The Heroic Enthusiasts, Part I (Gli Eroici Furori) · 37 of 63 · tr. L. Williams
Fourth Dialogued
To be infinite, it must be infinitely pursued with that form of pursuit which is not incited physically, but metaphysically, and is not from imperfect to perfect, but goes circulating through the grades of perfection to arrive at that infinite centre which is not form, and is not formed.
Cic.
I should like to know how, by circumambulating, one is to arrive at the centre?
Tans.
I cannot know that.
Cic.
Why do you say it?
Tans.
I can say it, and leave it to you to consider.
Cic.
If you do not mean that he who pursues the infinite is like him who talks about the circumference when he is seeking for the centre, I do not know what you mean.
Tans.
Quite the contrary.
Cic.
Now if you will not explain yourself, I cannot understand you; but tell me, prythee, what he means by saying the heart is bound by cruel, spiteful bonds.
Tans.
He speaks in similitude or metaphor; as you would say, cruel was one who did not allow a full enjoyment, and who lives more in the desire than in possession, and who, partially possessing, is not content, but desires, faints, and dies.
Cic.
What are those thoughts that call him back from the noble enterprise?
Tans.
The sensual and natural affections, which regard the government of the body.
Cic .
What have they to do with it, that in no way can either help or favour it?
Tans .
They have not to do with it, but with the soul, which, being so absorbed in one work or study, becomes remiss and careless in others.
Cic .
Why does he call him insane?
Tans .
Because he surpasses in knowledge.
Cic .
It is usual to call insane those who know nothing.
Tans .
On the contrary.
Those are called insane who know not in the ordinary way, or who rise above the ordinary from having more intellect.
Cic .
I perceive that thou sayest truly.
Now tell me what are the pricks, the lightnings, and the chains?
Tans .
Pricks are those experiences that stimulate and awaken the affection, to make it on the alert; lightnings are the rays of the present beauty, which enlighten those who watch and wait for them; chains are those effects and circumstances which keep fixed the eyes of attention and unite together the object and the powers.
Cic .
What are the looks, the accents, and the customs?
Tans .
Looks are the means by which the object is made present to us; accents are the means through which we are inspired and informed; customs are the circumstances which are most pleasant and agreeable to us.
So that the heart that gently suffers, patiently burns and constantly perseveres in the work, fears that its hurt will heal, its fire be extinguished, and its bands be loosened.
Cic .
Now relate that which follows.
Tans .: 21.
Lofty, profound, and stirring thoughts of mine, Ye long to sever the maternal ties Of the afflicted soul, and like to proud And able bowmen, draw at the mark, Which is the germ of all your high conceits.
In those steep paths where cruel beasts may be, Let not heaven leave ye!
Remember to return, and summon back The heart that tarries with the wild wood nymph; Arm ye with love, Warm with the flame of domesticity, And with strong repression guard thy sight, That strangers keep thee not companioned with my heart; At least bring news of that, Which unto him is such delight and joy.
Here he describes the natural solicitude of the attentive soul on the subject, of its inclination towards generation, which it has contracted with matter.
Themes
◆Active Contemplationpraxis
A form of meditation that uses imagery, imagination, or symbolic thought rather than purely empty stillness.
The pursuit is defined as metaphysical rather than physical, involving study and attention.
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.
The text describes circulating through grades of perfection and the heart burning in pursuit.
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 text explicitly redefines insanity as rising above ordinary intellect to attain higher knowledge.
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 describes the passionate, persevering spiritual ardor that defines Bruno's concept of heroic furor.
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.
[auto] The dialogue centers on the metaphysical pursuit of an infinite center, reflecting Bruno's doctrine of ontological infinity.