Magnum opus alchemy pdf

Continue Paul Kyritsis - Sunday, October 09, 2011 To understand the motivation of alchemy we must go back to the second century ce, a time when pseudepigraphic writings aimed at nurturing the philosophical and theosophical coherence of the world were ripe. Most of these syncretized Gnostic, stoic, platonic and aristotle elements were attributed to historically unverifiable figures such as the three times greatest Hermes Trismegistus and Moses; deities such as Isis, Gore and Agatodaimon; and legendary figures such as Opanes, Pammen and Cleopatra. The most important for our study is the introductory text of Corpus Hermeticum, a treatise called Poimandres. In it, the anonymous author reveals the belief that the essence of microcosm and macrocosm, man and space as a whole, is understood only through revelation or mystical understanding. This Gnostic system of thought attributes the creation of the universe to the interaction of two principles; pure spirit, otherwise known as God, and matter. The first is fiery and active, the second reflective and passive. According to the narration of the frame, the process of formation was mediated by two sentient beings, which differed from the virgin spiritual-noetic substance. First, it was the demiurgic spirit or nous that continued to order a fixed sphere of stars, seven planetary spheres with their respective daemones and the sublunary kingdom. This was followed by a disembodied proto-man, who repeated the entire order on a much smaller scale. The obvious still must be a welcome departure from the usual performances of creations such as those we could read in biblical Genesis or the Sumerian account of Ulligara and Salgarra. The disembodied proto-man, the ethereal model of man, in other words, was not subordinate to God; he was alone with God, brother or brother of God. Unencumbered by the density of incarnation, the ethereal man was loved by God like his own child and bestowed all the honors and privileges that came with such a favorable feeling. He was omnipotent, transcendent and immortal, with demiurgic coghicting abilities that made him the envy of heavenly and earthly beasts. After all, it was his own curiosity that made him powerless. Seeking to study more closely the created essence of matter, he descended on the multidimensional stages of cosmic scale, until he reached the last kingdom, the sublunary. Here he looked at the supernatal face of Mother Nature and became in love with her. She reciprocated these feelings and, acting on her lowest and involuntary impulses, pulled him to her side. The subsequent action turned him into a complete constituent being; his newfound physicality imposed a state of earthly life, but his spark of soul, derived from the Empirean, ethereal fire of the sky, remained immortal. was also hermaphrodite in nature, consisting of both male and female parts. A second-century non-Christian text from the Naka Hammidi Library entitled Adam's Apocalypse describes this aspect through a narrative between Adam, the first man, and his son Seth. In the story, Adam equates the state of paradise perfection and knowledge of the original gnosis to the hermaphrodistic constitution, showing that the fall occurred only after the enraged god Yaldabat, the ruler of the eons of forces, divided the bodily androgynous proto-man into a man and a woman. Alchemy assigns this Gnostic point of view and attributes the salvation of the reintegration of female and male forces within itself. The purpose of anyone who awakens to this higher call is to re-nationalize the seven planetary spheres, fragmented as it was the anatomy of his or her soul and giving away parts of the respective daemons to reconcile the integral Adamian state of uroboric chastity and finally communicate with and become one with Godhead in the eighth, Empyrean. The scenic representation of this idea is immortalized in the opening of the Mutus Liber plate, where two angels trample up and down Jacob's stairs and kick into their pipes in an attempt to awaken the sleeping figure at the bottom. From this point of view, an alembice or vessel is a human body, and the Philosopher's Stone is a consciousness purified from its physical drives and carnal desires through a repeated cycle of compounds, or chemical marriages, if you like, between male and female forces - The Straw and the Moon. Just as you can experience reality through the mediation of your five physical senses, so does alchemical esotericism seeks to understand the psychoneotic kingdom through elements, properties and organic processes manifested in the natural world. The idea embodied in the airtight principle, both above and below, which can be taken mean that everything existing on a material plane is the erroneous variety of the ideal equivalent to the next vortex of the cosmic spiral (i.e. think platonic metaphysics). Similarly, both internal and external expresses fundamental correspondence between the laws of macrocosm and microcosm, or the demiurgic spirit (nous) and the ethereal proto-man, if you prefer. The attempt to establish these laws prompted early alchemists to seek and identify the material component for prima matter - prothean, volatile, constantly oscillating and elusive basic substances from which the cosmos and the human soul are carved. The two that seemed to match the mold were water and mercury. The first was soon justified on the premise that it was too abundant in nature to encompass the quintessence of an immutable substance that was not taught in the irrational eruptions of creation. Also have already been involved as one of the first four qualities or principles to distinguish from primitive chaos like Empodocles (492-432bce) and Aristotle (384-322bce). That left Mercury as the only candidate. Although alchemists of all ages have strongly argued that their mercury is not a mercury (Hg) of a vulgar herd, we can be more than sure that the miraculous and mutative properties of the latter is what inspired it. Let's take a quick look at Mercury's central and key role in Magnum Opus. When alchemical treatises speak of Mercury or Mercury Water, they refer to the menstruation and matrix of the cosmos, the undifferentiate first case consists of both a hot, dry and active male principle, and a moist, cold and receptive female principle. Both are expressed exoteroly under the rubric of elementary sulfur and argent vive. This paradoxical duality defines the differentiated aspect of prima-matter, but it can also be seen during painstaking procedures carried out in the alembic and eventually, ultima materia. Given that Mercury was the only known substance that demonstrated an inherent talent for tackling and coagula (meaning to dissolve and coagula, or to separate and combine together) by combining other metals, it began to be seen as a ribis or hermaphrodite, as well as a symbol of alchemy in its entirety. The Numinous Mercury and the animizing spirit was the Protean; it could not be seen or touched, but it permeated the elementary processes that unravelled through the two-pro struggle between philosophical gray and argent vive. On the one hand, it was vitriol, poison or vinegar that killed a plant, mineral or metal in an almbic and reduced it to a rotten mass, and on the other hand, it was water that washed over dead residues or ash and will resurrect it again. In any case, Mercurial nature was a living contradiction, akin to an African lioness, mother of a lamb or an atom, bursting in two places at the same time. She-male or he-woman couldn't quite make up his mind about what he wanted to be, how his name was or how long he wanted to take on an assumed role on the subject. He will appear during chemical operations as a duplicitous male trickster who released poisons and dissolved substances one minute, and as a faithful female servant who contrived elixirs and coagulated substances the next. Unlike everything else on the planet, Mercury had no stabilizing shape, weight or temperature; he reasoned with impulse and acted covertly. Early alchemists never attributed Mercury to a certain stage of the alchemical opus, because it was the formative force of all work, having finished the whole process, which consisted of repeated divisions and coagulations between gray and argent vive, Sol and Luna. The degree of purity achieved was shown through each marriage or coniunctionis of these two elements. Pictorial representations of these compounds show in chronological and ascending order the connection of chicken and rooster, dog and, red male and white woman, and finally the Red King and the White queen. This double struggle took place within the framework of the three-fold division. At the same time, the earliest known model of alchemical transmutation, transformation and elevation of prima-matter (basic matter) into ulty-matter (preparation of gold, or Philosopher's Stone) was marked by four separate phases of coloration, which served as exoteric markers of the process of reduction initiated by the laws of cosmic sympathy and antipathy. Thus, ultima-matter was assigned a form only after having undergone putrefaction through melanosis or nigredo, bleaching through leukemia or albedo, yellowing through xantosis or cytriths, and finally redness through iosis or rubedode. Purple sometimes took the place of red in the last of these stages, alluding to the royal and spiritual scheme ascending directly to a process that at first turned out to be nothing more than a narrative transcription of color and metal cleaning. In the alchemical literature, melanosis symbolized black crow, leukemia - white pigeon, Xantosis - yellow flower, and ios - red dragon or phoenix. Both the repetitive chemical marriages between philosophical sulfur and argent vive, and the three-fold color division, were backed by a seven-fold diagram based on planetary forces and their composite metals. The forces of Saturnin, Jovial and the Moon lunarized the basic substance, initiating chemical processes such as calcification, solution and rotten action that led to nigredo and albedo in the sealed vessel. Many alchemical treatises mention an intermediate stage known as cauda pavonis or Peacock Tail between nigredo and albedo, in which decaying matter in glass comes back to life, forming a kaleidoscopic skin resembling iridescent blues and the greens of the peacock's tail feathers. In any case, the successful completion of this stage and albedo gave the alchemist the gift of white stone; the power of healing and transmutation of a base substance like lead or mercury in silver. Successive operations were then carried out by venereal, Martian and solar forces, which tanning beds had just formed white stone through chemical reduction, sublimation, coagulation and fermentation. These subsequent reactions in a sealed vessel or glass led to citrinitas and rubedo, culminating in the synthesis of a sparkling red powder of considerable weight known as red stone; it was an ultimatum-matter or a philosophical stone, with the power to transmute the base metals into gold and to spread immortality. Creating a white stone under the auspices of the first planetary forces consisted of what alchemists called the Small Work and the creation of the red stone under the auspices of the last three Great Works, respectively. There can be no doubt that much of Magnum Opus, its stages and colors of production have been inspired by the mutational abilities and miraculous properties of mercury or quicksilver. The Chinese, Indians and ancient Egyptians were well acquainted with the brilliant red sulphide ore of mercury, called the cinnamon, as well as its empirical methods of reduction since ancient times. Peeled mercury can be used to extract gold from poisonous rocks or gold-containing quartz by cooking the two together in a stone vessel. Once all the gold has been leached all the amalgams will be compressed through the leather apparatus and distilled to expel any mercury residues. If mercury could release the eternal metal, it made sense that the philosophical mercury, its idealized form, was the undisputed mother of the mother's ultimatum, spiritual gold or philosophical stone. Moreover, when the mercury was heated in the albia, it produced reddish-orange sediment, reminiscent of its primitive and unrefined state as cinnamon. In the old days, there was no chemical analysis capable of identifying or distinguishing between mercury sulphide and oxide, and their quasi-characteristics were convincing enough to tempt early alchemists to believe that these two substances were the same substance. For those whose experience of reality was precariously dependent on this exceptionally qualitative vision, it would seem that the metal regained its original Adamic state after suffering acute passions and suffering, an empirical fact that added considerable weight to the alchemy of the mystical belief that every virgin soul came from Empyrean as an extension of God and eventually return there. Interestingly, the extraction of mercury or fast energy from the cinnamon and its subsequent oxidation through heating was a favorite procedure of medieval alchemists, whose main task was to perpetuate the trust in their royal art. Some other distinctive mercury reactions motivated specific ideas and symbols. For example, heating of amalgam of salt and mercury oxide produced mercury chloride or corrosive sublimate, a molecular compound that appeared on the upper echelons of the alembic in the form of bleached white crystals and continued to grow downwards. It was a sublimation, a stage between citrinitas and rubedo, but it was also material proof of the ethereal mercurial force that triggered the violent reactions needed to enhance the vibration and sediment of the chromatic red rubedo. Moreover, when it was heated with sulfur, it produced red sulphide ore, cinnamon. The first to launch a critical investigation of the metal natural mercury, such as those just mentioned, were the eighth-century Arab alchemists, in particular Jabir ibn Hayyan, from whom alchemy inherited the philosophical theory of Sera-Mercury. For this reason, we can be more than certain that this dualistic concept of space was entirely based on crude observations made in the laboratory. Unsurprisingly, we also see the inheritance of mercury properties in ultimal matter, gold or philosophical stone. Natural mercury is usually quite dense and requires storage in stone or iron bottles, given its highly reactive and volatile state. Glass, for example, is unusable because it will break and all metals, except iron, will dissolve. At the same time, the Philosopher's Stone is described as a heavy red powder (or heavy liquid) that can disappear in the air or diffuse through its retorts or violet if airtight fires are not regulated or if alchemical operations are carried out too far. Sounds a bit like mercury, doesn't it? This is? magnum opus alchemy pdf. ck2 magnum opus alchemy. urban alchemy opus magnum. urban alchemy opus magnum prescription blonde. urban alchemy opus magnum salt scrub cleanse. opus magnum production alchemy. oscha alchemy magnum opus. alchemy magnum opus cheats

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