During the Renaissance, the concepts of eros and magic were intertwined and played a significant role in the intellectual and cultural developments of the time. Eros, or passionate love, was considered a powerful force that had the ability to incite inspiration and creativity. It was seen as a driving force behind human desires, actions, and aspirations. Magic, on the other hand, was a complex and multidimensional concept that encompassed various practices and beliefs. It was believed that through the use of rituals, spells, and incantations, individuals could manipulate the natural world and harness supernatural powers. Magic was seen as a way to transcend the limitations of the physical realm and access higher realms of existence.
Just as science gives the present age its ruling myth, so magic gave a ruling myth to the Renaissance. Because magic relied upon the use of images, and images were repressed and banned in the Reformation and subsequent history, magic was replaced by exact science and modern technology and eventually forgotten. Couliano's remarkable scholarship helps us to recover much of its original significance and will interest a wide audience in the humanities and social sciences.
Eros and Magic in the Renaissance challenges this view, providing an in-depth scholarly explanation of the workings of magic and showing that magic continues to exist in an altered form even today. It is a widespread prejudice of modern, scientific society that magic is merely a ludicrous amalgam of recipes and methods derived from primitive and erroneous notions about nature.
Magic was seen as a way to transcend the limitations of the physical realm and access higher realms of existence. In the context of the Renaissance, eros and magic were often intertwined through the concept of love magic. Love magic was a practice that sought to harness the power of eros in order to influence or control another person's emotions or actions.
Eros and Magic in the Renaissance
It is a widespread prejudice of modern, scientific society that “magic” is merely a ludicrous amalgam of recipes and methods derived from primitive and erroneous notions about nature. Eros and Magic in the Renaissance challenges this view, providing an in-depth scholarly explanation of the workings of magic and showing that magic continues to exist in an altered form even today.
Renaissance magic, according to Ioan Couliano, was a scientifically plausible attempt to manipulate individuals and groups based on a knowledge of motivations, particularly erotic motivations. Its key principle was that everyone (and in a sense everything) could be influenced by appeal to sexual desire. In addition, the magician relied on a profound knowledge of the art of memory to manipulate the imaginations of his subjects. In these respects, Couliano suggests, magic is the precursor of the modern psychological and sociological sciences, and the magician is the distant ancestor of the psychoanalyst and the advertising and publicity agent.
In the course of his study, Couliano examines in detail the ideas of such writers as Giordano Bruno, Marsilio Ficino, and Pico della Mirandola and illuminates many aspects of Renaissance culture, including heresy, medicine, astrology, alchemy, courtly love, the influence of classical mythology, and even the role of fashion in clothing.
Just as science gives the present age its ruling myth, so magic gave a ruling myth to the Renaissance. Because magic relied upon the use of images, and images were repressed and banned in the Reformation and subsequent history, magic was replaced by exact science and modern technology and eventually forgotten. Couliano’s remarkable scholarship helps us to recover much of its original significance and will interest a wide audience in the humanities and social sciences.
It is a widespread prejudice of modern, scientific society that “magic” is merely a ludicrous amalgam of recipes and methods derived from primitive and erroneous notions about nature. Eros and Magic in the Renaissance challenges this view, providing an in-depth scholarly explanation of the workings of magic and showing that magic continues to exist in an altered form even today.
This practice was seen as a way to achieve personal desires, whether it be attracting a romantic partner or gaining power and influence over others. Art and literature of the Renaissance often depicted these themes of eros and magic. Works such as Botticelli's "The Birth of Venus" and Shakespeare's "A Midsummer Night's Dream" explored the transformative power of love and its intersection with the supernatural. These works showcased the connection between eros, magic, and the imaginative realms of human existence. In addition to its artistic representations, the ideas of eros and magic were also debated and explored by intellectuals and philosophers of the time. Figures like Marsilio Ficino and Giovanni Pico della Mirandola sought to reconcile these concepts with Christian theology and philosophy. They believed that eros and magic could be seen as divine gifts that could lead individuals to a higher level of understanding and enlightenment. However, the association of eros and magic also faced criticism and controversy during the Renaissance. The Catholic Church, in particular, viewed the practice of magic as heretical and condemned those who engaged in it. This led to the persecution and prosecution of individuals believed to be involved in magical practices. Overall, the concepts of eros and magic in the Renaissance were intertwined and influential in shaping the intellectual and cultural landscape of the time. The belief in the power of passionate love and the ability to manipulate the natural world through magic left a lasting impact on art, literature, and philosophy of the era..
Reviews for "Occult Love: Sorcery, Seduction, and the Renaissance Romantic Imagination"
1. John - 2 stars
I found "Eros and Magic in the Renaissance" to be quite underwhelming. While the concept of exploring the intersection of eroticism and occult practices during the Renaissance sounded intriguing, the execution fell flat. The book seemed disjointed, lacking a clear structure and focus. The author jumped from one topic to another without fully exploring any of them. Overall, I found it to be a confusing and unsatisfying read.
2. Sarah - 1 star
I was highly disappointed with "Eros and Magic in the Renaissance". As someone with a deep interest in both the Renaissance period and occult practices, I was excited to delve into this book. However, it failed to deliver on its promise. The author's writing style was dry and academic, making it difficult to stay engaged. Additionally, the content felt shallow and lacking in substance. The book barely scratched the surface of the connections between eros and magic during this period, leaving me feeling unsatisfied and unfulfilled.
3. Robert - 2 stars
"Eros and Magic in the Renaissance" had the potential to be a fascinating exploration of an intriguing topic. Unfortunately, the book fell short of my expectations. The author seemed more concerned with including as many obscure references and quotes as possible rather than providing a cohesive and coherent narrative. As a result, I found it difficult to follow the main arguments and make sense of the overall message of the book. It was a missed opportunity to provide a comprehensive and engaging analysis of the subject matter.