Hidden Symbolism of Alchemy and the Occult Arts, Herbert Silberer [good inspirational books .txt] 📗
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It will be evident to the psychoanalyst 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, semen, 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 [pg 125] gold production this mythological relationship is of importance.
To the action of analyzing substances before the reassembling 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 semen 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 association 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 (peacock tail or rainbow); finally the substance becomes red and that is the conclusion of the main work. The red [pg 126] 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 [pg 127] 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 passages 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 [pg 128] mythological parallel. Psychoanalysis 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 manuscript: “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 [pg 129] 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 bitch 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 [pg 130] 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, semen. The phallus is the future. The phallus was consecrated by Isis as a memorial.
Janus 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 assailed 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. [pg 131] 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 God, 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, bisexual. It is called by names that mean the two sexes, it is also called “hermaphrodite.” It is represented as rebis (res bina = double thing), as a human
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