eul_wid: tyc-bo

Poem of Zosimus, Act 3
Ποίημα τοῦ Ζωσίμου (πρᾶξις γʹ)

Zosimus of Panopolis Poem of Zosimus, Act 3 PDF

The Poem of Zosimus is a seminal Greek alchemical treatise attributed to Zosimus of Panopolis, composed around 300 CE. Written in Koine Greek, the work is structured as a series of instructional sections known as Acts, of which Act 3 forms an integral part. This section exemplifies the treatise's characteristic fusion of practical laboratory technique and profound spiritual allegory. It presents a vision of a priest performing sacred mysteries, described in terms of a ritualistic process intended to "bloody the bodies, give eyes to the eyeless, and raise the dead," a clear metaphor for the alchemical operations of dissolution, coloration, and revival of metals. The narrative continues with a symbolic sacrifice and dismemberment, instructions laden with esoteric meaning pointing to stages of purification and transformation.

The text survives within a larger, fragmentary corpus preserved in Byzantine manuscripts, and the precise original architecture of the complete Poem remains uncertain. Zosimus wrote in Panopolis, Egypt, a major intellectual center where Greek philosophical traditions converged with Egyptian craft knowledge and temple practices. His work is directed toward fellow initiates, reflecting a sophisticated syncretism of Platonic, Gnostic, and Hermetic thought. In this worldview, the physical transmutation of substances—such as employing a "divine water" solvent or achieving metallic coloration—serves as a direct analogue for the soul's spiritual purification and ascent toward divine knowledge. Act 3, with its vivid dreamlike imagery and encoded procedural language, stands as a quintessential example of how Zosimus embedded operational alchemy within a framework of mystical revelation.

1 Ποίημα τοῦ αὐτοῦ Ζωσίμου, πρᾶξις γʹ Καὶ πάλιν κατενόησα τὸ θεῖον καὶ ἱερὸν φιαλοβωμόν, καὶ εἶδόν τινα ἱεροπρεπῆ λευκοποδήρη ἐνδεδυμένον ἱερουργοῦντα τὰ φοβερὰ ἐκεῖνα μυστήρια καὶ εἶπον· «Ἆρα τίς ἐστιν οὗτος;». Καὶ ἀποκριθεὶς εἶπέν μοι· «Οὗτός ἐστιν ὁ ἱερεὺς τῶν ἀδύτων· οὗτος βούλεται αἱματῶσαι τὰ σώματα καὶ ὀμματῶσαι τὰ ἀόμματα καὶ τὰ νενεκρωμένα ἀναστῆσαι». Καὶ οὕτως πάλιν πεσὼν ἐκοιμήθην ἄλλον ὀλίγον, καὶ αὐτόθι ἐν τῷ ἐπανέρχεσθαί με ἐπὶ τὴν τετάρτην κλίμακα, εἶδον κατὰ ἀνατολὰς ἐρχόμενον κατέχοντα ἐν τῇ χειρὶ αὐτοῦ μάχαιραν, καὶ ἄλλος ὀπίσω αὐτοῦ φέρων περιηγκωνισμένον τινὰ λευκοφόρον καὶ ὡραῖον τὴν ὄψιν οὗ τὸ ὄνομα [αὐτοῦ] ἐκαλεῖτο μεσουράνισμα κινναβάρεως. Καὶ ὡς πλησίον ἦλθον τῶν κολάσεων, λέγει ὁ τὴν μάχαιραν κρατῶν· «Περίτεμε αὐτοῦ τὴν κεφαλὴν καὶ τὰ κρέατα αὐτοῦ θῦσον ἀνὰ μέρος καὶ τὰς σάρκας αὐτοῦ ἀνὰ μέρος ὅπως αἱ σάρκες αὐτοῦ πρῶτον ἑψηθῶσιν ὀργανικῶς καὶ τότε τῇ κολάσει παραπορευθῶσιν». Καὶ οὕτως πάλιν ἔξυπνος γενόμενος εἶπον· «Καλῶς ἐπενό ησα καὶ οἱ περὶ ταῦτά εἰσιν τὰ ὑγρὰ τῆς μεταλλικῆς». Καὶ πάλιν ὁ βαστάζων τὴν μάχαιραν ἔφη· «Πεπληρώκατε τὴν κάτω ἑπτακλίμακα». Ὁ δὲ ἕτερος ἔφη· «Ἅμα τῷ ἐκβαλεῖν τοὺς μολύβδους δι’ ὑγρῶν πάντων ἡ τέχνη πεπλήρωται».