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

 

      

 

 

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