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By Paola Mayer

Curiosity in German Romanticism has been revitalised in recent times by means of new post-structural, interdisciplinary, and intertextual views. notwithstanding beforehand this renewed curiosity has now not resulted in a re-assessment of Jakob Bohme's formative impression on Jena Romanticism. In "Jena Romanticism and Its Appropriation of Jakob Bohme", Paola Mayer extensively revises earlier perspectives, arguing that the connection among Bohme and the Jena Romantics might be understood as appropriation instead of impression. This reversal of viewpoint ends up in the popularity that Romanticism's interplay with Bohme was once no longer passive yet polemical, selective, and predatory. not just was once there now not a power, there has been no longer even a Bohme, given that his identify and points of the writings have been tailored to advertise principles completely unrelated to any historic individual or physique of idea that will were Bohme. those appropriations fall into major teams: these referring to the identify Bohme or a existence assigned to it, and people concerning innovations or photos from the mystic's oeuvre. the 1st staff constituted an try to co-opt the charisma of sanctity connected to portrayals of the poet-prophet with a purpose to make investments Romantic Poesie with the sacral status of faith. the second one team, exemplified by means of Friedrich Schlegel and Friedrich Schelling, concerned the borrowing and radical redefinition of some strategies and pictures from Bohme's paintings within the desire of bridging the space among the summary first precept of idealism and the private God that grew to become an emotional necessity for either thinkers. "Jena Romanticism and Its Appropriation of Jakob Bohme" treats the Romantic reception of Bohme as a impressive instance of ways the earlier is appropriated and rewritten within the carrier of self-affirmation. Analysing the necessity and the recommendations for this self-affirmation sheds gentle at the nature of the self to be affirmed and at the content material and underlying motivation of the Romantic program.
"There has been common touch upon the significance of Böhme within the improvement of romantic proposal in Germany, and there have certainly been reports on that effect with reference to person romantic authors. [Jena Romanticism and Its Appropriation of Jakob Böhme is] the 1st finished research of that effect because it regards the Jena romantics taken together." James McGlathery, division of Germanic stories, college of Illinois at Urbana. "[Jena Romanticism and Its Appropriation of Jakob Böhme is] major not just as the tale of Böhme's impression will henceforth need to be informed another way, but additionally simply because we'll need to imagine otherwise approximately a number of the thoughts of the Jena Romantics and how their philosophies constructed ... the persistence and the acumen with which [Mayer] plowed via Böhme's and Schelling's obscurities are as admirable because the readability of her explications." Hans Eichner, Professor Emeritus of collage of Toronto.

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Extra resources for Jena Romanticism and Its Appropriation of Jakob Böhme: Theosophy, Hagiography, Literature

Sample text

Perhaps the modern notion of angst does as well as any other. 9 "Und heisset Gott nach dem ersten Principio nicht Gott, sondern Grimmigkeit, Zornigkeit, ernstlicher Quell, davon sich das Bose urkundet" (De tribus principiis, i, 8). "And God is not called God according to the first Principle; but according to that, he is called Wrathfulness, Anger, the earnest [severe or tart] Source, from which Evil ... (has its} Original" (Bohme, Works, i: 10). 10 "so nun nicht das andere Principium in der Geburt des Sohnes anbrache und aufginge, so ware der Vater ein finster Thai" (De tribus principiis 4, 58).

Wishing to become brighter and more powerful than God, Lucifer exerted contraction in himself to such a degree that the sweet quality was dried up and his body became hard, cold and dark, unable to receive light/love. At this point, Bohme states that God could not foresee this rebellion (or it would not have been a free act) and that he was powerless to prevent it: he could not meet Lucifer with love because Lucifer had already rejected love, while meeting him with anger would only have hastened his downfall.

In the circumstances, it is of primary importance to uncover the aims and strategies that shaped Franckenberg's Bohme-myth. To achieve this, one must recognize the text's genre, the conventions and assumptions on which it relies. That is to say, one must recognize its remarkable conformity to hagiography in the principle governing the selection of material, in the interpretations this receives, and in the personal traits attributed to the hero. Franckenberg's Bohme, in other words, is in every respect a typical, or stereotypical, saint, and may well bear no more resemblance to the actual historical person than the legendary heroes of medieval hagiography did.

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