Guthrie-Plotinus: actors

What then (will it be objected) is the necessity of this natural internecine warfare of animals, and also of men? First, animals have to devour each other in order to renew themselves; they could not, indeed, last eternally, even if they were not killed. Is there any reason to complain because, being already condemned to death, as they are, they should find an end which is useful to other beings? What objection can there be to their mutually devouring each other, in order to be reborn under other forms? It is as if on the stage an actor who is thought to be killed, goes to change his clothing, and returns under another mask. Is it objected that he was not really dead? Yes indeed, but dying is no more than a change of bodies, just as the comedian changes his costume, or if the body were to be entirely despoiled, this is no more than when an actor, at the end of a drama, lays aside his costume, only to take it up again when once more the drama begins. Therefore, there is nothing frightful in the mutual transformation of animals into each other. Is it not better for them to have lived under this condition, than never to have lived at all? Life would then be completely absent from the universe, and life could no longer be communicated to other beings. But as this universe contains a multiple life, it produces and varies everything during the course of its existence; as it were joking with them, it never ceases to beget living beings, remarkable by beauty and by the proportion of their forms. The combats in which mortal men continually fight against each other, with a regularity strongly reminding of the Pyrrhic dances (as thought Plato), clearly show how all these affairs, that are considered so serious, are only children’s games, and that their death was nothing serious. To die early in wars and battles is to precede by only a very little time the unescapable fate of old age, and it is only an earlier departure for a closer return. We may be comforted for the loss of our possessions during our lifetime by observing that they have belonged to others before us, and that, for those who have deprived us thereof, they form but a very fragile possession, since they, in turn, will be bereft thereof by others; and that, if they be not despoiled of their riches, they will lose still more by keeping them. Murders, massacres, the taking and pillaging of towns should be considered as in the theatre we consider changes of scene and of personages, the tears and cries of the actors. [Ennead III,2 (47) 15]

Besides, if this world contain both bad and good people, and if the latter play the greater part in the world, there will take place that which is seen in dramas where the poet, at times, imposes his ideas on the actors, and again at others relies on their ingenuity. The obtaining of the first, second or third rank by an actor does not depend on the poet. The poet only assigns to each the part he is capable of filling, and assigns to him a suitable place. Likewise (in the world), each one occupies his assigned place, and the bad man, as well as the good one, has the place that suits him. Each one, according to his nature and character, comes to occupy the place that suits him, and that he had chosen, and then speaks and acts with piety if he be good, and impiously, if he be evil. Before the beginning of the drama, the actors already had their proper characters; they only developed it. In dramas composed by men, it is the poet who assigns their parts to the actors; and the latter are responsible only for the efficiency or inefficiency of their acting; for they have nothing to do but repeat the words of the poet. But in this drama (of life), of which men imitate certain parts when their nature is poetic, it is the soul that is the actor. This actor receives his part from the creator, as stage-actors receive from the poet their masks, garments, their purple robe, or their rags. Thus in the drama of the world it is not from chance that the soul receives her part. [Ennead III,2 (47) 17]

Indeed, the fate of a soul conforms to her character, and, by going through with her part properly, the soul fulfils her part in the drama managed by universal Reason. The soul sings her part, that is, she does that which is in her nature to do. If her voice and features be beautiful, by themselves, they lend charm to the poem, as would be natural. Otherwise they introduce a displeasing element, but which does not alter the nature of the work. The author of the drama reprimands the bad actor as the latter may deserve it, and thus fulfils the part of a good judge. He increases the dignity of the good actor, and, if possible, invites him to play beautiful pieces, while he relegates the bad actor to inferior pieces. Likewise, the soul which takes part in the drama of which the world is the theatre, and which has undertaken a part in it, brings with her a disposition to play well or badly. At her arrival she is classed with the other actors, and after having been allotted to all the various gifts of fortune without any regard for her personality or activities, she is later punished or rewarded. Such actors have something beyond usual actors; they appear on a greater scene; the creator of the universe gives them some of his power, and grants them the freedom to choose between a great number of places. The punishments and rewards are so determined that the souls themselves run to meet them, because each soul occupies a place in conformity with her character, and is thus in harmony with the Reason of the universe. [Ennead III,2 (47) 17]

The difference that exists between souls in respect to vice and virtue has several causes; among others, the inequality that exists between souls from the very beginning. This inequality conforms to the essence of universal Reason, of which they are unequal parts, because they differ from each other. We must indeed remember that souls have three ranks (the intellectual, rational, and sense lives), and that the same soul does not always exercise the same faculties. But, to explain our meaning, let us return to our former illustration. Let us imagine actors who utter words not written by the poet; as if the drama were incomplete, they themselves supply what is lacking, and fill omissions made by the poet. They seem less like actors than like parts of the poet, who foresaw what they were to say, so as to reattach the remainder so far as it was in his power. In the universe, indeed, all things that are the consequences and results of bad deeds are produced by reasons, and conform to the universal Reason. Thus, from an illicit union, or from a rape, may be born natural children that may become very distinguished men; likewise, from cities destroyed by perverse individuals, may rise other flourishing cities. [Ennead III,2 (47) 18]

It might indeed be objected that it is absurd to introduce into the world souls some of which do good, and others evil; for when we absolve universal Reason from the responsibility of evil, we are also simultaneously taking from it the merit for the good. What, however, hinders us from considering deeds done by actors as parts of a drama, in the universe as well as on the stage, and thus to derive from universal Reason both the good and the evil that are done here below? For universal Reason exercises its influence on each of the actors with so much the greater force as the drama is more perfect, and as everything depends on it. [Ennead III,2 (47) 18]