Michael Maier’S Atalanta Fugiens
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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. -
Alchemical Journey Into the Divine in Victorian Fairy Tales
Studia Religiologica 51 (1) 2018, s. 33–45 doi:10.4467/20844077SR.18.003.9492 www.ejournals.eu/Studia-Religiologica Alchemical Journey into the Divine in Victorian Fairy Tales Emilia Wieliczko-Paprota https://orcid.org/0000-0001-8662-6490 Institute of Polish Language and Literature University of Gdańsk [email protected] Abstract This article demonstrates the importance of alchemical symbolism in Victorian fairy tales. Contrary to Jungian analysts who conceived alchemy as forgotten knowledge, this study shows the vivid tra- dition of alchemical symbolism in Victorian literature. This work takes the readers through the first stage of the alchemical opus reflected in fairy tale symbols, explains the psychological and spiritual purposes of alchemy and helps them to understand the Victorian visions of mystical transforma- tion. It emphasises the importance of spirituality in Victorian times and accounts for the similarity between Victorian and alchemical paths of transformation of the self. Keywords: fairy tales, mysticism, alchemy, subconsciousness, psyche Słowa kluczowe: bajki, mistyka, alchemia, podświadomość, psyche Victorian interest in alchemical science Nineteenth-century fantasy fiction derived its form from a different type of inspira- tion than modern fantasy fiction. As Michel Foucault accurately noted, regarding Flaubert’s imagination, nineteenth-century fantasy was more erudite than imagina- tive: “This domain of phantasms is no longer the night, the sleep of reason, or the uncertain void that stands before desire, but, on the contrary, wakefulness, untir- ing attention, zealous erudition, and constant vigilance.”1 Although, as we will see, Victorian fairy tales originate in the subconsciousness, the inspiration for symbolic 1 M. Foucault, Fantasia of the Library, [in:] Language, Counter-Memory, Practice: Selected Essays and Interviews, D.F. -
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 -
The Philosophers' Stone: Alchemical Imagination and the Soul's Logical
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Fall 2014 The hiP losophers' Stone: Alchemical Imagination and the Soul's Logical Life Stanton Marlan Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Marlan, S. (2014). The hiP losophers' Stone: Alchemical Imagination and the Soul's Logical Life (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/874 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. THE PHILOSOPHERS’ STONE: ALCHEMICAL IMAGINATION AND THE SOUL’S LOGICAL LIFE A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Stanton Marlan December 2014 Copyright by Stanton Marlan 2014 THE PHILOSOPHERS’ STONE: ALCHEMICAL IMAGINATION AND THE SOUL’S LOGICAL LIFE By Stanton Marlan Approved November 20, 2014 ________________________________ ________________________________ Tom Rockmore, Ph.D. James Swindal, Ph.D. Distinguished Professor of Philosophy Professor of Philosophy Emeritus (Committee Member) (Committee Chair) ________________________________ Edward Casey, Ph.D. Distinguished Professor of Philosophy at Stony Brook University (Committee Member) ________________________________ ________________________________ James Swindal, Ph.D. Ronald Polansky, Ph.D. Dean, The McAnulty College and Chair, Department of Philosophy Graduate School of Liberal Arts Professor of Philosophy Professor of Philosophy iii ABSTRACT THE PHILOSOPHERS’ STONE: ALCHEMICAL IMAGINATION AND THE SOUL’S LOGICAL LIFE By Stanton Marlan December 2014 Dissertation supervised by Tom Rockmore, Ph.D. -
The Alchemy of Sexuality in Early Modern English Lyric Poetry Lisa Gay Jennings
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 The Alchemy of Sexuality in Early Modern English Lyric Poetry Lisa Gay Jennings Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES THE ALCHEMY OF SEXUALITY IN EARLY MODERN ENGLISH LYRIC POETRY By LISA GAY JENNINGS A Dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2015 © 2015 Lisa Gay Jennings Lisa Gay Jennings defended this dissertation on February 4, 2015. The members of the supervisory committee were: Bruce Boehrer Professor Directing Dissertation Charles Upchurch University Representative Anne Coldiron Committee Member David Johnson Committee Member Daniel Vitkus Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For my father, Dalrick Jennings, who never saw the end, but who always believed in my beginning. Death is just “a pageant to keep us in false gaze.” iii ACKNOWLEDGEMENTS In Matthew 17 of the Gospels Jesus performs a miracle where he casts out a demon from a little boy. His disciples inspired and a little envious of this show of power demanded why they were not able to cast out the demon. Jesus responds, “Howbeit this kind goeth not out but by prayer and fasting.” This dissertation came about much in the same manner. It did not materialize out of a moment of envy or frenzied inspiration but by an excruciating amount of sweat, tears, hard work, and some amount of dare I say, blood. -
Michael Maier's Atalanta Fugiens
Michael Maier’s Atalanta Fugiens Peter Bindon, FRC In this article, Peter Bindon presents some of the fascinating symbolism and history behind Emblem 21 in Michael Maier’s intriguing work, Atalanta Fugiens. n the second volume of De Alchimia opuscula complura veterum Iphilosophorum, published in Frankfurt in 1550, an unknown Philosopher says: “Make a round circle of the man and woman, and draw out of it a quadrangle, and out of the quadrangle a triangle, make a round circle and thou shalt have the Stone of the Philosophers.” Our illustration demonstrates this statement, but appears as Emblem 21 in Michael Maier’s 1618 publication Atalanta Fugiens, in English “Atalanta Fleeing.” This title refers to the well -known Greek myth, but the myth is poorly integrated with the alchemical iconography so we will ignore the myth itself and concentrate on the illustration and accompanying text that try to interpret some of the many layers of apparently refers directly to the formula meaning in this alchemical illustration. given about seventy years previously in Maier lived between 1568 and 1622, De Alchemia… (known more familiarly as but published most of his work in the last Rosarium Philosophorum or The Rosary of the decade of his life. He had been a physi- Philosophers). Although it is illustrated with cian and private secretary to the Emperor twenty fascinating woodcuts of alchemical Rudolph II and probably assisted him in and Rosicrucian interest, it does not depict collecting items for his museum, one of the theme of our symbol. Michael Maier’s the first known. Maier had visited England Atalanta Fugiens text accompanying this and it is likely that he was some kind of illustration repeats the quotation from roving ambassador or perhaps a spy for his Rosarium Philosophorum, and then presents master in Prague. -
Performative and Multimedia Aspects of Late-Renaissance Meditative Alchemy: the Case of Michael Maier’S Atalanta Fugiens (1617)* Por Johann F
Performative and Multimedia Aspects of Late-Renaissance Meditative Alchemy: The Case of Michael Maier’s Atalanta Fugiens (1617)* por Johann F. W. Hasler** Fecha de recepción: 13 de junio de 2009 Fecha de aceptación: 14 de diciembre de 2009 Fecha de modificación: 19 de julio de 2010 ABSTRACT In 1617 the alchemist, counselor and court physician to the then recently deceased Holy Roman Emperor Rudolf II (1552-1612) published his Atalanta Fugiens (Atalanta fleeing). The book fits into the general category of an ‘alchemical emblem book’, very popular in the day: it contains 50 beautiful engravings to which are assigned poetic sextets in both Latin and German. The main difference with all known similar works is that it includes a three-part canon with each engraving. According to the author, the purpose is for all of this input “to be looked at, read, meditated, understood, weighed, sung and listened to, not without a certain pleasure” (Maier 1990, 91). In this sense, this book might be interpreted as a very early example of multimedia, and as a work which requires a performative attitude and activity (in the form of singing) and not merely to be read, for its original purpose to be fully accomplished. In this brief article I will describe the work, and present arguments to support my belief that it would be reasonable to conclude that it is an early form of multimedia. KEY WORDS Atalanta Fugiens; Michael Maier; Historical Instances of Performance; Alchemical Meditation; Emblem Books, Early Multimedia. Aspectos performativos y multimediáticos de un libro de emblemas alquímicos del siglo xvii: el caso de Atalanta Fugiens de Michael Maier y sus simultáneos niveles poético, visual y musical RESUMEN En 1617 el médico, alquimista y consejero del Emperador Romano-Germánico Rodolfo II publicó en Praga su “Atalanta Fugiens” (Atalanta huyendo). -
Esoteric Knowledge
esôterikos CORBIN ON THE INNER CHURCH FOWDEN ON HERMETIC SECRETS FRANCIS PETERS ON THE OCCULT PARPOLA ON MESOPOTAMIA Novalis 1 We are close to waking, when we dream that we're dreaming." Rilke: “I am too alone in the world, and yet not alone enough to make every moment holy. I am too tiny in this world, and not tiny enough just to lie before you like a thing, shrewd and secretive. I want my own will, and I want simply to be with my will, as it goes toward action; and in those quiet, sometimes hardly moving times, when something is coming near, I want to be with those who know secret things or else alone. 2 P.D. Ouspensky: “Gurdjieff further claimed that knowledge, especially esoteric knowledge, . is finite and cannot be freely distributed to everyone. This higher knowledge, to be 1 HKA II, p. 416 2 Rainer Maria Rilke, Rilke's Book of Hours: Love Poems to God effective as a spiritual nutrient, needs to be concentrated and “preserved among a small number of people and not dispersed among the masses.” 3 This view is diametrically opposed by Robert A.F. Thurman: SAMAYA GYA GYA GYAH! “This expression reminds us that this teaching is esoteric, sealed by a vow and protected by angelic beings. The reason it has been traditionally kept a secret is not because of some elitism or stinginess on the part of enlightened teachers. It has been kept secret because it can easily be misunderstood by the uneducated, misunderstood as meaning that there are no efforts to be made towards freedom, that all ethical restraint, virtue, and mental development are really unnecessary, and that anything goes. -
The Practical Handbook of Plant Alchemy
Practical Handbook of Plant Alchemy Manfred M. Junius Translated by Leone Muller Contents Preface V11 1 Spagyria and Spagyrics 1 2 Advice of Basilius Valentinus 23 3 The Three Philosophical Principles and the Elements 30 4 Mercury, Sulfur, and Salt in the Plant World 54 5 The Extraction of the Three Philosophi al Principles from Plants 60 1 . The Extraction of the Essential Oils, That Is, of the Volatile Sulfur 61 A. Distillation by Boiling in Water 62 B. Distillation by Means of Steam 65 C. Distillation with an Oil Separator 66 2. Mercury 69 A . Separation 70 B. Purification 72 3. Fixed Sulfur and Its Salt 86 4. Salt 93 6 The Stars 96 1. The Foundations 96 2. Stars and Medicinal Plants 101 The Sun 101 The Moon 104 CONTENTS 106 109 112 115 119 Days, Hours, and Rhythms of the Planets 122 - Pre ace 4. The Exact Horoscope as the Basis for the Works 132 7 Preparation of Spagyric Tinctures and Essences 138 1 Tinctures 138 A . Spagyric Tinctures through Cold-Maceration 140 The renewed valuation of natural healing methods in our time B. Spagyric Tinctures by Soxhlet Extraction 143 has led to a steadily growing interest in medicinal plants and their 2. Essences 146 classical-and thus also the spagyric--methods of preparation . The C. Spagyric Essences Prepared from Tinctures 147 practice of spagyrics consists in the application of alchemical, or D. Spagyric Essences from Fresh Plants through Fermentation 150 parachemical, findings and methods to the preparation of tinctures, E. Spagyric Essences from Fresh Plants through Fermentation essences, and other products from the medicinal plants at our after Addition of Fermentable Sugars 151 disposal. -
Transmutation La Et Hayyān Oriente a Guardando Iii: Vacchelli
cover boccassini 1 23/03/13 10:06 Pagina 1 Già pubblicati: Fin dal suo concepimento, e in tutte le fasi della sua realizzazione, Transmutatio ha inteso QUADERNI DI STUDI INDO-MEDITERRANEI QUADERNI DI STUDI far proprio l’invito che Virgilio estende a Dante perdutosi «nella selva erronea di questa INDO-MEDITERRANEI 1. Alessandro / Dhû l-Qarnayn vita»: «A te convien tenere altro viaggio, / […] / se vuo’ campar d’esto loco selvaggio». Settecento anni più tardi, non si può dire che il «loco» che ancora abitiamo sia meno V (2012) in viaggio tra i due mari. Collana diretta da selvaggio di un tempo. Ben altrimenti spoglio di selve, questo sì; ma proprio nelle sue a cura di Carlo SACCone, 2008. devastate fattezze il «loco» preposto a nostra dimora viene a mostrarci il volto vero di ciò Daniela BOCCASSINI, Alessandro GROSSATO, che chiamiamo “selvaggio”: l’inesplorato, recondito volto dell’umana ferocia. È questo il Carlo SACCONE 2. Sogni e visioni nel mondo «gran diserto» dal quale occorre scampare; è questa la prima materia che si rende neces- indo-mediterraneo. sario trasmutare. Da sempre. Con misericordia. e dunque tenendo «altro viaggio». a cura di Daniela BoCCASSini, 2009. Si apre così, per via dell’inflessione “ermetica” propria al discorso che in queste pagine QSIM V (2012) V QSIM Transmutatio si svolge, uno spazio centrale condiviso dai testi qui accolti e dagli autori che li hanno 3. Umana, divina malinconia. scritti. nel suo insieme, Transmutatio traccia un percorso che aspira a ritornare su se a cura di Alessandro GroSSAto, stesso, a ricongiungersi con la propria origine, nella speranza di portare se stesso e quel- La via ermetica alla felicità 2010. -
The Testament of Solomon from Late Antiquity to the Renaissance
THE TESTAMENT OF SOLOMON FROM LATE ANTIQUITY TO THE RENAISSANCE Sarah Iles Johnston Introduction To work on the Testament of Solomon properly a scholar must acquire something like one of Solomon's legendary magical rings - not the ring that he used to imprison demons, which the Testament itself describes, but the one that enabled him to understand and speak the languages of all earth's creatures.' The Testament drew upon and in turn influenced so many cul- tures' folk beliefs, magical practices and literatures that unless a scholar is fluent in numerous languages, ancient and modem (Greek, Latin, Hebrew, Aramaic, Arabic and Persian as well as in all the contemporary European languages, just to name a few) it is impossible to present the text and its significance completely. A scholar must also have infinite time at his or her disposal, for the territory that the Testament inhabits is not only geographi- cally vast, but also temporally so: it stretches backwards into much older Jewish lore and the traditions represented in the Graeco-Egyptian magical papyri, and then stretches forward into the Arabian Nights, medieval folk- lore, Renaissance grimoires and even modem novels and films. Lacking both a magical ring and Sitetime, I have chosen to provide a brief survey of our knowledge about the Testament, its background and its dissemination and, following that, to discuss the relevance of two of its most distinctive features for the study of the history of magic: the use of demons for the benefit of humanity and the imprisonment of demons in sealed containers. It is my hope that this small taste of what the Testament has to offer will stimulate other scholars to undertake further, more detailed work. -
Theosophical History
Theosophical History A Quarterly Journal of Research Volume IX, No. 2 April 2003 ISSN 0951-497X THEOSOPHICAL HISTORY THEOSOPHICAL HISTORY: OCCASIONAL PAPERS A Quarterly Journal of Research (ISBN 1-883279-00-3) Founded by Leslie Price, 1985 Editor: James A. Santucci Volume IX, No. 2 April 2003 EDITOR an affinity to modern Theosophy. The subscription rate for residents in the U.S., James A. Santucci Mexico, and Canada is $22.00 (one year) or $39.00 (two years). California resi- California State University, Fullerton dents, please add $1.71 (7.75%) sales tax onto the $22 rate or $2.95 onto the $39 VOLUME I Witness for the Prosecution: Annie Besant’s Testimony on Behalf of H.P. Blavatsky in the rate. For residents outside North America, the subscription rate is $26.00 (£18 N.Y. Sun/Coues Law Case ASSOCIATE EDITORS British Sterling) (one year) or $47.00 (£31) (two years). Air mail is $40.00 (£26) Introduction by Michael Gomes Robert Boyd for Europe and Asia and $36 for Pan American nations (one year) or $74.00 (£48) for Europe and Asia and $67 for Pan American nations (two years). Single issues are †John Cooper $8.00 (£5.50). Electronic (PDF) issues are $2.50 (£1.75) each or $10 (£7) for any University of Sydney four available issues and $17.00 (£12) for any eight available issues. Subscriptions VOLUME II Joan Grant: Winged Pharaoh may also be paid in British sterling. All inquiries should be sent to James Santucci, John Patrick Deveney Department of Comparative Religion, California State University, P.O.