Jung Handbook 36

Jung Handbook 36

The Handbook of Jung Psychology
榮格心理學手冊

Chapter 12 第十二章

Alchemy 鍊金術

Stanton Marian 史坦頓、瑪瑞恩

Classical development of Jung’s ideas
榮格觀念的古典發展

In 1996 Edinger continued his elaboration of Jung’s difficult work in The
Aion Lectures: Exploring the Self in C. G. Jung’s Aion. Here he again
worked through Jung’s text, suggesting that the reader not approach it with
a linear attitude. He stressed that Jung’s way of thinking and writing is
better understood as presentational and as a kind of ‘cluster thinking’,
likening it to the way a dream presents itself. Aion examines the notion of
the God image of Christianity and Jung’s complex reflections on the
archetype of the Self. These concerns are amplified in a number of his other
commentaries and books beyond the scope of alchemy proper.

1966年，阿丁吉繼續他對於榮格的困難著作「永恆紀元：探索榮格永恆紀元的完整自我」的建構。在此，他再一次探討榮格的文本，建議說：讀者不要以直線的態度接近它。他強調，榮格的思想及寫作方式，若是作為呈現方式及某種混雜的思維，類比於夢呈現本身的方式，比較好理解。「永恆紀元」檢視基督教的上帝意象，以及榮格對於「完整自我」的原型的複雜沉思。這些關係被強化，以許多他其他的評注，及鍊金術本體的範圍之外的書。

Innovations, criticism and developments
革新，批評與發展

If von Franz and Edinger were major classical disciples of Jung’s work,
James Hillman is a major critic and innovator in his own right. From one
perspective Hillman fundamentally revised Jung’s thoughts, but from
another he returns to its radical essence, carrying its implications to a new
level.

假如梵、法蘭茲及阿丁吉是榮格著作的主要經典門徒，詹姆斯、希爾曼就是一個主要的批評者，及自立門戶的革新者。從某一個觀點，希爾曼從基本上修正榮格的思想，但是從另一個角度來看，他回到榮格思想的真實本質，將它的暗示，發揮到新的層次。

His first organised attempts to present his alchemical reflections were
in lectures given at the Zurich Institute in 1966. He states that he had been
drawn by alchemy’s ‘obscure poetic language and strange images, and by its
amazing insights especially in Jung’s introduction to The Secret of the
Golden Flower and [in his essay on] “The philosophical tree”‘ (Hillman
2003: 101).

他第一次有系統的企圖呈現他的鍊金術的反思，在1966年慕尼克研究所的發表的演講。他陳述，他曾經著迷于鍊金術朦朧的詩意的語言及奇異的意象，以及它的令人歎為觀止的洞見，特別是在榮格對於「金花的秘密」的序言，及他的論文：「哲學樹」(Hillman 2003: 101).

Later, in 1968, while at the University of Chicago Hillman continued his lectures and ‘expanded [his] library research and collection of dreams with alchemical motifs’ (Hillman 2003: 101). These lectures were given in an old wooden chemistry hall and entitled ‘Analytic work alchemical opus’. His approach in these lectures was ‘to exhibit a background to analytical work that is metaphorical, even preposterous and so, less encumbered by clinical literalism’ (Hillman 2003: 102).

後來，在1968年，在芝加哥大學，希爾曼繼續他的演講，並且擴充他有關鍊金術主題的資料的研究及夢的收集。這些演講在一棟老舊的木造建築堤化學館，標題是：「鍊金術著作的分析研究」。他在這些演講中的方法，是要展示一種分析研究的背景，類似比喻與反轉，這樣比較不會受到臨床的拘泥形式所拖累。

This theme had run through Hillman’s papers on alchemical themes beginning in his 1970 publication On senex consciousness’. In 1978 Hillman published ‘The
therapeutic value of alchemical language’ which set its stage for his continuing reflections. What followed was a series of papers: ‘Silver and the white earth’, parts 1 and 2 (Hillman 1980, 1981a), ‘Alchemical blue and the unio mentalis’ (1981b), The imagination of air and the collapse of alchemy’ (1981c), ‘Salt: a chapter on alchemical psychology’ (1981d), `Notes on white supremacy: the alchemy of racism’ (1986), The yellowing of the work’ (1989a), Concerning the Stone: Alchemical Images of the Goal
(1990), ‘The seduction of black’ (1997) and most recently ‘The azure vault:
the caelum as experience (2004), a revision and elaboration of his paper on
alchemical blue.

這個主題貫穿著希爾曼論鍊金術主題的論文，從1970年，論「老年意識」的出版物開始。在1978年，希爾曼出版「鍊金術語言的治療價值」，替他繼續的反思搭建舞臺。隨後是一連串的論文：「銀跟白土」第一章及第二章。「鍊金術的藍色意象」「空氣想像及鍊金術的崩塌」，「鹽：鍊金術心理學的一章」，「白人優越感的注釋：種族偏見的鍊金術，「研究的黃化」，「寶石：目標的鍊金術意象」，「黑色的誘拐」，最近還有一本「作為經驗的蒼穹及雕具星座」，以及一些修正及建構他論鍊金術藍色的論文。

Like alchemical texts themselves, the content of these papers is complex and difficult to summarise in any unified narrative, but if there are any themes that run through them, it is in his turn to the nuances of language and image, the importance of the imagination and attention to alchemical aesthetics, and to colour as an organising focus for reflection.

就像是鍊金術文本本身，這些檔的內容複雜，難於以任何一致性的描述作總結。但是假如有任何主題貫穿其間，那就是他求助於語言及意象的細膩差別，想像及專注鍊金術美學的重要性，以及求助於顏色，作為反思的組織焦點。

In addition, Hillman continues to revise and add to this ongoing reflection and
is in the process of preparing a book that integrates and expands his vision.
For Hillman images speak more directly when their metaphysical coverings
can be set aside, then the level of collective consciousness can be peeled away, so that the material may speak more phenomenally. Then pagan images stand out:
metals, planets, minerals, stars, plants, charms, animals, vessels, fires, and specific locales. (Hillman 2003: 102)

除外，希爾曼繼續校正及增加正在進行的反思，目前正在準備綜合及擴充他的洞見的一本書。對於希爾曼而言，當意象的比喻的內容能夠被放置一邊，然後集體潛意識能夠層層剝開，它們表現得更加直接。這樣，材料本身可以更加生動地夫子自況。然後，異教徒的意象會突顯出來，金屬，行星，礦物，星座，植物，符咒，動物，容器，火，及明確的場所。

For Hillman these alchemical images have been obscured by both Jung’s
psychology as well as by its association with Christian metaphysics. He explained this awareness to the International Congress in Rome in 1977, noting that ‘while Jung reclaimed alchemy for the psyche, he also claimed it for his psychology’ (Hillman 2003: 102) and that its ‘liberation of alchemy from the former traps (mysticism, charlatanism, and pre- or pseudoscience) entangled it in his system of opposites and Christian symbols and thought’ (Hillman 2003: 102).

對於希爾曼，這些鍊金術的意象，曾經因為榮格的心理學，及它跟基督教的形上學的聯想，而被模糊焦點。他解釋，1977年，在羅馬的國際研討議，他的這個醒悟。他說，「雖然榮格重新宣稱心靈是鍊金術，他也宣稱心理學是鍊金術。他讓鍊金術脫離以前的陷阱（神秘主義，江湖郎中，前科學或是假科學），卻又讓它糾纏於他自己的價值對立系統，及基督教的符號象徵及思想。」。

Jung’s metapsychology and his reliance on Christian imagery led Hillman to make a distinction between an ‘alchemy of spirit’ and an ‘alchemy of soul’, and he notes that the transformation of the psyche can be distinguished from the Christian idea of redemption. He states that when we make this distinction, then the subtle changes in color, heat, bodily forms and other qualities refer to the psyche’s processes, useful to the practice of therapy for reflecting the changes going on in the psyche without linking these changes to a progressive program or redemptive vision. (Hillman 2003: 103)

榮格的形上心理學及他對於基督教意象的依靠，引導希爾曼去區別「精神的鍊金術」與「靈魂的鍊金術」。他注意到。心靈的轉變能夠跟基督教的救贖觀念區分開來。他陳述，當我們從事這種區分時，顏色，熱度，身體的形態，及其它的特質，會提到心靈的過程。這對於正在心靈進行的變化的沉思的治療的實踐，是很有幫助。它不必將這些變化跟正在進展的計畫或救贖的幻想，牽涉在一起。

In short, alchemy’s curious images and sayings are valuable not so much because alchemy is a grand narrative of the stages of individuation and its conjunction of opposites, nor for its reflection on the Christian process of redemption, but ‘rather because of alchemy’s myriad, cryptic, arcane, paradoxical, and mainly conflicting texts [which] reveal the psyche phenomenally’ (Hillman 203: 103).

總之，鍊金術的奇異意象及箴言具有價值，倒不是因為鍊金術是一門個體化階段，及其對立價值的結合的堂皇論述，也不是因為它對於基督教救贖過程的反思。相反的，它是因為鍊金術有無數隱秘，神秘，矛盾，及主要是衝突的文本。這些文本極其生動鮮活地顯示心靈的狀態。

For Hillman, alchemy needs to be encountered with the ‘least possible intrusion of metaphysics’ (2003: 103). He saw Jung, von Franz and Edinger as informed consciously or unconsciously by a metaphysical attitude and attempted to examine alchemy in a scholarly manner in order to find objective meaning. He, on the other hand, sees himself as emphasising the ‘matters’ of alchemy as metaphorical substances and archetypal principles. He seeks to activate alchemical language and images finding those qualities of human life which act on the very substance of personality.

對於希爾曼而言，鍊金術需要跟「形上學闖入的些微可能性」，互相邂逅。他看待榮格，梵、法蘭茲，阿丁吉，當著是受到形上學態度啟示的人，不管他們本人是有這樣意識，或是沒有。他企圖以學者的方式檢視鍊金術，為了找到客觀的意義。在另一方面，他看待他自己，作為強調鍊金術的「物質」，當著是比喻的材料及原型的原理。他設法激發鍊金術的語言及意象，找到人類生活可以充當人格特質的的那些品質。

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