Why talk about sounds in laboratory Alchemy?
Because, deep down, laboratory Alchemy should eventually face the test of the sound: the final result of the third alchemical work should resonate, and the philosopher’s egg should emit sounds modulated differently according to the growth of its mass. And then the alchemist should be waiting for a to come event.
It can be assumed it is the famous «light that is heard with the ears». No treatise on Alchemy directly mentions it, apart from Canseliet and his pupil Atorène.
Certainly, a phenomenon not expected by distillation and sublimation experts. But perhaps that is not so foreign to those who work in foundries because the world of molten metals in cooling is full of peculiar whistles.
So, all that remains to us is to investigate the world of sound. After all, Alchemy is physics, not chemistry.
Wouldn’t it be easier to produce this series of musical scale whistles directly instead of undertaking the alchemical hard work?
No, because, I repeat, the alchemist must passively wait for an event to arrive; he/she cannot cause it.
What other names is this sound phenomenon known by?
Philosophical Organ and Shepherd’s Pipe.
Is there a timing to this phenomenon?
24-hour intervals between whistles (between one dawn and another). The precise moment of the year would correspond to moments of sun’s weakness and consequent greater strength of stellar influences—for example, the traditional “week of weeks” occurs in May, to a particular strength of the star Orion.
Could there be correspondences with the sonic Genesis of Far Eastern and Native American mythologies?
I suspect so, indeed. They call it the Sound Sacrifice and make it the basis of Genesis and the engine of the world.
Since sound is air movement, can we think that it has a part in the Alchemic sonic phenomenon?
Indeed, in ancient times it was said that when the sun was weak and obscured by stellar forces there was a consequent change in the composition of the atmospheric air.
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