Posts Tagged ‘Renaissance’

Faust and links

BY: Mark

Following a previous about the Praxis Magica Faustiana and the subsequent realization that I knew very little about Faust, both historically and in literature, I’ve been working on getting educated. It’s a humbling process that dovetails with some of my long-standing embarrassment about the focus of this site. I have wanted DARKLINE to be about esoterica and the strange occult world we live in, but I’m constantly faced with the fact that I know very little of these things. I suppose one should consider oneself a life-long student, but the depth of my ignorance is, well, exceedingly deep. The default solution has been to hunker down and do nothing, which serves no one, especially myself. It is time to shake off that fear, and get on with the enlightenment. The point isn’t to build a platform to display my erudition (which this clearly isn’t), but to provide a forum for discussion and learning. I just get to be the guy providing the general direction of the rubric.

To that end, here’s the current state of my Faust education.

If one is to believe Wikipedia, Goethe’s Faust has, as one of its inspirations, Jacob Bidermann’s play Cenodoxus, though without digging into the text, it is hard to say where the inspiration lies, as Cenodoxus appears to dance around the question of the price of secret knowledge rather than addressing it directly. Goethe’s Faust, even, does not appear to be as dark and as much as a morality tale as the myth that is burned in my brain–the random bits of literary mythology one picks up in course of an classical education. Faust, the man–notably one Dr. Johann Georg Faust–appears to have been a 16th charlatan of the classic sort: a racounteur, a traveling alchemist, a magician, and a scoundrel. Exactly the sort of man that would be a perfect source for the hubristic hero of the tragic plays.

Christopher Marlowe wrote a play about him within fifty or so years after he supposedly died, and I find it almost most interesting than the play itself that Marlowe wrote a play about a man’s pact with the Devil–a suspiciously Christian theme, and I’m hard pressed to think of a Shakespeare play which has a similar theme. Old Bill relied on much more pagan sources for his fantastical elements. Odd, don’t you think? Or was it simply a matter of Shakespeare knowing who his real audiences were and playing more readily to them?

Anyway, Faust the charlatan was purported to be sort of man who would have dabbled in the Black Arts, which makes the historical provenance of Praxis Magica Faustiana certainly easier to swallow. And given the subject material of the text, it follows that this could be source of that type of grimoire known as ‘Faustian.’

Dan Harms has posted a link to a digitized version of a 18th century German grimoire, which falls under the category of Faustian magic. Of course, the comments are insightful and filled with smart people talking all manner of things that will send you spiraling off into other corners of the occult world. Including Dan’s original commentary on the idea of the liber spirituum, the type of book that this MS. purports to be.

According to the commenters, the Herzogin Anna Amalia Bibliothek is a hothouse of Faustian magical documents. Who knew there were enough of these that a library could specialize in them? The digitization of the Liber Spirituum Potentissimorum is of exceptional quality, and it makes my fingers tingle as I look at it.

I suppose any magician who seeks knowledge from spirits is engaging in Faustian Magick, though I wonder about the veracity of that statement. Dee, Crowley, and so on sought to communicate with otherworldly creatures in order to gain knowledge. Was Faust, in the 16th century, the first one to do this? Or was his story simply the most readily available and comprehensible to the masses? There certainly had to be other seekers before Faust . . .

Giovanni Pico della Mirandola

BY: Mark

Giovanni Pico della Mirandola was an Italian philosopher and scholar who lived from 1463 until 1494. During his short life, he studied theology and philosophy, dabbled in the Cabala, wrote an extensive series of treaties on all possible subjects (900 in all, collected as Conclusiones philosophicae, cabalasticae et theologicae in Rome). While some were vaguely heretical, they realistically just pointed out the lack of theological enlightenment of the era. He sought a synthesis of religion and philosophy, attempting to counter the spread of pure humanism with a bit of critical thinking. He saw Hebrew and Talmudic sources as viable texts and generally got into trouble over his eagerness and willingess to be a free thinker. His piece, “Oration on the Dignity of Man,” is one of the landmark pieces of the Italian Renaissance (some go so far as to call it a “manifesto”).

Parts of his Oration can be found here in Latin, Italian, and English. A complete translation can be found here.

Walter Pater’s history of Pico in context of the Renaissance can be found here.