(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.

(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.

(7) Therefore we must ascend again towards the Good, the desired of every Soul. Anyone that has seen This, knows what I intend when I say that it is beautiful. Even the desire of it is to be desired as a Good. To attain it is for those that will take the upward path, who will set all their forces towards it, who will divest themselves of all that we have put on in our descent:- so, to those that approach the Holy Celebrations of the Mysteries, there are appointed purifications and the laying aside of the garments worn before, and the entry in nakedness- until, passing, on the upward way, all that is other than the God, each in the solitude of himself shall behold that solitary-dwelling Existence, the Apart, the Unmingled, the Pure, that from Which all things depend, for Which all look and live and act and know, the Source of Life and of Intellection and of Being.

And one that shall know this vision- with what passion of love shall he not be seized, with what pang of desire, what longing to be molten into one with This, what wondering delight! If he that has never seen this Being must hunger for It as for all his welfare, he that has known must love and reverence It as the very Beauty; he will be flooded with awe and gladness, stricken by a salutary terror; he loves with a veritable love, with sharp desire; all other loves than this he must despise, and disdain all that once seemed fair.

This, indeed, is the mood even of those who, having witnessed the manifestation of Gods or Supernals, can never again feel the old delight in the comeliness of material forms: what then are we to think of one that contemplates Absolute Beauty in Its essential integrity, no accumulation of flesh and matter, no dweller on earth or in the heavens- so perfect Its purity- far above all such things in that they are non-essential, composite, not primal but descending from This?

Beholding this Being- the Choragos of all Existence, the Self-Intent that ever gives forth and never takes- resting, rapt, in the vision and possession of so lofty a loveliness, growing to Its likeness, what Beauty can the soul yet lack? For This, the Beauty supreme, the absolute, and the primal, fashions Its lovers to Beauty and makes them also worthy of love.

And for This, the sternest and the uttermost combat is set before the Souls; all our labour is for This, lest we be left without part in this noblest vision, which to attain is to be blessed in the blissful sight, which to fail of is to fail utterly.

For not he that has failed of the joy that is in colour or in visible forms, not he that has failed of power or of honours or of kingdom has failed, but only he that has failed of only This, for Whose winning he should renounce kingdoms and command over earth and ocean and sky, if only, spurning the world of sense from beneath his feet, and straining to This, he may see.

(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?

(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.

(8) This then is Beauty primally: it is entire and omnipresent as an entirety; and therefore in none of its parts or members lacking in beauty; beautiful thus beyond denial. Certainly it cannot be anything without being wholly that thing; it can be nothing which it is to possess partially or in which it utterly fails .

If this principle were not beautiful, what other could be? Its prior does not deign to be beautiful; that which is the first to manifest itself- Form and object of vision to the intellect- cannot but be lovely to see. It is to indicate this that Plato, drawing on something well within our observation, represents the Creator as approving the work he has achieved: the intention is to make us feel the lovable beauty of the autotype and of the Divine Idea; for to admire a representation is to admire the original upon which it was made.

It is not surprising if we fail to recognise what is passing within us: lovers, and those in general that admire beauty here, do not stay to reflect that it is to be traced, as of course it must be, to the Beauty There. That the admiration of the Demiurge is to be referred to the Ideal Exemplar is deliberately made evident by the rest of the passage: "He admired; and determined to bring the work into still closer likeness with the Exemplar": he makes us feel the magnificent beauty of the Exemplar by telling us that the Beauty sprung from this world is, itself, a copy from That.

And indeed if the divine did not exist, the transcendently beautiful, in a beauty beyond all thought, what could be lovelier than the things we see? Certainly no reproach can rightly be brought against this world save only that it is not That.

(3) And the soul includes a faculty peculiarly addressed to Beauty- one incomparably sure in the appreciation of its own, never in doubt whenever any lovely thing presents itself for judgement.

Or perhaps the soul itself acts immediately, affirming the Beautiful where it finds something accordant with the Ideal-Form within itself, using this Idea as a canon of accuracy in its decision.

But what accordance is there between the material and that which antedates all Matter?

On what principle does the architect, when he finds the house standing before him correspondent with his inner ideal of a house, pronounce it beautiful? Is it not that the house before him, the stones apart, is the inner idea stamped upon the mass of exterior matter, the indivisible exhibited in diversity?

So with the perceptive faculty: discerning in certain objects the Ideal-Form which has bound and controlled shapeless matter, opposed in nature to Idea, seeing further stamped upon the common shapes some shape excellent above the common, it gathers into unity what still remains fragmentary, catches it up and carries it within, no longer a thing of parts, and presents it to the Ideal-Principle as something concordant and congenial, a natural friend: the joy here is like that of a good man who discerns in a youth the early signs of a virtue consonant with the achieved perfection within his own soul.

The beauty of colour is also the outcome of a unification: it derives from shape, from the conquest of the darkness inherent in Matter by the pouring-in of light, the unembodied, which is a Rational-Principle and an Ideal-Form.

Hence it is that Fire itself is splendid beyond all material bodies, holding the rank of Ideal-Principle to the other elements, making ever upwards, the subtlest and sprightliest of all bodies, as very near to the unembodied; itself alone admitting no other, all the others penetrated by it: for they take warmth but this is never cold; it has colour primally; they receive the Form of colour from it: hence the splendour of its light, the splendour that belongs to the Idea. And all that has resisted and is but uncertainly held by its light remains outside of beauty, as not having absorbed the plenitude of the Form of colour.

And harmonies unheard in sound create the harmonies we hear, and wake the soul to the consciousness of beauty, showing it the one essence in another kind: for the measures of our sensible music are not arbitrary but are determined by the Principle whose labour is to dominate Matter and bring pattern into being.

Thus far of the beauties of the realm of sense, images and shadow-pictures, fugitives that have entered into Matter- to adorn, and to ravish, where they are seen.

(2) The born lover, to whose degree the musician also may attain- and then either come to a stand or pass beyond- has a certain memory of beauty but, severed from it now, he no longer comprehends it: spellbound by visible loveliness he clings amazed about that. His lesson must be to fall down no longer in bewildered delight before some, one embodied form; he must be led, under a system of mental discipline, to beauty everywhere and made to discern the One Principle underlying all, a Principle apart from the material forms, springing from another source, and elsewhere more truly present. The beauty, for example, in a noble course of life and in an admirably organized social system may be pointed out to him- a first training this in the loveliness of the immaterial- he must learn to recognise the beauty in the arts, sciences, virtues; then these severed and particular forms must be brought under the one principle by the explanation of their origin. From the virtues he is to be led to the Intellectual-Principle, to the Authentic-Existent; thence onward, he treads the upward way.

(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.

(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?

(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.

(4) But there are earlier and loftier beauties than these. In the sense-bound life we are no longer granted to know them, but the soul, taking no help from the organs, sees and proclaims them. To the vision of these we must mount, leaving sense to its own low place.

As it is not for those to speak of the graceful forms of the material world who have never seen them or known their grace- men born blind, let us suppose- in the same way those must be silent upon the beauty of noble conduct and of learning and all that order who have never cared for such things, nor may those tell of the splendour of virtue who have never known the face of Justice and of Moral-Wisdom beautiful beyond the beauty of Evening and of dawn.

Such vision is for those only who see with the Soul's sight- and at the vision, they will rejoice, and awe will fall upon them and a trouble deeper than all the rest could ever stir, for now they are moving in the realm of Truth.

This is the spirit that Beauty must ever induce, wonderment and a delicious trouble, longing and love and a trembling that is all delight. For the unseen all this may be felt as for the seen; and this the Souls feel for it, every soul in some degree, but those the more deeply that are the more truly apt to this higher love- just as all take delight in the beauty of the body but all are not stung as sharply, and those only that feel the keener wound are known as Lovers.

(4) [Sidenote A: Morphe pertains to the colour, figure, and magnitude of superficies.] the heroic, but at the same time are less than these. In addition also to these peculiarities, divine beauty, indeed, shines with an immense splendour as it were, fixes the spectators in astonishment, imparts a divine joy, presents itself to the view with ineffable symmetry, and is exempt from all other species of pulchritude. But the blessed spectacles of archangels have indeed themselves the greatest beauty, yet are not so ineffable and admirable as those of the Gods. Those of angels divide, in a partible manner, the beauty which they receive from archangels. But the dæmoniacal and heroical self-visive spirits, have both of them beauty in definite forms, yet the former is adorned in reasons which define the essence, and the latter exhibits fortitude. The phasmata of archons may be divided in a twofold respect. For some of them exhibit a beauty which is spontaneous, and of a ruling characteristic; but others, an elegance of form which is fictitious and renovated. And the phasmata of souls are, indeed, adorned in definite reasons, but these reasons are more divided than those in heroes, are partibly circumscribed, and are vanquished by one form. If, however, it be requisite to define all of them in common, I say that each participates of beauty according to its arrangement, the peculiar nature which it possesses, and its allotment.

(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.

(3) Thus there is in the Nature-Principle itself an Ideal archetype of the beauty that is found in material forms and, of that archetype again, the still more beautiful archetype in Soul, source of that in Nature. In the proficient soul this is brighter and of more advanced loveliness: adorning the soul and bringing to it a light from that greater light which is beauty primally, its immediate presence sets the soul reflecting upon the quality of this prior, the archetype which has no such entries, and is present nowhere but remains in itself alone, and thus is not even to be called a Reason-Principle but is the creative source of the very first Reason-Principle which is the Beauty to which Soul serves as Matter.

This prior, then, is the Intellectual-Principle, the veritable, abiding and not fluctuant since not taking intellectual quality from outside itself. By what image thus, can we represent it? We have nowhere to go but to what is less. Only from itself can we take an image of it; that is, there can be no representation of it, except in the sense that we represent gold by some portion of gold- purified, either actually or mentally, if it be impure- insisting at the same time that this is not the total thing-gold, but merely the particular gold of a particular parcel. In the same way we learn in this matter from the purified Intellect in ourselves or, if you like, from the Gods and the glory of the Intellect in them.

For assuredly all the Gods are august and beautiful in a beauty beyond our speech. And what makes them so? Intellect; and especially Intellect operating within them to visibility. It is not through the loveliness of their corporeal forms: even those that have body are not gods by that beauty; it is in virtue of Intellect that they, too, are gods, and as gods beautiful. They do not veer between wisdom and folly: in the immunity of Intellect unmoving and pure, they are wise always, all-knowing, taking cognisance not of the human but of their own being and of all that lies within the contemplation of Intellect. Those of them whose dwelling is in the heavens, are ever in this meditation- what task prevents them?- and from afar they look, too, into that further heaven by a lifting of the head. The Gods belonging to that higher Heaven itself, they whose station is upon it and in it, see and know in virtue of their omnipresence to it. For all There is heaven; earth is heaven, and sea heaven; and animal and plant and man; all is the heavenly content of that heaven: and the Gods in it, despising neither men nor anything else that is there where all is of the heavenly order, traverse all that country and all space in peace.

(3) But if any one should blame the descriptions as being incongruous, by saying that it is shameful to attribute shapes so repugnant to the Godlike and most holy Orders, it is enough to reply that the method of Divine revelation is twofold; one, indeed, as is natural, proceeding through likenesses that are similar, and of a sacred character, but the other, through dissimilar forms, fashioning them into entire unlikeness and incongruity. No doubt, the mystical traditions of the revealing Oracles sometimes extol the august Blessedness of the super-essential Godhead, as Word, and Mind, and Essence, manifesting its God-becoming expression and wisdom, both as really being Origin, and true Cause of the origin of things being, and they describe It as light, and call it life. While such sacred descriptions are more reverent, and seem in a certain way to be superior to the material images, they yet, even thus, in reality fall short of the supremely Divine similitude. For It is above every essence and life. No light, indeed, expresses its character, and every description and mind incomparably fall short of Its similitude. But at other times its praises are supermundanely sung, by the Oracles themselves, through dissimilar revelations, when they affirm that it is invisible, and infinite, and incomprehensible; and when there is signified, not what it is, but what it is not. For this, as I think, is more appropriate to It, since, as the secret and sacerdotal tradition taught, we rightly describe its non-relationship to things created, but we do not know its superessential, and inconceivable, and unutterable indefinability. If, then, the negations respecting things Divine are true, but the affirmations are inharmonious, the revelation as regards things invisible, through dissimilar representations, is more appropriate to the hiddenness of things unutterable. Thus the sacred descriptions of the Oracles honour, and do not expose to shame, the Heavenly Orders, when they make them known by dissimilar pictorial forms, and demonstrate through these their supermundane superiority over all. material things. And I do not suppose that any sensible man will gainsay that the incongruous elevate our mind more than the similitudes; for there is a likelihood, with regard to the more sublime representations of heavenly things, that we should be led astray, so as to think that the Heavenly Beings are certain creatures with the appearance of gold, and certain men with the appearance of light, and glittering like lightning, handsome, clothed in bright shining raiment, shedding forth innocuous flame, and so with regard to all the other shapes and appropriate forms, with which the Word of God has depicted the Heavenly Minds. In order that men might not suffer from this, by thinking they are nothing more exalted than their beau tiful appearance, the elevating wisdom of the pious theologians reverently conducts to the incongruous dissimilarities, not permitting our earthly part to rest fixed in the base images, but urging the upward tendency of the soul, and goading it by the unseemliness of the phrases (to see) that it belongs neither to lawful nor seeming truth, even for the most earthly conceptions, that the most heavenly and Divine visions are actually like things so base. Further also this must particularly be borne in mind, that not even one of the things existing is altogether deprived of participation in the beautiful, since, as is evident and the truth of the Oracles affirms, all things are very beautiful.

(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.

(10) This is why Zeus, although the oldest of the gods and their sovereign, advances first towards that vision, followed by gods and demigods and such souls as are of strength to see. That Being appears before them from some unseen place and rising loftily over them pours its light upon all things, so that all gleams in its radiance; it upholds some beings, and they see; the lower are dazzled and turn away, unfit to gaze upon that sun, the trouble falling the more heavily on those most remote.

Of those looking upon that Being and its content, and able to see, all take something but not all the same vision always: intently gazing, one sees the fount and principle of Justice, another is filled with the sight of Moral Wisdom, the original of that quality as found, sometimes at least, among men, copied by them in their degree from the divine virtue which, covering all the expanse, so to speak, of the Intellectual Realm is seen, last attainment of all, by those who have known already many splendid visions.

The gods see, each singly and all as one. So, too, the souls; they see all There in right of being sprung, themselves, of that universe and therefore including all from beginning to end and having their existence There if only by that phase which belongs inherently to the Divine, though often too they are There entire, those of them that have not incurred separation.

This vision Zeus takes, and it is for such of us, also, as share his love and appropriate our part in the Beauty There, the final object of all seeing, the entire beauty upon all things; for all There sheds radiance, and floods those that have found their way thither so that they too become beautiful; thus it will often happen that men climbing heights where the soil has taken a yellow glow will themselves appear so, borrowing colour from the place on which they move. The colour flowering on that other height we speak of is Beauty; or rather all There is light and beauty, through and through, for the beauty is no mere bloom upon the surface.

To those that do not see entire, the immediate impression is alone taken into account; but those drunken with this wine, filled with the nectar, all their soul penetrated by this beauty, cannot remain mere gazers: no longer is there a spectator outside gazing on an outside spectacle; the clear-eyed hold the vision within themselves, though, for the most part, they have no idea that it is within but look towards it as to something beyond them and see it as an object of vision caught by a direction of the will.

All that one sees as a spectacle is still external; one must bring the vision within and see no longer in that mode of separation but as we know ourselves; thus a man filled with a god- possessed by Apollo or by one of the Muses- need no longer look outside for his vision of the divine being; it is but finding the strength to see divinity within.