Sulfur mercury. Fundamentals of Alchemy

Rational foundations of the theory

The mercury-sulfur theory of the origin of metals, designed to explain such properties of metals as brilliance, malleability, combustibility, and justify the possibility of transmutation, was created at the end of the 8th century by the Arab alchemist Jabir ibn Hayyan. According to this theory, all metals are based on two "principles" - mercury (philosophical mercury) and sulfur (philosophical sulfur). Mercury is the "principle of metallicity", sulfur is the "principle of combustibility". The principles of the theory thus acted as carriers of certain chemical properties metals established as a result of an experimental study of the effect of high temperatures on metals.

Alchemical principles, in turn, are formed by elements-elements: mercury contains water and air, and sulfur - earth and fire. Philosophical mercury and philosophical sulfur are not identical with sulfur as specific substances. Ordinary mercury and sulfur are a kind of evidence of the existence of philosophical mercury and sulfur as principles, and the principles are more spiritual than material.

According to the teachings of Jabir, dry vapors, condensing in the earth, give sulfur, wet - mercury. Sulfur and mercury, then combined in various ways, form seven metals: iron, tin, lead, copper, silver and gold. Gold as a perfect metal is formed only if completely pure sulfur and mercury are taken in the most favorable proportions. In the earth, according to Jabir, the formation of gold and other metals occurs gradually and slowly. The "ripening" of gold can be accelerated with the help of some kind of "drug" or "elixir", which leads to a change in the ratio of mercury and sulfur in metals and to the transformation of the latter into gold and silver.

The term elixir (al-iksir) comes from the Greek xerion, meaning "dry"; later in Europe, this substance was called the philosopher's stone ( Lapis Philosophorum). Since the process of turning imperfect metals into perfect ones can be identified with the treatment of metals, the elixir, according to the ideas of the followers of Jabir, must have many more magical properties- heal all diseases, and, possibly, give immortality (hence - "elixir of life").

The problem of transmutation of metals, therefore, within the framework of the mercury-sulfur theory is reduced to the problem of isolating the elixir, denoted in alchemical symbolism by the astrological symbol of the Earth.

Since the properties of substances such as metal salts are rather difficult to explain using two principles, Ar-Razi improved the theory at the end of the 9th century by adding a third principle to it, the "principle of hardness" - philosophical salt. Mercury and sulfur form solids only in the presence of this third principle. In this form, the theory of three principles has acquired logical completeness; however, in Europe, this version of the theory received general recognition only in the 15th-16th centuries thanks to the works of Basil Valentin, and then Paracelsus and his followers (“spagyrics”).

Mercury and sulfur in esotericism and alchemical symbolism

An integral part of the mercury-sulfur theory in the European alchemical tradition was its esoteric, spiritualistic interpretation.

Mercury (Mercury) was identified in alchemy with the feminine, volatile, passive principle, and sulfur (Sulfur) with the masculine, permanent, active. Mercury and sulfur had a huge number of symbolic names. In alchemical symbolism, they were depicted as winged and wingless dragons, or as a woman and a man (usually a queen and a king), dressed in white and red robes, respectively. The union of king and queen constituted an alchemical marriage; the result of this marriage was a hermaphrodite ("rebis"), which usually served as a symbol of the elixir.

Three alchemical principles were an important part of the numerological constructions of alchemists, according to which matter has: four angles, four elements - in its virtue; three angles, three principles, in their substance; two angles, two seeds, male and female, in their matter; one corner, universal matter, - in its root. The sum of the numbers in this construction is equal to ten - the number that corresponds to matter (sometimes to gold).

Literature

General history of chemistry. The emergence and development of chemistry from ancient times to the XVII century. - M.: Nauka, 1980. 399 p.
Poisson A. Theories and symbols of alchemists // Theories and symbols of alchemists. Moscow: New Akropolis, 1995. 192 p.
Rabinovich VL Alchemy as a Phenomenon of Medieval Culture. - M.: Nauka, 1979. 392 p.
Figurovsky N. A. Essay on the general history of chemistry. From ancient times to early XIX century. - M.: Nauka, 1969. 455 p.

Notes

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This article details the foundations of alchemy, the great counter-science of sciences, which, according to Carl Gustav Jung, was the forerunner of depth psychology. To understand alchemy, let's first understand the historical context in which it existed.

Beginning of the Middle Ages. Throughout Europe, the Inquisition is raging, a person is forcibly thrown into a state of schism (Christian dualism of spirit and matter is, in fact, the philosophy of a schizophrenic schism, which has already shown its inferiority). Everything earthly, material, sensual is given over to the devil and is postulated as an obstacle to salvation. All philosophic and religious teachings that adhere to other, healthier positions are destroyed as heresies (see my article on the Ophites). However, "in the unconscious" there remained a need to compensate for a one-sided collective attitude, and alchemy became its hidden spokesman.

Alchemy, in contrast to Christianity, rushes into matter, to metals and primary elements, in order to achieve salvation through their transubstantiation, while the Christian strives to get away from matter. The Christian directs his soul to God beyond the material, while the alchemist seeks God hidden in matter. The God of the Christian is perfect, and salvation is gained through turning to perfection - the God of the alchemists needs man as a liberator from the shackles of the elements. A similar idea had already been encountered in some Gnostic views, as well as in the system of Kabbalists, and at that time was reborn from the collective unconscious. Jung gives numerous alchemical parallels in the symbolism of Christ and the stone of the philosophers (otherwise called the "son of the philosophers"). Even the very name "Philosopher's STONE" points to Christ, in the gospel allegories called "the stone rejected by the builders, but becoming the cornerstone." Also common allegories of Christ and the stone are the pelican, the unicorn, etc. Anyone who is interested in this issue more deeply should read Jung's work "Psychology and Alchemy".

However, there is an important difference: while Christ after the ascension is identified only with the spiritual world, the "philosopher's stone" is both spiritual and material, i.e. born from the lowest "prima matter". By the way, again, some alchemists drew a parallel between Christ, born in a manger in a very ignoble environment, with the philosopher's stone, which is created from the lowest, primary matter, "Egyptian darkness", becoming, as a result of alchemical manipulations, the king of kings and the God of the Gods. Such parallels, of course, are not accidental and have the deepest psychological significance. The unconscious, not being able to directly compensate for the one-sidedness of the Christian medieval myth, compensated for it indirectly through the rich and complex symbolic series of alchemy, the meaning of which the alchemists themselves in the vast majority had no idea!

The question arises: how is this possible? How can it be that a person, being the bearer of any ideas and views, does not know the meaning of what he preaches and does?

Jung repeatedly stated: "The trouble with alchemists is that they did not know what they were talking about." This paradox can only be understood in the context of the doctrine of archetypes, which are present regardless of whether we are aware of their significance or not.

Not everyone is capable of directly perceiving psychic reality. For the vast majority, the mechanism of psychological projection works, when one's own psychological process is attributed to an object whose properties are still unknown.

In alchemical problems, this mechanism is very complicated, since there is an attitude to a very deep layer of the "unconscious collective", the eternal archetypal forces of which will always remain a secret of secrets for a person. Archetypes are activated in special situations - it can be a spiritual crisis or a psychotic breakdown, intensive spiritual practice or a long solitude. In this regard, the alchemist was an ideal subject: having left society for his laboratory (where people preferred not to look because of superstitious fear), he found himself face to face with his unconscious. There is no doubt that prolonged seclusion contributed to its activation. When dealing with metals and elements, he did not have scientific knowledge about them, and therefore they turned out to be an ideal "screen" for the projection of the contents of the unconscious.

Thus, in studying alchemy, we first of all explore the unconscious archetypal aspects of the psyche that were projected onto them. In this respect, alchemy is related to astrology. Just as the astrologer projects his mental processes not on the stars, and, having good contact with the collective unconscious, can predict the future quite qualitatively (sincerely thinking that he is reading from the stars), the alchemist projects archetypes onto metals and elements, being fully convinced that works with pure matter, but in fact manipulates aspects of his own psyche, projected all onto the same matter.

Conclusion? Being the least dependent on the collective myth and the most open to the influences of the collective unconscious, the alchemist turned out to be an ideal object for perceiving the need for a healing compensation for a one-sided religious myth. Alchemy, without knowing it, becomes the only heir of Gnosticism and the forerunner of depth psychology. By postulating the creation of God by a great work out of base primary matter (which, as a result, becomes a stone of stones, the "third son", resolving the age-old conflict of spirit and matter), alchemy turns, if you like, into the noble queen of all heresies, prudently disguising itself as a banal gold miner ! Few paid attention to G. Dorn's assertion that "...our gold is not the gold of niello", although this assertion hides the true truth of alchemy.
The following is an exemplary interpretation of alchemical symbolism in the context of depth psychology.

LEAD

Ignoble primary matter, as the heaviest of metals, it became a symbol of powerful inertia, and the danger of being poisoned by lead fumes during smelting created the belief that a demon is certainly present in lead. (Such thinking is quite natural for medieval mystical participation, when the line between external and internal was not drawn). Psychologically, lead corresponds to initial uroboric unconsciousness or a state of severe depression. Even in modern language there are such expressions as "lead fatigue" or "lead longing" - extreme degrees of negativity. For the alchemist, as for anyone dealing with archetypal energies, there was a serious danger of going crazy, becoming possessed by the archetype, which, in the language of alchemical allegories, meant "falling into the power of demonic lead."

However, it is from this worst substance that the master, through complex manipulations, creates the "philosopher's stone" - the essence, the ultimate, highest integrity, selfhood. Jung viewed neurosis as a prospect for potential growth, following the alchemical thesis "... where the disease is, there is the cure." The Christian thesis that God is revealed through suffering is filled with a special, secret meaning in alchemy.

MERCURY

For a person of medieval mentality, mercury was the spokesman for Mercury - the highest and lowest God at the same time. Why? Mercury for alchemists is an embodied paradox: it simultaneously behaves like a metal and like water. In addition, the ability of mercury to evaporate on its own made it, in the eyes of the initiated adept, the material embodiment of the spirit. For a modern developed personality, such analogies look somewhat strange, but one should not forget the fact that a medieval person did not possess scientific knowledge, and therefore metals, being something completely incomprehensible, were also an ideal screen for any psychological projections. Here are the psycho-properties of mercury:

"-it consists of all conceivable opposites. A pronounced duality, which is constantly called unity;

It is material and spiritual;

She personifies the process of transforming the lower into the higher and vice versa;

She is, one might say, a devil, a savior and a psychopomp, an elusive trickster; finally, the reflection of God in mother nature;

It is also a mirror image of the mystical experience of the alchemist, which coincides with the opus alchymicum; "... as such an experience, it represents, on the one hand, the Self, on the other, the individuation process, and also (due to the unlimitedness of its definitions) the collective unconscious." (K.Jung "Spirit of Mercury")

Given the above text, we must understand that the mercury aspect of Mercury is very controversial and often appears in any metal. This creates considerable confusion for the interpreter, however, speaking directly about mercury, most often the paradox, inconsistency, and creative irrationality of the unconscious itself are emphasized. Mercury begins to literally flood our dreams and turns on a special imagination when we are required to abandon our rationalism and hear what is called the "clap of one palm", the sound of which will open the soul for a healing transformation.

In addition, Mercury has an androgynous nature and in the male psyche, as a rule, manifests itself from the feminine side, as an anima, and in the female it is the bearer of the male (masculine) principle as an animus.

In addition, mercury is chemically related to silver, and Mercury is equally related to the Moon, the great Goddess. Mercury (aka Hermes) is the essence, the basis of all alchemical art. Mercury paradoxically embodies the beginning and the end of a great work, a mentor, a guide and at the same time a trickster, an adversary and a fugitive. "We can equate the concept of Mercury with the concept of the unconscious," wrote Jung. It is no coincidence that in alchemical texts there are a huge number of obvious and hidden parallels between Christ and Mercury, each of which represents the archetype of the Self.

SULFUR

Sulfur in alchemy symbolizes the active male substance embodied in matter. She is a pure type of dynamism. Like any substrate, in alchemy it has ambivalent properties: in a positive aspect it represents the fire of the sun, the light of consciousness, in a negative aspect it is identified with the devil, infernal sulfur, with passions and desires of all stripes. Marie-Louise von Franz suggests that sulfur's associations with the Devil and hell arose for the first time in a monk who was sexually tempted and experienced unbridled energy that seemed to burn to ashes - such a person could well draw an analogy with flammable sulfur!

Sulfur is also associated with the substance of the Solar "redness" and therefore represents the principle of consciousness. Sulfur represents the active substance of the sun, or, to use the language of psychology, the motive factor in consciousness - on the one hand, the will, which is best considered as a dynamism subordinate to consciousness, and on the other hand, an irresistible attraction, an involuntary motivation or impulse, starting from a simple interest and ending with a real obsession." (Jung, MYSTERIUM CONIUNCTIONIS, par no. 151).

SALT

Salt is the opposite of sulfur and is related to the feminine, static principle. Like any object in alchemy, it has dual properties, forming a dialectical pair. Salt has long been associated with wisdom. This analogy of comparing the female principle with the deep mind is as old as the world - even among the Gnostics, Sophia was identified with the wisdom of God. Parallels can also be found in Vajrayana Buddhism, where the feminine principle is associated with wisdom, and the masculine principle with masterful means.

The reverse property of salt for alchemists was its bitterness, which once again confirms the paradoxical nature of alchemical thinking, for "... where there is bitterness, there is no wisdom, and where there is wisdom, there can be no bitterness" (Jung, MYSTERIUM CONIUNCTIONIS, par No. 330 ). In addition, salt, as having the property of a preservative, correlates with gaining immortality, since "salting the body" is a metaphor for gaining an incorruptible body. However, salt at the same time defines the body as ordinary, perishable matter. Jung explained such contradictions by the fact that, unlike the “ego”, which clearly knows its limits, “the boundaries of the archetype are both blurred and can be violated by other archetypes, so that there can be an interchange of certain qualities” (Jung, MS, par No. 660).

Jung identifies the alchemical triad (salt, mercury, sulfur) as an archetypal trinity found in Egyptian culture. Thus, sulfur represents the masculine principle, salt the feminine, and mercury the androgynous, bringing opposites together.

STAGES OF THE GREAT WORK

PRIMARY SEPARATION, the first stage of the great work begins with initial unconsciousness, when consciousness is at a very low, primitive level (the mystery of unification cannot arise unless separation occurs). Spirit (sulphur), soul (mercury) and body (salt) at the first stage are in a state of undivided unity, where the spirit is subordinated to the soul, and the soul to the body.

Hence, the primary task is the liberation of the soul from the power of matter: "... separation means the extraction of the soul and its projections from the carnal sphere and from all the conditions of the environment surrounding the body. In other words, it means introversion, introspection, meditation and a thorough examination of desires and their motives" (Jung , MYSTERIUM CONIUNCTIONIS, par. no. 673). That is, psychologically, the stage of liberation of the soul from the shackles of matter corresponds to the withdrawal of projections from outside world and identifying them as internal content.

The alchemists advise to place "Mercury in a sealed vessel and heat until the transformation takes place." Psychologically, heating corresponds to close attention and observation, and sealing in a vessel corresponds to extracting projections from an object. Since we initially equated the concept of Mercury with the concept of the unconscious, the recipe is: “Take the unconscious in its most appropriate form (say, in the form of spontaneous fantasy, dream, strong emotion) and operate on it. Pay special attention to it, focus on it and objectively follow Dedicate all your strength to this task, carefully observe the process of transformation of spontaneous fantasy. Most importantly: do not let anything from the outside world get into it, for it already has everything it needs "(Jung, MYSTERIUM CONIUNCTIONIS, par. No. 749).

This short passage contains the whole principle of psychotherapy, the whole secret of healing and liberation. The psychologist brings nothing new, he only teaches the analysand to see his mental complexes and not to project them outward. And the change, in case of execution of all necessary conditions, will not keep you waiting long. In dreams at this stage, there are motifs of struggle, confrontation, persecution, visions of fire may appear, which marks a strong tension of consciousness. Therefore, the main task is not to slip back into the unconscious state of unconscious opposites and learn to understand your projections.

CONIUNCTIO, the second stage is the process of merging consciousness and the unconscious. If at first the main object of recognition was the shadow parts, which must be observed as if from the side, impartially watching their transformation in a sealed flask, then this stage implies an encounter with the anima.

At the level of "Coniunctio" there is a flight into the unconscious (catalyzed by the anima) and a merger with the shadow energies. The coniunctio in alchemy is symbolized by the sacred marriage of the royal couple of the sun and moon, Christ and the church. Also, the symbols of coniunctio include the motives for absorbing or eating like with like: “An individual must come to the Last Supper with himself; this means that he recognizes the existence of another person in himself. But if he persists in his one-sidedness, then two lions will tear each other to pieces."

This stage represents a certain danger for the "ego", since consciousness is threatened with complete disappearance, dissolution in the sea of the unconscious. Wrong, unsuccessful coniunctio threatens with madness. Therefore, the greatest caution is necessary during the passage of this stage. the main task analytics is to prepare the individual for a decisive and complete transformation. Here dreams abound with motives of marriage, dissolution, flights into darkness, identification with unacceptable parts. Conclusion: it is necessary to be able to “let go” of oneself and not interfere with the natural process of transformation.

NIGREDO. The Nigredo stage generally follows after the coniuctio, when the ego has merged with the unconscious complexes; now both, in their former form, are dying and disintegrating. Nigredo is the level of death, decay and total loss of any support; he is characterized by severe depression, sometimes with suicidal desires. It seems as if where the “I” used to be, a black hole has opened up, which absorbs everything and everything. Any attempt to hold on to the old cause more suffering.

The worst thing here is the subjective feeling that now it will never end. Hence the assurance that such a state is temporary and is a necessary step on the way to a higher self-consciousness is necessary. "Disintegration is a prerequisite for redemption. The participant in the mystery must experience figurative death in order to achieve transformation" (Jung, MYSTERIUM CONIUNCTIONIS, par 381). IN Tibetan Buddhism at high levels, the practice of "chod" was given, the essence of which is that the practitioner went to the cemetery for the night and imagined that hungry ghosts flocked from everywhere and dismembered the adept. "As far as I know, such a practice is considered the most dangerous of all the practices of Tibet and is only recommended very well prepared individuals It can be said that the practitioner of "chad" consciously induces in himself the most powerful state of Nigredo in order to hasten the process of transformation.

As for dreams, they abound with gloomy motifs of decay; typical claustrophobic locked rooms, dismemberment, crucifixion, castration, falling into the mud. The completion of Nigredo usually marks the appearance in dreams of the mandala motif of quaternary, integral constructions, the experience of which is perceived as sacred.

NEW BIRTH (ANDROGYN), completion stage. Opposites are united in a new "I", which carries the features of each of the conflicting substances, but is neither one nor the other. This is the level of completion of the great work, corresponding to contact with the unus mundus (one mind). There is an experience of total unity: "... if such opposites as spirit and matter, consciousness and the unconscious, light and darkness, and so on, must unite, then the connection will occur in the third thing, which is not a compromise, but a new transcendent being that can be described only through paradoxes" (Jung, MYSTERIUM CONIUNCTIONIS, par. no. 765).

Mercury here becomes the embodiment of the Self, the ultimate integrity, unity with being. Latent psychic abilities can now be activated, many synchronistic coincidences occur: "... if the symbolism of the mandala is the psychological equivalent of the unus mundus, then synchronicity is its psychic equivalent. Although synchronistic phenomena occur in time and space, they demonstrate a remarkable independence from both of these irreplaceable determinants of physical existence and therefore do not obey the law of causality" (ibid., par. No. 662).

Dreams during this period are associated with the birth of a child, symbols of the quaternary and mandala. The final task: to accept the changes with gratitude and try to avoid identification with the Self as much as possible, because any inflationary tendencies subsequently bring serious problems.

SOME GENERAL REMARKS
Since development has a cyclic form, the same stages can be played many times, and on different scales. The archetypal process was described above, which captures the entire conscious and unconscious psyche (under such conditions, the process, as a rule, occurs in the "crisis of the middle", that is, from 35 to 40 years). However, one should not forget about small coordinates, for example, if we are talking about the integration of a relatively weakly energetically charged autonomous mental complex. The very structure of the stages of integration will remain approximately the same, but, say, Nigredo will not be an all-consuming melancholy, but a slight depression, and the finale will turn out, accordingly, not a cosmic ecstasy of unity, but simply a pleasant experience. Here it is most clearly seen how the knowledge of alchemy helps in the analysis of dreams.

MAIN POINTS

1) Alchemy represented a compensation for the one-sided Christian position, turning its attention to matter, looking for spirit in it. Christianity, on the other hand, tries to discard matter in the name of the spirit;

2) The substances with which the alchemist works are different components of the "psyche";

3) The main theme of the alchemical search is the creation of the "philosopher's stone", which is the immutable Self, Christ-Mercury, where opposites unite;

4) Opposites that need to be united were symbolized chemically (salt-sulfur); zoomorphic (snake-bird; winged and wingless bird); anthropomorphic (king and queen, Adam and Eve); astrologically (Sun-Moon); in connection with the elements (fire-water, air-earth). Psychologically, this corresponds to the unification of consciousness and the unconscious in the Self - "a circle, the center of which is everywhere, and the circumference is nowhere."

5) The unification of opposites, contrary to the Christian "ascent to heaven", among alchemists always began with a descent into matter, where annihilation and decay into atoms took place, after which followed albedo i.e. purification and resurrection in a new quality.

6) The complexity and inconsistency of alchemical texts is due to the fact that the alchemists themselves did not know what they were talking about, and were objects, not subjects, of the "Great Work". Not a single person of the medieval mentality could stand the conscious perception of the idea of the dark side of God.

7) Symbols of alchemy are often found in the dreams and fantasies of people who are not familiar with our subject - that is why knowledge of alchemy is necessary in analytic work with dreams. Alchemical stages on different scales go through throughout human existence, but are especially relevant in the "mid-life crisis".

ILLUSTRATION No. 1. Below are two illustrations of how alchemical symbols are produced in the "unconscious" of modern people. The first example is from my own experience. In early childhood (around the age of 13) I had a dream that I always remembered and only much later found out that it had to do with the collective unconscious and was directly related to alchemical symbolism. Here is his description:

“I walk around Moscow and go to the cinema. They show a film about God. I enter the hall - the action immediately begins on the screen. Instantly, I seem to stop being myself and become this action. world where he can do everything.He can not only play with the crow, which is in the center of the world.God changes the whole world with the power of thought, but does not touch the crow.Then, feeling that something is missing, he begins pity this crow, "unchanging in change". God finally turns his mind to her, and just at that moment something happens. He is sucked into the crow, and I see (or he?) - unfortunately, it is adequate to describe this (impossible) - how this ideal God breaks down into molecules and atoms. A series of levels pass before my eyes, I realize that perfection has collapsed "below the level of hell", and in some incomprehensible way I am "him" and "not-him" at the same time A click before my eyes - I find myself in the cinema again. Leaving the hall, a dying world appears in front of me - and at the same time everything seems to be left as before. Melancholy and grief seizes me. I tell myself: the main thing is not to cry! Then my friend comes up and asks: "Did you see the movie?" I answer in the affirmative, to which she remarks: "It is strange that you are not crying - after all, the whole world is crying after seeing this tragedy!" This is where the dream ends.

AMPLIFICATION. The beginning and end of sleep are related to the personal unconscious, so they can be left untouched. The main part is important, the action that takes place in the cinema, because this is a rather complex archetypal drama. The archetype of "violation of the sacred prohibition" is found in almost all myths, but here it appears in a somewhat unusual perspective - the main character is not a person, but God. Which directly points to the ancient alchemical wisdom: "As above, so below." Here there is a direct parallel with the Gnostic view of "a spark of God that has flown into matter and dissolved in it." In this dream, the alchemical myth of Gabrizia, who rushed into the arms of Beya and disappeared into her, is played almost verbatim. Beya in this myth represented the primary matter that was undergoing transformation. Crow (one of the most popular allegories of the Devil in medieval scholasticism) symbolized the same primary matter and the Nigredo stage among the alchemists. Anyone who has carefully read the article will easily recognize in the above dream the stage of Coniunctio, which smoothly and naturally passes into Nigredo. An attentive reader may ask: if such scales are characteristic, first of all, of a mid-life crisis, then why did such a process activate in a 13-year-old child, and in all its archetypal grandeur? However, do not forget that in psychology (unlike other sciences) there are no immutable laws, but only trends. And in this case, we are dealing with an exception that occurs from time to time. Such rare archetypal breakthroughs occur if the psyche is for some reason very unbalanced and therefore open to all the "winds" of the collective unconscious. In its infinite reserve, the individual "ego" finds solutions to problems that cannot be solved by conscious effort alone.

ILLUSTRATION #2. The next short dream belongs to a woman, for a long time undergoing psychological analysis. Its main problem is perfectionism and super-rationalism, the strict criteria of which prevented the experience of the unconscious in all its paradox and antinomy. The dream marked a key turning point in the analysis. "I'm at home, I see how my son breaks the thermometer and mercury spills all over the floor. Mercury is becoming more and more." I think that this dream is quite clear to anyone who has read this article, so I will not repeat myself on amplification.

The first thing to learn, taking on the theoretical basis of alchemy, is that the knowledge of alchemy is impossible without a change in thinking and worldview.

The second is that it is a long process.

And the third (most important) alchemy should be solved as a riddle, and not read as an answer at the end of the book.

There are many versions regarding the origin of the word - alchemy. The same applies to assumptions about where and by whom this ancient science was founded.

The most plausible version of the origin of the word alchemy is associated with Arabic sources. al-hem can be translated as "science of Egypt". Although the word Khem was also used in ancient Greece for the name of the art of smelting metals (metallurgy).

The ancient Greeks used many alchemical formulas and expressions in reference books on metallurgy.

Alchemy at that time was closely connected with astrology and many symbols, concepts and names of substances in alchemy had a direct relationship with astrology.

These two very ancient sciences developed along the same lines as Western Hermetic philosophy and "Christian" Kabbalah.

From alchemy, such modern branches of science as chemistry, pharmacology, mineralogy, metallurgy, etc. were born.

According to legend, the Greek god Hermes was the founder of alchemy. And the most ancient text on alchemy is the "Emerald Tablet" of Hermes Trimidast.

At first, metallurgists were engaged in this art.

One of the famous alchemists was Paracelsus, who took the philosophy of alchemy to a new level, stating that the main goal of alchemy is to find an elixir, a cure for a "disease", thus laying the foundations of pharmacology.

At the ordinary level, alchemy is applied, experimental chemistry. But alchemy has its own special philosophy, the purpose of which is to improve the nature of things to an "ideal" state.

The masters of alchemy considered nature to be the greatest alchemist and a huge laboratory, since it (nature) breathed life into inert grains, contributed to the formation of minerals, gave birth to metals. And alchemists often tried to repeat in laboratory conditions those processes that occurred in nature during the formation of minerals or the occurrence of other phenomena. Also, alchemists tried to speed up many of the processes of nature in the laboratory, developing methods for processing metals, obtaining the substances and "drugs" necessary at that time.

The philosophical views of alchemy were based on the following theses:

1. The universe is of divine origin. Cosmos is the radiation of the Divine Being of the One Absolute. Thus All is One, and One is All.

2. The entire physical universe exists due to the presence of polarity or duality (duality). Any concept and phenomenon can be considered as having its opposite: male / female, sun / moon, spirit / body, etc.

3. All physical matter, whether plant, animal or mineral (the so-called Three Kingdoms), has three parts Soul, Spirit, and Body: the three Alchemical Principles.

4. All Alchemical work, laboratory practice or spiritual Alchemy, consists of three basic evolutionary processes: Separation, Purification, Synthesis. These three evolutionary processes are ubiquitous in nature.

5. The entire substance of matter is composed of the four Elements of Fire (thermal energy), Water (liquid), Air (gas), and Earth (unifier). The knowledge and use of the four Elements is a very important part of the Alchemical work.

6. The quintessence or fifth essence is everywhere with the four elements, but is not one of them. This is one of the three important principles known as the Philosophical Mercury.

7. Everything evolves towards a predetermined state of perfection.

In the popular definition, Alchemy is the empirical science that deals directly with the transformation of common metals into gold.

According to alchemists, gold is a mixture of four primary elements, taken in certain proportions. Base metals are mixtures of the same elements, but in different proportions. This means that by changing the proportions in these mixtures by heating, cooling, drying and liquefying, base metals can be turned into gold.

For many, the word Alchemy evokes associations with an inept laboratory, where pseudo-scientists work recklessly boldly in an effort to enrich themselves by obtaining alchemical gold.

However, the true definition of Alchemy is connected with the doctrine of the evolution of man to the highest perfection.

Treatises of Alchemy are devoted not only to the principles of chemistry, but are also full of philosophical, mystical and magical meaning.

Thus, some of the alchemists were engaged in natural chemistry and physico-chemical experiments with matter, while the other was interested in alchemy as a spiritual process, although the basis of the philosophy of both was spiritual transformation.

The alchemists of the spirit were not only looking for a way to obtain gold, they were looking for how to get spiritual gold - wisdom - from "impure" elements.

For them, gold, a metal that never loses its luster and cannot be corrupted by Fire or Water, was a symbol of initiation and salvation.

Alchemy is the Science of the Art of transformation.

This art is difficult to study, because the basis of the alchemical "language" is the use of symbols in allegories and myths, which can be interpreted with a wide range of understanding, both in the spiritual and in the sense applied to experimental chemistry.

The original goal of alchemy is to bring all things, including humanity, to perfection.

Since the theory of alchemy claims that the Eternal Wisdom remains latent, inactive and obscure for humanity for so long due to the large amount of ignorance in society and on the surface of human consciousness.

The task of alchemy is the discovery of this Inner Wisdom and the removal of the veil and barrier between the mind and the inner, pure Divine Source.

This is the spiritual alchemy which is hidden behind the chemical art of some alchemists.

This Great Work or search for "spiritual gold" has been going on for quite some time.

Although the goal is far away, each step along this path enriches the walker.

stages philosophical process alchemical transformations are symbolized by four different colors: black (guilt, origin, latent powers) designating the Spirit in the initial state, white (small work, first transformation or experience, mercury), red (sulphur, passion), and gold (spiritual purity).

The basis for all alchemical theories is the theory of the four elements.

It was developed in detail by Greek philosophers such as Plato and Aristotle. According to the cosmological teaching of Plato (which was seriously influenced by the philosophy of the Pythagoreans), the Universe was created by the Demiurge from spiritualized primary matter. From it he created the four elements: fire, water, air and earth. Plato considered these elements as geometric bodies from which all substances are built. Aristotle made a certain adjustment to the theory of the four elements. He defines them as a combination of four opposite qualities: cold, dryness, heat and moisture, in addition, he adds a fifth to the four elements - quintessence. It was these philosophers, in fact, who laid the theoretical foundation of what is commonly called alchemy.

If we depict all the theories of the alchemists geometrically, we get the Pythagorean tetractix. The Tetractix of Pythagoras is a triangle consisting of ten points.

The four points represent the Cosmos as two pairs of basic states: hot and dry - cold and wet, the combination of these states generates the elements that are at the base of the Cosmos. That. the transition of one element into another, by changing one of its qualities, served as the basis for the idea of transmutation.

Alchemical Elements

Prima - TERRA: The First Element is Earth. The essence is life. It is a product of nature.

Second - AQUA: The Second Element is Water. Eternal life through the quadruple reproduction of the universe.

Tertia - AE: The Third Element - Air. Strength through connection with the Spirit element.

Quart - IGNIS: Fourth Element - Fire. The transformation of matter.

Three Great Principles

Further, three points are the triad of alchemists - sulfur, salt and mercury. A feature of this theory was the idea of macro and microcosm. Those. man in it was considered as a world in miniature, as a reflection of the Cosmos with all its inherent qualities. Hence the meaning of the elements: Sulfur - Spirit, Mercury - Soul, Salt - body. That. and the Cosmos and man consist of the same elements - body, soul and spirit. If we compare this theory with the theory of the four elements, we can see that the element of fire corresponds to the Spirit, the element of water and air corresponds to the Soul, and the element of earth corresponds to Salt. And if we take into account that the alchemical method is based on the principle of correspondence, which in practice means that the chemical and physical processes occurring in nature are similar to those that occur in the human soul, we get:

In alchemy, there are three main substances - principles that are present in all things.

The names and alchemical designations of these three principles are:

Sulfur (Sulfur) Mercury (Mercury) Salt

Sulfur (Sulfur) - an immortal spirit / that which disappears without a trace from matter during firing

Mercury (Mercury) - soul / that which connects the body and spirit

Salt - the body / that material that remains after roasting

These substances, when purified, have the same name. This triad of principles can be considered as an undivided whole.

However, this whole exists only before the alchemical purification (learning process).

When the three components are purified they uplift the whole

The Sulfur Principle

(Coptic -Then, Greek -Theion, Latin -Sulfur)

It is a dynamic, expansive, fickle, acidic, unified, masculine, paternal, and fiery principle. Sulfur is emotional, it is a feeling and a passionate impulse that motivates life. This is a symbolic desire for positive change and vitality. The complete transformation depends on the right application of this changeable principle.

Fire is a central element in alchemy. Sulfur is the "Spirit of Fire".

In practical alchemy, Sulphur (sulphur) is usually extracted from Mercury (mercury, more precisely mercury sulfate) by distillation. Sulfur is the stabilization aspect of Mercury, from which it is extracted and dissolved into it again. In mystical alchemy, Sulfur is the aspect of the crystallization of inspiration initiated by Mercury.

Salt Principle

(Coptic-Hemou, Greek-Hals, Patina - Salt)

This is the principle of substance or form, which is conceived as a heavy, inert mineral body that is part of the nature of all metals. It is a fixative, a retarder that completes crystallization. Salt is the base in which the properties of Sulfur and Mercury are fixed. Salt is a very important principle that is attributed to the elements of the earth.

Mercury principle

(Coptic - Thrim, Greek - Hydrargos, Latin - Mercurius)

This is Mercury. The principle - watery, feminine, concerns the concepts of consciousness. Mercury is the universal spirit or life principle that pervades all living matter. This fluid and creative principle symbolizes action.

His transformations are part of the transformation in the alchemical process. Mercury is a very important component, the most important of all three principles that interact with each other, changing their properties.

Mercury and Sulfur as antagonists

Two points of tetraxis - sulfuric - mercury theory

In practical alchemy, Mercury is represented by two substances.

The first (inconstant) is the substance after the removal of sulfur.

The second (fixed) substance after the return of sulfur.

This product and stabilized substance is sometimes referred to as Secret Fire or Prepared Mercury.

Sulfur and mercury are regarded as the father and mother of metals. When they combine, various metals are formed. Sulfur causes the volatility and combustibility of metals, and mercury hardness, ductility and brilliance. The alchemists depicted these two principles either as an alchemical androgyne, or as two dragons or snakes biting each other. Sulfur is a wingless snake, mercury is winged. If the alchemist managed to combine both principles, then he received the primary matter. Symbolically, it was depicted as follows:

One point - the idea of unity (all-unity), was inherent in all alchemical theories. Based on it, the alchemist began his Work with the search for the primordial substance. Having acquired the primary substance, by means of special operations he reduced it to the primary matter, after which, adding to it the qualities he needed, he received the Philosopher's Stone. The idea of the unity of all things was symbolically depicted in the form of an ouroboros - a snake devouring its tail - a symbol of Eternity and all alchemical Work

primal matter

Primary matter - for the alchemist, this is not matter itself, but rather its possibility, combining all the qualities and properties inherent in matter. It can be described only in contradictory terms. Primary matter is what remains of an object when it is stripped of all its characteristics.

The Primary Matter is the substance closest to the Primary Matter in terms of its properties.

The first substance is the (male) substance that becomes One and inimitable in conjunction with the female. All its components are simultaneously stable and changeable.

This substance is unique, the poor own it to the same extent as the rich. It is known to everyone and not recognized by anyone. In their ignorance, the common man considers it rubbish and sells it cheaply, although for philosophers this is the highest value.

The first substance is not a homogeneous substance; it consists of two components: "male" and "female". From a chemical point of view, one of the components is a metal, while the other is a mineral containing mercury.

Perhaps this definition is quite universal, and for the study of Mystical Alchemy it is quite self-sufficient.

Metals Assigned to Planets in Alchemy

The view of the alchemist on the nature of metals is quite different from that of metallurgy.

The Creator created metals as things equal to animals and plants.

And like everything else in nature, these substances experience natural evolution - birth, growth and flourishing.

Alchemical symbols

The symbol has a number of functions, in the study of alchemy, two of them should be highlighted:

1 The symbol serves to hide sacred meaning mysteries from the uninitiated.

2 The symbol is the means of knowledge and the Path of Truth.

The being of a symbol extends in three planes:

1 Symbol - sign

2 Symbol - image, allegory

3 The symbol is a phenomenon of Eternity.

How to distinguish a symbol from a sign and an allegory?

A sign is an image (this definition, of course, refers only to drawn images) that carries a specific semantic meaning. An iconic image may not be conventional.

Allegory is a kind of concept picture, a concept expressed not by a word but by an image. Its main criterion is that allegory has no room for interpretation.

In other words, in the allegory, the image performs only service functions and is a “label” general concept, in the symbol, the image is endowed with autonomy, and is inextricably linked with the concept.

A symbol, unlike an allegory, has multiple meanings and can be interpreted in different ways.

A symbol is a conventional image representing an image, an idea, etc. not statically as a sign or allegory, but in a dynamic whole. The symbol suggests the presence of an inner secret; it can never be fully unraveled.

There are four main types of characters:

1 Symbolic images in which any color acts as a symbol:

2 Symbolic images in which the symbols are geometric figures and pictures:

3 The third type of symbols is more complicated because expressed graphically only with the help of the first, second and fourth kinds of symbols - this is numerical symbolism:

4 A mixed symbol (the most common) is a combination of two or three of the above types of symbols at once:

The meaning of alchemical symbols is sometimes obvious, but in most cases they require a more serious attitude...

There are three main difficulties in understanding alchemical symbolism:

The first is that the alchemists did not have a rigid system of correspondences, i.e. the same symbol or sign can have many meanings.

The second - the alchemical symbol is sometimes difficult to distinguish from the allegory.

And the third, most important, is that in alchemy a symbol serves to directly convey mystical experience (experience).

Five Methods for Analyzing an Alchemical Symbol

Method #1

First you need to determine the type of the symbol. Those. is it simple or complex. A simple symbol consists of one figure, a complex one of several.

Method #2

If the symbol is complex, you need to decompose it into a number of simple ones.

Method #3

Having decomposed the symbol into its constituent elements, you need to carefully analyze their position.

Method #4

Highlight main idea plot.

Method #5

Interpret the resulting picture. The main criterion in the interpretation of the symbol should be the intellectual intuition developed in the process of research.

An iconic image, unlike a symbol, can be non-conventional, i.e. similar to what it means. Signs are used to alert, warn and inform. Here are some examples of different alchemical signs for time:

Symbolism of alchemical processes

By carefully studying the alchemical treatises one can come to the conclusion that almost every alchemist used his own unique method of work. However, there are some common elements that are common to all alchemical methods. They can be reduced to this diagram:

1. THE BODY SHOULD BE CLEARED BY THE RAVEN AND THE SWAN REPRESENTING THE DIVISION OF THE SOUL INTO TWO PARTS INTO EVIL (BLACK) AND GOOD (WHITE)

2. Iridescent PEACOCK FEATHERS OFFER PROOF THAT THE TRANSFORMATION PROCESS HAS STARTED

Other birds associated with the alchemical process are:

PELICAN (blood feeding)

EAGLE (victory symbol of the ending ritual)

PHOENIX (is a perfect eagle)

There are three main stages of doing:

nigredo (nigredo) - black stage, albedo (albedo) - white stage, rubedo (rubedo) - red.

If we correlate the stages of alchemical work with the elements, then we get not three, but four stages:

Earth - MELANOSIS (blackening): - Nigredo.

Water - LEUKOSIS (whitening): - Albedo.

Air - XANTHOSIS (yellowing): - Citrine.

Fire - IOZIS (redness) - Rubedo.

Seven stages according to the colors of the planets:

BLACK: Saturn (lead)

BLUE: Jupiter (tin)

PEACOCK TAIL: Mercury (mercury)

WHITE: Moon (silver)

YELLOW: Venus (copper)

RED: Mars (iron)

PURPLE: Sun (gold)

As you can see, the number of processes leading to obtaining the Philosopher's Stone is different. Some associated them (stages) with the twelve signs of the zodiac, some with the seven days of creation, but still almost all alchemists mentioned them. In alchemical treatises, one can find mention of two Ways to accomplish the Great Work: dry and wet. Usually alchemists described the wet way, mentioning the dry very rarely. The main features of the two Paths are the differences in the regimes used (terms and intensity of processes) and the main ingredients (primary substance and secret fire).

The seven alchemical processes correlate with the seven days of Creation, as well as with the seven planets, for it was believed that the influence of each planet generates the metal corresponding to it in the bowels of the earth.

Metals vary in degree of perfection; their hierarchy goes back from lead - the least noble of metals - to gold. Starting with the source material, which was in an imperfect "lead" state, the alchemist gradually improved it and eventually turned it into pure gold.

The stages of his work corresponded to the ascent of the soul through the planetary spheres.

1. Mercury - Calcification

2. Saturn - Sublimation

3. Jupiter - Solution

4. Moon - Puterification

5. Mars - Distillation

6. Venus - Coagulation

7. Sun - Tincture

Twelve alchemical processes correlated with the signs of the Zodiac. The Great Work was an imitation of the processes of nature, and the twelve months or signs of the zodiac make up a complete annual cycle during which Nature passes from birth and growth to decay, death and a new birth.

The English alchemist George Ripley, in his Compendium of Alchemy, written in 1470, lists all twelve processes; an almost identical list is given in 1576 by another adept in alchemical art, Joseph Kvertsetav.

These processes are:

calcination ("calcination"),

solution ("dissolution"),

separation ("separation"),

conjunction ("connection"),

putrefaction ("rotting"),

coagulation ("fixing"),

cibation ("feeding"),

sublimation ("sublimation"),

fermentation ("fermentation"),

exaltation ("excitement"),

animation ("multiplication")

projection("throw"*).

Any interpretation of these processes, both chemically and psychologically, will inevitably be arbitrary. But it is known that the goal of the initial stages (up to putrefaction) was to purify the source material, get rid of any qualitative characteristics, turn it into the First Matter and release the spark of life contained in it.

Calcination is the calcination in the open air of a base metal or other starting material. As a result of this process, the material was supposed to turn into powder or ash.

The second stage, solution, was the dissolution of the calcined powder in "mineral water that does not wet the hands." "Mineral water" here refers to mercury.

The third stage, separation, is the division of the "subject" of the Great Work into oil and water. It is not the alchemist who makes the separation, but the Lord God himself; this seems to mean that the alchemist simply left the dissolved material in the vessel until it had undergone said separation. The purpose of this process was the decomposition of alchemical raw materials into their original components - either into four primary elements, or into mercury and sulfur.

The fourth stage, conjunction, i.e., the achievement of balance and reconciliation between the warring opposites. Sulfur and mercury are reunited.

Fifth stage, putrefaction - the first of the main stages of the Great Work - the so-called nigredo, or blackening. She was called the "Black Crow", "Crow Head", "Crow Head" and "Black Sun", and her symbols were a rotting corpse, a black bird, a black man, a king killed by warriors, and a dead king devoured by a wolf. By the time the nigredo stage was completed, each adept had progressed in a different way.

Coagulation or "thickening" - at this stage, the elements that formed the Stone were connected to each other.

This process was described as an alchemical mass.

Vapors released during putrefaction. hovering over the black material in the vessel, penetrating into the First Matter, they animate it and create an embryo from which the Philosopher's Stone will grow.

When the spirit was reunited with the First Matter, a white solid crystallized from the watery material in the vessel.

The resulting white substance was the White Stone, or White Tincture, capable of turning any material into silver.

Having received the White Stone, the alchemist proceeds to the stage of cibation ("feeding"): the material in the vessel is "moderately nourished with "milk" and "meat".

The sublimation stage was a purification. The solid in the vessel was heated until it evaporated; The vapors were rapidly cooled and again condensed to a solid state. This process was repeated several times, and as a rule, doves, swans, and other birds served as symbols of it, having the habit of taking off to heaven, then landing again. The purpose of sublimation was to rid the body of the Stone from the dirt in which it was born during putrefaction. Sublimation unites body and spirit;

During fermentation, the material in the vessel turns yellow and becomes gold. Many alchemists have argued that at this stage ordinary gold should be added to the vessel in order to hasten the natural development of the Philosopher's Stone to the state of gold. While not yet completely perfect, the Stone was now acquiring the ability to transmute base metals. It became an enzyme, a leaven capable of impregnating and activating a base metal and spurring its development, just as yeast impregnates dough and makes it rise. This quality characterizes the soul of the Philosopher's Stone, the fiery, active component that excites and animates the base metal. Thus, in the process of fermentation, the soul of the Stone is connected with the already purified body. fermentation unites the spiritual body with the soul;

At the stage of exaltation, the last change in the color of the material occurs - rubedo, or redness.

Apparently, the alchemists discovered that in the last stages of the Work, the material in the vessel becomes extremely unstable. However, exaltation should bring all the components of the Stone into unity and harmony, which is no longer subject to any changes.

The soul and body, united in the fermentation process, now united with the spirit, and the Stone became resistant and stable.

The heat in the furnace was brought to the highest possible temperature, and the gaze of the excited alchemist is presented with that wonderful spectacle for which he worked so hard in the sweat of his brow - the birth of the Philosopher's Stone, perfect red gold, Red Tincture, or Red Elixir, the One. Exaltation unites body, soul and spirit;

Further, the newborn Stone lacks one quality - the ability to be fruitful and multiply, many times increasing the mass of base metals. The Stone was endowed with this quality in the process of multiplication ("multiplication") or augmentation ("increment").

The Stone became fruitful and fruitful thanks to another combination of opposites - the royal wedding of soul and spirit, sulfur and mercury, king and queen, Sun and Moon, red man and white woman, i.e. symbols of all opposites reconciled in the One. Animation unites soul and spirit.

The twelfth and final stage of the Great Work, projection, was that the Stone was used on a base metal to turn it into gold.

Usually the Stone was wrapped in wax or paper, placed in a crucible along with base metal and heated.

These last stages of alchemical work were several procedures for balancing and combining the components of the Stone or its inherent opposites.

Small dictionary of alchemical notation.

ACETUM PHILOSOPHERUM: Synonymous with "Virgin Milk", Philosophical Mercury, Secret Fire

ADAM: Male power. Animus.

ADAM'S EARTH: The primordial or true essence of gold that can be obtained from a homogeneous substance

ADROP: Philosophical work or antimony.

AESH MEZARETH: "A purifying flame." Alchemical work collected by Knorr von Rosenroth and set forth in The Kabalah Denudata.

ALCHEMICAL MARRIAGE: The final stage of the Great Work. Occurs between the King and the Queen

ALBEDO: A form of matter that has an impeccable perfection that it does not lose.

ALKAHEST: Secret flame. Solvent.

ALEMBROT: Philosophical salt. Salt of art. Part of the nature of metals.

MIX: The union of fire and water, male and female.

ALHOF: The formless state of the earth element. Soul of the Earth.

AMALGAMMA: The medicine of metals in melting.

AMRITA: The first transformed matter, substance.

AN: Father or Sera.

ANIMA: Feminine in a man. Hidden personality.

ANIMUS: Masculinity in a woman.

ENSIR: Son, or Mercury.

ENSIRARTO: Holy Spirit or Salt.

ANTIMONY: A substance that, in certain doses, can be both a drug and a poison.

This substance has all the properties of a metal, but under certain conditions behaves like a non-metal. Obtained by extraction from natural Stibnite sulfide by heating in the presence of iron. (There are four forms: gray metal, black soot, and unstable explosive "yellow silver".)

APR: Powder or ash.

AQUA PERMANENCE: "Pristine or Restrained Water." Mercury of philosophers. Sun and Moon dissolved and united.

AQUA VITE: Alcohol. Women's selection.

AQUA PHILOSOPHERUM: "Eagle of Philosophy." The mercury of metals is characterized as "a metal with a nature close to the first matter."

ARCHAIES: The hidden essence of the primal matter that is extracted from it.

ARGENT VIVE: "Secret flame" Mercury of philosophers; the so-called "Living Silver" is a universal solvent of metals.

SOFTENING: Make thinner

AUR: Radiance, light.

NITROGEN: The universal principle of medicine, with which all things are connected, is contained in everything healing. The names of mercury in any metallic body. Spirit of Life. Quintessence. Spirit of Water.

AURUM ALBUM: White gold.

BETYULIS: An inanimate stone containing the Spirit.

BALM VITE (Balm): Collects natural warmth and huge moisture. In mystical alchemy, it is a symbol of mercy, love, reincarnation.

Basilisk: A monster with the body of a dragon, the head of a snake, the beak of a rooster. A symbol of the conflicting duality of nature and the Elements.

MACE: Androgyne, hermaphrodite. duality of nature.

BOWL OF VENUS: Vagina.

WASHING: Cleansing by puterification.

BEAR: The blackness of primordial matter.

BEE: Sun. Purity. Rebirth.

HEADLESS: Knowledge of the Spirit through suffering and torture. Separation that is inherent in the physical body.

BENNU: The Egyptian Phoenix. Philosopher's stone symbol.

BLACK DRAGON: Death, decay, decay.

BLOOD: Spirit.

RED LION BLOOD: Male discharge.

BOOK: Universe.

ARC: A combination of masculine and feminine. Feminine crescent, shooting an arrow as a masculine principle.

BREATH: The essence of life.

CADUCEUS: The power of transformation. Unity of opposites.

CAPUTH MORTE: Product of the death of matter. Empty product. A by-product of doing.

CAUDI PAVONIS: The tail of a peacock.

KAELDRON (Bowl, Cauldron, Ritorta): Abundance. Uterus. The power of transformation.

CHAIN: Binder.

CHAOS: Void. The fourfold essence of the primordial substance.

CHILD: Potential.

CHMO: Fermentation, fermentation

CINNEAR: A product of the positive interaction of male and female. Gold of Life.

CLOUD: Gas or vapor.

COLEUM: Upgrading a Life creature. Also Virtus.

CONNECTION OF SUN AND MOON: Union of opposites.

BODY: Alchemical substance

CROSS: Manifestations of the Spirit in matter. Man sign

CROWN: Kingship or sovereignty.

CROWNED CHILD: Stone of philosophers.

CROWN BALL: Stone of philosophers.

CRUCIFICATION: Purification of all impurities.

CAPELATION: A metallurgical process to test the authenticity of Gold.

CYPARIS: Death. Male organ.

DAGGER: That which pierces and breaks matter.

DIENECH: Corrected, balanced Water.

DOG: Philosophical Mercury.

DOG AND WOLF: Double nature of Mercury.

DOUBLE-HEADED EAGLE: Male and female Mercury.

DOVE: Life Spirit.

DRAGON BLOOD: Cinnabar. mercury sulfide.

EAGLE (Also falcon or falcon): Sublimation. Mercury in its most exalted state. Emblem of knowledge, inspiration, and sign of the completed Work

EGG: Sealed Hermetic Vessel where the work is completed. Creation designation.

ELECTRUM: The metal containing all the metals assigned to the seven planets.

ELIXIR OF LIFE: Received from the Stone of the Philosopher, Elixir that gives immortality and eternal youth.

EMPEROR: King. Active impermanent principle.

EMPRESS: Passive form, balanced principle.

EVE: The female archetype. Anima.

FATHER: Solar or masculine principle.

DIRT: Spent matter. Final death. Weight.

FISHEYE: A stone at an early stage of evolution.

MEAT: Substance.

FLIGHT: Transcendental action. Rise to the highest level.

GOLDEN FLOWER: Spiritual rebirth. Elixir of Life.

PHOETUS SPAGIRIKUS: The stage in the alchemical process when matter inherits the Spirit.

FORGE: Transmutation power of the furnace holy fire.

FOUNTAIN: Source of Eternal Life. mother source.

FRUITS - FRUIT: Essence. Immortality.

FROG: First Substance. Origin of physical matter.

GLUTEN: Women's fluids.

GLUTINUM MUNDI: Glue of the world. That which unites body and mind.

GOAT: Male principle.

GOLD: Purpose of the Great Work. Perfection and harmony. Full balance

GOOSE: Nature.

GRAIL: Stone Philosophers. Immortality.

GRAIN (Barley, kernel, grain): Grain of life. Life renewal. Core.

GREAT WORK: Achieving the highest possible degree of perfection. Unification of the Lesser Universe with the Greater Universe (Microcosm and Universe).

HERMAPHRODITE: Union of male and female.

HERMES: Mercury.

HIEROGAMIA: Divine unification. Compound.

MED: Introduction. Immortality.

INCREATUM: Self-reproduction.

IGNIS AQUA: Fire Water. Alcohol.

IGNIS LEONI: Elemental Fire or "Lion's Fire."

IGNIS ELEMENTARI: Alchemical sulfur.

LAKTUM VIRGINIS: Maiden's milk. Mercury water synonym

LAMP: Spirit of Fire.

SPEAR: Masculine energy.

LAPIS LUCIDUM ANGELARIS: "Cornerstone of Light." Supreme Being.

Rational foundations of the theory

The mercury-sulfur theory of the origin of metals, designed to explain such properties of metals as brilliance, malleability, combustibility, and justify the possibility of transmutation, was created at the end of the 8th century by the Arab alchemist Jabir ibn Hayyan. According to this theory, all metals are based on two "principles" - mercury (philosophical mercury) and sulfur (philosophical sulfur). Mercury is the "principle of metallicity", sulfur is the "principle of combustibility". The principles of the theory, therefore, acted as carriers of certain chemical properties of metals, established as a result of experimental study of the effect of high temperatures on metals.

The term elixir (al-iksir) comes from the Greek xerion, meaning "dry"; later in Europe, this substance was called the philosopher's stone ( Lapis Philosophorum). Since the process of turning imperfect metals into perfect ones can be identified with the healing of metals, the elixir, according to the ideas of the followers of Jabir, must have many more magical properties - to heal all diseases, and, possibly, to give immortality (hence - "elixir of life").

Mercury and sulfur in esotericism and alchemical symbolism

An integral part of the mercury-sulfur theory in the European alchemical tradition was its esoteric, spiritualistic interpretation.

Literature

General history of chemistry. The emergence and development of chemistry from ancient times to the XVII century. - M.: Nauka, 1980. 399 p.
Poisson A. Theories and symbols of alchemists // Theories and symbols of alchemists. Moscow: New Akropolis, 1995. 192 p.
Rabinovich VL Alchemy as a Phenomenon of Medieval Culture. - M.: Nauka, 1979. 392 p.
Figurovsky N. A. Essay on the general history of chemistry. From ancient times to the beginning of the 19th century. - M.: Nauka, 1969. 455 p.

Notes

Wikimedia Foundation. 2010 .

At room temperature, sulfur reacts only with mercury. As the temperature rises, its activity increases significantly. When heated, sulfur reacts directly with many simple substances, with the exception of inert gases, nitrogen, selenium, tellurium, gold, platinum, iridium and iodine. Nitrogen and gold sulfides were obtained indirectly.

Interaction with metals

Sulfur exhibits oxidizing properties; as a result of interaction, sulfides are formed:

Interaction with hydrogen occurs at 150–200 °С:

H 2 + S = H 2 S.

Interaction with oxygen

Sulfur burns in oxygen at 280 °C, in air at 360 °C, and a mixture of oxides is formed:

S + O 2 \u003d SO 2;

2S + 3O 2 \u003d 2SO 3.

Interaction with phosphorus and carbon

When heated without access to air, sulfur reacts with phosphorus, carbon, showing oxidizing properties:

2P + 3S = P 2 S 3;

Interaction with fluorine

In the presence of strong oxidizing agents, it exhibits reducing properties:

S + 3F 2 = SF 6 .

Interaction with complex substances

When interacting with complex substances, sulfur behaves as a reducing agent:

S + 2HNO 3 \u003d 2NO + H 2 SO 4.

Disproportionation reaction

Sulfur is capable of disproportionation reactions; when interacting with alkali, sulfides and sulfites are formed:

3S + 6KOH \u003d K 2 S +4 O 3 + 2K 2 S -2 + 3H 2 O.

1.7. Sulfur recovery

From native ores

When heating pyrite without air

FeS 2 \u003d FeS + S.

Oxidation of hydrogen sulfide in the absence of oxygen

2H 2 S + O 2 \u003d 2S + 2H 2 O.

From off-gases from metallurgical and coke ovens, when heated in the presence of a catalyst

H 2 S + SO 2 \u003d 2H 2 O + 3S.

1.8. hydrogen sulfide

Hydrogen compound of sulfur - hydrogen sulfide H 2 S . Hydrogen sulfide is a covalent compound. The structure of the molecule is similar to the structure of the water molecule, the sulfur atom is in a state of sp 3 hybridization, however, unlike water, hydrogen sulfide molecules do not form hydrogen bonds with each other. The sulfur atom is less electronegative than the oxygen atom, has a larger size and, as a result, a lower charge density. The HSH bond angle is 91.1°, the H-S bond length is 0.133 nm.

Physical Properties

Under normal conditions, hydrogen sulfide is a colorless gas with a strong characteristic smell of rotten eggs. T pl \u003d -86 ° С, T kip \u003d -60 ° C, poorly soluble in water, at 20 ° C 2.58 ml of H 2 S dissolves in 100 g of water. It is very toxic, causes paralysis when inhaled, which can lead to death. In nature, it is released as part of volcanic gases, it is formed during the decay of plant and animal organisms. Let's well dissolve in water, at dissolution forms weak hydrogen sulfide acid.

Chemical properties

In an aqueous solution, hydrogen sulfide has the properties of a weak dibasic acid:

H 2 S \u003d HS - + H +;

HS - \u003d S 2- + H +.

Hydrogen sulfide burns in the air blue flame. With limited air access, free sulfur is formed:

2H 2 S + O 2 \u003d 2H 2 O + 2S.

With excess air access, the combustion of hydrogen sulfide leads to the formation of sulfur oxide (IV):

2H 2 S + 3O 2 \u003d 2H 2 O + 2SO 2.

Hydrogen sulfide has reducing properties. Depending on the conditions, hydrogen sulfide can be oxidized in an aqueous solution to sulfur, sulfur dioxide and sulfuric acid.

For example, it decolorizes bromine water:

H 2 S + Br 2 \u003d 2HBr + S.

interacts with chlorine water:

H 2 S + 4Cl 2 + 4H 2 O \u003d H 2 SO 4 + 8HCl.

A stream of hydrogen sulfide can be ignited using lead dioxide, since the reaction is accompanied by a large release of heat:

3PbO 2 + 4H 2 S \u003d 3PbS + SO 2 + 4H 2 O.

Interaction of hydrogen sulfide with sulfur dioxide used to obtain sulfur from waste gases of metallurgical and sulphate production:

SO 2 + 2H 2 S \u003d 3S + 2H 2 O.

This process is associated with the formation of native sulfur during volcanic processes.

With the simultaneous passage of sulfur dioxide and hydrogen sulfide through an alkali solution, thiosulfate is formed:

4SO 2 + 2H 2 S + 6NaOH \u003d 3Na 2 S 2 O 3 + 5H 2 O.

Sulfur mercury. Fundamentals of Alchemy

Rational foundations of the theory

Mercury and sulfur in esotericism and alchemical symbolism

Literature

Links

Notes

LEAD

MERCURY

SULFUR

SALT

STAGES OF THE GREAT WORK

Rational foundations of the theory

Mercury and sulfur in esotericism and alchemical symbolism

Literature

Links

Notes

1.7. Sulfur recovery

1.8. hydrogen sulfide

Physical Properties

Chemical properties