榮格釋夢 10

榮格釋夢 10

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

Translated by Springhero 雄伯

32hsiung@pchome.com.tw

 

16. Dream:

  An ace of clubs lies before the dreamer. A seven appears beside it.

 

第十六夢:

  方塊么點放在作夢者前面。一張七出現在旁邊。

 

   The ace, as “ 1,” is the lowest card but the highest in value. The ace of clubs, being in the form of a cross, points to the Christian symbol. Hence in Swiss-German the club is often called cross. At the same time the three leaves contain an allusion to the threefold nature of the one God. Lowest and highest are beginning and end, alpha and omega.

 

   這個作為「一」的么點是樸克牌最低的牌,但是價質最高。方塊么點是十字架的形狀,指向基督的象徵。因此在瑞士跟德語,方塊時常被稱為十字架,同時三的餘數包含暗示到一位上帝的三重屬性。最低跟最高就是開始與結束,希臘文第一個字母跟最後一個字母。

 

   The seven appears after the ace of clubs and not before. Presumably the idea is: first the Christian conception of God, and then the seven ( stages). The seven stages symbolize the transformation which begins with the symbolism of Cross and Trinity, and, judging by the earlier archaic allusions in dreams 7 and 13, culminates in the solificatio. But this solution is not hinted at here. Now, we know that the regression to the Helios of antiquity vainly attempted by Julian the Apostate was succeeded in the Middle Ages by another movement that was expressed in the formula “ through the cross to the rose), which was later condensed into the “ Rosie Crosse” of the Rosicrucians. Here the essence of the heavenly Sol descends into the flower—earth’s answer to the sun’s countenance. The solar quality has survived in the symbol of the ‘ golden flower” of Chinese alchemy. The well-known “ blue flower” of the Romantics might well be the last nostalgic perfume of the “ rose”: it looks back in true Romantic fashion to the medievalism of ruined cloisters, yet at the same time modestly proclaims something new in earthly loveliness. But even the golden brilliance of the sun had to submit to a descent, and it found its analogy in the glitter of earthly gold—although, as aurum nostrum, this was far removed from the gross materiality of the metal, at least for subtler minds. One of the most interesting of the alchemical texts is the Rosarium philosophorum. The anonymous author was very definitely a “ philosopher” and was apparently aware that alchemy was not concerned with ordinary gold-making but with a philosophical secret. For these alchemists the gold undoubtedly had a symbolic nature and was therefore distinguished by such attributes as vitreum or philosophicum. It was probably owing to its all too obvious analogy with the sun that gold was denied the highest philosophical honor, which fell instead to the lapis philosophoruium. The transformer is above the transformed, and transformation is one of the magical properties of the marvllous stone. The Rosarium philosophorum says: “ For our stone, namely the living western quicksilver which has placed itself above the gold and vanquished it, is that which kills and quickens.” As to the “ philosophical” significance of the lapis, the following quotation from a treatise ascribed to Hermes is particularly enlightening: “ Understand, ye sons of the wise, what this exceeding precious stone proclaims…’ and my light conquers every light, and my virtues are more excellent than all virtues…I beget the light, but the darkness too is of my nature…

 

  七出現在方塊么點後面,而非前面。假設的觀念是:首先是基督教上帝,然後是七個階段的觀念。七個階段象徵著開始於十字架與三位一體的轉換,根據較早對於七跟十三的夢的的暗示,在圓融地達到高潮。但是在此並沒有暗示這樣的解決。現在我們知道,在中世紀使徒朱利安曾經企圖倒退到遠古的太陽,徒然無功,現在另一個經由「十字架到薔薇」的公式所表達的行動則繼續下去,後來被濃縮為薔薇十字教派會員的「薔薇十字」。在此,上天聖靈的本質降落到花朵上,是世間對於太陽面貌的回答。太陽的特質存活於中國煉金術對於「黃金花」的象徵。浪漫時期著名的「藍色花朵」很有理由是對於「薔薇」的香味最後的懷念,它以真實的浪費時尚回顧中世紀破落的修道院,可是同時又很謙虛地宣稱,世間的可愛有某些新的東西。但是即使太陽黃金般的燦爛都必須屈服於降落,這可比擬於世間黃金的光輝,雖然這樣距離金屬的總材質甚為牽強,至少對於纖妙的心靈而言。有一段甚為有趣的煉金術文本是薔薇哲理。匿名的作者確實是一位哲學家,顯然知道煉金術不是關於普通的製造黃金,而是哲學的秘密。對於這些煉金術師而言,黃金毫無疑問具有象徵的特質,因此根據這樣的特性,可顯現當著生命之道。可能是由於太明顯可類比於太陽,黃金被絕給予最崇高的道的榮譽,取而代之的是鑽石之道。轉換者地位高於被轉換者,轉換是神奇寶石的魔術般屬性。薔薇之道上說:「對於我們的寶石,有生命力的西方水銀,曾將自己置身於黃金之上而征服它,是具有殺傷力及催化力。」至於鑽石之道的意義,以下從赫默士所寫的一篇論文的引文,特別具有啟發性:「智慧的子民,要瞭解這個過度珍貴寶石所宣稱的:我的光征服一切光,我的品德優秀於所有其它品德,我產生光,但是黑暗也是我的屬性。」

 

17. Dream:

   The dreamer goes for a long walk, and finds a blue flower on the way.

 

第十七夢:

   作夢者散歩很久,在途中發現一朵藍色的花。

 

   To go for a walk is to wander along paths that lead nowhere in particular; it is both a search and a succession of changes. The dreamer finds a blue flower blossoming aimlessly by the wayside, a chance child of nature, evoking friendly memories of a more romantic and lyrical age of the youthful season when it came to bud, when the scientific view of the world had not yet broken away from the world of actual experience—or rather when this break was only just beginning and the eye looked back to what was already the past. The flower is in fact like a friendly sign, a numinous emanation from the unconscious, showing the dreamer, who as a modern man has been robbed of security and of participation in all the things that lead to man’s salvation, the historical place where he can meet friends and brothers of like mind, where he can find the seed that wants to sprout in him too. But the dreamer knows nothing as yet of the old solar gold which connects the innocent flower with the obnoxious black art of alchemy and with the blasphemous pagan idea of the solificatio. For the “ golden flower of alchemy” can sometimes be a blue flower: “ The sapphire blue flower of the hermanphrodite.”

 

   散步是沿著沒有特別目的的小徑漫遊,那既是一種追尋,又是一連串的改變。作夢者發現一朵藍色花朵無目的地盛開在路邊,像是自然的偶然出生之女,召喚友善的回憶更加浪漫及抒情的時代,當花朵初長蓓蕾的青春季節,當科學尚未脫離實際經驗的世界,或是當這種脫離只是剛剛開始,眼光尚回顧已經過往的世界。花朵事實上像是友善的象徵,從無意識神秘地散發出來,作夢者作為現代人,已經被剝奪掉安全感及參與感,花朵給他指示一條人的救贖之道,一處歷史的位置,在那裡,他能夠跟相同心靈的朋友兄弟相會,他能找到想要在他身上萌芽的種子。但是作夢者絲毫不知道,古老的太陽般黃金連接純真的花朵跟煉金術的邪門道術,以及異教徒褻瀆神明的「圓融地」觀念。因為「煉金術的黃金花」有時會是一朵藍色花:陰陽同體的藍寶石般的藍色花朵。

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