The Alchemyst

Fiction | Novel | YA | Published in 2007

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Summary

Background

Chapter Summaries & Analyses

Prologue-Part 1, Chapter 7

Part 1, Chapters 8-16

Part 1, Chapter 17-Part 2, Chapter 29

Part 2, Chapters 30-41

Character Analysis

Themes

Symbols & Motifs

Important Quotes

Essay Topics

Tools

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Discussion Questions

Themes

Magic as Science

In keeping with the true history of alchemy, in the world of The Alchemyst, magic is presented as a form of science rather than simply a mystical force. Flamel argues that the Elder Race’s powers are in fact “a science [...] so advanced, we would call it magic” (277). In the story, some characters are alchemysts, sorcerers, or necromancers, for example, each being a specialized field of study that requires extensive scholarship and practice to master. A magician’s specialty can also be influenced by personal interest and predisposition, as John Dee notes: “Those traits that made Flamel such a brilliant alchemyst—his attention to detail, his knowledge of ancient languages, his infinite patience—made him a poor sorcerer and a terrible necromancer” (47). On the other hand, Perenelle’s “imaginative spark of pure visualization” (47) has enabled her to become an exceptional sorceress. In short, magic is depicted as an academic subject that can be learned and improved through the scientific method of observation and testing.

In addition, magic draws power from human senses and emotions. In fact, Hekate explains to Josh and Sophie that “magic is nothing more than an act of the imagination fired by the senses, then given shape by the power of your aura” (228). As a result, magic is characterized as a raw, organic energy inherent to all humans, and this includes natural variation in the aura’s power. On top of this, Flamel later mentions that there are five elements of magic: Air, Fire, Water, Earth, and Time. This further connection to the natural world reinforces the definition of magic as a logical extension of science.

Finally, the novel’s emphasis on alchemy brings together the concepts of science and the mystical arts. In the author’s note, Scott states that, historically, “Alchemy is a peculiar combination of chemistry, botany, medicine, astronomy and astrology” (373), which already hints at a combination of hard science and the supernatural. In the novel, Flamel defines alchemy as “a combination of science and magic” (89) characterized by the use of formulas and calculations used to affect matter. Although Flamel does use magic, his preference for the mathematical side of alchemy is mentioned several times in the story. He sees himself as a scientist first, whereas Perenelle calls herself a sorceress. However, their Duality highlights the intricate balance between magic and science, as one cannot function without the other.

By making magic a part of the empirical world, Scott lends his fictional setting credibility, and even a sense of plausibility. In addition to creating intrigue, this definition of magic also engages the reader’s Critical Thinking by blurring the lines between Truth Versus Fiction for dramatic effect.

Truth Versus Fiction

Throughout The Alchemyst, truth and fiction are blurred. Indeed, Scott’s world-building is characterized by references to real landmarks, history, and mythologies mingled with supernatural elements. By blending magic and science, or myth and history, the author lends credibility to his fictional setting while adding a sense of wonder and mystery. Josh and Sophie, the protagonists, initially struggle to untangle truth from fiction as they grapple with their shifting worldview. After he witnesses Dee and Flamel’s fight, for instance, Josh immediately denies his new reality: “everyone knew that magic simply did not and could not exist” (14). However, the twins then start believing Flamel’s claims as the story progresses. This later leads Sophie to comment, as she reflects on their adventures of the day: “The [Morrigan’s] birds were what had finally convinced her that she and Josh were in very real danger…because if the birds were real, then everything else was real too” (170).

What Josh and Sophie struggle to believe is not simply that magic exists, but that their entire cultural history is reframed as a millennia-long fight between humans and the Elder Race. When Flamel tells them that all the legends they hold true are “not necessarily false, nor [...] entirely true” (134), he implicitly rewrites the twins’ understanding of human history. And, by extension, the author also offers an alternative, fantastical version of that history to the reader. This is made especially evident when Flamel states: “I suspect that much of your knowledge comes from movies and TV. Xena and Dracula have a lot to answer for. All minotaurs are not evil, the Gorgon Medusa did not turn every man to stone, not all vampires are blood drinkers, the Were clans are a proud and ancient race” (134). The authorial voice can indirectly be felt in this passage, addressing the reader under the guise of a conversation between the protagonists. Indeed, a contemporary reader may be assumed to be familiar with the TV shows and movies cited by Flamel. The narrative therefore draws on their knowledge of other popular works of fiction to bolster its claims, which further muddles the line between reality and fiction and creates a more credible and intriguing world.

In addition to inviting the reader to connect with the fantastical through the familiar, the Truth Versus Fiction theme reinforces the central idea in the novel not to assume all is as it appears. The pterosaurs look frightening, Flamel looks disheveled, but both prove allies to Sophie and Josh. While the characters’ inner nature influences their magical powers, they also have a role to play in the narrative of history (shorthanded into the Codex for the purposes of this novel), and that role may not be obvious.

Critical Thinking

The theme of Critical Thinking revolves around the characters’ ability to distinguish between Truth Versus Fiction. Josh and Sophie especially are encouraged by various other characters to think for themselves and trust their instincts. Flamel warns them that “Nothing is as it seems. You must learn to question everything. To wait before moving, to look before stepping and to observe everything” (55). His advice is directed at the young protagonists but, through him, the author’s voice may also be indirectly addressing the reader. Later, Josh reflects on Flamel’s ambiguous intentions and wonders whether the alchemyst’s words apply to himself as well. Scathach implies that Flamel has a hidden agenda, while both Hekate and Dee state that the alchemyst “never tells anyone everything” (239, 340). This characterizes Flamel as mysterious and potentially dangerous, and it also develops the protagonists’ critical skills.

Josh and Sophie’s logical thinking is evidenced when they try to escape Hekate’s Shadowrealm. First, Sophie reflects on their recent adventures and concludes, based on empirical facts, that she and her brother experienced real magic. Following her reasoning, Josh then demonstrates his observational skills and leads Sophie to the front door by noticing patterns in the tree trunk. Over the course of the story, there are also multiple instances of the twins asking questions, reflecting on what they observe, or looking up answers on Josh’s computer.

However, the twins’ developing critical skills also lead them to doubt the reality of things and, by extension, to doubt themselves. Sophie, for instance, is seduced by the idea of learning magic, but has an emotional breakdown when she finds herself overwhelmed by her awakened senses. Josh is also prone to self-doubt because he remains in his accomplished sister’s shadow, and he even becomes jealous when she gains magical ability and he does not. With his relationships and his worldview so radically challenged, Josh despairingly remarks that “what he had once believed to be merely stories now turned out to be versions of the truth. [...] And so his parents’ life work—archaeology—was suddenly worthless” (337-38). In the young boy’s most vulnerable moment, Dee attempts to prey on Josh’s insecurities to recruit him to his side. What saves Josh, however, is the very relationship Josh doubted: Sophie comes back through the mirror to get him. Trust and instinct are thereby framed as the necessary counterparts to self-doubt, which echoes Scathach’s earlier advice: “Trust no one. Except each other” (134).

Throughout the novel, Josh and Sophie demonstrate their ability to observe their surroundings and draw logical conclusions. In doing so, they rely on the scientific method, thus following in Flamel’s footsteps. However, the twins also struggle with self-doubt brought about by doubting reality, which is eventually remedied by their emotional bond, thus highlighting the significance of instinct (and magic) as a counterpart to empirical science.