By Albert Hofmann
Author note: ahead by way of Christian Rätsch, in a while by way of Alex Gray
The acclaimed discoverer of LSD’s own reviews and strategies on chemistry, the ordinary sciences, mind-altering medications, the soul, and the quest for happiness
• stocks a special part of the daddy of LSD, one recognized in basic terms to his associates and shut colleagues
• Explains Hofmann’s diversified tools of pharmaceutical learn according to conventional plant medicine
• comprises the poetry of this mystical prophet of psychedelic science
Best often called the 1st individual to synthesize, ingest, and detect the psychedelic results of LSD, Albert Hofmann used to be greater than only a chemist. A pioneer within the box of visionary plant study, he was once one of many first humans to signify using entheogens for mental therapeutic and religious development. His insights into the consciousness-expanding results of psychedelics in addition to human nature, the psyche, and the character of truth earned him a name as a magical scientist and visionary philosopher.
This book--Hofmann’s final paintings ahead of his loss of life in 2008 on the age of 102--offers the acclaimed scientist’s own reports and recommendations on chemistry, the traditional sciences, mind-altering medicines, the soul, and the hunt for happiness and which means in lifestyles. Hofmann explains various tools of pharmaceutical study in keeping with conventional plant medication and discusses psilocybin, the lively compound in psychedelic mushrooms that he stumbled on. He examines the mental function of psychoactives, their healing strength, and their use in easing the life-to-death transition. Sharing a unique aspect of the daddy of LSD, one identified in simple terms to his associates and shut colleagues, this e-book additionally comprises the poetry of this mystical prophet of psychedelic technological know-how.
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Extra resources for LSD and the Divine Scientist: The Final Thoughts and Reflections of Albert Hofmann
Similarly, Shamhat’s brazen display of her sexual charms incites desire in the wild man. Such provocative entrapment may cast Shamhat herself as a kind of hunter. ” Shamhat, however, is not the aggressor in the Gilgamesh epic; she is not a deceitful hooker soliciting a client for her own gain. Shamhat is only the lure used by the trapper to entice the wild man, a pawn in this contest between men. Her erotic allure (kuzbu) is powerful in its attraction, but it is nonetheless only an invitation, an availability, rather than a coercive force.
36 DESIRE, DISCORD, AND DEATH alkam-ma GilgΩmeå lu æΩºir atta inbÏka yâåi qâåu qÏåam-ma atta l„ mutÏ-ma anΩku l„ aååatka “Come to me, Gilgamesh, (for) you are a lover! Give, O give me freely of your ‘fruit’! ” The narrator’s confirmation of Gilgamesh’s attractiveness (dumqu) in line 6 makes the absence of any description of Ishtar’s allure even more conspicuous. “Fruit,” inb„, is a common figurative expression for sexual appeal and vigor in Akkadian erotic literature, apparently based on the metaphor of fruit’s luscious qualities (see Lambert 1987b:27–31).
His passions embraced (and enveloped) her: For six days and seven nights Enkidu was aroused and copulated with Shamhat. Jerrold Cooper (1997:92) describes this scene as a “male fantasy of sexual initiation” in which Shamhat simply spreads her legs to be 24 DESIRE, DISCORD, AND DEATH mounted by Enkidu, who behaves like a bull in rut. There is no foreplay or erotic dialogue and the woman’s compliance with masculine lust is simply assumed as the action moves directly to genital intercourse. The scene’s poetic vocabulary is sexually explicit without being erotic in character.