DEDICATORY EPISTLE First prefixed to the Edition of 1845
PREFACE TO THE EDITION OF 1853.
BOOK I. — THE MUSICIAN.
Due Fontane Chi di diverso effeto hanno liquore! "Ariosto, Orland. Fur." Canto 1.7. (Two Founts That hold a draught of different effects.)
Vergina era D' alta belta, ma sua belta non cura: .... Di natura, d' amor, de' cieli amici Le negligenze sue sono artifici. "Gerusal. Lib.," canto ii. xiv.-xviii. (She was a virgin of a glorious beauty, but regarded not her beauty...Negligence itself is art in those favoured by Nature, by love, and by the heavens.)
(*Orpheus was the favourite hero of early Italian Opera, or Lyrical Drama. The Orfeo of Angelo Politiano was produced in 1475. The Orfeo of Monteverde was performed at Venice in 1667.)
Fu stupor, fu vaghezza, fu diletto! "Gerusal. Lib.," cant. ii. xxi. ("Desire it was, 't was wonder, 't was delight." Wiffen's Translation.)
Fra si contrarie tempre in ghiaccio e in foco, In riso e in pianto, e fra paura e speme L'ingannatrice Donna— "Gerusal. Lib.," cant. iv. xciv. (Between such contrarious mixtures of ice and fire, laughter and tears,—fear and hope, the deceiving dame.)
E cosi i pigri e timidi desiri Sprona. "Gerusal. Lib.," cant. iv. lxxxviii. (And thus the slow and timid passions urged.)
Quello Ippogifo, grande e strano augello Lo porta via. "Orlando Furioso," c. vi. xviii. (That hippogriff, great and marvellous bird, bears him away.)
Precepteurs ignorans de ce faible univers.—Voltaire. (Ignorant teachers of this weak world.) Nous etions a table chez un de nos confreres a l'Academie, Grand Seigneur et homme d'esprit.—La Harpe. (We supped with one of our confreres of the Academy,—a great nobleman and wit.)
(And throttle the neck of the last king with the string from the bowels of the last priest.)
Qui donc t'a donne la mission s'annoncer au peuple que la divinite n'existe pas? Quel avantage trouves-tu a persuader a l'homme qu'une force aveugle preside a ses destinees et frappe au hasard le crime et la vertu?—Robespierre, "Discours," Mai 7, 1794. (Who then invested you with the mission to announce to the people that there is no God? What advantage find you in persuading man that nothing but blind force presides over his destinies, and strikes haphazard both crime and virtue?)
To know how a bad man will act when in power, reverse all the doctrines he preaches when obscure.—S. Montague. Antipathies also form a part of magic (falsely) so-called. Man naturally has the same instinct as the animals, which warns them involuntarily against the creatures that are hostile or fatal to their existence. But HE so often neglects it, that it becomes dormant. Not so the true cultivator of the Great Science, etc. —Trismegistus the Fourth (a Rosicrucian).
Che non vuol che 'l destrier piu vada in alto, Poi lo lega nel margine marino A un verde mirto in mezzo un lauro E UN PINO. "Orlando Furioso," c. vi. xxiii. (As he did not wish that his charger (the hippogriff) should take any further excursions into the higher regions for the present, he bound him at the sea-shore to a green myrtle between a laurel and a pine.)
Che difesa miglior ch' usbergo e scudo, E la santa innocenza al petto ignudo! "Ger. Lib.," c. viii. xli. (Better defence than shield or breastplate is holy innocence to the naked breast.)
is the space in the weary ocean of actual life to which the Muse or Sibyl (ancient in years, but ever young in aspect), offers thee no unhallowed sail,— "Quinci ella in cima a una montagna ascende Disabitata, e d' ombre oscura e bruna; E par incanto a lei nevose rende Le spalle e i fianchi; e sensa neve alcuna Gli lascia il capo verdeggiante e vago; E vi fonda un palagio appresso un lago." (There, she a mountain's lofty peak ascends, Unpeopled, shady, shagg'd with forests brown, Whose sides, by power of magic, half-way down She heaps with slippery ice and frost and snow, But sunshiny and verdant leaves the crown With orange-woods and myrtles,—speaks, and lo! Rich from the bordering lake a palace rises slow. Wiffin's "Translation.")
BOOK II. — ART, LOVE, AND WONDER.
Diversi aspetti in un confusi e misti. "Ger. Lib," cant. iv. 7. Different appearances, confused and mixt in one.
Centauri, e Sfingi, e pallide Gorgoni. "Ger. Lib.," c. iv. v. (Centaurs and Sphinxes and pallid Gorgons.)
Prende, giovine audace e impaziente, L'occasione offerta avidamente. "Ger. Lib.," c. vi. xxix. (Take, youth, bold and impatient, the offered occasion eagerly.)
When most I wink, then do mine eyes best see, For all the day they view things unrespected; But when I sleep, in dreams they look on thee, And, darkly bright, are bright in dark directed. Shakespeare. Zanoni followed the young Neapolitan into her house; Gionetta vanished,—they were left alone.
Les Intelligences Celestes se font voir, et see communiquent plus volontiers, dans le silence et dans la tranquillite de la solitude. On aura donc une petite chambre ou un cabinet secret, etc. "Les Clavicules de Rabbi Salomon," chapter 3; traduites exactement du texte Hebreu par M. Pierre Morissoneau, Professeur des Langues Orientales, et Sectateur de la Philosophie des Sages Cabalistes. (Manuscript Translation.) (The Celestial Intelligences exhibit and explain themselves most freely in silence and the tranquillity of solitude. One will have then a little chamber, or a secret cabinet, etc.)
I and my fellows Are ministers of Fate. —"The Tempest."
'Tis certain that this man has an estate of fifty thousand livres, and seems to be a person of very great accomplishments. But, then, if he's a wizard, are wizards so devoutly given as this man seems to be? In short, I could make neither head nor tail on't —The Count de Gabalis, Translation affixed to the second edition of the "Rape of the Lock."
Learn to be poor in spirit, my son, if you would penetrate that sacred night which environs truth. Learn of the Sages to allow to the Devils no power in Nature, since the fatal stone has shut 'em up in the depth of the abyss. Learn of the Philosophers always to look for natural causes in all extraordinary events; and when such natural causes are wanting, recur to God.—The Count de Gabalis.
The Goddess Wisdom. To some she is the goddess great; To some the milch cow of the field; Their care is but to calculate What butter she will yield. From Schiller.
Wollt ihr hoch auf ihren Flugeln schweben, Werft die Angst des Irdischen von euch! Fliehet aus dem engen dumpfen Leben In des Ideales Reich! "Das Ideal und das Leben." Wouldst thou soar heavenward on its joyous wing? Cast off the earthly burden of the Real; High from this cramped and dungeoned being, spring Into the realm of the Ideal.
O sollecito dubbio e fredda tema Che pensando l'accresci. Tasso, Canzone vi. (O anxious doubt and chilling fear that grows by thinking.)
BOOK III. — THEURGIA.
—i cavalier sen vanno dove il pino fatal gli attende in porto. Gerus. Lib., cant. xv (Argomento.) The knights came where the fatal bark Awaited them in the port.
But that which especially distinguishes the brotherhood is their marvellous knowledge of all the resources of medical art. They work not by charms, but simples. —"MS. Account of the Origin and Attributes of the true Rosicrucians," by J. Von D—.
Gilding pale streams with heavenly alchemy. Shakespeare.
In faith, I do not love thee with mine eyes. Shakespeare.
Between two worlds life hovers like a star 'Twixt night and morn. —Byron.
Two loves I have of comfort and despair, Which like two spirits do suggest me still. —Shakespeare.
Tu vegga o per violenzia o per inganno Patire o disonore o mortal danno. "Orlando Furioso," Cant. xlii. i. (Thou art about, either through violence or artifice, to suffer either dishonour or mortal loss.)
Il ne faut appeler aucun ordre si ce n'est en tems clair et serein. "Les Clavicules du Rabbi Salomon." (No order of spirits must be invoked unless the weather be clear and serene.)
Il lupo Ferito, credo, mi conobbe e 'ncontro Mi venne con la bocca sanguinosa. "Aminta," At. iv. Sc. i. (The wounded wolf, I think, knew me, and came to meet me with its bloody mouth.)
Dafne: Ma, chi lung' e d'Amor? Tirsi: Chi teme e fugge. Dafne: E che giova fuggir da lui ch' ha l' ali? Tirsi: AMOR NASCENTE HA CORTE L' ALI! "Aminta," At. ii. Sc. ii. (Dafne: But, who is far from Love? Tirsi: He who fears and flies. Dafne: What use to flee from one who has wings? Tirsi: The wings of Love, while he yet grows, are short.)
O chiunque tu sia, che fuor d'ogni uso Pieghi Natura ad opre altere e strane, E, spiando i segreti, entri al piu chiuso Spazi' a tua voglia delle menti umane—Deh, Dimmi! "Gerus. Lib.," Cant. x. xviii. (O thou, whoever thou art, who through every use bendest Nature to works foreign and strange; and by spying into her secrets, enterest at thy will into the closest recesses of the human mind,—O speak! O tell me!)
Was hab'ich, Wenn ich nicht Alles habe?—sprach der Jungling. "Das Verschleierte Bild zu Sais." ("What have I, if I possess not All?" said the youth.)
Was ist's Das hinter diesem Schleier sich verbirgt? "Das Verschleierte Bild zu Sais." (What is it that conceals itself behind this veil?)
O, be gone! By Heaven, I love thee better than myself, For I came hither armed against myself. —"Romeo and Juliet."
Ma lasciamo, per Dio, Signore, ormai Di parlar d' ira, e di cantar di morte. "Orlando Furioso," Canto xvii. xvii. (But leave me, I solemnly conjure thee, signor, to speak of wrath, and to sing of death.)
Oime! come poss' io Altri trovar, se me trovar non posso. "Amint.," At. i. Sc. ii. (Alas! how can I find another when I cannot find myself?)
Ardua vallatur duris sapientia scrupis. Hadr. Jun., "Emblem." xxxvii. (Lofty wisdom is circled round with rugged rocks.)