Between Politics and Magic: Brandon Sanderson s The Emperor s Soul and the Alchemy of Forgery

Transcription

1 Journal of Supernatural Literature Vol.2 Christian Hayes Between Politics and Magic: Brandon Sanderson s The Emperor s Soul and the Alchemy of Forgery Brandon Sanderson s The Emperor s Soul (2012) is a novella that concerns itself with the intricacies of magic as much as it does the intricacies of palace politics. The Emperor s Soul explores the potential for magic systems to be a vessel for introspection and reflection. This essay posits that the magic system within Sanderson s text, Forgery and the use of soulstamps, is a practice allegorical with alchemy. According to this belief, Forgery in particular the Forging of Emperor Ashravan s soul can be explored from a Jungian philosophical perspective, as a method of exploring and critiquing Jung s understanding of the self s search for individuation. Beginning by exploring the similarities between Sanderson s Forgery and alchemy, this essay will then explore Jung s interpretation of alchemy in the context of Forgery within The Emperor s Soul, before finally examining some of the differences between Sanderson s Forgery and alchemy, and presenting the implications these differences carry for Jung s theory. The concept of forgery pervades Brandon Sanderson s The Emperor s Soul. Whether speaking of forgery in the traditional sense, or Forgery in relation to the supernatural use of soulstamps to edit an object s history, Sanderson s intricate craft system is a noteworthy construction. Forgery and alchemy share a number of similarities in Sanderson s text. Some of these similarities are seemingly incidental, however they succeed in creating the aesthetic of alchemy within the Forgery system. One such similarity is the way in which Forgery s power is largely based in, or limited by, its user s knowledge. In order for a person to create a Forgery, they must know its past, [and] its nature (Sanderson, 2012, p.15), in order to be able to manipulate it. Similarly, the art of alchemy is said require knowledge secretly passed on through texts such as the Emerald Tablet a text purportedly containing the art of alchemy. Another such similarity is the use of engravings and markings as catalysts for the realisation of designs. In Forgery, a Forger must create a soulstamp, a stamp engraved with numerous runes and figures which is then pressed onto an object or more precisely an object s soul in order to enact the work by the Forger. Page 6

2 In alchemy, the use of alchemical symbols, often arranged in circles, were seen as the catalyst for transmutation and other alchemical procedures. These similarities, while largely superficial, serve to create an obvious aesthetic link between Forgery and alchemy. The similarities between Forgery and alchemy are by no means restricted to the aesthetic, as many thematic similarities exist between the two arts. These similarities link the two practices on a philosophical level, and while such similarities may not necessarily be apparent, the conceptual parallels inextricably link the philosophies of the two arts. One such similarity lies in the emphasis on the duality of an object s existence, that is, the belief that objects contain not only its physical form, but also a soul. When explaining the nature of an object s existence to the arbiter Gaotona, Shai explains that an object exists in both in a physical sense, and a spiritual sense (Sanderson 2012, p. 53). The dualistic nature of an object having both a physical form and a spiritual essence (Sanderson 2012, p.53), can be seen to reflect the notion that mystical/esotheric alchemy functions under the assumption every substance has a spirit (Ciller & Cakir 2014, p.44). Just as alchemy dealt in the duality of opposite elements, and their dualistic existences, the practice Forgery in The Emperor s Soul also dealt in the dualistic nature of the objects being Forged; it was not their physical state that was directly altered, but rather the Forger altered an object by touching [its] soul (Sanderson 2012, p.49). In this way, both practices draw upon a Cartesian understanding of Dualism, following the belief that there are two worlds, the one populated by physical objects, the other by mental objects (Morris & Baker, 1995, p. 11). The idea of dualism as a central aspect of alchemy took on philosophical implications when philosopher and psychologist Carl Jung began implementing alchemical symbolism and terminology in his understanding of the development of the psyche (Stratford & Kupperman, 2011 p.46). Just as alchemy sought the creation of new elements through the opposition of pairs of elements, Jung s concepts of psychotherapy sought to differentiate psyche through work with opposites (Driscoll 1993, p.176). Jung saw the conscious and unconscious as dualistic states; separate, yet linked (Atmanspacher 2014, pp ). Given the similarities in the dualistic nature of alchemy and the dualistic nature of Forgery, Shai s Forgery of Ashravan s soul is subject to the same implications as alchemy under Jung s exploration of the psyche. Sanderson explores Jung s dichotomy of conscious and unconscious quite explicitly, as Shai is tasked with creating a new soul for Ashravan. In her task, Shai is literally required to Forge Ashravan a conscious from the recesses of his unconscious. She must act in Ashravan s place and navigate through his own memories, opinions and perceptions, and also utilise the way in which other characters perceive him, in order to form a coherent and functioning consciousness. However, there is a point of divergence from traditional Cartesian Dualism explored in Jung s philosophies. Through this difference, Sanderson presents a commentary on Jung s idea of the dichotomy of the conscious and unconscious. Despite the similarity with alchemy s dualistic nature, Forgery within The Emperor s Soul poignantly deviates from alchemy through its inclusion of a third state, the cognitive realm (Sanderson 2012, p.53). As explained by Shai, an object s cognitive realm contains how an object is viewed and how it views itself (Sanderson 2012, p.53). This addition of a third state of being allows for an entirely new understanding of an object s existence. While the dualistic nature of alchemy allows for the objective existence of the object and its subjective essence, the inclusion of the cognitive aspect of existence in Forgery allows for an important and distinct difference between Forgery and alchemy: negotiation. This negotiation occurs because an object has a sense that it is viewed rather than purely having an is and an essence (Sanderson 2012, p.53). This dramatically changes the way an object s identity is formed, no longer is its identity a dichotomy Page 7

3 between what it is (objective) an how it is conceptualised (subjective), but rather its identity is constructive. There is now a transaction or negotiation that takes place between what it is, how it is conceptualised, and how it is perceived the object is no longer passive. This cognitive realm (Sanderson 2012, p.53) functions much like the ego of Sigmund Freud s concept of the mental apparatus, mediating between the physical and spiritual realms of an object s existence (Colman 2014). Importantly, Sanderson s inclusion of this third element of existence criticises Jung s dichotomy, implying the importance of a mediating or reconciling element between the two binaries of conscious and unconscious, and presenting a world view that acknowledges the importance of both the perception and the perceived in the establishment of an object s self. Another thematic similarity between Forgery in The Emperor s Soul and alchemy centres on the concept of the Magnum Opus. The Magnum Opus, Latin for Great Work (Stratford & Kupperman 2011, p.38, 54), is a concept that represents the pinnacle of alchemical endeavours. The Magnum Opus is the art of trying to create the Philosopher s Stone, the object believed to allow the alchemist to transmute lead into gold and create the elixir of life (Archer 2013, p. 173). Standing as the centre of alchemical symbolism, the Philosopher s Stone represents perfection, attainment, enlightenment [and] complete understanding (Stratford & Kupperman 2011, p.64). Under this understanding, Shai s act of Forging a soul for Emperor Ashravan after he is assassinated by members of the Glory faction represents the Magnum Opus of Forgery. For Shai, the Forgery of Ashravan s soul is her Philosopher s Stone, it represents the pinnacle of her work, and Shai is willing to risk her life in order to finish the task. Her task is to forge something that is so perfect that it would fool millions. Shai becomes so invested in this task that she is willing to risk further endangerment during her escape, in order to try the soul stamp on the Emperor to see whether her Forgery of his soul, her Magnum Opus, was a success, if she was not able to test it, it would be tantamount to crafting a masterpiece of art, then locking it away to never be seen again (Sanderson 2012, p. 138). Like dualism in alchemy, the concept of the Magnum Opus carries philosophical significance in light of Carl Jung s use of alchemical symbolism in his exploration of the self. Throughout his exploration of the philosophical and psychological implications of alchemical symbolism, Jung explored the concept of the Magnum Opus as an allegory for the self s search for individuation (Martin 2001, p. 62). Jung saw individuation as a state in which the self was whole, indivisible and distinct from other people or collective psychology, a state of being in which the self was unified (Samuels, Shorter & Plaut 2012, pp.76-77). Jung described a person s journey to such a state using the same terminology as used in the description of the stages of the Magnum Opus (Martin, 2001, p. 62). Notably, Jung refers to the process of individuation as containing four stages Nigredo, Albedo, Citrinitas and Rubedo (Martin 2001, p.18-19, 62) which correspond to the four stages of the Magnum Opus. Considering the similarities between the Magnum Opus and Shai s construction of Ashravan s soul, Shai s process of Forgery throughout The Emperor s Soul is subject to the same application of Jungian philosophy. In Sanderson s text however, rather than the process being introspective, with Shai exploring her own consciousness, she is literally building the consciousness of another person. This allows readers, through Shai, to be voyeurs in a process that is normally embedded in introspection, as she knows [Ashravan s soul] better than [he] ever did (Sanderson 2012, p.139). Through this change in perspective, Sanderson critiques Jung s idea of the process of individuation. Shai s assertion that she will get some wrong (Sanderson 2012, p. 54) in the Page 8

4 Forgery of Ashravan s soul presents a stark contrast to Jung s ideal portrayal of the process of individuation. Sanderson s description of people as a twisting mess of flaws and passions (Sanderson 2012, p. 83) implies that the self is far more complex than Jung s process of individuation, heavily based in psychological archetypes inherited and generalised mental structures [or] patterns (Colman 2014) would allow. This criticism is reinforced when Shai asserts that if she were to base her Forgery on any one attribute, any one archetype, she would create a mockery, not a man (Sanderson 2012, p. 85). Unlike Jung s archetype-populated self, Sanderson presents a concept of a self that is constantly growing, changing, shifting (Sanderson 2012, p.68). The concepts of Dualism and the Magnum Opus are not the only areas in which Sanderson s Forgery can be seen departing from alchemy in its construction. Just as the similarities between Forgery and alchemy emphasise their philosophical likeness and thus enable philosophical commentary on Jung s alchemical symbolism, the points of difference also present interpretations of the philosophies associated with alchemy, as their difference dissects and interprets Jung s philosophies. One such point of difference lies in Forgery s seemingly open nature. As Shai tells the reader, Forgery is an art any man or woman could learn, it only needs a steady hand and an eye for detail (Sanderson 2012, p.47). Conversely alchemy is often presented as a more esoteric discipline, its hermetic tradition being invested in the notion that alchemical knowledge is secretly passed down between legendary figures through the Emerald Tablet composed by Hermes Trismegistus (Robertson 2014, p.406). If alchemy is considered allegorical for introspective exploration of the self s unconscious, and is a secret art known by few, then as such, surely introspection is likewise recondite? Thus Sanderson s decision to make Forgery a more accessible art presents a criticism of this implication. The way in which Forgery deviates from alchemy s esoteric tradition implies that introspection is a practice available to anyone, and does not require some secret skillset. In conclusion, the system of Forgery presented in Brandon Sanderson s The Emperor s Soul displays a number of similarities to the practice of alchemy. As alchemy is often treated as an allegory for the self s process of reaching individuation, the similarities between alchemy and Forgery allow for Sanderson s magic system to offer a commentary of Jung s understanding of this process. Sanderson s Forgery talks back to Jung s proposed process of individuation, criticising its simplicity and dependence on archetypes, instead acknowledging and emphasising the complexity of the human psyche. Page 9

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