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Story of Alchemy and the Beginnings of Chemistry, The

<h2>CHAPTER VII.</h2> <h3>THE LANGUAGE OF ALCHEMY</h3> The vagueness of the general conceptions of alchemy, and the attribution of ethical qualities to material things by the alchemists, necessarily led to the employment of a language which is inexact, undescriptive, and unsuggestive to modern ears. The same name was given to different things, and the same thing went under many names. In Chapter IV. I endeavoured to analyse two terms which were constantly used by the alchemists to convey ideas of great importance, the terms Element and Principle. That attempt sufficed, at any rate, to show the vagueness of the ideas which these terms were intended to express, and to make evident the inconsistencies between the meanings given to the words by different alchemical writers. The story quoted in Chapter III., from Michael Sendivogius, illustrates the difficulty which the alchemists themselves had in understanding what they meant by the term Mercury; yet there is perhaps no word more often used by them than that. Some of them evidently took it to mean the substance then, and now, called mercury; the results of this literal interpretation were disastrous; others thought of mercury as a substance which could be obtained, or, at any rate, might be obtained, by repeatedly distilling ordinary mercury, both alone and when mixed with other substances; others used the word to mean a hypothetical something which was liquid but did not wet things, limpid yet capable of becoming solid, volatile yet able to prevent the volatilisation of other things, and white, yet ready to cause other white things to change their colour; they thought of this something, this soul of mercury, as having properties without itself being tangible, as at once a substance and not a substance, at once a bodily spirit and a spiritual body. It was impossible to express the alchemical ideas in any language save that of far-fetched allegory. The alchemical writings abound in such allegories. Here are two of them. The first allegory is taken from The Twelve Keys, of Basilius Valentinus, the Benedictine:— <div class="blkquot">"The eleventh key to the knowledge of the augmentation of our Stone I will put before you in the form of a parable. "There lived in the East a gilded knight, named Orpheus, who was possessed of immense wealth, and had everything that heart can wish. He had taken to wife his own sister, Euridice, who did not, however, bear him any children. This he regarded as the punishment of his sin in having wedded his own sister, and was instant in prayer to God both by day and by night, that the curse might be taken from him. One night when he was buried in a deep sleep, there came to him a certain winged messenger, named Ph&oelig;bus, who touched his feet, which were very hot, and said: 'Thou noble knight, since thou hast wandered through many cities and kingdoms and suffered many things at sea, in battle, and in the lists, the heavenly Father has bidden me make known to thee the following means of obtaining thy prayer: Take blood from thy right side, and from the left side of thy spouse. For this blood is the heart's blood of your parents, and though it may seem to be of two kinds, yet, in reality, it is only one. Mix the two kinds of blood, and keep the mixture tightly enclosed in the globe of the seven wise Masters. Then that which is generated will be nourished with its own flesh and blood, and will complete its course of development when the Moon has changed for the eighth time. If thou repeat this process again and again, thou shalt see children's children, and the offspring of thy body shall fill the world.' When Ph&oelig;bus had thus spoken, he winged his flight heavenward. In the morning the knight arose and did the bidding of the celestial messenger, and God gave to him and to his wife many children, who inherited their father's glory, wealth, and knightly honours from generation to generation." </div> In the "Dedicatory Epistle" to his Triumphal Chariot of Antimony, Basil Valentine addresses his brother alchemists as follows:— <div class="blkquot">"Mercury appeared to me in a dream, and brought me back from my devious courses to the one way. 'Behold me clad not in the garb of the vulgar, but in the philosopher's mantle.' So he said, and straightway began to leap along the road in headlong bounds. Then, when he was tired, he sat down, and, turning to me, who had followed him in the spirit, bade me mark that he no longer possessed that youthful vigour with which he would at the first have overcome every obstacle, if he had not been allowed a free course. Encouraged by his friendly salutation, I addressed him in the following terms: 'Mercury, eloquent scion of Atlas, and father of all Alchemists, since thou hast guided me hitherto, shew me, I pray thee, the way to those Blessed Isles, which thou hast promised to reveal to all thine elect children. 'Dost thou remember,' he replied, that when I quitted thy laboratory, I left behind me a garment so thoroughly saturated with my own blood, that neither the wind could efface it, nor all-devouring time destroy its indelible essence? Fetch it hither to me, that I may not catch a chill from the state of perspiration in which I now am; but let me clothe myself warmly in it, and be closely incited thereto, so that I may safely reach my bride, who is sick with love. She has meekly borne many wrongs, being driven through water and fire, and compelled to ascend and descend times without number—yet has she been carried through it all by the hope of entering with me the bridal chamber, wherein we expect to beget a son adorned from his birth with the royal crown which he may not share with others. Yet may he bring his friends to the palace, where sits enthroned the King of Kings, who communicates his dignity readily and liberally to all that approach him.' "I brought him the garment, and it fitted him so closely, that it looked like an iron skin securing him against all the assaults of Vulcan. 'Let us proceed,' he then said, and straightway sped across the open field, while I boldly strove to keep up with my guide. "Thus we reached his bride, whose virtue and constancy were equal to his own. There I beheld their marvellous conjugal union and nuptial consummation, whence was born the son crowned with the royal diadem. When I was about to salute him as King of Kings and Lord of Lords, my Genius stood by me and warned me not to be deceived, since this was only the King's forerunner, but not the King himself whom I sought. "When I heard the admonition, I did not know whether to be sad or joyful. 'Depart,' then said Mercury, 'with this bridal gift, and when you come to those disciples who have seen the Lord himself, show them this sign.' And therewith he gave me a gold ring from his son's finger. 'They know the golden branch which must be consecrated to Proserpina before you can enter the palace of Pluto. When he sees this ring, perhaps one will open to you with a word the door of that chamber, where sits enthroned in his magnificence the Desire of all Nations, who is known only to the Sages.' "When he had thus spoken, the vision vanished, but the bridal gift which I still held in my hand shewed me that it had not been a mere dream. It was of gold, but to me more precious than the most prized of all metals. Unto you I will shew it when I am permitted to see your faces, and to converse with you freely. Till that earnestly wished-for time, I bid you farewell." </div> One result of the alchemical modes of expression was, that he who tried to follow the directions given in alchemical books got into dire confusion. He did not know what substances to use in his operations; for when he was told to employ "the homogeneous water of gold," for example, the expression might mean anything, and in despair he distilled, and calcined, and cohobated, and tried to decompose everything he could lay hands on. Those who pretended to know abused and vilified those who differed from them. In A Demonstration of Nature, by John A. Mehung (17th century), Nature addresses the alchemical worker in the following words:— <div class="blkquot">"You break vials, and consume coals, only to soften your brains still more with the vapours. You also digest alum, salt, orpiment, and altrament; you melt metals, build small and large furnaces, and use many vessels; nevertheless I am sick of your folly, and you suffocate me with your sulphurous smoke.... You would do better to mind your own business, than to dissolve and distil so many absurd substances, and then to pass them through alembics, cucurbits, stills, and pelicans." </div> Henry Madathanas, writing in 1622, says:— <div class="blkquot">"Then I understood that their purgations, sublimations, cementations, distillations, rectifications, circulations, putrefactions, conjunctions, calcinations, incinerations, mortifications, revivifications, as also their tripods, athanors, reverberatory alembics, excrements of horses, ashes, sand, stills, pelican-viols, retorts, fixations, etc., are mere plausible impostures and frauds." </div> The author of The Only Way (1677) says: <div class="blkquot">"Surely every true Artist must look on this elaborate tissue of baseless operations as the merest folly, and can only wonder that the eyes of those silly dupes are not at last opened, that they may see something besides such absurd sophisms, and read something besides those stupid and deceitful books.... I can speak from bitter experience, for I, too, toiled for many years ... and endeavoured to reach the coveted goal by sublimation, distillation, calcination, circulation, and so forth, and to fashion the Stone out of substances such as urine, salt, atrament, alum, etc. I have tried hard to evolve it out of hairs, wine, eggs, bones, and all manner of herbs; out of arsenic, mercury, and sulphur, and all the minerals and metals.... I have spent nights and days in dissolving, coagulating, amalgamating, and precipitating. Yet from all these things I derived neither profit nor joy." </div> Another writer speaks of many would-be alchemists as "floundering about in a sea of specious book-learning." If alchemists could speak of their own processes and materials as those authors spoke whom I have quoted, we must expect that the alchemical language would appear mere jargon to the uninitiated. In Ben Jonson's play The Alchemist, Surley, who is the sceptic of the piece, says to Subtle, who is the alchemist— <div class="poem"><div class="stanza"> ... Alchemy is a pretty kind of game, Somewhat like tricks o' the cards, to cheat a man With charming ... What else are all your terms, Whereon no one of your writers 'grees with other? Of your elixir, your lac virginis, Your stone, your med'cine, and your chrysosperme, Your sal, your sulphur, and your mercury, Your oil of height, your tree of life, your blood, Your marchesite, your tutie, your magnesia, Your toad, your crow, your dragon, and your panther; Your sun, your moon, your firmament, your adrop, Your lato, azoch, zernich, chibrit, heutarit, And then your red man, and your white woman, With all your broths, your menstrues, and materials, Of lye and egg-shells, women's terms, man's blood, Hair o' the head, burnt clout, chalk, merds, and clay, Powder of bones, scalings of iron, glass, And moulds of other strange ingredients, Would burst a man to name?</div> </div> To which Subtle answers, <div class="poem"><div class="stanza"> And all these named Intending but one thing; which art our writers Used to obscure their art. Was not all the knowledge Of the Egyptians writ in mystic symbols? Speak not the Scriptures oft in parables? Are not the choicest fables of the poets, That were the fountains and first springs of wisdom, Wrapp'd in perplexed allegories?</div> </div> The alchemists were very fond of using the names of animals as symbols of certain mineral substances, and of representing operations in the laboratory by what may be called animal allegories. The yellow lion was the alchemical symbol of yellow sulphides, the red lion was synonymous with cinnabar, and the green lion meant salts of iron and of copper. Black sulphides were called eagles, and sometimes crows. When black sulphide of mercury is strongly heated, a red sublimate is obtained, which has the same composition as the black compound; if the temperature is not kept very high, but little of the red sulphide is produced; the alchemists directed to urge the fire, "else the black crows will go back to the nest." The salamander was called the king of animals, because it was supposed that he lived and delighted in fire; keeping a strong fire alight under a salamander was sometimes compared to the purification of gold by heating it. Fig. XV., reduced from The Book of Lambspring represents this process. A salamander lives in the fire, which imparts to it a most glorious hue. <ANTIMG src="./images/fig15.jpg" alt="FIG. XV." /> This is the reiteration, gradation, and amelioration of the Tincture, or Philosopher's Stone; and the whole is called its Augmentation. FIG. XV. The alchemists employed many signs, or shorthand expressions, in place of writing the names of substances. The following are a few of the signs which were used frequently. <ANTIMG src="./images/saturn.png" alt="Saturn" /> Saturn, also lead; <ANTIMG src="./images/jupiter.png" alt="Jupiter" /> Jupiter, also tin; <ANTIMG src="./images/mars-1.png" alt="Mars-1" /> and <ANTIMG src="./images/mars-2.png" alt="Mars-2" /> Mars, also iron; <ANTIMG src="./images/sol.png" alt="Sun" /> Sol, also gold; <ANTIMG src="./images/venus.png" alt="Venus" /> Venus, also copper; <ANTIMG src="./images/mercury-1.png" alt="Mercury-1" />, <ANTIMG src="./images/mercury-2.png" alt="Mercury-2" /> and <ANTIMG src="./images/mercury-3.png" alt="Mercury-3" /> Mercury; <ANTIMG src="./images/luna.png" alt="Moon" /> Luna, also silver; <ANTIMG src="./images/sulphur.png" alt="Sulphur" /> Sulphur; <ANTIMG src="./images/vitriol.png" alt="vitriol" /> Vitriol; <ANTIMG src="./images/fire.png" alt="Fire" /> fire; <ANTIMG src="./images/air.png" alt="Air" /> air; <ANTIMG src="./images/water-1.png" alt="Water" /> and <ANTIMG src="./images/water-2.png" alt="Aquarius" /> water; <ANTIMG src="./images/earth.png" alt="Earth" /> earth; <ANTIMG src="./images/aqua-fortis.png" alt="Aqua Fortis" /> aqua fortis; <ANTIMG src="./images/aqua-regis.png" alt="Aqua Regis" /> aqua regis; <ANTIMG src="./images/aqua-vitae.png" alt="Aqua Vitæ" /> aqua vitæ; <ANTIMG src="./images/day.png" alt="Day" /> day; <ANTIMG src="./images/night.png" alt="Night" /> night; <ANTIMG src="./images/amalgam.png" alt="Amalgam" /> Amalgam; <ANTIMG src="./images/alembic.png" alt="Alembic" /> Alembic. <hr /> <div style="break-after:column;"></div>

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