Showing posts with label wiccan. Show all posts
Showing posts with label wiccan. Show all posts

Visualization In Medieval Alchemy

Visualization In Medieval Alchemy Cover

Book: Visualization In Medieval Alchemy by Barbara Obrist

This paper explores major trends in visualization of medieval theories of natural and artificial transformation of substances in relation to their philosophical and theological bases. The function of pictorial forms is analyzed in terms of the prevailing conceptions of science and methods of transmitting knowledge. The documents under examination date from the thirteenth to the fifteenth century. In these, pictorial representations include lists and tables, geometrical figures, depictions of furnaces and apparatus, and figurative elements mainly from the vegetable and animal realms. An effort is made to trace the earliest evidence of these differing pictorial types.

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The Benedictine Brother Basilius Valentinus

The Benedictine Brother Basilius Valentinus Cover The Benedictine brother Basilius Valentinus has become a legend in the history of science. But was there really a monk by that name, who lived and worked in a German monastery in the fifteenth century as the legend claims? The historians of science seem not to be able to agree. Here follows the opinion of Sylvain Matton who edited the French edition of the Triumphal Chariot of Antimony (Retz, Paris 1977): On the identity of Basilius Valentinus. "Thus, as they present themselves to us, the writings of Basil Valentine seem to have been edited by a Paracelcist at the end of the sixteenth century or the beginning of the seventeenth. We say 'as they present themselves to us', because one may not entirely exclude that more ancient writings, perhaps of the fifteenth century, have been revised, expounded upon, interpolated, even rewritten. But with this hypothesis, if one does not keep (sic) the legend of the fortuitous discovery of Valentines writings in the trunk of a pillar at the cathedral of Erfurt, it is hard to explain the absence of any manuscript, the oldest one dating from 1582."

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The Coelum Philosophorum Or Book Of Vexations

The Coelum Philosophorum Or Book Of Vexations Cover

Book: The Coelum Philosophorum Or Book Of Vexations by Paracelsus

THE COELUM PHILOSOPHORUM, OR BOOK OF VEXATIONS; By PHILIPPUS THEOPHRASTUS PARACELSUS. THE SCIENCE AND nature OF ALCHEMY, AND WHAT OPINION SHOULD BE FORMED THEREOF. Regulated by the Seven Rules or Fundamental Canons according to the seven commonly known Metals; and containing a Preface with certain Treatises and Appendices. YOU who are skilled in Alchemy, and as many others as promise yourselves great riches or chiefly desire to make gold and silver, which Alchemy in different ways promises and teaches; equally, too, you who willingly undergo toil and vexations, and wish not to be freed from them, until you have attained your rewards, and the fulfilment of the promises made to you; experience teaches this every day, that out of thousands of you not even one accomplishes his desire. Is this a failure of nature or of Art? I say, no; but it is rather the fault of fate, or of the unskilfulness of the operator. Since, therefore, the characters of the sign of the stars and planets of heaven, together with the other names, inverted words, receipts, materials, and instruments are thoroughly well known to such as are acquainted with this art, it would be altogether superfluous to recur to these same subjects in the present book, although the use of such signs, names, and characters at the proper time is by no means without advantage. But herein will be noticed another way of treating Alchemy different from the previous method, and deduced by Seven Canons from the sevenfold series of the metals. This, indeed, will not give scope for a pompous parade of words, but, nevertheless, in the consideration of those Canons everything which should be separated from Alchemy will be treated at sufficient length, and, moreover, many secrets of other things are herein contained. Hence, too, result certain marvellous speculations and new operations which frequently differ from the writings and opinions of ancient operators and natural philosophers, but have been discovered and confirmed by full proof and experimentation.

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Iron Gall Ink Or Indelible Ink Or Encaustum

Iron Gall Ink Or Indelible Ink Or Encaustum Cover In the first century AD, Pliny the Elder described a basic chemical demonstration of the principle behind what would become the primary ink of the Middle Ages: Papyrus soaked in tannin turns black upon contact with a solution of iron salt. This was not used for actual ink at the time of Pliny, but "gallarum gummeosque commixtio" is already mentioned as an established writing ink around AD 420, in the encyclopedia of the 7 liberal arts by Martianus Capella. However, the latest analyses have disproved dubious reports that this type of ink might have already been used on the famous Dead Sea Scrolls of Qumran (before AD 68). Because of the secondary reaction discussed below, which makes it indelible, iron ink was once known as encaustum (Latin for "burned in", from the Greek enkauston, meaning painted in encaustic and fixed with heat). This is the origin of the English word "ink" itself, and of its counterparts in a number of other languages: encre (French), inchiostro (Italian), inkt (Dutch), inkoust (Czech)... Indelible iron-gall ink is considered the most important ink in the development of Western civilization, up until the 20th century. The best iron-gall inks were far superior to most modern inks, but the corrosiveness of some compositions (discussed below) regretfully led to the abandonment of all iron-gall inks in favor of more sophisticated recipes with lesser chemical aggressivity. Iron-gall ink normally includes what is effectively a "Chinese ink" component, which provides both body (from gum arabic) and some initial coloring upon application of the ink. Otherwise, the main pigmentation of iron-gall ink comes paradoxically from water-soluble ferrous chemicals with little color of their own: When the ink dries in air, an oxidation occurs which turns these ferrous salts into insoluble ferric dark pigments. In addition, iron-gall ink may react with parchment collagen or paper cellulose, in a totally indelible way. Some poorly balanced iron-gall inks have even been observed to burn holes through paper. It has been shown that an excess of ferrous salt in iron-gall ink leaves permanent traces of active soluble salts (not properly oxidized into inert pigments) which will catalyze the slow decomposition of cellulose, especially when acidity is present. This corrosion is reduced with a proper balance in the composition of the ink. To prevent deterioration of historical iron-gall ink documents, the Netherlands Institute of Cultural Heritage (ICN) has introduced an interesting treatment, which was first used on a large scale by the conservators of the Nationaal Archief of the Netherlands: First, a saturated solution is applied which contains a calcium salt and its acid, namely: * Calcium phytate: C6H6 (PO4Ca)6 (Phytic Acid Hexa Calcium Salt). * Phytic acid: (CHOPOOHOH)6 The salt is soluble up to twice the molar concentration of the acid. This is an oxidation inhibitor which binds the metal ions. Then, acidity is neutralized with calcium bicarbonate, which creates an alkaline buffer and also leaves a phytate precipitate in the fibers, for continued oxidation protection.

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Alchemy Ancient And Modern

Alchemy Ancient And Modern Cover

Book: Alchemy Ancient And Modern by Herbert Stanley Redgrove

IT is exceedingly gratifying to me that a second edition of this book should be called for. But still more welcome is the change in the attitude of the educated world towards the old-time alchemists and their theories which has taken place during the past few years. The theory of the origin of Alchemy put forward in Chapter I has led to considerable discussion; but whilst this theory has met with general acceptance, some of its earlier critics took it as implying far more than is actually the case. As a result of further research my conviction of its truth has become more fully confirmed, and in my recent work entitled Bygone beliefs (Rider, 1920), under the title of "The Quest of the Philosopher's Stone," I have found it possible to adduce further evidence in this connection. At the same time, whilst I became increasingly convinced that the main alchemistic hypotheses were drawn from the domain of mystical theology and applied to physics and chemistry by way of analogy, it also became evident to me that the crude physiology of bygone ages and remnants of the old phallic faith formed a further and subsidiary source of alchemistic theory. I have barely, if at all, touched on this matter in the present work; the reader who is interested will find it dealt with in some detail in "The Phallic Element in Alchemical Doctrine" in my Bygone Beliefs. In view of recent research in the domain of Radioactivity and the consequent advance in knowledge that has resulted since this book was first published, I have carefully considered the advisability of rewriting the whole of the last chapter, but came to the conclusion that the time for this was not yet ripe, and that, apart from a few minor emendations, the chapter had better remain very much as it originally stood. My reason for this course was that, whilst considerably more is known to-day, than was the case in 1911, concerning the very complex transmutations undergone spontaneously by the radioactive elements -- knowledge helping further to elucidate the problem of the constitution of the so-called "elements" of the chemist -- the problem really cognate to my subject, namely that of effecting a transmutation of one element into another at will, remains in almost the same state of indeterminateness as in 1911. In 1913, Sir William Ramsay1 thought he had obtained evidence for the transmutation of hydrogen into helium by the action of the electric discharge, and Professors Collie and Patterson 2 thought they had obtained evidence of the transmutation of hydrogen into neon by similar means. But these observations (as well as Sir William Ramsay's earlier transmutational experiments) failed to be satisfactorily confirmed; 3 and since the death of the latter, little, if anything, appears to have been done to settle the questions raised by his experiments. Reference must, however, be made to a very interesting investigation by Sir Ernest Rutherford on the "Collision of -Particles with Light Atoms,"4 from which it appears certain that when bombarded with the swiftly-moving -particles given off by radium-C, the atoms of nitrogen may be disintegrated, one of the products being hydrogen. The other product is possibly helium,5 though this has not been proved. In view of Rutherford's results a further repetition of Ramsay's experiments would certainly appear to be advisable. As concerns the spontaneous transmutations undergone by the radioactive elements, the facts appear to indicate (or, at least, can be brought into some sort of order by supposing) the atom to consist of a central nucleus and an outer shell, as suggested by Sir Ernest Rutherford. The nucleus may be compared to the sun of a solar system. It is excessively small, but in it the mass of the atom is almost entirely concentrated. It is positively charged, the charge being neutralised by that of the free electrons which revolve like planets about it, and which by their orbits account for the volume of the atom. The atomic weight of the element depends upon the central sun; but the chemical properties of the element are determined by the number of electrons in the shell; this number is the same as that representing the position of the element in the periodic system. Radioactive change originates in the atomic nucleus. The expulsion of an particle therefrom decreases the atomic weight by 4 units, necessitates (since the -particle carries two positive charges) the removal of two electrons from the shell in order to maintain electrical neutrality, and hence changes the chemical nature of the body, transmuting the element into one occupying a position two places to the left in the periodic system (for example, the change of radium into niton). But radioactivity sometimes results in the expulsion of a particle from the nucleus. This results in the addition of an electron to the shell, and hence changes the chemical character of the element, transmuting it into one occupying a position one place to the right in the periodic system, but without altering its atomic weight. Consequently, the expulsion of one and two particles from the nucleus, whilst decreasing the atomic weight of the element by 4, leaves the number of electrons in the shell, and thus the chemical properties of the element, unaltered. These remarkable conclusions are amply borne out by the facts, and the discovery of elements (called "isobares") having the same atomic weight but different chemical properties, and of those (called "isotopes") having identical chemical characters but different atomic weights, must be regarded as one of the most significant and important discoveries of recent years. Some further reference to this theory will be found in ** 77 and 81: the reader who wishes to follow the matter further should consult the fourth edition of Professor Frederick Soddy's The Interpretation of Radium (1920), and the two chapters on the subject in his Science and Life (1920), one of which is a popular exposition and the other a more technical one. These advances in knowledge all point to the possibility of effecting transmutations at will, but so far attempts to achieve this, as I have already indicated, cannot be regarded as altogether satisfactory. Several methods of making gold, or rather elements chemically identical with gold, once the method of controlling radioactive change is discovered (as assuredly it will be) are suggested by Sir Ernest Rutherford's theory of the nuclear atom. Thus, the expulsion of two -particles from bismuth or one from thallium would yield the required result. Or lead could be converted into mercury by the expulsion of one -particle, and this into thallium by the expulsion of one -particle, yielding gold by the further expulsion of an -particle. But, as Professor Soddy remarks in his Science and Life just referred to, "if man ever achieves this further control over Nature, it is quite certain that the last thing he would want to do would be to turn lead or mercury into gold -- for the sake of gold. The energy that would be liberated, if the control of these sub-atomic processes were as possible as is the control of ordinary chemical changes, such as combustion, would far exceed in importance and value the gold. Rather it would pay to transmute gold into silver or some base metal." In *101 of the book I suggest that the question of the effect on the world of finance of the discovery of an inexpensive method of transmuting base metal into gold on a large scale is one that should appeal to a novelist specially gifted with imagination. Since the words were first written a work has appeared in which something approximating to what was suggested has been attempted and very admirably achieved. My reference is to Mr. H. G. Wells's novel, The World Set Free, published in 1914. In conclusion I should like to thank the very many reviewers who found so many good things to say concerning the first edition of this book. For kind assistance in reading the proofs of this edition my best thanks are due also and are hereby tendered to my wife, and my good friend Gerald Druce, Esq., M.Sc.

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Minerals And Gems In Indian Alchemy

Minerals And Gems In Indian Alchemy Cover

Book: Minerals And Gems In Indian Alchemy by Mira Ray

The Indian alchemical literature in Sanskrit and Tamil refers to the multi-dimensionaluse of a wide variety of minerals. The most important are: (A) mica, calamine, copper-pyrite, tourmaline, iron-pyrite, copper-sulphate, bitumen and lapis lazuli, called superior minerals and orpiment, alum. sulphur, realgar, tinstone or cassiterite, red-ochre. antimony and iron-sulphate. caIled subsidiary minerals. An interesting aspect relates to the purifications of these minerals with a view to importing to them the necessary qualities for alchemical operations leading to the preparation of "elixir"and such other medicinal compositions. Yet another aspect is concerned with the extraction of what is in alchemical literature as their "essence". the chemical details of which are not exactly clear. The other types of minerals are classed under the headinggems.They are: ruby, pearl. coral. emerald. topaz. diamond. sapphire. zircon and eat's eye. nine in number. Even these gems are subjected to various processes in order to obtain theiressences. Several apparatuses and contrivances were being designed and used for conducting necessary operations. Refreshingly. some of the alchemical text also mention the distribution and characteristics of various minerals including gems. thus revealing the technical knowledge of those involving the preparation of several mineral-based medicinal compositions. The paper attempts to discuss these and aIliedaspects pertaining inthe minerals and gems as embodied in the various Texts in Sanskrit. called the"Rasasastra".

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The Art Of Memory

The Art Of Memory Cover

Book: The Art Of Memory by Frances Yates

The late Frances Yates was an honorary Fellow of the Warburg Institute at the University of London. She was awarded an O.B.E. in 1972. Her book THE ART OF MEMORY is an astonishing account of the use of imagery during the European Renaissance and, in particular, the importance of ordered memory in the Hermetic Arts. Ms. Yates focuses on the work of Giordano Bruno, the enigmatic and remarkable genius who profoundly influenced the occult teachings of the period. The book sheds light on Dante's Divine Comedy, the form of Shakespearean theatre and the history of ancient architecture. Students of Alchemy will be interested in the extraordinary use of imagery and active imagination which is portrayed in a most unusual and exciting manner. Giordano Bruno and others used the system as a means of achieving "illumination", or a dialogue with God, for MEMORY was seen as a power of the soul. Bruno believed that by constructing an ordered and linked series of images in the mind, the psyche could commune with the Divine. The images were odd to say the least. Myths, magical and astrological themes predominated in the system. This re-arrangement of the psyche thus brought one closer to the nature of the All. Bruno's connections with Shakespeare raise some fascinating hypotheses about the underlying nature and meaning of this famous author's work. The description of Shakespeare's Globe Theatre, with its mandala-like symbolism, will surprise many readers. The design and arrangement of the building (conceive it as a "theatre of the world or macrocosm") accords with Hermetic, Magical and Zodiacal principles. The roof of the theatre had, for example, the signs of the zodiac painted on it. The placement of actors and the location of action scenes may have been influenced by this layout thus adding a new dimension to the meanings and morality expressed in the plays. Frances Yates also traces the development of this memory system from Egypt, through Greece, Italy and Germany to Britain. The people, the church, alchemy and local culture all combined to influence the progress of the system and, it can be argued, the system influenced those in return. The book contains some fine illustrations and diagrams of mnemonic devices of the period. This is a scholarly work and is highly recommended.

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The Mercurial Bird

The Mercurial Bird Cover Emblem 9 (of 12) from the 1752 Hermaphrodite Child of the Sun and Moon by unknown alchemist L.C.S., reproduced by Adam McLean (p42). Translates Mike Brenner in McLean’s edition: “A soaring eagle with heart aflame, with the Sun and Moon at the threshold of its wings, bears tokens of dominion: the crown of influence, the sceptre of the king, and the globe of the empress. “Its buoyancy in flight and its flaming heart show the ethereal nature of this eagle: wet outside, fire inside. It is our Liquid Mercury. “The Sun and Moon seek solace under the shadow of these wings, basking in the pleasing radiation from the flaming heart. “To win the Crown of the Earth, fuse the power of the sceptre and the globe…” (p42). Comments Fabricius: In plate 7 “the deluge [cf. the biblical Flood] leaves only a small patch of land, on which the Hermes bird descends [beneath the symbol of Mercury]. The chaotic situation is emphasized by the emergence of the seven planets on the horizon, a symbol of universal disorder. As indicated by the sign of sulphur, the sinking island is set on fire by sulphurous flames from the hellish interior of the earth. Yet the alchemist’s sinking island is ‘supported’ by a sealed chest of drawers emerging from the sea and containing immense riches of silver and gold. Although the adept’s world has become a sinking island, it has been simultaneously transformed into a treasure island” (p18).

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Alchemical Poetry The Emerald Pattern

Alchemical Poetry The Emerald Pattern Cover As our planet turns and floats, We greet each starlit night, Like time taking its course, Through dawning and twilight. Uncongealed consciousness flows Through gulfs and voids in space, As our needs to seek the truth Grows life's pains, joys, and grace. To the farthest star we move In a pattern supreme and divine. The pulses in One Heart -- Splendid excess of a Mind. by Francisco Borjas Broines Gaitan

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Isaak Newton Alchemical Research And Writings

Isaak Newton Alchemical Research And Writings Cover Much of what are known as Isaac Newton's occult studies can largely be attributed to his study of alchemy. Newton was deeply interested in all forms of natural sciences and materials science, an interest that ultimately would lead to some of his better-known contributions to science. During Newton's lifetime the study of chemistry was still in its infancy, thereby leading many of his experimental studies to consist of the use of esoteric language and vague terminology more accurately associated with alchemy and occultism. It would be several decades after Newton's death that experiments of stoichiometry under the pioneering works of Antoine Lavoisier were conducted and analytical chemistry, with its associated nomenclature, would come to resemble modern chemistry as we know it today. Much of Newton's writing on alchemy may have been lost in a fire in his laboratory, so the true extent of his work in this area may have been larger than is currently known. Newton also suffered a nervous breakdown during his period of alchemical work, which is thought by some due to the psychological transformation that alchemy was originally designed to induce, though there is also speculation it may have been some form of chemical poisoning (possibly from mercury, lead, or some other substance). Newton's writings suggest that one of the main goals of his alchemy may have been the discovery of The Philosopher's Stone (a material believed to turn base metals into gold), and perhaps to a lesser extent, the discovery of the highly coveted Elixir of Life. Some practices of alchemy were banned in England during Newton's lifetime, due in part to unscrupulous practitioners who would often promise wealthy benefactors unrealistic results in an attempt to swindle them. The English Crown, also fearing the potential devaluation of gold, should The Philosopher's Stone actually be discovered, made penalties for alchemy very severe. In some cases the punishment for unsanctioned alchemy would include the public hanging of an offender on a gilded scaffold while adorned with tinsel and other items. It was for this reason, and the potential scrutiny that he feared from his peers within the scientific community, that Newton may have deliberately left his work on alchemical subjects unpublished. Newton was well known as being highly sensitive to criticism, such as the numerous instances when he was criticized by Robert Hooke, and his admitted reluctance to publish any substantial information regarding Calculus before 1693. A perfectionist by nature, Newton also refrained from publication of material that he felt was incomplete, as evident from a thirty-eight year gap in time from Newton's alleged conception of Calculus in 1666 and its final full publication in 1704, which would ultimately lead to the infamous Newton vs Leibniz Calculus Controversy. In 1936, a collection of Isaac Newton's unpublished works were auctioned by Sotheby's on behalf of Gerard Wallop, 9th Earl of Portsmouth, who had inherited them from Newton's great-niece. Known as the "Portsmouth Papers", this material consisted of three hundred twenty-nine lots of Newton's manuscripts, over a third of which were filled with content that appeared to be alchemical in nature. At the time of Newton's death this material was considered "unfit to publish" by Newton's estate, and consequently fell into obscurity until their somewhat sensational re-emergence in 1936. At the auction many of these documents were purchased by economist John Maynard Keynes, who throughout his life, collected many of Newton's alchemical writings. Much of the Keynes collection later passed to eccentric document collector Abraham Yahuda, who was himself a vigorous collector of Isaac Newton's original manuscripts. Many of the documents collected by Keynes and Yahuda are now in the Jewish National and University Library in Jerusalem. In recent years, several projects have begun to gather, catalogue, and transcribe the fragmented collection of Newton's work on alchemical subjects and make them freely available for on-line access. Two of these are The Chymistry of Isaac Newton Project supported by the U.S. National Science Foundation, and The Newton Project supported by the U.K. Arts and Humanities Research Board. In addition, The Jewish National and University Library has published a number of high-quality scanned images of various Newton documents

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The Hermetic Arcanum The Secret Work Of The Hermetic Philosophy

The Hermetic Arcanum The Secret Work Of The Hermetic Philosophy Cover

Book: The Hermetic Arcanum The Secret Work Of The Hermetic Philosophy by Jean Despagnet

This was a key work of 17th century alchemy. It was written in Latin by Jean d'Espagnet as 'Enchiridion physicae restitutae...' and the first edition was issued at Paris in 1623. A number of editions were issued over the next decades and it was included in a number of alchemical compendia. An English translation, translated by Elias Ashmole, was printed in 1650, in Arthur Dee's 'Fasciculus chemicus: or chymical collections'.

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Jung Tantra Archetypes And Alchemy

Jung Tantra Archetypes And Alchemy Cover Buddha had recognised the importance of the subconscious activities of the mind, both individual and collective, 2400 years before the founders of Western psychology. He knew that purely rational arguments were insufficient to motivate a deep and lasting transformation of the mind. The practitioner also needs to harness and redirect the powerful emotional currents which well up from the depths. Jung discovered that the vivid symbolism of tantric art and visualisation involved the use of 'archetypes' - ancient patterns and symbols in the human subconscious which can be invoked to produce powerful emotional responses. Since Jung's investigations, tantra has provoked much interest in the West, as well as many misunderstandings. For example, tantra is often portrayed as being just about sex. But in fact Tantra is about all kinds of transmutation and transformation of our ordinary mundane environment into the spiritual path to enlightenment: 'Secret Mantra [Tantra] is distinguished from Sutra by the practice of bringing the future result into the present path. For example, even though we have not yet attained enlightenment, when we practise Secret Mantra we try to prevent ordinary appearances and ordinary conceptions of our environment and instead visualize our surroundings as the mandala of a Deity. In the same way, we prevent ordinary appearance of our body, our enjoyments, and our deeds, and, in their place, generate ourself as a Deity, visualize our enjoyments as those of a Buddha, and practise performing enlightened deeds. By doing such practices, we can attain the resultant state of Buddhahood very rapidly. These four practices are essential for both the generation stage and completion stage of Secret Mantra.' Deity archetypes 'Deity yoga (Tibetan: lha'i rnal 'byor; Sanskrit: Devata) is the fundamental Vajrayana practice, often involving a sadhana liturgy and form, in which practitioners visualize themselves as the meditation Buddha or yidam. The purpose of Deity yoga is to bring the meditator to the realization that the deity and the practitioner are in essence the same, and non-dual. By visualizing oneself and one's environment entirely as a projection of mind, it helps the practitioner to become familiar with the mind's ability and habit of projecting conceptual layers over all experience. This experience undermines a habitual belief that views of reality and self are solid and fixed. Deity yoga enables the practitioner to release, or 'purify' him or herself from spiritual obscurations (Sanskrit: klesha) and to practice compassion and wisdom simultaneously.' Alchemy There is frequent alchemical symbolism in tantra, with visualizations of base and impure substances being transmuted into nectars and elixirs by the application of fire and seed-letter 'catalysts' . This symbolism represents the transmutation of contaminated emotions into enlightenment. Jung came to the conclusion that something similar was going on in Medieval western alchemy, with the alchemical processes being metaphors for the transmutation of the impure soul into the perfected soul.

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Death Of Compte Saint Germain

Death Of Compte Saint Germain Cover Secluded at Eckenforn in the count's castle, Saint-Germain announced that he was tired of fife. He seemed careworn and melancholy. He said he felt feeble, but he refused to see a doctor and was tended only by women. No details exist of his death, or rather of his supposed death. No tombstone at Eckenforn bore his name. It was known that he had left all his papers and certain documents relating to Freemasonry to the Count of Hesse Cassel. The count for his part asserted that he had lost a very dear friend. But his attitude was highly equivocal. He refused to give any information about his friend or his last moments, and turned the conversation if anyone spoke of him. His whole behavior gives color to the supposition that he was the accomplice of a pretended death. Although, on the evidence of reliable witnesses, he must have been at least a hundred years old in 1784, his death in that year cannot have been genuine. The official documents of Freemasonry say that in 1785 the French masons chose him as their representative at the great convention that took place in that year, with Mesmer, Saint-Martin, and Cagliostro present. In the following year Saint-Germain was received by the Empress of Russia. Finally, the Comtesse d'Adhemar reports at great length a conversation she had with him in 1789 in the Church of the Recollets, after the taking of the Bastille. His face looked no older than it had looked thirty years earlier. He said he had come from China and Japan. "There is nothing so strange out there," he said, "as that which is happening here. But I can do nothing. My hands are tied by someone who is stronger than I. There are times when it is possible to draw back; others at which the decree must be carried out as soon as he has pronounced it." And he told her in broad outlines all the events, not excepting the death of the queen, that were to take place in the years that followed. "The French will play with titles and honors and ribbons like children. They will regard everything as a plaything, even the equipment of the Garde Nationale. There is today a deficit of some forty millions, which is the nominal cause of the Revolution. Well, under the dictatorship of philanthropists and orators the national debt will reach thousands of millions." "I have seen Saint-Germain again," wrote Comtesse d'Adhemar in 1821, "each time to my amazement. I saw him when the queen was murdered, on the 18th of Brumaire, on the day following the death of the Duke d'Enghien, in January, 1815, and on the eve of the murder of the Duke de Berry." Mademoiselle de Genlis asserts that she met the Comte de Saint-Germain in 1821 during the negotiations for the Treaty of Vienna; and the Comte de Chalons, who was ambassador in Venice, said he spoke to him there soon afterwards in the Piazza di San Marco. There is other evidence, though less conclusive, of his survival. The Englishman Grosley said he saw him in 1798 in a revolutionary prison; and someone else wrote that he was one of the crowd surrounding the tribunal at which the Princess de Lamballe appeared before her execution. It seems quite certain that the Comte de Saint-Germain did not die at the place and on the date that history has fixed. He continued an unknown career, of whose end we are ignorant and whose duration seems so long that one's imagination hesitates to admit it. What happened to the Comte de Saint-Germain after 1821, in which year there is evidence that he was still alive? An Englishman, Albert Vandam, in his memoirs, which he calls An Englishman in Paris, speaks of a certain person whom he knew towards the end of Louis Philippe's reign and whose way of life bore a curious resemblance to that of the Comte de Saint-Germain. "He called himself Major Fraser, wrote Vandam, "lived alone and never alluded to his family. Moreover he was lavish with money, though the source of his fortune remained a mystery to everyone. He possessed a marvelous knowledge of all the countries in Europe at all periods. His memory was absolutely incredible and, curiously enough, he often gave his hearers to understand that he had acquired his learning elsewhere than from books. Many is the time he has told me, with a strange smile, that he was certain he had known Nero, had spoken with Dante, and so on." Like Saint-Germain, Major Fraser had the appearance of a man of between forty and fifty, of middle height and strongly built. The rumor was current that he was the illegitimate son of a Spanish prince. After having been, also like Saint-Germain, a cause of astonishment to Parisian society for a considerable time, he disappeared without leaving a trace. Was it the same Major Fraser who, in 1820, published an account of his journey in the Himalayas, in which he said he had reached Gangotri, the source of the most sacred branch of the Ganges River, and bathed in the source of the Jumna River? It was at the end of the nineteenth century that the legend of Saint-Germain grew so inordinately. By reason of his knowledge, of the integrity of his life, of his wealth and of the mystery that surrounded him, he might reasonably have been taken for an heir of the first Rosicrucians, for a possessor of the Philosopher's Stone. But the theosophists and a great many occultists regarded him as a master of the great White Lodge of the Himalayas. The legend of these masters is well known. According to it there live in inaccessible lamaseries in Tibet certain wise men who possess the ancient secrets of the lost civilization of Atlantis. Sometimes they send to their imperfect brothers, who are blinded by passions and ignorance, sublime messengers to teach and guide them. Krishna, the Buddha, and Jesus were the greatest of these. But there were many other more obscure messengers, of whom Saint-Germain has been considered to be one. "This pupil of Hindu and Egyptian hierophants, this holder of the secret knowledge of the East," theosophist Madam Blavatsky says of him, "was not appreciated for who he was. The stupid world has always treated in this way men who, like Saint-Germain, have returned to it after long years of seclusion devoted to study with their hands full of the treasure of esoteric wisdom and with the hope of making the world better, wiser and happier." Between 1880 and 1900 it was admitted among all theosophists, who at that time had become very numerous, particularly in England and America, that the Comte de Saint-Germain was still alive, that he was still engaged in the spiritual development of the West, and that those who sincerely took part in this development had the possibility of meeting him. The brotherhood of Khe-lan was famous throughout Tibet, and one of their most famous brothers was an Englishman who had arrived one day during the early part of the twentieth century from the West. He spoke every language, including the Tibetan, and knew every art and science, says the tradition. His sanctity and the phenomena produced by him caused him to be proclaimed a Shaberon Master after a residence of but a few years. His memory lives to the present day among the Tibetans, but his real name is a secret with the Shaberons alone. Might not this mysterious traveler be the Comte de Saint-Germain? But even if he has never come back, even if he is no longer alive and we must relegate to legend the idea that the great Hermetic nobleman is still wandering about the world with his sparkling jewels, his senna tea, and his taste for princesses and queens even so it can be said that he has gained the immortality he sought. For a great number of imaginative and sincere men the Comte de Saint-Germain is more alive than he has ever been. There are men who, when they hear a step on the staircase, think it may perhaps be he, coming to give them advice, to bring them some unexpected philosophical idea. They do not jump up to open the door to their guest, for material barriers do not exist for him. There are men who, when they go to sleep, are pervaded by genuine happiness because they are certain that their spirit, when freed from the body, will be able to hold converse with the master in the luminous haze of the astral world.

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Plant Alchemy

Plant Alchemy Cover Plant alchemy, or spagyrics, was the practice of extracting the essences of plants and herbs through alchemical methods, and then using said essences to create medicines, potions, and/or healing ointments. This tied in very closely with astrology, so far as that every plant, to the Medieval alchemist, corresponded to a specific planet in the solar system. Therefore, if an alchemist wished to make a potion to say, help attract love, he would use herbs such as foxglove, mugwort or vervain, since those herbs were considered "sacred to (i.e. corresponding to) the planet Venus." Mineral alchemy would also fall neatly into the astrological fold, with metals such as iron and lead being considered sacred to the planets Mars and Saturn, respectively.

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Secret Investigations Of Newton

Secret Investigations Of Newton Cover The studies into Newton’s unpublished papers mentioned above have revealed that during the greater part of his scientific career, his secret passions in fact lay in alchemy[18] and matters of theology (such as the nature of the holy Trinity, the dimensions of Solomon’s Temple, biblical prophecies and biblical chronology). It will therefore not come as a surprise that the true source for our anecdote in fact derives from Newton’s latter interests. More than 50 years ago the American historian of science I. Bernard Cohen was able to trace it back to the highly regarded Newton biographies by the English physicist David Brewster (1781-1868) in which it is cited in full as: ‘... when Dr. Halley ventured to say anything disrespectful to religion, he invariably checked him, with the remark, “I have studied these things – you have not”.’ The fact that Halley and Newton often quarreled on theological matters is confirmed by another remark recorded by John Conduitt, who in turn heard it from his wife (and Newton’s niece) Catherine Conduitt (nee Barton; 1679-1739). However, these altercations were never so intense as to cause a rift between these two great scientists.

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Alchemical Poetry The Royal Marriage From Metallic Verses

Alchemical Poetry The Royal Marriage From Metallic Verses Cover Doubt is the alchemical substance out of which revelation is born. The Royal Marriage from Metallic Verses Into this chalice Two waters flow Without doubt or malice Love grows Two souls breathe A single breath of air Two spirits feed Making us more aware Outwardly the same Inwardly one Wedded in name Never undone We laugh at secret things Cry when the other despairs Embrace this new being To which none can compare Your king rules my heart Your queen governs my reality Neither can ever depart This eternal, sacred unity

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Alchemical Poetry Why I Do Not Meditate From Things I Hate

Alchemical Poetry Why I Do Not Meditate From Things I Hate Cover Doubt is the alchemical substance out of which revelation is born. Why I Don't Meditate from Things I Hate I'm too busy receiving the love Of stars and planets Of demons and daimons Of dogs and zebras Of lilacs and daffodils Of rocks and stones Of amebas and viruses Of cells and molecules Of atoms and quarks Superstrings and black holes. Without me Their meditations would dissolve And the universe would collapse.

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What Is Alchemy

What Is Alchemy Cover

Book: What Is Alchemy by Arthur Edward Waite

In his earlier writings on alchemy Waite maintained that the spiritual interpretation of alchemy was first systematically presented by Mrs. Atwood in her Suggestive Inquiry into the Hermetic Mystery -a point of view that he was later to reject completely, to the extent of saying that the book 'is not, however, final or satisfactory as a critical study, indeed, in some respects it is a morass rather than a pathway' (The Secret Tradition in Freemasonry, 1911, Vol.2, p. 414). For this he was taken to task, in the pages of the Occult Review, by Isabelle de Steiger; but he justified himself by stating that 'What I said of the Suggestive Enquiry in 1888 and 1893 was in the light of my knowledge at those dates; that which I have recorded since has been under a fuller and clearer light' (Occult Review, Vol. 15, No.1. January 1912, p. 50). Nonetheless, his early essays on alchemy retain their value for the obscure information they contain and for their critical comments on Madame Blavatsky's dubious manipulation of her source material on alchemy. First printed in the monthly journal The Unknown World from August to December 1894 and in April, 1895. It was reprinted in The Alchemical Papers of Arthur Edward Waite, ed. J. Ray Shute, Monroe, N.C., 1939, a privately printed collection limited to seventy copies.

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Johannes Reuchlin Kabbalah Pythagorean Philosophy And Modern Scholarship

Johannes Reuchlin Kabbalah Pythagorean Philosophy And Modern Scholarship Cover

Book: Johannes Reuchlin Kabbalah Pythagorean Philosophy And Modern Scholarship by Moshe Idel

Various philosophies left their imprint on the different forms of Kabbalah. The impact of Neoplatonism and Neoaristotelianism is best known, though some traces of the impact of Stoicism and Atomism can also be discern in the vast Kabbalistic literature. Pythagorean philosophy is perhaps the third in its importance, from the point of view of the themes it impacted on Kabbalah. Though there are some examples of mentioning Pythagoras in medieval Jewish literature, this is a rare phenomenon. Iamblichus wrote his book as an introduction to a large multivoluminous treatise on Pythagoreanism, which he apparently never finished in its entirety. As we know such a Pythagorean reform never took place in a pure manner because Neoplatonism, though inspired from time to time by Pythagorean themes, succeeded and Iamblichus was in fact one of those who had a share in this success. However, his attempt to bring back Pythagoras's philosophy is of a certain importance for our subsequent discussions. This may be also the case with the other figure that drew from Neo-Pythagorean sources, and even save some pieces of Iamblichus's book on Pythagoreanism from oblivion, the Byzantine 11th century scholar Michael Psellus. We may summarize the different surges of Pythagoreanism in antiquity and Middle Ages, as strongly connected to an earlier floruit of some forms of Platonism. This is also the case in the Renaissance. After Ficino's introduction of the various forms of Platonism and Neoplatonism, the Pythagorean elements that were components of these literatures, gelled as a theory that contends to stand for itself, as Reuchlin would assume.

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Alchemical Poetry I Am On Fire Watch Me Burn

Alchemical Poetry I Am On Fire  Watch Me Burn Cover Rake the clutter and make a fire, arrange the stones to circle the pyre, drag your belongings one by one, break up the moon to inflame the sun. Heave on reluctant years of learning watch as photographs rejoice in burning. Throw them in, achieve annihilation: each crackle unveils a violation. I am on fire, watch me burn; awaiting the wretched tide to turn, the colors blister, the patina darkens, no mirror can hold me, mutation harkens. Remove your clothes and cast them in lick the flames, invite them in! Pants, shirt, underwear, even rings join in the perfect kindling of things. Look into the flames, see them howl, heap on the knick-knacks with a shovel; pretty boxes, drawers, and tins, observe the snake loose it’s skin. Draw a circle, make a bowl begin a dance to express your soul; anything to further feed the flames who delight in eating your remains. From the smoke ascends a stair do not hesitate, be aware if fear should cause you to look back; dash the things you do not lack. As hungry angels gather around, give them your body most profound and a voice of darkest birds, only ask that they leave you words. A single sentence may cause a stir, send out a search party, provoke a cure, clenching torches they’re sure to follow . . . Pause to mourn a fallen swallow. Having left a set of prints in mulch, spewed my semen, built a church, I rejoice in living the life I burned. by Peter Valentyne

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