Plotinus ENNEADS - THE FIFTH ENNEAD Complete

Translated by Stephen MacKenna and B. S. Page.

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THE FIFTH ENNEAD:   1) THE THREE INITIAL HYPOSTASES,   2) THE ORIGIN AND ORDER OF THE BEINGS. FOLLOWING ON THE FIRST.,   3) THE KNOWING HYPOSTASES AND THE TRANSCENDENT,   4) HOW THE SECONDARIES RISE FROM THE FIRST: AND ON THE ONE.,   5) THAT THE INTELLECTUAL BEINGS ARE NOT OUTSIDE THE INTELLECTUAL-PRINCIPLE: AND ON THE NATURE OF THE GOOD.,   6) THAT THE PRINCIPLE TRANSCENDING BEING HAS NO INTELLECTUAL ACT. WHAT BEING HAS INTELLECTION PRIMALLY AND WHAT BEING HAS IT SECONDARILY,   7) IS THERE AN IDEAL ARCHETYPE OF PARTICULAR BEINGS?,   8) ON THE INTELLECTUAL BEAUTY,   9) THE INTELLECTUAL PRINCIPLE, THE IDEAS, AND THE AUTHENTIC EXISTENCE

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2. But let us leave the arts and consider those works produced by Nature and admitted to be naturally beautiful which the creations of art are charged with imitating, all reasoning life and unreasoning things alike, but especially the consummate among them, where the moulder and maker has subdued the material and given the form he desired. Now what is the beauty here? It has nothing to do with the blood or the menstrual process: either there is also a colour and form apart from all this, or there is nothing unless sheer ugliness or a bare recipient, as it were the mere Matter of beauty.

Whence shone forth the beauty of Helen, battle-sought; or of all those women like in loveliness to Aphrodite; or of Aphrodite herself; or of any human being that has been perfect in beauty; or of any of these gods manifest to sight, or unseen but carrying what would be beauty if we saw?

In all these is it not the Idea, something of that realm but communicated to the produced from within the producer just as in works of art, we held, it is communicated from the arts to their creations? Now we can surely not believe that, while the made thing and the Idea thus impressed upon Matter are beautiful, yet the Idea not so alloyed but resting still with the creator — the Idea primal, immaterial, firmly a unity — is not Beauty.

If material extension were in itself the ground of beauty, then the creating principle, being without extension, could not be beautiful: but beauty cannot be made to depend upon magnitude since, whether in a large object or a small, the one Idea equally moves and forms the mind by its inherent power. A further indication is that as long as the object remains outside us we know nothing of it; it affects us by entry; but only as an Idea can it enter through the eyes which are not of scope to take an extended mass: we are, no doubt, simultaneously possessed of the magnitude which, however, we take in not as mass but by an elaboration upon the presented form.

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