In
the chemistry courses many of us take in school, alchemy is usually mentioned
briefly as an early version of the discipline. The 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 close
inspection the discipline is 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 for them to work without persecution.
Goals of the Alchemists
Let's
look at a few major models of alchemy, then compare them to the
other descriptions of the religious life we've examined.
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 chemicals would attempt to transmute (via
various processes) the base metals into valuable gold - as we know, to no avail.
From
the allegorical perspective, 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 attain
immortality. This perspective usually has all sorts of colorful descriptions of
how this elixir is made.
I
have some sympathy with this description, as I feel it is alluding to the
greatest problem of human beings - death. To me, any seriously minded person
should be working diligently to overcome death, and I feel this description is
an expression for someone on this path.
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 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 it in itself makes reference to the
overlap that happens between 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, who coined the term, 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 already covered the three parts of the psyche described in The Republic earlier, 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
also find throughout the dialogues Socrates describing 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, the afterlife, and other 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 life process of 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 a 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 self-assured opinions.
There is a great unmaking of all his earlier beliefs and ideations. This is the state of "putrefaction" or blackening, the creation of a
chaotic black stew of unorganized ideas. If you notice, this state correlates
with one we examined earlier - 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 also put into a crucible
which cleanses it of its imperfections. This I think may reflect the feeling of
contradiction when one grows in
self-knowledge; of suffering; or of personal adversity that helps to elevate or
ennoble one.
The
second state is that of whitening. In time the chaotic mess of blackness is
purified; perhaps the negative elements are expurged or evaporate. The confused
notions form into a coherent vision of oneself and the world. Man comes to a new
understanding of his place in the cosmos. This is the state of
"whitening" and we find the equivalent here with 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 completed and 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 on some level 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 scheme 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).
