(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.

(14) The innkeeper had two concubines, one beautiful, the other ugly. The latter he loved; the former, he hated. Yang Tzŭ asked how this was; whereupon one of the inn servants said, "The beautiful one is so conscious of her beauty that one does not think her beautiful. The ugly one is so conscious of her ugliness that one does not think her ugly." "Note this, my disciples!" cried Yang Tzŭ. "Be virtuous, but without being consciously so; and wherever you go, you will be beloved."

(1) Beauty addresses itself chiefly to sight; but there is a beauty for the hearing too, as in certain combinations of words and in all kinds of music, for melodies and cadences are beautiful; and minds that lift themselves above the realm of sense to a higher order are aware of beauty in the conduct of life, in actions, in character, in the pursuits of the intellect; and there is the beauty of the virtues. What loftier beauty there may be, yet, our argument will bring to light.

What, then, is it that gives comeliness to material forms and draws the ear to the sweetness perceived in sounds, and what is the secret of the beauty there is in all that derives from Soul?

Is there some One Principle from which all take their grace, or is there a beauty peculiar to the embodied and another for the bodiless? Finally, one or many, what would such a Principle be?

Consider that some things, material shapes for instance, are gracious not by anything inherent but by something communicated, while others are lovely of themselves, as, for example, Virtue.

The same bodies appear sometimes beautiful, sometimes not; so that there is a good deal between being body and being beautiful.

What, then, is this something that shows itself in certain material forms? This is the natural beginning of our enquiry.

What is it that attracts the eyes of those to whom a beautiful object is presented, and calls them, lures them, towards it, and fills them with joy at the sight? If we possess ourselves of this, we have at once a standpoint for the wider survey.

Almost everyone declares that the symmetry of parts towards each other and towards a whole, with, besides, a certain charm of colour, constitutes the beauty recognized by the eye, that in visible things, as indeed in all else, universally, the beautiful thing is essentially symmetrical, patterned.

But think what this means.

Only a compound can be beautiful, never anything devoid of parts; and only a whole; the several parts will have beauty, not in themselves, but only as working together to give a comely total. Yet beauty in an aggregate demands beauty in details; it cannot be constructed out of ugliness; its law must run throughout.

All the loveliness of colour and even the light of the sun, being devoid of parts and so not beautiful by symmetry, must be ruled out of the realm of beauty. And how comes gold to be a beautiful thing? And lightning by night, and the stars, why are these so fair?

In sounds also the simple must be proscribed, though often in a whole noble composition each several tone is delicious in itself.

Again since the one face, constant in symmetry, appears sometimes fair and sometimes not, can we doubt that beauty is something more than symmetry, that symmetry itself owes its beauty to a remoter principle?

Turn to what is attractive in methods of life or in the expression of thought; are we to call in symmetry here? What symmetry is to be found in noble conduct, or excellent laws, in any form of mental pursuit?

What symmetry can there be in points of abstract thought?

The symmetry of being accordant with each other? But there may be accordance or entire identity where there is nothing but ugliness: the proposition that honesty is merely a generous artlessness chimes in the most perfect harmony with the proposition that morality means weakness of will; the accordance is complete.

Then again, all the virtues are a beauty of the soul, a beauty authentic beyond any of these others; but how does symmetry enter here? The soul, it is true, is not a simple unity, but still its virtue cannot have the symmetry of size or of number: what standard of measurement could preside over the compromise or the coalescence of the soul's faculties or purposes?

Finally, how by this theory would there be beauty in the Intellectual-Principle, essentially the solitary?

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

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

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

Thus beauty is of the Divine and comes Thence only.

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

(6) For, as the ancient teaching was, moral-discipline and courage and every virtue, not even excepting Wisdom itself, all is purification.

Hence the Mysteries with good reason adumbrate the immersion of the unpurified in filth, even in the Nether-World, since the unclean loves filth for its very filthiness, and swine foul of body find their joy in foulness.

What else is Sophrosyne, rightly so-called, but to take no part in the pleasures of the body, to break away from them as unclean and unworthy of the clean? So too, Courage is but being fearless of the death which is but the parting of the Soul from the body, an event which no one can dread whose delight is to be his unmingled self. And Magnanimity is but disregard for the lure of things here. And Wisdom is but the Act of the Intellectual-Principle withdrawn from the lower places and leading the Soul to the Above.

The Soul thus cleansed is all Idea and Reason, wholly free of body, intellective, entirely of that divine order from which the wellspring of Beauty rises and all the race of Beauty.

Hence the Soul heightened to the Intellectual-Principle is beautiful to all its power. For Intellection and all that proceeds from Intellection are the Soul's beauty, a graciousness native to it and not foreign, for only with these is it truly Soul. And it is just to say that in the Soul's becoming a good and beautiful thing is its becoming like to God, for from the Divine comes all the Beauty and all the Good in beings.

We may even say that Beauty is the Authentic-Existents and Ugliness is the Principle contrary to Existence: and the Ugly is also the primal evil; therefore its contrary is at once good and beautiful, or is Good and Beauty: and hence the one method will discover to us the Beauty-Good and the Ugliness-Evil.

And Beauty, this Beauty which is also The Good, must be posed as The First: directly deriving from this First is the Intellectual-Principle which is pre-eminently the manifestation of Beauty; through the Intellectual-Principle Soul is beautiful. The beauty in things of a lower order-actions and pursuits for instance- comes by operation of the shaping Soul which is also the author of the beauty found in the world of sense. For the Soul, a divine thing, a fragment as it were of the Primal Beauty, makes beautiful to the fulness of their capacity all things whatsoever that it grasps and moulds.

(5) These Lovers, then, lovers of the beauty outside of sense, must be made to declare themselves.

What do you feel in presence of the grace you discern in actions, in manners, in sound morality, in all the works and fruits of virtue, in the beauty of souls? When you see that you yourselves are beautiful within, what do you feel? What is this Dionysiac exultation that thrills through your being, this straining upwards of all your Soul, this longing to break away from the body and live sunken within the veritable self?

These are no other than the emotions of Souls under the spell of love.

But what is it that awakens all this passion? No shape, no colour, no grandeur of mass: all is for a Soul, something whose beauty rests upon no colour, for the moral wisdom the Soul enshrines and all the other hueless splendour of the virtues. It is that you find in yourself, or admire in another, loftiness of spirit; righteousness of life; disciplined purity; courage of the majestic face; gravity; modesty that goes fearless and tranquil and passionless; and, shining down upon all, the light of god-like Intellection.

All these noble qualities are to be reverenced and loved, no doubt, but what entitles them to be called beautiful?

They exist: they manifest themselves to us: anyone that sees them must admit that they have reality of Being; and is not Real-Being, really beautiful?

But we have not yet shown by what property in them they have wrought the Soul to loveliness: what is this grace, this splendour as of Light, resting upon all the virtues?

Let us take the contrary, the ugliness of the Soul, and set that against its beauty: to understand, at once, what this ugliness is and how it comes to appear in the Soul will certainly open our way before us.

Let us then suppose an ugly Soul, dissolute, unrighteous: teeming with all the lusts; torn by internal discord; beset by the fears of its cowardice and the envies of its pettiness; thinking, in the little thought it has, only of the perish able and the base; perverse in all its the friend of unclean pleasures; living the life of abandonment to bodily sensation and delighting in its deformity.

What must we think but that all this shame is something that has gathered about the Soul, some foreign bane outraging it, soiling it, so that, encumbered with all manner of turpitude, it has no longer a clean activity or a clean sensation, but commands only a life smouldering dully under the crust of evil; that, sunk in manifold death, it no longer sees what a Soul should see, may no longer rest in its own being, dragged ever as it is towards the outer, the lower, the dark?

An unclean thing, I dare to say; flickering hither and thither at the call of objects of sense, deeply infected with the taint of body, occupied always in Matter, and absorbing Matter into itself; in its commerce with the Ignoble it has trafficked away for an alien nature its own essential Idea.

If a man has been immersed in filth or daubed with mud his native comeliness disappears and all that is seen is the foul stuff besmearing him: his ugly condition is due to alien matter that has encrusted him, and if he is to win back his grace it must be his business to scour and purify himself and make himself what he was.

So, we may justly say, a Soul becomes ugly- by something foisted upon it, by sinking itself into the alien, by a fall, a descent into body, into Matter. The dishonour of the Soul is in its ceasing to be clean and apart. Gold is degraded when it is mixed with earthy particles; if these be worked out, the gold is left and is beautiful, isolated from all that is foreign, gold with gold alone. And so the Soul; let it be but cleared of the desires that come by its too intimate converse with the body, emancipated from all the passions, purged of all that embodiment has thrust upon it, withdrawn, a solitary, to itself again- in that moment the ugliness that came only from the alien is stripped away.

(6) And again, that the wise man is beautiful, the Athenian stranger asserts, in the same way as if one were to affirm that certain persons were just, even should they happen to be ugly in their persons. And in speaking thus with respect to eminent rectitude of character, no one who should assert them to be on this account beautiful would be thought to speak extravagantly. And "His appearance was inferior to all the Sons of men," prophecy predicted.

(39) In An Essay on the Beautiful, Plotinus describes the refining effect of beauty upon the unfolding consciousness of man. Commissioned to decorate the Everlasting House, CHiram Abiff is the embodiment of the beautifying principle. Beauty is essential to the natural unfoldment of the human soul. The Mysteries held that man, in part at least, was the product of his environment. Therefore they considered it imperative that every person be surrounded by objects which would evoke the highest and noblest sentiments. They proved that it was possible to produce beauty in life by surrounding life with beauty. They discovered that symmetrical bodies were built by souls continuously in the presence of symmetrical bodies; that noble thoughts were produced by minds surrounded by examples of mental nobility. Conversely, if a man were forced to look upon an ignoble or asymmetrical structure it would arouse within him a sense of ignobility which would provoke him to commit ignoble deeds. If an ill-proportioned building were erected in the midst of a city there would be ill-proportioned children born in that community; and men and women, gazing upon the asymmetrical structure, would live inharmonious lives. Thoughtful men of antiquity realized that their great philosophers were the natural products of the æsthetic ideals of architecture, music, and art established as the standards of the cultural systems of the time.

(4) The Hoopoe said: 'O you who are attached to the outward form of things and have no care for essential values, the Simurgh is a being whose royalty becomes him, because he is unique in power. No true king exercises his will foolishly. Such a one is faithful and forgiving. Though a worldly king may often be just, he can also be guilty of injustice. The nearer one is to him, the more delicate is one's position. A believer needs must offend a king, so his life is often in danger. Since a king is compared to a fire, keep away! O you who have lived near kings, take care I Listen to this: There was once a noble king who had a slave whose body was like silver. He loved him so much that he could not be parted from him for a moment. He gave him the most beautiful clothes and set him above his fellows. But the king sometimes amused himself with shooting arrows, and would place an apple on the head of his favourite and use it as a target. And when he loosed his arrow, the slave would go yellow with fear. One day, someone said to the slave: ''Why is your face the colour of gold? You are the favourite, then why this mortal pallor?" He replied: "If the king were to hit me instead of the apple, he would say: 'This slave is about the most useless thing in my court'; but when his arrow hits the mark everyone attributes it to his skill. As for me, in this painful situation, I can only hope that the king will continue to shoot straight!"'

(4) The former kind of man will say that beauty resides in red and white complexions, well proportioned limbs, and so forth, but he will be blind to moral beauty, such as men refer to when they speak of such and such a man as possessing a "beautiful" character. But those possessed of inner perception find it quite possible to love the departed great, such as the Caliphs Omar and Abu Bakr, on account of their noble qualities, though their bodies have long been mingled with the dust. Such love is directed not towards any outward form, but towards the inner character. Even when we wish to excite love in a

(3) There was once a king of incomparable charm and beauty. The dawn was a flash of lightning from his countenance, the Angel Gabriel an emanation of his fragrance and the kingdom of beauty was the Koran of his secrets. The whole world resounded with his fame, and his love was felt by every creature. When he rode through the city he covered his face with a crimson veil; but those who looked even at the veil lost their heads, and those who uttered his name at once cut out their tongues. Thousands died for love of him; others gave their lives believing it better to die at once than to live a hundred long lives away from him. An astonishing thing! They could neither endure his presence for long nor could they exist without him. However, to those who could endure it he showed himself; those who could not had to be content to hear his voice. In consequence, the king ordered a mirror to be made so that his face could be seen indirectly. The mirror was put up in his palace, and he went and looked in it, so that all could see his reflection.

So it is with you. If you cherish the beauty of your friend, understand that your heart is the mirror, see in it your king in the mansion of his glory. All appearances are nothing but the mysterious shadow of the Simurgh. If he had revealed his beauty to you, you would have recognized it in his shadow. Whether there were thirty birds, 'Si-murgh', or forty, you would only see his shadow. The Simurgh is not distinct from his shadow, to hold the contrary is to err; the one and the other exist together. Seek reunion; or better, leave the shadow

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and you will discover the Secret. With good fortune you will see the Sun in the shadow; but if you lose yourself in the shadow, how will you achieve union with the Simurgh?

(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.

(1) Another bird said to the Hoopoe: ' My heart is aglow with pleasure for I live in a charming spot. I have a golden palace, so beautiful that everyone admires it, and there I exist in a world of contentment. How can I be expected to give it up? In this palace I am as a king among birds, why then should I expose myself to hardships in the valleys of which you speak? Must I give up both my palace and my royalty?

No reasonable creature would forsake the garden of Irem to undertake so toilsome and difficult a journey!'

The Hoopoe replied: you who are without aspiration

and energy! Are you a dog? or do you wish to be an attendant in the hammam? This lower world is only a hot-room and your palace is part of it. Even if your palace is a paradise, nevertheless, death will one day turn it into a prison of suffering. Only if death ceases to exercise his power over creatures would it be expedient for you to remain content in your golden palace.'

A sage's jest concerning a palace A king built a palace which cost him a hundred thousand dinars. Outside it was adorned with gilded towers and cupolas, and the furniture and carpets made the interior a paradise. When it was finished he invited men from every country to visit him. They came and presented gifts, and he made them all sit down with him. Then he asked them: 'Tell me what you think of my palace. Has anything been forgotten which mars its beauty?' They all protested that never had there been such a palace on earth and never would its like be seen again. All, that is, except one, a Sage, who stood up and said: ' Sire, there is one small crevice which to me seems a blemish. Were it not for this blemish, paradise itself would bring gifts to you from the invisible world.'

'I don't see this blemish,' said the king angrily. 'You are an ignorant person and you only wish to make yourself important.' 'No, proud King,' replied the Sage. 'This chink of which I speak is that through which Azrael, the angel of death, will come. Would to God you could stop it up, for otherwise, what use is your gorgeous palace, your crown and your throne? When death comes the)'' will be as a handful of dust. Nothing lasts, and it is this which spoils the beauty of your dwelling. No art can make stable that which is unstable. Ah, do not put your hopes of happiness upon

a palace! Do not let the courser of your pride caracole. If no one dares speak plainly to the king and remind him of his faults, that is a great misfortune.'

(5) A young man, brave and impetuous as a lion, was for five years in love with a woman. In one of the eyes of this beauty was a small speck, but the man, when gazing on the beauty of his mistress, never saw it. How could a man, so much in love, notice a tiny flaw? However, in time, his love began to dwindle and he regained his power over himself. It was then that he noticed the speck, and asked her

how it had come about. She said: 'It appeared at the time when your love began to cool. When your love for me became defective my eye became so for you.'

O blind of heart! how long will you continue to look for the faults of others? Strive to be aware of those things you hide so carefully. When you see your faults in all their ugliness you will not bother so much about those of others.

(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.

(6) The light in which was smiling my own treasure Which there I had discovered, flashed at first As in the sunshine doth a golden mirror; Then made reply: "A conscience overcast Or with its own or with another's shame, Will taste forsooth the tartness of thy word; But ne'ertheless, all falsehood laid aside, Make manifest thy vision utterly, And let them scratch wherever is the itch; For if thine utterance shall offensive be At the first taste, a vital nutriment 'Twill leave thereafter, when it is digested. This cry of thine shall do as doth the wind, Which smiteth most the most exalted summits, And that is no slight argument of honour. Therefore are shown to thee within these wheels, Upon the mount and in the dolorous valley, Only the souls that unto fame are known; Because the spirit of the hearer rests not, Nor doth confirm its faith by an example Which has the root of it unknown and hidden, Or other reason that is not apparent."

(7) "There are five sources of injury to virtue. Of these, that which aims at virtue is the chief. What is it to aim at virtue? Why a man who aims at virtue practises what he approves and condemns what he does not practise. "There are eight causes of failure, three certain elements of success. There are six sources of strength and weakness. "Beauty, a long beard, size, height, robustness, grace, courage, daring,—these eight, in which men surpass their fellows, are therefore passports to failure. "Modesty, compliance, humility,—these three are sure roads to success. "Wisdom manifests itself in the external. Courage makes itself many enemies. Charity and duty towards one's neighbour incur many reproaches. "To him who can penetrate the mystery of life, all things are revealed. He who can estimate wisdom at its true value, is wise. He who comprehends the Greater Destiny, becomes himself part of it. He who comprehends the Lesser Destiny, resigns himself to the inevitable."

(9) Wealth and poverty, and all inequalities of that order, are made ground of complaint. But this is to ignore that the Sage demands no equality in such matters: he cannot think that to own many things is to be richer or that the powerful have the better of the simple; he leaves all such preoccupations to another kind of man. He has learned that life on earth has two distinct forms, the way of the Sage and the way of the mass, the Sage intent upon the sublimest, upon the realm above, while those of the more strictly human type fall, again, under two classes, the one reminiscent of virtue and therefore not without touch with good, the other mere populace, serving to provide necessaries to the better sort.

But what of murder? What of the feebleness that brings men under slavery to the passions?

Is it any wonder that there should be failing and error, not in the highest, the intellectual, Principle but in Souls that are like undeveloped children? And is not life justified even so if it is a training ground with its victors and its vanquished?

You are wronged; need that trouble an immortal? You are put to death; you have attained your desire. And from the moment your citizenship of the world becomes irksome you are not bound to it.

Our adversaries do not deny that even here there is a system of law and penalty: and surely we cannot in justice blame a dominion which awards to every one his due, where virtue has its honour, and vice comes to its fitting shame, in which there are not merely representations of the gods, but the gods themselves, watchers from above, and- as we read- easily rebutting human reproaches, since they lead all things in order from a beginning to an end, allotting to each human being, as life follows life, a fortune shaped to all that has preceded- the destiny which, to those that do not penetrate it, becomes the matter of boorish insolence upon things divine.

A man's one task is to strive towards making himself perfect- though not in the idea- really fatal to perfection- that to be perfect is possible to himself alone.

We must recognize that other men have attained the heights of goodness; we must admit the goodness of the celestial spirits, and above all of the gods- those whose presence is here but their contemplation in the Supreme, and loftiest of them, the lord of this All, the most blessed Soul. Rising still higher, we hymn the divinities of the Intellectual Sphere, and, above all these, the mighty King of that dominion, whose majesty is made patent in the very multitude of the gods.

It is not by crushing the divine unto a unity but by displaying its exuberance- as the Supreme himself has displayed it- that we show knowledge of the might of God, who, abidingly what He is, yet creates that multitude, all dependent on Him, existing by Him and from Him.

This Universe, too, exists by Him and looks to Him- the Universe as a whole and every God within it- and tells of Him to men, all alike revealing the plan and will of the Supreme.

These, in the nature of things, cannot be what He is, but that does not justify you in contempt of them, in pushing yourself forward as not inferior to them.

The more perfect the man, the more compliant he is, even towards his fellows; we must temper our importance, not thrusting insolently beyond what our nature warrants; we must allow other beings, also, their place in the presence of the Godhead; we may not set ourselves alone next after the First in a dream-flight which deprives us of our power of attaining identity with the Godhead in the measure possible to the human Soul, that is to say, to the point of likeness to which the Intellectual-Principle leads us; to exalt ourselves above the Intellectual-Principle is to fall from it.

Yet imbeciles are found to accept such teaching at the mere sound of the words "You, yourself, are to be nobler than all else, nobler than men, nobler than even gods." Human audacity is very great: a man once modest, restrained and simple hears, "You, yourself, are the child of God; those men whom you used to venerate, those beings whose worship they inherit from antiquity, none of these are His children; you without lifting a hand are nobler than the very heavens"; others take up the cry: the issue will be much as if in a crowd all equally ignorant of figures, one man were told that he stands a thousand cubic feet; he will naturally accept his thousand cubits even though the others present are said to measure only five cubits; he will merely tell himself that the thousand indicates a considerable figure.

Another point: God has care for you; how then can He be indifferent to the entire Universe in which you exist?

We may be told that He is too much occupied to look upon the Universe, and that it would not be right for Him to do so; yet, when He looks down and upon these people, is He not looking outside Himself and upon the Universe in which they exist? If He cannot look outside Himself so as to survey the Kosmos, then neither does He look upon them.

But they have no need of Him?

The Universe has need of Him, and He knows its ordering and its indwellers and how far they belong to it and how far to the Supreme, and which of the men upon it are friends of God, mildly acquiescing with the Kosmic dispensation when in the total course of things some pain must be brought to them- for we are to look not to the single will of any man but to the universe entire, regarding every one according to worth but not stopping for such things where all that may is hastening onward.

Not one only kind of being is bent upon this quest, which brings bliss to whatsoever achieves, and earns for the others a future destiny in accord with their power. No man, therefore, may flatter himself that he alone is competent; a pretension is not a possession; many boast though fully conscious of their lack and many imagine themselves to possess what was never theirs and even to be alone in possessing what they alone of men never had.

(13) And we must not despise the familiar observation that there is something more to be considered than the present. There are the periods of the past and, again, those in the future; and these have everything to do with fixing worth of place.

Thus a man, once a ruler, will be made a slave because he abused his power and because the fall is to his future good. Those that have money will be made poor- and to the good poverty is no hindrance. Those that have unjustly killed, are killed in turn, unjustly as regards the murderer but justly as regards the victim, and those that are to suffer are thrown into the path of those that administer the merited treatment.

It is not an accident that makes a man a slave; no one is a prisoner by chance; every bodily outrage has its due cause. The man once did what he now suffers. A man that murders his mother will become a woman and be murdered by a son; a man that wrongs a woman will become a woman, to be wronged.

Hence arises that awesome word "Adrasteia" ; for in very truth this ordinance is an Adrasteia, justice itself and a wonderful wisdom.

We cannot but recognize from what we observe in this universe that some such principle of order prevails throughout the entire of existence- the minutest of things a tributary to the vast total; the marvellous art shown not merely in the mightiest works and sublimest members of the All, but even amid such littleness as one would think Providence must disdain: the varied workmanship of wonder in any and every animal form; the world of vegetation, too; the grace of fruits and even of leaves, the lavishness, the delicacy, the diversity of exquisite bloom; and all this not issuing once, and then to die out, but made ever and ever anew as the Transcendent Beings move variously over this earth.

In all the changing, there is no change by chance: there is no taking of new forms but to desirable ends and in ways worthy of Divine Powers. All that is Divine executes the Act of its quality; its quality is the expression of its essential Being: and this essential Being in the Divine is the Being whose activities produce as one thing the desirable and the just- for if the good and the just are not produced there, where, then, have they their being?

(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.