The Descent and the Cup 03

The Descent and the Cup 03

下降與聖杯

From Anthropological Structures of the Imaginary

想像的人類學結構

By Gilbert Durand 吉勃、杜蘭

Translated by Springhero 雄伯

 

The viscous element is effectively that of slowness, and descent only permits of viscous matter or thick, dormant water. It retains only the intimate substance of the igneous element: heat.

黏性的元素作為緩慢的元素是很有效的，下降只容許黏性的物質或厚實潛伏的物質。它只保留火元素中的親密物質：熱。

 

In his work dealing with fire, Bachelard distinguishes, as does Novalis, between burning, shining heat and the warmth of the innermost depths and of the wombs: “ Light laughs and plays on the surface of things, but only heat penetrates”.

在處理火的作品中，巴舍拉像諾波利斯一樣，區別燃燒的閃亮的熱跟最內在深處及子宮內的溫暖：「光歡笑，嬉戲於事物的表面，而只有熱才能貫穿。」

 

The dreamed interior is hot, but never burning. Everything is given depth by heat, and heat is the sign and meaning of depth. In the image of “ warm intimacy” the gentle penetration and the caressing repose of the digestive and the sexual belly are joined.

被夢想的內部是熱，但是從來不燃燒。憑藉熱，每一樣東西都給予深度，熱就是深度的符號跟意義。在「溫馨親密」的影像中，消化功用跟性機能的腹部結合了溫和的貫穿跟撫慰的安詳。

 

The imagination of descent confirms the Freudian intuition that the digestive tube is the descending axis of the libido before its sexual fixation. It can even be said that the archetypes of descent faithfully follow the genetic path of the Freudian libido, and it will always be possible to see in the appearance of anal or oral digestive imagery a regression to the narcissistic stage.

下降的想像證實了佛洛伊德的洞察力：消化器官在被確定為性的功能之前，是力比多的下降軸心。我們甚至可以說，下降的原型忠實地遵照佛洛伊德力比多的基因途徑。在肛門及口腔的消化影像中，我們總是可能看到倒退到自戀的階段。

 

The “ Novalis complex”, which assimilates the descent of the miner into the earth copulation, is linked to the “ Jonah complex”. Both are symbolized by the digestive or the sexual belly, and meditation on them opens up the whole euphemizing phenomenology of cavities.

「諾波利斯情結」吸引礦工的下降到地底的交媾，是跟「約拿情結」有相當關連。兩者都由消化及性功能的腹部來象徵。對他們的沉思展開了一整套委婉表達的洞口現象學。

 

The belly is the first cavity to which a positive value is attributed through hygiene and diet. The confusion Freud noted between the sexual and the digestive is, moreover, so pronounced that descent into the incubating belly is accomplished, in folk stories, either through the mouth or the vagina.

腹部是第一個洞口，由於衛生跟飲食的關係，被賦予正面的價值。而且，佛洛伊德注意到，在性跟消化功能之間的混淆是如此明顯，以致於在民俗故事中，進入消化的腹部常是經由嘴巴或是陰道。

 

The polyvalent belly can, indeed, easily fill up with negative values as we have already noted, and come to symbolize the abyss of the fall and the microcosm of sin. But the microcosm implies minimization.

如我們已經注意到，多重價值的腹部的確容易充滿負面價值，並且被用來象徵墮落的深淵及原罪的小宇宙。但是小宇宙也暗示著渺小化。

 

The epithets “ soft” and “ warm” makes sin so pleasant and constitute such a valuable middle-term in the euphemisation of the fall, that the latter slows its descent and converts the negative values of anguish and fear into delight in slowly penetrated interiority.

在墮落的委婉化中，「柔適」及「溫度」的修飾語使原罪令人愉快，並且構成如此有價值的中性名詞。所以墮落緩慢它的下降，在慢慢貫穿到內部的過程，轉變痛苦及恐懼的的負面價值，成為歡樂。

 

P196

Anthropological Structures of the Imaginary

By Gilbert Durand

Translated by Springhero

The Descent and the Cup 04

The Descent and the Cup 04

下降與聖杯

From Anthropological Structures of the Imaginary

想像的人類學結構

By Gilbert Durand 吉勃，杜蘭

Translated by Springhero 雄伯

Double negation 雙重否定

Descent is the impetus for a direct transmutation of the values of the imagination, and Harding quotes the Gnostics for whom “ rising or descending is the same thing”, associating with the conception of inversion the mystical doctrine of Blake for whom descent is also a path to the absolute.

下降是幻想的價值直接轉換的驅動力。哈定曾引用以下的諾斯教義：「上昇與下降其實相同」，讓人聯想到布雷克的逆轉與神秘信條的觀念：「對他而言下降也是到達絕對的途徑」。

One descends in order to go backwards in time and recapture prenatal tranquility. Let us consider this important process of inversion. What is the psychological mechanism which gives rise to euphemisation, and even to radical antiphrasis ( since the abyss transmuted into a cavity becomes an end in itself and the fall, which has become a descent, is transformed into pleasure)? Such euphemizing inversion could be defined as a process of double negation.

我們下降為了要在時間中倒退，重新補捉出生胎前的安詳。且讓我們考慮一下倒轉的重要過程。既然轉換成洞口的深淵本身成為目的，已經成為墮落的下降轉化為歡樂，是怎樣的心理動力產生這樣的委曲求全，甚至是全然的反其道而行？

這樣的委曲倒轉能夠被定義為一種雙重否定的過程。

We have already encountered the precursors of this process in the dialectic of binding and in the character of the binder bound. This process is also revealed in the numerous fabliaux and popular legends in which the robber is robbed, the deceiver deceived, etc., and is signaled in proverbial paradoxes such as : “ The biter bit”, “ set a thief to catch a thief”, etc.

在捆綁的辯證法及捆綁者反被捆綁的特性中，我們已經遭遇到這種過程的先驅者。在無數的傳奇故事及通俗傳說中，我們也見証到這種過程：強盜反被搶劫，欺騙者反被欺騙。在格言的矛盾語中，諸如「咬人者恆被咬之」「以賊抓賊」更是屢見不鮮。

In this procedure the positive is reconstituted through the negative ; by negation or a negative act the effect of initial negativity is destroyed. It could be said that the source of dialectic reversal lies in the process of double negation of images before it is codified in grammatical formalism.

在這個過程中，我們可以透過否定重建肯定：以否定或否定的行為，摧毀最初的否定效果。我們可以這樣說：辯證法則的逆轉在於影像的雙重否定，這樣它才能在文法的形式主義中被定位。

This procedure constitutes a transmutation of values: I bind the binder, I kill death, I use the arms of the adversary himself. Hence I sympathize with all, or a part, of the behavior of the adversary. The procedure is therefore clearly indicative of a whole way of thought, an arsenal of logical processes and symbols, which is radically opposed to the di$retic attitude and to the pharisaism and the intellectual and moral catharism of the intransigent Diurnal Order of the image. Double negation can be seen as the criterion for a total inversion in representational attitudes.

這種過程組成價值的轉換：捆綁我者反被我捆綁，死亡被我殺死，我以其人之道還置其身。因此對於對方的全部或部份，我能同情。這種過程因此明白指示出思想的完整方式，一整套的邏輯及符號，跟一成不變的影像的白天秩序所展現的辯證法則正好相反，不再是後者的僵化的道德教條或陳腐禮教。雙重否定可以看著是對符號態度完全的逆轉標準化。

P197

Anthropological Structures of the Imaginary

By Gilbert Durand

Translated by Springhero

https://springhero.wordpress.com

32hsiung@pchome.com.tw

The Descent and the Cup 02

The Descent and the Cup 02

下降與聖杯

From Anthropological Structures of the Imaginary

想像的人類學結構

By Gilbert Durand 吉勃，杜蘭

Translated by Springhero 雄伯

 

Involutive procedure 渦漩的程序

 

As Bachelard writes, all impulses to explore the secrets of time begin with an “ involutive” procedure. Desoille in his second work studies dreams of descent, which are dreams of return and of acclimatization or consent to the temporal condition. It is a matter of “ unlearning fear”.

如巴舍拉所言，所有探索時間秘密的衝動都起源於「渦漩」的程序。Desoille 在他第二本書研究「下降」的夢，描述回轉跟適應調整時間狀況的夢。那是一種「不學而知的恐懼」。

 

This is one of the reasons why the imagination of descent necessitates more precautions than that of ascent. It requires armor and diving-bells, or the company of a mentor, a whole arsenal of machines more complex than the wing, which was such a simple accessory of flight.

這就是為什麼下降的想像比上昇的想像更需要謹慎。它需要盔甲跟潛水鐘，或引導者的陪伴，比翅膀更複雜的一大堆的機件。而要飛翔只需要簡單的翅膀。

 

For descent risks at every moment confusion with, and transformation into, falling. It must, as reassurance, be constantly accompanied by symbols of interiority and intimacy.

因為下降隨時都冒著轉變成墮落或混淆的危險。為求心安，它必須不斷地陪伴著內在及親密的符號。

 

As we shall see in the Jonah complex, there is an overdetermination of protection even in the precautions taken during descent: one protects oneself in order to penetrate to the heart of protective intimacy.

如我們在「約拿情結」所看到的，在下降時所採取的預防都唯恐保護不週：為了要貫穿到親密保護的核心，我們必須保護自己。

 

Bachelard analyzing a page of Michel Leiris’s Aurora, has clearly shown that the positive value placed on descent was linked to digestive intimacy and the act of swallowing.

巴舍拉分析Michel Leiris 的「曙光」，清楚地顯示：下降的積極價格跟消化的親密及吞噬的動作有關。

 

Whereas ascent is a call for exteriority or for transcendence of the carnal, the axis of descent is a fragile, comforting, intimate axis. The imaginary return is always to some extent a coenaesthetic, visceral “return home”.

雖然上昇是一種肉體的外在及超越，下降的軸心卻是一種脆弱、舒慰、親密的軸心。幻奇的回轉總是一種美感的進入內臟的「回歸家園」

 

When the repentant prodigal son crosses the paternal threshold, it is in order to banquet. Certainly, in these obscure, hidden depths there is no more than a hair’s breadth between the rash act of descent without a guide and the fall towards animal depths.

當悔改的浪子跨入父親的門檻，是為了享受歡宴。的確，在這些模糊隱藏的深處，沒有導引就下降的輕率舉動跟墮落到動物本能的深處，只有一線之隔。

 

But what emotionally distinguishes descent from the sudden shock of the fall, and also from flight, is its slowness. Duration is reintegrated and neutralized by the symbolism of descent, in a sort of assimilation of time from within.

但是情感上，下降跟墮落或飛逃的突然震盪的區別在於它是緩慢的。過程的期間被下降的符號合併及中立，方式是時間從內部吸納。

 

The redemption of time comes about, as in Bergson’s work, from the inside, through the concrete experience of duration.

如同在柏克森的作品，時間的救贖從內部發生，經由過程期間的具體經驗。

 

Thus, all descent is slow, time-consuming, sometimes viewed as laborious penetration. To visceral slowness is added a thermal quality. However, it is here a case of slow, gentle heat, far removed from bright heat and glare.

因此，所有的下降是緩慢，消耗時間，有時被認為是費力勞苦的貫穿。一種熱量的特質被增加到這種到內臟的緩慢。可是熱量是緩慢而溫和，跟明亮的火熱與光輝大不相同。

 

P194

Anthropological Structures of the Imaginary

By Gilbert Durand

Translated by Springhero

The Descent and the Cup 01

The Descent and the Cup 01

下降與聖杯

By Gibert Durand 吉勃、杜蘭

Translated by Springhero 雄伯

 

                  “ The spirit of the depths is imperishable; it is called the mysterious Female…”

                 Tao te Ching VI

                  「谷神不死，謂之玄牝」

                                    老子道德經第六章

 

                  “ The ash of earthly roses is the birthplace of heavenly roses and our evening star is the morning star in the antipodes…”

                  Novalis, Schriften, III. P.189

                  「世間玫瑰的灰燼是天上玫瑰的誕生地；黃昏星與晨星相反顯現。」

                  拿勃利斯 Schriften 第三章

 

I. The Symbols of Inversion

  逆轉的符號象徵

 

                 In the chapters that follow, we shall meet again all the faces of time, exorcised now of the terrors they conveyed, and transmuted because the Order of antithesis has been abandoned. We should not, however, be misled by languages: the vocabulary of purification techniques will continue to be used, but will cover quite a different imaginary context. For example, for the metaphysical imagination of transcendence, the term, “ pure”, evoked symbols of rupture and separation; on the other hand, the ontologistic imagination of immanence reads into this epithet the symbolic substantives of simplicity, tirelessness and primordial immediacy. Purity, for Bergson or Rousseau, no longer has the same semantic content as for Plato or Descartes.

                 在以下章節，我們將再一次遇到時間的諸般面貌，現在已經被驅除他們所傳達的恐怖而變形，因為已經不再有對立面。可是，我們不要被語言所誤導：淨化技巧的字彙仍將繼續使用，但是將涵蓋完全不同的想像內容。例如，對於超越的形上學想像，「純粹」這詞語召換斷裂跟分開的符號象徵。在另一方面，內在的本體論者使用這詞語表示簡單，持久，及原始的當下感。純粹對於柏克森或盧梭，跟對於柏拉圖或笛卡爾，不再擁有相同的語意內容。

 

                  In addition, the euphemisation of temporal icons is accomplished cautiously and gradually, so that the images, in spite of a strong antiphrastic intention, retain traces of the terrifying origin, or otherwise anastomose in a curious fashion with the antitheses of diaeretic asceticism. For example, the aim of the constellations of images that we shall study will no longer be the ascent of the summit, but rather penetration of the center, and digging techniques thus follow ascensional techniques. However, the path to the center can be at the same time or alternatively the easiest and most accessible ( when a trace of the ascensional impetus is retained), or the difficult, winding, labyrinthine pathway, the durohana, foreshadowed in the anguishing images of the abyss, gorge and pit.

                 除外，時間圖像的委婉化小心而謹慎地被完成，這樣意象儘管有強烈對比的傾向，還是保留起源有恐怖的痕跡，要不然就奇妙地與日間禁欲主義的相對吻合。例如，我們將研究的意象情意叢的目的不再是登上山頂，而是貫穿中心。挖掘的技巧因此將跟隨在上昇的技巧之後。可是，到達中央之途，有時或輪流是容易接近（還保留著上昇動機的痕跡），有時卻是困難，彎曲，迷宮般的小徑，籠罩著深淵，峽谷及坑洞的痛苦意像。

 

                 Similarly, the Great Goddesses who, in these constellations, replace the single male Great Sovereign of the religious imagination of transcendence, are both beneficent and redoubtable: they protect the hearth, they bestow motherhood, but when the need arises, they display traces of fearful femininity and can be terrible, bellicose and bloodthirsty. At still other times, engaging in an exploration of the depths, Noctural Order reverie retains, from polemical techniques, the use of the protective armor representing defense and display.

   同樣地，偉大的女神在這些情意叢裡，替代了在超越的宗教想像的男性單一統治，既是仁慈又是令人敬畏。他們保護家庭，充當母親，但是需要出現時，他們展現令人懾服的女性的痕跡，有時恐怖，好鬥而嗜血。還有些時候，在從事探險深谷時，夜間秩序的幻想裡，憑藉辯證的技巧，保留保護性的盔甲的使用，代表防衛跟展示。

 

   The process of euphemisation, seen in embryo in the ambivalence of threatening femininity and outlined in the mastery and appropriation of bonds by the Uranian Gret Gods, intensifies to the point of antiphrasis, never totally excluding the traces of the other Order of representation, and mostly using compromise. Nevertheless, in spite of these compromises of nuances, it is important at the outset to emphasize the clear isotopic relation of the symbols we will study. For example, Dumezil highlights in the Vedas and Mazdean texts the isotopy which links the notions of wealth and the phral with female figures of fecundity and of aquatic or telluric depth. An example of this is to be found in the Acvins linked to Pushan, the god of life, the “ giver of wealth” and the” divine mass”, concentrated in the female figure of Sarasvati, the goddess of the maternal waters, the givers of life and posterity and the bearer of food, milk, grain and honey, an impregnable shelter and inviolable refuge

   委婉化的過程，初期有威嚇的女性矛盾，及以冥府諸神的君臨篡奪為表徵，可強化到相對立的程度，但不完全排除另一秩序的符號表徵，大部份是使用妥協。可是儘管這些妥協跟細微差別，我們還是有需要強調，我們所要研究的符號象徵具有清楚的同位性關係。杜馬吉在Vedas and Mazdean文本中強調，財富的觀念，跟豐饒及水陸幽谷的女性形象的多樣性，有同位性關係。其中一個例子是，阿敏司人跟生命之神普仙有密切關係。普仙是「財富娘娘」及「神的使徒」，表掌管大地之母泉水的女神，莎拉凡提的女性形象，生命及子孫的送子娘娘，以食物，牛奶，穀物和蜂蜜的滋生者，牢不可破的庇護所及不可侵犯的避難所。

 

P193—p194

The Anthropological Structures of the Imaginary

想像的人類學結構

By Gilbert Durand 吉勃，杜蘭

Translated by Springhero 雄伯

https://springhero.wordpress.com

32hsiung@pchome.com.tw

 

      

 

 

Rhythmanalysis

Rhythmanalysis

 

Bachelard devotes two-thirds of his Psychoanalysis of Fire to tracing the psychological and poetic links between elemental fire and sexuality. He notes that most of those who write of the origin of fire by friction have never directly observed such a phenomenon, and that the constellation is set up through more intimate attractions than objective observation: “ Love is the earliest scientific hypothesis for the objective reproduction of fire.”

巴舍拉傾注「火的精神分析學」三分之二的篇幅，來追蹤元素的火跟性之間有何心理及詩意的關連。他注意到，大部份以磨擦來詮釋火的起源的作者，從來沒有直接觀察到這樣一個現象，而且情結的建立是透過比客觀觀察更親密的吸引力：「火的客觀複製，最早的科學假如是愛情。」

 

Then Bachelard attempts a ‘ rhythmanalysis” of friction; the moment one starts rubbing, one experience an objective, gentle warmth “ at the same time as having the impression of pleasant exercise”. The schema of friction is found by him in Bernardinn de Saint-Pierre, the Abbe Nollet, Von Schubert and especially in Novalis, and Bachelard ultimately uses the term “ Novalis complex” for the drive “ toward fire, which is provoked by rubbing and the need for shared warmth.”

然後巴舍拉企圖說明磨擦的「韻律分析」。我們開始磨擦的那一瞬間，我們經驗到客觀的柔適的溫暖，同時又似在從事愉悅的運動。他在Bernardinn deSaint-Pierre, the Abbe Nollet, Von Schubert 特別是拿波利斯的作品裡，發現這個摩擦的模式。最後，巴舍拉使用「拿波利斯情結」來說明，磨擦激起追求火的欲念，及互相需要溫暖的需求。

 

Technological , psychoanalyrical and poetic inquiry thus reveals a vast mythic complex deriving from the rhythmical sexual gesture, which overdetermine the gynecological rhythm of menstruation, and the seasonal or lunar rhythm of fertility. Such a profound, universal obsession with rhythm is rapidly sublimated; the rhythms derive from and reinforce one another, and, starting from the basic sexual rhythm, finish in their musical sublimation.

科技、心理、跟詩意的研究因此顯示：韻律的性的姿態，婦女月經的韻律，以及季節性或月亮的肥沃韻律，產生一個廣大的神秘情結。這樣一個深刻的，普遍性的執迷於韻律很快地被昇華，韻律互相激發，互相強化，開始於基本的性的韻律，終結於音樂般的昇華。

 

As Bachelard says, perhaps it was in this “ labor of love”, making fire,” that man learned to sing”. Ethnological research confirms this intuition; among tribal peoples the rhythmical techniques of fire, polishing, felling, and the rhythm of the boatman or blacksmith are accompanied by dances and songs. In numerous Semitic languages and in Sanskrit, Scandinavian, and Turco-Tatar, the “ master of fire” is the “ master of songs”. Odin and his priests are “ song-smiths”. A probable survival of such a link in the West is to be found among the gypsies who are both smiths and musicians.

如巴捨拉所言，就在這個製造火的「愛的勞動」中，人類學會歌唱。民族學的研究證實了這種觀點，在原始部落，火的韻律技巧，磨平、砍伐，以及船夫或鐵匠的韻律都伴隨著跳舞跟歌唱。在無數的語言，如閃族語、梵語、斯堪地那維亞與韃靼語中，製造火的高手就是歌唱高手。奧亭和他的僧侶都是「歌唱高手」。在西方尚存的關聯可以在吉普賽當中被找到，他們既是鐵匠，又是音樂家。

 

P322

Anthropological Structures of the Imaginary

By Gilbert Durand

Translated by Springhero 雄伯

Http://springhero.wordpress.com

32hsiung@pchome.com.tw

 

Novalis Complex

Novalis Complex

The viscous element is effectively that of slowness, and descent only permits of viscous matter or thick, dormant water. It retains only the intimate substance of the igneous element: heat.

黏性的元素作為緩慢的元素是很有效的，下降只容許黏性的物質或厚實潛伏的物質。它只保留火元素中的親密物質：熱。

In his work dealing with fire, Bachelard distinguishes, as does Novalis, between burning, shining heat and the warmth of the innermost depths and of the wombs: “ Light laughs and plays on the surface of things, but only heat penetrates”.

在處理火的作品中，巴舍拉像諾波利斯一樣，區別燃燒的閃亮的熱跟最內在深處及子宮內的溫暖：「光歡笑，嬉戲於事物的表面，而只有熱才能貫穿。」

The dreamed interior is hot, but never burning. Everything is given depth by heat, and heat is the sign and meaning of depth. In the image of “ warm intimacy” the gentle penetration and the caressing repose of the digestive and the sexual belly are joined.

被夢想的內部是熱，但是從來不燃燒。憑藉熱，每一樣東西都給予深度，熱就是深度的符號跟意義。在「溫馨親密」的影像中，消化功用跟性機能的腹部結合了溫和的貫穿跟撫慰的安詳。

The imagination of descent confirms the Freudian intuition that the digestive tube is the descending axis of the libido before its sexual fixation. It can even be said that the archetypes of descent faithfully follow the genetic path of the Freudian libido, and it will always be possible to see in the appearance of anal or oral digestive imagery a regression to the narcissistic stage.

下降的想像證實了佛洛伊德的洞察力：消化器官在被確定為性的功能之前，是力比多的下降軸心。我們甚至可以說，下降的原型忠實地遵照佛洛伊德力比多的基因途徑。在肛門及口腔的消化影像中，我們總是可能看到倒退到自戀的階段。

The “ Novalis complex”, which assimilates the descent of the miner into the earth copulation, is linked to the “ Jonah complex”. Both are symbolized by the digestive or the sexual belly, and meditation on them opens up the whole euphemizing phenomenology of cavities.

「諾波利斯情結」吸引礦工的下降到地底的交媾，是跟「約拿情結」有相當關連。兩者都由消化及性功能的腹部來象徵。對他們的沉思展開了一整套委婉表達的洞口現象學。

The belly is the first cavity to which a positive value is attributed through hygiene and diet. The confusion Freud noted between the sexual and the digestive is, moreover, so pronounced that descent into the incubating belly is accomplished, in folk stories, either through the mouth or the vagina.

腹部是第一個洞口，由於衛生跟飲食的關係，被賦予正面的價值。而且，佛洛伊德注意到，在性跟消化功能之間的混淆是如此明顯，以致於在民俗故事中，進入消化的腹部常是經由嘴巴或是陰道。

The polyvalent belly can, indeed, easily fill up with negative values as we have already noted, and come to symbolize the abyss of the fall and the microcosm of sin. But the microcosm implies minimization.

如我們已經注意到，多重價值的腹部的確容易充滿負面價值，並且被用來象徵墮落的深淵及原罪的小宇宙。但是小宇宙也暗示著渺小化。

The epithets “ soft” and “ warm” makes sin so pleasant and constitute such a valuable middle-term in the euphemisation of the fall, that the latter slows its descent and converts the negative values of anguish and fear into delight in slowly penetrated interiority.

在墮落的委婉化中，「柔適」及「溫度」的修飾語使原罪令人愉快，並且構成如此有價值的中性名詞。所以墮落緩慢它的下降，在慢慢貫穿到內部的過程，轉變痛苦及恐懼的的負面價值，成為歡樂。

P196

Anthropological Structures of the Imaginary

By Gilbert Durand

Translated by Springhero 雄伯