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Alchemical Culture and Poetry in Early Modern England
Alchemical culture and poetry in early modern England PHILIP BALL Nature, 4–6 Crinan Street, London N1 9XW, UK There is a longstanding tradition of using alchemical imagery in poetry. It first flourished at the end of the sixteenth century, when the status of alchemy itself was revitalised in European society. Here I explain the reasons for this resurgence of the Hermetic arts, and explore how it was manifested in English culture and in particular in the literary and poetic works of the time. In 1652 the English scholar Elias Ashmole published a collection of alchemical texts called Theatrum Chymicum Britannicum, comprising ‘Several Poeticall Pieces of Our Most Famous English Philosophers’. Among the ‘chemical philosophers’ represented in the volume were the fifteenth-century alchemists Sir George Ripley and Thomas Norton – savants who, Ashmole complained, were renowned on the European continent but unduly neglected in their native country. Ashmole trained in law, but through his (second) marriage to a rich widow twenty years his senior he acquired the private means to indulge at his leisure a scholarly passion for alchemy and astrology. A Royalist by inclination, he had been forced to leave his London home during the English Civil War and had taken refuge in Oxford, the stronghold of Charles I’s forces. In 1677 he donated his impressive collection of antiquities to the University of Oxford, and the building constructed to house them became the Ashmolean, the first public museum in England. Ashmole returned to London after the civil war and began to compile the Theatrum, which was intended initially as a two-volume work. -
Muslim Scientists and Thinkers
MUSLIM SCIENTISTS AND THINKERS Syed Aslam Second edition 2010 Copyright 2010 by Syed Aslam Publisher The Muslim Observer 29004 W. Eight Mile Road Farmington, MI 48336 Cover Statue of Ibn Rushd Cordoba, Spain ISBN 978-1-61584-980-2 Printed in India Lok-Hit Offset Shah-e-Alam Ahmedabad Gujarat ii Dedicated to Ibn Rushd and other Scientists and Thinkers of the Islamic Golden Age iii CONTENTS Acknowledgments ................................................VI Foreword .............................................................VII Introduction ..........................................................1 1 Concept of Knowledge in Islam ............................8 2 Abu Musa Jabir Ibn Hayyan..................................25 3 Al-Jahiz abu Uthman Ibn Bahar ...........................31 4 Muhammad Ibn Musa al-Khwarizmi....................35 5 Abu Yaqoub Ibn Ishaq al-Kindi ............................40 6 Muhammad bin Zakaria Razi ...............................45 7 Jabir ibn Sinan al-Batani.......................................51 8 Abu Nasar Mohammad ibn al-Farabi....................55 9 Abu Wafa ibn Ismail al-Buzjani ...........................61 10 Abu Ali al-Hasan ibn al-Haytham .......................66 11 Abu Rayhan ibn al-Biruni ....................................71 12 Ali al-Hussain ibn Sina ........................................77 13 Abu Qasim ibn al-Zahrawi ..................................83 iv 14 Omar Khayyam ...................................................88 15 Abu Hamid al-Ghazali .........................................93 -
A Short Course in Forgetting Chemistry
[This is from What Painting Is (New York: Routledge, 1998). This was originally posted on www.jameselkins.com. This version is unillustrated: some illustrations are on the website. Some alchemical symbols have dropped out of this file. See the website for context, other material from the book, and for contact information for the author. (September 2009).] 1 A short course in forgetting chemistry Painting is alchemy. Its materials are worked without knowledge of their properties, by blind experiment, by the feel of the paint. A painter knows what to do by the tug of the brush as it pulls through a mixture of oils, and by the look of colored slurries on the palette. Drawing is a matter of touch: the pressure of the charcoal on the slightly yielding paper, the sticky slip of the oil crayon between the fingers. Artists become expert in distinguishing between degrees of gloss and wetness—and they do so without knowing how they do it, or how chemicals create their effects. Monet’s paintings are a case in point. They seem especially simple to many people, as if Monet were the master of certain moods—of moist bluish twilight or candent yellow beaches— but nothing more: as if he had no sense that painting could be anything but a method for fixing light onto canvas. In his singleminded pursuit of the grain and feel of light, he seems to forget who he is, and who he is painting. He has only a weak attachment to people, and he treats the figures who stray into his pictures as if they were colored dolls instead of friends and relatives.i Instead his attention is riveted to the blurry shapes that come forward through the imperfect atmosphere, and on the shifting tints of light that somehow congeal into meadows and oceans and haystacks. -
Arcana & Curiosa
ARCANA & CURIOSA MY PERSONAL LIBRARY * Notes: * The data listed here have been exported from an .fp5 file and they may contain some formatting glitch. Any ambiguities however may be solved by consulting the websites quoted in the records of downloaded materials and/or the main online OPACs, especially the University of Manchester’s COPAC (http://copac.ac.uk/) and OPALE, the online catalogue of the Bibliothèque Nationale de France (http://catalogue.bnf.fr/). * This catalogue included printed materials as well as electronic resources published online; there is no separation of the two in sections, but all are recorded in the same database for quick reference, because I don’t always remember whether my copy of a certain work is printed or electronic. * The records are listed A-Z by surname of first author and first word in the title (articles included). * A passage to the Afterworld, http://www.knowth.com/newgrange.htm, download aprile 2003, ripubblicato da «The World of Hibernia», Cultura materiale e archeologia A Proper newe Booke of Cokerye (mid-16th c.), http://www.staff.uni- marburg.de/~gloning/bookecok.htm, download maggio 2004, Cultura materiale e archeologia Ad fontes: gnostic sources in the BPH, J.R. Ritman Library -- Bibliotheca Philosophica Hermetica. The Library of Hermetic Philosophy in Amsterdam, http://www.xs4all.nl/~bph/, download agosto 2002, Alchimia Aesch-Mezareph, traduzione inglese di W. Wynn Westcott, The Alchemy Web, http://www.levity.com/alchemy, download ottobre 2001, Adam McLean, Alchimia Alchemical and chemical -
Remarks Upon Alchemy and the Alchemists
Digitized by the Internet Archive in 2010 with funding from Research Library, The Getty Research Institute http://www.archive.org/details/remarksuponalcheOOhitc NEW THOUGTIT LIBRARY ASSOCIATION' No. REMARKS ALCHEMY AND THE ALCHEMISTS, INDICATIXG A METHOD OF DISCOVEKI^'G THE TEUE NATURE OF HERMETIC PHILOSOPHY; A^D SHOWING THAT THE SEARCH AFTER HAD NOT FOR ITS OBJECT THE DISCOVERY OF AN AGENT FOR THE TRANSMUTATION OF METALS. BEING ALSO AS ATTEMPT TO RESCUE FROM UNDESERVED OPPROBRIUM THE REPUTATION OF A CLASS OF EXTEAORDIXARY THINKEES IN PAST AGES. ' Man shall not live by bread alone." BOSTON: CROSBY, NICHOLS, AND COMPANY, 111 Washington Street. 1857. Entered according to Act of Congress, in the year 1857, by Crosby, Nichols, and Company, in the Clerk's Office of the District Court of the District of Massachusetts. cambsidge: metcalf and company, printers to the tjnrversitt. NE¥/ THOUGHT LIBRARY ASSOCIATION No. PEEFACE. ED.W. PARKER, L ittle Ruc k, Ark. It may seem superfluous in the author of the fol- lowing remarks to disclaim the purpose of re vivino- the study of Alchemy, or the method of teaching adopted by the Alchemists. Alchemical works stand related to moral and intellectual geography, some- what as the skeletons of ichthyosauri and plesio- sauri are related to geology. They are skeletons of thought in past ages. It is chiefly from this point of view that the writer of the following pages submits his opinions upon Alchemy to the public. He is convinced that the character of the Alchemists, and the object of their study, have been almost universally misconceived ; and as a matter of fact^ though of the past, he thinks it of sufficient importance to take a step in the right direction for developing the true nature of the studies of that extraordinary class of thinkers. -
Alchemy Archive Reference
Alchemy Archive Reference 080 (MARC-21) 001 856 245 100 264a 264b 264c 337 008 520 561 037/541 500 700 506 506/357 005 082/084 521/526 (RDA) 2.3.2 19.2 2.8.2 2.8.4 2.8.6 3.19.2 6.11 7.10 5.6.1 22.3/5.6.2 4.3 7.3 5.4 5.4 4.5 Ownership and Date of Alternative Target UDC Nr Filename Title Author Place Publisher Date File Lang. Summary of the content Custodial Source Rev. Description Note Contributor Access Notes on Access Entry UDC-IG Audience History 000 SCIENCE AND KNOWLEDGE. ORGANIZATION. INFORMATION. DOCUMENTATION. LIBRARIANSHIP. INSTITUTIONS. PUBLICATIONS 000.000 Prolegomena. Fundamentals of knowledge and culture. Propaedeutics 001.000 Science and knowledge in general. Organization of intellectual work 001.100 Concepts of science Alchemyand knowledge 001.101 Knowledge 001.102 Information 001102000_UniversalDecimalClassification1961 Universal Decimal Classification 1961 pdf en A complete outline of the Universal Decimal Classification 1961, third edition 1 This third edition of the UDC is the last version (as far as I know) that still includes alchemy in Moreh 2018-06-04 R 1961 its index. It is a useful reference documents when it comes to the folder structure of the 001102000_UniversalDecimalClassification2017 Universal Decimal Classification 2017 pdf en The English version of the UDC Online is a complete standard edition of the scheme on the Web http://www.udcc.org 1 ThisArchive. is not an official document but something that was compiled from the UDC online. Moreh 2018-06-04 R 2017 with over 70,000 classes extended with more than 11,000 records of historical UDC data (cancelled numbers). -
Magic, Greek Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2019 Magic, Greek Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. 2019. "Magic, Greek." In Oxford Classical Dictionary in Oxford Research Encyclopedia of Classics. New York/Oxford: Oxford University Press, April 2019. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/classics_pubs/121 For more information, please contact [email protected]. magic, Greek Oxford Classical Dictionary magic, Greek Radcliffe G. Edmonds III Subject: Greek History and Historiography, Greek Myth and Religion Online Publication Date: Apr 2019 DOI: 10.1093/acrefore/9780199381135.013.8278 Summary and Keywords Greek magic is the discourse of magic within the ancient Greek world. Greek magic includes a range of practices, from malevolent curses to benevolent protections, from divinatory practices to alchemical procedures, but what is labelled magic depends on who is doing the labelling and the circumstances in which the label is applied. The discourse of magic pertains to non-normative ritualized activity, in which the deviation from the norm is most often marked in terms of the perceived efficacy of the act, the familiarity of the performance within the cultural tradition, the ends for which the act is performed, or the social location of the performer. -
Arcana Mundi : Magic and the Occult in the Greek and Roman Worlds : a Collection of Ancient Texts / Translated, Annotated, and Introduced by Georg Luck
o`o`o`o`o`o SECOND EDITION Arcana Mundi MAGIC AND THE OCCULT IN THE GREEK AND ROMAN WORLDS A Collection of Ancient Texts Translated, Annotated, and Introduced by Georg Luck o`o`o`o`o`o THE JOHNS HOPKINS UNIVERSITY PRESS BALTIMORE The first edition of this book was brought to publication with the generous assistance of the David M. Robinson Fund and the Andrew W. Mellon Foundation. ∫ 1985, 2006 The Johns Hopkins University Press All rights reserved. Published 1985, 2006 Printed in the United States of America on acid-free paper 2 4 6 8 9 7 5 3 1 The Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu Library of Congress Cataloging-in-Publication Data Arcana mundi : magic and the occult in the Greek and Roman worlds : a collection of ancient texts / translated, annotated, and introduced by Georg Luck. — 2nd ed. p. cm. Includes bibliographical references (p. ) and indexes. isbn 0-8018-8345-8 (hardcover : alk. paper) isbn 0-8018-8346-6 (pbk. : alk. paper) 1. Occultism—Greece—History—Sources. 2. Occultism—Rome—History— Sources. 3. Civilization, Classical—Sources. I. Luck, Georg, 1926– bf1421.a73 2006 130.938—dc22 2005028354 A catalog record for this book is available from the British Library. For Harriet This page intentionally left blank Contents List of Texts ix Preface xiii List of Abbreviations xvii General Introduction: Exploring Ancient Magic 1 I. MAGIC Introduction 33 Texts 93 II. MIRACLES Introduction 177 Texts 185 III. DAEMONOLOGY Introduction 207 Texts 223 IV. DIVINATION Introduction 285 Texts 321 V. -
Alpha Chi Sigma Fraternity Sourcebook, 2013-2014 This Sourcebook Is the Property Of
Alpha Chi Sigma Sourcebook A Repository of Fraternity Knowledge for Reference and Education Academic Year 2013-2014 Edition 1 l Alpha Chi Sigma Fraternity Sourcebook, 2013-2014 This Sourcebook is the property of: ___________________________________________________ ___________________________________________________ Full Name Chapter Name ___________________________________________________ Pledge Class ___________________________________________________ ___________________________________________________ Date of Pledge Ceremony Date of Initiation ___________________________________________________ ___________________________________________________ Master Alchemist Vice Master Alchemist ___________________________________________________ ___________________________________________________ Master of Ceremonies Reporter ___________________________________________________ ___________________________________________________ Recorder Treasurer ___________________________________________________ ___________________________________________________ Alumni Secretary Other Officer Members of My Pledge Class ©2013 Alpha Chi Sigma Fraternity 6296 Rucker Road, Suite B | Indianapolis, IN 46220 | (800) ALCHEMY | [email protected] | www.alphachisigma.org Click on the blue underlined terms to link to supplemental content. A printed version of the Sourcebook is available from the National Office. This document may be copied and distributed freely for not-for-profit purposes, in print or electronically, provided it is not edited or altered in any -
Magical Practices and Discourses of Magic in Early Christian Traditions: Jesus, Peter, and Paul
MAGICAL PRACTICES AND DISCOURSES OF MAGIC IN EARLY CHRISTIAN TRADITIONS: JESUS, PETER, AND PAUL Shaily Shashikant Patel A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Religious Studies (Ancient Mediterranean Religions). Chapel Hill 2017 Approved by: Bart D. Ehrman Zlatko Pleše Randall Styers Jessica A. Boon James B. Rives ©2017 Shaily Shashikant Patel ALL RIGHTS RESERVED ii ABSTRACT Shaily Shashikant Patel: Magical Practices and Discourses of Magic in Early Christian Traditions: Jesus, Peter, and Paul (Under the direction of Bart D. Ehrman) This project represents a methodological intervention in the study of magic in early Christianity. Modern scholars have overwhelmingly adopted post-Enlightenment, exclusively discursive understandings of magic with which to approach ancient evidence. That is to say, contemporary historians believe that the ancient Christians crafted magic in the charge against theological opponents. As a result, magic was a concept empty of all content until it was levied against others. In contrast, the following study attempts to show that while magic was a discursive category in the ancient Graeco-Roman world, certain practices attendant to this discourse demonstrated relative stability. Some activities were more likely to convey the charge of magic than others. Practices like reanimation-necromancy and love spells tended to be associated with magic more often than practices like healing or exorcism. These areas of dynamism and fixity have wide-ranging implications for the study of early Christian magic. Rather than understanding early Christians as either participating in magic or not, the following project shows how Christians crafted their distinctive magical tradition along two indices: the narration of magical practices and the subsequent interpretation of these practices. -
Alchemical Reference in Antony and Cleopatra
SYDNEY STUDIES Alchemical Reference in Antony and Cleopatra LYNDALL ABRAHAM Lepidus: Your serpent of Egypt is bred now of your mud by the operation of your sun: so is your crocodile. (II.vii.26-7) The phrase "the operation of your sun" is a distinctly alchemical term. It refers to the opus alchymicum as a whole and is first known to occur in one of the oldest and most famous alchemical documents, the Emerald Table: "What I have said concerning the operation of the Sun is finished."1 The Tabula Smaragdina or Emerald Table, ascribed to Hermes Tris megistus or the Egyptian Thoth, was not only one of the most important sources of medieval alchemy, but continued to be considered as the basis of alI alchemical law by alchemists right through to the seventeenth cen tury. The earliest known version was discovered by E. J. Holmyard in an eighth-century Arabic text, and it was translated into Latin around the time of the thirteenth century. The first English translation appears as a part of Roger Bacon's The Mirror of Alchimy (London 1597). The con tents of the influential Table occur repeatedly in both Renaissance and seventeenth-century alchemical treatises, including John Dee's Monas Hieroglyphica (1564: reprinted in 1591 and included in the alchemical anthology Theatrum Chemicum in 1602), the De Alchemia (1541-Table included in full), George Ripley's The Compound of Alchymie (1591), William Bloomfield's Bloomfield's Blossoms, Thomas Norton's Ordinal of Alchemy (1477), and Michael Maier's Atalanta Fugiens (1617).2 In Euphrates or The Waters -
What Painting Is “A Truly Original Book
More praise for What Painting Is “A truly original book. It will make you look at paintings differently and think about paint differently.”—Boston Globe “ This is a novel way of considering paintings, and excitingly different from standard art criticism.”—Atlantic Monthly “The best books often introduce new worlds. What Painting Is exposes the reader to painting materials, brushstroke techniques, and alchemy of all things, in a book filled with rich descriptions and illuminating insight. Read this and you’ll never look at paintings in the same way again.”— Columbus Dispatch “ James Elkins, his academic laces untied, traces a mysterious, evocation and an utterly convincing parallel between two spirits grounded in the earth—alchemy and painting. The author is an alchemist of ideas, and a painter. His openness to the love of quicksilver and sulfur, to putrefying animal excretions, and his expertise in imprimaturas, his feeling for the mysteries of the brushstroke —all of these allow him to concoct a heady elixir.” —Roald Hoffmann, Winner of the Noble Prize in Chemistry, 1981 What Painting Is How to Think about Oil Painting, Using the Language of Alchemy James Elkins Routledge New York • London Published in 2000 by Routledge 29 West 35th Street New York, NY 10001 This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Published in Great Britain by Routledge 11 New Fetter Lane London EC4P 4EE Copyright © 1999 by Routledge All rights reserved.