Pico was generally perceived as a representative of the Pelagian heresy and a supporter of absolute freedom of man. However, more detailed analysis of his works reveals that in his views he was much more traditional than it used to be judged. Although Pico does not negate human freedom, he has consistently stressed the necessity of grace in salvation. So, in the question of free will Pico represents traditional post-Augustinian school and advocates, also present at the Thomas’, graduated concept of (...) grace. (shrink)

One of the most striking features of Giordano Bruno’s philosophy is the marriage of universal animation with atomism. This unusual combination produced an extraordinary image of the universe, which was governed by the World-Soul and its universal intellect along with an infinite number of living atoms or corpuscles, animated by their internal spiritual principle. After examining Bruno’s principal arguments on the World-Soul, universal animation and living atoms or corpuscles, this article explores two possible sources among the works of his near-contemporaries. (...) The first author, Agostino Steuco, tried to reconcile the doctrine of the World-Soul with Christianity, integrating the idea of Anaxagoras on the cosmic mind as the demiurgic agent of the universe. The second figure, Jacob Schegk, further elaborated his unusual atomistic or corpuscular reinterpretation of this Presocratic philosopher’s ideas. (shrink)

Theurgy, the religious magic practised by the later Neoplatonists, has been commonly regarded as the point at which Neoplatonism degenerates into magic, superstition and irrationalism.1 A superficial glance at the ancient lives of the Neoplatonists, and in particular at Eunapius’ Lives of the Sophists, reveals a group of people interested in animating statues, favoured with visions of gods and demons, and skilled in rain-making. But when we look more closely at the works of the Neoplatonists themselves, rather than the stories (...) biographers tell about them, we find a considerable diversity of attitudes towards theurgy and a number of attempts to fit theurgy into their philosophical system. (shrink)

Is Machiavelli an Epicurean in his political and religious thought? Recent scholarship has identified him as the foremost representative of Epicureanism in Renaissance Florence. In particular, his incomplete epic poem, The Ass, is read as an expression of his adherence to Lucretian naturalism. This article offers a new reading of the poem and shows that its teaching reveals that Machiavelli is closer to a Platonic variant of classical naturalism linked with the idea of a natural virtue modelled on the lives (...) of animals which has been lost through human civilization and progress and to which it is necessary to return periodically. The article focuses on the poem’s claim that civil religion is a necessary component for good laws that maintain a free republic and argues that Machiavelli offers a poetic reflection on the role of Numa as the founder of Roman religion on the model of a neo-Pythagorean philosophical religion that was instrumental in the rise of constitutional government. More than Lucretius’s critique of religion, Machiavelli’s poem can be read as an extended reflection on Plutarch’s texts – above all, his Life of Numa. (shrink)

At Plato’s insistence to become as godlike as one can, the Neoplatonists seek their salvation in union with the first principle they call the One, identifying this union as the highest end of philosophy. As with all aspirations, the transition from theoretical ideal to practical implementation remains a perennial problem: how is it possible for a person, as a mere mortal, to leave the person’s confined ontological station to unite with the divine, transcendent first principle? This paper is an attempt (...) to reconstruct Proclus’ highly distinctive answer to this question of enormous importance through a close examination of his development of the late Neoplatonic notion of the One in the soul (τὸ ἐν ἡμῖν ἓν). (shrink)

Theurgy, the religious magic practised by the later Neoplatonists, has been commonly regarded as the point at which Neoplatonism degenerates into magic, superstition and irrationalism.1 A superficial glance at the ancient lives of the Neoplatonists, and in particular at Eunapius’ Lives of the Sophists, reveals a group of people interested in animating statues, favoured with visions of gods and demons, and skilled in rain-making. But when we look more closely at the works of the Neoplatonists themselves, rather than the stories (...) biographers tell about them, we find a considerable diversity of attitudes towards theurgy and a number of attempts to fit theurgy into their philosophical system. (shrink)

This article argues that Nietzsche’s preoccupation with the figure of Dionysos can be best understood as a visionary insight concerning the distant roots of European culture in Minoan civilization. While the opportunity offered by the discovery of ancient Crete for continuing Nietzsche’s genealogical work into the sources of Greek culture was ignored by the vast archive of literature on Nietzsche, this project was pursued in a book by the mythologist Károly Kerényi, published posthumously. Using the classic work of Henrietta Groenewegen- (...) Frankfort, this article identifies the ‘spirit’ of Minoan Crete with its attempt to manifest the gracefulness of life. The sudden emergence of Minoan Palace civilization, its peaceful character shown by the absence of fortified walls, and the importance of epiphany scenes in various works of art all indicate the centrality of religion for ancient Crete. The article offers the hypothesis that the origins of this culture can be traced to similar transcendental experiences such as those in ancient Judaism. The basic difference is that in the Cretan case epiphanies were connected to female figures, leading not to a prophetic tradition of divine grace through the revealed word and public law, rather the transmission of a secret tradition and the manifestation of its truth through spectacular public rituals and graceful works of art. While direct awareness of Minoan civilization was lost, its central concern survived in the value attributed to the manifestation of radiant, indestructible truth, a central characteristic of European identity, periodically revitalized in a series of renascences. (shrink)