Forbidden Alchemy Quotes

Rather, our eyes caught on each other’s, and there was a long pause. Prismatic blue shifted, melted. A jump along his jaw. I wondered if there was something in his middle that cracked and spilled out, as it did in mine.

I drew pictures of you,” I told him, giving him this one small piece of myself. “In school.” He didn’t speak. Just pulled me round and round in a small orbit. I swallowed. “I was scared to forget you.” The sound of his heart beating made me think of caves under leagues of sea. “I never had a hope in the world of forgetting you, Scurry girl.

You’re too beautiful to be real,” he said suddenly, softly. With my ear pressed to his chest, I could feel the words, too. “There’s your compliment.

Well, you dropped your skirt in front of me once, Nina Harrow. By all means, do it again.

Truly, you understand the reverse art of alchemy, the depreciating of the most valuable things! Try, just for once, another recipe, in order not to realise as hitherto the opposite of what you mean to attain: deny those good things, withdraw from them the applause of the populace and discourage the spread of them, make them once more the concealed chastities of solitary souls, and say: morality is something forbidden! Perhaps you will thus attract to your cause the sort of men who are only of any account, I mean the heroic. But then there must be something formidable in it, and not as hitherto something disgusting!

Patrick’s eyes dipped to my mouth. Suddenly, he felt too close. “And did you love him?” “Yes.” I shivered. “And he you?” “I believed he did.” “And do you love him still?” He asked it so quietly I strained to hear. His face took on the visage of a ghost, lantern light only settling on the sharpest bones. Breath weighted my lungs, and my feet sunk another inch. Why did all things become heavier in the dark? “It isn’t your business to know who I love.” But I said it to the ground, where there was no brilliant blue. Beneath my skin, blood raced. Silence. Sounds suffocated on the hot air. Patrick waited an interminable moment, until it was impossible not to look at him again. “If it’s all the same to you,” he said, low and exact, “I’m inclined to make it my business.

In all her intercourse with society, however, there was nothing that made her feel as if she belonged to it. Every gesture, every word, and even the silence of those with whom she came in contact, implied, and often expressed, that she was banished, and as much alone as if she inhabited another sphere, or communicated with the common nature by other organs and senses than the rest of human kind. She stood apart from moral interests, yet close beside them, like a ghost that revisits the familiar fireside, and can no longer make itself seen or felt; no more smile with the household joy, nor mourn with the kindred sorrow; or, should it succeed in manifesting its forbidden sympathy, awakening only terror and horrible repugnance. These emotions, in fact, and its bitterest scorn besides, seemed to be the sole portion that she retained in the universal heart. It was not an age of delicacy; and her position, although she understood it well, and was in little danger of forgetting it, was often brought before her vivid self-perception, like a new anguish, by the rudest touch upon the tenderest spot. The poor, as we have already said, whom she sought out to be the objects of her bounty, often reviled the hand that was stretched forth to succor them. Dames of elevated rank, likewise, whose doors she entered in the way of her occupation, were accustomed to distil drops of bitterness into her heart; sometimes through that alchemy of quiet malice, by which women can concoct a subtle poison from ordinary trifles; and sometimes, also, by a coarser expression, that fell upon the sufferer's defenceless breast like a rough blow upon an ulcerated wound.

The universe is a self-playing game. We are the players. The universe is a self-solving equation. We are the active nodes of that equation. We breathe fire into the equations and animate and propel them. The universe is a self-optimising mathematical system. It’s the ultimate alchemical experiment. It turns bare, unclear monads (base metal; potential) into full, clear monads (gold; actuality). The universe exists to transform souls into Gods. The universe is an evolving divinity – a God factory – a dialectical system for producing mathematical perfection.

When you’ve spent your entire life being told something is wrong—and by wrong, I mean bad, wicked, sinful—there are two obvious ways to respond. You can abstain from said wicked path. Avoid it, fear it, like it’s the plague itself. Like it has the power to tear you apart. To destroy all you know to be good and pure. Even to kill you. Or you can become fixated on it. For wasn’t it the apple’s forbidden nature that tormented Eve so cruelly, rather than any inherent qualities concealed beneath that rosy skin? In short, you can grow so fixated that the desire to experience this evil path, to know it, consumes you until you fall headlong into a life of sin.

he suddenly found himself face-to-face with forbidden fruit. My pussy. He’s still exploring, trying me out as if my body is a new world for him. He dips his fingertip inside my entrance, then slides it back down through my folds and presses it against my clit. Assessing me.

The Composition of Death Upon Your Breath" About the Song: The Composition of Death Upon Your Breath delves into the dark and haunting theme of a lover poisoned by a sinister concoction found in the medieval Grand Grimoire. The song narrates the tragic tale of love tainted by the cruel hand of death, where a forbidden potion is meticulously prepared with arcane ingredients. The song's lyrics evoke a gothic atmosphere, intertwining elements of medieval alchemy and romantic tragedy. The potion's ingredients—Red Copper, Nitric Acid, Verdigris, Arsenic, Oak Bark, Rose Water, and Black Soot—are transformed into metaphors for the slow, inevitable demise of the lover. This deadly recipe becomes a symbol of both the destructive power and the twisted beauty of forbidden love. The music captures the essence of gothic black metal with its somber melodies, eerie harmonies, and intense, brooding instrumentals. Each note and lyric serve to illustrate the dark journey of love poisoned by betrayal and malice. The song's atmosphere is thick with melancholy and dread, inviting listeners into a world where passion and death intertwine in a tragic dance. Copyright Notice: The Composition of Death Upon Your Breath © 2024 Umbrae Sortilegium. All rights reserved. Unauthorized copying, reproduction, or distribution of this song or its lyrics is prohibited. The Composition of Death Upon Your Breath. (Verse 1) In an ancient tome of shadowed lore, A secret poison to settle the score, A lover’s whisper, a deadly art, The composition to tear us apart. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Verse 2) A new, glazed pot, the spell's design, A potion brewed, in shadows confined, Your lips, a chalice of cold despair, In each embrace, a whispered prayer. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Bridge) In your gaze, the twilight's fall, A lover's kiss, the end of all, The Grand Grimoire, its secrets told, In every kiss, the poison’s cold. (Breakdown) A potion brewed from darkest sin, Your breath the gateway, let death begin, A recipe of doom, our fates entwined, In your arms, I lose my mind. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Outro) The final breath, a lover's sigh, In your arms, I’m doomed to die, The composition, a lover’s theft, Death upon your breath, my final bequest. Lyrics and ALL Vocals yours truly. Lead Guitar & Symphonics Raz Wolfgang Drums Alexander Novichkov Bass Auron Nightshade Guitarist Kael Thornfield

It was only later I began to think of bringing you to lie. It's forbidden, of course. To breathe life into machines. We've lost the knowledge anyway. Erased along with post-Newtonian physics. But the ancient methods...those cannot be rooted out. Alchemy. Sorcery. Clockwork magic. I thought there might be a way.

And now that mulch of dead imaginings beneath the feet of Temperance ladies, union-affiliated Vaudevillians and maimed men home from Europe has contaminated the groundwater of the upstart country's nightmares. Immigrants in their illimitable difference come to seem a separate species, taciturn and fish-eyed as though risen from the ocean waves that bore them in their transport, monstrous in their self-contained communities with bitter scents and indecipherable ululations, names, unsettlingly unpronounceable ensconced at isolated farms where beaten track is naught save idle rumour stagnant families nurse grievance, dreadful secrets and deformity in solitude; pools of declined humanity entirely unconnected to society by any tributary where ancestral prejudice or misconception may become the plaint of generations. Fabled and forbidden works of Arab alchemy are handed down across years cruel and volatile, trafficked between austere and colonial homes by charitable fellowships with ancient affectations or conveyed by fevered sea-captains, fugitive Huguenots or elderly hysterics formally accused of witchcraft. Young America, a sapling power grown suddenly so tall upon its diet of nickelodeons and motorcars, has sunk unwitting roots into an underworld of grotesque notions and archaic creeds, their feaful pull discernible below the weed-cracked sidewalk. Buried and forgotten, ominous philosophies await their day with hideous patience. Well! I think that's pretty darned good for a first attempt. A little over-wrought, perhaps, and I'm not sure about the style - I can't decide if its too modern of it's too old fashioned, but perhaps that's a good sign. Of course, I guess I'll have to introduce a plot and characters at some point, but I'll wrestle with that minor nuisance when I get to it. Perhaps I could contrive to have some hobo, maybe literally a hoe-boy or travelling itinerant farm labourer who's wandering from place to place around New England in the search for work; somebody who might reasonably become involved with all the various characters I'm hoping to investigate. Being a labourer, while it would lend a feasibility to any action or exertion that I wanted in the story, wouldn't mean that my protagonist was lacking in intelligence of education: this is often economically a far from certain country for a lot of people, and there's plenty of smart fellows - maybe even an aspiring writer like myself - who've found themselves leaving their homes and families to mooch around from farm to farm in hope of some hay-baling or fruit-picking that's unlikely to materialise. Perhaps a character like that, a rugged man who is sufficiently well read to justifiably allow me a few literary flourishes (and I can't help thinking that I'll probably end up casting some imagined variant of Tom Malone) would be the kind of of sympathetic hero and the kind of voice I'm looking for. Meanwhile I yawned a moment or two back, and while I'm not yet quite exhausted to the point where I can guarantee a deep and dreamless sleep, perhaps another six or seven vague ideas for stories might just do the soporific job.

And now that mulch of dead imaginings beneath the feet of Temperance ladies, union-affiliated Vaudevillians and maimed men home from Europe has contaminated the groundwater of the upstart country's nightmares. Immigrants in their illimitable difference come to seem a separate species, taciturn and fish-eyed as though risen from the ocean waves that bore them in their transport, monstrous in their self-contained communities with bitter scents and indecipherable ululations, names, unsettlingly unpronounceable ensconced at isolated farms where beaten track is naught save idle rumour stagnant families nurse grievance, dreadful secrets and deformity in solitude; pools of declined humanity entirely unconnected to society by any tributary where ancestral prejudice or misconception may become the plaint of generations. Fabled and forbidden works of Arab alchemy are handed down across years cruel and volatile, trafficked between austere and colonial homes by charitable fellowships with ancient affectations or conveyed by fevered sea-captains, fugitive Huguenots or elderly hysterics formally accused of witchcraft. Young America, a sapling power grown suddenly so tall upon its diet of nickelodeons and motorcars, has sunk unwitting roots into an underworld of grotesque notions and archaic creeds, their feaful pull discernible below the weed-cracked sidewalk. Buried and forgotten, ominous philosophies await their day with hideous patience. Well! I think that's pretty darned good for a first attempt. A little over-wrought, perhaps, and I'm not sure about the style - I can't decide if its too modern of it's too old-fashioned, but perhaps that's a good sign. Of course, I guess I'll have to introduce a plot and characters at some point, but I'll wrestle with that minor nuisance when I get to it. Perhaps I could contrive to have some hobo, maybe literally a hoe-boy or travelling itinerant farm labourer who's wandering from place to place around New England in the search for work; somebody who might reasonably become involved with all the various characters I'm hoping to investigate. Being a labourer, while it would lend a feasibility to any action or exertion that I wanted in the story, wouldn't mean that my protagonist was lacking in intelligence or education: this is often economically a far from certain country for a lot of people, and there's plenty of smart fellows - maybe even an aspiring writer like myself - who've found themselves leaving their homes and families to mooch around from farm to farm in hope of some hay-baling or fruit-picking that's unlikely to materialise. Perhaps a character like that, a rugged man who is sufficiently well read to justifiably allow me a few literary flourishes (and I can't help thinking that I'll probably end up casting some imagined variant of Tom Malone) would be the kind of of sympathetic hero and the kind of voice I'm looking for. Meanwhile I yawned a moment or two back, and while I'm not yet quite exhausted to the point where I can guarantee a deep and dreamless sleep, perhaps another six or seven vague ideas for stories might just do the soporific job.

To those who preach morals — I do not wish to promote any morality, but to those who do I give this advice: If you wish to deprive the best things and states of all honor and worth, then go on talking about them as you have been doing. Place them at the head of your morality and talk from morning to night of the happiness of virtue, the composure of the soul, of justice and immanent retribution The way you are going about it, all these good things will eventually have popularity and the clamor of the streets on their side; but at the same time all the gold that was on them will have been worn off by so much handling, and all the gold inside will have turned to lead Truly, you are masters of alchemy in reverse: the devaluation of what is most valuable. Why don’t you make the experiment of trying another prescription to keep from attaining the opposite of your goal as you have done hitherto? Deny these good things, withdraw the mob’s acclaim from them as well as their easy currency; make them once again concealed secrets of solitary souls; say that morality is something forbidden That way you might win over for these things the kind of people who alone matter: I mean those who are heroic. But to that end there has to be a quality that inspires fear and not, as hitherto, nausea Hasn’t the time come to say of morality what Master Eckhart said: “I ask God to rid me of God.

Sathariel is a continued powerful Fallen Angel as found in the Qlippoth of Binah, “understanding”: forbidden knowledge and the delicate Black Alchemy of Self-Liberation, Illumination and Apotheosis. Sathariel is the “Concealment of El” who tests and challenges the seeker to have the perseverance of maintaining the initiatory trials of Apotheosis. The demons of Sathariel are shadowed, black veiled heads with goat horns, having fiery yellow and red eyes which pierce through the veil, followed by terrible centaurs.

He shook himself from his reverie. “Well,” he said. “That fuckin’ showed me, didn’t it?

I was scared to forget you.” The sound of his heart beating made me think of caves under leagues of sea. “I never had a hope in the world of forgetting you, Scurry girl.

And what will happen to this… romance when he finds out why you’re really here, Nina?” he asked. “When Patrick finds out who sent you?” My fingers clenched. “Theo, please… someone might hear—” “Or worse,” Theo continued, “what will happen to you, when Tanner learns you’ve been seduced by the man you were sent to bury?

I think I’ve fallen in love with you,” he said gruffly. “So you’d better fuckin’ come out, Nina. Promise me. Now.

Because you’ve been stuck in my head for thirteen long years,” he said. “And now that you’re here, I can’t bring it upon myself to see you leave.” He lifted her then, clear off the floor, and her screeching laughter tinkled down the tunnel as he pressed his forehead to hers. “I’m in love with you, I’m afraid.

I intend to put the rest of these boys to shame and spoil you for anyone else.

I was twelve years old in a courtyard, and a furtive hand slipped vials into my pocket. You’ve got a mind of your own, the boy said. Don’t let those fuckers take it. And then he faded from view.