The Rosicrucian Enlightenment

«The so-called ‘Rosicrucian manifestos’ are two short pamphlets or tracts, first published at Cassel in 1614 and 1615, the long titles of which can be abbreviated as the Fama and the Confessio» — [AFIRMA] las dos fechas de publicación.

«Now put forth in print and communicated to all true hearts. Printed at Cassel by Wilhelm Wessel, 1614» — [AFIRMA] el impresor, en la portada de la Fama que Yates traduce.

«together with the Confession of the R.C. Fraternity. Printed at Cassel by Wilhelm Wessel, printer to the Most Illustrious Prince, 1615» — y el de la Confessio, en su propia portada.

«the document had been circulating in manuscript before that date, for in 1612 a reply to it by a certain Adam Haselmayer was printed» — [AFIRMA] la circulación manuscrita previa.

«Haselmayer’s ‘reply’ is reprinted in the volume containing the first printed edition of the Fama» — y su reimpresión.

«The author of The Chemical Wedding was certainly Johann Valentin Andreae. The manifestos are undoubtedly related to The Chemical Wedding, though they are probably not by Andreae but by some other person or persons unknown» — [INFIERE] la autoría: la fuente escribe «probably not», no una negación firme, y en la misma frase da por CIERTA la autoría de la Boda.

«Though Fama and Confessio may not be written by the same hand as the Wedding, the plan of the allegories in all three works bears the stamp of minds working in concert, bent on sending out into the world their myth of Christian Rosencreutz» — [INFIERE] y la distinta mano es concesiva: lo que Yates afirma es el trabajo concertado.

«The Chemical Wedding of Christian Rosencreutz is the English translation of the title of the remarkable German romance, or novel, or fantasy, published at Strasburg in 1616» — [AFIRMA] la Boda Química y su pie de imprenta.

«There is no name of author in the book which is supposed to be by ‘Christian Rosencreutz’ himself» — y la ausencia de autor, que Yates consigna en nota.

«Whilst a student at Tübingen, so he tells us, he made his first juvenile efforts as an author, in about the years 1602 and 1603. These efforts included two comedies on the themes of ‘Esther’ and ‘Hyacinth’, which he states that he wrote ‘in emulation of the English actors’, and a work called Chemical Wedding, which he describes deprecatingly as a ludibrium, or a fiction, or a jest, of little worth» — [REPORTA] la autobiografía de Andreae, que fecha esos ensayos juveniles hacia 1602-3.

«It cannot have been identical with the published Chemical Wedding of 1616» — [INFIERE] y su reserva: la Boda de 1602-3 no puede ser idéntica a la publicada en 1616.

«The Latin word which Andreae uses most frequently when mentioning the Rosicrucian movement is ludibrium. Of the manifestos he uses expressions like ‘the ludibrium of the vain Fama’, or ‘the ludibrium of the fictitious Rosicrucian Fraternity» — [AFIRMA] el uso del término por Andreae.

«only a ludibrium for the curious, in which those who have tried to follow an artificial and unaccustomed path, instead of the true and simple way of Christ» — [REPORTA] la frase del ludibrium, que Yates cita del Menippus de Andreae, de 1617.

«A ludibrium could be a play, a comic fiction, and—as will be discussed more fully in a later chapter—Andreae thought highly of the theatre as a moral and educative influence» — [INFIERE] la lectura de Yates: el ludibrium como ficción teatral.

«This may not be, with him, always a term of contempt. In fact if one examines the passages in Andreae’s writings about the R.C. Brothers one finds that, although a frequent way of denigrating them is to refer to them as mere players, comedians, frivolous and foolish people, yet at other times he highly praises players, plays, and dramatic art generally, as socially and morally valuable» — y su desarrollo.

«The hero of the manifestos is a certain ‘Father C.R.C.’ or ‘Christian Rosencreutz’ who is said to have been the founder of an Order or Fraternity, now revived, and which the manifestos invite others to join» — [AFIRMA] Rosencreutz como héroe de los manifiestos, en la fórmula cautelosa de la fuente.

«No serious person can now believe in the literal truth of the Rosencreutz story, and the view that a real secret society of Rosicrucians existed and was, as it were, veiled in the myth was questioned by Paul Arnold in his book published in 1955» — [AFIRMA + REPORTA] y la negación de historicidad, con la objeción de Paul Arnold de 1955 que Yates recoge.

«The mythical agents of its spread are the R.C. Brothers. These are said to be reformed German Christians, devoutly evangelical» — [AFIRMA] los Hermanos como agentes míticos.

«De Quincey, who embellishes and adds to the arguments learned from his German sources, maintains that ‘no college or lodge of Rosicrucian brethren . . . can be shown from historical records to have ever been established in Germany» — [REPORTA] la frase del «no college or lodge» es de De Quincey, no de Yates.

«This theory cannot be entirely right» — y la objeción de Yates a esa teoría, en la plana siguiente.

«This ‘Brief Consideration’ is based on John Dee’s Monas hieroglyphica, much of it being word for word quotation from the Monas» — [AFIRMA] la Consideratio brevis y su dependencia de la Monas.

«Nothing is known of the identity of ‘Philip à Gabella’ (could this be a pseudonym referring to ‘Cabala’?) but it is certain that he was a close student of Dee» — [AFIRMA la ignorancia · CONJETURA el pseudónimo] sobre quién es Gabella.

«it quotes verbally from the first thirteen theorems of the work, interspersed with other matter» — [AFIRMA] y la cuantificación de esa dependencia.

«For ‘Philip à Gabella’ the monas becomes a star, and the ‘monas hieroglyphica’ a ‘stella hieroglyphica’» — [AFIRMA] la mónada convertida en estrella.

«In the margin beside the poem there is a symbol (Pl. 19a); below it are the words ‘Sponsus’ and ‘Sponsa’, the bridegroom and the bride» — [AFIRMA] el signo en el margen de la Boda, con los rótulos Sponsus y Sponsa debajo.

«That the Wedding begins with Dee’s sign in the margin is yet another, very strong indication that the ‘more secret philosophy’ underlying the Rosicrucian publications was that of John Dee» — [INFIERE] y lo que Yates deduce de ello.

«we know that a major influence on them was John Dee’s Monas hieroglyphica. This was the ‘more secret philosophy’ behind them» — [INFIERE] la Monas como filosofía secreta.

«The manifestos represent, I believe, the mystical background behind this movement, an intensely religious, Hermetic, magical, alchemical reforming movement such as Dee had propagated in Bohemia» — y el verbo con que Yates la marca como suya.

«These hypotheses can be strikingly confirmed from other evidence» — y el nombre que ella misma les da: hipótesis.

«Khunrath’s ‘Amphitheatre’ forms a link between a philosophy influenced by Dee and the philosophy of the Rosicrucian manifestos» — [INFIERE] el Amphitheatrum como eslabón.

«Whilst avoiding being too positive about these clusive questions, I would think that both these suggestions might stand together, that there was both an exoteric chivalrous application of ‘Rose Cross’, and an esoteric alchemical meaning, Ros Crux. On this theory, Dee’s Monas would be the origin of ‘Rosicrucianism’ in the alchemical sense, and the name would have had chivalrous overtones as ‘Red Cross’. Both origins would be English, English chivalry and English alchemy combining to influence a German movement in which the name translates as ‘Rosencreutz’ and takes on new shades of meaning in the new environment» — [INFIERE] la doble etimología, con el hedge con que Yates la propone; «clusive» es lo que imprime la capa de texto, y la lectura restituida —elusive— no está cotejada.

«Whilst Michael Maier, also a Paracelsist physician, represented the atmosphere of the court of Rudolph II at Prague, Maier had been physician to Rudolph and had been in his confidence» — [AFIRMA] Maier y Rodolfo II.

«After the death of Rudolph, Maier became physician to Maurice, Landgrave of Hesse» — [AFIRMA] y Mauricio de Hesse.

«In both works he maintains that the R.C. Fraternity actually exists, and is not a mere mystification, as some have said. On the other hand, he states that he is not a member and is too humble a person to have access to such exalted beings» — [REPORTA] la defensa de Maier de la Fraternidad, junto con su negativa a pertenecer.

«Michael Maier’s Atalanta fugiens, a book of emblems in which spiritual alchemy reached a high point of artistic expression, was published by Johann Theodore De Bry at Oppenheim in 1618» — [AFIRMA] la Atalanta: Yates la fecha en 1618, y repite la fecha en la p. 127.

«Maier had been particularly interested in English alchemy, and had published in a Latin translation Thomas Norton’s Ordinall of Alchemy,7 a poem in English by a famous medieval English alchemist, the original English version of which was published for the first time by Ashmole in his Theatrum of 1652» — [AFIRMA] Maier traductor al latín del Ordinall of Alchemy de Norton.

«Wilkins says that such a lamp ‘is related to be seen in the sepulchre of Francis Rosicrosse, as is more largely expressed in the Confession of that Fraternity» — [REPORTA] Wilkins citando la Fama, con el «Francis» por «Frater» que Yates corrige.

«For Elias Ashmole took the trouble to copy out in his own hand an English translation of the Fama and the Confessio, and to add to these copies an elaborate letter in Latin, also written in his own hand, addressed to the ‘most illuminated Brothers of the Rose Cross’, petitioning to be allowed to join their Fraternity» — [AFIRMA] la copia de Ashmole.

«I do not believe that Ashmole was addressing any real contemporary group of ‘Rosicrucians’. I think that the whole operation was in the nature of a pious exercise» — [INFIERE] y lo que Yates deduce de ella.

«He possessed a copy of The Fame and Confession of the Fraternity R.C., the English translation of the manifestos published by Thomas Vaughan in 1652» — [AFIRMA] el ejemplar de Newton.

«the title of Dee’s book on Roger Bacon is announced in the preface as Speculum unitatis; sive Apologia pro Fratre Rogerio Bacchone Anglo» — la obra fantasma de Dee sobre Roger Bacon, anunciada en un prefacio y nunca hallada.

«Truth replies very firmly, ‘Planissime nihil’, or ‘I have nothing whatever to do with it» — el desmentido de Andreae sobre el rosacrucismo, que Yates recoge de segunda mano.

«The Rosicrucians, says Garasse, are a secret sect in Germany;3 Michael Maier is its secretary» — y la denuncia de Garasse en 1623.

«Yet (to our shame be it spoken) his Entertainment was too coarse for so deserving a scholar» — el juicio de Ashmole sobre el trato que Inglaterra dio a Maier.

«Secretioris Philosophiae Consideratio brevis a Philipp a Gabella, Philosophiae St (studioso?) conscripta, et nunc primum una cum Confessione Fraternitatis R.C. in lucem edita Cassellis, Excudebat Guilhelmus Wessellius Illmi. Princ. Typographus. Anno post natum Christum» — la portada latina de la Confessio, tal como el apéndice la transcribe; el año va corrupto en la capa de texto y la lectura restituida —MDCXV, 1615— no está cotejada.

«The Consideratio brevis by Philip à Gabella, dedicated to Bruno Carolus Uffel, in nine chapters, followed by a prayer» — y su dedicatoria, dato que la ficha no tenía.

«If a light of Universal Wisdom can be enkindled, it will be able both to spread its beams thoughout the whole world of the human intellect» — Comenius en la Via Lucis, en la traducción de Campagnac; «thoughout» es lo que imprime la capa de texto.

«J. A. Fabricius stated that Joachim Jungius was the author of the Fama and that he had been told this by ‘a secretary of Heidelberg» — la atribución de la Fama a Jungius, reportada por Fabricius.

«says that there is no truth in the statement that Jungius wrote the Fama, though he did belong to Andreae’s circle» — y su desmentido por Partington, en la misma nota: la fuente trae las dos mitades.

«Peter Wok of Rosenberg,17 or Rozˇmberk» — el mecenas bohemio, con las dos grafías que la propia fuente imprime.