De occulta philosophia libri tres
Three Books of Occult Philosophy · Filosofía oculta
Define la magia — «magic is a faculty of wonderful virtue, full of most high mysteries» «Agrippa — De occulta philosophia, ed. inglés · p. 79» — en un universo de tres mundos: «there is a three-fold World, Elementary, Celestiall, and Intellectual» «Agrippa — De occulta philosophia, trad. inglés · p. 1», y la reparte en sus tres ramas: natural, celeste y ceremonial «Agrippa — De occulta philosophia, ed. inglés · p. 77». Consigna su propia genealogía del arte: Zamolxis y Zoroastro como inventores; Mercurio Trismegisto, Porfirio, Jámblico, Plotino, Orfeo y Apolonio de Tiana entre sus autores «Agrippa — De occulta philosophia, trad. inglés · p. 4». El Espíritu del Mundo es la quinta esencia que media entre las almas celestiales y los cuerpos gruesos, transmitida por los rayos de los astros «Agrippa — De occulta philosophia, trad. inglés · p. 20».
Su historia editorial está documentada por el aparato: el borrador se redactó entre fines de 1509 y principios de 1510 y se envió al abad Trithemius para su aprobación «Agrippa — De occulta philosophia, ed. inglés · p. 41»; la primera edición salió de la prensa de John Grapheus, en Amberes «Agrippa — De occulta philosophia, ed. inglés · p. 34».
2901 afirmaciones · 3 fuentes · 1 atribución
Atribución
se consigna, jamás se afirma«Agrippa — De occulta philosophia, trad. inglés · p. 1»
Cadena de la obra
el testimonio procesado, en esmeraldaAfirmaciones
2901 entradas — la voz de la obra, con su pasaje«Magick is a faculty of wonderfull vertue, full of most high mysteries» — la grafía es la de la traducción de 1651; la modernizada de Tyson dice lo mismo.
Define la magia como la facultad que une las virtudes de los cuerpos superiores con los inferiores mediante contemplación y acción.
«there is a three-fold World, Elementary, Celestiall, and Intellectual» — cada nivel inferior recibe la virtud del superior.
La tripartición del arte: magia natural (virtudes del mundo elemental por la física), magia celeste (rayos e influencias según la astrología) y magia ceremonial (ceremonias religiosas y auxilio de inteligencias superiores).
Las tres filosofías que la magia integra: natural (causas materiales), matemática (magnitudes y movimientos celestes) y teológica (Dios, ángeles, demonios, sacramentos).
«if he be not skillful in the mathematics, and in the aspects, and figures of the stars» — el mago debe ser matemático: requisito, no adorno.
«There were also other eminent, choice men, as Mercurius Tresmegistus, Porphyrius, lamblicus, Plotinus, Proclus.» — la genealogía del arte, con Zamolxis y Zoroastro como inventores.
«Hermes Trismegistus divides the highest region, and separates the spirits into gods and souls» — las cuatro regiones del cosmos con jerarquías divinas propias, atribuidas a Hermes.
«There are four Elements, and originall grounds of all corporeall things, Fire, Earth, Water, Aire»
«There are two things (saith Hermes) viz. Fire and Earth, which are sufficient for the operation of all wonderfull things»
Los tres órdenes de elementos: puros e incorruptibles; compuestos e impuros, reducibles por arte; y unos terceros que no son verdaderos elementos sino doblemente compuestos, de naturaleza media y medio infalible para todos los efectos — glosa nuestra del pasaje, no verbatim.
«Fire is hot and dry, Earth dry and cold, the Water cold and moist, the Air moist and hot»
«For Moses writes, that only Earth, and Water bring forth a living soul.»
«The understanding resembles Fire, reason the Air, imagination the Water, and the senses the Earth.»
El Aire recibe inmediatamente las influencias de todos los cuerpos celestes y las comunica a los demás elementos; es también la causa de los sueños.
«Notus is the Southern Wind, cloudy, moist, warm, and sickly» — la serie completa de los cuatro vientos: Notus, Boreas, Zephyrus, Eurus.
Los compuestos y su elemento regente: piedras↔tierra, metales↔agua, plantas↔aire, animales↔fuego; «All stones are earthy» y «Metals are waterish, and may be melted, which Naturalists confess, and Chymists [chemists] finde to be true, viz. that they are generated of a viscous Water, or waterish argent vive» «agrippa-occulta-libro1-en · p. 12»
El reparto elemental sube hasta los ángeles — «some are fiery, as Seraphim, and Authorities, and Powers: earthy as Cherubim: watery as Thrones, and Archangels: airy as Dominions» — y hasta los demonios, también distinguidos en ígneos, térreos, aéreos y acuosos.
Los ríos infernales elementales: Phlegethon (fuego), Cocytus (aire), Styx (agua), Acheron (tierra).
Los elementos rigen también en los cielos: cada elemento reparte principio, medio y fin — Aries, Leo y Sagitario para el fuego.
«Amongst the Stars, also, some are fiery, as Mars, and Sol; airy, as Jupiter, and Venus» — la serie planeta↔elemento del Libro I, que convive con la serie incompatible de p. 170 (ver Notas).
«through the help of the Soul of the World, and rayes of the Stars» — la quinta esencia mediadora, transmitida a hierbas, piedras y metales.
Virtudes ocultas: «there is a Certain vertue in the Loadstone, by which it attracts Iron»; «The little fish Echeneis stops the ships»; y el heliotropo «dazzles the sight, and makes him that wears it to be invisible». «agrippa-occulta-libro1-en · pp. 17, 18»
«All things were made by enmity and friendship.» — Heráclito invocado como guía.
«So the fire in the Chaldeans furnace did not burn the Children.» — los milagros suspenden las causas medias.
«The whole sublunary World, and those things which are in it, are distributed to Planets.» — «All beauty is from Venus, all strength from Mars, and every Planet rules, and disposeth that which is like to it.»
Regla operativa central: «Now if thou desirest to receive vertue from any part of the World, or from any Star, thou shalt … come under its peculiar influence.»
La escalera de simpatías — «the earth agrees with cold water, the water with moist Aire, the Aire with Fire» — y la cadena de correspondencias piedras↔hierbas↔animales↔cielos↔inteligencias.
«Mercurius Trismegistus writes, that an Image rightly made of certain proper things, appropriated to any one certain Angel, will presently be animated by that Angel.»
«there is nothing like the fume of Sperma Ceti [spermaceti] for the raising of spirits» — con las series de humos por planeta (Saturno↔pepperwort … Luna↔mirto) y por signo.
Los humos que ponen guardianes sobre el tesoro escondido: «that spirits shall continually keep it: and if anyone shall endeavour to take it away, he shall be hurt».
La sangre menstrual y la sangre de basilisco — «which they call the blood of Saturn» — como agentes de la hechicería.
El anillo de Giges: «the seal of which, when he turned it toward the palm of his hand, no body could see him».
«it is first diffused from the mind of God into all things» — «it» es la luz— y los colores planetarios: «For all colours, black, lucid, earthy, leaden, brown, have relation to Saturne». «agrippa-occulta-tyson · pp. 219, 220»
La fascinación: el vapor espiritual nace de la sangre más pura y sale por los rayos de los ojos — «Thy eyes sliding down through my eyes, into mine inward breast, stir up a most vehement burning in my Marrow.»
Las series planeta↔lugar (Saturno↔lugares fétidos y cementerios … Luna↔bosques y ríos) y planeta↔gesto (Saturno↔golpearse el pecho … Luna↔actitudes pueriles).
«Of geomancy, hydromancy, aeromancy, pyromancy, four divinations of elements.»
Augurios: «she flies higher then all other birds, and is of more acute sight, and is never excluded from the secrets of Jupiter» — y «Owl, which no bird well resents, Fortels [foretells] misfortunes, and most sad events»
«Now Dreams are more efficacious, when the Moon over-runs that Sign, which was in the ninth number of the Nativity»
La doctrina de la melancolía: «melancholy humour here, to be a natural, and white choler», y los tres grados de espíritus que recibe el melancólico — inferiores (artes manuales), medios (filosofía, medicina, oratoria), sublimes (Ley de Dios y misterios eternos). «agrippa-occulta-tyson · p. 262»
«Now there are four kinds of divine phrensy proceeding from several deities» — Musas, Dionisio, Apolo, Venus.
«The passions of the mind are nothing else but certain motions or inclinations proceeding from the apprehension of any thing, as of good or evill.» — el corazón se dilata en la alegría y se constriñe en la tristeza.
«The imagination of a woman with child impresseth the mark of the thing longed for upon her infant.»
«the soul of the wise man assists the work of the stars» — y «is joined with the mind of the stars, and intelligences, and being so joined is the cause that some wonderful virtue».
«λόγος [logos] in Greek signifies, reason, speech, and a word.» — «God gave to man a mind, and speech»; la escritura es la última expresión de la mente y el número del habla y la voz — glosa nuestra, no verbatim. «agrippa-occulta-libro1-en · pp. 89, 94»
«Origenes therefore thought that those names being translated into another Idiome do not retain their proper vertue»
«if this name Abracadabra*’ be written, as is here expressed, viz. diminishing letter after letter backward» — sigue «from the last to the first, it will cure the hemitritaean fever»—
«our speech, words, spirit and voice have no power in magic, unless they be formed by the divine Word.» — la clave teológica de todo el sistema.
«as mathematical things are more formal than natural, so also they are more efficacious»
Aritmología: «unity doth most simply go through every number»; «that unity was God, and a good intellect; and that duality was a devil, and an evil intellect»; el tres como «holy number»; el seis como número de la perfección; «the number seven, amongst the other numbers, may deservedly be said to be most full of all efficacy»; el diez como número universal y completo.
«The number seventy-two was famous for so many languages, for so many elders of the synagogue, for so many interpreters of the Old Testament, for so many disciples of Christ.»
Aritmancia de nombres: «if there remain a unity, or four, both signify the Sun; if two or seven, both signify the Moon;»
«A circle doth answer to unity, and the number ten» — con los sólidos platónicos por elemento (tierra↔cubo, fuego↔pirámide, aire↔octaedro, agua↔icosaedro, cielo↔dodecaedro) y el cuerpo humano inscrito en el círculo.
«Music … doth wonderfully allure the celestial influence» — La armonía de las esferas: «there is from the Sun to the fixed stars a diatessaron distance of two tones and an half».
Da las tablas planetarias con sus sumas: Saturno de orden tres suma 45 en plomo; el Sol de orden seis suma 666 en oro; «Moon being engraven on silver, renders the bearer thereof grateful, amiable, pleasant, cheerful, honoured.»
La escala planeta↔facultad del alma: Luna/aumento y disminución, Mercurio/fantasía, Venus/concupiscible, Sol/vital, Marte/irascible, Júpiter/cualidades naturales, Saturno/receptivas.
«The Sun is the lord of all elementary virtues; and the Moon by virtue of the Sun is the mistress of generation.»
Horas planetarias: «giving always the first hour of the day to the lord of that day»; y la astrología como «key most necessary for the knowledge of all secrets».
Imágenes astrológicas: «Under the Head of Algol, they made an image whose figure was the head of a man with a bloody neck»; con Saturno ascendente, en la piedra imán, «countenance of an hart, and camel’s feet»; y la regla de escribir sobre la imagen «the name of the effect».
«But who can give a soul to an image, or make a stone to live»
Expone las veintiocho mansiones lunares, cada una con nombre, grados, imagen, sello e inteligencia que la preside.
La escritura Malachim, «the tongue of the Angels»; los caracteres de Aries y Tauro se forman de sus cuernos.
«superstition therefore although it be far different from the true religion, yet it is not all and wholly rejected» — y «the chief good of man is in religion only».
«For love is the chariot of the soul, the most excellent of all things»
«There is one only true God, increate, infinite, omnipotent, eternal, Father, Son and Holy Ghost»
La «militia of heaven, which Jeremy calls the Queen of Heaven» — con la distinción doulía/latría aplicada al culto de las almas celestes.
Establece la escala de los diez nombres divinos ligada a las sefirot y a los órdenes angélicos: «The first of these is the name Eheia,'4 the name of the divine essence» [«'4» es la llamada de nota].
Sostiene que las palabras sagradas no obran por sí mismas: «sacred words have not their power in magical operations, from themselves, as they are words, but from the occult divine powers working by them».
«the true name of God is known neither to men nor to angels, but to God alone»
Enumera nueve órdenes de espíritus malignos con sus príncipes: «False Gods, who usurping the name of God, would be worshipped for gods»; «whose prince in the Revelations” is called in Greek Apollyon, in Hebrew Abad» —«Abaddon», partido por el renglón—; «Beelzebub is the prince, whom Scripture calleth the prince of wickedness.»
«the bodies of devils are in a manner material, as shadows, and subject to passion» — Los demonios sublimes se nutren «of the most pure etherial element».
«he ancient magicians did teach an art of finding out the name of a spirit to any desired effect» — [la «T» de «The» se perdió en la capitular]; los espíritus angélicos «are not marked with any marks or characters»; la virtud de los caracteres «is from the deity revealing».
«the presence of the solar virtue accords more with a cock than with a lion.»
Consigna que el hombre es nudo, atadura y vínculo de todas las cosas; «For there are two images of God; the Kosmos is one, and man is another»; y «Man is a great miracle, an animal to be honoured and adored; for he passeth into the nature of God.»
Los dones planetarios del mago: «By Saturn, a sublime contemplation and profound understanding, solidity of judgement, firm speculation» — hasta «From the Angels, that he may be a messenger of the divine will and an interpreter of the mind of God.»
La nigromancia: «dead, and subterrany spirits, alluring them into the carcasses of the dead, by certain hellish charms» — y su otra especie, la sciomancia, «in which the calling up of the shadow only sufficeth».
«the best prayer, which is not uttered in words» — ; el sacrificio verdadero es doble; y las víctimas: blancas a los dioses celestes, negras a los terrestres o infernales.
«onsecration is a lifting up of experiments, by which a spiritual soul, being drawn by proportion and conformity, is infused into» — [la «C» se perdió en la capitular]
«that their virtue is not from the elements and celestial bodies, but descendeth from the i» — «intelligible», partido por el renglón—
El descargo final: «If any therefore through his incredulity or dullness of intellect, doth not obtain his desire» — y la cláusula de lectura esotérica: «There is therefore another meaning than what is written in letters», cuya llave «is the intellect».
Paratexto de Agrippa «To the Reader»: «a magician doth not amongst learned men signify a sorcerer, or one that is superstitious» — y la advertencia de la «puerta del Aqueronte» que el libro contiene.
Carta de Agrippa a Trithemius: «whereas it was accounted by all ancient phlosophers the chiefest science» [sic «phlosophers»] — y la lista de autores de magia impura que Agrippa REPUDIA por nombre: Roger Bacon, Robertus Anglicus, Petrus de Apono, Alberto el Teutónico, Anselmi de Parma, Cecco d'Ascoli y el PICATRIX.
La doctrina elemental se apoya en autoridades citadas por nombre (Hermes, Dionisio, Plinio, Platón).
«magic therefore comprehending all philosophy, natural and mathematical, joins the powers of religions to them.» — [Bloque del De vanitate] el De vanitate dice que la magia abarca toda la filosofía natural y matemática y le suma los poderes de las religiones; es la obra que condena la magia, no la Occulta.
«natural magic is nothing else but the highest power of natural sciences» — [Bloque del De vanitate] definición que NO pertenece a la Occulta sino a la obra que condena la magia.
«ow the parts of ceremonial magic are goetia and theurgia» — [Bloque del De vanitate] el De vanitate divide la magia ceremonial en goecia y teurgia; la *N* inicial se perdió en la capitular.
«I say all these shall with Jannes, and Jambres, and Simon Magus be destinated to the torments of eternal fire.» — [Bloque del De vanitate] el De vanitate condena la cábala como mera rapsodia de superstición (p. 775), dice que la magia no es sino colección de idolatría, astrología y medicinas supersticiosas (p. 779) y destina a sus practicantes, con Jannes, Jambres y Simón Mago, al fuego eterno.
«But I know not whether it be an unpardonable presumption in me, that I, a man of so little judgement and learning, should in my very youth so confidently set upon a business so difficult, so hard, and intricate as this is.» — abre la obra reconociendo su juventud y su poca preparación ante una materia que él mismo declara difícil e intrincada.
«Wherefore, whatsoever things have here already, and shall afterward be said by me, I would not have any one assent to them, nor shall I my self, any further then they shall be approved of by the Universall Church, and the Congregation of the Faithfull.» — somete por adelantado todo lo que dirá al juicio de la Iglesia universal y retira su propio asentimiento: el límite con que enmarca el tratado entero.
«This is the most perfect and chief Science, that sacred and sublimer kind of Phylosophy [philosophy], and lastly the most absolute perfection of all most excellent Philosophy.» — sitúa la magia como remate de la filosofía, no como un saber ajeno a ella.
«For seeing that all regulative Philosophy is divided into Naturall, Mathematicall, and Theologicall:» — hace derivar del reparto mismo de la filosofía la triple competencia que exige al mago.
«But Mathematicall Philosophy teacheth us to know the quantity of naturall Bodies, as extended into three dimensions, as also to conceive of the motion, and course of Celestiall Bodies.» — de la rama matemática toma la medida de los cuerpos en tres dimensiones y el curso de los cuerpos celestes.
«Now Theologicall Philosophy, or Divinity, teacheth what God is, what the Mind, what an Intelligence, what an Angel, what a Divell [devil], what the Soul, what Religion, what sacred Institutions, Rites, Temples, Observations, and sacred Mysteries are:» — la rama teológica abarca desde Dios hasta los ritos, y cuenta al demonio entre sus objetos.
«The order and process of all these I shall endeavor to deliver in these three Books: Whereof the forst contains naturall Magick, the second Celestiall, and the third Ceremoniall.» — anuncia el plan de la obra, un libro por cada rama de la magia; la capa de texto imprime *forst* donde toca *first*.
«For there is none of the sensible Elements that is pure, but they are more or less mixed, and apt to be changed one into the other:» — ningún elemento sensible se da puro: la mezcla y la transmutación recíproca son la regla.
«Wherefore the Stoicks called the former passives, but the latter actives.» — recoge de los estoicos el reparto de los elementos en pasivos y activos.
«And yet once again Plato distinguished them after another manner, and assigns to every one of them three qualities, viz. to the Fire brightness, thinness and motion, but to the Earth darkness, thickness and quietness.» — junto a la doble cualidad consigna la partición platónica en tres cualidades por elemento, sin arbitrar entre las dos.
«Now each of them is three-fold, that so the number of four may make up the number of twelve; and by passing by the number of seven into the number of ten, there may be a progress to the supream Unity, upon which all vertue and wonderfull operation depends.» — de la consideración triple de los cuatro elementos saca el doce, y por el siete y el diez la subida a la Unidad suprema, de la que hace depender toda virtud y operación.
«No man is able to declare their vertues, because they can do all things upon all things.» — de las virtudes del primer orden de elementos dice que no admiten enumeración porque obran sobre todo.
«Of the second Order are Elements that are compounded, changeable, and impure, yet such as may by art be reduced to their pure simplicity, whose vertue, when they are thus reduced to their simplicity, doth above all things perfect all occult, and common operations of nature: and these are the foundation of the whole naturall Magick.» — pone por fundamento de toda la magia natural el segundo orden de elementos, reducible por arte a su simplicidad.
«Of the third Order are those Elements, which originally and of themselves are not Elements, but are twice compounded, various, and changeable one into the other. They are the infallible Medium, and therefore are called the middle nature, or Soul of the middle nature:» — el tercer orden no son elementos verdaderos sino compuestos dobles, y de sus misterios dice que muy pocos los entienden.
«they are full of wonders, and mysteries, and are operative, as in Magick Naturall, so Divine: For from these, through them, proceed the bindings, loosings, and transmutations of all things, the knowing and foretelling of things to come, also the driving forth of evill, and the gaining of good spirits.» — al tercer orden le adjudica las ataduras y desataduras, las transmutaciones, la predicción y el trato con los espíritus.
«Let no man, therefore, without these three sorts of Elements, and the knowledge thereof, be confident that he is able to work any thing» — condiciona toda operación mágica al conocimiento de los tres órdenes de elementos.
«Fire it self is one, and penetrates through all things (as say the Pythagorians) also spread abroad in the Heavens, and shining: but in the infernall place streightened, dark, and tormenting, in the mid way it partakes of both.» — el fuego es uno y se reparte en celeste, infernal e intermedio según el lugar que lo recibe; lo atribuye a los pitagóricos.
«The properties of the Fire that is above, are heat, making all things Fruitfull, and light, giving life to all things.» — al fuego de arriba le adjudica el calor que fecunda y la luz que da vida.
«The properties of the infernall Fire are a parching heat, consuming all things, and darkness, making all things barren.» — al fuego infernal le adjudica el calor que consume y la oscuridad que esteriliza: el mismo elemento con el signo invertido.
«And the great Jehovah himself in the old Law Commanded that all his Sacrifices should be offered with Fire, and that Fire should always be burning upon the Altar, which Custome the Priests of the Altar did always observe, and keep amongst the Romanes.» — apoya el uso ritual del fuego en el mandato de la Ley antigua y en la costumbre romana del fuego perpetuo.
«Hence also was that significant saying of Pythagoras, Do not speak of God without a Light)» — atribuye a Pitágoras la prohibición de hablar de Dios sin luz.
«Now the Basis, and foundation of all the Elements, is the Earth, for that is the object, subject, and receptacle of all Celestiall rayes, and influencies; in it are contained the seeds, and Seminall vertues of all things; and therefore it is said to be Animall, Vegetable, and Minerall.» — la tierra es el receptáculo de los rayos celestes y el depósito de las virtudes seminales de todo.
«It is the first matter of our Creation, and the truest Medicine that can restore, and preserve us.» — de la tierra dice que es la materia primera del hombre y la medicina más verdadera.
«Such is the efficacy of this Element of Water, that Spirituall regeneration cannot be done without it, as Christ himself testified to Nicodemus.» — extiende la necesidad del agua de la vida natural a la regeneración espiritual, apoyándose en el pasaje de Nicodemo.
«Thence it was that Thales of Miletus, and Hesiod concluded that Water was the beginning of all things, and said it was the first of all the Elements, and the most potent, and that because it hath the mastery over all the rest.» — recoge de Tales de Mileto y de Hesíodo la primacía del agua sobre los demás elementos.
«This is a vitall spirit, passing through all Beings, giving life, and subsistence to all things, binding, moving, and filling all things.» — define el aire como espíritu vital que atraviesa, ata y llena todo lo que existe.
«Hence it is that the Hebrew Doctors reckon it not amongst the Elements, but count it as a Medium or glew [glue], joyning things together, and as the resounding spirit of the worlds instrument.» — consigna que los doctores hebreos no cuentan al aire entre los elementos sino como el pegamento que junta las cosas.
«And carrying them with it, and entering into the bodies of Men, and other Animals, through their pores, makes an Impression upon them, as well when they sleep, as when they be awake, and affords matter for divers strange Dreams and Divinations.» — el aire lleva las imágenes de las cosas, entra por los poros e imprime en el cuerpo la materia de los sueños y de las adivinaciones.
«Hence they say it is, that a man passing by a place where a man was slain, or the Carkase [carcass] newly hid, is moved with fear and dread; because the Aire in that place being full of the dreadfull species of Man-slaughter [manslaughter], doth, being breathed in, move and trouble the spirit of the man with the like species, whence it is that be comes to be afraid.» — explica por la retención de especies en el aire el miedo que da el sitio de un crimen; la capa de texto imprime *be* donde toca *he*.
«And hence it is possible naturally, and far from all manner of superstition, no other spirit coming between, that a man should be able in a very time to signifie his mind unto another man, abiding at a very long and unknown distance from him;» — sostiene que la comunicación a distancia es natural y sin intervención de espíritu alguno, y declara saber hacerlo él mismo.
«The same also in time past did the Abbot Tritemius [Trithemius] both know and do.» — atribuye al abad Tritemio la misma técnica de comunicación a distancia.
«And we see how by the South wind the Air is condensed into thin clouds, in which, as in a Looking-glass are reflected representations at a great distance of Castles, Mountains, Horses, and Men, and other things, which when the clouds are gone, presently vanish.» — el aire hace de espejo que retiene y devuelve las imágenes de las cosas hasta que la nube se deshace.
«And Aristotle in his Meteors shews, that a Rainbow is conceived in a cloud of the Aire, as in a Looking-glass.» — apoya el símil del espejo en los Meteorológicos de Aristóteles.
«If any one shall take images artificially painted, or written letters, and in a clear night set them against the beams of the full Moon, whose resemblances being multiplyed in the Aire, and caught upward, and reflected back together with the beams of the Moon, any other man that is privy to the thing, at a long distance sees, reads, and knows them in the very compass, and Circle of the Moon,» — describe la operación de escribir en el disco de la luna: las imágenes se multiplican en el aire y quien está al tanto las lee a distancia.
«For they are nothing else, but Air moved and stirred up.» — define los vientos como aire movido y agitado.
«Next after the four simple Elements follow the four kinds of perfect Bodies compounded of them, and they are Stones, Metals, Plants, and Animals: and although unto the generation of each of these all the Elements meet together in the composition, yet every one of them follows, and resembles one of the Elements, which is most predominant.» — a cada clase de cuerpo compuesto le adjudica un elemento predominante, aunque todos concurran en su generación.
«Plants have such an affinity with the Aire, that unless they be abroad in the open Aire, they do neither bud, nor increase.» — la afinidad de las plantas con el aire la apoya en que no brotan ni crecen sin él.
«And these humors also partake of the Elements, for yellow choller [choler] is instead of Fire, blood instead of Aire, Flegme [phlegm] instead of Water, and black choller [choler], or melancholy instead of Earth.» — la serie humor↔elemento: cólera amarilla al fuego, sangre al aire, flema al agua, melancolía a la tierra.
«The Elements therefore are the first of all things, and all things are of, and according to them, and they are in all things, and diffuse their vertues through all things.» — hace de los elementos lo primero de todo y la vía por donde las virtudes se difunden.
«It is the unanimous consent of all Platonists, that as in the originall, and exemplary World, all things are in all; so also in this corporeal world, all things are in all; so also the Elements are not only in these inferior bodies, but also in the Heavens, in Stars, in Divels [devils], in Angels, and lastly in God, the maker and originall example of all things.» — extiende los elementos hasta Dios mismo apoyándose en el principio platónico de que todo está en todo.
«but in the Heavens the Elements are with their natures, and vertues, viz. after a Celestiall, and more excellent manner, then in sublunary things.» — precisa que en los cielos los elementos están de modo celeste, no como en lo sublunar.
«Elements therefore in the exemplary world are Idea's of things to be produced, in Intelligencies are distributed powers, in Heavens are vertues, and in inferiour bodies gross forms.» — el mismo elemento cambia de modo de ser según el mundo: idea, potencia repartida, virtud o forma gruesa.
«Of the naturall vertues of things, some are Elementary, as to heat, to cool, to moisten, to dry; and they are called operations, or first qualities, and the second act:» — separa las cualidades primeras, que son las elementales, de las que siguen a la mezcla.
«And these operations are called secondary qualities, because they follow the nature, and proportion of the mixtion of the first vertues, as largely it is treated of in Physick [Medical] Books.» — las cualidades segundas dependen de la proporción de la mezcla, y para ellas remite a los libros de medicina.
«Wherefore Philosophers have attained to the greatest part of them by long experience, rather then by the search of reason:» — reconoce que las virtudes ocultas se conocen por experiencia larga y no por búsqueda de la razón.
«So Salamanders, and Crickets live in the Fire; although they seem sometimes to burn, yet they are not hurt.» — pone a la salamandra y al grillo como prueba de que una virtud puede contrariar la acción del elemento.
«The like is said of a kind of Bitumen, with which the weapons of the Amazons were said to be smeared over, by which means they could be spoiled neither with Sword nor Fire; with which also the Gates of Caspia, made of Brass, are reported to be smeared over by Alexander the great.» — el betún incombustible, con las armas de las amazonas y las puertas Caspias de Alejandro como testimonios.
«We read also that Noah's Ark was joyned together with this Bitumen, and that it endured some thousands of years upon the Mountains of Armenia.» — apoya la duración del betún en el Arca, que dice conservada milenios en los montes de Armenia.
«Amongst which Antiquity makes mention of Satyrs, which were Animals, in shape half men, and half bruits [brutes], yet capable of speech, and reason;» — admite a los sátiros como animales medio hombres dotados de habla y razón, y se apoya en la antigüedad para ello.
«S. Hierome reporteth, spake once unto holy Antonius the Hermite, and condemned the errour of the Gentiles, in worshipping such poor creatures as they were, and desired him that he would pray unto the true God for him; also he affirms that there was one of them shewed openly alive, and afterwards sent to Constantine the Emperour.» — respalda la existencia del sátiro con el relato de Jerónimo sobre Antonio el ermitaño y el ejemplar enviado a Constantino.
«Platonists say that all inferiour bodies are exemplified by the superiour Ideas.» — toma de los platónicos el principio de que los cuerpos inferiores son copia de las Ideas superiores.
«Now they define an Idea to be a form, above bodies, souls, minds, and to be one, simple, pure, immutable, indivisible, incorporeal, and eternall: and that the nature of all Idea's is the same.» — la Idea es forma por encima de cuerpos, almas y mentes, y de naturaleza una en todos los casos.
«For Idea's are not only essential causes of every species, but are also the causes of every vertue, which is in the species: and this is that which many Philosophers say, that the properties which are in the nature of things (which vertues indeed are the operations of the Idea's) are moved by certain vertues, viz. such as have a certain, and sure foundation, not fortuitous, nor casuall, but efficacious, powerfull, and sufficient, not failing in any thing.» — hace de las Ideas la causa de las virtudes específicas, y de las virtudes la operación de las Ideas, con fundamento cierto y no fortuito.
«Now these Vertues do not err in their actings, but by accident, viz. by reason of the impurity, or inequality of the matter:» — el límite del sistema: la virtud no falla por sí misma sino por impureza o desigualdad de la materia que la recibe.
«Whence it was a Proverb amongst the Platonists, That Celestial Vertues were infused according to the desert of the matter:» — recoge de los platónicos que la virtud celeste se infunde a la medida de lo que la materia merece.
«Whence Avicen saith, that whatsoever things are done here, must have been before in the motions, and conceptions of the Stars, and Orbes.» — atribuye a Avicena que todo lo que ocurre aquí preexiste en los movimientos de los astros.
«All vertues therefore are infused by God, through the Soul of the World, yet by a particular power of resemblances, and intelligences over-ruling them, and concourse of the rayes, and aspects of the Stars in a certain peculiar harmonious consent.» — la cadena por la que la virtud desciende: Dios, el Alma del Mundo, las semejanzas e inteligencias, y el concurso de los rayos y aspectos de los astros.
«There is an Hearb [herb] in Æthiopia [Ethiopia], with which they report ponds, and lakes are dryed [dried] up, and all things that are shut, to be opened;» — entre las virtudes ocultas cuenta la hierba etíope que seca lagunas y abre lo cerrado.
«Apuleius saith, that he was taught by an Oracle that there were many kinds of Hearbs [herbs], and Stones, with which men might prolong their lives for ever, but that it was not lawfull for men to understand the knowledge of those things,» — cita a Apuleyo para consignar un límite puesto al conocimiento mismo: hay virtudes que no es lícito conocer.
«But from whence these vertues are, none of all these have shewed, who have set forth huge Volumes of the properties of things, not Hermes, not Bochus, not Aaron, not Orpheus, not Theophrastus, not Thebith, not Zenothemis, not Zoroaster, not Evax, not Dioscorides, not Isaaick the Jew, not Zacharias the Babilonian [Babylonian], not Albertus, not Arnoldus;» — el balance de la tradición: ninguno de los autores de propiedades dijo de dónde vienen las virtudes, solo que las hay.
«Alexander the peripateticke not going any further then his senses, and qualities, is of the opinion that these proceed from Elements, and their qualities, which haply might be supposed to be true, if those were of the same species; but many of the operations of the Stones agree neither in genere, nor specie.» — rechaza la explicación elemental de Alejandro de Afrodisia porque las operaciones de las piedras no concuerdan en género ni en especie.
«Therefore Plato, and his Schollers [scholars] attribute these vertues to Idea's, the formers of things.» — resuelve el origen de las virtudes por el lado platónico: las Ideas como formadoras de las cosas.
«And although these Authors seem to thwart one the other, yet none of them, if they be rightly understood, goes beside the truth: since all their sayings are the same in effect in most things.» — el gesto conciliador con que armoniza las escuelas: leídas bien, dice, no se contradicen.
«For God in the first place is the end, and begining of all Vertues, he gives the seal of the Idea's to his servants the Intelligencies; who as faithfull officers sign all things intrusted [entrusted] to them with an Ideall Vertue, the Heavens, and Stars, as instruments, disposing the matter in the mean while for the receiving of those forms which reside in Divine Majesty (as saith Plato in Timeus)» — el orden completo de la transmisión, de Dios a las inteligencias, de éstas a los cielos como instrumentos y de ahí a la materia.
«There is therefore no other cause of the necessity of effects, then the connexion [connection] of all things with the first Cause, and their correspondency with those Divine patterns, and eternall Idea's, whence every thing hath its determinate, and particular place in the exemplary world, from whence it lives, and receives its originall being;» — funda la necesidad de los efectos en la conexión de todo con la Primera Causa y su correspondencia con las Ideas eternas.
«Now the first Cause, which is God, although he doth by Intelligencies, and the Heavens work upon these inferiour things, doth sometimes (these Mediums being laid aside, or their officiating being suspended) works those things immediatly by himself, which works then are called Miracles:» — define el milagro como la acción inmediata de Dios cuando suspende a los mediadores por los que ordinariamente obra.
«And the reasons these operations can by no rationall discourse, no Magick, or occult, or profound Science whatsoever be found out, or understood, but are to be learned, and inquired into by Divine Oracles only.» — pone al milagro fuera del alcance de la magia y de toda ciencia oculta: solo los oráculos divinos lo explican.
«Democritus and Orpheus, and many Pythagorians having most diligently searched into the vertues of Celestiall things, and natures of inferior things, said, That all things are full of God, and not without cause:» — respalda con Demócrito, Orfeo y los pitagóricos la tesis de que todas las cosas están llenas de Dios.
«Also they called those Divine Powers which are diffused in things, Gods: which Zoroaster called Divine allurements, Synesius Symbolicall inticements, others called them Lives, and some also Souls, saying, that the vertues of things did depend upon these;» — recoge los nombres con que la tradición llamó a las potencias divinas difundidas en las cosas, de las que hace depender sus virtudes.
«Now they conceive such a medium to be the spirit of the World, viz. that which we call the quintessence: because it is not from the four Elements, but a certain first thing, having its being above, and besides them.» — el Espíritu del Mundo o quinta esencia es lo que no sale de los cuatro elementos y hace de medio entre alma y cuerpo.
«Such a one that may be as it were no body, but as it were a Soul, or as it were no Soul, but as it were a body, viz. by which the soul may be joyned to the body.» — describe el medio requerido por su ambigüedad: ni cuerpo ni alma del todo, y por eso capaz de unir a los dos.
«Now this spirit is received or taken in by the rayes of the Stars, so far forth as things render themselves conformable to them.» — la condición de la recepción del espíritu: la cosa lo toma en la medida en que se hace conforme a los astros.
«By this spirit therefore every occult property is conveyed into Hearbs [herbs], Stones, Metals, and Animals, through the Sun, Moon, Planets, and through Stars higher then the Planets.» — por el espíritu llega toda propiedad oculta a hierbas, piedras, metales y animales, y no solo desde los planetas.
«Now this spirit may be more advantageous to us, if any one knew how to separate it from the Elements: or at least to use those things chiefly, which do most abound with this spirit.» — de ahí saca el programa operativo: separar el espíritu de los elementos, o al menos usar lo que más abunda en él.
«For which cause the Alchymists [alchemists] endeavour to separate this spirit from Gold, and Silver; which being rightly separated, and extracted, if thou shalt afterward project upon any matter of the same kind (i.e.) any Metall, presently will turn it into Gold, or Silver.» — sitúa el trabajo de los alquimistas dentro de esta doctrina: extraen el espíritu del oro y la plata para proyectarlo sobre otro metal.
«And we know how to do that, and have seen it done: but we could make no more Gold, then the weight of that was, out of which we extracted the spirit.» — declara haberlo hecho y visto hacer, y acota el resultado: no sale más oro que el peso del que se extrajo el espíritu.
«For seeing that is an extense form, and not intense, it cannot beyond its own bounds change and imperfect body into a perfect: which I deny not, but may be done by another way.» — explica el tope por tratarse de forma extensa y no intensa, y deja abierta otra vía sin describirla.
«It is now manifest that the occult properties in things are not from the nature of the Elements, but infused from above, hid from our senses, and scarce at last known by our reason, which indeed come from the Life, and the Spirit of the World, through the rayes of the Stars: and can no otherwise but by experience, and conjecture be enquired into by us.» — cierra el punto: las propiedades ocultas no vienen de los elementos sino de arriba, y solo por experiencia y conjetura se investigan.
«Wherefore, he that desires to enter upon this study must consider, that every thing moves, and turns it self to its like, and inclines that to it self with all its might, as well in property, viz. Occult vertue, as in quality, viz. Elementary vertue.» — la regla de entrada al arte: todo se vuelve hacia su semejante, tanto por virtud oculta como por cualidad elemental.
«And it is well known amongst Physitians [physicians], that brain helps the brain, and lungs, the lungs.» — de la regla de lo semejante saca la terapéutica por órganos, que dice corriente entre los médicos.
«So also it is said, that the right eye of a Frog helps the soreness of a mans right eye, and the left eye thereof helps the soreness of his left eye, if they be hanged about his neck in a Cloth of its naturall Colour:» — la correspondencia se extiende al lado del cuerpo, y la receta exige además el color natural del paño.
«So the foot of a Tortoise helps them that have the Gout in their being applyed thus, as foot to foot, hand to hand, right to right, left to left.» — la aplicación se hace parte contra parte homóloga, y así lo prescribe para la gota.
«Therefore it is said, if any shall carry the heart of a Crow, or a Bat about him, he shall not sleep till he cast it away from him.» — entre los efectos por semejanza cuenta el insomnio que provoca llevar encima corazón de cuervo o de murciélago.
«the heart of a scrich-Owle [screech-owl] laid upon the left breast of a woman that is asleep is said to make her utter all her secrets.» — la operación para hacer hablar a quien duerme, con el corazón de lechuza sobre el pecho izquierdo.
«Upon the same account do Animals that are long lived, conduce to long life;» — el principio del que salen las recetas de longevidad: lo que vive mucho alarga la vida de quien lo toma.
«It is also believed that the blood of a Bear, if it be sucked out of her wound, doth increase strength of body, because that Animall is the strongest creature.» — la sangre de oso da fuerza porque el oso es la criatura más fuerte: la razón que da es la semejanza, no la sustancia.
«Thou must know, that so great is the power of naturall things, that they not only work upon all things that are neer them, by their Vertue, but also besides this, they infuse into them a like power» — extiende la doctrina: la cosa natural no solo obra sobre lo cercano, sino que le infunde su propio poder.
«as we see in the Loadstone, which Stone indeed doth not only draw Iron Rings, but also infuseth a Vertue into the Rings themselves» — la piedra imán como caso probatorio de la infusión de virtud, y no solo de la atracción.
«Therefore they say that if any one shall put on the inward garment of an Harlot, or shall have about him that looking glass, which she daily looks into, he shall thereby become bold, confident, impudent, and wanton.» — la virtud se pega también a los objetos usados, y de ahí la ropa y el espejo que transmiten la disposición de quien los usó.
«In like manner they say, that a cloth that was about a dead Corpse hath received from thence the property of sadness, and melancholy;» — el paño mortuorio queda cargado de tristeza y melancolía por el mismo mecanismo de contagio.
«In the next place it is requisite that we consider that all things have a friendliness, and enmity amongst themselves, and every thing hath something that it fears & dreads, that is an enemy, and destructive to it; and on the contrary something that it rejoyceth, and delighteth in, and is strengthened by.» — enuncia el segundo principio del libro: toda cosa tiene amistad y enemistad, algo que la fortalece y algo que la destruye.
«So in the Elements, Fire is an enemy to Water, and Aire to Earth, but yet they agree amongst themselves.» — aplica la amistad y la enemistad a los elementos mismos, que se oponen y sin embargo concuerdan.
«Heraclitus therefore being guided by this opinion, professed that all things were made by enmity & friendship.» — remite el principio a Heráclito, en la forma que le da la traducción de 1651.
«So men have learned many excellent remedies of diseases, & vertues of things from bruits [brutes];» — hace de los animales maestros de la medicina humana: los remedios se aprendieron mirándolos curarse.
«the Harts have taught us that the Hearb [herb] Ditany is very good to draw out Darts; for they being wounded with an Arrow, cast it out by eating of this Hearb [herb]:» — el ejemplo típico de esa enseñanza: el ciervo herido come díctamo y expulsa el dardo.
«The Topaze against spirituall heats, such as are covetousness, lust, and all manner of excesses of love.» — la enemistad se aplica también a las pasiones, y al topacio le adjudica el remedio de los ardores del ánimo.
«so a Diamond doth disagree with the Loadstone, that being set by it, it will not suffer Iron to be drawn to it;» — el diamante puesto junto al imán le impide atraer el hierro: la enemistad anula la virtud.
«Orus Apollo saith in his Hieroglyphicks, if any one be girt about with the skin of the Civet Cat, that he may pass safely through the middle of his enemies, and not at all be afraid.» — de la enemistad entre la civeta y la pantera saca un uso protector, con Horapolo por fuente; la forma Orus Apollo es la de la traducción de 1651.
«A Lyon [lion] fears nothing so much as fired Torches, and will be tamed by nothing so much as by these: and the Wolf fears neither sword, nor spear, but a stone, by the throwing of which a wound being made, worms breed in the Wolf.» — cada animal tiene su miedo propio, y no el que su fuerza haría esperar: el león a las antorchas, el lobo a la piedra.
«A Snake is afraid of a man that is naked, but pursues a man that is clothed.» — el caso con que muestra que la enemistad no depende del tamaño ni de la fuerza, sino del estado en que se presenta el otro.
«It is reported also that nothing is so much an enemy to Snakes as Crabs, and that if Swine be hurt therewith they eat them, and are cured.» — la enemistad entre el cangrejo y la serpiente sirve de remedio: el cerdo mordido come cangrejos y sana.
«Also the Scorpion, and Crocodile kil [kill] one the other; and if the Bird Ibis doth but touch a crocodile with one of his feathers, he makes him immovable;» — la enemistad puede obrar por contacto mínimo: una pluma de ibis basta para inmovilizar al cocodrilo.
«The Civet Cat is said to stand so in awe of the Panther, that he hath no power to resist him, or touch his skin: and they say that if the skins of both of them be hanged up one against the other, the haires of the Panthers skin fall off.» — la enemistad sobrevive a los animales y sigue obrando entre sus pieles.
«Yet some are in things individually; as there be some men which do so wonderfully abhor the sight of a Cat, that they cannot look upon her without quaking; which fear it is manifest is not in them as they are men.» — distingue las virtudes que siguen a la especie de las que se dan en el individuo, y pone el horror al gato como caso de las segundas.
«And upon this account it is that Philosophers say, that any particular thing that never was sick, is good against any manner of sickness: therefore they say that a bone of a dead man, who never had a feavor [fever], being laid upon the patient, frees him of his quartane.» — la virtud individual se transfiere: lo que nunca enfermó cura la enfermedad que no tuvo.
«Again thou must consider, that the vertues of things are in some things in the whole (i.e.) the whole substance of them, or in all their parts, as that little fish Echeneis, which is said to stop a ship by its meer touch, this it doth not do according to any particular part, but according to the whole substance.» — divide las virtudes según residan en toda la sustancia o solo en algún miembro: distinción que manda sobre la práctica.
«So Salendine is good for the sight, not according to any one but all its parts, not more in the root then in the leaves, and seeds; and so of the rest.» — en la celidonia la virtud está por igual en raíz, hojas y semillas, y ninguna parte vale más que otra.
«But some vertues are in things according to some parts of it, viz. only in the tongue, or eyes, or some other members, and parts; so in the eyes of a Basilisk, is a most violent power to kill men, assoon as they see them: the like power is there in the eyes of the Civet Cat, which makes any Animall that it hath looked upon, to stand still, to be amazed, and not able to move it self.» — la otra rama: virtud alojada en un miembro, con los ojos del basilisco por caso extremo.
«So also there were some certain women in Scythia, and amongst the Illyrians, and Triballians, who as often as they looked angrily upon any man, were said to slay him.» — extiende al hombre el poder de la mirada, con las mujeres de Escitia por testimonio: el antecedente de su doctrina de la fascinación.
«For the greatest part of naturall Vertues doth follow the species.» — la regla general que ordena el catálogo: la mayor parte de las virtudes naturales van con la especie, no con el individuo.
«Also we read of a certain people of Rhodes, called Telchines, who corrupted all things with their sight, wherefore Jupiter drowned them.» — el caso de los telquines de Rodas, ahogados por Júpiter por corromper todo con la vista.
«So the litle fish Echeneis stops the ships, and the Basilisk, and Catablepa kill with their sight, when they are alive;» — precisa que estas virtudes obran mientras el animal está vivo, y ese es el límite que gobierna las recetas siguientes.
«take a heart newly taken out of an Animall, and whilest it is yet warm, and hang it upon one that hath a quartane feavor [fever], it drives it away.» — la receta pide el corazón todavía caliente: la virtud se va con el calor.
«That whatsoever things are taken out of Animals, whether they be Stones, any Member, Excrements, as Haire, Dung, Nailes, they must be taken from those Animals, whilest they be yet living;» — la regla operativa que rige todo el capítulo: lo que se toma del animal se toma vivo.
«when you take the tongue of a Frog, you must put the Frog into the water again;» — la contrapartida de la regla: al animal se le devuelve a su medio después de tomarle la parte.
«So writes Democritus, if any one take out the tongue of a water-Frog, yet living, no other part of the body sticking to it, and she be let go into the Water again, & lay it upon the place where the heart beats, of a woman, she shall answer truly whatsoever you ask her.» — la operación de la lengua de rana para hacer responder con verdad a quien duerme, atribuida a Demócrito.
«And Democritus relates that the tongue of a Chameleon, if it be taken from her alive, doth conduce to a good success in trials, and is profitable for women that are in travel, if it be about the outside of the house, for you must take heed that it be not brought into the house, because that would be most dangerous;» — la lengua de camaleón sirve fuera de la casa y daña dentro: la operación trae su propia prohibición.
«Moreover there be some properties that remain after death: and of these the Platonists say, that they are things in which the Idea of the matter is less swallowed up, in these, even after death that which is immortall in them, doth not cease to work wonderfull things.» — la excepción a la regla del animal vivo, fundada en la doctrina platónica de la Idea menos anegada en la materia.
«Thence it is, that as the Eagle all her life time doth overcome all other birds: so also her feathers after her death destroy, and consume the feathers of all other birds.» — la primacía del águila se mantiene en sus plumas después de muerta.
«And some of these do not do it by way of a corporeall contact, but also sometimes by their very sound.» — la virtud puede obrar sin contacto, por el solo sonido.
«a drum made of the skin of a Wolf, makes a drum made of a Lamb skin not to sound.» — el caso con que lo muestra: el tambor de lobo enmudece al de cordero.
«That Mercury rules over the spleen, stomack [stomach], bladder, womb, and right ear, as also the faculty of the common sense.» — la serie planeta↔órgano, con Mercurio sobre el bazo, el estómago, la vejiga, la matriz y el sentido común.
«Now the Moon, although she may challenge the whole body, and every member thereof according to the variety of the Signes: yet more particularly they ascribe to her the brain, lungs, marrow of the back bone [backbone], the stomack [stomach], the menstrues, and all other excrements, and the left eye, as also the power of increasing.» — a la Luna le reconoce jurisdicción sobre el cuerpo entero según el signo, y además órganos propios.
«But Hermes saith, That there are seven holes in the head of an Animall, distributed to the seven Planets, viz. the right ear to Saturne, the left to Jupiter,» — atribuye a Hermes el reparto de los siete orificios de la cabeza entre los siete planetas.
«Also all things under Saturne conduce to sadness, and melancholly [melancholy]; those under Jupiter to mirth, and honour;» — la correspondencia planetaria alcanza a las pasiones: lo saturnino entristece, lo jovial alegra y honra.
«And as the triplicities of these Signes answer one the other, and agree in Celestials, so also they agree in the members, which is sufficiently manifest by experience, because with the coldness of the feet, the belly, and breast are affected, which members answer the same triplicity; whence it is, if a medicine be applyed to the one, it helps the other,» — la triplicidad zodiacal se traslada al cuerpo, de modo que el remedio puesto en un miembro alivia al otro de la misma serie.
«Remember therefore this order, and know, that things which are under any one of the Planets, have a certain particular aspect, or inclination to those members that are attributed to that Planet, and especially to the houses, and exaltations thereof.» — cierra la doctrina en regla mnemotécnica: lo del planeta se inclina hacia el miembro del planeta.
«but Jupiter, those that are Religious, Prelates, Kings, and Dukes, and such kind of gains that are got lawfully: Mars rules over Barbers, Chirurgeons, Physitians [physicians], Sergeants, Executioners, Butchers, all that make fires, Bakers, Souldiers [soldiers], who are every where called Martial men.» — la correspondencia se extiende a los oficios, repartidos entre los planetas según su índole.
«it is very hard to know, what Star, or Signe every thing is under: yet it is known through the imitation of their rayes,» — admite la dificultad de adjudicar cada cosa a su astro, y da por criterio la imitación de los rayos.
«Also some of them are known by their colours and odours, also some by the effects of their operations, answering to some Stars.» — los otros dos criterios de adjudicación: el color y el olor, y el efecto que la cosa produce.
«Amongst Metals, Gold by reason of its splendor, and its receiving that from the Sun which makes it cordiall.» — el oro es solar por su esplendor, y de ahí, dice, su virtud cordial.
«And amongst stones, they which resemble the rayes of the Sun by their golden sparklings, as doth the glittering stone Aetites which hath power against the Falling-sickness, and poisons:» — la piedra se adjudica al Sol por su destello, y de esa adjudicación se sigue su virtud contra la epilepsia y los venenos.
«So the Carbuncle which shines by night, hath a vertue against all aiery, and vaporous poison:» — el carbunclo, que brilla de noche, vale contra los venenos del aire.
«Stone Heliotropion [heliotrope] green like the Jasper, or Emrald [emerald], beset with red specks [i.e. bloodstone], makes a man constant, renowned, and famous, also it conduceth to long life:» — al heliotropo le adjudica constancia, fama y larga vida; el corchete que identifica la bloodstone es del aparato de esta edición.
«These vertues doth Albertus Magnus, and William of Paris confirm in their writings.» — respalda el catálogo de piedras solares en Alberto Magno y en Guillermo de París.
«But above all, that stone is most Solary, which Apollonius is reported to have found, and which is called Pantaura, which draws other stones to it, as the Loadstone doth Iron, most powerfull against all poisons; it is called by some Pantherus, because it is spotted like the beast called the Panther.» — la Pantaura de Apolonio como piedra suprema del Sol, que atrae a las demás piedras como el imán al hierro.
«Amongst plants also and trees, those are Solary, which turn towards the Sun, as the Marygold [marigold], and those which fold in their leaves when the Sun is neer upon setting, but when it riseth unfold their leaves by little and little.» — la marca de lo solar en las plantas es el giro y el plegado de las hojas según el curso del Sol.
«Also amongst birds these are Solary, The Phoenix, being but one of that kind, and the Eagle, the Queen of birds, also the Vulture, the Swan, and those which sing at the rising Sun, and as it were call upon it to rise, as the Cock, Crow, also the Hawk,» — las aves solares se reconocen por cantar al amanecer, y entre ellas cuenta al fénix, único de su especie.
«These things are Lunary, amongst the Elements, viz. the Earth, then the Water, as well that of the Sea, as of the Rivers, and all moist things, as the moisture of Trees, and Animals, especially they which are White, as the Whites of Eggs, fat, sweat, flegme [phlegm], and the superfluities of bodies.» — lo lunar se reconoce por lo húmedo y lo blanco, hasta en las superfluidades del cuerpo.
«Also the stone Selenites (i.e.) Lunary, shining from a white body, with a yellow brightness, imitating the motion of the Moon, having in it the figure of the Moon which daily increaseth, or decreaseth as doth the Moon.» — la selenita lleva dentro la figura de la luna y crece y mengua con ella.
«The Chameleon also is Lunary, which alwaies assumes a colour according to the variety of the colour of the object: as the Moon changeth her nature according to the variety of the Signe which it is found in.» — el camaleón es lunar por la razón formal de mudar como muda la luna según el signo.
«but most Lunary of all is the two-horned Betle [beetle], horned after the manner of a Bull: which digs under Cow-dung, and there remaines for the space of twenty eight daies, in which time the Moon measures the whole Zodiack, and in the twenty ninth day, when it thinks there will be a conjunction of their brightness, it opens the dung and casts it into Water,» — el escarabajo bicorne es lo más lunar porque su ciclo repite los veintiocho días del recorrido zodiacal de la luna.
«Saturnine things, amongst Elements, are Earth, and also Water: amongst humors, black Choller [choler] that is moist, as well natural, as adventitious, adust Choller [choler] excepted.» — el catálogo saturnino arranca por la tierra y el agua y por la cólera negra húmeda, con la adusta expresamente excluida.
«Amongst birds those are Saturnine, which have long necks, and harsh voices, as Cranes, Estriches [ostriches], and Peacocks, which are dedicated to Saturn, and Juno.» — las aves saturninas se reconocen por el cuello largo y la voz áspera.
«Things under Jupiter, amongst Elements, are the Aire: amongst humors, blood, and the spirit of life, also all things which respect the encrease [increase], nourishment, and vegetation of the life.» — lo jovial es el aire, la sangre y cuanto atañe al crecimiento y al sustento de la vida.
«The Eagle is dedicated to Jupiter, she is the Ensigne of Emperours, and an Embleme of Justice, and Clemency.» — el águila queda de Júpiter, y con ella la enseña imperial y los emblemas de justicia y clemencia.
«These things are Martiall, amongst Elements, Fire, together with all adust, and sharp things:» — lo marcial se reconoce por el fuego y por lo adusto y punzante.
«All birds that are ravenous, devour flesh, break bones, as the Eagle, the Faulcon [falcon], the Hawk, the Vultur [vulture]; and those which are called the fatall Birds, as the Horn-Owl, the Scrich-Owl [screech-owl], Castrels, Kites, and such as are hungry, and ravenous, and such as make a noise in their swallowing, as Crows, Daws, the Pie, which above all the rest is dedicated to Mars.» — las aves marciales son las rapaces y las de mal agüero, con la urraca por encima de todas.
«And all such Animals as are warlike, ravenous, bold, and of clear fancy, as the Horse, Mule, Goat, Kid, Wolf, Libard [leopard], the wild Ass; Serpents also, and Dragons full of displeasure and poyson [poison]; also all such as are offensive to men, as Gnats, Flies, Baboon, by reason of his anger.» — el criterio marcial es la índole belicosa, y por él entran hasta los mosquitos y las moscas.
«Things under Mercury are these; amongst Elements, Water, although it moves all things indistinctly; amongst humors, those especially which are mixed, as also the Animall spirit; amongst tasts [tastes] those that are various, strange, and mixed: amongst Metals, Quick-silver, Tin, the Slver Marcasite;» — lo mercurial se reconoce por la mezcla y la variedad, y esa marca es la que reúne agua, humores mixtos y azogue.
«Also the Egyptians called the Eagle Venus, because she is prone to Venery, for after she hath been trod thirteen times a day, if the Male call her, she runs to him again.» — la misma águila cambia de planeta según el rasgo por el que se la mire: para los egipcios era Venus por su lascivia.
«Moreover whatsoever is found in the whole world is made according to the governments of the Planets, and accordingly receives its vertue.» — generaliza el reparto: no hay cosa en el mundo que no esté hecha según el gobierno de los planetas.
«the permanent continuation of all things is ascribed to Saturne.» — a Saturno le adjudica no una cosa sino un modo de ser de todas: la permanencia.
«Also amongst Vegetables, every thing that bears fruit is from Jupiter, and every thing that bears Flowers is from Venus, all Seed, and Bark is from Mercury, and all roots from Saturne, and all Wood from Mars, and leaves from the Moon.» — reparte la planta misma entre los planetas por partes: fruto, flor, semilla, raíz, madera y hoja.
«the starry Heaven, the whole mass of it under Saturne, but in the middle Elements, Aire is under Jupiter, and Water the Moon, but being mixed are under Mercury, and Venus.» — la serie planeta↔elemento que aquí propone: aire a Júpiter, agua a la Luna, y lo mezclado a Mercurio y Venus.
«Venus with Taurus governs the Isles Cyclades, the Seas of litle Asia, Cyprus, Parthia, Media, Persia: but with Libra she commands the people of the Island Bractia, of Caspia, of Seres, of Thebais, of Oasis, and of Troglodys.» — la corografía astrológica reparte provincias y pueblos entre planeta y signo tomados de a pares.
«These we have in this manner gathered from Ptolemies [Ptolemy's] opinion, to which according to the writings of other Astrologers many more may be added.» — declara la fuente del reparto de provincias, Ptolomeo, y la deja abierta a lo que otros astrólogos añadan.
«he which knows how to compare these divisions of Provinces according to the divisions of the Stars, with the Ministery [Ministry] of the ruling Intelligencies, and blessings of the Tribes of Israel, the lots of the Apostles, and typicall seales of the sacred Scripture, shall be able to obtain great and propheticall oracles concerning every Region, of things to come.» — de la corografía saca un método profético que cruza las provincias con las inteligencias, las tribus de Israel y las suertes de los apóstoles.
«And to the Planets these, viz. to Saturne Sengreen, to Jupiter Agrimony, to Mars Sulphur-wort, to the Sun Marygold [marigold], to Venus Wound-wort, to Mercury Mulleine, to the Moon, Peony.» — la serie planeta↔hierba de Apuleyo.
«But Hermes, whom Albertus follows, distributes to the Planets these, viz. to Saturne the Daffodill, to Jupiter Henbane, to Mars Rib-wort, to the Sun Knotgrass, to Venus Vervine [vervain], to Mercury Cinquefoile, to the Moon, Goos-foot.» — junto a la de Apuleyo pone la serie incompatible que atribuye a Hermes por vía de Alberto, y no arbitra entre las dos.
«We also know by experience that Asparagus is under Aries, and Garden-basill under Scorpio;» — para dos casos invoca la experiencia propia y no la autoridad.
«The second are the Pleiades, or seven Stars, which amongst stones, rule over Crystall, and the stone Diodocus; amongst Plants, the Hearb [herb] Diacedon, and Frankincense, and Fennill [fennel]: and amongst Metals, Quick-silver [quicksilver].» — el catálogo de las quince estrellas fijas, cada una con su piedra, su planta y su metal.
«The eighth is the Taile of the lesser Bear, which amongst stones, rules over the Loadstone, amongst Hearbs [herbs], Succory, whose leaves, and Flowers turn towards the North, also Mugwort, and the flowers of Perwinckle [periwinkle]; and amongst Animals the tooth of a Wolf.» — la adjudicación se justifica por la semejanza del comportamiento: la achicoria vuelve sus hojas al norte como la cola de la Osa Menor.
«we must know, that every stone, or Plant, or Animall, or any other thing, is not governed by one Star alone, but many of them receive influence, not separated, but conjoyned, from many Stars.» — el límite que pone a su propia tabla: ninguna cosa depende de un solo astro, sino de varios conjuntamente.
«But seeing that in so great a diversity of things there is not a traditionall knowledge, only in a few things, which humane understanding is able to reach:» — reconoce que la tradición no alcanza a cubrir la diversidad de las cosas, y solo llega a unas pocas.
«All Stars have their peculiar Natures, properties, and conditions, the Seals and Characters whereof they produce through their rayes,» — funda los sellos y caracteres en los rayos de los astros: son marcas naturales, no signos convenidos.
«For although things have some vertues, such as we speak of, yet those vertues do so ly [lie] hid that there is seldom any effect produced by them:» — el límite práctico de toda la doctrina: la virtud está y casi nunca obra, si no se la despierta.
«And as a blow with a stick stirs up the madness of a Dog, which before lay asleep, so doth the Celestiall harmony disclose vertues lying in the water, stirs them up,» — el símil con que explica el papel del arte: la armonía celeste despierta la virtud dormida, no la crea.
«Wherefore it is sometimes necessary that there be mixtions in operations, that if a hundred or a thousand vertues of the Sun were dispersed through so many Plants, Animals, & the like, we may gather all these together, and bring them into one form, in which we shall see all the said vertues, being united, contained.» — la razón de la mezcla: reunir en una forma las virtudes de un mismo astro dispersas en cien cosas.
«When therefore any one makes a mixtion of many matters under the Celestiall influencies, then the variety of Celestiall actions on the one hand, and of naturall powers on the other hand, being joyned together doth indeed cause wonderfull thing, by ointments, by collyries, by fumes, and such like,» — la operación mágica es composición bajo influencia: ungüentos, colirios y humos hechos en su momento celeste.
«Moreover we must know, that by how much the more noble the form of any thing is, by so much the more prone, and apt it is to receive, and powerfull to act.» — la capacidad de recibir la virtud celeste es proporcional a la nobleza de la forma.
«Now the Heaven, as a prevalent cause doth from the beginning of every thing to be generated by the concoction, and perfect digestion of the matter, together with life, bestows Celestiall influences, and wonderfull gifts, according to the Capacity that is in that life, and sensible soul to receive more noble, and sublime vertues.» — el cielo da sus dones en la medida de la capacidad del viviente que los recibe, y no por igual.
«For the Celestiall vertue doth otherwise lye asleep, as Sulphur kept from Flame, but in living bodies it doth alwaies burn, as kindled Sulphur,» — el símil del azufre: la virtud celeste duerme en lo inerte y arde de continuo en lo vivo.
«For we know that of Worms are generated Gnats, of a Horse Waspes, of a Calf, and Ox Bees, of a Crab, his legs being taken of [off], and he buried in the ground, a Scorpion; of a Duck dryed into powder, and put into Water, are generated Frogs;» — la generación espontánea le sirve de prueba de que la materia preparada recibe forma nueva.
«And there is an art wherewith by a Hen sitting upon Eggs may be generated a form like to a man, which I have seen, & knww how to make, which Magicians say hath in it wonderfull vertues, and this they call the true Mandrake.» — declara haber visto y saber hacer la figura humana engendrada por gallina clueca, que los magos llaman la verdadera mandrágora; la capa de texto imprime knww donde toca know.
«For that is the binding and continuity of the matter to the soul of the world, which doth so daily flow in upon things naturall, and all things which nature hath prepared, that it is impossible that a prepared matter should not receive life, or a more noble form.» — de la continuidad entre la materia y el Alma del Mundo saca la necesidad: preparada la materia, la vida no puede faltar.
«Hence every thing may be aptly reduced from these inferiours to the Stars, from the Stars to their Intelligencies, and from thence to the first cause it self; from the series, and order whereof whole Magick, and all occult Philosophy flowes:» — de esa serie ascendente, y no de otra cosa, hace brotar la magia entera y la filosofía oculta.
«So neither is the soul united to the body, but by the spirit, nor the understanding to the spirit but by the soul.» — la unión nunca es directa: cada nivel se junta con el siguiente por un medio propio.
«Now the first Image of God is the world, of the world, man, of man, beasts, of beasts, the Zeophyton (i.e.) half Animall, and half Plant; of Zeophyton, plants, of plants, metals, of metals, stones.» — la cadena descendente de imágenes, de Dios al mundo y de ahí hasta la piedra, con el zoófito por bisagra entre animal y planta.
«Divinity is annexed to the mind, the mind to the intellect, the intellect to the intention, the intention to the imagination, the imagination to the senses, the senses at last to things.» — la misma cadena por dentro del hombre, de la divinidad a los sentidos y de ahí a las cosas.
«For this is the band, and continuity of nature, that all superior vertue doth flow through every inferiour with a long, and continued series, dispersing its rayes even to the very last things; and inferiours through their superiours, come to the very supream [Supreme] of all.» — la continuidad va en los dos sentidos: la virtud baja hasta lo último y lo inferior sube hasta lo supremo.
«For so inferiours are successively joyned to their superiours, that there proceeds an influence from their head, the first cause, as a certain string stretched out, to the lowermost things of all, of which string if one end be touched, the whole doth presently shake, and such a touch doth sound to the other end,» — el símil de la cuerda tensa: tocado un extremo suena el otro, y ahí está el fundamento de toda operación a distancia.
«Magicians teach that Celestial gifts may through inferiors being conformable to superiors be drawn down by opportune influencies of the Heaven; and so also by these Celestial [gifts], the Celestial Angels, as they are servants of the Stars, may be procured, and conveyed to us.» — la doctrina operativa central: conformando lo inferior a lo superior se atraen los dones del cielo, y con ellos a los ángeles que sirven a los astros.
«For this is the harmony of the world, that things supercelestiall be drawn down by the Celestiall, and the super-naturall [supernatural] by naturall, because there is one operative vertue that is diffused through all kinds of things,» — el mago usa lo manifiesto para sacar lo oculto, y eso lo autoriza la unidad de la virtud operativa difundida en todo.
«But whether or no any such things can be done indeed upon man by the vertue of Hearbs [herbs], or any other naturall thing, we shall discourse in the following Chapter.» — deja en suspenso si la revivificación vale para el hombre, después de darla por cierta en los animales.
«No man is ignorant that evill spirits, by evill, and prophane [profane] Arts may be raised up as Psellus saith Sorcerers are wont to do» — da por sabido que las artes profanas levantan espíritus malignos, y remite a Psello.
«Again, on the contrary side, no man is ignorant that supercelestiall Angels or spirits may be gained by us through good works, a pure mind, secret prayers, devout humiliation, and the like.» — la contrapartida: a los ángeles supercelestes se los gana por obras buenas, mente pura y oración secreta, no por arte.
«Let no man therefore doubt that in like manner by some certain matters of the world, the Gods of the world may be raised by us,» — de esas dos vías saca la tercera, la propia: por materias del mundo se levantan los dioses del mundo.
«So we read that the antient [ancient] Priests made statues, and images, foretelling things to come, and infused into them the spirits of the stars,» — apoya la animación de estatuas en la práctica que atribuye a los sacerdotes antiguos.
«Also there is an Hearb [herb] called Rheangelida, which Magicians drinking of, can prophesie [prophesy].» — entre las vías de la profecía cuenta la hierba que beben los magos.
«if it comes over new wine, it makes it soure, and if it doth but touch the Vine it spoyles [spoils] it for ever, and by its very touch it makes all Plants, and Trees barren, and they that be newly set, to die;» — el catálogo de estragos que adjudica a la sangre menstrual, todos por simple contacto.
«They say that it drives away tertian, and quartane Agues, if it be put into the wooll of a black Ram, and tyed [tied] up in a silver bracelet, as also if the soles of the patients feet be noynted [anointed] therewith, and especially if it be done by the woman her self, the patients not knowing of it; moreover it cures the fits of the falling sickness.» — la misma sustancia que arruina cura, y la receta exige que el enfermo no lo sepa.
«Know this, that they are a greater poyson [poison] if they happen in the decrease of the Moon, and yet much greater, if they happen betwixt the decrease, and change of the Moon:» — gradúa la potencia del agente por la fase lunar en que se produce.
«But if they happen in the Eclypse [eclipse] of the Moon or Sun, they are an incurable poyson [poison].» — el eclipse marca el extremo de esa escala, y ahí el veneno lo declara incurable.
«Apollonius also in his Argonauticks makes mention of the hearb [herb] of Prometheus, which he saith groweth from corrupt blood dropping upon the earth, whilest the Vultur [vulture] was gnawing upon the liver of Prometheus upon the hill Caucasus.» — la hierba de Prometeo, nacida de su sangre, con Apolonio de Rodas por fuente.
«with which, saith he, if any one shall after he hath performed his devotion to Proserpina, smear over his body, he cannot be hurt either with sword,» — la unción de invulnerabilidad exige antes el culto a Prosérpina: la receta trae su rito.
«Also Saxo Gramaticus [Grammaticus] writes, that there was a certain man called Froton, who had a garment, which when he had put on he could not be hurt with the point or edge of any weapon.» — respalda la invulnerabilidad con el caso de Froton, tomado de Saxo Gramático.
«The civet Cat also abounds with Sorceries: for, as Pliny reports, the posts of a dore [door] being touched with her blood, the Arts of Juglers [jugglers] and Sorcerers are so invallid, that the Gods cannot be called up, and will by no means be perswaded to talk with them.» — consigna también contramagia: la sangre de civeta en las jambas anula el arte y deja mudos a los dioses.
«They say also that the blood of a Basilisk, which they call the blood of Saturn, hath such great force in Sorcery, that it procures for him that carryes it about him, good success of his Petitions, from great men in power, and of his prayers from God, and also remedies of diseases, and grant of any priveledge [privilege].» — la sangre de basilisco, llamada sangre de Saturno, sirve por igual para el favor de los poderosos y para la oración a Dios.
«And Pliny reports that there is a red toad that lives in bryers [briars], and brambles, and is full of Sorceries and doth wonderfull things:» — el sapo rojo de Plinio, cuyos dos huesecillos obran efectos contrarios según el lado del cuerpo del que se saquen.
«On the contrary, the litle bone which is on the right side, makes hot water cold, and that it can never be hot again, unless that be taken out, also it is said to cure quartanes if it be bound to the sick in a snakes skin, as also all other feavors [fevers], and restrain love, and lust.» — la simetría del cuerpo del animal reparte virtudes opuestas: el hueso derecho enfría y refrena donde el izquierdo calienta y excita.
«Also it is said that the sword, with which a man is slain, hath wonderfull power in Sorceries:» — el arma homicida queda cargada, y de ella salen frenos, espuelas y herraduras de virtud.
«They say also that a cup of liquor being made with the brains of a Bear, and drank out of the skull, shall make him that drinks it, to be as fierce, and as raging as a Bear, and think himself to be changed into a Bear, and judge all things he sees to be Bears, and so to continue in that madness, untill the force of that draught shall be dissolved,» — la licantropía queda explicada como efecto pasajero de una bebida, y no como mudanza real del cuerpo.
«So they say that fumes made with Lin-seed [linseed], and Flea-bane seed, and roots of Violets, and Parsly [parsley], doth make one to fore-see [foresee] things to come, and doth conduce to prophecying.» — abre el tratado de los sahumerios por el humo que dispone a la profecía.
«So they say, if any one shall hide Gold, or Silver, or any other pretious [precious] thing, the Moon being in conjunction with the Sun, and shall fume the place with Coriander, Saffron, Henbane, Smallage, and black Poppy, of each a like quantity, bruised together, and tempered with the juice of Hemlock, that which is so hid shall never be found, or taken away,» — la operación para ocultar un tesoro pide, además del sahumerio, el momento de la conjunción de la luna con el sol.
«Therefore were certain suffumigations used to images, rings, and such like instruments of Magick, and hid treasures, and as Porphyrius [Porphyry] saith, very effectually.» — respalda en Porfirio el uso de sahumerios sobre imágenes, anillos y demás instrumentos del arte.
«wherefore if a fume be made of that, and Lignum-aloes, Pepperwort, Musk, Saffron, red Storax tempered together, with the blood of a Lapwing, it will quickly gather airy spirits together, and if it be used about the graves of the dead, it gathers together spirits, and the Ghosts of the dead.» — el mismo compuesto reúne espíritus aéreos en cualquier sitio y sombras de difuntos si se usa sobre las sepulturas.
«And we must know, that as there is a contrariety and enmity in Stars, and spirits, so also in suffumigations unto the same.» — traslada la enemistad de los astros y los espíritus a los sahumerios, y de ahí saca los antídotos.
«As Proclus gives an example of a spirit, which was wont to appear in the form of a Lion, but by the setting of a Cock before it, vanished away, because there is a contrariety betwixt a Cock, and a Lyon [lion],» — el caso de Proclo: el gallo puesto delante deshace al espíritu leonino por pura enemistad natural.
«according to the opinion of the Magicians, in every good matter, as love, good will, and the like, there must be a good fume, odoriferous, and pretious [precious]; and in every evill matter, as hatred, anger, misery, and the like, there must be a stinking fume, that is of no worth.» — la regla que ordena todo el recetario de humos: el sahumerio ha de ser conforme al fin de la obra.
«And not only by these kind of arts, passions, apparitions, and images induced, but also things themselves, which are really changed, and transfigured into divers forms, as the Poet relates of Proteus, Periclimenus, Acheloas, and Merra, the daughter of Erisichthon: So also Circe changed the companions of Ulysses,» — no reduce la metamorfosis a apariencia: sostiene que las cosas mismas se mudan realmente, y lo apoya en los poetas.
«the same opinion was Austin [Augustine] of: for he saith, whilest he was in Italy, he heard of some women that by giving Sorceries in cheese to travellors [travelers], turned them into working Catle [cattle], and when they had done such work as they would have them, turned them into men again,» — respalda la transformación real con Agustín, que la refiere como oída en Italia.
«The Scriptures themselves testify that Pharao's [pharaoh's] Sorcerers turned their rods into Serpents, and water into blood, and did such like things.» — apela a los magos del faraón como testimonio escriturario de la transformación operada por arte.
«By these alligations therefore, suspensions, wrappings up, applications, and contacts the Accidents of the body, and mind are changed into sickness, health, boldness, fear, sadness, and joy, and the like: They render them that carry them, gratious [gracious], or terrible, acceptable, or rejected, honoured, and beloved, or hatefull, and abominable.» — el catálogo de efectos de las ataduras y suspensiones, que alcanza tanto al cuerpo como al ánimo y a la estima ajena.
«In like manner we see, that the cramp-fish being touched afar off with a long pole, doth presently stupify [stupefy] the hand of him that toucheth it.» — el torpedo tocado con una pértiga larga entumece igual la mano: el caso con que muestra que la virtud corre por lo interpuesto.
«Now by these examples we see, how by certain alligations of certain things, as also suspensions, or by a simple contact, or the continuation of any thread, we may be able to receive some vertues thereby.» — resume la doctrina: la atadura, la suspensión, el contacto simple y aun la continuidad de un hilo bastan para recibir la virtud.
«It is necessary that we know the certain rule of alligation, and suspension, and the manner which the Art requires, viz. that they be done under a certain, and sutable [suitable] constellation, and that they be done with wyer [wire], or silken threads, with hair, or sinews of certain animals.» — la regla del arte: la operación pide constelación conveniente y materia conveniente para el ligamento.
«But if thou dost desire the vertue of any Saturnine thing, thou shalt in like maner take that thing whilest Saturn raignes, and wrap it up in the skin of an Ass, or in a cloth used at a funerall, especially if thou desirest it for sadness, and with a black thread hang it about thy neck.» — el ejemplo saturnino, donde el momento, la envoltura y el color del hilo han de concordar con el planeta y con el fin.
«Rings also, which were alwaies much esteemed of by the Ancients, when they are opportunely made, do in like manner impress their vertue upon us, in as much as they do affect the spirit of him that carries them with gladness or sadness, and render him courteous, or terrible, bold, or fearfull, amiable, or hatefull;» — el anillo obra sobre el espíritu de quien lo lleva, y de ahí su doble efecto sobre el ánimo y sobre cómo lo ven los demás.
«Now the manner of making these kinds of Rings, is this, viz. when any Star ascends fortunately, with the fortunate aspect, or conjunction of the Moon, we must take a stone, and Hearb [herb] that is under that Star, and make a Ring of the Metall that is sutable [suitable] to this Star, and in it fasten the stone, putting the Hearb [herb], or root under it;» — la receta del anillo reúne los cuatro términos de la correspondencia: momento, piedra, hierba y metal del mismo astro.
«In like manner Moses the Law-giver, and ruler of the Hebrews, being skilled in the Egyptian Magick, is said by Josephus to have made Rings of love, and oblivion.» — atribuye a Moisés, por vía de Josefo, anillos de amor y de olvido, y lo cuenta entre los versados en la magia egipcia.
«There was also, as saith Aristotle, amongst the Cireneans a Ring of Battus, which could procure love and honour.» — el anillo de Bato entre los cireneos, con Aristóteles por fuente.
«Pliny reports, that to fasten an Iron naile in that place where he that fell with a fit of the Falling sickness first pitched his head, will free him from his disease.» — entre las operaciones por el lugar cuenta el clavo hincado donde cayó el epiléptico.
«Therefore Magicians forbid the Urin [urine] of a sick man to be sprinkled in the shadow a sick man, or to be uncovered against the Sun or the Moon, because the rayes of the light penetrating, bringing suddenly with it the noxious qualities of the sick bodies, convey them into the opposite body, and affect that with a quality of the same kind.» — la luz transporta cualidades, y de ahí la prohibición de exponer al sol o a la luna lo que salió de un enfermo.
«This is the reason why Enchanters have a care to cover their Enchantments with their shadow.» — la misma doctrina explica por qué el encantador cubre su obra con su sombra.
«as Pliny reports out of Anaxilaus, of a poison of Mares after copulation, which being lighted in Torches, doth monstrously represent a sight of horse heads: the like may be done of Asses, and flies, which being tempered with wax, & lighted, make a strange sight of flies: and the skin of a Serpent lighted in a Lamp, maketh Serpents appear.» — las lámparas compuestas hacen ver lo que arde en ellas: el efecto sigue a la materia quemada, no al conjuro.
«It is also reported, that a Candle made of some certain Saturnine things, if being lighted, it be extinguished in the mouth of a man newly dead, will afterwards, as oft as it shines alone, bring great sadness, and fear upon them that stand about it.» — la vela saturnina apagada en la boca de un recién muerto queda cargada de tristeza y de miedo.
«Colours also are a kind of lights, which being mixed with things, are wont to expose them to those Stars, to which they are agreeable.» — hace del color una especie de luz, y por eso el color expone la cosa al astro que le conviene.
«Now all colours are more prevalent, when they be in silk, or in metals, or in perspicuous substances, or pretious [precious] stones;» — el color obra más según el soporte: seda, metal, sustancia transparente o piedra preciosa.
«Fascination is a binding, which comes from the spirit of the Witch, through the eyes of him that is bewitched, entering to his heart.» — la definición de la fascinación: atadura que sale del espíritu de quien hechiza y entra al corazón por los ojos del hechizado.
«Those rayes being sent forth, do carry with them a spirituall vapour, and that vapour a blood, as it appears in bleer [bleary], and red eyes,» — el mecanismo material de la fascinación: el rayo lleva vapor espiritual y el vapor lleva sangre.
«So the eye being opened, and intent upon any one with a strong imagination, doth dart its beams, which are the Vehiculum of the spirit into the eyes of him that is opposite to him,» — el requisito no es mirar sino mirar con imaginación fuerte: ahí está el agente.
«Know therefore that men are most bewitched, when with often beholding they direct the edge of their sight to the edg [edge] of their sight that bewitch them,» — la fascinación necesita el cruce de las miradas, y por eso obra más cuando se mira de frente y con frecuencia.
«So are strong ligations made, and so most vehement loves are inflamed with the only raies of the eyes, even with a certain sudden looking on, as if it were with a dart, or stroke penetrating the whole body,» — el enamoramiento súbito queda explicado por el mismo mecanismo que el mal de ojo, sin diferencia de naturaleza.
«They say that certain acts, and observations have a certain power of naturall things, that they believe diseases may be expelled, or brought thus, and thus» — abre el tratado de los actos y observancias, donde la virtud no está en la sustancia sino en lo que se hace.
«So they say that quartanes may be driven away if the parings of the nails of the sick be bound to the neck of a live Eel in a linnen clout [linen cloth], and she be let go into the water.» — la operación traslada la enfermedad a un animal que se suelta después: el recorte de uñas hace de vínculo.
«They say that by Wood stricken with lightning, and cast behind the back with ones hands, any disease may be cured, and in quartanes a piece of a naile from a Gibbet, wrapt up in Wooll, and hanged about the neck, cures them;» — entre los materiales de virtud cuenta lo tocado por el rayo y lo tomado de la horca.
«Also the throat of him that hath a hard swelling, or imposthume [aposteme, abscess], being touched with the hand of him that dyed [died] by an immature death, is cured thereby.» — la mano del que murió antes de tiempo cura por contacto: la muerte violenta deja virtud en el cuerpo.
«It is said that some do cure diseases of the groin with threed [thread] taken out of the Weavers Loom, being tyed [tied] in nine, or seven knots, the name of some Widow being named at every knot.» — la cura por nudos, donde el número y el nombre pronunciado son parte de la operación.
«After this, they say, the patient must be shut into a sleeping room, the dore [door] being sealed up with a Ring, and some verse be repeated over nineteen times.» — la operación se cierra con encierro, sello y repetición contada del verso.
«The Methanenses, Citizens of Trezenium, accounted it as a present remedy for preserving of Vines from the wrong of the Southern wind, having alwaies found it by most certain experience;» — el rito del gallo partido y enterrado alrededor de la viña, que dice avalado por experiencia constante de los metaneos.
«It is said also in gathering roots and hearbs [herbs], we must draw three circles round about them, first with a sword, then dig them up, taking heed in the mean time of a contrary wind.» — la recolección de raíces y hierbas lleva su propio rito: tres círculos con la espada y cuidado con el viento contrario.
«Also they say, that if any one shall measure a dead man with a rope, first from the Elbow to the biggest finger, then from the shoulder to the same finger, and afterwards from the head to the feet, making thrice those mensurations, if any one afterward shall be measured with the same rope in the same maner, he shall not prosper, but be unfortunate, and fall into misery, and sadness.» — la medida tomada sobre un muerto queda en la cuerda y desgracia a quien se mida después con ella.
«Also to sit cross legged, is Sorcery, therefore it was forbiden [forbidden] to be done in the Counsels of Princes, and Rulers, as a thing which hindred all acts.» — cuenta entre las operaciones el simple cruzar de piernas, y de ahí la prohibición en los consejos de príncipes.
«The countenance, gesture, the motion, setting, and figure of the body, being accidentall to us, conduce to the receiving of Celestiall gifts, and expose us to the superiour bodies, and produce certain effects in us,» — el gesto y la postura, con ser accidentales, disponen al cuerpo para recibir los dones celestes.
«So they that couple for generation, for the most part are wont to make an impression on the children that are then begotten, of that countenance which they themselves then form, or imagine:» — el semblante que los padres forman o imaginan en el acto queda impreso en el hijo engendrado.
«So a mild, and cheerfull countenance of a Prince in the City, makes the people joyfull: but fierce, and sad, terrifies them:» — el efecto del gesto pasa de un cuerpo a otro sin más medio, y por eso el semblante del príncipe alegra o aterra a la ciudad.
«For as Medicines, and passions of the mind are by certain dispositions of the Heaven increased so also the gesture, and motion of the body do get an efficacy by certain influences of the heavens.» — el gesto tiene su hora: su eficacia depende de la disposición del cielo lo mismo que la del medicamento.
«A sowre [sour], fierce, cruell, angry, rough countenance, and gesture, are ascribed to Mars.» — la serie planeta↔gesto puesta del lado marcial.
«Jupiter signifies a man to be of a pale colour, darkish red, a handsome body, good stature, bold, of great eyes, not black altogether, large pupill, short nostrils, not equall, great teeth before, curld hair, of good disposition, and manners.» — la fisonomía planetaria: el tipo corporal joviale descrito rasgo por rasgo.
«And although these divers kinds of divinations may seem to be done by inferiour, and weak signes, yet the judgements of them are not to be slighted, or condemned, when prognostication is made by them, not out of superstition, but by reason of the harmoniacall correspondency of all the parts of the body.» — defiende estas adivinaciones por la correspondencia armónica de las partes del cuerpo, y las separa expresamente de la superstición.
«Whosoever therefore doth the more exactly imitate the Celestiall bodies, either in nature, study, action, motion, gesture, countenance, passions of the mind, and opportunity of the season, is so much the more like to the heavenly bodies, and can receive larger gifts from them.» — el principio operativo del que cuelga todo el capítulo: cuanto más exacta la imitación del cuerpo celeste, mayor el don recibido.
«Fervetus is an Augurium; when thou shalt go out of thy house for to do any business, and in going thou findest or seest a bird, or a man resting himself before thee on the left side of thee, that is an ill sign in reference to thy business:» — el augurio se lee por posición y sentido del movimiento, y cada combinación lleva su nombre técnico.
«The Ancients did also prognosticate from sneesings [sneezings], of which Homer in the seventeenth book of his Odyssey makes mention, because they thought they proceeded from a sacred place, viz. the head, in which the intellect is vigourous, and operative.» — el estornudo cuenta como presagio por venir de la cabeza, sede del intelecto, y lo apoya en Homero.
«All the Auspicia [auspices] which first happen in the beginning of any enterprise are to be taken notice of: as, if in the beginning of thy work thou shalt perceive that Rats have gnawn thy garments, desist from thy undertakings;» — la regla que ordena los auspicios: lo que vale es lo que ocurre al comenzar la empresa.
«If any ill omen happen in the beginning of thy business, put off thy undertakings, least thy intentions be wholly frustrated, or accomplished to no purpose; but expect and wait for a fortunate hour for the dispatching of thy affairs with a better omen.» — el mal presagio no obliga a desistir sino a esperar: prescribe aplazar hasta la hora afortunada.
«many Animals are, by a naturall power imbred in them, propheticall. Doth not the Cock by his crowing diligently tell you the hours of the night, and morning, and with his wings spread forth chase away the Lion;» — funda la augural en una potencia profética innata en los animales, y no en pacto ni en signo convenido.
«Therefore what the Daw declares, hearken, and mark, observing her setting as she sits, and her manner of flying, whether on the right hand, or left, whether clamorous, or silent, whether she goes before, or follows after, whether she waits for the approach of him that passeth by, or flies from him, and which way she goes; all these things must be diligently observed.» — el protocolo de observación, que exige registrar posadura, vuelo, lado, voz y dirección antes de juzgar.
«Then thou shall take heed to Swans, who foreknow the secrets of the waters, for their cheerfulness doth presage happy events not only to Marriners [mariners], but all other travellers, unless they be overcome by the coming over of a stronger [bird], as of an Eagle, who by the most potent Majesty of her soveraignty [sovereignty] makes null the predictions of all other birds,» — hay jerarquía entre los augurios: el ave superior anula la predicción de las demás.
«The Phoenix promiseth singular good success, which being seen anew, Rome was built very auspiciously.» — al fénix le adjudica éxito singular, y pone la fundación de Roma por caso.
«The Stork is a bird of concord, and makes concord.» — el ave no solo significa la concordia: también la produce, y ahí el signo pasa a ser causa.
«The bird Cacupha betokens gratitude, for she alone doth express love to her Dam [mother], being spent with old age.» — la significación se deduce de la conducta del animal, y por eso el ave que cuida a su madre vieja significa gratitud.
«On the contrary, Hippopotamus that kils [kills] his Dam [mother], doth betoken ingratitude for good turn, also injustice.» — el reverso del mismo criterio: la conducta contraria da la significación contraria.
«Almadel saith, that Owls, and night-ravens, when they turn aside to strange countries, or houses, betoken the death of the men of that country, and those houses; for those birds are delighted with dead Carkases [carcasses], and perceive them before hand.» — explica el mal agüero del búho por causa natural: el ave percibe de antemano la carroña que ha de haber.
«But amongst all Auspicia's [auguries] and omens, there is none more effectuall, and potent then man, none that doth signifie the truth more cleerly.» — pone al hombre por encima de todas las aves como signo, y no lo cuenta entre los presagios menores.
«which Tully [Cicero] himself testifies, saying, that there is a certain Auspicium naturally in mens souls of their eternity, for the knowing of all the courses, and causes of things.» — con Cicerón funda el auspicio humano en algo natural del alma y no en observación externa.
«Meeting of Monks is commonly accounted an ill omen, and so much the rather, if it be early in the morning, because these kind of men live for the most by the sudden death of men, as Vulturs [vultures] do by slaughters.» — consigna el mal agüero del encuentro con monjes y da la razón que corría: viven de la muerte súbita como el buitre de la matanza.
«Now this Instinct of nature, as saith William of Paris, is more sublime then all humane apprehension, and very neer, and most like to prophecy.» — el instinto de la naturaleza queda por encima de toda aprehensión humana y muy cerca de la profecía, con Guillermo de París por autoridad.
«So a thief lying hid in any house, although no body knows, or thinks of his being there, strikes fear, and terror, and a troublesomeness of mind into the inhabitants of that house, although haply not of all, because the brightness of this instinct is not in all men; yet of some of them.» — el instinto no está repartido por igual, y de ahí que unos perciban lo oculto y otros no.
«It is mentioned in Histories that Heraiscus a certain Egyptian, a man of a divine nature, could discern unclean women, not only by his eyes, but by their voice, being heard afar off, and thereupon did fall into a most grievous headach [headache].» — el caso de Heraisco, donde la percepción se paga con dolor: la facultad tiene su costo.
«For according to the doctrine of the Platonists, there is a certain power put into inferiour things, by which for the most part they agree with the superiours;» — funda la lectura augural en la doctrina platónica de la concordancia entre lo inferior y lo superior.
«We must consider therefore what Animals are Saturnall, what are Joviall, and what Martiall, and so of the rest, and according to their properties to draw forth their presages:» — la regla de interpretación: primero se adjudica el animal a su planeta, y de ahí sale el presagio.
«Most wonderful is that kind of Auguring of theirs, who hear, & understand the speeches of Animals, in which as amongst the Ancients, Melampus, and Tiresias, and Thales, and Apollonius the Tyanean [Apollonius of Tyana], who as we read, excelled, and whom they report had excellent skill in the language of birds:» — la rama superior del arte es entender la lengua de los animales, y da la lista de quienes la tuvieron.
«But Democritus himself declared this art, as saith Pliny, by naming the birds, of whose blood mixed together was produced a Serpent, of which whosoever did eat, should understand the voices of birds.» — la receta que atribuye a Demócrito por vía de Plinio: comer la serpiente nacida de la sangre mezclada de ciertas aves.
«The Romane Religion thought that the liver was the head of the inwards.» — en la extispicina el hígado hace de cabeza de las entrañas, y de ahí que su falta sea el peor signo.
«Now if there were a sacrifice found without an heart, or a head was wanting in the Liver, these were deadly presages, and were called piacularia.» — nombra el presagio mortal por su término técnico y lo liga a lo que falta en la víctima.
«There was in times past such a venerable esteem of these arts, that the most potent, and wise men sought after them, yea the Senate, and Kings did nothing without the Counsell of the Augures. But all these in these dayes, partly by the negligence of men, and partly by the authority of the Fathers, are abolished.» — consigna la abolición del arte augural, y reparte la causa entre la negligencia de los hombres y la autoridad de los Padres.
«But as often as Monstrous, prodigious, and wondrous things happen, they do presage, as is most certain, some great matter.» — la regla de los prodigios: lo monstruoso siempre anuncia algo grande, y esa correspondencia la da por cierta.
«The wife of Tarquinius Priscus seeing a flame lick the head of Servius Tullius, foretold that he should have the Kingdom.» — el prodigio se interpreta por semejanza: la llama sobre la cabeza anuncia la corona.
«So we read in Pliny, that M. Attilius, and C. Portius being Consuls, it rained Milk, and Blood, which did presage that a very great Pestilence should the next yeer [year] over-spread Rome.» — la lluvia de leche y sangre como presagio de peste, con Plinio por fuente y el consulado por fecha.
«Hecuba, when she was bringing forth Paris, saw a burning Torch, which should set on fire Troy, and all Asia.» — el prodigio del parto de Hécuba, donde la antorcha figura el incendio que el hijo traerá.
«We read also that Numa Pompilius practiced Hydromancy; for in the water he called up the gods, and learned of them things to come.» — atribuye la hidromancia a Numa Pompilio, que por el agua llamaba a los dioses.
«There was of old a kind of Hydromancy, had in great esteem amongst the Assyrians, and it was called Lecanomancy, from a skin full of water, upon which they put plates of Gold, and Silver, and pretious [precious] Stones, written upon with certain images, names, and characters.» — describe la lecanomancia asiria con su aparato de láminas, piedras, nombres y caracteres.
«To this may be referred that art, by which Lead, and Wax being melted, and cast into the water, do express manifest marks of images, what we desire to know.» — cuenta entre las hidromancias la fundición de plomo y cera en agua, por las figuras que deja.
«After the same maner doth Aeromancy divine by airy impressions, by the blowing of the Winds, by Rainbows, by Circles about the Moon and Stars, by Mists, and Clouds, and by imaginations in Clouds, and visions in the Aire.» — enumera los signos de la aeromancia: vientos, arcos, halos, nieblas y visiones en el aire.
«So also Pyromancy divines by fiery impressions, and by Stars with long Tailes, by fiery Colours, by visions, and imaginations in the fire.» — la piromancia lee impresiones de fuego, cometas, colores y visiones en la llama.
«To these is added Capnomancy, so called from smoak [smoke], because it searcheth into the flame, and smoak [smoke], and thin colours, sounds, and motions, when they are carryed upright, or on one side, or round, which we read in these Verses in Statius.» — añade la capnomancia, que lee el humo por su dirección, su color y su sonido, y la apoya en Estacio.
«The Arabian Philosophers agree, that some men may elevate themselves above the powers of their body, and above their sensitive powers; and those being surmounted, receive into themselves by the perfection of the Heavens, and Intelligencies, a divine vigour.» — con los filósofos árabes sostiene que el hombre puede elevarse por encima de sus potencias corporales y recibir vigor divino.
«Seeing therefore all the souls of men are perpetuall, and also all the spirits obey the perfect souls; Magicians think that perfect men may by the powers of their soul repair their dying bodies with other inferiour souls newly separated, and inspire them again;» — consigna la doctrina de los magos sobre la revivificación, y la atribuye a ellos sin hacerla suya.
«For we read of some that have been drowned in water, others cast into the fire, and put upon the fire, others slain in war, others otherwise tryed, and after a few dayes were alive again, as Pliny testifies of Aviola, a man pertaining to the Consull, of L. Lamia, Cæius, Tubero, Corfidius, Gabienus, and many others.» — la lista de resucitados de Plinio, nombrados uno por uno como testimonio histórico.
«If these things are true, the dying souls must, sometimes lying hid in their bodies, be oppressed with vehement extasies [ecstasies], and be freed from all bodily action: So that the life, sense, motion, forsake the body, and so, that the man is not yet truly dead, but lies astonied [dazed], and as it were dead for a certain time.» — la explicación que propone, con su condicional intacto: no hubo muerte sino éxtasis que suspende la acción del cuerpo.
«And this is often found, that in times of Pestilence many that are carried for dead to the graves to be buryed [buried], revive again.» — el argumento de experiencia con que respalda la muerte aparente: los que reviven camino de la sepultura en tiempo de peste.
«although they seem to be dead, and indeed will dye [die], unless there be some means used to recover them, as Phlebotomy, or some other cure.» — pone el remedio en la medicina, la flebotomía entre ellos, y no en el arte mágico.
«Now we may conceive that such kind of extasies [ecstasies] may continue a long time, although a man be not truly dead, as it is in Dor-mice [dormice], and Crocodiles, and many other Serpents, which sleep all Winter, and are in such a dead sleep, that they can scarce be awakened with fire.» — apoya la duración del éxtasis en el sueño invernal de los animales, que también parece muerte.
«Eclesiasticall [Ecclesiastical] Histories confirm this opinion concerning the seven sleepers, whom they say slept 196 yeers.» — cuenta a los siete durmientes entre los casos del sueño largo, con las historias eclesiásticas por respaldo.
«Now Xenocrates, a man of no mean repute amongst Philosophers was of opinion, that this long sleeping was appointed by God as a punishment for some certain sins.» — consigna la explicación de Jenócrates, que hace del sueño largo castigo divino, junto a la natural que sigue.
«But Marcus Damascenus proves it by many reasons to be possible, and naturall, neither doth he think it irrationall, that some should without meat, and drink, and avoyding excrements, without consuming, or corruption, sleep many moneths.» — frente a la explicación por castigo, pone la de Damasceno, que lo declara posible y natural.
«There is also a certain kind of Divination by Dreams, confirmed by the traditions of Philosophers, the authorities of Divines, the examples of Histories, and daily experience.» — apoya la oniromancia en cuatro órdenes de prueba a la vez: filósofos, teólogos, historias y experiencia diaria.
«I call that a Dream here, which is caused by the Celestiall influences in the phantastick spirit, mind, or body, being all well disposed.» — acota lo que llama sueño: solo el causado por influencia celeste en un sujeto bien dispuesto.
«It happens also sometimes, that not only they that are asleep, but also they that are watchfull do with a kind of instigation of minde, Divine, which Divination Aristotle cals ravishment, or a kind of madness, and teacheth that it proceeds from a melancholy humor,» — extiende la adivinación al despierto, y con Aristóteles la remite al humor melancólico.
«The cause therefore of this madness, if it be any thing within the body, is a melancholy humor, not that which they call black choller [choler], which is so obstinate, and terrible a thing, that the violence of it is said by Physitians [physicians], and Naturall Phylosophers [philosophers], besides madness, which it doth induce, also to entice evill spirits to seize upon mens bodies.» — separa expresamente su melancolía de la cólera negra, que él liga a la locura y a la posesión.
«By Melancholy, saith he, some men are made as it were divine, foretelling things to come, and some men are made Poets.» — de Aristóteles toma el doble efecto de la melancolía: hace profetas y hace poetas.
«But when these kinds of spirits portend to us future things, they shew those things which belong to the disturbing of the Elements, and changes of times, as rain, tempests, innundations, earthquakes, great mortality, famine, slaughter, and the like.» — el primer grado de la escala: los espíritus inferiores anuncian mudanzas de los elementos y calamidades.
«But when the mind is turned wholly into reason, it becomes a receptacle for midle [middle] spirits.» — el grado medio se alcanza cuando la mente se vuelve del todo hacia la razón.
«So we see that a man sometimes doth on a suddain become a Philosopher, Physitian [physician], or an excellent Orator, and foretels [foretells] mutations of Kingdomes, and restitutions of Ages, and such things as belong to them, as the Sybill [Sibyl] did to the Romanes;» — el efecto de los espíritus medios: el saber que llega de golpe y la predicción de mudanzas de reinos.
«but when the mind is wholly elevated into the understanding, then it becomes a receptacle of sublime spirits, and learns of them the secrets of divine things, such as the Law of God, the orders of Angels, and such things as belong to the knowledge of things eternall, and salvation of souls.» — el grado sublime, donde lo aprendido ya no es arte ni ciencia sino la Ley de Dios y los órdenes angélicos.
«So the Sybills [Sibyls] Prophecyed of Christ a long time before his coming.» — cuenta la profecía sibilina de Cristo entre los efectos del grado sublime.
«There are also some prognosticks, which are in the midle [middle], betwixt naturall, and supernaturall divination, as in those who are neer to death, and being weakened with old Age, do sometimes foresee things to come, because as saith Plato, by how much the more men are less hindred by their sence, so much the more acurately they understand,» — abre una categoría intermedia entre lo natural y lo sobrenatural para la previsión de los moribundos y los muy viejos.
«It is the opinion of some Divines, That God did not immediately creat [create] the body of man, but by the assistance of the heavenly Spirits compound, and frame him; which opinion Alchinous, and Plato favor;» — consigna la opinión de que Dios no formó el cuerpo del hombre por sí mismo sino con auxilio de los espíritus celestes, y la atribuye.
«Now the touch only is common to all animals. For it is most certain that man hath this sense, and in this, and tast [taste] he excels all other animals, but in the other three he is excelled by some animals, as by a Dog, who Hears, Sees, and Smels [smells] more acutely then Man,» — en el reparto de los sentidos el hombre solo aventaja a los animales en el tacto y el gusto, y en los otros tres queda por debajo.
«according to Averrois, divided into four, whereof the first is called Common sence [sense], because it doth first collect, and perfect all the representations which are drawn in by the outward senses.» — divide los sentidos interiores en cuatro siguiendo a Averroes, con el sentido común por primero.
«Now these senses have their Organs in the head, for the Common sence [sense], and imagination take up the two former Cels [cells] of the brain, although Aristotle placeth the Organ of the Common sence [sense] in the heart,» — localiza los sentidos interiores en las celdas del cerebro, y consigna que Aristóteles ponía el sentido común en el corazón.
«Above the sensible soul, which expresseth its powers by the Organs of the body, the incorporeall mind possesseth the highest place, and it hath a double nature, the one, which inquireth into the causes, properties, and progress of those things which are contained in the order of nature, and is content in the contemplation of the truth, which is therefore called the contemplative intellect.» — sobre el alma sensible pone la mente incorpórea, y la parte en intelecto contemplativo y potencia deliberativa.
«But the will, although it be of it self, of all things that are possible, yet because it is free by its essence, it may be also of things that are impossible, as it was in the Devil, desiring himself to be equall with God, and therefore is altered and depraved with pleasure and continuall anguish, whilest it assents to the inferiour powers.» — de la libertad esencial de la voluntad saca que pueda querer lo imposible, con la caída del demonio por caso.
«When it respects good, as absent, so desire is caused; or evill, as absent, or at hand, and so is caused horror, flying from, or loathing: or if it respect good, as present, then there is caused delight, mirth, or pleasure; but if evill, as present, then sadness, anxiety, grief.» — deriva las pasiones del cruce de dos variables: si el objeto es bien o mal, y si está presente o ausente.
«But when that irascible power riseth into revenge, and this be onely about some evill past, as it were of injury or hurt offered, there is caused Anger.» — sitúa la ira en la potencia irascible y la ata a un mal ya pasado.
«It is also manifest that such like Passions, when they are most vehement, may cause death.» — el efecto extremo de la pasión sobre el propio cuerpo, que da por manifiesto.
«And this is manifest to all men, that with too much joy, sadness, love, hatred, men many times dye [die], and are sometimes freed from a disease.» — la misma vehemencia mata y cura: la pasión no obra en un solo sentido.
«We know that Dogs oftentimes dye [die] with sadness for the death of their masters.» — extiende a los animales el poder mortal de la tristeza.
«Sometimes wonderfull effects are produced, as in the son of Cræsus, whom his mother brought forth dumb, yet a vehement fear, and ardent affection made him speak, which naturally he could never do.» — el hijo mudo de Creso hablando por miedo: la pasión suple lo que la naturaleza negó.
«And William of Paris saith, that he saw a man, that at the sight of a medicine, went to stool as oft as he pleased; when as neither the substance of the medicine, nor the odour, nor the tast [taste] of it came to him: but only a kind of resemblance was apprehended by him.» — el caso con que muestra que basta la semejanza aprehendida, sin sustancia, olor ni sabor, para producir el efecto.
«Upon this account some that are in a dream think they burn, and are in a fire, and are fearfully tormented, as if they did truly burn, when as the substance of the fire is not neer them, but only a resemblance apprehended by their imagination.» — el mismo mecanismo explica el tormento del sueño: la semejanza aprehendida obra como la cosa.
«So Cyprus after he was chosen King of Italy, did very much wonder at, and meditate upon the sight [fight?], and victory of Buls [bulls], and in the thought thereof did sleep a whole night, but in the morning was found horned, no otherwise then by the vegetative power being stirred up by a vehement imagination, elevating corniferous humors into his head, and producing horns.» — el caso de los cuernos nacidos de la imaginación, que explica por la potencia vegetativa movida por ella; el corchete interrogativo es del aparato de esta edición.
«Hitherto may be referred those many scarrs of King Dagobertus, and Marks of Franciscus, which they received, the one whilest he was afraid of correction, the other whilest he did wonderfully meditate upon the wounds of Christ.» — pone en la misma serie las cicatrices del rey Dagoberto y las llagas de Francisco: miedo y meditación imprimen igual en el cuerpo.
«So great a power is there of the soul upon the body, that which way soever that imagines, and dreams that it goes, thither doth it lead the body.» — la fórmula del poder del alma sobre el cuerpo: adonde imagina ir, allá lo lleva.
«They report of Gallus Vibius, that he did fall into madness, not casually, but on purpose: for whilest he did imitate mad men, he assimilated their madness to himself, and became mad indeed.» — el caso de Galo Vibio, donde la imitación deliberada acaba produciendo lo imitado.
«So the soul sometimes is by a vehement imagination, or speculation altogether abstracted from the body, as Celsus relates of a certain Presbyter, who as oft as he pleased, could make himself senseless, and lie like a dead man,» — la abstracción voluntaria del alma respecto del cuerpo, con el presbítero de Celso por caso.
«The Passions of the Soul which follow the phantasie, when they are most vehement, cannot only change their own body, but also can transcend so, as to work upon another body,» — el paso decisivo del capítulo: la pasión vehemente sale del propio cuerpo y obra sobre otro.
«So the Soul being strongly elevated, and inflamed with a strong imagination, sends forth health or sickness, not only in its proper body, but also in other bodies.» — el alma inflamada emite salud o enfermedad, y de ahí saca la posibilidad de sanar y de dañar a distancia.
«Therefore Philosophers advise, that the society of evill, and mischievous men must be shunned, for their soul being full of noxious rayes, infects them that are near with a hurtfull Contagion.» — de la doctrina de los rayos del alma saca un consejo práctico de compañía.
«For it is manifest that a body may most easily be affected with the vapour of anothers diseased body, which we plainly see in the Plague, and Leprosie [leprosy].» — el argumento a fortiori: si el vapor del cuerpo contagia, con más razón la mente, que declara más fuerte.
«Therefore let no man wonder that the body, and soul of one may in like manner be affected with the mind of another, seeing the mind is far more powerfull, strong, fervent, and more prevalent in its motion then vapours exhaling out of bodies;» — funda la acción de una mente sobre otra en que la mente supera en fuerza y en movimiento a los vapores del cuerpo.
«For as a firm, and strong belief doth work wonderfull things, although it be in false works, so distrust and doubting doth dissipate, and break the vertu [vertue] of the mind of the worker,» — la creencia firme obra aun en obras falsas, y la duda deshace la virtud del operante: el requisito subjetivo del arte.
«Therefore he that works in Magick, must be of a constant belief, be credulous, and not at all doubt of obtaining the effect.» — la prescripción que se sigue de eso, dicha sin atenuantes: el que obra en magia no ha de dudar.
«For our mind can through imaginations, or reason by a kind of imitation, be so conformed to any Star, as suddenly to be filled with the vertues of that Star, as if it were a proper receptacle of the influence thereof.» — la mente misma puede conformarse a un astro por imitación y hacerse receptáculo de su virtud.
«But know, that such kind of things confer nothing, or very little but to the Author of them, and to him which is inclined to them, as if he were the Author of them.» — acota el alcance de estas ataduras: obran sobre quien las hace y sobre quien se inclina a ellas, y poco más.
«But the dissolutions, or hinderances of such a like binding, are made by a contrary effect,» — la atadura se deshace por su contrario, y ese es el principio de toda desligadura.
«but greatest of all in speeches, and motions, by which we chiefly differ from bruits [brutes], and are called rationall; not from reason,» — sitúa la mayor virtud del hombre en el habla y el movimiento, y no en la razón que comparte con los brutos.
«But an uttered word hath a certain act in the voice, and properties of locution, and is brought forth with the breath of a man, with opening of his mouth, and with the speech of his tongue, in which nature hath coupled the corporeall voice, and speech to the mind, and understanding, making that a declarer, and interpreter of the conception of our intellect to the hearers,» — la palabra pronunciada es acto corporal y a la vez intérprete del intelecto: por ahí entra la voz en la operación mágica.
«Hence Magicians say, that proper names of things are certain rayes of things, every where present at all times, keeping the power of things, as the essence of the thing signified, rules, and is discerned in them,» — la doctrina del nombre como rayo de la cosa, que conserva su poder dondequiera y siempre.
«Adam therefore that gave the first names to things, knowing the influencies of the Heavens, and properties of all things, gave them all names according to their natures, as it is written in Genesis» — funda la lengua natural en el nombramiento de Adán, hecho con conocimiento de las influencias celestes.
«But when both significations meet in any voice or name, which are put upon them by the said harmony or men, then that name is with a double vertue, viz. naturall, and arbitrary, made most efficatious to act» — el nombre más eficaz es el que reúne la significación natural y la impuesta por convención.
«So we read in Philostratus, that when a maid at Rome dyed [died] the same day she was married, and was presented to Apollonius, he accurately inquired into her name, which being known, he pronounced some occult thing, by which she revived.» — el caso de Apolonio, donde la operación empieza por averiguar el nombre y no por el conjuro.
«It was an observation amongst the Romanes in their holy rites, that when they did besiege any City, they did diligently enquire into the proper, and true name of it, and the name of that God, under whose protection it was, which being known, they did then with some verse call forth the Gods» — el rito romano de la evocación, donde el nombre verdadero de la ciudad y de su dios es la condición de la operación.
«which vertue is not in simple words, but in sentences, by which any thing is affirmed, or denyed; of which sort are verses, enchantments, imprecations, deprecations, orations, invocations, obtestations, adjurations, conjurations, and such like.» — la virtud mayor no está en la palabra suelta sino en la oración que afirma o niega, y de ahí la lista de los géneros del conjuro.
«They that desire further examples of these, let them search into the hymns of Orpheus, then which nothing is more efficatious in naturall Magick, if they together with their circumstances, which wise men know, be used according to a due harmony, with all attention» — remite a los himnos órficos como lo más eficaz de la magia natural, con la condición de usarlos con sus circunstancias.
«Now the instrument of inchanters [enchanters] is a most pure harmoniacall spirit, warm, breathing, living, bringing with it motion, affection, and signification, composed of its parts, endued with sence, and conceived by reason.» — define el instrumento del encantador: no la fórmula sino el espíritu armónico que la lleva.
«If these things were not true, there would not be such strict penall Statutes made against them, that should inchant [enchant] fruit.» — el argumento con que respalda la eficacia del encantamiento: la ley no penaría lo que no obra.
«For Cato himself in Country affairs used some inchantments [enchantments] against the diseases of beasts, which as yet are extant in his writings.» — apoya el uso del encantamiento en Catón, cuyos ensalmos para el ganado dice conservados.
«Also Celsus Africanus reports, according to the Egyptian doctrine, that mans body, according to the number of the faces of the Zodiack Signs, was taken care of by so many, viz. thirty six spirits, whereof each undertake, and defend their proper part, whose names they call with a peculiar voice, which being called upon, restore to health with their inchantments [enchantments] the diseased parts of» — los treinta y seis decanos repartidos sobre el cuerpo, cada uno con su nombre y su parte, según la doctrina egipcia.
«And therefore Magicians command, that in every work, there be imprecations, and inscriptions made, by which the operator may express his affection: that if he gather» — la regla que exige poner en cada obra la palabra dicha y la escrita, para que el operante exprese su afecto.
«nor by the weak judgement of man, but from above, whereby they agree with the Celestiall, and divine bodies, and vertues.» — el orden de los caracteres no viene del juicio humano sino de arriba, y por eso concuerda con los cuerpos celestes.
«Moreover they divide the letters of their Hebrew Alphabet, viz. into twelve simple, seven double, and three mothers, which they say signifie as Characters of things, the twelve Signs, seven Planets, and three Elements, viz. Fire, Water, and Earth, for they account Aire no Element, but as the glew [glue], and spirit» — la partición cabalística del alfabeto hebreo en madres, dobles y simples, con el aire excluido de los elementos.
«For only originall names, which are rightly imposed, because they signify naturally, have a naturall activity:» — la distinción que gobierna toda la doctrina del nombre: solo el nombre originario y bien impuesto tiene actividad natural.
«But these are of more deep speculation, then to be handled in this book.» — se abstiene de tratar la materia cabalística en el libro de la magia natural y la remite a los siguientes.
«I believe that the supercilious censors will object against the sybils, holy magicians, and the Gospel itself sooner than receive the name of magic into favour; so conscientious are they, that neither Apollo, nor all the Muses, nor an angel from heaven can redeem me from their curse.» — en el prefacio al lector cuenta de antemano con la condena, y la atribuye al nombre mismo del arte y no a su contenido.
«But those things which are for the profit of man, for the turning away of evil events, for the destroying of sorceries, for the curing of diseases, for the exterminating of phantasms, for the preserving of life, honour, fortune, may be done without offense to God, or injury to religion, because they are, as profitable, so necessary.» — el criterio con que separa la magia lícita: lo que aprovecha al hombre y deshace el maleficio no ofende ni a Dios ni a la religión.
«I confess that magic itself teacheth many superfluous things, and curious prodigies for ostentation; leave them as empty things, yet be not ignorant of their causes.» — concede que el arte enseña cosas superfluas, y aun así pide no ignorar sus causas: la reserva y el mandato van juntos.
«I have admonished you, that I have writ many things, rather narratively than affirmatively; for so it seemed needful that we should pass over fewer things following the judgements of Platonists, and other gentile philosophers when they did suggest an argument of writing to our purpose;» — la cláusula que gobierna la lectura del tratado entero: mucho de lo que expone lo refiere, no lo afirma.
«But you that come without prejudice to read it, if you have so much discretion of prudence as bees have in gathering honey, read securely, and believe that you shall receive no little profit, and much pleasure; but if you shall find any things that may not please you, let them alone, and make no use of them; for I do not approve of them, but declare them to you;» — el símil de la abeja, con la distinción explícita entre declarar y aprobar.
«I wrote this being scarce a young man, that I may excuse myself, and say, whilst I was a child, I spake as a child, I understood as a child, but being become a man, I retracted those things which I did being a boy» — se acoge a la fórmula paulina para retractarse de lo escrito en su juventud, en el mismo volumen que lo publica.
«I confess whilst I was very young, I set upon the writing of these Books, but hoping that I should set them forth with corrections and enlargements, and for that cause I gave them to Tritemius a Neapolitanian abbot, formerly a Spanhemensian, a man very industrious after secret things.» — cuenta el origen del manuscrito y su envío a Tritemio; la edición lo llama abad napolitano, antes de Spanheim.
«I being affected, determined to set it forth myself, thinking that there might be less danger if these books came out of my hands with some amendments, than to come forth torn, and in fragments out of other men’s hands.» — la razón que da para publicar: menos peligro en sacarlo él enmendado que dejar que circule despedazado.
«Moreoyer I thought it no crime if I should not suffer the testimony of my youth to perish.» — el otro motivo, que convive con la retractación sin resolverla; la capa de texto imprime Moreoyer donde toca Moreover.
«why magic, whereas it was accounted by all ancient phlosophers the chiefest science, and by the ancient wise men, and priests was always held in great veneration, came at last after the beginning of the Catholic Church to be always odious to, and suspected by the holy Fathers, and then exploded by divines, and condemned by sacred canons, and moreover by all laws and ordinances forbidden.» — la pregunta con que abre la carta a Tritemio: cómo la ciencia más venerada pasó a ser la más prohibida; la capa de texto imprime *phlosophers* donde toca *philosophers*.
«Now the cause, as I conceive is no other than this, viz. because by a certain fatal depravation of times, and men, many false philosophers crept in, and these under the name of magicians, heaping together through various sorts of errors and factions of false religions, many cursed superstitions and dangerous rites, and many wicked sacrileges, out of orthodox religion,» — la respuesta que da: no se corrompió el arte sino que se le colaron falsos filósofos bajo su nombre.
«Hence it is that this name of magic, formerly honorable, is now in these days become most odious to good and honest men, and acounted a capital crime, if anyone dare profess himself to be a magician, either in doctrine or works,» — consigna que en su tiempo declararse mago era delito capital: el riesgo del propio libro, dicho por él.
«Hence my spirit was moved, and by reason partly of admiration, and partly of indignation, I was willing to play the philosopher, supposing that I should do no discommendable work, who have been always from my youth a curious, and undaunted searcher of wonderful effects, and operations full of mysteries;» — declara el móvil de la obra: restaurar la magia antigua de los errores de la impiedad.
«if I have wrote anything which may tend either to the contumely of nature, offending God, or injury of religion, you may condemn the error; but if the scandal of impiety be dissolved and purged, you may defend the tradition of truth;» — somete el manuscrito al juicio de Tritemio con las dos salidas explícitas, condenar o defender.
«Hence it is that they seek after the virtues of the elementary world, through the help of physic, and natural philosophy in the various mixtions of natural things, then of the celestial world in the rays, and influences thereof, according to the rules of astrologers, and the doctrines of mathematicians, joining the celestial vertues to the former:» — describe el procedimiento del mago como acumulación de tres competencias, cada una aplicada sobre lo que la anterior obtuvo.
«There are in the universe four regions, which are subject to law that cannot be transgressed, and to kingly presidency, namely heaven, the aether, the air, and the earth.» — las cuatro regiones del cosmos, cada una con su ley y su presidencia, en la versión que atribuye a Hermes.
«Above, my son, in heaven, dwell gods, over whom, as over all else likewise, rules the Maker of the universe;» — el reparto de habitantes por región, del Hacedor del universo en lo alto al rey de turno sobre la tierra.
«Osthanes also wrote excellently in this art; whose books being as it were lost, Democritus of Abdera® recovered, and set forth with his own commentaries.» — consigna la transmisión de Óstanes por vía de Demócrito de Abdera; el pequeño círculo es la llamada de nota de esta edición.
«Also it is well known that Pythagoras, and Plato went to the prophets of Memphis’ to learn it, and traveled through almost all Syria, Egypt, Judea, and the schools of the Chaldeans, that they might not be ignorant of the most sacred memorials, and records of magic,» — hace de Egipto y Caldea la escuela de los filósofos griegos, y de la magia lo que fueron a aprender allí.
«Besides Pythagoras, Empedocles, Democritus, Plato, and many other renowned philosophers traveled far by sea to learn this art: and being returned, published it with wonderful devoutness, esteeming of it as a great secret.» — cierra la genealogía con el argumento de autoridad: quienes la publicaron la tuvieron por gran secreto.
«For there is no work that is done by mere magic, nor any work that is merely magical, that doth not comprehend these three faculties.» — la exigencia de las tres facultades no admite excepción: ninguna obra mágica prescinde de alguna de ellas.
«Plato also was of that opinion, that Earth was wholly changeable, and that the rest of the elements are changed, as into this, so into one another successively.’» — consigna la posición platónica sobre la mutabilidad de la tierra.
«But it is the opinion of the subtiler sort of philosophers, that Earth is not changed, but relented and mixed with other elements, which do not dissolve it, and that it returns back into itself again.» — junto a Platón pone la opinión contraria de los filósofos más sutiles, y deja las dos sin arbitrar.
«Now every one of the elements hath two special qualities, the former whereof it retains as proper to itself, in the other, as a mean, it agrees with that which comes next after it.» — la regla que hace de la segunda cualidad de cada elemento el medio por el que concuerda con el siguiente.
«But the other elements borrow their qualities from these, so that the Air receives two qualities of the Fire, thinness and motion; and one of the Earth, viz. darkness.» — en la partición platónica los elementos medios toman prestadas sus cualidades del fuego y de la tierra.
«And this is the root and foundation of all bodies, natures, virtues, and wonderful works; and he which shall know these qualities of the elements, and their mixtions, shall easily bring to pass such things that are wonderful, and astonishing, and shall be perfect in magic.» — pone el conocimiento de las cualidades elementales y sus mezclas como raíz de toda obra maravillosa.
«Hence it was that the first, and most wise institutors of religions, and ceremonies ordained, that prayers, singings, and all manner of divine worships whatsoever should not be performed without lighted candles, or torches.» — deriva del carácter del fuego celeste la obligación ritual de la luz encendida en todo culto.
«And they commanded that for the driving away of wicked spirits, lights and fires should be kindled by the corpses of the dead, and that they should not be removed, until the expiations were after a holy manner performed, and they buried.» — el uso funerario del fuego, prescrito hasta que se cumplan las expiaciones.
«It being made fruitful by the other elements, and the heavens, brings forth all things of itself;» — la tierra fecundada por los demás elementos produce por sí misma, sin necesidad de simiente ajena.
«Take as much of it as you please, separated, washed, depurated, subtilized, if you let it lie in the open air a little while, it will, being full, and abounding with heavenly virtues, of itself bring forth plants, worms, and other living things, also stones, and bright sparks of metals.» — la receta con que hace comprobable la fecundidad de la tierra: purificada y expuesta al aire, produce por sí sola.
«No herb, nor plant whatsoever, without the moistening of water can branch forth.» — y las semillas, con ser terrestres, han de pudrirse en agua antes de brotar.
«Josephus also makes relation of the wonderful nature of a certain river betwixt Arcea and Raphanea, cities of Syria: which runs with a full channel all the sabbath day, and then on a sudden ceaseth, as if the springs were stopped, and all the six days you may pass over it dryshod:» — el río sabático de Josefo entre las maravillas del agua, cuya razón declara desconocida.
«although he cannot precisely give an estimate of the time when it is, yet of necessity it must be within 24 hours; and I myself know how to do it, and have often done it.» — aquí la declaración sobre la comunicación a distancia llega más lejos que en la traducción de 1651: no solo dice saber hacerlo, sino haberlo hecho a menudo.
«And Aristotle tells of a man, to whom it happened by reason of the weakness of his sight, that the air that was near to him, became as it were a looking glass to him, and the optic beam did reflect back upon himself, and could not penetrate the air, so that whithersoever he went, he thought he saw his own image, with his face towards him, go before him.» — el caso del hombre que veía su propia imagen delante: la aparición explicada por debilidad de la vista y reflexión del rayo óptico.
«But there are more secret arts than these, and such whereby anyone may at a very remote distance hear, and understand what another speaks, or whispers softly.» — anuncia artes de audición a distancia sin describirlas: la reserva forma parte de la exposición.
«And all these, and many more, and greater than these are grounded in the very nature of the Air, and have their reasons, and causes declared in mathematics, and optics.» — el límite con que cierra el capítulo del aire: todo eso tiene razón natural, y su explicación está en las matemáticas y la óptica.
«But Boreas is contrary to Notus, and is the northern wind, fierce, and roaring, and discussing clouds, makes the air serene, and binds the water with frost.» — el segundo de los cuatro vientos, opuesto punto por punto al primero.
«And Zephyrus, which is the western wind, is most soft, blowing from the west with a pleasant gale, it is cold and moist, removing the effects of winter, bringing forth branches, and flowers.» — el céfiro, al que adjudica la salida del invierno y el brote.
«To this Eurus is contrary, which is the eastern wind, and is called Apeliotes, it is waterish, cloudy, and ravenous.» — el euro cierra la serie de los cuatro vientos, con su nombre griego consignado.
«And Fire is so natural to them, that that being extinguished they presently die.» — a los animales les adjudica el fuego, y por prueba pone que apagado él mueren al punto.
«and they are called fiery, out of which fire is extracted, or which are resolved into fire, or which are produced of fire: as thunderbolts,® firestones,? and the stone asbestos.!» — el criterio triple con que adjudica una piedra al fuego; los signos sueltos son las llamadas de nota de esta edición.
«In plants also, the roots resemble the Earth, by reason of their thickness: and the leaves, Water, because of their juice: flowers, the Air, because of their subtilty, and the seeds the Fire, by reason of their multiplying spirit.» — reparte la planta entre los cuatro elementos por partes, y da la razón de cada adjudicación.
«others are watery, as fishes: others airy, which cannot live out of the air: others also are fiery, living in the fire, as salamanders,!! and crickets,!? such as are of a fiery heat, as pigeons,!> ostriches,'* lions, and such as the wise man calls beasts breathing fire.!>» — la serie animal↔elemento, con la salamandra y el grillo por ígneos.
«the sight is fiery; neither can it perceive without Fire, and light:» — reparte también los sentidos, y a la vista le adjudica el fuego porque sin luz no percibe.
«The Earth signifies a slow, and firm motion:» — abre la serie de los temperamentos por elemento, que sigue con el aire alegre y el fuego airado.
«For the firmness of the celestial Earth is there without the grossness of Water: and the agility of the Air without running over its bounds; the heat of Fire without burning, only shining, and giving life to all things by its heat.» — en el cielo cada elemento conserva su propiedad y pierde su defecto: así explica que los elementos estén allí sin ser los de aquí.
«First in these inferior bodies feculent, and gross, and in celestials more pure, and clear; but in supercelestials living, and in all respects blessed.» — los tres grados en que los elementos se dan según el mundo: groseros, puros y vivientes.
«Many things also there are artificially made, which men much wonder at; as is fire, which burns water, which they call the Greek Fire,'> of which Aristotle teacheth many compositions in his particular treatise of this subject.'°» — cuenta el fuego griego entre las maravillas del arte y no de la naturaleza, y remite a un tratado de Aristóteles.
«In like manner there is made a fire that is extinguished with oil, and is kindled with cold water, when it is sprinkled upon it;!7 and a fire which is kindled either with rain, wind, or the Sun; and there is made a fire, which is called burning water,!® the confection whereof is well known, and it consumes nothing but itself:» — la serie de los fuegos artificiales que contradicen el comportamiento ordinario del elemento.
«Also on the contrary, wood, or any other combustible matter may be so ordered, that it can receive no harm from the fire; and there are made certain confections, with which the hands being anointed, we may carry red hot iron in them, or put them into melted metal, or go with our whole bodies, being first anointed therewith, into the fire without any manner of harm,» — las unturas de incombustibilidad, presentadas como obra de arte y no de prodigio.
«There is also a kind of flax, which Pliny calls asbestum,! the Greeks dofBecov, which is not consumed by fire, of which Anaxilaus saith, that a tree compassed about with it, may be cut down with insensible blows, that cannot be heard.”» — el amianto de Plinio; la palabra griega sale corrupta de la capa de texto y no se restituye dentro de la cita.
«they are called occult qualities, because their causes lie hid, and man’s intellect cannot in any way reach, and find them out.» — la definición de cualidad oculta se hace por el lado del que conoce: oculta es la que el intelecto no alcanza, no la que no existe.
«for as in the stomach the meat is digested by heat, which we know; so it is changed by a certain hidden virtue which we know not: for truly it is not changed by heat, because it should rather be changed by the fireside, than in the stomach.» — el argumento con que muestra que el calor no basta: si bastara, la comida se digeriría junto al fuego y no en el estómago.
«So there are in things, besides the elementary qualities which we know, other certain inbred virtues created by nature, which we admire, and are amazed at, being such as we know not, and indeed seldom or never have seen.» — funda la existencia de las virtudes ocultas por encima de las cualidades elementales conocidas.
«Long since Metreas brought a very great wonderment upon the Greeks, and Romans concerning himself. He said that he nourished, and bred a beast that did devour itself.» — entre los casos de virtud oculta cuenta la bestia que se devoraba a sí misma, atribuida a Metreas.
«Who would not wonder that fishes should be digged out of the earth, of which Aristotle, Theophrastus, and Polybius the historian makes mention??» — los peces desenterrados como caso de virtud oculta, con tres autoridades por respaldo.
«And these things which Pausanias wrote concerning the singing stones? All these are effects of occult virtues.» — cierra la serie de prodigios adjudicándolos todos a la misma causa: la virtud oculta.
«So the ostrich* concocts cold, and most hard iron, and digests it into nourishment for his body; whose stomach they also report, cannot be hurt with red hot iron.» — el avestruz que digiere hierro, puesto como prueba de una virtud que las cualidades no explican.
«but in the Soul of the World they are many.» — la Idea es una en Dios y múltiple en el Alma del Mundo: la bisagra por la que lo uno se hace muchos.
«For we perceive that there is this in us, that according to our conceptions of things, our bodies are moved, and that cheerfully as when we are afraid of, or fly from anything.» — el argumento de experiencia interna con que funda que la concepción mueve al cuerpo.
«So also they conceive, and imagine divers virtues, not only things natural, but also sometimes artificial, and this especially if the soul of the operator be inclined towards the same.» — la condición que hace del operante parte de la operación: la virtud se recibe mejor si el alma se inclina hacia ella.
«So in things, various effects, inclinations, and dispositions are occasioned not only from the matter variously disposed, as many suppose, but from a various influence, and divers form; not truly with a specifical difference, but particular, and proper.» — rechaza que la diversidad de efectos venga solo de la materia, y la remite a la influencia y a la forma propia.
«But Avicen reduceth these kinds of operations to intelligences,» — junto a Platón y a Alejandro consigna la tercera solución, la de Avicena, que remite las operaciones a las inteligencias.
«These kinds of operations therefore are performed in these inferior things by express forms, and in the heavens by disposing virtues, in intelligences by mediating rules, in the original cause by Ideas, and exemplary forms, all which must of necessity agree in the execution of the effect, and virtue of everything.» — la fórmula que reparte una misma operación entre los cuatro niveles y exige el acuerdo de todos para el efecto.
«There is therefore a wonderful virtue, and operation in every herb, and stone, but greater in a star, beyond which, even from the governing intelligences everything receiveth,» — gradúa la virtud según la altura del sujeto: mayor en el astro que en la hierba, y mayor aún en la inteligencia.
«which physicians have often professed they know to be true; as is manifest of the viper, and snake.!®» — respalda la renovación del cuerpo por lo que se renueva a sí mismo en el testimonio de los médicos.
«and the like virtue there is in a pelican, whose right foot being put under warm dung, after three months there is of that generated a pelican.!?» — el pelícano regenerado desde su pie derecho, en la serie de lo que se renueva a sí mismo.
«Therefore some physicians by some certain confections made of vipers, and hellebor, and the flesh of some such kind of animals do restore youth, and indeed do sometimes restore it so, as Medea restored old Pileas.”°» — la restitución de la juventud por confecciones de víbora y eléboro, con el precedente de Medea.
«And again, in celestial bodies, Mercury, Jupiter, the Sun, and Moon are friends to Saturn; Mars, and Venus enemies to him:» — la amistad y la enemistad se aplican también a los planetas, y de ahí bajan a lo sublunar.
«the friendships, and enmities of the superiors be, such are the inclinations of things subjected to them in these inferior.» — la regla que hace de las inclinaciones de aquí abajo un reflejo de las de arriba.
«These dispositions therefore of friendship, and enmity are nothing else but certain inclinations of things of the one to another, desiring such, and such a thing if it be absent, and to move toward it, unless it be hindered,» — define la amistad y la enemistad como inclinaciones y movimientos, y no como afectos.
«Now in animals there is amity betwixt the blackbird, and thrush, betwixt the crow, and heron, betwixt peacocks, and pigeons, turtles, and parrots.!'» — el catálogo de amistades entre aves, que corre en paralelo al de enemistades.
«Now it is verified and put in all men’s minds, that every natural kind, and that every particular or general nature, hath natural amity and enmity to some other.» — generaliza el principio: no hay naturaleza sin su amistad y su enemistad propias.
«Fire agrees with air, without which it could not burn; earth with water, without which it would not cohere.» — la amistad entre los elementos se prueba por dependencia: sin el aire el fuego no arde, sin el agua la tierra no cohesiona.
«nature hath pictured the sign of this death in the livers of sheep, in which the very figure of frog-parsley being déscribed, doth naturally appear;» — la naturaleza deja escrita la señal de la muerte en el órgano del animal que la sufre: la firma como prueba de la enemistad.
«So a lizard is so contrary to scorpions, that it makes them afraid with its very sight,» — la enemistad opera a distancia por la sola vista, sin contacto ni sustancia.
«There is also an enmity betwixt scorpions, and mice;!’ wherefore if a mouse be applied to a prick or wound made by a scorpion, it cures it, as it is reported.» — de la enemistad saca el remedio: el enemigo del que hiere cura la herida.
«A horse fears a camel, so that he cannot endure to see so much as his picture.» — la enemistad alcanza a la imagen del enemigo y no solo a su presencia.
«An elephant when he rageth, is quieted by seeing of a cock.» — el gallo aquieta al elefante, en la serie de los miedos que la fuerza del animal no haría esperar.
«A mad bull is tamed by being tied to a fig tree.» — la enemistad cruza los reinos: un árbol doma a un animal furioso.
«Amber draws all things to it besides garden basil, and those things, which are smeared with oil, betwixt which there is a kind of a natural antipathy.» — la atracción del ámbar tiene sus excepciones, y esas excepciones son la antipatía.
«Hence it is said, that a cock is very much feared, and, as it were, reverenced by a lion; the reason of which we cannot assign from matter or sense, but from the contemplation alone of a supernal order.» — declara que este caso no se explica por materia ni por sentido, sino solo por la contemplación del orden superior.
«And upon this account it is that philosophers say, that any particular thing that never was sick,4 is good against any manner of sickness: therefore they say that a bone of a dead man, which never had a fever, being laid upon the patient, frees him of his quartan.» — la virtud individual se transfiere por lo que al sujeto le faltó padecer.
«There are also many singular virtues infused into particular things by celestial bodies, as we have showed before.» — junto a las virtudes de la especie pone las singulares, infundidas por los cuerpos celestes en el individuo.
«So is boldness in a harlot, fearfulness in a thief.» — el ejemplo con que ilustra la virtud individual, tomado de la disposición moral y no de la naturaleza.
«Therefore witches, when they would after this manner® work by witchcraft, use the eyes of such kind of animals in their waters for the eyes,’ for the like effects.» — de la doctrina de la virtud alojada en un miembro deriva la práctica que atribuye a las brujas.
«So divers things have divers virtues dispersed variously through several parts, as they are from above infused into them according to the diversity of things to be received; as in a man’s body the bones receive nothing but life, the eyes sight, the ears hearing.» — la virtud se reparte por partes según la capacidad de cada una para recibirla.
«And these virtues are not cleared by reason, but by experience.» — el criterio epistémico con que cierra el capítulo: aquí manda la experiencia y no el razonamiento.
«t is manifest that all things inferior are subject to the superior, and after a manner (as saith Proclus)! they are one in the other, viz.» — abre el tratado de las correspondencias con el principio de Proclo, y no con una tabla [la I capitular se perdió en la caja].
«So we say that there be here certain things which are solary, and certain which are lunary, in which the Sun, and Moon make a strong impression of their virtue.» — define lo solar y lo lunar por la fuerza de la impresión recibida, no por la semejanza aparente.
«Know therefore that according to the doctrine of the Arabians, the Sun rules over the brain, heart, the thigh, the marrow, the right eye, and the spirit;» — atribuye a los árabes la serie planeta↔órgano, y con el Sol la abre.
«That Jupiter over the belly, and navel, whence it is written by the ancients, that the effigy of a navel was laid up in the temple of Jupiter Hammon.» — la adjudicación se apoya en un dato de culto: el ombligo depositado en el templo de Júpiter Amón.
«The several signs also of the Zodiac take care of their members.» — junto al reparto planetario corre el zodiacal, y los dos se aplican al mismo cuerpo.
«those under Venus to love, lust, and concupiscence; those under Mercury to eloquence; those under the Moon to a common life.» — cierra la serie planeta↔pasión con Venus, Mercurio y la Luna.
«For Saturn governs of men, monks, melancholy men, and hid treasures, and those things which are obtained with long journeys, and difficulty;» — a Saturno le adjudica no solo hombres sino situaciones: el tesoro escondido y lo que cuesta trabajo.
«Ow it is very hard to know, what star, or sign everything is under: yet it is known through the imitation of their rays, or motion, or figure of the superiors.» — reconoce la dificultad de la adjudicación y da tres criterios: rayo, movimiento y figura [la N capitular se perdió en la caja].
«baboon is solary, which twelve times in a day, viz. every hour barks, and in time of equinoctium pisseth twelve times every hour: the same also it doth in the night, whence the Egyptians did engrave him upon their fountains.”’» — el cinocéfalo es solar por marcar las horas, y de ahí, dice, su talla en las fuentes egipcias.
«And amongst fish, the sea calf*? is chiefly solary, who doth resist lightning, also shellfish, and the fish called pulmo,*? both which shine in the night,» — extiende lo solar a los peces por el brillo y la resistencia al rayo; los signos sueltos son llamadas de nota.
«as the selenotropion, which turns towards the Moon, as doth the heliotrophion towards the Sun, and the palm tree sends forth a bough at every rising of the Moon; hyssop* also, and rosemary, agnus castus, and the olive tree, are lunary.» — la marca de lo lunar en las plantas es seguir a la luna como el heliotropo sigue al sol.
«Cats also are lunary, whose eyes become greater or less, according to the course of the Moon:» — el gato entra entre lo lunar por la pupila que crece y mengua con la luna.
«Amongst fish; the dolphin, the fish called anchia,** the sheath fish,24 by reason of his devoutness.» — la adjudicación a Júpiter se hace por una cualidad moral atribuida al animal, la devoción.
«they say that he couples after the seventh day! of his being brought forth; also the bull for his disdain,!» — el criterio venéreo mezcla la lascivia y el desdén, y adjudica animales por una y por otro.
«the swan,!” the wagtail,!® the swallow, the pelican, the burgander,!? which are very loving to their young.» — entre lo venéreo cuenta también el amor a la cría, y no solo el apetito.
«the rose of Lucifer was dedicated to her, also the myrtle tree of Hesperus.» — la rosa y el mirto quedan de Venus, cada uno por una de sus dos apariciones como astro.
«The Moon with Cancer governs Bithivia, Phrygia, Colchica, Numidia, Africa, Carthage, and all Carchedonia.» — la corografía astrológica cierra por la Luna en Cáncer; los topónimos van como los imprime la edición.
«Now Apuleius distributes certain and peculiar herbs to the signs, and planets, viz. to Aries the herb sange,* to Taurus vervain that grows straight, to Gemini vervain that grows bending, to Cancer comfrey,° to Leo sowbread,° to Virgo calamint,’ to Libra mugwort,® to Scorpio scorpion grass,’ to Sagittarius pimpernel, to Capricorn the dock,!° to Aquarius dragonwort,!! to Pisces hartwort.!?» — la serie signo↔hierba completa de Apuleyo, con los signos sueltos por llamadas de nota.
«Moreover I will according to the doctrine of Hermes, and Thebit reckon up some of the more eminent stars, whereof the first is called the Head of Algol,*!» — declara las dos autoridades de las que toma el catálogo de las quince estrellas fijas: Hermes y Thebit.
«The eleventh is called Alchamech,*> which amongst stones, rules over the jasper; amongst plants the plantain.*°» — la undécima de las quince estrellas, con su piedra y su planta.
«The thirteenth is called the Heart of the Scorpion,*® under which, amongst stones, is the sardonius,*? and amethyst; amongst plants long aristolochy,>° and saffron.» — el corazón del Escorpión con sus dos piedras, en un catálogo que casi siempre asigna una sola.
«So amongst stones, the chalcedony is under Saturn, and Mercury, together with the Tail of Scorpion,>? and Capricorn.» — el ejemplo con que muestra que una misma cosa cae bajo varios astros a la vez.
«Everything therefore hath its character pressed upon it by its star for some peculiar effect, especially by that star which doth principally govern it: and these characters contain, and retain in them the peculiar natures, virtues, and roots of their stars, and produce the like operations upon other things, on which they are reflected,» — el carácter no es signo convencional sino marca impresa por el astro, y por eso obra.
«But as the number of the stars is known to God alone, so also their effects, and seals upon these inferior things: wherefore no human intellect is able to attain to the knowledge of them.» — pone el límite de todo el sistema: la cuenta completa de los sellos es inaccesible al entendimiento humano.
«Whence very few of those things became known to us, which the ancient philosophers, and chiromancers' attained to, partly by reason, and partly by experience, and there be many things yet lie hid in the treasury of nature.» — declara incompleto lo que transmite y abierto el tesoro de la naturaleza.
«These doth Julian call sacred, and divine letters, seeing that by them according to the holy Scripture is the life of men writ in their hands.» — funda la quiromancia en la escritura, con Juliano por autoridad para llamar letras divinas a las líneas de la mano.
«It is sufficient here to show from whence the characters of nature have their original, and in what things they are to be inquired after.» — se abstiene de dar el catálogo completo de caracteres y se limita a decir de dónde vienen y dónde buscarlos.
«I say opportunely fitted, viz. under a harmony like to the harmony, which did infuse a certain virtue into the matter.» — precisa qué quiere decir con oportuno: la disposición ha de repetir la armonía que infundió la virtud.
«As for example; if thou dost desire to attract virtue from the Sun, and to seek those things that are solary, amongst vegetables, plants, metals, stones, and animals, these things are to be used, and taken chiefly, which in a solary order are higher.» — la regla práctica de la atracción: dentro de la serie del astro se escoge siempre lo más alto.
«For these are more available: so thou shalt draw a singular gift from the Sun through the beams thereof, being seasonably received together, and through the Spirit of the World.» — la vía por la que llega el don: los rayos recibidos en su sazón, y el Espíritu del Mundo.
«t is most evident, that in the inferior nature all the powers of superior bodies are not found comprehended in any one thing, but are dispersed through many kinds of things amongst us:» — la razón por la que la operación exige mezcla: ninguna cosa de aquí abajo reúne todo el poder de su astro [la I capitular se perdió en la caja].
«as there are many solary things, whereof every one doth not contain all the virtues of the Sun: but some have some properties from the Sun, and others othersome.» — el reparto es parcial: cada cosa solar tiene solo algunas de las propiedades del Sol.
«Now there is a twofold virtue in commixtion, one, viz. which was first planted in its parts, and is celestial, the other is obtained by a certain, and artificial mixtion of things mixed amongst themselves, and of the mixtions of them according to certain proportions, such as agree with the heaven under a certain constellation;» — distingue la virtud plantada por el cielo de la que produce el arte de la mezcla proporcionada.
«is gathered out of the juice of innumerable flowers, and brought into one form, contains the virtue of all, by a kind of divine, and admirable art of the bees.» — la miel de las abejas es el modelo natural de la mezcla que reúne en una sola forma la virtud de muchas; el sujeto de la frase queda del otro lado de un número de plana intercalado por el escaneo.
«For every mixtion, which consists of many several things, is then most perfect, when it is so firmly compacted on all parts, that it becomes one, is everywhere firm to itself, and can hardly be dissipated:» — el criterio de perfección de la mezcla es la unidad indisoluble del compuesto.
«the Hebrews confess, that all sublunary things are subject to generation, and corruption, and that also there are the same things in the celestial world, but after a celestial manner,» — con los hebreos sostiene que las mismas cosas están arriba, pero de otro modo.
«but after a celestial manner, as also in the intellectual world, but in a far more perfect,» — la escala sube un grado más: lo mismo está en el mundo intelectual, y allí de manera mucho más perfecta.
«the Grecians called ouptraveta:? so the Earth agrees with cold Water, the Water with moist Air, the Air with Fire, the Fire with the Water in heaven;» — nombra en griego la simpatía que ordena la escalera de los elementos; la palabra sale corrupta de la capa de texto y no se restituye dentro de la cita.
«Also we know that the pelican doth restore her young to life, being killed, with her own blood.» — junto al pez que se recompone pone al pelícano que resucita a su cría con su propia sangre.
«it makes iron presently rusty, it makes brass rust, and smell very strong:?» — entre los estragos de la sangre menstrual cuenta también la corrosión de los metales.
«The ashes of menstruous clothes, if they be cast upon purple garments that are to be washed, change the colour of them, and takes away colours from flowers.'°» — la ceniza conserva la virtud del paño y sigue obrando sobre el color.
«when they happen in the first years, even in the years of virginity,'> for if they do but touch the posts of the house!® there can no mischief take effect in it.» — el mismo agente protege cuando se da en los primeros años, y la virtud cambia de signo con la edad.
«over if the stomach of a hart be burnt or roasted, and to it be put a perfuming made with a menstruous cloth, it will make crossbows useless for the killing of any game.» — la operación que inutiliza las ballestas, en la serie de las ataduras por sahumerio.
«So great a poisonous force is in them, that they are poison to poisonous creatures.» — la fórmula con que gradúa el veneno: lo es incluso para lo venenoso.
«which unless the mare herself doth presently eat, she will never after love her foal,» — el hipomanes que la yegua ha de comer para amar a su cría, y de ahí su uso para procurar amor.
«There is also another sorcery, which is called by the same name, viz. hippomanes, viz. a venomous humour,” issuing out of the share of a mare what time she desires a horse, of which Virgil makes mention,» — consigna dos cosas distintas bajo el mismo nombre, y no las confunde.
«and that if it be bound unto the left arm, it is such a present charm, that if any man do but look upon a woman, it will make her follow him presently;» — el amuleto de amor atado al brazo izquierdo, que obra por la sola mirada.
«They say also that a tick,’ if it be pulled out of the left ear of a dog, and if be it altogether black, hath great virtue in the prognostic of life,» — el pronóstico de vida por la garrapata negra del oído izquierdo del perro.
«Let no man wonder how great things suffumigations can do in the Air, especially when he shall with Porphyrius consider, that by certain vapours exhaling from proper suffumigations, airy spirits are presently raised, as also thunderings, and lightnings, and such like things.» — al sahumerio le adjudica no solo la aparición de espíritus sino efectos meteorológicos, con Porfirio por autoridad.
«as often as we direct any work to the Sun, we must make suffumigations with solary things, if to the Moon, with lunary things, and so of the rest.» — la regla que ata el sahumerio al destinatario de la obra: la materia ha de ser de la serie del astro invocado.
«But Hermes describes the most powerful fume to be, viz. that which is compounded of the seven aromatics, according to the powers of the seven planets, for it receives from Saturn, pepperwort, from Jupiter, nutmeg, from Mars, lignum-aloes, from the Sun, mastic, from Venus, saffron, from Mercury, cinnamon, and from the Moon, the myrtle.» — el humo supremo reúne los siete planetas en un solo compuesto, y lo atribuye a Hermes.
«The twelve signs also of the Zodiac have their proper fumes, as Aries hath myrrh; Taurus, pepperwort, Gemini, mastic; Cancer, camphor; Leo, frankincense; Virgo, sanders; Libra, galbanum;'4 Scorpio, opoponax;!> Sagittarius, lignum-aloes,; Capricornus, benjamin; Aquarius, euphorbium; Pisces, red storax.» — la serie completa signo↔sahumerio, paralela a la planetaria.
«For Saturn take the seed of black poppy, of henbane, the root of mandrake, the loadstone, and myrrh, and make them up with the brain of a cat, or the blood of a bat.» — la receta saturnina, donde el aglutinante animal es parte de la correspondencia y no simple excipiente.
«For Mercury take mastic, frankincense, cloves, and the herb cinquefoil, and the stone achates, and incorporate them all with the brain of a fox, or weasel, and the blood of a pie.» — la receta mercurial reúne planta, resina, piedra y animal de la misma serie.
«to Saturn are appropriated for fumes all odoriferous roots, as pepperwort root, etc.» — la regla general que hay detrás de las recetas: a cada planeta le toca una parte de la planta.
«Hence by the touch sometimes sickness, poisonings, and love is induced; some things, as the hands, or garments being annointed: also by kisses, some things being held in the mouth, love is induced, as in Virgil we read that Venus prays Cupid:?» — el contacto y el beso como vías de la operación, junto a la unción de manos y ropa.
«they say, if a smooth shining piece of steel> be smeared over with the juice of mugwort, and made to fume, it will make invocated spirits to be seen in it.» — la operación catóptrica: el acero untado y sahumado hace visibles a los espíritus invocados.
«So also there are some suffumigations, or unctions, which make men speak in their sleep, to walk, and to do those things which are done by men that are awake, and sometimes to do those things, which men that are awake cannot, or dare not do.» — el efecto que atribuye a los ungüentos va más allá del sueño: hacer lo que despierto no se atreve.
«Therefore when collyries transform visual spirits, that spirit doth easily affect the imagination, which indeed being affected with divers species, and forms, transmits the same by the same spirit unto the outward sense of sight,» — explica la visión provocada por colirios como alteración del espíritu visual y no como aparición externa.
«And if any shall touch the sea hare> with his hand or stick, doth presently run out of his wits.» — la virtud pasa por el palo interpuesto, igual que en el torpedo.
«Also it is said, that if a woman take a needle and beray it with dung, and then wrap it up in earth, in which the carcass of a man was buried, and shall carry it about her in a cloth which was used at the funeral, that no man shall be able to lie with her® as long as she hath it about her.» — la atadura sexual por suspensión, con tierra de sepultura y paño de funeral.
«So we read in Philostratus that Jarchus, a wise prince of the Indians bestowed seven rings made after this manner, marked with the virtues, and names of the seven planets to Apollonius, of which he wore every day one, distinguishing them according to the names of the days,' by the benefit of which he lived above one hundred and thirty years, as also always retained the beauty of his youth.» — los siete anillos planetarios de Yarcas a Apolonio, llevados uno por día, como caso de longevidad por el arte.
«the dust, in which a mule? hath rolled himself, being cast upon the body, doth mitigate the heats of love, and that» — el polvo del revolcadero de la mula apaga el amor, por la esterilidad que se le atribuye al animal.
«Upon this account they that endeavor to procure love, are wont to bury for a certain time the instruments of their art, whether they be rings, images, looking glasses, or any other, to hide them in a stewhouse, because in that place they will contract some venereal faculty, no otherwise than things that stand in stinking places, become stinking,» — el instrumento se carga por el lugar donde se guarda, y por eso el lupanar sirve para las obras de amor.
«Hence they that are to gather a saturine, martial, or jovial herb, must look towards the east, or south, partly because they desire to be oriental!° from the Sun, and partly, because their principal houses, viz. Aquarius, Scorpius, Sagittarius are southern signs, so also are Capricornus, and Pisces.» — la orientación del cuerpo al recolectar se deduce de la posición del planeta y de sus casas.
«But they that will gather a venereal, mercurial, or lunary herb, must look towards the west, because they delight to be western, or else they must look northward, because their principal houses, viz. Taurus, Gemini, Cancer, Virgo are northern signs.» — la mitad complementaria de la regla, con los planetas que prefieren ser occidentales.
«Also there are made artificially some lights, by lamps, torches, candles, and such like, of some certain things, and liquors opportunely chosen, according to the rule of the stars, and composed amongst themselves according to their congruity, which when they be lighted, and shine alone, are wont to produce some wonderful, and celestial effects,» — las luces compuestas por regla astral obran efectos celestes por sí solas, sin operante presente.
«In angels therefore it is a shining intelligence diffused, an abundant joy beyond all bounds of reason, yet received in divers degrees, according to the nature of the intelligence that receives it.» — la luz divina se recibe por grados en los ángeles según la naturaleza de cada inteligencia.
«And lastly in men, it is a clear discourse of reason, and knowledge of divine things, and the whole rational faculty: but this is manifold, either by reason of the disposition of the body, as the Peripatetics will have it, or which is more true, by reason of the good pleasure of him that bestows it, who gives it to everyone as he pleaseth.» — entre las dos explicaciones del reparto desigual de la razón escoge la del don divino sobre la peripatética.
«Sapphire, and airy colours, and those which are always green, clear, purple, darkish, golden, mixed with silver, belong to Jupiter.» — la serie planeta↔color continúa por Júpiter.
«Red colours, and burning, fiery, flaming, violet, purple, bloody, and iron colours, resemble Mars.» — a Marte le tocan los colores del fuego y de la sangre.
«But all white, fair, curious, green, ruddy, betwixt saffron, and purple, resemble Venus, Mercury, and the Moon.» — cierra la serie de los colores agrupando a Venus, Mercurio y la Luna en un mismo tramo.
«Therefore witches use collyries, ointments, alligations, and such like, to affect, and corroborate the spirit this or that manner.» — adjudica a las brujas el uso de colirios y ungüentos para reforzar el espíritu que fascina.
«To procure love, they use venereal collyries, as hyppomanes, the blood of doves, or sparrows, and such like.» — el colirio se escoge por el planeta del efecto buscado, y para el amor va el de Venus.
«To induce fear, they use martial collyries, as of the eyes of wolves, the civet cat, and the like.» — para el miedo, el colirio marcial hecho de ojos de animales de esa serie.
«The same also, as they say, doth a spear that is pulled out of the body of a man, if it shall not first touch the ground; also they say that arrows pulled out of the body of man, if they have not» — el arma sacada del cuerpo conserva virtud, con la condición de no haber tocado el suelo.
«And a little frog climbing up a tree, if anyone shall spit in his mouth, and then let him escape, is said to cure the cough.!®» — la cura por traslado del mal a un animal que se suelta después.
«It was Epictetus the Stoic philosopher’s judgement, who was a sage author, that if a crow did croak over against anyone, it did betoken some evil, either to his body, fortune, honour, wife, or children.» — el graznido del cuervo anuncia un mal cuyo objeto queda abierto: cuerpo, fortuna, honra, mujer o hijos.
«she portends advancement, and victory, but by blood; because she drinks no water but blood.» — el augurio del águila lleva su reserva dentro: promete victoria, pero con sangre.
«Two eagles sitting all day upon the house at the birth of Alexander of Macedonia, did portend to him an omen of two kingdoms, viz. Asia, and Europe.» — el número de aves se lee como número de reinos: el signo se interpreta por cantidad.
«Vultures!? also signify difficulty, hardness, ravenousness,which was verified in the beginning of building of cities.» — el augurio del buitre queda comprobado, dice, en la fundación de las ciudades.
«Whence Melampus the augur conjectured at the slaughter of the Greeks by the flight of little birds, when he saith, thou seest that no bird taketh his flight in fair weather.» — el augurio se lee también por lo que las aves NO hacen.
«A bat*® meeting anyone running away, signifies an evasion: for although she have no wings, yet she flies.» — la significación se deduce de la paradoja del animal: vuela sin tener alas, y por eso significa evasión.
«And Cicero writes?! that at Thebais cocks, by their crowing all night, did presage that the Baeotians would obtain victory against the Lacedaemonians, and the reason is according to the augurs’ interpretations, because that bird when he is beaten is silent, but when he himself hath overcome, crows.» — el signo se funda en la conducta observada del animal, y no en convención.
«But when they are joined together in a chariot, because they draw with an equal yoke, they signify that peace is to be hoped for.» — el mismo animal cambia de significación según cómo aparece: los caballos uncidos anuncian paz.
«An ass is an unprofitable creature, yet did Marius good,*4 who when he was pronounced enemy to his country, saw an ass disdaining provender that was offered to him, and running to the water, by which augury, he supposing he saw a way of safety showed to him, entreated the aid of his friends, that they would convey him to the sea;» — el augurio no se lee en el animal sino en lo que hace, y de ahí sacó Mario su vía de escape.
«A wolf meeting anyone is a good sign, the effect whereof was seen in Hiero of Sicilia, from whom a wolf snatching away a book whilst he was at school, confirmed to him the success of the kingdom: but yet the wolf makes him speechless whom he sees first.» — el mismo encuentro es fausto y peligroso a la vez, según quién vea primero a quién.
«To meet a lion, seeing she is amongst animals the strongest, and striking terror into all the rest, is good. But for a woman to meet a lioness, is bad,?’ because she hinders conception, for a lioness brings forth but once.» — el signo cambia con el sexo del que lo recibe y con el del animal encontrado.
«A sparrow is a bad omen to one that runs away, for she flies from the hawk, and makes haste to the owl,”’ where she is in as great danger: yet in love she is fortunate, for being stirred up with lust, couples seven times , in an hour.» — el gorrión es mal augurio para la huida y bueno para el amor: la significación depende del asunto que se consulta.
«A dog in a journey is fortunate, because Cyrus being cast into the woods was nourished by a dog*? till he came to the kingdom,» — el precedente histórico funda el augurio del perro en camino.
«Also amongst small animals, mice signify danger. For the same day that they did gnaw gold in the Capitol, both the consuls*? were intercepted by Hannibal by way of ambush near Tarentum.» — la coincidencia de fecha se toma por prueba de la significación.
«Also the pismires, because they know how to provide for themselves, and to prepare safe nests for themselves, portend security, and riches, a great army.» — la hormiga significa por su conducta previsora, y de ahí seguridad, riqueza y ejército.
«If a snake meet thee, take heed of an illtongued enemy; for this animal hath no other power but in his mouth.» — la significación se deduce de dónde reside la fuerza del animal.
«So a viper*’ signifies lewd women, and wicked children; and an eel*® signifies a man displeased with everybody: for she lives apart from all other fishes, nor is ever found in the company of any.» — la anguila significa misantropía porque vive apartada: la conducta del animal da la lectura.
«Thou shalt therefore diligently note, and observe the condition of the man that meeteth thee, his age, profession, station, gesture, motion, exercise, complexion, habit, name, words, speech, and all such like things.» — el protocolo para leer el augurio humano, que exige registrar hasta el nombre y las palabras del encontrado.
«By the same instinct partridges know their dam, which they never saw, and leave the partridge which stole away her dam’s eggs, and sat upon them.» — el instinto reconoce lo propio sin haberlo visto nunca: la perdiz deja a la que la incubó y vuelve con la suya.
«William of Paris also makes mention of a certain woman in his time, that by the same instinct perceived a man whom she loved, coming two miles off.» — extiende el instinto a la percepción a distancia del ser amado, con Guillermo de París por fuente.
«And Pliny makes mention of a certain serpent,° called the asp, that did such a like thing, for she coming to a certain man’s table in Egypt, was there daily fed, and she having brought forth some young, by one of which a son of her host’s was killed, after she knew of it, killed that young one, and would never return to that house anymore.» — al animal le adjudica no solo previsión sino juicio moral sobre lo hecho por los suyos.
«Now by these examples you see, how the lights of presage may descend upon some animals, as signs, or marks of things, and are set in their gesture, motion, voice, flying, going, meat, colour, and such like.» — el animal no predice: recibe una luz que se deposita en su gesto, su voz o su color, y ahí se lee.
«But the swan is a delicious bird, venereal, and dedicated to Phoebus, and is said to be most happy in her presages, especially in the auspicias of mariners, because she is never drowned in water,» — el cisne es buen augurio para el marino por la razón de que nunca se ahoga.
«upon this account if cranes!! fly apace, they signify a tempest: when slowly, fair weather.» — el signo está en la manera del vuelo y no en el ave: la misma grulla dice cosas contrarias según su ritmo.
«Also when two eagles fly together, they are said to portend evil, because that is a number of confusion.» — el número mismo entra en la lectura del augurio, y el dos lo cuenta por número de confusión.
«Also Porphyrius the Platonist in his third book of Sacrifices,'* saith, that there was a swallow: for it was certain, because every voice of any animal is significative of some passion of its soul,» — con Porfirio funda la lectura de las voces animales: cada una significa una pasión del alma que la emite.
«Proclus also the Platonist believed, and wrote, that the heart of a mole conduceth to presages.» — cuenta a Proclo entre los que sostienen la virtud adivinatoria del corazón de topo.
«Hence the soothsayers inquiring after future things in the inwards, did first look into the liver, in which were two heads, whereof the one was called the head for the city, the other for the enemy; and the head of this, or another part being compared together, they pronounced victory,» — el hígado se leía como mapa de las dos partes en guerra, y la victoria salía de comparar sus lóbulos.
«We read that when Julius Caesar upon a day went forth to procession with his purple robe, and sitting in a golden chair, and sacrificing, there was twice a heart wanting;*4 and when C. Marius was sacrificing at Utica, there was wanting a liver.» — los dos casos romanos de víscera faltante, que la disciplina cuenta entre los presagios mortales.
«they have ordained sixteen regions’ of the heavens, and have ascribed gods to every one of them; and besides eleven kinds?» — la partición del cielo en dieciséis regiones con su dios cada una, base de la lectura del rayo.
«Now their interpreter must be some excellent conjecturer of similitudes, as also some curious searcher, and of them who at that time are employed about the affairs of princes, and provinces.» — el intérprete de prodigios ha de saber de semejanzas y además estar al tanto de los asuntos públicos del momento.
«Now if the same thing, or the like hath been seen in former ages, we must consider that very thing, and what happened after that, and according to these, to foretell the same, or the like, because the same signs are for the same things, and the like for like.» — el método de lectura de prodigios es histórico: se compara con el precedente y con lo que siguió.
«So bees sat upon the mouth of Plato°» — el prodigio del nacimiento se lee por semejanza con el don que anuncia: la edición añade que las abejas sobre el niño dormido predijeron la dulzura de su habla; el resto de la frase queda del otro lado de un número de plana intercalado por el escaneo.
«Also in Lucania it rained spongious iron,!? and in the year before Marcus Crassus was slain in Parthia; with which also all the soldiers of Lucania, being a very numerous army, were slain.» — la lluvia de hierro esponjoso anticipando la matanza de Carras, en la serie de los prodigios atmosféricos.
«And Livy concerning the Macedonian wars, saith, in the year when Hannibal died it rained blood for two days.» — el prodigio se data por el año de una muerte pública, con Livio por fuente.
«The first therefore is geomancy, which foreshoweth future things by the motions of the Earth, as also the noise, the swelling, the trembling, the chops, the pits, and exhalation, and other impressions, the art of which Almadel the Arabian sets forth.» — define la geomancia por los movimientos e impresiones de la tierra, y la adjudica a Almadel el árabe.
«But there is another kind of geomancy, which divines by points written upon the earth, by a certain power in the fall of it, which is not of present speculation; but of that we shall speak hereafter.» — separa de la anterior la geomancia por puntos, y aplaza su tratamiento.
«as Varro reports, a boy saw in the water the effigies of Mercury, which foretold in an hundred and fifty verses all the event of Mithridates his war.» — el caso de hidromancia que da Varrón, con la predicción entregada en verso contado.
«And in the same place there is mention made of a man that buried a man that seemed to be dead seventy-two hours after his seeming decease, and so killed him, because he buried him alive, and there are given signs whereby it may be known who are alive;» — el caso que hace de la doctrina un asunto práctico: hay señales para distinguir al que solo parece muerto.
«This is the manner, by which we understand magicians, and physicians do raise dead men to life, as they that were tried by the stinging of serpents, were by the nation of the Marsi, and the Psilli!® restored to life.» — explica las resurrecciones de magos y médicos por el mecanismo del éxtasis, y no por milagro.
«We read also that Epimenides Gnosius'® slept fifty-seven years in a cave.» — aquí el durmiente de cincuenta y siete años lleva nombre propio, Epiménides de Cnoso, donde la traducción de 1651 solo decía un muchacho.
«Bocatius makes mention of a man in his time, in Venice, who would every year fast forty days without any meat.» — el ayuno prolongado documentado en caso contemporáneo, no antiguo.
«And there are grave authors who describe a certain herb of Sparta, with which they say the Scythians can endure twelve days hunger, without meat or drink, if they do but taste it, or hold it in their mouth.» — la hierba que suspende el hambre, sostenida con el peso de autores graves.
«who used no meat, or drink, besides milk.» — el caso de Filino, que se sostuvo solo con leche, en la serie del ayuno prolongado.
«And in his Problems? saith, that the sibyls? and the Bacchides,* and Niceratus the Syracusan, and Amon,> were by their natural melancholy complexion prophets, and poets.» — la lista de profetas y poetas que Aristóteles adjudica a la complexión melancólica.
«For this, when it is stirred up, burns, and stirs up a madness conducing to knowledge, and divination» — el humor melancólico no adivina en reposo: ha de ser agitado y arder.
«He saith also, that all men that were excellent in any science, were for the most part melancholy.» — generaliza la doctrina más allá de la profecía: la excelencia en cualquier ciencia va con la melancolía.
«Democritus,’ and Plato® attest the same, saying, that there were some melancholy men, that had such excellent wits, that they were thought, and seemed to be rather divine than human.» — con Demócrito y Platón por respaldo, gradúa el efecto hasta parecer divino.
«when the mind is forced with a melancholy humour, nothing moderating the power of the body, and passing beyond the bounds of the members, is wholly carried into imagination, and doth suddenly become a seat for inferior spirits, by whom it oftentimes receives wonderful ways, and forms of manual arts.» — el mecanismo del primer grado: la mente arrastrada a la imaginación se vuelve asiento de los espíritus inferiores.
«foretells things which are appointed by God’s special predestination, as future prodigies, or miracles, the prophet to come, the changing of the Law.» — lo que el grado sublime alcanza a prever queda acotado a lo que Dios predestina especialmente.
«The spirits therefore mixing Earth, Fire, Air, and Water? together, made of them all, put together, one body, which they subjected to the service of the soul, assigning in it several provinces to each power thereof, to the meaner of them, mean and low places: as to anger the midriff, to lust the womb, but to the more noble senses the head, as the tower» — el cuerpo queda repartido en provincias según la dignidad de la potencia que lo habita.
«For the eyes placed in the uppermost place, are the most pure, and have an affinity with the nature of Fire, and light:» — la jerarquía de los sentidos externos se lee en su altura en el cuerpo y en su afinidad elemental.
«the nostrils have the third order, and have a middle nature betwixt the Air, and the Water:» — al olfato le adjudica una naturaleza intermedia, y no un elemento propio.
«last of all, the touching is diffused through the whole body, and is compared to the grossness of Earth.» — el tacto cierra la escala por lo más grueso y por estar repartido en todo el cuerpo.
«But the touch perceives both ways, for it perceives bodies nigh; and as sight discerns by the medium of the air, so the touch perceives by the medium of a stock or pole, bodies hard, soft, and moist.» — el tacto percibe también por medio interpuesto, y esa es la base física de las virtudes que pasan por un palo.
«For it is the last impression of the understanding; which, as saith Jamblicus, is belonging to all the powers of the mind, and forms all figures, resemblances of species, and operations, and things seen, and sends forth the impressions of other powers unto others:» — con Jámblico hace de la memoria la impresión última que reparte lo recibido entre las demás potencias.
«The other is a power of the mind, which discerning by consulting what things are to be done, and what things to be shunned is wholly taken up in consultation, and action, and is therefore called the active intellect...» — la segunda cara de la mente incorpórea es práctica, y se define por la deliberación y la acción.
«the first is called oblectation,’ which is a certain quietness or assentation of the mind or will, because it obeys, and not willingly consents to that pleasantness which the senses hold forth;» — nombra el primer grado del consentimiento al placer sensible, en que la voluntad obedece sin querer.
«The second is called effusion, which is a remission of, or dissolution of the power, viz. when beyond the oblectation the whole power of the mind, and intension of the present good is melted, and diffuseth itself to enjoy it.» — el segundo grado disuelve la potencia entera de la mente en el goce presente.
«But the irascible power respects good or bad, under the notion of some difficulty; to obtain the one, or avoid the other, and this sometimes with confidence: and so there is caused hope or boldness; but when with diffidency, then despair, and fear.» — la potencia irascible se define por la dificultad, y de la confianza o la desconfianza salen la esperanza y el miedo.
«For a vehement cogitation, whilst it vehemently moves the species, pictures out the figure of the thing thought on, which they represent in their blood, and the blood impresseth from itself, on the members that are nourished by it, as upon those of the same body, so upon those of another’s.» — el mecanismo completo de la acción de la mente sobre otro cuerpo: el pensamiento pinta la figura en la sangre, y la sangre la imprime.
«So, many are transported from place to place, passing over rivers, fires, and unpassable places, viz. when the species of any vehement desire, or fear, or boldness are impressed upon their spirits, and being mixed with vapours, do move the organ of the touch in their original, together with phantasy, which is the original of local motion.» — explica el traslado del cuerpo por la fantasía, que declara origen del movimiento local.
«So the soul being strongly elevated, and inflamed with a strong imagination, sends forth health or sickness, not only in its proper body, but also in other bodies.» — sostiene que el alma exaltada por una imaginación vehemente despide salud o enfermedad, y no solo sobre el cuerpo propio.
«So Avicen is of the opinion, that a camel may fall by the imagination of anyone.» — adjudica a Avicena el caso extremo, el de un camello derribado por la imaginación de cualquiera.
«So the longing of a woman with child doth act upon another’s body, when it signs the infant in the womb with the mark of the thing longed for.» — señala el antojo de la embarazada como el caso donde la fantasía marca un cuerpo distinto del propio.
«affected with a religious kind of horror upon the picture of John Baptist, which was by her bed in time of conception, afterwards brought forth after this fashion.» — el caso que adjudica a Marcus Damascenus, la muchacha velluda presentada a Carlos rey de Bohemia; la cita arranca a media oración porque el sujeto queda en la plana anterior.
«Jacob the patriarch, with his speckled rods set in the watering places, did discolour the sheep of Laban.» — lleva el mismo mecanismo a las bestias con el episodio de Jacob y las ovejas de Labán; la cita empieza justo después del folio impreso 204, que el escaneo mete a media línea.
«Whence we produce white peacocks,” by hanging round the places where they couple, with white clothes.» — declara en primera persona del plural una técnica de cría fundada en la imaginación del animal; el signo tras la coma es la llamada de nota de la edición.
«So also the desire of witches to hurt,* doth bewitch men most perniciously with steadfast looks.» — adjudica a la voluntad de dañar de las brujas el hechizo por la mirada fija.
«To these things Avicen, Aristotle, Algazel, and Galen assent.» — nombra las cuatro autoridades con que respalda la acción de la fantasía sobre cuerpo ajeno.
«Again, in the vapours of the eyes there is so great a power, that they can bewitch and infect any that are near them, as the cockatrice, or basilisk, killing men with their looks.» — pone el vapor de los ojos como vehículo del daño y trae el basilisco como su caso límite.
«And certain women in Scythia, amongst the Illyrians, and Triballi, killed whomsoever they looked angry upon.» — añade el testimonio de las mujeres de Escitia que mataban a quien miraban con ira.
«Therefore philosophers advise that the society of evil, and mischievous men be shunned, for their soul being full of noxious rays, infects them that are near with a hurtful contagion.» — deriva del contagio por rayos del alma una regla de trato: rehuir la compañía de los malvados.
«On the contrary, they advise that the society of good, and fortunate men be endeavoured after, because by their nearness they do us much good.» — la contrapartida de la regla anterior, y con la misma atribución a los filósofos.
«Now then, if the foresaid passions have so great a power in the phantasy, they have certainly a greater power in the reason, in as much as the reason is more excellent than the phantasy; and lastly, they have much greater power in the mind; for this, when it is fixed upon God for any good with its whole intention, doth oftentimes affect another’s body as well as its own with some divine gift.» — escalona la potencia de las pasiones por fantasía, razón y mente, y pone la mente fija en Dios como el grado más alto.
«For as a firm, and strong belief doth work wonderful things, although it be in false works, so distrust and doubting doth dissipate, and break the virtue of the mind» — sostiene que la creencia obra aun cuando la obra sea falsa, y que la duda deshace la virtud del ánimo.
«We must therefore in every work, and application of things, affect vehemently, imagine, hope, and believe strongly, for that will be a great help.» — convierte la creencia en requisito operativo de cualquier aplicación de las cosas naturales.
«And it is verified amongst physicians that a strong belief,” and an undoubted hope, and love towards the physician, and medicine, conduce much to health, yea more sometimes than the medicine itself.» — apoya la doctrina en la práctica médica, donde la confianza en el médico pesa a veces más que el remedio.
«Now the contemplating mind, as it withdraws itself from all sense, imagination, nature, and deliberation, and calls itself back to things separated, unless it exposeth itself to Saturn,! is not of present consideration, or inquiry.» — se abstiene expresamente de tratar la mente contemplativa retirada de los sentidos, salvo en lo que se expone a Saturno.
«Therefore he that works in magic, must be of a constant belief, be credulous, and not at all doubt of the obtaining the effect.» — exige del operador creencia constante y credulidad, y pone la duda como el estorbo.
«For all those things which the mind acts, and dictates by characters, figures, words, speeches, gestures, and the like, help the appetite of the soul,? and acquire certain wonderful virtues, as from the soul of the operator,» — sostiene que caracteres, figuras, palabras y gestos toman su virtud del alma del operador y de la hora en que el apetito lo invade.
«Which Thomas Aquinas* in his third book Against the Gentiles, confesseth.» — declara a Tomás de Aquino, por la Summa contra gentiles, como quien concede que la mente toma por sí la hora oportuna.
«And according to this is verified the art of characters, images, enchantments, and some speeches,* and many other wonderful experiments to everything which the mind affects.» — hace descansar en la afección de la mente la validez del arte de caracteres, imágenes y encantamientos.
«Everyone therefore that is willing to work in magic, must know the virtue, measure, order, and degree of his own soul, in the power of the universe.» — cierra el capítulo poniendo el conocimiento del alma propia como condición del trabajo mágico.
«Whence a lion is afraid of a cock, because the presence of the solary virtue is more agreeable to a cock than to lion» — explica el miedo del león al gallo por el grado superior de virtud solar que adjudica al gallo.
«so a loadstone draws iron, because in order it hath a superior degree of the Celestial Bear.» — adjudica el arrastre del hierro por el imán a su grado superior en el orden de la Osa celeste.
«So the diamond hinders the loadstone, because in the order of Mars it is superior than it.» — pone el diamante por encima del imán en el orden de Marte, y de ahí que lo estorbe.
«In like manner any man when he is opportunely exposed to the celestial influences, as by the affections of his mind, so by the due applications of natural things, if he become stronger in solary virtue, binds and draws the inferior into admiration, and obedience; in order of the Moon to servitude or infirmities; in a saturnal order to quietness or sadness; in order of J upiter to worship; in order of Mars to fear, and discord; in order of Venus to love, and joy; ina mercurial order to persuasion, and obsequiousness, and the like.» — reparte entre los siete planetas los efectos que un hombre expuesto a sus influencias puede atar y atraer.
«Now the ground of such a kind of binding is the very vehement, and boundless affection of the souls, with the concourse of the celestial order.» — pone el fundamento de la atadura en el afecto desmedido del alma más el concurso del orden celeste.
«And lastly, when thou fearest Venus, oppose Saturn. When Saturn or Mars, oppose Venus or Jupiter» — da la regla práctica de oponer un planeta a otro según cuál se tema.
«for astrologers say, that these are most at enmity, and contrary the one to the other i.e. causing contrary effects in these inferior bodies; for in the heaven, where there is nothing wanting, where all things are governed with love, there can in no wise be hatred, or enmity.» — recoge de los astrólogos la enemistad de esos pares y a la vez la acota: la enemistad está en los efectos de acá abajo, no en el cielo, donde todo se gobierna por amor.
«there is no less virtue in words, and the names of things, but greatest of all in speeches, and motions, by which we chiefly differ from brutes, and are called rational, not from reason, which is taken for that part of the soul, which contains the affections, which Galen saith, is also common to brutes, although in a less degree; but we are called rational from that reason which is according to the voice understood in words, and speech, which is called declarative reason» — sostiene que la virtud está en las palabras y los nombres, y sobre todo en los discursos, y llama razón declarativa a la que va en la voz.
«Now a word is twofold, viz. internal, and uttered. An internal word is a conception of the mind, and motion of the soul, which is made without a voice.» — parte la palabra en interna y proferida, y define la interna como concepción de la mente sin voz.
«As in dreams we seem to speak, and dispute with ourselves, and whilst we are awake we run over a whole speech silently.» — ilustra la palabra interna con el sueño y con el discurso que uno recorre en silencio despierto.
«Words therefore are the fittest medium betwixt the speaker and the hearer, carrying with them not only the conception of the mind, but also the virtue of the speaker with a certain efficacy unto the hearers» — declara la palabra el medio más apto entre hablante y oyente, y sostiene que lleva no solo el concepto sino la virtud del que habla.
«and this oftentimes with so great a power, that oftentimes they change not only the hearers, but also other bodies» — extiende el efecto de la palabra más allá del oyente, a los cuerpos y a las cosas sin vida.
«Now those words are of greater efficacy than others, which represent greater things, as intellectual, celestial, and supernatural, as more expressly, so more mysteriously.» — gradúa la eficacia de las palabras por la dignidad de lo que representan.
«Also those that come from a more worthy tongue, or from any of a more holy order:? for these, as it were certain signs, and representations, receive a power of celestial, and supercelestial things, as from the virtue of things explained, of which they are the vehicula,* so from a power put into them by the virtue of the speaker.» — añade el segundo criterio de eficacia, la lengua y el orden sagrado de quien habla, y llama a las palabras vehículos de lo celeste.
«hat proper names of things are very necessary in magical operations, almost all men testify: for the natural power of things proceeds first from the objects to the senses, and then from these to the imagination, and from this to the mind, in which it is first conceived, and then is expressed by voices, and words.» — abre el capítulo de los nombres propios trazando la ruta de la virtud natural, del objeto a los sentidos y de ahí a la mente y a la palabra; la capital perdida en la caja hace que la cita empiece en hat, por That.
«The Platonists therefore! say, that in this very voice, or word, or name framed, with its articles, that the power of the thing as it were some kind of life, lies under the form of the signification.» — adjudica a los platónicos que en la voz misma yace, bajo la forma de la significación, algo así como una vida de la cosa; el signo tras therefore es la llamada de nota.
«First conceived in the mind as it were through certain seeds of things, then by voices or words, as a birth brought forth, and lastly kept in writings.» — escalona los tres estados de la palabra: semilla en la mente, parto en la voz, conservación en la escritura.
«Hence magicians say, that proper names of things are certain rays of things, everywhere present at all times, keeping the power of things, as the essence of the thing signified, rules, and is discerned in them, and know the things by them, as by proper, and living images.» — adjudica a los magos la doctrina de que los nombres propios son rayos de las cosas, presentes en todas partes, y sus imágenes vivas.
«For as the great Operator doth produce divers species, and particular things by the influences of the heavens, and by the elements, together with the virtues of planets; so according to the properties of the influences proper names result to things, and are put upon them by him who numbers the multitude of the stars, calling them all by their names,» — deriva la imposición de los nombres del mismo que cuenta la multitud de las estrellas y las llama por su nombre.
«of which names Christ in another place speaks, saying, Your names are written in heaven.» — trae a Cristo como autoridad de la doctrina onomástica; el aparato remite el versículo a Lucas 10:20.
«Every voice therefore that is significative, first of all signifies by the influence of the celestial harmony; secondly, by the imposition of man, although oftentimes otherwise by this, than by that.» — distingue las dos vías por las que una voz significa, la armonía celeste y la imposición del hombre, y admite que a menudo dicen cosas distintas.
«So we read in Philostratus, that when a maid at Rome died the same day she was married, and was presented to Apollonius, he accurately inquired into her name, which being known, he pronounced some occult thing, by which she revived.» — adjudica a Filóstrato el caso de Apolonio, que preguntó el nombre de la muerta antes de pronunciar lo oculto.
«It was an observation amongst the Romans in their holy rites, that when they did besiege any city, they did diligently inquire into the proper, and true name of it, and the name of that god, under whose protection it was, which being known, they did then with some verse call forth the gods that were the protectors of that city, and did curse the inhabitants of that city» — refiere el rito romano de averiguar el nombre verdadero de la ciudad sitiada y el de su dios tutelar antes de llamarlo fuera; la frase sigue en la plana siguiente.
«Now the verse with which the gods were called out, and the enemies were cursed, when the city was assaulted round about, let him that would know, find it out in Livy,’ and Macrobius;® but also many of these Serenus Samonicus in his book of secret things makes mention of.» — se abstiene de dar el verso con que se llamaba fuera a los dioses y remite al lector a Livio, a Macrobio y al libro de cosas secretas de Sereno Samónico.
«esides the virtues of words, and names, there is also a greater virtue found in sentences, from the truth contained in them, which hath a very great power of impressing, changing, binding, and establishing, so that being used it doth shine the more, and being resisted is more confirmed, and consolidated;» — abre el capítulo de las sentencias sosteniendo que la virtud mayor está en ellas, por la verdad que contienen, y que al resistirla se afirma más; la capital perdida hace que la cita empiece en esides, por Besides.
«which virtue is not in simple words, but in sentences, by which anything is affirmed, or denied, of which sort are verses, enchantments,' imprecations,? deprecations,? orations,4 invocations,” obtestations,® adjurations,” conjurations,® and such like.» — enumera las especies de sentencia eficaz —versos, encantamientos, imprecaciones, deprecaciones, oraciones, invocaciones, obtestaciones, adjuraciones y conjuraciones—; los signos sueltos son llamadas de nota.
«Therefore in composing verses, and orations, for the attracting the virtue of any star, or deity, you must diligently consider what virtues any Star contains, as also what effects, and operations, and to infer them in verses, by praising, extolling, amplifying, and setting forth those things which such a kind of star is wont to cause by way of its influence, and by vilifying, and dispraising those things which it is wont to destroy, and hinder, and by supplicating, and begging for that which we desire to get, and by condemning, and detesting that which we would have destroyed, and hindered: and after the same manner to make an elegant oration, and duly distinct by articles, with competent numbers, and proportions.» — da la receta de composición: alabar lo que el astro causa, vituperar lo que destruye, y repartirlo en artículos con número y proporción.
«Moreover magicians command that we call upon, and pray by the names of the same star, or name, to them to whom such a verse belongs, by their wonderful things, or miracles» — adjudica a los magos el precepto de invocar por el nombre del astro y por sus maravillas; la enumeración sigue tras el folio impreso 216, que el escaneo mete a media línea.
«As Psyche in Apuleius? prays to Ceres, saying, I beseech thee by thy fruitful right hand, I intreat thee by the joyful ceremonies of harvests, by the quiet silence of thy chests, by the winged chariots of dragons thy servants, by the furrows of the Sicilian earth, the devouring wagon, the clammy earth, by the place of going down into cellars at the light nuptials of Proserpina, and returns at the light inventions of her daughter, and other things which are concealed in her temple in ‘the city Eleusis in Attica.» — trae como modelo de invocación la plegaria de Psique a Ceres que lee en Apuleyo.
«Besides, with the divers sorts of the names of the stars, they command us to call upon them by the names of the intelligences, ruling over the stars themselves, of which we shall speak more at large in their proper place.» — añade la invocación por el nombre de las inteligencias que rigen los astros y aplaza el asunto a su lugar propio.
«But to return to our purpose. Such like verses being aptly, and duly made according to the rule of the stars, and being full of signification, and meaning, and opportunely pronounced with vehement affection, as according to the number, proportion of their articles» — cierra pidiendo que el verso se haga según la regla de los astros y se pronuncie oportunamente y con afecto vehemente.
«most pure harmonical spirit, warm, breathing, living, bringing with it motion, affection and signification, composed of its parts, endued with sense, and conceived by reason.» — define el instrumento del encantador como espíritu armónico y respirante; la cita arranca a media oración porque el sujeto queda en la plana anterior.
«By the quality therefore of this spirit, and by the celestial similitude thereof, besides those things which have already been spoken of, verses also from the opportunity of time receive from above most excellent virtues, and indeed more» — deriva de la cualidad del espíritu y de su semejanza celeste la virtud que el verso recibe de la ocasión; la frase sigue tras el encabezado corrido de la plana.
«sublime, and efficacious than spirits, and vapours exhaling out of the vegetable life, out of herbs, roots, gums, aromatical things, and fumes, and such like.» — pone el verso por encima de los vapores de hierbas, raíces, gomas y sahumerios.
«And therefore magicians enchanting things, are wont to blow, and breathe upon!! them the words of the verse, or to breathe in the virtue with the spirit, that so the whole virtue of the soul be directed to the thing enchanted, being disposed for the receiving the said virtue.» — adjudica a los magos el soplo sobre la cosa encantada, para que la virtud entera del alma vaya dirigida a ella.
«And here it is to be noted, that every oration, writing, and words, as they induce accustomed motions by their accustomed numbers, and proportions, and form, so also besides their usual order, being pronounced, or wrote backwards,!? move unto unusual effects.» — sostiene que la oración pronunciada o escrita al revés mueve a efectos inusuales, por salirse del orden acostumbrado.
«hey say that the power of enchantments, and verses is so great, that it is believed they are able to subvert almost all nature, as saith Apuleius,! that with a magical whispering, swift rivers are turned back, the slow sea is bound, the winds are breathed out with one accord, the Sun is stopped, the Moon is clarified, the stars are’ pulled out, the day is kept back, the night is prolonged.» — abre el capítulo del poder de los encantamientos adjudicando a Apuleyo la lista de lo que el susurro mágico trastorna; la capital perdida en la caja hace que la cita empiece en hey, por They.
«The courses of all things did cease, the night Prolonged was, ‘twas long before ‘twas light; Astonied was the headlong world, all this Was by the hearing of a verse» — trae a Lucano en verso inglés para el mundo detenido por el oído de un verso.
«And a little before:3 Thessalian verse did into his heart so flow, That it did make a greater heat of love.» — segunda cita de Lucano, el verso tesalio que enciende el amor.
«And elsewhere:4 No dregs of poison being by him drunk, His wits decayed enchanted.» — tercera cita de Lucano, la mente que se pierde sin veneno y solo por el encanto.
«Also Virgil in Damon:> Charms can command the Moon down from the sky, Circe’s charms changed Ulysses’ company. A cold snake being charmed, burst in the meads.» — trae a Virgilio para la luna bajada, la tripulación de Ulises transformada por Circe y la serpiente reventada.
«Charms bear corn standing from another’s farm.» — segunda cita virgiliana, el trigo llevado de la heredad ajena.
«And Ovid in his book sine titulo,’ saith: With charms doth withering Ceres die, Dried are the fountains all, Acorns from oaks, enchanted grapes, And apples from trees fall.» — trae a Ovidio para la mies marchita y las fuentes secas por encanto.
«And Tibullus saith® of a certain enchantress: Her ‘with charms drawing stars from heaven, I And turning the course of rivers, did espy, She parts the earth, and ghosts from sepulchers Draws up, and fetcheth bones away from the fires And at her pleasure scatters clouds in the air, And makes it snow in summer hot, and fair.» — trae a Tibulo para el retrato de la encantadora que baja los astros, desvía los ríos y hace nevar en verano.
«Of all which that enchantress seems to boast herself in Ovid,? when she saith: at will, I make swift streams retire To their fountains, whilst their banks admire; Seas toss, and smooth; clear clouds, with clouds deform, With spells, and charms I break the viper’s jaw, Cleave solid rocks, oaks from their seasures draw,» — pasa a la jactancia de la encantadora en Ovidio; la enumeración sigue en la plana siguiente.
«Whole woods remove, the airy mountains shake, Earth for to groan, and ghosts from graves awake, And thee O Moon I draw» — remate de la jactancia ovidiana, con la línea de la luna que la edición deja cortada.
«Moreover all poets sing, and philosophers do not deny, that by verses many wonderful things may be done, as corn to be removed, lightnings to be commanded, diseases cured, and such like.» — resume el consenso que adjudica a poetas y filósofos sobre lo que los versos pueden.
«For Cato himself in Country Affairs used some enchantments against the diseases of beasts,» — nombra a Catón y su libro de agricultura como precedente de encantamientos contra males del ganado; la frase sigue tras el encabezado corrido de la plana.
«Also Josephus testifies!® that Solomon was skilled in those kind of enchantments.» — adjudica a Josefo el testimonio de que Salomón era diestro en esos encantamientos.
«Also Celsus Africanus reports,!! according to the Egyptian doctrine, that man’s body, according to the number of the faces!? of the Zodiac signs,was taken care of by so many, viz. thirty-six spirits, whereof each undertake, and defend their proper part,» — adjudica a Celso Africano, y por doctrina egipcia, el reparto del cuerpo humano entre treinta y seis espíritus, uno por cada faz de los signos.
«he use of words and speech, is to express the inwards of the mind, and from thence to draw forth the secrets of the thoughts, and to declare the will of the speaker.» — abre el capítulo de la escritura definiendo el oficio de la palabra: sacar afuera lo interior de la mente y declarar la voluntad del que habla; la capital perdida en la caja hace que la cita empiece en he, por The.
«Now writing is the last expression of the mind, and is the number of speech and voice, as also the collection, state, end, continuing, and iteration, making a habit, which is not perfected with the act of one’s voice.» — pone la escritura como la última expresión de la mente y como el número del habla, que hace hábito donde la voz sola no basta.
«And whatsoever is in the mind, in voice, in word, in oration, and in speech, the whole, and all of this is in writing also.» — sostiene que nada de lo que hay en la mente, la voz y el discurso falta en la escritura.
«And as nothing which is conceived in the mind is not expressed by voice, so nothing which is expressed is not also written.» — encadena las tres expresiones: lo concebido se profiere y lo proferido se escribe.
«And therefore magicians command, that in every work, there be imprecations, and inscriptions made, by which the operator may express his affection: that if he gather an herb, or a stone, he declare for what use he doth it; if he make a picture, he say, and write to what end he maketh it;» — adjudica a los magos el precepto de declarar por escrito el fin de cada obra, sea al coger una hierba o una piedra, sea al hacer una imagen.
«which imprecations, and inscriptions, Albertus also in his book called Speculum,! doth not disallow, without which all our works would never be brought into effect; seeing a disposition doth not cause an effect, but the act of the disposition.» — respalda el precepto con el Speculum que adjudica a Alberto, y lo funda en que la disposición no causa el efecto sino el acto de la disposición.
«Knots, Amaryllis, tie! of colours three Then say, these bonds I knit, for Venus be.» — segunda cita virgiliana, los nudos de tres colores anudados en nombre de Venus.
«As with one fire this clay doth harder prove, The wax more soft; so Daphnis with our love.» — tercera cita virgiliana, el mismo fuego que endurece el barro y ablanda la cera.
«od gave to man a mind, and speech, which (as saith Mercurius Trismegistus)! are thought to be a gift of the same virtue, power, and immortality.» — abre el capítulo de las letras adjudicando a Hermes Trismegisto que mente y habla son un don de la misma virtud, poder e inmortalidad; la capital perdida hace que la cita empiece en od, por God.
«The omnipotent God hath by his providence divided the speech of men into divers languages; which languages have according to their diversity received divers, and proper characters of writing, consisting in their certain order, number, and figure, not so disposed, and formed by hap, or chance, nor by the weak judgement of man, but from above, whereby they agree with the celestial, and divine bodies, and virtues.» — sostiene que las lenguas y sus caracteres no se repartieron por azar ni por juicio humano, sino desde arriba, y que por eso concuerdan con los cuerpos celestes.
«But before all notes of languages, the writing of the Hebrews is of all the most sacred in the figures of characters, points of vowels, and tops of accents, as consisting in matter, form, and spirit.» — pone la escritura hebrea por encima de todas, con sus figuras, puntos vocálicos y ápices por materia, forma y espíritu.
«The position of the stars being first made in the seat of God, which is heaven, after the figure of them? (as the masters of the Hebrews testify) are most fully formed the letters of the celestial mysteries, as by their figure, form, and signification, so by the numbers signified by them, as also by their various harmony of their conjunction.» — adjudica a los maestros de los hebreos que las letras se formaron según la figura de los astros en el cielo.
«Whence the more curious mecubals of the Hebrews do undertake by the figure of their letters, the forms of characters, and their signature, simpleness, composition, separation, crookedness, directness, defect, abounding, greatness, littleness, crowning, opening, shutting, order, transmutation, joining together, revolution of letters, and of points, and tops,? and by the supputation of» — enumera las operaciones con que los cabalistas trabajan la letra —simpleza, composición, separación, corona, apertura, cierre, transmutación, revolución—; la frase sigue tras el folio impreso 223, que el escaneo mete a media línea.
«Moreover they divide the letters of their Hebrew alphabet, viz. into twelve simple, seven double, and three mothers, which they say signify as characters of things, the twelve signs, seven planets, and three elements, viz. Fire, Water, and Earth, for they account Air no element, but as the glue, and spirit of the elements.» — reparte el alfabeto hebreo en doce simples, siete dobles y tres madres, y deja el aire fuera de los elementos, como pegamento y espíritu de ellos.
«To these also they appoint points, and tops: as therefore by the aspects of planets, and signs, together with the elements, the working spirit, and truth all things have been, and are brought forth, so by these characters of letters, and points, signifying those things that are brought forth, the names of all things are appointed, as certain signs, and vehicula of things explained carrying with them everywhere their essence, and virtues.» — hace de los nombres signos y vehículos de las cosas, formados por caracteres y puntos igual que las cosas por aspectos, signos y elementos.
«The profound meanings, and signs are inherent in those characters, and figures of them, as also numbers, place, order, and revolution; so that Origenes® therefore thought that those names being translated into another idiom, do not retain their proper virtue.» — adjudica a Orígenes que los nombres traducidos a otro idioma pierden su virtud propia.
«For only original names, which are rightly imposed, because they signify naturally, have a natural activity: it is not so with them which signify at pleasure, which have no activity, as they are signifying, but as they are certain natural things in themselves.» — distingue el nombre original, que significa naturalmente y por eso obra, del arbitrario, que solo obra en cuanto es cosa natural.
«Now if there be any original, whose words have a natural signification, it is manifest that this is the Hebrew, the order of which he that shall profoundly, and radically observe, and shall know to resolve proportionably the letters thereof, shall have a rule exactly to find out any idiom.» — identifica el hebreo como esa lengua original, y promete a quien resuelva sus letras una regla para dar con cualquier idioma.
«There are therefore two and twenty letters which are the foundation of the world, and of creatures that are, and are named in it, and every saying, and every creature are of them, and by their revolutions receive their name, being, and virtue.» — pone las veintidós letras como fundamento del mundo y de las criaturas, que reciben nombre, ser y virtud por su revolución.
«He therefore that will find them out, must by each joining together of the letters so long examine them, until the voice of God is manifest, and the framing of the most sacred letters be opened and discovered.» — da el método: combinar las letras hasta que se manifieste la voz de Dios.
«For hence voices and words have efficacy in magical works: because that in which nature first exerciseth magical efficacy, is the voice of God.» — funda en la voz de Dios la eficacia mágica de voces y palabras.
«But these are of more deep speculation, than to be handled in this book.» — se abstiene de llevar más lejos la especulación por exceder el libro.
«For the vowels in the Greek tongue, viz. A E H I O Y Q answer to the seven planets, B [ AZK AMNTI PX T are attributed to the twelve signs of the Zodiac, the other five Q = X W represent the four elements and the Spirit of the World.» — traslada el reparto hebreo al griego: las vocales a los planetas, un grupo de consonantes a los signos y las cinco restantes a los elementos y al espíritu del mundo. Las series de letras salen corrompidas por el OCR y se citan tal cual.
«Amongst the Latin there is the same signification of them: for the five vowels AEIOU, and J and V consonants, are ascribed to the seven planets; but the consonants B C D FGLMN PRS T are answerable to the twelve signs.» — hace el mismo reparto en latín: cinco vocales más jota y uve consonantes a los planetas, doce consonantes a los signos.
«The rest, viz. K Q X Z make four elements. H the aspiration represents the Spirit of the World. Y because it is a Greek, and not a Latin character, and serving only to Greek words, follows the nature of its» — cierra el reparto latino con los cuatro elementos, la aspiración por espíritu del mundo y la ye griega remitida a su propio idioma.
«Also all the letters have double numbers of their order, viz. extended, which simply express of what number the letters are, according to their order: and collected, which recollect with themselves the numbers of all the preceding letters.» — distingue los dos modos de numerar la letra, el extendido y el recogido.
«Also they have integral numbers,!3 which result from the names of letters, according to their various manners of numbering.» — añade el número integral, que sale del nombre de la letra.
«The virtues of which numbers, he that shall know, shall be able in every tongue to draw forth wonderful mysteries by their letters, as also to tell what things have been past, and foretell things to come.» — promete a quien sepa esas virtudes sacar misterios en cualquier lengua y decir lo pasado y lo por venir.
«There are also other mysterious joinings of letters with numbers: but we shall abundantly discourse of all these in the following books: wherefore we will now put an end to this first book.» — cierra el Libro I aplazando a los libros siguientes las demás junturas de letras y números.
«I walk around First with these threads, in number which three are, ‘Bout the altars thrice I shall thy image bear.» — trae a Virgilio como precedente antiguo del precepto, en la versión rimada de 1651: los tres hilos y la imagen llevada tres veces en torno al altar. La misma copla vuelve en la p. 323 con otra letra, y las dos quedan consignadas.
«But this you must not be ignorant of, that it is observed by all wise men, that the Hebrew letters are the most efficacious of all, because they have the greatest similitude with celestials, and the world, and that the letters of the other tongues have not so great an efficacy, because they are more distant from them.» — jerarquiza las escrituras por eficacia: las hebreas primero, por su mayor semejanza con lo celeste y con el mundo, y las de las otras lenguas menos por estar más lejos.
«ehold now (most illustrious Prince, and most honourable Prelate!) the rest of the books of Occult Philosophy, or Magic, which I promised your worthiness that I would put forth when I published the first of them:» — abre la dedicatoria del Libro II a Hermann de Wied recordando la promesa hecha al publicar el primero; la capital perdida en la caja hace que la cita empiece en ehold, por Behold.
«but the sudden, and almost unexpected death of holy Margaret of Austria my princess coming upon it, hindered me then from the endeavoring to put it forth.» — da la muerte de Margarita de Austria como el primer estorbo para sacar el resto de la obra.
«Then the wickedness of some pulpit sycophants, and of some school sophisters incessantly raging against me for a declamation I put forth concerning the Vanity of Things,! and the Excellency of the Word of God, and contending against me continually with bitter hatred, envy, malice, and calumnies, hindered me from putting it forth;» — da el segundo estorbo: la campaña de púlpito y de escuela contra él por la declamación sobre la vanidad de las ciencias y la excelencia de la palabra de Dios.
«whereof some very proudly, with a full mouth, and loud voice aspersed me with impiety in the temple amongst a promiscuous people.» — detalla la acusación pública de impiedad en el templo.
«Others with corner whisperings from house to house, street by street, did fill the ears of the ignorant with my infamy:» — detalla la segunda vía de la campaña, el rumor de casa en casa.
«others in public, and private assemblies did instigate prelates, princes, and Caesar himself? against me.» — cierra la enumeración con la instigación a prelados, príncipes y al propio César.
«Hence I began to be at a stand, whether I should put forth the rest of the book or no.» — declara la duda de publicar o no el resto del libro.
«Whilst I did doubt that I should by this means expose myself to greater calumnies, and as it were cast myself out of the smoke into the fire, a certain rude fear seized upon me» — describe el temor de salir del humo al fuego; la frase sigue tras el folio impreso 229, que el escaneo mete a media línea.
«Whilst these things troubled me with a various desperation, the quickness of your understanding, exact discretion, uprightness of judgement, religion without superstition, and other most known virtues in you, your authority, and integrity beyond exception, which can easily check, and bridle the tongues of slanderers, removed my doubting, and enforced me to set upon that again more boldly, which I had almost left off by reason of despair.» — adjudica al juicio y a la autoridad del dedicatario el haber vencido su desesperación, y nombra entre sus virtudes la religión sin superstición.
«Therefore (most illustrious Prince) take in good part this second book of Occult Philosophy, in which we show the mysteries of the celestial magic, all things being opened, and manifested, which experienced antiquity makes relation of, and which came to my knowledge, that the secrets of celestial magic (hitherto neglected, and not fully apprehended by men of latter times) may with your protection be by me, after the showing of natural virtues, proposed to them that are studious, and curious of these secrets: by which let him that shall be profited and receive benefit, give you the thanks, who have been the occasion of this edition, and setting of it at liberty to be seen abroad.» — anuncia lo que trae el Libro II —los misterios de la magia celeste— y lo presenta como saber descuidado por los modernos, propuesto bajo la protección del dedicatario.
«he doctrines of mathematics are so necessary to, and have such an affinity with magic, that they that do profess it without them, are quite out of the way, and labour in vain, and shall in no wise obtain their desired effect.» — abre el Libro II sosteniendo que sin matemáticas el que profesa la magia yerra el camino y trabaja en vano; la capital perdida en la caja hace que la cita empiece en he, por The.
«For whatsoever things are, and are done in these inferior natural virtues, are all done, and governed by number, weight, measure, harmony, motion, and light.» — funda esa necesidad en que todo lo de acá abajo se gobierna por número, peso, medida, armonía, movimiento y luz.
«And all things which we see in these inferiors, have root, and foundation in them.» — remata que las cosas inferiores tienen ahí su raíz y su fundamento.
«Yet nevertheless without natural virtues, of mathematical doctrines only works like to natu- - rals can be produced, as Plato saith,! a thing not partaking of truth or divinity, but certain images kin to them, as bodies going, or speaking, which yet want the animal faculty» — acota enseguida su propia tesis: sin virtudes naturales, la matemática sola produce obras semejantes a las naturales pero sin facultad animal, y lo respalda con Platón.
«such as were those which amongst the ancients were called Dedalus his images,” and avtoyata,* of which Aristotle makes mention, viz. the three-footed images* of Vulcan,° and Dedalus, moving themselves, which Homer saith® came out of their own accord to exercise» — trae los autómatas antiguos —las imágenes de Dédalo y los trípodes de Vulcano— con Aristóteles y Homero por autoridades; la palabra griega sale corrompida por el OCR y se cita tal cual.
«Also we read of the statues of Mercury,’ which did speak, and the wooden dove of Arthita, which did fly, and the miracles of Boethius, which Cassiodorus made mention of, viz. Diomedes in brass, sounding a trumpet, and a brazen snake hissing, and pictures of birds singing most sweetly.» — sigue la lista de artificios: las estatuas parlantes de Mercurio, la paloma de madera de Arquitas y los ingenios de Boecio que refiere Casiodoro.
«Of this kind are those miracles of images which proceed from geometry, and optics, of which we made some mention in the first book, where we spoke of the element of Air.» — adjudica esos prodigios a la geometría y a la óptica, y remite a lo dicho en el Libro I sobre el aire.
«So there are made glasses, some concave, others of the form of a column, making the representations of things in the air seem like shadows at a distance: of which sort Apollonius, and Vitellius in their books De Perspectiva, and Speculis, taught the making, and the use.» — describe los espejos cóncavos y cilíndricos que hacen ver las cosas del aire como sombras a distancia, y remite a Apolonio y a Vitelo por el modo de hacerlos.
«And we read that Magnus Pompeius brought a certain glass!° amongst the spoils from the East, to Rome, in which were seen armies of armed men.» — trae el espejo que Pompeyo llevó a Roma entre los despojos de Oriente, en el que se veían ejércitos.
«And there are made certain transparent glasses, which being dipped in some certain juices of herbs, and irradiated with an artificial light, fill the whole air round about with visions.» — describe los vidrios transparentes bañados en jugos de hierbas que, irradiados con luz artificial, llenan el aire de visiones.
«And I know how to make reciprocal glasses, in which the Sun shining, all things which were illustrated by the rays thereof are apparently seen many miles off.» — declara en primera persona saber hacer espejos recíprocos que muestran a muchas millas lo que el sol ilumina.
«Hence a magician, expert in natural philosophy, and mathematics, and knowing the middle sciences consisting of both these, arithmatic, music, geometry, optics, astronomy, and such sciences that are of weights, measures, proportions, articles, and joints, knowing also mechanical arts resulting from these, may without any wonder, if he excel other men in art, and wit, do many wonderful things, which the most prudent, and wise men may much admire.» — define al mago competente por la suma de filosofía natural, matemáticas, ciencias medias y artes mecánicas, y le atribuye lo maravilloso sin salir del arte.
«the Gate of Caspia made of brass, and shut with iron beams, that it could by no wit or art, be broken? And the pyramis!? of Julius Caesar erected at Rome near the hill Vaticanus, and mountains built by art!* in the middle of the sea, and towers, and heaps of stones,!> such as I saw in England put together by an incredible art.» — enumera reliquias de la antigüedad —la puerta Caspia, la pirámide de César, los montes hechos por arte— y añade un testimonio propio: montones de piedra que dice haber visto en Inglaterra.
«And we read in faithful histories that in former times rocks have been cut off, and valleys made, and mountains made into a plain, rocks have been digged through, promontories have been opened in the sea, the bowels of the Earth made hollow, rivers divided,!® seas joined to seas,!’ the seas restrained, the bottom of the sea been searched, pools exhausted, fens dried up, new islands made,!® and again restored to the continent,’ all which, although they may seem to be against nature, yet we read have been done,» — enumera las obras de ingeniería antigua que parecen contra naturaleza, de los ríos partidos a las islas nuevas.
«and we see some relics of them remaining till this day, which the vulgar say were the works of the Devil, seeing the arts, and artificers thereof have been dead out of all memory, neither are there any that care to understand, or search into them.» — explica por qué esas obras se adjudican al diablo: sus artífices murieron sin memoria y nadie se cuida de entenderlas.
«Therefore they seeing any wonderful sight, do impute it to the Devil, as his work, or think it is a miracle, which indeed is a work of natural, or mathematical philosophy.» — adjudica al vulgo la doble salida de llamar diablo o milagro a lo que es obra de filosofía natural o matemática.
«As if anyone should be ignorant of the virtue of the loadstone, and should see heavy iron drawn upwards, or hanged in the air (as we read the iron image of Mercury did long since at Treveris hang up in the middle of the temple by loadstones,”° this verse attesting the same: The iron white rod bearer flies in the air.» — pone el imán como el caso que deshace el prodigio, con la imagen de hierro de Mercurio suspendida en el templo de Tréveris y el verso que lo atestigua.
«But if he shall know the virtue of the loadstone to the iron, and shall make trial of it, he presently ceaseth to wonder, and doth no more scruple it to be the work of nature.» — cierra el argumento: probada la virtud del imán, deja de haber asombro y la obra vuelve a ser de naturaleza.
«But here it is convenient that you know, that as by natural virtues we collect natural virtues, so by abstracted, mathematical, and celestial, we receive celestial virtues, as motion, life, sense, speech, soothsaying, and divination, even in matter less disposed, as that which is not made by nature, but only by art.» — distingue las dos cosechas: por virtudes naturales se recogen naturales, y por las matemáticas y celestes se reciben movimiento, vida, sentido, habla y adivinación, aun en materia hecha por arte.
«And so images that speak, and foretell things to come, are said to be made, as William of Paris relates of a brazen head”* made under the rising of Saturn,”? which they say spake with a man’s voice.» — adjudica a Guillermo de París el relato de la cabeza de bronce hecha bajo el orto de Saturno.
«But he that will choose a disposed matter, and most fit to receive, and a most powerful agent, shall undoubtedly produce more powerful effects.» — añade la condición del efecto mayor: materia dispuesta y agente poderoso.
«For it is a general opinion of the Pythagoreans, that as mathematical things are more formal than natural, so also they are more efficacious: as they have less dependence in their being, so also in their operation.» — adjudica a los pitagóricos que lo matemático, por más formal, es más eficaz y menos dependiente en su ser y en su operación.
«But amongst all mathematical things, numbers, as they have more of form in them, so also are more efficacious, to which not only heathen philosophers, but also Hebrew, and Christian divines do attribute virtue, and efficacy, as well to effect what is good, as what is bad.» — pone el número por encima de lo matemático restante, y le adjudica virtud tanto entre paganos como entre teólogos hebreos y cristianos, para bien y para mal.
«everinus Boethius saith,! that all things which were first made by the nature of things in its first age, seem to be formed by the proportion of numbers, for this was the principal pattern in the mind of the Creator.» — abre el capítulo de los números adjudicando a Boecio que todo lo hecho al principio se formó por proporción de números, patrón principal en la mente del Creador; la capital perdida en la caja hace que la cita empiece en everinus, por Severinus.
«Hence is borrowed the number of the elements, hence the courses of times, hence the motion of the stars, and the revolution of the heaven, and the state of all things subsist by the uniting together of numbers.» — deriva de ahí el número de los elementos, los cursos del tiempo, el movimiento de los astros y la subsistencia de las cosas.
«Numbers therefore are endowed with great and sublime virtues.» — enuncia la tesis del capítulo en una línea.
«For it is no wonder, seeing there are so many, and so great occult virtues in natural _- things, although of manifest operations, that there should be in numbers much greater, and more occult, and also more wonderful, and efficacious, for as much as they are more formal, more perfect, and naturally in the celestials, not mixed with separated substances; and lastly, having the greatest, and most simple commixtion with the Ideas in the mind of God, from which they receive their proper, and most efficacious virtues: wherefore also they are of more force, and conduce most to the obtaining of spiritual, and divine gifts, as in natural things, elementary qualities are powerful in the transmuting of any elementary thing.» — argumenta que los números tienen virtudes más ocultas que las cosas naturales por ser más formales y estar en trato más simple con las ideas en la mente de Dios.
«Again, all things that are, and are made, subsist by, and receive their virtue from num» — repite la tesis desde el otro lado: todo lo que es y se hace recibe su virtud del número; la palabra queda partida por el folio impreso 237, que el escaneo mete a media línea.
«For time consists of number, and all motion, and action, and all things which are subject to time, and motion.» — lleva la tesis al tiempo, al movimiento y a la acción.
«and the proportions arising from numbers, do by lines, and points make characters, and figures: and these are proper to magical operations, the middle which is betwixt both being appropriated by declining to the extremes, as in the use of letters.» — hace de las proporciones el origen de líneas, puntos, caracteres y figuras, y las declara propias de la operación mágica; la frase venía de la armonía y las voces, cortada por el folio impreso.
«And lastly, all species of natural things, and of those things which are above nature, are joined together by certain numbers: which Pythagoras seeing,‘ saith, that number is that by which all things consist, and distributes each virtue to each number.» — adjudica a Pitágoras que el número es aquello por lo que todo consiste, y que reparte a cada número su virtud.
«And Proclus saith, number hath always a being: yet there is one in voice, another in the proportion of them, another in the soul, and reason, and another in divine things.» — adjudica a Proclo la partición del número en el de la voz, el de la proporción, el del alma y el de las cosas divinas.
«But Themistius, and Boethius, and Averrois the Babylonian, together with Plato, do so extol numbers, that they think no man can be a true philosopher without them.» — suma a Temistio, Boecio, Averroes y Platón para hacer del número condición del filósofo.
«Now they speak of a rational, and formal number, not of a material, sensible, or vocal, the number of merchants” buying, and selling, of which the Pythagoreans, and Platonists, and our Austin make no reckoning, but apply it to the proportion resulting from it, which number they call natural, rational, and formal, from which great mysteries flow, as well in natural, as divine, and heavenly things.» — acota de qué número se habla: el racional y formal, no el de mercaderes que compran y venden.
«By it is there a way made for the searching out, and understanding of all things knowable. By it the next access to natural prophesying is had: and the Abbot Joachim proceeded no other way in his prophecies, but by formal numbers.» — adjudica al número formal el acceso más cercano a la profecía natural, y pone al abad Joaquín como quien no procedió de otro modo.
«hat there lies wonderful efficacy, and virtue in numbers, as well to good as to bad, not only most eminent philosophers do unanimously teach, but also Catholic doctors, and especially Hierom, Austin, Origen, Ambrose, Gregory of Nazianzen, Athanasius, Basilius, Hilarius, Rabanus, Bede, and many more confirm.» — abre el capítulo de las virtudes del número alineando a los filósofos con una lista de doctores católicos; la capital perdida hace que la cita empiece en hat, por That.
«Hence Hilarius in his Commentaries upon the psalms, testifies that the seventy elders,' according to the efficacy of numbers, brought the psalms into order.» — adjudica a Hilario el testimonio de que los setenta ancianos ordenaron los salmos por eficacia de números.
«Rabanus also, a famous doctor, composed an excellent book of the virtues of numbers.» — nombra el libro de Rabano sobre las virtudes de los números.
«But now how great virtues numbers have in nature, is manifest in the herb which is called cinquefoil, i.e. five-leaved grass; for this resists poisons by virtue of the number of five; also drives away devils, conduceth to expiation;? and one leaf of it taken twice in a day in wine, cures the fever of one day: three the tertian fever: four the quartan.» — baja la doctrina a la práctica con la cincoenrama, que resiste venenos por virtud del cinco, y gradúa las hojas según la fiebre.
«In like manner four grains of the seed of turnisole* being drunk, cures the quartan, but three the tertian.» — segundo caso de la misma regla, con la simiente del heliotropo.
«In like manner vervain? is said to cure fevers, being drunk in wine, if in tertians it be cut from the third joint, in quartans from the fourth.» — tercer caso, con la verbena cortada en el tercer nudo o en el cuarto según la fiebre.
«A serpent, if he be once struck with a spear, dieth, if twice, recovers strength.» — cuarto caso, y con el efecto invertido a la segunda vez.
«We must know now whence these are done, which certainly have a cause, which is a various proportion of various numbers amongst» — declara que estos efectos tienen causa, y la pone en la proporción de unos números con otros; la frase sigue tras el folio impreso 239.
«There is also a wonderful experiment of the number of seven, that every seventh male,® born without a female coming betwixt, hath power to cure the King’s Evil by his touch alone, or word.» — trae el séptimo hijo varón sin hembra de por medio como caso del siete, con poder de curar la escrófula por el tacto o la palabra.
«Also every seventh daughter that is born, is said wonderfully to help forward the birth of children: neither is the natural number here considered, but the formal consideration that is in the number.» — añade la séptima hija y acota expresamente que lo que obra no es el número natural sino la consideración formal.
«And let that which we spake before, be always be kept in mind, viz. that these powers are not in vocal, or numbers of merchants buying, and selling, but in rational, formal, and natural; these are distinct mysteries of God, and nature.» — repite la acotación del número de mercaderes y llama a estos poderes misterios distintos de Dios y de la naturaleza.
«But he that knows how to join together the vocal numbers, and natural with divine, and order them into the same harmony, shall be able to work and know wonderful things by numbers;» — pone la condición del operador: juntar en una misma armonía los números vocales, los naturales y los divinos.
«hath understanding, let him compute the number of the name of the beast, which is the number of a man, and this is the most famous manner of computing amongst the Hebrews, and Cabalists, as we shall show afterwards.» — remite el número de la bestia al cómputo del nombre y lo declara el modo más famoso entre hebreos y cabalistas; la cita arranca a media oración, que venía del Apocalipsis citado en la plana anterior.
«But this you must know, that simple numbers signify divine things: numbers of ten; celestial: numbers of an hundred; terrestrial: numbers of a thousand; those things that shall be in a future age.» — escalona los órdenes del número: los simples significan lo divino, las decenas lo celeste, las centenas lo terrestre y los millares lo por venir.
«hence it is that numbers do work very much upon the soul, figures upon the body, and harmony upon the whole animal.» — reparte los tres registros según la mediocridad aritmética del alma y la geométrica del cuerpo: números sobre el alma, figuras sobre el cuerpo, armonía sobre el animal entero.
«ow let us treat particularly of numbers themselves: and because number is nothing else but a repetition of unity, let us first consider unity itself.» — abre el capítulo de la unidad definiendo el número como repetición de ella; la capital perdida en la caja hace que la cita empiece en ow, por Now.
«For unity doth most simply go through every number, and is the common measure, fountain, and original of all numbers, contains every number joined together in itself entirely, the beginner of every multitude, always the same, and unchangable: whence also being multiplied into itself, produceth nothing but itself: it is indivisible, void of all parts: but if it seem at any time to be divided, it is not cut, but indeed multiplied into unities: yet none of these unities is greater or lesser than the whole unity, as a part is less than the whole: it is not therefore multiplied into parts, but into itself.» — define la unidad como medida, fuente y origen de todo número, indivisible y sin partes, que dividida no se corta sino que se multiplica en unidades.
«Therefore some called it concord, some piety, and some friendship, which is so knit, that it cannot be cut into parts.» — recoge los nombres que otros le dieron: concordia, piedad y amistad.
«But Martianus, according to the opinion of Aristotle, saith, it is named Cupid,” because it is made one alone, and will always bewail itself, and beyond itself it hath nothing, but being void of all haughtiness, or coupling, turns its proper heats into itself.» — adjudica a Marciano, siguiendo a Aristóteles, el nombre de Cupido para la unidad, por volver sobre sí sus propios ardores.
«It is therefore the one beginning, and end of all things, neither hath it any beginning, or end itself: nothing is before one, nothing is after one, and beyond it is nothing, and all things which are, desire that one, because all things proceeded from one, and that all things may be the same, it is necessary that they partake of that one: and as all things proceeded of one into many things, so all things endeavour to return to that one, from which» — hace de la unidad principio y fin sin principio ni fin, de donde todo procede y adonde todo tiende; la frase sigue tras el folio impreso 241.
«One therefore is referred to the high God, who seeing he is one, and innumerable, yet creates innumerable things of himself, and contains them within himself.» — refiere la unidad al Dios altísimo, uno e innumerable, que crea de sí lo innumerable.
«There is therefore one God, one world of the one God, one Sun of the one world, also one phoenix in the world, one king amongst bees,? one leader amongst flocks of cattle, one ruler amongst herds of beasts, and cranes follow one,* and many other animals honour unity; amongst the members of the body there is one principal by which all the rest are guided, whether it be the head, or (as some will) the heart.» — despliega la serie de los unos —un Dios, un mundo, un Sol, un fénix, un rey entre las abejas— y deja abierto si el miembro principal del cuerpo es la cabeza o el corazón.
«There is one element overcoming, and penetrating all things, viz. Fire.» — adjudica al fuego el ser el único elemento que vence y penetra a todos.
«There is one thing? created of God, the subject of all wondering, which is on Earth, or in heaven; it is actually animal, vegetable, and mineral, everywhere found, known by few, called by none by its proper name, but covered with figures, and riddles, without which neither alchemy, nor natural magic, can attain to their complete end, or perfection.» — describe sin nombrarla la cosa una creada por Dios, animal, vegetal y mineral a la vez, que nadie llama por su nombre propio y sin la cual ni la alquimia ni la magia natural llegan a su perfección.
«From one man, Adam, all men proceed, from that one all become mortal, from that one Jesus Christ they are regenerated: and as saith Paul,® one Lord, one faith, one baptism, one God, and Father of all, one mediator betwixt God and man, one most high Creator, who is over all, by all, and in us all.» — lleva la unidad a la teología con Adán, Cristo y la fórmula paulina de un solo Señor, una fe y un bautismo.
«For there is one Father, God, from whence all, and we in him: one Lord Jesus Christ, by whom all, and we by him: one God Holy Ghost, into whom all, and we into him.» — cierra el capítulo repartiendo las tres preposiciones entre las tres personas: de quién, por quién y en quién.
«One divine essence, the fountain of all virtues, and power, whose name is expressed with one most simple letter» — primer peldaño de la escala de la unidad, en el mundo ejemplar: una esencia divina cuyo nombre se expresa con una sola letra.
«One king of stars, the fountain of life» — peldaño celeste de la misma escala, con el Sol por rey de los astros.
«One subject, and instrument of all virtues, natural, and supernatural» — peldaño elemental de la escala, que la propia tabla adjudica a la piedra filosofal.
«he first number is of two, because it is the first multitude, it can be measured by no number besides unity alone, the common measure of all numbers: it is not compounded of numbers, but of one unity only; neither is it called a number uncompounded, but more properly not compounded: the number of three is called the first number uncompounded: but the number of two is the first branch of unity, and the first procreation.» — abre el capítulo del dos llamándolo primera multitud y primera rama de la unidad; la capital perdida hace que la cita empiece en he, por The.
«Hence it is called generation, and Juno,” and an imaginable corporation,* the proof of the first motion, the first form of parity: the number of the first equality, extremity, and distance betwixt, and therefore of peculiar equity, and the proper act thereof, because it consists of two equally poised:* and it is called the number of science, and memory, and of light, and the number of man, who is called another, and the lesser, world» — enumera los nombres del dos —generación, Juno, corporación imaginable, número de la ciencia, de la memoria y de la luz— y lo llama número del hombre, el mundo menor.
«it is also called the number of charity, and mutual love, of marriage, and society, as it is said by the Lord, two shall be one flesh.» — suma al dos la caridad, el matrimonio y la sociedad, con el versículo de la una carne por respaldo.
«And Solomon saith:’ it is better that two be together than one, for they have a benefit by their mutual society: if one shall fall, he shall be supported by the other. Woe to him that is alone, because when he falls he hath not another to help him: and if two sleep together, they shall warm one the other; how shall one be hot alone? And if any prevail against him, two resist him.» — trae entero el pasaje de Salomón sobre los dos que se sostienen, se calientan y resisten juntos.
«And it is called the number of wedlock and sex; for there are two sexes, masculine and feminine: and two doves? bring forth two eggs» — adjudica el dos a los sexos y trae el caso de las dos palomas; la frase sigue tras el folio impreso 245.
«It is also called the middle, that is capable, that is good and bad, partaking, and the beginning, of division, of multitude, and distinction, and signifies matter.» — pone el dos como medio capaz de bien y de mal, principio de la división y de la multitud, y lo hace significar la materia.
«This is also sometimes the number of discord, and confusion, of misfortune, and uncleanness, whence Saint Hierom against Jovianus? saith, that therefore it was not spoken in the second day of the creation of the world, and God said, that it was good, because the number of two is evil.» — vuelca el dos al otro lado —discordia, confusión, inmundicia— y adjudica a Jerónimo contra Joviniano la lectura del segundo día de la creación sin la fórmula de que era bueno.
«Hence also it was that God commanded that all unclean animals should go into the ark by couples:!! because as I said, the number of two, is a number of uncleanness, and it is most unhappy in their soothsayings, especially if those things, from whence the soothsaying is taken, be saturnal, or martial, for these two are accounted by the astrologers unfortunate.» — refuerza lo anterior con los animales inmundos entrados de dos en dos en el arca, y acota que el agüero empeora si lo consultado es saturnino o marcial.
«It is also reported, that the number of two doth cause apparitions of ghosts, and fearful goblins» — adjudica al dos las apariciones de fantasmas y duendes; la frase sigue en la plana siguiente.
«Pythagoras (as Eusebius reports)! said, that unity was God, and a good intellect; and that duality was a devil, and an evil intellect, in which is a material multitude: wherefore the Pythagoreans say, that two is not a number, but a certain confusion of unities.» — adjudica a Pitágoras por vía de Eusebio la ecuación de la unidad con Dios y de la dualidad con el demonio, y añade que para los pitagóricos el dos ni siquiera es número.
«And Plutarch writes,!3 that the Pythagoreans called unity Apollo, and two, strife, and boldness; and three, justice, which is the highest perfection, and is not without many mysteries.» — adjudica a Plutarco el reparto pitagórico de Apolo al uno, la contienda al dos y la justicia al tres.
«Hence there were two tables!* of the Law in Sina, two cherubins!> looking to the propitiatory in Moses, two olives'® dropping oil in Zachariah, two natures in Christ, divine and human; hence Moses saw two appearances of God, viz. his face, and backparts,!” also two testaments, two commands of love,'® two first dignities,!? two first people, two kinds of spirits, good and bad, two intellectual creatures, an angel and soul, two great lights,”° two solsticia,”! two equinoctials,”* two poles, two elements producing a living soul, viz. Earth, and Water.» — despliega la serie bíblica y cosmológica del dos, de las tablas del Sinaí a los dos elementos que producen alma viviente.
«he number of three is an incompounded number,! a holy number,” a number of perfection, a most powerful number. For there are three persons in God, there are three theological virtues? in religion.» — abre el capítulo del tres llamándolo incompuesto, santo y perfecto, y lo funda en las tres personas y las tres virtudes teologales; la capital perdida hace que la cita empiece en he, por The.
«Hence it is that this number conduceth to the ceremonies of God, and religion, that by the solemnity of which, prayers, and sacrifices are thrice repeated.» — deriva de ahí la triple repetición de plegarias y sacrificios en el culto.
«Whence Virgil sings:4 Odd numbers to the god delightful are.» — trae el verso virgiliano del gusto de los dioses por el número impar.
«And the Pythagoreans use it in their significations, and purifications, whence in Virgil: The same did cleanse, and wash with water pure Thrice his companions» — adjudica a los pitagóricos el uso del tres en purificaciones, con Virgilio por respaldo.
«I walk around First with these threads, which three, and several are, ‘Bout the altar thrice I shall thy image bear.» — repite aquí la misma copla virgiliana que ya trajo en el Libro I, y con otra letra: donde allá dice in number which three are, aquí dice which three, and several are. Se consignan las dos formas sin arbitrar.
«She spake three words, which caused sweet sleep at will, The troubled sea, the raging waves stand still.» — adjudica a Medea las tres palabras que aquietan el mar; la cita empieza tras el folio impreso 249.
«And in Pliny it was the custom in every medicine to spit? with three deprecations, and hence to be cured.» — adjudica a Plinio la costumbre de escupir con tres deprecaciones en cada remedio.
«The number of three is perfected with three augmentations,'° long, broad, and deep, beyond which there is no progression of dimension, whence the first number!! is called square.» — funda la perfección del tres en las tres dimensiones, más allá de las cuales no hay progresión.
«Hence it is said that to a body that hath three measures, and to a square number, nothing can be added.» — remata que a un cuerpo de tres medidas y a un número cuadrado nada se les puede añadir.
«For corporeal, and spiritual things consist of three things, viz. beginning, middle, and end.» — reparte lo corpóreo y lo espiritual en principio, medio y fin.
«By three (as Tresmegistus saith)? the world is perfected: harmony, necessity, and order i.e. concurrence of causes, which many call fate, and the execution of them to the fruit, or increase, and a due distribution of the increase.» — adjudica a Trismegisto la tríada con que el mundo se perfecciona —armonía, necesidad y orden— y glosa el orden como concurso de causas, lo que muchos llaman hado.
«The whole measure of time is concluded in three, viz. past, present, to come; all magnitude is contained in three, line, superficies,!* and body; every body consists of three intervals, length, breadth, thickness.» — extiende el tres al tiempo y a la magnitud, con sus tres tiempos y sus tres intervalos.
«Harmony contains three consents in time, diapason,!> hemiolion, '© diatessaron.» — adjudica al tres los tres consonantes de la armonía.
«There are three kinds of souls, vegetative, sensitive, and intellectual.» — reparte las almas en vegetativa, sensitiva e intelectual.
«And as saith the prophet,'® God orders the world by number, weight, and measure» — adjudica al profeta el que Dios ordene el mundo por número, peso y medida; la frase sigue en la plana siguiente.
«of three is deputed to the ideal forms thereof, as the number two is to the procreating matter, and unity to God the maker of it.» — reparte los tres primeros números entre las formas ideales, la materia que procrea y Dios que hace; la cita arranca a media oración por el corte de plana.
«Magicians do constitute three princes of the world, Oromasis,!9 Mitris,2° Araminis”' i.e. God, the Mind, and the Spirit.» — adjudica a los magos tres príncipes del mundo y los traduce a Dios, la Mente y el Espíritu; los tres nombres van tal como los imprime la edición y quedan sin cotejo.
«By the three square or solid,” the three numbers of nine of things produced are distributed, viz. of the supercelestial into nine orders of intelligences: of celestial into nine orbs: of inferiors into nine kinds of generable, and corruptible things.» — deriva del cubo del tres los tres nueves: nueve órdenes de inteligencias, nueve orbes y nueve géneros de lo generable.
«Lastly in this ternal orb,” viz. twenty-seven, all musical proportions are included, as Plato,” and Proclus, do at large discourse.» — adjudica a Platón y a Proclo que en el veintisiete se encierran todas las proporciones musicales.
«Also in intelligences there are three hierarchies”© of angelical spirits. There are three powers of intellectual creatures, memory, mind, and will. There are three orders of the blessed, viz. of Martyrs, Confessors, and Innocents.» — sigue la serie de las tríadas: jerarquías angélicas, potencias del alma intelectual y órdenes de los bienaventurados.
«There are three quaternions of celestial signs,*’ viz. of Fixed, Moveable, and Common, as also of houses,”® viz. Centers, Succeeding, and Falling.» — lleva la tríada a la astrología con las tres cuaternas de signos y de casas.
«There are also three faces and heads”? in every sign, and three lords of each triplicity.» — añade las tres faces de cada signo y los tres señores de cada triplicidad.
«There are three Fortunes*! amongst the planets. Three Graces*? amongst the goddesses. Three Ladies of Destiny*? amongst the infernal crew. Three Judges.*4 Three Furies.° Three-headed Cerberus.» — sigue la serie con las tres Fortunas, las tres Gracias, las tres Parcas, los tres Jueces, las tres Furias y el Cerbero de tres cabezas.
«We read also of a thrice-double Hecate.*’ Three mouths of the virgin Diana. Three persons in the supersubstantial divinity. Three times, of nature, law, and grace. Three theological virtues, faith, hope, and charity. Jonas was three days in the whale’s belly;78 and so many was Christ in the grave.» — cierra el capítulo con la Hécate triple, las tres bocas de Diana, los tres tiempos de naturaleza, ley y gracia, y los tres días de Jonás y de Cristo.
«Wherefore Aristotle!” in the beginning of his speeches concerning heaven, calls it as it were a law, according to which all things are disposed.» — adjudica a Aristóteles, al abrir el tratado del cielo, el llamar ley al tres, según la cual todo queda dispuesto.
«he Pythagoreans call the number of four tetractys,' and prefer it before all the virtues of numbers, because it is the foundation, and root of all other numbers; whence also all foundations, as well in artificial things, as natural, and divine, are four square,” as we shall show afterwards: and it. signifies solidity, which also is demonstrated by ° a four square figure.» — abre el capítulo del cuatro con el nombre pitagórico de tetraktys y lo pone por fundamento y raíz de los demás números; la capital perdida hace que la cita empiece en he, por The.
«For the number four is the first four square plain, which consists of two proportions, whereof the first is of one to two, the latter of two to four,’ and it proceeds by a double procession and proportion, viz. of one to one, and of two to two, beginning at a unity, and ending at a quaternity: which proportions differ in this, that according to arithematic, they are unequal to one the other: but according to geometry are equal.» — funda el cuadrado en dos proporciones que llama desiguales aritméticamente e iguales geométricamente.
«Therefore a four square is ascribed to God the Father, and:also contains the mystery of the whole Trinity: for by its single proportion, viz. by the first of one to one,® the unity of the paternal substance is signified, from which proceeds one Son, equal to him; by the next procession, also simple, viz. of two to two,’ is signified by the second procession the Holy Ghost from both, that the Son be equal to the Father by the first procession; and the Holy Ghost be equal to both by the second procession.» — adjudica el cuadrado a Dios Padre y hace de sus dos procesiones la figura de la Trinidad.
«Hence that superexcellent, and great name® of the divine trinity of God is written with four letters, viz. Yod, He, and Vau; He, where it is the aspiration He, signifies the proceeding of» — deriva de ahí que el nombre divino se escriba con cuatro letras; la frase sigue tras el folio impreso 254, que el escaneo mete a media línea.
«for He being duplicated, terminates both syllables, and the whole name, but is pronounced Jove, as some will, whence that Jovis? of the heathen, which the ancients did picture with four ears, whence the number four is the fountain, and head of the whole divinity.» — explica la duplicación de la He y adjudica a algunos la pronunciación Jove, de donde el Júpiter de los gentiles pintado con cuatro orejas.
«And the Pythagoreans call it the perpetual fountain of nature:!° for there are four degrees in the scale of nature, viz. to be, to live, to be sensible, to understand.» — adjudica a los pitagóricos el llamarlo fuente perpetua de la naturaleza, y da los cuatro grados de la escala natural.
«There are four motions in nature, viz. ascendent, descendent, going forward, circular.» — enumera los cuatro movimientos naturales.
«There are four corners!! in the heaven, viz. rising, falling, the middle of the heaven, and the bottom of it. There are four elements under heaven, viz. Fire, Air, Water, and Earth; according to these there are four triplicities!” in heaven: there are four first qualities under the heaven, viz. cold, heat, dryness, and moistness, from these are the four humours, blood, phlegm, choler, melancholy.» — encadena las cuaternas del cielo y de abajo: los cuatro ángulos, los elementos, las triplicidades, las primeras cualidades y los humores.
«Also the year is divided into four parts, which are spring, summer, autumn, and winter; also the wind is divided into eastern, western, northern, and southern. There are also four rivers of Paradise,!> and so many infernal.» — sigue la serie con las estaciones, los vientos y los cuatro ríos del paraíso, con otros tantos infernales.
«Also the number four makes up all knowledge: first it fills up every simple progress of numbers with four terms, viz. with one, two, three, and four, constituting!* the number ten.» — hace del cuatro el que completa todo saber, porque sumando sus términos da diez.
«It fills up every difference of numbers, the first even, and containing the first odd in it.» — añade que el cuatro llena toda diferencia de números por ser el primer par que contiene al primer impar.
«It hath in music diatessaron, the grace of the fourth» — adjudica al cuatro el diatessaron en música; la frase sigue en la plana siguiente.
«Also it contains the instrument of four strings, '° and a Pythagorean diagram,!7 whereby are found out first of all musical tunes, and all harmony of music.» — suma el instrumento de cuatro cuerdas y el diagrama pitagórico de donde salen los tonos.
«It doth also contain the whole of mathematics in four terms, viz. point, line, superficies, and profundity.» — reparte la matemática entera en cuatro términos: punto, línea, superficie y profundidad.
«It comprehends all nature in four terms, viz. substance, quality, quantity, and motion.» — reparte la naturaleza en sustancia, cualidad, cantidad y movimiento.
«Also metaphysic is comprehended in four bounds, viz. being, essence, virtue, and action.» — reparte la metafísica en ser, esencia, virtud y acción.
«Moral philosophy is comprehended with four virtues, viz. prudence, justice, fortitude, temperence.» — reparte la filosofía moral en prudencia, justicia, fortaleza y templanza.
«It hath also the power of justice; hence a fourfold law: of providence, from God; fatal, from the Soul of the World; of nature, from heaven; of prudence, from man.» — deriva del cuatro una ley cuádruple, y da a cada una su fuente: providencia de Dios, hado del alma del mundo, naturaleza del cielo y prudencia del hombre.
«There are also four judiciary powers in all things being, viz. the intellect, discipline, opinion, and sense.» — reparte las potencias de juzgar en intelecto, disciplina, opinión y sentido.
«Hence the Pythagoreans did ratify the number four with an oath, as if it were the chiefest ground whereon their faith was grounded, and their belief might be confirmed.» — adjudica a los pitagóricos el juramento por el cuatro como fundamento de su fe.
«I with pure mind by the number four do swear; That’s holy, and the fountain of nature Eternal, parent of the mind.» — trae el juramento pitagórico en verso inglés, jurando por el número mismo.
«Also there are four rivers of Paradise; four Gospels received from four Evangelists!? throughout the whole Church.» — suma los cuatro ríos del paraíso y los cuatro evangelios.
«The Hebrews received the chiefest name of God”? written with four letters.» — señala que el nombre principal de Dios entre los hebreos lleva cuatro letras.
«Also the Egyptians, Arabians, Persians, Magicians, Mahometans, Grecians, Tuscans, Latins, write the name of God with only four letters, viz. thus: Thet,?! Alla,2? Sire,? Orsi, Abdi, @<ds,”* Esar,» — enumera los nombres de Dios de cuatro letras en ocho pueblos; las grafías salen corrompidas por el OCR y se citan tal cual, sin cotejo contra el facsímil.
«Hence the Lacedemonians were wont to paint Jupiter with four wings.» — adjudica a los lacedemonios el pintar a Júpiter con cuatro alas.
«Hence also in Orpheus his divinity,”° it is said that Neptune’s chariots are drawn with four horses.» — adjudica a la teología órfica que el carro de Neptuno lo tiran cuatro caballos.
«There are also four kinds of divine furies,”® proceeding from several deities, viz. from the Muses, Dionysus, Apollo, and Venus.» — reparte los cuatro furores divinos entre las Musas, Dioniso, Apolo y Venus.
«Also the prophet Ezekiel saw four beasts”? by the river Chobar, and four Cherubims”? in four wheels.» — trae la visión de Ezequiel junto al río Cobar.
«Also in Daniel,! four great beasts did ascend from the sea, and four winds did fight.» — suma las cuatro bestias y los cuatro vientos de Daniel.
«And in the Revelations four beasts were full of eyes,*? before, and behind, standing round about the throne of God: and four angels,*? to whom was given power to hurt the Earth, and the sea, did stand upon the four corners of the Earth, holding the four winds, that they should not blow upon the Earth, nor upon the sea, nor upon any tree.» — cierra la serie con los cuatro vivientes y los cuatro ángeles del Apocalipsis, que retienen los vientos sobre los cuatro ángulos de la tierra.
«Michael Raphael Gabriel Uriel» — serie de los cuatro ángeles que la escala del cuatro pone al frente de los ángulos del mundo; las columnas de la tabla salen entreveradas por el escaneo, así que se consigna la serie y no el reparto.
«Seraph Cherub Tharsis Ariel» — serie de los cuatro regidores de los elementos en la misma escala, consignada igualmente sin adjudicar cada nombre a su elemento.
«Samael Azazel Azael Mahazael» — serie de los cuatro príncipes de los demonios que ofenden en los elementos, en el mundo infernal de la misma escala.
«Whence arithmeticians call that the Father, and this the Mother.» — adjudica a los aritméticos el llamar padre al impar y madre al par; la cita arranca a media oración porque el sujeto queda en la plana anterior.
«Therefore the number five is of no small perfection, or ., virtue, which proceeds from the mixtion of these numbers: it is also the just middle of the universal number, viz. ten.» — deriva la virtud del cinco de la mezcla del par y el impar, y lo pone por medio justo del diez.
«For if you divide the number ten, there will be nine and one, or eight and two, or seven and three, or six and four, and every collection makes the number ten, and the exact middle always is the number five, and it’s equidistant; and therefore it is called by the Pythagoreans the number of wedlock,’ as also of justice,? because it divides the number ten in an even scale.» — razona ese medio repartiendo el diez en pares de sumandos, y de ahí le viene el nombre pitagórico de número del matrimonio y de la justicia.
«There be five senses in man, sight, hearing, smelling, tasting, and touching: five powers in the soul, vegetative, sensitive, concupiscible, irascible, rational: five fingers of the hand: five wandering planets in the heavens, according to which there are fivefold terms‘ in every sign.» — encadena las cinco del hombre y del cielo: sentidos, potencias del alma, dedos, planetas errantes y términos de cada signo.
«In elements there are five kinds of mixed bodies, VIZ. stones, metals, plants, plant-animals, animals; and so many kinds of animals, as men, four-footed beasts, creeping, swimming, flying.» — reparte los cuerpos mixtos y los animales en cinco géneros cada uno.
«And there are five kinds by which all things are made of God, viz. essence, the same,° another,® sense, motion.» — da los cinco géneros con que Dios hace todas las cosas.
«The swallow brings forth but five young, which she feeds with equity, beginning with the eldest, and so the rest, according to their age.» — trae la golondrina que cría cinco y los alimenta por orden de edad, y llama equidad a ese orden.
«Also this number hath great power in expiations: for in holy things it drives away devils. In natural things, it expels poisons.» — adjudica al cinco poder expiatorio: ahuyenta demonios en lo sagrado y expele venenos en lo natural.
«It is also called the number of fortunateness, and favour, and it is the seal of the Holy Ghost, and a bond that binds all things, and the number of the cross,’ yea eminent with the principal wounds® of Christ, whereof he vouchsafed to keep the scars in his glorified body.» — suma al cinco el sello del Espíritu Santo, la cruz y las llagas principales de Cristo, cuyas cicatrices dice que quiso conservar en su cuerpo glorioso.
«The heathen philosophers did dedicate it as sacred to Mercury,® esteeming the virtue of it to be so much more excellent than the number four, by how much a living thing is more excellent than a thing without life» — adjudica a los filósofos gentiles la consagración del cinco a Mercurio, y razona su ventaja sobre el cuatro por la que lo vivo lleva a lo sin vida.
«For in this number the father Noah found favour with God, and was preserved in the flood of waters.» — adjudica al cinco el favor de Noé y su salvación en el diluvio.
«In the virtue of this number Abraham,'* being an hundred years old, begat a son of Sarah, being ninety years old, and a barren woman, and past child bearing, and grew up to be a great people.» — adjudica al cinco el hijo de Abraham y Sara ya ancianos.
«Hence in time of grace the name of divine omnipotency is called upon with five letters. For in time of nature the name of God was called upon with three letters, "TW Sadai:!3 in time of the Law, the ineffable name of God was expressed with four letters, 117’, instead of which the Hebrews express "78 Adonai: in time of grace the ineffable name of God was with five letters, TWiT’, Ihesu,'4 which is called upon with no less mystery than that of three let» — reparte los nombres de Dios por edades: tres letras en tiempo de naturaleza, cuatro en tiempo de la ley y cinco en tiempo de gracia; las grafías hebreas salen corrompidas por el OCR y se citan tal cual.
«ix is the number of perfection, because it is the most perfect in nature, in the whole course of numbers, from one to ten, and it alone is so perfect, that in the collection of its parts it results the same, neither wanting, nor abounding.» — abre el capítulo del seis llamándolo el más perfecto de uno a diez, por igualar la suma de sus partes; la capital perdida hace que la cita empiece en ix, por Six.
«For if the parts thereof, viz. the middle, the third, and sixth part, which are three, two, one, be gathered together, they perfectly fill up the whole body of six, which perfection all other numbers want» — razona esa igualdad sumando mitad, tercio y sexto, y dice que ningún otro número la tiene.
«hence by the Pythagoreans it is said to be altogether applied to generation, and marriage,” and is called the scale of the world.» — adjudica a los pitagóricos el aplicar el seis a la generación y al matrimonio, y el llamarlo escala del mundo.
«For the world is made of the number six, neither doth it abound, or is defective.» — repite el argumento desde el mundo: hecho de seis, ni sobra ni falta.
«Hence that is, because the world was finished by God the sixth day. For the sixth day? God saw all the things which he had made, and they were very good. Therefore the heaven, and the Earth, and all the host thereof were finished.» — funda lo anterior en el sexto día de la creación.
«It is also called the number of man, because the sixth day man was created:* and it is also the number of our redemption, for the sixth day Christ suffered*> for our redemption: whence there is a great affinity betwixt the number six and the cross, labour, and servitude» — adjudica al seis el hombre y la redención, y de ahí su parentesco con la cruz, el trabajo y la servidumbre.
«hence it is commanded in the Law, that in six days the work® is to be done, six days manna’ is to be gathered, six years the ground® was to be sown, and that the Hebrew servant? should serve his master six years; six days the glory of the Lord appeared upon Mount Sinai,!° covering it with a cloud: the Cherubims had six wings;!! six circles in the firmament, arctic, antarctic, two tropics, !2 equinoctial,!? and ecliptical;!* six wandering planets, Saturn, Jupiter, Mars, Venus, Mercury, the Moon, running through the latitude of the Zodiac, on both sides of the ecliptic.» — despliega la serie del seis en la ley y en el cielo: los días de trabajo, el maná, los años de siembra y de servidumbre, las alas de los querubines, los círculos del firmamento y los planetas errantes.
«There are six substantial qualities in the elements,!° viz. sharpness, thinness, motion, and the contrary to these, dullness, thickness, rest.» — da las seis cualidades sustanciales de los elementos en tres pares de contrarios.
«There are six differences of position, upwards, downwards, before, behind, on the right side, on the left side.» — da las seis direcciones del espacio.
«There are six natural offices, without which nothing can be, viz. magnitude, colour, figure, interval, standing, motion.» — da los seis oficios naturales sin los cuales nada puede ser.
«Also a solid figure of any foursquare thing hath six superficies.» — añade las seis caras del sólido cuadrado.
«There are six tones of all harmony, viz. five tones, and two halftones, which make one tone, which is the sixth.» — cierra el capítulo con los seis tonos de la armonía, contando los dos semitonos por uno.
«he number seven is of various, and manifold power, for it consists of one, and six, or of two, and five, or of three, and four, and it hath a unity, as it were the coupling together of two threes» — abre el capítulo del siete por sus tres particiones y por la unidad que junta dos treses; la capital perdida hace que la cita empiece en he, por The.
«And the Pythagoreans call it the vehiculum of man’s life, which it doth not receive from its parts so, as it perfects by its proper right of the whole, for it contains body, and soul, for the body consists of four elements, and is endowed with four qualities: also the number three respects the soul, by reason of its threefold power, viz. rational, irascible, and concupiscible.» — adjudica a los pitagóricos el llamar al siete vehículo de la vida del hombre, por contener el cuerpo de cuatro elementos y el alma de tres potencias.
«The number seven therefore, because it consists of three, and four, joins the soul to the body, and the virtue of this number relates to the generation of men, and it causeth man to be received, formed, brought forth, nourished, live, and indeed altogether subsist.» — hace del siete la juntura del alma con el cuerpo y le adjudica la generación entera del hombre.
«For when the genital seed is received in the womb of the woman, if it remain there seven hours after the effusion of it, it is certain that it will abide there for good» — aplica el siete a la concepción con el plazo de siete horas.
«then the first seven days it is coagulated, and is fit to receive the shape of a man: then it produceth mature infants, which are called infants of the seventh month, i.e. because they are born the seventh month.» — sigue el cómputo por sietes hasta el nacido de siete meses.
«After seven days it casts off the relics of the navel. After twice seven days its sight begins to move after the light.» — sigue la serie por semanas del recién nacido.
«After seven months it breeds teeth: after the second seventh month it sits without fear of falling: after the third seventh month it begins to speak: after the fourth seventh month it stands strongly, and walks: after the fifth seventh month it begins to refrain from sucking its nurse.» — sigue la serie por septenas de meses, de los dientes al destete.
«After seven years its first teeth fall, and new are bred fitter for harder meat, and its speech is perfected: after the second seventh year boys wax ripe,° and then is a beginning of generation: at the third seventh year they grow to be men in stature, and begin to be hairy,* and become able, and strong for generation: at the fourth seventh year they begin to barnish,> and cease to grow taller:° in the fifth seventh year they attain to the perfection of their strength: the sixth seventh year they keep their strength: the seventh seventh year they attain to their utmost discretion, and wisdom, and the perfect age of men.» — despliega las siete septenas de años, de la muda de dientes a la edad perfecta del hombre.
«But when they come to the tenth seventh year, where the number seven is taken for a complete number, then they come to the common term of life, the prophet saying,’ our age is seventy years.» — cierra la escala en la décima septena y la respalda con el versículo de los setenta años.
«The utmost height of man’s body is seven feet.» — da la estatura máxima del hombre en siete pies.
«from the bottom to the top, viz. marrow, bone, nerve, vein, artery, flesh, skin.» — enumera los siete grados del cuerpo en altura; la frase empieza tras el corte de plana.
«There are seven, which by the Greeks are called black members,® the tongue, the heart, the lungs, the liver, the spleen, and two kidneys.» — da los siete miembros que llama negros según los griegos, y son seis nombres para siete piezas por contar dos riñones.
«There are also seven principal parts of the body, the head, the breast, the hands, the feet, and the privy members.» — da las siete partes principales del cuerpo.
«It is manifest concerning breath, and meat, that without drawing of the breath the life doth not endure above seven hours: and they that are starved with famine, live not above seven days.» — aplica el siete a los límites de la respiración y del ayuno.
«The veins also, and arteries (as physicians say) are moved by the seventh number.» — adjudica a los médicos el pulso movido por el siete.
«Also judgements in diseases!° are made with greater manifestation upon the seventh days, which physicians call critical, i.e. judicial.» — explica el nombre de días críticos por el juicio que se hace en ellos de la enfermedad.
«Also of seven portions God creates the soul, as divine Plato witnesseth in Timaeus.» — adjudica al Timeo de Platón la creación del alma en siete porciones.
«All difference of voices proceeds to the seventh degree, after which there is the same revolution.» — lleva el siete a la escala de las voces, que vuelve sobre sí en el séptimo grado.
«Again, there are seven modulations! of the voices, diatonus, semiditonus, diatessaron, diapente with a tone, diapente with a halftone, and diapason.» — enumera las siete modulaciones de la voz.
«There is also in celestials a most potent power of the number seven. For seeing there are four comers of the heaven diametrically looking one towards the other, which indeed is accounted a most full, and powerful aspect, !4 and consists of the number seven. For it is made from the seventh sign,!> and makes a cross,!© the most powerful figure of all, of which we shall speak in its due place.» — pasa al cielo y funda el aspecto más pleno en el séptimo signo, que forma cruz, y aplaza el asunto a su lugar.
«the number seven hath a great communion with the cross.» — enuncia el parentesco del siete con la cruz, que retomará más adelante.
«By the same radiation, and number the solstice is distant from winter, and the winter equinoctium from the summer, all which are done by seven signs.» — aplica el mismo cómputo por siete signos a la distancia entre solsticio y equinoccio.
«There are seven stars about the Arctic Pole, greater, and lesser, called Charles’ Wain,2° also seven stars called the Pleiades, and seven planets, according to those seven days, constituting a week.» — encadena los sietes del cielo: el Carro, las Pléyades y los planetas que dan la semana.
«For in twenty-eight days it runs round the compass of the whole Zodiac, which number of days, the number seven, with its seven terms, viz. from one to seven, doth make, and fill up, as much as the several numbers, by adding to the antecedents, and makes four times seven days, in which the Moon runs through, and about all the longitude, and latitude of the Zodiac by measuring, and measuring again:» — explica el mes lunar como cuatro sietes, y lo deriva de la suma de los términos de uno a siete.
«with the like seven of days it dispenseth its light, by changing it; for the first seven days unto the middle as it were of the divided world, it increaseth; the second seven days it fills its whole orb with light; the third by discreasing is again contracted into a divided orb; but after the fourth seven days, it is renewed with the last diminuation of its light,» — reparte las cuatro fases de la luna en cuatro septenas.
«and by the same seven of days it disposeth the increase, and decrease of the sea, for in the first seven of the increase of the Moon, it is by little lessened; in the second by degrees increased: but the third is like the first, and the fourth doth the same as the second.» — extiende el mismo cómputo por septenas a la creciente y la menguante del mar.
«It is also applied to Saturn, which ascending from the lower, is the seventh planet, which betokens rest, to which the seventh day*4 is ascribed, which signifies the seven thousandth, wherein (as John witnesseth)?> the dragon, which is the Devil, and Satan, being bound, men shall be quiet, and lead a peaceable life.» — adjudica el siete a Saturno y al reposo, y lo enlaza con el milenio del Apocalipsis en que el dragón queda atado.
«Moreover the Pythagoreans call seven the number of virginity, because the first is that which is neither generated, or generates,”° neither can it be divided into two equal parts, so as to be generated of another number repeated, or being doubled to bring forth any other number of itself, which is contained within the bounds of the number ten, which is manifestly the first bound of numbers, and therefore they dedicate the number seven to Pallas.» — adjudica a los pitagóricos el nombre de número de la virginidad, por no engendrar ni ser engendrado dentro del diez, y de ahí su consagración a Palas.
«It hath also in religion most potent signs of its esteem, and it is called the number of an oath. Hence amongst the Hebrews to swear is called septenare”® i.e. to protect by seven.» — adjudica al siete el juramento, y deriva del hebreo el verbo jurar como protegerse por siete.
«So Abraham, when he made a covenant with Abimelech, appointed seven ewe lambs”? for a testimony.» — trae las siete corderas del pacto de Abraham con Abimelec.
«The seventh day the Creator rested°° from his work, wherefore this day was by Moses called the Sabbath?! i.e. the day of rest; hence it was that Christ rested the seventh day in the grave.» — encadena el descanso del séptimo día, el sábado de Moisés y el reposo de Cristo en el sepulcro.
«Besides, it is most convenient in purifications. Whence Apuleius saith,*? and I put myself forthwith into the bath of the sea, to be purified, and put my head seven times under the waves.» — adjudica a Apuleyo, en primera persona, el baño de mar con siete zambullidas.
«And the leprous person that was to be cleansed, was sprinkled seven times with the blood of a sparrow:*4 and Elisha the prophet, as it is written in the Second Book of the Kings, saith unto the leprous person; go and wash thyself seven times in Jordan, and thy flesh shall be made whole, and thou shalt be cleansed, and it follows a little after, and he washed himself seven times in Jordan, according to the prophet’s saying, and he was cleansed.» — suma las siete aspersiones del leproso y las siete zambullidas de Naamán en el Jordán por mandato de Eliseo.
«Also it is a number of repentance, and remission: hence was ofdained the seventh year’s repentance for ae sin, according to the opinion of the wise man, saying, and upon every sinner sevenfold:*° also the seventh year there were granted remissions, and after full seven years there was given a full remission, as is read in Leviticus.» — adjudica al siete la penitencia y la remisión, con el año séptimo y el jubileo del Levítico.
«hence also it is called the number of liberty, because the seventh year the Hebrew servant* did challenge liberty for himself.» — adjudica al siete la libertad, por el año en que el siervo hebreo la reclama.
«It is moreover called the number of revenge, as saith the Scripture, and Cain shall be revenged sevenfold.» — vuelca el siete al otro lado con la venganza séptupla de Caín.
«Also it is consecrated to the Holy Ghost, which the prophet Isaiah describes to be sevenfold,*° according to his gifts,viz. the spirit of wisdom, and understanding, the spirit of counsel, and strength, the spirit of knowlédge, and holiness, and the spirit of the fear of the Lord, which we read in Zechariah to be,the seven eyes of God.» — adjudica el siete al Espíritu Santo con los siete dones de Isaías y los siete ojos de Zacarías.
«golden candlesticks,>! and in the middle thereof was one like to the Son of Man, and he had in his right hand seven stars.°? Also there were seven spirits before the throne of God, and seven angels stood before the throne, and there were given to them seven trumpets.>? And he saw a lamb having seven horns, and seven eyes,>* and he saw the book sealed with seven seals,>> and when the seventh seal was opened, there was made silence in heaven.» — encadena los sietes del Apocalipsis, de los candeleros de oro al séptimo sello; la cita arranca a media oración por el corte de plana.
«Now by all what hath been said, it is apparent that the number seven, amongst the other numbers, may deservedly be said to be most full of all efficacy.» — cierra el recuento declarando al siete el más lleno de eficacia de todos los números.
«Moreover, the number seven hath great conformity with the number twelve; for as three and four makes seven, so thrice four make twelve, which are the numbers of the celestial planets, and signs, resulting from the same root, and by the number four of the nature of inferior things.» — empareja el siete con el doce por la vía del tres y el cuatro, y adjudica a ese par los planetas y los signos.
«There is also in sacred writ a very great observance of this number, before all others, and many, and very great are the mysteries thereof; many we have decreed to reckon up here, repeating them out of holy writ, by which it will easily appear, that the number seven doth signify a certain fullness of sacred mysteries.» — anuncia la enumeración escrituraria que sigue y declara lo que quiere probar con ella.
«For we read in Genesis, that the seventh was the day of the rest of the Lord;5” and Enoch, a pious, holy man, was the seventh from Adam,°** and that there was another seventh man from Adam, a wicked man, by name Lamech, that had two wives; and that the sin of Cain® should be abolished the seventh generation: as it is written, Cain shall be punished sevenfold: and he that shall slay Cain, shall be revenged» — abre la serie por el Génesis, con el descanso del séptimo día, Enoc séptimo desde Adán y Lamec por el otro séptimo; la frase sigue en la plana siguiente.
«sevenfold, to which the master of the History®! collects, that there were seven sins of Cain.» — adjudica al maestro de la Historia el contar siete pecados de Caín; la cita arranca a media oración por el corte de plana.
«Also of all clean beasts seven, and seven were brought into the ark, as also of fowls: and after seven days the Lord rained upon the Earth, and upon the seventh day the fountains of the deep™ were broken up, and the waters covered the Earth.» — sigue la serie genesíaca con los animales limpios del arca y los sietes del diluvio.
«Also Abraham gave to Abimelech seven ewe lambs:™ and Jacob served seven years for Leah, and seven more for Rachael:® and seven days the people of Israel bewailed the death of Jacob. Moreover, we read in the same place, of seven kine, and seven ears of corn, seven years of plenty, and seven years of scarcity.» — sigue con los sietes de los patriarcas y los de las vacas y espigas del sueño de faraón.
«And in Exodus, the sabbath of sabbaths,®8 the holy rest to the Lord, is commanded to be on the seventh day. Also on the seventh day Moses ceased to pray.®? On the seventh day there shall be a solemnity of the Lord:”° the seventh year the servant shall go out free:7! seven days let the calf, and the lamb be without its dam:’” the seventh year let the ground that hath been sown six years, be at rest:’? the seventh day shall be a holy sabbath, and a rest: the seventh day, because it is the Sabbath, shall be called holy.» — recorre los sietes del Éxodo, del sábado al año del siervo y al descanso de la tierra.
«In Leviticus the seventh day” also shall be more observed, and be more holy: and the first day of the seventh month shall be a sabbath of memorial.’° Seven days shall the sacrifices be offered to the Lord,’””? seven days shall the holy days of the Lord be celebrated, seven days in a year everlastingly in the generations.’° In the seventh month you shall celebrate feasts, and shall dwell in the tabernacles seven days:’? seven times he shall sprinkle himself before the Lord, that hath dipped his finger in blood:®° he that is cleansed from the leprosy, shall dip seven times in the blood of a sparrow:*! seven days shall she be washed with running water, that is menstruous:®” seven times he shall dip his finger in the blood of a bullock:®3 seven times I will smite you for your sins.» — recorre los sietes del Levítico, de las fiestas a las aspersiones y a la amenaza de herir siete veces.
«In Deuteronomy seven people possessed the land of promise.®° There is also read of a seventh year of remission,** and seven candles®’ set up on the south side of the candlesticks.» — recoge los siete pueblos de la tierra prometida, el año de remisión y las siete candelas.
«And in Numbers it is read, that the sons of Israel offered up seven ewe lambs®* without spot, and that seven days they did eat unleavened bread,®° and that sin was expiated with seven lambs and a goat,” and that the seventh day was celebrated, and holy,?! and the first day®” of the seventh month was observed, and kept holy, and the seventh month of the feast of tabernacles,” and seven calves™* were offered on the seventh day, and Baalam® erected seven altars;?> seven days Mary the sister of Aaron went forth leprous” out of the camp, seven days he that touched a dead carcass®’ was unclean.» — recorre los sietes de Números, de los corderos sin mancha a los siete altares de Balaam y a los siete días de lepra de María.
«And in Joshua seven priests carried the ark of the covenant before the host, and seven days they went round the cities, and seven trumpets were carried by the seven priests, and on the seventh day the seven priests sounded the trumpets.» — trae el asedio de Jericó como acumulación de sietes.
«And in the book of Judges, Abessa” reigned in Israel seven years, Sampson'™ kept his nuptials seven days and the seventh day he put forth a riddle to his wife, he was bound with seven green withes,!®! seven locks of his head were shaved off,!? seven years were the children of Israel oppressed by the king of Maden.» — recorre los sietes de Jueces, de las bodas de Sansón a sus siete guedejas.
«And in the books of the Kings, Elias prayed seven times, and at the seventh time, behold a little cloud!:!™ seven days the children of Israel pitched over against the Syrians, and in the seventh day the battle was joined:!% seven years famine was threatened to David for the people’s murmuring;! and seven times the child sneezed, that was raised by Elisha;!’ and seven men were crucified! together in the days of the first harvest. Naaman was made clean with seven washings by Elisha;!” the seventh month Golias was slain.» — recorre los sietes de Reyes, de la nubecilla de Elías a los siete lavatorios de Naamán.
«And in Hester we read, that the King of Persia had seven eunuchs:!!! and in Tobias seven men were coupled with Sara!!? the daughter of Raguel: and in Daniel Nebuchadnezzar’s furnace was heated seven times hotter!!3 than it was used to be, and seven lions!" were in the den, and the seventh day came Nebuchadnezzar.» — suma los sietes de Ester, Tobías y Daniel, con el horno siete veces más caliente.
«In the book of Job there is made mention of seven sons of Job,'!5 and seven days and nights» — abre los sietes de Job; la frase sigue en la plana siguiente.
«In Ezra we read of Artaxerxes his seven counsellors:!!* and in the same place the trumpet sounded:!!° the seventh month of the feast of tabernacles were in Ezra’s time,!2° whilst the children of Israel were in the cities: and on the first day of the seventh month Esdras read the Law» — recoge los sietes de Esdras, de los siete consejeros a la lectura de la Ley el primer día del mes séptimo.
«And in the Psalms David praised the Lord!?* seven times in a day: silver is tried seven times;!?? and he renders to our neighbours sevenfold into their bosoms.» — recoge los sietes de los Salmos: las siete alabanzas, la plata acrisolada siete veces y la retribución séptupla.
«And Solomon saith, that wisdom hath hewn herself seven pillars;!2° seven men!”° that can render a reason, seven abominations!2” which the Lord abhors, seven abominations in the heart of an enemy,!?8 seven overseers, seven eyes beholding.» — recoge los sietes de Salomón, de las siete columnas de la sabiduría a las siete abominaciones.
«Isaiah numbers up seven gifts of the Holy, Ghost,!*? and seven women shall take hold on a man.» — recoge los siete dones de Isaías y las siete mujeres que echarán mano de un hombre.
«And in Jeremiah, she that hath born seven,'?! languisheth, she hath given up the ghost. In Ezekiel, the prophet continued sad for seven days. !32 In Zechariah seven lamps,'*? and seven pipes to those seven lamps, and seven eyes running to and fro throughout the whole Earth,!34 and seven eyes upon one stone,!*> and the fast of the seven days is turned into joy.» — recorre los sietes de Jeremías, Ezequiel y Zacarías, con las siete lámparas y los ojos que recorren la tierra.
«And in Micah, seven shepherds!3’ are raised against the Assyrians.» — cierra los profetas con los siete pastores de Miqueas.
«Also in the Gospel we read of seven blessednesses,'*8 and seven virtues, !29 to which seven vices!*° are opposed; seven petitions!4! of the Lord’s prayer, seven words of Christ!42 upon the cross, seven words of the blessed Virgin Mary,'® seven loaves!“ distributed by the Lord, seven baskets!4> of fragments, seven brothers!4° having one wife, seven disciples!47 of the Lord that were fishers, seven waterpots!48 in Cana of Galilee, seven woes!49 which the Lord threatens to the hypocrites, seven devils!50 cast out of the unclean woman, and seven wickeder devils!>! taken in after that which was cast out.» — recorre los sietes evangélicos, de las bienaventuranzas a los siete demonios peores que vuelven.
«Also seven years Christ was fled into Egypt;!>? and the seventh hour the fever left the governor’s son.» — añade los siete años de la huida a Egipto y la hora séptima en que dejó la fiebre al hijo del funcionario.
«And in the Canonical Epistles, James describes seven degrees of wisdom,!54 and Peter seven degrees of virtues.!°> And in the Acts are reckoned seven deacons,!°° and seven disciples!*’ chosen by the apostles.» — recoge los grados de sabiduría de Santiago, los de virtud de Pedro y los siete diáconos de Hechos.
«Also in the Revelations there are many mysteries of this number: for there we read of seven candlesticks,!58 seven stars,!5? seven crowns,'© seven churches,!®! seven spirits before the throne,!® seven rivers of Egypt,!™ seven seals,!© seven marks,!© seven horns, seven eyes,!© seven spirits of God,!® seven angels with seven trumpets,!® seven horns of the dragon,!© seven heads of the dragon, who had seven diadems:!7° also seven plagues,!7! and seven vials,!’* which were given to one of the seven angels,!7? seven heads of the scarlet beast,'’* seven mountains,!”5 and seven kings!7° sitting upon them, and seven thunders!” uttered their voices.» — recorre el Apocalipsis entero por sus sietes, de los candeleros a los siete truenos.
«Moreover this number hath much power, as in natural, so in sacred, ceremonial, and also in other things: therefore the seven days are related hither, also the seven planets, the seven stars called Pleiades, the seven ages of the world,'”8 the seven changes of man,!7 the seven liberal arts,!8° and so many mechanic, and so many forbidden, seven colours,!8! seven metals,'*? seven holes in the head of a man,!83 seven pair of nerves,!84 seven mountains!85 in the city of Rome, seven Roman kings,!®° seven civil wars, seven wise men in the time of Jeremiah the prophet, and seven wise men of Greece.» — sale de la Escritura a la historia natural y civil: colores, metales, artes liberales, montes y reyes de Roma, guerras civiles y sabios de Grecia.
«Also Rome did burn seven days by Nero.!88 By seven kings were slain ten thousand martyrs. There were Seven Sleepers, seven principal churches of Rome, and so many monasteries did Gregory build: so many sons Saint F elicity brought forth: there were seven electors of the Empire!®? appointed, and seven solemn acts in crowning the Emperor;» — sigue la serie civil y eclesiástica, de los Siete Durmientes a los siete electores del Imperio.
«the laws in the Testament require seven witnesses,!9! there are seven civil punishments» — suma los siete testigos que pide la ley y las siete penas civiles; la frase sigue en la plana siguiente.
«seven canonical hours,!%* the priest makes seven obeisances in the mass; seven sacraments, and seven orders of the clergy,!™ and a boy of seven years may be ordained by the lesser, and may obtain a benefice fine cura.» — recoge los sietes eclesiásticos, de las horas canónicas a los siete órdenes del clero; la cita arranca a media oración por el corte de plana.
«There are seven penitential psalms,!%> and seven commands of the second table,!% and seven hours were Adam and Eve in Paradise, and there were seven men foretold by an angel before they were born, viz. /smael, Isaac, Sampson, Jeremiah, John Baptist, James the brother of the Lord, and Christ Jesus.» — cierra la enumeración con los salmos penitenciales, las siete horas de Adán y Eva en el paraíso y los siete anunciados por un ángel antes de nacer.
«Lastly, this number is most potent of all, as in good, so evil; of this Livy,!%’ the most ancient poet sang: The seventh light is come, and then all things To absolve the father of all light begins, The seventh’s of all things original, The first seventh, seventh seven we call Perfect, with wandering stars the heaven’s volved, And with as many circles is round rolled.» — remata el capítulo con unos versos que adjudica a Livio, donde el siete es el original de todas las cosas.
«sat with him on the earth; and in the same place, in seven troubles!! no evil shall touch thee.» — cierra los sietes de Job con los amigos sentados siete días en tierra y con las siete tribulaciones en que ningún mal ha de tocarlo; la cita arranca a media oración por el corte de plana.
«he Pythagoreans call eight the number of justice, and fullness: first, because it is first of all divided into numbers equally even, viz. into four, and that division is by the same reason made into twice two, viz. by twice two twice; and by reason of this equality of division,! it took to itself the name of Justice, but the other? received the name, viz. of Fullness, by reason of the contexture of the corporeal solidity, since the first makes a solid body.» — abre el capítulo del ocho con los dos nombres pitagóricos, justicia por la igualdad de su división y plenitud por la solidez del cuerpo; la capital perdida hace que la cita empiece en he, por The.
«Hence the custom of Orpheus, swearing by eight deities,? if at any time he would beseech divine justice, whose names are these: Fire, Water, Earth, the Heaven, Moon, Sun, Phanes, the Night.» — adjudica a Orfeo el juramento por ocho deidades y las nombra una por una.
«There are also only eight visible spheres‘ of the heavens: also by it the property of corporeal nature is signified, which Orpheus comprehends in eight of his sea songs.» — cuenta ocho esferas visibles y remite a los himnos órficos por la propiedad de la naturaleza corpórea.
«This is also called the covenant of circumcision, which was commanded to be done by the Jews the eight day.» — adjudica al ocho el pacto de la circuncisión.
«There were also in the old Law eight ornaments of the priest,’ viz. a breastplate, a coat, a girdle, a miter, a robe, an ephod, a girdle of the ephod, a golden plate» — enumera los ocho ornamentos del sacerdote de la ley antigua.
«hither belongs the number to eternity,® and the end of the world, because it follows the number seven, which is the mystery of time» — adjudica el ocho a la eternidad y al fin del mundo, por venir tras el siete, que es el misterio del tiempo.
«hence also the number of blessedness; for Christ teacheth so many degrees of blessedness, as you may see in Matthew» — adjudica al ocho los grados de bienaventuranza que cuenta en Mateo.
«it is also called the number of safety, and conservation, for there were so many souls of the sons of Jesse,!! from which David was the eighth.» — adjudica al ocho la salvación con los ocho hijos de Jesé, de los que David es el octavo.
«Also Zacharias, the father of John, received his speech the eighth day.» — suma el habla recobrada por Zacarías al octavo día.
«They say this number was dedicated to Dionysus,'? because he was born the eighth month, in everlasting memory whereof, Naxos the island was dedicated to him, which obtained this prerogative, that only the women of Naxos should safely bring forth in the eighth month, and their children should live, whereas the children of the eighth month in other nations die, and their mothers then bringing forth are in manifest danger.» — adjudica el ocho a Dioniso por nacido al octavo mes, y de ahí el privilegio que atribuye a las mujeres de Naxos frente al peligro que corren las demás.
«he number nine is dedicated to the Muses, by the help of the order of the celestial spheres, and divine spirits: hence there are nine movable spheres, and according to those there are nine Muses,! viz. Calliope, Urania, Polymnia, Terpsichore, Clio, Melpomene, Erato, Euterpe, Thalia,» — abre el capítulo del nueve emparejando las nueve esferas móviles con las nueve musas, a las que nombra; la capital perdida hace que la cita empiece en he, por The.
«which nine Muses indeed are appropriated to the nine spheres, so that the first resembles the supreme sphere, which they call primum mobile, and so descending by degrees, according to the written order, unto the last, which resembles the sphere of the Moon, so, viz. Calliope is appropriated to the primum mobile, Urania to the starry heaven, Polymnia to Saturn, Terpsichore to Jupiter, Cleo to Mars, Melpomene to the Sun, Erato to Venus, Euterpe to Mercury, Thalia to the Moon.» — adjudica cada musa a su esfera, de Calíope en el primer móvil a Talía en la luna.
«There are also nine orders of blessed angels, viz. Seraphim, Cherubim, Thrones, Dominations, Powers, Virtues, Principalities, Archangels, Angels, which Ezekiel figures out of nine stones,? which are the sapphire, emerald, carbuncle, beryl, onyx, chrysolite, jasper, topaz, sardis» — empareja los nueve coros angélicos con las nueve piedras que lee en Ezequiel.
«this number hath also a great, and occult mystery of the cross: for the ninth hour our Lord Jesus Christ breathed out his spirit.» — enlaza el nueve con la cruz por la hora nona en que Cristo expira.
«And in nine days the ancients buried their dead,‘ and in so many years they say Minea received laws from Jupiter in a cave;> whence this number was most especially taken notice of by Homer, when laws were to be given, or answers were to be given, or the sword was like to rage.» — adjudica a los antiguos los nueve días del duelo y a Minos los nueve años de trato con Júpiter en la cueva, con Homero por testigo.
«The astrologers also take notice of the number nine in the ages of men, no otherwise than they do of seven, which they call climaterical years, which are eminent for some remarkable change.» — adjudica a los astrólogos los años climatéricos contados por nueves lo mismo que por sietes.
«Yet sometimes it signifies imperfectness, and incompleteness, because it doth not attain to the perfection of the number ten, but is less by one, without which it is deficient, as Austin interprets it out of the ten lepers» — vuelca el nueve al otro lado por quedarse a uno del diez, con Agustín y los diez leprosos por respaldo.
«neither is the longitude of nine cubits of Og,’ king of Balan, who is a type of the Devil, without a mystery.» — suma los nueve codos de Og, a quien llama figura del diablo.
«he number ten is called every number, or an universal number, complete, signifying the full course of life: for beyond that we cannot number, but by replication; and it either implies all numbers within itself, or explains them by itself, and its own, by multiplying them» — abre el capítulo del diez llamándolo número universal más allá del cual solo se cuenta por repetición; la capital perdida hace que la cita empiece en he, por The.
«wherefore it is accounted to be of a manifold religion, and power, and is applied to the purging of souls.» — adjudica al diez una religión y un poder múltiples, y lo aplica a la purgación de las almas.
«Hence the ancients called ceremonies denary,” because they that were to be expiated, and to offer sacrifices, were to abstain from some certain things for ten days.» — explica el nombre de ceremonias denarias por los diez días de abstinencia previos al sacrificio.
«Whence amongst the Egyptians it was the custom for him that would sacrifice to Jo,* to fast ten days before, which Apuleius testifies of himself, saying, it was commanded that I should for the space of ten days refrain all meat, and be fasting.» — trae el ayuno egipcio de diez días y lo respalda con el testimonio en primera persona que lee en Apuleyo.
«There are ten sanguine parts of man, the menstrues, the sperm, the plasmatic spirit,° the mass,° the humours, the organical body, the vegetative part, the sensitive part, reason, and the mind.» — enumera las diez partes sanguíneas del hombre, del menstruo y el esperma hasta la razón y la mente.
«There are also ten simple integral parts constituting man, the bone, cartilage, nerve, fiber, ligament, artery, vein, membrane, flesh, skin.» — enumera las diez partes simples que componen al hombre.
«There are also ten parts of which a man consists intrinsically, the spirit, the brain, the lungs, the heart, the liver, the gall, the spleen, the kidneys, the testicles, the matrix.» — enumera las diez partes internas del hombre.
«There were ten curtains in the temple,’ ten strings in the psaltery,® ten musical instruments with which the psalms were sung, the names of which were: neza, on which their odes were» — encadena los dieces del culto: las cortinas del templo, las cuerdas del salterio y los diez instrumentos; la enumeración sigue tras el folio impreso 287.
«nablum, the same as organs; mizmor, on which the psalms; sit, on which the canticles; tehila, on which orations; beracha, on which benedictions; halel, on which praises; hodaia, on which thanks; asre, on which the felicity of anyone; hallelujah,? on which the praises of God only, and contemplations.» — nombra los diez instrumentos con su uso, del nablum al aleluya reservado a las alabanzas de Dios; la cita arranca a media enumeración por el folio intercalado.
«There were also ten singers of psalms, viz. Adam, Abraham, Melchisedech, Moses, Asaph, David, Solomon, and three sons of Chora» — nombra los diez cantores de salmos.
«there are also ten commandments; and the tenth day!! after the ascension of Christ the Holy Ghost came down.» — suma los diez mandamientos y el décimo día tras la ascensión.
«This lastly is the number in which Jacob wrestling with the angel all night overcame, and at the rising of the Sun was blessed, and called by the name of» — adjudica al diez la lucha de Jacob con el ángel y el nombre de Israel.
«In this number Joshua overcame thirty-one kings,!3 and David overcame Goliath,'* and the Philistines, and Daniel escaped the danger of the lions.» — sigue la serie con Josué, David y Daniel.
«This number also is as circular as unity, because being heaped together, !° returns into a unity, from whence it had its beginning, and it is the end, and perfection of all numbers, and the beginning of tens.» — llama circular al diez porque, sumados sus términos, vuelve a la unidad de donde salió.
«As the number ten flows back into a unity, from whence it proceeded, so everything that is flowing is returned back to that from which it had the beginning of its flux. So water returns to the sea, from whence it had its beginning, the body returns to the earth, from whence it was taken; time returns into eternity, from whence it flowed, the spirit shall return to God that gave it; and lastly, every creature returns to nothing, from whence it was created» — generaliza el retorno del diez a la unidad en una ley: el agua al mar, el cuerpo a la tierra, el tiempo a la eternidad, el espíritu a Dios y la criatura a la nada.
«Kether Hochmah Binah Hesed Geburah» — serie de las primeras sefirot en la escala del diez; las columnas de la tabla salen entreveradas por el escaneo, así que se consigna la serie y no el reparto.
«neither is it supported but by the word of God, in whom all things are hid; and all things with the number ten, and by the number ten, make a round, as saith Proclus, taking their beginning from God, and ending in him.» — adjudica a Proclo que todas las cosas hacen rueda con el diez, empezando en Dios y acabando en él; la cita arranca a media oración por el corte de plana.
«God therefore that First Unity, or One Thing, before he communicated himself to inferiors, diffused himself into the first of numbers, viz. the number three,!” then into the number ten, as into ten Ideas, and measures of making all numbers, and all things, which the Hebrews call ten attributes,!®> and account ten divine names; for which cause there cannot be a further number.» — describe la difusión de la unidad primera en el tres y luego en el diez, y adjudica a los hebreos el llamar a esos diez atributos y nombres divinos.
«Hence all tens have some divine thing in them, and in the Law are required of God as his own,!° together with the first fruits,2° as the original of things, and beginning of numbers, and every tenth is as the end given to him, who is the beginning, and end of all things.» — deriva de ahí el diezmo: todo décimo se da como fin a quien es principio y fin de todo.
«he number eleven as it exceeds the number ten, which is the number of the commandments, so it falls short of the number twelve, which is of grace and perfection, therefore it is called the number of sins, and the penitent.» — abre el capítulo del once situándolo entre el diez de los mandamientos y el doce de la gracia, y por eso lo llama número del pecado; la capital perdida hace que la cita empiece en he, por The.
«Hence in the tabernacle there were commanded to be made eleven’ coats of hair! which is the habit of those that are penetent, and lament for their sins, whence this number hath no communion with divine or celestial things, nor any attraction, or scale tending to things above: neither hath it any reward» — trae las once cortinas de pelo del tabernáculo como hábito de penitentes, y niega al once toda comunión con lo celeste y toda escala hacia arriba.
«but yet sometimes it receives a gratuitous favour from God, as he which was called the eleventh hour? to the vineyard of the lord, received the same reward as those who had born the burden, and heat of the day.» — acota enseguida esa negativa con el obrero de la hora undécima, que recibe el mismo jornal.
«Now the number twelve is divine, and that whereby the celestials are measured; it is also the number of the signs in the Zodiac over which there are twelve angels? as chiefs, supported by the irrigation of the great name of God.» — abre el doce como la medida de lo celeste, con doce ángeles al frente de los signos sostenidos por el gran nombre de Dios.
«In twelve years also Jupiter perfects his course,> and the Moon daily runs through twelve degrees.» — aplica el doce al ciclo de Júpiter y al recorrido diario de la luna.
«There are also twelve chief joints in the body of man, viz. in hands, elbows, shoulders, thighs, knees, and vertebrae of the feet.» — cuenta doce coyunturas principales en el cuerpo del hombre.
«There is also a great power of the number twelve in divine mysteries. God chose twelve families® of Israel, and set over them twelve princes;’ so many stones® were placed in the midst of Jordan, and God commanded that so many should be set on the breast of the priest;? twelve lions did bear the brazen sea!° that was made by Solomon: there were so many fountains in Helim,!! and so many spies! sent to the land of promise, and so many apostles of Christ! set over the twelve tribes, and twelve thousand people were set apart and chosen,!4 the Queen of Heaven crowned with twelve stars,'> and in the Gospel twelve baskets!® of the fragments were taken up, and twelve angels!” are set over the twelve gates of the city, and twelve stones!® of the heavenly Jerusalem.» — despliega los doces de la Escritura, de las tribus y los príncipes a las puertas y las piedras de la Jerusalén celeste.
«In inferior things many breeding things proceed after this number; so the hare and cony!? being most fruitful, bring forth twelve times in the year, and the camel is so many months in breeding, and the peacock brings forth twelve eggs.» — baja el doce a la cría: la liebre y el conejo paren doce veces al año, el camello gesta doce meses y el pavo real pone doce huevos.
«he other numbers also which are above twelve, are endowed with many, and various effects, the virtues whereof you must understand by their original, and parts, as they are made of a various gathering together of simple numbers, or manner of multiplication. Sometimes as their significations arise from the lessening, or exceeding of another going before, especially more perfect, so they contain of themselves the signs of certain divine mysteries.» — abre el capítulo de los números mayores que doce y da la regla para leerlos: por su origen, sus partes y su distancia respecto del número perfecto anterior; la capital perdida hace que la cita empiece en he, por The.
«So you see the third number above ten . shows the mysteries of Christ’s appearing to the gentiles, for the thirteenth day after his birth a star was a guide to the wise men.» — adjudica al trece la manifestación a los gentiles por la estrella de los magos.
«The fourteenth day doth typify Christ, who the fourteenth day of the first month was sacrificed for us; upon which day the children of Israel were commanded by the Lord to celebrate the passover.» — adjudica al catorce la pascua y el sacrificio.
«This number Matthew doth so carefully observe, that he passed over some generations, that he might everywhere observe this number in the generations of Christ.» — señala que Mateo omitió generaciones para que el catorce saliera en su genealogía.
«The fifteenth number is a token of spiritual ascensions, therefore the song of degrees is applied to that in fifteen psalms.* Also fifteen years were added to the life of King Hezekiah:° and the fifteenth day of the seventh month was observed, and kept holy.» — adjudica al quince las ascensiones espirituales, los salmos graduales y los años añadidos a Ezequías.
«The number sixteen, the Pythagoreans call the number of felicity. It also comprehends all the prophets of the Old Testament, and the apostles, and Evangelists of the New.» — adjudica a los pitagóricos el llamar al dieciséis número de la felicidad, y le suma los profetas del Antiguo y los apóstoles y evangelistas del Nuevo.
«The number eighteen, and twenty, divines interpret to be unhappy, for in the former, Israel served Eglon, king of Moab;’ and in the other Jacob served,® and Joseph was sold.9 And lastly, amongst creatures that have many feet, there is none that hath above twenty feet.» — adjudica a los teólogos el dar por infaustos el dieciocho y el veinte, y añade que ninguna criatura pasa de veinte pies.
«The twenty-two signifies the fullness of wisdom, and so many are the characters of the Hebrew letters, and so many books doth the Old Testament contain.» — adjudica al veintidós la plenitud de la sabiduría, por las letras hebreas y los libros del Antiguo Testamento.
«To the number twenty-eight, the favour of the Moon is designed, for the motion thereof!! is distant from the course of other stars, and as it were alone is completed the twenty-eighth day, when it returns to the same point of the Zodiac from whence it came: hence twenty-eight mansions of the Moon, having singular virtue, and influence, are numbered in the heavens.» — adjudica el veintiocho a la luna y de ahí saca sus veintiocho mansiones.
«The number thirty is memorable for many mysteries. Our Lord Jesus Christ was baptized!” the thirtieth year of his age,and began to do miracles, and to teach the kingdom of God. Also John Baptist was thirty years old when he began to preach in the wilderness,!? and to prepare the ways of the Lord. Also Ezekiel at the same age began to prophesy;'* and Joseph was brought out of prison!> on the thirtieth year of his age, and received the government of Egypt from Pharaoh.» — adjudica al treinta el bautismo de Cristo, la predicación del Bautista, la profecía de Ezequiel y el gobierno de José.
«The number thirty-two, the Hebrew doctors ascribe to wisdom, and so many paths of wisdom are described by Abraham.'® But the Pythagoreans call this the number of justice,» — consigna dos adjudicaciones distintas del treinta y dos, la de los doctores hebreos y la pitagórica; la frase sigue en la plana siguiente.
«because it is always divisible into two parts, even unto unity.» — da la razón pitagórica del treinta y dos como justicia: se parte en dos hasta la unidad.
«The number forty, the ancients did honour with great observation, concerning which they did celebrate the feast Tessarosten.!® It is said that it doth conduce to the account of birth, for in so many days the seed is fitted, and transformed in the womb, until it be by its due, and harmonical proportions brought unto a perfect organical body, being disposed to receive a rational soul. And so many days they say women be, after they have brought forth, before all things are settled within them, and they are purified,! and so many days infants refrain from smiling, are infirm, and live with a great deal of hazard.» — adjudica al cuarenta la formación del feto, la purificación de la parida y los primeros días del recién nacido.
«This also is in religion a number of expiation, and penitency, and signifying great mysteries. For in the time of the deluge the Lord rained forty days? and nights upon the Earth: the children of Israel lived forty years”! in the wilderness: forty days the destruction of Nineveh”? was put off. The same number was accounted as holy in the fasts of the saints:. for Moses,” Elias,4 and Christ?> fasted forty days. Christ was carried forty weeks in the womb of a virgin: Christ tarried forty days after his birth at Bethlehem before he was presented in the temple: he preached forty months publicly: he lay forty hours dead in the sepulchre: the fortieth day*® after his resurrection he ascended into heaven, all which divines say, were not done without some occult property, and mystery of this number.» — despliega los cuarenta de la religión, del diluvio y el desierto a los ayunos de Moisés, Elías y Cristo, y acota que los teólogos los tienen por no casuales.
«The number fifty signifies remission of sins, of servitudes, and also liberty. According to the Law, on the fiftieth year they did remit debts, and everyone did return to his own possessions. Hence by the year of Jubilee,”’ and by the psalm of repentance’ it shows a sign of indulgency, and repentance. The Law also, and the Holy Ghost are declared in the same: for the fiftieth day”? after Israel’s going forth out of Egypt, the Law was given to Moses in Mount Sinai: the fiftieth day after the resurrection, the Holy Ghost came*? down upon the apostles in Mount Sion; whence also it is called the number of grace, and attributed to the Holy Ghost.» — adjudica al cincuenta la remisión y la libertad, con el jubileo, la ley del Sinaí y la venida del Espíritu.
«The number sixty was holy to the Egyptians, for it is proper to the crocodile, that as she in sixty days brings forth sixty eggs,>! and so many days sits on them, so she is said also to live so many years, and to have so many teeth, and so many days every year to rest solitary without any meat.» — adjudica el sesenta a los egipcios por el cocodrilo, y le atribuye huevos, días, años y dientes en la misma cifra.
«The number seventy hath also its mysteries, for so many years the fire of the sacrifice in the Babylonian captivity lay under ‘the water, and was alive, so many years Jeremiah foretold the destruction of the temple,** and so many years the Babylonian captivity*? endured, and in so many years the desolation of Jerusalem* was finished. Also there were seventy palms* in the place where the children of Israel pitched their tents. The Fathers went down to Egypt with seventy souls.*° Also seventy kings with their fingers and toes cut off did gather meat under the table of Adonibezeck;*’ seventy sons came forth of the loins of Joas, seventy men, all sons of Jero;*® seventy weights? of silver were given to Abimelech, and so many men Abimelech slew upon one stone;*° Abdon had seventy sons, and nephews, who rode upon seventy foals of asses;*! Solomon had seventy thousand men* which carried burdens. Seventy sons of King Ahab were beheaded in Samaria; seventy years, according to the Psalmist, are the age of man. Lamech shall be avenged seventy-seven fold;# thou shalt forgive thy brother if he offend against thee, seventy-seven times.» — despliega los setenta de la Escritura, del cautiverio de Babilonia a las setenta veces siete del perdón.
«Also the number seventy-two was famous for so many languages, for so many elders of the synagogue,*° for so many interpreters of the Old Testament, for so many disciples of Christ:*’ it hath also a great communion with the number twelve; hence in the heavens, every sign being divided into six parts,*® there result seventy-two fives, over which so many angels bear rule; and so many are the names of God;*? and every five is set over one idiom with such efficacy, that the astrologers, and physiognomists can know from thence from what idiom everyone ariseth. Answerable to these are so many manifest joints in man’s body, whereof in every finger and toe there are three, which together with the twelve principal reckoned before in the number twelve make up seventy-two.» — adjudica al setenta y dos las lenguas, los ancianos, los intérpretes y los discípulos, y lo reparte en las quinas del zodiaco con sus ángeles y nombres de Dios.
«The number a hundred in which the sheep that was found,*! was placed, which also passeth from the left hand to the right, is found holy: and because it consists of tens it shows a complete perfection.» — adjudica al ciento la oveja hallada y el paso de la mano izquierda a la derecha.
«But the complement of all numbers is a thousand, which is the foursquare measure? of the number ten, signifying a complete, and absolute perfection.» — pone el mil por complemento de todos los números, cubo del diez.
«There are also two numbers*® especially celebrated by Plato in his Republic and not disallowed by Aristotle in his Politics, by which great Of the Numbers Which Are Above Twelve / 301 mutations in cities are foretold: these are the square of twelve, and the foursquare measure thereof, viz. the forty-four above a hundred, and seven hundred twenty-eight above a thousand, which number is fatal: to which when any city, or commonwealth hath attained, it shall afterward with a complete foursquare measure decline: but in squares it undergoeth a change, but for the better, if it be governed with prudent discipline, and then it shall not with fate, but imprudency fall.» — adjudica a Platón en la República, con el visto bueno de Aristóteles en la Política, dos números que anuncian las mudanzas de las ciudades, y acota que en cuadrados la mudanza puede ser para mejor si hay disciplina prudente.
«And let thus much suffice for numbers in particular.» — cierra con esa fórmula el tratado de los números uno por uno.
«have often read in books of magicians, and their works, and experiments, certain wonderful, and as they seemed to me ridiculous gesturings,! and I did think they were certain occult agreements of the devils, by reason of which I did reject them: but after I did more seriously examine the matter, then I did presently understand that they were not the compacts of devils; but that there lay in them the reason of numbers» — declara en primera persona haber tenido por ridículos esos gestos y por pactos con demonios, y haber cambiado de parecer al examinarlos: lo que hay en ellos es cuenta de números; la capital perdida hace que la cita empiece en have, por I have.
«by which the ancients did by the various bending forward, and backward, their hands, and fingers, represent numbers, by whose gesturings the magicians did silently signify words unknown by sound, various with numbers, yet of great virtue, by their fingers joined together, and sometimes changed, and did with sacred silence worship the gods that rule over the world.» — explica el uso: por la flexión de manos y dedos los magos significaban en silencio palabras sin sonido y adoraban a los dioses que rigen el mundo.
«The rites whereof Martianus also makes mention of in his Arithmetic,” saying, the fingers of the virgin were moved all manner of ways, who after she went in, did by expressing seven hundred and seventeen numbers with her bended fingers call upon Jupiter.» — respalda el uso con Marciano y su virgen que invocaba a Júpiter expresando setecientos diecisiete con los dedos.
«But that these things may be better understood, I shall bring something out of the sayings of Beda who saith, when thou sayest one, bend in the little finger on thy left hand, and set it in the middle of the palm;» — anuncia que tomará de Beda la descripción, y abre con el uno.
«When thou sayest ten, thou shall set the nail of thy forefinger on the middle joint of thy thumb. When thou sayest twenty, thou shalt put the top of thy middle finger close betwixt the joints of thy thumb, and forefinger. When thou sayest thirty, thou shalt join the nail of thy thumb, and forefinger lightly together. When thou sayest forty, thou shalt bring the inside of thy thumb to the outside of thy forefinger, both being lifted up. When thou sayest fifty, thou shalt bend thy thumb with the outward joint, like to the Greek gamma,° to the palm. When thou sayest sixty, compass about thy thumb being bended as before, with thy forefinger bowed over it. When thou sayest seventy, thou shalt supply thy forefinger being bowed about as before, with thy thumb stretched at length, the nail thereof being lifted up beyond the middle joint of thy forefinger. When thou sayest eighty, thou shalt supply thy forefinger bowed about as before, with thy thumb stretched forth at length, the nail thereof being set upon the middle joint of the forefinger. When thou sayest ninety, thou shall set the nail of thy forefinger bent into the root of thy thumb stretched out. Thus much for the left hand.» — da entera la serie de las decenas en la mano izquierda, hasta el noventa.
«Now thou shalt make 100 on thy right hand, as thou didst ten on thy left; and 200 on thy right, as thou didst twenty on thy left; 2000 on thy right, as thou didst two on thy left, and so to 9000.» — pasa a la mano derecha, donde los mismos gestos valen centenas y millares.
«Moreover when thou sayest 10,000 thou shalt put thy left hand upward on thy breast, thy fingers only being lifted towards heaven.? When thou sayest 20,000 thou shalt put the same spread forth!? upon thy breast. When thou sayest 30,000 thou shalt put thy thumb on the same hand downwards,!! on the cartilage of the middle of thy breast. When thou sayest 40,000 thou shalt lay the same upright, !* and stretched forth on thy navel. When thou sayest 50,000 thou shalt lay thy thumb of the same hand downward on thy navel.!> When thou sayest 60,000 thou shalt hold thy left thigh with the same, being downwards. When thou sayest 70,000 the same thou shalt put upon thy thumb upright.!4 When thou sayest 80,000 thou shalt put the same downward on thy thigh.!> When thou sayest 90,000 thou shalt hold thy loins with the same, thy thumb being turned downwards.» — lleva la cuenta al cuerpo: pecho, ombligo, muslo e ijares para las decenas de millar.
«But when thou sayest 1,000,000 thou shall join both thy hands together, and clasp thy fingers one within the other.» — cierra la cuenta con el millón, entrelazando las dos manos.
«Let these suffice which have been observed out of Beda; thou shalt find more of these in Brother Luke of Saint Sepulchers, in his great Arithmetic.» — declara la fuente del capítulo y remite a la aritmética del fraile Lucas para más.
«he notes of numbers are made divers ways in divers nations. The Romans did figure them by these following notes, which Valerius Probus describes concerning the ancient letters, and which are still in use» — abre el capítulo de las cifras romanas remitiéndolas a Valerio Probo y advirtiendo que siguen en uso; la capital perdida hace que la cita empiece en he, por The.
«There are also other notes of numbers nowadays used amongst arithmeticians, and calculators, which according to the order of numbers are made after this matter: 1, 2, 3, 4, 5, 6, 7, 8, 9, to which is added a note of privation signed with the mark O which although it signify no number, yet makes others to signify either tens, or hundreds, or thousands, as is well known to arithmeticians.» — describe la cifra moderna y el cero, al que llama nota de privación: no significa número y hace que los otros signifiquen decenas, centenas o millares.
«Also there are some that mark the number ten with a line downward, and another made cross it; and five by that line which toucheth the other, but doth not go cross it, and a unity by that which is put by itself» — describe un segundo sistema de trazos para diez, cinco y la unidad.
«And these notes are commonly seen added in magical characters.» — declara para qué le importa el asunto: esas notas aparecen dentro de los caracteres mágicos.
«he Grecians use the alphabetical letters for their notes of numbers, and that three ways; first by every element according to the series of the alphabet signifying the number of its place. For in the order of which any number doth possess the place of the alphabet, it represents the number thereof» — abre el capítulo de las cifras griegas y da el primero de sus tres modos, la letra por su lugar en el alfabeto; la capital perdida hace que la cita empiece en he, por The.
«Secondly, the Greeks divide the whole alphabet into three classes, whereof the first beginning from alpha, is of unities. The second beginning from iota is of tens. The third beginning from rho is of hundreds; and this order by the latter of the Greeks is instituted after the imitation of the Hebrews.» — da el segundo modo, con el alfabeto repartido en unidades, decenas y centenas, y lo adjudica a una imitación del hebreo.
«Now because their alphabet wants by that rule, three letters, it is necessary to add to them three figures,” and to interlace them with the letters, by which, viz. they explain the sixth, the ninetieth, and the nine hundredth» — explica que faltan tres letras para el reparto y que hay que intercalar tres figuras para el seis, el noventa y el novecientos.
«Now if to any of these letters there be subscribed the stroke of an acute tone,’ then it signifies so many thousands» — da la marca de los millares, el trazo de acento agudo suscrito.
«After the third manner,’ the Greeks use only six letters in signifying their numbers, viz. I for an unity, IT for the number five, because it is the head of the word» — da el tercer modo, con solo seis letras tomadas de la inicial del nombre griego de cada número.
«besides IT which is not multiplied, nor joined to itself, but always signifies the fives of others» — acota la excepción del signo del cinco, que no se multiplica ni se junta a sí mismo.
«he Hebrew letters also have marks of numbers, but far more excellently than any other languages, since the greatest mysteries lie in Hebrew letters, as is handled concerning these in that part of Cabaly! which they call Notaricon.» — abre el capítulo de las cifras hebreas poniéndolas por encima de las demás lenguas y remitiendo la materia al notaricón; la capital perdida hace que la cita empiece en he, por The.
«Now the principal Hebrew letters are in number twenty-two, whereof five have divers’ other certain figures in the end of a word, which therefore they call the five ending letters, which being added to them aforesaid make twenty-seven, which being divided into three degrees,* signifies the unities, which are the first degree; tens which are in the second; and hundreds which are in the third degree.» — cuenta veintidós letras más cinco finales, veintisiete en total, repartidas en unidades, decenas y centenas.
«Now every one of them if they be marked with a great character, signifies so many thousands» — da la marca hebrea de los millares, el carácter grande.
«Now there are some which do not use those final letters, but instead of them write thus» — consigna la variante de quienes no usan las finales.
«And by those simple figures by the joining them together they describe all other compound numbers, as eleven, twelve, a hundred and ten, a hundred and eleven, by adding to the number ten, those which are of unities; and in like manner to the rest after their manner; yet they describe the fifteenth number not by ten and five, but by nine and six, viz. thus 1, and that out of honour to the divine name /1’,4 which imports fifteen, lest it should happen that the sacred name should be attributed to prophane things.» — explica la composición de los números y consigna la excepción del quince, escrito nueve más seis para no formar el nombre divino.
«Also the Egyptians, Aethiopians, Chaldeans, and Arabians, have their marks of numbers, which also oftentimes happen amongst magical characters. He therefore that would know them, must seek them, of them that are skillful of these letters.» — remite las cifras egipcias, etíopes, caldeas y árabes a quien sepa de esas letras, y se abstiene de darlas.
«For the Chaldeans mark the numbers with the letters of their alphabet after the manner of the Hebrews. We have set down their alphabet in the end of the first book.» — remite el alfabeto caldeo a lo ya puesto al final del Libro I.
«Moreover I found in two most ancient books of astrologers, and magicians, certain most elegant marks of numbers, which I thought good to set down in this place; now they were in both volumes such» — declara en primera persona haber hallado esas cifras en dos libros antiquísimos de astrólogos y magos, iguales en ambos.
«And by the composition, and mixture of these marks other mixed and compounded numbers also are most elegantly made, as you may perceive by these few: 1510 1511 1471 1486 =. 2421 Ps oad once ve coche ach According to the example of which we must proceed in other compound numbers; and so much suffice for the marks of numbers.» — cierra el capítulo con la composición de esas marcas para los números compuestos.
«he Pythagoreans say (Aristotle, and Ptolemy are of opinion) that the very elements of letters have some certain divine numbers, by which collected from proper names of things, we may draw conjectures concerning occult things to come. Whence they call this kind of divina» — abre el capítulo de la aritmancia adjudicando a los pitagóricos, con Aristóteles y Ptolomeo, que las letras llevan números divinos con que conjeturar lo por venir; la capital perdida hace que la cita empiece en he, por The.
«Names are, they say, made of but letters few, Unfortunate, of many, do foreshow Success; so Hector did Patroclus slay, So Hector to Achilles was a prey.» — trae los versos de Terenciano donde el nombre de pocas letras pierde y el de muchas vence, con Héctor y Patroclo por ejemplo.
«Also Pliny saith,> that there was added to what Pythagoras invented, an uneven number of vowels of imposed names, which did betoken lameness, or want of eyes, and such like misfortunes, if they be assigned to the right side parts; but an even number of them of the left.» — adjudica a Plinio el añadido al invento de Pitágoras: el número par o impar de vocales del nombre reparte la desgracia entre el lado derecho y el izquierdo.
«And Alexandrinus* the philosopher taught, how that by the number of letters we may find out the ruling stars of anyone that is born, and whether the husband or wife shall die first» — adjudica a Alejandrino el hallar por el número de las letras los astros regentes del nacido y cuál de los cónyuges morirá primero.
«And seeing in the Roman alphabet there are wanting four to make up the number of twenty-seven characters, their places are supplied with I, and V, simple consonants, as in the names of John, and Valentine, and hi and hu, aspirate consonants, as in Hierom, and Huilhelme, although the Germans for hu the asperate use a double wv;° the true Italians, and French in their vulgar speech put G joined with U instead thereof, writing thus, Vuilhelmus, and Guilhelmus.» — explica cómo completa el alfabeto latino hasta veintisiete caracteres con jota y uve consonantes y con dos aspiradas, y consigna las variantes germana, italiana y francesa.
«But if thou desirest to know the ruling star of anyone that is born, compute his name,’ and of both his parents, through each letter according to the number above written, and divide the sum of the whole being gathered together by nine, subtracting it as often as thou canst; and if there remain a unity, or four, both signify the Sun; if two or seven, both signify the Moon; but three, Jupiter; five, Mercury; six, Venus; eight, Saturn; nine, Mars;® and the reasons thereof are showed elsewhere.» — da la regla para hallar el astro regente del nacido: sumar las letras de su nombre y las de sus padres, dividir entre nueve y leer el residuo, y aplaza la razón a otro lugar.
«In like manner if thou desirest to know the horoscope? of anyone that is born, compute his name, and of his mother, and father, and divide the whole collected together by twelve; if there remain a unity, it signifies the Lion; if Juno’s deuce, Aquarius; if the Vestal!® three, Capricorn; if four, Sagittarius; if five, Cancer; if Venus’ six, Taurus; if Palladian!! seven, Aries; if Vulcan’s eight, Libra; if Mars his nine, Scorpio; if ten, Virgo; if eleven, Pisces; if Phoebus’ twelve, they represent Geminos; and the reasons of them are given elsewhere.» — da la regla paralela para el ascendente, dividiendo entre doce, y vuelve a aplazar la razón.
«And let no man wonder that by the numbers of names many things may be prognosticated, seeing (the Pythagorean philosophers, and Hebrew Cabalists testifying the same) in those numbers lie certain occult mysteries understood What Numbers Are Attributed to Letters / 313 by few: for the Most High created all things by number, measure, and weight,!? from whence the truth of letters, and names had its original, which were not instituted casually, but by a certain rule (although unknown to us» — defiende el arte remitiéndolo a los pitagóricos y a los cabalistas hebreos, y funda los nombres en una regla que declara desconocida para nosotros.
«Hence John in the Revelation saith, let him which hath understanding compute the number of the name of the beast, which is the number of a man.» — respalda lo anterior con el versículo del número de la bestia.
«Yet these are not to be understood of those names, which a disagreeing difference of nations, and divers rites of nations according to the causes of places, or education have put upon men;'* but those which were inspired into everyone at his birth, by the very heaven with the conjunction of stars, and those which the Hebrew mecubals, and wise men of Egypt long since taught to draw from the generation of everyone.» — acota el alcance del arte: no valen los nombres puestos por costumbre o educación, sino los inspirados en el nacimiento por el cielo.
«oreover the Pythagoreans have dedicated to the elements, and deities of heaven sacred numbers; for to the Air, they have assigned the number eight, and to Fire five, to the Earth six, to the Water twelve.» — abre el capítulo repartiendo cuatro números entre los elementos, con el ocho al aire, el cinco al fuego, el seis a la tierra y el doce al agua; la capital perdida hace que la cita empiece en oreover, por Moreover.
«Besides, unity! is ascribed to the Sun, which is the only king of the stars, in which God put his tabernacle; and that this also is of Jupiter, doth the causative power of his ideal and intellectual species testify, who is the head, and the father of the gods, as unity is the begin- . ning, and parent of numbers.» — adjudica la unidad al Sol y también a Júpiter, por ser cabeza y padre de los dioses como la unidad lo es de los números.
«The number two? is ascribed to the Moon, which is the second great light, and figures out the Soul of the World, and is called Juno, because betwixt that and unity there is the first conjunction, and near fellowship; it is also ascribed to Saturn, and Mars, two unfortunate planets with the astrologers.» — adjudica el dos a la luna, a la que llama Juno y figura del alma del mundo, y también a Saturno y a Marte por infortunados.
«So the number three? is ascribed to Jupiter, the Sun, and Venus, viz. three fortunate planets, and is deputed to Vesta, Hecate, and Diana» — adjudica el tres a los tres planetas fortunados y a las tres diosas.
«The number three therefore is dedicated to this virgin whom they say to be powerful in heaven, and in hell.» — remata el tres con la virgen que dice poderosa en el cielo y en el infierno.
«ens, and distinguisheth seasons: it is also ascribed to Cyllenius, because he alone is called the foursquare god.» — adjudica el cuatro al Sol, por los ángulos del cielo y las estaciones, y a Mercurio, único llamado dios cuadrado; la cita arranca a media palabra por el folio impreso 315.
«The number five® consisting of the first even, and the first odd, as of female, and male, both sexes,” is assigned to Mercury; it is also attributed to the celestial world, which beyond the four elements is itself under another form, the fifth.» — adjudica el cinco a Mercurio por juntar el primer par y el primer impar, y también al mundo celeste como quinta forma sobre los elementos.
«The number six,!! which consists of two threes, as a commixtion!? of both sexes, is by the Pythagoreans ascribed to generation, and marriage, and belongs to Venus, and Juno.» — adjudica el seis a la generación y al matrimonio por ser dos treses, y con ello a Venus y a Juno.
«The number eight,'* by reason it contains the mystery of justice, is ascribed to Jupiter; it is also dedicated to Vulcan, for of the first motion, and number two, which is Juno drawn twice into itself, it consists; it is also attributed to Cybele!® the mother of the gods, to whom every foursquare”? is attributed. Plutarch assigns it to Bacchus, or Dionysus, who is said to be born the eighth month: others, because infants of the eighth month do not live, have attributed it to Saturn, and the three Ladies of Destiny.» — adjudica el ocho a Júpiter por la justicia, a Vulcano, a Cibeles y, según Plutarco, a Baco, y recoge la adjudicación contraria a Saturno y a las Parcas por los nacidos de ocho meses.
«The number nine”! belongs to the Moon, the utmost receptacle”* of all celestial influences, and virtues, as also it is dedicated to the nine Muses, as also to Mars, from whom is the end” of all things.» — adjudica el nueve a la luna, a las nueve musas y a Marte, de quien dice que viene el fin de todas las cosas.
«The number ten?4 is circular,2> and belongs to the Sun, after the same manner as unity; also it is attributed to Janus,” because it is the end of the first order, and from whence begins the second unity; it is also ascribed to the world.» — adjudica el diez al Sol como la unidad, y a Jano por ser fin de un orden y principio de otro.
«In like manner the number twelve, because the Sun going round twelve signs, distributes the year into twelve months, is attributed to the world, the heaven, and the Sun.» — adjudica el doce al mundo, al cielo y al Sol por los doce signos y los doce meses.
«The number eleven, because it is semicircular,2’ is attributed to the Moon, and also deputed to Neptune.» — adjudica el once a la luna por semicircular, y a Neptuno.
«The number seven!? is of rest, and belongs to Saturn; the same also doth dispense the motion, and light of the Moon, and therefore is called by the name of Tritonia the Virgin,'4 because it begets nothing. It is assigned to Minerva,'> because it proceeds of nothing; also to Pallas the Virago,'® because it consists of numbers, as of males, and females. This also Plutarch ascribes» — adjudica el siete al reposo y a Saturno, y por no engendrar nada lo llama Tritonia la virgen, Minerva y Palas; el remate lo adjudica a Plutarco, que lo daba a Apolo.
«t is affirmed by magicians, that there are certain tables of numbers distributed to the seven planets, which they call the sacred tables of the planets, endowed with many, and very great virtues of the heavens, in as much as they represent that divine order of celestial numbers, impressed upon celestials by the Ideas of the Divine Mind» — abre el capítulo de las tablas planetarias poniendo la doctrina en boca de los magos: siete cuadrados de números repartidos entre los planetas, que valen porque representan el orden de los números celestes que las Ideas de la Mente Divina imprimen en los celestiales; la capitular se perdió en la caja y la palabra es *It*.
«Soul of the World, and the sweet harmony of those celestial rays, signifying according to the proportion of effigies,! supercelestial intelligencies, which can no other way be expressed, than by the marks of numbers, and characters.» — sigue la misma frase, retomada aquí porque la capa de texto intercala un signo ilegible: el vehículo de esa impresión es el Alma del Mundo y la armonía de los rayos celestes, y sostiene que las inteligencias supercelestes no admiten otra expresión que las marcas de números y caracteres.
«For material numbers, and figures can do nothing in the mysteries of hid things, but representatively by formal numbers, and figures, as they are governed, and informed by intelligences, and divine numerations, which unite the extremes of the matter, and spirit to the will of the elevated soul, receiving through great affection, by the celestial power of the operator, a power from God, applied through the Soul of the Universe, and observations of celestial constellations, to a matter fit for a form, the mediums being disposed by the skill, and industry of magicians; but let us hasten to explain the tables severally.» — acota que los números y figuras materiales nada obran por sí en los misterios, sino representativamente por los formales, y describe la cadena entera de la operación: un poder que viene de Dios, se aplica por el Alma del Universo y las constelaciones observadas, y llega a una materia dispuesta por la industria del mago.
«The first of them is assigned to Saturn, and consists of a square of three, containing the particular numbers of nine, and in every line three every way, and through each diameter” making fifteen. Now the whole sum of numbers is forty-five.» — la primera tabla es la de Saturno, cuadrado de tres: nueve casillas, quince por cada línea y por cada diagonal, y cuarenta y cinco de suma total.
«They say that this table being with a fortunate Saturn* engraven on a plate of lead, doth help to bring forth, or birth, and to make a man safe, and powerful, and to cause success of petitions with princes, and powers: but if it be done with an unfortunate Saturn, that it hinders buildings, plantings, and the like, and casts a man from honours, and dignities, and causes discords, and quarrelings, and disperses an army.» — hace depender el efecto del sello saturnino grabado en plomo de que el planeta esté fortunado o no —parto feliz y éxito ante príncipes de un lado, ruina de edificios y plantíos, caída de honores y dispersión de un ejército del otro—, y la fórmula they say deja la doctrina atribuida a terceros.
«The second is called the table of Jupiter, which consists of a quarternian drawn into itself,> containing sixteen particular numbers, and in every line, and diameter four, making thirty-four. Now the sum of all is 136. And there are over it divine names with an intelligence to good, with a spirit to bad, and out of it is drawn the character of Jupiter, and the spirits thereof. They say that if it be impressed upon a silver plate with Jupiter being powerful, and ruling, it conduceth to gain and riches, favour and love, peace and concord, and to appease enemies, to confirm honours, dignities, and counsels; and dissolve enchantments, if it be engraven on a coral.» — la tabla de Júpiter es el cuaternario multiplicado por sí mismo: dieciséis casillas, treinta y cuatro por línea y diagonal, ciento treinta y seis de suma; grabada en plata con Júpiter poderoso la da por causa de ganancia, favor, paz y concordia, y de disolución de encantamientos si va sobre coral.
«The third table belongs to Mars, which is made of a square of five containing twenty-five numbers, and of these in every side and diameter five, which makes sixty-five, and the sum of all is 325.» — la tabla de Marte es el cuadrado de cinco: veinticinco casillas, sesenta y cinco por lado y diagonal, trescientos veinticinco de suma.
«These with Mars being fortunate, being engraven on an iron plate, or sword, makes a man potent in war, and judgements, and petitions, and terrible to his enemies, and victorious against them; and if engraven upon the stone corneola,° it stops blood, and the mestrues;» — con Marte fortunado y grabada en hierro o en la espada, la tabla marcial haría al hombre potente en guerra, juicios y peticiones, y sobre la piedra cornalina detendría la sangre y los menstruos; la cita se corta ahí porque la frase continúa con la variante desafortunada.
«but if it be engraven with Mars being unfortunate, on a plate of red brass it hinders buildings, casts down the powerful from dignities, honours, and riches, and causeth discord, strife, and hatred of men, and beasts, chaseth away bees, pigeons, and fish, and hinders mills, and renders them unfortunate that go forth to hunting, or fighting, and causeth barrenness in men and women, and other animals, and strikes a terror in all enemies, and compels them to submit.» — con Marte desafortunado y sobre latón rojo, la misma tabla la da por causa de estorbo de obras, caída de los poderosos, discordia, huida de abejas, palomas y peces, esterilidad en hombres y animales y terror en los enemigos.
«The fourth table is of the Sun, and is made of a square of six, and contains thirty-six numbers, whereof six in every side, and diameter produce 111, and the sum of all is 666.» — la tabla del Sol es el cuadrado de seis: treinta y seis casillas, ciento once por lado y diagonal, y seiscientos sesenta y seis de suma total.
«This being engraven on a golden plate with the Sun being fortunate, renders him that wears it to be renowned, amiable, acceptable, potent in all his works, and equals a man to kings, and princes, elevating him to high fortunes, enabling to do whatsoever he pleaseth: but with an unfortunate Sun, it makes a tyrant, and a man to be proud, ambitious, unsatisfiable, and to have an ill ending.» — grabada en oro con el Sol fortunado, la da por causa de renombre, amabilidad y potencia que iguala a reyes y príncipes; con el Sol desafortunado, de tirano soberbio, ambicioso e insaciable con mal fin.
«The fifth table is of Venus, consisting of a square of seven drawn into itself, viz. of fortynine numbers, whereof seven on each side and diameter make 175, and the sum of all is 1225.» — la tabla de Venus es el cuadrado de siete: cuarenta y nueve casillas, ciento setenta y cinco por lado y diagonal, mil doscientos veinticinco de suma; la herramienta une el guion de corte y devuelve fortynine donde la fuente imprime forty-nine.
«This being engraven on a silver plate, Venus being fortunate, procureth concord, endeth strife, procureth the love of women, conduceth to conception, is good against barrenness, causeth ability for generation, dissolves enchantments, and causeth peace between men, and women, and maketh all kind» — grabada en plata con Venus fortunada, la da por causa de concordia, fin de las contiendas, amor de las mujeres, concepción y remedio de la esterilidad; la cita se corta antes del encabezado corrido que el escaneo mete a media frase, que sigue con los animales y el palomar.
«The sixth table is of Mercury, resulting from the square of eight drawn into itself, containing sixty-four numbers, whereof eight on every side and by both diameters make 260, and the sum of all 2080.» — la tabla de Mercurio es el cuadrado de ocho: sesenta y cuatro casillas, doscientos sesenta por lado y por ambas diagonales, dos mil ochenta de suma.
«and if it be with Mercury being fortunate engraven upon silver, or tin, or yellow brass, or be writ upon virgin parchment,’ it renders the bearer thereof grateful, and fortunate to do what he pleaseth: it bringeth gain, and prevents poverty, conduceth to memory, understanding, and divination, and to the understanding of occult things by dreams: and if it be an unfortunate Mercury, doth all things contrary to these.» — grabada en plata, estaño o latón amarillo, o escrita en pergamino virgen con Mercurio fortunado, la da por causa de gracia y fortuna en lo que se emprenda, ganancia, memoria, entendimiento, adivinación e inteligencia de lo oculto por sueños, y por lo contrario con Mercurio desafortunado.
«The seventh table is of the Moon, of a square of nine multiplied into itself, having eighty-one numbers, in every side and diameter nine, producing 369, and the sum of all is 3321.» — la tabla de la Luna es el cuadrado de nueve: ochenta y una casillas, trescientos sesenta y nueve por lado y diagonal, tres mil trescientos veintiuno de suma.
«This fortunate Moon being engraven on silver, renders the bearer thereof grateful, amiable, pleasant, cheerful, honoured, removing all malice, and ill will. It causeth security in a journey, increase of riches, and health of body, drives away enemies and other evil things from what place thou pleaseth; and if it be an unfortunate Moon engraven in a plate of lead, wherever it shall be buried, it makes that place unfortunate, and the inhabitants thereabouts, as also ships, rivers, fountains, mills, and it makes every man unfortunate, against whom it shall be directly done, making him fly from his country, and that place of his abode where it shall be buried, and it hinders physi» — cierra la serie con la Luna: en plata y fortunada la da por causa de gracia, salud, riqueza y seguridad en el viaje; en plomo y desafortunada, enterrada en un sitio, por desgracia del lugar entero, de sus habitantes, naves, ríos, fuentes y molinos; la cita se corta a media palabra porque el folio impreso parte el renglón.
«cians, and orators, and all men whatsoever in their office, against whom it shall be made.» — remate de la frase anterior del otro lado del corte: la tabla lunar desafortunada estorbaría también a médicos, oradores y a cualquiera en su oficio.
«The Intelligence of Saturn. 45 Agiel ONIN The Spirit of Saturn. 45 Zazel» — la tabla de nombres reparte a cada planeta una inteligencia y un espíritu con su número: Agiel y Zazel para Saturno, los dos por cuarenta y cinco; entre ambos la capa de texto devuelve el hebreo como ruido y por eso no se consigna la columna hebrea.
«The Intelligence of Jupiter. 136 Johphiel OS] The Spirit of Jupiter. 136 Hismael» — para Júpiter, Johphiel como inteligencia y Hismael como espíritu, los dos por ciento treinta y seis.
«The Intelligence of Mars 325 Graphiel OWES The Spirit of Mars. 325 Barzabel» — para Marte, Graphiel y Barzabel, los dos por trescientos veinticinco.
«The Intelligence of the Sun. 111 Nachiel OND) The Spirit of the Sun. 666 Sorath» — para el Sol, Nachiel por ciento once y Sorath por seiscientos sesenta y seis: aquí la inteligencia y el espíritu no comparten número, sino que toman el de la línea y el de la suma.
«The Intelligence of Venus. 49 Hagiel OSI The Spirit of Venus. 175!2 Kedemel pane) The Intelligences of Venus. 1225» — para Venus la serie va a tres: Hagiel por cuarenta y nueve, Kedemel por ciento setenta y cinco y las inteligencias en plural por mil doscientos veinticinco.
«The Intelligence of Mercury. 260 Tiriel NTT The Spirit of Mercury. 2080 Taphthartharath» — para Mercurio, Tiriel por doscientos sesenta y Taphthartharath por dos mil ochenta.
«The Spirit of the Moon. 369 Hasmodai STV The Spirit of the Spirits of the Moon. 3321 Schedbarschemoth Schartathan» — para la Luna, Hasmodai por trescientos sesenta y nueve y un espíritu de los espíritus por tres mil trescientos veintiuno.
«eometrical figures also arising from numbers, are conceived to be of no less power. Of these first of all, a circle doth answer to unity, and the number ten; for unity is the center, and circumference of all things; and the number ten being heaped together returns into a unity from whence it had its beginning, being the end, and complement of all numbers.» — abre el capítulo de las figuras geométricas dándolas por no menos poderosas que los números de que salen, y empareja el círculo con la unidad y con el diez, que amontonado vuelve a la unidad de donde partió; la capitular se perdió en la caja y la palabra es *Geometrical*.
«A circle is called an infinite line in which there is no terminus a quo nor terminus ad quem,‘ whose beginning and end is in every point, whence also a circular motion is called infinite, not according to time but according to place; hence a circular being the largest” and perfectest of all is judged to be most fit for bindings and conjurations; whence they who adjure evil spirits are wont to environ themselves about with a circle.» — de esa definición del círculo como línea infinita sin término de partida ni de llegada saca la razón de la práctica: por ser la mayor y más perfecta figura se le tiene por la más apta para ligaduras y conjuros, y de ahí que quien conjura espíritus malos se rodee de un círculo.
«A pentangle* also, as with the virtue of the number five hath a very great command over evil spirits, so by its lineature, by which it hath within five obtuse angles, and without five acutes,° five double triangles® by which it is surrounded.» — atribuye al pentángulo mando sobre los espíritus malos por dos vías: la virtud del número cinco y su propio trazo, con cinco ángulos obtusos dentro, cinco agudos fuera y cinco triángulos dobles alrededor.
«The Egyptians, and Arabians confirmed that the figure of the cross hath very great power, and that is the most firm receptacle of all celestial powers, and intelligences, because it is the rightest figure of all, containing four right angles, and it is the first description of the superficies, having longitude and latitude:» — adjudica a egipcios y árabes la doctrina de la cruz como receptáculo firmísimo de las potencias e inteligencias celestes, por ser la figura más recta, de cuatro ángulos rectos, y la primera descripción de la superficie con longitud y latitud.
«celestials, because their fortitude results by the straightness of angles and rays: and stars are then most potent when they possess four corners in the figure of the heaven, and make a cross,” by the projection of their rays mutually.» — sigue la misma frase del otro lado del folio impreso que parte el renglón: la fortaleza celeste resultaría de la rectitud de ángulos y rayos, y las estrellas estarían en su mayor potencia cuando ocupan las cuatro esquinas del cielo y forman una cruz con la proyección mutua de sus rayos.
«It was also reckoned by the Egyptian priests, from the beginning of religion amongst sacred letters, signifying amongst them allegorically the life of future salvation.!® It was also impressed on the picture of Serapis, and was had in great veneration amongst the Greeks.» — añade que los sacerdotes egipcios contaban la cruz entre las letras sagradas desde el principio de la religión, con el sentido alegórico de la vida de la salvación futura, y que iba impresa en la imagen de Serapis.
«This is to be observed, whatsoever wonderful thing figures work when we write them in papers, plates, or images, they do not do it but by the virtue acquired from sublimer figures, by a certain affection which natural aptitude or resemblance procures, in as much as they are exactly configured to them, as from an opposite wall the echo is caused, and in a hollow glass!! the collection of the solary rays, which afterward reflecting upon an opposite body, either» — acota el alcance de toda la doctrina: las figuras escritas en papeles, láminas o imágenes no obran por sí, sino por la virtud que reciben de figuras más sublimes a las que están exactamente configuradas, como el eco desde una pared o el espejo cóncavo que junta los rayos solares y quema el cuerpo que enfrenta.
«a suitable and like figure is set before it, or as two strings on a harp being touched with an equal distance of time, and modulated to the same intention, when one is touched the other shakes also» — cierra el argumento del capítulo con el ejemplo de las dos cuerdas de arpa afinadas al mismo tono: tocada una, la otra tiembla sola, y ésa es la figura con que explica cómo una figura obra sobre otra que se le asemeja.
«Neither must we pass over what figures Pythagoras and his followers Timaeus, Locrus,» — anuncia el reparto de las figuras entre los elementos y lo adjudica a Pitágoras y a sus seguidores Timeo, Locro y Platón; la cita se corta ahí porque el encabezado corrido de la plana entra a media frase.
«and heavens: for first of all they assigned to the Earth a four square, and a square of eight solid angles, and of twenty-four planes,!* and six bases in form of a dice: to the Fire, a pyramis of four triangular bases, and of so many solid angles, and of twelve planes: to the Air octahedron, of eight triangular bases, and six solid angles, and twenty-four planes: and lastly, to Water they have assigned icosahedron twenty bases, twelve solid angles: to the heaven they have assigned dodecahedron of twelve five-cornered bases, and twenty solid angles, and sixty planes.» — sigue el reparto del otro lado del encabezado: cubo a la tierra, pirámide de cuatro bases al fuego, octaedro al aire, icosaedro al agua y dodecaedro de doce bases pentagonales al cielo, cada uno con la cuenta de sus ángulos sólidos y sus planos.
«Now he which knows the powers, relations, and properties of these figures and bodies, shall be able to work many wonderful things in natural and mathematical magic, especially in glasses. And I know how to make by them wonderful things, in which anyone might see whatsoever he pleased at a long distance.» — remata prometiendo obra en la magia natural y matemática a quien conozca las potencias de esas figuras, sobre todo con espejos, y declara en primera persona que él sabe hacer con ellos algo que muestre a cualquiera lo que quiera ver a larga distancia.
«usical harmony also is not destitute of the gifts of the stars; for it is a most powerful imaginer of all things, which whilst it follows opportunely the celestial bodies, doth wonderfully allure the celestial influence, and doth change the affections, intentions, gestures, motions, actions and dispositions of all the hearers, and doth quietly allure them to its own properties, as to gladness, lamentation, to boldness, or rest, and the like; also it allures beasts, serpents, birds, dolphins to the hearing of its pleasant tunes.» — abre el capítulo de la armonía musical dándola por partícipe de los dones de las estrellas: siguiendo oportunamente a los cuerpos celestes atraería la influencia celeste y mudaría afectos, gestos y disposiciones de los oyentes, y aun de bestias, serpientes, aves y delfines; la capitular se perdió en la caja y la palabra es *Musical*.
«So birds are allured with pipes, and harts! are caught by the same. Fish in the lake of Alexandria? are delighted with a noise. Music hath caused friendship betwixt men and dolphins.? The sound of the harp doth lead up and down the Hyperborean*+ swans. Melodious voices tame the Indian elephants: and the very elements delight in music. The Hulesian fountain? otherwise calm and quiet, if the trumpet sound, riseth up rejoicing, and swells over its banks. There are in Lydia those which they call the Nymphs’ Islands,° which at the sound of a trumpet forthwith come into the middle of the sea, and turning round lead a dance, and then are returned to the shores; M. Varro testifies that he saw them.» — reúne el catálogo de lo que la música mueve —aves con la flauta, ciervos, peces del lago de Alejandría, delfines, cisnes hiperbóreos, elefantes indios— y llega hasta los propios elementos, con la fuente hulesia que se desborda al son de la trompeta y las islas de las ninfas de Lidia, cuyo testimonio adjudica a Marco Varrón por haberlas visto.
«And there are more wonderful things than these. For in the shore of Attica the sea sounds like a harp. A certain stone of Megaris’ makes a sound like a harp every time the string of a harp» — añade dos casos mayores: el mar de la costa del Ática que suena como un arpa y cierta piedra de Mégara que suena cada vez que se pulsa una cuerda; la cita se corta antes del folio impreso que parte el renglón.
«is struck; so great is the power of music, that it appeaseth the mind, raiseth the spirit, stirreth up soldiers to fight, and refresheth the weary, calls back them that are desperate, refresheth travelers. And the Arabians say, that camels carrying burdens are refreshed by the singing of their leaders. In like manner, they that carry great burdens, sing, and are thereby strengthened and refreshed: for singing causeth delight and strength, pacifieth enemies, moderates the rage of madmen, chaseth away vain imaginations.» — sigue del otro lado del folio con el oficio de la música: apacigua el ánimo, levanta el espíritu, mueve a los soldados y alivia al cansado, y cita a los árabes para los camellos que se refrescan con el canto de sus arrieros, igual que quienes cargan peso cantando.
«Hence it is that Democritus and Theophrastus affirm that some diseases of the body, and mind may thus be cured, or caused.» — adjudica a Demócrito y a Teofrasto la tesis fuerte, y con las dos caras: por este medio algunas enfermedades del cuerpo y de la mente pueden curarse o causarse.
«So we read that Therpander, and Arion of Lesbos cured the Lesbians, and Ionians by music; and Ismenia!® of Thebes cured divers of very great diseases by music; moreover Orpheus, Amphion, David, Pythagoras, Empedocles,'' Asclepiades, Timotheus, were wont to do many wonderful things by sounds: sometimes they did stir up dull spirits by familiar sounds; sometimes they did restrain wanton, furious, angry spirits by more grave tones.» — enumera los casos que la tradición le da por leídos —Terpandro y Arión con lesbios y jonios, Ismenias de Tebas, y luego Orfeo, Anfión, David, Pitágoras, Empédocles, Asclepíades y Timoteo— y reduce su arte a dos operaciones: excitar los espíritus torpes con sonidos familiares y refrenar los furiosos con tonos más graves.
«So David with a harp moderated Saul in a rage.!? So Pythagoras recalled a luxurious young man from immoderate lust.'? So Timotheus stirred up King Alexander to a rage, and again repressed him.» — da tres ejemplos de esas dos operaciones: David templando la ira de Saúl, Pitágoras apartando de la lujuria a un joven, y Timoteo levantando y volviendo a reprimir la furia del rey Alejandro.
«Saxo the Grammarian, in his History of the Danes, tells of a certain musician, who boasted that he could by his music make everyone that heard it mad; and when he was constrained by the king’s command to perform the same, he» — trae de la historia de los daneses de Saxo el músico que se jactaba de poder enloquecer con su música a cuantos lo oyeran y a quien el rey obligó a demostrarlo; la cita se corta en el marcador de plana y el experimento sigue del otro lado.
«endeavoured to work several ways upon the affections; and first, by a tone of musical gravity filled the hearers with a kind of sadness and unsensibleness; then by a more lively sound he made them rejoice, and dance; and lastly, he by a more earnest music, reduced them to fury and madness.» — el remate del caso danés: el músico probó tres registros por su orden, y de la tristeza pasó al gozo y del gozo a la furia y la locura de los oyentes.
«We read also, that they in Apulia that were touched with a kind of dangerous spider,!> were astonished until they heard a certain sound, at the hearing of which everyone riseth up and danceth. And it is believed (Gellius being witness) that they that are pained with the sciatica,!© are eased at the sound of a pipe. Also Theophrastus reports, that the sound of a flute cures the biting of spiders, and Democritus himself confesseth that the consort of pipers, hath been a cure for very many diseases.» — cierra el capítulo con la medicina musical: los picados por cierta araña en Apulia que solo se mueven al oír un son, los enfermos de ciática aliviados por la flauta con el testimonio de Gelio, y el reporte de Teofrasto y la confesión de Demócrito sobre lo que cura el concierto de flautistas.
«oreover we shall not deny, that there is in sounds a virtue to receive the heavenly gifts; if with Pythagoras and Plato we thought the heavens to consist by an harmonical composition, and to rule and cause all things by harmonical tones and motions.» — abre el capítulo del sonido condicionando la tesis: hay en los sonidos virtud para recibir los dones celestes si se admite con Pitágoras y Platón que los cielos constan de composición armónica y rigen todo por tonos y movimientos armónicos; la capitular se perdió en la caja y la palabra es *Moreover*.
«Singing can do more than the sound of an instrument, in as much as it arising by an harmonical consent, from the conceit of the mind, and imperious affection of the phantasy” and heart, easily penetrateth by motion, with the refracted and well tempered air, the aerious spirit of the hearer, which is the bond of soul and body; and transferring the affection and mind of the singer with it, it moveth the affection of the hearer by his affection, and the hearer’s phantasy by his phantasy, and mind by his mind, and striketh the mind, and striketh the heart, and pierceth even to the inwards of the soul, and by little and little, infuseth even dispositions» — da al canto más poder que al instrumento y describe el camino entero del efecto: nace del concepto de la mente y del afecto de la fantasía, penetra por el aire templado hasta el espíritu aéreo del oyente —que llama vínculo de alma y cuerpo—, y traslada afecto por afecto, fantasía por fantasía y mente por mente hasta infundir disposiciones.
«From hence in moving the affections harmony conferreth so much, that not only natural, but also artificial and vocal harmony doth yield a certain power both to the souls and bodies: but it is necessary that all consorts? proceed from fit foundations, both in stringed instruments, in pipes, and vocal singings, if you would have them agree well together: for no man can make the roaring of lions, the lowing of oxen, the neighing of horses, the braying of asses, the grunting of» — acota la condición de toda armonía, natural o artificial: los consortes han de partir de fundamentos aptos, y de ahí que no pueda hacerse música con el rugido de los leones, el mugido de los bueyes, el relincho de los caballos ni el rebuzno de los asnos; la cita se corta antes del folio impreso que parte el renglón.
«hogs to be harmonious: neither can the strings made of sheep’s and wolf’s guts, be brought to any agreement, because their foundations are dissonant; but the many and divers voices of men agree together, because they have one foundation in the species or kind: so many birds agree, because they have one nigh genus or kind, and a resemblance from above; also artificial instruments agree with natural voices, because the similitude that is betwixt them, is either true and manifest, or hath a certain analogy.» — sigue del otro lado del folio con el principio que ordena el capítulo: las cuerdas de tripa de oveja y de lobo no concuerdan porque sus fundamentos son disonantes, mientras que las voces de los hombres concuerdan por tener un mismo fundamento en la especie, y los instrumentos con las voces naturales por semejanza o por analogía.
«But every harmony is either of sounds or voices. Sound is a breath, voice is sound and animate breath; speech is a breath pronounced with sound, and a voice signifying something:» — define los tres términos por grados: el sonido es un aliento, la voz un sonido y aliento animado, y el habla un aliento pronunciado con sonido y voz que significa algo.
«Chalcidius saith, that a voice is sent forth out of the inward cavity of the breast and heart, by the assistance of the spirit. By which, together with the tongue, forming, and striking the narrow passages of the mouth, and by the other vocal organs, are delivered articulate sounds; the elements of speech, by which interpreter the secret motions of the mind are laid open» — adjudica a Calcidio la fisiología de la voz: sale de la cavidad del pecho y del corazón con ayuda del espíritu, y al golpear con la lengua los pasos estrechos de la boca produce los sonidos articulados, que son los elementos del habla e intérpretes de los movimientos secretos de la mente.
«but Lactantius saith,* that the nature of the voice is very obscure, and cannot be comprehended how it is made, or what it is.» — enfrenta esa explicación con la reserva de Lactancio, que da la naturaleza de la voz por muy oscura y por no comprensible ni en su modo ni en su qué; las dos posiciones quedan una junto a otra.
«To conclude, all music consisteth in voice, in sound, and hearing: sound without air cannot be audible, which though it be necessary for hearing, yet, as air, it is not of itself audible, nor to be perceived by any sense, unless by accident; for the sight seeth it not, unless it be coloured,» — reduce la música a voz, sonido y oído, y afirma que el sonido no puede ser audible sin aire, aunque el aire mismo no sea audible ni perceptible por sentido alguno sino por accidente; la cita se corta en el marcador de plana.
«nor the ears unless sounding, nor the smell unless odoriferous, nor the taste unless it be sapid, nor the touch unless it be cold or hot, and so forth: therefore though sound cannot be made without air, yet is not sound of the nature of air, nor air of the nature of sound, but air is the body of the life of our sensitive spirit» — continúa la lista de los sentidos del otro lado de la plana y saca la distinción: aunque no haya sonido sin aire, el sonido no es de la naturaleza del aire ni el aire de la del sonido, porque el aire es el cuerpo de la vida de nuestro espíritu sensitivo.
«but it is meet that the sensitive soul should vivify the air joined to it; and in the vivified air, which is joined to the spirit, perceive the species of objects put forth into act, and this is done in the living air, but in a subtile and diaphanous the visible species, in an ordinary air the audible, in a more gross air the species of other senses are perceived.» — remata el capítulo con el aire vivificado: es el alma sensitiva la que vivifica el aire unido a ella, y en ese aire vivo se perciben las especies, las visibles en el aire sutil y diáfano, las audibles en el ordinario y las de los demás sentidos en el más grueso.
«ut understand now, that of the seven planets, Saturn, Mars, and the Moon have more of the voice than of the harmony. Saturn hath sad, hoarse, heavy, and slow words, and sounds, as it were pressed to the center; but Mars, rough, sharp, threatening, great, and wrathful words; the Moon observeth a mean betwixt these two.» — abre el capítulo de la correspondencia de los sonidos con los planetas repartiendo primero los que tienen más de voz que de armonía: Saturno con palabras tristes, roncas, pesadas y lentas, Marte con ásperas, agudas y airadas, y la Luna en el medio de ambos; la capitular se perdió y la palabra es *But*.
«But Jupiter, Sol, Venus and Mercury, do possess harmonies; yet Jupiter hath grave, constant, fixed, sweet, merry, and pleasant consorts; Sol venerable, settled, pure and sweet, with a certain grace; but Venus lascivious, luxurious, deli» — sigue con los cuatro que poseen armonías: Júpiter con consortes graves, constantes, dulces y alegres, el Sol con los venerables, asentados y puros; la cita se corta a media palabra en el marcador de plana.
«cate, voluptuous, dissolute and fluent; Mercury hath harmonies more remiss, and various, merry and pleasant, with a certain boldness: but the tone of particulars, and proportionated consorts obeyeth the nine Muses.» — cierra el reparto de las voces planetarias del otro lado del corte —Venus lasciva y disoluta, Mercurio con armonías remisas y varias— y remite el tono de los particulares y los consortes proporcionados a las nueve musas; la cita arranca a media palabra porque el marcador de plana parte *delicate*.
«Jupiter hath the grace of the octave, and also the quinte,' viz. the diapason? with the diapente:* Sol obtains the melody of the octave voice, viz. diapason; in like manner by fifteen tones, a disdiapason:* Venus keepeth the grace of the quinte or diapente: Mercury hath diatessaron;> viz. the grace of the quarte.» — asigna a cada planeta armónico su intervalo: la octava y la quinta a Júpiter, la octava y la doble octava de quince tonos al Sol, la quinta a Venus y la cuarta a Mercurio.
«Moreover the ancients being content with four strings,’ as with the number of elements, accounted Mercury the author of them, as Nicomachus reports, and by their bass strings would resemble the Earth; by their parhypas® or middle the Water; by their note diezeugmenon, or hyperboleon? the Fire; by the paranete!® or synemmenon, or treble, the Air; but afterwards Terpander the Lesbian finding out the seventh» — cuenta el paso de cuatro cuerdas a siete: los antiguos se contentaban con cuatro por el número de los elementos y adjudicaban su invención a Mercurio según Nicómaco, emparejando cada cuerda con un elemento; la cita se corta antes del folio impreso que parte el renglón.
«string, equaled them to the number of the planets.» — el remate de esa frase del otro lado del folio: al hallar Terpandro la séptima cuerda, las igualó al número de los planetas.
«Moreover, they that followed the number of the elements, did affirm, that the four kinds of music do agree to them, and also to the four humours, and did think the Dorian music to be consonant to the Water and phlegm, the Phrygian to choler and Fire, the Lydian to blood and Air, the mixed-Lydian to melancholy and Earth:» — consigna la primera de dos series incompatibles: quienes siguieron el número de los elementos emparejaron los cuatro modos con los elementos y los humores —dorio con agua y flema, frigio con cólera y fuego, lidio con sangre y aire, lidio mixto con melancolía y tierra.
«others respecting the number and virtue of the heavens, have attributed the Dorian to the Sun, the Phrygian to Mars, the Lydian to Jupiter, the mixed-Lydian to Saturn, the hypo-Phrygian to Mercury, the hypo-Lydian to Venus, the hypo-Dorian to the Moon, the hypo-mixed-Lydian to the fixed stars.» — y a renglón seguido la segunda serie, que la obra no armoniza con la anterior: quienes atendieron al número y virtud de los cielos repartieron ocho modos entre el Sol, Marte, Júpiter, Saturno, Mercurio, Venus, la Luna y las estrellas fijas.
«Moreover they refer these modes of music to the Muses, and the strings to the heavens, but not in that order as we have declared concerning the nine Muses, amongst our numbers and celestial souls; for they say Thalia hath no harmony, therefore ascribe her to silence, and the Earth;» — advierte que este tercer reparto —modos a las musas y cuerdas a los cielos— no sigue el orden que la propia obra dio antes al tratar de las nueve musas, y empieza por Talía, a quien niegan armonía y adjudican al silencio y a la tierra.
«but Cleo with the Moon move after the hypo-Dorian manner, the string proslambanomenos”” or Air. Calliope and Mercury possess the hypo-Phrygian manner, and the chord hypate-hypaton, or B-Mi. Terpsichore with Venus the hypo-Lydian manner, and parahypote, hypaton; and for Melpomene and the Dorian manner with licanos, hypaton, or D-Sol-Re are applied to the Sun. Erato with Mars keep the Phrygian fashion, and the hypatemise, or E-La-Mi. Euterpe, and the Lydian music, and pachyparemeson agree with Jupiter; Polymnia and Saturn keep the mixed-Lydian manner, and» — sigue el reparto musa por musa, con su modo y su cuerda: Clío con la Luna, Calíope con Mercurio, Terpsícore con Venus, Melpómene con el Sol, Erato con Marte, Euterpe con Júpiter y Polimnia con Saturno; la cita se corta en el marcador de plana y Urania queda del otro lado.
«Silent Thalia we to the Earth compare, For she by music never doth ensnare; After the hypo-Dorian Clio sings, Persephone likewise doth strike the bass strings; Calliope also doth chord second touch, Using the Phrygian; Mercury as much: Terpsichore strikes the third, and that rare, The Lydian music makes so Venus fair. Melpomene, and Titan do with a grace The Dorian music use in the fourth place. The fifth ascribed is to Mars the god Of war, and Erato after the rare mode Of the Phrygians, Euterpe doth also love The Lydian, and sixth string; and so doth Jove. Saturn the seventh doth use with Polymny, And causeth the mixed-Lydian melody. Urania also doth the eighth create, And music hypo-Lydian elevate.» — el mismo reparto en verso, tal como lo imprime la traducción de 1651, con Talía muda comparada a la tierra y las ocho restantes en orden de cuerda; el verso trae Persephone y Titan donde la prosa dice Luna y Sol, y no se armonizan.
«Moreover there are some who find out the harmony of the heavens by their distance one from another. For that space which is betwixt the Earth and the Moon, viz. an hundred and twenty-six thousand Italian miles,!* maketh the interval of a tone; but from the Moon to Mercury being half that space, maketh half a tone; and so much from Mercury to Venus maketh another half tone; but from thence to the Sun, as it were a threefold tone and a half, and makes diapente; but from the Moon to the Sun, maketh a twofold diatessaron with a half; again from the Sun to Mars is the same space as from the Earth to the Moon, making a tone; from thence to Jupiter half of the same making half a tone; so much likewise from Jupiter to Saturn, constituting an half tone; from whence to the starry firmaments is also the space of an half tone.» — recoge la otra vía de la armonía celeste, la de las distancias: mide en ciento veintiséis mil millas italianas el trecho de la Tierra a la Luna y le da un tono, y de ahí saca medios tonos y quintas hasta el firmamento estrellado.
«Therefore there is from the Sun to the fixed stars a diatessaron distance of two tones and an half, but from the Earth a perfect diapason of six perfect tones; moreover also from the proportion of the motions of the planets amongst themselves, and with the eighth sphere, resulteth the sweetest harmony of all; for the proportion of the motions of Saturn to Jupiter’s motion, is twofold and an half; of Jupiter to Mars, a sixfold proportion; of Mars to the Sun, Venus and Mercury, which in a manner finisheth their course in the same time, is a double proportion; their motions to the Moon have a twelvefold proportion; but Saturn’s proportion to the starry sphere is a thousand and two hundred, if it be true which Ptolomy saith, viz. that the heaven is moved contrary to the primum mobile in an hundred years, one degree.» — cierra esa cuenta con la octava perfecta de seis tonos desde la Tierra a las estrellas fijas y pasa a las proporciones de los movimientos, que hace depender de un dato de Ptolomeo introducido con reserva: si es cierto que el cielo se mueve un grado en cien años contra el primer móvil.
«Therefore the proper motion!’ of the Moon being more swift, maketh a more acute sound than the starry firmament, which is the slowest of all, and therefore causeth the most base sound; but by the violent motion!® of the primum mobile, is the most swift, and acute sound of all; but the violent motion of the Moon is most slow and heavy, which proportion and reciprocation of motions yields a most pleasant harmony; from hence there are not any songs, sounds, or musical instruments more powerful in moving man’s affections, or introducing magical impressions, than those which are composed of numbers, measures, and proportions, after the example of the heavens.» — de esa reciprocación de movimientos propios y violentos deriva la conclusión práctica del capítulo: ninguna música mueve más los afectos ni introduce impresiones mágicas que la compuesta de números, medidas y proporciones a ejemplo de los cielos.
«Also the harmony of the elements is drawn forth from their bases, and angles,!? of the which we have spoken before; for betwixt Fire and Air, there is a double proportion in the bases, and one and an half in solid angles, again in planes, a double; there ariseth hence an harmony of a double diapason, and a diapente. Betwixt the Air and Water, the proportion in their bases is double, and one and an half;”° hence diapason, and diapente; but in their angles double; hence again diapason. But betwixt Water and Earth the proportion in the bases is threefold and a third part more; from hence ariseth diapason-diapente, diatessaron; but in the angles one and an half, again constituting diapente. To conclude, betwixt Earth and Fire, in the bases the proportion is one and an half, making diapente; but in the angles, double, causing diapason: but betwixt Fire and Water, Air and Earth, there is scarce any consonancy, because they have a perfect contrarity in their qualities, but they are united by the intermediate element.» — extiende la armonía a los elementos por las bases y ángulos de sus sólidos, y acota el límite: entre fuego y agua y entre aire y tierra apenas hay consonancia por la contrariedad perfecta de sus cualidades, y solo los une el elemento intermedio.
«eeing man is the most beautiful and perfectest work of God, and his image, and also the lesser world; therefore he by a more perfect composition, and sweet harmony, and more sublime dignity doth contain and maintain in himself all numbers, measures, weights, motions, elements, and all other things which are of his composition; and in him as it were in the supreme workmanship, all things obtain a certain high condition, beyond the ordinary consonancy which they have in other compounds.» — abre el capítulo del cuerpo humano con la premisa que lo ordena: por ser la obra más perfecta de Dios, su imagen y el mundo menor, el hombre contiene en sí todos los números, medidas, pesos, movimientos y elementos con una consonancia más alta que la de cualquier otro compuesto; la capitular se perdió y la palabra es *Seeing*.
«From hence all the ancients in time past did number by their fingers,! and showed all numbers by them; and they seem to prove that from the very joints of man’s body all numbers, measures, proportions, and harmonies were invented; hence according to this measure of the body, they framed, and contrived their temples, palaces, houses, theaters; also their ships, engines, and every kind of artifice, and every part and member of their edifices, and buildings, as columns, chapiters* of pillars, bases, buttresses, feet of pillars, and all of this kind.» — de esa premisa deriva la historia del cómputo: los antiguos contaban por los dedos, y de las junturas del cuerpo dice que parecen probar que salieron todos los números, medidas y armonías, y con esa medida se trazaron templos, palacios, naves y las partes de los edificios.
«build the ark according to the measure of man’s body, and he made the whole fabric of the world proportionable to man’s body;» — atribuye a Dios mismo la enseñanza de la medida a Noé y hace toda la fábrica del mundo proporcionada al cuerpo del hombre; la cita arranca después del folio impreso que parte el renglón, donde queda el nombre de Noé.
«from hence it is called the great world, man’s body the less; therefore some who have written of the microcosm, or of man, measure the body by six feet, a foot by ten degrees, every degree by five minutes; from hence are numbered sixty degrees, which make three hundred minutes, to the which are compared so many geometrical cubits, by which Moses describes‘ the ark; for as the body of man is in length three hundred minutes, in breadth fifty, in height thirty; so the length of the ark was three hundred cubits, the breadth fifty, and the height thirty; that the proportion of the length to the breadth be sixfold, to the height tenfold, and the proportion of the breadth to the height about two thirds.» — de ahí saca la pareja de mundo mayor y mundo menor, y hace la cuenta: seis pies de cuerpo divididos en sesenta grados y trescientos minutos, que se corresponden con los trescientos codos de largo, cincuenta de ancho y treinta de alto que Moisés da al arca.
«In like manner the measures of all the members are proportionate, and consonant both to the parts of the world, and measures of the Archetype, and so agreeing, that there is no member in man which hath not correspondence with some sign, star, intelligence, divine name, sometimes in God himself the Archetype.» — extiende la proporción a cada miembro y enuncia la tesis fuerte del capítulo: no hay miembro en el hombre que no tenga correspondencia con algún signo, estrella, inteligencia o nombre divino, y a veces en Dios mismo como Arquetipo.
«But the whole measure of the body may be turned, and proceeding from roundness, is known to tend to it again» — enuncia el principio de las figuras que siguen: la medida entera del cuerpo puede girarse y, saliendo de la redondez, vuelve a ella.
«Also the four square measure is the most proportionated body; for, if a man be placed upright with his feet together,and his arms stretched forth, he will make a quadrature equilateral, whose center is in the bottom of his belly» — la primera figura del cuerpo: en pie con los pies juntos y los brazos tendidos, el hombre da un cuadrado equilátero cuyo centro cae en la parte baja del vientre.
«But if on the same center a circle be made by the crown of the head, the arms being let fall so far, till the end of the fingers touch the, circumference of that circle, and the feet spread abroad in the same circumference, as much as the fingers’ ends are distant from the top of the head; then they divide that circle, which was drawn from the center of the lower belly, into five equal parts, and do constitute a perfect pentagon; and the heels of the feet having reference to the navel, make a triangle of equal sides» — la segunda: sobre ese mismo centro, con un círculo trazado por la coronilla y los pies abiertos en la circunferencia, el cuerpo divide el círculo en cinco partes iguales y da un pentágono perfecto, y los talones respecto del ombligo un triángulo equilátero.
«But if the heels being unmoved, the feet be stretched forth on both sides to the right and left, and the hands lifted up to the line of the head, then the ends of the fingers and toes do make a square of equal sides, whose center is on the navel, in the girdling of the body» — la tercera: quietos los talones y tendidos los pies a derecha e izquierda, con las manos alzadas a la línea de la cabeza, las puntas de dedos y pies dan un cuadrado de lados iguales centrado en el ombligo.
«But if the hands be thus elevated, and the feet and thighs extended in this manner, by the which a man is made shorter by the fourteenth part of his upright stature, then the distance of his feet having reference to the lower belly, they will make an equilateral triangle; and the center being placed in his navel, a circle being brought about, will touch the ends of the fingers and toes» — la cuarta: alzadas las manos y extendidos pies y muslos, con lo que el hombre pierde la catorceava parte de su estatura, la distancia de los pies respecto del bajo vientre da un triángulo equilátero, y un círculo centrado en el ombligo toca las puntas de dedos y pies.
«But if the hands be lifted up as high as can be, above the head, then the elbow will be equal to the crown of the head, and if then the feet being put together, a man stand thus, he may be put into an equilateral square brought by the extremities of the hands and feet: the center of this square is the navel, which is the middle betwixt the top of the head and the knees;» — la quinta y última: alzadas las manos cuanto se pueda sobre la cabeza y juntos los pies, el hombre cabe en un cuadrado equilátero cuyo centro es el ombligo, medio entre la coronilla y las rodillas.
«Now let us proceed to particular measures. The compass of a man under the armpits contains the middle of his length,'! whose middle is the bottom of his breast: and from thence upward to the middle of his breast betwixt both dugs,!? and from the middle of his breast unto the crown of his head, on every side the fourth part; also from the bottom of his breast to the bottom of the knees, and from thence to the bottom of the ankles the fourth part of man.» — pasa de las figuras a las medidas particulares: el contorno bajo las axilas da la mitad de la longitud, y son cuartas partes del hombre los tramos de pecho a coronilla y de pecho a rodillas y de rodillas a tobillos.
«The same is the latitude!’ of his shoulder blades from one extreme to the other: the same is the length from the elbow to the end of the longest finger, and therefore this is called a cubit. Hence four cubits make the length of man, and one cubit the breadth which is in the shoulder blades, but that which is in the compass, one foot;!4 now six handbreadths make a cubit, four a foot, and four fingers’ breadths make a handbreadth, and the whole length of man is of twenty-four handbreadths, of six foot, of ninetysix fingers’ breadths.» — fija la unidad y sus múltiplos: el codo es la distancia del codo a la punta del dedo mayor y también la anchura de los omóplatos, cuatro codos hacen la longitud del hombre, y la cuenta baja a palmos y dedos hasta las noventa y seis anchuras de dedo; la herramienta une el guion de corte y devuelve ninetysix donde la fuente imprime ninety-six.
«From the bottom of his breast to the top of his breast,!5 is the sixth part of his length, from the top of his breast to the top of his forehead, and lowermost root of his hairs, the seventh part of his length; of a strong, and well set body, a foot is the sixth part of the length, but of a tall the seventh. Neither can (as Varro, and Gellius testify) the tallness of man’s body exceed seven feet.» — cierra con las fracciones sexta y séptima del cuerpo y con un límite que adjudica a Varrón y a Gelio: la estatura del hombre no puede pasar de siete pies.
«Nine face breadths make a square, well set man, and ten a tall man. The length of man therefore being divided into nine parts, the face from the top of the forehead to the bottom of the chin is one; then from the bottom of the throat, or the top of the breast unto the top of the stomach is another; from thence to the navel is a third; from thence to the bottom of the thigh,!° a fourth; from thence the hip to the top of the calf of the leg, makes two; from thence to the joint of the foot the legs make two more; all which are eight parts. Moreover the space from the top of the forehead to the crown of the head, and that which is from the chin to the top of the breast, and that which is from the joint of the foot to the sole of the foot, I say these three spaces joined together make the ninth part. In breadth the breast hath two parts, and both arms seven.» — da el primero de dos cánones: nueve anchuras de rostro hacen un hombre bien puesto, y reparte esa longitud en nueve partes, ocho de ellas corridas de la frente al pie y la novena hecha de tres tramos sueltos sumados.
«But that body which ten face breadths make is the most exactly proportioned. Therefore the first part of this is from the crown of the head to the bottom of the nose; from thence to the top of the breast, the second; and then to the top of the stomach the third; and from thence to the navel, the fourth; from thence to the privy members, the fifth, where is the middle of the length of man; from whence to the soles of his feet are five other parts, which being joined to the former, make ten whole, by which every body is measured by a most proportioned measure.» — y en seguida el segundo, que declara el más exactamente proporcionado: diez anchuras de rostro, con la mitad del hombre en las partes pudendas y cinco partes más hasta las plantas.
«For the face of a man from the bottom of his chin, to the top of his forehead, and bottom of the hair is the tenth part. The hand of a man from the shutting,”! to the end of the longest finger is also one part; also betwixt the middle” of both dugs is one part, and from both to the top of the gullet is an equilateral triangle. The latitude of the lower part of the forehead from one ear to the other is another part; the latitude of the whole breast, viz. from the top of the breast to the joints of the shoulder blades, is on both sides”? one part, which makes two.» — desglosa qué vale una de esas décimas partes: el rostro, la mano cerrada hasta el dedo mayor, la distancia entre los pechos —que con la garganta forma un triángulo equilátero— y la anchura de la frente de oreja a oreja.
«the head, where the hair ends, hath also two parts; from the shoulders on the outside unto the coupling together of the joints of the hand, and on the inside from the armpits unto the beginning of the palm of the hand, and of the fingers,”> are three parts. The compass of the head by the middle of the forehead hath three parts; the compass of the girdling place hath four parts in a well set man, but in a thin body three parts and a half, or as much as is from the top of the breast to the. bottom of the belly. The compass of the breast by the armpit to the back hath five parts, viz. as much as half the whole length.» — sigue la cuenta por contornos: dos partes el de la cabeza al sesgo, tres el de los hombros a las manos y el de la frente, cuatro el de la cintura en un hombre bien puesto y tres y media en uno delgado, y cinco el del pecho por la axila, que es la mitad de la longitud entera.
«From the crown of the head, to the knurls of the gullet”° is the thirteenth part of the whole altitude. The arms being stretched upward, the elbow is even to the crown of the head.» — cierra ese tramo con dos medidas sueltas: la treceava parte de la altura de la coronilla a la nuez, y los brazos tendidos hacia arriba con el codo a la altura de la coronilla.
«The distance betwixt the middle of the eyebrows to the outward corners of the eyes is as much as betwixt those corners and the ears. The height of the forehead, the length of the nose, and the wideness of the mouth are equal. Also the breadth of the hand, and foot are the same. The distance betwixt the lower part of the ankle to the top of the foot is the same as that betwixt the top of the foot and the end of the nails.>4 The distance from the top of the forehead to the place betwixt the eyes, and from that to the end of the nose, and from thence to the end of the chin is the same. The eyebrows joined together are as much as the circle of the eyes, and the half circle of the ears equals the wideness of the mouth: whence the circles of the eyes, ears, and mouth opened are equal. The breadth of the nose is as much as the length of the eye; hence the eyes have two parts of that space which is betwixt both extremities of the eyes; a third part the nose that is betwixt takes up.» — enumera las igualdades del rostro: alto de la frente, largo de la nariz y ancho de la boca iguales entre sí, la mano y el pie del mismo ancho, y los círculos de ojos, orejas y boca abierta también iguales.
«From the crown of the head to the knees the navel is the middle; from the top of the breast to the end of the nose the knurl of the throat makes the middle; from the crown of the head to the bottom of the chin, the eyes are the middle; from the space betwixt the eyes to the bottom of the chin, the end of the nose is the middle; from the end of the nose to the bottom of the chin, the end of the lower lip is the middle; a third part of the same distance is the upper lip.» — da la serie de los puntos medios: el ombligo entre coronilla y rodillas, la nuez entre pecho y nariz, los ojos entre coronilla y barbilla, la punta de la nariz y el labio inferior en los tramos menores.
«Moreover all these measures are through manifold proportions, and harmonical consents consonant one to the other; for the thumb is to the wrist in a circular measure in a double proportion and half; for it contains it twice and a half, as five is to two; but the proportion of the same35 to the brawn of the arm near the shoulder is triple; the greatness of the leg is to that of the arm, a proportion half as much again, as of three to two; and the same proportion is of the neck to the leg, as of that to the arm.*° The proportion of the thigh is triple to the arm; the proportion of the whole body to the trunk,’ is eight and a half; from the trunk or breast to the legs, and from thence to the soles of the feet,?® a third and a half; from the neck to the navel, and to the end of the trunk a double.*? The latitude of them*? to the latitude of the thigh, is half so much again; of the head to the neck triple, of the head to the knee triple, the same to the leg. The length of the forehead betwixt the temples*! is fourfold to the height thereof.» — convierte todas esas medidas en proporciones numéricas —pulgar y muñeca como cinco a dos, pierna y brazo como tres a dos, muslo triple del brazo, cuerpo entero ocho y medio del tronco— para poder hablar de consentimiento armónico entre los miembros.
«These are those measures which are everywhere found;* by which the members of man’s body according to length, breadth, height, and circumference thereof agree amongst themselves, and also with the celestials themselves: all which measures are divided by manifold proportions either upon them that divide, or are mixed, from whence there results a manifold harmony. For a double proportion makes thrice a diapason; four times double, twice a diapason and diapente.» — enuncia el alcance de todo el capítulo: esas medidas concuerdan entre sí y también con los propios celestes, y de sus proporciones resulta una armonía múltiple, con la proporción doble haciendo tres veces la octava.
«After the same manner are elements, qualities, complexions, and humours proportioned. For these weights of humours and complexions are assigned to a sound and well composed man, viz. the eight weights of blood, of phlegm four, of choler two, of melancholy one, that on both sides there be by order a double proportion;“ but of the first to the third, and of the second to the fourth, a four times double* proportion; but of the first to the last an eightfold.» — extiende la misma proporción a los humores del hombre sano y bien compuesto, con pesos de ocho de sangre, cuatro de flema, dos de cólera y uno de melancolía, de modo que corran en proporción doble.
«Dioscorides saith, that the heart of a man in the first year hath the weight of two drams,*” in the second year four, and so proportionably in the fiftieth year to have the weight of a hundred drams, from which time the decreases are again reckoned to an equilibrium, which, the course being ended, may return to the same limit, and not exceed the space of life by the decay of that member: by which account of a hundred years, he circumscribed the life of man. And this saith Pliny*® was the heresy of the Egyptians.» — adjudica a Dioscórides la cuenta del peso del corazón, que crecería dos dracmas por año hasta los cien a los cincuenta y decrecería después, con lo que la vida del hombre queda circunscrita a cien años, y adjudica a Plinio la noticia de que ésa era la herejía de los egipcios.
«The motions also of the members of men’s bodies answer to the celestial motions, and every man hath in himself the motion of his heart, which answers to the motion of the Sun,*? and being diffused through the arteries into the whole body, signifies to us by a most sure rule, years, months, days, hours, and minutes.» — empareja los movimientos de los miembros con los celestes y pone el latido del corazón como respuesta al movimiento del Sol, difundido por las arterias y capaz de señalar años, meses, días, horas y minutos.
«Moreover, there is a certain nerve found by the anatomists about the node of the neck, which being touched doth so move all the members of the body, that every one of them move according to its proper motion; by which like touch Aristotle thinks the members of the world are moved by God.» — cierra con el nervio que los anatomistas hallaron junto al nudo del cuello, cuyo toque mueve cada miembro según su movimiento propio, y adjudica a Aristóteles el traslado de esa imagen al modo en que Dios mueve los miembros del mundo.
«Therefore the eternal Maker of the world when he was to put the soul into the body, as into its habitation, first made a fit lodging worthy to receive it, and endows the most excellent soul with a most beautiful body, which then the soul knowing its own divinity, frames and adorns for its own habitation.» — cierra el capítulo del cuerpo con la razón teológica de toda su medida: el Hacedor eterno preparó primero un alojamiento digno del alma, y el alma, sabiendo su propia divinidad, labra y adorna ese cuerpo como habitación suya.
«Hence the people of Aethiopia, which were governed by the wisdom of Gymnosophists, as Aristotle witnesseth, did make them kings not those which were most strong, and wealthy, but those only which were most proper and beautiful; for they conceived that the gallantry of the mind did depend upon the excellency of the body.» — de ahí saca un ejemplo político que adjudica al testimonio de Aristóteles: los etíopes gobernados por los gimnosofistas hacían reyes no a los más fuertes ni a los más ricos, sino a los más bellos, porque tenían la gallardía del ánimo por dependiente de la excelencia del cuerpo.
«Which many philosophers, as well ancient as modern, considering, such as searched into the secrets of causes hid in the very majesty of nature, were bold to assert, that there was no fault of, and no disproportion in the body, which the vice and intemperance of the mind did not follow, because it is certain that they do increase, thrive, and operate by the help one of the other.» — y le añade la forma más dura de la misma tesis, que atribuye a filósofos antiguos y modernos y presenta como atrevimiento suyo: no hay defecto ni desproporción del cuerpo al que no siga vicio e intemperancia del ánimo, porque los dos crecen y obran ayudándose.
«s the consonancy of the body consists of a due measure and proportion of the members: so the consonancy of the mind of a due temperment, and proportion of its virtues and operations which are concupiscible, irascible, and reason, which’ are so proportioned together. For reason to concupiscence hath the proportion diapason;! but to anger diatessaron:? and irascible to concupiscible hath the proportion diapente.» — abre el capítulo del alma trasladándole la misma regla del cuerpo y la pone en intervalos: la razón guarda con la concupiscencia la octava, con la ira la cuarta, y la irascible con la concupiscible la quinta; la capitular se perdió y la palabra es *As*.
«When therefore the best proportioned soul is joined to the best proportioned body, it is manifest that such aman also hath received a most happy lot in the distribution of gifts, for as much as the soul agrees with the body in the disposition of naturals,* which agreement indeed is most hid, yet after some manner shadowed to us by the wise.» — acota el alcance de esa concordancia: cuando el alma mejor proporcionada se junta al cuerpo mejor proporcionado el hombre recibe la suerte más feliz, pero dice el acuerdo mismo ocultísimo y solo sombreado de algún modo por los sabios.
«But to hasten to the harmony of the soul, we must inquire into it by those mediums by which is passeth to us, i.e. by celestial bodies, and spheres; knowing therefore what are the powers of the soul to which the planets answer, we shall by those things which have been spoken of before, the more easily know their agreements amongst themselves. For the Moon governs the powers of increasing and decreasing; the phantasy and wits depends on Mercury, the concupiscible virtue on Venus; the vital on the Sun; the irascible on Mars; the natural on Jupiter;> the receptive on Saturn.» — fija el método —inquirir el alma por los medios por los que llega a nosotros, cuerpos y esferas celestes— y reparte las potencias entre los planetas: crecer y menguar a la Luna, fantasía e ingenio a Mercurio, concupiscible a Venus, vital al Sol, irascible a Marte, natural a Júpiter y receptiva a Saturno.
«But the will as the primum mobile, and the guide of all these powers at pleasure, being joined with the superior intellect, is always» — pone la voluntad como primer móvil y guía de todas esas potencias, unida al intelecto superior; la cita se corta antes del folio impreso que parte el renglón.
«tending to good; which intellect indeed doth always show a pathway to the will, as a candle to the eye; but it moves not itself, but is the mistress of her own operation, whence it is called free will; and although it always tends to good, as an object suitable to itself: yet sometimes being blinded with error, the animal power forcing it, it chooseth evil, believing it to be good. Therefore free will is defined to be a faculty of the intellect, and will whereby good is chosen by the help of grace; and evil, that not assisting.» — sigue del otro lado del folio con la definición del libre albedrío: el intelecto alumbra el camino a la voluntad como una vela al ojo pero no la mueve, y por eso ella es dueña de su operación, aunque cegada por el error elija el mal creyéndolo bien; la define como facultad del intelecto y la voluntad por la que se elige el bien con ayuda de la gracia y el mal cuando ésta no asiste.
«Grace therefore, which divines call charity, or infused love is in the will, as a first mover; which being absent, the whole consent’ falls into dissonancy.» — y remata poniendo la gracia —que dice llamada caridad o amor infuso por los teólogos— como primer motor dentro de la voluntad, en cuya ausencia toda la consonancia cae en disonancia.
«Moreover the soul answers to the earth by sense, to the water by imagination, to the air by reason, to the heaven by the intellect,® and the soul goes out into an harmony of them, according as these are tempered in a mortal body.» — empareja las potencias del alma con los elementos: el sentido con la tierra, la imaginación con el agua, la razón con el aire y el intelecto con el cielo, y hace salir el alma a una armonía de ellos según cómo estén templados en el cuerpo mortal.
«The wise ancients therefore knowing that the harmonious dispositions of bodies and souls are divers, according to the diversity of the complexions of men, did not in vain use musical sounds and singings, as to confirm the health of the body, and restore it being lost, so to bring the mind to wholesome manners, until they make a man suitable to the celestial harmony, and make him wholly celestial.» — de esa diversidad de complexiones deriva el uso antiguo de sonidos y cantos, no solo para confirmar y restituir la salud del cuerpo sino para llevar la mente a costumbres sanas hasta hacer al hombre acorde con la armonía celeste y del todo celeste.
«Moreover, there is nothing more efficacious to drive away evil spirits than musical harmony (for they being fallen from that celestial harmony, cannot endure any true consent, as being an» — da la razón de por qué nada ahuyenta mejor a los malos espíritus que la armonía musical: caídos de aquella armonía celeste, no soportan consonancia verdadera alguna y huyen de ella; la cita se corta en el marcador de plana, y del otro lado el escaneo entrevera dos columnas.
«very natural virtue doth work things far more wonderful when it is not only compounded of a natural proportion, but also is informed by a choice observation of the celestials opportune to this (viz. when the celestial power is most strong to that effect which we desire, and also helped by many celestials) by subjecting inferiors to the celestials, as proper females to be made fruitful by their males.» — abre el capítulo de la observación celeste con la condición que rige toda la magia del libro segundo: la virtud natural obra mucho más si además de la proporción natural va informada por una observación escogida de los celestes, sujetando los inferiores a los superiores; la capitular se perdió y la palabra es *Every*.
«Also in every work there are to be observed the situation, motion, and aspect of the stars and planets, in signs and degrees, and how all these stand in reference to the length and latitude of the climate; for by this are varied the qualities of the angles, which the rays of celestial bodies upon the figure of the thing describe, according to which celestial virtues are infused.» — enumera qué hay que mirar en toda obra —situación, movimiento y aspecto de estrellas y planetas en signos y grados— y le añade la longitud y latitud del clima, porque de ahí varían los ángulos que los rayos celestes describen sobre la figura de la cosa.
«So when thou art working anything which belongs to any planet, thou must place it in its dignities, fortunate and powerful, and ruling in the day, hour, and in the figure of the heaven.» — da la regla práctica en segunda persona: al obrar algo de un planeta hay que ponerlo en sus dignidades, fortunado y poderoso, y rigiendo el día, la hora y la figura del cielo.
«Neither shalt thou expect the signification of the work to be powerful, but also thou must observe the Moon opportunely directed to this; for thou shalt do nothing without the assistance of the Moon: and if thou hast more patterns of thy work, observe them all being most powerful, and looking upon one the other with a friendly aspect:! and if thou canst not have such aspects, it will be convenient at least that thou take them angular.” But thou shalt take the Moon, either when she looks upon both, or is joined to one, and looks upon the other; or when she passeth from the conjunction, or aspect of one to the conjunction, or aspect of the other: for that I conceive must in no wise be omitted;» — pone la Luna como condición sin la cual no se hace nada, y detalla las posiciones que la vuelven útil: mirando a los dos patrones de la obra, unida a uno y mirando al otro, o pasando de la conjunción de uno a la del otro.
«also thou shalt in every work observe Mercury; for he is a messenger betwixt the higher gods, and infernal gods; when he goeth to the good he increaseth their goodness; when to the bad, hath influence upon their wickedness.» — añade a Mercurio como observación obligada, por mensajero entre los dioses de arriba y los infernales, y le da un efecto sin signo propio: acrece la bondad de los buenos y el mal de los malos.
«We call it an unfortunate sign, or planet, when it is by the aspect of Saturn or Mars, especially opposite, or quadrant;? for these are aspects of enmity; but a conjunction, or a trine, or sextile aspect are of friendship; betwixt these there is a greater conjunction: but yet if thou dost already behold it through a trine, and the planet be received, it is accounted as already conjoined. Now all planets are afraid of the conjunction of the Sun, rejoicing in the trine, and sextile aspect thereof.» — define desafortunado por el aspecto de Saturno o Marte, sobre todo la oposición y la cuadratura, frente a la conjunción, el trígono y el sextil como aspectos de amistad, y remata con los planetas que temen la conjunción del Sol y se alegran de su trígono y sextil.
«ow we shall have the planets powerful when they are ruling in a house,! or in exaltation,’ or triplicity,> or term,’ or face> without combustion® of what is direct in the figure of the heavens, viz. when they are in angles,’ especially of the rising; or tenth, or in houses presently succeeding,® or in their delights.° But we must take heed that they be not in the bounds or under the dominion of Saturn or Mars, lest they be in dark degrees, in pits, or vacuities.» — abre el capítulo de la potencia planetaria con la lista de las dignidades —casa, exaltación, triplicidad, término, faz, sin combustión y en ángulos— y con su reverso: que no caigan bajo dominio de Saturno o Marte, ni en grados oscuros, hoyos o vacíos; la capitular se perdió y la palabra es *Now*.
«Thou shalt observe that the angles of the ascendent, and tenth, and seventh be fortunate,!! as also the lord of the ascendent!” and place of the Sun and Moon, and the place of part of the Fortune,!3 and the lord thereof,'* the lord of the foregoing conjunction and prevention:'> but that they of the malignant planet fall unfortunate,!° unless haply they be significators of thy work, or can be any way advantageous to thee; or if in thy revolution or birth, they had the predominancy; for then they are not at all to be depressed.» — pide que salgan fortunados los ángulos del ascendente, décima y séptima, el señor del ascendente, los lugares del Sol y la Luna y la parte de Fortuna, y desafortunados los del planeta maligno, con una salvedad: si esos malignos son significadores de la obra o predominaban en la natividad, no se deprimen.
«Now we shall have the Moon powerful if she be in her house,!’ or exaltation, or triplicity, or face, and in degree convenient for the desired work, and if it hath a mansion of these twenty and eight suitable to itself and the work; let her not be in the way burnt up,!® nor slow in course;!? let her not be in the eclipse, or burnt by the Sun, unless she be in unity with the Sun;”° let her not descend in the southern latitude, when she goeth out of burning,”! neither let her be opposite to the Sun,?2 nor deprived of light;?? let her not be hindered by Mars or Saturn.» — hace lo propio con la Luna: en su casa, exaltación, triplicidad o faz, en grado conveniente y en una de las veintiocho mansiones apta para la obra, y con una lista de estorbos que van de la vía combusta y el curso lento al eclipse y la oposición al Sol.
«I will not here discourse any longer of these, seeing these, and many more necessary things are sufficiently handled in the volumes of astrologers.» — cierra los dos capítulos declarando el límite de lo que aquí trata: no discurre más porque eso y mucho más está bastante tratado en los volúmenes de los astrólogos.
«here is the like consideration to be had in all things concerning the fixed stars. Know this, that all the fixed stars are of the signification and nature of the seven planets; but some are of the nature of one planet, and some of two: hence as often as any planet is joined with any of the fixed stars of its own nature, the signification of that star is made more powerful, and the nature of the planet augmented: but if it be a star of two natures, the nature of that which shall be the stronger with it shall overcome in signification; as for example, if it be of the nature of Mars and Venus; if Mars shall be the stronger with it, the nature of Mars shall overcome; but if Venus, the nature of Venus shall overcome.» — abre el capítulo de las estrellas fijas con la regla que las subordina a los planetas: todas las fijas tienen significación y naturaleza de los siete, unas de uno y otras de dos, y en las de doble naturaleza vence la del planeta que esté más fuerte con ellas; la capitular se perdió y la palabra es *There*.
«Now the natures of fixed stars are discovered by their colours,! as they agree with certain planets, and are ascribed to them. Now the colours of the planets are these: of Saturn, blue and leaden, and shining with this; of Jupiter, citrine near to a paleness, and clear with this; of Mars, red and fiery; of the Sun, yellow, and when it riseth red, afterward glittering; of Venus, white and shining, white with the morning and reddish in the evening; of Mercury, glittering; of the Moon, fair.» — da el criterio con que se averigua esa naturaleza —el color de la estrella comparado con el del planeta— y para eso lista los colores planetarios, con Venus blanca y brillante por la mañana y rojiza por la tarde.
«Know also that of the fixed stars by how much the greater and the brighter and apparent they are, so much the greater and stronger is the signification; such are these stars which are called by the astrologers of the first, and second magnitude.» — añade la magnitud como segundo criterio: cuanto mayor y más brillante la fija, tanto mayor su significación, y remite a las que los astrólogos llaman de primera y segunda magnitud.
«I will tell thee some of these which are more potent to this faculty, as are viz. the Navel of Andromeda? in two and twentieth degree of Aries, of the nature of Venus, and Mercury; some call it jovial, and saturnine.» — abre el catálogo de las fijas más potentes por el Ombligo de Andrómeda en el grado veintidós de Aries, y consigna en la misma línea que la atribución no es única: unos la dan venérea y mercurial, otros jovial y saturnina.
«The Head of Algol’ in the eighteenth degree of Taurus, of the nature of Saturn, and Jupiter. The Pleiades* are also in the two and twentieth degree, a lunary star by nature, and by complexion martial.» — sigue con la Cabeza de Algol en el grado dieciocho de Tauro, de naturaleza de Saturno y Júpiter, y con las Pléyades, lunares por naturaleza y marciales por complexión.
«Also in the third degree of Gemini is Aldeboram,> of the nature of Mars, and complexion of Venus: but Hermes placeth this in the twenty-fifth degree of Aries. The Goat Star® is in the thirteenth degree of the said Gemini, of the nature of Jupiter, and Saturn.» — da Aldebarán en el grado tres de Géminis y registra en el acto la discrepancia sin arbitrarla: Hermes la coloca en el grado veinticinco de Aries.
«The Greater Dog Star’ is in the seventh degree of Cancer, and Venereal: the Lesser Dog Star® is in the seventeenth degree of the same, and is of the nature of Mercury, and complexion of Mars.» — sitúa el Can Mayor en el grado siete de Cáncer, venéreo, y el Can Menor en el diecisiete, de naturaleza de Mercurio y complexión de Marte.
«The King’s Star,° which is called the Heart of the Lion, is in the one and twentieth degree of Leo, and of the nature of Jupiter, and Mars. The Tail of the Greater Bear!° is in the nineteenth degree of Virgo, and is venereal, and lunary.» — sitúa la Estrella del Rey, llamada Corazón del León, en el grado veintiuno de Leo, joviana y marcial, y la Cola de la Osa Mayor en el diecinueve de Virgo, venérea y lunar.
«The star which is called the Right Wing of the Crow!! is in the seventh degree of Libra, and in the thirteenth degree of the same is the Left Wing!? of the same, and both of the nature of Saturn, and Mars. The star called Spica? is in the sixteenth degree of the same, and is» — sitúa las dos alas del Cuervo en los grados siete y trece de Libra, ambas saturninas y marciales, y empieza la de Spica; la cita se corta en el marcador de plana.
«venereal, and mercurial. In the seventeenth degree of the same is Alchameth,'4 of the nature of Mars, and Jupiter; but of this when the Sun’s aspect is full towards it, of that when on the contrary. Elepheia!® is in the fourth degree of Scorpio, of the nature of Venus, and Mars. The Heart of the Scorpion!® is in the third degree of Sagittarius, of the nature of Mars, and Jupiter. The Falling Vulture!’ is in the seventh degree of Capricorn, temperate, mercurial, and venereal. The Tail of Capricorn!® is in the sixteenth degree of Aquarius, of the nature of Saturn, and Mercury.» — cierra el catálogo del otro lado de la plana con Alchameth, Elepheia, el Corazón del Escorpión, el Buitre Cayente y la Cola de Capricornio, cada uno con su grado y sus dos planetas; la cita se corta antes del encabezado corrido que entra a media frase.
«And it shall be a general rule for thee to expect the proper gifts of the stars whilst they rule, to be prevented of them, they being unfortunate, and opposite, as is above showed. For celestial bodies, in as much as they are affected fortunately, or unfortunately, so much do they affect us, our works, and those things which we use, fortunately, or unhappily. And although many effects proceed from the fixed stars, yet they are attributed to the planets, as because being more near to us, and more distinct and known, so because they execute whatsoever the superior stars communicate to them.» — cierra el capítulo con la regla general y con la razón de por qué el libro habla de planetas y no de fijas: aunque muchos efectos vengan de las estrellas fijas, se atribuyen a los planetas por estar más cerca y ser más distintos, y porque ejecutan lo que las superiores les comunican.
«he Sun, and Moon have obtained the administration or ruling of the heavens, and all bodies under the heavens. The Sun is the lord of all elementary virtues; and the Moon by virtue of the Sun is the mistress of generation, increase, or decrease. Hence Albumasar saith, that by the Sun and Moon life is infused into all things, which therefore Orpheus calls the enlivening eyes of the heaven.» — abre el capítulo de los dos luminares repartiendo el gobierno: el Sol como señor de todas las virtudes elementales y la Luna, por virtud del Sol, como señora de la generación, el aumento y la merma, con Albumasar y Orfeo por autoridades; la capitular se perdió y la palabra es *The*.
«The Sun giveth light to all things of itself, and gives it plentifully to all things not only in the heaven and air, but Earth and deep: whatsoever good we have, as Jamblichus saith, we have it from the Sun alone, or from it through other things. Heraclitus calls the Sun the fountain of celestial light; and many of the Platonists placed the Soul of the World chiefly in the Sun, as that which filling the whole globe of the Sun doth send forth its rays on all sides as it were a spirit through all things, distributing life, sense and motion to the very universe.» — reúne las autoridades solares una tras otra: Jámblico, para quien todo bien nos viene del Sol o por él, Heráclito, que lo llama fuente de la luz celeste, y los platónicos, que ponían en él el Alma del Mundo repartiendo vida, sentido y movimiento al universo.
«Hence the ancient naturalists called the Sun the very heart of heaven; and the Chaldeans put it as the middle of the planets. The Egyptians also placed it in the middle of the world, viz. betwixt the two fives of the world, i.e. above the Sun they place five planets, and under the Sun, the Moon and four elements. For it is amongst the other stars the image and statue of the great Prince of both worlds, viz. terrestrial, and celestial; the true light, and the most exact image of God himself;» — sigue con las posiciones cosmológicas que le adjudicaban caldeos y egipcios —el Sol en medio, con cinco planetas encima y la Luna y los cuatro elementos debajo— y con la lectura teológica de esa posición como imagen exactísima de Dios; la cita se corta antes del folio impreso que parte el renglón.
«So great is the consonancy of it to God, that Plato calls it the conspicuous son of God, and Tamblicus calls it the divine image of divine intelligence. And our Dionysius calls it the perspicuous statue of God.» — acumula tres nombres para la misma consonancia y los adjudica uno por uno: hijo conspicuo de Dios en Platón, imagen divina de la inteligencia divina en Jámblico y estatua perspicua de Dios en Dionisio.
«It sits as king in the middle of other planets, excelling all in light, greatness, fairness, enlightening all, distributing virtue to them to dispose inferior bodies, and regulating and disposing of their motions, so that from thence their motions are called daily, or nightly, southern, or northern, oriential, or occidental, direct, or retrograde;» — pone al Sol como rey en medio de los planetas, del que reciben virtud para disponer los cuerpos inferiores y por el cual se nombran sus movimientos diurnos y nocturnos, directos o retrógrados.
«The Sun therefore as it possesseth the middle region of the world, and as the heart is in animals to the whole body, so the Sun is over the heaven, and the world, ruling over the whole universe, and those things which are in it, the very author of seasons, from whence day and year, cold and heat, and all other qualities of seasons;» — cierra la analogía que ordena el capítulo: como el corazón en los animales, así el Sol en el cielo y el mundo, autor de las estaciones y de todas sus cualidades.
«unto the place of any star, it stirs up the power thereof which it hath in the air. So as with Mars, heat; with Saturn, cold; and it disposeth even the very spirit and mind of man; from hence it is said by Homer, and approved by Aristotle, that there are in the mind such like motions, as the Sun the prince and moderator of the planets every day bringeth to us.» — adjudica a Ptolomeo la doctrina de que el Sol al llegar al lugar de una estrella despierta la potencia que ésta tiene en el aire, y a Homero aprobado por Aristóteles el traslado de esos movimientos a la mente del hombre.
«But the Moon, the nighest to the Earth, the receptacle of all the heavenly influences, by the swiftness of her course is joined to the Sun, and the other planets and stars, every month, and being made as it were the wife of all the stars, is the most fruitful of the stars, and receiving the beams and influences of all the other planets and stars as a conception, bringing them forth to the inferior world as being next to itself; for all the stars have influence on it, being the last receiver,’ which afterwards communicateth the influences of all the superiors to these inferiors, and pours them forth on the Earth; and it more manifestly disposeth these inferiors than the others, and its motion is more sensible by the ° familiarity and propinquity which it hath with us; and as a medium betwixt both superiors and inferiors, communicateth them to them all.» — define a la Luna como receptáculo de todas las influencias celestes y la llama esposa de todas las estrellas: recibe los rayos de las demás como una concepción y los pare al mundo inferior, siendo el último receptor y el medio entre superiores e inferiores.
«Therefore her motion is to be observed before the others, as the parent of all conceptions, which it diversely issueth forth in these inferiors, according to the divers complexion, motion, situation, and different aspects to the planets and other stars; and though it receiveth powers from all the stars, yet especially from the Sun; as oft as it is in conjunction with the same, it is replenished with vivifying virtue, and according to the aspect thereof it, borroweth its complexion; for in the first quarter, as the Peripatetics deliver, it is hot and moist; in the second, hot and dry; in the third, cold and dry; in the fourth, cold and moist.» — de ahí saca la prioridad práctica de observar su movimiento antes que ningún otro, y adjudica a los peripatéticos el reparto de complexiones por cuartos: caliente y húmeda, caliente y seca, fría y seca, fría y húmeda.
«And although it is the lowest of the stars, yet it bringeth forth all the conceptions of the superiors; for from it in the heavenly bodies beginneth that series of things which Plato calleth the Golden Chain,’ by the which every thing and cause being linked one to another, do depend on the superior, even until it may be brought to the Supreme Cause of all, from which all things depend; from hence it is, that without the Moon intermediating, we cannot at any time attract the power of the superiors.» — hace empezar en la Luna, la más baja de las estrellas, la serie que adjudica a Platón con el nombre de Cadena de Oro, y de ahí saca la consecuencia operativa: sin la Luna mediando no se puede atraer en ningún momento la potencia de los superiores.
«Therefore Thebit adviseth us, for the taking of the virtue of any star, to take the stone and herb of that planet, when the Moon doth either fortunately get under, or hath a good aspect on, that star.» — cierra el capítulo con el consejo que adjudica a Thebit: para tomar la virtud de una estrella, recoger su piedra y su hierba cuando la Luna quede fortunadamente bajo ella o la mire con buen aspecto.
«nd seeing the Moon measureth the whole Zodiac in the space of twenty-eight days; hence it is, that the wisemen of the Indians! and ancient astrologians have granted twenty-eight mansions to the Moon,” which being fixed in the eighth sphere, do enjoy (as Alpharus saith) divers names and properties from the divers > signs and stars which are contained in them, through which while the Moon wandereth, it obtaineth other and other powers and virtues; but every one of these mansions according to the opinion of Abraham, containeth twelve degrees, and one and fifty minutes, and almost twenty-six seconds, whose names and also their beginnings in the Zodiac» — abre el capítulo de las mansiones lunares derivándolas del recorrido del zodiaco en veintiocho días, las adjudica a los sabios de la India y a los astrólogos antiguos, cita a Alpharus para sus nombres y propiedades y a Abraham para su medida de doce grados, cincuenta y un minutos y casi veintiséis segundos; la capitular se perdió y la palabra es *And*.
«The first is called Alnath, that is the Horns of Aries; his beginning is from the head of Aries of the eighth sphere; it causeth discords, and journeys. The second is called Allothaim or Albochan, that is the Belly of Aries, and his beginning is from the twelfth degree of the same sign, fifty-one minutes, twenty-two seconds complete; it conduceth to the finding of treasures, and to the retaining of captives. The third is called Achaomazon or Athoray, that is, Showering or Pleiades; his beginning is from the twenty-five degrees of Aries complete forty-two minutes, and fifty-one seconds; it is profitable to sailors, huntsmen, and alchemists.» — abre el catálogo por las tres primeras mansiones de Aries —Alnath, Allothaim y Achaomazon— con su grado de comienzo y su efecto: discordias y viajes, hallazgo de tesoros y retención de cautivos, y provecho para navegantes, cazadores y alquimistas; la cita se corta antes del folio impreso que parte el renglón.
«The fourth mansion is called Aldebaram or Aldelamen, that is the Eye or Head of Taurus; his beginning is from the eighth degree of Taurus, thirty-four minutes, and seventeen seconds of the same Taurus being excluded; it causeth the destruction and hinderances of buildings, fountains, wells, of gold mines, the flight of creeping things, and begetteth discord. The fifth is called Alchatay or Albachay; the beginning of it is after the twenty-one degree of Taurus twenty-five minutes, forty seconds; it helpeth to the return from a journey, to the instruction of scholars, it confirmeth edifices, it giveth health and good will. The sixth is called Alhanna or Alchaya, that is the Little Star of Great Light; his beginning is after the fourth degree of Gemini, seventeen minutes, and nine seconds; it conduceth to hunting, and besieging of towns, and revenge of princes, it destroyeth harvests and fruits and hindereth the operation of the physician. The seventh is called Aldimiach or Alarzach, that is the Arm of Gemini, and beginneth from the seventeenth degree of Gemini, eight minutes and thirty-four seconds, and lasteth even to the end of the sign; it conferreth gain and friendship, it’s profitable to lovers, it feareth flies, destroyeth magisteries.» — sigue con las cuatro que cierran el primer cuarto, de Aldebarán a Aldimiach, cada una con su grado y sus efectos contrarios: destrucción de edificios y minas en una, confirmación de edificios y salud en otra.
«And so is one quarter of the heaven compleated in these seven mansions; and in the like order and number of degrees, minutes and seconds, the remaining mansions in every quarter have their several beginnings; namely so, that in» — declara la regla de reparto que rige el resto del catálogo: cada cuarto del cielo lleva siete mansiones con el mismo orden de grados, minutos y segundos, tres en el primer signo del cuarto y dos en cada uno de los otros.
«Therefore the seven following mansions begin from Cancer, whose names are Alnaza or Anatrachya, that is Misty or Cloudy, viz. the eighth Mansion; it causeth love, friendship, and society of fellow travelers, it driveth away mice and afflicteth captives, confirming their imprisonment. After this is the ninth called Archaam or Arcaph, that is the Eye of the Lion; it hindereth harvests and travelers, and putteth discord between men. The tenth is called Algelioche or Albgebh, that is the Neck or Forehead of Leo; it strengtheneth buildings, yieldeth love, benevolence and help against enemies. The eleventh is called Azobra or Arduf, that is the Hair of the Lion’s Head; it is good for voyages, and gain by merchandise, and for redemption of captives. The twelfth is called Alzarpha or Azarpha, that is the Tail of Leo; it giveth prosperity to harvests, and plantations, but hindereth seamen, but it is good for the bettering of servants, captives and companions. The thirteenth is named Alhaire, that is ' Dog Stars, or the Wings of Virgo; it is prevalent for benevolence, gain, voyages, harvests, and freedom of captives. The fourteenth is called Achureth or Arimet, by others Azimeth or Alhumech or Alcheymech, that is the Spike of Virgo, or Flying Spike; it causeth the love of married folk, it cureth the sick, it’s profitable to sailors, but it hindereth journeys by land; and in these the second quarter of heaven is completed.» — recorre el segundo cuarto, de Alnaza en Cáncer a Achureth en Virgo, con efectos que van del amor y la sociedad de los compañeros de viaje a la curación de los enfermos y el estorbo de los viajes por tierra.
«The other seven follow, the first of which beginneth in the head of Libra, viz. the fifteenth Mansion, and his name is Agrapha or Algarpha, that is, Covered, or Covered Flying; it’s profitable for the extracting of treasures, for digging of pits, it helpeth forward divorce, discord, and the destruction of houses and enemies, and hindereth travelers.» — abre el tercer cuarto por Agrapha, en la cabeza de Libra, provechosa para sacar tesoros y cavar pozos y a la vez para el divorcio y la destrucción de casas y enemigos.
«The seventeenth is called Alchil, that is, the Crown of Scorpio; it bettereth a bad fortune, maketh love durable, strengtheneth buildings, and helpeth seamen. The eighteenth is called Alchas or Altob, that is the Heart of Scorpio; it causeth discord, sedition, conspiracy against princes and mighty ones, and revenge from enemies, but it freeth Captives and helpeth edifices. The nineteenth is called Allatha or Achala, by others Hycula or Axala, that is the Tail of Scorpio; it helpeth in the besieging of cities and taking of towns, and in the driving of men from their places, and for the destruction of seamen, and perdition of captives. The twentieth is called Abnahaya, that is a Beam; it helpeth for the taming of wild beasts, for the strengthening of prisons, it destroyeth the wealth of societies, it compelleth a man to come to a certain place. The one and twentieth is called Abeda or Albeldach, which is a Defeat; it is good for harvests, gain, buildings and travelers, and causeth divorce; and in this is the third quarter of heaven completed.» — cierra el tercer cuarto de Alchil a Abeda, con mansiones que mejoran la mala fortuna y hacen durable el amor junto a otras que causan sedición y conspiración contra príncipes.
«There remaineth the seven last Mansions completing the last quarter of heaven; the first of which being in order to the two and twentieth, beginning from the head of Capricorn, called Sadahacha or Zodeboluch or Zandeldena, that is a Pastor; it promoteth the flight of servants and captives, that they may escape, and helpeth in the curing of diseases. The three and twentieth is called Zabadola or Zobrach, that is Swallowing; it maketh for divorce, liberty of captives and the health of the sick.» — abre el último cuarto desde la cabeza de Capricornio con Sadahacha, que favorece la fuga de siervos y cautivos y la curación de enfermedades, y con Zabadola.
«The twenty-sixth is called Alpharg or Phragol Mocaden, that is the First Drawing; it maketh for the union and love of men, for the health of captives, it destroyeth prisons and buildings. The twenty-seventh is called Alcharya or Alhalgalmoad, that is the Second Drawing; it increaseth harvests, revenues, gain, it healeth infirmities, but hindereth buildings, prolongeth prisons, causeth danger to seamen, and helpeth to infer mischiefs on whom you shall please. The twenty-eighth and last is called Albotham or Alchalcy, that is Pisces; it increaseth harvests and merchandise, it secureth travelers through dangerous places, it maketh for the joy of married couples, but it:strengtheneth prisons, and causeth loss of treasures.» — cierra el catálogo con las tres últimas mansiones, de Alpharg a Albotham, que juntan unión y amor de los hombres, aumento de cosechas y seguridad de los viajeros con el estorbo de los edificios y la pérdida de los tesoros.
«And in these twenty-eight mansions do lie hid many secrets of the wisdom Of the ancients, by the which they wrought wonders on all things which are under the circle of the Moon; and they attributed to every mansion his resemblances, images, and seals, and his president intelligences, and they did work by the virtue of them after diverse manners.» — remata el capítulo diciendo escondidos en esas mansiones muchos secretos de la sabiduría de los antiguos, y consigna que a cada una le atribuían semejanzas, imágenes, sellos e inteligencias presidentes.
«hosoever will work according to the celestial opportunity, ought to observe both or one of them, namely the motion of the stars, or their times; I say their motions, when they are in their dignities or dejections, either essential. or accidental;! but I call their times, days and hours distributed to their dominions. Concerning all these, it is abundantly taught in the books of astrologers; but in this place two things especially are to be considered and observed by us.» — abre el capítulo del movimiento verdadero y las horas planetarias fijando qué hay que observar —los movimientos de las estrellas o sus tiempos— y remite lo demás a los libros de los astrólogos, quedándose con dos puntos; la capitular se perdió y la palabra es *Whosoever*.
«The other thing we ought to observe, is about the times of choosing the planetary hours; for almost all astrologers divide all that space of time from the Sun rising to setting into twelve equal parts, and call them the twelve hours of the day; then the time which followeth from the setting to the rising, in like manner being divided into twelve equal parts, they call the twelve hours of the night, and then distribute each of those hours to every one of the planets according to the order of their successions, giving always the first hour of the day to the lord of that day, then to every one by order, even to the end of twenty-four hours.» — describe el reparto corriente de las horas planetarias: doce partes iguales del alba al ocaso y doce del ocaso al alba, repartidas entre los planetas por su orden, con la primera hora del día para el señor de ese día.
«And in this distribution the magicians agree with them; but in the partition of the hours some do dissent, saying that the space of the rising and setting is not to be divided into equal parts, and that those hours are not therefore called unequal because the diurnal are unequal to the nocturnal, but because both the diurnal and nocturnal are even unequal amongst themselves.» — registra un desacuerdo dentro del propio arte y no lo zanja: los magos coinciden en el reparto pero algunos disienten en la partición, porque para ellos las horas no se llaman desiguales por serlo las diurnas respecto de las nocturnas, sino por serlo entre sí.
«Therefore the partition of unequal or planetary hours hath a different reason of their measure observed by magicians, which is of this sort; for as in artificial hours, which are always equal to themselves, the ascensions of fifteen degrees> in the equinoctial® constituteth an artificial hour: so also in planetary hours the ascensions of fifteen degrees in the ecliptic constituteth an unequal or planetary hour, whose measure we ought to inquire and find out by the tables of the oblique ascensions of every region.» — da la medida que sigue esa segunda vía: como quince grados de ascensión en el equinoccial hacen una hora artificial, quince grados en la eclíptica hacen una hora planetaria, y remite su cálculo a las tablas de ascensiones oblicuas de cada región.
«O great is the extent, power and efficacy of the celestial bodies, that not only natural things, but also artificial when they are rightly exposed to those above, do presently suffer by that most potent agent, and obtain a wonderful life, which oftentimes gives them an admirable celestial virtue; which thing Saint Thomas Aquinas that holy doctor, thus confirmeth in his book De Fato, when he saith, that even garments, buildings and other artificial works whatsoever, do receive a certain qualification from the stars.» — abre el capítulo de las cosas artificiales con la tesis y su aval teológico: no solo las naturales sino también las hechas por arte padecen del agente celeste, y adjudica a Tomás de Aquino en el De fato la afirmación de que hasta vestidos y edificios reciben cualificación de las estrellas; la capitular se perdió y la palabra es *So*.
«So the magicians affirm that not only by the mixture and application of natural things, but also in images, seals, rings, glasses,! and some other instruments, being opportunely framed under a certain constellation, some celestial illustration may be taken, and some wonderful thing may be received; for the beams of the celestial bodies being animated, living, sensual, and bringing along with them admirable gifts, and a most violent power, do, even in a moment, and at the first touch, imprint wonderful powers in the images, though their matter be less capable.» — adjudica a los magos la extensión de esa doctrina a imágenes, sellos, anillos y espejos hechos bajo cierta constelación, y da la razón: los rayos celestes, que dice animados, vivos y sensuales, imprimen sus potencias en un momento y al primer toque.
«Yet they bestow more powerful virtues on the images, if they be framed not of any, but of a certain matter, namely whose natural, and also special virtue is agreeable with the work, and the figure of the image is like to the celestial; for such an image, both in regard of the matter naturally congruous to the operation and celestial influence, and also for its figure being like to the heavenly one, is best prepared to receive the operations and powers of the celestial bodies and figures, and instantly receiveth the heavenly gift into itself; then it constantly worketh on another thing, and other things do yield obedience to it.» — acota la condición que hace más potente a la imagen: no cualquier materia, sino aquella cuya virtud propia concuerde con la obra, y una figura semejante a la celeste; solo así queda dispuesta a recibir la operación y a obrar después sobre otra cosa.
«Hence saith Ptolemy in Centiloquio,’ that inferior things do obey the celestial, and not only them, but also even their images; even as earthly scorpions obey not,only the celestial Scorpion, but also his image, if it shall be opportunely figured under his ascent and dominion.» — adjudica a Ptolomeo en el Centiloquio la regla que gobierna todo el capítulo, con su ejemplo: los escorpiones terrestres obedecen no solo al Escorpión celeste sino a su imagen, si se la figura oportunamente bajo su ascenso y dominio.
«ut the celestial images, according to whose likeness images of this kind are framed, are very many in the heavens: some visible and conspicuous, others only imaginable, conceived and set down by Egyptians, Indians and Chaldeans; and their parts are so ordered, that even the figures of some of them are distinguished from others: for this reason they place in the Zodiac circle twelve general! images, according to the number of the signs.» — abre el capítulo de las imágenes del zodiaco distinguiendo las visibles de las solo imaginables, que adjudica a egipcios, indios y caldeos, y pone doce imágenes generales en el círculo zodiacal por el número de los signos; la capitular se perdió y la palabra es *But*.
«Of these they constituting Aries, Leo and Sagittary for the fiery and oriental triplicity, do report that it’s” profitable against fevers, palsy, dropsy, gout, and all cold and phlegmatic infirmities, and that it makes him who carrieth it to be acceptable, eloquent, ingenious and honorable, because they are the houses of Mars, Sol and Jupiter.» — da la triplicidad ígnea y oriental —Aries, Leo y Sagitario— contra fiebres, perlesía, hidropesía, gota y toda dolencia fría y flemática, y hace depender esos efectos de que sean casas de Marte, el Sol y Júpiter.
«They made also the image of a lion against melancholy phantasies, the dropsy, plague, fevers, and to expel diseases, at the hour of the Sun, the first degree of the sign of Leo ascending, which is the face and decanate? of Jupiter; but against the stone, and diseases of the reins, and against the hurts of beasts, they made the same image when Sol in the heart of the Lion obtained the midst of heaven.» — detalla dos usos distintos de la misma imagen del león según el momento en que se la fabrique: contra fantasías melancólicas e hidropesía con el primer grado de Leo ascendiendo, y contra la piedra y las dolencias de los riñones con el Sol en el corazón del León a mitad del cielo.
«And again, because Gemini, Libra and Aquarius do constitute the aerial and occidental triplicity, and are the houses of Mercury, Venus and Saturn, they are said to put to flight diseases, to conduce to friendship and concord, to prevail against melancholy, and to cause health;» — da la triplicidad aérea y occidental —Géminis, Libra y Acuario, casas de Mercurio, Venus y Saturno— para ahuyentar enfermedades, conciliar amistad y concordia y valer contra la melancolía; la cita se corta antes del folio impreso que parte el renglón.
«they report that Aquarius especially freeth from the quartan.» — el remate de esa frase del otro lado del folio, y en la misma fórmula de atribución a terceros: dicen que Acuario libra en especial de la cuartana.
«Also, that Cancer, Scorpio and Pisces, because they constitute the watery and northern triplicity, do prevail against hot and dry fevers; also against the hectic,” and all choleric passions; but Scorpio, because amongst the members it respecteth the privy parts, doth provoke to lust: but these did frame it for this purpose, his third face ascending, which belongeth to Venus; and they made the same against serpents and scorpions, poisons, and evil spirits, his second face ascending, which is the face of the Sun,° and decanate of Jupiter; and they report that it maketh him who carrieth it, wise, of a good colour;’ and they report that the image of Cancer is most efficacious against serpents, and poisons, when Sol and Luna are in conjunction in it, and ascend in the first and third face; for this is the face of Venus, and the decanate of Luna; but the second face of Luna, the decanate of Jupiter: they report also that serpents are tormented when the Sun is in Cancer.» — da la triplicidad acuática y septentrional contra fiebres cálidas y secas, y detalla el caso de Escorpión, que por tocar las partes pudendas provoca a la lujuria con su tercera faz ascendiendo y en cambio protege de serpientes, venenos y malos espíritus con la segunda.
«Also, that Taurus, Virgo and Capricorn, because they constitute the earthly and southern triplicity, do cure hot infirmities, and prevail against the synocal fever;® it maketh those that carry it grateful, acceptable, eloquent, devout and religious, because they are the houses of Venus, Mercury and Saturn: Capricorn also is reported to keep men in safety, and also places in security, because it is the exaltation of Mars.» — cierra con la triplicidad terrestre y meridional —Tauro, Virgo y Capricornio— para curar dolencias cálidas y la fiebre sinocal, y hacer devoto y religioso a quien la lleve, con Capricornio guardando además a los hombres y a los lugares por ser exaltación de Marte.
«here are besides in the Zodiac thirty-six images,! according to the number of the faces, of the which (as Porphyry saith) Teucer the Babylonian long since wrote, who was a most ancient mathematician, after whom the Arabians also wrote of these things.» — abre el capítulo de las imágenes de las faces con treinta y seis figuras y una genealogía de fuentes que declara de segunda mano: según Porfirio, escribió de ellas hace mucho Teucro el Babilonio, y después los árabes; la capitular se perdió y la palabra es *There*.
«and this image causeth nobleness, height of a kingdom, and greatness of dominion: in the third face ariseth the figure of a white man, pale, with reddish hair, and clothed with a red garment, who carrying on the one hand a golden bracelet, and holding forth a wooden staff, is restless, and like one in wrath, because he cannot perform the good he would. This image bestoweth wit, meekness, joy and beauty.» — cierra las tres faces de Aries: la segunda da nobleza y grandeza de dominio, y la tercera la figura del hombre pálido con brazalete de oro que está inquieto y airado porque no puede hacer el bien que quisiera, y que otorga ingenio, mansedumbre, gozo y hermosura.
«In the first face of Taurus ascendeth a naked man, an archer, harvester or husbandman, and goeth forth to sow, plough, build, people and divide the Earth, according to the rules of geometry: in the second face ascendeth a naked man, holding in his hand a key; it giveth power, nobility, and dominion over people: in» — abre las faces de Tauro con el labrador desnudo que sale a sembrar, arar y repartir la tierra según las reglas de la geometría, y con el hombre de la llave que da poder y dominio; la cita se corta antes del folio impreso, que el escaneo devuelve como una ese seguida de dos cifras.
«the third face, ascendeth a man in whose hand is a serpent, and a dart, and is the image of necessity and profit, and also of misery and slavery.» — el remate del otro lado del folio: la tercera faz de Tauro es el hombre con una serpiente y un dardo, imagen a la vez de necesidad y provecho y de miseria y esclavitud.
«In the first face of Gemini ascendeth a man in whose hand is a rod, and he is, as it were, serving another; it granteth wisdom, and the knowledge of numbers and arts in which there is no profit: in the second face ascendeth a man in whose hand is a pipe, and another being bowed down, digging the earth; and they signify infamous and dishonest agility, as that of jesters and jugglers; it also signifies labours and painful searchings: in the third, ascendeth a man seeking for arms, and a fool holding in the right hand a bird, and in his left a pipe; and they are the significations of forgetfulness, wrath, boldness, jests, scurrilities, and unprofitable words.» — las tres faces de Géminis, en las que las artes aparecen desdobladas: la primera da sabiduría y conocimiento de números y artes de las que no hay provecho, la segunda la agilidad infame de bufones y malabaristas, y la tercera olvido, ira y palabras inútiles.
«In the first face of Cancer ascendeth the form of a young virgin, adorned with fine clothes, and having a crown on her head; it giveth acuteness of senses, subtilty of wit, and the love of men: in the second place ascendeth a man clothed in comely apparel, or a man and woman sitting at the table and playing; it bestoweth riches, mirth, gladness, and the love of women: in the third face ascendeth a man, a hunter with his lance and horn, bringing out dogs for to hunt; the signification of this is the contention of men, the pursuing of those who fly, the hunting and possessing of things by arms and brawlings.» — las tres faces de Cáncer: la doncella coronada que da agudeza de sentidos y amor de los hombres, la pareja jugando a la mesa que da riquezas y alegría, y el cazador con lanza y cuerno que da contienda y posesión de cosas por armas.
«In the first face of Leo ascendeth a man riding on a lion; it signifieth boldness, violence, cru-» — abre las faces de Leo con el hombre montado en un león, que significa osadía, violencia y crueldad; la cita se corta en el marcador de plana y a media palabra.
«In the first face of Virgo ascendeth the figure of a good maid, and a man casting seeds; it signifieth getting of wealth, ordering of diet, plowing, sowing, and peopling: in the second face ascendeth a black man clothed with a skin, and a man having a bush of hair, holding a bag; they signify gain, scraping together of wealth and covetousness: in the third face ascendeth a white woman and deaf, or an old man leaning on a staff; the signification of this is to show weakness, infirmity, loss of members, destruction of trees, and depopulation of lands.» — las tres faces de Virgo, que van del logro de riqueza y el orden del régimen alimenticio a la codicia, y rematan en la mujer sorda o el viejo apoyado en un bastón, imagen de flaqueza, pérdida de miembros y despoblación de tierras.
«In the first face of Libra ascendeth the form of an angry man, in whose hand is a pipe, and the form of a man reading in a book; the operation of this is in justifying and helping the miserable and weak against the powerful and wicked: in the second face ascend two men furious and wrathful, and a man in a comely garment, sitting in a chair; and the signification of these is to show indignation against the evil, and quietness and security of life with plenty of good things: in the third face ascendeth a violent man holding a bow, and before him a naked man, and also another man holding bread in one hand, and a cup of wine in the other; the signification of these is to show wicked lusts, singings, sports and gluttony.» — las tres faces de Libra, cuya primera obra es justificar y socorrer al mísero y al débil contra el poderoso y el malvado, y cuya tercera vuelca en lujurias, cantos, juegos y gula.
«In the first face of Scorpio ascendeth a woman of good face and habit, and two men striking her; the operations of these are for comeliness, beauty, and for strifes, treacheries, deceits, detractations, and perditions: in the second face ascendeth a man naked, and a woman naked, and a man sitting on the earth, and before him two dogs biting one another; and their operation is for impudence, deceit, and false dealing, and for to send mischief and strife amongst men: in the third face ascendeth a man bowed downward upon his knees, and a woman striking him with a staff; and it is the signification of drunkenness, fornication, wrath, violence, and strife.» — las tres faces de Escorpión, todas de violencia entre hombre y mujer: hermosura junto a contiendas y traiciones, impudicia y trato falso, y embriaguez, fornicación e ira.
«In the first face of Capricorn ascendeth the form of a woman, and a man carrying full bags; and the signification of these is for to go forth and to rejoice, to gain and to lose with weakness and baseness: in the second face ascendeth two women and a man looking towards a bird flying in the air; and the signification of these is for the requiring of those things which cannot be done, and for the searching after those things which cannot be known: in the third face ascendeth a woman chaste in body, and wise in her work, and a banker gathering his money together on the table; the signification of this is to govern in prudence, in covetousness of money, and in avarice.» — las tres faces de Capricornio, con la segunda dedicada a lo que no puede ser: pedir lo que no se puede hacer y buscar lo que no se puede saber.
«In the first face of Pisces ascendeth a man carrying burdens on his shoulder, and well clothed; it hath his signification in journeys,» — cierra el catálogo con las tres faces de Piscis, de los viajes y el cuidado de ganar bienes al reposo, la ociosidad y el deleite, y declara terminada la materia de las imágenes de las faces.
«Besides these, there are as yet three hundred and sixty images in the Zodiac, according to the number of the degrees, whose forms Petrus de Abano hath described.» — abre el otro repertorio, el de las trescientas sesenta imágenes del zodiaco por el número de los grados, y adjudica su descripción a Pietro de Abano.
«Without the Zodiac there are also general figures, which Hyginius and Aratus describe for us, and very many particular ones, according to the number of faces and degrees, existing therein, of all which to speak it would be too long; but of these the more principal are accounted, Pegasus,> which prevaileth against the diseases of horses, and preserveth horsemen in battle: then is Andromache,’ which begetteth love betwixt husband and wife, so that it is said» — pasa a las figuras de fuera del zodiaco, que adjudica a Higinio y a Arato, y declara el recorte: son demasiadas para hablar de todas, así que da las principales, empezando por Pegaso contra las dolencias de los caballos y Andrómaca para el amor entre marido y mujer; la cita se corta en el encabezado corrido.
«even to reconcile adulterers: Cassiopeia> restoreth weak bodies, and strengtheneth the members: Serpentarius® chaseth away poisons, and cureth the bitings of venomous beasts: Hercules’ giveth victory in war: the Dragon® with both the Bears? maketh a man crafty, ingenious, valiant, acceptable to the gods and men: Hydra'® conferreth wisdom and riches, and resisteth poisons: Centaurus!! bestoweth health and long old age: Ara! conserveth chastity, and maketh one acceptable to the gods: Cetus! maketh one amiable, prudent, happy both by sea and land, and helps him to recover his lost goods: the Ship'* affordeth security in the waters:» — el catálogo de las constelaciones de fuera del zodiaco con su virtud, de Casiopea que restaura los cuerpos débiles a la Nave que da seguridad en las aguas, con el Dragón y las dos Osas haciendo al hombre astuto, ingenioso y grato a dioses y hombres; la cita arranca después del encabezado corrido que parte la frase de Andrómaca.
«the Dog!® cureth the dropsy, resisteth the plague, and also preserveth from beasts, and fierce creatures: Orion!” granteth victory: the Eagle!® giveth new honours, and preserveth the old: the Swan! freeth from the palsy and the quartan: Perseus”? freeth from envy and witchcrafts, and preserveth from lightnings and tempests: the Hart?! preserveth phrenetical and mad people. And thus much may suffice to have been spoken.» — el remate del mismo catálogo, cortado antes porque la capa de texto devuelve un signo angular en la entrada de la Liebre: del Can que cura la hidropesía y resiste la peste a Perseo contra la envidia y los hechizos y al Ciervo que preserva a los frenéticos.
«although of these things very large volumes have been written by the ancient wise men, so that there is no need to declare them here, notwithstanding I will recite a few of them.» — abre el catálogo de las imágenes planetarias declarando su propio recorte: la materia ya está escrita en volúmenes muy grandes por los antiguos sabios, así que no la expone entera y solo recita unas pocas.
«For they made, from the operations of Saturn, Saturn ascending, in a stone which is called the loadstone, the image of a man having the countenance of an hart, and camel’s feet and sitting upon a chair or dragon,! holding in his right hand a scythe, in his left hand a dart;» — la primera imagen de Saturno, tallada en piedra imán con Saturno ascendente: hombre con rostro de ciervo y pies de camello, sentado sobre silla o dragón, con hoz en la diestra y dardo en la siniestra.
«which image they did hope would be profitable for prolongation of life; for Albumasar in his book Sadar, proveth that Saturn conduceth to the prolongation of life:» — el fin de esa imagen es alargar la vida, y la garantía que aduce no es propia sino de Albumasar en su libro Sadar, a quien nombra como quien sostiene que Saturno conduce a la prolongación de la vida.
«where also he telleth that certain regions of India being subject to Saturn, there men are of a very long life, and die not unless by extreme old age.» — el mismo Albumasar aporta la prueba geográfica: ciertas regiones de la India están sujetas a Saturno y allí los hombres viven larguísimo y no mueren sino de vejez extrema.
«They made also another image of Saturn for length of days in a sapphire, at the hour of Saturn, Saturn ascending or fortunately constituted, whose figure was an old man setting upon an high chair, having his hands lifted up above his head, and in them holding a fish or sickle, and under his feet a bunch of grapes,” his head covered with a black or dusky-coloured cloth, and all his garments black or dark coloured:» — la segunda imagen de Saturno para largura de días, en zafiro y en hora de Saturno: viejo en silla alta con las manos alzadas sosteniendo pez u hoz, racimo de uvas bajo los pies y todo el vestido negro u oscuro.
«They also made an image of melted copper, Saturn ascending in his rising, viz. in the first degree of Aries, or which is more true in the first degree of Capricorn, which image they affirm to speak with a man’s voice.» — la imagen de cobre fundido, y el texto pone la condición astrológica con su propia corrección adentro: el primer grado de Aries, o más verdaderamente el primero de Capricornio; de ella se afirma que habla con voz de hombre.
«for they said, that the splendour of the powers of these stars was diffused upon this image, and it did speak with men, and declare those things which are profitable for them.» — la explicación que atribuye a quienes hacían la imagen: el esplendor de las potencias de esos astros se difundía sobre ella, y por eso hablaba con los hombres y les declaraba lo provechoso.
«rom the operations of Jupiter they made for prolongation of life, an image, in the hour of Jupiter, Jupiter being in his exaltation fortunately ascending, in a clear and white stone, whose figure was a man crowned, clothed with garments of a saffron colour, riding upon an eagle or dragon, having in his right hand a dart, about as it were to strike it into the head of the same eagle or dragon.» — la primera imagen de Júpiter, también para alargar la vida, en piedra clara y blanca con Júpiter en su exaltación: hombre coronado de vestidos azafranados que cabalga águila o dragón y va a clavarle el dardo en la cabeza; el capítulo abre con la capitular perdida en la caja (F de *From*).
«They made also another image of Jupiter at the same convenient season, in a white and clear stone, especially in crystal, and it was a naked man crowned, having both his hands joined together and lifted up, as it were deprecating something, sitting in a four-footed chair, which is carried by four winged boys;? and they affirm that this image increaseth felicity, riches, honour, and confereth benevolence and prosperity, and freeth from enemies.» — la segunda imagen de Júpiter, en cristal: hombre desnudo y coronado con las manos juntas y alzadas como quien suplica, en silla de cuatro pies llevada por cuatro niños alados, y a ella se le adjudica aumentar felicidad, riqueza y honra y librar de enemigos.
«They made also another image of Jupiter for a religious and glorious life, and advancement of fortune; whose figure was a man having the head of a lion, or a ram,? and eagle’s feet, clothed in saffron-coloured clothes, and he was called the son of Jupiter.» — la tercera imagen de Júpiter, para vida religiosa y gloriosa y adelanto de fortuna: cabeza de león o de carnero, pies de águila, vestido de azafrán, y la llamaban el hijo de Júpiter.
«rom the operations of the Sun, they made an image at the hour of the Sun, the first face of Leo ascending with the Sun, the form of which was a king crowned, sitting in a chair, having a raven in his bosom, and under his feet a globe; he is clothed in saffron-coloured clothes; they report that this image rendereth men invincible, and honorable, and’ helps to bring their businesses to a good end, and to drive away vain dreams; also to be prevalent against fevers, and the plague; and they made it in a balanite stone,! or a rubin,” at the hour of the Sun, when it in his exaltation fortunately ascendeth.» — la primera imagen del Sol, con la primera face de Leo ascendiendo: rey coronado en silla con un cuervo en el seno y un globo bajo los pies, a la que se adjudica hacer invencibles y honorables a los hombres, ahuyentar sueños vanos y valer contra las fiebres y la peste; el capítulo abre con la capitular perdida en la caja (F de *From*).
«They made another image of the Sun in a diamond, at the hour of the Sun, it ascending in his exaltation; the figure of which was a women crowned with the gesture of one dancing and laughing, standing in a chariot drawn with four horses, having in her right hand a looking glass, or buckler, in the left a staff, leaning on her breast, carrying a flame of fire on her head; they report that this image rendereth a man fortunate and rich, and beloved of all; and they made this image on a corneol? stone at the hour of the Sun, ascending in the first face of Leo, against lunatic passions which proceed from the combustion» — la segunda imagen del Sol, en diamante: mujer coronada en gesto de bailar y reír, en carro de cuatro caballos, con espejo o broquel en la diestra y llama de fuego en la cabeza; hace al hombre afortunado, rico y amado de todos, y labrada en cornalina vale contra las pasiones lunáticas; la cita se corta antes del salto de plana, donde la frase remata en la combustión de la Luna.
«rom the operations of Venus they made an image, which was available for favour and benevolence, at the very hour it ascended into Pisces, the form of which was the image of a woman having the head of a bird, and feet of an eagle, holding a dart in her hand.» — la primera imagen de Venus, para favor y benevolencia, hecha en la hora misma en que Venus ascendía en Piscis: mujer con cabeza de ave, pies de águila y un dardo en la mano; el capítulo abre con la capitular perdida en la caja (F de *From*).
«They made another image of Venus for to get the love of women, in the lapis lazulus,! at the hour of Venus, Venus ascending in Taurus, the figure of which was a naked maid with her hair spread abroad, having a looking glass in her hand, and a chain tied about her neck, and _ nigh her a handsome young man, holding her with his left hand by the chain, but with his right hand making up her hair, and they both look lovingly on one another, and about them is a little winged boy? holding a sword or a dart.» — la segunda imagen de Venus, en lapislázuli y con Venus ascendiendo en Tauro, para ganar el amor de las mujeres: doncella desnuda con espejo y cadena al cuello, el joven que la sostiene por la cadena mientras le compone el cabello, y el niño alado con espada o dardo alrededor.
«They made another image of Venus, the first face of Taurus or Libra or Pisces ascending with Venus, the figure of which was a little maid with her hair spread abroad, clothed in long and white garments, holding a laurel,? apple, or flowers in her right hand, in her left a comb. It’s reported to make men pleasant, jocund, strong, cheerful, and to give beauty.» — la tercera imagen de Venus, con la primera face de Tauro, Libra o Piscis: doncella de vestidos largos y blancos con laurel, manzana o flores en la diestra y un peine en la siniestra, y se le adjudica hacer a los hombres agradables, joviales, fuertes y alegres, y dar hermosura.
«rom the operations of Mercury, they made an image at the hour of Mercury, Mercury ascending in Gemini, the form of which was an handsome young man, bearded, having in his left hand a rod in which a serpent is tied about,' in his right carrying a dart,” having his feet winged; they report that this image conferreth knowledge, eloquence,» — la primera imagen de Mercurio, con Mercurio ascendiendo en Géminis: joven hermoso y barbado, con la vara ceñida por la serpiente en la izquierda, dardo en la derecha y pies alados; la cita se corta porque la capa de texto mete un signo angular suelto en mitad del renglón.
«diligence in merchandising and gain; moreover to beget peace and concord, and to cure fevers.» — el remate de la misma frase, retomado después del signo angular suelto: a esa imagen se le adjudican también la diligencia en el comercio y la ganancia, engendrar paz y concordia, y curar fiebres.
«They made another image of Mercury, Mercury ascending in Virgo, for good will, wit and memory; the form of which was a man sitting upon a chair, or riding on a peacock, having eagle’s feet, and on his head a crest, and in his left hand holding a cock or fire.» — la segunda imagen de Mercurio, con Mercurio ascendiendo en Virgo, para buena voluntad, ingenio y memoria: hombre en silla o cabalgando un pavo real, con pies de águila, cresta en la cabeza y gallo o fuego en la izquierda.
«rom the operations of the Moon, they made an image for travelers against weariness, at the hour of the Moon, the Moon ascending in its exaltation; the figure of which was a man leaning on a staff, having a bird on his head, and a flourishing tree before him.» — la primera imagen de la Luna, para los caminantes contra el cansancio: hombre apoyado en un bastón, con un ave en la cabeza y un árbol florido delante; el capítulo abre con la capitular perdida en la caja (F de *From*).
«They made another image of the Moon for the increase of the fruits of the Earth, and against poisons, and infirmities of children, at the hour of the Moon, it ascending in the first face of Cancer, the figure of which was a woman cornuted,' riding on a bull, or a dragon with seven heads,” or a crab;> and she hath in her right hand a dart, in her left a looking glass, clothed in white or green, and having on her head two serpents with horns twined together, and to each arm a serpent twined about,* and to each foot one in like manner.» — la segunda imagen de la Luna, para el aumento de los frutos de la tierra y contra los venenos y las dolencias de los niños: mujer cornuda sobre toro, dragón de siete cabezas o cangrejo, con dardo y espejo, vestida de blanco o verde y ceñida de serpientes en cabeza, brazos y pies.
«And thus much spoken concerning the figures of the planets, may suffice.» — cierra el repertorio de las imágenes planetarias declarando que con eso basta.
«But they made the image of the Tail like as when the Moon was eclipsed, in the Tail, or ill affected by Saturn or Mars, and they made it to introduce anguish, infirmity and misfortune; and they called it the evil genius.» — de los dos nodos lunares, la imagen de la Cola se hacía con la Luna eclipsada en ella o mal afectada por Saturno o Marte, para introducir angustia, dolencia y desdicha, y a eso le llamaban el genio malo; es lo único contiguo que la capa de texto devuelve en una plana con las dos columnas entreveradas renglón a renglón.
«hey made also images for every mansion of the Moon. In the first for the destruction of someone, they made in an iron ring the image of a black man in a garment made of hair, and girdled round, casting a small lance with his right hand; they sealed this in black wax, and perfumed it with liquid storax,! and ‘ wished some evil to come.» — abre el catálogo de los sellos de las veintiocho mansiones lunares; el primero, para la destrucción de alguien, es un hombre negro de vestido de pelo sellado en cera negra y perfumado con estoraque líquido, deseando que venga algún mal; el capítulo abre con la capitular perdida en la caja (T de *They*).
«In the second, against the wrath of the prince, and for reconciliation with him, they sealed in white wax and mastic, the image of a king crowned, and perfumed it with lignum aloes.» — el sello de la segunda mansión, contra la ira del príncipe y para reconciliarse con él: rey coronado sellado en cera blanca y almáciga, perfumado con lignáloe.
«In the third, they made an image in a silver ring, whose table* was square, the figure of which was a woman well clothed, sitting in a chair, her right hand being lifted up on her head; they sealed it and perfumed it with musk, camphire and calamus aromaticus.* They affirmed that this giveth happy fortune and every good thing.» — el sello de la tercera mansión, en anillo de plata de tabla cuadrada: mujer bien vestida sentada en silla con la diestra alzada sobre la cabeza, perfumada con almizcle, alcanfor y cálamo aromático, y se le adjudica fortuna feliz y todo bien.
«In the fourth, for revenge, separation, enmity and ill will, they sealed in red wax the image of a soldier sitting on an horse, holding a serpent in his right hand; they perfumed it with red myrrh, and storax.» — el sello de la cuarta mansión, para venganza, separación, enemistad y malquerencia: soldado a caballo con una serpiente en la diestra, sellado en cera roja y perfumado con mirra roja y estoraque.
«In the fifth, for the favour of kings and officers, and good entertainment, they sealed in silver the head of a man, and perfumed it with sanders.» — el sello de la quinta mansión, para el favor de reyes y oficiales y el buen trato: cabeza de hombre sellada en plata y perfumada con sándalo.
«In the sixth, for to procure love betwixt two, they sealed in white wax two images embracing one another, and perfumed them with lignum aloes and amber.» — el sello de la sexta mansión, para procurar amor entre dos: dos figuras abrazadas en cera blanca, perfumadas con lignáloe y ámbar.
«thing, they sealed in silver the image of a man well clothed, holding up his hands to heaven as it were praying and supplicating, and perfumed it with good odours.» — el sello de la séptima mansión, para obtener todo bien: hombre bien vestido con las manos alzadas al cielo como orando y suplicando, en plata y con buenos olores; la cita arranca después del folio impreso a media línea, que parte la frase.
«In the eighth, for victory in war, they made a seal of tin, being an image of an eagle having the face of a man, and perfumed it with brimstone.» — el sello de la octava mansión, para la victoria en la guerra: águila con rostro de hombre en estaño, perfumada con azufre.
«In the ninth, to cause infirmities, they made a seal of lead, being the image of a man wanting his privy parts, shutting his eyes with his hands; and they perfumed it with rosin of the pine.» — el sello de la novena mansión, para causar dolencias: hombre sin partes pudendas que se tapa los ojos con las manos, en plomo y perfumado con resina de pino.
«In the tenth, to facilitate child-bearing, and to cure the sick, they made a seal of gold, being the head of a lion, and perfumed it with amber.» — el sello de la décima mansión, para facilitar el parto y curar al enfermo: cabeza de león en oro, perfumada con ámbar.
«In the eleventh, for fear, reverence and worship, they made a seal of a plate of gold, being the image of a man riding on a lion, holding the ear thereof in his left hand, and in his right, holding forth a bracelet of gold, and they perfumed it with good odours and saffron.» — el sello de la undécima mansión, para temor, reverencia y veneración: hombre a lomos de un león, sujetándole la oreja con la izquierda y tendiendo un brazalete de oro con la derecha, en lámina de oro y perfumado con buenos olores y azafrán.
«In the twelfth, for the separation of lovers, they made a seal of black lead, being the image of a dragon fighting with a man, and they perfumed it with the hairs of a lion, and assafetida.» — el sello de la duodécima mansión, para separar a los amantes: dragón peleando con un hombre, en plomo negro y perfumado con pelos de león y asafétida.
«In the thirteenth, for the agreement of married couples, and for the dissolving of the charms against copulation, they made a seal of the images of both, of the man in red wax, of the woman in white, and caused them to embrace one another, perfuming it with lignum aloes and amber.» — el sello de la decimotercera mansión, para la concordia de los casados y para deshacer los hechizos contra la cópula: las dos figuras abrazadas, el hombre en cera roja y la mujer en blanca, perfumadas con lignáloe y ámbar.
«In the fourteenth, for divorce and separation of the man from the woman, they made a» — el sello de la decimocuarta mansión, para el divorcio y la separación del hombre y la mujer; la cita se corta en el salto de plana.
«seal of red copper, being the image of a dog biting his tail, and they perfumed it with the hair of a black dog, and black cat.» — el remate del mismo sello, del otro lado del salto de plana: perro que se muerde la cola, en cobre rojo y perfumado con pelo de perro negro y de gato negro.
«In the fifteenth, for to obtain friendship and good will, they made the image of a man sitting, and inditing of letters, and perfumed it with frankincense and nutmegs.» — el sello de la decimoquinta mansión, para obtener amistad y buena voluntad: hombre sentado componiendo cartas, perfumado con incienso y nuez moscada.
«In the sixteenth, for to gain much merchandising, they made a seal of silver, being the image of a man sitting upon a chair, holding a balance in his hand, and they perfumed it with» — el sello de la decimosexta mansión, para ganar mucho en el comercio: hombre en silla con una balanza en la mano, en plata; la cita se corta en la marca de plana del troceo y la frase sigue del otro lado con las especias de buen olor.
«In the seventeenth, against thieves and robbers, they sealed with an iron seal the image of an ape, and perfumed it with the hair of an ape.» — el sello de la decimoséptima mansión, contra ladrones y salteadores: un mono en sello de hierro, perfumado con pelo de mono.
«In the eighteenth, against fevers and pains of the belly, they made a seal of copper, being the image of a snake holding his tail above his head, and they perfumed it with hartshorn,® and reported the same seal to put to flight serpents,’ and all venomous creatures from the place where it is buried.» — el sello de la decimoctava mansión, contra fiebres y dolores de vientre: serpiente con la cola sobre la cabeza, en cobre y perfumada con cuerno de ciervo, y del mismo sello se refiere que ahuyenta serpientes y toda criatura venenosa del sitio donde se entierra.
«In the nineteenth for facilitating birth and provoking the menstrues, they made a seal of copper, being the image of a woman holding her hands upon her face; and they perfumed it with liquid storax.» — el sello de la decimonovena mansión, para facilitar el parto y provocar la regla: mujer con las manos sobre el rostro, en cobre y perfumada con estoraque líquido.
«In the twentieth, for hunting, they made a seal of tin, being the image of Sagittary, half a man and half an horse, and they perfumed it with the head of a wolf.» — el sello de la vigésima mansión, para la caza: el Sagitario mitad hombre y mitad caballo, en estaño y perfumado con cabeza de lobo.
«In the twenty-one for the destruction of somebody, they made the image of a man witha double countenance,? before and behind, and they perfumed it with brimstone and jet, and did put it in a box of brass, and with it brimstone and jet, and the hair of him whom they would hurt.» — el sello de la vigesimoprimera mansión, para la destrucción de alguien: hombre de doble rostro, delante y detrás, en caja de latón con azufre, azabache y el cabello de aquel a quien se quería dañar; el troceo pega dos palabras y devuelve *witha* por *with a*.
«In the two and twentieth, for the security of runaways,!° they made a seal of iron, being the image of a man with wings on his feet, bearing an helmet on his head,'! and they perfumed it with argent vive.» — el sello de la vigesimosegunda mansión, para la seguridad de los fugitivos: hombre con alas en los pies y yelmo en la cabeza, en hierro y perfumado con azogue.
«In the three and twentieth, for destruction and wasting, they made a seal of iron, being the image of a cat, having a dog’s head, and they perfumed it with the hairs of a dog’s head, and buried it in the place where they did pretend to hurt.» — el sello de la vigesimotercera mansión, para destrucción y ruina: gato con cabeza de perro, en hierro, enterrado en el mismo lugar que se pretendía dañar.
«In the four and twentieth, for the multiplying of herds of cattle, they took the horn of a ram, bull, or goat, or of that sort of cattle which they would increase, and sealed in it burning with an iron seal,' the image of a woman giving suck to her son, and they hanged it on the neck of that cattle who was the leader of the flock, or they sealed it in! his horn.» — el sello de la vigesimocuarta mansión, para multiplicar los rebaños: la imagen de la mujer que amamanta a su hijo grabada a fuego en el cuerno del propio ganado que se quería aumentar, colgada al cuello del guía de la manada.
«In the five and twentieth, for the preservation of trees and harvests, they sealed in the wood of a figure, the image of a man planting, and they perfumed it with the flowers of the fig tree, and did hang it on the tree.» — el sello de la vigesimoquinta mansión, para preservar árboles y cosechas: hombre plantando, sellado en madera de higuera, perfumado con flores de higuera y colgado del árbol.
«In the six and twentieth, for love and favour, they sealed in white wax and mastic the image of a woman washing and combing her hairs,'> and they perfumed it with things smelling very well.» — el sello de la vigesimosexta mansión, para amor y favor: mujer que se lava y se peina el cabello, sellada en cera blanca y almáciga.
«In the seven and twentieth, for to destroy fountains, pits,!© medicinal waters and baths, they made of red earth the image of a man winged, holding in his hand an empty vessel, and perforated, and the image being burnt, they did put in the vessel assafetida and liquid storax, and they did overwhelm and bury it in the pond or fountain which they would destroy.» — el sello de la vigesimoséptima mansión, para destruir fuentes, pozos, aguas medicinales y baños: hombre alado de tierra roja con un vaso vacío y perforado, quemada la imagen y hundida con asafétida y estoraque en el agua que se quería destruir.
«In the eight and twentieth, for to gather fishes together, they made a seal of copper, being the image of a fish, and they perfumed it with the skin of a sea fish, and did cast it into the water, wheresoever they would have the fish to gather together.» — el sello de la vigesimoctava y última mansión, para juntar los peces: un pez en cobre, perfumado con piel de pez marino y echado al agua donde se los quería reunir.
«Moreover together with the foresaid images, they did write down also the names of the spirits and their characters, and did invocate and pray for those things which they pretended to obtain.» — cierra el catálogo de las mansiones añadiendo lo que no es figura: junto a las imágenes se escribían también los nombres de los espíritus y sus caracteres, y se invocaba y oraba por lo que se pretendía.
«ut now for the operations of the fixed stars, according to Hermes’ opinion. Under the Head of Algol, they made an image whose figure was the head of a man with a bloody neck; they report that it bestoweth good success to petitions, and maketh him who carrieth it bold and magnanimous, and preserveth the members of the body sound: also it helpeth against witchcraft, and reflecteth evil endeavours and wicked incantations upon our adversaries.» — abre el capítulo de las imágenes de las estrellas fijas behenias declarando de quién es la doctrina que va a exponer: la opinión de Hermes; la primera es la Cabeza de Algol, cabeza de hombre con el cuello ensangrentado, que devuelve sobre los adversarios los malos empeños y los encantamientos; el capítulo abre con la capitular perdida en la caja (B de *But*).
«Under the constellation of Pleiades, they made the image of a little virgin, or the figure of a lamp; it’s reported to increase the light of the eyes, to assemble spirits, to raise winds, to reveal secret and hidden things.» — la imagen de las Pléyades, doncella pequeña o lámpara, a la que se adjudica aumentar la luz de los ojos, congregar espíritus, levantar vientos y revelar lo secreto y escondido.
«Under Aldebora,” they made an image after the likeness of God, or of a flying man; it giveth riches and honour.» — la imagen de Aldebarán, a semejanza de Dios o de un hombre volando, que da riquezas y honra; el nombre va como lo imprime la edición.
«Under the Goat? they made an image, the figure of which was, as it were, a man willing to make himself merry with musical instruments; it maketh him who carrieth it acceptable, honoured and exalted before kings and princes; and helpeth the pain of the teeth.» — la imagen de la Cabra, hombre que quiere alegrarse con instrumentos musicales, que hace grato y ensalzado ante reyes y príncipes a quien la lleva y socorre el dolor de muelas.
«Under the Greater Dog Star,’ they made the image of an hound and a little virgin; it bestoweth honour and good will, and the favour of men, and aerial spirits, and giveth power to pacify and reconcile kings, princes, and other men.» — la imagen del Can Mayor, lebrel y doncella pequeña, que da honra, buena voluntad y el favor de los hombres y de los espíritus aéreos, y poder para apaciguar y reconciliar.
«Under the Lesser Dog Star* they made the image of a cock, or of three little maids; it conferreth the favour of the gods, of spirits, and» — la imagen del Can Menor, gallo o tres doncellas pequeñas, que confiere el favor de los dioses y de los espíritus; la cita se corta antes del folio impreso a media línea, que además sale como *695*.
«men; it giveth power against witchcrafts, and preserveth health.» — el remate de la misma frase, retomado del otro lado del folio: la imagen del Can Menor da también el favor de los hombres, poder contra los hechizos y conservación de la salud.
«Under the Heart of Leo,° they made the image of a lion or cat, or the figure of an honourable person sitting in a chair; it rendereth a man temperate, appeaseth wrath, and giveth favour.» — la imagen del Corazón de León, león o gato o persona honorable en silla, que hace templado al hombre, aplaca la ira y da favor.
«Under the Tail of Ursa Major’ they made the image of a pensive man, or of a bull, or the figure of a calf; it availeth against incantations, and maketh him who carrieth it secure in his travels.» — la imagen de la Cola de la Osa Mayor, hombre pensativo, toro o becerro, que vale contra los encantamientos y da seguridad en los viajes.
«Under the Wing of Corvus,® they made the image of a raven, or snake, or of a black man clothed in black;? this maketh a man choleric, bold, courageous, full of thoughts, a backbiter, and causeth naughty dreams; also it giveth the power of driving away evil spirits, and of gathering them together; it is profitable against the malice of men, devils and winds.» — la imagen del Ala del Cuervo, y es la única del catálogo cuyos efectos el propio texto reparte entre buenos y malos: hace colérico, osado y maldiciente, causa malos sueños, y a la vez da poder para ahuyentar y congregar espíritus malignos.
«Under the Spike! they made the image of a bird, or of a man laden with merchandise; it conferreth riches, and maketh one overcome contentions, it taketh away scarcity and mischief.» — la imagen de la Espiga, ave u hombre cargado de mercancías, que confiere riquezas, hace vencer en los pleitos y quita la escasez y el daño.
«Under Alchameth!! they made the image of an horse or wolf, or the figure of a man dancing; it is good against fevers, it astringeth and retaineth the blood.» — la imagen de Alchameth, caballo, lobo u hombre danzando, buena contra las fiebres y para restañar la sangre; el nombre va como lo imprime la edición.
«Under Elphrya,!? they made the image of an hen, or of a man crowned and advanced; it bestoweth the good will and love of men, and giveth chastity.» — la imagen de Elphrya, gallina u hombre coronado y encumbrado, que da la buena voluntad y el amor de los hombres y otorga castidad; el nombre va como lo imprime la edición.
«Under the Heart of Scorpio!? they made the image of a man armed, and with a coat of mail,» — la imagen del Corazón de Escorpión, hombre armado y con cota de malla; la cita se corta en el salto de plana.
«or the figure of a scorpion; it giveth understanding and memory, it maketh a good colour, and aideth against evil spirits, and driveth them away, and bindeth them.» — el remate de la misma imagen, del otro lado del salto de plana: alternativamente un escorpión, y sus efectos son entendimiento, memoria, buen color y poder para ahuyentar y ligar a los malos espíritus.
«Under the Vulture,!* they made the image of a vulture or hen, or of a traveler; it maketh a man magnanimous and proud, it giveth power over devils and beasts.» — la imagen del Buitre, buitre, gallina o caminante, que hace magnánimo y soberbio y da poder sobre demonios y bestias.
«Under the Tail of Capricorn!> they made the image of an hart, or goat, or of an angry man; it bestoweth prosperity, and increaseth wrath.» — la imagen de la Cola de Capricornio, ciervo, cabra u hombre airado, que da prosperidad y aumenta la ira.
«These are the images of some of the fixed stars which they command to be engraven on their stones under them.» — cierra el catálogo declarando su propio recorte: son las imágenes de algunas de las estrellas fijas, y se mandan grabar en las piedras que a cada una corresponden.
«here are moreover certain other figures, framed by the number and situation of the stars, and ascribed both to the elements, and also to the planets and signs, which are called geomantical,! because that geomantical diviners do reduce the points of their lots projected, by the excess of parity or imparity,” into those figures; and they also being engraven or imprinted under the dominion of their planets and signs, do conceive the virtue and power of images; and these figures are as a middle betwixt images and characters.» — define las figuras geománticas por su formación —número y situación de las estrellas— y por su uso: los adivinos reducen a ellas los puntos de sus suertes según la paridad o imparidad, y grabadas bajo el dominio de su planeta y su signo conciben la virtud de las imágenes; de ahí la tesis del capítulo, que son un medio entre las imágenes y los caracteres; el capítulo abre con la capitular perdida en la caja (T de *There*).
«But whosoever desireth exactly to know the natures, qualities, proprieties, conditions, significations, and nativities of these figures, let him read the volumes of geomancy;* but they are in number sixteen, whose names and figures are these» — declara el recorte y remite a otra literatura: quien quiera saber con exactitud la naturaleza y significación de estas figuras que lea los volúmenes de geomancia, y aquí solo consigna que son dieciséis.
«here remains as yet another manner of images not according to the similitude of celestial figures, but according to the similitude of that which the mind of the worker desires, of whose they are the effigies, and representation: so to procure love we make images embracing one the other; to discord, striking one the other; to bring misery, ° or destruction, as damage to a man, or house, or city, or anything else, we make images distorted, broken in members and parts, after the likeness and figure of that thing which we would destroy or damnify.» — la segunda clase de imágenes, que no copian figura celeste alguna sino lo que desea la mente del operador: abrazadas para el amor, golpeándose para la discordia, y distorsionadas y rotas en sus miembros para el daño; el capítulo abre con la capitular perdida en la caja (T de *There*).
«And magicians advise us that in casting or engraving images we would write upon it the name of the effect; and this on the back when evil, as destruction; on the belly when good, as love. Moreover in the forehead of the image! let be written the name of the species or individuum which the image represents, or for whom or against whom it is made. Also on the breast let the name of the sign or face ascending, and lord thereof be written; also the names and characters of its angels. Moreover in making the image they advise that prayer for the effect for which it is made, be used. All of which Albertus Magnus in his Speculo? affirms.» — el reparto de las inscripciones por partes de la imagen —efecto en la espalda si es malo y en el vientre si es bueno, identidad en la frente, signo y ángeles en el pecho— y la oración al hacerla; la doctrina no se da como propia sino adjudicada a Alberto Magno en su *Speculum*.
«Now they use the images being made diversely according to the virtues thereof: sometimes they hang them or bind them to the body; sometimes they bury them under the earth, or a river; sometimes they hang them in a chimney over the smoke,’ or upon a tree that they be moved by the wind; sometimes with the head upward and sometimes downward; sometimes they put them into hot water, or into the fire.» — el repertorio de manipulaciones de la imagen ya hecha: colgarla del cuerpo, enterrarla, ponerla al humo de la chimenea o en un árbol para que la mueva el viento, cabeza arriba o abajo, o meterla en agua caliente o en el fuego.
«For they say as the workers of the images do affect the image itself, so doth it bring the like passions upon those to whom it was ascribed, as the mind of the operator hath dictated it.» — el principio que da razón de todas esas manipulaciones, dicho en voz ajena: lo que el operador le hace a la imagen se lo hace al asignado, según lo dicte su mente.
«As we read that Nectanabus the magician made images of ships with wax after that manner and art, that when he drowned those images in water, that the ships of his enemies were in like manner drowned in the sea, and hazarded.» — el ejemplo con que ilustra ese principio: Nectanabo hundía en agua naves de cera y con ello hundía en el mar las naves enemigas.
«Now that part of astrology which is writ concerning elections? teacheth us that the constellations also are to be observed for the making of images, and such like.» — remite la elección del momento a otra disciplina: es la parte de la astrología escrita sobre las elecciones la que enseña a observar las constelaciones para hacer imágenes.
«will now show thee the observation of celestial bodies which are required for the practice of some of these kind of images.» — abre el capítulo de las observaciones celestes dirigiéndose al lector en segunda persona; la capitular del capítulo se perdió en la caja (I de *I*).
«So to make anyone fortunate, we make an image in which these are fortunate, viz. the significator of the life! thereof, the givers of life,? the signs, and planets. Moreover let the ascendent, the middle of the heaven, and the ~ lords thereof be fortunate: also the place of the Sun, and place of the Moon; Part of Fortune, and lord of conjunction or prevention? made before their nativity, by depressing the malignant planets.» — la receta para hacer afortunado a alguien, que exige poner por bien dispuestos el significador de la vida, los dadores de vida, signos y planetas, ascendente y medio cielo con sus señores, los lugares del Sol y de la Luna y la Parte de Fortuna, deprimiendo a la vez a los planetas malignos.
«But if we will make an image to procure misery, we must do contrariwise, and those which we place here fortunate, must there be unfortunate, by raising malignant stars.» — la regla de inversión que hace de esa receta un método: para procurar miseria se hace lo contrario, desafortunando lo que allí se afortunaba y elevando las estrellas malignas.
«In like manner must we do to make any place, region, city, or house fortunate. Also for destroying or prejudicing any of the foresaid, let there be made an image under the ascension of that man whom thou wouldst destroy, and prejudice, and thou shall make unfortunate,’ the lord of the house of his life, the lord of the ascending, and the Moon, the lord of the house of the Moon, and the lord of the house of the lord ascending, and the tenth house, and the lord thereof.» — extiende el mismo procedimiento del hombre al lugar, la región, la ciudad y la casa, y detalla la lista de señores que hay que desafortunar para destruir o perjudicar.
«Now for the fitting of any place, place Fortunes> in the ascendent thereof; and in the first, and tenth, and second, and eighth house, thou shall make the lord of the ascendent, and the lord of the house of the Moon fortunate.» — la regla para acomodar un lugar: fortunas en su ascendente y en las casas primera, décima, segunda y octava, con los señores del ascendente y de la casa de la Luna afortunados.
«But to chase away certain animals from certain places, that they may not be generated,» — abre el procedimiento para ahuyentar animales de un sitio; la cita se corta antes del folio impreso a media línea.
«or abide there, let there be an image made under the ascension of that animal, which thou wouldst chase away, and after the likeness thereof;» — el remate de la misma frase, retomado del otro lado del folio: la imagen se hace bajo la ascensión del animal mismo y a semejanza suya.
«as if thou wouldst chase away scorpions from any place, let an image of the scorpion be made, the sign of Scorpio ascending with the Moon, and thou shalt make unfortunate the ascendent, and lord thereof, and the lord of the house of Mars; and thou shall make unfortunate the lord of the ascendent in the eighth house, and let them be joined with an aspect malignant, opposite, or quadrant: and let there be writ upon the image the name of the ascendent, of the lord thereof, and of the Moon, and of the lord of the day, and of the lord of the hour.» — el caso trabajado de los escorpiones, con Escorpión ascendiendo con la Luna, los señores desafortunados y unidos por aspecto maligno, y la lista de nombres que se escriben sobre la imagen.
«And let there be a pit made in the middle of the place, from which thou wouldst drive them; and let there be carried into it, some of the earth taken out of the four corners of the same place, and let the image be buried there with the head downward, with saying, this is the burying of the scorpions, that they may not come into this place, and so of the rest.» — el rito que remata esa operación: hoyo en el centro del lugar, tierra de sus cuatro esquinas, la imagen enterrada cabeza abajo y la fórmula dicha en voz alta, y la regla se extiende a los demás animales.
«So for gain let there be made an image under the ascendent of the nativity® of the man, or under the ascension of that place to which thou wouldst appoint the gain; and thou shalt make the lord of the second house, which is in the house of substance to be joined with the lord of the ascendent in the trine or sextile, and let there be a reception amongst them; thou shall make fortunate the eleventh and the lord thereof, and the eighth; and if thou canst, put part of the For» — la imagen para la ganancia, bajo el ascendente de la natividad del hombre o del lugar, con el señor de la segunda unido al del ascendente por trígono o sextil y con recepción entre ellos; la cita se corta en el salto de plana, a media palabra.
«tune in the ascendent, or second; and let the image be buried in that place, or carried from that place, to which thou wouldst appoint the gain.» — el remate de la misma frase, del otro lado del salto de plana: la Parte de Fortuna en el ascendente o en la segunda, y la imagen enterrada o llevada al lugar al que se destina la ganancia.
«Also for concord, and love, let there be an image made in the day of Jupiter under the ascendent of the nativity of him whom thou wouldst have be beloved, make fortunate the ascendent, and the tenth, and hide the evil from the ascendent; and thou must have the lord of the tenth, and the planets of the eleventh fortune, joined to the lord of the ascendent, from the trine or sextile with reception;» — la primera de las dos imágenes del amor, hecha en día de Júpiter bajo el ascendente de aquel a quien se quiere hacer amado.
«then make another image for him whom thou wouldst stir up to love; consider if he be a friend, or companion of him whom thou wouldst have be beloved; and if so, let there be an image made under the ascension of the eleventh house from the ascendent of the first image; but if the party be a wife, or a husband, let it be made under the ascension of the seventh; if a brother, or a sister, or a cousin, let it be made under the ascension of the third, and so of the like;» — la segunda imagen se hace para quien ha de amar, y la casa bajo la que se levanta depende del parentesco: la undécima para el amigo, la séptima para el cónyuge, la tercera para el hermano o el primo.
«and put the significator of the ascendent of the second image, joined to the significator of the ascendent of the first image; and let there be betwixt them a reception, and let the rest be fortunate, as in the first image; afterwards join both images together into a mutual embracing, or put the face of the second image to the back of the first image, and let them be wrapped up in silk, and cast away or spoiled.» — el remate de la operación amorosa: los dos significadores unidos con recepción, y las dos imágenes juntadas en abrazo mutuo —o cara contra espalda—, envueltas en seda y luego tiradas o estropeadas.
«Also for success of petitions, and for the obtaining of a thing denied, or taken, or possessed by another, let there be an image made under the ascendent of him who petitions for the thing; and cause that the lord of the second be joined with the lord of the ascendent from a trine, or sextile, and let there be a reception betwixt them, and if it can be, let the lord of the second be in the obeying signs, and the lord of the ascendent in the ruling,® make fortunate the ascendent, and the lord thereof, and take heed that the lord of the ascendent be not retrograde or combust, or falling, or in the house of opposition, i.e. in the seventh from his own house; let him not be hindered by the malignant, let him be strong, and in an angle; thou shalt make fortunate the ascendent, and the lord of the second, and the Moon;» — la imagen para el éxito de las peticiones y para recobrar lo negado, tomado o poseído por otro, con la condición astrológica desglosada hasta los impedimentos que hay que evitar: el señor del ascendente ni retrógrado, ni combusto, ni cadente, ni en la casa de oposición.
«and make another image for him that is petitioned to, and begin it under the ascendent belonging to him, as if he be a king or a prince, begin it under the ascendent of the tenth house from the ascendent of the first image; if he be a father under the fourth; if a son under fifth; and so of the like; and put the significator of the second image, joined with the lord of the ascendent of the first image, from a trine or sextile, and let him receive it, and put them both strong, and fortunate without any let; make all evil fall from them.» — la segunda imagen, la del pedido, y la regla que fija su casa según la relación con el peticionario: la décima para el rey o el príncipe, la cuarta para el padre, la quinta para el hijo.
«Thou shall make fortunate the tenth, and the fourth if thou canst, or any of them; and when the second image shall be perfected, join it with the first, face to face, and wrap them inclean linen, and bury them in the middle of his house who is the petitioner under a fortunate significator, the Fortune being strong, and let the face of the first image be toward the north, or rather toward that place where the thing petitioned for doth abide; or if it happen that the petitioner goeth forward towards him with whom the thing petitioned for is, let him bring the images with him as far as he goes.» — el rito que remata la petición: las dos imágenes cara con cara, envueltas en lienzo limpio y enterradas en medio de la casa del peticionario, con la primera mirando al norte o hacia donde está lo pedido, y llevadas consigo si él va en persona; el troceo pega dos palabras y devuelve *inclean* por *in clean*.
«And let there be made an image of dreams, which being put under the head of him that sleeps, makes him dream true dreams concerning anything that he hath formerly deliberated of: and let the figure of that be the figure of a man sleeping in the bosom of an angel, which thou shall make in the Lion? ascending, the Sun keeping the ninth house in Aries; thou shalt write upon the breast of the man the name of the effect desired, and in the hand of the angel the name of the intelligence of the Sun.» — la imagen de los sueños, que puesta bajo la cabeza del que duerme le hace soñar sueños verdaderos sobre lo que antes deliberó: hombre dormido en el seno de un ángel, con el nombre del efecto en el pecho y el de la inteligencia del Sol en la mano del ángel.
«Let the same image be made in Virgo ascending, Mercury being fortunate in Aries in the ninth house,!° or Gemini ascending in Mercury being fortunate, and keeping the ninth house in Aquarius; and let it be received from Saturn with a fortunate aspect, and let the name of the Spirit of Mercury be writ upon it.» — la variante mercurial de la imagen de los sueños, con dos configuraciones alternativas y el nombre del Espíritu de Mercurio escrito encima.
«Let also the same be made in Libra ascending, Venus being received from Mercury in Gemini in the ninth house, by writing upon it the angel of Venus.» — la variante venérea de la misma imagen, con el ángel de Venus escrito encima.
«Besides also let the same image be made in Aquarius ascending, Saturn fortunately possessing the ninth house in his exaltation, which is in Libra, and let there be writ upon it the angel of» — la variante saturnina de la misma imagen; la cita se corta en el salto de plana.
«Saturn; moreover let it be made in Cancer ascending, the Moon being received by Jupiter and Venus in Pisces,!! and being fortunately placed in the ninth house, and let there be writ upon it the spirit of the Moon.» — el remate de esa variante y la última, la lunar, con el espíritu de la Luna escrito encima.
«There are also made rings of dreams of wonderful efficacy; and there are rings of the Sun, and Saturn, and the constellation of them is when the Sun or Saturn ascend in their exaltations!2 in the ninth house, and in that sign, which was the ninth house of nativity; and let there be writ upon the rings the name of the spirit of the Sun, or Saturn.» — los anillos de sueños, que pone junto a las imágenes: solo del Sol y de Saturno, y ligados al signo que fue la novena casa de la natividad.
«Let this which hath been spoken suffice concerning images, for now thou mayst find out more of this nature of thyself. But know this, that such images work nothing, unless they be so vivified that either a natural, or celestial, or heroical,!3 or animastical,!* or demoniacal, or angelical virtue be in them, or assistant to them.» — cierra la materia de las imágenes con la condición que las anula todas: no obran nada si no están vivificadas por una virtud natural, celeste, heroica, animástica, demoníaca o angélica que esté en ellas o las asista.
«But who can give a soul to an image, or make a stone to live, or metal, or wood, or wax? And who can raise out of stones children unto Abraham?'* Certainly this arcanum doth not enter into an artist of a stiff neck: neither can he give those things which hath them not.» — plantea la objeción a su propia doctrina en forma de pregunta y la responde por el lado del operador: el arcano no entra en artífice de cerviz dura, y nadie puede dar lo que no tiene.
«Nobody hath them but he who doth (the elements being restrained, nature being overcome, the heavens being overpowered) transcend the progress of angels, and comes to the very Archetype itself, of which being then made a cooperator may do all things, as we shall speak afterwards.» — la condición del que sí puede vivificar una imagen, y es la tesis con que remata el capítulo: solo quien trasciende el progreso de los ángeles y llega al Arquetipo mismo, hecho cooperador suyo.
«haracters also have their community from the rays of the celestials cast together according to a certain number by a certain peculiar property, which celestials as in divers strokes of their rays falling several ways amongst themselves produced divers virtues: so also characters being variously | protracted, according to the various concourse of ° those rays quickly obtain divers operations, and also more efficacious many times than the properties of natural commixtions.» — funda la virtud de los caracteres en la analogía con los rayos celestes: como los rayos dan virtudes diversas según cómo caigan, los caracteres las obtienen según cómo se tracen, y muchas veces con más eficacia que las mezclas naturales; el capítulo abre con la capitular perdida en la caja (C de *Characters*).
«Now the true characters of the heavens is the writing of angels, which amongst the Hebrews is called the writing Malachim,! by which all things are described and signified in the heaven’ for every knowing man to read. But of these hereafter.» — distingue los caracteres verdaderos del cielo de los geománticos: aquéllos son la escritura de los ángeles, llamada Malachim entre los hebreos, con la que todo queda descrito en el cielo para quien sepa leer, y aplaza su tratamiento.
«But now they make characters of geomantical figures, binding together the points of each variously, and attributing them according to the manner of their figurings, to those planets and signs of which they were made, the making of which the following table will show» — explica cómo se derivan los caracteres de las figuras geománticas —ligando de distintos modos sus puntos y adjudicándolos a su planeta y su signo— y remite a la tabla que sigue.
«e have spoken above of a certain manner of images made not after the likeness of celestial images, but according to the emulation of that which the mind of the operator doth desire. In like manner also it is to be understood: of characters; for such like characters are nothing else than images ill dearticulated; yet having a certain probable similitude with the celestial images, or with that which the mind of the operator desires, whether that be from the whole image, or from certain marks thereof expressing the whole image.» — traslada a los caracteres la doctrina que ya dio para las imágenes: un carácter no es otra cosa que una imagen mal desarticulada, con semejanza probable con la figura celeste o con lo que desea el operador, sea del conjunto o de ciertas marcas que lo representan; el capítulo abre con la capitular perdida en la caja (W de *We*).
«Besides, of these, according to the mixtions of signs and stars, and natures, are made also mixed characters» — de la combinación de signos, estrellas y naturalezas salen además los caracteres mixtos, uno por triplicidad; la cita se corta antes de la serie de glifos, que la capa de texto devuelve corrompidos.
«After the same manner may the characters of other celestial images ascending in any face or degree of signs, be compendiously drawn after the likeness of the images, as in these which are made according to the way of imitation of that which the mind of the operator desires, as to love, the figures be mixed together embracing and obeying one the other; but to hatred, on the contrary, turning away the one from the other, contending, unequal, loosed.» — la regla para dibujar caracteres a voluntad, y su cifra: para el amor las figuras se mezclan abrazándose y obedeciéndose, y para el odio se apartan, contienden, quedan desiguales y sueltas.
«But now we will here set down those characters which Hermes assigned® to the fixed stars, and Behenii, and they are these:» — introduce el catálogo de caracteres de las estrellas fijas nombrando la fuente que declara: son los que Hermes les asignó.
«e have spoken in the foregoing chapters of the divers kinds of divinations: but this is to be noted, that all these require the use and rules of astrology, as a key most necessary for the knowledge of all secrets; and that all kinds of divinations whatsoever have their root and foundation in astrology, so as that without it they are of little or no use; yet astrological divination, in as much as the celestials are causes and signs of all those things which are, and are done in these inferiors, doth give most certain demonstrations by the situation, and motion only of celestial bodies, of those things which are occult or future;! of which we shall in this place speak no further, since of this science huge volumes have been wrote by the ancients, and are everywhere extant.» — la tesis del capítulo, con su recorte adentro: toda adivinación tiene su raíz en la astrología y sin ella vale poco o nada, y aun así la materia no se expone aquí porque los antiguos ya escribieron volúmenes enormes de esa ciencia; el capítulo abre con la capitular perdida en la caja (W de *We*).
«Therefore whether the physiognomists look upon the body, or countenance, or forehead, or hand, or the soothsayer searcheth by dreams or auspicia,” that the judgement may be right, the figure of heaven is also to be inquired into. From the judgements whereof, together with conjectures of similitudes and signs, are produced true opinions of the significators.» — la consecuencia práctica de esa tesis: fisonomistas y adivinos por sueños o auspicios tienen que levantar además la figura del cielo, porque solo de ahí y de las conjeturas de semejanzas salen opiniones verdaderas.
«Also, if any prodigy shall appear, the figure of the heaven is to be erected; also such things are to be inquired after, which have gone before in the revolutions of years from great conjunctions, and eclipses: then also the nativities, beginnings, enthronizations,* foundations, and revolutions, perfections, directions of princes,» — la misma regla aplicada al prodigio, que obliga a mirar hacia atrás en las grandes conjunciones y los eclipses; la cita se corta antes del folio impreso a media línea.
«nations, kingdoms, cities, when these shall appear, and upon what place of the celestial figure these fell; that by all these at length we may come to a rational and probable signification of these things.» — el remate de la misma frase, retomado del otro lado del folio, y el límite que se pone: de todo ello se llega a una significación racional y probable, no cierta.
«Moreover, they that being distempered* foretell future things, do it not but as they are instigated by the stars, or inferior instruments of these, whence their predictions must at length be imputed to the celestials, as we read in Lucan the old prophet Tuscus» — reduce también la profecía de los destemplados a la misma causa: predicen solo instigados por las estrellas, así que sus predicciones se imputan a los celestes, y lo apoya en el viejo profeta Tusco de Lucano.
«Also geomancy itself, the most accurate of divinations, which divines by points of the earth,® or any other superfices, or by a fall,? or any other power inscribed, doth first reduce them to celestial figures, viz. to those sixteen which we above named, making judgement after an astrological manner, by the properties and observations thereof: and hither are referred all natural divinations by lots whatsoever, the power whereof can be from nowhere else than» — llama a la geomancia la más exacta de las adivinaciones y la subordina a la astrología por el procedimiento: reduce primero sus puntos a las dieciséis figuras celestes y juzga después a la manera astrológica; la cita se corta en el salto de plana.
«from the heaven, and from the mind of them that work them.» — el remate de la misma frase, del otro lado del salto de plana, y con él la doble fuente que asigna a toda adivinación natural por suertes: el cielo y la mente de quien las echa.
«For whatsoever is moved, caused or produced in these inferiors, must of necessity imitate the motions, and influences of the superiors, to which, as to its roots, causes, and signs it is reduced, the judgement whereof is showed by astrological rules.» — el principio del que hace depender lo anterior: todo lo que se mueve o se causa aquí abajo imita por necesidad los movimientos de arriba, y por eso el juicio lo dan las reglas astrológicas.
«tetrahedron, hexahedron, octahedron, dodecahedron, icosahedron, being made by certain numbers, signs and stars at opportune times, under the influences of the celestials, and being inscribed, obtain a wonderful virtue of divining, and foretelling by their castings, such as those dice Preneste!! had, in which we read the destinies of the Romans were contained.» — extiende la virtud adivinatoria a los cinco sólidos regulares hechos e inscritos en momento oportuno, y remata con las suertes de Preneste, donde se leía el destino de los romanos.
«hatsoever divinations and predictions of human events are made by lottery, must of necessity, besides the lot, have some sublime occult cause; which indeed shall not be a cause by accident, such as Aristotle describes fortune to be.! For in the series of causes, seeing according to the Platonists, a cause by accident can never be the prime and sufficient cause, we must look higher, and find out a cause which may know and intend the effect.2 Now this we must not place in corporeal nature, but in immaterial, and incorporeal substances which indeed administer the lot, and dispense the signification of the truth, as in men’s souls, or separated spirits, or in celestial intelligences, or in God himself.» — el capítulo de las suertes arranca descartando la fortuna aristotélica como explicación: una causa por accidente no puede ser la causa primera, así que la de la suerte hay que buscarla en sustancias incorpóreas —almas humanas, espíritus separados, inteligencias celestes o Dios mismo—; el capítulo abre con la capitular perdida en la caja (W de *Whatsoever*).
«Now that there is in man’s soul a sufficient power and virtue to direct such kind of lots, it is hence manifest, because there is in our soul a divine virtue, and similitude, and apprehension, and power of all things; and as we said in the first book,? all things have a natural obedience to it, and of necessity have a motion and efficacy to that which the soul desires with a strong desire; and all the virtues and operations of natural and artificial things, obey it when it is carried forth into the excess of desire, and then all lots of what kind soever are assisting to the appetite of such a mind, and acquire to themselves wonderful virtues of presages, as from that, so from the celestial opportunity in that hour in which the excess of such a like appetite doth most of all exceed» — la primera de esas causas desarrollada: el alma humana dirige la suerte porque tiene virtud divina y semejanza de todas las cosas, y todo le obedece cuando se lanza al exceso del deseo; la cita se corta antes del salto de plana.
«And this is that ground and foundation of all astrological questions, wherefore the mind being elevated into the excess of any desire, taketh of itself an hour and opportunity most convenient and efficacious, on which the figure of the heaven being made, the astrologer may then judge in it, and plainly know concerning that which anyone desires, and is inquisitive to know.» — de ahí deriva el fundamento de las preguntas horarias: la mente elevada al exceso del deseo toma por sí misma la hora oportuna, y sobre esa figura del cielo juzga el astrólogo.
«But now because lots are not directed always by man’s mind, but also, as we said before, by the help of other spirits; nor is the mind of a prophet always disposed to that excess of passion as we spoke of: hence amongst the ancients, it was a custom to premise before the casting of the lot, some sacred performances, in which they called upon divine intelligences and spirits for to direct the lot aright.» — la razón del rito previo a echar la suerte, y va apoyada en un límite del propio sistema: la mente del profeta no siempre está en el exceso de pasión que se requiere, así que se invocaba a inteligencias y espíritus para que dirigieran la suerte.
«Whatsoever kind of presage therefore these kind of lots portend, must of necessity not be by chance or fortune, but from a spiritual cause, by virtue whereof the phantasy,° or hand of him that cast the lot is moved, whether that power proceed from the soul of the operator through the great excess of his affection, or from a celestial influence, and opportunity, or from a certain deity or spirit assisting, or moving from on high, whether these lots are placed in casting of cockals,© or throwing of dice, or in the meeting of verses,’ such as were formerly the lot of Homer and Virgil, of which, we read in Aetlius of Sparta, Hadrianus long since made inquiry, and which we read befell Trajanus the Emperor» — la conclusión del capítulo, que enumera las cuatro procedencias posibles del presagio y las tres formas de suerte —tabas, dados y encuentro de versos—, con la suerte homérica y virgiliana de Adriano y de Trajano como caso.
«By which verses he did not in vain become to have hopes of enjoying the Empire. Also amongst Hebrews, and even amongst us Christians (some divines not disapproving of it) lots are taken out of verses of Psalms.» — tras los versos virgilianos que anunciaron el imperio, extiende la práctica al presente cristiano con una salvedad puesta entre paréntesis: algunos teólogos no la desaprueban.
«There are also more, and other kinds of lots, as are human lots, which had no divination in them amongst the ancients, and are observed by us in choosing of magistrates,!° to prevent envy, of which also Cicero against Verres!! makes mention: but they are not of our purpose: but those which are divine, and sacred lots, respecting oracles, and religion, of which we shall discourse in the following book: only thus far I would advise you, that how much presaging, divining or soothsaying soever lots are found to have, they have them not as they are lots, but by reason of a virtue of a higher operation joined to them.» — separa la suerte humana —la de elegir magistrados para evitar la envidia, que no adivina nada— de la sagrada, aplaza ésta al libro siguiente, y cierra con la advertencia que ordena todo el capítulo: la suerte no presagia por ser suerte, sino por la virtud superior que se le junta.
«t is necessary that the heaven and celestial bodies, seeing they have a power, influence, and manifest operation upon these inferiors, should be animated: seeing an operation cannot proceed from a mere body.! All famous poets, and philosophers affirm therefore that the world and all celestial bodies must have a soul, and that also intelligent:* hence Marcus Manillius in his Astronomy to Augustus? sings:» — abre el tratado del Alma del Mundo con el argumento que lo sostiene entero: los celestes obran sobre lo inferior, y una operación no puede salir de un mero cuerpo, luego están animados; el capítulo abre con la capitular perdida en la caja (I de *It*).
«The great corporeal world, which doth appear In divers forms, of air, earth, sea, and fire, A divine soul doth rule, a deity Doth wisely govern» — el primero de los testimonios poéticos que aduce, atribuido a Manilio: un alma divina rige el gran mundo corpóreo que aparece en las formas de aire, tierra, mar y fuego.
«And first the heaven, Earth, and liquid plain, The Moon’s bright globe, and stars Titanian A spirit fed within, spread through the whole And with the huge heap mixed infused a soul; Hence man, and beasts, and birds derive their strain, And monsters floating in the marbled main; These seeds have fiery vigor, and a birth Of heavenly race, but clogged with heavy earth.» — los versos de Virgilio, a quien llama el más lleno de toda filosofía, con el espíritu que se derrama por el todo y la simiente de vigor ígneo trabada por la tierra pesada.
«For what do these verses seem to mean, than that the world should not only have a spirit soul, but also to partake of the Divine Mind, and that the original, virtue, and vigour of all inferior things do depend on the Soul of the World? This do all Platonists, Pythagoreans, Orpheus, Trismegistus, Aristotle, Theophrastus, Avicen, Algazeles, and all Peripatetics confess, and confirm.» — extrae de los testimonios poéticos la tesis y le pone su lista de garantes: el mundo participa además de la Mente Divina, y de su Alma dependen el origen y el vigor de todo lo inferior.
«he world, the heavens, the stars, and the elements have a soul, with which they cause a soul in these inferior and mixed bodies. They have also as we said in the former book,! a spirit, which by the mediating of the soul is united to the body: for as the world is a certain whole body, the parts whereof are the bodies of all living creatures, and by how much the whole is more perfect and noble than the parts, by so much more perfect, and noble is the body of the world than the bodies of each living thing.» — el capítulo que promete confirmar lo anterior por razón arranca del argumento del todo y las partes: si las partes vivas son cuerpos, el cuerpo del mundo es más perfecto que cualquiera de ellos; el capítulo abre con la capitular perdida en la caja (T de *The*).
«It would be absurd, that all imperfect bodies and parts of the world, and every base animal, as flies, and worms should be worthy of life, and have a life and soul, and the whole entire world a most perfect, whole, and most noble body, should have neither life, nor soul;2 it is no less absurd, that heavens, stars, elements, which give to all things life, and soul most largely, should themselves be without life, and soul; and that every plant, or tree should be of a more noble condition than the heaven, stars, and elements, which are naturally the cause of them.» — el argumento por absurdo, en tres tiempos: la mosca y el gusano vivos y el mundo entero sin alma; los cielos dando vida sin tenerla; y la planta más noble que su propia causa.
«And what living man can deny that earth, and water live, which of themselves generate, vivify, nourish, and increase innumerable trees, plants, and living creatures? As most manifestly appears in things that breed of their own accord, and in those which have no corporeal» — la prueba que aduce para el alma de los elementos es la generación espontánea; la cita se corta antes del folio impreso a media línea.
«seed. Neither could elements generate and nourish such kind of living creatures, if they themselves were without life or soul.» — el remate de la misma frase, retomado del otro lado del folio: sin vida ni alma propias, los elementos no podrían engendrar ni nutrir a esos vivientes.
«But some haply may say, that such kind of living creatures are not generated by the soul of the earth, or water, but by the influences of celestial souls; these the Platonists answer,‘ that an accident cannot beget a substance, unless haply as an instrument it be subjected to the next substance, because an instrument removed from an artificer is not moved to the effect of the art; so also those celestial influences, seeing they are certain accidents being removed far from vital substances, or from the life itself, cannot generate a vital substance in these inferiors.» — plantea la objeción contraria —que quien engendra es la influencia celeste y no el alma del elemento— y la contesta con la respuesta que adjudica a los platónicos: un accidente no engendra sustancia, como el instrumento apartado del artífice no obra.
«And Mercurius in his book which he calls De Communi, saith, all that is in the world is moved either by increase, or decrease.” Now what moves must needs have life; and seeing that all things move, even the Earth, especially with a generative and alterative motion, they must themselves live.» — el argumento por el movimiento, apoyado en un dicho que atribuye a Mercurio en el libro que llama De Communi: lo que se mueve tiene por fuerza vida, y todo se mueve, la Tierra incluida.
«And if any doubt that the heavens live, saith Theophrastus, he is not to be accounted a philosopher; and he which denies the heaven to be animated, so that the mover thereof is not the form thereof, destroys the foundation of all philosophy; the world therefore lives, hath a soul, and sense; for it gives life to plants, which are not produced of seed; and it gives sense to animals, which are not generated by coition.» — cierra el capítulo con la sentencia que adjudica a Teofrasto —quien dude de que los cielos viven no debe tenerse por filósofo— y con la consecuencia que saca: negar el cielo animado destruye el fundamento de toda filosofía.
«hat the above named souls have reason, is apparent hence; for whereas the universal works of the foresaid souls do with a certain perpetual order conspire amongst themselves, it is necessary that they be governed not by chance but by reason; by which reason they do direct, and bring all their operations to a certainty. For it is necessary that the earth should have the reason of terrane things, and water of watery things; and so in the rest; by which reason each in their time, place, and order are generated, and being hurt are repaired.» — el paso siguiente de la escalera: esas almas no solo viven sino que razonan, y la prueba es el orden perpetuo con que sus obras conspiran entre sí; el capítulo abre con la capitular perdida en la caja (T de *That*).
«Therefore philosophers do not think the Soul of the Earth! to be as it were the soul of some contemptible body, but to be rational and also intelligent, yea and to be a deity. Besides it would be absurd, seeing we have reasons of our works, that celestial souls, and the Soul of the Universe should not have reasons of theirs. But if (as saith Plato) the world be made by very goodness itself, as well as it could be made, it is certainly endowed with not only life, sense, and reason, but also understanding.» — el Alma de la Tierra queda declarada racional, inteligente y aun deidad, y el argumento se cierra con Platón nombrado: si el mundo lo hizo la bondad misma lo mejor que podía hacerse, tiene vida, sentido, razón y entendimiento.
«It is necessary therefore, seeing celestial bodies are most perfect, that they have also most perfect minds. They partake therefore of an intellect, and a mind; which the Platonists also prove by the perseverance of their order, and tenor, because motion is of its nature free, it may easily swerve, and wander now one way, now another, unless it were ruled by an intellect and a mind, and that also by a perfect mind foreseeing from the beginning the best way, and chief end. Which perfect mind indeed, because it is most powerful in the soul, as is the Soul of the World, and as are the souls of celestial bodies, and of elements, without all doubt doth most orderly, and perfectly govern the work allotted to it. For bodies do not resist a most powerful soul, and a perfect mind doth not change its counsel.» — el argumento platónico por la constancia del movimiento: siendo libre por naturaleza, el movimiento se desviaría si no lo rigiera una mente perfecta que previó desde el principio el mejor camino y el fin; y de ahí la doble sentencia con que remata, que los cuerpos no resisten a un alma poderosísima y que una mente perfecta no muda de consejo.
«The Soul of the World therefore is a certain only thing, filling all things, bestowing all» — la definición del Alma del Mundo con que remata el capítulo; la cita se corta en la marca de plana del troceo.
«things, binding, and knitting together all things, that it might make one frame of the world, and that it might be as it were one instrument making of many strings, but one sound, sounding from three kinds of creatures, intellectual, celestial, and incorruptible, with one only breath and life.» — el remate de esa definición, del otro lado de la marca de plana, con la imagen que la cifra: un solo instrumento de muchas cuerdas que suena un solo sonido desde tres géneros de criaturas, con un solo aliento y una sola vida.
«he names of celestial souls are very many, and divers according to their manifold power and virtue upon these inferior things, from whence they have received divers names, which the ancients in their hymns and prayers made use of.» — abre el capítulo de los nombres de las almas celestes explicando por qué son tantos: cada nombre viene de una potencia distinta sobre lo inferior, y de ahí los usaron los antiguos en himnos y oraciones; el capítulo abre con la capitular perdida en la caja (T de *The*).
«Concerning which you must observe, that every one of these souls according to Orpheus’ divinity,' is said to have a double virtue; the one placed in knowing, the other in vivifying, and governing its body. Upon this account in the celestial spheres, Orpheus calls the former virtue Bacchus, the other a Muse. Hence he is not inebriated by any Bacchus, who hath not first been coupled to his Muse. Therefore nine Bacchuses are designated about the nine Muses.» — la doctrina de la doble virtud de cada alma, atribuida a la teología de Orfeo: una que conoce y otra que vivifica y gobierna, llamadas Baco y Musa, de donde nadie se embriaga de Baco sin haberse acoplado antes a su Musa.
«Hence in the ninth sphere Orpheus puts Bacchus Cribonius, and the Muse Calliope; in the starry heaven, Picionius, and Urania; in the sphere of Saturn, Amphietus, and Polyphymnia; in the sphere of Jupiter, Sabasius, and Terpsichore; in the sphere of Mars, Bassarius, and Clio; in the sphere of the Sun, Trietericus, and Melpemene; in the sphere of Venus, Lysius, and Erato; in the sphere of Mercury, Silenus, and Euterpe; in the sphere of the Moon, Bacchus Lyeus, and the Muse Thalia.» — el reparto órfico completo de los nueve pares Baco-Musa por las nueve esferas, de la novena esfera a la Luna; los nombres van tal como los imprime la edición.
«Also in the spheres of the elements, he names the souls after this manner: in the Fire he puts the Planet, and the Morning; in the Air, Lightning, Jupiter, and Juno; in Water, the Ocean, and Thetys; in the Earth, Pluto, and Proserpina.» — el mismo reparto bajado a las esferas de los elementos, con sus cuatro parejas.
«But the Soul of the World, or Universe, magicians call the Jupiter of the World; and the Mind of the World, Apollo; and the Nature of the World, Minerva. Besides in the fire they put Vulcan, in the water Neptune, and they did name them by divers names.» — la nomenclatura que adjudica a los magos, y no a Orfeo: Júpiter del Mundo para el Alma, Apolo para la Mente y Minerva para la Naturaleza.
«Also in the stars of the Zodiac the Pythagoreans did put twelve particular gods or souls placed in the hearts of those stars, and thence governing the whole star, viz. in the heart of Aries is placed a particular Pallas, in the heart of Taurus a particular Venus, of Gemini a particular Phebus, of Cancer Mercury, of Leo Jupiter, of Virgo Ceres, of Libra Vulcan, of Scorpio Mars, of Sagittarius Diana, of Capricorn Vesta, of Aquarius a particular Juno, in the heart of Pisces a particular Neptune. This did Manilius sing forth in these verses:» — la serie de los doce dioses que los pitagóricos ponían en el corazón de cada signo del zodiaco, adjudicada a ellos y respaldada con los versos de Manilio.
«Pallas doth rule the Ram, Venus the Bull, Phebus the Twins and Mercury doth rule The Cancer, and the Lion guides doth Jove, Ceres doth Virgo, Vulcan Libra move. For Scorpion Mars; for Sagittarius fair Diana cares; for Capricorn doth care Vesta; Aquarius Juno doth protect; And Neptune Pisces:» — los versos de Manilio que aduce como respaldo de esa serie, en la traducción de 1651.
«And most ancient Orpheus writing to Museus, reckons up more deities of the heavens than these, signifying their names, respects, and duties, calling them all in proper songs.” Let no one therefore think that they are the names of evil deceiving spirits; but of natural, and divine» — remite a Orfeo escribiendo a Museo para más deidades, y ataja de inmediato la lectura demonológica de esos nombres; la cita se corta en el salto de plana.
«virtues, distributed to the world by the true God, for the service, and profit of man, who knew how to use them.» — el remate de esa defensa, del otro lado del salto de plana: los nombres designan virtudes naturales y divinas que el Dios verdadero repartió por el mundo para servicio y provecho del hombre.
«And antiquity itself hath ascribed to each of these deities the several members of man; as the ear to memory, which Virgil also dedicates to Phebus, saying, Cynthius pulls my ear,> and admonisheth me. So the right hand being a token of fortitude, and by which an oath is made, Numa Pompilius, as saith Livy, hath dedicated to faith:* the fingers are under the tuition of Minerva, and the knees given to mercifulness; hence they that beg pardon bend them.» — el reparto de los miembros del cuerpo entre las deidades: la oreja a la memoria y a Febo, la diestra a la fe según Numa Pompilio en Livio, los dedos a Minerva y las rodillas a la misericordia, que es por lo que se doblan al pedir perdón.
«Some dedicate the navel to Venus as the place of luxury; some who refer all the members to it as the center, say it is dedicated to Jupiter. Hence in the Temple of Jupiter Hammon the effigy of a navel is celebrated.» — dos adjudicaciones del ombligo consignadas sin arbitrar entre ellas: a Venus como lugar de la lujuria, o a Júpiter por ser centro de todos los miembros.
«Many other things the ancients did observe, ascribing every little member and joint to their deities, which if they be rightly understood, and the true deities ruling over them known, would not at all swerve from their duty, seeing also sacred writ testifies that all our members are governed by the superior virtues, of which we shall speak more largely in the following book; and not members only, but every exercise of men is distributed to its deity, as hunting to Diana, wars to Pallas, husbandry to Ceres, of which thus speaks Apollo in his Oracles in Porphyry» — extiende el reparto de los miembros a los oficios y lo respalda con la escritura sagrada, aplazando la materia al libro siguiente; la cita se corta antes de los versos.
«Pallas loves wars, woods to Diana fair Ascribed are, to Juno humid air, To Ceres corn, and fruits; to Osiris The water, also humours waterish.» — los versos que adjudica al Apolo de los Oráculos de Porfirio, con el reparto de guerras, bosques, aire húmedo, mieses y aguas.
«oreover they did call those seven governors of the world (as Hermes calls them)! Satum, Jupiter, Mars, the Sun, Venus, Mercury, and the Moon, by many names, and epithets,” viz. calling Saturn Coelius,> scythe-bearer, the father of the gods, the lord of the time, the high lord, the great, the © wise, the intelligent, ingenious, revolutor of a long space, an old man of great profundity, the author of secret contemplation, impressing, or depressing great thoughts in the hearts of men, destroying and preserving all things, overturning force and power, and constituting a keeper of» — abre el catálogo de epítetos de los siete gobernadores del mundo, nombre que adjudica a Hermes, y despliega el de Saturno hasta el par que lo define, que destruye y conserva todas las cosas; el capítulo abre con la capitular perdida en la caja (M de *Moreover*) y el troceo devuelve *Satum* por Saturn.
«So Jupiter is called as it were a helping father, the king of heaven, magnanimous, thundering, lightning, unconquored, high and mighty, great and mighty, good, fortunate, sweet, mild, of good will, honest, pure, walking well, and in honour, the lord of joy and of judgements, wise, true, the shower of truth, the judge of all things, excelling all in goodness, the lord of riches, and wisdom.» — la serie de epítetos de Júpiter, que arranca de la etimología misma del nombre —padre que ayuda— y remata en señor de las riquezas y de la sabiduría.
«Mars is called Mavors,* powerful in war, bloody, powerful in arms, a sword bearer, magnanimous, bold, untamed, generous, lightning, of great power and furious haste, against whom none can defend himself if he resist him, who destroys the strong, and powerful, and deposeth kings from their thrones, the lord of heat and power, the lord of fiery heat, and of the planet» — la serie de epítetos de Marte, con la nota política dentro: destruye a los fuertes y depone a los reyes de sus tronos; la cita se corta antes del folio impreso a media línea.
«of blood; who inflames the hearts of contenders, and gives them boldness.» — el remate de la misma frase, del otro lado del folio: Marte es señor del planeta de la sangre, e inflama y envalentona el corazón de los que contienden.
«The Sun is called Phoebus, Diespiter,® Apollo, Titan,’ Pean,’ Phanes,? Horus, Osiris, as it is in that oracle:» — la serie de nombres del Sol, apoyada en un oráculo que cita a continuación.
«The Sun, Osiris, Dionysus gay, Apollo, Horus, king ruling the day Who changeth times, who giveth winds and rain, The king of stars, and the immortal flame.» — los versos del oráculo que aduce como respaldo de la identidad de los nombres solares, en la traducción de 1651.
«He is called also Arcitenens,'! burning, fiery, golden, flaming, radiating, of a fiery hair, of a golden hair, the eye of the world, Lucifer,” seeing all things, ruling all things, the creator of light, the king of stars, the great lord, good, fortunate, honest, pure, prudent, intelligent, wise, shining over the whole world, governing, and vivifying all bodies that have a soul, the prince of the world keeping all the stars under himself, the light of all the stars, darkening, burning, overcoming their virtue by his approach, yet by his light and splendour giving light and splendour to all things: in the night he is called Dionysus, but in the day Apollo," as if driving away evil things.» — la serie larga de epítetos solares, con la paradoja que la ordena —oscurece a las demás estrellas al acercarse y a la vez da luz y esplendor a todo— y el reparto nocturno y diurno del nombre entre Dioniso y Apolo.
«Therefore the Athenians called him Alexicacon,'4 and Homer, Vlion,'° i.e. the driver away of evil things.» — los dos nombres que aduce para ese Sol que ahuyenta los males, uno ateniense y otro homérico; van tal como los imprime la edición.
«He is also called Phoebus from his beauty and brightness, and Vulcan from his fiery violence, because the force thereof consists of many fires. He is also called the Sun, because he contains the light of all the stars: hence he is called by the Assyrians TSS, Adad,!° which signifies» — encadena los nombres solares con su etimología y llega al asirio; la cita se corta en el salto de plana, y la palabra semítica sale de la capa de texto como signos sueltos.
«only, and by the Hebrews W22W, Schemesch,!7 which signifies proper.» — el remate de esa cadena, del otro lado del salto de plana, con el nombre hebreo del Sol; la transliteración sale ilegible de la capa de texto y va tal cual.
«Venus is called the lady,'8 nourishing, beautiful, white, fair, pleasing, powerful, the fruitful lady of love and beauty, the progeny of ages, the first parent of men, who in the beginning of all things joined diversity of sexes together with a growing love, and with an eternal offspring propagates kinds of men and animals, the queen of all delights, the lady of rejoicing, friendly, sociable, pitiful, taking all things in good part, always bountiful to mortals, affording the tender affection of a mother to the conditions of them in misery, the safeguard of mankind, letting no moment of time pass without doing good, overcoming all things by her power, humbling the high to the low, the strong to the weak, the noble to the vile, rectifying, and equaling all things:» — la serie de epítetos de Venus, cuya función cosmogónica es haber juntado en el principio la diversidad de los sexos, y cuya obra moral es igualar, humillando lo alto a lo bajo y lo noble a lo vil.
«and she is called Aphrodite, because in every sex, she is found to be of every mind:!? and she is called Lucifera, i.e. bringing light, bringing the years of the Sun to light; and she is called Hesperus,”° when she follows the Sun, and Phosperus,*! because she leads through all things though never so hard.» — los nombres de Venus explicados por su razón: Afrodita por hallarse en todo sexo, Lucífera por traer luz, y Héspero o Fósforo según siga o preceda al Sol.
«Mercury is called the son of Jupiter, the crier of the gods, the interpreter of gods, Stilbon,” the serpent-bearer, the rod-bearer, winged on his feet, eloquent, bringer of gain, wise, rational, robust, stout, powerful in good and evil, the notary of the Sun, the messenger of Jupiter, the messenger betwixt the supernal and infernal gods, male with males, female with females,? most fruitful in both sexes; and Lucan calls him the arbitrator of the gods.» — la serie de epítetos de Mercurio, con su rasgo propio: la ambivalencia, que es poder en el bien y en el mal, mensajería entre los dioses de arriba y los de abajo, y ser macho con los machos y hembra con las hembras.
«He is also called Hermes, i.e. interpreter, bringing to light all obscurity, and opening those things which are most secret.» — el nombre de Hermes explicado por su oficio: intérprete que saca a luz toda oscuridad y abre lo más secreto.
«The Moon is called Phebe,** Diana, Lucina,* Proserpina, Hecate, menstruous, of a half form, giving light in the night, wandering, silent, having two horns, a preserver, a nightwalker, horn bearer, the queen of heaven, the chiefest of the deities, the first of the heavenly gods and goddesses, the queen of spirits, the mistress of all the elements, whom the stars answer, seasons return, elements serve;» — la primera tanda de epítetos de la Luna, que la pone por encima de las demás deidades: reina del cielo, primera de los dioses celestes, reina de los espíritus y señora de todos los elementos.
«at whose nod lightnings breathe forth, seeds bud, plants increase, the initial parent of fruit, the sister of Phoebus,” light and shining, carrying light from one planet to another, enlightening all powers by its light, restraining the various passings of the stars, dispensing various lights by the circuits of the Sun,» — la segunda tanda, que le adjudica la función de mediadora lumínica: lleva la luz de un planeta a otro y reparte las luces según los circuitos del Sol.
«the lady of great beauty, the mistress of rain and waters, the giver of riches, the nurse of mankind, the governor of all states, kind, merciful, protecting men by sea and land, mitigating all tempests of fortune, dispensing with fate, nourishing all things growing on the Earth, wandering into divers woods, restraining the rage of goblins,”’ shutting the openings of the Earth, dispensing the light of the heaven, the wholesome rivers of the sea, and the deplored silence of the infernals, by its nods: ruling the world, treading hell under her feet;» — la tercera tanda, la de gobierno: dispensa el hado, refrena la furia de los duendes, cierra las aberturas de la tierra y reparte con sus asentimientos la luz del cielo y el silencio de los infiernos.
«of whose majesty the birds hasting in the air are afraid, the wild beasts straggling in the mountains, serpents lying hid in the ground, fishes swimming in the sea.» — el remate del pasaje lunar, con las cuatro clases de vivientes que temen su majestad.
«But of these and the like names of stars and planets, and their epithets, surnames, and callings upon, he that will know more, and make more curious inquiry, must betake himself to the Hymns of Orpheus, which he that truly understands, hath attained to a great understanding of natural magic.» — cierra el capítulo remitiendo a los Himnos de Orfeo, y con la equivalencia que hace de esa lectura la prueba del oficio: quien los entiende de verdad ha alcanzado un gran entendimiento de la magia natural.
«he celestial souls send forth their virtues to the celestial bodies, which then transmit them to this sensible world. For the virtues of the terrene orb proceed from no other cause than celestial. Hence the magician that will work by them, useth a cunning invocation of the superiors, | with mysterious words, and a certain kind of ingenious speech, drawing the one to the other, yet by a natural force through a certain mutual agreement betwixt them, whereby things follow of their own accord, or sometimes are drawn unwillingly.» — abre el capítulo de las imprecaciones humanas con la cadena que las justifica y con su límite: la invocación obra por fuerza natural y acuerdo mutuo, no por mando, y a veces las cosas se dejan arrastrar de mala gana; el capítulo abre con la capitular perdida en la caja (T de *The*).
«Hence saith Aristotle in the sixth book of his Mystical Philosophy,” that when anyone by binding or bewitching doth call upon the Sun or other stars, praying them to be helpful to the work desired, the Sun and other stars do not hear his words, but are moved after a certain manner by a certain conjunction, and mutual series, whereby the parts of the world are mutually subordinate the one to the other, and have a mutual consent, by reason of their great union: as in man’s body one member is moved by perceiving the motion of another, and in a harp one string is moved at the motion of another.» — la negativa que sostiene toda la doctrina, adjudicada a la Filosofía mística de Aristóteles: el Sol y las estrellas NO oyen las palabras del que las invoca, sino que se mueven por serie mutua, como el miembro que responde al miembro y la cuerda del arpa a la otra cuerda.
«So when anyone moves any part of the world, other parts are moved by the perceiving the motion of that. The knowledge therefore of the dependency of things following one the other, is the foundation of all wonderful operation, which is necessarily required to the exercising the power of attracting superior virtues.» — la consecuencia operativa: el fundamento de toda obra maravillosa no es la fórmula sino el conocimiento de la dependencia con que unas cosas siguen a otras.
«Now the words of men are certain natural things; and because the parts of the world mutually draw one the other, therefore a magician invocating by words, works by powers fitted to nature, by leading some by the love of one to the other, or drawing others by reason of the following of one after the other, or by repelling by reason of the enmity of one to the other, from the contrarity, and difference of things, and multitude of virtues; which although they are contrary, and different, yet perfect one part; sometimes also he compels things by way of authority, by the celestial virtue, because he is not a stranger to the heaven.» — declara que las palabras del hombre son cosas naturales, y de ahí que el mago que invoca obre con potencias ajustadas a la naturaleza —por amor, por seguimiento o por enemistad—, y a veces por autoridad, porque no es extraño al cielo.
«A man therefore, if he receives the impression of any ligation,’ or fascination, doth not receive it according to the rational soul, but sensual, and if he suffers in any part, suffers according to the animal part. For they cannot draw a knowing and intelligent man by reason, but by receiving that impression and force by sense, in as much as the animal spirit of man is by the influence of the celestials, and cooperation of the things of the world, affected beyond his former and natural disposition.» — pone el límite de la ligadura y la fascinación: no entran por el alma racional sino por la sensual, así que al hombre sabio no se le arrastra por razón sino por sentido.
«But these kinds of fascinations and ligations the vulgar doth neither admire, nor detest, by reason of their usualness: but they admire other natural things, because they are ignorant of them, and are not accustomed to them. Hence they fall into errors, thinking those things to be above nature, or contrary to nature, which indeed are by nature, and according to nature.» — el diagnóstico del error vulgar, y con él la tesis que recorre la obra entera: lo que se tiene por sobre la naturaleza o contra ella es por naturaleza y según naturaleza, y solo lo parece por desacostumbre.
«We must know therefore that every superior moves its next inferior, in its degree, and order, not only in bodies, but also in spirits. So the universal soul moves the particular soul; and the rational acts upon the sensual, and that upon the vegetable; and every part of the world acts upon another, and every part is apt to be moved by another; and every part of this inferior world suffers from the heavens according to their nature, and aptitude, as one part of the animal body suffers* from another. And the superior intellectual world moves all things below itself, and after a manner contains all the same beings from the first to the last, which are in the inferior world.» — la regla de la cadena: cada superior mueve a su inmediato inferior en grado y orden, en los cuerpos y en los espíritus, y el mundo intelectual contiene de algún modo los mismos entes que el inferior.
«Celestial bodies therefore move the body of the elementary world, compounded, generable, sensible, from the circumference to the center, by superior, perpetual, and spiritual essences, depending on the primary intellect, which is the acting intellect; but upon the virtue put in by the word of God,® which word the wise Chaldeans of Babylon call the cause of causes, because from it are produced all beings, the acting intellect which is the second from it depends; and that by reason of the union of this word with the First Author, from whom all things being are truly produced. The word therefore is the image of God, the acting intellect the image of the word; the soul is the image of this intellect; and our word is the image of the soul, by which it acts upon natural things naturally, because nature is the work thereof.» — la escala de imágenes que remata en la palabra humana: verbo imagen de Dios, intelecto agente imagen del verbo, alma imagen del intelecto y nuestra palabra imagen del alma, y por eso obra naturalmente sobre lo natural; la causa de las causas la nombra como la llaman los caldeos de Babilonia.
«And every one of those perfects his subsequent, as a father his son,’ and none of the latter exists without the former. For they are depending amongst themselves, by a kind of ordinate dependency, so that when the latter is corrupted, it is returned into that which was next before it, until it come to the heavens, then unto the universal soul, and lastly unto the acting intellect, by which all other creatures exist, and which itself exists in the principal author, which is the creating word of God, to which at length all things are returned.» — el camino de vuelta de esa escala: lo corrompido regresa al grado anterior hasta los cielos, el alma universal y el intelecto agente, y de ahí al verbo creador al que todo retorna.
«Our soul therefore, if it will work any wonderful thing in these inferiors, must have respect to their beginning, that it may be strengthened, and illustrated by that, and receive power of acting through each degree from the very First Author. Therefore we must be more diligent in contemplating the souls of the stars than their bodies, and the supercelestial, and intellectual world, than the celestial corporeal, because that is more noble, although also this be excellent, and the way to that; and without which medium the influence of the superior cannot be attained to.» — la prescripción que saca de todo lo anterior, con su salvedad: hay que atender más a las almas de los astros que a sus cuerpos, sin despreciar éstos, porque son el medio sin el cual no se alcanza la influencia superior.
«As for example, the Sun is the king of the stars, most full of light, but receives it from the intelligible world above all other stars, because the soul thereof is more capable of intelligible splendour. Wherefore he that desires to attract the influence of the Sun, must contemplate upon the Sun, not only by the speculation of the exterior light, but also of the interior. And this no man can do unless he return to the soul of the Sun, and become like to it,? and comprehend the intelligible light thereof with an intellectual sight, as the sensible light with a corporeal eye.» — el caso trabajado del Sol, y con él la condición que la obra pone al conocimiento: nadie atrae la influencia solar si no vuelve al alma del Sol y se hace semejante a ella.
Sobre la obra
2504 entradas — lo que el aparato y la investigación dicen de ellaEl borrador se redactó a fines de 1509 y principios de 1510, y se envió al abad Trithemius para su aprobación.
«Candid reader, the author of this most divine work intended to bring to light also the second and third book» — el paratexto de 1531 anunciando que los libros II y III están por venir: la pieza dura del muro 1531/1533.
«The work is prefixed with a copy of the imperial privilege, dated January 7, 1529» — seis años de exclusiva.
La primera edición se imprimió en la prensa de John Grapheus, en Amberes.
El propio Agrippa, en carta (Epistolarum 5.14), declara que las dos primeras versiones de la obra fueron deficientes y la tercera incompleta, y promete una versión completa a sus amigos íntimos.
La traducción inglesa de 1651 se firma «J.F.»: el Oxford English Dictionary lo resuelve como James Freake; el Enochian Dictionary de Laycock propone James French — disputa consignada. El texto inglés se hizo sobre la Opera latina de Lyon.
Tyson declara su método: «It was necessary to reconstruct and redraw, or at least amend, every one of the tables and illustrations.»
Tyson adjudica las fuentes: clásicas (Plinio, Ovidio, Virgilio, Apuleyo, Hermes, Ficino) y cabalísticas (Reuchlin y Pico); Yates lo tiene por cabalista cristiano en la línea de Pico; «He follows Mirandola in substituting the name of Jesus (IHShVH) as the supreme name of power, displacing the name Jehovah (IHVH).»
La tesis interpretativa de Tyson, consignada como suya: «Agrippa's occult philosophy is intended to be a very white magic.» — y «The Occult Philosophy is a book about magic written for magicians.»
Tyson, glosa editorial sobre el léxico: «Agrippa uses the term intelligence to denote a benevolent supernatural being, and spirit to denote a malevolent supernatural being.»
Adjudicaciones puntuales de fuente que Tyson registra: el encanto de la lengua de rana del Kiranides; los jeroglíficos de Horapollo; las provincias del Tetrabiblos 2.3; la teoría mágica central del De sacrificio et magia de Proclo en la traducción latina de Ficino; la imagen saturnina de cabeza de ciervo y pies de camello del PICATRIX; las imágenes de estrellas fijas de Hermes y del Libro de Enoch (ms. Bodleiano); los ángeles planetarios del De septem secundeis de Trithemius; el pasaje de la brujería femenina del Malleus Maleficarum; los nombres hebreos del zodíaco del Libro de Raziel.
Tyson sobre la geomancia: Agrippa dice «I too have written a geomancy quite different» y llama al método común supersticioso y falaz; Tyson conjetura que usó a Gerard como fuente temprana, y nota que la asignación zodiacal de la Golden Dawn es idéntica a la de Agrippa salvo la inversión de Venus y Júpiter.
Errores de Agrippa que el aparato señala: «the sum of the numbers in the Venus square is 1252, when in fact the sum is 1225» (error que arrastran la Opera latina y Freake); el ángel de Cáncer debería ser Sartaniel; los dedos tienen menos articulaciones de las que su ejemplo requiere; la datación de los numerales griegos no se sostiene.
Recepción: el Magus de Francis Barrett proviene ÍNTEGRO de la Filosofía Oculta — «Barrett’s Magus is a wonderful book only because it is made up of a direct plagiarism» — y por esa vía la Golden Dawn la tomó como fuente principal, hasta llegar a Crowley.
La Melencolia I de Dürer lleva una variante del cuadrado de Júpiter — «Diirer inverted the square to get the number 1514 in the bottom row, which is the year the engraving was done» [«Diirer» por Dürer, del OCR] — y Yates sostiene que el grabado se basa en el capítulo LX del manuscrito original de Agrippa.
Erasmo llamó a Agrippa «fiery genius» (Epistles, libro 27); Trithemius tomó el lenguaje de Agrippa para su propia obra sobre la escala de números.
La respuesta de Trithemius a la carta de Agrippa distingue lo que puede decirse a cada quien: «communicate vulgar secrets to vulgar friends, but higher and secret to higher, and secret friends only», y lo cierra con «Give hay to an ox, sugar to a parrot».
Freake, el traductor de 1651, encarece el arte en su alocución «Judicious Reader»: sirve «to defend kingdoms, to discover the secret counsels of men, to overcome enemies», y pide indulgencia para el autor — «Gold hath much blackness adhering to it as soon as it is taken out of the earth», de modo que el lector «wilt rather admire his solidity, than condemn his vanity». Es voz del TRADUCTOR sobre Agrippa, no de Agrippa ni de Trithemius.
La dedicatoria de James Freake a Robert Childe: «You are skilled in the one as if Hermes had been your tutor; have insight in the other, as if Agrippa your master.» — y el encomio de Thomas Vaughan («Eugenius Philalethes»), que llama a Agrippa «grand Archimagus».
Sobre el Cuarto Libro espurio: Wierus lo denuncia como impostura; Turner reunió bajo ese título seis tratados que Agrippa no escribió, incluido el De speciebus magiae ceremonialis de Georgius Pictorius Villinganus; el apéndice lo llama «a spurious and inferior production very much in keeping with the quality of medieval gr» —«grimoires», partido por el renglón—.
Contra la fábula del perro-demonio (Del Rio, Bodin, Thevet, Jovius), el testimonio del discípulo Wierus: «And when Agrippa and I were eating or studying together, this dog always lay between us».
Tyson, en la presentación de su edición: «The Three Books of Occult Philosophy is the single most important text in the history of Western occultism.»
Tyson sobre la deuda no reconocida del ocultismo moderno: «Occultists and magicians have been drawing upon its vast storehouse of magical lore for five centuries, although they seldom if ever credit their source.»
Tyson consigna el estado editorial de la obra antes de su trabajo: «Though countless writers have borrowed from the text, the Occult Philosophy has never been reprinted in its entirety, except in limited facsimile editions, since 1651.»
Tyson describe el criterio con que corrigió: «These errors could only be corrected by understanding the material completely: not only what was present in the text, but what should be, and should not be, present.»
Tyson enumera lo que su edición restituye: «For the first time in 500 years (first Latin edition, Antwerp, 1531), the seals, sigils, and magic squares of the planets, which are universally used in modern magic, are correctly given, and their structure and construction fully explained.» — nótese que aquí data la primera edición latina en Amberes 1531, en tensión con la p. 41, donde pone la primera completa en Colonia 1533.
Tyson caracteriza la obra en la historia de la magia: «The Occult Philosophy is the most complete repository of Pagan and Neoplatonic magic ever compiled.» — y «This book is the source, and represents the crossroads between the ancient and modern worlds of magic.»
Tyson adjudica las fuentes que Agrippa reunió: «Agrippa drew upon the Egyptian, Greek, Roman, Arabic and Jewish writers who had gone before him.»
Tyson explica por qué los errores se perpetuaron: «The use of these sigils is virtually universal in modern occultism, but always the errors were simply copied, because those who use and transmit them do not know what they mean or how to make them.»
Tyson declara el límite de su propia verificación: «It was not possible in the time and with the resources available to me to track down and verify every one of Agrippa’s hundreds of sources.» — y «where a question arises in his mind, it probably arose beforehand in the mind of the editor, who found it impossible to answer.»
Tyson sobre el método con que restituyó las tablas: «Fortunately by examining the interior logic of the structures it was possible to correct them, perhaps the first time this has been done anywhere in the 500-year history of the work.»
Tyson interpreta el propósito de Agrippa: «Agrippa knew he could never compress the entire literature of magic into a single volume, so he pointed the way.»
Sobre el nombre: Tyson consigna que el autor firmaba abreviado — «Agrippa dropped the first and last parts of his name—I am almost inclined to say the German half—and in his writings refers to himself only as Cornelius Agrippa.»
Tyson recoge de Aulo Gelio la etimología del nombre: «Aulus Gellius (Noctes Atticae 16.16) says that the word “‘agrippa” was coined by the Romans to signify a child born feet first and the difficulty experienced by the mother at such a birth.» [las comillas dobles duplicadas son del OCR].
Tyson sobre la vocación temprana, apoyada en el epistolario: «He himself confides in a letter (epistle 23, bk. 1) that at a very early age he was possessed by curiosity concerning the mysteries.»
Tyson deja en duda los títulos que Agrippa se atribuía: «Agrippa claimed to possess doctorates in canon and civil law, as well as medicine, but the exact times and places these were earned remains a matter for speculation.»
Tyson adjudica a Agrippa el papel principal en la conjura de Tarragona: «Agrippa was the mastermind and central mover of this entire affair.» — y describe el método, «The fort could not be taken by a direct assault, but was to be seized through subterfuge by a small band led by Agrippa and others.»
Voz del propio Agrippa citada por Tyson, sobre los métodos de la conjura: «But with a profligate conscience to wish to continue in such cruel devices, which after all have more in them of crime than of high daring, and for the sake of the rage of one ill-advised prince to expose ourselves to universal hatred, would be utterly impious and mad»
Tyson narra la fuga de la torre: «Agrippa hit upon the device of disguising the son of the keeper of the tower as a leper, and so effective was this ruse, the boy was able to leave the tower and return with an answer from the Archbishop of Tarragon, who was opposed to the rebel cause, without once being challenged.» — y adjudica el efecto, «It nurtured the legend of Agrippa’s unholy power, which at that time was only beginning to take root.»
Tyson sobre la ruptura con la política: «A demoralized Agrippa seems to have washed his hands once and for all both of the still unresolved intrigue in Tarragon, and all political machinations in general.»
Tyson sitúa el encuentro con el astrólogo de Valencia: «He traveled first to Barcelona, then to Valantia where he met with the astrologer Camparatus Saracenus, a disciple of Zacutus.» — el nombre queda como lo imprime la edición y pide cotejo.
Tesis de Tyson sobre lo que la magia significaba para Agrippa: «Magic for Agrippa was the highest and most sacred of disciplines, capable of transforming the soul.»
Tyson sobre el trato con Trithemius, y marcando su propia conjetura: «According to Henry Morley, Agrippa became acquainted with Trithemius there upon his return from Spain» — precedido de «It must be stressed that all this is only conjecture on my part.»
Tyson cita a Frances Yates sobre la dedicatoria: «Of the Occult Philosophy Frances A. Yates writes: “It was dedicated to Trithemius, who was undoubtedly an important influence on Agrippa’s studies.”»
Tyson sobre las lecciones de Dole: «The lectures were delivered free of charge to the general public in honor of Princess Margaret, the daughter of the emperor Maximilian I.» — dictadas sobre la obra de Reuchlin y abiertas con un panegírico a la princesa.
Tyson consigna la reacción que arruinó el proyecto de Dole: el fraile «took as his subject the lectures on Reuchlin delivered at Dole, and attacked beth the ideas expressed and their enthusiastic young exponent as impious.» [«beth» por «both», del OCR]
Tyson data la publicación del tratado sobre las mujeres y explica su retraso: «She had not yet read Agrippa’s treatise On the Pre-eminence of Women, which would not be published until 1532.» — y «Its publication was delayed so long because of the unfavorable opinion created in Margaret’s mind toward Agrippa by the Franciscan monk.»
Tesis de Tyson sobre la convivencia de las dos lealtades en Agrippa: «This ambivalence between Christian and pagan teachings persisted throughout the rest of his life.» — y la sitúa en el trato con el deán Colet en Inglaterra.
Conjetura de Tyson sobre la misión inglesa, declarada como tal: «Morley speculates that it was Agrippa’s task to sow the seeds of distrust in the mind of King Henry against Pope Julius II (Morley 1:229), but it seems to me that Maximilian was not so naive as to believe that Henry could be swayed by the words of a young German diplomat in so serious a matter—unless Maximilian expected Agrippa to use black arts to move the mind of the king.»
Tyson sobre el riesgo de la defensa de Reuchlin: «In that century it was always dangerous to champion the Jews before the conservative Church, which still blamed them for the crucifixion of Christ.»
Tyson data el regreso a las armas: «It is therefore surprising that in the spring or early summer of 1511 he enters military service.» — con la tarea inmediata de trasladar mil piezas de oro de Trento al campamento de Maximiliano en Verona.
Tyson sobre el concilio de Pisa: «Along with all the others who attended the Council, he risked excommunication. He took advantage of the occasion to lecture on Plato at the University of Pisa.»
Voz de Agrippa citada por Tyson, sobre su matrimonio: «I give innumerable thanks to the omnipotent God, who has joined me to a wife after my heart; a maiden noble and well-mannered, young, beautiful, who lives so much in harmony with all my habits, that never has a word of scolding dropped between us»
Tyson consigna las obras dedicadas al marqués de Monferrato: «To repay the Marquis of Monferrat for his continuing support during these dangerous shifting political times, Agrippa dedicated to him two works, the Dialogue on Man and the Triple Way of Knowing God.»
Tyson sobre el cargo de médico de corte: «Although he had no training or experience in practical medicine, he served as court physician.» — y «Although Agrippa labored as physician for the Duke of Savoy through the summer and into the fall of 1517, he was not paid anything.»
Tyson data el tratado sobre el pecado original: «No doubt Agrippa had more pleasure in writing a treatise On Original Sin, which he completed a few months after settling in Metz in 1518.»
Tyson resume el consejo de Agrippa contra la peste: «The best protection, he says, is to leave the city until the plague is over.» — y si no puede irse, purificar casa y ropa con fuego y sahumerios de ruda en vinagre.
Tyson data la geomancia de Agrippa por el lugar donde apareció: «He probably also wrote his short work Of Geomancy during his stay at Metz—at least, it was among his papers there.»
Tyson consigna la simpatía de Agrippa por Lutero: «He made no effort to conceal his admiration for Martin Luther, who was just then beginning to attract notice to his stand against Church corruption.» — en una ciudad que «had persecuted the Jews with great cruelty, and resisted the ideas of Luther with equal ferocity.»
Voz de Agrippa citada por Tyson, sobre la adversidad: «God bestows upon men gifts, not indeed always pleasant, very often even of adversity, yet always to assist us Here, or in the heavenly fatherland.»
Tyson sobre el proceso de brujería de Woippy, que Agrippa impugnó: «A peasant woman of the village of Vuoypy (Nauert spells it Woippy), to the northwest of Metz, whose mother had been burned as a witch, was herself accused of witchcraft.» — la grafía doble la consigna el propio aparato.
Tyson describe las irregularidades del proceso: «The torture was redoubled without witnesses.» — y «The husband of the accused was prevented from seeing her for fear that he might raise an objection or appeal.»
Tyson consigna el desenlace del juez: «The corrupt judge Leonard fell sick, and on his deathbed his conscience was haunted by the torments of the innocent woman.»
Voz de Agrippa citada por Tyson, sobre su salida de Metz: «I never was in any place from which I could depart more willingly than (with submission to you) from this city of Metz, the stepmother of all good scholarship and virtue»
Tyson sobre lo que estaba en juego en el proceso de Woippy: «It was intolerable to him that a beast in human form such as Savin could make a mockery of all law, justice and legal process without retribution.» — y consigna que Agrippa sabía el precio, «In this he merely upheld his office and duty, even though he knew it would lead to his own downfall.»
El argumento del inquisidor, citado por Tyson: «It must be so, because it is the custom with witches, from the very first, to sacrifice their infants to the demons,» — la premisa que Agrippa impugnó, y que hacía de la costumbre presunta una prueba.
Tyson consigna el desenlace del proceso: «So persistent, and so lucid, was Agrippa that the Inquisitor fell into discredit and was removed from the case.» — y «The accused woman received absolution from the vicar of the church of Metz.»
Tyson consigna el costo social de esa victoria: «People avoided Agrippa in the streets, afraid to be seen in his company.»
Tyson sobre la reacción de Colonia: «The University of Cologne was not receptive to his opinions, but there were many in the city of a like mind.»
Tyson data el segundo matrimonio: «While waiting at Geneva he took a second wife, a 19-year-old Swiss girl of noble family but no wealth named Jana Loysa Tytia.»
Tyson consigna que la caza de brujas en Metz siguió después de la partida de Agrippa: «A friend, Jehan Rogier, whom Agrippa usually refers to as Brennonius, wrote that the Inquisitor Savin had succeeded in having an old woman burned as a witch and had incited a full-blown witch craze.»
Tyson declara lo que el registro no permite resolver: «Whether his wife accompanied him on this journey and died on the way, or whether Agrippa carried her corpse to Metz to be buried beside the body of their infant daughter, is unclear.»
Tyson data el cargo en la corte francesa: «He turned down a place with the Duke of Bourbon; but when it was proposed to him that he become court physician to -the Queen Mother of France, Louise of Savoy, he succumbed to temptation.»
Tyson consigna la petición de Catalina de Aragón y la negativa de Agrippa: «Years later the sentiments expressed in the treatise would induce the Queen of England, Catherine of Aragon, to ask Agrippa to come to England and defend her against the divorce being forced upon her by Henry VIII. However at this late time in his life Agrippa had given up putting his trust in queens, and had no desire to antagonize yet another king— he would decline her request.»
Voz de Agrippa citada por Tyson, sobre el estipendio que no cobraba: «There is no friend here to help me; all comfort me with empty words; and the court title, which should have brought me honour and profit, aggravates my hurt, by adding against me envy to contempt.»
Voz de Agrippa citada por Tyson, sobre la astrología judiciaria que le exigían: «And if these things depend not on the stars, astrologers, indeed, run a vain course.» — y «what is least likely they believe most readily of the astrologers, as that the destinies of things are to be changed by planning from the judgements of astrology».
Voz de Agrippa citada por Tyson, negándose a seguir con la astrología de corte: «I have written, however, to the Seneschal that he should admonish her no longer to abuse my talent by condemning it to such unworthy craft, nor force me any more to stumble through this idle work, when I am able to be helpful to her with more profitable studies.»
Tyson consigna la imprudencia que le costó el puesto: «Not only was Agrippa imprudent enough to let it be known that he considered the stars favorable to the cause of Bourbon, but he was even prognosticating, privately if not publicly, the demise of Louise’s son.» — con el testimonio del cronista, «The French chronicler Claude Bellievre wrote that in May of 1527 Agrippa forecast from the heavens the death of Francis I within six months.»
Tyson consigna la causa material de la ruptura: «What Agrippa did not know was that for some time Louise had been intercepting and reading his letters to members of her court, letters that frequently contained none too flattering remarks about herself.»
Voz de Agrippa citada por Tyson, sobre lo que la profecía puede dar: «All the mad prophets of antiquity foresaw nothing but murder, slaughter, war, and havoc, and I know not how mad people can foresee other than the works of a madman.»
Tyson consigna a quién quedó dedicado el De vanitate: «The Uncertainty and Vanity of Sciences was eventually dedicated to a friend, Augustine Furnario, a citizen of Genoa.»
Voz de Agrippa citada por Tyson, en la carta amarga de 1528: «Take care never to address to me again as Counsellor, or Queen’s Physician. I detest this title.» — y el programa irónico que la acompaña, «I will cultivate no friendship save for money’s sake; I will be wise to myself, praise no man except through cunning, decry any man you please.»
Tyson sobre el testimonio de los que lo trataron de cerca: «It is significant that Wier, like most men who knew Agrippa intimately, spoke of him only in terms of highest respect and refuted the lies told against him.»
Tyson describe la edición trunca de 1531: «Although it bears the title Agrippa’s Three Books of Occult Philosophy, and carries the index to the entire work, it ends at the close of the first book.» — el índice completo con solo el Libro I impreso es la pieza dura del problema 1531/1533.
Tyson data la práctica alquímica de Agrippa: «In July 1529, Agrippa had both the leisure and the money to take up the practice of alchemy.» — y remite al epistolario, «He writes concerning a slow distillation that must be watched carefully in his laboratory (epistle 73, bk. 5).»
Tyson data el privilegio imperial: «Agrippa obtained license to print ahd retain the copyright in his own works for six years.» [«ahd» por «and», del OCR]
Tyson consigna qué provocó la ofensiva contra él: «The publication of the Uncertainty and Vanity of Sciences had stirred the ire of courtiers, priests, and other high officials, all of whom it satirizes unmercifully.»
Voz de Agrippa citada por Tyson, negándose a retractarse: «For the Emperor cannot condemn one whom the law hath not judged . . .» — y «I am condemned—unheard-of tyranny— before defense is heard, and to this tyranny the Emperor is provoked by superstitious monks and sophists.»
Voz de Agrippa citada por Tyson, en balance de su vida cortesana: «But I have lived honestly, having no reason to blush for my own deeds, and little to blame in fortune, except that I was born into the service of ungrateful kings.» — y «My folly and impiety have been, I own, worthy of condemnation, in that, against the warning of the Scriptures, I have put my trust in princes.»
Tyson consigna la denuncia inquisitorial contra los libros: «One of their number, Conrad Colyn of Ulm, the Inquisitor of Cologne, denounced the books in the strongest terms.» — y la defensa de Agrippa, «making the point that the books had been approved by the whole council of the emperor, and were to appear under imperial privilege.»
Tyson adjudica a un favor de corte la posibilidad misma de la publicación: «Finally, Agrippa had the good fortune to possess imperial approval of the work, obtained under the favor of Margaret of Austria.»
Tyson sobre el destino de los manuscritos: «He must have known that his end was near and made arrangements for his manuscripts to be carried to Lyons and given into the hands of his publisher.» — y sobre el desenlace, «Agrippa was able to flee in time into France, where the emperor, without renouncing the death sentence, condemned him to exile.»
Tyson consigna dónde quedó enterrado: «His corpse was laid to rest within a convent of Dominicans, his most hated enemies.»
La denuncia de Wierus contra el Cuarto Libro, citada por Tyson: «To these may very justly be added, a work lately published [1567], and ascribed to my late honoured host and preceptor, Henry Cornelius Agrippa, who has been dead more than forty years; whence I conclude it is unjustly ascribed to his manes, under the title of The Fourth Book of the Occult Philosophy, or of Magical Ceremonies,» — el corchete de fecha es del aparato de esta edición.
Tyson recoge de Morley el estado de la edición lionesa: «Concerning the Lyons edition, Henry Morley says that the Uncertainty and Vanity of Sciences was extensively cut to appease the censors (Morley 2:317).»
Tyson sobre el valor documental del epistolario: «It is indeed fortunate that these letters have survived.» — y «Had they not, we would today know as little about Agrippa as we know about Shakespeare.»
Tyson acota el alcance de la alquimia de Agrippa: «It is true that Agrippa dabbled in alchemy. But he was probably more concerned with finding useful medicinal extracts than the philosopher’s stone.» — y lo apoya en el pasaje del propio tratado sobre el peso del oro.
Tyson recoge la fábula del pago con cuernos y la remite a su origen: «It was also said by Martin Del Rio (in his Disquisitionum magicarum libri sex, first edition, Louvain, 1599-1600) and others that Agrippa paid his inn bills with bits of horn, casting a glamour over them so that they appeared to those who received them to be coins until Agrippa was safely away, at which time they changed back to their true appearance.» — y con Thorndike la remite a un dicho de Wierus mal leído.
Tyson consigna de dónde salió la fábula, siguiendo a Morley: «Morley, who quotes this tale (2:314—5), says that Del Rio lifted it whole from an earlier work published in Latin, Italian, French and Spanish» — obra que la edición nombra por sus títulos francés, italiano y español.
Tyson consigna el testimonio de Wierus sobre los perros: «Wierus says that when he knew Agrippa, his master had two dogs, a black male named Monsieur and a bitch named Mamselle.» — y cómo Bodin lo torció, «Bodin, in his Demonomanie, twists this innocent remark, inferring that Agrippa and Wierus were homosexual lovers and that the dog, which he assumes wrongly to have been a bitch, lay between them in their bed».
Juicio adverso que Tyson consigna sobre el peso histórico de Agrippa: «Neither is Henry Cornelius Agrippa of Nettesheim himself to be reckoned of much weight in intellectual history nor is his book on occult philosophy so important a work in the history of magic and experimental science as one might think at first sight.» — con la caracterización que lo acompaña, «He was not a person of solid learning, regular academic standing, and fixed position, but rather one of those wayward geniuses and intellectual vagabonds».
La réplica de Tyson a ese juicio: «He may have lacked the dogmatism and cant acquired by a formal Church education, but he was hardly unlearned.» — y «He was a genius whose wideranging mind refused to be bound by dogma.»
Tyson cierra la biografía con el argumento de la duración: «He left after him a book that has endured 500 years.» — y con la conducta que le reconoce en la peste de Amberes, quedándose a curar mientras sus colegas huían.
El paratexto de 1531 explica por qué la obra salió trunca: «but suddenly almost, and unexpectedly, the death of the sainted Margaret, as well as other cares, changed his course, and compelled him to desist from what he had begun.» — voz del editor de 1531, no de Agrippa.
Tyson identifica al impresor de 1533 y la razón del anonimato: «The printer was Soter and Hetorpius, but it was not considered necessary to draw attention to this fact, because the book had encountered considerable resistance from the Inquisitor of Cologne, Conrad Colyn of Ulm.»
Tyson recoge de Morley el juicio sobre la traducción de 1651: «Morley calls it “the best of the English translations,” but adds that it “is not very complete, and contains numerous blunders” (Morley 1:114—S5, footnote).»
Tyson declara el límite de su cotejo textual: «As for being incomplete, it corresponds more or less with the text of the version in the Opera—I cannot speak for the edition of 1533, which I have not seen.» — el editor moderno no vio la editio princeps que data.
Tyson sobre la edición facsimilar previa: «All its excellencies are Agrippa’s, although the plates of the Occult Philosophy have been elegantly redrawn, complete with their original errors.» — y «The text has modernized spelling and some punctuation modifications, but is otherwise unchanged from the Freake text.»
Tyson sobre Francis Barrett: «Barrett himself deserves nothing but contempt.» — el juicio va junto a la adjudicación de que el Magus procede íntegro de esta obra.
Tesis de Tyson sobre la operación intelectual de Agrippa: «Agrippa was perhaps the first to thoroughly blend and integrate these two occult streams, which until that time were separate (Neoplatonism had some influence on Jewish Kabbalists, but the Kabbalah none at all on the descendants of Neoplatonism).»
Tyson recoge la lectura de Yates: «Frances A. Yates asserts that Agrippa regarded himself as a Christian Kabbalist after the model of Pico della Mirandola, who was the first to introduce the Kabbalah to non-Jewish western scholars.»
Yates sobre el propósito del tratado, citada por Tyson: «In fact, I believe Agrippa’s aim is precisely that of providing the technical procedures for acquiring the more powerful and ‘wonder-making’ philosophy which Reuchlin had called for, a philosophy ostensibly Neoplatonic but including a mystical Hermetic-Cabalist core»
Tyson sostiene que la dispersión de la cábala por los tres libros es deliberada: «It is thus not accident or carelessness that causes elements of the Kabbalah to be scattered through all three of the books, but a deliberate effort to energize with practical formulae and procedures the classical philosophy, just then re-emerging into the light of the Renaissance;»
Tyson replica al juicio de Thorndike: «Those who denigrate it—Lynn Thorndike, for example, who calls it a “disappointing book” —are those who have neither respect for, nor knowledge of, the readers for whom it was written.»
Tyson traza la línea de transmisión hasta el ocultismo moderno: «Anyone who seriously looks at the methods of modern magic, at least as it is worked in English-speaking countries, will acknowledge that they are foremostly based upon the teachings of the Golden Dawn, a Victorian magical society, and the writings of the magician Aleister Crowley.» — y acota a Crowley, «his magical system is based upon Golden Dawn teachings with surprisingly few innovations.»
Encomio de Thomas Vaughan, que firma como Eugenius Philalethes, en el paratexto de 1651: «Your Fate is written by an Unseen Hand, But his Three Books with the Three worlds° shall stand.» — el pequeño círculo es la llamada de nota de esta edición.
Vaughan sobre el efecto de la lectura: «I am unbodied by thy Books, and Thee, And in thy Papers find my Ecstasy.» — y «Now I am Earth, and now a Star, and then A Spirit; now a Star, and Earth again;»
Noticia biográfica del paratexto de 1651, voz del editor inglés: «there were those who thought that he enjoyed commerce with devils, whom notwithstanding he confuted in his published Apology, and showed, that he kept himself within the bounds of art.» — consigna la acusación y la defensa, sin arbitrar.
El mismo paratexto de 1651 data la composición: «And when he was by these means famous for learning and arms about 1530, he gave his mind to writing, and composed Three Books of Occult Philosophy;» — una tercera fecha para el arranque de la obra, junto a las de 1509–1510 y 1531/1533 que la ficha ya registra.
El paratexto de 1651 enumera el resto de la obra de Agrippa: «He also wrote an History of the Double Coronation of the Emperor Charles, and also of the Excellency of the Feminine Sex, and of the Apparitions of Spirits;»
Respuesta de Trithemius a Agrippa, en el paratexto de 1651: «I wondered at your more than vulgar learning, that you being so young should penetrate into such secrets as have been hid from most learned men, and not only clearly, and truly, but also properly, and elegantly set them forth.»
Trithemius exhorta a Agrippa a no quedarse en una sola facultad: «no man, to the judgement of the wise, can be truly learned, who is sworn to the rudiments of one only faculty;» — y «neither think it sufficient that you stay about particulars, but bend your mind confidently to universals;»
La máxima de Trithemius sobre el saber: «for by so much the more learned anyone is thought, by how much fewer things he is ignorant of.»
Freake, el traductor de 1651, concede el defecto de la obra que traduce: «I cannot deny but in this his work there is much superstition, and vanity.» — y lo compensa con «Mysterious truths do not presently shine like rays of the Sun as soon as they are recovered from a long darkness, but are clouded with obscurity.»
Freake propone que la oscuridad puede ser deliberada: «Nay I will not say but this Agrippa might obscure these mysteries like an Hermetical philosopher, on purpose, that only the sons of art might understand them.»
Freake declara el criterio de su traducción: «Yet notwithstanding, I hope I have, though without much elegancy (which indeed the matter would not bear) put it into as intelligible an English phrase as the original would afford.»
Freake sobre a quién habla el libro: «I speak now to the judicious, for as for the others, they neither know, nor believe, nor will» — el resto de la frase queda partido por la foliación romana que el OCR arrastra al renglón.
Dedicatoria de Freake a Robert Childe, sobre el viaje del dedicatario: «I see it is not in vain that you have compassed sea and land, for thereby you have made a proselyte, not of another, but of yourself, by being converted from the vulgar, and irrational incredulities to the rational embracing of the sublime, hermetical, and theomagical truths.»
Freake contrapone ceremonia y religión en lo que su dedicatario vio: «There you have seen much ceremony, and little religion; and in the wilderness of New England, you have seen amongst some, much religion, and little ceremony; and amongst others, I mean the natives thereof, neither ceremony, nor religion, but what nature dictates to them.»
Freake sobre lo que pide al dedicatario: «To yourself therefore I crave leave to present, what I know you are able to protect; not with the sword, but by reason;» — y declara su propia labor, «This stranger I have dressed in an English garb; but if it be not according to the fashion, and therefore ungrateful to any, let your approbation make it the mode;»
Tyson sobre la genealogía de las descripciones de brujería que Agrippa recoge: «There is a remarkable similarity in the descriptions of the powers of witchcraft in Virgil, Apuleius, Ovid and Lucan—it may be presumed the latter three have drawn from Virgil.»
Nota de Tyson sobre el papel de los espíritus, en la fuente que reproduce: «They [spirits] are the envoys and interpreters that ply between heaven and earth, flying upward with our worship and our prayers, and descending with the heavenly answers and commandments, and since they are between the two estates they weld both sides together and merge them into one great whole.» — el corchete que identifica a los espíritus es del aparato.
La misma nota funda la necesidad del intermediario: «for the divine will not mingle directly with the human, and it is only through the mediation of the spirit world that man can have any intercourse, whether waking or sleeping, with the gods.»
Nota de Tyson que reproduce a Thomas Vaughan citando a Trithemius, sobre el medio de la obra: «By this only Medium was the secret of Nature laid bare unto Alchemists; without it no comprehension of the art can be acquired, nor the end of experiment discovered.» — la cadena de voces es Trithemius dentro de Vaughan dentro de la nota, y la propia edición da la referencia al Anima Magica Abscondita en la edición de Waite de 1888.
El comentario de Vaughan sobre esa cita, en la misma nota: «Thus far Trithemius, where for the better understanding of him, I must inform thee there is a two-fold Binarius, one of light and confusion; but peruse Agrippa seriously “Of the Scales of numbers,” and thou mayst apprehend all, for our abbot borrowed this language from him, the perusal of whose books he had before he published anything in this nature of his own.» — Vaughan invierte la dirección del préstamo que suele suponerse: hace a Trithemius deudor de Agrippa, y no al revés.
Nota de Tyson sobre la generación espontánea, para situar la doctrina de la p. 88: «The belief that some plants and animals, especially insects, were generated spontaneously in the earth without prior sexual union was universal in ancient times:» — y cita a Aristóteles, «all of which are not produced by animals, but from decaying matter, generate indeed but produce another kind, and the offspring is neither male nor female;»
Nota de Tyson que data el fin de la generación espontánea, y su lentitud: «Although Redi proved in 1668 that maggots did not arise from rotten meat, the question was still up in the air when Goldsmith wrote his Animated Nature (1774):» — y cita a Goldsmith, «But later discoveries have taught us to be more cautious in making general conclusions, and have even induced many to doubt whether animal life may not be produced merely from putrefaction.»
Nota de Tyson sobre la cosmología egipcia que hay detrás de la doctrina del agua: «They [Egyptian priests] believe also that the sun and moon do not go in chariots, but sail about the world perpetually in certain boats; hinting hereby at their feeding upon and springing first out of moisture.» — el corchete es del aparato.
La misma nota adjudica la fuente de la primacía del agua: «They are likewise of the opinion that Homer (as well as Thales) had been instructed by the Egyptians, which made him affirm water to be the spring and first origin of things; for that Oceanus is the same with Osiris, and Tethys with Isis»
Nota de Tyson que reproduce a Thomas Vaughan sobre el aire: «This is no element, but a certain miraculous Hermaphrodite, the cement of two worlds, and a medley of extremes.» — y «It is Nature’s common place, her index, where you may finde all that ever she did, or intends to do.»
Adjudicación de Tyson a partir de la declaración de la p. 92: «Along with several similar casual references elsewhere in the text, this gives clear evidence that Agrippa’s knowledge of magic was practical as well as theoretical and that Trithemius was at least his fellow student, if not his master, in the Art.» — la conclusión es del editor, no del autor.
Nota de Tyson que da razón natural a una piedra del catálogo: «In fact, lightning actually can form a conical stone when it strikes and fuses fine sand into glass, called ceraunia (“thunder-stone”’): see Pliny 37.51.»
Nota de Tyson sobre el origen de la salamandra ígnea: «As a natural extension of the fable of its deadly fire quenching cold, the salamander was said to live and breed in the heart of the hottest flames.» — y adjudica la fortuna posterior del término, «Paracelsus (1493-1541) was probably the first to ascribe the name to the class of elemental fire spirits»
Nota de Tyson que documenta la práctica médica detrás de la paloma ígnea: «It was an old medical practice to apply living pigeons to the soles of the feet of those gravely ill with fever.» — con el testimonio de Pepys sobre Catalina de Braganza.
Corrección de Tyson a la disposición de las tríadas zodiacales: «Although the elemental trines of the zodiac are often written in this order, it does not display their parallel structure.»
Tyson declara perdida la fuente que Agrippa invoca para el fuego griego: «This lost work on Fire is unknown.» — y localiza la mención en los Problemas de Aristóteles.
Nota de Tyson que respalda la lámpara inextinguible con Agustín: «The Arcadian asbestos, being once inflamed, will never be quenched» — y la explica luego por el uso del amianto como mecha, «It makes an excellent lamp wick for a “perpetual” lamp—one constantly replenished with oil so that it does not go out—since such a wick does not need to be replaced».
Nota de Tyson que reproduce la receta a la que Agrippa alude, tomada del Book of Secrets: «A marvellous experience, which maketh men to go into the fire without hurt; or to bear fire or red hot Iron in their hand without hurt.» — el editor da la fórmula que el autor solo insinúa.
Nota de Tyson con la fuente pliniana de la rémora: «It is believed that when this has attached itself to the keel of a ship its progress is impeded, and that it is from this circumstance that it takes its name.» — y con los versos de Lucano y de Ovidio que la repiten.
Corrección geográfica de Tyson: «There was another famous pass often called Caspiae Portae, but more correctly Caucasiae Portae» — la puerta que Agrippa nombra no es la que su nombre sugiere.
Nota de Tyson que reproduce la explicación de Lucrecio para el imán: «Lucretius elaborates on the notion that the loadstone works by creating a vacuum: In the first place, many atoms, or effluvia, must necessarily fly from off the stone, which, by their impact, disperse the air that is situated betwixt the stone and the iron.»
Tyson contradice por su cuenta dos afirmaciones del tratado: «Needless to say, neither diamond nor garlic has the least effect on the loadstone.» — la nota contradice el cuerpo del libro sin enmendarlo.
Nota de Tyson sobre el nombre del amianto en la tradición: «Albertus Magnus calls asbestos “salamander’s down” (Meteora 4.3.17).»
Nota de Tyson que documenta la virtud obstétrica de la etites: «The Book of Secrets says of the aetites: “It is profitable to women great with child; it letteth [stops] untimely birth” (2.41, p. 46).» — con Alberto Magno diciendo lo mismo.
Nota de Tyson que nombra la adivinación por el hacha al rojo: «it is said, make use of gagates in the practice of what they call axinomancy [divination by placing jet on the red-hot blade of an ax]; and they assure us that it will be sure not to burn, if the thing is about to © happen as the party desires.» — el corchete que define la axinomancia es del aparato; el signo suelto es la llamada de nota.
Nota de Tyson con la fuente pliniana de la hierba que quita el hambre: «The Scythae were the first to discover the plant known as “‘scythice,” which grows in the vicinity of the Palus Maeotis.» — y «By the aid of these two plants, the Scythae, they say, are enabled to endure hunger and thirst, so long as twelve days even.»
Nota de Tyson que reproduce el Timeo sobre el alma y su estrella: «He who lived well during his appointed time was to return and dwell in his native star, and there he would have a blessed and congenial existence.» — con la sanción que sigue, la caída a mujer y luego a bestia.
Nota de Tyson sobre la transmutación de metales, con el caso de Kelley: «Edward Kelley is said to have purchased two small caskets in Wales from an innkeeper who had derived them from the rifled sepulchre of a bishop.» — y la cifra que la tradición le adjudica, «According to one account, he and John Dee made trial of the Red Powder and found that it could convert 272,230 times its own weight into gold.»
Nota de Tyson que da la fuente del contagio por contacto, en los Marvels of the World atribuidos a Alberto: «Also Avicenna said, when a thing standeth long in salt, it is salt, and if any thing stand in a stinking place, it is made stinking. And if any thing standeth with a bold man, it is made bold; if it standeth with a fearful man, it is made fearful»
Nota de la edición sobre el imán, cuya atribución sale corrupta de la capa de texto: «We know that the loadstone draws iron strangely: and surely when I observed it at first, it made me much aghast.» — la primera persona no es de Agrippa sino de la fuente que la nota reproduce, y su nombre queda ilegible.
Nota de Tyson con la cadena de anillos de Platón: «This stone does not simply attract the iron rings, just by themselves; it also imparts to the rings a force enabling them to do the same thing as the stone itself,» — y con Plinio, «The lower classes, in their ignorance, call this “live iron,” and the wounds that are made by it are much more severe.»
Nota de Tyson que da las dos versiones del fénix: «One states that the bird combusts itself by flapping its wings on the altar, and rises from its own ashes; the other less attractive variation is that the new phoenix first emerges from the decaying corpse of the old as a small white worm.»
Observación general de Tyson sobre la mecánica del sistema: «The inversion of the magical virtue of things when applied to opposite conditions is very common.» — la misma cosa obra en un sentido y en el contrario según la condición a que se aplique.
Nota de Tyson que reproduce a Remy sobre el uso ambulante de los osos: «It is in connection with this that we see tumblers and strolling jugglers always leading bears with them, upon which, for a fee, they place children in order, forsooth, that they may thereafter be more secure from the fear of hobgoblins and spectres»
Nota técnica de Tyson sobre las dignidades planetarias: «When a planet is in the sign it rules, its operation is strong and pure;» — y su contrario, «When a planet is in a sign opposite its own, located 180° away around the heavens, it is said to be in detriment.»
Tyson explica por la exaltación la amistad que el texto afirma: «Since Saturn is exalted in Libra, which is one of the signs ruled by Venus, these planets are friendly to each other;» — la nota da la razón técnica que el cuerpo del libro no da.
Nota de Tyson que identifica al pez piloto: «The pilot fish (Naucrates ductor) is about 12 inches long and was well known in ancient times for supposedly guiding ships into port.» — y «It also accompanies sharks and was thought to guide the shark to its food.»
Nota de Tyson sobre el destino de Safo, cuyos versos el texto cita: «When he deserted her and sailed to Sicily, she threw herself into the sea»
Hallazgo de traducción que Tyson consigna, y que afecta a todo un tramo del catálogo: «For some reason that is not obvious, Freake has translated the Latin hyaena, the virtues of which Agrippa has correctly taken from Pliny, into the English “civet cat.”» — donde la traducción de 1651 dice gato de algalia, el latín de Agrippa dice hiena.
Nota de Tyson que confirma el desplazamiento con Plinio: «It is said also, that on coming in contact with its [the hyena’s] shadow, dogs will lose their voice, and that, by certain magical influences, it can render any animal immoveable, round which it has walked three times» — la virtud que el texto inglés adjudica al gato de algalia es de la hiena.
Adjudicación zoológica de Tyson: «It is clear that the basilisk is the king cobra, which raises the upper half of its body into the air, which has white markings on its hooded head, which hisses, which can shoot its venom some distance through the air by ejection and in this way blind its foes, and which was credited with the powers of fascination.»
Tyson separa dos criaturas que la tradición confunde: «If there is a distinction to be made between the basilisk and the cocatrice, which are always confused together by medieval writers, it is that the basilisk is a small serpent with a crown, or comb, on its head, whereas the cocatrice is a cock with the tail of a snake, hatched from a cock’s egg by a serpent.»
Tyson explica una virtud del catálogo por un error de copia: «The belief that this stone has a moderating virtue seems to have arisen from an error in copying by Marbodus, who renders Pliny’s imam sentit (“feels the file”; ie., is relatively soft) into lunam sentire putatur (“is thought to feel the Moon’).» — la virtud lunar del topacio nació de una lectura errónea de Plinio.
Nota de Tyson sobre cómo se desplazan las recetas: «In later times snake fat gave way by a process of magical displacement to snake root.»
Nota de Tyson con la fuente pliniana del amatista, donde la propia fuente rechaza la virtud que transmite: «The falsehoods of the magicians would persuade us that these stones are preventive of inebriety, and that it is from this that they have derived their name.» — la nota trae la autoridad y su desmentido a la vez.
Nota de Tyson que reproduce a Gerard sobre el agnus castus: «Agnus Castus is a singular medicine and remedie for such as would willingly live chaste, for it withstandeth all uncleanness, or desire to the flesh, consuming and drying up the seed of generation, in what sort soever it be taken»
Nota de Tyson que somete a prueba una de las enemistades del catálogo: «Maupertuis put three scorpions and a mouse into the same vessel together, and they soon stung the little animal in different places.» — con el resultado, que el ratón mató a los escorpiones y sobrevivió a las picaduras.
Nota de Tyson sobre el ibis que el texto invoca: «The Egyptians held that it was the bird of Thoth, whom the Greeks called Hermes Trismegistus, and venerated it as the destroyer of serpents.»
Nota de Tyson que nombra en términos modernos el miedo individual del que habla el texto: «sight of a cat—Agrippa was apparently familiar with phobias—in this particular case, ailourophobia—although the word “phobia” was not actually used until 1801.»
Nota de Tyson sobre el origen del prestigio mágico de los telquines: «They were artistic and skillful in metalworking, to which Strabo attributes their reputation as magicians.»
Nota de Tyson que da el término técnico de Ptolomeo: «The planets are said to be in their ‘proper face’ when an individual planet keeps to the sun or moon the same aspect which its house has to their houses;»
Nota de Tyson que reproduce el razonamiento del Book of Secrets, donde la virtud se deduce de la casa planetaria: «The root of this herb is marvellous good against the pain of the head, because the sign of the Ram is supposed to be the house of the planet Mars, which is the head of the whole world.» — la receta se justifica por la correspondencia, no por la observación.
Nota de Tyson que identifica las piedras que Proclo nombra: «The first stone of Proclus would seem to be the “Solis gemma” of Pliny» — y «The second stone, referred to by Agrippa, sounds like tigereye, or perhaps a pale form of star sapphire,».
Nota de Tyson con la descripción pliniana del iris: «It takes its name ‘iris’ from the properties which it possesses; for, when struck by the rays of the sun in a covered spot, it projects upon the nearest walls the form and diversified colours of the rainbow;»
Nota de Tyson que identifica el oropimente del texto: «auripigmentum—Orpiment, yellow arsenic, or king’s yellow, a bright yellow sulfide of arsenic used as artist’s pigment.»
Nota de Tyson que sigue el loto del texto hasta el Corán: «One was seen by Mohammed in the seventh heaven, on the right hand of the throne of God, marking the boundary beyond which none dare pass.» — y recoge de Jámblico la lectura simbólica, que la hoja y el fruto redondos figuran el movimiento del intelecto.
Nota de Tyson sobre el uso ritual romano de la verbena: «When official declaration of war was made, vervain was pulled from the soil of Rome and carried roots and earth to the land of the foe by a bearer, and» — y las virtudes que Plinio le adjudica, que aleja fiebres y concilia amistades.
Tyson declara el límite de la identificación botánica: «The calamus of Pliny is not known with certainty, but may have been of the genus Andropogon.» — y propone la lectura de Agrippa, «Agrippa probably refers to Acorus calamus, or sweet garden flag, which was early on substituted for the ancient herb».
Nota de Tyson que reproduce a Horapolo sobre el cinocéfalo y los relojes de agua: «for at the’ two equinoxes of the year it makes water twelve times in the day, once in each hour, and it does the same also during the two nights; wherefore not without reason do the Egyptians sculpture a sitting Cynocephalus on their Hydrologia (or waterclocks);»
Nota de Tyson que reproduce a Horapolo sobre el halcón solar: «They symbolise by it [the hawk] God, because the bird is prolific and long-lived, or perhaps rather because it seems to be an image of the sun, being capable of looking more intently towards his rays than all other winged creatures:»
La misma fuente egipcia detrás del gato lunar: «for they say that the male cat changes the shape of the pupils of his eyes according to the course of the sun: for in the morning at the rising of the god, they are dilated, and in the middle of the day become round, and about sunset appear less brilliant:» — nótese que en Horapolo el gato es SOLAR, y en el cuerpo del libro lunar.
Nota de Tyson con el duelo lunar del cinocéfalo: «For at the exact instant of the conjunction of the moon with the sun, when the moon becomes unilluminated, then the male Cynocephalus neither sees, nor eats, but is bowed down to the earth with grief, as if lamenting the ravishment of the moon:»
Nota de Tyson sobre la mancha lunar de la pantera: «It is said by some, that the panther has, on the shoulder, a spot which bears the form of the moon; and that, like it, it regularly increases to full, and then diminishes to a crescent»
Nota de Tyson con el respaldo pliniano del influjo lunar sobre los moluscos: «It is certain that the bodies of oysters and of whelks, and of shell-fish generally, are increased in size and again diminished by the influence of the moon.»
Nota de Tyson que da la creencia detrás del pelícano joviano: «The pelican was supposed to be able to revive her dead chicks with warm blood from her own breast.»
Nota de Tyson que reproduce a Horapolo sobre las aves de la gratitud: «To represent gratitude, they delineate a cucupha, because this is the only one of dumb animals, which, after it has been brought up by its parents, repays their kindness to them when they are old.» — con la cigüeña por caso paralelo.
Nota de Tyson que data la enseña romana: «Caius Marius, in his second consulship, assigned the eagle exclusively to the Roman legions.» — y añade de Plinio que desde entonces se decía que una pareja de águilas aparecía en cada campamento de invierno.
Nota de Tyson que reproduce el razonamiento del Book of Secrets sobre el beleño: «it is profitable against the griefs of the liver, and all his passions, because Jupiter holdeth the liver» — la virtud se deduce de la correspondencia planetaria y no de la observación.
Nota de Tyson con la razón pliniana del pez devoto: «These anthiae, it is said, when they see one of their number taken with a hook, cut the line with the serrated spines which they have on the back, the one that is held fast stretching it out as much as it can, to enable them to cut it.»
Nota de Tyson sobre la fama de Algol: «It has the reputation of being the most evil of all the stars.» — y sobre las Pléyades, «Only six stars are now visible, and the seventh is called the “lost Pleiad.”»
Tyson corrige el nombre de una de las quince estrellas: «The name given by Agrippa is a corruption of the Arabic Al Simak al Ramih, “the Lofty Lance-bearer.”»
Tyson consigna una discrepancia entre el nombre tradicional y la cartografía moderna: «Gienah, from the Arabic A/ Janah al Ghurab al Aiman, “the Right Wing of the Raven”; however this star is marked on modern charts in the left wing of the southern constellation Corvus.»
Nota de Tyson sobre el nombre de Antares: «The name means “like Ares (Mars),” after the red color of this star.»
Nota de Tyson que continúa la tradición del herbario hasta Culpeper: «Culpeper says the herbs are under Venus, and that “the leaves eaten by man and wife together cause love between them.”»
Nota de Tyson que documenta el uso real de una planta del catálogo: «The dried tops of the herb were used to procure abortions, kill intestinal worms, and relieve asthma.»
Nota de Tyson sobre la antigüedad de la quiromancia: «The most ancient classical writers refer to it—several allusions are made to palm reading by Homer, for example.»
Nota de Tyson que da razón material a una receta de escritura oculta: «Milk is one of the oldest and simplest kinds of invisible ink.»
Nota de Tyson que enfrenta a Paracelso con la doctrina de la mezcla que el capítulo defiende: «The art of prescribing medicines consists in extracting and not in compounding, it consists in the discovery of that which is concealed in things, and not in compounding various things and piecing them together.» — y su premisa, «the virtue that is inherent in each thing is homogeneous and simple, it is not split into two, three, four, or five, but is an undivided whole».
Nota de Tyson sobre una de las fuentes que el texto nombra: «The Book of Alchorath, a collection of wonders, is attributed to Hermes in The Book of Secrets,»
Nota de Tyson que reproduce el Asclepio sobre la fabricación de dioses: «But afterwards, they invented the art of making gods out of some material substance suited for the purpose.» — y el medio, «They are induced [into the statues], Asclepius, by means of herbs and stones and scents which have in them something divine.»
La misma nota da la fórmula hermética que está detrás del capítulo de las estatuas animadas: «So then, to combine such an invisible spirit by art with a visible image of some certain substance, which it must use as the soul does the body, this is to make a god, says he, and this wonderful power of making gods is in the hands of man.»
Nota de Tyson con la hierba de Demócrito que convoca a los dioses: «By means of this plant, he says, the Magi can summon the deities into their presence when they please.» — la aglaofotis, hallada, dice Plinio, en las canteras de mármol de Arabia.
Nota de Tyson con los precedentes de la resurrección por hierbas: «Xanthus, the author of some historical works, tells us, in the first of them, that a young dragon was restored to life by its parent through the agency of a plant to which he gives the name of ‘ballis,’ and that one Tylon, who had been killed by a dragon, was restored to life and health by similar means»
Nota de Tyson sobre el proceso a los templarios: «A man named Esquian de Horian was brought forward to reveal the horrible secrets of the Order, which supposedly included spitting and trampling on the cross, eating roast babies (an old favorite with denouncers), and worshiping a graven image named Baphomet.» — y su adjudicación, «But the real motives for the persecution were fear and greed.»
Nota de Tyson que cita al Malleus por su tesis central: «All witchcraft comes from carnal lust, which is in women insatiable.» — y lo juzga sin rodeos, «The Malleus is one of the few truly evil books that have ever been written.»
Tyson liga el Malleus a la biografía: «Agrippa was thoroughly familiar with this German work, published in 1486, and fought against it when he defended the accused witch at Metz.»
Adjudicación de Tyson sobre el uso real de las ataduras que el texto describe: «It was far more common for bindings to be made in support of theft than in restraint of it.» — y «It is difficult to imagine any other use for such bindings than to aid in housebreaking at night.»
Nota de Tyson que sigue la tradición de la atadura hasta la Mano de Gloria: «Along the same lines is the Hand of Glory, a magical device formed of the severed hand of a gibbeted felon.» — con las instrucciones del Petit Albert, la grasa extraída para la vela y el momento canicular bajo Sirio.
Nota de Tyson con el balance pliniano sobre el flujo menstrual: «It would indeed be a difficult matter to find anything which is productive of more marvellous effects than the menstrual discharge.» — y con el dato que la propia fuente da como reversible, «Bithus of Dyrrhachium informs us that a mirror, which has been tarnished by the gaze of a menstruous female, will recover its brightness if the same woman looks steadily upon the back of it ...»
Nota de Tyson con el pasaje de Plinio sobre el betún de Judea: «The bitumen that is found in Judaea, will yield to nothing but the menstrual discharge; its tenacity being overcome, as already stated, by the agency of a thread from a garment which has been brought in contact with this fluid.» — y su lectura del pasaje, «Pliny means that a thread from a cloth stained with menstrual blood can be used to cut bitumen without sticking to it.»
Tyson señala que Agrippa leyó mal esa fuente: «Agrippa seems to interpret these passages to mean that burning pitch, which is very difficult to extinguish, can be put out by a menstruous thread.» — la nota adjudica al autor una lectura que la fuente no sostiene.
Nota de Tyson con la definición pliniana del hipomanes: «The horse is born with a poisonous substance on its forehead, known as hippomanes, and used in love philtres; it is the size of a fig, and of a black colour; the mother devours it immediately on the birth of the foal, and until she has done so, she will not suckle it.»
Nota de Tyson que documenta el filtro de amor como caso histórico: «It is for certain thought that poisoned he was with a potion given unto him by his wife Caesonia, which indeed was a love medicine, but such a one as cracked his wits and enraged him» — el testimonio de Suetonio sobre Calígula.
Nota de Tyson con el rito completo de la pomada de Prometeo: «A man had only to smear it on his body, after propitiating the only begotten Maiden with a midnight offering, to become invulnerable by sword or fire and for that day to surpass himself in strength and daring.» — la invulnerabilidad dura un solo día.
Nota de Tyson con la fuente pliniana de la sangre de basilisco: «They attribute to it also the property of ensuring success to petitions preferred to potentates, and to prayers even offered to the gods; and they regard it as a remedy for various diseases, and as an amulet preservative against all noxious spells.»
Conjetura de Tyson sobre el uso material de esa sangre: «It seems to me that this was a dried ink used to draft petitions and write charms.» — la nota propone una explicación práctica para lo que el texto da por virtud.
Nota de Tyson con el protocolo pliniano del pronóstico por la garrapata: «for if the patient, they say, gives an answer to a person who has a tick about him, and, standing at the foot of the bed, asks how he is, it is an infallible sign that he will survive; while, on the other hand, if he makes no answer, he will be sure to die.»
Nota de Tyson con las fuentes antiguas de la licantropía: «Agriopas [or Apollas], who wrote the Olympionics [Olympic victors], informs us __ that Demaenetus, the Parrhesian, during a sacrifice of human victims, which the Arcadians were offering up to the Lucaean Jupiter, tasted the entrails of a boy who had been slaughtered; upon which he was turned into a wolf, but, ten years afterwards, was restored to his original shape»
La misma nota recoge el caso escita: «dwell in Scythia say, that every Neurian “once a year becomes a wolf for a few days, at the end of which time he is restored to his proper shape.»
Nota de Tyson con el caso de Agustín, donde la metamorfosis ocurre en sueños: «For one Prestantius told me that his father took that drug in cheese at his own house, whereupon he lay in such a sleep that no man could awake him: and after a few days he awoke of himself and told all he had suffered in his dreams in the meanwhile; how he had been turned into a horse and carried the soldier’s victuals about in a sack.» — la fuente que el texto usa para la transformación real la cuenta como sueño.
Nota de Tyson con el uso del anillo salomónico contra el demonio: «He put a ring that had a root of one of those sorts mentioned by Solomon to the nostrils of the demoniac, after which he _ drew out the demon through his nostrils; and when»
Nota de Tyson con la fuente de las lámparas que hacen ver caballos: «Anaxilaus assures us that if the liquid which exudes from a mare when covered, is ignited on the wick of a lamp, it will give out a most marvellous representation of horses’ heads; and the same with reference to the she-ass»
Nota de Tyson con la receta del Book of Secrets que hace creerse brujo a quien la rodea: «if it be joined with the blood of a female Lapwing, or Black Plover, and be put with oil in a lamp, all they that compass it about shall believe themselves to be witches, so that one shall believe of another that his head is in heaven and his feet in the earth.»
Tyson explica la comparación de Lucrecio que el texto cita sin desarrollar: «Lucretius is making the analogy that even as the blood flows toward the weapon, and the foe, that drew it forth in battle, so does the heart leap toward the individual who wounds it in love.»
Nota de Tyson con la receta pliniana de las uñas y las hormigas: «the finger-nails should be thrown at the entrance of ant-holes, the first ant to be taken which attempts to draw one into the hole; this, they say, must be attached to the neck of the patient, and he will experience a speedy cure.»
Nota de Tyson que precisa el origen del clavo curativo en Plinio: «So, too, in cases of quartan fever, they take a fragment of a nail from a cross, or else a piece of a halter that has been used for crucifixion, and, after wrapping it in wool, attach it to the patient's neck;» — el clavo es de una cruz, dato que el cuerpo del libro no conserva.
Nota de Tyson con la condición pliniana para la cura por mano de muerto: «indeed there are some who assert that any dead body will produce the same effect, provided it is of the same sex as the patient, and that the part affected is touched with the back of the left hand.»
Nota de Tyson con la fórmula que Plinio manda pronunciar sobre el bazo: «a fresh sheep's milt [spleen] is the best application for pains in the spleen, the person who applies it uttering these words: “This I do for the cure of the spleen.”»
Nota de Tyson que muestra el uso doble del salivazo en Plinio: «Some persons, however, before making an effort, spit into the hand in the manner above stated, in order to make the blow more heavy.» — el mismo gesto que quita el dolor sirve para hacer más pesado el golpe.
Nota de Tyson sobre el colegio augural romano: «Originally there were three, but by the time of Julius Caesar their number had swelled to sixteen, and Augustus Caesar was given the power to elect as many as he pleased.» — y su alcance, «All official acts were sanctioned by favorable auguries, or delayed until the portents were more auspicious.»
Nota de Tyson que precisa el vocabulario técnico: «When the term auspex fell out of use and was replaced by augur, auspicium was retained as the scientific term for the observation of signs.»
Nota de Tyson sobre el origen etrusco de la disciplina que Agrippa expone: «They were studied in the schools of the Lucumones, to which the Romans also were accustomed to send some of their noblest youths for instruction, since it was from the Etruscans that the Romans borrowed most of their arts of divination.» — con los libros sagrados atribuidos a Tages.
Nota de Tyson que da la clave de por qué las tablas de augurios discrepan: «The Roman augurs looked to the south, the Greek augurs to the north; therefore the left was lucky in Rome, the right lucky in Greece.» — la orientación del augur invierte el valor de los lados.
Nota de Tyson con la regla direccional: «Entry of an animal from the east was favorable, from the west unfavorable.»
Nota de Tyson que trae la burla de Cicerón sobre la misma materia que el capítulo expone: «We are, however, so silly and inconsiderate, that if mice, which are always at work, happen to gnaw anything, we immediately regard it as a prodigy.» — la nota pone la crítica antigua junto a la doctrina.
La misma crítica ciceroniana aplicada al gallo: «As, then, this animal is so much inclined to crow of its own accord, what made it occur to Callisthenes to assert that the Gods had given the cocks a signal to crow; since either nature or chance might have done it?»
Nota de Tyson que reproduce a Horapolo sobre la paloma viuda: «When they would symbolise a woman who remains a widow till death, they depict a black dove; for this bird has no connection with another mate from the time that it is widowed»
Nota de Tyson con la fuente egipcia del águila que el texto usa: «And they use it [eagle] to denote excellence, because it appears to excel all birds—and for blood, because they say that this animal does not drink water, but blood—and for victory, because it shows itself capable of overcoming every winged creature ...»
Nota de Tyson con el augurio de Livio sobre el gorro de Tarquinio: «Up went the bird with a great clangour of wings until, a moment later, it swooped down again and, as if it had been sent by heaven for that very purpose, neatly replaced the cap on Lucumo’s head, and then vanished into the blue.” »
Nota de Tyson sobre la cabeza oracular de Orfeo: «Horace calls Orpheus the interpreter of the gods, and Philostratus says that his head was preserved after death at Lesbos to give oracles.»
Tyson corrige la lectura de las grullas: «Pliny says that when cranes “make for the interior” or fly inland, it foretells a storm, but “Cranes when they fly aloft in silence announce fine weather ...» — en la fuente el signo es el silencio y la dirección, no la velocidad.
Nota de Tyson que identifica dos aves del catálogo: «It is conjectured that the bird originally referred to was the lammergeyer, or bearded vulture (Gypaetus barbatus), which breaks bones open by dropping them from a great height,» — y sobre el busardo, que «its weak beak and talons and lack of courage made it useless for falconry.»
Nota de Tyson con el origen de la disciplina etrusca: «The information they derived from this Tages was the foundation of the science of the soothsayers, and was subsequently improved by the accession of many new facts, all of which confirmed the same principles.»
La misma nota trae el deseo contrario de Arrunte en Lucano: «May the Gods grant a prosperous result to what has been seen, and may there be no truth in the entrails; but rather may Tages, the founder of the art, have fondly invented all these things!» — el adivino desea que su propio arte sea falso.
Nota de Tyson con la lectura antigua del corazón faltante de César: «observed that he had reason to fear that he would lose both sense and life, since both of these proceed from the heart.» — y la razón que la sostiene, «because no living creature can subsist without a heart.»
Nota de Tyson con el presagio del hígado según Plutarco: «the victim’s liver showed the figure of a crown of laurel with two fillets hanging from it»
Nota de Tyson con la doctrina pliniana del rayo por cuadrantes: «But it prognosticates the greatest felicity when the thunder proceeds from the first-mentioned part of the heavens and falls back into it; it was an omen of this kind which, as we have heard, was given to Sylla the Dictator.»
Nota de Tyson con los prodigios sonoros que Plinio registra: «We have heard, that during the war with the Cimbri, the rattling of arms and the sound of trumpets were heard through the sky, and that the same thing has frequently happened before and since»
La misma nota con el prodigio anterior a Leuctra: «How many intimations were given to the Lacedaemonians a short time before the disaster of Leuctra, when arms rattled in the temple of Hercules, and his statue streamed with profuse sweat!»
Nota de Tyson con el caso pliniano de Corfidio: «Varro informs us. ... that Corfidius, who had married his maternal aunt, came to life again, after the funeral had been all arranged, and that he afterwards attended the funeral of the person who had so arranged his own»
La misma nota con el desenlace de Aviola, que la ficha citaba solo por el nombre: «Aviola, a man of consular rank, came to life again when on the funeral pile; but, by reason of the violence of the flames, no assistance could be rendered him, in consequence of which he was burnt alive.»
Nota de Tyson que acota el prodigio de Apolonio: «but by merely touching the body, and murmuring a few words over her, he woke the girl from her seeming death,» — la fuente misma dice muerte aparente, no muerte.
Nota de Tyson con la explicación pliniana del poder de los Psilos: «In the bodies of these people there was by nature a certain kind of poison, which was fatal to serpents, and the odour of which overpowered them with torpor:» — y el uso que le daban, exponer al recién nacido a las serpientes para probar la fidelidad de la madre.
Nota de Tyson con la historia completa de Epiménides: «he slept for fifty-seven years; and that when he awoke, as though it had been the following day, he was much astonished at the changes which he saw in the appearance of every thing around him:» — y el saldo, que su vejez llegó en tantos días como años había dormido.
Nota de Tyson con el detalle que delata a los Siete Durmientes: «When he tried to pay the baker with a coin two centuries old, he was questioned before a judge and finally led the officials of the town to the cave, where the truth became known.» — y el desenlace doble que la tradición conserva sin arbitrar.
Nota de Tyson con la explicación naturalista de Aristóteles para los sueños proféticos: «of inferior type, which implies that God does not send the dreams; but merely that all those whose physical temperment is, as it were, garrulous and excitable, see sights of all descriptions;» — la fuente que el capítulo invoca niega el origen divino del sueño.
La misma nota funda las sibilas en el temperamento: «Many too, if this heat approaches the region of the intellect, are affected by diseases of frenzy and possession; and this is the origin of Sibyls and soothsayers and all inspired persons, when they are affected not by disease but by natural temperament.»
Nota de Tyson con el Ion de Platón sobre la posesión poética: «the epic poets, all the good ones, have their excellence, not from art, but are inspired, possessed, and thus they utter all these admirable poems.» — y su corolario, que en el arrebato báquico no están en su juicio.
Nota de Tyson con el Ion de Platón sobre el rapsoda poseído: «But the majority are possessed and held by Homer, and, lon, you are one of these, and are possessed by Homer.» — la posesión se reconoce en que solo despierta ante un poeta y duerme ante los demás.
Nota de Tyson con el caso de Tinico, que Platón alega: «He never composed a single poem worth recalling, save the song of praise which everyone repeats, wellnigh the finest of all lyrical poems, and absolutely what he called it, an “Invention of the Muses.”» — Platón alega que un solo poema excelente en un poeta mediocre no puede venir del arte.
Nota de Tyson con el augur que vio a distancia la batalla de Farsalia: «An augur [Gaius Cornelius], if there is implicit credit to be given to those who relate it, sitting on the Euganean hill, where the steaming Aponus arises from the earth, and the waters of Timavus of Antenor are dispersed in various channels, exclaimed:— “The critical day is come, a combat most momentous is being waged, the impious arms of Pompey and of Caesar are meeting.”»
Nota de Tyson con la égloga de Virgilio que el texto lee como profecía de Cristo: «Now has come the latest age of the Cumaean hymn; the mighty line of cycles begins its round anew.» — y con la reserva que el propio poema pone, «Yet a few traces of ancient guile shall still be left behind ...»
Nota de Tyson con el Fedón sobre la condición del conocimiento: «Surely the soul can best reflect when it is free of all distractions such as hearing or sight or pain or pleasure of any kind—that is, when it ignores the body and becomes as far as possible independent, avoiding»
Nota de Tyson con el Timeo sobre la condición de los dioses creados: «ye are not altogether immortal and indissoluble, but ye shall certainly not be dissolved,» — y la razón de que el hombre no fuera hecho directamente, «if they were created by me and received life at my hands, they would be on an equality with the gods.»
Nota de Tyson que reúne las clasificaciones rivales de las pasiones: «Aristotle reduceth all to pleasure and pain, Plato to love and hatred, Vives to good and bad.» — y la de los tomistas, «The Thomists [disciples of Aquinas] subdivide them into eleven, six in the coveting, and five in the invading.»
La misma nota trae la imagen de Bernardo: «These four passions [joy, desire; sorrow, fear] Bernard compares to the wheels of a chariot, by which we are carried in this world.»
La misma nota liga las pasiones inmoderadas a la melancolía: «if they be immoderate, they consume the spirits, and melancholy is especially caused by them.»
Nota de Tyson que reproduce a Horapolo sobre el signo de la impureza: «To denote impurity, they delineate an oryx (a species of wild goat), because when the moon rises, this animal looks intently towards the goddess and raises an outcry, and that, neither to praise nor welcome her;» — la significación se deduce del gesto del animal ante el astro.
Nota de Tyson con la lectura egipcia del cuervo nocturno: «A night raven signifies death; for it suddenly pounces upon the young of the crows by night,» — junto a la contraria del búho, «The owl is the symbol of learning, and of the goddess Athena.»
Nota de Tyson con el jeroglífico del murciélago que el texto usa: «When they would symbolise a man who is weak and audacious, they portray a bat, for she flies though destitute of feathers»
Nota de Tyson con el jeroglífico del gorrión y el búho: «When they would denote a man who flees for refuge to his patron, and receives no assistance, they depict a sparrow and an owl; for the sparrow when pursued betakes itself to the owl, and being near it is seized»
Nota de Tyson que da la razón egipcia del augurio de los gallos de Tebas: «the Boeotian augurs affirmed that this was a sign of victory to the Thebang, because these birds crow only on occasions of victory, and maintain silence in case of defeat.»
Nota de Tyson con el jeroglífico de la mula estéril: «When they would symbolise a barren woman, they delineate a mule; for this animal is barren, [because its uterus is not straight]» — el corchete es del aparato.
Nota de Tyson que precisa la lectura del asno de Mario: «and said, that the fates designed his safety, rather by sea than land, because the ass neglected his dry fodder, and turned from it to the water.»
Nota de Tyson que identifica el libro augural etrusco que el texto nombra: «Ostentarian—Latin ostentum (portent, prodigy, wonder), the book of auguries used by the people of Etruria, supposedly given to them by Tages.»
Nota de Tyson con la fuente egipcia de la leona: «When they would symbolise a woman that has brought forth once, they depict a lioness; for she never conceives twice»
Nota de Tyson al capítulo LXVII, que documenta a qué se refiere el texto cuando invoca a los árabes y abre con ello una cita larga de la Summa contra gentiles: «We must observe, however, that Avicenna also (Metaph. X) holds that the movements of the heavenly bodies» — la oración sigue del otro lado del folio impreso 208, que el escaneo intercala a media línea.
Tyson enmarca así la larga cita de Tomás de Aquino con que anota el capítulo: «After stating the Arab position, that the soul of the heavens acts on man’s soul through the movement of the heavens, Aquinas goes on to dispute it, arguing that the soul of the heavens, if there is one, acting through the body of the heavens, has only the power to act upon the human body by stirring passions, but that the will of man is free to either acquiesce or contend with these passions as it chooses.» — contra la posición árabe que el texto invoca, el alma del cielo solo movería pasiones del cuerpo y la voluntad del hombre quedaría libre de acatarlas o de resistirlas.
Tyson cita a Aquino en la Summa contra gentiles: «It is evident, however, and we know by experience, that such occasions whether exterior or interior are not necessarily cause of choice: since man can use his reason to reject or obey them.» — la ocasión, exterior o interior, no basta para causar la elección, porque el hombre puede usar de su razón.
Sigue la cita de Aquino en la nota de Tyson, con la concesión que sostiene el capítulo: «But those who follow their natural bent are in the majority, and few, the wise alone to wit, are those who avoid the occasions of ill-doing and who follow not the impulse of nature.» — los que siguen su inclinación natural son los más, y los sabios que la evitan, los menos.
Cierre de la cita de Aquino en la nota de Tyson, que a su vez remite a Ptolomeo: «Hence Ptolemy says (Centilog. 8, 7, 1) that the soul of the wise man assists the work of the stars» — el alma del sabio ayuda a la obra de los astros.
Segunda cita de Aquino en las notas de Tyson, tomada del libro 3.25: «Now of all the parts of man, the intellect is the highest mover; for it moves the appetite, by proposing its object to it;» — el intelecto es el motor más alto porque mueve al apetito proponiéndole su objeto.
Tercera cita de Aquino en las notas de Tyson, del libro 3.92: «Since then man, as to his body, is subordinate to the heavenly bodies; as to his intellect, to the angels; and as to his will, to God: it is possible for something to happen beside the intention of man, which is nevertheless according to the order of the heavenly bodies, or the influence of the angels or even of God.» — escalona la subordinación del hombre —cuerpo a los astros, intelecto a los ángeles, voluntad a Dios— y de ahí saca que algo puede ocurrirle al margen de su intención.
Sigue la cita de Aquino en la nota de Tyson: «And although God’s action alone has a direct bearing on man’s choice, nevertheless the angel’s action has a certain bearing on man’s choice by way of persuasion;» — solo la acción de Dios toca directamente la elección; la del ángel obra por persuasión.
Sigue la cita de Aquino en la nota de Tyson: «Accordingly when, through the influence of higher causes, in the aforesaid manner, a man is led to choose such things as turn to his profit without his being aware of the utility by his own reason;» — el hombre llevado por causas superiores a escoger lo que le conviene sin advertir por qué.
Cierre de la cita de Aquino en la nota de Tyson, y con ello la definición escolástica del afortunado: «and through the divine operation his will is inclined so as to choose that which is profitable to him, without knowing why it is so; he is said to be fortunate ...» — los puntos suspensivos son del aparato.
Nota de Tyson al capítulo del habla, que documenta con Aristóteles la razón declarativa: «That perceiving and practical thinking are not identical is therefore obvious; for the former is universal in the animal world, the latter is found in only a small division of it.» — separa el percibir, común a los animales, del pensar práctico, que solo se da en unos pocos. La cita sigue del otro lado del folio impreso, que el escaneo entrega ilegible.
Cierre de la cita del De anima en la nota de Tyson: «while it is possible to think falsely as well as truly, and thought is found only where there is discourse of reason as well as sensibility.» — el error es propio del pensamiento y no de la percepción, y el pensar pide discurso de razón. La referencia que da el aparato es De anima 3.3.
Nota de Tyson sobre el poder oculto de las palabras, con Plinio por documento: «Thus, for instance, it is a general belief that without a certain form of prayer it would be useless to immolate a victim, and that, with such an informality, the gods would be consulted to little purpose.» — sin la fórmula debida el sacrificio se tiene por inútil.
Sigue la cita de Plinio en la nota de Tyson: «At the present day, too, it is a general belief, that our Vestal virgins have the power, by uttering a certain prayer, to arrest the flight of runaway slaves, and to rivet them to the spot, provided they have not gone beyond the precincts of the City.» — a las vestales se les atribuye detener con una oración al esclavo fugitivo, y con el límite del recinto de la ciudad.
Sigue la cita de Plinio en la nota de Tyson: «If then these opinions be once received as truth, and if it be admitted that the gods do listen to certain prayers, or are influenced by set forms of words, we are bound to conclude in the affirmative upon the whole question.» — condiciona la conclusión a que se admita que los dioses escuchan ciertas oraciones.
Cierre de la cita de Plinio en la nota de Tyson: «Our ancestors, no doubt, always entertained such a belief, and have even assured us, a thing by far the most difficult of all, that it is possible by such means to bring down lightning from heaven» — adjudica a los antepasados el punto que él mismo llama el más difícil de todos. La frase sigue tras el encabezado corrido de la plana.
Nota de Tyson que documenta con Jámblico la lengua de los pueblos sagrados: «For because the Gods have shown that the whole dialect of sacred nations, such as those of the Egyptians and Assyrians, is adapted to sacred concerns; on this account we ought to think it necessary that our conference with the Gods should be in a language allied to them.» — el trato con los dioses pide una lengua emparentada con ellos. El aparato cita On the Mysteries 6.4 en la versión de Taylor.
Sigue la cita de Jámblico en la nota de Tyson: «Because likewise, such a mode of speech is the first and most ancient. And especially because those who first learned the names of the Gods, having mingled them with their own proper tongue, delivered them to us, that we might always preserve immoveable the sacred law of tradition» — los primeros que aprendieron los nombres de los dioses los mezclaron con su propia lengua y así los transmitieron.
Adjudicación de fuente que hace Tyson en nota al capítulo: «this is based on the fragment from Proclus called De sacrificio et magia (see note 1, ch. XXII, bk. I). Agrippa draws heavily on this fragment for his magical theory.» — remite la doctrina de la atadura al fragmento de Proclo llamado De sacrificio et magia, y sostiene que de ahí saca Agrippa el grueso de su teoría mágica. La numeración del encabezado de la nota sale corrompida por el OCR.
Sigue la cita de Plinio en la nota de Tyson: «And then besides, there are different forms of address to the deities, one form for entreating, another form for averting their ire, and another for commendation.» — distingue las fórmulas de súplica, de aplacamiento y de alabanza.
Sigue la cita de Jámblico en la nota de Tyson: «For if any other thing pertains to the Gods, it is evident that the eternal and immutable must be allied to them.» — lo eterno e inmutable es lo que se emparienta con los dioses.
Sigue la cita de Jámblico en la nota de Tyson, y es la disyuntiva que decide el asunto: «For if names subsisted through compact it would be of no consequence whether some were used instead of others. But if they are suspended from the nature of things, those names which are more adapted to it will also be more dear to the Gods.» — si los nombres fueran convención daría igual cuál se usara; si penden de la naturaleza de las cosas, los más ajustados son los más gratos a los dioses. Tyson vuelve a reproducir este mismo pasaje en la p. 555.
Cierre de la cita de Jámblico en la nota de Tyson: «From this, therefore, it is evident that the language of sacred nations is very reasonably preferred to that of other men.» — de ahí se prefiere la lengua de los pueblos sagrados a la de los demás hombres. El aparato remite a 6.5 de la versión de Taylor.
Nota de Tyson que adjudica la fuente del pasaje: «Platonists therefore—Plato’s dialogue Cratylus is entirely concerned with the nature of names.» — pone el Crátilo de Platón como el diálogo dedicado a la naturaleza de los nombres.
Cita del Crátilo en la nota de Tyson, en boca de Sócrates: «Well, and if anyone could express the essence of each thing in letters and syllables, would he not express the nature of each thing?» — pregunta si expresar la esencia en letras y sílabas no sería expresar la naturaleza de la cosa. El aparato remite a Crátilo 423e.
Tyson acota enseguida lo que acaba de citar: «However he goes on to argue that in fallible human language names and essences do not necessarily agree.» — en la lengua humana, falible, nombres y esencias no concuerdan por fuerza.
Segunda nota de Tyson sobre el Crátilo, que reparte las posiciones del diálogo: «their names—This is the view Plato puts into the mouth of Cratylus, which is disputed by Socrates:» — la tesis del nombre verdadero es de Crátilo, y Sócrates la disputa.
Nota de Tyson sobre la doble virtud del nombre, y con una discrepancia de atribución dentro de la propia nota: «double virtue—Proclus in his C ommentary on Plato’s Timaeus distinguishes between two kinds of names, those given by the gods and those contrived by men: “For as the knowledge of the Gods is different from that of partial souls, thus also the names of the one are different from those of the other; since divine names unfold the whole essence of the thing named, but those of men only partially come into contact with them” (Iamblichus On the Mysteries [Taylor 290-2n]).» — el texto de la nota adjudica el pasaje a Proclo comentando el Timeo y la referencia entre paréntesis lo da como Jámblico en los misterios; se consignan las dos sin arbitrar.
Nota de Tyson que restituye entero el pasaje virgiliano del que el texto solo trae dos versos: «Virgil sings— “Warriors, hearts in vain most valiant, if you have a determined desire to follow one of desperate daring, you see what is the state of our fortunes; the gods by whom this realm stood fast, have all departed from it, and left the sanctuaries and shrines;» — los dioses que sostenían el reino lo han abandonado. El aparato remite a Eneida 2, hacia el verso 350.
Nota de Tyson que sitúa la fuente liviana que el texto nombra sin citar: «in Livy—The Roman dictator Camillus (396 BC) in the encampment beneath the walls of besieged Veii just prior to the Roman assault on that city:» — la plegaria de Camilo ante Veyes.
Sigue la cita de Livio en la nota de Tyson, y es la evocatio en acto: «Queen Juno, to you too I pray, that you may leave this town where now you dwell and follow our victorious arms into our City of Rome, your future home, which will receive you in a temple worthy of your greatness.”» — se le pide a Juno que deje la ciudad sitiada y siga a las armas romanas hasta un templo propio.
Nota de Tyson que encadena tres autoridades para la maldición que el texto no imprime: «Macrobius—Nicolas Remy quotes in full the curse used by the Romans ag.uinst their enemies, which occurs in the Saturnalia of Macrobius, 3.9:» — Remy la cita entera, y la toma de las Saturnales de Macrobio.
Apertura de la maldición romana en la nota de Tyson: «O Father Dis, O Shades of Jupiter, or by whatever other name it is right to invoke you, fill full of panic, fear and terror» — la fórmula deja abierto el nombre del dios invocado.
Cierre de la cita de Remy en la nota de Tyson, con los gestos del rito: «As he invokes the Earth, he touches the ground with his hands. As he invokes Jupiter, he raises his hands to Heaven. And as he takes his vow, he places his hands upon his breast.» — el aparato la remite a Demonolatry 2.9 en la traducción de Ashwin.
Tyson define una por una las ocho especies de fórmula que el capítulo anterior solo enumeraba: «enchantments—Incantations; formulae of words spoken or sung for a magical effect. 2. imprecations—Prayers for invoking a deity or spirit. 3. deprecations—Prayers for averting evil. 4. orations—Prayers of supplication to God. 5. invocations—Callings upon the presence or power of deities or spirits. 6. obtestations—Chargings or beseechings by sacred names in which God or other spiritual agencies are called to witness. 7. adjurations—Retractions and renouncings of oaths or pacts. 8. conjurations—Constraining and compelling of spirits by oaths.» — es el aparato el que separa imprecación de deprecación, obtestación de adjuración y esta de conjuración.
Nota de Tyson que pone al lado la traducción de Adlington del mismo pasaje de Apuleyo que el texto trae en versión de 1651: «O great and holy Goddesse, I pray thee by thy plenteous and liberall right hand, by the joyfull ceremonies of thy harvest, by the secrets of thy Sacrifice, by the flying chariots of thy dragons, by the tillage of the ground of Sicilie, which thou hast invented, by the marriage of Proserpin, by the diligent inquisition of thy daughter and by the other secrets which are within the temple of Eleusis in the land of Athens ...”» — las dos versiones inglesas difieren en el reparto de los secretos y en el nombre de la tierra de Eleusis, y se consignan las dos sin arbitrar.
Glosa mínima de Tyson que identifica el instrumento del encantador: «instrument—The articulated breath.» — el aparato resuelve en dos palabras lo que el capítulo deja sin nombrar.
Tyson traduce el soplo del mago a dos usos que él mismo trae de fuera del libro: «breathe—This is why gamblers blow upon dice for luck, and why shamans chant over the sick in such a way that their breath touches the patient.» — el jugador que sopla los dados y el chamán que canta sobre el enfermo.
Glosa de Tyson a la escritura invertida: «wrote backwards—Writing or speaking magical words backwards inverts their effects.» — invierte los efectos.
Nota de Tyson con el original de Apuleyo del que sale la lista del capítulo, en la traducción de Adlington: «saith Apuleius— Verily this tale is as true, as if aman would say that by sorcery and inchantment the floods might be inforced to run against their course, the seas to be immovable, the aire to lacke the blowing of windes, the Sunne to be restrayned from his naturall race, the Moone to purge his skimme upon herbes and trees to serve for sorceries: the starres to be pulled from heaven, the day to be darkned, and the darke night to continue still.» — allí la lista va como sarcasmo, encabezada por la salvedad de que el cuento es tan verdadero como todo eso.
Nota de Tyson que explica en qué consiste purgar la luna, con Lucano por documento: «Lucan adds further light on this practice of purging the Moon: There, too [in Thessaly], for the first time were the stars brought down from the headlong sky; and serene Phoebe, beset by the dire influences of their words, grew pale and burned with dusky and earthy fires, not otherwise than if the earth hindered her from the reflection of her brother, and interposed its shade between the celestial flames; and arrested by spells, she endures labours so great, until, more nigh, she sends her foam upon the herbs situate beneath.» — la luna acosada por los conjuros palidece y arroja su espuma sobre las hierbas de abajo. El aparato remite a Farsalia 6, verso 499.
Nota de Tyson con la versión en prosa del mismo pasaje de Lucano que el texto trae en verso: «sings Lucan—“The courses of things are stayed, and, retarded by lengthened night, the day stops short. The sky obeys not the laws of nature, and on hearing the spells the headlong world is benumbed; Jupiter, too, urging them on, is astounded that the poles of heaven do not go on, impelled by the rapid axles”» — aquí es Júpiter quien se asombra de que los polos no sigan su giro, detalle que la versión rimada de 1651 no conserva.
Sigue la nota de Tyson sobre la noche prolongada, con Ericto por protagonista: «Lucan elsewhere writes: “... the shades of night redoubled by her [{Erichtho's] art, wrapped as to her direful head in a turbid cloud, she wanders amid the bodies of the slain, exposed, sepulchres being denied”» — el aparato remite a Farsalia 6, verso 624.
Nota de Tyson que corrige la atribución del propio texto: «Virgil in Damon—’Song has even power to draw the moon from heaven; Circe by song transformed Ulysses’ crew; by song the clammy snake is burst asunder in the meadows” (Virgil Eclogues 8, c. line 67 [Lonsdale and Lee, 26]). Damon is a singing shepherd mentioned in this Eclogue, but in fact it is the shepherd Alphesiboeus who sings these lines.» — los versos de la égloga octava no los canta Damón sino el pastor Alfesibeo.
Nota de Tyson con la elegía de Tibulo en prosa, más larga que los versos que el texto imprime: «Tibullus saith— I have seen her draw down the stars from heaven; she turns the course of the swift lightning by her incantations; she cleaves the earth, brings out the Manes from the sepulchres, and calls down the bones from» — añade los manes sacados de los sepulcros y la leche con que la hechicera despide a las huestes infernales.
Cierre de la cita de Tibulo en la nota de Tyson: «She is said to possess alone all the evil herbs known to Medea, alone to have brought the fierce dogs of Hecate under subjection.» — se le adjudican todas las hierbas de Medea y el sometimiento de los perros de Hécate. El aparato la remite a Elegías 1.2 en la traducción de Kelly.
Nota de Tyson que adjudica la voz de la jactancia que el texto cita sin dueño: «in Ovid—the speaker is Medea: “O Night, most faithful to these my mysteries, and ye golden Stars, who with the Moon, succeed the fires of the day, and thou, three-faced Hecate, who comest conscious of my design» — quien habla en Ovidio es Medea, y su invocación abre por la Noche, los astros y la Hécate de tres rostros.
Sigue la cita de Ovidio en la nota de Tyson, y es el tramo que el verso de 1651 comprime: «I move, too, the solid rocks, and the oaks torn up with their own native earth, and the forests as well; I command the mountains, too, to quake, and the Earth to groan, and the ghosts to come forth from their tombs.» — las rocas, los robles arrancados con su tierra, los montes que tiemblan y los muertos que salen.
Cierre de la cita de Ovidio en la nota de Tyson, justo la línea que la edición dejaba cortada en el cuerpo: «Thee, too, O Moon, do I draw down, although the Temesaean brass relieves thy pangs. By my spells, also, the chariot of my grandsire is rendered pale; Aurora, too, is pale through my enchantments.”» — el bronce de Temesa alivia los dolores de la luna. El aparato remite a Metamorfosis 7.2, hacia el verso 193.
Nota de Tyson con el pasaje de Josefo que el texto solo menciona: «Josephus testifies— God also enabled him [Solomon] to learn that skill which expels demons, which is a science useful and sanative to men.» — a Salomón se le adjudica una ciencia de expulsar demonios, y se la llama útil y curativa.
Sigue la cita de Josefo en la nota de Tyson: «He composed such incantations also by which distempers are alleviated. And he left behind him the manner of using exorcisms, by which they drive away demons, so that they never return, and this method of cure is of great force unto this day ...» — deja además la manera de usar exorcismos, y el método sigue vigente al escribir. El aparato remite a Antigüedades 7.2.5 en la versión de Whiston.
Nota de Tyson con el pasaje de Celso que el texto resume: «Celsus Africanus reports— Celsus goes on to say: “Let any one inquire of the Egyptians, and he will find that everything, even to the most insignificant, is committed to the care of a certain demon.» — el reparto egipcio pone cada cosa, hasta la más ínfima, al cuidado de un demonio.
Sigue la cita de Celso en la nota de Tyson, con la salvedad de que otros dan un número mayor: «The body of man is divided into thirty-six parts, and as many powers of the air are appointed to the care of it, each having charge of a different part, although others make the number much larger. All these demons have in the language of that country distinct names; as Chnoumen, Chnachoumen, Cnat, Sicat, Biou, Erou, Erebiou, Ramanor, Reianoor, and other such Egyptian names.» — los nombres egipcios de los treinta y seis quedan tal como los imprime la edición y sin cotejo contra el facsímil.
Nota de Tyson sobre la obra que el texto invoca como de Alberto Magno: «Speculum—Speculum astronomiae, a work attributed to Albertus Magnus. For a discussion on the authenticity of this work, see the article by Lynn Thorndike in the Speculum 30 (1955), 413-33.» — la da por atribuida y remite la discusión de su autenticidad al artículo de Lynn Thorndike.
Nota de Tyson que declara cuál es a su juicio el punto capital de la magia práctica: «act of the disposition—A very important point in practical magic. It is not the chance conjunction of things that releases power, but their deliberate joining by a willful act.» — no es la conjunción casual de las cosas lo que libera el poder, sino juntarlas por un acto de voluntad.
Nota de Tyson con la égloga virgiliana en prosa, frente a los versos rimados que el texto imprime: «Virgil testifies— First these three threads of three hues each distinct around you I| entwine, and thrice around these altars draw your image; in an unequal number heaven delights.» — ahí aparece el gusto del cielo por el número impar, que la versión de 1651 no conserva. La nota sigue en una plana donde el escaneo entrevera las dos columnas.
Pie de una lámina que Tyson intercala en el capítulo: «Tetragrammaton Written in Stars from Dogme et Rituel de la Haute Magie by Eliphas Levi (Paris, 1855-6)» — es un grabado del Dogme et rituel de Eliphas Lévi, de 1855-6, puesto dentro de un libro de 1533.
Nota de Tyson con el pasaje hermético que el texto solo menciona: «saith Mercurius Trismegistus— There are two gifts which God _ has bestowed on man alone, and on no other mortal creature. These two are mind and speech; and the gift of mind and speech is equivalent to that of immortality. If a man uses these two gifts rightly, he will differ in nothing from the immortals; or rather, he will differ from them only in this, that he is embodied upon earth; and when he quits the body, mind and speech will be his guides, and by them he will be brought into the troop of the gods and the souls that have attained to bliss.» — mente y palabra son los dos dones que equivalen a la inmortalidad. El aparato lo remite al Poimandres 12(i).12 en la versión de Scott.
Glosa de Tyson a la figura de las letras: «figure of then—The shape of the Hebrew letters is based on the constellations.» — las remite a las constelaciones. El encabezado de la nota sale corrompido por el OCR.
Glosa de Tyson que explica al lector moderno los puntos y ápices: «points, and tops—The Hebrew alphabet contains no vowels. The letters are pointed, that is, distinguished by certain small marks, to indicate their pronunciation.» — el alfabeto hebreo no tiene vocales y los puntos indican la pronunciación.
Nota de Tyson que remite las técnicas cabalísticas del pasaje a su propio apéndice: «into the same—Mystical meaning is derived from seemingly mundane words by applying certain techniques of the practical Kabbalah that are described in Appendix VII.» — el sentido místico se saca de palabras aparentemente comunes.
Nota de Tyson con el Sepher Yetsirah del que sale la doctrina de los elementos, en la versión de Westcott: «First; the Spirit of the God of the living; Blessed and more than blessed by the Living God of ages. The Voice, the Spirit, and the Word, these are the Holy Spirit.» — la primera emanación es el Espíritu.
Sigue la cita del Sepher Yetsirah en la nota de Tyson: «formed in it twenty-two sounds—the letters; three are mothers, seven are double, and twelve are simple; but the Spirit is first and above these.» — las veintidós letras se forman en el aire, y el Espíritu queda por encima de ellas.
Sigue la cita del Sepher Yetsirah en la nota de Tyson: «Third; from the Air He formed the Waters, and from the formless and void made mire and clay, and designed surfaces upon them, and hewed recesses in them, and formed the strong material foundation.» — del aire salen las aguas y de lo informe el barro.
Cierre de la cita del Sepher Yetsirah en la nota de Tyson: «Fourth; from the Water He formed Fire and made for Himself a Throne of Glory with Auphanim, Seraphim and Kerubim, as his ministering angels; and with these three he completed his dwelling, as it is written, “Who maketh his angels spirits and his ministers a flaming fire.”» — del agua sale el fuego y con él el trono de gloria con ofanim, serafines y querubines.
Nota de Tyson con el pasaje de Orígenes que el texto solo menciona: «Origenes— And while still on the subject of names, we have to mention that those who are skilled in the use of incantations, relate that the utterance of the same incantation in its proper language can accomplish what the spell professes to do; but when translated into any other tongue, it is observed to become inefficacious and feeble.» — el conjuro dicho en su lengua propia obra, y traducido se vuelve ineficaz.
Cierre de la cita de Orígenes en la nota de Tyson: «And thus it is not the things signified, but the qualities and peculiarities of words, which possess a certain power for this or that purpose.» — el poder no está en lo significado sino en las cualidades de las palabras. El aparato la remite al Contra Celso 1.25.
Segunda objeción de Tyson al texto que anota: «three mothers—See the table of the Hebrew alphabet in Appendix VII. The three mothers of Agrippa do not agree with the Sepher Yetzirah:» — las tres madres que da Agrippa no concuerdan con las del Sepher Yetsirah.
Cita del Sepher Yetsirah con que Tyson funda esa objeción: «The Three Mothers are Aleph, Mem and Shin, they are Air, Water and Fire. Water is silent, Fire is sibilant, and Air derived from the Spirit is as the tongue of a balance standing between these contraries which are in equilibrium, reconciling and mediating between them.» — ahí las tres madres son aire, agua y fuego, y el aire hace de fiel de la balanza entre los contrarios.
Sigue la cita del Sepher Yetsirah en las notas de Tyson: «The Seven double letters, Beth, Gimel, Daleth, Kaph, Peh, Resh and Tau have each two sounds associated with them. They are referred to Life, Peace, Wisdom, Riches, Grace, Fertility and Power.» — las siete dobles tienen dos sonidos cada una y se refieren a vida, paz, sabiduría, riqueza, gracia, fertilidad y poder.
Cierre de la cita de las dobles en la nota de Tyson: «They are called Double, because each letter presents a contrast or permutation; thus Life and Death; Peace and War; Wisdom and Folly; Riches and Poverty; Grace and Indignation; Fertility and Solitude; Power and Servitude.”» — cada una lleva su contrario, de la vida y la muerte al poder y la servidumbre.
Nota de Tyson que declara abierta la correspondencia entre letras dobles y planetas, y propone una serie con su condición a la vista: «There is much dispute over the correct agreement between the seven double letters and the planets. If we may assume that the order of planets given in ch. 4, sec. 4 of the Sepher Yetzirah is parallel to the order of letters (by no means a safe assumption), this arrangement results: Beth—Sun; Gimel—Venus; Daleth—Mercury; Kaph—Luna; Peh—Saturn; Resh—Jupiter; Tau—Mars.» — la deriva de suponer paralelos el orden de planetas y el de letras, y llama a ese supuesto todo menos seguro.
Tyson adjudica esa misma serie a un antecesor: «Presumably this was the reasoning followed by Kircher, who made this assignment (see note 40 to ch. 4, Sepher Yetzirah [Westcott, 46]).» — Kircher, por el mismo razonamiento.
Segunda serie que propone Tyson en la misma nota, incompatible con la anterior: «It should be noted that the planets are presented in Sepher Yetzirah in their ancient order according to apparent speed of motion across the heavens—Saturn, Jupiter, Mars, Sun, Venus, Mercury, Moon—but that this list is broken into two parts in order to set the Sun at the head. If the original order of the planets were restored, it is possible a hidden attribution of the planets to the seven double letters would emerge: Beth—Moon; Gimel—Mercury; Daleth—Venus; Kaph—Sun; Peh—Mars; Resh— Jupiter; Tau—Saturn.» — restituyendo el orden antiguo de los planetas por velocidad aparente, saldría otra adjudicación. Las dos quedan consignadas sin arbitrar.
Tercera objeción de Tyson al texto que anota: «other twelve—The 12 simple, or single, letters of Agrippa do not agree with those given in the Sepher Yetzirah:» — las doce simples de Agrippa tampoco concuerdan con las del Sepher Yetsirah.
Cita del Sepher Yetsirah con que Tyson funda esa objeción: «The Twelve Simple Letters are Heh, Vau, Zain, Cheth, Teth, Yod, Lamed, Nun, Samech, Oin [Ayin], Tzaddi and Qoph; they are the foundations of these twelve properties: Sight, Hearing, Smell, Speech, Taste, Sexual Love, Work, Movement, Anger, Mirth, Imagination and Sleep.» — las doce simples se asientan sobre vista, oído, olfato, habla, gusto, amor sexual, trabajo, movimiento, ira, alegría, imaginación y sueño.
Sigue la cita del Sepher Yetsirah en la nota de Tyson: «These Twelve are also allotted to the directions in space: North-east, South-east, the East above, the East below, the North» — las doce simples se reparten también entre las direcciones del espacio. La enumeración sigue en la plana siguiente.
Tyson declara qué parte de la correspondencia no está en la fuente y de dónde viene entonces: «The assignment of the 12 simple letters to the signs of the zodiac is not explicitly given in Sepher Yetzirah, but most authorities have allotted the letters in their natural order, beginning with Heh for Aries, Vau for Taurus, and so on. This is the modern practice.» — el reparto de las doce simples entre los signos no aparece en el Sepher Yetsirah, y el orden natural desde Heh por Aries es práctica moderna.
Glosa de Tyson al reparto latino: «its idiom—Y is not included in the list of Latin letters.» — la ye queda fuera de la lista.
Declaración de intervención editorial de Tyson sobre la tabla del capítulo, en primera persona: «following table—I have corrected the errors in the table, and to avoid confusion have taken the liberty of rendering the last Latin vowel, given by Agrippa in the form V, into the modern form U; and also changed the first consonant I, into J.» — dice haber corregido los errores y haber modernizado la uve en u y la i consonante en jota.
Glosa de Tyson a los dos modos de numerar la letra, y con su reserva dentro: «preceding letters—The extended number would seem to be the position of the letter in the alphabet— for example, Daleth would have the extended number 4; the collected number would seem to be the sum of the extended number of that letter and of the letters preceding it—for example, Daleth would have the collected number 1+ 2+3+4=10.» — dice dos veces que el número extendido y el recogido parecen ser lo que propone, sin darlo por cierto.
Glosa de Tyson al número integral, con el ejemplo de Yod escrito por extenso. «integral numbers—Any Hebrew letter can be written out at length. Yod, which has a value of 10, can be written Yod-Vau-Daleth for a numerical value of 10+6+4=20.» — el valor pasa de diez a veinte.
Nota de Tyson que identifica la declamación por la que atacaron a Agrippa: «vanity of things—De incertitudine et vanitate scientiarum.» — es el De incertitudine et vanitate scientiarum.
Nota de Tyson que identifica al César de la dedicatoria: «Caesar himself—Emperor Charles V.» — Carlos V.
Nota de Tyson que explica la elección del dedicatario: «seen abroad—Hermannus of Wyda was in rebellion against the authority of the Church and a Protestant reformer, the ideal patron to champion Agrippa in the name of freethinking and protect him from the wrath of the conservative clergy.» — Hermann de Wied estaba en rebeldía contra la autoridad de la Iglesia, y por eso lo llama el patrón ideal para amparar a Agrippa.
Objeción de Tyson al propio texto que anota, y con su límite dicho en la misma frase: «Perhaps Agrippa has confounded the first emanation of Spirit with the second emanation of Air. The Book of Formation, quoted above, was first published in Latin by William Postel in 1552, and it is difficult to know whether Agrippa had access to a manuscript copy in Hebrew or Latin.» — propone que Agrippa confundió la emanación del Espíritu con la del Aire, y a la vez reconoce que no se sabe si tuvo a mano el Libro de la Formación, que Postel no publicó en latín hasta 1552.
Nota de Tyson sobre los trípodes que el texto trae como autómatas: «They were taken as plunder in war and served almost as monetary units.» — aclara que servían de botín y casi de moneda.
Nota de Tyson sobre las columnas de Hércules que el texto menciona: «According to myth, they were once together, but Hercules tore them apart in order to get to Cadiz.» — las da por separadas por Hércules para llegar a Cádiz.
Nota de Tyson que documenta lo de los mares unidos: «The Egyptians constructed a canal between the Mediterranean and the Red Sea: Pasammetichus left a son called Necos, who succeeded him upon the throne.» — el canal egipcio entre el Mediterráneo y el mar Rojo.
Sigue la nota de Tyson sobre el canal: «This prince was the first to attempt the construction of the canal to the Red Sea—a work completed afterwards by Darius the Persian—the length of which is four day’s journey, and the width such as to admit of two triremes being rowed along it abreast.» — lo empezó Necos y lo terminó Darío el persa, y da su largo en cuatro jornadas y su ancho en dos trirremes.
Nota de Tyson con el pasaje de Agustín del que sale la imagen suspendida: «So then, if human art can effect such rare conclusions, that such as know them not would think them divine effects» — lo que el ignorante toma por obra de Dios es efecto del arte humano. La frase sigue en la plana siguiente.
Cierre de la cita de Agustín en la nota de Tyson: «verily believed they had seen a work of God’s immediate power, yet it hung so just because it was between two loadstones, whereof one was placed in the roof of the temple, and the other in the floor, without touching anything at all ...”» — la imagen colgaba entre dos imanes, uno en el techo y otro en el suelo. El aparato la remite a La ciudad de Dios 21.6.
Nota de Tyson con el pasaje de Plinio sobre el techo imantado del templo de Arsínoe: «The architect Timochares began to erect a vaulted roof of loadstone, in the Temple of Arsinoé [wife and sister of King Ptolemy II of Egypt], at Alexandria, in order that the iron statue of that princess might have the appearance of hanging suspended in the air: his death, however, and that of King Ptolemaeus, who had ordered this monument to be erected in honour of his sister, prevented the completion of the project.» — la muerte del arquitecto y la del rey dejaron la obra sin terminar.
Tyson objeta la explicación que acaba de citar: «It is just as likely that work stopped when Timochares began to realize the enormity of the technical difficulties involved in such a feat of engineering, and that the scale he planned was effectively impossible.» — propone que la obra se detuvo porque Timócares se dio cuenta de que la escala era irrealizable.
Tyson trae un segundo caso y ensaya una explicación mecánica: «The Latin poet Claudius Claudianus, who lived in the beginning of the fourth century, mentions a temple that held a statue of Venus made of loadstone, and another of Mars, of iron. During marriage ceremonies these were allowed to come together. If the two statues were suspended on wires, and gently swung together so that they clung, this is feasible.» — las estatuas de Venus en imán y de Marte en hierro que se juntaban en las bodas serían viables si colgaran de alambres.
Nota de Tyson que identifica al Serapis del texto: «Serapis—The Ptolomaic form of Osiris, said to be a combination of the names Apis and Osiris: “But the greatest part of the priests do say that Osiris and Apis are both of them but one complex being, while they tell us in their sacred commentaries and sermons that we are to look upon the Apis as the beautiful image of the soul of Osiris”» — forma ptolemaica de Osiris, y con Plutarco por documento de que Apis es la imagen del alma de Osiris.
Sigue la nota de Tyson sobre Serapis: «Serapis was linked with the Sun, as Isis was with the Moon, and was regarded as the “male counterpart of Isis” (Budge 1904, 2:20:349). Their worship was introduced into Rome in the time of Sulla (81-79 Bc), and despite resistance from both the senate, and later the Emperor Augustus, soon took firm hold.» — lo empareja con el Sol frente a la Isis lunar, y fecha la entrada del culto en Roma en tiempos de Sila.
Nota de Tyson sobre las cabezas oraculares: «brazen head—Tales of oracular heads of brass were popular. Brewer (1870) enumerates five, the most notable being that of Albertus Magnus, which took 30 years to make and was shattered by his disciple, Thomas Aquinas, who is also supposed to have smashed his master’s automatic doorman.» — cuenta cinco por Brewer, y da la de Alberto Magno como la más notable, rota por su discípulo Tomás de Aquino.
Tyson documenta la cabeza de Roger Bacon con una obra de teatro isabelina: «With seven years tossing nigromantic charms, Poring upon dark Hecat’s principles, I have framed out a monstrous head of brass, That, by the enchanting forces of the devil, Shall tell out strange and uncouth aphorisms, And girt fair England with a wall of brass.» — los versos son del Friar Bacon and Friar Bungay de Robert Greene.
Nota de Tyson que enlaza la cabeza de bronce con el Bafomet templario, por Lewis Spence: «According to Lewis Spence, it was revealed in 1818 that in the imperial museum of Vienna had been discovered several heads of Baphomet, the god of the Knights Templars: “These heads represent the divinity of the gnostics, named Mété, or Wisdom. For a long time there was preserved at Marseilles one of these gilded heads, seized in a retreat of the Templars when the latter were pursued by the law”» — las cabezas del museo imperial de Viena se dan por la divinidad gnóstica llamada Mété o Sabiduría.
Nota de Tyson que explica por qué la cabeza se hace bajo Saturno: «rising of Saturn—The head of Baphomet was supposed to possess a beard and the horns of a goat, or by other accounts to be a goat’s head (ibid., 63-4). Saturn, who is depicted as an ancient bearded man, tules in the zodiac sign of Capricorn, the Goat.» — Bafomet lleva barba y cuernos de cabra, y Saturno, viejo barbado, rige en Capricornio.
Nota de Tyson que rastrea la fuente de la fuente: «Boethius saith—See Boethius Consolation of Philosophy 3.9, the substance of which comes from Plato Timaeus 29-42.» — remite el pasaje de Boecio a la Consolación 3.9 y su sustancia al Timeo.
Nota de Tyson con la definición de Proclo: «Time is the number of the motion of the celestial bodies”» — el tiempo es el número del movimiento de los cuerpos celestes.
Nota de Tyson con el pasaje aristotélico sobre los pitagóricos: «since, then, all other things seemed in their whole nature to be modeled on numbers, and numbers seemed to be the first things in the whole of nature, they supposed the elements of numbers to be the elements of .all things, and ‘the whole heaven to be a musical scale and a number.» — los elementos del número por elementos de todas las cosas, y el cielo entero por escala musical.
Sigue la cita de la Metafísica en la nota de Tyson: «But the Pythagoreans have said in the same way that there are two principles, but added this much, which is peculiar to them, that they thought that finitude and infinity were not attributes of certain other things, e.g. of fire or earth or anything else of this kind, but that infinity itself and unity itself were the substance of the things of which they are predicated. This is why number was the substance of all things.» — lo peculiar de los pitagóricos es hacer de la finitud y la infinitud la sustancia misma, no atributos.
Nota de Tyson en la que la atribución no cuadra con la referencia que ella misma da: «Also Aristotle says: It is befitting, then, Glaucon, that this branch of learning should be prescribed by our law and that we should induce those who are to share the highest functions of state to enter upon the study of calculation and take hold of it, not as amateurs, but to follow it up until they attain to the contemplation of the nature of number, by pure thought, not for the purpose of buying and selling, as if they were preparing to be merchants and hucksters, but for the uses of war and for facilitating the conversion of the soul itself from the world of generation to essence and truth.» — anuncia a Aristóteles y el pasaje que sigue es de Platón, República 7.525c, según el propio paréntesis del aparato. Se consigna tal cual.
Nota de Tyson que enfrenta la receta del texto con el herbolario de Gerard, sin arbitrar entre ellos: «It is reported, that foure branches [of cinquefoil] hereof cureth quartaine agues, three tertians, and one branch quotidians: which things are most vaine and frivolous, as likewise many other such like, which are not only found in Dioscorides, but also in other Authors, which we willingly withstand.» — Gerard reporta la misma gradación de la cincoenrama y la llama vana y frívola.
Nota de Tyson que identifica la planta del texto y corrige la razón de su nombre: «turnisole—Small, or female, turnsole (Crozophora» tinctoria). Also called heliotrophium minus according to Gerard, not because it turns to face the Sun, but because it flowers at the summer solstice.» — no se llama así por volverse al Sol, sino por florecer en el solsticio de verano.
Segunda cita de Gerard en las notas de Tyson, sobre la verbena: «It [vervain] is reported to be of singular force against the Tertian and Quartane Fevers: but you must observe mother Bombies rules, to take iust so many knots or sprigs, and no more, lest it fall out so that it do you no good, if you catch no harm by it. Many odde old wives fables are written of Vervaine tending to witchcraft and sorcerie, which you may read elsewhere, for I am not willing to trouble your eares with reporting such trifles, as honest eares abhorre to heare.» — repite la regla de los nudos y se desentiende de las fábulas de brujería que rodean a la planta.
Comentario propio de Tyson sobre el herbolario que acaba de citar: «Mother Bombie is the John Doe of witches. Gerard seems to have been a little frightened of the whole subject of magic.» — lee en Gerard un temor al asunto entero de la magia.
Nota de Tyson que amplía el caso del séptimo varón: «seventh male—The power of healing is also said to reside in the seventh son of a seventh son.» — también se le adjudica al séptimo hijo de un séptimo hijo.
Nota de Tyson con el pasaje de Plinio sobre los números de los nombres: «of the discoveries made by Pythagoras, one of the most unerring, is the fact, that in the name given to infants, an odd number of vowels is portentous of lameness, loss of eyesight, or similar accidents, on the right [male] side of the body, and an even number of vowels of the like infirmities on the left [female].”» — el número par o impar de vocales del nombre se adjudica al lado derecho o izquierdo del cuerpo. Los corchetes son del aparato.
Glosa de Tyson a la indivisibilidad de la unidad: «into itself—Any one thing, divided, produces several single things, each one thing in itself. And the oneness of a thing cannot be greater or less than the oneness of any other thing.» — lo dividido produce cosas cada una una, y ninguna unidad es mayor ni menor que otra.
Nota de Tyson que documenta el Cupido del texto con la Teogonía: «Cupid—The Roman Eros, who according to Hesiod was the third born: Chaos was first of all, but next appeared Broad-bosomed Earth, sure standing place for all The gods who live on snowy Olympus’ peak, And misty Tartarus, in a recess Of broad-pathed earth, and Love, most beautiful Of all the deathless gods.» — en Hesíodo el Amor es el tercero, tras el Caos y la Tierra.
Cierre de la cita de Hesíodo en la nota de Tyson: «He makes men weak, He overpowers the clever mind, and tames The spirit in the breasts of men and gods.» — el Amor doma el espíritu de hombres y dioses.
Corrección de Tyson a la zoología del texto: «king amongst bees—The ancients entertained the mistaken notion that the single oversized bee in each hive was its king, whereas it is in fact female, and the queen. See Virgil’s description of the warfare between two rival “kings” in his Georgics 4, c. line 67.» — la abeja grande de la colmena no es rey sino reina, y remite a las Geórgicas por la guerra de los dos supuestos reyes.
Nota de Tyson con el pasaje de Plinio sobre las grullas que el texto invoca: «These birds agree by common consent at what moment they shall set out, fly aloft to look out afar, select a leader for them to follow, and have sentinels duly posted in the rear, which relieve each other by turns, utter loud cries, and with their voice keep the whole flight in proper array”» — eligen jefe, ponen centinelas y se relevan por turnos.
Nota de Tyson que nombra lo que el texto deja sin nombre: «one thing—The mysterious Azoth of philosophers—a word coined by hermetic alchemists from the first and last letters of the Latin, Greek and Hebrew alphabets to signify the hidden essence that pervades the universe. Paracelsus is represented with the word—minus the first letter—inscribed on the pommel of his sword in a woodcut from 1567» — el Azoth, palabra acuñada con la primera y la última letra de los alfabetos latino, griego y hebreo, y grabada, menos su primera letra, en el pomo de la espada de Paracelso.
Pie de la lámina que Tyson intercala junto a esa nota: «Paracelsus, showing the last four letters of Azoth on the pommel of his sword. from Astronomica et astrologica opuscula by Theophrastus Paracelsus (Cologne, 1567)» — el grabado sale de los Astronomica et astrologica opuscula de Paracelso, Colonia 1567.
Nota de Tyson que documenta con Teón de Esmirna por qué el dos se comporta como impar: «Some among the numbers are called absolute prime or incomposite numbers; ... They are the only indivisible numbers; thus none of the numbers other than unity (monad) can divide 3 in such a way that 3 could result from their multiplication. Indeed one times 3 is 3. Likewise, one times 5 is 5, one times 7 is 7, and one times 11 is 11. ... Also, only odd numbers can be prime and incomposite. Indeed the even numbers are not prime or incomposite; it is not only unity which measures them, but other numbers also. For example, the dyad measures 4 because 2 times 2 makes 4; 2 and 3 measure 6 because 2 times 3 and 3 times 2 make 6. All the other even numbers with the exception of 2 are likewise measured by numbers greater than the unit. The number 2 is the only one among the even numbers which is similar to the odd numbers in having only unity for its measure. Indeed one times two is two. Because of this it is said that the number two has the nature of the odd numbers because it has the same property as the odd.» — solo la unidad lo mide, como a los impares, y de ahí que se le adjudique su naturaleza.
Glosa de Tyson al nombre que el texto da al dos: «Juno—The Roman form of Hera, wife of Zeus and second only to him among the Olympians.» — Juno es la forma romana de Hera.
Nota de Tyson con Teón sobre el dos como primer aumento: «The first increase, the first change from unity is made by the doubling of unity which becomes 2, in which are seen matter and all that is perceptible, the generation of motion, multiplication and addition, composition and the relationship of one thing to another”» — en él se ven la materia, lo perceptible y el nacimiento del movimiento.
Corrección de Tyson a la zoología del texto, dicha con su reserva: «two doves—Perhaps a reference to Horapollo’s Hieroglyphics, 1.8, although the birds referred to here are crows, or ravens, not doves.» — propone el Horapolo como fuente y advierte que allí los pájaros son cuervos, no palomas.
Nota de Tyson que sitúa el escrito de Jerónimo que el texto invoca: «against Jovianus—Adversum Jovinianum libri II, written by Jerome in 393 at Bethlehem to denounce the supposed revival of gnostic ideas by Jovinianus.» — lo fecha en 393 en Belén y le da por blanco un supuesto rebrote gnóstico.
Nota de Tyson con la explicación de Rashi al segundo día, alternativa a la que da el texto: «And why was the expression “that it was good” not said on the second day? Because the work of creating the waters was not completed until the third day; for He had only begun it on the second; and a thing that is not completed is not at its perfection and at its best; on the third day however, when the work of creating the waters was completed and He began and completed another work of creation, the expression “that it was good” was there repeated two times. Once for the completion of the work of the second day and the other for the completion of the work of that third day.» — la fórmula falta porque la obra de las aguas no se completó hasta el tercer día, y ahí se repite dos veces. El texto, en cambio, la explica por la maldad del dos.
Nota de Tyson que identifica la obra por la que llega Pitágoras al texto: «Eusebius reports—In Praeparatio evangelica, a collection of classical quotations and pagan beliefs in fifteen books.» — la Praeparatio evangelica, colección de citas clásicas en quince libros.
Nota de Tyson con el pasaje de Plutarco que el texto resume: «They likewise called the unit Apollo; the number two, contention and audaciousness; and the number three, justice, for, wronging and being wronged being two extremes caused by deficiency and excess, justice came by equality in the middle”» — la justicia sale del tres por igualdad en el medio entre agraviar y ser agraviado.
Corrección de Tyson a la etimología antigua que sostiene ese pasaje: «derived the name Apollo from a Greek word meaning “one.” See Plutarch's The E at Delphi 9 (Goodwin 4:486-7).» — dice que los antiguos derivaban mal el nombre de Apolo de una palabra griega que significa uno. La cita arranca a media oración por el corte de plana.
Glosa de Tyson a las dos primeras dignidades del texto: «two first dignities—First principles, namely heaven and Earth.» — cielo y tierra.
Segunda cita de Rashi en las notas de Tyson, sobre la tierra y el agua: «He caused the deep to rise and the clouds to water and soak the earth and Adam was created. Like the baker who puts water in, the dough, then kneads the dough, so here ‘and He watered’ then ‘He formed’ man”» — compara la formación de Adán con el panadero que echa agua a la masa antes de amasarla.
Nota de Tyson que trae a Thomas Vaughan por la misma vía en que ya aparece en el Libro I: «I am now to speak of Water. This is the first element we read of in Scripture, the most ancient of principles and the Mother of all things among visibles. Without the mediation of this, the Earth can receive no blessing at all, for moysture is the proper cause of mixture and fusion.» — el agua como el primer elemento de la Escritura y madre de todo lo visible. El aparato remite al Anthroposophia Theomagica en la edición de Waite de 1888.
Nota de Tyson que documenta el número santo con una comedia isabelina: «holy number—‘This is the third time; I hope good luck lies in odd numbers. ... They say there is divinity in odd numbers, either in nativity, chance or death”» — los versos son de Las alegres comadres de Windsor.
Nota de Tyson con la fuente virgiliana de la purificación triple: «He [Aeneas] too thrice bore to his comrades all around clear water, sprinkling them with light dew from the branch of a fruitful olive, and purified the warriors, and spoke the farewell words”» — Eneas rocía tres veces a sus compañeros con la rama de olivo.
Nota de Tyson con el pasaje de Ovidio del que sale el verso de las tres palabras: «After he has sprinkled him [the dragon] with herbs of Lethaean juice, and has thrice repeated words that cause placid slumbers, which would even calm the boisterous ocean, and which would stop the rapid rivers, sleep creeps upon the eyes that were strangers to it, and the hero, the son of Aeson, gains the gold ...» — el sueño cae sobre los ojos del dragón y Jasón se lleva el oro.
Corrección de Tyson a la atribución del propio texto: «As can be seen from the quotation, it is Jason who speaks thrice and puts the dragon to sleep, not Medea. ‘Agrippa has confused this quote with the description of the same scene in the Argonautica of Apollonius Rhodius, bk. 4, c. line 156, where it is indeed Medea who charms the dragon.» — en Ovidio quien habla tres veces es Jasón y no Medea, y propone que Agrippa confundió el pasaje con la escena paralela de las Argonáuticas de Apolonio de Rodas, donde sí es Medea.
Nota de Tyson con el pasaje de Plinio del que sale la práctica del texto: «We ask pardon of the gods, for spitting in the lap, for entertaining some too presumptuous hope or expectation. On the same principle, it is the practice in all cases where medicine is employed, to spit three times on the ground, and to conjure the malady as often; the object being to aid the operation of the remedy employed. It is usual, too, to mark a boil, when it first makes its appearance, three times with fasting spittle.» — escupir tres veces en tierra y marcar tres veces el divieso con saliva de ayunas.
Glosa propia de Tyson a esa práctica: «The saliva of someone who fasted was considered more potent.» — la saliva del que ayunaba se tenía por más potente.
Nota de Tyson que documenta por qué el tres es el primer número verdadero, por Thomas Taylor: «The all-perfect multitude of forms, therefore, they obscurely signified through the duad; but they indicated the first formal principles by the monad and duad, as not being numbers; and also by the first triad and tetrad, as being the first numbers, the one being odd, the other even ...» — mónada y díada no cuentan como números, y los primeros son la tríada y la tétrada.
Nota de Tyson con el pasaje del De caelo que el texto solo menciona: «A magnitude if divisible one way is a line, if two ways a surface, and if three a body. Beyond these there is no other magnitude, because the three dimensions are all that there are, and that which is divisible in three directions is divisible in all. For, as the Pythagoreans say, the world and all that is in it is determined by the number three, since beginning and middle and end give the number of an “all,” and the number they give is the triad. And so, having taken these three from nature as (so to speak) laws of it, we make further use of the number three in the worship of the Gods. Further, we use the terms in practice in this way. Of two things, or men, we say “both,” but not “all:” three is the first number to which the term “all” has been appropriated. And in this, as we have said, we do but follow the lead which nature gives.» — ahí Aristóteles adjudica a los pitagóricos que el mundo se determina por el tres, y añade el argumento del lenguaje: de dos se dice ambos y solo de tres se dice todos.
Nota de Tyson que identifica la fuente hermética del texto: «Tresmegistus saith—See Appendix I, lines 12-3 of the Emerald Tablet.» — la Tabla de Esmeralda, que él mismo reproduce en su apéndice I.
Nota de Tyson que restituye el primero de los tres nombres corruptos del texto: «Oromasis—A corruption of Ormazd (Ahura Mazda), the ancient Persian god of creation, corresponding in the Zoroastrian trinity to the Father.» — Oromasis por Ormazd, el creador persa.
Segunda restitución de Tyson: «Mitris—Corruption of Mithra, the second person of the trinity of Zoroaster, the eternal intellect and architect of the world.» — Mitris por Mitra, intelecto eterno y arquitecto del mundo.
Tercera restitución de Tyson: «Araminis—Corruption of Ahriman (Angra Mainyu), the third of the Zoroastrian trinity, corresponding to Psyche, the mundane soul.» — Araminis por Ahrimán, que él empareja con el alma del mundo.
Nota de Tyson con Teón sobre planos y sólidos: «The composite numbers which are the product of two numbers are called planar, they are considered as having two dimensions, length and width. Those which are the product of three numbers are called solids since they possess the third dimen» — los productos de dos números se llaman planos y los de tres, sólidos. La palabra queda partida por el corte de plana.
Nota de Tyson que explica de dónde sale el veintisiete del texto: «The Pythagoreans formed a tetractys based on multiplication of odd and even numbers united in unity, the sum of which was 27. This, together with the tetractys of addition (1 + 2 +3 + 4= 10) symbolized the musical, geometric and arithmetic ratios upon which the universe is based.» — de una tetraktys por multiplicación, que junto con la de la suma simboliza las razones musical, geométrica y aritmética.
Glosa de Tyson a la gracia de la primera voz: «first voice—According to the Pythagoreans, man is a full chord in the greater harmony of the world, consisting of a fundamental or tonic, its major third, its just fifth and its octave.» — el hombre por acorde completo dentro de la armonía del mundo.
Glosa de Tyson a las tres jerarquías: «three hierarchies—The nine choirs of angels are divided into three groups of three, as is indicated in the chart accompanying ch. VII, bk. II.» — los nueve coros repartidos en tres grupos de tres.
Nota de Tyson que separa el uso antiguo del moderno y deja abierta la segunda mitad: «heads—In modern astrology, a face is a division» — face vale hoy cinco grados y en Agrippa vale un decano de diez, y de heads dice que quizá se refiera a los señores de los decanos, los treinta y seis espíritus del Picatrix.
Glosa de Tyson a las triplicidades: «triplicity—A triplicity is a set of three zodiac signs associated with an element: Fire— Aries Leo Sagittarius Air— Libra Aquarius Gemini Water— Cancer Scorpio Pisces Earth— Capricorn Taurus Virgo» — da las cuatro series de tres signos por elemento.
Glosa de Tyson a las tres Fortunas del texto: «three Fortunes—Sun, Jupiter and Venus.» — el aparato nombra los tres planetas que el texto cuenta sin listar.
Glosa de Tyson a las tres Gracias, con la filiación alternativa dicha: «three Graces—Daughters of Zeus and Eurynome (or by some, of Dionysus and Aphrodite), Euphrosyne, Aglaia and Thalia. Their office is to bestow civility, courtesy, elegance and felicity of manner.» — hijas de Zeus y Eurínome, o de Dioniso y Afrodita según otros.
Glosa de Tyson a las tres Parcas: «Ladies of Destiny—The Fates were daughters of Themis (Law) and were figured as three old women present at the birth of every child. Lachesis assigns the individual his or her lot; Clotho spins the thread of life; Atropos cuts with her “abhorred shears” that thread. They are equivalent to the Norns of Norse mythology, and pop up in such varied places as Shakespeare’s Macbeth and the fairy tale “Sleeping Beauty.”» — reparte los oficios de Láquesis, Cloto y Átropos, y las empareja con las nornas nórdicas.
Glosa de Tyson a los tres jueces infernales: «three Judges—Aeacus, Minos and Rhadamanthys, who formed the tribunal of Hades that judged the souls of the dead. Minos, son of Zeus and Europa, and former king of Crete, was supreme judge; Rhadamanthys, his brother, former king of the Cyclades, tried Asians;» — Minos por juez supremo y Radamantis para los asiáticos. La frase sigue tras el encabezado corrido de la plana.
Glosa de Tyson a las tres Furias, con nombres que no coinciden con los de la tabla del propio capítulo: «three Furies—Alecto, Tisiphone and Megaera, three terrifying goddesses with serpent tresses who punished with their secret stings those who otherwise escaped justice. Also called the Erinnyes (the angry ones) and euphemistically the Eumenides (the kindly ones). They sprang from Gaea (Earth) and the dripping blood of castrated Uranus (the sky).» — aquí Alecto, Tisífone y Megera; en la escala del tres, Alecto, Megera y Ctesifone. Las dos formas quedan consignadas.
Glosa de Tyson al Cerbero: «Cerberus—Three-headed dog with a serpent tail and a mane of serpents who guards the gate of hell.» — perro de tres cabezas con cola y melena de serpientes.
Glosa de Tyson a la Hécate triple: «thrice-double Hecate—The Greeks called Hecate Triceps and Triformis in her Moon goddess role, giving her three heads: that of a lion, a dog and a mare. The three goddess-forms of Hecate were Phoebe (Moon) in heaven, Diana on Earth, and Proserpine in hell.» — tres cabezas de león, perro y yegua, y tres formas repartidas entre cielo, tierra e infierno.
Nota de Tyson que trae a Robert Graves, de 1948, sobre la misma Hécate: «As Goddess of the Underworld she was concerned with Birth, Procreation and Death. As Goddess of the Earth she was concerned with the three seasons of Spring, Summer and Winter: she animated trees and plants and ruled all living creatures. As Goddess of the Sky she was the Moon, in her three phases of New Moon, Full Moon, and Waning Moon. This explains why she was so often enlarged to an ennead.» — reparte sus tríadas entre el nacimiento y la muerte, las estaciones y las fases de la luna.
Cierre de la nota de Tyson sobre Hécate: «Her sacred animal was the dog, her sacred place the crossroads, where her statues were erected.» — el perro por animal sagrado y la encrucijada por lugar de sus estatuas.
Nota de Tyson que documenta con Teón el aprecio pitagórico por la tetraktys: «The importance of the quarternary obtained by addition (that is to say 1, + 2, + 3, + 4) is great in music because all the consonances are found in it. But it is not only for this reason that all Pythagoreans hold it in highest esteem: it is also because it seems to outline the entire nature of the universe”» — en ella se hallan todas las consonancias, y además parece dibujar la naturaleza entera del universo.
Nota de Tyson con Teón sobre la media geométrica, que es la que sostiene el argumento del capítulo: «The geometric mean, also called the proportion proper, is the one in which the mean term is greater than one extreme and is less than the other by a multiple or superpartial ratio (of the first term to the second or of the second to the third), as in the proportion 1, 2, 4. Four is indeed the double of 2, and 2 is the double of the unit, and likewise, the difference 2 — 1 is 1, and the difference 4 — 2 is 2. These numbers, compared with one another, are thus in double ratio.» — en la proporción uno, dos, cuatro la razón es doble aunque las diferencias no sean iguales.
Pie de la lámina que Tyson intercala en el capítulo: «The Tetractys from Philosophia sacra et vere Christiana Seu Meterorologia Cosmica by Robert Fludd (Frankfurt, 1626)» — la tetraktys sale de un libro de Robert Fludd de 1626, casi un siglo posterior a la obra que ilustra.
Glosa de Tyson a los cuatro ángulos del cielo: «four corners—Respectively, the positions of the sun at sunrise, sunset, noon, and midnight.» — las posiciones del sol al orto, al ocaso, al mediodía y a medianoche.
Glosa de Tyson a los cuatro ríos del paraíso: «four rivers of Paradise—Pison, Gihon, Hiddekel, and Euphrates.» — los nombra uno por uno y remite al Génesis.
Glosa de Tyson al instrumento de cuatro cuerdas: «four strings—The cithara, a kind of simple harp originally strung with four strings, to the accompaniment of which was sung the “tetrachordal chant,” as Euclid calls it.» — la cítara, con el canto tetracordal que Euclides nombra.
Nota de Tyson con Teón sobre el diagrama pitagórico: «The quaternary, 1, 2, 3, 4, includes all the consonances, since it contains those of the fourth, the fifth, the octave, the octave and fifth, and the double octave, which are sesquitertian, sesquialter, double, triple and quadruple ratios (that is to say, 4/3, 3/2, 2, 3 and 4)”» — el cuaternario encierra cuarta, quinta, octava, octava con quinta y doble octava.
Nota de Tyson con la versión de los Versos Áureos del juramento que el texto trae en verso inglés: «Pythagoreans’ oath—“I swear it by the one who in our hearts engraved the sacred Tetrad, symbol immense and pure, Source of Nature and model of the Gods”» — ahí se jura por quien grabó la tétrada, no por la tétrada.
Tyson señala la diferencia entre las versiones y se abstiene de cerrarla: «Notice that in these versions, the oath is taken on the bestower of the tetractys, whereas in the version of Agrippa, the oath is placed on the tetractys itself. D’Olivet, Theon, and indeed Thomas Taylor held the opinion that the oath refers to Pythagoras when it speaks of the bestower, but I am not so certain this is so.» — en Teón y en los Versos Áureos se jura por el que dio la tetraktys y en Agrippa por la tetraktys misma; sobre si ese donante es Pitágoras dice no estar tan seguro, contra la opinión de D’Olivet, Teón y Thomas Taylor.
Nota de Tyson que coteja el inglés de 1651 contra la Opera latina, y con su reserva a la vista: «Thet—Perhaps Tet is intended, a symbol in the shape of a pillar representing the tree in which the body of Osiris had been concealed by Isis. The setting up of the tet as Busiris was a ceremonial reconstruction of the severed members of Osiris, and in Busiris, Osiris was called Tet (Budge 1904, 2:139). However, in the Latin Opera the form Theut is given, so Theutus, or Thoth, seems more likely.» — propone el Tet egipcio de Osiris y enseguida lo descarta porque el latín trae Theut, de donde Thot le parece más probable.
Glosa de Tyson al tercer nombre de la lista: «Sire—Sire, or Soru, from the Persian kohr, signifying the Sun. The title was assumed by the founder of the Persian empire, Cyrus, whose real name was Kobad.» — lo deriva del persa y lo enlaza con el título que tomó Ciro.
Glosa de Tyson al nombre etrusco de la lista: «Esar—Aesar, a collective name for the Etruscan gods, as it was (Aesir) for the Norse gods.» — Aesar por los dioses etruscos, como Aesir por los nórdicos.
Nota de Tyson que sitúa la teología órfica que el texto invoca: «Orpheus his divinity—The earliest account of the Greek gods is given by Hesiod in his Theogony around the 8th century BC. From about the 6th century BC to the time of Christ a separate set of myths grew up within the Orphic mystery religion. This was never as popular as that of Hesiod.» — es un cuerpo de mitos posterior a Hesíodo y menos difundido que el suyo.
Objeción de Tyson a lo que el texto adjudica a Orfeo: «four horses—The horse was sacred to Neptune (Poseidon), and horse races were held in his honor. In the Orphic hymn to Neptune mention is made of the horses of the god, but they are not numbered» — en el himno órfico a Neptuno los caballos aparecen pero sin número.
Tyson ofrece dónde sí está el cuatro que el texto reclama: «However, the chariot of the sun is drawn by four horses: “With sounding whip four fiery steeds you guide ...» — en el carro del sol, y también en el de Plutón.
Glosa de Tyson a los cuatro furores: «divine furies—The divine inspired madness of the Muses was various forms of artistic expression; of Dionysus the murderous fury of the Bacchiadae; of Apollo the power of true prophecy; of Venus unbridled lust.» — reparte expresión artística, furia homicida, profecía verdadera y lujuria entre las cuatro deidades.
Tyson enfrenta al texto con Teón y propone su propio reparto, marcándolo como parecer suyo: «number of wedlock—Theon says that 6 is the number of wedlock, because it is a perfect number, equal to the sum of its parts (1 + 2 + 3 = 6), explaining: “This is why it is called that of marriage, because the task of marriage produces children similar to their parents” (Theon 2.45 [Lawlor, 67—8]). Since 5 is produced by the addition of 2 and 3, while 6 is produced by the multiplication of 2 and 3, it seems to me that 5 might be called the number of love, or union, whereas 6 is the number of generation, because multiplication yields more than the sum of its parts.» — para Teón el número del matrimonio es el seis; Tyson sugiere llamar al cinco número del amor, por venir de la suma, y al seis de la generación, por venir del producto.
Nota de Tyson con Thomas Taylor sobre el cinco como justicia: «The Pythagoreans call the pentad providence and justice, because it equalizes things unequal, justice being a medium between excess and defect, just as 5 is the middle of the numbers that are equally distant from it on both sides as far as the decad, some of which it surpasses, and by others is surpassed, as may be seen in the following arrangement: Lee EAL ey 2s > pS ER. SxoieiG, eed. For here, as in the middle of the beam of a balance, 5 does not depart from the line of the equilibrium, while one scale is raised, and the other is depressed.» — el cinco no se aparta del fiel de la balanza aunque un platillo suba y otro baje. La serie numérica intercalada sale corrompida por el OCR.
Nota de Tyson sobre los términos astrológicos, con una pulla al autor que cita: «fivefold terms—Astrological terms are unequal divisions of the 30-degree arc of each sign of the zodiac into five parts, which are assigned to the planets Mercury, Venus, Mars, Jupiter and Saturn in varying orders. Ptolemy gives the Egyptian, the Chaldean, and his own system (which he pretends he has discovered in an ancient manuscript) of terms in the Tetrabiblos 20 and 21. Terms are not much used in modern astrology.» — dice que Ptolomeo da el sistema egipcio, el caldeo y el suyo propio, que finge haber hallado en un manuscrito antiguo, y añade que hoy los términos apenas se usan.
Glosa de Tyson al cinco de la cruz: «number of the cross—One for each of the four arms and one for the point of intersection.» — cuatro brazos y el punto donde se cruzan.
Glosa de Tyson que explica por qué el texto dice principales: «principal wounds—Principal, because the sixth, caused by the thorns of Christ’s crown, is not included.» — la sexta llaga, la de las espinas, queda fuera de la cuenta.
Nota de Tyson que contradice la adjudicación del texto sin arbitrar: «sacred to Mercury—Meursius in his Denarius Pythagoricus, which is based on the Theological Arithmetic of Nicomachus the Pythagorean and other Platonic philosophers, says that four is the number of Mercury.» — según el Denarius Pythagoricus de Meursio, el número de Mercurio es el cuatro y no el cinco.
Glosa de Tyson al argumento del texto: «thing without life—Four signified the four inert elements, therefore the fifth number must be something beyond, something spiritual.» — el cuatro son los elementos inertes, así que el quinto ha de ser algo espiritual.
Glosa de Tyson que da el cinco de Noé: «flood of waters—There were five in Noah’s family. See Genesis 7:13.» — eran cinco en su familia.
Nota de Tyson que ofrece tres lecturas del cinco de Abraham y no elige entre ellas: «number Abraham—This may refer to the breaking of bread between Abraham, his wife, and the three angels of God (Genesis 18:6), or to God’s use of the name El Shaddi Caw >N), a name of five letters, to describe himself when he proclaims the coming birth of Isaac (Genesis 17:1), or to God’s changing of Abram’s name (Q728) to Abraham (OTA), increasing it to five letters by the addition of He (1), the fifth letter of the Hebrew alphabet» — el pan partido con los tres ángeles, el nombre El Shaddai de cinco letras, o la He añadida a Abram.
Glosa de Tyson a la grafía del nombre en el texto: «Sadai—Now more commonly rendered Shaddi.» — hoy suele escribirse Shaddi.
Nota de Tyson con Jámblico sobre por qué al seis le toca Venus: «That sacrifices also should be made to Venus on the sixth day, because this number is the first that partakes of every number, and, when divided in every possible way, receives the power of the numbers subtracted and of those 265 that remain”» — el seis participa de todo número.
Comentario de Taylor que Tyson reproduce, con su reserva incluida: «Because 6 consists of 1, 2 and 3, the two» — explica la participación del seis en todo número y dice suponer que Jámblico alude a su perfección, sin afirmarlo.
Nota de Tyson con Teón sobre por qué el semitono no es media parte del tono: «The half-tone is not designated as such because it is the half of the tone in the way that the half-cubit is the half division of the cubit as maintained by Aristoxenes; but because it is a musical interval less than the tone, in the same manner that we call certain letters demi-vowels, not because half of a sound is indicated, but because it does not completely compose the sound itself. It can actually be demonstrated that the tone, considered in the sesquioctave ratio (9/8), cannot be divided into two equal parts, any more than can any other sesquipartial, since 9 is not divisible by 2.» — el nombre viene de ser intervalo menor, no mitad, y la razón nueve octavos no se parte en dos iguales.
Tyson remite al lugar donde Teón lo desarrolla y añade la salvedad que el propio Teón hace ahí: «For Theon’s proof, see 2.16, where he adds: “With regard to the ideal tone, one might conceive that it could be divided into two equal parts”» — del tono ideal sí cabría concebir que se dividiera en dos partes iguales.
Nota de Tyson que documenta con Teón el nacido de siete meses: «seventh month—‘It is also in the seventh month that the foetus can be born living”» — el aparato pone bajo la afirmación del texto la fuente antigua de la que sale, sin comentarla.
Nota de Tyson que documenta con Teón la dentición por septenas, y remite además a Plinio: «breeds teeth—‘“Children develop teeth starting from the seventh month after birth, and fully produce their teeth in seven years ...» — el aparato añade aquí una segunda fuente, Plinio, que el texto no nombra.
Nota de Tyson que documenta con Teón la pubertad a los catorce años: «boys wax ripe—‘“... the semen and puberty make their appearance at the age of fourteen ...» — Teón fija en catorce años lo que el texto llama la segunda septena.
Nota de Tyson que documenta con Teón los miembros negros del texto: «black members—“There are seven viscera, the tongue, the heart, the lungs, the liver, the spleen and the two kidneys”» — son las siete vísceras, con los dos riñones contados aparte.
Tyson contradice de frente el dato del texto que anota: «above seven—It is perhaps unnecessary to add that these estimates of endurance are wildly inaccurate. Seven minutes without air would kill most people, and it has, unfortunately, been demonstrated through experience that man can live more than a month without food, though not without water, which is required after a week or so.» — llama a esas cifras de resistencia salvajemente inexactas, y da siete minutos sin aire y más de un mes sin comida, aunque no sin agua.
«Seven days are needed to diagnose illness, and in all periodic fevers, even in three and four-day fevers, the seventh day is always the most serious» — Nota de Tyson que documenta con Teón los días críticos.
Nota de Tyson con el pasaje del Timeo del que sale la división del alma en siete porciones: «And he proceeded to divide after this manner. First of all, he took away one part of the whole [1], and then he separated a second part which was double the first [2], and then he took away a third part which was half as much again as the second and three times as much as the first [3], and then he took a fourth part which was twice as much as the second [4], and a fifth part which was three times the third [9], and a sixth part which was eight times the first [8], and a seventh part which was twenty-seven times the first» — los corchetes con las cifras son del aparato.
Glosa de Tyson a la vuelta de la escala en el séptimo grado: «same revolution—In music, every eighth note is repeated, forming the octave, which is the same tone separated by a ratio 2:1.» — la octava es el mismo tono en razón de dos a uno.
«seven modulations—Ditone: major third; semiditone: imperfect third; diatessaron: fourth; diapente: fifth; diapason: octave.» — Glosa de Tyson que traduce a intervalos modernos las siete modulaciones del texto.
Glosa de Tyson al aspecto más pleno del texto: «powerful aspect—Called in astrology the aspect of opposition, when two planets or significant points are 180 degrees apart, resulting in maximum tension and polarization between them.» — es la oposición de ciento ochenta grados.
Tyson explica de dónde sale el desacuerdo entre el cómputo del texto y el moderno: «Bear in mind that the ancients began to count from the first element in a series, whereas we begin on the second. By modern reckoning there are only six signs between equinoxes and solstices.» — los antiguos contaban desde el primer elemento de la serie y hoy se cuenta desde el segundo, así que por cuenta moderna hay seis signos y no siete.
Glosa de Tyson a la cruz del texto: «makes a cross—The Grand Cross of astrology is formed when four planets or significant points such as the nodes of the Moon are at 90 degrees to each other, and is the constellation of maximum tension.» — la gran cruz se forma con cuatro puntos a noventa grados.
Tyson propone una enmienda al texto y la marca como propuesta: «seven signs—Agrippa seems to be echoing Theon here (see note 15 above), but the wording is far from clear, and perhaps might better read: “By the same radiation, and number the summer solstice is distant from the winter, and the autumnal equinoctium from the spring, all which are done by seven signs.”» — dice que la redacción no es clara y ofrece cómo quizá debiera leerse.
Tyson declara no entender el cómputo del texto: «seven circles—Since Agrippa speaks of longitude, he is presumably referring to the house circles of astrology, which define the houses of the zodiac. There are six of these that go round the Earth north to south, intersecting at the poles. It is not clear to me how Agrippa gets seven circles, unless it is through the same system of counting whereby he gets seven signs in 180 degrees (see note 15 above).» — dice no tener claro de dónde saca Agrippa siete círculos, y solo apunta que quizá venga del mismo modo de contar.
Glosa de Tyson a la constelación del texto: «Charles’ Wain—The constellation Ursa Major, - which is formed of seven bright stars.» — es la Osa Mayor.
«The Moon crosses the plane of the ecliptic twice every revolution about the Earth. These intersections are called the nodes of the Moon. For 14 days the Moon is above the ecliptic, and for 14 days below it.» — Nota de Tyson que suma los términos de uno a siete para dar veintiocho y añade los nodos de la luna.
«The month is composed of four weeks (four times seven days); in the first week the moon appears divided in two; in the second it becomes full, in the third it is again divided, and in the fourth, it returns to meet the sun in order to begin a new month and to increase during the following week”» — Nota de Tyson que documenta con Teón las cuatro semanas del mes lunar.
Tyson sustituye la explicación del texto por la moderna: «same as the second—The tides are highest during the full and new Moon because in these phases the Moon and Sun are aligned and their tidal forces compounded; during the waxing and waning phases, the Sun and Moon war against each other, and the tidal effect of the Sun cancels out a portion of the tidal effect of the Moon.» — las mareas mayores caen en luna llena y nueva porque sol y luna se alinean, y en los cuartos sus fuerzas se contrarrestan.
Glosa de Tyson al séptimo día del texto: «seventh day—Saturday is the Jewish sabbath.» — el sábado judío.
Nota de Tyson con Teón sobre la singularidad aritmética del siete: «Among the numbers contained in the decad, some create and some are created, for example 4 multiplied by 2 creates 8, and is created by 2. Others are created but do not create, like 6 which is the product of 2 and 3, but which does not create any of the numbers in the decad. Others create but are not created, such as 3 and 5 which are not created by any combination of numbers, but which create: 3 produces 9, and multiplied by 2 produces 6, and 5 multiplied by 2 produces 10. Seven is the only number which, multiplied by another number, creates none of the numbers in the decad, and which is not produced by the multiplication of any number.» — es el único del decad que ni crea ni es creado por multiplicación.
Nota de Tyson con la razón que Teón da al nombre de Atenea: «Another number of the decad, the number seven, is endowed with a remarkable property: it is the only one which does not give birth to any number contained in the decad and which is not born out of any of them, which fact moved the Pythagoreans to give it the name Athena, because this goddess was not born out of a mother and gave birth to none.» — la diosa no nació de madre ni dio a luz.
Cierre de la nota de Tyson sobre Palas: «Pallas Athene sprang from the brow of Zeus asexually, and remained a virgin.» — nació de la frente de Zeus y quedó virgen.
Nota de Tyson sobre el juramento hebreo del texto: «septenare—The Hebrew saba, from the root SBAa (YAW), “seven,” one of two kinds of oath taken by Jews, the other being the alah (curse), which invokes the curse of God should the oath be violated.» — distingue el saba del alah, que invoca la maldición de Dios si se quebranta.
Nota de Tyson con la traducción de Adlington del baño de mar que el texto trae en otra versión: «Apuleius saith—*... 1 plunged my selfe seven times into the water of the Sea, which number of seven is conveniable and agreeable to holy and divine things, as the worthy and sage Philosopher Pythagoras hath declared”» — aquí se añade la razón, que el siete conviene a las cosas divinas según Pitágoras.
Corrección de Tyson al detalle del texto, con Rashi por documento: «blood of a sparrow—Leviticus 14:7. In the Bible the type of bird is not specified, but Rashi says: “Since plagues come from evil talk, which is the act of babbling words, consequently there were required for his purification birds which babble continually with chirping sounds”» — la Escritura no dice qué ave es, y Rashi explica que el ave del rito debe ser parlera porque la plaga viene de la mala lengua.
Corrección de Tyson al cómputo del texto: «seventh from Adam—Genesis 5:24. Enoch was the sixth generation by modern reckoning.» — Enoc es la sexta generación por cuenta moderna.
Tyson intenta identificar la autoridad que el texto nombra sin nombrarla, y no lo da por cerrado: «master of the History—Perhaps this refers to Josephus Antiquities of the Jews 1.2.2.» — propone las Antigüedades de Josefo con un quizá.
Nota de Tyson sobre la fórmula hebrea del texto: «sabbath of sabbaths—The root of sabbath is SBTh (FW), meaning “rest.” Thus “the sabbath of rest” —Exodus 31:15 and 35:2—where ] AW indicates intensity, a great sabbath or solemn sabbath.» — la repetición marca intensidad, un sábado solemne.
Corrección de Tyson a un dato del texto, con la hipótesis del error incluida: «seven ewe lambs—Numbers 28:11. But there is no mention here of ewes; in fact, Rashi says the lambs are male (Rashi 1949, 4:300). Agrippa may have been misled by Genesis 21:29, where the seven lambs are indeed ewes.» — en Números los corderos son machos según Rashi, y propone que Agrippa se dejó llevar por el pasaje del Génesis donde sí son corderas.
Corrección de Tyson a una referencia del texto: «Abessa—Abiezer, the clan of Gideon, which drove out Midian after Midian had ruled Israel seven years. See Judges 6:1, 11, 34. Agrippa’s reference is confused.» — llama confusa la cita y la reconduce a Abiezer, el clan de Gedeón.
Glosa de Tyson al objeto con que atan a Sansón: «seven green withes—A withe is a green, flexible sapling used for binding or plaiting; willow wands.» — vástagos verdes y flexibles, mimbres de sauce.
Corrección de Tyson en primera persona a la cuenta del texto: «seven blessednesses—Matthew 5: 3-11. But I count nine.» — dice contar nueve bienaventuranzas y no siete.
Segunda corrección de Tyson a la misma enumeración: «seven waterpots—John 2:6. The pots were six.» — las tinajas de Caná eran seis.
Tercera corrección de Tyson, con su hipótesis del error: «horns of the dragon—Revelation 12:3. But the horns are ten. Perhaps Agrippa has confused this passage with Revelation 5:6.» — los cuernos del dragón son diez, y propone que Agrippa confundió el pasaje con otro.
Cuarta corrección de Tyson, esta de referencia: «seven rivers of Egypt—Isaiah 11:15, not Revelation.» — los siete ríos están en Isaías y no en el Apocalipsis.
Nota de Tyson que explica por qué el lector no hallará el pasaje: «seven lions—Daniel was cast into the den of lions by Darius (Daniel 6:16). The reference is to Daniel 14:31, 39. See the Knox translation—this chapter is not included in King James.» — el capítulo de los siete leones no está en la versión del rey Jacobo, y remite a la traducción de Knox.
Nota de Tyson que rastrea la partición del texto y la fecha: «seven ages of the world—Hesiod gives five ages: (1) golden, (2) silver, (3) bronze, (4) heroic and (5) iron. Ovid omits the fourth age, perhaps because it offended his sense of poetic symmetry. Lucretius names three, which are the ones that have come down to modern times: (1) stone, (2) bronze, and (3) iron. The division of seven ages originated with Nennius, a Welsh historian who lived at the end of the Of the Number Seven, and the Scale Thereof / 279 8th century, and wrote the Historia Britanum. They are: (1) Adam to Noah, (2) Noah to Abraham, (3) Abraham to David, (4) David to Daniel, (5) Daniel to John the Baptist, (6) John the Baptist to Judgement Day, (7) Second coming of Christ.» — las edades del mundo son cinco en Hesíodo y tres en Lucrecio, y la de siete la origina Nennius en el siglo VIII.
Nota de Tyson que documenta las siete edades del hombre con una comedia isabelina: «His acts bring seven ages. At first the infant, Mewling and puking in the nurse’s arms. And then the whining school-boy, with his satchel, And shining morning face, creeping like snail Unwillingly to school.» — los versos son de Como gustéis.
Nota de Tyson sobre las artes liberales: «seven liberal arts—Descended from the nine disciplinae of Varro, the seven liberal arts were recognized by Augustine and Martianus Capella. In the Middle Ages they were divided into a Trivium of grammar, logic and rhetoric and a Quadrivium of music, arithmetic, geometry and astronomy.» — las hace descender de las nueve disciplinas de Varrón y las reparte en trivio y cuadrivio.
«seven colours—Black, white, red, green, yellow, blue, purple.» — Glosa de Tyson que nombra los siete colores del texto.
Corrección de Tyson a la anatomía del texto: «seven pairs of nerves—The nerves were fixed at seven by Celsus in his De Medicina, written early in the first century. Actually there are 12 recognized pairs.» — el siete lo fijó Celso en el siglo I y los pares reconocidos son doce.
«seven mountains—Rome is built on seven hills: (1) Mons Palatinus, (2) Mons Capitolinus, (3) Mons Quirinalis, (4) Mons Caelius, (5) Mons Aventinus, (6) Mons Viminalis, (7) Mons Esquilinus. Hence it was named Urbs Septicollis.» — Glosa de Tyson que nombra los siete montes de Roma.
«seven Roman kings—(1) Romulus (753-716 BC), (2) Numa Pompilius (716-673 BC), (3) Tullus Hostilius (673-641 Bc), (4) Ancus Marcius (640-616 BC), (5) L. Tarquinius Priscus (616-578 BC), (6) Survius Tullius (578-534 Bc), (7) L. Tarquinius Superbus (534-510 Bc).» — Glosa de Tyson que nombra y fecha los siete reyes de Roma.
«wise men of Greece—(1) Solon of Athens, (2) Chilo of Sparta, (3) Thales of Miletos, (4) Bias of Priene, (5) Cleobulos of Lindos, (6) Pittacos of Mitylene, (7) Periander of Corinth.» — Glosa de Tyson que nombra los siete sabios de Grecia.
Nota de Tyson con el pasaje de Suetonio sobre el incendio, que no dice lo mismo que el texto: «seven days by Nero—“For six days and seven nights together raged he [Nero] in this wise, making havoc of all and driving the common people to take up their inns and shrowd themselves the while about \. the tombs and monuments of the dead”» — ahí son seis días y siete noches, y la gente se refugia entre las tumbas.
Nota de Tyson sobre los electores del Imperio: «electors of the Empire—Seven German princes who held the office of electing the German emperor under the authority of the pope from the 13th to 19th centuries. They possessed considerable power in Agrippa’s time. When the Holy Roman Empire was dissolved in 1806, the electors ceased to exist.» — dice que en tiempos de Agrippa tenían poder considerable y que dejaron de existir con la disolución de 1806.
«crowning the Emperor—Prior to Maximilian I (until 1440) the coronation of the German emperor was performed at Rome by the pope. The future emperor was met at the silver doors of St. Peter’s, where the first prayer was recited. He was then led inside where a second prayer was spoken. He went to the confessio of St. Peter and was anointed on the right arm and between the shoulders. Ascending the high altar, the pope delivered to him a naked sword, which he flourished and sheathed. The pope then delivered the scepter. The crown was placed on the emperor’s head by the pontiff. The ceremony concluded with a coronation mass said by the pope.» — Nota de Tyson que reconstruye los actos solemnes de la coronación imperial que el texto solo cuenta.
«orders of the clergy—These were divided into Major (bishop, priest and deacon [with subdeacon]) and Minor (doorkeeper, reader, exorcist and acolyte). This ordering was established at the beginning of the third century.» — Glosa de Tyson a los siete órdenes del clero, repartidos en mayores y menores.
«fine cura—Literally, “at the end of care.” A benifice is an ecclesiastical living. This circumstance occurred to the Venerable Bede» — Glosa de Tyson a la fórmula latina del texto, y al caso al que dice que le ocurrió.
«penitential psalms—Psalms 6, 32, 38, 51, 102, 130 and 143 of the King James version; 6, 31, 37, 50, 101, 129 and 142 of the Vulgate. They are used ceremonially; for example, in the consecration of altars.» — Glosa de Tyson que da los salmos penitenciales por su doble numeración, la del rey Jacobo y la de la Vulgata.
«second table—There is a myth that three commandments were on one of the stone tablets Moses brought down from Mount Sinai, and seven on the other. See the plate at the start of The Sixth and Seventh Books of Moses published by de Laurence, Chicago.» — Nota de Tyson que llama mito al reparto tres y siete de las tablas de Moisés y remite a una lámina del Sexto y séptimo libros de Moisés.
Glosa de Tyson que identifica al poeta que el texto llama Livio: «Livy—Livius Andronicus.» — el aparato lo separa del historiador Tito Livio con quien el nombre se confunde.
Nota de Tyson sobre la transmisión corrupta de los nombres hebreos de la escala: «the infernal world—Many of these Hebrew spellings appear to be printer’s errors dating back to the original Latin edition. Since that time, they have been faithfully copied by imitators, including Francis Barrett in The Magus (1801), who corrupted them even further. Some effort at restoration was made by either MacGregor Mathers or Aleister Crowley in the 19th century; their version at least has the advantage of being actual Hebrew words» — los da por erratas de imprenta que vienen de la edición latina original, copiadas por los imitadores y empeoradas por Francis Barrett en 1801, con una restitución decimonónica que adjudica dubitativamente a Mathers o a Crowley.
Tyson declara en primera persona el criterio con que fijó esas referencias: «Most of these expressions occur more than once in the Bible, some of them (e.g, 7 18W) many times. Some (e.g., }1777 0&9) occur only once. I have simply cited the first appearance in Psalms, if there is one.» — cita la primera aparición en los Salmos cuando la hay.
Nota de Tyson con el juramento órfico por ocho deidades, en versión de Teón, que no coincide del todo con la del texto: «Some people say that there are eight principle gods in the universe, and this is also found in the oaths of Orpheus: “By the creators of things forever immortal: fire and water, earth and heaven, the moon and the sun, the great torch and the black night.”» — aquí van la gran antorcha y la noche negra donde el texto pone a Fanes y la Noche.
Glosa de Tyson a las ocho esferas visibles: «eight visible spheres—Seven spheres of the planets and the eighth of the zodiac. The ninth was God and invisible.» — siete de los planetas y una del zodiaco, con la novena por Dios e invisible.
Tyson rastrea los himnos órficos del mar que el texto invoca y se abstiene de cerrar la lista: «his sea songs—In the Orphic hymn “To Ocean” the sea was venerated as “the greatest purifier of the gods” and was called by Pythagoras, according to Porphyry, “a tear of Saturn” because, as Thomas Taylor says, Saturn represents pure intellect (Taylor 1875, 108). The Orphic hymns most closely’ connected with the sea are: 16, “To Neptune”; 21, “To the Sea, or Tethys”; 22, “To Nereus”; 23, “To the Nereids”; 24, “To Proteus”; 73, “To Leucothea”; 74, “To Palaemon”; 82, “To Ocean.” Agrippa may be referring to other hymns.» — enumera ocho y añade que Agrippa quizá se refiera a otros.
Glosa de Tyson al ocho de la eternidad: «number to eternity—Eight on its side forms the lemniscate (cc), symbol of eternity.» — tumbado forma el lemniscato.
Glosa de Tyson que explica por qué el siete es el misterio del tiempo: «mystery of time—Because seven neither arises nor gives rise to other numbers (see note 26, ch. X, bk. II); therefore it neither begins nor ends.» — ni nace de otros números ni los engendra, así que ni empieza ni acaba.
«to Dionysus—Dionysus was the son of Zeus and the Theban princess Semele. In love with Semele, Zeus made the intemperate promise that he would do whatever thing she demanded. At the jealous prompting of Hera, Semele asked to see Zeus in all his splendor. Zeus could not refuse since he had sworn an oath by the River Styx, and when he lifted the veil off his face Semele was consumed by his burning fire, but Zeus snatched the growing fetus out of her womb and put it safely into his thigh, where he brought it to term.» — Nota de Tyson que cuenta el nacimiento de Dioniso del que sale el octavo mes del texto.
«nine Muses—Calliope, epic poetry; Urania, astronomy; Polyhymnia, sacred poetry; Terpsichore, choral dance and song; Clio, history; Melpomene, tragedy; Erato, love poetry; Euterpe, lyric poetry; Thalia, comedy.» — Glosa de Tyson que adjudica a cada musa su arte, cosa que el texto no hace.
Tyson añade un nueve que el texto no da: «his spirit—Matthew 27:46. This exclamation of Christ is in the King James Bible nine words.» — la exclamación de Cristo tiene nueve palabras en la versión del rey Jacobo.
«buried their dead—This is derived from Homer, and pertains to the myth of Niobe, whose sons and daughters were slain by the gods to punish her for her pride and vanity: “Nine days long they lay in their blood; nor was there anyone/to bury them, for the son of Kronos made stones out of/the people; but the tenth day the Uranian gods buried them”» — Nota de Tyson que rastrea los nueve días del duelo hasta el mito de Níobe en la Ilíada.
Tyson coteja las dos versiones del mito y deja la conclusión en probable: «Ovid makes the sons and daughters each seven in number. It seems probable that the nine days echo some ancient burial custom or mystery of religion.» — en Ovidio los hijos son siete y siete, y de los nueve días dice que probablemente recuerdan una costumbre funeraria antigua.
«Jupiter in a cave—Homer speaks of: “Knossos, the great city, the place where Minos/was king for nine-year periods, and conversed with great Zeus”» — Nota de Tyson con el pasaje de la Odisea sobre Minos y los períodos de nueve años.
Nota de Tyson que consigna una divergencia de grafía sin corregir el texto: «Gibor—Agrippa gives the Hebrew for Gibor as GIBR (1273), which disagrees with the modern spelling» — la forma hebrea que da Agrippa no coincide con la moderna.
Nota de Tyson sobre un nombre angélico de la escala, cotejado en las dos ediciones: «Ophaniel—The name of this angel should probably be Jophiel. However, it occurs in this form in both the English and Latin editions.» — dice que probablemente debería ser Jophiel, y a la vez que la forma impresa aparece igual en el inglés y en el latín, de modo que no la enmienda.
Nota de Tyson con Teón sobre el diez: «The decad completes the series of numbers, containing in itself the nature of both even and odd, of that which is in motion and that which is » still, of good and evil”» — encierra a la vez lo par y lo impar, lo móvil y lo quieto, el bien y el mal.
Nota de Tyson con la versión de Adlington del ayuno que el texto trae en otra traducción: «be fasting—Apuleius was ordered by the high priest of Isis “to fast by the space of ten continuall daies, without eating of any beast, or drinking any wine”» — aquí el ayuno lo manda el sumo sacerdote de Isis y excluye además el vino.
«psaltery—A musical instrument like a dulcimer or santir, said to have ten strings. See Psalms 33:2, and the Knox translation (Psalms 32:2), where it is more clearly described as “‘a harp of ten strings.”» — Glosa de Tyson al salterio de diez cuerdas.
Corrección de Tyson a la lista de instrumentos del texto: «hallelujah—Not an instrument, but an exclamation of praise to God: Hebrew halelu (757) from halal, “to shine,” plus yah (i1”), a shortened form of Jehovah.» — aleluya no es instrumento sino exclamación, y la descompone en sus dos piezas hebreas.
«sons of Chora—Korah rebelled against Moses and was killed by God (Numbers 16:32), but his children were spared (Numbers 26:11). Their descendants formed one of the Levite choirs, and are mentioned in the titles of almost a dozen psalms (for example, Psalms 44-9) as the “sons of Korah.”» — Nota de Tyson que identifica a los hijos de Coré del texto y explica cómo llegaron a dar título a una docena de salmos.
Nota de Tyson que busca en Rashi el diez de la lucha de Jacob y consigna que no lo halla: «name of Israel—Genesis 32:24-8. Rashi says that the same number of hours the sun hastened to set for Jacob’s sake at Beersheba (Genesis 28:1 1) itnow hastened to shine (Genesis 32:31), but he does not specify the number of hours» — Rashi habla de horas sin decir cuántas.
Tyson conjetura de dónde sale el diez de Daniel y declara el vacío: «the lions—Perhaps the number of hours Daniel was supposed, by one version of the story, to have spent in the lion’s den. See Daniel 6:16-9, where, however, the number of hours is not specified.» — propone las horas en el foso y advierte que la Escritura no las cuenta.
Nota de Tyson que hace la cuenta del diez circular: «heaped together—1 +0 = 1; also 1+24+34+44 5+6+7+8+9+ 10=55, and5+5=10, and1+ 0=1.» — suma los diez primeros números y reduce hasta la unidad.
«The number 2 added to unity produces 3, which is the first number having a beginning, a middle and an end. This is why this number is the first to which the name multitude applies, for all the numbers less than this are not called multitude» — Nota de Tyson con Teón sobre el tres como primer número con principio, medio y fin.
Nota de Tyson que disputa la etimología corriente de las sefirot: «ten attributes—The Kabbalistic Sephiroth, from Hebrew for “sapphire” (1°20), not as is so often stated, from the Hebrew saphar (120), “to number.” These are described as spherical vessels which contain the emanations from the Ain Soph FIO PS), the Limitless.» — las hace venir de zafiro y no de contar, y las describe como vasos esféricos que contienen las emanaciones del Ain Soph.
Nota de Tyson sobre la transmisión de un diagrama, en primera persona y con su cotejo declarado: «illustration—In this diagram the letters of Tetragrammaton are written so as to form the tetractys of Pythagoras. These same letters, written side to side, make up the name of “Jehovah with ten letters collected” that appears in the table at the end of the chapter. In the Opera this diagram is correctly given; however, in the English edition of 1651 it is so grossly distorted as to be unrecognizable, and represents quite a challenge for those who solve it, as I did, before seeing the corrected version. Francis Barrett has copied this distorted version from the English edition and put it into his Magus (1801), apparently without the least idea of what it signifies.» — dice que la Opera latina lo trae correcto y que la edición inglesa de 1651 lo distorsiona hasta hacerlo irreconocible, que él lo descifró antes de ver la versión correcta, y que Barrett copió la versión distorsionada sin saber, a su juicio, qué significaba.
Corrección de Tyson al objeto del texto: «coats of hair—Actually “curtains of goat’s hair” (Exodus 26:7). Camel-hair mantles, called ‘adderet, were worn by the prophets as a kind of badge of office» — no son túnicas sino cortinas de pelo de cabra, y añade que los mantos de pelo eran distintivo de profeta.
Glosa de Tyson al gran nombre que sostiene a los doce ángeles: «great name of God—The twelve permutations of Tetragrammaton, which are listed in the table.» — son las doce permutaciones del Tetragrámaton.
Corrección de Tyson al dato astronómico del texto: «his course—The cycle of Jupiter is 11 years, 315 days.» — el ciclo de Júpiter es de once años y trescientos quince días, no de doce años.
Corrección de Tyson al mar de bronce de Salomón: «brazen sea—Actually oxen.» — lo sostenían bueyes y no leones.
Nota de Tyson que enfrenta el dato del texto con la observación moderna: «The peahen seldom lays above five or six eggs in this climate before she sits. Aristotle describes her as laying twelve ...» — la pava real pone cinco o seis huevos, y los doce vienen de Aristóteles.
Nota de Tyson que compara las dos ediciones, las declara erróneas y pone su propia enmienda, remitiendo a un libro suyo: «twelve banners—In the English edition, this order of the names is shown: (1) 51/7’, (2) WT’, (3) ITY’, (4) "TT, (5) WT, (6) VHT, (7) TT1*, (8) 777, (DQ) av, 10) UT, 1) tay WT. AThe Latin Opera gives this order: (1) 17’, (2) WT’, (3) WT, (4) TNT, (5) WT, (6) PTT, (7) TT), (8) Bil, (9) ns lO) tid, Clay anit, (12) ohn. Both are obviously incorrect, based on the numerical structure of the sequence. I have given the corrected order in the table. For a numerical breakdown of the 12 names, as well as my assignment of them to the signs of the Zodiac based upon the elemental trines, see my book The New Magus (1988)» — dice que ni el orden inglés ni el latino cuadran con la estructura numérica de la serie, que él da el corregido en la tabla, y que el reparto por trígonos elementales es suyo.
Nota de Tyson sobre un nombre angélico de la tabla, dicha con reserva: «Adnachniel—Perhaps this shoutd be Advachiel.» — propone Advachiel sin darlo por seguro.
Nota de Tyson que coteja el latín con el inglés y aun así se abstiene: «Gabiel—The Latin Opera gives Gabriel, but perhaps should give Cambiel.» — la Opera trae Gabriel y él sospecha que debería decir Cambiel.
Corrección de Tyson al trece del texto: «wise men—Matthew 2:2. Herod asks the wise men what time the star appeared (Matthew 2:7), but the time is not stated.» — el evangelio no dice cuándo apareció la estrella.
«the passover—Symbolically appropriate, as the 14th day of the first Jewish month was the Passover, when the paschal lamb was slaughtered and eaten (Exodus 12:2~7). The last supper took place a day earlier so as not to conflict with the rules of the sabbath, after the custom of the Pharisees, although it was the Passover feast.» — Nota de Tyson que precisa el catorce pascual y la fecha de la última cena.
Corrección de Tyson a la zoología del texto, con dos hipótesis y ninguna cerrada: «above twenty feet—The centipede has 21 pairs of legs, but the last pair is enlarged and might have been discounted by Agrippa’s source. Presumably he was not aware of the millipede, or did not consider it to have feet.» — el ciempiés tiene veintiún pares de patas, y propone que la fuente de Agrippa descontara el último par o que no conociera al milpiés.
Glosa de Tyson al movimiento lunar del texto: «motion thereof—The Moon is distinguished from the other planets by the rapidity of its motion and by its marked rise and fall across the plane of the ecliptic, which is defined by the apparent revolution of the Sun around the Earth. The limits of this deviation mark the boundaries of the zodiac, a band that extends nine degrees above and nine degrees below the ecliptic.» — define de paso el zodiaco como la banda de nueve grados a cada lado de la eclíptica.
Nota de Tyson que identifica los treinta y dos caminos del texto: «described by Abraham—“The Thirty-two Paths of Wisdom” is a Kabbalistic tract appended to the Sepher Yetzirah. The paths referred to are the 10 Sephiroth and the 22 Hebrew letters, usually represented in a single glyph as a tree with 10 fruit and 22 branches.» — son las diez sefirot más las veintidós letras, y el opúsculo va apéndice del Sepher Yetsirah.
Tyson consigna la atribución del Sepher Yetsirah sin afirmarla: «Abraham was the reputed author of the Sepher Yetzirah: “And after that our father Abraham had perceived and understood, and had taken down and engraved all these things, the Lord most high revealed Himself, and called him His beloved”» — dice reputado autor y respalda con el pasaje en que la obra nombra a Abraham.
Corrección de Tyson a una cifra del texto: «seventy-seven times—Matthew 18:22. Actually Christ says “seventy times seven.”» — el evangelio dice setenta veces siete.
«seventy souls—Genesis 46:27, which seems to disagree with Acts 7:14.» — Nota de Tyson que consigna una discrepancia entre dos pasajes bíblicos sin resolverla.
«sixty eggs—Aristotle (History of Animals 5) says that the crocodile brings forth 60 eggs and sits on them 60 days.» — Nota de Tyson que documenta con Aristóteles el cocodrilo del texto.
Corrección de Tyson a la cuenta de las coyunturas, dicha con sorna: «make seventy-two—It need hardly be pointed out that the thumb and big toe have only two joints, leaving Agrippa four joints shy of a pleasing example.» — el pulgar y el dedo gordo tienen dos articulaciones, así que a Agrippa le faltan cuatro.
«Pempad is Greek for “a body of five.”» — Glosa de Tyson al término del pasaje platónico que acaba de citar.
Nota de Tyson que traduce los gestos del texto a una categoría ajena a la obra: «ridiculous gesturings—In Eastern occultism ritual gestures are termed mudra, and often focus\, upon the hands as expressing in miniature the posture of the whole body. These hand gestures are numerous in early Christian art. See Ward [1928] 1969 for many examples.» — los empareja con los mudra del ocultismo oriental y añade que abundan en el arte cristiano temprano.
«his Arithmetic—Martianus Minneus Felix Capella, Satyricon bk. 7.» — Glosa de Tyson que identifica al Marciano del texto y la obra citada.
Nota de Tyson que advierte un cambio de sentido de la palabra, y la deja en probable: «middle joint—This probably means the inside of the first joint, as the second joint is occupied in forming 90. “Joint” here may mean segment, as opposed to the modern meaning, hinge.» — joint aquí valdría segmento y no articulación.
Nota de Tyson que documenta el mismo sistema de contar con los dedos en otra fuente: «This fascinating and practical system of counting on the fingers was also described by Nicholaus Rhabda of Smyrna in the 8th century: The left hand was held up flat with the fingers together. The units from 1 to 9 were expressed by various positions of the third, fourth and fifth fingers alone, one or more of these being either closed on the palm or simply bent at the middle joint, according to the number meant.» — Nicolás Rabdas de Esmirna, por la Enciclopedia Británica de 1910. La nota continúa en una plana donde el escaneo entrevera las dos columnas.
Nota de Tyson con el pasaje de la República del que salen los dos números del texto: «Hard in truth it is for a state thus constituted to be shaken and disturbed, but since for everything that has come into being destruction is appointed, not even such a fabric as this will abide for all time» — todo lo que llega a ser tiene señalada su destrucción, y ni ese Estado durará siempre.
Tyson disputa el origen corriente de las cifras romanas: «still in use—The Roman system of numerals is not based on letters, as is commonly assumed, but on an older system of simple symbols. The vertical stroke (1) indicates one. The circle divided horizontally» — no vienen de las letras sino de un sistema anterior de signos simples. La frase sigue en la plana siguiente.
Sigue la reconstrucción de Tyson, que llega a negar el carácter mismo de una de las cifras: «shows one hundred, and when divided vertically (CD), one thousand. This is often represented in old prints as CID, and from this division arose the Roman D, signifying half the circle, or 500. The Roman L, equaling 50, is half a hundred 4nd at one time was written | or | . Likewise the Roman V, with a value of five, is half the Roman X, or ten. In fact, X is not a true Roman letter.» — la equis, dice, no es letra romana verdadera. La cita arranca a media oración por el corte de plana.
Tyson enfrenta la adjudicación del texto con evidencia numismática y la declara contradicha: «imitation of the Hebrews—The first Greek use of this numbering system occurs on coins from the reign of Ptolemy II of Egypt in the 3rd century BC, whereas the first use on Jewish coins is from the time of the Hasmoneans in the 2nd century BC. This evidence contradicts Agrippa’s assertion.» — el uso griego aparece en monedas de Ptolomeo II en el siglo III antes de Cristo y el judío en monedas asmoneas del siglo II.
Glosa de Tyson que nombra las tres figuras intercaladas: «three figures—Added were two old Phoenician letters not used in writing (¢ or fF, and 9), called digamma and koppa, and the early form of the letter San (%), called in modern times sampi.» — digamma, koppa y sampi.
«following classes—I have shown the numbers in this chapter in Greek print letters, but numbers might be written with either print or script letters.» — Declaración de intervención editorial de Tyson en primera persona sobre la composición del capítulo.
Corrección de Tyson al orden que da el texto: «third manner—This system is actually older than the previous one and was called Herodian after the grammarian who described it around 200 AD. It is said to date back to the time of Solon (7th century BC» — el tercer sistema es más antiguo que el segundo, se llama herodiano y se remonta a los tiempos de Solón.
«Jah, one half of the Tetragrammaton (7/7”), usually rendered into English Jehovah.» — Glosa de Tyson al nombre divino que el texto evita formar con el quince.
«these verses —Perhaps Spence has this passage in mind when he writes: “The Greeks examined the number and value of the letters in the names of two combatants, and predicted that he whose name contained most letters, or letters of the greatest value, would be the victor”» — Tyson propone con reserva de dónde viene una noticia moderna sobre los versos que el texto cita.
Tyson enfrenta la autoridad que el texto invoca con lo que esa autoridad escribe, y salva la contradicción con una conjetura: «Ptolemy—Ptolemy seems to disdain celestial numerology when he writes: “What, however, admits of prediction we shall investigate, not by means of lots and numbers, of which no reasonable explanation can be given, but merely through the science of the aspects of the stars ...” (Tetrabiblos 3.3 [Robbins, 237]). But presumably Agrippa is referring to one of the apocryphal works attributed to Ptolemy— perhaps On the Apparitions of the Fixed Stars and a Collection of Prognostics.» — Ptolomeo desdeña en el Tetrabiblos la predicción por suertes y números, así que supone que Agrippa se refiere a alguna obra apócrifa atribuida a él.
Tyson señala un vacío en la regla del texto y dice qué se hace hoy en su lugar: «compute his name—Agrippa does not specify if only the given names or the given and family names are to be used. However, in modern numerology, both given and family names are calculated together.» — Agrippa no precisa si van solo los nombres de pila o también los apellidos.
«Vestal—The word comes from Vesta, the Roman form of the Greek Hestia, goddess of fire, whose sacred flame was tended by virgin priestesses, which cult Livy says originated in Alba, and was carried to Rome by Numa: “The priestesses were paid out of public funds to enable them to devote their whole time to the temple service, and were invested with special sanctity by the imposition of virginity”» — Nota de Tyson sobre las vestales que el texto nombra al pasar, con Livio por documento.
Nota de Tyson que identifica el paladio: «Palladian—The Palladium was the most sacred of the seven objects guarded by the Vestal Virgins upon which the security of Rome was thought to depend. It was kept hidden from profane eyes, but consisted of a crude early statue of Pallas Athene said to have been carried to Rome from fallen Troy by Aeneas.» — la más sagrada de las siete prendas guardadas por las vestales, de la que se decía dependía la seguridad de Roma.
Nota de Tyson con la solución corriente del número de la bestia: «number of a man—See Revelation 13:18. The long accepted theory is that the Beast refers to the Roman emperor Nero. Caesar Nero written in Greek is NERON KESAR, which translated into Hebrew letters yields: N(J) = 50 R(1)= 200 O() =* 6 NG) ="30 K (P)= 100 S(O) = -60 R (1) = 200 666 This is the traditionally accepted solution.» — César Nerón en letras hebreas suma seiscientos sesenta y seis.
Tyson consigna la objeción de Robert Graves a esa solución y la salida que Graves propone, sin arbitrar entre ellas: «The classical scholar Robert Graves raises the objection that the Qoph, or Koph (j>) should more properly be a Kaph (2) = 20, which would reduce the sum to 586. He offers an ingenious alternate solution based on the acronym D.C.L.X.V.I., Roman numerals which add up to 666 and which he makes stand for the words Domitius Caesar Legatos Xti Violenter Interfecit (Domitius Caesar basely killed the envoys of Christ). Domitius was Nero’s original name.» — con la letra que Graves prefiere la suma baja a quinientos ochenta y seis, y él ofrece en cambio un acróstico latino.
«put upon men—Those names that have suffered translation from one language to another, or have arisen from the place of residence, or have been conferred as honorary titles, are not subject to numerical examination.» — Glosa de Tyson a la acotación del texto sobre qué nombres quedan fuera del cómputo.
«unity—The monad was called by the Orphic and Pythagorean philosophers the Sun, Jupiter, Love, Proteus and Vesta.» — Nota de Tyson que añade los nombres órficos y pitagóricos de la mónada.
«two—The duad was named Phanes, Nature, Justice, Rhea, Diana, Cupid, Venus, Fate and Death.» — Nota de Tyson con los nombres de la díada.
«three—The triad was called Juno, Latonia, Thetis, Hecate, Diana, Pluto, Tritogena and Minerva.» — Nota de Tyson con los nombres de la tríada.
«four—The tetrad was called Hercules, Vulcan, Mercury, Bacchus, Bassarius, Pan, Harmony, Justice, the Two Mothered and the Key Keeper of Nature.» — Nota de Tyson con los nombres de la tétrada.
Nota de Tyson que explica el dios cuadrado del texto: «foursquare—Hermes was born on Mount Cyllene, hence his designation Cyllenius; he was called foursquare because his statues, which decorated gardens, consisted of an oblong block of stone with a square base surmounted by a carved head, or head and torso.» — las hermas eran un bloque oblongo de base cuadrada rematado por una cabeza.
«five—The pentad was named Nature, Pallas, Immortal, Providence, Nemesis, Venus and Justice.» — Nota de Tyson con los nombres de la péntada.
«It is not meet too eagerly to oppose these young men about these things, except by saying that every one of the numbers will afford you, if you desire to praise it, no small subject of commendations.» — Tyson documenta la adjudicación del siete a Apolo reproduciendo a Plutarco en el tratado sobre la E de Delfos, según la edición de Kippax de las Moralia, donde se dice que cualquier número admite elogio si se le quiere elogiar.
«In one story the goddess Athene was the daughter of Poseidon and Lake Tritonis, for which reason she was called Tritogenia (born of Triton). By a Cretan account that attempts to explain this epithet and reconcile it with the more common notion that the goddess sprang from the forehead of Zeus, Zeus is said to have struck his head against a cloud in which Athene lay hidden, knocking her out near the stream Triton.» — Tyson explica el epíteto Tritonia por dos genealogías que la tradición no concilia: Atenea hija de Poseidón y del lago Tritonis, y Atenea salida de la frente de Zeus, que un relato cretense reúne haciendo que Zeus golpee la cabeza contra una nube junto al arroyo Tritón.
«A virago is a manlike or heroic woman, which describes Athene, the warrior goddess. In this capacity she slew the giant Pallas and made from his skin the fabled aegis.» — Tyson glosa el Pallas the Virago del texto: virago es mujer varonil o heroica, y en esa capacidad Atenea mata al gigante Palas y hace la égida con su piel.
«Originally a Phrygian goddess of caverns and the Earth, when she became established in Greece she was merged with Rhea. The Romans called her the Great Mother because as wife of Cronus, she was mother to all the Olympic gods. She wore a square turreted crown in the shape of a city fortification, gaining her the title Mater Turrita.» — Tyson traza el traslado de Cibeles de Frigia a Grecia, donde queda fundida con Rea, y explica el título romano de Gran Madre por ser esposa de Crono, y el de Mater Turrita por la corona en forma de muralla.
«Another of her symbols was the whip decorated with knuckle bones with which her frenzied worshippers,» — Tyson describe el látigo de nudillos con que los corybantes se azotaban al son de tambores, flautas y címbalos; la cita se corta en el marcador de plana y la enumeración continúa del otro lado.
«These were the lunatics Apuleius describes: The day following I saw there a great number of persons apparelled in divers colours, having painted faces, mitres on their heads, vestiments coloured like saffron, Surplesses of silke, and on their feet yellow shooes, who attired the goddesse in a robe of Purple, and put her upon my backe. Then they went forth with their armes naked to their shoulders, bearing with them great swords and mightie axes, and dancing like mad persons.» — Tyson identifica a esos frenéticos con los que retrata Apuleyo en El asno de oro, y reproduce la traducción isabelina de la procesión de la diosa con caras pintadas, mitras, sobrepellices de seda y armas desnudas.
«The ogdoad was named Rhea, Love, Neptune and Law.» — Tyson completa el ocho de Agrippa con los nombres de la ogdóada en la nomenclatura pitagórica: Rea, Amor, Neptuno y Ley.
«the ennead was named Ocean, Prometheus, Vulcan, Poean (Apollo), Juno and Proserpine.» — Tyson hace lo propio con el nueve: Océano, Prometeo, Vulcano, Peán —a quien identifica con Apolo—, Juno y Prosérpina.
«The decad was named Heaven, the Sun, Unwearied, Fate, Phanes and Necessity. For all these designations of the ten numbers, see the introduction of Thomas Taylor to his translation of the Hymns of Orpheus, where he draws from the Denarius Pythagoricus of Meursius.» — Tyson cierra la serie con los nombres del diez y declara de dónde sale toda la nomenclatura: la introducción de Thomas Taylor a su traducción de los himnos órficos, que a su vez toma del Denarius Pythagoricus de Meursio.
«Because the Moon is the celestial body nearest the Earth, she is the final intermediary between God and the Earth.» — Tyson razona el utmost receptacle del texto por la posición física: al ser el cuerpo celeste más cercano a la Tierra, la Luna queda como intermediaria última entre Dios y la Tierra.
«One of the few completely Roman deities, this god with two faces presided over doorways and ruled comings and goings. He was originally one of the Numina—the nebulous Powers that were the early deities of Rome—and was called the god of good beginnings.» — Tyson presenta a Jano como una de las pocas deidades enteramente romanas, salida de los Numina, señor de puertas, idas y venidas, y llamado dios de los buenos comienzos.
«The Greeks knew T by the fraction 22/7, which is the ratio—roughly—of the diameter of a circle to its circumference. Perhaps this is why 11 (half of 22) is called semicircular: “... for the circumference of the circle equals three times the diameter plus a seventh part of this diameter. If the diameter is seven, the circumference is 22» — Tyson conjetura por qué el once se llama semicircular: los griegos conocían la razón como 22/7, y once es la mitad de veintidós; lo documenta con Teón en la edición de Lawlor, y el signo de pi sale de la capa de texto como una T suelta.
«Cornelian, the stone favored by Pliny for seal rings, is said to cause concord, to still angry passions, to drive away evil thoughts, and to render harmless witchcrafts and the evil eye. The description applied to it here belongs with coral, about which Gerard says: “It [coral] is a soveraigne remedy to drie, to stop, and stay all issues of bloud whatsoever in man or woman” (Gerard 1633, 3:166:1578). Since coral is the stone of Mars because of its red color and power over blood, it is certain that an error has been made by Agrippa or one of his early copyists, and cornelian should rightly be placed with Jupiter, while coral should appear with Mars.» — Tyson corrige el reparto de las piedras del capítulo apoyándose en el herbario de Gerard de 1633: dice cierto que hay error de Agrippa o de un copista temprano, y que la cornalina toca a Júpiter y el coral a Marte, al revés de como los imprime el texto que edita.
«At the time when Saturn occupies a favorable position in the heavens astrologically, causing its influence to be benign.» — Tyson define la expresión fortunate Saturn del cuerpo del capítulo como el momento en que el planeta ocupa una posición astrológicamente favorable y su influjo se vuelve benigno.
«Genuine Virgin Parchment is necessary in many Magical Operations and should be properly prepared and consecrated. There are two kinds, one called Virgin, the other Unborn. Virgin parchment is that which is taken from an Animal which hath not attained the age of generation, whether it be ram, or kid, or other animal. Unborn parchment is taken from: an animal which hath been taken before its time from the uterus of its mother.» — Tyson documenta el pergamino virgen del texto reproduciendo la Clave mayor de Salomón en la traducción de MacGregor Mathers, que distingue dos clases: el virgen, de animal que no llegó a edad de generación, y el nonato, sacado del útero antes de tiempo.
«This divine name of Jupiter is spelled “Abab” in the English edition and “Abba” in the Latin Opera.» — Tyson coteja los dos testimonios para el nombre divino de Júpiter y consigna la divergencia sin resolverla: la edición inglesa imprime una forma y la Opera latina otra.
«Incorrectly given as “157” in both English and Latin editions.» — Tyson enmienda el ciento setenta y cinco de la tabla de Venus contra las dos ediciones, inglesa y latina, que lo dan mal.
«Incorrectly given as “1252” in both editions, but strangely enough the divine name accurately corresponds to this faulty number. See Appendix V for the numerical breakdown of the name.» — Tyson enmienda también la suma de Venus y hace notar la rareza del caso: las dos ediciones dan la cifra equivocada, y sin embargo el nombre divino corresponde con exactitud a esa cifra defectuosa.
«The Hebrew version of this name appears with only five letters in both English and Latin editions, whereas it should have six—it is explained at the end of Appendix V.» — Tyson señala que el hebreo del nombre de Mercurio sale con cinco letras en las dos ediciones cuando debería llevar seis.
«Talismans From The Magus by Francis Barrett (London, 1801)» — el pie de la lámina de talismanes que Tyson intercala declara su procedencia: el Magus de Francis Barrett de 1801, es decir un impreso muy posterior al texto que ilustra.
«In ritual evocation, where evil or dangerous spirits are called forth into the world, the magician stands within a protective circle. This acts as a magical barrier and bars the entry of the spirit or its influence.» — Tyson traduce el círculo del texto a la práctica de la evocación ritual: el mago se para dentro y el trazo obra como barrera que impide la entrada del espíritu o de su influjo.
«The five obtuse angles are those within the open center of the pentagram; the acute angles are those within the points.» — Tyson desarma la descripción del pentángulo: los cinco ángulos obtusos son los del centro abierto de la figura y los agudos los de las puntas.
«The ankh is an Egyptian hieroglyphic symbol signifying life and resurrection» — Tyson identifica la cruz egipcia de las letras sagradas con el anj, jeroglífico de vida y resurrección.
«That is, a concave mirror. This method of starting fires was used by the Vestal virgins to ritually rekindle the flame of Vesta, as fire brought down directly from the Sun was considered more primal, and thus more holy, than fire generated in common ways.» — Tyson lee el hollow glass del texto como espejo cóncavo y le pone un uso ritual documentado: las vestales encendían así el fuego de Vesta, porque el fuego bajado del Sol se tenía por más primordial y más santo que el hecho por medios comunes.
«it was esteemed an impiety to light it from common sparks or flame, or from anything but the pure and unpolluted rays» — Tyson respalda ese uso con Plutarco en la vida de Numa Pompilio según la traducción de Dryden, que declara impiedad encender el fuego de chispas comunes y no de los rayos puros; la cita se corta en el marcador de plana.
«This sounds very much like the telescope. The exact time and place of its invention is in considerable dispute. It is evident that Roger Bacon, who died at the end of the 13th century, at least knew the theory of the telescope» — Tyson lee la promesa de Agrippa sobre los espejos como una descripción del telescopio, dice en disputa considerable la fecha y el lugar de su invención, y adelanta que Roger Bacon, muerto a fines del siglo XIII, al menos conocía su teoría.
«Glasses [mirrors] or diaphanous bodies [lenses] may be so formed that the most remote objects may appear just at hand, and the contrary, so that we may read the smallest letters at an incredible distance, and may number things, though never so small, and may make the stars [planets] also appear as near as we please.» — y lo documenta con la Epistola ad Parisiensem de Bacon, donde se dice que espejos y cuerpos diáfanos pueden formarse de modo que lo remotísimo parezca cercano y se lean las letras más pequeñas a distancia increíble; los corchetes que aclaran mirrors, lenses y planets son del propio Tyson.
«This phenomenon is called sympathetic vibration.» — Tyson nombra el fenómeno de las dos cuerdas de arpa como vibración simpática; la cita se corta ahí porque el escaneo entrevera desde este punto dos columnas de notas y el tramo siguiente sale reordenado.
«Mareotis, which lay just behind the city. A canal ran from Eunostos, one of the two harbors of Alexandria, into the lake. It may be to this that Pliny refers when he writes “Fish have neither organs of hearing, nor yet the exterior orifice. And yet, it is quite certain that they do hear; for it is a well-known fact, that in some fish-ponds they are in the habit of being assembled to be fed by the clapping of the hands» — Tyson identifica el lago de Alejandría con el Mareotis y matiza lo que el texto afirma citando a Plinio: los peces no tienen órganos de oído y sin embargo oyen, como muestran los estanques donde acuden a comer al batir de las manos.
«They are soothed by the shepherd's pipe and his song» — Tyson adjudica a Plinio la nota musical de los ciervos, en la traducción de Bostock y Riley.
«Familiarly applied to the most northerly of anything. In legend Hyperborea was a land “beyond the north wind” inhabited by a blessed people that enjoyed perpetual sunshine, free from disease, hunger, toil, care and war. The Hyperboreans worshipped Apollo, who had visited them for a year shortly after his birth, and were a cheerful race delighting in song and dance. At first Hyperborea was probably the land of northern Thessaly, but as knowledge of geography grew, it was pushed north, becoming identified with western Europe and the Celtae, and later with the region on the shores of the fabled Hyperboreus Oceanus, beyond the mythical Grypes and Arimaspi, who were reputed to dwell north of the Scythians.» — Tyson historia el epíteto hiperbóreo del texto y describe cómo el lugar se fue corriendo al norte conforme crecía el saber geográfico, de Tesalia a Europa occidental y de ahí al océano fabuloso más allá de los grifos y los arimaspos.
«Perhaps located in the Halesian plain in the Troad (land surrounding Troy), which has hot salt springs.» — Tyson deja en conjetura la fuente hulesia y propone la llanura halesia de la Tróade, que tiene manantiales salados calientes; el verbo con que lo dice es perhaps.
«And is it not for this reason, Glaucon, said I, that education in music is most sovereign, because more than anything else rhythm and harmony find their way to the inmost soul and take strongest hold upon it, bringing with them and imparting grace, if one is rightly trained, and otherwise the contrary? And further, because omissions and the failure of beauty in things badly made or grown would be most quickly perceived by one who was properly educated in music, and so, feeling distaste rightly, he would praise beautiful things and take delight in them and receive them into his soul to foster its growth and become himself beautiful and good.» — Tyson respalda las vain imaginations del texto con el libro tercero de la República de Platón, donde la educación musical se llama soberana porque ritmo y armonía penetran hasta lo más hondo del alma.
«pose of it in our day, but as meant to correct any discord which may have arisen in the courses of the soul, and to be our ally in bringing her into harmony and agreement with herself, and rhythm too was given by them for the same reason, on account of the irregular and graceless ways which prevail among mankind generally, and to help us against them.» — Tyson cierra el respaldo platónico con el Timeo: la armonía no se dio para el placer irracional sino para corregir la discordia surgida en los cursos del alma, y el ritmo por la misma razón, contra los modos desiguales y sin gracia de los hombres; la cita arranca a media palabra porque el marcador de plana corta la frase.
«The Cretan musician Thaletas was invited to Sparta during a pestilence around 620 BC, which he is supposed to have ended.» — Tyson pone fecha y nombre al caso de la peste curada por música: el cretense Taletas llamado a Esparta hacia el 620 a.C., y el verbo con que lo dice deja la atribución en supuesto.
«Apollo was called Ismenius by virtue of having one of his temples located beside the Ismenus River, which rose in Mount Cithaeron and flowed through Thebes. According to legend the boy Ismenus was struck by an arrow of Apollo and leaped into the river, giving it his name.» — Tyson deshace el Ismenia del texto en el epíteto de Apolo, tomado del templo junto al río Ismeno que bajaba del Citerón por Tebas, y recoge la leyenda del muchacho Ismeno herido por una flecha de Apolo.
«When a certain youth also rushed with a drawn sword on Anchitus, the host of Empedocles, because, being a judge, he had publicly condemned his father to death, and would have slain him as a homicide, Empedocles changed the intention of the youth, by singing to his lyre that verse of Homer, Nepenthe, without gall, o’er every ill Oblivion spreads; [Odyssey 4, lines 793-4] and thus snatched his host Anchitus from death, and the youth from his crime of homicide.» — Tyson documenta el caso de Empédocles con la Vida de Pitágoras de Jámblico en la traducción de Taylor: el joven que iba a matar a Anquito y a quien el filósofo desvió cantando a la lira el verso homérico del nepente.
«Among the deeds of Pythagoras likewise, it is said, that once through the spondaic song of a piper, he extinguished the rage of a Tauromenian lad, who had been feasting by night, and intended to burn the vestibule of his mistress, in consequence of seeing her coming from the house of a rival. For the lad was inflamed and excited [to this rash attempt] by a Phrygian song; which however Pythagoras most rapidly suppressed.» — Tyson documenta con el mismo Jámblico el caso del joven de Tauromenio, inflamado por una canción frigia y apagado por una espondaica; la cita se corta antes del encabezado corrido, y del otro lado sigue el encuentro nocturno de Pitágoras con el flautista.
«Timotheus was a flute player of Thebes. Once when he was performing before Alexander the Great an Orthian Nome to Athene, Alexander leapt from his seat and seized the musician by the arms. This was the germ for the well known poem of Dryden, Alexander’ s Feast, which is based on a passage in Plutarch’s Life of Alexander, where, however, Timotheus is not mentioned by name.» — Tyson identifica al Timoteo del texto como flautista de Tebas y rastrea la genealogía del episodio hasta el poema de Dryden, advirtiendo que el pasaje de la Vida de Alejandro de Plutarco en que se basa no lo nombra.
«The bite of the tarantula (Lycosa tarantula, formerly called Tarantula apuliae), a large venomous wolf spider that was found in abundance in the town of Tarentum in the Italian region of Apulia, was thought to be the cause of tarantism, an hysterical malady characterized by a wild impulse to dance. Tarantism was said to be similar to St Vitus’ dance, and was epidemic in Apulia from the 15th to the 17th century. The tarantella, a peasant dance of southern Italy popular since the 15th century, is supposed to cure tarantism if those bitten by the spider dance it until they drop from exhaustion. It may be that there never was a disease as such, and that all the dancing originated as a folk remedy against the bite of the spider.» — Tyson identifica la araña de Apulia con la tarántula lobo y describe el tarantismo como mal histérico epidémico entre los siglos XV y XVII, y termina abriendo la duda de que nunca hubiera tal enfermedad y que el baile entero fuera un remedio popular contra la mordedura.
«Dryden gives the musician a lyre, perhaps confusing him with Timotheus of Miletus (see biograph» — Tyson deja en conjetura la lira que Dryden pone en manos del músico y la atribuye a una posible confusión con otro Timoteo, el de Mileto; el verbo con que lo dice es perhaps.
«But for all this, my most honored friends, methinks you have forgot the chiefest thing of all, and that which renders music most majestic. For Pythagoras, Archytas, Plato, and many others of the ancient philosophers, were of opinion, that there could be no motion of the world or rolling of the spheres without the assistance of music, since the Supreme Deity created all things harmoniously.» — Tyson respalda la premisa pitagórico-platónica del capítulo con el tratado sobre la música de Plutarco en la traducción de John Philips, donde se atribuye a Pitágoras, Arquitas y Platón la opinión de que no habría movimiento del mundo ni giro de las esferas sin música.
«And the spindle [of the universe] turned on the knees of Necessity, and up above on each of the rims of the circles a Siren stood, borne around in its revolution and uttering one sound, one note, and from all the eight there was the concord of a single harmony. And there were three others who sat round about at equal intervals, each one on her throne, the Fates, daughters of Necessity, clad in white vestments with filleted heads, Lachesis, and Clotho, and Atropos, who sang in unison with the music of the Sirens, Lachesis singing the things that were, Clotho the things that are, and Atropos the things that are to be.» — Tyson trae el libro décimo de la República de Platón para el huso de la Necesidad: una sirena sobre cada uno de los ocho bordes emitiendo una sola nota, y las tres Parcas cantando al unísono lo que fue, lo que es y lo que será.
«The seven spheres give the seven sounds of the lyre/and produce a harmony (that is to say, an octave), because of the intervals which separate them from one another» — Tyson añade a Alejandro de Etolia citado por Teón: las siete esferas dan los siete sonidos de la lira y producen una octava por los intervalos que las separan.
«But what account can we give of the voice? Grammarians, indeed, and philosophers, define the voice to be air struck by the breath; from which words [verba, presumed to be from verbero: to strike] derive their name: which is plainly false. For the voice is not produced outside of the mouth, but within, and therefore that opinion is more probable, that the breath, being compressed, when it has struck against the obstacle presented by the throat, forces out the sound of the voice: ... Now, whether this is true, God, who is the designer, may see. For the voice appears to arise not from the mouth, but from the innermost breast. In fine, even when the mouth is closed, a sound such as is possible is emitted from the nostrils. Moreover, also, the voice is not affected by the greatest breath with which we gasp, but with a light and not compressed breath, as often as we wish. It has not therefore been comprehended in what manner it takes place, or what it is altogether.» — Tyson reproduce entera la reserva de Lactancio que Agrippa solo menciona, en la traducción de Fletcher: rechaza como falsa la definición gramatical de la voz como aire golpeado por el aliento, propone que sale del pecho y no de la boca, y remite el asunto a Dios sin cerrarlo.
«Harmony of the World From Utriusque cosmi maioris scilicet et minoris metaphysica, physica atque technica historia by Robert Fludd (Oppenheim, 1617)» — el pie de la lámina que Tyson intercala declara su procedencia: la historia de los dos cosmos de Robert Fludd impresa en Oppenheim en 1617, es decir muy posterior al texto que ilustra.
«The cithara originally had four strings. Terpander increased this number to seven, and Timotheus to eleven. See their biographical notes.» — Tyson precisa la historia del instrumento detrás del pasaje: la cítara tenía cuatro cuerdas, Terpandro las subió a siete y Timoteo a once.
«The ancient Greeks used six modes, which are musical scales of differing pitches corresponding more or less to the modern keys. There were the Dorian, Phrygian, Lydian, mixo-Lydian, Ionic and Aeolian. They were assigned moral values by philosophers.» — Tyson enumera los seis modos griegos, los equipara aproximadamente a las tonalidades modernas y advierte que los filósofos les asignaban valores morales.
«Departure from these established modes was resisted as an anti-intellectual pandering to the mass appetite for pleasure. The names of the Greek modes were preserved in the system of church music known as plainsong, or plain chant (Gregorian chants), established in the 6th century by Gregory the Great, although these differed completely from the Greek.» — Tyson sigue la suerte de esos nombres hasta el canto llano gregoriano del siglo VI y hace la salvedad de que los modos de la iglesia diferían por completo de los griegos, aunque conservaran los nombres.
«The Greek scale consisted of two octaves made from four tetrachords (derived from the four-string cithara). The first and second tetrachords shared a common string, as did the third and fourth, resulting in 14 sounds. To complete the double octave a 15th string, called the proslambanomenos, was added to the bottom of the scale, one tone below the lowest of the hypates» — Tyson reconstruye la escala griega de dos octavas sobre cuatro tetracordios y explica de dónde sale el proslambanómenos que el texto nombra: una decimoquinta cuerda añadida al fondo para completar la doble octava.
«Seven syllables, called the solfeggio, designate the seven notes of the scale: ut (or do), re, mi, fa, sol, la, and si. They come from an ancient monkish hymn to John the Baptist, in which the first syllable of each line was sung one degree higher than the first syllable of the line that preceded it. The first person to use these syllables was Guido of Arezzo in the 11th century.» — Tyson añade el origen de las sílabas del solfeo, tomadas de un himno monacal a Juan Bautista y usadas por primera vez por Guido de Arezzo en el siglo XI: material muy posterior al texto que anota.
«An Italian mile was almost the same as a Roman mile, the Italian mile being 1/100th longer. A Roman mile equaled 0.9193 of an English mile. Therefore 126,000 Italian miles would be roughly 116,000 English miles. This is not even close to the true distance between the Earth and the Moon, which is around 240,000 miles.» — Tyson convierte las millas italianas del texto a inglesas y contradice el dato sin armonizarlo: las ciento veintiséis mil millas dan unas ciento dieciséis mil inglesas, y dice que eso no se acerca siquiera a la distancia real de la Tierra a la Luna, de unas doscientas cuarenta mil.
«The earth at the center gives the low sound of the hypate; the starry sphere gives the conjunct nete; the sun placed in the middle of the errant stars gives the mese; the crystal sphere gives the fourth in relation to it; Saturn is lower by a half-tone;» — Tyson documenta el mismo reparto de intervalos con unos versos de Alejandro de Etolia, donde la tierra da la hipate, la esfera estrellada la nete y el Sol en medio de los errantes la mese.
«Hermes continues with a half-tone lower than Venus; then comes the moon which gives to nature such varying hue; and finally, the earth at the centre gives the fifth with respect to the sun» — el remate de los versos de Alejandro de Etolia que Tyson trae según Teón en la edición de Lawlor, con Mercurio medio tono bajo Venus y la tierra dando la quinta respecto del Sol.
«Pythagoras, employing the terms that are used in music, sometimes names the distance between the Earth and the Moon a tone; from her to Mercury he supposes to be half this space, and about the same from him to Venus. From her to the Sun is a tone and a half; from the Sun to Mars is a tone, the same as from the Earth to the Moon; from him there is half a tone to Jupiter, from Jupiter to Saturn also half a tone, and thence a tone and a half to the zodiac. Hence there are seven tones, which he terms the diapason harmony, meaning the whole compass of the notes. In this, Saturn is said to move in the Doric time, Jupiter in the Phrygian, and so forth of the rest; but this is a refinement rather amusing than useful.» — Tyson pone al lado la versión de Plinio del mismo cómputo, atribuida a Pitágoras, y la cita entera incluye el juicio del propio Plinio, que llama al refinamiento más entretenido que útil.
«A trihemitone is three semitones, which is what Agrippa means by “a threefold tone.”» — Tyson traduce el trihemitono a tres semitonos y declara que eso es lo que Agrippa quiere decir con su tono triple.
«The phenomenon referred to here is the precession of the equinoxes.» — Tyson identifica el grado en cien años del texto con la precesión de los equinoccios; la cita se corta ahí porque la capa de texto intercala un signo suelto en la frase siguiente.
«the equinoctial points—location of the Sun when day and night are equal—move slowly around the ecliptic from east to west; that is, contrary to the usual order of the zodiac signs. The complete revolution of the equinoxes takes about 25,000 years. This is called a Platonic Year. To cross each sign takes 2,120 years, a Platonic Month. Since there are 30 degrees in each sign, the actual period of passage through each degree is roughly 71 years.» — y sigue la explicación con sus cifras: la revolución completa toma unos veinticinco mil años, que llama año platónico, dos mil ciento veinte por signo como mes platónico y unos setenta y un años por grado.
«Proper motion is the true motion of a planet, as opposed to its apparent motion as observed from Earth. The ancient astronomers based their opinions on the theory of solid crystal spheres nestled one inside the other with the Earth at the center. Later there was the elaboration of smaller spheres circling larger spheres. Consequently there arose confusion over what was the true motion of a planet and what was only its seeming motion.» — Tyson define el movimiento propio como el verdadero frente al aparente visto desde la Tierra, y explica de dónde salía la confusión: la teoría de esferas de cristal encajadas y, después, de esferas menores girando sobre las mayores.
«Planetary motion was divided into: (1) Forward motion—the apparent motion of a planet through the zodiac from east to west; (2) Contrary motion—the apparent motion of a planet through the zodiac from west to east. Plato thought this to be proper, or true, motion, but Adrastus believed it a seeming motion; (3) Station—the apparent motionlessness of a planet; (4) Retrograde motion—the apparent return of a planet from its station in a direction opposite its former motion, a backtracking.» — Tyson enumera las cuatro clases de movimiento planetario de la astronomía antigua y consigna un desacuerdo dentro de ellas: Platón tenía el movimiento contrario por propio y verdadero, y Adrasto por aparente.
«The rapid, or violent, motion of the stars results from the rotation of the Earth on its» — Tyson explica el movimiento violento del texto por la rotación de la Tierra sobre su eje; la cita se corta en el marcador de plana.
«axis. The stars complete the apparent revolution about the Earth in approximately 23 hours, 56 minutes—a sidereal or stellar day. The planets pursue this violent motion of stars, but each night lag a little farther behind, until eventually they come full circle against the stellar backdrop. The Moon is the greatest laggard, completing its circuit in just over 27 days, which means that it must fall behind the stars approximately 13 degrees each night.» — y sigue del otro lado con el día sidéreo de veintitrés horas y cincuenta y seis minutos, y con la Luna como la más rezagada de todas, que cierra su circuito en poco más de veintisiete días y queda cada noche unos trece grados atrás de las estrellas.
«Actually it is double and one half.» — Tyson enmienda en seco la proporción que el texto da entre aire y agua, sin armonizarla con lo impreso.
«Air is between Fire and Water; Water is between Air and Earth.» — Tyson nombra cuál es el elemento intermedio que el texto deja sin decir: el aire entre fuego y agua, el agua entre aire y tierra.
«Harmony of Man From Tomus secundus de supernaturali, naturali, praeternaturali et contranaturali microcosmi historia by Robert Fludd (Oppenheim, 1619)» — el pie de la segunda lámina de Fludd que Tyson intercala declara su procedencia: el tomo segundo de la historia del microcosmo, impreso en Oppenheim en 1619.
«In the first illustration, the cubic stone indicates the Earth, as does the great circle itself. On the belly of the figure is a medieval builder’s tool for finding plumb—a mason’s symbol. The pentagrams around the hands are pointing downward, which in the occultism of the 19th century is a symbol of Satanism; however, Agrippa would not have made this distinction between the upright and inverted pentagram. The cross through the great circle suggests the cardinal points. The small circle atop the head may stand for the Sun.» — Tyson lee la primera lámina del cuerpo humano pieza por pieza y marca el anacronismo que él mismo introduciría si no lo dijera: los pentagramas invertidos son símbolo satánico en el ocultismo del siglo XIX, y Agrippa no habría hecho esa distinción entre pentagrama derecho e invertido.
«In the second illustration, the center of the figure is the groin. The cross on the navel marks the other center used in the preceding illustration. On the border is the serpent and knobbed stick of Aesculapius, god of physicians, and above the figure, the eye of God.» — Tyson describe la segunda lámina: el centro en la ingle, la cruz del ombligo marcando el centro anterior, y en el borde la serpiente y el bastón de Esculapio con el ojo de Dios encima.
«In the third illustration, the Moon is set over the lower groin center, the Sun over the upper solar plexus center. The five planets are arrayed about the perimeter in order of their quickness of apparent motion clockwise: Mercury, Venus, Mars, Jupiter, Saturn.» — Tyson describe la tercera lámina y declara el criterio de su orden: los cinco planetas van por el perímetro según su rapidez de movimiento aparente, en el sentido de las manecillas.
«In the fourth illustration, the symbols around the border are the zodiac signs beginning with Aries at the head and running counterclockwise.» — Tyson describe la cuarta lámina: los signos del zodiaco en el borde, con Aries en la cabeza y corriendo contra las manecillas.
«In the fifth illustration, the most masculine planets—Sun, Jupiter, Mars—are spread along the axis of the body; the fully feminine planets—Moon, Venus—are over the hands, and the somewhat feminine planets—Mercury, Saturn—on the feet.» — Tyson describe la quinta lámina repartiendo los planetas por grados de masculinidad y feminidad: Sol, Júpiter y Marte sobre el eje del cuerpo, Luna y Venus sobre las manos, Mercurio y Saturno en los pies.
«In the sixth illustration, I must confess that I have not been able to determine the numerological significance of the 16 numbers around the figure, though I am sure the explanation is quite simple.» — Tyson ficha su propia abstención sobre la sexta lámina: confiesa no haber podido determinar el sentido numerológico de los dieciséis números que rodean la figura, aunque se dice seguro de que la explicación es simple.
«Agrippa means the segments of the fingers when he speaks of joints; thus, probably from the tip of the nail to the middle knuckle of the forefinger.» — Tyson fija el sentido del término joints en el capítulo —los segmentos de los dedos, no las articulaciones— y da su lectura de la medida en grado de probabilidad.
«It is not clear to me what is meant here; perhaps the distance from the navel to the groin compared with the height of the body.» — segunda abstención de Tyson en el mismo capítulo: dice no tener claro qué se quiere decir con la proporción del cuerpo entero al tronco, y propone una lectura marcada como conjetura.
«These measures and proportions of the human body are very similar to the list compiled by the Italian artist and inventer Leonard da Vinci (see The Notebooks of Leonardo da Vinci, ed. Edward MacCurdy [New York: George Braziller, 1955], 7:206—-14). Since Agrippa spent so much time in Italy between 1511 and 1517, when Leonardo was in his early 60s and still very active, it is not impossible that the two corresponded or even met. However, the link, if there is one, appears to be the book Summa de arithmetica geometria proportioni et proportionalita by the mathematician Lucas Paciolus (see his biographical note), who was a close friend of da Vinci. Agrippa mentions this work at the end of ch. XVI, bk. II, referring to its author as “Brother Luke of Saint Sepulchers.”» — Tyson emparenta el canon del capítulo con las notas de Leonardo da Vinci y mide su propia hipótesis: dice no imposible que los dos se hayan escrito o conocido en la Italia de 1511 a 1517, pero pone el vínculo probable en la Summa de Luca Pacioli, amigo de Leonardo, a quien Agrippa nombra en otro capítulo con un nombre castellanizado por la traducción.
«It is said that the heart increases every year in man, and that two drachmae in weight are added yearly up to the fiftieth year, after which period it decreases yearly in a similar ratio; and that it is for this reason that men do not live beyond their hundredth year, the heart then failing them: this is the notion entertained by the Egyptians, whose custom it is to embalm the bodies of the dead, and so preserve them.» — Tyson documenta la cuenta del peso del corazón con Plinio en la traducción de Bostock y Riley, donde la noticia se da en boca de otros y se adjudica a los egipcios que embalsamaban a sus muertos.
«It was this pernicious belief that led to so many ugly old women being executed for witchcraft and, by an opposite logtc, necessitated the physical perfection of the Vestal Virgins of Rome and the students of the Kabbalah among the Jews.» — Tyson emite juicio propio sobre la doctrina que edita y la llama creencia perniciosa: a ella atribuye que tantas ancianas feas fueran ejecutadas por brujería y, por lógica inversa, la exigencia de perfección física en las vestales romanas y en los estudiantes de la cábala.
«The acquired virtues, and the ability to learn, depend on Saturn» — Tyson precisa qué entiende el texto por potencia receptiva de Saturno: las virtudes adquiridas y la capacidad de aprender; la cita se corta ahí porque desde este punto el escaneo entrevera las dos columnas de notas de la plana.
«The major aspects of astrology are: Conjunction (cf ), when planets are together. This causes them to act in unison, though not necessarily in harmony. Opposition (9°), when planets are separated by 180 degrees of arc. This is the aspect of maximum tension, tending to a polarization of their powers.» — Tyson define uno por uno los aspectos mayores que el texto solo nombra, empezando por la conjunción —que hace obrar al unísono, aunque no necesariamente en armonía— y la oposición como aspecto de máxima tensión; la cita se corta en el marcador de plana.
«Conjunction, trine, sextile and semisextile have historically been considered favorable; opposition, square and semisquare unfavorable. But the effect of an aspect may more properly be said to depend upon the response of the individual.» — y cierra esa lista con una reserva propia sobre la tradición que acaba de exponer: históricamente unos aspectos se tuvieron por favorables y otros por desfavorables, pero dice que el efecto depende más propiamente de la respuesta del individuo.
«The angles, or corners, of the heavens are the ascendent, midheaven (Medium Coeli), descendent, and lower midheaven (Immum Coeli), respectively the eastern horizon, the highest point in the sky, the western horizon, and the lowest point on the opposite side of the Earth. Historically the planets in the angles were considered the strongest.» — Tyson traduce los ángulos del texto a los cuatro puntos de la carta —ascendente, medio cielo, descendente y fondo del cielo— y consigna que los planetas en ellos se tuvieron históricamente por los más fuertes.
«The rulers of the triplicities are those planets that govern the action of the four elemental trines of the zodiac signs» — Tyson explica qué son los regentes de las triplicidades que el texto nombra al paso; la cita se corta antes de la remisión interna.
«One planet is assigned to govern the trine by day and another by night, the planets most in harmony with the nature of the trine being selected for these roles. For example, the Fire triplicity is Aries-Leo-Sagittarius.» — y detalla la mecánica: un planeta gobierna el trígono de día y otro de noche, escogidos por armonía con la naturaleza del trígono.
«Since there are seven planets but eight governors, the final unassigned planet,.Mars, is given to the last trine, Water, both day and night. Venus is appointed co-ruler by day and the Moon by night because this watery trine is feminine. The triplicities are given by Ptolemy in his Tetrabiblos 1.18 (Robbins, 83-7). For convenience I have tabulated them below» — Tyson resuelve el desajuste entre siete planetas y ocho gobernadores dando Marte al trígono de agua día y noche, y declara la fuente de todo el reparto: el Tetrabiblos de Ptolomeo en la edición de Robbins.
«There are three faces in each sign, each face ten degrees. In ancient times the faces were assigned to the planets in their Ptolemaic order» — Tyson define la faz como tercio de diez grados de cada signo, repartido entre los planetas en el orden ptolemaico.
«The faces are distinguished by Agrippa from the > decans, which have a different system by which planets are assigned to rule them (see note 3, ch. XXXVI, bk. II). In other respects the decans and faces, as Agrippa uses the term, seem indistinguishable.» — Tyson señala que Agrippa distingue las faces de los decanos por el sistema de regencia, y añade su propia reserva: en lo demás, tal como Agrippa usa el término, decanos y faces le parecen indistinguibles.
«A planet within three degrees of the Sun’s longitude is said to be combust, because the power of the Sun overwhelms its operation.» — Tyson define la combustión que el texto nombra: un planeta a menos de tres grados de la longitud del Sol, cuya potencia anula su operación.
«A planet was said to be essentially dignified when in its own sign, exaltation, triplicity, term or face: and was said to be accidentally dignified when in the mid-heaven, ascendant, 7th, 4th, 11th, 9th, 2nd or Sth house. A planet is accidentally strong when swift and direct in motion, and near its greatest distance from the Sun; a superior planet (C’, 2, ), when oriental of the Sun; an inferior planet (), §, 9), when occidental. A planet is essentially weak when it is in fall or detriment. It is accidentally weak when in the 12th, 8th or 6th house, retrograde or very slow in motion, within 8 degrees, 30 minutes of the Sun: a superior planet, when occidental of the Sun; an inferior, when oriental. Although a planet was held to be weak when within 8 degrees, 30 minutes of the Sun, it was said to be strong when within 17 minutes, or in exact conjunction with the Sun—‘in cazimi’ as the ancients term it.» — Tyson respalda las dignidades del capítulo con un manual astrológico decimonónico reeditado en 1970, que separa dignidad esencial de accidental y trae el caso límite del cazimi: débil a ocho grados y medio del Sol, fuerte a diecisiete minutos o en conjunción exacta.
«Ptolemy says planets are most powerful “when they are in mid-heaven or approaching it, and second when they are exactly on the horizon or in the succedent place» — Tyson apoya en el Tetrabiblos el orden de fuerza de las casas que el texto supone: primero en el medio cielo o acercándose a él, después en el horizonte o en la casa sucedente.
«The sect of the Sun contains, in addition to the Sun, the planets Jupiter and Saturn; the sect of the Moon contains the Moon, Venus and Mars. Mercury belongs to both sects according to its position— when it is seen as a morning star (in the east) it is in the sect of the Sun; when seen as an evening star (in the west) it belongs to the sect of the Moon.» — Tyson explica los delights del texto por la doctrina ptolemaica de las sectas y hace notar el caso doble: Mercurio pertenece a las dos según su posición, a la solar como lucero de la mañana y a la lunar como lucero de la tarde.
«That is, the powers of a planet should not be used when the planet is in a sign ruled by Saturn or Mars, or when the planet falls within the orb, or bounds, of Saturn or Mars—conjunction with these bodies.» — Tyson traduce los hoyos y vacíos del texto a una regla operativa: no usar la potencia de un planeta cuando está en signo regido por Saturno o Marte, ni cuando cae dentro del orbe de esos dos.
«of greatest influence: Saturn—10 degrees; Jupiter— 12 degrees; Mars—7 degrees, 30 minutes; Sun—17 degrees; Venus—8 degrees; Mercury 7 degrees, 30 minutes; Moon—12 degrees, 30 minutes. There is a wide variance of opinion as to the extent of the orbs.» — Tyson da en grados el orbe de cada planeta y en la misma nota declara el límite del dato: hay amplia variación de opiniones sobre su extensión.
«The influence of Saturn and Mars is generally considered to be malefic. Ptolemy calls them “the two destructive stars.» — Tyson respalda el carácter maléfico de Saturno y Marte con el nombre que Ptolomeo les da en el Tetrabiblos.
«The Part, or Lot, of Fortune is a hypothetical point the position of which determines the material acquisitions of an individual or other subject of inquiry.» — Tyson define la parte de Fortuna que el texto nombra al paso: un punto hipotético cuya posición determina las adquisiciones materiales del sujeto.
«The Part of Fortune is that point of the heavens in which the Moon would be if the Sun were exactly rising» — y da la fórmula concisa de un manual del siglo XIX, después de citar la más larga de Ptolomeo: el punto del cielo donde estaría la Luna si el Sol estuviera exactamente saliendo.
«They do not cover the same distance in space in the same amount of time; they go faster when they appear larger because of their lesser distance from Earth, and they go less fast when they appear smaller because of their greater distance» — Tyson explica el curso lento del texto con Teón en la edición de Lawlor: los planetas van más aprisa cuando parecen mayores por estar más cerca de la Tierra, y menos aprisa cuando parecen menores.
«Each of the planets has its peculiar colour; Saturn is white, Jupiter brilliant, Mars fiery, Lucifer [Venus in the east] is glowing, Vesper [Venus in the west] refulgent, Mercury sparkling, the Moon mild; the Sun, when he rises, is blazing, afterwards he becomes radiating. The appearance of the stars, which are fixed in the firmament, is also affected by these causes.» — Tyson pone al lado la lista de colores planetarios de Plinio, que no coincide con la del texto —Saturno blanco donde Agrippa lo da plomizo y azul— y no armoniza las dos.
«Mirach, a yellow star said to be fortunate in honors and matrimony.» — Tyson identifica el Ombligo de Andrómeda con Mirach y le añade el pronóstico que la tradición le daba.
«lgol is a white variable star that brightens and dims, making it very conspicuous in the northern heavens. The Arabs called it the Blinking Demon. The Hebrews named it Satan’s Head and Lilith, after the demon lover of Adam. The Chinese called it the Piled-up Corpses. It was everywhere regarded as violent, dangerous, and highly unlucky. Al Sufi described it as a red star, and this occasional redness was observed by an astronomer named Schmidt at Athens in 1841.» — Tyson reúne los nombres que Algol tuvo en cuatro tradiciones —el Demonio Parpadeante de los árabes, la Cabeza de Satán y Lilit de los hebreos, los Cadáveres Amontonados de los chinos— y cierra con el color rojo que le atribuyó Al Sufi y con una observación de 1841 que lo confirmaría; la capitular sale corrompida por el escaneo y la palabra es *Algol*.
«This small cluster of stars, called the Seven Sisters, ranges in color from silvery white, to a lucid white tending to violet, to an intense white. It was connected with rain showers and the time of planting and was regarded as a portent of blindness and accidents to the sight.» — Tyson describe las Pléyades por su color y consigna lo que la tradición les asociaba: lluvias, tiempo de siembra y presagio de ceguera y accidentes en la vista.
«Capella is white, and signified wealth, civic honor, and military renown. Ptolemy described it as a red star, perhaps due to a peculiarity in his color vision.» — Tyson identifica la Estrella de la Cabra con Capella, la da por blanca y explica la descripción contraria de Ptolomeo por una conjetura sobre su vista, con lo que registra la discrepancia sin borrarla.
«Sirius, the brightest star in the heavens, is a binary noted in ancient times for its scintillation and rapid color changes, ranging from brilliant blue-white to yellow, and even perhaps to red if old accounts are to be believed. It was in earliest ages considered to be an evil star, the bringer of plagues, fevers, drought, and death, by virtue of its connection with the heat of the dog days of summer, and was propitiated with sacrifice and worship. In more recent centuries it was thought to foretell wealth and renown.» — Tyson describe a Sirio como binaria de color cambiante y traza el vuelco de su fama: estrella maligna en las edades más antiguas, portadora de pestes y sequía por su vínculo con la canícula, y anunciadora de riqueza y renombre en siglos recientes.
«Regulus, or Cor Leonis, is flushed white in color and was said to confer a royal destiny of riches and power upon those born under its influence.» — Tyson identifica la Estrella del Rey con Régulo y consigna el destino real de riquezas y poder que se atribuía a los nacidos bajo ella.
«Gienah, the brightest star of the constellation Corvus, called the Right Wing, though it is located on modern star charts in the /eft wing—perhaps it depends on whether one visualizes the Raven from above or below.» — Tyson identifica el Ala Derecha del Cuervo con Gienah y hace notar que en las cartas modernas cae en el ala izquierda, con una conjetura para el desajuste: dependería de si el Cuervo se ve desde arriba o desde abajo.
«Arctutrus (see note 45, ch. XXXII, bk. I), a bright golden yellow star said to bring storms upon the Earth, but riches and honors to those born under it. Ptolemy describes it as golden red.» — Tyson identifica Alchameth con Arturo, le atribuye tormentas sobre la tierra y riquezas a los nacidos bajo ella, y consigna que Ptolomeo la describe de otro color.
«The zodiacal longitudes of the fixed stars given by Agrippa are eight or nine degrees behind their present positions, due to the precession of the equinoxes. The positions were correct some 240 years before the writing of the Occult Philosophy, which strongly suggests that Agrippa made use of the Alphonsine Tables, astrological tables compiled in 1253 in Toledo. See note 12, ch. XX VII, bk. III. I am indebted to David Godwin for these astrological calculations.» — Tyson mide el desfase de las longitudes que el capítulo anterior da —ocho o nueve grados por la precesión— y de ahí saca una conjetura de fuentes: las posiciones eran correctas unos doscientos cuarenta años antes de escribirse la obra, lo que sugiere el uso de las Tablas Alfonsíes de Toledo de 1253; declara además de quién son los cálculos, y no suyos.
«Antares, a bright star of a fiery red color closely associated for this reason with Mars. It was one of the four Royal Stars of the ancient Persians (3000 BC), who called it the Guardian of the Heavens.» — Tyson identifica el Corazón del Escorpión con Antares y explica su vínculo con Marte por el color rojo de fuego, añadiendo que era una de las cuatro estrellas reales de los persas antiguos.
«In an Orphic hymn to Jove preserved by Proclus, where the god is described as the universe, occurs the line: “His eyes, the sun, and moon with borrow’d ray ...” (Hymns of Orpheus, Introduction, in Thomas Taylor the Platonist: Selected Writings, 178). In the Orphic hymn “To the Sun,” is written “Hear golden Titan, whose eternal eye/With broad survey, illumines all the sky ...” (ibid., hymn 7, p. 218). This echoes Homer, who refers to the Sun as: “... a dreaded god,/Helios, who sees all things and listens to all things» — Tyson rastrea los ojos vivificantes del cielo que el texto adjudica a Orfeo hasta dos himnos órficos en la traducción de Thomas Taylor, y de ahí hasta Homero, que llama al Sol dios temido que todo lo ve y todo lo oye.
«The sun is carried along in the midst of these [planets], a body of great size and power, the ruler, not only of the seasons and of the different climates, but also of the stars themselves and of the heavens. When we consider his operations, we must regard him as the life, or rather the mind of the universe, the chief regulator and the God of nature; he also lends his light to the other stars. He is most illustrious and excellent, beholding all things and hearing all things, which, I perceive, is ascribed to him exclusively by the prince of poets, Homer.» — Tyson respalda las cualidades solares del capítulo con Plinio, que llama al Sol la vida o más bien la mente del universo y el dios de la naturaleza, y adjudica también a Homero el atributo de ver y oír todas las cosas.
«The moon, too, as the heavenly body nearest the earth, bestows her effluence most abundantly upon mundane things, for most of them, animate or inanimate, are sympathetic to her and change in company with her; the rivers increase and diminish their streams with her light, the seas turn their own tides with her rising and setting, and plants and animals in whole or in some part wax and wane with her.» — Tyson documenta el último receptor lunar con el Tetrabiblos: ríos que crecen y menguan con su luz, mares que mueven sus mareas con su salida y su ocaso, plantas y animales que crecen y decrecen con ella.
«This image originates with Homer, who makes Zeus boast: Let down out of the sky a cord of gold; lay hold of it all you who are gods and all who are goddesses, yet not even so can you drag down Zeus from the sky to the ground, not Zeus the high lord of counsel, though you try until you grow weary.» — Tyson contradice la atribución del texto sin borrarla: la Cadena de Oro que Agrippa adjudica a Platón la hace originarse en Homero, y reproduce el pasaje en que Zeus reta a los dioses a arrastrarlo con una cuerda de oro.
«Probably Agrippa is referring to the “spindle of Necessity” of Plato, which “extended from above throughout the heaven and the Earth, a straight light like a pillar, most nearly resembling a rainbow, but brighter and purer» — Tyson conjetura a qué se refiere la Cadena de Oro que Agrippa adjudica a Platón y propone el huso de la Necesidad del libro décimo de la República, con el verbo probably a la vista.
«Plato’s chain is a chain of reincarnating souls, which, however, he does not specifically embody in this metaphor (see Republic 10.619—20). He makes a somewhat humorous allusion to the Golden Chain when he compares the chain of poets depending from the Muse to a chain of magnetized rings hanging from a loadstone» — y acota su propia propuesta: la cadena de Platón es de almas que se reencarnan y él no la encarna específicamente en esa metáfora, aunque sí alude a algo parecido cuando compara la cadena de los poetas colgando de la Musa con anillos imantados en un imán.
«The Golden Chain inevitably calls to mind the ladder of Jacob, upon which angels constantly ascended and descended» — Tyson añade la asociación que le parece inevitable, y la marca como tal: la escala de Jacob por la que suben y bajan los ángeles.
«The moon is much more prominent in Hindu astrology then in the astrology of the West.» — Tyson respalda la atribución del texto a los sabios de la India haciendo notar que la Luna pesa mucho más en la astrología hindú que en la occidental.
«From the Arabic Al Manazil al Kamr (Resting Places of the Moon), manzil\. signifying the noonday rest of a camel rider in the desert. The mansions are perhaps the most ancient division of the heavens, older even than the zodiac. They are found in India, China, Arabia, Babylonia, Egypt, Persia, and other sites of early civilization. The Indians recognize 27 mansions, the Arabs 28. This difference of opinion arises because the revolution of the Moon about the Earth takes 27.3 days. Until the time of Christ the list of mansions began with the Pleiades at the beginning of Taurus, but after this time it was shifted to the stars in the beginning of Aries due to the precession of the equinoxes, these stars having been associated with the 27th Mansion of the earlier series. Three of the names from the Chinese and Arabic series are the same, at least suggesting the possibility of a common origin lost in time. With typical syncretic zeal the Arabs associated the mansions with the letters of the Arabic alphabet (the first mansion being silent) and with the essential divisions of the universe. The mansions were named after the bright star that occupied each—or perhaps the stars were named for the mansions.» — Tyson historia las mansiones desde el árabe —las posadas de la Luna, del descanso de mediodía del jinete de camello— y las da por división del cielo más antigua que el propio zodiaco, presente en India, China, Arabia, Babilonia, Egipto y Persia; explica el desacuerdo entre veintisiete y veintiocho por los 27,3 días del mes lunar, y deja abierta hasta la pregunta del nombre: las mansiones se nombraron por su estrella brillante, o quizá las estrellas por las mansiones.
«When the seven divisions of the first quarter of the zodiac are translated into seconds of arc, it will easily be seen that they are by no means regular» — Tyson traduce a segundos de arco las siete divisiones del primer cuarto que da el texto y mide su irregularidad, contra lo que el propio capítulo declara.
«The measure that Agrippa gives from Abraham (12°51'26", or 46,286") is in fact very close to the 28th part of the Zodiac: 360° x 3600" = 1,296,000" + 28 = 46,285.7". And Agrippa says “almost twenty-six seconds,” indicating that he knew the exact measure.» — y aun así le da la razón en lo esencial: la medida que Agrippa toma de Abraham cae muy cerca de la veintiochava parte del zodiaco, y del almost twenty-six seconds del texto deduce que conocía la medida exacta.
«Because of the tilt of the Earth’s axis, the stars and the planets seem to describe paths that wind around the Earth like the windings of a ball of string as the Earth progresses in its orbit.» — Tyson explica las windings del texto por la inclinación del eje terrestre, que hace parecer que estrellas y planetas devanan sus caminos como un ovillo de cordel.
«This is due to the angle between the plane of the ecliptic and the plane of the equator, or equinoctial, which results from the tilt of the axis of the Earth. Half the signs of the zodiac—Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius—take more than two hours to rise. These are called the signs of long ascension. The other half of the zodiac—Capricorn, Aquarius, Pisces, Aries, Taurus, Gemini—take less than two hours to ascend. These signs are called the signs of short ascension. This unequal division of times is reflected in the unequal house systems of Campanus (13th century), Regiomontanus (15th century) and Placidus (17th century).» — Tyson explica la desigualdad de las horas por el ángulo entre eclíptica y ecuador, separa los signos de ascensión larga de los de ascensión corta, y liga esa desigualdad a los sistemas de casas de Campano, Regiomontano y Placidus, todos posteriores al texto.
«The celestial equator. When the sun is on this circle, or plane, day and night are of exactly equal length. This is termed the equinox, and on these two days of the year the artificial clock hours are of the same duration as the planetary hours.» — Tyson identifica el equinoccial con el ecuador celeste y saca de ahí el único caso en que las dos medidas de hora coinciden: los dos días del año en que el Sol está sobre ese plano.
«Magic mirrors, which were used for scrying and to communicate with spirits. The most ancient of these is the surface of a liquid such as water, or oil, or ink. See Pausanias (Guide to Greece 7.21.5) for the use of a mirror in divination.» — Tyson identifica los glasses del texto con espejos mágicos para escrutar y comunicarse con espíritus, y da por más antiguo de todos la superficie de un líquido, con Pausanias como referencia del uso adivinatorio.
«The Centiloquium, a work consisting of 100 aphorisms on astrology attributed to Ptolemy. It is also sometimes called the Fructus librorum suorum.» — Tyson consigna el Centiloquio como cien aforismos astrológicos atribuidos a Ptolomeo, con el verbo de atribución a la vista, y da su otro título.
«Egyptian Zodiac From The Gods of the Egyptians by E. A. Wallis Budge (London, 1904)» — el pie de la lámina del zodiaco egipcio que Tyson intercala declara su procedencia: los dioses de Egipto de Wallis Budge, impreso en Londres en 1904.
«The decans are divisions of the signs of the zodiac into three portions, each comprising ten degrees. In this sense they are the same as the faces, as Agrippa uses this term. The first decan in each sign is strongly of the nature of the sign, and is ruled by the ruling planet of the sign. The second decan is ruled by the ruling planet of the next sign in the elemental triplicity to which the sign belongs. The third decan is ruled by the ruling planet of the third sign of the same elemental triplicity. The following table shows the decans and the planets that rule them.» — Tyson define los decanos y consigna que en el uso de Agrippa coinciden con las faces, y expone la regla de regencia por triplicidad elemental que ordena la tabla que da a continuación.
«Consumptive fever, or tuberculosis. It is - characterized by flushed cheeks and a hot, dry skin.» — Tyson traduce la hectic del texto a fiebre consuntiva o tuberculosis y la describe por sus signos.
«A continuing fever accompanied by inflammation.» — Tyson define la fiebre sinocal del texto como fiebre continua acompañada de inflamación.
«Described in the Picatrix, a popular medieval grimoire.» — Tyson adjudica las treinta y seis imágenes de las faces al Picatrix y lo llama grimorio medieval popular.
«Peter of Abano speaks of the astronomical images of the 360 degrees of the heavens in his Conciliator, written around 1303. Johannes Angelus reprinted Peter’s Astrolabium planum at Venice in 1488 under the title Opus astrolabii plani in tabulis: a Johanne Angeli, and included in this work the section from Abano describing the 360 spirits, leading some to attribute these spirits incorrectly to Johannes Angelus.» — Tyson rastrea la fuente de las trescientas sesenta imágenes hasta el Conciliator de Pietro de Abano hacia 1303 y explica de dónde salió una atribución falsa: la reimpresión veneciana de 1488 a cargo de Johannes Angelus incluyó esa sección, y algunos le adjudicaron a él los espíritus.
«Northern constellation representing the seated figure of the mother of Andromeda. She raised the ire of Neptune by boasting that she was more beautiful than the Nereids. Neptune sent a sea monster against the kingdom, which could only be appeased by the sacrifice of Andromeda.» — Tyson repone la fábula detrás de Casiopea: se jactó de ser más hermosa que las nereidas, y por eso Neptuno mandó contra el reino un monstruo marino que solo se apaciguaba con el sacrificio de Andrómeda.
«Constellation Draco from Theatrum Mundi by Giovanni Paolo Gallucci (Venice, 1588)» — el pie de la lámina del Dragón que Tyson intercala declara su procedencia: el Theatrum Mundi de Giovanni Paolo Gallucci, impreso en Venecia en 1588.
«the Ship—The Argo Navis, the ship in which Jason sailed after the golden fleece. This southern constellation was so large, it has been broken into four parts: Carina (the Keel), Puppis (the Stern), Vela (the Sails) and Pyxis (the Mariner’s Compass).» — Tyson identifica la Nave del catálogo de Agrippa con Argo Navis y advierte que la constelación fue tan grande que se partió en cuatro: quilla, popa, velas y brújula.
«the Hart—The Deer was an Egyptian constellation shown by Petosiris, which corresponded roughly to Cassiopeia. It is no longer recognized. It was called Cerva (the Roe) by the German astronomer Johann Bayer (1572-1625), who described it in his Uranometria (1603) and placed it north of Pisces.» — Tyson reconduce el Ciervo del catálogo a una constelación egipcia de Petosiris próxima a Casiopea, hoy no reconocida, y da la fecha y el sitio en que Johann Bayer la registró como Cerva en su Uranometria de 1603.
«The Latin manuscripts of Picatrix contain variants capable of producing wholly different images: thus the figure of Saturn “according to the learned Mercury,” is that of a man having under his feet, as is said in some texts, “similem unius lagori id est racam”’; in others, “aliquid simile racemo.” In the first case, a lizard must be placed beneath Saturn’s feet; in the second, a bunch of grapes.» — la nota de Tyson reproduce a Seznec para mostrar que el racimo de uvas de la imagen saturnina es una variante de manuscrito: donde unos textos del Picatrix leen una forma de lagarto, otros leen algo semejante a un racimo, y las dos lecturas dan imágenes enteramente distintas.
«Needless to say, any magical way of avoiding the operation would be sought with great eagerness— Evelyn’s own brother died rather than allowing himself to be cut.» — tras reproducir el diario de John Evelyn sobre la talla de la piedra sin anestesia, Tyson explica por esa vía el atractivo de la imagen saturnina contra el mal de piedra, y cierra con el hermano de Evelyn, que prefirió morir a dejarse cortar.
«This sounds very much like yet another oracular brazen head, which was usually associated with Saturn.» — Tyson lee la imagen de cobre fundido que habla con voz de hombre como una cabeza oracular de bronce más, y remite a sus propias notas del capítulo I del Libro II.
«1. eagle or dragon—See Seznec 1972 [1940], illustration 71, which depicts this Jupiter.» — Tyson remite la primera imagen de Júpiter a una lámina de Seznec.
«four winged—see Seznec 1972 [1940], illustration 12. This image is from the Picatrix.» — Tyson adjudica al Picatrix la imagen de la silla llevada por cuatro niños alados y añade, siguiendo a Seznec, que se originó en la figura de Zeus descrita por Pausanias; la cita se corta antes del folio impreso a media línea.
«lion, or a ram—Perhaps derived from Zeus Ammon, or even from Mithra.» — Tyson conjetura sin cerrarlo el origen de la cabeza de león o de carnero de la tercera imagen joviana.
«Figures of the Planets From Secrets merveilleux de la magie naturelle et cabalistique de Petit Albert (Cologne, 1722)» — el pie de la lámina de las figuras de los planetas que Tyson intercala declara su procedencia: los Secrets merveilleux del Petit Albert, impresos en Colonia en 1722, casi dos siglos después de Agrippa.
«Of balanites [“‘acorn stone’’] there are two kinds, the one of a greenish hue, and the other like Corinthian bronze in appearance; the former comes from Coptos, and the latter from Troglodytica. They are both of them intersected by a flame-like vein, which runs through the middle.» — la nota de Tyson sobre la piedra balanita de la imagen solar cita a Plinio en la traducción de Bostock y Riley, con sus dos variedades y su vena flamígera.
«The Chambers Cyclopedia Supplement of 1753 offers the conjecture that this stone may be the same» — Tyson trae además una conjetura del suplemento de la Cyclopedia de Chambers de 1753 sobre la identidad de esa piedra; la cita se corta antes del folio impreso a media línea.
«as lapis judaicus, or Jewstone, which in turn is of two kinds: the fossil spine of a large sea urchin found in Syria that was used medicinally, particularly» — el remate de esa conjetura, retomado del otro lado del folio: la balanita sería el lapis judaicus, y éste a su vez de dos clases, la primera la espina fósil de un erizo de mar grande de Siria usada en medicina.
«laurel—A laurel wreath was given as a crown to the victor in the Pythian games in ancient Greece. It is a symbol of victory, and by extension peace.» — Tyson explica el laurel de la tercera imagen de Venus por la corona del vencedor en los juegos píticos, y de ahí lo lee como símbolo de victoria y, por extensión, de paz.
«apple—Symbol of erotic love, the apple, along with other red fruits, was once thought to be an aphrodisiac.» — Tyson glosa la manzana de la misma imagen como símbolo de amor erótico y consigna que se la tuvo por afrodisíaca, como a los demás frutos rojos.
«serpent is tied about—The caduceus, which has become the modern symbol of medicine.» — Tyson identifica la vara con la serpiente de la imagen mercurial con el caduceo y anota su destino posterior como emblema de la medicina.
«Phenitians—Phoenicians.» — Tyson restituye la grafía de la traducción de 1651 para los fenicios que Agrippa nombra junto a los egipcios.
«I am the serpent Sata whose years are infinite. I lie down dead. I am born daily. I am the serpent Sa-en-ta, the dweller in the uttermost parts of the earth. I lie down in death. I am born, I become new, I renew my youth every day” (The Book of the Dead 87, “Of Changing into the Serpent Sata,” trans. E. A. Wallis Budge» — para la serpiente que rejuvenece con la piel, Tyson documenta con el Libro de los Muertos en la traducción de Wallis Budge; la cita se corta antes de los datos de edición.
«variegated scales, devouring its own tail; by the scales intimating the stars in the universe. The animal is also extremely heavy, as is the earth, and extremely slippery, like the water: moreover, it every year puts off its old age with its skin, as in the universe the annual period effects a corresponding change, and becomes renovated. And the making use of its own body for food implies, that all things whatsoever, that are generated by divine providence in the world, undergo a corruption into it again.» — Tyson trae el Horapolo en la versión de Cory para la serpiente que se devora la cola como figura del universo: escamas por estrellas, peso de tierra y viscosidad de agua, muda anual por el ciclo del año, y el alimentarse de sí misma por la corrupción de todo lo generado; el arranque de la cita queda descolocado en otra parte de la plana, donde las columnas se entreveran.
«liquid storax—There are two kinds of storax, a gum that was stored and sold in hollow reeds, called storax-calamite, and a liquid resin, of which Gerard says: “... there floweth from some of these trees a certain gummie liquor, which never groweth naturally hard, but remaineth alwaies thinne, which is» — Tyson separa las dos clases de estoraque del sello de la primera mansión y apoya la del resino líquido en el herbario de Gerard; la cita se corta en el salto de plana.
«head of a wolf—The wolf had power over the horse. Pliny says: “Indeed, so powerful is the influence of this animal, in addition to what we have already stated [8.34], that if a horse only treads in its track, it will be struck with torpor in consequence» — Tyson explica la cabeza de lobo del sello de la caza por el poder del lobo sobre el caballo y lo documenta con Plinio en la traducción de Bostock y Riley; la cita se corta antes de la referencia.
«hartshorn—The antlers of the Cervus elaphus were much used in medicinal and other ways, being a prime source of ammonia. It was the custom to rasp them to powder and treat the powder either by burning or boiling in water to produce artist’s sable black pigment, hartshorn jelly, salt of hartshorn (smelling salts), hartshorn tea and hartshorn drops.» — Tyson desarma el cuerno de ciervo del sello de la decimoctava mansión en su uso real: fuente de amoníaco y materia prima de pigmento, jalea, sales, té y gotas.
«put to flight serpents—Deer were the proverbial enemies of serpents, and the fume of burning hartshorn was for this reason thought to drive snakes away.» — Tyson deriva la virtud antiofídica del sello de la enemistad proverbial entre ciervo y serpiente, y la enuncia como creencia, no como hecho.
«Behenian—“Behen” is from the Arabic: bahman—a kind of root. The old herbalists adopted it without knowing its attribution (see Gerard [1633] 1975, 679), so its meaning was never clearly fixed. Agrippa uses the term as a synonym for Arabian.» — Tyson rastrea el término behenio hasta una raíz árabe y explica por qué su sentido nunca quedó fijo: los viejos herbolarios lo adoptaron sin saber de dónde venía; y adjudica a Agrippa un uso propio, el de sinónimo de árabe.
«black man clothed in black—It should not always be assumed that when reference is made to a black man, a Negro is intended. For medieval Europeans, oftentimes a black man is a Caucasian with swarthy skin, or with black hair and dark eyes, dressed in black clothing. This is clear from the excerpts of witch trials quoted by Margaret Murray (1921, 2:2), which describe the Lord of the Witches. Black signified evil and hidden works.» — Tyson advierte contra leer el hombre negro de la imagen del Ala del Cuervo como africano, y apoya la lectura europea medieval en las actas de procesos de brujería que cita Margaret Murray en 1921.
«volumes of geomancy—In Robert Turner’s 1655 English translation of Agrippa’s Of Geomancy there is bound up a work called Astronomical Geomancy by Gerard Cremonensis, which is one of the magical works appended to the Latin Opera.» — Tyson concreta a qué volúmenes de geomancia remite el texto: la traducción inglesa de Robert Turner de 1655, encuadernada con una Astronomical Geomancy de Gerardo de Cremona que figura entre las obras mágicas apéndice de la Opera latina.
«Speculo—Speculum astronomiae, a work attributed to Albertus Magnus.» — Tyson identifica el Speculo que Agrippa cita como el Speculum astronomiae y marca la atribución como atribución, no como autoría cerrada de Alberto Magno.
«over the smoke—The practice of sticking magical charms up the chimney seems to have been common, although there was no clear consensus as to why this was done.» — Tyson consigna la costumbre de meter amuletos por la chimenea y consigna a la vez que no había acuerdo sobre su razón.
«Some of the old people declared it to have been a custom when a pig died from the “overlooking” of a witch to have its heart stuck full of pins and white thorns, and to put it up the chimney, in the belief that as the heart dried and withered so would that of the malignant person who had “ill wisht” the pig. As long as that lasted no witch could have power over the pigs belonging to that house.» — Tyson documenta esa costumbre con Elworthy y el sur de Inglaterra: el corazón del cerdo aojado, erizado de alfileres y espinos blancos y puesto en la chimenea para que el corazón del malhechor se secara con él.
«The above gives two reasons, not one, as to why the charm was put in the chimney, and a third is later suggested: ““... to prevent the descent of witches down the chimney» — Tyson cuenta las razones del testimonio que acaba de citar y corrige por su cuenta el número: son dos, no una, y más adelante se sugiere una tercera; la cita se corta antes de la referencia.
«Heart of a Pig Stuck with Pins and White Thorns From The Evil Eye by Frederick Elworthy (London, 1895)» — el pie de la lámina que Tyson intercala declara su procedencia: The Evil Eye de Frederick Elworthy, impreso en Londres en 1895.
«elections—The choosing of an astrologically suitable time for any action, such as Christening a child, launching a ship, or opening a public building. Elections are adhered to even today with fanatical zeal in the East.» — Tyson define la elección astrológica con ejemplos modernos y añade una observación propia sobre su vigencia en Oriente al escribir.
«significator of the life—The significator is what Ptolemy calls the prorogator, which the Greeks also called the apheta, and which the Persians knew as ~ the hyleg. It is a planet or part of the heavens which in a nativity becomes the moderator and significator of life. According to Ptolemy a life may be likened to an arc on the wheel of the zodiac which begins from its particular place of departure with more or less momentum, depending on its prorogative place and the stars that rule the prorogation, travels around the zodiac never more than one quarter of the way, and is stopped by various destructive placements of the planets. The number of degrees traversed by this arc, converted into degrees of right ascension, gives the number of years of life.» — Tyson traduce el significador de la vida de Agrippa a los tres nombres con que la tradición lo llama —prorogator, apheta, hyleg— y expone el cálculo ptolemaico del arco que da los años de vida.
«givers of life—Of the planets ruling the length of life in relation to the prorogator, Ptolemy says: “The beneficent stars add and the maleficent subtract. Mercury, again, is reckoned with the group to which he bears an aspect. The number of the addition or subtraction is calculated by means of the location in degrees in each case» — Tyson apoya los dadores de vida en el Tetrabiblos y consigna la regla del cómputo; la cita se corta antes de la referencia.
«The beneficent planets are the Moon, Jupiter and Venus. Saturn and Mars are maleficent. The Sun and Mercury have a common nature, and join their influence to the planets with which they are associated.» — Tyson cierra el reparto de benéficos y maléficos y consigna la posición intermedia del Sol y de Mercurio, que se suman a aquellos con quienes se asocian.
«make unfortunate—When Agrippa speaks of “making fortunate” and “making unfortunate,” he means the choice of a time to manufacture the image when either a fortunate or unfortunate astrological arrangement exists with reference to the work at hand and the place it is accomplished. No one can “make” the planets unfortunate but must wait for them to become so.» — Tyson desactiva la lectura literal del verbo del texto: hacer afortunado o desafortunado no es actuar sobre los planetas sino elegir el momento, porque nadie puede hacer nada a los planetas y hay que esperarlos.
«Fortunes—Jupiter is the Greater Fortune; Venus is the Lesser Fortune. Together they are referred to as the Fortunes.» — Tyson identifica las Fortunas del texto con Júpiter y Venus.
«reception—When two planets are each in the sign that the other rules, they are said to be in mutual reception: for example, Venus in Aries and Mars in Libra.» — Tyson define la recepción mutua que el texto exige entre los significadores y la ilustra con un caso.
«Similarly the names “commanding” and “obeying” are applied to the divisions of» — Tyson explica los signos mandantes y obedientes del texto reproduciendo el Tetrabiblos en la traducción de Robbins; la cita se corta en el salto de plana.
«heroical—Exalted above the ordinary human level, especially applied to men who have achieved a semi-godlike status, such as Perseus.» — Tyson define el grado heroico de la escala de virtudes vivificadoras que enumera el texto.
«animastical—Having to do with the soul; spiritual. Agrippa (ch. 34, bk. III) equates the anamasticheroic order with the Aishim of the Kabbalah, the “Men of God” (see Judges 13:6).» — Tyson define el grado animástico y remite al propio Libro III de Agrippa, donde ese orden se equipara con los Aishim de la cábala; el troceo une el guion de corte y fabrica *anamasticheroic* por *anamastic-heroic*.
«children unto Abraham—Genesis 28:11-8. Perhaps this is a veiled reference to the golem legend. The golem was a slave formed out of clay and infused with spirit by magic to protect the Jews from their Christian persecutors.» — Tyson conjetura, marcándolo como conjetura, que los hijos de Abraham sacados de las piedras aluden veladamente a la leyenda del golem.
«Although the golem of Rabbi Loew was created too late (1580) to be known to Agrippa, it had its origin in the Talmud» — Tyson sostiene su propia conjetura contra la objeción cronológica: el golem del rabino Loew es de 1580 y Agrippa no pudo conocerlo, pero la leyenda ya estaba en el Talmud.
«Malachin—The Malachim are the angelic order of the sixth Sephirah, Tiphareth. The book of Malachi was an anonymous work, the title for which was derived from verse 3:1, where the Hebrew for “my messenger” was converted into a proper name.» — Tyson sitúa a los Malachim en la sexta sefirá y añade un dato que toca a la atribución: el libro de Malaquías es anónimo y su título salió de convertir en nombre propio el hebreo de mi mensajero.
«There is reference made to this celestial alphabet in the Greater Key of Solomon: “Come ye, then, by the virtue of these Names by the which we exorcise ye; ANAI, ASCHHAD, TRANSIN, EMETH, CHAIA, IONA, PROFA, TITACHE, BEN ANI, BRIAH, THEIT; all which names are written in Heaven in the characters of Malachim, that is to say, the tongue of the Angels» — Tyson documenta la escritura Malachim con un conjuro de la Clave mayor de Salomón en la traducción de Mathers; la cita se corta antes de la referencia.
«The Mystic Alphabet known as the ‘writing of Malachim’ is formed from the positions of the Stars in the heavens, by drawing imaginary lines from one star to another so as to obtain the shapes of the characters of this Alphabet» — la nota que Tyson reproduce es de Mathers, y explica el alfabeto místico por el trazado de líneas imaginarias entre estrellas.
«in the heaven—The accompanying illustration makes clear exactly what Agrippa means. It is from a work by Jacopo Gaffarelli, also known as James Gaffarelli and Jacques Gaffarel (71601-1681) who was Cardinal Richelieu’s librarian and was sent by him on a book-buying expedition to Venice. He appears to have been a Kabbalist, and wrote two works: (1) Unheard-of Curiosities Concerning the Talismanic Sculpture of the Persians, and Horoscope of the Patriarchs, and the Reading of the Stars (1637), written in French, from which this illustration is taken, and (2) a quarto volume in Latin defending the Kabbalah.» — Tyson ilustra la escritura del cielo con una lámina de Gaffarel de 1637 y da la ficha del autor con sus tres formas del nombre; las fechas salen con basura de escaneo delante.
«He also appears to have been a plagiarist, as he had a new title page printed for a History of the Conquest of Constantinople by Girolamo Gaspare (1532-1600) and made a gift of it to Richeleau, claiming it as his own.» — Tyson añade sobre el mismo Gaffarel un cargo de plagio, marcado como apariencia y no como hecho probado: mandó imprimir portada nueva para una historia ajena y se la regaló a Richelieu como propia.
«Writing in the Stars from Curiosites innouies by Jacques Gaffarel (1637)» — el pie de la lámina de la escritura en las estrellas declara su procedencia: las Curiosités inouïes de Gaffarel, de 1637.
«table will show—Many of the geomantic figures were defective and have been here corrected. The most glaring error, which also occurs in the Latin Opera, was the depiction of all the characters for Puer upside down. In addition to righting these and reordering them to parallel the figures for Puella, I have righted the third figure for Tristitia, also inverted in both the English and Latin editions, corrected the second figure of Laetitia and the third figure of Albus, defective in both editions, and the third figure of Acquisitio, defective only in the English.» — Tyson declara en primera persona que rehízo la tabla de caracteres geománticos que edita, y enumera una por una las figuras que enderezó o corrigió, separando las que fallan en las dos ediciones de la que falla solo en la inglesa.
«progress and regress—Cancer has come to be ° symbolized ©, which is usually said to express the two claws of a crab, or two opposite swirls. An older way of representing the sign is 2s, which suggests Opposite motions. This is appropriate for a sign that falls on the summer solstice, when the Sun reaches its highest point in the heavens, then begins to decline once again.» — Tyson explica el progreso y regreso con que el texto deriva el carácter de Cáncer por la forma antigua del signo y por el solsticio de verano; los glifos salen corrompidos de la capa de texto.
«Spike—The star Spica in the constellation Virgo. The resemblance between the symbol for Virgo and that for Spica is the cross, present in both. The Latin word spica means "ear of corn,” and Virgo is associated with the Greek corn goddess Demeter and the Roman Ceres.» — Tyson identifica la Espiga del texto con Spica y encadena el símbolo con Deméter y Ceres por el sentido de la palabra latina.
«looking glass—tin the English edition this symbol is upside down.» — Tyson corrige la edición inglesa que edita: el glifo del espejo de Venus está invertido.
«unequal, loosed—On these principles are formed the characters of good and evil spirits given in pseudo-Agrippa’s Fourth Book of Occult Philosophy.» — Tyson enlaza los principios de trazado de este capítulo con el Cuarto libro, y lo nombra como pseudoepígrafe.
«Hermes assigned—Although Agrippa assigns these characters to Hermes, the same set of stars and characters occurs in a 15th-century manuscript called the Book of Enoch (Bodleian ms. e. Meseo 52, folios 44-7) in the Bodleian Library at Oxford, and also in the early 14th-century British Museum manuscript Harley 1612, folios 15-18 v. The manuscripts are in Latin.» — Tyson contrasta la adjudicación a Hermes que hace el texto con los manuscritos donde el mismo juego de estrellas y caracteres aparece, y da signatura y fecha de cada uno sin negar la atribución.
«In the Bodleian manuscript the information is arranged in five columns, which give 15 stars and their related stones, herbs, characters and virtues.» — Tyson describe la disposición del manuscrito bodleiano con el que coteja el catálogo de Agrippa.
«The exactitude of its astrology, the presence of such linguistic forms as Gergonsa and the difference between this treatise and the usual Western lapidary of engraved stones, makes it seem not improbable that it is derived from a Spanish source» — la conjetura sobre el origen español del tratado es de Joan Evans, a quien Tyson cita, y va enunciada como no improbable, no como cierta.
«It will be at once apparent that Agrippa has omitted (perhaps deliberately) portions of some of the characters.» — del cotejo con el manuscrito Tyson saca que Agrippa omitió partes de algunos caracteres, y deja abierta la intención con un quizá.
«But all things come to pass according to Providence, and there is no place destitute of Providence. Now Providence is the sovereign design of the God who rules over the heavens; and that sovereign design has under it two subordinate powers, namely, Necessity and Destiny. Necessity is the firm and unalterable decision of Providence, and Destiny is subservient to Providence in accordance with Necessity. And the stars are subservient to Destiny. For no man can either escape from Destiny, or guard himself from the terribleness of the stars. For the stars are the instruments of Destiny; it is in accordance with Destiny that they bring all things to pass for the world of nature and for men.» — para lo oculto y lo futuro del texto, Tyson trae un excerptum hermético de Estobeo en la edición de Scott: la Providencia con sus dos potestades subordinadas, Necesidad y Destino, y las estrellas como instrumentos de éste.
«The original text is very broken. I have taken the liberty of incorporating Scott’s footnotes into the body of the text.» — Tyson declara en primera persona la intervención que hizo sobre el pasaje que acaba de citar: el original está muy roto y él incorporó al cuerpo las notas de Scott.
«distempered—Rapt in ecstasy, or frenzied.» — Tyson traduce el destemplado del texto por arrebatado en éxtasis o frenético.
«By reason of these things it seemed good that, according to the ancient usage, the Etrurian prophets should be summoned. Of whom, Aruns, the one most stricken in years, inhabited the walls of deserted Luca, well-skilled in the movements of lightnings, and the throbbing veins in the entrails, and the warnings of the wing hovering in the air.» — Tyson repone en la traducción de Riley el pasaje de la Farsalia de Lucano del que sale el viejo profeta Tusco que Agrippa nombra.
«city was viewed—Arruns ordered the citizens of Rome to circumambulate the city in a ceremony of purification» — Tyson explica el ver la ciudad del texto como la circunvalación purificatoria que Arrunte mandó hacer a los romanos.
«pronounce judgement—Agrippa is referring to Lucan’s placement of the prediction of the astrologer Nigidius Figulus after the description of the official inspection of the entrails by Arruns, implying that it placed a final seal on the foretellings of disaster that was to visit Rome:» — Tyson reconstruye el argumento que Agrippa saca de Lucano: el orden mismo del poema, con el astrólogo puesto después del arúspice, es lo que sella los presagios.
«Why have the Constellations forsaken their courses, and why in obscurity are they borne along throughout the universe? Why thus intensely shines the side of the sword-girt Orion? The frenzy of arms is threatening; and the might of the sword shall confound all right by force; and for many a year shall this madness prevail. And what avails it to ask an end from the Gods of heaven? That peace comes with a tyrant alone. Prolong, Rome, the continuous series of thy woes; protract for a length of time thy calamities, only now free during civil war.» — la profecía de Nigidio Fígulo en la Farsalia, que Tyson reproduce en la traducción de Riley para sostener su lectura del pasaje.
«It is Figulus who explicitly predicts war from this figure of the heavens, whereas Arruns is ambiguous and refuses to commit himself on the basis of his reading of the entrails.» — Tyson remata el cotejo con el contraste que le importa: el astrólogo predice la guerra explícitamente y el arúspice se queda en la ambigüedad.
«points of the earth—Holes poked in the earth.» — Tyson traduce los puntos de la tierra de la geomancia por agujeros hechos en el suelo.
«by a fall—Fall of dice or other lots, or patterns made by cast pebbles or other objects.» — Tyson explica la caída del texto como la de dados, suertes o guijarros arrojados.
«dice—Dice have probably been placed at the beginning of this list or regular bodies because there are commonly two of them—thus, 2, 4, 6, 8, 12, 20» — Tyson conjetura por qué los dados encabezan la lista de los sólidos regulares, y lo marca como probable; la cita se corta antes de la referencia.
«are cubic, the cube is referred to twice, unless Agrippa is implying a nonregular hexahedron, one with six equilateral triangles. But this does not seem likely. It is possible that by dice (tesserae) Agrippa means tablets or lots with two faces. This would make better sense.» — Tyson objeta a la lista del texto que el cubo queda contado dos veces, descarta la salida del hexaedro irregular y propone leer *tesserae* como tablillas de dos caras; la cita arranca del otro lado del salto de plana.
«The lots were plates of oak upon which words were carved. They were taken out of their special case, shuffled, and drawn by a child, who watched and waited for the nodding of the head of the statue of Fortuna, which was in the form of a woman with two suckling infants held to her breasts.» — Tyson describe el mecanismo material de las suertes prenestinas que el texto invoca, hasta la estatua de Fortuna con los dos niños al pecho.
«cockals—The astragalus or “knuckle-bone,” usually of a sheep, marked on four sides and cast like dice. The Greeks and Romans had two games: ludus talorum, or cockal; and ludus tessararum, or dice.» — Tyson identifica las tabas del texto con el astrágalo de oveja y separa los dos juegos que los antiguos distinguían.
«The Latin reads quod talos jacere, quod tesseras, which is inadequately translated as "dice.” Morra, or mora, is a game in which one player tries to guess the number of fingers displayed by another player.» — Tyson coteja el latín de Cicerón contra la traducción que cita y la declara inadecuada, y explica de paso el juego de la morra.
«meeting of verses—Rhapsodomancy, where the book of some poet is opened and a verse read at random as an oracle.» — Tyson nombra rapsodomancia el encuentro de versos del texto y describe el procedimiento.
«Trajanus the Emperor—The quote is from Virgil’s Aeneid, bk. 6, c. line 808. It refers to Numa, the second king of Rome. Because Trajan was prematurely gray, he accepted the verse as a personal omen of greatness. The Cures, or Sabines, mentioned in the quote, were noted for simplicity and austerity.» — Tyson localiza los versos de la suerte de Trajano en la Eneida y explica por qué el emperador se los aplicó: la canicie prematura del Numa del verso.
«verses of Psalms—There is a form of divination known as bibliomancy; however (according to Spence 1920), it was a way of discovering witches, whereby an accused person was weighed against the great church Bible. If lighter than the book, he or she was deemed innocent—a practice that harks back to the weighing of the heart of the dead by the Egyptians.» — Tyson objeta al texto por la vía del término: la bibliomancia que documenta Spence no era leer versículos al azar sino pesar al acusado contra la Biblia, y la remonta a la psicostasia egipcia.
«Then there is a seventh kind of rule by the favour of heaven and fortune, as we say. We bring our men to a casting of lots, and call it the most equitable of arrangements that he who has the chance of the lot should rule, and he who misses it retire into the ranks of subjects.» — para la suerte con que se elegían magistrados, Tyson trae las Leyes de Platón, donde el sorteo se llama el más equitativo de los arreglos.
«Astronomy to Augustus—Astronomica of Manilius, an astrological poem in five books, now lost.» — Tyson identifica la Astronomía a Augusto que cita el texto y consigna que la obra está perdida.
«also Lucan—‘Perhaps a large portion of the entire Jove, pervading the earth by him to be swayed, which sustains the globe poised in the empty air, passes forth through the Cirrhaean caves, and is attracted, in unison with the aethereal Thunderer» — Tyson repone en la traducción de Riley el pasaje de la Farsalia del que sale el testimonio de Lucano sobre el Alma del Mundo; la cita se corta antes de la referencia.
«Lucan is speaking of the vapors arising from the cave at Delphi which intoxicated the Pythoness.» — Tyson acota el sentido original del verso citado: Lucano habla de los vapores de la cueva de Delfos, no de la doctrina que el texto le hace decir.
«soul—The notion that the world is a single living being with a soul received a new impetus recently by the admission of science that not only has the Earth formed life, but life has formed the Earth, adapting the atmosphere and climate to suit its needs. The world is the way it is not by accident, but because living things have made it so.» — Tyson conecta el mundo animado de Agrippa con una tesis científica de su propio tiempo, la de la vida que ha formado la Tierra adaptando atmósfera y clima.
«own accord—A reference to spontaneous generation.» — Tyson identifica como generación espontánea lo que el texto llama nacer de suyo.
«However in seeming direct contradiction to the conclusion Agrippa draws, it is explicitly stated: “Moreover, the forces work not only in bodies that have souls in them, but also in soulless bodies, such as logs and stones and the like, increasing their bulk and bringing them to maturity, corrupting, dissolving, rotting and crumbling them, and carrying on in them all processes of that sort that it is possible for soulless bodies to undergo» — Tyson devuelve al Hermético de Estobeo que Agrippa invoca y encuentra allí, dicho expresamente, lo contrario de la conclusión que Agrippa saca: las fuerzas obran también en cuerpos sin alma; la cita se corta antes de la referencia.
«Orpheus’ divinity—In his Hymns of Orpheus Thomas Taylor quotes a passage from the Theologia ° Platonica de immortalitate animae by Marsilio Ficino, published around 1482, in which Ficino has quoted from an unknown Orphic source. Regrettably Ficino does not bother to identify this source book.» — Tyson rastrea la teología órfica de este capítulo hasta Ficino vía Thomas Taylor y deja consignado el eslabón que falta: Ficino no identifica su fuente órfica.
«Since Agrippa has obviously consulted either Ficino, or his source, in this chapter, it is worth giving the quote from Ficino in full as translated by Taylor:» — Tyson declara la razón de reproducir el pasaje entero: Agrippa consultó a Ficino o a la fuente de Ficino, y lo da como evidente.
«Those who profess the Orphic theology consider a two-fold power in souls and in the celestial orbs: the one consisting in knowledge, the other in vivifying and governing the orb with which that power is connected. Thus in the orb of the earth, they call the nostic power Pluto, the other Proserpine. In water, the former power Ocean, and the latter Thetis. In air, that thundering Jove, and this Juno. In fire, that Phanes, and this Aurora. In the soul of the lunar sphere, they call the nostic power Licniton Bacchus, the other Thalia. In the sphere of Mercury, that Bacchus Silenus, this Euterpe. In the orb of Venus, that Lysius Bacchus, this Erato. In the sphere of the sun, that Trietericus Bacchus, this Melpomene. In the orb of Mars, that Bassareus Bacchus, this Clio. In the sphere of Jove, that Sebazius, this Terpsichore. In the orb of Saturn, that Amphietus, this Polymnia. In the eighth sphere, that Pericionius, this Urania. But in the soul of the world, the nostic power, Bacchus Eribromus, but the animating power Calliope.» — el pasaje de Ficino en la traducción de Taylor que Tyson pone al lado del capítulo, y que permite ver las grafías divergentes de la serie —Pericionius, Eribromus, Licniton— frente a las que imprime la traducción de 1651.
«From all which the Orphic theologers infer, that the particular epithets of Bacchus are compared with those of the Muses, on this account, that we may understand the powers of the Muses as intoxicating with the nectar of divine knowledge; and may consider the nine Muses, and nine Bacchuses, as revolving round one Apollo, that is about the splendor of one invisible Sun.» — el remate del mismo pasaje de Ficino: las nueve Musas y los nueve Bacos girando en torno a un solo Apolo, que es el esplendor de un Sol invisible.
«Mead rightly points out that the doctrine of interdependent male-female pairs of intellect and power is the Hindu Tantric doctrine of Shiva-Shakti under another name. Briefly, all power to manifest and change lies in the female aspect, while the male aspect is pure mind and as such, completely impotent in the world.» — Tyson suscribe la equiparación que hace Mead entre los pares órficos de intelecto y potencia y el Shiva-Shakti tántrico, y la explica por el reparto de potencia y mente entre los dos aspectos.
«proper songs—A reference to the Orphic Hymns, which are addressed by Orpheus to Museus.» — Tyson identifica los cantos propios del texto con los Himnos órficos.
«When I would sing of kings and battles, Phoebus plucked me by the ear,» — Tyson repone el verso de las Églogas de Virgilio del que sale el Cintio que tira de la oreja; la cita se corta en el salto de plana.
«Hyacinthus was said to have been a beautiful youth beloved by Apollo who was killed by the god when his carelessly thrown discus struck the boy in the forehead. In fact he was an older, pre-Greek god whose worship and festival (the Hyakinthia) was almost completely taken over by Apollo.» — Tyson corrige la fábula con la historia religiosa: Jacinto no era un muchacho sino un dios pregriego cuyo culto Apolo absorbió casi por completo.
«He [Numa] instituted an annual ceremony dedicated to Troth-keeping, with priests whose duty was to drive in a covered wagon drawn by a pair of horses to the place of celebration and there perform their rites with hands swathed to the fingers, sig» — Tyson repone el pasaje de Livio en la traducción de de Sélincourt del que sale la dedicación de la diestra a la fe; la cita se corta antes del encabezado corrido.
«navel is celebrated—Pausanias describes such a “navel” stone of Saturn: “Going on upwards from this memorial [of Neoptolemos] you come to a stone, not very large; they pour oil on it every day and at every festival they offer unspun wool. There is an opinion that this stone was given to Kronos instead of his child, and that Kronos vomited it up again» — Tyson documenta el ombligo del templo con la piedra de Kronos que describe Pausanias, ungida cada día con aceite; la cita se corta antes de la referencia.
«The worship of small, rounded, polished oracular stones is very widespread.» — Tyson generaliza a partir de ese caso y remite al Génesis.
«Oracles in Porphyry—The work referred to is De philosophia_ex oraculis haurienda, in which Porphyry defends the oracles of various gods and which is preserved in fragments in the Praeparatio evangelica of Eusebius.» — Tyson identifica los Oráculos de Porfirio que cita el texto y advierte que la obra solo se conserva en fragmentos dentro de Eusebio.
«Hermes calls them—‘‘And the first Mind—that Mind which is Life and Light,—being bisexual, gave birth to another Mind, a Maker of things; and this second Mind made out of fire and air seven Administrators, who encompass with their orbits the world perceived by sense; and their administration is called Destiny» — Tyson localiza en el Corpus Hermeticum, edición de Scott, los siete gobernadores que Agrippa adjudica a Hermes; la cita se corta antes de la referencia.
«epithets—The surnames, or epithets, given to the classical gods are very many in number. Their purpose was to distinguish particular functions. To take examples from the Hermetic writings:» — Tyson explica para qué servían los epítetos que el capítulo enumera: distinguir funciones particulares del mismo dios.
«Coelius—Coelius means heavenly, and was a name given to Uranus, father of Cronos, or Saturn, who personified the night sky.» — Tyson reconduce el Celio con que el texto llama a Saturno a Urano, y no al propio Saturno.
«Phanes—Phanes (the Manifestor) is God as the ideal cause of things, “Bright Space Son of Dark Space» — Tyson define el Fanes de la serie solar como Dios en cuanto causa ideal de las cosas, con una fórmula que toma de Mead; la cita se corta antes de la referencia.
«that oracle—Quoted by Eusebius in his Praeparatio evangelica.» — Tyson identifica la procedencia del oráculo que Agrippa cita sin nombrar.
«Lucifer—Bringer of Light, or Light-bearer, a title usually assigned to Venus as the Morning Star.» — Tyson anota que el Lucifer de la serie solar es un título que suele darse a Venus, no al Sol.
«in the day Apollo—There is a mystic link between Dionysus and Apollo that is expressed in the Orphic myth that while the boy Dionysus was staring captivated into a mirror, the Titans tore him to pieces, then boiled and roasted his parts. Smelling the savour and realizing what had occurred, Zeus hurled his thunderbolt at the Titans and consumed them in fire. He gave the parts of Dionysus to Apollo to bury. Dionysus emerged from the earth reconstituted and restored to life.» — Tyson explica el reparto nocturno y diurno de Dioniso y Apolo con el mito órfico del espejo y el desmembramiento, y del sepelio que Apolo hace de las partes.
«Adad—An Elamite god called In-Shushinak (He of Susa), local god of Susa, the chief city of Elam, but also called the Sovereign of the Gods, the Master of Heaven and Earth, and the Maker of the Universe. He is generally identified with Adad, the Assyro-Babylonian god of lightning and tempest who controlled the rains. Adad also had the power of revealing the future and was known as Lord of Foresight.» — Tyson reconstruye el nombre asirio que el texto da al Sol y lo remite a un dios elamita del rayo y la tempestad, señalando que la identificación es general y no evidente.
«of every mind—It is not clear to me what is meant by this statement, unless it is intended to indicate that Aphrodite presides over all forms of love. As Aphrodite Urania she is goddess of pure and ideal love; as Aphrodite Genetrix she is goddess of married love; and as Aphrodite Porne she is goddess of prostitution.» — Tyson declara no entender la razón que da el texto para el nombre de Afrodita y ofrece una conjetura, con los tres cultos que la reparten.
«female with females—This refers to the sects of the Sun (male-day) and the Moon (female-night) described by Ptolemy, who says:» — Tyson reconduce el macho con los machos y hembra con las hembras de Mercurio a la doctrina ptolemaica de las sectas diurna y nocturna.
«Lucina—“Goddess that brings to light,” the Roman version of the Greek goddess Ilithyia. She presides over the birth of children. The name Lucina is attached as a surname to Juno and Diana.» — Tyson identifica la Lucina de la serie lunar como la versión romana de Ilitía y advierte que el nombre funciona como sobrenombre de Juno y de Diana.
«Phoebus—Mene, another name for Selene, was sister to Helios.» — Tyson aclara la hermana de Febo de la serie lunar por el nombre Mene.
«goblins—A mischievous familiar spirit with a fondness for children, horses, and (according to Keightley [1880] 1978), young women. The name is from the medieval Latin cobalus. It first occurs in the Historia ecclesiastica of Orderic Vitalis (1142), who in describing the demon that St. Taurin drove from a temple of Diana, says, “Hunc vulgus Gobelinum appellat.” Keightley says the goblin “is evidently the same as the Kobold,” a German spirit.» — Tyson rastrea el duende de la serie lunar hasta su primera aparición documentada en Orderico Vital en 1142 y lo identifica, siguiendo a Keightley, con el kobold germánico.
«Freake uses the term “goblins” to translate the Latin Jarvae, which were the ghosts of wicked men risen from the grave to wander at night and torment the living. Larvae were distinguished by the Romans from the /ares, who were the ghosts of good men. This translation of larvae into goblins is misleading—”ghosts” would have been a better translation.» — Tyson corrige aquí al traductor y no al autor: el duende de la traducción de 1651 traduce el latín *larvae*, que son los espectros de los malos, y él declara la traducción engañosa y propone fantasmas en su lugar; la grafía del latín sale corrompida en la capa de texto.
«The Sun is the king of the stars, most full of light» — el pie de la lámina intercalada repite la frase del texto sobre el Sol rey de las estrellas; la capa de texto rompe la elipsis que la cierra.
«mysterious words—The barbarous names of evocation that occur in the grimoires of magic. For the most part they consist of names of gods copied from foreign languages so many times that they have become hopelessly corrupt. Yet in their very obscurity lies a curious attraction. Being themselves without meaning, meaning can be projected into them.» — Tyson explica las palabras misteriosas del texto como los nombres bárbaros de evocación de los grimorios, y da una razón propia de su eficacia: al no significar nada, admiten que se les proyecte cualquier significado.
«Change not the barbarous Names of Evocation for there are sacred Names in every language which are given by God, having in the Sacred Rites a Power Ineffable» — el oráculo caldeo que Tyson trae en la edición de Westcott para sostener la prohibición de traducir esos nombres; él mismo consigna a continuación que la colección es de Pselo y la versión de Thomas Taylor.
«Mystical Philosophy—One of the many works on magic wrongly attributed to Aristotle.» — Tyson marca como pseudoepígrafe la Filosofía mística que Agrippa cita como de Aristóteles.
«ligation—Binding of the will.» — Tyson define la ligadura del texto como atadura de la voluntad.
«attained to—Agrippa is saying not to confuse the material stars and planets with the supernatural realities they shadow, but at the same time do not despise them, because they are a necessary medium by which the reality is grasped.» — Tyson resume en una frase la advertencia doble del cierre del Libro II: ni confundir los astros materiales con las realidades que sombrean, ni despreciarlos, porque son el medio necesario.
«like to it—This is a vital magical truth: to know anything, you must become that thing; you can know nothing beyond yourself, but you are everything.» — Tyson entra aquí en voz propia y en presente para formular como verdad mágica lo que el texto dice del alma del Sol: conocer algo es volverse esa cosa, no se conoce nada fuera de uno mismo, y uno lo es todo.
«Isiaci—Priests of Isis (Latin: isiacus).» — Tyson identifica a los isíacos de la lista de tradiciones de la dedicatoria.
«Gymnosophists—A sect of ancient Hindu ascetic philosophers who owned no possessions and went naked, or nearly naked, in the world. They were first described to the Greeks in reports of the companions of Alexander the Great on his campaign into India. Later the name became extended to cover similar sects, such as the one described in the sixth book of the Life of Apollonius of Tyana as dwelling at the very confines of Ethiopia along the Nile. It is to this latter group that Agrippa refers.» — Tyson distingue dos grupos bajo el mismo nombre —los ascetas indios y la secta etíope de la Vida de Apolonio— y decide a cuál se refiere Agrippa cuando dice gimnosofistas de Etiopía.
«Cymmerian darkness—“The proverbial expression of Cimmerian darkness was originally borrowed from the description of Homer (in the eleventh book of the Odyssey,) which he applies to a remote and fabulous country on the shores of the ocean» — Tyson rastrea la oscuridad cimeria de la dedicatoria hasta Homero, apoyándose en Gibbon; la cita se corta antes de la referencia.
«There lie the community and city of Kimmerian people, hidden in fog and cloud, nor does Helios, the radiant sun, ever break through the dark, to illuminate them with his shining, neither when he climbs up into the starry heaven, nor when he wheels to return again from heaven to earth, but always a glum night is spread over wretched mortals.» — los versos de la Odisea en la traducción de Lattimore que Tyson repone para esa expresión proverbial.
«first purged—A ritual cleansing, in which a washing of the soul is expressed in a washing of the body, was regarded as absolutely necessary before any magical act for a holy purpose.» — Tyson explica el purgarse primero del texto como lavatorio ritual, donde el baño del cuerpo expresa el del alma.
«For this reason it is explicitly stated in the chapter devoted to ritual cleansing in the Key of Solomon: “The Bath is necessary for all Magical and Necromantic Arts» — Tyson respalda ese lavatorio con la Clave de Salomón en la traducción de Mathers; la cita se corta antes de la referencia.
«twice born—Dionysus was born twice, once prematurely from his dead mother Semele, who had dared to gaze upon the full glory of Zeus and had been consumed by it; and again from the thigh of Zeus, where his divine father had placed him for safekeeping until he came full term. Thus Dionysus was called Dithyrambus.» — Tyson repone la fábula del doble nacimiento con que Agrippa cierra el capítulo primero.
«The OED gives no explanation for the origin of this term, but since di (6t) in Greek means “two,” and thyra (@upa) means “door,” surely it refers to the issuing from the doors of two different wombs, the first belonging to Semele and the second to Zeus.» — Tyson propone en primera persona una etimología de *ditirambo* que el diccionario de Oxford no da, y la marca como suya con un seguramente; las palabras griegas salen corrompidas de la capa de texto.
«Mercury saith—There are five reasons for silence, or circumspection, concerning holy doctrine given by Hermes. The first, referred to by Agrippa, is that sharing holy matters with profane minds pollutes them:» — Tyson ordena en cinco las razones herméticas del silencio y precisa cuál de ellas es la que Agrippa invoca.
«The second reason for silence is that profane minds cannot grasp holy doctrine, mock those who preach it, and are incited by it to a greater evil:» — Tyson enuncia la segunda de esas razones, que no es de pureza sino de efecto: la doctrina empuja al malo a peor maldad.
«But avoid converse with the many. Not that I wish you to grudge a benefit to others; my reason for this warning is rather that ‘ the many will think you one to be laughed at if you speak to them as I have spoken to you. Like welcomes like; but men that are unlike are never friends. ... Moreover, my teaching has a certain property which is particular to it; it urges on bad men to worse wickedness. ... You must therefore beware of talking to them, in order that, being in ignorance, they may be less wicked.» — el pasaje hermético de Estobeo en la edición de Scott con que Tyson documenta esa segunda razón, y que expone el motivo sin adorno: mejor que sigan ignorantes, para que sean menos malos.
«The third reason for silence is that it allows the divine enlightenment of the doctrine to occur: “And now, my son, speak not, but keep a solemn silence; so will the mercy come down on us from God» — Tyson enuncia la tercera razón hermética del silencio, que no es defensiva sino operativa: el mutismo es lo que deja bajar la misericordia; la cita se corta antes de la referencia.
«The fourth reason for silence is simply the futility of attempting to express the inexpressible: “For there is, my son, a secret doctrine, full of holy wisdom, concerning Him who alone is lord of all and preconceived God, whom to declare is beyond the power of man» — Tyson enuncia la cuarta razón, la de la futilidad: hay una doctrina secreta cuyo objeto está fuera del poder de declaración del hombre; la cita se corta antes de la referencia.
«The fifth reason for silence involves a proscription against translation of the doctrines into other languages because the words themselves are holy and embody power:» — Tyson enuncia la quinta razón, que toca directamente a la edición que él mismo hace: la prohibición de traducir, porque las palabras encarnan la potencia.
«Translation will greatly distort the sense of the writings, and cause much obscurity. Expressed in our native language, the teaching conveys its meaning clearly; for the very quality of the sounds [text missing]; and when the Egyptian words are spoken, the force of the things signified works in them» — el pasaje hermético con que Tyson documenta esa quinta razón, y donde el propio corchete declara que falta texto en el original.
«But the best way would be to bury them [the Mysteries] in silence, and if there were some necessity for relating them, only a very small audience should be admitted under pledge of secrecy and after sacrificing, not a pig, but some huge and unprocurable victim, to the end that as few as possible should have heard these tales.» — Tyson localiza en la República de Platón el mandato de no divulgar los misterios que Agrippa le adjudica, y el pasaje trae su propio filo: la víctima ha de ser tan grande que no se consiga.
«They say that Hipparchus, the Pythagorean, being guilty of writing the tenents of Pythagoras in plain language, was expelled from the school, and a pillar raised for him as if he had been dead» — Tyson apoya el silencio pitagórico con Clemente de Alejandría y el caso de Hiparco, expulsado y dado por muerto con una estela por escribir en lengua llana.
«Pythagoras enforced not only a silence concerning the secrets of his fraternity but a period of general silence to be endured by all disciples: “Pythagoras enjoined young men five years’ silence, which he called echemychia, abstinence from all speech, or holding of the tongue» — Tyson distingue dos silencios pitagóricos —el de los secretos y el general de cinco años, la *echemychia*— y documenta el segundo con Plutarco en la versión de Philemon Holland; la cita se corta antes de la referencia.
«holy word he sings—This Orphic hymn is quoted by Thomas Taylor in the appendix to his Eleusinian and Bacchic Mysteries (Taylor 1875, 166). Agrippa seems to have taken his Latin version of the hymn from the translation of Marsilio Ficino.» — Tyson rastrea de dónde tomó Agrippa el himno órfico y lo marca como conjeturable: parece haberlo tomado de la traducción de Ficino, y remite a Nauert.
«the crier—One of the officials who conducted the Greater Mysteries of Demeter at Eleusis (as opposed to the Lesser Mysteries, held at Agrae) was titled the Crier, or Keryx (as Xenophon called him), but more properly the Hierokeryx, whose duty it was to read the proclamation, or prorrhesis, at the opening of the ceremonies and enforce silence upon the initiates.» — Tyson identifica al pregonero eleusino del texto y corrige el título que le da Jenofonte por el más propio de hierokéryx.
«consecrated paper—Papyrus, which was not well known in medieval times. It was even strange to Nicholas Flammel (71330-1417), who by his own ° account learned the secret of alchemy from an ancient grimoire that fell into his hands “for the sum of two florins, a guilded Book, very old and large. It was not of Paper, nor of Parchment, as other Books be, but was only made of delicate rinds (as it seemed unto me) of tender young trees» — Tyson identifica el papel consagrado del texto con el papiro y documenta su rareza medieval con el propio relato de Nicolás Flamel, que no supo nombrar el material del libro que compró; la fecha sale con basura de escaneo delante.
«Theodorus— We hear of another man, Theodoras, who tried to make fun of a Hierophant [of the Greek Mysteries] by asking him: “Explain to me, Eurykleides, who are those who are impious in the eyes of the gods?” Eurykleides replied, “Those who expose the secrets to the uninitiated.” Theodoras countered, “You are an impious man, you also, since you give explanations to a person who is not initiated.” For this sacrilege Theodoras was saved from being brought before the Areopagas only through the intervention of Demetrios of Phaleron.» — Tyson trae de Mylonas la anécdota del Teodoro que atrapó al hierofante en su propia definición de impiedad.
«According to Amphikrates (Famous Men) Theodoras was condemned to drink hemlock (ibid., n. 8). The story referred to by Agrippa is apparently some corruption of the above.» — Tyson declara corrupta la versión que da Agrippa del castigo de Teodoro: no fue la ceguera sino, según otra fuente, la cicuta.
«Erennius, Origen and Plotinus had made a compact not to disclose any of the doctrines which Ammonius had revealed to them. Plotinus kept faith, and in all his intercourse with his associates divulged nothing of Ammonius’ system.» — Tyson devuelve al Porfirio que Agrippa cita y encuentra lo contrario de lo que Agrippa saca: quien guardó el pacto fue Plotino, y quienes lo rompieron fueron Erennio y Orígenes.
«Porphyry does not link the disease and death of Plotinus to this betrayal of the agreement of silence. Agrippa has apparently consulted the more highly colored account of the death of Plotinus that appears in Firmicus Maternus:» — Tyson explica de dónde pudo salir la enfermedad de los piojos que Agrippa cuenta y de dónde no: Porfirio no liga la muerte al pacto roto, y hay un relato más recargado en Fírmico Materno.
«First his limbs became stiff and his blood became sluggish and congealed. Little by little his eyesight lost its sharpness and his vision failed. Soon after, a malignant infection under his whole skin burst forth. Polluted blood weakened his limbs and his whole body. Every hour and every day small parts of his inner organs were dissolved and carried away by the creeping sickness. A part of his body might be in good condition one moment and the next deformed by the festering disease.» — el relato de Fírmico Materno sobre la muerte de Plotino que Tyson reproduce para sostener esa procedencia.
«by mouth only—Secret doctrine was transmitted orally from master to disciple, literally whispered in the ear. On the Kabbalah, Christian Ginsburg says:» — Tyson glosa la transmisión de boca en boca del texto y la ilustra con la cábala citando a Ginsburg.
«It is for this reason that it is called Kabbalah (77ap from Yap to receive) which primarily denotes reception and then a doctrine received by oral tradition. The Kabbalah is also called by some Secret Wisdom (TNO MDM), because it was only handed down by tradition through the initiated, and is indicated in the Hebrew Scriptures by signs which are hidden and unintelligible to those who have not been instructed in its mysteries.» — el pasaje de Ginsburg que Tyson cita, con la etimología de cábala por recepción; las transliteraciones hebreas salen ilegibles de la capa de texto y van tal cual.
«Teacher and pupil, stood more in the relation of father and son, and master and servant, as in the case to-day between the Guru or Brahminical master and_ his scholar. ... Thus the orally traditional in religion, philosophy, science and art, the real, inner, intelligible to the intellect, spirituality of the whole; was taught and faithfully handed down and preserved, among the initiates and intellectual workers; and to all the ignorant and uncultivated, the higher spirituality remained unaccessible and closed.» — el pasaje de Isaac Myer que Tyson añade sobre la transmisión oral, y que dice sin rodeos el precio del sistema: a los ignorantes la espiritualidad superior les quedaba cerrada.
«Dionysius—Pseudo-Dionysius, author of Concerning the Celestial Hierarchy.» — Tyson marca como pseudoepígrafe el Dionisio que Agrippa invoca para la condición de la entrega.
«dignifying—The word is used in the sense of purifying and exalting, with allusion to the astrological dignification of a planet, where a planet’s power of working is increased by its position or aspects.» — Tyson explica el término que da título al capítulo por su origen astrológico: la dignificación es la del planeta cuya potencia crece por posición o aspecto.
«his Apology—Apologia, also known as De magia liber, the defense against a charge of sorcery Apuleius delivered at Sabrata in 173 AD before Claudius Maximus, proconsul of Africa. It is extant.» — Tyson identifica la Apología de Apuleyo que el texto invoca, con su fecha, su tribunal y el dato de que se conserva.
«divination by magic spells—See note 4 to the chapter “Of Goetia and Necromancy,” which Freake has appended to the text. It forms chapter 45 of Agrippa’s De incertitudine et vanitate scientiarum.» — Tyson declara aquí la costura editorial del volumen: el capítulo de goecia y nigromancia que aparece anexo no es del De occulta philosophia sino el capítulo 45 del De incertitudine, y quien lo añadió fue Freake.
«divine power—This is an important point. The action of ritual is to some extent automatic; it need not be understood to cause an effect upon its practitioner.» — Tyson subraya en voz propia la tesis del rito que obra sin ser entendido, y la formula como automatismo parcial.
«sacramental power—Magical initiation is specific and concrete, designed to accomplish some change. It is best exemplified in the Tibetan angkur:» — Tyson define la iniciación mágica por su concreción y elige como ejemplo el angkur tibetano, no un rito occidental.
«The main idea that we attach to initiation is the revelation of a secret doctrine, admission to the knowledge of certain mysteries, whereas the angkur is, above all, the transmission of a power, a force, by a kind of psychic process. The object in view is to communicate to the initiate the capacity to perform some particular act or to practise certain exercises which tend to develop various physical or intellectual faculties.» — el pasaje de Alexandra David-Neel con que Tyson sostiene esa distinción: la iniciación occidental se piensa como revelación de doctrina y el angkur es transmisión de una fuerza.
La nota 1 del capítulo IV reproduce entera la fuente que Agrippa apenas alude, las *Instituciones divinas* de Lactancio, en la traducción de la Ante-Nicene Christian Library que Tyson cita: «Therefore the chief good of man is in religion only; for the other things, even those which are supposed to be peculiar to man, are found in the other animals also.»
El mismo pasaje de Lactancio en la nota de Tyson concede razón a los animales antes de negarles religión: «Again, those creatures which look forward to the future and lay up for themselves food, plainly have foresight.»
Y cierra la concesión con la única diferencia que retiene, también en la nota de Tyson: «It is therefore uncertain whether those things which are given to man are common with other living creatures: they are certainly without religion.»
Lactancio, citado por Tyson, reparte la razón entre todos los animales y le da al hombre un uso añadido: «I indeed thus judge, that reason is given to all animals, but to the dumb creatures only for the protection of life, to man also for its prolongation.»
El remate del pasaje de Lactancio en la nota, que es de donde sale la equivalencia razón-sabiduría que Agrippa da por sabida: «And because reason itself is perfect in man, it is named wisdom, which renders man distinguished in this respect, that to him alone it is given to comprehend divine things.»
«This paragraph was included largely to forestall the attacks Agrippa knew would be launched against him by his orthodox critics.» — Tyson lee la cláusula de reserva del capítulo IV como maniobra defensiva calculada, no como profesión de fe.
«God placed 4 curse on man in the Garden of Eden because Adam ate the apple (Genesis 3:17). Christ took that curse upon himself when he was crucified, and redeemed those who follow him (Galatians 3:13), but not the rest of mankind (Matthew 25:41). Therefore a lapsed Christian reassumes the mantle of original sin.» — Tyson explica en voz propia la maldición que el texto invoca y saca de ahí una consecuencia doctrinal suya: el cristiano que apostata vuelve a cargar el pecado original; la capa de texto imprime *4 curse* donde debe leerse *a curse*.
«Actually in the Acts of the Apostles 19:13-6. Agrippa may have confused these verses in his mind with Luke 9:49.» — Tyson corrige la referencia bíblica del exorcismo fallido que el texto atribuye a Lucas, y propone además la explicación del error.
«Traditionally the sinful woman who anoints Christ’s feet is supposed to be Mary Magdalen. However, she is not named, and there is no evidence as to her identity.» — Tyson marca como tradición, y no como dato del texto evangélico, la identificación que Agrippa da por hecha.
«In the time of the grammarians of Alexandria, Linus was credited as the author of apocryphal works describing the exploits of Dionysus.» — Tyson consigna como atribución apócrifa al Lino que Agrippa cita en calidad de poeta y autoridad.
«Serapian oracle—The main seat of worship of the god Serapis (Osiris-Apis) was Alexandria in Egypt, where the original statue of the god had been brought by Ptolemy Soter and housed in the first Serapeum» — Tyson sitúa el oráculo que Agrippa invoca y da su historia material: la estatua traída por Ptolomeo Soter y el primer Serapeo.
«In Graeco-Roman times the places of worship of Osiris (i.e. Serapis) were 42, one for each of the nomes of Egypt, and the cult of the god had spread throughout the ancient world.» — Tyson cuantifica la difusión del culto y la ata a la división administrativa de Egipto.
«The god was ministered to by a priesthood of ascetic Egyptian holy men who probably followed the regimen of the Pythagorean brotherhood—celibacy, vegetarianism, communal property.» — Tyson describe el sacerdocio serapiano y marca como probable, no como cierta, la asimilación al régimen pitagórico.
«This hymn is given by Thomas Taylor in the introductory Dissertation, sec. 2, of his Hymns of Orpheus.» — Tyson devuelve los versos órficos de Agrippa a la edición decimonónica de Thomas Taylor, que es por donde él los lee.
«Sacred History—The sacred books of Zoroaster are collected in the Zend-Avesta, or more properly Avesta, Zend (interpretation) being the accompanying translation and commentary.» — Tyson identifica la *Historia sagrada* que Agrippa cita y corrige de paso el nombre corriente del corpus: el Zend no es el libro sino su comentario.
Tyson documenta la materialidad del Avesta con el historiador árabe Masudi, del siglo X: «Zartusht gave to the Persians the book called Avesta. It consisted of twenty-one parts, each containing 200 leaves.»
Tyson reproduce el reparo de Westcott sobre el oráculo zoroástrico que respalda la definición de Agrippa: «This Oracle does not appear in either of the ancient collections, nor in the group of oracles given by any of the medieval occultists. Cory [Isaac Preston Cory, Ancient Fragments, London, 1828] seems to have been the first to discover it in the voluminous writings of Eusebius,» — la autoridad antigua resulta ser un hallazgo de 1828.
La nota 1 del capítulo VIII devuelve la tríada de Agrippa a Damascio, en la traducción de Mead que Tyson cita, y la primera cosa que hace el texto griego es negar el número: «For we have said that there are three principles consequent to each other: viz., father, power and paternal intellect.»
El mismo Damascio, en la nota de Tyson, declara que los nombres son una insuficiencia del que habla y no una descripción: «so likewise we call it a monad, and the indefinite duad, and a triad [after Pythagoras], and a paternal nature composed from both of these.»
Tyson documenta la procesión del Hijo con el Plotino de Mackenna, que empieza negando toda decisión en el Supremo: «Given this immobility in the Supreme, it can neither have yielded assent nor uttered decree nor stirred in any way towards the existence of a secondary.»
Y el mismo Plotino en la nota responde a la dificultad con una imagen, no con un acto: «It must be a circumradiation—produced from the Supreme but from the Supreme unaltering—and may be compared to the brilliant light encircling the sun and ceaselessly generated from the unchanging substance.»
«fatherly power in God—God is frequently referred to in the Chaldean Oracles of Zoroaster as Father, Intellect, and Fire, but there is no explicit mention of the son of God.» — Tyson va a la fuente que Agrippa invoca para su tríada caldea y encuentra que el segundo término no está: los Oráculos no mencionan al hijo de Dios.
«Deuteronomy—Actually Hebrews 12:29. Agrippa may be confusing this verse with Deuteronomy» — Tyson corrige la referencia del fuego consumidor y aventura la confusión que la explica; el número del versículo sale ilegible de la capa de texto.
«Cacenia—In the Latin Opera this is spelled Carenus. I do not know which city is intended, but might guess either Carana in Armenia Magna (Erzurum, Turkey), or Karanis in Egypt, which lay just northeast of Lake Moeris; probably the latter.» — Tyson coteja el nombre contra la Opera latina, declara que no lo identifica y deja las dos conjeturas abiertas con su preferencia dicha.
«Book of the World—De mundo liber, a translation of the Greek work Ilept Koopovu, which at one time was wrongly ascribed to Aristotle.» — Tyson marca como falsa atribución el libro que Agrippa cita bajo el nombre de Apuleyo; el título griego sale ilegible de la capa de texto.
«love on himself—I cannot find exact correspondences to these references in Scott’s Asclepius.» — Tyson declara no haber localizado en la edición de Scott el pasaje hermético que Agrippa cita, y ficha la abstención en lugar de fabricar la referencia.
«fruitfulness of both sexes—Agrippa seems to refer to a passage in the Asclepius:» — Tyson marca como conjetura, no como identificación, el lugar hermético de donde saldría la fecundidad de ambos sexos.
«his wisdom—This does not seem to refer to the Orphic hymn» — Tyson descarta la atribución más obvia de la adjuración órfica sin proponer otra en su lugar.
«Plato—Perhaps this refers to a reference in one of the letters:» — otra reserva del aparato: Tyson solo aventura de dónde saca Agrippa su Platón.
«Since the world is solitary, yet gives rise to all living things by generation, it follows that it must be bisexual.» — Tyson enuncia en voz propia el razonamiento que sostiene al mundo bisexuado, y lo presenta como consecuencia y no como cita.
«Hesiod—‘First a girl, Tritogeneia, the greyeyed,/ Equal in spirit and intelligence/ To Zeus her father» — Tyson devuelve a la Teogonía, en la traducción de Wender, los versos que Agrippa parafrasea; el troceo pega *grey-eyed* en una sola palabra.
«fourth book—Actually the tenth book:» — Tyson corrige en seco la referencia a la Ciudad de Dios que Agrippa da como libro cuarto.
Tyson respalda la cláusula del dogma con el Agustín que la formula, y lo que el pasaje escoge subrayar es el riesgo de hablar: «The philosophers speak freely, never fearing to offend religious ears in those incomprehensible mysteries; but we must regulate our words, that we produce no impious error by our freedom of speech concerning these matters.»
«One detects in this very dry recitation of the points of orthodoxy a veiled irony in Agrippa. It was necessary for him to make such a statement of faith in order to insure the survival of his book. In the social climate of his day, men were afraid not only to write, but even to think freely.» — Tyson lee el capítulo IX entero como ironía velada y profesión forzada, y da la razón editorial: sin ella el libro no habría sobrevivido. Es lectura suya, y el texto no la declara.
Tyson devuelve a Plinio, en la traducción de Bostock y Riley, el pasaje que Agrippa resume, y allí la multiplicación de dioses no es piadosa sino necia: «To believe that there are a number of Gods, derived from the virtues and vices of man, as Chastity, Concord, Understanding, Hope, Honour, Clemency, and Fidelity; or, according to the opinion of Democritus, that there are only two, Punishment and Reward, indicates still greater folly.»
El mismo Plinio en la nota de Tyson trae la frase que Agrippa sí recoge: «Human nature, weak and frail as it is, mindful of its own infirmity, has made these divisions, so that every one might have recourse to that which he supposed himself to stand more particularly in need of.» — la fuente sostiene el mecanismo y niega la conclusión que Agrippa saca de él.
«Our author [Varro] has said that the true gods are but parts of the world’s soul, and the soul itself: ... So Varro says plainly that God is the world’s soul, and this soul is God.» — Tyson documenta el Varrón de Agrippa con el Agustín que lo transmite, que es la única vía por la que ese texto se conoce.
«Plato, following Orpheus, calls the inflexible and undefiled triad of the intellectual Gods Curetic, as is evident from what the Athenian guest says in the Laws, celebrating the armed sports of the Curetes, and their rhythmical dance. For Orpheus represents the Curetes, who are three, as the guards of Jupiter.» — el Proclo con que Tyson respalda la identificación órfica de los Curetes que Agrippa da por sabida.
«Typhon—A flaming monster with a hundred heads who rose up from his mother the Earth to challenge the gods. Zeus cast thunderbolts into his heart and turned his strength to ashes, burying him under Mount Aetna, where his rumblings are still occasionally heard.» — Tyson glosa al Tifón que Agrippa empareja con Zamael, y cierra la nota con el volcán en presente.
«Zamael—The dark angel Samael, the serpent of Genesis, who according to ancient Jewish legend engendered a child by Eve before she lay with Adam.» — Tyson identifica a Zamael con Samael y añade la leyenda que el texto de Agrippa no menciona.
Tyson señala que el paralelo órfico-cabalístico del capítulo X viene de Pico della Mirandola, y reproduce su formulación: «The names of the gods, of whom Orpheus sings, are not the titles of deceiving demons but the designations of divine virtues.»
El mismo Pico, en la nota de Tyson, pone la condición de la que Agrippa hace su frase: «He who does not know perfectly how to intellectualize sensible properties by the method of occult analogy, will never arrive at the real meaning of the Hymns of Orpheus.»
Y las tres equivalencias que Agrippa reproduce casi palabra por palabra ya están en el Pico que Tyson cita: «The Curetes of Orpheus are the same as the powers of Dionysius. The Orphic Typhon is the same as the Zamael of the Kabalah. The Night of Orpheus is the En Suph of the Kabalah»
«Metattron—Metatron (]770W/), the highest angel, also called the Angel of the Presence and the World Prince, who according to the Zohar guarded the temple of Solomon and was the flaming sword that barred the gates of Eden. It is Metatron who will take charge of souls at the Resurrection.» — Tyson reúne los oficios de Metatrón por fuera de lo que dice Agrippa; la transliteración hebrea sale ilegible de la capa de texto.
«It is not clear from the texts of the Kabbalah whether the Shekinah can be completely identified with the Holy Spirit, is completely distinct, or should be regarded as the exhaler of Holy Spirit in the form of breath.» — Tyson deja abiertas las tres lecturas posibles de la Shejiná frente al Espíritu Santo en vez de escoger la que le convendría al texto que edita.
«The Sepher Raziel is a medieval grimoire falsely (according to Waite [1929] 1975, 519, n. 2) ascribed to Eleazer of Worms.» — Tyson consigna como pseudoepígrafe el libro de Raziel, y declara de quién toma el juicio.
Waite, citado por Tyson, describe el contenido del Sepher Raziel: «With its long catalogues of angelic names, its talismans and philtres, its double seal of Solomon, its mystical or occult alphabetical symbols, its figures for the government of evil spirits, and its conjurations by means of Divine Names, this work constitutes one of the storehouses of Medieval Magic, besides being broadly representative of the Practical Kabbalah at large.»
Y la leyenda del libro entregado a Adán, en el Waite que Tyson reproduce: «It is supposed by the ZoHAR to signify that there was a Secret and Supreme Book, the source of all, including the Hebrew letters—presumably in that form under which they are manifested below. It expounded the Holy Mystery of Wisdom and the efficiency resident in the Divine Name of seventy-two letters. It was sent down from heaven by the hands of the angel Raziel and Adam was entrusted therewith.»
Pie de la lámina a plana entera que la edición intercala en el capítulo de las emanaciones: «Inverted Tree of the Sephiroth From Tomi secundi tractatus secundus: de praenaturali utriusque mundi historia by Robert Fludd (Frankfurt, 1621)» — la imagen es de 1621 y no del texto que ilustra, y el propio pie lo declara.
«Waite concludes that the Holy Spirit of the Zohar and the Shekinah of the Zohar are the same, but that the Kabbalistic Holy Spirit is not identical with the Christian Holy Spirit, although there are many similarities.» — Tyson resume la posición de Waite, que separa los dos Espíritus donde el texto de Agrippa los identifica sin más.
«ruler of Noah—In the Zohar the ark of Noah is Elohim. “It is said that Noah walked with Elohim ... But Elohim is the Celestial Bride, who is Shekinah” (Waite [1929] 1975, 7:4:292-3). Therefore the angel of Elohim and the Shekinah is the angel set over Noah.» — Tyson reconstruye por qué a Noé le toca esa inteligencia, encadenando el Zóhar con Waite y sacando él la conclusión.
«Abraham—The patriarchs are variously assigned to the ten Sephiroth. Here is the alrangement given by Ginsburg, which does not agree with that of Agrippa:» — Tyson declara que el reparto de patriarcas no es único y pone al lado uno que discrepa del que edita, sin arbitrar; la capa de texto imprime *alrangement*.
El reparto de Ginsburg que Tyson opone al de Agrippa: «Among the patriarchs, therefore, who were the most exalted in piety, we find that LOVE, the fourth Sephira, was incarnate in Abraham; RIGOUR, the fifth Sephira, in Isaac; MILDNESS, the sixth Sephira, in Jacob; FIRMNESS, the seventh Sephira, in Moses; SPLENDOUR, the eighth Sephira, in Aaron; FOUNDATION, the ninth Sephira, in Joseph; and KINGDOM, the tenth Sephira, was incarnate in David.»
«right column—The Kabbalistic Tree of Life is divided into three pillars: the Pillar of Mercy (right side), Pillar of Severity (left side), and the Middle Pillar of Mildness.» — Tyson explica la columna que el texto menciona sin definirla, y de paso nombra la tercera, que Agrippa no usa.
«genii—Tutelary spirits presiding over the affairs of individuals or over localities or institutions. They were spirits of the lower air:» — Tyson sitúa a los genios del texto en el aire inferior, que es la franja que después reparte con citas herméticas.
«It is interesting that Metatron is the angel of the first and the tenth Sephirah. In this context it might be worth noting that there are two Metatrons—the highest heavenly angel created with, or even before, the creation of the world; and the angel that Enoch is transformed into after his ascent into heaven. The first rivals God in his glory, while the second is very much a servant, the scribe who records the deeds of men. There are also two ways of writing the name Metatron, with six (]]70U/) and with seven Gp“ ie)) letters. The seven-letter form is the oldest, occurring almost always in the earliest manuscripts. The seven-letter Metatron is the supreme emanation of the Shekinah, whereas the six-letter Metatron is the transformed Enoch.» — Tyson explica la doble aparición de Metatrón en el texto desdoblando al ángel en dos, y ata la distinción a la grafía del nombre; las dos transliteraciones hebreas salen ilegibles de la capa de texto.
«Often Sandalphon is given as the angel of Malkuth, but Sandalphon is more properly the angel who presides over the planet Earth, as opposed to Uriel, the angel of elemental Earth.» — Tyson corrige en voz propia la atribución corriente del ángel de Maljut y separa la Tierra planeta de la Tierra elemento.
«to Marcella—It was at the house of Marcella in Rome between 382 and 385 aD that Saint Jerome instructed a number of wealthy widows and maidens in the scriptures, teaching them Hebrew and preaching the virtues of monastic life.» — Tyson sitúa el destinatario de la carta de Jerónimo que Agrippa cita, con fecha y circunstancia.
«of God and C hrist—Pseudo-Dionysius the Areopagite, in his work Concerning Divine Names.» — Tyson vuelve a marcar como pseudoepígrafe al Dionisio que Agrippa cuenta entre sus autoridades.
Tyson explica con Mathers la mecánica de los setenta y dos nombres que Agrippa solo enuncia: «Now, if these three verses be written at length one above another, the first from right to left, the second from left to right, and the third from right to left (or, as the Greeks would say, boustrophedon), they will give 72 columns of three letters each. Then each column will be a word of three letters, and as there are 72 columns, there will be 72 words of three letters, each of which will be the 72 names of the Deity alluded to in the text [of the Zohar]. And these are called the Schemahamphorasch, or the divided name.»
Para el *Shem ha-meforash* Tyson acude a Maimónides, que coincide con Agrippa en la doctrina del nombre: «It is well known that all the names of God occurring in Scripture are derived from His actions, except one, namely, the Tetragrammaton, which consists of the letters yod, hé, vau and hé. This name is applied exclusively to God, and is on that account called Shem ha-meforash, “The nomen proprium.”»
Y en la misma nota de Tyson, Maimónides condena de raíz la práctica que el capítulo enseña: «You must beware of sharing the error of those [Kabbalists] who write amulets (kKameot). Whatever you hear from them, or read in their works, especially in reference to the names which they form by combination, is utterly senseless; they call these combinations shemot (names) and believe that their pronunciation demands sanctification and purification, and that by using them they are enabled to work miracles. Rational persons ought not to listen to such men, nor in any way believe their assertions.» — la autoridad que sostiene la premisa niega la conclusión, y Tyson pone las dos cosas sin armonizarlas.
«Maimonides was an Aristotelian, which explains his antagonistic attitude toward the Kabbalah.» — Tyson explica en voz propia la hostilidad del testimonio que acaba de citar, y con eso la acota sin negarla.
«is said by MacGregor Mathers to be better rendered “Existence is existence” or “I am He who is» — Tyson recoge la enmienda de Mathers a la traducción bíblica del nombre Eheieh, y en la misma nota la hace remontar a Maimónides.
«The translators of Rashi’s Commentary have rendered this in a different tense: “I will be what I will be» — Tyson pone al lado una tercera versión del mismo nombre, en futuro, y deja las tres coexistiendo.
«According to Gesenius (1890, 218) it should not be regarded as a divine name.» — Tyson trae contra el nombre Hua, que Agrippa cuenta entre los nombres de Dios, la autoridad lexicográfica que se lo niega.
«Agla—The sentiment “Thou art mighty forever, O Lord!” is common in the Old Testament, particularly the psalms (see Psalms 92:8), but I have not been able to locate the source of its Hebrew verse.» — Tyson declara no haber hallado el versículo del que Agrippa extrae Agla, y deja la abstención escrita en vez de suplirla.
«Ararita—The Hebrew of this verse in both the Latin and English texts is faulty. I have tried to correct these errors, which most authorities simply copy.» — Tyson declara defectuosas las dos ediciones a la vez y anuncia que interviene el hebreo del versículo, cosa que, dice, las autoridades se limitan a copiar.
«Kuzu—I have not been able to extract this name from the tables of Ziruph. Perhaps the Right Table of Commutations is intended.» — Tyson intenta rehacer la permutación que Agrippa da por hecha, no le sale, y lo dice con su conjetura al lado.
Tyson trae el pasaje del *Crátilo* al que Agrippa remite, y allí Sócrates parte de una ignorancia: «Yes, indeed, Hermogenes, and there is one excellent principle which, as men of sense, we must acknowledge—that of the gods we know nothing, either of their natures or of the names which they give themselves, but we are sure that the names by which they call themselves, whatever they may be, are true.»
«This seems to be one of the passages Agrippa alludes to (see also note 35 below), but as in other places, he interprets Plato to suit his own purposes.» — Tyson acusa a Agrippa de acomodar a Platón, y dice que no es un caso aislado.
«Socrates, Plato’s alter ego, is being ironic as he speaks the above, and is arguing against the assertion of Cratylus, who holds an opinion in harmony with Agrippa’s:» — Tyson precisa el cargo: el pasaje es irónico y va dirigido contra la posición que Agrippa comparte, la de Crátilo.
La posición de Crátilo, que es la de Agrippa, en la nota de Tyson: «I believe, Socrates, the true account of the matter to be that a power more than human gave things their first names, and that the names which are thus given are necessarily their true names»
«from the barbarians—Again Agrippa twists, or does not grasp, Plato’s meaning:» — segunda acusación de la misma nota, y Tyson deja abiertas las dos explicaciones sin escoger entre torcer y no entender.
El pasaje platónico que sostiene ese segundo cargo, en la nota de Tyson: «This will be the best contrivance, or perhaps that other notion may be even better still, of deriving them from some barbarous people, for the barbarians are older than we are, or we may Say that antiquity has cast a veil over them,» — lo que Agrippa toma como doctrina, el original lo ofrece como excusa.
Tyson respalda la prohibición de traducir con el Orígenes del *Contra Celso*: «then we say that the name Sabaoth and Adonai, and the other names treated with so much reverence among the Hebrews, are not applicable to any ordinary created things, but belong to a secret theology which refers to the Framer of all things.»
Y con el Jámblico de Taylor, que da la razón entera: «To which may be added, that names do not entirely preserve the same meaning when translated into another language; but there are certain idioms in each nation which cannot be signified by language to another nation. And, in the next place, though it should be possible to translate them, yet they no longer preserve the same power when translated.»
El mismo Jámblico en la nota de Tyson explica por qué los nombres bárbaros valen más: «Barbarous names, likewise, have much * emphasis, great conciseness, and participate of less ambiguity, variety, and multitude. Hence, on all these accounts, they are adapted to more excellent natures.»
«in Philebus—‘For myself, Protarchus, in the matter of naming the gods I am always more fearful than you would think a man could be; nothing indeed makes me so afraid” (Plato Philebus 12c [Hamilton and Cairns, 1088]). Agrippa derives his reference from Origen Against Celsus 1.25.» — Tyson localiza el pasaje y de paso declara que Agrippa no lo leyó en Platón sino en Orígenes.
«Abracadabra—Perhaps no other magical formula is so well known. Budge treats it at length in his Amulets and Talismans, ch. 8. He is not satisfied that Serenus himself invented the word, saying:» — Tyson pone en duda, con Budge, la paternidad que el texto atribuye a Sereno Samónico.
Budge, citado por Tyson, propone otro origen para la fórmula: «it seems to me that the formula is based upon something which is much older, and that in any case the idea of it is derived from an older source. Many attempts have been made to find a meaning for the formula, but the explanation put forward by Bischoff in his “Kabbalah” (1903) is the most likely to be correct.»
Tyson devuelve al Pitágoras de Jámblico el lugar de los nombres en su escala de saberes: «Pythagoras, being asked what was the wisest of things, said it was number; and being asked what was the next in wisdom, said, he who gave names to things.»
El relato de Filóstrato sobre el fantasma de Aquiles, en la nota de Tyson, y en él Apolonio niega el rito que se le suponía: «To bring about my meeting with Achilles I did not dig a trench like Ulysses, nor did I evoke his ghost by shedding the blood of lambs, but I offered those prayers by which the Indian Sages say they invoke departed heroes, and then I said: ‘O, Achilles, the vulgar herd say that you are dead, but I do not at all agree with that opinion, nor does Pythagoras, the source of my philosophy.»
«Persica—‘Hierocaesarea went back to a higher antiquity, and spoke of having a Persian Diana, whose fame was consecrated in the reign of Cyrus» — Tyson identifica con Tácito a la diosa del prodigio lidio que Agrippa toma de Pausanias.
«Aben—A rock, specifically the rock of Israel, Jehovah (Genesis 49:24). Aben, J28, contains the two Hebrew words ab, D8 (father) and ben,» — Tyson desarma el nombre en las dos palabras que Agrippa dice que expresan al Padre con el Hijo; las transliteraciones hebreas salen ilegibles de la capa de texto.
«The well known magician Aleister Crowley attached considerable importance to the word, but altered it to suit his preconceptions into ABRA-HADABRA, the “word of the Aeon” by which the union of human and solar consciousness would occur:» — Tyson sigue la fórmula del capítulo hasta el siglo XX y marca la alteración de Crowley como acomodo a ideas propias.
«According to, Kenneth Grant, the reason for the change in spelling was Crowley’s belief that he had discovered the true esoteric name of the god Hod, which is the Chaldean for Set.» — Tyson da la explicación de la enmienda declarando de quién la toma, y no la asume.
«here described—On the front of the amulet the names of God are, from top to bottom: IHVH, ADNI, YIAI and AHIH. Around the edge is written: IHVH ALHIKV THVH AKD: “IHVH Our God is IHVH One.” Concerning the words on the back, see note 24 above, and the part of the text to which it refers. The dots indicate that each letter stands for a word.» — Tyson transcribe el sello del rabino Hama que la lámina imprime en hebreo, y sin esa nota el diagrama es ilegible en esta edición.
Tyson explica con Maimónides el silencio sobre la pronunciación del Tetragrámaton y saca de ahí una pérdida: «This zeal not to defile the most holy name of God has led to the loss of its true pronunciation. When a Jew reads scripture and encounters the name IHVH, he pronounces it» — la reverencia que Agrippa celebra es, en la nota, la causa de que el nombre ya no se sepa decir.
Pie de la lámina a plana entera que la edición intercala en el capítulo de los nombres: «Kabbalistic Names of God from The Magus by Francis Barrett (London, 1801)» — los sellos que ilustran el texto son de 1801, y los rótulos manuscritos de la lámina salen ilegibles de la capa de texto.
Tyson devuelve al Orígenes de las homilías el reparto de ángeles que Agrippa resume: «And what is so pleasant, what is so magnificent as the work of the sun or moon by whom the world is illuminated? Yet there is work in the world itself too for angels who are over beasts and for angels who preside over earthly armies. There is work for angels who preside over the nativity of animals, of seedlings, of plantations, and many other growths.»
Y añade el Orígenes del *De principiis*, que hace de los oficios angélicos un mérito ganado antes del mundo: «nor are we to suppose that it is the result of accident that a particular office is assigned to a particular angel: as to Raphael, e.g., the work of curing and healing; to Gabriel, the conduct of wars; to Machael, the duty of attending to the prayers and supplications of mortals.»
Ginsburg, citado por Tyson, lee el nombre hebreo de Jesús como revelación cabalística: «The name Jesus in Hebrew 11")"W"sT"" ... yields the name 1111” Jehovah; and the W which in the language of the Kabbalah is the symbol of fire or light. ... This mysterious name therefore contains a whole revelation, inasmuch as it shows us that Jesus is God himself, the Light or the Logos» — las dos transliteraciones hebreas salen ilegibles de la capa de texto.
«Agrippa was familiar with this work by Reuchlin.» — Tyson señala el *De verbo mirifico* de Reuchlin como fuente del argumento sobre el nombre de Jesús.
«engendereth the purple—Kermes is a red pigment which was anciently obtained from the pregnant female of the insect Coccus ilicis, found in southern Europe and northern Africa clinging to a species of evergreen oak like red berries.» — Tyson identifica el animalito de la púrpura que Agrippa menciona sin nombrar, y da su historia comercial.
«What the ancients called purple, we would call red.» — Tyson corrige en voz propia el color que el lector moderno pondría en la palabra del texto.
«habitale—Habitation. The word habitation was used to describe the Jewish tabernacle.» — Tyson traduce el término técnico del pasaje de los cabalistas y le devuelve su resonancia: el miembro limpio es tabernáculo.
«latria only—Dulia and latria are words adopted by the Roman Catholics: latria expresses that supreme reverence and adoration which is offered to God alone; dulia that secondary reverence and adoration which is offered to saints. Latria is the reverence of a latris or hired servant, while dulia is the reverence of a doulos or slave.» — Tyson explica la distinción de la que depende que el culto a las almas celestes quede permitido, y la lleva hasta la etimología de siervo y esclavo.
«Queen of Heaven—Jeremiah 7:18. See also 44:17-26. This unnamed goddess is conjectured to be the Mesopotamian Ishtar, mother goddess of fertility, love and war, whose cult was popular in Judah during the Assyrian vassalage of 7th century BC.» — Tyson propone una identificación histórica para la Reina del Cielo que Agrippa lee como Alma del Mundo, y la marca como conjetura.
«gods and deities—Rashi alludes to this tradition somewhat obliquely: “(This verse) [Gen. 25:6] is written incompletely (the names of the concubines are not mentioned), for there was only one concubine, she was Hagar, the same as Keturah. ... Our Rabbis explained: The name of unclean (evil) powers he handed over to them» — Tyson localiza en Rashi la tradición rabínica que Agrippa invoca, y señala que allí está dicha de modo oblicuo.
Tyson documenta con Pausanias al héroe que abre el catálogo, y el pasaje registra cómo se hizo dios: «The Oropians were the first to believe Amphiaraos was a god, but since then all Greece has come to think of him as one.»
«Atargates—Atargatis is a Syrian “fish-goddess," the wife of Baal, who had many functions. She was ancestor of the royal house, founder of social and religious customs, and fertility goddess. In the last role she represented the life-giving powers of water and earth.» — Tyson repone la identidad de la diosa siria que el catálogo solo nombra.
«Nortia (or Nurtia) was an Etruscan goddess worshiped at Volsinii (Bolsena, located on the Italian lake of the same name). She is chiefly remembered because each year a nail was driven into the wall of her temple as a form of primitive calendar—perhaps originally begun as a magical practice for averting plague or some other evil.» — Tyson explica el clavo anual del templo etrusco y ofrece su origen mágico como conjetura marcada.
«Presumably there was a Jupiter Curis.» — Tyson deduce del epíteto de Juno un Júpiter que las fuentes no atestiguan, y lo marca como suposición.
«Iuba—Juba II was given divine honors after his death. See biographical note.» — Tyson precisa que el rey africano del catálogo entró en él como hombre divinizado, no como dios antiguo.
«Cabrius—Cabeiros, one of the Cabiri, mystical Greek divinities that occur in various places in the ancient world. Originally there were two, an older identified with Hephaestus and a younger identified with Hermes. When their cult was united with that of Demeter and Kore, their number increased to four.» — Tyson reconstruye a los Cabiros y registra que su número cambió al fundirse su culto con otro.
«The chief seat of the worship of the Cabeiri was the island of Samothrace (now Samothraki) off the coast of Thrace near Macedonia. Philip of Macedon and his wife were initiated into the mysteries of the Cabeiri here.» — Tyson sitúa el santuario y nombra a sus iniciados más conocidos.
«Quirinus—A Sabine word (quiris: spear) used as a surname of Romulus and Augustus when they had been raised to the ranks of divinities, and of the gods Mars and Janus. The festival in honour of the translation to heaven of divine Romulus was called Quirinalia.» — Tyson explica que Quirino no es un dios sino un sobrenombre que se aplicó a cuatro figuras distintas.
«Sangus—Semo Sancus, also called Dius Fidius, was a god of light and oaths worshipped by the Sabines, Umbrians and Romans. He has been identified with the Italian Hercules, but this is questionable. The sanctuary of the god on the Quirinal Hill had a hole in the roof, because he could only be invoked beneath an open sky.» — Tyson identifica al dios sabino del catálogo, pone en duda su asimilación a Hércules y registra la condición ritual del cielo abierto.
«An inscription on an altar in a second chapel located on an island in the Tiber led the early Christian Fathers Justin Martyr, Tertullian and Eusebius to wrongly identify the god with Simon Magus, whom they inferred was worshipped in Rome.» — Tyson declara errónea, y por causa de una inscripción mal leída, la identificación que tres Padres hicieron del dios sabino con Simón el Mago.
Tyson devuelve a los *Fastos* el reparto que Agrippa versifica, y allí la lista es más larga: «The people of Cecrops [Athenians] venerate Pallas; Crete, the land of Minos, Diana; the land of Hypsipyle [Lemnos], adores Vulcan; Sparta, and Mycenae the Pelopian city, Juno; the district of Maenalus [Arcadia], the pine-wreathed head of Faunus.»
«where was his oracle—The oracle of Jupiter Ammon was in the oasis of Ammonium (now Siwa).» — Tyson localiza el oráculo que el catálogo menciona sin situar.
«He mentions horse sacrifice only with regard to funeral observances for a king: “Fifty of the best of the late king’s attendants are taken, all native Scythians ... and strangled, with fifty of the most beautiful horses» — Tyson va al Heródoto que sostiene el dato escita y encuentra que el sacrificio de caballos no era del culto sino de las exequias reales.
«Soracte—The whole mountain was sacred to Apollo. On the festival of the god his worshippers walked over burning embers.» — Tyson explica el monte del catálogo por el rito que lo hizo célebre.
«I might mention in this context that the supposed sacrifice by pagans of their children to fire, referred to so often in the Bible, was only an initiatory rite of fire walking.» — Tyson enuncia en voz propia una tesis que no está en el texto que edita: los sacrificios de niños al fuego que denuncia la Biblia eran caminatas rituales sobre brasas.
«Bacchanalia—The festival of Dionysus (Bacchus), which seems to have consisted of a prolonged orgy.» — Tyson describe la fiesta que el texto solo nombra, y marca la descripción como apariencia.
«The custom was introduced into Rome through Etruria. In the beginning the festivals were secret, attended by women only, held three days a year in the grove of Simila (see Ovid Fasti 6, lines 503-17). Men were later admitted, and the festivals spread to such an extent that in 186 BC a decree was issued banning them throughout Italy, except in special circumstances. Even so, they continued for many years after.» — Tyson traza la historia romana de las bacanales hasta el decreto que las prohibió, y registra que siguieron celebrándose.
«It is not surprising the warlike Spartans would worship a warrior Venus.» — Tyson explica en voz propia el epíteto guerrero de Venus que el catálogo consigna.
«He explains the seeming incongruity of the goddess of love presiding over» — Tyson introduce la explicación de Plutarco para la Venus funeraria, y la nota se corta aquí porque la frase pasa a la plana siguiente.
«the tomb by saying that one and the same deity rules both birth and death, and that the goddess points out the truth that death is not to be feared, but should be desired—a sentiment in keeping with the Roman passion for suicide.» — el otro lado del corte: Tyson recoge la explicación plutarquea y le añade de su cosecha el juicio sobre la afición romana al suicidio.
«Aricia—Near the town of Aricia was a grove and temple of Diana (Artemis) Aricina. The priest here was always a runaway slave, and was obliged to fight for his place any other slave who broke off a bough from a certain sacred tree in challenge. The combat was to the death.» — Tyson repone el rito del sacerdote de Aricia que el texto solo alude al nombrar el lugar.
«Pisa a city of Achaia—Pisa was in Elis, not Achaea.» — Tyson corrige en seco la geografía del catálogo.
«Riley mentions in his notes that Teutas or Teutates was identified with Mercury, Hesus or Esus with Mars, and Taranis with Jupiter by Roman writers.» — Tyson da la tríada gala completa y las equivalencias romanas, declarando de quién las toma.
«notice the similarity between the names of the Egyptian god Thoth and the Gallic Teutas, particularly since both are associated with art, commerce, travel, and Roman Mercury.» — Tyson aventura en voz propia un parentesco entre Thoth y Teutates, apoyado en la coincidencia de atribuciones y no en filología.
«the masculine sex—This refers to the bearded Aphrodite of Cyprus, which was called Aphroditos by Aristophanes, according to Macrobius who mentions the goddess in his Saturnalia 3.8.2. Philochorus in his Atthis (referred to by Macrobius) identifies this male-female god with the Moon, and says that at its sacrifices men and women exchanged clothing.» — Tyson explica la Luna adorada en sexo masculino que el catálogo registra, y reconstruye la cadena de testimonios que lo transmite.
Tyson devuelve al Orígenes del *De principiis* el argumento de los astros que reciben mandatos: «We think, then, that they [the stars] may be designated as living beings, for this reason, that they are said to receive commandments from God, which is ordinarily the case only with rational beings. “I have given a commandment to all the stars,” says the Lord [Isaiah 45:12].»
«Augustine in his reply states that we can see that the sun, moon and stars are celestial bodies, but not that they are animated. He agrees firmly with Paul that there are Seats, Dominions, Principalities, and Powers in the heavens, “but I do not know what they are or what the difference is between them.» — Tyson, con Thorndike, muestra que el Agustín que Agrippa alista entre los partidarios se declara ignorante de la cuestión.
«Albertus expressly denies the notion that the stars are animals, in the commonly accepted sense of the word, but regards them as instruments of the First Intelligence:» — Tyson va a la fuente que Agrippa invoca y encuentra lo contrario: Alberto Magno niega expresamente lo que la nómina le atribuye.
«Aureolus—Perhaps Aurelius Augustinus, or Saint Augustine, in his letters to his Spanish disciple Orosius, referred to in note 3 above.» — Tyson no identifica con certeza al Aureolo del texto y deja su conjetura marcada como tal.
«Similarly with regard to prayers; there is no question of a will that grants; the powers that answer to incantations do not act by will. ... some influence falls from the being addressed upon the practitioner—or upon someone else—but the being itself, sun or star, perceives nothing at all.» — el Plotino que Tyson cita niega justo lo que Agrippa le atribuye: el astro no percibe nada, y la plegaria opera como una cuerda que vibra por simpatía.
«William states that Plato and Aristotle, Boethius, Hermes Trismegistus, and Avicenna, all believed the stars to be divine animals whose souls were as superior to ours, as their celestial bodies are.» — Tyson documenta con Thorndike al Guillermo de París que Agrippa cita, y de él saca la licencia que el capítulo necesita: la cuestión queda libre para el cristiano.
«propriety of the word—The word “‘intelligent,” from the Latin intelligere: to see into, perceive, understand.» — Tyson repone la etimología en que Agrippa funda su uso del término ángel contra el corriente.
«fifty-five motions—Aristotle distinguishes 55 spheres upon which the planets and stars move, in his De caelo (On the heavens).» — Tyson localiza el origen de la cifra que Agrippa da por sabida al contar las inteligencias.
El Orígenes que Tyson cita concede los agentes invisibles y niega expresamente lo que Agrippa hace con ellos: «We indeed also maintain with regard not only to the fruits of the earth, but to every flowing stream and every breath of air, that the ground brings forth those things which are said to grow up naturally,—that the water springs in fountains, and refreshes the earth with running streams,—that the air is kept pure, and supports the life of those who breathe it, only in consequence of the agency and control of certain beings whom we may call invisible husbandmen and guardians; but we deny that those invisible agents are demons.»
«familiars—Familiar spirits are mentioned a number of times in the Old Testament and seem to have been connected with divination.» — Tyson devuelve el familiar de la nómina a su contexto bíblico, donde la práctica se castiga con la muerte.
«On this last verse Rashi gives the interesting commentary: “A prohibition against a D8 DpI and a Y7. A D8 7Y2 is a wizard who (appears to) speak from his armpits, and a “])D7 is one who places the bone of an animal, the name of which is Yiddo’a, into his mouth and the bone (appears to) speak» — Tyson trae la glosa de Rashi que describe las dos técnicas concretas prohibidas; las transliteraciones hebreas salen ilegibles de la capa de texto.
«Pierides—A surname of the Muses derived from Pieria, a region on the southeast coast of Macedonia, where they were first worshipped among the Thracians. According to legend Pierus, King of Emathia in Macedonia, had nine beautiful daughters called the Pierides who dared to challenge the Muses in a poetry contest. For punishment they were turned into magpies, and the Muses kept their name.» — Tyson explica uno de los nombres de la nómina y con él la leyenda del nombre disputado.
«Hamadryades—Tree nymphs who lived and died with the tree they inhabited, and were thus mortal, though long in years.» — Tyson señala en la nómina el caso que ilustra la tesis del texto: espíritus corpóreos, mortales y longevos.
«Pales—Roman god of shepherds and their flocks. The festival of the deity, called Parilia, or Palilia, was celebrated April 21, the supposed birth date of the city of Rome. It is uncertain whether the god was male or female, as it is referred to by ancient writers under both sexes (Ovid says female; Varro says male).» — Tyson deja sin resolver el sexo de la deidad y pone las dos autoridades enfrentadas una junto a otra.
«Dodonae—Dodonides, a class of nymphs specific to Dodona and its oak trees. Zeus Dodonaios was worshipped at Dodona, the second most celebrated oracle in the ancient world, after Delphi.» — Tyson sitúa a las ninfas de la nómina en el oráculo de los robles.
«Lavernae—Laverna was the Roman goddess of thieves and imposters. She had a sacred grove on the Via Salaria, and an altar near the Porta Lavernalis.» — Tyson identifica a la deidad de la que salen unas ninfas que Agrippa solo nombra.
«genii—Plural of genius, a protecting spirit of the Romans. The Greeks called them daemons. Hesiod says there are 30,000 of them on Earth, that they are invisible, and that they are the souls of good men from the Golden Age. (See Plato Cratylus 397e-398c.) The Romans viewed them as the generators or producers of life who accompanied each man as a second higher self. The idea is very similar to that of guardian angels.» — Tyson reúne las tres lecturas del genio —almas de la Edad de Oro, generador de la vida y segundo yo— y las acerca en voz propia al ángel de la guarda.
Tyson documenta con Gregorio Taumaturgo el ángel personal que el texto supone, y el pasaje lo dice en primera persona: «it shall be addressed to that being who, by some momentous decision, had me allotted to him from my boyhood to rule, and rear, and train,—I mean that holy angel of God who fed me from my youth,»
«hobgoblins—In the Latin Opera, lemures is given. The lemures were ghosts, the spirits or specters of the dead. Sometimes they were divided into two classes: lares, the ghosts of good men, and larvae, the ghosts of evil men. Usually this distinction was not made.» — Tyson coteja la nómina contra la Opera latina y encuentra que donde Freake pone duendes el original dice *lemures*, esto es fantasmas de difuntos.
El Platón que Tyson cita para el símil de las bestias amaestradas lo usa en sentido político y no mágico: «Being alive to this he gave our communities as their kings and magistrates, not men but spirits, beings of diviner and superior kind, just as we still do the same with our flocks of sheep and herds of other domesticated animals. We do not set oxen to manage oxen, or goats to manage goats; we, their betters in kind, act as their masters ourselves.»
Tyson identifica con Thorndike la fuente de las razas longevas de los bosques, que es Marciano Capela: «Finally the earth itself is inhabited by a long-lived race of dwellers in woods and groves, in fountains and lakes and streams, called Pans, Fawns, satyrs, Silvani, nymphs, and other names. They finally die as men do, but possess great power of foresight and of inflicting injury»
Tyson reproduce el pasaje de Plutarco del que sale la mortalidad de los demonios: «And moreover, Hesiod imagines that the Daemons themselves, after certain revolutions of time, do at length die. For, introducing a Nymph speaking, he marks the time wherein they expire:»
Y el mismo Plutarco, en la nota de Tyson, discute la cuenta de años que otros sacan del verso: «Now those which do not well understand what the poet means by this word yeved (age) do cause this computation of time to amount to a great number of years. For the word means a year; so that the total sum makes but 9720 years, which is the space of the age of Daemons.» — la palabra griega sale ilegible de la capa de texto.
«Agrippa has merely plucked the names Demetrius and Ameilianus out of Plutarch to impress the reader, not for any good reason.» — Tyson acusa a Agrippa de citar por ostentación, y no de citar mal: los nombres están en Plutarco, pero no sostienen nada.
Tyson respalda con Proclo la advertencia sobre los demonios que salen al paso del iniciado: «In the most holy of the mysteries, before the God appears, certain terrestrial daemons present themselves, and fights which disturb those that are to be initiated, tear them away from undefiled goods, and call forth their attention to matter.»
Tyson localiza en el Zóhar, por la traducción de Myer, la lista hebrea de órdenes angélicos que Agrippa reproduce: «The Holy, Blessed be He! affixed to the Throne legions to serve it, (the Ten Angelic Hosts, the Ye’tzeeratic World.) These are; Malakheem, Areleem, ‘Hiay-yéth, Ophaneem, Hash-maleem, E’leem, Eloheem, Benai Eloheem, Isheem and Serapheem.»
«However, Agrippa’s interpretation of this verse is questionable—perhaps he links it to Deuteronomy 4:19.» — Tyson pone en duda la lectura del cántico de Moisés que sostiene el ángel nacional, y aventura de dónde viene el enlace.
«But surely it is derived from ]S87/9, MLAK (a messenger of God); i.e., an angel» — Tyson corrige la etimología corriente de *Malachim*, que la deriva de rey, y la devuelve a mensajero; la transliteración hebrea sale ilegible de la capa de texto.
«seems to be an error (see Mathers [1887] 1962, 26). Along with his other error, mentioned in note 22 above, it has gained universal acceptance in modern popular occultism.» — Tyson declara errónea la grafía de Mathers para el orden décimo y registra que el error se volvió doctrina común del ocultismo moderno.
«anamasticus—Dii animalie, gods who were originally men; in other words, heros.» — Tyson explica el término con que Agrippa nombra al orden de las almas bienaventuradas: dioses que fueron hombres.
Pie de la lámina a plana entera que la edición intercala antes del capítulo de los espíritus malignos: «Apollyon from The Magus by Francis Barrett (London, 1801)» — la figura del príncipe de las Furias que ilustra el capítulo es de 1801.
«nine degrees—The consensus in ancient times seems to be for a threefold division of fallen angels, or evil spirits. One of the ninety-three visions of Saint Francisca (1384-1440) concerns the hierarchy of hell. She says that one third of the fallen angels took up residence in the air where they cause storms and disease, another third dwell on the Earth and lure souls to damnation, while the third part inhabit hell.» — Tyson opone a los nueve grados del capítulo el reparto en tres que él da por consenso antiguo, y lo documenta con una visionaria del siglo XV, no con una autoridad de la época de Agrippa.
Tyson reproduce el pasaje de Brewer sobre esa misma visión: «Lucifer, she tells us, is the monarch of all the hells, but he rules in chains of iron, and is supreme in misery as well as in power. Under him are three princes, each absolute in his own department. The first of these is Asmodéus, once a cherub, but now holding the “principality” of carnal sins. The next is Mammon, the demon of avarice who holds the “throne” of this world. The third is Beélzebub, who holds the “dominion” of idolaters. These three powers and Lucifer never leave their prisons, except under special permission from God; but they have legions and legions of subordinates on earth who are responsible to them.»
Tyson pone al lado la versión del Zóhar en la traducción de Myer, que también divide en tres: «On the same subject the Zohar says: “Come, See! In these evil species are three degrees, one above the other. The upper degree of these three hang in the air, the lowest degree of them, are these which laugh at people and trouble them in their dreams, because they are impudent like dogs [see Chaldean Oracles 75]. And there is a higher degree upon them which are from the Above and the Below [a middle degree], which make known to man things which are sometimes true and sometimes not true, and those things which are true they happen in the future.»
«Beelzebub—In the Old Testament, the god of the Philistine city of Ekron (II Kings 1:2). In the New Testament the Pharisees ascribed the ability of Jesus to cast out devils to the power of this arch-demon (Matthew 12:24). The name beelzeboub in the Vulgate is usually translated “Lord of the Flies,” but in the best Greek manuscripts it is written beelzeboul, “ord of the Earth,” which seems to be the correct rendering.» — Tyson corrige la etimología corriente del nombre y prefiere la lectura de los mejores manuscritos griegos frente a la de la Vulgata; la capitular de la traducción propuesta sale perdida en la caja y debe leerse *Lord*.
«Pytho in their belly—See note 11, ch. XVI, bk. III. Ventriloquism, in the original use of the word, means “speaking from the belly,” for which reason those possessed by prophetic spirits were known as ventriloquists. By ancient accounts the voice of the spirit seemed to come from deep in the abdomen or “armpit” and was base and guttural.» — Tyson explica la ventriloquia antigua como voz del poseído y no como truco de feria, que es el sentido moderno del término.
«This is a genuine phenomenon unaffected by culture or time (see Isaiah 29:4). Oesterreich writes:» — Tyson enuncia en voz propia, y en presente, que el cambio de voz del poseído es un fenómeno real e independiente de la cultura y de la época; no es glosa del texto que edita.
«Perhaps this masculine quality of voice was in part the source of the belief expressed by Crysostom in his Homilies on the First Epistle to the Corinthians 29.12.1, regarding the oracle at Delphi:» — Tyson aventura, marcándolo como conjetura, que de ese timbre grave salió la descripción crisostomiana de la pitonisa de Delfos.
«Theutus—Thoth. The story is that in the region of Naucratis in Egypt there dwelt one of the old gods of the country, the god to whom the bird called Ibis is sacred, his own name being Theuth. He it was that invented number and calculation, geometry and astronomy, not to speak of draughts and dice, and above all writing. (Plato Phaedrus 274c [Hamilton and Cairns, 520]) As in other places, it may be conjectured Agrippa did not understand his own reference, as he is unlikely to have knowingly spoken in so disparaging a way of the Egyptian Hermes.» — Tyson devuelve al Fedro el demonio Theut que el capítulo alista entre los inventores de artes malas, y de ahí saca el cargo de que Agrippa no entendió su propia referencia: el inventor de los dados es el Hermes egipcio que él venera.
«Vessels of Wrath—I do not find this in Jeremiah but in Romans 9:22.» — Tyson enmienda en primera persona la remisión bíblica de la obra, sin armonizarla.
«Belial—A demon of the New Testament (II Corinthians 6:15), from the Greek beliar, which is a corruption of the Hebrew 7°72, meaning “what is useless, of no fruit,” and by extension “wickedness, a wicked man, a destroyer.” The word is not used in the Old Testament as a proper name. “Sons of belial” signifies sons of wickedness (Judges 19:22).» — Tyson acota que Belial no es nombre propio en el Antiguo Testamento, contra la lectura del capítulo que lo trata como príncipe; la transliteración hebrea sale ilegible de la capa de texto y no se restituyó dentro de las comillas.
«Asmodeus—The Destroyer, the demon who killed the seven husbands of Sarah in the Apocryphal Book of Tobit (3:8). It was driven away to Upper Egypt by the burning fume from the heart and liver of a fish, and bound there by the power of the angel Raphael» — Tyson lleva el nombre al libro de Tobías y al modo de atadura que allí se describe, humo de pescado y ángel; la cita se corta antes de la referencia numérica que parte el renglón.
Pie de lámina de la edición: «Belial Dancing Before Solomon from Das Buch Belial by Jacobus de Teramo (Ausgburg, 1473)» — la figura del príncipe del tercer grado viene de un impreso de 1473, y el pie lo declara.
Pie de lámina de la edición: «Asmodeus from Dictionnaire infernal by Collin de Plancy (Paris, 1863)» — la figura de Asmodeo que ilustra el capítulo es de un diccionario infernal decimonónico.
Pie de lámina de la edición: «Mammon from The Magus by Francis Barrett (London, 1801)» — la figura de Mammón sale otra vez del Magus de Barrett, como el Apolión de la plana 582.
«By tricking the king into removing the magic ring he used to control devils, Asmodeus sat upon the throne for 40 years while Solomon wandered through his own kingdom as a beggar. For this reason he was called “king of the demons.» — Tyson añade el folclore judío del anillo y del trono usurpado, que no está en el capítulo de Agrippa.
«The story is told of his birth that King David had an emission of seed while coupling with the succubus demon Igrat in his sleep, and Igrat bore Adad, king of Edom. When asked his name, he answered “Sh’ mi Ad, Ad sh’m,” that is, “My name is Ad, Ad is my name.” Hence he was called Ashm’dai, or Ashmodai (Asmodeus), king of the demons. See Patai 1980, 457 and 459. It is believed the name is actually a corruption of Aeshma-Daeva (covetous demon), one of a group of seven principle demons in Persian mythology.» — Tyson pone juntas dos genealogías del nombre sin arbitrar entre ellas: la del súcubo Igrat vía Patai y la persa del Aeshma-Daeva.
«Meririm—Perhaps from the Hebrew 0”7)’f3D, KMRIRIM, occurring in Job 3:5 as the “blackness of the day,” an eclipse or obscuration of the Sun, which was an evil omen. Ancient interpreters regarded the K as a prefix to the substantive MRIRIM and read the meaning to be “the greatest bitternesses (calamities) which could befall a day.” See Gesenius 1890, 402.» — Tyson propone, con su *perhaps* delante, que el demonio meridiano del capítulo sale de la negrura del día de Job leída por los intérpretes antiguos.
«Abaddon—Hebrew: JTS, ABDON (destruction). See Job 28:22. It was used as the name for a region of Gehenna in later rabbinical Writings, after such usages as occur in Proverbs 15:11 and 27:20. In the New Testament it is the name of the angel of the abyss, and occurs only in Revelation 9:11.» — Tyson distingue las dos capas del nombre, primero región del Gehena y después ángel del abismo; la transliteración hebrea sale ilegible del escaneo.
«Astarath—Astaroth, N7NWY, AShThRTh. In Greek, Astarte, a form of the Babylonian goddess Ishtar. Since she is the female counterpart of Baal (Judges 2:13) and is said to have been depicted with horns by Lucian and Herodian, she is supposed to have been a Moon goddess.» — Tyson devuelve el príncipe acusador del octavo grado a una diosa babilonia femenina y lunar, al revés del varón que supone el capítulo; el hebreo sale ilegible.
«She is called the goddess of the Zidonians (I Kings 11:5) and was worshipped by» — Tyson enlaza al príncipe acusador con el culto que la Escritura reprocha a Salomón; la cita se corta donde el troceo vuelve a marcar la plana a media frase.
«Solomon, who had married “many strange women” (I Kings 11:1), among them some Zidonians, who influenced his religious practices in his old age. In the medieval grimoires Astaroth is metamorphosed into a male demon: “He is a Mighty, Strong Duke and appeareth in the Form of an hurtful Angel riding on an Infernal Beast like a Dragon, and carrying in his right hand a Viper” (Goetia [demon number 29]. In Lemegeton, or The Lesser Key of Solomon, British Museum ms. Sloane 2731). The Goetia was transcribed from this manuscript and published by MacGregor Mathers.» — Tyson data el cambio de sexo del demonio en los grimorios medievales y cita la descripción de la Goecia por el manuscrito Sloane que Mathers publicó, no por Agrippa.
«Diabolos—A aBodos, the Slanderer; the Devil.» — Tyson glosa el nombre griego del octavo grado; la palabra griega sale corrompida de la capa de texto y no se restituyó dentro de las comillas.
«Mammon—From maména, the Aramaic word for “riches.” It occurs only in the New Testament, where it is almost personified (Luke 16:13). The personification was completed in the 14th—16th centuries, when Mammon became the demon of covetousness.» — Tyson fecha la personificación del nombre entre los siglos XIV y XVI, es decir, poco antes de la obra que edita, y no en la Escritura.
Tyson documenta el apóstata del capítulo con un pasaje de Orígenes: «an apostate— In this manner, then, did that being once exist as light before he went astray, and fell to this place, and had his glory turned into dust, which is peculiarly the mark of the wicked, as the prophet also says; whence, too, he was called the prince of this world, i.e., of an earthly habitation: for he exercised power over those who were obedient to his wickedness, since “the whole of this world”—for I term this place of earth, world—"lieth in the wicked one,” [I John 5:19] and in this apostate. That he is an apostate, i.e., a fugitive, even the Lord in»
Pie de lámina de la edición: «Ophis from The Magus by Francis Barrett (London, 1801)» — la serpiente que Agrippa toma de Ferécides queda ilustrada con una estampa de 1801.
«in his Pymander—There is no specific mention of the fall of the angels in the version of the Pymander given by Scott. Mention is made of troops of avenging demons which are marshalled under the seven planets: “By means of storms and hurricanes and fiery blasts, and corruptions of the air, and earthquakes, and famines also and wars, they punish men’s impiety”» — Tyson va al Hermético que Agrippa invoca para la caída y anota que allí no hay tal caída, sino demonios vengadores repartidos bajo los siete planetas.
«It is, however, made clear that souls migrate both up and down the order of being according to their worth, moving from men to demons on the way up, or into birds on the way down. The implication is that demons have free will either to elevate or degrade themselves.» — Tyson deriva del mismo Hermético una migración de las almas en los dos sentidos, y de ahí infiere, marcándolo como implicación suya, que el demonio también tiene libre albedrío.
«Ararus—This reference is obscure to me. Araros was the son of Aristophanes, and a Greek playwright. The Latin Opera spells this name Atarus. Perhaps an oblique reference to the casting of Hephaistos down from heaven by the wrathful Zeus» — Tyson declara no entender la referencia homérica de la obra, coteja la grafía contra la Opera latina y aventura un sustituto con su *perhaps* delante.
Tyson repone el pasaje de Plutarco sobre la usura que Agrippa cita de paso: «Nor is there any means for these debtors to make their escape into those fair pastures and meadows which once they enjoyed, but they wander about, like those Daemons mentioned by Empedocles to have been driven out of heaven by the offended Gods By the sky’s force they’re thrust into the main, Which to the earth soon spews them back again. Thence to bright Titan’s orb [the sun] they’re forced to fly, And Titan soon remits them to the sky.»
«Empedocles is of course describing the passage of the damned souls through the four elements, respectively Water, Earth, Fire and Air. The same quotation occurs in Plutarch’s /sis and Osiris 26 (Goodwin, 4:87), with the additional line: “Received by each in turn, by all abhorred.”» — Tyson lee los versos como un recorrido por los cuatro elementos y localiza la segunda copia del pasaje con un verso más.
«Origen’s opinion—These matters are more or less found in Origen’s De principiis 1.6. However, Agrippa draws inferences that are flatly contradicted by Origen.» — Tyson vuelve a la fuente que Agrippa invoca y anota que las consecuencias que le saca están contradichas de plano por ella; la discrepancia queda escrita sin arbitrar.
Contra la penitencia en carne humana, Tyson trae el propio Orígenes: «It is to be borne in mind, however, that certain beings who fell away from that one beginning of which we have spoken, have sunk to such a depth of unworthiness and wickedness as to be deemed altogether undeserving of that training and instruction by which the human race, while in the flesh, are trained and instructed with the assistance of the heavenly powers»
«On the question of whether they will be freed from ethereal and aerial bodies, Origen says:» — Tyson enuncia el segundo punto de la discrepancia, el de si los caídos se liberan de sus cuerpos etéreos.
Y el pasaje con que responde: «And if any one imagine that at the end material, i.e., bodily, nature will be entirely destroyed, he cannot in any respect meet my view, how beings so numerous and powerful are able to live and to exist without bodies, since this is an attribute of the divine nature alone—i.e., of the Father, Son, and Holy Spirit—to exist without any material substance, and without partaking in any degree of a bodily adjunct. Another, perhaps, may say that in the end every bodily substance will be so pure and refined as to be like the aether, and of a celestial purity and cleanness. How things will be, however, is known with certainty to God alone, and to those who are His friends through Christ and the Holy Spirit.»
Tyson localiza el fragmento de Justino Mártir que Ireneo conserva y que la obra resume: «Before the advent of the Lord, Satan never ventured to blaspheme God, inasmuch as he was not yet sure of his own damnation, since that was announced concerning him by the prophets only in parables and alle- . gories. But after the advent of the Lord, learning plainly from the discourses of Christ and His apostles that eternal fire was prepared for him who voluntarily departed from God, and for all who, without repentance, persevere in apostasy, then, by means of a man of this sort, he, as if already condemned, blasphemes that God who inflicts judgement upon him, and imputes the sin of his apostasy to his Maker, instead of his own will and predilection.»
«canonical hours—The seven times a day when sacred offices may be performed in the Roman» — Tyson explica el término litúrgico con que la obra data la veneración de Pablo el Ermitaño; la cita se corta donde el encabezado corrido parte el renglón.
«Church: matins (12 AM), prime (6 AM), tierce (9 AM), sext (12 PM), nones (3 PM), vespers (6 PM) and compline (9 PM). See Psalms 119:164.» — el resto de esa nota, con las siete horas nombradas y su reloj.
«airy spirits—Satan is “prince of the power of the air” (Ephesians 2:2) and dwells in the desert, which is why Christ was tempted in the desert (Matthew 4:1).» — Tyson enlaza la lectura cabalística de los espíritus aéreos con el desierto de la tentación, enlace que el texto no hace.
«Zazel—Azazel, who in the Zohar is one of the angels cast down from heaven who sin with the daughters of men, and who teach men sorceries. This is also stated in the Book of Enoch:» — Tyson identifica el Zazel del capítulo con el Azazel del Zóhar y del Enoc, es decir con el ángel que enseñó hechicerías a los hombres.
Del Enoc hebreo, en la traducción de Odeberg que Tyson cita: «What power was in them [men] that they were able to bring them [the stars] down? They would not have been able to bring them down but for ‘UZZA, ‘AZZA and ‘AZZIEL who taught them sorceries whereby they brought them down and made use of them.»
Y del Enoc apócrifo, en la de Charles: «And Azazél taught men to make swords, and knives, and shields, and breastplates, and made known to them the metals (of the earth) and the art of working them, and bracelets, and ornaments, and the use of antimony, and the beautifying of the eyelids, and all kinds of costly stones, and all colouring tinctures.»
«demon of Socrates—De deo Socratis by Apuleius. According to Thorndike, Apuleius has a good deal to say in this treatise about the substance forming the bodies of demons. “Their native element is the air, which Apuleius thought extended as far as the moon. ... But their bodies are very light and like clouds, a point peculiar to themselves” (Thorndike, 1:240).» — Tyson localiza el tratado apuleyano que la obra cita de memoria y lo resume por Thorndike, no por el original.
Tyson repone entero el verso virgiliano que la obra abrevia: «saith to Aeneas—“ ‘Away, I pray you, away, ye uninitiated,’ the prophetess exclaims aloud, ‘and withdraw from all the grove; and do you enter on the path, and quickly draw your sword from its sheath; now you need courage, Aeneas, now resolve of soul’” (Virgil Aeneid 6, c. line 260 [Lonsdale and Lee, 164]).»
«celestial—A kind of clear tenuous fire was thought to abide above the level of the air.» — Tyson acota qué se entendía por fuego celeste en la escala órfica de los cuerpos demoníacos.
«incubi, and succubi—An incubus (incubo, nightmare, from incubare, to lie upon, weigh down, brood) is a demon who has sexual intercourse with women in the form of a man during sleep. As the Latin root suggests, it was linked with the oppression and difficulty of breathing that often accompany nightmares, and is in fact caused by the substance of spirits interacting with the human body. A succubus (succuba, strumpet) is a demon who has intercourse with men in the form of a woman, also during sleep. This belief is very ancient.» — Tyson deriva los dos nombres del latín y, en medio de la etimología, enuncia en voz propia y en presente que la opresión del sueño la causa de hecho la sustancia de los espíritus obrando sobre el cuerpo; eso no es glosa del texto que edita.
«Though, indeed, the wise Egyptians do not plausibly make the distinction, that it may be possible for a divine spirit so to apply» — Tyson trae a Plutarco para el punto que Agrippa no discute, si la unión con lo divino puede ir en los dos sentidos; la cita se corta donde acaba la plana.
«itself to the nature of a woman, as to inbreed in her the first beginnings of generation, while on the other side they conclude it impossible for the male kind to have any intercourse or mixture by the body with any divinity, not considering, however, that what takes place on the one side must also take place on the other; intermixture, by force of terms, is reciprocal. (Plutarch “Numa Pompilius.” In Lives [Dryden, 77])» — el resto del pasaje, donde Plutarco objeta a los egipcios que la mezcla, por definición del término, tiene que ser recíproca.
«The offspring of such unions, among them Merlin and the future Antichrist, are called Adamitici, “and they say that in their infancy such children cry day and night, and are heavy but emaciated, and yet can suck five nurses dry. ... Others, on the other hand, claim superhuman powers for such children, and assert that they possess some attributes of divinity ...” (Remy [1595] 1930, 1:7:20).» — Tyson documenta la prole de íncubos con el demonólogo Nicolás Remy, de 1595, y registra las dos opiniones sobre esos hijos sin arbitrar entre ellas.
«Melusina—A water nymph of the fountain of Lusignan in Poitou who married Raymond of Poitiers and became the legendary ancestress and tutelary spirit of his descendants. According to Jean d’ Arras in his Chronique de la Princesse, written around 1387, she made Raymond promise never to look upon her on a Saturday, when she reverted from the , form of a woman back to that of a nymph with fishy attributes. Naturally he broke his word, and she fled. But whenever danger threatened one of his descendants, she uttered a shriek as a warning.» — Tyson repone la leyenda entera detrás del nombre que la obra menciona de pasada, con su fuente fechada hacia 1387; la coma suelta la deja la capa de texto.
«Marcus supposeth—Marcus the Valentinian. Agrippa is quoting his statement from the writings of Psellus.» — Tyson identifica al Marcos de la obra como el valentiniano y declara que la cita no es de primera mano, sino tomada de Pselo.
«onosceli—Onocentaurs, which are beings like a centaur, but with the lower body of an‘ass instead of a horse.» — Tyson traduce el término griego del catálogo de demonios secos; el apóstrofe suelto en *an ass* lo deja la capa de texto.
Tyson localiza en Agustín el testimonio que Agrippa refiere sin nombrar: «And seeing it is so general a report, and so many aver it either from their own experience or from others, that are of indubitable honesty and credit, that the silvans and fawns, commonly called incubi, have often injured women, desiring and acting carnally with them, and that certain devils whom the Gauls call dusii do continually practise this uncleanness, and tempt others to it, which is affirmed by such persons, and with such confidence that it were impudence to deny it ...” (Augustine City of God 15.23 (Healey, 2:90) An alternate plural of the name is “Dusiens.”»
«Hesiod saith— Three times ten thousand watchers-over-men, Immortal, roam the fertile earth for Zeus. Clothed in a mist, they visit every land And keep a watch on law-suits and on crimes. (Hesiod Works and Days c. line 252 [Wender, 66])» — Tyson repone los versos hesiódicos de los treinta mil guardianes en la traducción de Wender, que la obra solo parafrasea.
«Periarchon—Tlept ‘Apyav (Peri Archon) is the original Greek title of the work more commonly known under its Latin title, De principiis.» — Tyson aclara que el título que la obra da por otra obra es el griego del De principiis; la palabra griega sale corrompida de la capa de texto.
«wine with water— That certain thoughts are suggested to men’s hearts either by good or evil angels, is shown both by the angel that accompa» — Tyson abre la nota de los dos espíritus con el pasaje de Orígenes; la cita se corta donde acaba la plana.
«nied Tobias [Tobit 5:46], and by the language of the prophet, where he says, “And the angel who spoke in me answered” (Zechariah 1:14]. The book of the Shepherd [Shepherd of Hermas 6:2] declares the same, saying that each individual is attended by two angels; that whenever good thoughts arise in our hearts, they are suggested by the good angel; but when of a contrary kind, they are the instigation of the evil angel.» — la continuación del pasaje, donde Orígenes apoya los dos ángeles por cabeza en el Pastor de Hermas; la cita empieza a media palabra, en *accompanied*.
«We are not, however, to imagine that any other result follows from what is suggested to our heart, whether good or bad, save a (mental) commotion only, and an incitement instigating us either to good or evil. For it is quite within our reach, when a malignant power has begun to incite us to evil, to cast away from us the wicked suggestions, and to resist the vile inducements, and to do nothing that is at all deserving of blame. And, on the other hand, it is possible, when a divine power calls us to better things, not to obey the call; our freedom of will being preserved to, us in either case.» — el cierre del pasaje que Tyson reproduce, donde Orígenes acota la sugestión angélica a una conmoción mental y deja intacto el libre albedrío en los dos sentidos.
«scatters the seed—“And besides this, my son, you must know that there is yet another sort of work which the Decans do; they sow upon the earth the seed of certain forces, some salutary and others pernicious, which the many call daemons” (Stobaei Hermetica 6.11 [Scott, 1:415]).» — Tyson lleva la siembra hermética del capítulo al Estobeo de Scott, donde quienes siembran son los decanos y lo sembrado son fuerzas que el vulgo llama demonios.
Tyson repone el Jámblico que la obra abrevia: «intelligible mind— But the presence of the Gods, indeed, imparts to us health of body, virtue of soul, purity of intellect, and in one word elevates every thing in us to its proper principle. And that, indeed, in us which is cold and destructive it annihilates; that which is hot it increases, and renders more powerful and predominant; and causes all things to accord with soul and intellect. It also emits a light, accompanied with intelligible harmony, and exhibits that which is not body as body to the eyes of the soul, through those of the body. (Iamblichus On the Mysteries 2.6 [Taylor, 95-6])»
«Octavus Augustus—Octavius Augustus. In 30 BC Anthony committed suicide with Cleopatra in Alexandria to avoid being captured by the approaching army of Augustus.» — Tyson data el desenlace del caso que la obra deja abierto: el consejo del mago se cumple, y Antonio muere.
«God of Hosts—In the hierarchy of the Kabbalah the ninth Sephirah, Hod, carries the associated name of God, Elohim Sabaoth, MSDS O78, ALHIM TzBAOTh (God of Hosts), and the order of angels Beni Elohim, O° 723, BNI ALHIM (Sons of God). See Appendix VI.» — Tyson coloca en la novena sefirá el nombre divino y el orden angélico con que la obra abre el capítulo; las transliteraciones hebreas salen ilegibles de la capa de texto y no se restituyeron dentro de las comillas.
«written in Isaiah—Isaiah 24:21. This verse simply mentions the Lord (11/1, IHVH), but elsewhere in many places in Isaiah the title Lord of Hosts (GMSAS O77”, IHVH _TzBAOTh) is used; for example, Isaiah 19:4.» — Tyson coteja el versículo que la obra alega y anota que ahí no dice Señor de los Ejércitos, aunque el título sí esté en otros lugares del mismo profeta.
Tyson repone la teomaquia homérica en la traducción de Lattimore, que la obra da en verso rimado de 1651: «Homer— ... Such was the crash that sounded as the gods came driving together in wrath. For now over against the lord Poseidon Phoibos Apollo took his stand with his feathered arrows, and against Enyalios the goddess grey-eyed Athene. Against Hera stood the lady of clamour, of the golden distaff, of the showering arrows, Artemis, sister of the far striker. Opposite Leto stood the strong one, generous Hermes and against Hephaistos stood the great deep-eddying river who is called Xanthos by the gods, but by mortals Skamandros. (Homer Iliad 20, line 66 [Lattimore, 406])»
«Porphyry—Probably refers to the commentary by Porphyry on the Tetrabiblos of Ptolemy.» — Tyson conjetura de qué obra de Porfirio sale la regla del genio, y lo marca como probable.
«lady of the nativity—Perhaps the Moon when she is hyleg, and ruler of the nativity.» — Tyson aventura, con su *perhaps* delante, qué significa el término técnico que la obra no explica.
Tyson repone entero el pasaje de Fírmico Materno que la obra resume en una cláusula: «Maternus— Some have said that the ruler of the chart is the planet which is located in favorable houses of the chart, in his own house or his own terms. But others have figured from the Sun and Moon, arguing that the ruler of the chart is the one in whose terms the Sun and Moon are found, that is, the Sun in the daytime and the Moon at night. There is some point to this theory. Others say that the ruler of the chart is the ruler of the exaltation of the Moon. Still others maintain that the ruler is the one whose sign the Moon enters after she has left the one in which she is found at the birth. (Firmicus Maternus Matheseos libri VIII 4.19.2, trans. J. R. Bram. In Ancient Astrology [Park Ridge, NJ: Noyes Press, 1975], 138)»
«Evil Demon—See note 6, ch. XX XVIII, bk. II.» — la remisión interna con que Tyson enlaza el mal demonio de la casa sexta con el Libro II; el numeral del capítulo sale partido por el escaneo.
Tyson opone al método astrológico del genio el Jámblico que lo relativiza: «heaven inclines us to— For if it is possible to discover the lord of the geniture, the daemon imparted by him will be known; but if this knowledge is unattainable, we shall be ignorant of the lord of the geniture according to this hypothesis, and yet, nevertheless, he will have an existence, and also the daemon imparted by him. What therefore hinders, but that the discovery of him may be diffi»
«cult through prediction from the nativity, and yet through sacred divination, or theurgy, there may be a great abundance of scientific knowledge on this subject? In short, the daemon is not alone imparted by the lord of the geniture, but there are many other principles of it more universal than this. And farther still, a method of this kind introduces a certain artificial and human disquisition concerning the particular daemon. (Iamblichus On the Mysteries 9.5 [Taylor, 320])» — el resto del pasaje, donde Jámblico llama artificial y humana a la vía astrológica y prefiere la teúrgica; la cita empieza a media palabra, en *difficult*, porque el encabezado corrido parte el renglón.
Tyson va a la fuente del capítulo y encuentra lo contrario: «threefold good demon—Porphyry in his Epistle to Anebo mentions the popular opinion that there are ° three daemons, “that one daemon presides over the body, another over the soul, and another over the intellect” (lamblichus On the Mysteries [Taylor, 15]). He adds: “I see likewise, that there is a twofold worship of the particular daemon; the one being the worship as of two, but the other as of three [daemons]” (ibid.). This notion Iamblichus refutes most definitely:»
Y el pasaje con que lo sostiene: «You must not, therefore, distribute one daemon to the body, but another to the soul, and another to intellect: for it is absurd that the animal should be one, but the daemon that presides over it multiform. For every where the natures that govern are more simple than the natures that are governed. And it will be still more absurd if the many daemons that rule over the parts are not connascent, but separated from each other. (ibid. 9.7 [Taylor, 322—3])» — la doctrina del triple guardián que el capítulo entero enuncia queda así con su contradictor a pie de plana, y Tyson no arbitra entre las dos.
«sacred perfection—The communication with this holy daemon, or guardian angel, is the object of the ritual process described in such detail in the medieval grimoire The Book of the Sacred Magic of Abramelin the Mage.» — Tyson identifica el demonio santo del capítulo con el ángel guardián del Abramelin y hace de ese grimorio el manual del trato.
«Socrates—Socrates himself never speaks of his divine sign as a daemon. It is personified in this way by the writers who came after Plato. Describing it, Socrates says: “It began in my early childhood—a sort of voice which comes to me, and when it comes it always dissuades me from what I am proposing to do, and never urges me on”» — Tyson desmonta el daimon socrático que la obra da por consabido: en Platón es un signo que solo disuade, y la personificación es posterior.
Del mismo pasaje de la Apología: «In the past the prophetic voice to which I have become accustomed has always been my constant companion, opposing me even in quite trivial things if I was going to take the wrong course. Now something has happened to me, as you can see, which might be thought and is commonly considered to be a supreme calamity; yet neither when I left home this morning, nor when I was taking my place here in the court, nor at any point in any part of my speech did the divine sign oppose me. In other discussions it has often checked me in the middle of a sentence, but this time it has never opposed me in any part of this business in anything that I have said or done. What do I suppose to be the explanation? I will tell you. I suspect that this thing that has happened to me is a blessing, and we are quite mistaken in supposing death to be an evil.»
Y el testimonio de Jenofonte, que Tyson pone al lado: «Xenophone writes: Most people say that they are diverted from an object, or prompted to it, by birds, or by the people who meet them; but»
«Socrates spoke as he thought, for he said it was the divinity that was his monitor. He also told many of his friends to do certain things, and not to do others, intimating that the divinity had forewarned him; and advantage attended those who obeyed his suggestions, but repentance, those who disregarded them.» — el resto del pasaje de Jenofonte, donde el aviso divino se extiende a los amigos de Sócrates y no solo a él.
«being born— This daemon, therefore, is established in the paradigm before the soul descends into generation; and when the soul has received him as its leader, the daemon immediately presides over the soul, giving completion to its lives, and binds it to body when it descends. He likewise governs the common animal of the soul, directs its peculiar life, and imparts to us the principles of all our thoughts and reasonings. We also perform such things as he suggests to our intellect, and he continues» — Tyson documenta con Jámblico la elección del guardián antes del descenso; la cita se corta donde el troceo vuelve a marcar la plana a media frase.
«to govern us till, through sacerdotal theurgy, we obtain a God for the inspective guardian and leader of the soul. (lamblichus On the Mysteries 9.6 [Taylor, 321])» — el resto del pasaje, donde el gobierno del demonio dura solo hasta que la teurgia sacerdotal pone un dios en su lugar.
«Magdalen—John 20:11, unless Agrippa has confused Mary Magdalene with Mary the sister of Lazarus, in which case Luke 10:39 is intended.» — Tyson deja abierta la posibilidad de que Agrippa haya confundido a las dos Marías al repartir la contemplación, y da las dos remisiones sin arbitrar.
«aspera arteria—Lain arteria aspera, the trachea» — Tyson traduce el término anatómico latino de la enumeración de los órganos del habla; la cita se corta donde las dos columnas de notas se entreveran, y la capa de texto imprime *Lain* por *Latin*.
«same man—This may have been the Abbot Trithemius, the magical master of Agrippa.» — Tyson conjetura, y lo marca como conjetura, que el operador anónimo de la rana y el cuervo es el propio Tritemio.
Tyson trae del Midrash el doble nombre del ángel que la obra solo enuncia: «Instantly, the Holy One, blessed be He, made Moses pass on from there, and he encountered Galetzur who is called Raziel. And why is his name Galetzur? Because he reveals (m’galle) the reasons of the Rock (Tzur, 1.e., God). And he is called Raziel, because he hears behind the Curtain the secrets of God (raze El), that which has been decreed to come to pass, and he announces it in the world. It is said of Galetzur that he stands before the Throne and his wings are spread out to receive the breath of the mouths of the Beasts, and were it not so, all the Ministering Angels would be burnt by the breath from the mouth of the Beasts. And Galetzur has yet another task: he takes a kind of an iron pan which is of fire, and receives in it the fiery coals of the River Rigyon, and places it opposite the kings, and rulers, and princes of the world so that their splendor should succeed and their fear fall upon the world.»
«“When Adam was in the Garden of Eden, the Holy One, blessed be He, sent down to him a book by the hand of Raziel the holy angel, who is in charge of the supernal holy mysteries. And in it were inscribed supernal inscriptions and sacred wisdom” (Zohar, describing the Book of Raziel, as quoted by Patai 1980, 469).» — Tyson enlaza al ángel con el libro que lleva su nombre por la vía del Zóhar citado por Patai.
«Gabriel—There a division of opinion as to what the name means. Some authorities translate it “man of God,” but others “strength of God” or “God is strong” or “God is my strength.” Gabriel is usually mentioned in conjunction with Michael. Together they will subdue the “Prince of Power,” Samael, and end the government of evil in heaven and Earth.» — Tyson registra cuatro lecturas del nombre sin escoger, contra la única que la obra da por buena; la capa de texto pierde el *is* de *There is*.
Del Sitre Torá vía Patai, sobre el color y el lado del ángel: «The red colour is Gabriel. He is the one who destroyed Sodom, he is of the left side. He is appointed over all the judgements of the world from the left side, to be executed by the Angel of Death, who is the master of slaying the house of the king. And all of them carry out their tasks. The angel Gabriel has the task of taking the holy soul, and the Angel of Death has the task of taking the soul with the Evil Inclination.»
«Elsewhere the Zohar says that at the birth of every man four angels descend on his right side and four on his left. On the right are Michael, Gabriel, Raphael, and Nuriel [Uriel]. These are ruled by Michael. On the left are the angels Sin, Destroyer, Anger, and Wrath. These are ruled by Gabriel. “On the side of Gabriel (which is the left side), there are also four faces which are punishing, that is, have the quality of stern judgement over the wicked. And they taunt the wicked, for, as we have established, it is permitted to taunt the wicked in this world” (Zohar, quoted by Patai 1980, 431). Notice that Gabriel is said to be both on the left and the right side—it is not uncommon in the Kabbalah for different angels to share the same name.» — Tyson deja la contradicción a la vista, con Gabriel en los dos lados a la vez, y en vez de arbitrarla la explica como uso corriente de la cábala.
«Michael—The name means “who is like God,” the leader of the archangels. Along with Gabriel, the second in command, he is appointed over Israel. It is .. Michael who led the battle against Satan and the evil angels (Revelation 12:7). He rules over the right side, his face is white, and with Gabriel he slays false Messiahs.» — Tyson completa el par cromático que la obra no da: cara blanca y lado derecho para Miguel, frente al rojo y el izquierdo de Gabriel.
«Raphael—The name means “God heals.” The healing angel who figures so prominently in the book of Tobit. He instructs Tobias to rub his father’s eyes with the gall of a fish to cure his cataracts (Tobit 11:8). According to a story in the Midrash his name was originally Leviel, but because of his prudence in not contradicting the intention of God, was changed into Raphael: “Instantly He changed his name and called his name Raphael [God heals], and placed into his hands all kinds of remedies in the world”» — Tyson añade una tradición donde el nombre del ángel no fue impuesto en la creación sino cambiado en premio, con lo que el oficio precede al nombre.
«Haniel—The name means “grace of God.” This is the angel of Venus, allotted in the system of the Kabbalah to the seventh Sephirah, Netzach.» — Tyson enlaza el ángel de Venus con la séptima sefirá, enlace que la obra no hace en este capítulo.
Del manuscrito hebreo que Gaster tradujo, sobre el mismo ángel: «On the sixth day [Friday] rules ‘Anael. He is appointed on all manner of love. This ruler is in the likeness of a woman. She has in one hand a mirror in which she beholds herself and in the other a comb with which she is combing her hair. (The Wisdom of the Chaldeans, Hebrew manuscript of the 14th century or earlier, trans. M. Gaster [1900]. In Three Works of Ancient Jewish Magic»
«This same set of names is found, with minor variations, in The Wisdom of the Chaldeans. In his introduction to this work, Gaster mentions the same list of angels in a commentary on the Sepher Yetzirah by Jehuda ben Barzillai of Barcelona (12th century) and, with the exception of a single name, in the Book of Raziel.» — Tyson rastrea la primera serie de ángeles planetarios hasta tres testimonios hebreos anteriores a la obra.
«A somewhat different arrangement of planetary angels is found in the Heptameron, a magical text attributed to Pietro d’Abano (1250-1316):» — Tyson pone al lado una tercera serie planetaria, la del Heptamerón, sin armonizarla con las dos de la obra.
La serie que reproduce: «h—Cassiel 24—Sachiel oO —Samael @—Michael Q—Anael %—Raphael )—Gabriel» — los glifos planetarios salen corrompidos de la capa de texto y no se restituyeron dentro de las comillas.
«This list is taken from the Conciliator of Pietro d’Abano, written in 1303, but first published at Venice in 1471. Thorndike says that Peter derives this system from Averroes (1126-1198). (See Thorndike, 2:900.)» — Tyson fecha esa tercera serie y, por Thorndike, la hace venir de Averroes.
«face of God—Revelation 4:5. The seven spirits who stand before the throne of God are described in the Book of Enoch:» — Tyson lleva al Enoc los siete espíritus del trono que la obra identifica con los planetarios.
La nómina enóquica, que no coincide con la de la obra: «And these are the names of the holy angels who watch. Uriel, one of the holy angels, who is over the world and over Tartarus. Raphael, one of the holy angels, who is over the spirits of men. Raguel, one of the holy angels who takes vengeance on the world of the luminaries. Michael, one of the holy angels, to wit, he that is set over the best part of mankind and over chaos. Saraqaél, one of the holy angels, who is set over the spirits, who sin in the spirit. Gabriel, one of the holy angels, who is over Paradise and the serpents and the Cherubim. Remiel, one of the holy angels, whom God set over those who rise. (Charles 1913, 2:201)»
«In the Hebrew Book of Enoch these angels are assigned the seven heavens: Seven (are the) princes, the great, beautiful, revered, wonderful and honoured ones who are appointed over the seven heavens.» — Tyson añade una cuarta distribución, esta vez por cielos y no por planetas.
«Mikael, the great prince, is appointed over the seventh heaven, the highest one, - which is in the ‘Araboth. Gabriel, the prince of the host, is appointed over the» — el arranque de esa cuarta serie; la cita se corta donde el encabezado corrido parte el renglón.
«special treatise—Agrippa’s second list of spirits of the planets is derived from De septem secundeis, id est, intelligentiis, sive spiritibus orbes post deum moventibus, a work written by his magical master, the Abbot Johannes Trithemius (1462-1516). In it Trithemius puts forward a system whereby the Platonic months—periods of around 2120 years during which each equinox progresses through a complete sign of the zodiac—are divided into six parts of 354 years and four months, and allotted to the angels in the order given in note 11 above. By the reckoning of Trithemius the Age of Gabriel ended in 1879. We are now living in the Age of Michael, which will continue until 2233. Trithemius purports to show how the different quality of each age reflects in its history—the “knowledge of future times” intimated by Agrippa.» — Tyson identifica el tratado que la obra solo menciona, explica de dónde salen los 354 años y cuatro meses y sitúa en presente el cómputo, con la Edad de Miguel corriendo hasta 2233.
«Malchidael can also be spelled Melchidael. An alternate form of Cambiel is Cambriel, KAMBRIAL, D8" TDAND. In the original text (both English and Latin) Agrippa gives the angel Barchiel for both Scorpio and Pisces. This would seem to be an error. Here I have taken the angel Barbiel from the table, ch. XIV, bk. II, and assigned it to Scorpio. In an otherwise identical list of zodiacal angels given in Regardie [1937-40] 1982, 1:174 and 3:44, the angel Amnitziel ‘~ NN PIN) is assigned to Pisces.» — Tyson declara haber ENMENDADO la serie zodiacal que imprime: las dos ediciones repiten Barchiel en Escorpio y Piscis, y el Barbiel que ahí se lee lo puso él; el hebreo sale ilegible de la capa de texto.
«four princes—See Revelation 7:1. “This first is Michael, the merciful and long-suffering: and the second, who is set over all the diseases and all the wounds of the children of men, is Raphael: and the - third, who is set over all the powers, is Gabriel: and the fourth, who is set over the repentance unto hope of those who inherit eternal life, is named Phanuel.» — Tyson pone junto a los cuatro príncipes de los vientos la cuaterna enóquica, donde el cuarto no es Nariel ni Uriel sino Fanuel.
«These four names occur in the sixth of the seven pentacles of Jupiter given in the Greater Key of Solomon, where they are written in the form of a cross and surrounded by the biblical, verse: “They pierced my hands and my feet, I may tell all my bones” (Psalms 22:16—-7). It is more common in modern occultism to find Kerub assigned to Earth and Ariel assigned to Air.» — Tyson localiza los cuatro ángeles elementales en un pentáculo de la Clave mayor y anota que el ocultismo moderno los reparte al revés, sin arbitrar entre los dos repartos.
«evil spirits—These names occur in a variety of forms and places. It may be useful to give some comparisons:» — Tyson anuncia un cotejo de los cuatro reyes cardinales contra otros grimorios, en vez de dar por buena la lista de la obra.
Primera comparación: «Testament of Solomon (12th or 13th century): East South West North Oriens Amemon Boul Eltzen» — de esta tabla se consigna solo la serie de nombres, nunca el reparto por columna, porque la caja sale reordenada del escaneo.
Segunda: «Wierus (1515-1588): Kast South West North Amaymon Gerson Goap Zymymar» — misma reserva sobre el reparto por columna; la capa de texto imprime *Kast* por *East*, y la cita arranca en el nombre porque el troceo marca la plana a media línea.
Tercera y cuarta: «Livre des Esprits (late 15th or early 16th century): East South West North Orient Amoymon Paymon Cham Grimoire of Pope Honorius III: East South West North Magoa Egym Baymon Amaymon Grimoire of Pope Honorius III (variant edition): East South West North Maymon Egin Paymon Amaymon» — Tyson deja las cinco nomenclaturas una junto a otra sin arbitrar cuál es la correcta; se consigna solo la serie, no el reparto por columna.
«Samuel—Samael, one of the three great princes of Gehenna, the storehouse in the north of the world that holds all the reserves of fire, frost, snow, hailstones, storm, darkness, and violent winds. It is the dwelling place of harmful demons and destructive spirits, and has three gates opening onto the Earth. Samael guards the third gate in the valley of Ben Hinnom opposite Zion and Jerusalem. He is the arch-foe of the highest angel, Metatron, and is called Prince of the Accusers and the Evil Inclination (as opposed to Gabriel, the Good Inclination).» — Tyson repone la ficha entera del primer rey maligno, con su geografía y su enemigo, que la obra solo nombra.
Del Zóhar vía Patai, sobre el mismo príncipe: «“The sons of God were the sons of Cain. For when Samael mounted Eve, he injected filth into her, and she conceived and bare Cain. And his aspect was unlike that of the other humans, and all those who came from his side were called sons of God.” (Zohar. In Patai 1980, 471)»
«He is mentioned in the Hebrew Book of Enoch by Metatron, who says: “Even Sammael, the Prince» — Tyson añade el testimonio enóquico puesto en boca de Metatrón; la cita se corta donde acaba la plana.
«of the Accusers, who is greater than all the princes of kingdoms on high, feared and trembled before me” (14:2 [Odeberg 1928, 37]).» — el resto de ese testimonio, donde el príncipe acusador tiembla ante Metatrón.
«Azael—Or Asael, one of the “leaders of tens” of the 200 angels who lusted after the daughters of men and descended to Earth. (Apocryphal Book of Enoch 6:7-8).» — Tyson enlaza al tercero de los reyes hebreos con los vigilantes caídos del Enoc apócrifo.
«and rulers—In the Faustbook published by Scheible (Stuttgart, 1849) is the separate treatise titled Doctoris Johannis Fausti magiae naturalis et innatural, Passau, 1505, which assigns these evil angels to the elements in this order: Samael—Fire Azazel—Air Azael—Water Mahazael—Earth» — Tyson añade un reparto elemental de los cuatro reyes que la obra no da, tomado de un tratado fáustico impreso en 1849.
«Telchines—The Telchines were a tribe or family said to have been descended from either Thalassa or Poseidon. They came from Crete to Cyprus, then migrated to Rhodes where they founded the towns of Camirus, Lindus and Jalysus. On their account Rhodes acquired the name Telchinis. When they saw with their divine arts that Rhodes was to be drowned in the sea, they fled in different directions. Lycus went to Lycia and built there the temple to Lycian Apollo. Apollo had previously been worshipped at Lindus, while Hera had received worship at Camirus and Ialysus. Despite their homage, Apollo was hostile to the Telchines. He transformed himself into a wolf and destroyed them. By a different story it was Zeus who overwhelmed the tribe in a flood, presumably at Rhodes. They were credited with inventing arts and crafts, such as metal working. They made the images of the gods, the sickle of Cronos and the trident of Poseidon. Strabo was of the opinion that the Telchines had existed historically as a tribe of highly skilled artists and craftsmen, and this skill was the reason they were known as magicians in later times.» — Tyson devuelve a los seis demonios del capítulo su historia como tribu de artesanos, con la explicación de Estrabón de que la fama de magos vino de la destreza; la cita se corta donde el encabezado corrido parte el renglón.
«A parallel may be drawn with the Heruli, a Germanic tribe of skilled craftsmen proverbial as magicians.» — Tyson propone en voz propia un paralelo germánico para esa explicación.
«The Telchines acquired a very evil reputation as sorcerers whose glance and features were tainted and caused destruction. They could call down the hail, rain or snow, change their shape, and had the unpleasant habit of concocting a poison from the waters of the Styx mixed with sulfur to kill animals and plants.» — el resto de la nota, que recoge la mala fama y la fórmula del veneno que la obra menciona sin el azufre.
«Alastores—Alastor was the surname of Zeus in his guise as avenger of evil. By extension it was applied to any deity who avenges foul deeds.» — Tyson explica que el segundo nombre de los seis demonios no era originalmente demoníaco, sino un epíteto de Zeus vengador.
«the Temples—Perhaps the Heikhalot de-R. Simeon B. Yohai, the section of the Zohar that treats of the seven palaces in Eden and the “seven palaces of uncleanness” in hell, and angelology.» — Tyson identifica con un *perhaps* el primero de los cinco libros hebreos que la obra recomienda.
«Book of Lights—Perhaps Midrash Yehi Or, a name applied to the Zohar by Israel al-Nakawa (died 1391) because the manuscript he possessed began with a commentary on the verse “Let there be light” (Genesis 1:3) (see Scholem 1977, 2:1:213). Spanish Kabbalists of the Middle Ages knew the Zohar under the titles Midrash de-R. Simeon B. Yohai and MeKhilta de-R. Simeon B. Yohai.» — el segundo, también con reserva, y con la explicación de por qué el Zóhar circuló bajo varios títulos.
«Greatness of Stature—Perhaps the Idra Rabba (Greater assembly), the section of the Zohar that treats of the form of Adam Kadmon.» — el tercero, con la misma reserva.
«Rabbi Ishmael—A. E. Waite speaks of a treatise called Delineation of the Heavenly Temples, criticized by Nahmanides (died c. 1270) under the title Proportion of the Height, and also called Description of the Body of God, which was attributed to a Rabbi Ishmael (Waite [1929] 1975, 91). The work purports to be a revelation from the archangel Metatron to Rabbi Ishmael (or Yeshmael) on the proportions and holy names attached to the members of the body of God. The Hebrew title is Shi’ur Qomah.» — el cuarto, documentado por Waite, con los tres títulos bajo los que circuló y la doble grafía del nombre del rabino.
«Book of Formation—Sepher Yetzirah, upon which numerous commentaries were written. Its true authorship is unknown.» — el quinto, y de él Tyson declara que su autoría verdadera se ignora.
«Schemhamphorae—The Schemhamphoras.» — Tyson normaliza la grafía del término con que la obra nombra los setenta y dos nombres.
«nations, and tongues—Genesis 10. Seventy, not» — Tyson enmienda la cifra del reparto por naciones que la obra alega; la cita se corta donde acaba el renglón de la nota.
«seventy-two seniors—Numbers 11:24. Seventy elders are mentioned, but if an equal number was selected from each tribe, they must total 72.» — Tyson anota que el pasaje dice setenta y no setenta y dos, y salva la cifra con un cálculo propio por tribus.
«disciples of Christ—Luke 10:1. Again, 70 are mentioned, but 72 are intended.» — la misma enmienda sobre los discípulos, donde Tyson afirma la intención del número contra la letra del versículo.
«shall be evil—In other words, determine the degree of the ascendent, which is the degree just rising above the horizon, for any given magically significant moment, then place the Hebrew letters into the 360 degrees of the zodiac, one letter per degree, beginning with aleph in the ascendent degree and proceeding counterclockwise. The letters are begun anew after each cycle of the alphabet—for example, beth is placed in the 24th degree. Then choose in the» — Tyson rehace paso a paso la operación que el capítulo describe en abstracto, y la reduce a una regla ejecutable; la cita se corta antes del signo angular suelto que deja la capa de texto.
«same order, starting at the ascendent, those planets and astrological points that will be most fruitful in forming the qualities of the spirit, omitting discordant elements, and write down the letters, always maintaining the order. Some names will be more potent then others, depending on the astrological configuration at the moment of their making. For evil spirits the same process is followed, but the direction is clockwise. Vowels must be added to make the Hebrew names pronounceable.» — el resto de la reconstrucción, con dos advertencias que el capítulo no da: que la potencia del nombre depende de la configuración del momento y que hay que añadirle vocales para poder pronunciarlo.
«almutez—Arabic: “the prevailing”; the prevailing or ruling planet in the horoscope; the strongest planet in a nativity, also called the Lord of Figure. The word is often corrupted in old texts into almuten. Agrippa seems to apply the term more broadly to the house with the greatest number of planetary dignities—planets which are so placed as to promote their vigorous action, most usually in their ruling sign, in exaltation, and in the angles.» — Tyson traduce el término árabe y anota que Agrippa lo usa en un sentido más amplio que el corriente, marcándolo con un *seems*.
«progress of the signs—It seems to me that Agrippa is saying that the names may be found by drawing a Grand Cross through either the angular (I, IV, VII and X), the succedent (II, V, VIII and XI), or the cadent (III, VI, IX and XII) houses, taking first that house of the four which has the greatest number of dignified planets, and beginning to letter the name in that house,» — Tyson reconstruye en primera persona, y declarando que es lectura suya, lo que el capítulo deja oscuro sobre el reparto por casas.
«counterclockwise for good spirits, clockwise for evil spirits, proceeding successively to the remaining three houses in the Cross in the order of their dignities. In all cases the degrees of the zodiac are lettered counterclockwise from the ascendent for good spirits and clockwise from the descendent for evil spirits. The Arabians derive both good and evil spirits from the angular houses by taking the degrees upon which the planets fall for the letters of good spirits and the degrees exactly opposite on the circle of the zodiac from those planets for the letters of evil spirits. The Chaldeans, on the other hand, find out good spirits from the succedent houses, and evil spirits from the cadent houses. The succedent house XI is in fact named the Good Daemon, while the cadent house XII is named the Evil Daemon.» — el resto de esa reconstrucción, donde Tyson separa la vía árabe de la caldea y anota que los nombres de las casas once y doce ya traen incorporada la distinción de buen y mal demonio.
«five hylegians—The hyleg is the planet or part of heaven that forms the Prorogator of Life. There are five hylegical places. Ptolemy gives the order referred to by Agrippa:» — Tyson define el término técnico y localiza en Ptolomeo el orden que el capítulo invoca sin citar.
El pasaje del Tetrabiblos que repone: «Among these there are to be preferred, with reference to power of domination, first those [degrees] which are in the mid-heaven [Xth house], then those in the orient [Ist house], then those in the sign succedent to the mid-heaven [XIth house], then those in the occident [VIIth house], then those in the sign rising before mid-heaven [IXth house]; for the whole region below the earth must, as is reasonable, be disregarded when a domination of such importance is concerned, except only those parts which in the ascendant itself are coming into the light. (Tetrabiblos 3.10 [Robbins, 273])»
«common angles—The column of squares under the planet or zodiac sign. Each angle, or square, is “common” in the sense that it relates both to the planet, or sign, and the letter being entered.» — Tyson explica el término con que la obra describe el manejo de las tablas, que el texto no define.
«nine names—A name being entered and another extracted of the first, or lowest, hierarchy, that second name may in turn be entered to yield a name of the second hierarchy, and so on to the ninth hierarchy, each succeeding name being of greater occult potency.» — Tyson desglosa la recursión de los nueve órdenes que la obra enuncia en una cláusula.
«imports power—Y od means “hand” and by extension “power of the hand of God.” El also means “power” or “might of God.” The compound name Yod El, ID AL, 28 T° (Job 27:11), “hand of God,” is singularly potent, though it is little used in magic.» — Tyson añade un nombre compuesto que la obra no da y anota, en voz propia, que es potentísimo y sin embargo poco usado; el hebreo sale ilegible de la capa de texto.
«him that enters—In the name of a Genius, or daemon, where the letters are separately extracted from the heavens by the planets (see ch. XXVI, bk. IID), the letters’are entered into the table of planets under those same planets that presided over their formation. When the name is entered into the table of the signs, each letter is entered under the sign in which the planet that gave it birth resided at the time of its formation.» — Tyson reconstruye la regla de entrada para los nombres mixtos, que el capítulo deja implícita; la capa de texto pega *letters’are*.
«hollow glass—Concave mirror.» — Tyson traduce a término moderno el instrumento del símil solar.
«Alfonsus Cyprius—Probably a reference to the Alphonsine Tables, astronomical tables made by Arab and Spanish astronomers which were collected under the order of Alphonso X, ruler of Castile, in 1253. They are also called the Toletan Tablets, after the city of Toledo, where they were adapted to be used. See Chaucer, “The Franklin’s Tale,” line 1273, in The Canterbury Tales.» — Tyson conjetura, con su *probably* delante, que el único autor que la obra nombra para el arte calculatorio son en realidad las Tablas Alfonsíes, y remite a Chaucer por testimonio de su circulación.
Rótulo de la tabla que la edición intercala: «The entrance of the good angels» — la caja de las tablas del cálculo de las pp. 625 y 626 sale enteramente ilegible del escaneo y no se fichó; el rótulo aparece en las dos planas, así que la plana la decidió el ancla más larga.
«or Levanael—The spheres of the planets bear the following names in the Kabbalistic world of Assiah, the world of actions. The English titles that accompany the names in Hebrew are given by Mathers (1887), 27-8:» — Tyson sitúa la serie de espíritus planetarios de la obra en el mundo cabalístico de Asiá y la documenta por Mathers; de la tabla que sigue no se consigna nada, porque el hebreo sale ilegible y las columnas revueltas.
«Based upon the Hebrew, Agrippa’s angel of Cancer is incorrect. It should probably be Sartaniel. The angel of Libra should probably be Maznimiel.» — Tyson declara erróneos dos de los doce ángeles zodiacales que la obra imprime y propone los nombres que a su juicio corresponden, marcándolo con un *probably*.
«For the Hebrew names of the signs of the zodiac, see Regardie [1937-40] 1982, 1:1714 (table). These names for the signs are to be found in the Book of Raziel. An illustration from a manuscript of this Hebrew magical text in the British Museum shows the names in 12 interlocking circles (see Budge [1930] 1968, 22:387).» — Tyson rastrea la serie zodiacal hasta el Libro de Raziel y hasta un manuscrito del Museo Británico con doce círculos entrelazados.
Rótulo de la lámina que la edición intercala: «Hebrew Names of the Zodiac» — la reproducción del manuscrito de Raziel; la caja de la figura sale ilegible del escaneo.
«evil demon—Milton ranks Ariel among the “Atheist crew” of the fallen angels (Paradise Lost 6, line 371). Robert H. West in his work Milton and the Angels (Athens, 1955) mentions that the name is used as an epithet of Jerusalem in Isaiah 29:1 and 33:7, where it is translated “valiant ones.” He further says that in the translations of the Old Testament by Aquila and Symmachus, Ariel is the name given to the pagan city of Arina, or Ariopolis, which worshipped the idol Ariel (Mars). See West 1955, 154.» — Tyson documenta el doble uso del nombre con Milton y con un estudio de 1955, y suma una tercera acepción, la de epíteto de Jerusalén, que la obra no registra.
«dwelt giants—Numbers 21:33. Ashtaroth was the name of a city of Bashan, presumably the capitol, since the king of Bashan, Og, is said to have dwelt there (Deuteronomy 1:4). Its full name was Ashteroth Karnaim, AaShThRVTh QRNIM, oP MAMWyY, “the horned Astartes,” perhaps after a temple or statue of the goddess maintained there.» — Tyson repone el nombre completo de la ciudad y aventura, con reserva, de dónde le viene el epíteto de los cuernos; el hebreo sale ilegible.
«Bel—BL, 52, acontraction of BAaL, bys), the chief god of the Babylonians, worshipped in the tower of Babel (Jeremiah 51:44).» — Tyson deriva el nombre del ídolo babilonio de una contracción de Baal; el hebreo sale ilegible y la capa de texto pega *acontraction*.
«the Allophyli—The Jerahmeelites are mentioned as a people in I Samuel 27:10 and 30:29. They occupied a section of the southern steppes of Palestine about 17 miles south of Hebron. Allophyli (AddodvdA0t) is Greek for “Philistines.”» — Tyson traduce el término que la obra usa sin explicar y sitúa geográficamente al pueblo; la palabra griega sale corrompida.
Pie de lámina de la edición: «Dagon from Oedipus Aegyptiacus by Athanasius Kircher (Rome, 1652)» — la figura del ídolo filisteo sale de un impreso de 1652, posterior a la obra.
«Behemoth, and the Leviathan—The elephant (or hippopotamus) and the whale. See Job 40:15—24 and 41. They represent vast elemental powers beyond the edge of perception.» — Tyson identifica los dos monstruos con animales reales y a la vez enuncia en voz propia qué representan, más allá del borde de la percepción.
Del Enoc que Tyson cita para los dos monstruos: «female monster named Leviathan, to dwell in the abysses of the ocean over the fountains of the waters. But the male is named Behemoth, who occupied with his breast a waste wilderness named D@idain, on the east of the garden where the elect and righteous dwell, parted on one day and cast, the one into the abysses of the sea, and the other into the dry land of the wilderness.» — la plana entrevera dos citas renglón a renglón, así que solo se levantó este tramo contiguo y el resto quedó fuera.
«hieroglyphical—From the Greek iepos (sacred) yAudn (carving). Plutarch first used the term in reference to writing.» — Tyson data el término que la obra atribuye a los antiguos: quien primero lo aplicó a la escritura fue Plutarco; las palabras griegas salen corrompidas de la capa de texto.
«Honorius of Thebes—This is perhaps the same Honorius of Thebes who is the reputed author of the Sworn Book of Honorius. In the 14th-century manuscripts of his work, it is said that in order to save their magic art from annihilation at the hands of the pope and his cardinals, 89 master magicians from Naples, Athens and Toledo assembled together and selected Honorius, son of Euclid, a master of Thebes, to condense their magical grimoires into a single book with 93 chapters. This was to be made into three copies and passed on from the deathbed only upon condition that the new owner of each volume swear an oath of fidelity—hence the name. However, the Theban alphabet does not appear in the Sworn Book, nor in the Heptameron of Pietro d’ Abano. Perhaps it appears in Peter’s Conciliator, which I have not had the opportunity to examine.» — Tyson cuenta la leyenda del Libro Jurado y a continuación anota que el alfabeto tebano no está ahí ni en el Heptamerón, y declara no haber podido revisar el tercer libro; la atribución de la obra queda así sin apoyo y sin refutación.
«figures of all these—The symbols in Celestial are clearly stylized Hebrew letters in their correct sequence. However those making up Malachim and Passing the River seem to be more extreme stylizations, but not in their proper sequence. For example the symbol for Gimel in Malachim is far more suggestive of Ayin. The symbol for Pe in Passing the River is the same as the Tzaddi symbol in Celestial; likewise the Qoph sign is the Yod sign in Celestial. However since many of the symbols in these latter two alphabets are not obviously related to the Hebrew letters, it would be a matter of guesswork to restore them to their true order.» — Tyson coteja los tres alfabetos mágicos que la obra imprime, encuentra descolocadas dos de las tres series y declara que restituirlas sería adivinar; no las corrige.
«perfect compounds—Perhaps this refers to the compound bodies listed in the table at the end of ch. VIII, bk. II: animal, plant, metal, stone, and plant-animal. This last category is curious. A better division would seem to be that given in the Rasa’ il, an Islamic text of the 10th century: angel, man, animal, plant, mineral.» — Tyson conjetura a qué remite el término, objeta una de las categorías por curiosa y propone en voz propia una división mejor, tomada de un texto islámico del siglo X.
«pingible—Gross, thick, coarse.» — Tyson traduce el término raro con que la obra califica las figuras materiales.
Pie de lámina de la edición: «Magical Alphabets from The Magus by Francis Barrett (London, 1801)» — los alfabetos celeste, malaquim y del paso del río se ilustran con la lámina de Barrett de 1801, no con la caja de 1651.
«Constantine—When the Emperor Constantine was marching against the larger army of Maxentius encamped at Rome, he and his troops saw in the noon sky a shining cross of light amid the clouds with the words “By this conquer” inscribed upon it in Greek. That night Christ appeared to him in a dream with a cross in his hand and told Constantine to have a standard made like it. When he awoke the Emperor gave orders for the making of a gilt pole and crossbar surmounted by a bejeweled golden crown. In the midst of the crown arose the Greek letters Chi (X) and Rho (P) atop a cross: From the crossbar hung a purple veil. ' This standard was called a Labarum. Constantine selected 50 of his best men to bear and defend it. He met Maxentius in the Quintian Fields near the Milvian Bridge on October 27, 312, and utterly defeated his foe. Maxentius drowned in the Tiber. See Brewer 1901, 72, and Gibbon [1776-88] 1830, ch. 20. Gibbon relates the story with more skepticism, but less charm.» — Tyson repone la escena entera, corrige de paso a la obra en un punto —el letrero iba en griego, no en latín— y cierra pesando dos fuentes por su tono, no por su exactitud.
«Health—In the Latin Opera this Greek word is rendered Uyiqa, which is how it appears on the seal itself. The fourth character appears to be a contraction of et, made necessary because the word has six letters while the pentagram has only five points.» — Tyson coteja otra vez la Opera latina contra el inglés y explica por qué la palabra griega aparece contraída: al pentagrama le faltaba una punta; la palabra sale corrompida de la capa de texto.
«Antiochus Eupator—Probably should be Antiochus Epiphanes» — Tyson enmienda el nombre del rey contra el que pelea Judas Macabeo, marcándolo con un *probably*.
Tyson repone la letanía de Apuleyo que la obra abrevia: «secrets of Memphis—The Egyptian prophet Zachlas is entreated by an old man to restore the life of his murdered son, that the son may accuse his murderer: O priest have mercy, have mercy I pray thee by the Celestiall Planets, by the Powers infernall, by the vertue of the naturall elements, by the silences of the night, by the buildings of Swallows nigh unto the town Copton, by the increase of the floud Nilus, by the secret mysteries of Memphis, and by the instruments and trumpets of the Isle Pharos, have mercy I say, and call againe to life this dead body, and make that his eyes which he closed and shut, may be open and see. (Apuleius The Golden Asse ch. 11)»
«Quod Idola Dii Non Sunt— These [spirits], however, when adjured by us through the true God, at once yield and confess, and are constrained to go out from the bodies possessed. You may see them at our voice, and by the operation of the hidden majesty, smitten with stripes, burnt with fire, stretched out with the increase of a growing punishment, howling, groaning, entreating, confessing whence they came and when they depart, even in the hearing of those very persons who worship them, and either springing forth at once or vanishing gradually, even as the faith of the sufferer comes in aid, or the grace of the healer effects. (Cyprian “On the Vanity of Idols” 7. In the Treatises 6 [Ante-Nicene Fathers, 5:467]) This very brief treatise scarcely warrants Agrippa’s calling it a “book.”» — Tyson repone el pasaje de Cipriano y, al final, corrige a Agrippa por llamar libro a un tratado brevísimo.
«Hags—Nocturnal fiends associated with the Furies and Harpies by some early writers. They come in the form of old women and suck the vitality from children. They squat on the chests of those asleep and give them nightmares—hence the term “thag-ridden.”» — Tyson define el género de espíritu menor que la obra nombra sin explicar, y lo enlaza otra vez con la pesadilla; la capa de texto imprime *thag-ridden* por *hag-ridden*.
Del Filóstrato que Tyson repone para el caso de la lamia: «which assumed first one shape and then another, sometimes vanishing altogether. Apollonius recognized its nature at once, and not only reviled the spectre himself, but exhorted his companions to do the same, as this is a safeguard against such visitations, whereupon the Empusa fled squeaking as ghosts do. (Philostratus Life and Times of Apollonius of Tyana 2.4 (Eells, 37])»
«eudemons—Greek €U (happy) Satpwv (genius). Related to the name of the 11th house of the zodiac.» — Tyson etimologiza el término y lo enlaza con la casa undécima, que ya había aparecido en el capítulo del genio; las palabras griegas salen corrompidas de la capa de texto.
«cacodemons—Greek axds (evil) Sat LLwy (genius). The name of the 12th house of the zodiac.» — la contraparte, enlazada con la casa duodécima; las palabras griegas salen corrompidas.
«ghost of an old man—Since this is perhaps the quintessential ghost story of the classical, or any other, age, I give it here in full:» — Tyson declara en voz propia que el caso de Plinio es el relato de fantasmas por excelencia y por eso lo reproduce entero.
«this, are threats employed and false terrors, by any casual person, not to a daemon, or some departed soul, but to the sovereign Sun himself, or to the Moon, or some one of the celestial Gods, in order to compel these divinities to speak the truth? For does not he who says that he will burst the heavens, or unfold the secrets of Isis, or point out the arcanum in the adytum, or stop Baris, or scatter the members of Osiris to Typhon» — de la nota 8 del capítulo XXXII, donde Tyson reproduce la Epístola a Anebo de Porfirio en la traducción de Taylor: quien amenaza no a un demonio sino al Sol, a la Luna o a un dios celeste con romper los cielos o esparcir los miembros de Osiris está actuando por temeridad; el tramo empieza a media frase porque la columna de la nota se entrevera con el encabezado corrido.
«nor is able to effect, prove himself to be stupid in the extreme» — el remate de ese pasaje de Porfirio en la nota de Tyson: quien amenaza con lo que no conoce ni puede cumplir se declara a sí mismo estúpido; la cita arranca después de un asterisco suelto que la capa de texto deja en su propio renglón.
«And what abjectness does it not produce in those who, like very silly children, are possessed with such vain fear, and are terrified at such fictions» — sigue Porfirio en la misma nota, sobre el abatimiento de quienes, como niños, se aterran ante ficciones.
«And yet Chaeremon, who was a sacred scribe, writes these things, as disseminated by the Egyptians. It is also said that these, and things of the like kind, are of a most compulsive nature» — Porfirio nombra a Queremón, escriba sagrado, como quien puso por escrito esas cosas atribuyéndolas a los egipcios y afirmándolas de naturaleza compulsiva.
«In Athens there was a large and spacious mansion with the bad reputation of being dangerous to its occupants. At dead of night the clanking of iron and, if you listened carefully, the rattle of chains could be heard, some way off at first, and then close at hand. Then there appeared the spectre of an old man, emaciated and filthy, with a long flowing beard and hair on end, wearing fetters on his legs and shaking the chains on his wrists. The wretched occupants would spend fearful nights awake in terror; lack of sleep led to illness and then death as their dread increased, for even during the day, when the apparition had vanished, the memory of it was in their minds» — de la nota 16, donde Tyson da entera la carta 7.27 de Plinio el Joven: la casa ateniense donde suena el hierro y aparece el viejo encadenado, y donde el miedo persiste de día porque el recuerdo ocupa el ojo de la mente.
«The philosopher Athenodorus came to Athens and read the notice. His suspicions were aroused when he heard the low price, and the whole story came out on inquiry; but he was none the less, in fact all the more, eager to rent the house» — el mismo relato en la nota de Tyson: lo que decide a Atenodoro a alquilar la casa es justamente el precio bajo y la historia que sale a la luz al preguntar.
«When darkness fell he gave orders that a couch was to be made up for him in the front part of the house, and asked for his notebooks, pen and lamp. He sent all his servants to the inner rooms, and concentrated his thoughts, eyes and hand on this writing, so that his mind would be occupied and not conjure up the phantom he had heard about nor other imaginary fears. At first there was nothing but the general silence of night; then came the clanking of iron and dragging of chains. He did not look up nor stop writing, but steeled his mind to shut out the sounds» — Atenodoro se hace la cama en la parte delantera, pide cuadernos, pluma y lámpara, manda a los criados adentro y ocupa mente, ojos y mano en escribir para no fabricarse el fantasma; así lo transmite Plinio en la nota de Tyson.
«He looked around, saw and recognized the ghost described to him. It stood and beckoned, as if summoning him. Athenodorus in his turn signed it to wait a little, and again bent over his notes and pen, while it stood rattling its chains over his head as he wrote. He looked round again and saw it beckoning as before, so without further delay he picked up his lamp and followed» — el desenlace del mismo relato: el espectro le hace señas, él le pide esperar, sigue escribiendo mientras las cadenas suenan sobre su cabeza, y solo entonces toma la lámpara y lo sigue.
«The following day he approached the magistrates, and advised them to give orders for the place to be dug up. There they found bones, twisted round with chains, which were left bare and corroded by the fetters when time and the action of the soil had rotted away the body. The bones were collected and given a public buriel, and after the shades had been duly laid to rest the house saw them no more. (Pliny the Younger Letters 7.27, trans. B. Radice [Middlesex: Penguin, 1963], 203-4» — cierra el relato y da su procedencia: los huesos ceñidos de cadenas bajo el patio, el entierro público que aquieta la casa, y la referencia a la carta 7.27 en la traducción de Radice que Tyson cita.
«You will understand that better when I say that this fair bride is one of those fiends whom the people call a lamia. These beings love and are fond of sexual pleasure, but still more of eating human flesh, and they use the seduction of the senses to entice their victims whom they mean to feast upon» — de la nota 17, donde Tyson reproduce la Vida de Apolonio de Filóstrato: la novia es una lamia, y esos seres aman el placer sexual pero más aún la carne humana, y usan la seducción de los sentidos como cebo.
«Hold your tongue and leave the house!” shrieked the bride, pretending to be horrified by what she heard; and she was going on to revile philosophers as fools when suddenly all the show of gold cups and silver plate changed to airy nothings and vanished before their eyes» — la lamia finge escándalo y se pone a injuriar a los filósofos, y en eso el oro y la plata del banquete se vuelven nada; así en la nota de Tyson.
«Then the lamia simulated weeping, and besought him not to torment her, or force her to confess what she was, but he insisted, never relaxing his compulsion, until she admitted that she was a lamia and that she was fattening up Menippus with dainties so that she might devour his body, and that she made a practice of feeding on bodies which were young and beautiful, because their blood was untainted. (Philostratus Life and Times of Apollonius of Tyana 4.25» — bajo la compulsión de Apolonio la lamia confiesa que engordaba a Menipo para devorarlo y que se alimentaba de cuerpos jóvenes por tener la sangre sin corromper; Tyson da la referencia al libro 4.25 en la versión de Eells.
«They found there what looked like an old beggar, slyly blinking his eyes, ragged and haggard» — de la misma nota 17, el episodio de Éfeso: lo que hallan es un mendigo viejo, andrajoso y de ojos parpadeantes.
«Apollonius stationed the Ephesians around this object, and commanded them: “Gather up all the stones you can find, and smite with them this thing which is hateful to the gods» — Apolonio rodea al mendigo con los efesios y les manda apedrear aquello por odioso a los dioses; así lo transmite Filóstrato en la nota de Tyson.
«The Ephesians were taken aback by this order, and remained quiet, for they thought it would be a crime to put to death so woe-begone a stranger, for he was begging for life, and making many pleas for sympathy» — los efesios se resisten a la orden porque les parece crimen matar a un forastero que suplica; el relato conserva esa reticencia.
«All knew him then for a demon, and hurled stones upon him until they piled up a great heap where he had been standing. After a short pause, Apollonius ordered them to remove the stones and see what a wild beast they had slain. When they did so, the beggarman whom they supposed they had stoned had vanished, but in his stead lay a dog shaped like a mastiff, and as large as the largest lion, which had been crushed by the stones, and foamed at the mouth as if rabid» — el mendigo mira con ojos de fuego, lo reconocen por demonio y bajo el montón de piedras aparece un mastín del tamaño de un león, espumando como rabioso.
«Note the echoing in this chapter of the structure of Agrippa’s work as a whole—the division into natural, celestial and divine» — Tyson lee la tripartición de los vínculos del capítulo XXXIII como eco de la traza del libro entero: natural, celeste y divina.
«It was of impressive dimensions—at Salisbury Cathedral in 1517 the candle measured 36 feet, and at Westminster Cathedral in 1558 it weighed 300 pounds» — Tyson documenta el cirio pascual que la obra invoca con medidas de iglesias inglesas: treinta y seis pies en Salisbury en 1517 y trescientas libras en Westminster en 1558.
«At Durham Cathedral the holder itself was called the paschal, and was 38 feet high. Coupled with the candle, it towered 70 feet» — sigue el dato de Tyson sobre el candelero de Durham, llamado él mismo pascual, que con el cirio alcanzaba setenta pies.
«symbolized the victorious and risen Christ and burned during each service until Whitsuntide (eighth week after Easter), after which its remains were cut up to make funeral candles for the poor» — Tyson cierra la nota con el sentido y el destino del cirio: arde hasta Pentecostés y sus restos se cortan para hacer velas de funeral para los pobres.
«Sometimes too there are daemons with a leonine front, who, when a cock is placed before them, unless they are of a solar order, suddenly disappear; and this because those natures which have an inferior rank in the same order, always reverence their superiors ...” (Proclus De sacrificio et magia, frag., Latin trans. Marsilius Ficinus, Venice, 1497» — de la nota 5, donde Tyson reproduce a Proclo en el pasaje que el capítulo resume; aquí aparece la condición que el cuerpo del libro omite —los demonios leoninos desaparecen ante el gallo *solo si no son de orden solar*— y Tyson lo cita por la traducción latina de Ficino de 1497.
«Son of Dionysus and Aphrodite. Out of spite against Aphrodite, Hera caused her child to be ugly. Priapus is the god of universal fertility, and by extension protector of flocks, bees, vines, gardens and fishing. He was usually represented in the form of a hermae carrying a cornucopia or sickle, and stained a bright red, giving him the name rubicundus» — Tyson documenta al Príapo que la obra alista entre los héroes: hijo de Dioniso y Afrodita, afeado por despecho de Hera, dios de la fertilidad universal y representado en herma teñida de rojo.
«One of the daughters of Oceanus and Tethys who “have charge of young men over all the earth” (Hesiod Theogony c. line 350) But this can hardly be Agrippa’s intention» — Tyson identifica a la Hipo de Hesíodo y en el mismo renglón descarta que sea la que Agrippa tiene en mente.
«Perhaps he means Hippothoon, son of Poseidon and the mortal woman Alope. Hippothoon was one of the “heros of the names” after whom the ten Attic phylae, or tribes, were called. He possessed a statue in the Round House, as mentioned by Pausanias» — la conjetura con que Tyson sustituye la identificación descartada, marcada por él mismo como *Perhaps*: Hipotoonte, héroe epónimo de una de las diez filas áticas.
«Or Vortumnus, said to have been originally an Etruscan deity carried to Rome by the ancient Vulsinian colony that occupied the Caelian Hill. He was credited with the power of changing his shape, and gained the hand of his wife, Pomona, by transforming himself into a handsome youth. His festival, the Vortumnalia, was held on August 23 and marked the transition of the seasons. As god of the harvest, first fruits were sacrificed to him» — Tyson da a Vertumno como deidad etrusca llevada a Roma, con su poder de mudar de forma, su fiesta del 23 de agosto y su oficio de dios de la cosecha.
«And human souls, when they have attained to a beginning of immortal life, change into daemons, and thereafter pass on into the choral dance of the gods; that is the crowning glory of the soul» — de la nota 5, donde Tyson respalda el tránsito de los héroes al coro de los dioses con el Corpus Hermeticum 10.7 en la traducción de Scott: las almas humanas mudan en démones y de ahí pasan a la danza coral de los dioses.
«Therefore, while they [the angels] abode among men, that most deceitful ruler of the earth, by his very association, gradually enticed them to vices, and polluted them by intercourse with women. ... But they who were born from these, because they were neither angels nor men, but bearing a kind of mixed nature, were not admitted into hell, as their fathers were not into heaven» — de la nota 6, donde Tyson reproduce a Lactancio: el señor de la tierra corrompió a los ángeles por trato con mujeres, y los nacidos de esa mezcla, ni ángeles ni hombres, quedaron fuera tanto del infierno como del cielo.
«Merlin was engendered in a virgin girl by a demon to become the Antichrist. But the resourceful confessor of the girl at once baptized the unnatural infant, rescuing him for Christianity. From his demon father Merlin gained the power of prophecy» — de la nota 7, donde Tyson cuenta el Merlín concebido por un demonio para ser el Anticristo y bautizado a tiempo por el confesor de la muchacha, quedándole del padre solo la profecía.
«For even Jornandes, who was Bishop of the Goths when Justinian was Emperor, did not hesitate in his book on the origin of the Getae to affirm that there were in Scythia witch women, called in their native tongue Aliorumnae [Haliurunae], who were driven by Filimer the Gothic king into the farthest deserts, where they were embraced by unclean spirits and gave birth to hideous, fierce dwarfs from whom the Huns are» — de la nota 8, donde Tyson respalda el relato de las godas con la Demonolatría de Remy, que a su vez remite a Jordanes: mujeres brujas expulsadas por el rey Filimer y preñadas por espíritus inmundos.
«The work referred to by Remy is De origine actibusque getarum, written in 551 by the historian Jordanes (more correctly but less commonly rendered Jordanis, or Jordannis). Filimer was sixth king of the Goths, who migrated under him into Scythia and settled in the region they called Oium. Idanthyrsus was chief king of the Scythians in the time of Darius» — Tyson desmonta la referencia de Remy hasta la obra de 551 de Jordanes y fecha a los dos personajes que la obra confunde: Filimer, sexto rey godo, e Idantirso, rey escita del tiempo de Darío.
«Of the semen of spirits Psellus writes in his work De daemonibus: “Tf they ejaculate any semen it is, like the body from which it comes, so lacking in warmth that nothing can be more unfit or unsuitable for procreation» — de la nota 9, donde el Pselo que la obra invoca dice lo contrario de lo que se le pide: el semen de los espíritus carece de calor y nada hay más impropio para la procreación; Tyson lo cita por Remy.
«Yet even today Jesus demonstrates the worth of his divine might in expelling, just» — de la nota 10, donde Tyson reproduce a Eusebio contra la Vida de Apolonio; la cita se corta donde el encabezado corrido de la plana parte el renglón.
«by the invocation of his wonderous name, any evil or bothersome demons that fasten on the souls or bodies of men, and we . know this to be true from our experience. To expect such efficacy from the name of Apollonius, or even to inquire after it, is foolish» — el resto del pasaje de Eusebio tras el corte, que niega justamente lo que el capítulo aduce: esperar tal eficacia del nombre de Apolonio, o siquiera preguntarla, es necedad.
«There are still men in our own time who assert that they have discovered superstitious amulets dedicated in the name of Apollonius.” (ibid. 40; both quotes my paraphrase» — Tyson declara en el propio paréntesis que las dos citas de Eusebio son paráfrasis suya y no traducción; queda dicho por él mismo.
«Notice the omission of Judas from the group. His place is taken by Matthias, the 13th apostle. See Acts 1:26» — Tyson señala lo que la lista de los doce calla: falta Judas, y su lugar lo ocupa Matías, a quien llama el decimotercer apóstol.
«Luke 10:1. The King James says “seventy,” but 72 is intended, and Knox gives 72» — Tyson enmienda la cifra de los discípulos contra la Biblia del rey Jacobo, que imprime setenta, y se apoya en la versión de Knox.
«Thus there came to be two kinds of demons; one of heaven, and the other of the earth. The latter are the wicked spirits, the authors of all the evils which are done, and the same devil is their prince» — sigue Lactancio en la nota 6: de esa mezcla salen dos géneros de demonios, uno del cielo y otro de la tierra, y los terrestres son los espíritus malignos con el diablo por príncipe; la cita se corta donde el troceo cambia de plana.
«Trismegistus calls him the ruler of the demons. But grammarians say that they are called demons, as though daemones, that is, skilled and acquainted with matters: for they think that these are gods. (Lactantius Divine Institutes 2.15 [Ante-Niceng Christ» — el remate de Lactancio tras el corte, con la etimología que los gramáticos dan a *daemones* como los sabedores; Tyson lo cita por la Ante-Nicene Christian Library, cuyo nombre la capa de texto imprime deformado.
«such as the ancients used to ascribe to their heros, who, according to Lucian, were held to be neither gods nor men, but both. Of this we have the fullest proof in what we find written of the birth of Castor and Pollux, Bacchus, Alexander, Romulus, Aesculapius, and other such demigods: that they were begotten by those who were at that time called gods, but we call Demons, who hid themselves in an assumed shape and so embraced the mothers of these men» — de la nota 11, donde Tyson respalda el catálogo de semidioses con la Demonolatría de Remy: los héroes que Luciano tiene por ni dioses ni hombres sino ambos, y el nacimiento de Cástor y Pólux, Baco, Alejandro, Rómulo y Esculapio de quienes entonces se llamaban dioses y a quienes Remy llama demonios.
«Then, too, was I reigning, when the earth was fit to receive the gods, and the divinities were interspersed among the abodes of men» — de la nota 7, donde Tyson da los versos de Jano de los Fastos 1.247-8 en la traducción de Riley, que Freake vierte de otro modo en el cuerpo.
«The meaning is that the gods could tolerate the Earth before the pollution of human sin» — Tyson interpreta en voz propia el verso de Ovidio: lo que dice es que los dioses toleraban la tierra antes de la contaminación del pecado humano.
«And so, when each generation has educated others like themselves to take their place as guardians of the state, they shall depart to the Islands of the Blessed and there dwell. And the state shall establish public memorials and sacrifices for them as to divinities if the Pythian oracle approves or, if not, as to divine and godlike men» — de la nota 8, donde Tyson localiza en la República 8.540b el pasaje que la obra invoca: los guardianes pasan a las Islas de los Bienaventurados y el Estado les levanta memoriales y sacrificios, con el oráculo pítico por árbitro.
«There is no similar reference in book 3 of the Republic» — Tyson desmiente la remisión del capítulo: en el libro tercero de la República no hay nada semejante.
«On the name “Goth,” Brewer comments: “Icelandic, got (a horseman); whence Woden—i.e., Gothen. Without doubt, got, a horseman, good, and the sacred name of God are all to be traced to got or guth, the Teutonic idea of God being that of a mighty warrior» — de la nota 11, donde Tyson documenta con Brewer la etimología que el capítulo da por buena, ligando *got* jinete, *good* y el nombre de Dios a la idea teutona del dios guerrero.
«Thuath-duiné (north men). Our word Dutch and the German Deutsch are variations of the same word, originally written Theodisk» — de la nota 12, con Brewer otra vez, para la etimología de *Dutch* y *Deutsch* que el capítulo hace venir de Teutan.
«Scrofula was called the king’s evil because it was thought the royal touch could cure it. The last person “touched” in England was Doctor Samuel Johnson, at the age of two and a half, by Queen Anne in 1712» — Tyson pone fecha y persona al toque real que el capítulo enuncia en abstracto: la escrófula por mal del rey, y el último tocado en Inglaterra, Samuel Johnson a los dos años y medio, por la reina Ana en 1712.
«The French kings also claimed this power from the time of Anne of Clovis (481 AD). One Easter Sunday in 1686 Louis XIV touched 1,600 persons, at the same time speaking the words: “Le roy te touche, Dieu te gnerisse” (The King touches you, God heals you» — sigue la nota 13 con los reyes franceses, y los mil seiscientos tocados por Luis XIV un domingo de Pascua de 1686 con su fórmula dicha.
«This quotation is not from Virgil» — Tyson desmiente en cuatro palabras la atribución del dístico sobre Augusto que el capítulo pone en boca de Virgilio.
«when, I say, God had made this being [Kosmos], his first and one and only creation, and when he saw that the being he had made was beautiful, and wholly filled with all things good, he rejoiced in him, and loved him dearly, as being his own off» — de la nota 1, donde Tyson respalda las dos imágenes con el Asclepio 1.8 en la traducción de Scott: Dios se alegró de su primera y única creación y la amó por hija suya; las palabras quedan partidas por el renglón.
«Therefore, being wise and good himself, he willed that there should be another who might look upon the being whom he had begotten; and in that act of willing, he made man, to be an imitator of his wisdom and his fostering care» — sigue el Asclepio en la misma nota: el hombre fue hecho para que alguien contemplara al ser engendrado, y como imitador de la sabiduría y del cuidado de Dios.
«For it is man’s function to contemplate the works of God; and for this purpose was he, made, that he might view the universe with wondering awe, and come to know its Maker» — cierra la nota 1 con el Corpus Hermeticum 4.2: la función del hombre es contemplar las obras de Dios y llegar a conocer a su Hacedor.
«For seeing that the Kosmos is the second God, and an immortal being, it is impossible that a part of that immortal being should die; and all things in the Kosmos are parts of the Kosmos» — de la nota 2, donde Tyson localiza en el Corpus Hermeticum 8.1b el dicho de Hermes que el capítulo aduce: siendo el Cosmos dios segundo e inmortal, ninguna de sus partes puede morir.
«A reference to the Logos (Greek: hoyos—word, speech, discourse, reason). Neoplatonists and Stoics used the term for the Intelligence of the Cosmos, a kind of mediator between God and the world. The apostle John adopted this technical Greek term to refer specifically to the second part of the Trinity, Christ» — de la nota 3, donde Tyson glosa la Palabra del capítulo como el Logos, término que neoplatónicos y estoicos usaban para la Inteligencia del Cosmos y que Juan aplicó a la segunda persona de la Trinidad.
«Bid your soul travel to any land you choose, and sooner than you can bid it go, it will be there. Bid it pass on from land to ocean, and it will be there too no less quickly; it has not moved as one moves from place to place, but it is there. Bid it fly up to heaven, and it will have no need of wings; nothing can bar its way, neither the fiery heat of the sun, nor the swirl of planet-spheres; cleaving its way through all, it will fly up till it reaches the outer» — de la nota 4, donde Tyson respalda con el Corpus Hermeticum 11(2).19 que la mente abarca el mundo en el pensamiento: el alma llega a donde se le mande antes de que se acabe de mandarlo, y sube al cielo sin alas; la palabra queda partida por el renglón.
«Perhaps Sextus. “You have in yourself something similar to God, and therefore use yourself as the temple of God, on account of that which in you resembles God» — de la nota 5, donde Tyson conjetura que el *Xystus* del capítulo es Sexto y da la sentencia correspondiente de las Select Sentences en la versión de Taylor; el *Perhaps* es suyo.
«From the Latin esse: to be. Entity, in the original sense of essential being, or real existence» — de la nota 7, donde Tyson traduce el *Ens* del capítulo como entidad en el sentido de ser esencial o existencia real.
«Summa perfectionus magisterii. See biographical note on Geber» — de la nota 8, donde Tyson identifica la Suma de alquimia que el capítulo atribuye a Geber.
«See Augustine De trinitate (The trinity) 10.2; also Aquinas Summa theologica 77.1.1» — de la nota 9, donde Tyson pone nombre a los teólogos que el capítulo deja anónimos: Agustín y el Aquinate.
«Learn my meaning,’ said he [Poimandres], ‘by looking at what you yourself have in you; for in you too, the word is son, and the mind is father of the word. They are not separate one from the other; for life is the union of word and mind» — de la nota 10, donde Tyson respalda la tríada trismegística con el Corpus Hermeticum 1.6: la palabra es hijo y la mente padre de la palabra, y la vida es la unión de ambas.
«For Plato’s lengthy allegory of the soul as a winged chariot, see the Phaedrus 246-56» — de la nota 11, donde Tyson remite el carro del alma que el capítulo invoca al Fedro.
«The lower soul must be always striving to attain to memory of the activities of the higher: this will be especially so when it is itself of a fine quality, for there will always be some that are better from the beginning and bettered here by the guidance of the higher» — de la nota 17, donde Tyson da el pasaje de las Enéadas 4.3.32 en la versión de Mackenna para el alma razonable que el capítulo atribuye a Plotino.
«Secretum secretorum of pseudo-Aristotle, which M. Gaster called “The most popular book of the middle ages» — de la nota 21, donde Tyson identifica los *Secret Tenents* que el capítulo atribuye a Aristóteles con el Secretum secretorum del pseudo-Aristóteles, y recoge el juicio de Gaster sobre su difusión; el nombre queda partido por el renglón.
«There were at least 207 Latin manuscripts circulating, and many more in many other languages. It was printed several times before 1500. The work consists of a collection of information on astrology, alchemy, enchantments, geomancy, medicine, government, and “something useful about almost every science» — Tyson cifra la difusión del Secretum secretorum en al menos doscientos siete manuscritos latinos y describe su contenido de astrología, alquimia, encantamientos, geomancia, medicina y gobierno; la palabra queda partida por el renglón.
«I do not find this in Isaiah» — Tyson desmiente la remisión bíblica del capítulo: el versículo que la obra atribuye a Isaías no aparece allí.
«Crater Hermetis, a work written in 1494 or shortly prior to this date by Ludovico Lazzarelli, a contemporary of Agrippa (see his biographical note). It was published by Lefevre d’Etaples in his 1505 Paris edition of several Hermetic writings, and consists of a dialogue between Lazzarelli and King Ferdinand of Aragon» — de la nota 23, donde Tyson identifica el Crater de Hermes como obra de Ludovico Lazzarelli, contemporáneo de Agrippa, publicada por Lefèvre d’Étaples en 1505 y escrita como diálogo con el rey Fernando de Aragón.
«Through a series of mystical hymns the King is prepared for the revelation of a sacred mystery involving the technique of god-making hinted at by Hermes Trismegis» — Tyson describe el asunto del Crater Hermetis como la técnica de hacer dioses insinuada por Hermes en el Asclepio; el nombre queda partido por el renglón.
«D. P. Walker is convinced that Lazzarelli was talking about the creation of a familiar good daemon by an occult master for his disciple» — Tyson consigna la lectura contraria de D. P. Walker, que ve ahí la creación de un demonio bueno familiar por un maestro para su discípulo, y no arbitra entre las dos.
«The crater of Hermes referred to in the title is the mixing bowl, or basis, filled with mind, which God sent down to Earth, and in which he invited all human hearts to dip themselves if they would attain a portion of gnosis» — Tyson explica el título: el crater es la crátera llena de mente que Dios envió a la tierra invitando a sumergirse en ella a quien quisiera parte de la gnosis.
«That Light,’ said he [Poimandres], ‘is I, even Mind, the first God, who was before» — de la nota 18, donde Tyson localiza en el Corpus Hermeticum 1.6 el hijo esclarecido de la mente: la Luz que habla es la Mente, dios primero; la cita se corta donde el troceo cambia de plana y el nombre queda partido por el renglón.
«ness; and the Word which came forth from the Light is son of God.’” (Corpus Hermeticum 1.6 [Scott, 1:117]). See also note 10 above» — el resto de esa cita hermética tras el corte de plana: la Palabra salida de la Luz es hijo de Dios; el tramo empieza a media palabra porque el corte cae dentro de *darkness*.
«Having the power of conversion. See Aquinas Summa contra gentiles 2.4» — de la nota 1 del capítulo XXXVII, donde Tyson glosa el *conversive* del texto y lo remite a la Suma contra gentiles.
«The good and evil spirits appointed for life to each human soul (see Origen De principiis 3.2.4). After death they appear before the judge of souls (see note 5 below) and dispute which shall have charge» — de la nota 4, donde Tyson identifica al genio y al demonio del capítulo con los dos espíritus asignados de por vida, remite a Orígenes y añade que tras la muerte disputan ante el juez cuál se queda con el alma.
«When the soul has quitted the body, there will be held a trial and investigation of its deserts. The soul will come under the power of the chief of the daemons. When he finds a soul to be devout and righteous, he allows it to abide in the region which is suited to its character» — de la nota 5, donde Tyson da el juicio de las almas del Asclepio 3.28 en la traducción de Scott: el jefe de los démones examina y deja al alma devota en la región que le conviene.
«but if he sees it to’ be marked with stains of sin, and defiled with (incurable) vices, he flings it downward, and delivers it.to the storms artd whirlwinds of that portion of the air which is in frequent conflict with fire and water, that the wicked soul may pay everlasting penalty, being ever swept and tossed hither and thither between sky and earth by the billows of cosmic matter» — el reverso del mismo pasaje: el alma manchada de vicios incurables es arrojada a las tormentas y torbellinos del aire, zarandeada para siempre entre cielo y tierra.
«For at the time when each one of us is born and made alive, the daemons who are at that moment on duty as ministers of birth take charge of us,—that is, the daemons who are subject to some one planet. For the planets replace one another from moment to moment; they do not go on working without change, but succeed one another in rotation» — de la nota 3 del capítulo XXXVIII, donde Tyson respalda la proporción del alma con los astros mediante el Corpus Hermeticum 16.15: los démones ministros del nacimiento que están de turno toman a su cargo al que nace, y se relevan por rotación.
«Agrippa seems to contradict himself: see the first paragraph of ch. XV, bk . III, and note 2 of that chapter» — Tyson señala la contradicción interna del libro: la premisa del capítulo XXXIX, que las inteligencias y los astros no pueden errar ni obrar mal, choca con el primer párrafo del capítulo XV; lo deja dicho y no lo concilia.
«Iatrical; medical» — de la nota 3, donde Tyson restituye el *iatrinseral* que la traducción de 1651 imprime, leyéndolo como término médico.
«When an elephant happens to meet a man in the desert, who is merely wandering about, the animal, it is said, shows himself both merciful and kind, and even points out the way. But the very same animal, if he meets with traces of a man, before he meets the man himself, trembles in very limb, for fear of an ambush, stops short and scents the wind, looks around him, and snorts aloud with rage» — de la nota 1, donde Tyson da el pasaje de Plinio 8.5 en la traducción de Bostock y Riley que el capítulo resume, con el elefante misericordioso ante el caminante y tembloroso ante sus huellas.
«In the same way, too, the tigress, which is the dread of the other wild beasts, and which sees, without alarm, the traces even of the elephant itself, is said at once, upon seeing the footsteps of man, to carry off her whelps» — de la nota 2, con el mismo Plinio para la tigresa que no se altera ante las huellas del elefante y se lleva sus cachorros al ver las del hombre.
«And, what is still more, why should they [elephant and tiger] dread even the very sight of man, seeing that they are so far superior to him in strength, size, and swiftness? No doubt, such is the law of Nature, such is the influence of her power—the most savage and the very largest of wild beasts have never seen that which they have reason to fear, and yet instantly have an instinctive feeling of dread, when the moment has come for them to fear» — de la nota 3, donde el Plinio que Tyson cita responde con la ley de la naturaleza lo que el capítulo responde con el sello divino: la fiera nunca vio aquello que tiene razón de temer y aun así siente el pavor al llegar el momento.
«This is by far the most docile of all animals, and when once it has been tamed by a man it lets him do anything to it, and always shows him the same obedience. It delights to take food from his hand like a puppy; it caresses him with its trunk when he comes near; it lets him put his head into its jaws, holding them open as long as he likes, as we saw done among the nomads» — de la nota 4, donde Tyson da entero el pasaje de Filóstrato que el capítulo invoca: el elefante domado se deja hacer cualquier cosa y come de la mano como un cachorro.
«Yet it is said to lament over its bondage at night, not with its usual trumpeting but with a mournful and piteous moaning; yet if the man comes to it while mourning so, the elephant stops its complaining as if ashamed. Thus it is its own master, Damis, and its tractable disposition manages and rules it more than its rider does» — el remate de ese pasaje dice otra cosa que el capítulo: el elefante se lamenta de noche por su servidumbre y calla avergonzado si el hombre acude, de modo que Apolonio concluye ante Damis que es dueño de sí y que lo gobierna su propia docilidad más que su jinete.
«Pachad. See Appendix VI» — de la nota 5, donde Tyson restituye la grafía del *Pahad* del capítulo y remite a su apéndice.
«Chesed. See Appendix VI» — de la nota 6, con la misma restitución para el *Hesed* del capítulo.
«An anachoret is one who withdraws and goes to live a devout life of contemplation and prayer apart from other men, as opposed to a coenobite, who withdraws from the world into a closed community of the religious» — de la nota 14, donde Tyson distingue al anacoreta que el capítulo alista del cenobita, por retirarse el uno del trato humano y el otro a una comunidad cerrada.
«On the submission of beasts to the Anchorites, see Brewer 1901, 360-7. Also in this context see Hosea 2: 18; Job 5:23; Isaiah 11:9; Ezekiel 34:25-8» — Tyson documenta la sumisión de las fieras a los anacoretas con Brewer y con cuatro lugares bíblicos.
«The above is a roughly accurate quotation from the tractate On Qur Allotted Guardian Spirit by Plotinus. However Agrippa edits the end of the list, which I will give here» — Tyson declara la cita de Plotino aproximadamente exacta y señala que Agrippa recorta el final de la lista, que él repone.
«futile and flighty visionaries ever soaring skyward, become high-flying birds; observance of civic and secular virtue makes men again, or when the merit is less marked, one of the animals of communal tendency, a bee or the like» — lo que Agrippa dejó fuera de la escala de Plotino, según Tyson: los visionarios fútiles vueltos aves altaneras, y la virtud civil que devuelve hombres o, con menos mérito, animales gregarios como la abeja.
«The notion of a threefold reincarnation derives from a passage in The Discourse Of the Faithful Shepherd, the text of which is incorporated into the Zohar» — de la nota 15, donde Tyson remite el tres de los cabalistas al Discurso del Pastor Fiel incorporado al Zohar.
«According to the testimony in this text, incarnation may take place thrice, because of the words: ‘Lo, all these things worketh God oftentimes with men.’ Job xxxiii;29. The Zohar renders the passage: ‘Behold what God doeth in respect of each man, even to the third time» — Tyson apoya ese tres en Waite, que hace ver cómo el Zohar lee el versículo de Job donde la Biblia dice *muchas veces*.
«But now I pray you, by those you have yet to see, who are not here, ‘by your wife, and by your father, who reared you when you were little, and by Telemachos whom you left alone in your palace; for I know that after you leave this place and the house of Hades you will put back with your well made ship to the island, Aiaia; there at that time, my lord, I ask that you remember me and do not go and leave me behind unwept, unburied, when you leave, for fear I might become the god’s curse upon you; but burn me there with all my armour that belongs to me, and heap up a grave mound beside the beach of the gray sea; for an unhappy man, so that those to come will know of me» — de la nota 21, donde Tyson da entero el ruego de Elpénor en la Odisea 11 en la traducción de Lattimore: que lo queme con sus armas y le levante un túmulo junto al mar.
«With black fires I will pursue you, though I be far away; and when cold death has separated my limbs from my spirit, my shade shall be with you wherever you are. You shall receive your punishment, wicked one» — de la nota 24, con el otro pasaje de Dido: la amenaza de perseguir a Eneas con fuegos negros y de acompañarlo como sombra donde quiera que esté.
«Origen thought that even the perfect must pass through fire in the afterworld. Augustine wrote that it was not incredible that imperfect souls will be saved by purgatorial fire. However it was Pope Gregory I (2544-604) who first expressly formulated the doctrine of purgatory (purgatorium), a word officially entered into the vocabulary of the Church by Pope Innocent IV (ruled 1243-1254) and affirmed at the Council of Lyons (1274)» — Tyson fecha la doctrina del purgatorio que el capítulo discute sin nombrarla: Gregorio I la formula primero, Inocencio IV incorpora la palabra al vocabulario de la Iglesia y el Concilio de Lyon la afirma.
«The biblical authority, such as it is, stems from the apocryphal II Maccabees 12:39-45, where prayers for the sinful dead are described as a “holy and good thought” and a “reconciliation for the dead, that they might be delivered from sin» — Tyson mide la base bíblica de esa doctrina y la deja en lo que es, un libro apócrifo donde las oraciones por los muertos se llaman pensamiento santo y bueno.
«I see before me now the soul of my perished mother,/but she sits beside the blood in silence, and has not yet deigned/to look directly at her own son and speak a word to me» — de la nota 30, con los versos de la Odisea 11 en la traducción de Lattimore para la madre de Ulises sentada junto a la sangre sin mirarlo ni hablarle.
«Teiresias the prophet, not prophetess. Somehow Agrippa has changed his sex. Of all the souls in Hades only Teiresias is wholly aware» — Tyson corrige el sexo del adivino que el capítulo llama profetisa, y añade la razón por la que Tiresias es la excepción del episodio: de todas las almas del Hades es la única enteramente consciente.
«Nay, even when life has left them with its latest ray, still every ill and all the plagues of the body do not utterly pass out from the wretches, and it must needs be that many defilements long-contracted grew deep into their being in wonderous wise. Therefore they suffer a probation of punishment, and pay the full penalty of past misdeeds; some hung aloft are exposed to the viewless winds; from some the taint of guilt is washed away beneath the boundless flood: we suffer each his own ghostly penance: after that, we are released, to range through the wide spaces of Elysium, and possess the happy fields, a scanty band: till a long course of time, when the full cycle is complete, has purged away the long-contracted stain, and leaves pure the etherial essence, and unadulterated fire of heaven» — de la nota 32, donde Tyson da entero el discurso de Anquises en la Eneida 6 que el capítulo cita en verso: la mancha larga contraída se purga con vientos, con agua o con fuego hasta dejar puro el fuego etéreo.
«The residual affection of the shades for the actions and feelings of their past lives is apparent when Odysseus visits the land of the dead: “Only the soul of Telamonian Aias stood off/at a distance from me, angry still over that decision/I won against him, when beside the ships we disputed/ our cases for the arms of Achilleus» — de la nota 33, donde Tyson ilustra la persistencia de los afectos con el alma de Áyax, que sigue enojada con Ulises por las armas de Aquiles.
«The mythic King Tantalus is supposed to have tested the divine foreknowledge of Zeus by presenting the god a banquet of human flesh. By another account Tantalus was invited to a banquet by Zeus and later betrayed the divine secrets communicated to him over the table in confidence. By still a third version of the tale, Tantalus stole nectar and ambrosia from the table of the gods to give to his mortal friends. His punishment was to continually thirst and not be able to drink» — de la nota 35, donde Tyson da las tres versiones del delito de Tántalo —el banquete de carne humana, la traición de los secretos divinos y el robo del néctar— sin elegir entre ellas.
«The wealthy and effeminate king of Phrygia, who was said to have been given the gift by Silenus of turning everything he touched into gold. When he discovered that he could not eat, he begged ‘. Silenus to remove the gift. Silenus told him to bathe in the spring that was the source of the river Pactolus, which cleansed Midas of the curse and turned the river sands golden» — de la nota 37, donde Tyson cuenta el don y el desdón de Midas, y el baño en la fuente del Pactolo que doró las arenas del río.
«The fraudulent and avaricious king of Corinth, doomed to roll a great stone up a hill endlessly in Hades. According to the most common legend, he told his wife to leave his body unburied, then when in hell he asked Pluto for permission to return to Earth to punish her negligence. When Pluto complied, Sisyphus refused to return to the underworld and had to be carried off forcibly by Hermes» — de la nota 38, donde Tyson cuenta la treta de Sísifo: dejar su cuerpo insepulto para conseguir volver a la tierra, y negarse luego a regresar.
«The river nymph Cyrene advises her son Aristaeus about the shape-shifting powers of Proteus: But when you have seized him, and hold him with your hands and chains, straight» — de la nota 39, donde Tyson localiza los versos de las mutaciones que el capítulo aplica a las almas malas: en Virgilio son el consejo de Cirene a Aristeo sobre cómo sujetar a Proteo; la palabra queda partida por el corte de plana.
«way manifold forms will seek to baffle you, and figures of wild beasts; for he will suddenly become a bristly boar, and a fell tiger, and a scaly dragon, and a lioness with tawny neck; or will give forth a fierce roar of flames, and so strive to slip away from the fetters, or melt away into fleeting water, and so make his escape» — el resto de esos versos tras el corte, con las figuras que Proteo toma para escapar: jabalí, tigre, dragón escamoso, leona, llamarada y agua fugitiva.
«Adrastus, king of Argos, led the war of the Seven Against Thebes. The first attempt on the city failed and he alone escaped alive» — de la nota 3, donde Tyson explica la *adrastia* del capítulo por Adrasto de Argos y la primera expedición contra Tebas, de la que fue el único superviviente; la cita se corta donde el troceo cambia de plana.
«he attacked a second time with the sons of his dead comrades and was victorious, fulfilling a favorable oracle which had predicted this outcome» — el resto de esa nota tras el corte: la segunda expedición con los hijos de los muertos, victoriosa conforme al oráculo.
«have lived my life, and finished the course that fortune assigned me, and now great will be my phantom that will pass beneath the earth» — de la nota 22, donde Tyson localiza en la Eneida 4 el verso de Dido que el capítulo cita en la traducción de 1651; la cita arranca a media palabra porque la capa de texto funde la comilla de apertura con la inicial.
«Irenaeus regarded as heretical the notion that souls are glorified immediately after death, and Cyprian, Tertullian, Cyril of Jerusalem, Basil, Ambrose, Gregory of Nyassa, Chrysostom, Jerome, and the Acts of Saint Perpetua all imply a kind of middle holding place for souls and» — de la nota 29, donde Tyson reúne a los padres que suponen un lugar intermedio para las almas; la frase se corta donde el troceo cambia de plana.
«advocate the saying of prayers for the dead. The references are unclear and influenced by the pagan Hades» — el remate tras el corte, donde Tyson mide él mismo el valor de esas referencias: son poco claras y están influidas por el Hades pagano; la palabra queda partida por el renglón.
«Book 11 of the Odyssey, where Odysseus performs a necromantic ritual according with the instructions of Circe for calling forth the shades of the dead, in order fo elicit their oracular responses» — de la nota 41, donde Tyson identifica la *necromancia* de Homero que el capítulo invoca con el libro 11 de la Odisea y el rito que Circe prescribe.
«Virgil has borrowed this passage intact from Homer. Tityos was the giant son of Gaea who at the instigation of Hera tried to rape Artemis. The goddess killed him with her bow» — de la nota 42, donde Tyson señala que Virgilio tomó ese pasaje intacto de Homero y cuenta el crimen y la muerte de Ticio.
«The Hermetic books are divided as to whether the souls of men can be reincarnated as beasts. This is the passage to which Agrippa refers» — Tyson declara divididos a los propios libros herméticos sobre si el alma humana puede reencarnarse en bestia, y localiza el pasaje que la obra alega.
«But if a soul, when it has entered a human body, persists in evil, it does not taste the sweets of immortal life, but is dragged back again; it reverses its course, and takes its way back to the creeping things; and that ill-fated soul, having failed to know. itself, lives in servitude to uncouth and noxious bodies» — el pasaje del Corpus Hermeticum 10.8a que sostiene lo que la obra afirma: el alma que persiste en el mal es arrastrada de vuelta a los reptiles.
«Scott has placed a few pages later this passage, obviously from a different pen: But it can enter a human body only; for no other kind of body can contain a human soul. It is not permitted that a human soul should fall so low as to enter the body of an irrational animal; it is a law of God that human souls must be kept safe from such outrage as that» — el pasaje contrario del mismo corpus, que Tyson introduce diciendo que Scott lo coloca páginas después y que es de otra pluma: ningún alma humana puede entrar en cuerpo de animal irracional.
«True reason asserts that the human soul may be lodged in brutes, yet in such a manner, as that it may obtain its own proper life, and that the degraded soul may, as it were, be carried above it and be bound to the baser nature by a propensity and similitude of affection. And that this is the only mode of insinuation we have proved by a multitude of arguments in our Commentaries on the Phaedrus» — la tercera posición, que Tyson califica de algo ambigua: Proclo admite que el alma se aloje en brutos pero conservando su vida propia y solo atada a la naturaleza más baja por semejanza de afecto.
«Ixion, the king of the Lapithae in Thessaly, married Dia and agreed to give her father, Deioneus, a costly present in exchange for her hand, but treacherously lured his father-in-law to a banquet, What Concerning Man After Death / 603 then cast him into a fiery pit. As a punishment he went mad. Zeus took pity on him, cured his madness, and invited him up to Olympus. The unrepentant Ixion tried, unsuccessfully, to seduce Hera. So furious was Zeus that he bound Ixion to an endlessly rolling wheel of fire» — de la nota 44, donde Tyson cuenta el crimen de Ixión contra su suegro, la locura, la curación por Zeus y el intento contra Hera que le valió la rueda de fuego.
«This is surely one of the earliest accounts (circa 1200) of the killing of a vampire by cutting off its head and driving a stake through its heart» — Tyson lee el relato de Saxo Gramático como uno de los primeros testimonios de la muerte de un vampiro por decapitación y estaca en el corazón, hacia 1200; la palabra queda partida por el renglón.
«Above all there is Eurynomos; the officials at Delphi say Eurynomos is a daemonic spirit in Hades, who eats away the flesh of the dead, and leaves them only their bones» — de la nota 48, donde Tyson da el pasaje de Pausanias que la obra resume, con el Eurínomo que roe la carne de los muertos.
«But Homer’s Odyssey and the Minyad and the Homecomings, all of which mention Hades and its horrors, know nothing about any daemonic Eurynomos. But I will explain what kind of Eurynomos is in the painting and what he looks like: his flesh is between blue and black, like the flies that settle on meat, he shows his teeth, and the hide of a vulture has been spread for him to sit on» — el mismo Pausanias acota lo que la obra omite: los poemas que hablan del Hades no saben nada de un Eurínomo, y lo que él describe es la figura de una pintura, entre azul y negra como las moscas de la carne.
«The cave of Saint Patrick of Ireland, otherwise known as St. Patrick’s Purgatory, is located on a small island in Lough Derg in Donegal, Ireland. The saint had the walls of the cave painted with scenes of hell and often retired there to pray and practice austerities. It became the center of an ever-changing community of ascetics, who would entomb themselves in six tiny chambers three feet wide for nine days to learn ahead of time what awaited them in hell» — de la nota 51, donde Tyson sitúa la cueva de Patricio en una isla del Lough Derg y describe el encierro de nueve días en celdas de tres pies con que los ascetas se adelantaban al infierno.
«They were allowed to leave their cells three times a day to attend chapel, consumed only bread and water for eight days, and on the ninth day fasted. On the edge of the island was a small pilgrims’ hut that acted as a kind of hotel. Strange as it seems, this place was very popular, largely because it induced trances in those who voluntarily undertook the hardships. In effect it acted as a Christian oracle» — Tyson explica en voz propia la popularidad de aquel lugar por lo que producía: inducía trances, y de hecho funcionaba como un oráculo cristiano.
«Every one, as he returned from some far-distant region, told of wonders, of violent hurricanes, and unknown birds, of monsters of the sea, of forms half-human, half beast-like, things they had really seen or in their ter» — de la nota 54, donde Tyson da el pasaje de los Anales de Tácito que la obra aduce, y en él la salvedad que la obra deja fuera: cosas realmente vistas *o creídas en su terror*; la palabra queda partida por el renglón.
«All else [stories of Germanic tribes] is fabulous, as that the Hellusii and Oxiones have the faces and expressions of men, with the bodies and limbs of wild beasts» — de la nota 55, donde el Tácito que Tyson cita llama fabuloso lo que la obra presenta como testimonio.
«The quotation from Claudianus refers to the necromantic ritual conducted by Odysseus in the northern land of the dead, but it was the shades, not Odysseus, who drarik the blood—see Odyssey bk» — Tyson corrige el verso de Claudiano tal como el capítulo lo entiende: fueron las sombras y no Ulises quienes bebieron la sangre.
«Perhaps Dollar (Dolour) Law, a hill of 2680 feet in Borders, Scotland, between the headwaters of the Yarrow and the Tweed rivers, northwest of St. Mary’s Lake» — de la nota 57, donde Tyson conjetura la identidad del monte Doloroso escocés, con el *Perhaps* puesto por él.
«Perhaps refers to an apocryphal work ascribed to Pope Clement I, or Clemens Romanus, who was regarded as a disciple of Simon Peter» — de la nota 59, donde Tyson deja en conjetura la carta de Pedro a Clemente que el capítulo cita como pieza auténtica.
«Nor, however, let any one imagine that souls are immediately judged after death. For all are detained in one and a common place of confinement, until the arrival of the time in which the great Judge shall make an investigation of their deserts. Then they whose piety shall have been approved of will receive the reward of immortality; but they whose sins and crimes shall have been brought to‘light will not rise again, but will be hidden in the same darkness with the wicked, being destined to certain punishment» — de la nota 61, donde Tyson da el pasaje de las Instituciones divinas 7.21 en la traducción de la Ante-Nicene Christian Library que la obra parafrasea.
«There was a popular legend in the Middle Ages that Pope Gregory the Great (540-604) prayed ‘that the good soul of the pagan Roman emperor Trajan might be delivered from hell. Such a deliverance was not possible directly, so God caused Trajan to be reborn long enough to profess his faith in Christ, which he could not do while in hell» — de la nota 64, donde Tyson trata como leyenda medieval lo que el capítulo da por hecho, y explica el mecanismo que la leyenda necesitaba: Trajano hubo de renacer un momento para profesar la fe.
«Dante refers to this tale in two places in his Divine Comedy: “Here was storied the high glory of the Roman prince, whose worth incited Gregory to his great victory: I speak of Trajan the emperor» — Tyson documenta la difusión de esa leyenda en dos lugares de la Comedia, en la traducción de Norton.
«For the one came back unto his bones from Hell, where there is never return to righteous will; and that was the reward of living hope; of living hope, which put its power into the prayers made to God to raise him up, so that it might be possible for his will to be moved. The glorious soul, of whom I speak, returning to the flesh, in which it was but little while, believed in Him who had power to aid it; and in believing was kindled to such fire of true love, that at its second death it was worthy to come unto this festivity» — el pasaje del Paraíso que Tyson reproduce, donde el mérito no se atribuye al santo sino a la esperanza viva que movió las oraciones.
«Forthwith the clotted blood grows warm, and nourishes the blackened wounds, and runs into the veins and the extremities of the limbs. Smitten beneath the cold breast, the lungs palpitate; and a new life creeping on is mingled with the marrow so lately disused. Then does every joint throb; the sinews are stretched; and not by degrees throughout the limbs does the dead body lift itself from the earth, and it is spurned by the ground and raised erect at the same instant. The eyes with their apertures distended wide are opened. In it not as yet is there the face of one living, but of one now dying. His paleness and his stiffness remain, and, brought back to the world, he , is astounded. But his sealed lips resound with no murmur. A voice and a tongue to answer alone are granted unto him» — de la nota 3, donde Tyson da el pasaje de la Farsalia 6 que el capítulo resume en una línea: el cadáver levantado no tiene rostro de vivo sino de moribundo, y solo se le conceden voz y lengua para responder.
«The Thessalian prophetess is the witch Erichtho» — Tyson identifica a la profetisa tesalia del capítulo con la bruja Erictón, que la traducción de 1651 nombra deformada.
«Dig a pit of about a cubit in each direction, and pour it full of drink offerings for all the dead, first honey mixed with milk, then a second pouring of sweet wine, and the third, water, and over all then sprinkle white barley, and promise many times to the strengthless _ heads of the perished dead that, returning to Ithaka, you will slaughter a barren cow, your best, in your palace and pile the pyre with treasures, and to Teiresias apart dedicate an all-black ram, the one conspicuous in all your sheepflocks. But when with prayers you have entreated the glorious hordes of the dead, then sacrifice one ram and one black female, turning them towards Erebos, but yourself turn away from them and make for where the river runs, and ’ there the numerous souls of the perished dead will come and gather about you» — de la nota 4, donde Tyson da entera la instrucción de Circe en la Odisea 10 según Lattimore: la fosa de un codo, las libaciones de miel con leche, vino y agua, la cebada blanca y los dos carneros vueltos hacia el Érebo.
«Circe does not say, but Odysseus understands, that he must fill the pit with the blood of the sacrificed male and female sheep: Now when, with sacrifices and prayers, I had so entreated the hordes of the dead, I took the sheep and cut their throats over the pit, and the dark-clouding blood ran in, and the souls of the perished dead gathered to the place, up out of Erebos» — Tyson señala lo que la instrucción de Circe calla y Ulises entiende: que la fosa hay que llenarla con la sangre de las reses sacrificadas.
«This is necessary because the shades of Hades are without energy, and blood is filled with the vital lifeforce. It not only attracts the ghosts, but gives them the strength to become aware of their surroundings and converse» — Tyson explica en voz propia por qué hace falta la sangre en ese rito: las sombras carecen de energía y la sangre lleva la fuerza vital, de modo que no solo las atrae sino que les da con qué percatarse y conversar.
«Greek: veKpo, corpse; wavTeta, divination» — de la nota 7, donde Tyson descompone el nombre de la necromancia en sus dos raíces griegas; la caja imprime los caracteres griegos corrompidos.
«Calling up the ghosts of the dead to prophesy, as was done by the witch of Endor for Saul, and by Odysseus in the land of the dead» — de la nota 10, donde Tyson define la sciomancia que el capítulo distingue y le pone sus dos casos, la pitonisa de Endor y Ulises; la palabra queda partida por el renglón.
«This story is told by Plato about a man called Er, the son of Armenius, by race a Pamphylian, in the Republic 10» — Tyson corrige el nombre que el capítulo da al resucitado del libro décimo de la República: no *Phereus* sino Er, hijo de Armenio.
«The Oracles of the Gods declare, that through purifying ceremonies, not the Soul only, but bodies themselves become worthy of receiving much assistance and health, for, they say, the mortal vestment of coarse Matter will by these means be purified. And this, the Gods, in an exhortatory manner, announce to the most holy of Theurgists» — de la nota 1 del capítulo XLIII, donde Tyson respalda la abundancia de luz en el cuerpo con los Oráculos caldeos en la versión de Westcott: las ceremonias purificatorias alcanzan también al vestido mortal de la materia.
«Acts 8:27-40. But the eunuch was baptized somewhere between Jerusalem and Gaza» — Tyson corrige la geografía del capítulo: el eunuco no fue bautizado en la India sino entre Jerusalén y Gaza.
«Daniel 14:32—5 in the Knox translation. Chapters 13 and 14 of the book of Daniel are present in the Septuagint Greek, but absent from the Hebrew text. Consequently they are not found in the King James version» — de la nota 3, donde Tyson explica por qué el Habacuc que el capítulo cita no se halla en cualquier Biblia: los capítulos 13 y 14 de Daniel están en la Septuaginta y no en el texto hebreo.
«During the reign of the Roman emperor Diocletian (284-305), Peter the Exorcist was cast into jail by the judge Serenus. Artemius, the keeper of the prison, had a daughter who was possessed by an evil spirit. Peter suggested that he pray for his daughter’s salvation to Jesus Christ. Artemius retorted that a god who could not get one of his own preachers out of prison would have little power to help his daughter. Peter maintained that God had the power both to free him and cure the girl» — de la nota 5, donde Tyson cuenta el caso de Pedro exorcista y del carcelero Artemio, con la objeción de éste: un dios que no saca a su predicador de la cárcel poco podrá por su hija.
«at which point Artemius decided to put the question to a test, and locked Peter in his deepest dungeon bound hand and foot in iron fetters. That night Peter appeared before Artemius and his wife in their home and healed their daughter, at the same time baptizing 300 persons who had gathered to watch. Serenus ordered Peter again to be locked up, but again he was set free by an angel and went to Artemius to instruct him in his new faith. The story has an unhappy ending— Artemius, his wife Candida, and Peter were all beheaded, and their souls borne to heaven by angels» — el resto de ese relato en la nota de Tyson, con la prueba del calabozo, la aparición de Pedro esa misma noche y el final infeliz de los tres decapitados.
«And he was raised aloft on the chariots of the spirit and his name vanished among them» — de la nota 9, donde Tyson respalda el arrebato de Enoc con el Libro de Enoc 70:2 en la edición de Charles.
«Now it is clear that no matter how the intellect is united or joined to this or that man, the intellect has the primacy among all other things which pertain to man, for the sensitive powers obey the intellect, and are at its service» — de la nota 15, donde Tyson explica el intelecto posible del capítulo con la Suma teológica en la edición de Pegis, empezando por la primacía del intelecto sobre las potencias sensitivas.
«But the phantasm itself is not the form of the possible intellect; the intelligible species abstracted from phantasms is such a form» — la precisión del Aquinate que Tyson reproduce en la misma nota: no el fantasma sino la especie inteligible abstraída de él es forma del intelecto posible.
«Therefore nothing prevents one and the same soul, inasmuch as it is actually immaterial, from having a power by which it makes things actually immaterial, by abstraction from the conditions of individual matter (this power is called the agent intellect), and another power, receptive of such species, which is called the possible intellect by reason of its being in potential» — el pasaje donde el Aquinate reparte las dos potencias de una misma alma, el intelecto agente y el posible; las palabras quedan partidas por el renglón.
«Alcestis was wife of Admetus, king of Pherae in Thessaly. When he fell sick Apollo made a» — de la nota 14, donde Tyson sitúa a la Alcestis del capítulo como mujer de Admeto de Feras; la frase se corta donde el troceo cambia de plana.
«bargain with the Moerae (Fates) to spare his life if someone else would voluntarily take his place. Admetus assented to this arrangement, believing some servant or friend would fulfill the pact, but when the hour approached, no one stepped forward, until at last Alcestis volunteered to die in place of her husband. Admetus was horrified, but the die had been cast. Just as Death was about to carry the loving Alcestis away to Hades, Hercules arrived at the palace. He forced Death to release the queen, who was reunited with her husband. See the play Alcestis by Euripides» — el resto de esa nota tras el corte: el trato de Apolo con las Moiras, la negativa de todos a morir por Admeto, el ofrecimiento de Alcestis y el rescate por Hércules.
«by their senses—Telepathy» — de la nota 6, donde Tyson nombra con una sola palabra moderna lo que el capítulo describe como insinuarse la imaginación en mentes remotas.
«Agrippa seems to have had in mind specifically question 76, article 2, the Answer of Aquinas, but the reader should read question 76» — Tyson conjetura qué artículo de la Suma tenía a la vista el capítulo; la frase se corta donde el troceo cambia de plana.
«logica in light of bk. 3 of Aristotle’s De anima» — el remate de esa nota tras el corte, con la recomendación de Tyson de leer esas cuestiones a la luz del libro tercero del De anima.
«A reference to transmigration of souls» — de la nota 1, donde Tyson nombra lo que el capítulo dice de pasada al hablar del circuito de un cuerpo nuevo.
«Tell me then, father, why did not God impart mind to all men?’—Hermes. ‘It was his will, my son, that mind should be placed in the midst as a prize that human souls may win» — de la nota 2, donde Tyson localiza el dicho de Hermes en el Corpus Hermeticum 4.3, con la pregunta de Tat y la respuesta que hace de la mente un premio puesto en medio.
«But as many as have partaken of the gift [of mind] which God has sent, these, my son, in comparison with the others, are as immortal gods to mortal men» — de la nota 4, con el Corpus Hermeticum 4.5 para los que obtuvieron la mente, dioses inmortales al lado de los demás.
«Perhaps Augustine’s De anima et ejus origine» — de la nota 5, donde Tyson deja en conjetura cuál es el tratado de Agustín que el capítulo cita como *Del espíritu y el alma*.
«There are also certain invisible powers to which earthly things have been entrusted for administration; and amongst them no small difference must be believed to exist, as is also found to be the case among men» — de la nota 8, donde Tyson da el pasaje del De principiis que el capítulo parafrasea, en la traducción de los Ante-Nicene Fathers.
«charge, in this world. All of which, down to the humblest, God providing for and distinguishing by the power of His wisdom, arranges all things by His controlling judgement, according to a most impartial Of the Degrees of Souls / 615 retribution, so far as each one ought to be assisted or cared for in conformity with his deserts. In which certainly every principle of equity is shown, while the inequity of circumstances preserves the justice of a retribution according to merit» — el remate de ese pasaje de Orígenes tras el corte de plana, donde la desigualdad misma de las circunstancias es lo que preserva la justicia de la retribución.
«It is therefore possible to understand that there have been also formerly rational vessels, whether purged or not, i.e., which either purged themselves or did not do so, and that consequently every vessel, according to the measure of its purity or» — de la nota 9, donde Tyson respalda la proporción de premios con Orígenes: los vasos racionales, purgados o no, reciben según la medida de su pureza; la frase se corta donde el troceo cambia de plana.
«impurity, received a place, or region, or condition by birth, or an office to discharge, in this world. All of which, down to the humblest, God providing for and distinguishing by the power of His wisdom, arranges all things by His controlling judgement, according to a most impartial Of the Degrees of Souls / 615 retribution, so far as each one ought to be assisted or cared for in conformity with his deserts. In which certainly every principle of equity is shown, while the inequity of circumstances preserves the justice of a retribution according to merit» — el remate de ese pasaje de Orígenes tras el corte, donde la desigualdad misma de las circunstancias es lo que preserva la justicia de la retribución.
«For it is a very childish and silly thing, to suppose that the god [Apollo] himself does, like the spirits speaking in the bowels of ventriloquists (which were anciently called Euryclees, and now Pythons), enter into the bodies of the prophets, and speak by their mouths and voices, as fit instruments for that purpose. For he that thus mixes God in human affairs has not respect and reverence which is due to so great a majesty» — de la nota 2 del capítulo XLV, donde Tyson da el pasaje de Plutarco que la obra invoca y que dice lo contrario de lo que la obra sostiene: tener a Apolo por entrado en el cuerpo del profeta, como los ventrílocuos, le parece cosa pueril.
«The Athenian diviner Eurycles was a ventriloquist surnamed Engastromythes (speech in the belly). The name was also applied to the priestesses of Apollo. He is mentioned by Aristophanes in the Wasps, line 1019 (“... and like the prophetic Genius, who hid himself in the belly of Eurycles» — Tyson identifica a los *Eurideae* del capítulo con el adivino ateniense Euricles, ventrílocuo apodado Engastrómites, y documenta el uso del nombre en Aristófanes; la palabra queda partida por el renglón.
«and, like that queer fellow Eurycles, they carry about with them wherever they go a voice in their own bellies to contradict them» — el segundo testimonio que Tyson aporta para ese nombre, el Sofista de Platón, con la voz en el vientre que contradice a quien la lleva.
«Philosophers say, if it be tasted, it giveth knowledge of certain things to come. If it be put under the tongue, specially in the first [day of the] Moon, it hath a virtue only for an hour. Therefore being in the tenth day of the Moon, it hath this virtue in the first or tenth hour» — de la nota 4, donde Tyson da la receta de la selenita del Libro de los secretos que el capítulo resume, con sus condiciones de día y hora lunares.
«when it is under the tongue, if our thought be of any business, whether it ought to be or no, if it ought to be, it is fixed steadfastly in the heart so that it may not be plucked away, if not, the heart leapeth aback from it» — el método adivinatorio completo de esa piedra según la misma fuente: la respuesta se lee en el corazón, que se afirma o retrocede.
«The hyenia, or hyena stone» — Tyson vuelve a deshacer aquí el gato de algalia de la traducción de 1651: la piedra del capítulo es la hienia, piedra de hiena.
«The people in the Gallic provinces [druids] make use of them both [male and female vervain] for soothsaying purposes, and for the prediction of future events» — de la nota 6, donde Tyson respalda la verbena adivinatoria con Plinio y con los druidas de las provincias galas.
«Saint Augustine, who was called Aurelius Augustine, although he himself never used Aurelius as a first name, nor was he addressed in this way in the letters written to him» — de la nota 12, donde Tyson identifica al *Aurelius Augustus* del capítulo y precisa que el propio Agustín nunca usó ese nombre ni se lo daban sus corresponsales.
«Calamae, or Kalamata, was an ancient town in Greece (present-day Kalamai in Peloponnisos). See note 5, ch. XLVIIL, bk. Il, where Iamblichus seems to make the same reference» — Tyson sitúa la Calama del sacerdote extático y remite al lugar de Jámblico donde ve la misma referencia.
«The most famous cave of Apollo was located on Mount Parnassus at Delphi, wherein was the Pythia, or priestess of Apollo. The most notable cave of Zeus was on Mount Dicte in eastern Crete, where the god was said to have been raised in concealment from the malice of his father, Cronos» — de la nota 13, donde Tyson pone nombre a las cuevas del capítulo: la de Apolo en el Parnaso con la Pitia, y la de Zeus en el monte Dicte de Creta.
«Porphyrii de philosophia ex oraculis hauriendis, a commentary on the Chaldean oracles that is preserved in part in the Preparatio evangelica of Eusebius» — de la nota 14, donde Tyson identifica el libro de oráculos de Porfirio que la obra cita y precisa que solo se conserva en parte, dentro de la Preparación evangélica de Eusebio.
«Dionysus (Bacchus) was a prophetic god whose oracle at Delphi rivaled in importance that of Apollo. The chief seats of his worship were Boeotia and Attica» — de la nota 2 del capítulo XLVII, donde Tyson recuerda que el oráculo de Dioniso en Delfos rivalizaba con el de Apolo y sitúa sus asientos principales en Beocia y el Ática.
«There seems to be no connection between Epimenides and Cous (see his biographical note). Perhaps Agrippa means Cnossus» — Tyson desmiente el segundo caso del capítulo: no ve relación entre Epiménides y Cos, y conjetura que se trate de Cnoso.
«the temple of Apollo at Gergis. From Gergis they were carried to Erythrae, from Erythrae to Cumae by the sibyl Herophile, and from Cumae to Rome» — el itinerario completo de esos oráculos tras el corte: de Gergis a Eritras, de Eritras a Cumas por la sibila Herófila, y de Cumas a Roma.
«This threefold reference by Agrippa was probably inspired by this sentence from Cicero» — Tyson conjetura de dónde salió la terna de Baco, Epiménides y la sibila que el capítulo alinea: de una sola frase de Cicerón.
«But those men, on the other hand, are devoid of art, who give way to presentiments of future events, not proceeding by reason or conjecture, nor on the observation and consideration of particular signs, but yielding to some excitement of mind, or to some unknown influence subject to no precise rule or restraint, (as is often the case with men who dream, and sometimes with those who deliver predictions in a frenzied manner,) as Bacis of Boeotia, Epimenides the Cretan, and the Erythrean Sibyl» — el pasaje de Cicerón que Tyson aduce dice de esos tres lo contrario de lo que el capítulo saca: son los que carecen de arte y ceden a una excitación sin regla; la palabra queda partida por el renglón.
«Presumably refers to Genesis 18, although the angel is not named» — de la nota 8, donde Tyson señala que el lugar bíblico al que remite la nómina de ángeles familiares no da el nombre del ángel.
«Joshua was visited by an angel (Joshua 1:1), and in several places it is said “the Lord was with Joshua” (Genesis 39:2, 21, 23), but the angel is not named» — de la nota 10, con la misma objeción para Josué: hay ángel y hay presencia del Señor, pero no hay nombre.
«Judges 13:3-21. Again, the name of the angel is not given» — de la nota 14, tercera vez que Tyson hace constar que la Escritura no nombra al ángel que la nómina del capítulo nombra.
«The reference is probably to Kenaz, brother of Caleb, upon whom the spirit of the Lord descended» — de la nota 15, donde Tyson conjetura que el *Cenez* del capítulo es el Kenaz hermano de Caleb.
«The Erythraean, also called the Cumaean, sibyl, who is fabled to have sold the» — de la nota 4, donde Tyson identifica a la sibila Eritea del capítulo con la eritrea o cumana de los libros sibilinos; la frase se corta donde el troceo cambia de plana.
«Sibylline books to Tarquin the Proud. When the books were destroyed by fire in 83 BC, the Romans had a new collection of 1,000 oracular verses gathered at Erythrae (present-day Cesme, Turkey). These oracles appear to have been first collected in the time of Solon and Cyrus (6th century BC) at Gergis, on Mount Ida in the Troad, which is not far from Troy. They were attributed to the Hellespontine sibyl and kept in» — el resto de esa nota tras el corte: la venta a Tarquino el Soberbio, la quema del 83 a. C., los mil versos recogidos en Eritras y el origen de la colección en Gergis, atribuida a la sibila helespóntica.
«When I had ended this orison, and discovered my plaints to the Goddesse, I fortuned to fall asleepe, and by and by appeared unto me a divine and venerable face, worshiped even of the Gods themselves» — de la nota 4 del capítulo XLVIII, donde Tyson da el pasaje del Asno de oro que la obra invoca al citar a Apuleyo, con la aparición tras el baño y la plegaria.
«struck on the shoulders with axes, and others that have their arms cut with knives, are by no means conscious of what is done to them. Their energies, likewise, are not at all human. For inaccessible places become accessible to those that are divinely inspired; they are thrown into fire, and pass through fire, and over rivers» — un tramo de Jámblico sobre la impasibilidad del inspirado que la caja imprime dentro de la nota equivocada: la plana entrevera las dos columnas y este bloque queda antepuesto a la cita de los sueños.
«But the dreams which are denominated theopemptoi, or sent from God, do not subsist after the manner which you mention; but they take place either when sleep is leaving us, and we are beginning to awake, and then we hear a certain voice, which concisely tells us what is to be done» — de la misma nota 4, donde Tyson da el pasaje de Jámblico sobre los sueños enviados por Dios, que no ocurren como el corresponsal supone sino al despertar, con una voz que dice en pocas palabras lo que ha de hacerse.
«And sometimes, indeed, an invisible and incorporeal spirit surrounds the recumbents, so as not to be perceived by the sight, but by a certain other cosensation and intelligence. The entrance of this spirit, also, is accompanied with a noise, and he diffuses himself on all sides without any contact, and effects admirable works conducive to the liberation of the passions of the soul and body» — el segundo modo que Jámblico describe: un espíritu invisible rodea al que yace, no percibido por la vista sino por otra cosensación, y obra la liberación de las pasiones.
«But sometimes a bright and tranquil light shines forth, by which the sight of the eyes is detained, and which occasions them to become closed, though they were before open. The other senses, however, are in a vigilant state, and in a certain respect have a cosensation of the light unfolded by the Gods; and the recumbents hear what the Gods say, and know, by a consecutive perception, what is then done by them» — el tercer modo: una luz brillante y tranquila que cierra los ojos mientras los demás sentidos velan y perciben lo que los dioses dicen y hacen.
«Such, therefore, and so many being the differences of these dreams, no one of them is similar to human dreams» — el remate del pasaje de Jámblico, que separa del todo esos sueños de los humanos.
«Many, through divine inspiration, are not burned when fire is introduced to them, the inspiring influence preventing the fire from touching them. Many, also, though» — de la nota 5, con el pasaje de Jámblico que la obra resume: la influencia inspiradora impide que el fuego los toque; la cita se corta donde el troceo reemite el marcador de plana.
«burned, do not apprehend that they are so, because they do not live an animal life. And some, indeed, though transfixed with spits, do not perceive it; but others that are like the priest in Castabalis, without being injured» — el resto tras el corte, y en él la razón que Jámblico da: no lo perciben porque no viven vida animal.
«Trophonius was son of Erginus, king of Orchomenus. Along with his brother Agamedes he is credited in legend with building the temple at Delphi, a magnificent structure. After his death he was worshiped as a hero, and had a celebrated oracle of his own in a cave near Lebadea in Boeotia» — de la nota 7, donde Tyson identifica al Trofonio del capítulo, constructor legendario del templo de Delfos, con su oráculo en una cueva cerca de Lebadea.
«Pausanias not only saw the oracle but actually underwent the involved ritual procedure in consulting it» — Tyson subraya la calidad del testimonio que recomienda: Pausanias no solo vio ese oráculo sino que pasó él mismo por su ritual.
«The priestess at Delphi sat on a tripod—a three-legged stool—over a fissure in the cave of Apollo from which arose intoxicating fumes. Although it is seldom explicitly stated, the reason was that the fumes were believed to enter her, not by the throat, but through the womb» — Tyson añade al trípode del capítulo un dato que dice raramente explícito: se creía que los vapores entraban en la sacerdotisa no por la garganta sino por la matriz.
«But the prophetess in Delphi, whether she gives oracles to mankind through an attenuated and fiery spirit, bursting from the mouth of the cavern, or whether being seated in the adytum on a brazen tripod, or on a stool with four feet, she becomes sacred to the God; whichsoever of these is the case, she entirely gives herself up to a divine spirit, and is illuminated with a ray of divine fire. And when, indeed, fire ascending from the mouth of the cavern circularly invests her in collected abundance, she becomes filled from it with a divine splendour» — de la nota 9, donde Tyson da el pasaje de Jámblico sobre la profetisa délfica en la traducción de Taylor, con la variante del asiento de cuatro pies que el capítulo no recoge.
«The premise of this work is that it is a reply given by Iamblichus to Porphyry to questions raised in Porphyry’s Letter to Anebo, which prefaces On the Mysteries—thus Agrippa’s reference to Porphyry» — Tyson explica por qué la obra atribuye a Porfirio un texto de Jámblico: los Misterios son respuesta a la Epístola a Anebo, que los precede.
«It is worth looking at the Wheel of Fortune card in the Visconti-Sforza Tarocchi Deck in light of the above description» — Tyson remite en voz propia esa descripción a la carta de la Rueda de la Fortuna del tarot Visconti-Sforza.
«Thrace was the chief seat of the worship of Dionysus, and it is probable the god was introduced from Thrace into Greece. The Thracian oracle of Dionysus (whom the Thracians called Bacchus) was located in a fissure, or cave, on one of the highest summits of the Rhodope Mountains» — de la nota 11, donde Tyson sitúa el paso tracio de Dioniso en una hendidura de las cumbres del Ródope y hace venir de Tracia el culto a Grecia.
«There is a spring in front of Demeter’s sanctuary with a dry stone wall on the temple side and a way down to the spring on the outer side. There is an infallible oracle here, not for all purposes but for the sick. They tie a mirror onto some thin kind of cord, and balance it so as not to dip it into the spring, but let the surface of the mirror just touch lightly on the water. Then they pray to the goddess and burn incense and look into the mirror, and it shows them the sick man either alive or dead» — de la nota 14, donde Tyson da la descripción de Pausanias de la fuente adivinatoria de Deméter: el espejo colgado de un cordel que apenas roza el agua y muestra al enfermo vivo o muerto.
«About a quarter of a mile farther on to the right is Ino’s water, as they call it, the size of a small lake only that it goes deeper; they throw loaves of barley bread into this water at Ino’s festival. When the water accepts the loaves and keeps them it means a good omen for whoever threw them in, but if it sends them up to the surface again, this is accepted to be a terribly bad sign» — de la nota 15, donde Tyson da el pasaje de Pausanias sobre el agua de Ino que la obra llama de Juno, con los panes de cebada aceptados o devueltos.
«Ino was the mortal daughter of Cadmus who bore two illegitimate children to Athamas. When Athamas was driven mad by the gods for his infidelity, Ino threw herself into the sea and was transformed into the goddess Leucothea. Agrippa has confused Ino with Juno» — Tyson corrige el nombre del capítulo: la del pantano es Ino, hija de Cadmo transformada en Leucótea, y no Juno.
«At Palice in Sicily (southwest of present-day Lentini) were two sulfurous fountains called Deilloi that were sacred to the Palici, twin brother gods born of Zeus and the nymph Thalia, who was the daughter of Vulcan. In early times human sacrifices were offered to the gods. In classical times their sanctuary became the asylum for runaway slaves. Oaths were written on tablets and thrown into one of the two springs. If the tablets floated, the oaths were considered true; if they sank, the oaths were looked upon as lies and the oath-takers punished with blindness or death» — de la nota 16, donde Tyson sitúa las dos fuentes sulfurosas de los Palicos, su asilo de esclavos fugados y el juicio por tablillas que flotan o se hunden; el topónimo queda partido por el renglón.
«It is very uncertain how the oracle through brass was received in the sacred grove of Zeus at Dodona. There seems to have been a circle of vessels placed or hung from trees around the temple. The blowing of the wind caused these to sound with mellow tones. Perhaps light wands were hung in such a way as to strike against the brass vessels or gongs when moved by the breeze between the oaks. Or perhaps statues holding wands were placed near the gently swinging brass, which was moved by the wind in the boughs of the sacred oaks, the vessels being suspended from their limbs» — de la nota 17, donde Tyson declara muy incierto el mecanismo del oráculo de Dodona y ofrece dos conjeturas suyas, sin decidir entre ellas.
«The letter of Ausonius Decimus Magnus to Meropius Pontius Anicius Paulinus. See their separate biographical notes» — de la nota 18, donde Tyson identifica la epístola que el capítulo atribuye a un *Austinus*: es de Ausonio a Paulino; el nombre queda partido por el renglón.
«An observation echoed by Chaucer (“The Marchantes Tale,” line 1598) and Shakespeare (Merchant of Venice, act 2, sc. 6, line 36» — de la nota 2 del capítulo XLIX, donde Tyson rastrea el amor sin ojos del capítulo en Chaucer y en Shakespeare.
«O those celestial natures, multiplying the natures of truth by the will of God! O that potent Nature, which overcame and conquored 627 natures, and caused its natures to rejoice and be glad! This, therefore, is that special and spiritual nature to which the God thereof can give what fire cannot» — de la nota 3, donde Tyson respalda el símil alquímico con la Turba philosophorum en la edición de Waite: la naturaleza espiritual a la que su Dios puede dar lo que el fuego no puede.
«This applies more to the archetypal soul of Adam, which comprehends all other souls within it, than to individual human souls. The Word is IHVH. The seal is the interlocking hexagram» — Tyson acota el alcance de la definición cabalista del capítulo —vale más para el alma arquetípica de Adán que para las almas individuales— y nombra en voz propia la Palabra y el sello.
«The prophetic woman too in Brandchidae, whether she holds in her hand a wand» — de la nota 10, donde Tyson da el pasaje de Jámblico sobre la profetisa de Bránquidas que el capítulo resume; la frase se corta donde el troceo cambia de plana.
«which was at first received from some God, and becomes filled with a divine splendour, or whether seated on an axis, she predicts future events, or dips her feet or the border of her garment in the water, or receives the God by imbibing the vapours of the water; by all these she becomes adapted to partake externally of the God» — el resto de ese pasaje tras el corte, con las cuatro vías por las que la profetisa se dispone a recibir al dios: la vara, el eje, los pies o la orla en el agua, y el vaho del agua.
«It becometh you to hasten unto the Light, and to the Rays of the Father, from whom was sent unto you a Soul (Psyche) endued with much mind» — de la nota 2, donde Tyson localiza en los Oráculos caldeos, versión de Westcott, la fórmula de ascenso que el capítulo atribuye a Zoroastro.
«And thereupon, having been stripped of all that was wrought upon him by the structure of the heavens, he ascends to the substance of the eighth sphere, being now possessed of his own proper power; and he sings, together with those who dwell there, hymning the Father; and they that are there rejoice with him at his coming. And being made like to those with whom he dwells, he hears the Powers, who are above the substance of the eighth sphere, singing praises to God with a voice that is theirs alone. And thereafter, each in his turn, they mount upward to the Father; they give themselves up to the Powers, and becoming Powers themselves, they enter into God» — de la nota 3, donde Tyson da el ascenso hermético del Corpus Hermeticum 1.26a: despojado de lo obrado por la estructura de los cielos, el hombre sube a la octava esfera, canta con los que allí moran y al fin entra en Dios.
«You see, my son, through how many bodily things in succession we have to make our way, and through how many troops of daemons and courses of stars, that we may press on to the one and only God» — el segundo pasaje hermético de esa nota, que mide el camino en cuerpos, tropas de démones y cursos de astros.
«Letting intelligence o’er thy body reign; ' So that, ascending into the radiant Ether, Midst the Immortals, thou shalt be thyself a God» — de la nota 4 del capítulo L, donde Tyson da los Versos áureos de Pitágoras que la obra parafrasea, en la cadena de traducciones de Fabre d'Olivet y Redfield.
«Many times it has happened: Lifted out of the body into myself; becoming external to all other things and _ self-encentered; beholding a marvellous beauty; then, more than ever, assured of community with the loftiest order; enacting the noblest life, acquiring identity with the divine; stationing within It by having attained that activity; poised above whatsoever within the Intellectual is less than the Supreme: yet, there comes the moment of descent from intellection to reasoning, and after that sojourn in the divine, I ask myself how it happens that I can now be descending, and how did the soul ever enter into my body, the soul which, even within the body, is the high thing it has shown itself to be» — de la nota 5, donde Tyson da el testimonio en primera persona de Plotino sobre su propio rapto, con la pregunta que lo cierra: cómo puede estar descendiendo y cómo entró el alma en su cuerpo.
«Aristeas also, son of Caustrobius, a native of Proconnesus, says in the course of his poem that rapt in Bacchic fury he went as far as the Issedones. ... I will now relate a tale which I heard concerning him both at Proconnesus and at Cyzicus. Aristeas, they said, who belonged to one of the noblest families in the island, had entered one day into a fuller’s shop, when he suddenly dropt down dead. Hereupon the fuller shut up his shop, and went to tell Aristeas’ kindred what had happened. The report of the death had just spread through the town, when a certain Cyzicenian, lately arrived from Artaca [Erdek], contradicted the rumour, affirming that he had met Aristeas on his road to Cyzicus, and had spoken with him. This man, therefore, strenuously denied the rumour; the relations, however, proceeded to the fuller’s shop with all things necessary for the funeral, intending to carry the body away. But on the shop being opened, no Aristeas was found, either dead or alive. Seven years afterwards he reappeared, they told me, in Proconnesus, and wrote the poem called by the Greeks “The Arimaspeia,” after which he Of Rapture, and Ecstasy, and Soothsayings / 631 disappeared a second time» — de la nota 6, donde Tyson identifica al filósofo de Proconeso del capítulo con el Aristeas de Heródoto, muerto en la tienda del batanero, visto en camino a Cízico y reaparecido siete años después.
«Pliny contributes this colorful detail: “It is stated also, that in Proconnesus, the soul of Aristeas was seen to fly out of his mouth, under the form of a raven» — el detalle que Tyson añade de Plinio: el alma de Aristeas fue vista salir de su boca en figura de cuervo.
«With reference to the soul of man, we find, among other instances, that the soul of Hermotinus of Clazomenae was in the habit of leaving his body, and wandering into distant countries, whence it brought back numerous accounts of various things, which could not have been obtained by any one but a person who was present. The body, in the meantime, was left apparently lifeless. At last, however, his enemies, the Cantharidae, as they were called, burned his body, so that the soul, on its return, was deprived of its sheath, as it were» — de la nota 7, donde Tyson da la versión de Plinio del Hermotimo de Clazómenas que el capítulo nombra deformado: sus enemigos quemaron el cuerpo y el alma volvió sin vaina.
«Such was the soul of Hermodorus the Clazomenian, of which it is reported that for several nights and days it would leave his body, travel over many countries, and return after it had viewed things and discoursed with persons at a great distance; til at last, by the treachery of his wife, his body was delivered to his enemies, and they burnt the house while the inhabitant was abroad. It is certain, this is a mere fable. The soul never went out of the body, but it loosened the tie that held the Daemon, and permitted it to wander; so that this, seeing and hearing the various external occurrences, brought in the news to it» — la versión de Plutarco que Tyson pone al lado, y que niega el hecho mismo: el alma nunca salió del cuerpo, solo aflojó la atadura del demonio, que fue quien vio, oyó y trajo las noticias.
«With regard to the case of Hermotimus, they say that he used to be deprived of his soul in his sleep, as if it wandered away from his body like a person on a holiday trip. His wife betrayed the strange peculiarity. His enemies, finding him asleep, burnt his body, as if it were a corpse: when his soul returned too late, it appropriated (I suppose) to itself the guilt of the murder. However the good citizens of Clazomenae consoled poor Hermotimus with a temple, into which no woman ever enters, because of the infamy of this wife» — la tercera versión que Tyson reúne, la de Tertuliano, con la traición de la esposa y el templo vedado a las mujeres que Clazómenas levantó en desagravio.
«What concerns us in this instance is the fact that sorcerers and shamans are able, here on earth and as often as they wish, to accomplish “coming out of the body,” that is, the death that alone has power to transform the rest of mankind into “birds;” shamans and sorcerers can enjoy the condition of “souls,” of “discarnate beings,” which is accessible to the profane only when they die» — el pasaje de Eliade que Tyson reproduce en la misma nota: brujos y chamanes logran en vida la salida del cuerpo que a los demás solo les llega con la muerte.
«The mind of man, however, never exerts the power of natural divination, unless when it is so free and disengaged as to be wholly disentangled from the body, as happens in the case of prophets and sleepers» — de la nota 9, donde Tyson da el pasaje de Cicerón tal como está en la traducción de Yonge, con el *unless* que la frase necesita.
«A suspension of the action of the heart; a suspension of vitality» — de la nota 11, donde Tyson glosa el *syncope* del capítulo.
«The Orphic hymn to Hercules calls the hero “in divination skilled» — de la nota 13, donde Tyson localiza en el himno órfico el título adivinatorio que el capítulo da a Hércules.
«Perhaps from the Achilleis. See biographical note on Statius» — de la nota 14, donde Tyson deja en conjetura de qué obra de Estacio salen los versos sobre la madre de Aquiles.
«The reference here is to shamanism, a prominent feature of which is astral» — de la nota 8, donde Tyson identifica con chamanismo a los noruegos y lapones del capítulo; la frase se corta donde el troceo cambia de plana.
«travel, or soul flight. The myth of Odin exhibits many shamanic aspects: “His body lay as though he were asleep or dead, and he then became a bird or a beast, a fish or a dragon, and went in an instant to far-off lands» — el resto de esa nota tras el corte, con el Odín de la Ynglinga saga que Tyson cita por vía de Eliade: el cuerpo yacía como dormido y él iba en un instante a tierras lejanas.
«The English edition of the Occult Philosophy omits the word “unless” from its free translation of Cicero, which inverts the meaning of the» — Tyson declara que la edición inglesa de 1651 omite el *unless* de Cicerón, con lo que invierte el sentido del pasaje; el nombre de la obra queda partido por el renglón y la frase se corta donde el troceo cambia de plana.
«passage. I have corrected this error» — el remate tras el corte, y es de los lugares donde Tyson dice enmendar en primera persona el texto que imprime.
«Thee I invoke, blest power of dreams divine, Angel of future fates, swift wings are thine: Great source of oracles to human kind, When stealing soft, and whisp’ring to the mind, Thro’ sleep’s sweet silence and the gloom of night, Thy pow’r awake the intellectual sight; To silent souls the will of heav’n relates, And silently reveals their future fates» — de la nota 1 del capítulo LI, donde Tyson da entero el himno órfico a la divinidad de los sueños que la obra cita en cuatro versos, en la versión de Thomas Taylor.
«Hither the priest brings his gifts, and as silent night draws on, lies on a bed of skins and woos sleep; then he sees many phantoms flitting in wonderous wise, and hears manifold voices, and enjoys the converse of the gods, and addresses the powers of Acheron let loose through deep Avernus. Here too at this time father Latinus, coming for oracular response, offered in due form an hundred woolly sheep, and lay raised on their skins and on a bed of fleeces» — de la nota 2, donde Tyson da el pasaje de la Eneida 7 sobre la incubación en el bosque de Albunea, que la traducción de 1651 vierte en verso.
«Moreover, the Spartan magistrates, not content with a careful superintendence of the state affairs, went occasionally to spend a night in the temple of Pasiphae, which is in the country in the neighbourhood of their city, for the sake of dreaming there, because they considered the oracles received in sleep to be true» — de la nota 4, donde Tyson da el pasaje de Cicerón sobre los magistrados espartanos que iban a dormir al templo de Pasífae por tener por verdaderos los oráculos del sueño.
«Pasiphae was daughter of Helios and wife of Minos» — Tyson identifica a la Pasífae de ese templo, que el capítulo deja sin explicar.
«Podalirius was the son of Aesculapius and Epione (or Arsinoe), and the brother of Marchaon. He led the Thessalians against Troy. Returning from the war, he was cast by storm onto the coast of Syros in Caria, where he practiced his miraculous and healing arts» — de la nota 6, donde Tyson sitúa al Podalirio del capítulo, hijo de Esculapio, arrojado por la tormenta a la costa de Caria.
«Apart from legend, nothing is known of Syros (or Syrnos). It is not to be confused with the island of Syros (or Syrus) in the Aegean Sea (present-day Siros» — Tyson advierte que del lugar de ese oráculo no se sabe nada fuera de la leyenda y que no ha de confundirse con la isla egea del mismo nombre.
«There are 22 letters in the Hebrew alphabet, making it a mystical number of completion or totality» — de la nota 10, donde Tyson da razón del plazo de veintidós años del capítulo por las letras del alfabeto hebreo.
«Presumably stones or other substances set in rings, or symbols inscribed on rings» — de la nota 11, donde Tyson conjetura qué son las cosas que el protocolo manda ponerse en los dedos.
«Perhaps an astrological chart for that particular night drawn on consecrated paper; or the chart of a genius or spirit» — de la nota 12, con la misma cautela para la representación del cielo que se pone bajo la cabeza.
«Procillus recounted how, before his very eyes, the Germans had three times cast lots to decide whether he should be burnt to death at once or reserved for execution later, and how he owed his life to the way the lots had fallen» — de la nota 7 del capítulo LII, donde Tyson da el pasaje de César en la traducción de Handford que la obra resume.
«Earlier in the same chapter Caesar says that the German women cast lots to decide on a suitable time for battle. These lots were probably runes» — Tyson añade el dato que el capítulo omite y aventura qué eran aquellas suertes: probablemente runas.
«On the way down from Boura towards the sea is the Boura river, with a small Herakles in a grotto called the Boura Herakles, who gives oracles with a board and dice. To consult the god you pray in front of the statue, and then take dice (Herakles has an enormous number of dice) and throw four on the table. For every throw of the dice there is an interpretation written on the board» — de la nota 8, donde Tyson da la descripción de Pausanias del Heracles de Bura y su oráculo de tablero y dados.
«Presumably Pausanias means the dice were cast one at a time, and the oracles written in the squares of the board upon which each landed read successively» — Tyson interpreta en voz propia cómo funcionaba ese tablero, y lo marca como conjetura.
«The market-place of Pharai is an old-fashioned, big enclosure, with a stone statue of Hermes in the middle that has a beard: it stands on the mere earth, block-shaped, of no great size. It has an inscription too, saying it was dedicated by Simylos of Messene. They call it the Market Hermes and it has a traditional oracle. In front of the statue is a stone hearthstone, with bronze lamps stuck onto it with lead. You come in the evening to consult the god, burn incense on the hearthstone, and fill up the lamps with oil; then you light them all and put a local coin (which they call a bronze bit) on the altar to the right of the god; and then you whisper in the god’s ear whatever your question is. Then you stop up your ears and go out of the market-place, and when you get out take your hands away from your ears and whatever phrase you hear next is the oracle» — de la nota 11, donde Tyson da la descripción de Pausanias del Hermes de Faras, con el detalle que el capítulo omite: la consulta se hace al atardecer, encendiendo las lámparas con aceite; el término queda partido por el renglón.
«For if we ought to speak as the known dignity of the subjects which he expounded requires, he [Epicurus] was a god, a god, I say, O illustrious Memmius, who first discovered that discipline of life which is now called wisdom; and who, by the science of philosophy, placed human existence, from amid so great waves of trouble, and so great darkness of the mind, in so tranquil a condition and so clear a light» — de la nota 2 del capítulo LIII, donde Tyson imprime en la traducción de Watson los versos que el capítulo alega como intención o soplo de Dios: en Lucrecio el dios alabado es Epicuro, y así lo pone la nota entre corchetes.
«The poem is addressed by Lucretius to his friend Caius Memmius Gemellus» — Tyson identifica al Memmio del verso como el amigo de Lucrecio, Cayo Memio Gémelo.
«in the mount Ida—King Minos of Crete was said to have been instructed in the art of lawgiving by Zeus, who was worshiped on Mount Ida in Crete» — de la nota 3, donde Tyson repone quién es el Menos del capítulo: el rey Minos de Creta, instruido en el arte de dar leyes por el Zeus que se adoraba en el Ida.
«On holy Helicon; the goddesses Olympian, daughters of Zeus who holds The aegis, first addressed these words to me: “You rustic shepherds, shame: bellies you are, Not men! We know enough to make up lies Which are convincing, but we also have The skill, when we’ve a mind, to speak the truth.” So spoke the fresh-voiced daughters of great Zeus And plucked and gave a staff to me, a shoot Of blooming laurel, wonderful to see, And breathed a sacred voice into my mouth With which to celebrate the things to come And things that were before» — de la nota 4, donde Tyson da en la versión de Wender los versos de la Teogonía en que las Musas increpan a los pastores y entregan a Hesíodo el báculo de laurel; el mismo pasaje está impreso otra vez en la p. 265 con anclas distintas.
«They also wore a white and pure garment. And in a similar manner they lay on pure and white beds, the coverlets of which were made of thread; for they did not use woolen coverlets» — de la nota 1 del capítulo LIV, donde Tyson documenta el uso pitagórico con la Vida de Pitágoras de Jámblico en la traducción de Taylor, que añade al vestido blanco las camas de hilo y no de lana.
«He [Pythagoras] likewise exhorted them [his disciples] to abstain from such things as are an impediment to prophesy, or to the purity and chastity of the soul, or to the habit of temperance, or of virtue. And lastly, he rejected all such things as are adverse to sanctity, and which obscure and disturb the other purities of the soul, and the phantasms which occur in sleep» — segundo tramo de esa misma nota: el Jámblico de Taylor pone entre lo que Pitágoras mandaba evitar cuanto estorbe a la profecía, a la pureza del alma y a los fantasmas del sueño.
«Dirce in Boeotia—Dirce, wife of Lycus, tyrant of Thebes in Boeotia, was tied to a bull and dragged to death, then her corpse was cast into a well (or a spring), which afterwards bore the name Dirce’s Well (or Dirce’s Spring). The exact location of this water was a local secret in Thebes in ancient times» — de la nota 2, donde Tyson explica de dónde viene el nombre de la fuente Dirce: la mujer de Lico arrastrada por un toro y echada a un pozo, cuyo sitio exacto era secreto local en Tebas.
«How the brahmans of India came to be washing in a fountain in Boeotia would no doubt be made clear by Agrippa’s source, whatever it may be» — y en la misma nota se abstiene ante la incongruencia geográfica del capítulo —brahmanes indios lavándose en Beocia— remitiéndola a una fuente de Agrippa que dice no conocer.
«Gymnosophists—The naked sages of Egypt» — de la nota 3, donde Tyson sitúa en Egipto a los gimnosofistas que el capítulo nombra sin patria.
«You, my father, take in your hand the sacred vessels and the household gods of our country. For me to handle them is a crime now that I have come away from so bloody a strife and from recent carnage, until I have purified myself with running water» — de la nota 6, donde Tyson da en la traducción de Lonsdale y Lee el pasaje de la Eneida que el capítulo versifica: Eneas no toca los penates hasta lavarse en agua corriente.
«Dear nurse, bring hither to me where I stand my sister Anna; tell her to haste and sprinkle her body with river-water, and bring with her the prescribed victims and propitiatory offerings; in such manner let her come: and you yourself shade your brow with the sacred fillet» — de la nota 7, con la Dido de la Eneida en la misma traducción, donde el encargo a la nodriza incluye las víctimas prescritas y la ínfula que el capítulo omite.
«He too thrice bore to his comrades all around clear water, sprinkling them with light dew from the branch of a fruitful olive, and purified the warriors, and spoke the farewell words» — de la nota 9, con el rito funerario de Miseno en la misma traducción: el agua llevada tres veces y el rocío del ramo de olivo.
«Aeneas deposits the golden bough in the doorway of Pluto’s palace» — de la nota 8, donde Tyson dice en voz propia dónde queda el ramo que el capítulo menciona sin destino: en el umbral del palacio de Plutón.
«third concoction—The first concoction was digestion in the stomach and intestines; the second concoction was the transformation of the chyme formed by the previous process into blood; the third concoction was secretion of such things as swéat and tears. These last Burton calls “excrementitious humours of the third concoction” (Burton Anatomy of Melancholy 1.1.2.2 [1621] 1961, 1:148)» — de la nota 1 del capítulo LV, donde Tyson explica la fisiología de las tres cocciones que el capítulo supone y remata con la Anatomía de la melancolía de Burton; la capa de texto imprime *swéat* por sweat.
«aliment—Sustenance. 5. in all temperance—For a description of the evening meal among the Pythagoreans, see Iamblichus Life of Pythagoras 21 (Taylor, 52)» — de las notas 4 y 5 del capítulo LV, donde Tyson traduce a término llano el *aliment* del capítulo y remite la mesa sobria de los pitagóricos al Jámblico de Taylor.
«hierophantae—Hierophantes was the supreme priest of Attica and head of the Eleusinian Mysteries. He was chosen for life from the hieratic family of the Eumolpidae, and upon assuming his office ritually cast his old name into the sea, and was thereafter known only by his title. Presiding over the Mysteries, he declared an end to all warfare while they were being observed, revealed the secrets of the cult to initiates, and had power to bar the entry of those he considered unworthy. A headband and embroidered purple robe made up his ritual apparel» — de la nota 6, donde Tyson repone quién era el hierofante que el capítulo nombra al hablar de la castración: el sacerdote supremo del Ática y cabeza de los misterios de Eleusis, elegido de por vida entre los Eumólpidas y conocido sólo por su título tras echar al mar su nombre viejo.
«hymn of all the gods—This reference is not in the hymn to Musaeus given by Taylor in his Hymns of Orpheus. Agrippa must have another Orphic work in mind» — de la nota 7, donde Tyson desmiente la remisión del capítulo: el himno a Museo que da Taylor no trae ese pasaje, y remite la cita a otra obra órfica que no identifica.
«infinite number of fools—This seems not to be a specific quote, but a reference to the book Ecclesiasticus in general» — de la nota 10, donde Tyson se abstiene ante otra remisión: no le parece cita concreta sino referencia general al Eclesiástico.
«multitudes—Agrippa uses this term in very much the same way that maya is used by the Hindus and Buddhists. Reality is single, uniform and unvarying. All that is changeable, varied and multiple is therefore unreal, a passing illusion from the absolute perspective, and if we are to approach that God view, we also must so regard it» — de la nota 12, donde Tyson lee en voz propia el término *multitudes* del capítulo por el maya de hindúes y budistas: lo real es único y uniforme, y cuanto es mudable y múltiple resulta ilusión pasajera desde la perspectiva absoluta.
«twenty years—Pliny mentions this 20 years in the desert, during which, he says, Zoroaster lived on cheese (Pliny 11.97). The Zoroastrians called this retirement of their leader into the wilderness his “journey to the throne of Ormuzd.”» — de la nota 14, donde Tyson documenta los veinte años de soledad de Zoroastro con el Plinio que lo hace vivir de queso, y da el nombre zoroastriano de ese retiro.
«Dio Chrysostom writes that out of a love for wisdom and righteousness, Zoroaster withdrew from other men and lived in solitude on a mountain. The mountain was consumed by fire, but the sage escaped injury and thereafter spoke to the multitude» — segundo tramo de esa misma nota, con la versión de Dión Crisóstomo: el retiro en un monte, el monte consumido por el fuego y el sabio salido ileso.
«So, if you wish to travel by the various ways of knowing, ... flee all the objects of sense (since they are dispersed and divided and not subject to accurate apprehension)» — de la nota 16, donde Tyson da en la traducción de O’Neill el pasaje de Proclo al Alcibíades que el capítulo resume; la cita se corta donde el troceo cambia de plana.
«and lift yourself up away from these to incorporeal being. ... After the multiplicity in souls lift yourself up to the Intellect and the realms of intelligence in order that you may grasp the unification of things» — el tramo siguiente del mismo Proclo: levantarse de lo sensible al ser incorpóreo y, pasada la multiplicidad de las almas, al Intelecto y a los reinos de la inteligencia.
«Having ascertained and been initiated into the knowledge of the intelligent multiplicity that is undivided and unified, proceed in» — el tercer tramo, que se corta ante el encabezado corrido de la plana.
«totalities. When you have arrived there, you will have left behind all multiplicity, you will have ascended to the very source of the Good. (Proclus Commentary on the First Alcibiades 248-9. In Proclus: Alcibiades I, trans. W. O’Neill» — el remate del pasaje de Proclo tras el corte, con su referencia bibliográfica: llegado allí se deja atrás toda multiplicidad y se asciende a la fuente misma del Bien.
«most simple truth—This is the argument Agrippa» — primer fragmento de la nota 17, donde Tyson enlaza este capítulo con la otra obra de Agrippa; la plana 720 entrevera renglón a renglón las notas 16 y 17, de modo que el resto de la frase no queda contiguo en la capa de texto.
«was later to expound at greater length in the Vanity of» — segundo fragmento de esa misma nota tras el entrevero: el argumento se expondría más largo en la Vanidad de las ciencias, que es el De vanitate cuyo bloque esta misma edición embute al final del Libro III.
«in Thyeste—The Thyestes is one of the tragic plays written by the Roman philosopher Seneca» — de la nota 1 del capítulo LVI, donde Tyson identifica el Tiestes que el capítulo cita como una de las tragedias de Séneca.
«I have beheld one who confessed that he had offended the Divinity of Isis, clothed in linen, sitting before the altars of Isis; another, deprived of his sight for a fault like his, was crying, in the middle of the road, that he had deserved it. The inhabitants of heaven rejoice that such public declarations are made, that they may prove by testimony how great is the extent of their power. Often do they mitigate the punishment, and restore the sight that has been taken away, when they see that a man has truly repented of his error» — de la nota 5, donde Tyson da en la traducción de Riley el pasaje entero de Ovidio que el capítulo versifica en cuatro líneas: los confesos ante los altares de Isis y el ciego que pregona en medio del camino haberlo merecido.
«alms doth sin—Apocryphal book of Ecclesiasticus» — de la nota 7, donde Tyson marca como apócrifo el libro del que el capítulo saca el agua que apaga el fuego.
«to Tobias—Apocryphal book of Tobit» — de la nota 9, donde marca igual el libro de Tobías del que el capítulo saca el testimonio del ángel Rafael.
«Antinoe—One of the suitors of Penelope reproves Antino6s for striking Odysseus, who is disguised as a beggar» — de la nota 14 del capítulo LVI, donde Tyson sitúa la escena que el capítulo alega: un pretendiente de Penélope reprendiendo a Antínoo por golpear a Odiseo disfrazado de mendigo.
«Antinods, you did badly to hit the unhappy vagabond: a curse on you, if he turns out to be some god from heaven. For the gods do take on all sorts of transformations, appearing as strangers from elsewhere, and thus they range at large through the cities, watching to see which men keep the laws, and which are violent» — y da los versos en la traducción de Lattimore, donde los dioses recorren las ciudades mirando quién guarda las leyes y quién es violento; la capa de texto imprime el nombre como *Antinods*.
«in purgations—Rotten eggs have a sulfurous smell» — de la nota 1 del capítulo LVII, donde Tyson explica en voz propia por qué el huevo acompaña al azufre en las purgaciones.
«whence Ovid—Ovid Ars Amatoria (Art of love) 2 line 329. Eggs and sulfur were used to purify the chambers of the sick, even the love-sick. One can easily imagine that the lingering stench would lift them from their melancholy» — de la nota 2, donde Tyson ubica el verso en el Arte de amar y añade su propia lectura socarrona del remedio: el hedor persistente levantaría de la melancolía a los enfermos de amor.
«Apuleius mentions the purification of a ship by a priest of Isis with “a torch, an egge, and sulphur” (Golden Asse ch. 47, near the end)» — y suma en la misma nota el paralelo de Apuleyo: la purificación de una nave por un sacerdote de Isis con antorcha, huevo y azufre.
«Hence the ancient priests, by the mutual relation and sympathy of things to each other, collected their virtues into one, but expelled them by repugnancy and antipathy; purifying when it was requisite with sulphur and bitumen, and sprinkling with marine water. For sulphur purifies, from the sharpness of its odour; but marine water on account of its fiery portion» — de la nota 3, donde Tyson da en la traducción de Taylor el fragmento de Proclo que el capítulo resume, con la relación mutua y la simpatía de las cosas por método de los sacerdotes antiguos; el mismo fragmento está impreso otra vez en la p. 247.
«cinquefoil—Pliny says about cinquefoil: “This plant is also employed in the purification of houses” (Pliny 25.62 [Bostock and Riley, 5:123])» — de la nota 4, donde Tyson respalda el cincoenrama con el Plinio de Bostock y Riley, que lo emplea en la purificación de casas.
«in purifications—Ovid gives an extensive list of materials used for purification in the rites of the goddess Pales: The blood of a horse will be the fumigation, and the ashes of a calf; and the third ingredient will be the stripped stalk of the hard bean. Shepherd, purify the full sheep at the beginning of twilight; let the water first sprinkle them, and let the broom, made of twigs, sweep the ground. Let the sheepfolds, too, be decorated with leaves and branches fastened up, and let the long garland shade the ornamented doors. Let a blue smoke arise from the native sulphur, and let the ewe bleat aloud while rubbed with the brimstone as it smokes. Burn, too, rosemary, and the pitch tree, and the Sabine herbs, and let the burnt laurel crackle in the midst of the hearth» — de la nota 5, donde Tyson pone al lado la lista de Ovidio para los ritos de Pales —sangre de caballo, ceniza de becerro, tallo de haba, azufre nativo, romero, pino y hierbas sabinas—, mucho más larga que la del capítulo.
«or else withers—Pliny relates another version of this folk belief concerning the purity of the olive: “According to M. Varro [De re rustica 1.2], an olive-tree which has been licked by the tongue of the shegoat, or upon which she has browsed when it was first budding, is sure to be barren» — de la nota 6, donde Tyson pone junto a la ramera del capítulo otra versión de la misma creencia sobre el olivo, la del Varrón que cita Plinio, en que la esterilidad la causa la cabra que lo lame o lo ramonea; el corte de renglón deja *shegoat* por she-goat.
«phu—Valeriana phu, the garden valerian or Cretan spikenard. Turner reports that it “groweth in Pontus” (Herbal 1562, 2:86 [OED, s.v. Phu]). Gerard says it “is put into counterpoisons and medicines preservative against the pestilence” (Gerard [1633] 1975, 2:440:1078)» — de la nota 7, donde Tyson identifica la hierba phu del capítulo con la valeriana de jardín o nardo cretense, con Turner y Gerard por herbarios citados.
«black dog—The black dog is the beast of Hecate» — de la nota 8, donde Tyson adscribe a Hécate el perro negro cuya hiel manda sahumar el capítulo.
«but still in that valley which encompasses the city on the north side, there is a certain place called Baaras, which produces a root of the same name with itself; its colour is like to that of flame, and towards the evening it sends out a certain ray like lightning; it is not easily taken by such as would do it, but recedes from their hands, nor will yield itself to be taken quietly, until either the urine or a woman, or her menstrual blood, be poured upon it; nay, even then it is certain death to those that touch it, unless any one take and hang the root itself down from his hand, and so carry it away. It may also be taken another way without danger, which is this: they dig a trench quite round about it, till the hidden part of the root be very small, they then tie a dog to it, and when the dog tries hard to follow him that tied him, this root is easily plucked up, but the dog dies immediately, as if it were instead of the man that would take the plant away; nor after this need any one be afraid of taking it into their hands. Yet after all this pains in getting it, it is only valuable on account of one virtue it hath, that if it only be brought to sick persons, it quickly drives away those called Demons, which are no other than the spirits of the wicked, which enter into men that are alive, and kill them, unless they can obtain some help against them» — de la nota 9, donde Tyson da en la traducción de Whiston el pasaje entero de Josefo sobre la raíz de Baaras, con dos diferencias respecto del capítulo: el color es de llama y no amarillo, y los demonios que la raíz expulsa son allí espíritus de los malvados que entran en los vivos y los matan.
«Gerard identifies this as the peony, and lists variations of the same story found in Apuleius, Theophrastus, Pliny and Aelianus, observing that “the like fabulous tale hath been set forth of Mandrake” (Gerard [1633] 1975, 2:380:983)» — y en la misma nota Tyson identifica la raíz con la peonía siguiendo a Gerard, que alinea las versiones de Apuleyo, Teofrasto, Plinio y Eliano y observa que lo mismo se contó de la mandrágora.
«fires of Sicilia—Volcanic Mount Aetna in Sicily» — de la nota 10, donde Tyson identifica el fuego de Sicilia del capítulo con el Etna.
«them that are near—One might speculate that» — primer fragmento de la nota 11: la plana 725 entrevera renglón a renglón las notas 10 y 11, de modo que la frase de Tyson no queda contigua en la capa de texto, y el arranque conserva su marca de conjetura.
«this torment was caused by invisible poisonous gases that enveloped the unwary climbers» — segundo fragmento de esa misma nota tras el entrevero: Tyson aventura que el tormento del volcán venía de gases venenosos invisibles que envolvían a los escaladores incautos, lo que da explicación natural a lo que el capítulo alega como obrar sobre las almas.
«Dionysius—Pseudo-Dionysius the Aeropagite» — de la nota 2 del capítulo LVIII, donde Tyson consigna como pseudoepígrafe al Dionisio que el capítulo alega por autoridad.
«true being dwells, without colour or shape, that cannot be touched; reason alone, the soul’s pilot, can behold it, and all true knowledge is knowledge thereof. ... And when she [the soul] has contemplated likewise and feasted upon all else that has true being, she descends again within the heavens and comes back home. And having so come, her charioteer [reason] sets his steeds at their manger, and puts ambrosia before them and draught of nectar to drink withal» — de la nota 4, donde Tyson da en la traducción de Hamilton y Cairns el pasaje del Fedro que el capítulo comprime: el ser verdadero sin color ni figura, y el auriga que echa ambrosía y néctar a sus caballos.
«religious silence—“O unspeakable, unutterable, to be praised with silence!” Divine Pymander of Hermes Mercurius Trismegistis 2.96 (Everard [1650, 1884] 1978, 17). From the prayer of Hermes» — de la nota 5, donde Tyson sostiene el silencio religioso del capítulo con la oración de Hermes del Pimandro en la versión de Everard.
«The Scott translation of this same passage is more diffuse» — y en la misma nota registra que la versión de Scott del mismo pasaje es más difusa, sin elegir entre las dos.
«divines of the Greeks—The Hierophants of the Mysteries» — de la nota 7, donde Tyson identifica a los teólogos de los griegos del capítulo con los hierofantes de los misterios.
«Chaldeans—In ancient times “Chaldean” denoted “magician,” particularly an astrologer, and it was» — de la nota 8, donde Tyson advierte que caldeo valía en la antigüedad por mago y sobre todo por astrólogo; la nota se corta donde el troceo cambia de plana.
«almost forgotten that the name referred to a geographical people» — el resto tras el corte: casi se había olvidado que el nombre designaba a un pueblo geográfico.
«But when they had begun to pray, Asclepius whispered, “Tell me, Tat, shall we propose to your father that we should add to our prayer, as men are wont to do, an offering of incense and perfumes?” Trismegistus heard; and much disturbed, he said, “Hush, hush, Asclepius; it is the height of impiety to think of such a thing with regard to Him who alone is good.: Such gifts as these are unfit for him; for he is filled with all things that exist, and lacks for nothing. Let us adore him rather with thanksgiving; for words of praise are the only offering that he accepts» — de la nota 9, donde Tyson da en la traducción de Scott la escena del Asclepio a la que remite el capítulo: Asclepio propone añadir incienso y perfumes, y Trismegisto lo ataja diciendo que es el colmo de la impiedad, porque el único bueno está lleno de cuanto existe y sólo acepta palabras de alabanza.
«frankincense—‘Although frankincense may appease the Gods and the angry Divinities; still it must not all be given to the flaming altars» — de la nota 10, donde Tyson pone al lado el Ovidio de Riley, que admite el incienso para aplacar a los dioses con la reserva de no darlo todo a los altares.
«Moreover, they offer incense to the sun three times a day; resin at his rising, myrrh when it is in the mid-heaven, and that they call Kephi about the time of his setting» — y en la misma nota documenta con el Plutarco de Goodwin el uso egipcio de incienso que Hermes condena para la deidad suprema: resina al salir el sol, mirra en el mediodía y kyphi al ponerse.
«The Harvard University Press translation of the Moralia gives sweet rush in place of nightshade» — y registra sin arbitrar que otra traducción de las Moralia pone junco oloroso donde la suya pone hierba mora en la receta del kyphi.
«unclean—‘For the Kosmos is one mass of evil, even as God is one mass of good» — de la nota 11, donde Tyson respalda con el Corpus hermético la inmundicia de lo material que el capítulo afirma: el cosmos es una masa de mal como Dios lo es de bien.
«For the good man ‘tis most glorious and good and profitable to happiness of life, aye, and most excellently fit, to do sacrifice and be ever in communion with heaven through prayer and offerings and all manner of worship, but for the evil, entirely the contrary. For: the evil man is impure of soul, where the other is pure, and from the polluted neither good men nor God may ever rightly accept a gift; thus all this toil taken with heaven is but labour thrown away for the impious though ever seasonable in the pious» — de la nota 12, donde Tyson da en la traducción de Hamilton y Cairns el pasaje de las Leyes que el capítulo resume: del alma impura no aceptan don ni los hombres buenos ni Dios, de modo que el trabajo del impío con el cielo es trabajo perdido.
Conceptos tratados
Tres Mundos — «there is a three-fold World, Elementary, Celestiall, and Intellectual»; el inferior recibe la virtud del superior.
Virtudes — Poderes que los cuerpos celestes y elementales transmiten al hombre.
Cuatro elementos (fuego, aire, agua, tierra) — Cualidades, oposiciones y proporciones entre fuego, aire, agua y tierra; tres órdenes de elementos.
Spiritus mundi (espíritu del mundo) — Quinta esencia que media entre las almas celestiales y los cuerpos gruesos, difundiendo virtudes por los rayos de los astros.
Cadena de las Cosas — Serie descendente mundo–hombre–bestias–plantas–metales–piedras, en que cada nivel refleja al anterior.
Mansiones lunares (los 28 sectores del recorrido de la Luna) — Veintiocho sectores del recorrido lunar, cada uno con imagen, sello e inteligencia presidente.
Sefirot (las diez numeraciones) — Las diez numeraciones divinas, ligadas a los nombres de Dios y a los órdenes angélicos.
Cuadrado Magico — Tablas planetarias de orden y suma fijos, grabadas en el metal del planeta.
Microcosmos (el hombre-mundo) — El hombre como nudo, atadura y vínculo de todas las cosas; «two images of God; the Kosmos is one, and man is another».
Schemhamphorasch — Los setenta y dos nombres divinos extraídos de tres versículos del Éxodo dispuestos en bustrofedón.
Melancolia — Humor natural y «white choler»; el melancólico recibe espíritus en tres grados, de las artes manuales a los misterios eternos.
Magia Natural — Rama primera del arte: obra sobre las virtudes del mundo elemental con auxilio de la física; su fundamento es el segundo orden de elementos, reducible por arte a su simplicidad.
Quintaesencia (quinta essentia) — Espíritu del Mundo que no sale de los cuatro elementos, y hace de medio entre el alma celeste y el cuerpo grueso.
Anima mundi (alma del mundo) — Alma del Mundo por la que Dios infunde todas las virtudes, con el concurso de las semejanzas, las inteligencias y los rayos de los astros.
Materia prima — La tierra como materia primera de la creación del hombre y medicina más verdadera; purificada y expuesta al aire produce por sí sola.
Generacion Espontanea — De la materia en descomposición nacen animales de otra especie; el gusano da el mosquito, el cangrejo enterrado da el escorpión.
Homúnculo (el hombre artificial) — Figura semejante a un hombre engendrada bajo gallina clueca, que los magos llaman la verdadera mandrágora; declara haberla visto y saber hacerla.
Imaginación (phantasia) — Potencia que retiene las representaciones de los sentidos; movida con vehemencia pinta la figura de lo pensado en la sangre, y por ella imprime en el propio cuerpo y en el ajeno.
Fascinacion — Atadura que sale del espíritu del que hechiza y entra por los ojos del hechizado hasta el corazón; el rayo lleva vapor espiritual y el vapor lleva sangre.
Virtudes Ocultas — Cualidades cuya causa está escondida y que el intelecto humano no alcanza; se conocen por experiencia larga y no por búsqueda de la razón.
Simpatia y Antipatia — Toda cosa tiene amistad y enemistad: algo que la fortalece y algo que la destruye; el principio se remite a Heráclito.
Talismán (imagen astrológica) — Imagen o anillo hecho bajo la constelación conveniente, con la piedra, la hierba y el metal del mismo astro, y con inscripción del efecto.
Horas planetarias — Reparto de las horas del día entre los planetas, dando siempre la primera hora al señor de ese día.
Círculo mágico (circulus) — En la recolección de raíces y hierbas se trazan tres círculos alrededor con la espada antes de arrancarlas.
Necromancia (nigromancia) — Llamado de los espíritus subterráneos y de los muertos por encantamientos infernales, con la sciomancia por su otra especie.
Goetia (γοητεία, arte goético) — Una de las dos partes de la magia ceremonial, junto con la teurgia, según el bloque del De vanitate embutido en esta edición.
Theurgia (obra divina) — La otra parte de la magia ceremonial, distinguida de la goecia en el mismo bloque.
Evocación (llamar y constreñir espíritus) — Los sacerdotes antiguos hicieron estatuas que predecían el futuro e infundieron en ellas los espíritus de los astros.
Transvection (el traslado corporal por seres demoníacos) — El traslado del cuerpo por ríos y fuegos se explica por la fantasía movida con vehemencia, que declara origen del movimiento local.
Prodigio (prodigium, portentum, ostentum) — Todo lo monstruoso y maravilloso anuncia algo grande; se interpreta comparándolo con el precedente histórico y con lo que siguió.
Daimon (entidad intermedia, ni ángel ni demonio) — Los espíritus median entre lo divino y lo humano, porque lo divino no se mezcla directamente con el hombre.
Tetragrammaton (el Nombre de cuatro letras) — El nombre verdadero de Dios no lo conocen ni los hombres ni los ángeles, sino solo Dios.
Gematría (aritmética de las letras) — El alfabeto hebreo se parte en tres madres, siete dobles y doce simples, que valen por caracteres de los elementos, los planetas y los signos.
Quiromancia — Las líneas de la mano son sellos de los astros; Juliano las llama letras sagradas porque en ellas está escrita la vida del hombre.