Part 21

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,[203] 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.[204]

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.[205]

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[206]), 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.[207] 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,[208] 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.[209] 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.[210] 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.[211] 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.[212] 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[213]; 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.[214]

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."[215] 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.[216]

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.[217] 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[218] 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[219] 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.[220] 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.[221] 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,[222] 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[223] 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,[224] 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[225] 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[226] 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.[227] 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,[228] "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[229]; 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.[230]

PLATO SYMBOLIZES THIS BY MAKING THE CREATOR ADMIRE HIS HANDIWORK.