Psychology and Alchemy

«It is a longissima via, not straight but snakelike, a path that unites the opposites» — su figura del opus: vía larguísima y serpentina, no recta, cuyo trabajo es unir los opuestos.

«they were quite conscious of this, to the point of condemning the naive gold-makers as liars, frauds, and dupes» — su argumento contra la lectura de la alquimia como química fallida: los propios alquimistas despreciaban a quien buscaba oro literal.

«The self is a union of opposites par excellence, and this is where it differs essentially from the Christian symbol» — dónde sitúa la diferencia entre su «self» y el símbolo cristiano, y no la disimula.

«The only statements that have psychological validity concerning the God-image are either paradoxes or antinomies» — el límite que se impone al hablar de la imagen de Dios: solo paradojas o antinomias tienen validez psicológica.

«In alchemical writings the word “Mercurius” is used with a very wide range of meanings» — la advertencia terminológica sobre el término más resbaladizo del corpus alquímico.

«his shadow, that dark half of the psyche which we invariably get rid of by means of projection» — la sombra, definida por lo que se hace con ella: se la quita uno de encima proyectándola.

«As the eye to the sun, so the soul corresponds to God» — la correspondencia que toma por eje.

«I am particularly indebted to Dr. M. L. von Franz for philological help in translating the Zosimos text» — su deuda declarada con von Franz, y es filológica, no filosófica: el trabajo era traducir a Zósimo.

«The present volume contains two major studies which grew out of lectures delivered at the Eranos Congress.» — declara el origen del libro: dos estudios crecidos de sendas conferencias del Congreso Eranos.

«They were first printed in the Eranos-Jahrbuch for 1935 and 1936.» — fecha la primera impresión de esos dos estudios en el Eranos-Jahrbuch de 1935 y 1936.

«The present edition has been augmented by nearly a half through the inclusion of additional material and the full apparatus of documentation.» — declara cuánto creció esta edición respecto de aquellas conferencias: casi la mitad, entre material nuevo y aparato documental.

«Another new feature is the wealth of illustrations, the large number of which is justified by the fact that symbolical images belong to the very essence of the alchemist’s mentality.» — justifica la cantidad de láminas por una tesis, no por adorno: la imagen simbólica pertenece a la mentalidad misma del alquimista.

«What the written word could express only imperfectly, or not at all, the alchemist compressed into his images; and strange as these are, they often speak a more intelligible language than is found in his clumsy philosophical concepts.» — sostiene que la imagen alquímica dice lo que la prosa del alquimista no alcanzaba a decir, y que resulta más inteligible que sus conceptos filosóficos.

«Between such images and those spontaneously produced by patients undergoing psychological treatment there is, for the expert, a striking similarity both in form and in content, although I have not gone into it very deeply in the course of my exposition.» — enuncia la analogía que funda el libro —imágenes alquímicas y producciones espontáneas de pacientes— y en la misma frase declara su límite: aquí no la desarrolla a fondo.

«I wish also to thank Miss R. Scharf for information on the Og and Unicorn legend in» — declara de dónde le viene el material talmúdico sobre Og y el unicornio con que cierra el libro: de R. Scharf, no de investigación propia.

«There is no end to what can be learned in this field.» — abre su introducción declarando que el campo no se agota.

«But anyone who really knows the human psyche will agree with me when I say that it is one of the darkest and most mysterious regions in the whole of our experience.» — sitúa la psique entre las regiones más oscuras de la experiencia, y apoya la afirmación en el conocimiento práctico, no en teoría.

«Although the list could admit of many more modifications and additions, it ought to define by and large the main situations in which the analytical or psychotherapeutic process reaches a temporary or sometimes even a definitive end.» — presenta su lista de finales posibles del proceso analítico como aproximada y ampliable, no como taxonomía cerrada.

«Experience shows, however, that there is a relatively large number of patients for whom the outward termination of work with the doctor is far from denoting the end of the analytical process.» — sostiene que para muchos pacientes el proceso continúa después de terminado el trabajo con el médico, y es de ahí que arranca su interés por la alquimia.

«But since there are two sides to everything, it is legitimate to condemn this so-called “hanging on” as negative to life only if it can be shown that it really does contain nothing positive.» — replica a quienes descalifican el análisis prolongado: la condena solo vale si se muestra que nada positivo hay en ello.

«It was these cases that finally convinced me that the treatment of neurosis opens up a problem which goes far beyond purely medical considerations and to which medical knowledge alone cannot hope to do justice.» — declara el paso que lo saca de la medicina: el tratamiento de la neurosis abre un problema que el saber médico solo no cubre.

«In fact, one could say that while the patient is unconsciously and unswervingly seeking the solittion to some ultimately insoluble problem, the art and technique of the doctor are doing their best to help him towards it.» — describe la asimetría del trabajo: el paciente busca sin saberlo la salida de un problema en el fondo insoluble, y la técnica del médico solo lo acompaña hacia ella (la capa de texto imprime *solittion* por *solution*).

«But the right way to wholeness is made up, unfortunately, of fateful detours and wrong turnings.» — acota su propia figura del camino: la vía a la totalidad no es directa, se hace de rodeos fatales y desvíos equivocados.

«Their inaccessibility really consists in the fact that they cost us an enormous amount of effort: they demand the very thing we most fear, namely the “wholeness” we talk about so glibly and which lends itself to endless theorizing, though in actual life we give it the widest possible berth» — explica por qué esas cosas resultan inaccesibles: no por lejanas sino por caras, y lo que exigen es justamente la totalidad de la que se teoriza sin practicarla.

«We can accuse Christianity of arrested development if we are determined to excuse our own shortcomings; but I do not wish to make the mistake of blaming religion for something that is mainly due to human incompetence.» — deslinda su crítica: lo que reprocha no es al cristianismo como doctrina sino a la incompetencia humana en practicarlo.

«In actual fact, however, the ideal has been turned by superficial and formalistically-minded believers into an external object of worship, and it is precisely this veneration for the object that prevents it from reaching down into the depths of the soul and transforming it into a wholeness in keeping with the ideal.» — señala el mecanismo con que la imitatio Christi se frustra: adorar el ideal como objeto externo impide que baje a la psique.

«Accordingly the divine mediator stands outside as an image, while man remains fragmentary and untouched in the deepest part of him.» — consecuencia que extrae de esa exteriorización: el mediador queda afuera como imagen y el hombre sigue partido por dentro.

«For it is not a question of an imitation that leaves a man unchanged and makes him into a mere artifact, but of realizing the ideal on one’s own account—Deo concedente—in one’s own individual life.» — precisa qué imitación acepta: no la copia que deja intacto al imitador, sino realizar el ideal en la vida propia, y la reserva latina *Deo concedente* va dentro de la frase.

«Western attitude, with its emphasis on the object, tends to fix the ideal—Christ—in its outward aspect and thus to rob it of its mysterious relation to the inner man.» — su diagnóstico de la actitud occidental: al fijar a Cristo en lo exterior le quita la relación con el hombre interior.

«as “among you” instead of “within you.”» — el ejemplo con que lo apoya: reprocha a los intérpretes protestantes de la Biblia traducir así el pasaje del Reino de Dios, y ve en la elección el mismo prejuicio hacia lo exterior.

«If the supreme value (Christ) and the supreme negation (sin) are outside, then the soul is void: its highest and lowest are missing.» — la fórmula con que cierra el argumento: puestos fuera el valor supremo y su negación, al alma no le queda ni lo alto ni lo bajo.

«Such formalism and laxity were not only one of the prime causes of the Reformation, they are also present within the body of Protestantism.» — extiende el cargo a los dos lados: el formalismo que provocó la Reforma sigue dentro del protestantismo.

«The Eastern attitude (more particularly the Indian) is the other way about: everything, highest and lowest, is in the (transcendental) Subject.» — el contraste que usa como espejo: en la actitud oriental lo alto y lo bajo caen del lado del sujeto trascendental.

«Accordingly the significance of the Atman, the Self, is heightened beyond all bounds.» — el precio de ese otro reparto: allí el Atman crece sin límite, tanto como aquí se achica el alma.

«But with Western man the value of the self sinks to zero.» — el reverso, dicho sin atenuación: en el hombre occidental el valor del sí-mismo cae a cero.

«Psychology is spoken of as if it were “only” psychology and nothing else.» — describe la fórmula desvalorizadora que quiere desarmar, y que le da nombre a todo el argumento del capítulo.

«It smacks of blasphemy to think that a religious experience is a psychic process; for, so it is argued, a religious experience “‘is not only psychological.”» — reporta la objeción que se le hace a su planteo, con la fórmula exacta que sus críticos emplean.

«At the same time such critics never hesitate to derive all religions—with the exception of their own—from the nature of the psyche.» — señala la inconsecuencia de esos mismos críticos: derivan de la psique todas las religiones menos la propia.

«So insignificant does the soul seem that it is regarded as hardly capable of evil, much less of good.» — mide la desvalorización por sus consecuencias morales: un alma insignificante no da ni para el mal.

«However we may picture the relationship between God and soul, one thing is certain: that the soul cannot be “nothing but.”» — el punto que se niega a ceder cualquiera sea la teología que se adopte: el alma no puede ser un mero *nada más que*.

«On the contrary it has the dignity of an entity endowed with, and conscious of, a relationship to Deity.» — define positivamente esa dignidad: no una sustancia, sino una relación con lo divino de la que el alma es consciente.

«The immortality of the soul insisted upon by dogma exalts it above the transitoriness of mortal man and causes it to partake of some supernatural quality.» — apoya el argumento en el propio dogma cristiano: si el alma es inmortal, ya se le concedió una cualidad sobrenatural.

«Even the believing Christian does not know God’s hidden ways and must leave it to Him whether He will work on man from outside or from within, through the soul.» — vuelve el argumento contra el creyente: nadie puede decidir por Dios si obra desde fuera o desde el alma.

«So that the believer should not boggle at the fact that there are somnia a Deo missa (dreams sent by God) and illuminations of the soul which cannot be traced back to any external causes.» — de ahí saca la licencia para su propio objeto: sueños enviados por Dios e iluminaciones del alma sin causa externa rastreable.

«It would be blasphemy to assert that God can manifest Himself everywhere save only in the human soul.» — devuelve la acusación de blasfemia a quien se la hace: excluir al alma humana del lugar donde Dios puede manifestarse.

«When an unconscious content is replaced by a projected image to that extent, it is cut off from all participation in and influence on the conscious mind.» — define el costo de la proyección: el contenido proyectado deja de tocar a la conciencia.

«Hence it largely forfeits its own life, because prevented from exerting the formative influence on consciousness natural to it; what is more, it remains in its original form—unchanged, for nothing changes in the unconscious.» — de ahí saca la razón de que lo proyectado se fosilice: en el inconsciente nada cambia.

«It may easily happen, therefore, that a Christian who believes in all the sacred figures is still undeveloped and unchanged in his inmost soul because he has “all God outside” and does not experience Him in the soul.» — el caso con que ilustra la proyección religiosa: creer en todas las figuras sagradas y no haber cambiado por dentro.

«His deciding motives, his ruling interests and impulses, do not spring from the sphere of Christianity, but from the unconscious and undeveloped psyche, which is as pagan and archaic as ever.» — sostiene que en ese caso los motivos que deciden siguen viniendo de una psique pagana y arcaica.

«Christian civilization has proved hollow to a terrifying degree: it is all veneer, but the inner man has remained untouched and therefore unchanged.» — el juicio con que resume su época: la civilización cristiana como chapa sobre un hombre interior intacto.

«It is therefore psychologically quite unthinkable for God to be simply the “wholly other,” for a “wholly other” could never be one of the soul’s deepest and closest intimacies—which is precisely what God is.» — objeta desde la psicología a la teología de lo totalmente otro: lo totalmente otro no podría ser la intimidad más próxima del alma.

«The Christian missionary may preach the gospel to the poor naked heathen, but the spiritual heathen who. populate Europe have as yet heard nothing of Christianity.» — vuelve la misión hacia dentro: los paganos que le importan son los de Europa.

«So long as religion is only faith and outward form, and the religious function is not experienced in our own souls, nothing of any importance has happened.» — pone la condición de que algo cuente como religión: que la función religiosa se experimente en el alma propia.

«It has yet to be understood that the mysteriuwm magnum is not only an actuality but is first and foremost rooted in the human psyche.» — sitúa el gran misterio en la psique humana sin negarle realidad (la capa de texto imprime *mysteriuwm* por *mysterium*).

«Yet when I point out that the soul possesses by nature a religious function * and when I stipulate that it is the prime task of all education (of adults) to convey the archetype of the God-image, or its emanations and effects, to the conscious mind, then it is precisely the theologian who seizes me by the arm and accuses me of “psychologism.”» — enuncia su tesis sobre la función religiosa natural del alma y, en la misma frase, el reproche de psicologismo que recibe por ella.

«I have been accused of “deifying the soul.’’ Not I but God himself has deified it!» — responde a la acusación con el argumento teológico del adversario, no con uno psicológico.

«It is high time we realized that it is pointless to praise the light and preach it if nobody can see it.» — su reproche a la predicación: alabar la luz no sirve si nadie la ve.

«Psychology is concerned with the act of seeing and not with the construction of new religious truths, when even the existing teachings have not yet been perceived and understood.» — delimita lo que su psicología pretende: enseñar a ver, no fundar doctrina nueva.

«Should it set up a God, even as a hypothetical cause, it would have implicitly claimed the possibility of proving God, thus exceeding its competence in an absolutely illegitimate way.» — el límite epistemológico que se impone: postular a Dios, aunque fuera como hipótesis, sería salirse de la competencia de la ciencia.

«We simply do not know the ultimate derivation of the archetype any more than we know the origin of the psyche.» — declara la ignorancia de fondo sobre el origen del arquetipo, y la equipara a la que hay sobre el origen de la psique.

«Nothing positive or negative has thus been asserted about the possible existence of God, any more than the archetype of the “hero” proves the actual existence of a hero.» — la analogía con que corta el malentendido: describir el arquetipo no afirma ni niega la existencia de su objeto.

«The fact is that with the knowledge and actual experience of these inner images a way is opened for reason and feeling, so that both gain access to those other images the teachings of religion offer to mankind.» — lo que sí se propone: que conocer las imágenes internas abra el acceso a las que enseña la religión.

«But this objectivity is just what my psychology is most blamed for: it is said not to decide in favour of this or that religious doctrine.» — consigna el reproche que recibe su abstención confesional y la reivindica como objetividad.

«Has it not yet been observed that all religious statements contain logical contradictions and assertions that are impossible in principle, that this is in fact the very essence of religious assertion?» — la tesis sobre la contradicción como esencia —no defecto— de la afirmación religiosa.

«The objection raised, more particularly by Christians, that it is impossible for contradictory statements to be true, must permit itself to be politely asked: Does one equal three?» — devuelve la objeción con el dogma trinitario del propio objetor.

«If Christianity demands faith in such contradictions it does not seem to me that it can very well condemn those who assert a few paradoxes more.» — de ahí extrae su licencia: quien pide fe en esas contradicciones no puede condenar unas paradojas más.

«Oddly enough the paradox is one of our most valued spiritual possessions, while uniformity of meaning is a sign of weakness.» — invierte la valoración corriente: la univocidad como debilidad y la paradoja como bien.

«Hence a religion becomes inwardly impoverished when it loses or reduces its paradoxes; but their multiplication enriches because only the paradox comes anywhere near to comprehending the fulness of life.» — el criterio con que mide la riqueza de una religión: cuántas paradojas soporta.

«But when it occurs to an insufficiently cultivated mind (always, as we know, the most sure of itself) to make the paradoxical nature of some tenet of faith the object of its lucubrations, as earnest as they are impotent, it is not long before such a one will break out into iconoclastic and scornful laughter, pointing to the manifest absurdity of the mystery.» — describe cómo se pierde la paradoja: no por examen sino por una burla que se cree examen.

«It is altogether inconceivable that there could be any definite figure capable of expressing archetypal indefiniteness.» — el argumento por el que ninguna figura religiosa agota el arquetipo.

«Hence in its scientific usage the term “self” refers neither to Christ nor to Buddha but to the totality of the figures that are its equivalent, and each of these figures is a symbol of the self.» — fija el uso técnico del término: el sí-mismo no es ninguna de esas figuras, sino el conjunto del que cada una es símbolo.

«On the contrary, as we have said before, this objective attitude enables one man to decide in favour of the determinant Christ, another in favour of Buddha, and so on.» — presenta su abstención como lo que deja decidir al lector, no como indiferencia.

«The almost limitless range of the self might be deemed a disadvantage as compared with the definiteness of a religious figure, but it is by no means the task of science to pass judgments of value.» — reconoce la desventaja de su término frente a una figura religiosa y se abstiene de zanjarla por valor.

«Not only is the self indefinite but—paradoxically enough—it also includes the quality of definiteness and even that of uniqueness.» — precisa que la indefinición del sí-mismo incluye también lo definido y lo único.

«The self, however, is absolutely paradoxical in that it represents in every respect thesis and antithesis, and at the same time synthesis.» — la fórmula con que lo define: tesis, antítesis y síntesis a la vez.

«Without the experience of the opposites there is no experience of wholeness and hence no inner approach to the sacred figures.» — la condición que pone para el acceso interior a lo sagrado: haber experimentado los opuestos.

«Although insight into the problem of opposites is absolutely imperative, there are very few people who can stand it in practice—a fact which has not escaped the notice of the confessional.» — sostiene a la vez la necesidad de esa visión y su rareza, y anota que el confesionario ya lo sabía.

«By way of a reaction to this we have the palliative of “moral probabilism,” a doctrine that has suffered frequent attack from all quarters because it tries to mitigate the crushing effect of sin.» — lee el probabilismo moral como paliativo de una tensión insoportable, no como laxitud.

«For this reason Christianity rightly insists on sinfulness and original sin, with the obvious intent of opening up the abyss of universal opposition in every individual—at least from the outside.» — concede la función del pecado original: abrir en cada quien el abismo de la oposición, aunque sea desde fuera.

«But this method is bound to break down in the case of even a moderately alert intellect: dogma is then simply no longer believed and on top of that is thought absurd.» — señala dónde falla ese recurso: ante un intelecto despierto el dogma deja de creerse y además parece absurdo.

«Cases are not unknown where the rigorous exercises and proselytizings of the Catholics, and a certain type of Protestant education that is always sniffing out sin, have brought about psychic damage that leads not to the Kingdom of Heaven but to the consulting room of the doctor.» — reporta desde la clínica el daño de una educación religiosa que hurga el pecado, y reparte el cargo entre católicos y protestantes.

«The moral probabilism with which alone we are concerned here consists in the principle that acts of ethical selfdetermination are to be guided not by conscience but according to what is probably right, ie., according to whatever has been recommended by any representative or doctrinal authority.» — define el probabilismo que le interesa: decidir por lo probablemente correcto según autoridad, no por conciencia.

«The tremendous paradox implicit in the insistence on original sin on the one hand and the concession made by probabilism on the other is, for the psychologist, a necessary consequence of the Christian problem of opposites outlined above —for in the self good and evil are indeed closer than identical twins!» — lee la coexistencia de pecado original y probabilismo como consecuencia necesaria del problema de los opuestos, no como incoherencia doctrinal.

«Since “the soul is by nature Christian” this result is bound to come as infallibly as it did in the life of Jesus: we all have to be “crucified with Christ,” i.e., suspended in a moral suffering equivalent to veritable crucifixion.» — usa el dicho de Tertuliano sobre el alma naturalmente cristiana para definir el sufrimiento moral como crucifixión.

«In practice this is only possible up to a point, and apart from that is so unbearable and inimical to life that the ordinary human being can afford to get into such a state only occasionally, in fact as seldom as possible.» — acota de inmediato esa exigencia: nadie común la sostiene más que de tanto en tanto.

«Hence the truth about the self—the baffling union of good and evil—comes out concretely in the paradox that although sin is the gravest and most pernicious thing there is, it is still not so serious that it cannot be disposed of with “probabilist” arguments.» — encuentra la unión de bien y mal del sí-mismo dentro de la práctica confesional misma.

«Although one must concede a number of cardinal Christian virtues to the probabilist endeavour, one must still not overlook the fact that it obviates much of the suffering involved in the imitation of Christ and that the conflict of good and evil is thus robbed of its harshness and toned down to tolerable proportions.» — balancea el juicio: le reconoce virtudes al probabilismo y a la vez le cobra el ablandamiento del conflicto.

«On the other hand, dogma insists that three are one, while denying that four are one.» — la asimetría numérica de la que arranca todo su argumento sobre tres y cuatro.

«With this statement, which may strike the reader as peculiar, we come to one of the central axioms of alchemy» — presenta el paso del dogma trinitario a la alquimia como llegada a un axioma central de ella.

«The importance of alchemy for the historical development of chemistry is obvious, but its cultural importance is still so little known that it seems almost impossible to say in a few words wherein that consisted.» — distingue las dos importancias de la alquimia y declara que la cultural sigue sin saberse.

«It is to this surface as the dream is to consciousness, and just as the dream compensates the conflicts of the conscious mind, so alchemy endeavours to fill in the gaps left by the Christian tension of opposites.» — la analogía que ordena el libro: la alquimia es al cristianismo lo que el sueño a la conciencia, un relleno compensatorio.

«Perhaps the most pregnant expression of this is the axiom of Maria Prophetissa quoted above, which runs like a leitmotif throughout almost the whole of the lifetime of alchemy, extending over more than seventeen centuries.» — data la vigencia del axioma de María en más de diecisiete siglos y lo toma por leitmotiv del arte.

«In this aphorism the uneven numbers of Christian dogma are interpolated between the even numbers which signify the female principle, earth, the regions under the earth, and evil itself.» — su lectura del axioma: los impares del dogma quedan intercalados entre los pares, que valen por lo femenino, la tierra y el mal.

«This goes to show that the unconscious does not simply act contrary to the conscious mind but modifies it more in the manner of an opponent or partner.» — corrige la idea de que el inconsciente sea el mero opuesto de la conciencia: es adversario o socio, y la modifica.

«The son type does not call up a daughter as a complementary image from the depths of the “chthonic” unconscious—it calls up another son.» — el hecho que le obliga a hablar de dos hijos y no de una pareja: lo que responde desde abajo es otro hijo.

«I hope the reader will not be outraged if my exposition sounds like a Gnostic myth.» — advierte del parecido de su exposición con un mito gnóstico antes de desplegarla.

«We know that the mask of the unconscious is not rigid—it refiects the face we turn towards it.» — sostiene que el inconsciente devuelve el gesto con que se lo mira (la capa de texto imprime *refiects* por *reflects*).

«It is not a question of mere optical reflection but of an autonomous answer which reveals the self-sufficing nature of that which answers.» — precisa el límite de esa figura del espejo: lo que vuelve es una respuesta autónoma, no un reflejo.

«Thus the filius philosophorum is not just the reflected image, in unsuitable material, of the son of God; on the contrary, this son of Tiamat reflects the features of the primordial maternal figure.» — niega que el filius philosophorum sea copia degradada del hijo de Dios: le atribuye los rasgos de la figura materna primordial.

«Although he is decidedly hermaphroditic he has a masculine name—a sign that the chthonic underworld, having been rejected by the spirit and identified with evil, has a tendency to compromise.» — lee el nombre masculino de una figura hermafrodita como concesión del mundo ctónico rechazado.

«This answer of the mother-world shows that the gulf between it and the father-world is not unbridgeable, seeing that the unconscious holds the seed of the unity of both.» — la conclusión que extrae del episodio: el inconsciente guarda la semilla de la unidad de los dos mundos.

«The essence of the conscious mind is discrimination; it must, if it is to be aware of things, separate the opposites, and it does this contra naturam.» — define la conciencia por la separación de opuestos y la califica de contranatural.

«In nature the opposites seek one another—les extrémes se touchent—and so it is in the unconscious, and particularly in the archetype of unity, the self.» — el contraste: en la naturaleza y en el inconsciente los opuestos se buscan, y el sí-mismo es el arquetipo donde eso ocurre.

«But as soon as the unconscious begins to manifest itself they split asunder, as at the Creation; for every act of dawning consciousness is a creative act, and it is from this psychological experience that all our cosmogonic symbols are derived.» — deriva los símbolos cosmogónicos de una experiencia psicológica: cada acto de conciencia naciente repite la separación de la Creación.

«Alchemy is pre-eminently concerned with the seed of unity which lies hidden in the chaos of ‘Tiamat and forms the counterpart to the divine unity.» — dice cuál es para él el objeto propio de la alquimia: la semilla de unidad escondida en el caos, contrapartida de la unidad divina.

«The few cases I have observed which produced the number three were marked by a systematic deficiency in consciousness, that is to say, they were unconscious of the “inferior function.”» — apoya en casos observados su preferencia por el cuatro: donde salía tres faltaba conciencia de la función inferior.

«The number three is not a natural expression for wholeness, since four represents the minimum number of determinants in a whole judgment.» — el argumento formal con que descarta al tres como cifra de la totalidad.

«It must nevertheless be stressed that side by side with the distinct leanings of alchemy (and of the unconscious) towards quaternity there is always a vacillation between three and four which comes out over and over again.» — consigna la oscilación entre tres y cuatro sin resolverla a favor de ninguno.

«Even in the axiom of Maria Prophetissa the quaternity is muffled and alembicated.» — anota que ni siquiera en el axioma de María la cuaternidad aparece limpia.

«In alchemy there are three as well as four regimina or procedures, three as well as four colours.» — el dato del corpus alquímico que sostiene esa oscilación: hay tres y cuatro regímenes, tres y cuatro colores.

«I began my introduction with human wholeness as the goal to which the psychotherapeutic process ultimately leads.» — declara cuál es la meta que puso al principio y a la que vuelve: la totalidad humana.

«It would hardly be correct to say that the gaping “rift” 7* in the Christian order of things is responsible for this, since it is easy to show that Christian symbolism is particularly concerned with healing, or attempting to heal, this very wound.» — se niega a cargarle la fractura al orden cristiano: su simbolismo se ocupa justamente de curarla.

«It would be more correct to take the open conflict as a symptom of the psychic situation of Western man, and to deplore his inability to assimilate the whole range of the Christian symbol.» — reubica la culpa en la incapacidad del hombre occidental de asimilar el símbolo cristiano entero.

«As a doctor I cannot demand anything of my patients in this respect, also I lack the Church’s means of grace.» — marca la diferencia entre su lugar y el del sacerdote: no tiene medios de gracia ni puede exigir.

«I cannot presume to pass judgment on his final decisions, because I know from experience that all coercion—be it suggestion, insinuation, or any other method of persuasion—ultimately proves to be nothing but an obstacle to the highest and most decisive experience of all, which is to be alone with his own self, or whatever else one chooses to call the objectivity of the psyche.» — funda su abstención terapéutica en la experiencia: toda coacción estorba la experiencia decisiva de estar a solas con el sí-mismo.

«I would be only too delighted to leave this anything but easy task to the theologian, were it not that it is just from the theologian that many of my patients come.» — explica por qué no delega el asunto religioso: sus pacientes vienen del teólogo.

«The way to the goal seems chaotic and interminable at first, and only gradually do the signs increase that it is leading anywhere.» — describe cómo se ve el proceso desde dentro antes de que se note dirección alguna.

«More accurate knowledge has proved it to go in spirals: the dream-motifs always return after certain intervals to definite forms, whose characteristic it is to define a centre.» — corrige la figura del círculo por la de la espiral, apoyándose en el retorno periódico de los motivos oníricos.

«Nor should it be taken for granted that dream sequences are subject to any governing principle.» — se abstiene de dar por supuesto que una serie de sueños obedezca a principio alguno.

«The first of the following two studies—that which composes Part II—deals with a series of dreams which contain numerous symbols of the centre or goal.» — anuncia el objeto de la primera parte: una serie de sueños con símbolos del centro.

«The centre or goal thus signifies salvation in the proper sense of the word.» — le da a ese centro el nombre fuerte de salvación, en sentido propio.

«The justification for such a terminology comes from the dreams themselves, for these contain so many references to religious phe» — justifica el vocabulario religioso por el material mismo, no por convicción propia.

«Quite apart from the impossibility of ever proving or refuting the truth of a metaphysical assertion, the very existence of the assertion is a self-evident fact that needs no further proof, and when a consensus gentium allies itself thereto, then the validity of the statement is proved to just that extent.» — su regla de trabajo frente a lo metafísico: no se prueba ni se refuta, se registra que la afirmación existe y hasta dónde llega su consenso.

«Whatever else religion may be, those psychic ingredients of it which are empirically knowable undoubtedly consist in this kind of unconscious manifestation.» — acota qué parte de la religión cae bajo su método: solo los ingredientes psíquicos empíricamente conocibles.

«People have dwelt far too long on the fundamentally sterile question of whether the assertions of faith are true or not.» — descarta por estéril la disputa sobre la verdad de las afirmaciones de fe, y con ella el terreno donde se lo quiere meter.

«No phenomenon can ever be disposed of by rational criticism, and in religious life we have to deal with phenomena and facts and not with arguable hypotheses.» — trata la vida religiosa como hecho y no como hipótesis discutible, y de ahí que la crítica racional no la elimine.

«either by burdening our neighbours—in a wider or narrower sense—with all the faults which we obviously have ourselves, or by casting our sins upon a divine mediator with the aid of contritio or the milder attritio.» — enumera las dos vías por las que la sombra se descarga: sobre el prójimo o sobre un mediador divino, vía contritio o la más benigna attritio.

«The former regards sin as the opposite of the highest good; the latter rejects it not only on account of its wicked and hideous nature but also from fear of punishment.» — distingue las dos: la contritio rechaza el pecado por contrario al bien supremo, la attritio también por miedo al castigo.

«At any rate the doctor cannot afford to point, with a gesture of facile moral superiority, to the tablets of the law and say, ‘““Thou shalt not.” He has to examine things objectively and weigh up possibilities, for he knows, less from religious training and education than from instinct and experience, that there is something very like a felix culpa.» — define la posición moral del terapeuta: no señalar la ley, sino pesar posibilidades sabiendo que existe algo parecido a una culpa feliz.

«No one who is far-sighted will allow himself to be hoodwinked by the right action of the wrong man, any more than by the wrong action of the right man.» — separa el acto de quien lo hace, y anuncia que su criterio no es el resultado.

«Hence the psychotherapist must fix his eye not on what is done but on how it is done, because therein is decided the whole character of the doer.» — el criterio propio del terapeuta: no qué se hace sino cómo, porque ahí se decide el carácter.

«Evil needs to be pondered just as much as good, for good and evil are ultimately nothing but ideal extensions and abstractions of doing, and both belong to the chiaroscuro of life.» — sostiene que bien y mal son abstracciones del obrar y pertenecen los dos al claroscuro de la vida.

«In the last resort there is no good that cannot produce evil and no evil that cannot produce good.» — la formulación extrema de esa reciprocidad, sin excepción declarada.

«‘The encounter with the dark half of the personality, or “shadow,” comes about of its own accord in any moderately thorough treatment.» — reporta que el encuentro con la sombra no se provoca: ocurre solo en cualquier tratamiento medianamente hondo.

«Not that I am passive or inactive meanwhile: I help the patient to understand all the things that the unconscious produces during the conflict.» — precisa en qué consiste su espera: no en pasividad, sino en ayudar a entender lo que el inconsciente produce.

«He needs “justification by works,” for “justification by faith” alone has remained an empty sound for him as for so many others.» — traslada la disputa de la justificación al caso clínico: al paciente le hace falta la obra, porque la fe sola le suena vacía.

«Christ espoused the sinner and did not condemn him.» — el precedente con que autoriza su abstención de juicio moral.

«And as little as we would accuse Christ of fraternizing with evil, so little should we reproach ourselves that to love the sinner who is oneself is to make a pact with the devil.» — extiende ese precedente al amor de sí: aceptar al pecador propio no es pactar con el diablo.

«It is absolutely necessary to supply these fantastic images that rise up so strange and threatening before the mind’s eye, with a sort of context so as to make them more intelligible.» — plantea la necesidad de contexto para las imágenes del inconsciente, que es lo que lo lleva a la erudición histórica.

«Experience has shown that the best way to do this is by means of comparative mythological material.» — declara el método: material mitológico comparado, elegido por experiencia y no por doctrina.

«This is not, as one might suppose, a prerogative of the case in question, but a universal fact which only struck me some ten years ago when first I began to come to grips with the ideas and symbolism of alchemy.» — data su propio encuentro con la alquimia unos diez años antes y lo presenta como el momento en que vio el hecho como general.

«Our understanding of these deeper layers of the psyche is helped not only by a knowledge of primitive psychology and mythology, but to an even greater extent by some familiarity with the history of our modern consciousness and the stages immediately preceding it.» — pone la historia de la conciencia moderna por encima de la mitología primitiva como ayuda para entender las capas hondas.

«It is true that alchemy always stood on the verge of heresy and that certain decrees leave no doubt as to the Church’s attitude towards it,18 but on the other hand it was effectively protected by the obscurity of its symbolism, which could always be explained as harmless allegory.» — su explicación de por qué la alquimia sobrevivió al borde de la herejía: la oscuridad del símbolo la protegía.

«For many alchemists the allegorical aspect undoubtedly occupied the foreground to such an extent that they were firmly convinced that their sole concern was with chemical substances.» — reparte a los alquimistas: para muchos el asunto era químico y estaban convencidos de ello.

«But there were always a few for whom laboratory work was primarily a matter of symbols and their psychic effect.» — la minoría que le interesa: aquellos para quienes el laboratorio era ante todo símbolo y efecto psíquico.

«Although their labours over the retort were a serious effort to elicit the secrets of chemical transformation, it was at the same time —and often in overwhelming degree—the reflection of a parallel psychic process which could be projected all the more easily into the unknown chemistry of matter since that process is an unconscious phenomenon of nature, just like the mysterious alteration of substances.» — sostiene las dos cosas a la vez: el trabajo químico era serio y a la vez espejo de un proceso psíquico, y explica por qué la proyección era fácil.

«The authors he studies provide him with symbols whose meaning he thinks he understands in his own way; but in reality they touch and stimulate his unconscious.» — describe qué le pasaba al alquimista con sus lecturas: creía entender los símbolos y lo que ocurría era otra cosa.

«But with this method of explaining the obscure by the more obscure they only sank themselves deeper in the very process from which the Church was struggling to redeem them.» — juzga el procedimiento del *obscurum per obscurius*: los hundía más en el proceso del que la Iglesia quería sacarlos.

«For while the dogmas of the Church offered analogies to the alchemical process, these analogies, in strict contrast to alchemy, had become detached from the world of nature through their connection with the historical figure of the Redeemer.» — dónde pone la diferencia entre dogma y alquimia: el dogma se despegó de la naturaleza al atarse a una figura histórica.

«Dogma is not arbitrarily invented nor is it a unique miracle, although it is often described as miraculous with the obvious intent of lifting it out of its natural context.» — le retira al dogma tanto la arbitrariedad como la excepción milagrosa, y señala para qué sirve llamarlo milagro.

«It was founded on the perception of the symbols thrown up by the process of individuation which always sets in when the collective dominants of human life fall into decay.» — deriva el dogma de una percepción de símbolos, y ata su aparición a la decadencia de los dominantes colectivos.

«Thus Jesus became the tutelary image or amulet against the archetypal powers that threatened to possess everyone.» — la función que atribuye a la figura de Jesús en su momento histórico: amuleto contra la posesión arquetípica.

«Yet it could and it can and it will happen to everyone in whom the Christian dominant has decayed.» — el corolario que saca para su época: caída la dominante cristiana, la posesión vuelve a ser posible.

«When, therefore, modern psychotherapy once more meets with the activated archetypes of the collective unconscious, it is merely the repetition of a phenomenon that has often been observed in moments of great religious crisis, although it can also occur in individuals for whom the ruling ideas have lost their meaning.» — sitúa su propia práctica dentro de una serie histórica de crisis religiosas, con la salvedad de que también ocurre en individuos sueltos.

«The problem of opposites called up by the shadow plays a great—indeed, the decisive—role in alchemy, since it leads in the ultimate phase of the work to the union of opposites in the archetypal form of the hieros gamos or ‘“‘chymical marriage.”» — encadena sombra, opuestos y boda química como fase última de la obra.

«Here the supreme opposites, male and female (as in the Chinese Yang and Yin), are melted into a unity purified of all opposition and therefore incorruptible.» — describe el resultado de esa unión: una unidad incorruptible por estar limpia de oposición.

«The prerequisite for this, of course, is that the artifex should not identify himself with the figures in the work but should leave them in their objective, impersonal state.» — la condición que pone al operador: no identificarse con las figuras de la obra.

«So long as the alchemist was working in his laboratory he was in a favourable position, psychologically speaking, for he had no opportunity to identify himself with the archetypes as they appeared, since they were all projected immediately into the chemical substances.» — le encuentra una ventaja psicológica al laboratorio: la materia recibía la proyección y evitaba la identificación.

«The self is not only the centre but also the whole circumference which embraces both conscious and unconscious; it is the centre of this totality, just as the ego is the centre of the conscious mind.» — la definición del sí-mismo por su doble carácter de centro y circunferencia, y su distinción del yo.

«Thus it happened that 355 of the dreams (or visions) were experienced away from any personal contact with myself.» — declara el dato metodológico de la serie: 355 de los sueños se produjeron sin contacto personal con él.

«No interpretations worth mentioning were then attempted because the dreamer, owing to his excellent scientific training and ability, did not require any assistance.» — explica por qué no interpretó entonces: el soñante, con formación científica, no lo necesitaba.

«For the purposes of this study I have worked on the first four hundred or so dreams and visions, which covered a period of nearly ten months.» — declara el recorte del material: unos cuatrocientos sueños de casi diez meses.

«I asked one of my pupils, a woman doctor, who was then a beginner, to undertake the observation of the process.» — la precaución metodológica con que evita su propia influencia: la observación la hace una alumna principiante.

«Only the last forty-five occurred under my observation.» — precisa cuántos sueños vio él mismo: los últimos cuarenta y cinco.

«Hence conditions were really ideal for unprejudiced observation and recording.» — el juicio que hace de su propio dispositivo, sin reservas declaradas.

«We do not yet possess a general theory of dreams that would enable us to use a deductive method with impunity, any more than we possess a general theory of consciousness from which we can draw inferences.» — funda su renuncia al método deductivo en la falta de una teoría general del sueño y de la conciencia.

«I would not deny the possibility of parallel dreams, i.e., dreams whose meaning coincides with or supports the conscious attitude, but in’ my experience at least, these are rather rare.» — admite los sueños paralelos como posibilidad y los declara raros en su experiencia, sin excluirlos.

«Now, the method I adopt in the present study seems to run directly counter to this basic principle of dream interpretation.» — reconoce que su procedimiento parece contradecir el principio de no interpretar sueños aislados.

«But here we are not dealing with isolated dreams; they form a coherent series in the course of which the meaning gradually unfolds more or less of its own accord.» — la salida que da a esa objeción: la serie despliega el sentido por sí misma.

«Moreover I hold the view, based on wide experience, that the possibility and danger of prejudice are exaggerated.» — su reserva sobre la propia precaución: cree exagerado el peligro de la sugestión.

«Experience shows that the objective psyche is autonomous in the highest degree.» — el hecho con que sostiene esa reserva: la autonomía de la psique objetiva.

«Were it not so, it could not carry out its most characteristic function: the compensation of the conscious mind.» — deriva la autonomía de la función compensadora: sin la una no habría la otra.

«The unconscious is a psychic fact; any efforts to drill it are only apparently successful, and moreover harmful to consciousness.» — advierte contra el adiestramiento del inconsciente: el éxito es aparente y el daño va a la conciencia.

«It is and remains beyond the reach of subjective arbitrary control, in a realm where nature and her secrets can be neither improved upon nor perverted, where we can listen but may not meddle.» — fija la actitud que le corresponde al observador: escuchar sin intervenir.

«The hat, as a covering for the head, has the general sense of something that epitomizes the head.» — su lectura del sombrero en el sueño del paciente: lo que resume a la cabeza entera.

«Just as in summing up we bring ideas “under one head” (unter einen Hut), so the hat, as a sort of leading idea, covers the whole personality and imparts its own significance to it.» — apoya esa lectura en un giro del alemán, que la traducción inglesa conserva entre paréntesis.

«Coronation endows the ruler with the divine nature of the sun, the doctor’s hood bestows the dignity of a scholar, and a stranger’s hat imparts a strange nature.» — la serie con que amplía el motivo: corona, birrete y sombrero ajeno confieren cada uno una naturaleza.

«It is clear enough in The Golem that the thing that entangles the hero in fantastic adventures is the unconscious.» — su lectura de la novela de Meyrink, que introduce como paralelo literario del sombrero ajeno.

«‘The unconscious with its figures is already standing like a shadow behind the dreamer and pushing its way into consciousness.» — describe el estado de la serie en ese punto: el inconsciente empuja desde atrás.

«We have no eyes behind us; consequently “behind” is the region of the unseen, the unconscious.» — la razón corporal por la que lee lo que está detrás como lo inconsciente.

«If the dreamer will only stop blocking the window (consciousness), the unconscious content will become conscious.» — la condición que pone al sueño de la ventana: basta con dejar de taparla.

«The sea is the symbol of the collective unconscious, because unfathomed depths lie concealed beneath its reflecting surface.» — la equivalencia que declara y la razón que da: la superficie que refleja esconde el fondo.

«Even so, it is a far cry from the intuitive perception of such an invasion to being inundated by it pathologically, though the layman does not realize this.» — separa la percepción del contenido inconsciente de la inundación patológica, y anota que el lego confunde las dos.

«Isolation by a secret results as a rule in an animation of the psychic atmosphere as compensation for loss of contact with other people.» — la regla que enuncia: el secreto aísla y la atmósfera psíquica se anima para compensar.

«If the relation to the object is cut off there is a “‘retention” of energy, which then creates an equivalent substitute.» — la explicación energética que da a ese fenómeno.

«‘That is why primitive man has always believed that lonely and desolate places are haunted by “devils” and suchlike apparitions.» — el paralelo etnográfico con que apoya la regla del aislamiento.

«Here the psychic atmosphere has been animated by what the Middle Ages called succubi.» — nombra con el término medieval las figuras femeninas del sueño del paciente.

«The father, the embodiment of the traditional spirit as expressed in religion or a general philosophy of life, is standing in his way.» — su lectura de la figura paterna en la serie: el espíritu tradicional que estorba.

«Moreover, such a conflict cannot be solved by understanding, but only by experience.» — el límite que le pone al entendimiento en ese conflicto.

«We have even forgotten that the psyche is by no means of our design, but is for the most part autonomous» — el olvido que atribuye a la conciencia moderna: que la psique no es obra nuestra.

«But to let the unconscious go its own way and to experience it as a reality is something beyond the courage and capacity of the average European.» — mide la dificultad de su propuesta contra el europeo medio, sin suavizarla.

«He thereby protects himself from the “perils of the soul” that threaten him from without and that attack anyone who is isolated by a secret.» — la función que atribuye al círculo trazado en el sueño: protección contra los peligros del alma.

«He experienced an agreeable feeling of relief after this vision—and rightly, since he has succeeded in establishing a protected temenos,® a taboo area where he will be able to meet the unconscious.» — nombra temenos al recinto que la visión del paciente levanta, y le atribuye el alivio que este reporta.

«The drawing of a spellbinding circle (fig. 13) is an ancient magical device used by everyone who has a special or secret purpose in mind.» — inscribe el círculo del sueño en una práctica mágica antigua.

«The theme of the unknown woman—whose technical name is “anima” 7—appears here for the first time.» — fija el punto de la serie donde aparece por primera vez la figura que llama anima.

«Since the process running through dreams of this kind has an historical analogy in the rites of initiation, it may not be superfluous to draw attention to the important part which the Stairway of the Seven Planets played in these rites, as we know from Apuleius, among others.» — el paralelo iniciático que introduce para la escalera del sueño, con Apuleyo como testigo.

«It is clear, therefore, that a “lighting up” of the unconscious is being prepared, which has far more the character of an illuminatio than of rational “elucidation.”» — distingue las dos iluminaciones: lo que la serie prepara es una illuminatio, no un esclarecimiento racional.

«The solificatio is infinitely far removed from the conscious mind and seems to it almost chimerical.» — mide la distancia entre la solificatio y la conciencia, que la toma por quimera.

«But one must go under it and not over it.» — la condición que el sueño impone al arco iris: se pasa por debajo, no por encima.

«The solificatio is consummated on the person of the anima.» — dónde se cumple la solificatio en esta serie: en la figura del anima, no en el soñante.

«The separation 1s indeed inevitable, but it leads to such an alienation from that dim psyche of the dawn of mankind that a loss of instinct ensues.» — concede que la separación es inevitable y le cobra el precio: pérdida de instinto (la capa de texto imprime *1s* por *is*).

«But the very consistency of the repression only serves to bring about a still greater alienation from the fountainhead, thus increasing the lack of instinct until it becomes lack of soul.» — describe la espiral: cuanto más consecuente la represión, mayor la falta, hasta volverse falta de alma.

«We must therefore realize that despite its undeniable successes the rational attitude of present day consciousness is, in many human respects, childishly unadapted and hostile to life.» — el juicio sobre la actitud racional moderna, con sus éxitos concedidos en la misma frase.

«‘To remain a child too long is childish, but it is just as childish to move away and then assume that childhood no longer exists because we do not see it.» — la simetría con que evita que su vuelta a la infancia se lea como regresión.

«We stand on a peak of consciousness, believing in a childish way that the path leads upward to yet higher peaks beyond.» — la ilusión que atribuye a la conciencia moderna sobre su propio lugar.

«It is of course impossible to free oneself from one’s childhood without devoting a great deal of work to it, as Freud’s researches have long since shown.» — concede a Freud el punto sobre el trabajo con la infancia antes de apartarse de él.

«Nor can it be achieved through intellectual knowledge only; what is alone effective is a remembering that is also a re-experiencing.» — el límite del saber intelectual en ese trabajo: solo sirve un recuerdo que sea revivencia.

«‘This “personal unconscious” must always be dealt with first, that is, made conscious, otherwise the gateway to the collective unconscious cannot be opened.» — el orden que impone entre las dos capas: primero el inconsciente personal, o no se abre la puerta del colectivo.

«The journey with father and mother up and down many ladders represents the making conscious of infantile contents that have not yet been integrated.» — su lectura del sueño de las escaleras con los padres.

«But to the conventional mind the solificatio is an outlandish, mystical idea bordering on madness.» — anota cómo se ve la solificatio desde la conciencia convencional, que es la posición del padre en el sueño.

«If this interpretation—that the ‘‘seventh” represents the highest stage of illumination—is correct, it would mean in principle that the process of integrating the personal unconscious was actually at an end.» — condiciona su conclusión a que la lectura del séptimo sea correcta, y lo dice antes de sacarla.

«Nevertheless the return to the dim twilight of the unconscious does not mean that we should entirely abandon the precious acquisition of our forefathers, namely the intellectual differentiation of consciousness.» — la salvedad con que cierra el argumento del retorno: no se abandona la diferenciación intelectual.

«The father who calls so anxiously, “That is the seventh!” is a psychic component of the dreamer himself, and the anxiety is therefore his own.» — la regla de lectura que aplica a las figuras del sueño: son componentes del soñante, y el afecto le pertenece.

«But, as quicksilver, he dissolves the gold and extinguishes its sunlike brilliance.» — la ambivalencia de Mercurio como azogue: disuelve el oro y le apaga el brillo.

«It may seem odd to the reader that anything as remote as medieval alchemy should have relevance here.» — se adelanta a la extrañeza del lector ante el salto a la alquimia medieval.

«Our conscious mind is far from understanding everything, but the unconscious always keeps an eye on the “age-old, sacred things.”» — la razón que da para ese salto: el inconsciente conserva lo antiguo aunque la conciencia no lo entienda.

«No doubt Faust affected our dreamer much as Goethe was affected when, as a young man in his Leipzig days, he studied Theophrastus Paracelsus with Fraulein von Klettenberg.» — el paralelo que traza entre el paciente y el propio Goethe leyendo a Paracelso.

«His dual nature enabled him to be not only the seventh but also the eighth—the eighth on Olympus “whom nobody thought of” (Fausé, Part I]).» — apoya en el Fausto la equivalencia de siete y ocho que la serie de sueños le plantea.

«Versatility of mind as well as the inventive gift and scientific leanings are attributes of the astrological Mercurius.» — los atributos que la astrología presta a Mercurio, y que él transfiere a la función intelectual del soñante.

«Mephistopheles is the diabolical aspect of every psychic function that has broken loose from the hierarchy of the total psyche and now enjoys independence and absolute power (fig. 36).» — define a Mefistófeles como figura de la función psíquica emancipada, no como personaje literario.

«Mercurius as quicksilver is an eminently suitable symbol for the “‘fluid,’’ i.e., mobile, intellect (fig. 24).» — la equivalencia entre azogue e intelecto móvil que sostiene toda su lectura del sueño.

«the mother stands for the collective unconscious, the source of the water of life» — la adjudicación de la figura materna del sueño al inconsciente colectivo.

«Thus the degradation of the intellect frees the dreamer from the domination of the unconscious and hence from his infantile attitude.» — lo que la rebaja del intelecto consigue en la serie, según su lectura.

«The anima now becomes a life-giving factor, a psychic reality which conflicts strongly with the world of the father.» — el giro que atribuye al anima en este punto: pasa a dar vida y a chocar con el mundo del padre.

«The old alchemists never tired of devising new and expressive synonyms for this water. They called it aqua nostra, mercurius vivus, argentum vivum, vinum ardens, aqua vitae, succus lunariae, and so on» — recoge la lista de sinónimos con que los alquimistas nombraban el agua viva, y la lee como insistencia en algo vivo y no inmaterial.

«Acetum fontis is a powerful corrosive water that dissolves all created things and at the same time leads to the most durable of all products, the mysterious lapis.» — la paradoja del disolvente que produce lo más duradero, tal como la formula el corpus alquímico.

«The seven stages symbolize the transformation (fig. 28) which begins with the symbolism of Cross and Trinity, and, judging by the earlier archaic allusions in dreams 7 and 13, culminates in the solificatio. But this solution is not hinted at here.» — propone la lectura de las siete etapas y en la misma frase declara que el propio sueño no la insinúa.

«We must not underestimate the devastating effect of getting lost in the chaos, even if we know that it is the sine qua non of any regeneration of the spirit and the personality.» — sostiene las dos cosas: el caos es condición de la regeneración y su efecto es devastador.

«The well-known “blue flower” of the Romantics might well be the last nostalgic perfume of the “rose”; it looks back in true Romantic fashion to the medievalism of ruined cloisters, yet at the same time modestly proclaims something new in earthly loveliness.» — enlaza la flor azul romántica con la rosa alquímica, y lo propone en condicional.

«But hardly has it happened when there comes a pang of remorse that the precious secret has been rejected and a wrong answer thus given to the riddle of the Sphinx.» — su lectura del sueño donde el oro es rechazado: el arrepentimiento llega enseguida.

«But if we reject this insignificant assortment of man “‘as he is,’ it is impossible for him to attain integration, to become a self.» — la condición que pone a la individuación: aceptar al hombre tal cual es, con todo lo insignificante.

«It is all part of the banality of its outward aspect that the gold is minted, i.e., shaped into coins, stamped, and valued.» — la razón por la que la piedra no se reconoce: viene en forma banal, como oro acuñado.

«Unless the conscious mind intervened, the unconscious would go on sending out wave after wave without result, like the treasure that is said to take nine years, nine months, and nine nights to come to the surface and, if not found on the last night, sinks down to start all over again from the beginning.» — la figura folclórica con que describe la necesidad de que la conciencia intervenga: el tesoro que vuelve a hundirse.

«Anima and sun are thus distinct, which points to the fact that the sun represents a different principle from that of the anima.» — separa dos símbolos que el sueño junta, y dice en qué se apoya para separarlos.

«We know also that the early Christians had some difficulty in distinguishing the HAtog avatoats (the rising sun) from Christ.» — el dato histórico con que apoya el peso del símbolo solar (el griego sale corrompido de la capa de texto).

«It may not be superfluous to point out here, with due emphasis, that consciously the dreamer had no inkling of all this.» — la salvaguarda que repite sobre su material: el soñante no conocía nada de la erudición que él le aplica.

«Hence one could say—cum grano salts —that history could be constructed just as easily from one’s own unconscious as from the actual texts.» — la tesis fuerte que enuncia y en el mismo guion acota con el *cum grano salis*.

«The phenomenon of the “voice” in dreams always has for the dreamer the final and indisputable character of the avtos éqa,** i.e., the voice expresses some truth or condition that is beyond all doubt.» — describe cómo se impone la voz en el sueño: con la autoridad del *ipse dixit*, sin discusión posible para quien sueña.

«The dissolution of consciousness or, as Janet calls it, the abatssement du niveau mental, comes very close to the primitive state of mind.» — toma de Janet el término con que nombra la disolución de la conciencia.

«The multiplicity of nymphs has broken down into still more primitive components; that is to say, the animation of the psychic atmosphere has very considerably increased, and from this we must conclude that the dreamer’s isolation from his contemporaries has increased in proportion.» — infiere el grado de aislamiento del soñante a partir de la crudeza creciente de sus figuras.

«It needed a Nietzsche to expose in all its feebleness Europe’s schoolboy attitude to the ancient world.» — el crédito que le da a Nietzsche: haber desmontado la lectura escolar de la antigüedad.

«Dionysus is the abyss of impassioned dissolution, where all human distinctions are merged in the animal divinity of the primordial psyche—a blissful and terrible experience.» — su definición de Dioniso, con los dos adjetivos juntos y sin elegir entre ellos.

«The intellect may be the devil (fig. 36), but the devil is the “strange son of chaos”” who can most readily be trusted to deal effectively with his mother.» — concede que el intelecto es diabólico y le encuentra en eso mismo su utilidad frente al caos.

«No line of research which asserted that its subject was unreal or a “nothing but” has ever made any contribution to knowledge.» — el criterio con que descarta las reducciones: ninguna ha aportado conocimiento.

«On the contrary it must now be admitted that things exist in the psyche about which we know little or nothing at all» — la admisión de ignorancia con que abre el estudio de los mandalas.

«As I have already said, I have put together, out of a continuous sequence of some four hundred dreams and visions, all those that I regard as mandala dreams.» — declara el criterio de selección de la segunda serie y que la selección es suya.

«The term “mandala” was chosen because this word denotes the ritual or magic circle used in Lamaism and also in Tantric yoga as a yantra or aid to contemplation (fig. 39).» — justifica el préstamo del término sánscrito y dice de qué prácticas lo toma.

«The alleged free and individual formation of the mandala, however, should be taken with a considerable grain of salt, since in all lamaistic mandalas there predominates not only a certain: unmistakable style but also a traditional structure.» — pone en duda la libertad que su informante lamaísta le atribuye a la construcción del mandala.

«For instance they are all based on a quaternary system, a quadratura circuli, and their contents are invariably derived from lamaistic dogma.» — el dato con que sostiene esa duda: cuaternidad y dogma se repiten en todos.

«The khilkor is strictly distinguished from the so-called sidpe-korlo, or World Wheel (fig. 40), which represents the course of human existence in its various forms as conceived by the Buddhists.» — distingue las dos figuras tibetanas que suelen confundirse: el mandala y la rueda del mundo.

«In contrast to the khilkor, the World Wheel is based on a ternary system in that the three world-principles are to be found in its centre:» — la diferencia estructural entre las dos: la rueda es ternaria donde el mandala es cuaternario.

«It seems to me beyond question that these Eastern symbols originated in dreams and visions, and were not invented by some Mahayana church father.» — su tesis sobre el origen de los símbolos orientales: nacen de sueños, no de invención doctrinal.

«Unless everything deceives us, they signify nothing less than a psychic centre of the personality not to be identified with the ego.» — lo que sostiene sobre los mandalas individuales, con la reserva puesta al principio de la frase.

«One cannot be too cautious in these matters, for what with the imitative urge and a positively morbid avidity to possess themselves of outlandish feathers and deck themselves out in this exotic plumage, far too many people are misled into snatching at such “magical” ideas and applying them externally, like an ointment.» — advierte contra el préstamo exterior de ideas orientales, en el mismo capítulo en que toma prestado el término mandala.

«I readily admit that I have such a great respect for what happens in the human soul that I would be afraid of disturbing and distorting the silent operation of nature by clumsy interference» — funda su abstención de intervenir en un respeto declarado, no en una regla técnica.

«That was why I even refrained from observing this particular case myself and entrusted the task to a beginner who was not handicapped by my knowledge—anything rather than disturb the process» — vuelve a declarar el dispositivo de la serie y lo que buscaba con él: no estorbar.

«The snake in the first mandala dream was anticipatory, as is often the case when a figure personifying a certain aspect of the unconscious does or experiences something that the subject himself will experience later» — la regla que enuncia sobre las figuras anticipatorias del sueño.

«This clearly indicates a potential centre which is not identical with the ego and round» — lo que lee en el movimiento circular del sueño: un centro potencial distinto del yo.

«Five minutes to the hour implies a state of tension for anybody who lives by the clock: when the five minutes are up he must do something or other.» — traduce el detalle del reloj del sueño a la tensión que impone, sin salir del dato.

«This is a species of clock whose hands move unceasingly, and, since there is obviously no loss due to friction, it is a perpetuum mobile, an everlasting movement in a circle.» — identifica el reloj del sueño con el móvil perpetuo de los alquimistas por la ausencia de fricción.

«The statement made by the dream will obviously offend the dreamer’s scientific judgment, but this is just what gives the mandala its peculiar significance.» — encuentra el valor del sueño justamente en que contradice la formación científica del soñante.

«The movement without friction shows that the clock is cosmic, even transcendental; at any rate it raises the question of a quality which leaves us in some doubt whether the psychic phenomenon expressing itself in the mandala is under the laws of space and time.» — plantea la cuestión del espacio y el tiempo como duda abierta, no como afirmación.

«And this points to something so entirely different from the empirical ego that the gap between them is difficult to bridge; 1.e., the other centre of personality lies on a different plane from the ego since, unlike this, it has the quality of “eternity”» — sitúa el otro centro en otro plano que el yo empírico y le atribuye eternidad, dejando el puente por hacer.

«If we think of the psychological functions * as arranged in a circle, then the most differentiated function is sual the carrier of the ego and, equally regularly, has an auxiliary function attached to it.» — el esquema de las funciones psicológicas con que lee las cuaternidades del sueño (la capa de texto imprime *sual* por *usually*).

«Since the doll is a childish object it is an excellent image for the no-ego nature of the anima, who is further characterized as an object by “not being spoken to.”» — deduce el carácter no-yo del anima de dos detalles del sueño: la muñeca y el no dirigirle la palabra.

«The circular dial of the clock is divided into four quarters, like the horizon.» — la correspondencia que traza entre la esfera del reloj y el horizonte, que es la que le da cuatro partes.

«Therefore the centre of the circle which expresses such a totality would correspond not to the ego but to the self as the epitome» — la conclusión sobre el centro del mandala, enunciada en condicional.

«The Monogenes stands on a tetrapeza, * a table or platform with four pillars corresponding to the quaternion of the four evangelists.» — la correspondencia que traza entre la plataforma de cuatro pilares del texto gnóstico y la cuaternidad de los evangelistas.

«The idea of the lapis has several points of contact with all this.» — el puente que tiende entre la ciudad gnóstica del Monad y la piedra de los alquimistas, y lo enuncia como contactos, no como identidad.

«Moreover there is a dorje in each of the four gates.» — el detalle iconográfico tibetano con que apoya el paralelo de las cuatro puertas.

«The “king” refers to the lapis.» — la clave de lectura que da para el pasaje regio del corpus alquímico: el rey es la piedra.

«Similarly the final production of the lapis in the form of the crowned hermaphrodite is called the aenigma regis.» — nombra la figura con que la alquimia cierra la obra: el hermafrodita coronado, llamado enigma del rey.

«The feminine nature of the inferior function derives from its contamination by the unconscious.» — de dónde deriva el carácter femenino que atribuye a la función inferior.

«Only the gods can pass over the rainbow bridge; mortal men must stick to the earth and are subject to its laws» — la regla que extrae del motivo del arco iris y aplica a la intuición sin suelo.

«In the light of the possibilities revealed by intuition, man’s earthliness is certainly a lamentable imperfection; but this very imperfection is part of his innate being» — concede la imperfección de lo terrestre y en la misma frase la reclama como parte del ser.

«Man may have lost his ancient saurian’s tail, but in its stead he has a chain hanging on to his psyche which binds him to the earth—an anything-but-Homeric chain» — juega con la cadena homérica de los alquimistas para decir lo contrario: la cadena que ata al hombre es la que lo sujeta a la tierra.

«History gives us some justification for not attaching any absolute value to these collective norms.» — la reserva histórica que pone a las normas colectivas.

«‘That we are bound to the earth does not mean that we cannot grow; on the contrary it is the sine qua non of growth.» — invierte el signo de la atadura terrestre: es condición del crecimiento.

«No noble, wellgrown tree ever disowned its dark roots, for it grows not only upward but downward as well.» — la imagen del árbol con que sostiene que el crecimiento va también hacia abajo.

«But when the ground slips from under his feet and he begins to speculate in the void, seduced by the soaring flights of intuition, the situation becomes dangerous» — dónde sitúa el peligro de la intuición: cuando se especula sin suelo.

«Evidently the dreamer “navigates” too much by the intellect and thus upsets the process of individuation.» — su diagnóstico del sueño del espejo: el intelecto usado como instrumento de navegación estorba la individuación.

«Only a fool is interested in other people’s guilt, since he cannot alter it.» — la máxima con que reorienta la culpa hacia lo propio.

«The wise man learns only from his own guilt.» — el reverso de esa máxima, y el criterio con que lee la cuaternidad familiar del sueño.

«I conjecture that the treasure is also the “companion,” one who goes through life at our side—in all probability a close analogy to the lonely ego who finds a mate in the self, for at first the self is the strange non-ego.» — enuncia como conjetura la identificación entre tesoro, compañero y sí-mismo, y marca que el sí-mismo empieza siendo lo extraño.

«I conjecture further that the treasure in the sea, the companion, and the garden with the fountain are all one and the same thing: the self.» — extiende la conjetura a las tres imágenes del sueño, sin dejar de llamarla conjetura.

«The source of life is, like El-Khidr, a good companion, though it is not without its dangers, as Moses of old found to his cost, according to the Koran.» — trae la figura coránica de El-Khidr como compañero y con ella el peligro que el relato le atribuye.

«The source means not only the flow of life but its warmth, even its heat, the secret of passion, whose synonyms are always fiery.» — amplía el sentido de la fuente del sueño del agua al fuego.

«But the source is underground and therefore the way leads underneath: only down below can we find the fiery source of life.» — la dirección que impone el símbolo: hacia abajo, no hacia arriba.

«Unless this link be rediscovered no lapis and no self can come into being.» — la condición que pone para que haya piedra o sí-mismo: recuperar ese vínculo con lo de abajo.

«But figuratively speaking, he is the “informing spirit” who initiates the dreamer into the meaning of life and explains its secrets according to the teachings of old.» — la función que atribuye a la figura paterna del sueño, marcando que habla en sentido figurado.

«The water of life is easily had: everybody possesses it, though without knowing its value.» — la tesis sobre lo banal del hallazgo: el agua de vida está al alcance y no se reconoce.

«“Spernitur a stultis’”—it is despised by the stupid, because they assume that every good thing is always outside and somewhere else, and that the source in their own souls is a “nothing but.”» — glosa un dicho alquímico sobre lo despreciado por necios y lo empalma con su propio blanco, el *nada más que*.

«He has realized that the flux and fire of life are not to be underrated and are absolutely necessary for the achievement of wholeness.» — el paso que atribuye al soñante al cruzar su Rubicón: aceptar el flujo y el fuego de la vida.

«It has, as the alchemists say, a “thousand names,” like the materia prima.» — recoge la fórmula alquímica de los mil nombres para señalar la polivalencia del símbolo.

«The spirit (or spirit and soul) is the ternarius or number three which must first be separated from its body and, after the purification of the latter, infused back into it.» — resume la operación de la destilación circular tal como la describen sus fuentes: separar el ternario, purificar el cuerpo, reinfundirlo.

«This circular figure, together with the Uroboros—the dragon devouring itself tail first—is the basic mandala of alchemy.» — nombra cuál es para él el mandala básico de la alquimia.

«The left, the ‘sinister’ side, is the unconscious side.» — la equivalencia con que lee las direcciones del giro ritual.

«Therefore a leftward movement is equivalent to a movement in the direction of the unconscious, whereas a movement to the right is “correct” and aims at consciousness.» — el corolario de esa equivalencia, con el entrecomillado de *correcto* puesto por él.

«Yoga, so far as known to us as an established practice, proceeds in much the same way: it impresses fixed forms on consciousness.» — describe el yoga por su efecto sobre la conciencia, y acota que habla de lo que conoce como práctica establecida.

«Its most important Western parallel is the Exercitia spiritualia of Ignatius Loyola, which likewise impress fixed concepts about salvation on the psyche.» — el paralelo occidental que propone para el yoga: los ejercicios ignacianos.

«This procedure is “right”? so long as the symbol is still a valid expression of the unconscious situation.» — la condición temporal que pone a la validez de un símbolo impuesto.

«If the Church clung for so long to the idea that the sun rotates round the earth, and then abandoned this contention in the nineteenth century, she can always appeal to the psychological truth that for millions of people the sun did revolve round the earth» — el ejemplo con que separa verdad psicológica de verdad astronómica.

«Unfortunately there is no “truth” unless there are people to understand it.» — la condición que pone a toda verdad, y que sostiene todo su argumento sobre los símbolos caducos.

«Presumably the leftward circumambulation of the square indicates that the squaring of the circle is a stage on the way to the unconscious, a point of transit leading to a goal lying as yet unformulated beyond it.» — propone la lectura de la cuadratura del círculo como tránsito, y la enuncia como presunción.

«The modern intellect naturally regards all this as poppycock.» — anticipa el veredicto del intelecto moderno sobre el material que acaba de exponer.

«Many of my critics who call themselves “scientific” behave exactly like the bishop who excommunicated the cockchafers for their unseemly proliferation.» — el símil con que responde a sus críticos: excomulgar el fenómeno en vez de estudiarlo.

«Now, the symbol in our dream presents the most violent contrast to these highly metaphysical ideas, for it is a gibbon, unquestionably an ape, that is to be reconstructed in the centre.» — subraya el contraste entre las figuras divinas del centro del mandala oriental y el mono que ocupa ese sitio en el sueño.

«Clearly the left-hand way does not lead upwards to the kingdom of the gods and eternal ideas, but down into natural history, into the bestial instinctive foundations of human existence.» — la dirección que le atribuye a la vía izquierda: hacia la historia natural, no hacia las ideas eternas.

«The square corresponds to the temenos (fig. 31), where a drama is taking place—in this case a play of apes instead of satyrs.» — la correspondencia entre el cuadrado del sueño y el recinto sagrado, con el detalle que la vuelve incómoda.

«We can easily translate these ideas into the concretism of Freudian theory: the temenos would then be the womb of the mother and the rite a regression to incest.» — formula la lectura freudiana del material antes de rechazarla, sin caricaturizarla.

«Otherwise the highest and most important achievements of mankind would ultimately be nothing but the perverted wishes of children, and the word “childish” would have lost its raison d’étre.» — el argumento por reducción al absurdo con que rechaza esa lectura.

«Since the philosophical side of alchemy was occupied with problems that are very closely related to those which interest the most modern psychology, it might perhaps be worth while to probe a little deeper into the dream motif of the ape that is to be reconstructed in the square.» — declara en qué se parecen los problemas de la alquimia filosófica y los de su psicología, y lo hace en potencial.

«It is easy to see why such qualities made Mercurius an eminently suitable symbol for the mysterious transforming substance of alchemy; for this is round and square, i.e., a totality consisting of four parts (four elements).» — por qué Mercurio sirve de símbolo de la sustancia transformadora: es a la vez redondo y cuadrado.

«It is true that in the existing alchemical texts—which with few exceptions belong to the Christian era—the ancient connection between Thoth-Hermes and the ape has disappeared, but it still existed at the time of the Roman Empire.» — reconoce que el vínculo entre Thoth-Hermes y el mono no está en los textos alquímicos conservados, y lo data antes de ellos.

«It is of the essence of the transforming substance to be on the one hand extremely common, even contemptible (this is expressed in the series of attributes it shares with the devil, such as serpent, dragon, raven, lion, basilisk, and eagle), but on the other hand to mean something of great value, not to say divine.» — la doble naturaleza de la sustancia transformadora, con la serie de atributos diabólicos que la alquimia le presta.

«The symbolism of the rites of renewal, if taken seriously, points far beyond the merely archaic and infantile to man’s innate psychic disposition, which is the result and deposit of all ancestral life right down to the animal level-—-hence the ancestor and animal symbolism.» — a dónde apunta para él el simbolismo de los ritos de renovación si se lo toma en serio.

«The rites are attempts to abolish the separation between the conscious mind and the unconscious,» — la función que atribuye a los ritos, dicha como intento y no como logro.

«It is true that without the qualities of autonomy and autarky there would be no consciousness at all, yet these qualities also spell the danger of isolation and desolation since, by splitting off the unconscious, they bring about an unbearable alienation of instinct.» — concede que la autonomía es condición de la conciencia y le cobra su precio en la misma frase.

«Finally the fact that the dreamer is not in the “‘centre’ but to one side is a striking indication of what will happen to his ego: it will no longer be able to claim the central place but must presumably be satisfied with the position of a satellite, or. at least. of a planet revolving round the sun.» — lee la posición del soñante en el sueño como pronóstico del destino de su yo.

«The assumption that the human psyche possesses layers that lie below consciousness is not likely to arouse serious opposition.» — separa lo que da por admitido de lo que sabe polémico.

«I must leave it to the reader, after thorough consideration of this dream-series and the problems it opens up, to form his own judgment as to the possibility of such an hypothesis.» — deja abierta la hipótesis de capas por encima de la conciencia y la remite al juicio del lector.

«Unfortunately I must refrain from commenting on this dream as a whole 2 and confine myself to our theme.» — declara que no comenta entero el sueño de la iglesia y acota su intervención al tema del libro.

«This view is in keeping with the modern formula “‘intellect = spirit,” but it completely forgets the fact that “spirit” was never a human “activity,” much less a “function.”» — objeta la identificación moderna de espíritu con intelecto recordando que el espíritu no era una actividad humana.

«The movement to the left is thus confirmed as a withdrawal from the modern world of ideas and a regression to pre-Christian Dionysus worship, where “asceticism” in the Christian sense is unknown.» — su lectura del sincretismo del sueño: retirada del mundo moderno hacia un culto dionisíaco precristiano.

«At the same time the movement does not lead right out of the sacred spot but remains within it; in other words it does not lose its sacramental character.» — acota de inmediato esa regresión: ocurre dentro del recinto sagrado y no lo abandona.

«Hence it is not a relapse but a kind of systematic descent ad inferos (fig. 69), a psychological nekyia.» — nombra el movimiento con el término homérico y niega que sea recaída.

«Interestingly enough, the church in our dream is a syncretistic building, for the Hagia Sophia is a very ancient Christian church which, however, served as a mosque until quite recently.» — el dato histórico con que apoya el carácter sincrético del edificio soñado.

«But the unconscious has no such blasphemous intentions; it is only trying to restore the lost Dionysus who is somehow lacking in modern man (pace Nietzsche!) to the world of religion.» — le retira al inconsciente toda intención blasfema y dice qué intenta, con una salvedad dirigida a Nietzsche.

«But intoxication, that most direct and dangerous form of possession, turned away from the gods and enveloped the human world with its exuberance and pathos.» — describe qué pasó con la embriaguez al desligarse de los dioses.

«For this very reason orgies were granted religious license, so as to exorcise the danger that threatened from Hades.» — la función que atribuye a la licencia religiosa de las orgías: conjurar un peligro.

«Our solution, however, has served to throw the gates of hell wide open.» — el contraste con la solución moderna, dicho sin atenuantes.

«But if the life-mass is to be transformed a circumambulatio is necessary, i.e., exclusive concentration on the centre, the place of creative change.» — define la circumambulatio por lo que exige: concentración exclusiva en el centro.

«During this process one is “bitten” by animals; in other words, we have to expose ourselves to the animal impulses of the unconscious without identifying ourselves with them and without “running away’; for flight from the unconscious would defeat the purpose of the whole proceeding.» — la doble condición del proceso: exponerse a los impulsos sin identificarse con ellos ni huir.

«But the principle of the unconscious is the autonomy of the psyche itself, reflecting, in the play of its.images, not the world but its own self, even though it utilizes the illustrative possibilities offered by the sensible world in order to make its images» — sostiene que las imágenes del inconsciente reflejan a la psique y no al mundo, aunque tomen del mundo su material.

«But the sensible world has an equally devastating effect on the deeper psychic processes when it breaks into them as causa efficiens.» — la simetría del daño: también el mundo sensible arrasa lo psíquico cuando entra como causa eficiente.

«tendency to run away, however, is attributed not to the operator but to the transforming substance.» — dónde ponen los textos alquímicos la tendencia a la fuga: en la sustancia, no en quien opera.

«Hence, right at the beginning of the dream, the snakes that are making off in opposite directions have to be removed; 1.e., the conflict between conscious and unconscious is at once resolutely stopped and the conscious mind is forced to stand the tension by means of the circumambulatio.» — su lectura de las serpientes que se van del sueño: el conflicto se detiene y la conciencia queda obligada a aguantar la tensión.

«The magic circle thus traced will also prevent the unconscious from breaking loose, for such an irruption would be equivalent to psychosis.» — la función defensiva que atribuye al círculo mágico y el nombre clínico del peligro.

«only those who have had this experience are in a position to understand and attest its reality.» — el límite que reconoce a su propia demostración: la experiencia solo la atestigua quien la tuvo.

«there is nobody who does not long for it, and yet there is not a single objective criterion which would prove beyond all doubt that this condition necessarily exists.» — declara la falta de criterio objetivo junto a la universalidad del anhelo.

«As so often with the most important things, we have to make do with a subjective judgment.» — la conclusión metodológica que saca de esa falta.

«The arrangement of the snakes in the four corners is indicative of an order in the unconscious.» — lo que lee en la disposición cuaternaria de las serpientes del sueño.

«Experience shows that this results in a serious conflict for the conscious mind, because it is not always either willing or able to put forth the extraordinary intellectual and moral effort needed to take a paradox seriously.» — mide el costo de sostener la paradoja en términos de esfuerzo intelectual y moral.

«In Eastern symbolism the square—signifying the earth in China, the padma or lotus in India—has the character of the yoni: femininity.» — la lectura oriental del cuadrado en que apoya su adjudicación femenina de la figura.

«The idea of the anima as I define it is by no means a novelty but an archetype which we meet in the most diverse places.» — declara que su anima no es invención suya y remite a su dispersión histórica.

«Hence the Christian metaphysical drama, the “Prologue in Heaven,” has only masculine actors, a point it shares with many of the ancient mysteries.» — el rasgo del drama metafísico cristiano del que arranca su argumento sobre lo femenino relegado.

«At any rate that is where the ancient Chinese philosophers located it: in the Yin.» — dónde sitúa la tradición china el principio que el drama cristiano deja fuera.

«This primordial pair of opposites symbolizes every conceivable pair of opposites that may occur: hot and cold, light and dark, north and south, dry and damp, good and bad, conscious and unconscious.» — la serie con que muestra que el par masculino-femenino sirve de matriz a todos los pares.

«Since the conflict between the two auxiliary functions is not nearly so great as that between the differentiated and the inferior function, it is possible for the third function—that is, the unconscious auxiliary one—to be raised to consciousness and thus made masculine.» — la asimetría de su esquema de funciones: la tercera se deja hacer consciente y la cuarta no.

«The fourth function is contaminated by the unconscious and, on being made conscious, drags the whole of the unconscious with it.» — por qué la cuarta función es el punto crítico: arrastra consigo todo el inconsciente.

«At first a violent conflict breaks out, such as any reasonable man would experience when it became evident that he had to swallow a lot of absurd superstitions.» — describe sin adornos cómo se vive ese paso desde una conciencia razonable.

«It is in fact not merely an individual but a collective problem, for the animation of the unconscious which has become so noticeable in recent times has, as Schiller foresaw, raised questions which the nineteenth century never even dreamed of.» — saca el problema del caso individual y le atribuye a Schiller la anticipación.

«Nietzsche in his Zarathustra decided to reject the “snake” and the “ugliest man,” thus exposing himself to an heroic convulsion of consciousness which led, logically enough, to the collapse foretold in the same book.» — su lectura del Zaratustra: el rechazo de lo bajo como causa del derrumbe que el propio libro anuncia.

«The whole picture corresponds to the alchemical opus, the tortoise symbolizing the massa confusa, the skuJJ the vas of transformation, and the flower the “self” or wholeness.» — la lectura alquímica que hace de una imagen del sueño, elemento por elemento (la capa de texto imprime *skuJJ* por *skull*).

«It is characteristic of Goethe’s feeling-toned nature that the fourth should be the thinker.» — aplica su esquema de funciones al propio Goethe a partir de los Cabiros del Fausto.

«Since Goethe acted as his own model, thinking became the fourth (taboo) function.» — la razón que da: Goethe se tomó a sí mismo por modelo, y el pensar le quedó de función tabú.

«Similarly, in contradiction to the previous emphasis placed on their lowly origin in the dark, it now appears that the Cabiri are actually to be found on Olympus; for they are eternally striving from the depths to the heights and are therefore always to be found both below and above.» — señala la contradicción del texto sobre los Cabiros y la resuelve por la simultaneidad, no eligiendo un lado.

«The unconscious is always the fly in the ointment, the skeleton in the cupboard of perfection, the painful lie given to all idealistic pronouncements, the earthiness that clings to our human nature and sadly clouds the crystal clarity we long for.» — la serie de imágenes con que define la función del inconsciente frente a todo ideal.

«The paradoxical remark of Thales that the rust alone gives the coin its true value is a kind of alchemical quip, which at bottom only says that there is no light without shadow and no psychic wholeness without imperfection.» — traduce el verso del Fausto a su propia tesis: no hay totalidad psíquica sin imperfección.

«The problem of three and four, seven and eight, which Goethe has tackled here was a great puzzle to alchemy and goes back historically to the texts ascribed to Christianos.» — data el problema numérico en el corpus alquímico y remite a los textos atribuidos a Christianos, sin afirmar la autoría.

«From these hints it can easily be seen who the philosophical man is: he is the androgynous original man» — la identificación que extrae de las cuatro naturalezas de la piedra: el hombre filosófico es el hombre original andrógino.

«that stands for man’s wholeness, that is, the conception of a unitary being who existed before man and at the same time represents man’s goal.» — el doble tiempo de esa figura: anterior al hombre y a la vez su meta.

«It is, however, to be found in Paracelsus’ Ein ander Erkldrung der gantzen Astronomey, to which Goethe had access.» — señala la vía por la que el material alquímico llega al Fausto: un tratado de Paracelso al que Goethe tuvo acceso.

«But since the eighth is even more “powerful” than the first, the crown is presumably bestowed on him.» — su inferencia sobre el octavo en el esquema paracelsiano, dicha con reserva.

«For collective opinion the numbers three and seven are, on the highest authority, sacred; but four: and eight are evil—“common clay!”» — el reparto valorativo de los números en la opinión heredada, que es lo que su lectura viene a desarmar.

«For reasons unknown, i.e., not stated in the dream, the destructive attack on the ‘“‘centre’ —to which, according to the advice, “‘one’s eyes must always be turned’’—peters out.» — consigna que el sueño no da la razón del desenlace, y no la suple.

«It is to be noted that the wheel is a favourite symbol in alchemy for the circulating process, the circulatio.» — la equivalencia alquímica de la rueda del sueño con la circulatio.

«The contemporary moral allegories of the wheel emphasize that the ascensus and descensus are, among other things, God’s descent to man and man’s ascent to God» — lo que las alegorías morales coetáneas leían en la rueda, y que él pone al lado de la lectura alquímica.

«Further, the wheel expresses virtues that are important for the work: constantia, obedientia, moderatio, aequalitas, and humilitas.°!» — la lista de virtudes que la rueda figura en esa tradición.

«The interpretation of the wheel in Béhme reveals something of the mystical secret of alchemy and is therefore of considerable importance in this respect as well as from the psychological point of view: the wheel appears here as a concept for wholeness, which is the essence of mandala symbolism and therefore includes the mysterium iniquitatis.» — lo que le importa de Böhme —cuyo apellido la capa de texto imprime *Béhme*—: una rueda que es totalidad y por eso incluye el misterio del mal.

«All this goes to show that the idea of the “centre’’ which the unconscious has been repeatedly thrusting upon the conscious mind is beginning to gain foothold there and to exercise a peculiar fascination.» — el estado de la serie en este punto: la idea del centro empieza a arraigar en la conciencia del soñante.

«On the contrary, the dreamer finds himself once more in the temenos facing the unknown woman who personifies the fourth or “inferior” function.» — quién es para él la mujer desconocida que reaparece en el recinto.

«The colours now appear as a concretization of the tetraktys.» — la lectura de los cuatro colores del sueño como la tetraktys hecha concreta.

«This quotation from Hermes is likewise an arbitrary reading.» — advierte que la cita hermética que acaba de dar es una lectura arbitraria del propio corpus alquímico.

«The fact is that the four colours in the dream also represent the transition from trinity to quaternity and thus to the squared circle (figs. 59, 60), which, according ‘to the alchemists, comes nearest to the lapis on account of its roundness or perfect simplicity.» — enlaza los cuatro colores del sueño con el paso de la trinidad a la cuaternidad y con la razón que los alquimistas dan para el círculo cuadrado.

«The word “constructing” points to the synthetic character of the opus and also to the laborious building process that taxes the dreamer’s energy.» — lo que lee en el verbo del sueño: la obra es síntesis y trabajo costoso.

«seems to have as much validity as the right; in other words, the unconscious and its—for the most part unintelligible—order becomes the symmetrical counterpart of the conscious mind and its contents, although it is still not clear which of them is reflected and which reflecting (cf. fig. 55).» — declara la simetría entre conciencia e inconsciente y deja sin resolver cuál de los dos refleja al otro.

«The cosmic nature of an experience—as an aspect of some inner occurrence that can only be understood psychologically —is offensive and at once provokes a reaction “from below.”» — la regla que enuncia sobre las experiencias de aire cósmico: provocan de inmediato una reacción desde abajo.

«The round table again points to the circle of wholeness, and the anima comes in as representative of the fourth function, especially in her “dark” form, which always makes itself felt when something is becoming concrete, 1.e., is to be translated, or threatens to translate itself, into reality.» — cuándo aparece la forma oscura del anima según él: cuando algo amenaza con volverse concreto.

«The shadow corresponds to a negative ego-personality and includes all those qualities we find painful or regrettable.» — la definición de sombra por su contenido: lo que duele reconocer como propio.

«The shadow is thus recognized as belonging, and the anima as not belonging, to the ego.» — la línea que separa a las dos figuras: la sombra es del yo, el anima no.

«But if the existence of the anima (or the shadow) is accepted and understood, a separation of these figures ensues, as has happened in the case of our dreamer.» — lo que el reconocimiento produce en la serie: las figuras se separan.

«The dream deals with the question of giving the centre life and reality—giving birth to it, so to speak.» — de qué trata para él el sueño del vaso con la masa gelatinosa.

«Although modern’ conceptions of nutrient soil, jelly-like growths, etc., underlie the dreamer’s “‘gelatinous mass,” the atavistic associations with far older alchemical ideas still persist, and these, although not consciously present, do exert a powerful unconscious influence on the choice of symbols.» — sostiene que bajo el vocabulario moderno del soñante siguen operando asociaciones alquímicas que él no conoce.

«In alchemy the vas is often understood as the uterus where the “child” originates.» — la equivalencia alquímica con que lee el útero del sueño.

«But what does it mean when the unconscious stubbornly persists in presenting such abstruse symbolisms to a cultured European?» — la pregunta que se hace ante la insistencia del material, y que no despacha.

«But a man’s attitude. towards the self is the only one that has no definable aim and no visible purpose.» — lo que distingue a la actitud hacia el sí-mismo de cualquier otra: no tiene fin definible.

«It is easy enough to say “‘self,’’ but exactly what have we said?» — se interroga sobre su propio término central antes de definirlo.

«I may define “self” as the totality of the conscious and unconscious psyche, but this totality transcends our vision; it is a veritable lapis invistbilitatis.» — da la definición y en la misma frase declara que lo definido excede la vista, tomando prestado el nombre alquímico de la piedra invisible.

«Consequently the “self” is a pure borderline concept similar to Kant’s Ding an sich.» — el estatuto epistemológico que le asigna al sí-mismo: concepto límite, como la cosa en sí.

«True, it is an idea that grows steadily clearer with experience—as our dreams show—without, however, losing anything of its transcendence.» — concede que la idea se aclara con la experiencia sin perder por eso su trascendencia.

«It would be wildly arbitrary and therefore unscientific to restrict the self to the limits of the individual psyche, quite apart from the fundamental fact that we have not the least knowledge of these limits, seeing that they also lie in the unconscious.» — por qué se niega a encerrar el sí-mismo en la psique individual: no se conocen sus límites.

«We may be able to indicate the limits of consciousness, but the unconscious is simply the unknown psyche and for that very reason illimitable because indefinable.» — la asimetría entre conciencia e inconsciente en cuanto a límites.

«Such being the case, we should not be in the least surprised if the empirical manifestations of unconscious contents bear all the marks of something illimitable, something not determined by space and time.» — de ahí saca por qué los contenidos inconscientes se presentan sin marcas de espacio ni tiempo.

«It is all the worse when it becomes increasingly clear that numina are psychic entia that force themselves upon consciousness, since night after night our dreams practise philosophy on their own account.» — reconoce que el material lo obliga a un terreno que preferiría dejar a filósofos y teólogos.

«All that can be ascertained at present about the symbolism of the mandala is that it portrays an autonomous psychic fact, characterized by a phenomenology which is always repeating itself and is everywhere the same.» — acota hasta dónde llega lo averiguado sobre el mandala: un hecho psíquico autónomo y una fenomenología constante.

«It seems to be a sort of nucleus about whose innermost structure and ultimate meaning we know nothing.» — la ignorancia que declara sobre la estructura y el sentido último de ese núcleo.

«That the mandala is a mere psychological reflection is, however, contradicted firstly by the autonomous nature of this symbol, which sometimes manifests itself with overwhelming spontaneity in dreams and visions, and secondly by the autonomous nature of the unconscious as such, which is not only the original form of the psyche but also the condition we pass through in early childhood and to which we return every night.» — los dos argumentos con que rechaza que el mandala sea mero reflejo.

«There is no evidence for the assertion that the activity of the psyche is merely reactive or reflex.» — la negativa que sostiene contra la psicología reactiva de su tiempo.

«When raised to a universal truth it is nothing but a materialistic myth, for it overlooks the creative capacity of the psyche, which— whether we like it or not—exists, and in face of which all so-called “causes” become mere occasions.» — llama mito materialista a esa doctrina y le opone la capacidad creadora de la psique.

«The accent has always fallen on the “historicity” of the Saviour’s life, and because of this its symbolical nature has remained in the dark, although the Incarnation formed a very essential part of the symbolon (creed).» — lo que a su juicio el énfasis en la historicidad dejó a oscuras: el carácter simbólico de la Encarnación.

«The efficacy of this dogma, however, by no means rests on Christ’s unique historical reality but on its own symbolic nature, by virtue of which it expresses a more or less ubiquitous psychological assumption existing quite apart from the existence of the dogma.» — dónde pone la eficacia del dogma: en su naturaleza simbólica, no en la realidad histórica de Cristo.

«So the “strange” hat was the self, which at that time—while he was still playing a fictitious role —seemed like a stranger to him.» — la lectura retrospectiva del sombrero ajeno del primer sueño, ya avanzada la serie.

«The dark cave corresponds to the vessel containing the warring opposites.» — la equivalencia entre la cueva del sueño y el vaso alquímico.

«The self is made manifest in the opposites and in the conflict between them;» — dónde se manifiesta el sí-mismo según él: en el conflicto de los opuestos.

«Hence the way to the self begins with conflict.» — el corolario práctico de esa manifestación.

«The Pole is the point round which everything turns—hence another symbol of the self.» — su lectura del Polo en el sueño, sumado a la serie de símbolos del centro.

«In alchemy the bear corresponds to the nigredo of the prima materia (fig. go),» — la correspondencia alquímica que aplica al oso del sueño.

«The philosophus shows him the “centre.” The redness may mean the dawn, like the rubedo in alchemy, which as a rule immediately preceded the completion of the work.» — la lectura del rojo del sueño como rubedo, dada en potencial y con su lugar en la secuencia del opus.

«The children point to the dwarf motif, which may express Cabiric elements, Le., it may represent unconscious formative powers (see dreams» — su lectura del motivo enano en el recinto cuadrado, también en potencial.

«The essential point here is that the conflict seems to be overcome. The star is not in the sky and not a diamond, but a configuration on the earth formed by human beings.» — dónde pone lo esencial del sueño: la estrella está en la tierra y hecha de gente.

«The rotation motif indicates that the symbol of the circle is to be thought of not as static but as dynamic.» — lo que el giro añade al círculo: hay que pensarlo en movimiento.

«Lions, like all wild animals, indicate latent affects.» — la equivalencia con que lee los leones del sueño.

«When a definite time is added to a definite place one is rapidly approaching reality. ‘That is the reason for the gift of the jewel, but also for the fear of decision, which robs the dreamer of the power to make up his mind.» — lee la aparición de tiempo y lugar concretos como acercamiento a la realidad, y liga a eso el miedo a decidir.

«We might add by way of criticism that the antithetical arrangement of the functions has not yet become sufficiently conscious for their characteristic polarity to be recognized.» — la objeción que le hace al propio material del sueño, como quien mide un estado y no lo celebra.

«The circulation in the central oblong is still going to the left, i.e., consciousness is moving towards the unconscious.» — lo que lee en el sentido del giro dentro del rectángulo central.

«the vertical indicates that the ego-consciousness is uppermost, thus entailing a loss of height and depth.» — la lectura de la disposición vertical del mandala como predominio del yo.

«The cause of the disturbance was an underestimation of the demands of the unconscious (the vertical), which led to a flattening of the personality (recumbent oblong).» — la causa que atribuye a la deformación de la figura: haber subestimado lo que el inconsciente pedía.

«The vertical is thus lengthened and from the incorrect oblong we again get the square which expresses the complete symmetry of conscious and unconscious with all its psychological implications.» — lo que se corrige al alargarse la vertical: vuelve el cuadrado y con él la simetría de los dos sistemas.

«Religion is not a tax to be paid so that you can rid yourself of the woman’s image, for this image cannot be got rid of.» — lo que la voz del sueño le enseña sobre la religión, y que él suscribe: no es un impuesto para deshacerse de la imagen femenina.

«Religion is no substitute; it is to be added to the other activities of the soul as the ultimate completion.» — la posición sobre el lugar de la religión: se suma a las demás actividades del alma, no las reemplaza.

«The payment can be either concrete or symbolic, but the conscious mind is not qualified to decide which form is valid.» — el límite que pone a la conciencia: no le toca decidir si el pago vale como concreto o como símbolo.

«The “voice” has as a rule an absolutely authoritative character and generally comes at decisive moments.» — la regularidad que observa en el motivo de la voz dentro de la serie.

«The production of wholeness, which is prevented by the “tax evasion,” naturally requires the “image of the woman,” since as anima she represents the fourth, ‘inferior’ function, feminine because contaminated with the unconscious.» — por qué la totalidad exige la imagen femenina: es la cuarta función, femenina por contaminada.

«The theme of the Fire Mountain (fig. g4) is to be met with in the Book of Enoch.» — la fuente que da para el motivo de la montaña de fuego del sueño.

«From this we must conclude that the “realization” is meeting with strong inner resistances» — lo que infiere del estancamiento de la serie: la realización topa con resistencias.

«That the dreamer has an inadequate understanding of the polarity is shown by the fact that the nuts have still to be cracked in reality» — el detalle del sueño en que apoya ese diagnóstico.

«Save for the remark that the work is as easy as “child’s play,” I have found no explanation for this. Seeing that the work is, in the unanimous testimony of all the adepts, exceedingly difficult, it must be a euphemistic and probably also a symbolical definition» — declara no haber encontrado explicación y propone una lectura marcada como probable.

«The eagle—synonymous with phoenix, vulture, raven—is a well-known alchemical symbol» — la serie de sinónimos alquímicos del águila.

«In alchemy the egg stands for the chaos apprehended by the artifex» — la equivalencia alquímica del huevo con el caos.

«This remarkable vision made a deep and lasting impression on the dreamer, an impression of “the most sublime harmony,’ as he himself puts it» — consigna el efecto de la visión del reloj universal con las palabras del propio soñante.

«It is difficult to feel our way into the matter because the meaning of the image is exceedingly obscure» — declara la oscuridad de la imagen antes de interpretarla.

«One of the underlying ideas seems to be the intersection of two heterogeneous systems» — la hipótesis que propone sobre el reloj universal, enunciada como apariencia.

«But the regulation of their functions by three rhythms is something that I cannot corroborate.» — dice expresamente qué parte de la visión no puede corroborar.

«I do not know what the three rhythms allude to.» — la ignorancia declarada sin rodeos sobre un elemento central de la visión.

«But I do not doubt for a moment that the allusion is amply justified.» — la confianza que mantiene en el material pese a no entenderlo.

«We shall hardly be mistaken if we assume that our mandala aspires to the most complete union of opposites that is possible» — la lectura del reloj universal como unión de opuestos, dicha con cautela.

«I do not wish to labour this argument, for such an interpretation lies beyond my powers of proof.» — se abstiene de llevar más lejos la lectura cosmológica por falta de prueba.

«The thirty-two pulses may conceivably derive from the multiplication of 4 X 8» — la explicación aritmética que propone para el treinta y dos, dicha como concebible.

«The self is by definition the centre and the circumference of the conscious and unconscious systems.» — la definición que repite del sí-mismo, y que aplica al reloj universal.

«The horoscope (fig. 100) is itself a mandala (a clock) with a dark centre» — la identificación del horóscopo con el mandala por su forma de reloj de centro oscuro.

«There is also a connection with the symbolism of Horus: on the one hand we have Christ enthroned with the four emblems of the evangelists—three animals and an angel (fig. 101); on the other, we have Father Horus with his four sons, or Osiris with the four sons of Horus '*? (fig. 102).» — el paralelo egipcio que traza para la cuaternidad en torno a un centro divino.

«We find a remarkable parallel in .the writings of Guillaume de Digulleville, prior of the Cistercian monastery at Chalis, a Norman poet who, independently of Dante, composed three “pélerinages” between 1330 and 1355: Les pélerinages de la vie humaine, de l’dme, and de Jésus Christ.» — presenta y data a Guillaume de Digulleville, y subraya que compuso con independencia de Dante.

«There is, however, one thing more to be asked: “Three there are—but where is the fourth?’ Why is blue missing?» — la pregunta con que convierte la visión del poeta en el problema de su propio libro: falta el cuarto, falta el azul.

«It was inevitable that blue should be missing for Guillaume in the tetrad of rainbow colours, because of its feminine nature.» — la razón que da para la falta del azul en el poema: es de naturaleza femenina.

«Without the blue vertical circle the golden mandala remains bodiless and two-dimensional, a mere abstraction.» — lo que falta sin el azul: cuerpo y tercera dimensión.

«It is only the intervention of time and space here and now that makes reality.» — la condición que pone para que algo sea real: tiempo y espacio, aquí y ahora.

«Wholeness is realized for a moment only—the moment that Faust was seeking all his life.» — la duración que le concede a la totalidad realizada, con el Fausto como testigo.

«‘The poet in Guillaume must have had an inkling of the heretical truth when he gave the King a Queen sitting on a throne made of earth-brown crystal.» — atribuye al poeta un barrunto de lo que su teología no admitía, y lo dice como conjetura.

«The vision of the “world clock” is neither the last nor the highest point in the development of the symbols of the objective psyche.» — acota el alcance de lo expuesto: la visión del reloj no es la culminación de la serie.

«But it brings to an end the first third of the material, consisting in all of some four hundred dreams and visions.» — declara qué proporción del material ha recorrido: el primer tercio.

«At the same time I am fully aware that the comparative material so necessary for a complete elucidation could have been greatly increased.» — reconoce que el material comparativo se quedó corto, por decisión suya.

«I believe myself to be quite in a position to offer ample evidence for my views, but I do not wish to give the impression that I imagine I have said anything final on this highly complicated subject.» — sostiene tener pruebas y a la vez se niega a presentar lo dicho como definitivo.

«The earlier case, which I never saw at first hand, ended in psychic catastrophe—a psychosis; but the present case shows a normal development such as I have often observed in highly intelligent persons.» — compara este caso con uno anterior que terminó en psicosis, y consigna que aquel no lo vio de primera mano.

«We can hardly help feeling that the unconscious process moves spiral-wise round a centre, eradually getting closer, while the characteristics of the centre grow more and more distinct.» — la figura de la espiral aplicada al proceso entero, presentada como impresión.

«Or perhaps we could put it the other way round and say that the centre—itself virtually unknowable—acts like a magnet on the disparate materials and processes of the unconscious and gradually captures them as in a crystal lattice.» — ofrece la descripción inversa sin decidir entre las dos.

«I trust I have given no cause for the misunderstanding that I know anything about the nature of the “centre’’—for it is simply unknowable and can only be expressed symbolically through its own phenomenology, as is the case, incidentally, with every object of experience.» — se cura en salud sobre su propio término: del centro no sabe nada, solo su fenomenología.

«Now it is—as I can hardly refrain from remarking—a curious “sport of nature” that the chief chemical constituent of organic bodies is carbon, which is characterized by four valences; also it is well known that the diamond is a carbon crystal.» — la coincidencia química que anota sobre la cuaternidad y el diamante, marcándola como capricho de la naturaleza.

«we come, at least in my opinion, to the inescapable conclusion that there is some psychic element present which expresses itself through the quaternity.» — la conclusión que saca sobre la cuaternidad, atribuida expresamente a su opinión.

«If I have called the centre the “‘self’’ I did so after mature consideration and a careful appraisal of the empirical and historical data.» — defiende la elección del término por los datos y no por gusto.

«A materialistic interpretation could easily maintain that the “centre’’ is “nothing but” the point at which the psyche ceases to be knowable because it there coalesces with the body.» — formula la objeción materialista a su centro sin desfigurarla.

«I purposely refrain from all such physical and metaphysical speculations and content myself with establishing the empirical facts, and this seems to me to be infinitely more important for the advance of human knowledge than running after fashionable intellectual crazes or trumped-up “religious” creeds.» — declara su abstención de especular y por qué la prefiere.

«To the best of my experience we are here dealing with important “nuclear processes” in the objective psyche—‘images of the goal,” as it were, which the psychic process, being ‘“‘purposive,” apparently sets up of its own accord, without any ex ternal stimulus.» — lo que sostiene sobre esas imágenes de la meta, con la reserva de que habla desde su experiencia.

«As to the question of the origin of the mandala motif, from a superficial point of view it looks as if it had gradually come into being in the course of the dream-series.» — plantea la apariencia antes de corregirla: el motivo parece formarse a lo largo de la serie.

«The fact is, however, that it only appeared more and more distinctly and in increasingly differentiated form; in reality it was always present and even occurred in the first dream—as the nymphs say later:‘‘We were always there, only you did not notice us.”» — corrige esa apariencia con el dato de la serie y con la frase que las propias figuras del sueño dicen.

«It is therefore more probable that we are dealing with an a priori “type,” an archetype which is inherent in the collective unconscious and thus beyond individual birth and death.» — la conclusión sobre el mandala como arquetipo a priori, dicha como lo más probable.

«In practice, however, it is only to be met with in distinct form in relatively few cases, though this does not prevent it from functioning as a concealed pole round which everything ultimately revolves.» — acota la frecuencia del motivo sin renunciar a su función de eje oculto.

«But every carrier is charged with an individual destiny and destination, and the realization of these alone makes sense of life.» — dónde pone el sentido de la vida: en realizar un destino individual.

«True, the “‘sense”’ is often something that could just as well be called “nonsense,” for there is a certain incommensurability between the mystery of existence and human understanding.» — la reserva inmediata a esa afirmación: el sentido puede llamarse igual sinsentido.

«As the historical parallels show, the symbolism of the mandala is not just a unique curiosity; we can well say that it is a regular occurrence.» — la conclusión que extrae de los paralelos históricos.

«Its inner decay had begun at least a century earlier, in the time of Jakob Bohme, when many alchemists deserted their alembics and melting-pots and devoted themselves entirely to (Hermetic) philosophy.» — data la decadencia interna de la alquimia un siglo antes de la Ilustración y la atribuye al abandono del laboratorio.

«Chemistry became natural science, whereas Hermetic philosophy lost the empirical ground from under its feet and aspired to bombastic allegories and inane speculations which were only kept alive by memories of a better time.» — el reparto de la herencia alquímica entre química y filosofía hermética, con juicio duro para la segunda.

«But a comprehensive study of the ideas contained in the texts, and of their history, is still lacking, although we are indebted to Reitzenstein for important preparatory work in this field.» — declara el estado de la investigación sobre los textos alquímicos y a quién le debe lo hecho.

«Although hardly two authors are of the same opinion regarding the exact course of the process and the sequence of its stages, the majority are agreed on the principal points at issue, and moreover from the earliest times, i.e., since the beginning of the Christian era.» — consigna a la vez el desacuerdo entre los alquimistas y el acuerdo de fondo que encuentra en ellos.

«But since it has about the same meaning as the red tincture of later alchemy I have translated iosis as “reddening.”» — declara una decisión de traducción propia y la razón de fondo.

«Since the process never led to the desired goal and since the individual parts of it were never carried out in any standardized manner, the change in the classification of its stages cannot be due to extraneous reasons but rather to the symbolical significance of the quaternity and the trinity; in other words, it is due to inner psychological reasons.*» — el argumento con que descarta causas técnicas para el cambio de tres a cuatro estadios.

«The albedo is, so to speak, the daybreak, but not till the rubedo is it sunrise.» — la figura con que ordena las dos fases claras de la obra.

«The transition to the rubedo is formed by the citrinitas, though this, as we have said, was omitted later.» — sitúa la citrinitas como tránsito y consigna que la tradición posterior la suprimió.

«Although these two elements are antagonistic and even constitute a typical pair of opposites, they are yet one and the same according to the testimony of the authors.» — consigna la coexistencia sin armonizarla: agua y fuego son opuestos y una misma cosa según los autores.

«In spite of this we are on the other hand assured that the water is extracted from the stone or prima materia as its life-giving soul (anima).» — la otra afirmación del corpus, incompatible con la anterior y consignada igual.

«Many dispute in long controversies whether the stone, under different names, consists of several substances, or of two, or only of one.» — recoge la disputa interna de los alquimistas sobre el número de sustancias, sin dirimirla.

«Although an implement, it nevertheless has peculiar connections with the prima materia as well as with the lapis, so it is no mere piece of apparatus.» — por qué el vaso hermético no es un simple aparato en esos textos.

«Thus we hear that the vas is the water or acqua permanens, which is none other than the Mercurius of the philosophers.'®» — la identificación del vaso con el agua y con Mercurio que encuentra en las fuentes.

«It is a kind of matrix or uterus from which the filius philosophorum, the miraculous stone, is to be born» — la figura del vaso como matriz de la que nace el hijo de los filósofos.

«But not only is it the water, it is also its opposite: fire.”» — la contradicción del vaso llevada hasta el final: es el agua y es el fuego.

«Thus in 1576, Josephus Quercetanus, alchemist, physician, and diplomat, who in France and French Switzerland played a somewhat similar role to that of Paracelsus, established a sequence of twelve operations 7! as follows (fig. 122):» — presenta y data la secuencia de doce operaciones de Quercetanus, con su lugar comparado al de Paracelso.

«‘There was nothing at that time to convince the alchemist of the senselessness of his chemical operations; what is more, he could look back on a long tradition which contained not a few testimonies of such as had achieved the marvellous result.”» — desactiva la burla retrospectiva: al alquimista nada le probaba entonces que su trabajo fuera absurdo.

«Hence, even if alchemy had consisted in—if you like—an unending series of futile and barren chemical experiments, it would be no more astonishing than the venturesome endeavours of medieval medicine and pharmacology.» — pone la alquimia a la misma altura que la medicina medieval, aun concediendo lo peor de ella.

«The ancients knew more or less what chemical processes were; therefore they must have known that the thing they practised was, to say the least of it, no ordinary chemistry.» — el argumento con que sostiene que los alquimistas sabían que no hacían química corriente.

«If the alchemist is admittedly using the chemical process only symbolically, then why does he work in a laboratory with crucibles and alembics?» — la objeción que se hace a sí mismo y que no despacha.

«On the one hand the alchemist declares that he is concealing the truth intentionally, so as to prevent wicked or stupid people from gaining possession of the gold and thus precipitating a catastrophe.» — la primera de las dos declaraciones incompatibles que encuentra en un mismo autor.

«But, on the other hand, the same author will assure us that the gold he is seeking is not—as the stupid suppose—the ordinary gold (aurum vulgi), it is the philosophical gold or even the marvellous stone, the lapis invisibilitatis (the stone of invisibility) ? or the lapis aethereus (the ethereal stone) * or finally the unimaginable hermaphroditic rebis (fig. 125), and- he will end up by saying that all recipes whatsoever are to be despised.*» — la segunda declaración del mismo autor, que contradice a la primera; Jung consigna las dos sin armonizarlas.

«Mystification can be pure bluff for the obvious purpose of exploiting the credulous.» — concede la lectura más dura de la oscuridad alquímica antes de limitarla.

«The real nature of matter was unknown to the alchemist: he knew it only in hints.» — la condición epistemológica que hace posible la proyección: la materia era desconocida.

«Strictly speaking, projection is never made; it happens, it is simply there.» — corrige el verbo con que se habla de la proyección: no se hace, ocurre.

«The alchemist does not practise his art because he believes on theoretical grounds in correspondence; the point is that he has a theory of correspondence because he experiences the presence of the idea, or of spirit, in physical matter.» — invierte el orden entre doctrina y experiencia: la teoría de las correspondencias viene después de la vivencia.

«I am therefore inclined to assume that the real root of alchemy is to be sought less in philosophical doctrines than in the projections experienced by individual investigators.» — dónde sitúa la raíz de la alquimia, marcando que es una inclinación suya.

«He experienced his projection as a property of matter; but what he was in reality experiencing was his own unconscious.» — la fórmula más escueta de su tesis sobre la alquimia.

«As we all know, science began with the stars, and mankind discovered in them the dominants of the unconscious, the “gods,” as well as the curious psychological qualities of the zodiac: a complete projected theory of human character.» — su lectura del zodíaco como teoría del carácter proyectada sobre el cielo.

«Such projections repeat themselves wherever man tries to explore an empty darkness and involuntarily fills it with living form.» — la regla general de la que la alquimia sería un caso.

«I had no reason to hope for a very rich find, since it is a matter of “unconscious” experiences which would escape record for precisely that reason.» — reconoce por qué la evidencia documental de las proyecciones tiene que ser escasa.

«The text is by no means old, and bears all the traits of the decadent period (18th century).» — data y desvaloriza el tratado del que acaba de citar el rito de la creación.

«I am indebted to Prof. Th. Reichstein (Basel) for introducing me to this little book.» — declara de quién le viene ese texto.

«Hoghelande’s remarks prove that during the practical work certain events of an hallucinatory or visionary nature were perceived, which cannot be anything but projections of unconscious contents.» — lee en Hoghelande el testimonio de que en el laboratorio se percibían fenómenos alucinatorios.

«The authors speak of seeing with the eyes of the spirit, but it is not always clear whether they mean vision in a real or a figurative sense.» — declara la ambigüedad de sus fuentes en el punto que más le importa.

«Since the former makes no sense I have chosen the latter possibility.» — declara abiertamente por qué eligió una de dos lecturas posibles.

«The man on the cathedra undoubtedly refers to a vision of Hermes such as can be found in the old treatise Senioris Zadith» — la identificación que hace de una figura del texto alquímico con la visión de Hermes de Senior.

«Matter is thus formed through illusion, which is necessarily that of the alchemist.» — lo que resulta de esa doctrina alquímica: la materia se forma por una ilusión, y la ilusión es del operador.

«‘This illusion might well be the vera imaginatio possessed of “informing’’ power.» — propone identificar esa ilusión con la imaginación verdadera de los textos, en potencial.

«The fact that visions allied themselves to the alchemical work may also explain why dreams and dream-visions are often mentioned as important intermezzi or as sources of revelation.» — enlaza las visiones del laboratorio con el papel que los sueños tienen en los tratados.

«Hoghelande explains the necessity for divine enlightenment by saying that the production of the stone transcends reason *3 and that only a supernatural and divine knowledge knows the exact time for the birth of the stone.» — la razón que Hoghelande da para la necesidad de gracia, recogida por Jung.

«This means that God alone knows the prima materia.» — la consecuencia que extrae de esa doctrina de la iluminación.

«Thus Nazari, for instance, puts his doctrine of transmutation in the form of three dreams,» — el caso de Nazari, que expone su doctrina como tres sueños.

«We can hardly doubt that it is a question of the psychological condition for the opus, and that this is of fundamental importance.» — lo que sostiene sobre las exigencias morales y mentales que los tratados imponen al operador.

«the author is in fact of the opinion that the essential secret of the art lies hidden in the human mind—or, to put it in modern terms, in the unconscious (fig. 132).» — le atribuye a su fuente la tesis que él sostiene, y marca que la traducción a términos modernos es suya.

«If it really did dawn on the alchemists that their work was somehow connected with the human psyche and its functions, then it seems to me probable that the passage from the Rosarium quoted above is no mere misprint.» — condiciona su lectura de un pasaje a una hipótesis previa y lo dice.

«There is an unmistakable hint here that the work and its goal depended very largely on a mental condition.» — la conclusión que saca de las instrucciones de estudio y meditación.

«The importance or necessity of understanding (mens) and intelligence is insisted upon all through the lterature, not only because intelligence above the ordinary is needed in the performance of so difficult a work, but because it is assumed that a species of magical power capable of transforming even brute matter dwells in the human mind.» — la doble razón por la que los tratados exigen inteligencia al operador, y la segunda es la que le interesa.

«Dorn draws a complete parallel between the alchemical work and the moral-intellectual transformation of man.» — el paralelo que le atribuye a Dorn, y que es el que su propio libro sostiene.

«Gold, silver, and so on are forms of matter, therefore one can make gold if one succeeds in impressing the form of gold (impressio formae) on the informis massa or chaos, i.e., the prima materia.» — reconstruye la lógica escolástica que hacía razonable la transmutación.

«The anima ‘is separated from its body (separatio). As an ingenium, it is the body’s essential quality or “soul,” whose material nature has to be transformed into something higher.» — la operación de separación tal como la lee en la tabla del *Liber Platonis quartorum*.

«The third horizontal series shows the upward advance still more clearly: in column I, the soul emerges from nature; in column II, there is an elevation into the realm of air; in column III, the process reaches the “simple” things which, because of their unalloyed quality, are incorruptible, eternal, and akin to Platonic ideas; and in column IV, there is the final ascent from mens to ratio, to the anima rationalis, 1.e., the highest form of the soul.» — lee la tabla de correspondencias como un ascenso graduado de la naturaleza al alma racional.

«First vertical series: This column has a “phenomenological” character, if such a modern term is permissible here. The psychic element emerges from the sum of natural phenomena and culminates in the exaltatio intellectus, the phenomenon of clear insight and understanding.» — aplica un término moderno a la tabla medieval y en la misma frase pide permiso para hacerlo.

«Fourth vertical series: This column is exclusively “psychological.” The senses mediate perception, while the discretio intellectualis corresponds to apperception.» — la traducción de la cuarta serie de la tabla a términos de percepción y apercepción.

«Above the anima rationalis there is only the res, which is the product of all the preceding effects.» — qué queda por encima del alma racional en ese esquema.

«The “Liber Platonis quartorum”’ interprets this res as the invisible and immovable God 5° whose will created the intelligence;» — la identificación que el tratado hace de esa *res* con el Dios invisible.

«The assumption underlying this train of thought is the causative effect of analogy. In other words, just as in the psyche the multiplicity of sense perceptions produces the unity and simplicity of an idea, so the primal water finally produces fire, i.e., the» — nombra el supuesto que sostiene todo el razonamiento alquímico: la analogía como causa.

«This medicine is “of threefold nature: metaphysical, physical, and moral” (“moral” is what we would call “psychological”).» — recoge la triple naturaleza que Dorn da a esa medicina y traduce el tercer término a su propio vocabulario.

«By studying the philosophers man acquires the skill to attain this stone.» — la vía que los tratados prescriben para llegar a la piedra: el estudio.

«It must now be sufficiently clear that from its earliest days alchemy had a double face: on the one hand the practical chemical work in the laboratory, on the other a psychological process, in part consciously psychic, in part unconsciously projected and seen in the various transformations of matter.» — la formulación acabada de su tesis sobre la doble cara de la alquimia, con la parte consciente y la proyectada distinguidas.

«Since the investigator’s psyche is so closely bound up with the work—not only as its necessary medium but also as its cause and point of departure—it is easy to understand why so much emphasis is laid on the psychic condition and mental attitude of the laboratory worker.» — explica por qué los tratados insisten tanto en el estado mental del operador.

«Ruland’s definition proves beyond all doubt that when the alchemists speak of meditari they do not mean mere cogitation, but explicitly an inner dialogue» — apoya en el diccionario de Ruland qué significaba *meditatio* para los alquimistas.

«This story, although it is not so much a confession as a description of the golden age of alchemy, nevertheless tells us how the alchemist imagined the psychological structure of his opus.» — acota qué clase de testimonio es el relato que acaba de citar, antes de usarlo.

«In an age when there was as yet no empirical psychology such a concretization was bound to be made, because everything unconscious, once it was activated, was projected into» — la razón histórica por la que lo psíquico se concretaba en materia.

«Actually, however, the question is wrongly put: there was no “either-or” for that age, but there did exist an intermediate realm» — descarta la disyuntiva entre materia y espíritu diciendo que esa época no la planteaba.

«but there did exist an intermediate realm between mind and matter, 1.e., a psychic realm of subtle bodies 1°* whose» — nombra ese reino intermedio de los cuerpos sutiles.

«But, just because of this intermingling of the physical and the psychic, it always remains an obscure point whether the ultimate transformations in the alchemical process are to be sought more in the material or more in the spiritual» — declara que el punto queda oscuro y no lo resuelve a su favor.

«The origin of the Latin text in my manuscript is at present unknown.» — declara no saber de dónde viene el texto latino que está usando.

«If we strip this statement of its metaphysics it asserts that the psyche is only partly identical with our empirical conscious being» — la traducción que hace de la doctrina del alma como vicaria de Dios a su propio vocabulario, marcando la operación.

«Such hypotheses do not trouble our philosophers, for according to their teaching every form of life, however elementary, contains its own inner antithesis, thus anticipating the problem of opposites in modern psychology.» — dónde encuentra anticipado su problema de los opuestos en la doctrina alquímica de los elementos.

«The concept of zmaginatio is perhaps the most important key to the understanding of the opus.» — la afirmación con que jerarquiza los conceptos alquímicos, dicha con reserva (la capa de texto imprime *zmaginatio*).

«In my opinion it is quite hopeless to try to establish any kind of order in the infinite chaos» — declara imposible ordenar el conjunto de las sustancias y procedimientos alquímicos, y lo atribuye a su opinión.

«Seldom do we get even an approximate idea of how the work was done, what materials were used, and what results were achieved.» — mide lo que los tratados no permiten saber sobre la práctica misma.

«Moreover, one must not imagine for a moment that the alchemists always understood one another.» — advierte que tampoco entre ellos había entendimiento asegurado.

«The alchemist is quite aware that he writes obscurely. He admits that he veils his meaning on purpose, but nowhere—so far as I know—does he say that he cannot write in any other way.» — la distinción exacta que hace sobre la oscuridad alquímica, con el límite de su propio conocimiento declarado.

«The profound darkness that shrouds the alchemical procedure comes from the fact that although the alchemist was interested in the chemical part of the work he also used it to devise a nomenclature for the psychic transformations that really fascinated him.» — su explicación de la oscuridad: la química servía de nomenclatura para otra cosa.

«That is why, in analytical psychology, we resort to amplification in the interpretation of dreams, for a dream is too slender a hint to be understood until it is enriched by the stuff of association and analogy and thus amplified to the point of intelligibility.» — define la amplificación y dice por qué su psicología la necesita.

«The method of alchemy, psychologically speaking, is one of boundless amplification.» — lee el método alquímico entero como amplificación sin límite.

«But Mercurius is the divine winged Hermes (fig. 146) manifest in matter, the god of revelation, lord of thought and sovereign» — quién es Mercurio para los alquimistas más allá del azogue: el dios de la revelación manifiesto en la materia.

«the face of it he means quicksilver, but inwardly he means the world-creating spirit concealed or imprisoned in matter.» — la doble referencia del término Mercurio en los textos: azogue por fuera, espíritu preso por dentro.

«Mercurius stands at the beginning and end of the work: he is the prima materia, the caput corvi, the nigredo; as dragon he devours himself and as dragon he dies, to rise again as the lapis.» — el recorrido completo de Mercurio por las fases del opus, de la materia prima a la piedra.

«Time and again the alchemists reiterate that the opus proceeds from the one and leads back to the one,” that it is a sort of circle like a dragon biting its own tail» — la forma circular que los alquimistas dan a la obra, repetida por ellos una y otra vez.

«He is metallic yet liquid, matter yet spirit, cold yet fiery,’* poison and yet healing draught—a symbol uniting all opposites» — la serie de contrarios que Mercurio reúne, sin resolución entre ellos.

«Nietzsche’s impressive metaphor in Zarathustra, “for me an image slumbers in the stone,” says much the same thing, but the other way round.» — pone el verso de Nietzsche junto al dicho de Ostanes y marca que la dirección es inversa.

«But it is the other way about with the old alchemists: they were looking for the marvellous stone that harboured a pneumatic essence in order to win from it the substance that penetrates all substances—since it is itself the stone-penetrating ‘‘spirit’”’—and transforms all base metals into noble ones by a process of coloration.» — la diferencia entre Nietzsche y los alquimistas: unos sacan de la piedra una imagen, otros una sustancia que penetra todo.

«Just as Nietzsche made absolutely sure that nobody could mistake the superman for a sort of spiritual or moral ideal, so it is emphasized that the tincture or divine water is far from being merely curative and ennobling in its effects, but that it may also act as a deadly poison which penetrates other bodies as pervasively as the Pneuma penetrates its stone.» — el paralelo continúa por el lado del peligro: ni el superhombre ni la tintura son ideales benignos.

«Zosimos was a Gnostic who was influenced by Hermes.» — la adscripción que hace de Zósimo, breve y sin matices.

«Clearly enough, then, Zosimos had a mystic or Gnostic philosophy of sorts whose basic ideas he projected into matter.» — su lectura de Zósimo como caso de la proyección que viene sosteniendo.

«When we speak of psychological projection we must, as i have already pointed out, always remember that it is an unconscious process that works only so long as it stays unconscious.» — la condición que define a la proyección: deja de operar cuando se la reconoce.

«Since Zosimos, like all the other alchemists, is convinced not only that his philosophy can be applied to matter but that processes also take place in it which corroborate his philosophical assumptions, it follows that he must have expertenced, in matter itself, at the very least an identity between the behaviour of matter and the events in his own psyche.» — el argumento con que sostiene que Zósimo vivió esa identidad, no solo la pensó.

«The Nous is therefore a kind of Bageiov, dyestuff or tincture, that ennobles base substances.» — la función que el Nous cumple en ese esquema, dicha en términos de tintura (el griego sale corrompido de la capa de texto).

«The psychic autonomy of the Pneuma ** was vouched for by the Neopythagoreans; in their view the soul was swallowed by matter and only mind—Nous— was left.» — la posición neopitagórica sobre el alma tragada por la materia, que recoge como antecedente.

«But the Nous is outside man: it is his daemon.» — dónde sitúa esa tradición al Nous respecto del hombre.

«The pagan projection, on the other hand, goes beyond man and acts upon the unknown in the material world, the unknown substance which, like the» — dónde cae la proyección pagana frente a la cristiana: en la materia desconocida y no en un hombre.

«In the Christian projection the descensus spiritus sancti stops at the living body of the Chosen One, who is at once very man and very God, whereas in alchemy the descent goes right down into the darkness of inanimate matter whose nether regions, accord» — la diferencia de profundidad entre los dos descensos, que es la que separa a las dos vías.

«She is “the divine soul imprisoned in the elements,” whom it is the task of alchemy to redeem.» — define la tarea de la alquimia por su objeto: redimir el alma divina presa en los elementos.

«He looks to his Redeemer, full of faith and confidence, and does what he can in the way of “imitation”; but this never reaches the point where man himself becomes the Redeemer— or at least his own redeemer.» — el tope que el cristianismo pone a la imitación, y que la alquimia sí cruza.

«Yet a complete imitation and reestablishment of Christ in the believer would necessarily lead to such a conclusion. But this is out of the question.» — señala la consecuencia lógica de la imitación completa y anota que está descartada.

«In the ritual act the priest as it were shows forth the mystical event, but the real agent is Christ, who sacrifices himself everywhere always.» — quién es el agente en la misa según la doctrina que recoge: no el sacerdote.

«In the Thomist view the Mass is not a real immolatio (sacrifice) of the body of Christ but a “re-presentation” of his sacrificial death.» — consigna la precisión tomista sobre qué es y qué no es la misa.

«In the figure of the divine hero, God himself wrestles with his own imperfect, suffering, living creation; he even takes its suffering condition upon himself and, by this sacrificial act, accomplishes the opus magnum, the Giov of salvation and victory over death.» — lee el sacrificio cristiano como un opus magnum, y con eso monta el paralelo con la alquimia.

«As regards the actual performance of this entirely metaphysical work, man is powerless to do anything really decisive.» — el lugar del hombre en esa obra según el esquema cristiano: sin poder decisivo.

«The etymology of the German word for sacrifice, Opfer, is obscure, it being a moot point whether it comes from offerre, “to offer,” or from operari, “to effect, to be active.”» — declara indecidida la etimología y con ello deja abierta la ambigüedad entre ofrecer y obrar.

«The latter is a transmutation of the elements, which pass from a natural, soiled, imperfect material state into a subtle body.» — cómo describe la transubstanciación en términos que la acercan al opus.

«There is no sign of that unworthy sinful man whom Protestantism has so often slandered in the past and is only too ready to slander again.» — lo que encuentra en el rito católico y no en la polémica protestante sobre el hombre.

«In a certain sense this is just what the priest does in the performance of the sacrificial mystery, when he offers himself as the victim in place of Christ;» — el punto de contacto que encuentra entre el sacerdote y el alquimista.

«His attention is not directed to his own salvation through God’s grace, but to the liberation of God from the darkness of matter.» — la diferencia decisiva del alquimista frente al cristiano: no busca salvarse sino liberar a Dios.

«He may approach the work as one in need of salvation, but he knows that his salvation depends on the success of the work, on whether he can 299» — el reparto de la salvación en la vía alquímica: depende de que la obra salga.

«To this end he needs meditation, fasting, and prayer; more, he needs the help of the Holy Ghost as his néoedoos.» — los medios que el alquimista necesita, incluido el Espíritu Santo como ayudante (el griego sale corrompido de la capa de texto).

«Therefore, what comes out of the transformation is not Christ but an ineffable material being named the “stone,” which displays the most paradoxical qualities apart from possessing corpus, anima, spiritus, and supernatural powers (fig. 214).» — qué sale de la transformación alquímica, y en qué se distingue del producto de la misa.

«One might be tempted to explain the symbolism of alchemical transformation as a parody of the Mass were it not pagan in origin and much older than the latter.» — descarta que la alquimia parodie la misa apoyándose en la cronología.

«The substance that harbours the divine secret is everywhere, including the human body.» — dónde está la sustancia que guarda el secreto: en todas partes, y también en el cuerpo.

«Alchemists are, in fact, decided solitaries:48 each has his say in his own way.*®» — el retrato social del alquimista: solitario, y cada uno con su propia manera de decirlo.

«They rarely have pupils, and of direct tradition there seems to have been very little, nor is there much evidence of any secret societies or the like.®°» — la escasez de discípulos, de tradición directa y de sociedades secretas, dicha como falta de evidencia.

«Their writings are relatively free from controversy, and the way they quote each other shows a remarkable agreement on first principles, even if one cannot understand what they are really agreeing about.*!» — consigna el acuerdo de fondo entre alquimistas y a la vez su opacidad.

«The reason for this is probably the fact that “true” alchemy was never a business or a career, but a genuine opus to be achieved by quiet, self-sacrificing work.» — la explicación que propone para esa falta de polémica, marcada como probable.

«One has the impression that each individual tried to express his own particular experiences, quoting the dicta of the masters only when they seemed to offer analogies.» — cómo entiende el uso que los alquimistas hacían de las autoridades: por analogía con lo propio.

«It goes without saying that there are good and bad authors in alchemical literature as elsewhere.» — se abstiene de idealizar el corpus del que se ocupa.

«The practice of the art is a hard road ® and the longest road.®*» — la caracterización del arte que sus fuentes repiten y él suscribe.

«The basis of the opus, the materia prima, is one of the most famous secrets of alchemy.» — el lugar que la materia prima ocupa entre los secretos del arte.

«This is hardly surprising, since it represents the unknown substance that carries the projection of the autonomous psychic content.» — su explicación del secreto: la materia prima es lo que soporta la proyección.

«It was of course impossible to specify such a substance, because the projection emanates from the individual and is consequently different in each case.» — por qué esa sustancia no podía especificarse: la proyección es de cada quien.

«For this reason it is incorrect to maintain that the alchemists never said what the prima materia was; on the contrary, they gave all too many indications and so were everlastingly contradicting themselves.» — corrige el lugar común: no callaron qué era la materia prima, dijeron demasiado y se contradijeron.

«For one alchemist the prima materia was quicksilver, for others it was ore, iron, gold, lead, salt, sulphur, vinegar, water, air, fire, earth, blood, water of life, lapis, poison, spirit, cloud, sky, dew, shadow, sea, mother, moon, dragon, Venus, chaos, or microcosm (fig. 162).» — la lista con que sostiene esa contradicción: cada autor nombra una sustancia distinta.

«Ruland’s Lexicon gives no less than fifty synonyms, and a great many more could be added.» — la medida lexicográfica de esa dispersión, con el aviso de que la lista no está cerrada.

«Hermes ‘Trismegistus is said to have called the stone the “orphan.”» — la denominación atribuida a Hermes Trismegisto, consignada con la reserva de la atribución.

«Because it roots in itself it is autonomous and dependent on nothing.» — lo que se sigue de que la materia prima sea raíz de sí misma.

«The term lapis is used all through the literature for the beginning and the goal.» — la ambigüedad de *lapis* en el corpus: nombra a la vez el punto de partida y la meta.

«The interpretations contained in the “Aquarium sapientum” ’—interesting on account of their truly preposterous character and hardly to be outdone even by the “Aurora consurgens’—carry Paracelsian speculation still further, though without mentioning the author.» — juzga sin miramientos ese tratado y de paso anota que calla su fuente paracelsiana.

«A Christian can hardly believe his ears, but this conclusion only repeats what has already been said quite plainly in the “Liber Platonis quartorum”: “Res ex qua sunt res, est Deus invisibilis et immobilis” #4 (That from which things arise is the invisible and immovable God).» — señala hasta dónde llega la identificación alquímica de materia prima y Dios, y que ya estaba dicha sin rodeos.

«It is true that very few of the philosophers pressed forward to this conclusion expressis verbis, but it is an aspect that makes» — acota cuántos alquimistas dijeron eso expresamente: muy pocos.

«However remote alchemy may seem to us today, we should not underestimate its cultural importance for the Middle Ages.» — la advertencia con que reclama peso histórico para la alquimia.

«Today is the child of the Middle Ages and it cannot disown its parents.» — la razón que da: el presente no puede desconocer a sus padres.

«According to Ripley the prima materia is water; it is the material principle of all bodies,’ including mercury.’® It is the hyle which the divine act of creation brought forth from the chaos as a dark sphere» — la doctrina de Ripley sobre la materia prima como agua y esfera oscura sacada del caos.

«In the treatise “De sulphure” hell-fire (ignis gehennalis) is attributed to the earth element as its inner opposite.”» — dónde ponen los tratados el fuego infernal: en la tierra, como su opuesto interno.

«The hylic water contains a hidden elemental fire.» — la coexistencia de agua y fuego en la materia prima, dicha sin resolverla.

«The original idea is to be found in Anaxagoras, where the Nous gives rise to a whirlpool in chaos.» — remonta a Anaxágoras la idea del torbellino del Nous en el caos.

«It is the black, magically fecund earth that Adam took with him from Paradise, also called antimony and described as “black blacker than black”» — la descripción de la materia prima como tierra negra traída del Paraíso por Adán.

«When we are told that the King is exanimis, inanimate, or that his land is unfruitful, it is equivalent to saying that the hidden state is one of latency and potentiality.» — su traducción del rey inanimado de la *Visio Arislei* a un estado de latencia.

«The darkness and depths of the sea symbolize the unconscious state of an invisible projected content.» — la equivalencia con que lee el fondo del mar en la alegoría.

«This, in the alchemical allegory, is expressed by the King’s cry for help from the depths of his unconscious, a dissociated state.» — lee el grito del rey del mar como la llamada de un contenido disociado.

«Arisleus is a corruption of Archelaos, owing to Arabic transcription.» — corrige el nombre del personaje y da la causa: la transcripción árabe.

«Since the Turba, which is ascribed to Arisleus, goes back to Arabic tradition—as Ruska points out—we must assume that Archelaos lived much earlier.» — apoya en Ruska la datación y consigna la atribución de la *Turba* como atribución.

«The “whole” or “self” comprises both conscious and unconscious contents.» — la definición que repite del todo psíquico, aplicada aquí a la alegoría alquímica.

«There is ample evidence in the literature to show that divitiaeé and salus are spiritual bona futura, and refer as much to the salvation of the soul as to the» — sostiene que las riquezas prometidas en esos textos son bienes espirituales, y dice en qué se apoya.

«His death is a punishment for the incestuous coniunctio oppositorum (figs.» — cómo se lee la muerte del hijo del rey dentro de la propia alegoría.

«The alchemist finds himself in the role of a “redeemer” whose opus divinum is more a continuation of the divine work of redemption than a precautionary measure calculated to guard against possible damnation at the Last Judgment.» — el papel que la alquimia asigna a su operador, y en qué se distingue de la piedad ordinaria.

«The death therefore represents the completion of the spirit’s descent into matter.» — qué significa esa muerte en su lectura: el descenso del espíritu completado.

«they rationalize or minimize the incest, in itself so repellent.» — anota cómo los propios alquimistas se las arreglan con el incesto de su alegoría.

«The night sea journey: Joseph in the cistern, Christ in the sepulchre, Jonah swallowed by the whale.» — la serie de precedentes bíblicos con que amplifica el viaje nocturno por el mar.

«Since all this means a diminution or extinction of consciousness, an abaissement du niveau mental equivalent to that “peril of the soul” which is primitive man’s greatest dread (1.e., the fear of ghosts 4°), the deliberate and indeed wanton provocation of this state is a sacrilege or breach of taboo attended by the severest punishments.» — mide en términos clínicos y etnográficos lo que la alegoría alquímica pone en juego.

«We can also understand why Michael Maier found few that were willing to plunge into the sea.» — la consecuencia práctica de ese peligro, con el testimonio de Maier.

«The psychological danger that arises here is the disintegration of personality into its functional components, i.e., the separate functions of consciousness, the complexes, hereditary factors, etc.» — nombra el riesgo psicológico que corresponde a la mortificatio.

«Disintegration—which may be functional or occasionally a real schizophrenia—is the fate which overtakes Gabricus (in the Rosarium version): he is dissolved into atoms in the body of Beya,** this being equivalent to a form of mortificatio (fig. 173).» — empareja la disolución de Gabricus con un cuadro clínico, sin borrar la diferencia entre lo funcional y la esquizofrenia.

«This heat is the ignis gehennalis, the hell into which Christ descended in order to conquer death as part of his opus.» — la identificación del fuego alquímico con el infierno del descenso de Cristo.

«The philosopher makes the journey to hell as a “redeemer.”» — el papel que el filósofo alquímico asume en ese viaje.

«The “treasure hard to attain,’ whose presence was suspected in the dark prima materia, has been symbolized by the alchemists in various ways.» — el motivo del tesoro difícil de alcanzar, sospechado en la materia oscura.

«Little by little the sun has imprinted its image on the earth, and that image is the gold.» — la doctrina alquímica del oro como imagen impresa del sol en la tierra.

«The sun is the image of God, the heart *® is the sun’s image in man, just as gold is the sun’s image in the» — la cadena de imágenes con que la alquimia liga a Dios, el sol, el corazón y el oro.

«Ripley is of the opinion that the fire must be extracted from the chaos and made visible.® This fire is the Holy Ghost, who unites father and son.» — la identificación del fuego alquímico con el Espíritu Santo que Ripley sostiene, atribuida a él.

«This spirit was eventually interpreted as the Holy Ghost in accordance with the ancient tradition of the Nous swallowed up by the darkness while in the embrace of Physis—with this difference, however, that the devourer is not the supreme feminine principle, earth, but Nous in the form of Mercurius or the tail-eating Uroboros (fig. 147).» — traza la filiación del espíritu oculto en la materia y marca en qué se aparta del mito gnóstico.

«In other words, the devourer is a sort of material earth-spirit, an hermaphrodite possessing a masculine-spiritual and a feminine-corporeal aspect (fig. 183;» — la figura andrógina que resulta de ese cambio: espíritu de la tierra con las dos caras.

«The original Gnostic myth has undergone a strange transformation: Nous and Physis are indistinguishably one in the prima materia and have become a natura abscondita.» — qué le pasó al mito gnóstico al entrar en la alquimia: sus dos términos se volvieron indistinguibles.

«The psychological equivalent of this theme is the projection of a highly fascinating unconscious content which, like all such contents, exhibits a numinous—‘‘divine”’ or “sacred’”’—quality.» — el equivalente psicológico que propone para ese motivo, con lo numinoso como su marca.

«In Ruska’s opinion, he is identical with the Emperor Heraclius (610-641), but the mystical role he plays in the “Visio” points rather to some connection with Harpocrates.» — recoge la identificación de Ruska y le opone otra, sin cerrar la cuestión.

«He may play a part in the perfectio, which brings him health, riches, illumination, and salvation; but since he is the redeemer of God and not the one to be redeemed, he is more concerned to perfect the substance than himself.» — el reparto de papeles que distingue al alquimista del cristiano: redime a Dios y no a sí mismo.

«One should not suppose for a moment that he presumes to the role of redeemer from religious megalomania.» — le retira al alquimista la sospecha de delirio religioso.

«The alchemist always stresses his humility and begins his treatises with invocations to God.» — el dato textual con que sostiene esa defensa.

«It is not really a question of identification at all, but of the hermeneutic sicut—‘‘as” or “like unto”’—which characterizes the analogy.» — la precisión que salva al alquimista de la blasfemia: opera con el *sicut* de la analogía, no con identidad.

«Without knowing it, the alchemist carries the idea of the imitatie a stage further and reaches the conclusion we mentioned earlier, namely that complete assimilation to the Redeemer would enable him, the assimilated, to continue the work of redemption in the depths of his own psyche.» — sostiene que el alquimista lleva la imitatio hasta donde el cristiano se detiene, y que lo hace sin saberlo.

«The artifex himself bears no correspondence to Christ; rather he sees this correspondence to the Redeemer in his wonderful stone.» — dónde pone el alquimista la correspondencia con Cristo: en la piedra, no en sí mismo.

«From this point of view, alchemy seems like a continuation of Christian mysticism carried on in the subterranean darkness of the unconscious—indeed some mystics pressed the materialization of the Christ figure even to the appearance of the stigmata.» — la lectura de la alquimia como mística cristiana continuada bajo tierra, con el caso extremo de los estigmas.

«But this unconscious continuation never reached the surface, where the conscious mind could have dealt with it.» — el límite de esa continuación: nunca llegó a la conciencia.

«He would then have had to recognize not only himself as the analogue of Christ, but Christ as a symbol of the self.» — el paso que el alquimista no dio y que su propia psicología sí da.

«It is not surprising that the lapis-Christus parallel came to the fore among the medieval Latin authors at a comparatively early date, since alchemical symbolism is steeped in ecclesiastical allegory.» — data el paralelo piedra-Cristo temprano entre los latinos y da la razón.

«Although there is no doubt that the allegories of the Church Fathers enriched the language of alchemy, it remains in my opinion exceedingly doubtful just how far the opus alchemicum, in its various forms,» — concede el préstamo del lenguaje eclesiástico y duda de que llegue al fondo del opus.

«Undeniably, borrowings were made over and over again from the Church, but when we come to the original basic ideas of alchemy we find elements that derive from pagan, and more particularly from Gnostic, sources.» — dónde sitúa el origen de las ideas básicas de la alquimia: pagano y sobre todo gnóstico.

«The roots of Gnosticism do not lie in Christianity at all—it is far truer to say that Christianity was assimilated through Gnosticism.» — invierte la relación habitual entre gnosis y cristianismo.

«Waite’s assumption is undoubtedly erroneous, for we have much earlier testimonies as to the connection between Christ and the lapis,» — corrige a Waite sobre la datación del paralelo piedra-Cristo, y dice con qué.

«At any rate I know of no authoritative opinion that puts this treatise later than the fourteenth century.» — declara el límite de lo que sabe sobre la datación del tratado que va a citar.

«Since the age and origin of this Hermetic text are still unknown, we cannot decide with any certainty whether Christian influence is at work here.» — se abstiene de decidir sobre la influencia cristiana en un texto sin datar.

«There is no reason to suspect Christian influence in the very early texts, such as that of Komarios.» — dónde sí puede descartar la influencia cristiana, y en qué texto.

«And yet it is just the Comarius text that has all the characteristics of a regeneration mystery, although here the resurrection of the dead is effected not by a redeemer but by the tdmg eiov (the aqua permanens of the Latinists; cf. fig. 194), to which the Christian water symbolism (aqua = spiritus veritatis, baptism, and Eucharist) forms an unmistakable parallel.» — el caso que sostiene su tesis: un misterio de regeneración sin redentor, anterior al cristianismo, con paralelo cristiano evidente.

«In the later texts, however, which are’ascribed to Zosimos, we find the God-man in unmistakable association with the priestly art (iegatixy téyvy).» — dónde aparece el hombre-Dios ligado al arte sacerdotal, con la atribución a Zósimo marcada como atribución.

«But it constitutes the proof of the previous argument that man should not struggle outwardly against his destiny, but should only strive inwardly for selfknowledge; the outward submission of the Son of God being an example of this.» — la doctrina que lee en el pasaje de Zósimo: no luchar contra el destino sino buscar el autoconocimiento.

«It is also possible that ov refers to the first man: namely that they exhibited him as Osiris in every sanctuary.» — ofrece una lectura alternativa del griego y la marca como posible.

«It is very probable—as Scott (502, p. 122) remarks— that Asenath, the beautiful daughter of the Egyptian priest Potipherah of On (Heliopolis), is meant.» — sigue a Scott en la identificación de Asenath y la califica de muy probable.

«To all appearances, Zosimos’ Son of God is a Gnostic Christ with affinities more to the Iranian conception of Gayomart than to the Jesus of the Gospels.» — la adscripción que hace del Hijo de Dios de Zósimo, marcada como lo que parece.

«The author’s connections with Christianity are by no means clear, since he undoubtedly belonged to the Hermetic Poimandres sect, as is evident from the passage about the Krater.» — declara oscura la relación de Zósimo con el cristianismo y señala en qué apoya su filiación hermética.

«Here, as in later Christian alchemy, the Son of God is a sort of paradigm of sublimation, i.e., of the freeing of the soul from the grip of Heimarmene.» — la función que el Hijo de Dios cumple en ese esquema: paradigma de la liberación del destino.

«The ability to “become all,” attributed to the Son of God, is an attribute not only of the pneuma but of the alchemical Mercurius, whose boundless powers of transformation are praised ** together with the versatility of the astrological Mercury (fig. 24).» — el atributo que comparten el Hijo de Dios de Zósimo y el Mercurio alquímico.

«Antimimos, the imitator and evil principle, appears as the antagonist of the Son of God: he too considers himself to be God’s son.» — quién es Antimimos en ese sistema y en qué consiste su imitación.

«The alchemical parallel to this antagonism is the double nature of Mercurius, which shows itself most clearly in the Uroboros, the dragon that devours, fertilizes, begets, and slays itself and brings itself to life again.» — dónde reaparece ese antagonismo en la alquimia: en la doble naturaleza de Mercurio.

«This is only one indication that the lapis-Christus parallel of the scholastic alchemists had a pagan Gnostic precursor and was by no means a mere speculation of the Middle Ages.» — la consecuencia que extrae para la datación del paralelo piedra-Cristo.

«Zosimos discloses practically the whole of the recondite and highly peculiar theology of alchemy in these statements, by drawing a parallel between the esoteric meaning of the opus and the Gnostic mystery of redemption.» — el valor que le da a esos pasajes: en ellos queda a la vista la teología entera del arte.

«The oldest source to treat specifically of the stone’s connection with Christ would appear to be a text, the Margarita pretiosa, written by Petrus Bonus of Ferrara between 1330 and 1339.» — data la fuente latina más antigua del paralelo, con la fecha entre 1330 y 1339 y la reserva de que así parece.

«All the authors quoted in the text lived before the 14th century.» — el argumento interno con que sostiene esa datación.

«Nor does the material supply any reasons for dating the text later than the first half of the 14th century.» — declara que nada en el material obliga a bajar la fecha.

«The age of the text, which is attributed to St. Thomas Aquinas (d. 1274), may be gauged more or less from the fact that the most recent author quoted in it is Albertus Magnus» — data el *Aurora consurgens* por su autoridad más reciente y marca la atribución a Tomás como atribución.

«Since Thomas was canonized in 1323 and was thus at the height of his fame, it was worth while ascribing texts to him from that time on.» — explica el mecanismo del pseudoepígrafe: la canonización vuelve rentable la atribución.

«The author is evidently a cleric who knows his Vulgate by heart.» — lo que puede decir del autor anónimo del *Aurora* a partir del texto.

«Alchemy is for him absolutely identical with the Sapientia Det.» — la identificación que ese autor hace entre alquimia y sabiduría divina.

«The sapientia austri is, in patristic usage,'*4 the wisdom of the Holy Ghost.» — qué significaba esa expresión en el uso patrístico, antes de leer su versión alquímica.

«The twelve stars of the original text refer to the twelve disciples and the twelve signs of the zodiac (figs. g2, 100).» — la doble referencia que da a las doce estrellas.

«They were only deposed by science during the last one hundred and fifty years.» — data la caída de los dioses planetarios en el siglo y medio anterior a él.

«Even in the mystertum magnum of the Paracelsian prima materia the “gods” are still enthroned as archons, ‘‘to their own undoing and ours.”» — señala que los dioses siguen entronizados como arcontes en Paracelso.

«In the Manichean system the saviour constructs a cosmic wheel with twelve buckets—the zodiac— for the raising of souls.» — el paralelo maniqueo de la rueda de doce cangilones.

«The wheel expands into the wheel of the sun as he rolls round the heavens, so that it becomes identical with the sun-god or -hero who submits to arduous labours and to the passion of self-cremation, like Hercules,» — cómo la rueda alquímica se vuelve la del sol y con ella la del héroe solar.

«It is to be noted that this virgin, who being “unspotted” (intemerata), is obviously analegous to the Virgin Mary, is made pregnant by a seed deriving not from any Holy Ghost but from a “‘sulphureous fire,” i.e., an ignis gehennalis.’1» — marca el punto exacto en que la analogía mariana de Philalethes se rompe: la simiente viene del fuego infernal.

«The virgin is Mercurius 1! (fig. 208), who is hermaphroditic owing to the presence of the sulphur, the active masculine principle.1??» — quién es esa virgen en el sistema de Philalethes: Mercurio hermafrodita.

«Such parallels show, in spite of all assurances to the contrary, how much the alchemical work is a mysteriwm iniquitatis from the Christian point of view.» — el juicio que saca de esos paralelos, contra las declaraciones piadosas de los propios alquimistas.

«On an objective view, of course, it is simply a chthonic mystery which, as Part II (par. 44ff.) of this volume shows, has its roots in the transformative processes of the unconscious.» — la lectura que él prefiere: misterio ctónico con raíz en el inconsciente, y remite a su propia parte II.

«The feminine nature of Mercurius is connected with the moon.» — dónde ancla el aspecto femenino de Mercurio.

«The idea of the circulatory opus or rotating arcane substance finds expression as early as Komarios, who speaks of the “mystery of the whirlwind in the manner of the wheel”» — data en Komarios la idea del opus circulatorio.

«The transforming substance is an analogy of the revolving universe, of the macrocosm, or a reflection of it imprinted in the heart of matter.» — la equivalencia entre sustancia transformadora y universo giratorio.

«Psychologically, it is a question of the revolving heavens being reflected in the unconscious, an zmago mundi that was projected by the alchemist into his own prima materia.» — la traducción psicológica de esa equivalencia.

«But such an interpretation is somewhat one-sided, since the idea of the arcane substance is itself an archetype, expressed most simply in the idea of the soul-spark (scintilla, Spinther) and Monad.» — se corrige a sí mismo enseguida: esa lectura es unilateral, porque la sustancia arcana ya es arquetipo.

«For the same reason the process of sublimation is known in Arabic alchemy as the “great south wind,” referring to the heating of the retort.» — el nombre árabe de la sublimación y a qué remite en la práctica.

«His equivalent, so to speak, is the hidden fire, the spiritus igneus dwelling in Mercurius, whose opposite poles are an agens (1.e., fire) and a patiens (1.e., quicksilver).» — el equivalente alquímico que propone para el Espíritu Santo, con sus dos polos.

«“Aurora,” I, Ch. II, calls the science a gift and a sacrament of God, a divine thing that the wise have veiled in similitudes, from which it appears that the opus alchemicum was deemed the equal of the opus divinum or Mass (see below).» — lo que infiere de esa fórmula del *Aurora*: la obra alquímica puesta a la altura de la misa.

«The healing water also flows from the stone whence the pneumatic spark is struck.» — la equivalencia entre el agua sanadora y la chispa que sale de la piedra.

«The homo philosophicus appears to have two meanings: he is “the One,” i.e., the tincture or elixir of life, but he is also the everlasting inner man, identical or at least connected with the Anthropos» — consigna los dos sentidos del hombre filosófico sin elegir entre ellos, y modula la identidad con el Anthropos.

«It is astonishing to see how, with a perfectly clear conscience, he launches forth into the most hair-raising interpretations without the least awareness of what he is doing.» — el juicio sobre el autor del *Aurora*: interpreta la Escritura sin conciencia alguna de lo que hace.

«Moreover we have the testimony of the humanist Patrizi that Hermetic philosophy was not felt to be in any way inimical to the Christianity of the Church.» — el testimonio con que muestra que la filosofía hermética no se sentía enemiga de la Iglesia.

«For which reason Patrizi addressed a plea to Pope Gregory XIV requesting him to let Hermes take the place of Aristotle.» — el episodio con que documenta hasta dónde llegaba esa confianza.

«The text of the “Aurora” is of historical importance in that it must be more than two hundred years older than Khunrath (1598) and Bohme (1610).» — el argumento de datación que da valor histórico al *Aurora*.

«He expounded the alchemical process in the form of a Mass (fig. 216).» — qué hizo Melchior con el proceso alquímico: darle forma de misa.

«Our author is the chaplain Nicolaus Melchior Szebeni, who was at the king’s court as astrologer from 1490.» — identifica y sitúa al autor de esa misa alquímica.

«While Melchior’s text leaves it an open question whether “praeclara”’ refers to the aqua vitae which he has mentioned earlier, he leaves no doubt that it refers both to the Virgin and to a hymn in her praise, for he goes on:» — separa lo que el texto deja abierto de lo que no, sin resolver lo primero.

«In any case the Virgin is identified with the arcanum of the art, possibly on the authority—then at its height—of Raymond Lully (216).» — consigna la identificación y atribuye su autoridad con reserva.

«Being the mistress of moisture, the moon, like Isis, is the prima materia in the form of water and thus the mother of the “Hydrolith,” the water-stone—another name for the lapis and hence for Christ.» — la cadena que va de la luna a la piedra y de la piedra a Cristo.

«Melchior obviously recognized the analogy between the two opera and naively substituted the individual opus, in all its poverty, for the time-honoured words of the Mass.» — el juicio con que cierra el episodio: reconoció la analogía y la ejecutó con ingenuidad.

«Although Christ is nowhere mentioned as the lapis or medicina, their identity is overpoweringly evident from the whole drift of the text.» — sostiene la identificación aunque el texto no la enuncie, y declara que la funda en el conjunto y no en una frase.

«The table sets forth the correspondences between the seven metals and chemical substances and what are called “types,” by which are meant the alchemical symbols, e.g., tinctures, the ages of man, signs of the zodiac, and so forth.» — describe la tabla de correspondencias que abre el *Liber duodecim portarum* de Ripley.

«These correspondences include seven mysteries, the Mysterium Altaris (1.e., the Mass) being attributed to gold, whereas its alchemical equivalent is the transmutatio (fig. 221).» — el detalle de esa tabla que le importa: la misa emparejada con el oro y con la transmutación.

«Paracelsus was a contemporary of Melchior’s, but may well have reached similar conclusions independently, for such ideas were then in the air.» — se abstiene de postular dependencia entre los dos y explica por qué.

«The subjective character of the experience comes out in the incidental remark of the author: “et scio quod verum est testimonium eius” (and I know that his testimony is true).» — dónde se le escapa al texto su carácter de experiencia propia: en una frase incidental.

«The green lion is also used as a synonym for the unicorn.» — la equivalencia entre león verde y unicornio en el corpus alquímico.

«It is never said outright that the stone is Christ, but the sacred figures can easily be recognized in the guise of the King and the Virgin-Mother.» — precisa el modo de la identificación en Ripley: nunca dicha, siempre reconocible.

«If we realize that the author was no layman but a learned canon, we can hardly suppose him to have been unaware of the parallels to certain fundamental ideas» — el argumento de autoridad interna: un canónigo docto no podía ignorar lo que estaba escribiendo.

«‘The Basel typographer, Conrad Waldkirch, would have rained fire and brimstone on his head.» — mide la audacia del texto por lo que habría hecho con él el impresor que mutiló el *Aurora*.

«The blame for sterility is to be sought in the projection of unconscious contents, which can neither develop nor find “redemption” until they are integrated with consciousness.» — dónde pone la causa de la esterilidad del rey: en la proyección no integrada.

«In Ripley the mother-incest 1s disguised under the classical rite of adoption, but the mother becomes pregnant all the» — anota cómo Ripley disimula el incesto con la madre sin suprimirlo.

«The king represents the domineering conscious mind which, in the course of coming to terms with the unconscious, is swallowed up by it.» — la equivalencia con que lee la figura del rey en la alquimia.

«This brings about the nigredo (cf. figs. 34, 137, 219), a state of darkness that eventually leads to the renewal and rebirth of the king.» — qué es el nigredo en esa lectura y a dónde conduce.

«Just as in the vision of Arisleus the king’s dead son is brought back to life by the fruit of the philosophical tree, so in Ripley the sick king is to be healed by “the species’”—obviously a paguaxov Cots or elixir vitae.» — el paralelo entre la *Visio Arislei* y la Cantilena de Ripley (el griego sale corrompido de la capa de texto).

«The tree through which he is to be reborn is the cross of Christ (fig. 222), and at the same time .» — la identificación del árbol de la Cantilena con la cruz.

«The blood comes from the green lion that lies in the lap of the virgin, bleeding from a wound in his side; ** these are clearly communion and Pieta symbols.» — la lectura cristiana que da a la imagen del león verde en el regazo de la virgen.

«By “Epigoni’ I mean the authors of the seventeenth century, an age which saw the full flowering of alchemy but which also inaugurated its downfall by separating the mystica more and more clearly from the physica.» — define su término y con él el diagnóstico del siglo XVII: floración y ruina a la vez.

«Religious and metaphysical values became less and less able to give adequate expression to the psychic experiences brought to light by the opus alchymicum.» — la causa que atribuye a esa ruina: el vocabulario religioso deja de servir a la experiencia.

«But the pictorial symbolism they produced, much of it quite grotesque, not only made no contribution towards elucidating the arcanum but was largely responsible for depreciating it in the eyes of the profane, thus accelerating the decay of Hermetic wisdom.» — juzga sin indulgencia el simbolismo pictórico de esos autores y le atribuye parte de la caída.

«How much was lost to the spiritual culture of Europe in this way we, with our sharpened psychological understanding, are just beginning to realize, as we contemplate the unparalleled disorganization of our continent.» — liga esa pérdida al estado de Europa mientras escribe.

«Happily the loss is not irreparable: natura tamen usque recurret.» — la salvedad con que cierra el diagnóstico, en latín.

«In the stone, as we know, the chaotic antagonism of the elements is replaced by the most intense mutual alliance, which is what makes the stone incorruptible, this being the reason why, in our author’s opinion, it has the same effect as the blood of the Saviour:» — por qué la piedra es incorruptible en esos textos, y a quién atribuye la consecuencia.

«Maier is exceedingly uncertain as to the authorship of these writings: “Obscurus omnibus manere quam innotescere maluit” (Rather than become notorious he preferred to remain unknown to everyone).» — consigna que ya Maier dudaba de la autoría de los textos de Basilio Valentín.

«Stylistically, Valentine’s writings undoubtedly belong to the end of the sixteenth century at the earliest.» — su propio dictamen de datación por el estilo.

«Nor do there seem to be any manuscripts that could be dated before the 17th century.» — el argumento documental que apoya esa datación tardía.

«The author is strongly influenced by Paracelsus and has taken over his idea of the Archaeus as well as his doctrines about astral and elemental spirits.» — la filiación paracelsiana que le encuentra a esos textos.

«We should not, however, judge medieval naiveté too severely, but must try to understand what such an unwieldy language was intended to convey.» — la advertencia hermenéutica con que corrige su propia severidad.

«It is clear enough from this material what the ultimate aim of alchemy really was: it was trying to produce a corpus subtile, a transfigured and resurrected body, i.e., a body that was at the same time spirit.» — la formulación con que resume la meta de la alquimia.

«The diamond is an excellent symbol because it is hard, fiery, and translucent.» — por qué el diamante sirve de símbolo de ese cuerpo sutil.

«But the philosopher who once descended like a Hercules into the darkness of Acheron to fulfil a divine opus has become a laboratory worker with a taste for speculation; having lost sight of the lofty goal of Hermetic mysticism, he now labours to discover a tonic potion that will “keep body and soul together,” as our grandfathers used to say of a good wine.» — mide la degradación de la figura del alquimista con una comparación de dos tiempos.

«This change of direction in alchemy is due to the all-powerful influence of Paracelsus, the ancestor of modern medicine.» — a quién atribuye el giro de la alquimia hacia la medicina.

«Paracelsus and Béhme between them split alchemy into natural science and Protestant mysticism.» — el reparto final de la herencia alquímica entre dos nombres.

«Michael Maier allows us a glimpse into this tragedy: at the end of his chef-d’ceuvre he confesses that in the course of his grand peregrinatio he found neither Mercurius nor the phoenix, but only one phoenix feather—his pen!» — el caso con que ilustra el final de la alquimia: Maier confiesa haber encontrado solo su propia pluma.

«But, although the growing materialism of the age dismissed alchemy as a huge disappointment and an absurd aberration, there is yet “quaedam substantia in Mercurio quae nunquam moritur’’—a fascination that never entirely disappeared, even when wrapped in the fool’s garb of goldmaking.» — lo que a su juicio sobrevive al descrédito: una fascinación, dicha con la fórmula latina de sus fuentes.

«Consciousness grasps only a fraction of its own nature, because it is the product of a preconscious psychic life which made the development of consciousness possible in the first place.» — el argumento con que sostiene que la conciencia no puede abarcarse a sí misma.

«Although there is, materialistically speaking, no prima materia at the root of everything that exists, yet nothing that exists could be discerned were there no discerning psyche.» — la salvedad materialista y su límite: sin psique que discierna no hay nada discernido.

«Only by virtue of psychic existence do we have any “being” at all.» — la formulación más escueta de esa posición.

«ways succumbs to the delusion that it developed out of itself, but scientific knowledge is well aware that all consciousness rests on unconscious premises, in other words on a sort of unknown prima materia; and of this the alchemists said everything that we could possibly say about the unconscious.» — la equivalencia que cierra el libro: lo que los alquimistas dijeron de la materia prima es lo que hoy se diría del inconsciente.

«The Christus-lapis parallel establishes an analogy between the transforming substance and Christ (fig. 192), in the Middle Ages doubtless under the influence of the doctrine of transubstantiation, though in earlier times the Gnostic tradition of older pagan ideas was the dominant factor.» — reparte las causas del paralelo entre dos épocas: transubstanciación en la Edad Media, gnosis antes.

«The unicorn is not a single, clearly defined entity but a fabulous being with a great many variations: there are, for instance, one-horned horses, asses, fish, dragons, scarabs, etc.» — advierte que el unicornio no es una figura única antes de recorrer sus variantes.

«Lion and unicorn are both symbols of Mercurius. A little further on in the book the unicorn changes into a white dove,® 6 Rosencreutz, 291, pp. 54f.» — la transformación del unicornio en paloma dentro de la fábula rosacruz.

«At least ten out of the fifteen figures in Lambspringk’s symbols * are representations of the double, nature of Mercurius.» — la cuenta que hace sobre las láminas de Lambspringk.

«The virgin represents his passive, feminine aspect, while the unicorn or the lion illustrates the wild, rampant, masculine, penetrating force of the spiritus mercurialis.» — el reparto de los dos aspectos de Mercurio entre la virgen y la bestia.

«Since the symbol of the unicorn as an allegory of Christ and of the Holy Ghost was current all through the Middle Ages, the connection between them was certainly known to the alche» — sostiene que los alquimistas conocían la alegoría cristiana del unicornio.

«The language of the Church borrows its unicorn allegories from the Psalms, where the unicorn stands in the first place for the might of the Lord,» — de dónde saca la Iglesia sus alegorías del unicornio.

«The power of evil is also compared to the strength of the unicorn, as in Psalm 21:22» — la otra cara del mismo símbolo dentro del salterio: también sirve para el mal.

«The origin of the unicorn is a mystery, says Ambrose, like Christ’s procreation.» — el paralelo de Ambrosio entre el origen del unicornio y la generación de Cristo.

«The horn of the unicorn acts as an alexipharmic, because it expels the poison from the water, and this refers allegorically to the baptism of Christ» — la lectura alegórica del cuerno purificador como bautismo.

«This definition of the serpent agrees with the alchemical Mercurius, who is likewise a kind of water: the “divine water” (vswo Beiov), the wet, the humidum radicale (‘‘root-moisture’’), and the spirit of life, not only indwelling in all living things, but immanent in everything that exists, as the world-soul.» — la coincidencia entre la serpiente naasena y el Mercurio alquímico, dicha como acuerdo y no como identidad.

«Like the alicorn, therefore, the serpent is an alexipharmic and the principle that brings all things to maturity and perfection.» — lo que la serpiente y el cuerno comparten en esa lectura.

«We are already familiar with the unicorn as a symbol of Mercurius, the transforming substance par excellence which also ripens and perfects unripe or imperfect bodies and is consequently acclaimed by alchemy as salvator and servator.» — los dos títulos con que la alquimia aclama a Mercurio.

«This author says that the third genus of the scarab is unicorned (povdxeoms) and, on account of this peculiarity, sacred to Mercurius, like the ibis.» — el escarabajo unicorne consagrado a Mercurio en su fuente antigua.

«In Paracelsus the prima materia is an increatum, and throughout alchemy, as Mercurius, serpens, or draco, it is bisexual, capable of self-fertilization and _ self-parturition» — la constante que encuentra en todo el corpus: la materia prima se fecunda y se pare a sí misma.

«The Greek alchemists styled themselves “Children of the Golden Head.”» — el nombre que se daban a sí mismos los alquimistas griegos.

«The aqua nostra is nothing other than the aqua divina, 1.e., Mercurius.» — la identificación de las dos aguas con Mercurio, dicha sin reserva.

«The track of the unicorn in pre-Christian days leads us to the East.» — hacia dónde lo lleva el rastro precristiano del unicornio.

«The fish of Manu (fig. 254) seems to have been unicorned, although it is not specifically stated:» — propone que el pez de Manu era unicorne y anota de inmediato que el texto no lo dice.

«In the Rig-Veda he is named Father Manu, and is said to have begotten mankind on his daughter.» — el dato védico con que sitúa a Manu como padre del género humano.

«It is of particular interest that he is also derived from the androgynous Viraj.» — lo que le interesa de la genealogía de Manu: viene de una figura andrógina.

«The virgin and unicorn motif is to be found in the Ramayana and in the Mahabharata (III, 110-113).» — dónde localiza el motivo de la virgen y el unicornio en la épica india.

«The monster is evidently based on the number three.» — lo que estructura al asno de tres patas del Bundahish.

«Arabic alchemists likewise obtain their prima materia from the tree in the western land.» — el paralelo árabe del árbol occidental como origen de la materia prima.

«The monster and the tree both stand for the pdouaxov atavactas, the elixir, the alexipharmic, and the panacea.» — la equivalencia entre el monstruo persa y el árbol árabe (el griego sale corrompido de la capa de texto).

«The tree’s peculiar power to change into any animal shape is also attributed to Mercurius (fig. 257).» — el rasgo que enlaza ese árbol con Mercurio: mudar de forma animal.

«The ass is a daemon triunus, a chthonic trinity, which is portrayed in Latin alchemy as a three-headed monster and identified with Mercurius, salt, and sulphur.» — la lectura del asno de tres patas como trinidad ctónica y su equivalente latino.

«The classical rumour about the worship of an ass in the Temple of Jerusalem and the mock-crucifix on the Palatine I will mention only in passing; likewise the saturnine aspect of Jehovah and Jaldabaoth as demiurges, which brings these figures into conjunction with the equally saturnine prima materia.» — enumera de pasada material que no desarrolla, y marca que solo lo menciona.

«The Talmud *' tells the story of how the unicorn escaped the flood: it was tied to the outside of the ark because, owing to its gigantic size, it could not go inside.» — el relato talmúdico con que abre la serie del unicornio y el Diluvio.

«The “Targum Pseudo-Jonathan,” commenting on Genesis 14:13, says that Og stayed on the roof of the ark.» — la variante del Targum sobre dónde viajó Og.

«It is conceivable that there is an inner connection between Og and the unicorn: both escaped the flood by being somehow attached to the outside of the ark, and both are gigantic.» — propone el vínculo entre Og y el unicornio y lo enuncia como concebible, no como probado.

«Og is killed by Moses, “the servant of Jahweh,” who is so often compared to a lion in the Old Testament.» — el detalle que le permite empalmar a Og con el par león-unicornio.

«The unicorn too must be tamed; as a monster he has a higher symbolical significance and is of a more spiritual nature than the lion, but as Ripley shows, the lion can sometimes take the place» — jerarquiza las dos bestias y anota que en Ripley se intercambian.

«God is ambivalent so long as man is bound to nature.» — la condición que pone a la ambivalencia divina: dura mientras el hombre esté atado a la naturaleza.

«By contrast, the androgyny of Christ is conceived as exclusively spiritual and symbolic, and therefore outside the natural context.» — dónde queda la androginia de Cristo frente a la del Mercurio alquímico.

«The unicorn also appears in China. According to the Li-Ki, there are four beneficent or spiritual animals:» — la extensión china del motivo, apoyada en el Li-Ki.

«In the Chymical Wedding, as in the royal arms of England, lion and unicorn are combined (fig. 258); both are symbols of Mercurius in alchemy, just as they are allegories of Christ in the Church.» — el par león-unicornio en dos sedes a la vez, la alquímica y la heráldica.

«The secret of the cup is also the secret of the horn, which in its turn contains the essence of the unicorn as bestower of strength, health, and life (fig. 263).» — la cadena que va del cáliz al cuerno y del cuerno al unicornio.

«The alchemists attribute the same qualities to their stone, calling it the “carbuncle.”» — dónde vuelven esas cualidades dentro del corpus alquímico.

«The horn as an emblem of vigour and strength has a masculine character, but at the same time it is a cup, which, as a re» — la doble naturaleza del cuerno: emblema masculino y a la vez recipiente.

«The content is the water that Jesus changed into wine, and the water is also represented by the Jordan, which signifies the Logos, thus bringing out the analogy with the Chalice.» — la cadena de equivalencias con que llega del cuerno al cáliz eucarístico.

«It may well have reached its peak in Goethe's religious Weltanschauung, as this is presented to us in Faust.» — dónde sitúa la cima de ese movimiento religioso-filosófico, dicho en potencial.

«I hope that these examples have made clear to the reader just how far alchemy was a religious-philosophical or “mystical” movement.» — declara qué quería probar con esa serie de ejemplos.

«What the old philosophers meant by the lapis has never become quite clear.» — la ignorancia que consigna sobre el término central del corpus.

«Since the psychological condition of any unconscious content is one of potential reality, characterized by the polar opposites of “being” and “not-being,” it follows that the union of opposites must play a decisive role in the alchemical process.» — el argumento con que deriva la centralidad de la unión de opuestos del estatuto de lo inconsciente.

«The Christian earns the fruits of grace ex opere operato, but the alchemist creates for himself—ex opere operantis in the most literal sense—a “panacea of life” which he regards either as a substitute for the Church’s means of grace or as the complement and parallel of the divine work of redemption that is continued in man.» — la fórmula con que separa las dos vías, en el vocabulario técnico de la teología.

«The two opposed points of view meet in the ecclesiastical formula of the opus operatum and the opus operantis 2—but in the last analysis they are irreconcilable.» — consigna que las dos posiciones se tocan en una fórmula y aun así no se concilian.

«But, some time previous to this latest development, alchemy had reached its final summit, and with it the historical turning-point, in Goethe’s Faust, which is steeped in alchemical forms of thought from beginning to end.» — dónde sitúa la cima y el punto de giro de la alquimia: en el *Fausto*.

«To the medieval alchemist this scene would have represented the mysterious coniunctio of Sol and Luna in the retort (fig. 268); but modern man, disguised in the figure of Faust, recognizes the projection and, putting himself in the place of the Paris or Sol, takes possession of Helen or Luna, his own inner, female counterpart.» — la diferencia entre el alquimista y Fausto: uno proyecta, el otro reconoce la proyección y ocupa el lugar.

«Instead Euphorion, who is supposed to be the filzus philosophorum, imperishable and “incombustible,” goes up in flames and disappears—a calamity for the alchemist and an occasion for the psychologist to criticize Faust, although the phenomenon is by no means uncommon.» — el fracaso del opus dentro del *Fausto*, medido con la vara alquímica y con la clínica.

«But every increase in consciousness harbours the danger of inflation, as is shown very clearly in Faust’s superhuman powers.» — el peligro que acompaña a todo aumento de conciencia.

«His death, although necessary in his day and generation, is hardly a satisfactory answer.» — su juicio sobre el desenlace del *Fausto*: necesario en su época y aun así insuficiente.

«By so doing he inevitably called up all the latter’s reserves of anti-Christian resentment, for his superman is the overweening pride, the hybris, of individual consciousness, which must necessarily collide with the collective power of Christianity and lead to the catastrophic destruction of the individual.» — su lectura del superhombre como hybris de la conciencia individual y de su choque inevitable.

«It answered with a collectivism, a mass organization, a herding together of the mob, tam ethice quam physice, that made everything that went before look like a bad joke.» — la respuesta colectiva a esa hybris, escrita mientras esa respuesta ocurría.

«Faust’s sin was that he identified himself with the thing to be transformed and that had been transformed.» — dónde pone el pecado de Fausto: en identificarse con lo que había de transformarse.

«Is God really dead, because Nietzsche declared that he had not been heard of for a long time?» — la pregunta con que responde al anuncio de la muerte de Dios, sin contestarla él mismo.

«In a sense, the old alchemists were nearer to the central truth of the psyche than Faust when they strove to redeem the fiery spirit from the chemical elements, and treated the mystery as though it lay in the dark and silent womb of nature.» — le concede a los alquimistas una ventaja sobre Fausto, y dice en qué sentido.

«Yet, ever since the Age of Enlightenment and in the era of scientific rationalism, what indeed was the psyche? It had become synonymous with consciousness.» — el estrechamiento del término psique que data en la Ilustración.

«An inflated consciousness is always egocentric and conscious of nothing but its own presence.» — el retrato de la conciencia inflada, primer rasgo.

«It is incapable of learning from the past, incapable of understanding contemporary events, and incapable of drawing right conclusions about the future.» — la triple incapacidad que le atribuye.

«Paradoxically enough, inflation is a regression of consciousness into unconsciousness.» — la paradoja con que define la inflación.

«When fate, for four whole years, played out a war of monumental frightfulness on the stage of Europe—a war that nobody wanted—nobody dreamed of asking exactly who or what had caused the war and its continuation.» — el ejemplo histórico con que la ilustra: cuatro años de guerra que nadie quiso y sobre cuya causa nadie preguntó.

«It seems to me of some importance, therefore, that a few individuals, or people individually, should begin to understand that there are contents which do not belong to the ego-personality, but must be ascribed to a psychic non-ego.» — lo que propone frente a eso, y con qué modestia lo formula: unos pocos individuos.

«No doubts can exist in the herd; the bigger the crowd the better the truth—and the greater the catastrophe.» — la fórmula con que empareja tamaño de la multitud y tamaño del desastre.

«What we may learn from the models of the past is above all this: that the psyche harbours contents, or is exposed to influences, the assimilation of which is attended by the greatest dangers.» — la lección que extrae de los modelos históricos que ha recorrido.

«A scientific term like “individuation” does not mean that we are dealing with something known and finally cleared up, on which there is no more to be said.? It merely indicates an as yet very obscure field of research much in need of exploration:» — acota qué es y qué no es su propio término técnico.

«an obscurantist; I think it is much rather the man whose consciousness is not sufficiently developed for him to be aware of his ignorance.» — invierte el reproche de oscurantismo: oscurantista no es quien admite su ignorancia, sino quien no llega a advertirla.

«I hold the view that the alchemist’s hope of conjuring out of matter the philosophical gold, or the panacea, or the wonderful stone, was only in part an illusion, an effect of projection; for the rest it corresponded to certain psychic facts that are of great importance in the psychology of the unconscious.» — el balance final sobre la esperanza alquímica: en parte ilusión, en parte hecho psíquico.

«As is shown by the texts and their symbolism, the alchemist projected what I would call the process of individuation into the phenomena of chemical change.» — la tesis del libro en una línea, con el término propio marcado como propio.

«These processes are steeped in mystery; they pose riddles with which the human mind will long wrestle for a solution, and perhaps in vain.» — la reserva con que cierra: quizá en vano.

«Not for nothing did alchemy style itself an “art,” feeling—and rightly so—that it was concerned with creative processes that can be truly grasped only by experience, though intellect may give them a name.» — por qué la alquimia se llamó arte y no ciencia, y le da la razón.

«Experience, not books, is what leads to understanding (fig. 269).» — la conclusión práctica del libro, dicha al final de seiscientas planas de erudición.

«The forms which the experience takes in each individual may be infinite in their variations, but, like the alchemical symbols, they are all variants of certain central types, and these occur universally.» — el equilibrio que sostiene entre variación individual y tipos centrales.

«‘They are the primordial images, from which the religions each draw their absolute truth.» — de dónde saca cada religión su verdad absoluta, según él.

«One becomes two, two becomes three, and out of the third comes the one as the fourth» — el axioma de María la Profetisa, que Jung presenta como «one of the central axioms of alchemy». Voz de ella, no suya; el marco («one of the central axioms of alchemy») queda en la plana anterior.

«Aurum nostrum non est aurum vulgi» — la proposición con que los propios alquimistas declaraban su posición, citada por Jung: nuestro oro no es el oro del vulgo.

«It has been left to the psychologist to throw new light on this ancient doctrine and thus give it a new significance.» — la nota editorial que abre el volumen, voz de los editores de las Collected Works y no de Jung, presenta el libro como el traslado de la alquimia al terreno del psicólogo.

«The need for this bridge today is as great as in earlier times, and alchemical symbolism is very much alive, being no longer revealed in retorts and furnaces, but in the dreams and visions of modern man.» — los editores resumen así la tesis del volumen antes de que Jung hable: el simbolismo alquímico habría cambiado de sede, de la retorta al sueño.

«Psychology and Alchemy is the first volume to be published in the Collected Works of C. G. Jung.» — dato editorial: es el primero en salir de la serie, aunque no sea el volumen I.

«It may be said that round the material contained in this volume the major portion of his later work revolves.» — la razón que dan los editores para adelantarlo: sitúan aquí el material sobre el que gira el grueso de la obra posterior de Jung.

«Such a procedure demands a system of cross reference within the whole edition, and the Editors have accordingly numbered the paragraphs.» — los editores declaran la numeración de párrafos como el sistema de referencia cruzada de toda la edición; los locators de esta ficha son de plana, no de párrafo.

«The translation of the German word Seele presents almost insuperable difficulties on account of the lack of a single English equivalent» — nota del traductor de las Collected Works, no de Jung: declara que *Seele* no tiene equivalente único en inglés y que hubo que repartirlo entre *psyche* y *soul*. Es la costura por donde esta versión inglesa se separa del alemán de 1944.

«As witness to this we have Tertullian’s avowal: “And the Son of God is dead, which is worthy of belief because it is absurd.» — voz de Tertuliano, citada por Jung como testigo de que la fe cristiana pide creer lo imposible en principio.

«Probabilism is the name generally given to that way of thinking which is content to answer scientific questions with a greater or lesser degree of probability.» — definición de Zöckler que Jung reproduce en nota al pie para fijar qué es el probabilismo antes de discutirlo.

«The Jesuit probabilist Escobar (d. 1669) was, for instance, of the opinion that if the penitent should plead a probable opinion as the motive of his action, the father-confessor would be obliged to absolve him even if he were not of the same opinion.» — posición de Escobar, probabilista jesuita, que Jung reporta como el caso extremo de la doctrina que discute.

«Professor Jung here equates the giver of the gold coin with the “gold” itself.» — nota del aparato editorial, que habla de Jung en tercera persona para aclarar una identificación que el texto deja implícita.

«He explained it as a dmigs-pa (pronounced “migpa’’), a mental image which can be built up only by a fully instructed lama through the power of imagination.» — explicación de un lama tibetano que Jung reporta, no doctrina propia: el mandala como imagen mental construida por quien está plenamente instruido.

«Also, he said, the mandalas to be found in monasteries and temples were-of no particular significance because they were external representations only.» — el mismo informante lamaísta desestima los mandalas de monasterio por ser representaciones externas; Jung lo consigna y después lo relativiza.

«The true mandala is always an inner image, which is gradually built up through (active) imagination, at such times when psychic equilibrium is disturbed or when a thought cannot be found and must be sought for, because not contained in holy doctrine.» — continúa la explicación del lama sobre cuándo se construye un mandala verdadero: al perderse el equilibrio o al faltar un pensamiento que la doctrina no contiene.

«This same is he [Monogenes] who dwelleth in the Monad, which is in the Setheus, and which came from the place of which none can say where it is.» — pasaje del corpus gnóstico copto que Jung cita para su lectura del centro del mandala; el corchete aclaratorio es de la edición.

«And in our Coptic text we are told that Setheus dwells in the innermost and holiest recesses of the Pleroma, a city with four gates (equivalent to the Hindu City of Brahma on the worldmountain Meru).» — contenido del texto gnóstico copto que Jung resume, con el paralelo hindú añadido por él.

«An invocation runs: “Thou art the House and the Dweller in the House.”» — invocación del corpus gnóstico copto, citada por Jung.

«But the king reigns, as is witnessed by his brothers, [and] says: am crowned and adorned with the diadem, and I am clothed e the royal garment and bring joy to the heart;» — voz del rey en el texto alquímico que Jung reproduce y luego identifica con el lapis; la capa de texto pierde palabras del pasaje.

«Et sic Philosophus non est Magister lapidis, sed potius minister» — dicho del *Rosarium philosophorum*, citado por Jung: el filósofo no es dueño de la piedra sino su servidor.

«An uncanonical saying of our Lord goes: “Whoever is near unto me is near unto the fire.”» — logion no canónico atribuido a Jesús que Jung cita para ligar la fuente de vida con el fuego.

«Elige tibi pro lapide, per quem reges venerantur in Diadematibus suis . . . quia ille est propinquus igni» — sentencia atribuida a Aristóteles en el *Rosarium*, citada por Jung: elige la piedra que los reyes veneran en sus diademas, porque está cerca del fuego.

«Through Circumrotation or a Circular Philosophical revolving of the Quaternarius, it is brought back to the highest and purest Simplicity of the Monadis Catholicae plusquamperfecte.» — voz de Heinrich Khunrath en su *Confessio*, citada por Jung para describir la destilación circular.

«Out of man and woman make a round circle and extract the quadrangle from this-and from the quadrangle the triangle. Make a round circle and you will have the philosophers’ stone» — receta del *Rosarium philosophorum* que Jung reproduce como fuente de la cuadratura del círculo alquímica.

«When you feel you are under the power of the Lord, do not address him directly.» — inscripción que el paciente lee en el sueño de la iglesia universal; material onírico que Jung reporta, no doctrina suya.

«The Lord cannot be reached by words.» — sigue la inscripción del mismo sueño, en su formulación más escueta.

«It is futile, for everything valuable and important is ineffable.» — cierre de esa inscripción soñada, que prohíbe también discutir los atributos del Señor.

«But we differ in principle from the American churches by our decidedly anti-ascetic tendency.» — palabras del sacerdote dentro del sueño del paciente, que Jung transcribe y después comenta como regresión al culto dionisíaco.

«But Hades is that same Dionysus in whose honour they go mad and keep the feast of the wine-vat.» — sentencia de Heráclito, citada por Jung para identificar a Dioniso con Hades.

«You must be very careful how you manage him, for if he can find an opportunity he will elude your vigilance, and pass through, and leave you stuck in a heap of misfortunes.» — advertencia de Eirenaeus Philalethes sobre el *servus* mercurial, citada por Jung.

«Transmutemini in vivos lapides philosophicos!» — exhortación de un alquimista que Jung reproduce: transformaos en piedras filosóficas vivas.

«Nonnulli perierunt in opere nostro» — advertencia del autor del *Rosarium* que Jung hace suya al hablar del peligro de psicosis: no pocos han perecido en nuestra obra.

«That is indeed what men most seek on earth: Tis rust alone that gives the coin its worth!» — verso de Tales en el *Fausto* de Goethe, citado por Jung y leído por él como una humorada alquímica.

«Marry gum with gum in true marriage.» — dicho que Jung remonta al diálogo de María la Profetisa con el filósofo Aros, y que consigna como repetido después muchas veces.

«but “the fourth nature is the water of the stone, namely the viscous gold which is called red gum and with which the three earthy natures are tinted.”» — pasaje del *Consilium coniugii* citado por Jung sobre la cuarta naturaleza de la piedra.

«He was as large as a man and woman embracing.» — descripción del hombre primordial en la *Brihadaranyaka Upanishad*, que Jung cita como paralelo del andrógino alquímico.

«One is powerful, Six are subjects, the Eighth is also powerful”—and somewhat more so than the first.» — esquema planetario de Paracelso citado por Jung, con su comentario pegado al final de la frase.

«Thus we see that the spiritual life stands turned in upon itself, and that the natural life stands turned out of and facing itself.» — voz de Jakob Böhme sobre su rueda, citada por Jung.

«Mark: the outer wheel is the zodiac with the stars, and after it come the seven planets,” etc.*? “Albeit this figure is not fashioned sufficiently, it is nevertheless a meditation» — Böhme describe su propia figura y declara que no está suficientemente hecha, pero sirve de meditación.

«‘Thus he says: “The form of its birth is as a revolving wheel, which Mercurius makes in the sulphur.”» — Böhme sobre la rueda que Mercurio hace en el azufre, citado por Jung.

«And take care that thy door be well and firmly closed, so that he who is within cannot escape, and—God willing—thou wilt reach the goal.» — instrucción del corpus alquímico sobre el vaso bien cerrado, que Jung reproduce junto al motivo del círculo mágico.

«Vultur 1 . . . clamat voce magna, inquiens: Ego sum albus niger et rubeus citrinus» — sentencia del *Tractatus aureus* citada en el *Rosarium* y recogida por Jung: el buitre proclama ser el blanco negro y el rojo amarillo.

«In auro sunt quatuor elementa in aequali proportione aptata» — sentencia del *Rosarium* citada por Jung: en el oro los cuatro elementos están en proporción igual.

«[Lapis] nihilominus non funditur, nec ingreditur, nec permiscetur, sed vitrificatur’’ (But [the stone] can neither be melted nor penetrated nor mixed but 1s made as hard as glass)» — cita de Ademarus que Jung reproduce con su traducción inglesa al lado; los corchetes son de la edición.

«In Hermes’ treatise, “An die mensliche Seele’ (179), she is called “the highest interpreter and nearest custodian (of the eternal),” which aptly characterizes her function as mediator between conscious and unconscious.» — fórmula del tratado hermético sobre el alma, que Jung cita y aplica a su anima.

«For which reason the philosopher (Hermes in the ‘Tabula smaragdina’’) says: “The wind hath carried it in his belly” (fig. 210).» — sentencia de la *Tabula smaragdina* atribuida a Hermes, citada por Jung.

«The stone “is named the stone of invisibility” (lapzs invistbilitatis)» — denominación que el corpus alquímico da a la piedra y que Jung retoma para su propio término (la capa de texto corrompe el latín).

«Cornelius Agrippa mentions that “the learned Jews attribute the number 32 to Wisdom» — dato que Jung toma de Cornelio Agripa sobre la atribución cabalística del número treinta y dos a la Sabiduría.

«In the highest heaven of pure gold the King sits on a round throne which shines more brightly than the sun.» — visión de Guillaume de Digulleville, resumida por Jung: el rey en trono redondo en el cielo de oro.

«Beside him, on a circular throne that is made of brown crystal, sits the Queen, who intercedes for the sinners (fig. 103).» — sigue la visión del poeta cisterciense, con la reina en trono circular de cristal pardo.

«Raising his eyes to the golden heaven, the pilgrim perceived a marvellous circle which appeared to be three feet across.» — el círculo maravilloso del poema de Guillaume, que Jung leerá como mandala.

«Gold, the royal colour, is attributed to God the Father; red to God the Son, because he shed his blood; and to the Holy Ghost 202» — reparto de colores entre las personas de la Trinidad tal como lo trae el poema, y del que Jung notará que falta el azul.

«But this philosopher [Scites]® and Bonellus?° say that the whole work and the substance of the whole work are nothing but the water; and that the treatment [regimen] of the same also takes place in nothing but the water.» — posición de Scites y Bonellus recogida por Jung: toda la obra es agua y solo agua.

«And by whatever names the philosophers have called their stone they always mean and refer to this one substance, i.e., to the water from which everything [originates] and in which everything [is contained], which rules everything, in which errors are made and in which the error is itself corrected.» — continuación de esa doctrina alquímica del agua única, tal como Jung la cita.

«For both are philosophical water, although the vulgar mercury is different from the philosophical.» — distinción del corpus alquímico entre el mercurio del vulgo y el de los filósofos, citada por Jung.

«Maria Prophetissa (fig. 78) says that the whole secret lies in knowing about the Hermetic vessel.» — dicho de María la Profetisa que Jung reporta: el secreto entero está en conocer el vaso.

«Therefore it is called ““domus vitrea sphaeratilis sive circularis’” (spherical or circular house of glass).» — denominación del vaso en las fuentes alquímicas, con la traducción que da la edición.

«Our vessel must be such, that in it matter can be influenced by the heavenly bodies.» — exigencia que un texto alquímico pone al vaso, citada por Jung: que deje obrar a los astros sobre la materia.

«not in this body that we have received from Adam, but in that which we attain through the Holy Ghost, namely in such a body as our Saviour brought from heaven.» — pasaje del tratado alquímico dieciochesco del rito de la creación, citado por Jung, que después lo data y lo declara decadente.

«They say also that different names are given to the stone on account of the wonderful variety of figures that appear in the course of the work, inasmuch as colours often come forth at the same time» — explicación que Theobald de Hoghelande da a la multiplicidad de nombres de la piedra, recogida por Jung.

«The serpent is Mercurius, who as the fundamental substance (hypostatica) forms himself in the water and swallows the nature to which he is joined (fig. 130).» — doctrina alquímica sobre la serpiente mercurial, tal como Jung la reproduce.

«Above all it is the subject of the Catholic and Great Stone of the Philosophers which the whole world has before its eyes and yet knows not.» — fórmula alquímica sobre lo que todos ven sin conocer, citada por Jung.

«The dreams will hardly be believed; they are not, however, all false» — reserva del propio alquimista sobre sus sueños, que Jung reproduce.

«again that the stone will be found “when the search lies heavy on the searcher.”» — sentencia alquímica sobre la condición del buscador, recogida por Jung.

«He should collect the books of different authors, because otherwise it is impossible to understand them, and he should not throw aside a book which he has read once, twice, or even three times, although he has not understood it, but should read it again ten, twenty, fifty times or even more.» — instrucción hermenéutica de un tratado alquímico, citada por Jung: leer y releer sin desechar lo que no se entiende.

«Therefore our stone belongs not to the vulgar but to the very C heart of our philosophy.» — declaración del corpus alquímico sobre la pertenencia de la piedra, citada por Jung.

«Turn back, brethren, to the way of truth of which you are ignorant; I counsel you for your own sake to study and to labour with steadfast meditation on the words of the philosophers, whence the truth can be summoned forth.» — exhortación de Richardus Anglicus contra la práctica con materiales impuros, citada por Jung.

«In truth the form, which is the intellect of man, is the beginning, middle and end of the process: and this form is made clear by the saffron colour, which indicates that man is the greater and principal form in the spagiric opus.» — tesis de Gerhard Dorn que Jung cita: la forma intelectual del hombre es principio, medio y fin del opus.

«Richardus Anglicus rejects-all the assorted filth the alchemists worked with, such as eggshells, hair, the blood of a red-haired man, basilisks, worms, herbs, and human feces.» — inventario de materiales que Richardus Anglicus rechaza, tal como Jung lo resume.

«Within the human body there is hidden a certain metaphysical substance, known to only the very few, whose essence it is to need no medicament, for it is itself uncorrupted medicament.» — voz de Gerhard Dorn sobre la sustancia metafísica escondida en el cuerpo, citada por Jung.

«There is in natural things a certain truth which cannot be seen with the outward eye, but is perceived by the mind alone [sola mente].» — sentencia de Dorn sobre la verdad interior de las cosas naturales, citada por Jung; el corchete es de la edición.

«In this [truth] lies the whole art of freeing the spirit [speritus] from its fetters, in the same way that, as we have said, the mind [mens] can be freed [i.e., morally] from the body.”» — continuación de Dorn: en esa verdad está el arte entero de liberar el espíritu.

«Transform yourselves from dead stones into living philosophical stones!’» — exhortación de Dorn que Jung reproduce como consigna de la transformación interior.

«the mind [mens] must be in harmony with the work and the work must be above all else.» — regla que un tratado alquímico impone al operador, citada por Jung.

«Know then that you cannot have this science until you have purified your mind for God, which means that you must extinguish all corruption in your heart.» — condición que Alfidius pone al conocimiento del arte, citada por Jung.

«He must have a most subtle mind and an adequate knowledge of metals and minerals. But he must not have a coarse or rigid mind, nor should he be greedy and avaricious, nor irresolute and vacillating.» — retrato del operador que exige un tratado alquímico, reproducido por Jung.

«The author of the Rosarium says that he who wishes to be initiated into this art and wisdom must not be arrogant, but devout, righteous, of profound understanding, humane, of a cheerful countenance and a happy nature.» — requisitos morales que el *Rosarium* pone al iniciando, según Jung.

«This thing for which you have sought so long is not to be acquired or accomplished by force or passion.» — advertencia del corpus alquímico contra la fuerza y la pasión en la obra, citada por Jung.

«It is only to be won by patience and humility and by a determined and most perfect love.» — sigue esa advertencia con las tres virtudes que exige: paciencia, humildad y amor perfectísimo.

«I do not doubt that in hermitages and brotherhoods 1 would find greater repose, and fatiguing work in the deserts and in the mountains; but no one reaps who does not sow.» — respuesta de Morienus al rey sobre por qué vive en desiertos y montañas, citada por Jung.

«There is in our chemistry a certain noble substance over whose beginning affliction rules with vinegar, but over whose end joy rules with mirth.» — sentencia de Michael Maier sobre la aflicción que abre la obra y la alegría que la cierra, citada por Jung.

«Above all it is marvellous that our stone, although already perfect and able to impart a perfect tincture, does voluntarily humble itself again and will meditate.a new volatility, apart from all manipulation.» — pasaje de Philalethes en que la piedra misma medita, citado por Jung como testimonio de qué significaba *meditari*.

«Imagination is the star in man, the celestial or supercelestial body.» — definición de imaginación que Jung toma del diccionario de Ruland.

«The soul, however, has the absolute and independent power [absolutam et separatam potestatem] to do other things [alva facere] than those the body can grasp.» — doctrina del tratado *De sulphure* sobre el poder del alma, citada por Jung con el latín entre corchetes.

«The soul, he says, is the vice-regent of God (suz locum tenens seu vice Rex est) and dwells in the life-spirit of the pure blood.» — el mismo tratado hace del alma vicaria de Dios y la aloja en la sangre; Jung lo consigna así.

«The air is a pure uncorrupted element, in its kind the most worthy, being uncommonly light and invisible, but inside heavy, visible, and solid.» — descripción alquímica del aire con sus dos naturalezas opuestas, citada por Jung.

«A vision of heaven, where a dragon ltes on his back and devours his own tail: he is an image of the second coagulation.» — leyenda de una lámina alquímica que Jung reproduce; la capa de texto imprime *ltes* por *lies*.

«A sea of pure silver, which represents the Mercurial fluid whereby the tinctures are united.» — otra de esas leyendas emblemáticas, con la lectura que trae la propia lámina.

«Therefore it is advantageous to wash them all out thoroughly, which it will be impossible to do without the theoria of our secrets in which we teach the means for extracting a Royal Diadem from the menstruum of a whore).» — pasaje alquímico que Jung cita para mostrar hasta dónde llega el lenguaje de sus fuentes.

«Go to the waters of the Nile and there you will find a stone that has a spirit [avetua].» — dicho atribuido a Ostanes, citado por Jung; el griego sale corrompido de la capa de texto.

«Take this, divide it, thrust in your hand and draw out its heart: for its soul [wvyy] is in its heart 1% [fig. 149].» — continuación del dicho de Ostanes sobre la piedra del Nilo.

«He rends the circle of the spheres and leans down to earth and water (1.e., he is about to project himself into the elements).» — relato gnóstico del descenso del Nous, resumido por Jung con su glosa entre paréntesis.

«But scarcely has he set foot upon the earth when Physis locks him in a passionate embrace.» — sigue ese relato: Physis abraza al Nous en cuanto toca la tierra.

«The Justinian Gnosis depicts her as Edem, virgin above, serpent below» — figura de la gnosis de Justino, doncella arriba y serpiente abajo, recogida por Jung.

«That is why the Jesuit Lessius (d. 1623) called the words of the consecration the “sword” with which the sacrificial lamb is slaughtered.*®» — imagen del jesuita Lessius sobre las palabras de la consagración, citada por Jung.

«In the first (preparatory) part of the Mass the bread and wine are placed not on the main altar but on the xoddeots, a sort of sideboard.» — descripción del rito griego según Nicolás Cabasilas, que Jung sigue paso a paso.

«St. Ambrose called the transformed bread medicina.» — denominación de san Ambrosio para el pan transformado, recogida por Jung.

«‘The alchemists emphasize this point: “He who works through the spirit of another and by a hired hand will behold results that are far from the truth; and conversely he who gives his services to another as assistant in the laboratory will never be admitted to the Queen’s mysteries.”» — regla alquímica sobre trabajar por mano propia, citada por Jung.

«oportet intellectum valde subtiliter et ingeniose acuere’’ (one must sharpen the intellect very subtly and ingeniously)» — exigencia del prólogo del *Aurora consurgens*, citada por Jung con su traducción.

«They have compared the prima materia to everything, to male and female, hermaphroditic monster, to heaven and earth, to body and spirit, chaos, microcosm and to the mixed mass [massa confusa]; it contains in itself all colours and potentially all metals; there is nothing more wonderful in the world, for it begets itself, conceives itself and gives birth to itself.» — inventario de Hoghelande sobre la materia prima, citado por Jung: se engendra, se concibe y se pare a sí misma.

«The “Consilium coniugii” says that the father of gold and silver—i.e., their prima materia —is ‘‘the animal of earth and sea,” or “man,” or a “part of man,” e.g., his hair, blood, etc.» — definición del *Consilium coniugii* que hace del hombre mismo materia prima, recogida por Jung.

«Mercurium istum componi corpore, spiritu et anima, eumque naturam elementorum omnium et proprietatem assumpsisse.» — sentencia de Dorn sobre el Mercurio compuesto de cuerpo, espíritu y alma, citada por Jung.

«In uno est enim unum et non est unum, est simplex et in quaternario componitur» — paradoja de Dorn citada por Jung: en el uno está el uno y no es uno, es simple y se compone en cuaternario.

«In the Rosarium the prima materia is called radix ipstus (root of itself).» — denominación del *Rosarium* para la materia prima, con el latín tal como lo imprime la capa de texto.

«In his Philosophia ad Athenienses, Paracelsus says that this unique (unica) materia is a great secret having nothing in common with the elements.» — doctrina de Paracelso sobre la materia única, resumida por Jung.

«This mysteritum magnum has been a mother to all the elements, and in them likewise a grandmother to all stars, trees, and creatures of the flesh; for all sentient and insentient creatures, and all others of a like form, are born from the mysterium magnum, just as children are born from a mother.» — voz de Paracelso sobre el *mysterium magnum* como madre de los elementos, citada por Jung.

«the highest arcanum and great treasure of the creator has fashioned all things in the increatum, not in form, not in essence, not in quality, but they were in the increatum, as an image is in the wood, although this same is not to be seen until the other wood is cut away:» — sigue Paracelso con la imagen de la figura escondida en la madera, citada por Jung.

«The philosophers tell the inquirer that birds and fishes bring us the lapis,!* every man has it, it is in every place, in you, in me, in everything, in time and space.» — voz de George Ripley sobre la ubicuidad de la piedra, citada por Jung.

«Whosoever will free me from the waters and lead me to dry land, him will I prosper with everlasting riches.» — grito del rey del mar en la alegoría alquímica, reproducido por Jung.

«Arisleus * tells of his adventure with the rex marinus, in whose kingdom nothing prospers and nothing is begotten, for there are no philosophers there.» — arranque de la *Visio Arislei*, resumido por Jung.

«Only like is mixed with like,** consequently there is no procreation.» — la razón que la propia *Visio* da a la esterilidad del reino: solo lo semejante se mezcla con lo semejante.

«Through themselves they are dissolved, through themselves they are put together, so that they who were two are made one, as though of one body.» — sentencia de Merculinus sobre la unión de los dos en uno, citada por Jung.

«According to Basilius Valentinus, the earth (as prima materia) is not a dead body, but is inhabited by a spirit that is its life and soul.» — doctrina de Basilio Valentín sobre la tierra habitada por un espíritu, recogida por Jung.

«Johannes Grasseus quotes the view that the prima materia is the lead (plumbum) of the philosophers, also called the “lead of the air” ®° (an allusion to the inner opposite).» — posición que Grasseus recoge sobre el plomo de los filósofos, con la glosa de Jung entre paréntesis.

«God wrought this fire in the bowels of the earth, just as he wrought the purging flames of hell, and in this fire God himself glows with divine love.» — pasaje alquímico sobre el fuego de las entrañas de la tierra, citado por Jung.

«And as Jesus Christ, of the house of David, took on human nature for the liberation and redemption of mankind, who were in the bonds of sin on account of Adam’s disobedience, so likewise in our art that which has been wrongfully defiled by one thing is absolved by its opposite; cleansed, and delivered from that stain.» — pasaje del tratado alquímico latino que Jung data antes del siglo XIV, donde la analogía con Cristo se enuncia entera.

«Our precious stone, that was cast upon the dung-heap, has become altogether vile.» — sigue el mismo tratado con la piedra arrojada al estercolero, motivo que Jung enlaza con la piedra rechazada del Evangelio.

«But when we marry the crowned king with the red daughter, she will conceive a son in the gentle fire, and shall nourish him through our fire.» — la boda del rey coronado con la hija roja según ese texto alquímico, citada por Jung.

«Ifyou have meditated and lived in human community, you will see that the Son of God has become all things for the sake of devout souls: in order to draw the soul forth from the dominion of Heimarmene *” into the [realm of the] incorporeal, behold how he has become all—God, angel, and man capable of suffering.» — pasaje atribuido a Zósimo que Jung reproduce, sobre el Hijo de Dios que se hace todas las cosas.

«man is designated with the first hieratic word “Thoyth,” 33 who iS the interpreter of all things that are and the giver of names to all bodily things.» — el texto de Zósimo sobre Thoyth como intérprete y dador de nombres, citado por Jung.

«The Chaldeans, Parthians, Medes, and Hebrews call him Adam, which is, being interpreted, “virgin earth,” “blood-red [or bloody] earth,” “fiery” 4 or “carnal” earth.» — continúa Zósimo con las etimologías de Adán, reproducidas por Jung.

«this fetter Zeus sent yet another: Pandora, whom the Hebrews call Eve.» — identificación de Pandora con Eva en el texto de Zósimo, citada por Jung.

«For, according to the words of the allegory, Prometheus and Epimetheus are but one man, namely soul and body.» — la alegoría de Zósimo que hace de Prometeo y Epimeteo un solo hombre, alma y cuerpo.

«And these things are so until the coming of the daemon Antimimos, the jealous one,®? who seeks to lead them astray as before,®* declaring that he is the Son of God, although he is formless in both body» — el demonio Antimimos según el texto atribuido a Zósimo, citado por Jung.

«This art is partly natural and partly divine or supernatural.» — tesis de Petrus Bonus en la *Margarita pretiosa*, citada por Jung.

«This secret stone is a gift of God.» — sigue Petrus Bonus: la piedra secreta se recibe, no se fabrica.

«There could be no alchemy without this stone.» — el mismo autor hace de la piedra la condición de que haya arte alguno.

«It is needful that at the end of the world heaven and earth be united: which is the philosophic word.» — sentencia atribuida a Hermes que Petrus Bonus cita y Jung reproduce.

«God concealed this from Apollo, so that the world should not be destroyed.» — dicho atribuido a Pitágoras en la *Turba*, citado en la misma cadena.

«The intellect cannot comprehend it, so must believe it, like the divine miracles and the foundation of the Christian creed.» — Petrus Bonus pone la piedra fuera del alcance del intelecto y la equipara al artículo de fe.

«It was through their knowledge of the art that the old philosophers knew of the coming of the end of the world and the resurrection of the dead.» — la pretensión escatológica que ese texto atribuye a los antiguos filósofos.

«The author, he says, has even profaned the most holy mystery of the incarnation and death of Christ by turning it into the mystery of the lapis—not, of course, with any evil intent, as he, the typographer Conrad Waldkirch, readily admits, but as was only to be expected in that benighted epoch» — el impresor Conrad Waldkirch justifica haber mutilado el *Aurora consurgens*; Jung reproduce su nota como testimonio de la recepción del texto.

«This [Sapientia] is my daughter, for whose sake men say that the Queen of the South came out of the east, like the rising dawn, in order to hear, understand, and behold the wisdom of Solomon;» — pasaje del *Aurora consurgens* del que sale el título del tratado, citado por Jung.

«The wheel of creation takes its rise from the prima materia, whence it passes to the simple elements.» — sentencia de Dorn sobre la rueda de la creación, citada por Jung.

«sic rotam elementorum circumrotasti» — fórmula de George Ripley sobre la vuelta completa de la rueda de los elementos, citada por Jung.

«Take the serpent and set it on the chariot with four wheels, and let it return to earth repeatedly until it is im» — receta del Pseudo-Aristóteles con la serpiente y el carro de cuatro ruedas, citada por Jung.

«God may be perceived. He calls it the “shining clay” which is “moulded by the wheel [rota] and the hand of the Most High and Almighty Potter” into that earthly substance wherein the sun’s rays are collected and caught.» — la arcilla luminosa moldeada por la rueda del alfarero divino, según la fuente que Jung sigue.

«This fire is the “spiritual seed” which our Virgin '® has gathered in herself, because unspotted virginity can admit of “spiritual love,” according to the author of the Hermetic mystery and as experience itself shows.!2°» — doctrina de Philalethes sobre la simiente espiritual recogida por la virgen, citada por Jung.

«Laurentius Ventura '** cannot resist connecting the wheel with the vision of Ezekiel. So, speaking of the lapis, he says that Ezekiel saw “in its shape the wheel within the wheel and the spirit of the living creature that was in the midst of the wheels” 1°» — Laurentius Ventura empalma la rueda alquímica con la visión de Ezequiel; Jung lo consigna con reparo.

«And what meaneth this: ‘the nature that conquers the natures,’ and ‘it is perfected and becometh like a whirl’?» — logion místico atribuido a Zósimo, citado por Jung.

«but the second Adam, who is called the philosophical man, arose from pure elements and therefore passed over into eternity.» — doctrina alquímica del segundo Adán, citada por Jung en la cadena de paralelos con Cristo.

«One thing there is that does not die, so long as the world exists, and it brings alive anything dead.)» — sentencia de Senior sobre lo que no muere, citada por Jung con su traducción.

«When thou hast procured water from earth, air from water, fire from air, and earth from fire,1°° then thou wilt possess our art, complete and perfect.» — receta alquímica de la circulación de los elementos, reproducida por Jung.

«It was on account of this dream that Albertus composed the Ave Praeclara.» — noticia que Melchior da sobre el origen del himno, recogida por Jung.

«But the virgin becometh not pregnant at once unless she be kissed in repeated embraces.» — verso de la paráfrasis alquímica del himno mariano que compone Melchior, citada por Jung.

«but into mercurial water, into this our blessed gum 16° which dissolves of itself and is named the Sperm of the Philosophers.» — sigue la paráfrasis de Melchior, con la goma bendita que se disuelve sola.

«It is the treasure of treasures, the supreme philosophical potion, the divine secret of the ancients.» — cierre de esa paráfrasis alquímico-litúrgica de Melchior.

«The full moon is the philosophical water and the root of the science, for she is the mistress of moisture, the perfect round stone and the sea, wherefore I know that the moon is the root of this hidden science.”» — doctrina lunar que Melchior enuncia en su misa alquímica, citada por Jung.

«Glory be to our King who comes out of the fire,‘ who is illumined and crowned with the diadem, for ever and ever, Amen.» — poscomunión de la misa alquímica de Melchior, reproducida por Jung.

«Lapis, ut infans, lacte nutriendus est virginali.» — lema con que Michael Maier acompaña la misa alquímica de Melchior en su *Symbola aureae mensae*: la piedra, como un niño, se nutre de leche virginal.

«But in her lap lay the green lion,1* with blood flowing from his side [cf. fig. 242].» — imagen de la *Cantilena* de Ripley, reproducida por Jung; el corchete es de la edición.

«Elsewhere Ripley writes: Christ said: “I, if I be lifted up, will draw all men unto me.”» — versículo evangélico que Ripley aplica a su obra, citado por Jung.

«‘Animals have souls too, and they all have their special heaven, dogs, cats, and horses, because when the Saviour of men came down to earth,» — palabras de un cocinero que Jung reporta como anécdota popular sobre la redención de todo lo viviente.

«Give ear !*? to this profound parable: The ethereal heaven was closed to all men, so that they descended into hell and remained imprisoned there forever.» — arranque de la parábola de los textos de Basilio Valentín, citada por Jung.

«But the Virgin remained uninjured and inviolate; wherefore it is not without good reason that Mercurius is made equal [non immerito aequiparatur] to the most glorious and divine Virgin Mary.» — el paso en que ese texto iguala a Mercurio con la Virgen, citado por Jung con el latín entre corchetes.

«For Mercurius is virginal, because he has never increased any kind of metallic body in the bowels of the earth, and yet has generated the stone for us by means of the solution of “heaven”; that is to say, he opens the gold and leads out the soul.» — la razón que ese texto da a la virginidad de Mercurio.

«When they come together, he is called Mercurius duplicatus; that is, the two spirits, God the Father and God the Holy Ghost: but God the Son is homo glorificatus, like our glorified and fixed gold, the lapis philosophorum; wherefore is this lapis also called trinus:» — el emparejamiento trinitario que hace el *Wasserstein der Weysen*, citado por Jung.

«Orthelius ?% tells us that the philosophers have never found a better medicament than that which they called the noble and blessed stone of the philosophers, on account of its hardness, transparency, and rubeous hue.» — juicio de Orthelius sobre la piedra como medicamento, recogido por Jung.

«In the verbum scriptum Christ is still in swaddling clothes in his cradle [im cunis suis involutus]; but in the verbum dictum et factum the word is incarnate in God’s creatures, and there, in a manner of speaking, we may touch it with our hands.» — distinción de Orthelius entre la palabra escrita y la encarnada en las criaturas, citada por Jung.

«Let the spirit which is fire go out of the body.» — instrucción de Senior citada por Jung.

«Some have expressed the opinion that this world spirit [spiritus mundi] was the third person of the Godhead; but they have not considered the word “Elohim,” which, being plural, extends to all persons of the ‘Trinity.» — objeción de la fuente alquímica a quienes identifican el espíritu del mundo con la tercera persona, citada por Jung.

«or as Abul Kasim says, it is “derived from one thing, and not from separate things, nor from things distinguishing or distinguished.”» — fórmula de Abul Kasim sobre la materia prima, citada por Jung.

«And the top of this rock is confused with its base, and its nearest part reaches to its farthest, and its head is in the place of its back, and vice versa.» — descripción del monte donde todo está trastocado, según Abul Kasim, citada por Jung.

«Unicornis est Deus, nobis petra Christus, nobis lapis angularis Jesus, nobis hominum homo Christus» — sentencia de Prisciliano citada por Jung: Dios es unicorne, Cristo es para nosotros roca y piedra angular.

«The Unicorn does not admit of a fellow-dweller in its cave.» — dicho del bestiario medieval sobre el unicornio, citado por Jung.

«Of a truth God, terrible beyond measure, was peaceful and wholly tamed when he appeared before the world after having entered the body of the most blessed Virgin.» — texto de Picinelli sobre el Dios amansado en el seno de la Virgen, citado por Jung junto a la iconografía del unicornio.

«Christ is made kind and appeased by the most kindly Mary, so that he does not exact punishment from the sinner through eternal death)» — voz de san Buenaventura citada por Jung en la misma serie del amansamiento.

«These [Naassenes] say that the serpent is the moist substance, as Thales of Miletus also said,?? and that nothing which exists, whether immortal or mortal, animate or inanimate, could exist without it.» — doctrina naasena que Hipólito reporta y Jung recoge, con Tales invocado dentro de la propia cita.

«They say that anyone who drinks from this horn is immune to incurable diseases, for he is not seized by spasms or killed by poisons» — creencia sobre el cuerno del unicornio transmitida por las fuentes antiguas que Jung cita.

«Philostratus, in his Vita Apollonii (355, Book III, ch. 2), relates that when anyone drinks from a cup made of a unicorn’s horn, he is immune throughout the day to illness and pain, he can also walk through fire, and the strongest poison does him no harm.» — relato de Filóstrato sobre la copa de cuerno, recogido por Jung.

«Rosinus 37 says that he would like to make plain a vision that he has seen of a man who was dead, whose body was yet all white like a salt, and whose limbs were divided, and his head was of fine gold but separated from the body.» — visión de Rosinus del hombre muerto con la cabeza de oro, citada por Jung.

«Aufer caput, corpus ne tangito» — sentencia alquímica citada por Jung: llévate la cabeza, no toques el cuerpo.

«Regarding the three-legged ass they say, that it stands amid the wide-formed ocean, and its feet are three, eyes six, mouths nine, ears two, and horn one, body white, food spiritual, and it is righteous.» — descripción del asno de tres patas en el *Bundahish* persa, citada por Jung.

«With that horn it will vanquish and dissipate all the vile corruption due to the efforts of noxious creatures.» — sigue el *Bundahish* con la función purificadora del cuerno.

«This prime matter which is proper for the form of the Elixir is taken from a single tree which grows in the lands of the West.» — texto de Abul Kasim sobre el árbol de occidente como materia prima, citado por Jung.

«This is the tree of which whosoever eats, man and jinn obey him; it is also the tree of which Adam (peace be upon him!) was forbidden to eat, and when he ate thereof he was transformed from his angelic form to human, form.» — continúa Abul Kasim identificando ese árbol con el del Génesis.

«R. Jannai answered: “They took young unicorns into the ark.’”—But Rabba b. Bar Hana reported that he had seen a young unicorn as large as Mount ‘Tabor, which measures forty parasangs, and that the girth of its neck was three parasangs, a9» — discusión rabínica sobre cómo entró el unicornio en el arca, reproducida por Jung.

«R. Johanan answered: “They took its head into the ark.”—‘“‘But the master said that its head measured one and a half parasangs.”» — sigue la misma discusión talmúdica, con la objeción incluida.

«it does not tread any living grass under foot nor eat any living creature; it shows itself when perfect rulers [shen-jen] appear and the Tao of the king is accomplished.» — descripción china del k'i-lin, citada por Jung; el corchete es de la edición.

«The Physiologus Graecus tells us that when a snake has poisoned their drinking water, the animals, noticing the poison, will wait for the unicorn to come down to the water; ‘for his horn is a symbol of the cross” (otavedv éxtunmoas tH xéoatt abtod), and by drinking he dissipates the virulence of the poison.”» — relato del *Physiologus Graecus* sobre el cuerno que purifica el agua envenenada, citado por Jung.

«The lapis is “shimmering carbuncle light” or “the carbuncle stone shining in the firelight” (Khunrath, 207, pp. 227, 242; also Khunrath, 206, p. 202).» — denominaciones de Khunrath para la piedra, recogidas por Jung.

«Rumpite libros, ne corda vestra rumpantur» — ’ (rend the books, lest your hearts be rent asunder)» — advertencia de los propios alquimistas que Jung cita contra el estudio libresco, pese a que ellos mismos lo exigían.

«The German translation generally used by the author in his German text is the Zurcher Bibel (first translated 16th cent.) in a 1932 edition published by the Consistory of Canton Zurich on the order of the Zurich Church Synod.» — nota del aparato editorial sobre qué Biblia usaba Jung en su original alemán; documenta que esta edición inglesa reemplazó sus citas bíblicas por otras versiones.

«The D.V., being translated directly from the Vulgate, generally represents the texts quoted by pre-Reformation writers more closely than does the A.V.» — la razón editorial para preferir la Douay en las citas de autores anteriores a la Reforma.

«The author has supervised the textual revision, which in some cases is extensive.» — aparato editorial de las Collected Works: declara que Jung supervisó la revisión del texto y que en algunos casos fue extensa, dato que pesa al citar esta versión inglesa frente al alemán de 1944.

«Every volume of the Collected Works contains material that either has not previously been published in English or is being newly published in revised form.» — sigue el aparato editorial: cada volumen de la serie trae material inédito en inglés o revisado.

«The volumes will not necessarily be published in consecutive order, but, generally speaking, new works of which translations are lacking will be given precedence.» — el criterio de publicación de la serie, que explica por qué el volumen 12 salió primero.

«The edition will contain revised versions of works previously published, such as The Psychology of the Unconscious (a translation of Wandlungen und Symbole der Libido), now to be titled Symbols of Transformation;» — el aparato consigna los cambios de título entre la obra alemana y su versión en la serie.

«cases, a bibliography; the final volume will contain a complete bibliography of Professor Jung’s writings and a general index of the entire edition.» — el plan de aparato de la serie, con bibliografía e índice general anunciados para el último volumen.

Decknamen (nombres cubiertos) — «Aurum nostrum non est aurum vulgi» es la fórmula con que los alquimistas separaban su oro del literal, y él la lee como declaración de que el trabajo era simbólico.

Mercurio de los filósofos (Mercurius) — Advierte que «Mercurius» se usa en la literatura alquímica con un rango de sentidos muy amplio.

Rebis (el hermafrodita) — El axioma de María —uno, dos, tres, y del tercero el uno como cuarto— lo toma por axioma central del arte.

Mónada (el glifo que condensa el esquema entero) — El «self» es unión de opuestos por excelencia, y ahí lo distingue del símbolo cristiano.

Nigredo (la obra al negro) — Lee las láminas del opus por sus fases, con el nigredo sobre el rotundum entre ellas.

Correspondencias — «As the eye to the sun, so the soul corresponds to God»: la correspondencia como eje de su lectura.

Materia prima — Sostiene que los alquimistas no callaron qué era la materia prima: dijeron demasiado —azogue, mineral, sal, azufre, sangre, caos, microcosmos— y por eso se contradicen; lo que la sustancia no podía tener era especificación, porque la proyección sale de cada quien.

Piedra filosofal (lapis philosophorum) — Consigna que nunca quedó claro qué entendían por lapis los antiguos filósofos, y que el término nombra a la vez el comienzo y la meta de la obra.

Albedo (la obra al blanco) — Ordena las fases claras con una figura del día: el albedo es el amanecer y solo con el rubedo hay salida del sol.

Rubedo (la obra al rojo) — La citrinitas hace de tránsito hacia el rubedo, y él anota que la tradición posterior la suprimió.

Putrefacción (putrefactio) — Empareja la disolución de Gabricus en el cuerpo de Beya con la mortificatio, y con un cuadro de desintegración de la personalidad que puede llegar a la esquizofrenia.

Cuatro elementos (fuego, aire, agua, tierra) — Sostiene que el tres no es expresión natural de la totalidad porque cuatro es el mínimo de determinantes de un juicio completo, y a la vez consigna que la alquimia tiene tres y cuatro regímenes y tres y cuatro colores.

Círculo mágico (circulus) — Atribuye al círculo trazado en el sueño la función de contener al inconsciente, porque su irrupción equivaldría a una psicosis.

Imaginación (phantasia) — Llama a la imaginatio la clave acaso más importante para entender el opus, y toma de Ruland la definición de la imaginación como la estrella en el hombre.

Anima mundi (alma del mundo) — Identifica el agua divina de los alquimistas con un espíritu de vida inmanente a todo lo que existe, en calidad de alma del mundo.

León verde (leo viridis) — Consigna que el león verde se usa como sinónimo del unicornio y que ambos figuran la fuerza masculina y penetrante del spiritus mercurialis.

Quintaesencia (quinta essentia) — Sitúa las quintaesencias al final de la columna categorial del *Liber Platonis quartorum*, como las ideas primordiales simples a las que se reduce todo compuesto.

Microcosmos (el hombre-mundo) — Recoge el inventario de Hoghelande, donde la materia prima se compara con el microcosmos y con la massa confusa, y se engendra, se concibe y se pare a sí misma.

Gnosis (conocimiento salvífico) — Sostiene que las ideas básicas de la alquimia vienen de fuentes paganas y sobre todo gnósticas, y que el cristianismo fue asimilado a través de la gnosis y no al revés.

Secreto (lo que se jura no fijar por escrito) — Distingue en la oscuridad alquímica dos cosas que sus fuentes confunden: el alquimista admite velar su sentido a propósito, pero en ninguna parte dice que no pudiera escribir de otro modo.

Iniciación (recepción por grados / metamorfosis del ser) — Trae la escalera de los siete planetas de los ritos de iniciación, con Apuleyo entre los testigos, como analogía histórica del proceso onírico.

Azufre (principio sulfúreo) — Recoge de Philalethes la doctrina del fuego sulfúreo como simiente espiritual, y marca que la analogía mariana se rompe ahí: la simiente no viene del Espíritu Santo sino de un ignis gehennalis.

Philosophia perennis (filosofía perenne) — Consigna el testimonio de Patrizi, que no veía la filosofía hermética como enemiga de la Iglesia y pidió a Gregorio XIV que Hermes ocupara el lugar de Aristóteles.

Daimon (entidad intermedia, ni ángel ni demonio) — Recoge la posición neopitagórica según la cual el alma fue tragada por la materia y solo quedó el Nous, que está fuera del hombre y es su daimon.