The descent of Inanna – Part 2

If you’d rather listen than read

Part 2 – The indignation of Erishkigal

In part one, I explored the myth ‘The Descent of Inanna’ as I studied it for transformation. However, for this posting I want to focus on Inanna’s sister – Erishkigal, the queen of the underworld. In the Inanna myth, I wondered why Erishkigal was so insulted and aggressive toward her sister, so I looked at her side of the story. Erishkigal’s story contains the same events as Inanna’s Descent but with the larger context – it becomes a different story.

It is interesting to me while researching for this piece, I read descriptions of Inanna’s motive for descent as varied as that she descended to try to steal her sister’s power and domain in a time of weakness (Erishkigal was recently widowed and pregnant) to that she was a caring sister, risking her very life to comfort her sister and give respect to her brother-in-law. The second could be why Inanna told herself she descended to the underworld but context shows that Inanna is neither a caring sister or respectful sister-in-law.

The Epic of Gilgamesh and the backstory of Inanna’s descent

In The Epic of Gilgamesh, another Sumerian myth from ancient Mesopotamia, Inanna becomes romantically interested in the hero, Gilgamesh and pursues him.

Gilgamesh refuses Inanna’s advances because he doesn’t want to be her next ex love interest. She was infamous for her love them and leave them ways (and also for being cruel and vindictive).

Inanna does not take the rejection or criticism well and she goes to her dad to seek punishment for Gilgamesh’s unkind words. She wants her father to send the Bull of Heaven (Erishkigal’s husband) to kill Gilgamesh for insulting her. Inanna’s father does not have sympathy for her, but instead agrees with Gilgamesh’s assessment of Inanna’s actions towards her exes and tells her Gilgamesh said nothing but the truth.

Inanna does NOT like it when she doesn’t get her way. Inanna basically throws a tantrum where she threatens her dad with opening the gates of the underworld and unleashing the dead on earth to cause chaos and destroy everything if he doesn’t do what she wants and punish Gilgamesh … so he sends the Bull of Heaven to kill Gilgamesh. By the way, controlling the gates is Erishkigal’s job – not Inanna’s (no respect at all!)

When the Bull arrives on earth, his foot stomps are so great that the first opens the earth and kills 100 men and the second kills 200. He battles Gilgamesh and G’s friend, Enkidu and Enkidu kills the Bull of Heaven (Erishkigal’s husband). When Inanna arrives Enkidu insults Inanna and throws a piece of the bull’s leg at her. She has him punished for the insult through sickness and death (for the insult to her not for killing her brother-in-law).

So what does Inanna do after she has 301 men and her sister’s husband killed? She decides to go to the funeral and descend into the underworld. This gives us perspective now on why Erishkigal is angry at Inanna.

Erishkigal is in mourning for her husband, she is in the later stages of pregnancy, and her sister who is responsible for her husband’s death shows up at her door dressed in all of her finest, most regal and seductive embellishments – now I understand why:

‘When Erishkigal heard this,
She slapped her thigh and bit her lip.
She took the matter into her heart and dwelt on it.’

Erishkigal is indignant – she does not welcome Inanna as a sister because Inanna is the reason for the funeral and has the audacity to not only show her face but pridefully so with a crown, jewelry, and perfumes – not the appearance of remorse.

The rest of the myth is the same, Erishkigal has her sister stripped of her finery, bowed low, and unleashes her judgement on her. Inanna is reduced to a corpse which Erishkigal hangs on a hook and leaves.

Erishkigal does not dwell on Inanna. She punishes her and leaves her and goes about her life. When she goes into labor, the creatures sent by their grandfather to aid Inanna, comfort her and she rewards them. That’s it for Erishkigal’s involvement with Inanna. She is not angry at the creatures’ motives or that Inanna is released. The judges from the underworld do not want to release Inanna. Erishkigal is not mentioned again in the poem until the last two lines.

‘Holy Erishkigal! Great is your renown.

Holy Erishkigal! I sing your praises!’

The poem ends with Inanna placing her husband and sister-in-law into her sisters’ domain to pay for her actions and Erishkigal being praised.

So 300 unknown men, a brave warrior, Inanna’s brother-in-law, lover, and sister-in-law are all dead (or partly so) because Inanna was insulted by Gilgamesh and what does Erishkigal do? Nothing. She has her baby, pays her debt to the creatures, and handles her domain.

She does not pity herself. She does not seek further revenge on her sister or demand her return. She is in control of herself and does not let her sister’s nonsense effect her beyond when she is forced to directly deal with her. It’s not fair that Inanna goes unpunished and gets her way. It’s not fair that Erishkigal is denied her rightful wrath. But Erishkigal is a queen and above that petty trash. She takes care of her sister’s fallout and rules her domain. She knows life isn’t fair but she also knows her own responsibilities and power and lives her best life no matter what Inanna decides do.

Descent of Inanna tablet

Thanksgiving history

Interesting stuff I learned this morning about thanksgiving:
The ‘original thanksgiving’ between European pilgrims and their Native allies was not ever called thanksgiving or commemorated until much later.
It was a three-day feast of celebration and gratitude that later became associated with the national holiday thanksgiving. This version is sensitive because it often glorifies the moment of harmony before the century of violence that followed. But that’s not how thanksgiving originated and up until this morning, I did not know that.

Thanksgiving, as we know it, was declared by Abraham Lincoln after a 40-year campaign by a woman named Sarah Josepha Hale.
She is very interesting and I want to know even more about her but… it also seems that George Washington declared a day of thanksgiving before Lincoln but his thanksgiving was in February. Washington wanted to celebrate the new nation and dedicate thanks to God for our blessings. A bit of the spirit that has carried on but it wasn’t a nationally recognized holiday.
It wasn’t until the Civil War that the 4th Thursday of November was dedicated as a day to set aside and give thanks by Abraham Lincoln.
It seems that an influential woman named Sarah Josepha Hale, a ‘Martha Stewart’ of her day – editor, writer, mother, and social activist (she wrote Mary had a Little Lamb) – Sarah had been campaigning for a national day of Thanksgiving. It should be noted that she was also a Northerner and abolitionist.
As a writer and activist Sarah successfully got 30 states to celebrate the holiday by 1854. She wrote president Lincoln and Secretary of State William Seward to urge them to proclaim the national holiday as a permanent holiday as a way to heal the nation from the wounds of the Civil War in 1863.
It was of mixed success. As a Northern abolitionist that was very vocal and very ‘Yankee’ Hale and the unionist president Lincoln were not the people many southerners wanted to be told to celebrate and give thanks.
For the victorious North, there was much to be thankful for but like Erishkigal and Inanna – for the South – there were hurt feelings and some bitterness towards their northern neighbors. In fact, Texas governor O.M. Roberts refused to recognize the ‘damned Yankee institution’ of thanksgiving from 1879-1882. He also was against the holiday as it mixed religion with government.
Pumpkins and pumpkin pies also became symbols of Yankee thanksgiving which may be why sweet potato and buttermilk are also so popular with the southern states. Me, I’m a Californian, I’d rather have guacamole 🥑

The Descent of Inanna – Part 1

Inanna’s journey into the underworld as it relates to transformative growth

In case you’d rather listen than read.

The Descent of Inanna is a Sumerian poem from over 3,500 years ago that tells the story of Inanna’s journey into her sister’s domain – the underworld. When I first encountered and studied this myth, it was in the context of my dissertation on transformative literacy. The myth was crucial for me in a time when I felt lost and needed to know how to move forward and create a new identity.

Inanna – Queen of Heaven and Earth

As I mentioned, my original research with Inanna was focused towards my work on transformative literacy (for more on this – check out my dissertation link). For this reason, the work I did was deep, but not wide – meaning I went very deep into the focus but did not look into different interpretations or for wider context for the poem. Part 1, this part of the writings on this poem is dedicated to that original, simpler research of the heroine, Inanna. With this research, I will discuss how Inanna is a representation of transformative growth and becoming a “whole person.”

The poem opens with the following lines:

“From the Great Above she opened her ear to the Great Below.
From the Great Above the goddess opened her ear to the Great Below.
From the Great Above Inanna opened her ear to the Great Below.
My Lady abandoned heaven and earth to descend to the underworld.
Inanna abandoned heaven and earth to descend to the underworld.”

For the complete translation of the epic poem click the link below: http://people.uncw.edu/deagona/myth/Descent%20Of%20Inanna.pdf

At first glance, it appears the first three lines are a repetition, but when looked at more closely – it is seen that they go from general to specific.

From the Great above (she, the goddess, Inanna) opened her ear to the Great Below.

Individuation (becoming whole) is initiated by an individual seeking to define themselves and find their place in the world. Transformation is constant, but transformative growth begins with breaking down and creating definition. The first three lines, and then the next two lines help us to understand who Inanna is; they define the central character and action she will take in the story. The Great Above is earth – Inanna’s domain and the Great Below is the underworld – her sister’s domain and the place where none return.

The most important lesson I learned from Inanna was to prepare and the second most important lesson is to have people you can trust and be willing to rely on them. Before Inanna makes her descent into the underworld, she calls her trusted assistant and friend, Ninshubur. Inanna tells Ninshubur of her plan to enter the underworld and gives her instructions of what to do if Inanna does not return. (I won’t detail the plans since it will be revealed as Ninshubur follows the plans later in the poem).

It is only after Inanna makes the necessary plans to secure a return, that she gets all dressed up and leaves her earthly temples to visit her recently widowed sister Erishkigal in the underworld. She intends to attend the funeral for her brother-in-law, the Bull of Heaven, and see her sister.

When Inanna arrives at the gates to the underworld, this is how she appears:

As tall as heaven and as wide as the earth.

On her head she wears the shurgarra, the crown of the steppe.
Across her forehead her dark locks of hair are carefully arranged.
Around her neck she wears the small lapis beads.
At her breast she wears the double strand of beads.
Her body is wrapped in the royal robe.
Her eyes are daubed with the ointment “let him come, let him come.”
Around her chest she wears the breast plate called “come, man, come!”
On her wrist she wears the gold ring.
In her hand she carries the lapis measuring rod and line.”

When Erishkigal hears that her sister is there to visit her in her finery, she is not pleased and she instructs the gate keeper to close the seven gates and allow Inanna to enter each gate, one at a time. At each gate, Inanna is to be stripped of one of the items she is wearing (each colored line represents one of the items that was removed) and not until she is completely stripped and humbled will she be allowed entrance.

The dark and light goddesses unite

This part is all a bit severe when looked at in the context of the poem alone. My research explained that Inanna is the light side and Erishkigal is the dark – that what benefits Inanna usually hurts Erishkigal and it is for this reason that Erishkigal is angry. However, the research also had other interpretations – like Inanna represented the conscious, known self that is metaphorically diving into her unconscious where she faces her inner demons to become a more complete and better version of herself. I don’t know what it really means or represents at this point – I just know Erishkigal makes her sister humble before she will see her and when she does see her, she unleashes her judgement and wrath and turns her into a disgusting piece of rotting meat which she then leaves to hang on a hook. HARSH!

At the time, the way I understood this part of the story is that it represented how when you face your inner self – it’s often painful and humbling because there are things we bury because we don’t want to face them or admit that they are a part of ourselves. When you are honest with yourself (really honest) and see yourself for your weaknesses and faults – you can become crushed by the shame, crushed by regret, or simply just crushed and feel like your insides are ripped out until you are nothing but meat – rotting away on a hook. (I was going through a painful time in my life and the image of rotting meat on a hook related heavily to how I felt inside.)

Inanna would have stayed on the hook if it had not been for planning and the loyalty of Ninshubur to follow through with Inanna’s plans.

After three days, when Inanna did not return, Ninshubur openly went into mourning (as instructed), but also began to aid Inanna in her return. Ninshubur goes to Inanna’s father, then grandfather, and finally to her other grandfather seeking assistance for bringing Inanna out of the underworld. The first two refuse to help Inanna and say that she basically got what she deserved (again HARSH), but the third has sympathy for Inanna and sends two creatures to Erishkigal. He instructs the creatures with how to bring Inanna back to life and back to her place on earth.

When the beings find Erishkigal, she is alone and in labor with a child from her recently deceased husband. Erishkigal moans with pain and the beings moan with her in sympathy, she cries in pain, and the beings cry with her. In this way, by being present and showing empathy for Erishkigal, the beings eased her suffering and gave her some solace in a difficult time. For their actions, Erishkigal grants them anything they ask for – which of course, they ask for the rotting corpse of Inanna, as instructed.

Once the little creatures get Inanna’s corpse, they sprinkle the water and food of life on her and she is again Inanna and has the ability to return home. But it isn’t that simple – Inanna can’t just leave – Inanna was judged and sentenced, she can’t just leave without payment – Inanna is allowed to go but she has to send someone to take her place in the underworld.

With my research at the time, I saw this story as transformation – Inanna is stripped (broken down and defined), she faces challenges and reaches a final “rock bottom,” and then she rises after a final struggle and triumph but she is different because she has demons with her – these demons are called gallas.

When I went through my difficult time, I felt stripped of my identity, stripped of the things I held dear, stripped of my possessions, my security, and basically I felt like I had lost my life. Believe me, it was painful and I felt the full weight of my judgements on my self, I felt shame and regret. I was angry and hurt, but when I didn’t feel pain, confusion, loss, and millions of other feeling I associated with Inanna’s experience to becoming a corpse on a hook, deep down, I had faith and I actually felt a bit of relief at being fully stripped and taken to my lowest point – I knew I would be like Inanna and rise again. I knew it had to get better – it really couldn’t get worse, could it?

Inanna rose – with her gallas. She met Ninshubur who cried with joy to see Inanna. The gallas were hungry – like when we have suffered, we often feel the need to unleash the pain. The gallas wanted to take Ninshubur into the underworld in Inanna’s place and Inanna refused.

Inanna next meets her son, then another son, and finally her beautician – all three were in mourning at Inanna’s death and rejoice when they see her. The gallas want to take them in Inanna’s place and Inanna refuses again and again because they are loyal.

Finally, Inanna sees her lover Dumuzi. Dumuzi is not in mourning, on the contrary – he is dressed finely and seated upon his throne. Inanna takes one look at him and her gallas descend on him. She not only returns from the underworld, she is more powerful than before because she uses her gallas (her experience) not to harm just anyone around her, but she guides them to punish the one that is disloyal to her. She is not controlled by her gallas – she controls them and aims them at her lover.

I wanted to be like Inanna – I wanted my pain, my experiences to give me strength, and to do that, I needed to learn control. From Inanna, I learned how to take something painful and through planning, help from others, and some hard work – it is possible to rise and return with more strength and power.

Thank you for reading – please leave me your feedback – I look forward to reading what you think.

Part 2 will look at the poem in the larger cultural context that includes the story – The Epic of Gilgamesh.

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Transmuted interpretations

The elements in the crucible of the classroom combine in a specific way to transform my base comprehension of alchemy into something precious, something new; new interpretations for alchemy. The transmutation of knowledge was as deliberate as any alchemist in a lab mixing elements to transform metals with both students and teacher as alchemists attempting to create something of value. The purpose of this paper is two part. First, to introduce and validate organic and intellectual alchemy by showing the similarities with traditional alchemy. Next, I will attempt to demonstrate that while the similarities within these interpretations are how I relate to alchemy, the differences in value, personal cost, and availability of both creation and elements is what defines that value and ultimately, these versions of alchemy as transmutations, not replications of alchemy.

At first, I had a great aversion to the study of alchemy. It was very foreign to me and the idea of taking something and attempting to change it into something better bothered me. Also, I am a lover of nature and I mistakenly thought that to accept alchemy was to betray nature. I had the idea that to embrace alchemy, one had to concede that synthetic could equal or transcend nature. So, while I acknowledged that great things had been accomplished through the alchemist’s attempts to recreate or improve nature, I was still uncomfortable with the idea of attempting to transcend nature. Not to mention the idea of individuals spending all of their time and wealth trying to find a way to get more time and wealth seemed ridiculous to me. Alchemy seemed so remote and slightly ridiculous to me until our third class session when we listened to Judy Collins sing William Yeats’ poem “The Song of Wandering Aegeus,” talked about James Joyce’s “Finnegan’s Way,” and Dr. Evans Smith discussed the idea of the artist as an alchemist. All of a sudden, this topic which seemed so foreign took on a whole new meaning and became relatable. Alchemy isn’t just a quest for everlasting life or how to make gold, it can be about change and creation.

Suddenly, I could relate to alchemy. I enjoy art and while I am not by any means an artist, the idea of transforming colors or raw materials into something better, something beautiful is familiar to me unlike the mixing of metals. The attempt of art is to take raw materials and create something of value is like the alchemist taking base metals and mixing them in different combinations to solve the mystery of the puzzle to make gold. Affecting change on the canvas or on a lump of clay and creating something of value can be argued to be a form of alchemy. To differentiate this form of alchemy, I will call it organic alchemy because even though it is deliberate; it is not the traditional alchemy of crucibles and laboratories. To take the idea of organic alchemy a step further, I found I could relate to organic alchemy through my role as a parent.

The alchemical process didn’t stop there with my understanding of and relating to alchemy. From traditional alchemy to organic alchemy, I thought I should also include what I will call intellectual alchemy. While an artist affects physical change on raw materials, so too does an author take mere words and create whole new worlds. This change happens within the mind, it is not a physical creation like with traditional and organic alchemy but it is a conscious attempt to change and create. Authors aren’t the only people to practice intellectual alchemy, I will show that teachers are intellectual alchemists, and we use selected materials to create knowledge and understanding within a specific topic.

The concept of organic alchemy became relatable through my misinterpretation of the William Yeats’ poem “The Song of Wandering Aengus” and because of the name of the character from “Finnegan’s Way.” I like to call it a miss-interpretation because I saw the poem through the female lens, specifically through the lens of motherhood. It may have been because it was sung by a female or because I have recently become a mother to a little girl or most likely, both of these elements come into play. While the poem is a love poem of a man to a woman, I read it as a poem from mother to daughter. In this reading, the mother is the organic alchemist and her precious creation is her child. Like an alchemist, so engrossed in their pursuit for gold, this misinterpretation was so powerful and resonating with me, I did not even stop to think of any other interpretation until I started to do research. I do know this was not Yeats’ meaning when writing this poem but the alchemical process from adding this poem, having it sung so beautifully by Judy Collins and heating it in the crucible of my mind made this interpretation of the poem and alchemy. Here is my miss-interpretation of the poem as it relates to organic alchemy and parenting:

“I WENT out to the hazel wood,

Because a fire was in my head,”

Here we have a deliberate capitalization of the word WENT, the act is deliberate, it is the authors decision to actively make a change. To start the change, “she” goes out into the hazel woods, hazel is associated with creativity. The author wants to make a change through creation and the fire in the head is how the crucible gets heated. Here it is like parenting since it is with the deliberate act of trying to have a child, the parent thinks they will create something more precious than gold and better than themselves.

“And cut and peeled a hazel wand,

And hooked a berry to a thread;”

Here the interpretation is purely personal. Fishing and especially by using a stick and berry makes me think of fishing with my grandfather as a child and fishing with my son now. He taught me to value simple things, like a homemade fishing pole and we always fished with salmon eggs which are small, red and round and look like little berries. He instilled in me a love of fishing and an appreciation of nature as a small child and I hope to do that for my children and grandchildren. It makes me think of so many generations constantly trying to create something better than themselves.

“And when white moths were on the wing,

And moth-like stars were flickering out,”

The moths are out so it is still dark outside and they are white, pure and new. The next line with moth-like stars flickering out actually indicates that it is during a time of transition from night to early morning, the beginning of a new day. This relates to the beginning of the alchemical process of creation.

“I dropped the berry in a stream

And caught a little silver trout.”

Since the berry makes me think of fishing with salmon eggs it makes sense that these lines relates to biology of creating a child. The egg that the author drops into the stream is her own and the stream which represents the father’s contribution also represents change because it is always moving. It isn’t just putting these two elements together that creates the new precious material it is putting them with something that combines and changes. The trout is the child and like a little silver trout, a small baby is slippery and wriggly when it is pulled from the stream, the place where the elements combined and transformed or born.

“When I had laid it on the floor

I went to blow the fire a-flame,”

Here it the author lays the creation on the floor and goes to the work of getting the fire started. I live in the mountains and our primary source of heat is a wood stove so I often set my daughter on the floor with some toys and make a fire for us. To me, these lines represent how quickly the time goes by as a parent, people often say it’s like they blinked and the child had grown. Which is represented in the next six heartbreaking lines, the moment you turn your back the child is grown and speaking your name. Then she is a glimmering girl who calls your name, she is has a blossom in her hair so she is already a child. Next she calls your name and runs and fades away through the brightening air. Children as they grow naturally pull away from their parents and eventually move away and create their own life and family and into the brightness of the future.

“But something rustled on the floor,

And some one called me by my name:

It had become a glimmering girl

With apple blossom in her hair

Who called me by my name and ran

And faded through the brightening air.”

I could not accept the interpretation of the author’s daughter growing to the point that she fades away into the future but that was reconciled through the next six lines:

“Though I am old with wandering

Through hollow lands and hilly lands,

I will find out where she has gone,

And kiss her lips and take her hands;

And walk among long dappled grass,

And pluck till time and times are done”

The author says if this separation from her daughter were to occur to she would wander the earth to find her and kiss her lips and take her hands and walk with her until time and times are done – how breathtaking is that? I see no comment is needed on these lines, they stand so beautifully on their own.

‘The silver apples of the moon,

The golden apples of the sun.”

The last two lines I interpreted as showing that this poem is both personal and universal. An apple is literally a fruit, the product of the parent. It is also round and contains the seeds for the future, a continuation of life through the generations, an attempt to have a part live on forever. Silver and moon represent the female and the golden and sun represent the male. I saw two possible interpretations for the male and female. The surface interpretation that they represent the parents that created the child but it could also be showing that this poem and its sentiments are universal. Since the apples are the fruit that will transform and holds the future then they are the children so this poem relates to how mothers feel to all their children, their silver daughters and golden sons, precious metals and precious creations. This is organic alchemy, a deliberate transformation of two base elements to create something precious.

Sometimes as with alchemy when the elements mix, they do not make a better creation. There are sometimes problems like mental illness which was the case for James Joyce and his daughter, the writer of “Finnegan’s Way.” As pointed out in the lecture in class, Joyce may have intentionally named his character Nuvoluccia to try to transform his daughter through a different kind of alchemy. Intellectual alchemy, changing something through the mind, he remade his daughter Luccia without the schizophrenia as the New Luccia. The artist as an alchemist. Parenting is also so much more than the organic alchemy of creating through the combining of elements, it is also very much a long process of intellectual alchemy. The parent is like an alchemist toiling away for endless hours, often into the middle of the night to effect the transformation from themselves into something better. They try many different elements to effect change in order for the child to transform and improve. This is also like teaching.

The teacher is an intellectual alchemist. They take a selection of elements and combine them into something new and valuable. Had Dr. Smith not combined the exact elements of the poem, the song, and the interpretation of the artist as alchemist, I would not have made such a lasting personal connection to alchemy, which to me is gold. A transformation occurred intellectually that was purely intellectual but it was a combination of elements that created something new and better. The thing that is beautiful about intellectual alchemy is the ability for it to be shared with many people at once. For each student, there is a different creation based on what they bring to the crucible classroom. Each element is necessary for that exact transformation because they each add something to the mix so it is like a recipe in alchemy, attempting to mix the elements for something precious. The teacher like the alchemist toils away night and day over the betterment of their recipes and creations, always striving to improve their lessons and products they create. They also have to choose between the many elements of texts to assign and materials to be included and left out. The teacher, like the alchemist, has an endless combination of elements to experiment and attempt to make a precious creation. The creation of something precious, gold and silver apples.

This leads us to value, how do we determine what is precious and how does availability of creation and elements transform value within the three methods of alchemy, traditional, organic, and intellectual. First to look at what is valued, what is the precious creation the alchemist is pursuing and what elements does the alchemist implement in that pursuit. Next by looking at the availability of the elements and products and how this defines value within each form and inevitably separates each practice of alchemy.

In traditional alchemy there are two primary pursuits, gold and endless life. Both of these are limited which gives them high value. They also both have attractive qualities that give them obvious desirability. Gold equaled wealth and to possess gold was to have wealth which represented comfort, stability, protection, and power. Who doesn’t want all of that? The problem is that if gold could be created, it would no longer be limited. In this case, success in the creation of the precious metal would devalue the gold because it would no longer be limited. The same applies to the other quest in traditional alchemy, life. Part of what makes life so valued is that it is limited. We cherish the time we have specifically because we don’t know how much we have but we do know it is limited.

The elements used to pursue these precious creations are unlimited. Alchemists used combinations of metals, in different amounts, using different shaped crucibles with various heats to attempt to create gold. They used elements from nature and basically any combination they suspected could lead to the universal elixir. The elements for creating the precious goal had an unlimited supply because there were endless combinations. Compared to the goal, the elements have little value but many alchemists spent fortunes chasing the precious outcomes. The personal cost was high even if the elements are unlimited, the acquirement of the elements and the necessary equipment came at a large cost. The cost was not important to the alchemist because the goal was so valuable and to achieve it was worth the great cost. To give an example of personal cost and value, I will relate my current situation.

As I write this, I have my six-month-old daughter sleeping on my lap. It isn’t ideal but it is limited. While it would be easier if I could put her in her bed and type more comfortably, her desire to be with me is endearing. Part of me enjoys holding her as I write. I know that it won’t be forever that she will be sleeping on my lap. Too soon she will be the small girl with an apple blossom in her hair. Because it is limited, I embrace it and enjoy what I can but if it was endless it would lose value. As pretty as it may sound in poetry, if I were actually to hold her all the time until the end of time, it would lose the endearing quality. The ability to endure through the personal costs like back pain and difficulty doing most any task is due to the fact that it will not last forever. It is for only a short time so while it can at times be difficult, it is something of high value. If it was to be endless, it would lose value. Time with children is especially limited, they are growing and becoming more independent progressively through time. This gives childhood and children value because it has defined limits that can only be kept by transforming them into intellectual creations through memory.

For organic alchemy, specifically parenting, the elements are limited and as a consequence, so is the creation. For women, the limitations and personal cost are much higher so motherhood often has higher value in many societies. In American society, parenthood and the creation of a family is the highly sought after quest of many unsuspecting organic alchemists. They desire to create something new and better by using the elements of self and partner which makes them organic alchemists. Art is organic alchemy and parenting is part organic, part intellectual alchemy.

Intellectual alchemy differs from the first two interpretations of alchemy because it does not produce a tangible product. An author may write their words on a page, transmuting them into something that exists within the world but the actual process of creation in writing is purely intellectual. Teaching can also be a form of intellectual alchemy with the goal of transmutation of knowledge. Besides not having a tangible precious creation, intellectual alchemy has the added distinction of multiple alchemists. I would argue that both the teachers and the students are the alchemists and the elements. The teacher is the head alchemist, the one that chooses the elements to include in the lesson but the students are also working toward the goal of acquiring knowledge and understanding. Intellectual alchemy is unique since it requires at least two alchemists and the transmutation which occurs in the minds of the alchemists.

Knowledge while not tangible, is highly valued. The elements used to create it are endless but at the same time, limited. The teacher as an alchemist has a wide assortment of materials for the procurement of knowledge but it is also limited by circumstance. Teachers can only assign so much reading which means with each element they are choosing to add, they are choosing to leave something else behind. Also, each individual brings their own set of elements with experience and interpretation to the material. For each person in the room, knowledge is usually acquired but it is different for eachc individual. Intellectual alchemy is the easiest to successfully practice but the results are never the same. The precious goal in this alchemy is attained and still valued.

This is a major break from the other interpretations of alchemy. Intellectual alchemy increases in value as it is shared. The knowledge created does not lose value from multiplication because it is still precious and unique to each individual. The personal cost of knowledge leads us back to traditional alchemy, time. All of these things cost us time. While science has managed to extend the time we have on this earth, it is still limited and that limitation is unknown to us. Time, our most precious resource which has yet to be produced by the alchemists will remain the common thread to all that is precious because it is the only thing that truly can’t be replaced. It can be transformed into memory and story telling but not duplicated.

 

Works Cited

Smith, Evans Lansing. “The Romanticism to Postmodernism.” Third Session: Alchemy and the Hermetic Tradition. Pacifica Graduate Institute, Carpenteria. 8 Nov. 2014. Lecture.

Yeats, William. “Poetry Archive | Poems.” Poetry Archive | Poems. 1 Jan. 1899. Web. 21 Nov. 2014. <http://www.poetry-archive.com&gt;.

Collins, Judy, and William Yeats. “Judy Collins – Golden Apples of the Sun.” YouTube. 14 Dec. 2009. Web. 21 Nov. 2014. <http://www.youtube.com/watch?v=alIUW_JY03I&gt;.