Guthrie-Plotinus: Ennead V,8

Concerning Intelligible Beauty.

ART MAKES A STATUE OUT OF ROUGH MARBLE.

1. Since he who rises to the contemplation of the intelligible world, and who conceives the beauty of true intelligence, can also, as we have pointed out, by intuition grasp the superior Principle, the Father of Intelligence, let us, so far as our strength allows us, try to understand and explain to ourselves how it is possible to contemplate the beauty of Intelligence and of the intelligible world. Let us imagine two pieces of marble placed side by side, the one rough and inartistic, the other one fashioned by the sculptor’s chisel, who made of it the statue of a goddess, a grace, or a muse; or that of a man — but not that of any individual whatever, but that of a (cultured gentle) man in whom art would have gathered all the traits of beauty offered by different individuals. After having thus from art received the beauty of the form, the second marble will appear beautiful, not by virtue of its essence, which is to be stone — for otherwise the other block would be as beautiful as this one — but because of the form received through art. The latter, however, did not exist in the matter of the statue. It was in the thought of the artist that it existed before passing into the marble; and it existed therein, not because it had eyes and hands, but because it participated in art. It was therefore in art that this superior beauty existed. It could not have become incorporated in stone. Dwelling within itself, it begat an inferior form, which, passing into matter, could neither preserve all its purity, nor completely respond to the will of the artist, possessing no perfection other than that allowed by matter. As the nature of art is to produce beauty, if art succeed in producing beauty which conforms to its constitutive essence, then, by the possession of the beauty essential to it, art possesses a beauty still greater and truer than that which passes into exterior objects. As all form extends by passing into matter, (this objectified form) is weaker than that which remains one. All that extends abandons its own (nature), as do force, heat, and in general any property; likewise with beauty. Every creating principle is always superior to the created thing. It is not the lack of musical ability, but the music itself that creates the musician; while it is the intelligible music that creates the sense music. It has been attempted to degrade the arts by saying that to create they imitate nature. This may be answered by pointing out that the natures of beings are themselves the images of other beings (or essences); besides, the arts do not limit themselves to the imitation of objects which offer themselves to our view, but that they go as far back as the (ideal) reasons from which are derived the nature of objects. Further the arts independently create many things, and to the perfection of the object they add what is lacking, because they possess beauty in themselves. Phidias seems to have represented Jupiter without copying any sense-objects, conceiving him such as he would appear to us if he ever revealed himself to our eyes.

BEAUTY INHERES NOT IN THE ORGANISM’S PHYSICAL CHARACTERISTICS, BUT IN ITS COLOR AND FORM.

2. Now let us turn away from the arts and consider the objects they imitate, such as natural beauties, namely, rational and irrational creatures, especially the more perfect, in which the creator was able to master matter, and endue it with the desired form. What then constitutes the beauty in these objects? Surely not (the physical characteristics, such as) blood or menstrual discharges, but the color and figure, which differ essentially therefrom; otherwise that which constitutes beauty is something indifferent — either something formless, or something that contains a simple nature (that is, the “seminal reason”), as does matter, for instance.

BEAUTY COMES FROM THE FORM IMPARTED BY THE ORIGINATOR.

Whence came the beauty of that Helena about whom so many battles were fought? Whence comes the beauty of so many women comparable to Venus? Whence came the beauty of Venus herself? Whence comes the beauty of a perfect man, or that of one of those divinities who reveal themselves to our eyes, or who, without showing themselves, nevertheless possess a visible beauty? Does it not everywhere originate from the creating principle that passes into the creature, just as, in the art considered above, the beauty passes from the artist into the work? It would be unreasonable to assert that the creatures and the (”seminal) reason” united to matter are beautiful, while denying beauty to the “reason” which is not united to matter while still residing in the creator in a primary and incorporeal condition; and to assert that in order to become beautiful this reason must become united to matter. For if mass, as such, was beautiful, then the creative reason would be beautiful only in so far as it was mass. If form, whether in a large or small object, equally touches and moves the soul of the beholder, evidently beauty does not depend on the size of the mass. Still another proof of this is that so long as the form of the object remains exterior to the soul, and as we do not perceive it, it leaves us insensible; but as soon as it penetrates into the soul, it moves us. Now form alone can penetrate into the soul by the eyes; for great objects could not enter by so narrow a space. In this respect, the size of the object contrasts, because that which is great is not mass, but form.

RECOGNITION OF BEAUTY DEPENDS ON PRELIMINARY INTERIOR BEAUTY.

Further, the cause of beauty must be either ugly, beautiful or indifferent. If it were ugly, it could not produce its opposite. If it were indifferent, it would have no more reason to produce that which is beautiful, than that which is ugly. Therefore nature which produces so many beautiful objects must in herself possess a very superior beauty. But as we do not have the habit of seeing the interior of things, which remains unknown, we attach ourselves only to their exterior, forgetting that which moves us hides itself within them; and (in this habit of ours) we resemble (Narcissus), who, on seeing his image, and not knowing whence it came, would try to catch it. It is not the mass of an object that constitutes its attractiveness for us, for it is not in mass that beauty inheres. This is revealed by the beauty found in the sciences, in the virtues, and in general in the souls, where it shines more truly and brilliantly on contemplation and admiration of its inherent wisdom. Then we do not regard the countenance, which may be ugly; we leave aside the form of the body, to attach ourselves exclusively to interior beauty. If, carried away by the emotion that such a spectacle should cause, you should not proclaim its beauty; and if, on directing your gaze within yourself, you should not experience all the charm of beauty, then you search for intelligible beauty, by such a method, would be vain; for you would seek it only with what is impure and ugly. That is why these discussions are not intended for all men. But if you have recognized beauty within yourself they you may rise to the reminiscence (of intelligible beauty).

BEAUTY IS THE CREATING PRINCIPLE OF THE PRIMARY REASON.

3. The reason of the beauty in nature is the archetype of the beauty of the (bodily) organism. Nature herself, however (is the image of the) more beautiful archetypal “reason” which resides in the (universal) Soul, from which it is derived. This latter shines more brilliantly in the virtuous soul, whenever it develops therein. It adorns the soul, and imparts to her a light itself derived from a still higher Light, that is, primary Beauty. The universal Soul’s beauty thus inhering in the individual soul, explains the reason of the Beauty superior to it, a reason which is not adventitious, and which is not posited in any thing other than itself, but which dwells within itself. Consequently it is not a “reason,” but really the creating principle of the primary Reason, that is, the beauty of the soul, which in respect to the soul plays the part of matter. It is, in the last analysis, Intelligence, which is eternal and immutable because it is not adventitious.

OUR IMAGE OF INTELLIGENCE IS ONLY A SAMPLE THAT MUST BE PURIFIED.

What sort of an image does Intelligence then afford? This is a material question because we know that any image of Intelligence supplied by anything else would be imperfect. Therefore this image of itself given by Intelligence also could not be a genuine image; it can be no more than what is any stray piece of gold in respect to gold in general, namely, a sample. But if the gold which falls under our perception be not pure, we have to purify it either by our labor or by our thought, observing that it can never be gold in general that we can examine, but gold in particular, considered in an individual mass. Likewise (in the subject we are studying) our starting-point must be our purified intelligence, or, if you prefer, the divinities themselves, considering the kind of intelligence indwelling in them; for they are all venerable and unimaginably beautiful. To what do they owe their perfection? To Intelligence, which acts in them with sufficient force to manifest them. They do not indeed owe it to the beauty of their body; for their divinity does not consist in the possession of a body; the divinities therefore owe their character to their intelligence. Now all divinities are beautiful, because they are not wise at certain times, and at other times unwise. They possess wisdom by an impassible intelligence, that is immutable and pure. They know everything; not indeed human things, but those which are proper to them, the things which are divine, and all those that intelligence contemplates.

DIFFERENCE BETWEEN THE CELESTIAL AND INFERIOR DIVINITIES.

Amidst the divinities, those who reside in the visible heaven, having much leisure, ever contemplate the things existing in the superior Heaven, but as it were from a distance, and “by raising their head.” On the contrary, those in the superior Heaven, and who dwell there, dwell there with their whole personality, because they reside everywhere. Everything on high, namely, earth, sea, plants, or animals, forms part of the heaven; now all that forms part of the heaven is celestial. The divinities that dwell there do not scorn men, nor any of the other essences up there, because all are divine, and they traverse the whole celestial region without leaving their rest.

DESCRIPTION OF THE INTELLIGIBLE WORLD.

4. That is why the divinities in heaven lead an easy life, truth being mother, nurse, element and food. So they see everything; not the things which are subject to generation, but those which have the permanence of being, so that they see themselves in everything else. In this intelligible world everything is transparent. No shadow limits vision. All the essences see each other and interpenetrate each other in the most intimate depth of their nature. Light everywhere meets light. Every being contains within itself the entire intelligible world, and also beholds it entire in any particular being. All things there are located everywhere. Every thing there is all, and all is each thing; infinite splendor radiates around. Everything is great, for there even the small is great. This world has its sun and its stars; each star is a sun, and all suns are stars. Each of them, while shining with its own due splendor, reflects the light of the others. There abides pure movement; for He who produces movement, not being foreign to it, does not disturb it in its production. Rest is perfect, because it is not mingled with any principle of disturbance. The beautiful is completely beautiful there, because it does not dwell in that which is not beautiful (that is, in matter). Each one of the celestial things, instead of resting on an alien foundation, has its own especial seat, its origin, and its principle, in its own being, and does not differ from the region within which it dwells, because it is Intelligence that is its substrate, and itself is intelligible.

THE INTELLIGIBLE COMPARED TO LYNCEUS WHOSE SIGHT PENETRATED ALL.

In order to conceive this better, we should imagine that this visible sky is a pure light which begets all the stars. Here below, doubtless, no one part could be begotten by any other, for each part has its own individual existence. On the contrary, in the intelligible world every part is born from the whole, and is simultaneously the whole and a part; wherever is a part, the whole reveals itself. The fabled Lynceus, whose glance penetrated the very bowels of the earth, is only the symbol of the celestial life. There the eye contemplates without fatigue, and the desire of contemplating is insatiable, because it does not imply a void that needs filling, or a need whose satisfaction might bring on disgust. In the intelligible world, the beings do not, among each other, differ so as that what is proper to the one would not be proper to the other. Besides, they are all indestructible. Their insatiability (in contemplation) is to be understood in the sense that satiety does not make them scorn what satiates them. The more that each sees, the better he sees; each one follows its nature in seeing as infinite both itself and the objects that present themselves to its view. On high, life, being pure, is not laborious. How indeed could the best life imply fatigue? This life is wisdom which, being perfectly complete, demands no research. It is primary wisdom, which is not derived from any other, which is being, and which is not an adventitious quality of intelligence; consequently there is none superior to it. In the intelligible world absolute knowledge accompanies intelligence, because the former accompanies the latter, as Justice is enthroned by the side of Jupiter. All the essences (or, beings) in the intelligible Being resemble so many statues which are visible by themselves, and the vision of which imparts an unspeakable happiness to the spectators. The greatness and power of wisdom is revealed in its containing all beings, and in its having produced them. It is their origin; it is identical with them; it fuses with them; for wisdom is very being. This we do not easily understand because by sciences we mean groups of demonstrations and propositions, which is not true even of our sciences. However, if this point be contested, let us drop this comparison with our sciences, and return to knowledge itself, of which Plato says that “it does not show itself different in different objects.” How can that be? Plato left that to be explained by us, that we might show if we deserve to be called his interpreters. We shall undertake this interpretation by the following observation.

DEMONSTRATION THAT WISDOM IS VERITABLE BEING, AND THE CONVERSE.

5. All the productions of nature or art are the works of a certain wisdom which ever presides over their creation. Art is made possible only by the existence of this wisdom. The talent of the artist is derived from the wisdom of nature which presides over the production of every work. This wisdom is not a sequence of demonstrations, as the whole of it forms a unity; it is not a plurality reduced to unity, but a unity which is resolved into a plurality. If we admit that this wisdom is primary Wisdom, there is nothing to be sought beyond it, since in this case it is independent of every principle, and is located within itself. If, on the contrary, we say that nature possesses the (”seminal) reason,” and is its principle, we shall have to ask whence nature derives it. If it be called a superior principle, we still have to ask the derivation of this principle; if it be derived from nothing, we need not go beyond it (but return to the above demonstration). If, on the contrary, it be derived from Intelligence, we shall have to examine whether Intelligence produced wisdom. The first objection here will be, how could it have done so? For if Intelligence itself produced it, Intelligence could not have produced it without itself being Wisdom. True Wisdom is therefore “being” and, on the other hand, “being” is wisdom, and derives its dignity from Wisdom; that is why “being” is veritable “Being.” Consequently, the being (essences) which do not possess wisdom are such beings only because they were created by a certain wisdom; but they are not true beings (essences), because they do not in themselves possess Wisdom. It would, therefore, be absurd to state that the divinities, or the blessed dwellers in the intelligible world, in that world are engaged in studying demonstrations. The entities that exist there are beautiful forms, such as are conceived of as existing within the soul of the wise man; I do not mean painted forms, but existing (substantial) forms. That is why the ancients said that ideas are essences and beings.

BY A PUN, EGYPTIAN WISDOM IS ADDUCED AS A SYMBOL.

6. The sages of Egypt seem to me to have shown either a consummate insight or a marvellous instinct when, in order to reveal to us their wisdom, they did not, to express words and propositions, make use of letters representing sounds and expressions, but symbolized objects by hieroglyphics, and in their mysteries symbolically designated each of them by a particular emblem. Thus each hieroglyphic sign constituted a kind of science or wisdom; and without discursive conception or analysis places the thing under the eyes in a synthetic manner. Later, this synthetic notion was reproduced by other signs which developed it expressing it discursively, declaring the causes of the constitution of things, wherever their beautiful disposition excited admiration. The wisdom of the Egyptians is best seen in this, that though they did not possess the causes of (essential) beings, (their writing) was able to express everything so as to harmonize with the causes of essential “Being.”

RESEMBLANCE OF EARTHLY THINGS TO THE INTELLIGIBLE IS THE BASIS OF THE RESEMBLANCE OF THE INTELLIGIBLE TO THE EARTHLY.

If therefore all (celestial) entities resemble earthly objects — a truth which is perhaps impossible to demonstrate, so much the more must we, before any examination or discussion, premiss that all (earthly) objects resemble those which exist in the intelligible world. This truth, which applies to everything, may perhaps best be understood by an important example.

CONTROVERSY AGAINST THE GNOSTIC DIVINE PLANNING OF THE WORLD.

7. It is then by all of us agreed that the universe proceeds from a superior Principle which possesses a certain perfection. The (Gnostic) question then arises whether this Principle, before creating, reflected that it was necessary first to form the globe, and to suspend it to the middle of the world; then, to produce the water, and to spread it over the surface of the earth; later creating successively the other things contained in the space between the earth and heaven. Further, did He give birth to all the animals only after having to Himself represented all their forms, and exterior parts? Did the Creator undertake the work only after having conceived the plan of the world in its totality and in its details? Certainly not; He cannot have submitted to all such considerations. How could He, never having seen anything such, have been inclined to them? Neither could He have borrowed the idea of the things He was to produce, and then carried them out as some workman, by the use of his hands and feet; for hands and feet are created entities. The only hypothesis left is that all things were within some one other thing (that is, matter, which is their substrate). (”Being”) was next to this other thing (matter), and as no interval separated them, He suddenly begot an image or representation of Himself, either by Himself, or by the intermediation of the universal Soul, or of some particular soul — which detail does not matter to our discussion here.

HOW CREATION OF THE WORLD TOOK PLACE.

Therefore, everything here below derives from above there, and is more beautiful in the superior world; for forms here below are mingled with matter; on high, they are pure. Thus this universe proceeds from the intelligible world, and is contained by the forms from beginning to end. First matter receives the forms of the elements, later receiving gradual accessions of other forms, so that ultimately matter becomes so buried under forms that it becomes difficult to recognize. It receives forms easily, because it (already) possesses a form which holds the lowest rank. Likewise, the producing Principle uses a form as model, and easily produces forms because it consists entirely of “being” and form; as a result, its work has been easy and universal, because itself was universal. Therefore it met no obstacle, and still exercises an absolute sovereignty. Even of the things that act as obstacles to each other, none, even until the present time, form an obstacle to the demiurgic (Creator), because He preserves His universality. That is why I am convinced that if even we were simultaneously the models, forms and essence of things, and if the form which produces here below were our essence, (that is, being), we would accomplish our work without trouble, though man, in his present state here below, produces (his individual body which is) a form different from himself; indeed, on becoming an individual, man ceased being universal. But on ceasing to be an individual, man, in the words of Plato, “soars in the ethereal region, and governs the whole world.” For, becoming universal, he administers the universe.

THE SUPREME PRINCIPLE ADMITS OF NO REASONING, DEMONSTRATION, FAITH OR CAUSE.

Returning to our subject, you can perhaps explain why the earth is located in the middle of the world, and why its form is spherical; you may clear up why the equator is inclined towards the ecliptic; but you would be wrong in thinking that the divine Intelligence proposed to achieve these objects because it judged them to be reasonable; these things are good only because Intelligence is what it is. Its work resembles the conclusion of a syllogism, whose premises had been withdrawn, and that was based on the intuition of its causes. In divine Intelligence nothing is a consequence, nothing depends on a combination of means; its plan is conceived independently of such considerations. Reasoning, demonstration, faith — all these are posterior things. The mere existence of the principle determines here below the existence and nature of the entities depending from it. Never is one more right in asserting that the causes of a principle should not be sought, than when referring to a Principle which is perfect, and is both principle and end. That which is simultaneously principle and end is all things at the same time, and consequently leaves nothing to be desired.

IF THIS PRINCIPLE IS NOT BEAUTIFUL, NOTHING ELSE COULD BE THAT.

8. This Principle is sovereignly beautiful; it is beautiful entirely and throughout, so that not a single one of its parts lacks beauty. Who could deny that this Principle is beautiful? Only such as do not entirely possess beauty, possessing it only partially, or even not at all. If this Principle were not sovereignly beautiful, surely none other could claim that distinction. As the superior Principle (the one, superior to Intelligence) is above beauty, that which first presents itself to our view, because it is a form, and the object of the contemplation of intelligence, is that whose aspect is amiable.

PLATO SYMBOLIZES THIS BY MAKING THE CREATOR ADMIRE HIS HANDIWORK.

It was to express this idea strikingly that Plato represents the demiurgic creator as admiring his handiwork, which would lead us also to admire the beauty both of the model and of the idea. After all, admiration of a work made to resemble a model amounts to admiration of the model itself. However there is no reason for astonishment at persons to whom this idea seems novel, for lovers  , and in general all those who admire visible beauty do not realize that they admire it only because (it is the image) of the intelligible beauty. That Plato referred to the model the admiration felt by the demiurgic (creator) for his work is proved by his adding to the words “he admired his work” the expression “and he conceived the purpose of rendering it still more similar to its model.” He betrays the beauty of the model by saying that the work is beautiful, and that it is the image of the model; for if this model were not sovereignly beautiful, and did not possess an unspeakable beauty, how could there be anything more beautiful than this visible world? It is therefore wrong to criticize this world; all that can be said of it, is that it is inferior to its model.

THE POWER OF THE INFERIOR DIVINITIES DEPENDS ON THEIR INHERING IN THE SUPREME.

9. (To explain our view we shall propose an experiment). Let us imagine that in the sense-world every being should remain as it is, confusing itself with the others in the unity of the whole, to the extent of its ability; so that all that we see is lost in this unity. Imagine a transparent sphere exterior to the spectator, by looking through which one might see all that it contains, first the sun and the other stars together, then the sea, the earth, and all living beings. At the moment of picturing to yourself in thought a transparent sphere that would contain all moving, resting and changeable things, preserving the form of this sphere, and without diminishing the size of it, suppress mass, extent, and material conception. Then invoke the divinity that created this world of which you have made yourself an image to invest it. His coming down into it may be conceived of as resulting from two causes. Either the Divinity that is simultaneously single and manifold will come to adorn this world in the company of the other inferior divinities which exist within Him. Each of these would contain all the others that are manifold because of their powers; and nevertheless they would form a single divinity because their multiple powers are contained in unity. Or the Divinity will do this because the only divinity contains all the inferior divinities within His breast. (Which is the more likely hypothesis?)

ALL THE INFERIOR DIVINITIES ARE CONTAINED WITHIN THE SUPREME.

Indeed, this only Divinity loses none of His power by the birth of all the divinities contained within Him. All co-exist, and their individual distinctions obtain without their occupying separate localities or affecting a sense-form. Otherwise the one would be here, and the other there; each one would be individual, without simultaneously being universal in itself. Neither have they any parts that differ in each of them, or from each other; neither is the whole formed by each of them a power divided in a multiplicity of parts, a power whose magnitude would be measured by the number of its parts. Taken in its universality the intelligible world possesses a universal Power, which penetrates everything in its infinite development without exhausting its infinite force. He is so great that even His parts are infinite. There is no locality that He does not interpenetrate. Even our world is great; it likewise contains all the powers; but it would be much better, and its magnitude would be inconceivable if it did not also contain physical powers, which are essentially small (because limited). Fire and the other bodies cannot be called great powers because they consist only of an image of the infinity of the genuine Power by burning, crushing, destroying, and contributing to the generation of animals. They destroy only because they themselves are destroyed; they contribute to generation only because they themselves are generated.

BEING IS DESIRABLE BECAUSE BEAUTIFUL.

The Power which resides in the intelligible world is pure “being,” but perfectly beautiful “being.” Without beauty, what would become of “being”? Without “being,” what would become of beauty? “Being” itself would be annihilated by the beauty of “being.” “Being” is therefore desirable, it is identical with beauty, and beauty is amiable because it is “being.” Seeing that both are of the same nature, it would be useless to inquire which is the principle of the other. The deceptive “being” (of bodies) needs to receive the image borrowed from beauty to appear beautiful; and in general, to exist; it exists only in so far as it participates in the beauty found in “being”; the greater its participation, the more perfect is it, because it appropriates this beautiful being all the more.

VISION OF THE SUPERCELESTIAL.

10. That is why Jupiter, the most ancient of the other divinities, whose chief he is, leads them in this divine spectacle of the contemplation of the intelligible world. He is followed by these divinities, the guardians, and the souls who can support (the glory of) this vision. From an invisible place, this divine world sheds light on all. On rising above its sublime horizon, it scatters its rays everywhere, inundating everything with clearness. It dazzles all those who are located at the foot of the peak where it shines; and, like the sun, it often obliges them to turn away their sight, which cannot sustain its glory. Some however are forced to raise their eyes, imparting to them strength for this contemplation; others, who are at a distance, are troubled. On perceiving it, those who can contemplate Him fix their gaze on it and all its contents. Not every one, however, sees in it the same thing. One discerns therein the source and being of justice; another is overwhelmed by the revelation of wisdom, of which men here below scarcely possess an enfeebled image. Indeed, our vision is only an imitation of intelligible wisdom. The latter, spreading over all beings, and as it were embracing immensity, is the last to be perceived by those who have already long contemplated these brilliant lights.

PSYCHOLOGICAL EFFECT OF THIS VISION.

Such is the vision seen by the divinities, all together, and each one separately. It is also beheld by the souls that see all the things contained within the intelligible world. By this sight, souls themselves become capable of containing, from beginning to end, all the entities within their intelligible world; they dwell within it by that part of theirs which is capable of doing so. Often, even, the whole of them dwells within it, at least so long as they do not withdraw therefrom.

THIS VISION, WHEN TRANSFERRED WITHIN, BECOMES SWEET AS NECTAR.

This is what is beheld by Jupiter and by all those of us who share His love for this revelation. The last thing which then appears is the beauty that shines in its entirety in the essences (that is, beings), as well as in those who participate therein. In the intelligible world everything glows, and beautifies itself by shedding splendor on those who gaze at it. Thus men who have climbed a high mountain on arriving at the summit suddenly shine with the golden color reflected by the ground whereon they stand. Now the color that bathes the intelligible world is the beauty that blooms within its flower; or rather there everything is color, everything is beauty, in its most intimate depths; for beauty, in the intelligible world, is not a flower that blooms only on the surface. Those who do not apprehend the totality of the view appreciate the beauty of only that which meets their gaze; but those who, like men intoxicated with this sweet nectar, are, to the very soul, penetrated by the beauty of the intelligible world, are no longer mere spectators. No longer are the contemplated objects and the contemplated soul two things exterior to each other. If the soul’s gaze is piercing enough, she finds the object she contemplates within herself. Often she possesses it without knowing it. Then indeed does she contemplate it as she would contemplate some exterior object, because she seeks to see it in the same manner. Every time that one looks at something as a spectacle, it is seen outside of oneself. Now this spectacle of the intelligible world must be transferred within oneself, and be contemplated as something with which one has fused, to the point of identity. Thus a man, possessed by a divinity, whether by Phoebus or by some Muse, would contemplate this divinity within himself, if he were at all able to contemplate a divinity.

MECHANISM OF THE ECSTASY.

11. (The ecstasy operates as follows.) When a man is entranced by the divinity, he loses consciousness of himself. Then when he contemplates the (divine) spectacle which he possesses within himself, he contemplates himself and sees his image embellished. However beautiful it be, he must leave it aside, and concentrate upon the unity, without dividing any of it. Then he becomes simultaneously one and all with this divinity which grants him His presence silently. Then is the man united to the divinity to the extent of his desire and ability. If, while remaining pure, he return to duality, he remains as close as possible to the divinity, and he enjoys the divine presence as soon as he turns towards the divinity.

BENEFITS OF THIS CONVERSION TOWARDS THE DIVINITY.

The advantages derived from this conversion towards the divinity are first self-consciousness, so long as he remains distinct from the divinity. If he penetrate into his interior sanctuary, he possesses all things, and renouncing self-consciousness in favor of indistinction from the divinity, he fuses with it. As soon as he desires to see something, so to speak, outside of himself, it is he himself that he considers, even exteriorly. The soul that studies the divinity must form an idea of him while seeking to know him. Later, knowing how great is that divinity to which she desires to unite herself, and being persuaded that she will find beatitude in this union, she plunges herself into the depths of the divinity until, instead of contenting herself with contemplating the intelligible world, she herself becomes an object of contemplation, and shines with the clearness of the conceptions whose source is on high.

HOW THE SOUL MAY BE UNITED TO THE DIVINITY WITHOUT SEEING HIM.

But how can one be united to beauty, without seeing it? If it be seen as some thing distinct from oneself, he is not yet fused with it. If the act of vision imply a relation with an exterior object, we have no vision; or, at least, this vision consists in the identity of seer and seen. This vision is a kind of conscience, of self-consciousness; and if this feeling be too acute, there is even danger of breaking up this unity. Besides, one must not forget that the sensations of evils make stronger impressions, and yield feebler knowledge, because the latter are frittered away by the force of impressions. Thus sickness strikes sharply (but arouses only an obscure notion); health, on the contrary, thanks to the calm that characterizes it, yields us a clearer notion of itself, for it remains quietly within us, because it is proper to us, and fuses with us. On the contrary, sickness is not proper to us, but foreign. Consequently it manifests itself vividly, because it is opposed to our nature; while we, on the contrary, enjoy but a feeble feeling of ourselves and of what belongs to us. The state in which we grasp ourselves best is the one in which our consciousness of ourselves fuses with us. Consequently on high, at the very moment when our knowledge by intelligence is at its best, we believe that we are ignorant of it, because we consult sensation, which assures us that it has seen nothing. Indeed it has not seen anything, and it never could see anything such (as the intelligible beings). It is therefore the sensation that doubts; but he who has the ability to see differs therefrom. Before the seer could doubt, he would have to cease believing in his very existence; for he could not, so to speak, externalize himself to consider himself with the eyes of the body.

NATURE OF THE OBJECT OF SPIRITUAL VISION.

12. We have just said that a man can see, either in differing from what he sees, or in identifying himself with the object seen. Now, when he has seen, either as being different, or as being identical, what does he report? He tells us that he has seen the Divinity beget an offspring of an incomparable beauty, producing everything in Himself, and without pain preserving within Himself what He has begotten. In fact, charmed with the things He has begotten, and full of love for his works, the Divinity retained them within Himself, congratulating Himself upon their splendor, as much as upon his own. In the midst of these beauties, nevertheless inferior to those which have remained within the nature of the Divinity, alone of all these beings, his Son (Jupiter, the son of Saturn, here representing the universal Soul born of divine Intelligence) has manifested himself externally. By him, as by an image, you may judge of the greatness of his Father, and that of his brothers still unissued from within their Father’s nature. Besides, it is not in vain that Jupiter tells us that he proceeds from his Father; for he constitutes another world that has become beautiful, because he is the image of beauty, and because it is impossible that the image of beauty and being should not itself be beautiful. Jupiter, therefore, everywhere imitates his archetype. That is why, because he is an image, he possesses life and constitutes being; and that is why, because he proceeds from his Father, he also possesses beauty. He likewise enjoys the privilege of being the image of his eternity. Otherwise he would at one time reveal the image of his Father, and at other times he would not; which is impossible, because he is not an artificial image. Every natural image remains what it was, so long as its archetype subsists. It is therefore an error to believe that, while the intelligible world subsists, the visible world could perish, and that it was begotten in such a manner as that he who had created it, had done so with deliberation. Whatever indeed might have been the manner of operation, these men do not wish to conceive and believe that, so long as the intelligible world shines, other things that proceed therefrom could not perish; and that they exist ever since (their model) existed. But the (intelligible world) has ever existed, and will ever exist; for (in spite of their impropriety), we are obliged to make use of such terms to express our thought.

SATURN IS SON OF COELUS, AND FATHER OF JUPITER.

13. (Saturn) is always represented as chained, because He remains immovable in his identity. It is said he gave up to his son, Jupiter, the government of the universe, because such (an occupation) did not suit Him, who possesses the fulness of good things, to distract himself from the government of the intelligible world to undertake that of an empire younger and less exalted than himself. Besides, on one hand, (Saturn) fixed within himself, and raised himself up to his father (Coelus, or Uranus). On the other hand, he likewise fixed the inferior things which were begotten by his son (Jupiter). Between both he (Saturn) therefore occupies a rank intermediary between his Father, who is more perfect and his son, who is less so. On one hand he mutilates his Father, by splitting primitive unity into two different elements. On the other, he raises himself above the being which is inferior to him, disengaging himself from the chains that might tend to lower him. As (Coelus), the father of (Saturn), is too great to admit of having beauty attributed to him, (Saturn) occupies the first rank of beauty.

IF THE WORLD-SOUL AND VENUS BE BEAUTIFUL, HOW MUCH MORE THEIR SOURCE?

The universal Soul is beautiful also; but she is less beautiful than (Saturn), because she is his image, and because, however beautiful she may by nature be, she is still more beautiful when contemplating her principle. Therefore if the universal Soul — to use clearer terms — and if even Venus (as subordinate to him, Jupiter), possess beauty, what must be that of Intelligence? If by their nature the universal Soul and Venus receive their beauty from some other principle, from whom would they derive the beauty they intrinsically possess, and that which they acquire? As to us, we are beautiful when we belong to ourselves; and we are ugly when we lower ourselves to an inferior nature. Again, we are beautiful when we know ourselves, and ugly when we ignore ourselves. It is therefore in the intelligible world that beauty shines and radiates. Are these considerations sufficient for a clear knowledge of the intelligible world, or must we engage in a further effort to accomplish this?