The Works of Thomas Vaughan: Eugenius Philalethes
Anthroposophia Theomagica · Anima Magica Abscondita · Magia Adamica · Coelum Terrae · Lumen de Lumine · Aula Lucis · The Fraternity of the Rosy Cross · Euphrates
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Es la primera edición reunida de los escritos de Thomas Vaughan, preparada para el Library Committee de la Theosophical Society in England and Wales y publicada por la Theosophical Publishing House de Londres en el año MCMXIX «Vaughan — The Works of Thomas Vaughan, ed. Waite (1919) · p. 11». El Library Committee la presenta como el primer volumen de una serie de Transactions y declara las dos razones de la elección: la posición de Vaughan en la cadena de la tradición hermética del siglo XVII y la disponibilidad de A. E. Waite para editarlo «Vaughan — The Works of Thomas Vaughan, ed. Waite (1919) · p. 13». El mismo prefacio lo llama expositor de la alquimia y sostiene que sus obras se ponen por primera vez al alcance en edición reunida «Vaughan — The Works of Thomas Vaughan, ed. Waite (1919) · pp. 13, 14».
El volumen imprime siete tratados —ANTHROPOSOPHIA THEOMAGICA, ANIMA MAGICA ABSCONDITA, MAGIA ADAMICA, CŒLUM TERRÆ, LUMEN DE LUMINE, AULA LUCIS y EUPHRATES, más la introducción a la Fama y la Confessio rosacruces— con sus dedicatorias y advertencias originales, y cierra con nueve apéndices y un índice «Vaughan — The Works of Thomas Vaughan, ed. Waite (1919) · pp. 57, 58, 59». Delante van dos piezas de aparato firmadas: el prefacio biográfico y la introducción de Waite, que el índice titula *Lights and Shadows of Mystical Doctrine in the Works of Thomas Vaughan* «Vaughan — The Works of Thomas Vaughan, ed. Waite (1919) · p. 57».
Vaughan escribe como Eugenius Philalethes y su asunto es el espíritu universal de la naturaleza, la primera materia y la luz como agente de la creación y de la regeneración del hombre; polemiza contra los peripatéticos y los escolásticos, y en MAGIA ADAMICA responde a un libelo contra sus dos primeros discursos que una nota de Waite adjudica a Henry More, escribiendo bajo el nombre de Alazonomastix Philalethes «Vaughan — The Works of Thomas Vaughan, ed. Waite (1919) · p. 190». Waite, por su parte, data los tratados, corrige lecturas, señala las fuentes de las que Vaughan toma, y discute a lo largo del prefacio biográfico la identificación —que él objeta— entre Eugenius Philalethes y el Eirenaeus Philalethes a quien se atribuye THE OPEN ENTRANCE «Vaughan — The Works of Thomas Vaughan, ed. Waite (1919) · pp. 24, 28».
1724 claims · 1 source · 1 attribution
Attribution
recorded, never asserted«Vaughan — The Works of Thomas Vaughan, ed. Waite (1919), ed. inglés 1919 · pp. 11, 394»
The chain of the work
the processed witness, in emeraldClaims
1724 entries — the work's own voice, with its passage«SEEING that the freedom of the High Altar is granted to the High Priest alone, not without sacrilege may this overdaring offering seem to be thrust upon you.» — abre la dedicatoria de ANTHROPOSOPHIA THEOMAGICA a los Hermanos R. C.: Vaughan enuncia su ofrenda como atrevimiento que podría parecer sacrílego.
«Nor are fatuous and befogged sparklings wanting in our own day who deem that they are stars and are thought equal to the sun.» — Vaughan separa su ofrenda de la de los pretendientes contemporáneos, a quienes llama chispas fatuas que se creen estrellas.
«Most noble Brethren, I stand in the Court of the Temple, nor is my offering placed on the altar but laid in modesty at the threshold.» — Vaughan fija su propio lugar respecto de los Hermanos R. C. con la topografía del templo: el atrio y el umbral, no el altar.
«Should my tribute be demanded, I wish to offer you such gifts as ages and generations to come may liken to the Arpine scrolls.» — Vaughan declara la ambición de su libro por comparación con los rollos de Arpino, es decir con Cicerón, a quien nombra enseguida como su asociado en el oficio.
«Be it granted that the errors are of Eugenius : the rest is of truth.» — Vaughan reparte la responsabilidad del libro: los errores son de Eugenius, el resto es de la verdad.
«Wise is he who keeps silence in the sight of heaven.» — Vaughan justifica ante los Hermanos R. C. lo escaso de su ofrenda con una máxima sobre el silencio.
«Receive therefore, most illustrious Brethren, this my mite, not as that which I would bring you but as all that I have.» — Vaughan cierra la dedicatoria ofreciendo su óbolo con la distinción entre lo que querría dar y lo que tiene.
«My poverty prays further : regard not the gift itself but the obedience of Your Suppliant, EUGENIUS PHILALETHES. OXFORD, 1648.» — la firma con que se cierra la dedicatoria del primer tratado: Vaughan firma como Eugenius Philalethes y data en Oxford en 1648. Es una de las dos piezas en que el volumen declara el seudónimo.
«I LOOK on this life as the progress of an essence royal : the soul but quits her court to see the country.» — abre la advertencia al lector de ANTHROPOSOPHIA THEOMAGICA: Vaughan enuncia la vida como viaje de una esencia real que deja su corte para ver el campo.
«Heaven hath in it a scene of earth, and had she been contented with ideas she had not travelled beyond the map.» — Vaughan explica por qué el alma desciende: porque no se contentó con las ideas, y el cielo lleva dentro una escena de tierra.
«But excellent patterns commend their mimes : Nature that was so fair in the type could not be a slut in the anaglyph.» — Vaughan funda el valor del mundo sensible en la excelencia de su modelo: la naturaleza, hermosa en el tipo, no puede ser sucia en la copia en relieve.
«God in love with His own beauty frames a glass, to view it by reflection. But the frailty of the matter excluding eternity, the composure was subject to dissolution.» — Vaughan da la razón de la creación y la de la muerte en la misma frase: Dios enamorado de su hermosura fabrica un espejo, y la fragilidad de la materia lo hace disoluble.
«Ignorance gave this release the name of death, but properly it is the soul's birth and a charter that makes for her liberty.» — Vaughan renombra la muerte: no es fin sino nacimiento del alma y carta de libertad, y adjudica el nombre corriente a la ignorancia.
«She hath several ways to break up house, but her best is without a disease.» — Vaughan distingue modos de salida del alma y prefiere el que no pasa por la enfermedad.
«But this is to measure magical positions by the slight, superficial strictures of the ccfmmon philosophy.» — Vaughan objeta que se juzguen las posiciones mágicas con las estrecheces de la filosofía común; *ccfmmon* es lectura del OCR por common.
«His followers are so confident of his principles they seek not to understand what others speak but to make others speak what they understand.» — Vaughan describe el método de los aristotélicos: no entender lo ajeno, sino hacer que lo ajeno diga lo que ellos entienden.
«we are still hammering of old elements but seek not the America that lies beyond them.» — Vaughan reprocha a la filosofía de su tiempo quedarse en los elementos viejos, con la imagen del continente no buscado.
«Now, if I should question any sect for there is no communion in Christendom whither these later intimations drive, they can but return me to the first rudiments or produce some empty pretence of spirit.» — Vaughan extiende el reproche a las confesiones cristianas: preguntadas, devuelven a los rudimentos o a una pretensión vacía de espíritu.
«The Peripatetics when they define the soul, or some inferior principle, describe it only by outward circumstances, which every child can do ; but they state nothing essentially.» — Vaughan objeta el método peripatético de definir por circunstancias externas y no por la esencia.
«Notwithstanding, I acknowledge the schoolmen ingenious : they conceive their principles irregular and prescribe rules for method, though they want matter.» — Vaughan concede ingenio a los escolásticos y a la vez señala la falta: método sin materia.
«Their philosophy is like a church that is all discipline and no doctrine ; for bate me their prolegomena, their form of arguing, their reciting of different opinions, with several other digressions, and the substance of these Tostati 2 will scarce amount to a Mercury.» — Vaughan mide la sustancia de la filosofía escolar descontando su aparato, y la compara con una iglesia toda disciplina y ninguna doctrina.
«The Peripatetics look on God as they do on carpenters, who build with stone and timber, without any infusion of life.» — Vaughan objeta la idea peripatética de Dios como artesano que ensambla sin infundir vida.
«The earth which is the visible, natural basis of it represents the gross, carnal parts.» — Vaughan abre la correspondencia entre los elementos y las partes del hombre asignando a la tierra lo carnal y grueso.
«The element of water answers to the blood, for in it the pulse of the Great World beats :» — segunda casilla de esa correspondencia: el agua responde a la sangre, y en ella late el pulso del Gran Mundo.
«This is new philosophy, and that of Aristotle is old.» — Vaughan anticipa la objeción de novedad y la devuelve invirtiéndola.
«It is indeed, but in the same sense as religion is at Rome.» — Vaughan responde a esa objeción con una ironía confesional: nueva del mismo modo en que la religión es nueva en Roma.
«I present thee not here with any clamorous opposition of their patron but a positive express of principles as I find them in Nature.» — Vaughan declara el género de su libro: no polémica contra Aristóteles sino exposición positiva de principios hallados en la naturaleza.
«Be pleased to consider that obstinacy enslaves the soul and clips the wings which God gave her for flight and discovery.» — Vaughan pide al lector desprenderse de su escuela y funda la petición en el fin para el que dice que el alma tiene alas.
«If thou wilt not quit thy Aristotle, let not any prejudice hinder thy further search.» — Vaughan acota su propia exigencia: no pide abandonar a Aristóteles, sino que el prejuicio no cierre la búsqueda.
«Great is their number who perhaps had attained to perfection, had they not already thought themselves perfect.» — Vaughan da la razón por la que la búsqueda se detiene: creerse ya perfecto.
«All philosophy affirms therefore that the world has a soul, which soul is intelligent.» — Vaughan enuncia el alma del mundo como consenso filosófico y le atribuye inteligencia.
«Imperfection's an easy inheritance, but virtue seldom finds any heirs.» — Vaughan explica por qué el estado caído se transmite y la virtud no.
«Man had at the first and so have all souls before their entrance into the body an explicit methodical knowledge ;» — Vaughan atribuye al hombre primero, y a toda alma antes de entrar en el cuerpo, un conocimiento explícito y metódico.
«Thus had I only left a capacity without power and a will to do that which was far enough above me.» — Vaughan describe lo que la caída dejó: capacidad sin potencia y voluntad de hacer lo que queda por encima.
«But these endeavours suiting not to my purpose, I quitted this book business and thought it a better course to study Nature .than opinion.» — Vaughan cuenta su cambio de método: deja los libros por el estudio de la naturaleza, y opone naturaleza a opinión.
«I considered with myself that man was not the primitive, immediate work of God, but the world out of v/hich he was made.» — Vaughan justifica empezar por el mundo y no por el hombre: el hombre no es obra inmediata de Dios sino del mundo del que se hizo.
«I judged it convenient to examine his principles first and not him.» — Vaughan enuncia la regla de orden de su indagación: primero los principios, después el hombre.
«Here I observed a great many vegetables, fresh and beauteous in their time ; but when I looked back on their original they were no such things as vegetables.» — Vaughan describe la observación de la que parte: lo vegetal no era vegetal en su origen.
«This observation I applied to the world and gained by it this inference that the world in the beginning was no such thing as it is, but some other seed or matter out of which that fabric which I now behold did arise.» — Vaughan traslada esa observación al mundo entero y deriva de ella la existencia de una materia o semilla anterior.
«Here was I forced to leave off speculation and come up to experience.» — Vaughan declara el punto en que la especulación se le agota y tiene que pasar a la experiencia.
«Nature wraps this most strangely in her very bosom, neither doth she expose it to anything but her own vital, celestial breath.» — Vaughan explica por qué esa materia queda oculta: la naturaleza solo la expone a su propio aliento vital y celeste.
«My God, my life, Whose essence man Is no way fit to know or scan, But should approach Thy court a guest In. thoughts more low than his request» — cuarteta con que Vaughan abre el discurso en verso: pone el límite del conocimiento humano de la esencia divina.
«But as I look on moles that lurk In blind entrenchments and there work Their own dark prisons to repair,» — continuación de esos versos: Vaughan compara a quienes trabajan sin luz con topos que reparan su propia prisión.
«" In the beginning " that is, in that dead silence, in that horrible and empty darkness when as yet nothing was fashioned then saith the Lord " did I consider these things, and they all were made through Me alone, and through none other :» — Vaughan cita a Esdras glosando el principio del Génesis, y la glosa sobre el silencio y la oscuridad vacía es suya.
«This is true, for God the Father is the ^basis or supernatural foundation of His creatures ; God the Son is the pattern, in Whose express image they were made ; and God the Holy Ghost is the Creator Spirit, 7 or the Agent Who framed the creature in a just symmetry to his Type.» — Vaughan reparte la obra de la creación entre las tres personas: fundamento, patrón y agente.
«It was in fact the angel Uriel discoursing with Esdras, but speaking on is occasion in the person of the Almighty.» — Vaughan precisa de quién es la voz del pasaje que acaba de citar: el ángel Uriel hablando en persona del Todopoderoso.
«Thus the Divine Mind doth instruct us " by setting forth ideas as by a kind of self-extension beyond Itself," 2 and sometimes more particularly in dreams.» — Vaughan describe el modo en que la Mente Divina instruye: proponiendo ideas por una especie de extensión de sí, y en particular por sueños.
«To Nebuchadnezzar He presents a tree strong and high, reaching to the heavens " and the sight thereof to the ends of all the earth.» — Vaughan pone el sueño de Nabucodonosor como ejemplo de esa instrucción por imágenes.
«But that we may come at last to the scope proposed : God fhe Father is the Metaphysical, Supercelestial Sun ; the Second Person is the Light ; and the Third is Fiery Love, 4 or a Divine Heat proceeding from both.» — Vaughan traduce la Trinidad a una serie de emanaciones luminosas: Sol metafísico, Luz y Amor ígneo.
«Now, without the presence of this Heat there is no reception of the Light and by consequence no influx from the Father of Lights.» — Vaughan hace del calor la condición de la recepción de la luz, y del influjo del Padre de las Luces.
«It is my only intention in this place to handle exterior actions, or the process of the Trinity from the centre to the circumference ; and that I may the better do it you are to understand that God before His work of creation was wrapped up and contracted in Himself.» — Vaughan acota el objeto del capítulo a las acciones exteriores y describe a Dios antes de la creación como recogido y contraído en sí.
«In this state the Egyptians style Him the Solitary Monad 8 and the Kabalists Dark Aleph ; 4 but when the decreed instant of creation came, then appeared Bright Aleph, 5 and the first emanation was that of the Holy Ghost into the bosom of the matter.» — Vaughan empareja las nomenclaturas egipcia y cabalística para ese estado —Mónada Solitaria y Aleph Oscura— y sitúa como primera emanación la del Espíritu Santo en el seno de la materia.
«Wherefore God also, when the matter was prepared by Love for Light, gives out His Fiat Lux, which was no creation as most think but an emanation of the Word, in Whom was life, and that life is the light of men.» — Vaughan objeta la lectura común del Fiat Lux: no creación sino emanación del Verbo.
«" I am that Light, the Mind, thy God, more ancient than the watery nature which shone forth out of the shadow.» — Vaughan cita al PYMANDER para apoyar la anterioridad de la Luz sobre la naturaleza acuosa; la voz es la del texto hermético.
«And Georgius Venetus in his book De Harmonia Mundi : " Whatsoever liveth doth subsist by virtue of its inward heat.» — Vaughan cita a Georgius Venetus sobre el calor interno como sostén de todo lo vivo.
«But lest you should think this my invention and no practical truth I will give you another man's testimony.» — Vaughan declara por qué acumula testimonios ajenos: para que no se tome lo dicho por invención suya.
«Hence the Platonists called it "the nimbus of descending Divinity."» — Vaughan atribuye a los platónicos la fórmula del nimbo de la divinidad que desciende.
«Zoroaster and some other philosophers think it is the Soul of the World ; but by their leave they are mistaken.» — Vaughan objeta la identificación que atribuye a Zoroastro entre esa luz descendente y el alma del mundo.
«This is it which the Divine Spirit intimates to us in that Scripture where He saith that God created "every plant of the field before it was in the earth, and every herb of the field before it grew.» — Vaughan apoya la doctrina de las ideas preexistentes en el Génesis, con las plantas creadas antes de estar en la tierra.
«I must confess it is but short in respect of that which may be spoken ; but I am confident it is more than formerly hath been discovered, some authors having not searched so deeply into the centre of Nature and others not willing to publish such spiritual mysteries.» — Vaughan mide su propio discurso: corto respecto de lo decible y a la vez más de lo publicado, y adjudica el silencio ajeno a dos causas distintas, no buscar y no querer publicar.
«I am now come to the gross work or mechanics of the Spirit, namely, the separation of several substances from the same mass.» — Vaughan anuncia el paso a la parte que llama mecánica del Espíritu: la separación de sustancias a partir de una misma masa.
«It is the opinion of some men, and those learned, that this sluggish, empty rudiment of the creature was no created thing.» — Vaughan consigna, en boca de otros, la tesis de que la materia primera no fue creada.
«For how can we judge of a nature different from our own, whose species also was so remote from anything now existent that it is impossible for fancy to apprehend, much more for reason to define it ?» — Vaughan pone el límite de lo que puede decirse de esa materia: ni la imaginación la aprehende ni la razón la define.
«These two are active and masculine ; those of moisture and cold are passive and feminine.» — Vaughan reparte las cualidades elementales por género: calor y sequedad activos y masculinos, humedad y frío pasivos y femeninos.
«But the splendour of the Word expelling the darkness downwards it became more settled and compact towards the centre and made a horrible, thick night.» — Vaughan explica el origen de la noche por reacción: la luz del Verbo empuja la oscuridad hacia el centro y allí la compacta.
«But that it might be the more immediately exposed to the celestial influences which are the cause of vegetation the Spirit orders a retreat of the waters, and breaks up for them His " decreed plan " and sets them " bars and doors.» — Vaughan explica la separación de las aguas por su fin: exponer la tierra a las influencias celestes que causan la vegetación.
«Thus Nature is a Lady whose face is beauteous but not without a black-bag.» — Vaughan resume con una figura de tocador la doble condición de la naturaleza: hermosa y a la vez enmascarada.
«I am not only of opinion but I am sure there is no such principle in Nature.» — Vaughan niega la quintaesencia aristotélica y sube el grado de su negación de la opinión a la certeza.
«The earth is spongy, porous and magnetical, of composition loose, the better to take in the several influences of heat, rains and dews for the nurture and conservation of her products.» — Vaughan describe la tierra por su función receptora, y deriva su textura de esa función.
«She is Nature's Etna : here Vulcan doth exercise himself, not that limping poetical one which halted after his fall, but a pure, celestial, plastic fire.» — Vaughan sitúa en la tierra un fuego que llama vulcano, y lo distingue expresamente del Vulcano de los poetas.
«She is the nurse and receptacle of all things, for the superior natures engulf themselves into her ; what she receives this age she discovers to the next and like a faithful treasurer conceals no part of her account.» — Vaughan atribuye a la tierra el oficio de nodriza y tesorera que no oculta parte de su cuenta.
«The water hath several complexions, according to the several parts of the creature.» — Vaughan niega que el agua sea homogénea y la reparte según las partes de la criatura.
«He that hath seen them both in the same bed will confess that love rules all.» — Vaughan cierra la unión de los principios elementales con una fórmula sobre el amor como regla de todo.
«There are hidden treasures in it, but so enchanted we cannot see them for all the chest is so transparent.» — Vaughan enuncia la paradoja del agua: cofre transparente cuyos tesoros no se ven.
«" The congealed spirit of invisible water is better than all the earth," saith the noble and learned Sendivogius.» — Vaughan cita a Sendivogius sobre el espíritu congelado del agua invisible; la sentencia es de Sendivogius, no suya.
«I do not advise the reader to take this phlegm to task, as if he could extract a Venus from the sea, but I wish him to study water, that he may know the fire.» — Vaughan acota qué pide al lector: no operar sobre el agua común, sino estudiarla para conocer el fuego.
«This is no element but a certain miraculous hermaphrodite, the cement of two worlds and a medley of extremes.» — Vaughan niega al aire la condición de elemento y lo llama hermafrodita milagroso, cemento de dos mundos.
«Know then that every element is threefold, this triplicity being the express image of their Author and a seal He hath laid upon His creature.» — Vaughan enuncia la doctrina de la triplicidad de todo elemento y la funda en su origen: es sello e imagen del Autor.
«There is nothing on earth though never so simple, so vile and abject in the sight of man but it bears witness of God,» — Vaughan extiende ese testimonio a lo más vil y abyecto, sin excepción.
«Every compound whatsoever is three in one and one in three.» — Vaughan aplica al compuesto natural la fórmula trinitaria.
«Now, man hath the use of all these creatures, God having furnished, him with a living library wherein to employ himself.» — Vaughan llama biblioteca viva al conjunto de las criaturas puestas al uso del hombre.
«But I have touched the veil and must return to the outer court of the Sanctuary.» — Vaughan se interrumpe declarando que ha tocado el velo, y vuelve al atrio exterior: es su modo de marcar dónde se calla.
«When I speak of a natural triplicity, I speak not of kitchen-stuff those three pot-principles, water, oil and earth.» — Vaughan separa su triplicidad de los tres principios de cocina, agua, aceite y tierra.
«For example, there is a threefold earth : first, there is elementary earth, then there is celestial earth, and lastly there is spiritual earth.» — Vaughan despliega la triplicidad en el caso de la tierra: elemental, celeste y espiritual.
«The second principle is the infallible magnet, the Mystery of Union. By this all things may be attracted» — Vaughan nombra el segundo de sus principios, el imán infalible o Misterio de la Unión; el tramo se corta en el cambio de plana.
«The sun and moon are two magical principles the one active, the other passive ; this masculine, that feminine.» — Vaughan reparte sol y luna como los dos principios mágicos, activo y pasivo.
«They mutually dissolve and compound ; but properly the moon is " the instrument of the transmutation of inferior matter."» — Vaughan acota el reparto anterior: los dos se disuelven y componen mutuamente, pero el instrumento de la transmutación es propiamente la luna.
«There is not a compound in all Nature but hath in it a little sun and a little moon.» — Vaughan generaliza la pareja a todo compuesto natural.
«God like a wise Architect sits in the centre of all, repairs the ruins of His building, composeth all disorders and continues His Creature in his first primitive harmony.» — Vaughan describe la providencia como obra continua de reparación, no como acto único.
«But in respect I have proceeded thus far, I will give you a receipt of the Medicine.» — Vaughan anuncia que dará receta de la Medicina, y lo presenta como consecuencia de haber llegado hasta ahí.
«Separate the male from the female, and then each from its earth, naturally, however, and without violence.» — la receta misma: Vaughan manda separar macho y hembra y cada uno de su tierra, y pone la condición de que sea sin violencia.
«This is that Medicine about which so many have scribbled but so few have known.» — Vaughan mide la literatura sobre la Medicina por la distancia entre lo escrito y lo sabido.
«I do not conceive there shall be a resurrection of every species, but rather their terrestrial parts, together with the element of water for there shall be " no more sea " 2 shall be united in one mixture with the earth and fixed to a pure, diaphanous substance.» — Vaughan niega la resurrección de toda especie y describe en su lugar una fijación final de tierra y agua en sustancia diáfana.
«We read in Genesis that God made him out of the earth.» — Vaughan parte del texto del Génesis para tratar la materia del cuerpo humano.
«The learned Arias Montanus calls this Matter " the unique particle of the multiplex earth."» — Vaughan cita a Arias Montano para nombrar la materia de la que se hizo el cuerpo; la fórmula es de Montano.
«His soul is an essence not to be found in the texture of the great world and therefore merely divine and supernatural.» — Vaughan separa el alma del tejido del mundo mayor y la declara por eso divina y sobrenatural.
«Adam saith he received his soul " by an admirable and singular inspiration and fructification of God, if it be lawful so to call it."'» — Vaughan cita a Montano sobre el modo en que Adán recibió el alma, y conserva la reserva del propio Montano sobre la licitud del término.
«St Luke also tells us the same thing, for he makes Adam the son of God, not in respect of. the exterior act of creation but by way of descent.» — Vaughan apoya lo anterior en la genealogía de Lucas y precisa el sentido: por descendencia, no por acto exterior de creación.
«Matrimony is no ordinary trivial business, but in a moderate, sense sacramental.» — Vaughan atribuye al matrimonio carácter sacramental y acota el grado con un *moderate*.
«The first in this plot was Lucifer : Montanus tells me his name was Hilel.» — Vaughan nombra a Lucifer como cabeza de la rebelión y adjudica a Montano el nombre alterno de Hilel.
«And thus rebellion is as the sin of witchcraft : a witch is a rebel in physics and a rebel is a witch in politics.» — Vaughan equipara rebelión y brujería por una simetría entre el orden físico y el político.
«Satan being thus ejected as the condition of reprobates is became more hardened in his resolutions, and to bring his malice about arrives by permission at Eden.» — Vaughan narra la llegada de Satán al Edén y marca que ocurre por permisión.
«Here he makes woman his instrument to tempt man and overthrow him by the same means that God made for an help to him.» — Vaughan describe la inversión del auxilio en instrumento de caída.
«But here lies the knot : how can we possibly learn his disease if we know not the immediate efficient of it ?» — Vaughan formula el nudo de su indagación: no hay diagnóstico de la caída sin conocer su causa eficiente inmediata.
«If I question our divines what the forbidden fruit was I may be long enough without an answer.» — Vaughan declara que los teólogos no responden a la pregunta por el fruto prohibido.
«But in respect I prefer a private truth to a public error I will proceed.» — Vaughan justifica seguir adelante contra la opinión recibida con una preferencia declarada por la verdad privada.
«Certainly if it be once granted as some stick not to affirm that the Tree of Knowledge was a vegetable and Eden a garden it may be very well inferred that the Tree of Life being described after the same manner, 5 as the schoolmen express it was a vegetable also.» — Vaughan argumenta por paridad de descripción: si se concede que el árbol del conocimiento era vegetal, otro tanto se sigue del árbol de la vida. La llamada a nota queda dentro del tramo.
«And in his book of The Ecclesiastical Hierarchy, written to Timotheus, he affirms that in the primitive, apostolical times wherein he also lived the Mysteries of Divinity were delivered» — Vaughan invoca a Dionisio Areopagita sobre la entrega de los misterios en tiempos apostólicos; el tramo se corta en el cambio de plana.
«True indeed they tell us it betokens the washing away of sin, which we grant them, but this is not the full signification for which it was ordained.» — Vaughan concede la lectura corriente del agua bautismal y a la vez la declara incompleta.
«It hath been the common error of all times to mistake signum for signatum^ the shell for the kernel.» — Vaughan nombra el error que atraviesa su crítica religiosa: tomar el signo por lo significado.
«Man in the beginning 1 mean the substantial, inward man both in and after his creation, for some short time, was a pure intellectual essence, free from all fleshly, sensual affections.» — Vaughan describe el estado primero del hombre interior y acota su duración con un *for some short time*.
«which did cast asleep his. intellectual faculties but did stir up and exalt the sensual.» — Vaughan describe el efecto doble del fruto: dormir lo intelectual y exaltar lo sensual.
«We are all born like Moses with a veil over the face.» — Vaughan generaliza la condición caída con la figura del velo de Moisés.
«The normal, celestial, -ethereal part of man is that whereby we do move, see, feel, taste and smell, and have a commerce with all material objects whatsoever.» — Vaughan define la parte etérea del hombre por su oficio: el comercio con los objetos materiales.
«In plain terms it is part of the Soul of the World, 5 commonly called the Medial Soul because» — Vaughan identifica esa parte con una porción del alma del mundo, llamada Alma Medial; el tramo se corta en el cambio de plana.
«Neither should any wonder that I affirm this spirit to be in minerals because the operations of it are not discerned there.» — Vaughan extiende el espíritu a los minerales y responde de antemano a la objeción: que sus operaciones no se perciban no prueba su ausencia.
«But notwithstanding the eye only is destroyed and not the visible power, for that remains, as it is plain in their dreams.» — Vaughan separa el órgano de la potencia: destruido el ojo, la potencia visiva permanece, y lo prueba por los sueños
«A form is that which Aristotle could not define substantially, nor any of his followers after him, and therefore they are not competent judges of it.» — Vaughan objeta la competencia de los aristotélicos en materia de forma alegando que ni Aristóteles la definió sustancialmente
«Notwithstanding, in the flowers of several vegetables which in some sort represent the eyes there is a more subtle, acute perception of heat and cold, and other celestial influences, than in any other part.» — Vaughan atribuye a las flores una percepción más aguda del calor, el frío y las influencias celestes que cualquier otra parte de la planta
«This is manifest in those herbs which open at the rising and shut towards the sunset, which motion is caused by the spirit being sensible of the approach and departure of the sun.» — Vaughan pone como prueba de esa percepción las hierbas que se abren al alba y se cierran al ocaso
«But this will not sink with any but such as have seen this spirit separated from his elements where I leave it for this time.» — Vaughan acota a quién va dirigida la doctrina —a quien haya visto el espíritu separado de sus elementos— y corta ahí la exposición
«This spirit adheres sometimes to the Mens, or superior portion of the soul, and then it is filled with the Divine Light.» — Vaughan describe la unión ocasional del espíritu con la Mens, y de ella hace depender que se llene de la Luz Divina
«The sum of all is this : man, as long as he continued in his union to God, knew the good only T that is, the things that were of God.» — Vaughan resume el estado anterior a la caída: mientras el hombre estuvo unido a Dios conocía solo el bien, es decir lo que era de Dios
«Secondly, it is said to be good for food and pleasant to the eyes.» — Vaughan enumera lo que la Escritura dice del árbol del conocimiento, en la serie con que va cercando el fruto prohibido
«I am verily of opinion that the Egyptians received this knowledge from the Hebrews, who lived a long time amongst them as it appears out of Scripture and that they delivered it over to the Grecians.» — Vaughan enuncia como opinión propia la cadena de transmisión del saber: de los hebreos a los egipcios y de estos a los griegos
«The man of understanding, unveiled before himself, was of old united to the contemplation of the gods ; but it came about afterwards that another soul entered into - possession, intermixed with the form pf man, and for this cause he is saddled with the yoke of necessity and fate.» — pasaje de Jámblico, De Mysteriis, que Vaughan traduce y cita: el hombre de entendimiento estuvo unido a la contemplación de los dioses hasta que otra alma se mezcló con su forma y lo sometió al yugo de la necesidad y del hado. La grafía del troceo da *lamblichus*
«And what else, I beseech you, is signified unto us in that poetical fable of Prometheus, that he should steal a certain fire from heaven, for which trespass God punished the world with a great many diseases and mortality ?» — Vaughan lee la fábula de Prometeo como figura del mismo hurto y del castigo con enfermedades y mortalidad
«Verily the sin was not grounded in the nature of that which he did eat, 2 but it was the inference of the commandment, inasmuch as he was forbidden to eat it.» — Vaughan sitúa el pecado no en la naturaleza del fruto sino en la infracción del mandamiento. La llamada a nota queda dentro del tramo
«It is a Kabalistic maxim that "no spiritual being descending here below can operate without a garment.» — Vaughan invoca la máxima cabalística del vestido como condición de toda operación de un ser espiritual que desciende
«Consider well of it with yourselves, and take heed you wander not in the circumference.» — Vaughan pide al lector que no se quede en la circunferencia, es decir en lo periférico de la doctrina
«He must be united to the Divine Light, from whence by disobedience he was separated.» — Vaughan enuncia la condición de la restauración del hombre: reunirse con la Luz Divina de la que la desobediencia lo separó
«Now she flourishes, now she withers now a smile, now a tear ; and when she hath played out her stock, then comes a repetition of the same fancies, till at last she cries out» — Vaughan describe la oscilación del alma encerrada en el cuerpo, con la repetición de las mismas fantasías; el tramo se corta donde sigue el grito
«It is miraculpus to consider how she struggles with her chains when man is in extremity, how^she falsifies with fortune, what pomp, what pleasure, what a paradise doth she propose to herself.» — Vaughan describe cómo el alma en el apuro forcejea con sus cadenas y se propone paraísos imaginarios; *miraculpus* es lectura del OCR por miraculous
«She spans kingdoms in a thought and enjoys all that inwardly which she misseth outwardly.» — Vaughan atribuye al alma la posesión interior de lo que le falta fuera
«If she but fancies herself in the midst of the sea, presently she is there and hears the rushing of the billows.» — Vaughan hace de la imaginación un traslado real: basta que el alma se figure en el mar para oír el romper de las olas
«The dead live to her : there is no grave can hide them from her thoughts.» — Vaughan extiende ese alcance del alma a los muertos, a quienes ninguna sepultura oculta del pensamiento
«She can in an instant transfer her own vessel from one place to another.» — Vaughan atribuye al alma el traslado instantáneo de su propio vaso
«She can by an union with universal force 4 infuse and communicate her thoughts to .the absent, be the distance never so great.» — Vaughan funda la comunicación a distancia en una unión con la fuerza universal, sin límite de distancia. La llamada a nota queda dentro del tramo
«Neither is there anything under the sun but she may know it, and remaining only in one place she can acquaint herself with the actions of all places whatsoever.» — Vaughan enuncia el alcance cognoscitivo del alma sin moverse de su lugar
«Finally, " there is no work in the whole course of Nature, however arduous, however excellent, however supernatural it may be, that the human soul, when it has attained the source of its divinity» — Vaughan cierra la serie con una cita sobre lo que el alma puede obrar al alcanzar la fuente de su divinidad; el tramo se corta en el cambio de plana
«But who is he amidst so many thousand philosophisers that knows her nature substantially and the genuine, specifical use thereof ?» — Vaughan opone el número de los que filosofan sobre el alma al de los que conocen su naturaleza y su uso propio
«We should therefore pray continually that God would open our eyes, whereby we might see to employ that talent which He hath bestowed upon us but lies buried now in the ground and doth not fructify at all.» — Vaughan convierte la conclusión en precepto: pedir que se abran los ojos para emplear el talento que yace enterrado
«If this be once obtained we need not serve under Aristotle or Galen, nor trouble ourselves with foolish utrums and ergos^ for His unction will instruct us in all things.» — Vaughan opone la unción que instruye en todo al servicio bajo Aristóteles y Galeno y a las disputas de escuela
«But indeed the doctrine of the schoolmen, which in a manner makes God and Nature contraries, hath so weakened our confidence towards Heaven that we look upon all receptions from thence as impossibilities.» — Vaughan adjudica a la escolástica el efecto de hacer contrarios a Dios y a la naturaleza, y con ello el descrédito de toda recepción del cielo
«For He made man as it were for His playfellow, that he might survey and examine His works.» — Vaughan da la razón de ser del hombre en el designio divino: compañero de juego que examina las obras
«These were the books which God ordained for Adam and for us his posterity, not the quintessence of Aristotle nor the temperament of Galen the Antichrist.» — Vaughan opone el libro de las criaturas a los libros de escuela, y llama Anticristo a Galeno
«I do therefore protest before my glorious God, I have not written this out of malice but out of zeal and affection to the truth of my Creator.» — Vaughan declara ante Dios el móvil de su libro y lo separa de la malicia
«But shall I not be counted a conjurer, seeing I follow the principles of Cornelius Agrippa, that grand Archimagus, as the antichristian Jesuits call him ?» — Vaughan anticipa la acusación de conjurador por seguir a Cornelio Agrippa, y adjudica a los jesuitas el mote de gran Archimago
«He indeed is my author, and next to God I owe all that I have unto him.» — Vaughan declara su deuda con Agrippa en los términos más fuertes del volumen: después de Dios, le debe todo lo que tiene
«I know I shall be hated of most for my pains and perhaps scoffed at like Pythagoras in Lucian» — Vaughan prevé el odio y la burla que su libro le traerá, con la comparación del Pitágoras de Luciano
«Now will the Peripatetics brand me with their contra prindpia and the school divines with a tradatur Satan» — Vaughan enumera las dos condenas que espera, la peripatética y la de los teólogos de escuela
«I am embodied by thy books and thee And in thy papers find my ecstacy ;» — versos de Vaughan a Agrippa: dice quedar incorporado a sus libros y hallar en sus papeles el éxtasis
«They are but grave-clothes which he scatters here.» — continuación de esos versos: lo escrito por Agrippa es solo la mortaja que deja atrás
«Thy book was more than thrice-piled o'er with pitch. Now a new East beyond the stars I see Where breaks the day of thy divinity.» — cierre de los versos a Agrippa, de donde sale la fórmula del nuevo Oriente más allá de las estrellas que el Library Committee recoge en su prefacio, plana 13
«Heaven states a commerce here with man, had he But grateful hands to take and eyes to see.» — Vaughan condiciona el comercio del cielo con el hombre a que este tenga manos para tomar y ojos para ver
«Your fate is written by an unseen hand, But his Three Books with the Three Worlds shall stand.» — Vaughan predice a Agrippa la permanencia de sus tres libros junto con los tres mundos
«I affirm the Spirit of the living God to be in man, when God Himself doth» — Vaughan afirma la presencia del Espíritu del Dios vivo en el hombre; el tramo se corta en el cambio de plana
«Thus the earthly parts as we see by experience return to the earth, the celestial to a superior heavenly limbus and the spirit to God that gave it.» — Vaughan reparte los destinos del compuesto humano tras la muerte: la tierra a la tierra, lo celeste a un limbo superior y el espíritu a Dios
«the breathing of it into Adam proves it proceeded from God and therefore the Spirit of God.» — Vaughan argumenta desde el modo de la donación: haber sido insuflado en Adán prueba que procede de Dios
«Thus Christ breathed on His apostles and they received the Holy Ghost.» — Vaughan apoya ese argumento en el soplo de Cristo sobre los apóstoles
«Now, this Spirit was the Spirit of Life, the same with that Breath of Life which was breathed into the first man, and he became a living soul.» — Vaughan identifica el Espíritu de Vida con el aliento insuflado al primer hombre
«For God breathes continually and passeth through all things like an air that refresheth wherefore also He is called of Pythagoras " the quickening of all."» — Vaughan describe la respiración continua de Dios a través de todas las cosas y adjudica a Pitágoras la fórmula de la vivificación universal
«" Moreover" saith the Areopagite "they bear witness to His presence in our minds, as also in our souls and even in our bodies, that He is in heaven and on earth, and simultaneously in His very self : they declare Him to be within the world, to be around and also above it, over and above heaven, the superior essence, sun, star, fire, water, wind, dew, cloud, the very stone and rock : to be in all things which are and Himself to be nothing which they are.» — pasaje del Areopagita que Vaughan cita en apoyo de la omnipresencia divina, con su fórmula negativa final: está en todo lo que es y no es nada de lo que ello es
«Let that also be added which may seem vilest and most absurd of all, that the Lord hath called Himself a worm of the earth, as handed down to us by those versed in divine things.» — Vaughan lleva esa omnipresencia hasta el extremo, con el Señor llamándose gusano de la tierra
«Now, this figurative kind of speech, with its variety of appellations, is not only proper to Holy Writ but the Egyptians also as Plutarch tells me called Isis, or the most secret part of Nature, myrionymous ; and certainly that the same thing should have a thousand names is no news to such as have studied the Philosopher's Stone.» — Vaughan empareja el lenguaje figurado de la Escritura con la Isis de los mil nombres que atribuye a Plutarco, y con la multiplicidad de nombres de la piedra filosofal
«But more expressly the divine Vergil, speaking of his bees : Induced by such examples, some have taught That bees have portions of ethereal thought Endued with particles of heavenly fires ;» — Vaughan cita a Virgilio sobre las abejas dotadas de partículas de fuego celeste, en verso inglés
«Hence flocks and herds and men and beasts and fowls With breath are quicken'd, and attract their souls ;» — continuación de esos versos: el aliento vivifica a todos los vivientes, que atraen así sus almas
«No room is left for death : they mount the sky And to their own congenial planets fly.» — cierre de esos versos: no queda lugar para la muerte y cada cual vuela a su planeta congenial
«that part of man which Paracelsus calls the " sidereal man " 2 and more appositely the " brute part of man," 3 but Agrippa the " spectre "» — Vaughan reúne los nombres que Paracelso y Agrippa dan a la misma parte del hombre, hombre sideral y espectro
«Agrippa also, speaking of the apparitions of the dead, hath these words : " But that which I have seen myself with my own eyes and have touched with my own hands I will not mention in this place, lest it be my lot to be accused of falsehood by» — Vaughan cita a Agrippa reservándose lo que dice haber visto y tocado por temor a la acusación de falsedad; el tramo se corta en el cambio de plana
«magnetism is excellently confirmed by that memorable accident at Paris which Dr Fludd proves to be true by the testimonies of great and learned men.» — Vaughan apoya el magnetismo en un suceso de París y remite a Fludd como quien lo prueba por testimonios
«But this scene 2 exceeds not the circuit of one year, for when the body begins fully to corrupt the spirit returns to his original element.» — Vaughan pone plazo a esa permanencia: no más de un año, hasta que el cuerpo se corrompe del todo. La llamada a nota queda dentro del tramo
«but I shall reserve all for my great work, where I shall more fully handle these mysteries.» — Vaughan aplaza el tratamiento pleno de los misterios a una obra mayor que anuncia y que este volumen no imprime
«I am now to speak of man as he is subject to a supernatural judgment ; and to be short my judgment is this :» — Vaughan anuncia el último tramo del tratado, sobre el hombre sujeto a juicio sobrenatural, y lo presenta como juicio suyo
«I do -not here maintain that ignis fatuus of purgatory, or any such painted, imaginary tophet ; but that which I speak of if 1 am not much mistaken I have a strong Scripture for.» — Vaughan separa lo que sostiene del purgatorio, al que llama fuego fatuo, y apoya su tesis en la Escritura
«It is that of St Peter, where he speaks of Christ being " put to death in the flesh, but quickened by the Spirit :» — Vaughan nombra el lugar bíblico en que se apoya, la primera de Pedro sobre Cristo muerto en la carne y vivificado en el espíritu
«But I shall overthrow this single' nonsense with three solid reasons, drawn out» — Vaughan anuncia tres razones contra la lectura corriente de ese pasaje; el tramo se corta en el cambio de plana
«First, it is not said that the Spirit itself precisely preached unto them, but He Who went thither by» — primera de esas razones: Vaughan distingue entre el Espíritu que predica y aquel que fue allá por el Espíritu; el tramo se corta en el cambio de plana
«Thirdly, the apostle says these spirits were but sometime disobedient and» — tercera razón de Vaughan, apoyada en que el apóstol llama a esos espíritus desobedientes solo en un tiempo; el tramo se corta en el cambio de plana
«I am neither papist nor sectary but a true, resolute protestant in» — Vaughan declara su posición confesional dentro del tratado; el tramo se corta en el cambio de plana
«the whole encyclopaedia as they call it baiting the demonstrative, mathematical part is built on mere imagination, without the least light of experience.» — Vaughan mide el saber de escuela: salvo la parte demostrativa y matemática, lo llama construido sobre imaginación y sin luz de experiencia
«I wish therefore all the true sons of my famous Oxford Mother to look beyond Aristotle and not to confine their intellect to the narrow and cloudy horizon of his text ; for he is as short of Nature as the grammarians are of steganography.» — Vaughan pide a los oxonienses mirar más allá de Aristóteles y mide su distancia respecto de la naturaleza con una comparación tomada de la esteganografía
«I expect not their thanks for this my advice or discovery ; but verily the time will come when this truth shall be more perfectly manifested, and especially that great and glorious mystery whereof there is little spoken in this book : " the alone King Messias, the Word made flesh of the Father, hath revealed this secret, to be more openly manifested in a certain fulness of time.» — Vaughan renuncia al agradecimiento y remite a una manifestación futura del misterio mayor, con una cita sobre el Verbo hecho carne
«It is Cornelius Agrippa's own prediction, and I am confident it shall find patrons enough when nothing remains here of me but memory.» — Vaughan adjudica esa predicción a Agrippa y declara su confianza en que hallará valedores cuando él ya no esté
«I know Thy hand's not short ; but I'm unfit A foul, unclean thing to take hold of it.» — versos devocionales con que Vaughan cierra el tratado: la mano divina no es corta, el impedimento está en quien la toma
«Diseases may be cured ; but who'll reprieve Him that is dead ?» — continuación de esos versos: la distancia entre curar y resucitar
«Sin's lullabies charm me when I would come ; But draw me after Thee and I will run.» — continuación: Vaughan pide ser atraído, no exhortado
«I ask for stones and scorpions, but still cross'd And all for love should'st Thou grant, I were lost.» — continuación: Vaughan agradece la negativa divina a sus propias peticiones
«Dear Lord, deny me still, and never sign My will but when that will agrees^ with Thine.» — cierre de esos versos: Vaughan pide que su voluntad solo se cumpla cuando coincida con la divina
«I have now done, Reader, but how much to my bwn prejudice I cannot tell.» — Vaughan cierra el tratado midiendo el perjuicio que se hace a sí mismo al publicarlo; *bwn* es lectura del OCR por own
«expose it not to the mercy of man but of God, Who as He» — Vaughan pide que su libro se someta al juicio de Dios y no al de los hombres; el tramo se corta en el cambio de plana
«first, a plain, positive exposition of all the passages in this book,' without any injury to the sense of their author ; for if they interpret them otherwise than they ought, they but create errors of their own and then overthrow them.» — primera de las condiciones que Vaughan pone a sus censores: exponer sus pasajes sin torcer el sentido, porque de otro modo refutan errores propios
«discompose my book with a scatter of observations but proceed methodically to the censure of each part, expounding what is obscure and discovering the very practice, that the reader may find my positions to be false, not only in their theory but, if he will essay it, by his own particular experience.» — segunda condición: Vaughan exige censura metódica y verificable por experiencia propia del lector, no observaciones sueltas
«measure knowledge by the beard ; but look thou rather on the soul, an essence of that nature " which requireth not the courses of time for its perfection.» — Vaughan objeta que el saber se mida por la edad y remite al alma, que no necesita del tiempo para su perfección
«Essay nothing without science, but confine yourselves to those bounds which Nature hath prescribed you.» — Vaughan cierra la advertencia con un precepto operativo: no ensayar nada sin ciencia y no salir de los límites de la naturaleza
«I have neither consulted the stars nor their urinals, the Almanacks.» — abre la advertencia al lector de ANIMA MAGICA ABSCONDITA: Vaughan niega haber consultado los astros y llama orinales a los almanaques
«I come out as if there were no hours in the day, nor planets in the hours : neither do I care for anything but that interlude of Perendenga in Michael Cervantes» — Vaughan declara publicar sin atender a horas ni planetas, con una referencia a un entremés de Cervantes; el tramo se corta en el cambio de plana
«It happened in exposing my ormer discourse to censure a custom hath strangled Tiany truths in the cradle that a learned man suggested o me some bad opinion he had of my author, Henricus» — Vaughan cuenta el origen del tratado: un docto le insinuó mala opinión de su autor, Agrippa; *ormer* es lectura del OCR por former
«It is the fortune of deep writers to miscarry because of obscurity. Thus the spots in the moon with some men are earth, but» — Vaughan adjudica el descrédito de los escritores profundos a su oscuridad, con el ejemplo de las manchas de la luna; el tramo se corta en el límite de chunk
«'tis more probable they are water. There is no day so clear but there are lees towards the horizon : so inferior wits, when they reflect on higher intellects, leave a mist in their beams.» — continuación de la frase anterior, ya en la plana siguiente: Vaughan atribuye la niebla a los ingenios inferiores que reflejan sobre los superiores
«Had he lived in ignorance, as most do, he might have passed hence like the last year's clouds, without any more remembrance.» — Vaughan explica la persecución de Agrippa por su saber: la ignorancia lo habría dejado pasar sin memoria
«The world then being not able to confute this man's principles by reason went about to do it by scandal ; and the first argument they fastened on was that of the Jew against his Saviour : " Thou art a Samaritan and hast a devil.» — Vaughan describe el paso de la refutación al escándalo y compara la acusación contra Agrippa con la que los judíos hicieron a Jesús
«The chief in this persecution is Cigognes, 2 and after him Delrio in his fabulous Disquisitions?» — Vaughan nombra a los principales acusadores de Agrippa y llama fabulosas a las Disquisiciones de Del Río. La llamada a nota queda dentro del tramo
«But Paulus Jovius stirred in the vomit, who amongst other men's lives hath put my author to death.» — Vaughan acusa a Paulo Jovio de haber compuesto la muerte legendaria de Agrippa
«It is done indeed emphatically betwixt him and his poet, whom he hired it seems to stitch verse to his prose and so patched up the legend.» — Vaughan describe cómo se fabricó esa leyenda: prosa de Jovio y verso de un poeta contratado
«But that which troubles him most of all is that Agrippa should prove his doctrine out of the Scriptures.» — Vaughan señala qué es lo que a Jovio le molesta de veras: que Agrippa pruebe su doctrina con la Escritura
«This is the most gross lie and the least probable in every circumstance that ever was related.» — Vaughan califica el relato del perro-demonio de Agrippa como la mentira más gruesa y menos probable
«Devils use not to quit their conjurers in the day of death ; neither will they at such times be exterminated.» — Vaughan objeta la verosimilitud interna del relato: los demonios no abandonan a sus conjuradores a la hora de la muerte
«This is the hour wherein they attend their prey and from seeming servants become cruel masters.» — Vaughan refuerza esa objeción con la inversión de papeles a la hora de la muerte, de siervos a amos crueles
«Certainly spirits pass away invisibly and with that dispatch no mortal man can trace them.» — Vaughan añade una tercera objeción: nadie puede seguir el rastro de un espíritu
«It is confessed he was fond of this dog, and having divorced his first wife would suffer him for a sarcasm to sleep with him under the sheets.» — Vaughan concede el hecho del que nació la leyenda —el afecto de Agrippa por su perro— y lo explica sin demonio
«In his study too this dog would couch on the table by his master, whence this great philosopher, " absolutely surrounded by his extraordinary manuscript treasures " 1 saith Wierus would not sometimes stir out for a whole week together.» — Vaughan sigue explicando el hecho por costumbres de estudio, citando a Wier sobre los manuscritos que rodeaban a Agrippa
«I have observed also in his Epistles that when he was resident at Malines his domestics used to give him an account in their letters how his dogs fared so fond was he of those creatures.» — Vaughan apoya lo anterior en las cartas de Agrippa, donde sus criados le informaban del estado de sus perros
«but Wierus who had more reason to be inquisitive after his master's death tells me he died at Granople, and that "in the Lord," 4 not desperately as his enemies would have it.» — Vaughan opone a la leyenda el testimonio de Wier sobre la muerte de Agrippa en Grenoble y en el Señor
«But, Reader, it is not my intention to conceal anything in this matter : know therefore that Agrippa had another dog, his Filioli) and this last died in more respect than most of his master's adversaries.» — Vaughan declara no ocultar nada del asunto y consigna el segundo perro de Agrippa
«lost the favour of the Queen-Mother because he would not be employed by her in astrology a science in whose true, natural part he was skilled to a miracle ; but he knew it was bootless to look for fatal events in the planets, for such are not written in Nature but in the Superior Tables of Predestination.» — continuación de una frase que empieza en la plana anterior: Vaughan atribuye a Agrippa destreza en la parte natural de la astrología y a la vez la negativa a leer en los planetas los sucesos fatales, que sitúa en las Tablas Superiores de la Predestinación
«Having thus then sufficiently proved his integrity, I will in a few words discover the grounds of his persecution.» — Vaughan anuncia el paso de la defensa de Agrippa a las causas de su persecución
«He was a man reformed in his religion ; and had I the leisure to cite his works I could quickly prove he was not of the Roman Church.» — primera causa que Vaughan adjudica: la confesión reformada de Agrippa
«He corrects the poj himself sufficiently and is utterly against the Inquisitioi Office.» — Vaughan añade la crítica de Agrippa al papa y a la Inquisición; *poj* e *Inquisitioi* son lecturas del OCR por pope e Inquisition
«Lastly, he was altogether for the writtei word, preferring it to human constitutions, which is contrary to the papist, who will not allow it to be the judge» — última causa: Vaughan adjudica a Agrippa la preferencia por la palabra escrita sobre las constituciones humanas; el tramo se corta en el cambio de plana y *writtei* es lectura del OCR por written
«To build castles in the air is a common proverb with- all men but a common practice with the Peripatetics only.» — Vaughan abre el cuerpo de ANIMA MAGICA ABSCONDITA convirtiendo un proverbio en cargo contra los peripatéticos
«Their heptarchy ends in a syllogism and the best professor amongst them is but a scold well disciplined.» — Vaughan resume el saldo de las siete artes en la escuela: un silogismo y un reñidor disciplinado
«Their seven years study are seven years of famine ; they leave the soul not satisfied and are more of a dream than that of Pharaoh.» — Vaughan mide siete años de estudio escolar por lo que dejan en el alma
«Their conceptions are not grounded on any reason existent in Nature, but they would ground Nature on reasons framed and principled by their own conceptions.» — Vaughan nombra la inversión que reprocha a la escuela: fundar la naturaleza en las propias concepciones y no al revés
«These are the first lineaments of their monster, and in reference to them they have many subordinate errors which pretend a symmetry with their fundamentals but in truth have none at all.» — Vaughan describe la coherencia aparente del sistema escolar y se la niega
«I verily believe Aristotle made use of those words Xo'yo? and ej/reXe'xaa = form and actuality, because he would not discover his ignorance in these points.» — Vaughan adjudica a Aristóteles el uso de términos técnicos como pantalla de su ignorancia
«So I may tell the reader that the magician's passive spirit is a principle ; but if I tell him not what kind of substance it is I will allow him ten years of study, and if the sun went back every day ten degrees in his dial he shall not without a supernatural assistance know what or where it is.» — Vaughan aplica ese mismo reproche a su propio oficio: nombrar el principio sin decir qué sustancia es lo deja inhallable sin asistencia sobrenatural
«I must confess I do not understand him and therefore 1 shall take him upon trust, as his disciples expound him.» — Vaughan declara no entender a Aristóteles y tomarlo por lo que sus discípulos exponen. La llamada a nota queda dentro del tramo
«It was ingenuously done of Galen, who confessed his ignorance concerning the substance of the soul ; but this fellow who had not so much honesty is voiced Prince of Philosophers and the positions of more glorious authors are examined by his dictates, as it were by a touchstone.» — Vaughan opone la confesión de ignorancia de Galeno sobre el alma a la autoridad de Aristóteles como piedra de toque
«Nay, the Scripture itself is oftentimes wrested and forced by his disciples to vote a placet to his conclusions.» — Vaughan denuncia que se fuerce la Escritura para que vote a favor de las conclusiones aristotélicas
«Verily, Nature is so much a tutor that none can be ignorant in these things ; for who is so stupid as not to know the difference between life and death, the absence and presence of his soul ?» — Vaughan opone al saber de escuela un saber que la naturaleza misma enseña a cualquiera
«Away then with this Peripatetical Philosophy, this vain babbling, as St Paul justly styles it, 2 for sure enough he had some experience of it at Athens in his dispute about the resurrection.» — Vaughan despide la filosofía peripatética con una fórmula que atribuye a san Pablo y con el episodio de Atenas
«Observe then that this Stagyrite and Nature are at a great distance : the one ends in works, the other in words.» — Vaughan resume la distancia entre Aristóteles y la naturaleza por lo que cada uno produce, obras o palabras
«Again, in some things they are quite beside the cushion ; they scold and squabble about whimsies and problems of their own which are no more in Nature than Lucian's Lachanopters or Hyppogypians.» — Vaughan compara los problemas de escuela con las criaturas inventadas de Luciano
«But if the] mind the essential temperament they are grossly mij taken in stating these qualifications, for it is not th< touch or sight that can discern intrinsical, true complexions.» — Vaughan objeta que el temperamento esencial se juzgue por el tacto o la vista; la línea trae daño de OCR en *the]* y *mij taken*
«Thus she interposeth her passive, refreshing spirit between the central fire and the Sulphur.» — Vaughan describe la función mediadora del espíritu pasivo entre el fuego central y el azufre
«Now then, you that have your eyes in your hearts and not your hearts in your eyes, attend to that which is spoken, and that I may exhort you to magic in the magician's phrase : " Hear with the understanding of the heart.» — Vaughan formula la condición de lectura de su tratado con una fórmula que atribuye a los magos: oír con el entendimiento del corazón
«I advise them therefore to use their hands, not their fancies, and to change their abstractions into extractions ; for verily as long as they lick the shell in this fashion» — Vaughan opone extracción a abstracción y manda a los filósofos usar las manos; el tramo se corta en el cambio de plana
«It is obvious to all those whom Nature hath enriched with sense and convenient organs to exercise it that every body in the world is subject to a certain species of motion.» — Vaughan parte de un hecho que da por evidente para los sentidos: todo cuerpo del mundo está sujeto a alguna especie de movimiento
«But verily it is not enough to call this principle a form and so bury up the riches of Nature in this narrow and most absurd formality.» — Vaughan objeta que se despache con el nombre de forma el principio del movimiento
«Trust not then to Aristotle, who tells you that the elements are simple bodies, for the contrary hath been manifested by absolute, infallible experience.» — Vaughan niega la simplicidad aristotélica de los elementos y apela a la experiencia como instancia contraria
«The passive spirit is a thin, aerial substance, the only immediate vestment wherein the Soul wraps herself when she descends and applies to generation.» — Vaughan define el espíritu pasivo como el vestido inmediato con que el alma se envuelve al descender a la generación
«Now, as soon as the passive spirit attracts the Soul, which is done when the first link in the chain moves of which we shall speak in its due place then the ethereal water in a moment attracts the passive spirit, for this is the first visible receptacle, wherein the superior natures are concentrated.» — Vaughan describe la cadena de atracciones que va del alma al espíritu pasivo y de este al agua etérea, primer receptáculo visible
«The celestial nature differs not in substance from the aerial spirit but only in degree and complexion ; and the aerial spirit differs from the Aura, or material part of the Soul, in constitution only and not in nature ;» — Vaughan gradúa las diferencias entre naturaleza celeste, espíritu aéreo y aura del alma: de grado y complexión, no de sustancia
«may admit of a perfect, hypostatical union and be carried by a certain intellectual light into " the horizon of the supercelestial world " l and so swallowed up of immortality.» — continuación de una frase que empieza en la plana anterior: Vaughan describe el término del proceso como unión hipostática y absorción en la inmortalidad, tras pasar el horizonte del mundo supraceleste
«But, methinks, Nature complains of a prostitution, that I go about to diminish her majesty, having almost broken her seal and exposed her naked to the world.» — Vaughan se interrumpe poniendo en boca de la naturaleza la queja por haber roto casi su sello
«I must confess I have gone very far and now I must recal myself ; for there is a necessity of reserving as well as publishing some things.» — Vaughan declara la regla que gobierna sus silencios: hay necesidad de reservar tanto como de publicar
«The Soul though in some sense active yet is she not so essentially but a mere instrumental agent ; for she is guided in her operations by a spiritual, metaphysical grain, a seed or glance of light, simple and without any mixture, descending from the first Father of Lights.» — Vaughan niega que el alma sea agente esencial y la subordina a un grano metafísico de luz que desciende del Padre de las Luces
«For though His full-eyed love shines on nothing but man, yet everything in the world is in some measure directed for his preservation by a spice or touch of the First Intellect.» — Vaughan reserva para el hombre el amor pleno de Dios y concede a todo lo demás un toque del Primer Intelecto
«This is partly confirmed by the habitation and residence of God ; for He is seated above all His creatures, to hatch as it were and cherish them with living, eternal influences which daily and hourly proceed from Him.» — Vaughan deriva de la sede de Dios sobre las criaturas la continuidad del influjo, con la imagen del ave que empolla
«Hence he is called of the Kabalists Kether? and it answers to Parmenides his Fiery Crown, 3 which he places above all the visible spheres.» — Vaughan empareja el Kether de los cabalistas con la Corona Ígnea que atribuye a Parménides
«This flux of immaterial powers Christ Himself in Whom the fulness of the Godhead resided confirmed and acknowledged in the flesh ; for when the diseased touched His garment He questioned who it was, adding this reason : " I perceive " said He " that virtue is gone out of me.» — Vaughan apoya el flujo de potencias inmateriales en el episodio evangélico de la virtud que sale de Cristo al ser tocado
«But laying aside such proofs, though the Scripture abounds in them, let us consider the exercise and practice of Nature here below, and we shall find her game such she cannot play it without this tutor.» — Vaughan deja de lado la prueba escrituraria y remite a la práctica de la naturaleza, que no puede obrar sin ese tutor
«Verily we must needs confess that He Who ordained flies for his sustenance gave him also some small light to know and execute His ordinance.» — Vaughan argumenta desde el caso menor: quien ordenó las moscas por alimento dio también la luz para cumplir la ordenanza
«Certainly this is a wellordered policy, enough to prove that God is not absent from His creatures but that " wisdom reacheth from one end to another mightily " l and that " His incorruptible Spirit is in all things.» — Vaughan concluye de esa economía la presencia del Espíritu incorruptible en todas las cosas, con dos citas de la Sabiduría. La fuente imprime *well-ordered* partido por el salto de renglón, y la herramienta lo devuelve unido
«We know very well there is but one Matter out of which there are formed so many different shapes and constitutions.» — Vaughan enuncia la unidad de la materia frente a la diversidad de las formas
«Now, if the agent which determinates and figures the Matter were not a discerning spirit it were impossible for him to produce anything at all.» — Vaughan deriva de esa unidad que el agente que figura la materia ha de ser espíritu que discierne
«Let us now apply this to the Spirit which worketh in Nature.» — Vaughan marca el paso de la analogía al Espíritu que obra en la naturaleza
«moves in the centre of all things, hath the Matter before Him as the potter hath his clay or the limner his colours.» — continuación de esa frase en la plana siguiente: Vaughan compara al Espíritu con el alfarero y el pintor que tienen delante su materia
«And first of all He exerciseth His chemistry in several transmutations, producing sinews, veins, blood, flesh and bones, which work also includes His arithmetic, for He makes the joints and all integral parts, nay as Christ tells us the very hairs of our heads in a certain determinate number, which may conduce to the beauty and motion of the frame.» — Vaughan reparte la obra del Espíritu en artes: química en las transmutaciones y aritmética en el número de las partes, hasta los cabellos de la cabeza
«Again, in the outward lineaments or symmetry of the compound He proves himself a most regular mathematician, proportioning parts to parts, all which operations can proceed from nothing but a Divine, Intellectual Spirit.» — Vaughan añade la matemática a esa serie y concluye que solo un espíritu divino e intelectual puede obrar así
«For if He had not several ideas or conceptions correspondent to His several intentions He could not distinguish the one from the other.» — Vaughan exige ideas distintas en el agente para que pueda distinguir sus obras
«And if He were not sensible, if He did not foresee the work He doth intend, then the end could be no impulsive cause as the Peripatetics would have it.» — Vaughan objeta la causa final peripatética: sin previsión en el agente, el fin no puede ser causa impulsiva
«Now, our Saviour tells us : " My Father worketh hitherto " ; 2 and in another place He tells us God clothes the lilies of the field ; 3 and again " not one sparrow falls without your Father.» — Vaughan apoya la obra continua de Dios en tres lugares evangélicos. Las llamadas a nota quedan dentro del tramo
«For Nature is the Voice of God, 8 not a mere sound or command but a substantial, active breath, proceeding from the Creator and penetrating all things.» — Vaughan define la naturaleza como voz de Dios y acota qué clase de voz: aliento sustancial y activo, no mero sonido
«I know this will seem harsh to some men, whose ignorant zeal hath made them adversaries to God, for they rob Him of His glory and give it to His creature» — Vaughan prevé el rechazo y lo adjudica a un celo ignorante que roba la gloria a Dios; el tramo se corta en el cambio de plana
«Let them approach with confidence to the Almighty God Who made the world, for none can give a better account of the work than the Architect.» — Vaughan invita a acudir al arquitecto y no a los comentadores
«There is no reason then why we should decline this great and glorious Schoolmaster, Whose very invitation speaks more than an ordinary encouragement.» — Vaughan llama maestro de escuela a Dios y funda la invitación en la invitación misma
«Truly not with words but with works, not in studying ignorant, heathenish authors but in perusing and trying His creatures.» — Vaughan opone obras a palabras y el ensayo de las criaturas al estudio de los autores paganos
«But verily there is such a general prejudice, such a customary opposition of all principles which cross Aristotle that Truth can no sooner step abroad but some sophister or other flings dirt in her face.» — Vaughan describe el prejuicio de escuela como reflejo automático contra todo lo que cruce a Aristóteles
«I do not condemn the use but the abuse of reason, the many subtleties and fetches of it, which man hath so applied that truth and error are equally disputable.» — Vaughan acota su crítica: condena el abuso de la razón, no su uso, y sitúa el daño en volver disputables por igual la verdad y el error
«I am one that stands up for a true natural knowledge, grounded as Nature is on Christ Jesus, Who is the true foundation of all things visible and invisible.» — Vaughan declara el fundamento que reclama para el conocimiento natural: Cristo como fundamento de lo visible y lo invisible
«The first principle is one in one and one from one.» — Vaughan enuncia el primer principio con una fórmula de unidad triple
«By this all things were made not actually but mediately and without this nothing can be made, either artificial or natural.» — Vaughan acota el modo en que ese principio obra: mediatamente, y sin él nada se hace ni por arte ni por naturaleza
«Who knows not this can never attain to the Art, for he knows not what he is to look for.» — Vaughan hace del conocimiento de ese principio la condición del arte: sin él no se sabe qué buscar
«The Second Principle differs not from the first in substance and dignity but in complexion and order.» — Vaughan gradúa la diferencia entre el primero y el segundo principio: de complexión y orden, no de sustancia ni dignidad
«This second was the first and is so still essentially ; but by adhesion to the matter it contracted an impurity and so fell from its first unity, wherefore the magicians style it Binarius.» — Vaughan explica la caída del segundo principio por adhesión a la materia y da el nombre con que lo llaman los magos, Binarius
«It moves here below in shades and tiffanies, above in white ethereal vestures ; neither is there anything in Nature exposed to such a public prostitution as this is, for it passeth through all hands and there is not any creature but hath the use thereof.» — Vaughan describe el doble vestido de ese principio y lo llama expuesto a prostitución pública por su universalidad de uso
«There is no late writer understands the full latitude and universality of this principle, nor the genuine metaphysical use thereof.» — Vaughan niega a los escritores recientes la comprensión de la amplitud y del uso metafísico de ese principio
«But each of them is threefold, that so the number four may make up the number twelve and, by passing the number seven into the number ten, there may be progress to» — pasaje del aparato numérico que Vaughan traduce de sus fuentes: cada elemento triple, el cuatro haciendo el doce y el siete pasando al diez; el tramo se corta en el cambio de plana
«But whoever shall know how to reduce those which are of one kind into those of another, the impure into pure, compounded into simple, and shall understand distinctly their nature, virtue and power in number, grades and order without dividing the substance the same shall attain easily to the knowledge and perfect fulfilment of all natural things and of all celestial secrets.» — Vaughan enuncia la condición del conocimiento pleno: reducir unas clases de elementos a otras sin dividir la sustancia
«Without these three kinds of elements and the knowledge thereof, let no man deem himself competent to work in the secret sciences of magic and of Nature.» — Vaughan pone el conocimiento de las tres clases de elementos como requisito para operar en las ciencias secretas
«Now for your further instruction hear also the dark disciple of the more dark Libanius Gallus.» — Vaughan anuncia la cita de Trithemius, a quien presenta como discípulo oscuro de un Libanius Gallus más oscuro todavía
«Errant, crede mihi, errant omnes, qui sine istis tribus principiis quicqttam operari in occultis natures scientiis se posse confidunt.» — sentencia latina que Vaughan cita de esa fuente: yerran todos los que se creen capaces de obrar en las ciencias ocultas sin esos tres principios. La cita va en latín y el verificador se abstiene de ella
«By this the prediction of future events was verified, and no otherwise is the penetration of hidden things to be learned from Nature.» — Vaughan atribuye a ese medio la verificación de las predicciones y la penetración de lo oculto
«By this one medium is the secret of Nature laid bare unto alchemists ; without» — Vaughan adjudica al mismo medio el secreto que los alquimistas persiguen; el tramo se corta en el cambio de plana
«It is not less easy to blunder in the one than the other, for few there are on earth who understand the depths thereof.» — Vaughan iguala el riesgo de error en las dos vías y reduce a pocos los que entienden su hondura
«The third principle is of itself no principle, but between this and the duad is the end of all science and mystic art, and the infallible centre of the medial principle.» — Vaughan enuncia la paradoja del tercer principio, que no lo es por sí, y lo sitúa entre la díada y el fin de toda ciencia
«Here lieth the centre of all natural magic, the circumference of which thereunto united doth display a circle, a vast order in the infinite.» — Vaughan sitúa ahí el centro de la magia natural y describe su circunferencia como orden vasto en lo infinito
«The triad reduced to unity contains all things face to face within it, and it doeth that which it will.» — Vaughan cierra el aparato de los principios con la tríada reducida a unidad
«Believe me, they all err who, devoid of these three principles, dream it possible to accomplish anything in the secret sciences of Nature.» — versión inglesa que el volumen da de la sentencia latina de la plana anterior: yerran todos los que sin los tres principios sueñan con obrar algo en las ciencias secretas.
«Consider that merciful mystery of the Incarnation, wherein the fulness of the Godhead was incorporated and the Divine Light united to the Matter in a far greater measure than at the first creation.» — Vaughan hace de la Encarnación el caso mayor de la unión de la Luz Divina con la materia, por encima de la creación misma.
«no philosophy hath perfectly united God to His creature . but the Christian, wherefore also it is the only true philo-i^ sophy and the only true religion ; for without this union there can be neither a natural temporal nor a spiritual eternal lifej» — Vaughan adjudica a la filosofía cristiana el mérito exclusivo de unir a Dios con su criatura, y de esa unión hace depender la vida temporal y la eterna; el troceo trae daño de OCR en *philo-i^ sophy* y *lifej*.
«I am certain the world will wonder I should make use of Scripture to establish physiology ; but I would have them know that all secrets physical and spiritual, all the close connections and that mysterious kiss of God and Nature are clearly and punctually discovered there.» — Vaughan anticipa la extrañeza por fundar la fisiología en la Escritura y declara hallar allí el beso misterioso de Dios y la naturaleza.
«you not to trouble yourselves with this Mercury unless you have a true friend to instruct you or an express illumination from the first Author of it, for it is a thing attained " by a wonderful Art.» — Vaughan condiciona el trabajo sobre el mercurio a un amigo instructor o a una iluminación expresa; el tramo empieza donde la frase viene de la plana anterior.
«There is in every star and in this elemental world a certain principle which is " the Bride of the Sun.» — Vaughan nombra el principio femenino presente en cada estrella y en el mundo elemental como Esposa del Sol.
«Know therefore that it is impossible for you to extract or receive any seed from the sun without this feminine principle, which is the Wife of the Sun.» — Vaughan hace de ese principio femenino la condición de toda recepción de semilla solar.
«Know then for certain that the magician's sun and moon are two universal peers, male and female, a king and queen regents, always young and never old.» — Vaughan define el sol y la luna de los magos como dos pares universales, rey y reina, siempre jóvenes.
«The one is not without the other, God having united them in His work of creation» — Vaughan declara inseparables a los dos y funda la inseparabilidad en la creación; el tramo se corta en el cambio de plana.
«It will then be a hard and difficult enterprise to rob the husband of his wife, to part those asunder whom God Himself hath put together, for they sleep both in the same bed and he that discovers the one must needs see the other.» — Vaughan mide la dificultad de la separación por la unión misma: quien descubre a uno ve necesariamente al otro.
«But it is not the body that transmutes the nutriment into flesh and blood but that spirit which is the life and light of the body.» — Vaughan adjudica la transmutación del alimento no al cuerpo sino al espíritu que es su vida y su luz.
«It is the light only that can be truly multiplied, for this ascends to and descends from the first fountain of multiplication and generation.» — Vaughan restringe la multiplicación verdadera a la luz, por ser lo único que sube y baja de la fuente.
«Truth is the arcanum, the mystery and essence of all things ; for every secret is truth and every substantial truth is a secret.» — Vaughan identifica verdad y secreto en los dos sentidos de la equivalencia.
«I speak not here of outward, historical truths which are but relatives to actions but I speak of an inward, essential truth, which is light : for light is the truth, and it discovers falsehood, which is darkness.» — Vaughan separa la verdad histórica de la verdad esencial, que identifica con la luz.
«I preferred wisdom " said the wise king "before sceptres and thrones, and esteemed riches nothing in comparison of her.» — Vaughan cita al rey sabio del libro de la Sabiduría sobre la preferencia por la sabiduría frente a cetros y tronos.
«Neither compared I unto her any precious stone, because all gold in respect of her is as a little sand, and silver shall be counted as clay before her.» — continuación de esa cita: el oro como arena y la plata como barro frente a la sabiduría.
«If riches be a possession to be desired in this life ; what is richer than wisdom that worketh all things ?» — continuación: la pregunta con que el texto citado mide la riqueza contra la sabiduría que todo lo obra.
«For she is the breath of the power of God, and a pure influence flowing from the glory of the Almighty : therefore can no defiled thing fall into her.» — continuación: la sabiduría como aliento del poder de Dios, incontaminable.
«For she is more beautiful than the sun, and above all the order of the stars : being compared with the light, she is found before it.» — continuación: la anterioridad de la sabiduría respecto de la luz.
«For after this cometh night : but vice shall not prevail against wisdom.» — cierre de esa serie de citas: la noche sucede a la luz, pero el vicio no prevalece contra la sabiduría.
«God loveth none but him that dwelleth with wisdom.» — último de los versículos que Vaughan encadena sobre la sabiduría.
«for promotion comes neither from the East nor from the West," 2 but from God that giveth it.» — Vaughan cita el salmo para negar que el ascenso venga de los puntos cardinales, y lo remite a Dios.
«Truth is therefore the highest excellence and an impregnable fortress, having few friends and beset by innumerable enemies, though invisible in these days to almost the whole world, but an invincible security to those who possess it.» — versión inglesa que el volumen imprime del pasaje latino que la nota reproduce, de un autor que Vaughan no nombra: la verdad como fortaleza con pocos amigos y enemigos innumerables.
«This is the matter which for the crowd is vile, exceedingly contemptible and odious, yet not hateful but loveable and precious to the wise, beyond gems and tried gold.» — continuación de ese pasaje: la materia vil para el vulgo y preciosa para los sabios por encima de las gemas y el oro acrisolado.
«This is that only thing proclaimed by the true philosophers, that which overcometh all and is itself overcome by nothing, searching heart and body, penetrating whatsoever is stony and stiff,» — continuación: lo que vence todo sin ser vencido, y penetra lo pétreo y lo rígido.
«I am the way of truth ; see that you walk therein, for there is no other path unto life :» — continuación, ya en primera persona: la materia habla y se declara camino de la verdad.
«She giveth forth an odour of sweetness, and yet we perceive it not.» — continuación: la serie de sentidos que no perciben lo que se les ofrece.
«Softly she draws us towards salvation and still we reject her yoke.» — continuación: la atracción suave y el rechazo del yugo.
«Be ye transmuted she cries be ye transmuted from dead stones into living philosophical stones.» — el imperativo que el pasaje pone en boca de la materia, y que Waite recoge en su introducción como consejo rosacruz, plana 39.
«I am the true Medicine, rectifying and transmuting that which is no longer into that which it was before corruption entered, and into something better by far, and that which is no longer into that which it ought to be.» — continuación: la Medicina se define por lo que restituye y por lo que mejora, en dos cláusulas distintas.
«Lo, I am at the door of your conscience, knocking night and day, and ye will not open unto me.» — continuación, con la fórmula apocalíptica del que llama a la puerta.
«I do not depart in anger ; I suffer your affronts patiently, hoping thereby to lead you where I seek to bring.» — continuación: la paciencia declarada de esa voz ante el rechazo.
«buy, without money and without price, not with gold or silver, nor yet by your own labours, that which is offered freely.» — continuación: la oferta gratuita, contra el oro, la plata y el trabajo propio.
«On the contrary, our disobedience hath appropriated that which is evil within us from an evil principle without, and beyond this evil thus possessed within him man has nothing of his own ;» — continuación: lo único propio del hombre es el mal que se apropió por desobediencia.
«He hath planted it in us, that in His Light, Who dwelleth in Light inaccessible, we may behold the Light.» — continuación: la luz plantada en nosotros como medio de ver la Luz.
«Truth must not therefore be sought in our natural self, but in the likeness of God within us.» — conclusión del pasaje: la verdad no se busca en el yo natural sino en la semejanza divina interior.
«True knowledge begins when after a comparison of the imperishable with the perishable, of life and annihilation, the soul yielding to the superior attraction of that which is eternal doth elect to be made one with the higher soul.» — Vaughan sitúa el comienzo del conocimiento verdadero en una elección del alma tras comparar lo perecedero con lo imperecedero.
«Gold is tried by fire, and by this process all that is not gold is cast out.» — Vaughan usa el ensayo del oro como figura de esa purga.
«It is folly to go in quest of that, the truth of which investigators do not know : such a search is hopeless.» — Vaughan declara vana la búsqueda de aquello cuya verdad el buscador no conoce.
«The wise man seeks what he loves and loves only that which he knows : otherwise he would be a fool.» — Vaughan encadena conocer, amar y buscar como condición del sabio.
«Ye only toil in vain, all exposers of hidden secrets in Nature, when taking another path than this ye endeavour to discover by» — Vaughan declara vano el trabajo de quienes buscan por otro camino; el tramo se corta antes de la llamada a nota y del latín que la sigue.
«No one can ascend to that Heaven which is sought by you unless He Who came down» — Vaughan condiciona el ascenso al cielo buscado a un descenso previo; el tramo se corta en el cambio de plana.
«Ye seek an incorruptible Medicine which shall not only transmute the body from corruption into a perfect mode but so preserve it continually ; yet except in Heaven itself» — Vaughan describe lo que se busca en la Medicina incorruptible y empieza a poner su límite; el tramo se corta en el cambio de plana.
«Thou wilt never make out of others that one thing which thou needest unless first thou shalt make out of thyself» — Vaughan enuncia la condición interior de la obra: no se hace en otros lo que no se hizo antes en uno mismo.
«Let thine eyes look first upon the right path, lest they behold vanity before wisdom is perceived.» — Vaughan pide mirar primero el camino recto para no ver antes la vanidad.
«Our eyes are opened ; now shines the Sun of Holiness and Justice, guided by which we cannot turn aside» — Vaughan describe el estado del que ya ve, guiado por el Sol de la Santidad y de la Justicia; el tramo se corta en el cambio de plana.
«It is such a place which mortals may scarcely reach unless they are raised by the Divine Will to the state of immortality ; and then, or ever they enter, they must put ofF the world, the hindering vesture of fallen life.» — versión inglesa del lugar que el latín de la plana anterior nombra: no se llega sin ser elevado por la Voluntad Divina, y hay que despojarse antes del vestido de la vida caída.
«In those who attain hereto there is no longer any fear of death ; on the contrary they welcome it daily with more willingness, judging that whatsoever is agreeable in the natural order is worthy of their acceptance.» — Vaughan describe la disposición ante la muerte de quienes llegan a ese estado.
«Whosoever advances beyond these three regions passes from the sight of men.» — Vaughan marca el punto a partir del cual el que avanza deja de ser visible para los hombres.
«Behold, beyond the first and crystalline arch, a second arch of silver, beyond which there is a third of adamant.» — Vaughan describe la serie de arcos —cristalino, de plata y de adamante— que estructuran esa región.
«This is the golden realm of abiding happiness, void of care, filled with perpetual joy.» — Vaughan cierra esa descripción con el reino áureo de la felicidad permanente.
«transfigured ; and such was that anonymous mentioned by Agrippa.» — cierre de una frase que viene de la plana anterior: Vaughan remite al anónimo transfigurado que menciona Agrippa.
«I know some illiterate school divines will no sooner read this but they will cry out with the Jews : Away with such a fellow from the earth.» — Vaughan prevé la reacción de los teólogos de escuela con la fórmula que la Escritura pone en boca de la turba.
«Let them not mind it, buy it not, touch it not.» — Vaughan despide a esos lectores con tres imperativos.
«Go on still and proceed in your own corrupt fancies, "that the occasion of justice may be upheld.» — Vaughan cierra ese apóstrofe con una cláusula sobre la ocasión de la justicia.
«But consider whiles you are yet in the flesh, whiles it is to-day with you, that God will use those men, whom you revile, for His truth, as witnesses against you in a day when you shall have nothing to speak for your ignorance, unless you plead your obstinacy.» — Vaughan advierte a sus censores que servirán de testigos contra sí mismos, y les deja como única defensa la obstinación.
«Of a truth God Himself discovered this thing to the first man, to confirm his hopes of those three supernatural mysteries the Incarnation, Regeneration and Resurrection.» — Vaughan adjudica la revelación de esta cosa al primer hombre y le da por fin confirmar tres misterios sobrenaturales.
«Let me tell you then that the period and perfection of magic is no way physical, for this Art Attains the throne of Jove and things divine essays.» — Vaughan niega que el término de la magia sea físico y lo dice en verso: el arte alcanza el trono de Jove.
«Remember therefore that Elijah deposed his mantle an< passed through the waters of Jordan before he met with the chariots of Israel.» — Vaughan pone el manto depuesto de Elías como figura de lo que hay que dejar antes del carro de fuego.
«The Scripture is obscure and mystical, even in historical passages.» — Vaughan extiende la oscuridad mística de la Escritura incluso a lo histórico.
«But Jerusalem which is above is free, which is the mother of us all.» — Vaughan cita la Jerusalén de arriba como madre común.
«I never met in all my readings but with six authors who fully apprehended this mystery :» — Vaughan reduce a seis los autores que a su juicio comprendieron el misterio.
«this mystery is perfected when the light, in a sudden coruscation, strikes from the centre to the circumference and the Divine Spirit hath so swallowed up the body that it is " a glorified body, splendid as the sun and moon.» — Vaughan describe el término del misterio como coruscación súbita de la luz del centro a la circunferencia y cuerpo glorificado.
«After this the material parts are never more to be seen, "and this is that stainless and oft-celebrated Invisibility of the Magi.» — Vaughan nombra el resultado con una fórmula del oficio: la invisibilidad de los magos.
«Verily this is the way that the prophets and apostks went ; this is the true, primitive Divinity, not that clamorous sophistry of the*schools.» — Vaughan reclama para esa vía la continuidad con profetas y apóstoles y la opone a la sofistería de las escuelas; *apostks* es lectura del OCR por apostles.
«I want their two crutches, the pretended modern sanctity and that solemnity of the beard which makes up a doctor.» — Vaughan declara carecer de las dos muletas de sus adversarios, la santidad de aparato y la barba doctoral.
«if by what is here written thou attainest to any knowledge in this point which I hold impossible without a divine assistance let me advise thee, I say, not to attempt anything rashly ; for Agrippa tells me :» — Vaughan advierte contra la precipitación y acota entre guiones que sin asistencia divina tiene por imposible ese conocimiento.
«Whosoever doth approach unpurified calls down judgment on himself and is given over to the devouring of the evil spirit» — sentencia de Agrippa que Vaughan cita como advertencia; el tramo se corta en el cambio de plana.
«There is in the magical records a memorable story of a Jew who» — Vaughan empieza a contar una historia de los registros mágicos; el tramo se corta donde la nota al pie invade el cuerpo de la plana.
«I will give thee the best counsel that can be given, and that out of a poet :» — Vaughan anuncia que su mejor consejo sale de un poeta.
«Demand a healthy mind in healthful frame.» — el verso mismo, versión inglesa del mens sana in corpore sano.
«Thou must prepare thyself till thou art conformable to Him Whom thou wouldst entertain, and that in every respect.» — Vaughan enuncia la condición de la preparación: conformarse en todo respecto a Aquel que se quiere hospedar.
«Thou hast three that are to receive and there are three accordingly that give.» — Vaughan empareja los tres que reciben con los tres que dan.
«Fit thy roof to thy God in what thou canst, and in what thou canst not He will help thee.» — Vaughan reparte la obra de la preparación entre lo que el hombre puede y lo que Dios suple.
«When thou hast thus set thy house in order, do not think thy Guest will come without invitation.» — Vaughan añade la invitación como requisito además del orden de la casa.
«This is the chain that qualifies a magician.» — Vaughan llama cadena al encadenamiento de condiciones que habilita al mago.
«No man can give that which he himself hath not.» — Vaughan funda la exigencia anterior en un principio de transmisión.
«But no man hath save he who having suspended the elementary forces, having overcome Nature, having compelled heaven, having reached the angels, hath ascended to the Archetype itself,» — Vaughan enumera la escala del ascenso, de las fuerzas elementales al Arquetipo; el tramo se corta en el cambio de plana.
«if thou canst but once ascend and then descend, Then oft the archetypal world attain And oft recur thereto and, face to face, Unhinder'd gaze upon the Father's grace» — versos que Vaughan cita sobre el acceso repetido al mundo arquetípico tras el primer ascenso y descenso.
«I say, thou hast got that spirit " which without offence to God, apart from any crime and without injury to religion, can discern and perform whatsoever portentous astrologers, monstrous magians, invidious alchemystical torturers of Nature and venomous necromancers more evil than demons dare to promise.» — Vaughan describe lo que ese espíritu puede sin ofensa de Dios, y enumera a la vez los oficios que él desautoriza: astrólogos portentosos, magos monstruosos, alquimistas torturadores de la naturaleza y nigromantes.
«Such is the power he shall receive who from the clamorous tumults of this world ascends to the Supernatural Still Voice ; from this base earth and mud whereto his body is allied to the spiritual, invisible elements of his soul.» — Vaughan sitúa el término del ascenso en la Voz Callada Sobrenatural, y describe el trayecto desde el barro del cuerpo hasta los elementos invisibles del alma.
«This is the Rock in the wilderness in the wilderness because in great obscurity and few there are that know the right way unto it.» — Vaughan glosa su propia figura: la roca está en el desierto porque el camino se ignora.
«Stone with the New Name in the Revelation.» — cierre de la serie de figuras bíblicas con que Vaughan nombra su objeto; el tramo continúa una frase cortada en el límite de chunk.
«But in the Gospel, where Christ Himself speaks Who was born to discover mysteries and communicate Heaven to earth it is more clearly described.» — Vaughan jerarquiza sus testimonios y pone el Evangelio por encima de las figuras proféticas.
«This is the Salt which you ought to have in yourselves ; this the Water and Spirit whereof you must be born again ; and this is that Seed which falls to the ground and multiplies to an hundred fold.» — Vaughan reúne tres figuras evangélicas —la sal, el agua y el espíritu del nuevo nacimiento, la semilla que fructifica— para nombrar lo mismo.
«But, Reader, be not deceived in me. I am not a man of any such faculties, neither do I expect this blessing in such a great measure in this life. God is no debtor of mine.» — Vaughan niega atribuirse las facultades que expone y declara no esperar la bendición en tal medida en esta vida. Waite cita este mismo pasaje en su introducción, plana 38.
«Behold, I will deal fairly with thee : shew me but one good Christian who is capable of and fit to receive such a secret, and I will shew him the right, infallible way to come» — Vaughan pone una condición al lector antes de mostrar el camino infalible; el tramo se corta en el cambio de plana.
«it would sink thee to the ground to hear this mystery related, for it cannot ascend to the heart of the natural man how near God is to him and how He is to be found.» — Vaughan mide la cercanía de Dios por el efecto que oírla produciría en el hombre natural.
«The common chemist works with the common fire and without any medium, wherefore he generates nothing ; for he works not as God doth to preservation but to destruction.» — Vaughan separa al químico común del filósofo por el fuego y por el fin, destrucción en vez de conservación.
«Hence it is that he ends always in the ashes.» — Vaughan resume el saldo de esa vía.
«if thou canst temper him with the Spirit of Heaven, thou hast altered him from a corrupting to a generating fire.» — Vaughan indica cómo se altera ese fuego de corruptor en generador. La fuente imprime *corrupt-ing* partido por el salto de renglón.
«This is the true Crystalline Rock 5 a bright virgin earth, without spot or darkness.» — Vaughan nombra la roca cristalina como tierra virgen sin mancha. La llamada a nota queda dentro del tramo.
«God bestows not His blessings where they are to turn to curses.» — Vaughan condiciona la bendición al uso que se le vaya a dar.
«He cursed the earth once for Adam's sake : take heed He doth not curse it again in thy work for thy sake.» — Vaughan advierte al operador con el precedente de la maldición de la tierra por Adán.
«It is in vain to look for a blessing from Nature without the God of Nature ; for as the Scripture saith without controversy the lesser is blessed of the greater.» — Vaughan subordina la bendición de la naturaleza a la del Dios de la naturaleza.
«But know thou that as God is the Father so charity is the nurse of faith.» — Vaughan invierte el orden habitual y hace de la caridad la nodriza de la fe.
«For there springs from charitable works a hope of Heaven, and who is he that will not gladly believe what he hopes to receive ?» — Vaughan explica esa inversión por el encadenamiento de obra, esperanza y creencia.
«On the contrary, there springs no hope at all from the works of darkness and by consequence no faith but that faith of devils to believe and tremble.» — Vaughan cierra el argumento por el caso contrario: de las obras de tinieblas solo nace la fe de los demonios.
«Settle not then in the lees and puddle of the world ; have thy heart in Heaven and thy hands on earth.» — Vaughan reparte el corazón y las manos entre cielo y tierra.
«Ascend in piety and descend in charity, for this is the nature of light and the way of the children of it.» — Vaughan describe el doble movimiento de piedad y caridad como propio de la luz.
«Above all things avoid the guilt of innocent .blood, for it utterly separates from God in this life and requires a timely and serious repentance if thou wouldst find Him in the next.» — Vaughan pone la sangre inocente como el único impedimento que nombra por encima de todos.
«Now for thy study : in the winter time thy chamber is the best residence.» — Vaughan pasa al régimen práctico del estudioso y empieza por la estación y el lugar.
«Here thou mayst use fumigations and spicy lamps not for superstition but because such recreate the animal spirits and the brain.» — Vaughan admite fumigaciones y lámparas y acota expresamente el motivo: no superstición sino recreación de los espíritus animales.
«In the summer translate thyself to the fields, where all are green with the breath of God and fresh with the powers of heaven.» — Vaughan traslada el estudio al campo en verano.
«Learn to refer all naturals to their spirituals by the way of secret analogy ; l for this is the way the magicians went and found out miracles.» — Vaughan enuncia la regla de la analogía secreta como método de los magos.
«Many there are who bestow not their thoughts on God till the world fails them.» — Vaughan describe la conversión tardía por agotamiento del mundo.
«He may say to such guests : " When it can be forced on no one else it is brought to me.» — Vaughan pone en boca de Dios la respuesta a esos huéspedes tardíos.
«Do thou think on Him first and He will speak to thy thoughts at last.» — Vaughan invierte el orden anterior como precepto.
«Sometimes thou mayst walk in groves, which being full of majesty will much advance the soul ; sometimes by clear, active rivers, for by such say the mystic poets Apollo contemplated.» — Vaughan prescribe los lugares del paseo y los apoya en los poetas místicos.
«All things which Phoebus in his musing spake The bless'd Eurotas heard.» — los versos con que apoya lo anterior, sobre el Eurotas que oyó a Febo.
«So have I spent on the banks of Ysca many a serious hour.» — Vaughan aplica el precepto a sí mismo y nombra el río de su tierra.
«To conclude, I would have thee know that every day is a year contracted,» — Vaughan cierra el tratado con una serie de máximas y abre por la contracción del año en el día; el tramo se corta en el cambio de plana.
«I could tell thee more, but that were to puzzle thee.» — Vaughan corta la exposición declarando que seguir sería confundir.
«The only antidote to a shrew is silence ; and the best way to convince fools is to neglect them.» — máxima de Vaughan sobre el trato con los adversarios.
«I have not bushelled my light nor buried my talent in the ground.» — Vaughan reclama para sí lo contrario de las dos parábolas evangélicas del talento y del candil.
«There is nothing stronger than perseverance, for it ends in miracles.» — máxima de Vaughan sobre la perseverancia.
«Stand not long in the sun nor long in the shade.» — máxima de Vaughan sobre la medida en los extremos.
«Circumferences spread but centres contract : so superiors dissolve and inferiors coagulate.» — máxima de Vaughan que traduce la geometría en operación alquímica: lo superior disuelve y lo inferior coagula.
«Learn from thy errors to be infallible, from thy misfortunes to be constant.» — máxima de Vaughan sobre el uso del error y del infortunio.
«If Thou, O Jehovah, my God, wilt enlighten me, darkness shall be made light.» — versículo con que Vaughan cierra el tratado.
«The many may wish well but one only loves.» — última de las máximas del cierre.
«I deny not but temporal blessings conduce to a temporal life, and by consequence are pleasing to the body ; but if we consider the soul she is all this while upon the wing like that dove sent out of the ark, seeking a place to rest.» — en la dedicatoria de MAGIA ADAMICA a Thomas Henshaw, Vaughan concede el valor de los bienes temporales y a la vez describe al alma como la paloma del arca que no halla dónde posarse.
«I have examined the nativity of this book by a cast of constellated bones, and Deux-Ace tells me this parable.» — abre la advertencia al lector de MAGIA ADAMICA: Vaughan parodia la astrología echando los dados y llamándolos huesos constelados.
«Truth said the witty Ale-man was commanded into exile, and the Lady Lie was seated on her throne.» — la parábola misma, que Vaughan atribuye a un ingenioso alemán: la Verdad desterrada y la Mentira entronizada.
«She had not travelled very far when, standing on a high mountain, she perceived a great train to pass by.» — continuación de la parábola: la Verdad ve pasar el cortejo.
«In the midst of it was a chariot attended with kings, princes and governors, and in that a stately Donna who like some Queen-Regent commanded the rest of the company.» — continuación: el carro con reyes, príncipes y gobernadores en torno a la dama que manda.
«Poor Truth, she stood still whiles this pompous squadron passed by ; but when the chariot came over against her the Lady Lie, who was there seated, took notice of her and, causing her pageants to stay, commanded her to come nearer.» — continuación: la Mentira repara en la Verdad y la llama.
«To these questions she answered as the custom of Truth is very simply and plainly ; whereupon the Lady Lie commands her to wait upon her, and that in the rear and tail of all her troop, for that was the known place of Truth.» — desenlace de la parábola: la Verdad responde llanamente y es puesta en la cola del cortejo.
«Thanks then, not to the stars but to the configurations of the dice : they have acquainted me with my future fortunes and what preferment my book is likely to attain to.» — Vaughan cierra la parodia astrológica adjudicando el pronóstico a los dados y no a los astros.
«I am for my part contented, though the consideration of this dirty rear be very nauseous and able to spoil» — Vaughan se declara conforme con ese último lugar y a la vez no oculta el asco; el tramo se corta en el cambio de plana.
«If thou art one of those who draw up to the chariot, pause here a little in the rear, and before thou dost address thyself to Aristotle and his Lady Lie, think not thy courtship lost if thou dost kiss the lips of poor Truth.» — Vaughan pide al lector que se detenga en la cola del cortejo antes de cortejar a Aristóteles.
«It is not my intention to jest with thee in what I shall write, wherefore read thou with a good faith what I will tell thee with a good conscience.» — Vaughan deslinda la parodia inicial del cuerpo del tratado y pide fe al lector.
«God, when He first made man, planted in him a spirit of that capacity that he might know all, adding thereto a most fervent desire to know, lest that capacity should be useless.» — Vaughan funda el deseo de saber en el designio de la creación: capacidad de conocerlo todo y deseo puesto para que la capacidad no sea ociosa.
«This truth is evident in the posterity of man ; for little children, before ever they can speak, will stare upon anything that is strange to them.» — Vaughan busca la prueba de ese deseo en los niños antes de hablar.
«Now, some ignorant nurse will think they do all this out of a desire to play with what they see, but they themselves tell us the contrary ; for when they are past infants and begin to make use of language, if any new thing appears, they will not desire to play with it but they will ask you what it is.» — Vaughan objeta la explicación por el juego con lo que los propios niños hacen al aprender a hablar.
«But there is something more than all this, for even these infants desire to improve their knowledge.» — Vaughan añade a la curiosidad infantil el deseo de mejorar el conocimiento.
«Now this desire to know is born with them, and it is the best and most mysterious part of their nature.» — Vaughan declara innato ese deseo y lo llama la parte mejor y más misteriosa de la naturaleza.
«It may be that they will scarcely hear what I speak, or if they hear they will not understand.» — Vaughan prevé que sus adversarios ni oigan ni entiendan.
«It is a terrible thing to prefer Aristotle to Elohim and condemn the truth of God to justify the opinions of man.» — Vaughan formula el cargo mayor contra la escuela: preferir a Aristóteles sobre Elohim.
«Now, for my part, I dare not be so irreligious as to think God so vain, and improvident in His works, that He should plant» — Vaughan objeta por vía de piedad que Dios plantara algo en vano; el tramo se corta en el cambio de plana.
«Man according to Trismegistus hath but two elements in his power, namely, earth and water ;» — Vaughan atribuye a Trismegisto la limitación del poder humano a dos elementos.
«That God hath made man absolute lord of the First Matter ;» — proposición que Vaughan enuncia sobre el señorío del hombre sobre la primera materia.
«According to the rule and measure of this substance all the world are rich or poor, and he that knows it truly, and withal the true use thereof, he can make his fortunes constant ;» — Vaughan hace depender la riqueza del conocimiento de esa sustancia y de su uso verdadero.
«but he that knows it not though his estate be never so great stands on a slippery foundation.» — contrapartida de lo anterior: sin ese conocimiento, la mayor hacienda se asienta en falso.
«Look about thee then and consider how thou art compassed with infinite treasures and miracles ; but thou art so blind» — Vaughan interpela al lector sobre los tesoros que lo rodean; el tramo se corta en el cambio de plana.
«Consider again that the middle spirit I mean the air is interposed as a refrigeratory, to temper and qualify that heat which otherwise might be too violent.» — Vaughan asigna al aire la función de refrigerante que templa un calor de otro modo violento.
«Gold and silver, pearls and diamonds are nothing else but water and salt of the earth concocted.» — Vaughan reduce oro, plata, perlas y diamantes a agua y sal de la tierra cocidas.
«The four elements are the objects am" implicitly the subjects of man ; but the earth is invisible.» — Vaughan declara invisible a la tierra propiamente dicha, distinta de la que se pisa; el troceo trae *am"* por and.
«Hermes affirmeth that in the beginning the earth was a quagmire or quivering kind of jelly, it being nothing else but water congealed by the incubation and heat of the Divine Spirit.» — Vaughan atribuye a Hermes la descripción de la tierra primera como cieno tembloroso, agua congelada por la incubación del Espíritu.
«" When as yet the earth was a quivering, shaking substance, the Sun afterwards shining upon it did compact it or make it solid."» — la cita hermética misma, sobre el sol que compacta la sustancia temblorosa.
«When presently opening such hands as it becomes a God to have, He poured down all that was necessary to the constitution of things.» — continuación de esa cita: las manos divinas que derraman lo necesario para constituir las cosas.
«For as we know the sun doth not only dispense heat but some other secret influx, so did God also in the creation, and from Him the sun and all the stars received what they have, for God Himself is a supernatural sun or fire, according to that oracle of Zoroaster :» — Vaughan argumenta por analogía con el sol para atribuir a Dios un influjo secreto además del calor, y anuncia el oráculo de Zoroastro.
«" That Architect Who built up the cosmos by His unaided power was Himself another orb of fire.» — el oráculo que Vaughan cita: el Arquitecto del cosmos como otro orbe de fuego.
«He did therefore hatch the matter and bring out the secret essences, as a chick is brought out of the shell, whence that other position of the same Zoroaster : "By one single fire is generated all that is.» — Vaughan describe la creación como incubación y añade el segundo oráculo, sobre el fuego único del que todo se genera.
«Neither did He only generate them but He also preserves them now, with perpetual efflux of heat and spirit.» — Vaughan extiende la acción del fuego divino de la generación a la conservación continua.
«Hence He is styled in the Oracles " Father of men and gods, animating abundantly the fire, the light, the ether and the worlds.» — Vaughan cierra la serie con el título que los Oráculos dan a esa fuente.
«And now, Reader, I must tell thee I have met with some late attempts on my two former discourses ; but truth is proof, and I am so far from being overcome that I am nowhere understood.» — Vaughan abre su respuesta al libelo contra sus dos primeros discursos y declara no haber sido entendido en ningún punto.
«When I first eyed the libel and its address to Philalethes, I judged the author serious and that his design was not to abuse me but to inform himself.» — Vaughan cuenta cómo leyó el libelo la primera vez: como una consulta de buena fe.
«This conceit quickly vanished, for perusing his forepart his ears shot out of his skin a-nd presented him a perfect ass.» — Vaughan describe el cambio de juicio en el registro injurioso que domina toda la respuesta.
«His observations are one continued ass's skin and the oysterwhores read the same philosophy every day.» — Vaughan degrada las observaciones de su adversario comparándolas con la filosofía de las pescaderas. La fuente imprime *oyster-whores* con guion léxico partido por el salto de renglón, y la herramienta lo devuelve unido.
«scurril, senseless piece, and as he well styles himself a chip of a block-head.» — Vaughan devuelve al adversario el mote con que él mismo se nombra; el tramo continúa una frase cortada en el cambio de plana.
«His qualities indeed are transcendent abroad but they are peers at home.» — Vaughan mide la fama del adversario fuera y dentro de su casa.
«His malice is equal to his ignorance.» — Vaughan iguala malicia e ignorancia en su adversario.
«I laughed to see the fool's disease a flux of gale which made him still at the chops whiles another held the press for him, like Porphyry's basin to Aristotle's well.» — Vaughan describe la escritura del adversario como flujo, con una imagen tomada de Porfirio y Aristóteles.
«These are his parts, and for his person I turn him over to the dog-whippers, that he may be well lashed and bear the errata of his front imprinted in his rear.» — Vaughan remata la invectiva con un castigo corporal figurado.
«As for applause, I fish not so much in the air as to catch it.» — Vaughan cierra declarando no pescar aplauso.
«Verily, our primitive Galileans 1 mean those Christians whose lamps burnt near the cross and funeral were most compendious in their initiations.» — Vaughan opone a la iniciación cristiana primitiva, que llama compendiosa, el aparato posterior. La llamada a nota queda dentro del tramo.
«A proselyte in those days was confirmed with a simple " Believe," l and no more.» — Vaughan reduce a una palabra la fórmula de admisión primitiva.
«Nay, the solemnity of this short induction was such that Julian made it the topic of his apostasy.» — Vaughan consigna que Juliano hizo de esa brevedad el argumento de su apostasía.
«But the breach is not considered ; divinity still is but chaff, if it be not sifted by the engine, if it acts not by the demonstrative hobby-horse.» — Vaughan objeta que la teología solo se tenga por válida si pasa por la demostración.
«Thus zeal, poisoned with logic, breathes out contentious calentures, and faith, quitting her wings and perspective, leans on the reed of a syllogism.» — Vaughan describe el efecto de la lógica sobre el celo y sobre la fe, que cambia alas por silogismo.
«Certainly I cannot yet conceive how reason may judge those principles " whose certainty wholly depends on God " * and, by consequence, is undemonstrable without the Spirit of God.» — Vaughan niega competencia a la razón sobre principios cuya certeza depende de Dios.
«Verily, a true faith consists not in reason but in love, for I receive my principles, and believe them being received, only out of my affection to Him that reveals them.» — Vaughan sitúa la fe en el amor y no en la razón, y explica por qué: se cree por afecto a quien revela.
«If logic renders the tenet probable then it is creed ; if not 'tis Alcoran.» — Vaughan describe con ironía el criterio que reprocha: lo que la lógica hace probable es credo y lo demás es Corán.
«Thus, according to Aristotle if you trust the comment the Divine Mind is the First Cause of knowledge.» — Vaughan concede que incluso Aristóteles, leído por sus comentadores, pone la Mente Divina como causa primera del conocimiento.
«If once we be admitted to this Communion of Light we shall be able, with the apostle, to give a reason for our faith, but never without it.» — Vaughan condiciona el poder dar razón de la fe a esa comunión de la luz.
«Now you are to understand that God unfolds not Himself " unless the heaven of man be first unfolded.» — Vaughan enuncia la reciprocidad: Dios no se despliega si antes no se despliega el cielo del hombre.
«Behold " saith He" I stand at the door and knock.» — Vaughan cita el Apocalipsis sobre el que llama a la puerta.
«If any man opens, I will come in and sup with him.» — continuación de esa cita, con la condición puesta del lado del hombre.
«But our reformers, mistaking these things for superstitions, turned them all out of doors.» — Vaughan reprocha a los reformadores haber tomado por superstición lo que él tiene por sustancia.
«The magicians had a maxim among themselves " that no word is efficacious in magic unless it be first animated with the Word of God.» — Vaughan da la máxima que subordina toda palabra mágica a la Palabra de Dios.
«By this circle also or rotation they affirmed that spirits might be bound, meaning that the soul might be united to the body.» — Vaughan reinterpreta la atadura de espíritus como unión del alma al cuerpo.
«Now if thou wilt question me who these magicians were, 3 I must tell thee they were kings, they were priests, they were prophets, men that were acquainted with the substantial, spiritual mysteries of religion and did deal or dispense the outward, typical part of it to the people.» — Vaughan define a los magos como reyes, sacerdotes y profetas que dispensaban al pueblo la parte externa de la religión. La llamada a nota queda dentro del tramo.
«Here then we may see how magic came to be out of request : for the lawyers and common divines who knew not these secrets, perusing the ceremonial, superstitious trash of some scribblers who pretended to magic,» — Vaughan explica el descrédito de la magia por confusión: juristas y teólogos juzgaron el arte por la basura ceremonial de los que decían practicarlo.
«But God, having suffered His truth to be obscured for a great time, did at last stir up some resolute and active spirits who putting the pen to paper expelled this cloud and in some measure discovered the light.» — Vaughan narra la restauración del arte por unos escritores resueltos.
«The leaders of this brave body were Cornelius Agrippa, Libanius Gallus, the philosopher Johannes Trithemius, Georgius Venetus, Johannes Reuchlin called in the Greek Capnion with several others in their several days.» — Vaughan nombra a los cabezas de esa restauración: Agrippa, Libanius Gallus, Trithemius, Georgius Venetus y Reuchlin.
«For certainly it is with arts as with men : their age and continuance are good arguments of their strength and integrity.» — Vaughan hace de la antigüedad de un arte argumento de su fuerza.
«I must therefore build my discourse on the traditions of those men to whom the word both written and mystical was entrusted ; and these were the Jews in general, but more particularly their Kabalists.» — Vaughan declara su base documental: la tradición de los judíos y en particular de sus cabalistas.
«It is not my intention to rest on these Rabbins as fundamentals, but I will justify their assertions out of Scripture and entertain my reader with proofs both Divine and human.» — Vaughan acota el peso que da a esa base: no fundamento, sino aserto que justificará con la Escritura.
«Finally, I will pass out of Judea into Egypt and Greece, where again I shall meet with these mysteries and prove that this science did stream as the chemists say their Salt» — Vaughan anuncia el recorrido de su prueba, de Judea a Egipto y Grecia; el tramo se corta en el cambio de plana.
«It is the constant opinion of the Hebrews that before the Fall of Adam there was a more plentiful and large communion between heaven and earth, God and the elements, than there is now in our days.» — Vaughan adjudica a los hebreos la doctrina de una comunicación más amplia entre cielo y tierra antes de la caída.
«But upon the transgression of the first man, Malkuth 2 say the Kabalists was cut off from the Ilan* so that a breach was made between both worlds and their channel of influence discontinued.» — Vaughan expone la caída en términos cabalísticos: Malkuth cortada del Ilan y el canal de influencia interrumpido. Las llamadas a nota quedan dentro del tramo.
«Now Malkuth is the invisible Archetypal Moon, 4 by which our visible celestial moon is governed and impregnated.» — Vaughan identifica a Malkuth con la Luna Arquetípica invisible que gobierna a la visible.
«Thus say they God, to punish the sin of Adam, withdrew Himself from the creatures, so that they were not feasted with the same measure of influences as formerly.» — Vaughan atribuye a los cabalistas la lectura del castigo como retirada divina y merma de influencias.
«" In the beginning of the creation of the world God did descend and cohabitate with things here below.» — cita rabínica que Vaughan aduce sobre la cohabitación primera de Dios con lo de abajo.
«And when the Divine habitation was here below, the heavens and the earth were found to be united, and the vital springs and channels were in their perfection, and did flow from the superior to the inferior world ; and God was found to fill all things, both above and beneath.» — continuación de esa cita: cielos y tierra unidos, canales vitales en perfección y Dios llenándolo todo.
«This is the curse, and Adam was so sensible of it that he acquainted his posterity with it.» — Vaughan identifica la maldición con esa interrupción y sostiene que Adán la transmitió a su descendencia.
«When Adam transgressed my statutes then was decreed that now is done.» — cita de Esdras que Vaughan aduce sobre la transgresión de Adán como decreto de lo que ahora sucede.
«Then were the entrances of this world made narrow, full of sorrow and travail :» — continuación de esa cita: las entradas del mundo hechas estrechas.
«For the entrances of the elder world were wide and sure, and brought immortal fruit.» — contrapartida de la cita: las entradas del mundo antiguo, anchas y seguras, daban fruto inmortal.
«It is true that it was intended chiefly for man, who was the only cause of it, but extended to the elements, in order to him and for his sake.» — Vaughan acota el alcance de la maldición: principalmente sobre el hombre, y sobre los elementos por causa suya.
«But in truth it was not man nor the earth alone that suffered in this curse but all other creatures also.» — Vaughan extiende la maldición a todas las criaturas.
«For saith God to the serpent : " Thou art cursed above all cattle, and above every beast of the field,» — Vaughan apoya esa extensión en la maldición de la serpiente.
«To this also agrees the apostle in his Epistle to the Romans, where he hath these words : " For the creature was made subject to vanity, not willingly, but by reason of Him who hath» — Vaughan añade el testimonio de Romanos sobre la creatura sujeta a vanidad; el tramo se corta en el cambio de plana.
«But this is more plain out of the subsequent texts, where he makes a clear difference between man and the whole creation.» — Vaughan señala que el texto paulino distingue al hombre del resto de la creación.
«we know " saith he " that the whole creation groaneth and travaileth in pain together until now.» — la cita paulina misma sobre el gemido de la creación entera.
«And not only they, but ourselves also, which have the first-fruits of the Spirit, even we ourselves groan within ourselves, waiting for the adoption, to wit, the redemption of our body.» — continuación de la cita, donde el gemido alcanza a los que tienen las primicias del Espíritu.
«First of all he was ejected from the presence of God and exposed to the malice and temptations of the devil.» — Vaughan enumera las consecuencias de la caída y empieza por la expulsión de la presencia divina.
«He was altered from good to bad,- from incorruptible to corruptible.» — segunda consecuencia: el paso de incorruptible a corruptible.
«He was excluded from a glorious Paradise and confined to a base world, whose sickly, infected elements, conspiring with his own nature, did assist and hasten that death which already began to reign in his body.» — tercera consecuencia: el destierro a un mundo cuyos elementos enfermos aceleran la muerte.
«Heaven did mourn over him, the earth and all her generations about him.» — Vaughan cierra la enumeración con el duelo del cielo y de la tierra.
«For God is said to love His creatures, not that there is anything lovely in them without their Creator but in that He desires their perfection.» — Vaughan acota en qué sentido se dice que Dios ama a sus criaturas: por el deseo de su perfección, no por algo amable en ellas.
«That is to say, He would have them conformable to Himself and fit to | receive His image or similitude, which is , a spiritual impress of His beauty.» — Vaughan define esa perfección como recepción de la imagen divina.
«Now, to restore this similitude in Adam was impossible unless God should reassume that to Himself which was now fallen from Him.» — Vaughan enuncia la condición de la restauración: que Dios reasumiera lo caído.
«So transcendent and almost incredible a mercy had God treasured i up in His secret will, being resolved to unite the nature 1 of man to His own and so vindicate him from death by i taking him into the Deity, which is the true fountain I arrd centre of life.» — Vaughan describe la Encarnación como misericordia guardada en la voluntad secreta de Dios, que vindica al hombre de la muerte tomándolo en la deidad.
«This will say the Kabalists was first revealed to the angels, and that by God Himself, in these words :» — Vaughan atribuye a los cabalistas que esa voluntad se revelara antes a los ángeles.
«" Behold an Adam like one of us, knowing good and evil.» — el versículo del Génesis que Vaughan lee como esa revelación.
«Now, that the same Scripture should speak one thing in the letter and another in the mystery is not strange to me, how difficult soever it may seem to another.» — Vaughan declara normal la doble lectura de la Escritura, literal y mística.
«For God if I may so express it knows the evil only speculatively,* inasmuch as nothing can escape His» — Vaughan acota el modo en que Dios conoce el mal, y marca con una salvedad la audacia de la expresión; el tramo se corta en el cambio de plana.
«the knowledge of evil is not evil, but the practice of it.» — Vaughan separa conocimiento y práctica del mal.
«Thus say the Kabalists Raziel the angel was presently dispatched to communicate the intelligence to Adam and to acquaint him with the mysteries of both worlds, eternal and temporal.» — Vaughan adjudica a los cabalistas la misión del ángel Raziel como instructor de Adán en los dos mundos.
«For as he could not obtain the blessings of the eternal world unless by a true faith he apprehended the Three Eternal Principles of it, so neither could he fully enjoy the benefits of this temporal world unless he truly understood the three visible substances whereof it consists.» — Vaughan empareja los tres principios eternos con las tres sustancias visibles como condiciones de los dos mundos.
«The inferior bear witness of the Superior and are their only proper receptacles.» — Vaughan formula la regla de correspondencia entre lo inferior y lo superior.
«So also God formed man of a spirit of good and a spirit of evil, according to the ZOHAR.» — Vaughan atribuye al Zohar la formación del hombre con espíritu de bien y espíritu de mal.
«But to proceed in our former discourse : the Kabalists do not only attribute a guardian to Adam but to every one of the patriarchs, allowing them their presidents and tutors,» — Vaughan extiende la doctrina del guardián de Adán a todos los patriarcas; el tramo se corta en el cambio de plana.
«For certainly it is impossible for us to find out mysteries of ourselves : we must either have the Spirit of God or the instruction of His ministers,» — Vaughan niega el hallazgo autónomo de los misterios y deja dos vías: el Espíritu o sus ministros.
«It is most certain that the hope and expectation of man in matters of sacrifices consist in the thing signified and not in the sign itself.» — Vaughan sitúa el valor del sacrificio en lo significado y no en el signo.
«The sacrifices of the Old Testament and the elements of the New can be no way acceptable with God but inasmuch as they have a relation to Christ Jesus, Who is the great, perfect sacrifice offered up once for all.» — Vaughan refiere a Cristo tanto los sacrificios antiguos como los elementos del Nuevo Testamento.
«It is plain then that sacrifices were first instituted upon supernatural grounds, for in Nature there is no reason to be found why God should be pleased with the death of His creatures.» — Vaughan argumenta que el sacrificio no tiene fundamento natural: nada en la naturaleza explica que Dios se agrade con la muerte de sus criaturas.
«Nay, the very contrary is written in that Book, for death both natural and violent proceeds not from the pleasure but from the displeasure of the Creator.» — Vaughan invierte el argumento: la muerte procede del desagrado del Creador.
«Now if we look back on these two first sacrifices, we shall find Abel and his oblation accepted, which could not be, had he not offered it up as a symbol or figure of his Saviour.» — Vaughan deduce de la aceptación del sacrificio de Abel que este lo ofreció como figura del Salvador.
«For- the Passion of Christ Jesus was an ordinance wrapped up in the secret will of God, and he that would know it must of necessity be of His council.» — Vaughan hace de la Pasión una ordenanza envuelta en la voluntad secreta de Dios, accesible solo a quien está en su consejo.
«Hence it is called in Scripture the Hidden Mystery, for the truth and certainty of it was not to be received from any but only from Him Who had both the will and the power to ordain it.» — Vaughan explica el nombre de Misterio Escondido por la fuente única de su certeza.
«It remains then a most firm, infallible foundation that Adam was first instructed concerning the Passion, and in order to that he was taught further to sacrifice and offer up the blood of beasts as types and prodromes of the blood of Christ Jesus the altars of the Law being but steps to the cross of the Gospel.» — Vaughan concluye que Adán fue instruido sobre la Pasión y que los sacrificios de sangre son tipos de la de Cristo.
«Now, if it be objected that several nations have sacrificed who did not know God at all, much less the Son of God, Who is the prototype and perfection of all oblations : to this I answer that the custom of sacrificing was communicated to heathens by tradition from the first man, who having instructed his own children they also delivered it to their posterity, so that this vizard of religion remained, though the substance and true doctrine of it was lost.» — Vaughan responde a la objeción del sacrificio pagano por transmisión desde el primer hombre, con pérdida de la doctrina y permanencia de la careta.
«It is now as I think sufficiently proved that Adam had his metaphysics from above.» — Vaughan da por probada la tesis central de MAGIA ADAMICA: la metafísica de Adán vino de arriba.
«I know the Scriptures are not positive in this point, and hence the sects will lug their consequence of reprobation.» — Vaughan concede que la Escritura no es terminante en ese punto y prevé el uso que las sectas harán de ello.
«I hold it very necessary to distinguish arts, for I have not yet seen any author who hath fully considered their difference.» — Vaughan reclama una distinción entre artes que dice no haber hallado en ningún autor.
«The Art I speak of is truly physical in subject, method and effect.» — Vaughan define su arte por los tres respectos en que lo llama físico.
«But as for arts publicly professed and to the disadvantage of truth allowed, not one of them is so qualified, for they are mere knacks and baubles of the hand or brain, naving no firm fundamentals in Nature.» — Vaughan niega fundamento natural a las artes públicamente enseñadas; *naving* es lectura del OCR por having.
«Thus we read that Jabal was the father of such as dwell in tents, his brother Jubal the father of all such as handle the harp and organ, and Tubal Cain an instructor of every artificer in brass and iron.» — Vaughan enumera a los inventores de artes del Génesis, Jabal, Jubal y Tubal Caín.
«If you know not the fates of former times you may study your own ; you live in an age that can instruct you.» — Vaughan remite al lector a su propia época como lección.
«Verily .it rs worth our observation that these arts and their tools proceeded not from the posterity of Seth, in which line our Saviour stands, for as we shall make it appear hereafter questionless they had a better knowledge ; but they proceeded from fc the seed of Cain, who in action was a murderer and in the circumstance of it a fratricide.» — Vaughan adjudica el origen de esas artes a la descendencia de Caín y no a la de Set; *rs* es lectura del OCR por is.
«Give me an art then that is a perfect, entire map of the creation, that can lead me directly to the knowledge of the true God, by which I can discover those universal, invisible essences which are subordinate to Him an Art that is no way subject to evil and by which I can attain to all the secrets and mysteries in Nature.» — Vaughan define el arte que reclama por cuatro rasgos: mapa entero de la creación, vía al Dios verdadero, acceso a las esencias invisibles y ajeno al mal.
«This truth, I am certain, will seem difficult if not incredible to most men, the providence of God being prejudiced in this point, for they will not allow Him to instruct us in natural things but only in supernaturals, such as may concern our souls and their salvation.» — Vaughan describe el prejuicio que enfrenta: que Dios solo instruya en lo sobrenatural.
«As for our bodies, He must not prescribe for their necessities by teaching us the true physic and discovering the laws of His creation ; for though He made Nature yet He may not tutor us in natural sciences.» — Vaughan expone en ironía la consecuencia de ese prejuicio: hizo la naturaleza pero no puede enseñarla.
«Certainly this opinion is nothing different from that of the epicure that " God takes the air, I know not in what walks and quarters of His heaven, but thinks not of us mortals who are here under His feet.» — Vaughan iguala ese prejuicio con la doctrina epicúrea de un dios que no piensa en los mortales.
«Sure these men are afraid lest His mercy should diminish His majesty : they suffer Him to trade only with our immortal parts, not with corruptible bodies that have most need of His assistance.» — Vaughan adjudica ese prejuicio al temor de que la misericordia divina rebaje la majestad.
«He it is that pities our afflictions ; He is the good Samaritan that doth not pass by us in- our miseries, but pours oil and wine into our wounds.» — Vaughan opone a esa imagen la del buen samaritano que atiende el cuerpo.
«Did not Jesus Christ Himself, in the days of His flesh, work most of His miracles on our bodies, though His great cure was that of our souls ?» — Vaughan argumenta desde los milagros corporales de Cristo, sin negar que la cura mayor fuera la del alma.
«Or, being seated on the right hand of the Majesty on high, is He less good because more glorious ?» — Vaughan cierra esa serie de preguntas con la que niega que la gloria disminuya la bondad.
«Let us then take Him for our President, for He is not saith St Paul such an one "which cannot be touched with the feeling of our infirmities" ;Vbut He is indeed one that looks to our present estate as well as to our future and is as sensible of our infirmity as He is careful of our immortality.» — Vaughan apoya en Hebreos la atención divina al estado presente, no solo al futuro.
«When He was on earth with the dust of that earth He made the blind to see, 2 and of mere water He made wine.» — Vaughan pone dos milagros como prueba de que Dios obra con las sustancias naturales.
«In the second place, learn what the salt of the earth is to which the disciples are compared and that by a regular, solid speculation.» — Vaughan convierte una figura evangélica en tarea de estudio: averiguar qué es la sal de la tierra.
«Fourthly, examine the lilies by fire and the water of fire, that thou mayst see their miraculous, invisible treasures and wherein that speech of truth is verified " that Solomon in all his glory was not arrayed like one of these.» — Vaughan manda examinar los lirios por el fuego para ver los tesoros invisibles que verifican el dicho evangélico.
«This discourse, I confess, is somewhat remote from that I first intended, namely, that philosophy was revealed to Adam as well as divinity ; but some pates are blocks in their own ways and as I told you formerly will not believe that God dispenseth with any natural secrets.» — Vaughan reconoce la digresión y la justifica por la obstinación de quienes niegan que Dios dispense secretos naturales.
«Now, to conclude that these men had no knowledge in philosophy because the Scripture doth not mention any use they made of it is an argument that denies something and proves nothing.» — Vaughan objeta el argumento del silencio: negar por lo que la Escritura no menciona no prueba nada.
«We know very well there are no prophecies of Abraham extant, neither do we read anywhere that ever he did prophesy ; but notwithstanding he was a prophet.» — Vaughan da el contraejemplo de Abraham, profeta sin profecías conservadas.
«For God reproving Abimelech King of Gerar, who had taken Sarah from him 3 supposing she had been his sister hath these words : " Now therefore restore the man his wife ; for he is a prophet, and he shall pray for thee, and thou shalt live.» — Vaughan cita el pasaje que llama profeta a Abraham.
«Hence we may learn that the Holy Ghost doth not always mention the secret perfections of the soul in the public character of the person.» — Vaughan generaliza la lección: el Espíritu no consigna siempre las perfecciones secretas del alma.
«Truly I should not be so impudent as to expect your assent to this doctrine if the Scriptures were silent in every text, if I did not find there some infallible steps of magic, such as may lead me without a lantern to the Archives of the Art itself.» — Vaughan condiciona su exigencia de asentimiento a hallar en la Escritura huellas del arte.
«But I shall not insist long on any particular, and therefore I will pass from this dream to another.» — Vaughan marca el paso de un sueño bíblico a otro dentro de su prueba.
«Now, I think no man will deny but the interpretation of dreams belongs to magic and hath been ever sought after as a piece of secret learning.» — Vaughan reclama la interpretación de sueños para la magia como saber secreto.
«True it is when the interpreter receives his knowledge immediately from God, as Daniel did, then it falls not within the limits of a natural science ; but I speak of a physical exposition,» — Vaughan acota su tesis: excluye la interpretación por revelación inmediata, como la de Daniel, y habla de una exposición física.
«As for Jacob's first practice, which we have formerly mentioned, namely, the propagation of his speckled flocks, it is an effect so purely magical that our most obstinate adversaries dare not question it.» — Vaughan pone la propagación de los rebaños moteados de Jacob como efecto mágico que ni sus adversarios discuten.
«I shall therefore leave it to the search of those who are considerable proficients, if not masters in the art.» — Vaughan reserva la explicación de ese efecto para los ya adelantados en el arte.
«It is clear then that God at first instructed Adam ; from him his children received it ; and by their tradition it descended to the patriarchs, every father bequeathing these secrets to his child as his best and most lasting legacy.» — Vaughan resume la cadena de transmisión: de Dios a Adán, de Adán a sus hijos y de estos a los patriarcas por legado.
«As for his sons and their train, who attended his motion thither, I find not any particular remembrance of them, only Moses tells me of a general exit : "Joseph died and all his brethren, and all that "generation.» — Vaughan consigna la falta de noticia particular sobre los hijos de Jacob y cita el éxodo general que da Moisés.
«Yet there is something may be said of Joseph, and verily it proves how common magic was in those days and the effects of it no news to the sons of Jacob ; for having conveyed his cup into the sack of Benjaminand by that policy detained his brethren he asks them :» — Vaughan usa el episodio de la copa de José como prueba de que la magia era cosa corriente. La fuente parte *Benjamin* del *and* siguiente por el salto de renglón y la herramienta los devuelve unidos.
«In this speech he makes his brethren no strangers to the performances of Art but rather makes their familiarity therewith an argument against them :» — Vaughan lee el reproche de José como prueba de que sus hermanos conocían el arte.
«They were indeed as he speaks of himself such as Joseph was, princes and rulers of the people, not beggarly gipsies and mountebanks, as our doctors are now.» — Vaughan opone los magos príncipes y gobernantes a los que llama gitanos y charlatanes de su tiempo.
«For saith the Scripture : " I have said ye are gods " 2 a name communicated to them because they had the power to do wonders, for in this magical sense the true God speaks to Moses :» — Vaughan lee el versículo de los dioses como título dado por el poder de obrar maravillas.
«But 'tis not this subtle dragon but that good crucified serpent 5 that can give us both this knowledge and this title :» — Vaughan distingue las dos serpientes y adjudica el conocimiento y el título a la crucificada. La llamada a nota queda dentro del tramo.
«This is certain : their learning was ancient, for 1 find magicians in Egypt four hundred and thirty years and upwards before Jamnes and Jambres.» — Vaughan data la magia egipcia cuatrocientos treinta años antes de Janes y Jambres.
«This is confirmed by Pharaoh's dream, which his own sorcerers and wizards could not interpret, but Joseph alone expounded it.» — Vaughan usa el fracaso de los adivinos de Faraón para separar la magia verdadera de la corrupta.
«Verily it cannot be denied but some branches of this art, though extremely corrupted, were dispersed among all nations by tradition from the first man, and this appears by more testimonies than one.» — Vaughan concede la dispersión del arte entre todas las naciones y a la vez la declara corrompida.
«For in the land of Canaan, before ever Israel possessed it, Debir which Athniel the son of Kenaz conquered was an university, at least had in it a famous library, wherefore the Jews called it Kiriath-Sepharim.» — Vaughan aduce la biblioteca de Debir como prueba de saber anterior a Israel en Canaán.
«I might speak in this place of the universality of religion, for never yet was there a people but had some confused notion of a Deity, though accompanied with lamentable ceremonies and superstitions.» — Vaughan enuncia la universalidad de la noción de deidad sin dejar de llamar lamentables sus ceremonias.
«And verily if we examine all religions, whether false or true, we shall not find one but it pretends to something that is mystical.» — Vaughan generaliza: toda religión, verdadera o falsa, pretende algo místico.
«But notwithstanding in those very errors there remained some marks and imitations of the first truth.» — Vaughan lee los errores paganos como marcas conservadas de la primera verdad.
«For example, Israel did sacrifice and the heathen did sacrifice, but the one to God, the other to his idol.» — Vaughan ilustra esa lectura con el sacrificio, idéntico en el rito y distinto en el destinatario.
«Neither were they only conformable in some rites and solemnities of divinity, but the heathens also had some hints left of the secret learning and philosophy of the patriarchs, as we may see in their false magic, which consisted for the most part in astrological observations, images, charms and characters.» — Vaughan extiende el paralelo a la filosofía y llama falsa magia a la astrología, las imágenes, los ensalmos y los caracteres de los paganos.
«Now, that Moses was acquainted with all the abstruse operations and principles of Nature is a truth, I suppose, which no man will resist.» — Vaughan da por indiscutido el conocimiento de Moisés en las operaciones abstrusas de la naturaleza.
«That the Sanhedrim also participated of the same instruction and knowledge with him is plain out of Scripture, where we read that God " took of the spirit " that was in Moses " and gave it unto the seventy elders.» — Vaughan extiende ese conocimiento al Sanedrín por el pasaje del espíritu repartido entre los setenta ancianos.
«First of all then, it is most absurd and therefore improbable that he should write of the creation who was no way skilled in the secrets of God and Nature,» — Vaughan argumenta por absurdo que quien escribió de la creación tenía que conocer los secretos de Dios y de la naturaleza; el tramo se corta en el cambio de plana.
«There is nothing you can say in this point but we can disprove it, for in Genesis he hath discovered many particulars, and especially those secrets which have most relation to this Art.» — Vaughan sostiene que el Génesis descubre los secretos que más tocan a su arte.
«For instance, he hath discovered the minera of man, or that substance out of which man and all his fellow- creatures were made.» — Vaughan nombra el hallazgo mayor que atribuye a Moisés: la minera del hombre.
«In this later text he tells us that God made every fowl of the air out of the ground, but in the rormer it is written He made them out of the water.» — Vaughan señala la discrepancia entre dos lugares del Génesis sobre la materia de las aves.
«Certainly Aristotle and his organ can never reconcile these two places, but a little skill in magic will make them kiss and be friends without a philtre.» — Vaughan declara que solo la magia concilia esos dos lugares, y niega que la lógica pueda.
«This substance then is both earth and water, yet neither of them in their common complexions.» — la conciliación misma: la sustancia es tierra y agua, y ninguna de las dos en su complexión común.
«But it is a thick water and a subtle earth.» — Vaughan precisa esa sustancia por dos adjetivos cruzados.
«The philosophers call it water and no water, earth and no earth.» — Vaughan da la fórmula negativa con que los filósofos la nombran.
«He that will imitate Him in the effect must first imitate Him in the subject.» — Vaughan enuncia la regla operativa que se sigue: imitar a Dios en el sujeto antes que en el efecto.
«Talk not then of flint-stones and antimony : they are the poet's pin-dust and egg-shells.» — Vaughan descarta el pedernal y el antimonio como materias del arte.
«But this is not all that Moses hath written to this purpose : I could cite many more magical and mystical places ; but in so doing I should be too open wherefore I must forbear.» — Vaughan interrumpe la serie de lugares mosaicos declarando que seguir sería descubrir demasiado.
«To this agrees Gregory Nazienzcn, who makes a twofold Law, rov -yjoa/xyuaTo? and rov xi/euyuaro? one literal, another spiritual.» — Vaughan apoya la doble ley, literal y espiritual, en Gregorio Nacianceno, con las voces griegas del original.
«Now that the Law, being given, might benefit the people in both parts, spiritual and literal, therefore did the Lawgiver institute the Sanhedrim, a council of seventy elders, upon whom he had poured his spirit, that» — Vaughan explica la institución del Sanedrín por la necesidad de custodiar las dos partes de la ley; el tramo se corta en el cambio de plana.
«the Kabalah I believe had its original, for they imparted their knowledge by word of mouth to their successors, and hence it came to pass that the science itself was styled Kabalah that is, a reception.» — Vaughan deriva el nombre mismo de la cábala del modo de su transmisión, de boca en boca.
«This continued so long as Israel held together, but when their frame began to discompose and the dilapidations of that house proved desperate, then Esdras, a prophet incomparable notwithstanding the brand of Apocrypha writ that law in tables of box which God Himself had sometime written in tables of stone.» — Vaughan atribuye a Esdras la puesta por escrito de la ley y llama incomparable al profeta pese al marbete de apócrifo.
«But it may be there is a blind generation who will believe nothing but what they see at hand and therefore will deny that Esdras composed any such books.» — Vaughan prevé la negativa de quienes solo creen lo que ven.
«I shall oppose the honour of Picus, who himself affirms that in his time he met with the Secret Books of Esdras» — Vaughan opone a esa negativa el testimonio de Pico de la Mirandola; el tramo se corta en el cambio de plana.
«It is true indeed something may be objected to me in this place concerning the Kabalah an art which I in no way approve of, neither do I condemn it, as our adversaries condemn magic, before I understand it.» — Vaughan fija su posición sobre la cábala: ni la aprueba ni la condena, y marca la diferencia con quienes condenan la magia sin entenderla.
«I condemn not the true Kabalah but the inventions of some dispersed wandering rabbis, whose brains had more of distraction than their fortunes.» — Vaughan separa la cábala verdadera de las invenciones de rabinos errantes.
«I embrace them for so many sacred truths ; but verily those truths were unknown to most of those rabbins whom I have seen, even to Rambam himself I mean Rabbi Moses yEgyptius, whom the Jews have so magnified with their famous hyperbole :» — Vaughan acepta esas verdades y a la vez niega que la mayoría de los rabinos que ha leído las conociera, incluido Maimónides.
«The former part is merely typical in reference to the latter, serving only as the shadow to the substance.» — Vaughan subordina la parte anterior a la posterior como sombra a sustancia.
«Again saith the same Rabbi : " The Three Mothers, Ernes, in this world are Air, Water and Fire. The heavens were made of the Fire, the earth was made of the Water» — Vaughan cita al rabino sobre las Tres Madres y el origen de cielo y tierra en fuego y agua; *Ernes* es lectura del OCR por Emes.
«Now, when the Kabalist speaks of the generation of the Three Mothers he brings in ten Secret Principles which I think ten men have not understood since the Sanhearim, such nonsense do I find in most authors when they undertake to discourse of them.» — Vaughan reduce a diez, y quizá a menos, los que entendieron los Diez Principios Secretos desde el Sanedrín.
«The First Principle is a Spirit which sits in his primitive incomprehensible retreat, like water in its subterraneous channel before it springs.» — Vaughan describe el primer principio con la imagen del agua en su canal subterráneo antes de brotar.
«This proves infallibly that there is an universal Schoolmaster, Who is present with all flesh and Whose principles are ever uniform namely, the Spirit of God.» — Vaughan concluye de la uniformidad de los principios la existencia de un maestro universal.
«The Kabalists agree with all the world of magicians that man in spiritual mysteries is both agent and patient.» — Vaughan hace coincidir a cabalistas y magos en que el hombre es a la vez agente y paciente en los misterios espirituales.
«This is plain ; for Jacob's Ladder is the greatest mystery in the Kabalah.» — Vaughan sitúa la escala de Jacob como el mayor misterio cabalístico.
«Here we find two extremes : Jacob is one at the foot of the Ladder and God is the other Who stands above it,» — Vaughan identifica los dos extremos de la escala; el tramo se corta ante la nota latina.
«The Fourth Principle is a certain Water which proceeds from the Third Spirit, 3 and out of that Water goeth forth Air and Fire.» — Vaughan enuncia el cuarto principio y de él hace salir el aire y el fuego. La llamada a nota queda dentro del tramo.
«The rounds or steps in the Ladder signify the middle natures by which Jacob is united to God, inferiors united to superiors.» — Vaughan interpreta los peldaños de la escala como las naturalezas medias que unen los extremos.
«Now to return to Jacob, it is written of him that he was asleep, but this is a mystical speech, for it signifies death namely, that death which the Kabalist calls Mors Oscu/i y or the Death of the Kiss, of which I must not speak one syllable.» — Vaughan lee el sueño de Jacob como la Mors Osculi cabalística y declara a la vez que no dirá una sílaba de ella.
«To be short, they agree with us over the Secret of Theology, 3 that no word is efficacious in magic unless it be first quickened by the Word of God.» — Vaughan hace coincidir a cabalistas y magos en subordinar toda palabra eficaz a la Palabra de Dios. La llamada a nota queda dentro del tramo.
«This appears out of their Shemhamphorash* for they hold not the names of angels effectual unless some Name of God as rr = YAH or h& = EL be united to them.» — Vaughan apoya lo anterior en el Shemhamphorash: los nombres de ángeles no obran sin un nombre divino unido.
«It contains a prophecy of the Virgin Mother and her Son Christ Jesus, engraven in hieroglyphics, framed by combination of the Hebrew letters, but by whom God only knows : it may be by Moses or Elijah.» — Vaughan describe el contenido de un libro jeroglífico y deja su autoría en conjetura declarada.
«It was not of paper nor parchment, as other books be, but it was made of delicate rinds as it seemed to me of tender young trees.» — descripción del libro de Abraham el Judío que Vaughan reproduce del relato de Flamel: hecho de cortezas y no de papel ni pergamino.
«Sure 1 am I could not read them, and I know well they were not notes nor letters of the Latin, nor of the Gaul, for of them I understood a little.» — continuación de ese relato: el narrador declara no poder leer los caracteres y descarta el latín y el galo.
«It contained thrice seven leaves, for so were the leaves counted at the top, and always every seventh leaf was without any writing ; but instead thereof in the first seventh leaf there was painted a Virgin and serpents swallowing her up ;» — continuación: la cuenta de tres veces siete hojas y la primera imagen, la Virgen devorada por serpientes.
«Upon the first of the leaves was written in great capital letters of gold : Abraham the Jew, Prince, Priest, Levite, Astrologer and Philosopher to the nation of the Jews, by the wrath of God dispersed among the Gauls, sendeth Health.» — continuación: el encabezamiento en letras de oro que atribuye el libro a Abraham el Judío.
«For though it was well and intelligibly figured and painted, yet no man could ever have been able to understand it without being well skilled in their Kabalah which goeth by tradition and without having well studied their books.» — continuación del relato de Flamel que Vaughan reproduce: sin la cábala transmitida por tradición nadie habría podido entender las figuras del libro.
«He seemed to my small judgment to be Mercury, the pagan god.» — continuación: la identificación conjetural de una figura del libro con Mercurio, marcada como juicio pequeño del narrador.
«Notwithstanding it passed first among the hands of infinite people who digged in the earth, seeking for it ; but because they were blind none of them knew it, except here and there one which considered the weight.» — continuación: la materia pasó por manos de innumerables buscadores ciegos, salvo alguno que reparó en el peso.
«I will not represent unto you that which was written in good and intelligible Latin in all the other written leaves, for God would punish me, because I should commit a greater wickedness than he who as it is said wished that all the men of the world had but one head that he might cut it off at one blow.» — continuación: el narrador se niega a transcribir el latín inteligible del libro y compara la revelación con una degollación universal.
«We know by experience that too much of anything weakens and destroys our nature ; but if we live temperately and according to law we are well, because our course of life accords with Nature.» — Vaughan funda la dietética en la conformidad con la naturaleza.
«Hence diet is a prime rule in physic, far better indeed than the pharmacopoeia ; for those sluttish receipts do but oppress the stomach, being no fit fuel for a celestial fire.» — Vaughan prefiere la dieta a la farmacopea y da la razón: las recetas no son combustible del fuego celeste.
«Believe it then, these excessive, bestial appetites proceeded from our Fall, for Nature of herself is no lavish, insatiable glut but a most nice, delicate essence.» — Vaughan adjudica el apetito desmedido a la caída y no a la naturaleza.
«Indeed in spiritual sins the body is not immediately troubled but the conscience is terrified, and surely the body cannot be very well when the soul itself is sick.» — Vaughan conecta la enfermedad del alma con la del cuerpo pasando por la conciencia.
«Here his doctrine was thoroughly searched, examined and sifted by the King himself, who having found it to be true and solid caused it to be proclaimed throughout his dominions.» — Vaughan cuenta el examen regio de la doctrina del monumento sínico y su proclamación.
«First then, where he mentions Olo Puen he calls him "a man of great virtue or power.» — Vaughan subraya el título dado al predicador del monumento.
«It seems he did something more than prate and preach, could confirm his doctrine as the apostles did theirs not with words only but with works.» — Vaughan lee ese título como prueba de obras y no solo de palabras, y lo empareja con los apóstoles.
«Secondly, the proclamation speaking of his doctrine runs thus : " The drift of whose teachings we have examined from the very fundamentals : we find his doctrine very excellent, without any worldly noise and principally grounded on the creation of the world.» — Vaughan cita la proclamación misma, que funda la doctrina en la creación del mundo.
«And again in the same place : " His doctrine is but of few words, not full of noise and notions, neither doth he build his truth on superficial probabilities.» — continuación de esa cita: doctrina de pocas palabras y sin probabilidades superficiales.
«Surely the devil hath been very busy to put out the candle, for had» — Vaughan adjudica al diablo la pérdida de esos libros; el tramo se corta en el cambio de plana.
«The truth only is incorruptible, and where the letter fails she shifts that body and lives in the spirit.» — Vaughan sostiene que la verdad sobrevive a la pérdida de la letra.
«Kim Cim mentions seven and twenty books which Christ Jesus left on earth to further the conversion of the world.» — Vaughan consigna la cifra de veintisiete libros que el monumento atribuye a Cristo.
«It may be we have not one of them, for though the books of the New Testament are just so many, yet being all written at least some of them a long time after Christ they may not well pass for those Scriptures which this author attributes to our Saviour, even at the time of His Ascension.» — Vaughan concede que quizá no se conserve ninguno y da la razón cronológica.
«The first cannot tell me why grass is green, the second with all his devotion knows not ABC, yet pretends he to that infinite spirit which knows all in all.» — Vaughan opone el saber del filósofo y el del devoto y niega a ambos el espíritu que pretenden.
«Here if books fail me the stones will cry out.» — Vaughan anuncia el paso del testimonio escrito al monumental.
«Magic having been so enthroned in this place it seems she would be buried here also.» — Vaughan explica por qué busca en Egipto los monumentos de la magia.
«Trismegistus is so orthodox and plain in the Mystery of the Trinity the Scripture itself exceeds him not ; 2 but he being a particular author, and one perhaps that knew more than his order in general, I shall at this time dispense with his authority.» — Vaughan elogia la ortodoxia trinitaria de Trismegisto y a la vez prescinde de su autoridad por ser autor singular. La llamada a nota queda dentro del tramo.
«The circle points at Emepht, or God the Father, being infinite without beginning, without end.» — Vaughan interpreta el círculo del jeroglífico como el Padre sin principio ni fin.
«Moreover, it comprehends or contains in itself the second Deity Ptha and the egg or chaos out of which all things were made.» — Vaughan continúa la lectura del jeroglífico con la segunda deidad y el huevo o caos.
«The body of the serpent tells you it is a fiery substance, for a serpent is full of heat and fire, which made the Egyptians esteem him divine.» — Vaughan lee el cuerpo de la serpiente del jeroglífico como signo de sustancia ígnea.
«There is also another analogy, for the serpent renews his youth so strong is his natural heat and casts off his old skin.» — Vaughan añade la muda de piel como segunda analogía.
«Truly the Matter is a very serpent, for she renews herself a thousand ways and is never a perpetual tenant to the same form.» — Vaughan aplica esa analogía a la materia, que no habita de modo perpetuo una forma.
«The wings tell you this subject or chaos is volatile, and in the outward complexion airy and watery.» — Vaughan lee las alas del jeroglífico como signo de volatilidad.
«the chaos is a certain creeping substance, i for it moves like a serpent sine pedibus^ and truly Moses ; calls it not water but serpitura aqua the creeping of water, or a water that creeps.» — Vaughan apoya la lectura reptante del caos en una lección latina del Génesis que atribuye a Moisés.
«Lastly, the knot on the tail tells you this matter is of a most strong composition and that the elements are fast bound in it, all which the philosophers know to be true by experience.» — Vaughan cierra la lectura del jeroglífico con el nudo de la cola como signo de composición fuerte.
«In their pure air the five lesser planets rule and in their central, hypostatical earth the fixed stars.» — Vaughan reparte el gobierno de los planetas y de las estrellas fijas entre el aire puro y la tierra hipostática.
«Heaven here below differs not from that above but in her capacity and that above differs not from this below but in her liberty.» — Vaughan enuncia la diferencia entre el cielo de abajo y el de arriba como diferencia de capacidad y de libertad, no de naturaleza.
«This is plain, for their own native learning was mere sorcery and witchcraft, and this appears by the testimony of Moses, who tells us their magicians produced their miracles by enchantments.» — Vaughan adjudica a los egipcios un saber nativo que llama hechicería, con el testimonio de Moisés.
«But this is not all I could say of this nation and their secret learning, if I were disposed to be their Mercury.» — Vaughan corta su exposición sobre Egipto declarando que no quiere ser su mensajero.
«There is not any, I believe, who pretend to antiquity or philosophy but have seen that famous monument which Paul III bestowed on his Cardinal Petrus Bembus and was ever since called the Bembine Table.» — Vaughan introduce la Mensa Isiaca por su procedencia: donación de Paulo III al cardenal Bembo. La cifra romana del papa dispara el detector de folios.
«No doubt but the Hieroglyphics therein contained were they all reduced into letters would make a volume as ample as mysterious.» — Vaughan mide el contenido de esa tabla por el volumen que ocuparía traducido.
«This place then was the pitcher to the fountain, for they received their mysteries immediately from the Hebrews ; but their doctrine, like their Nilus, swelling above its private channel, did at last overrun the universe.» — Vaughan hace de Egipto el cántaro y de los hebreos la fuente, y describe la difusión posterior con la imagen del Nilo.
«lamblichus the divine, in that excellent discourse of his DC Mysteriis, tells us that Pythagoras and Plato had all their learning " out of the pillars or hieroglyphical monuments» — Vaughan cita a Jámblico sobre el origen monumental del saber de Pitágoras y Platón; el troceo imprime *lamblichus* y *DC Mysteriis*.
«Aristobulus, who lived in the days of the Maccabees and was himself a Jew, writes to Ptolemy Philometor, King of Egypt, and affirms that the Pentateuch or five books of Moses were translated into Greek before the time of Alexander the Great and that they came to the hands of Pythagoras and Plato.» — Vaughan aduce a Aristóbulo para fechar la traducción griega del Pentateuco antes de Alejandro y ponerla en manos de Pitágoras y Platón.
«Indeed Numenius the Pythagorean calls Plato " Moses speaking in the Greek dialect," 4 by which he minded not a similitude of style but a conformity of principles.» — Vaughan cita la fórmula de Numenio sobre Platón como Moisés en griego y precisa que no se refiere al estilo sino a los principios.
«There is a story of Clearchus the Peripatetic in his book 8 De Somno, 6 how true I know not» — Vaughan introduce una anécdota peripatética marcando de entrada que no responde de su verdad.
«He brings in his master Aristotle, relating how he met with a very reverend and learned Jew, with whom he had much discourse about things natural and Divine ; but his special confession is that he was much rectified by him in his opinion of the Deity.» — la anécdota misma: Aristóteles rectificado por un judío en su idea de la divinidad.
«Now, if you will ask me : What Greek did ever profess any magical principles ? To this I answer that if you bate Aristotle and his ushers, who are born like the pismires ex putredine, out of their master's corruptions, Greece yielded not a philosopher who was not in some positions magical.» — Vaughan reclama para la magia a toda la filosofía griega salvo Aristóteles y sus seguidores.
«To give you some particular instances, Hippocrates was altogether chemical, and this I could prove out of his own mouth, 1 but at this time his works are not by me.» — Vaughan atribuye a Hipócrates un carácter químico y declara no tener sus obras a mano.
«True indeed that discourse of his is lost, but notwithstanding his opinion is on record, namely, that he referred the original of metals to water.» — Vaughan consigna que la obra se perdió y que la opinión sobre el origen acuoso de los metales consta igualmente.
«There is no wisdom in Nature but what proceeded from God, for He made Nature.» — Vaughan subordina toda sabiduría natural a su origen divino.
«He first found out 2 and afterwards ordained the very ways and method how to corrupt and how to generate.» — Vaughan atribuye a Dios el hallazgo y la ordenación de los modos de corromper y generar. La llamada a nota queda dentro del tramo.
«From him his children received it, and they taught it their posterity ; but the Jews having the spiritual birthright this mystery was their inheritance and they possessed it entirely, being the anointed nation upon whom God had poured forth His spirit.» — Vaughan reserva a los judíos la posesión entera del misterio por el derecho de primogenitura espiritual.
«This is confirmed by some proper, genuine effects and monuments thereof, namely, that flexible malleable glass produced in the days of Tiberius and the miraculous Olybian Lamp.» — Vaughan aduce dos efectos como prueba: el vidrio flexible de tiempos de Tiberio y la lámpara de Olibio.
«True indeed the cradle is but in some private hands, few know where, and many believe there is no such thing.» — Vaughan concede que el arte está en pocas manos y que muchos niegan su existencia.
«The schoolmen are high in point of noise and condemn all but what themselves profess.» — Vaughan mide a los escolásticos por el ruido y por la condena de lo ajeno.
«I know not any refragrans except some sickly Galenists whose pale, tallow faces speak more disease than physic.» — Vaughan descalifica a los galenistas por su propio aspecto; *refragrans* es lectura del troceo.
«This is true saith the Spanish Picaro for they cure either late or never, which makes their art long ; but they kill quickly, which makes life short» — Vaughan cita al pícaro español para invertir el aforismo hipocrático sobre el arte y la vida; el tramo se corta en el cambio de plana.
«I am not so much a fool as to expect a general subscription to my endeavours.» — abre CŒLUM TERRÆ: Vaughan descarta de entrada la aprobación general.
«First, I shall speak of that one only thing which is the subject of this Art and the mother of all things.» — Vaughan anuncia el objeto del tratado: la cosa única que es sujeto del arte y madre de todo.
«If this Art were damnable you might safely study it notwithstanding, for you have a precept to " prove all things " but to " hold fast that which is good.» — Vaughan defiende el estudio del arte incluso en el supuesto adverso, con el precepto paulino de examinarlo todo.
«Said the Kabalist : " The building of the Sanctuary which is here below is framed according to that of the Sanctuary which is above.» — Vaughan cita al cabalista sobre la correspondencia entre el santuario de abajo y el de arriba.
«There are many Platonics and this last century hath afforded them some apish disciples who discourse very boldly of the similitudes of inferiors and superiors ; but if we thoroughly search their trash» — Vaughan separa a los platónicos de sus discípulos recientes, a quienes llama simiescos; el tramo se corta en el cambio de plana.
«It is excellent sport to hear how they crow, being roosted on these pitiful particulars, as if they knew the universal magnet which binds this great frame and moves all the members of it to a mutual compassion.» — Vaughan se burla de quienes cantan victoria sobre particulares sin conocer el imán universal que mueve la trabazón del mundo.
«This is an humour much like that of Don Quixote, who knew Dulcinea but never saw her.» — Vaughan compara ese saber con el amor de don Quijote por Dulcinea.
«Those students then, who would be better instructed must first know there is an universal agent, Who when He was disposed to create had no other pattern or exemplar whereby to frame and mould His creatures but Himself.» — Vaughan enuncia el primer requisito: un agente universal que no tuvo otro modelo que sí mismo.
«But having infinite inward ideas or conceptions in Himself, as He conceived so He created :» — Vaughan explica la variedad de lo creado por la infinidad de ideas internas del agente.
«In the second place, they ought to know there is an universal patient, and this passive Nature was created by the Universal Agent.» — Vaughan enuncia el segundo requisito: un paciente universal, él mismo creado.
«This general patient is the immediate catholic character of God Himself in His unity and trinity.» — Vaughan define ese paciente como carácter católico inmediato de Dios en su unidad y trinidad.
«But verily it is to no purpose to know this notion [or] 2 Matter unless we know the thing itself to which the notion relates.» — Vaughan niega valor al conocimiento nocional de la materia sin la cosa misma. La llamada a nota queda dentro del tramo.
«We must see it, handle it and by experimental ocular demonstration know the very central invisible essences and properties of it.» — Vaughan exige demostración ocular experimental; es la frase que Waite recoge en su introducción, plana 46.
«This very nature since she may not continue one and the same is notwithstanding apprehended of the mind-under her such qualification more rightly as she is than as she is not, namely, as the thing itself is in truth that is to say, changeable.» — pasaje que Vaughan cita sobre cómo aprehender la naturaleza mudable: como lo que es, cambiante.
«The other nature or principle of substances is incorruptible, immutable, constant, one and the same for ever, and always existent.» — contrapartida: el principio incorruptible e inmutable de las sustancias.
«Now, this changeable nature whereof he speaks is the first, visible, tangible substance that ever God made :» — Vaughan identifica esa naturaleza mudable con la primera sustancia visible y tangible creada.
«they affirm her to be of that nature that ho fire can destroy her, which of all other descriptions is most true, for» — Vaughan recoge de los filósofos la incombustibilidad de la materia y la declara la más verdadera de sus descripciones; el tramo se corta en el cambio de plana.
«they call her their White Gum l and Water of the Sea, 2 Water of Life, 3 Most Pure and Blessed Water ; 4 and yet they mind not water of the clouds or rain water, nor water of the well, nor dew, but a certain thick, permanent, saltish water, that is dry and wets not the hands, 6 a viscous, slimy water generated out of the fatness of the earth.» — Vaughan enumera los nombres que los filósofos dan a esa agua y a la vez excluye expresamente el agua de lluvia, la de pozo y el rocío. Las llamadas a nota quedan dentro del tramo.
«It is already made and wants nothing but a matrix and heat convenient for generation.» — Vaughan declara la materia ya hecha y necesitada solo de matriz y calor.
«Let not your thoughts feed now on the phlegmatic, indigested vomits of Aristotle : look on the green, youthful and flowery bosom of the earth.» — Vaughan aparta al lector de Aristóteles y lo remite a la tierra misma.
«The stars and planets overlook her and though they may not descend hither themselves they shed down their golden locks, like so many bracelets and tokens of love.» — Vaughan describe la influencia astral como prenda amorosa que desciende sin que desciendan los astros.
«The sun is perpetually busy, brings his fire round about her, as if he would sublime something from her bosom and rob her of some secret, enclosed jewel.» — Vaughan describe la acción del sol sobre la tierra como sublimación y robo de una joya encerrada.
«All things return to that place from whence they came, and that very place is earth.» — Vaughan enuncia el retorno de todo a la tierra.
«If the sun makes her dry she can drink as fast ; what gets up in clouds comes down in water ; the earth swallows up all and like that philosophical dragon eats her own tail.» — Vaughan describe el ciclo del agua con la figura del dragón que se come la cola.
«Verily, there is more truth in their stately verse than in Aristotle's dull prose, for he was a blind beast and malice made him so.» — Vaughan prefiere el verso de los poetas a la prosa de Aristóteles y adjudica la ceguera de este a la malicia.
«One of these, I can assure you, is earth. The influences of the spirit animate and quicken the matter and in the material extreme the seed of the spirit is to be found.» — Vaughan sitúa la semilla del espíritu en el extremo material.
«But towards the spring and fomentations of the sun what rare pearls are there in trjis dunghill,» — Vaughan opone las perlas al estiércol para describir lo que la tierra guarda; el tramo se corta en el cambio de plana. La fuente imprime *dung-hill* y *fomenta-tions* partidos por el salto de renglón y la herramienta los devuelve unidos; *trjis* es lectura del OCR por this.
«If you will be advised by me, learn from whence the earth hath these invisible treasures,» — Vaughan reorienta la pregunta del qué al de dónde; el tramo se corta en el cambio de plana.
«There are in the world two extremes matter and spirit.» — Vaughan reduce el mundo a dos extremos.
«But stay, my friend ; this intelligence hath somewhat stirred you and now you . come on so furiously,» — Vaughan interpela al lector impaciente; el tramo se corta en el cambio de plana.
«That which I speak of is a mystery : it is ccelum terra and terra exit, not this dirt and dust but a most secret, celestial, invisible earth.» — Vaughan nombra su objeto con la fórmula que da título al tratado y lo separa del polvo visible.
«The eye of man never saw her twice under one and the same shape ; but as clouds driven by the wind are forced to this and that figure but cannot possibly retain one constant form so is she persecuted by the fire of Nature.» — Vaughan describe la inconstancia de forma de esa tierra con la imagen de las nubes empujadas por el viento.
«that notable sentence of Trismegistus that action was the life of God.» — Vaughan invoca a Trismegisto para hacer de la acción la vida de Dios.
«This is her ticktack : she plays one game, to begin another.» — Vaughan describe el juego perpetuo de la naturaleza. La fuente imprime *tick-tack* partido por el salto de renglón y la herramienta lo devuelve unido.
«Now she makes a bird, now a beast, now a flower, then a frog, and she i; pleased with her own magical performances as men an with their own fancies.» — Vaughan enumera las formas que la naturaleza produce y le atribuye complacencia en su propia magia.
«Now, Nature is a free spirit that seeks no applause ; she observes none more than herself but is pleased with her own magic, as philosophers are with their secret philosophy.» — Vaughan empareja el gusto de la naturaleza por su magia con el del filósofo por su filosofía secreta.
«It is reported of Mark Antony, a famous but unfortunate Roman, how he sent his agent over the world to copy all the handsome faces,» — Vaughan introduce la anécdota de Marco Antonio y sus retratos; el tramo se corta en el cambio de plana.
«But the ideas being innumerable and withal different, the pleasures of the agent are maintained by their variety or to speak more properly by his own fruitfulness, for amongst all the beauties the world affords there are not two that are altogether the same.» — Vaughan explica la variedad del mundo por la fecundidad del agente, y no halla dos bellezas idénticas.
«But these pretty shuttles I am no way acquainted with : I have no mistress but Nature, wherefore I shall leave the fine ladies to fine lads and speak of my simple JEjLlA L-ffiLIA» — Vaughan corta la digresión galante y vuelve a su enigma; el troceo corrompe el nombre latino del epitafio de Bolonia.
«But when I saw she did present A majesty more permanent I thought my cares not lost if I Should finish my discovery.» — versos con que Vaughan describe su acercamiento a la materia.
«But at my second, studied view I could perceive a silent dew» — continuación de esos versos: lo que la segunda mirada descubre.
«But such strange fates do them attend As if thy woes would never end.» — continuación de los versos, sobre los hados que acompañan a la materia.
«But whiles the silver torrent seeks Those flowers that watch it in thy cheeks» — continuación de los versos, con la imagen del torrente de plata.
«Behold, I have described it truly to thee, but I have not named it.» — Vaughan declara la regla de su silencio: describir sin nombrar.
«Be not therefore deceived with manifold descriptions and operations, for it is but one thing, to which nothing extraneous may be added.» — Vaughan advierte contra la multiplicidad de descripciones: la cosa es una y no admite añadido extraño.
«and I say that if thou sayest it is water thou dost say the truth ; and if thou sayest it is not water thou dost lie.» — Vaughan formula la paradoja del agua que lo es y no lo es.
«Saith he : " The third principle is a clear, compounded water, and it is the next substance in complexion to quicksilver.» — Vaughan cita a un filósofo sobre el tercer principio como agua clara y compuesta, próxima al azogue.
«It is found running and flowing upon the earth.» — continuación de esa cita, sobre dónde se halla.
«In plain English saith he : " The Mercury of the wise men is a watery element, cold and moist;» — Vaughan traduce al inglés llano la definición del mercurio de los sabios.
«This is their Permanent Water, the spirit of the body, the unctuous vapour, the .blessed water, the virtuous water, the water of the wise men, the philosopher's vinegar, the mineral water, the dew of heavenly grace, the virgin's milk, the bodily Mercury ; and with other numberless names is it named in the books of the philosophers ; which names truly though they are divers notwithstanding always signify one and the same thing, namely, the Mercury of the wise men.» — Vaughan enumera la serie de nombres del mercurio de los sabios y acota que todos significan una misma cosa.
«Out of this Mercury alone all the virtue of the Art is extracted and according to its nature the Tincture, both red and white.» — Vaughan hace de ese mercurio la fuente única de la virtud del arte y de las dos tinturas.
«For this fire and this water are like two lovers : they no sooner meet but presently they play and toy, and this game* will not over till some new baby is generated.» — Vaughan describe la relación de fuego y agua como juego amoroso que no termina hasta la generación.
«"The sperm or First Matter " saith he " of the stone is outwardly cold and moist but inwardly hot and dry.» — Vaughan cita a un filósofo sobre las cualidades cruzadas del esperma de la piedra, frío y húmedo por fuera y caliente y seco por dentro.
«This sperm is the Flying Stone, and it is aerial and volatile, cold am moist, hot and dry.» — continuación de esa cita, con el nombre de Piedra Voladora.
«"Amongst all great philosophers " saith he "it is magisterial that our Stone is no stone : but amongst ignorants it is ridiculous and incredible.» — Vaughan cita la sentencia de que la piedra no es piedra y consigna cómo suena a los ignorantes.
«For this very Permanent Water is the Stone ; but whiles it is water it is" no stone.» — Vaughan resuelve esa paradoja por el estado: el agua permanente es la piedra, y mientras es agua no lo es.
«Lapis enim est hczc ipsa permanens aqua, et dum aqua est lapis non est.» — la misma sentencia en el latín que el volumen imprime en nota. La cita va en latín y el verificador se abstiene de ella.
«Out of my breasts I pour forth milk and blood : boil these two till they are turned into silver and gold.» — pasaje en primera persona de la materia que Vaughan reproduce: la leche y la sangre que hierven en plata y oro.
«Thou art the First Matter, the seed of Divine Benediction, in whose body there is 'heat and rain, which notwithstanding are hidden from the wicked, because of thy habit and virgin vestures which are scattered over all the world.» — continuación de ese pasaje: la primera materia con calor y lluvia en su cuerpo, oculta a los malvados.
«After this manner God sends us His blessing and wisdom with rain and the beams of the sun, to the eternal glory of His Name.» — continuación: la bendición y la sabiduría enviadas con la lluvia y los rayos del sol.
«The blood of this Lion, incorporated with the tears of the Eagle, is the treasure of the earth.» — Vaughan nombra el tesoro de la tierra con la pareja del león y el águila.
«they put on the property and nature of a Salamander, which if it remains in the fire without any detriment it cures all the diseases of men, beasts and metals.» — Vaughan atribuye a la materia la propiedad de la salamandra y de ahí su virtud curativa sobre hombres, bestias y metales.
«The first gate was the knowledge of the True Matter, and here arose the first and that a most bitter conflict.» — Vaughan enumera las puertas de la obra y sitúa en la primera el conflicto más agrio.
«The second was the preparation by which this Matter was to be prepared, that they 'might obtain the embers of the Eagle and the blood of the Lion.» — segunda puerta: la preparación que da las cenizas del águila y la sangre del león.
«But most glorious, full rich and high is he who attains to the fourth gate, for he hath got an universal Medicine for all diseases.» — Vaughan sitúa en la cuarta puerta la medicina universal.
«This mystery, existing from the foundation of the world and the creation of Adam, is of all others the most ancient, a knowledge which God Almighty by His Word breathed into Nature, a miraculous power, the blessed fire of life, the transparent carbuncle and red gold of the wise men, and the Divine Benediction of this life.» — Vaughan data el misterio en la fundación del mundo y lo nombra con una serie de aposiciones.
«But this mystery, because of the malice and wickedness of men, is given only to few, notwithstanding it lives and moves every day in the sight of the whole world, as it appears by the following parable.» — Vaughan explica por la malicia humana que el misterio se dé a pocos, aunque esté a la vista de todos.
«" I am a poisonous dragon, present everywhere and to be had for nothing.» — la parábola en primera persona: el dragón venenoso presente en todas partes y gratuito.
«Out of my body thou shalt draw the Green and the Red Lion ; but if thou dost not exactly know me thou wilt with my fire destroy thy five senses.» — continuación de la parábola, con la advertencia de destrucción para quien no conozca la materia.
«A most pernicious, quick poison comes out of my nostrils which hath been the destruction of many.» — continuación: el veneno que ha destruido a muchos.
«I am the egg of Nature known only to the wise, such as are pious and modest, who make of me a little world.» — continuación: el huevo de la naturaleza, reservado a los piadosos y modestos.
«I am called of the philosophers Mercury : my husband is gold philosophical.» — continuación: el nombre y el esposo de esa voz.
«I am the old dragon that is present everywhere on the face of the earth.» — cierre de la parábola del dragón.
«but for my part I dare trust her, and lest any man should mistake her for some things formerly named I will tell you truly what she is.» — Vaughan anuncia que dirá qué es la materia, contra su costumbre de callar.
«Therefore do not you imagine that she is any crude, phlegmatic, thin water, for 1 she is a fat, thick, heavy, slimy humidity.» — Vaughan describe la materia por negación de lo acuoso común. La llamada a nota queda dentro del tramo.
«A watery humidity, we see, will easily vapour away and the earth remains behind, and the parts are therefore separated because their composition is not natural.» — Vaughan argumenta desde la facilidad de separación que la composición acuosa no es natural.
«But if we consider those humidities which are hardly separated from those parts which are natural to them, we find not any such but the unctuous, viscous humidities.» — Vaughan identifica por contraste las humedades untuosas y viscosas como naturalmente unidas.
«It will be expected perhaps by some flint and antimony doctors who make their philosophical contrition with a hammer that I should discover this thing outright and not suffer this strange bird-lime to hold their pride by the plumes.» — Vaughan se burla de los que muelen pedernal y antimonio y esperan que descubra la materia sin rodeos.
«To these I say it is Water of Silver, which some have called Water of the Moon ; but 'tis Mercury of the Sun, and partly of Saturn, for it is extracted from these» — Vaughan nombra la materia con tres nombres de oficio; el tramo se corta en el cambio de plana.
«I swear to thee upon my soul that thou art damned if thou shouldst reveal these things.» — conjuro que Vaughan cita de Raimundo Lulio contra la revelación del secreto.
«Wherefore thou shalt reserve and keep that secret which God only should reveal, and thou shalt affirm thou dost justly keep back those things whose revelation belongs to His honour.» — continuación del conjuro: el silencio como restitución de un honor que solo a Dios corresponde.
«For if thou shouldst reveal that in a few words which God hath been forming a long time, thou shouldst be condemned in the great day of judgment as a traitor to the majesty of God, neither should thy treason be forgiven thee.» — continuación: la revelación como traición imperdonable a la majestad divina.
«Now, for my part I have always honoured the magicians, their philosophy being both rational and majestic, dwelling not upon notions but effects, and those such as confirm both, the wisdom and the power of the Creator.» — Vaughan declara su estima por los magos y la funda en que su filosofía se atiene a efectos y no a nociones.
«Raymund Lully a man who had been in the centre of Nature and without all question understood a great part of the Divine Will gives me a most terrible charge not to prostitute these principles.» — Vaughan nombra la fuente del conjuro y le atribuye haber estado en el centro de la naturaleza.
«I do believe Raymund, and in order to that faith I provide for my salvation.» — Vaughan declara acatar el conjuro por cuidado de su propia salvación.
«It is indeed nihil quo ad nos nothing that we perfectly know.» — Vaughan traduce la fórmula de la teología negativa: nada respecto de nosotros.
«But, by your leave, it is the True Thing, of Whom we can affirm nothing.» — Vaughan opone al nada aparente la Cosa Verdadera de la que nada puede afirmarse.
«It is that Transcendent Essence Whose theology is negative and was known to the primitive Church but is lost in these our days.» — Vaughan adjudica la teología negativa a la Iglesia primitiva y la da por perdida en su tiempo.
«To know nothing is the happiest life.» — máxima con que Vaughan cierra ese tramo.
«Verily these considerations, with some other which I will not for all the world put to paper, have made me almost displease my dearest friends, to whom notwithstanding I owe a better satisfaction.» — Vaughan declara haber disgustado a sus amigos por callar, y reconoce deberles más.
«Had it been my fortune barely to know this Matter, as most men do, I had perhaps been less careful of it ; but I have been instructed in all the secret circumstances thereof, which few upon earth understand.» — Vaughan explica su cuidado por conocer las circunstancias secretas de la materia; es la frase que Waite cita en su introducción, plana 45.
«I speak not for any ostentation, but I speak a truth which my conscience knows very well.» — Vaughan separa esa declaración de la jactancia y la remite a su conciencia.
«But, alas, is man's blood in the bowels of the earth, that metals should be generated out of it ?» — Vaughan objeta por reducción al absurdo una doctrina sobre el origen de los metales.
«Some call it the remote matter and the invisible chaos, but very improperly, for it was not invisible.» — Vaughan objeta el nombre de caos invisible por un dato del propio relato.
«And this they say is a true extreme, for after it there is no alteration.» — Vaughan define el extremo verdadero por la ausencia de alteración posterior.
«Now, the magicians, reasoning with themselves why the mean creation should be subject to corruption, concluded the cause and original of this disease to be in the chaos itself, for even that was corrupted and cursed upon the Fall of man.» — Vaughan sitúa el origen de la corrupción en el caos mismo, corrompido por la caída.
«But examining things further they found that ' Nature in her generations did only concoct the chaos with a gentle heat.» — Vaughan describe lo que la naturaleza hace por sí: cocer el caos con calor suave.
«She did not separate the parts and purify each of them by itself ; but the purities and impurities of the sperm remained together in all her productions, and this domestic enemy prevailing at last occasioned the death of the compound.» — Vaughan explica la muerte del compuesto por la permanencia de las impurezas del esperma.
«Hence they wisely gathered that to minister vegetables, animals or minerals for physic was a mere madness, for even these also had their own impurities and diseases, and required some medicine to cleanse them.» — Vaughan deriva de lo anterior el rechazo de la farmacia común: lo que se administra necesita a su vez medicina.
«They opened it, purified it, united what they had formerly separated and fed it with a twofold fire, thick and thin, till they brought it to the immortal extreme and made it a spiritual, heavenly body.» — Vaughan resume la operación de los magos en cuatro tiempos hasta el cuerpo espiritual.
«In this .performance they saw the image of that face which Zoroaster calls the pre-existent countenance of the Triad.» — Vaughan identifica lo visto en esa operación con el rostro preexistente de la Tríada de los Oráculos.
«We see by experience that all individuals live not only by their heat, but they are preserved by the outward universal heat which is the life of the great world.» — Vaughan añade al calor propio de cada individuo el calor universal exterior.
«There is indeed one operation of heat whose method is vital and far more mysterious than the rest : they that have use for it must study it.» — Vaughan señala una operación del calor más misteriosa que las demás y remite su estudio a quien la necesite.
«But because I will not leave thee without some satisfaction, I advise thee to take the Moon of the firmament, which is a middle nature, and place her so that every part of her may be in two elements at one and .the same time.» — Vaughan da una indicación operativa: poner la luna del firmamento de modo que cada parte esté en dos elementos a la vez.
«The glass is one and no more ; but some philosophers have used two, and so mayst thou.» — Vaughan fija el número de vasos y concede la variante de dos.
«As for the work itself, it is no way troublesome ; a lady may read the Arcadia and at the same time attend this philosophy without disturbing her fancy.» — Vaughan mide la facilidad de la obra con la imagen de la lectura de la Arcadia.
«And here without any partiality I shall give my judgment of honest Hohenheim.» — Vaughan anuncia su juicio sobre Paracelso, a quien nombra por su apellido de familia.
«I find in the rest of his works, and especially where he falls on the Stone, a great many false processes ; but his. doctrine of it in general is very sound.» — Vaughan reparte su juicio sobre Paracelso: procesos falsos en el detalle, doctrina general sana.
«For a close I must tell thee the philosophers call this fire their bath, 8 but it is a bath of Nature, 4 not an artificial one ; for it is not any kind of water» — Vaughan acota el nombre de baño que los filósofos dan al fuego: baño de la naturaleza y no artificial; el tramo se corta en el cambio de plana.
«but a certain subtle, temperate moisture which compasseth the glass and feeds their sun or fire.» — continuación de una frase que viene de la plana anterior: el baño de los filósofos es una humedad sutil y templada que rodea el vaso.
«It is not kitchen fire nor fever that works upon the sperm in the womb, but a most temperate, moist, natural heat» — Vaughan mide el calor de la obra por el de la gestación; el tramo se corta en el cambio de plana.
«For this very reason the least violence destroys it and prevents all generation ; for if it be overheated but for some few minutes» — Vaughan advierte que unos minutos de exceso arruinan la generación; el tramo se corta en el cambio de plana.
«Nature moves not by the theory of men but by their practice, and» — Vaughan opone la práctica a la teoría como medida de la naturaleza; el tramo se corta en el cambio de plana.
«It is in itself natural, but the preparation of it is artificial.» — Vaughan reparte lo natural y lo artificial en la obra: la cosa es natural, su preparación no.
«It is no part of the matter, neither is it taken out of it ; but it is an external fire» — Vaughan separa el fuego de la materia sobre la que obra; el tramo se corta en el cambio de plana.
«But let us hear Nature herself, for thus she speaks in the serious romance of Mehung.» — Vaughan introduce como testimonio el Roman de la Rose de Jean de Meung, al que llama romance serio.
«" Take them therefore " saith he " and cherish them over a fire in thy alembic. But it must not be a fire of coals, nor of any wood, but -a bright shining fire, like the Sun itself, whose heat must never be excessive but always of one and the same degree.» — receta que Vaughan cita: fuego que no sea de carbón ni de leña, sino brillante como el sol y de grado constante.
«This is enough and too much, for the secret in itself is not great but the consequences of it are so which made the philosophers hide it.» — Vaughan corta la exposición con la fórmula sobre el secreto, pequeño en sí y grande por sus consecuencias; Waite la recoge en su introducción, plana 52.
«and certainly it is no news that an iron key should open a treasury of gold.» — Vaughan justifica con un proverbio que un instrumento vil abra un tesoro.
«Hence it is that Mercury is called the Interpreter or Expositor of inferiors and superiors, under which notion the ancient Orpheus» — Vaughan explica el nombre de Intérprete que se da a Mercurio; el tramo se corta en el cambio de plana.
«On the contrary, when spirits descend to the elemental matrix and reside in her kingdom they are blurred with the original leprosy of the matter, for here the curse raves and rules ; but in heaven it is not predominant.» — Vaughan explica la corrupción de los espíritus descendidos por la lepra original de la materia, y acota que en el cielo la maldición no domina.
«But when it is received in a corrupt subject the influence also is corrupted.» — Vaughan hace depender la corrupción del influjo del sujeto que lo recibe.
«Ask them but where the influences are received and how ; bid them by fair experience prove they are present in the elements, and you have undone them.» — Vaughan propone la pregunta con que a su juicio se desarma a los astrólogos: dónde y cómo se reciben las influencias.
«Let it be thy study to know their Region of Light and to enter into the treasures thereof, for then thou mayst converse with spirits and understand the nature of invisible things.» — Vaughan fija el objeto del estudio y lo que promete: trato con espíritus y conocimiento de lo invisible.
«They speak the very truth : it is God's own principle and He first taught it Adam.» — Vaughan concede la verdad de una afirmación ajena y la remite a la enseñanza dada a Adán.
«But lest any man should be deceived by us, I think it just to inform you there are two reductions.» — Vaughan distingue dos reducciones para evitar el equívoco.
«One is violent and destructive, reducing bodies to their extremes ; and properly it is death, or the calcination of the common chemist.» — primera reducción: la violenta, que Vaughan iguala a la muerte y a la calcinación del químico común.
«The other is vital and generative, resolving bodies into their sperm or middle substance, out of which Nature made them ; for Nature makes not bodies immediately of the elements but of a sperm which she draws out of the elements.» — segunda reducción: la vital, que devuelve el cuerpo a su esperma o sustancia media.
«An egg is the sperm or middle substance out of which a chick is engendered, and the .moisture of it is viscous and slimy, a water and no water, for such a sperm ought to be.» — Vaughan ilustra la sustancia media con el huevo y repite la fórmula del agua que no es agua.
«Wherefore be well advised before you distil and quarter any particular bodies, for having once separated their elements you may never generate unless you can make a sperm of those elements.» — Vaughan advierte contra la destilación: separados los elementos, no hay generación sin poder rehacer el esperma.
«But that is impossible for man to do : it is the power of God and Nature.» — Vaughan declara esa recomposición fuera del alcance humano.
«This doctrine will spare you the vain task of distillation, if you will but remember this truth that sperms are not made by separation but by composition of elements ; and to bring a body into sperm is not to distil it but to reduce the whole into one thick water, keeping all the parts thereof in their first natural union.» — Vaughan resume la consecuencia práctica: el esperma se hace por composición y no por separación.
«It is a quick celestial fire, incorporated in a thin, oleous, aerial moisture.» — Vaughan define la materia como fuego celeste incorporado en una humedad oleosa.
«It is incombustible, for it is fire itself and feeds upon fire ; and the longer it stays in the fire the more glorious it grows.» — Vaughan deriva la incombustibilidad de la identidad entre la materia y el fuego.
«I know not what to tell thee more unless in the vogue of some authors I should give thee a phlegmatic description of the whole process, and that I can despatch in two words.» — Vaughan se niega a dar la descripción flemática del proceso que otros autores acostumbran.
«I am not dead, although my spirit's gone, For it returns, and is both oft* and on» — versos del enigma que Vaughan pone en boca de la materia.
«Now I have life enough, now I have none.» — continuación del enigma en verso.
«Three souls I had and all my own, but two Are fled :» — continuación del enigma, con la cuenta de las tres almas.
«This chaos hath in it the four elements, 3 which of themselves are contrary natures ; but the wisdom of God hath so placed them that their very order reconciles them.» — Vaughan explica la concordia de los elementos contrarios por el orden en que Dios los dispuso. La llamada a nota queda dentro del tramo.
«For example, air and earth are adversaries ; for one is hot and moist, the other cold and dry.» — Vaughan da el caso del aire y la tierra como contrarios.
«Now to reconcile these two God placed the water between them, which is a middle nature, or of a mean complexion between both extremes.» — Vaughan describe la función mediadora del agua entre aire y tierra.
«But verily this salvo makes not up the breach, forjthough the water reconciles*two elements like a friendly third, yet she herself fights with a fourth namely, with the fire.» — Vaughan señala que esa mediación deja abierto otro conflicto, el del agua con el fuego.
«The philosophers call it the venerable nature ; but amongst all the pretenders I have not yet found one that could tell me why.» — Vaughan consigna el nombre de naturaleza venerable y declara que ningún pretendiente supo explicárselo.
«Hear me then, that whensoever thou dost attempt this work it may be with reverence not like some proud, ignorant doctor, but with less confidence and more care.» — Vaughan prescribe la actitud del operador y la opone a la del doctor confiado.
«You must now give me leave to tell you that this agreement or friendship is but partial a very weak love, cold and skittish.» — Vaughan acota el alcance de la concordia elemental: parcial y débil.
«For whereas these principles agree in one quality they differ in two, as your selves may easily compute.» — Vaughan da la cuenta de esa debilidad: una cualidad común y dos discordes.
«Much need therefore have they of a more strong and able mediator to confirm and preserve their weak unity ; for upon it depends the very eternity and incorruption of the creature.» — Vaughan deriva de esa debilidad la necesidad de un mediador más fuerte, del que hace depender la incorrupción.
«This blessed cement and balsam is the Spirit of the' Living God, Which some ignorant scribblers have called a quintessence.» — Vaughan identifica ese mediador con el Espíritu del Dios Vivo y objeta que se lo haya llamado quintaesencia.
«For this very Spirit is in the chaos, and to speak plainly the fire is His throne, 1 for in the fire He is seated, as we have sufficiently told you elsewhere.» — Vaughan sitúa a ese Espíritu en el caos y hace del fuego su trono. La llamada a nota queda dentro del tramo.
«The soul is not the artificer of her house, for that which can make a body can also repair it and hinder death ; but the soul cannot do this :» — Vaughan niega al alma la fábrica del cuerpo con un argumento por la reparación: lo que puede hacer un cuerpo puede repararlo.
«Learn therefore to distinguish between agents and their instruments, for if you attribute that to the creature which belongs to the Creator you bring yourselves in danger of hell-fire.» — Vaughan exige distinguir agente e instrumento y advierte del riesgo de atribuir a la criatura lo del Creador.
«It is not ten or twelve years* experience in drugs and sops can acquaint a man with the mysteries of God's creation.» — Vaughan niega que la experiencia farmacéutica dé acceso a los misterios de la creación.
«We should always remember that doctrine of Zeno : " Nature " said he "gave us one tongue but two ears, that we might hear much and speak little.» — Vaughan cita a Zenón sobre la desproporción entre lengua y oídos.
«Let not any man therefore be ready to vomit forth his own shame and ignorance.» — Vaughan extrae de esa máxima la advertencia contra el hablar apresurado.
«Let him first examine his knowledge and especially his practice, lest upon the experience of a few violent knacks he presume to judge Nature in her very sobrieties.» — Vaughan pide al crítico examinar antes su práctica, y no juzgar la naturaleza por unos golpes violentos.
«To make an end : if thou dost know the First Matter, know also for certain thou hast discovered the Sanctuary of Nature.» — Vaughan iguala el conocimiento de la primera materia con el hallazgo del santuario de la naturaleza.
«There is nothing between thee and her treasures but the door.» — Vaughan mide lo que resta al que llegó ahí.
«Now if thy desire leads thee on to the practice, consider well with thyself what manner of man thou art and what it is that thou wouldest do : for it is no small matter.» — Vaughan advierte antes del paso a la práctica.
«Take heed therefore lest thou turn partner with the devil, for it is the devil's design from the beginning of the world to set Nature at variance with herself, that he may totally corrupt and destroy her.» — Vaughan describe el designio que atribuye al diablo desde el principio del mundo: enfrentar la naturaleza consigo misma.
«I make no question but many men will laugh at this ; but on my soul I speak nothing but what I have known by very good experience : therefore believe me.» — Vaughan prevé la risa y apela a su propia experiencia.
«For my own part, it was ever my desire to bury these things in silence, or to paint them out in shadows.» — Vaughan declara la inclinación al silencio o a la figura.
«I have spoken thus clearly and openly out of the affection I bear to some who have deserved much more at my hands.» — Vaughan explica por afecto la claridad excepcional de este tramo.
«Nature is not so simple but she can Procure a solid reverence from man,» — versos del epílogo de CŒLUM TERRÆ; el tramo se corta en el cambio de plana.
«I HAVE observed, most dear Mother, and that in most of thy Sons, a complexion of fame and ingratitude.» — abre la dedicatoria de LUMEN DE LUMINE a la Universidad de Oxford, a la que Vaughan llama madre y acusa de ingratitud a sus hijos.
«Learning indeed they have, but they forget the breasts that gave it.» — Vaughan concreta esa ingratitud con la figura del pecho olvidado.
«Thy good works meet not with one Samaritan ; but many hast thou cured of the leprosy of ignorance.» — Vaughan cuenta la ingratitud con la parábola de los diez leprosos.
«This is the spot that soils our perfections : we have all drunk of thy fountain, but we sacrifice not the water to the well.» — Vaughan cierra el reproche con la imagen del agua no restituida al pozo.
«For my own part, I can present thee with nothing that is voluminous ; but here is a mustard-seed which may grow to be the greatest amongst herbs.» — Vaughan ofrece su libro como grano de mostaza, con la parábola evangélica.
«The draught itself hath nothing of Nature but what is under the veil; I wish indeed thou mayest see her without a bridal scarf ; but her face like that of the Annuntiata expects the pencil of an angel.» — Vaughan declara velada su exposición y pone el descubrimiento fuera del alcance de su pluma.
«I intend not my address for the Banks of Isis ; thou hast no portion there, unless thy stones require my inscription.» — Vaughan deslinda el destinatario de su dedicatoria dentro de la propia Oxford.
«It is neither Sadducee nor Pharisee but the text of an Israelite and Thy Legitimate Child» — Vaughan firma la dedicatoria situándose fuera de las dos sectas; el tramo se corta en el cambio de plana.
«I HAVE had some contest with myself in the disposal of this piece, the subject being cross to the genius of the times, which is both corrupt and splenetic.» — abre la advertencia al lector de LUMEN DE LUMINE: Vaughan declara haber dudado en publicarlo por hostilidad de la época.
«It was my desire to keep it within doors, but the relation it bears to my former discourses hath forced it to the press.» — Vaughan explica por qué publica pese a esa duda: la relación con sus discursos anteriores.
«Indeed I have been scurvily rewarded ; but the success of this art grows from its opposition ; and this I believe our late libellers have observed, for they quit the science to quash the professors.» — Vaughan describe la táctica de sus libelistas: dejar la ciencia y atacar a quienes la profesan.
«It is not enough to abuse and misinterpret our writings : with studied calumnies do they disparage our persons, whom they never saw and perhaps never will see.» — Vaughan denuncia la calumnia personal contra quienes no conocen.
«They force us to a bitterness beyond our own dispositions and provoke men to sin as if they did drive the same design with the devil.» — Vaughan adjudica a sus adversarios el efecto de provocar al pecado.
«For my own part, I will no more hazard my soul by such uncivil disputes.» — Vaughan renuncia a la polémica por cuidado del alma.
«I know I must give an account of every idle word.» — Vaughan funda esa renuncia en la cuenta que habrá de dar de cada palabra ociosa.
«This theme hath reduced my passions to a diet.» — Vaughan atribuye al propio asunto del libro el efecto de moderarlo.
«I have resolved for the future to suffer, for this I am sure of : God will condemn no man for his patience.» — Vaughan cierra la advertencia resolviendo padecer, con la razón que da por segura.
«The world indeed may think the truth overthrown because she is attended with her peace ; for in the judgment of most men where there is no noise there is no victory.» — Vaughan explica por qué su silencio se leerá como derrota: para la mayoría, sin ruido no hay victoria.
«Here then the day was no sooner born but strangled.» — abre la visión de LUMEN DE LUMINE con la extinción súbita de la luz.
«I was in a firm, even temper and, though without encouragements, not only resolute but well pleased.» — Vaughan describe su disposición al entrar en la visión.
«I moved every way for discoveries but was still entertained with darkness and silence ; and I thought myself translated to the land of desolation.» — Vaughan describe el primer tramo de la visión como oscuridad y silencio.
«With this gentle breath came a most heavenly, odourous air, much like that of sweet briars, but not so rank and full.» — Vaughan describe el aire de la visión y acota la comparación con el olor del escaramujo.
«Not far off on my right hand I could discover a white, weak light not so clear as that of a candle, but misty and much resembling an atmosphere.» — Vaughan describe la primera luz de la visión por comparación con la de una vela.
«The texture of the branches was so even the leaves so thick and in that conspiring order it was not a wood but a building.» — Vaughan describe la espesura de la visión como arquitectura y no como bosque.
«These rare and various accidents kept my soul busied, but to interrupt my thoughts, as if» — Vaughan enlaza la contemplación con la aparición que sigue; el tramo se corta en el cambio de plana.
«I could see between me and the light a most exquisite, divine beauty her frame neither long nor short but a mean, decent stature.» — Vaughan describe la aparición de la figura femenina de la visión.
«Her eyes were quick, fresh and celestial but had something of a start,» — continuación del retrato; el tramo se corta en el cambio de plana.
«This and no other was her appearance at that time ; but whiles I admired her perfections» — Vaughan acota que ese fue el aspecto de la figura en ese momento; el tramo se corta en el cambio de plana.
«This, I confess, sounded strange ; but I thought it not amiss to obey so sweet a command, and especially one that promised very much but was able in my opinion to perform more.» — Vaughan explica por qué obedece a la aparición pese a lo extraño de la orden.
«The light which I had formerly admired proved now at last to be her attendant, for it moved like an usher before her.» — Vaughan reasigna la luz que había admirado: era acompañante de la figura.
«When we came* out o our arbours and court of bays I could perceive a strange clearness in the air, not like that of day, neither can I affirm it was night.» — Vaughan describe la claridad de la visión negando que sea día o noche.
«The stars indeed perched over us and stood glimmering, as it were, on the tops of high hills ; for we were in a most deep bottom and the earth overlooked us, so that I conceived we were near the centre.» — Vaughan sitúa la escena en un fondo profundo del que infiere estar cerca del centro.
«This indeed was an error of mine ; but it continued not long, for coming nearer I found them to be firm, solid rocks but shining and sparkling like diamonds.» — Vaughan declara error suyo lo que tomó por otra cosa eran rocas sólidas y brillantes.
«Look up and peruse the very tops of these pillars and cliffs of salt, for they are the true, philosophical, lunar mountains.» — la guía de la visión nombra las montañas lunares filosóficas dentro del relato de Vaughan.
«The waters were dashed and their current distracted by those saltish rocks ; but for all this they came down with a dead silence like the still, soft air.» — Vaughan describe la caída silenciosa de las aguas entre las rocas salinas.
«When I had it in my hands it was no common water but a certain kind of oil of a watery complexion.» — Vaughan describe el agua de la visión como aceite de complexión acuosa.
«A viscous, fat, mineral nature it was, bright like pearls and transparent like crystal.» — continuación de esa descripción, por comparación con perlas y cristal.
«When I had viewed and searched it well, it appeared somewhat spermatic, and in very truth it was obscene to the sight but much more to the touch.» — Vaughan añade el carácter espermático y no oculta el asco al tacto.
«Hereupon Thalia told me it was the First Matter and the very natural, true sperm of the great world.» — la guía, a quien Vaughan llama Thalia, identifica esa sustancia con la primera materia y el esperma del gran mundo.
«They believe indeed that the world is a dead figure, like a body which hath been sometime made and fashioned by that spirit which dwelt in it, but retains that very shape and fashion for some short time after that the spirit hath forsaken it.» — Vaughan expone la doctrina contraria, la del mundo como figura muerta, para objetarla.
«But, being brought together, the very diversity of the natures joined, fighting one with another, had discomposed and separated them, unless thene had been One to hold and keep those parts together which He at first did join.» — Vaughan argumenta desde la diversidad de las naturalezas unidas que hace falta Uno que las mantenga juntas.
«Verily the order of Nature could not proceed with such certainty, neither could she move so regularly in several places, times, effects and qualities, unless there were Some One Who disposed and ordered these varieties of motions.» — Vaughan argumenta desde la regularidad de los movimientos que hay Alguien que los dispone.
«This, whatsoever it is, by which the world is preserved and governed, I call by that usual name God.» — Vaughan nombra con reserva el término de esa inferencia.
«The natural vessel which God hath appointed for it is the earth.» — Vaughan asigna a la tierra el oficio de vaso natural.
«Air also is a fleeting and indeterminate substance, but water is his vessel ; for water being figured by means of earth the air also is thickened and figured in the water.» — Vaughan encadena los vasos: la tierra figura el agua y el agua figura el aire.
«These are the means by which God unites and compounds the elements into a sperm, for the earth alters the complexion of the water, and makes it viscous and slimy.» — Vaughan describe el modo en que Dios compone el esperma a partir de los elementos.
«Thou seest the whites of eggs will thicken as soon as they feel the fire ; for their moisture is tempered with a pure, subtle earth, and this subtle, animated earth is that which binds their water.» — Vaughan ilustra esa composición con la clara del huevo.
«Take water then, my Eugenius, * from the Mountains of the Moon, 2 which is water and no water.» — la guía da la instrucción operativa nombrando a Vaughan por su seudónimo. Las llamadas a nota quedan dentro del tramo.
«But because thou hast been a servant of mine for a long : time, and that thy patience hath manifested the truth of thy love, I will bring thee to my school, and there will I shew thee what the world is not. capable of.» — la guía justifica la revelación por la paciencia probada del discípulo.
«Thomas of Bonona says that out of this water all things grow and all things have their nourishment.» — Vaughan aduce a Tomás de Bolonia sobre el agua de la que todo crece.
«" Eugenius, this is the place which many have desired to see, but saw it not.» — la guía nombra el lugar de la visión como el deseado y no visto por muchos.
«I was exposed to their hands but they knew me not.» — la guía declara haber estado al alcance de quienes no la reconocieron.
«In a word, the ruin of these men was built on their disposition.» — la guía adjudica el fracaso de los buscadores a su propia disposición.
«As for the mysteries of this my school, thou hast the liberty to peruse them all ; there is not anything here but I will gladly reveal it to thee.» — la guía concede a Vaughan acceso completo a los misterios de su escuela.
«Remember that I am your love, and you will not make me a prostitute.» — la guía pide reserva a cambio de esa concesión.
«Let not that proverb take place with you : Out of sight, out of mind.» — la guía cierra sus instrucciones con un proverbio.
«These were her instructions, which were no sooner delivered but she brought me to a clear, large light ; and here I saw those things which I must not speak of.» — Vaughan marca el punto de su silencio dentro del relato de la visión.
«Now verily was I much troubled and somewhat disordered ; but composing myself as well as I could I came to a cop of myrtles, where resting myself on a flowery bank I began to consider those things which I had seen.» — Vaughan describe su estado tras la visión y la pausa que se toma para considerarla.
«I could see Thalia as it were at the end of a landscape, somewhat far off; but in a moment she was in the myrtles, where, seating herself hard by me, I received from her this discourse.» — Vaughan describe la segunda aparición de la guía y anuncia su discurso.
«Now in these thy days there is no man can shew thee any real physic or astrology ; neither have they any more than a tongue and book Divinity.» — la guía declara perdidas en el tiempo de Vaughan la física, la astrología y la teología reales.
«The reason of it is this : in process of time these three sciences which work no wonders without a mutual, essential union were by misinterpretation dismembered and set apart, so that every one of them was held to be a faculty by itself.» — la guía adjudica esa pérdida al desmembramiento de las tres ciencias, que solo obran unidas.
«Now God had united these three in one natural subject, 2 but man he separated them and placed them in no subject, but in .his own brain, where they remained in words and fancy, not in substantial elements and verity.» — la guía opone la unión de las tres ciencias en un sujeto natural a su reunión en el cerebro humano, donde quedan en palabras. La llamada a nota queda dentro del tramo.
«In this state the sciences were dead and ineffectual ; they yielded nothing but noise, for they were separated as if thou should st dismember a man and then expect some one part of him should perform those actions which the whole did when he was alive.» — la guía compara las ciencias separadas con miembros desmembrados de los que se esperara la acción del cuerpo entero.
«Thou dost know by very natural experience that out of one specifical root there grow several different substances, as leaves, flowers, fruit and seed.» — la guía apoya la unidad de las tres ciencias en la experiencia de la raíz única.
«It is most certain, Eugenius, that no astrobolism 2 takes place without some previous corruption and alteration in the patient, for» — la guía condiciona todo influjo astral a una alteración previa en el paciente; el tramo se corta en el cambio de plana.
«This distemper proceeds not from the stars but from the contrariety of the elements amongst themselves.» — la guía traslada la causa de la enfermedad de los astros a la contrariedad de los elementos.
«Observe then that the genuine time of impressions is when the principles are spermatic and callow ; but being once coagulated to a perfect body the time of stellification is past.» — la guía fija el momento del influjo: mientras los principios son espermáticos, no después de coagulados.
«Now the ancient Magi in their books speak of strange astrological lamps, images, rings and plates, which being used at certain hours would produce incredible, extraordinary effects.» — la guía consigna las lámparas, imágenes, anillos y placas de los magos antiguos.
«The common astrologer he takes a stone, or some piece of metal, figures it with ridiculous characters and then exposeth it to the planets, not in an alkemusi* but as he dreams himself» — la guía describe con desprecio el procedimiento del astrólogo común; el tramo se corta en el cambio de plana.
«When this is done, all is to no purpose ; but though they fail in their practice yet they believe they understand the books of the Magi well enough.» — la guía separa el fracaso práctico de la confianza en haber entendido los libros.
«It must be a body reduced into sperm, that the heavenly, feminine moisture, which receives and retains the impress of the astral agent, may be at liberty and immediately exposed to the masculine fire of Nature.» — la guía da la condición material del influjo: cuerpo reducido a esperma para que la humedad femenina quede expuesta al fuego masculino.
«This is the ground of the Beryl ; but you must remember that nothing can be stellified without the joint magnetism of three heavens.» — la guía nombra el fundamento del berilo y pone como condición el magnetismo conjunto de tres cielos.
«When she had thus said she took out of her bosom two miraculous medals not metalline but such as I had never seen» — Vaughan describe las dos medallas que la guía le entrega; el tramo se corta en el cambio de plana.
«These miracles she commended to my perusal, excusing herself as being sleepy» — Vaughan cierra la escena con la despedida de la guía; el tramo se corta en el cambio de plana.
«It is an herb easy to be found but that men are blind ; for it discovers itself and shines after night like pearl.» — Vaughan describe la hierba que busca y adjudica a la ceguera de los hombres el no hallarla.
«They are very dangerous places after night, for they are haunted with fires and other strange apparitions,» — Vaughan advierte del peligro nocturno de esos lugares; el tramo se corta en el cambio de plana.
«The access and pilgrimage to this place, with the difficulties which attend them, are faithfully and magisterially described by the Brothers of R. C.» — Vaughan adjudica a los Hermanos R. C. la descripción del acceso a ese lugar y anuncia que la reproduce.
«Their language indeed is very simple, and with most men perhaps contemptible.» — Vaughan concede la simpleza del estilo rosacruz antes de defender su contenido.
«But to speak finely was no part of their design ; their learning lies not in the phrase but in the sense ; and that it is which I propose to the consideration of the reader.» — Vaughan separa el estilo del sentido en los textos rosacruces y propone el segundo al lector.
«Every man naturally desires a superiority, to have treasures of gold and silver, and to seem great in the eyes of the world.» — texto de los Hermanos R. C. que Vaughan reproduce: el deseo natural de superioridad y de riqueza.
«God indeed created all things for the use of man, that he might rule over them and acknowledge therein the singular goodness and omnipotence of God,» — continuación del texto rosacruz: el uso de las cosas ordenado al reconocimiento de la bondad divina; el tramo se corta en el cambio de plana.
«But there is no man looks after these things otherwise than by spending his days idly.» — continuación: el reproche de la ociosidad a quienes buscan esos bienes.
«it is not the will of God to conceal anything from those that are His ;» — continuación: los Hermanos R. C. niegan que Dios oculte nada a los suyos.
«being moved by the Spirit of God, do declare the will of God to the world, which we have also already performed and published in several languages.» — continuación: los Hermanos R. C. declaran haber publicado ya su mensaje en varias lenguas.
«It is expedient that every man should labour for this treasure by the assistance of God and his own particular search and industry.» — continuación: la condición del trabajo propio para alcanzar el tesoro.
«But the perverse intentions of these fellows we understand out of their own writings, by the singular grace and revelation of God.» — continuación: los Hermanos R. C. dicen conocer por revelación las intenciones de quienes les escriben.
«We do stop our ears and wrap ourselves, as it were, in clouds to avoid the bellowings and howlings of those men who in vain cry out for gold.» — continuación: la negativa de los Hermanos R. C. a atender a los que solo piden oro.
«many thousands thought you worthy of some answer ; and we signify this much to you by the will of God and the admonition of the Holy Ghost.» — continuación: la respuesta se da por voluntad de Dios y amonestación del Espíritu.
«There is a mountain situated in the midst of the earth or centre of the world which is both small and great.» — abre la parábola de la montaña que los Hermanos R. C. dirigen a sus corresponsales, con su primera pareja de contrarios.
«It is far off and near at hand, but by the providence of God invisible.» — continuación de la parábola: la montaña lejana y cercana, invisible por providencia.
«In it are hidden most ample treasures, which the world is not able to value.» — continuación: los tesoros que la montaña esconde.
«This mountain by envy of the devil, who always opposeth the glory of God and the happiness of man is compassed about with very cruel beasts and other ravening birds which make the way thither both difficult and dangerous.» — continuación: las bestias y aves que el diablo pone en el camino.
«And therefore hitherto because the time is not yet come the way thither could not be sought after nor found out.» — continuación: el camino no podía buscarse antes porque no era tiempo.
«But now at last the way is to be found by those that are worthy but notwithstanding by every man's self-labour and endeavours.» — continuación: el hallazgo del camino se abre ahora, y solo por trabajo propio.
«Insist upon the way that leads to the Mountain, but ask not of any man where the way lies.» — continuación: la prohibición de preguntar el camino a nadie.
«Only follow your Guide, who will offer himself to you and will meet you in the way.» — continuación: la promesa de un guía que sale al encuentro.
«But you shall not know him.» — continuación: la cláusula que anula el reconocimiento del guía.
«I can assure them the subject is nowhere so clearly discovered ; and for the first abstruse preparation there is no private author hath mentioned it, but here we have it entirely and withal most faithfully described.» — Vaughan mide el valor del texto rosacruz que acaba de reproducir por la claridad con que descubre el sujeto de la obra.
«I confess indeed their instruction wears a mask, but very plain and pervious.» — Vaughan concede la máscara del texto rosacruz y a la vez la declara transparente.
«Every sophister contemns them because they appear not to the world and concludes there is no such Society because he is not a member of it.» — Vaughan describe el argumento con que se niega la existencia de la Sociedad y lo devuelve como interés propio.
«No man looks after them but for worldly ends, and truly if the Art itself did not promise gold I am confident it would find but few followers.» — Vaughan adjudica el interés por el arte a la promesa de oro.
«It may be the nullity of their expectations will reform them ; but as long as they continue in this humour neither God nor good men will assist them.» — Vaughan deja abierta la enmienda de esos buscadores y a la vez les niega asistencia mientras persistan.
«If we look on religion and the diversities thereof, whence proceeded the present heresies and schisms but from the different erroneous apprehensions of men ?» — Vaughan adjudica herejías y cismas a las aprehensiones erróneas de los hombres.
«On the contrary, if we lay the line to our thoughts and examine them by experience, we are in the way to be infallible, for we take hold of that rule which God hath proposed for our direction.» — Vaughan propone la experiencia como regla que Dios puso para dirigir el pensamiento.
«It were a happy necessity if our thoughts could not vary from her ways.» — Vaughan enuncia como necesidad feliz la imposibilidad de apartarse de la naturaleza.
«But certainly for us to think that we can find truth by mere contemplation without experience 1 is as great a madness as if a man should shut his eyes from the sun and then believe he can travel directly from London to Grand Cairo by fancying himself in the right way, without the assistance of the light.» — Vaughan mide la contemplación sin experiencia con la figura del viaje a ciegas de Londres al Cairo. La llamada a nota queda dentro del tramo.
«I ever approved that regular and solid speech of Basil Valentine : l "Be advised, therefore, my wrangler, and seek with thine own eyes, even thy very hand, that first foundation which Nature holds hidden within her :» — Vaughan cita a Basilio Valentín sobre buscar con los propios ojos y la propia mano el fundamento que la naturaleza esconde.
«And in another place : " I value not the trifler who speaks otherwise than from his proper experience, for his discourse has the same foundation as the judgment of a blind man about colours.» — segunda cita de Basilio Valentín: el que habla sin experiencia propia juzga como ciego de colores.
«I oppose it as battery to the schoolmen : if they will needs muster their syllogisms, I expect also they should confirm their noise by their experience.» — Vaughan exige a los escolásticos que confirmen sus silogismos con experiencia.
«This is the Secret Candle of God, which He hath tinned in the elements : it burns and is not seen, for it shines in a dark place.» — Vaughan nombra la luz secreta como candela de Dios encendida en los elementos.
«Every natural body is a kind of black lantern ; it carries this Candle within it, but the light appears not : it is eclipsed with the grossness of the matter.» — Vaughan explica por qué esa luz no se ve, con la figura de la linterna sorda.
«The effects of this Light are apparent in all things ; but the light itself is denied, or else not followed.» — Vaughan separa los efectos visibles de la luz de la luz misma, negada o no seguida.
«This fire or light is nowhere to be found in such abundance and purity as in that subject which the Arabians call Halicali, from Hali = Summum and Calop = Honum ; but the Latin authors corruptly write it Sal Alkali.» — Vaughan localiza esa luz en un sujeto que nombra por su etimología árabe, y llama corrupta la forma latina.
«All vegetables grow and augment themselves ; they put forth their fruits and flowers, which could not be if some heat did not stir up and alter the matter.» — Vaughan argumenta desde el crecimiento vegetal la presencia de un calor que altera la materia.
«We see, moreover, that in vegetables this light is sometimes discovered to the eye, as it appears in rotten wood, where the star-fire shines after night.» — Vaughan aduce la luminiscencia de la madera podrida como manifestación visible de esa luz.
«The great world hath the sun for his life and candle ; according to the absence and presence of this fire all things in the world flourish or wither.» — Vaughan traslada la figura de la candela al sol como vida del mundo mayor.
«This is neither dream nor fancy, but a known, demonstrable, practical truth.» — Vaughan reclama para lo dicho el estatuto de verdad práctica y demostrable.
«It can neither be seen nor felt, but the cabinet that holds it is every day under our feet.» — Vaughan mantiene la paradoja: lo invisible e impalpable en un recipiente que se pisa.
«They must be affable, not contentious ; they must love the truth and to speak in a homely phrase they must also, like children and fools, speak the truth.» — Vaughan fija las condiciones morales del buscador, con la comparación de los niños y los locos.
«The middle substance or chain between these two is that which we commonly call Nature.» — Vaughan define la naturaleza como sustancia media entre los dos extremos.
«This is the Scala of the great Chaldee which doth reach from the subternatural darkness to the supernatural fire.» — Vaughan identifica esa cadena con la escala del caldeo, tendida entre la oscuridad subnatural y el fuego sobrenatural.
«It is a divine, animated mass, of complexion somewhat like silver, the union of masculine and feminine spirits, the quintessence of four, the ternary of two and the tetract of one.» — Vaughan define la materia con una serie de fórmulas numéricas cruzadas.
«Now the Jews who without controversy were the wisest of nations when they discourse of the generation of metals tell us it is performed in this manner.» — Vaughan atribuye a los judíos la doctrina sobre la generación de los metales que va a exponer.
«The Mercury or mineral liquor say they is altogether cold and passive, and it lies in certain earthy, subterraneous caverns.» — la doctrina misma: el mercurio frío y pasivo alojado en cavernas subterráneas.
«Thus we see in winter weather that the outward heat of the sun excites the inward, natural warmth of our bodies and cherisheth the blood when it is almost cold and frozen.» — Vaughan ilustra la acción del calor exterior sobre el interior con la experiencia del invierno.
«But towards night, when the sun sets in the West, the heat of the earth because of the absence of that great luminary grows weak and the cold prevails, so that the vapours of the Mercury, which were formerly sublimed, are now condensed and distil in drops to the bottom of their cavern.» — Vaughan describe el ciclo nocturno de condensación de los vapores del mercurio.
«Take notice then that our Mercury cannot be coagulated without our sulphur, for " the Dragon dieth not apart from his fellow.» — Vaughan condiciona la coagulación del mercurio al azufre, con la fórmula del dragón que no muere sin su compañero.
«It is water that dissolves and putrefies earth, and earth that thickens and putrefies water.» — Vaughan formula la acción recíproca de agua y tierra.
«Reader, if it be thy desire to attain to the truth, rely upon my words, for I speak the truth, and I am no deceiver.» — Vaughan interpela al lector y se declara veraz; es la frase que Waite recoge en su introducción, plana 46.
«The mother or First Matter of metals is a certain watery substance, neither very water nor very earth, but a third thing compounded of both and retaining the complexion of neither.» — Vaughan define la madre de los metales como tercera cosa compuesta de agua y tierra sin la complexión de ninguna.
«The noble and knowing Sendivogius tells us the very same thing : " Our water is a heavenly water, which wets not the hand, not that of the common man but almost, or as it were, pluvial.» — Vaughan cita a Sendivogius sobre el agua celeste que no moja la mano.
«It is a dry water, not water of the clouds or phlegmatic water, but a choleric water, more hot than fire.» — continuación de la cita: agua seca y colérica, más caliente que el fuego.
«The predominant element in it is a certain fiery, subtle earth, and from this prevalent part the best philosophers have denominated the whole compound.» — Vaughan explica el nombre del compuesto por su elemento predominante.
«The substance of our Stone " saith he " is altogether fat or viscous and impregnated with fire» — Vaughan cita a otro filósofo sobre la sustancia grasa y preñada de fuego; el tramo se corta en el cambio de plana.
«Take our earth " saith he " which is impregnated or with child by the sun ;» — otra cita del mismo orden: la tierra preñada por el sol.
«My son " saith he " the First Matter is a subtle, sulphureous earth, and this noble earth is called the mercurial subject.» — Vaughan cita el nombre de sujeto mercurial dado a la tierra sulfúrea sutil.
«Know then for certain that this slimy, moist sperm or earth must be dissolved into water, and this is the Water of the Philosophers not any common water whatsoever.» — Vaughan fija la primera operación —disolver la tierra en agua— y excluye el agua común.
«"Our Mercury" saith he "is not common Mercury or quicksilver. But our Mercury is a water which cannot be found on earth, for it is not made or manifested by the ordinary course of Nature, but by the art and manual operations of man.» — cita que Vaughan aduce: el mercurio de los filósofos no se halla en la tierra y se hace por arte.
«Seek not then for that in Nature which is an effect beyond her ordinary process.» — Vaughan deriva de esa cita la advertencia de no buscar en el curso ordinario lo que lo excede.
«You must help her, that she may exceed her common course, or all is to no purpose.» — Vaughan fija el oficio del artista: ayudar a la naturaleza a exceder su curso.
«Now that we may confirm this our theory and discourse of the sperm not only by experience but by reason, it is necessary that we consider the qualities and temperament of the sperm.» — Vaughan anuncia la confirmación de su doctrina por razón además de por experiencia.
«We know the sun is so remote from us that the heat of it as daily experience tells us is very faint and remiss.» — Vaughan mide la debilidad del calor solar por la distancia.
«Certainly none at all ; for all hard bodies as salts, stones and metals preserve and retain their complexions in the most violent, excessive fires.» — Vaughan argumenta que los cuerpos duros no ceden ni al fuego violento.
«It is plain then and that by infallible inference from the proportion and power of the agent that moisture must needs be the patient.» — Vaughan concluye por proporción entre agente y paciente que lo húmedo es lo pasivo.
«This truth appears in the animal family, where we know well enough the sperms are moist.» — Vaughan apoya esa conclusión en el reino animal.
«And here, my Peripatetic, thou art quite gone and with thee thy pure potency, 1 that fanatic chaos of the son of Nichomachus.» — Vaughan da por vencida la potencia pura aristotélica y llama a Aristóteles por el nombre de su padre. La llamada a nota queda dentro del tramo.
«But I must advise my chemists to beware of any common moisture, for that will never be altered otherwise than to a vapour.» — Vaughan advierte que la humedad común solo da vapor.
«Remember the practice and magic of Almighty God in His creation, as it is manifested to thee by Moses.» — Vaughan remite la operación al modelo de la creación tal como la da Moisés.
«It is a laxative, unstable, incomposed substance, of a porous, empty crasis, like sponge or soot.» — Vaughan describe la materia con los términos que Waite recoge en su introducción, plana 46.
«I conclude then that the Mosaical earth was the Virgin Sulphur, which» — Vaughan identifica la tierra mosaica con el azufre virgen; el tramo se corta en el cambio de plana.
«I have seen it, but it is impossible to describe it.» — Vaughan une en una frase la pretensión de haberla visto y la imposibilidad de describirla.
«This earth must be dissolved into water and that water must be coagulated again into earth.» — Vaughan resume el doble movimiento de la obra.
«Their Fire then is the Key of the Art, for it is a natural agent but acts not naturally without the sun.» — Vaughan llama llave del arte al fuego y acota su dependencia del sol.
«This is a grammatical whim, for there is nothing in the world generated without fire.» — Vaughan descarta como capricho gramatical una distinción ajena.
«But let the mule pass, for so Plato called him, and let us prosecute our Secret Fire.» — Vaughan despide al adversario con el mote que atribuye a Platón y vuelve a su asunto.
«But originally it is in God Himself, for He is the Fountain of heat and fire, and from Him it is derived to the rest of the creatures in a certain stream or sunshine.» — Vaughan remite el fuego a Dios como fuente y describe su comunicación como corriente.
«I know Aristotle makes the fire to be simply dry, perhaps because the effects of it are so.» — Vaughan consigna la doctrina aristotélica del fuego seco y propone su razón, marcándola con un *perhaps*.
«Sure then this dry stuff is that element of his wherein he found his pyrausta.» — Vaughan ironiza sobre ese fuego seco con el animal que Aristóteles situaba en él.
«But that I may return to my former discourse : I say the common fire is excessively hot, but moist in a far inferior degree, and therefore destructive for it preys on the moisture of other things.» — Vaughan explica por qué el fuego común es destructivo: consume la humedad ajena.
«On the contrary, the warmth and moisture of the magical agent are equal ; the one temperates and satisfies the other.» — Vaughan opone a ese fuego el agente mágico, donde calor y humedad se equilibran.
«The kitchen fire as we all know is visible but the philosopher's fire is invisible, and therefore no kitchen fire.» — Vaughan separa los dos fuegos por la visibilidad.
«To be short : the philosophers call this agent their bath, because it is moist as baths are ; but in very truth it is no kind of bath neither of the sea nor of dew, 3 but a most subtle fire and purely natural ; but the excitation of it is artificial.» — Vaughan explica el nombre de baño y reparte de nuevo lo natural y lo artificial. La llamada a nota queda dentro del tramo.
«1 may only teach thee how to use it.» — Vaughan acota lo que puede enseñar: el uso, no la cosa.
«This is thy first labour, but thy next is more difficult. Thou must encamp against them with the fire of Nature, and be sure thou dost bring thy line round about.» — Vaughan ordena los trabajos de la obra en dificultad creciente.
«As thou hast begun so proceed, and this Dragon will turn to a Swan, but more white than the hovering virgin snow when it is not yet sullied with the earth.» — Vaughan describe el cambio de color de la obra con la figura del dragón que se vuelve cisne.
«It is of itself dry and choleric ; but a proper moisture tempers it, gives it a heavenly complexion and brings it to the desired exaltation.» — Vaughan describe cómo la humedad propia templa el agente y lo lleva a la exaltación.
«Consider then what you seek : you seek an indissoluble, miraculous, transmuting, uniting union ; but such a tie cannot be without the First Unity.» — Vaughan condiciona la unión buscada a la Primera Unidad.
«But let us hear Raymund Lully describe it : * " When we say the Stone is generated by fire, men neither see, neither do they believe there is any other fire but the common fire, nor» — Vaughan cita a Raimundo Lulio sobre el fuego que engendra la piedra; el tramo se corta en el cambio de plana.
«Thus Lully : but one thing I must tell thee and be sure, Reader, thou dost remember it.» — Vaughan cierra la cita de Lulio y anuncia una advertencia propia.
«This very natural heat must be applied in the just degree and not too much fortified; for the sun itself doth not generate but burn and scorch where it is too hot.» — Vaughan fija la medida del calor con el ejemplo del sol que quema en vez de generar.
«Take therefore along with thee this short but wholesome advice of the same author : " My son " saith he " let the heavenly power or agent be such in the place of generation or mutation that it may alter the spermatic humidity from its earthly complexion to a most fine, transparent form or species.» — Vaughan cita el consejo sobre alterar la humedad espermática de su complexión terrestre a una forma transparente.
«This Mercury, Gentlemen, is the water which we look after but not any common water whatsoever.» — Vaughan repite la exclusión del agua común al nombrar el mercurio buscado.
«An instance hereof we have in Flamel, who knew the Matter well enough and had both fire and furnace painted to him by Abraham the Jew ; but notwithstanding he erred for three years because he knew not the third secret.» — Vaughan usa el caso de Flamel para mostrar que materia y fuego no bastan sin el tercer secreto.
«Henry Madathan, a most noble philosopher, practised upon the subject for five years together but knew not the right method and therefore found nothing.» — Vaughan añade el caso de Madathan, que operó cinco años sin método.
«At last saith he " after the sixth year I was entrusted with the Key of Power by secret revelation from the Almighty God.» — Vaughan cita a Madathan sobre la revelación de la Llave del Poder al sexto año.
«This Key of Power or third secret was never put to paper by any philosopher whatsoever.» — Vaughan declara que ese tercer secreto nunca se puso por escrito.
«Paracelsus indeed hath touched upon it, but so obscurely it is no more to the purpose than if he had said nothing.» — Vaughan concede que Paracelso lo tocó y anula la concesión por la oscuridad.
«If you think it too little, it is much more than any one author hath performed.» — Vaughan mide lo que él mismo dio contra lo que dieron los autores anteriores.
«Search it then, for he that finds this Fire will attain to the true temperament ; he will make a noble, deserving philosopher and to speak in the phrase of our Spaniard " he shall be worthy to take a seat at the table of the twelve peers.» — Vaughan promete al que halle ese fuego el temperamento verdadero, con una fórmula que atribuye a un español.
«It is a decomposed substance, extreme heavy and moist but wets not the hand.» — Vaughan describe la materia repitiendo la fórmula del agua que no moja.
«It is full of small eyes, sparkling like pearls or aiglets.» — Vaughan añade la descripción de los ojos brillantes de la materia.
«The father of it is a certain inviolable mass, for the parts of it are so firmly united you can neither pound them into dust nor separate them by violence of fire.» — Vaughan describe el origen de la materia en una masa inviolable e inseparable.
«" It is compassed about " saith one " with darkness, clouds and blackness.» — Vaughan cita una descripción ajena de la materia rodeada de tinieblas.
«He is not properly generated by any natural thing, but he is eternal and the father of all things.» — continuación de esa cita: la materia como no generada y padre de todo.
«This description is very true and apposite but enigmatical : howsoever, forget not the green mantle.» — Vaughan aprueba la descripción ajena, la llama enigmática y deja una seña al lector.
«the Artist faithfully affirmed to me that all those diversities would settle at last to one body.» — Vaughan recoge el testimonio del artista sobre la unidad final de las diversidades observadas.
«It is then a porous, hollow, froth-like, spongious salt.» — Vaughan describe la materia como sal esponjosa y porosa.
«The River of Pearl hath her name from it, for there it stands like the sperm of frogs in common water.» — Vaughan explica el nombre del Río de la Perla por la apariencia de esa materia.
«Sometimes it will move, and swim to the face of his bath in thin leaves like wafers, but with a thousand miraculous colours.» — Vaughan describe el movimiento y los colores de la materia en su baño.
«A rational, methodical dispute will undo him, for he studies not the whole body of philosophy.» — Vaughan mide al químico común por su incapacidad ante una disputa metódica.
«The common chemist dreams of gold and transmutations, most noble and heavenly effects, but the means whereby he would encompass them are worm-eaten, dusty, musty papers.» — Vaughan opone los fines altos del químico común a los medios con que los persigue.
«It is therefore my design to discover some excellences of this art and make it appear to the student that what is glorious is withal difficult.» — Vaughan declara el propósito del tramo: mostrar que lo glorioso es también difícil.
«I shall not dwell long on any one particular : I am drawing off the stage in all haste and returning to my first solitudes.» — Vaughan anuncia su retirada de la escena y el regreso a la soledad.
«But when all comes to all and their custard fails them, they quit their filthiness but not their error.» — Vaughan describe la enmienda incompleta de los operadores fracasados.
«They are so wedded to old scribblings they will not submit them to their judgment but presently bring them to the fire.» — Vaughan reprocha que se lleven al fuego escritos que no se sometieron antes al juicio.
«Certainly they believe such ridiculous impossibilities that even brute beasts if they could speak would reprove them.» — Vaughan mide la credulidad de esos operadores contra el juicio de las bestias.
«Mundo derives this word from "ever in movement," 1 because the heavens are in perpetual motion.» — Vaughan expone una etimología ajena del nombre del cielo por el movimiento perpetuo. La llamada a nota queda dentro del tramo.
«The more ancient philosophers whose books this enemy burnt derived it from Ow = ardeo = I burn, but especially Anaxagoras, who was better acquainted with heaven than Aristotle, as it appears by his miraculous prediction and the opinion he had of that place, namely, that it was his country and that he was to return thither after death.» — Vaughan da la etimología rival por el verbo arder y la atribuye a los filósofos más antiguos, en particular a Anaxágoras, de quien recoge la creencia en el cielo como patria.
«I cannot then approve of this latter derivation, no more than of the former.» — Vaughan rechaza las dos etimologías por igual.
«The ether is a moist, thin, liquid substance, and the region of it is above the stars, in the circumference of the Divine Light.» — Vaughan define el éter y sitúa su región por encima de las estrellas.
«This is the true and famous empyrean, 4 which receives the influent heat of God, and conveys it to the visible heaven and all the inferior creatures.» — Vaughan identifica esa región con el empíreo y le da el oficio de transmitir el calor influente de Dios.
«It is a pure essence, a thing not tainted with any material contagion in which sense it is styled of Pythagoras " the free ether," 6 " because " saith Reuchlin " it is freed from the prison of the matter, and being preserved in its liberty it is warm» — Vaughan cita el nombre pitagórico de éter libre y la glosa de Reuchlin; el tramo se corta en el cambio de plana.
«In a word because of its purity it is placed next to that Divine Fire which the Jews call Lumen Vestimenti? the Light of the Vestment, and it is the very first receptacle of the influences and derivations of the supernatural world which sufficiently confirms our etymology.» — Vaughan sitúa el éter junto a la Luz del Vestido de los judíos y lo hace primer receptáculo de las influencias sobrenaturales.
«You shall understand that the ether is not one but manifold, and the reasons of it we shall give you hereafter.» — Vaughan anuncia la multiplicidad del éter y aplaza sus razones.
«There are other moistures, and those too ethereal. They are females also of the masculine Divine Fire, and these are the fountains of the Chaldee, which the oracle styles " fountain heights," ' the invisible upper springs of Nature.» — Vaughan nombra las otras humedades etéreas con la fórmula caldea de las alturas de las fuentes.
«Of all substances that come to our hands, the ether is the first that brings us news of another world and tells us we live in a corrupt place.» — Vaughan atribuye al éter el oficio de dar noticia de otro mundo.
«Sendivogius calls it the urine of Saturn, and with this did he water his lunar and solar plants.» — Vaughan consigna el nombre que Sendivogius da a esa humedad y su uso.
«In a word, this moisture is animated with a vegetable, blessed, divine fire, which made one describe the mystery thus :» — Vaughan atribuye a esa humedad un fuego vegetal y divino y anuncia la descripción ajena.
«the ether is to be found in the lower spring or fountain, 2 namely, in that substance which the Arabians call " the flower of white salt.» — Vaughan localiza el éter en la fuente inferior, con el nombre árabe de flor de sal blanca. La llamada a nota queda dentro del tramo.
«It is indeed born of salt, for salt is the root of it, and it is found withal " in certain saltish places.» — Vaughan da la sal por raíz del éter y el lugar donde se halla.
«The best discovery of it is this : the philosophers call it their Mineral Tree, for it grows as all vegetables do, and hath leaves and fruits in the very hour of its nativity.» — Vaughan describe el árbol mineral que da hojas y frutos en la hora misma de nacer.
«This Luna is the Moon of the Mine, a very strange, stupefying substance.» — Vaughan nombra la luna de la mina.
«It appears in the form of an exceeding white oil but is in very truth a certain vegetant, flowing, smooth, soft salt, &c.» — Vaughan separa la apariencia de esa sustancia de lo que en verdad es.
«It is a miracle to consider how the earth, which is a body of inexpressible weight and heaviness, can be supported in the air, a fleeting, yielding substance, and through which even froth and feathers will sink and make their way.» — Vaughan plantea como problema la sustentación de la tierra en el aire.
«I hope there is no man so mad as to think it is poised there by some geometrical knack, for that were artificial ; but the work of God is vital and natural.» — Vaughan descarta la explicación geométrica por artificial y reclama una vital.
«We see that our own bodies are supported by that essence by which they are actuated and animated ; but when that essence leaves them they fall to the ground, till the spirit returns at the resurrection.» — Vaughan argumenta por analogía con el cuerpo humano sostenido por su espíritu.
«I conclude then that the earth hath in her a fire-soul that bears her up, as the spirit of man bears up.» — Vaughan concluye que la tierra tiene un alma de fuego que la sostiene.
«To this agrees Raymund Lully in the seventysixth chapter of his Theoria.» — Vaughan localiza el pasaje de Lulio que apoya lo anterior. La fuente imprime *seventy-sixth* partido por el salto de renglón y la herramienta lo devuelve unido.
«" The whole earth " saith he " is full of intelligence, inclined to the discipline or operation of Nature, which intelligence is moved by the Superior Nature, so that the inferior intelligence is like to the Superior.» — la cita de Lulio: la tierra llena de inteligencia movida por la Naturaleza Superior.
«This spirit or intelligence is the Prester, 3 a notion of the admirable Zoroaster, as I find him rendered by Julian the Chaldean.» — Vaughan nombra ese espíritu con el término de Zoroastro tal como lo da Juliano el Caldeo. La llamada a nota queda dentro del tramo.
«It comes from irpYiQa) = vro, I burn, and signifies lightning, or a certain burning Turbo* or whirlwind.» — Vaughan da la etimología del término y sus dos sentidos, relámpago y torbellino ardiente; el troceo corrompe el griego.
«But in the sense of our Chaldee it is the fire-spirit of life.» — Vaughan fija el sentido que el término tiene en su caldeo.
«For as the natural light of the sun is first manifested to us in the East, so the Supernatural Light was first manifested in the Second Person, for He is Principium Alterationis? the Beginning of the Ways of God, or the First Manifestation of His Father's Light in the Supernatural Generation.» — Vaughan empareja la salida del sol por el oriente con la manifestación del Padre en la Segunda Persona.
«From this Land of the Living comes all life or spirit, 3 according to that position of the Mekkubalim : " Every good soul is anew soul coming from the East " 4 that is, from no^n = Chokmah, or the Second Sephira, which is the Son of God.» — Vaughan localiza el origen del alma en Chokmah con una máxima de los cabalistas sobre el alma que viene del oriente. Las llamadas a nota quedan dentro del tramo.
«Now for the better understanding of this descent of the soul we must refer ourselves to another placet of the Kabalists, and this is it :» — Vaughan anuncia la máxima cabalística con que explicará el descenso del alma.
«" The souls " say they " descend from the Third Light to the fourth day, thence to the fifth, whence they pass out and enter the night of the body.» — la máxima misma: el descenso del alma por los días hasta la noche del cuerpo.
«To understand this maxim you must know there are three Supreme Lights or Sephiroth, which the Kabalist calls " one throne, wherein sits the Holy, Holy, Holy Lord God of Hosts.» — Vaughan glosa esa máxima con las tres luces supremas o sefirot llamadas trono único.
«Again, that all things are conceived ideally or as we commonly express it created by the Second Person is confirmed by the word of God.» — Vaughan atribuye a la Segunda Persona la concepción ideal de todas las cosas y remite a la Escritura.
«" The world was made by Him" saith the Scripture "and the world knew Him not. He came unto His own, and His own received Him not.» — la cita joánica con que Vaughan apoya lo anterior.
«It is clear then that the Land of the Living, or the Eternal Fire-Earth, buds and sprouts, hath her fiery spiritual flowers, which we call souls, as this natural earth hath her natural vegetables.» — Vaughan describe la Tierra Ígnea Eterna que da por flores las almas.
«In this mysterious sense is the Prester defined in the Oracles as " the flower of thin fire.» — Vaughan cita la definición del Prester en los Oráculos.
«You know that no artificer can build but the earth must be the foundation to his building, for without this groundwork his brick and mortar cannot stand.» — Vaughan argumenta desde la necesidad de fundamento en toda construcción.
«Certainly He built and founded Nature upon His own supernatural centre.» — Vaughan sitúa el fundamento de la naturaleza en el centro sobrenatural de Dios.
«He is in her and through her, and with His Eternal Spirit doth He support heaven and earth as our bodies are supported with our spirits.» — Vaughan repite la analogía del cuerpo sostenido por su espíritu aplicada al mundo.
«This is confirmed by that oracle of the apostle : " He bears up all things with the word of His power.» — Vaughan apoya lo anterior en la fórmula paulina de la palabra que sostiene todas las cosas.
«From this power is He justly styled " the infinitely powerful and the all-powerful power-making power.» — Vaughan cita el título acumulativo con que se nombra esa potencia.
«I say then that Fire and Spirit are the pillars of Nature, the props on which her whole fabric rests and without which it could not stand one minute.» — Vaughan nombra los dos pilares de la naturaleza y mide su necesidad.
«It is just so in magic : if we open any natural body and separate all the natural parts one from another we shall come at last to the Prester, which is the Candle and Secret Light of God.» — Vaughan describe el término del análisis mágico de un cuerpo natural.
«He meant not, by ink and paper, or the dead letter : it is a mystery, and St Paul hath partly expounded it.» — Vaughan acota el sentido de una fórmula y remite a la exposición parcial de san Pablo.
«He tells the Athenians that God made man to the end "that he should seek the Lord, if haply they might feel after Him, and find Him.» — Vaughan cita el discurso paulino del areópago sobre el fin de la creación del hombre.
«He is " not far " saith he " from every one of us : for in Him we live, and move, and have our being.» — continuación de esa cita, con la fórmula de la inmanencia divina.
«Again, he that enters the centre shall know why all influx of fire descends against the nature of fire and comes from heaven downwards.» — Vaughan enumera lo que conoce quien entra en el centro, empezando por el descenso del fuego contra su naturaleza.
«He shall know also why the same fire, having found a body, ascends again towards heaven and grows upwards.» — continuación de esa enumeración, con el ascenso posterior del mismo fuego.
«To conclude : I say the grand, supreme mystery of magic is to multiply the Prester and place him in the moist, serene ether, which God hath purposely created to qualify the fire.» — Vaughan formula el misterio supremo de la magia como multiplicación del Prester en el éter sereno.
«This secret, I confess, transcends the common process, and I dare tell thee no more of it.» — Vaughan corta la exposición declarando que el secreto excede el proceso común.
«It must remain then as a light in a dark place ; but how it may be discovered do thou consider.» — Vaughan deja el descubrimiento a cargo del lector.
«Proceed then patiently, but not manually.» — Vaughan prescribe paciencia y prohíbe la intervención manual.
«You must only see that the outward heat fails not, but with the subject itself you have no more to do than the mother hath with the child that is in her womb.» — Vaughan reduce el oficio del operador a mantener el calor exterior, con la comparación de la gestación.
«"Behold" saith the apostle "I shew you a mystery ; we shall not all sleep, but we shall all be changed, in a moment, in the twinkling of an eye, at the last trump.» — Vaughan cita el pasaje paulino del cambio en un abrir y cerrar de ojos.
«They are placed there by God Himself, according to that speech of Trismegistus : " Each thing whatsoever bears within it the seed of its own regeneration.» — Vaughan cita a Trismegisto sobre la semilla de la propia regeneración presente en cada cosa.
«There is in the world a scribbling, ill-disposed generation : they write only to gain an opinion of knowledge, and this by amazing their readers with whimsies and fancies of their own.» — Vaughan describe a los escritores que buscan fama de sabios asombrando al lector.
«These commonly call themselves chemists and abuse the Great Mystery of Nature with the name and nonsense of Lapis Chemicus.» — Vaughan les niega el nombre de químicos y llama despropósito a la fórmula de piedra química.
«I find not one of them but hath mistaken this descent for the ascent or fermentation.» — Vaughan señala el error común: confundir descenso con ascenso o fermentación.
«I think it necessary therefore to inform the reader there is a twofold fermentation a spiritual and a bodily one.» — Vaughan distingue las dos fermentaciones; es la distinción que Waite comenta en su introducción, plana 55.
«This descent or incorporation some wise authors have called a bodily» — Vaughan empieza a nombrar el descenso con el término de los autores sabios; el tramo se corta ante la nota al pie, que en esta plana corre dentro del cuerpo.
«The gold and silver of the philosophers are a soul and spirit ; they are living ferments and principles of bodies ; but the two common metals whether you take them in their gross composition or after a philosophical preparation are no way pertinent to our purpose.» — Vaughan separa el oro y la plata de los filósofos de los dos metales comunes, en cualquier preparación.
«The bodily fermentation is that which I properly call the descent ; and now we will speak of it.» — Vaughan fija el nombre propio de la fermentación corporal.
«When thou hast made the Stone or Magical Medicine, it is a liquid, fiery, spiritual substance shining like the sun.» — Vaughan describe la piedra hecha como sustancia líquida y luminosa.
«The philosophers therefore took one part of their Stone and did cast it upon ten parts of pure molten gold.» — Vaughan da la proporción de la proyección sobre oro fundido.
«This single small grain did bring all the gold to a bloody powder ; and, on the contrary, the gross body of the gold did abate the spiritual strength of the projected grain.» — Vaughan describe el efecto recíproco de la proyección: el oro se vuelve polvo y el grano pierde fuerza.
«They used it only to qualify the intensive power of it when it is made, that they might the more easily find what quantity of base metal they should project upon.» — Vaughan explica para qué servía esa operación: graduar la potencia y calcular la proyección.
«By this means they reduced their Medicine to a dust, and this dust is the Arabian Elixir.» — Vaughan nombra el resultado de esa reducción.
«Now for their Metempsychosis : it hath indeed occasioned many errors concerning the soul, but Pythagoras applied it only to the secret performances of magic.» — Vaughan reinterpreta la metempsicosis pitagórica como término de oficio y no como doctrina del alma.
«Take therefore one part of it ; cast it on a millenary proportion of quicksilver, and it will be all pure gold, that shall pass the test royal without any diminution.» — Vaughan da la proporción final de la proyección sobre azogue; es la frase que Waite recoge en su introducción, plana 54.
«The chaos itself, in the very first analysis, is threefold ; the sapphire of the chaos is likewise threefold.» — Vaughan abre la aritmética de la obra por la triplicidad del caos.
«Here thou hast six parts, which is the Pythagorical Senarius, or Number of the Spouse.» — Vaughan nombra el senario pitagórico resultante.
«In these six the influx of the Metaphysical Unity is sole monarch and makes up the seventh number or Sabaoth, in which at last by the assistance of God the body shall rest.» — Vaughan añade la unidad metafísica como séptimo número o Sabaoth del reposo.
«Again, every one of these six parts is twofold, and these duplicities are contrarieties.» — Vaughan desdobla las seis partes en contrariedades.
«Here then thou hast twelve six against six in a desperate division and the unity of peace amongst them.» — Vaughan cierra la aritmética con doce partes en división y la unidad que las pacifica.
«Among things visible the water first shone forth, the feminine aspect of brooding fire and fruitful mother of figurable things.» — abre el poema cosmogónico latino que el volumen imprime en versión inglesa: el agua como primera aparición visible y madre de lo figurable.
«She was porous inwardly and variously clothed with skins : in her womb were interfolded heavens and inchoate stars.» — continuación del poema: los cielos y las estrellas incoadas en el vientre del agua.
«The Artificer, who parts asunder, broke up the womb of the waters into spacious regions ; but when the foetus appeared the mother vanished.» — continuación: la separación de las aguas y la desaparición de la madre.
«This notwithstanding, the mother brought forth resplendent sons, who overran the Land of Chai.» — continuación del poema, con los hijos resplandecientes.
«These in their turn generated the mother anew : in the wood of wonder her fountain sings.» — continuación: la regeneración de la madre por los hijos.
«This is the Steward of wisdom : let him be clerk who can.» — continuación: el desafío al lector que cierra ese tramo del poema.
«He is Father of all created things and forth from the created Son, by a living analysis of that Son, is the Father brought forth anew.» — continuación: la reciprocidad de padre e hijo en el círculo generador.
«Herein is the highest mystery of the generating circle : Son of the Son is He ' Who first was Father of the Son.» — cierre del poema con la fórmula del círculo generador.
«I could never affect anything that was barren, for sterility and love are inconsistent.» — abre la dedicatoria de AULA LUCIS a Seleucus Abantiades: Vaughan declara su aversión a lo estéril.
«Give me a knowledge that's fertile in performances, for theories without their effects are but nothings in the dress of things.» — Vaughan exige conocimiento fértil en obras y llama nadas vestidas a las teorías sin efecto.
«I dare not say here is revelation, nor can I ast with the prodigious artist you read of that I have lived three years " in the realm of light.» — Vaughan niega para sí la revelación y la estancia de tres años en el reino de la luz que otro se atribuye; *ast* es lectura del OCR por boast.
«It is enough that I have light, as the King of Persia had his Bride of the Sun ;» — Vaughan acota lo que sí reclama para sí, con la figura de la esposa del sol.
«To these it is answered by Solomon : " There is a time to cast away stones.» — Vaughan responde a sus críticos con el versículo del Eclesiastés.
«I write books, as the old Roman planted trees, for the glory of God and the benefit of posterity.» — Vaughan declara escribir para la posteridad, con la comparación del romano que planta árboles.
«There is a white magic this book is enchanted withal : it is an adventure for Knights of the Sun, and the errants of this time may not finish it.» — Vaughan declara su libro encantado con magia blanca y reservado a lectores futuros.
«For mine own part I am no reformer ; I can well enough tolerate their positions, for they do not trouble mine.» — Vaughan se declara ajeno a la reforma y tolerante con las posiciones ajenas.
«What I write is no rule for them ; it is a legacy deferred to posterity ; for the future times, wearied with the vanities of the present, will perhaps seek after the truth and gladly entertain it.» — Vaughan describe su libro como legado diferido a un tiempo cansado de vanidades.
«Thus you see what readers I have predestined for myself ; but if any present Mastix 1 fastens on this discourse I wish him not to traduce it, lest I should whip him for it.» — Vaughan advierte a los censores presentes. La llamada a nota queda dentro del tramo.
«I may stand up like a Pharus in a dark night and hold out that lamp which Philalethes 2 hath overcast with that envious phrase of the Rabbins : " Ofttimes the silence of wisdom.» — Vaughan se compara con un faro y adjudica a su adversario, que también firma Philalethes, el uso de una frase rabínica sobre el silencio.
«This is my advice, which if it be well observed, 'tis possible I may communicate more of this nature.» — Vaughan condiciona futuras comunicaciones al cumplimiento de su consejo.
«I HAVE resolved with myself to discourse of Light l and to deliver it over to the hands of posterity, a practice certainly very ancient and first used by those who were first wise.» — abre el cuerpo de AULA LUCIS: Vaughan declara el asunto y lo inscribe en una práctica antigua.
«It was used then for charity, not for pomp, the designs of those authors having nothing in them of glory but much of benefit.» — Vaughan adjudica a los primeros sabios un fin caritativo y no de gloria.
«It was not their intention to brag that they themselves did see but to lead those who in some sense were blind and did not see.» — Vaughan precisa ese fin: guiar a los ciegos, no jactarse de ver.
«Had their doctrine been such as the universities profess now their silence indeed had been a virtue ; but their positions were not mere noise and notion.» — Vaughan concede que el silencio sería virtud si la doctrina fuera la de las universidades.
«They were most deep experimental secrets, and those of infinite use and benefit.» — Vaughan caracteriza esos secretos como experimentales y útiles.
«But I observe that in their delivery of mysteries they have, as in all things else, imitated Nature, who dispenseth not» — Vaughan explica la reserva de los antiguos como imitación de la naturaleza; el tramo se corta en el cambio de plana.
«And now, whosoever thou art that in times to come shall cast thine eyes on this book, if thou art corrupted with the common philosophy, do not presently rage and take up the pen in defiance of what is here written.» — Vaughan se dirige al lector futuro corrompido por la filosofía común.
«It is a better and more serious generation I would be serviceable unto, a generation that seeks Nature in the simplicity thereof and follows her not only with the tongue but with the hand.» — Vaughan nombra al lector que busca: el que sigue a la naturaleza con la mano y no solo con la lengua.
«Give me leave also to affirm unto thee, and that on my soul, that the consequences and treasures of this art are such and so great that thy best and highest wishes are far short» — Vaughan mide los tesoros del arte contra los deseos del lector; el tramo se corta en el cambio de plana.
«Read then with diligence what I shall write, and to thy diligence add patience, to thy patience hope ; for I tell thee neither fables nor follies.» — Vaughan pide diligencia, paciencia y esperanza al lector.
«Light originally had no other birth than manifestation, for it was not made but discovered.» — Vaughan niega que la luz fuera creada y la declara descubierta.
«The matter of itself was a passive thin substance but apt to retain light, as smoke is to retain flame.» — Vaughan describe la aptitud de la materia para retener la luz con la comparación del humo y la llama.
«From the terrestrial centre proceeded the earthly Venus, which is fiery and masculine, and the earthly Mercury, which is watery and feminine ; and these two are one against the other.» — Vaughan reparte por género la Venus y el Mercurio terrestres y los pone en oposición.
«Hence you may gather some infallible signs, whereby you may direct yourselves in the knowledge of the Matter and in the operation itself, when the Matter is known.» — Vaughan ofrece señales para el conocimiento de la materia y para la operación.
«I must tell you it is not rain-water nor dew, but it is a subtle mineral moisture, a water so extremely thin and spiritual, with such a transcendent, incredible brightness, there is not in all Nature any liquor like it but itself.» — Vaughan excluye la lluvia y el rocío y describe la humedad mineral como única en su especie.
«Hence it was that the philosophers called it their Stone, or if it be lawful for me to reveal that which the devil out of envy would not discover to Illardus, I say they called it a Stone, to the end that no man might know what it was they called so.» — Vaughan explica el nombre de piedra por su función encubridora: se llamó así para que nadie supiera qué se llamaba así.
«Now this water, though of a different complexion from the philosopher's mineral water, 1 yet hath it many circumstances that well deserve our observation.» — Vaughan distingue esta agua de la mineral de los filósofos y a la vez reclama atención para ella. La llamada a nota queda dentro del tramo.
«She draws the water up from the earth, and to the same earth doth she return it ; and hence it is that she generates by circular and reasonable imbibitions.» — Vaughan describe el ciclo del agua como imbibición circular de la naturaleza.
«Her water we see she rarefies into clouds, and by this means doth she rack and tenter-stretch the body, so that all the parts thereof are exposed to a searching, spiritual purgatory of wind and fire.» — Vaughan describe la rarefacción del agua en nubes como purgatorio de viento y fuego.
«The preparation of our animal and mineral sperm I speak of the true preparation is a secret upon which God hath laid His seal, and thou mayst not find it in books, for it was never entirely written.» — Vaughan declara que la preparación verdadera nunca se escribió entera.
«Thy best course is to consider the way of Nature, for there it may be found, but not without reiterated, deep and searching meditations.» — Vaughan remite al lector a la vía de la naturaleza y advierte que exige meditación reiterada.
«If this attempt fails thee, thou must pray for it, not that I hold it an easy or a common thing to attain to revelations, for we have none in England ; but God may discover it to thee by some ordinary and mere natural means.» — Vaughan admite la oración como recurso y a la vez declara que en Inglaterra no hay revelaciones.
«But because I will not deprive thee of those helps which I may lawfully communicate, I tell thee that our preparation is a purgation.» — Vaughan da lo que dice poder comunicar lícitamente: que la preparación es purgación.
«Yet do not we purge by common, ridiculous sublimations or the more foolish filtrations, but by a secret, tangible, natural fire ; and he that knows this fire, and how to wash with it, knows the key of our Art, even our hidden Saturn, and the stupendous, infernal lavatory of Nature.» — Vaughan separa esa purgación de las sublimaciones y filtraciones comunes y la remite a un fuego natural que llama llave del arte.
«Much more could I say concerning this fire and the proprieties thereof, it being one of the highest mysteries of the creation, a subject questionless wherein I might be voluminous, and all the way mysterious, for it relates to the greatest effects of magic, being the first male of the Mercury and almost his mother.» — Vaughan corta la exposición del fuego declarando que es uno de los mayores misterios de la creación.
«All these things have a lumpish, ineffectual outside, but inwardly they are full of a subtle, vital limosity, impregnated with fire ; and this Nature makes use of in generations, wherefore we call it the sperm.» — Vaughan opone el exterior inerte a la limosidad vital interior que llama esperma.
«It is not earth, air, fire or water ; for these four if they were put together would be still four bodies of different forms and complexions.» — Vaughan niega que el esperma sea los cuatro elementos juntos.
«Hence a famous artist, speaking of the creation of Adam and alluding to the first matter, delivers himself in these terms : " From the limosity of the elements did God create Adam, namely, from the limosity of earth, water, air and fire ; and He gave unto him life from the Sun of the Holy Spirit, and from light, clarity and the light of the world.» — Vaughan cita a un artista sobre la creación de Adán a partir de la limosidad de los cuatro elementos.
«Have a care then that you mistake not any specified body for the sperm: beware -of quicksilver, antimony and all the metals ; and have nothing to do with aught that is extracted from metals.» — Vaughan excluye del arte el azogue, el antimonio y todo lo extraído de metales.
«It is very weak and yet most strong ; it is excessively soft and yet there is nothing so hard ; it is one and all, spirit and body, fixed and volatile, male and female, visible and invisible.» — Vaughan describe el mercurio por una serie de contrarios simultáneos.
«In a word, it is Mercury, the laughter of fools and the wonder of the wise, nor hath God made anything that is like him.» — Vaughan nombra por fin el mercurio y lo declara sin semejante.
«He is placed between two fires, and therefore is ever restless.» — Vaughan explica la inquietud del mercurio por su posición entre dos fuegos.
«and though many desire them yet none enters here but he that knows the key, and withal how to use it.» — Vaughan condiciona la entrada al conocimiento de la llave y de su uso.
«But these, you'll say, are blind terms, and no man knows what to make of them.» — Vaughan se pone la objeción de la oscuridad de sus términos.
«True indeed, but they are such as are received from the philosophers.» — Vaughan concede la oscuridad y la remite a la tradición de los filósofos.
«Ru'andus says that the Dragon 'devours the Mercury and dies : again it drinks the Mercury and is made alive.» — Vaughan cita a Rulandus sobre el dragón que muere y revive con el mercurio; el troceo imprime *Ru'andus*.
«The combat between them is that operation by which the fixed becomes volatile.» — Vaughan traduce el combate simbólico a la operación de volatilizar lo fijo.
«It is a substance of propriety solar and therefore sulphureous.» — Vaughan deriva el carácter sulfúreo de la propiedad solar.
«By Mercury I understand not quicksilver but Saturn philosophical, which devours the Moon and keeps her always in his belly.» — Vaughan fija el sentido de mercurio en su texto y lo separa del azogue.
«This Stone verily is not made of common gold and silver, but it is made, as one delivers it, " of gold» — Vaughan niega que la piedra se haga de oro y plata comunes; el tramo se corta en el cambio de plana.
«Truly I am of opinion that he never knew the Stone in this natural world ; but how well acquainted he was with the tinctures in the spiritual -world I will not determine.» — Vaughan niega a un autor el conocimiento de la piedra en el mundo natural y se abstiene expresamente sobre el espiritual.
«I must confess many brave and sublime truths have fallen from his pen ; but when he descends from his inspirations and stoops to a physical practice, he is quite beside the butt.» — Vaughan concede verdades sublimes a ese autor y le niega la práctica física.
«We are indeed more beholden to this prince who did not know Christ than to many professed Christians, for they have not only concealed the truth but they have published falsities and mere inconsistencies therewith.» — Vaughan prefiere al príncipe no cristiano sobre los cristianos que publicaron falsedades.
«I charge him not with want of knowledge but want of charity a point wherein even the possessors of the Philosopher's Stone are commonly poor.» — Vaughan reparte el cargo entre saber y caridad, y extiende la falta de caridad a los poseedores de la piedra.
«For my own part I advise no man to attempt this Art without a master,* for though you know the Matter yet are you far short of the Medicine.» — Vaughan exige maestro y separa el conocimiento de la materia del de la Medicina.
«He had the Cabinet but not the Key.» — Vaughan resume con esa figura la insuficiencia del conocimiento de la materia.
«I myself have known some men to affirm they had seen and done such things which God and Nature cannot do, according to the present laws» — Vaughan consigna las pretensiones ajenas y las mide contra las leyes actuales de la creación; el tramo se corta en el cambio de plana.
«Many men there are who think it ordinary to be instructed in these secrets, but in this they are confidently mistaken.» — Vaughan niega que la instrucción en esos secretos sea cosa ordinaria.
«We must not expect then to be instructed because we are acquainted, and verily acquaintance with such persons is a thing not common.» — Vaughan separa el trato de la instrucción y declara raro incluso el trato.
«Such impudent hopes have no more reason in them than if I should spend a compliment on a rich gentleman and then expect he should make me his heir in lieu of my phrase, and so pass his estate upon me.» — Vaughan mide esa expectativa con la comparación del cumplido que espera una herencia.
«It remains then that we bestow our attempts on their books, and here we must consider the two universal natures, light and matter.» — Vaughan reduce el estudio a dos naturalezas universales.
«Matter as I have formerly intimated is the house of light.» — Vaughan repite la fórmula de la materia como casa de la luz.
«He hath then the liberty to look out at the windows ; his love is all in his sight :» — Vaughan continúa la figura de la casa con la luz asomada a las ventanas.
«For at last the earth grows over him 3 out of the water, so that he is quite shut up in darkness ; and this is the secret of -the eternal God, which He hath been pleased to reveal to some of His servants, though mortal man was never worthy of it.» — Vaughan describe el encierro final de la luz bajo la tierra y llama a eso el secreto de Dios. La llamada a nota queda dentro del tramo.
«I wish it were lawful for me to enlarge myself in this point for religion's sake, but it is not safe nor convenient that all ears should hear even the mysteries of religion.» — Vaughan declara su silencio y la razón: no conviene que todos oigan.
«Now; the water hath no blackness at all but a majestic, large clarity.» — Vaughan abre la serie de colores de los elementos por el agua.
«The air also excels both these in complexion, for he hath in him a most strange, inexpressible whiteness and serenity.» — continuación de la serie: la blancura del aire.
«As for the fire it is outwardly red and shining like a jacinth but inwardly in the spirit white as milk.» — continuación: el fuego rojo por fuera y blanco en el espíritu.
«It is plain then that darkness belongs to the fire, for in truth fire is the man; of it ; and this is one of the greatest mysteries, both Divinity and philosophy.» — Vaughan adjudica la oscuridad al fuego y llama a eso uno de los mayores misterios.
«Now, if we put all these substances together, though purged and celified, yet when they stir and work for generation the black colour overspreads th^m all and such a black so deep and horrid that no common darkness can be compared unto it.» — Vaughan describe el negro que sobreviene al empezar la generación.
«It is to be observed that in the separation of the elements this blackness appears not any-, where but in that element which is under the fire ;» — Vaughan localiza esa negrura en el elemento situado bajo el fuego.
«carries with it any opinion of happiness in all such things I say there is inherent a certain secret, concomitant lustre, and whiles they last the possessors also are subject to a clearness and serenity of mind.» — Vaughan atribuye a los bienes un lustre concomitante que se comunica a quien los posee; el tramo empieza donde la frase viene de la plana anterior.
«On the contrary, in all adversity there is a certain corroding, heavy sadness, for the spirit grieves because he is eclipsed and overcast with darkness.» — Vaughan describe la adversidad como eclipse del espíritu.
«We know well enough that poverty is but obscurity, and certainly in all disasters there is a kind of cloud, or something that answers to it.» — Vaughan traduce la pobreza y el desastre a términos de luz y sombra.
«In people that are very unfortunate this darkness hath a character, and especially in the forehead there lieth a notable judgment ; but there are few who can read in such books.» — Vaughan sitúa en la frente el carácter legible de esa oscuridad y acota que pocos saben leerlo.
«Of this Vergil who was a great poet but a greater philosopherwas not ignorant, for describing Marcellus in the Elysian fields he makes his sad countenance an argument of his short life.» — Vaughan aduce el Marcelo de Virgilio como lectura del rostro. La fuente parte *philosopher* de *was* por el salto de renglón y la herramienta los devuelve unidos.
«On the contrary, we fear the darkness and are surprised in it with a certain horror and a timourous expectation of some hurt that may befall us.» — Vaughan describe el temor de la oscuridad como expectativa de daño.
«We cannot shut it up in a cabinet, that we may use it when we please, and in the dark night see a glorious illustration.» — Vaughan acota lo que no puede hacerse con la luz secreta.
«I do not arrogate to myself a greater knowledge than some of them had, yet I do affirm and that knowingly that this secret was never communicated to the world in a discourse so plain and positive as this is.» — Vaughan no reclama más saber que sus predecesores y sí más claridad en la exposición.
«It is true this script is short, and the body of magic hath no proportion to these few lines.» — Vaughan reconoce la desproporción entre su escrito y la materia.
«It is a plain, straight path that Nature walks in ; and I call God to witness that I write not this to amaze men ; but I write 'that which I know to be certainly true.» — la frase de AULA LUCIS que la portada del volumen toma por epígrafe, plana 11, aquí en su lugar y con la cláusula que la precede sobre el camino llano de la naturaleza.
«He coagulates himself and dissolves himself, and passeth all the colours and this by virtue of its own inward sulphur or fire, which wants nothing but excitation, or, to speak plainly, a simple, natural coction.» — Vaughan describe la autooperación del mercurio y reduce la intervención a una cocción natural.
«Everybody knows how to boil water in fire ; but if they knew how to boil fire in water their physic would reach beyond the kitchen.» — Vaughan invierte la fórmula corriente para señalar el límite de la medicina de su tiempo.
«Study then and despair not ; but study no curiosities.» — Vaughan acota el estudio que recomienda.
«They that desire experimental knowledge may study it as a sure guide ; but he that rests at his lips and puts not his philosophy into his hands needs not these instructions.» — Vaughan reserva sus instrucciones a quien pase de los labios a las manos.
«I can propound the truth, and if it be not followed, it is satisfaction to me that what I did was well done.» — Vaughan separa su responsabilidad de la del lector.
«I am silenced, and though it be in my power to speak, yet 1 have laws as to this subject which I must not transgress.» — Vaughan declara su silencio como obediencia a una ley y no como falta de saber.
«There is no defect in aught that I have written, 'if I but tell you one thing which the philosophers have omitted.» — Vaughan anuncia añadir lo que los filósofos omitieron.
«The heat of this matrix is sulphureous, and it is that which coagulates the sperm ; but common fire though it be most exactly regulated will never do it ; and in this opinion see that you be not deceived.» — Vaughan atribuye a la matriz sulfúrea la coagulación y niega que el fuego común la logre.
«This matrix is the life of the sperm, for it preserves and quickens it ; but beyond the matrix it takes cold and dies, and nothing effectual can be generated thereof.» — Vaughan hace de la matriz la vida del esperma y describe lo que ocurre fuera de ella.
«And herein also there is a certain measure to be observed, without which you will miscarry in the practice.» — Vaughan añade la medida como condición de la práctica.
«The key of the science is in all bodies, but owing to the shortness of life and the length of the work the Stoics concealed this one only thing.» — Vaughan explica el ocultamiento por la brevedad de la vida y la longitud de la obra.
«They discovered tingeing elements, leaving instructions thereon, and these also the philosophers continue to teach, save only concerning the Vessel of Hermes, because the same is Divine, a thing hidden from the Gentiles* by the wisdom of God ; and those who are ignorant of it know not the regimen of truth,» — Vaughan acota qué se enseñó y qué se calló: todo salvo el Vaso de Hermes, que llama divino.
«Had I known this at first it had not been with me as it hath been ; but every event hath its time, and so had I.» — Vaughan mide su propio camino por lo que ignoró al principio.
«I do therefore promise my present work not only life but acceptance ; for in this my dream and 1 know you will call it so I travel not without company.» — abre el prefacio de THE FRATERNITY OF THE ROSY CROSS: Vaughan promete acogida a su obra y declara no viajar solo en ese sueño.
«But it was their pleasure it should receive light at my hands ; and this made them defer their own copies, which otherwise had passed the press.» — Vaughan adjudica a otros la decisión de que fuera él quien publicara, y dice que ellos aplazaron sus copias.
«Consider that prejudice obstructs thy judgment; for if thy affections are engaged though to an ignis fatuus thou dost think it a guide because thou dost follow it.» — Vaughan describe el mecanismo del prejuicio con la figura del fuego fatuo tomado por guía.
«It is not opinion makes things false or true, for men have denied a great part of the world which now they inhabit ; and America as well as the Philosopher's Stone was sometimes in the predicament of impossibilities.» — Vaughan opone a la opinión el caso de América, negada y luego habitada, y lo empareja con la piedra filosofal.
«There is nothing more absurd than to be of the same mind with the generality of men, for they have entertained many gross errors which time and experience have confuted.» — Vaughan objeta el argumento de la mayoría por lo que el tiempo hizo con sus errores.
«It is indeed our sluggishness and incredulity that hinder all discoveries, for men contribute nothing towards them but their contempt or which is worse their malice.» — Vaughan adjudica el freno de los descubrimientos a la pereza, la incredulidad, el desprecio y la malicia.
«I have known all this myself and therefore I tell it thee ; but what use thou wilt make of it 1 know not.» — Vaughan cierra su advertencia dejando el uso al lector.
«The copy was communicated to me by a gentleman more learned than myself, and I should name him .here but that he expects not either thy thanks or mine.» — Vaughan declara la procedencia del texto rosacruz que edita y calla el nombre de quien se lo dio.
«I am in a humour to affirm the existence of that admirable chimaera, the Fraternity of R. C.» — Vaughan afirma la existencia de la Fraternidad R. C. y a la vez la llama quimera admirable, sin resolver la tensión.
«When I consider the unjust censure and indeed the contempt which Magic even in all ages hath undergone, I can, in* my opinion, find no other reasons for it but what the professors themselves are guilty of by misconstruction, and this in reference to a double obscurity of life and language.» — Vaughan adjudica el descrédito de la magia a los propios profesantes y lo desglosa en dos oscuridades, de vida y de lengua.
«As for their nice or, to speak a better truth, their conscientious retirements, whereby they did separate themselves from dissolute and brutish spirits, it is that which none can soberly discommend.» — Vaughan defiende el retiro de los magos como separación deliberada de los espíritus disolutos.
«Nay, it is a very purging argument and may serve to wipe off those contracted, envious scandals which time and man have injuriously fastened on their memory.» — Vaughan convierte ese retiro en argumento contra los escándalos que se les imputan.
«It is true they were losers by this alienation, for both their life and their principles were cross to those of their adversaries.» — Vaughan concede que el retiro les costó caro.
«But that which spoiled all, and made them contemptible even to some degree of misery, was a corrupt delivery of the notions and vocabula of the art ;» — Vaughan nombra la causa mayor del descrédito: la transmisión corrupta del vocabulario del arte.
«for magic like the sun moving from the East, carried along with it the oriental terms which our western philosophers, who skilled not the Arabic or Chaldee, &c., did most unhappily and corruptly transcribe ;» — Vaughan explica esa corrupción por la ignorancia del árabe y del caldeo entre los filósofos occidentales.
«and verily at this day they are so strangely abused it is more than a task to guess at their original.» — Vaughan mide el resultado: los términos ya no permiten adivinar su origen.
«But this is not all, for some were so, singular as to invent certain barbarous terms of their own ;» — Vaughan añade la invención de términos bárbaros propios.
«and these conceited riddles together with their magisterial way of writing for they did not so far condescend as to reason their positions made the world conclude them a fabulous generation.» — Vaughan explica por esos enigmas y por el tono magistral la fama de fabuladores.
«Indeed this was a strange course of theirs and much different from that of Trismegistus, in whose genuine works there is not one barbarous syllable, nor any point asserted without most pregnant and demonstrative reasons.» — Vaughan opone a esos autores el ejemplo de Trismegisto, sin una sílaba bárbara y con razones demostrativas.
«Certainly Hermes, as to his course of life, was public and princely, in his doctrine clear and rational, and hence it was that not only his own times but even all subsequent generations were most constant tributaries to his honour.» — Vaughan explica la fortuna de Hermes por su vida pública y su doctrina clara.
«On the contrary if we may conjecture by effects there succeeded him in his school certain melancholy, envious spirits whose obscure, inscrutable writings rendered their authors contemptible, but made way for that new noise of Aristotle which men call philosophy.» — Vaughan atribuye a los sucesores oscuros de Hermes el haber abierto camino a lo que se llama filosofía.
«I may say then of these later magicians what Solinus sometimes said of those contentious successors of Alexander the Great -that they were born " to reap the harvest of Roman glory, not to inherit so great a name.» — Vaughan cita a Solino sobre los sucesores de Alejandro para juzgar a los magos tardíos.
«Nor indeed could it be otherwise, for this bushel being placed over the light, the darkness of it invited ignorance abroad.» — Vaughan explica la difusión de la ignorancia por el celemín puesto sobre la luz.
«And now steps out Aristotle with his pack, the triumphs of whose petulant school had but two weak supporters obscurity and envy.» — Vaughan adjudica el triunfo de la escuela aristotélica a dos apoyos, la oscuridad y la envidia ajenas.
«Both these proceeded from the malignancy of some eminent authors, whom God had blessed with discoveries extraordinary.» — Vaughan sitúa el origen de esos apoyos en la malignidad de autores con descubrimientos reales.
«These, to secure themselves and the art, judged it their best course to blot out the past, that such as were unworthy might never be able to follow them.» — Vaughan explica el ocultamiento como cálculo de seguridad.
«It cannot be denied that this mystery and cloud of the letter carried with it both discretion and necessity ;» — Vaughan concede discreción y necesidad al ocultamiento.
«but what spoiled all was the excess of the contrivers, for they passed all decency both in the measure and the manner of it.» — Vaughan sitúa la falta no en el ocultamiento sino en su exceso, de medida y de manera.
«This considered, it cannot be thought unreasonable and certainly not unseasonable if a Society, conscious of the truth and skilled in the abstruse principles of Nature, shall endeavour to rectify the world.» — Vaughan justifica por lo anterior la existencia de una sociedad que se proponga rectificar el mundo.
«For hitherto we have been abused with Greek fables and a pretended knowledge of causes, but without their much desired effects.» — Vaughan mide la filosofía griega por la ausencia de efectos.
«much a charm as to cure us ; and why then should we embrace a philosophy of mere words, when it is evident enough that we cannot live but by works ?» — Vaughan opone las palabras a las obras como criterio de la filosofía; el tramo empieza donde la frase viene de la plana anterior.
«It will be expected perhaps that I should speak something as to their persons and habitations, but in this my cold acquaintance will excuse me ; or had I any familiarity with them I should not doubt to use it with more discretion.» — Vaughan se excusa de hablar de las personas y moradas de los Hermanos R. C. alegando frialdad de trato, y añade que aun teniéndolo sería discreto.
«As for their existence if I may speak like a schoolman there is great reason we should believe it, neither do I see how we can deny it, unless we grant that Nature is studied and books also written and published by some other creatures than men.» — Vaughan argumenta la existencia de la Fraternidad por sus libros publicados.
«It is true indeed that their knowledge at first was not purchased by their own inquisitions, for they received it from the Arabians, amongst whom it remained as the monument and legacy of the children of the East.» — Vaughan adjudica el saber de la Fraternidad a los árabes y a un legado oriental.
«Nor is this at all improbable, for the eastern countries have been always famous for magical and secret societies.» — Vaughan apoya esa procedencia en la fama de las sociedades secretas orientales.
«Now am I to seek how far you will believe me in this because I am a Christian ; and yet I doubt not you will believe a heathen, because Aristotle was one.» — Vaughan ironiza sobre el crédito desigual que se da al cristiano y al pagano.
«Take then amongst you a more acceptable ethnic I mean Philostratus, for thus he delivers himself in the Life of Apollonius.» — Vaughan introduce a Filóstrato como testigo aceptable para sus adversarios.
«He brings in his Tyaneus discoursing with Prince Phraotes and, amongst other questions proposed to the Prince, Apollonius asks him where he had learnt his philosophy and the Greek tongue ; for amongst the Indians said this Greek there are no philosophers.» — Vaughan resume el diálogo de Apolonio con el príncipe Fraotes.
«But the Prince proceeds and schools his novice, for such was Apollonius, who was never acquainted with any one mystery of Nature.» — Vaughan invierte los papeles del relato: Apolonio es el novicio y el príncipe el maestro.
«These usurp a profession which is not their own, as if they should first rob men of their clothes and then wear them, though never so disproportionate.» — pasaje del príncipe que Vaughan traduce: los falsos filósofos como ladrones que visten ropa ajena.
«And certainly as pirates, who know themselves liable to innumerable tortures, do lead a sottish and a loose kind of life, even so amongst you these pirates and plunderers of philosophy are wholly given to lusts and compotations.» — continuación del pasaje: los piratas de la filosofía comparados con los del mar.
«But for such as counterfeit and corrupt philosophy, your law corrects them not, neither have you any magistrate» — continuación: la falta de ley contra los falsificadores de la filosofía; el tramo se corta en el cambio de plana.
«they find them to have been men of a known integrity,» — continuación del relato: la integridad reconocida de los examinados; el tramo se corta en el cambio de plana.
«" And for knowledge " saith he they make a great profession of it, but indeed they know nothing that is excellent.» — continuación: el juicio del príncipe sobre los que hacen profesión de saber.
«But their towers " saith he " had he brought with him a thousand such soldiers as Achilles was, and three thousand such as Ajax, he could never have taken it.» — continuación del relato: la ciudad inexpugnable de los sabios indios.
«but keeping quietly within their gates they destroyed them with thunder and lightning.» — continuación: la defensa de esa ciudad sin salir de sus puertas.
«To this the Prince answers that these planetmongers were the Oxydracae, 3 who were a people disposed to the wars.» — Vaughan identifica a los defensores con los Oxidracas. La fuente parte *planet-mongers* por el salto de renglón y la herramienta lo devuelve unido.
«Apollonius confesseth how the Brahmins told him afterwards that this water was a certain secret water» — Vaughan consigna lo que los brahmanes dijeron a Apolonio sobre el agua secreta; el tramo se corta en el cambio de plana.
«This is enough to prove them philosophers.» — Vaughan cierra el argumento del relato indio.
«The wise men " saith Apollonius " dwelt on a little hill or mount, and on the hill there rested always a cloud,» — Vaughan cita a Apolonio sobre el monte de los sabios cubierto siempre de nube; el tramo se corta en el cambio de plana.
«This secret of invisibility was not known to the Dutch boor nor to his plagiary, the author of The Manna ; but the Fraternity of R. C. can move in this white mist.» — Vaughan atribuye a la Fraternidad R. C. el poder de moverse en esa niebla y se lo niega a dos autores que nombra por mote.
«Whosoever would communicate with us must be able to see in this light, or. us he will never see unless by our own will.» — Vaughan habla aquí en primera persona del plural por la Fraternidad —nos, nuestra voluntad—, después de haber negado en otros lugares toda relación con ella; las dos declaraciones quedan consignadas sin armonizar.
«Tyaneus tells us something more, namely, that the Brahmins themselves did not know whether this hill was compassed about with walks or had any gates that did lead to it or no ; for the mist obstructed all discoveries.» — Vaughan añade que ni los propios brahmanes sabían si el monte tenía muros o puertas.
«These are words which will say too much to those who understand, but to the inexpert little or nothing.» — Vaughan mide el doble efecto de sus palabras según el lector.
«But of this place I will not speak any more, lest the reader should be so mad as to entertain a suspicion that I am of the Order.» — Vaughan corta la exposición para no dar pie a que se le tenga por miembro de la Orden; queda al lado de la primera persona del plural de la plana anterior.
«I shall now therefore proceed to the theory of the Brahmins, and this only so far as their history shall give me leave.» — Vaughan anuncia la exposición de la teoría de los brahmanes y la acota a lo que da la historia.
«" Propound " said he " what questions thou wilt, for thou art come to men that know all things.» — la invitación de los brahmanes a Apolonio en el relato que Vaughan traduce.
«To this the Brahmins reply : " It was compounded of the elements.» — la respuesta de los brahmanes sobre la composición del mundo.
«"Is it made then" saith Apollonius "of the four elements?" "No" said the great Jarchas "but of five.» — continuación del diálogo: los brahmanes cuentan cinco elementos y no cuatro.
«" They were made " said he " all at once " ; and he gives this reason for it : " because no living creature is generated by piecemeals.» — continuación: la simultaneidad de la creación, fundada en la generación de los vivientes.
«"Shall we then" saith Tyaneus "call it a male or a female creature?" "Both" saith the wise Brahmin "for the world, being a compound of both faculties, supplies the office of father and mother in the generation of those things that have life.» — continuación: el mundo como compuesto de las dos facultades, padre y madre a la vez.
«We are now come to Apollonius his last philosophical query, and sorry I am that he had not the wit to propound either more or better questions ; but we must take them as they are.» — Vaughan lamenta la pobreza de las preguntas de Apolonio y se atiene a ellas.
«To this the Indian replies that if he only considered the Mediterranean or some other particular channel, the earth without question did exceed.» — continuación del diálogo sobre la proporción entre tierra y mar.
«This indeed is sound reason and conformable both to Scripture and Nature ; for the very Spirit that animates and supports the universe hath his habitation in the water.» — Vaughan aprueba esa respuesta y la funda en que el espíritu del universo habita en el agua.
«I would not have that the Brahmins were not a fabulous, superstitious society but men of a severe doctrine, whose principles were answerabfe to the very rigour of Nature and did not wanton beyond her laws.» — Vaughan reclama para los brahmanes el estatuto de doctrina severa y no de superstición.
«but so short was he of philosophy that he knew not what to ask them, and that ample liberty which they gave him was all of it to no purpose.» — Vaughan mide la ocasión perdida por Apolonio ante los brahmanes.
«The first thing that comes out is the Martichora, 2 a monster which Mandeville could never meet withal ;» — Vaughan ironiza sobre los prodigios del relato comparándolos con los de Mandeville. La llamada a nota queda dentro del tramo.
«Only we that are Brahmins, by certain practices of our own, can find out the Pantarva.» — la declaración de los brahmanes sobre lo que solo ellos hallan.
«The second birth then he hath fully and clearly discovered, for when the philosophers' first earth is moistened with its own milk it swells, being impregnated with frequent imbibitions, till at last it breaks and with a soft heat sublimes.» — Vaughan lee el relato indio como descripción del segundo nacimiento de la tierra filosófica.
«And here he tells Tyaneus that if precious stones were cast into the sea or into some river, and this too confusedly, as being far scattered and dispersed one from another, yet this magical stone being let down after them would bring them again together ; for they would all move towards the Pantarva and cluster under, it, like a swarm of bees.» — Vaughan traduce el pasaje sobre la piedra Pantarva que reúne las gemas dispersas, con la comparación del enjambre.
«This is all he tells him ; but in conclusion he produceth his Pantarva.» — Vaughan marca el límite de lo que el relato explica.
«The second secret which Apollonius stumbled on, for he knew it not as a secret, was the gold of the Gryphons, 2 and this also Jarchas doth acknowledge, but I shall forbear to speak of it, for I hold it not altogether convenient.» — Vaughan nombra el segundo secreto del relato y declara expresamente que se abstiene de tratarlo.
«It is time now to dismiss Apollonius and his Brahmins, and this I will do ; but I shall first prevent an objection, though a sorry one, for ignorance makes use of all tools.» — Vaughan cierra el excurso y anticipa una objeción.
«Truly these are great effects ; but if we consider only what Philostratus himself will confess we shall quickly find that all these things are but inventions.» — Vaughan usa al propio Filóstrato para llamar invenciones a los efectos que acaba de referir.
«This I cannot believe, for Damis was an Assyrian and as he himself confesseth a very ignorant person, and altogether illiterate.» — Vaughan objeta la fiabilidad del testigo Damis por su propia confesión de ignorancia.
«Now for the learning of this Tyaneus since it is the pleasure of some men to think him learned I must confess for my part I cannot find it.» — Vaughan niega el saber que otros atribuyen a Apolonio de Tiana.
«He taught me the true form of worshipping the gods and who of them are visible, who invisible, and how I may come to speak with them.» — cita del relato sobre lo que Apolonio dice haber aprendido.
«Now if any man will say that the Brahmins did impart their mysteries to him, it is apparent enough they did not.» — Vaughan niega que los brahmanes comunicaran sus misterios a Apolonio.
«This is it which even Damis tells us, for Apollonius saith he requested nothing of the Brahmins but certain divinatory tricks,» — Vaughan apoya esa negativa en Damis: lo que Apolonio pidió fueron artes adivinatorias; el tramo se corta en el cambio de plana.
«He tells him then that he judged him a most happy man who could obtain any foreknowledge at the hands of God and preach that to the ignorant which he did already foresee.» — Vaughan resume la respuesta que el relato pone en boca del brahmán.
«As for rules to divine by he prescribes not any, for it was too gross an error for such» — Vaughan señala que no se dieron reglas de adivinación; el tramo se corta en el cambio de plana.
«Jarchas informs Apollonius that of all gifts imparted to man by revelation " the chiefest "-said he " is the gift of healing, or Medicine.» — Vaughan destaca del relato el don que el brahmán pone por encima de todos: el de sanar.
«But this heavenly and most beneficial truth Apollonius was not sensible of, for he was so great a stranger to the secrets of Nature that he did not know what to ask for.» — Vaughan mide de nuevo a Apolonio por lo que no supo pedir.
«For when we have evidence that magicians have been it is proof also that they may be,- sigce it cannot be denied that precedents exclude impossibility.» — Vaughan convierte el precedente histórico en argumento de posibilidad.
«Now if any man will be so cross as to contend for the negative he shall have my thanks for the advantage he allows me ;» — Vaughan agradece por anticipado la objeción y anuncia que le sirve.
«for then it must follow that the East afforded more magical societies than one.» — Vaughan explica en qué le sirve: la objeción multiplicaría las sociedades mágicas orientales.
«But this point I need not insist on, for the learned will not deny but wisdom and light were first, manifested in the same parts, namely, in the East, where the first man planted.» — Vaughan da por concedido que la luz se manifestó primero en el oriente.
«They tell us then that the fire and Spirit of God did work upon the earth and the water ; and out of them did the Spirit extract a pure, clear substance, which they call the terrestrial heaven.» — Vaughan expone la doctrina de la Fraternidad sobre la extracción del cielo terrestre.
«It was and is the minera of all creatures ; and this Society doth acknowledge it to be their very basis and the first gate that leads to all their secrets.» — Vaughan adjudica a esa sustancia el papel de primera puerta de los secretos de la Fraternidad.
«By their agent 1 understand their fire, commonly called Male of Water, Vulcan, Invisible Sun, Son of the Sun, Lower Star, Hidden Smith, Immanent with a thousand other names.» — Vaughan enumera los nombres del fuego de los filósofos.
«This is that fire which Zoroaster calls " the fiery soul of the Kosmos and a living fire.» — Vaughan cita a Zoroastro sobre el alma ígnea del cosmos.
«And here, Reader, let it be thy endeavour to understand the philosophers, for they tell us that God at first created the chaos and afterwards divided it into three portions.» — Vaughan expone la división del caos en tres porciones.
«Out of this coarse and remaining portion He extracted the elemental quintessence or First Matter of all earthly things, and of this the four elements for there is such a bold arithmetic were made.» — Vaughan describe la extracción de la quintaesencia elemental y de ella los cuatro elementos, con una ironía sobre la aritmética.
«Now learn of me that there is no true physic but what is in salt ; for salt was never known to putrefy ; nay, it hinders putrefaction and corruption in all things, and what hinders corruption hinders all diseases.» — Vaughan funda toda la medicina en la sal y da su razón: lo que impide la corrupción impide la enfermedad.
«It is true that if we could putrefy salt it would discover all the mysteries of Nature, for it hath all the tinctures in it.» — Vaughan pone la putrefacción de la sal como condición contrafáctica del descubrimiento de todos los misterios.
«What I admire most in it is this that when it is killed it dies not but recovers to a better life, which is a very strange privilege.» — Vaughan describe el privilegio de la sal: muerta, revive a mejor vida.
«I say then that salt is the true grain, the seed not only of this world but of the next ; and it is the mystery that God hath made.» — Vaughan hace de la sal la semilla de los dos mundos.
«Do not think now that I speak of common salts, though I confess they are great medicines if rightly prepared.» — Vaughan excluye las sales comunes y a la vez les concede virtud medicinal si se preparan bien.
«I shall advise thee then to consider the several divisions of the chaos which I have formerly mentioned out of Raymund Lully ;» — Vaughan remite al lector a las divisiones del caos tomadas de Lulio.
«And now let us touch at the treasures of our saltish liquor and our liquid salt.» — Vaughan anuncia el tratamiento del licor salino con una fórmula cruzada.
«Saith one : " Let us seek after that grade of spirit or water which is, so to speak, more sensible and much more familiar to us ;» — Vaughan cita a un autor sobre el grado de espíritu más accesible a los sentidos.
«And now perhaps thou dost begin to bless thyself, for is it possible say'st thou that any bodily substance should inclose such mysteries as these ?» — Vaughan se pone en boca del lector la objeción de la incredulidad.
«It is most certain that God works by the ideas of His own mind, and the ideas dispense their seals and communicate them daily to the matter.» — Vaughan describe la comunicación diaria de los sellos ideales a la materia.
«Seeing then that the visible heavens receive the brightness of the spiritual world and this earth the brightness of the visible heavens, why may not we find something on earth which takes in this brightness and comprehends in itself the powers of the two superior worlds ?» — Vaughan argumenta por la cadena de reflejos que ha de existir en la tierra un sujeto que reúna las potencias de los dos mundos superiores.
«Now if there be" such a subject to be found, I suppose it will not be denied but the powers of the angelical and celestial worlds are very strange powers, and what that is which they cannot do is hard to determine.» — Vaughan mide el alcance de ese sujeto por las potencias que reuniría.
«The subject then is the salt I have spoken of formerly.» — Vaughan identifica ese sujeto con la sal.
«And here it will not be amiss to speak something of the Kabalist's Green Line, 2 a mystery not rightly apprehended even by some of the Mekkubalim ;» — Vaughan anuncia la Línea Verde de los cabalistas y declara que ni todos los cabalistas la entienden. La llamada a nota queda dentro del tramo.
«is the last Midah l or propriety of the Sephiroth, for it receives and includes all the influences of the Sephirotical order.» — Vaughan define la Línea Verde como la última midah, que recibe todas las influencias sefiróticas; el tramo empieza tras el encabezado corrido de la plana.
«It compasseth the heavens and in them the earth, like a green rainbow or one vast sphere of viridity, and from this viridity the Divine Influences are showered down, like rain through the ether, into the globes of the fixed stars.» — Vaughan describe la Línea Verde como arco iris verde del que llueven las influencias divinas.
«For what the air is to the globe of the earth such is the ether to the globes of the stars ; and here lies a secret of the Mekkubalim ;» — Vaughan establece la proporción entre aire y éter respecto de la tierra y las estrellas.
«I will now speak of the philosophers' secret and blessed viridity, which is to be seen and felt here -below.» — Vaughan pasa de la viridez celeste a la que dice poder verse y tocarse abajo.
«It is the Proteus of the old poets ; for if the spirit of this green gold be at liberty which will not be till the body is bound then will he discover all the essences of the universal centre.» — Vaughan nombra esa viridez con el Proteo de los poetas y condiciona su revelación a que el cuerpo quede atado.
«Thus he ; and now, Reader, I must tell thee that all these miracles grow out of a certain earth, a soft red clay which is to be found everywhere.» — Vaughan reduce todos esos prodigios a una arcilla roja hallable en todas partes.
«It may be that thou art much troubled at these appearances which I have mentioned ; but what wilt thou say to lamblichus, who tells, us seriously that this earth will attract angels I mean, good spirits ?» — Vaughan aduce a Jámblico sobre la tierra que atrae ángeles, y precisa entre guiones qué entiende por ángeles.
«No one should marvel- therefore that we affirm such matter to be pure and even divine.» — pasaje de Jámblico que Vaughan traduce, sobre la pureza divina de esa materia.
«For when it was made by the Artificer and Father of all, it rightly assumed to itself a certain perfection, suitable to be accepted by the gods.» — continuación de ese pasaje: la perfección que la materia recibió al ser hecha.
«Moreover, there is nothing which hinders higher things from dispensing their light to those which are below, and they do not suffer matter to be destitute of virtues from above.» — continuación: nada impide que lo superior dispense su luz a lo inferior.
«For this reason, in so far as matter is perfect and pure it is not unworthy the reception of the gods.» — continuación: la materia pura como digna de recibir a los dioses.
«But no possession or portion of divine things can befall terrestrial places and men dwelling therein unless such foundation be laid in the first place.» — continuación: sin ese fundamento no hay participación de lo divino en los lugares terrestres.
«It is to be believed on the faith of secret teachings bearing witness to the gods in the blessed pageants that the mystery concerning a certain matter has been handed down and that the same is known -therefore to those who transmitted it.» — continuación: el misterio sobre cierta materia transmitido por enseñanzas secretas.
«I know the philosophical earth discovers not those forms I have spoken of in the common, ordinary process, which if any man knows I shall not therefore call him a philosopher.» — Vaughan acota que la tierra filosófica no muestra esas formas en el proceso ordinario.
«I dare not speak anything of their metaphysical mystery, but I can tell thee it is not the same with the Philosopher's Stone, 2 either in form or matter ; and let this satisfy thee.» — Vaughan calla el misterio metafísico de la Fraternidad y a la vez lo distingue de la piedra filosofal en forma y materia. La llamada a nota queda dentro del tramo.
«If thou art a malicious reader and dost think it too much because it suits not with thy own jingles, I must tell thee thou art none of my peers ; for I have known some sciences which thou hast never heard of, nor thy fathers before thee.» — Vaughan despide al lector malicioso reclamando ciencias que este ignora.
«We see there is a power granted to man over those things whose original he doth know.» — Vaughan hace depender el poder sobre las cosas del conocimiento de su origen.
«When they found out the seed they practised upon it in several ways. They did shut it up in glasses, keeping it in a most equal, temperate heat for many months together : but all was to no purpose.» — Vaughan enumera los ensayos fallidos de los operadores sobre la semilla, empezando por el vaso cerrado a calor constante.
«Then did they fancy another course, for they buried it in the earth and left it there for a long time : but without any success.» — continuación de esa serie de fracasos: el entierro prolongado.
«They were too cold for it, and common fire was too hot, or if it were well regulated yet could it not alter the sperm, for it had not the qualities of a matrix.» — Vaughan da la razón de esos fracasos: ningún calor tenía cualidad de matriz.
«They exposed their Matter to the sun ; they buried it in dunghills and beds of quicklime ; they placed their glasses in the moonbeams ; they invented new baths ; they made use of sand, ashes and filings of iron ; they burnt oils and fancied all sorts of lamps : but all this was error, and it ended in a troublesome nothing.» — Vaughan enumera el resto de los ensayos y su saldo. La fuente parte *dung-hills* por el salto de renglón y la herramienta lo devuelve unido.
«Now all these falsities shall a man meet with in their books ; for when they had found out the mineral vessel, and especially the second earth, wherein they sowed their Mercury and Sulphur, then did they so confound the earth that it is almost impossible to get the preparation out of their hands.» — Vaughan explica por qué los libros del arte están llenos de falsedades: los autores confundieron la tierra deliberadamente.
«It may be thou hast a free spirit, but if this liberality concerns not thy credit, keep thy spleen to thyself, for I would not have thee spend what thou canst well spare.» — Vaughan devuelve al crítico su propia liberalidad.
«I would only tell thee how charitable I am, for having purposely omitted some necessaries in my former discourse I have upon second thoughts resolved against that silence.» — Vaughan declara romper un silencio deliberado de su obra anterior.
«There is abroad a bold ignorance, for philosophy hath her confidants, but in a sense different from the Madams.» — Vaughan describe el estado de la ignorancia atrevida con una ironía sobre los confidentes de la filosofía.
«The second philosophical work is commonly cajled the gross work, but 'tis one 'of the greatest subtleties in all the Art.» — Vaughan objeta el nombre de obra grosera dado a la segunda obra y la declara de las mayores sutilezas.
«Cornelius Agrippa knew the first preparation and hath clearly discovered it ; but the difficulty of the second made him almost an enemy to his own profession.» — Vaughan reparte el saber de Agrippa: clara la primera preparación, la dificultad de la segunda lo volvió casi enemigo de su oficio.
«he followed the tedious common process, which after all is scarce profitable.» — Vaughan mide el proceso común por su escaso provecho.
«Norton was so strange an ignoramus in this point, that if the solution and purgation were performed in three years he thought it a happy work.» — Vaughan mide la ignorancia de Norton por los tres años que daba por buenos.
«But in this he is singular, and Faber is so wise he will not understand him.» — Vaughan añade que Faber prefiere no entender a Norton.
«Let us return then to Raymund Lully, for he was so great a master that he performed the solution inside nine days ; 4 and this secret he had from God Himself : for this is his CON-FESSION.» — Vaughan opone a esos plazos los nueve días de Lulio y adjudica el secreto a Dios mismo.
«But our knowledge of the extraction thereof we did in no wise derive by the way of the sciences, nor yet by art ; and therefore we thought ourselves as it were hoodwinked by a kind of clownishness, being unable anywise to comprehend the mystery, until a spirit of prophecy came down from the Father .of Lights, as if no wise deserting His own or leaving postulants to their own devices.» — la confesión de Lulio que Vaughan traduce: el saber no vino por ciencia ni por arte sino por un espíritu de profecía.
«This spirit infused during sleep such clearness into the eyes of mind, that it deigned in its pure bounty to make known the secret within and without, apart from all figures of speech, refreshing us by its illimitable goodness and demonstrating that to perform the work we must prepare the body by a secret, natural decoction, in which wholly retrogressive process, as if by a sharp lance, all its nature shall be visibly dissolved into pure blackness.» — continuación de esa confesión: la revelación durante el sueño y la decocción secreta que disuelve en negrura.
«Therefore thou canst not attain to this operation until thou hast first been approved spiritually for the favours of Divinity.» — continuación: la aprobación espiritual como condición de la operación.
«For this secret is of no human revelation but for that of the Benign Spirit, Which breathes where it wills.» — cierre de la confesión de Lulio, con la fórmula joánica del espíritu que sopla donde quiere.
«It seems then the greatest difficulty is not in the coagulation or production of the Philosophical Salt but in the putrefaction of it, when it is produced.» — Vaughan localiza la dificultad mayor en la putrefacción de la sal filosófica y no en su producción.
«this agrees best with the sense of the philosophers, for one of those strict observers 1 tells us that "he who knoweth salt and the solution thereof knoweth the hidden secret of the ancient philosophers.» — Vaughan apoya esa localización en la sentencia sobre quien conoce la sal y su disolución. La llamada a nota queda dentro del tramo.
«soul, they did therefore look upon man as a creature originally ordained for some better state than the present, for this was not agreeable with his spirit.» — Vaughan atribuye a los filósofos la doctrina del hombre ordenado a un estado mejor; el tramo empieza tras el encabezado corrido de la plana.
«Now what this really signifies not one in ten thousand knows ; and yet we are all philosophers.» — Vaughan mide la distancia entre el nombre de filósofo y el saber que supone.
«I say the true philosophers did find in every compound a double complexion circumferential and central.» — Vaughan enuncia la doble complexión que atribuye a todo compuesto, circunferencial y central.
«The circumferential was corrupt in all things, but in some things altogether venomous ; the central not so, for in the centre of everything there was a perfect unity, a miraculous indissoluble concord of fire and water.» — Vaughan reparte corrupción y concordia entre la circunferencia y el centro.
«These two complexions are the manifestum and the occultum of the Arabians ; and they resist one another, for they are contraries.» — Vaughan nombra esas dos complexiones con los términos árabes y las declara contrarias.
«In the centre itself they found no discord at all, for the difference of spirits consisted not in qualities but in degrees of essence and transcendency.» — Vaughan niega discordia en el centro y sitúa la diferencia en grados de esencia.
«As for the water it was of kin with the fire, for it was not common but ethereal.» — Vaughan emparenta el agua del centro con el fuego por su carácter etéreo.
«In all centres this fire was not the same, for in some it was only a solar spirit, and such a centre was called " Water of the Sun, Celestial Water, Water of Gold, Water of Silver.» — Vaughan distingue los centros por su fuego y da los nombres del solar.
«This spirit purged the very rational soul and awakened her root that was asleep.» — Vaughan atribuye a ese espíritu la purga del alma racional.
«And therefore such a centre was called Water tinged with Fire, Clarifying Water, a Candle uplighting and illuminating the House.» — Vaughan da los nombres del centro con fuego, entre ellos el de candela que alumbra la casa.
«I cannot think him wise who resents, his injuries, for he sets a rate upon things that are worthless and makes use of his spleen where his scorn becomes him.» — Vaughan cierra el tratado con una máxima sobre el desprecio como respuesta a la injuria.
«I say, of philosophy, for alchemy in the common acceptation, and as it is a torture of metals I did never believe : much less did I study it.» — abre la advertencia al lector de EUPHRATES: Vaughan niega haber creído nunca en la alquimia entendida como tortura de los metales.
«This, I presume, can be no metal ; and therefore as I ever disclaimed alchemy in the vulgar sense, so I thought fit to let the alchemists know it, lest in the perusal of my writings they should fix a construction to some passages which cannot suit with the judgment of their author.» — Vaughan deslinda su obra de la alquimia vulgar para prevenir lecturas contrarias a su juicio.
«I have for the truth's sake and to justify my innocent and former discourses added to them thislittle piece, which perhaps is such and hath in it so much as the world hath not yet seen published.» — Vaughan presenta EUPHRATES como añadido en defensa de sus discursos anteriores. La fuente parte *this* de *little* por el salto de renglón y la herramienta los devuelve unidos.
«I can truly say of my own, for with much labour I have wrung it out of the earth, nor had I any to instruct me.» — Vaughan reclama el hallazgo como propio y sin maestro; es la frase que Waite recoge en su prefacio, plana 51.
«I would not have thee build mountains on the foundation I have here laid not especially those of gold.» — Vaughan acota lo que su libro promete y excluye las montañas de oro.
«But if thou dost build physic upon it, 6 then I have shewed thee the rock» — Vaughan admite en cambio la construcción médica; el tramo se corta en el cambio de plana.
«If thou wouldst know Nature take heed of antimony and the common metals.» — Vaughan vuelve a excluir el antimonio y los metales comunes.
«Seek only that very first mixture of elements which Nature makes in the Great World.» — Vaughan fija el objeto de la búsqueda en la primera mezcla de elementos.
«Neglect not my advice in this, though it may seem ridiculous to those that are over-wise and have the mercies of God in derision.» — Vaughan anticipa la burla de los que llama demasiado sabios.
«St Paul gloried in His revelations, but he that will do so now shall be numbered amongst ranters and anabaptists.» — Vaughan mide el cambio de los tiempos por el trato que hoy recibiría quien se gloriara de revelaciones.
«Nor is it indeed anything strange that angels should visit and move that element on which the Spirit of God did move at the beginning.» — Vaughan justifica la visita de los ángeles al elemento sobre el que se movió el Espíritu.
«I cite not these places as if they were pertinent for my purpose or made altogether for it, though I know they make nothing against it.» — Vaughan acota el valor probatorio de los lugares que cita: no prueban su tesis, pero tampoco la contradicen.
«Notwithstanding, I know that Prince Avicen hath numbered St John the Evangelist amongst the chemists ;» — Vaughan consigna la atribución que Avicena hace de san Juan Evangelista a los químicos; el tramo se corta en el cambio de plana.
«Surely I am one that thinks very honourably of Nature, and if I avoid such disputes as these it is because I would not offend weak consciences.» — Vaughan explica por qué evita ciertas disputas: por no ofender conciencias débiles.
«I must confess I am much to seek what Scripture shall be applied to, and whom it was written for, if not for us and for our instruction.» — Vaughan reclama la Escritura para la instrucción de los vivos.
«Now then if Scripture was written for us, it concerns us much to know what use we shall make of it ; and this we may gather from the different conditions of man before and after his Fall.» — Vaughan propone leer la Escritura por la diferencia entre el estado anterior y el posterior a la caída.
«Before his Fall man was a glorious creature, having received from God immortality and perfect knowledge ; 2 but in and after his Fall he exchanged immortality for death and knowledge for ignorance.» — Vaughan enuncia ese doble intercambio de la caída. La llamada a nota queda dentro del tramo.
«Sure I am that Moses proves God by His creation, and God proves Himself to Moses by transmutation of his rod into a serpent, and of the serpent into a rod.» — Vaughan pone la transmutación de la vara como prueba que Dios da de sí mismo.
«If by His works, then by natural things, for they are His works, and none other.» — Vaughan deriva de lo anterior que las cosas naturales son la vía de esa prueba.
«I speak not this to disparage man or to match any other creature with him ; for I know he is principal in the restoration, as he was in the Fall,» — Vaughan acota su tesis sobre la naturaleza para no rebajar al hombre; el tramo se corta en el cambio de plana.
«Is Scripture then misapplied, much less vilified, when it is applied to the object of salvation, namely, to Nature, for that is it which God would save and redeem from the present depravations to which it is subject ?» — Vaughan pregunta si aplicar la Escritura a la naturaleza es abusar de ella, y define la naturaleza como objeto de la salvación.
«Verily, when I read Scripture, I can find nothing in it but what concerns Nature and natural things.» — Vaughan enuncia la tesis más fuerte de EUPHRATES sobre la lectura de la Escritura.
«For where it mentions regeneration, illumination and grace, or any other spiritual gift, it doth it not precisely but in order to Nature ;» — Vaughan subordina los dones espirituales a la naturaleza en el orden de la exposición bíblica.
«And if it be true that we look for the redemption of our bodies and a new man, it is equally true that we look for a new heaven and a new earth, wherein dwelleth righteousness.» — Vaughan empareja la redención del cuerpo con la del cielo y la tierra nuevos.
«But I speak this to shew that God minds the restitution of Nature in general and not of man alone, who though he be the noblest part yet certainly is but a small part of Nature.» — Vaughan acota el lugar del hombre: parte noble y a la vez pequeña de la naturaleza.
«much more absurd is it in the ministry of Nature to separate Scripture and Nature, for to whom I beseech you doth Scripture speak ?» — Vaughan objeta la separación entre Escritura y naturaleza por la pregunta de a quién habla la Escritura.
«I doubt not but man stands in Nature, not above it ; and let the Schoolmen resolve him into what parts they please, all those parts will be found natural, since God alone is truly metaphysical.» — Vaughan sitúa al hombre dentro de la naturaleza y reserva lo metafísico a Dios. La fuente parte *School-men* por el salto de renglón y la herramienta lo devuelve unido.
«But that Scripture taught them is altogether undeniable.» — Vaughan da por indiscutible la enseñanza escrituraria en ese punto.
«For my own part, I have this assurance of philosophy, that all the mysteries of Nature consist in the knowledge of that corruption which is mentioned in Scripture» — Vaughan hace consistir los misterios de la naturaleza en el conocimiento de la corrupción que la Escritura nombra; el tramo se corta en el cambio de plana.
«To be short, experience and reason grounded thereupon have taught me that philosophy and divinity are but one and the same science.» — Vaughan enuncia la identidad entre filosofía y teología como conclusión de experiencia y razón.
«We see that God in His work hath united spirit and matter, visibles and invisibles ; and out of the union of spiritual and natural substances riseth a perfect compound, whose very nature and being consists in that union.» — Vaughan funda esa identidad en la unión de espíritu y materia en la obra divina.
«How then is it possible to demonstrate the nature of that compound by a divided theory of spirit by itself and matter by itself ?» — Vaughan niega que una teoría dividida pueda dar cuenta de un compuesto.
«For if the nature of a compound consists in the composition of spirit and matter, then must not we seek that nature in their separation but in their mixture and temperature, and in their mutual mixed actions and passions.» — Vaughan localiza el objeto del estudio en la mezcla y no en la separación.
«Besides, who hath ever seen a spirit without matter or matter without spirit, that he should be able to give us a true theory of both principles in their simplicity ?» — Vaughan objeta por vía de experiencia que nadie vio los dos principios por separado.
«It is just so in divinity, for if by evasion we confine divinity to God in the abstract, who say I hath ever known Him so ?» — Vaughan aplica el mismo argumento a la teología del Dios abstracto.
«That is to say, we may affirm what He is not, but we cannot affirm what He is.» — Vaughan reduce esa teología a la vía negativa.
«But if by divinity we understand the doctrine of salvation, as it is laid down in Scripture, then verily it is a mixed doctrine, involving both God and Nature.» — Vaughan define la teología por la doctrina de la salvación y la declara doctrina mixta.
«And here I doubt not to affirm that the mystery of salvation can never be fully understood without philosophy» — Vaughan condiciona la comprensión plena de la salvación a la filosofía; el tramo se corta en el cambio de plana.
«To speak then of God without Nature is more than we can do, for. we have not known Him so ;» — Vaughan mide lo que puede decirse de Dios por el modo en que se lo ha conocido.
«Let not any man therefore be offended if in this discourse we shall use Scripture to prove philosophy and philosophy to prove divinity, for of a truth our knowledge is such that bur divinity is not without Nature, nor our philosophy without God.» — Vaughan declara el método cruzado del tratado: la Escritura prueba la filosofía y la filosofía la teología.
«Notwithstanding, I dare not think but most men will repine at this course, though I cannot think wherefore they should, for when I join Scripture and philosophy I do but join God and Nature, an union certainly approved of by God, though it be condemned of men.» — Vaughan prevé el rechazo de ese método y lo describe como unión de Dios y la naturaleza.
«There is scarce anything in it but hath given me an occasion of some thoughts ; but that which took me up much and soon was the continual action of fire upon water.» — Vaughan nombra lo que más lo ocupó desde niño: la acción continua del fuego sobre el agua.
«I will not forbear to write how I had then fancied a certain practice on water, out of which even in those childish days I expected wonders, but certainly neither gold nor silver,» — Vaughan recuerda una práctica infantil sobre el agua y acota que no esperaba de ella oro ni plata; el tramo se corta en el cambio de plana.
«But lest you think I have only conversed with children, I shall confess I have conversed with children and fools too that is, as I interpret it, with children and men, for these last are not in all things as wise as the first.» — Vaughan juega con la doble mención de niños y necios para medir a los adultos.
«Notwithstanding, I should think, by what 1 have read, that the natural disposition of children, before it is corrupted with customs and manners, is one of those things about which the ancient philosophers have busied themselves, even to some curiosity.» — Vaughan sitúa la disposición natural de los niños entre los asuntos de los filósofos antiguos. La llamada a nota queda dentro del tramo.
«I shall not here express what I have found by my own experience, for this is a point of foresight and a ground by which wise men have attained to a certain knowledge of morals, as well as naturals.» — Vaughan reserva su propia experiencia en ese punto y la declara base de un conocimiento moral y natural.
«These words if the mysteries they involve and relate to were distinctly laid down would make an endless discourse, for they contain all that Nature doth and all that Art can do.» — Vaughan mide el alcance de las palabras que va a glosar.
«But that we may, in some order and as far as conscience will permit, 2 express what they signify :» — Vaughan acota su exposición a lo que la conciencia le permite. La llamada a nota queda dentro del tramo.
«We do first say that God is -the principal and sole Author of all things, Who by His Word and Spirit hath formed and manifested those things which at present we cannot see.» — Vaughan enuncia el primer artículo de su exposición: Dios como autor único por su Verbo y su Espíritu.
«As for the matter whereof He formed them, it being a substance pre-existent not only to us but to the world itself, most men may think the knowledge of it impossible, for how shall we know a thing that was so long before us and which is not now extant with us,» — Vaughan plantea la objeción sobre la cognoscibilidad de una materia preexistente; el tramo se corta en el cambio de plana.
«It is evident enough that every individual suppose man himself is made by a seed, and this seed when the body is perfected appears no more, for it is altered and transformed» — Vaughan argumenta desde la semilla que desaparece al perfeccionarse el cuerpo; el tramo se corta en el cambio de plana.
«However, that self-same body doth afterwards yield a seed, which is the very same in Nature with that original first seed whereof the body was made.» — Vaughan cierra ese argumento: el cuerpo devuelve una semilla idéntica en naturaleza a la primera.
«And if any man shall ask what use Nature makes of this general seed, and wherefore she yields it, I answer that it is not to make another world of it but to maintain that world with it» — Vaughan asigna a la semilla general la conservación del mundo y no la fabricación de otro; el tramo se corta en el cambio de plana.
«For God Almighty hath so decreed that His creatures are nourished with the very same matter whereof they were formed ; and in this is verified that maxim which otherwise would be most false : " By the self-same things of which we consist are we also nourished.» — Vaughan funda esa función en el decreto de que la criatura se nutra de aquello de que se hizo, y verifica así una máxima que de otro modo sería falsa.
«I am afraid they will speak as they think and affirm it is water, but what skilful assertors they are shall appear hereafter.» — Vaughan anticipa la respuesta equivocada de sus adversarios.
«Certainly even that which we eat ourselves, and beasts also, proceeds all of it from the same fountain ; but before it comes to us it is altered, for animals feed on particulars but vegetables abstract this sperm immediately in its heavenly, universal form.» — Vaughan distingue el modo en que animales y vegetales toman esa semilla.
«Notwithstanding I would not have this so understood as if this seed did serve only to nourish, for many things are made of it, and especially that subterraneous family of minerals and metals.» — Vaughan extiende la función de esa semilla a la generación de minerales y metales.
«For this thing is not water otherwise than to the sight but a coagulable fat humidity, or a mixture of fire, air and pure earth, overcast indeed with water, and therefore not seen of any nor known but to few.» — Vaughan acota el sentido en que esa sustancia es agua: solo a la vista.
«In vegetables it oftentimes appears, for they feed not as -some think on water but on this seminal viscosity * that is hid in the water.» — Vaughan objeta la idea de que las plantas se nutran de agua.
«This indeed they attract at the roots and from thence it ascends to the branches, but sometimes it happens by the way to break out at the bark, where meeting with the cold air it subsists and congeals to a gum.» — Vaughan describe el trayecto de esa viscosidad por la planta y su congelación en goma.
«This congelation is not sudden but requires some small time, for if you find it while it is fresh it is an exceedingly subtle moisture but glutinous, for it will spin into strings as small as any hair ; and had it passed up to the branches it had been formed in time to a plum or cherry.» — Vaughan describe la goma fresca y dice en qué se habría convertido de haber llegado a las ramas.
«This happens to it by cold and above ground, but in the bowels of the earth it is congealed by» — Vaughan opone la congelación por frío sobre la tierra a la que ocurre en sus entrañas; el tramo se corta en el cambio de plana.
«But in lieu of it we shall have recourse to the secondary sperm or chaos that now is and comes out of the visible world.» — Vaughan sustituye la materia inaccesible por el esperma secundario del mundo visible.
«For we will ground our discourse upon nothing but what is visible, and in the front of it we place the Divine Majesty, Who is the sole, central Eternal Principle and Architect of all.» — Vaughan declara el método visible de su exposición y a la vez pone en su frontispicio a Dios.
«The fourth principle, which Nature immediately generates by congelation out of the substance or viscosity of the aqueous universal Mercury, is the glassy Azoth?» — Vaughan nombra el cuarto principio de su serie.
«And this is gold philosophical the sulphur, the earth and the male, as the viscous water is the Mercury and the female.» — Vaughan reparte por género los términos de la pareja alquímica.
«The rest of the principles which are ranged in the figure are artificial principles, and cannot be known or manifested without Art, excepting the seventh and last principle, which is either gold or silver.» — Vaughan separa los principios artificiales de los naturales y exceptúa el séptimo.
«For 'these are perfect metals and ferments that specify the medicine which of itself is universal and reduce it to a particular disposition and effect.» — Vaughan explica el oficio de los metales perfectos: especifican una medicina que de suyo es universal.
«I dare say there are some writers who rejoice in their own riddles and take a special pleasure to multiply those difficulties which are numerous enough already.» — Vaughan reprocha a algunos autores multiplicar dificultades por gusto.
«We shall now again return to our theory, and to make our entrance we say that fire begins every motion and motion begins generation.» — Vaughan encadena fuego, movimiento y generación.
«For sea-water as we have tried not to speak of its salt, is full of a sulphureous, volatile fatness, which doth not quench fire, like the common water, but feeds it.» — Vaughan aduce el ensayo con agua de mar, que alimenta el fuego en vez de apagarlo.
«We may observe also that the wind passeth between the inferior and superior fires,» — Vaughan sitúa el viento entre los dos fuegos; el tramo se corta en el cambio de plana.
«Nor ought we to neglect another consideration that the light of the world is in the superior parts of it, namely, the sun and stars.» — Vaughan añade la consideración de que la luz del mundo está en sus partes superiores.
«Only this we may say that both these imprisoned fires are manifested to reason by the same effects, namely, by the pulse that the one causeth in the blood and the other in the sea, to which may be added that transpiration or evaporation of humours which both these spirits produce, alike in their several bodies.» — Vaughan empareja los dos fuegos encerrados por sus efectos: el pulso de la sangre y el del mar.
«Nay, I must affirm that pure earth is nothing else but nitre, whose belly is full of wind, air and fire, and which differs no more from heaven than the root of a tree that lodgeth in the dirt doth from the branches of it that grow in the sunshine.» — Vaughan identifica la tierra pura con el nitro y mide su distancia del cielo con la figura de la raíz y las ramas.
«But that is it which cannot be but in part, and by way of influence, God having confined the one to the centre and the other to the circumference.» — Vaughan acota esa comunicación a la vía del influjo, por el reparto entre centro y circunferencia.
«I could demonstrate this sympathy by a most noble magnetism, which I have seen to my admiration, between the sun and sweet oil, or rather the fire and soul of nitre.» — Vaughan invoca un magnetismo entre el sol y el aceite dulce que dice haber visto.
«Sendivogius hath well written : "Rays are joined with rays on the. surface of the earth.» — Vaughan cita a Sendivogius sobre el encuentro de los rayos en la superficie de la tierra.
«It is just so with the earth, for whiles the heat of the sun is present, the heat of the earth is more busy with the sun than with its own body.» — Vaughan describe el reparto de la actividad del calor terrestre según la presencia del sol.
«For in the winter when the sun is absent the central fire keeps altogether within the earth and, being irritated by an hostile invasion of cold, heats the waters much more vigorously, so that exhalations and clouds are far more copious in the winter than they are in the summer, which could not be if the sun were the cause of them.» — Vaughan argumenta contra la causalidad solar de las nubes por la mayor abundancia invernal.
«Add to this that an outward, dry heat as that of the sun is falling immediately on the earth, must needs burn the earth before it can make it smoke ; but an inward fire, that is mingled with the moisture of the earth, cannot burn, be it never so intense, for it is qualified with the water and tempered to a moist heat.» — Vaughan opone el calor seco exterior al fuego interior mezclado con la humedad, que no quema por intenso que sea.
«for into these vapours, saith Raymund Lully, "are resolved all bodies produced from the elements, that they may. enter into a new generation.» — Vaughan cita a Lulio sobre la resolución de todos los cuerpos en vapores como paso a una nueva generación.
«This puts me in mind of an opinion I have read sometimes in the Kabalists, namely, that this bulk or body we have attained to by attraction and transmutation of nutriment riseth not in the resurrection.» — Vaughan recoge de los cabalistas la doctrina de que el cuerpo hecho de alimento no resucita.
«But out of that seminal particle which originally attracting the nutriment did overcast itself therewith, there shall spring another new body, and this seminal particle say they lurketh somewhere in the bones, not in that part which moulders into dust.» — continuación de esa doctrina: la partícula seminal escondida en los huesos como raíz del cuerpo futuro.
«Certainly, if we judge rightly, we must confess that this seminal particle is our only fundamental matter, the rest being an accretion that comes from the extraneous substance of meat and drink.» — Vaughan hace suya esa distinción entre la partícula fundamental y la acreción alimenticia.
«" Thou fool " saith he " that which thou sowest is not quickened, except it die : and that which thou sowest, thou sowest not that body that shall be, but bare grain, it may chance of wheat, or of some other grain : but God giveth it a body as it hath pleased Him, and to every seed a body that is proper for it.» — Vaughan cita el pasaje paulino de la semilla que muere para vivificarse.
«But to begin again where we left, you must know that when the central sun 3 sublimes the vapours those vapours partake not only of the nature of earth and water but of divers other particular minerals, whereof the earth and water are full.» — Vaughan describe la sublimación de los vapores por el sol central y su carga mineral.
«These fiery, earthy fumes, meeting with the cold vapours of the water, oftentimes produce most terrible tempests, some of these being nitrous, some arsenical, some sulphureous and all hot ; and some by reason of their copious sulphur inflammable.» — Vaughan explica las tempestades por el encuentro de los humos ígneos con los vapores fríos.
«It is strange to consider what a powerfully resolving faculty there is in wind or air, for wind is no other thing than air stirred, and that by fire, as we see in man that the motion of the breath is caused by heat, as well as that of the blood, both proceeding from the same hot principle of life.» — Vaughan atribuye al viento una facultad resolutiva y lo define como aire movido por el fuego.
«So certainly the life of the world causeth wind or a commotion in the air as well as a flux in the sea, for both these are seas and have their fluxes, as we shall prove elsewhere more fully.» — Vaughan empareja el viento del aire con el flujo del mar como efectos de la vida del mundo.
«Air then as we have said resolves all things and especially wind, for it resolves all salts into water, and if this solution be distilled we shall find some part of the salt reduced into fresh water.» — Vaughan da la prueba operativa de esa facultad: la sal resuelta en agua dulce.
«As for the residue,' if it be exposed to the wind it will resolve again, and you may distil it the second time.» — Vaughan describe la repetición de esa operación sobre el residuo.
«In a word, if you repeat this process, you will bring the whole body of the salt into a volatile fresh water, nothing different from the common, either in sight or taste.» — Vaughan describe el término de esa repetición: toda la sal vuelta agua indistinguible de la común.
«And here you must not think your salt is lost, for if you know how to congeal your water you will find it again, but so altered from what it was that you will wonder to see it.» — Vaughan advierte que la sal no se pierde y anuncia su alteración al congelar el agua.
«This practice, if well understood, sufficiently declares the nature of air ; but he that knows where to find congealed air, and can dissolve it by heat to a viscous water, he hath attained to something that is excellent.» — Vaughan pone como logro mayor hallar el aire congelado y disolverlo en agua viscosa.
«quicksilver hath a miraculous union of parts and of all compounds is the strongest, excepting gold ; for if you distil it by retort a hundred times it will be quicksilver still notwithstanding all those reiterated rarefactions of his body.» — Vaughan mide la cohesión del azogue por las cien destilaciones que resiste.
«But if you take a thousand weight of it and vapour it away but once irythe open air, it will never come to quicksilver again ;» — Vaughan opone a esa resistencia el efecto de una sola evaporación al aire libre.
«This is the very reason why also the vapours of the elements are lifted up to the middle region of the air, for there the wind is most cold and hath most liberty ; and in no other place can their resolution which Nature intends be perfected.» — Vaughan explica por esa vía la elevación de los vapores a la región media del aire.
«This, if understood, is a most noble secret of Nature, nor was Job ignorant of it, when complaining of the decays of his own body he delivered himself thus :» — Vaughan atribuye a Job el conocimiento de ese secreto.
«Thou liftest me up to the wind ; thou causest me to ride upon it, and dissolvest my substance.» — el versículo de Job que Vaughan aduce.
«We have hitherto shewed you how fire rarefies all things, and how wind and air resolve them yet further than fire, as we have exemplified in quicksilver.» — Vaughan resume el reparto de oficios entre fuego, viento y aire.
«that superiors dissolve and inferiors coagulate ; that we should make use of an indeterminate agent till we can find a determinate one.» — Vaughan repite su máxima sobre superiores e inferiores y añade la regla del agente indeterminado.
«For true it is that the mercurial dissolving faculty is in the air and in airy things, and the sulphureous, congealing virtue is in the» — Vaughan reparte las facultades disolvente y coagulante; el tramo se corta en el cambio de plana.
«Take therefore water of air, which is a great dissolvent, and ferment it with earth ; and, on the contrary, earth with water.» — Vaughan da la operación cruzada de fermentar aire con tierra y tierra con agua.
«But if the place be open and the heat excessive, then it dissipates.» — Vaughan advierte del efecto del lugar abierto y del calor excesivo.
«It remains now that we speak something of the two passive material elements, namely, of earth and water, for these are the bodies that suffer by fire and whose parts are perpetually regenerated by a circular rarefaction and condensation.» — Vaughan anuncia el tratamiento de tierra y agua como elementos pasivos.
«It is the advice of the Brothers of R/.C/. that those who would be proficients in this Art should study the elements and their operation before they seek after the tinctures of metals.» — Vaughan cita el consejo de los Hermanos R. C. sobre estudiar los elementos antes que las tinturas.
«It is to be wished indeed that men would do so, for then we should not have so many broilers 2 and so few philosophers.» — Vaughan mide el resultado de no seguir ese consejo.
«But here it maybe questioned who is he that studies .the elements for any such end as to observe and imitate their operations ?» — Vaughan pregunta quién estudia de veras los elementos para imitar sus operaciones.
«For in the universities we study them only to attain a false book-theory, whereof no use can be made but quacking, disputing and making a noise.» — Vaughan responde por el caso de las universidades.
«Verily the doctrine of the schoolmen hath alloyed and perverted even that desire of knowledge which God planted in man.» — Vaughan acusa a la escolástica de haber pervertido el deseo natural de conocer.
«I have often wondered that any sober spirits can think Aristotle's philosophy perfect when it consists in mere words without any further effects ; for of a truth the falsity and insufficiency of a mere notional knowledge is so apparent that no wise man will assert it.» — Vaughan mide la filosofía aristotélica por la ausencia de efectos.
«Aristotle will very gravely tell us : " Where the philosopher ends, there begins the physician.» — Vaughan cita el aforismo aristotélico sobre el límite entre filósofo y médico.
«But I admire what assistance a physician can receive from this philosopher whose science tells us that " science does not pertain to a part,» — Vaughan objeta la utilidad médica de una ciencia que se declara ajena a lo particular.
«for without particulars a physician can do nothing.» — Vaughan cierra la objeción por la necesidad médica de lo particular.
«Roger Bacon, that generals are of small value, nor fitting to be followed, save by reason of particulars.» — Vaughan invoca a Roger Bacon sobre el escaso valor de lo general.
«For Nature herself hath imprinted the universal notions and conceptions in every soul, whether learned or unlearned, so that we need not study universals.» — Vaughan da por innecesario el estudio de los universales, ya impresos por la naturaleza.
«And this our friar had observed, for saith he : " In general conceptions of the soul the crowd concurs with the wise, but in particulars and specialities it disagrees and errs.» — Vaughan cita al fraile sobre la concordia del vulgo y los sabios en lo general y su discordia en lo particular.
«And for this very reason he condemns Aristotle and Galen, " because they concerned themselves with generals and universals, and continued to old age, consuming life in common and worthless things, not discerning the paths to those great secrets.» — Vaughan recoge la condena de Aristóteles y Galeno por haberse quedado en lo general.
«Let not us do as those heathens did, though in this very point the greatest part of the world follows them.» — Vaughan separa su consejo del uso de la mayoría.
«Let us rather follow where Nature leads, for she having impressed these universals in our minds hath not done it in vain but to the end we should apply them to outward, sensible particulars» — Vaughan indica para qué sirven los universales impresos: aplicarlos a los particulares sensibles; el tramo se corta en el cambio de plana.
«and so attain a true experimental knowledge, which in this life is our only crown and perfection.» — Vaughan llama corona y perfección de esta vida al conocimiento experimental.
«If a man should rest in the bare theory of husbandry and only read Vergil's Georgics, never putting his hand to the plough, I suppose this theory could not help him to his daily bread.» — Vaughan mide la teoría sin práctica con la figura del que lee las Geórgicas sin arar.
«But how false this is God knows, and man also may know it if he considers but those two obstructions of life sickness and poverty.» — Vaughan somete la filosofía al examen de dos obstrucciones de la vida, enfermedad y pobreza.
«But they are not only effects that are wanting to Aristotle's philosophy, but even his theory is for the most part false ; and where it is true it is so slight and superficial that it doth not further us at all.» — Vaughan extiende el cargo de la falta de efectos a la falsedad de la teoría.
«He is none of our auxiliaries, believe it, but the very remora to all natural discoveries, and he hath for many ages not only obstructed but extinguished the truth.» — Vaughan llama rémora a Aristóteles respecto de los descubrimientos naturales.
«By earth I understand not this impure, feculent body on which we tread but a more simple pure element, namely, the natural central salt-nitre.» — Vaughan fija el sentido de tierra en su exposición y lo identifica con el salitre central.
«This salt is fixed or permanent in the fire, and it is the sulphur of Nature, by which she retains and congeals her Mercury.» — Vaughan hace de esa sal el azufre de la naturaleza que congela su mercurio.
«For we must know that these two are the prime materials of Nature, without which she can make no sperm or seed.» — Vaughan declara esos dos materiales condición de todo esperma.
«And thus solution is the key of generation, not only in our Art but in Nature also, which is the Art of God.» — Vaughan hace de la solución la llave de la generación y llama arte de Dios a la naturaleza.
«I know there is another solar, oriental earth, which is all golden and sulphureous, and yet is not gold but a base, contemptible thing that costs nothing, for it may be had for the taking up.» — Vaughan describe la tierra solar oriental y subraya que no cuesta nada.
«This is the earth of Ethiopia, that hath all colours in it.» — Vaughan da el primero de los nombres de esa tierra.
«This element is the deferent or vehiculum of all influences whatsoever.» — Vaughan asigna al agua el oficio de vehículo de toda influencia.
«And on the contrary all that comes from heaven descends in her to the earth, for in her belly the inferior and superior natures meet and mingle ; nor can they be manifested without a singular artifice.» — Vaughan describe el agua como lugar de encuentro de lo inferior y lo superior, manifestable solo por arte.
«Hence it is that whatsoever is pure in the earth, all that she receives from the water.» — Vaughan deriva del agua toda la pureza de la tierra.
«But this cannot be unless she returns to her own country I mean to the earth for here the collastrum* or male resides.» — Vaughan condiciona la regeneración al retorno a la tierra donde reside el macho.
«the tincture or soul of the Sulphur cannot be regenerated in its own impure body ; but it must forsake that dark and earthly carcase, and put on a new, purified body before it can be united to the light of heaven.» — Vaughan exige que la tintura abandone su cuerpo impuro antes de unirse a la luz del cielo.
«the element of water was not cursed but only that of the earth.» — Vaughan acota el alcance de la maldición del Génesis.
«Nor can I here omit the doctrine of St John, who makes the water one of those three witnesses which attest God here on earth.» — Vaughan aduce el agua como uno de los tres testigos joánicos.
«He left not Himself without witness," inasmuch as He gave them "rain from heaven.» — Vaughan añade el testimonio de la lluvia según los Hechos.
«But to explain what this blessing is : we remember we have written elsewhere that water is of a double complexion, circumferential and central.» — Vaughan repite para el agua la doble complexión que había dado para todo compuesto.
«In the circumference she is crude, volatile and phlegmatic ; but in the centre she is better concocted, viscous, aerial and fiery.» — Vaughan reparte las cualidades del agua entre circunferencia y centro.
«nor can it be well extracted without a lunar or solar magnet, whose proper aliment it is, and with which it hath a wonderful sympathy.» — Vaughan condiciona la extracción a un imán lunar o solar por simpatía.
«And as Pythagoras saith in the Turba it " follows and attains its companion without fire.» — Vaughan cita a Pitágoras en la TURBA sobre la unión sin fuego.
«And therefore it is written in the same book that " great is the affinity between Magnesia and iron.» — segunda cita de la TURBA, sobre la afinidad entre magnesia y hierro.
About the work
329 entries — what the apparatus and scholarship say about it«PREPARED FOR THE LIBRARY COMMITTEE OF THE THEOSOPHICAL SOCIETY IN ENGLAND AND WALES AND ISSUED BY THE THEOSOPHICAL PUBLISHING HOUSE, i UPPER WOBURN PLACE, LONDON, W.C. i IN THE YEAR OF THE LORD MCMXIX» — pie de la portada: declara para quién se preparó el volumen —el Library Committee de la Theosophical Society in England and Wales— y quién lo publica, la Theosophical Publishing House de Londres. La fecha va en romanos y es el único lugar de todo el troceo donde el volumen se data: no hay página de derechos. El *i* de la dirección y del distrito postal es lectura del OCR por la cifra 1.
«I call God to witness that I write not this to amaze men ; but I write that which I know to be certainly true." AULA Lucis.» — epígrafe con que la portada abre el volumen, y que ella misma adjudica a AULA LUCIS; la frase se lee en el cuerpo de ese tratado, en la plana 394, de modo que la portada cita a Vaughan contra Vaughan mismo.
«THIS is the first volume of a series of Transactions to be issued by the Library Committee of the Theosophical Society of England and Wales.» — [Library Committee] abre el prefacio situando el volumen: no es una edición suelta sino la primera de una serie de Transactions de ese comité.
«The choice has fallen upon Thomas Vaughan for two reasons : in the first place, because of Jiis unique position in the chain of the Hermetic tradition during the seventeenth century ; and, secondly, because it has been possible to secure the services of Mr A. E. Waite, who is recognised by all students of the hidden truth as one who is particularly fitted, not only by temperament and predilection, but also by special training and ripe scholarship, for the task of editing one of the profoundest and most difficult of all visionaries who have seen " the new East beyond the stars.» — [Library Committee] declara las dos razones de la elección, y la segunda no es del autor sino del editor: que se pudo contratar a Waite. El *Jiis* es lectura del OCR por his; el tramo se corta donde la fuente deja abierta la comilla de la cita.
«The mantle of Robert Fludd may be said to have fallen upon the -shoulders of Vaughan, who in his time and generation continued the apostolate of the Secret Tradition, as this is represented by the secret and more spiritual side of alchemical philosophy.» — [Library Committee] pone a Vaughan en la línea de Robert Fludd y define el lugar que le adjudica: el lado secreto y más espiritual de la filosofía alquímica, no el operativo. El guion suelto de *-shoulders* es del OCR.
«The two writers drew from the same sources : from the school of the Kabalah in all its extensions and reflections, from the Hermetic Neo-Platonists, and from those Latin-writing scholars of Europe who, subsequent to the Renaissance, represented and not infrequently typified the struggle for liberation from the yoke and aridity of scholastic methods.» — [Library Committee] enumera las tres fuentes que atribuye por igual a Fludd y a Vaughan: la escuela de la cábala, los neoplatónicos herméticos y los latinistas posteriores al Renacimiento que se opusieron al método escolástico.
«Fludd was a physician, and when not dealing with cosmical philosophy he paid attention to the Hermetic foundation upon which the true art of medicine is built.» — [Library Committee] separa los oficios de los dos: Fludd, médico ocupado del fundamento hermético de la medicina.
«Vaughan, on the other hand, was an exponent of alchemy ; and though first and foremost a mystical philosopher and a visionary» — [Library Committee] adscribe a Vaughan a la alquimia y lo llama ante todo filósofo místico y visionario; la frase sigue en la plana siguiente, donde añade *the less a practical alchemist upon the material side*. El tramo se corta en el cambio de plana.
«the less a practical alchemist upon the material side it was, in fact, from inhaling the fumes of mercury during a chemical experiment that he met his death.» — continuación de la frase anterior: [Library Committee] sostiene que Vaughan fue además alquimista práctico en el lado material, y da como prueba su muerte, que atribuye a la inhalación de vapores de mercurio en un experimento químico.
«Both Fludd and Vaughan were influenced by the movement known as Rosicrucian, which came into prominence in the early part of the seventeenth century.» — [Library Committee] adjudica a los dos la influencia del movimiento rosacruz y lo fecha a principios del siglo XVII.
«But Vaughan was an unattached interpreter, while there is ground for believing that Fludd may have been connected more or less directly with the so-called " Fratres R. C."» — [Library Committee] marca la diferencia entre los dos y la enuncia con reserva: de Vaughan dice que fue intérprete sin filiación, y de Fludd solo que hay base para creerlo vinculado a los llamados Fratres R. C.
«At any rate he was a personal friend of Michael Maier, who cannot be dissociated from the movement.» — [Library Committee] sostiene el vínculo de Fludd por vía indirecta: su amistad con Michael Maier, a quien da por inseparable del movimiento rosacruz.
«There is a living interest in Vaughan on the personal side ; he belongs to the history of English literature, more especially as a prose writer, though also by the occasional felicity of his metrical exercises.» — [Library Committee] reclama a Vaughan para la historia de la literatura inglesa, sobre todo como prosista, y concede solo una felicidad ocasional a sus versos.
«Above all and this concerns the present venture more closely than any lighter consideration, he has a position of his own as an interpreter of the Secret Tradition.» — [Library Committee] declara cuál es el interés que manda en la empresa editorial: la posición propia de Vaughan como intérprete de la Tradición Secreta, por encima del interés literario.
«His works, which are valued possessions to those with sufficient knowledge to appreciate their occult significance, are here made available for the first time in a collected edition.» — [Library Committee] declara la novedad del volumen: es la primera vez que las obras de Vaughan se reúnen en una edición colectiva.
«THE Vaughan family is of old repute in history in that of England as well as Wales.» — [Waite] abre el prefacio biográfico por el linaje, y lo extiende a Inglaterra y no solo a Gales.
«It is said that an early representative, Srr David Vaughan, fell at the Battle of Agincourt.» — [Waite] consigna la tradición familiar sobre un antepasado caído en Azincourt, y la enuncia como se dice, no como consta; *Srr* es lectura del OCR por Sir.
«The traditional or accepted date, as I must term it, is between 1621 and 1622, but the tradition may be regarded as sound,* since it rests on the authority of Wood, 8 who almost unquestionably had for his informant the younger of the two brothers.» — [Waite] data el nacimiento de los gemelos Thomas y Henry Vaughan entre 1621 y 1622 y explica en qué apoya la tradición: la autoridad de Wood, cuyo informante habría sido el menor de los dos hermanos. La llamada a nota queda dentro del tramo.
«He speaks of a farmhouse at Newton, once " occupied by two brothers of the name of Vaughan, of very eccentric character."» — [Waite] cita en nota a Theophilus Jones sobre la casa de labor de Newton; el juicio sobre el carácter de los hermanos es de Jones, no de Waite.
«There are, however, no registers of births for that period in the district, nor for almost a century later.» — [Waite] declara el muro documental: no hay registros de nacimiento del distrito para ese periodo ni para casi un siglo después.
«We shall find further on that importance attaches to the birth-date of Thojnas Vaughan, and it is necessary therefore to note at this point that there is a minimum element of uncertainty hereon.» — [Waite] anuncia que la fecha de nacimiento pesará más adelante —es la pieza con que discutirá la identificación con Eirenaeus Philalethes— y deja anotado que sobre ella hay un elemento mínimo de incertidumbre. *Thojnas* es lectura del OCR por Thomas.
«Between and above both there stands the saintly figure of George Herbert, their contemporary and kinsman by marriage, albeit in remote degree.» — [Waite] sitúa a George Herbert entre los dos hermanos y por encima de ellos, y acota el parentesco: por matrimonio y en grado remoto.
«It is said that he and his brother were born in 1621, but as a second letter mentions that Thomas Vaughan died in 1666 in his forty-seventh year, there is a mistake on one side or the other, and the birth-date is still open to question.» — [Waite] consigna la contradicción entre dos testimonios sin arbitrarla: si nacieron en 1621 y Vaughan murió en 1666 a los cuarenta y siete, uno de los dos datos está mal, y la fecha de nacimiento queda en cuestión.
«It must not be said that the discoveries made by either editor are considerable in respect of Thomas Vaughan, the materials being wanting.» — [Waite] mide lo que sus predecesores aportaron sobre Thomas Vaughan y lo atribuye a la falta de materiales, no a la falta de trabajo.
«Again the date is uncertain, that of 1640, which is usually given, seeming too early.» — [Waite] objeta la fecha que suele darse para el bachillerato de Vaughan por parecerle demasiado temprana, y deja el dato en incertidumbre en vez de sustituirlo por otro.
«He had also fought for the King, notwithstanding the fact of his ministry where or under what circumstances we are never likely to know.» — [Waite] consigna que Vaughan combatió por el rey pese a estar ordenado, y declara enseguida el límite de lo averiguable: dónde y en qué circunstancias no se sabrá.
«But the White King perished in the Royal Cause on January 30, 1649, and Wood says that the loyal but dispossessed subject sought the repose of Oxford to pursue his studies.» — [Waite] fecha la ejecución de Carlos I y atribuye a Wood, no a sí mismo, el traslado de Vaughan a Oxford tras quedar desposeído.
«There is, however, an expression of opinion in the letter from Henry Vaughan to John Aubrey, already quoted : " (I think) he could be no less than Master of Arts.» — [Waite] apoya el grado académico de Thomas en una carta de su hermano Henry a John Aubrey, y conserva el paréntesis dubitativo del testimonio.
«The fact of this Fellowship is affirmed by Foster, ALUMNI OXONIENSES, following Walker's SUFFERINGS OF THE CLERGY.» — [Waite] da la cadena de la que procede el dato de la Fellowship: Foster, que sigue a Walker.
«The more immediate reason was unquestionably that, in common with his brother, he was an ardent Royalist.» — [Waite] adjudica la expulsión de Vaughan de su rectorado a su realismo, compartido con su hermano, antes que a las acusaciones que se le levantaron.
«It is not possible unfortunately to identify the Pinner of Wakefield, 2 where his Note-Book tells us that he lived with his wife " in those dear days " when " the gates opened " and in a sedate repose prosecuted his medicinal genius (in a manner valued to him), and at length became eminent in the chemical part thereof, at Oxon and afterwards at London.» — [Waite] declara no poder identificar el lugar y a la vez lo describe con las palabras del propio cuaderno de Vaughan, que la cita conserva entrecomilladas; la llamada a nota queda dentro del tramo.
«An "intercepted letter" included among the THURLOE PAPERS * indicates his presence at Newton in the early part of 1653.» — [Waite] fecha la estancia de Vaughan en Newton por una carta interceptada de los THURLOE PAPERS.
«For though he came not to the cock-fight, according to his menaces, yet he had that morning at his house above thirty horse, with saddles and pistols, which did much trouble and terrify the country people.» — la carta interceptada que [Waite] transcribe: la voz es la de su autor anónimo, que denuncia a Vaughan por reunir treinta caballos con sillas y pistolas. El juicio sobre la gente del campo es de esa carta, no de Waite.
«He was, however, of Cropredy in Oxfordshire, and a son William, to whom he bequeathed most of his property, was the father of four children at the date of making the will namely, February I7th, 1662-63» — [Waite] fecha en nota el testamento de un homónimo de Cropredy para separarlo del Thomas Vaughan que edita; *I7th* es lectura del OCR por 17th.
«that Rebecca Vaughan died, and was buried at Mappersall in Bedfordshire.» — [Waite] data la muerte de la esposa de Vaughan por testimonio del propio Vaughan, recogido el 17 de abril de 1658, y remite en nota al registro parroquial de Mappersall.
«It was the great grief of his life, as the private memorials shew, and he was presumably henceforth alone,» — [Waite] lee la muerte de Rebecca en los memoriales privados de Vaughan como el gran duelo de su vida, y matiza con *presumably* la soledad posterior.
«He is said to have been under the protection and patronage of Sir Robert Murray, Secretary of State for Scotland in the days of the Commonwealth,» — [Waite] atribuye a Sir Robert Murray el patronazgo de Vaughan, y lo enuncia en boca ajena: se dice, remitiendo en nota a Wood.
«When the plague of 1665 drove the Court from London to Oxford Thomas Vaughan went thither with his patron,» — [Waite] explica el último traslado de Vaughan por la peste de 1665, que llevó la corte de Londres a Oxford.
«at whose house, on February 27 of that year, he was killed by an explosion in the course of chemical experiments.» — [Waite] data y explica la muerte de Vaughan en casa del rector de Albury: una explosión durante experimentos químicos.
«He was on the Parliamentary side in the days of the Civil War, and was notorious for fighting, preaching and plundering ; but he became a convinced loyalist at the Restoration.» — [Waite] retrata en nota a Samuel Kem, el rector de Albury en cuya casa murió Vaughan, y le adjudica un cambio de bando en la Restauración.
«It is difficult to understand Vaughan's connection with this dissolute character.» — [Waite] cierra esa misma nota declarando que no entiende la relación de Vaughan con Kem; es juicio del editor, no dato del expediente.
«He was satirised by Samuel Butler in his CHARACTER OF AN HERMETIC PHILOSOPHER,* and as some say also in HUDIBRAS itself.» — [Waite] consigna la sátira de Samuel Butler contra Vaughan y separa lo que da por cierto de lo que atribuye a otros con un *as some say*.
«It is certain that Butler intended to depict Vaughan and was acquainted with some of his writings.» — [Waite] da por cierto que Butler retrataba a Vaughan y que conocía parte de sus escritos.
«The suggestion that Ralpho the squire of Hudibras was also intended for Vaughan can have been made by no one acquainted with the works of Eugenius Philalethes. There is no vestige of similitude.» — [Waite] objeta la identificación de Vaughan con el escudero Ralpho y funda la objeción en el desconocimiento de las obras de Eugenius Philalethes por parte de quien la propuso.
«The satire remained in MS. for something like a century.» — [Waite] data la circulación de la sátira de Butler: manuscrita durante cerca de un siglo.
«Otherwise he wrote always as Eugenius Philalethes, and out of this fact there arises a very curious question of identity, involving a confusion of distinct or apparently distinct personalities, on which I hope to cast such light that it may perhaps be regarded as determined.» — [Waite] abre en primera persona la cuestión de identidad del volumen y la enuncia con su límite doble: personalidades distintas o aparentemente distintas, y una esperanza de darla por resuelta que él mismo condiciona con *perhaps*.
«In the year 1667 being two years after Vaughan, according to his history, had departed this life there appeared at Amsterdam a work entitled INTROITUS APERTUS AD OCCLUSUM REGIS PALATIUM, edente Joanne Langio, the accredited author being Eirenseus Philalethes, described as anonymus philosophus» — [Waite] data en 1667 la aparición en Ámsterdam del INTROITUS APERTUS bajo el nombre de Eirenaeus Philalethes, dos años después de la muerte de Vaughan; *Eirenseus* es lectura del OCR por Eirenaeus. Es el otro Philalethes, el que se distingue de Eugenius.
«It sprang at once into fame as a treatise of undeniable Hermetic authority and exceptional clearness on the Great Work of Alchemy.» — [Waite] mide la fortuna inmediata del INTROITUS APERTUS: autoridad hermética indiscutida y claridad excepcional sobre la Gran Obra.
«So far, however, it would appear only that an English writer had chosen Latin as his medium, the continent as place of publication, and a pseudonym recalling that of Eugenius, in all which there is nothing which calls for notice.» — [Waite] acota el alcance de la primera coincidencia entre los dos Philalethes: un inglés que escribe en latín en el continente bajo seudónimo parecido no es todavía nada digno de nota.
«I am obviously not prepared to deny that here is another coincidence, however remarkable as such ; but I must confess that imagination is disposed, on the other hand, to speculate whether Vaughan really died in 1665, whether he did not change his local habitation, adopting another pseudonym, as he had done once previously.» — [Waite] deja abierta, y declarándola imaginación, la hipótesis de que Vaughan no muriera en 1665 sino que cambiara de residencia y de seudónimo; la enuncia como especulación propia, no como tesis.
«It follows that the birth coincidence is illustrated by early identification, which may well have arisen through similarity of pseudonyms, 4 but certainly not owing to the coincidence itself, with which no one would have been acquainted on the continent.» — [Waite] invierte el sentido del argumento ajeno: la coincidencia de fechas de nacimiento no explica la identificación temprana de los dos Philalethes, porque en el continente nadie la conocía; lo que la explica es la semejanza de los seudónimos.
«It was perpetuated in England subsequently by transmission from writer to writer.» — [Waite] describe el mecanismo por el que la confusión entre los dos Philalethes se sostuvo en Inglaterra: repetición de un escritor a otro, no evidencia nueva.
«The opinion expressed by Wedelius at the end of the seventeenth century rests on the authority of G. Hornius, an editor of Geber.» — [Waite] rastrea la opinión de Wedelius hasta su fuente, G. Hornius, editor de Geber, en vez de contarla como testimonio independiente.
«There are two things certain about this tract, the first being that it is not by Thomas Vaughan, and the second that it is not by Eirenasus.» — [Waite] niega las dos atribuciones del tratado a la vez y no propone tercera; *Eirenasus* es lectura del OCR por Eirenaeus.
«The ABYSSUS ALCHEMIZE describes Vaughan on the title-page as an English adept, the translator's short preface containing no particulars concerning him.» — [Waite] mide lo que una portada aporta como testimonio: llama adepto inglés a Vaughan y no da ningún dato.
«The characteristic pseudonym of Thomas Vaughan does not appear anywhere, nor that of Eirenasus Philalethes.» — [Waite] registra una ausencia como dato: ninguno de los dos seudónimos aparece en la pieza que examina.
«It is affirmed to have been in the editor's possession for " many years before the publication in Latin.» — [Waite] recoge en voz ajena la antigüedad del manuscrito en manos del editor; el tramo se corta donde el impreso deja abierta la comilla.
«It is difficult to speak with certainty, and I am putting the point tentatively, but on the whole I am disposed to infer that William Cooper really had an» — [Waite] marca por escrito el grado de su propia inferencia sobre el manuscrito de William Cooper antes de enunciarla; la frase sigue en la plana siguiente.
«The question of distinction or identity is in my opinion capable of determination by reference to the memorials themselves, in respect of their subject-matter and mode of treatment, and by reference to the personal side I have put clearly and impartially all that can be» — [Waite] declara el método con que trata la cuestión de identidad: comparar los escritos por su materia y su modo de tratarla, y el lado personal; el tramo se corta en el cambio de plana.
«At no period of his life, and much less at the beginning of his literary activity, he being then in his twenty-eighth year, did Thomas Vaughan claim to have accomplished the physical Magnum Opus.» — [Waite] pone la primera pieza de su argumento: Vaughan nunca declaró haber realizado la Gran Obra física.
«He testifies, on the contrary, that he reached no term in the work on metals, and even from his own standpoint he was not acquainted with what is called the First Matter when he published his first two texts.» — [Waite] apoya la pieza anterior en el testimonio del propio Vaughan: ni término en la obra sobre los metales ni conocimiento de la primera materia al publicar sus dos primeros textos.
«He was therefore ex hypothesi in a very different position from Eirenaeus Philalethes, who claimed in his twenty-third year that he could extract gold and silver out of it.» — [Waite] contrapone las dos declaraciones: Eirenaeus se atribuye a los veintitrés años lo que Vaughan nunca se atribuyó.
«He says that "the whole secret consists in Mercury," which is sophic and not vulgar.» — [Waite] cita a Eirenaeus Philalethes sobre el mercurio sófico, y la glosa aclaratoria del calificativo es del editor.
«Vaughan, on the other hand, as we shall find at sufficient length in the INTRODUCTION which follows this PREFACE, was a cosmical philosopher, cherishing all kinds of doctrines and theories on the creation of the world, on the primitive state of man, on his Fall and Redemption as seen in the light of Kabalistic and other occult theosophies, about which Eirenaeus knew nothing apparently.» — [Waite] enumera lo que hace de Vaughan un filósofo cósmico —creación del mundo, estado primitivo del hombre, caída y redención leídas con la cábala y otras teosofías ocultas— y lo separa de Eirenaeus por esa materia, con la reserva de un *apparently*.
«The personalities of the two men were almost as the poles asunder, the Welsh mystic being an ardent lover of Nature, a man of sentiment and imagination, a typical poet of his period, belonging to a particular school, whereas his co-heir in Hermetic tradition was positive, practical, disturbed or consoled very little by the beauty of external things, and but little of the humanist order.» — [Waite] cierra la comparación por el carácter: Vaughan, místico galés amante de la naturaleza y poeta de escuela; Eirenaeus, positivo y práctico, poco tocado por la belleza de las cosas externas.
«Mrs Atwood's SUGGESTIVE INQUIRY affirms on p. 51 of the new edition that the author of THE OPEN ENTRANCE was Alexander Seton, but contradicts it with characteristic confusion on p. 61.» — [Waite] consigna una cuarta candidatura a la autoría de THE OPEN ENTRANCE, la de Alexander Seton según Mrs Atwood, y señala que la propia obra se contradice diez planas después.
«George Starkey was born in the Bermudas, graduated at Harvey College in 1646, practised as a doctor in America, and came to England at an uncertain date prior to 1654, when he published THE MARROW OF ALCHEMY» — [Waite] da en nota la ficha biográfica de George Starkey, la otra pieza de la disputa sobre quién fue Eirenaeus Philalethes; *Harvey College* es lectura del impreso por Harvard.
«I think personally that he must have visited George Starkey in America prior to 1654.» — [Waite] enuncia en primera persona y como conjetura el viaje del supuesto Eirenaeus a América para visitar a Starkey.
«He claims that they were lent to him by the Master's pupil.» — [Waite] atribuye a Starkey la afirmación sobre la procedencia de los manuscritos: prestados por el discípulo del Maestro.
«By means of all these manuscripts, Starkey says that he "attained the Mystery of the Mercury and by it the First Whiteness.» — [Waite] cita a Starkey declarando haber alcanzado el misterio del mercurio y por él la primera blancura; la comilla queda abierta en el impreso.
«After careful consideration, I am led to conclude: (i) That the supposed pupil of Eirenaeus is a figment of Starkey's imagination ;» — [Waite] enuncia la primera de sus conclusiones numeradas: el discípulo de Eirenaeus del que habla Starkey es invención suya. Es la posición de Waite en 1919 sobre una atribución que otras obras del corpus resuelven de otro modo, y aquí se consigna sin arbitrar.
«It is obvious on the faith of these statements whether all or one that the life of Eirenaeus Philalethes was a complete contrast to that of Thomas Vaughan, the measure of whose wanderings was circumscribed by Wales, London and Oxford.» — [Waite] opone las dos biografías por la geografía: los viajes atribuidos a Eirenaeus contra el radio de Vaughan, limitado a Gales, Londres y Oxford.
«and Mr E. K. Chambers says that "he cannot be shewn to have outlived Thomas Vaughan.» — [Waite] cita a E. K. Chambers para acotar lo que puede probarse: no consta que Eirenaeus sobreviviera a Vaughan.
«It follows from the preface to RiPLEY that Philalethes obtained his initiation from books and not from a Master, as Starkey states.» — [Waite] enfrenta dos testimonios sobre la iniciación de Philalethes: el prefacio de RIPLEY REVIVED dice libros, Starkey dice maestro.
«He owed his own knowledge to a Master who had stayed a few days in his house and had taught him "this Divine Art" which seems contrary to the story of Eirenaeus.» — [Waite] recoge la versión contraria y marca el conflicto entre relatos con un *seems contrary*, sin resolverlo.
«He exhibited an ivory box, "in which there were three large pieces of a substance resembling glass or pale sulphur, and informed me that here was enough of the tincture for the production of twenty tons of gold."» — el relato de Helvetius que [Waite] transcribe: la caja de marfil con tres trozos de una sustancia parecida al vidrio o al azufre pálido y la promesa de veinte toneladas de oro. La voz es la de Helvetius.
«Helvetius confesses that when he held the substance in his hand he scraped off some particles with his nail, but they changed lead into glass instead of into gold.» — [Waite] consigna el resultado adverso que el propio testigo declara: el plomo se volvió vidrio, no oro.
«I conclude that Thomas Vaughan was not Eirenaeus Philalethes, whosoever the latter may have been, and that they have been merged one into another solely over a confusion of pseudonyms.» — [Waite] enuncia la conclusión del prefacio y la acota dos veces: no dice quién fue Eirenaeus, y adjudica la fusión de los dos a una confusión de seudónimos.
«Thomas Vaughan the Silurist denies specifically his connection with any Rosicrucian Brotherhood ;» — [Waite] recuerda que el propio Vaughan niega su pertenencia a hermandad rosacruz alguna.
«When Leo Taxil in modern days created Diana Vaughan, as the heroine-in-chief of Luciferian Palladism, he furnished her with an ancestor in the person of Thomas Vaughan, author of THE OPEN ENTRANCE and Chief of the Rosy Cross.» — [Waite] sigue la deriva del nombre hasta la impostura moderna de Léo Taxil, que inventa a Diana Vaughan y le adjudica por antepasado a un Thomas Vaughan al que hace autor de THE OPEN ENTRANCE y jefe de la Rosacruz.
«I think on my part that he had seen the end of adeptship, but there is no record and no suggestion that he attained it.» — [Waite] separa lo que atribuye a Vaughan de lo que consta: haber visto el término del adeptado, no haberlo alcanzado.
«Though Eugenius Philalethes comes before us above all things as an occult and mystical writer, 1 we shall make a mistake if we disregard his literary side, not for what it marks in achievement but for that which it connotes in ambition.» — [Waite] reclama atención para el lado literario de Vaughan y acota en la misma frase por qué: por lo que la ambición connota, no por el logro. La llamada a nota queda dentro del tramo.
«that Thomas Vaughan was too often quoting from memory, giving the general sense of a passage but apart from literal accuracy.» — [Waite] advierte cómo cita Vaughan a sus autoridades: de memoria y por el sentido general, sin exactitud literal. Es la advertencia que gobierna todas las citas de segunda mano del volumen.
«In the generation which preceded immediately there was the illuminated master, full of high intimations after his own manner, who wrote A NEW LIGHT OF ALCHEMY.» — [Waite] abre su introducción situando a Vaughan en una generación posterior a la del autor del NEW LIGHT OF ALCHEMY.
«though his work appeared under that of Michael Sendivogius, a pupil or follower who issued it in this case as his own.» — [Waite] separa autor y firmante del NEW LIGHT: la obra salió bajo el nombre de Michael Sendivogius, a quien llama discípulo o seguidor que la dio como propia.
«The question is obscure and the last word remains to be said thereon unless ultimately it may be left over for want of materials by which to reach a settlement.» — [Waite] deja abierta esa autoría y prevé que pueda quedarse sin resolver por falta de materiales.
«They were men of religious mind by the indubitable testimony of their writings, and because it follows from all Hermetic literature that an undevout alchemist would be still more mad than even an impious astronomer.» — [Waite] caracteriza a los alquimistas por su religiosidad y remata con una fórmula de la propia literatura hermética: un alquimista sin devoción sería aún más loco que un astrónomo impío.
«He may have followed many false processes in outward and inward life ; he may have misread some symbols which were common modes of expression in the school to which he belonged ; he may have devised fantastic points of meeting between paths of thought and experiment which do not belong to one another ; but he never changed consciously the ground of his intent.» — [Waite] concede tres reproches a Vaughan y reserva uno solo a su favor: no cambió a sabiendas el fundamento de su propósito.
«He began in the " narrow name of Chemia " l and found nothing to his purpose, following in their course " who will hear of nothing but metals.» — [Waite] cita a Vaughan sobre su propio arranque en la química estrecha y sobre los que solo quieren oír hablar de metales; la comilla queda abierta en el impreso.
«But he knew always that Dominus non pars est sed totum alike in Art and Nature, above all in things of the human soul.» — [Waite] resume la convicción que atribuye a Vaughan con una sentencia latina, el Señor no es parte sino todo, y la extiende al arte, a la naturaleza y sobre todo al alma.
«But so long as the soul is in the body it is (8) " like a candle shut up in a dark lantern.» — [Waite] cita a Vaughan sobre el alma en el cuerpo con la imagen de la vela en la linterna sorda, y numera la cita dentro de una serie propia.
«There is, however, a certain Art and I conceive that in the meaning of our mystic it is literally an Art of Love " by which (9) a particular spirit may be united to the universal "» — [Waite] interpreta lo que Vaughan llama un arte y propone leerlo literalmente como arte del amor; la propuesta se declara como conjetura suya, no como texto de Vaughan.
«But we know so little of this Art that we are said (n) to be born with a veil over the face, " and the greatest mystery, both in divinity and philosophy, is how to remove it."» — [Waite] cita a Vaughan sobre el velo con que nacemos y sobre el mayor misterio de la divinidad y de la filosofía: cómo quitarlo.
«But (13) the key to the whole mystery is the nearness of God to the heart of man ;» — [Waite] señala cuál es a su juicio la clave del sistema de Vaughan: la cercanía de Dios al corazón del hombre.
«An answer comes from himself, when he says very earnestly : " Reader, be not deceived in me. I am not a man of any such faculties, neither do I expect this blessing " he has been speaking of Spiritual Regeneration " in such a great measure in this life.» — [Waite] responde a la pregunta de si Vaughan se atribuía la regeneración citándolo a él mismo; la aclaración intercalada sobre de qué venía hablando es del editor. El mismo pasaje de Vaughan se lee en su tratado, plana 173.
«He goes on to describe himself in the words of Cornelius Agrippa, as a finger-post pointing forward and indicating " the right, infallible way " to those undertaking the journey.» — [Waite] señala que Vaughan se describe a sí mismo con palabras de Cornelio Agrippa: un poste indicador que señala el camino sin recorrerlo.
«While it is borne out reasonably by his writings, which are for the most part reflected from known authorities, the fact is without prejudice to great occasional lights, which break forth there and here in his pages and are the brighter since they come unawares, at times amidst cosmical speculations at once arid and dreary, or in the extraction of some hidden but not vital sense in the letter of GENESIS.» — [Waite] concede que los escritos de Vaughan reflejan en su mayor parte autoridades conocidas y a la vez reclama para ellos luces ocasionales que aparecen sin aviso entre especulaciones que él llama áridas.
«There is the allusion to that state when the veils are taken away, when we know " the Hidden Intelligence " and behold the " Inexpressible Face."» — [Waite] recoge las dos fórmulas de Vaughan para el término del camino, la Inteligencia Oculta y el Rostro Inexpresable; la fuente parte *In-expressible* por el corte de renglón.
«I conceive it to be the last work in the world of images, on the threshold of that final mode when the seer and the seen are one.» — [Waite] declara como lectura propia dónde sitúa ese término: el último trabajo en el mundo de las imágenes, en el umbral del modo en que el que ve y lo visto son uno.
«He does not help us therefore on his own part towards that which he calls in his symbolism the Septenary and the true Sabbath, " the Rest of God into which the creature shall enter,» — [Waite] declara lo que Vaughan no da: la vía hacia el Septenario y el verdadero Sabbath, que él llama el Reposo de Dios.
«The explanation is that Thomas Vaughan appears to have had another concern in the hypothetical world of mystical possibility, as regards the subject Man.» — [Waite] propone la explicación de ese silencio: el interés de Vaughan estaba en otra parte, en el hombre.
«It would be after this manner that the "hard and stubborn flints " of his symbol become " chrysoliths and jasper in the new, eternal foundation.» — [Waite] glosa el símbolo de Vaughan: los pedernales duros y tercos se vuelven crisólitos y jaspe en el fundamento eterno.
«But if, as I believe, he regarded the body of adeptship as a state that could be attained in this life, he would have held that it is implied in the Rosicrucian counsel which he quotes : " Be ye transmuted from dead stones into living philosophical stones.» — [Waite] enuncia como creencia propia lo que atribuye a Vaughan, y apoya la atribución en un consejo rosacruz que Vaughan cita: transmutarse de piedras muertas en piedras filosóficas vivas.
«The Medicine is, however, " in Heaven itself " 8 and not to be found elsewhere, yet not meaning thereby that it is remote in place or time, but rather in that centre which being within us is a centre that can be found everywhere.» — [Waite] resuelve la aparente lejanía de la Medicina en la doctrina del centro: está en el cielo y a la vez en un centro interior que puede hallarse en todas partes.
«It is such a perfection of the body as the soul is said to be expecting, 7 and that which mediates in the attainment, which alone fortifies and alone can bring " to a beauteous specifical fabric," is the " Spirit of the Living God."» — [Waite] identifica el agente único de esa perfección corporal con el Espíritu del Dios Vivo, citando a Vaughan.
«Out of what order of physical procedure such a result is brought about must remain an open question, and the hypothesis cannot be translated therefore into intelligible terms.» — [Waite] declara el límite de lo que puede decirse: el orden de procedimiento físico queda en cuestión abierta y la hipótesis no se deja traducir a términos inteligibles.
«In this state, says Vaughan, " it is first made subject to the artist."» — [Waite] cita a Vaughan sobre el punto en que la materia queda por primera vez sujeta al artista.
«The work upon this matter is said, however, to be performed by an invisible artist, being the Spirit of God.» — [Waite] consigna quién obra según Vaughan sobre esa materia: un artista invisible que es el Espíritu de Dios.
«The alchemists claimed, however, that there was a Medicine of men and metals, which was identical at the root for both, and by which according to Vaughan the particulars in the various kingdoms of Nature could be brought to perfection after their own kind.» — [Waite] enuncia la tesis alquímica de una medicina común a hombres y metales, y marca con un *according to Vaughan* la parte que adjudica a su autor.
«But most alchemists were content with the thesis that human bodies could be kept in health by the medicine ; they were not brought into an imperishable condition and they were not glorified.» — [Waite] separa a la mayoría de los alquimistas, que solo pedían salud, de la pretensión de un cuerpo imperecedero y glorificado.
«Vaughan, however, drew his notions more especially from the translations of Enoch and Elias ; from the arch-natural condition which must be postulated concerning a body that could be taken up to heaven in a chariot of fire ;» — [Waite] rastrea de dónde toma Vaughan la idea del cuerpo glorificado: los arrebatamientos de Enoc y de Elías.
«The records are against the claim, in the sense that they are (i) utterly hostile, or (2) there is no evidence whatever, seeing that we do not know how most of the adepts either lived or died.» — [Waite] mide la pretensión de longevidad de los adeptos contra el registro y distingue dos casos: testimonio hostil o ausencia total de testimonio.
«But out of this state of unknowing there arises no argument for long life.» — [Waite] acota lo que la ignorancia permite concluir: de no saber cómo murieron los adeptos no se sigue que vivieran mucho.
«On the other hand, we do know certainly that the operation as described is impossible, and that although gold in the future may be produced by science it will not be after this manner» — [Waite] niega la operación tal como los relatos la describen y a la vez deja abierta la producción futura de oro por la ciencia; el tramo se corta en el cambio de plana.
«While, moreover, the personal sincerity of the Swiss chemist is in my opinion inexpugnable, we have» — [Waite] separa la sinceridad del testigo de la verdad de lo testificado, y da la primera por inexpugnable en opinión propia.
«Such being the state of the case on its experimental side, we have no record of anyone being enriched by the art of alchemy, Nicholas Flamel excepted, and his story much as it calls for reconsideration is either largely or entirely mythical» — [Waite] mide el saldo experimental de la alquimia por el enriquecimiento y no halla registro salvo el de Nicolas Flamel, cuya historia llama mítica en todo o en gran parte.
«He does not come before us as one having a superficial or merely speculative knowledge of the First Matter ; he has been " instructed in all the secret circumstances thereof, which few upon earth understand.» — [Waite] abre una serie numerada sobre lo que Vaughan se atribuye respecto de la primera materia, y la primera pieza es una cita del propio Vaughan sobre estar instruido en sus circunstancias secretas.
«leads us to infer that he has seen it, handled it, and learned its central, invisible essence by experimental ocular demonstration.» — [Waite] continúa esa serie: lo que Vaughan dice permite inferir que vio y manejó la primera materia y aprendió su esencia por demostración ocular.
«He bears witness to the truth therefore and is no deceiver.» — [Waite] concede a Vaughan la buena fe del testigo, que es cosa distinta de conceder el contenido del testimonio.
«But, his familiarity notwithstanding and when he believed it to be under his eyes he found it " impossible to describe," on account apparently of its "laxative, unstable, incomposed substance."» — [Waite] señala la contradicción del testimonio: quien dice haberla tenido delante la declara imposible de describir por su sustancia laxa, inestable y sin composición.
«It is called indifferently water and earth by Moses, but is neither " in their common complexions," being "a slimy, spermatic, viscous mass, impregnated with all powers, celestial and terrestrial."» — [Waite] reúne las descripciones de Vaughan sobre la primera materia: agua y tierra en Moisés, pero ninguna de las dos en su complexión común, sino masa limosa, espermática y viscosa, cargada de todas las potencias.
«It renews itself in a thousand ways, "and is never a perpetual tenant to the same form.» — [Waite] recoge de Vaughan la inestabilidad de forma de esa materia: se renueva de mil maneras y no habita nunca de modo perpetuo una misma forma.
«but this description is qualified in several places subsequently and contradicted expressly in others, it being obvious that a slimy mass can only be called a stone in mendacious symbolism.» — [Waite] señala que Vaughan matiza y contradice después su propia descripción de la piedra, y llama simbolismo mendaz al que llama piedra a una masa limosa.
«in other words, it came forth from God, but whether by creation or otherwise we are left to speculate.» — [Waite] deja en especulación el modo de proceder de la primera materia desde Dios: si por creación o de otro modo, el texto no lo dice.
«It is the Second Nature from God Himself and the Child of the Blessed Trinity.» — [Waite] recoge la fórmula de Vaughan para la primera materia: Segunda Naturaleza a partir de Dios mismo e hija de la Trinidad.
«This Second Nature is not therefore the Second Person.» — [Waite] pone el límite doctrinal de esa fórmula: la Segunda Naturaleza no es la Segunda Persona de la Trinidad.
«It follows from the last citation that the First Matter and Second Nature from the Blessed Trinity is not a simple substance, though immanent in all things and ex hypothesi educible from all, but a composite the parts of which must be drawn out of their several receptacles.» — [Waite] deriva de las citas anteriores que la primera materia de Vaughan es compuesta y no simple, aunque inmanente a todo, y que sus partes han de sacarse de receptáculos distintos.
«The science "ancient and infinite," for which Chemia was an unworthy name, remained in the height of his reverie and never came down to earth.» — [Waite] cierra la cuenta: la ciencia antigua e infinita que Vaughan invocaba se quedó en su ensoñación.
«As to that which he met with in the course of his chemical operations and which he elevated into the position of the First Matter of all things we must be content to leave its identity an open question.» — [Waite] deja la identidad de la sustancia de Vaughan como cuestión abierta en vez de proponer una equivalencia química.
«He says (i) that he found it by accident; (2) that he forgot how ; (3) that he made a hundred vain attempts to recover it ; (4) that it came back to his mind during his wife's last illness ; (5) that he extracted it by the former practice the day after her death ; and (6) that in this manner there was conferred upon him by God " the greatest joy I can ever have» — [Waite] enumera en seis puntos el relato que Vaughan hace de su hallazgo, incluido el olvido del procedimiento y su recuperación durante la última enfermedad de su esposa.
«In a word, his Magic is the old wisdom of adeptship and always connotes sanctity.» — [Waite] define qué entiende Vaughan por magia: la antigua sabiduría del adeptado, y siempre con connotación de santidad.
«The Memorise Sacr*e are not only of great interest as autobiographical notes but they are of importance as illustrating the fact that he was an ambitious student at work in the dark unaided, owing nothing to ordinary instructors and nothing to a school of initiation.» — [Waite] adjudica a los cuadernos privados de Vaughan un valor probatorio: muestran a un estudioso solo, sin maestros ni escuela de iniciación. *Memorise Sacr*e* es lectura del OCR por Memoriae Sacrae.
«As to this he says expressly in his Preface to the FAMA ET CONFESSIO (i) that he has no relation to the Fraternity, " neither do I much desire their acquaintance";» — [Waite] apoya la negativa rosacruz de Vaughan en su propio prefacio a la FAMA ET CONFESSIO, donde niega relación con la Fraternidad y añade que tampoco desea su trato.
«There is, however, another point, for it has to be recognised that in AULA Lucis Vaughan claims to have acted by authority from Unknown Superiors.» — [Waite] pone al lado de esa negativa el dato que la tensa: en AULA LUCIS Vaughan dice actuar por autoridad de Superiores Desconocidos. Las dos declaraciones quedan consignadas sin armonizar.
«Vaughan believed himself to have discovered the Great Secret, not only of the First Matter but of the Vessel of Hermes.» — [Waite] consigna la pretensión máxima de Vaughan: el Gran Secreto de la primera materia y del Vaso de Hermes.
«He calls these attainments the fruit of his own experience, and in the latest of all his publications affirms that he has wrung the mystery " out of the earth " and had no one to instruct him.» — [Waite] señala que Vaughan reclama esos logros como experiencia propia y sin maestro, y sitúa la afirmación en su última publicación.
«(2) "But had my young friend Eugenius Philalethes been present he had laughed without mercy.» — [Waite] cita a Vaughan riéndose de sí mismo en tercera persona bajo su propio seudónimo; la frase se lee también en EUPHRATES, plana 387.
«He did not therefore name openly the certain substance which he understood as the First Matter, that Vessel like unto " a little simple shell," l or the Glass of his mystery.» — [Waite] enumera las tres cosas que Vaughan se guarda de nombrar: la sustancia, el vaso comparado con una concha simple y el vidrio de su misterio.
«Above all, he "must not speak one syllable" concerning the Kabalistic Mors Osculi* The reason perhaps in his mind is that which is given respecting the Secret of the Fire, which " in itself is not great but the consequences of it are so.» — [Waite] señala el silencio de Vaughan sobre la Mors Osculi cabalística y propone como razón, marcándola con un *perhaps*, la que Vaughan da para el secreto del fuego.
«He held himself bound therefore in honour, as if he had been covenanted in a high Grade of Adeptship.» — [Waite] explica el silencio de Vaughan como obligación de honor y acota la comparación con un *as if*: como si estuviera comprometido en un grado alto de adeptado.
«If Vaughan had known it in any of its earthly degrees, he might have said more frankly that no real intimation concerning it could be conveyed in words.» — [Waite] enuncia en condicional lo que Vaughan habría dicho de haber conocido aquello de lo que calla.
«We know also that Vaughan's ascent to " the Supernatural Still Voice " 5 and to the invisible meaning the Divine elements of the soul constitutes by his express definition " the Christian Philosopher's Stone."» — [Waite] recoge la definición expresa de Vaughan: el ascenso a la Voz Callada Sobrenatural y a lo invisible del alma es la Piedra Filosofal cristiana. La aclaración intercalada sobre qué es lo invisible es del editor.
«His Medicine is that actually which he claims for it in one place, a "Spiritual Substance";» — [Waite] fija en qué queda la Medicina de Vaughan según sus propias palabras: una sustancia espiritual.
«so that, notwithstanding the " narrow name of Chemia " and the derision of Lapis Chemicus* there was a literal art of alchemy and a gold made by art which would "pass the test royal without any diminution."» — [Waite] sostiene que, pese al desprecio de Vaughan por el nombre estrecho de la química, en su sistema hay un arte alquímico literal y un oro artificial que pasaría la prueba real.
«And this seems to answer the whole question at issue, my proposition concerning which is that Vaughan's speculations on the natural world and its phenomena were not a talk about one region of things as a veil of another, but of two on the same basis and in the same terms of symbolism, as the spirit moved him concerning them.» — [Waite] enuncia su propia tesis sobre cómo leer a Vaughan: no una física encubierta que hable de lo espiritual, sino dos órdenes tratados a la vez con el mismo simbolismo.
«(i) When Vaughan says that there is a twofold fermentation, spiritual and bodily, 2 he is to be understood primarily in the sense of what he affirms elsewhere about light.» — [Waite] instruye cómo leer la doble fermentación de Vaughan: primariamente por lo que él mismo dice de la luz.
«He did occasionally borrow the language of alchemy to speak of the soul's transmutation, and he spoke of things physical in terms which could be applied to processes working within the soul.» — [Waite] describe el doble uso del lenguaje en Vaughan, y lo hace en los dos sentidos: lo alquímico dicho del alma y lo físico dicho en términos aplicables al alma.
«I do not think that my position has altered in any important sense.» — [Waite] se sitúa respecto de lo que él mismo había escrito antes sobre Vaughan y declara que su posición no cambió en lo sustancial.
«But I may have thought in the first instance that he owed more to direct mystical experience than seems probable now in the general light of his record.» — [Waite] declara en qué sí se movió: antes atribuía a Vaughan más experiencia mística directa de la que ahora le parece probable.
«I regarded him then as one for whom "the true subject of philosophy is the man within," 2 and as acquainted in one or another sense with " the mystery of a grace above all grace made known in the heart.» — [Waite] recuerda con qué fórmulas de Vaughan lo había leído antes: el verdadero sujeto de la filosofía es el hombre interior, y la gracia sobre toda gracia revelada en el corazón.
«I believe that they will find him that which he desired to be a finger-post indicating the true path to those undertaking the journey.» — [Waite] cierra su introducción con lo que espera del lector, y repite la imagen agripiana del poste indicador.
«At the beginning of his literary life Thomas Vaughan was influenced deeply by the works of Cornelius Agrippa and especially by THE THREE BOOKS OF OCCULT PHILOSOPHY. He drew much from this source, as rny annotations are designed to shew ; but the matter of Agrippa suffers a certain transmutation in the alembic of his own mind.» — [Waite] declara en su primera nota al tratado cuál es el programa de su aparato: mostrar la deuda de Vaughan con Cornelio Agrippa, y a la vez acota que lo tomado se transmuta. *rny* es lectura del OCR por my.
«Cornelius Agrippa mentions, on the authority of Cicero, a " sovereign grade of contemplative perfection " wherein the soul knows all things in the light of ideas.» — [Waite] localiza en Agrippa, y este en Cicerón, el grado soberano de perfección contemplativa en que el alma conoce todo por las ideas.
«It will be seen that this is realisation in mind; but the true attainment is in love.» — [Waite] cierra esa nota con un juicio propio que desplaza el acento de la fuente: lo que Agrippa describe es realización en la mente, y el logro verdadero está en el amor.
«The Holy Spirit is regarded in orthodox theology as the bond of love between the Father and the Son.» — [Waite] anota al margen de la trinidad luminosa de Vaughan cuál es la doctrina ortodoxa sobre el Espíritu Santo.
«In this conception of love as the bond of union between the worlds within and without Thomas Vaughan suffers comparison for a moment with those early English mystics Richard Rolle of Hampole and Dame Julian of Norwich.» — [Waite] empareja a Vaughan con Richard Rolle y Juliana de Norwich por la idea del amor como vínculo, y acota la comparación a ese punto.
«It is difficult, however, to separr.te Shekinah from the Word of Kabalism.» — [Waite] anota que la Shekinah y el Verbo de la cábala no se dejan separar con facilidad, y remite a un libro propio; *separr.te* es lectura del OCR por separate.
«In Christian mystical symbolism the soul is a moon shining in the light of that Sun which is the Christ-Spirit.» — [Waite] traslada en nota la pareja sol-luna de Vaughan al simbolismo místico cristiano.
«The soul of man consists chiefly of two portions, Ruah and Nephesh inferior and superior.» — [Waite] resume la psicología cabalística que Vaughan supone, y reparte el alma en Ruah y Nephesh. La nota aparece corrida dentro del cuerpo de la plana, no al pie.
«It follows that he was writing speculatively and knew neither the Supposed Medicine nor the physical constitution of man.» — [Waite] cierra esa nota con un juicio sobre el alcance de lo que Vaughan escribe: especulación, sin conocimiento ni de la Medicina ni de la constitución física del hombre.
«We have seen that Rua'h is really the mind part and that Neshamah is the divine soul, but in this life it is not normally in realisation of its own royalty.» — [Waite] precisa en nota los términos hebreos que Vaughan maneja y añade el límite: en esta vida el alma divina no suele realizarse.
«But there is also Tsure, the prototype of the individual soul in the Mind of God, an union with which is the highest mystical state in Jewish theosophy.» — [Waite] añade el tercer término, Tsure, y lo declara el estado místico más alto de la teosofía judía.
«The myth proving unacceptable in its literal sense, allegories were devised to redeem it, but trie myth was sacrificed in these.» — [Waite] describe el precio de la lectura alegórica del relato del Edén: salva el sentido y pierde el mito; *trie* es lectura del OCR por the.
«It is a little difficult to follow the psychology of Vaughan because of his loose method of expression.» — [Waite] declara el obstáculo de lectura y lo adjudica al método suelto de expresión de su autor.
«Now, this vision is performed by a reflection analogous lb the soul in animals ; (3) a spirit part, which Vaughan calls angelical and which, according to the Thomists, belongs to the familia angelorum.» — [Waite] ordena en tres partes numeradas la antropología de Vaughan y adjudica a los tomistas la familia angelorum
«Vaughan is not likely to have known St Thomas Aquinas at first hand and in reality he derived from Agrippa, who probably did.» — [Waite] corta la vía directa a Tomás de Aquino y la reencamina por Agrippa, marcando con un *probably* lo que no consta
«Agrippa says that the elements are in man according to their true properties. " In him also there is, as it were, an ethereal body, the chariot of the soul, corresponding analogically to the heaven.» — [Waite] transcribe el pasaje de Agrippa del que hace derivar la antropología de Vaughan, con el cuerpo etéreo como carro del alma
«It has to be said notwithstanding that Agrippa like others before him and after offered a clear explanation which we can take or leave, but with Vaughan omnia exeunt in mysterium, and we get from him no real definition of original sin.» — [Waite] contrapone la claridad de Agrippa a la de Vaughan y resume a este con una fórmula latina, todo termina en misterio: no da definición real del pecado original
«His position is comparable to that of Paracelsus, who wished Luther and the chaos of reformers well, believing doubtless that something would evolve therefrom, but he did not join the reformers.» — [Waite] sitúa a Agrippa respecto de la Reforma por comparación con Paracelso, y acota que ninguno de los dos se sumó a los reformadores
«" My spirit shall not always abide in man," which justifies Vaughan's alternative.» — [Waite] coteja la lectura de la Vulgata y señala que respalda la alternativa de Vaughan
«The multitudinous writings of Paolo Giovio, Bishop of Nocera, were collected and published at Basle between 1578 and 1596 in five folio volumes. They treated of many matters, but demonology was not among them. I do not pretend to say in which portion of the vast memorial there may occur some reference to Agrippa.» — [Waite] anota la obra de Paolo Giovio, a quien Vaughan acusa, y acota lo que puede sostenerse: sus volúmenes no tratan de demonología y él no dice en cuál habría referencia a Agrippa. La cifra 1596 del propio texto dispara el detector de folios
«It is in contradiction also with mysticism, which conceives union with God as the end of the soul's being, and no union is possible with beings that are fundamentally dissimilar.» — [Waite] objeta en nota una doctrina sobre la disparidad de sustancias por su consecuencia mística: sin semejanza no hay unión posible con Dios
«It is fair to add that scholastic theology has its own difficulties, postulating a certain duality in all created spirits, considered as a compound of actuality and potentiality.» — [Waite] concede en la misma nota la dificultad simétrica de la teología escolástica, que postula dualidad en todo espíritu creado
«It will be seen that Vaughan explains the word as referring in its Aristotelian use to a principle of motion according to cosmic law.» — [Waite] fija en nota el sentido aristotélico con que Vaughan usa el término
«Latio in classical Latin signifies making or giving, as in Cicero, legum latio, the making of laws.» — [Waite] anota el sentido clásico de una voz latina que Vaughan emplea, con el ejemplo ciceroniano. La nota va corrida dentro del cuerpo de la plana
«It does not contain the aphorism quoted by Vaughan. It will be found, however, in the letter of pseudo-Synesius to Dioscorus on the Book of Democritus.» — [Waite] señala en nota otra procedencia para un aforismo que Vaughan cita y lo localiza en la carta del pseudo-Sinesio a Dioscoro
«I must confess that this symbolism confounds the reason. A vertical line drawn through a circle does not in known geometry separate the circumference from the centre.» — [Waite] declara en nota no entender el simbolismo geométrico de Vaughan y da la razón: una vertical trazada por un círculo no separa la circunferencia del centro
«The name Adam in alchemy sometimes signifies Sulphur, sometimes Mercury and sometimes the Magistery in its perfect red state. Microcosm is a general term given to the Magistery at any stage. It does not seem to have signified Sophie Mercury.» — [Waite] anota los sentidos alquímicos del nombre Adán y del microcosmo, y acota que no consta el que Vaughan le da
«Libanius Callus is, however, a dark star in all respects.» — [Waite] anota lo que se sabe del maestro que Trithemius se atribuye y lo llama estrella oscura en todos los sentidos; el troceo imprime *Callus* por Gallus
«Trithemius is far famed in the records of occult history. Here it is sufficient to say that he was born about 1462 and died in 1516.» — [Waite] sitúa y data a Trithemius en la nota que acompaña la cita de Vaughan
«If net, his enumeration stultifies himself. See his later reference to the natural body in an archnatural state.» — [Waite] objeta en nota la coherencia de una enumeración de Vaughan y remite a otro pasaje del mismo autor sobre el cuerpo natural en estado arcanatural; *If net* es lectura del OCR por If not.
«may be possibly to Morien, who was born in Rome but went in his youth to Alexandria and is alleged to have left three tracts in Arabic. Two at least of these would have been known in Latin by Vaughan.» — [Waite] propone en nota a quién puede aludir Vaughan y acota lo que puede saberse: Morien, y dos de sus tres tratados árabes accesibles en latín.
«The list of anonymous works on Alchemy apart from MSS. fills nearly twelve pages in the bibliography of Lenglet du Fresnoy.» — [Waite] mide en nota el peso de lo anónimo en la literatura alquímica por las páginas que ocupa en la bibliografía de Lenglet du Fresnoy.
«According to Agrippa, the number twelve is divine and things celestial are measured thereby.» — [Waite] anota la fuente agripiana del valor que Vaughan da al número doce.
«I have not found the statement in the DIVINE PYMANDER, nor in the passages quoted by Stobaeus.» — [Waite] declara en nota una búsqueda negativa: no halla en el PYMANDER ni en los pasajes de Estobeo lo que Vaughan atribuye a Trismegisto.
«Compare the oracle in Porphyry concerning ''an incorruptible flame" which is "the origin of all things.» — [Waite] remite en nota al oráculo de Porfirio sobre la llama incorruptible como origen de todas las cosas.
«The reference is to Henry More, who under the name of Alazonomastix Philalethes wrote OBSERVATIONS upon Anthroposophia Theomagica and Anima Magica Abscondita.» — [Waite] identifica en nota al autor del libelo que Vaughan injuria sin nombrar: Henry More, bajo el nombre de Alazonomastix Philalethes. Es la nota que fija toda la polémica del volumen.
«Now the traditional theosophy of Israel did not deal in the symbolism of triangles and circles, but in the hidden meaning of the Holy Word.» — [Waite] separa en nota la teosofía tradicional de Israel del simbolismo de triángulos y círculos.
«On the other hand, debased Kabalism did, and was the progenitor of Almadels and Grimoires.» — [Waite] atribuye a una cábala degradada la paternidad de los almadeles y los grimorios.
«There is authority for this attribution in the Kabalistic work called THE GARDEN OF POMEGRANATES.» — [Waite] respalda en nota una atribución de Vaughan remitiendo al Jardín de los Granados.
«The ZOHAR knows nothing of invisible planets.» — [Waite] objeta en nota, por vía de ausencia, la doctrina de los planetas invisibles: el Zohar no la conoce.
«It must be said that Kabalism does not contain the doctrine of absorption in God suggested here.» — [Waite] objeta en nota que la cábala contenga la doctrina de absorción en Dios que Vaughan sugiere.
«There is union with the Supernals through Shekinah in Divine Understanding, but the'unmanifest God is in the transcendence; and this is God not only unknown but unknowable, as the ZOHAR tells us.» — [Waite] precisa qué unión sí enseña la cábala y dónde pone el límite: el Dios no manifestado permanece incognoscible.
«The Kabalistic doctors were not troubled by the problem of that origin and were willing to accept the consequences of their belief in God as the Creator of all.» — [Waite] anota que los doctores cabalistas aceptaron las consecuencias de hacer a Dios creador de todo, sin inquietarse por el origen del mal.
«It should not be difficult in view of the preceding intimations concerning the doctrine of Christ in respect of minerals and vegetables.» — [Waite] remite en nota a lo ya dicho sobre la doctrina de Cristo respecto de minerales y vegetales.
«The council of seventy elders was ordained later by Divine command, some part of the spirit of Moses being promised thereto.» — [Waite] precisa en nota la cronología y el fundamento de la institución del consejo de los setenta.
«Esdras is instructed to declare some things and to hide others, xiv, i ; to publish some things and shew some secretly to the wise, xiv, 26 ; and he produced with his scribes two hundred and four books, xiv, 44 ; but of these seventy were reserved for the wise xiv, 46 presumably, the council of elders.» — [Waite] documenta en nota el reparto entre libros públicos y reservados en el cuarto de Esdras, con los versículos, y marca como suposición la identificación de los sabios con el consejo.
«But this treatise as described in the memorial concerning it has nothing to do with the Kabalah of Jewry, and in what manner it proves the latter physical passes understanding.» — [Waite] objeta en nota que el tratado descrito pruebe nada sobre la cábala judía y declara no entender el argumento.
«The historical basis of the legend began to be questioned in the middle of the eighteenth century.» — [Waite] data en nota el comienzo de la crítica histórica de la leyenda de Flamel.
«It would be interesting to know what saint was in the mind of our author, but there is nothing in the context which will justify or even tolerate any speculation.» — [Waite] declara en nota que el contexto no permite identificar al santo que Vaughan tenía en mente, y se abstiene de conjeturar.
«No doubt Vaughan is right in saying that Kircher is wrong, but he had no means of knowing.» — [Waite] concede en nota la conclusión de Vaughan contra Kircher y a la vez le niega los medios para haberla fundado.
«I do not know how Vaughan comes by this intimation, which is certainly not in the Hebrew text of Genesis, nor do the words serpitura agues occur in the Vulgate version.» — [Waite] declara en nota una búsqueda negativa: la lectura latina que Vaughan atribuye al Génesis no está en el hebreo ni en la Vulgata.
«This is possibly an erratum and may be read "leave."» — [Waite] propone en nota una enmienda de lectura y la marca como posible, no como cierta.
«It may also typify prepared Mercury, whk is fundamentally the same thing.- White Magnesia is White Soph Sulphur or Gold, and Red Magnesia is Red Sulphur or Gold, the Si of Alchemy.» — [Waite] anota las equivalencias alquímicas de las magnesias blanca y roja; el troceo corrompe varias palabras del pasaje.
«I believe that Basil Valentine was the first to make use of this word, which is composed of the first and final letters of the Latin, Greek and Hebrew alphabets.» — [Waite] atribuye a Basilio Valentín la primera aparición del término y explica su formación con las letras iniciales y finales de tres alfabetos, marcando la atribución como creencia propia.
«He is therefore giving a wrong name of the literal kind to the substances which he has just described figuratively, using familiar terms of alchemy.» — [Waite] objeta en nota la nomenclatura de Vaughan: aplica un nombre literal a sustancias que acababa de describir en figura.
«But it is instituting a false analogy to compare much less to identify the Nihil Divinum of Dionysius with the creation out of nothing mentioned by Bb'hme.» — [Waite] objeta en nota la equiparación entre el Nihil Divinum de Dionisio y la creación de la nada de Boehme.
«It is possible that Agrippa had Dionysian symbolism in his mind, for he was a man of wide reading ; but he was not a mystic and it remains an open question.» — [Waite] concede la posibilidad de una lectura dionisiana en Agrippa y la deja en cuestión abierta, con la razón: era hombre de lecturas amplias pero no místico.
«He does not appear to dispute the fact of creation ex nihilo, but " the Second Nature from God" has a clear emanation-implicit, which otherwise seems contrary to his intention.» — [Waite] señala en Vaughan una emanación implícita que no cuadra con su propia intención declarada.
«If it means the state of Godhead recognised by theologia negativa, this has no form or countenance.» — [Waite] objeta en nota la coherencia de hablar de un rostro allí donde la teología negativa no admite forma.
«I do not know what text of or referred to Paracelsus is quoted under this title.» — [Waite] declara en nota no poder identificar el texto paracelsiano que Vaughan cita bajo ese título.
«Alchemical symbolism it may be added pictures a region of strange experience where the sun shines at midnight, and such an inward realm is known to mystics, but it lies far along the path of attainment.» — [Waite] anota que el simbolismo alquímico figura una región donde el sol brilla a medianoche y que los místicos conocen un reino interior semejante, con la reserva de que queda lejos en el camino.
«But he affirms almost immediately that the First Matter or chaos is the centre of all sciences.» — [Waite] señala en nota lo que Vaughan afirma casi enseguida sobre la primera materia como centro de todas las ciencias.
«It was used for seering purposes, and the Ritual of invoking spirits therein is found among the lesser processes of ceremonial magic.» — [Waite] sitúa en nota el uso adivinatorio del instrumento y el ritual de invocación entre los procesos menores de la magia ceremonial.
«Ceremonial Magic is very old and it has always made use of instruments.» — [Waite] anota la antigüedad de la magia ceremonial y su recurso constante a instrumentos.
«A traci attributed to Maria, the imputed sister of Moses, says that Sophi Mercury is two white plants found among little hills, and there are tv kinds of Lunaria.» — [Waite] anota en nota una atribución que no hace suya —un tratado adjudicado a María, tenida por hermana de Moisés— y consigna las dos clases de Lunaria; el troceo corrompe *traci* y *tv*.
«But some alchemists use Lunaria to signify the Sulphur of Nature.» — [Waite] añade en nota un segundo uso del término entre los alquimistas.
«Hali is mentioned once by Paracelsus, but he and his tract escaped the vigilance of Lenglet du Fresnoy.» — [Waite] documenta en nota la única mención de Hali en Paracelso y su ausencia en la bibliografía de Lenglet du Fresnoy.
«It is said in the other communication : "Our fellowship is with the Father and with Jesus ; and we write unto you that you may rejoice because God is light and in Him there is no darkness at all.» — [Waite] cita en nota la otra comunicación rosacruz, con la fórmula joánica de la luz sin tinieblas.
«As pseudo-Dionysius suggests that we can approximate towards a notion of the Divine Nature by the way of negation rather than of affirmation, but ends by testifying that God is nothing of that which is and nothing of that which is not, so the alchemists used the terms of contradiction to describe their symbolical Stone and other Hermetic secrets.» — [Waite] empareja la vía negativa del pseudo-Dionisio con el uso alquímico de los términos contradictorios para nombrar la piedra.
«The delineation above is equivalent to stating that the mountain is not a mountain.» — [Waite] traduce la parábola rosacruz a la fórmula contradictoria del oficio.
«In this case it seems to indicate some mystery of spiritual attainment.» — [Waite] propone, marcándolo con un *seems*, que la parábola apunta a un misterio de logro espiritual.
«There is, however, the contemplation of St Thomas Aquinas, which he says is love, that " continual contemplation of an absent beauty," mentioned by Saint-Martin, until the day comes when its living presence abides within us.» — [Waite] opone a la contemplación estéril que Vaughan critica la de Tomás de Aquino, que identifica con el amor, y la fórmula de Saint-Martin sobre la contemplación de una belleza ausente.
«The learned alchemist defines it as divine and living silver, an union of spirit in matter.» — [Waite] resume en nota la definición alquímica de esa materia como plata divina y viva.
«This is an important statement ; but after what manner does that which is not found on earth and is not brought into activity by Nature become subject to the hand of man and to his skill ?» — [Waite] señala en nota la dificultad que deja abierta la fórmula de Vaughan: cómo cae bajo la mano del hombre lo que no se halla en la tierra.
«Venter equi and Fimus equinus are familiar symbols of the moderated heat which developed the potencies within the alchemical substances. These were the way of life and its nourishment, while the work of a violent fire was the way of death.» — [Waite] anota los nombres del calor moderado en la literatura alquímica y opone esa vía de vida al trabajo del fuego violento.
«I am unable to report anything concerning Almadir.» — [Waite] declara en nota no poder informar sobre un nombre que Vaughan cita.
«When air is used symbolically by alchemists it is supposed to signify water coagulated by fire.» — [Waite] anota el sentido simbólico del aire entre los alquimistas y lo marca como supuesto.
«So also White Wind is called Mercury, Red Wind is Red Orpiment and Wind from the East is a name of the Stone itself.» — [Waite] continúa esa nota con la nomenclatura de los vientos en la literatura alquímica.
«It was the name of a poisonous serpent, whose sting caused thirst and fever.» — [Waite] anota el otro sentido del término que Vaughan usa: el de una serpiente venenosa.
«The Oracles speak of a formless fire, an abyss of flame and its brilliance, of an intellectual fire, to which all things are subservient and from which all things have issued.» — [Waite] reúne en nota lo que los Oráculos dicen del fuego informe y del fuego intelectual.
«On this statement see my Introduction. Vaughan does not necessarily mean that there is a spiritual alchemy belonging to the inward nature of man and a physical alchemy or work on metals of the mine. The Spiritual Fermentation produced the Stone itself.» — [Waite] remite a su propia introducción y acota qué NO se sigue de la doble fermentación de Vaughan: no dos alquimias, una del hombre y otra de los metales. La nota corre dentro del cuerpo de la plana, no al pie.
«It is not alone that in "a crust of bread" we may find the matter and spirit of "all the-stars and all the heavens," but that it is possible also to realise within such matter, and behind that spirit, the secretum inexprimabile which is very God of very God,» — [Waite] extiende en nota la doctrina de Vaughan sobre la corteza de pan hasta el secretum inexprimabile, y firma la ampliación como suya.
«From the TURBA PHILO-SOPHORUM downward there was always railing at the envious who darkened counsel by obscurity ; there was always a pretence of speaking plainly ; but the end was always the same a new form of hiding.» — [Waite] describe en nota el ciclo que recorre la literatura alquímica desde la TURBA PHILOSOPHORUM: reproche de oscuridad, promesa de claridad y forma nueva de ocultar.
«He forgets here that his great authority, the so-called Hermes Trismegistus, was not less heathen than the Greek, on the hypothesis of his traditional antiquity.» — [Waite] objeta la coherencia del argumento de Vaughan: su autoridad mayor sería tan pagana como el griego que rechaza.
«As a matter of fact, the writings are of course post- Christian.» — [Waite] data en nota los escritos herméticos como poscristianos, contra la antigüedad tradicional que Vaughan supone.
«It is not clear whether it was in fact the "fitting and neat habitation" which C. R. C. built for himself after his travels, and wherein " he ruminated his voyage and philosophy.» — [Waite] deja en duda la identificación del lugar del relato con la morada que la leyenda atribuye a C. R. C.
«The Pantarva is brought forward in the first instance as a magnetic stone, but this quality is never ascribed to the stone of alchemy, though according to Sendivogius sophic Mercury has an attractive power respecting solar and lunar rays.» — [Waite] objeta en nota la equiparación de la Pantarva con la piedra alquímica y concede el punto de contacto que da Sendivogius.
«The symbolical names applied to Hermetic Fire are by no means so many as those of the First Matter, which fill ten columns in the Dictionnaire Mytho-Hermetique.» — [Waite] mide en nota la nomenclatura del fuego contra la de la primera materia, con la cuenta de columnas del diccionario de Pernety.
«Notwithstanding Basil Valentine and his TRIUMPHAL CHARIOT OF ANTIMONY, the way of attainment is in an universal, not in a particular subject.» — [Waite] objeta en nota la vía particular del antimonio y sostiene que el logro va por un sujeto universal.
«But the virtues of antimony had become of great repute in alchemy because of this celebrated treatise, though it was concerned with pharmacy rather than metallurgy.» — [Waite] explica en nota la fama del antimonio por un tratado célebre y acota su materia: farmacia antes que metalurgia.
«By Vaughan's hypothesis, our natural water is not that element upon which the Spirit of God moved at the beginning.» — [Waite] señala la contradicción entre lo que Vaughan afirma aquí y su propia hipótesis sobre el agua natural.
«It follows that he was either a careless thinker or believed that logical consistency mattered little in dealing with a hidden subject.» — [Waite] deja la contradicción sin arbitrar y ofrece dos explicaciones alternativas de la conducta de Vaughan.
«There is, I presume, no need to say that if the Persian philosopher had been the author of any such works, it would be ridiculous to look therein for such an allusion.» — [Waite] objeta en nota la atribución de obras alquímicas a Avicena y con ello el valor de la referencia de Vaughan.
«But he who says truly that philosophy and divinity are one makes frequent transits from physical to spiritual things, and we are often by no means certain as to where he ceases to speak of the one and begins consideration of the other.» — [Waite] señala la consecuencia de leer esa identidad: nunca se sabe con certeza dónde Vaughan deja lo físico y pasa a lo espiritual.
«I have endeavoured to trace this author under all possible forms and variants of his name, but without success.» — [Waite] declara en nota una búsqueda negativa: no ha logrado identificar al autor que Vaughan cita.
«It would appear therefore that the life and nourishment of plants depend upon their power of drawing into them the First Matter, everywhere described by Vaughan as a seminal viscosity.» — [Waite] resume en nota la doctrina de Vaughan sobre la nutrición vegetal por la viscosidad seminal.
«The term is used not only by Raymund Lully but by the Latin Geber, Mary of Egypt, Basil Valentine and Paracelsus.» — [Waite] documenta en nota el uso del término en la tradición alquímica.
«Sendivogius says that it is the dissolvent of gold and is in fact sophic Mercury one of the thousand names.» — [Waite] identifica en nota el término de Vaughan con el mercurio sófico según Sendivogius.
«It may appear at first sight that Vaughan is speaking of external knowledge only, but he knew the correspondence between things within and without, between the physical and spiritual worlds.» — [Waite] previene contra la lectura solo externa de la exigencia experimental de Vaughan.
«Aqua Ccelestis is called fire, for example, and was a synonym of philosophical Mercury, which is always symbolised as water.» — [Waite] documenta en nota el cruce de nombres entre fuego y agua en la nomenclatura alquímica.
«Van Helmont says that ordinary chemists burn and calcine with fire but the sages with water.» — [Waite] añade el testimonio de Van Helmont sobre el fuego de los químicos y el agua de los sabios.
«Bernard Trevisan speaks of a vapourising fire which does not consume the matter.» — [Waite] añade el de Bernardo Trevisano sobre un fuego que vaporiza sin consumir.
«The marriage of the Sun and Moon in alchemy is that of the fixed and the volatile, or otherwise of Sulphur and Mercury.» — [Waite] traduce en nota la boda del sol y la luna a los términos de fijo y volátil.
«The postulated "vital aliment," which contains " the whole anatomy of heaven and earth " and is " full of light and life," which also is "prepared by the Divine Spirit," is a substance specified by Scripture under the name of manna» — [Waite] resume en nota el alimento vital que Vaughan postula y lo remite al nombre bíblico de maná.
«According to Fabre, philosophical Sulphur is the igneous part of philosophical Mercury, and it is found together with sophic Salt in a certain figurative butter or fatness, which is presumably the marga referred to by Vaughan.» — [Waite] identifica en nota, marcándolo con un *presumably*, la marga que Vaughan menciona.
«This is at issue with Sendivogius, who says that common Mercury "contains metallic seed," and so also do "the other metals.» — [Waite] consigna que la doctrina de Vaughan sobre la ausencia de semilla en los metales choca con Sendivogius, y no arbitra entre ellos.
«It is not, however, that universal tincture which is understood as the Philosopher's Stone.» — [Waite] acota en nota el alcance del segundo mercurio de Vaughan: no es la tintura universal.
«It is of course impossible to say whether this represents an experiment actually performed or one that it was intended to put in practice at a future time.» — [Waite] declara en nota la indecidibilidad de si una entrada del cuaderno registra un experimento hecho o proyectado.
«They are not likely to find that they have drawn appreciably nearer to an understanding of the First Universal Matter, according to the recognised philosophers or according to Thomas Vaughan.» — [Waite] mide en nota lo que un lector moderno puede esperar del cuaderno respecto de la primera materia.
«I am certain that the bond between Thomas and Rebecca Vaughan went deep on the spiritual side, while it seems to have been welded closely on the side of earthly union.» — [Waite] enuncia en primera persona su juicio sobre el vínculo entre Vaughan y su mujer, con un *seems* para el lado terreno.
«I must confess that I do not know where the supposed allusion is found.» — [Waite] declara en el apéndice III no localizar una alusión que se le atribuye a Vaughan.
«His temper would have been tried also by the occasional manufacture of fantastic concealments, causing an atmosphere of. artificial mystery, for Vaughan will quote from one of his sources up to a certain point and then suggest that it would be going too far if he merely extended quotation.» — [Waite] describe la práctica de Vaughan de cortar una cita para fabricar misterio, y la da como una de las causas de la irritación de More.
«But whatever the actuating cause, there followed speedily on Vaughan's first tracts included within the covers of a single small volume a criticism entitled ; "OBSERVATIONS upon ANTHROPOSOPHIA THEOMAGICA and ANIMA MAGICA ABSCONDITA.» — [Waite] data la aparición del libelo de Henry More y da su título completo, en el apéndice III que dedica entero a la polémica.
«A quotation on the title-page shewed the spirit of the tract : " They reel to and fro, and stagger like a drunken man, and are at their wit's end.» — [Waite] cita el versículo de la portada del libelo como muestra de su tono.
«It was a coarse period in polemics, foreign to all the courtesies and even the decency of criticism.» — [Waite] sitúa la polémica en su época y la mide por los usos de la crítica.
«He is dull, feeble and ineffective.» — [Waite] juzga el libelo de More, a quien no le concede eficacia.
«The truth is that he knew nothing of official occultism and was not qualified, to take his author seriously in hand, except perhaps from an Aristotelian standpoint ; and even then he was a Platonist.» — [Waite] adjudica el fracaso de More a su desconocimiento del ocultismo y a su propia filiación platónica.
«It is maintained further by More that these philosophers do not, as Eugenius states, regard God as having made the world like a carpenter " because they give an inward motion to all natural bodies.» — [Waite] recoge la objeción de More sobre el Dios carpintero que Vaughan atribuye a los peripatéticos.
«He ridicules his author's notions as to the pre-existence of souls and concerning the parts of the soul as derived from Kabalism ; but (2) he says nothing that is worth reading on his own» — [Waite] reparte el saldo del libelo: burla de la preexistencia de las almas y nada legible por su cuenta; el tramo se corta en el cambio de plana.
«He is very hard though lame on Vaughan's rather unconvincing comparison of the world to an animal, on his cosmic darkness, on his views concerning the elements, and on his suggestion that there could be -an evening and a morning in the world at a period when it is affirmed by Vaughan that " the light was equally dispensed.» — [Waite] enumera los puntos en que More ataca a Vaughan y concede que la comparación del mundo con un animal no convence.
«He seeks to know the nature of that light which alone according to Vaughan can be multiplied truly ; and this seems pertinent, as in ANIMA MAGICA ABSCONDITA the Peripatetics are thanked in scorn for their offering nothing when they explain the operation of things but do not say what they are.» — [Waite] concede pertinencia a una pregunta de More y la empareja con el propio reproche de Vaughan a los peripatéticos.
«When the soul is likened to light or air, More discovers materialism, and there is some ground for the criticism ; but the use of these terms was doubtless by way of analogy.» — [Waite] concede base a la acusación de materialismo y la acota por el uso analógico de los términos.
«The metrical eulogy of Agrippa leads to ridiculous questions whether Eugenius can explain the flux and reflux of the sea, the operations of the lodestone, and so forth.» — [Waite] llama ridículas las preguntas con que More responde al elogio de Agrippa.
«In the worst taste of all is an unkindly reference to the death of a brother mentioned in ANTHROPOSOPHIA THEOMAGICA ; but I need not write it here.» — [Waite] señala el pasaje de peor gusto del libelo y se abstiene expresamente de reproducirlo.
«Vaughan replied promptly in THE MAN-MOUSE, published in the same volume as MAGIA ADAMICA, and of course presses Scripture into his service.» — [Waite] data la respuesta de Vaughan y la sitúa en el mismo volumen que MAGIA ADAMICA.
«" After the manner of men I have fought with beasts" is making a good beginning on the title-page much better than More himself.» — [Waite] compara los versículos de portada de los dos contendientes y da la ventaja a Vaughan.
«Vaughan, moreover, had the whole freedom of Alsatia in respect of foul language, a qualification which appears to all the lees and depths in his later rejoinder.» — [Waite] mide el registro injurioso de Vaughan con una referencia al barrio londinense de Alsatia.
«Second in this, he is second also in skill, and Vaughan scores points against him, though he tends to arrest in doing so the sense of some of his own statements which have been attacked by his critic.» — [Waite] concede a Vaughan la ventaja en la disputa y señala el precio: al defenderse tuerce el sentido de sus propias afirmaciones.
«I must not be held to suggest that there is anything of real moment on either side of all the ribald contentions j but Vaughan is the more supple antagonist in an exceedingly sorry bout,» — [Waite] niega valor sustantivo a las dos partes de la polémica y a la vez reconoce a Vaughan el mejor manejo.
«He defends his twofold division of the soul according to Kabalism namely, Ruah and Nephesh^ insisting that they are male and female ; but Vaughan and More seem alike to have forgotten that the theosophy of Israel is by no means content with postulating these elements : they are extended in all to six.» — [Waite] objeta a los dos contendientes a la vez: la teosofía de Israel no se contenta con dos elementos del alma sino que llega a seis.
«He accuses his adversary of mistaking "analogies for positions," and this obtains against him, but he does not do much on his own part to redeem his awkward comparison between the world and an animal.» — [Waite] concede el punto a Vaughan y a la vez le niega haber salvado su propia comparación.
«As regards the " diffused light " and the question of an evening and morning during, this condition of things, he says that the nights and days of the creative week " were terrible mysterious radiations of God upon the chaos and dark evaporations of the chaos towards God " which may be left to stand at its value.» — [Waite] transcribe la respuesta de Vaughan sobre las noches y días de la creación y se abstiene de juzgarla.
«As to the number of elements the debate evaporates in mouthings, to the credit of neither side.» — [Waite] cierra ese punto sin dar la razón a ninguno.
«On this and on other considerations the debate issues in words, which are those of declamation and abuse.» — [Waite] resume el género en que acaba la polémica.
«It was issued without date, but can be assigned certainly to an early part of 1651.» — [Waite] data por argumento interno un impreso sin fecha de la polémica.
«Vaughan was not slow to come forward, and had a mind in THE SECOND WASH to " answer a fool according to his folly," but at the same time to "justify the truth" rather than himself, as one who is conscious beforehand that so far he has been " more just than bitter.» — [Waite] resume el propósito declarado de Vaughan en su segunda réplica.
«(i) More cannot distinguish between "the operations and the essence of the soul.» — [Waite] enumera los puntos de la segunda réplica y abre por la distinción entre operaciones y esencia del alma.
«(2) As regards pre-existence, " before the immersion in matter," the soul was a " knowing, intelligent spirit," no evidence being offered in favour of the postulated antecedence.» — [Waite] recoge el segundo punto y señala la falta de prueba de la preexistencia.
«(3) The argument is that intelligence is essential to the soul, and hence it must needs be intelligent before and after incorporation ; but this is not the question at issue until pre-existence itself is determined.» — [Waite] objeta la circularidad del tercer argumento de Vaughan.
«(4) Respecting the "First Matter of all things," Vaughan has " seen it and felt it ten thousand times " ; it is " that sperm which God in the beginning of His ways created of nothing, and out of which He made heaven and earth " ; it is not therefore as More proposes " a thing prepared by Art " so that it is " fit to receive any form whatever.» — [Waite] transcribe la afirmación de Vaughan de haber visto y palpado diez mil veces la primera materia, y su negativa a la definición de More.
«(6) It is More alone who gives " a brutish account of the soul of man," for he says^iat the soul which is sensitive must needs be rational also " and animadversive," the answer to which is that a man's hands have sense " and yet they have no animadversion.» — [Waite] recoge el argumento de Vaughan sobre las manos que sienten sin advertir.
«(7) Those who weuld know the nature of substance must search the centre of Nature, the capacity for which is beyond the desert of More, nor does Vaughan claim the privilege.» — [Waite] consigna que Vaughan niega a More esa capacidad sin reclamarla para sí.
«(8) It is not true, however, that all substances can be known only by their operations, because there are passive substances and these have no operations ; so therefore how are they known ?» — [Waite] recoge la objeción de Vaughan sobre las sustancias pasivas.
«(2) The soul, according to More, is a " spiritual substance without corporeal dimensions, but hath an immaterial amplitude, dilatable and contfactible " : it is therefore " long without length, and though it hath no length it may be .shortened.» — [Waite] transcribe la reducción al absurdo con que Vaughan responde a la definición del alma de More.
«Finally, More is recommended to keep within his sphere and not to censure those things which he does not understand.» — [Waite] resume el cierre de la réplica de Vaughan.
«The Cambridge Platonist found repose in silence, but Vaughan continued to cherish a bitter remembrance which passed into sporadic expression in his later works.» — [Waite] cierra el apéndice III con el desenlace: More calla y Vaughan sigue aludiendo a la disputa en sus obras posteriores.
«Your book now finish'd, let a shallower pen Add these few drops to your vast ocean Not by my shadowing praise t' eclipse the glory Of your high worth.» — de los poemas laudatorios que el volumen imprime como apéndice VI: la voz es la de un amigo de Vaughan, no la suya.
«His heaven-raised soul will then aspire To bear a part in th' angel's choir.» — continuación de esos poemas laudatorios ajenos sobre el alma de Vaughan.
«'Twas well he did assault thee, or thy foe Could not have hit to thy advantage so.» — poema laudatorio ajeno que lee el ataque de More como ventaja para Vaughan.
«He thinks there is no skill but common sense.» — verso del mismo apéndice contra el adversario de Vaughan.
«The weights you put upon him do at best Speak him but palm ; he cannot be oppress'd, P'or against virtue there is no success :» — poema laudatorio ajeno sobre el efecto de los ataques contra Vaughan.
«Faith, I'll petition for him : will you be But merciful and cure his lethargy ?» — poema laudatorio ajeno, en tono de burla contra el adversario.
«The world doth see Eugenius' learning and thy foolery.» — cierre de ese poema ajeno, que opone el saber de Eugenius a la necedad del contrario.
«I remember meeting with them in an earlier printed book by another author, whom I am unable to identify now.» — [Waite] declara en nota un recuerdo de lectura que no puede documentar.
«There is no separate title for CCELUM TERR./E, which begins with a fresh paragraph at line 4 of p. 78, and the distinction between the two texts is shewn thereafter by the headlines.» — [Waite] describe en su bibliografía cómo el impreso original separa dos textos solo por los encabezados corridos.
«The letters S. N. are the finals of Thomas Vaughan, and there is no question that the work is his.» — [Waite] resuelve una atribución por las letras finales del nombre y la declara sin cuestión.
«Moreover, the style and characteristic notions testify unmistakably concerning it.» — [Waite] añade el argumento de estilo a esa atribución.
«The first belongs to both works, as it mentions " these twin poets," but the preface speaks only of "the Author."» — [Waite] distingue en la bibliografía el alcance de dos piezas preliminares por lo que cada una dice de la autoría.
«These Remains of Thomas Vaughan occupy sixteen pages and contain nothing in English.» — [Waite] describe la extensión y la lengua de los restos latinos de Vaughan.
«I am indebted to the Rev. A. B. Grosart's edition of the WORKS of Henry Vaughan, Fuller Worthies Library, 4 vols., 1 868, fcfc., for the full title.» — [Waite] declara la fuente de la que toma un título completo.
«It is first mentioned by Anthony & Wood in ATHENE OXONIENSES, and is said to be a translation made by Thomas Vaughan.» — [Waite] rastrea la primera mención de una obra y la condición de traducción que se le atribuye.
«As such, it has no title to be included in an edition of his writings.» — [Waite] excluye esa obra del volumen y da la razón: ser traducción y no obra propia.
«It is exceedingly rare, and I have been unable to consult a copy, either in the British Museum or elsewhere in our public libraries.» — [Waite] declara un muro documental: no ha podido consultar ejemplar alguno.
«Mr Grosart seems almost indubitably to have reproduced the title from a copy in his possession or from one which passed through his hands ; but Wood describes it. as THE CHYMIST'S KEY TO OPEN AND SHUT, thus reversing the wording.» — [Waite] consigna la divergencia entre Grosart y Wood en el título de una obra, sin arbitrar.
«According to Grosart's title it might be an original work, unless the contrary is implied in the statement "published by Eugenius Philalethes.» — [Waite] señala qué depende de esa divergencia: que la obra sea original o solo publicada por Vaughan.
«The DICTIONARY OF NATIONAL BIOGRAPHY says that the author was Nollius, and as I have no doubt that this is correct, I append the following bibliographical particulars.» — [Waite] adopta la atribución del diccionario a Nollius y la respalda con datos bibliográficos.
«A portion of one of these works was translated under the title of HERMETICAL PHYSICK, or the Right 'Way to Preserve and Restore Health, 1655, by Henry Vaughan the Silurist.» — [Waite] documenta la traducción que hizo el hermano poeta de la misma fuente.
«The two brothers must have been much impressed by Nollius, as both were concerned with clothing him in an English vesture.» — [Waite] infiere de esas dos traducciones el interés compartido de los hermanos por Nollius.
«Wood says : " By the language of it, it seems not to be written by our Eugenius Philalethes but another j and besides, when Olor Iscanus " /'.<?., Henry Vaughan " sent me a catalogue of his brother's works, the title of that book was not put among them." I have examined the text carefully and accept Wood's conclusion.» — [Waite] cita el argumento de Wood contra una atribución y declara haber cotejado el texto y aceptar su conclusión.
«There are allusions to many authors who are not referred to in the known writings of Vaughan, and above all there is no occultism, explicit or implied.» — [Waite] funda el rechazo de una atribución en dos pruebas internas: autores ajenos al repertorio de Vaughan y ausencia de ocultismo.
«The original Eugenius Philalethes was of course dead in 1669, according to his story, and there was nothing to prevent a new author adopting the pseudonym, as was done afterwards by Robert Samber and two or three unimportant writers.» — [Waite] explica el uso posterior del seudónimo por otros escritores, entre ellos Robert Samber.
«They ascribe it to Thomas Vaughan, giving no reason and no further particulars.» — [Waite] consigna una atribución ajena sin fundamento declarado.
«I have failed to find a copy, and in the absence of all evidence, either in the title or otherwise, the attribution to Vaughan of a work published more than a century after his death must be set aside provisionally at least.» — [Waite] cierra la bibliografía descartando provisionalmente la atribución de una obra publicada más de un siglo después de la muerte de Vaughan.
«Man is the criterion therefore and he the centre about which, in his respect, the worlds revolve : all things become man to the extent that they are quickened within him by the work of consciousness.» — [Waite] enuncia en su introducción el principio de la centralidad del hombre: las cosas se vuelven hombre en la medida en que la conciencia las vivifica.
«CONTENTS A PAGE FOREWORD BY THE LIBRARY COMMITTEE . . v BIOGRAPHICAL PREFACE ...... vii INTRODUCTION : LIGHTS AND SHADOWS OF MYSTICAL DOCTRINE IN THE WORKS OF THOMAS VAUGHAN» — encabeza el índice del volumen y da los títulos de las tres piezas de aparato que preceden a los tratados.
«THIS precious manuscript is preserved in the British Museum and is numbered 1741 in the Sloane collection.» — [Waite] declara la procedencia del cuaderno privado de Vaughan que edita como apéndice I: el Sloane 1741 del British Museum.
«CCELUM TERR. : THE MAGICIAN'S HEAVENLY CHAOS, UNFOLDING A DOCTRINE CONCERNING THE TER-RESTRIAL HEAVEN . . . . . . 189 An Epilogue to CCELUM TERR.SE» — el índice del volumen da el subtítulo de CŒLUM TERRÆ y consigna su epílogo.
«APPENDICES PACB I. Aqua Vitae non Vitis : A Note-Book of Thomas Vaughan .... . 443 II. Thalia Rediviva : The Latin Poems of Thomas Vaughan . -453 III. Thomas Vaughan and Henry More, the Platonist . 468 IV. English Metrical Remains . . 474 V. Address to Thomas Bodley..... 478 VI. Commendatory Verses . . . . . 479 VII. The Latin Letter from the Brothers of R.C. . . 483 VIII. Aphorismi Magici Eugeniani .... 486 IX. Bibliography» — el índice enumera los nueve apéndices del volumen, del cuaderno privado a la bibliografía.
Concepts treated
Materia prima — Es el asunto central del volumen: una sustancia que Vaughan llama agua y no agua, tierra y no tierra, limosa, espermática y viscosa, cargada de todas las potencias; la declara imposible de describir aun teniéndola delante, y Waite deja su identidad química como cuestión abierta.
Piedra filosofal (lapis philosophorum) — Vaughan sostiene que la piedra no es piedra mientras es agua, y llama simbolismo mendaz al que llama piedra a una masa limosa; su fórmula propia es la Piedra Filosofal cristiana, el ascenso a la Voz Callada Sobrenatural.
Mercurio de los filósofos (Mercurius) — Vaughan lo separa del azogue, lo llama Saturno filosófico y agua que no se halla en la tierra, y reúne su serie de nombres; niega además que se lo busque en los metales, donde no hay agua.
Azufre (principio sulfúreo) — El azufre que Vaughan busca es el que nunca tocó el fuego, negro y natural, y sin él el mercurio no se coagula: el dragón no muere sin su compañero.
Quintaesencia (quinta essentia) — Vaughan niega la quinta esencia aristotélica dos veces —no hay tal principio en la naturaleza, no hay quinto principio sino Dios— y objeta que se llame así al Espíritu que cementa los elementos.
Cuatro elementos (fuego, aire, agua, tierra) — El volumen expone los elementos como orden reconciliado por mediaciones: el agua entre aire y tierra, el aire introduciendo el fuego en el agua, y el vapor del agua como matriz donde los cuatro se juntan.
Anima mundi (alma del mundo) — Vaughan enuncia el alma del mundo como consenso filosófico y la declara inteligente; identifica la parte etérea del hombre con una porción de esa alma, llamada Alma Medial.
Spiritus mundi (espíritu del mundo) — La naturaleza es la voz de Dios, aliento sustancial y activo que penetra todas las cosas, y el fuego y el espíritu son los pilares sin los que la fábrica no se sostiene un minuto.
Microcosmos (el hombre-mundo) — Waite anota que el microcosmo es término general para el Magisterio en cualquier estado; Vaughan hace del hombre el criterio y el centro en torno al cual giran los mundos, según la lectura de Waite.
Secreto (lo que se jura no fijar por escrito) — Vaughan declara por escrito la necesidad de reservar tanto como de publicar, cita el conjuro de Lulio contra la revelación y calla sobre la Mors Osculi; Waite señala que corta las citas para fabricar misterio.
Decknamen (nombres cubiertos) — Vaughan explica el nombre de piedra por su función encubridora —se llamó así para que nadie supiera qué se llamaba así— y enumera los nombres del mercurio advirtiendo que todos significan lo mismo.
Cadena de transmisión (quién tomó de quién) — Vaughan traza la cadena de Dios a Adán, de Adán a los patriarcas, de los hebreos a los egipcios y de estos a los griegos, y adjudica a los judíos la posesión entera del misterio.
Crítica de fuentes (criterios de inclusión y descarte) — Waite data impresos sin fecha por argumento interno, rastrea atribuciones hasta su fuente, declara sus búsquedas negativas y descarta provisionalmente la atribución de una obra publicada un siglo después de la muerte de Vaughan.
Prisca theologia (la teología antiquísima) — Vaughan sostiene que la luz se manifestó primero en el oriente, donde plantó el primer hombre, y reclama para la magia a toda la filosofía griega salvo Aristóteles.
Magia Natural — Vaughan define la magia como la sabiduría del Creador revelada y plantada en la criatura, y llama magos a reyes, sacerdotes y profetas que dispensaban al pueblo la parte externa de la religión.
Theurgia (obra divina) — Waite sitúa el ritual de invocación de espíritus entre los procesos menores de la magia ceremonial y anota su antigüedad y su recurso constante a instrumentos.
Putrefacción (putrefactio) — Vaughan localiza la dificultad mayor no en la coagulación de la sal filosófica sino en su putrefacción, y sostiene que putrefacer la sal descubriría todos los misterios.
Nigredo (la obra al negro) — La confesión de Lulio que Vaughan traduce describe una decocción retrógrada en la que toda la naturaleza se disuelve visiblemente en negrura pura.
Sefirot (las diez numeraciones) — Vaughan expone la caída como corte de Malkuth respecto del Ilan, identifica a Malkuth con la Luna Arquetípica invisible y nombra tres luces supremas llamadas trono único; Waite corrige que la teosofía de Israel cuenta seis elementos del alma.
Imaginación (phantasia) — Vaughan atribuye al alma un traslado real por la imaginación: basta que se figure en el mar para oír el romper de las olas.
Gnosis (conocimiento salvífico) — Vaughan hace de la cercanía de Dios al corazón del hombre la clave de todo el misterio y sitúa el término del camino donde el que ve y lo visto son uno, según la lectura de Waite.
Iniciación (recepción por grados / metamorfosis del ser) — Vaughan opone la iniciación cristiana primitiva, confirmada con una sola palabra, al aparato posterior, y Waite documenta que los cuadernos privados muestran a un estudioso sin maestros ni escuela.
Philosophia perennis (filosofía perenne) — Vaughan sostiene que filosofía y teología son una y la misma ciencia, y que la Escritura solo trata de la naturaleza y de las cosas naturales.
Ocultismo (occultisme) — Waite adjudica el fracaso de Henry More a su desconocimiento del ocultismo oficial, y separa la teosofía tradicional de Israel de la cábala degradada que engendró almadeles y grimorios.
Grimorio (libro de magia) — Waite atribuye a una cábala degradada la paternidad de los almadeles y los grimorios, en nota al pasaje donde Vaughan trata la palabra eficaz.
Atanor (el horno de fuego constante) — Vaughan describe el fuego de los filósofos como baño de la naturaleza y no artificial, mide su grado por el de la gestación y prohíbe la intervención manual.
Geometría (la quinta arte liberal, fundamento del oficio) — Waite declara no entender el simbolismo geométrico de Vaughan y da la razón: una vertical trazada por un círculo no separa la circunferencia del centro.