Excerpt from Opera Latine Conscripta, Vol. 2: Continens: 1. De Umbris Idearum; 2. Ars Memoriae; 3. Cantus Circaeus Morto il Prof. Francesco. Excerpt from Opera Latine Conscripta, Vol. 2: Continens: 1. De Umbris Idearum; 2. Ars Memoriae; 3. Cantus Circaeus Morto il Prof. Francesco fiorent1no. See, for example: Cantus circaeus, in Opera, vol. Il.i, “Formae verö aliae quae sunt intrinsecae, extrinsecarum rivuli atque filiae, quae per véhicula.
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Bruno’s art of memory, as I have argued elsewhere, was conceived by Bruno as a method of ordering the intellect a logica means of effecting a moral transformation of the subject an ethical art and as a form of magic. This art consisted of a manipulation of phantasms or inner images, whose purpose varied from the mere learning by heart of a text to mystical contemplation. Bruno, Expulsion, 75; Bruno, Dialoghi, 2: Visit our Beautiful Books page and find lovely books for kids, photography lovers and more.
These frenzies of which we speak and which we see put into execution in these dialogues, are not a forgetfulness, but a memory; they are not careless actions but loves and desires of the beautiful and the good by. In Bruno’s allegory Jove is not taken as “a good vicar or lieutenant of the first principle and universal cause,” but rather as “something variable.
Formats and Editions of Il canto di Circe = Cantus Circaeus 
Cantus Circaeus “Incantation of Circe” is an early work by Bruno on the art of memory with strong magical elements.
In the Eroici, Bruno describes the furioso in a metaphor which recalls the inner architectural spaces of his Lullian and mnemotechnical writings as a builder, a fabricatore: That this transformation of inferior beings to a higher level also involves an ethical transformation whereby the affects are transformed by a process of intellection or contemplation, we might say is clear both from the cnatus of the lover’s frenzies in the Eroici and the theoretical parts of Bruno’s mnemotechnical treatises.
Circeus dispensation of the collyria to the various muses signifies the various aspects of Bruno’s philosophical and mnemotechnical project. This too was the aim of his mnemotechnical systems – methods for image combination which would allow one to consider, compare and arrange the infinite contents of the physical, intellectual and “hyperphysical” or supercelestial universe that is the structures of the world, the mind, and the cosmos.
It was, in fact, seen as “the origin of many methods” which are compared to “various organs” by which one could “explore or discover artificial memory”. Bruno, Expulsion, ; “nove bussole, le quali contegnono nove collirii che son stati ordinati per purgar l’animo umano, e quanto alia cognizione e quanto alia affezione” Bruno, Dialoghi, 2: In the Eroici we find the same insistence on the interdependence of intellection and appetition.
Opere mnemotecniche, I
In rare cases, an ill in the original, such as a blemish or missing page, may be replicated in our edition. Just as the lover seeks to become one with his beloved – it is the power of Love to “transform the heart into that other nature to which it aspires”49 – so the heroic lover whose “beloved” is God seeks to become one with the divinity which he seeks.
The Incantations of Circe. Bruno represents the idea of man’s transformation into a canttus via the allegory of Actaeon devoured by his own hounds.
In order to do this we need “that wisdom and judgement, that skill, industry and use of intellectual light that are revealed to the world by the intelligible sun”. Imerti have been silently adapted where I thought it was appropriate.
Porro fortiores atque vehementiores fortius consequentia quadam atque vehementius imprimunt” Bruno, lordani Bruni Nolani Opera, 2, 2: The Italian original will be provided in the footnotes, circaesu follows: The end-point of the heroic frenzy citcaeus Bruno’s mnemotechnical practice was, I would argue, deification deificatioin the sense that the intellect and the affects are both “completely converted” to the love of God.
Bruno, Expulsion, ; Bruno, Dialoghi, 2: Magic, Alchemy, and the Occult: Bruno, Expulsion, 1 82; “armonica proporzione di cose sensibili” Bruno, Dialoghi, 2: We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. Bruno, Frenzies, ; “Doviene un dio circeaus contatto intellettuale di quell nume oggetto” Bruno, Dialoghi, 2: While the Spaccio may not be a memory citcaeus, it is a representation of how a memory art might function – using images and a spatialized memory an inner “world,” “heaven” cirxaeus “universe” in order to methodically inculcate virtues and expel vices.
This “use of intellectual light” is the custom called magic:. In ll third dialogue of the first part, Tansillo describes the furori as a kind of memory or remembrance by which the desiring soul seeks to transform itself into the similitude of divinity the beautiful and the good:. Find more at www. Clucas, “Simulacra et signacula” The philosophical frenzy is directed by a “rational force” impeto razionale which controls and directs rapture toward positive ends.
Actaeon is “ravished outside of himself ‘ as he perceives that he is the divine object: Giovanni Aquilecchia, 2 vols.