(7) But when the work is started, one must press on from the obvious to the profound, from the coarse to the fine. Everything depends on there being no interruption. The beginning and the end of the work must be one. In between there are cooler and warmer moments, that goes without saying. But the goal must be to reach the breadth of Heaven and the depths of the sea, so that all methods seem quite easy and taken for granted. Only then do we have it in hand.

(400) And also that good and bad rhythm naturally assimilate to a good and bad style; and that harmony and discord in like manner follow style; for our principle is that rhythm and harmony are regulated by the words, and not the words by them. Just so, he said, they should follow the words. And will not the words and the character of the style depend on the temper of the soul? Yes. And everything else on the style? Yes. Then beauty of style and harmony and grace and good rhythm depend on simplicity,—I mean the true simplicity of a rightly and nobly ordered mind and character, not that other simplicity which is only an euphemism for folly? Very true, he replied. And if our youth are to do their work in life, must they not make these graces and harmonies their perpetual aim? They must. And surely the art of the painter and every other creative and constructive art are full of them,—weaving, embroidery, architecture, and every kind of manufacture; also nature, animal and vegetable,—in all of them there is grace or the absence of grace. And ugliness and discord and inharmonious motion are nearly allied to ill words and ill nature, as grace and harmony are the twin sisters of goodness and virtue and bear their likeness. That is quite true, he said.

(3) In a meadow the flowers blooming variously, and in a park the plantations of fruittrees, are not separated according to their species from those of other kinds. If some, culling varieties, have Composed learned collections, Meadows, and Helicons, and Honeycombs, and Robes; then, with the things which come to recollection by haphazard, and are expurgated neither in order nor expression, but purposely scattered, the form of the Miscellanies is promiscuously variegated like a meadow. And such being the case, my notes shall serve as kindling sparks; and in the case of him, who is fit for knowledge, if he chance to fall in with them, research made with exertion will turn out to his benefit and advantage. For it is fight that labour should precede not only food but also, much more knowledge, in the case of those that are advancing to the eternal and blessed salvation by the "strait and narrow way," which is truly the Lord's.

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

(346) they govern for the advantage not of themselves but of others? Let me ask you a question: Are not the several arts different, by reason of their each having a separate function? And, my dear illustrious friend, do say what you think, that we may make a little progress. Yes, that is the difference, he replied. And each art gives us a particular good and not merely a general one—medicine, for example, gives us health; navigation, safety at sea, and so on? Yes, he said. And the art of payment has the special function of giving pay: but we do not confuse this with other arts, any more than the art of the pilot is to be confused with the art of medicine, because the health of the pilot may be improved by a sea voyage. You would not be inclined to say, would you, that navigation is the art of medicine, at least if we are to adopt your exact use of language? Certainly not. Or because a man is in good health when he receives pay you would not say that the art of payment is medicine? I should not. Nor would you say that medicine is the art of receiving pay because a man takes fees when he is engaged in healing? Certainly not. And we have admitted, I said, that the good of each art is specially confined to the art? Yes. Then, if there be any good which all artists have in common, that is to be attributed to something of which they all have the common use? True, he replied. And when the artist is benefited by receiving pay the advantage is gained by an additional use of the art of pay, which is not the art professed by him? He gave a reluctant assent to this.

(1) It is also said, that Pythagoras was the first who called himself a philosopher; this not being a new name, but previously instructing us in a useful manner in a thing appropriate to the name. For he said that the entrance of men into the present life, resembled the progression of a crowd to some public spectacle. For there men of every description assemble with different views; one hastening to sell his wares for the sake of money and gain; but another that he may acquire renown by exhibiting the strength of his body; and there is also a third class of men, and those the most liberal, who assemble for the sake of surveying the places, the beautiful works of art, the specimens of valor, and the literary productions which are usually exhibited on such occasions.

Thus also in the present life, men of all-various pursuits are collected together in one and the same place. For some are influenced by the desire of riches and luxury; others by the love of power and dominion; and others are possessed with an insane ambition for glory. But the most pure and unadulterated character, is that of the man who gives himself to the contemplation of the most beautiful things, and whom it is proper to call a philosopher. He adds, that the survey of all heaven, and of the stars that revolve in it, is indeed beautiful, when the order of them is considered. For they derive this beauty and order by the participation of the first and the intelligible essence.

But that first essence is the nature of number and reasons [i. e. productive principles,] which pervades through all things, and according to which all these [celestial bodies] are elegantly arranged, and fitly adorned. And wisdom indeed, truly so called, is a certain science which is conversant with the first beautiful objects, and these divine, undecaying, and possessing an invariable sameness of subsistence; by the participation of which other things also may be called beautiful. But philosophy is the appetition of a thing of this kind. The attention therefore to erudition is likewise beautiful, which Pythagoras extended, in order to effect the correction of mankind.

(42) For the earthly and corrupt nature has continually laboured from the beginning of its creation to this day to bring forth heavenly forms or shapes in the earth, as also in man and beasts; as men very well see that every year new arts are invented and brought to light, which has been constantly so from the beginning to this time.

(19) Natural works co-exist with the intellectual light of the Father. For it is the Soul which adorned the vast Heaven, and which adorneth it after the Father, but her dominion is established on high.

(1) Looking into his Son with all the Love Which each of them eternally breathes forth, The Primal and unutterable Power Whate'er before the mind or eye revolves With so much order made, there can be none Who this beholds without enjoying Him. Lift up then, Reader, to the lofty wheels With me thy vision straight unto that part Where the one motion on the other strikes, And there begin to contemplate with joy That Master's art, who in himself so loves it That never doth his eye depart therefrom. Behold how from that point goes branching off The oblique circle, which conveys the planets, To satisfy the world that calls upon them; And if their pathway were not thus inflected, Much virtue in the heavens would be in vain, And almost every power below here dead. If from the straight line distant more or less Were the departure, much would wanting be Above and underneath of mundane order. Remain now, Reader, still upon thy bench, In thought pursuing that which is foretasted, If thou wouldst jocund be instead of weary.

(1) It is, necessary, however, to discuss these things particularly, and to show how they subsist, and what reason they possess. It is requisite, therefore, to understand that the universe is one animal; and that the parts in it are, indeed, separated by places, but through the possession of one nature hasten to each other. The whole collective power, however, and the cause of mixture, spontaneously draws the parts to a mingling with each other. But it is also possible for this spontaneous attraction to be excited and extended by art more than is fit. The cause itself, therefore, of this mixture extending from itself to the whole world, is good, and the source of plenitude; has the power of harmonically procuring communion, consent, and symmetry; and inserts, by union, the indissoluble principle of love, which principle retains and preserves both things that are in existence, and such as are becoming to be. But in the parts, through their separation from each other and from wholes, and because, from their own proper nature, they are imperfect, indigent, and imbecile, their mutual connection is accompanied with passion; by which, in most of them, desire and a connascent appetite are inherent.

(12) "That which can be seen with the eye is form and colour; that which can be heard with the ear is sound and noise. But alas! the people of this generation think that form, and colour, and sound, and noise, are means by which they can come to understand the essence of Tao. This is not so. And as those who know, do not speak, while those who speak do not know, whence should the world derive its knowledge?" was one day reading in his hall, when a wheelwright who was working below, flung down his hammer and chisel, and mounting the steps said, "What words may your Highness be studying?" "I am studying the words of the Sages," replied the Duke. "Are the Sages alive?" asked the wheelwright. "No," answered the Duke; "they are dead." "Then the words your Highness is studying," rejoined the wheelwright, "are only the dregs of the ancients." "What do you mean, sirrah!" cried the Duke, "by interfering with what I read? Explain yourself, or you shall die." "Let me take an illustration," said the wheelwright, "from my own trade. In making a wheel, if you work too slowly, you can't make it firm; if you work too fast, the spokes won't fit in. You must go neither too slowly nor too fast. There must be co-ordination of mind and hand. Words cannot explain what it is, but there is some mysterious art herein. I cannot teach it to my son; nor can he learn it from me. Consequently, though seventy years of age, I am still making wheels in my old age. If the ancients, together with what they could not impart, are dead and gone, then what your Highness is studying must be the dregs."

(6) But all things must be made; both ever made, and also in accordance with the influence of every space. For He who makes, is in them all; not stablished in some one of them, nor making one thing only, but making all. For being Power, He energizeth in the things He makes and is not independent of them - although the things He makes are subject to Him. Now gaze through Me upon the Cosmos that's now subject to thy sight; regard its Beauty carefully - Body in pure perfection, though one than which there's no more ancient one, ever in prime of life, and ever-young, nay, rather, in even fuller and yet fuller prime!

(2) “In what attitude of mind should it be diligently explained to others? Not assuming the permanency or the reality of earthly phenomena, but in the conscious blessedness of a mind at perfect rest. And why? Because, the phenomena of life may be likened unto a dream, a phantasm, a bubble, a shadow, the glistening dew, or lightning flash, and thus they ought to be contemplated.”

(8) Stop to think a moment. If a certain man had not met a certain maid, away back in the dim period of the Stone Age--you who are now reading these lines would not now be here. And if, perhaps, the same couple had failed to meet, we who now write these lines would not now be here. And the very act of writing, on our part, and the act of reading, on yours, will affect not only the respective lives of yourself and ourselves, but will also have a direct, or indirect, affect upon many other people now living and who will live in the ages to come. Every thought we think, every act we perform, has its direct and indirect results which fit into the great chain of Cause and Effect.

(2) This, then, is truer than all truth, and plainer than what the mind [’s eye] perceives;—that from that Universal God of Universal Nature all other things for evermore have found, and had bestowed on them, the mystery of bringing forth; in which there is innate the sweetest Charity, [and] Joy, [and] Merriment, Longing, and Love Divine. We might have had to tell the mighty power and the compulsion of this mystery, if it had not been able to be known by every one from personal experience, by observation of himself.

(24) By music we harmoniously relax the excessive tension of gravity. And as those who wish to address the people, do so often by the herald, that what is said may be better heard; so also in this case. For we have the word, that was spoken to many, before the common tradition. Wherefore we must set forth the opinions and utterances which cried individually to them, by which those who hear shall more readily turn.

(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) 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.

(6) The theorems of philosophy are to be enjoyed as much as possible, as if they were ambrosia and nectar . For the pleasure arising from them is genuine, incorruptible, and divine. They are also capable of producing magnanimity; and though they cannot make us eternal beings, yet they enable us to obtain a scientific knowledge of eternal natures.

(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?