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Renaissance Cosmologies

Published online by Cambridge University Press:  01 July 2024

Paul-Henri Michel
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In the prose commentary to Chapter VI of his poem De monade, Giordano Bruno designates Ficino as one of the princes of Platonism: “unus e principibus platonicis Ficinus.” Statements of this kind are all the more valuable because they are rare. Bruno seldom cites his sources; he utilizes his authors more often than he names them, and it requires a certain attentiveness to perceive that he knows Platonism and particularly Neo-Platonism only through and thanks to Ficino. On occasion Bruno makes use of Plotinus’ opinion, quoting texts that one would seek in vain in the Aeneid; they have been taken from the Ficinian commentaries. The same is true as regards Porphyry and Jamblichus.

Type
Research Article
Information
Diogenes , Volume 5 , Issue 18 , June 1957 , pp. 93 - 107
Copyright
Copyright © 1957 Fédération Internationale des Sociétés de Philosophie / International Federation of Philosophical Societies (FISP)

References

1. Marsilio Ficino, Commentaire sur le Banquet de Platon, text ed. and trans. by Raymond Marcel (Paris: Belles Lettres, 1956); Giordano Bruno, Des Fureurs héroïques, text ed. and trans. by P. H. Michel (Paris: Belles Lettres, 1954).

2. Marsile Ficin et l'art (Geneva: E. Droz & Lille, R. Giard, 1954), p. 94.

3. Giordano Bruno, La Cena de le Ceneri, ed. Giovanni Aquilecchia (Turin: Einaudi, 1955); English trans.: The Ash Wednesday Supper. We can merely point out in passing the im portance of this edition and of Aquilecchia's researches in the domain of studies on Bruno.

4. Translated by Émile Namer under the title Cause, principe et unité (Paris, 1930).

5. Bruno alludes to Apollo as a sculptor. This is but one of many examples of his indiffer ence, if not contempt, for all that touches upon the arts.

6. Tommaso Campanella, La prima e la seconda resurrezione ("Inediti Theologicorum," Libri XXVII-XXVIII, testo critico e traduzione a cura di Romano Amerio [Rome: Fratelli Bocca, 1955]).