The Heroic Enthusiasts, Part I (Gli Eroici Furori) · 38 of 63 · tr. L. Williams
Fourth Dialoguee
She dispatches the armed thoughts, which, solicited and urged by disagreement with the inferior nature, are sent to recall the heart.
The soul instructs them how they should conduct themselves, so that, being allured and attracted by the object, they do not become induced to remain, they also, captive and companions of the heart.
She says, then, they are to arm themselves with love, with that love that is fired by the domestic flame; that is, the friend of generation, to whom they are bound, and in whose jurisdiction, ministry, and warfare they find themselves.
Anon she orders them to repress their eyesight and to close their eyes, so that they may not behold other beauty or goodness than that which is present, friend and mother; and concludes at last with this, that if no other reason will cause them to return, they should at least do so, to give account of the discourse and of the state of the heart.
Cic .
Before you proceed further, I would understand from you what is that which the soul means when she tells the thoughts to repress the sight vigorously.
Tans .
I will tell thee.
All love proceeds from seeing: intelligent love, from seeing intelligently; sensuous love, from seeing sensuously.
Now this seeing has two meanings: either it means the visual power, that is the sight, which is the intellect, or truly the sense; or it means the act of that power, that is, that application which the eye or the intellect makes to the material or intellectual object.
When the thoughts are counselled to repress the sight, it is not the first, but the second, mode that is meant, because that is the father of the subsequent affection of the sensuous or intellectual desire.
Cic .
This is what I wished to hear from you.
Now, if the act of the visual power is the cause of the evil or good which proceed from seeing, whence comes it that in things divine we have more love than knowledge?
Tans .
We desire to see, because in some way we perceive the value of seeing.
We are aware that, through the act of seeing, beautiful things offer themselves to us; and therefore we desire beautiful things.
Cic .
We desire the beautiful and the good; but seeing is not beautiful nor good; rather is it the touchstone or light by which we see, not only the beautiful and good, but also the evil and bad.
Therefore it seems to me that seeing may be equally beautiful or good, as the thing seen may be white or black.
If, then, the sight, which is an act, is not beautiful nor good, how can it fall into desire?
Tans .
If not for itself, yet certainly for some other reason, it is desired, seeing that there can be no apprehension of that other without it.
Cic .
What wilt thou say, if that other is not within the knowledge of the senses nor of the intellect?
How, I say, can that be desired which is not seen, if there is no knowledge whatever of it—if towards it neither the intellect nor the sense has exercised any act whatever; but, on the contrary, it is even dubious whether it be intellectual or sensuous, whether a thing corporeal or incorporeal, whether it be one or two or more, or of one fashion or of another?
Tans .
I answer, that in the sense and the intellect there is one desire and one impulse to the sensuous in general; because the intellect will hear the whole truth, so that it may learn all that is beautiful or good intelligently; the power of the senses will inform itself of all that is sensuous, so that it may know all that is good and beautiful in the world of the senses.
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 command to 'not behold other beauty or goodness than that which is present' indicates a letting go of distractions.
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 explicitly distinguishes between sensuous and intelligent love proceeding from different modes of seeing, mirroring the scala amoris ascent.
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 describes a passionate love fired by flame that transcends ordinary reason to attain divine reality.
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 work defining this concept, explicitly describing armed thoughts and love fired by a domestic flame as spiritual ardor.