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

118 pages - You are on Page 97

8. This then is Beauty primally: it is entire and omnipresent as an entirety; and therefore in none of its parts or members lacking in beauty; beautiful thus beyond denial. Certainly it cannot be anything [be, for example, Beauty] without being wholly that thing; it can be nothing which it is to possess partially or in which it utterly fails [and therefore it must entirely be Beauty entire].

If this principle were not beautiful, what other could be? Its prior does not deign to be beautiful; that which is the first to manifest itself — Form and object of vision to the intellect — cannot but be lovely to see. It is to indicate this that Plato, drawing on something well within our observation, represents the Creator as approving the work he has achieved: the intention is to make us feel the lovable beauty of the autotype and of the Divine Idea; for to admire a representation is to admire the original upon which it was made.

It is not surprising if we fail to recognise what is passing within us: lovers, and those in general that admire beauty here, do not stay to reflect that it is to be traced, as of course it must be, to the Beauty There. That the admiration of the Demiurge is to be referred to the Ideal Exemplar is deliberately made evident by the rest of the passage: “He admired; and determined to bring the work into still closer likeness with the Exemplar”: he makes us feel the magnificent beauty of the Exemplar by telling us that the Beauty sprung from this world is, itself, a copy from That.

And indeed if the divine did not exist, the transcendently beautiful, in a beauty beyond all thought, what could be lovelier than the things we see? Certainly no reproach can rightly be brought against this world save only that it is not That.

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