Hidden Symbolism of Alchemy and the Occult Arts Part 6

The amount of material that could be adduced is enormous. It is not necessary, however, to consider it. What I have stated about the beginnings of alchemy is sufficient in amount to enable the reader to understand the following exposition of the alchemic content of the parable. And what I must supply in addition to the alchemic theories of the time of their prevalence in the west, the reader will learn incidentally from the following a.n.a.lysis.

In concluding this preliminary view I must still mention one novelty that Paracelsus (1493-1541) introduced into the theory. Ibn Sina had taught that two principles entered into the const.i.tution of metals. Mercury is the bearer of the metallic property and sulphur has the nature of the combustible and is the cause of the trans.m.u.tation of metals in fire. The doctrine of the two principles leads to the theory that for the production of gold it was necessary to get from metals the purest possible sulphur and mercury, in order to produce gold by the union of both. Paracelsus now adds to the two principles a third, salt, as the element of fixedness or palpability, as he terms it. According to my notion, Paracelsus has not introduced an essential innovation, but only used in a new systematic terminology what others said before him, even if they did not follow it out so consistently. The principles mercury, sulphur and salt-their symbols are [Symbol: Mercury], [Symbol: Sulphur] and [Symbol: Salt]-were among the followers of the alchemists very widely used in their technical language. They were frequently also called spirit, soul and body. They were taken in threes but also as before in twos, according to the exigencies of the symbolism.

The alchemists' usual coupling of the planets with metals is probably due to the Babylonians. I reproduce these correspondences here in the form they generally had in alchemy. I must beg the reader to impress them upon his memory, as alchemy generally speaks of the metals by their planetary names. According to the ancient view (even if not the most ancient) there are seven planets (among which was the sun) and seven metals.

Planet. Symbol. Metal.

Saturn. [Symbol: Saturn] Lead.

Jupiter. [Symbol: Jupiter] Tin.

Mars. [Symbol: Mars] Iron.

Sun. [Symbol: Sun] Gold.

Venus. [Symbol: Venus] Copper.

Mercury. [Symbol: Mercury] Quicksilver.

Moon. [Symbol: Moon] Silver.

Relative to the technical language, which I must use in the following discussion also, I have to make a remark of general application that should be carefully remembered. It is a peculiarity of the alchemistic authors to use interchangeably fifty or more names for a thing and on the other hand to give one and the same name many meanings. This custom was originally caused partly by the uncertainty of the concepts, which has been mentioned above. But this uncertainty does not explain why, in spite of increase of knowledge, the practice was continued and purposely developed. We shall speak later of the causes that were active there. Let it first be understood merely that it was the case and later be it explained how it comes about that we can find our way in the hermetic writings in spite of the strange freedom of terminology that confuses terms purposely and constantly. Apart from a certain practice in the figurative language of the alchemists, it is necessary, so to speak, to think independently of the words used and regard them only in their context. For example, when it is written that a body is to be washed with water, another time with soap, and a third time with mercury, it is not water and soap and mercury that is the main point but the relation of all to each other, that is the washing and on closer inspection of the connection it can be deduced that all three times the same cleansing medium is meant, only described three times with different names.

The alchemistic interpretation of our parable is a development of what its author tried to teach by it. We do not need to show that he pursues an hermetic aim, for he says so himself, and so do the circ.u.mstances, i.e., the book, in which the parable is found. In this respect we shall fare better in the alchemistic exposition than in the psychoa.n.a.lytic, where we were aiming at the unconscious. Now we have the conscious aim before us and we advance with the author, while before we worked as it were against his understanding, and deduced from the product of his mind things that his conscious personality would hardly admit, if we had him living before us; in which case we should be instructing him and informing him of the interpretation afforded by psychoa.n.a.lysis.

In one respect we are therefore better off, but in another we are much worse off. For the matter in which we previously worked, the unconscious, remains approximately the same throughout great periods; the unconscious of the wanderer is in its fundamentals not very different from that of a man of to-day or from that of Zosimos. [Zosimos is one of the oldest alchemistic writers of whom we have any definite knowledge-about the 4th century.] It is the soul of the race that speaks, its "humanity." Much more swiftly, on the contrary, does objective knowledge change in the course of time and the forms also in which this knowledge is expressed.

From this point of view the conscious is more difficult of access than the unconscious. And now we have to face a system so very far removed from our way of thinking as the alchemistic.

Fortunately I need not regard it as my duty to explain the parable so completely in the alchemistic sense that any one could work according to it in a chemical laboratory. It is much more suitable to our purpose if I show in general outline only how we must arrange the leading forms and processes of the parable to accord with the mode of thinking peculiar to alchemy. If I should succeed in doing so clearly, we should already have pa.s.sed a difficult stage. Then for the first time I might venture further-to the special object of this research. But patience! We have not yet gone so far.

First of all it will be necessary for me to draw in a few lines a sketch of how, in the most flourishing period of alchemy, the accomplishment of the Great Work was usually described. In spite of the diversity of the representations we find certain fundamental principles which are in general firmly established. I will indicate a few points of this iron-clad order in the alchemic doctrine.

There is, in the first place, the central idea of the interaction or the cooperation of two things that are generally called man and woman, red and white, sun and moon, sulphur and mercury. We have already seen in Ibn Sina that the metals consist of the combination of sulphur and mercury. Even earlier the interaction of two parts were figuratively called impregnation. Both fuse into one symbol, and indeed so much the more readily, as it probably arose as the result of a.n.a.logous thoughts, determined by a s.e.xual complex. Also there occurs the idea that we must derive a male activity from the gold, a female from the silver, in order to get from their union that which perfects the mercury of the metals.

That may be the reason that, for the above mentioned pair that is to be united, the denotation gold and silver ([Symbol: Gold] and [Symbol: Silver]) prevailed. Red and white = man and woman (male and female activity), we found in the parable also when studied psychoa.n.a.lytically.

In the "Turba philosophorum" "the woman is called Magnesia, the white, the man is called red, sulphur."

Morienus says. "Our stone is like the creation of man. For first we have the union, 2, the corruption [i.e., the putrefaction of the seed], 3, the gestation, 4, the birth of the child, 5, the nutrition follows."

Both const.i.tuents come from one root. Therefore the authors inform us that the stone is an only one. If we call the matter "mercury," we therefore generally speak of a doubled mercury that yet is only one.

Arnold (Ros., II, 17): "So it clearly appears that the philosophers spoke the truth about it, although it seems impossible to simpletons and fools, that there was indeed only one stone, one medicine, one regulation, one work, one vessel, both identical with the white and red sulphur, and to be made at the same time."

Id. (Ros., I, 6): "For there is only one stone, one medicine, to which nothing foreign is added and nothing taken away except that one separates the superfluities from it."

Herein lies the idea of purification or washing; it occurs again. Arnold (Ros., II, 8): "Now when you have separated the elements, then wash them."

The idea of washing is connected with that of mechanical purification, trituration, dismemberment in the parable, grinding (mill), and with the bath and solution (dissolution of the bridal pair). "Bath" is, on the other hand, the surrounding vessel, water bath. Arnold (Ros., I, 9): "The true beginning, therefore, is the dissolution and solution of the stone."

Fire can also cause a dissolution, either by fusion or by a trituration that is similar to calcination. They are all processes that put the substances in question into its purest or chemically most accessible form.

Arnold (Ros., I, 9): "The philosophical work is to dissolve and melt the stone into its mercury, so that it is reduced and brought back to its prima materia, i.e., original condition, purest form."

Through the opening of the single substance the two things or seeds, red and white, are obtained.

But what is the "subject" that is put through these operations, the matter that must be so worked out? That is exactly what the alchemists most conceal. They give the prima materia (raw material) a hundred names, every one of which is a riddle. They give intimations of interpretations but are not willing to be definite. Only the worthy will find the keys to the whole work. The rest of the procedure can be understood only by one that knows the prima materia. Much is written on it and its puzzling names.

They are, partly as raw material, partly as original material, partly as prime condition, called among other names Lapis philosophicus (philosopher's stone), aqua vitae (water of life), venenum (poison), spiritus (spirit), medicina (medicine), clum (sky), nubes (clouds), ros (dew), umbra (shadow), stella signata (marked star), and Lucifer, Luna (moon), aqua ardens (fiery water), sponsa (betrothed), coniux (wife), mater, mother (Eve),-from her princes are born to the king,-virgo (virgin), lac virginis (virgin's milk), menstruum, materia hermaphrodita catholica Solis et Lunae (Catholic hermaphrodite matter of sun and moon), sputum Lunae (moon spittle), urina puerorum (children's urine), faeces dissolutae (loose stool), fimus (muck), materia omnium formarum (material of all forms), Venus.

It will be evident to the psychoa.n.a.lyst that the original material is occasionally identified with secretions and excretions, spittle, milk, dung, menstruum, urine. These correspond exactly to the infantile theories of procreation, as does the fact that these theories come to view where the phantasy forms symbols in its primitive activity. It is also to be noticed that countless alchemic scribblers who did not understand the works of the "masters" worked with substances like urine, s.e.m.e.n, spittle, dung, blood, menstruum, etc., where the dim idea of a procreative essence in these things came into play. I will have something to say on this subject in connection with the Homunculus. I should meanwhile like to refer to the close relationship of excrement and gold in myth and folklore. [Cf. Note B at the end of this volume.] It is clear that for the art of gold production this mythological relationship is of importance.

To the action of a.n.a.lyzing substances before the rea.s.sembling or rebuilding, besides washing and trituration, belongs also putrefaction or rotting. Without this no fruitful work is possible. I have previously mentioned that it was thought that s.e.m.e.n must rot in order to impregnate.

The seed grain is subject to putrefaction in the earth. But we must remember also the impregnating activity of manure if we wish to understand correctly and genetically the a.s.sociation rot-procreate. Putrefaction is one of the forms of corruption (= breaking up) and corruptio unius est generatio alterius (the breaking up of one is the begetting of another).

Arnold (Ros., I, 9): "In so far as the substances here do not become incorporeal or volatile, so that there is no more substance [as such therefore destroyed] you will accomplish nothing in your work."

The red man and the white woman, called also red lions and white lilies, and many other names, are united and cooked together in a vessel, the philosophical Egg. The combined material becomes thereby gradually black (and is called raven or ravenhead), later white (swan); now a somewhat greater heat is applied and the substance is sublimated in the vessel (the swan flies up); on further heating a vivid play of colors appears (peac.o.c.k tail or rainbow); finally the substance becomes red and that is the conclusion of the main work. The red substance is the philosopher's stone, called also our king, red lion, grand elixir, etc. The after work is a subsequent elaboration by which the stone is given still more power, "multiplied" in its efficiency. Then in "projection" upon a baser metal it is able to tincture immense amounts of it to gold. [In the stage of projection the red tincture is symbolized as a pelican. The reason for this will be given later.] If the main work was interrupted at the white stage, instead of waiting for the red, then they got the white stone, the small elixir, with which the base metals can be turned into silver alone.

We have spoken just now of the main work and the after work. I mention for completeness that the trituration and purification, etc., of the materials, which precedes the main work, is called the fore work. The division is, however, given in other ways besides.

Armed with this explanation we can venture to look for the alchemic hieroglyphs in our parable. I must beg the reader to recall the main episodes.

In the wanderer we have to conceive of a man who has started out to learn the secret of the great work. He finds in the forest contradictory opinions. He has fallen deep into errors. The study, although difficult, holds him fast. He cannot turn back (Sec. 1). So he pursues his aim still further (Sec. 2) and thinks he has now found the right authorities (Sec.

3) that can admit him to the college of wisdom. But the people are not at one with each other. They also employ figurative language that obscures the true doctrine, and which, contrasted with practice, is of no value. (I mention incidentally that the great masters of the hermetic art are accustomed to impress on the reader that he is not to cling to their words but measure things always according to nature and her possibilities.) The elders promise him indeed the revelation of important doctrines but are not willing to communicate the beginning of the work (Sec. 5, 6, preparation for the fight with the lion). That is a rather amusing trait of hermetic literature.

We have come to the fight with the lion, which takes place in a den. The wanderer kills the lion and takes out of him red blood and white bones, therefore red and white. Red and white enter later as roses, then as man and woman.

I cite now several pa.s.sages from different alchemistic books.

Hohler (Herm. Phil., p. 91) says, apparently after Michael Meiers, "Septimana Philosophica": "The green lion [a usual symbol for the material at the beginning] encloses the raw seeds, yellow hairs adorn his head [this detail is not lacking in the parable], i.e., when the projection on the metals takes place, they turn yellow, golden." [Green is the color of hope, of growth. Previously only the head of the lion is gold, his future.

Later he becomes a red lion, the philosopher's stone, the king in robe of purple. At any rate he must first be killed.]

The lion that must die is the dragon, which the dragon fighter kills. Thus we have seen it in the mythological parallel. Psychoa.n.a.lysis shows us further that lion = dragon = father (= parents, etc.). It is now very interesting that the alchemistic symbolism interchanges the same forms. We shall see that again.

Berthelot cites (Orig. de l'Alch., p. 60) from an old ma.n.u.script: "The dragon is the guardian of the temple. Sacrifice it, flay it, separate the flesh from the bones, and you will find what you seek."

The dragon is, as can be shown out of the old authors, also the snake that bites its own tail or which on the other hand can also be represented by two snakes.

Flamel writes on the hieroglyphic figure of two dragons (in the 3d chapter of his Auslegung d. hierogl. Fig.) the following: "Consider well these two dragons for they are the beginning of the philosophy [alchemy] which the sages have not dared to show their own children.... The first is called sulphur or the warm and dry. The other is called quicksilver or the cold and wet. These are the sun and the moon. These are snakes and dragons, which the ancient Egyptians painted in the form of a circle, each biting the other's tail, in order to teach that they spring of and from one thing [our lion!]. These are the dragons that the old poets represent as guarding sleeplessly the golden apples in the garden of the Hesperian maidens. These are the ones to which Jason, in his adventures of the golden fleece, gave the potion prepared for him by the beautiful Medea.

[See my explanation of the motive of dismemberment] of which discourses the books of the philosophers are so full that there has not been a single philosopher, from the true Hermes, Trismegistus, Orpheus, Pythagoras, Artephias, Morienus, and other followers up to my own time, who has not written about these matters. These are the two serpents sent by Juno (who is the metallic nature) that were to be strangled by the strong Hercules (that is the sage in his cradle) [our wanderer], that is to be conquered and killed in order to cause them in the beginning of his work to rot, be destroyed and be born. These are the two serpents that are fastened around the herald's staff and rod of Mercury.... Therefore when these two (which Avicenna calls the b.i.t.c.h of Carascene and the dog of Armenia) are put together in the vessel of the grave, they bite each other horribly. [See the battle of the sons of the dragon's teeth with Jason, the elders in the parable, but also the embrace of the bridal pair and the mythological parallels wrestling = dragon fight = winning the king's daughter,... = incest = love embrace or separation of the primal parents, etc....] ... A corruption [destruction] and putrefaction must take place before the renewal in a better form. These are the two male and female seed that are produced ... in the kidneys and intestines ... of the four elements."

The dragon, who is killed at the beginning of the work, is also called Osiris by the old alchemists. We are now acquainted with his dismemberment, also his relation to lead ore. Flamel calls the vessel of the alchemistic operation a "grave." Olympiodorus speaks in an alchemistic work of the grave of Osiris. Only the face of Osiris, apparently wrapped up like a mummy, is visible. In the parable only the head of the lion is golden. The head as the part preserved from the killing [dismemberment]

stands probably for the organ of generation. The phallus is indeed exactly what produces the procreating substance, s.e.m.e.n. The phallus is the future.

The phallus was consecrated by Isis as a memorial.

Ja.n.u.s Lacinius gives in his Pretiosa Margarita the following allegory. In the palace sits the king decorated with the diadem and in his hand the scepter of the whole world. Before him appears his son with five servants and falling at his feet implores him to give the kingdom to him and the servants. [The author takes the thing wrong end to. The gold, king, is a.s.sailed by the other six metals, because they themselves wish to be gold.

The king is killed. Essentially the same thing happens as above.] Then the son in anger, and at the instigation of his companions, kills his father on the throne. He collects the father's blood in his garment. A grave [the lion's den, the grave] is dug, into which the son intends to throw the father, but they both fall in. [Cf. the dangerous walk of the wanderer on the wall, Section 8, where the people fall off.] The son makes every effort to get out again, but some one comes who does not permit it.

[Symbolism of obstruction, the locked door, etc., in the parable. The grave changes imperceptibly into the vessel where the bridal pair-with Lacinius they are father and son instead of mother and son-are united and securely locked in.] When the whole body is dissolved the bones are thrown out of the grave. They are divided into nine [dismemberment], the dissolved substance is cooked nine days over a gentle fire till the black appears. Again it is cooked nine days until the water is bright and clear.

The black, with its water of life [in the parable the mill water is black]

is cooked nine days till the white earth of the philosophers appears. An angel throws the bones on the purified and whitened earth, which is now mixed with its seeds. They are separated from water in a strong fire.

Finally the earth of the bones becomes red like blood or ruby. Then the king rises from his grave full of the grace of G.o.d, quite celestial, with grand mien, to make all his servants kings. He places golden crowns on the heads of his son and the servants.

As bearers of both seeds, male and female, the lion is androgynous.

Actually the subject (i.e., the first material) is conceived as twofold, bis.e.xual. It is called by names that mean the two s.e.xes, it is also called "hermaphrodite." It is represented as rebis (res bina = double thing), as a human with a male and a female head standing on a dragon. From the conquered dragon (lion) comes forth the Double. The substance is also called Mercurius; his staff bears the two antagonistic serpents mentioned by Flamel. In the parable also appears an hermaphrodite, the being (Sec.

8) which the wanderer cannot distinguish, whether it be a man or a woman.

It is the original substance, Mercury, "our hermaphrodite."

In Section 9 of the parable, and also later, red and white appear in roses. The white and the red tincture are often in alchemy compared to white and red roses.