A Fountain of Gardens
A fountain of gardens watered by the rivers of divine pleasure · The Works of Jane Lead
Es un diario visionario inglés de finales del XVII, y el catálogo que lo usa lo cita siempre por la misma vía: «The Works of Jane Lead, especially her book A Fountain of Gardens. "Printed and Sold by J. Bradford, near Crowder's Wall," London 1696. Four Volumes» «Vallée y Aubeck — Wonders in the Sky (2010) · p. 267».
Lo que de él llega a esta base es una serie de entradas fechadas entre 1670 y 1694: una nube luminosa con una mujer dentro «Vallée y Aubeck — Wonders in the Sky (2010) · p. 267», tres figuras junto a la cama «Vallée y Aubeck — Wonders in the Sky (2010) · p. 271», un ojo llameante en un firmamento azul «Vallée y Aubeck — Wonders in the Sky (2010) · p. 272», un asalto nocturno con pinchazo de aguja «Vallée y Aubeck — Wonders in the Sky (2010) · p. 274» y el descenso de una nave dorada con cuatro alas «Vallée y Aubeck — Wonders in the Sky (2010) · p. 276».
Su vocabulario es propio y el catálogo lo respeta: llama Transports a sus raptos «Vallée y Aubeck — Wonders in the Sky (2010) · p. 267», y —según Jesse Glass, citado ahí— usa el término Magia para los seres, que por admisión de ella misma no son ángeles ni demonios «Vallée y Aubeck — Wonders in the Sky (2010) · p. 267».
3 afirmaciones · 1 fuente · 1 atribución
Atribución
se consigna, jamás se afirma«Vallée y Aubeck — Wonders in the Sky (2010) · pp. 266, 267»
Cadena de la obra
el testimonio procesado, en esmeraldaAfirmaciones
3 entradas — la voz de la obra, con su locator«November the 22d; 1696, 11 ſaw aza. " WES ROM of this rifing Birth, "of the Holy. Ghoſt, a bright Firrament & .opne, aud all dignified with ſpleadorous ie Stars, fome .much more. blaziog, then; others. .--And. one. .Star,,cncrealed, fo great 2s it+became like the Body--of the-f» — una entrada de diario fechada: el 22 de noviembre de 1696 ve un firmamento abierto, cuajado de estrellas resplandecientes unas más que otras, y una que crece hasta hacerse como el cuerpo del sol. Lectura restituida de la ſ larga y de la basura de OCR: «…I saw […] of this rising Birth of the Holy Ghost, a bright Firmament opened, and all dignified with splendorous Stars, some much more blazing than others. And one Star increased so great as it became like the Body of the Sun».
«this Philoſophical Art» — cómo nombra la operación de la que habla; el sintagma es suyo y sitúa el texto en el vocabulario del corpus, no solo en el devocional.
«to know, is Life Eternal» — la ecuación entre conocer y vida eterna, dicha en cuatro palabras.
Sobre la obra
27 entradas — lo que el aparato y la investigación dicen de ella«Source: Works of Jane Lead, especially her book A Fountain of Gardens. "Printed and Sold by J. Bradford, near Crowder's Wall," London 1696. Four Volumes.» — el expediente editorial completo, tal como lo da la fuente.
«The original edition is very rare but most of Jane Lead's works can be found faithfully reproduced in on-line archives.» — la vía de acceso que la propia fuente declara.
«Lead, Jane. A fountain of gardens watered by the rivers of divine pleasure..., London: J. Bradford, 1696, p. 264.» — el título largo y el folio exacto de donde toman la fig. 27; los puntos suspensivos son de la fuente.
«Jane Lead was a British Christian mystic who lived from 1623 to 1704. Information about her early life is sparse but her family is known to have hailed from Norfolk.» — lo que la fuente da de la autora, incluida la escasez de datos.
«Born as Jane Ward in 1623, she married William Lead (or Leade) at the age of 21, and had four daughters by him.» — la doble grafía del apellido, «Lead (or Leade)», es de la fuente.
«during a dance at a Christmas party, when she was 15 years old, Lead heard a miraculous disembodied voice. It said "Cease from this, I have another dance to lead thee in, for this is vanity."» — el episodio inaugural, que la fuente atribuye a «her own writings».
«in later life this decision led her into the study of theology, philosophy and alchemy» — el único puente documentado entre esta autora y el dominio del corpus.
«There came upon me an overshadowing bright Cloud, and in the midst of it the Figure of a Woman, most richly adorned with transparent Gold, her hair hanging down and her Face as the terrible Crystal for brightness, but her Countenance was sweet and mild. At which sight I was somewhat amazed» — abril de 1670, el primer contacto según lo transcribe la fuente; las mayúsculas son del original transcrito.
«Years later she would write about actual sightings that she had and several abductions by a group of beings who, by her own admission, were neither angels nor demons.» — la clasificación negativa se adjudica a la autora misma.
«As noted by Jesse Glass in an article on Jane Lead's mystic experiences, she often uses the term 'Magia' when referring to them» — tercera voz: el término *Magia* llega adjudicado a Jesse Glass, no a la lectura directa de la obra.
«She calls her abduction experiences Transports throughout her diaries.» — el término propio de la autora para el rapto, con mayúscula.
«I saw one as in a Figure of a sprightly Youth, presenting himself near my Bedside, which amazed me, and I was afraid to take knowledge of him» — 23 de mayo de 1676; tres figuras sucesivas, ninguna habla.
«Then again was a presentation of a Person in a middle Stature, comely, sweet, and amiable for attraction; yet I being bounded in my Spirit, was hindered: otherwise I could have run with my Spirit into him.» — el cierre de esa misma entrada.
«While this apparition could be interpreted as an effect of schizophrenia this report would be seen as classic "bedroom visitation" by aliens in the context of today's abduction literature.» — glosa del catálogo, no de la autora, y plantea las dos lecturas sin cerrar.
«There was a Flaming Eye in the midst of a Circle, and round about it a Rainbow with all variety of Colours, and beyond the Rainbow in the Firmament, innumerable Stars all attending this Flaming Eye.» — 16 de julio de 1676; la autora lo llama «the eye of God».
«Her drawing shows an oval or eye-like thing emitting five shafts of flame or light, enclosed by a thick circle surrounded by stars. The circle's interior is labeled "The Globe of Light"» — la obra trae ILUSTRACIÓN de la propia autora, con rótulo; es la fig. 27 del catálogo.
«Jane's style is as difficult and archaic as that of any 17 t h century mystic» — el catálogo declara la dificultad del texto antes de interpretarlo; el «17 t h» partido es de la capa de texto.
«cast as into a magical Sleep, where I saw my self carried into a Wilderness» — 22 de marzo de 1677.
«did make a kind of Assault upon me; but one of the Females was more fierce, and did give my outward Skin a prick, as with a sharp Needle. Upon which I called for Angelical aid to succour me» — el asalto y el recurso al auxilio angélico.
«In the Morning after I was awaked from Sleep, upon a sudden I was insensible of any sensibility as relating to a corporeal Being, and found my self as without the clog of an Earthly Body» — 9 de febrero de 1678, entrada que la propia autora tituló «A Transport».
«It was in the form of a large Ship» — con cuatro alas doradas, y bajó «with the greatest swiftness as is imaginable»; ella se ve a sí misma «leaping and dancing and greatly rejoicing to meet it».
«But when I came up to it [the Ship], then it did as suddenly go up again, withdrawing out of sight, unto the high Orb from whence it came.» — el cierre de esa entrada; el corchete es del catálogo.
«Within it there appeared bright Beryl Bodies walking up and down, and with them did appear as in a Looking glass, like as a round Globe, the Personal Glory» — 23 de julio de 1694, lo que la autora llama un «enclosed Principle» rodeado de un círculo de fuego.
«Lead's ordeals could not be closer to the situation of a modern abductee» — glosa del catálogo, y es la razón por la que la obra entra en él.
«the same 'fantasies' have been reported and believed for hundreds of years, since long before the popularisation of the genre» — el uso argumental que el catálogo le da a esta obra.
«Lead was shown spectacular things that she later interpreted in bursts of guided inspiration, whereas "celestial intervention" in the Bible had a dramatic, strategic effect» — el contraste que el catálogo traza entre esta obra y lo bíblico: lo suyo es «personal and private», lo otro comunitario.
«From the scientific observations of several astronomers to the visions of Jane Lead, the 17th century is especially interesting to a researcher of unusual aerial phenomena» — la obra se usa como uno de los dos extremos del siglo.
Conceptos tratados
Daimon (entidad intermedia, ni ángel ni demonio) — Según lo reporta el catálogo, los seres de sus visiones no son ángeles ni demonios «by her own admission»; el término *Magia* para nombrarlos se lo adjudica Jesse Glass, citado ahí
Imaginación (phantasia) — Las entradas transcritas describen visión, rapto y retorno al cuerpo en primera persona, con el término propio *Transports* para el episodio