荣格:神秘的结合 4

All these statements apply just as well to the prima materi in its feminine aspect: it is the moon, the mother of all thing! the vessel, it consists of opposites, has a thousand names, is an old woman and a whore, as Mater Alchimia it is wisdom and teaches wisdom, it contains the elixir of life in potentia and i the mother of the Saviour and of the filius Macrocosmi) it is the earth and the serpent hidden in the earth, the blackness and the dew and the miraculous water which brings together all that is divided. The water is therefore called “mother,” “my mothe who is my enemy,” but who also “gathers together all my di vided and scattered limbs.” 102 The Turba says (Sermo LIX)

所有这些陈述同样能够运用在原初物质,处于它的女性的状态。那就是月亮,万物的母亲!这个容器,它由对立力量组成,它拥有上千的名字。她是一位老妇人与妓女。作为炼金术的物质,它是智慧,并且教导智慧。它包括具有潜力的永生之水,作为救赎者的母亲与大宇宙的儿子的母亲。它是大地与隐藏在大地里的蛇,黑暗与露水,以及奇迹的水。这个奇迹的水将所有分裂的东西结合一块。这个水因此被称为“母亲”,是我的敌人的母亲。但是她也将我分离与分散的肢体聚集一块。特巴经典(Semo LIX)说:

Nevertheless the Philosophers have put to death the woman who slays her husbands, for the body of that woman is full of weapon and poison. Let a grave be dug for that dragon, and let that woman be buried with him, he being chained fast to that woman; and the more he winds and coils himself about her, the more will he h cut to pieces by the female weapons which are fashioned in the bod~ of the woman. And when he sees that he is mingled with the limbs 0 the woman, he will be certain of death, and will be changed wholly into blood. But when the Philosophers see him changed into blood they leave him a few days in the sun, until his softness is consumed and the blood dries, and they find that poison. What then appears is the hidden wind.1°3


The coniunctio can therefore take more gruesome forms than the relatively harmless one depicted in the Rosarium.104


It is clear from these parallels that Maier was fully justified in giving the name Isis to the prima materia or feminine trans formative substance.105 As Kerenyi has brilliantly shown, usin~ 101 Athenagoras, Legatio pro Christianis, 22 (Migne, P.G., vol. 6, col. 939f.).
102 Ros. phil., Art. aurif. (1572), n, p. 413. From the so-called “Dicta Belini” (Apol lonius of Tyana), “Allegoriae sapientum,” Distinctio 28, Theatr. ehem., V. p. 97. 103 Ruska, Turba philosophorum, p. 247. The wind is the pneuma hidden in th. prima materia. The final illustration in Maier’s Serutinium ehymicum shows thi burial.
104 Cf. also the p.aX1] IJ1]X.ta. (female combat) in Carmen Archelai, one of th. Car mina Heliodori (p. 56, IV, lines 23of.) (ed. by Goldschmidt), where the materi: f1ees under the rain of projectiles and ends up as a “corpse” in the grave.
105 The corresponding masculine substance is red sulphur, the vir or serous rubeus whose redness relates him to Typhon. In a “dirge for Gabricus who died aftel recently celebrating his marriage,” Maier (Symb. aur. mensae, p. 518) does in fac

the example of Medea,106 there is in that myth a typical combina¬tion of various motifs: love, trickery, cruelty, motherliness, murder of relatives and children, magic, rejuvenation, and-gold.107 This same combination appears in Isis and in the prima materia and forms the core of the drama instigated by the mother-world, without which no union seems possible.


17 In Christian tradition the widow signifies the Church; in St.
Gregory 108 the analogy is the story of the widow’s cruse of oil (II Kings 4). St. Augustine says: “The whole Church is one widow, desolate in this world.” 109 She “lacketh a husband, lack¬eth a man,” for her bridegroom has not yet come. So too the soul is “destitute in the world.” “But,” Augustine continues, “thou art not an orphan, thou art not reckoned as a widow … Thou hast a friend … Thou art God’s orphan, God’s widow.” 110


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