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James Hillman Es El Mayor Repre­ Iogía Del Instinto: La Violación, La Mas­ Sentante Contemporáneo De La Psi­ Turbación

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James Hillman Es El Mayor Repre­ Iogía Del Instinto: La Violación, La Mas­ Sentante Contemporáneo De La Psi­ Turbación La segunda parte de este libro Pan. el dios-cabra, el dios peludo, incluye la traducción completa de un fálico y errante que persigue a las nin­ magistral tratado mítico-patológico de fas para poseerlas, es la divinidad que Wilhelm Roscher. titulado «Los demo­ representa a la naturaleza como fuerza nios de la noche». Para Hillman consti­ generadora primigenia, al mismo tiem­ tuye el estudio psicológico más com­ po que encarna en lo humano nuestro pleto y radical que existe sobre este instinto más natural y más oscuro. Allí dios griego. donde surge el deseo libidinoso o el desenfreno sexual más extremo. Pan se halla presente; pero también lo está en la otra cara del instinto: el pánico. Cuando el alma se encuentra poseída por el pánico. Pan se revela a sí m ismo a través de la sabiduría de la naturaleza, ya que el instinto nos devuelve al ins­ tinto; y así. (a pesadilla nos ofrece la llave para una nueva aproximación a la naturaleza perdida, pues en la pesa­ dilla regresa la naturaleza reprimida. Desde que «el gran Pan ha muerto», como anunció Plutarco hace siglos, la naturaleza ya no nos habla, o acaso ya no podemos escucharla. Para Hillman. sin embargo, Pan no ha muerto, y sigue viviendo en todo lo reprimido que retorna a nosotros en cada psicopato­ James Hillman es el mayor repre­ iogía del instinto: la violación, la mas­ sentante contemporáneo de la psi­ turbación. los terrores nocturnos o cología analítica. Fundador del Dallas cualquier pulsión natural que nos Institute of Humanities y editor de la aparte de nuestros hábitos civilizados. revista «Spring». fue director del Insti­ Desde esta perspectiva psicológica. tuto Jung en Zúrich. así como colabo­ Grecia ya no es algo arqueológico, sino rador asiduo de las conferencias de que sigue viviendo en nosotros como Eranos. De su vasta obra se ha traduci­ un paisaje interno cuyas realidades do al español: «Re-im aginar la psicolo­ míticas intemporales nos hablan de lo gía», «El mito del análisis», «El pensa­ que ocurre cada día en nuestra reali­ miento del corazón» en Siruela. y «Los dad psíquica. sueños y el inframundo» en Paidós. TRAOUCCIÓN: CRISTINA SERNA. JAMES HILLMAN PAN Y LA PESADILLA EFIALTES TRATADO MÍTICO-PATOLÓGICO SOBRE LA PESADILLA EN LA ANTIGÜEDAD CLÁSICA WILHELM HEINRICH ROSCHER TRADUCCIÓN CRISTINA SERNA í,® r»-. •*0 * ATALANTA 2007 En cubierta: Pan, siglo I a. C. © Aras. En contracubierta: Pan, Eros y Afrodita, circa 100 a. C. © Aras. Todos los derechos reservados. Título original: Pan and the Nigktmare © James Hillman © De la traducción: Cristina Serna ©EDICIONES ATALANTA, S. L. Mas Pou. Vilaür 17483. Girona. España Teléfono: 972 79 58 os Fax: 972 79 58 34 atalantaweb.com ISBN 13:978-84-51353(3-6-2 ISBN 10: 84-935313-6-7 Depósito Legal: B-19647-2007 ÍNDICE Primera parte Ensayo sobre el dios Pan por James Hillman 1 1 El regreso de la psique a Grecia !3 El sueño en 1900 24 Pan, dios-cabra de la naturaleza 31 Realidad imaginal 39 «Instinto» 4 6 Pánico 5° Pan y la masturbación 60 Violación 67 Las ninfas de Pan 82 Ecología 1 o 1 Espontaneidad-Sincronicidad I0 5 Curar nuestra locura n i Segunda parte Efialtes por Wilhelm Heinrich Roscher 119 Acerca de la importancia psicológica del texto y su autor por James Hillman 121 Prefacio 139 La naturaleza y origen de la pesadilla desde el moderno punto de vista médico 142 La naturaleza y origen de la pesadilla según los médicos antiguos 158 Las antiguas denominaciones de la pesadilla 187 Los demonios de pesadilla griegos y romanos más importantes 202 Nota bibliográfica final por James Hillman 230 Notas 23 1 P r i m e r a p a r t e E n s a y o s o b r e e l d io s P a n J a m e s H i l l m a n Sócrates: Oh, Pan querido, y demás dioses de este lugar, con­ cededme el ser bello en mi interior. Y que todo lo de mi exterior esté en armonía con lo que hay en mi interior. Platón, Fedro, 279b Pues el auténtico significado de la pesadilla, en el caso de ser apreciado debidamente por los profesionales en primer lugar y a continuación por el publico en general, en mi opinión acarrearía consecuencias, tanto de orden científico como social, a las que se podría aplicar con justicia el término de transcendentales. Lo que está en juego es nada más y nada menos que el verdadero significa­ do de la misma religión. Ernest Jones, Sobre la pesadilla, 1931 12 E l r e g r e s o d e l a p s iq u e a G r e c i a Los motivos internos brotan de una fuente profunda que no depende de la consciencia ni se halla bajo su control. En la mitología de los primeros tiempos, estas fuerzas se llamaban mana, o espíritus, demonios y dio­ ses. Siguen tan activos en la actualidad como lo fueron siempre. Si se avienen a nuestros deseos, ios llamamos corazonadas o impulsos... Si van en contra, decimos que se trata simplemente de mala suerte, o que ciertas perso­ nas están en contra de nosotros, o bien que la causa de nuestros infortunios debe de ser patológica. Lo único que nos negamos a admitir es que dependemos de «pode­ res» que se hallan más allá de nuestro control.' Si la tendencia a la disociación no fuese inherente a la psique humana, los sistemas psíquicos fragmentarios jamás hubiesen surgido; en otras palabras, ni los espíritus ni los dioses hubiesen llegado a existir jamás. Esa es tam­ bién la razón por la que nuestra época ha llegado a ser tan 13 atea y profana: carecemos por completo del conocimien­ to de la psique inconsciente y es tal el culto que dedica­ mos a la consciencia que excluimos todo lo demás. Nuestra auténtica religión es un monoteísmo de la cons­ ciencia, estamos poseídos por él, por lo que negamos de modo fanático la existencia de sistemas autónomos frag­ mentarios.1 En el momento en que el monoteísmo de la conscien­ cia no puede ya negar la existencia de sistemas autóno­ mos fragmentarios, ni tratar con nuestro estado psíquico actual, surge la fantasía de retornar al politeísmo griego. Ese «retorno a Grecia» constituye un modo de arreglár­ selas cuando nuestros centros no se sostienen y las cosas se desmoronan. La alternativa politeísta no plantea opo­ siciones conflictivas entre la bestia y Belén, entre el caos y la unidad; permite la coexistencia de todos los fragmen­ tos psíquicos y les brinda un marco en la imaginación de la mitología griega. Ese «retorno a Grecia» se vivió en la misma Roma antigua, así como en el Renacimiento italia­ no y en la psique romántica en tiempos de revolución. En una época más reciente, formó parte intrínseca de la vida de artistas y pensadores como Stravinsky, Picasso, Hei- degger, Joyce y Freud. El «retorno a Grecia» constituye una respuesta psicológica al reto del colapso; ofrece un modelo de integración desintegrada. Bastante se ha escrito ya para justificar el «retorno a Grecia» desde puntos de vista estéticos, filosóficos y cul­ turales. Nuestra cultura ha tendido a buscar en Grecia la gloria del pasado, ja perfección, la belleza formal y la lu­ cidez de la mente, del mismo modo que cuando busca sus «orígenes», nuestra cultura comienza con Grecia. Pero nuestro propósito aquí es buscar en Grecia una ilumina­ ción psicológica. Se trata de intentar comprender qué es esa «Grecia» que tanto atrae a la psique y qué encuentra allí la psique. Cuando la visión dominante que confiere unidad a un periodo de cultura se quiebra, la conciencia sufre una regresión a receptáculos anteriores, en busca de fuentes de supervivencia que ofrezcan al mismo tiempo fuentes de renacimiento. Los críticos tienen razón cuando ven en el «retorno a Grecia» un deseo regresivo de muerte, un escape de los conflictos contemporáneos a través de mitologías y especulaciones de un mundo de fantasía. Pero mirar hacia atrás permite moverse hacia delante, pues al mirar hacia atrás se revive la fantasía del arqueti­ po infantil, fons et origo, que constituye simultáneamen­ te el momento de una debilidad extrema y el futuro que se abre. «Renacimiento» resultaría una palabra carente de sentido sm la disolución que implica la propia muerte de la que proviene ese renacimiento. Los críticos pasan por alto la validez y necesidad de la regresión. Los críti­ cos también pasan por alto la necesidad de una regresión particularmente «griega». Nuestra cultura muestra dos caminos alternativos de regresión. Estos dos caminos han sido llamados helenis­ mo y hebraísmo, y representan las alternativas psicológi­ cas de la multiplicidad y la unidad. Podemos ver ambas alternativas en los momentos de crisis de la historia occi­ dental, por ejemplo en el momento del declive de Roma que acompañó a Constantino hacia el cristianismo (como se había empezado a llamar entonces al hebraísmo). Vol­ vemos a verlas en los tiempos del Renacimiento y de la Reforma, cuando el sur de Europa se vuelve hacia el hele­ nismo y el norte de Europa hacia el hebraísmo. El hebraísmo confirma el monoteísmo de la conscien­ cia yoica. Este camino resulta apropiado cuando la cons­ ciencia de una era o de un individuo entiende que su su­ pervivencia se aviene mejor con un marco arquetípico de heroísmo y unidad. La imagen primitiva de Cristo combi­ naba al guerrero Mithra con el musculoso Hércules; la conversión de Constantino, que finalmente se impondría sobre el politeísmo clásico, fue anunciada por una visión marcial que se le apareció justo antes de la batalla.
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