Absolutely, Alchemy by Marin Bratsch

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Absolutely Alchemy,
...........Written by: Marin Bratsch

Student Textbook
...........Magical Textbooks

Brilliantly written, German Alchemist Marin Bratsch delves into the basic essential knowledge of alchemy, its history, and its famous works. Brief, concise instructions are emblazoned within every spell and every potion. Many references founded by the famous alchemists of our time are featured in the text with special chapters dedicated to Nicholas Flamel, Albus Dumbledore, and Harry Potter, the boy who lived.  

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Table of Contents

■ Introduction
■ Philosophers Stone
■ Nicholas Flamel
■ Albus Dumbledore
■ Famous Alchemists
■ Desires of an Alchemist
■ Quintessence
■ Corrumpo
■ Inveratus
■ Delbou
■ Scutum
■ Expono
■ Dormir
■ Frango Frigis
■ Baleful Brew
■ Mystic Potion
■ Patronus Potion
■ Aqua Vitae Potion
■ Dream Catch Potion


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Introduction to Alchemy

The Emerald Tablet in Translation:

Tis true without lying, certain most true.
That which is below is like that which is above that which is above is like that which is below to do the miracles of one only thing.
And as all things have been arose from one by the mediation of one: so all things have their birth from this one thing by adaptation.
The Sun is its father, the moon its mother,
The wind hath carried it in its belly, the earth its nurse.
The father of all perfection in the whole world is here.
Its force or power is entire if it be converted into earth.
It ascends from the earth to the heaven again it descends to the earth and receives the force of things superior and inferior.
By this means ye shall have the glory of the whole world thereby all obscurity shall fly from you.
Its force is above all force. For it vanquishes every subtle thing and penetrates every solid thing.
From this are and do come admirable adaptations whereof the means is here in this
Hence I am called Hermes Trismegist, having the three parts of the philosophy of the whole world.
That which I have said of the operation of the Sun is accomplished and ended.

The Emerald Tablet is also known as the Smaragdine Table, or Tabula Smaragdina, is a compact and cryptic piece of Hermetica reputed to contain the secret of the prima materia and its transmutation. It was highly regarded by European alchemists as the foundation of their art and its Hermetic tradition. Although Hermes Trismegistus is the author named in the text, the first known appearance of the Emerald Tablet is in a book written in Arabic between the sixth and eighth centuries. The text was first translated into Latin in the twelfth century. Numerous translations, interpretations and commentaries followed. The layers of meaning in the Emerald Tablet have been associated with the creation of the philosopher's stone, laboratory experimentation, phase transition, the alchemical magnum opus, the ancient, classical, element system, and created the basic building block for alchemy.

Alchemy is a branch of magic and an ancient science based on the belief of the four elements, earth, fire, wind, and water; the four pillars of the world. The elements were presumed to consist of all basic properties and principles. Of all fundamental powers which everything are based upon, and of cryptic symbolism and ancient mysticism. Through the practice of transmutation of various substances, it is thus intimately connected with potion-making, charmwork and transfiguration. The practice dates back to antiquity, although there are still wizards actively studying and practicing it in the twenty-first century.

Throughout the years, alchemy has been practiced in Greco-Roman Egypt, the Islamic world during the Middle Ages, and then in Europe from the 13th to the 18th centuries. During the Renaissance, alchemy achieved its height of interest, and many of the spells and potions known today were created in that time. Dominated by the pursuits of enlightenment and perfection, the pursuit of alchemy is best described by an unknown alchemist as, "the art of liberating parts of the Cosmos from temporal existence and achieving perfection which, for metals is gold, and for man, longevity, then immortality and, finally, redemption. Material perfection was sought through the action of a preparation (Philosopher's Stone for metals; Elixir of Life for humans), while spiritual ennoblement resulted from some form of inner revelation or other enlightenment (Gnosis, for example, in Hellenistic and western practices)". In modern times, alchemical practices has since been classified by either of the following three distinctions: purpose, time period, or creator, though they usually included more than one.

The word alchemy comes from the Arabic al-kimiya or al-khimiya and the Greek word khumeia, meaning “cast together”, “pour together”, “weld”, “alloy”, etc. (from khumatos, “that which is poured out, an ingot”). Another etymology links the word with “Al Kemi”, meaning “the Egyptian Art”, since the ancient Egyptians called their land “Kemi” and were widely regarded as powerful magicians throughout the ancient world.

Before diving any further, a brief introductory to charmwork and transfigurations are in order. Charms are defined as spells that may add or alter certain properties to an object or creature. Charms focus on altering what the target does, unlike transfiguration spells which focus on altering what the target is. The fundamental essentials to charms are concentration, wand movements, pronunciation, and visualization.

Transfiguration, on the other hand, is a difficult discipline to master. It is systematic and very exact; one wrong syllable or flick, and disastrous effects may occur.There is little to no margin of error allowed in Transfiguration. A few details much be kept mind while attempting to transfigurate. First, there is the intended transformation (t). It is directly influenced by bodyweight (a), viciousness (v), wand power (w), concentration (c) and spell incantation (Z), as described in the formula drawn below:

If anyone of these factors are off, the Transfiguration will fail.

Most Transfiguration spell difficulties range from basic, somewhat basic, intermediate, somewhat difficult, difficult, expert

The levels of each variable are as follows:
t= end result.
a= caster must be heavier than the object being transformed
v= mild, medium-mild, medium, medium-strong, strong, extreme
w= any, medium, strong
c= fair, moderate, complete
Z= well-spoken, perfectly-spoken - and - as clear as possible, completely clear

The limitations of Transfiguration are many, but are separated by Nature and Law. Nature Limitations are limitations that attempt to keep Transfiguration from defying nature or the rules of nature. For example, one cannot revive the dead (no matter how recently deceased) with Transfiguration, the object's size and mass must be taken into account (the larger the object, the more difficult to transfigure), an animagus form is limited to one animal form, one cannot conjure food, and, by will of nature, things that are conjured do not last.

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The Philosopher's Stone

The Philosopher's Stone was a man-made, blood-red stone with magical properties. It could be used to create the Elixir of Life, which extended the drinker's lifespan, as well as transform any metal into pure gold. The Philosopher's Stone was believed to mystically amplify the user's knowledge of alchemy so much that anything was attainable.

The famed alchemist Nicolas Flamel, born in the 1327, created the only known Philosopher's Stone in existence. Flamel used the Elixir of Life made from the stone to extend his and his wife Perenelle's lifespan for centuries until they decided to destroy the stone in 1992, where the couple soon died afterwards.

In 1991 the Philosopher's Stone became the target of the Dark Wizard Lord Voldemort in his quest for immortality. Voldemort used a human host, Quirinus Quirrell, to seek it out at Hogwarts School of Witchcraft and Wizardry, where it was being held. —”The Mirror of Erised.” Dumbledore, himself an alchemist, was well aware of the principle of love and enlightenment, and hid the Stone in a place where only the pure at heart would be able to obtain it. Professor Quirrell could see himself with the Philosopher’s Stone but could not get it. Why? Because he wanted it for material gain and power—to return his master to strength; Harry, on the other hand, wanted to get the Stone to keep it safe and in no way did he ever intend to use it for himself. This is why he was able to get the Stone from the Mirror.

The Elixer of Life grants extended life for as long as the user drinks it, the elixir can also return a witch or wizard’s whose soul is separated due to the effects of a horcrux.

If the creation of the Philosopher’s Stone was difficult, the creation of the Elixir of Life was next to impossible. The Elixir of Life must contain the four elements (fire, earth, air and water) plus the three principles of animal, vegetable and prima materia (tan). To work with these ingredients many thought it was necessary to use crocodile livers, human skeletons, mandrake roots, and gall bladders of antelopes as well as other bizarre ingredients. The alchemists believed that all metals were made up of mercury and sulfur, in different proportions and degrees of purity. Mercury was also known as quicksilver or unicorn blood and was used to make red mercury oxide by heating it in a solution of nitric acid. The prima materia or tan is thought to be the mineral cinnabar, or mercury sulfide, also known as Dragons Blood.

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Nicholas Flamel

Nicolas Flamel (c. 1327 - c. 1992) was a well-known alchemist and only known maker of the Philosopher's Stone, a legendary substance with incredible powers. He was a close friend and partner with former Hogwarts School Headmaster Albus Dumbledore. He owed his considerable age to the Elixir of Life which he and his wife, Perenelle, created using the Stone. They were aged six hundred sixty-five and six hundred fifty-eight, respectively, at their time of deaths.

Flamel is noted as an alchemist of considerable talent and as an opera-lover. It is said he enjoyed his later years living a quiet life in Devon. Although it is clear that he used the Elixir to greatly extend his life, it is not specified whether he used the Stone's powers to make himself greatly wealthy, as the Stone is also capable of turning any metal into gold.

The danger of the Stone's existence was brought to light when Voldemort, with the help of Hogwarts Professor Quirinus Quirrell, was nearly successful in stealing it for the purpose of restoring Voldemort to physical form. However, his plan was thwarted by the efforts of Harry Potter, Hermione Granger, and Ron Weasley. Flamel agreed, along with Dumbledore, that the stone should be destroyed. With enough Elixir to set his affairs in order, it was expected that Flamel and his wife would die shortly thereafter.

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Albus Dumbledore

Professor Albus Percival Wulfric Brian Dumbledore, Order of Merlin, First Class, Grand Sorc., D. Wiz., X.J.(sorc.), S. of Mag.Q., (1881–1997) was the Transfiguration Professor, and later Headmaster of Hogwarts School of Witchcraft and Wizardry. Professor Dumbledore also served as Supreme Mugwump of the International Confederation of Wizards and Chief Warlock of the Wizengamot. He was a half-blood wizard, the son of Percival and Kendra Dumbledore, and the elder brother of Aberforth and Ariana. His father died in Azkaban when Dumbledore was young, while his mother and sister were later accidentally killed. His early losses greatly affected him early on, even at his death, but in turn made him a better person. Albus Dumbledore was considered to be the most powerful wizard of his time. He was most famous for his defeat of Gellert Grindelwald, the discovery of the twelve uses of dragon's blood, and his work on alchemy with Nicolas Flamel.

It was through Dumbledore that resistance to the rise of Lord Voldemort was formed, as it was he who founded and led both the first and second Order of the Phoenix. Due to the fact that he had a keen mind and legendary power, Dumbledore became the only wizard that Voldemort ever feared. He was the wielder and the master of the Elder Wand from 1945 until 1997 and considered by many as the greatest Headmaster to ever grace Hogwarts. As he was about to die by a cursed ring, he planned his own death with Severus Snape. Though he was no longer alive at the time, it was through Dumbledore's machinations that Voldemort was ultimately defeated and peace restored to the wizarding world. He is the only Headmaster that was laid to rest at Hogwarts. Albus Dumbledore's portrait still remains at Hogwarts.

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Famous Alchemists

Dzou Yen (fl. 4th century B.C.)
Nicolas Flamel (c. 1327—c. 1992)
Paracelsus (1493—1541)
Albus Dumbledore (1881—1997)

Zou Yan (also known as Dzou Yen or Tsou Yen, 305 BC - 240 BC) was a Chinese mystic who lived in the state of Qi during Spring and Autumn Period, an era of political turmoil preceding the total collapse of the Zhou Dynasty. He and is considered one of the founders of Chinese scientific thought. He is credited with refining the theories of the Five Elements and Yin and Yang, though his writings are now lost. The main account of his life comes from Sima Qian's Records of the Grand Historian. A famous alchemist, Yen was featured on a Chocolate Frog Card.


Paracelsus was an odd and secretive alchemist. He appears to have given his greatest achievements to the Muggle World. He believed in the importance of using minerals and metals to treat physical ailments, which could have been an early attempt to give Wizarding knowledge to muggles, taking mundane principles of potions and alchemy that Muggles could master for their benefit. He is best known for discovering Parseltongue but his research in the uses of minerals is consider to set the precedent for alchemists that followed. Though his secretive nature, probably a product of living amongst Muggles in medieval society, has meant that we know very little of the work that he did. In some early collections of Chocolate Frog Wizard Trading Cards, he was the very first card. His name was originally Phillip von Hohenheim which he later changed to Philippus Theophrastus Aureolus Bombastus von Hohenheim. He was eventually known as simply Paracelsus, suggesting that he was a bit deranged.

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Desires of an Alchemist

The medieval alchemists pursued three objectives:
• The transmutation of base metals into gold
• The immortality of the soul and spirit
• The creation of artificial life

While many alchemists spent decades trying to turn base metals into gold by means of a vague substance called the Philosopher’s Stone, others, like William Lilly and Nicholas Flamel, pursued the spiritual enlightenment of the soul. While these objectives may seem incompatible or even mutually exclusive, it is important to remember that alchemy was both a philosophy and an experimental science, and the transmutation of the metals enabled the alchemists to try to prove that the Above could be recreated in the Below; in short, recreating heaven on earth and in the soul. We see the genuine scientific spirit in the saying of one of the alchemists: “Would to God . . . all men might become adepts in our Art -- for then gold, the great idol of mankind, would lose its value, and we should prize it only for its scientific teaching.” Unfortunately, however, not many alchemists came up to this ideal; and for the majority of them, alchemy did mean merely the possibility of making gold cheaply and gaining untold wealth.

The third goal of alchemy—the creation of life from nothing—belonged almost entirely to the Islamic alchemists. The alchemists always spoke of their art as a Divine Gift, one whose secrets could not be learned from any book, and could only be achieved by long years of study and devotion. Enlightenment, when and if it came, occurred all at once and without warning. More than one alchemist marveled at how simple the answer was and how long it took them to grasp it. The right mental attitude was the crucial first step to achieving The Great Work (magnum opus), or in other words the search for the Philosopher’s Stone, because alchemy is a three-fold transformation: physical, spiritual and psychological.

“... The essences of metals are hidden in their outward bodies, as the kernel is hidden in the nut. Every earthly body, whether animal, vegetable, or mineral, is the habitation and terrestrial abode of that celestial spirit, or influence, which is its principle of life or growth. The secret of Alchemy is the destruction of the body, which enables the Artist to get at, and utilise for his own purposes, the living soul.” This killing of the outward nature of material things was to be brought about by the processes of putrefaction and decay; hence the reason why such processes figure so largely in alchemistic recipes for the preparation of the “Divine Magistery.”

The seeker must enter his studies with a pure heart. Those that fail to do so—to use alchemy for power or financial gain—would never achieve spiritual perfection and immortality. I suspect that this is what happened to Tom Riddle. In his quest for knowledge about the Horcruxes and in his experiments to become immortal, his heart and his motives were not pure. He used his gain to mutilate his soul, an act that went against the laws of nature and of God. And he paid for it. His good looks are gone—not yet snakelike, but only a shadow of what they once were. The outside mirrors the inside. A mutilated and maligned soul cannot be encased in a beautiful package. As we know, the Philosopher’s Stone and the Elixir of Life were the primary goals of the alchemists. The Philosopher’s Stone was the substance that could turn inexpensive lead into gold and create a universal panacea, a remedy which can cure all diseases and prolong life indefinitely. The Great Work, or Magnum Opus, refers to the quest for this stone. In addition, making the Philosopher’s Stone was understood to confer a type of initiation upon the student, and this initiation is the proper culmination of the Great Work. The Philosopher’s Stone is a symbol for the journey to enlightenment by breaking down and recombining elements within us.

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Quintessence

The Quintessence is the fifth element with which the alchemists could work. It was the essential presence of something or someone, the living thing itself that animated or gave something its deepest characteristics. The Quintessence partakes of both the Above and the Below, the mental as well as the material. It was believed to be the very pure essence which the God's breathed, and comprises the celestial and heavenly plane. It can be thought of as the ethereal embodiment of the life force that we encounter in dreams and altered states of consciousness. It is the purest individual essence of something that we must unveil and understand in order to transform it. The Great Work of alchemy lies chiefly in the quest for a mysterious substance known as the Quintessence (from the Medieval Latin quinta essentia or “fifth essence”). This substance is believed to possess many seemingly miraculous properties, being capable of granting longevity to the alchemist, transforming base metals to gold, and curing all diseases. Alchemists believe that the seed of this Quintessence may be found in all matter, but that it is more easily extracted from certain base substances. These substances, reduced to a primal form called “hyle” or the First Matter, are then subjected to gentle heating until the Stone emerges from this chaotic mass.

The Emerald Tablet of Hermes, a short text composed of a number of enigmatic verses ascribed to the God Hermes, is said to form the essential core of alchemical philosophy. Through it we learn that the process of alchemy is essentially transformational. Furthermore, it states that there is a correspondence between that which is Above and that which is Below, which can be understood through a study of astrology and the processes of Nature, reflected in both the macrocosmic world and in the microcosm of the alchemist. The alchemist always works in partnership with Nature, to accelerate these processes which otherwise would take millennia to reach fruition, and draw those natural forces into the experiment through the principle of correspondence.

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Corrumpo

To begin, this chapter will detail the effects, etymology, and wandwork of the alchemical spell, Corrumpo. The word is derived from the latin name corrumpo meaning to break up, destroy, annihilate, or to spoil, or weaken. It is pronounced corr-um-PEE-oh.

This spell, when cast correctly, can cause any iron or iron based object to rust upon the caster's will. This charm, however, does not impact any effect upon goblin made steel or craft. Hundreds of years ago, this spell was used in the process of metalwork, crafting and honing precious minerals, ores, and gems.

The wand movement required to perform properly begins with a swift wrist, form a zigzag line with the tip of the wand and then thrust it towards the object desired. The caster must be within visible sight of the target for the spell to take its desired effects. But caution must be taken, if the wand motions are too imbalanced, uneven, or strict, the target will diminish entirely into powder. (Though this is usually the desired effect in alchemical experiment.) The spell can only be reversed by it's counter charm, Inveratus.

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Inveratus

The counter charm to Corrumpo, is Inveratus. Of Latin derivation, it translates to "hardened by age, or long lasting." The proper pronunciation is in-VET-er-A-tus, which is quite different from what the name itself would suggest and requires a keen emphasis to achieve the desired effects of the spell.

If cast with precision, the spell reverses the years of weathering rust from any iron based object, and acts as the counter charm to Corrumpo. Like it's counter charm, the spell is ineffective against goblin made steel.There is a limit, however, as the spell can only take effect upon an object which is still intact, in other words, it cannot help if an object has already withered away into rusted dust (it will instead form the rudimentary, crude iron into individual rocks or ores if there is enough dust to do so.) The effects are permanently and must be reversed with its counter charm or wait and allow the natural flow and progression of time to retain its rusty veneer.

In order to properly cast Inveratus, a stiff wrist should hold the wand at the ready, then thrust the point towards the object which must be in visible sight and conclude in strict strokes in zig-zag form. The longer the zig-zag lasts, the more potent its effects tend to usually take, but does not apply to Corrumpo as that spell requires more focus and concentration than wandwork precision.

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Delbou

Western alchemy flourished in Greco-Roman Egypt, the Islamic world during the Middle Ages, and then in Europe from the 13th to the 18th centuries. Indian alchemists and Chinese alchemists made contributions to Eastern varieties of the art. In those days, water, pure clean and fresh water, was sometimes a scarce rarity. Whether to drink, or to purify solely for the purpose of potions and alchemical experiments, the spell Delbou was an essential spell in the arsenal of any travelling alchemist. Derived from the word, dealbo, which means to purify, or whitewash. The proper pronunciation is del-BUE

Recently, the spell has been used as a means to purify water to drink. Certain alchemists and potioneers had discovered that the purer the water, however little being used, the purer the potion. Some alchemists in recent years even claim that using unfiltered water may obstruct the sanctity of the potion, and become contaminated with chemical impurities found in public water supply.

Long lasting unless exposed to nature or other various factors, including pollution or chemical waste, the water must be within at least several meters of the witch or wizard to be cast. For this spell, concentration is key. A gentle hand should grasp the wand, loose and free, and with a simple swish pointed to the body of water and then recite the incantation. The bigger the body of water, however, the more difficult it will become. It is near impossible for one to try and purify a small pond, but when paired with other witches or wizards, it is possible.

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Scutum

Scutum, derived from the Latin origin, and meaning "shield," this spell was created by Nikolaj Haster-Blandeu, a famed alchemist of the renaissance era who had claimed to have found the Quintessence, but had been murdered before he had ever completed his alchemical journals which are now held on display in the Museum of Magical History. The proper pronunciation for the spell is "SKEW-dum."

This spell will transmutate, or transfigure, your wand into a deft wooden shield (typically in the fashioned style of the wands wood and core) and is impervious to many spells, even dark magic, but, cannot hold up to the unforgivable curses. If struck by the killing curse, the shield will break as well as the wand and spell will go straight through and hit the caster. If struck by the imperius curse, the shield will revert back into a wand and the caster will be struck by the curse. If cast by the crucio curse, the shield will reform back into a wand, and depending on the strength of the spell, may possibly splinter or break altogether, and the victim will still be hit. Other spells, such as sectumsepra, fiendfyre, and confringo, will absorb the spells effects entirely but may cause heavy damage to the casters wand, if not, break it. The spell is most potent in dire, and stressful situations, and due to the lethal possibilities that may come from this spell, it is often used as a last resort. The charm can be reversed by simply reciting the incantation once more.

Unlike most spells, this transmutation does not require any wand movement, but instead, a very focus and determined mind. The pronunciation is crucial, and when not pronounced correctly can be as disastrous as transfiguring the wand as a part of your arm, or morphing your fingers into the shield, or deformed, worn, and splintered shields.

This spell is somewhat difficult.

t= wand to shield
a= caster must be heavier than the shield
v= strong,
w= strong
c= complete
Z= perfectly spoken, as clear as possible

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Expono

Expono a very controversial spell among alchemists, is derived from Latin, and translates to "exposed." The proper pronunciation is EX-poe-nu. This spell was created to dissuade the callous and greedy of heart from discovering the truths behind alchemy, very few went into the field with benevolent intent, and those that did, created this spell to aid them in that search.

When cast correctly, the spell will charm the effected wizard to form into a version of their true selves, which is only applicable upon certain wizards depending upon if that wizard has cast themselves behind a mask, or in other words, consistently hides their true nature and ulterior motives. Essentially, a non-corporeal form that best represents their motives, their ambition in life, the animal, the color, the feeling that best describes them will hover over the victim. All of this, will lead to an illusion that will be intricately tied to the witch or wizard who cast the spell. It's always hard to decipher the meaning of these illusions, because of that fact. It's very rare for the same outcome to appear when two different wizards practice the spell on the same target because everyone's perception of good and evil, and love and hate is very different which is what makes this spell very controversial in modern day times.

To properly cast the spell gently tap the tip of the wand against the wizard’s left temple, and then guide the wand towards the heart while reciting the incantation. The spell works best upon the unsuspecting, or a sleeping target, and, often does not work at all.

Numerous studies however, have shown that greens, blacks, fierce golds, yellows and dark violet colors have been categorized as negative, harmful motives or emotions. While, reds, blues, bright oranges, browns, whites, and silvers tend to be more benevolent in nature when seen in the spectral form of the spell when cast.

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Dormir

This chapter will closely reflect the charm, Dormir, which is derived from the Latin worn, Dormio, meaning "to sleep, slumber, siesta, nap." Created during the peak of the Renaissance, the spell is most famous for its use by Anotonin Malveux, a French Alchemist who had used this spell to further his alchemical research by casting the spell on the French Royal Family to grant pardons to his crimes and to provide funding for his work. The spell itself is intricately difficult, and can be fought against by the victim if their will is powerful enough to overcome it, or, if their moral conscience is at odds with what the caster is attempting to accomplish. Dor-meed is the proper pronunciation for the spell.

The spell in questions emits a thin wisp of smoke to gyrate the victim and allows them to fall into an unconscious state of mind, which can render the victim to become susceptible to manipulation. If the spell is cast too heavily, however, the victim may fall forward and be knocked unconscious completely and will not be susceptible to any forms of guile there after. When cast correctly, however, the victim will remain on their feet in a hypnotized, comatose state of mind. The victim can then be controlled into doing any number of small, mundane tasks. But as previously mentioned, any trivial, or difficult, or immoral (in the victims point of view) will cause the victim to snap back to reality and be immune to having the spell cast upon them so soon.

With the wand at the ready, retract ones elbow backwards (up into the air) with the wand high in the air yet still towards the targeted wizard, and with a slow sweeping loop, circle the wand in the air concluded with a thrust in the targets direction. The targets time spent unconscious is dependent upon the strength and determination of the caster, however, if the victim is snapped out of the spell on their own accord they will not be susceptible to the spell again for a short period amount of time unless they are caught completely by surprise, or, asleep. (The spell, however, cannot coerce the targeted witch or wizard to talk, they may only move and act while under the spells effects.)

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