The main theme here is an unexpectedly close relation between love and a broadly Aristotelian notion of intellect. We will also see another perspective on the crucial Aristotelian concepts of potentiality and act, and perhaps shed further light on Aristotle’s telegraphic remarks about how we have knowledge of “privations” or negations of things.

I’ll be devoting two posts to the small pamphlet Intellect d’Amour (2018), introduced by the great contemporary scholar of medieval philosophy Alain de Libera, in which leading specialist in Averroes and Latin Averroism Jean-Baptiste Brenet translates an Italian essay by Giorgio Agamben, and presents a related essay of his own. This post deals with Agamben’s part.

While I have little sympathy for Agamben’s quasi-Heideggerian reduction elsewhere of “Western metaphysics” as a whole to a fundamental error for which Aristotle is supposedly to blame, his essay here is focused and interesting. The medieval Italian poet and philosopher Guido Cavalcanti (1255?-1300) — a close associate of and influence on the great Dante Alighieri, author of The Divine Comedy — is now generally understood to have been inspired by Italian Averroist philosophy (see Italian Aristotelianism). The dominant interpretation of Cavalcanti, however, has been that of Bruno Nardi, who emphasizes a fundamental discontinuity between Cavalcanti’s exaltation of love in both its spiritual and its erotic dimensions, and his Averroist views on intellect. Agamben, Brenet, and de Libera all seem to agree in turning this interpretation on its head.

Dante and Cavalcanti are both commonly associated with the historically shadowy group of poets known as the fedeli d’amore (love’s faithful). The fedeli were apparently influenced by the poetry and music of the troubadours, who developed the Western medieval tradition of courtly love, and also used it as a spiritual metaphor, somewhat along the lines of Plato’s Symposium. Sources of the troubadour tradition are disputed by scholars and likely were multiple, but an Arabic or specifically Sufi element has been repeatedly suggested.

Agamben’s essay points out that a particularly mysterious phrase bianco in tale obiettò cade (something like “white falls into this objection”) in Cavalcanti’s poem Donna me prega appears to be intended to recall the Latin cecidit albedo in exemplari in Averroes’ Long Commentary on Aristotle’s On the Soul. In the poem, Cavalcanti has just said that love cannot be understood in terms of vision.

Agamben notes that in the passage where the corresponding phrase appears in Averroes, Averroes is more broadly addressing how we know the privations of positive terms. In the context of vision, Averroes poses “blackness” as a privation of “whiteness”, somewhat like modern science calls blackness an absence of color. Agamben quotes de Libera’s remark in his partial French translation of Averroes’ work that “Every privation is effectively known negatively, by preliminarily positing something and then negating it” (p. 13, my translation throughout).

The “white” in Cavalcanti’s poem recalls the white by which the black is known as a privation. Following the passage Cavalcanti refers to, the Latin translation of Averroes says “And it is necessary that this faculty of knowledge perceives the privation in perceiving itself as being in potentiality, when it is in potentiality, since it perceives the one and the other of itself, that is to say being in potentiality and being in act. And such is the case with the material intellect” (quoted, p. 19).

Here we have among other things a fascinating connection between self-apprehension and negation. I imagine Hegel nodding in approval here.

“Averroes affirms that, in knowing obscurity, the material intellect knows itself insofar as it is in potentiality, and that, reciprocally, for the material intellect, to understand itself is equivalent to knowing obscurity and privation. One sole and same faculty — the material or possible intellect — knows obscurity and light (obscuritatem et lumen), power and act, form and its privation. As de Libera notes, this signifies that ‘privation is attached to the very essence of intellect’, and indeed also — the consequence is inevitable — that obscurity — non-thinking in act — is an integral part of intellect and is consubstantial with it ” (pp. 19-20).

Here I think also of Socrates’ comment that wisdom involves recognizing what we do not know. In a sense, this kind of recognition of privation is just as much a part of knowledge as any positive content.

“The idea that obscurity, which for him constitutes an essential part of the amorous experience, in no way implies an exclusion of knowledge, could not but fascinate Cavalcanti. On the contrary, since one sole and same faculty — the possible or material intellect, where love has its dwelling place — knows equally well the darkness and the light, equally well the form and its privation, having the amorous experience of obscurity thus also necessarily signifies having the experience of the pure power of intellect” (p. 20).

In passing, Agamben refers here to his major thesis in this essay, that the material intellect is where love has its abode for Cavalcanti. We also see an example of the Aristotelian thesis that rational knowledge of one of a pair of opposites necessarily entails knowledge of the other.

“In this perspective, it is possible to divide the philosophers into two great classes or families. According to the one group, what defines humans is the act of thinking, and the latter are indeed like the angels, always in the act of thinking; according to the others (the Averroist tradition in which Cavalcanti as well as Dante are inscribed by right), what defines humans is not the act, but the power of thinking (humans do not think continually, which is to say they think in an intermittent way — not sine interpolatione [without interpolation], as Dante says” (pp. 20-21).

In our thinking, we who are not pure act depend on this “power of thinking” that begins as something external to us.

Agamben recalls that Averroes calls the material intellect a fourth kind of being (neither form, nor matter, nor a composite). “It is this perception of its own obscurity by the material intellect, essentially divided in its being, which becomes for Cavalcanti the place of the experience of love” (p. 22). “If the attempt to think, apropos of the material intellect, the existence of a pure power as a fourth genus of being leads Averroism to an aporia from which it is not easy to escape, it nonetheless furnishes, and precisely through that, the elements of another conception of subject than that which has prevailed since Descartes…. Otherwise said, Averroism thinks the subject as the subject of a power, and not only of an act…. Averroes suggests that the material intellect should be considered more as a place… than as a matter” (p. 23).

Agamben’s language seems overly loose here, in that it blurs together act in an Aristotelian sense and agency in a modern sense, but he nonetheless makes an important point. The “Cartesian subject” is indeed commonly conceived more or less exclusively in terms of its agency in the modern sense. Both the mechanist and the voluntarist dimensions in Cartesian thought mitigate against taking the key Aristotelian concept of potentiality seriously (and conversely, taking potentiality seriously makes both mechanism and voluntarism untenable).

The modern notion of agency is distinguished by the fact that from the outset, it is conceived as not having any inherent relation to a contrasting term like potentiality, that would condition and limit it. By contrast, Aristotle only arrives at the thesis that there can be such a thing as pure act after a long dialectical development, starting from the cases where act is only analytically distinguishable from potentiality. The common modern approach short-circuits all of this. Aristotelian act and agency in the modern sense are thus two different things. But Agamben correctly points out that any finite “subject” that is the subject of a conditioning power (or capability, as Paul Ricoeur more felicitously puts it) will be fundamentally different from the modern stereotype of a one-sided subject-agent.

“The great invention of Cavalcanti, of Dante and the other poets of love, is to situate love in the possible intellect without reservation. As the song says, and for once clearly, the possibile intelletto is the subject — or the quasi-subject (come in subietto) — the loco [place] and the dimoranza [residence] (the mansio [house]) of the veduta forma [form seen] that produces love…. [L]ove (as the ‘form seen’, veduta forma, which gives birth to it) is in the possible intellect as in its proper place” (p. 24).

The thought here seems to be that the feeling of love follows from the apprehension of a form or image as having characteristics that make it in itself lovable. According to Agamben, for Cavalcanti and Dante, the possible aka potential aka material intellect is the “quasi-subject” of love. At the same time, the possible intellect is not so much a discrete entity as a “place” that is not really a discrete place either, but a kind of ubiquitous structural relation.

Agamben cites a line from Dante speaking of “women who have love’s intellect”. He comments, “[B]etween intellect and love the connection is essential” (ibid).

“The modern specialists, each convinced that they think with their own brain — when to all evidence they on the contrary think according to the common paradigms imposed by the doctrinal system in which they are inscribed — experience such distress before the Averroist theory of the unique intellect, that they do not understand what should nonetheless be evident, namely that the speculative node of the question, so to speak the experimentum crucis [cross test] of Averroism, does not consist in the division between individuals and intellect, but — once the division is affirmed — in their conjunction, which the Latin translators render by the technical terms copulatio and continuatio. In this conjunction between the unique material intellect and singular individuals, the essential mediating function is accomplished by the intentiones ymaginatae, that is to say the phantasms of the imagination” (p. 25).

“Nonetheless, not only does the imagination operate as an intermediary between individuals and the intellect, but it is also for Calvalcanti the object and at the same time the subject of amorous passion” (p. 26). “Cavalcanti and the poets of love take the coincidence between love and imagination so far that they personify the phantasms” (p. 27).

This is saying that imagination is both the object and the subject of love, as well as what individualizes intellect.

Agamben points out that Averroes strongly underlines Aristotle’s statement that only the combination of intellect and desire moves us. “It is this singular fusion between intellect, desire, and imagination that it is also necessary to understand in the ‘love’s intellect’ of Dante…. Love is not a substance, it is — as [Cavalcanti’s] song says in its overture — an ‘accident’ that indetermines the three substances intellect, imagination, and desire, and puts them fiercely in tension” (p. 29).

“[F]or intellection to be ‘acquired’ and become ‘proper’ to the individual, in effect it does not suffice that the forms be imagined, but it is necessary that they be desired and willed…. [T]he phantasm by desire makes the intelligible proper to the subject. Thought belongs to me because it has been imagined and desired” (p. 31).

“The great invention of Cavalcanti and the poets of love is to make love the place par excellence of the adeptio [acquisition] of thought by the individual” (p. 32).

Whom and what we love are of decisive importance to who we are, as well as to what we hold to be true.

Agamben notes that Dante also drew political consequences from his Averroist view of intellect. He quotes Dante’s treatise on monarchy: “Since the power of thought cannot be integrally and simultaneously actualized by a single human or by a single particular community […], it is necessary that there be in the human genus a multitude through which the whole power is in act” (p. 33, ellipses in original).

Dante’s universalist aspirations distinguish him from Cavalcanti, who was deeply involved in factional intrigue. For Dante, “‘our’… accompanies and precedes ‘me'” (p. 34).