ε. The unity of opposites is explained more in detail as follows: The diversity of shadows is no real opposition. In the same conception the opposites are known, the beautiful and the ugly, the appropriate and the inappropriate, the perfect and the imperfect, the good and the evil. Imperfection, evil, ugliness, do not rest upon special ideas of their own; they become known in another conception, not in one peculiar to themselves, which is nothing. For this that is peculiarly theirs is the non-existent in the existent, the defect in the effect. The first understanding is the original light; it streams its light out of the innermost to the outermost, and draws it again from the outermost to itself. Every Being can, according to its capacity, appropriate somewhat of this light.[87]
ζ. The real element in things is just that which is intelligible, not that which is perceived or felt, or what is peculiar to the individual; whatever else is termed real, the sensuous, is non-Being. All that comes to pass beneath the sun, all that dwells in the region of matter, falls under the notion of vanity (finitude). Seek to take from Ideas a firm basis for thy conceptions, if thou art wise. The pure light of things is nothing but this knowableness, which proceeds from the first understanding and is directed towards it; the non-existent is not known. What is here contrast and diversity, is in the first understanding harmony and unity. Try therefore if thou canst identify the images thou hast received, if thou canst harmonize and unite them; thus thou wilt not render thy mind weary, thy thoughts obscure, and thy memory confused. Through the idea which is in the understanding a better conception of anything will be formed than by means of the form of the natural thing in itself, because this last is more material: but that conception is reached in a supreme degree through the idea of the object as it exists in the divine understanding.[88] The differences which are here given, are therefore no differences at all; but all is harmony. To develop this was therefore Bruno’s endeavour; and the determinations, as natural in that divine understanding, correspond with those which appear in the subjective understanding. Bruno’s art consists only in determining the universal scheme of form, which includes all things within itself, and in showing how its moments express themselves in the different spheres of existence.
η. The main endeavour of Bruno was thus to represent the All and One, after the method of Lullus, as a system of classes of regular determinations. Hence in the manner of Proclus he specifies the three spheres: First, the original form (ὑπερουσία) as the originator of all forms; secondly, the physical world, which impresses the traces of the Ideas on the surface of matter, and multiplies the original picture in countless mirrors set face to face; thirdly, the form of the rational world, which individualizes numerically for the senses the shadows of the Ideas, brings them into one, and raises them to general conceptions for the understanding. The moments of the original form itself are termed Being, goodness (nature or life), and unity. (Something similar to this we also met with in Proclus, Vol. II. p. 445) In the metaphysical world the original form is thing, good, principle of plurality (ante multa); in the physical world it manifests itself in things, goods, individuals; in the rational world of knowledge it is derived from things, goods and individuals.[89] Unity is the agent that brings them back once more; and Bruno, while distinguishing the natural and metaphysical world, seeks to set up the system of the above determinations, in order to show at once how the same thing is in one way a natural appearance, and in another way an object existing for thought.
Since Bruno sought to apprehend this connection more closely, he considers thinking as a subjective art and activity of the soul, representing inwardly and in accordance with the ordinary conception, as it were through an inward writing, what Nature represents externally, as it were, through an outward writing. Thinking, he says, is the capability both of receiving into one’s self this external writing of nature and of imagining and substantiating the inward writing in the outward. This art of thinking inwardly and organizing outwardly in accordance with the same, and the capacity to reverse the process—an art possessed by the soul of man—Bruno places in the closest connection with the art of the nature of the universe, with the energy of the absolute World-principle, by means of which all is formed and fashioned. It is one form which develops; it is the same world-principle which causes form in metals, plants and animals, and which in man thinks and organizes outside himself, only that it expresses itself in its operations in an endlessly varied manner throughout the entire world. Inwardly and outwardly there is consequently one and the same development of one and the same principle.[90]
In his Ars Lulliana Bruno made the attempt to determine and systematize these various writings of the soul, by means of which also the organizing world-principle reveals itself. He assumes therein twelve principal kinds of writing, or classes of natural forms, to form a starting-point: “Species, Formæ, Simulacra, Imagines, Spectra, Exemplaria, Indicia, Signa, Notæ, Characteres et Sigilli. Some kinds of writing are connected with the external sense, like external forms, pictures and ideals (extrinseca forma, imago, exemplar); these painting and other plastic arts represent, by imitating Mother Nature. Some are connected with the inner sense, where—with regard to mass, duration, number—they are magnified, extended in time and multiplied; such are the products of fancy. Some are connected with a common point of similarity in several things; some are so divergent from the objective nature of things that they are quite imaginary. Finally, some appear to be peculiar to art, as signa, notæ, characteres et sigilli; by means of these the powers of art are so great that it seems to be able to act independently of Nature, beyond Nature, and, when the matter in question involves it, even against Nature.”[91]
So far all, on the whole, goes well; it is the carrying out of the same scheme in all directions. All respect is due to this attempt to represent the logical system of the inward artist, the producing thought, in such a way that the forms of external Nature correspond thereto. But while the system of Bruno is otherwise a grand one, in it the determinations of thought nevertheless at once become superficial, or mere dead types, as in later times was the case with the classification of natural philosophy; for Bruno merely enumerates the moments and contrasts of the system, just as the natural philosophers developed the three-fold character in every sphere, regarded as absolute. Further or more determinate moments Bruno has done nothing more than collect together; when he tries to represent them by figures and classifications, the result is confusion. The twelve forms laid down as basis neither have their derivation traced nor are they united in one entire system, nor is the further multiplication deduced. To this part of his subject he devoted several of his writings (De sigillis), and in different works it is presented in different ways; the appearances of things are as letters, or symbols, which correspond with thoughts. The idea is on the whole praiseworthy compared with the fragmentariness of Aristotle and the Scholastics, according to whom every determination is fixed once for all. But the carrying out of the idea is in part allied with the Pythagorean numbers, and consequently unmethodical and arbitrary; and in part we find metaphorical, allegorical combinations and couplings, where we cannot follow Bruno; in this attempt to introduce order, all things are mingled together in the wildest disorder.
It is a great beginning, to have the thought of unity; and the other point is this attempt to grasp the universe in its development, in the system of its determinations, and to show how the outward appearance is a symbol of ideas. These are the two aspects of Bruno’s teaching which had to be taken into consideration.
[4. Vanini.]
Julius Cæsar Vanini has also to be mentioned as belonging to this period; his first name was really Lucilius. He has many points of similarity with Bruno, and, like him, he suffered as a martyr on account of philosophy; for he shared Bruno’s fate, which was to be burned at the stake. He was born in 1586 at Taurozano in the province of Naples. He wandered from country to country; we find him in Geneva, and then in Lyons, whence he fled to England in order to save himself from the Inquisition. After two years he returned to Italy. In Genoa he taught Natural Philosophy on the system of Averroës, but did not bring himself into favour. In his travels he met with all manner of strange adventures, and engaged in many and various disputations on philosophy and theology. He became more and more an object of suspicion, and fled from Paris; he was summoned before the tribunal on a charge of impiety, not of heresy. Franconus, his accuser, stated on oath that Vanini had uttered blasphemies. Vanini protested that he had remained faithful to the Catholic Church, and to his belief in the Trinity; and in answer to the charge of atheism he took up a straw from the ground in the presence of his judges, and said that even this straw would convince him of the existence of God. But it was of no avail; in 1619 at Toulouse in France he was condemned to the stake, and before the carrying out of this sentence his tongue was torn out by the executioner. How the case was proved against him is not, however, clear; the proceedings seem to have been in great part due to personal enmity, and to the zeal for persecution which filled the clergy in Toulouse.[92]
Vanini derived his chief stimulus from the originality of Cardanus. In him we see reason and philosophy taking a direction hostile to theology, while Scholastic philosophy went hand in hand with theology, and theology was supposed to be confirmed thereby. Art developed in the Catholic Church, but free thought broke off from, and remained alien to it. In Bruno and Vanini the Church took her revenge for this; she renounced science, and took up a position of hostility to it.