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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. -
Williams, Robert (2019) Mundus Imaginalis & Intellectus Agens: Imagination and Agency in Making Relational Organigrammes
Williams, Robert (2019) Mundus Imaginalis & Intellectus Agens: Imagination and agency in making relational organigrammes. In: Organigrammes. L’art face aux mondes complexes, 22nd - 23rd November 2019, l’Axe A2S (Arts, Sciences, Société) de l’Institut ACTE. (Unpublished) Downloaded from: http://insight.cumbria.ac.uk/id/eprint/5440/ Usage of any items from the University of Cumbria’s institutional repository ‘Insight’ must conform to the following fair usage guidelines. Any item and its associated metadata held in the University of Cumbria’s institutional repository Insight (unless stated otherwise on the metadata record) may be copied, displayed or performed, and stored in line with the JISC fair dealing guidelines (available here) for educational and not-for-profit activities provided that • the authors, title and full bibliographic details of the item are cited clearly when any part of the work is referred to verbally or in the written form • a hyperlink/URL to the original Insight record of that item is included in any citations of the work • the content is not changed in any way • all files required for usage of the item are kept together with the main item file. You may not • sell any part of an item • refer to any part of an item without citation • amend any item or contextualise it in a way that will impugn the creator’s reputation • remove or alter the copyright statement on an item. The full policy can be found here. Alternatively contact the University of Cumbria Repository Editor by emailing [email protected]. Mundus Imaginalis et Intellectus Agens: Imagination and agency in making relational organigrammes Imagination et agence dans la création d'organigrammes relationnels Robert Williams Professor of Fine Art, The University of Cumbria Institute of the Arts. -
Verse and Transmutation History of Science and Medicine Library
Verse and Transmutation History of Science and Medicine Library VOLUME 42 Medieval and Early Modern Science Editors J.M.M.H. Thijssen, Radboud University Nijmegen C.H. Lüthy, Radboud University Nijmegen Editorial Consultants Joël Biard, University of Tours Simo Knuuttila, University of Helsinki Jürgen Renn, Max-Planck-Institute for the History of Science Theo Verbeek, University of Utrecht VOLUME 21 The titles published in this series are listed at brill.com/hsml Verse and Transmutation A Corpus of Middle English Alchemical Poetry (Critical Editions and Studies) By Anke Timmermann LEIDEN • BOSTON 2013 On the cover: Oswald Croll, La Royalle Chymie (Lyons: Pierre Drobet, 1627). Title page (detail). Roy G. Neville Historical Chemical Library, Chemical Heritage Foundation. Photo by James R. Voelkel. Library of Congress Cataloging-in-Publication Data Timmermann, Anke. Verse and transmutation : a corpus of Middle English alchemical poetry (critical editions and studies) / by Anke Timmermann. pages cm. – (History of Science and Medicine Library ; Volume 42) (Medieval and Early Modern Science ; Volume 21) Includes bibliographical references and index. ISBN 978-90-04-25484-8 (hardback : acid-free paper) – ISBN 978-90-04-25483-1 (e-book) 1. Alchemy–Sources. 2. Manuscripts, English (Middle) I. Title. QD26.T63 2013 540.1'12–dc23 2013027820 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. ISSN 1872-0684 ISBN 978-90-04-25484-8 (hardback) ISBN 978-90-04-25483-1 (e-book) Copyright 2013 by Koninklijke Brill NV, Leiden, The Netherlands. -
The Language of Demons and Angels Brill’S Studies in Intellectual History
THE LANGUAGE OF DEMONS AND ANGELS BRILL’S STUDIES IN INTELLECTUAL HISTORY General Editor A.J. Vanderjagt, University of Groningen Editorial Board M. Colish, Oberlin College J.I. Israel, University College, London J.D. North, University of Groningen R.H. Popkin, Washington University, St. Louis-UCLA VOLUME 119 THE LANGUAGE OF DEMONS AND ANGELS Cornelius Agrippa’s Occult Philosophy BY CHRISTOPHER I. LEHRICH BRILL LEIDEN • BOSTON 2003 This book is printed on acid-free paper. The cover image shows the harmony and proportion of the human body with respect to the seven heavenly bodies, demonstrating the theory of the microcosm. From De occulta philosophia 2.27, 331/347 Library of Congress Cataloging-in-Publication Data Lehrich, Christopher I. The language of demons and angels : Cornelius Agrippa’s occult philosophy / by Christopher I. Lehrich. p. cm. — (Brill’s studies in intellectual history, ISSN 0920-8607 ; v. 119) Includes bibliographical references (p. ) and index. ISBN 90-04-13574-X 1. Agrippa von Nettesheim, Heinrich Cornelius. 1486?-1535. 2. Occultism. I. Title. II. Series. B781.A34L44 2003 130’.92-dc22 2003055665 ISSN 0920-8607 ISBN 90 04 13574 X © Copyright 2003 by Koninklijke Brill NV, Leiden, The Netherlands All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910 Danvers, MA 01923, USA. -
The Philosopher's Stone
The Philosopher’s Stone Dennis William Hauck, Ph.D., FRC Dennis William Hauck is the Project Curator of the new Alchemy Museum, to be built at Rosicrucian Park in San Jose, California. He is an author and alchemist working to facilitate personal and planetary transformation through the application of the ancient principles of alchemy. Frater Hauck has translated a number of important alchemy manuscripts dating back to the fourteenth century and has published dozens of books on the subject. He is the founder of the International Alchemy Conference (AlchemyConference.com), an instructor in alchemy (AlchemyStudy.com), and is president of the International Alchemy Guild (AlchemyGuild. org). His websites are AlchemyLab.com and DWHauck.com. Frater Hauck was a presenter at the “Hidden in Plain Sight” esoteric conference held at Rosicrucian Park. His paper based on that presentation entitled “Materia Prima: The Nature of the First Matter in the Esoteric and Scientific Traditions” can be found in Volume 8 of the Rose+Croix Journal - http://rosecroixjournal.org/issues/2011/articles/vol8_72_88_hauck.pdf. he Philosopher’s Stone was the base metal into incorruptible gold, it could key to success in alchemy and similarly transform humans from mortal Thad many uses. Not only could (corruptible) beings into immortal (incor- it instantly transmute any metal into ruptible) beings. gold, but it was the alkahest or universal However, it is important to remember solvent, which dissolved every substance that the Stone was not just a philosophical immersed in it and immediately extracted possibility or symbol to alchemists. Both its Quintessence or active essence. The Eastern and Western alchemists believed it Stone was also used in the preparation was a tangible physical object they could of the Grand Elixir and aurum potabile create in their laboratories. -
THE PHILOSOPHERS STONE by Israel Regardie
THE PHILOSOPHERS STONE By Israel Regardie CONTENTS I. Introduction BOOK ONE Chapter II. The Golden Treatise of Hermes III. Commentary IV. Commentary (continued) BOOK TWO V. The Magnetic Theory VI. The Six Keys of Eudoxus VII. Commentary VIII. The Magical view BOOK THREE IX. Coelum Terrae by Thomas Vaughan Conclusion Israel Regardie - The Philosophers Stone BOOK ONE CHAPTER ONE INTRODUCTION The word Alchemy is an Arabic term consisting of the article al and the noun khemi. We may take it that the noun refers to Egypt, whose Coptic name is Khem. The word, then, would yield the phrase “the Egyptian matter”, or “that which appertains to Egypt”. The hypothesis is that the Mohammedan grammarians held that the alchemical art was derived from that wisdom of the Egyptians which was the proud boast of Moses, Plato, and Pythagoras, and the source, therefore, of their illuminations. If, however, we assume the word to be of Greek origin, as do some authorities, then it implies nothing more than the chemical art, the method of mingling and making infusions. Originally all that chemistry meant was the art of extracting juices from plants and herbs. Modern scholarship still leaves unsolved the question as to whether alchemical treatises should be classified as mystical, magical, or simply primitively chemical. The most reasonable view is, in my opinion, not to place them exclusively in any one category, but to assume that all these objects at one time formed in varying proportions the preoccupation of different alchemists. Or, better still, that different alchemists became attracted to different interpretations or levels of the art. -
Alchemy Rediscovered and Restored
ALCHEMY REDISCOVERED AND RESTORED BY ARCHIBALD COCKREN WITH AN ACCOUNT OF THE EXTRACTION OF THE SEED OF METALS AND THE PREPARATION OF THE MEDICINAL ELIXIR ACCORDING TO THE PRACTICE OF THE HERMETIC ART AND OF THE ALKAHEST OF THE PHILOSOPHER TO MRS. MEYER SASSOON PHILADELPHIA, DAVID MCKAY ORIGINALLY PUBLISHED IN 1941 Alchemy Rediscovered And Restored By Archibald Cockren. This web edition created and published by Global Grey 2013. GLOBAL GREY NOTHING BUT E-BOOKS TABLE OF CONTENTS THE SMARAGDINE TABLES OF HERMES TRISMEGISTUS FOREWORD PART I. HISTORICAL CHAPTER I. BEGINNINGS OF ALCHEMY CHAPTER II. EARLY EUROPEAN ALCHEMISTS CHAPTER III. THE STORY OF NICHOLAS FLAMEL CHAPTER IV. BASIL VALENTINE CHAPTER V. PARACELSUS CHAPTER VI. ALCHEMY IN THE SIXTEENTH AND SEVENTEENTH CENTURIES CHAPTER VII. ENGLISH ALCHEMISTS CHAPTER VIII. THE COMTE DE ST. GERMAIN PART II. THEORETICAL CHAPTER I. THE SEED OF METALS CHAPTER II. THE SPIRIT OF MERCURY CHAPTER III. THE QUINTESSENCE (I) THE QUINTESSENCE. (II) CHAPTER IV. THE QUINTESSENCE IN DAILY LIFE PART III CHAPTER I. THE MEDICINE FROM METALS CHAPTER II. PRACTICAL CONCLUSION 'AUREUS,' OR THE GOLDEN TRACTATE SECTION I SECTION II SECTION III SECTION IV SECTION V SECTION VI SECTION VII THE BOOK OF THE REVELATION OF HERMES 1 Alchemy Rediscovered And Restored By Archibald Cockren THE SMARAGDINE TABLES OF HERMES TRISMEGISTUS said to be found in the Valley of Ebron, after the Flood. 1. I speak not fiction, but what is certain and most true. 2. What is below is like that which is above, and what is above is like that which is below for performing the miracle of one thing. -
How Alchemists Meditated in the Middle Ages and Renaissance Dennis William Hauck, Ph.D
Searching for the Cosmic Quintessence: How Alchemists Meditated in the Middle Ages and Renaissance Dennis William Hauck, Ph.D. Go directly to the text of the paper. Abstract The meditative techniques practiced by alchemists in the Middle Ages were different from what we think of as meditation today. Alchemical meditation was an active instead of a passive activity, and it focused on harnessing spiritual forces for positive transformation and specific manifestations. The alchemists sought to actually work with the transcendental powers during meditation to achieve union with the divine mind or somehow bring the transformative powers from Above directly into their practical work in the lab or their personal work in the inner laboratory of their souls. This paper reviews two actual meditations practiced by medieval and Renaissance alchemists. The first is a form of mystical contemplation popular with spiritual seekers of all kinds during this period. The other is a meditation created specifically for alchemists and kept secret from the public for over 200 years. The two meditations are intended to be practiced by those interested, and free audio recordings of the guided meditations are available.1 La recherche de la Quintessence Cosmique - Comment méditaient les alchimistes du Moyen-Âge et de la Renaissance Dennis William Hauck, Ph.D. Résumé Les techniques de méditation pratiquées par les alchimistes du Moyen-Âge étaient bien différentes de ce que nous considérons comme méditation aujourd'hui. La méditation alchimique était une activité active et non passive, elle se focalisait sur la maitrise des forces spirituelles en vue d’atteindre une transformation évolutive ainsi que des manifestations psychiques particulières. -
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. -
Magic, Religion, and Science: a Special Issue
Accessus Volume 6 Issue 2 Magic, Religion, and Science Article 1 2020 Magic, Religion, and Science: A Special Issue Eve Salisbury Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/accessus Part of the English Language and Literature Commons, European Languages and Societies Commons, and the Medieval Studies Commons Recommended Citation Salisbury, Eve (2020) "Magic, Religion, and Science: A Special Issue," Accessus: Vol. 6 : Iss. 2 , Article 1. Available at: https://scholarworks.wmich.edu/accessus/vol6/iss2/1 This Introduction has been accepted for inclusion in Accessus by the editorial board of the journal and administrator of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. Salisbury: Magic, Religion, and Science: A Special Issue 1 Magic, Religion, and Science: A Special Issue The inspiration for this special issue of Accessus arose from a combined conference of the Medieval Association of the Pacific (MAP) and the Arizona Center for Medieval and Renaissance Studies (ACMRS) held in Scottsdale in February of 2019. Entitled “Magic, Religion, and Science in the Global Middle Ages and Renaissance,” the conference brought together medieval and early modern scholars working on areas of study too often considered to be separate from one another and bound by disciplinary constraints. The essays in this fourth special issue of Accessus challenge that presumption by addressing the innovative work of four prominent writers and demonstrating how magic, religion, and science, when considered together, had the capacity to generate new ideas and innovative ways of thinking. From the rhetorical magic of John Gower, the hermetic readings of Elias Ashmole, the occult philosophy of Heinrich Cornelius Agrippa, and the onstage illusions of Shakespeare’s The Winter’s Tale, the four essays featured in this special issue unveil some of the most mesmerizing aspects of magic in the late medieval and early modern era. -
Probatur Temporis
Liber Probatur Temporis Vol I Edited by Brother AMB The Alchemist’s Guild © Page 2 Version Notice v5.1 - 15/5/2000 (first edition 1990) Alchemists Guild NZ © (The Black Book – First Standard edition) The Alchemist’s Guild © Page 3 Orientation This course of study in Hermeticism stretches over a set of ten volumes. Named below: Vol I Probatur Temporis (Temporary trial - Probation) Vol II Probatur totus (Completion of Probation) Vol III Ars Imperium Mens (The Art of Controlling the Mind) Vol IV Prima Alchemae ( Primer Lab manual) Vol V Discipulus Inceptor (Apprentice Papers) Vol VI Regula (Regulations and rules) Vol VII& VIII Miftach Aben (The Key to the Stone – Adept Papers) Vol IX Aspicio Mens (Advanced Trancework) Vol X Annexes The Alchemist’s Guild © Page 4 A Brief Overview Of This Introductory Discourse “I have found that in this Meditation there are five principle heads, which must be diligently considered, as much by all who are in possession of the wisdom of philosophy as by all who aspire after that wisdom which is attained by our art. The first is the invocation of God; the second, the contemplation of Nature; the third, true preparation; the fourth, the way of using; the fifth, the use and profit. He who does not carefully attend to these points will never be included amoung the real Alchemists, or be numbered amoung the perfect professors of the spagyric science.” (Basile Valentine – The Triumphal Chariot of Antimony - 1602) It is important right from the outset to understand exactly what this introductory discourse seeks to achieve, so that we might focus on what is important and avoid unnecessary distractions, thereby making the most of an intention to study productively.