The Heroic Enthusiasts, Part II (Gli Eroici Furori) · 17 of 49 · tr. L. Williams
First Dialoguep
Well do I remember having seen it expressed in the sonnet.
But let us read it first.
50.
Eager to find the much desired food, The eagle towards the sky spreads out his wings And warns of his approach both bird and beast, The third flight bringing him upon the prey.
And the fierce lion roaring from his lair Spreads horror all around and mortal fear; And all wild beasts, admonished and forewarned, Fly to the caves and cheat his cruel jaw.
The whale, ere he the dumb Protean herd Hungry pursues, sends forth his nuncio, From caves of Thetys spouts his water forth.
Lions and eagles of the earth and sky, And whales, lords of the seas, come not with treachery, But the assaults of Love come stealing secretly.
The animal kingdom is divided into three, and is composed of various elements: the earth, the water, the air, and there are three species—beasts, fishes, and birds.
Into three kinds are the principles of nature settled and defined, in the air the eagle, on earth the lion, in the water the whale; of the which, each one, as it displays more strength and command over the others, makes a show of magnanimous action, or apparently magnanimous.
Therefore it is observed, that the lion, before he starts on the hunt trumpets forth his roar, which resounds through the whole forest, like to the poetical description of the fury-hunter.
At saeva e speculis tempus dea nacta nocendi, Ardua tecta petit, stabuli et de culmine summo Pastorale canit signum, cornuque recurvo Tartaream intendit vocem, qua protinus omne Contremuit nemus, et silvae intonuere profundae.
The eagle again, before he proceeds to his venery, first rises straight from the nest in a perpendicular line upwards, and generally speaking at the third time he swoops from above with greater impetus and swiftness than if he were flying in a direct line, so that at the time when he is gaining the greatest velocity of flight, he is able also to speculate upon his success with the prey, and after three inspections he knows whether he will succeed or fail.
Ces.
Can one imagine why, if at the first his prey presents itself before his eyes, he does not instantly pounce upon it?
Mar.
No; unless it be to see whether anything better, or more easily taken, comes to sight.
At the same time I do not believe that this is always so, but most often it is.
But to return.
Of the whale it is manifest that, being such a huge animal, he cannot divide the waters without making his presence known through the repulsion of the waves, besides which there are several species of this fish, that when they move or breathe, spout forth a windy tempest of water.
Thus from these three principal species of animals, the inferior kinds have warning to enable them to get away, so that they do not conduct themselves as deceivers and traitors.
But Love, who is stronger and greater and who has supreme dominion in heaven, on earth, and in the seas, and who in comparison ought perhaps to show greater magnanimity, as he also has more power, does nothing of the kind, but assaults and wounds suddenly and swiftly.
Labitur totas furor in medullas, Igne furtivo populante venas, Nec habet latum data plaga frontem; Sed vorat tectas penitas medullas, Virginum ignoto ferit igne pectus.
As you perceive, the tragic poet calls him a furtive fire, an unknown flame.
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.
The text maps animal species to cosmic elements (earth, water, air), reflecting a structured cosmos.
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.
The text references the 'fury-hunter' and contrasts animal instinct with the ecstatic, irrational rapture of Divine Love.
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 description of Love's pursuit establishes the erotic motive force for the soul's ascent characteristic of Bruno's system.
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] This passage is from Bruno's work defining this concept and contrasts animal fury with the superior, secret assault of Love which drives the soul.