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Translated by Stephen MacKenna and B. S. Page.
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» Contents of this Ennead
128 pages - You are on Page 37
17. The nature of the Reason-Principle is adequately expressed in its Act and, therefore, the wider its extension the nearer will its productions approach to full contrariety: hence the world of sense is less a unity than is its Reason-Principle; it contains a wider multiplicity and contrariety: its partial members will, therefore, be urged by a closer intention towards fullness of life, a warmer desire for unification.
But desire often destroys the desired; it seeks its own good, and, if the desired object is perishable, the ruin follows: and the partial thing straining towards its completing principle draws towards itself all it possibly can.
Thus, with the good we have the bad: we have the opposed movements of a dancer guided by one artistic plan; we recognize in his steps the good as against the bad, and see that in the opposition lies the merit of the design.
But, thus, the wicked disappear?
No: their wickedness remains; simply, their role is not of their own planning.
But, surely, this excuses them?
No; excuse lies with the Reason-Principle — and the Reason-Principle does not excuse them.
No doubt all are members of this Principle but one is a good man, another is bad — the larger class, this — and it goes as in a play; the poet while he gives each actor a part is also using them as they are in their own persons: he does not himself rank the men as leading actor, second, third; he simply gives suitable words to each, and by that assignment fixes each man’s standing.
Reference address : https://ellopos.net/elpenor/greek-texts/ancient-Greece/plotinus/enneads-3.asp?pg=37
