Three Books Of Occult Philosophy Book Iii

Three Books Of Occult Philosophy Book Iii Cover

Book: Three Books Of Occult Philosophy Book Iii by Henry Cornelius Agrippa

Book III of The Three Book of Occult Philosphy by Henry Cornelius Agrippa The Three Book of Occult Philosphy purports to be the work of Henry Agrippa, the 16th century author of "Three Books of Occult Philosophy". But the 4th Book was obviously not written by Agrippa and bears no resemblance to his style of writing. Although it can be traced back to the 16th century as it is mentioned by Agrippa's student, Johann Weyer in his "De Praestigiis Daemonum", the work remains of uncertain provencance. In part a partial summary of some of Agrippa's writings, this facsimile of the English translation by the 17th century Cambridge scholar Robert Turner, comprises spurious essays on Geomancy and Magick under the name of Agrippa, The Heptameron of Peter of Abano, and books on Astrology and Demonolgy, concluding with the Arbatel, a largely Judeo-Christian outlook on the dangers of magic. It is a very quick and easy read, despite the portions dealing with Geomancy and Astrology that even those serious about such subjects would find largely frustrating and incomprehensible. The work largely remains of pure historical interest with not much of serious substance to an undertanding of Magic and Occult Philiosphy. This volume is a facsimile of Robert Turner's English translation (1654); the original volume first appeared (in Latin) in Marburg around 1554. The original volume included a large number of short texts of varying interest, but Robert Turner's (1654) (for unclear reasons) decided only to translate a few of them. This edition includes 6 short texts: Of Geomancy (H.C. Agrippa); Of Occult Philosophy the Three Book (pseudo-Agrippa); Heptameron or Magical Elements (pseudo-Peter de Abano); Isagoge: An Introductory Discourse on the Nature of ... Spirits... (Georg Pictorius Villinganus); Of Astronomical Geomancy (Gerard of Cremona); and the anonymous Arbatel of Magic. Only the Geomancy is actually by Agrippa, and it doesn't fit well with the other texts. The Three Book is, as another reviewer noted, certainly spurious; it purports to be Agrippa's "secret key" to the Occult Philosophy, of which he spoke in a letter to a friend. The Heptameron and the Arbatel are grimoires of some interest for those interested in black magic, as indeed is the Three Book itself; the Isagoge is a rather dull dialogue about spirits; and the Astronomical Geomancy is more or less impenetrable but perhaps interesting in a peculiar way. There have been a number of reprints of this volume, some now surprisingly valuable despite their modernity; all, however, have trimmed out one or more of the already few texts. As such, this is probably the best edition available. It is, like all Kessinger products, a cheaply-bound xerox facsimile of the original 17th-century text, but it's readable and includes everything. If you collect grimoires or magical texts, this is a very famous one, and you ought to have it; copies of the various Latin printings turn up with some regularity, and those with access to Latin would do better with those, although they are of course quite expensive. If you're looking for works by Agrippa, the Geomancy is all you'll find here, but it's interesting in a number of respects. If you want to know about Agrippa's ceremonial magic, however, you need to read book 3 of the Occult Philosophy, available in a nice Llewellyn edition.

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Henry Cornelius Agrippa - Three Books Of Occult Philosophy Book I
Henry Cornelius Agrippa - Three Books Of Occult Philosophy Book Ii
Henry Cornelius Agrippa - Three Books Of Occult Philosophy Book Iii

Islamic Alchemy

Islamic Alchemy Cover The Arabic term for alchemy is al-k??miya? D. The word k??miya? D is alternately derived from the Greek chumeia (or ch?emeia), denoting the “art of transmutation,” or from kim-iya, a South Chinese term meaning “gold-making juice.” Greek and later Hellenistic writings are generally regarded as the initial impetus behind Muslim learning, thus the wide acceptance of the Greek origin of the word. In the Islamic context, al-k??miya? D refers to the “art” of transmuting substances, both material and spiritual, to their highest form of perfection. The word k??miya? D also refers to the agent or catalyst that effects the transmutation and hence is used as a synonym for al-iks??r (“elixir”) and h:ajar al-fala?sifah (“philosopher’s stone”). The search for the ideal elixir has been an ancient quest in many cultures of the world; it was supposed to transform metals to their most perfect form (gold) and minerals to their best potency and, if the correct elixir were to be found, to achieve immortality. All matter of a particular type, metals for example, were supposed to consist of the same elements. The correct k??miya? D or iks??r would enable the transposition of the elements into ideal proportions and cause the metal concerned to be changed from a base form to a perfected form, for instance, copper to gold. On another level, the philosophical theory of alchemy was used to conceptualize the purification of the soul. The terminology and procedures of alchemy were allegorized and applied to the transformation of the soul from its base, earthly, impure state to pure perfection. Elementary psychological postulations were allegorized as chemical properties. For the mystics, the iks??r served as a symbol of the divine truth that changed an unbeliever into a believer. In S: u?f?? literature, the spiritual master purifies the soul of the adept via various processes of spiritual alchemy. This usage of alchemical principles in the spiritual realm reflects the worldview of the ancients, including those of medieval Islam, whereby the human soul was regarded as a microcosm of the forces and principles contained in the macrocosm of the universe. HISTORICAL BACKGROUND. In Muslim tradition, alchemy enjoys ancient roots. The cultivation of alchemy is traced back to Adam, followed by most of the major prophets and sages. This chain of transmission is then connected to the “masters” from the ancient world, including Aristotle, Galen, Socrates, Plato, and others. Muslims are considered to have received the art from these masters. In Islamic times, the prophet Muh: ammad (d. 632 CE), is said to have endorsed the art, lending it grace and power; his cousin and son-inlaw, EAl?? ibn Ab?? T: a?lib (d. 661), is regarded as its patron. EAl??’s descendant JaEfar al-S: a?diq (d. 765) is portrayed as the next major transmitter. The Umayyad prince Kha?lid ibn Yaz??d (660–704) is depicted as both a practitioner and a patron of alchemy who encouraged the translation of relevant Greek and Syriac texts into Arabic. Legendary tales indicate that he learned the art from a Syrian monk named Marianos, whom he sought out on long journeys to strange lands. Ja?bir ibn H: ayya?n (d. c. 815), who is held to be the disciple of JaEfar al-S: a?diq, is credited with more than three hundred treatises on alchemy; consequently, the name of this quasi-historical figure came to imply the authority and teacher par excellence.

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Paracelsus And The Substance Of His Teachings

Paracelsus And The Substance Of His Teachings Cover

Book: Paracelsus And The Substance Of His Teachings by Franz Hartmann

Reprint of the 1887 Edition, Wizards, 1997, 250 pages. Paracelsian text translated and commented on by Hartmann with some of the footnotes by H. P. Blavatsky, as Dr. Hartmann & H.P.B. were together at Adyar at the time of its writing. Used by the renowned 11th edition as well as the current edition of The Encyclopedia Britannica as a source work. Alchemy, Magic, Theosophy, Medicine, Occult, Healing, Philosophy. New notes. Biography of Hartmann. Excellent text. Franz Hartmann, M.D. presents the writings and the life of the Alchemical Master Paracelsus from a magical, medical, historical and Theosophical perspective.

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Alchemical Poetry Green Potion N1

Alchemical Poetry Green Potion N1 Cover (sung to the tune of Love Potion #9) I took my troubles to the Alchemist. You know -- that Merlin with the golden wrist. He's got a pad down on Cedar made of pine, Sellin' little bottles of Green Potion #1. I told him that I was a flop with chicks. I've been calcinating since 1956. Just can't dissolve, separate, or ferment! He said, "What you need is Green Potion #1." He stood up, turned around, and gave me a wink. He said "I'm going to brew it up right here in the sink." It smelled like rotten eggs; it looked like India ink. I held my nose; I closed my eyes. I took a drink. I didn't know if I was out or in. I started craving mercury, salt, and tin. But when I ate some copper and silver just for fun, I knew that I had finally reached coagulation ... 'cause of Green Potion #1. Green Potion #1! by the Alchemy Workshop class at the Omega Institute (August 14-18, 2000)

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