THE second part of "The Heroic Enthusiasts" which I am now sending to the press is on the same subject as the first, namely the struggles of the soul in its upward progress towards purification and freedom, and the author makes use of lower things to picture and suggest the higher. The aim of the Heroic Enthusiast is to get at the Truth and to see the Light, and. he considers that all the trials and sufferings of this life, are the cords which draw the soul upwards, and the spur which quickens the mind and purifies the will.
The blindness of the soul may signify the descent into the material body, and "visit the various kingdoms" may be an allusion to the soul passing through the mineral, vegetable, and animal kingdoms before it arrives at man.
It is interesting to note that in the first part of "The Heroic Enthusiasts" (page 122), Bruno makes a distinct allusion to the power of steam,
and in the second part, one might almost think, that in using the number nine in connexion with the blind men, he intended a reference to electricity, for we read in "The Secret Doctrine," by H. P. Blavstsky, "There exists an universal agent unique, of all forms and of life, that is called Od, Ob, and Aour, active and passive, positive and negative, like clay and night; it is the first light in creation; the first light of the primordial Elo-him--the A-dam,-male and female, or, (scientifically) Electricity and Life. Its universal value is nine, for it is the ninth letter of the alphabet and the ninth door of the fifty portals or gateways, that lead to the concealed mysteries of being. . . . Od is the pure life-giving Light or magnetic fluid."
The notices of the press upon the first half of this work, were for the most part such, as to lead me to hope that the appearance of the second part will meet with a favourable reception.
When I first began this translation little was known about Giordano Bruno except through the valuable works of Sig. Berti and Sig. Levi, and since then Mrs. Firth has given us a life of the Nolan, written in English, and several able articles
in the magazines have been published, in one of which, by C. E. Plumptre (Westminster Review, August, 1889), an interesting parallel is drawn between Shelley and Bruno.
I will close this short notice with a sentence from an article in the Nineteenth Century, September, 1889, entitled "Criticism as a trade." "There is probably no author who does not feel how much he owes to the writers who have reviewed his books, whether he has occasion to acknowledge it or not. It is humiliating to find how many errors remain in writings that seemed comparatively free from them. Everyone who knows his subject, and has any modesty, is aware that there are defects in his work which his own eye has not seen; and he is more than grateful for the correction of every error that is pointed out to him by an honest censor." If this is the case with authors who produce original work, it may be still more aptly said of translators, especially of those who attempt to translate books so full of difficulties as those presented in the works of Giordano Bruno.