Ramon Llull Ars Inventiua Veritatis (1515)

...nor is the end of effecting and acting out truth original: "veritatem" in goodness, etc., consequently its own end; nor is goodness, etc., an end in truth. For such a thing would proceed toward privation In medieval logic, "privation" is the absence of a quality that should normally be present; here, it suggests a loss of essential being., unless truth were the principle of its own act. There is, however, one supreme truth having the aforementioned conditions, which is the principle for all other truths, acting as the cause toward which all other truths direct themselves. ¶ The practitioner term: artista refers to the "Artist" or student of Ramon Llull’s "Great Art" (Ars Magna), a system of logic designed to discover truth through the combination of concepts., in reaching the conditions of truth, reaches everything that is true. For just as that which is made alive original: "vivificatum" is the image of the one who makes it alive original: "vivificantis", and as the act of making alive is the image of the maker and also of that which is capable of being made alive, so too the knowledge which the practitioner has regarding the conditions of truth is an image in the mind of that supreme truth. In this truth, he may behold every joinable truth. Therefore, by reason of this truth, a principle has been brought into this Art, through which the practitioner may reach the sought-after object.

Concerning Glory (k.)

Glory is the very delight in which goodness, magnitude, etc., find rest. Whence that glory which is greater in itself than in another is the principle of that glory which is greater in another than in itself. The reason for this is that the end is greater in itself than in another. This glory, whose end is in itself, is supreme by reason of itself and by reason of its goodness and magnitude, etc., and all other glories tend toward it and are its effects. This supreme glory does not need to seek glory outside of itself, as if things outside were the "matter" or substance for its glorying; rather, it is glorifying in and through itself alone by reason of the end of its goodness, etc. Moreover, the one who glorifies possesses within himself the one who is glorified, the act of glorifying, and that which is capable of being glorified, so that the end of glory—in goodness, infinity, eternity, etc.—does not remain idle. Therefore, that glory which cannot have such an end in itself nor in goodness, etc., is the lowest—a mere image of the true, where the intellect does not participate except as it contemplates its own blessedness within that supreme glory. ¶ Having attained knowledge of glory and its conditions, the intellect of the practitioner is prepared and directed toward finding solutions. These solutions are to be inferred, either explicitly or implicitly, by reason of glory or delight—whether through comparison or assimilation—according to the ascent or descent of the investigating intellect through higher or lower glory. And this is the reason why Glory is chosen to be one of the principles of this Art. ¶ We have now spoken of the principles of the First Figure, declaring why Goodness, Magnitude, etc., are taken as the principles of this Art, so that the practitioner may know how to use this Art under such principles. It should be known that we have deduced Goodness and the other subsequent reasons to be principles of this Art so that it may be understood that all instances of goodness, magnitude, etc., are regulated under this Art. That is, all specific goodnesses are governed by the aforementioned "Goodness," and all magnitudes under the aforementioned "Magnitude," and so on for the other principles of this Art.

Concerning the Second Figure, which is the second part of this first distinction.

A circular diagram of Ramon Llull's "Second Figure." It features a central circle containing the letter 'S', surrounded by three overlapping triangles: a green triangle (labeled Difference, Concordance, Contrariety), a red triangle (labeled Beginning, Middle, End), and a saffron triangle (labeled Majority, Equality, Minority). The outer rim is divided into nine compartments labeled B through K, describing relationships such as "between substance and accident" and "between the sensual and the sensual."

The Second Figure is composed of three triangles taken from the demonstrative art: the green, the red, and the saffron Saffron refers to a golden-yellow color. triangles, which involve the nine principles of this Art. ¶ The first triangle, which is green, is composed of Difference, Concordance, and Contrariety. The second, which is red, is composed of Beginning, Middle, and End. But the third, which is saffron, is composed of Majority, Equality, and Minority. Through these triangles, a "discourse" or process of discovery original: "inventio" is made in this Art by mixing one of these triangles with another, and also by mixing one of the angles contained within them with another. This is done within the First, Third, and Fourth Figures, so that the "middle of a solution" In Lullian logic, the "middle" is the logical link that connects two concepts to solve a problem. may be found in the aforementioned mixing. ¶ Indeed, we derive eight other angles from the principles, calling them "principles" because of their power. We can also call them: nine Differences, nine Concordances, nine Contrarieties; and likewise nine Middles, nine Ends; and also nine Majorities, nine Equalities, and nine Minorities, through which this entire Art moves. According to their conditions and mixtures, one must conclude either affirmatively or negatively, as required by the conditions of the aforementioned triangles and the minor principles of this Art. This means that if a conclusion cannot be reached affirmatively while preserving the conditions of the terms of this Art in the mixture, then a negative conclusion is drawn. Or, if the conditions cannot be preserved negatively, an affirmative conclusion must be drawn. ¶ But in order to denote the aforementioned terms or angles by certain letters for placement in the figure, we take: B for Difference, C for Concordance, D for Contrariety, E for Beginning, F for Middle, G for End, H for Majority, I for Equality, and K for Minority. Each of these letters is "equivocal" In this context, "equivocal" means the letter has a dual meaning depending on which figure is being used. to two principles: namely, B refers to Goodness in the First Figure, and to Difference in the...