Plotinos: Complete Works, vol. 1 (tratados 1–21, biografías) · 4

38 We have gathered the Fourth and Fifth Ennead into a single volume. Of the Sixth Ennead, we have formed a separate volume, so that all the writings of Plotinos might be divided into three parts, of which the first contains three Enneads, the second two; and the third, a single Ennead.

Here are the books that belong to the Sixth Ennead, and to the Third Volume.

This is how we have distributed into six Enneads the fifty-four books of Plotinos. We have added to several of them, Commentaries, without following any regular order, to satisfy our friends who desired to have explanations of several points. We have also made headings of each book, following the chronological order, with the exception of the book on The Beautiful, whose date of composition we do not know. Besides, we have not only written up separate summaries for each book, but also Arguments, which are contained among the summaries.28

Now we shall try to punctuate each book, and to correct the mistakes. Whatever else we may have to do besides, will easily be recognized by a reading of these books.

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The philosopher Plotinos came from Egypt; to be accurate, I will add that his home was Lycopolis. This fact was not set down by the divine Porphyry, though he himself, as he reports, was a student of Plotinos, and had spent a great part of his life near him.

The altars dedicated to Plotinos are not yet cold; and not only are his books read by the learned more than are even those of Plato, but even the multitude, though incapable of clearly understanding his doctrine, nevertheless conforms its conduct of life to his suggestions.

Porphyry has set down all the details of the life of this philosopher, so that little can be added thereto; besides Porphyry seems to have clearly expounded many of Plotinos's writings.

Plotinos of Lycopolis, philosopher, disciple of that Ammonius who had once been a porter, was the teacher of Amelius, who himself had Porphyry as pupil; the latter formed Jamblichus, and Jamblichus Sopater. Plotinos prolonged his life till the seventh year of the reign of Gallienus. He composed fifty-four books, which are grouped in six enneads. His constitution was weakened by the effects of the sacred disease (epilepsy). He wrote besides other works.

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1. Beauty chiefly affects the sense of sight. Still, the ear perceives it also, both in the harmony of words, and in the different kinds of music; for songs and verses are equally beautiful. On rising from the domain of the senses to a superior region, we also discover beauty in occupations, actions, habits, sciences and virtues. Whether there exists a type of beauty still higher, will have to be ascertained by discussion.

What is the cause that certain bodies seem beautiful, that our ears listen with pleasure to rhythms judged beautiful, and that we love the purely moral beauties? Does the beauty of all these objects derive from some unique, immutable principle, or will we recognize some one principle of beauty for the body, and some other for something else? What then are these principles, if there are several? Or which is this principle, if there is but one?

First, there are certain objects, such as bodies, whose beauty exists only by participation, instead of being inherent in the very essence of the subject. Such are beautiful in themselves, as is, for example, virtue. Indeed, the same bodies seem beautiful at one time, while at another they lack beauty; consequently, there41 is a great difference between being a body and being beautiful. What then is the principle whose presence in a body produces beauty therein? What is that element in the bodies which moves the spectator, and which attracts, fixes and charms his glances? This is the first problem to solve; for, on finding this principle, we shall use it as a means to resolve other questions.

(The Stoics), like almost everybody, insist that visual beauty consists in the proportion of the parts relatively to each other and to the whole, joined to the grace of colors. If then, as in this case, the beauty of bodies in general consists in the symmetry and just proportion of their parts, beauty could not consist of anything simple, and necessarily could not appear in anything but what was compound. Only the totality will be beautiful; the parts by themselves will possess no beauty; they will be beautiful only by their relation with the totality. Nevertheless, if the totality is beautiful, it would seem also necessary that the parts be beautiful; for indeed beauty could never result from the assemblage of ugly things. Beauty must therefore be spread among all the parts. According to the same doctrine, the colors which, like sunlight, are beautiful, are beautiful but simple, and those whose beauty is not derived from proportion, will also be excluded from the domain of beauty. According to this hypothesis, how will gold be beautiful? The brilliant lightning in the night, even the stars, would not be beautiful to contemplate. In the sphere of sounds, also, it would be necessary to insist that what is simple possesses no beauty. Still, in a beautiful harmony, every sound, even when isolated, is beautiful. While preserving the same proportions, the same countenance seems at one42 time beautiful, and at another ugly. Evidently, there is but one conclusion: namely, that proportion is not beauty itself, but that it derives its beauty from some superior principle. (This will appear more clearly from further examples). Let us examine occupations and utterances. If also their beauty depended on proportion, what would be the function of proportion when considering occupations, laws, studies and sciences? Relations of proportion could not obtain in scientific speculations; no, nor even in the mutual agreement of these speculations. On the other hand, even bad things may show a certain mutual agreement and harmony; as, for instance, were we to assert that wisdom is softening of the brain, and that justice is a generous folly. Here we have two revoltingly absurd statements, which agree perfectly, and harmonize mutually. Further, every virtue is a soul-beauty far truer than any that we have till now examined; yet it could not admit of proportion, as it involves neither size nor number. Again, granting that the soul is divided into several faculties, who will undertake to decide which combination of these faculties, or of the speculations to which the soul devotes itself, will produce beauty? Moreover (if beauty is but proportion), what beauty could be predicated of pure intelligence?

2. Returning to our first consideration, we shall examine the nature of the element of beauty in bodies. It is something perceivable at the very first glance, something which the soul recognizes as kindred, and sympathetic to her own nature, which she welcomes and assimilates. But as soon as she meets an ugly object, she recoils, repudiates it, and rejects it as something foreign, towards which her real nature feels antipathy. That is the reason why the soul, being such as it is, namely, of an essence superior to all other43 beings, when she perceives an object kindred to her own nature, or which reveals only some traces of it, rejoices, is transported, compares this object with her own nature, thinks of herself, and of her intimate being as it would be impossible to fail to perceive this resemblance.

How can both sensible and intelligible objects be beautiful? Because, as we said, sensible objects participate in a form. While a shapeless object, by nature capable of receiving shape (physical) and form (intelligible), remains without reason or form, it is ugly. That which remains completely foreign to all divine reason (a reason proceeding from the universal Soul), is absolute ugliness. Any object should be considered ugly which is not entirely molded by informing reason, the matter, not being able to receive perfectly the form (which the Soul gives it). On joining matter, form co-ordinates the different parts which are to compose unity, combines them, and by their harmony produces something which is a unit. Since (form) is one, that which it fashions will also have to be one, as far as a composite object can be one. When such an object has arrived at unity, beauty resides in it, and it communicates itself to the parts as well as to the whole. When it meets a whole, the parts of which are perfectly similar, it interpenetrates it evenly. Thus it would show itself now in an entire building, then in a single stone, later in art-products as well as in the works of nature. Thus bodies become beautiful by communion with (or, participation in) a reason descending upon it from the divine (universal Soul).

3. The soul appreciates beauty by an especially ordered faculty, whose sole function it is to appreciate44 all that concerns beauty, even when the other faculties take part in this judgment. Often the soul makes her (aesthetic) decisions by comparison with the form of the beautiful which is within her, using this form as a standard by which to judge. But what agreement can anything corporeal have with what is incorporeal? For example, how can an architect judge a building placed before him as beautiful, by comparing it with the Idea which he has within himself? The only explanation can be that, on abstracting the stones, the exterior object is nothing but the interior form, no doubt divided within the extent of the matter, but still one, though manifested in the manifold? When the senses perceive in an object the form which combines, unites and dominates a substance which lacks shape, and therefore is of a contrary nature; and if they also perceive a shape which distinguishes itself from the other shapes by its elegance, then the soul, uniting these multiple elements, fuses them, comparing them to the indivisible form which she bears within herself, then she pronounces their agreement, kinship and harmony with that interior type.

Thus a worthy man, perceiving in a youth the character of virtue, is agreeably impressed, because he observes that the youth harmonizes with the true type of virtue which he bears within himself. Thus also the beauty of color, though simple in form, reduces under its sway that obscurity of matter, by the presence of the light, which is something incorporeal, a reason, and a form. Likewise, fire surpasses all other bodies in beauty, because it stands to all other elements in the relation of a form; it occupies the highest regions;29 it is the subtlest of bodies because it most approaches the45 incorporeal beings; without permitting itself to be penetrated by other bodies, it penetrates them all; without itself cooling, it communicates to them its heat; by its own essence it possesses color, and communicates it to others; it shines and coruscates, because it is a form. The body in which it does not dominate, shows but a discolored hue, and ceases being beautiful, merely because it does not participate in the whole form of color. Once more, thus do the hidden harmonies of sound produce audible harmonies, and also yield to the soul the idea of beauty, though showing it in another order of things. Audible harmonies can be expressed in numbers; not indeed in any kind of numbers, but only in such as can serve to produce form, and to make it dominate.

So much then for sense-beauties which, descending on matter like images and shadows, beautify it and thereby compel our admiration. 4. Now we shall leave the senses in their lower sphere, and we shall rise to the contemplation of the beauties of a superior order, of which the senses have no intuition, but which the soul perceives and expresses.

Just as we could not have spoken of sense-beauties if we had never seen them, nor recognized them as such, if, in respect to them, we had been similar to persons born blind, likewise we would not know enough to say anything about the beauty either of the arts or sciences, or of anything of the kind, if we were not already in possession of this kind of beauty; nor of the splendor of virtue, if we had not contemplated the ("golden) face of Justice," and of temperance, before whose splendor the morning and evening stars grow pale.

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To see these beauties, they must be contemplated by the faculty our soul has received; then, while contemplating them, we shall experience far more pleasure, astonishment and admiration, than in contemplation of the sense-beauties, because we will have the intuition of veritable beauties. The sentiments inspired by beauty are admiration, a gentle charm, desire, love, and a pleasurable impulse.

Such are the sentiments for invisible beauties which should be felt, and indeed are experienced by all souls, but especially by the most loving. In the presence of beautiful bodies, all indeed see them; but not all are equally moved. Those who are most moved are designated "lovers."30

5. Let us now propound a question about experiences to these men who feel love for incorporeal beauties. What do you feel in presence of the noble occupations, the good morals, the habits of temperance, and in general of virtuous acts and sentiments, and of all that constitutes the beauty of souls? What do you feel when you contemplate your inner beauty? What is the source of your ecstasies, or your enthusiasms? Whence come your desires to unite yourselves to your real selves, and to refresh yourselves by retirement from your bodies? Such indeed are the experiences of those who love genuinely. What then is the object which causes these, your emotions? It is neither a figure, nor a color, nor any size; it is that (colorless)47 invisible soul, which possesses a wisdom equally invisible; this soul in which may be seen shining the splendor of all the virtues, when one discovers in oneself, or contemplates in others, the greatness of character, the justice of the heart, the pure temperance, the imposing countenance of valor, dignity and modesty, proceeding alone firmly, calmly, and imperturbably; and above all, intelligence, resembling the divinity, by its brilliant light. What is the reason that we declare these objects to be beautiful, when we are transported with admiration and love for them? They exist, they manifest themselves, and whoever beholds them will never be able to restrain himself from confessing them to be veritable beings. Now what are these genuine beings? They are beautiful.

But reason is not yet satisfied; reason wonders why these veritable beings give the soul which experiences them the property of exciting love, from which proceeds this halo of light which, so to speak, crowns all virtues. Consider the things contrary to these beautiful objects, and with them compare what may be ugly in the soul. If we can discover of what ugliness consists, and what is its cause, we shall have achieved an important element of the solution we are seeking. Let us picture to ourselves an ugly soul; she will be given up to intemperance; and be unjust, abandoned to a host of passions, troubled, full of fears caused by her cowardliness, and of envy by her degradation; she will be longing only for vile and perishable things; she will be entirely depraved, will love nothing but impure wishes, will have no life but the sensual, and will take pleasure in her turpitude. Would we not explain such a state by saying that under the very mask of beauty turpitude had invaded this soul, brutalized her, soiled48 her with all kinds of vices, rendering her incapable of a pure life, and pure sentiments, and had reduced her to an existence obscure, infected with evil, poisoned by lethal germs; that it had hindered her from contemplating anything she should, forcing her to remain solitary, because it misled her out from herself towards inferior and gloomy regions? The soul fallen into this state of impurity, seized with an irresistible inclination towards the things of sense, absorbed by her intercourse with the body, sunk into matter, and having even received it within herself, has changed form by her admixture with an inferior nature. Not otherwise would be a man fallen into slimy mud, who no longer would present to view his primitive beauty, and would exhibit only the appearance of the mud that had defiled him; his ugliness would be derived from something foreign; and to recover his pristine beauty he would have to wash off his defilement, and by purification be restored to what he once was.

We have the right to say that the soul becomes ugly by mingling with the body, confusing herself with it, by inclining herself towards it. For a soul, ugliness consists in being impure, no longer unmingled, like gold tarnished by particles of earth. As soon as this dross is removed, and nothing but gold remains, then again it is beautiful, because separated from every foreign body, and is restored to its unique nature. Likewise the soul, released from the passions begotten by her intercourse with the body when she yields herself too much to it, delivered from exterior impressions, purified from the blemishes contracted from her alliance with the body—that is, reduced to herself, she lays aside that ugliness which is derived from a nature foreign to her.

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6. Thus, according to the ancient (Platonic or Empedoclean) maxim, "courage, temperance, all the virtues, nay, even prudence, are but purifications." The mysteries were therefore wise in teaching that the man who has not been purified will, in hell, dwell at the bottom of a swamp; for everything that is not pure, because of its very perversity, delights in mud, just as we see the impure swine wallow in the mud with delight. And indeed, what would real temperance consist of, if it be not to avoid attaching oneself to the pleasures of the body, and to flee from them as impure, and as only proper for an impure being? What else is courage, unless no longer to fear death, which is mere separation of the soul from the body? Whoever therefore is willing to withdraw from the body could surely not fear death. Magnanimity is nothing but scorn of things here below. Last, prudence is the thought which, detached from the earth, raises the soul to the intelligible world. The purified soul, therefore, becomes a form, a reason, an incorporeal and intellectual essence; she belongs entirely to the divinity, in whom resides the source of the beautiful, and of all the qualities which have affinity with it.

Restored to intelligence, the soul sees her own beauty increase; indeed, her own beauty consists of the intelligence with its ideas; only when united to intelligence is the soul really isolated from all the remainder. That is the reason that it is right to say that "the soul's welfare and beauty lie in assimilating herself to the divinity," because it is the principle of beauty and of the essences; or rather, being is beauty, while the other nature (non-being, matter), is ugliness. This is the First Evil, evil in itself, just as that one (the First50 Principle) is the good and the beautiful; for good and beauty are identical. Consequently, beauty or good, and evil or ugliness, are to be studied by the same methods. The first rank is to be assigned to beauty, which is identical with the good, and from which is derived the intelligence which is beautiful by itself. The soul is beautiful by intelligence, then, the other things, like actions, and studies, are beautiful by the soul which gives them a form. It is still the soul which beautifies the bodies to which is ascribed this perfection; being a divine essence, and participating in beauty, when she seizes an object, or subjects it to her dominion, she gives to it the beauty that the nature of this object enables it to receive.

We must still ascend to the Good to which every soul aspires. Whoever has seen it knows what I still have to say, and knows the beauty of the Good. Indeed, the Good is desirable for its own sake; it is the goal of our desires. To attain it, we have to ascend to the higher regions, turn towards them, and lay aside the garment which we put on when descending here below; just as, in the (Eleusynian, or Isiac) mysteries, those who are admitted to penetrate into the recesses of the sanctuary, after having purified themselves, lay aside every garment, and advance stark naked.