(12) Knowing demands the organ fitted to the object; eyes for one kind, ears for another: similarly some things, we must believe, are to be known by the Intellectual-Principle in us. We must not confuse intellection with hearing or seeing; this would be trying to look with the ears or denying sound because it is not seen. Certain people, we must keep in mind, have forgotten that to which, from the beginning onwards, their longing and effort are pointed: for all that exists desires and aspires towards the Supreme by a compulsion of nature, as if all had received the oracle that without it they cannot be.

The perception of Beauty and the awe and the stirring of passion towards it are for those already in some degree knowing and awakened: but the Good, as possessed long since and setting up a natural tendency, is inherently present to even those asleep and brings them no wonder when some day they see it, since it is no occasional reminiscence but is always with them though in their drowse they are not aware of it: the love of Beauty on the contrary sets up pain when it appears, for those that have seen it must pursue. This love of Beauty then is later than the love of Good and comes with a more sophisticated understanding; hence we know that Beauty is a secondary: the more primal appetition, not patent to sense, our movement towards our good, gives witness that The Good is the earlier, the prior.

Again; all that have possessed themselves of The Good feel it sufficient: they have attained the end: but Beauty not all have known and those that have judge it to exist for itself and not for them, as in the charm of this world the beauty belongs only to its possessor.

Then, too, it is thought enough to appear loveable whether one is so or not: but no one wants his Good in semblance only. All are seeking The First as something ranking before aught else, but they struggle venomously for beauty as something secondary like themselves: thus some minor personage may perhaps challenge equal honour with the King's right-hand man on pretext of similar dependence, forgetting that, while both owe their standing to the monarch, the other holds the higher rank.

The source of the error is that while both The Good and The Beautiful participate in the common source, The One precedes both; and that, in the Supreme also, The Good has no need of The Beautiful, while the Beautiful does need The Good.

The Good is gentle and friendly and tender, and we have it present when we but will. Beauty is all violence and stupefaction; its pleasure is spoiled with pain, and it even draws the thoughtless away from The Good as some attraction will lure the child from the father's side: these things tell of youth. The Good is the older- not in time but by degree of reality- and it has the higher and earlier power, all power in fact, for the sequent holds only a power subordinate and delegated of which the prior remains sovereign.

Not that God has any need of His derivatives: He ignores all that produced realm, never necessary to Him, and remains identically what He was before He brought it into being. So too, had the secondary never existed, He would have been unconcerned, exactly as He would not have grudged existence to any other universe that might spring into being from Him, were any such possible; of course no other such could be since there is nothing that has not existence once the All exists.

But God never was the All; that would make Him dependent upon the universe: transcending all, He was able at once to make all things and to leave them to their own being, He above.

(4) But there are earlier and loftier beauties than these. In the sense-bound life we are no longer granted to know them, but the soul, taking no help from the organs, sees and proclaims them. To the vision of these we must mount, leaving sense to its own low place.

As it is not for those to speak of the graceful forms of the material world who have never seen them or known their grace- men born blind, let us suppose- in the same way those must be silent upon the beauty of noble conduct and of learning and all that order who have never cared for such things, nor may those tell of the splendour of virtue who have never known the face of Justice and of Moral-Wisdom beautiful beyond the beauty of Evening and of dawn.

Such vision is for those only who see with the Soul's sight- and at the vision, they will rejoice, and awe will fall upon them and a trouble deeper than all the rest could ever stir, for now they are moving in the realm of Truth.

This is the spirit that Beauty must ever induce, wonderment and a delicious trouble, longing and love and a trembling that is all delight. For the unseen all this may be felt as for the seen; and this the Souls feel for it, every soul in some degree, but those the more deeply that are the more truly apt to this higher love- just as all take delight in the beauty of the body but all are not stung as sharply, and those only that feel the keener wound are known as Lovers.

(35) Such in this union is the soul's temper that even the act of Intellect, once so intimately loved, she now dismisses; Intellection is movement and she has no wish to move; she has nothing to say of this very Intellectual-Principle by means of which she has attained the vision, herself made over into Intellectual-Principle and becoming that principle so as to be able to take stand in that Intellectual space. Entered there and making herself over to that, she at first contemplates that realm, but once she sees that higher still she leaves all else aside. Thus when a man enters a house rich in beauty he might gaze about and admire the varied splendour before the master appears; but, face to face with that great person- no thing of ornament but calling for the truest attention- he would ignore everything else and look only to the master. In this state of absorbed contemplation there is no longer question of holding an object: the vision is continuous so that seeing and seen are one thing; object and act of vision have become identical; of all that until then filled the eye no memory remains. And our comparison would be closer if instead of a man appearing to the visitor who had been admiring the house it were a god, and not a god manifesting to the eyes but one filling the soul.

Intellectual-Principle, thus, has two powers, first that of grasping intellectively its own content, the second that of an advancing and receiving whereby to know its transcendent; at first it sees, later by that seeing it takes possession of Intellectual-Principle, becoming one only thing with that: the first seeing is that of Intellect knowing, the second that of Intellect loving; stripped of its wisdom in the intoxication of the nectar, it comes to love; by this excess it is made simplex and is happy; and to be drunken is better for it than to be too staid for these revels.

But is its vision parcelwise, thing here and thing there?

No: reason unravelling gives process; Intellectual-Principle has unbroken knowledge and has, moreover, an Act unattended by knowing, a vision by another approach. In this seeing of the Supreme it becomes pregnant and at once knows what has come to be within it; its knowledge of its content is what is designated by its Intellection; its knowing of the Supreme is the virtue of that power within it by which, in a later stage it is to become "Intellective."

As for soul, it attains that vision by- so to speak- confounding and annulling the Intellectual-Principle within it; or rather that Principle immanent in soul sees first and thence the vision penetrates to soul and the two visions become one.

The Good spreading out above them and adapting itself to that union which it hastens to confirm is present to them as giver of a blessed sense and sight; so high it lifts them that they are no longer in space or in that realm of difference where everything is root,ed in some other thing; for The Good is not in place but is the container of the Intellectual place; The Good is in nothing but itself.

The soul now knows no movement since the Supreme knows none; it is now not even soul since the Supreme is not in life but above life; it is no longer Intellectual-Principle, for the Supreme has not Intellection and the likeness must be perfect; this grasping is not even by Intellection, for the Supreme is not known Intellectively.

(2) But let us leave the arts and consider those works produced by Nature and admitted to be naturally beautiful which the creations of art are charged with imitating, all reasoning life and unreasoning things alike, but especially the consummate among them, where the moulder and maker has subdued the material and given the form he desired. Now what is the beauty here? It has nothing to do with the blood or the menstrual process: either there is also a colour and form apart from all this, or there is nothing unless sheer ugliness or a bare recipient, as it were the mere Matter of beauty.

Whence shone forth the beauty of Helen, battle-sought; or of all those women like in loveliness to Aphrodite; or of Aphrodite herself; or of any human being that has been perfect in beauty; or of any of these gods manifest to sight, or unseen but carrying what would be beauty if we saw?

In all these is it not the Idea, something of that realm but communicated to the produced from within the producer just as in works of art, we held, it is communicated from the arts to their creations? Now we can surely not believe that, while the made thing and the Idea thus impressed upon Matter are beautiful, yet the Idea not so alloyed but resting still with the creator- the Idea primal, immaterial, firmly a unity- is not Beauty.

If material extension were in itself the ground of beauty, then the creating principle, being without extension, could not be beautiful: but beauty cannot be made to depend upon magnitude since, whether in a large object or a small, the one Idea equally moves and forms the mind by its inherent power. A further indication is that as long as the object remains outside us we know nothing of it; it affects us by entry; but only as an Idea can it enter through the eyes which are not of scope to take an extended mass: we are, no doubt, simultaneously possessed of the magnitude which, however, we take in not as mass but by an elaboration upon the presented form.

Then again the principle producing the beauty must be, itself, ugly, neutral or beautiful: ugly, it could not produce the opposite; neutral, why should its product be the one rather than the other? The Nature, then, which creates things so lovely must be itself of a far earlier beauty; we, undisciplined in discernment of the inward, knowing nothing of it, run after the outer, never understanding that it is the inner which stirs us; we are in the case of one who sees his own reflection but not realizing whence it comes goes in pursuit of it.

But that the thing we are pursuing is something different and that the beauty is not in the concrete object is manifest from the beauty there is in matters of study, in conduct and custom; briefly in soul or mind. And it is precisely here that the greater beauty lies, perceived whenever you look to the wisdom in a man and delight in it, not wasting attention on the face, which may be hideous, but passing all appearance by and catching only at the inner comeliness, the truly personal; if you are still unmoved and cannot acknowledge beauty under such conditions, then looking to your own inner being you will find no beauty to delight you and it will be futile in that state to seek the greater vision, for you will be questing it through the ugly and impure.

This is why such matters are not spoken of to everyone; you, if you are conscious of beauty within, remember.

(2) Let us, then, go back to the source, and indicate at once the Principle that bestows beauty on material things.

Undoubtedly this Principle exists; it is something that is perceived at the first glance, something which the soul names as from an ancient knowledge and, recognising, welcomes it, enters into unison with it.

But let the soul fall in with the Ugly and at once it shrinks within itself, denies the thing, turns away from it, not accordant, resenting it.

Our interpretation is that the soul- by the very truth of its nature, by its affiliation to the noblest Existents in the hierarchy of Being- when it sees anything of that kin, or any trace of that kinship, thrills with an immediate delight, takes its own to itself, and thus stirs anew to the sense of its nature and of all its affinity.

But, is there any such likeness between the loveliness of this world and the splendours in the Supreme? Such a likeness in the particulars would make the two orders alike: but what is there in common between beauty here and beauty There?

We hold that all the loveliness of this world comes by communion in Ideal-Form.

All shapelessness whose kind admits of pattern and form, as long as it remains outside of Reason and Idea, is ugly by that very isolation from the Divine-Thought. And this is the Absolute Ugly: an ugly thing is something that has not been entirely mastered by pattern, that is by Reason, the Matter not yielding at all points and in all respects to Ideal-Form.

But where the Ideal-Form has entered, it has grouped and coordinated what from a diversity of parts was to become a unity: it has rallied confusion into co-operation: it has made the sum one harmonious coherence: for the Idea is a unity and what it moulds must come to unity as far as multiplicity may.

And on what has thus been compacted to unity, Beauty enthrones itself, giving itself to the parts as to the sum: when it lights on some natural unity, a thing of like parts, then it gives itself to that whole. Thus, for an illustration, there is the beauty, conferred by craftsmanship, of all a house with all its parts, and the beauty which some natural quality may give to a single stone.

This, then, is how the material thing becomes beautiful- by communicating in the thought that flows from the Divine.

(1) Beauty addresses itself chiefly to sight; but there is a beauty for the hearing too, as in certain combinations of words and in all kinds of music, for melodies and cadences are beautiful; and minds that lift themselves above the realm of sense to a higher order are aware of beauty in the conduct of life, in actions, in character, in the pursuits of the intellect; and there is the beauty of the virtues. What loftier beauty there may be, yet, our argument will bring to light.

What, then, is it that gives comeliness to material forms and draws the ear to the sweetness perceived in sounds, and what is the secret of the beauty there is in all that derives from Soul?

Is there some One Principle from which all take their grace, or is there a beauty peculiar to the embodied and another for the bodiless? Finally, one or many, what would such a Principle be?

Consider that some things, material shapes for instance, are gracious not by anything inherent but by something communicated, while others are lovely of themselves, as, for example, Virtue.

The same bodies appear sometimes beautiful, sometimes not; so that there is a good deal between being body and being beautiful.

What, then, is this something that shows itself in certain material forms? This is the natural beginning of our enquiry.

What is it that attracts the eyes of those to whom a beautiful object is presented, and calls them, lures them, towards it, and fills them with joy at the sight? If we possess ourselves of this, we have at once a standpoint for the wider survey.

Almost everyone declares that the symmetry of parts towards each other and towards a whole, with, besides, a certain charm of colour, constitutes the beauty recognized by the eye, that in visible things, as indeed in all else, universally, the beautiful thing is essentially symmetrical, patterned.

But think what this means.

Only a compound can be beautiful, never anything devoid of parts; and only a whole; the several parts will have beauty, not in themselves, but only as working together to give a comely total. Yet beauty in an aggregate demands beauty in details; it cannot be constructed out of ugliness; its law must run throughout.

All the loveliness of colour and even the light of the sun, being devoid of parts and so not beautiful by symmetry, must be ruled out of the realm of beauty. And how comes gold to be a beautiful thing? And lightning by night, and the stars, why are these so fair?

In sounds also the simple must be proscribed, though often in a whole noble composition each several tone is delicious in itself.

Again since the one face, constant in symmetry, appears sometimes fair and sometimes not, can we doubt that beauty is something more than symmetry, that symmetry itself owes its beauty to a remoter principle?

Turn to what is attractive in methods of life or in the expression of thought; are we to call in symmetry here? What symmetry is to be found in noble conduct, or excellent laws, in any form of mental pursuit?

What symmetry can there be in points of abstract thought?

The symmetry of being accordant with each other? But there may be accordance or entire identity where there is nothing but ugliness: the proposition that honesty is merely a generous artlessness chimes in the most perfect harmony with the proposition that morality means weakness of will; the accordance is complete.

Then again, all the virtues are a beauty of the soul, a beauty authentic beyond any of these others; but how does symmetry enter here? The soul, it is true, is not a simple unity, but still its virtue cannot have the symmetry of size or of number: what standard of measurement could preside over the compromise or the coalescence of the soul's faculties or purposes?

Finally, how by this theory would there be beauty in the Intellectual-Principle, essentially the solitary?

(4) For some they have borrowed, and others they have misunderstood. And in the case of others, what they have spoken, in consequence of being moved, they have not yet perfectly worked out; and others by human conjecture and reasoning, in which also they stumble. And they think that they have hit the truth perfectly; but as we understand them, only partially. They know, then, nothing more than this world. And it is just like geometry, which treats of measures and magnitudes and forms, by delineation on plane-surfaces; and just as painting appears to take in the whole field of view in the scenes represented. But it gives a false description of the view, according to the rules of the art, employing the signs that result from the incidents of the lines of vision. By this means, the higher and lower points in the view, and those between, are preserved; and some objects seem to appear in the foreground, and others in the background, and others to appear in some other way, on the smooth and level surface. So also the philosophers copy the truth, after the manner of painting. And always in the case of each one of them, their self-love is the cause of all their mistakes.

(3) And the soul includes a faculty peculiarly addressed to Beauty- one incomparably sure in the appreciation of its own, never in doubt whenever any lovely thing presents itself for judgement.

Or perhaps the soul itself acts immediately, affirming the Beautiful where it finds something accordant with the Ideal-Form within itself, using this Idea as a canon of accuracy in its decision.

But what accordance is there between the material and that which antedates all Matter?

On what principle does the architect, when he finds the house standing before him correspondent with his inner ideal of a house, pronounce it beautiful? Is it not that the house before him, the stones apart, is the inner idea stamped upon the mass of exterior matter, the indivisible exhibited in diversity?

So with the perceptive faculty: discerning in certain objects the Ideal-Form which has bound and controlled shapeless matter, opposed in nature to Idea, seeing further stamped upon the common shapes some shape excellent above the common, it gathers into unity what still remains fragmentary, catches it up and carries it within, no longer a thing of parts, and presents it to the Ideal-Principle as something concordant and congenial, a natural friend: the joy here is like that of a good man who discerns in a youth the early signs of a virtue consonant with the achieved perfection within his own soul.

The beauty of colour is also the outcome of a unification: it derives from shape, from the conquest of the darkness inherent in Matter by the pouring-in of light, the unembodied, which is a Rational-Principle and an Ideal-Form.

Hence it is that Fire itself is splendid beyond all material bodies, holding the rank of Ideal-Principle to the other elements, making ever upwards, the subtlest and sprightliest of all bodies, as very near to the unembodied; itself alone admitting no other, all the others penetrated by it: for they take warmth but this is never cold; it has colour primally; they receive the Form of colour from it: hence the splendour of its light, the splendour that belongs to the Idea. And all that has resisted and is but uncertainly held by its light remains outside of beauty, as not having absorbed the plenitude of the Form of colour.

And harmonies unheard in sound create the harmonies we hear, and wake the soul to the consciousness of beauty, showing it the one essence in another kind: for the measures of our sensible music are not arbitrary but are determined by the Principle whose labour is to dominate Matter and bring pattern into being.

Thus far of the beauties of the realm of sense, images and shadow-pictures, fugitives that have entered into Matter- to adorn, and to ravish, where they are seen.

(22) That light known, then indeed we are stirred towards those Beings in longing and rejoicing over the radiance about them, just as earthly love is not for the material form but for the Beauty manifested upon it. Every one of those Beings exists for itself but becomes an object of desire by the colour cast upon it from The Good, source of those graces and of the love they evoke. The soul taking that outflow from the divine is stirred; seized with a Bacchic passion, goaded by these goads, it becomes Love. Before that, even Intellectual-Principle with all its loveliness did not stir the soul; for that beauty is dead until it take the light of The Good, and the soul lies supine, cold to all, unquickened even to Intellectual-Principle there before it. But when there enters into it a glow from the divine, it gathers strength, awakens, spreads true wings, and however urged by its nearer environing, speeds its buoyant way elsewhere, to something greater to its memory: so long as there exists anything loftier than the near, its very nature bears it upwards, lifted by the giver of that love. Beyond Intellectual-Principle it passes but beyond The Good it cannot, for nothing stands above That. Let it remain in Intellectual-Principle and it sees the lovely and august, but it is not there possessed of all it sought; the face it sees is beautiful no doubt but not of power to hold its gaze because lacking in the radiant grace which is the bloom upon beauty.

Even here we have to recognise that beauty is that which irradiates symmetry rather than symmetry itself and is that which truly calls out our love.

Why else is there more of the glory of beauty upon the living and only some faint trace of it upon the dead, though the face yet retains all its fulness and symmetry? Why are the most living portraits the most beautiful, even though the others happen to be more symmetric? Why is the living ugly more attractive than the sculptured handsome? It is that the one is more nearly what we are looking for, and this because there is soul there, because there is more of the Idea of The Good, because there is some glow of the light of The Good and this illumination awakens and lifts the soul and all that goes with it so that the whole man is won over to goodness, and in the fullest measure stirred to life.

(1) Why, therefore, does the maker of images, who effects these things, desert himself, though he is better than these images, and consists of things of a more excellent nature, and confide in inanimate idols, which are inspired with the representation alone of life, contain a renovated harmony, and which is externally multiform, and are in reality diurnal? Shall we say that something genuine and true is inherent in them? Nothing, however, which is fashioned by human art is genuine and pure. But you will say, that simplicity and uniformity of energy predominate in the whole of their composition. This is very far from being the case. For the idol, according to its visible composition, is mingled from all-various and contrary qualities. Shall we say then, that a certain pure and perfect power is manifest in them? By no means. For a thing of this kind possesses an adventitious multitude of effluxions, collected from many places, and which shows itself to be imbecile and evanescent. But if these particulars, which we have enumerated, are not found to take place in images, is stability present with them, as it is said to be [by the patrons of these images]? By no means, likewise, is this the case. For these idols are extinguished with much greater rapidity than the images which are seen in mirrors.

(5) These Lovers, then, lovers of the beauty outside of sense, must be made to declare themselves.

What do you feel in presence of the grace you discern in actions, in manners, in sound morality, in all the works and fruits of virtue, in the beauty of souls? When you see that you yourselves are beautiful within, what do you feel? What is this Dionysiac exultation that thrills through your being, this straining upwards of all your Soul, this longing to break away from the body and live sunken within the veritable self?

These are no other than the emotions of Souls under the spell of love.

But what is it that awakens all this passion? No shape, no colour, no grandeur of mass: all is for a Soul, something whose beauty rests upon no colour, for the moral wisdom the Soul enshrines and all the other hueless splendour of the virtues. It is that you find in yourself, or admire in another, loftiness of spirit; righteousness of life; disciplined purity; courage of the majestic face; gravity; modesty that goes fearless and tranquil and passionless; and, shining down upon all, the light of god-like Intellection.

All these noble qualities are to be reverenced and loved, no doubt, but what entitles them to be called beautiful?

They exist: they manifest themselves to us: anyone that sees them must admit that they have reality of Being; and is not Real-Being, really beautiful?

But we have not yet shown by what property in them they have wrought the Soul to loveliness: what is this grace, this splendour as of Light, resting upon all the virtues?

Let us take the contrary, the ugliness of the Soul, and set that against its beauty: to understand, at once, what this ugliness is and how it comes to appear in the Soul will certainly open our way before us.

Let us then suppose an ugly Soul, dissolute, unrighteous: teeming with all the lusts; torn by internal discord; beset by the fears of its cowardice and the envies of its pettiness; thinking, in the little thought it has, only of the perish able and the base; perverse in all its the friend of unclean pleasures; living the life of abandonment to bodily sensation and delighting in its deformity.

What must we think but that all this shame is something that has gathered about the Soul, some foreign bane outraging it, soiling it, so that, encumbered with all manner of turpitude, it has no longer a clean activity or a clean sensation, but commands only a life smouldering dully under the crust of evil; that, sunk in manifold death, it no longer sees what a Soul should see, may no longer rest in its own being, dragged ever as it is towards the outer, the lower, the dark?

An unclean thing, I dare to say; flickering hither and thither at the call of objects of sense, deeply infected with the taint of body, occupied always in Matter, and absorbing Matter into itself; in its commerce with the Ignoble it has trafficked away for an alien nature its own essential Idea.

If a man has been immersed in filth or daubed with mud his native comeliness disappears and all that is seen is the foul stuff besmearing him: his ugly condition is due to alien matter that has encrusted him, and if he is to win back his grace it must be his business to scour and purify himself and make himself what he was.

So, we may justly say, a Soul becomes ugly- by something foisted upon it, by sinking itself into the alien, by a fall, a descent into body, into Matter. The dishonour of the Soul is in its ceasing to be clean and apart. Gold is degraded when it is mixed with earthy particles; if these be worked out, the gold is left and is beautiful, isolated from all that is foreign, gold with gold alone. And so the Soul; let it be but cleared of the desires that come by its too intimate converse with the body, emancipated from all the passions, purged of all that embodiment has thrust upon it, withdrawn, a solitary, to itself again- in that moment the ugliness that came only from the alien is stripped away.

(9) And this inner vision, what is its operation?

Newly awakened it is all too feeble to bear the ultimate splendour. Therefore the Soul must be trained- to the habit of remarking, first, all noble pursuits, then the works of beauty produced not by the labour of the arts but by the virtue of men known for their goodness: lastly, you must search the souls of those that have shaped these beautiful forms.

But how are you to see into a virtuous soul and know its loveliness?

Withdraw into yourself and look. And if you do not find yourself beautiful yet, act as does the creator of a statue that is to be made beautiful: he cuts away here, he smoothes there, he makes this line lighter, this other purer, until a lovely face has grown upon his work. So do you also: cut away all that is excessive, straighten all that is crooked, bring light to all that is overcast, labour to make all one glow of beauty and never cease chiselling your statue, until there shall shine out on you from it the godlike splendour of virtue, until you shall see the perfect goodness surely established in the stainless shrine.

When you know that you have become this perfect work, when you are self-gathered in the purity of your being, nothing now remaining that can shatter that inner unity, nothing from without clinging to the authentic man, when you find yourself wholly true to your essential nature, wholly that only veritable Light which is not measured by space, not narrowed to any circumscribed form nor again diffused as a thing void of term, but ever unmeasurable as something greater than all measure and more than all quantity- when you perceive that you have grown to this, you are now become very vision: now call up all your confidence, strike forward yet a step- you need a guide no longer- strain, and see.

This is the only eye that sees the mighty Beauty. If the eye that adventures the vision be dimmed by vice, impure, or weak, and unable in its cowardly blenching to see the uttermost brightness, then it sees nothing even though another point to what lies plain to sight before it. To any vision must be brought an eye adapted to what is to be seen, and having some likeness to it. Never did eye see the sun unless it had first become sunlike, and never can the soul have vision of the First Beauty unless itself be beautiful.

Therefore, first let each become godlike and each beautiful who cares to see God and Beauty. So, mounting, the Soul will come first to the Intellectual-Principle and survey all the beautiful Ideas in the Supreme and will avow that this is Beauty, that the Ideas are Beauty. For by their efficacy comes all Beauty else, but the offspring and essence of the Intellectual-Being. What is beyond the Intellectual-Principle we affirm to be the nature of Good radiating Beauty before it. So that, treating the Intellectual-Kosmos as one, the first is the Beautiful: if we make distinction there, the Realm of Ideas constitutes the Beauty of the Intellectual Sphere; and The Good, which lies beyond, is the Fountain at once and Principle of Beauty: the Primal Good and the Primal Beauty have the one dwelling-place and, thus, always, Beauty's seat is There.

(1) It is a principle with us that one who has attained to the vision of the Intellectual Beauty and grasped the beauty of the Authentic Intellect will be able also to come to understand the Father and Transcendent of that Divine Being. It concerns us, then, to try to see and say, for ourselves and as far as such matters may be told, how the Beauty of the divine Intellect and of the Intellectual Kosmos may be revealed to contemplation.

Let us go to the realm of magnitudes: Suppose two blocks of stone lying side by side: one is unpatterned, quite untouched by art; the other has been minutely wrought by the craftsman's hands into some statue of god or man, a Grace or a Muse, or if a human being, not a portrait but a creation in which the sculptor's art has concentrated all loveliness.

Now it must be seen that the stone thus brought under the artist's hand to the beauty of form is beautiful not as stone- for so the crude block would be as pleasant- but in virtue of the form or idea introduced by the art. This form is not in the material; it is in the designer before ever it enters the stone; and the artificer holds it not by his equipment of eyes and hands but by his participation in his art. The beauty, therefore, exists in a far higher state in the art; for it does not come over integrally into the work; that original beauty is not transferred; what comes over is a derivative and a minor: and even that shows itself upon the statue not integrally and with entire realization of intention but only in so far as it has subdued the resistance of the material.

Art, then, creating in the image of its own nature and content, and working by the Idea or Reason-Principle of the beautiful object it is to produce, must itself be beautiful in a far higher and purer degree since it is the seat and source of that beauty, indwelling in the art, which must naturally be more complete than any comeliness of the external. In the degree in which the beauty is diffused by entering into matter, it is so much the weaker than that concentrated in unity; everything that reaches outwards is the less for it, strength less strong, heat less hot, every power less potent, and so beauty less beautiful.

Then again every prime cause must be, within itself, more powerful than its effect can be: the musical does not derive from an unmusical source but from music; and so the art exhibited in the material work derives from an art yet higher.

Still the arts are not to be slighted on the ground that they create by imitation of natural objects; for, to begin with, these natural objects are themselves imitations; then, we must recognise that they give no bare reproduction of the thing seen but go back to the Ideas from which Nature itself derives, and, furthermore, that much of their work is all their own; they are holders of beauty and add where nature is lacking. Thus Pheidias wrought the Zeus upon no model among things of sense but by apprehending what form Zeus must take if he chose to become manifest to sight.

(11) And let no one fancy that we honour the Name of Love beyond the Oracles, for it is, in my opinion, irrational and stupid not to cling to the force of the meaning, but to the mere words; and this is not the characteristic of those who have wished to comprehend things Divine, but of those who receive empty sounds and keep the same just at the ears from passing through from outside, and are not willing to know what such a word signifies, and in what way one ought to distinctly represent it, through other words of the same force and more explanatory, but who specially affect sounds and signs without meaning, and syllables, and words unknown, which do not pass through to the mental part of their soul, but buzz without, around their lips and ears, as though it were not permitted to signify the number four, by twice two, or straight lines by direct lines, or motherland by fatherland, or any other, which signify the self-same thing, by many parts of speech. We ought to know, according to the correct account, that we use sounds, and syllables, and phrases, and descriptions, and words, on account of the sensible perceptions; since when our soul is moved by the intellectual energies to the things contemplated, the sensible perceptions by aid of sensible objects are superfluous; just as also the intellectual powers, when the soul, having become godlike, throws itself, through a union beyond knowledge, against the rays of the unapproachable light, by sightless efforts. But, when the mind strives to be moved upwards, through objects of sense, to contemplative conceptions, the clearer interpretations are altogether preferable to the sensible perceptions, and the more definite descriptions are things more distinct than things seen; since when objects near are not made clear to the sensible perceptions, neither will these perceptions be well able to present the things perceived to the mind. But that we may not seem, in speaking thus, to be pushing aside the Divine Oracles, let those who libel the Name of Love (Ἔρωτος) hear them. "Be in love with It," they say, "and It will keep thee--Rejoice over It, and It will exalt thee--Honour It, in order that It may encompass thee,"--and whatever else is sung respecting Love, in the Word of God.

(31) But since Thence come the beauty and light in all, it is Thence that Intellectual-Principle took the brilliance of the Intellectual Energy which flashed Nature into being; Thence soul took power towards life, in virtue of that fuller life streaming into it. Intellectual-Principle was raised thus to that Supreme and remains with it, happy in that presence. Soul too, that soul which as possessing knowledge and vision was capable, clung to what it saw; and as its vision so its rapture; it saw and was stricken; but having in itself something of that principle it felt its kinship and was moved to longing like those stirred by the image of the beloved to desire of the veritable presence. Lovers here mould themselves to the beloved; they seek to increase their attraction of person and their likeness of mind; they are unwilling to fall short in moral quality or in other graces lest they be distasteful to those possessing such merit- and only among such can true love be. In the same way the soul loves the Supreme Good, from its very beginnings stirred by it to love. The soul which has never strayed from this love waits for no reminding from the beauty of our world: holding that love- perhaps unawares- it is ever in quest, and, in its longing to be borne Thither, passes over what is lovely here and with one glance at the beauty of the universe dismisses all; for it sees that all is put together of flesh and Matter, befouled by its housing, made fragmentary by corporal extension, not the Authentic Beauty which could never venture into the mud of body to be soiled, annulled.

By only noting the flux of things it knows at once that from elsewhere comes the beauty that floats upon them and so it is urged Thither, passionate in pursuit of what it loves: never- unless someone robs it of that love- never giving up till it attain.

There indeed all it saw was beautiful and veritable; it grew in strength by being thus filled with the life of the True; itself becoming veritable Being and attaining veritable knowledge, it enters by that neighbouring into conscious possession of what it has long been seeking.

(31) But if each of the two phases of the soul, as we have said, possesses memory, and memory is vested in the imaging faculty, there must be two such faculties. Now that is all very well as long as the two souls stand apart; but, when they are at one in us, what becomes of the two faculties, and in which of them is the imaging faculty vested?

If each soul has its own imaging faculty the images must in all cases be duplicated, since we cannot think that one faculty deals only with intellectual objects, and the other with objects of sense, a distinction which inevitably implies the co-existence in man of two life-principles utterly unrelated.

And if both orders of image act upon both orders of soul, what difference is there in the souls; and how does the fact escape our knowledge?

The answer is that, when the two souls chime each with each, the two imaging faculties no longer stand apart; the union is dominated by the more powerful of the faculties of the soul, and thus the image perceived is as one: the less powerful is like a shadow attending upon the dominant, like a minor light merging into a greater: when they are in conflict, in discord, the minor is distinctly apart, a self-standing thing- though its isolation is not perceived, for the simple reason that the separate being of the two souls escapes observation.

The two have run into a unity in which, yet, one is the loftier: this loftier knows all; when it breaks from the union, it retains some of the experiences of its companion, but dismisses others; thus we accept the talk of our less valued associates, but, on a change of company, we remember little from the first set and more from those in whom we recognize a higher quality.

(33) When therefore we name beauty, all such shape must be dismissed; nothing visible is to be conceived, or at once we descend from beauty to what but bears the name in virtue of some faint participation. This formless Form is beautiful as Form, beautiful in proportion as we strip away all shape even that given in thought to mark difference, as for instance the difference between Justice and Sophrosyne, beautiful in their difference.

The Intellectual-Principle is the less for seeing things as distinct even in its act of grasping in unity the multiple content of its Intellectual realm; in its knowing of the particular it possesses itself of one Intellectual shape; but, even thus, in this dealing with variety as unity, it leaves us still with the question how we are to envisage that which stands beyond this all-lovely, beyond this principle at once multiple and above multiplicity, the Supreme for which the soul hungers though unable to tell why such a being should stir its longing-reason, however, urging that This at last is the Authentic Term because the Nature best and most to be loved may be found there only where there is no least touch of Form. Bring something under Form and present it so before the mind; immediately we ask what Beyond imposed that shape; reason answers that while there exists the giver having shape to give- a giver that is shape, idea, an entirely measured thing- yet this is not alone, is not adequate in itself, is not beautiful in its own right but is a mingled thing. Shape and idea and measure will always be beautiful, but the Authentic Beauty and the Beyond-Beauty cannot be under measure and therefore cannot have admitted shape or be Idea: the primal existent, The First, must be without Form; the beauty in it must be, simply, the Nature of the Intellectual Good.

Take an example from love: so long as the attention is upon the visible form, love has not entered: when from that outward form the lover elaborates within himself, in his own partless soul, an immaterial image, then it is that love is born, then the lover longs for the sight of the beloved to make that fading image live again. If he could but learn to look elsewhere, to the more nearly formless, his longing would be for that: his first experience was loving a great luminary by way of some thin gleam from it.

Shape is an impress from the unshaped; it is the unshaped that produces shape, not shape the unshaped; and Matter is needed for the producing; Matter, in the nature of things, is the furthest away, since of itself it has not even the lowest degree of shape. Thus lovableness does not belong to Matter but to that which draws upon Form: the Form upon Matter comes by way of soul; soul is more nearly Form and therefore more lovable; Intellectual-Principle, nearer still, is even more to be loved: by these steps we are led to know that the First Principle, principle of Beauty, must be formless.

(2) So sense and thought both flow together into man, as though they were entwined with one another. For neither without sensing can one think, nor without thinking sense. But it is possible [they say] to think a thing apart from sense, as those who fancy sights in dreams. But unto me it seems that both of these activities occur in dream-sight, and sense doth pass out of the sleeping to the waking state. For man is separated into soul and body, and only when the two sides of his sense agree together, does utterance of its thought conceived by mind take place.

(3) For that, in order that a man should be complete in either part, observe that he hath been composed of elements of either part in sets of four;—with hands, and feet, both of them pairs, and with the other members of his body, by means of which he may do service to the lower (that is to say the terrene) world. And to these parts [are added other] four;—of sense, and soul, of memory, and foresight, by means of which he may become acquainted with the rest of things divine, and judge of them. Hence it is brought about that man investigates the differences and qualities, effects and quantities of things, with critical research; yet, as he is held back with the too heavy weight of body’s imperfection, he cannot properly descry the causes of the nature of [all] things which [really] are the true ones.

(4) It is, then, possible to frame in one's mind good contemplations from everything, and to depict, from things material, the aforesaid dissimilar similitudes, both for the intelligible and the intelligent; since the intelligent hold in a different fashion things which are attributed to things sensible differently. For instance, appetite, in the irrational creatures, takes its rise in the passions, and their movement, which takes the form of appetite, is full of all kinds of unreasonableness. But with regard to the intelligent, we must think of the appetite in another fashion, as denoting, according to my judgment, their manly style, and their determined persistence in their Godlike and unchangeable steadfastness. In like manner we say, with regard to the irrational creatures, that lust is a certain uncircumspect and earthly passionate attachment, arising incontinently from an innate movement, or intimacy in things subject to change, and the irrational supremacy of the bodily desire, which drives the whole organism towards the object of sensual inclination. But when we attribute "lust" to spiritual beings, by clothing them with dissimilar similitudes, we must think that it is a Divine love of the immaterial, above expression and thought, and the inflexible and determined longing for the supernally pure and passionless contemplation, and for the really perpetual and intelligible fellowship in that pure and most exalted splendour, and in the abiding and beautifying comeliness. And 'incontinence' we may take for the persistent and inflexible, which nothing can repulse, on account of the pure and changeless love for the Divine beauty, and the whole tendency towards the really desired. But with regard to the irrational living beings, or soulless matter, we appropriately call their irrationality and want of sensible perception a deprivation of reason and sensible perception. And with regard to the immaterial and intelligent beings, we reverently acknowledge their superiority, as supermundane beings, over our discursive and bodily reason, and the material perception of the senses which is alien to the incorporeal Minds. It is, then, permissible to depict forms, which are not discordant, to the celestial beings, even from portions of matter which are the least honourable, since even it, having had its beginning from the Essentially Beautiful, has throughout the whole range of matter some echoes of the intellectual comeliness; and it is possible through these to be led to the immaterial archetypes--things most similar being taken, as has been said, dissimilarly, and the identities being denned, not in the same way, but harmoniously, and appropriately, as regards the intellectual and sensible beings.