Rudolph H
Sudhoffs Arch Z Wissenschaftsgesch Beih. 1993(31):79-97.
Certain aspects of the theological oeuvre of Paracelsus--a body of work first described in painstaking detail and on the basis of the sources by Kurt Goldammer--still resist our understanding of them in appropriate historical terms. This circumstance is apparent in the various unanswered questions posed by the very biography of the physician and theologian: was his critical, reform-minded position vis-à-vis the Church in any way relevant to his choice of Strasbourg as a place of residence or to his being called to the position in Basel? Can certain manifestations in the activities of Paracelsus, who died within the Roman Catholic Church, be viewed as signs of a Nicodemism such as characterizes Agrippa von Nettesheim (a figure in some ways so close to Paracelsus)? From the very start, Hohenheim's accounts of himself reveal the art of medicine and theology as inextricably linked to one another. And in its development this linkage becomes in turn an essential element of autobiographical interpretation, with the result that the healing art, Christian faith, and the living of life are fused, through the self-awareness and activity of Paracelsus, into a fascinating unity. From this perspective, it proves to be difficult to assign his theological, world', having as it does its place in his total view of things, one based on Renaissance philosophy, to any single tendency or direction within the spectrum of Reformation thought and its critical approaches to the church establishment. Admittedly, in particular areas we may well suppose such a dependence to have existed, and certain classifications remain a possibility. But an affiliation of this kind, despite partial parallels in, say, the thought of Schwenckfeld, seems to break down precisely in the case of Paracelsus's teaching on the Eucharist; for at the heart of his Eucharistic ideas stands a distinctive concept of, limbus'--very likely unmatched in the thought of the Spiritualists--which is shaped by a distinction between what is earthly or mortal and what is heavenly, immortal. The same difficulty persists as well with the Paracelsian notion of the Christian magus. Here there are definitely models to be found in Renaissance philosophy; the magus concept peculiar to Paracelsus, however, is especially evocative of the unity (v.s.) characteristic of this physician-theologian in particular.
帕拉塞尔苏斯神学著作的某些方面——这是库尔特·戈德ammer首次基于资料来源进行详尽描述的一批作品——仍难以让我们从恰当的历史角度去理解。这种情况在这位医生兼神学家的生平所引发的诸多未解答问题中显而易见:他对教会持批判、改革思想的立场,是否在任何方面与他选择斯特拉斯堡作为居住地或被召至巴塞尔任职有关?在罗马天主教会内去世的帕拉塞尔苏斯的某些行为表现,能否被视为一种伪装主义的迹象,就像刻画阿格里帕·冯·内特海姆(在某些方面与帕拉塞尔苏斯关系密切的一个人物)那样?从一开始,霍恩海姆对自己的描述就揭示出医学艺术与神学是紧密相连的。在其发展过程中,这种联系反过来又成为自传解读的一个关键要素,结果是,通过帕拉塞尔苏斯的自我认知和活动,治疗艺术、基督教信仰与生活融合成一个迷人的统一体。从这个角度看,要将他基于文艺复兴哲学的整体世界观中的神学“世界”,归为宗教改革思想及其对教会体制批判方法范围内的任何单一倾向或方向,是很困难的。诚然,在某些特定领域,我们很可能认为存在这样的关联,某些分类也是有可能的。但这种关联,尽管在施温克费尔德等人的思想中有部分相似之处,在帕拉塞尔苏斯关于圣体圣事的教义中似乎恰恰行不通;因为在他的圣体圣事观念核心,存在一个独特的“边缘”概念——很可能在唯灵论者的思想中找不到类似的——它是由尘世或凡人之物与天堂、不朽之物的区分塑造而成的。帕拉塞尔苏斯关于基督教魔法师的概念也存在同样的难题。在文艺复兴哲学中肯定能找到相关模型;然而,帕拉塞尔苏斯特有的魔法师概念,尤其让人联想到这位医生兼神学家所特有的那种统一体(见上文)。