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Tag: Theurgy

Eco: Bruno: Ars Combinatoria and Infinite Worlds


Ettore Ferrari (1845-1929), The Trial of Giordano Bruno by the Roman Inquisition, bronze relief, Campo de’Fiori, Rome. This bas relief graces the pedestal of the statue of Bruno at Campo de’Fiori in Rome. The collected works of Giordano Bruno (1548-1600) are in the Bibliotheca Bruniana Electronica at the Warburg Institute, with others at the Esoteric Archives. This photo dated 2006 by Jastrow is in the public domain. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.    

Giordano Bruno’s cosmological vision presented a world without ends, whose circumference, as Nicholas of Cusa had already argued, was nowhere to be found, and whose center was everywhere, at whatever point the observer chose to contemplate the universe in its infinity and substantial unity.

The panpsychism of Bruno had a Neoplatonic foundation: there was but a single divine breath, one principle of motion pervading the whole of the infinite universe, determining it in its infinite variety of forms.

The master idea of an infinite number of worlds was compounded with the notion that every earthly object can also serve as the Platonic shade of other ideal aspects of the universe. Thus every object exists not only in itself, but as a possible sign, deferral, image, emblem, hieroglyph of something else.

This worked also by contrast: an image can lead us back to the unity of the infinite even through its opposite. As Bruno wrote in his Eroici furori, “To contemplate divine things we need to open our eyes by using figures, similitudes, or any of the other images that the Peripatetics knew under the name of phantasms” (Dialoghi italiani, Florence: Sansei, 1958: 1158).

Where they did not emerge directly from his own inflamed imagination, Bruno chose images found in the Hermetic repertoire. These served as storehouses of revelations because of a naturally symbolic relationship that held between them and reality.

Their function was no longer, as in previous arts of memory, that of merely helping to order information for ease of recall, or this was, at least, by now a minor aspect: their function was rather that of helping to understand. Bruno’s images permitted the mind to discover the essence of things and their relations to each other.

The power of revelation stored inside these images was founded on their origin in far-off Egypt. Our distant progenitors worshipped cats and crocodiles because “a simple divinity found in all things, a fecund nature, a mother watching over the universe, expressed in many different ways and forms, shines through different subjects and takes different names” (Lo spaccio della bestia trionfante, Dialoghi italiani, 780-2).

But these images possess more than the simple capacity to reawaken our dormant imagination: they possess an authentic power to effect magical operations on their own, and functioned, in other words, in exactly the same way as the talismans of Ficino.

It is possible, of course, to take many of Bruno’s magical claims in a metaphorical sense, as if he was merely describing, according to the sensibility of his age, intellectual operations. It is also possible to infer that these images had the power to pull Bruno, after prolonged concentration, into a state of mystic ecstasy (cf. Yates 1964: 296).

Still, it is difficult to ignore the fact that some of Bruno’s strongest claims about the theurgic potential of seals appeared in a text that bore the significant title of De Magia:

“nor even are all writings of the same utility as these characters which, by their very configuration, seem to indicated things themselves. For example, there are signs that are mutually inclined to one another, that regard each other and embrace one another; these constrain us to love.

Then there are the opposite signs, signs which repel each other so violently that we are induced to hatred and to separation, becoming so hardened, incomplete, and broken as to produce in us ruin. There are knots which bind, and there are separated characters which release. [ . . . ]

These signs do not have a fixed and determined form. Anyone who, obeying his own furor, or the dictates of his soul, naturally creates his own images, be these of things desired or things to hold in contempt, cannot help but represent these images to himself and to his spirit as if the imagined things were really present.

Thus he experiences his own images with a power that he would not feel were he to represent these things to himself in the form of words, either in elegant oration, or in writing.

Such were the well-defined letters of the ancient Egyptians, which they called hieroglyphs or sacred characters. [ . . . ] by which they were able to enter into colloquies with the gods and to accomplish remarkable feats with them. [ . . . ]

And so, just as, where there lacks a common tongue, men of one race are unable to have colloquies with those of another, but must resort instead to gestures, so relations of any sort between ourselves and certain powers would be impossible were we to lack the medium of definite signs, seals, figures, characters, gestures, and other ceremonies.”

(Opera latine conscripta, Naples-Florence, 1879-1891, vol. III: 39-45).

Concerning the specific iconological material that Bruno employs, we find figures deriving directly from the Hermetic tradition, such as the Thirty-six Decans of the Zodiac, others drawn from mythology, necromantic diagrams that recall Agrippa or John Dee, Lullian suggestions, animals, plants and allegorical figures deriving from the repertoire of emblems and devices.

This is a repertoire with an extraordinary importance in the history of iconology, where the ways in which a certain seal, for example, refers back to a specific idea are largely governed by rhetorical criteria: phonetic similarities (a horse, equus, can correspond to an honest, aequus, man); the concrete for the abstract (a Roman soldier for Rome); antecedent for the consequent; accident for subject (or vice versa); and so on.

Sometimes the analogy  is based upon the similarity of the initial syllable (asinus for asyllum); and certainly Bruno did not know that this procedure, as we shall see in chapter 7, was followed by the Egyptians themselves when using their hieroglyphs.

At other times the relations might be based on kabbalistic techniques such as anagrams or paronomasias (like palatio standing for Latio: cf. Vasoli 1958: 285-6).”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 132-5.

I.P. Cory on Paganism

” … But the internal heresies of the Church were not the only ill effects which the misguided zeal of the fathers, in forcing upon Plato the doctrine of the Trinity, brought about.

Though it is possible, that by pointing out some crude similarity of doctrine, they might have obtajned some converts by rendering Christianity less unpalatable to the philosophical world of that day, yet the weapon was skilfully turned against them, and with unerring effect, when the Pagans took upon them to assert that nothing new had been revealed in Christianity; since, by the confessions of its very advocates, the system was previously contained in the writings of Plato.

In the third century, Ammonius Saccas, universally acknowledged to have been a man of consummate ability, taught that every sect, Christian, Heretic or Pagan, had received the truth, and retained it in their varied legends. He undertook, therefore, to unfold it from them all, and to reconcile every creed.

And from his exertions sprung the celebrated Eclectic school of the later Platonists. Plotinus, Amelius, Olympius, Porphyrius, Jamblichus, Syrianus, and Proclus, were among the celebrated professors who succeeded Ammonius in the Platonic chair, and revived and kept alive the spirit of Paganism, with a bitter enmity to the Gospel, for near three hundred years.

The Platonic schools were at length closed by the edict of Justinian; and seven wise men, the last lights of Platonism, Diogenes, Hermias, Eulalius, Priscianus, Damascius, Isidorus and Simplicius retired indignantly from the persecutions of Justinian, to realize the shadowy dreams of the republic of Plato, under the Persian despotism of Chosroes.16

From the writings of these philosophers is collected the bulk of the Oracles of Zoroaster. A few of them were first published by Ludovicus Tiletanus at Paris, with the commentaries of Pletho, to which were subsequently added those of Psellus. Chief part of them, however, were collected by Franciscus Patricius, and published with the Hermetic books at the end of his Nova Philosophia.

To the labours of Mr. Taylor we are indebted for the addition of about fifty more, and for the references to the works from whence all were extracted. I have arranged them according to the subjects, which are said to be occultly discussed in the Parmenides of Plato, viz.: Cause or God, the Ideal Intelligible or Intellectual world, Particular Souls, and the Material world.

And I have placed under a separate head the Magical and Philosophical precepts and directions. There can be no question but that many of these Oracles are spurious; all those, for instance, which relate to the Intelligible and Intellectual orders, which were confessedly obtained in answers given by dæmons, raised for that purpose by the Theurgists;17 who, as well as all the later Platonists, made pretensions to magic, not only in its refinements, which they were pleased to designate Theurgy, but also in that debased form which we should call common witchcraft.

Nevertheless, several of the Oracles seem to be derived from more authentic sources, and, like the spurious Hermetic books which have come down to us, probably contain much of the pure Sabiasm of Persia, and the doctrines of the Oriental philosophy.”

I.P. Cory, Ancient Fragments, 1832, Introduction.

Conversing with Moses and Metatron

“From a somewhat earlier period, around 1200, comes the Hebrew protocol, recorded in Rouen, of the appearance of a prophet of the same type, R. Shemuel ha-Nabi, who conversed, in the presence of witnesses, with Moses and the angel Metatron as well as with the tosafist masters Rabbenu Tam and R. Elias of Paris, and who communicated mystical revelations dealing with talmudic matters.

Similar revelations concerning talmudic and halakhic questions likewise occurred in the Languedoc, in the neighborhood of the Rabad and the same generation. Even if we regard as metaphorical rather than strictly mystical the expressions employed by Rabad (see pp. 205-6) with regard to the manifestation of the Holy Spirit in his school, the occurrence of such revelations is conclusively proven by the curious case of Jacob of Marvège (today in the Department of Lozère), who flourished around 1200.

He sought the answers to halakhic problems through “dream questions,” she’eloth halom, that is, through a visionary procedure. Alongside figures of this kind there also appeared pure mystics whose illuminations were of an inward kind that resulted, when the occasion warranted it, in esoteric doctrines.

How did these revelations come about? Did they appear spontaneously, without preparation, to mystically inclined souls, or were they the result of specific acts and rituals that required a certain preparation? Is it possible that a theurgic element also played a role? There is no unequivocal answer to these questions. We do, however, possess certain testimonies suggesting that in this Provençal circle such revelations were linked, at least in part, to a specific ritual and that they were even tied to a particular day.”

Gershom Scholem, Origins of the Kabbalah, pp. 239-40.

Conjuring Shaddiel

“In the middle of the thirteenth century there lived in Narbonne an old kabbalist, also a disciple of Eleazar of Worms, “of whose teacher it was attested [that is, by the people of Narbonne, and not only by the former student himself] that Elijah, may his memory be blessed, revealed himself to him every Day of Atonement.”

Whether this teacher was the Eleazar just named or some other Provençal kabbalist is not clear. But the identity of the teacher is of less importance for us than the information concerning the date when the prophet Elijah regularly appeared to him. In the Talmud such an appearance of Elijah on the Day of Atonement is mentioned, to my knowledge, only once in passing ( Yoma 19b) and not as something that is repeated periodically. This revelation, whose supreme value is thrown into sharp relief by the fact of its occurrence on the most sacred day of the year, was certainly attained only after spiritual preparation and special concentration.

We possess two texts that give an exact description of the magic rituals for conjuring up the archon who is in charge of the mysteries of the Torah. These rituals take place precisely during the night of the Day of Atonement. The first of these texts is a responsum attributed to two fictitious Babylonian geonim of the eleventh century that appears to have been composed in Provence around 1200 in an artificial Aramaic.

We are given here, among other things, an utterly fantastic report concerning a very peculiar procedure that the scholars of earlier times supposedly followed on that night in order to conjure up “Shaddiel, the great king of the demons (shedim) who rule in the air,” thereby to acquire possession and knowledge of “all the mysteries of heaven.”

This mixture of angelology and demonology is very strange. It seems to me impossible that this ritual, transferred in this instance to Babylonia, was ever really practiced. But it does indicate the mood of the group from which it stems.

The second part likewise contains theurgic instructions, but these, we may assume, describe a ritual that was actually performed. These directions constitute only one link in a long chain of incantations given since very early times for conjuring up the “archons of the Torah.”

At the end of the “Greater Hekhaloth” there is a text, Sar Torah, that is also found independently and has the same aim. We possess several other conjurations of this kind that originated in the Orient and passed, in part, into the manuscripts of the German Hasidim. This text too, which similarly prescribes the eve and the night of the Day of Atonement as the time for the performance of these rituals, certainly originated in materials that came from Babylonia through Italy to France.

But the content, half conjuration and half prayer, leaves no doubt that in its extant form it was edited in France. The text contains a long list of things that one of these perushim wished to learn from the archon of the Torah. He desires that his heart be opened to the study of the Torah, with special emphasis on the various types of gematria and number-mysticism and on the comprehension of various talmudic disciplines—such as cosmogony, the Merkabah, the divine glory, the kabhod—as well as many other specific subjects of the talmudic tradition that the author considered worth knowing.

There is nothing to indicate the author’s acquaintance with the Kabbalah; his area of interest coincides, regarding theosophical matters as well, with that of the German and French Hasidim. At the same time, we learn that in those circles too one hoped for revelations concerning the exoteric and esoteric Torah during the night of the Day of Atonement. We have before us, therefore, the sort of prayer that Jacob the Nazirite might have recited had he wished to prepare himself for a revelation of this kind.”

Gershom Scholem, Origins of the Kabbalah, pp. 240-2.

Revelation and Mystical Illumination

“The historian of religion is entitled to consider the mysticism of the Merkabah to be one of the Jewish branches of Gnosticism. However rare the references in the extant texts to gnostic myths, or abstract speculations on the aeons and their mutual relations, certain fundamental characteristics of Gnosticism are nevertheless fully congruent with the kind of mysticism we find in the Merkabah writings: the possession of a knowledge that cannot be acquired by ordinary intellectual means but only by way of a revelation and mystical illumination; the possession of a secret doctrine concerning the order of the celestial worlds and the liturgical and magical-theurgical means that provide access to it.”

–Gershom Scholem, Origins of the Kabbalah, 1987, pp. 21-2.

Notes on Theurgy and the Mnemotechnic Metasciences of Raymond Lully.

Excerpts from footnotes in a book that I am reading:

8. “Briefly, theurgy is the art of bringing down celestial beings (angels) through the use of prayers on the one hand, and of ecstatic ascent toward union with God, on the other.

9. Among mnemotechnic metasciences, the Ars magna of Raimundus Lullus is no doubt the most famous.”

–Benedek Lang, Unlocked Books: Manuscripts of Learned Magic in the Medieval Libraries of Central Europe, 2008. Pg. 165.

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