concerning ed.kelley's poem

8/3/2019 Concerning Ed.kelley's Poem

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Joum.l oi!M WMiem ..,_I)'TIItdhlon ffNo. 15. Vol. 2. ~ m n a l Equlnox2008

CoJDIIIIDg EeL Kelley' PoeJ11by TeretaB1nl

EdwardKeky's poem n c : e m l ~ the Philosopher'sStone" :li:8tappearedm ' 4r.f lmlmBiillaAllmlle'1 1652'I'hulrum Chemicum Brikmnicum. Ina related article mi lilllue, 2) I eJII)lm: dli::possMtydlaUbc "G.S., Gas"D diedMbtnry ii:: JJaybe Ooli:Jm Slwbper,diemmwho came tobe cd:dw.mShab:llpClB. W i l D - ~ ~ "ttpec:illlJP)CIF'n:DI"il,5 I ll dli:: ~ p o c m m . A a l m J J e ' & ccilb-JX:.ndBtIICCIIII to OOl&)ml dli:: role ofanllll!mDaeaJticwmb dBt areal;lx:nj:aJ l'I:SiJdl.Wbatil K d ! y ~ 5 1 :&iml, a m i ~ Auiw&iqsdBtqiii!S1imillwM!s q ' a c : ~ h l poiiD's aJrJ.r.ni-al \npi!J',~ b y iiCieiqs bow mchJms!FwmbDad .Dll(!i:aliDlllalcihmjr:aJ C4 rtei'Jll IIIUO...Jilg bothpoiiDaulpolllFbtofal, h i Iiiii ~ i m . ' t ~ s . Bwas addedby AshmaOUOI I I !ODI IW Dh i Umriiliigam, " ' I I II K !M who JblyJm~ w e law ost: most obwnBiy, tm piiiSIIJlkllllw tovmamKd!fwm!llh i poam, ami t111t i had to dowih "'IIIIPlilo!ophm's S t m ~ ~ ~ . An:uchearlilr"*sim, dldlld 1589 IDlllsp.ct"'F.dwmd Kd!," as bllcinlooat...t D.tm RDya!Limlry DCopenbara, as partofa g m ~ o f ~ dllltJanBlrmMmwfl3 to anaJcbmicalc:D:lll amiDI.JohoDIIe IDlllEdwardKcleyJ41 'l1ilo & versi:m bears cmlythcdedication, "11lr:p!3ile o f a y IDr fumdslql's sake llBIIe bya stuwgu1 to mh.tt.d&.-.biJ :li-eDde biJ CoDI:cyiB."iSJSo we bal'l: a ~ - . e t s i m d D d IS8911Dlassocidedv.ihDee,Kcley,IDlllotbe:r USC>' " 'H ofthm,[6J whmBkktmd dDs 01 igittd o.Prap IDlllwm:.bow,lbly"Wt&pnd,woiDI io.Den+lk,17l IDlll the otta, rcUied by.Aahm:lJc or 80lDI: ~ p e r s o l l , tbdwixls 1111 DTheatrumChemkumBrl/QMictult.Both )1h4NI+Jlllb- eel) ' opace dieal;lx:nj:aJ. .. , . , SomeofXelley'sn , .Jword c h o i c e ~ lllllthdie II8IFofotheral:bmhlpoeCI io.AIImlle'1


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ca-,- E d . ~ Potm-11111117leat1W1118J but OCC1E olllyl:mllyilp,phwmbmtilcble he: " M i l k ~ to o1ber &mnJs ..w., .wca,I!OtablyOeo!:Je apy, Raymollll Lull,mlAallll o f " V i i ~ D m ~ , mlilcblea1Diof o:lllleCiiDmbetwealBitlabeCIImwdl:r-coii:iw1114 the ngVlckJe: aro\111Dee 8111 Kelle:y.l9lW h m o ~ ~ e 1hil oldervenkln'adedJ:afun ~ ' \ m y lbr~ ' & sake," ODe nay ecallb it "'lily," \d ,"mimuber"oDe" 1\'C:ft: the mostconm 'IIPqi!Mtnalilbml i lrQeek 110-k I efinied a& IMIJII6, a& D he:UJe ofJoiiDDee'aMoNI6 .HiuoglyphictJor liuoglyphicMoNMl. Dee commredhi& JII)II8IJ&1Jph81l e l . . e n c ~ a r q ll)'lrbolofthe:moat ll8credIDfo!IJ:i:a,m icetlaillyKelcy lldcnCood i welL Jn &et,L)UiyAbral!em b a a ~ !he ..w...m:atarhblii8CCO'qlaeyilgcllipll:rODe oflt.d:y'a '11te4treofTeuestritll..4stm110nry,miIJIII!F!IB !hat K.d:y'a Q:-.......;:al by" ll iaelfa t)pc ofbi::roBJjpiE iiiJiid - M E l t ~ basDee'& J!}}ph 111 a modcl110]Keky"s pmiJc of" 'dy"here naybe DOt-10-'\'l:ibl pmiBc ofthe:roc-\'- dedicab o 81lalilnnnlkeywhi:h,1b he:keyofBadValm!iwJ'& aflerorGecnp ~ B y ' bDfiml,uch lDiitiClallil oflhaGleatWmk..Kd!y,like Dllc!, !ICICIID!I to llllb a iKUs ofpm-Soaati:,mmlyPytbasomancam5sp - ..-:ti:. Indescrb.dm

ForGod1m IIBJitllldmi-w 1CRIIddD ttqs 'dbtbilcl& t& of'IDdy, u aDigofhilllogl)phi:alwillilewt&abyhis ow n l l ll t l n .bebown.FordlD..mar 3mldlD IJIII8i:Dlllilllr411111b~ t h e Dlllilr:r 7, theseatoflliiiDYDI)stDies. Alxlseemgtt.tthe Qeymas i l heTr:muy, i is allllilr:rwhich stm:ls Oi l heJ. Ihun Ofetr::tdy, aa:l dodledl' C\U)Ihi:wboud \'dbGod illll,diD i lcbl.qGod,mea, mla1 creeted t i lp,Mhald n Dl)lteliJ16povAD. A&q*ee, youget


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Concerning Ed. Kelley's Poem- BurnsEdward Kelley'semblem

From Theaterof Terrestrial Astronomy ten, which nmks the retmn tounity. In his Arcamnn isincluded anknowledge ofhidden things which God, byHis word, has made known tothe mm ofHis good pleasure,so that they might have a trueconception ofhim.[11l

The second part of he 1589 dedication, "made by a stranger/ tofinther his frende his Conceyts," rmy make trore sense after welook at the first sextet. Let's take a close reading of hese openinglines.The heavenly Cope hath in him Natures sower''Cope" is a gat'lrent, particu1arly a religious gannmt, troreparticu1arly how a Renaissance writer might render inEnglish theLatin toga or a varietyofancient Greek words fur the same. TheOxford English Dictionary defines toga as ''the outer gannmt ofa Rotmn citizen in titre ofpeace;" it rmst :frequently refers to thetoga prcetextra, ''a toga with a broad purpJe border worn bychildren, rmgistrates, persons engaged in sacred rites, and later byemperors."A "cope" might also refur to the religious garb ofa tronk or friar:one thinks ofthe poor friar in the "General Prologue" ofChaucer's Canterbury Tales, wearing "a thredbare cope a s ~ apoure scoJer." So to begin, Kelley is addressing som:one"garbed" inwhatever a ''Cope" might represent-a gannmt ofpeace, the gannmt ofa poor scholar, or some rmre ''heavenly''gannmt.Notably, and unlike llllChofthe akhemicallanguage to fuDow, theword "cope" is used by none of he other writers anthologized inTheatrum Chemicum Britannicum. Instead, it seems ahrostubiquitous in late m:dieval and Renaissance literature, :fromGower to Chaucer to Caxton to Spenser to Shakespeare toMihon, an ofwhom at sotre point refur to the celestial sphere ornight sky as the ''cope ofHeaven" Meanwhile, a Jead "cope"cou1d m:an a Jeaden coffin; a cope cou1d a1so be any type ofvauhed covering; so we can tease out the larger meaning of his"gannmt" as the visible part ofa container or v e s s e ~ and hencethe notion of he heavens and creation itself as the macrocosmicv e s s e ~ or stage, ofakhemical theater.


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Concerning Ed. Kelley's Poem- BurnsThat ga.rnxmt: has made Kelley's friend ''Nature's sower:" onewho sows the seed, literally or tretaphoti;ally, one whodisseminates infurmatkm leading to the "harvest''of hephilosopher's stone. I t also puns on ''bower," a coiiliWn poeticterm fur abode or dwelling, such as a woodland ''bower;" and on"soe," which can be a Jarge tub used in sotre alchemicalexper:itrents. But first and furetmst, Kelley's friend begets and isbegotten by ''Nature," a rwch rrore complex and encoded idea tomedieval and Renaissance writers, tmgicians, and alchetmts thanto us now. l121 n his Stone of he Philosophers, Kelley says:

All genuine and judicious philosophers have tracedthings back to their first principles, that is to say,those comprehended in the tbreefukl generation ofNature. The generationofanimals they haveattributed to a mingling of he rmle and fuma1e insexual union; that ofvegetables to their own properseed; while the principles ofminera1s they haveassigned earth and viscous water.[13]

He is stating rrore directly the satre idea that John Dee includes inhis tan1:li; or ecstatic ''key'' to the Hieroglyphic Monad, TheoremXV, where Dee quotes the phrase ''Nature rejoices inNature,"then tells us that these words contained the concealed and 100stsecret mysteries of he great Ostanes.l141Dee thus gives an insnenod to the longer oft-paraphrased saying:

Nature rejoices in nature, nature ru1es over nature,and nature is the tritnnph ofnature. A hmmn begetsa human, the lion begets the lions, the dogs beget thedogs, grain begets grain. What is begotten againstnature is a rronster incapable oflife. The Adeptsteach t:lm: only gok.i brings furth gok.i again at theharvest. This is the revealed mystery_l15]

Simi1ar lines appear in the Turba Philosophorum, as wen as arrore cryptic speech from the angel Anmael to Isis theProphetess, as recounted in the Codex Marcianus. l16] Ke1ley, inStone of he Philosophers, paraphrases the Satre Xleas from theTurba - "every subject derives from that into which it can beresolved'i 11l - after listing out 48 diffurent Jaws by whichNature acts upon Nature.l18l "Whoever would imitate Nature inany particular operation must first be sure he has the Satrematter," Kelley infuriili us, "and secondly, that this substance isacted on in a way simi1ar to that ofNature. ForNature rejoices in


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Concerning Ed. Kelley's Poem- Burnsnaturaltrethod, and like purifies like.'i 19]The sa.tre notion is alluded to several t:irres in Theatrum: see, forinstance the tenth octet of"John Dastin's Dream:'i 20]'

10. A Man ofNature ingendereth but a Man,And every Beast ingendereth1m semblable;And as Philosophers rehearse well can,Diana and Venus in marriage be notable,A Horse with a Swine joyneth not in a stable,For where is tmde unkindly geniture,What fulloweth but things abominable:Which is to say Monstnnn inNature.

This complex alchemical notionofNature is often referred to butrarely explained, first because the explanation is rathercmnbersotre, and second because it involves chasing aroundmmy texts and allusions to texts that oo Jonger exist Indeed evenin these paragraphs such explanations have been be simplyfuotnoted and left fur the reader's own exp1oration [211Yet un1essone takes tirre to really ponder what is treant by ''Nature begetsNature," KeiJey's reference to his friend as ''Nature's sower''won't be grasped at aD.Ifwe assurre Edward Kelleywas intirmtely fiunilia.r with Dee'sHieroglyphic Monad and how its core teachings rmy havespnmg inpart from a much rmre ancient Greco-Egyptian-Hebraicrmgical tradition,l221 he outline ofan entire ancient ecstaticphilosophy starts to cotre dimly into view from this one word. Inthe Codex Marcianus, which Dee had a copy ofduring the tirrehe and Kelley were on the continent and which Dee left with theLandgrave ofHesse - K a s s e ~ [231 t is Amnael who speaks of''Nature" to Isis, who then passes the secret to her son, Horus.Given the likely association between this Amnael and theAnnaeVAnael who appears in Dee's first recorded angelicworking and again throughout 1m and Kelley's angelicconversations,[241 t would seem rather axiormtic that Kelley hada simtlarly complex and ecstatic notion of''Nature" begetting''Nature" and sowing the harvest ofthe Philosopher's Stone. I fone fullows those assmnptions-which fur now we'll coDapseback into the idea that Kelley knew the ideas expressed by Dee inTheorem XV and not only embraced them but elaborated uponthem in his own work, and is referring to somrthing simtlar whenhe talks about ''Nature"-then Kelley is here telling 1m friend thatthe friend could becom:, like Isti or her son Horus, the begetter


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Concerning Ed. Kelley's Poem- Burnsof he magical secrets of''Nature."Ifwe put an of his together, what do we have? In this very firstJine, Kelley declaims the poem's recipient (G.S., or the ' ~ ' ) as the one who sows or explains the heavenly mysteries, byhirme:tt; as a microcosm, becoming a vesselof he macrocosmTwo hidden; but the rest to sight appeare:First, the "two hidden" is Aslnmle's 1anguage, or that ofanintervening copyist. The manuscript dated 1589 and signed by"KeDe" says 'To hidden, but the rest to sight appear."251Whether changing ''to" to "two'' still correctly expresses Kelley'smultiple rreanings, or whether the later copyists shaped theJanguage to match the copyist's understanding of he poem is anopen question, and an important one, since that copyist orAsln:mle himself added to dedication to ''G.S., Gent." We are ineifuct here analyzing Asbrrole's or the intervening copyist'sunderstanding that led to the change of''to" to ''two."That said, the ''two hidden'' might remind a reader of he twofaces or heads ofJanus, the Roman god ofgates, doors,begirmings, and endings. Because Janus, from whom we get our

fur January, looked one way into the new year and theother at the year just ended, he was often thought ofas a God oftransition or ba1ance point between the two: that balance being thepresent, what you can see. Janus, tmlike IIJJst of he Romanpantheon, has no direct ancient Greek analog, though he mayappear in "compm.md gods" related to Henres, such asHenmnubis, Hermathena, and Hermaphrodites-all gods whoseem to mix genders. And curiously, in one of he IIDst enigimticbooks of he Renaissance, the Hypnerotomachia Poliphili,''Herni' appears as a three-headed being atop a pillar, whose onlyother recognizable anatomical attribute is an oversized erectpballus. [26]


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1hellemletiMemlyCO"" ctkmfabt 111still fil:tber irwe IIOCedJe fi:eqDedCON ctkmhetwCCDMal3ymldleCeli: tpdI...,.,oflalpodrayedwilldl'ee &cet, ml f'we IIOti:e diJtdJeCllillem of'K.elby's&howDearlierD:Wea " ~ h e 'IndyofdJeDcjyinmy,Godwihdl'eehcadamlcm;cmwn. 1271 FiBily,COJJIKh:r dJe "two

'----. . - tmdm"dJehcadaofdJc IICIJ>ClD ofdJcCwhra l l ofHc:ml:s,mJnotediJtcmiJlmll boob or1111m alJo showMm:myJH- . . wo-b w l2lll'l'basa a l ~ ~ W ! I l l a C0!11'1e' acay Kabbllilli:D&pit4eli" 'ofllllliaa. Whll ilw law clilc:IJneclKe111!1wmku iiiiDIofKahab, hll had to lmow i waD, amimt cm1ydao9hillassocillmnv.ihDee.MlqrBS"WMdlltDee orKellllyorbolhW in funiirrwilldifin:&lC


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Concerning Ed. Kelley's Poem- Burns

After creating the matter of he rreta1s, IlaiD!ly, livingMercury, Nature added to it an active quality. ForMercury, the substance, could not ofitselfma.ni:festits efrects, and Nature wisely joined to it an activekind ofmineral earth, wctuous and mt, thickened bylong digestion in the mineral caverns of he earth,which is connmnly called Su1phm. This M e r c u r y ~ ' however, not the connmn rreta], but the princip1eand origin oftn!ta1s. Mercury is the matter, Su1phurthe furm of n!ta1s, natural heat acting upon thematter ofMercury, as upon a fit and well adaptedsubject.[301

Combine this with the ideas in ine one, and Kelley seems to betelling ''G.S." that he is such a "fit and adapted subject'' toma.ni:fest rrercuria1, or Herrretic, subjects.Ofcourse, one could make allof his Jess lofty and just attempt tonarre narres, as sorre are rmre interested innaming the "youngman'' or "dark Jady'' in Shakespeare's sonnets rather thanrreditating upon the abstract ideal! ofLove or aJchemy or spiritualexplorationtherein. Ifone must try to identifY the real three peoplehere actually referred to; that is, ifone must project the poem'schemical theater onto real p1ayers in physical worJd, then onewonders ifKelley and Dee are the "two hidden" influencesAshrm1e or the copyist had in mind, and G.S.'s friends andassociates the rest who to "sight appeare." The implications aremscinating: by this reading, ''G.S." becorres the public explicatorof he ~ t e r i e s of he other two.How might that line read difi.erently i fwe returned to KeDey'soriginal spelling? I'll leave that to the imagination of he reader.Wherein the Spermes of all the Bodies lower;Here we encounter one of he rmst connmn actions in chemicaltheater, albeit with unusual wording. KeDey prefers "sperrres" tothe rmre usual " d e w , ' perhaps fur the implicitHerrres/''Sperrres" pun, since the dew from heaven, also calledrrercurial or Herrretic water, is what magically cleanses,transfui'IlE, re-animatesl32l andre-impregnates matter. Asdescribed in KeDey's Stone of he Philosophers, philosophicrrercury (or Herrres, or here "Spermes') is also the seed orcommn origin ofliving ')netal"


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Concerning Ed. Kelley's Poem- BurnsIfwe retwn to the rmre usual word, "dew," we see this idearight out of redieval alchemy as it later absorbed byParacelsans and transmitted into later works. Ursula Szulakowskaexplains:

Fifteenth and early sixteenth [century] a1chemicalmmuscripts and printed books had pictured thecelestial virtue as the full ofa heavenly "dew" or ''roscoeli'' onto the earth . . . The original concept ofthedew ofheaven had been developed and dispersedby an nfluential alchemical text of he late fourteenthcentury, the Rosarium Philosophorum. This wascomposed ofquotations from the master alchemistsof he middle Ages, orga.nired into a sequentialaccomt of he alchemical process with additionalcolll[rentaries . . . the icooographic sequenceremained constant between manuscript and printedversions, ofwhich the first appeared in Lyon in1504.331

The dew of he heavens descending was often called the "washingof he Stone,"or as Kelley wouki have it, the "sperming'' of hestone. In the tredieval Rosarium Philosophorum, no doubtfumiliar to both Kelley a n d ~ friend John Dee,[341 'the picture ofthe dew ofheaven illustrates the final stages of he alchemicalwork, that ofthe 'ablutio velmmdificatio,' a series ofpurifications. The image depicts a dead hermaphodite, signifyingthe incomplete phik>sopher's stone, being washed by heavenlyefilux.,!{35]The sa.rm work associates Latona, mother ofApollo and Diana,gods ofSunand Moon, with the macrocosmic alchemical v e s s e ~ and tbis thirteenth century idea continues in a1chemical books twocenturies later, when we see Michael Maier's emblem; inAtalanta Fugiens, which include the washing ofLatona. InKelley's Stone of he Philosophers, he writes, "PurifY Laton, ie.copper (ore), with Mercury, for Laton is ofgold and silver, acompound, yellow, imperfect body. i36l I fone rmkes thecomron associations ofcopper to Venus and Venus to the entireKabbalistic Tree,[37J then the washing or "dewing" ofLatonabecotres the process ofcleansing the impurities from the :fhl1enTree.We find sinnlar ideas in Shakespeare's plays, though they haverarely been discussed as such. For instance, consider the words


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Concerning Ed. Kelley's Poem -Burnsof he fitiryinAct II scene I ofA Midsummer Night's Dream: "Ido wander everywhere/Swifter than the rroon's sphere;/And Iserve the fitiry queen,/fo dew her orbs upon the greert."To put tbi


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Concerning Ed. Kelley's Poem- Burnscorrespondences refer the initiate to a system already learned, andthus p1ay against and remind the initiated reader of ransfOrmationshe or she alreadyknows. Each new aBusion should suggestdiffurent correspondences recognimble, or at least &coverable,from within the system one already knows.With that inmind, we'll return to the ''Spring'' equinox. Thetnld


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Concerning Ed. Kelley's Poem- BurnsAs the :first Waters anilmte the elemmtal earth, so do authorsanimate the subject ofcomparison here: perhaps, the"dense matter'' of heir audiences, in the alembic of heater. Asooted earlier, i fone searches through allof he poetry inTheatrum Chemicum Britannicum, one :finds that only Kelleyuses the word "Author'' inhis work. (Aslumle, oot smpmingly,uses the word repeatedly inhis pre:fu.ce and notes, but none of hepoets he a n t h o l o ~ s , save Kelley, say anything about authors.) Itis worth re-emphasizing that this is the only poem n the collectionthat seem; to be telling a writer how to turn his works intoalchemical v e s s e ~ . So of his parte is Drines end of care.''Parte" here can rman a gramnat:ical part ofspeech, a unit oftirre, a section ofa book, an act ofor role in a play, in :fu.ctanything which can be divned: but the previous line implies thatwe're at least looking at somrthing than an "Author'' would subdivide, or that :ii "ofhis [the author's] parte"as a writer. Whileonly Kelley speaks to an ''Author," the language ofgrammroonetheless pervades the Theatrum just as it pervades Dee'sHieroglyphic Monad and many intervening alchemical texts. Forinstance, in Thorms Norton's ''OrdinanofAlchemy," whose wordchoice often seetm echoed by Kelley, Norton exhorts his readerto ''Conjoyne your eJerrents grammatically/With all theirConcords conveniently. . . Joyne them a ~ o in Rhetoricall guise/With Natures Ornate inpurified wise.'f401That takes us all the way to this sixth line's sixth word, "Drines.""Drines" :ii an obsolete spelling of"dryness," and occurs manytirres throughout Theatrum Chemicum Britannicum, where inevery case it can refur to the qualities ofone of he fuur eJerrents,just as it does in Kelley's Theater ofTerrestrial AstronomyJ411Ofcourse, as an alchemical symbol it may a ~ o rerer to smoothinge1se. "Drines" shows up rmst often in Thomas Norton's''OrdinaD,"l421where he tells his alchemical "sower'' to make surehe knows the effects of he qualities ''Called Heat, Co1de,Moisture, and Drines,"and several lines later, adds: "Heate, andCo1d, be qualities Active/Moisture, and Drines, be qualitiesPassive." Again, Norton's usage matches that ofKelley, both inTheater ofTerrestrial Astronomy and in his 48 part list inStoneof he Philosophers. In the latter, the number itselfmight suggestwhat is missing, since Kelley's Enochian work might lead a readerto expect 49, rather than 48, itetm. One oot:ices there are 48 Jines


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Concerning Ed. Kelley's Poem-Burnsin this poem as wenTo retmn to another work in Theatrom quoted earlier, ''Dastin'sDream," we see a ofhow "drines" can rmrph into thefifth eletrent. Dastin dreams ofa 'hevenly Boke brought/Of sogreate lliches that yt may not be bought/ In order set byDwrePhilosophie." After a long theogeny, the ''Children'' in the dreamreturn mrto 'lheir Mother that "caiJed was Mercury," and shedescribes her tmst pure "Child":

25. Whose Nature so ~ e r i a D , That fire so burning doth himno dis1resse:

royall kinde so celestiaD,OfCorruption he taketh no sickness;Fire, Water, Air, nor Erth with his drines,Neither of hem. may alter his Complexion,He fixeth Spirits through his high noblenes;Saveth infucted bodyes from their Corrupcion

This Son, we Jearn, will never die. And again I'll leave the readerto his or her own interpretation, because we are finally to the endofKeiJey's first sextet, where the friend/author's "Drines" bringabout the "end ofcare." The "end ofcare" tmans simply the endofsu:trering or sorrow, using the now-obso1ete usage of"care" asmental suffering, sorrow, grief; or troubJe.l431Presumably, ifoneunderstands what Kelley is telling G.S., one will oo longer su:trer.

***** ***** ***** ******And mrrcifully, this explicationwill speed up smrewhat now thatwe've :firmhed the first sextet. While every line couki be unpackedsynilolby symbo\ it might make rmre sense to let thoseinterested in chemical poetry decipher the rest on their own I'lladd a fuw rmre suggestions ofhow one might do that in theremaining pages. But i fyou try to work through thesetransfOrmations, notice that along with fiuni1iar alchemical ideasKelley is identizying the poem's recipient as a person withKelley's alchemical key. He's telling this friend that ifhe doesc e r t a i n ~ and learns c e r t a i n ~ ' he will appear to bediffurent from who or what he really is, and be influenced by thet e a c ~ of wo who are l.UlSeen, and/or becotm the visiblesphere of heir t e a c ~ : their Son'Smor Zauir Anpin, tointentionally mix tmtaphors and refer the chemi::al theater back toTiphareth. He will cotm furth in the Spring, which might refur to apoint in the year, or allude to the friend evoking the Great Workfrom himself; with a little help from the "two hidden," whatever the


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Concerning Ed. Kelley's Poem-Burnsreader takes those ''two" to be, or not be, allusively.Perhaps we can now make rmre sense of he 1589 de


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Concerning Ed. Kelley's Poem- Burnssorrething digested three tirres. The aBusion to ''tlnice-great"Henres and three types ofalchemical transfOrmations and threetypes ofNature discussed earlier shou1d be apparent, as shou1dthe Earth as an akhemicalvessel and an eJemmt and densematter. The fresh 'Winde," rmst easily identified as the ~ r c u r i a l vapor given offduring sublimation, or ftom the fOurth lawof heEmerald Tablet, a1so suggests Zephirus, the warm west wind thatherakls spring and inspires artists and lovers ofall sorts. Probablythe rmst fiumus literary rendering ofZephirus is :from the first fewlines of he ''General Prologue" to the Canterbury T a l e s

WhanZephirus eek with his sweete breethInspired hath in every hoh and heethThe tendre croppes, and the yonge someHath in the Ram his halfcours yrome,And srmle fuweles maken rrelodye,That slepen al the nyght with open ye(So prikethhemNature inhir corages),Thanne longen fulk to goon onpiJgrirmges,

Mythologically Aeolus is ruler of he winds, which he keeps in acave, that cave later becoming yet another alchemical symbol Wecan a1so read 'Winde" as a verb, such as a river that winds, orship or person that wends along a particu1ar tack, or a wende orwand, a long wand or pointed staff like the caduceus ofHenres.AD. of hese verbs share sirmlar etyrm1ogies. Finally, i four ''G.S."is indeed Guliehmls or William Shakespeare, windy line-- NoWinde so fresh as when it serveth will-also plDlS on 'WillShakespeare."If''G.S."was poet or p1aywright ofany sort, the next two linesrefer us to a particular sort ofnarrative:

No better happ, then drie up Aire to dust,For then thou tmist leave ofand sleepe thy lust

No better happ, or happiness, than drying air to dust alludes tosorre sort of iltering out process, a "dryness'' difierent :from"drines" as one offuur elerrents, and rmre in keeping with the fiveelerrents ofpre-Socratic philosophy. This "drie"ing allowsKelley's ftiend to leave off; or take leave sorre situation, and''sleepe thy lust" The word ''lust" in the 1500s did not carry theintense rmraljudgrrent connected to today's usage: it cou1d rreansimply being in a state ofpleasure, delight, or passion Leaving adifficuh situation to ''sleep" or perchance dream one's lust is ascene one :finds over and over inShakespearean dramas, :from the


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Concerning Ed. Kelley's Poem-Burnstour lovers lost in the woods inMidsummer Night's Dream tothe shipwrecked survivors alternately put to sleep then awakenedon Prospero's ~ J a n d inThe Tempest. In both plays we have a:n:Jb'ocosmofsociety where one or m>re characters withsupernatural abilities put other characters to sleep, using spirits orfiriries to tm.nipu1ate the main action in an attempt to purnyandc1arifY volatile characters, and where the closing speeches ask theaudience to question the boundaries between sleeping, dreaming,watching a play, and being a player in one's own lifu. AsProspero t e l l s ~ daughter, 'We are such stuff/As drearm aremade on, and our little life /Is rounded with a sleep."Yett will I warne thee least thou chaunce to faile,Sublyme thine Earth with stinking Water ent ,Then in a place where PhEbus onely tayleIs seene art midday, see thou mingle best:

For nothing shineth that doth want his light,Nor doubleth beames, unless it first be bright

Like several other writers inTheatrom, including George Ripleyand John Dastin, Ke11ey presents us with Phrebus the sm god,who shown fOllowed byMercmy in sotre R e n a ~ s a n c e emb:Jem;.481Szulakowska thinks KeD.y could be influenced herebyDee's Paracelsan catroptics, or mirror-tmking, as wen asRipley's alchemical symbolmn, because in the above lines he"describes the lighting conditions necessary fur the preparationofchemicals. 'l491This sextet could also just be ana.Jyzed on its own as describingthe process ofsublirmtion, but fur one added ~ t : just howbright is Phrebus, or the sun, anyway? Kelley tells us Phrebus ina pJace where "onely'' ''tayle" canbe seen, "art'' midday. Doesthis trean "art" at mid-day, or that ''thou," his friend, "art midday,"since ''thou'' would be the pronom to ~ m t c h "art''? Is the middJeof he day supposed to aBo suggest the middle of he year, or thesurmrer solstice? What the "mingle" he wants his friend to see?Kelley's first point in The Stone of he Philosophers was that anthings traced back to their ''first principles, that is to say, thethree-told division ofNature," and that fur a.nima1s, and byimplication hmna.ns, this generafun attributed to a mingling ofthe tmle and fumale in sexualunion l501Midsurmrer was a goodtirre fur the "art'' oflove spells: is that what K e l l e y ~ refurring to?Probably not. But he c l e a r l y ~ refurring to sotrething taking placeat midday and/or midsurmrer, when the sm is at its most intense.''Seene" canofcourse plDl on "scene," so i f he f r i e n d ~ a


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Concerning Ed. Kelley's Poem-Burnsplaywright then to '1ningle" might a1so suggest the proper"mingling'' or combination ofalchemical truths so that they mightshine the brightest or reflect rmst effuctively. If he line shifts to:rrean Phcebus' "one tale," or one story, that is best told atmidday, then the last Jines make sense, since any other light thatshines at midday is reflected light ftom the Sl.Dl.But all of hese only work i fwe ignore the m>st bgalastronomical explanation of he sm having only a "tay1e" atmidday. The sm has only a thin round tail during an eclipse. Thus

line might well refer to a particu1ar date, just as it certainlyrerers to a rather ancient teclmique of mking magical Sea1s: oneuse ofaneclipse was to capture the light, and thus the power, ofaparticular star or planet without it being ovenvhehred orcontaminatedby the light of he sun. Finally, i f his refers to a solareclipse that eclipse by definition willbe a sun/rmon c o ~ Y u n c t i o n onthe new m>on, or the theater-in-the-sky's enactrrent of heH e ~ t i c union ofSm and Moon described in the Emml1dTablet.On a more lrumorous note, the Sunhaving only a tayle, or tai1,might to sorre suggest a Golden Ass, and thus comect to theFoole in the poem's 1ast couplet The Sun's taybr, or ga.rm:mt-maker, would be the heavenly ''Cope" in the first line.Lett no man leade, unlesse he know the wayThat wise men teach, orA drop leadeth in,Whereofthe first is large and easiest pray;The other hard, and meane but to begin.

For surely these and no one DHJre is found,WhereinAppollo will his harp-strings sound

The first line might be paraphrased, ''let no one teach unless theyknow what they're talking about," and reminds us of he Latin onthe frontispiece ofDee's Hieroglyphic Monad, usually trans1atedas ''One who does not understand should be silent or learn."Kelley seems to suggest two ways being irritated into the mysteries-b y having '\vise mm'' teach them, or being led by 'Adrop.""Adrop" likely corres ftomArabic usrubb, or lead,[51 l andappears in rredieval Latin alchemical texts as well as theRenaissance English texts collected byAslnmle, as well as in BenJonson's satiric p1ay, The Alchemist . Over a hundred years :later,in 1753, Hillwill define adrop as sorrething t h a ~ "wrongalcheiDicits, denotes either that precise matter, as lead, out ofwhich the rrercury is to be extracted fur the philosopher's stone;


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Concerning Ed. Kelley's Poem- Burnsor it denotes the philosopher's stone itself; inasnmch as this iscalled satwn and plumbmn, or lead.l521Thereibre ''lead" and''leadeth'' in the first two lines a1so p1ay offofadrop, lead.To the ear, it might also sound like "Adept," and in terms ofspiritual alchemy it is--adrop is philosophical rrercury, as is, inanother sense, an alchemist or tmgus who is an Adept Thetelescopingof hese ideas back into the bodyofa solitarypracticioner would have a commonp1ace at this 'titre, as onereason s o r r e ~ s given fur fuilure in particular alchemalexperitrents was that the alchemist himc:!elfhad not been purified.Thus Ke1leyseerm to be telling ''G.S."that one can't lead (verb)or be lead (noun, philosophic rrercury) until he knows ''the way,"and suggests two paths: one, to study with wise mm, and theother, ftom a "drop" ofphilosophic rrercury, or ftom that tinyspark within oneself; to try to intuit it on one's own.The first is easier, the second IWre difficult. The Jast two linessuggest a third way: ''WhereinAppol/o willlm harp-stringssound." Apollo, one of he twelve Olympians, leader of hemuses, god of he oracle at Delphi, crowned with Jaurel to showhis achieverrent in the arts, often is shownp1aying a harp or m>reoften, a lyre, which makes his appearance inmagical textsoften a nod to Pythagorean beliefS. InR.erlai;sance art, Apollo isoften presented as "the emboclitrent of he c1assical Greekspirit,'i531and representing the rational, civilized aspects ofsociety (as opposed to passionate and irrational represented byDxmysus.) He's also inp1aces synonyrmus withHelios and . . .Phcebus. So why doesn't Kelley just repeat ''Phcebus''?Apollo, as the sonoflatona and Jupiter/Zeus and twin brother ofIOOon goddess Diana, has a veryparticular connotation in alchemyand Henretic tmgic: "Apollo represents the hot, dry, active,tmSculine principle of he opus which the alchetm,t must unite withhis sister, Diana, the cold, rmist, receptive tema1e principle. Theprocess is depicted as an incestuous chemal wedding or unionftom which the philosopher's stone is bom'i541Thus we have Kelley's third way: Apollo's harp strings sound,and one becorres drawn to the chemal wedding, i f hat musicresonates within the student or bride. Notice that in Kelley'ssentence it s gramnatica11y impossible to dist:ingtmh whether the'Will'' belongs to Apollo or the student, and whether the harp isplayed ftomMt Olympus or within the person who hears it. Thedouble rreaning of"surely these and no one rmre is round"suggests that by this third way, the initiate becorres "no one"-he


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Concerning Ed. Kelley's Poem -Burnsgives up hi

And therefore Essence sift may lWll be said,Conteining all and yett himselfe a Maid

In his sextet and the next, Kelley tells his friend to learn of hetheogonys that placed, or created, the skies. The idea ofeverypoint of he universe reflecting and collecting ''vertues" from everyother point, and thus every microcosm containing within itself hemacrocosm as its own central point ofrefurence, is repeated againand again in the western mystery tradition, from ancient Greekgeometric proo:fS to the fumous statement by fifteenth centurytheologian and mathematician Nicolas ofCusa ('The fubric of heuniverse has its center everywhere and its circumfurencenowhere') to one of he tmst wen-known lines from AleisterCrowley's Book of he Law (''In the sphere I am everywhere thecentre, as she, the circumfurence, is nowhere fuund.')''Sift," plllllling on "gift," is used here with the old meaningsomething sifted out, or something that has been nm through asieve; in other words, some substance that has been purified. Thepoet "contains aD," is a vessel of he macrocosm, but is yet a"maid" or microcosm "rmde" by God. Thi


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Concerning Ed. Kelley's Poem- Burnsof"descent"or creation. Then one shouk:lleam to cormect thesesubjects or "nmmers" ofbehavior to the '\vho1e Attire" or wholearray ofapparel that decks out the EarthIfone considers the classical theogonies as a1chemicaltransfunnations, and the stories ofdifrerent historic Kingdomssimilar transfOrmations but fi.nther descended from the source, onewill have cJose to the idea. Doing this, ofcourse, treans totallyinnnersing oneself n pagan theogenies and hmnan histocy as aspiritual pursuit, and i f he friend being instructed here is aplaywright or poet, can also be taken as general instructions onhow to encode such things into works to inspire others.Kelley's refurence to sophet Jets us know he expects the friend tofind sorre tmderlying mathematical, georretric, or Kabbalisticordering to these stories. This word appears nowhere e1se in theTheatrum, or in any other a1chemical writing I'm awarethough it does show up in Jewish histories. The sotmd at firstsuggests sophists, the teachers ofwriting, speech, and rhetoricwho trave1ed arotmd Greece during the fifth century BCE, withoutthe pejorative attitude Jater directed towards them by PJato andAristotle. It also suggests fOllowers ofSophia, the goddess ofWisdom, whose ll3.tre treans ''She who knows," Hugo called thestudy ofHerrretics itself that ''sophia ofall sophias." WithinEuropean Jewish histocy, however, sopherism, or sophericJiteratme, rererred specifically to literatme not futmd within thecanonical Mishnah: in other words, the study ofKabba1ah, ancientGreek geotretry, non-Judaic philosophy, and classicalmytho1ogyofany non-Hebraic canonized sort wouk:l be a type ofsophericJiteratme. Jewish wisdom represented by Sok.nmn, and to aH e ~ t i c i s t therefOre much ofSolmmnic magic, was often called''Sophian.,Most directly, sophets, with what must be Kelley's intentional punon "prophets," were Hebrew scribes, trembers "ofthe c1ass ofproressional interpreters of he Law after the return from theCaptivity; in the Gospels often coupled with the Pharisees asuphokiers ofceretronial tradition.'{SS] The Englishword ''scribe"cotres directly from the Hebrew word, sopher.I f his my Doctrine bend not with thy brayne,Then say I nothing though I said too much:Of ruth tis good will moved me, not gaine,To write these Iynes: yett write I not to such

As catch at Crabs, when better fruits appeare,And want to chuse at fittest time ofyeare.


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Concerning Ed. Kelley's Poem-BurnsIf he reader has tmde it this fur, the first fuur lines should causeno diftkulty. One might reflect back over the earlier six sextets totry to tmderstand the "Crab" reference here. Is it anotherreference to midsmr , when the Sw is in Cancer, the zodiacalcrab? He wants the :friend to bend his brain a bit over when thefittest tirre ofyear is, so to not choose incorrectly. The ''Doctrine"ofcorrespondences and transfOrmations Kelley is alluding to thushkely has temporal, mythological, Kabbalistic, and g e o ~ t r i c tmderpinrlings. What is Kelley, or his :friend, trying to choose?Thou maist (my Freind) say, what is this for lore?I answere, such as auncient Physicke taught:And though thou read a thousand Bookes before,Yett in respect of this, they teach thee Naught:

Thou mayst likewise be blind, and call me FooleYett shall these Rules for ever praise their Schoole.

InKelley's day, ''lore" ~ a n t not only old stories nor only the actof eaching, but the doctrine that was taught is those stories, andso refers us back to the previous seven sextets. If he :friend orreader has fOrgotten that they are being directly addressed, Kelleyremirxis them, and says he is answering according to ''ancientphysick" or the ancient art or practice ofhealing, which the friend:rmy never have heard ofbefure, no :rmtter how much he hasstudied. Elias AslnmJe, as part ofa long and sotrewhat crypticexplanation ofhow the ')lhilosopher's stone" connects toastronomy, picks out this line ofKelley's and says this "ancientphysick" is the Satre as Riply's "quintessential water."l561Taken one way, Kelley is the ''Foole;" unpacked, it asks "G.S."to identny ltitmelf as the ''F o o ~ ' ' the initiate, perhaps even the''Golden Ass"of he third sextet. Now that ass initiated during amidsmr eclipse might remind us ofnothing so much asBottom!Peter Quince from Shakespeare's Midsummer Night'sDream, who is tmned into an ass and sleeps with the Queenofthe Faeries, Titania.We've finally arrived at the last line. Let's pause fur a 1 0 0 ~ and look at it again: ''Y tt shall these Rules fur ever praise theirSchooJe."We can ass\llre these ''Rules" concern the ''Doctrine" :from thesextet seven, which he can better learnby deeply studying thetheogenys and histories alluded to in sextet six, whi;h b e c o ~ tmderstandable by becoming aware of he process ofcreation asalluded to in sextet five, and wderstanding cataly2ed by the


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Concerning Ed. Kelley's Poem -Burnsphilosopher's stone in sextet fuur, representing an alchemicalprocess which may make ''G.S." aware of he significance ofsome sort ofeclipse alluded to in sextet three, which as an authorhe can make visible by the rrrultiple allusions in sextets one andtwo.By now the careful reader might even have the outlines ofhow toextract a general doctrine ofhow to study the philosopher's stonefrom this, though the "mean task" of rying to do so alone withoutteachers is daunting enough to perhaps make one want to give up:innnediately. But the person to whom this is addressed, ''G.S.," isalready ''Natures sower"with a will indistinguishable from theharp strings ofApollo; in short, he's already a Bard of heheavenly Muse; and as a Bard, can pluck those strings and startthe process in others.That brings us to this essay's final question: what is the ''Schoole"that these ''Rules," or maxims, correspondences, principles,qualities, or even codes ofdiscipline, praise? Usually the schoolsets the rules, rather than the rules creating the school . . unless itis a group that just by acting of ts own nature behaves the sameway, like a school offish, or a group ofpeople expk.lring the sameuniversal ideas. Remember, ''fishing" was then a slang term furalchemy. Alchemists, like "sophets," believed they were searchingfur universal principles or laws. The better one understood thoselaws, the more one was aware of heir membership in the''School"Kelley's lines, i f heyhave a concrete English historical reference,seem to stare Janus-like fromAshmole's 1652 vantage point:backwards towards the Rosicrucian- influenced invisible collegeand furwards towards the Royal Society ofLondon FromKelley's 1589 vantage point, the backwards stare takes usbackwards to Sir Walter Raleigh's School of he Night, andtowards the fument that led to that "invisible college" and the bestofEli2abethan and Jacobean drama. IfG.S. was Shakespeare,that makes these middle years of ransition even more interestingthan they already are, and the Shakespearean corpus the triplemeed vessel most suited to understanding the transfurmations thatwent on in that time period.It would not be long--only a generation--befure alchemy was onits way to being labeled a "pseudo-science," and its mostphysically demonstrable tenets, stripped ofany theology, wouldbecome the physical sciences ofphysics, chemistry, astronomy,geology, and geography. Mathematics, magic, and grammar, often


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Concerning Ed. Kelley's Poem-Burnsconsidered three and the sarre in the tmnadic alchemy ofKelley'sfriend John Dee, would becmre, to m>st, two difrerent things.ffiltorians have no difficuhy tracing the ~ d i a t e trembership ofthe mid-seventeenth century ''invisib1e college" that gave birth tothe Royal Society, but why those particular greatminds ca.metogether is not, on the surface record at least, well understood.The Royal Society's fuce that looks backwards towards the''Schoof' ofHerrres, ak:hemy, and magic, and that Hemxticsystem's comection to political intrigues, espionage, and a preInquisition alchemical fulk tradition markedly less masculine andaristocratic, has been consistently downplayed, and ahmst neverre-comected back to the arts. For instance, the facsimile editionofTheatrum Chemicum Britannicum used by this author corresfrom a ''Sources ofScience" series; none that I am aware ofinclude it as a sourcebook fur understanding theater, Ill.lCh less aguide fur understanding sacred theater.What i f hat ' ' S c h o o ~ " with its muddied green language andconfusing network of igns and s y m b o ~ , continued through theheight ofShakespeareandrama, and Shakespeare hiln;elfwas,hidden inplain site, its tmst public advocate? That what thiswriter thinks did happen, and what I willbe exploring in''Shakespeare's Green Garland," this issue and next.

IndexReferences

Abraham, L 1998, A Dictionary ofAlchemical Imagery,Cambridge University Press, Cambridge, UK ; New York, NY.Abraham, L 1998, ''Edward Kelly's Hieroglyph" inEmblems andAlchemy, eds. A. Adams & S.J. Linden, Departrnmt ofFrench,University ofGlasgow, Glasgow, Scotland, pp. 95-108.Aslnmle, E 1967, Theatrum Chemicum Britannicum, A reprintof he London ed., 1652, with a new introd. byAllen G. Debusedn, Johnson Reprint Corp, New York.Aslnmle, E 1652, Theatrum Chemicum BritannicumContaining Severall Poetical/ Pieces ofOur Famous EnglishPhilosophers, who have written the hermetique mysteries intheir owne ancient language, Printed by J. Gristmnd fur Nath.Brooke, LondonBackhmd, J 2006, ''In the Footsteps ofEdward Kelley: SorreManuscript Refurences in the Royal Library in CopenhagenConcerning an Alchemical Circle Around John Dee and Edward


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Concerning Ed. Kelley's Poem-BurnsKelley'' mJohnDee: Interdisciplinary Studies in EnglishRenaissance Thought, ed. S. Chlcas, Springer Dordrecht, theNether ands, Dordrecht, the NetherJands.Breiner, LA 1979, ''The Careerof he Cockatrice", Isis, vol 70,00. 1, pp. 30-47.Bridges, V and Burns, T 2007, ''Olympic Spirits, the Cuh oftheDark Goddess, & the SealofArreth"m he Consecrated LittleBook ofBlack Venus attributed to John Dee, ed. Burns, T. andTmner, N., Waning Moon Publications, Ltd., CoJd Springs, N.Y.Earlier draft available: http:mwmt.org/v2n13/book.htmlBurns, 1M 2008. ''Francis Gar1and, William Shakespeare, andJohn Dee's green Janguage", Journal of he Western MysteryTradition 2, (15). Available:http:/i\w.,w.jwmt.orglv2n15/garland.htmlBums, 1M, Moore., JA 2007, ''The Hieroglyphic Monad ofJohnDee Theorerm I-XVII: A Guide to the Outer Mysteries", Journalof he Western Mystery Tradition, vol2, no. 13. Available:http:mwmt.org/v2n13/sign.htmlChaucer, G, Coghill, N 2003, The Canterbury Tales, PenguinBooks, London ; New York.Dee, J, Bmns, T, Tmner, N 2007, The Consecrated LittleBookofBlack Venus, Waning Moon Publications, Ltd., Co1d Springs,NY.Economm 1972, The Goddess Natura in Medieval Literature,Harvard University Press, Cambridge, MAFenton, E ed. 1998, John Dee's Diaries. Day Books,Oxfordshire, UK.GoJdschmidt, G 1938, Der Ursprung derAlchimie, CffiAZeitschrift, Base\ Switzer1and.HaD, J 1974, Dictionary ofsubjects and symbols in art. Harper&Row, NY.Kelley, E 2008. Concerning the philosopher's stone. Journalofthe WesternMysteryTradition2, (15). Available:http:/i\w.,w.jwmt.orglv2n15/kpoem.htmlKelly, E& Waite, AE 1973, The Alchemical Writings ofEdward Kelly, Sarmel Weiser, NY.


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Concerning Ed. Kelley's Poem-BurnsKlein, A 1982 (German) (premce, trans, and c o ~ ) , DieMonas-Hieroglyphe von John Dee aus London, Ansata-Verlag,InterJaken, Switzerland.OxfOrd University Press. Oxford English dictionary. in OxfOrdUniversity Press [database online]. Oxfurd, England, 2000,AvailabJe from http://dictionary.oed.com/; Note: Forsubscribers only; fuDow links to resource.Porter, A 1988, Shakespeare's Mercutio: His History andDrama, University ofNorth Carolina Press, ChapelHill, NC.Shakespeare, W, R a f f u ~ B 2005, A Midsummer Night's Dream,Yale University Press, New Haven, CT.Shakespeare, W, R a f f u ~ B. Bloom, H 2006, The Tempest, YaleUniversity Press, New Haven, CT.Szulakowska, U 2000, The Alchemy ofLight: Geometry andOptics in late Renaissance Alchemical Rlustration, Brill,Leiden, Boston, MA.Turner, N. Burns, T 2007, "A TranslationofTheorems I-XVII ofJohn Dee's Monas Hieroglyphica", Journal of he WesternMystery Tradition, vol2, no. 13. Available: Available:h t t p : / ~ w m t . o r g l v 2 n 1 3 / p a r t i a l . h t m l

IndexNotes

[1] Titles rarely have fuotnotes and scho1arly articles rarely havededications, but in the spirit ofplay, let endnote ''mnnber one" beboth: I'd like to thank the two "especiall good Fraters" whosuggested and helped tre through these "strange" interpretations,fur friendship's sake.[2] Burns, ''Francis Garland, William Shakespeare, and JohnDee's green language," available:http://www.jwmt.org/v2n15/garland .htm l.[3] One possibJe source may have beenAslumle's Rosicrucian''father," William Backhouse, whose :father had cmmections toboth Dee and KeDey, See discussion in my other article thisissue, ibid.[4] Backhmd 295-330.


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Concerning Ed. Kelley's Poem- Burns[5] Ibid., 314.[6] For rmre


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Concerning Ed. Kelley's Poem- Burns[19] Ibid. 15.[20] Dastin in Ashrmle, op. cit. 259.[21] Bridges and Burns 128-131, 157-168; Weidner and Bridges44-45; Klein 18-19, 38.[22] Bridges and Burns 209-210 n 152-153.[23] Ibid., aJso see Klein op. cit. 124-126, 130-132.[24] Ibid. 157-168.[25] Backhmd op. cit. 314.[26] ''Colonna," Hypnerotomachia Poliphili.[27] Kelly, op. cit. 118.[28] An excellent overview ofMercury/Herrres as portrayed inRenaissance emblem books can be fOund in chapter three ofPorter's Shakespeare's Mercutio.[29] Fenton, 171, 174, 184.[30] Kelly op. cit. 121.[31] However, one other writer anthologized in Theatrum, JolmDastin, uses similar language. See Dastin in AslnmJe, 258.[32] Abraham, Dictionary, 53.[33] Szulakowska 24-25.[34] Ibid., especially chapter two, ''Georretry and Astrology inLate Medieval and early Renaissance Alchemy."[35] Ibid. 24[36] Kelly op. cit. 33; available: http://www.sacred-texts.com/alc/kellystn.htm[37] While this may seem anaclnunisti; to m>dem esotericistsrmst fumiliar with the association because of ts inclusion inGo1den Dawn knowledge 1ectures, one shoukl be aware that thesarre association ofVenus to the entirety of he Tree exists inmmy earlier works ofKabba1ah, and m>st :fu.rmusly in Dee'sHieroglyphic Monad.


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Concerning Ed. Kelley's Poem-Burns[38] Breiner.[39] Aslnmle op. cit.312.[40] Ibid. 59-60.[41] Kelly op. cit.120.[42] NortoninAslnm1e op. cit. 54, 55, 63.[43] OED.[44] Bwns, 'lQarland," op.cit.[45] Ibid.[46] Fenton op. cit. 204.[47] Curiously, Aslnmle infullil'l 1m readers that Chaucer was a''Master'' ofa1chemy, and says that is why he included the ''CanonYeoman's Tale" ftomThe Canterbury Tales in Theatrum. SeeAslnmle, op. cit. 467-470.[48] Porter 69.[49] Smlakowska op. cit.50-51.[50] Kelly op. cit.7.[51] Abraham, Dictionary op. cit. 3.[52] Hill, in Chambers's Cyclopredia;, as cited in OED, op. cit..[53] Hall25.[54] Abraham, Dictionary, op. cit., 8.[55] OED, op. cit.[56] Aslnmle, op. cit. 460-461.

Index

concerning ed.kelley's poem

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