Tesposinus wrote:Wow... you guys, I'm terribly sorry I haven't answered to any of this before now. I completely forgot about these posts and so I haven't checked for quite some time - as you can see. It's not easy getting old...
Me too, maybe it is just because of the stage of distillation haha
Very well put! It is the idea of the Above and Below (as you so nicely put, but which I accidentally deleted in my quote ) actually being applied and proven to be the case. People without intimate knowledge of and experience with alchemy will often think of it as nothing more than an old, outdated superstitious form of chemistry - chemical experiments with some "supernatural" theor behind it by individuals who didn't yet "know any better" -
I believe you are on about the "puffers"Tesposinus wrote:
I firmly agree. The allegorical language of alchemy is in intimate part of this, our ancient and noble Art & Science; it is obviously for purposes to concealing the divine from the profane, and keeping the dangerous from the curious, but it is equally the technical jargon of the practitioners. It is the mathematical language of the mathematicians, the formulas of the physicists, the Latin of the medical professionals... but at the same time, it is so much more, as you are clearly hinting at here too, Darren (may I call you Darren?). There is another reason behind the image-language of alchemy, the heavy symbolism found in both illustrations as well as texts... that of the non-physical nature of the Art. It is due to the etheric being what lies as the heart of alchemy that this Science works in symbolism. The human being's link between the Macrocosm and the Microcosm being the mind, the subconscious communicating with the consciousness via imagery, much higher level alchemical wisdom has been revealed or discovered throughout history via visionary experiences had by alchemists of a certain level of experience and it is largely due to the imagery of such visions (be they during dreams, meditations or an otherwise perfectly "awake" moment) that much of this became part of alchemical terminology - the experiences of Cyliani is a good, more recent, example thereof. The knowledge of the meaning behind a picture of a green lion devouring a sun, seeing the latter's blood dripping to the ground, makes all the sense in the world to those with the knowledge and understanding thereof - whether learned through visionary experienced or explained by another alchemist - but it is a complete mystery to the "uninitated". So when communicating in such fashion amongst each other, one ensures that only others of sufficient experience and skill will be able to make sense thereof; and on a more profound level, certain "impossible to analyze" alchemical imagery is a way of ensuring that only those with the necessary knowlegde, experience, skill and spiritual development through the work will be able to make these pictures "talk" to the individual - the true way of communicating in the Language of the Birds!
That is very well put.
It is the language of the art, and I also believe it to be the same language that enables one to understand the spiritual processes at work within "magic" too. Take this example from "The Book of Going Forth By Day" (the Egyptian book of the dead) "The eye of Horus which my hand holds goes round about for me in the suite of Thoth". This is a beautiful ancient use of allegory, which, will not make a lot of sense to those who do not understand it.
Without the use of this language in Magic and Alchemy, it would take many many words to explain (and not in an easy to understand way) what a few words pictorialize for the Higher mind to comprehend.