The Heroic Enthusiasts, Part I (Gli Eroici Furori) · 34 of 63 · tr. L. Williams
Fourth Dialoguea
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Tansillo .
Thus is described the discourse of heroic love, in all which tends to its own object, which is the highest good; and heroic intellect, which devotes itself to the study of its own object, which is the primal verity, or absolute truth.
Now the first discourse holds the sum of this and the intention, the order of which is described in five others following: 18.
To the woods, the mastiffs and the greyhounds young Actæon leads, When destiny directs him into the doubtful and neglected way, Upon the track of savage beasts in forests wild.
And here, between the waters, he sees a bust and face more beautiful than e'er was seen By mortal or divine, of scarlet, alabaster, and fine gold; He sees, and the great hunter straight becomes that which he hunts.
The stag, that towards still thicker shades now goes with lighter steps, His own great dogs swiftly devour.
So I extend my thoughts to higher prey, and these Now turning on me give me death with cruel savage bite.
Actæon signifies the intellect, intent on the pursuit of divine wisdom and the comprehension of divine beauty.
He lets loose the mastiffs and the greyhounds, of whom the latter are more swift and the former more strong, because the operation of the intellect precedes that of the will; but this is more vigorous and effectual than that; seeing that, to the human intellect, divine goodness and beauty are more loveable than comprehensible, and love it is that moves and urges the intellect, and precedes it as a lantern.
The woods, uncultivated and solitary places, visited and penetrated by few, and where there are few traces of men.
The youth of little skill and practice, as of one of short life and of wavering enthusiasm.
In the doubtful road of uncertain and distorted reason—a disposition assigned to the character of Pythagoras—where you see the most thorny, uncultivated, and deserted to be the right and difficult path, where he lets loose the greyhounds and the mastiffs upon the track of savage beasts, that is, the intelligible kinds of ideal conceptions, which are occult, followed by few, visited but rarely, and which do not disclose themselves to all those who seek them.
Here, amongst the waters,—that is, in the mirror of similitude, in those works where shines the brightness of divine goodness and splendour, which works are symbolized by the waters superior and inferior, which are above and below the firmament, he sees the most beautiful bust and face—that is, external power and operation, which it is possible to see, by the habit and act of contemplation and the application of mortal or divine mind, of man or any god.
Cic.
I do not believe that he makes a comparison, nor puts as the same kind the divine and the human mode of comprehending, which are very diverse, but as to the subject they are the same.
Tans.
So it is.
He says "of red and alabaster and gold," because that which in bodily beauty is red, white, and fair, in divinity signifies the scarlet of divine vigorous power, the gold of divine wisdom, the alabaster of divine beauty, through the contemplation of which the Pythagoreans, Chaldeans, Platonists, and others, strive in the best way that they can to elevate themselves.
"The great hunter saw," he understood as much as was possible, and became the hunted.
He went out for prey, and this hunter became himself the prey, by the operation of the intellect converting the things learned into itself.
Cic.
I understand.
Themes
◆Alchemical Workpraxis
The transformation of base substance — outer matter or the inner soul — into a purified, perfected, or 'gold' state; the magnum opus as both laboratory practice and spiritual allegory.
The transformation of the intellect into the divine object is described using gold and transmutation imagery.
The Hermetic axiom that the structure of the cosmos is reflected at every scale — 'as above, so below; as within, so without' — making each level a legible map of the others.
The text references the mirror of similitude and waters above and below the firmament reflecting divine goodness.
Sufi self-effacement in God — the via by which the lover is unmade as a separate ego and recovered as God's act; specifies the practice/event rather than mystical_union's resulting state.
The intellect is given death with a cruel savage bite as it merges with the divine object.
Diotima's staged ascent from love of beautiful bodies → beautiful souls → beautiful pursuits → beautiful knowledge → Beauty itself; the canonical scala amoris that grounds Plotinus's On the Beautiful and Bruno's Eroici Furori — distinct from generic spiritual_ascent in that eros is the specific motive force.
Heroic love tends to its own object, the highest good, implying a staged ascent through beauty.
Disciplined inward attention — sitting, focused, or open-awareness practice — as a stand-alone term that umbrellas active_contemplation, inner_silence, and dhyana-style sitting.
Contemplation is presented as the primary disciplined practice for accessing divine truth.
The human being as a small-scale image of the entire cosmos; the body, soul, and intellect mirroring the structure of the heavens and the divine — distinct from correspondence in that it makes the human the privileged mirror.
The human intellect is described as capable of applying mortal or divine mind to see the divine in works.
The doctrine — central to Eastern Orthodox and Maximian theology — that the human person is progressively transformed into a partaker of the divine nature by grace, not merely justified or united in passing ecstasy.
The soul strives to elevate itself and become like the divine through contemplation.
Ecstatic irrational rapture — Plato's mania, Bruno's furore — by which the soul transcends ordinary reason and attains direct contact with divine reality; madness reframed as higher knowledge.
[auto] The term enthusiasm (furor) is central to the text, describing a passionate ardor that transcends ordinary reason.
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 is from Bruno's Gli Eroici Furori and explicitly defines heroic love and intellect as the driving force toward divine wisdom.