Essay on "Beauty the Nature and Principles of Aesthetics"

Quoted Instructions for "Beauty the Nature and Principles of Aesthetics" Assignment:

No outside sources .. just the work of writing i will provide here, also i will provide the guidelines..here are the guidelines........... COMPL 101*****”Essay Assignment

Create an argument about one of the following subjects. This assignment is due on 03/02, in the beginning

of the class. General requirements: 800-900 words excluding quotations (3-4 pages), typed, and double-

spaced. How to Submit: You have to bring the essay to class on paper AND submit it electronically on the

BlackBoard (see instructions below).

1. Plotinus***** essay *****On Beauty***** offers a theory of how one can learn to see (or grasp) the highest forms

of truth and beauty. Create an argument in which you examine whether Plotinus***** theory went against

Socrates***** ideas about beauty (the Diotima part of The Symposium) or reinforced them.

2. Plotinus***** essay *****On Beauty***** offers a theory of how one can learn to see (or grasp) the highest forms

of beauty. Create an argument in which you demonstrate whether Plotinus***** theory rejected or was

inspired by the ideas expressed in Ovid*****s version of the myth of Narcissus.

3. Plotinus***** essay *****On Beauty***** offers a theory of how one can learn to see (or grasp) the highest forms

of beauty. Create an argument in which you demonstrate whether Plotinus***** theory rejected or was

inspired by the ideas expressed in Ovid*****s version of the myth of Orpheus.

4. Plotinus***** essay *****On Beauty***** offers a theory of how one can learn to see (or grasp) the highest forms

of beauty. Create an argument in which you demonstrate whether Plotinus***** theory rejected or was

inspired by the ideas expressed in Ovid*****s version of the myth of Pygmalion.

CONTENT

Your essay should demonstrate your understanding of the texts which you are discussing; ability to organize your

response in a well-defined argument; ability to structure essay in well-organized paragraphs (see the *****ESSAY*****

handout); familiarity with the text by using appropriate quotations; ability to follow the format rules (see the

*****FORMAT***** handout).

Since this class is about developing your own interpretive skills, you are not allowed to use any outside

secondary sources. If you do, you will receive a failing grade for this course.

HOW TO SUBMIT YOUR ESSAY:

You have to submit your essay on paper in class and electronically by posting it on BB before the class begins. To

submit the essay electronically, go the BB. On the same page with all the study questions, you will find the *****03/02

Essay Option--Plotinus***** entry. Click on *****complete***** and follow the instructions. Make sure you attach (*****upload

file*****) the actual essay which you submit on paper.

LATE ASSIGNMENTS

Out of fairness to other students who complete their work on time, no late essays are ever accepted under any

circumstances. If you cannot make it to class, I will read your essay only if it is submitted electronically on BB at

least two hours before the class starts. Students who walk into the classroom late, for ANY reason, will be

penalized at my discretion (usually 10%).

OPTIONAL REVIEW

If you prefer, you can email me a draft of your essay before you submit it on Monday. I will review you and give

you my comments. In order for me to be able to respond, I have to see the entire argument. Please don*****t send me

one- or two-sentence emails*****”I can only make sense of your draft if it is fairly detailed and clear. To give me

enough time respond, I have to receive your draft by 6 p.m. on Sunday. I will email it back to you by 10 p.m.

ESSAY GRADING CHART



ARGUMENT: LEVEL SOPHISTICATION (50/100)

Excellent (48)

Good (44)

Average (38)

Below Average (25)

INTRODUCTION*****S CLARITY (15/100)

Elaborate and Straightforward (15)

The Argument is Introduced but Difficult to Discern (7-10)

Argument is Not Clear (0)

INTRODUCTORY SENTENCES & PARAGRAPH STRUCTURE (15/100)

All Paragraphs Start by Making a Point + Perfect Structure (15)

Not All Paragraphs Start by Making a Point + Weak Structure (5-10)

No Structure (0)

USE OF QUOTATIONS & EVIDENCE (10/100)

Appropriate Use of Quotations / Perfectly Introduced (10)

Quotations are Used Awkwardly (3-8)

Quotations are not Introduced Properly (3-8)

Not Much or no Evidence (0-3)

FORMAT (10/100)

Always Followed (10)

Some Mistakes (8)

Many Mistakes (2-7)

Not followed (0)

.........*****HERE IS THE WORK OF WRITING TO BASE THE ESSY FROM AND QUOTE FROM*********

Plotinus***** Enneads || Beauty || 1

Plotinus***** Enneads

Plotinus (AD 205-270) was a Roman philosopher and the author of The Enneads, an extensive and

ambitious philosophical work in which he attempted to answer the fundamental questions about

the universe and man*****s place in it. Among other subjects, Plotinus discussed the concept of Beauty

and the crucial role which it plays in man*****s perception of the universe. The text is adopted from

Stephen McKenna*****s translation (New York: Penguin, 1991).



I.6

BEAUTY

1. Beauty addresses itself chiefly to sight; but there is a beauty for the hearing too, as in certain

combinations of words and in all kinds of music, for melodies and cadences are beautiful; and

minds that lift themselves above the realm of sense to a higher order are aware of beauty in the

conduct of life, in actions, in character, in the pursuits of the intellect; and there is the beauty of

the virtues. What loftier beauty there may be, yet, our argument will bring to light.

What, then, is it that gives comeliness to material forms and draws the ear to the sweetness

perceived in sounds, and what is the secret of the beauty there is in all that derives from Soul?

Is there some One Principle from which all take their grace, or is there a beauty peculiar to the

embodied and another for the bodiless? Finally, one or many, what would such a Principle be?

Consider that some things, material shapes for instance, are gracious not by anything inherent but

by something communicated, while others are lovely of themselves, as, for example, Virtue.

The same bodies appear sometimes beautiful, sometimes not; so that there is a good deal between

being body and being beautiful.

What, then, is this something that shows itself in certain material forms? This is the natural

beginning of our enquiry.

What is it that attracts the eyes of those to whom a beautiful object is presented, and calls them,

lures them, towards it, and fills them with joy at the sight? If we possess ourselves of this, we have

at once a standpoint for the wider survey.

Almost everyone declares that the symmetry of parts towards each other and towards a whole,

with, besides, a certain charm of colour, constitutes the beauty recognized by the eye, that in

visible things, as indeed in all else, universally, the beautiful thing is essentially symmetrical,

patterned.

But think what this means.

Only a compound can be beautiful, never anything devoid of parts; and only a whole; the several

parts will have beauty, not in themselves, but only as working together to give a comely total. Yet

beauty in an aggregate demands beauty in details; it cannot be constructed out of ugliness; its law

must run throughout.

Plotinus***** Enneads || Beauty || 2

All the loveliness of colour and even the light of the sun, being devoid of parts and so not beautiful

by symmetry, must be ruled out of the realm of beauty. And how comes gold to be a beautiful

thing? And lightning by night, and the stars, why are these so fair?

In sounds also the simple must be proscribed, though often in a whole noble composition each

several tone is delicious in itself.

Again since the one face, constant in symmetry, appears sometimes fair and sometimes not, can we

doubt that beauty is something more than symmetry, that symmetry itself owes its beauty to a

remoter principle?

Turn to what is attractive in methods of life or in the expression of thought; are we to call in

symmetry here? What symmetry is to be found in noble conduct, or excellent laws, in any form of

mental pursuit?

What symmetry can there be in points of abstract thought?

The symmetry of being accordant with each other? But there may be accordance or entire identity

where there is nothing but ugliness: the proposition that honesty is merely a generous artlessness

chimes in the most perfect harmony with the proposition that morality means weakness of will; the

accordance is complete.

Then again, all the virtues are a beauty of the soul, a beauty authentic beyond any of these others;

but how does symmetry enter here? The soul, it is true, is not a simple unity, but still its virtue

cannot have the symmetry of size or of number: what standard of measurement could preside over

the compromise or the coalescence of the soul*****s faculties or purposes?

Finally, how by this theory would there be beauty in the Intellectual*****“Principle, essentially the

solitary?

2. Let us, then, go back to the source, and indicate at once the Principle that bestows beauty on

material things.

Undoubtedly this Principle exists; it is something that is perceived at the first glance, something

which the soul names as from an ancient knowledge and, recognising, welcomes it, enters into

unison with it.

But let the soul fall in with the Ugly and at once it shrinks within itself, denies the thing, turns away

from it, not accordant, resenting it.

Our interpretation is that the soul*****“ by the very truth of its nature, by its affiliation to the noblest

Existents in the hierarchy of Being*****“ when it sees anything of that kin, or any trace of that kinship,

thrills with an immediate delight, takes its own to itself, and thus stirs anew to the sense of its

nature and of all its affinity.

But, is there any such likeness between the loveliness of this world and the splendours in the

Supreme? Such a likeness in the particulars would make the two orders alike: but what is there in

common between beauty here and beauty There?

We hold that all the loveliness of this world comes by communion in Ideal*****“Form.

Plotinus***** Enneads || Beauty || 3

All shapelessness whose kind admits of pattern and form, as long as it remains outside of Reason

and Idea, is ugly by that very isolation from the Divine*****“Thought. And this is the Absolute Ugly: an

ugly thing is something that has not been entirely mastered by pattern, that is by Reason, the

Matter not yielding at all points and in all respects to Ideal*****“Form.

But where the Ideal*****“Form has entered, it has grouped and coordinated what from a diversity of

parts was to become a unity: it has rallied confusion into co*****“operation: it has made the sum one

harmonious coherence: for the Idea is a unity and what it moulds must come to unity as far as

multiplicity may.

And on what has thus been compacted to unity, Beauty enthrones itself, giving itself to the parts as

to the sum: when it lights on some natural unity, a thing of like parts, then it gives itself to that

whole. Thus, for an illustration, there is the beauty, conferred by craftsmanship, of all a house with

all its parts, and the beauty which some natural quality may give to a single stone.

This, then, is how the material thing becomes beautiful*****“ by communicating in the thought that

flows from the Divine.

3. And the soul includes a faculty peculiarly addressed to Beauty*****“ one incomparably sure in the

appreciation of its own, never in doubt whenever any lovely thing presents itself for judgement.

Or perhaps the soul itself acts immediately, affirming the Beautiful where it finds something

accordant with the Ideal*****“Form within itself, using this Idea as a canon of accuracy in its decision.

But what accordance is there between the material and that which antedates all Matter?

On what principle does the architect, when he finds the house standing before him correspondent

with his inner ideal of a house, pronounce it beautiful? Is it not that the house before him, the

stones apart, is the inner idea stamped upon the mass of exterior matter, the indivisible exhibited

in diversity?

So with the perceptive faculty: discerning in certain objects the Ideal*****“Form which has bound and

controlled shapeless matter, opposed in nature to Idea, seeing further stamped upon the common

shapes some shape excellent above the common, it gathers into unity what still remains

fragmentary, catches it up and carries it within, no longer a thing of parts, and presents it to the

Ideal*****“Principle as something concordant and congenial, a natural friend: the joy here is like that of

a good man who discerns in a youth the early signs of a virtue consonant with the achieved

perfection within his own soul.

The beauty of colour is also the outcome of a unification: it derives from shape, from the conquest

of the darkness inherent in Matter by the pouring*****“in of light, the unembodied, which is a Rational*****“

Principle and an Ideal*****“Form.

Hence it is that Fire itself is splendid beyond all material bodies, holding the rank of Ideal*****“Principle

to the other elements, making ever upwards, the subtlest and sprightliest of all bodies, as very near

to the unembodied; itself alone admitting no other, all the others penetrated by it: for they take

warmth but this is never cold; it has colour primally; they receive the Form of colour from it: hence

the splendour of its light, the splendour that belongs to the Idea. And all that has resisted and is

but uncertainly held by its light remains outside of beauty, as not having absorbed the plenitude of

the Form of colour.

Plotinus***** Enneads || Beauty || 4

And harmonies unheard in sound create the harmonies we hear, and wake the soul to the

consciousness of beauty, showing it the one essence in another kind: for the measures of our

sensible music are not arbitrary but are determined by the Principle whose labour is to dominate

Matter and bring pattern into being.

Thus far of the beauties of the realm of sense, images and shadow*****“pictures, fugitives that have

entered into Matter*****“ to adorn, and to ravish, where they are seen.

4. But there are earlier and loftier beauties than these. In the sense*****“bound life we are no longer

granted to know them, but the soul, taking no help from the organs, sees and proclaims them. To

the vision of these we must mount, leaving sense to its own low place.

As it is not for those to speak of the graceful forms of the material world who have never seen them

or known their grace*****“ men born blind, let us suppose*****“ in the same way those must be silent upon

the beauty of noble conduct and of learning and all that order who have never cared for such

things, nor may those tell of the splendour of virtue who have never known the face of Justice and

of Moral*****“Wisdom beautiful beyond the beauty of Evening and of dawn.

Such vision is for those only who see with the Soul*****s sight*****“ and at the vision, they will rejoice, and

awe will fall upon them and a trouble deeper than all the rest could ever stir, for now they are

moving in the realm of Truth.

This is the ***** that Beauty must ever induce, wonderment and a delicious trouble, longing and

love and a trembling that is all delight. For the unseen all this may be felt as for the seen; and this

the Souls feel for it, every soul in some degree, but those the more deeply that are the more truly

apt to this higher love*****“ just as all take delight in the beauty of the body but all are not stung as

sharply, and those only that feel the keener wound are known as Lovers.

5. These Lovers, then, lovers of the beauty outside of sense, must be made to declare themselves.

What do you feel in presence of the grace you discern in actions, in manners, in sound morality, in

all the works and fruits of virtue, in the beauty of souls? When you see that you yourselves are

beautiful within, what do you feel? What is this Dionysiac exultation that thrills through your

being, this straining upwards of all your Soul, this longing to break away from the body and live

sunken within the veritable self?

These are no other than the emotions of Souls under the spell of love.

But what is it that awakens all this passion? No shape, no colour, no grandeur of mass: all is for a

Soul, something whose beauty rests upon no colour, for the moral wisdom the Soul enshrines and

all the other hueless splendour of the virtues. It is that you find in yourself, or admire in another,

loftiness of *****; righteousness of life; disciplined purity; courage of the majestic face; gravity;

modesty that goes fearless and tranquil and passionless; and, shining down upon all, the light of

god*****“like Intellection.

All these noble qualities are to be reverenced and loved, no doubt, but what entitles them to be

called beautiful?

They exist: they manifest themselves to us: anyone that sees them must admit that they have reality

of Being; and is not Real*****“Being, really beautiful?

Plotinus***** Enneads || Beauty || 5

But we have not yet shown by what property in them they have wrought the Soul to loveliness:

what is this grace, this splendour as of Light, resting upon all the virtues?

Let us take the contrary, the ugliness of the Soul, and set that against its beauty: to understand, at

once, what this ugliness is and how it comes to appear in the Soul will certainly open our way

before us.

Let us then suppose an ugly Soul, dissolute, unrighteous: teeming with all the lusts; torn by internal

discord; beset by the fears of its cowardice and the envies of its pettiness; thinking, in the little

thought it has, only of the perish able and the base; perverse in all its the friend of unclean

pleasures; living the life of abandonment to bodily sensation and delighting in its deformity.

What must we think but that all this shame is something that has gathered about the Soul, some

foreign bane outraging it, soiling it, so that, encumbered with all manner of turpitude, it has no

longer a clean activity or a clean sensation, but commands only a life smouldering dully under the

crust of evil; that, sunk in manifold death, it no longer sees what a Soul should see, may no longer

rest in its own being, dragged ever as it is towards the outer, the lower, the dark?

An unclean thing, I dare to say; flickering hither and thither at the call of objects of sense, deeply

infected with the taint of body, occupied always in Matter, and absorbing Matter into itself; in its

commerce with the Ignoble it has trafficked away for an alien nature its own essential Idea.

If a man has been immersed in filth or daubed with mud his native comeliness disappears and all

that is seen is the foul stuff besmearing him: his ugly condition is due to alien matter that has

encrusted him, and if he is to win back his grace it must be his business to scour and purify himself

and make himself what he was.

So, we may justly say, a Soul becomes ugly*****“ by something foisted upon it, by sinking itself into the

alien, by a fall, a descent into body, into Matter. The dishonour of the Soul is in its ceasing to be

clean and apart. Gold is degraded when it is mixed with earthy particles; if these be worked out, the

gold is left and is beautiful, isolated from all that is foreign, gold with gold alone. And so the Soul;

let it be but cleared of the desires that come by its too intimate converse with the body,

emancipated from all the passions, purged of all that embodiment has thrust upon it, withdrawn, a

solitary, to itself again*****“ in that moment the ugliness that came only from the alien is stripped away.

6. For, as the ancient teaching was, moral*****“discipline and courage and every virtue, not even

excepting Wisdom itself, all is purification.

Hence the Mysteries with good reason adumbrate the immersion of the unpurified in filth, even in

the Nether*****“World, since the unclean loves filth for its very filthiness, and swine foul of body find

their joy in foulness.

What else is Sophrosyne, rightly so*****“called, but to take no part in the pleasures of the body, to break

away from them as unclean and unworthy of the clean? So too, Courage is but being fearless of the

death which is but the parting of the Soul from the body, an event which no one can dread whose

delight is to be his unmingled self. And Magnanimity is but disregard for the lure of things here.

And Wisdom is but the Act of the Intellectual*****“Principle withdrawn from the lower places and

leading the Soul to the Above.

The Soul thus cleansed is all Idea and Reason, wholly free of body, intellective, entirely of that

divine order from which the wellspring of Beauty rises and all the race of Beauty.

Plotinus***** Enneads || Beauty || 6

Hence the Soul heightened to the Intellectual*****“Principle is beautiful to all its power. For Intellection

and all that proceeds from Intellection are the Soul*****s beauty, a graciousness native to it and not

foreign, for only with these is it truly Soul. And it is just to say that in the Soul*****s becoming a good

and beautiful thing is its becoming like to God, for from the Divine comes all the Beauty and all the

Good in beings.

We may even say that Beauty is the Authentic*****“Existents and Ugliness is the Principle contrary to

Existence: and the Ugly is also the primal evil; therefore its contrary is at once good and beautiful,

or is Good and Beauty: and hence the one method will discover to us the Beauty*****“Good and the

Ugliness*****“Evil.

And Beauty, this Beauty which is also The Good, must be posed as The First: directly deriving from

this First is the Intellectual*****“Principle which is pre*****“eminently the manifestation of Beauty; through

the Intellectual*****“Principle Soul is beautiful. The beauty in things of a lower order*****“actions and

pursuits for instance*****“ comes by operation of the shaping Soul which is also the author of the

beauty found in the world of sense. For the Soul, a divine thing, a fragment as it were of the Primal

Beauty, makes beautiful to the fulness of their capacity all things whatsoever that it grasps and

moulds.

7. Therefore we must ascend again towards the Good, the desired of every Soul. Anyone that has

seen This, knows what I intend when I say that it is beautiful. Even the desire of it is to be desired

as a Good. To attain it is for those that will take the upward path, who will set all their forces

towards it, who will divest themselves of all that we have put on in our descent:*****“ so, to those that

approach the Holy Celebrations of the Mysteries, there are appointed purifications and the laying

aside of the garments worn before, and the entry in nakedness*****“ until, passing, on the upward way,

all that is other than the God, each in the solitude of himself shall behold that solitary*****“dwelling

Existence, the Apart, the Unmingled, the Pure, that from Which all things depend, for Which all

look and live and act and know, the Source of Life and of Intellection and of Being.

And one that shall know this vision*****“ with what passion of love shall he not be seized, with what

pang of desire, what longing to be molten into one with This, what wondering delight! If he that

has never seen this Being must hunger for It as for all his welfare, he that has known must love and

reverence It as the very Beauty; he will be flooded with awe and gladness, stricken by a salutary

terror; he loves with a veritable love, with sharp desire; all other loves than this he must despise,

and disdain all that once seemed fair.

This, indeed, is the mood even of those who, having witnessed the manifestation of Gods or

Supernals, can never again feel the old delight in the comeliness of material forms: what then are

we to think of one that contemplates Absolute Beauty in Its essential integrity, no accumulation of

flesh and matter, no dweller on earth or in the heavens*****“ so perfect Its purity*****“ far above all such

things in that they are non*****“essential, composite, not primal but descending from This?

Beholding this Being*****“ the Choragos of all Existence, the Self*****“Intent that ever gives forth and never

takes*****“ resting, rapt, in the vision and possession of so lofty a loveliness, growing to Its likeness,

what Beauty can the soul yet lack? For This, the Beauty supreme, the absolute, and the primal,

fashions Its lovers to Beauty and makes them also worthy of love.

And for This, the sternest and the uttermost combat is set before the Souls; all our labour is for

This, lest we be left without part in this noblest vision, which to attain is to be blessed in the

blissful sight, which to fail of is to fail utterly.

Plotinus***** Enneads || Beauty || 7

For not he that has failed of the joy that is in colour or in visible forms, not he that has failed of

power or of honours or of kingdom has failed, but only he that has failed of only This, for Whose

winning he should renounce kingdoms and command over earth and ocean and sky, if only,

spurning the world of sense from beneath his feet, and straining to This, he may see.

8. But what must we do? How lies the path? How come to vision of the inaccessible Beauty,

dwelling as if in consecrated precincts, apart from the common ways where all may see, even the

profane?

He that has the strength, let him arise and withdraw into himself, foregoing all that is known by

the eyes, turning away for ever from the material beauty that once made his joy. When he perceives

those shapes of grace that show in body, let him not pursue: he must know them for copies,

vestiges, shadows, and hasten away towards That they tell of. For if anyone follow what is like a

beautiful shape playing over water*****“ is there not a myth telling in symbol of such a dupe, how he

sank into the depths of the current and was swept away to nothingness? So too, one that is held by

material beauty and will not break free shall be precipitated, not in body but in Soul, down to the

dark depths loathed of the Intellective*****“Being, where, blind even in the Lower*****“World, he shall have

commerce only with shadows, there as here.

*****Let us flee then to the beloved Fatherland*****: this is the soundest counsel. But what is this flight?

How are we to gain the open sea? For Odysseus is surely a parable to us when he commands the

flight from the sorceries of Circe or Calypso*****“ not content to linger for all the pleasure offered to his

eyes and all the delight of sense filling his days.

The Fatherland to us is There whence we have come, and There is The Father.

What then is our course, what the manner of our flight? This is not a journey for the feet; the feet

bring us only from land to land; nor need you think of coach or ship to carry you away; all this

order of things you must set aside and refuse to see: you must close the eyes and call instead upon

another vision which is to be waked within you, a vision, the birth*****“right of all, which few turn to

use.

9. And this inner vision, what is its operation?

Newly awakened it is all too feeble to bear the ultimate splendour. Therefore the Soul must be

trained*****“ to the habit of remarking, first, all noble pursuits, then the works of beauty produced not

by the labour of the arts but by the virtue of men known for their goodness: lastly, you must search

the souls of those that have shaped these beautiful forms.

But how are you to see into a virtuous soul and know its loveliness?

Withdraw into yourself and look. And if you do not find yourself beautiful yet, act as does the

creator of a statue that is to be made beautiful: he cuts away here, he smoothes there, he makes this

line lighter, this other purer, until a lovely face has grown upon his work. So do you also: cut away

all that is excessive, straighten all that is crooked, bring light to all that is overcast, labour to make

all one glow of beauty and never cease chiselling your statue, until there shall shine out on you

from it the godlike splendour of virtue, until you shall see the perfect goodness surely established

in the stainless shrine.

When you know that you have become this perfect work, when you are self*****“gathered in the purity

of your being, nothing now remaining that can shatter that inner unity, nothing from without

Plotinus***** Enneads || Beauty || 8

clinging to the authentic man, when you find yourself wholly true to your essential nature, wholly

that only veritable Light which is not measured by space, not narrowed to any circumscribed form

nor again diffused as a thing void of term, but ever unmeasurable as something greater than all

measure and more than all quantity*****“ when you perceive that you have grown to this, you are now

become very vision: now call up all your confidence, strike forward yet a step*****“ you need a guide no

longer*****“ strain, and see.

This is the only eye that sees the mighty Beauty. If the eye that adventures the vision be dimmed by

vice, impure, or weak, and unable in its cowardly blenching to see the uttermost brightness, then it

sees nothing even though another point to what lies plain to sight before it. To any vision must be

brought an eye adapted to what is to be seen, and having some likeness to it. Never did eye see the

sun unless it had first become sunlike, and never can the soul have vision of the First Beauty unless

itself be beautiful.

Therefore, first let each become godlike and each beautiful who cares to see God and Beauty. So,

mounting, the Soul will come first to the Intellectual*****“Principle and survey all the beautiful Ideas in

the Supreme and will avow that this is Beauty, that the Ideas are Beauty. For by their efficacy comes

all Beauty else, but the offspring and essence of the Intellectual*****“Being. What is beyond the

Intellectual*****“Principle we affirm to be the nature of Good radiating Beauty before it. So that,

treating the Intellectual*****“Kosmos as one, the first is the Beautiful: if we make distinction there, the

Realm of Ideas constitutes the Beauty of the Intellectual Sphere; and The Good, which lies beyond,

is the Fountain at once and Principle of Beauty: the Primal Good and the Primal Beauty have the

one dwelling*****“place and, thus, always, Beauty*****s seat is There.



*****