Since most of the incidents deal with change and transformation, I'd like to collect my thoughts on their nature in one post. So I'll be explaining some ideas on the alchemical processes taking place. First I'll explain a (relatively) simple Tria Prima model, and then I'll try to break down some processes and symbolism we see in the show. This will be really long, like excessively long. Look, I'll throw in some nice alchemy pictures to make it more palatable. Feel free to skip the Tria Prima part if you've been reading my previous theories, I'm not really covering anything new in that.
Transmutations broken down with the Tria Prima
I think the most simple way to view it would be with the Tria Prima. Many of you are probably aware of the Body/Mind/Soul division, and while it's extremely simplistic, it actually works for us here.
From Alchymia complementum (1630)
We have the Body, or the Salt 🜔, which is the core, the physical shell, the metaphorical earth that the change is inflicted upon. In an alchemical transmutation, Salt must first be separated from the volatile components by burning or decomposition, and in the end they are brought back together. In TMAGP, Salt would be the physical, grounded part, such as a human body, a Bonzo suit or a creepy toy. You can think of it as a vessel.
Then we have the Mind, or the Mercury ☿. This is trickier to break down because the alchemists saw it as so many different things, but you can think of it as the essence. Not just the essence of the subject, but of everything. It's the malleable and volatile part of the subject, but it's also the intangible thoughts, concepts and archetypes in the collective unconscious, the metaphorical water or air that flows through everything. It's both the prima materia and the dissolving principle. In TMAGP, this would be the the changing ideas and beliefs around a concept, most recently demonstrated in how Henrich Unheimlich came to be, but you can see it in a lot of the cases. It's why all the supernatural phenomena reflect not only fears but also expectations and other strong feelings. Why the lack of clocks and purpose creates timeless liminal spaces, why the fear and reverence given to Bonzo made him what he is. It's what the Archivist uses as a fuel for its human transmutations and what the Magnus Institute tried to tap into for their Magnum Opus.
And finally we have the Soul, or the Sulphur 🜍, which seems to confuse people the most because of what we usually think of as the "soul". It's not the entirety of a human psyche, just the active, conscious and feeling part. But it's also the soul of all matter, in that it gives them life and allows active change. It's the metaphorical fire. Alchemists thought that Sulphur can be used to coagulate Mercury, to give it form. In TMAGP, Sulphur would be the catalyst that initiates the transmutation. It can be literal fire (like what possibly created Heinrich Unheimlich), or just a metaphorical fire, such as the violent act that gave birth to Bonzo.
From Hermaphroditic Child
There are also clearly two types of transmutations in the show. First we have the active ones, caused by fire or intent. Then we have the passive ones, caused by slow dissolution and characterised by coldness. These mirror the active (Celestial Nitre or Sol) and passive (Celestial Salt or Luna) principles of alchemy. It also evokes solve et coagula, where all matter is constantly dissolved and coagulated. As alluded to before, Mercury is what dissolves and Sulphur is what coagulates, and their purified counterparts in Luna and Sol form a harmonious unity when brought together. Which brings them back to their Salt.
A lot of the cases can be broken down into Salt/Mecury/Sulphur, but it's not an entirely clean model because many of the transmutations go wrong or are incomplete. Next I'll try to break down the actual processes based on some common symbolism and what we're given in the show.
Transmutation stages and common symbolism
For this I'll assume the most basic version of the Great Work, which consists of three stages: nigredo, albedo and rubedo. There are loads of different stages and processes, but they generally fall under these three. The cases in TMAGP rarely involve the entire process, and some are clearer than others.
From Pretiosissimum Donum Dei (1475)
First of all, I've noticed that a lot of these transmutations take place in a sealed vessel of some kind, much like they do in alchemy. This can be anything from a Bonzo suit to a closed Victorian carriage, a coffin, a locked room (such as a prison cell, a lock museum, a room in a reptile emporium, a virtually made zoom call room, the Archivist's office), a closed off liminal space (like a secret garden with no exit, a pier enveloped in fog, a brutalist building trapped in a void), or even a human body (like in Alice's dream, like alnewman's thigh, or like Herr Schmidt's brain).
The stage where matter is broken down, burned or decomposed. Transformation can only occur once the old has been reduced to ashes so that something new can be born from it. Spiritually it involves ego death, stripping down the conscious thought and dissolving into the unconscious. Common symbolism/imagery include death, corpses, skeletons, dismemberment, rot, toads (ie. the decomposing prima materia), crows, ravens, Saturn/lead, darkness/night, indistinguishable black mass (massa confusa), flooding, drowning (especially of the king), eclipse, the green lion (=mercury) swallowing the sun.
From Philosophia Reformata (1622), coloured by Adam McLean
Here are some examples I've found in TMAGP:
Calcination or decomposing matter with heat (either open fire or a more subdued, natural heat). While there are cases with proper fire, heat seems to be the important factor here. In her dream, Alice describes the unbearable heat that envelops her when she's stuck inside her heart. We also get the exterminator at the reptile shop complaining about the heat when she's stuck in the room with an infection (=decomposing flesh), Lady Mowbray's caterer is cooking with high heat when his experience begins, Magnus mentions the unreasonably warm weather when he encounters the carriage, Menke was "sweating buckets" in the Bonzo suit, Mrs. Locke keeps forgetting to get someone to turn the heater off, and so on. Heat is what begins the transmutation process in these cases.
Dissolution into the mercurial waters. This is usually what drowning signifies in the alchemical imagery, and also what I think it signifies in TMAGP. Especially the drowning of the old king, which we're straight up given in the lock museum. Bonus points to the pest control lady who was about to be drowned in snakes, an extremely common symbol for Mercury. We also have the tech review guy speaking about the screen dissolving, and one of the transcripts has an instance of the Archivist dissolving into the wind. (No one can convince me that these word choices are coincidental.) And then we get some dissolving egos. The guy with his cursed dice seems to be losing his identity and starts seeing himself only as an archetype of a stranger who tricks people into rolling the dice, and poor Kyla's ego was dissolved into the emergent mind of Liverpool. We also have several cases of people who get lost in liminal spaces (such as the pier or the service station, even the custodian at Hilltop) and then get their identities dissolved. I don't think it's a coincidence that this happens at liminal locations, which are very aligned with the concept of Mercury. Especially if there's an element of water present. These themes are also usually accompanied by mentions of coldness, which tracks with Mercury's properties being wet and cold.
From Splendor solis, coloured by Adam McLean
Descending or entering a dark space, both of which align with the idea of descending into the collective unconscious or the "dark night of the soul". The darkness is pretty straight-forward. It's the violinist getting lost in the dark woods, Doctor Webber entering the dark garden, Patricia repeatedly talking about being in a dark space/world with her baby. The descent is more incidental, but I'm keeping an eye out for patterns. For example, the old couple had to descend to enter the lock museum, the food critic descended the alleyway to Hungry Man's Grill, a lot of descending into basements. It's a recurring theme but could be meaningless.
Infections or putrefaction, or the literal decomposition of living matter. We've got our fair share on the account of this being a horror podcast, but this should be seen as a transitory stage in a transformation. Some good examples include Dr. Webber's body breaking down and decomposing to give way to his new plant self, or Alesis's body becoming paralysed and moldy to allow the coral to grow. Magnus's colleague being ingested in the carriage, Bonzo's victims putrefying inside the suit, Alice/Sam's rotting corpse in her dream, the rotting food in Hungry Man's Grill (this one seems interesting, because the restaurant seems to be stuck in the putrefaction stage and the food refuses to decompose even when the guy leaves).
Sunset as a manifestation of the green lion devouring the sun (gold dissolving into mercury), which symbolises the onset of ego death or the beginning of the blackening (or the night). This has been emphasised in two cases. Firstly, the crypto bro from ep. 13 looks at the sun setting behind the sea (=Mercury) twice when making decisions on the trading app, and secondly, Lady Mowbray's hunt begins when the sunset colours everything crimson. Both of which are pivotal moments for these characters' personal transformation.
From the Rosarium Philosophorum
This stage marks the purification of matter through repeated washing, distillation and the like. It's where we begin to see the true essence of the prima materia and will be able to separate it from the rest. This stage is often associated with Luna, silver, or the White Elixir/Tincture. In psychology, it's where you discover and reconcile with your Shadow (or Animus/Anima) in the unconscious. Common symbolism includes doves, swans, lilies, whiteness, vibrant colours and eyes (known as the peacock's tail stage, though it's technically the transitional stage between nigredo and albedo), water of life, bathing, dawn (as in "always darkest before"), light emerging from the darkness, the queen, the moon (Luna), Anima (in the Jungian sense).
From the Mellon Collection
Purification or washing as an intentional attempt at removing impurities. Daria making adjustments to her painting in an attempt to perfect her own body. The violinist washing his hungry violin with blood in order to purify the music it produces. Alesis attempting to rid herself of her own impurities by growing a new self out of a coral (a lot of water and moonlight in that one, which fortifies the connection for me). Since purification is also often attributed to mercurial water, a lot of the water symbolism fits here too.
Colours, as seen in Daria's vibrant tattoo. Also the colours rushing into the liminal service station and the odd colours seen in the fog surrounding the pier. It's fitting, but not a very prevalent theme. Unless you count all ink, in which case it's very prevalent.
Encountering one's Shadow, which is a big theme in both TMA and here. Coming to terms with your inner darkness, fears and desires is what purification is about in spiritual alchemy. I think this is what the Archivist is doing. It's an embodiment of the Shadow, covered in eyes, here to distill and purify your fear and then project it back to you (killing you in the process). Although it's up to debate whether it feeds on the purified, distilled fear or the impurities left behind, it does leave something to be coagulated into the physical manifestation. (It's also worth noting that the compulsion has a lot of water imagery attached to it in the transcripts, things like "the dam breaks", "words gush out", "pouring out of her unstoppably like a river". And just to be extra clear, rain, dew, seas and rivers are all common symbols for Mercury.) Other than that, there are plenty of doubles or reflections in the show. We've got Darrien and his alternate darker self, the Millenium Dome construction worker's clone, Herr Schmidt's actual Anima crying to be let out of his brain, the horror blogger seeing his traumatic memories projected onto the big screen, Dr. Webber encountering his late wife in the garden, Alesis meeting her Piece in a dream, the list goes on. The important part for purification is the acceptance or healthy integration of the Shadow, which usually takes a twisted turn in TMAGP.
Dreams are often attributed to Luna, and they function as a link to the subconscious. In TMAGP, many of the dreams are linked to an epiphany, though it's not always a purifying one. Especially on the TMA side. Though I think the tech reviewer's meditation in the locked room could be seen as a form of purification. I think dreams and meditation have a wider metaphysical effect that I won't go into here.
The queen or the mother would go more into discussions on characters than processes, but I'll mention it here anyway since the albedo stage is most often equated with Luna and the emergence of the queen. We've got a couple of mothers, most notably Patricia (probably not Rupey's real mother but anyway) who's feeding her baby with her own blood (this is often symbolised by a pelican which were believed to bite their own chests to feed their young). Alesis is also very nurturing, and her entire case screams lunar symbolism. And the most obvious queen would be Lady Mowbray, who's described as a matriarch. But the most interesting one of all is our very own Celia, who fits the lunar archetypes of motherhood, secrets and deception to a T.
From the Ulrich Ruosch Manuscript
Light in the dark is pretty straightforward. Patricia describes Rupey as bringing light to her dark world, in the Hilltop custodian's memories there's a sudden light coming from one of the shops in the dark shopping centre, the computer monitor sheds light into the dark zoom room, the ritual Sam witnessed radiates yellow light into the dark. (Though the yellow makes it more in line with the citrinitas or yellowing stage, which is specifically the solar light shining through instead of the lunar reflection. It's a frequently forgotten stage with little direct symbolism so I thought it would make more sense to omit it, but just know that depictions of sunrise or yellow light might lean towards the citrinitas stage between albedo and rubedo.)
The final stage marks the completion of the Work and the emergence of the Philosopher's Stone. It includes the conjunction of the opposites and the coagulation of the ultima materia. In psychology, it involves the integration of the unconscious and the ego into a singular self. Common symbolism for the reddening includes a phoenix, the king, a crown, the sun (Sol), gold, red or purple dye, red roses or poppies, blood, trees (specifically the Philosopher's tree) and lions. The union of the opposites (Sulphur and Mercury, silver and gold, Animus and Anima etc.) is symbolised by a marriage of the king and queen, sun and moon, red and white flower, two lions fighting, a lion (sun) devouring a serpent (moon), procreation, and so on.
From The Twelve Keys of Basil Valentine
The union of opposites is a continuation of encountering one's Shadow, and sometimes this part is counted into albedo (or citrinitas) as well. But the conjunction can only happen once you've separated and purified the components, or made peace with them. Dr. Webber is unified with his late wife (queen) in the garden, and the two are coagulated into one tree. In Alice's dream, she's also unified with her late husband (king) into the same body, though the process is incomplete and has to begin again (probably because she's not able to perform the separation, which is thematically fitting and painful for my soul). The conjunction is also present in the union of Sulphur and Mercury (or their purified versions Sol and Luna), which I discussed in the Tria Prima section. And I currently think it's also what Fr3-d1 or the entity inhabiting it is trying to do with the data it's collecting.
Blood and dye, which are symbolic of the liquids that give the Stone its crimson color. Lots of blood to go around, but the most relevant case would once again be the violin and the blood that purifies it. Purple dye reminds me of one case alone, and it's notable that the more purple paint there was on Bonzo's cards, the more present he became. It's not entirely clear to me when Bonzo actualised into what he is now, so it's difficult to say whether that was intentional. Though the episode was written by Alex, which means I'm much more willing to read intentional alchemy symbolism into it.
Devouring is big in alchemical iconography, and it's big in TMAGP too. We've got masses of people biting into each other (the violinist's audience and the hungry non-people in the service station), obviously Bonzo eating people (and letters), Lady Mowbray's cannibal party, little German kid eating a mum sandwich, demon baby eating his "mum" just cause (bringing us back to purification with blood), and Hungry Man's Grill which we can't prove isn't serving human meat. Either way, it's often used as a metaphor for the conjunction.
Trees have also only popped up twice (as far as I recall), but in compelling cases. First is Dr. Webber, who by now has gone through all the stages. Second is Newton's Arbor Philosophorum, which is usually formed with Mercury or Silver. He feeds its fruit to his dog (another act of devouring and union), who begins to grow into a tree itself. Newton truly was on the precipice of something.
From the Twelve Keys of Basil Valentine
Whew, I'm never writing something like this again [bzzt]. If you read this far, wow. I'm impressed, and I appreciate you. Did the pictures help? Or make it worse? Let me know.
PS. I recognise that I might be drawing parallels where there are none, but that's what I do. I hope you got something out of it. Also do not ask me what's up with Needles. I have no idea what to make of him.
