ABSTRACT
Mysticism, in Simone Weil’s explication, connects intimately to the concepts of good and evil: that is to say, a human finds the opposition of good and evil unbearable. By that point, Simone Weil had dealt a great deal with Christ’s prototypes and the philosophical traditions around self-emptying, as she had encountered them in the Bhagavad Gita and in Taoist philosophy. In Simone Weil’s image of the passion, which began at the creation, Christ as the key, or more precisely His passion and crucifixion, almost opened the door, almost separated the Father from the Son on the one hand, and the Creator from the created world, on the other. Simone Weil holds the beautiful in works of art to be what lends itself to contemplation and what is immobile in the attentiveness appropriate to the discreated state: namely, the true theater.
