Practical Alchemy: A Guide to the Great Work

«The work will provide some basic, but essential, theory. It presents a framework that should be developed (or discarded) as your own work on the alchemical path develops.» — [prefacio] Cotnoir presenta su teoría como andamio provisional: el lector puede desarrollarla o descartarla conforme avance su propio trabajo.

«To actually practice alchemy, the techniques encountered in cooking, brewing, and building fires are all that are really necessary at first, and much of alchemy can be done using only these techniques.» — [prefacio] Cotnoir baja el umbral de entrada al taller: cocinar, fermentar y hacer fuego bastan para el principio.

«Some of the more advanced work requires knowledge and experience with high temperatures and some very toxic and caustic materials, and to this end I would highly recommend a few practical chemistry classes and perhaps some metalworking classes in order to learn safe techniques and handling of materials.» — [prefacio] el límite que Cotnoir le pone a esa entrada: el trabajo avanzado exige clases de química práctica y de metalistería.

«In the worldview of alchemy, each thing in all of creation is a dynamic mix of body, spirit, and soul. A thing's physicality is only one aspect of that thing. The heart, for instance, is not only the physical pump in our chest but a living symbol of spirituality in a variety of aspects, all simultaneous with one another. For an alchemist, the heart is the physical, mental, and spiritual center of the person. Through the study of nature, which is a divine expression of God, also referred to as a theophany of God, one can discover God.» — [prefacio] Cotnoir sostiene que toda cosa es mezcla dinámica de cuerpo, espíritu y alma, y que sus sentidos son simultáneos, no sucesivos; de ahí que estudiar la naturaleza sea vía de conocimiento de Dios.

«By opening up dense matter, obstructions are loosened and light begins to stream through. The ascent to God through God's creation is accomplished by understanding and working; step by step, rung by rung, the ladder is ascended.» — [prefacio] Cotnoir enuncia la escala como figura del método: abrir la materia densa deja pasar la luz, y el ascenso se hace entendiendo y trabajando.

«Once matter is purified and open to the intent of the alchemist and to the grace of God, transmutation can take place.» — [prefacio] la condición doble que Cotnoir le pone a la transmutación: intención del operador y gracia.

«In fact, some views hold that the transmutation of base metals into gold is a reflection of the inner state of the alchemist. Others hold that it is the grace of God alone that allows transmutation to take place. Even so, the will of man, as St. Macarius of Egypt noted, “is an essential condition, for without it God does nothing.” It is we who must move first.» — [prefacio] Cotnoir consigna las dos posiciones sin arbitrar entre ellas y le añade la voluntad humana como condición, con la fórmula que atribuye a san Macario de Egipto.

«And so, in working with matter, in reaching deep into its heart and changing it into a liquid, mirror-like, reflective state, alchemists work in the same way on themselves. Alchemy is much like iconography. An icon can be seen as a window showing the other, inner aspect of one's self. In creating an icon one is simultaneously working on the inner self, the inner icon.» — [prefacio] la analogía con la iconografía que Cotnoir usa para juntar operación material y trabajo interior; la plana lleva llamada a nota tras *icon*.

«Both alchemy and iconography are techniques of gnosis» — [prefacio] Cotnoir clasifica ambas artes bajo el mismo género; el tramo se corta antes de la llamada a nota que sigue en la plana.

«they are stages and steps on the ladder of ascent. They are both paths for the artist.» — [prefacio] continuación de la misma frase, ya pasada la llamada a nota: las dos artes como peldaños y como oficio de artista.

«In Greek, poesis means “to make.” Alchemy was called chrysopoeia by the Greeks; literally, “gold-making.” “Making” in this sense is the act of composition, the arrangement of elements, as in music. Perhaps a better translation of poesis would be “to compose” so that chrysopoeia becomes “gold-composing.”» — [prefacio] Cotnoir propone leer *chrysopoeia* como composición y no como fabricación, y lo apoya en la etimología griega de *poesis*.

«One might consider the composition of words, that is, poetry, as an alchemical process. The poet takes the words (i.e., the material) from the dictionary, the rules (i.e., the techniques) from a book on grammar, and the poetic form (i.e., the process), and creates his work of art.» — [prefacio] Cotnoir desglosa la analogía poética en materia, técnica y proceso, que son los tres términos con que describe el trabajo de taller.

«Though it may seem to begin with the inanimate, alchemy is a living process and is always working with living substances. Realize that what you are working with is alive and vibrant, and begin the work from there.» — [prefacio] Cotnoir niega que la materia del trabajo sea inanimada y pone esa premisa como punto de partida operativo.

«As in most arts, the quality of the raw materials counts for a good deal of the rich and nuanced results to be had at the end of the various processes. Nonetheless, without the genius and effort of the alchemist/ poet, we would still have nothing. The inner development of the alchemist is one of the fundamental keys to the process.» — [prefacio] Cotnoir reparte el resultado entre calidad de la materia prima y desarrollo interior del operador, y no subordina el segundo al primero.

«What follows is the beginning of the work. It is all process.» — [prefacio] la línea con que Cotnoir cierra el prefacio y define el libro entero como proceso.

«Mutus liber. Altus, 1677.» — [pie de lámina] el crédito de la lámina que cierra el prefacio, atribuida al *Mutus liber* firmado Altus.

«There should be the invocation of God, flowing from the depth of a pure and sincere heart, and a conscience which should be free from all ambition, hypocrisy, and vice.» — [Ora, epígrafe] el epígrafe del capítulo, que el volumen atribuye a Basilio Valentín: la invocación como requisito moral previo al trabajo.

«Let constant prayer, to impart to you this Blessing, be the beginning of your work.» — [Ora, epígrafe] cierre del mismo epígrafe de Basilio Valentín, con llamada a nota al pie tras la frase.

«Prayer (ora) is a key to the practice. It is not the prayer of asking, “Please let it happen,” but the prayer of aspiration, of opening oneself up to Divinity and letting the light begin to shine through the cracks. It is mindful recitation; it is dhikr or recollection; it is the prayer of the heart.» — [Ora] Cotnoir deslinda la plegaria de petición de la de aspiración, y equipara esta última con el *dhikr* islámico y con la oración del corazón.

«Here is the prayer with which St. Albertus Magnus begins his Libellus de alchimia» — [Ora] Cotnoir introduce como modelo la plegaria de apertura que adjudica al *Libellus de alchimia* de Alberto Magno; sigue llamada a nota.

«“All wisdom is from the Lord God and hath been always with Him, and is before all time.» — [Ora, Alberto Magno] primera línea de la plegaria transcrita, que el propio texto marca con comillas por ser cita bíblica dentro de la cita.

«Let whoever loves wisdom seek it in Him and ask it of Him, “who gives abundantly to all men, and does not reproach.”» — [Ora, Alberto Magno] continuación de la plegaria, con la segunda cita escrituraria embutida.

«For He is the height and the depth of all knowledge and the treasure houses of all wisdom, “since from Him and through Him and unto Him are all things”: without Him nothing can be done; to Him be honor and glory forever. Amen.» — [Ora, Alberto Magno] cierre de la plegaria, con la cláusula que hace de la gracia condición sin la cual nada se obra.

«All should commence with prayer, invocation, and a dedication to the larger good. All should commence with good intent. From there, invoke the grace of God, and dedicate the fruit of your labor.» — [Ora] la norma operativa con que Cotnoir cierra el capítulo: toda obra empieza con plegaria, buena intención y dedicatoria del fruto.

«But there is another science which is about the generation of things from the elements, and from all inanimate things. . . . This science is called “theoretical alchemy,” which theorizes about all inanimate things and about the generation of things from the elements. There is in addition an operative and practical alchemy, which teaches how to make noble metals, colours, and many other things—better and more plentifully by art than they are produced by nature.» — [Overview, epígrafe] el epígrafe del panorama, que parte la disciplina en teórica y operativa; los puntos suspensivos son del propio volumen.

«—OPUS TERTIUM OF ROGER BACON (1214–1294)» — [Overview, epígrafe] la atribución del epígrafe: el *Opus tertium* de Roger Bacon, con sus fechas.

«It is true that many historical alchemists have pursued this goal, each with a different motivation. For some, transmutation was an outward sign—dramatic, yet only a sign of inner attainment; for others, it was a demonstration of profound insight into nature. For quite a few others, it was the dream of fast money. And for some, it was a way to bring about peace and prosperity for the many poor and sick.» — [Overview] Cotnoir reparte las motivaciones históricas de la transmutación en cuatro, y no jerarquiza entre ellas.

«This science treats of the imperfect bodies of minerals, and teacheth how to perfect them.» — [Overview, Geber] la primera de las definiciones que el volumen recopila, atribuida en la misma plana a Geber, siglo XIII.

«Alchemy means: to carry to its end something that has not yet been completed.» — [Overview, Paracelso] la segunda definición recopilada, adjudicada a Paracelso y fechada en 1540.

«Alchemy is a science and art of making a fermentative powder, which transmutes the imperfect metals into gold, and which is a useful universal remedy for all the natural illnesses of man, of animals and of plants.» — [Overview, Pernety] la tercera definición recopilada, que junta transmutación metálica y remedio universal para hombres, animales y plantas.

«—ANTOINE-JOSEPH PERNETY, 1758» — [Overview] la firma de esa tercera definición, con su fecha.

«The contemporary alchemist, Frater Albertus (1911–1984), spoke of alchemy as the “raising of vibrations,”» — [Overview] Cotnoir añade la definición de Frater Albertus; el tramo se corta antes de la llamada a nota.

«reflecting the view of Paracelsus that alchemy can transmute something “into its final substance and ultimate essence.”» — [Overview] continuación de la misma frase: Cotnoir empareja la fórmula de Frater Albertus con la de Paracelso.

«The idea of transmutation goes back a long way in our history, starting with early metallurgy and craft initiation. Alchemy developed in a wide range of cultures, geographies, and times; like astrology, it grew out of a variety of factors coming together over time.» — [Overview] Cotnoir data el origen de la idea en la metalurgia temprana y la iniciación de oficio, y niega origen único.

«We see these influences in the writings of the Greek Zosimos of Panopoli (ca. 300 A.D.), for example. Alchemy then flowed from Hellenistic Egypt with the Greeks, via Orthodox monks, throughout such places as Egypt and Syria.» — [Overview] Cotnoir toma a Zósimo de Panópolis como testigo del cruce alejandrino y traza la vía monástica de la transmisión.

«These monks were key in the transmission of Greek science and philosophy to Islam, translating texts from Greek into Arabic. One alchemical text, Risalat Mariyanus al-Rahib al-hakim li-l-amir Khalid ibn Yazid, is an account of just such a transmission of the wisdom of the Greek alchemists from a Syrian monk to Khalid ibn Yazid,» — [Overview] Cotnoir nombra la risala de Mariyanus como relato de la propia transmisión que describe; el tramo se corta antes de la llamada a nota.

«This work (whose English title is translated as The Epistle of Maryanus (Morienus), the Hermit and Philosopher to Prince Khalid ibn Yazid) describes the teaching Morienus gave to Khalid concerning the elixir—that is, the Philosopher's Stone, the aim of the Great Work, that which can cure the illnesses of matter and men.» — [Overview] Cotnoir identifica elixir, Piedra Filosofal y fin de la Gran Obra como un solo objeto, y le adjudica cura de la materia y del hombre.

«The art and science of alchemy rapidly advanced within the Islamic context, nurtured by Islam's embrace of both the natural sciences and gnosis. It was Jabir ibn Hayyan (721–815 A.D.) who developed Aristotle's idea of the formation of metals and minerals into a theory of Mercury and Sulphur, essential to understanding alchemy.» — [Overview] Cotnoir adjudica a Yabir ibn Hayyan el paso de las exhalaciones aristotélicas a la teoría de Mercurio y Azufre.

«The physician Ar-Razi (865– 925 A.D.) developed an empirical system of classification for the materials used in alchemy that presaged modern chemistry.» — [Overview] Cotnoir le atribuye a Ar-Razi la clasificación empírica de materiales; el espacio dentro de la fecha es del troceo.

«From the Islamic realms, alchemy came to Western Europe in February of 1144 with the translation of the Risalat Mariyanus from Arabic into Latin as Liber de compositione alchimiae. This was the beginning of the» — [Overview] Cotnoir fecha la entrada de la alquimia en Europa occidental en febrero de 1144; el tramo se corta en el cambio de plana y sigue *translation of many Arabic treatises into Latin*.

«This edition first published in 2021 by Weiser Books, an imprint of Red Wheel/Weiser, LLC» — [derechos] el pie editorial de la plana de derechos: Weiser Books como sello de Red Wheel/Weiser, con oficinas en 65 Parker Street, Suite 7, Newburyport, MA.

«Copyright © 2006, 2021 by Brian Cotnoir Introduction copyright © 2006, 2021 by James Wasserman Foreword copyright © 2021 by Robert Allen Bartlett» — [derechos] la plana reparte el copyright en tres: el cuerpo y la introducción datan de 2006 y se reeditan en 2021; el foreword es solo de 2021. De ahí sale la adjudicación de voces de esta ficha.

«ISBN: 978-1-57863-747-8. Library of Congress Cataloging-in-Publication Data available upon request.» — [derechos] el ISBN de la edición de 2021, impreso a renglón seguido del de 2006, y la línea de catalogación.

«The practice of alchemy involves working with chemical supplies and techniques that may be dangerous or fatal if done improperly.» — [disclaimer] el aviso legal del volumen abre midiendo el riesgo del oficio que el libro enseña.

«Every effort has been made in the text to encourage the practitioner both to use proper safety precautions in the experiments suggested and to equip him- or herself with additional formal training in laboratory procedures.» — [disclaimer] el mismo aviso remite al lector a formación de laboratorio fuera del libro.

«The author, editor, and publisher disclaim any and all responsibility for accidents or problems resulting from improper use of this material.» — [disclaimer] el deslinde de responsabilidad, que la plana extiende a autor, editor y editorial por igual.

«Cover art: The true principles of all things, from “The works of Jacob Behmen, the Teutonic theosophe,” by William Law, 1764/Getty Research Institute, Los Angeles, USA/Bridgeman Images Interior photos/images by Sesthasak Boonchai and Susan McCann» — [créditos] la plana da la procedencia de la imagen de portada —la edición de Law de Böhme, 1764— y nombra a los autores de las fotografías interiores.

«If the fool would persist in his folly, he would become wise. PROVERBS OF HELL, WILLIAM BLAKE» — [dedicatoria] el epígrafe con que Cotnoir abre la dedicatoria, atribuido en la misma plana a los *Proverbios del Infierno* de Blake.

«To RC, who taught me to read and that curiosity may have killed the cat but, “satisfaction brought him back.”» — [dedicatoria] la primera de las dedicatorias por iniciales; Cotnoir no da nombres completos en ninguna.

«To FC, who taught me that there is nothing supernatural, only natural laws we don't understand.» — [dedicatoria] la segunda dedicatoria enuncia el naturalismo con que Cotnoir encuadra el libro: no hay sobrenatural, sino ley natural aún no entendida.

«To all those who have gone before. and To the one who comes after. It is my hope that only good may come of this.» — [dedicatoria] el cierre de la dedicatoria, que sitúa el volumen en una cadena de transmisión sin nombrar eslabones.

«I would like to thank: James Wasserman for the opportunity to present this “report from the front” and for his patience and faith in me;» — [agradecimientos] Cotnoir acredita a Wasserman el encargo del volumen y lo describe con la fórmula que le da su género: parte desde el frente.

«Sandra Feist, Ina L.Chow, and Maria Levitsky, for their corrections and suggestions; Lucille Carra, Ellen Wood, and Lenka Vařekova for their general feedback and encouragement; Sesthasak Boonchai and Susan McCann for the book's illustrations;» — [agradecimientos] la lista de colaboradores; los nombres van tal cual los imprime el troceo, sin cotejo con otra fuente.

«Foreword by Robert Allen Bartlett Introduction by James Wasserman Preface Ora Overview of Alchemy» — [índice] el índice ordena el aparato antepuesto: dos textos ajenos firmados, el prefacio del autor, la plegaria y el panorama histórico.

«Part One: THEORY 1 The Aspects of Alchemy 2 Cosmology 3 Time 4 Microcosm: The Body and Its Composition 5 Inner Practice 6 Tabula Smaragdina» — [índice] los seis capítulos de la primera parte, que van de la doctrina de los elementos al texto hermético fundacional.

«Part Two: PRACTICE 7 The Basics of Alchemy 8 The Preparatory Work 9 The Art of Distillation 10 The Purification of Salts: Calcination, Crystallization, and Sublimation 11 Further Work with Water and Alcohol» — [índice] la primera mitad de la parte práctica, ordenada por operaciones de taller.

«12 The Herbal Work 13 Plants as Medicines and Initiatory Substances 14 The Mineral Work 15 The Aurum Potabile 16 Opus Magnum» — [índice] la segunda mitad práctica sube por reinos, del vegetal al mineral y de ahí al oro potable y a la Gran Obra.

«17 A Parting Contemplation Appendix One: Technique and Equipment Appendix Two: Plants and Planets Bibliography Notes to the Text» — [índice] el cierre y los cuatro bloques de aparato final.

«If you are new to the study of alchemy, or even if you've been around it for awhile and need some additional guidance or inspiration, this is the book for you.» — [Bartlett] la primera línea del foreword de 2021 fija el destinatario que Robert Allen Bartlett le adjudica al volumen: el que empieza y el que ya anda en ello.

«You see, that has always been a problem with the study of alchemy; it has a long history of being presented through a unique terminology (like any other science or art), which is cryptic and obscure if you don't possess certain keys.» — [Bartlett] Bartlett señala que la oscuridad del arte es cuestión de terminología técnica sin claves, y la equipara con la de cualquier otra ciencia.

«Now, here's the rub; with alchemy being so mysterious and obscure, there are many who use the “wondrous secrets of alchemy” to present their version of the story, and suddenly, we are beset with pet theories, aliens, Atlanteans, dangerous chemistry, and government conspiracies.» — [Bartlett] Bartlett objeta el uso del misterio del arte como coartada para teorías privadas, y las enumera: extraterrestres, atlantes, química peligrosa y conspiraciones de gobierno.

«It is easy to get pulled into a labyrinth from which it may take considerable time to “unlearn” and in some cases, survive.» — [Bartlett] la consecuencia que Bartlett le atribuye a esa literatura: desaprender cuesta tiempo y a veces se trata de sobrevivir.

«The famous Swiss physician and alchemist, Paracelsus, said that alchemy is the art of separating the pure from the impure, the true from the false, and that is what my friend and author of this book, Brian Cotnoir, has done for us concisely.» — [Bartlett] Bartlett le aplica al libro la definición que atribuye a Paracelso: separar lo puro de lo impuro, lo verdadero de lo falso.

«Within the pages of this book you will find a reliable guide on who and what to study and where to delve even deeper if you are truly interested in understanding the Sacred Art that is alchemy, not just from a theoretical and philosophic viewpoint but from its practical applications as well.» — [Bartlett] lo que Bartlett dice que el volumen entrega: un mapa de a quién y qué leer, en la teoría y en el taller.

«I have personally explored alchemy for the past fifty years (yes, there's that much to explore) starting in a time when information about alchemy, especially of a practical nature, was hard to find.» — [Bartlett] la credencial con que Bartlett funda su juicio: cincuenta años de práctica, empezados cuando la información práctica escaseaba.

«I would have known to study such things as Aristotle's Physics and Metaphysics because these ideas held sway all through the “Golden Age of Alchemy,” and the terminology and concepts presented are what the ancient writers of alchemy were referring to.» — [Bartlett] Bartlett remite la terminología alquímica a la física y la metafísica de Aristóteles como lengua de fondo.

«So when the alchemist Petrus Bonus of Ferrara, in his work New Pearl of Great Price, says, “The Philosopher's Stone is the Form of Gold,” it takes on a whole new sense considering Aristotle's ideas on Matter and Form.» — [Bartlett] el ejemplo con que Bartlett muestra el rendimiento de esa clave: la fórmula de Petrus Bonus de Ferrara leída con la pareja materia-forma.

«Our author and guide presents us with another important subject for close scrutiny: Humoral Medicine, the medicine of Roman physician Galen and later expanded by Avicenna. Again, these are the concepts and language the early alchemists thought in.» — [Bartlett] la segunda clave que Bartlett señala en el volumen: la medicina humoral de Galeno y Avicena como marco mental de los primeros alquimistas.

«Now, if I come across an alchemical formula that says, “This medicine excites the Animal Spirit,” I will know that it is not a super aphrodisiac or that I may change into a werewolf, but that it is a liver tonic.» — [Bartlett] Bartlett traduce una fórmula humoral a su referente médico para mostrar el costo de leerla sin la clave.

«As a professional chemist, this has been my own area of investigation over the years, and I can tell you flat out that the instructions given in this book are clear and true and can lead you safely into the incredible world of Spagyric and Alchemical Medicines.» — [Bartlett] Bartlett avala las recetas del volumen desde su oficio de químico profesional.

«Many people think they can't do this kind of work because they don't have a laboratory and chemical glassware. Setting up an alchemical lab in your house can be a little scary, if you are new to it, but this author offers a very reasonable list of equipment to gather and sound advice on setup, care, and maintenance. Start off slow and gather your “tools” as needed; many can be found inexpensively in thrift stores.» — [Bartlett] Bartlett niega que el laboratorio sea barrera de entrada y remite al apéndice de equipo del volumen.

«Finally, we come to the bibliography; this is excellent. If you are serious about the study of alchemy in all of its aspects, I would recommend looking into each of the references provided with great care. Most are readily available from the internet and will lead you to find other related works. As the alchemists would say, “One book opens another.”» — [Bartlett] Bartlett le da a la bibliografía función de puerta, con la máxima que atribuye a los alquimistas.

«I wish I had such a guide fifty years ago; I heartily recommend that you buy this book and use it as a true and faithful guide through the labyrinth» — [Bartlett] la recomendación con que cierra el foreword; la frase sigue en la plana siguiente, *of alchemy*.

«—ROBERT ALLEN BARTLETT author of Real Alchemy: A Primer of Practical Alchemy» — [Bartlett] la firma del foreword, que se acredita con el título de su propio manual.

«It is a distinct pleasure to introduce this brilliant book on alchemy by my friend Brian Cotnoir. Well over thirty years ago, Brian walked into Samuel Weiser's Bookstore in New York City where I then worked. I was twenty-four, Brian seventeen. His utter seriousness of purpose struck me then and remains my assessment of him to this day.» — [Wasserman] James Wasserman data en la librería de Samuel Weiser de Nueva York el trato con el autor, y fecha el encuentro más de treinta años antes de escribir.

«Brian describes this book as the one he wishes had been available when he began his lifelong study of alchemy. I challenge any reader to find a more succinct and clear guide to this science and art.» — [Wasserman] Wasserman repite la fórmula con que el prefacio describe el propósito del libro y le añade su propio juicio.

«Brian begins with the Work. Totally eschewing what I have long considered to be the superficial psychological interpretation of modern deconstructionists driven to trivialize anything beyond their own limited view of reality, this book begins by defining exactly what alchemy is, and how it can best be approached by one who seeks to learn its secrets.» — [Wasserman] Wasserman objeta la lectura psicológica de la alquimia y lee el volumen como deslinde frente a ella.

«Laboratory techniques and equipment are then discussed in an earnest and serious manner that only highlights the intensity of the historical overview he next provides.» — [Wasserman] Wasserman describe el orden del volumen, del taller al panorama histórico.

«The reader becomes immediately aware that we are tracing the footsteps of historical heroes who risked life and limb to plumb the secret depths of Sacred Nature. And who did so while enflamed in prayer.» — [Wasserman] Wasserman lee la historia del arte como linaje de operadores que trabajaban rezando.

«Thereby did these giants give rise to modern chemistry and physics. Yet something was lost in the process. The failing of the eighteenth-century Enlightenment movement was its embrace of hyperrationalism. The empirical imperative turned True Science on its head. The scientist/adept was forced to deny the sense of humility and wonder that his research engendered. The love for the Creator who fashioned the miracle of matter was relegated to the superstitions of the past.» — [Wasserman] la tesis de pérdida que Wasserman le imputa a la Ilustración: la química y la física modernas nacen de la alquimia y pagan el precio de expulsar la humildad y el asombro.