Dream 07 榮格釋夢

榮格釋夢 07

The Psychology and Alchemy by C.G. Jung 心理學與煉金術

Translated by Springhero 雄伯譯

32hsiung@pchome.com.tw

 

13. Dream:

  The father calls out anxiously, “ That is the seventh!”

第十三夢:

父親焦慮地呼叫出來:「這是第七次了!」

 

  During the walk over many ladders some event has evidently taken place which is spoken of as “ the seventh”. In the language of initiation, “ seven” stands for the highest stage of illumination and would therefore be the coveted goal of all desire. But to the conventional mind the solificatio is an outlandish, mystical idea bordering on madness. We assume that it was only in the dark ages of misty superstition that people thought in such a nonsensical fashion, but that the lucid and hygienic mentality of our own enlightened days has long since outgrown such nebulous notions, so much so, indeed, that this particular kind of “ illumination” is to be found nowadays only in a lunatic asylum. No wonder the father is cared and anxious, like a hen that has hatched out ducklings and is driven to despair by the aquatic proclivities of its young. If this interpretation—that the “ seventh” represents the highest stage of illumination—is correct, it would mean in principle that the process of integrating the personal unconscious was actually at an end. Thereafter the collective unconscious would begin to open up, which would suffice to explain the anxiety the father felt as the representative of the traditional spirit.

 

  走過許多樓梯後,某個事件明顯地發生,被認為是「第七次」。在創世紀的語言,七代表最高的階段,因此是所欲望垂涎的目標。但是對於傳統的心靈,「圓融地」是一個怪誕的神秘觀念,接近瘋狂。我們認為,只有在模糊迷信的黑暗時代,人們才會以如此非理性的方式思考,但是在我們啟明時代,清楚而明智的精神早已經超越如此模糊的觀念,以致這種特別的「啟悟」只有在精神病院才會被找到。難怪父親是害怕跟焦慮,像母雞孵蛋孵出小鴉,小鴉的玩水習性讓它深感絕望。假如這種「七」代表啟明的最高階段的解釋是正確的,原則上它意味著,合併個人無意識的過程實際上已經結束。從此集體無意識將展開,將足以解釋父親所感到的焦慮,作為傳統精神的代表。

 

  Neverthelss the return to the dim twilight of the unconscious does not mean that we should entirely abandon the precious acquisition of our forefathers, namely the intellectual differentiation of consciousness. It is rather the intellectual differentiation of consciousness. It is rather a question of the man taking the place of the intellect –not the man whom the dreamer imagines himself to be, but someone far more rounded and complete. This would mean assimilating all sorts of things into the sphere of his personality which the dreamer still reject as disagreeable or even impossible. The father who calls out so anxiously, “ This is the seventh!” is a psychic component of the dreamer himself, and the anxiety is therefore his own. So the interpretation must bear in mind the possibility that the “ seventh” means not only a sort of culmination but something rather ominous as well. We come across this theme, for instance, in the fairytale of Tom Thumb and the Ogre. Tom Thumb is the youngest of seven brothers. His dwarflike stature and his cunning are harmless enough, yet he is the one who leads his brothers to the ogre’s lair, thus proving his own dangerous double nature as a bringer of good and bad luck; in other words, he is also the ogre himself. Since olden times “ the seven” have represented the seven gods of the planets; they form what the Pyramid inscriptions call a paut neteru, a “ company of gods.” Although a company is described as “ nine,” it often proves to be not nine at all but ten, and sometimes even more. Thus Maspero tells us that the first and last numbers f the series can be added to , or doubled, without injury to the number nine. Something of the sort happened to the classical age, when the gods were degraded to demons and retired partly to the distant stars and partly to the metals inside the earth. It then transpired that Hermes or Mercurius possessed a double nature, being a chthonic god of revelation and also the spirit of quicksilver, for which reason he was represented as a hermaphrodite. As the planet Mercury, he is nearest to the sun, hence he is pre-eminently related to gold. But, as quicksilver, he dissolves the gold and extinguishes its sunlike brilliance. All through the Middle Ages he was the object of much puzzled speculation on the part of the naural philosophers; sometimes he was a ministering and helpful spirit, and sometimes the fugitive slave or stage, as elusive, deceptive, teasing gobbling who drove the alchemists to despair and had many of his attributes in common with devil. For instance he is dragon, lion, eagle, raven, to mention only the most important of them. In the alchemical hierarchy of gods Mercurius comes lowest as prima material and highest as lapis philosophorum. The spiritus mercurialis is the alchemists’ guide, and their tempter; he is their good luck and their ruin. His dual nature enables him to be not only the seventh but also the eighth—the eighteen on Olympus “ whom nobody thought of” .

 

可是回到無意識的昏暗微光並不意味著,我們完全放棄我們祖先珍貴的寶物,也就是意識在智性的辨別能力。而是「人」代替智性的問題,不是夢想者想像自己的人,而是更加圓融完整的人。這將意味著吸收各種的事物進入他人格的領域,雖然夢想者依舊排斥這樣的人格是不愉快或甚至不可能的。如此焦慮地呼叫「這是第七次」的父親,是夢想者自己的心理成份,焦慮因此是自己的。所以解釋時必須記住,「第七」可能不僅意味著一種啟明,也是一種相當惡兆的東西。例如,我們在「大拇指湯姆與妖怪」的童話就遇到這樣的主題。大拇指湯姆是七個兄弟中最小的。他的侏儒般的身材和他的狡猾是無害的,可是他帶領他的兄弟到妖怪的洞穴,因此證明他自己的雙重性格,帶來好運與壞運;換言之,他自己就是妖怪。自從古代「第七」就代表行星的七個神,他們組成金字塔碑文所說的「眾神隊」。雖然一隊被描述為「九」,它時常被證明根本不是九,而是十,有時甚至更多。因此,馬士培羅告訴我們,這系列的第一跟最後的數目能夠被增加或加倍,而沒有損害到九這個數字。這種事情也發生在希臘跟羅馬古典神話及後古典時代的巴比倫眾神。眾神被貶低成為惡魔,部份退休到遙遠的星球,部份成為地球內部的金屬。它因此顯示,赫密士神跟摩丘銳神擁有雙重性格,是冥府的啟明神,又是水銀的精神。因為這個理由,他被代表當著雌雄同體。作為水星,他最靠近太陽,因此他顯然跟黃金有關。但是作為水銀,他溶解黃金,減少黃金太陽般的燦爛。在中世紀他是自然哲學家諸多困惑沉思的對象,有時他是服勤幫忙的精神(助理神)。有時他又是逃亡的奴隸或雄鹿,一個捉摸不定,欺騙狡詐的妖精,把煉金師弄得束手無策,因為他的許多屬性跟惡魔相同。例如,他是龍、獅子、老鷹、烏鴉,只舉其犖犖大者。在眾神的煉金術層級中,摩丘銳排列最低,作為「初階物質」,又是最高,作為「哲學思考」。摩丘銳神是煉金師的指導及其引誘者。他是他們的好運,又是毀滅。他的雙重格使他能夠在奧林匹克不但排列第七,而且「沒人想到」的第八。

 

  It may seem odd to the reader that anything as remote as medieval alchemy should have relevance here. But the “ black art” is not nearly so remote as we think; for as an educated man the dreamer must have read Faust, and Faust is an alchemical drama from beginning to end, although the educated man of today has only the haziest notion of this. Our conscious mind is far from understanding everything, but the unconscious always keep an eye on the “ age-old, sacred things,” however strange they may be, and reminds us of them at a suitable opportunity. No doubt Faust affected our dreamer much as Goethe was affected when, as a young man in his Leipzig days, he stuidied Theophrastus Paracelsus with Fraulein von Klettenberg. It was then, as we certainly may assume, that the mysterious equivalence of seven and eight sank deep into his soul, without his conscious mind ever unraveling the mystery. The following dream will show that this reminder of Faust is not out of place.

 

讀者可能覺得奇怪,中世紀如此遙遠的東西竟然跟這裡相關。但是「黑暗藝術」絲毫不像我們所認為那麼遙遠。作夢者是一位知識份子,一定曾讀過「浮士德」,而「浮士德」從頭到尾就是一部煉金術的戲劇,雖然今天的知識份子對此不甚其詳。我們意識的心靈並不能洞察一切,但是無意識總是在觀察那些「古老的神聖事物」,不管那是多麼千奇百怪,在適當的時刻總是讓我們想起他們。無疑的,「浮士德」影響到我們的作夢者,正如,作者歌德也受到影響。他年輕時住在列普吉的時候,他研讀過煉金師們的書籍。我們可以確實地假定,就在當時,這個第七跟第八的神秘相等,深陷在他的靈魂,而他的意識從未解開這個神秘。以下的夢將會顯示,我們想到「浮士德」,並非不合宜。

One Response to “Dream 07 榮格釋夢”

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