Chiara Petrolini
A Sweet Conversion: Tommaso Campanellaâs Quod Reminiscentur
For the success of the 1599 anti-Spanish conspiracy in Calabria and the subsequent foundation of a republic and a religion founded on freedom, Tommaso Campanella and the other conspirators knew that they would need to rely on external forces. They sought, and found, this help with the Turks: through the corsair Amurat RaĂŹs, they managed to gain the support of Scipione Cicala (Cigala-Zade Yusuf Sinan), a renowned renegade who had made an extraordinary rise through the social ranks of the Ottoman Empire. Member of an illustrious family of Genoese origin that had settled in Messina, during the âpirate warsâ Scipione Cicala, along with his father, had been captured by a Turkish ship off the island of Marettimo, Sicily. Taken in chains to Istanbul and into the presence of the Sultan, after abjuring Catholicism he entered the Janissary corps, where he quickly became the favourite of Selim II, son of SĂŒleyman the Magnificent. In 1591 he was appointed Grand Admiral of the Ottoman fleet. Now, that same Cicala had undertaken to come to the conspiratorsâ aid from the sea, with 60 boats and 100 pieces of artillery. The Turkish boats were indeed sighted off the coast of Calabria, but they never received the agreed signal to disembark, because the revolt was snuffed out at the very start and repressed with the utmost violence. Hundreds were arrested and some conspirators were hanged and their corpses displayed in public. Others were dismembered. Dionigio Ponzio, a Dominican and a good friend of Campanellaâs, and the first, with him, to conceive of the insurrection, was tortured twice and left disfigured and unable even to grasp his pen (he had to hold it in his mouth) to sign the trial statement. He was sentenced to abjure de vehementi but then, in 1602, he managed to escape. Disguising himself as a Turk, he boarded a Maltese galley and took refuge in Istanbul, in the palace of the powerful Cicala. In just a few weeks the man who had been accused by the Holy Office of having claimed «that there was no God but nature» converted to Islam and began to preach to the renegades, inciting them to fight against the Christians. He said â according to the Venetian bailo â that Campanella (who kept a portrait of the sultan in his cell) would also soon escape and that he too would move to Istanbul, from where he would cause «very great harm to the Christian religion». But things turned out very differently: Ponzio died shortly after, stabbed in a fight. As for Campanella, he feigned madness to avoid execution and spent the next 27 years in prison.
This tale of reversals of fortune, of promised and failed conversions, of brutal violence dealt and suffered, acts as a prelude to and helps clarify the subsequent development of the idea of peaceful and global conversion proposed by Campanella.
1. Beyond the friend/foe dichotomy?
Chained in the dark in the fossa, the humid, underground cell in Castel SantâElmo in Naples, and in total isolation, Campanella attained the utmost mental concentration. In abjection he experienced what he himself insisted on calling âconversionâ (which, however, had nothing in common with the great paradigms of Paul and Augustine). In other words, the transition from a natural and sceptical philosophy of a Telesian stamp to militant Catholicism. And he dedicated to his own conversion and that of the peoples of the world one of the books most dear to him because he wrote it â as he said â almost «forced by God». That book was Quod Reminiscentur, which he began in 1606 and completed in 1618, four years before the establishment of Propaganda Fide, of which it was, as Luigi Firpo wrote, «a singular and brilliant foretaste».
In a series of studies devoted to idolatry, Jan Assmann suggests applying to monotheistic religions Carl Schmittâs view that the essence of politics lies in the distinction between friend and foe. According to Assmann, it is indeed monotheistic religions that «divide the world». This polarising power is the origin of the violence that springs from religion: it is rooted in the distinction between true and false and the obsession with idolatry. Hence the drive for proselytism and «the semantics of breaking away, of exclusion, of conversion». Assmannâs assertion, rooted in the Enlightenment, may be questionable, but it is borne out by most 17th-century conversion treatises, narratives and practices. This is not the case, however, with Tommaso Campanellaâs Quod Reminiscentur, a grand project of global conversion. In this quadripartite treatise â especially in the second book, devoted to Gentiles â the friend/foe dichotomy is firmly rejected in favour of a radically alternative vision of the relationship between Christianity and non-European idolatrous cults. It lays out a plan for the universal conversion of the peoples that combines neo-Platonism, concepts such as the consensus gentium, prophecy, and hermeticism. Along with this, there is a deeply moving element of autobiography and introspection, a premonition of an imminent catastrophe, a consciousness of the way geographical discoveries have radically changed perceptions of space, and a creative use of the narratives of missionaries and travellers. The result is a work of amazing originality and interest which combines a meditation on an individual conversion, experienced first-hand by Campanella, with the need for the conversion of all as the solution to the crisis the century was undergoing, to heal a world dominated by violence and irrationality. I have decided to concentrate on Campanella because a viewpoint that is apparently off-centre, and genuinely philosophical, may offer a useful perspective on the missionary literature of the period. Campanella was an avid consumer of reports by missionaries and travellers, both printed and manuscript, like those of the Dominican Domenico Bisanti, and sometimes even of oral accounts. Observing how material of this nature is re-assembled and reconfigured within the architecture of the renewal of knowledge and of ways of living elaborated by the philosopher confirms their adaptability, their capacity to generate results far removed from the intentions with which they were written. Quod Reminiscentur is built entirely from the information surrounding the many and most varied faiths discovered through these types of report: only by climbing the Tower of Babel of these infinite beliefs is it possible to see more clearly the profound and substantial order and unity of the world and its peoples. A Utopia of universal fraternity, Quod Reminiscentur was created in response to a violence that was systematically observed (in Calabria), suffered (in prison) and perceived as a distinguishing feature of a world in turmoil and intent on ruin. Campanella was certainly not the only person in those years to be thinking of global conversion. In 1613, in Antwerp, the prior of the Discalced Carmelites monastery in Brussels, TomĂĄs de Jesus (DĂaz SĂĄnchez DĂĄvila), published De procuranda salute omnium gentium, a hugely successful manual which shares with Campanellaâs writing many elements of the missionary method. However, Quod Reminiscentur âstands aloneâ because it is based on an unbreakable link between autobiography and philosophy, between personal experience and theology. Reading it, one cannot fail to think of the core of utterly private torment, both physical and moral, from which it sprang. In addition to being the fruit of a rigorous theological and philosophical rationale and a formulation of what Jean-Louis Fournel called «geosophy», that is, «a sort of wisdom of the territory which does not claim to describe it but includes it in a holistic and strongly centripetal system», the books of Quod Reminiscentur are also books of, literally, âescapeâ: they open up an escape route from the brutalisation of a convicted man who, in his solitary cell, reproduces the world in all its multi-coloured variety and summarises it in four books. It is as though, from the annihilation perpetrated from the outside world by others, from a violence experienced systematically and perceived universally, Campanella had caused a sort of phantasmagoria to be unleashed.
However, it is important to immediately make one point clear: Campanella was not engaged in an abstract intellectual experiment, and certainly did not see himself as eccentric. He did not want just to imagine histor...