Alchemy

Jung thought that alchemy, looked at from a symbolic and
not a scientific eye, could be regarded as one of the precursors of
modern study of the UNCONSCIOUS and, in particular, of analytical
interest in the TRANSFORMATION of personality. The alchemists projected
their internal processes into what they were doing, and, as they
carried out their various operations, enjoyed deep, passionate emotional
experiences along with spiritual ones. Crucially, they did not
attempt to split off experience from activity and in this way, too,
they link with a contemporary psychological attitude, at least as
interpreted retrospectively. Like ANALYTICAL PSYCHOLOGY and PSYCHOANALYSIS
in their time, alchemy can be seen as a subversive and
underground force: its vivid and earthy imagery contrasting with the
stylised and sexless expression of mediaeval Christianity, just as psychoanalysis
startled Victorian prudishness and complacency.
As far as can be reconstructed, the alchemists of the fifteenth and
sixteenth centuries had two interrelated aims: (a) to alter or transform
base materials into something more valuable – variously referred
to as gold, or a universal elixir or the philosopher’s stone; (b)
to transform base matter into SPIRIT; in short, to free the SOUL.
Conversely, the attempt was also made to translate what was in the
alchemist’s own soul into material form – his unconscious projections
serving this need. These various goals may be seen as METAPHORS for
psychological growth and development.
The alchemist would carefully choose elements on the basis of a
schema organised in terms of OPPOSITES. This was because the attraction
of opposites led to their eventual conjunction and ultimately
to the production of a new substance, arising out of, but different
from, the original substances. The new substance would, after chemical
combination and regeneration had taken place many times and
in many different ways, emerge as pure. It is the fact that such a
substance does not seem to exist in nature that led Jung to see that
alchemy had to be approached from a symbolic viewpoint rather
than as a by now discredited pseudo-science (see SYMBOL).
This last consideration becomes particularly relevant in connection
with alchemical writing. There, as in our DREAMS, we may see the
various elements represented either as persons or animals, and socalled
‘chemical’ processes (for alchemy was also the precursor of
modern chemistry) depicted in the imagery of sexual intercourse or
other bodily events. For instance, the combination of two elements
may be represented by male and female figures which engage in
intercourse, produce a baby, join as an HERMAPHRODITE, or become
an ANDROGYNE. Male and female struck the alchemists as perhaps
the most fundamental opposites (or, rather, as the most fundamental
representation of the existence of psychological opposites). Because

the outcome of intercourse is a new entity derived but also different
from the parents, we can see that human beings and their development
are being used symbolically to refer to intrapsychic processes
and the way in which an individual personality develops.
But it should not be thought that the interpersonal factor is neglected.
The alchemist (usually male) worked in relation to another
person (sometimes real, sometimes a fantasy figure), referred to as
his soror mystica or mystical sister (see ANIMA). The role of the
‘other’ in psychological change is, by now, well known – Lacan’s
‘stade du miroir’ (1949), Winnicott’s emphasis on the mother’s reflection
to the infant of his integrity and worth (1967) are only two
examples of this. Alchemy, therefore, straddles the interpersonalj
intraphysic divide and is a METAPHOR which illuminates how a relationship
with another person promotes internal growth, and also
how intrapsychic processes fuel personal relations.
Alchemy becomes a pertinent metaphor when we consider the
relationship of ANALYST AND PATIENT. Jung’s emphasis on the dialectical
process and on the issue of mutual transformation can be
illustrated from alchemy (CW 16, ‘The psychology of the transference’).
In the transference, the analyst stands in relation to the patient
both as a person and as a projection of an inner content – parent,
problem, potential. The task of ANALYSIS is to free the ‘soul’ (i.e.
potential) from its material prison (i.e. NEUROSIS); what the modern
psychotherapist sees in his patient’s human psychology, the alchemist
saw in chemical form. ‘Personality is a specific combination of dense
depressive lead with inflammable aggressive sulphur with bitterly
wise salt with volatile evasive mercury’ (Hillman, 1975, p. 186).
The conceptual heart of alchemy is the differentiation of PSYCHE
and matter. The extent to which psychological factors such as MEANING,
purpose, emotion, can be seen as operating in the natural, physical
world has to do with the analysis of projections and varies
according to context (see PSYCHOID UNCONSCIOUS; SYNCHRONICITY;
UNUS MUNDUS). For some, Jung’s interest in alchemy may seem
questionable, even disreputable, and his linking of alchemy with a
key clinical concept such as transference incomprehensible. Nevertheless,
apart from lending Jung a degree of emotional support in the
sense that he felt a fraternity with the alchemists, alchemy enabled
him to survey psychological growth and change, psychological treatment
and the question of psychological ubiquity in nature from a
single, though flexible. vantage point outside either medicine or RELIGION.
Jung’s writings are peppered with alchemical references and a brief
glossary is appended together with suggestions as to the implications
of certain terms.

Adept: The alchemist, his conscious participation In the work,
hence symbolic of ego and of analyst.
Coniunctio: The mating in the vas (see below) of the disparate
elements originally placed therein. When the alchemical metaphor is
applied to analysis, several different kinds of CONIUNCTlO may be
noted. (a) The conscious working alliance which develops between
the analyst and his analytical ‘opposite’ the patient; the development
of a joint goal for the analysis. (b) The coniunctio between the
patient’s CONSCIOUSNESS and his unconscious as he becomes more
self-aware. (c) The same process within the analyst. (d) The growing
integration within the patient’s unconscious of warring and conflicting
tendencies to be found there. (e) The same process within the
analyst. (f) The gradual merging of that which was wholly sensual
or material with that which was wholly spiritual to produce a less
one-sided position.
Fermentatio: Stage in the alchemical process, a brewing of the
elements. In analysis, evolution of the transference-countertransference.
H ierosgamos: Literally, ‘sacred marriage’. Special form of coniunctio
in which emphasis is placed on both ‘sacred’ and ‘marriage’;
hence, a linking of the spiritual and the bodily. In Augustinian Christianity,
a hierosgamos is said to exist between Christ and his Church,
brought- to fruition on the marriage bed of the cross.
Impregnatio: Stage in the alchemical process, the soul is freed from
its bodily (material) prison and ascends to heaven. In analysis,
changes in the patient, possibly emergence of a ‘new man’.
Lapis: Philosopher’s stone, goal of the alchemist. Sometimes even
alchemists regard the stone as a metaphor for the goal. Hence, lapis
speaks of self-realisation and INDIVIDUATION.
Nigredo: Stage in the alchemical process, a darkening of the
elements suggesting that something of import is about to take place.
In analysis, may take the form of a depression just prior to movement
or the end of an initial, honeymoon period. In general, refers to
confrontation with the SHADOW.
Mercurius: The God’s capacity to take innumerable forms and yet
remain himself is precisely what is required in psychological change.
In analysis, he is described by Jung as ‘the third party in the alliance’
and his infuriating, impish side is balanced by his transformative
propensities (CW 16, para.384). For the alchemists, the importance
of Mercurius lay in the fact that he was, at one and the same time,
evil, base, smelly and also divine, the God of revelation and INITIATION
– a personification of the coniunctio (see TRICKSTER).
Mortificatio: Stage in the alchemical process, the original elements
are ‘dead’, do not exist in their original forms. In analysis, symptoms

may acqUire a new meaning and the analytical relationship a new
importance.
Opus: The alchemical process and work. Also life’s work, i.e.
INDIVIDUATION.
Prima materia (massa confusa): The original elements in state of
chaos.
Putrifactio: Stage in the alchemical process, a vapour is given off
by the decaying elements which is the harbinger of transformation.
Sorar: Real or symbolic figure to whom the adept relates. In
analysis, patient and analyst adopt these roles.
Transmutation of elements: Idea, central to alchemy, that elements
can be transformed and produce a new product. See ENERGY.
Vas: Alchemical vessel. In analysis, refers to containing aspects of
analytical relationship.