Cyclical Reverie

Cyclical Reverie 圓形的幻想

 

The vast mythic constellation linking fire, the cross, friction, gyration, sexually and music is summed up in a note by Granet relating to a ritual object found in the excavations at Lo-Lang. The object is in the form of a circular hardwood plate fitted a small square board of softwood.

結合火、十字架、磨擦、迴旋、性及音樂的廣大神秘星座，可用葛蘭尼在樓蘭發現土文物的一席話概括：文物以圓形的硬木盤的形狀，被放置在一個小小的四方形的軟木版上。

 

Granet apprehends in all its aspects the symbolic complex we have just studied: “ It will suffice to point out the existence of a whole body of mythical data that bear witness to the link between the theme of fire and the themes of gyration, the wheel and the pivot,” joined to the “ theme of the swing, the May pole and sundial.”

葛蘭尼從其內容理解到我們剛剛研究過的符號情結：「這足以說明一整套神秘的資料的存在，見證到火的主題跟迴旋、輪轉，及軸心有關連」，外加擺盪、五月柱、日規的主題。

 

He also links some of these themes to “ the notion of Tao and hierogamic practices in relation to an arrangement of numbers evoking the swastika. The theme of flaming torches appears to be linked to a set of practices and metaphors consistent with the idea of hierogamy.: Granet completes the constellation by adding its musical constituents: the driving tool described above is always linked to the acoustic pipe which gives the first note of the Chinese scale.

他也將一些主題連接到「道」、占卦、及數字的安排來召換吉祥。火炬的主題似乎跟占卦的觀念相一致的做法與比喻息息相關。葛蘭尼再音樂的成份來完成這種星座。以上所描述的驅動工具總是跟中國樂曲的樂管的第一音符有關。

 

The Chinese pentatonic scale connects with cruciferous cosmic symbolism since its five notes from “ a cross, which gives the symbols of the center and the four seasons”, and consequently “ the ancient sages considered problems of musical theory to be linked with the calendar.” Thus we conclude that all cyclical reverie relating to cosmology, the seasons, the zylic production of fire and the rhythmic musical system, are manifestation of sexual rhythm.

中國的五音階跟十字管的宇宙象徵有關，因為從十字管的第一音符給予中央及四季的象徵，結果是，古代聖賢認為音樂理論跟日曆有關。因此我們下此結論：所有跟宇宙觀、季節、火的燃燒、及韻律的樂理有關的圓形幻想，都證明了性的韻律。

 

We can make two observations about the rhythmic technology that we have just studied. First we can see that most of the technical instruments of primitive man—the shuttle, spinning-wheel, cart wheel, potter’s wheel, churn, grinding-machine and lastly the arani or fire-lighter—result from an imaginary schema of cyclical temporal rhythm. Rhythmology is at the beginning of every technique, especially that of the two most important inventions for humanity; fire and the wheel.

對於我們剛剛研究的韻律科技，我們有兩個觀察。首先，我們看出大部份原始人的技藝工具，像擺梭、旋轉輪、牛車輪、陶瓷輪、攪拌器、研磨機，以及最後的點火機，都是因為圓形的時間韻律的幻奇模式演變而來。韻律學是每一個技藝的開始，特別是兩個人類最重要的發明：火與輪。

 

Hence our second observation: these technical models of circular rhythm, structured by the engram of the sexual gesture, will gradually separate from the schema of eternal recommencement to take on a Messianic significance, and produce the Son, one of whose prototypes is fire. Plant or animal filiation over-determines technical “production” and predisposes it to a new way of controlling time. The primitive notion of “ product” –be it plant, animal, obstetric or pyrotechnical—gives rise to symbols of “ progress” in time.

因此，我們第二個觀察是：這些圓形韻律的技藝模式，既然具有性姿態的心象，由於要追求傳宗接代的意義，將會漸漸脫離永遠重新開始的模式，而產生火的原型：小孩。植物或是動物物種相傳，限定了技藝的生產，並註定它要接受時間的控制。「產品」的原始觀念，無論是植物、動物。產科或煙火發放，都產生按時間進展的象徵。

 

We have dealt with the images of the cross and fire separately from the technology of cyclical movement because, with the creation of fire, a new symbolic dimension is added to the mastery of time. Time is no longer conquered by the mere certainty of return and repetition, but because the combination of contraries gives rise to a definitive” product”—a “ progress”—which is a justification of change.

我們已經從圓形動作的科技，個別處理了十字管跟火的影像。隨著火的創造，一個新的象徵意義被增加到時間的控制。時間不再是被確定來回的重複所征服，而是因為相反的結合產生了一個明確的「產品」。這個進展證明人生要不斷變化的道理。

 

Thus irreversibility is controlled and becomes promise. Just as cyclical reverie is shattered by the appearance of fire, the effect of which is so much greater than its means of production, we shall now see that the imagination of the tree, overdetermined by vertical schemata, breaks progressively with the cyclical mythology within which the seasonal imagination of the plant kingdom was contained.

因此不可逆轉受到控制，而成為展望。正如圓形幻想被火的出現所粉碎，其影響遠大過於它自己生產的工具，我們現在可看出：樹的想像由於受到垂直模式的過份限定，漸漸脫離圓形神話而瓦解，後者本具有植物界季節輪替的想像。

 

In the phenomenology of fire, as in phenomenologies of the tree, can be seen the transition from purely circular to synthetic archetypes that will establish highly effective myths of progress and historical revolutionary Messianic movements.

火的現象學，如同樹的現象學，都可看著是從純粹圓形循環轉移到合成原型。後者建立非常有效的進展神話和自強不息的救贖。

 

P325

Anthropological Structures of the Imaginary

By Gilbert Durand

Translated by Springhero雄伯

Http://springhero.wordpress.com

32hsiung@pchome.com.tw