This article presents a detailed analysis of how the Cambridge Platonist Henry More (1614-1687) adapted the philosophy of the German mystic Jacob Bohme (1575-1624). For More, Bohme's errors can be amended only by intervening radically in his philosophical system, discussing not what Bohme said, but what he should have said. In particular, the essay studies how and why More, in Censura, altered a scheme used by Bohme in his Clavis to explain visually the core of his philosophical insight. It claims that this intervention, which consists mainly in moving the position of the Sun in the scheme, turns Bohme's circular metaphysical system, in which the Sun, or fire, was the fulcrum of a perpetual movement, into a Neoplatonic system of emanation. In so doing, More fashions himself as a "Bohme redivivus", showing to his readers that the only way of making sense of Bohme is to read him in Neoplatonic terms. The removal of the Sun from its original place in the scheme thus exemplifies More's unease with Bohme's conception of the Sun as fully embedded in the dynamic interplay of light and darkness, and shows that More's interpretation of Bohme involves a full operation of rewriting.
