The Heroic Enthusiasts (Gli Eroici Furori) Part the First. Giordano Bruno

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СКАЧАТЬ months it behoved him to leave Noli; he took the road to Savona, crossed the Apennines, and arrived at Turin. In Turin at that time reigned the great Duke Emanuele Filiberto, a man of strong character—one of those men who know how to found a dynasty and to fix the destiny of a people; at that time, when Central and Southern Italy were languishing under home and foreign tyranny, he laid the foundations of the future Italy.

      He was warrior, artist, mechanic, and scholar. Intrepid on the field of battle, he would retire from deeds of arms to the silence of his study, and cause the works of Aristotle to be read to him; he spoke all the European languages; he worked at artillery, at models of fortresses, and at the smith's craft; he brought together around him, from all sides of Italy, artisans and scientists to promote industry, commerce, and science; he gathered together in Piedmont the most excellent compositors of Italy, and sanctioned a printer's company.

      Bruno, attracted to Turin by the favour that was shown to letters and philosophy, hoped to get occupation as press reader; but it was precisely at that time that the Duke, instigated by France, was combating, with every kind of weapon, the Waldensian and Huguenot heresies, and had invited the Jesuits to Turin, offering them a substantial subsidy; so that on Bruno's arrival he found the place he had hoped for, as teacher in the university, occupied by his enemies, and he therefore moved on with little delay, and embarked for Venice.

      Berti, in his Life of Bruno, remarks that when the latter sought refuge in Turin, Torquato Tasso, also driven by adverse fortune, arrived in the same place, and he notes the affinity between them—both so great, both subject to every species of misfortune and persecution in life, and destined to immortal honours after their death: the light of genius burned in them both, the fire of enthusiasm flamed in each alike, and on the forehead of each one was set the sign of sorrow and of pain.

      Both Bruno and Tasso entered the cloister as boys: the one joined the Dominicans, the other the Jesuits; and in the souls of both might be discerned the impress of the Order to which they belonged. Both went forth from their native place longing to find a broader field of action and greater scope for their intellectual powers. The one left Naples carrying in his heart the Pagan and Christian traditions of the noble enterprises and the saintly heroism of Olympus and of Calvary, of Homer and the Fathers, of Plato and St. Ignatius; the other was filled with the philosophical thought of the primitive Italian and Pythagorean epochs, fecundated by his own conceptions and by the new age; philosopher and apostle of an idea, Bruno consecrated his life to the development of it in his writings and to the propagation of his principles in Europe by the fire of enthusiasm. The one surprised the world with the melody of his songs; being, as Dante says, the "dolce sirena che i marinari in mezzo al mare smaga," he lulled the anguish that lacerated Italy, and gilded the chains which bound her; the other tried to shake her; to recall her to life with the vigour of thought, with the force of reason, with the sacrifice of himself. The songs of Tasso were heard and sung from one end of Italy to the other, and the poet dwelt in palaces and received the caress and smile of princes; while Bruno, discoursing in the name of reason and of science, was rejected, persecuted, and scourged, and only after three centuries of ingratitude, of calumny, and of forgetfulness, does his country show signs of appreciating him and of doing justice to his memory. In Tasso the poet predominates over the philosopher, in Bruno the philosopher predominates over and eclipses the poet. The first sacrifices thought to form; the second is careful only of the idea. Again, both are full of a conception of the Divine, but the God that the dying Tasso confessed is a god that is expected and comes not; while the god that Bruno proclaims he already finds within himself. Tasso dies in his bed in the cloister, uneasy as on a bed of thorns; Bruno, amidst the flames, stands out as on a pedestal, and dies serene and calm. We must now follow our fugitive to Venice.

      At the time Giordano Bruno arrived in Venice that city was the most important typographical centre of Europe; the commerce in books extended through the Levant, Germany, and France, and the philosopher hoped that here he might find some means of subsistence. The plague at that time was devastating Venice, and in less than one year had claimed forty-two thousand victims; but Bruno felt no fear, and he took a lodging in that part of Venice called the Frezzeria, and was soon busy preparing for the press a work called "Segni del Tempo," hoping that the sale of it would bring a little money for daily needs. This work was lost, as were all those which he published in Italy, and which it was to the interest of Rome to destroy. Disappointed at not finding work to do in Venice, he next went to Padua, which was the intellectual centre of Europe, as Venice was the centre of printing and publishing; the most celebrated professors of that epoch were to be found in the University of Padua, but at the time of Bruno's sojourn there, Padua, like Venice, was ravaged by the plague; the university was closed, and the printing-house was not in operation. He remained there only a few days, lodging with some monks of the Order of St. Dominic, who, he relates, "persuaded me to wear the dress again, even though I would not profess the religion it implied, because they said it would aid me in my wayfaring to be thus attired; and so I got a white cloth robe, and I put on the hood which I had preserved when I left Rome." Thus habited he wandered for several months about the cities of Venetia and Lombardy; and although he contrived for a time to evade his persecutors, he finally decided to leave Italy, as it was repugnant to his disposition to live in forced dissimulation, and he felt that he could do no good either for himself or for his country, which was then overrun with Spaniards and scourged by petty tyrants; and with the lower orders sunk in ignorance, and the upper classes illiterate, uncultivated, and corrupt, the mission of Giordano Bruno was impossible. "Altiora Peto" was Bruno's motto, and to realize it he had gone forth with the pilgrim's staff in his hand, sometimes covered with the cowl of the monk, at others wearing the simple habit of a schoolmaster, or, again, clothed with the doublet of the mechanic: he had found no resting-place—nowhere to lay his head, no one who could understand him, but always many ready to denounce him. He turned his back at last on his country, crossed the Alps on foot, and directed his steps towards Switzerland. He visited the universities in different towns of Switzerland, France, and Germany, and wherever he went he left behind him traces of his visit in some hurried writings. The only work of the Nolan, written in Italy, which has survived is "Il Candelajo," which was published in Paris. Levi, in his Life of Bruno, passes in review his various works; but it will suffice here to reproduce what he says of the "Eroici Furori," the first part of which I have translated, and to note his remarks upon the style of Bruno, which presents many difficulties to the translator on account of its formlessness. Goethe says of Bruno's writings: "Zu allgemeiner Betrachtung und Erhebung der Geistes eigneten sich die Schriften des Jordanus Brunous von Nola; aber freilich das gediegene Gold and Silber aus der Masse jener zo ungleich begabten Erzgänge auszuscheiden und unter den Hammer zu bringen erfordert fast mehr als menschliche Kräfte vermögen."

      I believe that no translation of Giordano Bruno's works has ever been brought out in English, or, at any rate, no translation of the "Eroici Furori," and therefore I have had no help from previous renderings. I have, for the most part, followed the text as closely as possible, especially in the sonnets, which are frequently rendered line for line. Form is lacking in the original, and would, owing to the unusual and often fantastic clothing of the ideas, be difficult to apply in the translation. He seems to have written down his grand ideas hurriedly, and, as Levi says, probably intended to retouch the work before printing.

      Following the order of Levi's Life of Bruno, we next find the fugitive at Geneva. He was hardly thirty-one years old when he quitted his country and crossed the Alps, and his first stopping-place was Chambery, where he was received in a convent of the Order of Predicatori; he proposed going on to Lyons, but being told by an Italian priest, whom he met there, that he was not likely to find countenance or support, either in the place he was in or in any other place, however far he might travel, he changed his course and made for Geneva.

      The name of Giordano Bruno was not unknown to the Italian colony who had fled from papal persecution to this stronghold of religious reform. He went to lodge at an inn, and soon received visits from the Marchese di Vico Napoletano, Pietro Martire Vermigli, and other refugees, who welcomed him with affection, inquiring whether he intended to embrace the religion of Calvin, to which Bruno replied that he did not intend to make profession of that religion, as he did not know of what kind it СКАЧАТЬ