Rudolf Steiner, from Mysticism at the Dawn of the Modern Age [aka Eleven Modern Mystics, aka Mystics after Modernism]
Paracelsus was primarily concerned with developing ideas about nature that breathe the spirit of the higher cognition he advocated. A kindred thinker who applied the same way of thinking to man's own nature in particular is Valentin Weigel (1533–1588). He grew out of Protestant theology as Eckhart, Tauler, and Suso grew out of Catholic theology. He had precursors in Sebastian Frank and Caspar Schwenckfeldt. They emphasized the deepening of the inner life, in contrast to the church dogma with its attachment to an external creed. For them it is not the Jesus whom the Gospels preach who is of value, but the Christ who can be born in every man out of his deeper nature, and who is to be his deliverer from the lower life and his leader in the ascent to the ideal. Weigel quietly and modestly administered his incumbency in Zschopau. It is only from his posthumous writings printed in the seventeenth century that one discovers something about the significant ideas he had developed concerning the nature of man. (Of his writings, we shall mention here: Der güldene Griff, Alle Ding ohne Irrthumb zu erkennen, vielen Hochgelährten unbekannt, und doch allen Menschen nothwendig zu wissen [The Golden art of Knowing Everything without Error, unknown to Many of the Learned, and yet Necessary for all Men to Know]; Erkenne dich selber [Know Thyself]; Vom Ort der Welt [Of the Place of the World].) Weigel is anxious to come to a clear idea of his relationship to the teachings of the Church. This leads him to investigate the foundations of all cognition. Man can only decide whether he can know something through a creed if he understands how he knows. Weigel takes his departure from the lowest kind of cognition. He asks himself: How do I apprehend a sensory thing when it confronts me? From there he hopes to be able to ascend to the point where he can give an account of the highest cognition. — In sensory apprehension the instrument (sense organ) and the thing, the “counterpart,” confront each other. “Since in natural perception there must be two things, namely the object or counterpart, which is to be perceived and seen by the eye, and the eye, or the perceiver, which sees and perceives the object, therefore, consider the question: Does the perception come from the object into the eye, or does the judgment, and the perception, flow from the eye into the object?” (Der güldene Griff, chap. 9) Now Weigel says to himself: If the perception flowed from the counterpart (thing) into the eye, then, of one and the same thing, the same complete perception would of necessity have to arise in all eyes. But this is not the case; rather, everyone sees according to his eyes. Only the eyes, not the counterpart, can be responsible for the fact that many different conceptions of one and the same thing are possible. In order to make the matter clear, Weigel compares seeing with reading. If the book did not exist of course I could not read it; but it could be there, and I would still not be able to read anything in it if I did not know the art of reading. Thus the book must be there, but of itself it cannot give me anything at all; everything that I read I must bring forth out of myself. That is also the nature of natural (sensory) perception. Color exists as a “counterpart;” but out of itself it cannot give the eye anything. On its own, the eye must perceive what color is. The color is no more in the eye than the content of the book is in the reader. If the content of the book were in the reader, he would not have to read it. Nevertheless, in reading, this content does not flow out of the book, but out of the reader. It is the same with the sensory object. What this sensory object is outside, does not flow into man from the outside, but rather from the inside. — On the basis of these ideas one could say: If all perception flows from man into the object, then one does not perceive what is in the object, but only what is in man himself. A detailed elaboration of this train of thought is presented in the views of Immanuel Kant (1724–1804). (I have shown the erroneous aspect of this train of thought in my book Die Philosophie der Freiheit [Philosophy of Spiritual Activity]. Here I must confine myself to saying that with this simple, straightforward way of thinking Valentin Weigel stands on a much higher level than Kant.) — Weigel says to himself: Although perception flows from man, yet it is only the nature of the counterpart which emerges from the latter by way of man. As it is the content of the book which I discover by reading and not my own, so it is the color of the counterpart which I discover through the eye, not the color which is in the eye, or in me. On his own path Weigel thus comes to a conclusion which we have already encountered in the thinking of Nicolas of Cusa. In his way Weigel has elucidated the nature of sensory perception for himself. He has attained the conviction that everything external things have to tell us can only flow out from within ourselves. Man cannot remain passive if he wants to perceive the things of the senses, and be content with letting them act upon him; he must be active, and bring this perception out of himself. The counterpart alone awakens the perception in the spirit. Man ascends to higher cognition when the spirit becomes its own object. In considering sensory perception, one can see that no cognition can flow into man from the outside. Therefore the higher cognition cannot come from the outside, but can only be awakened within man. Hence there can be no external revelation, but only an inner awakening. And as the external counterpart waits until man confronts it, in whom it can express its nature, so must man wait, when he wants to be his own counterpart, until the cognition of his nature is awakened in him. While in the sensory perception man must be active in order to present the counterpart with its nature, in the higher cognition he must remain passive, because now he is the counterpart. He must receive his nature within himself. Because of this, the cognition of the spirit appears to him as an illumination from on high. In contrast with the sensory perception, Weigel therefore calls the higher cognition the “light of grace.” This “light of grace” is in reality nothing but the self-cognition of the spirit in man, or the rebirth of knowledge on the higher level of seeing. — As Nicolas of Cusa, in pursuing his road from knowing to seeing, does not really let the knowledge acquired by him be reborn on a higher level, but is deceived into regarding the church creed, in which he had been educated, as this rebirth, so is this the case with Weigel too. He finds his way to the right road, and loses it again at the moment he enters upon it. One who wants to walk the road which Weigel indicates can regard the latter as a leader only up to its starting-point.
What we encounter in the works of the master shoemaker of Görlitz, Jacob Boehme (1575–1624), is like the jubilation of nature, which, at the peak of its development, admires its essence. Before us appears a man whose words have wings, woven out of the blissful feeling that he sees the knowledge in himself shining as higher wisdom. Jacob Boehme describes his condition as a devotion which only desires to be wisdom, and as a wisdom which desires to live in devotion alone: “When I wrestled and fought, with God's assistance, there arose a wondrous light in my soul which was altogether foreign to wild nature, and by which I first understood what God and man are, and what God has to do with man.” Jacob Boehme no longer feels himself to be a separate personality which utters its insights; he feels himself to be an organ of the great universal spirit which speaks in him. The limits of his personality do not appear to him as limits of the spirit which speaks out of him. For him this spirit is omnipresent. He knows that “the sophist will censure him” when he speaks of the beginning of the world and of its creation, “since I was not there and did not see it myself. Let him be told that in the essence of my soul and body, when I was not yet the I, but Adam's essence, I was indeed there, and that I myself have forfeited my felicity in Adam.” It is only in external similes that Boehme can intimate how the light broke forth within himself. When as a boy he once was on the summit of a mountain, above where great red stones seem to close the mountain off, he sees an open entrance, and in its depths a vessel containing gold. He is overcome with awe, and goes his way without touching the treasure. Later he is serving his apprenticeship with a shoemaker in Görlitz. A stranger walks into the store and asks for a pair of shoes. Boehme is not allowed to sell them to him in the master's absence. The stranger leaves, but after a while calls the apprentice outside and says to him, Jacob, you are little, but one day you will become an altogether different man, at whom the world will be filled with astonishment. At a more mature period of his life Jacob Boehme sees the sunshine reflected in a burnished pewter vessel; the sight which confronts him seems to him to reveal a profound mystery. From the time he experiences this manifestation he believes himself to be in possession of the key to the mysterious language of nature. — He lives as a spiritual hermit, supporting himself modestly by his trade, and at the same time setting down, as if for his own memory, the notes which sound in him when he feels the spirit within himself. The zealotry of priestly fanaticism makes his life difficult. He wants to read only that scripture which the light within himself illuminates for him, but is pursued and tormented by those to whom only the external scripture, the rigid, dogmatic creed, is accessible.
Jacob Boehme is filled with a restlessness which impels him toward cognition, because a universal mystery lives in his soul. He feels himself to be immersed in a divine harmony with his spirit, but when he looks around him he sees disharmony everywhere in the divine works. To man belongs the light of wisdom, yet he is exposed to error; there lives in him the impulse toward the good, and yet the dissonance of evil can be heard throughout the course of human development. Nature is governed by great natural laws, and yet its harmony is disturbed by superfluities and by the wild struggle of the elements. How is the disharmony in the harmonious, universal whole to be understood? This question torments Jacob Boehme. It comes to occupy the center of his world of ideas. He wants to attain a conception of the universal whole which includes the inharmonious too. For how can a conception explain the world which leaves the existing inharmonious elements aside, unexplained? Disharmony must be explained through harmony, evil through good itself. In speaking of these things, let us limit ourselves to good and evil; in the latter, disharmony in the narrower sense finds its expression in human life. For this is what Jacob Boehme basically limits himself to. He can do this, for to him nature and man appear as one essence. He sees similar laws and processes in both. The non-functional is for him an evil in nature, just as the evil is for him something non-functional in human destiny. Here and there it is the same basic forces which are at work. To one who has understood the origin of evil in man, the origin of evil in nature is also plain. — How is it possible for evil as well as for good to flow out of the same primordial essence? If one speaks in the spirit of Jacob Boehme, one gives the following answer: The primordial essence does not exist in itself alone. The diversity of the world participates in this existence. As the human body does not live its life as a single part, but as a multiplicity of parts, so too does the primordial essence. And as human life is poured into this multiplicity of parts, so is the primordial essence poured into the diversity of the things of this world. Just as it is true that the whole man has one life, so is it true that each part has its own life. And it no more contradicts the whole harmonious life of man that his hand should turn against his own body and wound it, than it is impossible that the things of the world, which live the life of the primordial essence in their own way, should turn against one another. Thus the primordial life, in distributing itself over different lives, bestows upon each life the capacity of turning itself against the whole. It is not out of the good that the evil flows, but out of the manner in which the good lives. As the light can only shine when it penetrates the darkness, so the good can only come to life when it permeates its opposite. Out of the “abyss” of darkness shines the light; out of the “abyss” of the indifferent, the good brings itself forth. And as in the shadow it is only brightness which requires a reference to light, while the darkness is felt to be self-evident, as something that weakens the light, so too in the world it is only the lawfulness in all things which is sought, and the evil, the non-functional, which is accepted as the self-evident. Hence, although for Jacob Boehme the primordial essence is the All, nothing in the world can be understood unless one keeps in sight both the primordial essence and its opposite. “The good has swallowed the evil or the repugnant into itself ... Every being has good and evil within itself; and in its development, having to decide between them, it becomes an opposition of qualities, since one of them seeks to overcome the other.” It is therefore entirely in the spirit of Jacob Boehme to see both good and evil in every object and process of the world; but it is not in his spirit to seek the primordial essence without further ado in the mixture of the good with the evil. The primordial essence had to swallow the evil, but the evil is not a part of the primordial essence. Jacob Boehme seeks the primordial foundation of the world, but the world itself arose out of the abyss by means of the primordial foundation. “The external world is not God, and in eternity is not to be called God, but is only a being in which God reveals Himself ... When one says God is everything, God is heaven and earth and also the external world, then this is true; for everything has its origin from Him and in Him. But what am I to do with such a saying that is not a religion?” — With this conception as a background, his ideas about the nature of the world developed in Jacob Boehme's spirit in such a way that he lets the lawful world arise out of the abyss in a succession of stages. This world is built up in seven natural forms. The primordial essence receives a form in dark acerbity, silently enclosed within itself and motionless. It is under the symbol of salt that Boehme conceives this acerbity. With such designations he leans upon Paracelsus, who has borrowed the names for the process of nature from the chemical processes (cf. above). By swallowing its opposite, the first natural form takes on the shape of the second; the harsh and motionless takes on motion; energy and life enter into it. Mercury is the symbol for this second form. In the struggle of stillness with motion, of death with life, the third natural form (sulphur) appears. This life, with its internal struggle, is revealed to itself; henceforth it does not live in an external struggle of its parts; like a uniformly shining lightning, illuminating itself, it thrills through its own being (fire). This fourth natural form ascends to the fifth, the living struggle of the parts reposing within itself (water). On this level exists an inner acerbity and silence as on the first, only it is not an absolute quiet, a silence of the inner contrasts, but an inner movement of the contrasts. It is not the quiet which reposes within itself, but which has motion, which was kindled by the fiery lightning of the fourth stage. On the sixth level, the primordial essence itself becomes aware of itself as such an inner life; it perceives itself through sense organs. It is the living organisms, endowed with senses, which represent this natural form. Jacob Boehme calls it sound or resonance, and thus sets up the sensory impression of hearing as a symbol for sensory perception in general. The seventh natural form is the spirit elevating itself by virtue of its sensory perceptions (wisdom). It finds itself again as itself, as the primordial foundation, within the world which has grown out of the abyss and shaped itself out of harmonious and inharmonious elements. “The Holy Ghost brings the splendor of majesty into the entity in which the Divinity stands revealed.” — With such conceptions Jacob Boehme seeks to fathom that world which, in accordance with the knowledge of his time, appears to him as the real one. For him facts are what the natural science of his time and the Bible regard as such. His way of thinking is one thing, his world of facts another. One can imagine the former as applied to a quite different factual knowledge. And thus there appears before our mind a Jacob Boehme who could also be living at the turn of the nineteenth to the twentieth century. Such a man would not penetrate with his thinking the biblical story of the Creation and the struggle of the angels with the devils, but rather Lyell's geological insights and the “natural history of creation” of Haeckel. One who penetrates to the spirit of Jacob Boehme's writings must come to this conviction.* (We shall mention the most important of these writings: Die Morgenröthe im Aufgang, The Coming of the Dawn. Die drei Prinzipien göttlichen Wesens, The Three Principles of the Divine Essence. Vom dreifachen Leben des Menschen, Of the Threefold Life of Man. Das umgewandte Auge, The Eye Turned Upon Itself. Signatura rerum oder von der Geburt und Bezeichnung aller Wesen, Signatura rerum or of the birth and designation of all beings. Mysterium magnum.)
* This sentence must not be understood as meaning that the investigation of the Bible and of the spiritual world would be an aberration at the present time; what is meant is that a “Jacob Boehme of the nineteenth century” would be led by paths similar to those which led the one of the sixteenth century to the Bible, to the “natural history of creation.” But from there he would press forward to the spiritual world.
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