(2) downwards, men have done nothing but struggle over rewards and punishments,—what possible leisure can they have had for adapting themselves to the natural conditions of their existence? Besides, over-refinement of vision leads to debauchery in colour; over-refinement of hearing leads to debauchery in sound; over-refinement of charity leads to confusion in virtue; over-refinement of duty towards one's neighbour leads to perversion of principle; over-refinement of ceremonial leads to divergence from the true object; over-refinement of music leads to lewdness of thought; over-refinement of wisdom leads to an extension of mechanical art; and over-refinement of shrewdness leads to an extension of vice. If people adapt themselves to the natural conditions of existence, the above eight may be or may not be; it matters not. But if people do not adapt themselves to the natural conditions of existence, then these eight become hindrances and spoilers, and throw the world into confusion. In spite of this, the world reverences and cherishes them, thereby greatly increasing the sum of human error. And not as a passing fashion, but with admonitions in words, with humility in prostrations, and with the stimulus of music and song. What then is left for me? Therefore, for the perfect man who is unavoidably summoned to power over his fellows, there is naught like Inaction. By means of inaction he will be able to adapt himself to the natural conditions of existence. And so it is that he who respects the State as his own body is fit to support it, and he who loves the State as his own body, is fit to govern it.

(2) The born lover, to whose degree the musician also may attain- and then either come to a stand or pass beyond- has a certain memory of beauty but, severed from it now, he no longer comprehends it: spellbound by visible loveliness he clings amazed about that. His lesson must be to fall down no longer in bewildered delight before some, one embodied form; he must be led, under a system of mental discipline, to beauty everywhere and made to discern the One Principle underlying all, a Principle apart from the material forms, springing from another source, and elsewhere more truly present. The beauty, for example, in a noble course of life and in an admirably organized social system may be pointed out to him- a first training this in the loveliness of the immaterial- he must learn to recognise the beauty in the arts, sciences, virtues; then these severed and particular forms must be brought under the one principle by the explanation of their origin. From the virtues he is to be led to the Intellectual-Principle, to the Authentic-Existent; thence onward, he treads the upward way.

(5) The Good which all the realm thou art ascending Turns and contents, maketh its providence To be a power within these bodies vast; And not alone the natures are foreseen Within the mind that in itself is perfect, But they together with their preservation. For whatsoever thing this bow shoots forth Falls foreordained unto an end foreseen, Even as a shaft directed to its mark. If that were not, the heaven which thou dost walk Would in such manner its effects produce, That they no longer would be arts, but ruins. This cannot be, if the Intelligences That keep these stars in motion are not maimed, And maimed the First that has not made them perfect. Wilt thou this truth have clearer made to thee?" And I: "Not so; for 'tis impossible That nature tire, I see, in what is needful." Whence he again: "Now say, would it be worse For men on earth were they not citizens?" "Yes," I replied; "and here I ask no reason." "And can they be so, if below they live not Diversely unto offices diverse? No, if your master writeth well for you."

(1) What you afterwards say is as follows: “ That some of those who suffer a mental alienation, energize enthusiastically on hearing cymbals or drums, or a certain modulated sound, such as those who are Corybantically inspired, those who are possessed by Sabazius, and those who are inspired by the mother of the Gods .” It is necessary, therefore, to discuss the causes of these things, and to show how they are definitely produced. That music, therefore, is of a motive nature, and is adapted to excite the affections, and that the melody of pipes produces or heals the disordered passions of the soul, changes the temperaments or dispositions of the body, and by some melodies causes a Bacchic fury, but by others occasions this fury to cease; and, likewise, how the differences of these accord with the several dispositions of the soul, and that an unstable and variable melody is adapted to ecstasies, such as are the melodies of Olympus, and others of the like kind; all these appear to me to be adduced in a way foreign to enthusiasm. For they are physical and human, and the work of our art; but nothing whatever of a divine nature in them presents itself to the view.

(2) All in the world know the beauty of the beautiful, and in doing this they have (the idea of) what ugliness is; they all know the skill of the skilful, and in doing this they have (the idea of) what the want of skill is. So it is that existence and non-existence give birth the one to (the idea of) the other; that difficulty and ease produce the one (the idea of) the other; that length and shortness fashion out the one the figure of the other; that (the ideas of) height and lowness arise from the contrast of the one with the other; that the musical notes and tones become harmonious through the relation of one with another; and that being before and behind give the idea of one following another. Therefore the sage manages affairs without doing anything, and conveys his instructions without the use of speech. All things spring up, and there is not one which declines to show itself; they grow, and there is no claim made for their ownership; they go through their processes, and there is no expectation (of a reward for the results). The work is accomplished, and there is no resting in it (as an achievement). The work is done, but how no one can see; 'Tis this that makes the power not cease to be.

(4) A poet was I, and I sang that just Son of Anchises, who came forth from Troy, After that Ilion the superb was burned. But thou, why goest thou back to such annoyance? Why climb'st thou not the Mount Delectable, Which is the source and cause of every joy?" "Now, art thou that Virgilius and that fountain Which spreads abroad so wide a river of speech?" I made response to him with bashful forehead. "O, of the other poets honour and light, Avail me the long study and great love That have impelled me to explore thy volume! Thou art my master, and my author thou, Thou art alone the one from whom I took The beautiful style that has done honour to me. Behold the beast, for which I have turned back; Do thou protect me from her, famous Sage, For she doth make my veins and pulses tremble." "Thee it behoves to take another road," Responded he, when he beheld me weeping, "If from this savage place thou wouldst escape; Because this beast, at which thou criest out, Suffers not any one to pass her way, But so doth harass him, that she destroys him;

(4) Listening I downward bent my countenance; And one of them, not this one who was speaking, Twisted himself beneath the weight that cramps him, And looked at me, and knew me, and called out, Keeping his eyes laboriously fixed On me, who all bowed down was going with them. "O," asked I him, "art thou not Oderisi, Agobbio's honour, and honour of that art Which is in Paris called illuminating?" "Brother," said he, "more laughing are the leaves Touched by the brush of Franco Bolognese; All his the honour now, and mine in part. In sooth I had not been so courteous While I was living, for the great desire Of excellence, on which my heart was bent. Here of such pride is paid the forfeiture; And yet I should not be here, were it not That, having power to sin, I turned to God. O thou vain glory of the human powers, How little green upon thy summit lingers, If't be not followed by an age of grossness! In painting Cimabue thought that he Should hold the field, now Giotto has the cry, So that the other's fame is growing dim.

(3) Since however, the virtue of manners is conversant with the passions, but of the passions pleasure and pain are supreme, it is evident that virtue does not consist in extirpating the passions of the soul, pleasure and pain, but in co-harmonizing them. For neither does health, which is a certain apt mixture of the powers of the body, consist in expelling the cold and the hot, the moist and the dry; but in these being [appropriately] mingled together. For it is as it were, a certain symmetry of these. Thus too, in music, concord does not consist in expelling the sharp and the flat; but when these are co-harmonized, then concord is produced, and dissonance is exterminated. In a similar manner, the hot and the cold, the moist and the dry, being harmoniously mingled together, health is produced, and disease destroyed.

But when anger, and desire are co-harmonized, the vices and the [other] passions are extirpated, and the virtues and manners are ingenerated. Deliberate choice however, in beautiful conduct, is the greatest peculiarity of the virtue of manners. For it is possible to use reason and power without virtue; but it is not possible to use deliberate choice without it. For deliberate choice indicates the dignity of manners. Hence also, the reasoning power subduing by force anger and desire, produces continence and endurance. And again, when the reasoning power is violently dethroned by the irrational parts, then incontinence and effeminacy are produced. Such dispositions however, of the soul as these, are half-perfect virtues, and half-perfect vices. For the reasoning power of the soul is [according to its natural subsistence] in a healthy, but the irrational parts are in a diseased condition.

And so far indeed, as anger and desire are governed and led by the rational part of the soul, continence and endurance become virtues; but so far as this is effected by violence, and not voluntarily, they become vices. For it is necessary that virtue should perform such things as are fit, not with pain, but with pleasure. Again, so far as anger and desire govern the reasoning power, effeminacy and incontinence are produced, which are certain vices. But so far, as they gratify the passions with pain, knowing that they are erroneous, in consequence of the eye of the soul being sane,—so far as this is the case, they are not vices. Hence, it is evident that virtue must necessarily perform what is fit voluntarily; that which is involuntary indeed, not being without pain and fear; and that which is voluntary, not subsisting without pleasure and delight.

(45) Who thinks his great achievements poor Shall find his vigour long endure. Of greatest fulness, deemed a void, Exhaustion ne'er shall stem the tide. Do thou what's straight still crooked deem; Thy greatest art still stupid seem, And eloquence a stammering scream. Constant action overcomes cold; being still overcomes heat. Purity and stillness give the correct law to all under heaven.

(4) "O thou who honourest every art and science, Who may these be, which such great honour have, That from the fashion of the rest it parts them?" And he to me: "The honourable name, That sounds of them above there in thy life, Wins grace in Heaven, that so advances them." In the mean time a voice was heard by me: "All honour be to the pre-eminent Poet; His shade returns again, that was departed." After the voice had ceased and quiet was, Four mighty shades I saw approaching us; Semblance had they nor sorrowful nor glad. To say to me began my gracious Master: "Him with that falchion in his hand behold, Who comes before the three, even as their lord. That one is Homer, Poet sovereign; He who comes next is Horace, the satirist; The third is Ovid, and the last is Lucan. Because to each of these with me applies The name that solitary voice proclaimed, They do me honour, and in that do well." Thus I beheld assemble the fair school Of that lord of the song pre-eminent, Who o'er the others like an eagle soars.

(3) This also is evident, that [human] life becomes different from disposition and action. But it is necessary that the disposition should be either worthy or depraved; and that action should be attended either with felicity or misery. And a worthy disposition, indeed, participates of virtue; but a bad one of vice. With respect to actions, also, those that are prosperous are attended with felicity; (for they derive their completion through looking to reason) but those that are unfortunate, are attended with misery; for they are frustrated of the end. Hence, it is not only necessary to learn virtue, but also to possess and use it, either for security, or increase, [of property when it is too little] or, which is the greatest thing of all, for the emendation of families and cities.

For it is not only necessary to have the possession of things beautiful, but also the use of them. All these things, however, will take place, when a man lives in a city that uses equitable laws. And these, indeed, I say, are what is called the horn of Amalthea. For all things are contained in equitable legislation. And without this, the greatest good of human nature can neither be effected, nor, when effected, be increased and become permanent. For this comprehends in itself virtue, and the tendency to virtue; because excellent natures are generated according to it. Manners, likewise, studies, and laws, subsist through this in the most excellent condition; and besides these, rightly-deciding reason, and piety and sanctity towards the most honorable natures.

So that it is necessary that he who is to be happy, and whose life is to be prosperous, should live and die in a country governed by equitable laws, relinquishing all illegality. At the same time what has been said is attended with necessity. For man is a part of society, and hence from the same reasoning, will become entire and perfect, if he not only associates with others, but associates in a becoming manner. For some things are naturally adapted to subsist in many things, and not in one thing; others in one thing, and not in many; but others both in many, and in one thing, and on this account in one thing, because in many. For harmony, indeed, and symphony and number, are naturally adapted to be ingenerated in many things.

For nothing which makes a whole from these parts, is sufficient to itself. But acuteness of seeing and hearing, and swiftness of feet, subsist in one thing alone. Felicity, however, and the virtue of soul, subsist both in one thing and in many, in a whole, and in the universe. And on this account they subsist in one thing, because they also subsist in many: and they subsist in many, because they are inherent in a whole and in the universe. For the orderly distribution of the whole nature of things methodically arranges each particular. And the orderly distribution of particulars gives completion to the whole of things and to the universe. But this follows from the whole being naturally prior to the part, and not the part to the whole . For if the world was not, neither the sun nor the moon would exist, nor the planets, nor the fixed stars. But the world existing, each of these also exists.

(2) We must rather, therefore, say, that sounds and melodies are appropriately consecrated to the Gods. There is, also, an alliance in these sounds and melodies to the proper orders and powers of the several Gods, to the motions in the universe itself, and to the harmonious sounds which proceed from the motions. Conformably, therefore, to such like adaptations of melodies to the Gods, the Gods themselves become present. For there is not any thing which intercepts; so that whatever has but a casual similitude to, directly participates of, them . A perfect possession, likewise, immediately takes place, and a plenitude of a more excellent essence and power. Not that the body and the soul are in each other, and sympathize, and are copassive with the melodies; but because the inspiration of the Gods is not separated from divine harmony, but is originally adapted and allied to it, on this account it is participated by it in appropriate measures. Hence also, it is excited and restrained according to the several orders of the Gods. But this inspiration must by no means be called an ablation, purgation, or medicine. For it is not primarily implanted in us from a certain disease, or excess, or redundance; but the whole principle and participation of it are supernally derived from the Gods.

(2) For as the sun the sight that trembles most, Even so the memory of that sweet smile My mind depriveth of its very self. From the first day that I beheld her face In this life, to the moment of this look, The sequence of my song has ne'er been severed; But now perforce this sequence must desist From following her beauty with my verse, As every artist at his uttermost. Such as I leave her to a greater fame Than any of my trumpet, which is bringing Its arduous matter to a final close, With voice and gesture of a perfect leader She recommenced: "We from the greatest body Have issued to the heaven that is pure light; Light intellectual replete with love, Love of true good replete with ecstasy, Ecstasy that transcendeth every sweetness. Here shalt thou see the one host and the other Of Paradise, and one in the same aspects Which at the final judgment thou shalt see." Even as a sudden lightning that disperses The visual spirits, so that it deprives The eye of impress from the strongest objects,

(3) But say if him I here behold, who forth Evoked the new-invented rhymes, beginning, 'Ladies, that have intelligence of love?'" And I to him: "One am I, who, whenever Love doth inspire me, note, and in that measure Which he within me dictates, singing go." "O brother, now I see," he said, "the knot Which me, the Notary, and Guittone held Short of the sweet new style that now I hear. I do perceive full clearly how your pens Go closely following after him who dictates, Which with our own forsooth came not to pass; And he who sets himself to go beyond, No difference sees from one style to another;" And as if satisfied, he held his peace. Even as the birds, that winter tow'rds the Nile, Sometimes into a phalanx form themselves, Then fly in greater haste, and go in file; In such wise all the people who were there, Turning their faces, hurried on their steps, Both by their leanness and their wishes light. And as a man, who weary is with trotting, Lets his companions onward go, and walks, Until he vents the panting of his chest;

(5) Now hast thou power to judge of such as those Whom I accused above, and of their crimes, Which are the cause of all your miseries. To the public standard one the yellow lilies Opposes, the other claims it for a party, So that 'tis hard to see which sins the most. Let, let the Ghibellines ply their handicraft Beneath some other standard; for this ever Ill follows he who it and justice parts. And let not this new Charles e'er strike it down, He and his Guelfs, but let him fear the talons That from a nobler lion stripped the fell. Already oftentimes the sons have wept The father's crime; and let him not believe That God will change His scutcheon for the lilies. This little planet doth adorn itself With the good spirits that have active been, That fame and honour might come after them; And whensoever the desires mount thither, Thus deviating, must perforce the rays Of the true love less vividly mount upward. But in commensuration of our wages With our desert is portion of our joy, Because we see them neither less nor greater.

(1) Looking into his Son with all the Love Which each of them eternally breathes forth, The Primal and unutterable Power Whate'er before the mind or eye revolves With so much order made, there can be none Who this beholds without enjoying Him. Lift up then, Reader, to the lofty wheels With me thy vision straight unto that part Where the one motion on the other strikes, And there begin to contemplate with joy That Master's art, who in himself so loves it That never doth his eye depart therefrom. Behold how from that point goes branching off The oblique circle, which conveys the planets, To satisfy the world that calls upon them; And if their pathway were not thus inflected, Much virtue in the heavens would be in vain, And almost every power below here dead. If from the straight line distant more or less Were the departure, much would wanting be Above and underneath of mundane order. Remain now, Reader, still upon thy bench, In thought pursuing that which is foretasted, If thou wouldst jocund be instead of weary.

(2) Nor is it without cause the Muses’ choir hath been sent down by Highest Deity unto the host of men; in order that, forsooth, the terrene world should not seem too uncultured, had it lacked the charm of measures, but rather that with songs and praise of men accompanied with music, He might be lauded,—He who alone is all, or is the Sire of all; and so not even on the earths, should there have been an absence of the sweetness of the harmony of heavenly praise.

(6) Since therefore felicity is the use of virtue in prosperity, we must speak concerning virtue and prosperity, and in the first place concerning prosperity. For of goods, some indeed do not admit of excess, and this is the case with virtue. For there is not any virtue which is excessive, nor any worthy man who is beyond measure good. For virtue has the fit and becoming for a rule, and is the habit of the decorous in practical concerns. But prosperity receives excess and diminution. And when it is excessive indeed, it generates certain vices, and removes a man from his natural habit; so that he frequently through this opposes the constitution of virtue. And this is not only the case with prosperity, but many other causes likewise may effect the same thing.

For it is by no means proper to wonder, that some of those who play on the pipe should be arrogant men, who, bidding farewell to truth, ensnare by a certain false imagination those who are unskilled in music; and to disbelieve that a thing of this kind does not take place in virtue. For the more venerable a thing is, so much the more numerous are those that pretend to the possession of it. For there are many things which distort the habit and form of virtue; some of which are insidious arts and affectation; others are kindred physical passions, which sometimes produce an indecorum contrary to the true disposition [of virtue.] This also is effected through manners in which men have been nurtured for a long time; and it not unfrequently happens that it is produced through youth or old age, and through prosperity or adversity; and by other very numerous ways.

Hence, we ought never to wonder, if sometimes a distorted judgment is formed of all things, the true disposition being changed. Thus we see that the most excellent carpenter frequently errs in the works which are the subjects of his art; and this is also the case with the general, the pilot, the painter, and in short, with all artists. And yet at the same time we do not deprive them of the habit which they possess. For as we do not rank among bad men him who at certain times acts intemperately, or unjustly, or timidly; so neither do we place him in the class of good men, who does something right in things pertaining to temperance, or justice, or fortitude.

But it must be said that the conduct of bad men in things of this kind is casually right, and that good men [sometimes] err. A true judgment however [in these instances] is to be formed, not by looking to a certain occasion, or to a certain extent of time, but to the whole of life. But as indigence and excess are injurious to the body, yet excess and what are called superfluities, are naturally adapted to produce greater diseases [than those caused by indigence]; thus also prosperity or adversity injure the soul, when they unseasonably happen; yet that which is called by all men prosperity, is naturally adapted to produce greater diseases [than adversity], since it intoxicates like wine the reasoning power of good men.

(2) This, therefore, is nearly the cause of our aberration to a multitude of conceptions. For men being in reality unable to apprehend the reasons of sacred institutions, but conceiving that they are able, are wholly hurried away by their own human passions, and form a conjecture of divine concerns from things pertaining to themselves. In so doing, however, they err in a twofold respect; because they fall from divine natures; and because, being frustrated of these, they draw them down to human passions. But it is requisite not to apprehend after the same manner, things which are performed both to Gods and men, such as genuflexions, adorations, gifts, and first fruits, but to establish the one apart from the other, conformably to the difference between things more and things less honourable; and to reverence the former, indeed, as divine, but to despise the latter as human, and as performed to men. It is proper, likewise, to consider, that the latter produce passions, both in the performer and those to whom they are performed; for they are human and corporeal-formed; but to honour the energy of the former in a very high degree, as being performed through immutable admiration, and a venerable condition of mind, because they are referred to the Gods.

(2) Art therefore, perceiving this innate desire thus implanted by nature, and distributed about it (art itself also being multiformly distributed about nature), variously attracts and derives it as through a channel. Hence it transfers that which in itself is orderly and arranged into the privation of order, and fills that which is beautiful and commensurate with deformity. But the venerable end in each particular thing, which is connascent with union, it transfers to another indecorous plenitude, which is an assemblage of different things according to a common passion. It likewise imparts a matter from itself, which is unadapted to the whole generation of what is beautiful, either because it does not entirely receive it, or because it transfers it to other things. It also mingles many different physical powers, which it manages as it pleases for the purposes of generation. Hence we have universally shown, that the apparatus of a venereal connexion of this kind proceeds from a certain human art, and not from a certain dæmoniacal or divine necessity.