Re: Trionfi card poem .... 45 and 22/23

11
45 and 22/23

I wrote in this thread ...
Later added: In the year 1486, in which so much exiting things happened with Pico de Mirandola ....
Giovanni Pico de Mirandola was 23 years old. Matteo Maria Boiardo was (probably) 45 years old.
Giovanni had later a collection of 45 Love poems. Boiardo had later a playing card poem, which knew 22 trumps (or 21 trumps + 1 Fool). In both works the 4 Stoic passions appear, Amor, Speranza, Gelosia and Timor..
Picos great work in 1486 became his "Oration on the dignity of man". In this Pico lets God speak to Adam ...
God speaks to Adam
http://www.andallthat.co.uk/uploads/2/3 ... of_man.pdf
page 7-8
"We have given you, Oh Adam; no visage proper to yourself, nor any endowment properly your own, in order that whatever place, whatever form, whatever gifts you may, with premeditation, select, these same you may have and possess through your own judgment and decision. The nature of all other creatures is defined and restricted within laws which We have laid down; you, by contrast, impeded by no such restrictions, may, by your own free will, to whose custody We have assigned you, trace for yourself the lineaments of your own nature. I have placed you at the very center of the world, so that from that vantage point you may with greater ease glance round about you on all that the world contains. We have made you a creature neither of heaven nor of earth, neither mortal nor immortal, in order that you may, as the free and proud shaper of your own being, fashion yourself in the form you may prefer. It will be in your power to descend to the lower, brutish forms of life; you will be able, through your own decision, to rise again to the superior orders whose life is divine."

That seems to be the key scene of the text, which is not a very long text (67 pages with a maximum size of 1000 letters for each page makes roughly 65.000 letters in the translation). Adam is naturally the prototype of the man, who has a dignity.
ADAM in the Jewish Gematria (Aleph=1, Daleth=4, Mem=40) has the letter value 45. Which somehow is interpreted as 1+2+3+4+5+6+7+8+9 = 45 and the first 9 Sephiroth, which somehow are interpreted as Adam's body, as far I remember.
Eve (Chawa, He=5, Vau=6, Cheth=8) has the letter value 19 and if one puts Adam and Eve together (45+19), then one gets 64. Whatever reason this 19 might have had once ... :-) ... perhaps the 9 from Adam (remember the rib, from which Eve once was made) and the 10 of Malkuth, the 10th Sephira. If you've problems with the 64, you should read the I-Ching, the Sepher Yetzirah and http://trionfi.com/tarot/new-themes/sepher-yetzirah/

There a trivial math aspect between between 45 and 22and23, which is expressed usually as 45/2 = 22.5, which means, that it is possible to hide 2 independent rows with 22 elements inside one row of 45 elements. 3 very simple ways are possible:

1 (2 till 23) (24 till 45)
(1 till 22) 23 (24 till 45)
(1 till 22) (23 till 44) 45

.... naturally there are many other row partitions possible, but these three are the most simple. As I have analysed the poems of Pico already a little bit, I know, that (1 till 22) 23 (24 till 45) is that, what shall interests us and if you ask "Why?Why?Why?Why?Why?Why?", then I tell you, that the 45 sonnets totally have 23 "question marks" [= ?] and 6 of these 23 questions marks appear in Sonetto 23. There are 17 other questions marks distributed in the texts, but it's Sonetto 23, which has the most.

We should think about Minchiate. It has not 45 special cards, but only 41, which are distributed somehow in this way ....

1 till 15 ... numbered normal Trionfi cards
16 till 35 ... numbered unusual Trionfi cards
36-40 ... not numbered normal Trionfi cards
Fool ... not numbered

Well, an example, that not always a simple structure is taken creative minds. Simple would be 1till20 - Fool - 21till40 .

Looking at the structure (1 till 22) 23 (24 till 45), then one would would give the Fool position to Sonetto 23 Fools ask many questions.

Sonetto 23
Se Amor è alato come el è depincto,
perché in me fermo, lento, sede e giace?
Se gli è piciol fanciul, perché gli piace,
vincitor, stringer l’uom poi che l’ha vincto?

Se agli ochi porta un bianco velo avincto,
come sì certe manda le sue face,
per cui l’aflicto cor, che se disfece,
consumar vegio a morte e quasi extincto?

Se voler può, che fa del suo cavallo?
Se gli è signor, perché va scalzo e nudo?
Perché par dolce et è nel fin sì amaro?

Dimel, ti prego, o singular e raro
Francesco, onor de l’acidalio ludo
e primo e sol ne l’apollineo ballo.

6 question marks and the word "ludo" appears in this mysterious Sonetto 23. It's the only appearance of the word ludo in 45 sonnets. What about gioco? Appears twice, in Sonetto 31 and Sonetto 8. And what means this: 31-8 = 23? I means, that Sonetto 8 has the 8th place in the row 1till22 and Sonetto 31 has the 8th place in the row 24-45. Accidently? Probably not, just the intention of the poet.

Think about that, I need a pause.
Huck
http://trionfi.com

Re: Trionfi card poem by Pico de Mirandola

12
I would like to know more about the poetry of Pico. But this seems difficult ...
I remember a source, in which more poetry (more than the 45 sonnets) was mentioned. Possibly I had a misunderstanding or something like an halluzination. I don't find it again.

***************

This is a German book to the theme from 2017. However, the online text goes only till page 29 ....
Tobias Roth: Die Sonette Giovanni Pico della Mirandolas, Universitätsverlag Winter Heidelberg, Dissertation
https://ebooks-fachzeitungen-de.ciando. ... 385_lp.pdf
Die Klage hingegen, dass die Mehrheit der lateinischen und volkssprachigen Gedichte Giovanni Picos verloren gegangen sind, setzt in der Literaturgeschichtsschreibung bereits gut zwanzig Jahre nach seinem Tod ein. Lilio Gregorio Giraldi berichtet in seinen Dialogi duo de poetis nostrorum temporum, dass Pico zahlreiche Dichtungen in beiden Sprachen verfasst und sie dem Vorbild Platons folgend verbrannt habe, dass allerdings auch einige Exempel seiner Dichtkunst durch Abschriften im Besitz von Freunden erhalten geblieben wären und von solcher Schönheit seien, dass den Nachgeborenen nur die Sehnsucht nach der Lektüre des Verlorenen bliebe.
automatic translation
On the other hand, the complaint that the majority of Giovanni Pico's Latin and vernacular poems have been lost begins in literary historiography a good twenty years after his death. Lilio Gregorio Giraldi reports in his Dialogi duo de poetis nostrorum temporum that Pico wrote numerous poems in both languages and burned them following Plato's example, but that some examples of his poetry were also copied in the possession of friends had been preserved and were of such beauty that those born later would only long for the reading of what was lost.
According Roth: Giraldi was between 1500-1507 and 1528-1533 in the service of Gianfrancesco Pico and had reason to write in a positive manner about the Pico family.
https://en.wikipedia.org/wiki/Giglio_Gregorio_Giraldi

***************

This is a work in Italian language
Il Sogno di Pico
Pico, líamante
a cura di Giovanni Pasetti
https://xoomer.virgilio.it/gpasetti/h5.htm
complete automatic page translation ....
https://xoomer-virgilio-it.translate.go ... r_pto=wapp
I sonetti
Abbandoniamo ora i tumulti esistenziali e ritorniamo alla produzione letteraria. Abbiamo scelto fra i quarantacinque sonetti in volgare che formano il Canzoniere superstite di Giovanni i dieci componimenti a nostro giudizio più significativi ai fini del nostro studio. Probabilmente, questi sonetti furono ideati in un arco di tempo che va dal 1479 al 1486. Impossibile precisare ulteriormente la datazione, benché si possa affermare con certezza che essi rischiarono di venir dati alle fiamme insieme ai cinque libri di elegie latine, come ci narra Poliziano in un noto epigramma greco: Pico, continuamente ferito e infiammato dalle frecce díamore, si ribellò, strappò frecce, arco e faretra, ne fece un rogo e tutto bruciò. Afferrando gli Amori stessi, ne legò con la corda le tenere mani, e li gettò in mezzo al fuoco. E bruciò con il fuoco il fuoco. Perché, o stolti Amori, volaste da Pico, principe delle Muse?íí Líepisodio è di poco posteriore al marzo 1483, poiché in quel mese egli aveva inviato proprio ad Angelo il primo di questi cinque libri. Dobbiamo dunque concludere che tale esercizio avesse accompagnato fedelmente il Conte di Concordia nei lunghi anni di vagabondaggio e studio, a Bologna (1477 e 1478), Ferrara (1479), Firenze (1480), Padova (1481 e 1482), Pavia (1483), prima del nuovo soggiorno fiorentino del 1484 e del semestre trascorso a Parigi nel 1485. Ma il desiderio di esprimersi in versi italiani sfiorò Giovanni anche negli anni seguenti, se una lettera del 15 maggio del 1492, indirizzata al nipote, accenna a sciocchezze poetiche ormai abbandonate con un tono che tradisce una relativa prossimità temporale.
In ogni caso, il manoscritto su cui si basa la nostra conoscenza della raccolta proviene dalla corte di Ludovico Sforza detto il Moro, che fu parente e buon amico del principe mirandolano. Si tratta precisamente del Codice 1543 della Biblioteca Nazionale di Parigi, redatto fra il 1492 e il 1497. Esso è composto da più di duecento fogli, che presentano, oltre a molti verseggiatori di scarsa fama, le Stanze di Lorenzo il Magnifico, le Stanze del Poliziano, sonetti del Bembo e del Tebaldeo, strambotti del Pulci e dellíAquilano, opere del Benivieni e del Sannazzaro. Si tratta di una notevole silloge di carmi amorosi ed encomiastici, ultimata quasi sicuramente dopo la morte di Pico, che documenta come presso la corte milanese gli spiriti dei grandi toscani convivessero con i più convenzionali modi padani, nel ricco fiorire dellíispirazione petrarchesca.
automatic translation
The sonnets
Let us now abandon the existential turmoil and return to literary production. We have chosen from the forty-five sonnets in the vernacular that make up the Canzoniere surviving of Giovanni the ten compositions in our opinion most significant for the purposes of our study. Probably, these sonnets were conceived over a period of time ranging from 1479 to 1486. ?? It is impossible to further specify the dating, although it can be stated with certainty that they risked being set on fire together with the five books of Latin elegies, as it tells us. Poliziano in a well-known Greek epigram: Pico, continually wounded and inflamed by the arrows of love, rebelled, tore arrows, bow and quiver, made a stake and everything burned. Grasping the Loves themselves, he tied their tender hands with the rope, and threw them into the midst of the fire. And he burned the fire with fire. Why, o foolish loves, did you fly from Pico, prince of the Muses? The episode is slightly later than March 1483, since in that month he had sent the first of these five books to Angelo. We must therefore conclude that this exercise had faithfully accompanied the Count of Concordia in the long years of wandering and study, in Bologna (1477 and 1478), Ferrara (1479), Florence (1480), Padua (1481 and 1482), Pavia (1483) , before the new Florentine stay in 1484 and the semester spent in Paris in 1485. But the desire to express himself in Italian verse also touched Giovanni in the following years, if a letter dated May 15, 1492, addressed to his nephew, mentions poetic nonsense by now abandoned with a tone that betrays relative proximity in time.
In any case, the manuscript on which our knowledge of the collection is based comes from the court of Ludovico Sforza known as il Moro, who was a relative and good friend of the Mirandolan prince. It is precisely the Code 1543 of the National Library of Paris, drawn up between 1492 and 1497. It is composed of more than two hundred sheets, which present, in addition to many poorly-known versers, the Stanze di Lorenzo il Magnifico, the Stanzeby Poliziano, sonnets by Bembo and Tebaldeo, strambotti by Pulci and dell'Aquilano, works by Benivieni and Sannazzaro. It is a remarkable collection of loving and encomiastic poems, almost certainly completed after Pico's death, which documents how at the Milanese court the spirits of the great Tuscans coexisted with the more conventional Po Valley ways, in the rich flourishing of Petrarchian inspiration.
*****************

Biographical notes to Pico in Jewish dictionaries
https://www.jewishvirtuallibrary.org/pi ... anni-x00b0
Delmedigo translated several Averroist treatises for Pico. Mithridates instructed him in Arabic and Aramaic ("Chaldean"), and translated for him a considerable number of kabbalistic writings; his translations survive and are the likeliest literary sources of Pico's Christian Kabbalah. The most striking and, in the long run, most influential outcome of Pico's encounter with Jewish esoterism are his kabbalistic theses "according to his own opinion" (Conclusiones cabalisticae secundum opinionem propriam), which set out to confirm the truth of the Christian religion from the foundations of Jewish Kabbalah. They are included among the 900 theses derived from all branches of knowledge which he offered, in 1486, for public debate in Rome. The debate never took place, but the kabbalistic theses made a lasting impression, and may truly be considered to mark the beginning of Christian Kabbalah.
https://www.jewishencyclopedia.com/arti ... -concordia
Pico received his cabalistic training from Johanan Aleman [at other places called wrong], from whom he also obtained three cabalistic works which he translated into Latin: the commentary of Menahem Recanati on the Pentateuch, the "Hoḳmat ha-Nefesh" (= "Scientia Animḳ") of Eleazar of Worms (printed at Lemberg. 1875), and the "Sefer ha-Ma'alot" of Shem-Ṭob Falaquera.
Others
https://de.wikipedia.org/wiki/Giovanni_ ... _Mirandola
Im Jahr 1486 begann er mit dem Studium der Kabbala und beauftragte den jüdischen Konvertiten Raimundo Moncada (Flavius Mithridates), kabbalistische Literatur ins Lateinische zu übersetzen. Er war der erste christliche Gelehrte, der sich, ohne selbst jüdischer Abstammung zu sein, intensiv mit der Kabbala befasste.
automatic translation
]In 1486 he began studying Kabbalah and commissioned the Jewish convert Raimundo Moncada (Flavius Mithridates) to translate Kabbalistic literature into Latin. He was the first Christian scholar to deal intensively with the Kabbalah without being of Jewish descent himself.
https://en.wikipedia.org/wiki/Giovanni_ ... _Mirandola
Pico's "tutor" in Kabbalah was Rabbi Johannan Alemanno (1435/8–c. 1510), who argued that the study and mastery of magic was to be regarded as the final stage of one's intellectual and spiritual education.
This is at other places called an error.

Johanan Aleman / Johannan Alemanno or Mithridatis
https://en.wikipedia.org/wiki/Flavius_Mithridates
About 1486 he [Mithridatis] lived at Fratta, near Perugia, in the house of Giovanni Pico della Mirandola, whom he instructed in Aramaic. He is now best known as the translator for Pico della Mirandola of the Bibliotheca Cabalistica, a large compilation of cabbalistic literature. ....
Some scholars have thought, but without sufficient reason, that Flavius is identical with the cabalist Johanan Aleman ben Isaac[10] a contemporary and associate of Pico della Mirandola, who taught him from the late 1480s.
Seidman notes Mithridates's "proliferation of identitites", listing the following: Gugielmo Raimondo Moncada, Flavius Mithridates, Siculus, , Chaldeus, Romanus,
Chaldeus, Samuel ben Nissim ibn Faraj
A webpage exists, which celebrates the short stay of Giovanni Pico in Fratta Todine in 1486.
https://www.umbertidestoria.net/frattad ... a-a-fratta
automatic translation of a part of this webpage:
The fortified village of Fratta offered guarantees of good sanitary isolation from contagion, being completely surrounded by water and having only two entrances (the door of the decagonal tower at the beginning of the bridge over the Tiber and the Porta della Campana), from which it was easy to check every person who entered. In Fratta he found an environment serene, peaceful despite the echoes of the political struggles between Perugia, the Papacy, Florence and Città di Castello.
It is not out of place to think that he was staying in some house in the Upper Terziere, in contact with the large and rich local Jewish community. Unique opportunity for a scholar of Hebrew culture and language.
At the same time, Pico also improved his knowledge in Aramaic and Arabic to deepen what he called the treasures of oriental literature: Zoroaster, the Oracles of the Magicians, the writings of Esra and Melchiar.
Very intense relations with that world, although the winds of the anti-Semitic crusade promoted by the Friar Minor Bernardino da Feltre also blew in Fratta.
From the same period are Girolamo Benivieni's "Commentary on the love song", "In praise of peace" and letters to well-known personalities: Taddeo Ugolini, Marsilio Ficino, Domenico Benivieni.
Some letters written by Pico during his stay in Fratta translate into a cross-section of the social life of the time. Meanwhile, he completes the "'Oratio de dignitate hominis", considered the manifesto of the Renaissance.
Fratta Todine map
https://www.google.com/maps/place/06054 ... 12.3634455
Fratta Todine in 15th century
https://www.umbertidestoria.net/la-frat ... attrocento
automatic translated to ...
https://www-umbertidestoria-net.transla ... x_tr_tl=en

ADDED LATER:
https://www.spektrum.de/lexikon/juedisc ... emanno/103
... informs, that Alemanno became acquainted to Giovanni Pico della Mirandola in 1488 and had various exchanges with Pico since then till 1494 (death of Pico).
1488 is later than 1486, when Pico probably had finished his 45 love sonnets. And already had started his Kabbala engagement. So - probably - we can ignore Alemanno. However, the German article mentions das Hohelied Salomons. That's a sort of love poem in the bible.

DELMEDIGO, ELIJAH CRETENSIS BEN MOSES ABBA, a 3-years older philosophy teacher of the very young Giovanni Pico de Mirandola
https://www.jewishencyclopedia.com/arti ... moses-abba
Huck
http://trionfi.com

Re: Trionfi card poem by Pico de Mirandola

13
THE PLACE OF HEBREW IN PICO'S KABBALISTIC STUDIES
The beginning of Giovanni Pico della Mirandola's interest in Kabbala is still a matter of conjecture, or largely so: we still do not know for certain when, where, how, or through whom he made his first acquaintance with Kabbala. One fact, however, that can be stated with certainty has only too often been submerged by the posthumous fame of Pico's Hebrew erudition: contrary to what has often been assumed or implied, Pico became interested in Kabbala before he knew Hebrew. He states in his Commento, and there is no reason to doubt or disbelieve his statement insofar as Hebrew is concerned, that he set out to study Hebrew and Chaldean solely for the sake of Kabbala. He is in fact the first Christian Hebraist of note known to have done so, and thus marks a watershed in the history of Hebrew studies in Europe. We happen to be fairly well informed about the early stage of Pico's study of Hebrew. On 8 September 1486, Marsilio Ficino wrote to Pico requesting the return of his Latin Koran.
by Chaim Wirszubski (1989)
https://www.degruyter.com/document/doi/ ... 149.c2/pdf

************
Huck
http://trionfi.com

Pico / Benivieni / Nicolo da Correggio / Boiardo 1486/87

14
Somewhere I had read, that Pico had reacted in 1486 on the work of Girolamo Benivieni. I searched for closer information. I found this:

A Platonick Discourse Upon Love
by Giovanni Pico della Mirandola, Edmund Garratt Gardner, Thomas Stanley, Girolamo Benivieni, Publication date 1914
https://archive.org/details/aplatonickd ... 8/mode/2up
A reprint of Thomas Stanley's translation which was published in his Poems (p. 213-260) London, 1651, with title: A Platonick discourse upon love, written in Italian by John Picus Mirandula, in explication of a sonnet by Hieronimo Benivieni.
I saw an information, that the Italian original was produced in 1486.

https://en.wikipedia.org/wiki/Girolamo_Benivieni
https://it.wikipedia.org/wiki/Girolamo_Benivieni
Image


https://www.treccani.it/enciclopedia/gi ... rafico%29/
Google Translation: https://www-treccani-it.translate.goog/ ... r_pto=wapp
... a part of it
The event that decided the whole future spiritual orientation of Benivieni and removed him from his youthful costume as a courtier poet was the meeting with Giovanni Pico, whom he probably met in the Medici court environment, starting a deep friendship. destined to change into a real veneration after the death of the young man, he philosophized.
It is not possible to say exactly when Pico, who arrived in Florence for the first time in 1479, formed his first relations with B.; but it is certain that their friendship dates back to Pico's first stay in Florence, because in the aforementioned Bucolica the B. already speaks of his great affection for the noble Mirandolano and laments his distance. The Pico's return to Florence in 1484 strengthened the bond between the two young scholars; and when in 1986, after his first trip to Paris, Pico was forced, due to his well-known adventure with Margherita de 'Medici, to take refuge in Perugia and then in Fratta, B. came to visit him in this last refuge and spent some time with him. It seems that the diffusion of the Canzona dell'Amor celeste e divino by B., colComment by Pico, which is alluded to in two letters from the Pico of October 1986. However, it is probable that the composition of the Canzona , elaborated on the basis of the Platonic Symposium commented by Marsilio Ficino, dates back to some time before, and that the Comment of the Pico, with its lively anti-fictional points, is later than the writing of the not beautiful song of the Florentine friend.
************

I found the following strange work by Girolamo Benivieni from 1523, when he was already 70 years old. It contains the Boiardo Tarocchi poem, which I dated in 2007 to January 1487 (somehow in this djungle ....
https://www.tarotforum.net/showthread.p ... retia+este
...) , cause the last trump poem ...
Fortezza d’animo in Lucrezia liete
Exequie fece: pe purgar sua fama
Se occise, a l’offensor tese atra rete
Dando exempio a chi 'l nome e l'onore ama.
.... referred to the Roman Lucrezia and Lucrezia d'Este was married to Annibale Bentivoglio in this January 1487 and a lot of poets made poems for her honor at this opportunity.

Amore di Hieronimo Beniueni Fiorentino, allo illustris. S. Nicolo da Correggio. Et una Caccia de amore bellissima & cinque capituli, sopra el timore, zelosia, speranza, amore, & uno Trionpho del mondo, composti per il conte Matteo Maria Boiardo et altre cose diuerse
Girolamo Benivieni
1523
https://books.google.de/books?id=j46uD2 ... do&f=false
Image
It seems, that Nicolo da Corregio is mentioned in the title, son of Bianca Maria Visconti's girl friend 1441 in Ferrara, Beatrice d'Este. After the death of her husband Nicolo da Correggio I in 1449/50 (father of postum born Nicolo da Correggio II) she was married to Tristano Sforza and lived in Milan.

https://it.wikipedia.org/wiki/Niccolò_II_da_Correggio
Le opere di Niccolò da Correggio sono state pubblicate da Antonia Tissoni Benvenuti.[5][6]

Fabula di Cefalo, dramma pastorale in cinque atti rappresentato a Ferrara il 21 gennaio 1487 per le nozze della figlia naturale del duca di Ferrara Ercole I, Lucrezia d'Este, con il signore di Bologna Annibale Bentivoglio
Silva, breve composizione in 21 ottave composta nei primi mesi del 1493 e inviata a Isabella d'Este con una lettera scritta il 30 marzo di quell'anno;
Fabula Psiches et Cupidinis, poemetto in 179 ottave databile al 1491 in cui una trama apuleiana viene inquadrata in un contesto autobiografico;
rime volgari, che ad oggi comprendono 404 liriche (358 sonetti, 40 capitoli in terza rima, 5 canzoni, 1 sestina).
automatic translation
Fabula di Cefalo, pastoral drama in five acts staged in Ferrara on 21 January 1487 for the wedding of the natural daughter of the Duke of Ferrara Ercole I, Lucrezia d'Este, to the lord of Bologna Annibale Bentivoglio

Fabula da Cefalo
http://copioni.corrierespettacolo.it/da ... de-cefalo/
Huck
http://trionfi.com

Re: Trionfi card poem by Pico de Mirandola

15
Interesting that Brunelleschi's biographer, Antonio Manetti (1423-1497), was also a very good friend of Girolamo Benivieni.
Ce rapide bilan des activités intellectuelles de Manetti serait incomplet, s'il ne réservait pas une place à ses rapports avec les milieux néo-platoniciens. Il fut lié d'amitié avec Girolamo Benivieni (1453-1542), qui travailla sur Dante en sa compagnie, lui consacra un poème et lui dédia sa version italienne du De simplicitate vitae christianae de Savonarole, ainsi qu'avec le disciple préféré de Marsile Ficin, Giovanni Cavalcanti (1444-1509), qui l'incita à composer des vers et auquel il dédia sa Notizia di Guido Cavalcanti, écrite à l'instigation du philosophe de Careggi envers qui il se considérait comme “grandemente debitore” “per molti honesti et intellettuali beneficii” (“Grandement débiteur”; “pour nombre d'honnêtes bienfaits intellectuels”). De son coté, Marsile Ficin dédia en 1468 sa traduction en langue vulgaire du Commentarium in Platonis Convivium de amore, c'est-à-dire le Della amore, à “Bernardo del Nero et Antonio di Tuccio Manetti, prudenti cittadini fiorentini, amici suoi carissimi” (Bernardo del Nero et Antonio di Tuccio Manetti, sages citoyens florentins et ses amis très chers”). En 1467, il leur avait déjà dédié sa version toscane du De Monarchia, qu'il avait entreprise à leur demande et que Manetti avait écrite sous sa dictée: “Questo libro composto da Dante in lingua latina, acciò che sia a'più de' leggenti comune, Marsilio vostro, dilettissimi miei, da voi esortato, di lingua latina in toscana tradotto, a voi dirige; poiché l'antica nostra amicizia e disputazione di simili cose intra noi frequentata richiede, che prima a voi questa traduzione comunichi, e voi agli altri di poi, se vi pare, ne facciate parte” (“Ce livre composé par Dante en langue latine, afin qu'il soit accessible à la plupart des lecteurs, votre ami Marsile l'a traduit, ainsi que, mes bien-aimés, vous l'avez exhorté à le faire, de la langue latine dans la langue toscane, et il vous le dédie, puisque l'ancienneté de notre amitié et de nos fréquents débats sur de telles choses demande qu'il vous communique d'abord cette traduction, à vous, et qu'ensuite, si bon vous semble, vous la fassiez connaître aux autres”).

This brief summary of Manetti's intellectual activities would be incomplete if it did not include his relations with the neo-Platonist milieu. He was friends with Girolamo Benivieni (1453-1542), who worked on Dante with him, dedicated a poem to him and dedicated his Italian version of Savonarola's De simplicitate vitae christianae to him, as well as with Marsilio Ficino's favorite disciple, Giovanni Cavalcanti (1444-1509), who encouraged him to compose verses and to whom he dedicated his Notizia di Guido Cavalcanti, written at the instigation of the philosopher of Careggi [Ficino] to whom he considered himself "grandemente debitore" "per molti honesti et intellettuali beneficii" ("Greatly in debt"; "for many honest intellectual benefits"). On his part, Marsilio Ficino dedicated in 1468 his translation into the vernacular of the Commentarium in Platonis Convivium de amore, that is to say the Della amore, to "Bernardo del Nero and Antonio di Tuccio Manetti, prudenti cittadini fiorentini, amici suoi carissimi" ("Bernardo del Nero and Antonio di Tuccio Manetti, wise Florentine citizens and his very dear friends"). In 1467 he had already dedicated to them his Tuscan version of De Monarchia, which he had undertaken at their request and which Manetti had written under his dictation: "Questo libro composto da Dante in lingua latina, acciò che sia a'più de' leggenti comune, Marsilio vostro, dilettissimi miei, da voi esortato, di lingua latina in toscana tradotto, a voi dirige; poiché l'antica nostra amicizia e disputazione di simili cose intra noi frequentata richiede, che prima a voi questa traduzione comunichi, e voi agli altri di poi, se vi pare, ne facciate parte" ("This book composed by Dante in Latin, in order to make it accessible to most readers, your friend Marsilio has translated, as you, my dearest friends, urged him to do, from Latin into Tuscan, and he dedicates it to you, since our longstanding friendship and our frequent debates on such things requires that he first communicate this translation to you, and that afterwards, if it seems good to you, for you make it known to others").
(André Rochon, "Une date importante dans l'histoire de la beffa : la Nouvelle du Grasso legnaiuolo," in Formes et significations de la "beffa" dans la littérature italienne de la Renaissance (Deuxième série), Paris, CNRS, 1975, pp. 244-245)

Filippo Brunelleschi (1377-1446) died too soon to be part of this new Platonism, but Manetti surely regarded him as a precursor in the new vision of things. No doubt a person such as Paolo Toscanelli (1397-1482), a longtime friend of Brunelleschi in this circle that included Manetti at the end of his life, was an intellectual bridge between the generations.

Re: Trionfi card poem by Pico de Mirandola

16
This thread is getting interesting. Just a few comments. On Toscanelli, I recall that Huck had a good argument that one of the astronomers in the ChVI Moon card was him?

On the 15th century Jewish-Christian relationships pertaining to the tarot, we had a thread in 2015, viewtopic.php?p=15789#p15789, 21 pages long, that went into a lot of detail. For example, I count 38 posts, mostly there, where I discussed Pico's friend Mr. Alemanno in some detail; as I recall, he would have met Pico around 1487 or so. He and the others Huck mentions are not strangers to us, as the THF search function will demonstrate. And don't forget Traversari, who may be important. I don't have time to add to the discussion right now, but it might be worth skimming that old thread for information. There is quite a bit, I expect more useful than Wikipedia.

Re: Trionfi card poem by Pico de Mirandola

17
Alemanno = Jochanan Alemanno *c 1435 Italy, + after 1504 Mantua (.... about 28 years older than Pico)

https://www.spektrum.de/lexikon/juedisc ... emanno/103
Als 21jähriger begab sich A. nach Florenz und lebte dort unter dem Patronat des Bankiers Vitale (Jechiel) da Pisa, dessen Söhne er unterrichtete. Mit 28 Jahren verließ er Florenz, begab sich zu Studienzwecken zunächst nach Padua und später nach Verona. Am 27. Februar 1470 erhielt er in Mantua von seinem Lehrer Jehudah ben Jechiel ....
According this, Alemanno came to Florence in c. 1456 with 21 years in age and stayed there 7 years. In 1463 he left for Padua and later Verona. In 1470 he received a qualification document in Mantua.
Als A. im Jahre 1488 zum zweitenmal nach Florenz kam, traf er dort auf den christlichen Universalgelehrten Pico della Mirandola, der als Begründer der christlichen Kabbala gelten kann. Bei der Suche nach jüdischen Kommentaren zum Hohelied gab ihm A. seine eigenen Entwürfe zur Lektüre, von denen Pico so begeistert war, daß er ihn zur raschen Ausarbeitung des Manuskripts drängte. A.s Hoheliedkommentar besteht aus zwei Büchern. Dem eigentlichen, am Text der Bibel orientierten Kommentarteil geht ein mit Ein Stufenlied Salomos (nach Psalm 127,1) überschriebener Teil voran, der als eine Salomo-Biographie verstanden werden kann.
According this Alemanno returned to Florence for a second time in the year 1488 and there he met Pico della Mirandola. There was some exchange about the Hohelied of Salomo. And others.
Ob A. bereits im Jahre 1494, dem Todesjahr Picos, Florenz verließ, ist nicht sicher; spätestens 1497 jedoch mußte er die Stadt verlassen, als die Juden zusammen mit den Medicis im Zuge der Revolte Savonarolas vertrieben wurden.
It is assumed, that Alemanno left Florence between 1494-97. Generally Jews were driven out of Florence together with the Medicis in 1497.
Damit steht das Studienprogramm deutlich unter dem Einfluß der platonischen Akademie und weist letztlich in Richtung der bekannten These von Picos Conclusiones (1482): »Nulla est scientia, quae nos magis certificet de divinitate Christi quam magia et Cabbala« (»Es gibt keine Wissenschaft, die uns mehr von von der Gottheit Christi überzeugen könnte, als Magie und Kabbala«).
This is a confusing detail. The Conclusiones are given usually to 1486.

English Google translation of the German article:
https://www-spektrum-de.translate.goog/ ... r_pto=wapp

***************

The 900 theses of Giovanni Pico della Mirandola

Novecento tesi (900 theses)
https://it.wikipedia.org/wiki/Novecento_tesi
... declares with "1ª ed. originale12 novembre 1486", that the first edition existed at 12th of November in 1486.
The title collection contains only 888 theses, so this can't be the original.

Warburg version of 1531
https://resources.warburg.sas.ac.uk/pdf ... 394768.pdf

Syncretism in the West: Pico's 900 Theses (1486). The Evolution of Traditional Religious and Philosophical Systems
With Text, Translation, and Commentary by S. A. Farmer (1998), Tempe. Arizona
http://www.simardartizanfarm.ca/pdf/1581.pdf
page 519 - 550 gives the 71 last theses. The title of these last 71 theses is: "Conclusiones Cabalistice numero LXXI, secundum opinionem propriam, ex ipsis Hebreorum sapientum fundamentis Cristianam Religionem maxime confirmantes."
Google translates: "THE CONCLUSIONS OF CABALISTIC NUMBERS .71 FOLLOWING MY OWN OPINION THE CHRISTIAN RELIGION WAS FOUNDED FROM THE HEBREW MOST CONFIRMING."
S.A. Farmer translates: "SEVENTY-ONE [SEVENTY-TWO] CABALISTIC CONCLUSIONS ACCORDING TO MY OWN OPINION, STRONGLY CONFIRMING THE
CHRISTIAN RELIGION USING THE HEBREW WISEMEN'S OWN PRINCIPLES.

I have selected the first 22 translations of these 71 just to get an impression of the content.

11>1. Whatever other Cabalists say, in a first division I distinguish the science of Cabala into the science of sefirot and shemot [names], as it were into practical
and speculative science.
11>2. Whatever other Cabalists say, I divide the speculative part of the Cabala [the science of names] four ways, corresponding to the four divisions of philosophy that I generally make. The first is what I call the science of the revolution of the alphabet, corresponding to the part of philosophy that I call universal philosophy. The second, third, and fourth is the threefold merkabah [chariot], corresponding to the three parts ofparticular philosophy, concerning divine, middle, and sensible natures. (830)
11 >3. The science that is the practical part of the Cabala practices all formal metaphysics and inferior theology.
11 >4. Ein-Sof should not be counted with the other numerations, because it is the abstract and uncommunicated unity of those numerations, not the coordinated unity.
11>5. Every Hebrew Cabalist, following the principles and sayings of the science of the Cabala, is inevitably forced to concede, without addition, omission, or variation, precisely what the Catholic faith of Christians maintains concerning the Trinity and every divine Person, Father, Son, and Holy Spirit.
Corollary: Not only anyone who denies the Trinity, but anyone who proposes it in a different way than the Catholic church does, like the Arians, Sabellians,
and similar men, can be clearly refuted if the principles of the Cabala are admitted.
11 >6. Whoever is profound in the science of the Cabala can understand that the three great four-letter names of God, which exist in the secrets of the
Cabalists, through miraculous appropriation should be attributed to the three Persons of the Trinity like this: so that the name <Ehyeh> is that of the
Father, the name <YHVH> of the Son, the name <Adonai> of the Holy Spirit.
11>7. No Hebrew Cabalist can deny that the name Jesus, if we interpret it following the method and principles of the Cabala, signifies precisely all this and nothing else, that is: God the Son of God and the Wisdom of the Father, united to human nature in the unity of assumption through the third Person of God,
who is the most ardent fire of love. (835)
11>8. From the preceding conclusion we can know why Paul says that Jesus was given the name that is over every name, and why it is said that all in heaven,
earth, and hell kneel in the name of Jesus, which is also highly Cabalistic. And anyone who is profound in the Cabala can understand this by himself.
11>9. If any human prediction can be made concerning the Last Things, we can discover through the most secret way of the Cabala that the end of the world will occur five hundred and fourteen years and twenty-five days firom now [1 January 2000].
11>10. That which among the Cabalists is called <Metatron> is without doubt that which is called Pallas by Orpheus, the paternal mind by Zoroaster, the son of God by Mercury, wisdom by Pythagoras, the intelligible sphere by Parmenides.
11>11. The way in which rational souls are sacrificed by the archangel to God, which is not explained by the Cabalists, only occurs through the separation of the soul from the body, not of the body from the soul except accidentally, as happens in the death of the kiss, of which it is written: Precious in the sight of the Lord is the death of his saints.
11>12. Whoever is not rationally intellectual cannot operate through the pure Cabala. (840)
11>13. Whoever operates in the Cabala without the mixture of anything extraneous, if he is long in the work, will die from binsica [the death of the
kiss], and if he errs in the work or comes to it unpurified, he will be devoured by Azazel through the property of judgment.
11>14. By the letter <shin>, that is, shin, which mediates in the name Jesus, it is indicated to us Cabalistically that the world then rested perfectly, as though in
its perfection, when Yod was conjoined with Vau—which happened in Christ, who was the true Son of God, and man.
11>15. By the name Yod he vau he, which is the ineffable name that the Cabalists say will be the name of the Messiah, it is clearly known that he will be God the Son of God made man through the Holy Spirit, and that after him the Paraclete will descend over men for the perfection of mankind.
11>16. From the mystery of the three letters in the word shabbat, that is, <shabbat>, we can interpret Cabalistically that the world will sabbatize when the Son of God becomes man, and that ultimately the Sabbath will come when men are regenerated in the Son of God.
11>17. Whoever knows what the purest wine is among the Cabalists, understands why David says, I will he made drunk by the abundance of your dwelling, and
what drunkenness the ancient seer Musaeus says is happiness, and what so many Bacchae mean in Orpheus. (845)
11>18. Whoever joins astrology to Cabala will see that to sabbatize and rest becomes more appropriate after Christ on the Lord's day than on the day of
the Sabbath.
11>19. If we explain Cabalistically that saying of the Prophet, They have sold the just for silver, it signifies to us only this, namely, God as Redeemer was sold
for silver.
11>20. If the Cabalists turn their interpretation to this word, <az>, which signifies "then", they will be greatly illuminated concerning the mystery of the
Trinity.
11>21. Whoever joins the saying of the Cabalists stating. That numeration which is called just and redeemer is abo called ze, with the saying of the Talmudists
stating, Isaac departed just like ze, carrying his cross, will see that that which was prefigured in Isaac was fulfilled in Christ, who was the true God sold for silver.
11>22. Through the words of the Cabalists concerning the redness of Esau, and that saying that is in the book Bereshit Rabbah, that Esau was red, and red, avenged him—of whom it it is said. Why are your garments red?—it is expressly known that Christ, concerning whom our doctors expound the same text, will be he who takes vengeance on impure powers. (850)
Huck
http://trionfi.com

Re: Trionfi card poem by Pico de Mirandola

18
Huck wrote: 15 Jul 2022, 03:38
THE PLACE OF HEBREW IN PICO'S KABBALISTIC STUDIES
The beginning of Giovanni Pico della Mirandola's interest in Kabbala is still a matter of conjecture, or largely so: we still do not know for certain when, where, how, or through whom he made his first acquaintance with Kabbala. One fact, however, that can be stated with certainty has only too often been submerged by the posthumous fame of Pico's Hebrew erudition: contrary to what has often been assumed or implied, Pico became interested in Kabbala before he knew Hebrew. ....



What is the goal of this research? To identify the first time someone decided to map the Kabbalah onto Tarot, because of the numerical coincidence of 21+Fool trumps and 22 Hebrew letters?

Anything beyond that, a word of caution:
The natural and obvious result of the antagonism of the great Jewish scholars was that, since the authorized guardians neglected this field, all manner of charlatans and dreamers came and treated it as their own property. From the brilliant misunderstandings and misrepresentations of Alphonse Louis Constant, who has won fame under the pseudonym of Eliphas Levi, to the highly coloured humbug of Aleister Crowley and his followers, the most eccentric and fantastic statements have been produced purporting to be legitimate interpretations of Kabbalism. The time has come to reclaim this derelict area and to apply to it the strict standards of historical research (Gershom Scholem, Major Trends in Jewish Mysticism. 1946/1954: 2-3)



Phaeded

Re: Trionfi card poem by Pico de Mirandola

19
Phaeded wrote: 01 Aug 2022, 20:18 What is the goal of this research?
Hm ... there is a title of this thread: "Trionfi card poem by Pico de Mirandola"

The related sonnet was quoted already. The context also was given. The related sonnet is the Sonetto 28 of a collection of totally 45 love sonnets.

An author, Giovanni Pasetti, gave the following theories about this collection.
viewtopic.php?p=25018#p25018
I'd quoted these already, I reduced this to the automatic English translation.
The sonnets
Let us now abandon the existential turmoil and return to literary production. We have chosen from the forty-five sonnets in the vernacular that make up the Canzoniere surviving of Giovanni the ten compositions in our opinion most significant for the purposes of our study. Probably, these sonnets were conceived over a period of time ranging from 1479 to 1486. ?? It is impossible to further specify the dating, although it can be stated with certainty that they risked being set on fire together with the five books of Latin elegies, as it tells us. Poliziano in a well-known Greek epigram: Pico, continually wounded and inflamed by the arrows of love, rebelled, tore arrows, bow and quiver, made a stake and everything burned. Grasping the Loves themselves, he tied their tender hands with the rope, and threw them into the midst of the fire. And he burned the fire with fire. Why, o foolish loves, did you fly from Pico, prince of the Muses? The episode is slightly later than March 1483, since in that month he had sent the first of these five books to Angelo. We must therefore conclude that this exercise had faithfully accompanied the Count of Concordia in the long years of wandering and study, in Bologna (1477 and 1478), Ferrara (1479), Florence (1480), Padua (1481 and 1482), Pavia (1483) , before the new Florentine stay in 1484 and the semester spent in Paris in 1485. But the desire to express himself in Italian verse also touched Giovanni in the following years, if a letter dated May 15, 1492, addressed to his nephew, mentions poetic nonsense by now abandoned with a tone that betrays relative proximity in time.
In any case, the manuscript on which our knowledge of the collection is based comes from the court of Ludovico Sforza known as il Moro, who was a relative and good friend of the Mirandolan prince. It is precisely the Code 1543 of the National Library of Paris, drawn up between 1492 and 1497. It is composed of more than two hundred sheets, which present, in addition to many poorly-known versers, the Stanze di Lorenzo il Magnifico, the Stanzeby Poliziano, sonnets by Bembo and Tebaldeo, strambotti by Pulci and dell'Aquilano, works by Benivieni and Sannazzaro. It is a remarkable collection of loving and encomiastic poems, almost certainly completed after Pico's death, which documents how at the Milanese court the spirits of the great Tuscans coexisted with the more conventional Po Valley ways, in the rich flourishing of Petrarchian inspiration.

Giovanni Pasetti's theory "... were conceived over a period of time ranging from 1479 to 1486 ..." would likely imply, that the 45 sonnets would be a wild collection of Sonetti, formed together just by accident. The number of the sonnets would then be probably also accidently.

I've reason to doubt that. In my opinion the 45 Sonetti are one complete work, consisting out of 45 fourteen-line poems with intention of the author.

The year 1486 saw Pico as a man of 23 years, and Boiardo probably as a man of 45 years. 23 is the middle of 45 in the calculation 22+1+22 = 45. I remember, that I pointed to this already before.
Huck
http://trionfi.com

Re: Trionfi card poem by Pico de Mirandola

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Phaeded,

I give you a hint.
You have to count in the Pico text the question marks .... (= ?) ... you need the number
You have to count, which sonnet has the most question marks ... you need the number of the sonnet
You have to count in the Pico text the exclamation marks .... (= !) .... you need the number
You have to count, which sonnet has the most exclamation marks .... you need the number of the sonnet

If that is not enough for your understanding, you can count the number of the words "amor" or similar words ("amore" etc) ... you need the number of its appearances in the text
You have to count, which sonnet has the most appearances .... you need the number of the sonnet.
Research this number in the common Minchiate deck.
Research this number in the Boiardo Tarocchi poem (trump texts).
Compare this number with the number of the sonnet, which contained the "triunfi" word

I give you other hints
http://a.trionfi.eu/p/atest.txt ... contains the text of the 45 love sonnets
http://a.trionfi.eu/p/atest2.txt ... contains parts of the Boiardo Tarocchi poem
... with the help of the command ctrl-f (search key) the counting of specific text features (for instance question marks) is rather easy.
Huck
http://trionfi.com