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