Plotinus ENNEADS - THE THIRD ENNEAD Complete

Translated by Stephen MacKenna and B. S. Page.

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» Contents of this Ennead

THE THIRD ENNEAD:   1) FATE,   2) ON PROVIDENCE,   3) ON PROVIDENCE II,   4) OUR TUTELARY SPIRIT,   5) ON LOVE,   6) THE IMPASSIVITY OF THE UNEMBODIED,   7) TIME AND ETERNITY,   8) NATURE CONTEMPLATION AND THE ONE,   9) DETACHED CONSIDERATIONS

128 pages - You are on Page 85

None the less, there is an affective phase of the Soul or Mind and this is not corporeal; it can be, only, some kind of Ideal-form.

Now Matter is the one field of the desiring faculty, as of the principles of nutrition growth and engendering, which are root and spring to desire and to every other affection known to this Ideal-form. No Ideal-form can be the victim of disturbance or be in any way affected: it remains in tranquillity; only the Matter associated with it can be affected by any state or experience induced by the movement which its mere presence suffices to set up. Thus the vegetal Principle induces vegetal life but it does not, itself, pass through the processes of vegetation; it gives growth but it does not grow; in no movement which it originates is it moved with the motion it induces; it is in perfect repose, or, at least, its movement, really its act, is utterly different from what it causes elsewhere.

The nature of an Ideal-form is to be, of itself, an activity; it operates by its mere presence: it is as if Melody itself plucked the strings. The affective phase of the Soul or Mind will be the operative cause of all affection; it originates the movement either under the stimulus of some sense-presentment or independently — and it is a question to be examined whether the judgement leading to the movement operates from above or not — but the affective phase itself remains unmoved like Melody dictating music. The causes originating the movement may be likened to the musician; what is moved is like the strings of his instrument, and once more, the Melodic Principle itself is not affected, but only the strings, though, however much the musician desired it, he could not pluck the strings except under dictation from the principle of Melody.

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