← Home
The Heroic Enthusiasts, Part II (Gli Eroici Furori) · 45 of 49 · tr. L. Williams

Fifth Dialoguea

. Interlocutors : Laodomia. Giulia. Lao. Some other time, oh my sister, thou wilt hear what happened to those nine blind men, who were at first nine most beautiful and amorous youths, who being so inspired by the loveliness of your face, and having no hope of receiving the reward of their love, and fearing that such despair would reduce them to final ruin, went away from the happy Campanian country, and of one accord, those who at first were rivals for your beauty, swore not to separate until they had tried in all possible ways to find something more beautiful than you or at least equal to you; besides which, that they might discover that mercy and pity which they could not find in your breast armed with pride; for they believed this was the only remedy which could bring them out of that cruel captivity. The third day after their solemn departure, as they were passing by the Circean mount, it pleased them to go and see those antiquities, the cave and fane of that goddess. When they were come there, the majesty of the solitary place, the high, storm-beaten rocks, the murmur of the sea waves which break amongst those caves, and many other circumstances of the locality and the season combined, made them feel inspired; and one of them I will tell thee, more bold than the others, spoke these words: "Oh might it please heaven that in these days, as in the past more happy ages, some wise Circe might make herself present who, with plants and minerals working her incantations, would be able to curb nature. I should believe that she, however proud, would surely be pitiful unto our woes. She, solicited by our supplications and laments, would condescend either to give a remedy or to concede a grateful vengeance for the cruelty of our enemy." Hardly had he finished uttering these words than there became visible to them a palace, which, whoever had knowledge of human things, could easily comprehend that it was not the work of man, nor of nature; the form and manner of it I will explain to thee another time. Whence, filled with great wonder and touched by hope that some propitious deity, who must have placed this before them, would explain their condition and fortunes, they said with one accord they could meet with nothing worse than death, which they considered a less evil than to live in so much anguish. Therefore they entered, not finding any door that was shut against them nor janitor who questioned them. They found themselves in a very richly ornamented room, where with royal majesty, (as one may say, Apollo was found again by Phaeton;) appears she, who is called his daughter, and at whose appearance they saw vanish all the figures of many other deities who ministered unto her. Then, received and comforted by this gracious face, they advanced, and overcome by the splendour of that majesty, they bent their knee to the earth, and altogether, with the diversity of tones which their various genius suggested, they laid open their vows to the goddess.
Themes
Numerical Mysticismtheology

Numbers, proportions, and mathematical relationships as the underlying structure of divine reality.

The specific number nine is used to describe the group of seekers, suggesting symbolic significance.

All passages →
Anthropomorphismtheology

Attributing human characteristics, emotions, or form to the divine; embodied divine imagery.

[auto] The goddess is described with a gracious face and royal majesty, attributing human characteristics to the divine.

All passages →
Divine Lighttheology

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

[auto] The text emphasizes the splendour of majesty and loveliness as illuminating forces that overcome the seekers.

All passages →
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 seekers are described as inspired and bold, reflecting the ecstatic rapture associated with Bruno's furor.

All passages →
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 Gli Eroici Furori and depicts youths driven by passionate love to seek higher divine beauty and wisdom.

All passages →
Hidden Sayingssoteriology

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

[auto] The narrator explicitly states that the form and manner of the palace will be explained at another time, indicating esoteric knowledge.

All passages →
Ladder Of Lovesoteriology

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.

[auto] The narrative illustrates the ascent from love of a beautiful woman to the search for higher beauty and finally encounter with the divine goddess.

All passages →
Living Godtheology

The divine conceived as active, present, and dynamic—not an abstract principle but a personal responsive reality.

[auto] The deity is portrayed as active and responsive, receiving and comforting the supplicants.

All passages →
Spiritual Ascentpraxis

A staged journey of the soul upward through heavenly realms or levels of being toward the divine source.

[auto] The narrative describes a journey from despair to a mount and palace where the seekers encounter a divine goddess.

All passages →
Related passages · 4 parallels
finnic|The Kalevala|Rune XLVb
Take thy golden-colored sceptre, Charm away opposing forces, Strike the pillars of the stronghold, Open all resisting portals, That the great and small may wander From their ancient hiding-places, Through the courts and halls of freedom." F…”
Both passages involve a group of individuals seeking relief from suffering through supernatural intervention. They share themes of transformation, divine aid, and the quest for healing or resolution from a higher power.
mandaean|Gnostic John the Baptizer — Portents at John's Birth|Section 10
"A blind man who writes a letter: a villain who has become virtuous. He abandoned wantonness and abandoned theft and reached unto faith in almighty Life. "A desolate house who ascends again to the height: one of position who has become hum…”
Both passages describe transformative journeys and encounters with divine or mystical figures. They emphasize themes of redemption, humility, and the pursuit of truth or beauty, though within different religious contexts.
mesopotamian|The Descent of the Goddess Ishtar into the Lower World|Section 1a
Return to Ancient Near East index Return to Main Index DESCENT OF THE GODDESS ISHTAR INTO THE LOWER WORLD [From The Civilization of Babylonia and Assyria, M. Jastrow, 1915] To the land of no return, the land of darkness, Ishtar, the daught…”
Both passages describe a journey to a mystical or otherworldly realm, involving a descent and encounter with divine figures. They share themes of transformation and the seeking of wisdom or resolution through interaction with the divine.
sufism|The Masnavi, Book I (Rumi)|STORY Ia
The Prince and the Handmaid. A prince, while engaged on a hunting excursion, espied a fair maiden, and by promises of gold induced her to accompany him. After a time she fell sick, and the prince had her tended by divers physicians. As,…”
Both passages explore the theme of love and its transformative power, as well as the role of divine intervention in human affairs. They also share a narrative structure involving a quest for something beyond the ordinary, guided by higher forces.