K i've heard of somthing call alchemy & it was use during the midevil ages all around the world so a got a few

Question

questions.

1. what is this full metal alchemist that keeps poping up on the computer?

2. it was use to improve on things. how did they do such?

(how does it wk)

3.what up with all these circles?

4.webster says that it is a form of science mixed with magic. How would you describe it.

Answer 1

Alchemy  Google or library!

Full Metal Alchemist: Japanese Anime I think Nothing to do with alchemy.

Midevil? Library Dictionary and Spelling guide Consult! NOW!

Alchemy tended to be a blend or entanglement of mysticism magic and chemistry. Some of the by products of Alchemical processes lead to the development of practical chemistry.

Many alchemists those who were con artists had to be good practical chemists to fool their clients and get their funding continued.

Some alchemists actually were experimental scientists!

Library! Read!

Answer 2

It's not real.

Answer 3

Alchemy is a really complex suject interonnected by a ot of aspects. it is linked mith metaphysics, chemistry, astrology, etc. and

yes alchemy was practised during the medieval ages.

1. full metal alchemist is a manga written by Arakawa Hiromu turned to anime.

2. improve of things? you must mean transmutation. like turn metal to silver or gold. this is a best known goal of alchemy alongside of  the philosopher's stone and the elixir of life " panacea". though about the metal to silver or gold thing we can do that now by changing a material's atomic structure, which nanotech makes possible, that material can be transformed into something else, with new properties, some of which have never before been seen in nature. I'm not really sure how it work though. sorry.

3. what circles? u got 2 b specific about w/c 1 but if ur thinking about transmutation circles  those r just fictiona element in the manga/anime that resemble some gothic and mystical diagrams in medieval europe. the only circles i know of is the "squaring of circle" the alchemical glyph in the making of the philosopher's stone and the symbol for gold.

4.hmm...i don't really think of alchemy as magical. complex and serious yes, mystical maybe but magical definitely no.

Answer 4

My answers are before my the long article.

Fullmetal Alchemist is a anime show.

Alchemy:

Alchemy is mixed magic and science becuz an alchemists goals were magical.

Alchemy improved medicine and started modern chemistry.

Circles are an alchemical symbol used for the sun

Alchemy is the father of chemistry. It's real and is still being practiced too.

Occultism & Parapsychology Encyclopedia: Alchemy

The art and science by which the chemical philosophers of medieval times attempted to transmute the baser metals into gold and silver. Alchemy is also the name of the Gnostic philosophy that undergirded the alchemical activity, a practical philosophy of spiritual purification. There is considerable disagreement as to which, the scientific or the philosophical, is the dominant aspect and the manner in which the two were integrated (which to some extent varied tremendously from alchemist to alchemist).

There is also considerable divergence of opinion as to the etymology of the word. One highly possible origin is the Arabic al (the) and kimya (chemistry), which in turn derived from late Greek chemeia (chemistry), from chumeia (a mingling), or cheein (to pour out or mix). The Aryan root is ghu, (to pour), whence comes the modern word gush. E. A. Wallis Budge, in his Egyptian Magic, however, states that it is possible that alchemy may be derived from the Egyptian word khemeia, "the preparation of the black ore," or "powder," which was regarded as the active principle in the transmutation of metals. To this name the Arabs affixed the article al, resulting in al-khemeia, or alchemy.

History of Alchemy

From an early period the Egyptians possessed the reputation of being skillful workers in metals, and, according to Greek writers, they were conversant with their transmutation, employing quicksilver in the process of separating gold and silver from the native matrix. The resulting oxide was supposed to possess marvelous powers, and it was thought that there resided within it the individualities of the various metals—that in it their various substances were incorporated. This black powder was mystically identified with the underworld god Osiris, and consequently was credited with magical properties. Thus there grew up in Egypt the belief that magical powers existed in fluxes and alloys. It is probable such a belief existed throughout Europe in connection with the bronze-working castes of its several races. (See Shelta Thari)

It was probably in the Byzantium of the fourth century, however, that alchemical science received embryonic form. There is little doubt that Egyptian tradition, filtering through Alexandrian Hellenic sources, was the foundation upon which the infant science was built, and this is borne out by the circumstance that the art was attributed to Hermes Trismegistus and supposed to be contained in its entirety in his works.

The Arabs, after their conquest of Egypt in the seventh century, carried on the researches of the Alexandrian school, and through their instrumentality the art was carried to Morocco and in the eighth century to Spain, where it flourished. During the next few centuries Spain served as the repository of alchemical science, and the colleges at Seville, Cordova, and Granada were the centers from which this science radiated throughout Europe. The first practical alchemist was probably the Arabian Geber, who flourished in the early to mid-eighth century C.E. His Summa Perfectionis implies that alchemical science had already matured in his day, and that he drew his inspiration from a still older unbroken line of adepts. He was followed by Avicenna, Meisner, and Rhasis; in France by Alain of Lisle, Arnaldus de Villanova, and Jean de Meung the troubadour; in England by Roger Bacon; and in Spain by Raymond Lully.

Later, in French alchemy, the most illustrious names are those of Nicolas Flamel (fourteenth century), and Bernard Trévisan (fifteenth century), after which the center of interest changes in the sixteenth century to Germany and in some measure to England, in which countries Paracelsus, Heinrich Khunrath, Michael Maier, Jakob Boehme, Jean Van Helmont, the Brabanter, George Ripley, Thomas Norton, Thomas Dalton, Jean Martin Charnock, and Robert Fludd kept the alchemical flame burning brightly. In Britain, the great scientist Sir Isaac Newton conducted alchemical research.

It is surprising how little alteration is found throughout the period between the seventh and the seventeenth centuries, the heyday of alchemy, in the theory and practice of the art. The same sentiments and processes put forth by the earliest alchemical authorities are also found expressed by the later experts, and a unanimity regarding the basic canons of the art is expressed by the hermetic students of all periods, thus suggesting the dominance of the philosophical teachings over any "scientific" applications. With the introduction of chemistry as a practical art, alchemical science fell into disuse, already having suffered from the number of charlatans practicing it. Here and there, however, a solitary student of the art lingered, and the subject has to some extent been revived during modern times.

The Theory and Philosophy of Alchemy

The grand objects of the alchemical art were (1) the discovery of a process by which the baser metals might be transmuted into gold and silver; (2) the discovery of an elixir by which life might be prolonged indefinitely; and there is sometimes added (3) the manufacture of an artificial process of human life (see Homunculus). Religiously, the transmutation of metals can be thought of as a symbol of the transmutation of the self to a higher consciousness and the discovery of the elixir as an affirmation of eternal life.

The transmutation of metals was to be accomplished by a powder, stone, or elixir often called the philosophers' stone, the application of which would effect the transmutation of the baser metals into gold or silver, depending on the length of time of its application. Basing their conclusions on the examination of natural processes and metaphysical speculation concerning the secrets of nature, the alchemists arrived at the axiom that nature was divided into four principal regions: the dry, the moist, the warm, the cold, from which all that exists must be derived. Nature was also divisible into the male and the female. She is the divine breath, the central fire, invisible yet ever active, and is typified by sulphur, which is the mercury of the sages, which slowly fructifies under the genial warmth of nature.

Thus, the alchemist had to be ingenuous, of a truthful disposition, and gifted with patience and prudence, following nature in every alchemical performance. He recalled that like attracts like, and had to know how to obtain the "seed" of metals, which was produced by the four elements through the will of the Supreme Being and the Imagination of Nature. We are told that the original matter of metals was double in its essence, being a dry heat combined with a warm moisture, and that air is water coagulated by fire, capable of producing a universal dissolvent. These terms the neophyte must be cautious of interpreting in their literal sense, for it is likely that alchemists, other than the several frauds, were speaking about the metaphysics of inner spirituality. Great confusion exists in alchemical nomenclature, and the gibberish employed by the scores of charlatans who in later times pretended to a knowledge of alchemical matters did not tend to make things any more clear.

The neophyte alchemist also had to acquire a thorough knowledge of the manner in which metals "grow" in the bowels of the earth. They were said to be engendered by sulphur, which is male, and mercury, which is female, and the crux of alchemy was to obtain their "seed"—a process the alchemistical philosophers did not describe with any degree of clarity. The physical theory of transmutation is based on the composite character of metals, and on the presumed existence of a substance which, applied to matter, exalts and perfects it. This substance, Eugenius Philalethes and others called "The Light." The elements of all metals were said to be similar, differing only in purity and proportion. The entire trend of the metallic kingdom was toward the natural manufacture of gold, and the production of the baser metals was only accidental as the result of an unfavorable environment. The philosophers' stone was the combination of the male and female "seeds" that form gold. The composition of these was so veiled by symbolism as to make their precise identification impossible.

Occult scholar Arthur Edward Waite, summarized the alchemical process once the secret of the stone was unveiled: "Given the matter of the stone and also the necessary vessel, the processes which must be then undertaken to accomplish the magnum opus are described with moderate perspicuity. There is the calcination or purgation of the stone, in which kind is worked with kind for the space of a philosophical year. There is dissolution which prepares the way for congelation, and which is performed during the black state of the mysterious matter. It is accomplished by water which does not wet the hand. There is the separation of the subtle and the gross, which is to be performed by means of heat. In the conjunction which follows, the elements are duly and scrupulously combined. Putrefaction afterwards takes place, 'Without which pole no seed may multiply.' "Then, in the subsequent congelation the white colour appears, which is one of the signs of success. It becomes more pronounced in cibation. In sublimation the body is spiritualised, the spirit made corporeal, and again a more glittering whiteness is apparent. Fermentation afterwards fixes together the alchemical earth and water, and causes the myst