The way alchemy works in FMA doesnât resemble the way real-life alchemy is or was supposed to work, however, FMA is still packed full of references to real-life alchemy. The most obvious one is Hohenheimâs name, but there are plenty more! (Ed and Al also share their names with real-life famous occultists, Edward Kelly and Alphonse Constant (Eliphas Levi), but this might be a coincidence.)Â
It is probably no accident that Edâs color scheme is black, white, and red. The three main stages of alchemy are names the nigredo, the albedo, and the rubedo. Nigredo, the black stage, is when the matter of the Stone âdiesâ and putrefies, representing spiritual death. Albedo, the white stage, is when the matter of the Stone is washed, boiled, and turns to vapor, which condenses back into water, and the cycle repeats. This represents spiritual ascension and unification with the divine. Finally, during the rubedo, this âvolatileâ matter becomes âfixed,â crystallizing into the Philosopherâs Stone. Ed also has gold hair and eyes, which is fairly self-explanatory. Gold is a metaphor for the state of spiritual perfection.
The âFlamelâ symbol of a serpent nailed to a cross thatâs on the back of Edâs coat, painted on Alâs pauldron, and tattooed on Izumiâs chest is the âcrucified serpent,â which actually does come from Nicolas Flamel. It represents the completion of the Great Work, the union of the fixed and volatile, the mercurial serpent physically nailed down to the cross with its four arms representing the Four Elements (with Quintessence in the center) and the reconciliation of polarities. It also demonstrates the death and mortification of the old body that is necessary for the Philosopherâs Stone to be reborn:
The wings at the top of FMAâs âFlamelâ is probably meant to represent Mercuryâs Caduceus, and maybe also the resurrection of the snake. The crown references the âKingâ that is a metaphor for the Philosopherâs Stone. The Flamel symbol also bears resemblance to the Staff of Asclepius, which represents medicine in the real world.
Another example is the âGreen Lionâ on the flag of Amestris that acts a symbol of the military and is referenced a few other times:
In real alchemy, the âGreen Lionâ is a symbol of antimony ore and represents the Philosopherâs Stone in its âimperfectâ state, before itâs been purified. The Green Lion eats the Sun (representing perfection and Gold), causing a solar eclipse, representing the nigredo (death), the first stage of the Great Work. Amestris was created for almost exactly that reason, and it is far from âpurified,â with corruption running deep into its core.
The image of the lion eating the sun appears in the show, when Ed and Ling are in Gluttonyâs stomach:
Thereâs also the transmutation circle itself, which looks so realistic, I actually thought it was real when I first saw it online:
Hereâs a real magic circle:
Real magic circles are from ceremonial magic, not alchemy, but the text around the outside of the Human Transmutation Circle does reference alchemy. The âpeacockâs feathers,â the spotted panther and the green lion (as previously mentioned), the progression of black, gray, white, and red, all are metaphors for chemical reactions that are supposed to take place in an ideal alchemical procedure.
Some of the more complicated transmutation circles that appear throughout the show are also based on real designs from manuscripts. Thereâs this design on the wall of the Fifth Laboratory:
Here we see the Sun and Moon (more on that in a minute) and three symbols of Mercury, which represent their unification. This looked very realistic, so I did some searching and this is what I found:
Itâs not exactly the same, but itâs clearly an image from an alchemical manuscript, and itâs very similar.
The designs on Ed and Alâs doors are real. The design on Edâs door is the Kabbalistic Tree of Life as depicted by Robert Fludd in his seventeenth-century book Utriusque Cosmi:
The design on Alâs door comes from an alchemical manuscript called The Marrow of Alchemy by George Ripley (as in, the Ripley Scroll). It depicts the alchemical process:
I havenât managed to find where the design on Mustangâs gate comes from, but I wouldnât be surprised if that one was real, too.
One more thing I want to draw attention to is this dialogue between child-Ed and child-Al in âHe Who Would Swallow God.â
Edward: âThe Sun is male, representing masculinity.â
Alphonse: âThe Moon is female, representing femininity.â
Edward: âWhen the Sun and the Moon overlap, then the two genders become one.â
Alphonse: âIn other words, the union represents a perfect being.â
The Sun and Moon are kind of a big deal in alchemy, and they are associated with maleness and femaleness respectively. Their role in real alchemy is as the metaphorical âparentsâ of the androgynous Philosopherâs Stone, the perfect being:
The Sun is its father, the moon its mother,
the wind hath carried it in its belly, the earth is its nurse.
The father of all perfection in the whole world is here.
Through the âchemical weddingâ of the Sun and Moon (sulfur and mercury), the Philosopherâs Stone is produced. I actually didnât consider that a solar eclipse might be a symbol of the chemical wedding, until Ed and Al explicitly pointed it out in that episode. Thatâs not what an eclipse traditionally represents in alchemy (thatâs the Green Lion swallowing the sun, the nigredo and dark night of the soul that follows the first chemical wedding), but I still think it makes sense.Â
(An image of the Chemical Wedding itself actually appears on the door to the exam room in the 2003 anime.)
Alchemy in FMA mostly doesnât resemble real alchemy beyond those references. Real alchemy isnât equivalent exchange â changing something into something else of equal value â but rather, metamorphosing something into a more improved version of itself. Theoretically, this would be turning âleadâ into âgold,â the most base form of metal into the most perfect form of metal (as was believed). But real alchemy isnât about chemicals, and it never really was. Real alchemy is a spiritual process, meant to transmute the soul from its âbaseâ human state into a âperfectâ spiritual state. The way to do this is to separate out the âsubtleâ from the âgross,â i.e. the higher spiritual self from the mundane and earthly human self, and then joining them back together so that the spiritual self purifies the mundane self. This is summarized by the Latin phrase âsolve et coagula,â to dissolve and to congeal, or alternately, to separate and to bring together. FMA parallels this with its two parts of alchemy being deconstruction (solve) and reconstruction (coagula). Therefore, the character whose goals and motivations come the closest to those of real alchemists is⌠believe it or not⌠Father.
What Father wants, or at least what he says he wants, is knowledge. He wants all the knowledge in the universe. Thatâs what most occultists want, actually. Most occultists want to either merge with or become alike to God, although they all have different theories and methods of doing that. In FMA, the Philosopherâs Stone is an alchemical catalyst powered by human souls, but in real life, the Philosopherâs Stone is (long story short) a metaphor for the perfect being that Father wants to become. The real Philosopherâs Stone is a being that is a perfect balance of male and female, sun and moon, dark and light, human and divine. It is therefore whole and complete. As I understand it, a person who has become the Philosopherâs Stone can, theoretically, have the power and knowledge of a god whilst still being able to live on earth as a human.
By this means you shall have the glory of the whole world and thereby all obscurity shall fly from you.
Its force is above all force,
for it vanquishes every subtle thing and penetrates every solid thing.
So was the world created.
Fatherâs âperfectâ form is a perverse version of this ideal.
(This form gives me some very confusing emotions.)
âAs above, so belowâ is the Hermetic Principle of Correspondence, the closest thing to a real Law of Equivalent Exchange â it is the idea that the Macrocosm (God, the Universe, Truth) reflects the microcosm (humanity), and that by affecting one, you affect the other. The goal of the alchemist is to become the Philosopherâs Stone, the place where Human and Divine meet and become one thing.
I canât believe it took me until now to see âAs above, so belowâ represented here. Even the episodeâs title makes that obvious! But despite that blatant symbolism, there is no healthy convergence of divine and human here. Many occultists believe in something called âego death,â which I used to think meant losing oneâs individuality, which sounded a lot like being trapped in a homunculus with a torrent of other screaming souls. Only now, after watching this show, do I understand what âego deathâ really means. This scene is pure ego on Fatherâs part:
HEAR ME GOD! I DEMAND YOU ANSWER THE CRY OF MY SOUL! COME TO ME! JOIN ME! YES, I WILL NO LONGER BE BOUND TO YOU OR YOUR CONSEQUENCES! IâLL FORCE YOU DOWN TO THIS EARTH AND INTO MY BOWELS! YOU HAVE NO CHOICE BUT TO BE ABSORBED!
ââEye of Heaven, Gateway of Earth.â
This isnât a genuine attempt to understand God, this is just an inferiority-superiority complex. Father doesnât care to understand anything about God. All he cares about is himself, and acquiring power for himself. Power is all heâs after, to assuage his inferiority complex. And thereâs nothing inherently wrong with wanting power (e.g. Mustang), but godlike power to command the universe is a byproduct of having properly completed the alchemical process and become the Philosopherâs Stone. It is not the end in and of itself. âEgoâ isnât having a sense of self, itâs the inability to understand the spiritual. Itâs viewing everything in a mundane lens, having all your motivations be ultimately small and petty, no matter how grand the spectacle. Itâs wanting power or glory or whatnot just to make yourself feel better, but not having the self-awareness to actually admit that. The first stage of the alchemical process is nigredo, death â watching your old self die away so that it can be reborn as a better version of itself. Father never understands this, and The Truth says as much.
The Truth is a personification of the Hermetic Principle of Mentalism:
Who am I? One name you might have for me is The World. Or you might call me The Universe. Or perhaps âGod.â Or perhaps âThe Truth.â I am All, and I am One. So of course, this also means that I am you.
Thatâs basically it right there. God is All. All is God.
The reason why the Homunculus never grew beyond his days in the flask is because, despite wanting to acquire knowledge, he never actually learned anything. Trying to drag God down to Earth is sheer hubris, not because Earth is too far beneath it, but for the opposite reason â it can come down to Earth whenever it likes. It is everywhere and everything. And the Homunculus never did any of the introspective work needed to find God within himself. He tried to separate out (solve) his perceived âflawsâ (the Seven Deadly Sins, i.e. the other homunculi) but did not reintegrate them back into himself (coagula), thus only completing half the alchemical process. He is neither human, nor divine, he only steals Hohenheimâs human shape and Truthâs divine power. He never broadened his thinking or improved himself mentally/spiritually, and thus canât become alike to God. He never became more than what he is, the dwarf in the flask, and thus his Gate is blank.
Edward, by contrast, loses almost everything in attempting human transmutation (nigredo), and then accepts his own humanity at the gate of Truth (albedo), losing the ability to perform alchemy but becoming a better version of himself (rubedo) â thus, completing the alchemical process. In the end, heâs free, which is all Father wanted to be. He acknowledges that you donât have to use alchemy or whatnot to become more than you are, because who you are is enough.
Thus, Edward becomes the best version of himself, which is what real alchemists aspired to be. Heâs completed the Great Work, and therefore has no need for alchemy anymore. âThat is the correct answer, alchemist!â
