LE ROSAIRE DES PHILOSOPHES SECONDE PARTIE DE L’ALCHIMIE DE LA VÉRITABLE MANIÈRE DE PRÉPARER LA PIERRE PHILOSOPHALE.
ANONYME
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De alchimia opuscula complura veterum philosophorum.
ROSARIUM PHILOSOPHORUM. SECUNDA PARS ALCHIMIAE DE LAPIDE PHILOSOPHICO VERO MODO PRAEPARANDO. Frankfurt : Cyriacus Jacob, 1550
Le présent traité semble avoir influencer l’écriture du Sommaire du Rosaire, d’Arnauld de Villeneuve
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A COMMENTARY ON THE ROSARIUM PHILOSOPHORUM. by Adam McLean
F
or the purposes of this commentary I tradi traditi tion on the the spiri spiritu tual al prin princi cipl ples es we were re stil stilll only only do not not inte intend nd to work work thro throug ughh a expressed in symbols. So, while the Rosarium in its detailed analysis of the text, but rather text text atte attemp mpts ts a synt synthe hesi siss of phys physic ical al and and soul soul to purs pursue ue an inte interp rpre retat tatio ionn of the the alchemy, we also find as a further layer, that the series of twenty woodcut illustrations, seri series es of symb symbol olic ic illu illust strat ratio ions ns inco incorp rpor orat ates es in which have borne the reputation of the Rosarium in pictorial form the principles of a spiritual alchemy. the absence of a translation. Some of these woodcuts The Rosarium, because of its interweaving of soul and are are very very well know knownn and and have ave bee been used used as physical alchemy, was of particular interest to the illustrations in many recent books on symbolism. psychologist Carl G. Jung, who perhaps quoted from The text of the Rosarium is divide divided d into into sectio sections ns it in his writings upon Alchemy more than any other associ associate ated d with with these these twent twentyy illust illustrat ration ions. s. These These sing single le text text.. Jung Jung,, inde indeed ed,, wrot wrotee an essa essayy on the the sections introduce ideas arising from the symbolic Rosarium seri series es of illu illust stra rati tion onss unde underr the the titl titlee content of the woodcuts, and weave these remarks in ’Psychology of the Transference’ which is included in with quotations from various well known alchemical Volume 16 of his collected works, and this provides authorities, often using quite lengthy extracts from us with a most valuable foundation upon which to othe otherr alche alchemi mica call writ writer ers. s. So the the Rosarium is a constr construct uct an interp interpreta retatio tion. n. Jung, Jung, howeve however, r, only only gathe gatherin ringg of materia materiall within within a cer certai tainn framewo framework, rk, shows us 11 of the 20 illustrations. Furthermore, he rath rather er than than bein beingg an enti entire rely ly orig origin inal al text textua uall suggests that figures he labels 5 and 5a ( Rosarium statement of alchemical ideas. So, it is this framework, illustrations 5 and 11) are alternative versions of the in which the essence of the Rosarium lies, that we shall same figure, whereas on examining the full series of be exploring in this commentary. 20 illustrations we find this untenable. Perhaps Jung The text of the Rosarium is quite peculiar in that it did not have access to a complete edition of the book, seems almost to move in and out of focus. At one but that as often happens over the centuries, some of point in a section one seems to have a clear precisely these illustrations had been removed from his copy. any rate rate,, Jung Jung’s ’s inte interp rpret retat atio ionn is base based d upon upon drawn idea, which as it is developed in the text At any becomes more unfocused, more diffuse, and one finds seeing the illustrations as 10 stages, whereas as we oneself unclear as to what level the text then refers. have seen there are 20. Indeed, if we read again Then Then,, just just as one’ one’ss puzz puzzle leme ment nt is grow growin ingg into into Jung’s analysis of the Rosarium, with a consciousness the exis existe tennce of the the exte xtended ded seri series es of 20 irritation, the text moves sharply back into focus with of the another clear statement of an idea. This may be a illustrations, we will find a further level of integration quit quitee consc onsciious ous tech technnique ique on the the part part of the the of the masculine and feminine facets of the soul, anonymous writers rather than just a failing of the which does not contradict Jung’s thesis, but amplifies transl translati ation on.. At any rate, rate, the the text text constan constantly tly shifts shifts and extends it. betw betwee eenn phys physic ical al alch alchem emy, y, stat statem emeents nts abou aboutt For the purpose of interpreting these illustrations, I experiments with substance, and the realm of soul will follow a method I have used previously (in the alchemy, the task of the inner transmutation of forces commentaries to ’The Crowning of Nature’ and ’The within man’s soul. In that it sought to unite these two Rosicr Rosicruci ucian an Emble Emblems ms of Daniel Daniel Cramer’ Cramer’), ), that that of alchem alchemica icall realms realms,, the Rosarium set set a sty style for for integ integrati rating ng the symbol symbolss into into a comple complete te patter pattern, n, alchemical literature of the late sixteenth and early rather than analyzing them as separate individual seventeenth centuries, in which the physical process symb symbol ols. s. It must ust be emph emphas asiz ized ed that that wh what at is presen ente ted d here here is only only one one inte interp rpre reta tati tion on of the the became a mirror for soul development, and the inner pres content of soul experiences became projected upon symbolism. This is by no means exclusive of other outer processes in the laboratory or the natural world. interpretations, which may be equally valid in that The Rosarium as a text is not a work of the kind of they look at the spiritual realities of the Rosarium spir spirit itua uall alc alchemy emy we fin find late laterr in the earl earlyy series from a different perspective, and thus throw seventeenth century in the output of Mylius, Maier, further light on the matter of the symbolism. Alchemy annot be Fludd, and the Rosicrucian alchemists. It does not deals with flow and change and cann deal directly with the spiritual principles of alchemy encompassed in the hard rigid fossils of intellectual and state these as a coherent philosophy in the text, formulae. Intellectualism only analyses and breaks
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So to our analysis and synthesis of the symbols of the Rosarium . The 20 illustrations are arranged for this interpretation as in the diagram above. Here we have a triad of illustrations 1-2-3 introducing us to the Prima Materia, the substance of the work of transformation, then in illustrations 4 - 10 we see the first process of transmutation leading to the creation of the the Whit Whitee Ston Stone, e, this this bein beingg foll follow owed ed by the the parallel transmutation of 11 - 17 which leads to the Red Stone. Then in 18-19-20 we have a final picture of the end of the Work. THE PRIMA MATERIA The The open openin ingg thre threee illu illust strat ratio ions ns to this this proc proces ess, s, indicate the realm within which this transformation occu occurs rs and and intr introd oduc uces es the the Prim Primaa Mate Materi ria. a. We interpret this series as a process for the integration of the three facets of man - the Body, Soul and Spirit. In our present state of evolution these facets do not work together in harmony. There are polarities and vast gulfs between the different realms within our being. It is the task of alchemical transmutation to unite these
of the soul, so that it becomes both a vehicle or vessel for the spirit and the master and moulder of the physical realm. In illustration 1, we have a picture of man’s inner soul world. In the lower part of the soul we see a triple foun fountai tainn wh whic ichh pours pours fort forthh the the thre threef efol old d soul soul-substance - the Virgin’s Milk (the feminine receptive lunar forces in the soul), the Spring of Vinegar (the masculine sharp, penetrating solar forces in the soul) and the Aqua Vitae, the water of life (the inner source of soul energies). These three streams pour forth from the head of the fountain, at the central point of the soul, and stream down merging together in the basin at the lowest part of the soul. This vessel contains the prim primal al subs substa tanc ncee of the the soul soul forc forces es,, the the Inne Innerr Mercury, the Mercury of the Philosophers, that is one and yet is composed of these three streams. Thus we have here a picture of the unintegrated soul realm of man. The three streams pour down from the heart centre into the lower soul world, but are cut off from a balanced direct connection with the upper
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of the primal material, the lunar and solar streams, and the inner Mercury of the soul forces, then begin to work with these through meditations meditations,, bringing bringing them into a new synthesis and making these inner forces a vehicle both for the experience of the Spirit and and the the mast master eryy of the the Phys Physic ical al worl world. d. Thus Thus in illustration 2, there is pictured a personification as King and Queen of these solar and lunar forces. The Sun King and Moon Queen, have to be recognized by the alchemist as archetypal polarities within his soul and they must be brought into a new relationship. These polarities meet and touch, though at this initial stage, their encounter is very restrained and distant. As Jung Jung poin points ts out out in his his comm commen enta tary ry to thes thesee illustrations, they give each other their left hands in uni union. on. The The left eft (sin (sinis iste ter) r) bein beingg the the dark dark or unconscious side of their being. Thus they are united in the unconscious aspect, in the depths of the lower soul. Their right hands, the more conscious side of their being, proffer two-blossomed flowers to each other, and this meeting in consciousness is thus more restrained and distant. However, from above, from the higher spiritual realm indicated by the Star, a bird descends bearing a further two-blossomed flower and brings a stronger unity into the picture. Thus even at the beginning of the work, the alchemist will have help help from from the the spiri spiritu tual al worl world. d. As he tent tentat ativ ivel elyy begins the task of uniting the inner polarities, spiritual help will descend to him as a gift, a spiritual grace. For the individual alchemist this will possibly take the form of perceptions, perhaps inspirational dreams, and and posi positi tive ve reali realiza zati tion onss that that give give him him an inne innerr security, a sureness that he is on the right path. In illustration 3, the process moves one stage further. The court clothes of the King and the Queen, the veils of consciousness, have been taken off, and the two participating forces or archetypes in the soul (Jung called these the Animus and Anima) can for the first time see each other clearly. At this stage their gesture changes and they grasp each other’s proffered branch (which (which now is single single blosso blossome med). d). The solar solar King King holds out his branch in his right hand and this is grasped by the right hand of the Queen, while her branch proffered by her left hand is received by the left hand of the King, and from above the dove still bears its unifying branch. The scroll above the Sun King states, "O Luna, let me be thy husband", while Luna says, "O Sol, I must submit to thee", and the
dove bears the inscription, "It is the Spirit which vivifies". The two archetypal facets of the soul are here proffering to each other, in the form of flowers, an aspect of their forces. We have now reached the stage where the primal archetypal energies within the soul of the alchemist (the (the Anim Animus us - Anim Anima) a) have have been been polar polarize ized d then then brou brough ghtt thro throug ughh his his inne innerr work work into into a kind kind of rela relati tion onsh ship ip nece necess ssar aryy for for the the real real task task of the the integration process to commence. We now see the beginning of the meeting and transmutation of these forces one into another. This takes place through two cycles cycles of transf transform ormati ation on involv involving ing seven seven stages stages (compare with ’The Crowning of Nature’ and the ’Spl ’Splen endo dorr Soli Solis’ s’). ). The The firs first, t, pict pictur ured ed thro throug ughh illustrations 4 - 10 gives rise to the White Stone, the inner mastery of the lunar forces, while the second seen seen in illu illust strat ratio ions ns 11 - 17, 17, produ produce cess the the inne innerr mast master eryy of the the sola solarr forc forces es in the the soul soul,, in the the preparation of the Red Stone. Each of these processes has the same archetypal form, as is paralleled in the illustrations. These seven stages can be analyzed as follows : 1 - An entry into the vessel of transformation, 2 - A conjunction of the two primal archetypal forces, 3 - Their merging into an hermaphrodite in a death or nigredo stage, 4 - The extraction or ascent of one facet of the soul into the Spiritual realm, 5 - The descent of a spiritual dew or essence from above, 6 - The return of the extracted soul forces, 7 - The final formation of the Stone pictured as the resurrection of the hermaphrodite. The opening two stages of each of these t hese processes are preparations, and we see that there is a reversal of the order between that of the first cycle (illustration 4 being the descent into the vessel and 5 the Conjunction), and that of the second cycle (illustration 11 being the Conjunction and 12 the descent into i nto the new rectangular vessel). The further five illustrations of each cycle pivot around ar ound the central experience of the descent of the spiritual dew from above (illustration 8 for the White Tincture, and 15 for the Red), and the other four illustrations in each cycle relate in form to each other as follows : -
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THE WHITE TINCTURE In illu illusstrati ratioon 4, the King and and Quee ueen, stil stilll maintaining their mutual gesture of uniting their forces through the aid of the spirit, descend into the watery vessel. This is the realm of the unconscious, the inner ever-flowing Mercury of the soul, that we met in the first woodcut of the Mercurial Fountain. The higher archetypal forces within the soul have entered into the vast dark sea of the unconscious real realm m of the the inne innerr soul soul life life.. This This vess vessel el is here here hexagonal, as the triplicity of Spirit, Sun and Moon is stil stilll work workin ingg with within in this this expe experi rien ence ce.. In the the following illustration, number 5, we see the first Conjunction, the Coitus or inner union of the male and and the the fema female le forc forces es of the the soul soul.. They They merg mergee together in sexual intercourse, the man uppermost. In this first cycle of transformation, the male forces are spirit spiritual ually ly active active worki working ng upon upon the passiv passivee female forces, however, as we shall see later, the opposite will be the case in the second transformation. This point was not noticed by Jung in his commentary. The solar-masculine and lunar-feminine forces in the soul have now united together in the most intimate way possible. Through this union an hermaphrodite being is formed, as with the next figure, number 6, where the masculine and feminine soul forces fuse into one body with two heads. After this primal fusio fusionn and excha exchang ngee of energ energies ies with within in the the soul soul arch archet etyp ypes es,, an inne innerr dark darkne ness ss,, a nigre igredo do or putrefaction occurs. This takes the form of a descent of the complex of interconnected male and female energies into the dark unconscious sphere of the soul. We note here that this union of the male and female energies produces the hermaphrodite, and does not give rise to the conception and birth of a separate ’sou ’soull-ch chil ild’ d’ as in some some oth other vers versio ions ns of the the alche alchemic mical al proces process. s. In the the Rosarium process, process, the union of these two energies is entirely contained with within in the the bein beingg of the the oper operat ator or,, and and does does not not produce an independent ’soul-child’. In the next illustration, number 7, the Extraction or Impregnation of the Soul, a masculine soul element separates from the dying hermaphrodite, and rises upwards in the soul towards the realm of the Spirit, as indica indicated ted by the cloud cloudss above. above. Throu Through gh this this active active penet penetrat ration ion of the inne innerr femini feminine ne by the masculine polarity of the soul, this aspect of the inner life has achieved a certain ability to ascend within the inner inner world to the realm of the Spirit. The hermaphrodite-body left below as the husk of the
In illustration number 8, a dew descends from the spiritual clouds upon the inert corpse of the female forc forces es.. This This resu result ltss in a spir spirit itua uali liza zati tion on of the the femi femini nine ne luna lunarr elem elemen entt of the the soul soul,, thro throug ughh a washing or purification of this aspect of the soul forces lying in the unconsciou iousne sness. The hermaphrodite needs to be cleansed both by the waters of the sea of the unconscious and by the higher conscious spiritual rain. This is the Ablution or Purification. When this stage has taken place, the male facet of the the soul soul retu return rnss from from its its sojo sojour urnn in the the high higher er spheres and reunites with the hermaphrodite husk. This process is also pictured at the base of the vessel, as we see a bird above ground meeting with a bird buried in the earth. This is the ’Ortus’, the rising or dawning dawning of new consciousn consciousness, ess, the Jubilation Jubilation or Sublimation of the soul forces. New life returns to the feminine lunar element of the soul, which having been through this inner death process, this descent into the primal darkness of the unconscious, has gain gained ed a kind kind of vict victor oryy over over the the deat deathh forc forces es working in the unstructured soul forces. Thus the soul gains a mastery over the lunar element within its being. This is the inner experience of the White Stone, the inner foundation in the soul for consciousness of the potentialities working in this lunar- feminine element which lies within us all, and it is pict pictur ured ed in the the last last illu illust stra rati tion on from from this this sevenfold development, development, number 10, which shows us the hermaphrodite of the soul now reborn from its tomb, winged (indicating its spiritual development), and and stan standi ding ng upon upon the the cres cresce cent nt of the the Moon Moon (sign (signify ifyin ingg master masteryy of the the lunar lunar forces forces)) wh which ich is further emphasized by the appearance of the Moon Tree.
THE RED STONE Now that the alchemist bears within his being the White Tincture, the mastery of the lunar forces, the tim time has come for him to embark bark upo upon the preparation of the Red Stone. As the White Stone was prepared by an active working of the male solar forces upon the female forces in a state of passivity, in the tomb of the unconscious, so now it is the turn of the the masc mascul ulin inee side side of the the soul soul to ente enterr the the darkness, through the active work of the female lunar forces within the alchemist’s being. Thus Thus it is in illu illust stra rati tion on 11, 11, we see see agai againn the the Conjunction - the Coitus of the two soul facets. This is called the Fermentation distinguishing it from the conjunction conjunction of the White phase. This time the female forces are active, and in their intercourse it is the
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The male solar forces of the soul enter now into the darkness of the unconscious realm within, as we see in the the foll follow owin ingg illu illust stra rati tioon, numb number er 12, 12, the the Illumination, in which a winged solar disc descends into the vessel of transformation that contains the living mercury, the ever mobile flowing energies of the unconscious. As the text indicates, "Here Sol dies agai againn and and is drow drowne ned d with with the the Merc Mercur uryy of the the Philosophers". In illustration 13, the two facets of the soul have again fused into the hermaphrodite which is resting within the dark grave like realm of the unconscious. The hermaphrodite is winged, and thus still bears the spiritual development from the previous cycle of transmutations, however, this too must be cast off if the solar transmutation is to take place. This This we see in the followi following ng illust illustrat ration ion 14, the the turning point of this cycle, where the now wingless hermaphrodite also gives up the female side of its forces forces,, wh which ich soars soars up into into the spirit spiritual ual world world,, leaving the male aspect bound to the husk of the hermaphrodite body. This is the Fixation of these forces in the unconscious realm. Then, as with the previous cycle, a dew descends from the spiritual realm above upon the corpse-like hermaphrodite, in the Multiplication of illustration 15, and the male solar forces of the soul are purified and washed by this gentle rain of the spirit. This done, the female soul element is free now to return from her journey to the higher spiritual realm of the soul, and rejoin and revivify the herm hermap aphr hrod odit itee figu figure re in the the lowe lowerr soul soul,, as is pictured in illustration 16. Then the round of this second cycle of transformation is complete and the hermaphrodite arises in illustration 17, displaying the perfection of the Red Stone. On the left of the hermaphrodite we see the Sun Tree, while on the right, the Pelican in its piety gesture, nourishing its young on the blood from its own breast, is a symbol of the Red Tincture. Behind, is a Lion, another solar symbol, and the hermaphrodite stands upon a mound below which
resource of the soul, energies that he can tap and use as he wills. With With this this stag stage, e, the the alch alchem emis istt has has achi achiev eved ed an experience of the White Stone, the inner foundation for working consciously with the lunar forces of his being, and he has also gained the Red Stone, the inner ground upon which he can solidly begin to work with the solar forces of his being. He thus stands upon the threshold of a higher and deeper experience of his being. However, these two Soul Tinctures or Stones, foundations upon which he can solidly stand in his inner encounter with the two force streams of his soul, do not incorporate the inner Mercury, the living and flowing energies of the soul, that we picture today as the unconscious, the mysterious dark inner source of the soul forces. The being of the alchemist during the hermaphrodite stages has dipped into this well of his being, but has never never entir entirely ely pene penetra trated ted deep deep into into its myste mystery. ry. Howe Howeve ver, r, this this expe experi rien ence ce is nece necess ssar aryy for for the the complete inner development of the alchemist, and it is pict pictur ured ed in illu illust stra rati tion on 18 as the the Gree Greenn Lion Lion devouring the Sun. The sun here represents all that the the alc alchemis emistt has so dili iligen gently won won for for his consciousness, through working this process of inner devel developm opmen ent. t. The The Green Green Lion Lion is the the devou devourin ring, g, dissol dissolvin vingg aspect aspect of the unco unconsc nscio iousn usness ess.. (The (The alchemists drew here an analogy with Aqua Regia, the greenish tinged acid that alone could dissolve metallic Gold. ) The The alch alchem emis istt must must be prep prepar ared ed to make make this this sacrifice of his conscious achievements to the dark well of his unconscious being, if he is to further the process of integration, for only in this way can he fully fully enco encompa mpass ss this this realm realm and unite the three three streams that pour from the fountain into the vessel of the lower soul (Illustration 1). A similar inner task must be undertaken undertaken with regard to the upper soul realm, and this is portrayed in the penultimate illustration, where we see the being of the the alchem alchemist ist rec receiv eivin ingg a crown crown from from the the upper upper three streams of the Father aspect (body), the Son-
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paralleled with that of Christ. In the Green Lion stag stagee he desc descen ende ded d deep deep into into the the dark dark inne innerr mysteries of his soul, as Christ descended into Hell, but but has has retu return rned ed with with rene renewe wed d energ nergie iess in a resurrection body bearing the mystery of the upper trinity. This is the true transmutation. Those who have gone through this experience are fundamen fundamentall tallyy changed, changed, having having undergo undergone ne a self initiation that parallels the inner experiences that were we re gaine gained d throug throughh initi initiati ation on into into the the ancien ancientt Mysteries of Greece, Egypt or Britain. The series of illustrations in the Rosarium outlines a pro process cess for for the the inner consci scious encou counter, ter, sepa separa rati tion on,, puri purifi fica cati tion on,, re-c re-con onju junc ncti tion on and and harmonization of the male and female facets of the soul, and working through such a process brings about about an initia initiatio tionn of the the alche alchemis mist. t. The The variou variouss blocks to the free flow of these inner energies are thus removed and the alchemist is able to experience life more fully, having both a living perception of the spir spirit itua uall and and the the abil abiliity to expr expres esss his bein beingg creatively in his encounter with the physical realm. I have described the process entirely using terms of a spiritual alchemy, from a perspective outside of the vess vessel el of tran transf sfor orma mati tion on.. Such Such an over overvi view ew is necessary for an understanding of this process by our present day consciousness, however, one must recognize that this is only one level of working with these symbols. At the time when the Rosarium was published, it would not be experienced in this way. Rath Rather er each each illu illust stra rati tion on woul would d be take takenn as an individual meditative exercise to be worked through in sequence. I have not chosen here to delineate such
meditative exercises in detail, but I trust that enough indications have been given to allow the reader to work with them in this this way. ay. Build uildiing up a medi meditat tative ive worki working ng with with such such a series series will will take take some months of sustained effort, but if this task is under undertak taken, en, the the reade readerr wil willl truly truly enco encoun unter ter the the esse essenc ncee of the the Rosarium . As I ind indicat icated ed in my comm commen entar taryy to the the ’Crown ’Crownin ingg of Nature Nature’,’, there there would would have have been been a defin definite ite physi physical cal alche alchemic mical al process in which this soul development aspect was embodied. The ’Crowning of Nature’ has an even more extended series of 67 illustrations, and it bears a definite relationship to the Rosarium , in that for example, there is the preparation of the White and the Red Stone through various cycles of transformation, although the ’Crowning of Nature’ works through the Elements and the Ethers, while the Rosarium is founded upon the polarities of Sun and Moon, masculine and feminine. This physical process would be undertaken by the alchemist and would act as an ongoing meditative exercise, each change within the flask relating to the inner transformation of the Soul. The tran transf sfoorm rmat atio ionns in the the flas flaskk and and tho those in the the alchemist’s inner life would be linked ’synchronistically’, mirroring each other. The secrets of such such alchem alchemica icall exper experime iment ntss were were of cours coursee closely guarded, and it is difficult to find definite clear instructions in many texts, however, I feel sure that that in time time and and with with pati patien entt work work,, it may may be possible to uncover some of the secrets of these processes. The Rosarium certainly provides a key and a starting point for such investigations.
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ICI COMMENCE LE LIVRE
LE ROSAIRE DES PHILOSOPHES COMPOSÉ ET COMPILÉ AVEC LE PLUS GRAND SOIN
C
eux qui désirent avoir une pauvreté, tentent de séduire également les autres et connaissance très véritable de l’art de de les contraindre à la misère. la scien science ce philo philoso sophi phique que majeu majeure re Je conseille que nul ne s’introduise dans cet art pour doivent examiner avec le plus grand trouver, s’il ne reconnaît pas le principe de la vraie soin ce petit livre, le lire très souvent, nature et son régime. Une fois que cette nature est et ils obtiendront heureusement ce qu’ils désirent. connue, elle n’a pas besoin de beaucoup de choses et Écoutez, fils des anciens philosophes, ces paroles n’en demande qu’une ; et elle ne requiert pas de qu’il me plaît de crier le plus fort que je peux. Car je grandes dépenses, car il n’y a qu’une seule pierre, viens viens vous vous déco découvr uvrir ir l’état l’état supér supérieu ieurr des choses choses une seule médecine, un seul vase, un seul régime et humaines, et je vais publier, non d’une façon feinte une seule méthode. Et sache que c’est un art très et moqueuse, mais en toute certitude et humanité, le véritable. De plus, les philosophes n’auraient jamais trésor le plus secret de tous les secrets du monde étud étudié ié une une tell tellee dive divers rsit itéé de coul couleu eurs rs et n’en n’en entie entier. r. C’est C’est pourq pourquo uoii il conv convien ientt que que vous vous me auraient pas exprimé l’ordre, s’ils ne les avaient vues témo témoig igni niez ez en m’éco ’écout utan antt un zèle zèle dign dignee du et touchées. magistère que je vous apporte. C’est pourquoi nous répétons que tous ceux qui Car je puis aujourd’hui vous présenter d’une façon trav travai aill llen entt hors hors de la natu nature re sont sont des des homm hommes es exacte quelque témoignage de choses que j’ai vues trompés et trompeurs. Qu’en la nature soit donc de mes propres yeux et que j’ai touchées de mes notre exercice et vouons-lui une obéissance attentive. attentive. mains. Car notre pierre est de nature animale, végétale et Et cela, certes, d’une manière plus digne de foi que minérale. celle d’un grand nombre d’imposteurs qui, après Aie donc une volonté unique dans l’œuvre de la beaucoup de dépenses et de peines, ne trouvent rien nature nature et n’essaie n’essaie pas d’expérim d’expérimente enterr tantôt tantôt une qu’un résultat plein de tristesse. Je vous parle donc chos chosee tant tantôt ôt une une autr autre. e. Notr Notree art, art, en effe effet, t, ne clairement et ouvertement, dans la mesure où aussi s’accomplit pas dans la multitude des choses. Car bien bien ceux ceux qui qui sont sont inst instru ruit itss que que ceux ceux qui qui sont sont malgré toute la variété des noms qu’elle peut revêtir, inex inexpe pert rtss dans dans ce magi magist stèr èree sont sont capa capabl bles es de il n’y a toujours qu’une seule chose, et d’une seule comprendre le secret. Et nul ne pourra m’accuser à chose ; car on n’introduit pas dans la nature ce qui bon droit de blasphème. Car les anciens philosophes n’est pas de sa nature. ont écrit d’une façon aussi obscure que confuse, de C’est pourquoi il importe i mporte nécessairement nécessairement que l’agent manière non seulement à ne pas être compris mais et le patient soient une seule chose par le genre mais même à ne pas sembler être d’accord entre eux, des choses diverses et différentes par l’espèce selon jusqu’au point de tromper ou de détourner de leur le mercure. La femme est en effet distinguée de entreprise ceux qui recherchent cet art très précieux. l’ho l’homm mmee : bien bien qu’i qu’ils ls s’ac s’acco cord rden entt en une une seul seulee Quan Quantt à moi, moi, écar écarta tant nt tout toutee faus fausse seté té et tout toutee natu nature re,, ils ils ont ont cepe cepend ndan antt entr entree eux eux une une clai claire re obscurité, je placerai exactement sous vos yeux toute différ différen ence, ce, de la même même maniè manière re que diffèr diffèren entt la
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seule chose et cela est vrai. Car tout notre magistère se fait avec notre eau et elle-même est le sperme de tous les métaux et tous les métaux se résolvent en elle comme cela a été montré. De plus, lus, le sel sel des métau taux est la pierr ierree des philosophes, philosophes, car notre pierre est de l’eau congelée congelée en or et en argent et elle résiste au feu et se résout en son son eau, eau, dont dont sa natu nature re est est comp compos osée ée.. Donc Donc la réduct réductio ionn des corps corps en matiè matière re premi première ère ou en argent-vif n’est rien d’autre que la dissolution de la matière congelée, grâce à laquelle la serrure s’ouvre par l’entrée d’une forme dans une autre. C’est pourquoi les philosophes ont dit : « Le soleil n’est rien d’autre que du vif-argent mûr ». Car dans le mercure il y a seulement deux éléments en acte, à savo savoir ir l’ea l’eau u et la terr terre, e, qui qui sont sont pass passiv ives es.. Les Les éléments actifs, comme sont l’air et le feu, ne sont en lui qu’en puissance. Mais puisque dans le mercure purifié ceux-ci sont amenés de la pure puissance à l’acte, au moyen de la digestion requise et la cuisson proportionnée, proportionnée, on obtient ainsi l’or. C’est pourquoi il y a dans dans l’or l’or quatre quatre éléme éléments nts propo proporti rtion onnés nés en proportion égale. Et le soufre mûr et actif s’y trouve donc. Notre art charme la nature en lui administrant le mercure : il produit l’or mûr dans lequel, comme il a été dit, se trouve trouve le soufr soufree mûr mûr et parfai parfaitem temen entt digéré, à partir de la nature, au moyen de l’œuvre de la nature. ARNA ARNAUD UD.. — Quic Quicon onqu quee veut veut parv parven enir ir à cett cettee science et n’est pas philosophe est un insensé, car cette science n’a d’autre objet que les choses cachées des philosophes. SENIOR. — Car cet art est gardé en la puissance de Dieu et il est l’ennemi des profanes. D’où GEBER : cette science ne convient donc pas au pauvre et à l’ind l’indig igen ent. t. Mais Mais elle elle est plutô plutôtt leur leur enne ennemi mie. e. Le PHI PHILOSOP SOPHE dit au deuxièm ième Livre ivre de la Politique : « II est impossible au pauvre de pratiquer la philosophie ». Il existe dans cet art une double voie, à savoir, la ll la ul
unie uniess aux aux pass passiv ives es par par l’un l’unio ionn ou appl applic icat atio ionn convenable. Quant au reste, la nature l’opère d’ellemême. PLATON. — Notre Pierre est une chose que le feu n’a pas touchée, et d’où jaillit notre mercure. Il y a trois sortes d’hommes qui s’exercent dans l’art alch alchim imiq ique ue : l’al l’alch chim imis iste te,, le lauc lauchi himi mist stee et le lach lachri rim miste iste.. Tous Tous ceux ceux qui qui dise disent nt : « Pren Prends ds,, prends » n’entreront pas dans cet art. Car « Prends » est seulement une chose, et « Un corps n’entre pas dans un autre corps » est une autre chose. GRATIEN. GRATIEN. — Prends ceci et ceci, et fais ainsi et ainsi, et tu aura aurass ceci ceci.. Et cela cela est est vrai vrai chez chez tous tous les les philoso philosophes phes.. D’où le PHILOSO PHILOSOPHE PHE : Le premier premier mot mot : « Prend Prends, s, prend prendss » a causé causé de nomb nombreu reuses ses erreurs. C’est pourquoi la première œuvre est de dissou dissoudre dre la matiè matière re de la Pierre Pierre,, c’estc’est-à-d à-dire ire le mercure non vulgaire. ARNAUD. — Les insensés, prenant à la lettre les paroles des philosophes, n’y voient goutte et n’ont trouvé que mensonge. Ils disent alors : « La science est fausse, car nous avons essayé et nous n’avons rien trouvé ». Alors ils sont comme désespérés et ils méprisent la science. Et c’est pourquoi la science les méprise, car notre science n’a pas d’autre ennemi que l’ignorant. Vers. Cette pierre paraît chétive, On la trouve à peu de prix. Elle est méprisée des sots mais les savants l’aiment dava davant ntag age. e. Comm Commee le dit dit aussi aussi ALPH ALPHID IDIU IUSS : « Sache que cette pierre, dont traite cet Arcane, n’a pas été mise par Dieu pour être achetée à un prix élevé, car on la trouve jetée sur le chemin de telle sorte que le pauvre peut en avoir autant que le riche, et que chacun peut venir à elle au moyen de la raison et de la science ». L’Argent-vif n’est pas la Pierre. D’où CONSTANTIN : « Puisqu’il est fusible, il n’est donc
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non non selo selonn une une diss dissol olut utio ionn vulg vulgai aire re,, comm commee le rapportent les ignorants qui convertissent le corps en eau de nuées, mais selon une dissolution philosophique véritable dans laquelle le corps est converti en la première eau dont il fut (fait) dès le commencement et cette même eau transforme les corps en cendres.
LE MIRO MIROIR IR.. Serv Servez ez-vo -vous us donc donc de la véné vénéra rabl blee nature, car la nature n’est pas amendée si ce n’est dans sa nature. N’y introduisez rien d’étranger, ni de la poudre, ni aucune autre chose. Car des natures diverses n’amendent pas notre pierre et il n’entre rien en elle qui n’en soit sorti. Si en effet quelque chose d’étranger lui est appliqué, cela se corrompt aussitôt, et ce que l’on cherche ne se fait pas à partir d’un tel corps. Le MIROIR. C’est pourquoi je te déclare que, si tu n’as pas pris au début de la cuisson des choses semblables et si tu ne les as pas rendues subtiles sans les broyer avec les mains, jusqu’à ce que toutes soien soientt deven devenues ues eau, eau, tu n’as n’as pas enco encore re trouvé trouvé l’œuvre. C’est pourquoi je fais savoir à tous ceux qui étudient le précieux arcane que ce magistère n’est rien d’autre que de cuire l’argent-vif et le soufre, jusqu’à ce qu’il se fasse un seul argent-vif qui défend le soufre de la combustion, si le vase a été bien fermé fermé,, de maniè manière re que que l’arge l’argent nt-vi -viff ne puisse puisse se dissiper, ni le soufre être brûlé ou gâté, car notre argent- vif est notre eau très claire. Et nous voyons par exemple dans l’eau commune que tout ce qui cuit avec elle n’est jamais brûlé jusqu’à ce que l’eau elle-même soit épuisée, quelle que puisse être la force du feu. Et quand l’eau est épuisée, ce qui est dans le vase est brûlé, et c’est pour cela que les philosophes philosophes ont ordonné de fermer l’or l’orif ific icee du vase vase,, pour pour que que notr notree eau eau béni béniee ne s’exhale pas, mais qu’elle défende de la combustion ce qui est dans le vase. L’eau mise avec ces choses a empêché le feu de les brûler, et il est advenu de ces La fontaine mercurielle. choses que, plus l’attaque de la flamme est forte, et Nous sommes de tous les métaux plus l’eau se cache profondément en elles, pour ne Principe et première nature. pas être endommagée par la chaleur du feu. L’art fait de nous par ses travaux Et j’ordonne à tous les explorateurs de cet art de La plus admirable teinture. faire d’abord un feu léger, jusqu’à ce que l’eau et le Les eaux et les pures fontaines feu aient commencé à se supporter. Et lorsque tu Me ressemblent. ressemblent. J’ôte leurs peines a uras vu l’eau (de (devenue) fix fixe sans aucun Aux pauvres, aux riches aussi. mouvement d’ascension, ne te préoccupe pas de la Je suis visible et pur esprit. qualité du feu. Mais il est bon de le gouverner en atiennce jusq usqu’à ce que que l’e l’espri spritt et le corp orps Sache que l’art d’alchimie est un don du Saint-Esprit. patie
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verdure, et ne recherche pas à parfaire rapidement feu soif totalement impuissant à transformer, que les ton œuvre, et veille à ce que ta porte soit bien et souf soufre ress brûl brûlan ants ts ou péné pénétr tran ants ts qui qui rong rongen entt ne soli solide deme ment nt ferm fermée ée,, pour pour que que celu celuii qui qui est est à puissent corrompre ou endommager. l’intérieur ne puisse s’envoler, et, avec la permission Sixièmement. Que tout le compost mêlé à ce qui le de Dieu, tu parviendras ainsi au résultat. La nature complète finalement soit d’une matière si subtile et effectue son opération peu à peu. Et je veux que tu si tenace qu’après l’injection finale du terme de sa agisse agissess ainsi ainsi,, et surto surtout ut que que ton imag imagina inatio tionn soit soit cuisson il demeure très subtilement fondu, comme selon la nature. Et vois selon la nature, grâce à de l’eau, l’eau, et puisse puisse pénét pénétrer rer dans dans la profo profond ndeur eur laquelle les corps sont régénérés dans les entrailles jusqu’à celle de la dernière chose permutable, quel de la terre. Et imagine cela au moyen de que soit le degré de fusion de ce qui complète le l’im l’imag agin inat atio ionn vrai vraiee et non non fant fantas asti tiqu que. e. Et vois vois compost. Il faut que le compost, grâce à sa proximité égal égalem emen entt quel quelle le est est la chal chaleu eurr qui qui opèr opèree leur leur et à son affinité, adhère naturellement à sa fumée, cuisson, si elle est violente ou douce. que celle-ci lui soit jointe d’une façon inséparable, contre l’impression du feu, réduisant spirit spirituel uellem lemen ent, t, à l’heur l’heuree même même,, les corps corps en sa GEBER. propre nature. DE L’EXPLORATION DU VRAI. Ayant considéré cela, nous avons trouvé, grâce à ous avons examiné dans nos volumes notre recherche, sept propriétés naturelles, qui sont à partir partir des puissa puissance ncess secrèt secrètes es et néces nécessai saires res et opport opportun unes es dans dans notre notre Pierre Pierre.. Ce naturelles ainsi que des propriétés de sont : la qualité oléagineuse, la ténuité de la matière, la nature, et grâce à notre expérience, l’affinité, l’humidité radicale, la pureté, la clarté, la à la découverte de l’exploration, une terre qui fixe et la teinture. matière tout à fait certaine. Car nous n’avons trouvé absolument rien d’autre que ceci : la matière dont La première des propriétés qui la distinguent est sa notre médecine est tirée doit, dans la transmutation qualité oléagineuse qui, dans la projection, donne une fusi fusion on uni univers versel elle le et l’ap l’appa pari riti tion on de la des corps, avoir en elle les propriétés des qualités une médecine. Car la première chose après la projection que nous allons énumérer. de la médecine est assurément la fusion complète de Premièrement. Premièrement. Il faut qu’elle ait en elle une terre très celle-ci qui est rendue parfaite et acheminée jusque subt subtil ile, e, inco incomb mbus usti tibl blee et apte apte à fixer fixer de tout toutes es dans les entrailles grâce à sa qualité oléagineuse manières, une terre fixe avec sa propre humidité naturelle. radicale. La seconde propriété est la ténuité de la médecine ou Deuxi Deuxièm èmem emen ent. t. Qu’el Qu’elle le possè possède de une humid humidit itéé sa subtilité spirituelle. Elle est ténue ou coule en
N
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La sixième propriété est la terre qui fixe. Elle est équilibrée, subtile, fixe, incombustible, donnant la permanence permanence de la fixation, adhérant dans la solution, demeurant avec elle-même et persévérant contre le feu. feu. C’es C’estt pour pourqu quoi oi en sixi sixièm èmee lieu lieu la fixa fixati tion on suivant la purification est nécessaire et opportune. La septième propriété est la teinture qui donne une couleur éclatante et parfaite, blanche et d’un jaune intense, conférant la nature de la lune et du soleil aux choses choses suscep susceptib tibles les d’être d’être transm transmuée uées. s. C’est C’est pourquoi en septième lieu après la fixation il est également nécessaire d’avoir la couleur finale qui teint ou teinture. Elle colore la matière combustible en or ou en arge argent nt véri vérita tabl ble, e, avec avec tout toutes es les les propriétés certaines et connues de ces métaux. Le philosophe CALID dit de notre eau : Elle est feu, car elle brûle et broie toutes choses. L’Argent-vif est le vinaigre. C’est pourquoi SOCRATE dit dans la Tourbe : la première puissance est le vinaigre, c’est-àdire l’argent-vif. D’où la Tourbe : si vous placez le corps sans vinaigre dans le feu, il sera brûlé, c’est-àdire sans argent-vif. La Tourbe dit : C’est le vinaigre très aigre qui fait le corps pur sans lequel nulle couleur n’apparaît.
l’indignation du Seigneur et mourrait d’apoplexie. C’est pourquoi toute erreur dans l’art provient de ce que l’on ne prend pas la matière requise. Servez-vous donc de la vénérable nature, car c’est d’elle, par elle et en elle que notre art est engendré, et non en quelque autre chose. Et en conséquence notre magistère est l’œuvre de la nature et non de l’artiste. Et celui qui ne sait pas ce qu’il cherche, ne sait pas non plus ce qu’il trouvera. Sache donc que l’airain, qui est l’or des philosophes, est leur or, SENIOR dit : Notre or n’est pas l’or du vulgaire. Tu as interrogé sur la couleur verte pensant que que l’ai l’aira rain in est est un corp corpss lépr lépreu eux, x, à caus causee de la couleur verte qu’il a. Car je te dis que tout ce qui est parfait dans l’airain est cette unique couleur verte qui est en lui, car cette couleur verte est bientôt chan changgée par par notr notree magi magist stèère en notr notree or très très véritable, et cela, nous l’avons éprouvé. Cependant tu ne pourras en aucune manière préparer la pierre sans notre duenech vert et liquide, que l’on voit naître dans nos minières. Ô vert béni qui engendre toutes choses : Sache donc que nul végétal, nul fruit n’apparaît lorsqu’il germe, sans la présence de la couleur verte ; c’est pourquoi les philosophes l’ont appelée germe. Et ils ont de même appelé cette eau, eau de leur purification ou de leur putréfaction, et ils ont dit la vérité, car (le sujet) est putréfié ou purifié de sa noirceur au moyen de son eau ; il est lavé et il se rend blanc et ensuite rouge. Et apprends par-là qu’il ne se fait aucune vraie teinture si ce n’est à partir de notre airain. Cuis Cuis-le -le donc donc avec avec son son âme, âme, broi broiee-le le,, cuis cuis-l -lee et
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adhère adhèrent nt à lui. lui. C’est C’est pourq pourquoi uoi beauco beaucoup up ont ont été déçus en travaillant sur cet argent-vif vulgaire. Car notre pierre, c’est-à-dire l’argent-vif occidental qui se proclame supérieur à l’or et le vainc, est ce qui tue et qui fait vivre. Sache donc que l’argent-vif coagulé, mortifié par sa propre nature est le père de toutes les merveilles de ce magistère qui est le nôtre. Il est esprit esprit et corps corps,, c’estc’est-à-d à-dire ire corps corps spirit spirituel uel,, car il monte au moyen de la sublimation. Et c’est ce que dit Geber : « La contemplation de la vraie chose qui parfait toutes choses est la contemplation contemplation par les élus de la pure pure subs substa tanc ncee de l’ar l’arge gent nt-v -vif if ». Mais Mais on demand demandee d’ordi d’ordinai naire re d’où d’où l’on l’on peut peut extra extraire ire de préférence cette substance de l’argent-vif. Et nous répondons en disant qu’on l’extrait des choses dans lesquelles elle se trouve. Médite, mon fils, et vois où est cette substance et prends celle-là et non une aut autre, re, si tu désire siress parv parven enir ir à la vérit éritab able le intelligence, etc. Je te dis, dans l’amour du Christ, que nous n’avons pu trouver en aucune manière et que, de même, les philosophes n’ont pu trouver une chose quelconque qui persévère dans le feu, sauf cett cettee seul seulee humi humidi dité té onct onctue ueus use, e, parfa parfait ite, e, non non combustible. Et quand celle-ci a été préparée comme il convient, elle amène tous les corps qu’elle touche à son véritable degré complet de soleil et au-dessus de tous les corps et surtout de la lune. La racine de l’art est le savon des sages, et c’est la minière de tous les sels, et on le dit sel amer parce qu’il naît de la minière de la mer, et il est plus pénétrant que tous les sels de son genre. Les corps et les esprits sont calcinés par lui, et c’est par lui que se font les solutions et les coagulations coagulations de l’élixir.
poids. Il y a quatre choses au moyen desquelles notre œuvre s’accomplit, à savoir : le poids, le feu, le corps et l’esprit. Dixièmement. Toutes les recettes doivent être méprisées dans cet art. Onzièmement. Une fois que les choses préparées auront été placées dans le vase, ce sera un jeu d’enfants. Le magistère peut être accompli en un seul vase. En outre, celui qui qui possè possède de le vrai vrai mercu mercure re possè possède de l’élix l’élixir ir ; et l’élixir est le mercure mortifié ou fixé au moyen de l’odeur du corps, car le dragon ne meurt pas si ce n’est à l’aide de son frère et de sa sœur. Note en outre qu’il faut absolument que le corps devienne mercure, mercure, c’est-à-dire c’est-à-dire que le fixe devienne devienne volatil volatil avec avec le vola volati til,l, c’es c’estt-àà-di dire re au moyen oyen du pur pur mercure. Il est nécessaire d’avoir plus de volatil que de fixe dans une proportion allant du double au quintuple ou au sextuple, et jusqu’à dix fois plus, mais non davantage. Et plus les parties volatiles sont nombreuses, plus la fixation en est lente, et le fixe devient volatil en l’espace d’un mois. Et note qu’il ne peut y avoir d’élixir si le corps et l’esprit ne passent pas par tous les éléments, c’est-à-dire par la nature de tous les éléme éléments nts,, de maniè manière re qu’ils qu’ils devien devienne nent nt d’abor d’abord d terre, ensuite air, c’est-à-dire vapeur, en troisième lieu eau et quatrièmement feu, fixant ce qui fuit Ce qu’est le feu. Car on appelle feu tout ce qui ne fuit pas le feu, et ce qui n’est pas flétri et consumé par le feu. Celui qui veut explorer le secret de cet art doit connaître la matière première de nos corps, sans quoi il sera frustré du fruit de son travail. La matière première des corps n’est pas le mercure
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siècle à la perfection de cette science, c’est-à-dire s’il ne sait pas calciner après sa préparation. Et ils disent qu’il doit être dans un endroit tempéré pendant trois jours pour que la chaleur du feu et les fumées s’évaporent. Et je conclus donc de cela que toute toute médecin médecinee d’alchim d’alchimie ie bonne bonne et parfaite, parfaite, que tout tout élix élixir ir ou poud poudre re doiv doiven entt être être réal réalis isés és à la manière d’un sel, être un sel et posséder la vertu du sel, et qu’ils doivent être très lents à fondre et à pénét pénétrer rer lorsq lorsqu’o u’onn les les projet projette te sur les corps corps des des métaux fondus et enflammés. Et Geber donne aussi cet avertissement lorsqu’il dit : « II faut que la médecine soit d’une fusion plus rapide que le mercure, de manière qu’elle s’écoule plus vite avant la fusion du mercure. Et on l’appelle alors sel fusible et huile incombustible des sages. Et note en outre que le sel des métaux transmue le mercure en soleil et en lune véritables. Et de même le sel des êtres animés transmue n’importe lequel des des être êtress anim animés és en véri vérita tabl blee équi équili libr bree et en complexion complexion parfaite ». Le feu feu du fum fumier ier est est la caus causee opér opéran ante te dans dans l’ouvrage de la digestion de notre pierre et il n’est pas bon qu’il soit remplacé par le feu du bain-marie, si tempéré soit-il. C’est pourquoi Alphidius dit : La cuisson par le feu que je te montrerai consiste à la cacher dans le crottin humide de cheval qui est le feu des sages, humide et obscur. Il est chaud dans son deuxiè deuxième me degré degré,, et humid humidee dans dans le premi premier. er. La propriété de ce feu est de ne pas détruire l’huile, c’est-à-dire la matière ; il l’augmente au contraire à cause de son humidité tempérée. Seule, en effet,
Le roi et la reine à la deuxième phase de la conjonction.
HERMÈS au quatrième livre des Traités. Celui qui veut s’introduire dans cet art et cette sagesse cachée doit chasser de lui le vice d’arrogance, être pieux et
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conna connaissa issait it dans dans l’hom l’homme me un esprit esprit fidèle fidèle,, il lui révélerait, certes, le secret. Le CORRECTEUR DES INSENSÉS : Chaque art doit néces nécessai sairem remen entt imite imiterr le résidu résidu de cette cette natur nature, e, savoir de quelle chose cette nature est la nature, et ainsi l’art imite sa nature. Sache, ô Insensé, que l’art permet permet de conna connaît ître re la natur naturee elle-m elle-mêm ême, e, et que celle-ci ne peut être réformée, car celui qui n’imite pas la nature ne saurait conduire les secrets des philosophes philosophes à une fin parfaite. HERMÈS et GERER. Celui qui aura une fois mené à bien cet art, s’il devait vivre mille ans, et qu’il eût à nourrir chaque jour quatre mille hommes, ne serait pas pas dans dans le beso besoin in.. Et SENI SENIOR OR le conf confir irme me en disant : Celui qui possède la pierre dont on fait l’élixir est aussi riche que celui qui possède le feu. Il peut donner du feu à qui il veut et quand il veut, sans danger pour lui et sans en manquer. Et ARIST ARISTOTE OTE au vingti vingtièm èmee chapi chapitre tre du Livre de l’Âme : L’œuvre très naturelle et très parfaite est d’engendrer un être semblable à ce qu’on est soimême. Tout d’abord on a la vraie matière dans le lion vert, de la couleur qui est la sienne. Et on l’appelle Adrop, Azoth ou Duenech vert. Au deuxième degré on a la même chose, et au troisième les corps se dissolvent dans l’argent-vif des philosophes, c’est-à-dire dans l’eau de notre mercure, et il se fait un seul corps nouveau. Au quatrième on a la putréfaction des philosophes qui n’a jamais été vue de nos jours et que l’on appelle soufre. Au cinquième on obtient que la plus grande partie de l’eau devienne la terre noire
dont dont l’h l’homm omme n’a n’a pas pas le droi droitt de parl parler er.. J’ai J’ai cependant décrit l’œuvre jusqu’à son achèvement, bien que je ne l’aie pas vu. Je sais que l’œuvre parvient nécessairement à une telle nature. Et il est impossible de le savoir si on ne l’apprend de Dieu ou d’un maître qui l’enseigne. Et sache que c’est une voie très longue. La patience et la lenteur sont donc indispensables indispensables dans notre magistère. L’Argent-vif est le sel commun. C’est pourquoi le Rosaire dit : Le sel commun dissout dissout l’or et l’argent et augmente la rougeur dans l’or et la blancheur dans l’argent, et fait passer l’airain de l’état de corps à celui d’esprit et, avec cette chose, calcine les corps. D’où D’où la Lumièr Lumièree des des Lumièr Lumières es : Si le Dieu ToutPuissant n’avait pas créé ce sel, l’élixir ne serait pas achevé et l’étude alchimique serait vaine. Note qu’il y a quatre mercures, savoir : le mercure cru, le mercure sublimé, le mercure de la magnésie et le mercure onctueux. Mais la magnésie est la pleine lune, le mercure des philosophes, c’est-à-dire la matière dans laquelle le mercure des philosophes est contenu. Et c’est celui que la nature a réalisé dans une faible mesure et auquel elle a donné la forme d’un métal, mais en le laissant imparfait. Telles sont ses paroles. Il faut noter que c’est la chose qui est appelé appeléee moye moyenn d’ing d’ingrès rès.. Elle Elle n’est n’est ni parfait parfaitee ni totalement imparfaite. Comme rien ne peut être fait de rien, et que la nature ne produit pas d’elle- même la perfection, l’artiste peut, en aidant la nature, la faire passer de l’imperfection à la perfection. Et c’est la pierre appelée pierre d’invisibilité, pierre sainte, chose bénie.
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la fusion correcte, il est entravé par le feu, brûle et s’év s’évap apor ore, e, comm commee on le voit voit dans dans le plom plombb et d’au d’autr tres es corp corpss info inform rmes es.. Le souf soufre re vulg vulgai aire re n’appartient donc pas à la vérité de notre art, ni à sa perfection, car il entrave le soufre parfait dans toutes ses opérations. C’est pourquoi GEBER dit : Le soufre ne peut jamais être fixé s’il n’est calciné. Et une fois qu’il a été calciné, il ne donne pas la moindre fusion. SENIOR. Le soufre et l’arsenic ne constituent pas la véri vérita tabl blee méde édecin cine de ce magistè istère re,, car car ils n’adhèrent pas et ne conduisent pas à la perfection, comme on le sait à propos de tous les minéraux inférieurs. ALBERT. La propriété du soufre est de coaguler le mercure et de le mener à la perfection au moyen du mercure. Mais la teinture du soleil naît de deux corps corps parfai parfaits ts desqu desquels els ces soufre soufress peuven peuventt être être extraits. Un PHILOSOPHE. Le fondement de l’art, ce sont le soleil et son ombre.
Le PHILOSOPHE. Celui qui sait détruire l’or de manière que désormais désormais il ne soit plus de l’or, celui-là est est parv parven enu u au plus plus grand rand arca arcane ne.. Un autr autree philosophe dit : II est difficile de détruire l’or, très difficile de le construire, il est plus facile de le détruire dans ses accidents que dans son essence. Notre or est tout mercure, ce qui se voit par son poids et par la facilité avec laquelle le mercure luimême se combine. En lui se trouvent donc toute l’application et la volonté des philosophes. Il a en effet acquis ces vertus et cette excellence par l’in l’inte term rméd édia iair iree de la chal chaleu eurr du sole soleil il et du mouvement des planètes. Il n’est pas possible de créer ces qualités en elles-mêmes mais seulement en ce qui qui conc concer erne ne leur leurss acci accide dent nts. s. Si l’ar l’arti tisa sann commence son œuvre, il arriverait certes à (trouver) tout cela dans le mercure, moyennant la méditation, le concours du feu et le génie naturel qui est la faculté de travailler. ALBERT. On voit par là qu’une grande quantité d’argent-vif est cause de perfection dans les corps. Mais une grande quantité de soufre, qui est impure,
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commencé est conduit à la perfection par l’art. Si tu commences à opérer dans le mercure lui-même, là où la nature l’a laissé imparfait, tu trouveras la perfection en lui et tu te réjouiras. Ce qui est parfait ne s’altère pas mais se corrompt. Mais ce qui est imparfait s’altère bien. Donc la corruption de l’un est la génération de l’autre. Le MIROIR. Il est nécessaire que notre pierre soit extraite de la nature de deux corps, avant que l’élixir comp comple lett soit soit réal réalis iséé à part partir ir d’el d’elle le,, car car il est est nécessaire que l’élixir soit plus épuré et plus digéré que l’or et l’argent, parce qu’il doit faire passer entièrement ces métaux d’une perfection amoindrie en or et en argent des philosophes, chose qu’ils ne peuvent accomplir eux-mêmes en aucune manière. Car s’ils donnaient de leur perfection à un autre, ils demeureraient eux-mêmes imparfaits, puisqu’ils ne peuvent teindre si ce n’est dans la mesure où ils se répandent, car aucune chose ne rend blanc, si ce n’est à l’aide de sa blancheur, et aucune chose ne fait rougir si ce n’est à l’aide de sa rougeur. Et c’est pourquoi les opérations qui s’effectuent dans notre
est l’air, et l’air est la vie, et la vie est l’âme, c’est-àdire l’huile et l’eau. ARNAUD. L’expérience démontre qu’il existe des degrés entre la quantité moyenne de feu. Car le feu sera toujours léger dans la solution, médiocre dans la sublimation, tempéré dans la coagulation, continu dans le blanchiss blanchisseme ement, nt, fort dans la rubificati rubification. on. Mais si, par ignorance, tu te trompes à leur propos, tu déplor déplorera erass bien bien souve souvent nt du domm dommage age et du chag chagri rin. n. Il conv convie ient nt donc donc que que tu t’ap t’appl pliq ique uess à l’œu l’œuvr vre, e, car car l’ar l’artt est est favo favori risé sé par par l’in l’inte tell llig igen ence ce comm commee l’inte l’intelli llige gence nce l’est l’est par l’art. l’art. Mais Mais tu dois dois seulement t’efforcer de compléter et laisser de côté tout le reste. SAINT THOMAS D’AQUIN. La matière de la pierre est est une une eau eau gros grossi sièr ère. e. Quan Quantt à l’ag l’agen ent, t, c’es c’estt la chaleur ou le froid qui congèle cette eau. Tu dois aussi aussi croire croire que que les pierre pierress qui qui provie provienn nnen entt des animaux sont plus précieuses que les autres. LA LUMI LUMIÈR ÈRE E DES DES LUMI LUMIÈR ÈRES ES.. Tu ne pour pourra rass cependant préparer aucune sorte de pierre sans le duenech vert et liquide convenable, qui naît dans
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HERMÈS : Comprenez, fils des sages, ce que crie notr notree Pier Pierre re : Prot Protèg ègee-mo moii et je te prot protég éger erai ai,, accorde-moi mon droit pour que je t’aide. La lune m’appartient en propre et ma lumière vainc toute lumière, et mes biens sont plus sublimes que tous les biens. J’accorde à ceux qui le désirent la joie et l’allé l’allégre gresse sse,, les riche richesse ssess et les délic délices es en grand grand nomb nombre, re, et lorsqu lorsqu’il ’ilss s’aper s’aperçoi çoiven ventt de ce que je cherche, je le leur fais comprendre, et je leur fais posséder une force divine. J’engendre la lumière et les ténèbres appartiennent à ma nature, à moins que mon métal ne soit sec. Tous les corps ont besoin de moi, parce que je les liquéfie, je détruis leur rouille et j’extrais leur substance. C’est pourquoi rien ne peut se faire au monde de meilleur et de plus vénérable que moi et mon fils qui m’est uni. HERMÈS. Le dragon ne meurt pas s’il n’est tué à l’aide de son frère et de sa sœur, et non à l’aide d’un seulement, mais à l’aide des deux, c’est-à-dire le soleil et la lune. Un PHILOSOPHE. Le mercure ne meurt jamais s’il n’est tué à l’aide de sa sœur, ce qui veut dire qu’il
est une dans son essence, et une également dans le mode d’opérer. N’aie d’autre souci que de parfaire l’airain en eau pure et la teinture de la gomme tirée des choses fixes, fixes, en feu. La pierre légitime légitime est dissoute dissoute dans le feu ; elle est l’eau fixe coagulée quand elle revient à sa forme première. Comprends ainsi la règle. Alors notre airain sera la pierre active des philosophes.
DU SEL DES PHILOSOPHES.
I
l y a trois pierres et il y a trois sels en lesquels consiste tout le magistère : leur nature est minérale, végétale et animale. Et il y a trois eaux, solaire, lunaire et mercurielle. Le mercure est un minéral, la lune est une plante, qui reçoit en elle deux couleurs, la blancheur et la rougeur. Le soleil est animal, car il reçoit trois choses, à savoir la concentration, la blancheur et la rougeur, et il est appelé le grand être vivant (animal). Le sel armoniac se fait à partir de lui. La lune est appelée plante, et le sel alkali se fait à partir d’elle. Quant au mercure, on
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AVICENNE dit : Si tu veux t’enrichir, prépare les sels, jusqu’à ce qu’ils soient de l’eau pure, car les sels sont convertis en esprit par le feu. Les sels sont la racine de ton œuvre. HERMÈS. Tous les sels, de quelque nature qu’ils soient, sont contraire à notre art, excepté le sel de notre lunaire. ARNAUD. La raison pour laquelle (l’œuvre) ne se fait pas dans les sels ou les aluns est que celui-là est un insensé qui demande à la nature ce qui n’est pas en elle. Un PHILO PHILOSOP SOPHE HE.. Le sel des métau métauxx donn donnee de dissoudre le mercure en eau pure sous le fumier. Et ce mélange coagulé sera la médecine parfaite. Note que tout sel bien préparé revient à la nature du sel armoniac, et que tout le secret se trouve dans le sel commun préparé. Note que le vitriol romain possède la nature de la pierre des métaux, et qu’il est chaud et sec. De plus : l’alun paraît être le mercure coagulé, mais il manque de son complément, ce qui est chaud et humide, et il
A
RISLÉE dans la Vision. Unis donc ton fils Gabricus, qui t’est plus cher que tous tes autres fils, avec sa sœur Beya qui est une enfant radieuse, douce et tendre. Gabricus est mâle et Beya est femme, et elle lui donne tout ce qui vient d’elle. Ô nature tu es bénie, et bénie est ton opération, parce que de l’imparfait tu réalises le parfait. Pour cette raison, ne prends pas la nature elle-même si elle n’est pure, crue, crue, agréable, agréable, terrestre terrestre et droite. droite. Veille à ce que rien de contraire n’entre avec notre pierre, mets-la seule. Unis donc notre esclave à sa sœur parfumée, et ils engendreront engendreront tous deux un fils qui ne sera pas comparable à ses parents. Et bien que Gabricus soit plus cher que Beya, la génération ne se fait pas sans Gabricus. Car l’union de Gabricus avec Beya a provoqué la mort sur-le-champ. Beya monta en effet sur Gabricus, l’enferma dans son ventre, si bien que l’on ne put plus rien voir de lui. Et elle étreignit Gabricus avec un amour si grand qu’elle le conçut tout entier dans sa nature et le divisa en parties indivisibles.
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quelqu’un ne sait pas marier, féconder et engendrer les espèces, rien ne se fait et ne s’accomplit. Mais s’il agit ainsi, il possédera une très grande dignité. Le phil philos osop ophe he ROSI ROSINU NUS. S. L’ar L’arca cane ne de l’ar l’artt qui qui produit l’or s’obtient à partir d’un mâle et d’une femelle, car la femelle se réjouit lorsqu’elle reçoit la force du mâle. La femelle en effet est fortifiée par le mâle. ALPHIDIUS. Mon fils, par la foi du Dieu glorieux, l’étreinte est celle de deux luminaires, le masculin et le féminin. Ensuite ils s’étreignent et s’unissent, et ils engendrent la lumière moderne à laquelle aucune lumière n’est semblable dans le monde entier. SENIOR. De deux eaux faites-en une seule. Si vous avez compris ma petite phrase, vous aurez le régime entier sous vos pieds. LE JARDINIER. Tu dois posséder deux eaux ; l’une est blanche et l’autre rouge. SEN SENIOR. Cet Cette eau est celle lle en laq laquell uellee les les puissances de la blancheur et de la rougeur ont été rassemblées.
C’est pourquoi le Livre des trois Paroles dit : II te faut extraire la quintessence, sinon tu travailleras en vain ; et cela ne peut se faire sans eau. Quant au second esprit, il est hors du corps, et il est de nature aqueuse, et il teint le corps en élixir comme le dit la Tourbe. Le mâle est le corps, et la femelle est l’esprit. ARNAUD. Un esprit n’est pas altéré par un corps, de telle sorte qu’il perde sa vertu spirituelle, mais tout corps est altéré par les esprits et il est teint. ARIS ARISTO TOTE TE.. Note Notezz donc donc les les paro parole les, s, scel scelle lezz les les mystères : lorsque l’esprit dissout la terre blanche feuillée, il ne reste d’eux rien de fixe, si tu n’as pas fixé (l’esprit) avec ce corps dont on avait fait la préparation au commencement. L’eau permanente ou éternelle ou vin ardent est dite eau du corps, à savoir lorsque le corps a été réduit en mercure. En outre, rien ne se fait sans l’eau permanente et on l’ap l’appe pell llee auss aussii eau eau de vie. vie. C’es C’estt pour pourqu quoi oi un philosophe dit : Je jure par le Dieu du ciel que l’art n’est rien d’autre que dissoudre et coaguler toujours la pierre. Et encore : Ce n’est qu’avec le vin ardent que tu pourrais achever l’élixir parfait.
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CALIDIUS. Un feu modéré broie toutes choses. Note qu’il y a une différence entre l’élément et l’élémenté, et que la quintessence est l’élément premier des corps susceptibles de composition. composition. C’est pourquoi ni la terre, ni l’eau, ni l’air, ni le feu ne sont des élém élémen ents ts purs purs et simp simple less à nos nos yeux yeux,, car car ils ils se mélangent mutuellement et en particulier dans la partie où ils s’unissent. Mais la quintessence est un corps subsistant par soi, qui diffère de tous les éléments et les élémentés tant par la matière que par la forme, tant par la nature que par la vertu. Elle ne contient pas en elle de cause
partir du soleil et de la lune, dans son être, sans mercure vulgaire, mais par la voie philosophique. philosophique. Note : Cette pierre est unique dans le monde entier, et celui qui aura erré en ce seul point au début de l’œuvre travaille en vain. Il n’est dans le monde entier aucune autre chose nécessaire à notre œuvre, à part cette pierre qui nous est donnée, à nous, seuls fils (de l’enseignement). ARNAUD. Notre pierre contient le soleil et la lune en vertu et en puissance, et même en nature. S’il n’en était pas ainsi, on n’obtiendrait pas à partir d’elle le soleil et la lune, car le soleil et la lune présents dans
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Le philosophe PLATON. Nous tenons un exemple dans l’œuf : il pourrit d’abord, et alors est engendré un poussin qui, après la corruption totale, est un animal vivant. PLATON. Note que sans corruption la génération ne peut peut se fair fairee. Aussi ussi tu dois t’ap ’appli plique quer à la putréfaction. Le PHIL PHILOS OSOP OPHE HE.. La corr corrup upti tion on de l’un l’un est est la génération de l’autre. HERMÈS. Le second degré est de putréfier et de broyer. C’est pourquoi sa disposition est d’abord de le noircir et de le putréfier.
coagulation de l’esprit, et ce n’est pas un ouvrage différent en quelque point, de telle sorte que l’un se fasse sans l’autre, de même qu’il n’y a pas de partie différente de temps entre la terre et l’eau lors de leur conjonction, de manière que l’une soit séparée et distin distingu guée ée de l’autr l’autree dans dans leurs leurs opéra opératio tions. ns. De même que le sperme de l’homme n’est pas séparé du sperme de la femme à l’heure de leur coït, ainsi ces (deux éléments) ont un seul terme, une seule action, et une seule et même opération les concerne tous deux. C’est C’est pourq pourquo uoii MERCUL MERCULINU INUSS dit : Il appell appellee le
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pierre philosophale est composée d’argent-vif. Et, pour cette raison elle n’est brûlée que supe superf rfic icie iell llem emeent. nt. Et c’es c’estt là une une paro parole le très très précieuse. Tout cela a été fait par la nature, et l’on ne doit pas croire qu’il soit possible de la faire au moyen de quelque procédé artificiel, comme certains insensés l’ont pensé et le pensent. On trouve en effet la pierre philosophique créée par la nature et, par le Dieu très-haut, la seule chose dont elle a besoin est qu’on lui ôte ce qu’il y a de superflu en elle. Qu’on prépare donc la nature elle-même, afin d’en faire sortir ce qui est pur, et d’enlever ce qui est terrestre
le mâle et la femelle soient parfaitement unis, et que l’un reçoive l’autre, ce dont le signe se voit à la surface, grâce à la propriété de la solution parfaite. L’Azoth apparaît blanc dans le premier mélange ou première conjonction, parce que la femme l’emporte par sa couleur. Toutefois tous deux noircissent dans la putréfaction par le bienfait du feu, et le noir se putréfie par le feu qui augmente la chaleur dans l’humide. Ce noir est la teinture, et il faut donc le conserver. LE GRAND SECRET. La nature de l’or putréfié dans l’ea l’eauu-fo fort rtee surp surpas asse se tout toutes es les les natu nature res. s. C’es C’estt
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transmutation des choses à partir de leurs formes et de leurs espèces, suivant la manière dont les espèces sont divisées.
L’EXTRACTION DE L’ÂME OU IMPRÉGNATION.
argents-vifs. Le même. Prenez son cerveau et broyez avec du vinaigre très aigre ou de l’urine d’enfants jusqu’à ce qu’elle s’obscurcisse. Une fois que cela a été accompli, elle vit dans la putréfaction, et les nuages obscurs qui l’avaient surplombée et qui se trouvaient dans son corps avant la mort reviennent. Réitérant l’opération telle que je l’ai décrite, qu’on la fasse mourir à nouveau comme je l’ai exposé. Le même. Il faut la séparer des deux soufres, la cuire d’une façon continue jusqu’à ce que l’eau devienne noire. Le même. Par conséquent celui qui noircit la terre parviendra à son but et s’en trouvera bien.
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nous nous voyo voyons ns des des chos choses es ailé ailées es enge engend ndré rées es par par d’autres qui n’ont pas d’ailes. En effet nous voyons et conn connais aisso sons ns cer certai taines nes chose chosess que que les homm hommes es ignore ignorent nt,, et desqu desquell elles es sort sort la natur naturee que nous nous connaissons et qui nous suffit, et que l’on ignore, car ce sont là des choses profondes. Et si tu interroges à leur sujet, elles sont peut-être sous terre. Et sache que l’art se pratique à partir de cette nature minérale et de rien d’autre. AVICENN AVICENNE. E. Connais Connais donc donc les racines racines minéral minérales, es, faisant ton œuvre à partir d’elles. ARISTOTE au deuxième livre de L’Ame. C’est une
le feu quand elle était mélangée au soleil dans la fusio fusion, n, ils la faisai faisaient ent mont monter er dans dans une une grand grandee prop roport ortion ion. Et qua quand elle lle montait tait ain ainsi ils ils l’appelaient eau, âme et esprit, disant que leur eau n’était pas l’eau vulgaire, ni celle du mercure, et la terre restait alors au fond. Ils remettaient alors cette eau sur le corps et la faisaient monter de nouveau par par la puis puissa sanc ncee du feu, feu, et de nouve ouveau au ils ils la mélan mélange geaie aient nt à la terre terre jusqu’ jusqu’au au mome moment nt où ils portaient toute la terre avec eux dans leur ventre. C’est pourquoi quelqu’un dit : Le vent l’a porté dans son ventre. Il était par suite nécessaire qu’ils aient
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EXTRAIT DU TRAITÉ D’HORTULAIN
dans les corps et dans le mercure et dans la mer, c’est-à-dire dans la dissolution. Et les êtres volants
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cependant en ce qui concerne la fermentation. Cette médecine du troisième ordre est double, à savoir
L’ABLUTION DES PHILOSOPHES OU PURIFICATION.
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l’aide d’un feu vif jusqu’à ce que sa noirceur soit ôtée et que son épaisseur s’en aille, et fais que ses
servir dans l’œuvre. Elle sera aussi brillante qu’une larme. La quintessence métallique y habite. C’est un
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Tu dois noter avec soin ceci : je t’ai dit que notre pierre est ornée d’un triple vêtement, c’est-à-dire
JUBILATION DE L’ÂME ENCORE APPELÉE
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malade veut être guéri. Le même. Il te faut punir le corps et l’âme en broyant dans le soleil. Le même.
liquide. C’est une chose chaude et humide, aqueuse et combustible. C’est une huile vivante, une teinture
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