(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.

(13) Like the Pleromas are the things which came into being from the arrogant thought, which are their (the Pleromas') likenesses, copies, shadows, and phantasms, lacking reason and the light, these which belong to the vain thought, since they are not products of anything. Therefore, their end will be like their beginning: from that which did not exist (they are) to return once again to that which will not be. It is they, however, by themselves who are greater, more powerful, and more honored than the names which are given to them, which are their shadows. In the manner of a reflection are they beautiful. For the face of the copy normally takes its beauty from that of which it is a copy.

(6) And by the second seemed the first reflected As Iris is by Iris, and the third Seemed fire that equally from both is breathed. O how all speech is feeble and falls short Of my conceit, and this to what I saw Is such, 'tis not enough to call it little! O Light Eterne, sole in thyself that dwellest, Sole knowest thyself, and, known unto thyself And knowing, lovest and smilest on thyself! That circulation, which being thus conceived Appeared in thee as a reflected light, When somewhat contemplated by mine eyes, Within itself, of its own very colour Seemed to me painted with our effigy, Wherefore my sight was all absorbed therein.

(3) That which Timaeus argues of the soul Doth not resemble that which here is seen, Because it seems that as he speaks he thinks. He says the soul unto its star returns, Believing it to have been severed thence Whenever nature gave it as a form. Perhaps his doctrine is of other guise Than the words sound, and possibly may be With meaning that is not to be derided. If he doth mean that to these wheels return The honour of their influence and the blame, Perhaps his bow doth hit upon some truth. This principle ill understood once warped The whole world nearly, till it went astray Invoking Jove and Mercury and Mars. The other doubt which doth disquiet thee Less venom has, for its malevolence Could never lead thee otherwhere from me. That as unjust our justice should appear In eyes of mortals, is an argument Of faith, and not of sin heretical. But still, that your perception may be able To thoroughly penetrate this verity, As thou desirest, I will satisfy thee.

(510) but they begin with them, and go on until they arrive at last, and in a consistent manner, at their conclusion? Yes, he said, I know. And do you not know also that although they make use of the visible forms and reason about them, they are thinking not of these, but of the ideals which they resemble; not of the figures which they draw, but of the absolute square and the absolute diameter, and so on—the forms which they draw or make, and which have shadows and reflections in water of their own, are converted by them into images, but they are really seeking to behold the things themselves, which can only be seen with the eye of the mind? That is true. And of this kind I spoke as the intelligible, although in the search after it the soul is compelled to use hypotheses; not ascending to a first principle, because she is unable to rise above the region of hypothesis, but employing the objects of which the shadows below are resemblances in their turn as images, they having in relation to the shadows and reflections of them a greater distinctness, and therefore a higher value.

(1) Remember, Reader, if e'er in the Alps A mist o'ertook thee, through which thou couldst see Not otherwise than through its membrane mole, How, when the vapours humid and condensed Begin to dissipate themselves, the sphere Of the sun feebly enters in among them, And thy imagination will be swift In coming to perceive how I re-saw The sun at first, that was already setting. Thus, to the faithful footsteps of my Master Mating mine own, I issued from that cloud To rays already dead on the low shores. O thou, Imagination, that dost steal us So from without sometimes, that man perceives not, Although around may sound a thousand trumpets, Who moveth thee, if sense impel thee not? Moves thee a light, which in the heaven takes form, By self, or by a will that downward guides it. Of her impiety, who changed her form Into the bird that most delights in singing, In my imagining appeared the trace; And hereupon my mind was so withdrawn Within itself, that from without there came Nothing that then might be received by it.

(29) "The Man longed to pierce the circumference of the circles and understand the mystery of Him who sat upon the Eternal Fire. Having already all power, He stooped down and peeped through the seven Harmonies and, breaking through the strength of the circles, made Himself manifest to Nature stretched out below. The Man, looking into the depths, smiled, for He beheld a shadow upon the earth and a likeness mirrored in the waters, which shadow and likeness were a reflection of Himself. The Man fell in love with His own shadow and desired to descend into it. Coincident with the desire, the Intelligent Thing united Itself with the unreasoning image or shape.

(5) O splendour of God! by means of which I saw The lofty triumph of the realm veracious, Give me the power to say how it I saw! There is a light above, which visible Makes the Creator unto every creature, Who only in beholding Him has peace, And it expands itself in circular form To such extent, that its circumference Would be too large a girdle for the sun. The semblance of it is all made of rays Reflected from the top of Primal Motion, Which takes therefrom vitality and power. And as a hill in water at its base Mirrors itself, as if to see its beauty When affluent most in verdure and in flowers, So, ranged aloft all round about the light, Mirrored I saw in more ranks than a thousand All who above there have from us returned. And if the lowest row collect within it So great a light, how vast the amplitude Is of this Rose in its extremest leaves! My vision in the vastness and the height Lost not itself, but comprehended all The quantity and quality of that gladness.

(1) Already on my Lady's face mine eyes Again were fastened, and with these my mind, And from all other purpose was withdrawn; And she smiled not; but "If I were to smile," She unto me began, "thou wouldst become Like Semele, when she was turned to ashes. Because my beauty, that along the stairs Of the eternal palace more enkindles, As thou hast seen, the farther we ascend, If it were tempered not, is so resplendent That all thy mortal power in its effulgence Would seem a leaflet that the thunder crushes. We are uplifted to the seventh splendour, That underneath the burning Lion's breast Now radiates downward mingled with his power. Fix in direction of thine eyes the mind, And make of them a mirror for the figure That in this mirror shall appear to thee." He who could know what was the pasturage My sight had in that blessed countenance, When I transferred me to another care, Would recognize how grateful was to me Obedience unto my celestial escort, By counterpoising one side with the other.

(1) After the truth against the present life Of miserable mortals was unfolded By her who doth imparadise my mind, As in a looking-glass a taper's flame He sees who from behind is lighted by it, Before he has it in his sight or thought, And turns him round to see if so the glass Tell him the truth, and sees that it accords Therewith as doth a music with its metre, In similar wise my memory recollecteth That I did, looking into those fair eyes, Of which Love made the springes to ensnare me. And as I turned me round, and mine were touched By that which is apparent in that volume, Whenever on its gyre we gaze intent, A point beheld I, that was raying out Light so acute, the sight which it enkindles Must close perforce before such great acuteness. And whatsoever star seems smallest here Would seem to be a moon, if placed beside it. As one star with another star is placed. Perhaps at such a distance as appears A halo cincturing the light that paints it, When densest is the vapour that sustains it,

(5) And other lights I saw descend where was The summit of the M, and pause there singing The good, I think, that draws them to itself. Then, as in striking upon burning logs Upward there fly innumerable sparks, Whence fools are wont to look for auguries, More than a thousand lights seemed thence to rise, And to ascend, some more, and others less, Even as the Sun that lights them had allotted; And, each one being quiet in its place, The head and neck beheld I of an eagle Delineated by that inlaid fire. He who there paints has none to be his guide; But Himself guides; and is from Him remembered That virtue which is form unto the nest. The other beatitude, that contented seemed At first to bloom a lily on the M, By a slight motion followed out the imprint. O gentle star! what and how many gems Did demonstrate to me, that all our justice Effect is of that heaven which thou ingemmest! Wherefore I pray the Mind, in which begin Thy motion and thy virtue, to regard Whence comes the smoke that vitiates thy rays;

(1) As much as 'twixt the close of the third hour And dawn of day appeareth of that sphere Which aye in fashion of a child is playing, So much it now appeared, towards the night, Was of his course remaining to the sun; There it was evening, and 'twas midnight here; And the rays smote the middle of our faces, Because by us the mount was so encircled, That straight towards the west we now were going When I perceived my forehead overpowered Beneath the splendour far more than at first, And stupor were to me the things unknown, Whereat towards the summit of my brow I raised my hands, and made myself the visor Which the excessive glare diminishes. As when from off the water, or a mirror, The sunbeam leaps unto the opposite side, Ascending upward in the selfsame measure That it descends, and deviates as far From falling of a stone in line direct, (As demonstrate experiment and art,) So it appeared to me that by a light Refracted there before me I was smitten; On which account my sight was swift to flee.

(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) And the sun's face, uprising, overshadowed So that by tempering influence of vapours For a long interval the eye sustained it; Thus in the bosom of a cloud of flowers Which from those hands angelical ascended, And downward fell again inside and out, Over her snow-white veil with olive cinct Appeared a lady under a green mantle, Vested in colour of the living flame. And my own spirit, that already now So long a time had been, that in her presence Trembling with awe it had not stood abashed, Without more knowledge having by mine eyes, Through occult virtue that from her proceeded Of ancient love the mighty influence felt. As soon as on my vision smote the power Sublime, that had already pierced me through Ere from my boyhood I had yet come forth, To the left hand I turned with that reliance With which the little child runs to his mother, When he has fear, or when he is afflicted, To say unto Virgilius: "Not a drachm Of blood remains in me, that does not tremble; I know the traces of the ancient flame."

(597) I think, he said, that we may fairly designate him as the imitator of that which the others make. Good, I said; then you call him who is third in the descent from nature an imitator? Certainly, he said. And the tragic poet is an imitator, and therefore, like all other imitators, he is thrice removed from the king and from the truth? That appears to be so. Then about the imitator we are agreed. And what about the painter?—I would like to know whether he may be thought to imitate that which originally exists in nature, or only the creations of artists? The latter. As they are or as they appear? you have still to determine this. What do you mean? I mean, that you may look at a bed from different points of view, obliquely or directly or from any other point of view, and the bed will appear different, but there is no difference in reality. And the same of all things. Yes, he said, the difference is only apparent. Now let me ask you another question: Which is the art of painting designed to be—an imitation of things as they are, or as they appear—of appearance or of reality? Of appearance. Then the imitator, I said, is a long way off the truth, and can do all things because he lightly touches on a small part of them, and that part an image. For example: A painter will paint a cobbler, carpenter, or any other artist, though he

(1) The concubine of old Tithonus now Gleamed white upon the eastern balcony, Forth from the arms of her sweet paramour; With gems her forehead all relucent was, Set in the shape of that cold animal Which with its tail doth smite amain the nations, And of the steps, with which she mounts, the Night Had taken two in that place where we were, And now the third was bending down its wings; When I, who something had of Adam in me, Vanquished by sleep, upon the grass reclined, There were all five of us already sat. Just at the hour when her sad lay begins The little swallow, near unto the morning, Perchance in memory of her former woes, And when the mind of man, a wanderer More from the flesh, and less by thought imprisoned, Almost prophetic in its visions is, In dreams it seemed to me I saw suspended An eagle in the sky, with plumes of gold, With wings wide open, and intent to stoop, And this, it seemed to me, was where had been By Ganymede his kith and kin abandoned, When to the high consistory he was rapt.

(7) As the geometrician, who endeavours To square the circle, and discovers not, By taking thought, the principle he wants, Even such was I at that new apparition; I wished to see how the image to the circle Conformed itself, and how it there finds place; But my own wings were not enough for this, Had it not been that then my mind there smote A flash of lightning, wherein came its wish. Here vigour failed the lofty fantasy: But now was turning my desire and will, Even as a wheel that equally is moved, The Love which moves the sun and the other stars.

(476) And inasmuch as they are two, each of them is one? True again. And of just and unjust, good and evil, and of every other class, the same remark holds: taken singly, each of them is one; but from the various combinations of them with actions and things and with one another, they are seen in all sorts of lights and appear many? Very true. And this is the distinction which I draw between the sight- loving, art-loving, practical class and those of whom I am speaking, and who are alone worthy of the name of philosophers. How do you distinguish them? he said. The lovers of sounds and sights, I replied, are, as I conceive, fond of fine tones and colours and forms and all the artificial products that are made out of them, but their mind is incapable of seeing or loving absolute beauty. True, he replied. Few are they who are able to attain to the sight of this. Very true. And he who, having a sense of beautiful things has no sense of absolute beauty, or who, if another lead him to a knowledge of that beauty is unable to follow—of such an one I ask, Is he awake or in a dream only? Reflect: is not the dreamer, sleeping or waking, one who likens dissimilar things, who puts the copy in the place of the real object? I should certainly say that such an one was dreaming. But take the case of the other, who recognises the existence

(5) And if from smoke a fire may be inferred, Such an oblivion clearly demonstrates Some error in thy will elsewhere intent. Truly from this time forward shall my words Be naked, so far as it is befitting To lay them open unto thy rude gaze." And more coruscant and with slower steps The sun was holding the meridian circle, Which, with the point of view, shifts here and there When halted (as he cometh to a halt, Who goes before a squadron as its escort, If something new he find upon his way) The ladies seven at a dark shadow's edge, Such as, beneath green leaves and branches black, The Alp upon its frigid border wears. In front of them the Tigris and Euphrates Methought I saw forth issue from one fountain, And slowly part, like friends, from one another. "O light, O glory of the human race! What stream is this which here unfolds itself From out one source, and from itself withdraws?"

(2) But if the soul connects its intellectual and divine part with more excellent natures, then its phantasms will be more pure, whether they are phantasms of the Gods, or of beings essentially incorporeal, or, in short, of things contributing to the truth of intelligibles. If, also, it elevates the reasons of generated natures, contained in it to the Gods, the causes of them, it receives power from them, and a knowledge which apprehends what has been, and what will be; it likewise surveys the whole of time, and the deeds which are accomplished in time, and is allotted the order of providentially attending to and correcting them in an appropriate manner. And bodies, indeed, that are diseased it heals; but properly disposes such things as subsist among men erroneously and disorderly. It likewise frequently delivers the discoveries of arts, the distributions of justice, and the establishment of legal institutions. Thus in the temple of Esculapius, diseases are healed through divine dreams; and, through the order of nocturnal appearances, the medical art is obtained from sacred dreams. Thus, too, the whole army of Alexander was preserved, which would otherwise have been entirely destroyed in the night, in consequence of Bacchus appearing in sleep, and pointing out a solution of the most grievous calamities. The city Aphutis, likewise, when besieged by King Lysander, was saved through a dream sent to him by Jupiter Ammon. For afterwards, he most rapidly withdrew his army from thence, and immediately raised the siege.