(25) And, in truth, to speak briefly: Among many small pearls there is the one; and in a great take of fish there is the beauty-fish; and by time and toil truth will gleam forth, if a good helper is at hand. For most benefits are supplied, from God, through men. All of us who make use of our eyes see what is presented before them. But some look at objects for one reason, others for another. For instance, the cook and the shepherd do not survey the sheep similarly: for the one examines it if it be fat; the other watches to see if it be of good breed.

(5) Now, once Happiness is possible at all to Souls in this Universe, if some fail of it, the blame must fall not upon the place but upon the feebleness insufficient to the staunch combat in the one arena where the rewards of excellence are offered. Men are not born divine; what wonder that they do not enjoy a divine life. And poverty and sickness mean nothing to the good- only to the evil are they disastrous- and where there is body there must be ill health.

Besides, these accidents are not without their service in the co-ordination and completion of the Universal system.

One thing perishes, and the Kosmic Reason- whose control nothing anywhere eludes- employs that ending to the beginning of something new; and, so, when the body suffers and the Soul, under the affliction, loses power, all that has been bound under illness and evil is brought into a new set of relations, into another class or order. Some of these troubles are helpful to the very sufferers- poverty and sickness, for example- and as for vice, even this brings something to the general service: it acts as a lesson in right doing, and, in many ways even, produces good; thus, by setting men face to face with the ways and consequences of iniquity, it calls them from lethargy, stirs the deeper mind and sets the understanding to work; by the contrast of the evil under which wrong-doers labour it displays the worth of the right. Not that evil exists for this purpose; but, as we have indicated, once the wrong has come to be, the Reason of the Kosmos employs it to good ends; and, precisely, the proof of the mightiest power is to be able to use the ignoble nobly and, given formlessness, to make it the material of unknown forms.

The principle is that evil by definition is a falling short in good, and good cannot be at full strength in this Sphere where it is lodged in the alien: the good here is in something else, in something distinct from the Good, and this something else constitutes the falling short for it is not good. And this is why evil is ineradicable: there is, first, the fact that in relation to this principle of Good, thing will always stand less than thing, and, besides, all things come into being through it and are what they are by standing away from it.

(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.

(6) If thou would'st see Him too through things that suffer death, both on the earth and in the deep, think of a man's being fashioned in the womb, my son, and strictly scrutinize the art of Him who fashions him, and learn who fashioneth this fair and godly image of the Man. Who [then] is He who traceth out the circles of the eyes; who He who boreth out the nostrils and the ears; who He who openeth [the portal of] the mouth; who He who doth stretch out and tie the nerves; who He who channels out the veins; who He who hardeneth the bones; who He who covereth the flesh with skin; who He who separates the fingers and the joints; who He who widens out a treading for the feet; who He who diggeth out the ducts; who He who spreadeth out the spleen; who he who shapeth heart like to a pyramid; who He who setteth ribs together; who He who wideneth the liver out; who He who maketh lungs like to a sponge; who He who maketh belly stretch so much; who he who doth make prominent the parts most honorable, so that they may be seen, while hiding out of sight those of least honor?

(2) The universe is made up of successive gradations of good, these gradations ascending from matter (which is the least degree of good) to spirit (which is the greatest degree of good). In man, his superior nature is the summum bonum. It therefore follows that his highest nature most readily cognizes good because the good external to him in the world is in harmonic ratio with the good present in his soul. What man terms evil is therefore, in common with matter, merely the least degree of its own opposite. The least degree of good presupposes likewise the least degree of harmony and beauty. Thus deformity (evil) is really the least harmonious combination of elements naturally harmonic as individual units. Deformity is unnatural, for, the sum of all things being the Good, it is natural that all things should partake of the Good and be arranged in combinations that are harmonious. Harmony is the manifesting expression of the Will of the eternal Good.

(7) Behold how many arts [employed] on one material, how many labors on one single sketch; and all exceeding fair, and all in perfect measure, yet all diversified! Who made them all? What mother, or what sire, save God alone, unmanifest, who hath made all things by His Will?

(11) We have a common instance of this referring to second causes what ought to be referred to the First Cause in the case of so-called illness. For instance, if a man ceases to take any interest in worldly matters, conceives a distaste for common pleasures, and appears sunk in depression, the doctor will say, "This is a case of melancholy, and requires such and such a prescription." The physicist will say, "This is a dryness of the brain caused by hot weather and cannot be relieved till the air becomes moist." The astrologer will attribute it to some particular conjunction or opposition of planets. "Thus far their wisdom reaches," says the Koran. It does not occur to them that what has really happened is this: that the Almighty has a concern for the welfare of that man, and has therefore commanded His servants, the planets or the elements, to produce such a condition in him that he may turn away from the world to his Maker. The knowledge of this fact is a lustrous pearl from the ocean of inspirational knowledge, to which all other forms of knowledge are as islands in the sea.

(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.