(1) What art is there, what method, what discipline to bring us there where we must go?

The Term at which we must arrive we may take as agreed: we have established elsewhere, by many considerations, that our journey is to the Good, to the Primal-Principle; and, indeed, the very reasoning which discovered the Term was itself something like an initiation.

But what order of beings will attain the Term?

Surely, as we read, those that have already seen all or most things, those who at their first birth have entered into the life-germ from which is to spring a metaphysician, a musician or a born lover, the metaphysician taking to the path by instinct, the musician and the nature peculiarly susceptible to love needing outside guidance.

But how lies the course? Is it alike for all, or is there a distinct method for each class of temperament?

For all there are two stages of the path, as they are making upwards or have already gained the upper sphere.

The first degree is the conversion from the lower life; the second- held by those that have already made their way to the sphere of the Intelligibles, have set as it were a footprint there but must still advance within the realm- lasts until they reach the extreme hold of the place, the Term attained when the topmost peak of the Intellectual realm is won.

But this highest degree must bide its time: let us first try to speak of the initial process of conversion.

We must begin by distinguishing the three types. Let us take the musician first and indicate his temperamental equipment for the task.

The musician we may think of as being exceedingly quick to beauty, drawn in a very rapture to it: somewhat slow to stir of his own impulse, he answers at once to the outer stimulus: as the timid are sensitive to noise so he to tones and the beauty they convey; all that offends against unison or harmony in melodies and rhythms repels him; he longs for measure and shapely pattern.

This natural tendency must be made the starting-point to such a man; he must be drawn by the tone, rhythm and design in things of sense: he must learn to distinguish the material forms from the Authentic-Existent which is the source of all these correspondences and of the entire reasoned scheme in the work of art: he must be led to the Beauty that manifests itself through these forms; he must be shown that what ravished him was no other than the Harmony of the Intellectual world and the Beauty in that sphere, not some one shape of beauty but the All-Beauty, the Absolute Beauty; and the truths of philosophy must be implanted in him to lead him to faith in that which, unknowing it, he possesses within himself. What these truths are we will show later.

(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.

(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.

(11) Now as to the arts and crafts and their productions:

The imitative arts- painting, sculpture, dancing, pantomimic gesturing- are, largely, earth-based; on an earthly base; they follow models found in sense, since they copy forms and movements and reproduce seen symmetries; they cannot therefore be referred to that higher sphere except indirectly, through the Reason-Principle in humanity.

On the other hand any skill which, beginning with the observation of the symmetry of living things, grows to the symmetry of all life, will be a portion of the Power There which observes and meditates the symmetry reigning among all beings in the Intellectual Kosmos. Thus all music- since its thought is upon melody and rhythm- must be the earthly representation of the music there is in the rhythm of the Ideal Realm.

The crafts, such as building and carpentry which give us Matter in wrought forms, may be said, in that they draw on pattern, to take their principles from that realm and from the thinking There: but in that they bring these down into contact with the sense-order, they are not wholly in the Intellectual: they are founded in man. So agriculture, dealing with material growths: so medicine watching over physical health; so the art which aims at corporeal strength and well-being: power and well-being mean something else There, the fearlessness and self-sufficing quality of all that lives.

Oratory and generalship, administration and sovereignty- under any forms in which their activities are associated with Good and when they look to that- possess something derived thence and building up their knowledge from the knowledge There.

Geometry, the science of the Intellectual entities, holds place There: so, too, philosophy, whose high concern is Being.

For the arts and products of art, these observations may suffice.

(1) What, then, will be the Soul's discourse, what its memories in the Intellectual Realm, when at last it has won its way to that Essence?

Obviously from what we have been saying, it will be in contemplation of that order, and have its Act upon the things among which it now is; failing such Contemplation and Act, its being is not there. Of things of earth it will know nothing; it will not, for example, remember an act of philosophic virtue, or even that in its earthly career it had contemplation of the Supreme.

When we seize anything in the direct intellectual act there is room for nothing else than to know and to contemplate the object; and in the knowing there is not included any previous knowledge; all such assertion of stage and progress belongs to the lower and is a sign of the altered; this means that, once purely in the Intellectual, no one of us can have any memory of our experience here. Further; if all intellection is timeless- as appears from the fact that the Intellectual beings are of eternity not of time- there can be no memory in the intellectual world, not merely none of earthly things but none whatever: all is presence There; for nothing passes away, there is no change from old to new.

This, however, does not alter the fact that distinction exists in that realm- downwards from the Supreme to the Ideas, upward from the Ideas to the Universal and to the Supreme. Admitting that the Highest, as a self-contained unity, has no outgoing effect, that does not prevent the soul which has attained to the Supreme from exerting its own characteristic Act: it certainly may have the intuition, not by stages and parts, of that Being which is without stage and part.

But that would be in the nature of grasping a pure unity?

No: in the nature of grasping all the intellectual facts of a many that constitutes a unity. For since the object of vision has variety the intuition must be multiple and the intuitions various, just as in a face we see at the one glance eyes and nose and all the rest.

But is not this impossible when the object to be thus divided and treated as a thing of grades, is a pure unity?

No: there has already been discrimination within the Intellectual-Principle; the Act of the soul is little more than a reading of this.

First and last is in the Ideas not a matter of time, and so does not bring time into the soul's intuition of earlier and later among them. There is a grading by order as well: the ordered disposition of some growing thing begins with root and reaches to topmost point, but, to one seeing the plant as a whole, there is no other first and last than simply that of the order.

Still, the soul looks to what is a unity; next it entertains multiplicity, all that is: how explain this grasping first of the unity and later of the rest?

The explanation is that the unity of this power is such as to allow of its being multiple to another principle , to which it is all things and therefore does not present itself as one indivisible object of intuition: its activities do not fall under the rule of unity; they are for ever multiple in virtue of that abiding power, and in their outgoing they actually become all things.

For with the Intellectual or Supreme- considered as distinct from the One- there is already the power of harbouring that Principle of Multiplicity, the source of things not previously existent in its superior.

(8) Now comes the question what sort of thing does the Intellectual-Principle see in seeing the Intellectual Realm and what in seeing itself?

We are not to look for an Intellectual realm reminding us of the colour or shape to be seen on material objects: the intellectual antedates all such things; and even in our sphere the production is very different from the Reason-Principle in the seeds from which it is produced. The seed principles are invisible and the beings of the Intellectual still more characteristically so; the Intellectuals are of one same nature with the Intellectual Realm which contains them, just as the Reason-Principle in the seed is identical with the soul, or life-principle, containing it.

But the Soul (considered as apart from the Intellectual-Principle) has no vision of what it thus contains, for it is not the producer but, like the Reason-Principles also, an image of its source: that source is the brilliant, the authentic, the primarily existent, the thing self-sprung and self-intent; but its image, soul, is a thing which can have no permanence except by attachment, by living in that other; the very nature of an image is that, as a secondary, it shall have its being in something else, if at all it exist apart from its original. Hence this image (soul) has not vision, for it has not the necessary light, and, if it should see, then, as finding its completion elsewhere, it sees another, not itself.

In the pure Intellectual there is nothing of this: the vision and the envisioned are a unity; the seen is as the seeing and seeing as seen.

What, then, is there that can pronounce upon the nature of this all-unity?

That which sees: and to see is the function of the Intellectual-Principle. Even in our own sphere , our vision is light or rather becomes one with light, and it sees light for it sees colours. In the intellectual, the vision sees not through some medium but by and through itself alone, for its object is not external: by one light it sees another not through any intermediate agency; a light sees a light, that is to say a thing sees itself. This light shining within the soul enlightens it; that is, it makes the soul intellective, working it into likeness with itself, the light above.

Think of the traces of this light upon the soul, then say to yourself that such, and more beautiful and broader and more radiant, is the light itself; thus you will approach to the nature of the Intellectual-Principle and the Intellectual Realm, for it is this light, itself lit from above, which gives the soul its brighter life.

It is not the source of the generative life of the soul which, on the contrary, it draws inward, preserving it from such diffusion, holding it to the love of the splendour of its Prior.

Nor does it give the life of perception and sensation, for that looks to the external and to what acts most vigorously upon the senses whereas one accepting that light of truth may be said no longer to see the visible, but the very contrary.

This means in sum that the life the soul takes thence is an intellective life, a trace of the life in the Intellect, in which alone the authentic exists.

The life in the Divine Intellect is also an Act: it is the primal light outlamping to itself primarily, its own torch; light-giver and lit at once; the authentic intellectual object, knowing at once and known, seen to itself and needing no other than itself to see by, self-sufficing to the vision, since what it sees it is; known to us by that very same light, our knowledge of it attained through itself, for from nowhere else could we find the means of telling of it. By its nature, its self-vision is the clearer but, using it as our medium, we too may come to see by it.

In the strength of such considerations we lead up our own soul to the Divine, so that it poses itself as an image of that Being, its life becoming an imprint and a likeness of the Highest, its every act of thought making it over into the Divine and the Intellectual.

If the soul is questioned as to the nature of that Intellectual-Principle- the perfect and all-embracing, the primal self-knower- it has but to enter into that Principle, or to sink all its activity into that, and at once it shows itself to be in effective possession of those priors whose memory it never lost: thus, as an image of the Intellectual-Principle, it can make itself the medium by which to attain some vision of it; it draws upon that within itself which is most closely resemblant, as far as resemblance is possible between divine Intellect and any phase of soul.

(2) What is this other place and how it is accessible?

It is to be reached by those who, born with the nature of the lover, are also authentically philosophic by inherent temper; in pain of love towards beauty but not held by material loveliness, taking refuge from that in things whose beauty is of the soul- such things as virtue, knowledge, institutions, law and custom- and thence, rising still a step, reach to the source of this loveliness of the Soul, thence to whatever be above that again, until the uttermost is reached. The First, the Principle whose beauty is self-springing: this attained, there is an end to the pain inassuageable before.

But how is the ascent to be begun? Whence comes the power? In what thought is this love to find its guide?

The guiding thought is this: that the beauty perceived on material things is borrowed.

The pattern giving beauty to the corporeal rests upon it as Idea to its Matter and the substrate may change and from being pleasant become distasteful, a sign, in all reason, that the beauty comes by participation.

Now, what is this that gives grace to the corporeal?

Two causes in their degree; the participation in beauty and the power of Soul, the maker, which has imprinted that form.

We ask then is soul, of itself, a thing of beauty: we find it is not since differences are manifest, one Soul wise and lovely, another foolish and ugly: soul-beauty is constituted by wisdom.

The question thus becomes, "What principle is the giver of wisdom to the soul? and the only answer is "The Intellectual-Principle," the veritably intellectual, wise without intermission and therefore beautiful of itself.

But does even this suffice for our First?

No; we must look still inward beyond the Intellectual, which, from our point of approach, stands before the Supreme Beginning, in whose forecourt, as it were, it announces in its own being the entire content of the Good, that prior of all, locked in unity, of which this is the expression already touched by multiplicity.

(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.

(4) To "live at ease" is There; and, to these divine beings, verity is mother and nurse, existence and sustenance; all that is not of process but of authentic being they see, and themselves in all: for all is transparent, nothing dark, nothing resistant; every being is lucid to every other, in breadth and depth; light runs through light. And each of them contains all within itself, and at the same time sees all in every other, so that everywhere there is all, and all is all and each all, and infinite the glory. Each of them is great; the small is great; the sun, There, is all the stars; and every star, again, is all the stars and sun. While some one manner of being is dominant in each, all are mirrored in every other.

Movement There is pure for the moving principle is not a separate thing to complicate it as it speeds.

So, too, Repose is not troubled, for there is no admixture of the unstable; and the Beauty is all beauty since it is not merely resident in some beautiful object. Each There walks upon no alien soil; its place is its essential self; and, as each moves, so to speak, towards what is Above, it is attended by the very ground from which it starts: there is no distinguishing between the Being and the Place; all is Intellect, the Principle and the ground on which it stands, alike. Thus we might think that our visible sky , lit, as it is, produces the light which reaches us from it, though of course this is really produced by the stars .

In our realm all is part rising from part and nothing can be more than partial; but There each being is an eternal product of a whole and is at once a whole and an individual manifesting as part but, to the keen vision There, known for the whole it is.

The myth of Lynceus seeing into the very deeps of the earth tells us of those eyes in the divine. No weariness overtakes this vision, which yet brings no such satiety as would call for its ending; for there never was a void to be filled so that, with the fulness and the attainment of purpose, the sense of sufficiency be induced: nor is there any such incongruity within the divine that one Being there could be repulsive to another: and of course all There are unchangeable. This absence of satisfaction means only a satisfaction leading to no distaste for that which produces it; to see is to look the more, since for them to continue in the contemplation of an infinite self and of infinite objects is but to acquiesce in the bidding of their nature.

Life, pure, is never a burden; how then could there be weariness There where the living is most noble? That very life is wisdom, not a wisdom built up by reasonings but complete from the beginning, suffering no lack which could set it enquiring, a wisdom primal, unborrowed, not something added to the Being, but its very essence. No wisdom, thus, is greater; this is the authentic knowing, assessor to the divine Intellect as projected into manifestation simultaneously with it; thus, in the symbolic saying, Justice is assessor to Zeus.

for all the Principles of this order, dwelling There, are as it were visible images protected from themselves, so that all becomes an object of contemplation to contemplators immeasurably blessed. The greatness and power of the wisdom There we may know from this, that is embraces all the real Beings, and has made all, and all follow it, and yet that it is itself those beings, which sprang into being with it, so that all is one, and the essence There is wisdom. If we have failed to understand, it is that we have thought of knowledge as a mass of theorems and an accumulation of propositions, though that is false even for our sciences of the sense-realm. But in case this should be questioned, we may leave our own sciences for the present, and deal with the knowing in the Supreme at which Plato glances where he speaks of "that knowledge which is not a stranger in something strange to it"- though in what sense, he leaves us to examine and declare, if we boast ourselves worthy of the discussion. This is probably our best starting-point.

(10) We may be told that an image need not be thus closely attached to its archetype, that we know images holding in the absence of their archetype and that a warmed object may retain its heat when the fire is withdrawn.

To begin with the image and archetype: If we are reminded of an artist's picture we observe that here the image was produced by the artist, not by his subject; even in the case of a self-portrait, the picture is no "image of archetype," since it is not produced by the painter's body, the original represented: the reproduction is due to the effective laying on of the colours.

Nor is there strictly any such making of image as we see in water or in mirrors or in a shadow; in these cases the original is the cause of the image which, at once, springs from it and cannot exist apart from it. Now, it is in this sense that we are to understand the weaker powers to be images of the Priors. As for the illustration from the fire and the warmed object, the warmth cannot be called an image of the fire unless we think of warmth as containing fire so that the two are separate things. Besides, the fire removed, the warmth does sooner or later disappear, leaving the object cold.

If we are told that these powers fade out similarly, we are left with only one imperishable: the souls, the Intellectual-Principle, become perishable; then since Being becomes transitory, so also must the Beings, its productions. Yet the sun, so long as it holds its station in the universe, will pour the same light upon the same places; to think its light may be lessened is to hold its mass perishable. But it has been abundantly stated that the emanants of the First are not perishable, that the souls, and the Intellectual-Principle with all its content, cannot perish.

(1) Supposing we played a little before entering upon our serious concern and maintained that all things are striving after Contemplation, looking to Vision as their one end- and this, not merely beings endowed with reason but even the unreasoning animals, the Principle that rules in growing things, and the Earth that produces these- and that all achieve their purpose in the measure possible to their kind, each attaining Vision and possessing itself of the End in its own way and degree, some things in entire reality, others in mimicry and in image- we would scarcely find anyone to endure so strange a thesis. But in a discussion entirely among ourselves there is no risk in a light handling of our own ideas.

Well- in the play of this very moment am I engaged in the act of Contemplation?

Yes; I and all that enter this play are in Contemplation: our play aims at Vision; and there is every reason to believe that child or man, in sport or earnest, is playing or working only towards Vision, that every act is an effort towards Vision; the compulsory act, which tends rather to bring the Vision down to outward things, and the act thought of as voluntary, less concerned with the outer, originate alike in the effort towards Vision.

The case of Man will be treated later on; let us speak, first, of the earth and of the trees and vegetation in general, asking ourselves what is the nature of Contemplation in them, how we relate to any Contemplative activity the labour and productiveness of the earth, how Nature, held to be devoid of reason and even of conscious representation, can either harbour Contemplation or produce by means of the Contemplation which it does not possess.

(1) You adduce, however, as a thing by no means to be despised, “ the artificers of efficacious images .” But I should wonder if these were admitted by any one of the theurgists who survey the true forms of the Gods. For why should any one exchange truly existing beings for images, and descend from the first to the last of things? Or do we not know that all things effected by an adumbration of this kind, have an obscure subsistence, are the phantasms only of that which is true, and appear to be good, but in no respect are so? Other things, also, of this kind that accede, are borne along in a flowing condition of being; but obtain nothing genuine, or perfect, or manifest. But this is evident from the mode of their production: for not divinity, but man is the maker of them. Nor are they produced from uniform and intelligible essences, but from matter, which is assumed for this purpose. What good, therefore, can germinate from matter, and from the material and corporeal-formed powers which are in bodies? Or is not that which derives its subsistence from human art, more imbecile than men themselves, who impart existence to it? By what kind of art, likewise, is this image fashioned? For it is said, indeed, to be fashioned by demiurgic art; but this is effective of true essences, and not of certain images. Hence the image-producing art is distant by a great interval from the seminal production of realities. Besides, neither does it preserve a certain analogy with divine fabrication.