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The Heroic Enthusiasts, Part I (Gli Eroici Furori) · 46 of 63 · tr. L. Williams

Fifth Dialogueb

There is a sun whose rays extend to the back of the earth, and there is a legend which says: "Idem semper ubique totum." Cic . I perceive that the interpretation of it will be difficult. Tans . The more excellent the meaning the less obvious is it, and you will see that it is unequalled, unique, and not strained. You are to consider that the sun, although with regard to the various regions of the earth he is for each one different as to time, place, and degree, yet in respect of the whole globe as such, he always and in every place accomplishes everything, for in whatever part of the ecliptic he is to be found, he makes winter, summer, autumn, and spring, and makes the whole globe of the earth to receive within itself the aforesaid four seasons; for never is it hot at one side unless it is cold on the other; when it is to us very hot in the tropic of Cancer it is very cold in the tropic of Capricorn; so that for the same reason it is winter in that part when it is summer in this, and to those who are in the middle, it is temperate according to the aspect, vernal or autumnal. So the earth always feels the rains, the winds, the heat, the cold; nor would it be damp here if it were not dry in another part, and the sun would not warm it on this side if it had not already left off warming it on the other. Cic. Even before you have finished, I understand what you would say. You mean that as the sun gives all the impressions to the earth, and this receives them whole and entire, so the Object of the enthusiast, with its active splendour, makes him the passive subject of tears, which are the waters, of ardours, which are the fires, and of sighs, which are certain vapours, which partake of both, which leave the fire, and go to the waters, or leave the waters and go to the fire. Tans. This is well explained below. 26. When as the sun towards Capricorn declines, Then do the rains enrich the streams, As towards the line he goes, or thence returns, More felt is each Æolian messenger, Warming the more with every lengthening day What time towards burning Cancer he remounts. And equal to this heat, this cold, this zeal Are these my tears, my sighs, the ardour that I feel. My constant sighs, my never waning flames Are only equal to my tears. My floods and flames howe'er intense they be, Are never more so than my sighs; I burn with fervid heat, And, firmly fixed, I ever sigh and weep. Cic. This does not so much declare the meaning of the coat of arms, as the preceding discourse did, but it rather supplements or accompanies that discourse. Tans . Say, rather, that the figure is latent in the first part, and the legend is well explained in the second; as both the one and the other are very properly signified in the type of the sun and of the earth. Cic . Pass on to the third. III. Tans . The third bears on his shield a naked child, stretched upon the green turf, who rests his head upon his arm, with his eyes turned towards the sky to certain edifices, towers, gardens, and orchards, which are above the clouds, and there is a castle of which the material is fire, and in the middle is the sign inscribed: "Mutuo fulcimur." Cic . What does that mean? Tans .
Themes
Correspondencecosmology

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.

[auto] The text explicitly draws an analogy between the sun's effect on the earth and the divine Object's effect on the enthusiast ('as the sun gives... so the Object... makes him').

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Divine Lighttheology

The uncreated luminous quality of the divine, sometimes experienced directly in mystical states; illumination as revelation.

[auto] The sun serves as a central metaphor for the active splendour of the divine Object illuminating the soul.

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Divine Madnesssoteriology

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 ecstatic states like tears and ardours as a result of divine contact, aligning with the definition of furore as higher knowledge.

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Heroic Furorpraxis

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 and describes the enthusiast's passionate reaction (tears, ardours) to the divine Object.

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Hidden Sayingssoteriology

Esoteric teachings reserved for those ready to receive them; outer meaning conceals an inner liberating truth.

[auto] Tans explicitly states that the more excellent the meaning, the less obvious it is, indicating esoteric depth.

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Microcosm Macrocosmcosmology

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.

[auto] The enthusiast's internal emotions (tears/waters, ardour/fires) are described as mirroring the cosmic elements and seasons of the earth.

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Related passages · 11 parallels
christian_mysticism|Pseudo-Dionysius: The Divine Names|Chapter 4, Section 1e
260 260 The light permeates water but it does not permeate a stone. It passes over the stone and permeates the water beyond it. Yea, and it contributes to the birth of material bodies and brings them unto life, and nourishes them that the…”
Both passages discuss the universal influence of light or the sun, drawing parallels between its effects on the physical world and its symbolic or spiritual significance. They both emphasize the unifying and life-giving properties of light, though from different religious and philosophical perspectives.
christian_mysticism|The Life and Doctrines of Jacob Boehme|Chapter 6 (part 6)
Not that he contains their essences, but their life arose from his centre in the beginning." ( Threefold Life , iv. 27.) "The sun is the heart of all the powers in this world, and is configurated from the powers of all the stars, while, on…”
Both passages use the sun as a metaphor to explain a deeper mystical concept. In Passage A, the sun's influence on the earth is likened to the effect of divine love on the enthusiast, while in Passage B, the sun is described as the heart of all powers in the world, reflecting divine principle. Both texts employ the sun as a central symbol to convey the interplay between a divine force and the world or individual.
christian_mysticism|The Life and Doctrines of Jacob Boehme|Chapter 8 (part 3)
Thereby it receives the form of the latter as a light and power, without, however, being able to grasp the interior spirit itself; for the spirit does not dwell in the exterior, but has possession of its own self in its own interior state."…”
Both passages use the sun as a metaphor to explain a divine or mystical connection to the earth and human experience. They describe the sun's influence as a unifying force that brings about different seasons and emotions, reflecting a deeper spiritual or divine interaction.
christian_mysticism|The Life and Doctrines of Jacob Boehme|Chapter 8 (part 5)
Thus the earth is filled with hunger after the stars and after the spiritus mundi , so that they have no peace." ( Clavis , 110.) "The earth is turning around because she has both fires, the hot and the cold fire, and that which is below al…”
Both passages explore the interplay between celestial bodies and earthly elements, emphasizing the unity and interdependence of seemingly disparate forces. They share a mystical perspective on the natural world, though they come from different traditions.
christian_mysticism|The Life and Doctrines of Jacob Boehme|Chapter 11 (part 8)
Neither is God measurable, and there has no place of residence been discovered in Him, unless He should establish for Himself such a dwelling in one of His creatures; but even then He remains a whole apart from and beyond such a created bei…”
Both passages use the metaphor of the sun to explain a divine or mystical concept. In Passage A, the sun's influence on the earth is likened to the effect of a divine object on an enthusiast, while in Passage B, the sun is compared to Christ and the divine love, illustrating the omnipresence and influence of the divine.
egyptian|The Egyptian Book of the Dead (Papyrus of Ani)|Chapter 14 (part 3)
Strictly speaking, he is the rising sun, and is one of the most important forms of Horus. As god of mid-day and evening he is called Ra-Harmachis and Tmu-Harmachis respectively. The sphinx at Gizeh was dedicated to him.] ka [1] of Osiris,…”
Both passages explore the concept of a divine entity (the sun) influencing the world and human experience. They use the sun as a metaphor for understanding the relationship between the divine and the earthly, highlighting the cyclical nature of existence and the interplay between different states (e.g., seasons, emotions).
egyptian|The Egyptian Book of the Dead (Papyrus of Ani)|Chapter 43 (part 85)
From a natural point of view the sun was synonymous with movement, and hence typified the life of man; and the setting of the one typified the death of the other. Usually Ra is depicted in human form, sometimes with the head of a hawk, and…”
Both passages explore the symbolic significance of the sun and its relationship to life and the natural world. Passage A discusses the sun as a symbol of life and movement in Egyptian mythology, while Passage B uses the sun to illustrate the cyclical nature of seasons and human emotions, showing a conceptual parallel in their mystical interpretations.
jewish_mysticism|The Book of Enoch (1 Enoch, Charles translation)|Chapter IV
p. 33 CHAPTER IV. And again, observe ye the days of summer how the sun is above the earth over against it. And you seek shade and shelter by reason of the heat of the sun, and the earth also burns with growing heat, and so you cannot tread…”
Both passages discuss the sun's influence on the earth and the resulting seasonal changes. They share a mystical perspective on the natural world, seeing it as a reflection of deeper truths.
jewish_mysticism|The Book of Enoch (1 Enoch, Charles translation)|Chapter LXXVII
LXXVIII. The Sun and Moon: the Waxing and Waning of the Moon . CHAPTER LXXVII. 1. And the names of the sun are the following: the first Orjârês, and the second Tômâs. 2. And the moon has four names: the first name is Asônjâ, the second Eblâ…”
Both passages discuss the sun and its effects on the earth, using it as a metaphor for divine influence. Passage A uses the sun to explain the enthusiast's emotional states, while Passage B describes the sun's and moon's cycles and their impact on time and light.
platonism|Plato: Republic|Section 1b
You mean the sun, as you and all mankind say. May not the relation of sight to this deity be described as follows? How? Neither sight nor the eye in which sight resides is the sun? No. Yet of all the organs of sense the eye is the most…”
Both passages use the metaphor of the sun to explain a higher, transcendent reality that influences the world. In Passage A, the sun's influence is likened to the emotional states of the enthusiast, while in Passage B, the sun is used to illustrate the idea of the good and its relationship to knowledge and truth.
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western_esoteric|Transcendental Magic I: The Doctrine (Éliphas Lévi)|4. The Tetragramb
The Great Magical Agent is the fourth emanation of the life-principle, of which the sun is the third form - see the initiates of the school of Alexandria and the dogma of Hermes Trismegistus. In this way the eye of the world, as the ancien…”
Both passages explore the concept of a unifying, life-giving force (the sun) that influences the earth and its inhabitants. They share a structural parallel in describing the dual nature of this force, with one passage discussing the sun's effects on seasons and weather, and the other detailing the Hermetic view of the sun as a life-principle with dual forces of attraction and projection.