of leisure sufficient to prosecute studies of an abstract nature.» — y el tercero: aun la clase más reflexiva y educada tiene pocos alicientes y poco permiso de ocio para llevar adelante estudios de naturaleza abstracta.

«But we have adverted to the independent evidence of Universals in the human intellect by way of introduction chiefly, not on their own account abstractly considered, or so much because the ancients rested their proofs of internal science thereon; but because, having once derived a rational ground of possibility, we may be better enabled to proceed with the tradition of the Hermetic mystery and more tangible effects.» — para qué dice haber traído todo eso: no por los universales en abstracto ni porque los antiguos fundaran ahí sus pruebas, sino para tener un terreno racional de posibilidad desde el que seguir con la tradición hermética.

«The doctrine of the Hebrew Kabalists is one of absolute Idealism; the whole world was before their eyes as an efflux of Mind, an emanation of the great superstantial Law of Light; and that sublime commentary the Liber Zohar, beams with the revelation of the celestial prototype in humanity; and kindling into reminiscence the fire which burns covertly throughout Holy Writ, addresses the Pentateuch to the understanding of mankind.» — cómo caracteriza la doctrina de los cabalistas hebreos: idealismo absoluto, con el mundo entero por eflujo de la mente y emanación de la ley superstancial de la luz, y el *Liber Zohar* por comentario del prototipo celeste en la humanidad.

«These Rabbis explain that in pursuance of a certain arcane (though not wholly inexplicable) necessity, creation falls away always for the sake of individual manifestation, from the consciousness of its primal source; that the principle of reunion nevertheless abides in the generated life of individuals and will in process of time operate to a restitution and higher perfection than could have been accomplished if such a fall into this existence had not taken place.» — la doctrina de la caída y la restitución que les atribuye: la creación se aparta siempre de la conciencia de su fuente por mor de la manifestación individual, y el principio de reunión permanece en la vida generada de los individuos.

«Treating of and interpreting as divine symbols, the relations of the Old Testament, they dignify vastly the view of the whole scheme; and placing reason over the head of authority, and inciting man to self-inquiry as the foundation» — el efecto que les adjudica: interpretando como símbolos divinos las relaciones del Antiguo Testamento dignifican el esquema entero, ponen la razón por encima de la autoridad e incitan al hombre a la indagación de sí; la frase se corta en el cambio de plana.

«But it is above all by the supreme position which they assign to man in the scale of creation that these Kabalists arrest attention.» — lo que más le importa de esos cabalistas: la posición suprema que asignan al hombre en la escala de la creación.

«The Form of man, says the Rabbi Ben Jochai, contains all that is in the heaven and earth --- no form, no world, could exist before the human prototype; for all things subsist by and in it: without it there would be no world, and in this sense we are to understand these words, The Eternal has founded the earth upon his wisdom.» — el pasaje que atribuye al rabí Ben Jochai: la forma del hombre contiene todo lo que hay en el cielo y en la tierra, y ninguna forma ni mundo podía existir antes del prototipo humano.

«But we must distinguish the true man from him who is here apparent, for the one could not exist without the other; on that form in man, which is the Celestial Prototype, rests the perfection of faith in all things, and it is in this respect that man is said to be the image of God» — la distinción que ese pasaje introduce: hay que distinguir al hombre verdadero del que aquí aparece, y sobre la forma que en el hombre es prototipo celeste descansa la perfección de la fe en todas las cosas.

«and comprehending identity of every other, they unite in one beautiful system the Religion of Intellect with the Philosophy of Life.» — el final de esa frase al otro lado del corte: unen en un solo sistema hermoso la religión del intelecto con la filosofía de la vida.

«For there is a wide difference between the idols of the human imagination and the ideas of the divine mind, between man as he is here known, the individualized multiplication of a blind will, and tat Motive Reason which is his life.» — la distinción que ella misma añade: hay gran diferencia entre los ídolos de la imaginación humana y las ideas de la mente divina, y entre el hombre conocido —multiplicación individualizada de una voluntad ciega— y la razón motriz que es su vida.

«And all this would appear less extravagant, perhaps, and impractical, if, instead of measuring the surfaces of things, we were to consider principles; if, instead of separating our shrunken understanding to contemplate and compare with the structure of this vast universe, we were to reflect contrariwise upon that wonderful existence which we share in common with all and which is at the basis of every specifical living thing.» — la condición que pone para que eso deje de parecer extravagante: considerar principios en vez de medir superficies, y reflexionar sobre la existencia que compartimos con todo.

«For there is no reason why man, in that he exists and contains, therefore, within himself the total Cause of existence, should not, if the revelation only were allowed, perceive and understand all, in that all-continental All which is in himself.» — y el argumento que de ahí saca: no hay razón para que el hombre, que existe y contiene en sí la causa total de la existencia, no perciba y entienda todo en ese todo continental que lleva dentro.

«There is a freedom, and explanatory breadth, too, in these writers that does not bear the impress of mere fancy, with a solemn earnestness of style that breathes only from conviction.» — el juicio de estilo que hace de esos autores: una libertad y una amplitud explicativa que no llevan el sello de la mera fantasía, con una seriedad solemne que solo respira desde la convicción.

«That we cannot easily apprehend the magnitude of their doctrine is no criterion in such a case and its objections fail before the inference of reason and supporting experience.» — y el criterio que rechaza: que no se aprehenda fácilmente la magnitud de esa doctrina no es criterio en un caso así, y las objeciones caen ante la inferencia de la razón y la experiencia que la apoya.

«the Logos, by whom the world was framed, is the seal after the impression of which everything is made and is rendered the similitude and image of the perfect Word of God; and the soul of man is an impression of this seal of which the prototype and original characteristic is the everlasting Logos» — el segundo pasaje de Filón: el Logos por el que se formó el mundo es el sello a cuya impresión todo se hace, y el alma del hombre es una impresión de ese sello.

«And what is Wisdom according to the ancient Hermes? Even the good, the fair, and the blessed Eternity; look upon all things through it, and the world is subject to thy sight.» — la definición de sabiduría que atribuye al Hermes antiguo: el bien, lo bello y la eternidad bendita, y mirando todo a través de ella el mundo queda sujeto a la vista.

«Such then was Wisdom, and that high Intelligible which it behooves man to search after the one theme and bulwark of ancient science, which no historical teaching or observance of the accidents of nature could realize or improve — namely, the standard of truth in a rectified intellect.» — el balance con que cierra el capítulo: eso era la sabiduría, el único tema y baluarte de la ciencia antigua, que ninguna enseñanza histórica ni observación de accidentes podía realizar: el criterio de verdad en un intelecto rectificado.

«And philosophy was a desire of this kind, an appetition of reason for its antecedent light; and if we may believe these sublime enthusiasts, Intellect does not extend herself towards the intelligible Cause in vain.» — y la definición de filosofía que deriva: un deseo de esa especie, apetencia de la razón por su luz antecedente, y si se cree a esos entusiastas sublimes el intelecto no se tiende en vano hacia la causa inteligible.

«God dwells, says the Jew Philo, in the rational part of man as in a palace; the palace and temple of the great self-existent Deity is the intellectual portion of a man of Wisdom; the Deity could never find upon earth a more excellent temple than the rational part of man» — el pasaje de Filón que transcribe: Dios habita en la parte racional del hombre como en un palacio, y la deidad no hallaría en la tierra templo más excelente que la parte racional de un hombre de sabiduría.

«some men said to be divine, for there humanity is annexed to divinity269; when it is moved into the catholic Intuition of its Source.» — la sentencia que Atwood toma del Hermes antiguo: por esa mente algunos hombres se dicen divinos, porque en ellos la humanidad está anexada a la divinidad cuando se mueve a la intuición católica de su fuente.

«Or, if any one should further doubt of this Wisdom, seeing she did not reveal herself in common arts and sciences of more recent human invention, and regard the whole as an abstract creature of the imagination, he will err from the ancient tradition, which makes Wisdom, however far removed from sensibles, to be no inessential thing; but an affirmative operative hypostasis, informing, invigorating, and sustaining all things;» — la objeción que se hace y su respuesta: quien tenga esa sabiduría por criatura abstracta de la imaginación yerra de la tradición antigua, que la hace hipóstasis operativa afirmativa que informa, vigoriza y sostiene todas las cosas.

«But Solomon, better than all and most beautifully in his panegyric, describes her: Wisdom, says the wise king, is more moving than any motion, she passeth through all things by reason of her pureness.» — el panegírico de Salomón que transcribe como la mejor descripción: la sabiduría es más móvil que todo movimiento y pasa por todas las cosas por razón de su pureza.

«For she is the breath of the power of God, and a pure influence flowing from the glory of the Almighty; therefore, can no defiled thing fall into her; for she is the brightness of the everlasting light, the unspotted mirror of the power of God, and the image of his goodness.» — la continuación de ese panegírico: aliento del poder de Dios, influencia pura que fluye de la gloria del Todopoderoso, resplandor de la luz eterna, espejo sin mancha del poder divino e imagen de su bondad.

«And, being but one, she can do all things, and, remaining in herself, she maketh all things new; and in all ages entering into holy souls, she maketh them friends of God and prophets, for God loveth none but him that dwelleth with Wisdom;» — y lo que ese texto le atribuye: siendo una sola puede todas las cosas y, permaneciendo en sí, lo renueva todo, y entrando en las almas santas las hace amigas de Dios y profetas.

«for she is more beautiful than the sun and above all the order of the stars; being compared with the light, she is found before it, for after this cometh night; but vice shall not prevail against Wisdom; and if riches be a possession to be desired in this life, what is richer than wisdom which worketh al things? For she is privy to the mysteries of the knowledge of God and a lover of His works» — el cierre del panegírico: más bella que el sol y por encima del orden de las estrellas, hallada antes de la luz, contra la que el vicio no prevalece, y privada de los misterios del conocimiento de Dios.

«Assuredly, then, is it not our duty and best interest to learn the way, and seek to know every condition of this proffered alliance, since we are not destitute either of rational ground or precedent, nor is this the only place in Scripture where we have a promise with Wisdom of more substantial fruits?» — la pregunta con que aplica ese texto: si no es deber e interés aprender el camino y conocer las condiciones de esa alianza ofrecida, no faltando terreno racional ni precedente.

«Meanwhile we, who look directly onward to penetrate the mystery, seek not at random any longer in the outer world where so many before have foundered, albeit extacting their life’s blood, and calling the mumial vapor and every element to their aid; but we look within, or rather, that we may learn how to do so, inquire of the wise ancients to direct us about the true method and conditions of SelfKnowledge.» — y lo que ella hace en cambio: no buscar ya al azar en el mundo exterior, sino mirar dentro y preguntar a los sabios antiguos por el método y las condiciones del autoconocimiento. El troceo pega *SelfKnowledge*.

«For it is this, no common trance or day-dream, or any fanatical vision of celestials, that we propose to scrutinize, but the true psychical experience, catholic, even as the basis of that Law by which we reason, fell, and are one, uniformly living and alike all.» — la precisión que hace sobre lo que se propone escrutar: no un trance común ni un sueño diurno ni una visión fanática de celestiales, sino la experiencia psíquica verdadera, católica como la ley por la que razonamos.

«It is into the substantiality of this and for its practical evolution that we must inquire, if we would discover the true Light of Alchemy; and the Alchemists, as we have seen, propose such a reducation of nature as shall discover this Latex without destroying her vehicle, but the modal life only; and profess that this has not alone been proved possible, but that man, by rationally conditionating, has succeeded in developing into action the Recreative Force.» — lo que los alquimistas proponen según ella: una reducción de la naturaleza que descubra ese latex sin destruir su vehículo, solo la vida modal, y que el hombre, condicionando racionalmente, ha desarrollado en acto la fuerza recreativa.

«But the way they do not so clearly shew, or where nature may be addressed in order to the rejection of her superfluous forms; what was their immediate efficient? Whence and whereon did they direct their fire?» — las preguntas que quedan sin responder en ellos: dónde se dirige uno a la naturaleza para rechazar sus formas superfluas, cuál era su eficiente inmediato, y de dónde y sobre qué dirigían su fuego.

«These things, with the laboratory, its vessels and various apparatus, they have disguised, as we have already shown, and as a natural consequence, by an incurious world have been misapprehended and despised.» — y lo que hicieron con ellas: disfrazarlas junto con el laboratorio, sus vasos y su aparato, de donde el mundo incurioso las malentendió y las despreció.

«For as Geber, with his usual point, observes, men have thought the confection of fold impossible, because they have not know the artificial destruction according to the course of nature; they have proved it to be of a strong composition, but of how strong a composition they have not proven.» — el remate que toma de Geber: se ha tenido por imposible la confección del oro porque no se conoció la destrucción artificial según el curso de la naturaleza. El troceo imprime *fold* por gold y *know* por known.

«And all this because they knew not the verity Of altitude, latitude, and of profundity» — los versos que cierran ese pasaje: y todo porque no conocieron la verdad de la altitud, la latitud y la profundidad.

«by nature and unpromising for much discovery, with his senses and servile intellect all dark within, we leave him here to work with his own instruments on his own ground; there to calcine, weight, and measure circumferences, from the first to the last round of material possibility; perchance, then, when all has been tried and found wanting to his reason, extremes coalescing, we may meet again.» — el apartamiento que declara del hombre exterior: incrédulo por naturaleza, lo deja calcinar, pesar y medir circunferencias con sus propios instrumentos hasta que todo se le halle falto, y entonces, coalesciendo los extremos, acaso vuelvan a encontrarse.

«For there it is yet hidden, the true light shut up as in a prison, the fountain of Universal Nature separated off from human understanding by the external attraction of it through the gates of sense.» — dónde sitúa el estorbo: la luz verdadera está encerrada como en una prisión, y la fuente de la naturaleza universal queda separada del entendimiento por la atracción externa a través de las puertas del sentido.

«When the soul is situated in the body, says the philosopher, she departs from self-contemplation, and speaks of the concerns of an external life; but, becoming purified from the body, will recollect all those things, the remembrance of which she loses in the present life» — el pasaje del filósofo que transcribe: situada en el cuerpo, el alma deja la contemplación de sí y habla de lo externo, y purificada del cuerpo recordará aquello cuya memoria pierde en la vida presente.

«and Plutarch, who was well initiated in these mysteries, says, the souls of men are not able to participate of the Divine nature whilst they are thus encompassed about with senses and passions, any further than by obscure glimmerings, and as it were, in comparison, a confused dream.» — lo que atribuye a Plutarco, a quien llama bien iniciado: las almas no pueden participar de la naturaleza divina mientras están cercadas de sentidos y pasiones, sino por vislumbres oscuros y como en un sueño confuso.

«But when they are freed from these impediments and removed into purer regions, which are neither discernible by the corporeal senses, nor liable to accidents of any kind, it is then that God becomes our leader --- upon Him they wholly depend, beholding without satiety, and still ardently longing after that beauty which it is impossible for man sufficiently to express or think» — y lo que Plutarco dice del otro estado: libres de esos impedimentos y en regiones más puras, Dios se hace su guía y contemplan sin saciedad una belleza que el hombre no alcanza a expresar.

«that beauty which, according to the old mythology, Isis has so great an affection for, and which she is constantly in pursuit of, and from whose enjoyment every variety of good things with which the universe is filled, is replenished, and propagated» — el mito con que Plutarco lo cierra: esa belleza que Isis ama y persigue sin descanso, y de cuyo goce se colma y propaga toda la variedad de bienes que llena el universo.

«And again, in the opening of the same admirable treatise, he observes, that to desire and covet after the Truth is to aspire to be a partaker of the Divine Nature itself; and to profess that all our studies and inquiries are devoted to the acquisition of holiness; the end of which, as of all ceremonial rites and disciplines, was that the aspirant might be prepared and fitted for the attainment of the knowledge of the Supreme Mind, whom the Goddess exhorts them to search after.» — lo que Plutarco pone al abrir ese mismo tratado: desear la verdad es aspirar a ser partícipe de la naturaleza divina, y el fin de los ritos y disciplinas era preparar al aspirante para el conocimiento de la mente suprema.

«For this Reason is her temple wherein the Eternal Self-existent dwells, and may there be finally approached, but with due solemnity, and sanctity of life.» — la conclusión que Atwood saca: esa razón es el templo donde mora el eterno autoexistente y donde puede acercársele al fin, con la debida solemnidad y santidad de vida.

«But Psellus, in his luminous commentary on the Chaldaic Oracles, further declares that there is no other means of strengthening the vehicle of the sold but by material Rites; and Plato, in the first Alcibiades, calls the magic of Zoroaster the service of the gods;» — lo que toma de Pselo y de Platón sobre los ritos: no hay otro medio de fortalecer el vehículo del alma que los ritos materiales, y el *Primer Alcibíades* llama a la magia de Zoroastro servicio de los dioses. El troceo imprime *sold* por soul.

«and the use of this magic, in the words of the above Psellus, is as follows: — To initiate or perfect the human soul by the power of materials here on earth; for the supreme faculty of the soul by the power of materials here on earth; for the supreme faculty of the soul cannot by its own guidance aspire to the sublimest institution, and to the comprehension of Divinity: but the work of Piety leads it by the» — el uso de esa magia según Pselo: iniciar o perfeccionar el alma humana por el poder de los materiales de aquí abajo, porque la facultad suprema del alma no puede por su propia guía aspirar a la comprensión de la divinidad, y la obra de la piedad la lleva de la mano; el troceo repite una cláusula por defecto de la capa de texto y la frase se corta en el cambio de plana.

«Synesius, likewise, in his Treatise on Providence, bears witness to the efficacy of Divine Works; and the Emperor Julian, in those arguments of his preserved by Cyril, shows that without such assistance the Divine union is neither effected not rightly understood:» — los testigos que suma sobre la eficacia de las obras divinas: Sinesio en su tratado de la providencia y el emperador Juliano en los argumentos conservados por Cirilo, para quien sin esa asistencia la unión divina ni se efectúa ni se entiende.

«and all the accounts we read of the Eleusian Mysteries, in addition to the witness of these philosophers, confirms that Wisdom was the offspring of a vital experiment into nature, by certain arts and media producing the central efficient into conscious being and effect.» — la conclusión que saca de los misterios eleusinos: la sabiduría era prole de un experimento vital sobre la naturaleza, por ciertas artes y medios que llevaban el eficiente central a ser consciente y a efecto.

«If you investigate rightly, says Archytas, discovery will be easy for you; but if you do not know how to investigate, discovery will be impossible.» — la sentencia de Arquitas que trae: investigando rectamente el descubrimiento será fácil, y sin saber investigar será imposible.

«For how should they, who have never glanced even in imagination toward the Causal Truth, believe in any other than remote effects? The well out of which she is drawn is deep, and not therefore to be fathomed by the plummet of a shallow reason; he must ascend in thought who would, descending, hope to penetrate so far as to the» — la imagen del pozo con que lo explica: el pozo de donde se saca la verdad es hondo y no se sondea con la plomada de una razón somera, y quien quiera descender ha de ascender antes en pensamiento. La frase se corta en el cambio de plana.

«It is the more to be regretted and wondered at, on account of the importance attached to this discovery, that the Initiated were so profoundly silent upon these means; since mankind in general would seem to have been precisely in this predicament, they have not known how to investigate;» — lo que lamenta de los iniciados: siendo tan importante el descubrimiento, callaron profundamente sobre los medios, y la humanidad ha estado justamente en el caso de no saber investigar.

«and were it not for these scattered innuendoes and acknowledgments of an Art, we might well continue in ignorance to despair of their hidden ground: at all events, seeing how far we fall short of the perception in this life; either believing, we might regard the ancients as beings superiorly endowed; or otherwise disbelieving, deny, as many have done, the validity of their assertions.» — la disyuntiva en que eso deja: sin esas insinuaciones dispersas cabría desesperar del terreno oculto, y viendo lo corto que se queda uno, o tener a los antiguos por seres superiormente dotados o negar sus aserciones.

«Yet as the case now stands involved in mystery, will it not be unjust to do either? For, being ignorant of the method, how should we presume to test the truth of this philosophy? Equally, also, will it not be incurious to yield an implicit faith?» — y por qué rechaza las dos salidas: ignorando el método no cabe presumir de probar la verdad de esa filosofía, e igualmente sería incurioso prestarle fe implícita.

«Let us inquire now, therefore, if fortunately a ray of light be left to guide us, whether it be possible to approach to a recollection of this ancient experiment, that we may become better judges of its merits; and lest gaining nothing by a tacit assent, and proving nothing by mere skepticism, we should deny something, and bolt ourselves continuously out from the sanctuary of truth in nature.» — el propósito que enuncia en su lugar: indagar si cabe acercarse a una recolección de ese experimento antiguo para juzgar mejor sus méritos, en vez de no ganar nada por asentimiento tácito ni probar nada por escepticismo.

«And here we would engage the reader’s attention for a brief interval (weighing well the substance of philosophical assertion against modern pride an our growing indifference), to consider the ground of this Hermetic mystery, and whether there be still an entrance open, as there was once said to be, to the shut palaces of Mind.» — la invitación que hace al lector: pesar la aserción filosófica contra el orgullo moderno y considerar si sigue abierta la entrada a los palacios cerrados de la mente.

«Let us descend into ourselves, and believe in ourselves if we be able, that that which we are is worthy of our investigation; and we may discover, as we proceed, by their traditional light unfolding it, that the Wisdom of the ancients was not the outward, adventitious acquisition or vain display which it has been supposed to be, but a very real, substantial, and attainable good.» — y la tesis que quiere mostrar por ese camino: que la sabiduría de los antiguos no era la adquisición adventicia ni el vano despliegue que se ha supuesto, sino un bien real, sustancial y alcanzable.

«A spontaneous revelation of truth, if it was ever indeed enjoyed at all without experimental research, after the Hebrews ceased; nor was it longer possible for all, nor at every time, to partake of the Divine communion.» — el corte histórico que fija: si alguna vez hubo revelación espontánea de la verdad sin investigación experimental, cesó con los hebreos, y ya no fue posible para todos ni en todo tiempo participar de la comunión divina.

«This, therefore, as the Platonic Successor remarks, our philanthropic lord and father, Jupiter, understanding, that we might not be deprived of all communication with the gods, has given us observation through Sacred Arts, by which we have at hand sufficient assistance» — lo que toma del sucesor platónico: entendiéndolo así Júpiter, señor y padre filantrópico, dio la observación por las artes sagradas, con lo que se tiene a mano asistencia suficiente.

«Here, then, we take up our clue to weave onward as we proceed, unraveling the Mysteries by their traditional light. He objects encountering this research may, as we before said, be appalling to some, nugatory to others, and, at first view, too opposed we fear to the opinions of all; but if, by chance, a less oblivious soul or intellect, more allied than ordinary to antecedent realities, should find familiar scenes recur, thrilling into reminiscence, as of some long past life forgotten; let such a one believe, and his faith will not betray him, the road whereon we are journeying is towards his Native Land.» — el hilo que anuncia para lo que sigue y a quién se dirige: a un alma menos olvidadiza en la que las escenas familiares recurran como de una vida pasada, a quien asegura que el camino va hacia su tierra natal. El troceo imprime *He objects* por The objects.

«The Path by which to Deity we climb Is arduous, rough, ineffable, sublime; And the strong massy gates thro’ which we pass, In our first course, are bound with chains of brass; Those men, the first who of Egyptian birth, Drank the fair water of Nilotic earth, Disclosed by actions infinite this road. And many paths to God Phoenicians showed; This road the Assyrians pointed out to view, And this the Lydians and Chaldeans knew. Oracle of Apollo, from Eusebius» — el oráculo de Apolo que Atwood pone como lema del capítulo de los misterios, tomado de Eusebio: el camino por el que se sube a la divinidad es arduo y sus puertas van ceñidas de cadenas de bronce, y lo mostraron egipcios, fenicios, asirios, lidios y caldeos.

«We have shown in our history that the Greeks were not ignorant of the Hermetic Art, which they borrowed with their metaphysics so far indeed as such things may be borrowed which pertain to reason) from the Egyptians and Persians, whose temples were visited by nearly every philosopher of note.» — la tesis de transmisión que recuerda: los griegos no ignoraron el arte hermético y lo tomaron con su metafísica de egipcios y persas, cuyos templos visitó casi todo filósofo de nota.

«Now the Egyptians, that is the Hermetic Art, or Art of Divine works, was by the Greeks called Theurgy; and was extensively practiced at Eleusis, and more or less in other temples of their Gods.» — la identificación central del capítulo: lo que entre los egipcios era el arte hermético o arte de las obras divinas se llamó entre los griegos teurgia, y se practicó ampliamente en Eleusis.

«On no subject has more difference of opinion arisen amongst the learned: the high veneration in which the Mysteries were held, the intellectual enthusiasm with which the Alexandrians speak of them, the philosophic explanations given in detail by Iamblichus and others, concerning the motive and divine nature of the initiatory rites and the spectacles they procured, have puzzled many inquirers who, unable in latter times to account rationally, have disposed of the greater past as a pantomimic show, sanctified by priestly artifice and exaggerated by a wild imagination, natural as it has been supposed to those Ethnic souls.» — el desacuerdo erudito que registra: la veneración de los misterios y las explicaciones de Jámblico han desconcertado a los indagadores, que acabaron por despachar el grueso como pantomima santificada por artificio sacerdotal.

«But then the Fathers of our Church, what frenzy should have possessed them, that St Augustine, Cyrillus, Synesius and the rest, should imitate their follies, transferring the very language, disciplines and rites of those "odious mysteries", to their own ceremonial worship» — la objeción que opone a esa lectura: qué frenesí habría poseído a Agustín, Cirilo y Sinesio para imitar esas locuras, transfiriendo lengua, disciplinas y ritos de aquellos misterios odiosos a su propio culto; la frase se corta en el cambio de plana.

«Warburton’s bias is negative and singularly misleading: he regarded the whole scheme of the Mysteries as a political fraud, came to the conclusion that the gods were dead men deified, and that the greater mysteries were instituted solely with a view to nullify the lesser» — lo que atribuye a Warburton y cómo lo juzga: sesgo negativo y singularmente engañoso, con el esquema entero por fraude político, los dioses por hombres muertos deificados y los mayores misterios instituidos solo para anular los menores.

«Sainte Croix, whose researches are otherwise the most complete, sets al in an astronomical and eminently superficial aspect 276. Gebelin and La Pluche see all with vacant agricultural eyes 277; whilst the author of Antiquity Unveiled, notwithstanding so much learning to his aid, has found out only the foolishness of the ancients, and thinks that the mysteries should be regarded as a depository of the religious melancholy of the first men» — los demás intérpretes que despacha uno a uno: Sainte Croix en clave astronómica y superficial, Gebelin y La Pluche con ojos agrícolas vacantes, y el autor de *Antiquity Unveiled* con los misterios por depósito de la melancolía religiosa de los primeros hombres.

«Every trifling interpretation in short has been given, and everything imputed to the Mysteries except a discovery of the Wisdom which they professed. For although some with superior mind, as Thomas Taylor for example, have examined philosophically; yet from lack of evidence, and being without a guide from anything analogous in modern times they too dispose of them as immaterial ceremonies, representations at best of abstract philosophic truths» — el balance que hace de todos ellos, con Thomas Taylor incluido: se ha imputado a los misterios cualquier interpretación trivial salvo un descubrimiento de la sabiduría que profesaban, y aun los más filosóficos los despachan como ceremonias inmateriales.

«Now this and all such, as the foregoing opinions, are discordant to our apprehension, and injurious to the spirit of Antiquity, which not alone upholds philosophy, that is to say, Ontological Wisdom, as the true object of initiation, but represents the rites themselves as really efficacious to procure it.» — su propia posición frente a esos autores: la antigüedad no solo sostiene la sabiduría ontológica como objeto de la iniciación, sino que presenta los ritos mismos como realmente eficaces para procurarla.

«As the Platonist and Psellus, before cited to the point, distinctly declare, and Cicero, they were truly called Initia, for they were the beginning of a life of reason and virtue; whence men not only derived a better subsistence here, as being drawn from an irrational and brutal life, but were led on to hope and aspire for a more blessed immortality hereafter» — el argumento de nombre que toma de Cicerón: se llamaban *Initia* con verdad porque eran el comienzo de una vida de razón y virtud, y de ahí una subsistencia mejor y la esperanza de una inmortalidad más dichosa.

«Nor did the ancients promise this indiscriminately, but to those who were initiated in the Greater Mysteries only, as the Pythagoreans and Plato in Phaedo assert that by such means an assimilation was induced, and final contact with the object of rational inquiry, which is that identity whence, as a principle, we make our first descent.» — el límite que los antiguos ponían a esa promesa: solo a los iniciados en los mayores misterios, donde según los pitagóricos y el *Fedón* se inducía una asimilación y un contacto final con el objeto de la indagación racional.

«Heraclitus calls these medicines, as being the help and remedy of imperfect souls; they possessed a power of healing the body likewise, which was extensively practiced in the temples of Esculapius with various minor physico-magical arts,» — el nombre que Heráclito les da según ella y el uso terapéutico que consigna: medicinas, ayuda y remedio de las almas imperfectas, con poder de sanar también el cuerpo, practicado en los templos de Esculapio.

«But philosophy, according to Strabo, was the object of the Eleusian rites, and without the initiations of Bacchus and Ceres, he considers the most important branch of human knowledge would never have been attained.» — lo que atribuye a Estrabón: el objeto de los ritos eleusinos era la filosofía, y sin las iniciaciones de Baco y Ceres la rama más importante del conocimiento humano nunca se habría alcanzado.

«Servius, commenting on Virgil, observes that the sacred rites of Bacchus pertained to the purification of souls. Libris patris sacra ad purgationem animarum pertinebant; and again, Animae aere ventilatur, quod erat in sacris Liberi purgationis genus.» — lo que atribuye a Servio comentando a Virgilio, con sus dos citas latinas: los ritos de Baco pertenecían a la purificación de las almas, y el alma se ventila en el aire como especie de purgación.

«and not by theoretic contemplation only or by mere doctrinal faith or representations either of reality; but by certain ineffable and sublime media that Theurgists became cognizant partakers in the Wisdom of true Being» — lo que Jámblico precisa según ella: no por contemplación teórica ni por fe doctrinal ni por representaciones de la realidad, sino por medios inefables y sublimes, los teúrgos se hacían partícipes conscientes de la sabiduría del ser verdadero.

«The Greeks conceived that the welfare of the states was moreover secured by these celebrations, and the records refer to them as bestowing that on which human nature stands principally in need, viz., moral enlightenment and purification of life; without the revelation and support afforded by them, indeed, existence was esteemed no better than a living death;» — el valor público que les atribuye: los griegos creían asegurado por esas celebraciones el bienestar de los estados, y sin la revelación que daban la existencia no se tenía por mejor que una muerte en vida.

«the tragedians echoing the sense of the people made the chief felicity to consist therein, as Euripides, by Hercules says, — I was blessed when I got a sight of the mysteries: — and in Bacchis, O blessed and happy he who knowing the mysteries of the gods, sanctifies his life, celebrating orgies in the mountains with holy purifications. And Sophocles, to the same purport, — Life only is to be had there, all other places are full of misery and evil» — los testimonios trágicos que aduce: Eurípides por boca de Hércules y en las *Bacantes*, y Sófocles diciendo que solo allí hay vida y que los demás lugares están llenos de miseria.

«The doctrine of the Greater Mysteries, says Clemens Alexandrinus, related to the whole universe; here all instruction ended; nature and all things she contains were unveiled;» — lo que atribuye a Clemente de Alejandría sobre los mayores misterios: su doctrina se refería al universo entero, allí acababa toda instrucción y se develaba la naturaleza con cuanto contiene.

«O mysteries truly sacred, O pure light! At the light of torches the veil that covers deity and heaven falls off. I am holy now that I am initiated; it is the Lord himself who is the hierophant; he sets his seal upon the adept whom he illuminates with his beams; and whom, as a recompense for his faith, he will recommend to the eternal love of the Father.» — el transporte de Clemente que transcribe: a la luz de las antorchas cae el velo que cubre la divinidad, y el Señor mismo es el hierofante que sella al adepto a quien ilumina con sus rayos.

«These are the orgies of the Mysteries, concludes the bishop, in pious transport, come ye and be initiated.» — y el remate de ese pasaje: el obispo llama a esos ritos las orgías de los misterios e invita a venir a iniciarse.

«But the usage of the church as not to discover its mysteries to the profane, especially those that relate to the final apotheosis. It is even unwilling to speak of them to the Catechumens, says St Cyrillus, except in obscure terms, in such a manner, however, as that the faithful who are initiated may comprehend, and the rest be discouraged. For by these enigmas the Dagon is overthrown» — el paralelo de secreto que registra del lado cristiano, con Cirilo: la Iglesia no descubre sus misterios a los profanos ni habla de ellos a los catecúmenos sino en términos oscuros, de modo que los fieles iniciados comprendan y los demás desistan.

«There was undoubtedly a secret, hanging about these celebrations, both Ethnic and Christian, which no record has divulged or common» — la conclusión que saca de esos paralelos: hubo sin duda un secreto en esas celebraciones, étnicas y cristianas, que ningún registro divulgó; la frase se corta en el cambio de plana.

«Previous, however, to more fully entering, we are desirous to observe that a few writers on Animal Magnetism, having within these few years become enlightened by that singular discovery, suggest their Trance and its phenomena as a revelation of the temple mysteries and various religious rites.» — la deuda que reconoce con los escritores del magnetismo animal: algunos, iluminados por ese descubrimiento, han sugerido su trance y sus fenómenos como revelación de los misterios del templo.

«But no one, that we are aware, has developed his suggestion of carried the idea sufficiently above the therapeutic sphere; they appear to have taken a broad view, without particular inquiry into the nature of their rites from the ancients themselves.» — y el reproche que les hace: ninguno ha llevado la idea por encima de la esfera terapéutica ni ha indagado la naturaleza de los ritos en los propios antiguos. El troceo imprime *of carried* por or carried.

«Had they done this (we speak of the more advanced minds), we are persuaded that with that key in hand, their attention would have been drawn in new directions, and their satisfaction about the modern use of it become much modified by observing the far superior results which, through their Theurgic disciplines, the ancients aspired after, different too, as they were superior to any that we are accustomed to imagine even at the present day.» — lo que cree que habría pasado si lo hubieran hecho: con esa clave en la mano su atención habría tomado otras direcciones, y su contento con el uso moderno se habría modificado ante los resultados muy superiores a que aspiraban los antiguos.

«sense literally succeeded to explain away; the belief in providence and a future state were freely promulgated, and ordinary worship apart from these mysteries with which they ought not by any means to be confounded; since that might indeed be perpetuated anywhere, and has been without essentially, changing the state of life.» — la continuación de esa frase: la creencia en la providencia y en un estado futuro se promulgaban libremente, igual que el culto ordinario, que no ha de confundirse con esos misterios porque puede perpetuarse en cualquier parte sin cambiar el estado de la vida.

«The ordinary effects of Animal Magnetism, or Mesmerism, or Vital Magnetism, or by whatever other term the unknown agency is better expressed, are now so familiarly known in practice that it will be unnecessary to describe them; they have attracted the attention of the best and leading minds of the present age, who have hailed with admiration a discovery which enables man to alleviate pain and maladies insurmountable by other means, and by benevolent disposition of is proper vitality, acting in accord, to restore health and equilibriate repose to his suffering fellow creatures.» — cómo describe el magnetismo animal de su tiempo: efectos ya familiares en la práctica, que han atraído a las mejores mentes por permitir aliviar dolores y males insuperables por otros medios.

«And thus it is true we can lull the senses, cure the sick, sometimes to restore the blind and deaf to hearing, sight and utterance; and it is a glorious step in progress, cheering and hopeful, a blessing on our mortal suffering state» — lo que concede a esa práctica: adormecer los sentidos, curar enfermos y a veces devolver vista, oído y habla, paso glorioso y alentador.

«But are we to halt here always, or how long? The ordinary phenomena of lucidity, prevision, community of sense, will, and thought, have long been familiar and might have instigated to more important discovery; but years have passed, and the science has not grown, but retrograded rather in interest and power, since De Mainaduc, Puysegur, Colquhoun, Elliotson, Townshend, Dupotet and the rest, faithful spirits, first set their fellow men on the road of inquiry.» — y la objeción que le hace enseguida: los fenómenos de lucidez, previsión y comunidad de sentido eran ya familiares, y con los años la ciencia no ha crecido sino retrocedido en interés y poder desde De Mainaduc, Puységur, Colquhoun, Elliotson, Townshend y Dupotet.

«But the best effects of Mesmerism, if we connect it with the ancients’ Sacred Art, appear as trifles in comparison; the Supreme Wisdom they investigated, the Self-Knowledge and perfection of life and immortality» — la comparación que hace: los mejores efectos del mesmerismo parecen bagatelas junto a la sabiduría suprema, el autoconocimiento y la perfección de vida e inmortalidad que los antiguos investigaban; la frase se corta en el cambio de plana.

«What has mesmerism t do with these things? What wisdom does it unfold? What is its philosophy, or has it yet made an attempt even to investigate the subject-being, the cause of its own effects?» — las preguntas con que aprieta al mesmerismo: qué sabiduría despliega, cuál es su filosofía, y si ha intentado siquiera investigar el ser-sujeto que causa sus propios efectos. El troceo imprime *t do* por to do.

«In common arts, the ingenuity is set to work how it may advance and adapt them to the best advantage; now capabilities are discovered which, put in action, often prove the fruitful source of more; whereas Mesmerism, dwelling together altogether in the practice (the same which, from the first, unfolded nature as far as it was able), continues to run on with her in the same commonplace round.» — el contraste con las artes comunes: en ellas el ingenio busca cómo avanzar y las capacidades descubiertas fecundan otras, mientras el mesmerismo, quedándose del todo en la práctica, sigue dando la misma vuelta.

«Our sleepwalkers are little better than dreamers, for the most part, or resemble children born into a new world, without a guide, unable of themselves to educate their latent talents, or discriminate truth from falsehood in their revelations.» — el juicio que hace de los sonámbulos: poco más que soñadores, o como niños nacidos a un mundo nuevo sin guía, incapaces de educar sus talentos latentes ni de discriminar lo verdadero de lo falso en sus revelaciones.

«And, as respects the Universal Medium, they even, who believe in such a thing, take it as it presents itself naturally, having no knowledge of the capabilities or means of improvement, whither it is able to ascend or descend, or what is its right determination.» — y lo mismo respecto del medio universal: quienes creen en él lo toman como se presenta naturalmente, sin conocimiento de sus capacidades ni de los medios de mejorarlo.

«The few experimental tests that have been instituted hitherto prove nothing but to identify the same Imponderable through all; and if we make trial of the Spirit’s instincts, asking for revelations of prophecy and distant scenes or journeyings through the air — and they follow us, those patients of our will, we then go out from them to philosophize, or wonder, or to think no more about it, as the case may be; repeating the same mechanical operations, and witnessing similar effects continually over and over again, until at length the enthusiasm which early characterized the novelty and raised expectation about it, has very generally and naturally died away.» — el saldo experimental que hace: las pocas pruebas instituidas no prueban nada salvo identificar el mismo imponderable, y el entusiasmo de la novedad se ha ido apagando entre operaciones mecánicas repetidas.

«Now this, according to our gatherings, was not the sort of investigation that the ancients followed in their Mysteries; although working in the same material and with similar instruments, on the same ground, yet their practice was different; for it was conducted upon established principles and with a truly philosophic as well as benevolent aim.» — la diferencia que establece con los antiguos: trabajando en el mismo material y sobre el mismo terreno, su práctica era otra, conducida sobre principios establecidos y con un fin filosófico además de benévolo.

«Theurgists, indeed, condemn the Spirit of the natural life as degraded and incapable of true intelligence, nor did they therefore value the revelations of its first included sphere;» — lo que los teúrgos hacían con esa primera esfera según ella: condenaban el espíritu de la vida natural por degradado e incapaz de inteligencia verdadera, y no valoraban sus revelaciones.

«but proceeded at once, passing these, as it appears, in the Lesser Mysteries, to dissolve the medium more entirely; and, as they knew how, to segregate the Vital Spirit away from those defilements and imaginative impressures which, by the birth into sense, had become implanted there, obscuring the intelligence and that divine eye which, as Plato says, is better worth than 10,000 corporeal eyes; for by looking through this alone, when it is purified and strengthened by appropriate aids, the truth pertaining to all beings is perceived.» — y lo que hacían en su lugar: disolver el medio más enteramente y segregar el espíritu vital de las impresiones imaginativas implantadas por el nacimiento en el sentido, que oscurecen el ojo divino que Platón valora más que diez mil ojos corporales.

«The Neoplatonists wrote largely of the Theurgical art; many books are quoted by St Augustine and is contemporaries which are not transmitted, but were destroyed probably through the sectarian malice and shortsighted policy of the later Roman government, which tolerated nothing but luxury and arms.» — lo que dice de la bibliografía teúrgica perdida: Agustín y sus contemporáneos citan muchos libros no transmitidos, destruidos probablemente por la malicia sectaria y la política miope del gobierno romano tardío.

«Yet sufficient remains to evince the nature of the Mysteries since, besides those before named --Plotinus, Proclus, Porphyry, Synesius, and Iamblicus especially — all refer to them, declaring also the objects and revelations.» — y lo que con todo queda: bastante para evidenciar la naturaleza de los misterios, porque Plotino, Proclo, Porfirio, Sinesio y sobre todo Jámblico se refieren a ellos declarando objetos y revelaciones. El troceo imprime la raya pegada al primer nombre.

«Synesius writes appositely on the early disciplines, showing the phantastical condition also of the natural understanding essence, before it is purified by art and exalted. This Etherial Spirit, he says, is situated on the confines of the rational and brutal life, and is of a corporeal and incorporeal degree; and it is the medium which conjoins divine natures with the lowest of all.» — la definición del espíritu etéreo que toma de Sinesio: situado en los confines de la vida racional y la bruta, de grado corpóreo e incorpóreo, es el medio que conjunta las naturalezas divinas con las más bajas.

«And nature extends the latitude of a phantastic essence through every condition of things; it descends to animals in whom intellect is not present; in this case, however, it is not the understanding of a divine part (as in man it ought to be) but becomes the reason of the animal with which it is connected, and is the occasion of its acting with much wisdom and propriety.» — cómo extiende Sinesio esa esencia fantástica: desciende a los animales, en los que el intelecto no está presente, y allí no es entendimiento de una parte divina sino la razón del animal con que se enlaza.

«And it is obvious, he continues, that many of the energies of the human life consist from this nature, or if from something else, (i.e., to say, from reason), yet this prevails most; for we are not accustomed to cogitate without imagination, unless, indeed, some one should on a sudden be enabled to pass into contact with an intelligible essence» — la consecuencia que Sinesio saca para el hombre: muchas energías de la vida humana provienen de esa naturaleza, porque no acostumbramos cogitar sin imaginación, salvo que de pronto se pase a contacto con una esencia inteligible.

«That is into the identical apperception of true being; which is not possible under the ordinary conditions of thought in this life; but reason is always more or less debilitated in its energies by the habitual dependence on sense for data and objective proof, and by that modal consciousness which prevents from transcending it.» — la glosa que Atwood añade a ese pasaje: la apercepción idéntica del ser verdadero no es posible bajo las condiciones ordinarias del pensamiento, con la razón debilitada por la dependencia del sentido y por la conciencia modal.

«Nor is this the only barrier, since when freed from the encumbrance of the senses temporarily, when in a state of trance they are quiescent, their impressure yet remains, and, as Synesius says, a false imagination, which it is requisite to destroy, as well as to banish all influxions from without, before the understanding spirit can superinduce Divinity.» — la segunda barrera que señala: aun liberados temporalmente los sentidos en el trance, su impresión permanece, y hay una imaginación falsa que es preciso destruir antes de que el espíritu entendedor pueda superinducir la divinidad.

«But dense thickets, which are full of briars, says Iamblicus, surround the intellect and heart of those who have not been purely initiated, and obscure the mild and tranquil reasoning power, and openly impede the intellective part from becoming increased and elevated:» — la imagen que toma de Jámblico: espesuras densas llenas de zarzas rodean el intelecto y el corazón de los que no fueron puramente iniciados, y oscurecen la potencia razonadora.

«It may be well to consider the length of time that we consumed in wiping away the stains which had insinuated themselves into our breasts, till, after the lapse of some years, we became fit recipients for the doctrines of Pythagoras; for as dyers previously purify garments, and then fix in the colors with which they wish them to be imbued in order that the dye may not be evanescent, after the same manner also that divine man prepared the souls of those that are lovers of Wisdom.» — el símil del tintorero que Jámblico usa: como los tintoreros purifican antes la tela y luego fijan los colores para que no se desvanezcan, así preparaba aquel varón divino las almas de los amantes de la sabiduría.

«For he did not impart specious doctrines or a snare, but he possessed a scientific knowledge of things divine and divine» — y la distinción que Jámblico hace: no impartía doctrinas especiosas ni un lazo, sino que poseía un conocimiento científico de las cosas divinas. El troceo repite aquí la palabra final por defecto de la capa de texto.

«The Egyptian Olympiodorus also speaks of the natural imperfection of the human understanding, and how far its conceptions are adverse to divine illumination. The phantasy, says he, is an impediment to our intellectual conception; hence, when we are agitated by the inspiring influence of divinity, and the phantasy intervenes, the enthusiastic energy ceases; for enthusiasm and the phantasy are contrary to each other.» — lo que atribuye a Olimpiodoro: la fantasía estorba la concepción intelectual, y cuando la fantasía interviene cesa la energía entusiástica, porque entusiasmo y fantasía son contrarios.

«Should it be asked whether the soul is able to energize without the phantasy, we reply, that the perception of Universals proves that it is able» — la prueba que Olimpiodoro da de que el alma puede obrar sin fantasía: la percepción de los universales.

«As a rational promise to this life of a higher reality, the subsistence of these Universals cannot be too often or too distinctly brought to mind; for not only do they reveal in us a necessity of Being beyond present experience, but, adumbrating, as it were, their antecedent light, assist much, if perspicaciously beheld, to introduce the Idea of that consummate Wisdom, wherein this reason, becoming passive, receives the substance of her Whole.» — por qué vuelve a los universales: no solo revelan una necesidad de ser más allá de la experiencia presente, sino que asisten a introducir la idea de esa sabiduría consumada en la que la razón, hecha pasiva, recibe la sustancia de su todo.

«And the ancients glowingly describe the truth so conceived as an unquestionable experience; one and the same in all, where difference is merged in objective union.» — cómo describen los antiguos esa verdad según ella: experiencia incuestionable, una y la misma en todos, donde la diferencia queda fundida en unión objetiva.

«And Iamblicus moreover asserts, that Theurgic rites conspiring to this end were scientifically disposed and early defined by intellectual canons; neither is it lawful to consider these canons as mutable, since they are the natural faith of life, and alone of all creeds catholic and independent.» — lo que Jámblico afirma de los ritos teúrgicos: estaban dispuestos científicamente y definidos por cánones intelectuales que no es lícito tener por mudables, porque son la fe natural de la vida.

«ordeals to train the minds of his disciples, previously to admitting them into the deeper mysteries of his school; and his biographer relates how, by divine arts and media, he healed and purified the souls of his followers, and that by constantly holding them allied to a certain precedential good, their lives were preserved in continual harmony and converse with the highest causes.» — lo que refiere de Pitágoras: ordalías para entrenar las mentes de sus discípulos antes de admitirlos a los misterios más hondos, y una curación y purificación de sus almas por artes y medios divinos.

«But to transcend the sensible life in rational energy permanently apart is described as not less difficult than fortunate to attain; hence Plato appropriates the possession of Wisdom to old age, signifying by this Intellect diving intuitively without imaginative error; a Wisdom such as is not worldly, since it by no means belongs to the common life of man, nor is to be hoped for at all either in the early awakening of the life within, but by a transition gradually effected by Art away from the profound strains of a baser affection, it is carried up through the love of truth by faith into vivid contact with its Whole.» — la dificultad que declara y cómo lee a Platón sobre ella: por eso Platón adjudica la posesión de la sabiduría a la vejez, significando un intelecto que ve intuitivamente sin error imaginativo.

«And the extremity of all evil in this life consists, according to the ancients, in not perceiving the present evil and how much human nature stands in need of amelioration; and this is a part of that twofold ignorance which Plato execrates, which being ignorant that it is ignorant has no desire to emerge, but may be compared to a body all over indurated by diseases, which, being no longer tormented with pain, is neither anxious to be cured.» — el extremo del mal en esta vida según los antiguos: no percibir el mal presente, que es parte de la doble ignorancia que Platón execra, comparable a un cuerpo endurecido por las enfermedades que ya no siente dolor y no busca cura.

«But he who lives in the consciousness of something better will meditate improvement , and desire is the first requisite; indeed, without desire on our part, art will labor for us in vain, since Will is the greatest part of purgation.» — el requisito que fija: quien vive en la conciencia de algo mejor medita la mejora, y el deseo es el primer requisito, porque la voluntad es la mayor parte de la purgación.

«And through the means of this, says Synesius, both our deeds and discourses extend their hands to assist us in our assent; but this being taken away the soul is deprived of every purifying machine because destitute of assent, which is the greatest pledge of reconciliation.» — lo que Sinesio dice de ese asentimiento: por él las obras y los discursos tienden la mano en el ascenso, y quitado eso el alma queda sin máquina purificadora por falta de asentimiento.

«Hence disciplines willingly endured become of far greater utility, while they oppose vexation of evil and banish the love of stupid pleasure from the soul.» — y por qué prefiere las disciplinas voluntarias: soportadas de buen grado son de mucha mayor utilidad, porque oponen la vejación del mal y destierran del alma el amor al placer estúpido.

«But the phantastic Spirit may be purified, even in brutes, continues this author, so tht something better may be induced: how much will not the regression of the rational soul be therefore base, if she neglects to restore that which is foreign to her nature, and leaves lingering upon earth that which rightly belongs on high?» — el argumento a fortiori de Sinesio: si el espíritu fantástico puede purificarse aun en los brutos, cuán baja será la regresión del alma racional que descuide restituir lo que no es de su naturaleza.

«Since it is possible, by labor and a transition into other lives, for the imaginative soul to be purified and to emerge from this dark abode. And this restoration indeed one or two may obtain as a gift of divinity and initiation.» — lo que Sinesio concede como posible: que el alma imaginativa se purifique y emerja de esa morada oscura por labor y transición a otras vidas, restitución que uno o dos obtienen como don de divinidad e iniciación.

«Then, indeed, the soul acquires fortitude with divine assistance, but it is no trifling contest to abrogate the confession and compact which she has made with sense.» — y la lucha que anuncia: no es contienda trivial abrogar la confesión y el pacto que el alma ha hecho con el sentido.

«And in this case force will be employed, for the material inflictors will then be roused to vengeance, by the decrees of fate, against the rebels of her laws; and this is what the Sacred Discourse testifies by the labors of Hercules, and the dangers which he was required to endure, and which every one must experience who bravely contends for liberty, till the Understanding Spirit rises superior to the dominion of nature and is palced beyond the reach of her hands» — el testimonio que Sinesio lee en los trabajos de Hércules: los infligidores materiales se alzan a venganza por decretos del destino contra los rebeldes a sus leyes, y así ha de contender quien lucha por la libertad. El troceo imprime *palced*.

«Hence, and from the foregoing evidence, it may have become probable that modern art has hitherto unfolded but a small and inferior part only of the Spirit’s life; nor has experience yet opened into those temptations and trials which the consciousness must necessarily pass through, all the while regressive, before it reaches into the central illumination of truth.» — lo que concluye para el arte moderno: habría desplegado solo una parte pequeña e inferior de la vida del espíritu, y su experiencia no ha llegado a las tentaciones y pruebas que la conciencia debe atravesar en la regresión.

«Nor does anything occur to us more beautifully suggestive than the whole the passage, from which we here gather, wherein Synesius describes not only the life that is operated upon and, in graceful terms, the artifice, but shows the conditions of desire and will, so indispensable for advancement, the labors and dangers likewise which attend those who aspire to the upper grades of Intellectual Science.» — el valor que da al pasaje de Sinesio: describe la vida sobre la que se obra y el artificio, y muestra las condiciones de deseo y voluntad y los peligros de quien aspira a los grados superiores de la ciencia intelectual.

«And is it not true, as he remarks so far, we do lead for the most part a phantastic life? Nor least they who least suspect it, for it is the shining of truth that makes this visible, as a cloud before her face.» — la aplicación que hace al presente: llevamos en su mayor parte una vida fantástica, y menos que nadie lo sospechan los que menos la sospechan, porque solo el brillo de la verdad la hace visible.

«Are we not filled too with conceits and roving imaginations and idols, which we are evermore mistaking for the real good? Do we not abound in sects and dissensions, heresies and doubts, so that scarcely two are to be found agreeing on all points?» — los síntomas que enumera: conceptos, imaginaciones errantes e ídolos tomados por el bien real, y sectas, disensiones, herejías y dudas de modo que apenas dos concuerden en todo.

«And the causes are obvious; without a standard and sure foundation to build on, we judge, as we are only able, with the rudimentary faculties and senses that are born in us, and of all nature, as through a glass darkly.» — la causa que adjudica: sin criterio ni fundamento seguro se juzga con las facultades rudimentarias y los sentidos de nacimiento, y de toda la naturaleza como por un vidrio oscuro.

«If, therefore, with this same misunderstanding and infected Spirit, we enter in for the discovery and contemplation of ourselves, it will be useless; we shall not there discern the true hypostasis, but err amongst the turbulent and shadowy impressures of this of this life’s birth and sphere of accidents.» — y la advertencia que deriva: entrar con ese mismo espíritu infectado al descubrimiento y contemplación de uno mismo sería inútil, porque allí no se discierne la hipóstasis verdadera. El troceo duplica aquí *of this*.

«Thus mingling with the soul of the universe, without purification or any distinction of its light, our vehicle disports herself oftentimes in many mingling forms; as it is with those who dream or make to themselves a fool’s paradise with the druggist’s gas; since this, even impure as it is and full of folly, being if like nature with our life, coalesces; and would, if allowed to persist, consume its rationality.» — el símil con que lo explica: sin purificación ni distinción de su luz, el vehículo se solaza en formas mezcladas como quien sueña o se hace un paraíso de necios con el gas del boticario.

«And on this account we observe the ancients more particularly warn about the treatment of their Spirit, which, though of a higher birth and instinct (as we may observe in the comparison of mesmerized patients and those under the influence of chloroform or common ether), and capable of so much higher, even as they say of the highest intelligence, yet in proportion may suffer also the most fearful degradation.» — la comparación clínica que intercala: los antiguos advertían sobre el trato de su espíritu, que —como se ve comparando pacientes mesmerizados con otros bajo cloroformo o éter común— es de nacimiento más alto y por eso capaz de la degradación más temible.

«Accordingly if the will incline downwards, persisting to grovel, or evil agencies intervene, then, as the Sacred Discourse has it, the Spirit grows heavy and sinks into profound Hades.» — la consecuencia que enuncia: si la voluntad se inclina hacia abajo o intervienen agencias malas, el espíritu se hace pesado y se hunde en el Hades profundo, según el Discurso Sagrado.

«It is necessary that the mind, once seated in this Spirit, should either follow or draw or be drawn by it. Hence, if growing predominant in folly, she should cease to aspire, the whole identity, being submerged together, would be converted to her life.» — la alternativa que plantea: la mente asentada en ese espíritu ha de seguirlo, arrastrarlo o ser arrastrada, y si cesa de aspirar, la identidad entera se sumerge y queda convertida a la vida de él.

«For is she not that very Sphinx of the Labyrinth, the devourer of strangers and all who have not the wit to unriddle her and know themselves?» — la figura con que nombra a ese espíritu: la esfinge del laberinto, devoradora de extranjeros y de cuantos no tienen ingenio para descifrarla y conocerse a sí mismos. La frase salta el corte de plana.

«At all events, such is said to be the nature of the Phantastic Spirit before it is mundified, that he who enters so far as to be profoundly conscious in her essence, will be lost in irrational confusion, if he assume not quickly his intellectual energies and solve, that is comprehend, it on its own ground.» — la advertencia que repite: quien entre hasta ser profundamente consciente en la esencia de ese espíritu no mundificado se perderá en confusión irracional si no asume pronto sus energías intelectuales y lo resuelve en su propio terreno.

«For, if reason remains passive, this nature at length prevailing, will ravage and devastate and take possession of the whole mind, destroying its active energies and converting them to herself.» — y lo que pasa si la razón queda pasiva: esa naturaleza prevalece al fin, devasta y toma posesión de la mente entera, destruyendo sus energías activas y convirtiéndolas a sí.

«Thus Iamblicus, speaking of this mundane spirit, says --- it grows upon and fashions all the powers the soul, exciting in opinion the illuminations from the senses, and fixes in that life the impressions which descend from intellect.» — lo que Jámblico dice de ese espíritu mundano: crece sobre todas las potencias del alma y las modela, excita en la opinión las iluminaciones de los sentidos y fija en esa vida las impresiones que descienden del intelecto.

«And Proclus, concerning the same nature, declares that --- it folds itself about the indivisibility of true intellect (which is in its center), conforms itself to all formless species, and becomes perfectly everything from which dianoia and our individual reason consist.» — y lo que Proclo declara de la misma naturaleza: se pliega en torno a la indivisibilidad del intelecto verdadero, se conforma a todas las especies sin forma y llega a ser todo aquello de lo que constan la dianoia y la razón individual.

«For the Spirit understand the affections of the mind, and reflects its image as it is, whether good or evil. But the primary and proper vehicle of the mind, when it is in a wise and purified condition, is attenuated and clear seeing; when however the mind is sensually affected, then this vehicle is dulled and becomes terrene; the instincts are said to be imperfect just in proportion as the perceptive medium is impure, and therefore it needs alternation and solution, as the oracles teach, for the discernment of good and evil, and the proper choice of life.» — la doctrina del vehículo que enuncia: el espíritu refleja la imagen de la mente tal como es, y ese vehículo es atenuado y clarividente cuando la mente está purificada y se embota y se vuelve terreno cuando está afectada sensualmente.

«It is therefore that the Alchemists so much declaim against the vulgar Matter as it is at first made known, full of heterogeneous qualities and notions, as a subject fallen from its sphere and defiled. Hence all those preparations, solutions, calcinations, etc. before it becomes to be the Mercury of the Philosophers --- pure, agile, intelligent, living --- as they say, in her own sphere, as a queen upon her throne.» — la traducción alquímica que hace de eso: por ahí declaman los alquimistas contra la materia vulgar tal como se conoce primero, y por ahí las soluciones y calcinaciones hasta que llega a ser el mercurio de los filósofos.

«Take, says Albertus Mangus, the occult Arcanum, which is our brass, and wash it that it may be pure and clean. The first rule of the work is a perfect solution» — el precepto de Alberto Magno que trae: tomar el arcano oculto, que es su bronce, y lavarlo para que quede puro, porque la primera regla de la obra es una solución perfecta. El troceo imprime *Mangus*.

«All which we understand with reference to the universal Mundane Spirit, as it is at first consciously revealed in the recipient life of humanity; which Aristotle, in his Metaphysics, calls passive intellect, because capable of receiving and being converted to all --- the best pr worst inclination, the highest truth or the most delusive imaginings» — la identificación que hace: todo eso se entiende del espíritu mundano universal tal como se revela primero en la vida receptiva humana, lo que Aristóteles llama intelecto pasivo por ser capaz de recibir y convertirse en todo. El troceo imprime *pr* por or.

«And this we take to be the identical agent which is spread abroad in the present day mesmerizing, the photogenic medium, our New Imponderable, for it is the Common Soul; also the subject-matter of the Alchemists aforesaid, when they call it a thing indifferent, abject, and exposed in all hands, moving here below in shadowy manifestation, invisibly and unconsciously converted to every will and various use.» — la ecuación central del capítulo: ese agente es el mismo que hoy anda mesmerizando, el medio fotogénico, el Nuevo Imponderable, porque es el Alma Común, y también la materia sujeta de los alquimistas cuando la llaman cosa indiferente y abyecta.

«It is what the world cares not for, as the adept says, but disesteems it; it hath it in its sight, carries it in its hands, yet is ignorant thereof; for it passeth away with a sudden pace without being known; yet these treasures are the chiefest, and he that knows the Art, and the expressions, and hath the medium, will be richer than any other» — el pasaje del adepto que trae: el mundo no lo cuida y lo desestima, lo tiene a la vista y lo lleva en las manos sin conocerlo, y quien sepa el arte y tenga el medio será más rico que ningún otro.

«But, in its natural state, the microcosmic life is not dissimilar from the vitality of the greater world, which is included by respiration in the blood of all creatures, maintaining its perpetual pulsation, as of the wind and waves, their flux and reflux; supplying to all existence the food of life.» — cómo describe ese agente en su estado natural: la vida microcósmica no difiere de la vitalidad del mundo mayor, incluida por respiración en la sangre de todas las criaturas y manteniendo su pulsación perpetua.

«And how much such a life is in need of melioration, how much it suffers and desires, and how far its beneficience falls short of human hope and capability, may be apparent, and that in her Door-keeper, Isis is not revealed.» — y el límite que le pone: cuánto necesita esa vida de mejora y cuánto se queda corta su beneficencia frente a la esperanza humana, porque en su portera Isis no está revelada.

«But so far we have yet advanced only to the gate of the great Labyrinth, where the Sphinx is even now present, rapidly propounding her dark riddles in the world, images of the obscure and intricate nature of the human spirit; which, by the devious windings, delusive attractions and similitudes of its own included sphere, leads imperceptibly, as it were, by an alluring grace, into that Hermetic wilderness and wild of Magic in which so many adventurers have gone astray.» — dónde sitúa el punto alcanzado: apenas en la puerta del gran laberinto, con la esfinge proponiendo sus enigmas oscuros, imágenes de la naturaleza intrincada del espíritu humano que lleva al yermo hermético y al monte de la magia.

«This is the Monster and the Eternal Riddle explained to common sense as suits it, but misunderstood to this day; that Compound Simple and ground of the magians’ elements — a thing so perplexedly treated of by them, and having about it such a latitude for sophistication, that it is almost impossible to collect or unravel what has been said of it. Or how should reason attempt to define an essence all comprehending, yet separated in each particular, by so great an interval from itself?» — cómo nombra ese enigma: el monstruo y el acertijo eterno, aquel simple compuesto y fundamento de los elementos de los magos, tratado con tal latitud de sofisticación que casi no cabe recoger lo dicho de él.

«But this is that Augean Stable that was to be cleansed, that most famous labor of the philosophic Hercules; nor the least of labors, to turn the current of life into another channel, and purify the natural source.» — y el trabajo hercúleo con que lo identifica: el establo de Augías que había de limpiarse, y no el menor de los trabajos, volver la corriente de la vida a otro cauce y purificar la fuente natural.

«Close upon the revealment of the Medial Life then, as we take it, in order of the Mysteries followed the Purificative Rites, which were designed also to restore the monarchy of reason in the soul, and this» — el orden que reconstruye en los misterios: tras la revelación de la vida medial venían los ritos purificativos, destinados a restaurar la monarquía de la razón en el alma; la frase se corta en el cambio de plana.

«We are induced, however, to dwell longer on this first step, and on the necessity of intellectual preparation and auxiliaries; because it may be objected, as we proceed to unfold the ultimate tradition of this Wisdom, that we have no valid witness to our side; that any individual may declare according to the revelations of his mind, and introduce a various imagination to the idea of truth; that even supposing the mind included for a while and entirely free from outward impressions, still, retaining as it must the original bias, not only of sense but of birth and education, its experience will be neither trustworthy nor important to this life:» — las objeciones que se anticipa contra el testimonio interior: que cualquiera declare según las revelaciones de su mente, y que la experiencia, aun aislada de impresiones externas, conserve el sesgo de sentido, nacimiento y educación.

«and then nothing of a universal character, such as the ancients speak of, has been observed; or if asserted, how should it be scarcely proven? Reason in these days is not content with affirmation; it will have objective response to its faith; all pretensions, therefore, to internal lights and revelations have ceased to attract the attention of mankind.» — y la objeción de método: la razón de estos días no se contenta con la afirmación y quiere respuesta objetiva a su fe, de modo que las pretensiones de luces y revelaciones internas han dejado de atraerla.

«And again, it may be inquired why, if true Being is everywhere totally present, it is not so perceived; and why all things partaking do not enjoy the light of the so» — la tercera objeción que se plantea: por qué, si el ser verdadero está totalmente presente en todas partes, no se lo percibe así. La frase se corta en el cambio de plana.

«not either as an end so much, but as preparatory to undergoing the final initiations.» — el final de esa frase: los ritos purificativos no eran tanto un fin como preparación para las iniciaciones finales.

«In reply to this last objection, we would ask if it be not because that very light is drawn outwardly, and enchanted by sense that it is internally unconscious and oblivious everywhere of the great Identity whence it springs?» — su respuesta a la objeción de la presencia total: esa luz misma va tirada hacia fuera y encantada por el sentido, y por eso queda internamente inconsciente y olvidadiza de la gran identidad de que brota.

«If that were applied inwardly which now looks out, and every natural impediment removed, experience might then reveal to us the antecedent life.» — y la condición que enuncia: aplicado hacia dentro lo que ahora mira hacia fuera y removido todo impedimento natural, la experiencia podría revelar la vida antecedente.

«But the former objections recur here: there are impediments; and it behooves us to consider scrupulously, but without prejudice, the possibility and tests of such an experience; for if by this traditionary fall and outbirth, the understanding is so polluted as to be no more able, as Lord Bacon supposes 291, to reflect the total reason to itself, introspection will be useless, and the central mystery remains, as respects humanity, a hopeless problem after all.» — la reserva con que la recorta: hay impedimentos, y si por esa caída el entendimiento quedó tan contaminado que ya no puede reflejar la razón total —como supone Bacon—, la introspección será inútil.

«None better than the ancients (who profess to have enjoyed the rational life in its most intimate spheres, and to have reaped its most real and lasting advantages), describe the folly and fatal allurements to which they are subjected who trust themselves to remain passively dreaming in the region of the phantasy, with its notions and instincts, often more false, fleeting, and evil that the corporeal images with which sense is conversant.» — lo que atribuye a los antiguos frente al riesgo de la pasividad: describen mejor que nadie las alucinaciones a que se somete quien se deja soñar pasivamente en la región de la fantasía.

«It is for this cause they insist so much that, before any one betakes himself to the inner life of contemplation — before he hopes, we mean, to pass into its Reason --- that all else be effectually obliterated, and the mental atmosphere made clear and passive before its objective light. Without this, they promise nothing; with it, all.» — la condición que ponen esos antiguos: antes de entrar en la vida interior de contemplación, que todo lo demás quede efectivamente borrado y la atmósfera mental hecha clara y pasiva ante su luz objetiva.

«For that there is a foundation of truth in existence, is as necessary for us to admit as that we are ignorant of it; and the doubt rather remains also about the discovery of means, than the possibility of self» — cómo reformula el problema: que haya un fundamento de verdad en la existencia es tan necesario de admitir como que lo ignoramos, y la duda está más en el descubrimiento de los medios que en la posibilidad. La frase se corta en el cambio de plana.

«To continue then, partly on the authority of the Greek philosophers and partly on some mother grounds hereafter to be disposed of, we are led to infer that the Hermetic purifications and Mysteries, celebrated in the Eastern temples and by the priests at Eleusis, were real and efficacious for the highest ends that philosophy can propose to itself, namely, the purification and perfection of human life;» — la inferencia que declara para el resto del capítulo: las purificaciones herméticas y los misterios de los templos orientales y de Eleusis eran reales y eficaces para el fin más alto que la filosofía puede proponerse.

«and that inasmuch as the object was different and immeasurably superior to those proposed by modern Mesmerism, or any other art or science of the present day, so also were the means employed (the particulars of which are further discussed under the Practice), and the administration in proportion purer, holier, and entirely scientific.» — y la comparación que sostiene: siendo el objeto inconmensurablemente superior al del mesmerismo moderno, también lo eran los medios y la administración, más puros, más santos y enteramente científicos.

«For does not all our experimentalism and philosophy end in fact where the ancients began, purifying the Vital Spirit in its proper Light?» — la pregunta con que lo remata: si todo nuestro experimentalismo y filosofía no acaban de hecho donde los antiguos empezaban, purificando el espíritu vital en su propia luz.

«Or if any one think we have been discussing all the while a mere nothing, and developing a vain imagination, we admit it; suggesting only that, That which is, in his mind, so mere a nothing, become sin that of a philosopher to be the All in all.» — la concesión irónica que hace a quien la juzgue discutiendo una nada: eso que en su mente es una nada es en la del filósofo el todo en todo.

«But who will now conceive the full latitude and substantiality of this principle, or the true metaphysical use thereof? Few, very few, Philalethes said, there were in his day;» — la queja que añade con Filaleteo: pocos, poquísimos concebían ya en su día la latitud plena y la sustancialidad de ese principio y su uso metafísico verdadero.

«and who will even inquire now, or believe that it is the very same which solved and resolved, and wisely manipulated, becomes to be the concrete Stone of philosophers; in its pure, passive expanse, a mirror of the catholic reason of nature, and the medium of that holy and sublime experience granted to man alone in the divine alliance» — y lo que esa misma cosa llega a ser según ella: resuelta y manipulada con sabiduría, la piedra concreta de los filósofos, y en su expansión pura y pasiva, espejo de la razón católica de la naturaleza.

«Ex natura et divino factum est, as Reuchlin, in The Mirific Word, expresses it — Divinum enim quia cum divinitate conjunctum divinas substantias facit.» — la sentencia latina que toma de Reuchlin en *De verbo mirifico*: está hecho de la naturaleza y de lo divino, y por estar conjunto con la divinidad hace sustancias divinas.

«Essence, and developing to consciousness its occult Causality, the transcendental philosophy of the mystics may be observed to hinge entirely and exceed every other.» — de qué depende toda la filosofía trascendental de los místicos según ella: de la posibilidad de purificar la esencia entendedora y desarrollar hasta la conciencia su causalidad oculta.

«Take that which is least, and draw it by artifice into the true ferment of philosophers; although our metal is exteriorly dead, yet it has life within, and wants nothing more than that That which in the eyes of a philosopher is the most precious should be collected, and that That which the many set more value on be rejected; and these words are manifest without envy, says the Greek Aristhenes.» — el precepto que atribuye al griego Aristenes: tomar lo que es mínimo y llevarlo por artificio al fermento verdadero, recoger lo que a ojos del filósofo es lo más precioso y rechazar lo que los muchos estiman.

«From that which is perfect nothing more can be made; for a perfect species is not changed in its nature, neither from an utterly imperfect thing can art produce perfection; but this Universal Spirit is described as a middle substance — passive, undetermined, susceptible of conversion and all extremes.» — el principio con que fija el estatuto de ese espíritu: de lo perfecto no cabe hacer más y de lo del todo imperfecto el arte no saca perfección, y por eso el espíritu universal se describe como sustancia media, pasiva e indeterminada.

«And such accordingly we understand to be the one thing requisite, purifying and to be purified itself by itself, in turn agent and patient, which are the Hermetic luminaries; in their full representative advancement, the Sun and Moon philosophical, passing through many phases from imperfection to perfection in the true magistery.» — y cómo entiende ella esa cosa única requerida: purificante y purificada por sí misma, por turnos agente y paciente, que son los luminares herméticos, el Sol y la Luna filosóficos.

«And the hermetic art would seem to consist simply in the right disposition and manipulation of this our Undetermined Subject, taking her where nature leaves, and by divers operations, to be hereafter noted, as of amalgamation, distillation, filtration, digestion, and lastly by sublimation to the Head of an appropriate Vessel, establishing her in a new and concentric Form of Light.» — la definición operativa que da del arte hermético: la disposición y manipulación correctas de ese sujeto indeterminado, tomándolo donde la naturaleza lo deja, por amalgamación, destilación, filtración, digestión y sublimación a la cabeza de un vaso apropiado.

«Nor may this seem a fable to the wise, Since all things live according to their kinds; Their life is light which in them hidden lies, Discerned by the eyes of soaring minds, To them discovered is true nature’s map, By whom produced nothing is by hap:» — los versos que trae en apoyo: todas las cosas viven según sus géneros y su vida es luz oculta en ellas, discernida por ojos de mentes que remontan, para quienes nada se produce por azar.

«For she her secret agent doth possess, Which in the universe is only one, But is distinct thro’ species numberless, According to their seeds, which God alone In the beginning did produce, and then Set them their law, found out by mental men» — la continuación de esos versos: la naturaleza posee su agente secreto, único en el universo y distinto por especies innumerables según las simientes que Dios produjo al principio.

«But a long interval is between, and all the labors of that Heroic Intellect to be passed through before the rejected Keystone regains her Head place.» — la distancia que declara: media un intervalo largo y todos los trabajos de aquel intelecto heroico antes de que la piedra clave rechazada recupere su lugar de cabeza.

«nor are the rewards of Wisdom to be won by fools wanting the very principles of melioration in themselves. --- Nemo enim dat id, quod non habet. --- He only that hath it can impart --- and he only has it who has labored rationally in the pursuit. As is exemplified in that saying of Esdras --- The earth giveth much mould, whereof earthen vessels are made, but little dust that gold cometh of» — la exclusión que repite al cerrar el capítulo: ni los ociosos ni los viciosos alcanzan la obra, porque nadie da lo que no tiene, y con Esdras, la tierra da mucho barro para vasijas y poco polvo del que sale el oro.

«Non levis adscensus, si quis petat ardua, sudor Plurimus hunc tollit, nocturna insomnis olivae Immoritur, delet quod mox laudaverit in se, Qui cupit aeternae donari frondis honore.» — los versos latinos con que cierra ese capítulo: no es leve el ascenso para quien busca lo arduo, y quien desea el honor de la fronda eterna suda mucho, vela de noche y borra lo que poco antes se alabó en sí. El troceo imprime *adscensus*.

«It s necessary that the soul, when purified, should associate with its Generator. — Porphyry, Aux. to Intelligib.» — el lema de Porfirio con que abre el tercer capítulo de los misterios: purificada el alma, es necesario que se asocie a su generador. El troceo imprime *It s* por It is.

«We have so far developed the nature of the internal life only, as it was at first revealed to the aspirant in the Lesser Mysteries; and this was the only popular initiation open to all. It represented, according to the accounts, a new and fertile field of natural contemplation which every one was at liberty to appropriate, and where each roamed at pleasure without rule or subordination, and without that consent and sympathy which a uniformity of life produces.» — el punto del recorrido que declara: hasta aquí solo ha desplegado la vida interna tal como se revelaba en los misterios menores, la única iniciación popular abierta a todos, campo donde cada cual vagaba a su gusto sin regla ni subordinación.

«Previous to the purificative rites little change, therefore, was effected. It gave a passing experience to the multitude, and in a few awakened the desire and hope of better things; just as amongst us Mesmerism, which of all modern arts is most pertinent to this philosophy as working in the same matter, affords entrance together with the imagination of another life.» — lo que esos misterios menores lograban: una experiencia pasajera para la multitud y en unos pocos el deseo de algo mejor, como hoy el mesmerismo, que ella llama el arte moderno más pertinente a esta filosofía por trabajar en la misma materia.

«And more than this, in well-conditioned cases, we have proof of the intrinsic intelligence and power of the Free Spirit which can expatiate into the whole circumference of its sphere and reveal hidden things, exhibiting a variety of gifts; it can philosophize also more or less well according to the direction, natural purity, and relaxation of the sensual bond.» — lo que concede al mesmerismo en casos bien condicionados: prueba de la inteligencia y el poder intrínsecos del espíritu libre, que puede recorrer toda la circunferencia de su esfera y revelar cosas ocultas.

«But not all that men wonder at in the present day, the insensibility, the cures, the mental exaltation, nor much more of the same class which the trance spontaneously develops evening the best subjects, could satisfy the exacting reason of our forefathers; desirous rather to investigate the Thing itself, the subject of so many marvels, they passed the first phenomena to look for Causes, experimenting within.» — y lo que a los antiguos no les bastaba: ni la insensibilidad, ni las curas, ni la exaltación mental habrían satisfecho su razón exigente, que pasaba los primeros fenómenos para buscar causas experimentando dentro.

«Volo ovum philosophorum dissolvere et partes philosophici hominis investare, nam hoc est initium ad alia» — el propósito latino que toma del fraile experimental: quiere disolver el huevo de los filósofos e investigar las partes del hombre filosófico, porque ese es el comienzo para lo demás. El troceo imprime *investare*.

«and to concentrate the whole vitality, to turn the spiritual eye, to purify and analyze the total essence and draw forth the true Efficient and to know it in co-identity, this was their object and the Art of Theurgy.» — la definición del arte de la teurgia que da: concentrar la vitalidad entera, volver el ojo espiritual, purificar y analizar la esencia total y sacar el eficiente verdadero para conocerlo en coidentidad.

«For it is not, as they say, that the Spirit is free from material bondage, or able to range the universe of her own sphere, that guarantees the truth of her revealments, or helps the consciousness on to subjective experience; for this a concentrative energy is needed, and an intellect penetrating into other spheres, rather than discursive in its own.» — la corrección que añade: que el espíritu quede libre del vínculo material y pueda recorrer su esfera no garantiza la verdad de sus revelaciones, porque hace falta una energía concentrativa y un intelecto que penetre en otras esferas.

«But the order in which the next solution, or resolution rather, was operated which was to translate the consciousness underneath this medium by obscuration, towards the Central Source, is known probably to very few in the present day, for it is entirely concealed from the world: they only, amongst the ancients who had fulfilled the previous rites and undergone all the required ordeals, were entrusted with the passport.» — y lo que en cambio falta: el orden en que se operaba la resolución siguiente, la que traslada la conciencia por debajo de ese medio hacia la fuente central, que solo se confiaba a quienes habían cumplido los ritos y las ordalías.

«It discovers a fearful mystery in the opening sensation of power, in a life which, at its entrance, is described as dark, delusive, and dangerous, and more corrupted far than the foregoing, but through which it is quite necessary to pass before inquiry can hope to meet its object in the Elysian light.» — cómo describe esa etapa: una vida que a su entrada es oscura, engañosa y peligrosa, más corrompida que la anterior, y por la que sin embargo es preciso pasar.

«Tenent media omnia sylvae, Cocytusque sinu labens circumfluit atro. Betwixt these regions and that upper light, Deep forests and impenetrable night Possess the middle space; the infernal bounds, Cocytus, with his sable wave surrounds» — los versos de Virgilio que transcribe en latín y en versión inglesa: bosques profundos y noche impenetrable ocupan el espacio medio entre esas regiones y la luz de arriba, y el Cocito rodea los confines infernales.

«and the key of the Hermetic vestibule may be said to be already in our hands, which are able to dissolve the sensible medium and convert it to the experience of another life» — lo que concede al presente: la llave del vestíbulo hermético puede darse ya por estar en nuestras manos, capaces de disolver el medio sensible y convertirlo a la experiencia de otra vida.

«We are aware that the descent to the Infernal regions and all those highly wrought descriptions of the poets, concerning the riches and powerful allurements of Pluto’s kingdom and Hades, have been looked upon, and very naturally, as purely imaginative, and the representations of the same in the mysteries as a pictorial or pantomimic show.» — la lectura corriente que registra: el descenso a los infiernos y las descripciones del reino de Plutón se han tenido por puramente imaginativos, y su representación en los misterios por espectáculo pictórico o pantomímico.

«But as we have hitherto been enabled to regard the minor celebrations from an esoteric point of view, showing their relationship to more modern experience and the Hermetic art, we hope to continue on our adventure, being not without precedent either or guiding authority over the same ground. For it is not absurd to suppose that men should have philosophized and composed so many excellent and sublime discourses from the contemplation of shadows only?» — y la objeción con que la contesta: si se pudo mirar las celebraciones menores desde dentro, no es absurdo seguir por ahí, porque no cabe que se filosofara y se compusieran discursos sublimes desde la contemplación de meras sombras.

«But setting aside such a notion, neither do we conceive that by Hades, or that profound Lethe, the ancients understood a corporeal nature, or this fleshly existence of ours, or anything in fact with which the whole allusion is to a state of vital submersion in the Mysteries, when the consciousness is artificially drawn about the penetralia of its first life.» — lo que ella entiende por el Hades de los misterios: no una naturaleza corpórea ni esta existencia carnal, sino un estado de sumersión vital en que la conciencia queda atraída artificialmente a los penetrales de su primera vida.

«Nor, if we may credit accounts, is the descent difficult, or so far off, but» — lo que dice del descenso: no es difícil ni está lejos; la frase se corta en el cambio de plana, donde sigue que las puertas infernales quedan abiertas a los mortales.

«Facilis descensus Averni; Noctes atque dies patet atri janua Ditis: Sed revocare gradum superasque evadere ad auras, Hoc opus, hic labor est. Pauci quos aequus amavit Jupiter, aut ardens evexit ad aethea virtus, Diis geniti potuere» — los versos de la Sibila en Virgilio que transcribe: fácil es el descenso al Averno y de día y de noche está abierta la puerta de Dite, pero volver sobre los pasos y salir a las auras de arriba, esa es la obra y ese el trabajo.

«The grand requirement of the Mysteries after the first purificative rites (the inclination being already freed from the dominion and all the superficial progeny of sense), was that the will should conceive within itself a motive purely rational to withstand the temptations of its next including sphere; that it might be enabled to follow the true path upward, penetrating through darkness, and defilements, and dissolution even, to the discovery of Wisdom in her light abode.» — el requisito mayor que fija para después de los ritos purificativos: que la voluntad conciba en sí un motivo puramente racional con que resistir las tentaciones de su esfera siguiente.

«To this Aeneas accordingly directed by the Sybil, whom we follow, after her warning already given, to search for that well-distinguished, most mysterious golden bough.» — y la figura con que lo representa: Eneas dirigido por la Sibila a buscar la rama de oro, misteriosísima y bien distinguida.

«Aurus et foliis et lento vimine ramus, Junoni infernae sacer» — los versos latinos de esa rama que transcribe: rama de hojas y vara flexible de oro, consagrada a la Juno infernal. El troceo imprime *Aurus*.

«Without which as a propitiation he may not venture on the subterranean research. But it may be asked, why this myrtle branch was represented to be of gold. Not merely for the sake of the marvelous, Warburton tells us, we may be assured.» — y la condición que impone: sin esa propiciación no cabe aventurarse en la búsqueda subterránea, y Warburton asegura que no se la representó de oro por lo maravilloso.

«A golden bough was literally part of the sacred equipage in the shows, a burden which the Ass, who carried the mysteries, we may believe, was proud of. But of what kind this branch was, Apuleius partly indicates in his procession of the Initiated into the Mysteries of Isis, where we find it connected with the Mercurial caduceus and treated as a most important symbol in initiatory rites» — el dato que toma de Warburton y de Apuleyo: la rama de oro era parte literal del equipaje sagrado en las procesiones, y aparece en el desfile de los iniciados en los misterios de Isis ligada al caduceo mercurial.

«which we therefore understand ontologically, as a ray of living light, golden and flexible, the true» — la lectura ontológica que hace de esa rama: un rayo de luz viviente, dorado y flexible; el nombre que le da queda al otro lado del corte de plana.

«insinuating by rational penetration alone through the murky circumference of the chloric ether into its own congenial life, which is Proserpine, and that lapsed soul of ours, seated in her dark hypostasis unknown; whose vapor is so subtle and transient that nothing but the glance of its proper intellect by faith can arrest it.» — y lo que esa rama alcanza según ella: por penetración racional atraviesa la circunferencia turbia del éter clórico hasta su vida congénita, que es Prosérpina, el alma lapsa asentada en su hipóstasis oscura.

«And those doves that lead the way too, are they not known to our Alchemists and those chosen seats?» — la pregunta con que cierra esa lectura: si las palomas que guían el camino no son conocidas también de los alquimistas.

«the infernal gates lie open to mortal men on earth; but because of the arduous nature of the re-ascent and for the sake of securing it, lest unprepared souls, presuming to enter, should be taken captive by deluding and fatal desires, and work irremediable evil there, every precaution has been instituted to keep the way a secret from the world, as well for its own sake as for the cause of justice and divine wisdom about to be revealed;» — por qué se guardó el camino en secreto: no por el descenso sino por lo arduo del reascenso, para que las almas no preparadas no queden cautivas de deseos fatales ni obren mal irremediable.

«Brancha Spiritualis of Raymond Lully. Intellectus naturam habens subtilem ad intellignedum res intellibiles» — el nombre que da a esa rama al otro lado del corte: la *Brancha Spiritualis* de Ramón Lulio, intelecto de naturaleza sutil para entender las cosas inteligibles. El troceo imprime *intellignedum* e *intellibiles*.

«But to be brief; it is only by exceeding zeal and piety of intention, such as is ascribed to Aeneas in search of his father, and a prevailing reason, that the seeking mind becomes fitted for establishment in her essence and percipient of her final duty to separate the good and reject the evil therein by birth allied; that she may know to what she ought to aspire, dismissing every other consideration, where Desires are Images and Will their Act.» — la condición moral que fija para esa etapa: solo por celo y piedad de intención como la que se atribuye a Eneas queda la mente apta para separar el bien y rechazar el mal aliado por nacimiento, allí donde los deseos son imágenes y la voluntad su acto.

«Thus Plato says, --- It is necessary that a man should have his right opinion as firm as adamant in him when he descends into Hades, that there likewise he may be unmoved by riches or any such like evils, and may not, falling into tyrannies and such other practices, do incurable mischief and himself suffer still greater; but that he may know how to shun extremes on either hand, both in this life as far as possible and in the whole hereafter» — el pasaje de Platón que trae: hace falta llevar la opinión recta firme como el diamante al descender al Hades, para no moverse allí por riquezas ni caer en tiranías haciendo mal incurable.

«And again, in the Seventh Book of the Republic --- he who is not able by the exercise of his reason to define the idea of the Good, separating it from all other objects and piercing, as in a battle, through every kind of argument, endeavoring to confute, not according to opinion but according to essence, and proceeding through all the dialectic energies with an unshaken reason --- he who cannot accomplish this, neither knows he the Good itself, nor anything that is properly denominated the Good.» — el segundo pasaje, del libro séptimo de la *República*: quien no puede definir por su razón la idea del bien, separándola de todo y atravesando como en batalla todo argumento, no conoce el bien mismo.

«And would you not say that such a one, if he apprehended any certain truth or image of reality, would apprehend it rather, through the medium of opinion than of science; that in the present life he is sunk in sleep and conversant in the delusions of dreams; and that descending into Hades, before he is roused to a vigilant state, he will be overwhelmed with a sleep perfectly profound» — la consecuencia que Platón saca en ese pasaje: quien así sea aprehenderá por opinión y no por ciencia, en esta vida está sumido en sueño, y al descender al Hades antes de despertar quedará abrumado por un sueño profundísimo.

«To fall asleep in Hades was indeed to be absorbed, without the encumbrance of body, in all its defilements; according to the philosopher, the direst evil that can befall any one; or, as Virgil has it, to be a king in hell.» — la lectura que ella hace de ese dormir: quedar absorbido, sin el estorbo del cuerpo, en todas sus contaminaciones, el peor mal según el filósofo, o como dice Virgilio, ser rey en el infierno.

«But with all the earnings of difficulties, and dangers, and death, to be encountered, no hero or demigod occurs in the poets, but he sometime descended to the Infernals, and had free egress thereafter to the Elysian Fields; but two are described as suffering for the attempt --- Theseus and Pirithous, who, as Proclus admirably explains, were» — la excepción que registra: ningún héroe de los poetas deja de descender a los infiernos y salir luego a los Elíseos, salvo Teseo y Pirítoo; el motivo que Proclo da queda al otro lado del corte de plana.

«In the sixth book of the Aeneid, Virgil has gracefully set forth the whole transaction of his successful hero, with the labors and difficulties, and appalling visions that attended on the outset of his pious research; all which has been shown by Warburton 304 and other learned commentators, to bear close allusion to the Mysteries, in which we have reason also to believe the poet himself was profoundly initiated, and whose allegoric conduct, therefore, we pursue as an inquiry of Intellect after its Paternal Source.» — cómo lee el libro sexto de la *Eneida*: Warburton y otros comentaristas lo muestran aludiendo de cerca a los misterios, y ella sigue su conducta alegórica como indagación del intelecto tras su fuente paterna.

«To continue, then, in order of the tradition: after the ordeal rites had been undergone, and the few who were found fit, selected for further initiation, the concession of more arcane mysteries succeeded.» — el orden que sigue: cumplidas las ordalías y seleccionados los pocos hallados aptos, venía la concesión de misterios más arcanos.

«Gressus removete prophani Jam furor humanus nostro de pectore sensus Expluit» — el verso latino de exclusión que transcribe en ese lugar: apartad los pasos, profanos, que ya el furor humano expulsó de nuestro pecho los sentidos.

«As the consciousness passing the middle region, clear and rational from out the Aquaster, enters the Fire World, and the Sybil leads her hero to the dark descent.» — el paso que describe con vocabulario paracelsiano: la conciencia, clara y racional desde el Aquaster, pasa la región media y entra en el mundo del fuego mientras la Sibila lleva a su héroe al descenso oscuro.

«detained there --- the one because he was too much a lover of corporeal beauty, the other through his natural inability to sustain the arduous altitude of divine contemplation.» — el motivo que Proclo da para esa detención: uno por demasiado amante de la belleza corpórea y el otro por su incapacidad natural de sostener la altitud ardua de la contemplación divina.

«Spelunca alta fuit, vastoque immanis hiatus, Scrupea, tuta lacu nigro nemorumque tenebris;» — los versos virgilianos del Averno con que abre ese tramo: una cueva honda de vasto hiato, guardada por lago negro y tinieblas de bosques; la cita se corta en el cambio de plana.

«And what does all this imagery point at, but the thickening darkness of the nether air verging to the chaos of matter and flowing out from the perpetual motion of the first life; destitute of elasticity, Aornus, heavy like that of an enclosed cave, and vast; dangerous, as it is said by some, giving forth a murky odor, like that of graves.» — la lectura que hace de esa imagen: la oscuridad espesante del aire inferior que verge al caos de la materia, sin elasticidad, pesada como la de una cueva cerrada y con olor de tumba.

«It is the Black Saturn of the adepts, and that appearing corruption that precedes the mystical death and regeneration into new life: as describing the same ens, they call it lapis niger, vilis, foetens, et dicitur origo mundi et oritur sicut germinantia.» — la identificación alquímica que propone: es el Saturno negro de los adeptos y la corrupción aparente que precede a la muerte mística, llamada piedra negra, vil y fétida, origen del mundo, que surge como lo que germina.

«Sendivogius calls it Urinus Saturni, with which he waters his lunar and solar plants; and another, — Ex mari meo oriuntur nebulae, quae ferunt aquas benedictas et ipsae irrigant terras et» — los nombres que otros le dan: Sendivogio la llama orina de Saturno, con que riega sus plantas lunares y solares, y otro dice que de su mar suben nieblas que llevan aguas benditas. La frase se corta en el cambio de plana.

«With this allusion, the Alchemists also call the Ether their mineral tree; for they were not so careful to hide this in general, seeing the true species was laid asleep in sense, and doubly locked up, as it were, within both corporeal and spiritual confines, and how far the world was off from the art of unfolding or profiting by it.» — por qué los alquimistas no cuidaron tanto de ocultar eso según ella: la especie verdadera estaba dormida en el sentido y doblemente encerrada en confines corpóreos y espirituales, y el mundo estaba lejos del arte de desplegarla.

«Ecce autem, primi sib lumina et ortus, Sub pedibs mugire solum, et juga coepta moveri Sylvarum, visaeque canes ululare per umbram, Adventante Dea» — los versos del recibimiento de Eneas en el Hades: mugió el suelo bajo los pies, se movieron las cumbres de los bosques y se oyeron aullar perras por la sombra al llegar la diosa. El troceo imprime *sib* y *pedibs*.

«And Claudian, to the same effect, poetizes the tremendous advent. Jam mihi cernuntur trepedis delubramoveri Sedibius, et claram dispergere fulmina lucem Adventum testate dei: jam magnus ab imis Auditur fremitus terries, templumque remugit Cecropium; sanctasque faces attollit Eleusin; Angues Triptolemi strident, et squamea curvis Colla levant attrita jugis Ecce procul ternas Hecate variata figures Exortur» — los versos de Claudiano que añade para el mismo advenimiento: los santuarios moviéndose en sus asientos trémulos, el templo cecropio bramando, Eleusis alzando las antorchas sagradas y Hécate surgiendo variada en tres figuras.

«And all this, extravagant and fanciful though it should appear, has been echoed by philosophers, and the Greek descriptions agree in each remarkable particular. Plato, amongst others, likens the descent of the soul into these oblivious realms of generation to an earthquake and other strong convulsions of nature.» — el aval filosófico que aduce para esas imágenes: Platón compara el descenso del alma a esos reinos del olvido con un terremoto y otras convulsiones fuertes de la naturaleza.

«Psellus, in his valuable commentary, describes the apparitions procured by the Chaldaic rites as of two kinds: the first called superinspection, when he who celebrates the divine rites sees a mere apparition, as, for instance, of light in some form or figure, concerning which the oracle advises, that if anyone sees such a light, he apply not his mind to it, nor esteem the voice proceeding thence to be true; sometimes, likewise, to many initiated persons, there appear lights in various forms and figures. These apparitions are created by the passions of the soul, in performing divine rites, mere appearances, having no substance, and therefore not signifying anything true» — la primera clase de apariciones que Pselo distingue en los ritos caldaicos: la superinspección, cuando el celebrante ve una mera aparición de luz, sobre la que el oráculo aconseja no aplicar la mente ni tener por verdadera la voz que venga de ahí.

«Corripit hic subita trepidus formidine ferrum Aeneas strictamque aciem venientibus offert. Et ni docta comes tenues sine corpore vitas Admoneat volitare cava sub imagine formae, Irruat, et frustra ferro diverberet umbras» — los versos de Virgilio sobre esas apariciones: Eneas empuña la espada ante las sombras y, si la docta compañera no le advirtiera que son vidas tenues sin cuerpo que vuelan bajo imagen hueca, se lanzaría a golpear en vano.

«For it is the imaginative spirit which is the maker of these images, as in dreams, only more intense. As moisture condensed in the air constitutes clouds, which the wind disposes in various forms, so our pneumatic vehicle, becoming humid and condensed beneath her heaven, presents many formidable apparitions to the inner sense, and all the race of demons, so much celebrated by antiquity, appear to have their origin in a life of this kind, viz., from an included vapor of the imagination:» — la explicación que da de esas figuras: el espíritu imaginativo es el que las hace, como en los sueños pero más intensas, y de un vapor incluido de la imaginación vendría toda la raza de demonios celebrada por la antigüedad.

«nor these, individually belonging, were seen only; but, as it is recorded, each by rapport in this state becomes conversant with the whole phantasmagoric universe of his sphere; hence the platitude of the descriptions and poetical crowding of images to the individual sense.» — y por qué las descripciones se parecen entre sí: en ese estado cada cual se vuelve por rapport conversante con toda la fantasmagoría de su esfera.

«Proclus, commenting on the First Alcibiades of Plato, asserts that material images, assuming the appearance even of things divine, constantly attended on the Mysteries, drawing towards them souls not yet sufficiently purified, and separating them from truth.» — lo que Proclo afirma sobre los misterios: imágenes materiales que asumían aun la apariencia de cosas divinas asistían constantemente a los ritos, atrayendo a las almas no bastante purificadas y separándolas de la verdad.

«In the most holy Mysteries, says he, before the presence of the god, the impulsive forms of certain terrestrial demons appear, which call the attention off from undefiled advantages to matter,» — el primero de los dos pasajes de Proclo que transcribe: antes de la presencia del dios aparecen las formas impulsivas de ciertos demonios terrestres, que llaman la atención de lo incontaminado hacia la materia.

«as in the most holy Mysteries, the mystics at first meet with the multiform and many-shaped genera which are hurled forth before the gods; but on entering the interior part of the Temple, unmoved and guarded by the sacred rites, they genuinely receive into their bosom divine illumination, and divested of the Divine Nature, the same method takes place in the speculation of Wholes» — el segundo pasaje de Proclo: los místicos encuentran primero los géneros multiformes arrojados delante de los dioses, y ya en el interior del templo reciben la iluminación divina.

«Quam super haud ullae poterant impune volantes Tnedere iter pennies: talis sese halitus atris Faucibus effundens supera ad convexa ferbat, Unde locum Graii dixerunt nominee Aornum» — la continuación de esos versos al otro lado del corte: ninguna ave podía pasar impune por encima, tal era el hálito que salía de aquellas fauces negras, de donde los griegos llamaron al lugar Aorno. El troceo imprime *Tnedere*, *pennies* y *nominee*.

«that he might affright those who would captivate him.» — el final de esa frase: Pan se disfrazaba así para espantar a quienes quisieran cautivarlo.

«For the reason of this life imitates, inasmuch as it is able, and obeys instinctively its motive light; and as the natural intellect is liable to error, so the spiritual also, not et perfected, is liable to be caught in the traps» — el paralelo que traza entre los dos intelectos: la razón de esta vida imita y obedece instintivamente a su luz motriz, y como el intelecto natural yerra, el espiritual no perfeccionado puede caer en las trampas. La frase se corta en el cambio de plana.

«of these exterior spirits, which being, as Basil Valentine, in his Alchemical Chariot, observes, endowed with senses and understanding, know Arts, and have in themselves an occult operative life; giving testimony also of their virtue in the art of healing and other secrets, by which they deceive and detain the unwary from the search of better things» — lo que Basilio Valentín dice de esos espíritus exteriores en su *Chariot*: están dotados de sentidos y entendimiento, conocen artes y tienen una vida operativa oculta, y dan testimonio de su virtud en el arte de sanar.

«The writings of the middle ages abound likewise with descriptions of these demoniacal natures; regular descriptions of them are given by Agrippa 313; and Trithemius 314; and Psellus 315; Proclus 316; Iamblicus 317; and Porphyry 318, allude to their material efficacy and operation in Divine Works, where desire, entering into those aerial forms, is said to vivify them;» — los autores que enumera sobre esas naturalezas demoníacas: Agripa, Tritemio, Pselo, Proclo, Jámblico y Porfirio, para quienes el deseo, entrando en esas formas aéreas, las vivifica.

«and the Chaldaic oracle even persuades that there are pure demons. — Natura suadet esse demonaspuros, et malae materiae germina utilia et bona,— and that the germinations even of evil matter are of use» — la posición discordante que consigna del oráculo caldaico: hay demonios puros, y aun las germinaciones de la materia mala son útiles y buenas. El troceo pega *demonaspuros*.

«Synesius mentions them also as the progeny of matter, and as having an energetic virtue, but at natural war with the truth-seeking soul» — y la de Sinesio: los tiene por prole de la materia, con virtud enérgica pero en guerra natural con el alma que busca la verdad.

«Demons who machinate a thousand ills, Pregnant with ruin to our wretched souls, That merged beneath life’s dreadful sounding sea In body’s chain they willingly may toil; Nor e’er remember in the dark abyss The splendid palace of their sire sublime.» — los versos del himno al Sol de Proclo que transcribe: demonios que maquinan mil males, preñados de ruina para las almas, para que sumergidas en el mar de la vida se afanen en la cadena del cuerpo sin recordar el palacio de su padre.

«And it is the dread of such an oblivion there below that the oracle announces to intellect in those solemn tones — Ducat animae profunditas immortalis oculosque affatim, — Omnes sursum extende.» — el oráculo que opone a ese olvido, en su latín: que predomine la profundidad inmortal de tu alma y extiende todos tus ojos hacia arriba.

«Let the immortal depth of thy soul be predominant, and all thy eyes extend upwards; incline not to the dark world whose depth is a faithless bottom and Hades dark all over, squalid, delighting in images, unintelligible, precipitous, and a depth always rolling full of stupidity and folly» — la traducción inglesa del mismo oráculo que el volumen imprime a continuación: no inclinarse al mundo oscuro, cuyo fondo es infiel, Hades del todo escuálido, deleitado en imágenes, ininteligible y precipitoso.

«Umbrarum hic locus est, somni noctisque soporae» — el verso latino con que sella ese pasaje: este es el lugar de las sombras, del sueño y de la noche soporosa.

«If the soul on its departure, says Porphyry, still possesses a spirit turbid from humid exhalations, it then attracts to itself a shadow and becomes heavy; and a spirit of this kind naturally strives to penetrate into the recesses of the earth, unless a certain other cause draws it in» — la doctrina de Porfirio sobre el espíritu húmedo: si al partir el alma conserva un espíritu turbio de exhalaciones húmedas, atrae una sombra, se vuelve pesada y tiende a penetrar en los recesos de la tierra. La frase salta el corte de plana.

«a contrary direction: as, therefore, the soul when surrounded with this testaceous and terrene vestment necessarily lives on the earth, so likewise when it attracts a moist spirit, it is necessarily surrounded with the image. But it attracts moisture when it continually endeavors to associate with nature, whose operations are effected in moisture, and which are rather under the earth: when however the soul earnestly desires to depart from nature (i.e., strives to penetrate centrally without exploring the intermediate spheres), then she becomes a dry splendor from exhalation» — la continuación de Porfirio: atrayendo un espíritu húmedo el alma queda cercada por la imagen, y cuando desea de veras apartarse de la naturaleza se vuelve un esplendor seco por exhalación.

«Hence that renowned saying of Heraclitus, that a dry soul is the wisest, for the soul looking at things posterior to herself beholds the shadow and images of her vaporous vehicle; but when she is converted to herself, she evolves her proper essence and irradiates the whole circumference with her own abundant oxygenating and dispersive light» — la sentencia de Heráclito que de ahí saca: el alma seca es la más sabia, porque mirando a lo posterior a sí ve la sombra y las imágenes de su vehículo vaporoso, y convertida a sí irradia toda la circunferencia con su propia luz.

«Thus Hermes: Extract from the ray its shadow and its obscurity, by which the clouds hang over it, and corrupt and keep away the light; by means of its constriction, also, and fiery redness it is burned; take, my son, this watery and corrupted nature, which is as a coal holding the fire, which if thou salt withdraw so often until the redness is made pure, then it will associate with thee, by whom it was cherished and in whom it rests» — la variante del pasaje del Golden Treatise que imprime aquí: dice *watery and corrupted nature* y *as a coal holding the fire* donde la sección segunda decía otra cosa. Las dos lecciones se consignan sin armonizar.

«Visitabis interiora terrae rectificando, invneies Occultum lapidem, veram medicianam.» — la divisa latina del acróstico que transcribe: visitarás el interior de la tierra rectificando y hallarás la piedra oculta, la medicina verdadera. El troceo imprime *invneies* y *medicianam*.

«Visit the interior of the earth rectifying, says the sage, and thou shalt find the hidden Stone, the true medicine: not the feculent dead soil, but our dark divulsed chaotic life from sense, which opened and rectified, dissolved and reunited, is changed from an earthly to a spiritual body, by rapport divine.» — la lectura que hace de esa divisa: no el suelo muerto y fecal, sino la vida caótica y desgarrada del sentido, que abierta, rectificada, disuelta y reunida pasa de cuerpo terrestre a cuerpo espiritual.

«In such a process it would seem the Alchemists discovered the hidden principles of nature, as, experimentally passing thought the animal and vegetable into the mineral circulation of her Law, they describe the life of all things here below to be a thick fire imprisoned in a certain incombustible aerial moisture;» — cómo describen los alquimistas la vida de todo lo de aquí abajo según ella: un fuego espeso aprisionado en cierta humedad aérea incombustible.

«which moisture in its native state, before it is purified by the inflowing light of reason, is that Hades we are treating of, the Purgatory of the wise, wherein the consciousness, becoming artificially wrapped by the Mysteries, continues for a while in a state of solicitude and painful amazement, unable of itself to discover, through so great a cloud of darkness, that Hypostatic Reality towards which it is instructed evermore to aspire.» — y qué es esa humedad en estado nativo: el Hades de que trata, el purgatorio de los sabios, donde la conciencia envuelta por los misterios queda en solicitud y asombro doloroso.

«And until this attraction is found and finally established in union, the opposive powers display their mutual forces in discordant dissolute array, as the Alchemists, with all who have been profoundly experienced in this ground, relate each in his own instructive way, warning about the» — lo que pasa hasta que esa atracción se establece: las potencias opuestas despliegan sus fuerzas en formación disoluta, y los alquimistas lo relatan cada uno a su modo instructivo; la frase se corta en el cambio de plana.

«For, as the sage in Enoch declares it, lead and tin are not produces from earth as the primary fountain of their production; but there is an angel standing upon it, and that angel struggles to prevail» — el pasaje de Enoc que trae: el plomo y el estaño no se producen de la tierra como fuente primaria de su producción, sino que hay un ángel de pie sobre ella que lucha por prevalecer.

«Vaughan notes the same in the Regio Phantastica of his Hieroglyphic, and elsewhere, speaking of the mineral nature or First Matter, he says, The eye of man never saw her twice under one and the same shape; but as clouds driven by the wind are forced to this and that figure, but cannot possibly retain one constant form, so is she persecuted by the fire of nature» — lo que Vaughan dice de la primera materia en la región fantástica de su jeroglífico: el ojo del hombre nunca la vio dos veces bajo la misma forma, como nubes empujadas por el viento que no retienen figura constante.

«O Nature! The most wonderful creatrix of natures, cries Hermes, which containest and separatest all things in a middle principle. Our Stone comes with light and with light it is generated, and then it brings forth the clouds, and darkness which is the mother of all things» — la variante de la apóstrofe de Hermes que imprime aquí: dice *most wonderful creatrix* y *brings forth the clouds, and darkness* donde la sección tercera del Golden Treatise decía *most potent creatrix* y *black clouds or darkness*.

«Raymond Lully, also, in his Compendium of Alchemy, calls the first principles of the Art, Spiritus fugitives in aero condensators, in forma monstrorum diversorum et animalium etiam hominum, qui vadunt sicut nubes, modo hinc modo illuc;» — lo que Lulio llama los primeros principios del arte en su *Compendium*: espíritus fugitivos condensados en el aire, en forma de monstruos, animales y aun hombres diversos, que van como nubes de aquí para allá. El troceo imprime *aero condensators*.

«that is to say, certain fugitive spirits condensed in the air, in shape of divers monsters, beasts, and men, which move like clouds hither and thither.» — la traducción inglesa que el volumen imprime junto a ese latín: ciertos espíritus fugitivos condensados en el aire, en forma de diversos monstruos, bestias y hombres, que se mueven como nubes de acá para allá.

«In an outward acceptation such an announcement of principles would be absurd, or what possible interpretation could afford them a place in» — la objeción con que ella misma lo cierra: en acepción exterior semejante anuncio de principios sería absurdo. La frase se corta en el cambio de plana.

«conduct through it, and the many real, though chimerical horrors and enticing phantoms that haunt around, guarding the secret chamber of their mineral soul.» — y contra qué avisan: los muchos horrores reales aunque quiméricos y los fantasmas seductores que rondan guardando la cámara secreta de su alma mineral.

«under the satiric form of Pan, who exhibited himself in every variety of atrocious disguises of wild beasts, and monsters, and demoniacal appearances,» — la figura con que dice que los poetas ocultaron ese estado vaporoso: la forma satírica de Pan, exhibido en toda variedad de disfraces atroces de fieras, monstruos y apariencias demoníacas.

«But Lully, indeed, calls these chaotic forms first principles; not because they are permanent or their essence rational, in that unctuous dark condition, but because within the material extreme of this life, when it is purified, the Seed of Spirit is at last found:» — la razón que da de que Lulio llame principios primeros a esas formas caóticas: no porque sean permanentes ni su esencia racional, sino porque dentro del extremo material de esa vida, purificado, se halla al fin la simiente del espíritu.

«which the adept further describes as being found in the process a decompounded ens, extremely heavy, shining through the darkness like a fiery star, being full of eyes like pearls or aglets.» — cómo describe el adepto ese ente descompuesto: pesadísimo, brillando en la oscuridad como una estrella ígnea y lleno de ojos como perlas.

«For it is the whole Demogogon, as yet not actually animated by contact of his own returning light. The father of it, says Vaughan, is a certain inviolable mass, for the parts of it are so firmly united you can neither pound them to dust, nor separate them by violence of fire» — el nombre que le da y lo que añade Vaughan: el Demogorgon entero, no animado aún por el contacto de su luz que vuelve, cuyo padre es una masa inviolable de partes tan unidas que no se pulverizan ni se separan por fuerza de fuego.

«This is the rock in the wilderness,, because in great obscurity and difficult to find the way of, compassed about with darkness, clouds, and exhalations, as it were dwelling in the bowels of the earth.» — la figura bíblica con que lo nombra: la roca en el desierto, cercada de oscuridad, nubes y exhalaciones, como morando en las entrañas de la tierra. El troceo imprime dos comas seguidas.

«Our viscous soul, as Synesius calls it, circulating in the midst of all her Adamical defilements, and which Plato compares to» — el nombre que Sinesio le da: nuestra alma viscosa circulando entre todas sus contaminaciones adámicas; la comparación platónica queda al otro lado del corte de plana.

«In such a deplorable condition is the divine germ of humanity said to be beheld under the thousand evils of its birth. Monstrum, horrendum, informe, ingens, cui lumen ademptu.» — el estado en que dice verse el germen divino de la humanidad bajo los mil males de su nacimiento, sellado con el verso virgiliano del monstruo horrendo, informe e ingente, privado de luz.

«There is a curious figurative account given in a letter circulated under the name of the Brethren of the Rosy Cross, which appears to have reference to this passage of initiatory progress in the Mysteries. It may be rendered thus: --There is a mountain situated in the midst of the earth or center of the world, which is both small and great. It is soft, also above measure, hard, and strong. It is far off, and near at hand; but, by the providence of God, it is invisible. In it are hidden most ample treasures, which the world is not able to value. This mountain, by envy of the Devil, who always opposes the glory of God and the felicity of man, is compassed about with very cruel beasts and ravenous birds, which make the way thither both difficult and dangerous; and therefore, hitherto, because the time is not yet come, the way thither could not be sought after by all; but only by the worthy man’s self-labor and investigation.» — la carta rosacruz que transcribe entera: hay un monte en medio de la tierra, pequeño y grande, blando y durísimo, lejano y cercano, invisible por providencia de Dios, cercado de fieras crueles y aves rapaces por envidia del demonio. El troceo imprime la raya de apertura como doble guion pegado.

«To this mountain you should go in a certain night, when it comes most long and dark; and see that you prepare yourself by prayer. Insist upon the way that leads to the mountain, but ask not of any man where it lies; only follow your guide who will offer himself to you and will meet you in the way» — la instrucción de esa carta: ir al monte en una noche larga y oscura, prepararse con oración, insistir en el camino y no preguntar a nadie dónde está, sino seguir al guía que se ofrecerá.

«This guide will bring you to the mountain at midnight, when all things are silent and dark. It is necessary that you arm yourself with a resolute heroic courage, lest you fear those things that will happen and fall back 332. You need no sword or other bodily weapon, only call upon you God, sincerely and heartily seeking Him.» — lo que esa carta exige del que va: un ánimo heroico resuelto para no temer lo que sobrevenga, sin espada ni arma corporal, solo llamando a Dios.

«When you have discovered the mountain, the first miracle that will appear is this: a most vehement and very great wind that will shale the whole mountain and shatter the rock to pieces. You will be encountered by lions, dragons, and other terrible wild beasts; but fear not nay of these things» — el primer prodigio que la carta anuncia: un viento vehementísimo que sacude el monte y despedaza la roca, con leones, dragones y otras fieras terribles. El troceo imprime *shale* y *nay*.

«Be resolute, and take heed that you return not, for your guide who brought you thither will not suffer any evil to befall you. As for the treasure, it is not yet discovered: but it is very near. After this wind will come an earthquake which will overthrow those things which the wind had left. Be sure you fall not of.» — y los prodigios siguientes: no volverse atrás, porque el tesoro está cerca aunque no descubierto, y tras el viento un terremoto que derriba lo que el viento dejó.

«The earthquake beig passed, there shall follow a fire that will consume the» — el tercer prodigio de la carta: pasado el terremoto, un fuego; la frase se corta en el cambio de plana. El troceo imprime *beig*.

«After all these things, and near daybreak, there shall be a great calm, and you shall see the day-star arise, and the darkness will disappear; you will conceive a great treasure; the chiefest thing, and the most perfect, is a certain exalted tincture with which the world, if it served God and were worthy of such gifts, might be tinged and turned into most pure gold.» — el desenlace que la carta promete: cerca del alba una gran calma, la estrella del día alzándose y desapareciendo la oscuridad, con una tintura exaltada capaz de teñir el mundo y volverlo oro purísimo.

«And thus much of the concordance of these famous Christian philosophers who, if they had not promised gold, and proclaimed prodigies after an entertaining Arabian Nights fashion, would never, probably, have been thought of by the world, or inquired after, as they were, over Europe during the last century, but without success. For they who have this knowledge know where and how likewise to bestow it, discerning betwixt the lovers of mammon and of truth.» — el juicio que hace de esos filósofos cristianos: si no hubieran prometido oro ni proclamado prodigios a la manera de las mil y una noches, el mundo no habría pensado en ellos, y quienes tienen ese conocimiento saben a quién darlo.

«Fearing the dangerous curiosity of the vulgar herd also, we observe, the Greeks pass by in silence the physical revealments of these Tartarean realms, or, poetizing the great experience, evaporate in fancy, as it were, the teeming life therein opened with its overflowing spirit and light of increase.» — por qué callaron los griegos según ella: por temor a la curiosidad peligrosa del vulgo pasan en silencio las revelaciones físicas de esos reinos tartáreos, o poetizan la gran experiencia evaporándola en fantasía.

«Let none admire That riches grow in hell; that soil may best Deserve the precious bane; and here let those Who boast in mortal things, and wondering tell Of Babel and the works of Memphian kings, Learn how the greatest monuments of fame And strength and art are easily outdone By spirits reprobate» — los versos que trae sobre las riquezas del infierno: que nadie se admire de que crezcan riquezas en el infierno, y aprendan los que se jactan de Babel y de las obras de los reyes menfitas cómo los mayores monumentos son fácilmente superados por espíritus réprobos.

«that marine Glaucus so deformed by the foreign weeds and parasites that had grown about him, that in every respect he resembled a beast rather than what he really was» — la comparación de Platón que sigue al otro lado del corte: el Glauco marino, tan deformado por algas y parásitos crecidos sobre él que parecía bestia más que lo que en realidad era.

«earthly rubbish, and discover the treasure: but as yet you cannot see it» — el final de ese prodigio: el fuego consume la basura terrestre y descubre el tesoro, que todavía no se ve.

«And further, how these again maybe surpassed and vanish, as Aladdin’s rapid castle into air, before the discriminate radiance of celestial light.» — lo que añade a esos versos: esas riquezas pueden a su vez ser superadas y desvanecerse, como el castillo de Aladino en el aire, ante el resplandor discriminado de la luz celeste.

«And as in the pursuit of other sciences and arts, though, and persevering labor and experience are required to ensure success, so should those delusive visions and errors which occur during the conscious transference to a more excellent condition of being be considered, in like manner, not as derogatory or casting a doubt at all upon the ultimate truths of divine science, but as obstacles rather contrary to it, as evil is to good everywhere adverse.» — cómo pide tomar las visiones y errores de esa transición: no como algo que ponga en duda las verdades de la ciencia divina, sino como obstáculos contrarios a ella, como el mal es adverso al bien.

«We do not, therefore, linger here any more to consider the different allotments, the longer or shorter periods which engage pure or impure souls in Hades, their habits or the triple path arising from their essences, all which is indicated in the Platonic discourses, and most of which is abound with symbolical theories and poetical descriptions concerning the descent, ascent, and intermediate wanderings, expiatory punishment and sacrifices and things of a similar import, which the rites enjoined, before the aspirants, by the Greeks called Mustai, were passed on by the Hierophant of the inner temple to its immortal abode: for such was Tartarus, the next beyond Hades, according to the Ethics, the alone eternal hypostasis to be redeemed from thence, from the oblivious realms of generation, into the Elysiam recollection of Wisdom in the highest consciousness.» — lo que deja fuera y lo que retiene: no se detiene en los repartos ni en los periodos de las almas en el Hades, y sitúa el Tártaro como la hipóstasis eterna a redimir de los reinos olvidadizos de la generación.

«But the soul is said to be in Hades all the while that her hypostasis continues in darkness; that is, we would say, whilst she regards her image objectively, before attaining to the experimental knowledge. And here the Lesser Mysteries ended; the soul as it were, on the borders of the Stygian lake in view of Tartarus, which Euripides has elegantly styled also "a dream of death» — cuándo dice que el alma está en el Hades: mientras su hipóstasis sigue en oscuridad, es decir, mientras mira su imagen objetivamente, y allí acababan los misterios menores, que Eurípides llamó un sueño de muerte.

«And no, arrived on the verge of death and initiation, everything wears a dreadful aspect; it is all horror trembling, sweating, and affrightment. But this scene once over, a miraculous and divine light displays itself, and shining plains, and flowery meadows, open on all hands before them.» — la continuación de ese pasaje: al borde de la muerte y de la iniciación todo toma aspecto terrible, y pasada esa escena se despliega una luz milagrosa con llanuras brillantes y prados floridos.

«Here they are entertained with hymns and dances, and with sublime and sacred knowledges, and with reverend and holy visions. And now become perfect and initiated, they are free, and no longer under restraint; but crowned and triumphant, they walk up and down in the regions of the Blessed» — el final de ese pasaje: himnos, danzas, conocimientos sagrados y visiones santas, y ya perfectos e iniciados caminan libres, coronados y triunfantes por las regiones de los bienaventurados.

«But all, during the transition, is described as wearing a fearful aspect; and dread fills the sould about to relinquish her natal bond in life; neither may it be irrelevant to call in mind that repeated advice of Solomon, that — the fear of God is the beginning of Wisdom; — as the spiritual regard in the mysteries, already involuted, and drawing towards its end, with awe, begins to perceive itself in that Identic Source.» — cómo enlaza con Salomón el temor de esa transición: el temor de Dios es el principio de la sabiduría, dicho de la mirada espiritual que, ya involucrada, empieza a percibirse en esa fuente idéntica.

«And shall we not believe that it was out of the same intimate experience that the son of Dirach, inciting men to search after the» — la pregunta con que introduce al hijo de Sirac, a quien el volumen imprime *Dirach*; la frase se corta en el cambio de plana.

«So, likewise, we read, that there is in Alchemy a certain noble body, which is moved from one Lord to another; in the beginning of which there is suffering with vinegar; but, in the end, joy with exaltation. O happy gate of Blackness! Cries the adept, which art the passage to so glorious a change!» — el paralelo alquímico que pone al lado: hay en la alquimia un cuerpo noble que pasa de un señor a otro, con sufrimiento de vinagre al principio y gozo con exaltación al final, de donde el grito por la feliz puerta de la negrura.

«Study, therefore, whoever appliest thyself to this art, only to know this secret; for to know this, indeed, is to know all, but to be ignorant of this, is to be ignorant of all. Take away, therefore, the vapor from the water, and the blackness from the oily tincture, and death from the faeces; and by Dissolution thou shalt possess a triumphant reward, even that in and by which the possessors live» — y el precepto que sigue: saber ese secreto es saberlo todo e ignorarlo es ignorarlo todo, y por disolución, quitando el vapor al agua, la negrura a la tintura y la muerte a las heces, se alcanza el premio triunfante.

«In the beginning of Phaedo, Plato, by Socrates, asserts, that it is the business of philosophers to study how to be dead. Plotinus, at the same time reprobating suicide, has the same doctrine; but Porphyry, in his Auxiliaries to the Perception of Intelligible Natures, explains the meaning of these others;» — la sentencia del *Fedón* con que abre la doctrina de la muerte filosófica: es oficio de los filósofos estudiar cómo estar muertos, y Plotino la sostiene reprobando a la vez el suicidio.

«for there is, says he, a twofold death, the one indeed universally known, in which the body is liberated from the sol; but the other peculiar to philosophers, in which the soul is liberated from the body: nor does the one entirely follow the other. That which nature binds, nature also dissolves; that which the soul binds, the soul likewise can dissolve: nature, indeed, binds the body to the soul, but the sol binds herself to the body. Nature therefore liberates the body from the sol, but the soul may also liberate herself from the body» — la doble muerte que Porfirio distingue: la conocida de todos, en que el cuerpo se libera del alma, y la propia de los filósofos, en que el alma se libera del cuerpo, que no se siguen una a otra. El troceo imprime *sol* por soul en varios lugares.

«Divine Wisdom, confesses, that — at first she will walk with him by crooked ways, and bring fear and dread upon him, and torment him with her disciplines, until she may trust his soul, and try him by her law? Then she will return the straight way unto his, says the Divine teacher, and comfort him, and show him her Secret. The root of Wisdom, is to fear the Lord, and the branches thereof are long life; strive for the truth, even unto death, and the Lord shall fight for thee» — el pasaje del hijo de Sirac que trae: la sabiduría camina primero por caminos torcidos, trae temor y dread y atormenta con sus disciplinas hasta poder fiarse del alma, y entonces vuelve por el camino recto y le muestra su secreto.

«That is to say, if she know how, and have the right disposition awarded, she may dissolve her own disposition awarded, she may dissolve her own conceptive vehicle, even the parental bond, and return consciously (the elementary principles remaining, nor yet suffered to depart) under the dominion of another law to life.» — la glosa que Atwood añade a Porfirio: si el alma sabe cómo y tiene la disposición debida puede disolver su propio vehículo conceptivo, aun el vínculo parental, y volver conscientemente bajo el dominio de otra ley. El troceo duplica aquí una cláusula.

«That was the way to "precious death", spoken of by the Hebrews and Academics, this the "happy gate of blackness" celebrates by the old adepts, the "head of Hermes’ crow", which is in the beginning of the work; that which was fixed, viz., the sensual compact, is dissolved, and» — los nombres que junta para esa operación: la muerte preciosa de hebreos y académicos, la feliz puerta de la negrura de los adeptos y la cabeza del cuervo de Hermes, donde lo fijo, el pacto sensual, queda disuelto. La frase se corta en el cambio de plana.

«that which is dissolved is renovated, and hence the corruption and evil of mortality is made manifest in the ultimate circulation of the matter to be renewed, and on either side it is a signal of Art.» — el final de esa frase: lo disuelto se renueva, y de ahí que la corrupción y el mal de la mortalidad se manifiesten en la circulación última de la materia a renovar.

«If thou extend the fiery mind to the work of piety, Thou shalt preserve the flexible body likewise.» — el oráculo que trae sobre el cuerpo: si extiendes la mente ígnea a la obra de la piedad, preservarás también el cuerpo flexible.

«Seek thou the way of the soul, Whence and by what order, having served the body, He same from which thou dost flow, thou must return And rise up again, joining action to sacred speech» — los versos oraculares que siguen: buscar el camino del alma, de dónde y por qué orden, habiendo servido al cuerpo, hay que volver a aquello de lo que se fluye, juntando la acción al discurso sagrado.

«Suppose any one beginning at the top of an artificial edifice, should undertake to decompose it stone by stone, setting all aside, with the dirt and rubbish, as he proceeds, he would at last come to the earth which is at the foundation, and have space to build up anew; and thus it would appear to be in the Hermetic process.» — el símil del edificio con que explica el proceso: quien descompone piedra a piedra desde lo alto llega al fin a la tierra del cimiento y tiene espacio para construir de nuevo.

«If any one should take the natural life as it presents itself, opening and analyzing the parts thereof, spiritually and wisely, one from another, graciously, as the mandate runs, --- Terra ab igni, subtile a spisso, suaviter cum multo ingenio, — he would arrive finally at the basement, wherein is hidden the true alkaline original of life in this threefold essence separately contained.» — la aplicación de ese símil: abriendo y analizando espiritualmente las partes de la vida natural, con la tierra separada del fuego y lo sutil de lo espeso, se llega al basamento donde está oculto el original alcalino de la vida.

«And this, the adept tells us, is the syllogism it best behooves us to look after; for he that has once passed the Aquaster, and entered the Fire World, sees what is both invisible and incredible to common men. He shall discover the miraculous conspiracy that is between the Prester and the Sun, the external and internal fire of life, the thing desiring and the thing desired.» — lo que el adepto promete a quien pasa el Aquaster y entra en el mundo del fuego: ver lo invisible e increíble a los hombres comunes, y descubrir la conspiración milagrosa entre el Prester y el Sol, el fuego externo y el interno.

«He shall know the secret love of heaven and earth, and why all influx of fire descends against the nature of fire, and comes from above downwards, until having found a body, it reascends therewith in perpetual interchange.» — y qué más se le promete: conocer el amor secreto del cielo y la tierra y por qué todo influjo de fuego desciende contra la naturaleza del fuego, hasta que, hallado un cuerpo, reasciende con él en intercambio perpetuo.

«He shall know, continues the adept, and see how the Fire Spirit has its root in the spiritual fire earth, and receives from its root in the spiritual fire earth, and receives from it a secret influx upon which it feeds. A body immarcessible, than which ther is nothing more ancient, vigorous, and young.» — la raíz que el adepto atribuye al espíritu del fuego: la tierra ígnea espiritual, de la que recibe un influjo secreto que lo alimenta, cuerpo inmarcesible y a la vez antiquísimo, vigoroso y joven. El troceo repite aquí una cláusula.

«The Salt of Saturn, that most abstruse principle of the Stone — the most ancient Demogorgon — aethero dempto — deprived of light, whose perpetual motion emanates the first material universe, and is the mineral soul, This is the earth, distinguished by Anaxagoras, which» — los nombres que le da: la sal de Saturno, principio abstrusísimo de la piedra, el antiquísimo Demogorgon privado de luz, cuya moción perpetua emana el primer universo material y es el alma mineral. La frase se corta en el cambio de plana.

«abiding durably in the center, "hands loftily", but its Being is Tartarus;» — la continuación al otro lado del corte: esa tierra de Anaxágoras permanece durablemente en el centro y su ser es el Tártaro. El troceo imprime *hands* donde se espera hangs.

«And the light hating world, and the winding current By which many things are swallowed up. Stoop not down, for a precipice lies below in the earth; Drawing thro’ the ladder which hath seven steps, Beneath which is the throne of Necessity. Enlarge not thou thy destiny, The soul will, after a manner, clasp God to herself» — los versos oraculares que siguen: no inclinarse, porque abajo yace un precipicio, con la escalera de siete peldaños bajo la cual está el trono de la necesidad, y el alma que en cierto modo abraza a Dios.

«As Porphyry, in our motto head, declares that --- it is necessary that the soul when purified should associate with its generator; and the virtue of its after this conversion is said to consist in a scientific knowledge of true Being, which cannot be obtained either otherwise or without such a conversion.» — la sentencia de Porfirio que recuerda de su lema: purificada el alma debe asociarse a su generador, y la virtud posterior a esa conversión consiste en un conocimiento científico del ser verdadero.

«O beatam quisque felix gnarus Dei Sacroorum, vitam piat; Ac animam initiat Orgyris Bacchans in montibus, Sacris purus lustrationibus» — los versos latinos que transcribe: bienaventurado el que, conocedor de los sagrados ritos de Dios, santifica su vida e inicia su alma en las orgías, purificado por lustraciones sagradas. El troceo imprime *Sacroorum* y *Orgyris*.

«But, perhaps, inquisitive reader, you will very anxiously ask, what was said and done? I would tell you, replies the Epidaurian, if it could be lawfully told. But both the ears and tongue are guilty of indiscretion. Nevertheless, I will not keep you in suspense with religious desire, nor torment you with a long continued anxiety. Hear therefore, but believe what is true;» — el pasaje de Apuleyo que transcribe: preguntado qué se decía y se hacía, responde que lo diría si fuera lícito, porque oídos y lengua son culpables de indiscreción.

«The priest, then, all the profane being removed, taking me by then, all the profane being removed, taking me by the hand, brought me to the penetralia of the temple. I approached the confines of death, and, having trod the threshold of Proserpine, I returned from it, being carried through all the Elements.» — la iniciación que Apuleyo relata: el sacerdote lo llevó a los penetrales del templo, se acercó a los confines de la muerte, pisó el umbral de Prosérpina y volvió de él llevado por todos los elementos. El troceo duplica aquí una cláusula.

«At midnight I saw the Sun shining with a splendid light; and I manifestly drew near to the gods above and beneath, and proximately adored them. Behold I have narrated to you things of which, though heard, it is nevertheless necessary that you should be ignorant» — el núcleo de ese relato: a medianoche vio el Sol brillando con luz espléndida y se acercó manifiestamente a los dioses de arriba y de abajo, y cierra diciendo que aun oídas esas cosas es necesario ignorarlas.