Emerald Tablet

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An imaginative 17th-century depiction of the Emerald Tablet from the work of Heinrich Khunrath, 1606.

The Emerald Tablet, also known as the Smaragdine Tablet or the Tabula Smaragdina (Latin, from the

Hellenistic figure Hermes Trismegistus, the text of the Emerald Tablet first appears in a number of early medieval Arabic sources, the oldest of which dates to the late eighth or early ninth century. It was translated into Latin
several times in the twelfth and thirteenth centuries. Numerous interpretations and commentaries followed.

Medieval and early modern alchemists associated the Emerald Tablet with the creation of the philosophers' stone and the artificial production of gold.[2]

It has also been popular with nineteenth- and twentieth-century occultists and esotericists, among whom the expression "as above, so below" (a modern paraphrase of the second verse of the Tablet) has become an often cited motto.

History

Beginning from the 2nd century BC onwards, Greek texts attributed to Hermes Trismegistus, a

medico-botanical, alchemical, and magical writings; and the religio-philosophical Hermetica, comprising mystical-philosophical writings.[3]

These Greek pseudepigraphal texts found receptions, translations and imitations in Latin, Syriac, Coptic, Armenian, and Middle Persian prior to the emergence of Islam and the Arab conquests in the 630s. These developments brought about various Arabic-speaking empires in which a new group of Arabic-speaking intellectuals emerged. These scholars received and translated the before-mentioned wealth of texts and also began producing Hermetica of their own.[4]

Until the early 20th century, only Latin versions of the Emerald Tablet were known, with the oldest dating back to the 12th century. The first Arabic versions were rediscovered by the English historian of science E.J. Holmyard (1891-1959) and the German orientalist Julius Ruska (1867-1949).[5]

Arabic versions

A page from the Secret of Secrets (Kitâb Sirr al-asrâr), with two charts to determine whether a patient will live or die based on the numerical value of their name.

The Emerald Tablet has been found in various ancient Arabic works in different versions. The oldest version is found as an appendix in a treatise believed to have been composed in the 9th century,[6] known as the Book of the Secret of Creation, Kitâb sirr al-Halîka in Arabic. This text presents itself as a translation of Apollonius of Tyana, under his Arabic name Balînûs.[7] Although no Greek manuscript has been found, it is plausible that an original Greek text existed.[8] The attribution to Apollonius, though false (pseudonymous), is common in medieval Arabic texts on magic, astrology, and alchemy.

The introduction to the Book of the Secret of Creation is a narrative that explains, among other things, that "all things are composed of four elemental principles: heat, cold, moisture, and dryness" (the four qualities of Aristotle), and their combinations account for the "relations of sympathy and antipathy between beings." Balînûs, "master of talismans and wonders," enters a crypt beneath the statue of Hermes Trismegistus and finds the emerald tablet in the hands of a seated old man, along with a book. The core of the work is primarily an alchemical treatise that introduces for the first time the idea that all metals are formed from sulfur and mercury, a fundamental theory of alchemy in the Middle Ages.[9] The text of the Emerald Tablet appears last, as an appendix.[10] It has long been debated whether it is an extraneous piece, solely cosmogonic in nature, or if it is an integral part of the rest of the work, in which case it has an alchemical significance from the outset.[11] Recently, it has been suggested that it is actually a text of talismanic magic and that the confusion arises from a mistranslation from Arabic to Latin.[12]

Emerald is the stone traditionally associated with Hermes, while mercury is his metal. Mars is associated with red stones and iron, and Saturn is associated with black stones and lead.[13] In antiquity, Greeks and Egyptians referred to various green-coloured minerals (green jasper and even green granite) as emerald, and in the Middle Ages, this also applied to objects made of coloured glass, such as the "Emerald Tablet" of the Visigothic kings [14] or the Sacro Catino of Genoa (a dish seized by the Crusaders during the sack of Caesarea in 1011, which was believed to have been offered by the Queen of Sheba to Solomon and used during the Last Supper).[15]

This version of the Emerald Tablet is also found in the Kitab Ustuqus al-Uss al-Thani (Elementary Book of the Foundation) attributed to the 8th-century alchemist Jâbir ibn Hayyân, known in Europe by the latinized name Geber.

Another version is found in an eclectic book from the 10th century, the Secretum Secretorum (Secret of Secrets, Sirr al-asrâr), which presents itself as a pseudo-letter from Aristotle to Alexander the Great during the conquest of Persia. It discusses politics, morality, physiognomy, astrology, alchemy, medicine, and more. The text is also attributed to Hermes but lacks the narrative of the tablet's discovery.

The literary theme of the discovery of Hermes' hidden wisdom can be found in other Arabic texts from around the 10th century. For example, in the Book of Crates, while praying in the temple of Serapis, Crates, a Greek philosopher, has a vision of "an old man, the most beautiful of men, seated in a chair. He was dressed in white garments and held a tablet on the chair, upon which was placed a book [...]. When I asked who this old man was, I was told, 'He is Hermes Trismegistus, and the book before him is one of those that contain the explanation of the secrets he has hidden from men.'".[16] A similar account can be found in the Latin text known as Tabula Chemica by Senior Zadith, the latinized name of the alchemist Ibn Umail, in which a stone table rests on the knees of Hermes Trismegistus in the secret chamber of a pyramid. Here, the table is not inscribed with text but with "hieroglyphic" symbols.[17]

Early Latin versions and medieval commentaries

Latin versions

The Book of the Secret of Creation was translated into Latin (Liber de secretis naturae) in c. 1145–1151 by Hugo of Santalla.[18] This text does not appear to have been widely circulated.[19]

The Secret of Secrets (Secretum Secretorum) was translated into Latin in an abridged 188 lines long medical excerpt by John of Seville around 1140. The first full Latin translation of the text was prepared by Philip of Tripoli around a century later. This work has been called "the most popular book of the Latin Middle Ages".[20]

A third Latin version can be found in an alchemical treatise dating probably from the 12th century (although no manuscripts are known before the 13th or 14th century), the Liber Hermetis de alchimia (Book of Alchemy of Hermes). This version, known as the "vulgate," is the most widespread.[21] The translator of this version did not understand the Arabic word tilasm, which means talisman, and therefore merely transcribed it into Latin as telesmus or telesmum. This accidental neologism was variously interpreted by commentators, thereby becoming one of the most distinctive, yet vague, terms of alchemy.[22]

Commentaries

The discovery of the Emerald Tablet in Aurora consurgens.

In his 1143 treatise, De essentiis, Herman of Carinthia is one of a few European 12th century scholars to cite the Emerald Tablet. In this text he also recalls the story of the tablet's discovery under a statue of Hermes in cave from the Book of the Secret of Creation. Carinthia was a friend of Robert of Chester, who in 1144 translated the Liber de compositione alchimiae, which is generally considered to be the first Latin translation of an Arabic treatise on alchemy.[23]

An anonymous 12th-century commentator tried to explain the neologism telesmus in the phrase

Latin: Thelesmus. In subsequent commentaries of the Emerald Tablet only the meaning of secret was retained.[24]

Around 1275–1280, Roger Bacon translated and commented on the Secret of Secrets,

The most well-known commentary is that of Hortulanus, an alchemist about whom very little is known, in the first half of the 14th century:

I, Hortulanus, that is to say, gardener... I have wanted to write a clear explanation and certain explanation of the words of Hermes, father of philosophers, although they are obscure, and to sincerely explain the entire practice of the true work. And certainly, it is of no use for philosophers to want to hide the science in their writings when the doctrine of the Holy Spirit operates.

This text is in line with the symbolic alchemy that developed in the 14th century, particularly with the texts attributed to the Catalan physician

Great Work
is an imitation of the divine creation of the world from chaos: "And as all things have been and arose from one by the mediation of one: so all things have their birth from this one thing by adaptation."

The sun and the moon represent alchemical gold and silver.[27] Hortulanus interprets "telesma" as "secret" or "treasure": "It is written afterward: 'The father of all telesma of the world is here,' that is to say: in the work of the stone is found the final path. And note that the philosopher calls the operation 'father of all telesma,' that is to say, of all the secret or all the treasure of the entire world, that is to say, of every stone discovered in this world.".[22]

Starting from 1420, extensive excerpts are included in an illuminated text, the Aurora consurgens, which is one of the earliest cycles of alchemical symbols. One of the illustrations shows the discovery of Hermes' table in a temple surmounted by Sagittarius eagles (representing the volatile elements). This motif is frequently used in Renaissance prints and is the visual expression of the myth of the rediscovery of ancient knowledge—the transmission of this knowledge, in the form of hieroglyphic pictograms, allows it to escape the distortions of human and verbal interpretation.[28]

From the Renaissance to the Enlightenment

1st emblem of Atalanta Fugiens: the wind has carried it in its belly.
2nd emblem of Atalanta Fugiens: the earth is its nurse.

During the Renaissance, the idea that

Bernard of Treviso:[29] "The first inventor of this Art was Hermes Trismegistus, for he knew all three natural philosophies, namely Mineral, Vegetable, and Animal."[citation needed] This text influenced a discovery legend claiming the tablet to have been discovered after the Biblical Flood in Hebron valley which is connected with the image of the "Emblem of the Smaragdine Tablet" in the 1599 text Aureum Vellus.[30]

It further evolves with Jérôme Torella in his book on astrology, Opus Praeclarum de imaginibus astrologicis (Valence, 1496), in which it is Alexander the Great who discovers a Tabula Zaradi in Hermes' tomb while travelling to the Oracle of Amun in Egypt. This story is repeated by Michael Maier, physician and counselor to the "alchemical emperor" Rudolf II, in his symbola aureae mensae (Frankfurt, 1617), referring to a Liber de Secretis chymicis attributed to Albertus Magnus.[31] In the same year, he publishes the famous Atalanta Fugiens (Fleeing Atalanta), illustrated by Theodor de Bry with fifty alchemical emblems, each accompanied by a poem, a musical fugue, and alchemical and mythological explanations. The first two emblems depict a passage from the Emerald Tablet: "the wind has carried it in its belly; the earth is its nurse," and the explanatory text begins with "Hermes, the most diligent explorer of all natural secrets, describes in his Emerald Tablet the work of nature, albeit briefly and accurately."[32]

The Emerald Tablet - Latin version, editio princeps - Excerpt from De Alchimia, Nuremberg 1541 - The Latin and Greek introduction says: "The Emerald Tablet of Hermes Trismegistus on alchemy, by an unknown translator. Secrets of Hermes that were written on the emerald table found in his hands in a dark cave where his buried body was discovered"

The

On the Revolutions of the Heavenly Spheres
in 1543, published by the same printer). This version is known as the "vulgate" version and includes the commentary by Hortulanus.

In 1583, a commentary by

Gerard Dorn is published in Frankfurt by Christoph Corvinus. In De Luce naturae physica, this disciple of Paracelsus makes a detailed parallel between the Table and the first chapter of the Genesis
attributed to Moses.

In the 15th and 16th centuries, verse versions appear, including an anonymous sonnet revised by the alchemical poet Clovis Hesteau de Nuysement [fr] in his work Traittez de l'harmonie, et constitution generalle du vray sel, secret des Philosophes, & de l'esprit universel du monde (1621):

However, from the beginning of the 17th century onward, a number of authors challenge the attribution of the Emerald Tablet to Hermes Trismegistus and, through it, attack antiquity and the validity of alchemy. First among them is a "repentant" alchemist, the Lorraine physician Nicolas Guibert, in 1603. But it is the Jesuit scholar and linguist Athanasius Kircher who launches the strongest attack in his monumental work Oedipus Aegyptiacus (Rome, 1652–1653). He notes that no texts speak of the Emerald Tablet before the Middle Ages and that its discovery by Alexander the Great is not mentioned in any ancient testimonies. By comparing the vocabulary used with that of the Corpus Hermeticum (which had been proven by Isaac Casaubon in 1614 to date only from the 2nd or 3rd century AD), he affirms that the Emerald Tablet is a forgery by a medieval alchemist. As for the alchemical teaching of the Emerald Tablet, it is not limited to the philosopher's stone and the transmutation of metals but concerns "the deepest substance of each thing," the alchemists' quintessence. From another perspective, Wilhelm Christoph Kriegsmann [de] publishes in 1657 a commentary in which he tries to demonstrate, using the linguistic methods of the time, that the Emerald Tablet was not originally written in Egyptian but in Phoenician.

He continues his studies of ancient texts and in 1684 argues that Hermes Trismegistus is not the Egyptian Thoth but the Taaut of the Phoenicians, who is also the founder of the Germanic people under the name of the god Tuisto, mentioned by Tacitus.[33]

In the meantime, Kircher's conclusions are debated by the Danish alchemist Ole Borch in his De ortu et progressu Chemiae (1668), in which he attempts to separate the hermetic texts between the late writings and those truly attributable to the ancient Egyptian Hermes, among which he inclines to classify the Emerald Tablet. The discussions continue, and the treatises of Ole Borch and Kriegsmann are reprinted in the compilation Bibliotheca Chemica Curiosa (1702) by the Swiss physician Jean-Jacques Manget. Although the Emerald Tablet is still translated and commented upon by Isaac Newton,[34] alchemy gradually loses all scientific credibility during the 18th century with the advent of modern chemistry and the work of Lavoisier.

The emblem of the Tabula Smaragdina Hermetis

Common post 16th century illustration

From the late 16th century onwards, the Emerald Tablet is often accompanied by a symbolic figure called the Tabula Smaragdina Hermetis.

This figure is surrounded by an

Old French: vitriol, lit.'sulphuric acid'. At the top, the sun and moon pour into a cup above the symbol of mercury. Around the mercurial cup are the four other planets, representing the classic association between the seven planets and the seven metals: Sol/Gold, Luna/Silver, Mercury/Quicksilver, Jupiter/Tin, Mars/Iron, Venus/Copper, Saturn/Lead. It is unclear if the image was originally drawn using colours or not. The ones which do contain them are coloured as follows gold-sol-visita, silver-luna-interiora, grey-mercury-terrae, blue-tin-rectificando, red-iron-invenies, green-copper, black-lead-lapidem. In the center, there are a ring and a globus cruciger , and at the bottom, there are the spheres of the sky and the earth. Three charges represent, according to the poem, the three principles (tria prima) of the alchemical theory of Paracelsus: Eagle/Mercury/Spirit, Lion/Sulfur/Soul, and Star/Salt/Body. Finally, two Schwurhands accompany the picture attesting its creator's veracity.[35]

The emblem of the Tabula Smaragdina Hermetis on the frontispiece of the alchemical treatise La Toyson d'or (1613)

The oldest known reproduction is a copy dated 1588-89 of a manuscript that was circulating anonymously at the time and was likely written in the second half of the 16th century by a German Paracelsian. The image was accompanied by a didactic alchemical poem in German titled Du secret des sages,[36] probably by the same author. The poem explains the symbolism in relation to the Great Work and the classical goals of alchemy: wealth, health, and long life.[37] Initially, it was only accompanied by the text of the Emerald Tablet as a secondary element. However, in printed reproductions during the 17th century, the accompanying poem disappeared, and the emblem became known as the Tabula Smaragdina Hermetis, the symbol or graphical representation of the Emerald Tablet, as ancient as the tablet itself.

For example, in 1733, according to the alchemist Ehrd de Naxagoras (Supplementum Aurei Velleris), a "precious emerald plate" engraved with inscriptions and the symbol was made upon Hermes' death and found in the valley of Ebron by a woman named Zora.[31] This emblem is placed within the mysterious tradition of Egyptian hieroglyphs and the idea of Platonists and alchemists during the Renaissance that the "deepest secrets of nature could only be expressed appropriately through an obscure and veiled mode of representation".[38]

19th–20th century: from occultism to esotericism and surrealism

Alchemy and its alleged "foundational text" continue to interest occultists. This is the case with the mage Éliphas Lévi: "Nothing surpasses and nothing equals as a summary of all the doctrines of the old world the few sentences engraved on a precious stone by Hermes and known as the 'emerald tablet'... it is all of magic on a single page.".[39] It also applies to the "curious figure"[40] of the German Gottlieb Latz, who self-published a monumental work Die Alchemie in 1869,[41] as well as the theosophist Helena Blavatsky[42] and the perennialist Titus Burckhardt.[43]

At the beginning of the 20th century, alchemical thought resonated with the surrealists,

Second Manifesto of Surrealism (1930): "Everything leads us to believe that there exists a certain point of the spirit from which life and death, the real and the imaginary, the past and the future, the communicable and the incommunicable, the high and the low, cease to be perceived as contradictory. However, in vain would one seek any motive other than the hope for the determination of this point in surrealist activity.".[45] Although some commentators mainly see the influence of the philosopher Georg Wilhelm Friedrich Hegel in this statement,[46] Hegel's philosophy itself was influenced by Jakob Böhme.[47]

Textual history

Like most other

Sirr al-khalīqa wa-ṣanʿat al-ṭabīʿa (The Secret of Creation and the Art of Nature, also known as the Kitāb al-ʿilal or The Book of Causes), an encyclopaedic work on natural philosophy falsely attributed to Apollonius of Tyana (c. 15–100, Arabic: Balīnūs or Balīnās).[49] This book was compiled in Arabic in the late eighth or early ninth century,[50] but it was most likely based on (much) older Greek and/or Syriac sources.[51] In the frame story of the Sirr al-khalīqa, Balīnūs tells his readers that he discovered the text in a vault below a statue of Hermes in Tyana, and that, inside the vault, an old corpse on a golden throne held the emerald tablet.[52]

Slightly different versions of the Emerald Tablet also appear in the Kitāb Usṭuqus al-uss al-thānī (The Second Book of the Element of the Foundation, c. 850–950) attributed to

alchemist Muhammed ibn Umail al-Tamimi's (ca. 900 – 960) Kitāb al-māʾ al-waraqī wa-l-arḍ al-najmiyya (Book of the Silvery Water and the Starry Earth).[55]

The Emerald Tablet was translated into Latin in the twelfth century by Hugo of Santalla as part of his translation of the Sirr al-khalīqa.[56] It was again translated into Latin along with the thirteenth-century translation of the longer version of the pseudo-Aristotelian Sirr al-asrār (Latin: Secretum secretorum).[57] However, the Latin translation which formed the basis for all later versions (the so-called 'Vulgate') was originally part of an anonymous compilation of alchemical commentaries on the Emerald Tablet variously called Liber Hermetis de alchimia, Liber dabessi, or Liber rebis (first half of the twelfth century).[58]

Arabic versions of the tablet text

From pseudo-Apollonius of Tyana's Sirr al-khalīqa (c. 750–850)

The earliest known version of the Emerald Tablet on which all later versions were based is found in pseudo-Apollonius of Tyana's

Sirr al-khalīqa wa-ṣanʿat al-ṭabīʿa (The Secret of Creation and the Art of Nature).[59]

From the Kitāb Usṭuqus al-uss al-thānī (ca. 850–950) attributed to Jabir ibn Hayyan

A somewhat shorter version is quoted in the Kitāb Usṭuqus al-uss al-thānī (The Second Book of the Element of the Foundation) attributed to Jabir ibn Hayyan.[53] Lines 6, 8, and 11–15 from the version in the Sirr al-khalīqa are missing, while other parts seem to be corrupt.[61] Jabir's version was translated by Eric J. Holmyard:

From the pseudo-Aristotelian Sirr al-asrār (tenth century)

A still later version is found in the pseudo-Aristotelian Sirr al-asrār (Secret of Secrets, tenth century).[62]


حقا يقينا لا شك فيه
أن الأسفل من الأعلى والأعلى من الأسفل
عمل العجائب من واحد بتدبير واحد كما نشأت الأشياء من جوهر واحد
أبوه الشمس وأمه القمر
حملته الريح في بطنها، وغذته الأرض بلبانها
أبو الطلسمات، خازن العجائب، كامل القوى
فان صارت أرضا اعزل الأرض من النار اللطيف
أكرم من الغليظ
برفق وحكمة تصعد من الأرض إلى السماء وتهبط إلى الأرض
فتقبل قوة الأعلى والأسفل
لأن معك نور الأنوار فلهذا تهرب عنك الظلمة
قوة القوى
تغلب كل شيء لطيف يدخل على كل شيء كثيف
على تقدير العالم الأكبر
هذا فخري ولهذا سمّيت هرمس المثلّث بالحكمة اللدنية[63]

Medieval Latin versions of the tablet text

From the Latin translation of pseudo-Apollonius of Tyana's Sirr al-khalīqa (De secretis nature)

The tablet was translated into Latin in c. 1145–1151 by

Sirr al-khalīqa (The Secret of Creation, original Arabic above).[64]

From the Latin translation of the pseudo-Aristotelian Sirr al-asrār (Secretum secretorum)

The tablet was also translated into Latin as part of the longer version of the pseudo-Aristotelian Sirr al-asrār (Latin: Secretum Secretorum, original Arabic above). It differs significantly both from the translation by Hugo of Santalla (see above) and the Vulgate translation (see below).


Veritas ita se habet et non est dubium,
quod inferiora superioribus et superiora inferioribus respondent.
Operator miraculorum unus solus est Deus, a quo descendit omnis operacio mirabilis.
Sic omnes res generantur ab una sola substancia, una sua sola disposicione.
Quarum pater est Sol, quarum mater est Luna.
Que portavit ipsam naturam per auram in utero, terra impregnata est ab ea.
Hinc dicitur Sol causatorum pater, thesaurus miraculorum, largitor virtutum.
Ex igne facta est terra.
Separa terrenum ab igneo, quia subtile dignius est grosso, et rarum spisso.
Hoc fit sapienter et discrete. Ascendit enim de terra in celum, et ruit de celo in terram.
Et inde interficit superiorem et inferiorem virtutem.
Sic ergo dominatur inferioribus et superioribus et tu dominaberis sursum et deorsum,
tecum enim est lux luminum, et propter hoc fugient a te omnes tenebre.
Virtus superior vincit omnia.
Omne enim rarum agit in omne densum.
Et secundum disposicionem majoris mundi currit hec operacio,
et propter hoc vocatur Hermogenes triplex in philosophia.[57]

Vulgate (from the Liber Hermetis de alchimia or Liber dabessi)

Latin text of the Vulgate Emerald Tablet, from MS Arundel 164, folio 155r., 15th century, British Library[66]

The most widely distributed Latin translation (the so-called 'Vulgate') is found in an anonymous compilation of commentaries on the Emerald Tablet that was translated from a lost Arabic original. This alchemical compilation was variously called Liber Hermetis de alchimia, Liber dabessi, or Liber rebis.[67] Its translator has been tentatively identified as Plato of Tivoli, who was active in c. 1134–1145.[68] However, this is merely a conjecture, and although it can be deduced from other indices that the text dates to the first half of the twelfth century, its translator remains unknown.[69]

The Vulgate version also differs significantly from the other two early Latin versions. A

critical edition based on eight manuscripts was prepared by Robert Steele and Dorothea W. Singer in 1928:[70]

Early modern versions of the tablet text

Latin (Nuremberg, 1541)

Latin text of the Emerald Tablet, from Johannes Petreius, De alchemia, Nuremberg, 1541.

Despite some small differences, the 16th-century Nuremberg edition of the Latin text remains largely similar to the vulgate (see above). A translation by Isaac Newton is found among his alchemical papers that are currently housed in King's College Library, Cambridge University:

Influence

A 17th-century edition

In its several Western recensions, the Tablet became a mainstay of medieval and

philosophers' stone were thought to have been described.[72]

The fourteenth-century alchemist Ortolanus (or Hortulanus) wrote a substantial exegesis on The Secret of Hermes, which was influential on the subsequent development of alchemy. Many manuscripts of this copy of the Emerald Tablet and the commentary of Ortolanus survive, dating at least as far back as the fifteenth century. Ortolanus, like Albertus Magnus before him saw the tablet as a cryptic recipe that described laboratory processes using deck names (or code words). This was the dominant view held by Europeans until the fifteenth century.[73]

By the early sixteenth century, the writings of

monad of pythagorean philosophy and the anima mundi. This interpretation of the Hermetic text was adopted by alchemists such as John Dee, Heinrich Cornelius Agrippa, and Gerhard Dorn.[73]

In popular culture

In the time travel television series Dark, the mysterious priest Noah has a large image of the Emerald Tablet tattooed on his back. The image, which is from Heinrich Khunrath's Amphitheatre of Eternal Wisdom (1609), also appears on a metal door in the caves that are central to the plot. Several characters are shown looking at copies of the text.[74] A line from the Latin version, "Sic mundus creatus est" (So was the world created), plays a prominent thematic role in the series and is the title of the sixth episode of the first season.[75]

In 1974, Brazilian singer Jorge Ben Jor recorded a studio album under the name A Tábua de Esmeralda ("The Emerald Tablet"), quoting from the Tablet's text and from alchemy in general in several songs. The album has been defined as an exercise in "musical alchemy" and celebrated as Ben Jor's greatest musical achievement, blending together samba, jazz, and rock rhythms. [76]

See also

References

  1. ^ Principe 2013, p. 31.
  2. ^ Principe 2013, p. 32.
  3. ^ Bull 2018, pp. 1–3, 33–38
  4. ^ Van Bladel 2009, pp. 1–22.
  5. ^ Holmyard, E.J. The Emerald Table Nature, No. 2814, vol. 112, 1923, p. 525-6. - Julius Ruska Tabula Smaragdina. Ein Betrag zur Geschichte der hermetischen Literatur (1926)
  6. ^ Kraus, Paul 1942-1943. Jâbir ibn Hayyân: Contribution à l'histoire des idées scientifiques dans l'Islam. I. Le corpus des écrits jâbiriens. II. Jâbir et la science grecque. Cairo: Institut français d'archéologie orientale, vol. II, pp. 274-275; Weisser, Ursula 1980. Das Buch über das Geheimnis der Schöpfung von Pseudo-Apollonios von Tyana. Berlin: De Gruyter, p. 46.
  7. ^ (Kahn 1994, p. XII-XV)
  8. ^ (Kahn 1994, p. XV) citing Ursula Weisser's work Das Buch über das Geheimnis der Schöpfung (1980)
  9. ^ (Kahn 1994, p. XIV)
  10. ^ "This is the book of the wise Bélinous [Apollonius of Tyana], who possesses the art of talismans: this is what Bélinous says... In the place where I lived [Tyana], there was a stone statue raised on a wooden column; on the column, these words were written: 'I am Hermes, to whom knowledge has been given...'. While I slept uneasily and restlessly, preoccupied with my sorrow, an old man whose face resembled mine appeared before me and said, 'Rise, Bélinous, and enter this underground road; it will lead you to the knowledge of the secrets of Creation...'. I entered this underground passage. I saw an old man sitting on a golden throne, holding an emerald tablet in one hand... I learned what was written in this book of the 'Secret of the Creation of Beings'... [Emerald Tablet:] True, true, certain, indisputable, and authentic! Behold, the highest comes from the lowest, and the lowest from the highest; a work of wonders by a single thing..."
  11. ^ (Kahn 1994, p. XVI-XVII)
  12. ^ Didier Kahn, Le Fixe et le volatil, CNRS Éditions, 2016, pp. 23-23, citing Mandosio 2003, pp. 682–683.
  13. ^ (Kahn 1994, p. XVII) citing Julius Ruska's op. cit.
  14. ^ See Rachel Arié Études sur la civilisation de l'Espagne musulmane, Brill Archive, 1990 p. 159 [1]
  15. ^ Jack Lindsay, Les origines de l'alchimie dans l'Égypte gréco-romaine (1986) p. 202
  16. ^ Le livre de Cratès, Octave Houdas' French translation of the Arabic manuscript 440 from the University Library of Leiden, in Marcellin Berthelot, Histoire des sciences. La chimie au Moyen Âge, vol. III: L'alchimie arabe (1893)
  17. ^ H.E. Stapleton, 1933, Three Arabic Treatises on Alchemy by Muhammad bin Umail (10th Century A.D.). Memoirs of the Asiatic Society of Bengal, XII, Calcutta: "I saw on the roof of the galleries a picture of nine eagles with out-spread wings [...] On the left side were pictures of people standing ... having their hands stretched out towards a figure seated inside the Pyramid, near the pillar of the gate of the hall. The image was seated in a chair, like those used by the physicians. In his lab was a stone slab. The fingers behind the slab were bent as if holding it, an open book. On the side viz. in the Hall where the image was situated were different pictures, and inscriptions in hieroglyphic writing [birbawi]
  18. ^ Litwa 2018, p. 314; edition in Hudry 1997–1999.
  19. ^ Weisser 1980, pp. 54–55.
  20. ^ Thorndike 1959, pp. 24–25.
  21. ^ (Kahn 1994, p. XIX)
  22. ^ a b Mandosio 2005, p. 140
  23. from the original on 17 January 2024. Retrieved 17 January 2024.
  24. ^ Mandosio 2005, pp. 140–141
  25. ^ Roger Bacon, Opera hactenus inedita, fasc V: Secretum Secretorum cum glossis et notulis, edited by Robert Stelle, Oxford, Clarendon Press, 1920.
  26. ^ (Kahn 1994, pp. 23–29).
  27. ^ Antoine Calvet, Alchimie - Occident médiéval in Dictionnaire critique de l'ésotérisme edited by Jean Servier, p.35
  28. ^ Barbara Obrist, Visualization in Medieval Alchemy International Journal for Philosophy of Chemistry, Vol. 9, No. 2 (2003), p. 131-170 online Archived 24 September 2022 at the Wayback Machine
  29. ^ Printed in Opuscule tres-excellent de la vraye philosophie naturelle des métaulx, traictant de l’augmentation et perfection d’iceux... par Maistre D. Zacaire,... Avec le traicté de vénérable docteur allemant Messire Bernard, conte de la Marche Trevisane, sur le mesme subject. (Benoist Rigaud, Lyon 1574). scanned copy Archived 14 October 2023 at the Wayback Machine
  30. ^ Telle, Joachim (1984). "Paracelselsistische Sinnbildkunst Bemerkungen zu einer pseudo-"Tabula Smaragdina" des 16. Jahrhunderts". In Seidler, Eduard; Schott, Heinz (eds.). Bausteine zur Medizingeschichte (in German). Wiesbaden: Steiner. p. 132.
  31. ^ a b (Faivre 1988, p. 38)
  32. ^ (Kahn 1994, pp. 59–74)
  33. ^ Conjectures sur l'origine du peuple germanique et son fondateur Hermès Trismégiste, qui pour Moïse est Chanaan, Tuitus pour Tacite, et Mercure pour les Gentils Tübingen 1684, cited by (Faivre 1988, p. 42)
  34. ^ B.J.T. Dobbs, Newton's Commentary on the Emerald Tablet of Hermes Trismegistus - Its Scientific and Theological Significance in Merkel, I and Debus A.G. Hermeticism and the Renaissance. Folger, Washington 1988.
  35. ^ Telle, Joachim (1984). "Paracelselsistische Sinnbildkunst Bemerkungen zu einer pseudo-"Tabula Smaragdina" des 16. Jahrhunderts". In Seidler, Eduard; Schott, Heinz (eds.). Bausteine zur Medizingeschichte (in German). Wiesbaden: Steiner. pp. 132–133, 135–136.
  36. ^ This poem is reproduced in Geheime Figuren der Rosenkreuzer, aus dem 16. und 17. Jahrhundert emblem Archived 3 March 2016 at the Wayback Machine, poem Archived 3 March 2016 at the Wayback MachineEnglish translation on levity.com Archived 22 June 2023 at the Wayback Machine
  37. ^ Joachim Telle L’art symbolique paracelsien : remarques concernant une pseudo-Tabula smaragdine du XVIe siècle in (Faivre 1988, pp. 184–235)
  38. ^ Joachim Telle L’art symbolique paracelsien : remarques concernant une pseudo-Tabula smaragdine du XVIe siècle in (Faivre 1988, p. 187)
  39. ^ Éliphas Lévi, Histoire de la Magie, Germer Bailliere, 1860, p. 78-79 [2] Archived 24 October 2023 at the Wayback Machine
  40. ^ (Kahn 1994, p. XXI)
  41. ^ secret of the emerald tablet Archived 28 May 2023 at the Wayback Machine excerpt translated into English from Die Alchemie (1869)
  42. ^ H.P. Blavatsky Isis Unveiled Theosophical University Press, 1972. p. 507-14.
  43. ^ Titus Burckhardt, Alchemy Stuart and Watkins, London, 1967 p. 196 -201
  44. ^ See, for example, the comments by Jean-Marc Mandosio on the relationship between André Breton and alchemy in his writings in Dans le chaudron du négatif, op. cit., p. 22-25.
  45. ^ André Breton, Œuvres complètes – I, Gallimard, Bibliothèque de la Pléiade, 1988, p. 781. Quoted in (Kahn 1994, p. XXII)
  46. ^ Regarding this point, see Mark Polizzotti, André Breton, Gallimard, 1999, p. 368-369, and note 3 p. 1594-1595 in Œuvres complètes – I of Bibliothèque de la Pléiade. Henri Béhar, on the other hand, speaks of this sentence as a "quest [...] akin, proportionately, to that of the alchemist" in André Breton. Le grand indésirable, Calmann-Lévy, 1990, p. 220.
  47. ^ Jean-Marc Mandosio, op. cit., p. 103-104.
  48. ^ It was perhaps written between the sixth and eighth centuries, as conjectured by Ruska 1926, p. 166.
  49. ^ Weisser 1980, p. 46.
  50. ^ Kraus 1942–1943, vol. II, pp. 274–275 (c. 813–833); Weisser 1980, p. 54 (c. 750–800).
  51. ^ Kraus 1942–1943, vol. II, pp. 270–303; Weisser 1980, pp. 52–53.
  52. ^ Ebeling 2007, pp. 46–47, 96.
  53. ^ a b Zirnis 1979, pp. 64–65, 90. On the dating of the texts attributed to Jābir, see Kraus 1942–1943, vol. I, pp. xvii–lxv.
  54. ^ Manzalaoui 1974, p. 167; edited by Badawi 1954, pp. 166–167.
  55. ^ Stapleton, Lewis & Taylor 1949, p. 81.
  56. ^ Hudry 1997–1999. Hudry's edition of the Tablet itself is reproduced in Mandosio 2004b, pp. 690–691. An English translation may be found in Litwa 2018, p. 316.
  57. ^ a b Steele 1920, pp. 115–117. Steele's edition is reproduced in Mandosio 2004b, pp. 692–693.
  58. ^ Mandosio 2004b, p. 683. For an edition and a short description of the contents of this text, see Steele & Singer 1928 (Steele & Singer's edition of the Tablet itself is reproduced in Mandosio 2004b, pp. 691–692). See further Colinet 1995; Caiazzo 2004, pp. 700–703.
  59. ^ Weisser 1980, p. 46. On the dating of this text, see Kraus 1942–1943, vol. II, pp. 274–275 (c. 813–833); Weisser 1980, p. 54 (c. 750–800).
  60. ^ This translation was prepared by Wikipedia editors. A translation based on the superseded edition of Ruska 1926, pp. 158–159 may also be found in Rosenthal 1975, pp. 247–248.
  61. ^ Holmyard 1923; cf. Ruska 1926, p. 121.
  62. ^ On the dating of this work, see Manzalaoui 1974.
  63. ^ Badawi 1954, pp. 166–167.
  64. ^ Litwa 2018, p. 314.
  65. ^ Hudry 1997–1999, p. 152. Hudry's edition is reproduced in Mandosio 2004b, pp. 690–691. An English translation may be found in Litwa 2018, p. 316.
  66. ^ "Detailed record for Arundel 164". British Library, Catalogue of Illuminated Manuscripts. Archived from the original on 24 April 2023. Retrieved 24 April 2023. A transcription is given by Selwood 2023.
  67. ^ Mandosio 2004b, p. 683. On this text, see further Colinet 1995; Caiazzo 2004, pp. 700–703.
  68. ^ Steele & Singer 1928, p. 45/489.
  69. ^ Mandosio 2004b, p. 683.
  70. ^ The manuscripts are listed in Steele & Singer 1928, p. 46/490. Steele & Singer's edition of the Tablet itself is reproduced in Mandosio 2004b, pp. 691–692. A transcription of the Tablet in one manuscript, MS Arundel 164, is given by Selwood 2023 (Selwood mistakes Steele & Singer 1928's edition for a mere transcript of one manuscript; his attribution of the text's origin to the Secretum secretorum is also mistaken).
  71. ^ Word of Greek origin, from τελεσμός (itself from τελέω, having meanings such as "to perform, accomplish" and "to consecrate, initiate"); "th"-initial spellings represent a corruption. The obscurity of this word's meaning brought forth many interpretations. An anonymous commentary from the 12th century explains telesmus as meaning "secret", mentioning that "divination among the Arabs" was "referred to as telesmus", and that it was "superior to all others"; of this later only the meaning of "a secret" would remain in the word. The word corresponds to طلسم (ṭilasm) in the Arabic text, which does indeed mean "enigma", but also "talisman" in Arabic. It has been asserted that the original meaning was in fact in reference to talismanic magic, and that this was lost in translation from Arabic to Latin (source: Mandosio 2005). Otherwise, the word telesmus was also understood to mean "perfection", as can be seen in Isaac Newton's translation, or "treasure", or other things.
  72. ^ Linden 2003, p. 27.
  73. ^ a b Debus 2004, p. 415.
  74. ^ "'Dark' Theories and Burning Questions: Jonas' Fate, the Wallpapered Room, and That Massive Back Tattoo". 8 December 2017. Archived from the original on 9 December 2017. Retrieved 10 December 2017.
  75. ^ "Dark – Season 1, Episode 6: "Sic Mundus Creatus Est"". Father Son Holy Gore. 4 December 2017. Archived from the original on 17 February 2018. Retrieved 17 February 2018.
  76. ^ Philip Jandovský. "A Tábua de Esmeralda – Jorge Ben". AllMusic. Archived from the original on 18 July 2018. Retrieved 13 October 2018.

Sources used

Further reading

External links