(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?

(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.

(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.

(13) The God fettered to an unchanging identity leaves the ordering of this universe to his son (to Zeus), for it could not be in his character to neglect his rule within the divine sphere, and, as though sated with the Authentic-Beauty, seek a lordship too recent and too poor for his might. Ignoring this lower world, Kronos claims for his own father with all the upward-tending between them: and he counts all that tends to the inferior, beginning from his son , as ranking beneath him. Thus he holds a mid position determined on the one side by the differentiation implied in the severance from the very highest and, on the other, by that which keeps him apart from the link between himself and the lower: he stands between a greater father and an inferior son. But since that father is too lofty to be thought of under the name of Beauty, the second God remains the primally beautiful.

Soul also has beauty, but is less beautiful than Intellect as being its image and therefore, though beautiful in nature, taking increase of beauty by looking to that original. Since then the All-Soul- to use the more familiar term- since Aphrodite herself is so beautiful, what name can we give to that other? If Soul is so lovely in its own right, of what quality must that prior be? And since its being is derived, what must that power be from which the Soul takes the double beauty, the borrowed and the inherent?

We ourselves possess beauty when we are true to our own being; our ugliness is in going over to another order; our self-knowledge, that is to say, is our beauty; in self-ignorance we are ugly.

Thus beauty is of the Divine and comes Thence only.

Do these considerations suffice to a clear understanding of the Intellectual Sphere, or must we make yet another attempt by another road?

(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.

(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.

(18) It appears then that Number in that realm is definite; it is we that can conceive the "More than is present"; the infinity lies in our counting: in the Real is no conceiving more than has been conceived; all stands entire; no number has been or could be omitted to make addition possible. It might be described as infinite in the sense that it has not been measured- who is there to measure it?- but it is solely its own, a concentrated unit, entire, not ringed round by any boundary; its manner of being is settled for it by itself alone. None of the Real-Beings is under limit; what is limited, measured, is what needs measure to prevent it running away into the unbounded. There every being is Measure; and therefore it is that all is beautiful. Because that is a living thing it is beautiful, holding the highest life, the complete, a life not tainted towards death, nothing mortal there, nothing dying. Nor is the life of that Absolute Living-Form some feeble flickering; it is primal, the brightest, holding all that life has of radiance; it is that first light which the souls There draw upon for their life and bring with them when they come here. It knows for what purpose it lives, towards What it lives, from Whence it lives; for the Whence of its life is the Whither... and close above it stands the wisdom of all, the collective Intellectual-Principle, knit into it, one with it, colouring it to a higher goodness, by kneading wisdom into it, making its beauty still more august. Even here the august and veritably beautiful life is the life in wisdom, here dimly seen, There purely. For There wisdom gives sight to the seer and power for the fuller living and in that tenser life both to see and to become what is seen.

Here attention is set for the most part upon the unliving and, in the living, upon what is lifeless in them; the inner life is taken only with alloy: There, all are Living Beings, living wholly, unalloyed; however you may choose to study one of them apart from its life, in a moment that life is flashed out upon you: once you have known the Essence that pervades them, conferring that unchangeable life upon them, once you perceive the judgement and wisdom and knowledge that are theirs, you can but smile at all the lower nature with its pretention to Reality.

In virtue of this Essence it is that life endures, that the Intellectual-Principle endures, that the Beings stand in their eternity; nothing alters it, turns it, moves it; nothing, indeed, is in being besides it to touch it; anything that is must be its product; anything opposed to it could not affect it. Being itself could not make such an opposite into Being; that would require a prior to both and that prior would then be Being; so that Parmenides was right when he taught the identity of Being and Unity. Being is thus beyond contact not because it stands alone but because it is Being. For Being alone has Being in its own right.

How then can we deny to it either Being or anything at all that may exist effectively, anything that may derive from it?

As long as it exists it produces: but it exists for ever; so, therefore, do its products. And so great is it in power and beauty that it remains the allurer, all things of the universe depending from it and rejoicing to hold their trace of it and through that to seek their good. To us, existence is before the good; all this world desires life and wisdom in order to Being; every soul and every intellect seeks to be its Being, but Being is sufficient to itself.

(8) This then is Beauty primally: it is entire and omnipresent as an entirety; and therefore in none of its parts or members lacking in beauty; beautiful thus beyond denial. Certainly it cannot be anything without being wholly that thing; it can be nothing which it is to possess partially or in which it utterly fails .

If this principle were not beautiful, what other could be? Its prior does not deign to be beautiful; that which is the first to manifest itself- Form and object of vision to the intellect- cannot but be lovely to see. It is to indicate this that Plato, drawing on something well within our observation, represents the Creator as approving the work he has achieved: the intention is to make us feel the lovable beauty of the autotype and of the Divine Idea; for to admire a representation is to admire the original upon which it was made.

It is not surprising if we fail to recognise what is passing within us: lovers, and those in general that admire beauty here, do not stay to reflect that it is to be traced, as of course it must be, to the Beauty There. That the admiration of the Demiurge is to be referred to the Ideal Exemplar is deliberately made evident by the rest of the passage: "He admired; and determined to bring the work into still closer likeness with the Exemplar": he makes us feel the magnificent beauty of the Exemplar by telling us that the Beauty sprung from this world is, itself, a copy from That.

And indeed if the divine did not exist, the transcendently beautiful, in a beauty beyond all thought, what could be lovelier than the things we see? Certainly no reproach can rightly be brought against this world save only that it is not That.

(11) Passing to Quantity and the quantum, we have to consider the view which identifies them with number and magnitude on the ground that everything quantitative is numbered among Sensible things or rated by the extension of its substrate: we are here, of course, discussing not Quantity in isolation, but that which causes a piece of wood to be three yards long and gives the five in "five horses,"

Now we have often maintained that number and magnitude are to be regarded as the only true quantities, and that Space and Time have no right to be conceived as quantitative: Time as the measure of Motion should be assigned to Relation, while Space, being that which circumscribes Body, is also a relative and falls under the same category; though continuous, it is, like Motion, not included in Quantity.

On the other hand, why do we not find in the category of Quantity "great" and "small"? It is some kind of Quantity which gives greatness to the great; greatness is not a relative, though greater and smaller are relatives, since these, like doubleness, imply an external correlative.

What is it, then, which makes a mountain small and a grain of millet large? Surely, in the first place, "small" is equivalent to "smaller." It is admitted that the term is applied only to things of the same kind, and from this admission we may infer that the mountain is "smaller" rather than "small," and that the grain of millet is not large in any absolute sense but large for a grain of millet. In other words, since the comparison is between things of the same kind, the natural predicate would be a comparative.

Again, why is not beauty classed as a relative? Beauty, unlike greatness, we regard as absolute and as a quality; "more beautiful" is the relative. Yet even the term "beautiful" may be attached to something which in a given relation may appear ugly: the beauty of man, for example, is ugliness when compared with that of the gods; "the most beautiful of monkeys," we may quote, "is ugly in comparison with any other type." Nonetheless, a thing is beautiful in itself; as related to something else it is either more or less beautiful.

Similarly, an object is great in itself, and its greatness is due, not to any external, but to its own participation in the Absolute Great.

Are we actually to eliminate the beautiful on the pretext that there is a more beautiful? No more then must we eliminate the great because of the greater: the greater can obviously have no existence whatever apart from the great, just as the more beautiful can have no existence without the beautiful.

(32) Where, then? where exists the author of this beauty and life, the begetter of the veritable?

You see the splendour over the things of the universe with all the variety begotten of the Ideas; well might we linger here: but amid all these things of beauty we cannot but ask whence they come and whence the beauty. This source can be none of the beautiful objects; were it so, it too would be a thing of parts. It can be no shape, no power, nor the total of powers and shapes that have had the becoming that has set them here; it must stand above all the powers, all the patterns. The origin of all this must be the formless- formless not as lacking shape but as the very source of even shape Intellectual.

In the realm of process anything coming to be must come to be something; to every thing its distinctive shape: but what shape can that have which no one has shaped? It can be none of existing things; yet it is all: none, in that beings are later; all, as the wellspring from which they flow. That which can make all can have, itself, no extension; it must be limitless and so without magnitude; magnitude itself is of the Later and cannot be an element in that which is to bring it into being. The greatness of the Authentic cannot be a greatness of quantity; all extension must belong to the subsequent: the Supreme is great in the sense only that there can be nothing mightier, nothing to equal it, nothing with anything in common with it: how then could anything be equal to any part of its content? Its eternity and universal reach entail neither measure nor measurelessness; given either, how could it be the measure of things? So with shape: granted beauty, the absence of shape or form to be grasped is but enhancement of desire and love; the love will be limitless as the object is, an infinite love.

Its beauty, too, will be unique, a beauty above beauty: it cannot be beauty since it is not a thing among things. It is lovable and the author of beauty; as the power to all beautiful shape, it will be the ultimate of beauty, that which brings all loveliness to be; it begets beauty and makes it yet more beautiful by the excess of beauty streaming from itself, the source and height of beauty. As the source of beauty it makes beautiful whatsoever springs from it. And this conferred beauty is not itself in shape; the thing that comes to be is without shape, though in another sense shaped; what is denoted by shape is, in itself, an attribute of something else, shapeless at first. Not the beauty but its participant takes the shape.

(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.

(18) To pass to the consideration of beauty:

If by beauty we mean the primary Beauty, the same or similar arguments will apply here as to goodness: and if the beauty in the Ideal-Form is, as it were, an effulgence , we may observe that it is not identical in all participants and that an effulgence is necessarily a posterior.

If we mean the beauty which identifies itself with Substance, this has been covered in our treatment of Substance.

If, again, we mean beauty in relation to ourselves as spectators in whom it produces a certain experience, this Act is Motion- and none the less Motion by being directed towards Absolute Beauty.

Knowledge again, is Motion originating in the self; it is the observation of Being- an Act, not a State: hence it too falls under Motion, or perhaps more suitably under Stability, or even under both; if under both, knowledge must be thought of as a complex, and if a complex, is posterior.

Intelligence, since it connotes intelligent Being and comprises the total of existence, cannot be one of the geneANSWER: the true Intelligence is Being taken with all its concomitants ; it is actually the sum of all the Existents: Being on the contrary, stripped of its concomitants, may be counted as a genus and held to an element in Intelligence.

Justice and self-control , and virtue in general- these are all various Acts of Intelligence: they are consequently not primary genera; they are posterior to a genus, that is to say, they are species.

(16) When each of the entities bound up with the pseudo-substance is taken apart from the rest, the name of Quality is given to that one among them, by which without pointing to essence or quantity or motion we signify the distinctive mark, the type or aspect of a thing- for example, the beauty or ugliness of a body. This beauty- need we say?- is identical in name only with Intellectual Beauty: it follows that the term "Quality" as applied to the Sensible and the Intellectual is necessarily equivocal; even blackness and whiteness are different in the two spheres.

But the beauty in the germ, in the particular Reason-Principle- is this the same as the manifested beauty, or do they coincide only in name? Are we to assign this beauty- and the same question applies to deformity in the soul- to the Intellectual order, or to the Sensible? That beauty is different in the two spheres is by now clear. If it be embraced in Sensible Quality, then virtue must also be classed among the qualities of the lower. But merely some virtues will take rank as Sensible, others as Intellectual qualities.

It may even be doubted whether the arts, as Reason-Principles, can fairly be among Sensible qualities; Reason-Principles, it is true, may reside in Matter, but "matter" for them means Soul. On the other hand, their being found in company with Matter commits them in some degree to the lower sphere. Take the case of lyrical music: it is performed upon strings; melody, which may be termed a part of the art, is sensuous sound- though, perhaps, we should speak here not of parts but of manifestations : yet, called manifestations, they are nonetheless sensuous. The beauty inherent in body is similarly bodiless; but we have assigned it to the order of things bound up with body and subordinate to it.

Geometry and arithmetic are, we shall maintain, of a twofold character; in their earthly types they rank with Sensible Quality, but in so far as they are functions of pure Soul, they necessarily belong to that other world in close proximity to the Intellectual. This, too, is in Plato's view the case with music and astronomy.

The arts concerned with material objects and making use of perceptible instruments and sense-perception must be classed with Sensible Quality, even though they are dispositions of the Soul, attendant upon its apostasy.

There is also every reason for consigning to this category the practical virtues whose function is directed to a social end: these do not isolate Soul by inclining it towards the higher; their manifestation makes for beauty in this world, a beauty regarded not as necessary but as desirable.

On this principle, the beauty in the germ, and still more the blackness and whiteness in it, will be included among Sensible Qualities.

Are we, then, to rank the individual soul, as containing these Reason-Principles, with Sensible Substance? But we do not even identify the Principles with body; we merely include them in Sensible Quality on the ground that they are connected with body and are activities of body. The constituents of Sensible Substance have already been specified; we have no intention whatever of adding to them Substance bodiless.

As for Qualities, we hold that they are invariably bodiless, being affections arising within Soul; but, like the Reason-Principles of the individual soul, they are associated with Soul in its apostasy, and are accordingly counted among the things of the lower realm: such affections, torn between two worlds by their objects and their abode, we have assigned to Quality, which is indeed not bodily but manifested in body.

But we refrain from assigning Soul to Sensible Substance, on the ground that we have already referred to Quality those affections of Soul which are related to body. On the contrary, Soul, conceived apart from affection and Reason-Principle, we have restored to its origin, leaving in the lower realm no substance which is in any sense Intellectual.

(10) All, then, that is present in the sense realm as Idea comes from the Supreme. But what is not present as Idea, does not. Thus of things conflicting with nature, none is There: the inartistic is not contained in the arts; lameness is not in the seed; for a lame leg is either inborn through some thwarting of the Reason-principle or is a marring of the achieved form by accident. To that Intellectual Kosmos belong qualities, accordant with Nature, and quantities; number and mass; origins and conditions; all actions and experiences not against nature; movement and repose, both the universals and the particulars: but There time is replaced by eternity and space by its intellectual equivalent, mutual inclusiveness.

In that Intellectual Kosmos, where all is one total, every entity that can be singled out is an intellective essence and a participant in life: thus, identity and difference, movement and rest with the object resting or moving, essence and quality, all have essential existence. For every real being must be in actuality not merely in potentiality and therefore the nature of each essence is inherent in it.

This suggests the question whether the Intellectual Kosmos contains the forms only of the things of sense or of other existents as well. But first we will consider how it stands with artistic creations: there is no question of an ideal archetype of evil: the evil of this world is begotten of need, privation, deficiency, and is a condition peculiar to Matter distressed and to what has come into likeness with Matter.

(7) This Good is celebrated by the sacred theologians, both as beautiful and as Beauty, and as Love, and as Beloved; and all the other Divine Names which beseem the beautifying and highly-favoured comeliness. But the beautiful and Beauty are not to be divided, as regards the Cause which has embraced the whole in one. For, with regard to all created things, by dividing them into participations and participants, we call beautiful that which participates in Beauty; but beauty, the participation of the beautifying Cause of all the beautiful things. But, the superessential Beautiful is called Beauty, on account of the beauty communicated from Itself to all beautiful things, in a manner appropriate to each, and as Cause of the good harmony and brightness of all things which flashes like light to all the beautifying distributions of its fontal ray, and as calling (καλοῦν) all things to Itself (whence also it is called Beauty) (κάλλος), and as collecting all in all to Itself. (And it is called) Beautiful, as (being) at once beautiful and super-beautiful, and always being under the same conditions and in the same manner beautiful, and neither coming into being nor perishing, neither waxing nor waning; neither in this beautiful, nor in that ugly, nor at one time beautiful, and at another not; nor in relation to one thing beautiful, and in relation to another ugly, nor here, and not there, as being beautiful to some, and not beautiful to others; but as Itself, in Itself, with Itself, uniform, always being beautiful, and as having beforehand in Itself pre-eminently the fontal beauty of everything beautiful. For, by the simplex and supernatural nature of all beautiful things, all beauty, and everything beautiful, pre-existed uniquely as to Cause. From this Beautiful (comes) being to all existing things,--that each is beautiful in its own proper order; and by reason of the Beautiful are the adaptations of all things, and friendships, and inter-communions, and by the Beautiful all things are made one, and the Beautiful is origin of all things, as a creating Cause, both by moving the whole and holding it together by the love of its own peculiar Beauty; and end of all things, and beloved, as final Cause (for all things exist for the sake of the Beautiful) and exemplary (Cause), because all things are determined according to It. Wherefore, also, the Beautiful is identical with the Good, because all things aspire to the Beautiful and Good, on every account, and there is no existing thing which does not participate in the Beautiful and the Good. Yea, reason will dare to say even this, that even the non-existing participates in the Beautiful and Good. For then even it is beautiful and good, when in God it is celebrated superessentially to the exclusion of all. This, the one Good and Beautiful, is uniquely Cause of all the many things beautiful and good. From this are all the substantial beginnings of things existing, the unions, the distinctions, the identities, the diversities, the similarities, the dissimilarities, the communions of the contraries, the commingling of things unified, the providences of the superior, the mutual cohesions of those of the same rank; the attentions of the more needy, the protecting and immoveable abidings and stabilities of their whole selves and, on the other hand, the communions of all things among all, in a manner peculiar to each, and adaptations and unmingled friendships and harmonies of the whole, the blendings in the whole, and the undissolved connections of existing things, the never-failing successions of the generations, all rests and movements, of the minds, of the souls, of the bodies. For, that which is established above every rest, and every movement, and moves each thing in the law of its own being to its proper movement, is a rest and movement to all.

(7) It is inevitably necessary to think of all as contained within one nature; one nature must hold and encompass all; there cannot be as in the realm of sense thing apart from thing, here a sun and elsewhere something else; all must be mutually present within a unity. This is the very nature of the Intellectual-Principle as we may know from soul which reproduces it and from what we call Nature under which and by which the things of process are brought into their disjointed being while that Nature itself remains indissolubly one.

But within the unity There, the several entities have each its own distinct existence; the all-embracing Intellect sees what is in it, what is within Being; it need not look out upon them since it contains them, need not separate them since they stand for ever distinct within it.

Against doubters we cite the fact of participation; the greatness and beauty of the Intellectual-Principle we know by the soul's longing towards it; the longing of the rest towards soul is set up by its likeness to its higher and to the possibility open to them of attaining resemblance through it.

It is surely inconceivable that any living thing be beautiful failing a Life-Absolute of a wonderful, an ineffable, beauty: this must be the Collective Life, made up of all living things, or embracing all, forming a unity coextensive with all, as our universe is a unity embracing all the visible.

(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.

(15) How far is it true that equality and inequality are characteristic of Quantity?

Triangles, it is significant, are said to be similar rather than equal. But we also refer to magnitudes as similar, and the accepted connotation of similarity does not exclude similarity or dissimilarity in Quantity. It may, of course, be the case that the term "similarity" has a different sense here from that understood in reference to Quality.

Furthermore, if we are told that equality and inequality are characteristic of Quantity, that is not to deny that similarity also may be predicated of certain quantities. If, on the contrary, similarity and dissimilarity are to be confined to Quality, the terms as applied to Quantity must, as we have said, bear a different meaning.

But suppose similarity to be identical in both genera; Quantity and Quality must then be expected to reveal other properties held in common.

May the truth be this: that similarity is predicable of Quantity only in so far as Quantity possesses differences? But as a general rule differences are grouped with that of which they are differences, especially when the difference is a difference of that thing alone. If in one case the difference completes the substance and not in another, we inevitably class it with that which it completes, and only consider it as independent when it is not complementary: when we say "completes the substance," we refer not to Subtance as such but to the differentiated substance; the particular object is to be thought of as receiving an accession which is non-substantial.

We must not however fad to observe that we predicate equality of triangles, rectangles, and figures generally, whether plane or solid: this may be given as a ground for regarding equality and inequality as characteristic of Quantity.

It remains to enquire whether similarity and dissimilarity are characteristic of Quality.

We have spoken of Quality as combining with other entities, Matter and Quantity, to form the complete Sensible Substance; this Substance, so called, may be supposed to constitute the manifold world of Sense, which is not so much an essence as a quale. Thus, for the essence of fire we must look to the Reason-Principle; what produces the visible aspect is, properly speaking, a quale.

Man's essence will lie in his Reason-Principle; that which is perfected in the corporeal nature is a mere image of the Reason-Principle a quale rather than an essence.

Consider: the visible Socrates is a man, yet we give the name of Socrates to that likeness of him in a portrait, which consists of mere colours, mere pigments: similarly, it is a Reason-Principle which constitutes Socrates, but we apply the name Socrates to the Socrates we see: in truth, however, the colours and shapes which make up the visible Socrates are but reproductions of those in the Reason-Principle, while this Reason-Principle itself bears a corresponding relation to the truest Reason-Principle of Man. But we need not elaborate this point.

(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.

(10) It remains, then, poised in wisdom within itself; it could not enter into any other; those others look to it and in their longing find it where it is. This is that "Love Waiting at the Door," ever coming up from without, striving towards the beautiful, happy when to the utmost of its power it attains. Even here the lover does not so much possess himself of the beauty he has loved as wait before it; that Beauty is abidingly self-enfolded but its lovers, the Many, loving it as an entire, possess it as an entire when they attain, for it was an entire that they loved. This seclusion does not prevent its sufficing to all, but is the very reason for its adequacy; because it is thus entire for all it can be The Good to all.

Similarly wisdom is entire to all; it is one thing; it is not distributed parcelwise; it cannot be fixed to place; it is not spread about like a colouring, for it is not corporeal; in any true participation in wisdom there must be one thing acting as unit upon unit. So must it be in our participation in the One; we shall not take our several portions of it, nor you some separate entire and I another. Think of what happens in Assemblies and all kinds of meetings; the road to sense is the road to unity; singly the members are far from wise; as they begin to grow together, each, in that true growth, generates wisdom while he recognizes it. There is nothing to prevent our intelligences meeting at one centre from their several positions; all one, they seem apart to us as when without looking we touch one object or sound one string with different fingers and think we feel several. Or take our souls in their possession of good; it is not one good for me and another for you; it is the same for both and not in the sense merely of distinct products of an identical source, the good somewhere above with something streaming from it into us; in any real receiving of good, giver is in contact with taker and gives not as to a recipient outside but to one in intimate contact.

The Intellectual giving is not an act of transmission; even in the case of corporeal objects, with their local separation, the mutual giving is of things of one order and their communication, every effect they produce, is upon their like; what is corporeal in the All acts and is acted upon within itself, nothing external impinging upon it. Now if in body, whose very nature is partition, there is no incursion of the alien, how can there be any in the order in which no partition exists?

It is therefore by identification that we see the good and touch it, brought to it by becoming identical with what is of the Intellectual within ourselves. In that realm exists what is far more truly a kosmos of unity; otherwise there will be two sensible universes, divided into correspondent parts; the Intellectual sphere, if a unity only as this sphere is, will be undistinguishable from it- except, indeed, that it will be less worthy of respect since in the nature of things extension is appropriate in the lower while the Intellectual will have wrought out its own extension with no motive, in a departure from its very character.

And what is there to hinder this unification? There is no question of one member pushing another out as occupying too much space, any more than happens in our own minds where we take in the entire fruit of our study and observation, all uncrowded.

We may be told that this unification is not possible in Real Beings; it certainly would not be possible, if the Reals had extension.