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Magic and the Supernatural - Lancaster University

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Juan Pablo Maggiotti<br />

__________________________________________________________________<br />

that by which <strong>the</strong> body is ruled, <strong>the</strong>re is an innate love of procreation for preserving<br />

life eternally.» 10<br />

It is evident at this point that, for Ficino, love induces to continuous generation,<br />

in a definitive proof of <strong>the</strong> soul’s desire for eternity. But this doesn’t mean just a<br />

proof for <strong>the</strong> immortality of <strong>the</strong> soul, it shows up in addition that <strong>the</strong> lover wants to<br />

give eternity to <strong>the</strong> beloved one.<br />

Therefore, in order to keep our possessions permanently, by<br />

whatever means, we try to reproduce those which pass away.<br />

Reproduction is effected through procreation. Hence <strong>the</strong> instinct<br />

for procreation is innate in all things. But since procreation<br />

renders mortal things like divine things in continuity, it is<br />

certainly a divine gift. Since divine things are beautiful, ugly<br />

things are <strong>the</strong>ir opposite, but beautiful things are like divine<br />

things <strong>and</strong> have an affinity with <strong>the</strong>m. 11<br />

When bringing toge<strong>the</strong>r empathic things, <strong>the</strong> artist restores <strong>and</strong> gives <strong>the</strong>m<br />

eternity. In doing so, he makes <strong>the</strong>m equal to God <strong>and</strong> makes himself equal to God,<br />

as he’s propagating his own perfection to exterior things. It is this divine gift what<br />

Ficino remarks as <strong>the</strong> «true magic» of love, out of which what is multiple becomes<br />

one, <strong>and</strong> what is mortal receives immortality.<br />

Art <strong>and</strong> magic are two ways of divinization through amorous action over <strong>the</strong><br />

world, because both restore <strong>the</strong> harmonies between things, functioning as copula<br />

mundi <strong>and</strong> elevating <strong>the</strong> finite realities to <strong>the</strong> Creator.<br />

Ficino’s magical <strong>the</strong>ory supposes his cosmology, in which everything is<br />

interconnected. And it’s from <strong>the</strong>se correspondences that magical operations are<br />

possible, for <strong>the</strong>y grant that what’s going on in one part of <strong>the</strong> cosmos is passed on<br />

to o<strong>the</strong>r parts. So <strong>the</strong> cosmos surfaces as magical because nothing happening<br />

anywhere stays isolated from <strong>the</strong> whole, as previously bond toge<strong>the</strong>r by a divine<br />

creative love.<br />

But <strong>the</strong> parts of this world, like <strong>the</strong> parts of a single animal, all<br />

deriving from a single author, are joined to each o<strong>the</strong>r by <strong>the</strong><br />

communion of a single nature. (...) From this common<br />

relationship is born a common love; from love, a common<br />

attraction. And this is <strong>the</strong> true magic. 12<br />

1 De amore II, 9, p. 58.<br />

2 De amore VI, 11, p. 130.<br />

3 De amore II, 7, pp. 53-54.<br />

Notes<br />

13

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