Prologue. Folio III.

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Most powerful and most kind God, whose wisdom and love is without number or end: so that we may know how to know and love you, the Inventive Art begins. And first, concerning the prologue.

Ramon Llull

A woodcut illustration of Raymundus Lullius (Ramon Llull) in his study. He is seated at a desk, wearing doctoral robes and a cap, pointing toward books on a shelf while holding another volume. The room is filled with books, and the desk features a decorative lattice facade. The entire scene is enclosed in a rectangular border.

The present Art descends from the Demonstrative Art original: "arte demonstrativa." This refers to Llull's earlier, more complex version of his logical system.. And although the essence of this one and that one is one and the same, their manner of proceeding is different; for while that earlier one proceeds through terms reduced to letters, this one is content with its own proper terms or principles. Nor does it require another notation of letters like the former, so that those who understand the alphabet of the Demonstrative Art may reach the terms or principles of this Art under their own proper meanings. Nevertheless, in this same Art, it is necessary for us to use terms in the figures, though not in the progression of letters; otherwise, neither the inquiry nor the invention in the two final figures of this Art could be carried out. And because it is so that the essences and operations of the things being considered are more powerful and more numerous in themselves than their likenesses in the intellect, and those likenesses are greater and more ample in the intellect than the meanings signified in words, there is a great distance between the things signified and the things themselves. For that reason, it is permitted for us to fashion words Llull is defending his use of neologisms—newly coined words—which were necessary to express his unique logical system. because of the scarcity of existing terms, and out of the power and necessity of the Art, to utter somewhat unusual words, as will be clear below. And so that we may express greater meanings that are at least less distant from the things themselves, we sometimes borrow words; and that which is proper to one thing, we attribute to another for the sake of expressing a greater meaning, as will be clear below. For example, when it is said "Goodness goodifies," "Greatness magnifies," and so on. In this way, that which is proper to a "good subject"—namely, to act in a good way—we attribute to "Goodness" itself, through which the good thing itself acts; this is so we may more powerfully express that the "good" acts because of its "goodness" and the "great" magnifies because of its "greatness." Just as when it is said "the end moves the agent toward the good," it is well said that the agent moves itself toward "goodifying" for the sake of a good end. And if it is necessary for us to speak improperly about created things (as has just been said), then we can speak even less properly about God. For since His essence is immense in all His perfections, what sign of ours could truly represent Him properly? Therefore, we devoutly pray to those approaching this Art or studying in the same, that moved by the fire of scientific charity, they attend to the reality of our improper sayings (if they should happen upon them) and not merely to what we seem to say, but rather descend into what we intend to say. Or even if by chance we introduce a false conclusion, let them attribute this to the error of our lack of skill; for if the craftsman errs through ignorance, it is not to be attributed to the Art itself, since the Art itself is ne-

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-cessary, as we intend to declare by necessity. And furthermore, if the impropriety of our speeches (to speak more concisely) or the insufficiency of our talent or even of the translation should seem to extend any error against the holy Catholic faith, we humbly implore the correction of the most holy Roman Church; for it happens that one errs by reason of ignorance, not by reason of the Art or the method. For sometimes we seem to speak against ourselves, yet it is shown below that we do not contradict ourselves. Therefore, let us now proceed to the proposal.

On the division of this book.

The present work is divided into four distinctions. The first is about figures. The second is about the conditions of the principles. The third is about the rules. The fourth and last is about questions. Now, the reason why the aforementioned figures are placed in this Art stands in this: so that the senses may apprehend their site and disposition, because in that apprehension the imagination acts as a mirror in which the intellect may reach the disposition of the figures of the principles of this Art, and its discursive and investigative mode. ¶ The intention also of why there are principles, or conditions, or "chambers" in this Art is this: because the conclusion must be reduced to those principles. And because through them, the middle term of a conclusion is found. And because under those principles, other principles and reasons are regulated, and a multiplicity of arguments results from them by grasping each principle with every other principle and its definition. ¶ Likewise, the reason why there are rules in this Art is this: namely, so they may regulate the powers of the soul for inquiring into the particular within the universal, and through them, they are led to the process of this Art and moreover to other implied rules. ¶ The intention of why questions enter into this Art is this: namely, so that through them the mode of practicing and exemplifying may appear in this Art for finding that which is sought. For just as we exemplify in the present questions of this Art, we hand down the Art itself in them; thus it is to be understood regarding other questions to be made.

First Figure.

A circular diagram titled "Prima Figura." It consists of several concentric rings. The innermost ring is a square containing the letter 'A'. Lines radiate from this center to the edges of the outer circle, creating nine segments. Each segment contains a letter and a Latin term: B/goodness, C/greatness, D/duration, E/power, F/wisdom, G/will, H/virtue, I/truth, and K/glory. Lines connect the various letters within the central square, representing logical connections.

This is the "Figure A," representing the Divine Attributes or "Dignities." Llull believed these were the fundamental building blocks of reality that all religions could agree upon.

a iii The signature mark for the printer to keep the pages in order.