Understanding Alchemy

[Alexander]

Another short article taken from the book Alexandria.

In the classes many of us took in school, alchemy is usually mentioned as an early version of the modern discipline of chemistry. These textbooks will usually make some sort of mention about those quaint alchemists "trying to turn lead into gold" and then go on to explain all the ways modern chemists have surpassed them.

While it is true that some medieval alchemists did work with chemicals, on closer inspection the discipline is actually much more than this. When we unpack it, we find its symbols are a cover for their real enterprise, a great inner "work" that takes place within man.

Now you may ask, "Why all the confusing symbols?" I think the best answer to this is to look at the times and places where alchemy was practiced. If we do so, we find that it developed in settings that were often not known for their tolerance - where those practicing "alternative" spiritualities were likely to be branded as heretics. So, the schema of alchemy was developed as a cover so they could work without persecution.

Goals of the Alchemists
Let's look at the major models of alchemy, then compare them to the other descriptions we have of the religious life.

To start, what is the goal of the alchemist? Usually there are several different ideals.

1. To turn the base metals into gold
2. To create the elixir of life
3. To create the philosopher's stone
4. To complete the "magnum opus" (great work)

We find that these are all describing a similar end, although the emphasis is placed on different areas. Let's try to unpack what each of these means.

1. This first goal makes use of the symbolism of metals. In alchemy, there are usually the "base metals" (lead being the lowest) and the "noble metals" (gold being the highest). The alchemists that did work with physical substances would attempt to transmute (via various processes) the base metals into valuable gold - as we know, to no avail.

From the allegorical perspective, however, these metals are describing an inner work. The base metals represent ordinary man - man in an "uninitiated," "ignorant," or "unrepentant" state - while gold represents the state of self-perfection, enlightenment, or wisdom - the state of the "divinized" or "deified" man.

2. The second goal places its focus on the creation of the "elixir of life" - the idea being that by consuming this secret drink one will become immortal. This approach usually has all sorts of colorful descriptions of how this elixir is made. I have some sympathy with this approach, as I feel it is alluding to the greatest problem of human beings - death.

An interesting anecdote here is the tale of Shi Huangdi. Towards the end of his life, the Chinese emperor became absolutely terrified of dying. So, he gathered all the alchemists from throughout China and set them to work to make him the elixir of life. They produced many liqueurs for him to consume, but one of these was a potion of mercury, which, ironically, was what caused his death. Here we can learn from the emperor, and remember that these are figurative formulas - not literal ones.

3. The third goal is to create the "philosopher's stone," and I always found this an interesting one because here it makes a reference that shows an overlap with other disciplines.

So, are we working with alchemy here - or philosophy? It is an interesting question. Who we should immediately think of here when we use the term "philosopher" are of course the ancient Greeks, Plato and Socrates, and who described the praxis one on this path should follow in works like The Republic, the Phaedo, the Timaeus, and so on.

I have covered the three parts of the psyche described in The Republic elsewhere, and touched on how this work is itself an allegory. The Republic explains the establishment of justice within the psyche, and compares the psyche of the normal man (the tyrannical city-states) to the psyche of the higher man (the philosopher, the Kallipolis or beautiful city).

We find throughout the dialogues that Socrates describes much of the lifestyle that one on this path would follow. He explains the heroic and ascetical temperament, and the pursuit of wisdom, as major practices. He also speculates on the nature of reality, justice, and the afterlife, all topics that one on this path would consider of interest.

4. The final goal of the "magnum opus" is compatible with each of the others, and is of value because I think it reflects the overall perspective of alchemy. Alchemy is different from other spiritualities because it sees itself as a process of life work that permanently transforms the human being. For the alchemist, he is the material with which he works; he is the "prime matter" that is turned into the "gold" of wisdom, perfection, and immortality.

The Philosopher's Stone
Having looked at the goals, let's look at two major formulations of the alchemical path. The first is usually presented as the following.

1. Blackening (nigredo)
2. Whitening (albedo)
3. Reddening (rubedo)

This model is usually presented as the means of creating the philosopher's stone. First, the alchemist begins with the first matter (the "prima materia") - that is, man in his ordinary state. Man as he is is unwise and uninitiated; selfish and base; corruptible, passible, and perishable.

From here, the alchemist grows in wisdom (self-knowledge) and comes to know himself fully. As he comes to know himself, he sees the parts of himself that horrify him or that contradict his previous opinions. There is a great unmaking of his earlier beliefs. This is the state of "putrefaction" or blackening, the creation of a chaotic black stew of the unorganized man. Note how this state correlates with one I've examined elsewhere - the state of "purgation" in mysticism. (For those interested more in this state, I would recommend Carl Jung's writings on the "shadow self," or the work The Dark Night of the Soul by John of the Cross.)

The chief tool the alchemist works with here is the "fire" or furnace. The stone goes through many chemical transformations and is put into a crucible which cleanses it of its imperfections. This, I think, reflects the feeling of contradiction one feels as one grows in self-knowledge.

The second state is that of whitening. In time, the chaotic mess of blackness is purified; the negative elements are expunged or evaporated. The confused notions and ideas that one once had form into a coherent vision of oneself and the world. Man comes to a new understanding of his place in the cosmos. He becomes the "new man." When we look for a correlation, we find the equivalent here with the state of "illumination" in mysticism.

In the final stages, the stone is portrayed as turning yellow, and then reaching a final state in which it becomes either red or multicolored. At this point it is now the "lapis philosophorum" or philosopher's stone. The "great work" is then completed and the man reaches a state of personal perfection, enlightenment, and immortality. Here we find the equivalent with "divinization" in mysticism.

The Three Elements
The other model of the alchemical path often involves working with the following elements.

1. Mercury
2. Sulphur
3. Salt

The precise meaning of these elements depends on the context, but in most cases they represent the three parts of the psyche.

If we use the division of the psyche described by Plato, we would correlate these elements with reason, anger, and passion. In the same schema as The Republic, the alchemist's goal would be to bring these elements into a proper alignment; mercury should be the chief element, followed by sulphur and salt.

Another model would label these elements spirit, mind, and body. The goal with this approach would be to use the combination of the latter two (sulphur and salt) to produce the dynamic element mercury, which represents the imperishable spirit.

Other Allegories
Alchemy is a vast discipline, and there are other models beyond these two. Alchemy also likes to use many symbols, sometimes involving astronomy (sol = gold or divinization; luna = silver or illumination) or zoology (lions - the most famous being the "green lion," the bold but fledgling seeker of the transcendent - or ravens, usually a symbol of the stage of putrefaction).

I hope by touching on these ideas I can add some greater clarity to their meaning.

[Jhanananda]

Thank-you for posting your interesting take on alchemy.  I was surprised that you did not examine the elements: Earth, Water, Air, Fire and Ether; which are a basis of not just alchemy, but the world view until about 200 years ago.  I believe understanding the elements become essential when understanding the world view that existed when various ancient religious literature was composed, because we can understand that literature even better.

For instance, there were symbols associated with each element.  The pyramid was the symbol for fire, and this is exactly why the Egyptian pyramids were built, because Egypt is a very hot place, so Egypt was symbolized by the pyramid.

Or in the Christian Gospels we have Apostle Peter.  When we look deeper into the original languages of the Gospels and Jesus and his disciples, we find the the personal name 'Peter' actually mean 'rock' which is interpreted as a strong foundation for the life and teachings of Jesus.  However, if we examine it from the world view present at the time we find, no, calling Peter, "rock" was Jesus saying how earth-like he was, which was to say he was slow and stupid.

So, I recommend in your book you spend some time exploring the elements, their symbols, and meanings, because they were at the core of the concepts within alchemy.