De septem septenis

De septem septinis, London British Library MS Harley 3969, fol. 206v

THE mystagogical work De septem septenis (On the Seven Sevens) is a curious medieval treatise. It was written in the early 12th century — but probably not by the scholastic philosopher, John of Salisbury, to whom it’s attributed.  The overall orientation is Christian, yet it includes references to Hermetic, Platonic and Chaldean teachings. Its title refers to seven groups of seven things each:

1. Seven steps to learning;
2. Seven liberal arts;
3. Seven windows of the soul (two eyes, two ears, two nostrils and mouth);
4. Seven faculties of the mind (animus, mens, imaginatio, opinio, ratio, intellectus, memoria);
5. Seven cardinal and theological virtues;
6. Seven types of contemplation (meditatio, soliloquium, circumspectio, ascensio, revelatio, emissio, inspiratio); and
7. Seven principles of Nature.

It is not to be confused with De quinque septenis (On the Five Sevens), a more traditionally themed work by Hugh of St. Victor that relates the seven petitions of the Lord’s Prayer, the seven gifts of the Holy Spirit, the seven Beatitudes, the seven virtues, and the seven deadly sins. That work became the source of many medieval illustrations of the so-called Wheel of Sevens.

The background of Septem septenis — what little we can surmise from the internal evidence — is most interesting.  According to Németh (2013), a single sentence in Martianus Capella’s 5th century Latin work, De nuptiis Philologiae et Mercurii (On the Marriage of Philology and Mercury) — a popular work in the Middle Ages and principle source on the divisions of education known as the Trivium and the Quadrivium — made an ambiguous reference to what was understood to be an ancient work on “divinization,” called the egerimion. The Septem septimis, Németh suggests, is an attempt of an anonymous medieval Christian writer to either reconstruct or imitate the fabled egerimion, which it explicitly mentions.

The seven sections of Septem septimis appear somewhat cobbled together from various sources. Section 6 is an abridged version of De contemplatione et ejus speciebus (On Contemplation and its Species), a work possibly by Richard of St. Victor. Section 7 may have some connection with the School of Chartres, which studied and commented on the cosmological theories of Plato’s Timaeus.

Is this just a mishmash — some student forgery or prank?  Or is there an internal consistency and coherent message, which the author wishes to communicate in a very creative and non-traditional way?  As there has been no modern interest in the work (it’s never been translated) it’s perhaps too early to say.

As discussed in the last post, Google Latin-to-English translation has reached now reached a respectable level of accuracy.  Below are lightly edited Google translations of the Section 1 and part of Section 6.  The former sets the stage by claiming the authority of ancient Greek and Chaldean writings — which, the author claims, unlike the Latin tradition, are not limited by a narrow focus on rationalism.  The latter passage discusses a kind of contemplation which the author calls ascension.

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Sect. 1. Prima septena de septem modis eruditiomis

Section 1.  The First Seven are the Seven Modes of Learning

CHALDAEI et Græci sapientiam quærunt: Latine veritatem inquirunt: illi quærunt et inveniunt, quia mores cum scientia componunt; isti inquirunt et non inveniunt, quia disputationis potius cavillationi quam veritatis inquisitioni insistunt.

The Chaldaeans and Greeks seek wisdom, Latins inquire after truth. The former seek and find, because they combine morals with knowledge; the latter search and do not find, because they dispute and cavil rather than only search for truth.

Cavillosa vero disputatio ingenium exercendo excitat, in qua si moram fecerit obtundit et fascinat: quod quidem in invio et non in via veritatis hebes et palpans errat; veritatis autem inquisitio cotis vice clarum ingenium et subtile reddit: in viam regiam mentem dirigit, mentis oculos ad ardua erigit.

A caviling discussion may exercise and awaken the intellect, but, if prolonged, it stuns and fascinates: which, indeed, errs dull and groping and not in the path of truth. But a genuine search for truth on the other hand makes the intellect clear and subtle: it directs the mind in the royal road, it raises the eyes of the mind to the heights.

Et licet hisce oculis quandoque quædam aperiantur quæ latuerunt, adhuc tamen multa latent, quæ comprehendi non possunt, vel subtilitate, quia sensum effugiunt, vel obscuritate, quia nec studium nec ingenium admittunt, vel immensitate, quia rationem et intellectum excedunt. Hinc est igitur quod divina quædam sunt quæ in manifestationem veniunt et ad cognitionem se exponunt. Sed quoniam subtilia, difficilia et ardua sunt, tanquam inscrutabilia fere omnes prætermittunt. Hæc prima rerum principia, id est rerum causæ latentes et cognitiones dicuntur. De quibus præclara Chaldæorum tantum scripta ad majorem veritatis evidentiam scrutantur.

And though these eyes may sometimes reveal some things which were hidden, yet many things are still hidden which cannot be comprehended, either by subtlety, because they escape the senses, or by obscurity, because they admit neither study nor genius, or by immensity, because they exceed reason and Intellect. Hence it is that there are divine things which come into manifestation and expose themselves to knowledge. But since they are subtle, difficult, and arduous, almost everyone dismisses them as inscrutable. These are called the first principles of things, that is, the latent causes of things and knowledge. Of which only the famous writings of the Chaldeans are carefully searched for the greater evidence of the truth.

Alia vero quædam divina tam profunda, tam occulta, tam intima et omnino impenetrabilia sunt, ut nulla ratione scrutari, nullo intellectu percipi, nulla sapientia investigari possint. Unde Apostolus Quod notum Dei et manifestum est in illis. Quum dicit quod notum Dei est, id est noscibile de Deo, ostendit plane ex his quæ Dei sunt et in Deo aliquid esse manifestum, aliquid occultum. Sed quod manifestum est, per scientias posse contingi.

Things are so deep, so hidden, so intimate, and completely impenetrable, that they cannot be rationally studied, perceived by any understanding, or investigated by any wisdom. Wherefore the Apostle says, What is known of God and is manifest in them. When he says that what is known of God, that is, that is knowable of God, he clearly shows that from the things that are of God and in God there is something manifest, something hidden. But what is clear is that it can be reached through science.

Quod prorsus absconditum est, nulla ratione posse penetrari. Et haec sunt secreta illa, quæ non licet homini loqui. Proinde, ut in Apostolo scribitur, Sapientiam inter perfectos loquimur. Sapientia namque Pallas, id est nova dicitur, quia scandens ad eam minoratur. Minerva vel Athena, id est immortalis, vocatur, quia verbo et opere eam sequens ad immortalitatem rapitur. Hæc igitur Tritonia, id est trina notio, nuncupatur, quia humano animo sapientia illustrato engerimion, id est surrationis liber aperitur, in quo ab humanis ad divina surgere septem septenis eruditur, et ad trinam, humanæ scilicet naturæ, angelicæ et divinæ, notionem ascendere perfectius instruitur.

What is completely hidden cannot be penetrated by rationality. And these are those secrets which it is not lawful for a man to speak. Therefore, as it is written in the Apostle, we speak wisdom among the perfect. For wisdom is Pallas, that is, it is said to be new, because when one ascends to it, it diminishes. Minerva or Athena, that is, immortal [JU: apparently from athanatos, undying], is called because following her in word and deed he is carried away to immortality. Therefore this Tritonia, that is, the triple concept, is called, because in the human mind, enlightened wisdom engerimion, that is, the book of resurrection is opened, in which it is learned to rise from the human to the divine seven sevens, and to ascend more perfectly to the triple concept, that is, the human nature, the angelic and the divine is instructed.

Septem sunt modi primæ septenæ, quibus humanus animus in perfectam eruditionem introducitur. Primus modus est, omnium artium doctrinam velle, secundus est delectari quod velis: tertius instare ad id quod delectat: quartus, concipere quod instat: quintus, memorare quod concipit, sextus invenire aliquid simile: septimus ex his omnibus extorquere quod est utile.

There are seven ways, the first seven, by which the human mind is introduced into perfect learning. The first way is to desire the learning of all arts, the second is to delight in what you want, the third to insist on what delights, the fourth to conceive what is urgent, the fifth to remember what one conceives, the sixth to discover similitudes, the seventh to wring from all these things that are useful.

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Sect. 6. Sexta septema de septem generibus contemplationis

Section 6.  The Sixth Seven are the Seven Kinds of Contemplation

SEXTA septena de septem generibus contemplationis sequitur, in quibus anima requiescens jucundus immoratur. Septem sunt contemplationis genera, meditatio, soliloquium, circumspectio, ascensio, revelatio, emissio, inspiratio. […]

The sixth seven are the seven kinds of contemplation that follow, in which the soul rests and dwells in delightf. There are seven kinds of contemplation: meditation, soliloquy, survey [or scrutiny], ascension, revelation, release, and inspiration. […]

Quarta species. Ascensio.

Ascensio est ad immortalia in excelsis animi digressio; unde Propheta: “Beatus vir, cujus est auxilium abs te ascensiones in corde suo disposuit” [cf. Vulgate Psa 83:6, beatus homo cuius fortitudo est in te semitae in corde eius]. Tres sunt ascensiones in corde suo dispositae.

The ascent to immortality is the highest going of the soul; whence the Prophet: Blessed is the man whose strength is in You, whose heart is set on pilgrimage. [Psa 84:5; NKJV] There are three ascents arranged in his heart.

Tres sunt ascensiones Christi: tres quoque nostri. Prius enim Christus ascendit in montem, deinde in crucem, tandem ad patrem.

There are three ascents of Christ: ours are also three. For first Christ ascended the mountain, then the cross, and finally to the Father.

In monte docuit discipulos; in cruce redemit captivos; in coelo glorificavit electos.
In monte doctrinam protulit humilitatis; in cruce formam expressit caritatis; in coelo coronam præbuit felicitatis.
In primo præbuit lumen scientiæ; in secundo culmen justitiæ; in tertio numen gloriæ.

He taught the disciples on the mountain; He redeemed the captives on the cross; He glorified the elect in heaven.
On the mountain he brought forth the doctrine of humility; on the cross he expressed the form of charity; He gave a crown of happiness in heaven.
In the first place He provided the light of knowledge; in the second summit of justice; in the third divine glory.

Tres sunt nostri ascensiones; prima in actu; secunda in affectu; tertia in intellectu.

Three are our ascents: first in action; second in affect; third in understanding.

[JU: So in addition to the traditional distinction between the affective and intellective divisions of the human soul, the author introduces a third aspect of our nature, action or activity.  Ascent occurs on all three.]

Ascensio vero actualiter triplex; prima in confessione culparum; secundain largitione eleemosynarum; tertia in contemptu divitiarum, prima in operibus poenitentiæ; secunda in operibus misericordiæ; tertia in operibus consummatæ justitiae; prima meretur veniam; secunda gratiam; tertia gloriam.

Ascension in action is threefold: first in confession of faults; second, giving of alms; third in contempt of riches: the first in works of penitence, the second in works of mercy, the third in works of consummate righteousness; the first merits forgiveness, the second grace, the third glory.

[JU: The author is weaving together in a plausible way Hermetic and Platonic themes of divinisation with traditional Christian virtues of self-examination, compunction, humility, and charity.]

Ascensio affectualis triplex: prima est ad perfectam humilitatem; secunda ad consummatam caritatem; tertia ad contemplationis puritatem.

Affective ascent is threefold: first to perfect humility; second to consummate charity; third to purity of contemplation.

Ascensio vero intellectuali illuminat et imperat; actus illuminatur et obtemperat; affectus illuminat, et illuminatur, et intellectui obtemperat et actui imperat.

Intellectual ascent illuminates and commands; action is enlightened and obeyed; affect enlightens and is enlightened, and obeys the understanding and commands action.

[JU: This paragraph seems to dense for Google to reliably translate.  The main idea is that there is dynamic interplay between the ascents of action, affect and understanding: mutual illumination and directing.]

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Bibliography

Baron, Roger (ed.). De contemplatione et ejus speciebus (La Contemplation et Ses Espèces). Desclée, 1955.

Giles, J. A. (ed.). De septem septenis. In: Joannis Saresberiensis postea episcopi camotensis opera omnia, vol. V: Opuscula.  Oxford, 1848; 209−238. Reprinted in Jacques-Paul Migne, Patrologia Latina, vol. 199, cols. 945−965. Paris, 1855. [Latin text] [Latin text]

Hugh of St. Victor. De quinque septenis. Jacques-Paul Migne, Patrologia Latina, vol. 175, cols. 405B−414A. Paris, 1854.

Németh, Csaba. Fabricating philosophical authority in the Twelfth Century: The Liber Egerimion and the De septem septenis. Authorities in the Middle Ages. De Gruyter, 2013; 69−87.

Manuscripts

Cambridge Corpus Christi College MS 459 fol. 99r-107v.

London British Library Harley MS 3969 fol. 206v−215v.

first draft: 19 Nov 2022; please excuse typos

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Martianus Capella, The Apotheosis of Philologia

Sandro Botticelli, Venus and the Three Graces Presenting Gifts to a Young Woman, 1483–1486.

BOOK II of Martianus Capella’s On the Marriage of Philology and Mercury (De nuptiis Philologiae et Mercurii) continues the mythical introduction to the work (the previous post discusses Book I).  Before she can marry Mercury, Philologia (love of study) must ascend to heaven.  In preparation for this she is greeted and praised by a succession of goddesses and other divinities, including Phronesis (her mother), the Seven Muses, Philosophy, the Graces, the Virtues, Immortality, and Astrae. The speeches of the Muses, especially noteworthy, are presented below.

Modern writers criticize Martianus for what they call his ‘turgid prose’ and elaborate descriptions.  But this is seeing him through the lens of narrow rationalism.  May we instead adopt a post-rationalist worldview, and accept that he is either (1) using art intentionally to convey a fuller message, or (2) that he just might be inspired, whether by some divine power, the collective unconscious, or both?  May we in the 21st century regain an appreciation for the prophetic sense?

In Book III Martianus himself addresses his critics:

[221] Once again in this little book the Muse prepares her ornaments and wants to tell fabricated stories at first, remembering that utility cannot clothe the naked truth; she regards it as a weakness of the poet to make straightforward and undisguised statements, and she brings a light touch to literary style and adds beauty to a page that is already heavily colored. (Stahl et al, p. 64).

Criticisms notwithstanding, the purpose of the myth in the first two books seems as explicitly religious as it is momentous: Martianus is suggesting that Philologia — this quality of love of study, of scholarship, of yearning to understand the meanings of things — is something divine.  And it seems likely he considers this a means of gradual ascent of the mind (nous) in a manner consistent with Platonism and Neoplatonism.

Small wonder, then, that this work exerted such a profound influence on education and consciousness in the West for 1000 years after he wrote, from the fall of  the Roman Empire to the Renaissance.  His message should be heard again today.  The purpose of Liberal Arts education is neither utilitarian, nor merely to make a ‘good and productive citizen.’  It is part of the far more significant process of divinization, of ‘assimilation to God insofar as possible.’

Two details concerning the following should be noted.  First, the Seven Muses are not the same as the Seven Liberal Arts, which are treated in the remaining seven books.  Second, Martianus deviates somewhat from how other writers interpret each Muse.  The English translation of Stahl et al. has been lightly edited.

[117] BEFORE the door, sweet music with manifold charms was raised, the chorus of assembled Muses singing in well-trained harmony to honor the marriage ceremony. Flutes, lyres, the grand swell of the water organ blended in tuneful song and with a melodious ending as they became silent for an appropriate interval of unaccompanied singing by the Muses. Then the entire chorus with melodious voices and sweet harmony outstripped the beauty of all the instrumental music, and the following words were poured forth in notes of sacred song:

“Ascend into the temples of heaven, maiden, deserving of such a marriage;
your father-in-law Jupiter asks you to rise to the lofty stars.”

[118] Then, while the others kept quiet a moment, URANIA (Muse of astronomy) began:

“With trust in the divine will and without disputing,
Behold the assemblies of the stars,
And the sacred vaults of the heavens;
You formerly studied what cause whirled the interdependent spheres,
Now as their leader you shall assign causes to their sweeping motions.
You shall perceive what is the fabric that connects their circuits,
What bond encompasses them,
And what huge spheres are enclosed within a curving orbit;
You will see what drives on and what delays courses of the planets,
Which rays of the sun inflame the moon or diminish its light,
What substance kindles the stars in heaven,
And how great are the bodies which heaven spins around,
What is the providence of the gods, and what its mode of operation.

Ascend into the temples of heaven, maiden, deserving of such a marriage;
your father-in-law Jupiter asks you to rise to the lofty stars.”

[119] Then sang CALLIOPE (Muse of epic poetry):

“Always a friend to the favoring Muses,
For you Magnesian rivers and the fountain of Pegasus have poured your drink,
For you the Aonid peak [Mount Helicon], green with garlands, puts forth its leaves, while Cirrha prepares violets;
You know how to chant prophecies to the sweet Muses,
And to play the lyre of Pindar,
And at your word the strings and the sacred plectrum,
Know how to pour forth the Thracian song.
Light of our lives, praise always our sacred songs,
And approve the music that we play.

Ascend into the temples of heaven, maiden, deserving of such a marriage;
your father-in-law Jupiter asks uou to rise to the lofty stars.”

[120] Thus sang POLYMNIA (Muse of rhythm and poetic meter):

“You have been exalted and, though recently of mortal blood,
Are now endowed with godhead;
At last you reap the rewards of your efforts:
The shining sky, the abodes of the gods, and the companionship of Jove.
You are used to combining and dispersing a variety of sounds,
According to the rules of rhythm,
To assessing then which syllable, marked with the macron,
Is pronounced with circumflexion,
Which with the mark of brevity the micron curves;
To assessing melodies and tones and tunes and all such knowledge,
And all that can, when the mind is urged to it,
Gain the heights of heaven.

Ascend into the temples of heaven, maiden, deserving of such a marriage;
your father-in-law Jupiter asks you to rise to the lofty stars.”

[121] Thus sang MELPOMEME (Muse of sacred theater):

“You are accustomed to sing tragic songs for the theater,
Or wear the boot of comedy and echo the songs,
Which under your care we offered when sweet music aided us;
Now to you, maiden, our champion and our expositor,
Made immortal by the theme of your song, to you I sing.
For I am happy to adorn your bridal chamber,
And may my garlands be acceptable in your service.
May you ever seem worthy of an Olympian wedding,
Ever fairer than the other gods.

Ascend into the temples of heaven, maiden, deserving of such a marriage;
your father-in-law Jupitet asks you to rise to the lofty stars.”

[122] Thus sang CLIO (Muse of history and rhetoric):

“You sound forth in the guise of the rhetorician,
And set free by your passion the man accused.
You link together contrary sentiments,
Building up sophisms by heaping together arguments,
Now binding something together by the rule of grammar,
Clever at using your gift of fine speech,
To play with words that by their double meaning destroy the ordinary sense;
Now gaze upon the starry threshold of the sky,
And enjoy the holy whiteness of heaven,
For it is precious to see that in its true light.

Ascend into the temples of heaven, maiden, deserving of such a marriage;
your father-in-law Jupiter asks you to rise to the lofty stars.”

[123] Next spoke ERATO (Muse of lyric and love poetry):

“O famous maiden, to whom the palace of the Thunderer is open,
Source of the arts, rightly is the world subject to you,
Since it was from the beginning apprehended by your rational principles.
Why the sacred lightning flashes,
Whence the echoing thunder sounds,
What drives the moisture through the opening of the sky when the storm clouds gather,
What is brought back by the clearness of spring when the rain clouds march away,
Why the circle of the year spins round to end all the hurrying centuries
—we avow that secrets unknown to others are known to you alone.

Ascend into the temples of heaven, maiden, deserving of such a marriage;
your father-in-law Jupiter asks you to rise to the lofty stars.”

[124] Then sang TERPSICHORE (Muse of dance and chorus):

“I am delighted, dear maiden, that through this honor you gain a sight of the stars!
Your industry and the genius of your nature have won this for you.
That wakeful concentration of yours bestowed this honor on your lucubrations.
Having toiled day and night on the sacred writings,
And knowing the future and being ready to learn,
You have understood what the Stoics offer in their sacrifices when the flame puffs from the kindling.
For without misgivings, with unhesitating utterance,
You anticipate what the smoke tells on the flaming altars of the Sabaeans,
What message is brought by air thick with the ash of incense,
Or what the sure signs foretell by prophetic voices.

Ascend into the temples of heaven, maiden, deserving of such a marriage;
your father-in-law Jupiter asks you to rise to the lofty stars.”

[125] Then EUTERPE (Muse of flute music) began:

“O maiden, our guide to skillful prophecy,
Who could ascend to heaven and bring down to pure souls,
The sacred teachings by which they were able to know themselves,
And by which they discerned
And saw with a clear light the decrees of fate and the countenances of the spirits,
And who allotted stars to be the minds of Plato and Pythagoras,
And who has ordered ephemeral creatures,
To behold the decree of heaven with all obscurity removed:
Rightly ascend to the senate of the Thunderer,
You who alone are fit to be married to Mercury.

Ascend into the temples of heaven, maiden, deserving of such a marriage;
your father-in-law Jupiter asks you to rise to the lofty stars.”

[126] Then THALIA (Muse of comedy and pastoral poetry) spoke:

“O blessed maiden, who take up the marriage bond,
Amid such a singing of the stars,
And with such approval from the universe,
Become a daughter-in-law of the Thunderer.
Of which god are you to become the wife?
He alone on wandering wing, alert for sudden storms,
Flies out beyond the stars of the universe,
And when he has crossed the straits on high, returns to Tartarus.
He alone is able to wield his famous staff before the chariot and white horses of the high father;
He alone gladly restores the fortunes of Osiris as he falls,
Whom the father of the gods knows to be weighed down by the life-giving seed he has discovered;
To Mercury his stepmother gladly gave her milky breast;
His powerful caduceus counteracts dread poison;
And when he speaks, all venom is dissolved.
He is learned among the gods; but this girl is still more learned.
Now, now the arts are blessed, which you two so sanctify,
That they allow men to rise to heaven and open to them the stars,
And allow holy prayers to fly up to the clear sky.
Through you the mind’s intelligence, alert and noble, fills the uttermost depth,
Through you proven eloquence brings everlasting glory.
You bless all subjects, and you bless us, the Muses.”

Bibliography

Cristante, Lucio; Lenaz, Luciano. Martiani Capellae: De nuptiis Philologiae et Mercurii. Vol. 1, Libri I – II. Bibliotheca Weidmanniana, 15.1. Hildesheim: Weidmann, 2011.

Stahl, William Harris; Johnson, Richard; Burge, E. L. The Marriage of Philology and Mercury. Columbia University Press, 1977.

Willis, James (ed.). Martianus Capella: De nuptiis Philologiae et Mercurii libri IX. Leipzig: Teubner, 1983. (Critical edition of Latin text.)

1st draft, 1 Apr 2020

Martianus Capella’s Fable of the Marriage of Philologia and Mercury

Sandro Botticelli, A Young Man Being Introduced to the Seven Liberal Arts (detail), 1483–1486.

 

MARTIANUS CAPELLA, an early 5th century North African writer, is most famous for a work titled, On the Marriage of Philology and Mercury (De nuptiis Philologiae et Mercurii).  Virtually ignored today, this work had vast influence on education for next 1000 years and shaped the curriculum of the Middle Ages. The first two books, an introduction, present an allegorical fable involving the marriage of Mercury and Philology (love of study.).  Subsequent chapters discuss, one by one, the seven traditional liberal arts (Grammar, Dialectic, Rhetoric, Geometry, Arithmetic, Astronomy and Music), supplying a compendium of existing knowledge on each.

Even less modern attention has been given to the introductory fable than to the work as a whole.  However the former merits our attention as an imaginative and creative attempt to explain the purpose of liberal education by means of a psychological allegory.  As a work of art and an expression of the collective unconscious, the fable is not dated. Indeed, the daring style — precisely because it’s so unconventional by modern standards — deserves our attention that much more.The allegory has two parts, called the Betrothal and the Marriage. Part 1 — psychologically more interesting — is supplied below.  This is taken (in abridged and edited form) from the English translation of Stahl, Johnson and Burge.  Except for Mercury, names of the gods are changed from their Latin to Greek forms.

Readers may notice similarities to the story of Cupid and Psyche, from the Metamorphosis (Golden Ass) of Apuleius.  That is not merely coincidental, as Martianus consciously emulated his illustrious predecessor Apuleius, a fellow native of Madaura (in what is now Algeria).Philology, as already noted, means the love of study, and Mercury — known both for his role as communicator and mediator, as well as for his quickness — is a familiar symbol for the intelligence.

Rather than over-analyze the charming story, I’ll trust the author’s creative instincts and let art itself appeal to readers’ imaginations to suggest psychological meanings. Overall, the story might be understood as suggesting that education in the Seven Liberal Arts is more than merely expedient; it also serves to elevate and harmonize the mind. In that sense it (just as Plato suggests in the Republic), supports ones moral and spiritual development. Indeed, insofar as it helps realize Man’s greatest potentials, it serves the entire Universe and contributes to cosmic harmony.

[5] MERCURY was moved and excited by the reciprocity of love among the gods; at the same time he saw what was clear to many people—love and marriages are universally celebrated. So he too decided to get married. His mother had encouraged him in this inclination when, on his yearly journey through the zodiac, he greeted her in the company of the Pleiades.

[6] Because of the importance of the venture, he pondered a great deal on whom he ought to marry. He himself ardently desired Wisdom, because she was prudent and holy, and purer and fairer than the other maidens. However Wisdom was like a foster sister of Athena and seemed inseparably devoted to her, as though having espoused virginity; he accordingly decided not to marry Wisdom, as this would offend Athena, his own sister.

In the same way, the splendid beauty of Prophecy inflamed his desires. She was nobly born, being the elder daughter of Forethought, and her farsighted and penetrating wisdom commended her to him. But at that very time, as it happened, she went of her own accord to young Apollo and, unable to endure her inordinate passion, she became his lover.

[7] He wanted then to ask for Psyche, the daughter of Endelechia [World Soul] and Sol, because she was extremely beautiful and the gods had taken great care over her education. On the day of her birth the gods, being invited to a celebration, had brought her many gifts. Jupiter, in fact, had placed on her head a diadem which he had taken from his favored daughter Eternity; Juno had added a band for her hair, made from a gleaming vein of pure gold. Athena loosed from her tunic the flame-red veil and breastband and, herself a virgin holy and wise, draped the virgin in the very mantle from her own bosom. Apollo also, carrying his laurel branch, showed her with that wand of foresight and prophecy the birds, the bolts of lightning, the motions of heaven itself and the stars. Urania with gentle kindness gave her a gleaming mirror which Wisdom had hung in Urania’s rooms amongst her gifts—a mirror in which Psyche could recognize herself and learn her origins. Hephaestus kindled for her ever-burning flamelets; she would not then be oppressed by gloomy shadows and blind night. Aphrodite had given to all her senses every kind of pleasure. Mercury himself had given her a vehicle with swift wheels in which she could travel at an astonishing speed, although Memory bound it and weighed it down with golden chains. So now Mercury, his earlier hopes frustrated, sought in marriage Psyche, wealthy as she was in the gifts of heaven and richly adorned by the gods. But Virtue, almost in tears and clinging fast to him, confessed that Psyche had been snatched from her company into the hand of Cupid the flying archer, and was being held captive by him in shackles of adamant. (See ‘Cupid and Psyche’ by Apuleius):

[8] So the happiness of the destiny he had planned eluded Mercury, because of the marriages of these maidens; and there did not readily seem to be anyone else who might fittingly be chosen as Zeus the Thunderer’s daughter-in-law. Virtue therefore suggested that he give the matter further thought; he ought not decide anything without the advice of Apollo; he was not meant to wander far from his company, since, as Mercury traveled through the signs of the zodiac, Apollo never permitted him to be further than one month’s journey away from himself. And so it was decided that Mercury go to his brother, Apollo, wherever he might be.

[9] Then, as usual, he gave his caduceus to Virtue, so that she could penetrate the secret parts of the world with him, and with equal swiftness could break into the more remote quarters of heaven. He himself bound on his feet his golden sandals and they made a thorough search for Apollo. They looked for him in temples where oracles poured forth in evasive ambiguity and where, by the slaughter of animals and the separation of their entrails, the viscera declared foreordained events; and in places where it was the custom for a lottery to be drawn and for prophecies to be told.

[10] But in these leading shrines and these deserted caves they found nothing of Apollo except only a few leaves of withered laurel and half-torn fillets outside the cave of the sybil of Cumae. Even through the paths of air where Apollo usually guided the varied flights of birds and the cries they uttered, and formed omens in their fleeting wings, they looked for him without success. Indeed Apollo, patron of the Pythia, distressed by contact with those who sought his advice, had long ago given up his reputation as a prophet. They pursued him to Helicon, Delos, Lycia. In one place they found old laurel and withered ivy, in another a rotting tripod, sandals stiff with mildew, and an account of prophecies lying between them.

[11] At length they learned by rumor that the rock of Parnassus rejoiced in the presence of Phoebus, although from there too it was said that he had later moved to an Indian mountain’s secret crag, shrouded in perpetual clouds. Yet Mercury and Virtue visited the Delphic temple (by way of Cirrha on the Gulf of Corinth) and the sacred cave’s prophetic hollows. In it there stood about all the impending vicissitudes of the ages, in their order: the fortunes of cities and nations, of all their kings, and of the entire human race.

[20] When Pythian Apollo saw them approach from afar, conversing thus, and realized from the first glance the reason for their coming, he rose from the throne on which he was sitting and bade the Muses meet them. Although they seemed to hasten in service to Mercury, they moved with measured pace. When his brother had been brought to sit with him and join him in his work, Apollo first began:

[21] “When their minds tremble with apprehension in perilous times, or their destiny is unknown and unsettled with the future insecure, let the race of men consult the gods, because anxiety without knowledge of the truth makes them hesitant, uncertain prospects weary them; but to us foreknowledge is permitted, for us there is no hesitation. What the gods decide is law; heaven’s decisions cause us no wistfulness, for necessity is whatever is pleasing to us. But because you have not yet settled upon a choice, you want to have my advice. You thus associate me with all your desires, and you make up your mind with my advice.

[22] “There is a maiden of ancient lineage, highly educated and well acquainted with Parnassus; upon her the constellations shine in close proximity; no hidden region can conceal from her the movements of the stars through Tartarus, nor can thunderbolts hide from her the will of Zeus: she beholds under the sea the nature of wave-born Nereus. She knows your circuits through the several kingdoms of your brothers: ever watchful, with unsparing toil she penetrates the secrets of knowledge, so that with her patient learning she can anticipate all that it is given to gods to foreknow. Indeed, very often she has rights over us, impelling gods under compulsion to obey her decrees; she knows that what no power of heaven can attempt against Jove’s will, she can attain. Sublimity may cost dear: and the crowning consideration is that either of you is a fitting match for the other.”

[23] Virtue was delighted at these words of Apollo, recognizing that he proposed for marriage a paragon of a maiden; nevertheless, to be sure that there was no detraction from the dignity of the prospective brides mentioned earlier, she asked this one’s name. When she learned that it was Philologae whose espousal Apollo was urging, she was seized with such joy and enthusiasm that she behaved with less severity of deportment than was her wont. She called to mind that Philologae was her own kinswoman, a patroness of Prophecy, who had been so well commended, and most generous to Wisdom in giving her valuable ornaments. In addition, said Virtue, Psyche, who at first lived a primitive sort of existence, has been so refined by Philologae that whatever beauty and embellishment Psyche had she acquired from the polish Philologae gave her; for the maiden had shown Psyche so much affection that she strove constantly to make her immortal. Therefore they must not delay— and indeed she knew that the Cyllenian was swift in action. Having heard the words of Apollo, Mercury replied:

[24] “Lord of the laurel, splendor of the gods, certain it is that our concord comes from our kinship, and that you, my fellow-god, bring to pass whatever you and I together find to approve. I am never more ready to give up my own will, more happy to obey orders than when your caution and judgment prompt me to obey the Delian oracle. “I think it is sacrilege to regard the Delian utterances as ambiguous, and I forgo my own decision, whatever it was. It is therefore all the more appropriate that the I gladly obey these celebrated pronouncements when he is ordered to enter into matrimony. Try then, Delian Apollo, to ensure that Zeus should give the same decision, that he should give willing approval; for you are used to moving his will, you are alert to influence his predispositions; get him to approve your commands; I pray that his holy will has shone upon what has begun.”

Book I continues, informing us that Zeus not only confirms the choice of Philologae as Mercury’s bride, but is overjoyed at the prospect. He duly commands all the Olympian gods to commence festivities and prepare gifts. Book II continues with an elaborate description of the marriage ceremony. Accompanying the bride are her handmaids, the seven Liberal Arts, to which the remaining books are devoted.

Bibliography

Apuleius. Cupid and Psyche. William Addington (tr.); John Uebersax (ed.). 2018.

Cristante, Lucio; Lenaz, Luciano. Martiani Capellae: De nuptiis Philologiae et Mercurii. Vol. 1, Libri I – II. Bibliotheca Weidmanniana, 15.1. Hildesheim: Weidmann, 2011.

Gersh, Stephen. Middle Platonism and Neoplatonism: The Latin Tradition. Vol. 2. University of Notre Dame Press, 1986. (Ch. 8. Martianus Capella, pp. 597−646.)

Stahl, William Harris; Johnson, Richard; Burge, E. L. The Marriage of Philology and Mercury. Columbia University Press, 1977.

Willis, James (ed.). Martianus Capella: De nuptiis Philologiae et Mercurii libri IX. Leipzig: Teubner, 1983. (Critical edition of Latin text.)

1st draft, 24 Mar 2020