Real Alchemy: A Primer of Practical Alchemy

«Consulting a licensed physician is encouraged before consuming herbal preparations. Familiarize yourself with the laws that may apply to you in your jurisdiction and act accordingly.» — la advertencia de apertura, que el volumen imprime como plana propia antes de los preliminares: consultar médico antes de ingerir los preparados y atenerse a la ley del lugar.

«Read as many of the other books on the subject of Alchemy as possible. (A list of recommended books can be found in the Bibliography.) Learn as much as you can from a qualified teacher.» — lo que la misma advertencia pide antes de practicar: leer cuanto se pueda y aprender de un maestro cualificado, con la bibliografía del final como lista de referencia.

«And above all, know the theory before attempting the practice.» — la regla que remata la advertencia y que el capítulo segundo repite como dicho de los alquimistas: primero la teoría, después la praxis.

«T hese days the word Alchemy is lumped together with psychic phenomena, ghost hunters, UFO sightings and other “Dark Arts.” Everyone has heard of such things but only a few know more of the details, especially those concerning alchemy.» — con esto abre el prefacio de la primera edición: la alquimia estaría hoy revuelta con lo psíquico y lo paranormal, y de ella se sabría todavía menos que del resto.

«A few years ago, my wife was in a class for Hypnotherapy certification and she happened to mention that I had an interest in alchemy. Everyone was intrigued.» — el origen que declara para el libro: la mención casual de su mujer en un curso de hipnoterapia.

«They asked if I would be willing to give a two or three-hour presentation on the subject.» — la invitación que dice haber recibido, de dos o tres horas.

«My hesitant reply was, “Yeah, I can do that.” That first time, I talked for five hours. People were entranced and asked if we could have another class to continue. Before I could finish constructing an outline for the second class, I received a call asking if we could make the whole presentation three six-hour classes.» — cómo creció aquella charla, según su relato, hasta tres clases de seis horas.

«Since then, I've been teaching the classes each year. There is a real thirst out there for information on the practical alchemical arts.» — lo que dice haber medido con esas clases anuales: una demanda real de información sobre las artes alquímicas prácticas. Es la justificación que da al libro.

«Now I will teach and describe the secret of the arts, which secret is at the heart of all secrets hidden in the art of alchemy; since one will here understand the wonderful works that God has accomplished in all things he has made out of the four elements...» — el epígrafe que abre el cuerpo del libro, bajo el título *Real Alchemy*; la voz es de Isaac Holland, no de Bartlett.

«For I shall here teach you to know the spirits of herbs, trees, and all growing things; how to separate them from their bodies, and also how to purify the four elements and restore them to their first being and their perfect power; that is, that when the elements are purified, how they can be put together again and make a perfect and fixed body of them, which is then glorified and has a miraculous effect .» — la continuación de ese epígrafe, que enuncia el programa entero del libro —separar, purificar, recomponer— en palabras de Holland.

«– Issac Holland, Opera Vegetabilia (15th century)» — la atribución del epígrafe. El nombre se imprime aquí *Issac Holland* y en el capítulo cuarto *Isaac Holland* (p. 39); la bibliografía lo cataloga como *Holland, Isaac* y como *Johan Isaaci Hollandus* (p. 160). Las grafías van tal cual y no se arbitran.

«W hen we mention the word “Alchemy ” most people think that means a now-discredited method of turning lead into gold.» — el primer lugar común que la introducción sale a deshacer: la alquimia como método desacreditado de hacer oro.

«Yet, if we look into the lives of the alchemists themselves we find they were indeed involved in laboratory work that appears to be similar to what we call chemistry today.» — el argumento con que objeta la lectura solo metafórica: las vidas de los alquimistas muestran trabajo de laboratorio.

«alchemy and attach it to any number of “New Age” transformative tools (such as alchemical massage or alchemical hypnotherapy) because alchemy is associated with the transmutation or transformation of something of little worth into something of great value.» — el tercer uso que deslinda: el del término como etiqueta de terapias de la Nueva Era. El tramo abre a mitad de frase por el salto de plana desde la 14.

«Who am I? And where is this information coming from? I've been exploring alchemy since I was about twelve years old. I've had a laboratory of my own in one form or another since even before then.» — la credencial con que se presenta: laboratorio propio desde antes de los doce años.

«In 1974 I began an intensive study of alchemy at the Paracelsus Research Society (PRS) -- later called Paracelsus College and located in Salt Lake City, Utah. The classes were taught by Dr. Albert Reidel, who preferred to be known as Frater Albertus.» — la filiación de escuela que declara, con la identidad civil de Frater Albertus.

«Frater Albertus was one of the most well-known practical alchemists of the twentieth century. He also taught classes in Germany, Switzerland, New Zealand and Australia.» — la posición que le adjudica a su maestro y el alcance internacional de sus cursos.

«The classes took place on a small campus composed of a dormitory, a lecture hall, and a laboratory. Class size was limited to twelve students and contact with the outside world was not encouraged (no radios, TV, phones, or newspapers) so the student could fully immerse himself in the teachings. It was a Mystery School.» — cómo describe el régimen de aquella enseñanza: doce alumnos, aislamiento del exterior, y el nombre que le da, escuela de misterios.

«The classes ran Monday through Saturday, from 9 A.M. to 5 P.M. (with homework and lab work that ran continuously) for two weeks each year over seven years. At the end of each two-week class, the students were given work to accomplish in preparation for the next year's class.» — el calendario del curso: dos semanas al año durante siete años, con trabajo asignado para el intervalo.

«By 1976, I decided to return to a university where I could finish my degree in chemistry in hopes of one day working at Paralab -- the commercial offshoot of the PRS that would be opening soon. Paralab offered a line of herbal and mineral preparations formulated along alchemical principles for research and alternative healthcare practices.» — el paso por la química universitaria y qué era Paralab: el brazo comercial de la sociedad, con preparados herbales y minerales de formulación alquímica.

«After graduation in 1979, I was appointed Chief Chemist at Paralab and remained in that position until its closure in late 1983. Frater Albertus passed away in 1984.» — el cargo que ocupó y las dos fechas con que cierra el episodio: el cierre de Paralab a finales de 1983 y la muerte de Frater Albertus en 1984.

«I have been a professional Chemist since that time and have worked on my own projects through the years.» — su oficio desde entonces.

«analytical data on many products from alchemical experiments, and so begin to answer some of the questions modern science would ask concerning these materials.» — lo que dice haber podido hacer desde el laboratorio profesional: reunir datos analíticos sobre los productos alquímicos y responder con ellos a la ciencia. El tramo abre a mitad de frase porque el impreso parte *state-of-the-art* en el salto de renglón.

«To understand that correctly requires some understanding of natural laws and some introduction to mysticism or occult philosophy.» — la condición que pone para entender la definición de Frater Albertus: leyes naturales por un lado, misticismo o filosofía oculta por el otro.

«The earliest descriptions of alchemy link it to transformations in matter through the influence of light or spirit, or fire. It is the metamorphosis of matter orchestrated by spirit.» — cómo data el arte por sus descripciones más antiguas, y la fórmula que saca de ellas: metamorfosis de la materia orquestada por el espíritu.

«It is generally agreed that ancient Egypt is the birthplace of alchemy (as it is known in the Western World) and it is there that we begin our exploration.» — el punto de partida histórico que adopta, presentado como consenso y acotado al mundo occidental.

«T he origins of alchemy are lost in history and theories abound as to where it might have originated:» — el capítulo primero abre declarando que el origen del arte se ha perdido y que las teorías abundan; no elige entre ellas.

«• God taught it to Adam and later to Moses. • Fallen Angels taught it to human women in exchange for sex. • It is a remnant of lost Atlantean technology. • Extraterrestrials taught it to our ancestors.» — las cuatro leyendas de origen que enumera sin suscribir ninguna: la enseñanza divina a Adán y a Moisés, los ángeles caídos, la tecnología atlante y los extraterrestres. Las viñetas son del impreso y se conservan dentro de la cita.

«Whatever its true origin is, recorded history documents an esoteric tradition that has existed for several thousand years.» — lo que sostiene por debajo de esas leyendas: sea cual sea el origen, hay una tradición documentada de varios milenios.

«Mystery and magic permeate all that is ancient Egypt. From beginning to end, Egypt has been called a theocratic state, ruled by a very powerful priesthood. The priesthood was divided into various castes, each with specific duties -- such as scribes and astronomers.» — cómo describe el marco egipcio del que hace arrancar el arte: estado teocrático y sacerdocio dividido en castas.

«Of special interest to us are the priests, who worked with materials in ways we might describe today as chemistry. These priests, often working under an oath of secrecy regarding their art, developed skills in metallurgy, ceramics, medicine, mummification, and winemaking, to name just a few.» — a qué casta sacerdotal adjudica el antecedente: la que trabajaba materiales bajo juramento de secreto, con destrezas de metalurgia, cerámica, medicina, momificación y vinificación.

«The study of the operative forces at work in the universe was the primary goal of the priesthood. They called these forces the “Neteru” from which we obtain our word, “Nature.” The Neteru are the forces of Nature.» — la etimología que propone: *Neteru* como origen de *Nature*, y las fuerzas operativas del universo como objeto propio del sacerdocio.

«From the small number of writings which remain to us, it is apparent that these priests were skilled healers who possessed a materials science, much of which is still a mystery to us.» — lo que adjudica a esos sacerdotes a partir de los pocos escritos conservados: una ciencia de materiales todavía no reconstruida.

«There were always two parts to these sciences -- one was mental/spiritual and the other physical. For example, the preparation of a medicine included the processing of a material accompanied by certain words, spells, incantations or rituals. And in prescribing, the patient was given the medicine with instructions to repeat a spell or prayer. The proper timing of these things was equally important.» — la estructura de dos partes que sostiene para aquella medicina —material y verbal— con el momento oportuno como tercer requisito. Es el mismo esquema que el libro aplicará después en el laboratorio.

«In the Egyptian Mysteries, Man was composed of various spiritual and mental components as well as the physical component and each had its proper “medicine.”» — la antropología que adjudica a los misterios egipcios: componentes espirituales, mentales y físicos, cada uno con su medicina propia.

«These Secret Sciences advanced over time and tales of wondrous healing oils, life-giving potions, and imitations of gold and precious stones have survived even to our day.» — qué dice que sobrevivió de aquellas ciencias secretas: relatos de aceites curativos, pociones y oro imitado.

«When ancient tomb robbers would plunder a pharaoh's tomb, these precious oils were one of the first things to be stolen. They were considered to be as precious as gold and easier to carry and sell. Stolen gold was heavy and had to be melted down before you could sell it.» — el argumento indirecto con que sostiene el valor de aquellos aceites: los saqueadores de tumbas los preferían al oro.

«When Alexander the Great arrived in Egypt around 300 B.C.E., he fell in love with the whole culture, and the Egyptians welcomed him with open arms.» — cómo data el arranque del periodo grecoegipcio.

«The Greeks called Egypt Khem or Khemet . This literally meant “The Black Land” and is in reference to the thick layer of dark fertile soil deposited by the annual flooding of the Nile.» — la primera mitad de la etimología que propone para el nombre del arte: *Khem*, la tierra negra del limo del Nilo.

«Knowledge of Egyptian Secret Sciences made its way into Greece where it was called Khemia “The Black Art” and spawned a long line of Greek alchemists.» — la segunda: *Khemia*, el arte negro, ya en Grecia.

«Published in 2009 by Ibis Press An imprint of Nicolas-Hays, Inc. P. O. Box 540206 Lake Worth, FL 33454-0206» — el pie editorial de la página de derechos: Ibis Press como sello de Nicolas-Hays, Inc., con domicilio en Lake Worth, Florida.

«Distributed to the trade by Red Wheel/Weiser, LLC 65 Parker St. • Ste. 7 Newburyport, MA 01950» — la distribución comercial, a cargo de Red Wheel/Weiser en Newburyport, Massachusetts.

«Copyright © 2007 by Robert Allen Bartlett spagyricus@aol.com» — el titular del copyright, con fecha de 2007 y correo del autor impreso junto al nombre.

«All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from Nicolas-Hays, Inc. Reviewers may quote brief passages.» — la reserva de derechos, que remite el permiso a Nicolas-Hays y no al autor.

«First Edition 2006 by Quinquangle Press Second Revised Edition 2007 by Lulu.com Third Revised Edition 2009 by Ibis Press» — la historia editorial que la propia plana declara: tres ediciones en cuatro años y tres sellos distintos, la segunda por autoedición en Lulu.com. Es el dato que sostiene las tres fuentes del encabezado.

«Library of Congress Cataloging-in-Publication Data available upon request ISBN 978-0-89254-150-8» — la ficha de catalogación se declara disponible a pedido, no impresa; el ISBN de esta tercera edición.

«Cover painting by Benjamin Vierling www.bvierling.com Cover design by Studio 31 www.studio31.com Printed in the United States of America» — los créditos gráficos de la portada: pintura de Benjamin Vierling y diseño de Studio 31.

«CONTENTS P REFACE to the Ibis Press Edition by Brian Cotnoir F OREWORD by Dennis William Hauck P REFACE to the First Edition by Robert Allen Bartlett» — el índice declara las tres piezas preliminares y sus firmantes: el prefacio de esta edición es de Brian Cotnoir, el prólogo de Dennis William Hauck y el prefacio original del propio Bartlett. Es la plana que deslinda las tres voces del volumen.

«I NTRODUCTION : Practical Alchemy O NE : A Brief History of Alchemy T WO : Theory of Alchemy T HREE : Astrology and Alchemy» — el índice del primer tramo: introducción, historia, teoría y astrología.

«F OUR : Introduction to Laboratory Alchemy F IVE : Alchemical Processes S IX : Herbal Alchemy S EVEN : Water Works E IGHT : Return to the Fire N INE : Qabalah and Alchemy» — el índice del tramo vegetal, del laboratorio a la cábala.

«T EN : Introduction to Mineral and Metallic Works E LEVEN : Via Humida T WELVE : Concerning The Minerals T HIRTEEN : Via Humida, Part Two F OURTEEN : Via Sicca F IFTEEN : Antimony S IXTEEN : The Seed of Metals S EVENTEEN : The Philosopher's Stone» — el índice del tramo mineral y metálico, ordenado por las dos vías, húmeda y seca. El índice imprime aquí *Introduction to Mineral and Metallic Works*, y el encabezado del cuerpo de la plana 96 dice *Introduction to Mineral and Metal Work*: las dos formas se consignan sin arbitrar.

«This book is sold for informational purposes. The author and publisher will not be held accountable for the use or misuse of the information in this book.» — la cláusula de descargo con que cierra la plana de la advertencia: el volumen se vende con fines informativos y ni autor ni editor responden por el uso.

«A s sentient, self-aware beings we have been engaged in the quest for more , the quest for better and the quest for perfection since we first stood upright and uttered our first words. To take what has been given to us and transform it, hoping and praying for the better, lies at the heart of what has been called The Royal Art, The Way of the Philosopher , or simply The Art , that is—alchemy.» — [Cotnoir] abre el prefacio de la edición de Ibis remontando la alquimia a un impulso humano de perfección, y da los tres nombres con que dice que se la ha llamado.

«The art and science of alchemy has been found throughout many times and regions. We can speak of Chinese alchemy, Indian alchemy, Hellenistic, Arabic and European. Some have focused on matter, some have focused on soul and others have a double focus on body and soul.» — [Cotnoir] enumera las alquimias regionales y las reparte por su foco: materia, alma o los dos a la vez.

«As such, alchemy is not a smooth monolithic system, but rather a journey full of contradictions, false turns and dazzling insights into the worlds of creation. At times it seems to defy a single definition.» — [Cotnoir] niega que la alquimia sea un sistema unitario y la describe como camino con contradicciones y vueltas falsas.

«But, in its most general, all-encompassing form, we can say with some degree of confidence that alchemy is the art and science of bringing something to its final perfection. That “something” may be corporeal or incorporeal and the processes involved are those of dissolution and composition.» — [Cotnoir] arriesga la definición más ancha —llevar algo a su perfección final— con la reserva *with some degree of confidence* dentro de la misma frase, y deja los procesos en dos: disolución y composición.

«The Greeks called alchemy chemia . They also used the words chrysopoeia and argyopoeia» — [Cotnoir] da los nombres griegos del arte. El impreso parte *silver-making* en el salto de renglón y el tramo se corta antes para no fabricar la palabra unida.

«The poeia part of the word means make or compose , it is where we get our English word poetry .» — [Cotnoir] deriva de *poeia* la equivalencia entre hacer y poetizar, que es el eje de su prefacio.

«In Plato's Symposium Socrates recounts how the philosopher Diotima, while instructing him, once said: “There is poetry, which, as you know, is complex and manifold. All creation or passage of non-being into being is poetry or making, and the processes of all art are creative; and the masters of arts are all poets or makers.”» — [Cotnoir] apoya esa equivalencia en el pasaje del *Banquete*; la formulación es de Diotima según Sócrates, no suya.

«And just as music is composed out of the elements of sound and silence, and poetry out of elements of words and letters, so the art of alchemy is composed out of elements—the elements of matter and soul. And so, with its basis in the material, alchemy could be considered the poetry of matter.» — [Cotnoir] traza el paralelo con la música y con la poesía para llegar a su fórmula: la alquimia como poesía de la materia.

«We follow the rules of composition, working with the elements, as in music or in language.» — [Cotnoir] extiende el paralelo al oficio: se trabaja con elementos y con reglas de composición.

«philosophers speak of four elements—Fire, Air, Water, Earth , or of three principles—Mercury, Sulphur, Salt . The main processes are dissolution and composition.» — [Cotnoir] responde a su propia pregunta por los elementos del arte: cuatro elementos o tres principios, y dos procesos. El tramo abre a mitad de frase porque la pregunta queda en la plana anterior.

«“If you do not skin the bodies of their corporeal nature and if you do not give a corporeal nature to incorporeal beings, then nothing you wait for will take place.”» — la sentencia que [Cotnoir] adjudica a Hermes, sin dar referencia de obra.

«Hermes shows here the heart of the alchemical process—the change of something into its opposite, and of taking apart and putting back together again.» — [Cotnoir] lee esa sentencia como el núcleo del proceso: mudar algo en su contrario, desarmar y rearmar.

«Maria the Jewess, one of our mothers of alchemy, alluding to Hermes, elucidates the role of opposites in the act of creation when she says, “Make the corporeal incorporeal and the incorporeal corporeal, join male and female and you shall have what you seek.”» — la fórmula que [Cotnoir] cita de María la Judía, a quien llama una de las madres del arte; la voz de la cita es de ella.

«Alchemy can be understood as the release of soul from the body and its subsequent reunion with it. This is the essence of the secret of composition.» — [Cotnoir] resume así el secreto de la composición: soltar el alma del cuerpo y volver a unirla.

«And it is in the composing that we find the final perfection—and the key to this final perfection comes from us—as we read in the Liber de compositione alchimiae , where the monk Morienus answers Khalid ibn Yazid, “this matter comes from you, who are yourself the source, where it is found and whence it is taken ...”» — [Cotnoir] sitúa la clave del lado del operador y la respalda con la respuesta de Morienus a Khalid ibn Yazid en el *Liber de compositione alchimiae*; la sentencia es de Morienus.

«Alchemy is said to be physical or spiritual—but the fact is, it is both. It has not always been practiced as both.» — [Cotnoir] rechaza la disyuntiva entre alquimia física y espiritual y acota en la misma frase que la práctica no siempre las juntó.

«There have been alchemists who dispensed with the “superstitions” of magic squares, planetary rulerships, etc. to focus on their dialog with matter.» — [Cotnoir] enuncia el primer extremo: los que dejaron fuera cuadrados mágicos y regencias planetarias para atender solo a la materia.

«And there were others who have focused on the uplift of their soul, leaving behind the dross of alembics, retorts and furnaces.» — y el segundo: los que dejaron atrás alambiques, retortas y hornos por la elevación del alma.

«Each aspect is like seeing with one eye, each correct and accurate on its own. But yet, there is more.» — [Cotnoir] concede que cada extremo es exacto por sí solo antes de introducir su objeción.

«We have all seen 3D viewers that take two photographs, each offset by a bit that when viewed, pop into three dimensions.» — el símil del visor estereoscópico con que [Cotnoir] arma su argumento.

«The split between the physical and spiritual interpretations of alchemy are like this: each photograph is accurate and complete and can stand on its own, as can each interpretation of alchemy.» — [Cotnoir] aplica el símil: cada interpretación es completa y se sostiene sola.

«But it is when we put them together that the almost magical experience of three dimensions occurs, something more than each eye alone could imagine.» — y de ahí saca lo que sostiene: solo juntas dan una dimensión que ninguna alcanza por separado.

«Is this what the alchemists thought? Not in all cases, but alchemy is the richest when it is seen with both eyes.» — [Cotnoir] pone el límite a su propia tesis: no adjudica esa mirada doble a todos los alquimistas históricos.

«Listen to how Zosimos of Panopolis expresses this unity of the work in a letter to his sister:» — [Cotnoir] presenta como testimonio de esa unidad la carta de Zósimo de Panópolis a su hermana.

«Let your body rest, calm your passions, resist desire, pleasure,» — el arranque de la carta de Zósimo que reproduce el prefacio; la voz es de Zósimo. El tramo se corta en el salto de plana y sigue en la 8.

«anger, sorrow, and the dozen fatalities of death. In thus conducting yourself you will call to you the divine being, and the divine being will come to you, he who is everywhere and nowhere ...» — la continuación de esa carta: la conducta descrita llamaría al ser divino, que se dice a la vez en todas partes y en ninguna.

«Operating in this manner you will obtain the proper, authentic, and natural tinctures. Make these things until you become perfect in your soul.» — el cierre del pasaje de Zósimo, donde la operación de laboratorio y la perfección del alma se enuncian como una sola cosa.

«Much has been written on the psychological and spiritual aspects of alchemy, but it is the physical aspect with its variety materials and processes that causes confusion and puzzlement. What is actually done in physical alchemy? Simply put, alchemy begins with the body, it begins with the material, begins with the here and now.» — [Cotnoir] declara dónde ve el hueco bibliográfico —el lado físico— y con eso justifica el libro que prologa.