Monas Hieroglyphica

Last updated
Monas Hieroglyphica
Monas Hieroglyphica.jpg
Frontispiece of the 'Monas Hieroglyphica' by John Dee, printed by Willem Silvius in Antwerp, 1564
Author John Dee
Published1564
Dee's glyph, whose meaning he explained in Monas Hieroglyphica. Dee glyph (fixed width).svg
Dee's glyph, whose meaning he explained in Monas Hieroglyphica.

Monas Hieroglyphica (or The Hieroglyphic Monad) is a book by John Dee, the Elizabethan magus and court astrologer of Elizabeth I of England, published in Antwerp in 1564. It is an exposition of the meaning of an esoteric symbol that he invented.

Contents

Dee's Monas Hieroglyphica presents a complex emblem constructed from various astrological symbols, with elements of Latin wordplay, capitalization, spacing, and diacritics, rendering its interpretation challenging. The symbol is intended to embody a profound concept, representing the unity of all creation influenced by celestial forces. Dee believed that this symbol contained the essence of alchemical transformation and spiritual evolution, and by meditating upon it, he aimed to access hidden knowledge transcending linguistic barriers. In merging astrology, alchemy, mysticism, and metaphysics, the Hieroglyphic Monad serves as a visual manifestation of Dee's interconnected worldview.

Content

Different parts of the symbol could be combined to form another symbols. Monas hieroglyphica Wellcome L0068354.jpg
Different parts of the symbol could be combined to form another symbols.

Understanding the text is difficult because of Dee's Latin wordplay, unexplained capitalization, odd spacing and diacritics. [1]

Meaning of the symbol

The symbol is said to be composed of other astrological symbols. Monas hieroglyphica Wellcome L0068352.jpg
The symbol is said to be composed of other astrological symbols.

John Dee intended the Monad to incorporate a wide range of mystical and esoteric concepts. This complex symbol was meant to symbolize the unity of all creation, influenced by astrological and planetary forces. Dee believed it held the essence of alchemical transformation and spiritual growth. By meditating on the Monad, he thought to gain insights into hidden knowledge about the universe, transcending language barriers and tapping into profound truths. Overall, Dee's intention was to encapsulate his interconnected worldview, combining elements of astrology, alchemy, mysticism, and metaphysics.

Reception and influence

The book received little notice in English sources, though it is praised in the 1591 edition of George Ripley's The Compound of Alchymy [2] as well as in Elias Ashmole’s Theatrum Chemicum Britannicum (1652). [3] A number of references appear in other languages, for example, Jean-Jacques Manget’s Bibliotheca Chemica Curiosa (1702) [4] and Lazarus Zetzner’s Theatrum Chemicum (1602; 1659–1661); the latter reproduces the Monas Hieroglyphica in its entirety. [5]

Gerard Dorn's Judgement of the Spagiric Art of Johann Trithemius [lower-alpha 1] contains terms and phrases based on the Monas, and his commentary on the Tractatus Aureus references the words ("Vulgaris, Hic, Oculus caligabit, diffidetque plurimum") accompanying a figure in the Monas, [6] saying "with the eyes of the mind, for the vulgar eye, as John Dee of London says, will here find fault and be most distrustful." [lower-alpha 2] Peter Forshaw suggests that it is likely that Dorn's use of the same line and circle figure in his Monarchia Physica or Monarchia Triadis, in Unitate (1577) [lower-alpha 3] is a reference to the figure in Dee. It is also reproduced in the English logician, mathematician, and medic Thomas Oliver’s De Sophismatum praestigijs cauendis admonitio (1604). [7] His further comments in the work suggest that he was also familiar with Dee’s "Mathematicall Praeface" to Billingsley’s translation of Euclid’s Elements of Geometrie (1570). [8]

Giulio Cesare Capaccio refers to the Monas in his Delle imprese (On devices) (1592), paraphrasing content from the preface and mentioning the 'recondite Kabbalistic philosophy’ of 'Giovanni Dee da Londino.' [9] Cesare della Riviera includes Dee's glyph, without attribution, [10] in his Il Mondo Magico de gli Heroi (1605). [11] The glyph is also reproduced in the Amphitheatrum sapientiae aeternae (1595; 1609) of Heinrich Khunrath, [12] where it is used in a more alchemical context. [13]

The glyph was adopted by the Rosicrucians and appears on a page of the Rosicrucian manifesto Chymical Wedding of Christian Rosenkreutz (1616), beside the text of the invitation to the Royal Wedding given to Christian Rosenkreuz, who narrates the work.[ citation needed ] Frances Yates notes that Dee's influence later "spread to Puritanism in the New World through John Winthrop the Younger, an alchemist and a follower of Dee; Winthrop used the 'monas' as his personal mark." [14]

Publications

English translations

See also

Related Research Articles

<span class="mw-page-title-main">Alchemy</span> Branch of ancient protoscientific natural philosophy

Alchemy is an ancient branch of natural philosophy, a philosophical and protoscientific tradition that was historically practised in China, India, the Muslim world, and Europe. In its Western form, alchemy is first attested in a number of pseudepigraphical texts written in Greco-Roman Egypt during the first few centuries AD.

<span class="mw-page-title-main">Elias Ashmole</span> English antiquarian, politician, officer of arms, astrologer and alchemist

Elias Ashmole was an English antiquary, politician, officer of arms, astrologer and student of alchemy. Ashmole supported the royalist side during the English Civil War, and at the restoration of Charles II he was rewarded with several lucrative offices.

<i>Fasciculus Chemicus</i> Alchemical writings compiled by Arthur Dee

Fasciculus Chemicus or Chymical Collections. Expressing the Ingress, Progress, and Egress, of the Secret Hermetick Science out of the choicest and most famous authors is an anthology of alchemical writings compiled by Arthur Dee (1579–1651) in 1629 while resident in Moscow as chief physician to Czar Michael I of Russia.

<span class="mw-page-title-main">Alchemical symbol</span> Symbols used in pre-19th-century chemistry

Alchemical symbols, originally devised as part of alchemy, were used to denote some elements and some compounds until the 18th century. Although notation was partly standardized, style and symbol varied between alchemists. Lüdy-Tenger published an inventory of 3,695 symbols and variants, and that was not exhaustive, omitting for example many of the symbols used by Isaac Newton. This page therefore lists only the most common symbols.

<span class="mw-page-title-main">Michael Maier</span>

Michael Maier was a German physician and counsellor to Rudolf II Habsburg. He was a learned alchemist, epigramist, and amateur composer.

<span class="mw-page-title-main">Projection (alchemy)</span> In alchemy, using a Philosophers Stone to transmute a lesser substance into a higher form

Projection was the ultimate goal of Western alchemy. Once the philosopher's stone or powder of projection had been created, the process of projection would be used to transmute a lesser substance into a higher form; often lead into gold.

<span class="mw-page-title-main">Heinrich Khunrath</span> German scientist

Heinrich Khunrath, or Dr. Henricus Khunrath as he was also called, was a German physician, hermetic philosopher, and alchemist. Frances Yates considered him to be a link between the philosophy of John Dee and Rosicrucianism. His name, in the spelling "Henricus Künraht" was used as a pseudonym for the 1670 publisher of the Tractatus Theologico-Politicus of Baruch Spinoza.

<span class="mw-page-title-main">Gerhard Dorn</span>

Gerhard Dorn was a Belgian philosopher, translator, alchemist, physician and bibliophile.

<span class="mw-page-title-main">John Dee</span> English scientist and occultist (1527–1608/09)

John Dee was an English mathematician, astronomer, teacher, astrologer, occultist, and alchemist. He was the court astronomer for, and advisor to, Elizabeth I, and spent much of his time on alchemy, divination, and Hermetic philosophy. As an antiquarian, he had one of the largest libraries in England at the time. As a political advisor, he advocated the foundation of English colonies in the New World to form a "British Empire", a term he is credited with coining.

Petrus Bonus was a late medieval alchemist. He is best known for his Precious Pearl or Precious New Pearl, an influential alchemical text composed sometime between 1330 and 1339. He was said to have been a physician at Ferrara in Italy, causing him to sometimes be known as Petrus Bonus of Ferrara or as Petrus Bonus the Lombard. An Introduction to the Divine Art is also attributed to him but was printed much later, in 1572.

John Dastin (c.1293-c.1386) was an English alchemist of the fourteenth century. Little is known of his life beyond the texts which are attributed to him. Dastin is known for correspondence with Pope John XXII and Cardinal Napoleone Orsini in defense of alchemical practice, dated to 1320.

Nicolas Barnaud (1538–1604) was a French Protestant writer, physician and alchemist, from Crest, in Dauphiné, from which he took the name Delphinas. He was a member of the Monarchomaques.

<span class="mw-page-title-main">George Ripley (alchemist)</span> English alchemist (c. 1415–1490)

Sir George Ripley was an English Augustinian canon, author, and alchemist.

<span class="mw-page-title-main">Renaissance magic</span> Magical science during the Renaissance

Renaissance magic was a resurgence in Hermeticism and Neo-Platonic varieties of the magical arts which arose along with Renaissance humanism in the 15th and 16th centuries CE. During the Renaissance period, magic and occult practices underwent significant changes that reflected shifts in cultural, intellectual, and religious perspectives. C. S. Lewis, in his work on English literature, highlighted the transformation in how magic was perceived and portrayed. In medieval stories, magic had a fantastical and fairy-like quality, while in the Renaissance, it became more complex and tied to the idea of hidden knowledge that could be explored through books and rituals. This change is evident in the works of authors like Spenser, Marlowe, Chapman, and Shakespeare, who treated magic as a serious and potentially dangerous pursuit.

<span class="mw-page-title-main">Thomas Charnock</span> English alchemist

Thomas Charnock (1524/1526–1581) was an English alchemist and who devoted his life to the quest for the Philosopher's Stone. His unpublished notebooks are useful, not just for an understanding of Elizabethan attitudes towards alchemy in general, but for the insight they give to Charnock's life and thoughts.

<span class="mw-page-title-main">William Backhouse</span> English philosopher

William Backhouse was an English philosopher, alchemist, astrologer, translator, and the esoteric mentor of Elias Ashmole.

<i>Theatrum Chemicum</i>

Theatrum Chemicum is a compendium of early alchemical writings published in six volumes over the course of six decades. The first three volumes were published in 1602, while the final sixth volume was published in its entirety in 1661. Theatrum Chemicum remains the most comprehensive collective work on the subject of alchemy ever published in the Western world.

The following outline is provided as an overview of and topical guide to alchemy:

<i>Theatrum Chemicum Britannicum</i>

Theatrum Chemicum Britannicum first published in 1652, is an extensively annotated compilation of English alchemical literature selected by Elias Ashmole. The book preserved and made available many works that had previously existed only in privately held manuscripts. It features the alchemical verse of people such as Thomas Norton, George Ripley, Geoffrey Chaucer, John Gower, John Lydgate, John Dastin, Abraham Andrews and William Backhouse.

The Deutsche Theatrum Chemicum is a collection of alchemical texts, predominantly in German translation, which was published in Nuremberg in three volumes by Friedrich Roth-Scholtz (1687–1736), the publisher, printer and bibliographer.

References

Notes

  1. G. Dorn, "De Spagirico Artificio Io. Trithemii sententia," in Zetzner (1659–1661), vol. 1, pp. 388–99, on 393.
  2. Manget, Bibliotheca Chemica Curiosa, I, 409: "In his autem numeris tacitè occultari sapientum pondera, author non obscure abstruere, videtur, praecipue in septenario, qui numerus sacer habitus fuit antiquitus, utpote in quo plurimum sapientiae sit reconditum: sed vim & virtutem ejus mentis oculis contemplari debes, Vulgaris enim hic oculus, teste Joanne Dee Londinensi, castigabit diffidetque plurimum."
  3. G. Dorn, "Monarchia Triadis, in Unitate, Soli Deo Sacra," in Dorneus (1577), 65-127, on 71.

Citations

Works cited

Primary sources

  • Ashmole, E., ed. (1652). Theatrum Chemicum Britannicum; containing severall poeticall pieces of our famous English philosophers, who have written the Hermetique Mysteries in their owne ancient language. Faithfully collected . . . with annotations thereon, by E. Ashmole. London.
  • della Riviera, C. (1986) [1605]. Il Mondo Magico de gli Heroi, Edizione del 1605, Introduzione di Piero Fenili. Rome: Edizioni Mediterranee.
  • Dorneus, G., ed. (1577). Aurora Thesaurusque Philosophorum, Theophrasti Paracelsi, Germani Philosophi, & Medici prae cunctis omnibus accuratissimi. Basel.
  • Khunrath, H. (1609). Amphitheatrum sapientiae aeternae solius verae: Christiano-Kabalisticum, divino-magicum, nec non physico-chymicum, tertriunum, catholicon. Hanau.
  • Manget, J.-J., ed. (1702). Bibliotheca chemica curiosa, seu rerum ad alchemiam pertinentium thesaurus instructissimus. Geneva: Chouet.
  • Ripley, G. (1591). The Compound of Alchymy. London: Thomas Orwin.
  • Zetzner, L., ed. (1659–1661). Theatrum Chemicum, praecipuos selectorum auctorum tractatus de chemiae et lapidis philosophici antiquitate, veritate, iure, praestantia et operationibus, continens, 6 vols.. Strasbourg.

Secondary sources

Further reading