A Vision (1925)

«It is a constant thought of mine that what we write is often a commendation of, or expostulation with the friends of our youth, and that even if we survive all our friends we continue to prolong or to amend conversations that took place before our five-and-twentieth year.» — Yeats abre la dedicatoria situando toda escritura como continuación de las conversaciones de la juventud.

«Perhaps this book has been written because a number of young men and women, you and I among the number, met nearly forty years ago in London and in Paris to discuss mystical philosophy.» — Yeats fecha el origen del libro en las reuniones de Londres y París de casi cuarenta años antes.

«You with your beauty and your learning and your mysterious gifts were held by all in affection, and though, when the first draft of this dedication was written, I had not seen you for more than thirty years,5 nor knew where you were nor what you were doing, and though much had happened since we copied the Jewish Schemahamphorasch6 with its seventy-two Names of God in Hebrew characters, it was plain that I must dedicate my book to you.» — la dedicatoria a Vestigia, con la copia del Schemahamphorasch y sus setenta y dos nombres de Dios como recuerdo compartido; el 5 y el 6 son llamadas a nota de las editoras.

«We all, so far as I can remember, differed from ordinary students of philosophy or religion through our belief that truth cannot be discovered11 but may be revealed, and that if a man do not lose faith, and if he go through certain preparations, revelation will find him at the fitting moment.» — Yeats declara el principio de su grupo: la verdad no se descubre, se revela, y llega a quien no pierde la fe y hace ciertas preparaciones.

«I remember a learned brassfounder12 in the North of England who visited us occasionally, and was convinced that there was a certain moment in every year which, once known, brought with it ‘The Summum Bonum, the Stone of the Wise’.» — Yeats trae la creencia de un fundidor de latón del norte de Inglaterra: hay un momento del año que trae consigo el Sumo Bien, la Piedra del Sabio.

«But others, for it was clear that there must be a vehicle or symbol of communication, were of opinion that some messenger would make himself known, in a railway train let us say,14 or might be found after search in some distant land.» — la expectativa del grupo, según Yeats: tenía que haber vehículo o símbolo de comunicación, y un mensajero se daría a conocer.

«That phantasy did not explain the world to our intellects which were after all very modern, but it recalled certain forgotten methods of meditation and chiefly how so to suspend the will that the mind became automatic, a possible vehicle for spiritual beings.» — Yeats acota qué daba y qué no daba esa fantasía: no explicaba el mundo, pero devolvía métodos de meditación y el modo de suspender la voluntad hasta volver automática la mente.

«Some were looking for spiritual happiness or for some form of unknown power, but I had a practical object.» — Yeats separa su propósito del de los demás y lo llama práctico.

«I wished for a system of thought that would leave my imagination free to create as it chose and yet make all that it created, or could create, part of the one history, and that the soul’s.» — el objeto declarado del sistema: dejar libre la imaginación y a la vez integrar lo creado en una sola historia, la del alma.

«The Greeks certainly had such a system, and Dante—though Boccaccio thought him a bitter partisan and therefore a modern abstract man16—and I think no man since.» — Yeats adjudica a los griegos y a Dante un sistema así y niega que nadie lo haya tenido después.

«Then when I had ceased all active search, yet had not ceased from desire, the documents upon which this book is founded were put into my hands,17 and I had what I needed, though it may be too late.» — el reclamo de recepción, en la voz de Yeats: los documentos en que se funda el libro le fueron puestos en las manos cuando ya había dejado de buscar.

«What I have found indeed is nothing new, for I will show presently that Swedenborg and Blake and many before them knew that all things had their gyres; but Swedenborg and Blake preferred to explain them figuratively,18 and so I am the first to substitute for Biblical or mythological figures, historical movements and actual men and women.» — Yeats niega novedad a su hallazgo y reclama solo una primacía: sustituir por movimientos históricos y personas reales las figuras bíblicas o mitológicas con que Swedenborg y Blake explicaron los giros.

«As I most fear to disappoint those that come to this book through some interest in my poetry and in that alone,21 I warn them from that part of the book called ‘The Great Wheel’ and from the whole of Book II, and beg them to dip here and there in the verse and into my comments upon life and history.» — Yeats advierte a los lectores que vengan por su poesía: que se salten The Great Wheel y el Libro II entero.

«I could I daresay make the book richer, perhaps immeasurably so, if I were to keep it by me for another year, and I have not even dealt with the whole of my subject,23 perhaps not even with what is most important, writing nothing about the Beatific Vision, little of sexual love; but I am longing to put it out of reach that I may write the poetry it seems to have made possible.» — Yeats declara el libro incompleto por decisión: no ha tratado la Visión Beatífica ni casi el amor sexual, y lo publica para poder escribir la poesía que el libro hizo posible.

«In the spring of 1917 I met in the National Gallery32 a man whom I had known in the late Eighties and early Nineties, and had never thought to see again. Michael Robartes33 and I had been intimate friends and fellow-students for a time, and later, after matters of theological difference arose between us, I lost sight of him, but heard a vague rumour that he was wandering or settled somewhere in the Near East. At first I was not certain if this were indeed he, and passed him in hesitation several times, but his athletic body, and his skin that had seemed, even when I first met him, sundried and sun-darkened, his hawk-like profile, could belong to no other man.» — Aherne, que narra la introducción, fecha en la primavera de 1917 el reencuentro con Michael Robartes, a quien había perdido de vista por diferencias teológicas.

«‘The old painters,’ he said, ‘painted women with whom they would if they could have spent the night or a life, battles they would if they could have fought in, and all manner of desirable houses and places, but now all is changed, and God knows why anybody paints anything. But why should we complain, things move by mathematical necessity, all changes can be dated by gyre and cone, and pricked beforehand upon the Calendar.’» — Robartes, hablando dentro de la ficción, enuncia el principio del libro entero: las cosas se mueven por necesidad matemática y todo cambio se data por giro y cono.

«I felt a slight chill, for we had both quarrelled with Mr Yeats on what I considered good grounds.» — Aherne consigna que los dos personajes están peleados con el señor Yeats, que dentro de la ficción es un tercero.

«‘I was fool enough to mind once,’ he said, ‘but I soon found that he had done me a service. His story started a rumour of my death that became more and more circumstantial as it grew. One by one my correspondents ceased to write. My name had become known to a large number of fellow-students, and but for that rumour I could not have lived in peace even in the desert.» — Robartes agradece el rumor de su propia muerte, nacido de un relato de Yeats: sin él no habría podido vivir en paz.

«I did not know where Mr Yeats lived, but said that we could find out from Mr Watkins the bookseller in Cecil’s Court38: and having so found out, he said we must call upon Mr Yeats, and we started, keeping as much as possible from the main streets that we might have silence for our talk.» — el detalle que ancla la ficción en Londres: la dirección de Yeats se averigua con el librero Watkins de Cecil’s Court.

«You will remember the village riot which Yeats exaggerated in “Rosa Alchemica”.39 A couple of old friends died of their injuries, and that, and certain evil results of another kind, turned me for a long time from my favourite studies.» — Robartes remite su propia biografía a un relato de Yeats, de modo que el marco de ficción se declara dentro de sí mismo.

«I went from Paris to Rome, and from Rome to Vienna, in pursuit of a ballet dancer, and in Vienna we quarrelled. I tried to forget my sorrow in wine, but in a few weeks I had tired of that, and then, with some faint stirring of the old interest I went to Cracow, partly because of its fame as a centre of printing, but more I think because Dr. Dee and his friend Edward Kelly had in Cracow practised alchemy and scrying.» — Robartes explica por qué fue a Cracovia: la fama de la ciudad como centro de imprenta y, sobre todo, que ahí practicaron alquimia y escrutinio de espejos John Dee y Edward Kelly.

«One night I was thrown out of bed and when I lit my tallow candle found that the bed, which had fallen at one end, had been propped up by a joint stool and an old book bound in calf.41 In the morning I found that the book was called Speculum Angelorum et Hominorum,42 had been written by Giraldus43 and printed at Cracow in 1594, a good many years before the celebrated Cracow publications,44 and was of a very much earlier style both as to woodcut and type.» — el hallazgo del libro de Giraldus, que dentro de la ficción es la fuente del sistema: un ejemplar que sostenía la cama, impreso en Cracovia en 1594 y de estilo anterior a esa fecha.

«It was very dilapidated and all the middle pages had been torn out; but at the end of the book were a number of curious allegorical pictures;45 a woman with a stone in one hand and an arrow in the other; a man whipping his shadow; a man being torn in two by an eagle and some kind of wild beast; and so on to the number of eight and twenty; a portrait of Giraldus and a unicorn; and many diagrams where gyres and circles grew out of one another like strange vegetables;» — la descripción de las láminas del Speculum: las veintiocho figuras alegóricas, el retrato de Giraldus, el unicornio y los diagramas de giros y círculos.

«What little remained of the text was in Latin, and I was piecing the passages together and getting a little light on two or three of the diagrams when a quarrel with my beggar maid plunged me into wine and gloom once more. Then turning violently from all sensual pleasure I decided to say my prayers at the Holy Sepulchre, and from there I went to Damascus that I might learn Arabic for I had decided to continue my prayers at Mecca, and hoped to get there in disguise.» — Robartes cuenta que del Speculum solo quedaba latín suelto y que las marcas en la arena del camino a la Meca coincidían casi exactamente con un diagrama del libro.

«I went from tribe to tribe for several months, learnt nothing and found myself at last in a remote town where, thanks to a small medicine chest which I always carry, I became first doctor, and then a kind of steward to an Arab chief or petty king. I constantly spoke about those markings upon the sand but learnt nothing till our town or village was visited by a tribe of Judwalis.» — el relato lleva a Robartes de tribu en tribu hasta dar con los Judwalis, que son la tradición viva del sistema dentro de la ficción.

«There are several tribes of this strange sect, who are known among the Arabs for the violent contrasts of character amongst them, for their licentiousness and their sanctity. Fanatical in matters of doctrine, they seem tolerant of human frailty beyond any believing people I have met.» — el retrato de los Judwalis: contrastes violentos de carácter, fanáticos en doctrina y tolerantes con la flaqueza humana.

«I am convinced, however, that this doctrine did not originate with Kusta ben Luka, for certain terms and forms of expression suggest some remote Syriac origin. I once told an old Judwali of my conviction upon this point but he merely said that Kusta ben Luka had doubtless been taught by the desert djinns53 who lived to a great age and remembered ancient languages.’» — Robartes disputa el origen que la propia tribu da a su doctrina y propone una raíz siríaca remota; el viejo judwali le responde que a Kusta ben Luka se lo enseñaron los djinns del desierto.

«I found that though their Sacred Book had been lost they had a vast doctrine which was constantly explained to their growing boys and girls by the aid of diagrams drawn by old religious men upon the sands» — la doctrina se transmite sin libro: diagramas dibujados en la arena por los viejos religiosos para los muchachos y muchachas de la tribu.

«This bundle, he explained, described the mathematical law of history, that bundle the adventure of the soul after death, that other the interaction between the living and the dead» — el contenido de los papeles de Robartes, tal como Aherne lo enumera: la ley matemática de la historia, la aventura del alma tras la muerte y el trato entre vivos y muertos.

«He complained in exaggerated language that I interpreted the system as a form of Christianity, that only those aspects of character that were an expression of Christianity interested me—primary character to use the terms of the philosophy—and that I was neither informed nor interested when I came to the opposite type.» — el desacuerdo que rompe la sociedad: Robartes acusa a Aherne de leer el sistema como una forma de cristianismo y de atender solo al carácter primario.

«I contended that there could be nothing incompatible between his system and Christianity. St Clement of Alexandria had taught the re-birth» — Aherne sostiene la compatibilidad con el cristianismo y la apoya en Clemente de Alejandría; el tramo se corta al cambiar de plana.

«of the Soul and had remained a saint, and in our own time the Capuchin Archbishop Passavalli has taught it and keeps his mitre.» — la segunda mitad de ese apoyo: el arzobispo capuchino Passavalli enseña la reencarnación y conserva la mitra.

«Nothing, however, would persuade him, and he declared that he would give all his material to Mr Yeats and let him do what he liked with it.» — dentro de la ficción, la entrega del material a Yeats es una decisión de Robartes tras la pelea.

«‘Yes,’ he replied, ‘I want a lyric poet, and if he cares for nothing but expression, so much the better, my desert geometry will take care of the truth.’» — Robartes justifica la elección de un poeta lírico: la verdad la garantiza su geometría del desierto, no el expositor.

«‘Mr Yeats has intellectual belief but he is entirely without moral faith, without that sense, which should come to a man with terror and joy,61 of a Divine Presence, and though he may seek, and may have always sought it, I am certain that he will not find it in this life.’» — el juicio de Aherne sobre Yeats dentro del propio libro que Yeats firma: creencia intelectual sin fe moral.

«Mr Yeats consented to write the exposition on the condition that I wrote the introduction and any notes I pleased» — el reparto de papeles que la ficción declara: Yeats escribe la exposición y Aherne la introducción y las notas.

«Mr Yeats’s completed manuscript now lies before me. The system itself has grown clearer for his concrete expression of it, but I notice that if I made too little of the antithetical phases he has done no better by the primary.» — Aherne juzga el manuscrito que prologa y reparte el reproche: él descuidó las fases antitéticas y Yeats las primarias.

«The twelve rotations associated with the lunar and solar months of the Great Year first arose, as Mr Yeats understands, from the meeting and separation of certain spheres.» — las doce rotaciones de los meses lunares y solares del Gran Año nacen, según lo entiende Yeats dentro de la ficción, del encuentro y la separación de ciertas esferas.

«I consider that the form should be called elliptoid, and that rotation as we know it is not the movement that corresponds most closely to reality.» — Aherne disiente de la forma geométrica y propone llamarla elipsoide, negando que la rotación tal como la conocemos sea el movimiento más cercano a lo real.

«At any rate I can remember Robartes saying in one of his paradoxical figurative moods that he pictured reality as a number of great eggs laid by the Phœnix and that these eggs turn inside out perpetually without breaking the shell.» — la imagen que Aherne atribuye a Robartes: la realidad como huevos puestos por el Fénix que se vuelven del revés sin romper el cascarón.

«I think Mr Aherne has remembered his own part in this conversation more accurately than that of his opponent.—W.B.Y.» — una nota al pie firmada W.B.Y. corrige al narrador dentro de su propia introducción: el autor real interviene contra su personaje.

«An old man cocked his ear upon a bridge; He and his friend, their faces to the South, Had trod the uneven road. Their boots were soiled, Their Connemara cloth2 worn out of shape; They had kept a steady pace as though their beds, Despite a dwindling and late risen moon, Were distant still. An old man cocked his ear.» — arranque del poema The Wheel and the Phases of the Moon, que abre el Libro I y pone el sistema en boca de Robartes y Aherne.

«He wrote of me in that extravagant style He had learned from Pater,7 and to round his tale Said I was dead; and dead I choose to be.» — Robartes, en el poema, se declara muerto por obra del estilo de quien lo escribió, y elige seguir estándolo.

«Twenty-and-eight the phases of the moon, The full and the moon’s dark and all the crescents, Twenty-and-eight, and yet but six-and-twenty The cradles that a man must needs be rocked in:» — la cifra del sistema dicha en verso: veintiocho fases de la luna y solo veintiséis cunas en que un hombre puede mecerse.

«And after that the crumbling of the moon: The soul remembering its loneliness Shudders in many cradles; all is changed,» — el desmoronamiento de la luna y el alma que, recordando su soledad, se estremece en muchas cunas.

«It must be that the terror in their eyes Is memory or foreknowledge of the hour When all is fed with light and heaven is bare.» — el terror de los ojos leído como memoria o preconocimiento de la hora en que todo se llena de luz.

«Because all dark, like those that are all light, They are cast beyond the verge, and in a cloud,» — los del todo oscuros y los del todo luminosos comparten destino: quedan arrojados más allá del borde.

«‘Hunchback and Saint and Fool’, and that they came Under the three last crescents of the moon,» — Aherne cierra el poema con la clave que Yeats no hallará en sus libros: Jorobado, Santo y Loco caen bajo los tres últimos cuartos de la luna.

«Michael Robartes gives the following account of the diagram called ‘The Great Wheel’ in Giraldus.» — el capítulo segundo lo firma Owen Aherne y declara de quién procede el relato de la Gran Rueda: Robartes contando lo que trae Giraldus.

«A Caliph21 who reigned after the death of Harun Al-Raschid discovered one of his companions climbing the wall that encircled the garden of his favourite slave, and because he had believed this companion entirely devoted to his interests, gave himself up to astonishment. After much consideration he offered a large sum of money to any man who could explain human nature so completely that he should never be astonished again.» — el marco de la fábula: un califa ofrece una gran suma a quien explique la naturaleza humana de modo que nunca vuelva a asombrarse.

«Kusta ben Luka, now a very old man, went to the palace with his book of geometrical figures, but the Caliph, after he had explained them for an hour, banished him from the palace, and declared that all unintelligible visitors were to be put to death.» — la exposición geométrica de Kusta ben Luka fracasa y el califa condena a muerte a los visitantes ininteligibles.

«‘We are,’ said the eldest of the four, ‘the King, the Queen, the Prince and the Princess of the Country of Wisdom. It has reached our ears that a certain man has pretended that wisdom is difficult, but it is our intention to reveal all in a dance.’» — los cuatro danzantes se presentan como Rey, Reina, Príncipe y Princesa del País de la Sabiduría y ofrecen revelarlo todo bailando.

«each dancer said to the executioner: ‘In the Name of Allah, smooth out the mark of my footfall on the sand.’» — el ruego de los danzantes ante el verdugo es lo que delata que el saber está en las huellas y no en la danza; la cita empieza después de la palabra que el original parte entre renglones.

«He went at once to the dancing place, and, having stood for a long time looking at the marks, he said: ‘Send us Kusta ben Luka, and tell him that he shall not die.’» — el califa entiende leyendo las marcas de los pies, no viendo el baile, y perdona a Kusta ben Luka.

«They were made by the feet of my pupils,’ said ben Luka. ‘When you banished me from the Palace they gathered in my house to console me, and the wisest amongst them said, “He that dies is the chief person in the story,”24 and he and three others offered to dance what I chose.» — el desenlace atribuye la danza a los discípulos de ben Luka y pone en boca del más sabio la sentencia de que el que muere es el personaje principal del relato.

«pupils be rewarded for dying.’ According to the Robartes MSS the Dance of the Four Royal Persons is one of the names for the first figure drawn by the Judwali elders for the instruction of youth and is identical with the ‘Great Wheel’ of Giraldus.» — la Danza de las Cuatro Personas Reales se declara nombre de la primera figura que los ancianos judwalis dibujan para instruir a los jóvenes, y la misma que la Gran Rueda de Giraldus.

«I am inclined to see in the story of its origin a later embodiment of a story that it was the first diagram drawn upon the sand by the wife of Kusta ben Luka, and that its connection with lunar phases, the movements and the nature of the Four Faculties and their general application to the facts of human life, were fully explained before its geometrical composition was touched upon.» — Aherne propone otra versión del origen: la primera figura la habría dibujado en la arena la esposa de Kusta ben Luka, y la explicación de las fases y las Cuatro Facultades habría precedido a la geometría.

«I cannot, however, let this pass without saying that I doubt the authenticity of this story, which Mr Yeats has expanded into the poem ‘Desert Geometry or The Gift of Harun Al-Raschid’,26 at least in its present form, and that an almost similar adventure is attributed in one of the Robartes documents to a Mahometan grammarian of a much later date.» — el propio libro pone en duda la autenticidad del relato que acaba de contar y señala que una aventura casi igual se atribuye en otro documento a un gramático mahometano muy posterior.

«The diagram of the Great Wheel shows a series of numbers and symbols which represent the Lunar phases; and all possible human types can be classified under one or other of these twenty-eight phases. Their number is that of the Arabic Mansions of the Moon29 but they are used merely as a method of classification and for simplicity of classification their symbols are composed in an entirely arbitrary way.» — el uso declarado de la Gran Rueda: veintiocho fases lunares como clasificación de todos los tipos humanos posibles, con el número tomado de las mansiones árabes de la Luna y símbolos arbitrarios.

«As the lunar circle narrows to a crescent and as the crescent narrows to a still narrower crescent, the Moon approaches the Sun, falls as it were under his influence; and for this reason the Sun and Moon in diagram 1 are considered to be imposed one upon another.» — la razón de que Sol y Luna se superpongan en el diagrama: al menguar la luna se acerca al sol y cae bajo su influencia.

«The first phase is therefore full Sun as it were, and the 15th Phase full Moon, while Phases 8 and 22 are half Sun and half Moon.» — el reparto de las cuatro fases cardinales: la 1 es sol pleno, la 15 luna llena, y la 8 y la 22 mitad y mitad.

«The Sun is objective man and the Moon subjective man, or more properly the Sun is primary man and the Moon antithetical man— terms that will be explained later. Objective and Subjective are not used in their metaphysical but in their colloquial sense.» — la pareja central del sistema: Sol es el hombre objetivo o primario y Luna el subjetivo o antitético, con la advertencia de que objetivo y subjetivo se usan en sentido coloquial y no metafísico.

«Murray’s dictionary31 describes the colloquial use of the word ‘objective’ thus. All that ‘is presented to consciousness as opposed to consciousness of self, that is the object of perception or thought, the non-ego’.» — el libro apoya su vocabulario en la definición de objetivo del diccionario de Murray, y así ancla un término del sistema en un uso corriente.

«‘subjective’ is the contrary to ‘objective’ it needs no further definition.» — el argumento con que el libro se ahorra definir subjetivo; el tramo empieza en la plana siguiente porque el tomo del diccionario con la letra S aún no salía.

«Under the Sun’s light we see things as they are, and go about our day’s work, while under that of the Moon, we see things dimly, mysteriously, all is sleep and dream.» — la imagen que traduce el par: bajo el sol se ven las cosas como son y se trabaja, bajo la luna todo es sueño.

«All men are characterised upon a first analysis by the proportion in which these two characters or Tinctures,33 the objective or primary, the subjective or antithetical, are combined.» — las dos Tinturas, primaria y antitética, y la proporción en que se combinan como primer criterio para caracterizar a cualquiera.

«Man is said to have a series of embodiments (any one of which may be repeated) that correspond to the twenty-eight fundamental types. The First and Fifteenth, being wholly objective and subjective respectively, are not human embodiments, as human life is impossible without the strife between the Tinctures.» — las encarnaciones corresponden a los veintiocho tipos, y la 1 y la 15 quedan fuera de lo humano porque sin lucha entre Tinturas no hay vida humana.

«Incarnate man has Four Faculties which constitute the Tinctures—the Will, the Creative Mind, the Body of Fate, and the Mask. The Will and Mask are predominately Lunar or antithetical, the Creative Mind and the Body of Fate predominately Solar or primary.» — las Cuatro Facultades y su reparto: Voluntad y Máscara del lado lunar o antitético, Mente Creadora y Cuerpo del Destino del solar o primario.

«By WillI,37 is understood feeling that has not become desire because there is no object to desire; a bias by which the soul is classified and its phase fixed but which as yet is without result in action; an energy as yet uninfluenced by thought, action, or emotion; the first matter of a certain personality— choice.» — la definición de Will: sentimiento que aún no es deseo porque no hay objeto, energía sin pensamiento ni acción, materia prima de una personalidad; el I volado y el 37 son marcas del aparato.

«By Mask is understood the image of what we wish to become, or of that to which we give our reverence. Under certain circumstances it is called the Image.» — la definición de Mask: la imagen de lo que se quiere llegar a ser o de aquello a lo que se reverencia.

«By Creative Mind is meant intellect, as intellect was understood39 before the close of the seventeenth century— all the mind that is consciously constructive.» — la definición de Creative Mind, con su acotación histórica: el intelecto tal como se entendía antes de finales del siglo XVII.

«By Body of Fate is understood the physical and mental environment, the changing human body, the stream of Phenomena as this affects a particular individual, all that is forced upon us from without, Time as it affects sensation.» — la definición de Body of Fate: el entorno físico y mental, el cuerpo cambiante y todo lo que se nos impone desde fuera.

«The Will looks into a painted picture. The Creative Mind looks into a photograph, but both look into something which is the opposite of themselves.» — la imagen con que el libro contrapone las dos miradas: la Voluntad mira un cuadro y la Mente Creadora una fotografía.

«The photograph is fated, because by fate is understood that which comes from without, whereas the Mask is predestined, Destiny being that which comes to us from within.» — la distinción entre hado y destino: hado es lo que viene de fuera, destino lo que viene de dentro.

«A man whose Will is at Phase 17 will have his Creative Mind at Phase 13 and his Mask at Phase 3 and his Body of Fate at Phase 27; while a man whose Will is at Phase 3 would have all these positions exactly reversed.» — la regla de posición de las Cuatro Facultades sobre la rueda, dada con un ejemplo numérico.

«The relations between Will and Mask, Creative Mind and Body of Fate are called oppositions, and upon some occasions contrasts, while those between Will and Creative Mind, Mask and Body of Fate are called—for reasons which will appear later—discords.» — el vocabulario de las relaciones: oposiciones o contrastes entre Voluntad y Máscara, discordias entre Voluntad y Mente Creadora.

«Between Phase 12 and Phase 13, and between Phase 4 and Phase 5 in diagram 1 occurs what is called ‘the opening of the Tinctures’, and between Phase 18 and Phase 19, and between Phase 4 and Phase 5 what is called ‘the closing’. This means that between Phase 12 and Phase 13 each Tincture divides into two, and closes up again between Phase 18 and Phase 19. Between Phase 26 and Phase 27 the Tinctures become one Tincture, and between Phase 4 and Phase 5 become two again.» — la apertura y el cierre de las Tinturas, con las fases exactas en que cada Tintura se parte en dos y vuelve a unirse.

«The antithetical before Phase 15 becomes the primary after Phase 15, and vice versa—that is to say, the thoughts and emotions that are in nature antithetical before Phase 15 are in nature primary after Phase 15» — la inversión en la fase 15: lo antitético pasa a primario y a la inversa.

«One can describe antithetical man by comparing him to the Commedia dell’ Arte45 or improvised drama of Italy. The stage manager having chosen his actor, the Will, chooses for this actor, that he may display him the better, a scenario, Body of Fate, which offers to his Creative Mind the greatest possible difficulty that it can face without despair, and in which he must play a rôle and wear a Mask as unlike as possible to his natural character (or Will) and leaves him to improvise, through Creative Mind, the dialogue and details of the plot.» — el símil que explica al hombre antitético: la comedia del arte, donde la Voluntad es el actor, el Cuerpo del Destino el escenario y la Mente Creadora improvisa el diálogo.

«He must discover a being which only exists with extreme effort, when his muscles are as it were all taut and all his energies active, and for that reason the Mask is described as ‘A form created by passion to unite us to ourselves’.» — la definición de la Máscara que el libro cita entre comillas: forma creada por la pasión para unirnos a nosotros mismos.

«For primary Man one must go to the Decline of the Commedia dell’ Arte for an example. The Will is weak and cannot create a rôle, and so, if it transform itself, does so after an accepted pattern, some traditional clown or pantaloon.» — el hombre primario se explica por la decadencia de la comedia del arte: la Voluntad no crea papel y se transforma según un patrón recibido.

«It is said that the antithetical Mask is free, and the primary Mask enforced; and the free Mask is personality, a union of qualities, while the enforced Mask is character, a union of quantities, and of their limitations—that is to say, of those limitations which give strength precisely because they are enforced.» — el par personalidad y carácter: máscara libre es unión de cualidades, máscara impuesta es unión de cantidades y de límites que dan fuerza justamente por ser impuestos.

«Antithetical men are, like Landor,49 violent in themselves because they hate all that impedes their personality, but are in their intellect (Creative Mind) gentle, but primary men whose hatreds are impersonal are violent in their intellect but gentle in themselves as doubtless Robespierre50 was gentle.» — la simetría se ilustra con dos nombres: Landor violento en sí y suave de intelecto, Robespierre al revés.

«The Mask before Phase 15 is described as ‘a revelation’ because through it the being obtains knowledge of itself, sees itself in personality; while after Phase 15 it is a ‘concealment’, for the being grows incoherent, vague and broken, as its intellect (Creative Mind) is more and more concerned with objects that have no relation to its unity but a relation to the unity of Society or of material things, known through the Body of Fate, and adopts a personality which it more and more casts outward, more and more dramatises.» — la Máscara cambia de función en la fase 15: antes revela el ser a sí mismo, después lo oculta y lo dramatiza hacia fuera.

«a continual playing with all that must engulf it. The primary is that which serves, the antithetical is that which creates.» — la fórmula más corta del par: lo primario sirve, lo antitético crea.

«At Phase 8 is the ‘Discovery of Strength’, an embodiment in sensuality, for the imitation that held it to the norm of the race has ceased and the personality with its own norm has not begun. Primary and antithetical are equal and fight for mastery; and when this fight is ended through the conviction of weakness and the preparation for rage, the Mask becomes once more voluntary.» — la fase 8 como Descubrimiento de la Fuerza: primario y antitético se igualan y pelean, y de esa pelea sale de nuevo la máscara voluntaria.

«At Phase 22 is the ‘Breaking of Strength’, for here the being makes its last attempt to impose its personality upon the world, before the Mask becomes enforced once more and Character is once more born.» — la fase 22 como Quiebra de la Fuerza: último intento de imponer la personalidad al mundo antes de que vuelva el carácter.

«To these two phases, perhaps to all phases, the being may return up to four times before it can pass on. It is claimed, however, that four times is the utmost possible.» — el límite que el sistema se pone: se puede volver a una fase hasta cuatro veces, y se declara que cuatro es el máximo.

«It is claimed, however, that four times is the utmost possible.51 By being is understood that which divides into Four Faculties, by individual the Will analysed in relation to itself, by personality the Will analysed in relation to the Mask.» — las definiciones de ser, individuo y personalidad, cada una por la relación que se analiza.

«When the Will is in antithetical phases the True Mask is the effect of Creative Mind of opposite phase upon that phase; and the False Mask is the effect of Body of Fate of opposite phase upon that phase.» — la regla para hallar Máscara verdadera y falsa en fase antitética.

«The True Mask of Phase 17 for instance is ‘Simplification by intensity’ and is derived from Phase 3 modified by the Creative Mind of that phase, which is described as ‘Simplicity’ and is from Phase 27 which is that of the Saint.» — el procedimiento aplicado a la fase 17, con la Máscara verdadera derivada de la fase 3 y de la Simplicidad de la 27.

«The False Mask of Phase 17 is ‘Dispersal’ and is derived from Phase 3, modified by the Body of Fate which is from Phase 13 and is described as ‘Interest’. It will be found that this word describes with great accuracy the kind of ‘Dispersal’ which weakens men of Phase 17 when they try to live in the primary Tincture.» — la Máscara falsa de la fase 17 es Dispersión, y el libro la usa para explicar qué debilita a esos hombres cuando viven en la Tintura primaria.

«it takes from its opposite phase delight in passing things, sees ‘a world in a grain of sand, Heaven in a wild flower’53 and becomes a child playing, knows nothing of consequence and purpose.» — la fase 3 fiel a sí misma toma de su opuesta el gozo de lo pasajero, y el libro lo dice con un verso de Blake sobre el mundo en un grano de arena.

«Only long familiarity with the system can make the whole table of Masks, Creative Minds, etc.—see sec. xii—intelligible; it should be studied by the help of these two following rules:» — el libro advierte que sus tablas solo se vuelven legibles con larga familiaridad.

«In an antithetical phase the being seeks by the help of the Creative Mind to deliver the Mask from Body of Fate.» — la regla que resume el movimiento antitético: la Mente Creadora libra a la Máscara del Cuerpo del Destino.

«Again two mirrors face one another. Phase 3 and Phase 27 are alike in Tincture but different in direction.» — la imagen de los dos espejos enfrentados para fases iguales en Tintura y opuestas en dirección.

«The Body of Fate of any particular phase is the effect of the whole nature of its Body of Fate phase upon that particular phase. As, however, the Body of Fate is always primary it is in sympathy with the primary phase while it opposes the antithetical phase; in this it is the reverse of the Mask which is sympathetic to an antithetical phase but opposes a primary.» — la regla del Cuerpo del Destino y su asimetría: siempre primario, va con la fase primaria y contra la antitética, al revés que la Máscara.

«Excluding the four phases of crisis (Phases 8, 22, 15, 1) each quarter consists of six phases, or of two sets of three. In every case the first phase of each set can be described as a manifestation of power, the second of a code or arrangement of powers, and the third of a belief, the belief being an appreciation of, or submission to some quality which becomes power in the next phase. The reason of this is that each set of three is itself a wheel, and has the same character as the Great Wheel.» — la subdivisión de la rueda: cada cuarto son seis fases en dos tríos de poder, código y creencia, y cada trío es a su vez una rueda.

«The Phases 1 to 8 are associated with elemental earth, being phases of germination and sprouting; those between Phase 8 and Phase 15 with elemental water, because there the image-making power is at its height; those between Phase 15 and Phase 22 with elemental air, because through air, or space, things are divided from one another, and here intellect is at its height; those between Phase 22 and Phase 1 with elemental fire because here all things are made simple.» — el reparto elemental de los cuartos: tierra, agua, aire y fuego, cada uno con su razón declarada.

«The Will is strongest in First Quarter, Mask in second, Creative Mind in third, and the Body of Fate in fourth.» — qué Facultad manda en cada cuarto de la rueda.

«The being becomes conscious of itself as a separate being, because of certain facts of opposition and discord, the emotional opposition of Will and Mask, the intellectual opposition of Creative Mind and Body of Fate, discords between Will and Creative Mind, Creative Mind and Mask, Mask and Body of Fate, Body of Fate and Will.» — la conciencia de ser separado nace de oposiciones y discordias, que el libro enumera una por una.

«There is an enforced attraction between opposites, for the Will has a natural desire for the Mask and the Creative Mind a natural perception of the Body of Fate; in one the dog bays the Moon,56 in the other the eagle stares on the Sun57 by natural right.» — la atracción forzada entre opuestos, dicha con dos imágenes: el perro que ladra a la luna y el águila que mira al sol.

«and there is instability. Without this continual discord through deception there would be no conscience, no activity; and it will be seen later that deception is used as a technical term and may be substituted for ‘desire’.» — sin discordia por engaño no habría conciencia ni actividad, y el libro declara que engaño es término técnico intercambiable con deseo.

«Life is an endeavour, made vain by the Four Sails of its Mill,58 to come to a double contemplation, that of the chosen Image, that of the Fated Image.» — la definición de la vida en el sistema: empeño vano por llegar a la doble contemplación de la Imagen elegida y la Imagen fatal.

«The Four Perfections can only be understood when their phases come to be considered; it will be obvious for instance that self-sacrifice must be the typical virtue of phases where instinct or race is predominant, and especially in those three phases that come before reflection.» — las Cuatro Perfecciones solo se entienden por sus fases; el ejemplo dado es el auto-sacrificio como virtud típica de las fases del instinto y de la raza.

«Automatonism in antithetical phases arises from the Mask and Creative Mind, when separated from the Body of Fate and Will, through refusal of, or rest from conflict; and in primary phases from the Body of Fate and Will, when weary of the struggle for complete primary existence or when they refuse that struggle.» — de dónde nace el automatismo en cada Tintura: del descanso o del rechazo del conflicto.

«phase or, as it is said, out of phase; the most powerful natures are precisely those who most often need automatonism as a rest.» — el límite que el libro pone a su propio término: las naturalezas más fuertes son precisamente las que más necesitan el automatismo como descanso.

«It is perhaps an element in our enjoyment of art and literature, being awakened in our minds by rhythm and by pattern.» — el automatismo se propone como parte del goce del arte, despertado por ritmo y patrón.

«But there is another mind, or another part of our mind in this darkness, that is yet to its own perceptions in the light; and we in our turn are dark to that mind. These two minds (one always lightII,61 and one always dark, when considered by one mind alone), make up man and Daimon» — la definición del Daimon: otra mente en la oscuridad de la nuestra, a cuyas percepciones estamos oscuros nosotros.

«the Will of the man being the Mask of the Daimon, the Creative Mind of the man being the Body of Fate of the Daimon» — el cruce exacto entre las Facultades del hombre y las del Daimon, que invierte la rueda.

«The Wheel is in this way reversed, as St Peter at his crucifixion reversed by the position of his body the position of the crucified Christ:63 ‘Demon est Deus Inversus’.» — la inversión se ilustra con la crucifixión de san Pedro y se sella con la fórmula latina Demon est Deus Inversus.

«Man’s Daimon has therefore her energy and bias, in man’s Mask, and her constructive power in man’s fate, and man and Daimon face each other in a perpetual conflict or embrace.» — hombre y Daimon en conflicto o abrazo perpetuo, con la energía de ella en la Máscara de él.

«This relation (the Daimon being of the opposite sex to that of man) may create a passion like that of sexual love. The relation of man and woman, in so far as it is passionate, reproduces the relation of man and Daimon» — el Daimon es del sexo opuesto al del hombre, y la relación entre hombre y mujer reproduce la de hombre y Daimon en lo que tiene de pasión.

«This does not mean, however, that the men and women of opposite phases love one another, for a man generally chooses a woman whose Mask falls between his Mask and his Body of Fate, or just outside one or other; but that every man is, in the right of his sex, a wheel, or group of Four Faculties, and that every woman is, in the right of her sex, a wheel which reverses the masculine wheel.» — la acotación que impide la lectura fácil: no se aman los de fases opuestas, y la rueda femenina invierte la masculina.

«The Daimon carries on her conflict, or friendship with a man, not only through the events of life, but in the mind itself, for she is in possession of the entire dark of the mind.» — el Daimon pelea o trata con el hombre también dentro de la mente, porque posee toda su parte oscura.

«The things we dream, or that come suddenly into our heads, are therefore her Creative Mind (our Creative Mind is her Body of Fate) through which her energy, or bias, finds expression» — lo que soñamos o se nos ocurre de golpe es la Mente Creadora del Daimon.

«If man seeks to live wholly in the light, the Daimon will seek to quench that light in what is to man wholly darkness, and there is conflict and Mask and Body of Fate become evil;» — el precio de querer vivir del todo en la luz: el Daimon apaga esa luz y Máscara y Cuerpo del Destino se vuelven malos.

«when however in antithetical man the Daimonic mind is permitted to flow through the events of his life (the Daimonic Creative Mind) and so to animate his Creative Mind, without putting out its light, there is Unity of Being.» — la definición de Unidad del Ser: la mente daimónica corre por los sucesos de la vida y anima la Mente Creadora sin apagarla.

«The Daimon herself is now passionless and has a form of thought, which has no need of premise and deduction, nor of any language, for it apprehends the truth by a faculty which is analogous to sight, and hearing, and taste, and touch, and smell, though without organs.» — el pensamiento del Daimon no necesita premisa ni deducción ni lengua: aprehende por una facultad análoga a los sentidos, sin órganos.

«He who attains Unity of Being is some man, who, while struggling with his fate and his destiny until every energy of his being has been roused, is content that he should so struggle with no final conquest.» — quien alcanza la Unidad del Ser lucha con toda su energía y se conforma con no vencer nunca.

«For him fate and freedom are not to be distinguished; he is no longer bitter, he may even love tragedy like those ‘who love the gods and withstand them’65; such men are able to bring all that happens, as well as all that they desire, into an emotional or intellectual synthesis and so to possess not the Vision of Good only but that of Evil.» — para ese hombre hado y libertad no se distinguen, y su síntesis abarca la visión del Mal además de la del Bien.

«They are described as coming after death into dark and into light, whereas primary men, who do not receive revelation by conflict, are in dark or in light.» — la consecuencia póstuma de esa diferencia: unos van a oscuridad y luz, los primarios a una o a otra.

«In the Convito Dante speaks of his exile,66 and the gregariousness it thrust upon him, as a great misfortune for such as he; and yet as poet he must have accepted, not only that exile, but his grief for the death of Beatrice67 as that which made him Daimonic, not a writer of poetry alone like Guido Cavalcanti.» — el libro lee el exilio y el duelo por Beatriz como lo que hizo daimónico a Dante y lo separa de Cavalcanti.

«Unity with God is possible after Phase 26, though almost impossible before Phase 27 which is called ‘The Saint’, while Unity with Nature may take place after Phase 1, and in its turn becomes impossible after Phase 4.» — las ventanas exactas de las dos uniones: con Dios después de la fase 26, con la Naturaleza entre la 1 y la 4.

«Each Faculty is placed after the number of the phase where it is formed, not after the phase which it affects.» — la regla de lectura de la Tabla de las Cuatro Facultades: cada Facultad va bajo la fase donde se forma, no bajo la que afecta.

«26. The Multiple Man also called The Hunchback. True. Self-exaggeration. False. Self-abandonment. True. First perception of character. False. Mutilation. Enforced disillusion.» — el nombre doble que la tabla da a la fase 26 y sus dos Máscaras; se conserva la disposición en columnas tal como la imprime el troceo.

«28. The Fool. True. Serenity. False. Self-distrust. True. Hope. False. Moroseness. Enforced illusion.» — la fila del Loco en la misma tabla; la fila intermedia del Santo se omite aquí porque el original parte entre renglones la palabra que la cierra.

«FOUR PERFECTIONS At P. 2, P. 3, P. 4 . . . Self-sacrifice At P. 13 . . . . . . Self-knowledge At P. 16, P. 17, P. 18 . . . Unity of Being At P. 27 . . . . . . Sanctity» — las Cuatro Perfecciones repartidas por fase: sacrificio de sí, conocimiento de sí, Unidad del Ser y santidad.

«FOUR TYPES OF WISDOM73 At P. 4 . . . . . . Wisdom of Desire At P. 12 . . . . . . Wisdom of Intellect At P. 18 . . . . . . Wisdom of Heart At P. 26 . . . . . . Wisdom of Knowledge» — los cuatro tipos de sabiduría, uno por fase: del deseo, del intelecto, del corazón y del conocimiento.

«THE FOUR CONTESTS OF THE ANTITHETICAL WITHIN ITSELF First quarter. With body. In the first quarter body should win, in the second heart, etc.» — los cuatro combates de lo antitético consigo mismo, con cuerpo, corazón, mente y alma, y la regla de quién debe ganar en cada cuarto.

«FOUR AUTOMATONISMS First quarter. Instinctive. Second ” Imitative. Third ” Creative. Fourth ” Obedient.» — los Cuatro Automatismos por cuarto: instintivo, imitativo, creativo y obediente.

«FOUR CONDITIONS OF THE MASK First quarter. Intensity (affecting Third Quarter). Second ” Tolerance (affecting Fourth Quarter). Third ” Convention or systematization (affecting First Quarter). Fourth ” Self-analysis (affecting Second Quarter).» — las cuatro condiciones de la Máscara, cada una afectando a otro cuarto de la rueda.

«DEFECTS OF FALSE CREATIVE MIND WHICH BRING THE FALSE MASK First quarter. Sentimentality. Second ” Brutality (desire for root facts of life). Third ” Hatred. Fourth ” Insensitiveness.» — los defectos de la Mente Creadora falsa que traen la Máscara falsa: sentimentalismo, brutalidad, odio e insensibilidad.

«Note.—In primary phases these defects separate Mask from Body of Fate, in antithetical, Creative Mind from Body of Fate.» — la nota que precisa a quién separa cada defecto según la Tintura.

«THREE ENERGIES Images from self give emotion. Images from world give passion. Images from the supersensual give will.» — las tres energías según de dónde vengan las imágenes: del yo emoción, del mundo pasión, de lo suprasensible voluntad.

«I have changed the ‘creative genius’ of the Documents into Creative Mind to avoid confusion between ‘genius’ and Daimon; and ‘Ego’ into Will for ‘Ego’ suggests the total man who is all Four Faculties. Will or self-will was the only word I could find not for man but Man’s root. If Blake had not given ‘selfhood’ a special meaning it might have served my turn.» — una nota firmada en septiembre de 1925 declara que los nombres de dos Facultades son cambios suyos sobre los Documentos: genio creador pasó a Mente Creadora y Ego a Voluntad.

«This and the following Table are divided into ten divisions because they were given me in this form, and I have not sufficient confidence in my knowledge to turn them into the more convenient twelve-fold divisions. The relation of the Great Wheel and the Year is explained in Book II, and the makers of these tables may have had the old tenfold year in their minds.— W.B.Y.» — otra nota firmada W.B.Y. conserva la división decimal de las tablas porque así se las dieron y porque declara no tener confianza suficiente en su conocimiento para pasarlas a doce.

«As will be seen, when late phases are described, every achievement of a being, after Phase 22, is an elimination of the individual intellect and a discovery of the moral life.» — la ley de las fases tardías: después de la 22 todo logro elimina el intelecto individual y descubre la vida moral.

«When the old antithetical becomes the new primary, moral feeling is changed into an organisation of experience which must in its turn seek a unity, the whole of experience. When the old primary becomes the new antithetical, the old realisation of an objective moral law is changed into a subconscious turbulent instinct.» — el intercambio de Tinturas descrito en sus dos sentidos: el sentimiento moral se vuelve organización de la experiencia, y la ley moral objetiva se vuelve instinto turbulento.

«The world of rigid custom and law is broken up by ‘the uncontrollable mystery upon the bestial floor’.» — el libro cierra ese paso con un verso propio sobre el misterio incontrolable en el suelo bestial.

«Phase 1 not being human can better be described after Phase 28.» — la razón de que la exposición no empiece por la fase 1: no es humana.

«When the man lives out of phase and desires the Mask, and so permits it to dominate the Creative Mind, he copies the emotional explosion of Phase 16 in so far as difference of phase permits. He gives himself to a violent animal assertion and can only destroy, strike right and left as in the rage of a child, seek satisfaction of bodily need full of ignorance and gloom.» — el retrato de la fase 2 fuera de fase: afirmación animal violenta, destrucción y rabia de niño.

«But if he live according to phase, he uses the Body of Fate to clear the intellect of the influence of the Mask. He frees himself from emotion; and the Body of Fate, derived from Phase 14, pulls back the mind into the supersensual, so changes it that it grows obedient to all that recurs; and the Mask, now entirely enforced, is a rhythmical impulse.» — la misma fase vivida en fase: el Cuerpo del Destino limpia el intelecto de la Máscara y esta se vuelve impulso rítmico.

«Nobody of our age has, it may be, met him, certainly no record of such meeting exists, but, were such meeting possible, he would be remembered as a form of joy, for he would seem more entirely living than all other men, a personification or summing up of the life of all other men.» — el libro admite que de ese tipo no hay registro de encuentro alguno, y aun así lo describe.

«He can see nothing beyond sense, but sense expands and contracts to meet his needs, and the needs of those who trust him.» — el hombre de las primeras fases no ve más allá del sentido, pero el sentido se dilata y contrae a la medida de su necesidad.

«He neither loves nor hates though he may be in hatred or in love.» — la fórmula con que el libro separa el estado del acto en las fases primarias.

«Has she not perhaps but decided as her unknown fathers and mothers compelled, but conformed to the lineaments of her race?» — el libro deja la pregunta abierta sobre si la decisión fue suya o de la raza, sin resolverla.

«When Man identifies himself with his Fate, when he is able to say ‘Thy Will is our freedom’96 or when he is perfectly natural, that is to say perfectly a portion of his surroundings, he is free even though all his actions can be foreseen, even though every action is a logical deduction from that that went before it.» — la definición de libertad del sistema: se es libre al identificarse con el hado, aunque toda acción sea previsible y deducible de la anterior.

«He is all Fate but has no Destiny.» — la fórmula que aplica al caso la distinción entre hado, lo que viene de fuera, y destino, lo que viene de dentro.

«Abstraction has indeed begun, but it comes to him as a portion of experience cut off from everything but itself and therefore fitted to be the object of reflection.» — el nacimiento de la abstracción se data en el punto en que un trozo de experiencia se separa de todo lo demás.

«He no longer touches, eats, drinks, thinks and feels nature, but sees it as something from which he is separating himself, something that he may dominate, though only for a moment and by some fragmentary violence of sensation or of thought.» — el hombre deja de sentir la naturaleza y pasa a verla como algo de lo que se separa y que puede dominar por un momento.

«Nature is half gone but the laws of nature have appeared and he can change her rhythms and her seasons by his knowledge.» — el trueque que el libro consigna: se pierde la naturaleza y aparecen sus leyes, y con ellas el poder de cambiar sus ritmos.

«Had Walt Whitman lived out of phase, desire to prove that all his emotions were healthy and intelligible, to set his practical sanity above all not made in his fashion, to cry ‘thirty years old and in perfect health!’100 would have turned him into some kind of jibing demagogue» — el ejemplo con que el libro muestra qué es vivir fuera de fase: Whitman convertido en demagogo burlón.

«Abstraction has been born but it is the abstraction of a community, of a tradition, a synthesis starting, not as with Phases 19, 20 and 21 with logical deduction from an observed fact, but from some experience or from the whole experience of the individual or of the community:» — el libro distingue dos abstracciones: la de la comunidad y la tradición, y la que deduce lógicamente de un hecho observado en las fases 19 a 21.

«In a little while, though not yet, impulse and instinct, sweeping away catalogue and category, will fill the mind with terror.» — el anuncio de lo que viene: impulso e instinto barrerán catálogo y categoría y llenarán la mente de terror.

«If out of phase the man desires to be the man of Phase 21; an impossible desire, for that man is all but the climax of intellectual complexity and all men, from Phase 2 to Phase 7 inclusive, are intellectually simple.» — la razón por la que ese deseo es imposible: de la fase 2 a la 7 los hombres son intelectualmente simples.

«The dissolving character, out of phase, desires the breaking personality, and though it cannot possess, or even conceive of personality, seeing that its thoughts and emotions are common to all, it can create a grandiloquent phantom and by deceiving others deceive itself;» — el mecanismo del engaño en el carácter que se disuelve: fabrica un fantasma grandilocuente y al engañar a otros se engaña.

«Alexandre Dumas was the phase in its perfection, George Borrow when it halts a little, for Borrow was at moments sufficiently out of phase to know that he was naive and to brag of imaginary intellectual subjectivity, as when he paraded an unbelievable fit of the horrors, or his mastery of many tongues.» — los dos ejemplos con que el libro fija la fase 7: Dumas en su perfección y Borrow cuando cojea.

«Sexual impotence had doubtless weakened105 the Body of Fate and so strengthened the False Mask, yet one doubts if any mere plaster of ant’s eggs could have helped where there was so great insincerity.» — el libro adjudica a la impotencia sexual un efecto sobre el Cuerpo del Destino y aun así duda de que remedio alguno sirviera.

«From Phase 1 to Phase 7, there has been a gradual weakening in the character of all that is primary.» — el balance del primer cuarto: debilitamiento gradual de todo lo primario.

«Character has taken the disguise of individuality (the will analysed in relation to itself), but now, though individuality persists through another phase, personality (the Will analysed in relation to the Mask) must predominate.» — el relevo entre individualidad y personalidad, con las dos definidas por la relación que se analiza.

«Only then can the Will be forced to recognise the weakness of the Creative Mind when unaided by the Mask, and so to permit the involuntary Mask to change into the voluntary.» — la condición para que la Máscara involuntaria se vuelva voluntaria: que la Voluntad reconozca la debilidad de la Mente Creadora sin Máscara.

«It is the very nature of a struggle, where the soul must lose all form received from the objectively accepted conscience of the world, that it denies us an historical example.» — el libro declara por qué ahí no puede dar ejemplo histórico: la lucha misma borra toda forma recibida de la conciencia del mundo.

«So long as the primary Tincture predominated, the antithetical Tincture accepted its manner of perception; and character has been enlarged by the vegetative and sensitive faculties107 excited by the Body of Fate, which are the nearest a primary nature can come to antithetical emotion.» — el límite de lo que una naturaleza primaria puede alcanzar de emoción antitética, y de dónde le viene.

«Every modification or codification of morality has been its attempt, acting through the Creative Mind, to set order upon the instinctive and vegetative faculties, and it must now feel that it can create order no longer.» — el punto en que toda codificación moral se declara agotada dentro del sistema.

«Hartley Coleridge108 is not amongst them, that the brother of the Brontës109 may only seem to be because we know so little about him, but that Dostoyevsky’s Idiot is almost certainly an example.» — el libro adjudica y desadjudica ejemplos de esa fase: descarta a Hartley Coleridge, duda del hermano de las Brontë y da por seguro al Idiota de Dostoievski.

«But Dostoyevsky’s Idiot was too matured a type, he had passed too many times through the twenty-eight phases to help our understanding.» — y en la misma plana acota el ejemplo que acaba de dar: el Idiota ya pasó demasiadas veces por las veintiocho fases.

«The being is often born up to four times at this one phase, it is said, before the antithetical Tincture attains its mastery.» — la repetición de la fase 8: el ser nace ahí hasta cuatro veces antes de que lo antitético domine.

«He is suspended; he is without bias, and until bias comes, till he has begun groping for strength within his own being, his thought and his emotion bring him to judgment but they cannot help.» — el estado de la fase 8: suspensión sin inclinación, donde pensamiento y emoción juzgan pero no ayudan.

«Only a shock resulting from the greatest possible conflict can make the greatest possible change, that from primary to antithetical or from antithetical to primary again. Nor can anything intervene.» — el cambio de Tintura exige el choque del mayor conflicto posible y nada puede interponerse.

«It is said of it, ‘the soul having found its weakness at Phase 8 begins the inward discipline of the soul in the fury of Phase 9’.» — el libro cita su propia fuente en tercera persona: se dice del alma que, hallada su debilidad en la fase 8, empieza su disciplina interior en la furia de la 9.

«but after Phase 12, when true personality begins, brutality gives place to an evasive capricious coldness—‘false, fleeting, perjured Clarence’113—a lack of good faith in their primary relation,» — el cambio de la brutalidad a la frialdad caprichosa cuando empieza la personalidad verdadera.

«There is a certain artist who said to a student of these symbols, speaking of a notable man, and his mistress and their children, ‘She no longer cares for his work, no longer gives him the sympathy he needs, why does he not leave her, what does he owe to her or to her children?’» — el libro trae el dicho de un artista sin nombrarlo, dirigido a un estudiante de estos símbolos.

«He cannot wholly escape the influence of his Body of Fate, but he will be subject to its most personal form;» — el margen que queda: no se escapa del Cuerpo del Destino, pero se lo sufre en su forma más personal.

«Though the Body of Fate must seek to destroy his Mask, it may now impose upon him a struggle which leaves victory still possible.» — aun destinado a destruir la Máscara, el Cuerpo del Destino puede imponer una lucha que deje posible la victoria.

«Phase 9 was without restraint, but now restraint has come and with it pride;» — el paso de la fase 9 a la 10 se marca por la aparición del freno y con él del orgullo.

«He seeks by its help to free the creative power from mass emotion, but never wholly succeeds, and so the life remains troubled, a conflict between pride and race, and passes from crisis to crisis.» — el conflicto que define esa fase: entre orgullo y raza, nunca resuelto, de crisis en crisis.

«One remembers Faust, who will find every wench a Helen, now that he has drunk the witches’ dram, and yet loves his Gretchen with all his being.» — el ejemplo literario con que el libro fija esa fase: Fausto, que ve una Helena en cada moza y a la vez ama a Margarita entero.

«With less desire of expression than at Phase 9, and with more desire of action and of command, the man (Creative Mind from Phase 20, phase of greatest dramatic power) sees all his life as a stage play where there is only one good acting part;» — el hombre de la fase 10 ve su vida entera como obra de teatro con un solo papel bueno, y la Mente Creadora le viene de la fase de mayor poder dramático.

«He made upon his contemporaries an impression of impassivity, and yet after a speech that seemed brutal and callous, a follower has recorded that his hands were full of blood because he had torn them with his nails.» — el retrato de Parnell dentro del sistema: impasible en público y con las manos ensangrentadas de clavarse las uñas.

«While Phase 9 was kept from its subjectivity by personal relations, by sensuality, by various kinds of grossness; and Phase 10 by associations of men for practical purposes, and by the emotions that arise out of such associations, or by some tragic love where there is an element of common interest; Phase 11 is impeded by the excitement of conviction» — el libro ordena qué estorba la subjetividad en cada fase: relaciones personales, asociaciones prácticas, y luego la excitación de la convicción.

«He saw the divine energy in whatever was the most individual expression of the soul, and spent his life in showing that such expression was for the world’s welfare and not, as might seem, a form of anarchy.» — el ejemplo de la fase 11: ver la energía divina en la expresión más individual del alma y sostener que eso sirve al mundo.

«His Mask, under the influence of his Body of Fate, would have forced him to seek happiness in submission to something hard and exterior; but the Mask, set free by a Creative Mind that would destroy exterior popular sanction, makes possible for the first time the solitary conception of God.» — el punto exacto en que el sistema hace nacer la concepción solitaria de Dios: cuando la Mente Creadora destruye la sanción popular exterior.

«but the man of Phase 11 systematises, runs to some frenzy of conviction, to make intellect, intellect for its own sake, possible, and perhaps, in his rage against rough-and-ready customary thought, to make all but intellect impossible.» — el hombre de la fase 11 sistematiza hasta el frenesí para hacer posible el intelecto por sí mismo, y quizá para hacer imposible todo lo demás.

«forced upon him almost to the breaking of his heart: no nature without the stroke of fate divides itself in two.» — la sentencia que el libro deja caer en medio de un retrato: ninguna naturaleza se parte en dos sin el golpe del hado.

«When the Tinctures open, that is to say when observation gives place to experience, when the being attains self knowledge or its possibility, the Four Faculties reflect themselves in the» — la apertura de las Tinturas definida por lo que pasa dentro: la observación cede a la experiencia y el ser alcanza el conocimiento de sí.

«It struggles within itself, for it must now harmonise its instinct with its emotion, its reason with its desire, and not in relation to, or for the sake of, some particular action; but in relation to a conception of itself as Unity.» — el trabajo de la fase 12: armonizar instinto con emoción y razón con deseo, no para una acción sino ante una idea de sí como Unidad.

«the unity sought is Unity of Being, which is not to be confused with the complete subjectivity of Phase 15, for it implies a harmony of antithetical and primary life, and Phase 15 has no primary.» — la distinción que el libro insiste en no perder: la Unidad del Ser supone armonía de lo antitético y lo primario, mientras la fase 15 no tiene primario.

«It is therefore before all else the phase of the hero, of the man who overcomes himself, and so no longer needs, like Phase 10, the submission of others, or like Phase 11 conviction of others to prove his victory.» — la fase 12 como fase del héroe, el que se vence a sí mismo y ya no necesita ni sumisión ni convicción ajenas.

«Nor is there need any longer of the bare anatomy of Phase 11; every thought comes with sound and metaphor, and the sanity of the being is no longer from its relation to facts, but from its approximation to its own unity, and from this on we shall meet with men and women to whom facts are a dangerous narcotic or intoxicant.» — a partir de ahí la cordura no viene de la relación con los hechos sino de la aproximación del ser a su unidad, y los hechos se vuelven narcótico.

«If Phase 9 had the greatest possible ‘belief in its own desire’, there is now the greatest possible belief in all values created by personality.» — el máximo de creencia en los valores creados por la personalidad se fija en esa fase.

«The True Mask, derived from the terrible Phase 26, called the phase of the Hunchback,130 is the reverse of all that is emotional, being emotionally cold; not mathematical, for intellectual abstraction ceased at Phase 11, but marble pure.» — la Máscara verdadera de esa fase viene del Jorobado y es fría de emoción, no matemática sino pura como el mármol.

«Phase 13 is a phase of great importance, because the most intellectually subjective phase, and because only here can be achieved in perfection that in the antithetical life which corresponds to sanctity in the primary: not self-denial but expression for expression’s sake.» — la fase 13 se declara equivalente antitético de la santidad: no negación de sí, sino expresión por la expresión.

«Self-hatred now reaches its height, and through this hatred comes the slow liberation of intellectual love.» — de ese odio de sí sale, según el libro, la lenta liberación del amor intelectual.

«From now, if not from Phase 12, and until Phases 17 or 18 have passed, happy love is rare for seeing that the man must find a woman whose Mask falls within or but just outside his Body of Fate and Mask, if he is to find strong sexual attraction, the range of choice grows smaller, and all life grows more tragic.» — la regla que hace raro el amor feliz en esas fases: la Máscara de ella debe caer dentro o apenas fuera del Cuerpo del Destino y la Máscara de él, y el margen de elección se estrecha.

«When the being is out of phase, when it is allured by primary curiosity, it is aware of its primary feebleness and its intellect becomes but a passion of apprehension, or a shrinking from solitude; it may even become mad; or it may use its conscious feebleness and its consequent terror as a magnet for the sympathy of others, as a means of domination.» — el uso de la propia debilidad como imán de simpatía y como instrumento de dominio, cuando se está fuera de fase.

«At Phase 16 will be discovered a desire to accept every possible responsibility; but now responsibility is renounced and this renunciation becomes an instrument of power, dropped burdens being taken up by others.» — la renuncia a la responsabilidad convertida en instrumento de poder, porque otros recogen la carga.

«She will wander much alone as though she consciously meditated her masterpiece that shall be at the full moon, yet unseen by human eye, and when she returns to her house she will look upon her household with timid eyes» — el retrato de la mujer de la fase 14; el original sigue diciendo que le han quitado todo poder de protegerse y que de su Tintura primaria solo queda una inocencia irresponsable, y ahí la cita se corta porque el impreso parte esa palabra entre renglones.

«The greater the peril the nearer has she approached to the final union of primary and antithetical, where she will desire nothing; and already perhaps, through weakness of desire, she understands nothing yet seems to understand everything; already serves nothing, while alone seeming of service.» — la paradoja de la cercanía a la fase 15: parece entenderlo todo sin entender nada y parece servir sin servir.

«One thinks too of the women of Burne-Jones, but not of Botticelli’s women, who have too much curiosity, nor Rossetti’s women,135 who have too much passion» — el libro fija esa fase con pintura: las mujeres de Burne-Jones sí, las de Botticelli tienen demasiada curiosidad y las de Rossetti demasiada pasión.

«Wordsworth, shuddering at his solitude, has filled his art in all but a few pages with common opinion, common sentiment;137 while in the poetry of Keats there is an exaggerated sensuousness, though little sexual passion, that compels us to remember the pepper on the tongue as though that were his symbol.» — el contraste entre Wordsworth y Keats dentro del sistema, con la pimienta en la lengua como símbolo del segundo.

«Since Phase 12 the Creative Mind has been so interfused by the antithetical Tincture, that it has more and more confined its contemplation of actual things to those that resemble images of the mind desired by the Will.» — el estrechamiento de la Mente Creadora desde la fase 12: solo contempla lo real que se parece a las imágenes que la Voluntad desea.

«Now contemplation and desire, united into one, inhabit a world where every beloved image has bodily form, and every bodily form is loved.» — la fase 15 descrita como mundo donde toda imagen amada tiene cuerpo y todo cuerpo es amado.

«This love knows nothing of desire, for desire implies effort, and though there is still separation from the loved object, love accepts the separation as necessary to its own existence.» — ese amor no conoce deseo, porque el deseo supone esfuerzo, y acepta la separación como necesaria.

«Fate is known for the boundary that gives our Destiny its form, and—as we can desire nothing outside that form—as an expression of our freedom.» — el hado se vuelve la frontera que da forma al destino y, por eso mismo, expresión de la libertad.

«Chance and Choice have become interchangeable without losing their identity.» — la fórmula de la fase 15: azar y elección intercambiables sin perder identidad.

«All that the being has experienced as thought is visible to its eyes as a whole, and in this way it perceives, not as they are to others, but according to its own perception, all orders of existence.» — en esa fase el ser ve como un todo cuanto ha pensado y percibe todos los órdenes de existencia según su propia percepción.

«Its own body possesses the greatest possible beauty, being indeed that body which the soul will permanently inhabit, when all its phases have been repeated according to the number allotted: that which we call the clarified or Celestial Body.» — el cuerpo de la fase 15 se identifica con el que el alma habitará al cabo de todas sus fases, el Cuerpo Celestial.

«In this passage Christ, it is said, mourned over the length of time and the unworthiness of man’s lot to man, whereas his forerunner mourned and his successor will mourn over the shortness of time and the unworthiness of man to his lot; but this cannot yet be understood.» — el libro cita en tercera persona un dicho sobre el lamento de Cristo y sus dos vecinos, y declara que todavía no se puede entender.

«Phase 16 is in contrast to Phase 14, in spite of their resemblance of extreme subjectivity, in that it has a Body of Fate from the phase of the Fool, a phase of absorption, and its Mask from what might have been called the phase of the Child, a phase of aimless energy, of physical life for its own sake» — la simetría invertida entre las fases 14 y 16: la Máscara de una es el Cuerpo del Destino de la otra.

«Fate thrusts an aimless excitement upon Phase 14, while Phase 14 finds within itself an antithetical dream; whereas Phase 16 has a dream thrust upon it and finds within itself an aimless excitement.» — el cruce dicho en una sola frase: a la 14 el hado le impone excitación y ella halla dentro un sueño, a la 16 al revés.

«This excitement, and the dream, are both illusions, so that the Will, which is itself a violent scattering energy, has to use its intellect (Creative Mind) to discriminate between illusions.» — las dos son ilusiones, y a la Voluntad le toca usar el intelecto para escoger entre ilusiones.

«If, however, it subordinate its intellect to the Body of Fate all the cruelty and narrowness of that intellect are displayed in service of preposterous purpose after purpose till there is nothing left but the fixed idea and some hysterical hatred.» — el desenlace de someter el intelecto al Cuerpo del Destino: idea fija y odio histérico.

«It does not hate because it dreads, as do the phases of increasing antithetical emotion, but hates that which opposes desire.» — la distinción entre dos odios: el que nace del pavor y el que se dirige a lo que estorba al deseo.

«Since Phase 8 the man has more and more judged what is right in relation to time, a right action, or a right motive, has been one that he thought possible or desirable to think or do eternally; his soul would ‘come into possession of itself for ever in one single moment’;148 but now he begins once more to judge an action or motive in relation to space.» — el cambio de criterio moral: de juzgar la acción en relación con el tiempo a juzgarla en relación con el espacio.

«After the change, the belief in the soul’s immortality declines though the decline is slow, and it may only be recovered when Phase 1 is passed.» — la creencia en la inmortalidad del alma declina despacio a partir de ahí y solo se recupera pasada la fase 1.

«Among those who are of this phase may be great satirists, great caricaturists, but they pity the beautiful, for that is their Mask, and hate the ugly, for that is their Body of Fate, and so are unlike those of the primary phases, Rembrandt for instance, who pity the ugly, and sentimentalise the beautiful, or call it insipid, and turn away or secretly despise and hate it.» — el reparto de piedad y odio en las dos Tinturas, con Rembrandt como ejemplo del lado primario.

«Here also are several very ugly persons, their bodies torn and twisted by the violence of the new primary, but where the body has this ugliness great beauty of mind is possible.» — la fealdad del cuerpo en esa fase no excluye, según el libro, gran belleza de la mente.

«From this phase on we meet with those who do violence, instead of those who suffer it; and prepare for those who love some living person, and not an image of the mind, but as yet this love is hardly more than the ‘fixed idea’ of faithfulness.» — el giro de quien padece la violencia a quien la hace, y un amor que todavía no pasa de idea fija de fidelidad.

«As contrasted with Phase 13 and Phase 14, where mental images were separated from one another that they might be subject to knowledge, all now flow, change, flutter, cry out, or mix into something else; but without, as at Phase 16, breaking and bruising one another, for Phase 17, the central phase of its triad, is without frenzy.» — en la fase 17 las imágenes fluyen y se mezclan sin herirse, porque es la fase central de su tríada.

«The Will, when true to phase, assumes, in assuming the Mask, an intensity, which is never dramatic but always lyrical and personal, and this intensity, though always a deliberate assumption, is to others but the charm of the being; and yet the Will is always aware of the Body of Fate, which perpetually destroys this intensity, thereby leaving the Will to its own ‘dispersal’.» — la intensidad de la fase 17 es lírica y deliberada, y el Cuerpo del Destino la destruye una y otra vez.

«At Phase 3, not as Mask but as phase, there should be perfect physical well-being or balance, though not beauty or emotional intensity, but at Phase 27 are those who turn away from all that Phase 3 represents and seek all those things it is blind to.» — el par de fases opuestas: la 3 es bienestar físico sin belleza y la 27 busca justamente lo que la 3 no ve.

«It will be subject to nightmare, for its Creative Mind (deflected from the Image and Mask to the Body of Fate) gives an isolated mythological or abstract form to all that excites its hatred.» — la pesadilla explicada por el desvío de la Mente Creadora hacia el Cuerpo del Destino, que da forma mitológica a lo odiado.

«He sees the devil leaning against a tree, is attacked by imaginary assassins162 and in obedience to what he considers a supernatural voice, creates The Cenci that he may give to Beatrice Cenci her incredible father.» — el caso de Shelley dentro del sistema: obedece a lo que tiene por voz sobrenatural y de ahí saca The Cenci.

«Dante suffering injustice and the loss of Beatrice, found divine justice and the heavenly Beatrice, but the justice of Prometheus Unbound is a vague propagandist emotion and the women that await its coming are but clouds.» — el contraste que el libro no armoniza: la justicia divina de Dante frente a la emoción propagandista de Prometheus Unbound.

«Antithetical men (Phase 15 once passed) use this automatonism to evade hatred, or rather to hide it from their own eyes; perhaps all at some time or other, in moments of fatigue, give themselves up to fantastic, constructed images, or to an almost mechanical laughter.» — el automatismo como manera de esconderse el odio a sí mismo, con la risa mecánica como su forma.

«Now for the first time since Phase 12, Goethe’s saying is almost true: ‘Man knows himself by action only, by thought never.’» — el libro cita a Goethe para fechar el momento en que el hombre solo se conoce por la acción, y acota que solo es casi verdad.

«Its object of desire is no longer a single image of passion, for it must relate all to social life; the man seeks to become not a sage, but a wise king» — el desplazamiento del objeto de deseo hacia lo social: ya no el sabio sino el rey sabio.

«Goethe did not, as Beddoes said, marry his cook, but he certainly did not marry the woman he had desired,172 and his grief at her death showed that, unlike Phase 16 or Phase 17, which forget their broken toys, he could love what disillusionment gave.» — el libro corrige un dicho ajeno sobre Goethe y le adjudica lo propio de la fase: amar lo que la desilusión le dio.

«The Will is near the place marked Head upon the great chart, which enables it to choose its Mask even when true to phase almost coldly and always deliberately, whereas the Creative Mind is derived from the phase which is called ‘the wisdom of heart’» — la posición de la Voluntad en la Cabeza de la carta explica la elección deliberada y fría de la Máscara, mientras la Mente Creadora viene de la sabiduría del corazón.

«Unity of Being is no longer possible, for the being is compelled to live in a fragment of itself and to dramatise that fragment.» — el punto en que la Unidad del Ser deja de ser posible: el ser queda obligado a vivir en un fragmento de sí y a dramatizarlo.

«When the man lives according to phase, he is now governed by conviction, instead of by a ruling mood, and is effective only in so far as he can find this conviction.» — el relevo del humor dominante por la convicción como gobierno de la conducta.

«He is still disillusioned but he can no longer through philosophy substitute for the desire that life has taken away love for what life has brought.» — el límite que esa fase pierde: ya no puede cambiar por filosofía el deseo perdido por amor a lo recibido.

«the Body of Fate is therefore enforced failure of action, and many at this phase desire action above all things as a means of expression.» — el Cuerpo del Destino impone el fracaso de la acción justo donde muchos desean la acción como medio de expresión.

«He must now dramatise the Mask through the Will and dreads the Image, deep within, of the old antithetical Tincture at its strongest, and yet this Image may seem infinitely desirable if he could but find the desire.» — la Imagen de la vieja Tintura antitética se vuelve temible y a la vez infinitamente deseable, si se hallara el deseo.

«A certain actress is typical, for she surrounds herself with drawings by Burne-Jones in his latest period,176 and reveres them as they were holy pictures, while her manners are boisterous, dominating and egotistical.» — el libro ilustra la fase con una actriz que no nombra, rodeada de dibujos de Burne-Jones y de modales estrepitosos.

«They are faces of silent women, and she is never silent for a moment; yet these faces are not, as I once thought, the True Mask but a part of that incoherence the True Mask must conceal.» — el libro corrige por escrito una lectura suya anterior: esos rostros no son la Máscara verdadera sino parte de la incoherencia que ella debe ocultar.

«I find in Wilde, too, something pretty, feminine, and insincere, derived from his admiration for writers of the 17th and earlier phases, and much that is violent, arbitrary and insolent, derived from his desire to escape.» — el retrato de Wilde repartido entre dos causas: la admiración por escritores de fases anteriores y el deseo de escapar.

«Here one finds men and women who love those who rob them or beat them, as though the soul were intoxicated by its discovery of human nature, or found even a secret delight in the shattering of the image of its desire.» — el libro consigna sin juzgar el amor a quien roba o golpea, como embriaguez del alma ante la naturaleza humana.

«There is no ‘disillusionment’, for they have found that which they have sought, but that which they have sought and found is a fragment.» — la precisión final: no hay desilusión, porque se halló lo buscado, pero lo hallado es un fragmento.

«He no longer seeks to unify what is broken through conviction, by imposing those very convictions upon himself and others, but by projecting a dramatisation or many dramatisations.» — el cambio de método en la fase 19: ya no unificar por convicción impuesta sino por dramatización proyectada.

«The Body of Fate is called ‘enforced success’, a success that rolls out and smooths away, that dissolves through creation, that seems to delight in all outward flowing, that drenches all with grease and oil; that turns dramatisation into desecration: ‘I have made myself a motley to the view.’» — el Cuerpo del Destino de esa fase se llama éxito impuesto, y el libro lo cierra con un verso que dice haberse vuelto bufón a la vista de todos.

«He must, however, to express this suffering, personify rather than characterise, create not observe that multitude, which is but his Mask as in a multiplying mirror, for the primary is not yet strong enough to substitute for the lost Unity of Being that of the external world perceived as fact.» — la razón de que ahí haya personificación y no caracterización: lo primario todavía no basta para sustituir la Unidad del Ser perdida.

«In a man of action this multiplicity gives the greatest possible richness of resource where he is not thwarted by his horoscope, great ductability, a gift for adopting any rôle that stirs imagination, a philosophy of impulse and audacity; but in the man of action a part of the nature must be crushed, one main dramatisation or group of images preferred to all others.» — el precio que el hombre de acción paga por esa multiplicidad: una parte de su naturaleza queda aplastada.

«Napoleon sees himself as Alexander moving to the conquest of the East, Mask and Image must take an historical and not a mythological or dream form, a form found but not created; he is crowned in the dress of a Roman Emperor.» — el ejemplo de Napoleón: la Máscara y la Imagen deben tomar forma histórica, hallada y no creada.

«Shakespeare, the other supreme figure of the phase, was—if we may judge by the few biographical facts, and by such adjectives as ‘sweet’ and ‘gentle’181 applied to him by his contemporaries—a man whose actual personality seemed faint and passionless.» — el libro adjudica a Shakespeare la misma fase que a Napoleón y le atribuye una personalidad tenue, con la reserva de que solo se juzga por unos pocos datos.

«Unlike Ben Jonson he fought no duels;182 he kept out of quarrels in a quarrelsome age; not even complaining when somebody pirated his sonnets;183 he dominated no Mermaid Tavern,184 but—through Mask and Image, reflected in a multiplying mirror—he created the most passionate art that exists.» — el contraste entre la vida sin pendencias y el arte más apasionado, explicado por Máscara e Imagen en espejo múltiple.

«Both Shakespeare and Balzac used the False Mask imaginatively, explored it to impose the True, and what ILake Harris, the half-charlatan American visionary, said of Shakespeare might be said of both: ‘Often the hair of his head stood up and all life became the echoing chambers of the tomb.’» — el libro trae un dicho sobre Shakespeare y lo atribuye a Lake Harris, a quien llama medio charlatán, sin retirarle por eso la cita.

«At Phase 19 we create through the externalised Mask an imaginary world, in whose real existence we believe, while remaining separate from it; at Phase 20 we enter that world and become a portion of it; we study it, we amass historical evidence, and, that we may dominate it the more, drive out myth and symbol, and compel it to seem the real world where our lives are lived.» — la diferencia entre las fases 19 y 20: en una se cree en el mundo imaginado desde fuera, en la otra se entra en él y se expulsan mito y símbolo.

«The antithetical Tincture has a predominance so slight that the Creative Mind and Body of Fate almost equal it in control of desire.» — el equilibrio casi perdido de la fase 21, donde Mente Creadora y Cuerpo del Destino igualan a lo antitético.

«It is better, however, to use a different word, and therefore Phases 21, 22 and 23 are described as, like the phases opposite, phases of individuality where the Will is studied less in relation to the Mask than in relation to itself.» — el libro llama a esas fases de individualidad, porque ahí la Voluntad se estudia menos frente a la Máscara que frente a sí misma.

«When we contemplate Napoleon we can see ourselves, perhaps even think of ourselves as Napoleons, but a man of Phase 21 has a personality that seems a creation of his circumstance and his faults, a manner peculiar to himself and impossible to others.» — la diferencia entre personalidad ejemplar e individualidad intransferible, dicha con Napoleón como contraejemplo.

«Like somebody in Dostoyevsky’s Idiot,187 he will invite others to tell their worst deeds that he may himself confess that he stole a half-crown and left a servant-girl to bear the blame.» — el ejemplo de la Máscara falsa: la confesión inventada para provocar la de los demás.

«In phase he strengthens conflict to the utmost by refusing all activity that is not antithetical: he becomes intellectually dominating, intellectually unique.» — la misma fase en fase: rechaza toda actividad que no sea antitética y se vuelve intelectualmente única.

«He apprehends the simplicity of his opposite phase as some vast systematisation, in which the will imposes itself upon the multiplicity of living images, or events, upon all in Shakespeare, in Napoleon even, that delighted in its independent life; for he is a tyrant and must kill his adversary.» — el hombre de esa fase ve su fase opuesta como sistematización vasta, y el libro lo llama tirano que debe matar a su adversario.

«Once balance has been reached, the aim must be to use the Body of Fate to deliver the Creative Mind from the Mask, and not to use the Creative Mind to deliver the Mask from the Body of Fate.» — la regla que se invierte en la fase 22: ahora es el Cuerpo del Destino el que libra a la Mente Creadora de la Máscara.

«It has become abstract, and the more it has sought the whole of natural fact, the more abstract it has become.» — la paradoja de esa fase: cuanto más se busca el hecho natural entero, más abstracto se vuelve el pensamiento.

«One thinks of some spilt liquid which grows thinner the wider it spreads till at last it is but a film.» — la imagen con que el libro dice esa dilución: el líquido derramado que se adelgaza al extenderse.

«If Lamarck, as is probable, was of Phase 21, Darwin190 was probably a man of Phase 22,» — el libro reparte fases entre naturalistas y marca la adjudicación como probable, no como hecho.

«In Dostoyevsky the ‘amalgamation’ is less intellectual, less orderly, he, one feels, has reached the point of balance through life, and not through the process of his art;» — el libro distingue por dónde le llegó el equilibrio a Dostoievski: por la vida y no por el proceso de su arte.

«his characters, in whom is reflected this broken will, are aware, unlike those of Bouvard and Pécuchet, and those of the Temptation even, of some ungraspable whole to which they have given the name of God.» — los personajes de Dostoievski, a diferencia de los de Flaubert, saben de un todo inasible al que llaman Dios.

«Swedenborg passed through his balance after fifty,195 and a mind incredibly dry and arid, hard and tangible, like the minerals he assayed for the Swedish government,» — el libro fecha después de los cincuenta el equilibrio de Swedenborg y describe su mente por el oficio de ensayador de minerales.

«The desire to dominate has so completely vanished, ‘amalgamation’ has pushed its way so far into the subconscious, into that which is dark, that we call it a vision.» — lo que el libro llama visión se define aquí por la desaparición del deseo de dominar y la entrada de la amalgama en lo oscuro.

«Had he been out of phase, had he attempted to arrange his life according to the personal Mask, he would have been pedantic and arrogant, a Bouvard, or a Pécuchet, passing from absurdity to absurdity, hopeless and insatiable.» — el contrafactual con que el libro mide la fidelidad a la fase, con dos personajes de Flaubert como término.

«It is a phase as tragic as its opposite, and more terrible, for the man of this phase may, before the point of balance has been reached, become a destroyer and persecutor, a figure of tumult and of violence;» — el libro no suaviza la fase: antes del equilibrio puede dar destructor y perseguidor.

«The seeking of Unity of Fact by a single faculty, instead of Unity of Being by the use of all, has separated a man from his genius.» — la Unidad de Hecho buscada por una sola facultad separa al hombre de su genio, frente a la Unidad del Ser que usa todas.

«Someone has said that Balzac at noonday was a very ignorant man,197 but at midnight over a cup of coffee knew everything in the world.» — el libro trae el dicho sobre Balzac sin nombrar a quien lo dijo.

«Flaubert, says Anatole France, was not intelligent.200 Dostoyevsky, to those who first acclaimed his genius, seemed when he laid down his pen an hysterical fool.» — dos juicios ajenos que el libro consigna en la misma frase, uno atribuido a Anatole France y otro a los primeros lectores de Dostoievski.

«Now that Will and Body of Fate are one, Creative Mind and Mask one also, we are no longer four but two, and life, the balance reached, becomes an act of contemplation.» — en la fase 22 las cuatro Facultades se reducen a dos y la vida se vuelve acto de contemplación.

«He must kill all thought that would systematise the world, by doing a thing, not because he wants to, or because he should, but because he can;» — la regla de la fase 23: obrar no porque se quiera ni porque se deba, sino porque se puede.

«That whole must not be instinctive, bodily, natural, however, though it may seem so, for in reality he cares only for what is human, individual and moral.» — la reserva que corrige la apariencia: aunque parezca instintivo y corporal, solo le importa lo humano, individual y moral.

«if he is Rembrandt he discovers his Christ through anatomical curiosity, or through curiosity as to light and shade,204 and if he is Synge he takes a malicious pleasure in the contrast between his hero, whom he discovers through his instinct for comedy, and any hero in men’s minds.» — los dos ejemplos con que el libro fija la fase, Rembrandt y Synge, y por qué camino llega cada uno a su figura.

«He is never the mere technician that he seems, though when you ask his meaning he will have nothing to say, or will say something irrelevant or childish.» — el libro advierte contra la lectura técnica de esos artistas, aunque ellos mismos no sepan explicarse.

«Artists and writers of Phase 21 and Phase 22 have eliminated all that is personal from their style, seeking cold metal and pure water, but he will delight in colour and idiosyncrasy, though these he must find rather than create.» — el contraste con las fases anteriores: ahí se elimina lo personal, aquí se goza en el color y la idiosincrasia halladas.

«Synge must find rhythm and syntax in the Aran Islands,206 Rembrandt delight in all accidents of the visible world; yet neither, no matter what his delight in reality, shows it without exaggeration, for both delight in all that is wilful, in all that flouts intellectual coherence, and conceive of the world as if it were an overflowing cauldron.» — el límite que el libro pone a ese realismo: ninguno de los dos muestra lo real sin exageración.

«Phase 9 was dominated by desire, was described as having the greatest belief in its own desire possible to man, yet from it Phase 23 receives not desire but pity, and not belief but wisdom.» — el trueque entre fases opuestas: de la fase del deseo, la 23 recibe piedad y sabiduría.

«Pity needs wisdom as desire needs belief, for pity is primary, whereas desire is antithetical.» — el emparejamiento que reparte piedad y deseo entre las dos Tinturas.

«When pity is separated from wisdom we have the False Mask, a pity like that of a drunken man, self-pity, whether offered in seeming to another or only to oneself: pity corrupted by desire.» — la definición de la Máscara falsa de esa fase: autocompasión, piedad corrompida por el deseo.

«He had to undergo an æsthetic transformation, analogous to religious conversion, before he became the audacious joyous ironical man we know.» — el libro describe un cambio de fase en vida como conversión estética análoga a la religiosa.

«If he does not so receive and transform he sinks into stupidity and stagnation, perceives nothing but his own interests, or becomes a tool in the hands of others; and at Phase 23, because there must be delight in the unforeseen, he may be brutal and outrageous.» — el reverso de la misma fase: estupidez, instrumento de otros, o brutalidad, porque exige deleite en lo imprevisto.

«Rembrandt pitied ugliness, for what we call ugliness was to him an escape from all that is summarised and known, but had he painted a beautiful face, as antithetical man understands beauty, it would have remained a convention, he would have seen it through a mirage of boredom.» — por qué Rembrandt compadece la fealdad: es escape de todo lo resumido y sabido, mientras la belleza le habría quedado convención.

«There is indeed as much selection among the events in one case as in the other, but at Phase 23 events seem startling because they elude intellect.» — la precisión que evita el malentendido: hay tanta selección como en las otras fases, pero los sucesos sorprenden porque esquivan el intelecto.

«There is no philosophic capacity, no intellectual curiosity, but there is no dislike for either philosophy or science; they are a part of the world and that world is accepted.» — el retrato de la fase 25 empieza por lo que no tiene, y aclara que tampoco tiene aversión a filosofía ni ciencia.

«It is always seemingly fated, for its sub-conscious purpose is to compel surrender of every personal ambition; and though it is obeyed in pain—can there be mercy in a rigid code?—the man is flooded with the joy of self-surrender; and flooded with mercy—what else can there be in self-surrender?—for those over whom the code can have no rights, children and the nameless multitude.» — el código de esa fase se obedece con dolor y a la vez inunda de gozo y de misericordia hacia quienes el código no alcanza.

«They submit all their actions to the most unflinching examination, and yet are without psychology, or self-knowledge, or self-created standard of any kind, for they but ask without ceasing,» — el examen constante sin psicología ni norma propia, reducido a una sola pregunta comparativa que el original parte entre renglones y por eso queda fuera de la cita.

«Out of phase, seeking emotion instead of impersonal action, there is— desire being impossible—self-pity, and therefore discontent with people and with circumstance, and an overwhelming sense of loneliness, of being abandoned.» — la misma fase fuera de fase: autocompasión, descontento y sentimiento de abandono.

«Their intellect being from Phase 6, but their energy, or will, or bias, from Phase 24, they must, if in phase, see their code expressed in multiform human life, the mind of Victoria at its best, as distinguished from that of Walt Whitman.» — el libro fija la fase 24 con dos nombres opuestos, Victoria y Whitman, y aclara de qué fase le viene a cada uno el intelecto y la energía.

«That which characterises all phases of the last quarter, with an increasing intensity, begins now to be plain: persecution of instinct—race is transformed into a moral conception—whereas the intellectual phases, with increasing intensity as they approached Phase 22, persecuted emotion.» — la simetría entre los dos cuartos: uno persigue el instinto, el otro perseguía la emoción.

«He must eliminate all that is personal from belief; eliminate the necessity for intellect by the contagion of some common agreement, as did Phase 23 by its technique, Phase 24 by its code.» — el trabajo de la fase 25: quitar de la creencia todo lo personal y suplir el intelecto por el contagio de un acuerdo común.

«He is still strong, full of initiative, full of social intellect; absorption has scarce begun; but his object is to limit and bind, to make men better, by making it impossible that they should be otherwise, to so arrange prohibitions and habits that men may be naturally good, as they are naturally black, or white, or yellow.» — el propósito declarado de esa fase: hacer buenos a los hombres volviéndoles imposible ser otra cosa.

«He has but one overwhelming passion, to make all men good, and this good is something at once concrete and impersonal;» — la única pasión de esa fase y el carácter de su bien, concreto e impersonal a la vez.

«Living in the False Creative Mind produces, in all primary phases, insensitiveness, as living in the False Mask produces emotional conventionality and banality,» — el reparto de los defectos según qué falsedad se habite: insensibilidad o convencionalismo emocional.

«At Phase 25 this insensitiveness may be that of a judge who orders a man to the torture, that of a statesman who accepts massacre as a historical necessity.» — el libro nombra los dos ejemplos de esa insensibilidad sin atenuarlos: el juez que manda al tormento y el estadista que acepta la matanza.

«One thinks of Luther’s apparent indifference to atrocities committed, now by the peasants, now against them, according to the way his incitements veered.» — el ejemplo histórico se da como aparente indiferencia, no como hecho probado.

«At Phase 25 men seek to master the multitude, not through expressing it, nor through surprising it, but by imposing upon it an intellectual norm.» — las tres maneras de tratar con la multitud, una por fase: sorprenderla, volverla norma moral, o imponerle una norma intelectual.

«Poets of this phase are always stirred to an imaginative intensity by some form of propaganda.» — el libro adjudica a la propaganda el estímulo de los poetas de esa fase.

«George Herbert was doubtless of this phase; and Mr George Russell (A.E.), though the signs are obscured by the influence upon his early years of poets and painters of middle antithetical phases.» — la adjudicación se da con su reserva: en Russell los signos quedan oscurecidos por influencias de otras fases.

«Neither Mr Russell’s visionary painting, nor his visions of ‘nature spirits’ are, upon this supposition, true to phase.» — la consecuencia se enuncia como condicional: bajo esa suposición, ni su pintura visionaria ni sus visiones de espíritus de la naturaleza son fieles a la fase.

«I think that in Asia it might not be difficult to discover examples at least of Phases 26, 27 and 28, final phases of a cycle.» — el libro admite que para las tres fases finales del ciclo habría que buscar ejemplos en Asia.

«All the old abstraction, whether of morality or of belief, has now been exhausted, but in the seemingly natural man, in Phase 26 out of phase, there is an attempt to substitute a new abstraction, a simulacrum of self-expression.» — el diagnóstico de la fase 26 fuera de fase: agotada toda abstracción, se sustituye por un simulacro de expresión de sí.

«In his seemingly natural man, derived from Mask, there is an extreme desire for spiritual authority; and thought and action have for their object display of zeal or some claim of authority.» — el rasgo de la fase 26 fuera de fase: deseo extremo de autoridad espiritual.

«His joy is to be nothing, to do nothing, to think nothing; but to permit the total life, expressed in its humanity, to flow in upon him and to express itself through his acts and thoughts.» — la definición del Santo por sustracción: no ser, no hacer, no pensar, y dejar que la vida total pase por sus actos.

«He is not identical with it, he is not absorbed in it, for if he were he would not know that he is nothing, that he no longer even possesses his own body, that he must renounce even his desire for his own salvation, and that this total life is in love with his nothingness.» — la reserva que impide leerlo como fusión: si estuviera absorbido no sabría que es nada.

«Before the self passes from Phase 22 it is said to attain what is called the ‘Emotion of Sanctity’, and this emotion is described as a contact with life beyond death.» — la Emoción de Santidad, citada en tercera persona, se define como contacto con la vida más allá de la muerte.

«It comes at the instant when synthesis is abandoned, when fate is accepted.» — el instante exacto en que llega: cuando se abandona la síntesis y se acepta el hado.

«but not to pass from Phase 25 till we have intellectually realised the nature of sanctity itself, and sanctity is described as the renunciation of personal salvation.» — la definición de santidad que el libro da: renuncia a la salvación personal.

«After Phase 22 the man becomes aware of something which the intellect cannot grasp and this something is a supersensual environment of the soul.» — lo que aparece después de la fase 22 y el intelecto no puede asir: un entorno suprasensible del alma.

«He will, if it be possible, not even touch or taste or see: ‘Man does not perceive the truth; God perceives the truth in man’.» — el libro cierra el retrato del Santo con una sentencia entrecomillada: no es el hombre quien percibe la verdad, es Dios quien la percibe en el hombre.

«The natural man, the fool desiring his Mask, grows malignant, not as the Hunchback, who is jealous of those that can still feel, but through terror and out of jealousy of all that can act with intelligence and effect.» — el Loco fuera de fase se vuelve maligno por terror y por envidia de lo que actúa con inteligencia.

«He is but a straw blown by the wind, with no mind but the wind and no act but a nameless drifting and turning, and is sometimes called ‘The Child of God’.» — el Loco descrito como paja que lleva el viento, y llamado a veces el Hijo de Dios.

«His importance will become clear as the system elaborates itself, yet for the moment no more need be said but that one finds his many shapes on passing from the village fool to the fool of Shakespeare.» — el libro aplaza la explicación del Loco y remite a sus muchas formas, del tonto de aldea al bufón de Shakespeare.

«Mind has become indifferent to good and evil, to truth and falsehood; body has become undifferentiated, dough-like; the more perfect be the soul, the more indifferent the mind, the more dough-like the body;» — la fase 28 descrita como plasticidad completa: cuanto más perfecta el alma, más indiferente la mente y más masa el cuerpo.

«and mind and body take whatever shape, accept whatever image is imprinted upon them, transact whatever purpose is imposed upon them, and are indeed the instruments of supernatural manifestation, being the final link between the living and more powerful beings.» — esa plasticidad convierte a mente y cuerpo en instrumentos de manifestación sobrenatural, eslabón entre los vivos y seres más poderosos.

«All plasticities do not obey all masters, and when we have considered cycle and horoscope it will be seen how those that are the instruments of subtle supernatural will differ from the instruments of cruder energy; but all, highest and lowest, are alike in being automatic.» — el libro distingue plasticidades según a qué obedecen y las iguala en un punto: todas son automáticas.

«automatic. FINISHED AT THOOR, BALLYLEE, 1922, IN A TIME OF CIVIL WAR.» — el colofón que cierra el Libro I fecha y sitúa la escritura en la torre de Ballylee, en tiempo de guerra civil.

«This topic belongs to the psychology of the system, which I have not yet mastered. I have yet to put together and study many obscure scattered passages in the documents.—W.B.Y., July, 1925.» — una nota firmada W.B.Y. en julio de 1925 declara un límite propio: aún no domina la psicología del sistema ni ha estudiado muchos pasajes oscuros de los documentos.

«I quote from a book circulated privately among his followers. I saw it years ago but seem to remember it, as now vague, now vulgar, and now magnificent in style.» — otra nota declara la fuente de una cita y la fragilidad del recuerdo: un libro de circulación privada visto años atrás.

«Kusta ben Luka is my name, I write To Abd Al-Rabban2; fellow roysterer once, Now the good Caliph’s learned Treasurer, And for no ear but his.» — el poema que abre el Libro II se presenta como carta de Kusta ben Luka a Abd Al-Rabban, tesorero del califa.

«You think that love has seasons, and you think That if the spring bear off what the spring gave The heart need suffer no defeat; but I Who have accepted the Byzantine faith» — en el poema, Kusta ben Luka opone a la idea de que el amor tiene estaciones su condición de cristiano bizantino.

«‘That love Must needs be in this life and in what follows Unchanging and at peace, and it is right Every philosopher should praise that love; But I being none can praise its opposite.» — el hablante del poema declara alabar lo contrario del amor inmutable, y funda el permiso en no ser filósofo.

«She seemed the learned man and I the child; Truths without father came, truths that no book Of all» — la fórmula con que el poema nombra lo recibido por boca de la mujer: ella parecía el sabio y él el niño, y llegaban verdades sin padre.

«All those abstractions that you fancied were From the great Treatise of Parmenides; All, all those gyres and cubes and midnight things10 Are but a new expression of her body Drunk with the bitter-sweetness of her youth.» — el poema devuelve las abstracciones del sistema al cuerpo de la mujer que las dictó, contra la atribución a un tratado antiguo.

«A woman’s beauty is a storm-tossed banner; Under it wisdom stands, and I alone— Of all Arabia’s lovers I alone— Nor dazzled by the embroidery, nor lost In the confusion of its night-dark folds, Can hear the armed man speak.» — el cierre del poema: bajo la belleza de la mujer, tomada por bandera batida, está la sabiduría, y solo él oye hablar al hombre armado.

«Flaubert talked much of writing a story called ‘La Spirale’ and died before he began it, but since his death an editor has collected the scheme from various sources.» — el libro abre su geometría con un antecedente literario: la espiral que Flaubert proyectó y no escribió.

«Swedenborg wrote occasionally of gyrations, especially in his Spiritual Diary, and in The Principia12 where the physical universe is described as built up by the spiral movement of points, and by vortexes which were combinations of these;» — el libro reclama a Swedenborg como antecedente del giro y remite a dos obras suyas donde el universo físico se construye por movimiento espiral de puntos.

«Having the concrete mind of the poet, I am unhappy when I find myself among abstract things, and yet I need them to set my experience in order.» — la reserva que el autor pone a su propia geometría: como poeta le incomoda lo abstracto y aun así lo necesita para ordenar la experiencia.

«I must speak of time and space, though as I accept the argument of Berkeley I think of them as abstract creations of the human mind, limits which it has chosen for itself.» — el estatuto que el libro da a espacio y tiempo, siguiendo a Berkeley: creaciones abstractas de la mente, límites que ella se puso.

«however much connected with objects that have, a line symbolises the emotional subjective mind, the self in its simplest form.» — la línea como símbolo de la mente subjetiva emocional, el yo en su forma más simple.

«when, however, a narrowing and a widening gyre reach their limit, the one the utmost contraction the other the utmost expansion, they change places, point to circle, circle to point, for this system conceives the world as catastrophic, and continue as before, one always narrowing, one always expanding, and yet bound for ever to one another.» — la mecánica de los conos: al tocar sus límites, punto y círculo intercambian sitio, y el libro declara ahí que concibe el mundo como catastrófico.

«If now we consider these opposing gyres or cones as expressing Man and Daimon—those two first portions of being that suffer vicissitude into which Anima Hominis and Anima Mundi resolve—we can explain much in Parmenides and Empedocles, but especially this in Heraclitus:» — el libro identifica los conos opuestos con Hombre y Daimon y con Anima Hominis y Anima Mundi, y con eso dice explicar pasajes de Parménides, Empédocles y Heráclito.

«‘Not as might be supposed,’ Birkett explains, ‘the centre but the extreme bound.’» — el libro apoya su lectura de un término griego en una explicación que atribuye a Birkett.

«‘For of a truth they (Love and Strife) were afore time and shall be, nor ever can (?) boundless time be emptied of the pair, and they prevail in turn as the circle comes round, and pass away before one another and increase in their appointed time.’» — el libro cita a Empédocles sobre Amor y Discordia que prevalecen por turnos conforme gira el círculo, y lo lee como sus propios conos.

«And had we more than a few fragments of Empedocles and his school it might not be hard to relate the four gyres of our symbol to heat and cold, light and dark, the pairs of opposites» — el libro declara el límite de esa filiación: solo con más fragmentos de Empédocles podrían relacionarse los cuatro giros con calor y frío, luz y sombra.

«Blake, in the “Mental Traveller”,27 describes a struggle, a struggle perpetually repeated between a man and a woman, and as the one ages, the other grows young.» — el libro adjudica a un poema de Blake la lucha perpetua entre hombre y mujer, donde uno envejece mientras el otro rejuvenece.

«When Edwin J. Ellis and I had finished our big book28 on the philosophy of William Blake, I felt that we had no understanding of this poem: we had explained its details, for they occur elsewhere in his verse or his pictures, but not the poem as a whole,» — el autor declara una incomprensión propia sobre un poema que ya había editado y comentado con Edwin J. Ellis.

«but when I had understood the double cones, I understood it also.» — y declara que fue el doble cono lo que se lo hizo entender, de modo que el sistema se presenta como llave de lectura.

«woman and the man are two competing gyres growing at one another’s expense, but with Blake it is not enough to say that one is beauty and one is wisdom, for he conceives this conflict as that in all love—whether between the elements as in Parmenides29, ‘the wanton love’ of Aristotle,30 or between man and woman—which compels each to be slave and tyrant by turn.» — el libro no armoniza su lectura con la de Blake: para él los dos giros son belleza y sabiduría, para Blake es el conflicto que hace a cada uno esclavo y tirano por turnos.

«Or, upon the other hand, those beings which gave that knowledge as it is in The Spiritual Diary32 may have given it to Blake also.» — la hipótesis alternativa que el libro deja abierta: que los mismos seres que dieron ese saber a Swedenborg lo dieran a Blake.

«It is, however, cumbersome to use four gyres if two will serve, as they do if we combine two sets of cones so that one line includes B B, C C, and another D D, A A, and so that the same movement causes one line to contract as the other expands.» — la simplificación del diagrama: dos giros bastan si se combinan los dos juegos de conos.

«The pairs A B and C D are now so placed that opposites confront one another from opposite sides of the figure, and if we study their movements we have those of the Great Wheel or the Dance of the Four Royal Persons.» — el libro cierra el círculo entre la geometría y la fábula: los movimientos de esos pares son los de la Gran Rueda o Danza de las Cuatro Personas Reales.

«Will is Will, Mind is Creative Mind, Destiny is Mask, Fate is Body of Fate. They are the Four Faculties, and I must leave the definition of their function, given in the section describing the Great Wheel, to explain itself as the system grows familiar, that I may not write at too great length.» — la equivalencia entre los nombres del diagrama y las Cuatro Facultades, con la razón declarada de no repetir sus definiciones.

«This proportion is represented in the Great Wheel by the size of the illuminated portion of the Lunar disc at each» — la proporción de Tinturas se lee en el tamaño de la parte iluminada del disco lunar en cada fase.

«The converse is not always true, for the Tinctures belong to a man’s life while in the body, and Solar and Lunar may transcend that body.» — el límite de la equivalencia: primario es solar y antitético lunar, pero no al revés, porque las Tinturas solo valen mientras se está en el cuerpo.

«The Great Wheel is not, however, an arbitrary symbol for it is a single gyre of a great cone containing, as we shall see presently, twelve cycles of» — el libro niega que la Gran Rueda sea símbolo arbitrario: es un solo giro de un cono mayor que contiene doce ciclos de encarnación.

«BLAKE AND THE GREAT WHEEL We interpret the symbol differently from Blake36 because his tyrant and» — el libro declara por escrito que lee el símbolo de otro modo que Blake, en vez de armonizar las dos lecturas.

«With us these are the moments of the greatest Beauty and Wisdom respectively because we have mainly studied men true to phase, and when man is true to phase he attains at Phase 1 and Phase 15 relation with his opposite not through conflict but, in so far as one Faculty or group of Faculties is concerned, through harmony, and is in a Sphere and not a cone.» — en las fases 1 y 15 el hombre fiel a su fase se relaciona con su opuesto por armonía y no por conflicto, y está en una Esfera y no en un cono.

«The Solar circle represents all that comes from outside the man and is therefore the Bride, the Enemy, the Spiritual Life, the Physical World, though it is only through the Faculties, separated form, that he apprehends it.» — el círculo solar reúne lo que viene de fuera: la Novia, el Enemigo, la Vida Espiritual y el Mundo Físico.

«Because there is between the Lunar or natural world and the Solar or spiritual world conflict, the creation of philosophy ‘from experience’ is said ‘to burn’43 (? ‘to consume itself away’44) whereas that from revelation gives life.» — el libro repite aquí la sentencia que separa las dos filosofías: la nacida de la experiencia quema, la nacida de revelación da vida.

«the Lunar from West to East according to the Moon’s zodiacal movements, the Solar from East to West according to the Sun’s daily movement, or as we shall presently see, according to his precessional movement.» — los dos círculos con sus direcciones opuestas, el lunar de oeste a este y el solar de este a oeste.

«I use two cones with their narrow ends meeting for Mask and Will, which I will call the Lunar cones, and two with their broad ends meeting for the Creative Mind and Body of Fate which I will call the Solar cones.» — la convención geométrica declarada en primera persona: conos lunares para Máscara y Voluntad, solares para Mente Creadora y Cuerpo del Destino.

«At the present moment as the equinox is in Pisces, the Creative Mind, which is always identified with the East and so with the equinoctial point, has moved from the historical starting point in Aries 30 through somewhat more than one twelfth of the entire circle.» — el libro fecha su propio presente dentro del esquema: con el equinoccio en Piscis, la Mente Creadora lleva algo más de un doceavo del círculo.

«When the Sun at the vernal equinox passed from Taurus into Aries, Eternal Man had his Will and Mask at Phase 15 and Phase 1 respectively, and so at Lunar South and North, and his Creative Mind and his Body of Fate at Solar East and West.» — el punto de partida histórico del esquema y las posiciones que tenía entonces cada Facultad del Hombre Eterno.

«This means that each of the twelve Lunar divisions begins in the middle of one of the twelve Solar divisions.» — el desfase entre las doce divisiones lunares y las doce solares.

«Our figure is based on the Great Year of some twenty-six thousand years, and therefore the Sun enters Aries at the 30th degree and not at 0 as in the annual movement.» — la figura se declara construida sobre un Gran Año de unos veintiséis mil años, con el Sol entrando en Aries a los treinta grados.

«The Will of Eternal Man during the civilisation that climaxed in Athens and in Rome was passing through a gyre which corresponded to Phase 15 of the Lunar cone and had therefore the greatest possible artistic capacity, and at the foundation of Christianity entered upon the gyre of Phases 16, 17 and 18, while His Creative Mind entered upon that of Phases 14, 13 and 12» — el libro adjudica fases a civilizaciones enteras: la que culmina en Atenas y Roma en la fase 15, y la fundación del cristianismo abriendo las fases 16 a 18.

«These revolving cones, however, as we shall see presently, belong to all periods, whether of history or of individual life, which involve the interaction of primary and antithetical.» — el alcance declarado de los conos: valen para todo periodo, de la historia o de una vida, donde primario y antitético se traten.

«The Creative Mind and the Body of Fate are only present in the Lunar cones as an outward limit or obstruction— we shall return to them presently—as they should act through Will and Mask; and the Will and Mask are present in the same way in the Solar cones as they should act through Creative Mind and Body of Fate.» — la regla de presencia cruzada: cada par solo está en los conos del otro como límite u obstáculo.

«During the antithetical half of the circle, the mind of the man, as we shall see presently, is in the Lunar cones, and during the primary half in the Solar.» — dónde vive la mente según la mitad del círculo: en los conos lunares o en los solares.

«The Four Principles are Spirit, Celestial Body, Husk and Passionate Body—we shall describe each presently—and they correspond to Creative Mind, Body of Fate, Will and Mask respectively.» — los Cuatro Principios y su correspondencia exacta con las Cuatro Facultades.

«But each month in addition to its separate passage through the phases from 1 to 28 is part of a period of two months which is itself an entire cone or wheel, and therefore the months are alternately antithetical and primary, the lunar months corresponding to 16, 17 and 18, and so to our civilisation, being for instance primary.» — los meses se alternan en antitéticos y primarios porque cada par de meses es a su vez una rueda entera.

«The Principles are properly speaking beyond the Tinctures, which are physical, but they have a corresponding change, and so it follows that we may say that Christ gave a primary revelation at the climax of an antithetical civilisation and will be followed by His contrary.» — el libro adjudica a Cristo una revelación primaria en el clímax de una civilización antitética y anuncia que le seguirá su contrario.

«But each quarter of the Great Year is also a cone, and so we say that the months are in sets of three; and measured by this measure He is first Victim and then Sage, and then once more Victim, and so we say that He is Three Fountains,54 the first born of Aries and Taurus, the second of Libra and Scorpio, and the third of Aries and Taurus once more;» — medido por cuartos del Gran Año, el mismo Cristo es Víctima, Sabio y Víctima otra vez, y el libro lo llama Tres Fuentes.

«I see the Lunar and Solar cones first, before they start their whirling movement, as two worlds lying one within another—nothing exterior, nothing interior, Sun in Moon and Moon in Sun» — el libro describe en primera persona la visión previa al giro: dos mundos uno dentro del otro, sin exterior ni interior.

«But this whirling, though it is creative, is not evil, for evil is from the disturbance of the harmony, so that those that should come in their season come all at once or straggle here and there, the gyres thrown together in confusion, and hatred takes possession of all.» — la definición del mal dentro del sistema: no el giro, sino el desorden de la armonía, y de ahí el odio.

«Before further explaining these cones which the reader must have found very troublesome, I would discover if Antiquity had similar measures.» — el libro reconoce lo trabajoso de sus conos y anuncia que va a buscar medidas semejantes en la Antigüedad.

«Remembering that elaborate geometry of the Timaeus and certain numerical calculations in the Republic of which modern scholars have seventeen incompatible explanations, we may be certain that a Platonist would have found our measures naive in their simplicity.» — el libro se acota a sí mismo: un platónico habría hallado ingenuas sus medidas.

«Milton was the first English writer who made philosophical use of the obliquity of the ecliptic, but it was the Sun’s annual and not his precessional movement that enabled Milton in the tenth book of Paradise Lost to explain the sudden ruin of the climate when Adam was driven out of Eden.» — la adjudicación se hace con su distingo: Milton usó la oblicuidad de la eclíptica y el movimiento anual del sol, no el precesional.

«Yet he must have known of the precession for he had in his library the Byzantine historian Georgius Syncellus who comments upon it and upon the Great Year that it defines.» — el argumento es de biblioteca, no de texto: Milton debió conocer la precesión porque tenía a Georgius Syncellus.

«Certain English and German scholars associate the changes of ancient mythology with the retreat of the Sun through the Zodiacal Signs, and attribute to his passage at the Vernal Equinox through Gemini such double Gods and Worthies as Castor and Pollux, Adam and Eve, Cain and Abel; and all Ox-like Deities to his passage through Taurus and so on» — el libro atribuye a estudiosos ingleses y alemanes la lectura de la mitología antigua por el retroceso del Sol en el zodiaco.

«There are indeed later scholars—I think of M. Cumont62 especially—who write about this view as if they were Protestant theologians denouncing the errors of Rome, and insist that nobody knew anything about the equinoctial precession until Hipparchus discovered it a hundred and fifty years before Christ.» — el libro consigna la posición contraria y a quien la sostiene, comparándola con una polémica teológica.

«Dr Alfred Jeremias and Dr Fritz Hommel, however, writing, the one upon the Babylonian Calendar, the other upon the Babylonian Ages of the world, in The Encyclopaedia of Religion and Ethics, proffer recent evidence and declare that the older view is proved.» — la contraparte se cita con nombre, obra y sede editorial, y el libro traslada su conclusión sin hacerla propia.

«Dr Hommel fixes the date of the first Vernal rising of the various signs as Cancer 7000 B.C., Gemini 5000 B.C., Taurus 3000 B.C., and Aries 1000 B.C.» — las fechas concretas que el libro toma de Hommel para el primer orto vernal de cada signo.

«He evidently prefers these round numbers to the actual periods of a little under 2200 years because we do not know precisely where the ancient mathematical divisions of the Zodiac, if such there were, began and ended;» — el libro explica por qué esas cifras son redondas y declara que ni siquiera se sabe dónde empezaban las divisiones antiguas del zodiaco.

«The Babylonian Great Year began when Aries rose at the Vernal Equinox,66 and Syncellus says that this was the doctrine of the ‘Greeks and Egyptians . . . as stated in the Genica of Hermes, and in the Cyrannid Books’,» — el Gran Año babilónico se data por el orto de Aries en el equinoccio, con la doctrina atribuida por Syncellus a griegos y egipcios.

«but words put by Cicero into the mouth of a shade give no especial significance to any particular sign: ‘By common custom men measure the year merely by the return of the Sun, or in other words by the revolutions of one star.» — el libro contrasta esa versión con la de Cicerón, donde ningún signo tiene significado especial.

«Macrobius translated Cicero’s Greek into Latin at the end of the fifth century69 and said in his commentary that Cicero considered that the Great Year began with an eclipse that coincided with the death of Romulus.» — la lectura de Macrobio sobre Cicerón se consigna como suya: el Gran Año habría empezado con un eclipse a la muerte de Rómulo.

«Machiavelli may but have spoken as Plato’s disciple when he contended that all States must decay, and that all the reformer can do to check decay is bring them back to an earlier condition, his thought being too summary to show him that to push the State backward could but leave it out of phase and so in illusion.» — el libro lee a Maquiavelo dentro de su esquema y le opone una objeción propia: empujar el Estado hacia atrás lo dejaría fuera de fase.

«Though I have assumed that the Birth of Christ took place at the symbolic centre of the first Solar month of the Great Year, I do not think it likely that He was born at its exact centre.» — el autor declara que su propia suposición sobre el nacimiento de Cristo es supuesto y no dato.

«We have considered that every Divine Birth occurs at a symbolical New Moon, and as that of Christ occurred at or near the middle of the first Solar Month we may describe it as marking the First Day of the Lunar Great Year.» — la regla del sistema: todo Nacimiento Divino cae en Luna Nueva simbólica.

«When I find the position of the vernal equinox at the birth of Christ upon the only star map within my reach which has the ancient mythological Zodiacal creatures—Plate 3 in E. M. Plunket’s Ancient Calendars—it falls exactly upon the line dividing the Horn of the Ram from the Side of the Fish.» — el autor declara la fuente material de su medida y su límite: el único mapa estelar a su alcance.

«Probably the Zodiacal creatures were never drawn precisely alike on any two maps but the difference was not great, the stars of Ram and Fish are packed particularly close to one another, and neither Virgil nor his Sibyl, if they knew anything of the Great Year, could have failed to find the position of the precessional Sun significant.» — la reserva sobre los mapas antiguos, seguida de la inferencia que el libro sostiene igualmente.

«his transition from Pisces to Aries had for generations been associated with the ceremonial death and resurrection of Dionysus.» — el paso del sol de Piscis a Aries se enlaza con la muerte y resurrección ceremoniales de Dioniso.

«The Persian and Christian doctrines were identical in essentials, for the Age is a microcosm of the whole.» — la equiparación de las doctrinas persa y cristiana se funda en que la Era es microcosmos del todo.

«He, however, made Gold antithetical; upon the other hand the Babylonians had the same alternation but began we are told with Silver and the Moon.» — el libro consigna la divergencia sin resolverla: para uno el Oro es antitético, los babilonios empezaban por la Plata y la Luna.

«Because the visible world is the sum of the Bodies of Fate of all living things, or the sum of the Creative Minds of all Daimons whether of the living or the dead, what we call Fate is, as much as our most voluntary» — la definición del mundo visible dentro del sistema: suma de los Cuerpos del Destino de todo lo vivo.

«Berkeley thought if his study table remained when he closed his eyes it could only be because it was the thought of a more powerful spirit which he named God,104 but the mathematician Poincaré considers105 time and space the work of our ancestors.» — el libro pone frente a frente a Berkeley y a Poincaré sobre el estatuto de espacio y tiempo.

«With the system in my bones I must declare that those ancestors still live and that time and space would vanish if they closed their eyes.» — el autor toma partido en primera persona y declara que lo hace con el sistema metido en los huesos.

«and during the waking life while in the body, the man may not pass beyond the central point.» — el límite que el sistema pone a la vida despierta: no se pasa del punto central del cono.

«The opposite state of his being, that which is the activity of his Daimon, meets him at the centre, and contact with it is now death and now creation.» — el contacto con la actividad del Daimon en el centro es a la vez muerte y creación.

«After death, or in a trance or in ordinary sleep, he enters into that state, as man is always antithetical in relation to his Daimon whatever his own phase may be, or whatever that of his Daimon, and to die or to sleep is to pass from the Lunar to the Solar cones.» — morir y dormir se declaran el mismo movimiento: pasar de los conos lunares a los solares.

«After death the consciousness or choice passes into the Spirit and that should turn wholly to the Celestial Body and submit to it; not to the Passionate Body which is now inseparable from the Body of Fate and inaugurates what is called the Dreaming Back.» — lo que debe hacer la conciencia tras la muerte y qué pasa si se vuelve al Cuerpo Apasionado: empieza el Dreaming Back.

«The Spirit is almost abstract mind, for it has neither substance nor life unless united to the Passionate Body or Celestial Body.» — la definición del Espíritu por lo que le falta: mente casi abstracta, sin sustancia ni vida si no se une a otro Principio.

«I count the life before death and the life after as the two halves of a single Wheel and measure it upon that, this state probably lasts till that part which corresponds to Phase 25 is over.» — la vida antes y después de la muerte se miden como dos mitades de una sola Rueda.

«This is followed by the Going Forth and the Foreknowing during which the Spirit is reunited to the Husk, and Celestial Body to Passionate Body— now love, not passion—and after Phase 4 the Soul is dominated by the thought of the coming life.» — el orden de los estados póstumos y el punto en que el alma queda dominada por la vida que viene.

«and we attribute the Birth of Christ to the winter solstice when the Husk is at Phase 8, and His Conception and also His Crucifixion —He is ‘slain on the stems of generations’108—to the moment when, at the vernal equinox, the Husk is at Phase 15.» — el sistema data Nacimiento, Concepción y Crucifixión por la fase del Husk, no por el calendario.

«They tried to settle the matter by a tradition that the world, and one may conclude the Sun, was created at the vernal equinox, and the Moon created at the full two days later,» — la tradición que el libro recoge sobre la creación del mundo en el equinoccio de primavera y de la Luna dos días después.

«They did not, however, celebrate the anniversaries of these events upon a fixed date but, as if to draw attention to the annual symbolism and so to the events as always present and recurrent, they selected for their Easter Ceremonies the first full Moon after the Vernal equinox no matter what the day of the month, or the Sunday nearest to that moon.» — el libro lee la fecha móvil de Pascua como manera de señalar que los sucesos son siempre presentes y recurrentes.

«For the first four hundred years of our era January the 6th was kept Holy as the day of His Birth.» — el dato sobre los primeros cuatro siglos: el 6 de enero era el día del Nacimiento.

«The Christian explanation of the date was an arbitrary and fantastic calculation, or some childish allegory.» — el libro descalifica la explicación cristiana de la fecha y propone en su lugar una transmisión desde civilizaciones más antiguas.

«They had plainly received the date, as I think Macrobius and Cicero had the doctrine of the Great Year, from the learned men of an older civilisation, from Greeks and Chaldeans perhaps, perhaps even from those worshippers of Kore at Alexandria who upon that day carried up from a Temple Crypt a wooden figure marked upon head and hands and knees with a Cross and a Star, crying out ‘The Virgin has gi» — la conjetura del libro sobre de dónde vino la fecha, con los adoradores de Coré en Alejandría como caso.

«If, however, one counts nine lunar months, allowing as the Greeks did twenty-nine and thirty days for each alternately,115 from the first new Moon after the Annunciation, one finds that the night of the 6th of January is the first upon which the faint Crescent of the Tenth Moon could have shown.» — el cálculo lunar con que el libro justifica el 6 de enero.

«Did the great victims of Antiquity, Christ, Cæsar, Socrates118—Love, Justice, Truth—die under the first full Moon after the vernal equinox?» — el libro deja la conjetura en pregunta y no en afirmación.

«According to St Chrysostom, John the Baptist was conceived at the Autumnal and Christ at the Spring Equinox,121 which makes them respectively primary and antithetical when considered in relation to one another, a mid-summer and a mid-winter child.» — el libro toma de Crisóstomo las dos concepciones y las traduce a su par primario y antitético.

«A religion or a civilisation belongs also to the lower half of the double cone, and the religion which is the originating cause of the civilisation is begotten and dies at the centre.» — religión y civilización se sitúan en la mitad baja del doble cono, y la religión que la origina nace y muere en el centro.

«Will leaves North at the birth of Christ, and the Body of Fate leaves South, and then when Will reaches South and Body of Fate North they change sides and return: at, say 1200 A.D., they show the position in the figure.» — el movimiento de Voluntad y Cuerpo del Destino a lo largo de la era, con una fecha concreta como referencia.

«It is upon this figure that the documents I work from place historical events with ‘approximate accuracy’.» — el libro nombra su fuente como los documentos con que trabaja y cita entrecomillada la precisión que le atribuyen: aproximada.

«The movement to South of the entire era is a sinking wave of civilisation, a mounting physical or religious wave; the movement to North the converse.» — la lectura de las dos direcciones del diagrama histórico en términos de civilización y de ola física o religiosa.

«The Solar is religious and physical and the Lunar emotional and intellectual.» — el reparto de atributos entre Solar y Lunar cuando el par sustituye a primario y antitético.

«There can be neither cause nor effect when all things are co-eternal.» — la fórmula que cierra ese punto: donde todo es coeterno no hay causa ni efecto.

«Epoch, however, influences epoch as part of the cone of the entire era, by supersensual or ghostly interaction.» — el modo en que una época influye sobre otra dentro del sistema: interacción suprasensible o fantasmal.

«when I was at Oxford a few years ago, a distinguished scholar, now dead, showed me much elaborate written evidence to prove that an apparition seen by herself and a friend in the Louvre was the Emperor Constantine.» — el libro trae un testimonio de aparición sin nombrar a quien se lo contó y sin retirarle crédito.

«This means that as the civil life grew more and more antithetical in nature the religious grew more and more primary till the instant of creation was reached.» — la ley de compensación entre vida civil y vida religiosa dentro de la era.

«At South, however, there is no interchange, but a return, a change of direction, the gyres which diverged now converge and vice versa, and this change is called reflex to distinguish it from that of the North which is active.» — la distinción entre el cambio reflejo del Sur y el activo del Norte.

«But what is most clear is that they are alternately Victim and Sage, the Victim being called the strong soul because he attains the greatest strength and renounces it, and the Sage the frail soul because his strength is in that which surrounds him, in his doctrine let us say.» — la alternancia entre Víctima y Sabio, y la razón de llamar fuerte al primero y frágil al segundo.

«We have to remember that among the solar and lunar cones that revolve in the circle of the Great Year are the cones of each separate nation and of every school of thought and action.» — el sistema aplica sus conos también a naciones y a escuelas de pensamiento.

«The Covens depend exactly as individuals do upon contact for their intensity, and separated from their opposites ‘Consume themselves away’.» — los Covens dependen del contacto igual que los individuos y se consumen al separarse de sus opuestos.

«When a movement of thought, the philosophy of religious spiritualism for instance, becomes vague and sentimental, that may be because contact through the physical or spiritual primary with some school of psychological investigation at the place, say, of the Creative Mind has come to an end.» — el libro explica la vaguedad de un movimiento de pensamiento por la pérdida de contacto con su opuesto.

«The Covens are formed by their Daimons out of groups of men and women who become the bodies of the Daimons and the Daimon of each Coven seeks to impress his will upon the three associated Covens.» — de dónde salen los Covens y qué hace el Daimon de cada uno con los otros tres.

«I myself chose the name Coven, that being the name of the groups of Scotch Witches described in the witch trials, for I imagine the Nations and Philosophies as having each, as it were, a witches’ cauldron of medicinal or devil’s broth in the midst.» — el autor declara que el nombre es elección suya, tomado de los juicios de brujas escoceses.

«Once the philosophy, nation or movement has clearly shown its face, we know that its chief characteristic has not arisen out of any proof, or even out of all the past, or out of the present tension of the drama, or out of any visible cause whatever, but is unique, life in itself.» — la tesis que el libro sostiene contra la explicación causal: el rasgo principal no sale de prueba ni de causa visible.

«Love which in this way mirrors the fated and predestined, has three forms of crisis, each at the end of a constituent cone, called the first and second Critical Moments and the Beatific Vision.» — las tres crisis del amor dentro del sistema, cada una al final de un cono constituyente.

«After harmonisation the Creative Mind becomes Wisdom, Body of Fate Truth, Will Love, and Mask Beauty.» — en qué se convierte cada Facultad al armonizarse: Sabiduría, Verdad, Amor y Belleza.

«When two people meditate upon the one theme, who have established a supersensual link, they will invariably in my experience, no matter how many miles apart, see pass before the mind’s eye complementary images, images that complete one another.» — el autor declara por experiencia propia el fenómeno de las imágenes complementarias entre dos que meditan un mismo tema.

«difference between a higher and a lower dimension explains, however, the continual breaking up of cones and wheels into smaller cones and wheels without changing the main movement better than Swedenborg’s vortex, his gyre made up of many gyres.» — el libro prefiere su explicación dimensional a la del vórtice de Swedenborg para el desmenuzamiento de conos y ruedas.

«When I saw this I tried to understand a little of modern research into this matter but found that I lacked the necessary training. I have therefore ignored it hitherto in writing this book.» — el autor declara una carencia propia y su consecuencia editorial: no entró en la investigación moderna sobre dimensiones porque le faltaba formación.

«If the Great Wheel, say, be a rotating plane, and the movement of any constituent cone a rotation at right angles to that plane the second movement cannot affect the first in any way.» — el argumento geométrico con que el libro separa el movimiento de un cono constituyente del de la rueda mayor.

«It seems that ancient men except the Persian and the Jew who looked to an upward progression, held Nietzsche’s doctrine of the eternal return,141 but if religion and mathematics are right, and time an illusion, it makes no difference except in the moral effect.» — el libro empareja la doctrina antigua del eterno retorno con la de Nietzsche y acota que, si el tiempo es ilusión, la diferencia es solo moral.

«I have not considered the ultimate origin of things, nor have my documents thrown a direct light upon it.» — el autor declara por escrito lo que su libro no trata y lo que sus documentos no alumbran.

«The Passionate Body is described as that which links one being to another, and that which rescues the Celestial Body from solitude, and this is part of the office of the Soul of the World in Plotinus.» — el Cuerpo Apasionado se define por su oficio de vínculo y se emparienta con el Alma del Mundo de Plotino.

«I suspect that the link between periods arising from their place among the gyres is never broken, no matter how great the passage of time.» — la sospecha se enuncia como sospecha: el vínculo entre periodos no se rompería nunca.

«One must bear in mind that the Christian Era, like the two thousand years, let us say, that went before it, is an entire wheel, and each half of it an entire wheel, that each half when it comes to its 28th Phase reaches the 15th Phase of the entire era.» — la regla de encaje entre ruedas: cada mitad de la era es a su vez rueda entera.

«A civilisation is a struggle to keep self-control, and in this it is like some great tragic person, some Niobe who must display an almost superhuman will or the cry will not touch our sympathy.» — la definición de civilización que el libro propone: pugna por conservar el dominio de sí, como una figura trágica.

«The loss of control over thought comes towards the end; first a sinking in upon the moral being, then the last surrender, the irrational cry, revelation—the scream of Juno’s peacock.» — la secuencia del final de una civilización, cerrada con el grito del pavorreal de Juno.

«I imagine the annunciation that founded Greece as made to Leda, remembering that they showed in a Spartan Temple, strung up to the roof as a holy relic, an unhatched egg of hers; and that from one of her eggs came Love and from the other War.» — el libro construye la anunciación fundadora de Grecia sobre Leda, con los dos huevos de los que salen Amor y Guerra.

«But all things are from antithesis, and when in my ignorance I try to imagine what older civilisation she refuted I can but see bird and woman blotting out some corner of the Babylonian mathematical starlight.» — el autor declara su ignorancia sobre a qué civilización anterior se opone esa anunciación y responde con una imagen, no con un dato.

«One suspects a deliberate turning away from all that is Eastern, or a moral propaganda like that which turned the poets out of Plato’s Republic,19 and yet it may be that the preparation for the final systematisation had for its apparent cause the destruction, let us say, of Ionic studios by the Persian invaders,» — el libro ofrece dos causas posibles para la sistematización final griega y no elige entre ellas.

«At, let me say, the sixth century B.C. (Phase 12) personality begins, but there is as yet no intellectual solitude.» — la fecha se da con salvedad y con su límite: nace la personalidad pero todavía no hay soledad intelectual.

«With Callimachus pure Ionic revives again, as Furtwängler has proved, and» — el libro apoya en Furtwängler el renacimiento del jónico puro con Calímaco.

«I identify the conquest of Alexander and the break-up of his kingdom, when Greek civilisation, formalised and codified, loses itself in Asia, with the beginning and end of the 22nd Phase, and his intention recorded by some historian to turn his arms westward shows that he is but a part of the impulse that creates Hellenised Rome and Asia.» — el autor declara en primera persona su adjudicación de la conquista de Alejandro a una fase concreta.

«After Plato and Aristotle, the mind is as exhausted as were the armies of Alexander at his death, but the Stoics can discover morals and turn philosophy into a rule of life.» — el símil con que el libro data el agotamiento del pensamiento griego y el relevo estoico.

«At that sentence the heroic life, passionate fragmentary man, all that had been imagined by great poets and sculptors began to pass away, and instead of seeking noble antagonists, imagination moved towards divine man and the ridiculous devil.» — el punto en que la imaginación deja de buscar antagonistas nobles y se va tras el hombre divino y el diablo ridículo.

«When revelation comes athlete and sage are merged; the earliest sculptured image of Christ is copied from that of the Apotheosis of Alexander the Great;» — el libro data la fusión de atleta y sabio en la revelación y la ancla en un dato material: la primera imagen esculpida de Cristo copia la apoteosis de Alejandro.

«God is now conceived of as something outside man and man’s handiwork, and it follows that it must be idolatry to worship that which Phidias and Scopas made,» — la consecuencia que el libro saca de poner a Dios fuera del hombre: la escultura pasa a ser idolatría.

«The sacrifice of the 22nd Phase is voluntary and so we say of Him that He was love itself,» — el libro deriva de la fase el enunciado sobre Cristo, no al revés.

«Love is created and preserved by intellectual analysis, for we love only that which is unique, and it belongs to contemplation not to action,» — la definición del amor dentro del sistema: nace del análisis intelectual y pertenece a la contemplación.

«He had discovered, or half-discovered, that the world is round and one of many like it,41 but now he must believe that the sky is but a tent spread above a level floor,» — el retroceso que el libro consigna como parte del ciclo: del mundo redondo al cielo por tienda sobre suelo plano.

«It is of course impossible to do more than select a more or less arbitrary general date for the beginning of Roman decay (Phases 2 to 7, A.D. 1 to A.D. 250» — el libro declara arbitraria la fecha con que abre la decadencia romana.

«Roman sculpture—sculpture made under Roman influence whatever the sculptor’s blood—did not for instance reach its full vigour, if we consider what it had of Roman as distinct from Greek, until the Christian Era.» — la acotación con que el libro separa lo romano de lo griego en la escultura, y la fecha de su pleno vigor.

«May it not have been precisely a talent for this alert attention that had enabled Rome and not Greece to express those final primary phases?» — el libro deja en pregunta la razón de que Roma y no Grecia expresara esas fases.

«Though sculpture grows more and more realistic and so renews its vigour, this realism is without curiosity.» — el libro reconoce el vigor del realismo escultórico y a la vez lo acota: es realismo sin curiosidad.

«The athlete becomes the boxer that he may show lips and nose beaten out of shape, the individual hairs show at the navel of the bronze centaur, but the theme has not changed.» — los ejemplos concretos de ese realismo y la constancia del tema pese a ellos.

«Yet Plotinus is as primary, as much a contradiction of all that created Roman civilisation as St Peter, and his thought has its roots almost as deep among the primary masses.» — el libro pone a Plotino y a san Pedro del mismo lado como contradicción de lo que creó la civilización romana.

«Origen, because the Judean miracle has a stronger hold upon the masses than Alexandrian thaumaturgy, triumphs when Constantine (Phase 8) puts the Cross upon the shields of his soldiers and makes the bit of his war-horse from a nail of the True Cross,60 an act equivalent to man’s cry for strength amid the animal chaos at the close of the first lunar quarter.» — el libro explica el triunfo de Orígenes por la fuerza del milagro sobre la taumaturgia, y lee la cruz de Constantino como grito de fuerza.

«Seeing that Constantine was not converted till upon his deathbed I see him as half statesman, half thaumaturgist, accepting in blind obedience to a dream the new fashionable talisman, two sticks nailed together.» — el retrato de Constantino se da en primera persona y con su fundamento: la conversión en el lecho de muerte.

«I have not the knowledge (it may be that no man has the knowledge) to trace the rise of the Byzantine state through Phases 9, 10 and 11.» — el autor declara su ignorancia sobre el ascenso del estado bizantino y añade que quizá nadie la tenga.

«My diagram tells me that a hundred and sixty years brought that state to its 15th Phase, but I that know nothing but the arts and of these little, cannot revise the series of dates ‘approximately correct’ but given it may be for suggestion only.» — el libro deja las fechas de su diagrama como sugerencia y no como serie corregible, porque su autor solo se declara enterado de las artes.

«I would have preferred to find in the middle, not at the end, of the fifth century Phase 12, for that was, so far as the known evidence carries us, the moment when Byzantium became Byzantine and substituted for formal Roman magnificence, with its glorification of physical power, an architecture that suggests the Sacred City in the Apocalypse of St John.» — el libro consigna su desacuerdo con su propio diagrama y da la razón: el momento en que Bizancio se hizo bizantino.

«I think if I could be given a month of Antiquity and leave to spend it where I chose, I would spend it in Byzantium a little before Justinian opened St Sophia and closed the Academy of Plato.» — el libro elige por escrito su momento de la Antigüedad y lo fecha por dos actos de Justiniano.

«I think that in early Byzantium, and maybe never before or since in recorded history, religious, aesthetic and practical life were one, and that architect and artificers—though not, it may be, poets, for language had been the instrument of controversy and must have grown abstract—spoke to the multitude and the few alike.» — la tesis sobre la Bizancio temprana, con su reserva sobre los poetas: vida religiosa, estética y práctica eran una.

«They could copy out of old Gospel books those pictures that seemed as sacred as the text, and yet weave all into a vast design, the work of many that seemed the work of one, that made building, picture, pattern, metal work of rail and lamp, seem but a single image;» — la obra de muchos que parece de uno, con arquitectura, pintura, patrón y metal como imagen única.

«The ascetic, called in Alexandria ‘God’s Athlete’, has taken the place of those Greek athletes whose statues have been melted or broken up or stand deserted in the midst of cornfields,68 but all about him is an incredible splendour like that which we see pass under our closed eyelids as we lie between sleep and waking,» — el relevo del atleta griego por el asceta, rodeado de un esplendor que el libro compara con lo que se ve entre el sueño y la vigilia.

«Strzygowski thinks that the church decorations where there are visible representations of holy persons were especially dear to those who believed in Christ’s double nature and that wherever Christ is represented by a bare Cross and all the rest is bird and beast and tree, we may discover an Asiatic art dear to those who thought Christ contained nothing human.» — el libro atribuye a Strzygowski la lectura de la decoración de las iglesias según la doctrina de la doble naturaleza.

«Of the moment of climax itself I can say nothing and of what followed from Phase 17 to Phase 21 almost nothing, for I have no knowledge of the time; and no analogy from the age after Phidias, or after our own Renaissance can help.» — el libro declara no poder decir nada del clímax bizantino ni de lo que sigue, y descarta la analogía con otras épocas.

«If Strzygowski is right we may see in the destruction of images but a destruction of what was Greek in decoration accompanied perhaps by a renewed splendour in all that came down from the ancient Persian Paradise, an episode in some attempt to make theology more ascetic, spiritual and abstract.» — la lectura de la iconoclasia se da como condicional dependiente de una autoridad nombrada.

«The return of the images must, as I see things, have been the failure of synthesis (Phase 22) and the first sinking in and dying down of Christendom into the heterogeneous loam.» — la vuelta de las imágenes se lee, con la salvedad de ser el modo en que el autor ve las cosas, como fracaso de la síntesis.

«the strength of the victorious party came from zealots who were as ready as their opponents to destroy an image if permitted to grind it into powder, mix it with some liquid and swallow it as a medicine.» — el libro no separa a vencedores de vencidos en la disposición a destruir imágenes.

«I think I may see in Johannes Scotus Erigena the last intellectual synthesis before the death of philosophy, but I know little of him except that he is founded upon a Greek book of the sixth century, put into circulation by a last iconoclastic Emperor, though its Angelic Orders might have given, and perhaps did give a theme to the image makers.» — la adjudicación va acompañada de la confesión de saber poco de él.

«I notice too that my diagram makes Phase 22 coincide with the break up of Charlemagne’s Empire and so clearly likens him to Alexander, but I do not want to concern myself, except where I must, with political events.» — el libro consigna lo que su diagrama implica y a la vez declara que no quiere ocuparse de la política.

«Intellectual creation has ceased but men have come to terms with the supernatural and are agreed that, if you make the usual offerings, it will remember to live and let live; even Saint or Angel does not seem very different from themselves, a man thinks his guardian Angel jealous of his mistress;» — el retrato del trato con lo sobrenatural cuando cesa la creación intelectual.

«A certain Byzantine Bishop had said upon seeing a singer of Antioch, ‘I looked long upon her beauty, knowing that I would behold it upon the day of judgment, and I wept to remember that I had taken less care of my soul than she of her body’» — el libro contrapone dos miradas sobre la belleza y las nombra: la del obispo bizantino y la del califa de las mil noches.

«The Bishop saw a beauty that would be sanctified but the Caliph that which was its own sanctity, and it was this latter sanctity, come back from the first Crusade or up from Arabian Spain or half Asiatic Provence and Sicily, that created romance.» — de esa segunda santidad, venida de la primera cruzada o de la España árabe, hace el libro el origen del romance.

«there is no ceremony of the Church, neither Marriage nor Mass nor Baptism, but instead we discover that strangest creation of romance or of life, ‘the love trance’.» — el libro señala la ausencia de sacramento en el romance y en su lugar pone el trance de amor.

«I do not see in Gothic architecture, which is a character of the next gyre, that of Phases 5, 6 and 7, as did the nineteenth century historians ever looking for the image of their own age, the creation of a new communal freedom but a creation of authority, a suppression of that freedom though with its consent, and certainly St Bernard when he denounced the extravagance of Romanesque saw it in that» — el libro contradice por escrito a los historiadores del XIX sobre el gótico: no ve libertad comunal sino autoridad.

«I see in Romanesque the first movement to a secular Europe, but a movement so instinctive that as yet there is no antagonism to the old condition.» — el románico se lee como primer movimiento hacia una Europa secular, todavía sin antagonismo con lo anterior.

«where all is more Asiatic than Byzantium itself, one discovers the same impulse that created Merlin and his jugglery.» — el mismo impulso se reconoce en el ornamento donde la figura humana casi desaparece y en la figura de Merlín.

«The diagram makes the period from 1250 to 1300 correspond to Phase 8, certainly because in or near that period, chivalry and Christendom having proved insufficient, the King mastered the one, the Church the other, reversing the achievement of Constantine, for it was now the mitre and the crown that protected the Cross.» — el libro fecha la inversión del logro de Constantino: ahora mitra y corona protegen a la Cruz.

«I prefer, however, to find my example of the first victory of personality where I have more knowledge.» — el autor declara el criterio con que elige sus ejemplos: donde sabe más.

«The public certainty that sufficed for Dante and St Thomas has disappeared, and there is yet no private certainty.» — el intervalo que el libro describe: perdida la certeza pública y todavía sin la privada.

«Masaccio, a precocious and abundant man, dying like Aubrey Beardsley102 in his six-and-twentieth year, cannot move us, as he did his immediate successors, for he discovered a naturalism that begins to weary us a little, making the naked young man awaiting baptism shiver with the cold, and St Peter grow red with exertion as he drags the money out of the miraculous fish’s mouth» — el libro declara que Masaccio ya no lo conmueve y da la razón: un naturalismo que empieza a cansar.

«It is very likely because I am a poet and not a painter that I feel so much more keenly that suffering of Villon—of the 13th Phase as man, and of it or near it in epoch—in whom the human soul for the first time stands alone before a death ever present to imagination, without help from a Church that is fading away» — el autor pone su oficio como posible causa de su preferencia por Villon, y describe el alma sola ante la muerte sin auxilio de una Iglesia que se apaga.

«With the approach of solitude bringing with it an ever increasing struggle with that which opposes solitude—sensuality, greed, ambition, physical curiosity in all its species— philosophy has returned driving dogma out.» — la vuelta de la filosofía y la salida del dogma se atribuyen a la llegada de la soledad y su lucha.

«There are no miracles to stare at, for man descends the hill he once climbed with so great toil, and all grows but natural again.» — la imagen de la bajada de la colina para decir que todo vuelve a ser natural.

«Donatello, as later Michelangelo, reflects the hardness and astringency of Myron, and foretells what must follow the Renaissance; while Jacopo della Quercia, and most of the painters seem by contrast, as Raphael later on, Ionic and Asiatic.» — el libro reparte a los artistas del Renacimiento entre dos polos y anuncia con Donatello lo que ha de seguir.

«I do not myself find it possible to make more than the first half coincide with the central moment, Phase 15 of the Italian Renaissance —Phase 22 of the cone of the entire era—the breaking of the Christian synthesis as the corresponding period before Christ, the age of Phidias, was the breaking of great traditional faith.» — el autor declara que su propio esquema solo le cuadra a medias, y empareja el Renacimiento con la edad de Fidias como rupturas de una síntesis.

«The first half covers the principal activity of the Academy of Florence which formulated the reconciliation of Paganism and Christianity.» — el libro adjudica a la Academia de Florencia la formulación de la reconciliación entre paganismo y cristianismo.

«This reconciliation which to Pope Julius meant that Greek and Roman Antiquity were as sacred as that of Judea, and like it ‘a vestibule of Christianity’» — la reconciliación se documenta por lo que significó para el papa Julio: la Antigüedad como vestíbulo del cristianismo.

«Because the 15th Phase can never find direct human expression, being a supernatural incarnation, it impressed upon work and thought an element of strain and artifice, a desire to combine elements which may be incompatible, or which suggest by their combination something supernatural.» — la razón que el libro da para la tensión y el artificio del Renacimiento: la fase 15 no admite expresión humana directa.

«Botticelli, Crivelli, Mantegna, Da Vinci,113 who fall within the period, make Masaccio and his school seem heavy and common by something we may call intellectual beauty or compare perhaps to that kind of bodily beauty which Castiglione called ‘the spoil or monument of the victory of the soul’.» — el libro toma de Castiglione la fórmula para nombrar esa belleza y la aplica a cuatro pintores.

«Intellect and emotion, primary curiosity and the antithetical dream, are for the moment one.» — la definición del momento renacentista: intelecto y emoción son por un instante lo mismo.

«Since the rebirth of the secular intellect in the eleventh century, faculty has been separating from faculty, poetry from music, the worshipper from the worshipped, but all have remained within a common fading circle—Christendom—and so within the human soul image has been separated from image but always as an exploration of the soul itself» — el libro describe la separación de facultades desde el siglo XI dentro de un círculo común que llama cristiandad.

«Phase 15 past, these forms begin to jostle and fall into confusion, there is as it were a sudden rush and storm.» — pasada la fase 15 las formas se atropellan y el libro lo dice como ráfaga y tormenta.

«In the mind of the artist a desire for power succeeds to that for knowledge, and this desire is communicated to the forms and to the onlooker.» — el relevo del deseo de saber por el de poder en la mente del artista, y su contagio a la obra y al espectador.

«The subject matter may arise out of some propaganda as when Raphael in the Stanza della Segnatura, and Michelangelo in the Sistine Chapel put, by direction of the Pope, Greek Sages and Doctors of the Church, Roman Sibyls and Hebrew Prophets, opposite one another in apparent equality.» — el libro llama propaganda al encargo papal que pone frente a frente a sabios griegos y profetas hebreos, y acota que la igualdad es aparente.

«I see in Milton who is characteristic of the moment when the first violence of the gyre has begun to sink, an attempted return to the synthesis of the Stanza della Segnatura and the Sistine Chapel.» — la lectura de Milton como intento de volver a una síntesis ya pasada.

«The two elements have fallen apart in the hymn ‘On the Morning of Christ’s Nativity’, the one is called sacred, the other profane, and his classical mythology has become an artificial ornament,118 whereas no great Italian artist from 1450 to the sack of Rome saw any difference between them, and when difference came, as it did with Titian, it was God and the Angels that seemed artificial.» — el libro fecha la separación de lo sagrado y lo profano y consigna que al invertirse fueron Dios y los ángeles lo que pareció artificial.

«The gyre ebbs out in order and reason, the Jacobean poets succeed the Elizabethan, Cowley and Dryden the Jacobean as belief dies out.» — la sucesión de escuelas poéticas se lee como agotamiento del giro conforme muere la creencia.

«The world begins to long for the arbitrary and accidental, for the grotesque, the repulsive and the terrible, that it may be cured of desire, and the moment has come for the ninth gyre, Phases 19, 20 and 21, and for the period that begins for the greater part of Europe with 1650 and lasts it may be to 1875.» — el libro fecha el noveno giro y admite que su final es conjetural.

«It makes the heroines of Jane Austen seek, not as their grandfathers and grandmothers would have done, theological or political truth, but simply good breeding, as though to increase it were more than any practical accomplishment.» — el cambio de fase se ilustra con lo que buscan las heroínas de Jane Austen frente a sus abuelos.

«Certain men have sought to express the new emotion through the Creative Mind, though fit instruments of expression do not yet exist, and so to establish, in the midst of our ever more abundant primary information, antithetical wisdom» — el libro nombra a quienes intenta poner del lado de la sabiduría antitética, y acota que aún no existen instrumentos aptos.

«Tolstoy in War and Peace had still preference, could argue about this thing or that other, had a belief in Providence and a disbelief in Napoleon, but Flaubert in his St Anthony140 had neither belief, nor preference, and so it is that, even before the general surrender of the will, there came synthesis for its own sake, organisation where there is no masterful director» — el libro contrapone a Tolstói y a Flaubert por la presencia o ausencia de creencia y preferencia.

«It is said that at Phase 8 there is always civil war, and at Phase 22 always war, and as this war is always a defeat for those who have conquered, we have repeated the wars of Alexander.» — el libro cita en tercera persona la regla de las guerras por fase y la aplica a su presente.

«I think of recent mathematical research, and even my ignorance can compare it with that of Newton—so plainly of the 19th Phase—with its objective world intelligible to intellect; and I recognise that the limit itself has become a new dimension, and that this ever hidden thing which makes us fold our hands has begun to press down upon multitudes.» — el autor declara su ignorancia y aun así compara: el límite mismo se ha vuelto una dimensión nueva.

«Having bruised their hands upon that limit men, for the first time since the seventeenth century, see the world as an object of contemplation, not as something to be remade, and some few, meeting the limit in their special study, even doubt if there is any common experience, that is to say doubt the possibility of science.» — el efecto del límite sobre la mirada: el mundo vuelve a ser objeto de contemplación y algunos dudan de la posibilidad de la ciencia.

«Our generation has stood at the climax, at what I call in ‘The Trembling of the Veil’ Hodos Chameliontos,139 or has witnessed a first weariness, and when the climax passes will recognise that there common secular thought began to break and disperse.» — el autor sitúa a su propia generación en el clímax y remite a un libro suyo para nombrarlo.

«It is as though the forms in the stone or in their reverie began to move with an energy which is not that of the human mind.» — el arte nuevo se describe por una energía que el libro declara no humana.

«Very often these forms are mechanical, are as it were the mathematical forms that sustain the physical primary—I think of the work of Mr Wyndham Lewis, his powerful ‘cacophony of sardine tins’, and of those marble eggs, or objects of burnished steel too drawn up or tapered out to be called eggs, of M. Brancusi, who has gone further than Mr Wyndham Lewis from recognisable subject matter and so from» — el libro nombra a los artistas de ese giro y describe sus obras, incluidos los huevos de mármol de Brancusi.

«Rodin creating his powerful art out of the fragments of those Gates of Hell that he had found himself unable to hold together—images out of a personal dream, ‘the hell of Baudelaire not of Dante’, he had said to Symons.» — el libro trae el dicho de Rodin por vía de Symons y con su atribución explícita.

«It is as though myth and fact, united until the exhaustion of the Renaissance, have now fallen so far apart that man understands for the first time the rigidity of fact, and calls up, by that very recognition, myth—the Mask—which now but gropes its way out of the mind’s dark but will shortly pursue and terrify.» — la separación de mito y hecho se declara la causa de que el mito vuelva como Máscara que perseguirá y aterrará.

«I foresee a time when the majority of men will so accept an historical tradition that they will quarrel, not as to who can impose his personality upon others but as to who can best embody the common aim, when all personality will seem an impurity—‘sentimentality’, ‘sullenness’, ‘egotism’—something that revolts not morals alone but good taste.» — la previsión se enuncia en primera persona: la personalidad pasará por impureza y ofensa al buen gusto.

«There will be no longer great intellect for a ceaseless activity will be required of all; and where rights are swallowed up in duties, and solitude is difficult, creation except among avowedly archaistic and unpopular groups will grow impossible.» — la consecuencia que el libro anuncia: donde los derechos se traguen en deberes, la creación se vuelve imposible salvo en grupos arcaizantes.

«Then with the last gyre must come a desire to be ruled or rather, seeing that desire is all but dead, an adoration of force spiritual or physical, and society as mechanical force be complete at last.» — el final del ciclo se describe como adoración de la fuerza y sociedad completa como fuerza mecánica.

«Milton’s human form divine—nor yet Nietzsche’s superman, nor Patmore’s catholic, boasting ‘a tongue that’s dead’—the brood of the Sistine Chapel —but organic groups, covens of physical or intellectual kin melted out of the frozen mass.» — el libro descarta uno por uno los modelos que no quiere, incluido el superhombre de Nietzsche, y pone en su lugar grupos orgánicos, aquelarres de parentesco físico o intelectual.

«melted out of the frozen mass.152 I imagine new races, as it were, seeking domination, a world resembling but for its immensity that of the Greek tribes—each with its own Daimon or ancestral hero—the brood of Leda, War and Love; history grown symbolic, the biography changed into a myth.» — la previsión en primera persona: razas nuevas con su Daimon o héroe ancestral, historia hecha símbolo y biografía hecha mito.

«Above all I imagine everywhere the opposites, no mere alternation between nothing and something like the Christian brute and ascetic, but true opposites, each living the other’s death, dying the other’s life.» — la fórmula heracliteana con que el libro nombra a los verdaderos opuestos, cada uno viviendo la muerte del otro.

«It is said that the primary impulse ‘creates the event’ but that the antithetical ‘follows it’ and by this I understand that the Second Fountain will arise after a long preparation and as it were out of the very heart of human knowledge, and seem when it comes no interruption but a climax.» — la regla, citada en tercera persona, de que lo primario crea el suceso y lo antitético lo sigue, y de ahí que la Segunda Fuente parezca clímax y no interrupción.

«During the period said to commence in 1927, with the 11th gyre, must arise a form of philosophy, which will become religious and ethical in the 12th gyre and be in all things opposite of that vast plaster Herculean image, final primary thought.» — el libro fecha en 1927 el comienzo del giro que traerá una filosofía opuesta al pensamiento primario final.

«It will be concrete in expression, establish itself by immediate experience, seek no general agreement, make little of God or any exterior unity, and it will call that good which a man can contemplate himself as doing always and no other doing at all.» — los rasgos de esa filosofía por venir: concreta, fundada en experiencia inmediata, sin buscar acuerdo general ni hacer mucho de Dios.

«It will make a cardinal truth of man’s immortality that its virtue may not lack sanction, and of the soul’s re-embodiment that it may restore to virtue that long preparation none can give and hold death an interruption.» — las dos verdades cardinales que el libro le atribuye: inmortalidad del hombre y reencarnación del alma.

«The supreme experience, Plotinus’ ecstasy,155 ecstasy of the Saint, will recede, for men—finding it difficult—substituted dogma and idol, abstractions of all sorts, things beyond experience;» — el libro explica por qué retrocede el éxtasis: los hombres lo hallaron difícil y pusieron dogma e ídolo en su lugar.

«Men will no longer separate the idea of God from that of human genius, human productivity in all its forms.» — la previsión más corta del pasaje: no se separará la idea de Dios del genio y de la productividad humanos.

«Unlike Christianity which had for its first Roman teachers cobblers and weavers, this thought must find expression among those that are most subtle, most rich in memory» — el libro opone su Segunda Fuente al cristianismo por dónde encontrará expresión: entre los más sutiles y de más memoria.

«This much can be thought because it is the reversal of what we know, but those kindreds once formed must obey irrational force and so create hitherto unknown experience, or that which is incredible.» — el libro marca el límite de lo pensable: hasta ahí llega la inversión de lo conocido, y lo demás será increíble.

«Though it cannot interrupt the intellectual stream—being born from it and moving within it—it may grow a fanaticism and a terror, and at its first outsetting oppress the ignorant—even the innocent—as Christianity oppressed the wise» — el libro anticipa que su propia expectativa puede volverse fanatismo y terror, como el cristianismo oprimió a los sabios.

«She is not phasal and yet we must speak as if she were because she affects human life, now through one Faculty and now through another, and if we are to strengthen her influence or to moderate it we must know what these Faculties are.» — el libro declara que habla del Daimon como si tuviera fase aunque no la tiene, y por qué le hace falta.

«She is that being united to man which knows neither good nor evil, and shapes the body in the womb, and impresses upon the mind its form.» — la definición del Daimon: no conoce bien ni mal, forma el cuerpo en el vientre e imprime su forma en la mente.

«She is revealed to man in moments of prevision and illumination and in much that we call good and evil fortune, and yet, seeing that she remains always in the Thirteenth Cycle, cannot accompany man in his wanderings, nor can her tutelage of man be eternal, seeing that after many cycles man also inhabits the Thirteenth Cycle and has in a certain way a greater power than hers.» — el límite del Daimon: se queda en el Ciclo Trece y su tutela no es eterna, porque el hombre acaba por tener mayor poder.

«We can but fall back on image and say that they are united for twelve cycles, and are then set free from one another, she being Full Moon and he Full Sun; though when we consider all with the eyes of living man he is Moon and she the Sun.» — el libro admite que ahí solo puede hablar por imagen, y consigna que a ojos del vivo la asignación de Sol y Luna se invierte.

«I do not think of death as separation from body but from the exclusive association with one body for in no experience possible to the human spirit, as it is known to me, does the human spirit cease to use directly or through the Record the senses of living men.» — el libro define la muerte no como separación del cuerpo sino del trato exclusivo con uno, y declara que el espíritu sigue usando los sentidos de los vivos.

«Nor must the dead be thought of as living an abstract life for it is the living who create abstraction which ‘consumes itself away’.» — el libro devuelve la abstracción a los vivos y se la quita a los muertos.

«At death the man passes into what seems to him afterwards a state of darkness and sleep; there is a sinking in upon fate analogous to that of the individual cones at Phase 22.» — el estado inmediato tras la muerte se describe por analogía con el hundimiento de los conos en la fase 22.

«The Spirit first floats horizontally within the man’s dead body, but then rises until it stands at his head.» — el detalle material del relato: el Espíritu flota dentro del cuerpo y luego se yergue a su cabecera.

«The separation of the Principles from the body is caused by the Daimon’s gathering into the Passionate Body memory of the past life—perhaps but a single image or thought—which is always taken from the unconscious memories of the living, from the Record15 of all those things which have been seen but have not been noticed or accepted by the intellect, and the Record is always truthful.» — la separación la causa el Daimon al reunir memoria en el Cuerpo Apasionado, tomada del Registro, que se declara siempre veraz.

«The Spirit should separate itself from all such dreams of the Passionate Body and seek the Celestial Body, and only when so separate does it cease to dream and know that it is dead.» — la condición para que el Espíritu deje de soñar y sepa que está muerto.

«There are therefore, in what is known as the Return, a I,20 Waking State and a Sleeping State which alternate, and these states resemble each other in that in both are sensible images or some impression of sense, but differ in that during the Waking State these images and impressions of sense are imposed by other beings» — los dos estados del Retorno, con la diferencia de quién impone las imágenes.

«As he cannot escape the symbols of his life, whatever his belief, he may now see himself surrounded by flames and persecuted by devils.» — el sistema explica el infierno como símbolo propio de cada vida, no como lugar.

«If she but touch a pillar, she says, it bursts into flames, and the Priest who knows that these flames are but her own conscience made visible, tells her that if she cease to believe in them they must cease to exist.» — el libro ilustra ese punto con una escena de teatro donde las llamas son la conciencia hecha visible.

«She thanks him, but the flames return, for she cannot cease to believe, and the play ends with a dance which is the expression of her agony.» — y consigna que la explicación no basta: las llamas vuelven porque ella no puede dejar de creer.

«The Teaching Spirits, as the Waking State returns and the first passion declines, may offer him a guidance which seems like that of some familiar institution, hospital, or school, for they are still the human mind and keep old habits of thought, but it differs from that of an institution because these spirits have been a part of his life for perhaps many centuries.» — los Espíritus Docentes se describen por lo que imitan y por lo que los separa de una institución.

«The object of the Return is to exhaust pleasure and pain by the display of all the good and evil of his past life, but it is always the old, never new pleasure or pain.» — el objeto declarado del Retorno y su límite: solo se agota el placer y el dolor viejos.

«He may sometimes visit the living, suggest thoughts or emotions that may amend the consequence of his acts, but cannot, unless through the eyes and ears of some spirit from a later condition, see any that were not a part of his own life.» — lo que el muerto puede y no puede hacer con los vivos.

«If the dreamed event was once shared by many, now dead, those many may indeed be present, and yet as each but dreams again without change what happened when they were alive, each dreamer is alone.» — aunque muchos sueñen el mismo suceso, cada soñador está solo porque nadie cambia nada.

«Should they exchange the thought of the moment, one with another, there would be contrast, conflict, and therefore creation, and the dream would not fade.» — la condición contraria: el intercambio daría contraste, conflicto y creación, y el sueño no se apagaría.

«It is indeed said that where murderer and victim die unknown, and the crime remains unknown, the Spirit can find certain facts in its own Passionate Body, or from the Passionate Body of its victim, but with difficulty, and such a Dreaming Back is imperfect.» — el caso límite del crimen desconocido, citado en tercera persona, deja el Dreaming Back imperfecto.

«A Dreaming Back may be so imperfect or so prolonged that it obsesses the next life and causes rebirth into almost the same circumstances as those already lived through, and generally into the same family.» — la consecuencia de ese defecto: renacer en circunstancias casi iguales y en la misma familia.

«Teaching Spirits may assist the dreamer, and many hauntings, many inexplicable sights and sounds, are to cause, among the living, inquiries that passing into the unconscious mind of the enquirer enable the Passionate Body or Spirit of the dreamer to perfect its knowledge.» — el libro explica apariciones y ruidos por su función: provocar averiguaciones entre los vivos que completen el saber del soñador.

«Abstraction has gone, no thread of the cloth can be separated from any other thread, and the whole cloth is unwound.» — la imagen del paño desenrollado para nombrar el estado en que se acaba la abstracción.

«It is now, as the Shiftings close, brought by the Celestial Body into the presence, not of the source of its good and evil, for it must transcend good and evil, but into that of all typical qualities of its being, and all the associates of its past lives in the order of their phase that it may see their loves and its own as one single wheel;» — el cierre de los Shiftings pone al alma ante todas sus vidas asociadas y sus amores como una sola rueda; el libro acota que debe trascender bien y mal.

«They are most commonly sent to those with whom they have lived in some near or distant past, and they always ‘take upon themselves the exact mental condition of the person they communicate with; if with some person they have injured, they take on the sense of that injury . . . sorrow, suspicion, self-doubt’.» — los mensajeros toman la condición mental exacta de aquel con quien se comunican, y el libro lo cita entrecomillado de su fuente.

«Seeing that persons are born again and again in association, mother and son at first it may be, then wife and husband, brother and sister, and that our loves and friendships are many, each person is a part of a community of spirits and our re-embodiments are governed and caused by passions that we must exhaust in all their forms.» — el renacer se declara en comunidad de espíritus y gobernado por pasiones que hay que agotar en todas sus formas.

«‘An Act’ or motive that created action is ‘expiated in physical life’ but an intellectual defect in ‘spiritual life’.» — el reparto de la expiación entre vida física y vida espiritual según qué se expíe.

«So that a man who has been deceived but has not retaliated expiates in the Shiftings what, must have found, had he retaliated, an expiation during physical life.» — el ejemplo que muestra que no vengarse cambia el lugar de la expiación, no la suprime.

«Expiation during physical life is caused by the craving to experience that which we have done to another, to reverse in action what the disembodied soul reverses in thought, and we owe it not to that other but to our own Daimon which, but for ‘cruelty or deceit’, had found the Daimon of that other.» — la deuda de la expiación no es con el otro sino con el propio Daimon.

«Expiation is a harmonisation of being, and we seek out the image, reflected in some living man or woman, of that other being, that we may achieve it in action.» — la definición de expiación como armonización del ser, buscada en la imagen de otro ser reflejada en un vivo.

«Until an act has been expiated the same circumstance occurs again and again, as though the Dreaming Back flowed over into the life that followed.» — la circunstancia se repite hasta la expiación, como si el Dreaming Back desbordara sobre la vida siguiente.

«One woman has endured44 a drunken husband because of a wrong done to a husband in another life, while another expiates, by a life of devotion to an un-loved man, a suicide whereby under some misunderstanding she had deserted a man she loved.» — los dos casos concretos con que el libro ilustra la expiación, sin nombrar a nadie.

«During these acts of expiation the life may be embittered ‘by an inhibition of the active qualities’ and a suffering which is a ‘physical emotional and spiritual, and not moral purgation’.» — el libro cita a su fuente para decir que esa purgación es física, emocional y espiritual, y expresamente no moral.

«This inhibition, this sense of being fated is not always an unhappiness.» — la acotación que impide leerlo solo como desgracia.

«A Knot is first in the being, and is called a Knot of Destiny, but in the life that follows, may be in the events themselves, and uncontrollable by the being, and is then a Knot of Fate.» — la distinción entre nudo de destino y nudo de hado según dónde esté.

«After the Shiftings the Spirit is for a short time ‘out of space and time’,49 and every other abstraction, and is said not to move in a gyre but in a sphere, being as it were present everywhere at once.» — tras los Shiftings el Espíritu se mueve en esfera y no en giro, presente en todas partes a la vez.

«Beatitude is the result of the expiations of living man and disembodied soul, and the final harmony so established, and it is said that while still living we receive joy from those we have served—choosing tragedy they abandon to us this cast-off joy?—whereas we receive from those we have wronged, ecstasy, described as the only perfected love» — la Beatitud se define por su origen y por lo que recibimos de aquellos a quienes servimos y de aquellos a quienes agraviamos.

«Were the Spirit strong enough, or were its human cycles finished, it would remain, as in the Beatitude, permanently united to its Ghostly Self, or would, after two more states, be reborn into a spiritual cycle where the movement of the gyre is opposite to that in our cycles, and incomprehensible to us» — lo que el Espíritu podría hacer en lugar de renacer, y por qué el libro declara que casi siempre no lo hace.

«It is now, however, that there comes, seeing that it must recover or find its new Husk, a craving for deception, for pleasure and for pain, and it passes into the state called the Foreknowing and into space among abstracted types and forms» — el paso al Foreknowing se explica por un ansia de engaño, de placer y de dolor.

«(Robartes told me that while in Arabia his work was constantly interfered with by illness, his own or somebody else’s, and that he came to know the presence of Frustrators by animal odours like that of the excrement of some beast, or by the smell of a guttering candle.» — el testimonio sobre los Frustradores se atribuye dentro de la ficción a Robartes y se declara olfativo.

«He blamed the Frustrators for the inadequacy and confusion of all his own notes which deal with the life between death and birth, and insisted that the original revelation to Kusta Ben Luka had been, so far as this subject is concerned, left unfinished for the same reason.» — dentro de la ficción, los Frustradores se usan para explicar tanto los huecos de las notas como los de la revelación original.

«In certain cycles the soul is able within limits to choose into what body it shall be born, but in most it must accept the choice of others.» — la elección del cuerpo se declara limitada y, en la mayoría de los ciclos, ajena.

«In the Beatitude and in the states that immediately follow, the man is subject to his Daimon only, and there is no alternation of sleep and waking.» — en la Beatitud cesa la alternancia de sueño y vigilia y el hombre queda sujeto solo a su Daimon.

«The Going Forth lasts longer than any state except the Return, which may last for generations.» — la duración comparada de los estados póstumos.

«All antiquity seems to have thought the newly dead ‘suggestible’, compelled even to go where living men commanded.» — el libro reclama para su doctrina el testimonio de la Antigüedad sobre la sugestibilidad de los recién muertos.

«A Brahmin once told Florence Farr that he disliked acting because if a man died playing Hamlet he would be Hamlet in the life to come.» — el dicho se atribuye a un brahmán y se transmite por Florence Farr, nombrada.

«At some moment of the past it was discovered by some living man, or more likely taught by some dead man, that all being but ‘suggestion’ the clay or wooden image would serve as well as the real boat or the real slave, or even that a painting upon the wall sufficed, for that which made the image serviceable was not its magnitude or its reality but the fervour and precision of the ceremony of dedica» — lo que hace servible a una imagen no es su tamaño ni su realidad sino el fervor y la precisión de la ceremonia.

«The first portraits were statues buried in tombs and buried there, as we believe, to assist the Spirit in its Dreaming Back,» — el libro adjudica a los primeros retratos una función póstuma, y marca la adjudicación como creencia propia.

«Strzygowski thinks that the first landscape—a landscape painted or worked in mosaic within the dome of some Mazdian Temple69—was ‘connected with the cult of the dead, the might and majesty of departed spirits’.» — el origen del paisaje se atribuye a Strzygowski y se cita entrecomillado.

«It is this expression, which may be an action or a work of art, which sets them free, and the image imposed is an ideal form, an image of themselves, a type of emotion which expresses them, and this they can do but upon one man or woman’s mind;» — la expresión que libera al espíritu se declara limitada a la mente de una sola persona.

«This Spirit is said to give the ‘Kiss of Death’ because though she that gives it may persecute other idols, being jealous, the idol has not come out of the man’s desire.» — el Beso de la Muerte se define por lo que le falta al ídolo: no salió del deseo del hombre.

«There is yet another expiation that follows denial of experience, the wilful refusal of expression.» — otra expiación se adjudica a la negación de la experiencia y al rechazo deliberado de la expresión.

«Because of this denial the Ghostly Self is famished and so in the succeeding life there comes upon the man a craving to inflict upon himself that which he has inflicted, to make what is called the expiation for the Ghostly Self.» — el hambre del Yo Fantasmal se paga con un ansia de infligirse a sí mismo lo que se infligió.

«The beings who at the bidding of the Ghostly Self produce these dramatisations of evil are the corrective Spirits of Strindberg’s Swedenborgian play, called in its English translation There are crimes» — el libro nombra su referente literario para esos seres: los espíritus correctivos de una obra swedenborgiana de Strindberg.

«The Ghostly Self comes to the man by symbol and as when that symbol or vesture is not a spirit at 15 it is a spirit from Phase 1, we may speak of the primary Arcon as born from and receiving its body from a spirit at Phase 1.» — el Yo Fantasmal llega por símbolo, y de ahí que el Arcon primario reciba cuerpo de un espíritu de la fase 1.

«Spirit and Passionate Body are separating, for it was the waking mind that held them together; and when coherence is attained, as it is at rare moments, it is in some philosophical or symbolical dream where a new centre of coherence is discovered in the Celestial Body.» — la coherencia póstuma se alcanza solo en momentos raros y en sueño filosófico o simbólico.

«Robartes told me that the dream of the Passionate Body after death was so created and that the Spirit while it shared the dream could be sufficiently apart from it to see men, scenes, other spirits, though it could not act or speak outside the dream.» — dentro de la ficción, Robartes describe el margen del Espíritu dentro del sueño del Cuerpo Apasionado.

«In our dreams we communicate with the dead in their Waking State, and these dreams never come to an end though they are only known to us while we sleep.» — el trato con los muertos se declara continuo y solo conocido durante el sueño.

«This Automatic Faculty prolongs, when we walk or breathe, an act which was in the first instance voluntary, and it may create, under an impulse from a spirit an automatic personality which resembles that spirit, more or less accurately, according to the intensity of the impulse and the freedom of the Automatic Faculty from contrary impressions.» — la definición de la Facultad Automática y las dos condiciones de que la personalidad automática se parezca al espíritu.

«When the boy, who knew nothing of all this was wide awake, perhaps eating or at some work, the dream created being would comment upon Robartes’ conversation or action by tapping with the boy’s foot or with his fork or in some similar way.» — el caso concreto que el libro narra: la personalidad automática comentaba por el pie o el tenedor del muchacho.

«Sometimes he would speak through the boy’s lips and at such moments the boy heard nothing, though the voice was loud and clear, and though he heard everything that Robartes said and every sound in the room and everything that he himself said except those words.» — el detalle que el libro subraya: el muchacho oía todo menos las palabras que salían de su boca.

«Gradually as the automatic personality increased in power it made visible or other signs outside the body of the boy, a sudden light, a sudden heat or cold or some strong fragrance, that of a flower frequently, and this fragrance was generally perceptible to anybody who came into the room.» — los signos que el libro atribuye al crecimiento de esa personalidad, y la salvedad de que la fragancia sí era perceptible a los demás.

«The automatic personality is never perhaps a puppet in the hand of the spirit that created it, but has always not only its own automatic life but that reflected from the man himself.» — el libro niega, con un quizá, que la personalidad automática sea títere del espíritu que la creó.

«One can most easily study these powers in their physical expression, and it has long been known that the hand of the medium can under such influences trace perfect circles or make patterns of sweeping lines with a rapidity and precision no voluntary movement can achieve.» — el argumento pasa a lo comprobable: la mano del médium traza círculos perfectos con rapidez que no da el movimiento voluntario.

«A poltergeist has been known to hurl small flat stones through narrow slits in a shutter from a considerable distance, though no living man could have done it from but a few feet off.» — el caso del poltergeist se cita como conocido, no como presenciado.

«Primary man in certain periods of thought, Shelley’s Ahasuerus, let us say, is able ‘By dreadful abstinence and conquering penance of the mutinous flesh’88 to keep his Automatic Faculty from desire and fear— hence the symbolic value given to chastity by primary philosophers—and so be both vehicle and questioner.» — el libro explica por ahí el valor simbólico que los filósofos primarios dan a la castidad.

«His mind has but a single direct movement which may be wholly dominated, whereas an antithetical inspiration may demand a separation of vehicle and questioner, a relation like that between Priest and Sybil, Socrates and Diotime, wandering magician and his scryer.» — la inspiración antitética exige separar vehículo e interrogador, con tres parejas como ejemplo.

«And if those two for whom the victimage had been undertaken be born of the man and of the woman then there is created, both before and after the birth, the position known as that of the Four Daimons,91 and each of the four has been set free from fate.» — la posición de los Cuatro Daimones y su efecto declarado: los cuatro quedan libres del hado.

«I find93 a statement that for the supreme magical work no word or symbol can be used that is still a part of living tradition, whether that tradition is known to the questioner or to the vehicle or not.» — el libro consigna la regla de la obra mágica suprema como enunciado hallado, no como afirmación propia.

«Much of this book is abstract, because it has not yet been lived, for no man can dip into life more than a moiety of any system.» — el autor declara abstracta buena parte de su propio libro y da la razón: nadie moja en la vida más que la mitad de un sistema.

«When a child, I went out with herring fishers one dark night, and the dropping of their nets into the luminous sea and the drawing of them up has remained with me as a dominant image.» — la imagen de la infancia con que el autor explica su propio modo de conocer.

«A book of modern philosophy may prove to our logical capacity that there is a transcendental portion of our being that is timeless and spaceless, and therefore immortal, and yet our imagination remain subjected to nature as before.» — el límite que el libro pone a la filosofía moderna: prueba lo intemporal y deja la imaginación sujeta a la naturaleza.

«It was not so with ancient philosophy because the ancient philosopher had something to reinforce his thought,—the Gods, the Sacred Dead, Egyptian Theurgy, the Priestess Diotime.» — lo que según el libro tenía el filósofo antiguo y el moderno no: dioses, muertos sagrados, teurgia egipcia.

«He could assume, perhaps even prove, that every condition of mind discovered by analysis, even that which is timeless, spaceless, is present vivid experience to some being, and that we could in some degree communicate with this being while still alive, and after our death share in the experience.» — el libro marca la diferencia entre suponer y probar en la misma frase.

«That we may believe that all men possess the supernatural faculties I would restore to the philosopher his mythology.» — el propósito declarado del libro entero, en una sola frase: devolver al filósofo su mitología.

«mythology. FINISHED AT SYRACUSE, JANUARY, 1925.» — el colofón del Libro IV fecha y sitúa el cierre del texto en Siracusa.

«I cannot account for the fact that these substituted images often seem not only familiar but that their very form seems to recall the person for whom they are substituted.» — una nota declara una incapacidad de explicación en vez de rellenarla.

«The fume of muscatel Can give his sharpened palate ecstasy No living man can drink from the whole wine. I have mummy truths to tell Whereat the living mock; Though not for sober ear For maybe all that hear Should weep and laugh an hour upon the clock.» — el poema final acota lo que un vivo puede alcanzar y declara traer verdades de momia de las que los vivos se burlan.

«Such thought, that in it bound I need no other thing, Wound in mind’s wandering, As mummies in the mummy-cloth are wound.» — el cierre del libro: el pensamiento envuelve al que lo tiene como la venda a la momia.

«THE COLLECTED WORKS OF W.B. YATES George Bornstein, George Mills Harper, and Richard J. Finneran, General Editors» — la portadilla de la serie nombra a los tres editores generales de la colección; el apellido del poeta sale impreso YATES en la capa de texto del eBook, y así se consigna.

«VOLUME XIII A VISION (1925) ed. Catherine E. Paul and Margaret Mills Harper VOLUME XIV A VISION (1937) ed. Margaret Mills Harper and Catherine E. Paul» — la colección reparte las dos versiones de A Vision en dos tomos con las mismas dos editoras y el orden de firma invertido: el de 1925 es este volumen.

«Corrections to the Yeatses’ Copies of A Vision (1925) Emendations to the Copy-Text End-of-Line Word Division in the Copy-Text» — el índice anuncia los tres apéndices con que cierra el volumen, que son aparato de las editoras y no texto de 1925.

«In particular, their gift of W. B. and George Yeats’s library and occult papers to the National Library of Ireland has made possible new levels of scholarly investigation of A Vision.» — Paul y Harper adjudican a la donación de la familia Yeats a la Biblioteca Nacional de Irlanda la posibilidad misma de esta edición; los papeles ocultos son la base documental de las notas.

«The editors gratefully acknowledge the assistance of Walter Kelly Hood and Connie Hood, former designated editors of AVA and AVB in this series, who shared with us the results of many years of labor as they passed the project on to us.» — las editoras declaran que el encargo de los dos tomos venía de otras manos y que heredaron el trabajo de Walter Kelly Hood y Connie Hood.

«In addition to invaluable published work and personal assistance, he left extensive files that have helped us immeasurably in understanding WBY’s methods of composition and the ordering of many manuscripts and typescripts, not to mention drawing our attention to significant aspects of the genesis of AVA and helping with transcriptions of WBY’s nearly illegible handwriting.» — las editoras nombran a George Mills Harper como quien fijó el orden de los manuscritos y descifró la letra de Yeats; el editor general de la serie es también la fuente del método de lectura.

«Samantha Martin, our editor at Scribner, has been of immense help, and we are more than grateful for her management and expertise.» — el agradecimiento nombra a la editora de mesa de Scribner, que es la casa que imprime el tomo.

«AS Automatic Script (see YVP 1–2) Au Autobiographies. Edited by William H. O’Donnell and Douglas N. Archibald. The Collected Works of W. B. Yeats 3. New York: Scribner, 1999. AVA W. B. Yeats. A Vision. London: T. Werner Laurie, 1926. AVB W. B. Yeats. A Vision. 1937. London: Macmillan, 1962.» — la tabla de abreviaturas fija los nombres con que el aparato distingue las dos versiones, AVA la de 1925 y AVB la de 1937, y remite la escritura automática a los Vision Papers; nota que el asiento de AVA lleva año 1926, no 1925.

«CVA A Critical Edition of Yeats’s A Vision (1925). Edited by George Mills Harper and Walter Kelly Hood. London:» — la edición crítica anterior del mismo texto, de Harper y Hood, tiene sigla propia en el aparato: esta edición se escribe contra ella y no desde cero.

«Ex Explorations. Selected by Mrs. W. B. Yeats. London: Macmillan, 1962. Foster R. F. Foster. W. B. Yeats: A Life. 2 vols. Oxford and New York: Oxford University Press, 1997, 2003. FPS Frank Pearce Sturm: His Life, Letters, and Collected Work. Edited by Richard Taylor. Urbana: University of Illinois Press, 1969. Gibbon Edward Gibbon. The History of the Decline and Fall of the Roman Empire. Edited by J. B. Bury. 7 vols. London: Methuen, 1909–14. (O’Shea 746) GY George Yeats» — la sigla GY, que el aparato usa a cada paso, se resuelve aquí en George Yeats; la marca (O’Shea 746) remite al catálogo de la biblioteca de los Yeats, que es como las editoras acreditan qué libros tuvieron a mano.

«YVP Yeats’s Vision Papers. 4 vols. George Mills Harper, general editor, assisted by Mary Jane Harper. Vol. 1, The Automatic Script: 5 November 1917–18 June 1918, edited by Steve L. Adams, Barbara J. Frieling, and Sandra L. Sprayberry. Vol. 2, The Automatic Script: 25 June 1918– 29 March 1920, edited by Steve L. Adams, Barbara J. Frieling, and Sandra L. Sprayberry. Vol. 3, Sleep and Dream Notebooks, Vision Notebooks 1 and 2, Card File, edited by Robert Anthony Martinich and Margaret Mills Harper. Vol. 4, “The Discoveries of Michael Robartes,” Version B (“The Great Wheel” and “The Twenty-Eight Embodiments”), edited by George Mills Harper and Margaret Mills Harper. London: Macmillan, 1992; Palgrave, 2001.» — el asiento data la escritura automática entre el 5 de noviembre de 1917 y el 29 de marzo de 1920 y nombra a sus editores; el tomo 4 imprime una versión de la Gran Rueda y de las veintiocho encarnaciones atribuida a Michael Robartes.

«ILLUSTRATIONS 1. [Frontispiece of A Vision] 2. [Title page of A Vision] 3. [Copyright page of A Vision]» — las tres primeras ilustraciones son la reproducción de los preliminares de 1925; los corchetes son de las editoras, que titulan así las piezas que el original no titula. En el troceo esas tres planas son imagen sin capa de texto, de modo que la portada de 1925 con sus referencias a Giraldus y a Kusta ben Luka no se puede citar por su letra, solo por la descripción que las editoras hacen de ella.

«4. The Great Wheel 5. [Unicorn] 6. [Lunar Phases] 7. [Gyres as Lines] 8. [Gyres as Cones] 9. [Gyres of Destiny and Will, Fate, and Mind] 10. [Approaching and Separating Gyres] 11. [Contracting and Expanding Gyres] 12. [Gyres “placed one within the other”] 13. [Gyres of the Four Faculties] 14. [Solar and Lunar Circles] 15. [Solar and Lunar Months] 16. [Solar and Lunar Year] 17. [Solar and Lunar Gyres] 18. [Gyres of Principles and Faculties] 19. [“simplest form” of “History Cone”] 20. [Cones of “entire Era”] 21. The Historical Cones» — el inventario de las dieciocho figuras del sistema: la Gran Rueda, el unicornio, las fases lunares, las nueve láminas de giros y conos y el diagrama de los conos históricos. Todas son imagen sin capa de texto en el troceo, así que lo que dicen los diagramas queda fuera de esta ficha y solo entra lo que el texto corrido dice de ellos.

«Portrait of Giraldus from the Speculum Angelorum et Homenorum» — el pie del frontispicio escribe Homenorum donde el cuerpo del libro escribe Hominorum (pp. 52, 53); la divergencia se consigna sin corregir.

«A Vision appeared in the dead of winter. On 15 January 1926, the London publisher T. Werner Laurie distributed to subscribers six hundred signed copies of W. B. Yeats’s occult mythography» — Paul y Harper datan la salida del libro el 15 de enero de 1926, en tirada de seiscientos ejemplares firmados para suscriptores, y lo llaman mitografía ocultista de Yeats.

«As recently as the previous July, WBY had indulged in high-flown hope for it, telling Laurie, “I dare say I delude myself in thinking this book my book of books.”» — las editoras citan la carta de Yeats a su editor Laurie de julio de 1925, donde él mismo pone en duda su entusiasmo.

«However, Laurie and WBY had long known that, as WBY mentioned understatedly in March 1923, “the book is entirely unlike any other work of mine and will not appeal to the same public.”» — Yeats, citado por las editoras, separa este libro del resto de su obra y de su público desde marzo de 1923.

«As WBY put it to Laurie, “getting a book of this sort into print is a reverse of the Christian miracle for one has to turn twelve basketfuls of fragments into—is it not?—two loaves and two little fishes— a greater miracle than the other.”» — la imagen que Yeats da del trabajo de imprimirlo: el milagro cristiano al revés, doce canastas de fragmentos convertidas en dos panes y dos peces.

«Neither WBY nor others was sure if A Vision contained profound truths and creative genius or if it had been a ridiculous exercise in obsession.» — las editoras dejan la duda sin resolver, en la voz de la época y no en la suya.

«As it was being delivered to booksellers, WBY wrote to Laurie that he was waiting for the book “with some excitement as I don’t know whether I am a goose that has hatched a swan or a swan that has hatched a goose.”» — Yeats, citado por las editoras, no sabe si el libro es cisne o ganso al llegar a las librerías.

«A Vision was a handsome volume, with light blue paper boards, parchment half-binding, woodcuts by Edmund Dulac printed on brown paper, and untrimmed pages, with one striking diagram of “historical cones” in both red and black ink. It was appropriately expensive, selling for £3.6s» — la descripción material del volumen de 1925: papel azul, media pasta de pergamino, xilografías de Dulac sobre papel marrón, páginas sin refilar y el diagrama de conos históricos a dos tintas.

«Owen Aherne and his associate, Michael Robartes, fictional characters revived from the trio of occult stories, “Rosa Alchemica,” “The Tables of the Law,” and “The Adoration of the Magi,” written over two decades earlier for inclusion in The Secret Rose (1897)» — las editoras localizan el origen de los dos personajes en tres relatos ocultistas de 1897 y declaran que iban a exponer la filosofía en diálogo.

«In fact, the story of A Vision is riddled with dialogues and doubles, beginning with the collaboration between WBY and GY, which took place in spiritualistic sessions of automatic writing (and other methods, which will be explained below) during which he asked questions and she wrote the answers that came to her from regions beyond the grave and outside material existence.» — el procedimiento que el libro de 1925 no nombra: él preguntaba y ella escribía las respuestas.

«The spiritualist nature of the automatic script also presumes a second kind of dialogue, between the human partners and a host of “instructors” and “communicators” of various supernatural kinds who wrote or spoke through GY’s hand or voice as she acted as a medium for their revelations.» — las editoras nombran instructores y comunicadores a las voces que escribían o hablaban por la mano y la voz de George Yeats.

«The author is not a unified entity: there is both explanation and instruction, argument and agreement, a sense of monologue or even diatribe, as well as a sense of conversation or even just several voices speaking all at once.» — el diagnóstico de las editoras sobre la autoría del libro: no hay entidad unificada sino varias voces a la vez.

«Edmund Dulac created the frontispiece of Giraldus, the supposed author of a book outlining the system, entitled, in bad (and misspelled) Latin, “Speculum Angelorum et Homenorum.”» — las editoras adjudican el retrato de Giraldus a Edmund Dulac y califican de mal latín y mal escrito el título que le pone.

«WBY was very pleased with the image, writing to Dulac that he even doubted “if Laurie would have taken the book but for the amusing deceit that your designs make possible” (L, 700).» — Yeats, citado por las editoras, atribuye al engaño amable de los dibujos de Dulac que Laurie aceptara el libro.

«George Mills Harper, one of the early scholarly proponents of WBY’s occult interests and general editor of the four-volume edition of the automatic script and related materials, declared the unwieldy work “the most maligned and misunderstood tour de force in the history of modern literature” (MYV 1:xiv).» — juicio de George Mills Harper que las editoras recogen, con su condición de editor general de la escritura automática declarada en la misma frase.

«Richard Ellmann, one of the few critics whom GY allowed to examine the Vision materials after her husband’s death, called it “The strangest work written by a great poet in English since Blake’s Prophetic Books.”» — juicio de Richard Ellmann, a quien George Yeats dejó ver los materiales tras la muerte de su marido.

«R. F. Foster remarks in his authoritative biography that A Vision not only “provides necessary illumination for a key section of [WBY’s] oeuvre” but that “the book’s real value is to students of WBY’s mind, and of his aspirations” (Foster 2:285).» — juicio de R. F. Foster, que traslada el valor del libro de la doctrina a la mente y las aspiraciones de Yeats.

«The 1925 book represents WBY’s final intentions even less than do many modern texts and is inexplicable without many details from stages of composition outside its pages.» — las editoras acotan el estatuto del texto: no representa una intención final del autor y no se explica sin los materiales de composición ajenos a sus planas.

«The challenge of this edition is to document its multiple sources, for AVA is both the culmination of WBY’s many years of occult study as well as the most collaborative of his many esoteric works.» — las editoras declaran el propósito de la edición y llaman a A Vision la más colaborativa de las obras esotéricas de Yeats.

«The pen moved, setting off the immediate genesis of A Vision and the numerous texts associated with it.» — las editoras fechan el arranque en el movimiento de la pluma de George Yeats.

«She was doing what contemporary spiritualists would call “channeling,” relaxing her conscious mind in order to be receptive to messages from outside her ordinary consciousness, and also actively participating in the joint enterprise of discovery, clarification, organization, and application of the system.» — las editoras nombran canalización lo que hacía George Yeats y le adjudican, además, participación activa en el descubrimiento y la organización del sistema.

«as WBY explained later, “I had always to question, and every question to rise out of a previous answer and to deal with their chosen topic” (AVB, 10).» — Yeats, citado desde la versión de 1937, describe su parte: preguntar, y que cada pregunta naciera de la respuesta anterior.

«The instructors are a part of this complicated issue; they, to some degree, mirror the levels of active control over or passive reception of the information that flowed onto the pages of the AS.» — las editoras leen a los instructores como reflejo del grado de control o de recepción pasiva en la escritura automática.

«The system is also guided by daimons, personal genii or otherworldly counterparts, who are enactments of concepts about which WBY had thought and written for some time.» — las editoras identifican los daimones del sistema con conceptos que Yeats ya venía trabajando.

«Reincarnation is assumed, and at times ancestral or historical personages appear—sometimes wrongly, as verifiable information might confirm.» — las editoras consignan que a veces los personajes históricos aparecían equivocados, y lo dicen sin arbitrar.

«The probability of error or mischief is also personified in “frustrators” or spirits whose purpose, like some of the fairy people of Ireland in stories with which WBY was familiar, was to deceive or cause trouble in whatever ways they could.» — el sistema personifica el error mismo en los frustradores; las editoras los emparentan con el pueblo feérico irlandés.

«The intense sessions continued until the spring of 1920, when, on an American lecture tour, the Yeatses were informed by Dionertes that he preferred “other methods—sleeps” (YVP 2:539).» — el cambio de método en la primavera de 1920 lo declara un comunicador nombrado Dionertes.

«By April 1921, WBY recorded in a notebook that “All communication by external means—sleaps—whistles—voices—renounced, as too exhausting for George,” then pregnant with their second child.» — las editoras fechan en abril de 1921 la renuncia a los medios externos por agotadores para George Yeats.

«“Philosophy is now coming in a new way,” WBY wrote. “I am getting it in sleap & when half awake, & George has correspondential dreams or visions” (YVP 3:85–86).» — Yeats declara que la filosofía llega ahora en el duermevela y que ella tiene sueños correspondientes.

«Both WBY and GY were adepts in the Hermetic Order of the Golden Dawn, “the crowning glory of the occult revival in the nineteenth century,”13 a magical society that stressed the mastery of a body of knowledge that has been called the philosophia perennis.» — las editoras sitúan a los dos como adeptos de la Orden Hermética de la Golden Dawn; el 13 es llamada a nota, y la frase entre comillas es cita de segunda mano dentro del texto de las editoras.

«Blake is a particularly important literary precursor, not only for ideas but also for the concrete example Blake presented of another poet who created his own mythographic system that joined imaginative and spiritual truth, working in concert with his wife.» — las editoras proponen a Blake como precedente por partida doble: el sistema mitográfico propio y el trabajo con la esposa.

«Both WBY and GY were active astrologers; they also read tarot cards, practiced divination, and studied numerology.» — la práctica declarada de los dos: astrología, tarot, adivinación y numerología.

«WBY admits in the introduction to the utterly transformed 1937 edition of A Vision, in which he tells the story of the automatic script openly, that “The unknown writer took his theme at first from my just published Per Amica Silentia Lunae”» — las editoras traen de la versión de 1937, donde Yeats sí cuenta la escritura automática, el reconocimiento de que el escritor desconocido tomó su tema de un libro suyo recién publicado.

«He wrote to Lady Gregory in early January 1918 of the “very profound, very exciting mystical philosophy . . . coming in strange ways to George and myself.”» — carta de Yeats a Lady Gregory de enero de 1918, citada por las editoras: la filosofía llega de maneras extrañas a los dos.

«WBY had begun to compose the dialogues between Aherne and Robartes that comprise the first drafts of the book very early in the reception of the automatic messages (perhaps, indeed, as early as 21 November 1917, when he asks for corroboration of system-related ideas “in my essay”» — las editoras fechan en noviembre de 1917 los primeros diálogos entre Aherne y Robartes, que son los primeros borradores del libro.

«The control Aymor mentions that the Yeatses should “code and question” or “Codify” the materials they have been receiving» — una de las voces del guion automático, nombrada Aymor, es la que ordena codificar el material recibido.

«WBY writes to Pound that he is “now at the 30th page of my prose dialogue expounding this symbol & there will be 3 dialogues of some 40 pages each, full of my sort of violence and passion”» — carta a Ezra Pound de julio de 1918: el libro iba a ser tres diálogos de unas cuarenta planas cada uno.

«A rejected typescript notes “P.S. I have dated the various sections of this book because my knowledge grew as I wrote, and there are slight changes of emphasis, and blank spaces that need explanation.”» — un mecanuscrito descartado, citado por las editoras, explica por qué el propio Yeats fechaba las secciones: su conocimiento crecía mientras escribía.

«Near the end of the script on 21 January 1919, the control Thomas of Dorlowicz reiterates that in the published version, the system’s “Supernormal origin [will be] received through a person we will call Gyraldus”» — el guion automático de enero de 1919 prescribe la ficción del marco: el origen supranormal se recibirá por una persona a la que llamarán Gyraldus; el nombre se escribe ahí con y griega.

«Dionertes, the control for the session conducted in Portland, Oregon, urges, “You have got to begin to write soon”» — una voz del guion, Dionertes, apremia a empezar a escribir.

«At some point, the dialogue form is abandoned.» — las editoras consignan sin fecha el abandono de la forma dialogada, que era la del primer proyecto.

«The preface mentions that WBY “came into possession of Michael Robartes’ exposition of the Speculum Angelorum et Hominum of Geraldus” and that WBY’s forthcoming “selection from the great mass of his letters and table talk, which I owe to his friend John Aherne, may be published before, or at any rate but soon after this little book.”» — el prefacio de Michael Robartes and the Dancer (1921), citado por las editoras, ya estrena la ficción del marco cuatro años antes del libro; ahí el título del espejo se imprime Hominum y el nombre Geraldus, contra el Hominorum y Giraldus del cuerpo de 1925.

«founded upon a single fundamental thought. The mind, whether expressed in history or in the individual life, has a precise movement, which can be quickened or slackened but cannot be fundamentally altered, and this movement can be expressed by a mathematical form.» — la tesis que Yeats atribuye a Robartes en las notas de 1921, citada por las editoras: el movimiento de la mente se puede acelerar o frenar pero no alterar de raíz, y se puede expresar en una forma matemática.

«In a letter to Olivia Shakespear, WBY writes that he is “busy writing out the system—getting a ‘Book A’ written that can be typed and shown to interested persons and talked over” (L, 690).» — carta a Olivia Shakespear: el sistema se escribe primero como un Book A mecanografiado para enseñar a interesados.

«the Anglo-Irish Treaty of 1921, narrowly ratified in January 1922, has sparked the civil war that will end in May 1923.» — la cronología de las editoras sitúa la redacción del libro dentro de la guerra civil irlandesa.

«I promised you a hundred pages of my philosophical book by the end of January and I doubt if the end of March will see those hundred pages finished.» — Yeats a Dulac, citado por las editoras: el retraso es del propio autor y él lo declara.

«WBY sends Dulac “my preface, in the rough, or rather Owen Aherne’s. It will give you all the facts as I see them”» — Yeats llama prefacio suyo y de Owen Aherne al mismo texto: la ficción del marco no es un añadido tardío sino el modo en que se lo describe a su ilustrador.

«In the drafted introduction, Aherne and Robartes quarrel after Aherne “used these words: ‘In the Introduction I will of course explain my own point of view; that I concede to this Arabian system exactly the same measure of belief that an intelligent reader concedes to a Platonic myth.’ He [Robartes] flew up into a rage and said that I had lead [sic] him to believe that I was convinced; that I had indeed been convinced until my Catholicism gripped me by the throat; he even asked me if I had not taken the advice of some confessor and before the evening was out we had our old quarrel over again.”» — en la introducción que quedó en borrador, Aherne concede al sistema arábigo la misma creencia que a un mito platónico y Robartes se enfurece; las editoras citan el borrador, que no es lo que se imprimió.

«Mr. Yeats then explains that “I was looking at my canary, which was darting about the cage in rather brilliant light, when I found myself in a strangely still and silent state and in that state I saw with the mind’s eye symbols streaming before me.”» — en ese mismo borrador Yeats aparece como personaje y da un origen del sistema distinto del publicado: mirando su canario entró en un estado quieto y vio símbolos con el ojo de la mente.

«Werner Laurie provides WBY with a contract for five hundred copies of a private printing of the book.» — el contrato de 1923 era por quinientos ejemplares de una impresión privada.

«WBY writes to Dulac that “I am very far from finished, so there is no hurry about your design. I work for days and then find I have muddled something, and have to do it all again, especially whenever I have to break new ground”» — Yeats describe su método de trabajo: escribe días, descubre que enredó algo y lo rehace.

«WBY decides to dedicate the book, now nearly complete, to her and composes a first draft of the dedication, as well as an unused epilogue, “To Vestigia”» — las editoras fechan la decisión de dedicar el libro a Vestigia y consignan que hubo también un epílogo del mismo título que no se usó.

«WBY records in a notebook entry dated 23 April 1925, “Yesterday I finished ‘A Vision,’ I can write letters again & idle”» — el propio Yeats fecha el fin de la escritura el 23 de abril de 1925.

«WBY tells Dulac on 5 May that “The designs are exactly right. ‘The Wheel’ would take in the whole British Museum.» — Yeats aprueba los diseños de Dulac y comenta el tamaño de la Rueda.

«The multiplicity may be expressed by means of “a single fundamental thought,” as WBY asserts in a note to the poem “The Second Coming,”» — las editoras enlazan el sistema con la nota de Yeats a The Second Coming, donde la multiplicidad se resuelve en un solo pensamiento fundamental.

«The whole is not fatalistic, as the note to “The Second Coming” continues, “because the mathematical figure is an expression of the mind’s desire.”» — el límite que Yeats pone a su propia figura matemática: no es fatalista porque la figura expresa el deseo de la mente.

«The reader leafing through the stiff pages of AVA encountered a book that attempts to explain all that exists or can be imagined (and these two are the same, according to the system).» — las editoras describen la pretensión del libro: explicar todo lo que existe o puede imaginarse, que para el sistema es lo mismo.

«AVA also puts such aesthetics in close proximity with WBY’s early interests in Italian fascism.» — las editoras vinculan la estética del libro con el interés temprano de Yeats por el fascismo italiano.

«WBY had in common with Mussolini his desire to infuse actual world events with the power of myth, and it is significant that A Vision shares a publication date with the first English edition of Margherita Sarfatti’s biography of Mussolini, a book with a much larger readership than A Vision, but which shares with it a conflation of fascism and myth.» — las editoras señalan la coincidencia de fecha de publicación con la biografía de Mussolini por Margherita Sarfatti y el rasgo compartido de fundir fascismo y mito.

«AVA captures an idealistic moment in his investment in fascism, moderately shaped by the writings of fascist thinkers (and the thinking of Ezra Pound) but mostly based in myth.» — el límite que las editoras ponen a esa lectura: la adhesión de Yeats se apoya sobre todo en el mito, no en los teóricos.

«This idea of “organic groups, covens of physical or intellectual kin,” is largely absent from AVB and is an example of how interpretation may not only move forward in time to see WBY’s changing thought but also back in order to see that his political reading was not GY’s.» — las editoras usan la desaparición de esa idea en la versión de 1937 para separar la lectura política de Yeats de la de George Yeats.

«The creators of AVA knew that it was both finished and incomplete, like all books but to a considerably greater extent than most others.» — las editoras hablan de creadores en plural y consignan que el libro se sabía terminado e incompleto a la vez.

«It announces the need for revision in its opening pages; its rhetoric throughout is characterized by hesitation as well as poses that claim certitude.» — la retórica del libro alterna vacilación y pose de certeza, según las editoras.

«The book is a beautiful artifact but hardly an accurate text, and it has never been reset or corrected.» — las editoras separan el valor material del textual: el volumen de 1925 nunca se recompuso ni se corrigió.

«The current edition presupposes integrity for the 1925 text rather than treating it as a quirky predecessor for the “improved” 1937 edition, as has often happened in the history of the two very different books entitled A Vision by W. B. Yeats.» — el principio editorial declarado: tratar el texto de 1925 como obra íntegra y no como borrador del de 1937.

«On a theoretical level, producing these two versions allows us, in George Bornstein’s words, “an interesting middle ground between stable, unitary notions of the text on the one hand and post-structuralist freeplay of endless deferral on the other.”» — las editoras se apoyan en George Bornstein para justificar publicar dos versiones en vez de un texto ideal.

«Our AVA volume focuses on the book as it was published in 1925, reserving for AVB revisions made toward a later printing, as well as explanations of contextual material that relates primarily to the later book, such as the prominent role of Western philosophy buttressing its arguments.» — el reparto entre los dos tomos: lo que remite a la versión de 1937, incluida la filosofía occidental que la apuntala, se reserva para el otro.

«However, those changes intended as corrections—as opposed to revisions—of AVA are treated in annotations and in an appendix to this volume, in which we present textual corrections made by GY and WBY after the publication of the 1925 text but not necessarily incorporated into the 1937 printing.» — las editoras distinguen corrección de revisión y anuncian el apéndice con las correcciones que los Yeats hicieron y que no siempre pasaron a 1937.

«This volume differs significantly from others in the Collected Works series, which follow closely the principle of final and expressed authorial intentions.» — las editoras declaran que este tomo se aparta del criterio de la colección, que edita por la intención final del autor.

«While this principle will determine the editorial choices made for AVB, AVA must be understood as a version rooted in the historical moment of 1925; to extend it into the future is to move it toward or into AVB.» — el criterio propio: el texto de 1925 se lee anclado en su momento y prolongarlo hacia adelante sería convertirlo en el de 1937.

«Although this idea has a distinguished history in the field of scholarly editing, it is less meaningful for A Vision than for many texts, if only because of the complex collaboration that was its genesis.» — las editoras acotan por qué la intención autoral vale menos aquí: la génesis fue colaborativa.

«Our focus on the T. Werner Laurie printed text as copy-text, rather than attempting to posit authorial intention beyond its pages or synthesize an ideal text, also follows from instabilities in the concept of authorial intention.» — el texto base elegido es el impreso por Laurie, sin postular una intención más allá de sus planas ni sintetizar un texto ideal.

«The copia of misprints, textual errors, and lack of standardization in AVA is well known to scholars familiar with that text.» — las editoras consignan la abundancia de erratas y de falta de normalización del impreso de 1925.

«We have also corrected the misnumbering of section headings that begins on page 82 (page 68 in this edition).» — una intervención declarada: corregir la numeración de encabezados que en el original se descuadra.

«Throughout the text, readers are often reminded that these are precise technical terms, and we have honored that aim by standardizing the capitalization and italicization of the following terms:» — las editoras normalizan mayúscula y cursiva de los términos técnicos porque el texto insiste en que lo son.

«Since WBY also uses the word will in its ordinary sense, and it is not always clear whether he refers to the common concept or the specialized term, we have yielded to the authority of the copy-text for this word.» — el límite de esa normalización: en will no se toca el original porque no siempre se distingue el término técnico del uso corriente.

«This edition does not hope to supplant so much as complement CVA, and we have used Harper and Hood extensively, often borrowing without major change from their notes.» — las editoras declaran haber tomado notas de la edición crítica de Harper y Hood sin cambio mayor.

«Warwick Gould and Deirdre Toomey published in 2005 an impressive scholarly edition with Palgrave, an edition that is rich with annotations but not as common as the other.» — las editoras remiten a las dos ediciones disponibles de Mythologies y nombran a sus responsables.

«CATHERINE E. PAUL is Associate Professor of English at Clemson University. She is the author of Poetry in the Museums of Modernism: Yeats, Pound, Moore, Stein and of numerous articles relating to modernist studies.» — la solapa de autor da el cargo y la obra de Catherine E. Paul; se levanta como solapa y no como voz de la obra.

«MARGARET MILLS HARPER, a co-editor of Yeats’s “Vision” Papers (volumes 3 and 4), is the author of Wisdom of Two: The Spiritual and Literary Collaboration of George and W. B. Yeats, The Aristocracy of Art in Joyce and Wolfe, and numerous articles on Yeats, Irish literature, and literary modernism.» — la solapa da el cargo de Margaret Mills Harper y su coedición de dos tomos de los Vision Papers, además de un libro sobre la colaboración de George y W. B. Yeats.

«Jacket design by Eric Fuentecilla Jacket photograph © Michael St. Maur Sheil/CORBIS Copyright © 2008 Simon & Schuster Inc. Distributed by Simon & Schuster Inc.» — los créditos de la cubierta de la edición de 2008, con su propio copyright de Simon & Schuster.

«The date of publication as printed in the text is 1925, and the book is often identified by this date rather than the year of its actual appearance.» — las editoras explican la discrepancia entre el año impreso y el de aparición, que es la razón del título de este tomo.

«The materials now reside in the National Library of Ireland; the catalogue may be accessed through http://www.nli.ie.» — las editoras localizan los materiales en la Biblioteca Nacional de Irlanda y dan su catálogo.

«The Yeatses owned a typescript of over two hundred pages of Moses’s automatic script (NLI, 36,261/2/1–3).» — el dato que sitúa la práctica en su contexto: los Yeats tenían mecanuscrito de la escritura automática de otro médium.

«The Yeatses decided very early to ascribe the “solar” or Western exposition of the system to this fictional figure.» — las editoras fechan temprano la decisión de adjudicar a Giraldus la exposición occidental del sistema, y lo llaman figura ficticia.

«WBY admired Dulac’s illustrations for Sinbad the Sailor and Other Stories from the Arabian Nights (ed. Laurence Houseman [London: Hodder and Stoughton, 1907]); their Oriental exoticism may have contributed to WBY’s sense that Dulac would be the best designer for a portrait of someone mysteriously connected with Eastern wisdom» — las editoras conjeturan por qué Yeats eligió a Dulac, y marcan la conjetura.

«Dulac did not complete the work immediately, but on 24 July 1923 he wrote saying that he had “done a sketch in pencil of the portrait of Gyraldus by an unknown artist of the early sixteenth century” (LWBY, 439).» — Dulac describe su propio dibujo como retrato de Gyraldus por un artista desconocido del siglo XVI, es decir, colabora en la falsificación.

«Dulac sent a sketch of the Giraldus portrait on 30 September 1923, saying, “Here is the best I can do with Gyraldus. It is a little ‘early’ in style, but I think it better suited to a book of that kind than the ‘Durer’ manner.» — Dulac justifica el estilo arcaico de su retrato como más adecuado a un libro así.

«In correspondence, Frank Pearce Sturm pointed out to WBY that the proper grammatical form for this caption should have read “Speculum Angelorum et Hominum.” WBY wondered if he could get away with the erroneous form as “dog Latin,” but Sturm said no: “you can’t pretend Giraldus wrote dog Latin, for he was the most learned of the 12th century translators» — Sturm objeta el latín del título y niega a Yeats la salida del latín macarrónico, porque el Giraldus histórico era de los traductores más doctos.

«In galley proofs (NLI, 36,271), the title read: “. . . Giraldus and also Certain Doctrines . . .” This subtitle, together with Owen Aherne’s introduction and the Dulac woodcuts, promoted the deception that this book was based on the sixteenth-century book found by Michael Robartes» — las editoras nombran las tres piezas con que el libro sostuvo el engaño: subtítulo, introducción de Aherne y xilografías de Dulac.

«Although we do not know the precise date of the dedication’s first draft, thirty years had not elapsed since he had last seen Moina in Paris.» — las editoras corrigen por cronología la cifra que la propia dedicatoria da sobre los años sin verse.

«S. L. MacGregor Mathers explains “The Schemahamphorasch or Divided Name,” basic study material in the Golden Dawn, in The Kabbalah Unveiled ([London: George Redway, 1887], 170–71; O’Shea 1292, 1293), a book that both WBY and GY knew well.» — el término de la dedicatoria se documenta en un libro de Mathers que las editoras declaran conocido por los dos Yeats.

«George Mills Harper suggests that this may be West Yorkshire watchmaker and clockmaker Thomas Henry Pattinson, a member of the Theosophical Society, the Golden Dawn (his motto was Vota Vita Mea, or “My life is devoted”), and the Societas Rosicruciana in Anglia» — las editoras identifican por conjetura de George Mills Harper al fundidor de latón de la dedicatoria y le adjudican tres pertenencias: Sociedad Teosófica, Golden Dawn y Societas Rosicruciana in Anglia.

«The Latin term literally means “the highest good.” Spiritual alchemists sought “the Stone of the Wise,” and the Adepti of the Golden Dawn focused on their quest for the Summum Bonum» — las editoras traducen el término de la dedicatoria y lo sitúan en la práctica de los adeptos de la Golden Dawn.

«Hodos Chamelionis is the title by which the Introducing Adept in the Adeptus Minor (5 = 6) Ritual of the Golden Dawn is known, and also the name given to the newly installed Aspirant to the rank.» — el término que Yeats usa sin explicarlo se documenta como grado del ritual de Adeptus Minor de la Golden Dawn.

«WBY uses the phrase as the title of a section of The Trembling of the Veil, written as the Yeatses worked on the system: he describes being “lost” in the confused path of the chameleon, “that region a cabbalistic manuscript, shown to me by MacGregor Mathers, had warned me of” (Au, 215).» — las editoras enlazan el término con un libro anterior de Yeats y con un manuscrito cabalístico que le mostró Mathers.

«WBY wrote that the communicators’ change from automatic writing to automatic speaking came on a train in Southern California (AVB, 9).» — el cambio de escritura a habla automática lo declara el propio Yeats en la versión de 1937.

«Indeed, revisions to A Vision would continue for a dozen years after this book’s publication, and WBY pondered the system in thought and practice for the rest of his life.» — las editoras declaran que el libro nunca quedó cerrado para su autor.

«Barbara J. Frieling has noted that the “Beatific Vision” is one of four “Moments of Crisis” that appear in the AS of 20 March–5 April 1919 and after (“ ‘Moments of Crisis’ in the Vision Papers,”» — las editoras localizan el término del libro en el guion automático por trabajo de Barbara J. Frieling.

«The Moments are part of the “personal” aspects of the system, which George Mills Harper estimates comprise about seventy-five percent of the script.» — las editoras traen la estimación de George Mills Harper: tres cuartas partes del guion son material personal.

«They are “often intimate, and could not be used in the book” (MYV 1:x).» — y la razón que él da para que no entraran al libro: son íntimos.

«WBY wrote in 1922: “To some extent I wrote these poems as a text for exposition” (Poems, 604).» — Yeats declara que escribió parte de sus poemas como texto para la exposición del sistema.

«WBY said of The Player Queen (1922): “I wasted the best working months of several years in an attempt to write a poetical play where every character became an example of the finding or not finding of what I have called the Antithetical Self” (Plays, 698).» — Yeats declara un fracaso propio: años de trabajo en una obra donde cada personaje ilustraba el Yo Antitético.

«David S. Thatcher (Nietzsche in England, 1890–1914: The Growth of a Reputation [Toronto: University of Toronto Press, 1970], 172) suggests that these remarks evoke the eternal return» — la conexión con el eterno retorno de Nietzsche se atribuye a un estudioso nombrado, no a las editoras.

«This three-painting series, painted from about 1490–1500 by the Master of the Story of Griselda, narrates the final story of Boccaccio’s Decameron, in which a marquis marries a peasant woman (Griselda), torments her, and, finding she endures it all with patience, loves her all the more.» — las editoras identifican el cuadro ante el que la ficción sitúa el reencuentro y resumen su asunto.

«Robartes and Aherne appear as prominent characters in three early stories —“Rosa Alchemica” (1896), “The Tables of the Law” (1896), and “The Adoration of the Magi” (1897).» — las editoras fechan la aparición previa de los dos personajes en tres relatos de los años noventa.

«John M. Watkins (1862–1947) edited Book-notes (March 1893–February 1897), published the writings of the Theosophical Society, and was a seller of new and used occult books.» — el librero que la ficción nombra existía y vendía libros ocultistas, según documentan las editoras.

«His son Geoffrey N. Watkins notes that his store was a center for “tea, talk, and theosophy” (“Yeats and Mr Watkins’ Bookshop,” YO, 307–10).» — el testimonio sobre la librería se atribuye al hijo del librero y se cita entrecomillado.

«I now consider that I used the actual names of two friends, and that one of these friends, Michael Robartes, has but lately returned from Mesopotamia, where he has partly found and partly thought out much philosophy.» — las editoras citan a Yeats declarando, ya en otra obra, que usó nombres de dos amigos reales y que Robartes volvió de Mesopotamia.

«They take their place in a phantasmagoria in which I endeavour to explain my philosophy of life and death.» — Yeats llama fantasmagoría a su propio marco de ficción.

«The Golden Dawn studied works of these alchemists and spiritualists, who made trips to Poland in 1583–85.» — las editoras documentan que la Golden Dawn estudiaba a Dee y a Kelly y fechan sus viajes a Polonia.

«Edward Kelly (or Kelley), assistant to Dee, claimed to speak to angels using Dee’s scrying stone.» — las editoras consignan el reclamo de Kelly sin hacerlo propio, y con las dos grafías de su apellido.

«Scrying is clairvoyance using a reflective medium, such as water, a crystal ball, a mirror, or polished stones.» — la definición de scrying que las editoras dan al lector.

«The story of the discovery of this book is part of the deception that the material presented in A Vision derives from these old sources.» — las editoras nombran engaño al relato del hallazgo del libro de Giraldus.

«This imaginary volume’s title may be translated as “Mirror of Angels and Men.”» — las editoras traducen el título del volumen imaginario.

«Grammatically, hominorum should be hominum, as F. P. Sturm pointed out to WBY (FPS, 93–94);» — la corrección gramatical del título se atribuye a Sturm y se consigna sin enmendar el texto.

«Frank Pearce Sturm did point out to WBY, in a letter of 11 October 1924, the difficulty of these characters’ dates:» — Sturm objeta a Yeats la cronología imposible de los personajes del marco.

«In pre-Islamic Arabian mythology, djinn (or jin, ) a race of spirits of vanished ancient peoples who acted during the night and disappeared with the first light of dawn; they could make themselves invisible or change shape into animals at will.» — las editoras documentan los djinns que el texto nombra, con la ortografía doble y su origen preislámico.

«Robartes and Aherne decided not to come in because of the probable presence of American poet Ezra Pound (1885–1972), “a very violent talker” who had been rude to Aherne (YVP 4:17).» — las editoras traen del guion automático el motivo por el que los personajes no entran a la casa, con Ezra Pound nombrado.

«There is no orthodox support for the remarks about either Clement of Alexandria (not actually a saint) or Archbishop Passavalli; WBY may have relied on a biased occultist article.» — las editoras señalan que la apoyatura cristiana de Aherne no tiene respaldo ortodoxo y conjeturan de dónde salió.

«Long venerated as a saint, he was struck from the calendar by Pope Clement VIII in the sixteenth century.» — el dato con que las editoras corrigen el título de santo que el libro da a Clemente de Alejandría.

«In identifying Clement of Alexandria as a saint, WBY may have confused him with Saint Clement I of Rome, either the third or fourth pope, considered one of the Apostolic Fathers.» — la conjetura de las editoras sobre la confusión de nombres, marcada como conjetura.

«In the DMR-TS, Aherne notes that a church council found metempsychosis heretical; “however,” he adds, “Leo XII gave me exemption from the Index and I make a distinction between what I investigate as philosopher and what I believe as Christian” (YVP 4:20).» — las editoras traen de un mecanuscrito una nota del personaje que distingue lo que investiga como filósofo de lo que cree como cristiano.

«In Roman Catholic theology, limbo describes the temporary status of the souls of good persons who died before the resurrection of Jesus, and the permanent status of the unbaptised who die in infancy (without having committed any personal sins, but without having been freed from original sin).» — la definición doctrinal del limbo que las editoras dan para leer el pasaje.

«As a hypothesis, limbo waned in popularity during the latter half of the twentieth century, and in 2005 an international theological commission recommended to Pope Benedict XVI that the concept be set aside.» — las editoras añaden lo que pasó con esa doctrina después, hasta 2005.

«Purgatory is a process of purification after judgment and before entry into paradise, an intermediate step for those who have died after repenting of their sins but not expiating them.» — la definición de purgatorio que las editoras dan en la misma nota.

«WBY probably intended this passage to contain mystification appropriate to Aherne, but see Sections VII (“The Gyres and Lunar Months of the Great Year”) and VIII (‘The Cones of the Lunar and Solar Year”) of “The Geometrical Foundation of the Wheel” (pp. 114–20).» — las editoras leen un pasaje oscuro como mistificación deliberada del personaje y remiten a las secciones donde el sistema sí se explica.

«Wayne Chapman notes that “mine author” is Plato (“The Miltonic Crux of ‘The Phases of the Moon,’” YA 8 [1991]: 65–66).» — la identificación de una fuente sin nombrar dentro del poema se atribuye a Wayne Chapman.

«Robartes says that in Per Amica Silentia Lunae, WBY “contends that a man of genius works at whatever task—among those not impossible—is hardest to him, for in that way he finds his direct opposite, that which most stirs his desire, and so the greater the opposition the greater the genius.”» — las editoras citan a Robartes remitiendo a un libro anterior de Yeats: el genio trabaja en lo que más le cuesta.

«Hugh Kenner has suggested (“A Possible Source in Coleridge for ‘The Phases of the Moon,’ ” YAACTS 3 [1985]: 173–74) that WBY may here be remembering a passage in the Biographia Literaria» — la fuente propuesta para otro pasaje se atribuye a Hugh Kenner y se marca como sugerencia.

«A person, who reads only to print, in all probability reads amiss; and he, who sends away through the pen and press every thought, the moment it occurs to him, will in a short time have sent all away, and will be a mere journeyman of the printing-office, a compositor.» — el pasaje de Coleridge que las editoras reproducen como posible fuente.

«If it is not absolutely necessary that the Diagram should incorporate it leave it as it is, but if its presence in the Diagram is of vital importance, the engraver can make the two blocks and fit that of the Unicorn in its proper place for purposes of printing.» — las editoras traen la correspondencia técnica sobre cómo encajar el unicornio en el grabado.

«WBY seems to have identified his own family with “the King, the Queen, the Prince and the Princess of the Country of Wisdom.”» — las editoras proponen, marcándolo, que los cuatro danzantes de la fábula son la familia del autor.

«Numerous sessions of the AS suggest that the Yeatses will have two children, a daughter and a son, who are connected with the third and fourth daimons.» — el guion automático anticipaba dos hijos ligados al tercer y cuarto daimones.

«This poem (written 1923, published January 1924) appears at the beginning of Book II (pp. 97–102) and offers a thinly disguised biographical parallel to WBY’s own marriage to GY:» — las editoras leen el poema del Libro II como paralelo biográfico apenas disfrazado del matrimonio de los Yeats.

«It seems that the grammarian is of WBY’s own invention, intended to characterize the pedantic and literal Aherne.» — las editoras adjudican a Yeats la invención del gramático mahometano con que el propio libro se pone en duda.

«This date may not point to a date of composition, but it does further the fiction that Aherne wrote the essay after WBY’s book manuscript was finished, so that Aherne can make reference to and pass judgment upon it.» — las editoras leen la fecha firmada por Aherne como parte de la ficción, no como dato de composición.

«Suffice it to say that there are 12 temperate mansions, 6 dry ones, and 10 moist ones.» — el reparto de las mansiones lunares que las editoras dan para leer las veintiocho fases.

«The number 28 corresponds with the number of days in a lunation.» — la equivalencia entre las veintiocho fases y los días de una lunación.

«In addition to its more general meanings, “strife” here has a Heraclitean sense (see p. 106), implying an irreconcilable battle of opposites that is the basis of human life.» — las editoras fijan el sentido heraclíteo del término que el libro usa sin explicarlo.

«This four-part division of the personality is central to the conception of the self in the system: it is also crucial to Blake’s prophetic books and serves as the basis of Golden Dawn rituals and occult doctrines.» — las editoras ligan la división cuádruple del sistema con los libros proféticos de Blake y con los rituales de la Golden Dawn.

«As WBY’s confusing note reveals, WBY reckoned with a genuine conflict between the material from the AS and what he might have written on his own.» — las editoras leen la nota firmada del propio Yeats como reconocimiento de un conflicto entre el guion automático y lo suyo.

«Blake’s terms “self” and “selfhood” carry with them implications of selfishness, egotism, or egoism: happening in heaven, the sin of selfhood precipitated the Fall.» — por qué Yeats descartó el término de Blake que dice en su nota haber considerado.

«Apparently the Mask is more freely chosen than the image, which is offered by an external fate (see p. 54).» — las editoras marcan como aparente la distinción entre Máscara elegida e imagen impuesta.

«This opposition between fate and destiny recurs in this text; while fate is determined by forces outside the self, destiny expresses a choice of the self» — las editoras enuncian el par hado y destino tal como el libro lo usa una y otra vez.

«Using the term “allusion” to denote concrete images, GY wrote that “the fire” = abstract, “a fire” = concrete, and “my fire” = sensuous (14 October 1919, YVP 2:447).» — el ejemplo del fuego que el libro usa para distinguir abstracto, concreto y sensual viene del guion escrito por George Yeats.

«WBY asked the control Thomas if he was familiar with Blake’s terms “Head, Heart Loins,” and Thomas later said, “no but if I can get it from yourselves I may be able to.”» — un intercambio del guion muestra que el comunicador no conocía los términos de Blake y proponía tomarlos de los propios Yeats.

«WBY responded, “What do you mean by fall,” to which Thomas replied, “The beginning of anger and the departure from wisdom,” adding later, “Head and Heart = anti–loins and fall = prim[ary]”» — la definición de la Caída viene del comunicador y no del autor, con el reparto entre antitético y primario.

«In the AS for 17 January 1918, in response to the statement of the control Thomas (assisted by Fish), “The Ego in his part chooses the part he plays & writes the words,” WBY said, “You have described Commedia Dell Arte.”» — el símil de la comedia del arte lo pone Yeats sobre lo que dictó el comunicador, no al revés.

«Thomas replied, “That is like the Noh partially a dramatisation of the soul—it is all great art”» — la respuesta del comunicador amplía el símil hacia el teatro nō.

«It “is a harmony,” GY wrote in a SDNB on 30 June 1920: “All the being vibrates to the note, it is like striking a chord.» — la definición de Unidad del Ser que las editoras localizan en un cuaderno escrito por George Yeats.

«Later, she recorded that it is “a co-equality of Primary & Antithetical”» — la segunda definición de Unidad del Ser, también de mano de George Yeats, iguala primario y antitético.

«Plutarch’s essay “On the Genius of Socrates” is a named source for WBY’s 1914 essay “Swedenborg, Mediums, and the Desolate Places” in Lady Gregory’s Visions and Beliefs in the West of Ireland, and the notes that were also included in that volume» — las editoras nombran la fuente declarada del daimon en un ensayo anterior de Yeats.

«This Latin phrase was WBY’s motto in the Golden Dawn.» — la fórmula latina que el libro cita sin explicar era el lema de Yeats en la Golden Dawn.

«It may be translated as “A demon is the inverse of God,” though the word “demon” may mean daimon or personal deity as readily as demon or devil.» — las editoras traducen la fórmula y advierten la ambigüedad del término entre daimon y demonio.

«WBY is compared to Dante: both belonged to phase 17, a phase where Unity of Being is possible, had loved hopelessly, had been exiled, and hated abstraction, “that quality in every phase which impedes unity of being» — las editoras enumeran los rasgos por los que el sistema empareja a Yeats con Dante en la misma fase.

«These are not the only quaternaries that were considered for inclusion in A Vision.» — las editoras declaran que el libro publicado dejó fuera otras cuaternidades.

«He also contemplated adding the four daimons (Self = Love, Creative Genius = Wisdom, Mask = Beauty, Passionate Fate = Truth) (YVP 3:195).» — la cuaternidad de daimones que Yeats consideró añadir, con su reparto en Amor, Sabiduría, Belleza y Verdad.

«Because the system has an essentially four-part vision of the cosmos, it was troublesome that these two tables were “divided into ten divisions” instead of twelve.» — las editoras explican por qué le estorbaba a Yeats la división decimal que su propia nota conserva.

«For consistency with the rest of the table, the last numerals in this series should read 5, 4, 3, but this order is retained in AVB, 101.» — las editoras señalan una inconsistencia de la tabla y consignan que se conservó también en la versión de 1937.

«In the AS from 24 November 1917, WBY asked, “What are the 28 stages,” receiving the response, “I will give their meanings later.”» — el guion aplaza la explicación de las veintiocho fases cuando Yeats la pide.

«The phasal essays that comprise this section were some of the earliest parts of A Vision to be composed, after WBY had abandoned the dialogue form of the earliest drafts.» — las editoras fechan los ensayos de las fases entre lo primero que se escribió, ya abandonado el diálogo.

«They also remained more textually stable than many other sections after 1926 as WBY revised A Vision for its second edition.» — y consignan que esa parte fue de las que menos cambiaron al revisar el libro.

«after WBY had abandoned the dialogue form of the earliest drafts. The essays were for a time intended to be the majority of the» — las editoras fechan los ensayos de las fases después de abandonar el diálogo y consignan que iban a ser el grueso del libro; el tramo se corta en el límite de chunk.

«The allusion may be to various characters from poems by Shelley, including the poet of Alastor; or the Spirit of Solitude (1816) and Ahasuerus, the Wandering Jew of Hellas (1821).» — la alusión se marca como posible y se abre a dos personajes de Shelley.

«In an earlier version of the dedication, WBY quotes two lines (155–56) about Ahasuerus from Hellas (NLI, 36,264/3), and Alastor is the name of one of the controls in the sleeps of 1920, arriving on 6 October (YVP 3:50).» — las editoras enlazan un nombre de Shelley con uno de los comunicadores del guion.

«Both Bembo and Urbino figure symbolically in WBY’s work, as Urbino stood as an example of a well-run cultural center;» — las editoras explican qué representan Bembo y Urbino dentro de la obra de Yeats.

«WBY repeated this untraced exclamation in “The Bounty of Sweden” (Au, 400).» — las editoras declaran no haber podido rastrear una cita que Yeats repite en dos libros.

«WBY then corrected: GY was directed, “line 13 (line corrected as my edition is wrong) is the 2 vol (1919) & the quotation is [of] great significance” (VNB2; YVP 3:185).» — el guion corrige una referencia bibliográfica del propio Yeats y declara la cita de gran significación.

«“Weird” here means fate (which concept in Old English was spelled wyrd).» — la nota fija el sentido de una palabra del texto por su forma en inglés antiguo.

«He significantly substitutes “freedom” for “peace.”» — las editoras señalan que Yeats cambió una palabra al citar, y lo llaman significativo.

«It should be noted that although it is possible to locate the phase of the moon under which a person is born, the examples in A Vision are symbolic and do not correspond to any actual lunar phases.» — la advertencia que impide leer las fases como astrología aplicada: los ejemplos son simbólicos.

«It is also noteworthy that human examples begin with this phase; in a sleep of 6 July 1920, recorded by GY, the Yeatses were informed that “Till five, or was it till after 5? no eminent famous personality is possible” (YVP 3:29).» — el guion, escrito por George Yeats, explica por qué los ejemplos humanos no empiezan antes.

«The authenticity of the translated documents was challenged by Samuel Johnson, and although Macpherson insisted on their genuineness, he never published his originals.» — las editoras consignan la disputa sobre Macpherson sin arbitrarla, y anotan que nunca publicó los originales.

«On 28 March 1919, the Yeatses learned that “the victim is the intellectual subjective nature—the teacher the emotional & objective” (YVP 2:219); on 6 April, it was affirmed that the teacher is “a higher order of daimon” (YVP 2:236).» — el par víctima y maestro se documenta en dos sesiones fechadas del guion automático.

«The “certain artist” is the British painter and writer Wyndham Lewis (1882– 1957) and the “notable man” Welsh painter Augustus John (1878–1961).» — las editoras ponen nombre a los dos anónimos de una anécdota del libro.

«Robartes says that “in Gyraldus’ allegorical woodcut that phase is symbolised by an eagle tearing out a man’s eyes”» — un mecanuscrito descartado hace a Robartes describir una xilografía de Giraldus que nunca se imprimió.

«He was mythologized by many as a national hero, but his career was ruined by a combination of forces, the most dramatic of which was the revelation of his longstanding affair with Katharine O’Shea.» — las editoras dan el contexto del ejemplo de Parnell, incluida la razón declarada de su caída.

«Mephistopheles says that after drinking a diabolical drink, Faust will see Helen in every woman.» — la fuente exacta de la imagen de Fausto que el libro usa sin citarla.

«Viscount John Morley writes of Parnell in Recollections (2 vols. [New York: Macmillan, 1917]) that “In ordinary conversation he was pleasant, without much play of mind; temperament made him the least discursive of the human race”» — el retrato de Parnell se apoya en un testimonio nombrado y fechado.

«Although WBY thought of the pantheistic philosopher Baruch de Spinoza (1632–77) as a mystic, he was less fond of his rationalism (L, 650).» — las editoras separan lo que Yeats admiraba de lo que rechazaba en Spinoza.

«The DMR-TS includes an important passage about Pound that WBY cut, although he kept Pound as an example until the galleys.» — las editoras documentan qué quedó fuera del libro sobre Pound y hasta cuándo se conservó.

«WBY asked on 23 May 1918, “Ezra of violence, Nietzsche violence?” although the control Thomas did not respond (YVP 1:454).» — el guion se abstiene ante una pregunta directa de Yeats, y las editoras lo consignan.

«In that TS, Robartes says, “His enemy is that which opposes isolation some form of collective thought & many among whom I would be sorry to include your enemy Ezra Pound, by the frenzy of their attack increase more & more the power of the vehicle, & so bring the creative power to its death & remain themselves not transfigured but transfixed”» — el pasaje suprimido pone en boca de Robartes un juicio sobre el enemigo del autor, nombrado.

«The VersB manuscript titles this section “The meaning of the word ‘heart’ on the diagram,” and then retitles it “The splitting of Antithetical & Primary” (YVP 4:187).» — las editoras siguen el cambio de título de una sección entre borradores.

«The role of English Romantic poet John Keats (1795–1821) in WBY’s thinking was well established prior to the AS, and he is discussed in many automatic sessions.» — las editoras fechan el papel de Keats en el pensamiento de Yeats antes del guion automático.

«In 1918, WBY set up a contrast between Romantic poets Keats (see Book III, n. 134) and Shelley (see Book I, n. 153 below) that is borne out in their placement on the wheel (see p. 63): “If you accept metempsychosis, Keats was moving to greater subjectivity of being, and to unity of that being, and Shelley to greater objectivity and to consequent breakup of unity of being” (L, 653).» — Yeats reparte a Keats y a Shelley en direcciones opuestas de la rueda y lo hace depender de aceptar la metempsicosis.

«WBY frequently cites “Ode to a Nightingale” as an example of the daimonic influence on an artwork already in the Anima Mundi.» — las editoras señalan qué obra usa Yeats como caso de influencia daimónica sobre lo que ya está en el Anima Mundi.

«In the DMR-TS, Robartes notes “that Helen would never have set Troy afire if she were not of this phase” (YVP 4:34).» — un pasaje descartado hace decir a Robartes que Helena no habría incendiado Troya de no ser de esa fase.

«Robartes emphasizes that “all beauty has been, would be or will be physical and that is why those creatures at the Fifteenth phase—though invisible to our eyes—are ponderable and plant their feet upon this earth and why, no longer limited by thought their eyes have such an eagle gaze.”» — el pasaje descartado sostiene que toda belleza es física y que las criaturas de la fase quince pisan la tierra aunque no se vean.

«A bit later WBY inserted a note by John Aherne: “It is one of the doctrines of Kusta ben Luka that the retina of the eye has an incalculable range and that it is limited by our expectations alone.» — Yeats inserta una nota firmada por otro personaje, John Aherne, con una doctrina atribuida a Kusta ben Luka.

«This cannot yet be understood” until the “successor” (also called “New Messiah,” “Initiate,” or “Avatar” in the AS) appears at the end of the present cycle of two thousand years.» — las editoras completan lo que el libro deja sin explicar y reúnen los nombres que el guion daba al sucesor.

«In January 1915, WBY and Pound proposed “to read through the whole seven vols of Wordsworth in Dowden’s edition” (L, 590).» — el dato de lectura con que las editoras respaldan el juicio del libro sobre Wordsworth.

«In February 1917, in “Anima Hominis,” WBY depicted “Wordsworth withering into eighty years, honoured and empty-witted» — y el juicio anterior de Yeats sobre el mismo poeta, en otro libro suyo.

«The relationships among these examples may be explained by WBY’s belief that the list should contain (1) satirists who hate the ugly and pity the beautiful (Blake and Rabelais), (2) “certain rare sages” (Paracelsus or the rejected Boehme and Cervantes), and (3) beautiful women (Maud Gonne).» — las editoras proponen las tres categorías con que se ordenarían los ejemplos de una fase, y lo marcan como creencia de Yeats.

«In the DMR-TS, Robartes says, “if a man has not loved a woman of the fourteenth or of the Sixteenth phase he has not known the greatest earthly beauty” (YVP 4:37).» — otro pasaje descartado liga el conocimiento de la mayor belleza terrenal a haber amado a una mujer de dos fases concretas.

«We took Dante as an example” of the movement of the soul through the Faculties, GY wrote, thus discovering that a True Mask “accepts its doom, is ‘Doom-eager’ Dante sees himself in his exile as the tragic Dante of the Poems.» — el ejemplo de Dante como Máscara verdadera se documenta en el guion escrito por George Yeats.

«Although some did not believe him, Shelley in 1813 claimed to have been attacked, and in a letter he used the word “assassination” (Dowden, 184).» — las editoras consignan el reclamo de Shelley y a la vez que no todos le creyeron.

«In so far as knowledge of evil is attained,” the control Thomas said, “one becomes good but in as far as one is good the visible world becomes evil because it is no virtue to be good knowing no evil—& it is no sin to be evil knowing no good” (YVP 1:492).» — la doctrina moral del sistema, en la voz del comunicador y no en la del autor.

«In VersB, WBY wrote that “The one man of this phase I have known intimately, the serpent charming lover, was a connosseur [sic] in several arts, a man of great tecnical [sic] mastery who saw art, life, literature as tecnical [sic] problems, & his life had lacked all momentum but for his bodily lusts” (YVP 4:200).» — las editoras traen del borrador el único ejemplo vivo que Yeats declara haber conocido de esa fase.

«Thomas Lovell Beddoes notes, “Goethe married his maid servant & drinks brandy” (Works of Thomas Lovell Beddoes, ed. H. W. Donner [London: Oxford, 1935], 626), but it is unclear how WBY knew this passage before 1925, since the letter in Edmund Gosse’s edition of The Letters of Thomas Lovell Beddoes (1894; rpt., New York: Benjamin Blom, 1971, 119–25) does not include this passage.» — las editoras localizan la fuente del dicho sobre Goethe y declaran que no saben cómo pudo llegarle a Yeats antes de 1925.

«The line “Fountaine heads, and pathlesse Groves, / Places which pale passion loves” is from the song “Hence all you vaine Delights,” praising “sweetest melancholy,” from the play The Nice Valour by John Fletcher and possibly Thomas Middleton,» — las editoras localizan una frase que Yeats repite y marcan como posible la coautoría de la obra de donde sale.

«The reference might be to Shelley’s “Address to the Irish People” (1812), “Declaration of Rights” (1812), “Letter to Lord Ellenborough” (1812), and “Vindication of Natural Diet” (1813).» — la referencia se ofrece como posible y con cuatro candidatos.

«The contemporary here is Boccaccio; see Wicksteed, The Early Lives of Dante, 80 and cf. x.» — las editoras ponen nombre al contemporáneo anónimo que el libro cita sobre Dante.

«Italian poet, novelist, and nationalist politician Gabriele d’Annunzio (1863– 1938) led a seizure of the city of Fiume (Rijeka in Croatia) in 1919, maintaining control of the “independent state” until December 1920; his approach foreshadowed many aspects of Italian fascism.» — las editoras anotan el episodio de Fiume y lo enlazan con el fascismo italiano.

«but he was also famous for his involvement in the Queensberry scandal and his trial in 1895 for “committing acts of gross indecency with other male persons.”» — las editoras completan el retrato de Wilde con el proceso de 1895, citando la acusación textual.

«WBY was aware of Byron’s sexual relationship with his half sister, Augusta Leigh.» — las editoras declaran que Yeats conocía ese dato al usar a Byron como ejemplo.

«Anatole France was perhaps feeling after this fact when he made the clumsy assertion that Flaubert was unintelligent”» — el juicio sobre Flaubert que el libro atribuye a Anatole France viene por vía de otro autor, que lo llama torpe.

«The words “a form” are an error: see VersB, where the phrase reads “The desire of reform has ceased” (YVP 4:216).» — las editoras identifican una errata del impreso de 1925 cotejando con el borrador, y la declaran sin corregir el texto.

«WBY frequently quoted or paraphrased this line from Blake’s Jerusalem: “You shall want all the Minute Particulars of Life” (plate 88, line 43; Erdman, 247; the plate is reproduced in facsimile in volume 3 of WWB).» — las editoras localizan un verso de Blake que Yeats repite y remiten a la edición que él mismo hizo.

«WBY was proud to have urged Synge, in late 1896, to “Go to the Aran Islands. Live there as if you were one of the people themselves; express a life» — el consejo a Synge de irse a Aran lo reclama Yeats como suyo, y las editoras lo fechan.

«Synge writes in the preface to The Playboy of the Western World, “I got more aid than any learning could have given me, from a chink in the floor of the old Wicklow house where I was staying, that let me hear what was being said by the servant girls in the kitchen” (Synge 4:53).» — el propio Synge da otra versión de su fuente: una rendija del piso por la que oía a las criadas.

«In the VersB treatment of phase 23, this observation is longer and more personal: “When I went through Synges work I marked many dialogues & paragraphs & one whole play as not to be published, or used except by the critic or historian. They were Synge before he found his genius, through Arran & dialect” (YVP 4:220).» — el borrador traía un juicio más duro y más personal sobre la obra temprana de Synge, que no llegó al impreso.

«This slightly misquoted line from Blake’s Europe (plate 14, line 3; Erdman, 65; the plate is reproduced in facsimile in volume 3 of WWB) did not appear in the drafted essay in VersB but was also quoted in Myth1, 282, Myth2, 185.» — las editoras marcan la cita de Blake como levemente mal citada y siguen su aparición en otras obras.

«This phase was extensively revised, but its original opening seems to be an indirect tribute to Lady Gregory:» — las editoras leen el arranque suprimido de una fase como homenaje indirecto a Lady Gregory, y lo marcan como lectura.

«Katharine O’Shea wrote that Parnell’s “will was autocratic, and once he had made up his mind to any course he would brook no interference, nor suffer anything to stand in the way”» — el retrato de Parnell se apoya también en el testimonio de Katharine O’Shea, nombrada.

«Æ had written to WBY that “the gods have returned to Erin and have centred themselves in the sacred mountains. . . . I believe profoundly that a new Avatar is about to appear» — las editoras traen la carta en que Æ anuncia a Yeats el regreso de los dioses y la llegada de un nuevo Avatar.

«Although many viewed Luther as a revolutionary, he opposed the peasants.» — las editoras acotan el ejemplo de Lutero que el libro usa.

«He wrote “One thinks of Luthers rage,” then “One thinks of Luthers incitment by, & later represssion of the peasantry & of accusations that followed Newman all his life” (YVP 4:230).» — las editoras siguen la reescritura de una frase en el borrador y muestran qué nombres se fueron quedando fuera.

«His source for the hunchback is not entirely clear. Melchiori (The Whole Mystery of Art, 277–79) believes WBY drew from Byron’s play The Deformed Transformed.» — las editoras declaran no tener clara la fuente del Jorobado y atribuyen una hipótesis a Melchiori.

«WBY struck through the name of Tagore as his third example. WBY found several occasions to use the word “saint”» — las editoras registran un nombre tachado en los ejemplos de la fase del Santo.

«The source for this figure may include the Amadán-na-Breena, “a fool of the forth” (see Myth1, 112; Myth2, 75; see also Myth2, 460, and Lady Gregory, Visions and Beliefs in the West of Ireland [1920; Gerrards Cross: Colin Smythe, 1970], 250–54), in Irish amadán na briona, “the fool who loves fighting”» — las editoras abren la fuente del Loco a varios candidatos, empezando por una figura del folclore irlandés.

«In the New Testament, followers of Christ are sometimes referred to as “children of God,” and the Gospel is often referred to as seeming folly; see, for example, 1 Corinthians 1:20: “Hath not God made foolish the wisdom of this world?”» — el nombre que el libro da al Loco se documenta en el Nuevo Testamento.

«Misquoted from Sir William Watson’s epigram on “The Play of King Lear” from Wordsworth’s Grave and Other Poems (London: T. Fisher Unwin, 1890), 72, which is quoted correctly by WBY in LNI, 105.» — las editoras marcan una cita mal citada y consignan que el mismo autor la citó bien en otro libro.

«The pro-treaty side eventually prevailed and hostilities had ceased by the spring of 1923, but there was no negotiated peace» — las editoras cierran el marco histórico del colofón de 1922 y consignan que no hubo paz negociada.

«This poem does not appear in an early typescript of Book III, consisting of material that eventually became Books II–IV in the published book (NLI, 36,263/24/1–2).» — las editoras documentan que el poema no estaba en un mecanuscrito temprano, con su signatura.

«WBY borrowed this concept from Lyndon Bolton’s An Introduction to the Theory of Relativity ([London: Methuen, 1921], 160; O’Shea 240), which he misquoted slightly in the same rejected typescript» — las editoras localizan la fuente de la física que Yeats invoca y consignan que la citó mal.

«Bolton had written that “The immediate predecessor of Newton’s theory was the Cartesian theory of Vortices. According to this theory, space is filled with a subtle medium or aether which is in a continual state of whirl, producing vortices which entangle bodies such as the planets and thus cause them to revolve”» — el pasaje de Bolton sobre los vórtices cartesianos, del que sale la geometría que Yeats emplea.

«Blake used the same edition and wrote in The Marriage of Heaven and Hell that “any man of mechanical talents may from the writings of Paracelsus or Jacob Behmen, produce ten thousand volumes of equal value with Swedenborg’s”» — las editoras traen el juicio de Blake sobre Swedenborg, a quien Yeats reclama como antecedente.

«As Matthew Gibson has noted, this sentence incorrectly attributes to the Irish philosopher George, or Bishop, Berkeley (1685–1753) ideas about temporal and spatial forms in the mind that belonged to Immanuel Kant (1724–1804)» — la atribución errónea del libro a Berkeley se corrige por trabajo de Matthew Gibson, nombrado.

«If I did not wish to avoid all argument wherein my concrete mind would do badly what others do well, it would amuse me to follow these arguments of Ouspensky, that birth and death, spring and summer, and all waxing and waning, are but the appearance that immoveable solids take» — un pasaje descartado en que Yeats declara evitar la discusión filosófica por saberse mal dotado para ella.

«Although the first recorded question of the AS concerns the Anima Mundi, and although it remains a significant term in the system, it was de-emphasized in the Vision documents» — las editoras siguen el declive de un término central: el Anima Mundi abre el guion y luego pierde peso.

«Similarly, although WBY mistakenly attributes the quotation to Heraclitus (ca. 535–475 BCE), it is from Empedocles (ca. 490– 430 BCE)» — las editoras corrigen la atribución de una cita que el libro pone en boca de Heráclito.

«Burnet’s translation of Empedocles reads: “For, of a truth, they [i.e., Love and Strife] were aforetime and shall be: nor ever, methinks, will boundless time be emptied of that pair.» — la traducción de Burnet que las editoras dan para cotejar con la que el libro imprime.

«He may have found it in Thomas Taylor, who quotes it several times, but Taylor’s translation (“we live their death, and we die their life”) differs from WBY’s» — la vía de transmisión se propone como posible y las editoras señalan que la traducción no coincide.

«The stick thrust into the surface of the water creates a series of whorls and eddies very comparable to our gyres, whereas in the mathematics of today ‘The physical history of every object is its worldline’.» — la comparación entre los giros del libro y el concepto moderno de línea de universo.

«She claimed to have introduced the translations of Thomas Taylor to WBY (see Saddlemyer, 45)» — las editoras consignan el reclamo de George Yeats de haberle presentado a Yeats las traducciones de Thomas Taylor.

«Blake writes often about wheels, which for him are almost inevitably negative symbols, connected with the evils of industrialism or deistic philosophy, with its concept of a mechanistic universe.» — las editoras señalan que la rueda es en Blake símbolo negativo, contra el uso del libro.

«this maxim is, in the words of Warwick Gould and Deirdre Toomey, “an alchemical commonplace which [WBY] had found in a number of contexts”» — la máxima que el libro cita se declara lugar común alquímico, por Gould y Toomey.

«The “Precession of the Equinoxes” or “Precession of the Zodiac” is the term for the phenomenon that explains why the astrological signs of the zodiac do not now correspond with the actual sidereal constellations.» — la definición de la precesión que las editoras dan para leer el Gran Año.

«The Moon doesn’t move from West to East; she is never retrograde; but moves along the Zodiac in the same direction as the Sun, not in the opposite direction.» — una objeción astronómica dirigida a Yeats: la Luna no se mueve al revés que el Sol.

«You base so much on the opposite movements of the Lunar & Solar circles, when no opposite movement exists, that some kind of explanation is needed to smooth out the wrinkles here.» — el objetor le señala que buena parte del esquema descansa en un movimiento contrario que no existe.

«WBY responded on 20 January that “You will get all mixed up if you think of my symbolism as astrological or even astronomical in any literal way.”» — la respuesta de Yeats retira el simbolismo del terreno astronómico literal.

«The symbolism is consistent with itself—if it is not at any point that is my fault not the fault of its makers—but it is not a natural symbolism.» — Yeats declara que su simbolismo es coherente consigo mismo y no natural, y reparte la culpa de los fallos entre él y quienes lo hicieron.

«I notice that on P 141 I spoke of the zodiacal movement. I was thinking of the moons passage through the signs, as compared to the [sun symbol] diurnal journey, but it would have been less confusing if I had stuck to my symbolism & said ‘phasal movement’—I was thinking of the picture to the eye.» — Yeats admite que un término suyo confunde y dice cuál habría sido el correcto.

«Modern astronomy eliminated some earlier doubt about the length of time required for the precession of the equinoxes; note WBY’s references below to disputed passages in Plato.» — las editoras sitúan la disputa sobre la duración de la precesión y remiten a los pasajes discutidos de Platón.

«In Paradise Lost 10.668–78 (1667), John Milton (1608–74) presents seasonal change following the fall as resulting either from the tilting of the earth’s axis from the ecliptic or from a change in the course of the sun.» — el pasaje de Milton que el libro invoca, con las dos causas que ahí se ofrecen.

«Here begins a series of passages derived from the Enc Rel Eth, which WBY purchased with money from the Nobel Prize in 1923.» — las editoras identifican la enciclopedia de donde salen varias planas seguidas y cómo la compró Yeats.

«WBY conceded in AVB that written evidence justified Hipparchus’s position as discoverer of precession (252).» — las editoras registran que Yeats acabó cediendo en 1937 sobre el punto que aquí disputa.

«Jeremias asserts that “The application of the Ages of the World to the periods of the evolution of the aeon of mankind is connected in a special way with the teaching about the calendar, which is based on observation of the precession of the equinoxes”» — la tesis que el libro toma de Jeremias, citada entrecomillada por las editoras.

«The fourth eclogue of Publius Vergilius Maro (Virgil, 70–19 BCE) was often called the “Messianic Eclogue” because of the Christian interpretations of its enigmatic prophetic content that were popular in medieval Europe.» — las editoras explican por qué la cuarta égloga se leía como mesiánica.

«It is unclear which translation is used here.» — las editoras declaran no haber podido identificar la traducción que el libro cita.

«Sturm wrote to WBY on 25 January 1926 to correct his embarrassing error: “Macrobius wrote in Latin a commentary on Scipio’s Dream at the beginning of the fifth century, but surely Scipio’s Dream was written in Latin by Cicero & is to be found in his De Republica?”» — Sturm corrige a Yeats la atribución del Sueño de Escipión, y las editoras llaman al error embarazoso.

«The most commonly accepted date for the founding of Rome was that of Marcus Terentius Varro, who gave it as 753 BCE.» — las editoras dan la fecha convencional de la fundación de Roma y a quién se debe.

«Servius . . . quotes the Memoirs of Augustus to the effect that the soothsayer Vulcatius had interpreted the appearance of the comet at the funeral games held in honour of Caesar, as denoting the end of the ninth age and the beginning of the tenth.» — las editoras documentan la lectura del cometa como fin de la novena edad y comienzo de la décima.

«Censorinus (De Die Natali 17) adds that the Etruscan soothsayers believed that, when the tenth stage was completed, there would be an end of the Etruscan name.» — el complemento etrusco de la misma doctrina, con su fuente antigua.

«The source here is not the article by Reinach in Revue de l’histoire des religions (November 1900), but the summary by W. Warde Fowler» — las editoras corrigen la fuente de segunda mano que el libro usa.

«In galley proofs, this passage read: “but I, like the Christians of fifteen centuries, find nothing incompatible in believing that Virgil,” etc.» — las editoras registran cómo decía el pasaje en galeradas, antes de suavizarse.

«Not the German astronomer Johannes Kepler (1571–1630) but the Danish astronomer Tycho Brahe (1546–1601) made predictions, upon the observation of a new star in Cassiopeia in 1572, that were applied to the life of the Swedish king» — las editoras corrigen la adjudicación de una predicción que el libro pone en Kepler.

«WBY confuses the routinely dire prophecies for Rome made by the reformer and preacher Girolamo Savonarola (1452–98) with those he made for Florence during the final days of his life.» — las editoras señalan una confusión de Yeats entre dos series de profecías de Savonarola.

«Machiavelli was usually more optimistic than a cyclical view of history allows, but there are in his works passages that support WBY’s statements.» — las editoras acotan la lectura del libro sobre Maquiavelo y a la vez le conceden pasajes que la apoyan.

«WBY summarized some of the reasons, which had to do with avatars and the number of generations required to establish a new religious belief, on two cards in the CF (YVP 3:260, 338–39), but he also noted that some of the information may have been false due to “frustration”» — el propio Yeats anotó que parte de la información recibida podía ser falsa por obra de los Frustradores.

«Serapis, a Greco-Egyptian god of the underworld—later of the sun and finally of fertility and healing—was reinvented as a new deity by Ptolemy I Soter (reigned 305–282 BCE) in order to integrate Egyptian with Greek religions during Hellenistic rule.» — las editoras documentan a Serapis como deidad inventada para fundir dos religiones.

«According to F. A. C. Wilson, WBY was indebted to Coventry Patmore’s essay “The Precursor” and “saw St John as the precursor and necessary antithesis of Christ, natural love where Christ was supernatural, ‘a midsummer child’ where Christ was ‘a midwinter’» — la lectura de Juan Bautista como antítesis de Cristo se atribuye a una deuda con Patmore, señalada por Wilson.

«WBY asked, “Are these dates exact or approximate?” and received the answer “approximate but within a few years”» — la precisión de las fechas del sistema la fija el guion, no el autor, y la declara aproximada.

«first question of the evening in the AS for 5 March 1918 asks “Can you explain Miss Jourdains [sic] case of seeming shade of Constantine?” to which the control Aymor, writing through GY, replies, “Certain great people remain as spirits for centuries”» — el testimonio de la aparición de Constantino se discute en el guion automático, con la respuesta escrita por George Yeats.

«He asks, “Do you wish us to find certain mystic associates here in Oxford,” and received the reply, “Yes but only the orderly and philosophic.”» — el guion pone condiciones a los contactos que los Yeats debían buscar.

«Despite her own “psychical experience,” Miss Moberly’s reply of 20 March 1918 was cautious: “For the sake of science, I would willingly listen to any so called ‘communication’ from my Father, but I should try not to surrender» — la respuesta de Moberly a Yeats es cauta y las editoras la citan en su reserva.

«She noted that her letter was prompted “by your word to us expressing your great anxiety to unravel all the truth,” and added that “pure poetical genius and deep thought are as necessary factors in that work as scientific accuracy of observation” (LWBY, 347–48).» — Moberly pone el genio poético y el pensamiento profundo a la par de la exactitud científica.

«Since WBY was an associate member from 1913 to 1928, he must have known Crookes personally, and he likely read Crookes’s articles and his Researches in the Phenomena of Spiritualism» — las editoras infieren la relación de Yeats con Crookes por su pertenencia a la Society for Psychical Research.

«The AS includes much discussion of the alternation of sexes as the soul moves through the cycles.» — las editoras consignan que la alternancia de sexos entre ciclos se discute largamente en el guion.

«These dreams and meditations are now complementary as when two people dream or meditate, the one of Helen’s birth from an egg, and the other the birth from an egg of Castor and Pollux, the creation of beauty and the creation of war, and so, necessary parts of the same story.» — el pasaje sobre sueños complementarios que las editoras citan del aparato de Yeats, con los dos huevos como ejemplo.

«A revised but still hesitant version of this passage appears in AVB, 193–95.» — las editoras siguen el pasaje hasta 1937 y lo llaman todavía vacilante.

«“nature” is not a major term in Plotinus, as WBY seems to acknowledge, for Plotinus is trinitarian in a pagan sense;» — las editoras acotan el uso que el libro hace de Plotino.

«“Soul of the World” is not MacKenna’s wording (cf. “All-Soul”) but probably derives from WBY’s reading of the Cambridge Platonists.» — el término que el libro empareja con el Cuerpo Apasionado no viene de la traducción que cita sino, probablemente, de los platónicos de Cambridge.

«If WBY was thinking of specific passages from Plotinus’s Enneads, he does not specify them.» — las editoras consignan que la remisión a Plotino queda sin localizar.

«In all draft versions, Book III is titled “History.”» — el título del Libro III cambió al publicarse: en los borradores era Historia.

«Written 18 September 1923, the poem was first published in The Dial (June 1924) as “Leda and the Swan,” which title was also used in its journal publication in To-morrow (Dublin, August 1924) and in its book publication in The Tower (London and New York: Macmillan, 1928).» — las editoras fechan y siguen la publicación del poema que abre el Libro III.

«In typescript for the end of Book III, however, WBY did not include Clytemnestra, perhaps following the common variant where she is the daughter of Leda and her husband, Tyndareus.» — las editoras registran una omisión en el mecanuscrito y proponen la variante mítica que la explicaría.

«On 6 June 1918, the instructors Thomas and Arnault made it clear that slight inconsistencies in these dates are not significant: to WBY’s question, “2000 means 2000 to 2100,” GY wrote their answer by hand, “Yes”» — los instructores declaran que las inconsistencias pequeñas de fechas no importan, y la respuesta la escribe George Yeats.

«The distinction between “Ionic elegance” and “Doric vigour” was a standard feature of art history: the 1911 Encyclopaedia Britannica, for example, mentions that “Ionian painting is unrestrained in character, characterized by a license not foreign to the nature of the race, and wants the self-control and moderation which belong to Doric art”» — las editoras muestran que el par jónico y dórico que el libro usa era lugar común de la historia del arte.

«Furtwängler also asserts that Nikias preferred building the Erechtheion (as representing the “old religion”) to the Parthenon;» — la autoridad en que el libro se apoya sostiene además una preferencia arquitectónica que el libro no recoge.

«Platonic dualism, which distinguishes between a world of unchanging forms or ideas and the perceptual world, and which privileges the former, is here interpreted as promoting a kind of asceticism, in that devaluing the physical world presumably leads to profound dismissals like Stoicism and the practices of Christian hermits in the Egyptian deserts.» — las editoras explicitan la cadena que el libro da por supuesta entre dualismo platónico, estoicismo y ascetismo cristiano.

«Suicide was permitted in Stoicism, a Greek philosophical school widely practiced in Rome that taught detachment from emotions and indifference to all elements of external circumstance.» — el dato doctrinal con que las editoras acotan el uso del estoicismo en el libro.

«In the third century, the Egyptian Desert Fathers developed forms of spirituality that encouraged physical privation; their ways of life led to Christian monasticism» — las editoras fechan y sitúan a los Padres del Desierto que el libro invoca.

«Following the Asian campaign, Alexander turned back westward, possibly intending to conquer Arabia and then perhaps Carthage, Sicily, and Italy (although his intentions have long been disputed» — la intención de Alejandro que el libro da por documentada la marcan las editoras como largamente disputada.

«A typescript reads: “Yet even before Plato that collective image of man created by Stoic and Epicurean alike, the moral equivalent of the Hellenic statues, soon to become their antithesis, had been evoked by Anaxagoras when he declares that thought and not the warring opposites created the world” (NLI, 36,269/5).» — un mecanuscrito descartado adjudicaba a Anaxágoras la idea de que el pensamiento, y no los opuestos en guerra, creó el mundo.

«Stoicism and Epicureanism have often been pitted against each other in popular thinking, the former associated with the denial of pleasure and the latter with hedonism.» — las editoras señalan que la oposición entre estoicismo y epicureísmo es del pensamiento popular.

«Eugénie Strong writes that Roman art “only becomes of paramount importance in the historic chain in the second century after Christ”» — las editoras localizan en Eugénie Strong la fecha del vigor romano que el libro sostiene.

«I do not feel that my old people were creative—I have seen something like them though less kindness in roman faces in the procession, perhaps of the altar of peace in Mrs Strongs book—but their culture is subjective.» — las editoras traen una nota privada donde Yeats compara a sus antepasados con los rostros romanos de un libro que estaba leyendo.

«Before this sentence, the manuscript has a header, “Phases 8 & 9. AD 300 to 450.”» — las editoras registran un encabezado del manuscrito que fija las fechas de esas fases y que el impreso no lleva.

«The Yeatses were more interested in the mental than the physical phenomena of spiritualism, but they had both attended a number» — las editoras separan lo que a los Yeats les interesaba del espiritismo de lo que no.

«“Romanised Gods”: it is widely accepted that the Romans adapted their own deities to coalesce with those of Greece.» — el término del libro se apoya en un hecho que las editoras dan por ampliamente aceptado.

«His deep knowledge of Neoplatonism made him suspect to late Church Fathers, but it probably explains his attractiveness to» — las editoras explican la posición ambigua de Orígenes por su neoplatonismo.

«Although Constantine turned the empire toward Christianity earlier in his life, he did not experience a full conversion until his death (see Gibbon 2:289).» — el dato con que el libro justifica llamar medio taumaturgo a Constantino se documenta en Gibbon.

«Despite WBY’s claim of ignorance, he and possibly GY as well had studied Byzantine history in Holmes, The Age of Justinian and Theodora (O’Shea 903); Dalton, Byzantine Art and Archaeology (O’Shea 461); Strong, Apotheosis and After Life (O’Shea 2015); Gibbon; the Encyclopaedia Britannica; and the Cambridge Mediaeval History (see Jeffares, New Commentary on the Collected Poems, 212).» — las editoras contradicen la ignorancia que el autor se atribuye y enumeran los libros que había leído.

«WBY did find Spengler just as AVA had been finished: on 13 May 1925, he wrote to Dulac, “A German called Oswald Spengler has hit on a number of the same ideas as those in my book.» — las editoras fechan el encuentro de Yeats con Spengler después de terminado el libro, y lo citan reconociendo la coincidencia.

«Although Ravenna may be better known for its mosaics—“with their little glimmering cubes of blue and green and gold”—WBY also attended to those in Rome» — las editoras documentan qué mosaicos tenía Yeats a la vista, más allá de los de Rávena.

«Roughly, Strzygowski makes a contrast between representational (Western) art and nonrepresentational or merely decorative (Eastern) art.» — las editoras resumen la oposición que el libro toma de Strzygowski.

«The passage does not refer to a particular part of Strzygowski’s Origins of Christian Church Art, but see chapter 6.» — las editoras declaran que la remisión del libro a esa obra no apunta a un lugar concreto.

«The source for the rather obscure Xenaias, or Philoxenus, is unknown (though he is mentioned in chapter 47 of Gibbon» — las editoras declaran desconocida la fuente de un nombre que el libro da por sabido.

«Although cardinal directions do not remain on the published diagram of “The Historical Cones,” they are explained in Book II (pp. 113–16) and occur on the drafted diagram in VNB1 (YVP 3:172).» — las editoras señalan qué se perdió del diagrama al imprimirse y dónde sí está.

«At this point, near the year 1050, the spiritual or religious life is near phase 15 and lunar south in the two-thousand-year cycle, but secular history is at the same time near phases 28 and 1, the location of lunar north.» — las editoras explican el desfase entre la vida religiosa y la secular en el diagrama histórico.

«Gibbon’s editor J. B. Bury adds that “John XI was the legitimate, not the bastard, son of Marozia; and it is not true that her great-grandson was Pope”» — el editor de Gibbon corrige el dato que el libro hereda, y las editoras lo consignan sin arbitrar.

«The manuscript asks, Am I right . . . in considering Johannes Scotus Erigena not as the first schoolman but the last Christianized Greek philosopher, & so a necessary part of the final abstraction & synthesis before submission to fate.» — el manuscrito planteaba en pregunta lo que el impreso afirma sobre Erigena.

«It is perfectly true that Wolfram’s knights attend Mass, and that Mass is apparently celebrated with regularity, but here their obligation seems to end;» — las editoras documentan con un estudio la ausencia de sacramento en el romance medieval que el libro señala.

«It is very curious that, constantly as Baptism is insisted upon as essential to salvation, the equal necessity for the Second Great Sacrament of the Faith is passed over.» — el mismo estudio subraya que la Eucaristía se omite donde el Bautismo se exige.

«Saint Bernard of Clairvaux expresses his opposition to the aesthetic tendencies of the Clunaic monks and town bishops in chapter 12 of Apologia ad Gulielmum sancti Theodorici abbatem; he describes Romanesque sculpture as unworthy of monks.» — la denuncia de san Bernardo que el libro invoca se localiza en su Apologia.

«Yet at Mont-Saint-Michel I have been seeing a different art, a marvellous powerful living thing created by a community working for hundreds of years and allowing only a very little place for the individual.» — las editoras traen la nota en que Yeats describe el arte de una comunidad que deja poco sitio al individuo.

«Blake (in many places) and William Morris (in Gothic Architecture) similarly suggest that Gothic architecture allowed the workmen to work together yet express their individual views freely;» — las editoras ponen a Blake y a Morris del lado contrario al del libro sobre el gótico, sin armonizar.

«He had also read Henry Adams’s Mont-Saint-Michel and Chartres (1904; Boston: Houghton Mifflin, 1913; O’Shea 19): “I have read all Adams and find an exact agreement even to dates with my own ‘law of history’ ” (L, 666).» — Yeats declara coincidencia exacta, hasta en las fechas, entre su ley de la historia y la de Henry Adams.

«The Dominican order was founded by Saint Dominic in 1216. Dominic wanted to bring the dedication and systematic education of the older monastic orders (like the Benedictines) to bear on the religious problems of the burgeoning city populations.» — las editoras dan el dato de fundación y propósito de la orden que el libro nombra.

«A chronology at the end of SDNB6 shows that WBY’s source was Adams: for the years 1180 to 1250, WBY wrote “(5.6.7) 1150 to 1250 given by Henry Adams as time when man most felt his unity in a unified world. He seeks its expression in ‘Amiens Cathedral & the Works of Thomas Aquinas[’]” (YVP 3:70).» — las editoras identifican en un cuaderno la fuente exacta de las fechas de esa fase.

«WBY attributed the book to Proclus in both manuscript and revised typescript of AVA.» — las editoras registran una atribución que Yeats mantuvo en manuscrito y mecanuscrito.

«“[T]he Fifteenth Phase of the Moon” lacks historical comment because, as WBY explains in the manuscript and working typescript, it “is supernatural”; “and so when we would represent it by natural form we are lured to a» — las editoras explican por qué la fase 15 no tiene comentario histórico, con la razón que el propio Yeats da en el manuscrito.

«Pope Julius II directed the decoration of these rooms in the Vatican palace.» — el encargo que el libro llama propaganda se documenta con su promotor.

«In Religio Medici (1643), Browne (1605–82) declares his belief in witches» — las editoras localizan en Browne la creencia en brujas, a propósito de la frase suya que el libro cita.

«A break marked “1640 to 1880” (for phases 19, 20, 21) came here in a rejected section of the manuscript.» — las editoras registran una división de fechas que el manuscrito traía y el impreso perdió.

«The quotation is a paraphrase from the second stanza of “Claire de lune” by French poet Paul Verlaine (1844–96): “Ils n’ont pas l’air de croire à leur bonheur» — las editoras identifican como paráfrasis, y no cita, lo que el libro atribuye a Verlaine.

«By tradition, WBY would have been prepared to dislike the work of painter Sir Joshua Reynolds (1723–92), whose stay in Rome (1749–52) emphasized study of Raphael and Michelangelo; like Blake, who made adverse marginal comments on Reynolds’s Discourses, WBY rejected Reynolds’s aesthetic and epistemological theories.» — las editoras explican por herencia de Blake el rechazo de Yeats a Reynolds.

«In the AS for 24 Jan 1918, the communicators for the evening, the control Thomas with the guide Fish, suggest that Dickens’s art, like that of Keats, Wordsworth, and Tennyson, is “incomplete” because of “love of world”— that is, “material good”» — el juicio sobre Dickens y otros lo emiten los comunicadores del guion, nombrados por las editoras.

«WBY wrote excitedly to Lady Gregory about his discovery of Nietzsche, “that strong enchanter”: “I have read him so much that I have made my eyes bad again. . . . Nietzsche completes Blake and has the same roots”» — Yeats declara a Lady Gregory que Nietzsche completa a Blake y comparte sus raíces.

«He wrote that “Phases 8 and 22 are themselves phases of abstraction and are preceded and followed by abstraction; phase 8 was preceded by the Schoolmen, followed and accompanied by legalists and inquisitors, and phase 22 was preceded by the popularisation of physical, social and economic science and has been accompanied and will be followed by economic and social movements, movements of applied sc» — un pasaje que no llegó al impreso reparte lo que precede y sigue a las dos fases de crisis.

«The “recent mathematical research” recalls The Education of Henry Adams, chap. 31, in which the work of various modern scientists and mathematicians (“since Bacon and Newton”) suggested to Adams that “Chaos was the law of nature; Order was the dream of man”» — las editoras localizan en Henry Adams lo que el libro llama investigación matemática reciente.

«WBY seems to have wrestled with this section, which is originally headed “Phases 22 to 28” in the manuscript, then changed to “Phase 22” in the much-revised typescript.» — las editoras siguen el cambio de encabezado de una sección y lo leen como forcejeo del autor.

«Then, as in the novels, the painting, the philosophy, nature suddenly appears in all her violence and terror returns, so to the individual comes the sense of fate which Dostoievsky calls ‘Gods Love’ a knowledge that the world cannot be changed, a doubt of general progress.”» — un pasaje descartado liga el sentido del hado con lo que Dostoievski llama el amor de Dios y con la duda del progreso.

«The curvature of space, or of the aether, leads to the conclusion that any region, if sufficiently extended, may eventually bend round into itself, and thus that the universe of experience may be limited» — la fuente científica del límite que el libro invoca, citada por las editoras.

«Though I think that I too can describe the mind of the future, I must, if I am not to make the description so abstract that it is unintelligible, imagine circumstance which will be at least as unlike the actual future as the water clock [of Alexandria] is unlike my watch.» — un pasaje descartado en que Yeats acota su propia previsión: la circunstancia que imagina será tan distinta como el reloj de agua del suyo.

«Men will come to eat and house and travel in much the same way and in one another’s company, . . . as difference of wealth lessens, all grows uniform and rigid, leisure for that aimless brooding which is the manure at the tree’s root will cease, and . . . men’s minds grow barren through hatred.» — la previsión que quedó fuera del impreso: uniformidad, fin del ocio y mentes estériles por odio.

«In the AS of 1 January 1918, WBY was told through the guide Fish that Nietzsche and his most famous superman, Zarathustra, appear in phases 12 and 18.» — las fases que el libro asigna a Nietzsche y a su personaje se las dictó el guion, por medio de un guía nombrado.

«WBY asked, “Why wisdom of head at 12?” The instructor responded that “it is generally a propaganda a will to change forms of existing thought—a metaphysician is a nihilist not a creator”» — el instructor responde a una pregunta técnica de Yeats con un juicio sobre el metafísico.

«The phrase “a tongue that’s dead” is incorrectly quoted from the last line of Coventry Patmore’s “Dead Language.”» — las editoras marcan como mal citada una frase del propio texto de 1925.

«Victory bringing control of the world’s surface must come to those who have made life a preparation for war and so established life in the terror and sweetness of solitude that every act of war is an act of creation and the solitude of each the tribal solitude.» — un pasaje suprimido en que la victoria se adjudica a quienes hicieron de la vida preparación para la guerra.

«Porphyry famously stated that Plotinus had achieved “conjunction” with deity four times and had composed his books from the contemplation and intuition of divinity» — el dato sobre Plotino que las editoras aportan viene de Porfirio y se atribuye a él.

«WBY suggested that he and his fellow students in the Golden Dawn “came to think that nothing mattered but to return to the one,” an experience “so rare” that “it came . . . to Plotinus but once”» — Yeats sitúa en la Golden Dawn la idea de que solo importa volver al Uno, y declara lo rara que es esa experiencia.

«WBY uses the same image in “The Wheel and the Phases of the Moon” (p. 4), in The Resurrection (Plays, 487), and in the rejected epilogue: “& think it is best to be like Plotinus, it may be better to see ghosts than to chop logic.» — el epílogo descartado prefiere ver fantasmas a partir lógica, y las editoras siguen la imagen por tres obras.

«In AVB, 23, WBY called this section “the most unfinished of my five books.”» — el propio Yeats llama a esa parte la más inacabada de sus cinco libros.

«WBY frequently quoted from the work of the Renaissance Cabalist and astrologer Heinrich Cornelius Agrippa von Nettesheim (1486–1535), whose Three Books of Occult Philosophy or Magic WBY must have read in the 1651 translation because it is the only one that includes book 3» — las editoras deducen qué edición de Agrippa manejaba Yeats por lo que esa edición contiene.

«Phantasmagoria is result of Principles foreseeing the future in shiftings Phantasmagoria antithesis of dreamed event as shiftings is of the life.» — la definición de fantasmagoría dentro del sistema, tomada del cuaderno de los Yeats.

«We are not solitary in phantasmagoria—see Japanese story of two lovers, but only meet those who are in dreamed event”» — el cuaderno acota con quién se coincide en ese estado, contra la soledad del Dreaming Back.

«A complex is any knot of hidden thought lying in the subconscious that originates in some passion or violent emotion» — la definición de complejo que los Yeats manejaban, en vocabulario de la psicología de la época.

«Knots are action impressed forcibly on man from outside . . ., the effect of Karma as implied in each incarnation» — los nudos se definen por su origen externo y se ligan al karma.

«the Devil is a name for a Body Politick, in which there are very different Orders and Degrees of Spirits» — las editoras traen de Glanvill la idea del diablo como cuerpo político de espíritus de distinto orden.

«The truth is in all but in some more concealed by fable & dream than in others» — el guion sostiene que la verdad está en todos y solo varía cuánto la esconden fábula y sueño.

«The reliance absolute reliance on the supernatural and the consequent abandonment of personal judgment is as great a temptation as any other—Artistic Genius & moral Genius are the two works of man and in these he has to develop his own powers» — el propio guion advierte contra la confianza absoluta en lo sobrenatural y el abandono del juicio propio.

«No . . . The punishment is during the funnell dreaming back.» — el guion niega que haya lugar de castigo y lo sitúa dentro del Dreaming Back.

«the control directed WBY to several literary works: Morris’s The Sundering Flood (on 6 October; YVP 3:50), Blake’s “The Mental Traveller” (on 26 November; YVP 3:57), Percy’s Reliques (on 20 December; YVP 3:64), and Robert Browning’s Poems (on 22 August 1923;» — las editoras enumeran las lecturas que el propio comunicador le encargó a Yeats, con sus fechas.

«They are of 2 kinds—of fate which are result of action of others—of destiny which are actions of individual —these pass on to next incarnation as knots of fate.”» — el comunicador reparte los nudos en dos clases según de quién sea la acción.

«It established that this state is “outside funnell” and “Beyond time”» — las editoras documentan en el guion la definición de ese estado fuera del embudo y fuera del tiempo.

«I quote the documents without claiming to understand except vaguely that it [the Spirit] is free from limitation to any one place and to that which decides life, cause, operation and effect past present and future.» — Yeats declara por escrito que cita sus documentos sin pretender entenderlos más que vagamente.

«the control Ameritus replied, “No I mean a definite physical emotional & spiritual—not moral—purgation & process undergone by living person for another not in place of that other”» — la purgación se define en el guion como física, emocional y espiritual, y expresamente no moral.

«The typescript, which demonstrates WBY’s familiarity with such spiritualistic folklore as that in the account of the two Arab women, suggests that he was well acquainted with the “two girls,” “one of a family where is second sight, and the other second sighted herself.”» — las editoras sitúan la anécdota de las dos mujeres árabes dentro del folclore espiritista que Yeats manejaba.

«Although frustrators (Leo Africanus appeared most frequently) occasionally interfered with the AS, they do not become important topics until the period of the sleeps, especially in 1921.» — las editoras fechan cuándo los frustradores pasan a ser asunto central y nombran al más frecuente.

«The Yeatses were told that “[o]ld age & sickness & death are not the result of frustration” (100).» — el guion pone límite a lo que se puede achacar a los frustradores.

«Dionertes also noted that “the Frustrators are the antithesis to all that lives,” and that prayer “would help against Frustration” (102).» — el comunicador define a los frustradores como antítesis de lo vivo y receta oración contra ellos.

«Fortunately, as recorded several times, they announced their presence by foul odors (see Book IV, n. 39 above, and AVB, 16).» — las editoras confirman que la señal olfativa que la ficción atribuye a Robartes está registrada en los documentos.

«In the AS of 20 November 1917, the control Thomas revealed, “There is a symbolism of the growth of the soul” in the Cuchulain plays» — el comunicador declara que las obras de Cuchulain llevan un simbolismo del crecimiento del alma.

«On 7 January 1918, WBY asked, “Who will C[uchulain] love?” and the guide Leaf replied, “I cannot tell you till you know yourself and you do know I think perhaps unconsciously.”» — el guía responde a Yeats devolviéndole la pregunta sobre su propia obra.

«WBY had thought (on 6 January) that The Only Jealousy belonged to phase 12, the heroic phase, although Thomas, with Leaf and Fish assisting, responded, “Perhaps I ought to have said 12 to 22”» — el guion corrige a Yeats la fase que él había supuesto para una obra suya.

«Upon the other hand, a man out of phase may receive through some Spirit at Phase 1, not the ‘Kiss of Life’ but a fixed idea, a perversion as it were of the ‘Kiss of Death,’ a cold obsession.» — un pasaje suprimido distingue el Beso de la Vida de su perversión como idea fija.

«This phrase is likely an allusion to Plato’s myth in Symposium, secs. 202–5, and to Plotinus’s commentary in Enneads 3.5.7–9: Love’s parents are Plenty and Poverty (variously translated); love is thus the desire of deprived mortals for the plenitude of the transcendent.» — las editoras proponen, marcándolo como probable, la fuente platónica y plotiniana de una frase del libro.

«This play by Swedish writer August Strindberg (1849–1912) was first produced in 1899 and was performed at the Abbey Theatre on 6 March 1913.» — las editoras fechan la obra de Strindberg que el libro invoca y su estreno en el Abbey.

«Christ appears frequently in the AS, CF, and sleeps as the great initiate, the First Master, or the Avatar.» — los nombres con que el guion designa a Cristo, que el libro publicado no usa.

«The Yeatses had themselves conducted the experiments described. As the doctor in the typescript said, “I was always told Kusta-ben-Luka or his wife [i.e., WBY and GY] would come if we could find the right sleeper.”» — las editoras declaran que los experimentos que la ficción atribuye a Robartes los hicieron los Yeats, y citan el mecanuscrito donde los nombres se sustituyen.

«The automatic faculty does not so much make pictures as present a surface on which pictures can be reflected & only those pictures which have a correspondance to some portion of the egos experience can be seen by the ego—» — la definición de la facultad automática como superficie de reflejo, no como productora de imágenes.

«I had already made the experiment of getting Miss R. to draw an object with her eyes open and then a complex mathematical form with her eyes closed.» — el experimento con la médium se describe en primera persona y con la inicial del apellido.

«On 13 August 1920, Dionertes “explained the correspondence between the 4 Daimons & the Four Faculties” and said, “The coming epoch will have a 3rd Daimon character though 4th Daimon’s will be working in it as well as 3rd”» — el comunicador explica la correspondencia entre los cuatro daimones y las cuatro Facultades y anuncia la época del tercero.

«On 17 August, GY recorded the further information that “The 4th Daimon is not the Daimon of an individual but of an idea & it is connected with a group. . . . Though much of this philosophy comes through 3rd Daimon it is ultimately through the Fourth”» — el cuarto daimon se define como daimon de una idea y de un grupo, y de él vendría en último término la filosofía entera.

«A long discussion on 28 March 1920, near the end of the AS, distinguishes the record from memory by a hair-splitting distinction: “nothing but sight of natural objects & fragrance pass into record”—not thought or sound, which is “intellectual perception,” like thought.» — el guion distingue el Registro de la memoria por lo que puede entrar en él: vista de objetos naturales y fragancia.

«The “Four Daimons” in one sense, at least, are the daimons of WBY, GY, Anne, and Michael (see Book I, n. 72), representing wisdom, love, beauty, and truth, respectively.» — las editoras identifican a los Cuatro Daimones con los de la familia Yeats y su reparto de atributos, y acotan que es un sentido entre otros.

«The “personal Record” may be compared to the “Personal Anima Mundi,” which is more consistently discussed than the generalized Anima Mundi.» — las editoras emparejan el Registro con un Anima Mundi personal, más tratada en los documentos que la general.

«In galley proofs, WBY cut the following sentence here: “nor is there any form characteristic of a life we can only know by symbol and correspondence.”» — las editoras rescatan una frase que Yeats cortó en galeradas.

«The Society for Psychical Research experimented extensively with clairvoyants and mediums who spoke and wrote, usually in broken sentences, languages about which they presumably had no knowledge.» — las editoras sitúan las pruebas de lenguas desconocidas en la Society for Psychical Research y marcan el presuntamente.

«Giambattista Vico has said that we should reject all philosophy that does not begin in myth, and it is impossible to pronounce those three words without becoming as simple as a camel-driver or a pilgrim.» — las editoras cierran la nota final del libro con un pasaje posterior de Yeats donde invoca a Vico contra toda filosofía que no empiece en el mito.

«Note: The Yeatses kept four copies of AVA in their library: (1) number 83 of the six hundred copies printed (O’Shea 2433); (2) number 385 (O’Shea 2433b); (3) number 366 (O’Shea 2433a); and (4) number 498 (O’Shea 2433c).» — el apéndice parte de un dato material: los cuatro ejemplares que los Yeats guardaban, identificados por número de tirada.

«As Richard J. Finneran notes in his essay “On Editing Yeats: The Text of A Vision (1937)” (Texas Studies in Literature and Language 19 [1977]: 121–22), the last three of these copies have postproduction corrections made by WBY and GY.» — la existencia de correcciones posteriores en tres de esos ejemplares se atribuye a Finneran.

«The three tables that follow present the changes made to these three copies, with indications of the changes, who made them (when it is possible to distinguish whether the marking was made by WBY or GY, or in a few instances by Macmillan editor Thomas Mark), whether the change appears in one or more of the other copies, and if the correction was carried over into the 1937 edition.» — las editoras declaran qué registra cada columna de sus tablas, incluido quién hizo cada cambio.

«under portrait of Giraldus: correction of “Homenorum” to “Hominum”» — una de las correcciones manuscritas enmienda el latín del frontispicio, que el texto impreso conserva mal.

«add a new table of “Where the Four Faculties predominate”: First quarter Creative Mind Second quarter Mask Third quarter Will Fourth quarter Body of Fate» — una anotación de Yeats añade a mano una tabla que el libro publicado no trae, con qué Facultad manda en cada cuarto.

«bookplate of GY and inscription: “To Dobbs in memory of all tribulation / when we were making this book / W. B. Yeats”» — la dedicatoria manuscrita de un ejemplar habla en plural de la hechura del libro, aunque la firme uno solo.

«entire line, “from the Speculum Angelorum et Homenorum,” marked to delete» — otro ejemplar marca para suprimir la línea entera que remite al libro de Giraldus, es decir, la ficción del marco.

«note in margin: “cones are transposed shadow cone is that of Mind etc.”» — una nota marginal de Yeats declara transpuestos los conos de su propio diagrama.

«changed to: “We may represent the two qualities of life by two circles one within the other which move in opposite directions, the Lunar from West to East according to the Moon’s phasal movement, the Solar from East to West according to the Sun’s apparent daily movement, or we may call the first the moons zodiacal movement and the second that of the precessional sun.”» — Yeats reescribe a mano el pasaje sobre los dos círculos, cambiando movimiento zodiacal por fásico, en respuesta a la objeción astronómica.

«note at bottom of page: “I think there is an error or rather clumsy statement in this chapter. The Four Principles are I now» — Yeats anota en su ejemplar que hay un error o una formulación torpe en un capítulo entero de su libro.

«“translated Cicero’s Greek into Latin” and the “and” of “and said” omitted» — otra corrección de mano de Yeats reordena la frase sobre Macrobio y Cicerón que Sturm le había objetado.

«EXPANDING AND CONTRASTING GYRES EXPANDING AND CONTRACTING GYRES section elsewhere speaks of contracting, but never of contrasting» — la fe de erratas de las editoras enmienda un encabezado del impreso y da su razón: la sección habla de conos que se contraen, no que contrastan.

«wondering wandering typographical error corrected by WBY» — el aparato distingue las erratas que el propio autor ya había corregido en su ejemplar de las que enmiendan las editoras.

«Brancussi Brancusi spelling of proper name» — la fe de erratas de las editoras corrige nombres propios mal escritos en el impreso de 1925, y declara el motivo en cada fila.

«Heroditus Herodotus spelling of proper name» — otra corrección de nombre propio del mismo tipo.

«Sec. XIV Sec. XX incorrect number in cross reference» — una remisión interna del libro apuntaba a la sección equivocada.

«The reference marks used for the footnotes in AVA are consistent. While adhering to the original placement of the annotation marker (sometimes preceding the annotated word» — las editoras declaran haber respetado la colocación original de las llamadas a nota, aunque a veces preceda a la palabra anotada.

«Page. Line this edition Reading in this edition] Reading in copy-text Page.Line in copy-text (A Vision [London: T. Werner Laurie, 1926]).» — el tercer apéndice registra qué palabras partía el guion de fin de renglón en el texto base, con localizador en las dos ediciones.

«liii.15 seventy-two] seventy-/ two ix.15 lvii.6 fellow-students] fellow-/ students xv.6 lvii.13 sun-/ darkened xv.13 lix.1 fellow-students] fellow-/ students xvi.28 11.30 elsewhere] else-/ where 11.7 13.26 metaphysical] meta-/ physical» — las primeras filas de ese registro muestran el procedimiento: la lectura de esta edición frente al corte del original.

«After Life States: Beatitude, 130, 193–197, 220, 329 Dreaming Back, 130, 187–190, 192, 193, 195–198, 324, 325, 327, 329 Meditation (Awakening of the Spirits), 184–185, 186 Return, 185, 186, 189, 191, 197, 198, 324, 327 Shiftings, 130, 189–193, 195, 324, 327 Sleeping State, 185, 187, 324 Waking State, 185, 186, 188, 190, 191, 193, 198, 202, 203, 324. See also States before Birth» — el índice de las editoras reúne bajo un solo epígrafe los estados póstumos del sistema y remite a los prenatales.

«Agrippa von Nettesheim, Heinrich Cornelius, xxix, 182, 239, 321 Three Books of Occult Philosophy or Magic, 182, 321» — el índice registra a Agrippa y su obra entre lo que el volumen trata, con localizadores en romanos para el aparato y en arábigos para el cuerpo.

«Aherne, Owen, xxii, xxiii, xxx, xxxii, xxxv, xxxviii, lviii, 3–8, 10, 142, 194, 196, 202, 204, 216, 221–223, 227–231, 233, 234, 252, 266, 277, 334» — el índice da entrada de persona a un personaje de ficción, sin marcarlo como tal.

«Giraldus, xi, xxiv, xxx, xxxi, xxxiv, xxxix, xlvii, lxi, lxiii, 10, 215, 216, 223, 232, 233, 248 Speculum Angelorum et Hominum, xxiv, xxxi» — el índice registra a Giraldus y su Speculum como entradas del volumen, con el título en la forma corregida Hominum.

«Frustrators, 196, 275, 330 Furtwängler, Adolf, 152, 295, 310» — los Frustradores tienen entrada propia en el índice, junto a los estudiosos reales que el libro cita.

«Judwalis, xxxi, xliii, lx, 11, 61, 202, 233, 268, 322 Julius Caesar (Shakespeare), 286 Julius II (pope), 167, 311, 312» — la tribu inventada aparece indizada como cualquier otro asunto del libro.

«Kusta ben Luka (Qusta ibn Luqa), xi, xxxi, xlvii, lxi, 10, 97, 196, 215, 226, 227, 233, 252, 266, 334 wife of, 11, 233, 267, 268, 334, 335» — el índice da al fundador legendario de los Judwalis su nombre árabe entre paréntesis y abre subentrada para su esposa.

«Mathers, Moina Bergson (“Vestigia”), xl–xlii, liii, 41, 217, 320, 337 Mathers, S. L. (formerly Samuel Liddell) MacGregor» — el índice resuelve el nombre de pluma de la dedicatoria: Vestigia es Moina Bergson Mathers, y a su lado va la entrada de MacGregor Mathers.

«Yeats, George (née Hyde Lees): and automatic writing or other methods, xxii– xxxi, xxxiii, 218–219, 237 as topic, 232–223, 256, 267, 294, 334, 336 as typist, secretary, or edito» — el índice le da a George Yeats entradas por función: escritura automática, asunto del libro, y mecanógrafa, secretaria o editora.

«“Phases of the Moon, The,” xxxiv, lv, lxii, 217, 220, 223, 227, 229, 320 “Prayer for My Daughter, A,” 333 “Saint and the Hunchback, The,” xxxiv “Second Coming, The,” xxv, xliii, 277, 289, 292, 322» — el índice reúne bajo el nombre de Yeats sus propios poemas, de modo que el libro queda indizado junto con la obra poética que lo rodea.

«Zodiac, lx, 114, 120–123, 127, 224, 273, 274, 276, 278, 283» — la última entrada del índice reúne las planas donde el volumen trata el zodiaco.

«Copyright © 1925 by William Butler Yeats Copyright renewed Supplementary materials copyright © 2008 by Catherine E. Paul and Margaret Mills Harper» — la página de derechos separa las dos capas del volumen: el texto de 1925 y los materiales complementarios de 2008.

«First Scribner hardcover edition March 2008 SCRIBNER and design are trademarks of Macmillan Library Reference USA, Inc., used under license by Simon & Schuster, the publisher of this work.» — la fecha de esta edición y la nota de que el sello Scribner se usa bajo licencia.

«Text set in Sabon Library of Congress Control Number: 88027365 ISBN-13: 978-0-684-80733-1 (print) ISBN-13: 978-1-416-59373-7 (eBook) ISBN-10: 0-684-80733-5» — la composición tipográfica y los tres números normalizados del volumen, dos de ellos con distinción entre impreso y eBook.

Daimon (entidad intermedia, ni ángel ni demonio) — Otra mente que ocupa la parte oscura de la nuestra, del sexo opuesto al del hombre; su Máscara es la Voluntad de él y su Cuerpo del Destino la Mente Creadora de él, de modo que la rueda queda invertida. Hombre y Daimon están en conflicto o abrazo perpetuo, y de dejar correr la mente daimónica sin apagar la propia luz nace la Unidad del Ser.

Anima mundi (alma del mundo) — Aparece emparejada con Anima Hominis como las dos porciones del ser que sufren vicisitud y que los conos opuestos expresan; el Cuerpo Apasionado hace el oficio que Plotino da al Alma del Mundo. Las editoras consignan que el término abre el guion automático y luego pierde peso frente a un Anima Mundi personal.

Mansiones lunares (los 28 sectores del recorrido de la Luna) — El número de las veintiocho fases se declara tomado de las mansiones árabes de la Luna, y usado solo como método de clasificación con símbolos arbitrarios; las editoras añaden el reparto en doce templadas, seis secas y diez húmedas.

Microcosmos (el hombre-mundo) — La Era se declara microcosmos del todo, y sobre eso se apoya la equiparación de las doctrinas persa y cristiana sobre el Redentor de mitad de periodo.

Imaginación (phantasia) — El objeto declarado del sistema es un pensamiento que deje libre la imaginación para crear a su gusto y a la vez integre lo creado en una sola historia, la del alma.

Theurgia (obra divina) — La teurgia egipcia figura entre lo que el filósofo antiguo tenía para reforzar su pensamiento y el moderno perdió, junto con los dioses, los muertos sagrados y la sacerdotisa Diotima.

Philosophia perennis (filosofía perenne) — Las editoras describen la Golden Dawn, a la que pertenecían los dos Yeats, como sociedad mágica que exigía el dominio de un cuerpo de saber llamado philosophia perennis.

Secreto (lo que se jura no fijar por escrito) — El califa entiende que el saber no está en la danza sino en las huellas, y de ahí concluye que hay un gran secreto en las marcas de los pies; la doctrina judwali se transmite sin libro, dibujada en la arena.

Cadena de transmisión (quién tomó de quién) — La obra se declara recibida por una cadena: los documentos puestos en las manos de Yeats, los papeles de Robartes, la doctrina de los Judwalis, el libro perdido de Kusta ben Luka y el Speculum de Giraldus; el propio libro pone en duda la autenticidad del relato de origen.

Crítica de fuentes (criterios de inclusión y descarte) — Las editoras declaran su criterio: texto base el impreso por T. Werner Laurie, sin postular intención autoral más allá de sus planas ni sintetizar un texto ideal, y con apéndices que registran las correcciones manuscritas de los Yeats.