Dennis William Hauck

Hauck — The Emerald Tablet (1999) [DECLARED]

Hauck — Sorcerer's Stone (2013) [DECLARED]

Alquimia · Member

Hermetismo · Commentator

«My initiation into the art of alchemy took place when I was a graduate student at the University of Vienna. While exploring the archives in the university library, I came across a large storage area under the Reading Room filled with scores of musty old manuscripts and leather-bound books about alchemy. Vienna and nearby Prague were at the center of European alchemy for over four hundred years, and most of the texts were original manuscripts written in Latin and German and set in beautiful, elaborate old typestyles» — abre su introducción a Sorcerer's Stone datando su iniciación en el arte cuando era estudiante de posgrado en la Universidad de Viena, y describe el depósito de manuscritos que dice haber hallado bajo la sala de lectura.

«The only way I could effectively practice this complicated joggling of consciousness was to get completely out of the way. I had to learn to let the truth work through me and not from me. A subtle difference perhaps, but it was not until I became transparent to the principles that they took root and started to grow and come alive within me» — declara cómo dice haber podido practicar lo que llama el malabarismo de la consciencia: quitarse de en medio y dejar que la verdad trabaje a través de él y no desde él.

«I had seen so many unexplainable things and experienced so many personal synchronicities during my apprenticeship that I devoted the next decade to studying mystical and paranormal experiences. I wanted to be the one to prove to the world that consciousness is a real force in nature, just as the alchemists believed» — data en la década siguiente a su aprendizaje su estudio de las experiencias místicas y paranormales, y dice qué se proponía.

«But I soon fell into the fast-paced world of publishing, lecturing, and self-promotion. No true alchemist ever works that way. So I have returned to my tradition, working as a monk and scribe— awed by the beauty of alchemy and humbled by its power» — y dice por qué se apartó de aquello: ningún alquimista verdadero trabaja así, de modo que dice haber vuelto a su tradición, como monje y escriba.

«Alchemy only works— as the alchemists keep telling us— if the principles are “living.” The Sorcerer’s Stone of the Solificati is worthless unless it is alive. In other words, you cannot change the world with dead words from a dead part of you. Alchemy spreads though the process of seeding and multiplication, like any other life form. And this book is like a seed of gold I am passing on to you» — cierra su introducción con la condición que le pone a su arte: los principios han de estar vivos.

«In this sense, alchemy is really a Science of Soul – a truly unique discipline in the history or the world that combines the tools of both science and religion and uses both intellect and intuition. According to this deeper tradition, the gold of alchemy is hastened perfection in the highest sense – the divinization of matter and of human beings» — llama a la alquimia Ciencia del Alma por combinar las herramientas de la ciencia y las de la religión, y da su oro por divinización de la materia y del hombre. El escaneo imprime history or the world (sic).

«In the most basic sense of the word, alchemy is simply the art of transformation. It is an art in the sense that it seeks change not by mechanically forcing nature to do its will» — y da su definición más básica: arte de la transformación que no fuerza mecánicamente a la naturaleza.

«My friend and fellow alchemist Robert Bartlett has laid bare the secret processes and experiments of our discipline with exceptional clarity and openness. He has exposed the Hermetic origins of alchemy and shown how modern alchemists approach the ancient art. But first and foremost, his book is a revelation of the genuine craft of alchemy as it was meant to be practiced» — abre su prólogo a Real Alchemy llamando a Robert Bartlett amigo y colega alquimista, y hablando de la disciplina en primera del plural.

«While the work of Carl Jung and others have underscored the archetypal power and universal significance of alchemical symbols, alchemy itself is much more than a psychological commentary on the nature of the human psyche. It is true that alchemy reflects the highest aspirations of the human soul, for our gold has always symbolized the hastened perfection of Man as well as matter. However, any alchemist worth his salt knows that lasting transformation only takes place when the work is accomplished on all levels of reality – the mental, the spiritual, and the physical. The Great Work is actual work to be done with the hands, the heart, and the soul, and not just understood with the mind» — reconoce a Carl Jung el peso arquetípico de los símbolos y a la vez niega que la alquimia se agote en comentario psicológico.

«A medieval alchemist brought back to our era would be highly amused at the endless discussions among modern theorists as to the nature and depth of alchemy or its sudden blossoming in the offices of psychiatrists and New Age counselors. “Has no one ever tried it?” he would ask incredulously. “What good is such understanding without its practical application in the world» — pone en boca de un alquimista medieval traído a nuestra época su objeción a los teóricos modernos y a los consejeros New Age; el verbatim se corta en el cambio de plana, donde la pregunta cierra.

«Yet alchemy is not chemistry. Chemistry is a superficial science that deals only with the external forms in which the elements manifest. A chemist seeks to rearrange atoms and molecules to exhibit different properties of the same dead material. An alchemist seeks to create an entirely new substance by exposing its essences, bringing them alive, and causing them to grow» — separa alquimia de química: la segunda, dice, reordena átomos de la misma materia muerta; la primera crea una sustancia nueva exponiendo sus esencias.

«The alchemist becomes an ingredient in his own experiment, and his intention and passion contribute to the outcome. He suffers as the essences are teased and tortured from the substance, and he is elated when the hidden spark of truth brings the dead matter back to life on a new level of being» — hace del alquimista un ingrediente de su propio experimento, con su intención y su pasión dentro del resultado.

«n my work in alchemy over the last forty years, I have met a lot of people who call themselves “alchemists” who never set foot in a laboratory. In fact, just about anyone who talks about transformation—whether it is on the personal level, in the arts, or in business—is likely to call themselves alchemists. In the popular mind, the psychological and spiritual aspects of alchemy have overshadowed the work in the lab» — abre su prólogo a The Way of the Crucible contando cuarenta años de trabajo y objetando a quienes se llaman alquimistas sin haber pisado un laboratorio; la capital del arranque la separa la capa de texto.

«Traditionally, however, the alchemists were much more than intellectuals or philosophers. To accomplish lasting transformations, they had to succeed not only on the mental and spiritual levels but on the physical level as well. Tapping into the synergistic relationship between mind, matter, and energy is the essence of traditional alchemy and what differentiates it from all other disciplines» — declara qué tiene por esencia de la alquimia tradicional y qué la separa de las demás disciplinas.

«During the heyday of alchemy in the Middle Ages, alchemists around the world were pursuing the fabled Philosopher’s Stone, which was said to instantly perfect any substance and change lead into gold. But the fascination with gold brought a new class of mercenary alchemists known as “puffers”, who sat at their furnaces constantly fanning their bellows, hoping to produce gold by purely physical means» — da su versión del origen de la escisión entre alquimia espiritual y práctica, con los puffers.

«The puffers worked only with external fires, never kindling the “secret fire” of the initiated alchemist that originated in psychological purification and spiritual meditation. When the puffers were unable perform their transformations, they resorted to trickery to finance their endeavours» — opone a los puffers el fuego secreto del alquimista iniciado, nacido de la purificación psicológica y de la meditación; el escaneo omite el to de unable to perform (sic).

«Gradually, alchemy split into two different directions. The purely physical work of the puffers, who discovered many new compounds and laboratory techniques, gave rise to modern chemistry. True alchemists rejected this commercialization of alchemy and were forced to practice their art in seclusion» — adjudica a la obra puramente física de los puffers el origen de la química moderna.

«Today, however, the two paths of alchemy are converging again. Advances in quantum physics have revealed the hidden role consciousness plays in nature, and many other fundamental alchemical principles are being proven in practical demonstrations. The operations of alchemy have been shown to work in psychology, sociology, business management, and other seemingly unrelated areas» — declara que los dos caminos vuelven a converger, y lo apoya en lo que llama el papel oculto de la consciencia revelado por la física cuántica.

«The new alchemist is a hybrid born out of the two cultures of science and mysticism» — define al alquimista nuevo como híbrido de las dos culturas, la científica y la mística. La palabra siguiente del impreso queda fuera del recorte porque el guion de fin de renglón la fundiría.

«Robert does traditional alchemy using modern tools. Educated as a chemist, he was initiated into alchemy by Dr. Albert Reidel (Frater Albertus) and became his chief chemist at Paralab» — personifica al alquimista nuevo en Robert Bartlett, a quien hace iniciar por Frater Albertus; el escaneo imprime Reidel (sic).

«In short, Robert is the modern epitome of the true alchemist, and I highly recommend his work to both beginning and advanced students of the Art. This book and his previous introductory text, Real Alchemy, are among the few works available today that teach alchemy the way it was meant to be taught» — cierra su prólogo recomendando los dos libros de Bartlett.

«T he word alchemy comes from the Arabic phrase al-khemia, which means “from the land of Khem.” Khem is the Egyptian hieroglyph for “black,”» — abre con esta etimología el Libro Cuatro que firma en el volumen editado por Lon Milo DuQuette; la capitular separada es de la capa de texto.

«Dennis William Hauck is an internationally known authority on spiritual and mystical experiences. One of the world’s few practicing alchemists, he writes and lectures on the stages of personal transformation to a wide variety of audiences, including scientists, business leaders, and Christian and New Age groups. A professional member of the Association for Transpersonal Psychology and the Institute for Noetic Sciences, he is a translator of old alchemy manuscripts and the author of several books dealing with mystical and paranormal experiences, including Haunted Places: The National Directory (Penguin). Hauck resides in Sacramento, California, and maintains a website at www.AlchemyLab.com» — la nota About the Author de la edición Arkana de 1999 lo llama autoridad internacional en experiencias espirituales y místicas, y uno de los pocos alquimistas practicantes del mundo.

«First published in Arkana 1999 Copyright © Dennis William Hauck, 1999» — la página de derechos de esa edición lo da como titular del copyright y data la tirada en 1999.

«SORCERER’S STONE A Beginner’s Guide to Alchemy by Dennis William Hauck» — la portada de la edición de Crucible Books de 2013 lo da como autor.

«Hauck's interest in alchemy began while he was still in graduate school at the University of Vienna, and was initiated into the craft by a practicing alchemist living in nearby Prague. Hauck has since translated a number of important alchemy manuscripts dating back to the fourteenth century and has published seven books on the subject» — la nota About the Author de esa misma edición añade una iniciación por un alquimista practicante de Praga y data los manuscritos traducidos en el siglo XIV.

«Hauck’s interest in alchemy began while he was still in graduate school at the University of Vienna, and he has since translated a number of important alchemy manuscripts dating back to the thirteenth century» — la nota que acompaña su prólogo a The Way of the Crucible data esos manuscritos en el siglo XIII y no nombra al alquimista de Praga.

«He is the publisher of the Alchemy Journal and on the board of directors of the International Alchemy Guild» — la misma nota lo hace editor del Alchemy Journal y miembro del consejo directivo del International Alchemy Guild.

«Dennis William Hauck is an author, consultant, and lecturer working to facilitate personal and institutional transformation through the application of the ancient principles of alchemy» — la nota al pie de su prólogo a Real Alchemy repite la fórmula con que se le presenta en los dos volúmenes de Bartlett.

«Dennis William Hauck is an author and lecturer in consciousness studies. His primary focus is on levels of awareness and the mechanisms of transformation of consciousness. He works to merge various philosophical and scientific traditions into a coherent theory that can be applied to personal transformation. He has contributed to several related areas, including the history of science, psychology, and the serious study of paranormal and mystical experiences» — la nota About the Author del volumen editado por Lon Milo DuQuette en 2020 lo llama autor y conferenciante en estudios de la consciencia, y no alquimista practicante.

«Hauck is a leading authority on Hermeticism and alchemy. He has translated several important alchemy manuscripts and published a dozen books on the subject» — la misma nota lo llama autoridad principal en hermetismo y alquimia y le cuenta una docena de libros.

«Book Four: Alchemy—by Dennis William Hauck An exploration of the processes of alchemical transformation that are embedded, explicitly or implicitly, in much of the Western magick tradition» — el índice de ese volumen le adjudica el Libro Cuatro.

«For instance, Dennis William Hauck’s The Emerald Tablet: Alchemy for Personal Transformation (Harmondsworth [UK] 1999) throughout expresses such a tendency» — el Dictionary of Gnosis and Western Esotericism pone su Emerald Tablet como ejemplo de la Tabla leída como guía práctica de crecimiento espiritual, en perspectivas que acerca al movimiento New Age.

«The chronology of the Alexandrian translations of the Emerald Tablet is from Gottlieb Latz, Die Alchemie, translated by Dennis William Hauck in Secret of the Emerald Tablet (Edmunds, Washington: Holmes Group, 1993)» — sus propias notas registran su traducción de 1993 de secciones de Die Alchemie de Gottlieb Latz; entrada de nota, citada como tal.

«From Dennis William Hauck, Captain Quirk (New York: Pinnacle Books/ Kensington Publishing, 1995) and William Shatner: A Bio-Bibliography (Westport, Connecticut: Green-wood Press Performing Arts» — sus propias notas registran además dos libros suyos que nada tienen que ver con la alquimia; entrada de nota, citada como tal.

«FOREWORD by Dennis William Hauck» — el índice de Real Alchemy le adjudica el prólogo, junto al prefacio de Brian Cotnoir.

«FOREWARD by Dennis William Hauck» — el índice de The Way of the Crucible le adjudica el suyo; la portadilla imprime FOREWARD (sic).

«Hauck, Dennis William. The Emerald Tablet: Alchemy for Personal Transformation . New York: Penguin, 1999» — la bibliografía de Robert Bartlett lo registra; entrada bibliográfica, citada como tal.