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 But of and by whom do myths speak? Figurative Archetypes personify particular attributes (e.g. swiftness, guile) so as to embody Universal Ideas (e.g. Liberty, Justice) which correspond to those functions, roles, and ‘loci of being’ into which actual persons can be virtually dis/as/sembl/ed as tokens of types. Bruno’s intra­-personal mnemotechné rearranges archetypal role­-functions in phantasmic loci to reorient reassembled persons to reorganized Ideas. His inter­-personal “art of binding” consists in dissymmetric bonds via “mutual orientation between a captor and a captive”, from which Couliano draws a striking parallel: “For Freud, transference is limited to the relations between analyst and patient [analysand]; for Lacan, the entire world of mankind is a transference function of gigantic proportions in which everyone, in turn, plays [each part—just as,] to Ficino, Eros means the relationship between two individuals, the lover and the beloved; to Bruno, Eros is the driving power of intersubjective relationships in general, group phenomena included.” Thus Bruno’s hunt (like Klossowski’s) “represents intellective processes whose object, the Truth which is also Beauty, is the object of Eros.”

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 Why then, just as the object of Beauty dis­-closes the Truth of the subject, is our hero torn to bits? In being partially embodied by Diana, this “object of contemplation” is bodily partitioned—that is, some part must remain beyond reach, some­-Thing­-other (Lacan: autre­-Chose) that resists symbolization. As Bruno tells us, man “calls cruel the object [which] is more an object of desire than of possession, such that he who possesses it partially cannot rest, still desiring it with an ardor which brings him, swooning, to the point of death.” Here we face not only Kojève’s desire­-for-Desire, but moreover, the pagan polarity of Eros/Thanatos on which Freud drew the Todestrieb (‘death drive’) beyond the Lustprinzips (‘pleasure principle’). Reckoning by figs.75­-76: as Bruno ties the “bond of Eros to Desire, Lacan tracks Freud’s dogs on one cardinal Drive, up until “Diana, in the damp shade that confounds the cave with the emblematic abode of truth, offers to his thirst, along with the smooth surface of death, the quasi­-mystical limit of the most rational discourse ... the locus in which the symbol substitutes for death in order to take possession of the first budding of life.”

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