GIORDANO BRUNO AND
THE “CUPID’S BOND”
The philosopher and his passion for the “gentle sex”
“H
__________________________
GUIDO DEL GIUDICE
e told me that
excite his erotic fantasies, was
he liked very
also his ideal teacher of the
much women
art of memory: “I was still a
and that he
child when I could draw from
hadn’t yet reached the number
the
teachings
of
the
of those of Solomon; and that
Ravennate”. It deals with that
the church made a great sin in
Pietro Tomai from Ravenna,
making a sin what nature
who, in 1506, in Cologne,
served so well, and that he
was suspended from teaching
had it for great merit”: these
and was forced to return to
are the words which the
Italy, accused of unseemly
traitor Giovanni Mocenigo
behaviour (scholares itali non
uttered in the venetian trial.
poterant
vivere
sine
As he faces these disputes,
meretricibus). In Phoenix seu
Giordano Bruno does not
de artificiosa memoria, he
disguise, as he does for other
suggested: “If you desire soon
subjects, judging them less
remember a thing, entrust to
important, but he admits with
the places young
and
courage of having supported
beautiful
girls,
because
that “ the sin of the flash was
memory admirably shakes by
the minor among the others” Drawing of Maurizio Di Bona, the Hand placing those maidens. (…) It
and that “the sin of the simple ___________________________ is true that this useful precept
fornication was so lightweight
won’t benefit those who
that it was so close to the
hate and despise women:
venial sin”, though claiming of having said it,
moreover, they will
reap with greater
with levity, in company, reasoning of idle and
difficulty the rewards of this art”. In short,
worldly things. Bruno disclosed his penchant
eroticism serving the art of memory as
for the gentle sex since his youth. We can
emotional device, useful to fix memories. The
find an evidence of this in Candelaio’s pages
Nolan largely used it for the image processing
in which he demonstrates a precise
of De Umbris Idearum: “ the first image of
knowledge of the Naples’ squares where
Venus is a maiden crowned with myrtle,
prostitutes could be found: “here in Naples we
naked, with long hair down to her ankles and,
have a small square, the Fundaco del
ahead of her, a little white female dog
centrangolo, the Borough of Santo Antonio, a
jumping”. Fragments that hint a philosopher’s
contrada near Santa Maria del Carmino.” To
habit with women, are scattered in many of
1
his works. Particularly in De Vinculis in
genere, where he analyses the “physiological”
aspects of love’s bond, in order to win the
favour of the object of the desire: “a girl,
absolutely caste and completely devoid of any
erotic’s stimulus can not be induced to the
sensual passion by any artifice or astral
influence, if she isn’t touched in the first
place, or better, probed; if - I say- she does
not give her cooperation with the hand of the
one who throws the bond, combined with the
flow that, from the hand of this, runs up to
her”. Bruno never concealed his views on the
subject, with a frankness, sometimes
exaggerated, which prompted him to speak
freely even on the most dangerous matters.
These externalizations provided a pretext to
his detractors, during the fierce political and
religious conflict, unleashed at the end of the
nineteenth century, following the construction
of the monument of Campo de’ Fiori, for a
vast campaign based on homilies and
sermons, whose aim was to discredit his
figure in the eyes of women. Listen to what
the Parson Nazareno Cervigni said to his
parishioners in 1911, after the inauguration of
a gravestone to Bruno in the municipality of
Caldarola: «But again, again, my dear sisters:
Who was Giordano Bruno? Even you ladies,
have to make the
acquaintance of his
personality. Well, you will learn it from
what Giordano Bruno said on the Italian
woman. According to him, “the Italian
women are a thing without trustworthiness, a
thing deprived of all constancy, destitute of
any talent, vacant of any merit, without
acknowledgment or any gratitude, as
incapable of sensibility, intelligence or
goodness, as a statue or image painted on a
wall; a thing containing more haughtiness,
arrogance, insolence, contumely, anger, scorn,
hypocrisy, licentiousness, avarice, ingratitude
2
and other ruinous vices, more poisons and
instruments of death than could have issued
from the box of Pandora”. And almost, my
dear sisters, as if this was a small thing for
the good friar, he also adds: “ you are, to say
the least, a store-house, an emporium, a
market of all the filth, toxins and poisons
which our step-mother nature is able to
produce”. My poor women!».
Nonetheless, those who read the whole
dialogue, and not just the passages artfully
extrapolated from the context, will notice
that the object of the philosopher’s invective
is actually "that zealous and disordered
venereal love which some are accustomed to
expend for it, so that they come to the point of
making their wit the slave of woman, and of
degrading the noblest powers and actions of
the intellectual soul. "
Also in other parts Bruno makes his
characters, like Poliinnio, the "sacrilegious
pedantic ... perpetual enemy of the feminine
sex" of De la causa, say derogatory
judgments which are then contradicted by
Filoteo, his alter ego: "all vices, failings and
offenses are male; and all the virtues,
excellence and goodness are female". As
usual, the Nolan wants "what
belongs to Caesar be
rendered unto Caesar and
what belongs to God be
rendered unto God. I mean
that although there are cases
when not even divine honors
and adoration suffice for
women, yet this does not
mean that we owe them
divine honors and worship. I
desire that women should be
honored and loved as women
ought to be loved and
honored". If women have
no other virtue than the
natural one "they must be
esteemed as been born in this
world more vainly than a
poisonous fungus". The two roles, that of
parent and perpetrator of the species and that
of revelatory Diana, should never be
confused. For the same reason Bruno
castigates the softness of the Petrarchists, who
in their languid verses emphasize profane
details of the vulgar love
rather than
elevating the spirits to the sublime heights of
spiritual love. Of course any consideration
about it has to be historicized, by framing it
in an age where the condition of the majority
of the feminine population was subjugated
and exploited, but on several occasions the
Nolan testified his esteem for the gentle sex.
Diana, Minerva, Sophia, Mnemosyne: all of
the great Brunian’s myths, in their
sublimation, assume a feminine aspect. Not
surprisingly, when in De la causa he had to
be forgiven for the invective, against the rude
English plebs, uttered in Cena de le Ceneri,
which of course was not appreciated by the
London environment, he wrote an enthusiastic
elegy of the "Muse of England", whose
virtues appeared sublimated in Diva
Elizabeth. “To all others, I say, nice, gentle,
mellow, soft, young, beautiful, delicate, fairhaired, white cheeks, rubicund cheeks, syrupy
lips, divine eyes, glazed
breasts and hearts of
diamond; for which I do so
many thoughts in my mind, I
welcome so many affections
in the spirit, I conceive so
many passions in the life, so
many tears flow from my
eyes, so many sighs leave
my chest and from the
heart, so many flames,
sparkle.”.It may have been
the habits of the Anglican
clergy to reinforce him in
the opinion, referred during
the trial by his cellmates, that
there would be no harm in
allowing the joys of the
family even to religious,
3
George Gower (1540-1596), Elisabetta I Tudor (1588), Woburn Abbey.
_________________________________________________________________________________
majesty.” This double reading of Cupid’s
bond constitutes the subject of the Heroic
Frenzies. No coincidence that the work
should have been called Cantica, said with a
clear reference to Cantico dei Cantici, that
"under the guise of lovers and ordinary
passions contains similarly divine and heroic
frenzies". His ideal woman is therefore the
one who, embodying the two, is able to raise
her lover to his highest thoughts : "The beauty
of the body, then, has the power to enflame,
but certainly does not have the power to bind
the lover and keep him from fleeing from it, if
that body is not assisted by the grace of spirit
he desires or by chastity, courtesy, and
sagacity. So I said that the fire which lit me
was beautiful, because still noble was the
snare that bound me". This fire, this snare
have a face and a name: that of the mysterious
Morgana B. (probably a cousin that he loved
in his youth), invoked in the brief dedication
of the Candelaio, at the same time, as sensual
woman and as a Beatrice, who accompanies
his lover towards a superior knowledge: “In
my faith, there is no prince, cardinal, king,
emperor or pope that will remove this candle
from my hands in this solemn offertory. It
"since they want to retain these priests
ignorant, it must be ordered, at least, that
everyone will have his woman". Accents of
delicate regret, in this regard, are felt in the
affectionate tones with whom he describes
Maria Bochetel de la Forest, wife of the
ambassador Michel de Castelneau, in whose
house he lived in London, in which he
highlights her qualities of wife and mother:
"not only she has a moderate physical
beauty, that surrounds and envelops the soul,
but beyond that, with the triumvirate of a very
discreet judgment, shrewd modesty and
honorable courtesy, she keeps the heart of her
husband with an indissoluble bond and she is
powerful to captivate anyone who knows
her". Bruno clearly differentiates profane love
and heroic love; the impulse of passion
coincide to the spiritual one as the shadow to
the light: “no matter how much one remains
attached to corporeal beauty and to external
veneration of it, he may still conduct himself
honorably and worthily; for from material
beauty, which reflects the splendor of the
spiritual form and act and is its vestige and
shadow, he will arrive at the contemplation
and worship of divine beauty, light, and
4
belongs to you, I give it to you, and you will
place it in your cabinet or on your
candlestick: my superlatively beautiful,
generous, erudite and wise lady Morgana."
Bruno reveals himself, also in this, as a man
with
a
profoundly
Mediterranean
temperament, proud of his manhood: "... for
all those kingdoms and blessings that
proposed and nominated to me, I have never
been so wise and good to make me come the
fancy of being castrated or become an eunuch.
..... Nor do I believe of being cold, if to
refrigerate my warmth I do not think that
would be enough the snows of Mount
Caucasus or Ripheus".
Nevertheless there was no lack of some
fictional interpretations that identify , in the
relationship with the young disciple Jean
Hennequin, an homosexual liaison, as if, at
that time, this was an inevitable consequence
in a teacher-student relationship. In order to
deny it, one should pay attention to the
mocking tone used to treat the "Candelaio" of
his play or "that other Candelaio of flesh and
bones," his enemy Friar Bonifacio from
Naples, to which he promises revenge "if not
in a life in another ".
To dispel any suspicion, provides the same
philosopher in De immenso, a work full of
autobiographical references, in which his
sexual tastes are expressed in unequivocal
terms: "because nature created me hirsute, I'll
never learn to adapt emeralds to my rough
fingers, to curl my hair, to paint my face with
a rosy colour, to adorn my head with fragrant
hyacinths, to limply pose, to dance sweetly,
to distort my voice, as if it came from a tender
throat, for not act like a boy, man as I am,
and not to become male, female. If they made
me so, thanks to the gods, I will preserve what
I am, severe, manly strong in the limbs,
fearless, indomitable and with a male voice I
will say to Narcissus: the nymphs have loved
me too."
Figure from De imaginum, signorum et idearum
compositione.
5