(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.

(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.

(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.

(7) Certain Principles, then, we may take to be established- some self-evident, others brought out by our treatment above:

All the forms of Authentic Existence spring from vision and are a vision. Everything that springs from these Authentic Existences in their vision is an object of vision-manifest to sensation or to true knowledge or to surface-awareness. All act aims at this knowing; all impulse is towards knowledge, all that springs from vision exists to produce Ideal-Form, that is a fresh object of vision, so that universally, as images of their engendering principles, they all produce objects of vision, Ideal-forms. In the engendering of these sub-existences, imitations of the Authentic, it is made manifest that the creating powers operate not for the sake of creation and action but in order to produce an object of vision. This same vision is the ultimate purpose of all the acts of the mind and, even further downward, of all sensation, since sensation also is an effort towards knowledge; lower still, Nature, producing similarly its subsequent principle, brings into being the vision and Idea that we know in it. It is certain, also, that as the Firsts exist in vision all other things must be straining towards the same condition; the starting point is, universally, the goal.

When living things reproduce their Kind, it is that the Reason-Principles within stir them; the procreative act is the expression of a contemplation, a travail towards the creation of many forms, many objects of contemplation, so that the universe may be filled full with Reason-Principles and that contemplation may be, as nearly as possible, endless: to bring anything into being is to produce an Idea-Form and that again is to enrich the universe with contemplation: all the failures, alike in being and in doing, are but the swerving of visionaries from the object of vision: in the end the sorriest craftsman is still a maker of forms, ungracefully. So Love, too, is vision with the pursuit of Ideal-Form.

(2) There is, obviously, no question here of hands or feet, of any implement borrowed or inherent: Nature needs simply the Matter which it is to work upon and bring under Form; its productivity cannot depend upon mechanical operation. What driving or hoisting goes to produce all that variety of colour and pattern?

The wax-workers, whose methods have been cited as parallel to the creative act of Nature, are unable to make colours; all they can do to impose upon their handicraft colours taken from elsewhere. None the less there is a parallel which demands attention: in the case of workers in such arts there must be something locked within themselves, an efficacy not going out from them and yet guiding their hands in all their creation; and this observation should have indicated a similar phenomenon in Nature; it should be clear that this indwelling efficacy, which makes without hands, must exist in Nature, no less than in the craftsman- but, there, as a thing completely inbound. Nature need possess no outgoing force as against that remaining within; the only moved thing is Matter; there can be no moved phase in this Nature-Principle; any such moved phase could not be the primal mover; this Nature-Principle is no such moved entity; it is the unmoved Principle operating in the Kosmos.

We may be answered that the Reason-Principle is, no doubt, unmoved, but that the Nature-Principle, another being, operates by motion.

But, if Nature entire is in question here, it is identical with the Reason-Principle; and any part of it that is unmoved is the Reason-Principle. The Nature-Principle must be an Ideal-Form, not a compound of Form and Matter; there is no need for it to possess Matter, hot and cold: the Matter that underlies it, on which it exercises its creative act, brings all that with it, or, natively without quality, becomes hot and cold, and all the rest, when brought under Reason: Matter, to become fire, demands the approach not of fire but of a Reason-Principle.

This is no slight evidence that in the animal and vegetable realms the Reason-Principles are the makers and that Nature is a Reason-Principle producing a second Reason-Principle, its offspring, which, in turn, while itself, still, remaining intact, communicates something to the underlie, Matter.

The Reason-Principle presiding over visible Shape is the very ultimate of its order, a dead thing unable to produce further: that which produces in the created realm is the living Reason-Principle- brother no doubt, to that which gives mere shape, but having life-giving power.

(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.

(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.

(38) Whatever springs automatically from the All out of that distinctive life of its own, and, in addition to that self-moving activity, whatever is due to some specific agency- for example, to prayers, simple or taking the form of magic incantations- this entire range of production is to be referred, not to each such single cause, but to the nature of the thing produced .

All that forwards life or some other useful purpose is to be ascribed to the transmission characteristic of the All; it is something flowing from the major of an integral to its minor. Where we think we see the transmission of some force unfavourable to the production of living beings, the flaw must be found in the inability of the subject to take in what would serve it: for what happens does not happen upon a void; there is always specific form and quality; anything that could be affected must have an underlying nature definite and characterized. The inevitable blendings, further, have their constructive effect, every element adding something contributory to the life. Then again some influence may come into play at the time when the forces of a beneficent nature are not acting: the co-ordination of the entire system of things does not always allow to each several entity everything that it needs: and further we ourselves add a great deal to what is transmitted to us.

None the less all entwines into a unity: and there is something wonderful in the agreement holding among these various things of varied source, even of sources frankly opposite; the secret lies in a variety within a unity. When by the standard of the better kind among things of process anything falls short- the reluctance of its material substratum having prevented its perfect shaping under idea- it may be thought of as being deficient in that noble element whose absence brings to shame: the thing is a blend, something due to the high beings, an alloy from the underlying nature, something added by the self.

Because all is ever being knit, all brought to culmination in unity, therefore all events are indicated; but this does not make virtue a matter of compulsion; its spontaneity is equally inwoven into the ordered system by the general law that the things of this sphere are pendant from the higher, that the content of our universe lies in the hands of the diviner beings in whom our world is participant.

(7) But all the proportions of nature individually are comprehended in the whole nature of the whole, within one unconfused union; and in the soul, the powers of each several part are provident of the whole body in a uniform fashion. There is nothing out of place then, that, by ascending from obscure images to the Cause of all, we should contemplate, with supermundane eyes, all things in the Cause of all, even those contrary to each other, after a single fashion and unitedly. For It is Source of things existing, from which are both being itself, and all things however being; every source, every term, every life, every immortality, every wisdom, every order, every harmony, every power, every protection, every stability, every endurance, every conception, every word, every sensible perception, every habit, every standing, every movement, every union, every mingling, every friendship, every agreement, every difference, every limit, and whatever other things existing by being, characterize all things being.

(10) Of these three motions then in everything perceptible here below, and much more of the abidings and repose and fixity of each, the Beautiful and Good, which is above all repose and movement, is Cause and Bond and End; by reason of which, and from which, and in which, and towards which, and for sake of which, is every repose and movement. For, both from It and through It is both Essence and every life, and both of mind and soul and every nature, the minutiae, the equalities, the magnitudes, all the standards and the analogies of beings, and harmonies and compositions; the entireties, the parts, every one thing, and multitude, the connections of parts, the unions of every multitude, the perfections of the entireties, the quality, the weight, the size, the infinitude, the compounds, the distinctions, every infinitude, every term, all the bounds, the orders, the pre-eminences, the elements, the forms, every essence, every power, every energy, every condition, every sensible perception, every reason, every conception, every contact, every science, every union, and in one word, all things existing are from the Beautiful and Good, and in the Beautiful and Good, and turn themselves to the Beautiful and Good. Moreover, all things whatever, which are and come to being, are and come to being by reason of the Beautiful and Good; and to It all things look, and by It are moved and held together, and for the sake of It, and by reason of It, and in It, is every source exemplary, final, creative, formative, elemental, and in one word, every beginning, every bond, every term, or to speak summarily, all things existing are from the Beautiful and Good; and all things non-existing are superessentially in the Beautiful and Good; and it is of all, beginning and term, above beginning and above term, because from It, and through It, and in It, and to It, are all things, as says the Sacred Word. By all things, then, the Beautiful and Good is desired and beloved and cherished; and, by reason of It, and for the sake of It, the less love the greater suppliantly; and those of the same rank, their fellows brotherly; and the greater, the less considerately; and these severally love the things of themselves continuously; and all things by aspiring to the Beautiful and Good, do and wish all things whatever they do and wish. Further, it may be boldly said with truth, that even the very Author of all things, by reason of overflowing Goodness, loves all, makes all, perfects all, sustains all, attracts all; and even the Divine Love is Good of Good, by reason of the Good. For Love itself, the benefactor of things that be, pre-existing overflowingly in the Good, did not permit itself to remain unproductive in itself, but moved itself to creation, as befits the overflow which is generative of all.

(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.

(46) For Nature would fain be delivered from this vanity, that it might procreate heavenly forms in the holy power.

(3) For if thou should’st regard that supreme [point] of time when . . . the one nature doth pour forth the young into the other one, and when the other greedily absorbs [it] from the first, and hides it [ever] deeper [in itself]; then, at that time, out of their common congress, females attain the nature of the males, males weary grow with female listlessness. And so the consummation of this mystery, so sweet and requisite, is wrought in secret; lest, owing to the vulgar jests of ignorance, the deity of either sex should be compelled to blush at natural congress,—and much more still, if it should be subjected to the sight of impious folk. XXII

(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.

(4) God fashioned man in such a way as to render it manifest, that he is not through the want of power, or of deliberate choice, incapable of being impelled to what is beautiful in conduct. For he implanted in him a principle of such a kind as to comprehend at one and the same time the possible and the pre-eligible; so that man might be the cause of power, and the possession of good, but God of impulse and incitation according to right reason. On this account also, he made him tend to heaven, gave him an intellective power, and implanted in him a sight called intellect, which is capable of beholding God. For it is not possible without God to discover that which is best and most beautiful, nor without intellect to see God, since every mortal nature is established in conjunction with a kindred privation of intellect. This however is not imparted to it by God, but by the essence of generation, and by that impulse of the soul which is without deliberate choice.

(4) And Nature, asked why it brings forth its works, might answer if it cared to listen and to speak:

"It would have been more becoming to put no question but to learn in silence just as I myself am silent and make no habit of talking. And what is your lesson? This; that whatsoever comes into being is my is my vision, seen in my silence, the vision that belongs to my character who, sprung from vision, am vision-loving and create vision by the vision-seeing faculty within me. The mathematicians from their vision draw their figures: but I draw nothing: I gaze and the figures of the material world take being as if they fell from my contemplation. As with my Mother (the All-Soul] and the Beings that begot me so it is with me: they are born of a Contemplation and my birth is from them, not by their Act but by their Being; they are the loftier Reason-Principles, they contemplate themselves and I am born."

Now what does this tell us?

It tells: that what we know as Nature is a Soul, offspring of a yet earlier Soul of more powerful life; that it possesses, therefore, in its repose, a vision within itself; that it has no tendency upward nor even downward but is at peace, steadfast, in its own Essence; that, in this immutability accompanied by what may be called Self-Consciousness, it possesses- within the measure of its possibility- a knowledge of the realm of subsequent things perceived in virtue of that understanding and consciousness; and, achieving thus a resplendent and delicious spectacle, has no further aim.

Of course, while it may be convenient to speak of "understanding" or "perception" in the Nature-Principle, this is not in the full sense applicable to other beings; we are applying to sleep a word borrowed from the wake.

For the Vision on which Nature broods, inactive, is a self-intuition, a spectacle laid before it by virtue of its unaccompanied self-concentration and by the fact that in itself it belongs to the order of intuition. It is a Vision silent but somewhat blurred, for there exists another a clearer of which Nature is the image: hence all that Nature produces is weak; the weaker act of intuition produces the weaker object.

In the same way, human beings, when weak on the side of contemplation, find in action their trace of vision and of reason: their spiritual feebleness unfits them for contemplation; they are left with a void, because they cannot adequately seize the vision; yet they long for it; they are hurried into action as their way to the vision which they cannot attain by intellection. They act from the desire of seeing their action, and of making it visible and sensible to others when the result shall prove fairly well equal to the plan. Everywhere, doing and making will be found to be either an attenuation or a complement of vision-attenuation if the doer was aiming only at the thing done; complement if he is to possess something nobler to gaze upon than the mere work produced.

Given the power to contemplate the Authentic, who would run, of choice, after its image?

The relation of action to contemplation is indicated in the way duller children, inapt to study and speculation, take to crafts and manual labour.

(11) Are we, then, to conclude that particular things are determined by Necessities rooted in Nature and by the sequence of causes, and that everything is as good as anything can be?

No: the Reason-Principle is the sovereign, making all: it wills things as they are and, in its reasonable act, it produces even what we know as evil: it cannot desire all to be good: an artist would not make an animal all eyes; and in the same way, the Reason-Principle would not make all divine; it makes Gods but also celestial spirits, the intermediate order, then men, then the animals; all is graded succession, and this in no spirit of grudging but in the expression of a Reason teeming with intellectual variety.

We are like people ignorant of painting who complain that the colours are not beautiful everywhere in the picture: but the Artist has laid on the appropriate tint to every spot. Or we are censuring a drama because the persons are not all heroes but include a servant and a rustic and some scurrilous clown; yet take away the low characters and the power of the drama is gone; these are part and parcel of it.

(31) Our problem embraces all act and all experience throughout the entire kosmos- whether due to nature, in the current phrase, or effected by art. The natural proceeds, we must hold, from the All towards its members and from the members to the All, or from member to other member: the artificial either remains, as it began, within the limit of the art- attaining finality in the artificial product alone- or is the expression of an art which calls to its aid natural forces and agencies, and so sets up act and experience within the sphere of the natural.

When I speak of the act and experience of the All I mean the total effect of the entire kosmic circuit upon itself and upon its members: for by its motion it sets up certain states both within itself and upon its parts, upon the bodies that move within it and upon all that it communicates to those other parts of it, the things of our earth.

The action of part upon part is manifest; there are the relations and operations of the sun, both towards the other spheres and towards the things of earth; and again relations among elements of the sun itself, of other heavenly bodies, of earthly things and of things in the other stars, demand investigation.

As for the arts: Such as look to house building and the like are exhausted when that object is achieved; there are again those- medicine, farming, and other serviceable pursuits- which deal helpfully with natural products, seeking to bring them to natural efficiency; and there is a class- rhetoric, music and every other method of swaying mind or soul, with their power of modifying for better or for worse- and we have to ascertain what these arts come to and what kind of power lies in them.

On all these points, in so far as they bear on our present purpose, we must do what we can to work out some approximate explanation.

It is abundantly evident that the Circuit is a cause; it modifies, firstly, itself and its own content, and undoubtedly also it tells on the terrestrial, not merely in accordance with bodily conditions but also by the states of the soul it sets up; and each of its members has an operation upon the terrestrial and in general upon all the lower.

Whether there is a return action of the lower upon the higher need not trouble us now: for the moment we are to seek, as far as discussion can exhibit it, the method by which action takes place; and we do not challenge the opinions universally or very generally entertained.

We take the question back to the initial act of causation. It cannot be admitted that either heat or cold and the like what are known as the primal qualities of the elements- or any admixture of these qualities, should be the first causes we are seeking; equally inacceptable, that while the sun's action is all by heat, there is another member of the Circuit operating wholly by cold- incongruous in the heavens and in a fiery body- nor can we think of some other star operating by liquid fire.

Such explanations do not account for the differences of things, and there are many phenomena which cannot be referred to any of these causes. Suppose we allow them to be the occasion of moral differences- determined, thus, by bodily composition and constitution under a reigning heat or cold- does that give us a reasonable explanation of envy, jealously, acts of violence? Or, if it does, what, at any rate, are we to think of good and bad fortune, rich men and poor, gentle blood, treasure-trove?

An immensity of such examples might be adduced, all leading far from any corporeal quality that could enter the body and soul of a living thing from the elements: and it is equally impossible that the will of the stars, a doom from the All, any deliberation among them, should be held responsible for the fate of each and all of their inferiors. It is not to be thought that such beings engage themselves in human affairs in the sense of making men thieves, slave-dealers, burglars, temple-strippers, or debased effeminates practising and lending themselves to disgusting actions: that is not merely unlike gods; it is unlike mediocre men; it is, perhaps, beneath the level of any existing being where there is not the least personal advantage to be gained.

(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.

(3) Every substantial form, that segregate From matter is, and with it is united, Specific power has in itself collected, Which without act is not perceptible, Nor shows itself except by its effect, As life does in a plant by the green leaves. But still, whence cometh the intelligence Of the first notions, man is ignorant, And the affection for the first allurements, Which are in you as instinct in the bee To make its honey; and this first desire Merit of praise or blame containeth not. Now, that to this all others may be gathered, Innate within you is the power that counsels, And it should keep the threshold of assent. This is the principle, from which is taken Occasion of desert in you, according As good and guilty loves it takes and winnows. Those who, in reasoning, to the bottom went, Were of this innate liberty aware, Therefore bequeathed they Ethics to the world. Supposing, then, that from necessity Springs every love that is within you kindled, Within yourselves the power is to restrain it.