The Heroic Enthusiasts, Part I (Gli Eroici Furori) · 22 of 63 · tr. L. Williams
Second Dialogueb
On the contrary, I mean that there is in these another species of foolishness and a worse.
Cic.
Who, then, is wise, if foolish is he who is content, and foolish he who is sad?
Tans.
He who is neither merry nor sad.
Cic.
Who?
He who sleeps?
He who is without feeling—who is dead?
Tans.
No; but he who is quick, both seeing and hearing, and who, considering evil and good, estimating the one and the other as variable, and consistent in motion, mutation, and vicissitude, in such wise that the end of one opposite is the commencement of another, and the extreme of the one is the beginning of the other; whose spirit is neither depressed nor elated, but is moderate in inclinations and temperate in desires; to him pleasure is not pleasure, having ever present the end of it; equally, pain to him is not pain, because by the force of reasoning he has present the end of that too.
So the sage holds all mutable things as things that are not, and affirms that they are no other than vanity and nothingness, because time has to eternity the proportion of the point to the line.
Cic.
So that we can never hold the proposition of being contented or discontented, without holding the proposition of our own foolishness, which we thereby confess; therefore no one who reasons, and consequently no one who participates, can be wise; in short, all men are fools.
Tans.
I do not intend to infer that; for I will hold of highest wisdom him who could really say at one time the opposite of what he says at another—never was I less gay than now; or, never was I less sad than at present.
Cic.
How?
Do you not make two contrary qualities where there are two opposite affections?
Why, I say, do you take as two virtues, and not as one vice and one virtue, the being less gay and the being less sad?
Tans.
Because both the contraries in excess—that is, in so far as they exceed—are vices, because they pass the line; and the same, in so far as they diminish, come to be virtues, because they are contained within limits.
Cic.
How?
The being less merry and the being less sad are not one virtue and one vice, but are two virtues?
Tans.
On the contrary, I say they are one and the same virtue; because the vice is there where the opposite is; the opposite is chiefly there where the extreme is; the greatest opposite is the nearest to the extreme; the least or nothing is in the middle, where the opposites meet, and are one and identical; as between the coldest and hottest and the hotter and colder, in the middle point is that which you may call hot and cold, or neither hot nor cold, without contradiction.
In that way whoso is least content and least joyful is in the degree of indifference, and finds himself in the habitation of temperance, where the virtue and condition of a strong soul exist, which bends not to the south wind nor to the north.
This, then, to return to the point, is how this enthusiastic hero, who explains himself in the present part, is different from the other baser ones—not as virtue from vice, but as a vice which exists in a subject more divine or divinely, from a vice which exists in a subject more savage or savagely; so that the difference is according to the different subjects and modes, and not according to the form of vice.
Cic.
Themes
◆Detachment Gelassenheitpraxis
Eckhart's Abgeschiedenheit/Gelassenheit — radical letting-go of will, image, and grasping that opens the soul to God; distinct from inner_silence (quietness) and from material renunciation, and adjacent to Sufi tark and Buddhist non-grasping as a practice rather than a metaphysical claim.
The sage is described as moderate in inclinations where pleasure and pain are negated by the force of reasoning.
Augustinian and Plotinian doctrine that evil has no positive being of its own but is a lack, distortion, or absence of the good — denying ontological dualism while preserving moral seriousness.
Vice is defined as excess that passes the line, implying evil is a deviation from the virtuous mean rather than a positive substance.
The doctrine of the universe as boundless and without center or circumference, populated by innumerable worlds — Bruno's rejection of the closed Aristotelian sphere; the divine and the cosmos as ontologically infinite.
Eternity is contrasted with time using the geometric metaphor of a line versus a point, reflecting Bruno's infinite ontology.
Bruno's eroici furori — a passionate, ennobling spiritual ardor that drives the soul toward divine wisdom; distinguished from base or animal passions by its orientation to infinite truth.
[auto] The passage explicitly defines the state of the 'enthusiastic hero' and distinguishes his spiritual condition from baser subjects, which is the central subject of Bruno's work.