β. Bruno, who asserts the final cause to be immediately operative, and the life immanent in the universe, asserts it also to be existent, as substance; he is therefore opposed to the conception of a merely extra-mundane understanding. To a certain extent Bruno distinguishes form and matter in substance, which itself, as the aforesaid activity of the Idea, is the unity of form and matter; thus matter has life in itself. The permanent element in the endless changes of existence is, he says, the first and absolute matter; although without form, it is nevertheless the mother of all forms, and receptive of all forms. Because matter is not without the first universal form, it is itself principle or in itself final cause. Form is immanent in matter; the one simply cannot exist without the other; thus matter itself brings about these changes of form, and the same matter runs through them all. What was at first seed becomes blade, then ear, then bread, chyle, blood, seed of animal, an embryo, a human being, a corpse, then once more earth, stone, or other substance; from sand and water frogs are produced. Here then we can perceive something which, although it transforms itself into all these things in turn, yet still in itself remains one and the same. This matter cannot be a body, for bodies have form; nor can it belong to the class which we term properties, attributes, or qualities, for these are liable to change. Thus nothing seems to be eternal and worthy of the name of a principle, except matter. Many have for this reason held matter to be the only reality, and all forms to be accidental. This error arises from the fact of their recognizing only a form of the second kind, and not that necessary first and eternal form, which is the form and source of all forms. In the same way the aforesaid matter, on account of its identity with the understanding which causes form beforehand, is itself intelligible, as the universal presupposition of all corporeality. Because it is everything in general, it is nothing in particular, neither air nor water, nor anything else, abstract or otherwise; it has no dimensions, in order to have all dimensions. The forms of matter are the inward power of matter itself; it is, as intelligible, the very totality of form.[76] This system of Bruno’s is thus objective Spinozism, and nothing else; one can see how deeply he penetrated.
Bruno here asks the question: “But this first universal form and that first universal matter, how are they united, inseparable? Different—and yet one Being?” He answers by making use of the Aristotelian forms of δύναμις and ἐνέργεια: Matter is to be regarded as potentiality; in this way all possible forms of existence in a certain sense are included in the Notion of it. The passivity of matter must be regarded as pure and absolute. Now it is impossible to attribute existence to a thing which lacks the power to exist. Existence has, however, such an express reference to the active mode, that it is at once clear that the one cannot exist without the other, but that each of them presupposes the other. If therefore at all times a capacity of working, producing, creating, was there, so must there also have been at all times a capacity of being worked upon, produced, created. The perfect potentiality of the existence of things (matter) cannot precede their actual existence, and just as little can it remain after that is past. The first and most perfect principle includes all existence in itself, can be all things, and is all things. Active power and potentiality, possibility and actuality are therefore in it one undivided and indivisible principle.[77] This simultaneousness of acting and being acted upon is a very important determination; matter is nothing without activity, form is therefore the power and inward life of matter. If matter were nothing but indeterminate potentiality, how would the determinate be arrived at? This simplicity of matter is itself only one moment of form: in wishing therefore to tear asunder matter and form, matter is at once established in one determination of form, but in so doing there is immediately established also the existence of the Other.
Thus the Absolute is determined for Bruno: it is not so with other things, which may exist and also may not exist, and which may be determined in one way or in another way. In regard to finite things and in finite determinations of the understanding the distinction between form and matter is thus present. The individual man is at every moment what he may be at that moment, but not everything which he may be in general and with reference to substance. The things which appear to be different are only modifications of one single thing which includes in its existence all other existence. The universe, unbegotten Nature, is, however, everything which it can be in reality and at one time, because it includes in itself the whole of matter, as well as the eternal, unchangeable form of its changing forms. But in its developments from moment to moment, its particular parts, qualities, individual existences, in its externality as a whole, it is no more what it is and may be; but a part such as this is only a shadow of the image of the first principle.[78] Thus Bruno wrote also a book, De umbris idearum.
γ. This is Bruno’s fundamental idea. He says: “To recognize this unity of form and matter in all things, is what reason is striving to attain to. But in order to penetrate to this unity, in order to investigate all the secrets of Nature, we must search into the opposed and contradictory extremes of things, the maximum and the minimum.” It is in these very extremes that they are intelligible, and become united in the Notion; and this union of them is infinite Nature. “To find the point of union is not the greatest matter; but to develop from the same its very opposite, this is the real and the deepest secret of the art.”[79] It is saying much if we speak of knowing the development of the Idea as a necessity of determinations; we shall see later how Bruno proceeded to do this. He represents the original principle, which is elsewhere known as the form, under the Notion of the minimum, which is at the same time the maximum—One, which at the same time is All; the universe is this One in All. In the universe, he says, the body is not distinguished from the point, nor the centre from the circumference, nor the finite from the infinite, nor the maximum from the minimum. There is nothing but centre point; or the centre point is everywhere and in everything. The ancients expressed the same by saying of the Father of the gods, that he really had his dwelling-place in every point of the universe. It is the universe that first gives to things true reality; it is the substance of all things, the monad, the atom, the spirit poured out on all things, the innermost essence, the pure form.[80]
b. The second object to which Bruno devoted himself was the so-called Lullian Art, which received its name from its first inventor, the Scholastic Raymundus Lullus (supra, pp. 92-94). Bruno adopted this and carried it to completion; he termed it also his ars combinatoria. This art is in some respects like what we met with in Aristotle under the name of the Topics (Vol. II. pp. 217, 218), seeing that both give an immense number of “places” and determinations which were fixed in the conception like a table with its divisions, in order that these headings might be applied to all that came to hand. But the Topics of Aristotle did this in order to apprehend and determine an object in its various aspects, while Bruno rather worked for the sake of lightening the task of memory. He thus really connected the Lullian Art with the art of mnemonics as practised by the ancients, which has come into notice again in recent times, and which will be found described in greater detail in the Auctor ad Herennium (Libr. III. c. 17, sqq.). To give an example: one establishes for oneself a certain number of different departments in the imagination, which are to be chosen at pleasure; there may be perhaps twelve of these, arranged in sets of three, and indicated by certain words, such as Aaron, Abimelech, Achilles, Berg, Baum, Baruch, etc., into which divisions one inserts, as it were, what has to be learnt by heart, and forms it into a succession of pictures. In this way when we repeat it, we have not to say it from memory or out of our head, as we are accustomed to do, but we have only to read it off as if from a table. The only difficulty lies in making some ingenious connection between the content in question and the picture; that gives rise to the most unholy combinations, and the art is therefore not one to be commended. Bruno also soon abandoned it, since what had been a matter of memory became a matter of imagination; which was, of course, a descent. But since with Bruno the diagram is not only a picture of external images, but a system of universal determinations of thought, he certainly gave to this art a deeper inward meaning.[81]
α. Bruno passes over to this art from universal ideas which are given. Since namely one life, one understanding is in all things, Bruno had the dim hope of apprehending this universal understanding in the totality of its determinations, and of subsuming all things under it—of setting up a logical philosophy by its means, and making it applicable in all directions.[82] He says: The object of consideration therein is the universe, in so far as it enters into the relation of the true, the knowable and the rational. Like Spinoza he distinguishes between the intelligible thing of reason and the actual thing: As metaphysics has for object the universal thing, which is divided into substance and accident, so the chief matter is that there is a single and more universal art which knits together and compasses round the thing of reason and the actual thing, and recognizes them both as harmonizing with one another, so that the many, be they of what kind they may, are led back to simple unity.[83]
β. For Bruno the principle in all this is the understanding generally: None other than the understanding whose activity extends beyond itself, which brings into existence the sensuous world. It is related to the illumination of the spirit as the sun is related to the eye: it relates therefore to a phenomenal manifold, illuminating this, not itself. The Other is the active understanding in itself, which is related to the objects of thought in their various classes, as the eye is to things visible.[84] The infinite form, the active understanding which dwells in reason, is the first, the principle, which develops; the process in some respects resembles what was met with in the Neo-Platonists. Bruno’s great endeavour is really now to apprehend and demonstrate the modes of organizing this active understanding.
γ. This is presented more in detail as follows: To the pure truth itself, the absolute light, man approaches only; his Being is not absolute Being itself, which alone is the One and First. He rests only under the shadow of the Idea, whose purity is the light, but which at the same time partakes of the darkness. The light of substance emanates from this pure First Light, the light of accident emanates from the light of substance. This we met with also in Proclus (supra, Vol. II. p. 446) as the third moment in the first triad. This absolute principle in its unity is for Bruno the first matter, and the first act of this principle he names the original light (actus primus lucis). But substances and accidents, which are many, cannot receive the full light, they are therefore only included in the shadow of the light; in like manner the ideas also are only shadows thereof.[85] The development of Nature goes on from moment to moment; created things are only a shadow of the first principle, not the first principle itself.
δ. Bruno continues: From this super-essential (super-essentiale)—an expression which is also met with in Proclus (supra, Vol. II. p. 441)—advance is made to the essences, from the essences to that which is, from that which is to their traces, images and shadows, and that in a double direction: both towards matter, in order to be produced within her (these shadows are then present in natural fashion), and also towards sensation and reason, in order to be known by means of these. Things withdraw themselves from the First Light towards the darkness. But since all things in the universe are in close connection, the lower with the middle, and those with the upper, the compound with the simple, the simple with those which are more simple, the material with the spiritual, in order that there may be one universe, one order and government of the same, one principle and aim, one first and last; so, following the sound of the lyre of the universal Apollo (an expression which we saw used by Heraclitus, Vol. I. pp. 284, 285), the lower can be led back step by step to the higher, as fire was condensed and transformed into air, air into water, water into earth. Thus One Being is in all. That process is the same as this return, and they form a circle. Nature within her limits can produce all from all, and so the understanding can also know all from all.[86]