Alchemy
Alchemy is a major theme of the play, but it is also functions as a meta-theatrical allegory of the playhouse itself. The Alchemist is known as one of Jonson's most self-referential plays, and it indeed stands out among most early modern English comedies as one that explicitly comments on the nature of the theater. When Surly notes his skepticism about alchemy and its ability to "trick" and "charm" its victims, he alludes to the fact that a play, too, temporarily "tricks" its audience into believing that what they are watching is real. As such, alchemy becomes an allegory for the knowing exchange between playwright – who creates the fiction – and audiences – who consume it.
The Philosopher's Stone
The Philosopher's Stone symbolizes greed and deception. The stone is said to be able to transform base metals into silver and gold. It is also marketed as producing the elixir of life, which would render someone eternally youthful. These far-fetched notions are easily picked up by multiple characters who seek nothing but wealth and personal gain, usually at the expense of others.
Disguise
Disguise is an important motif in early modern English comedies in general, but it plays an integral role in the plot and humor of The Alchemist. From the outset, Jeremy the Butler is disguised as Face and Subtle is disguised as a magical doctor or Alchemist. Doll dons many disguises throughout the play in order to deceive their many victims. Disguises – and characters' willingness to believe them – showcase the play's interest in uncovering what is real and what is simply being performed.
Transformation
At the heart of the play is the theme of transformation. Alchemy itself promises to transform matter from one thing to another (usually, base metals into silver or gold), and the various victims of Face, Subtle, and Doll all buy into this notion. However, the alchemical transformations are not the only ones on display in the play. Indeed, characters like Mammon fantasize about how possessing the Philosopher's Stone would transform his life. At the end of the play, Face "transforms" back into Jeremy while similarly "transforming" Lovewit's entire life through his marriage to Dame Pliant. Transformation abounds in the play, with most transformations being feigned or imagine and never brought to fruition.
Deception
Along with transformation and disguise comes the the motif of deception. Of course, Face, Subtle, and Doll are deceiving numerous "clients" who seek the help of the Alchemist to make their lives better. But there are other forms of deception at work in the play as well, the most critical being the Anabaptists, who preach religious austerity but who simultaneously agree to make counterfeit coins. The play therefore prompts the audience to reflect on what kind of deception is innocuous and entertaining and what kind is malicious or morally corrupt.
