第8章 THE FIRST ENNEAD(8)

Thus we have indicated the dominant note in the life of the Sage; but whether his possession of the minor virtues be actual as well as potential, whether even the greater are in Act in him or yield to qualities higher still, must be decided afresh in each several case.

Take, for example, Contemplative-Wisdom.If other guides of conduct must be called in to meet a given need, can this virtue hold its ground even in mere potentiality?

And what happens when the virtues in their very nature differ in scope and province? Where, for example, Sophrosyne would allow certain acts or emotions under due restraint and another virtue would cut them off altogether? And is it not clear that all may have to yield, once Contemplative-Wisdom comes into action?

The solution is in understanding the virtues and what each has to give: thus the man will learn to work with this or that as every several need demands.And as he reaches to loftier principles and other standards these in turn will define his conduct: for example, Restraint in its earlier form will no longer satisfy him; he will work for the final Disengagement; he will live, no longer, the human life of the good man- such as Civic Virtue commends- but, leaving this beneath him, will take up instead another life, that of the Gods.

For it is to the Gods, not to the Good, that our Likeness must look: to model ourselves upon good men is to produce an image of an image: we have to fix our gaze above the image and attain Likeness to the Supreme Exemplar.

THIRD TRACTATE.

ON DIALECTIC [THE UPWARD WAY].

1.What art is there, what method, what discipline to bring us there where we must go?

The Term at which we must arrive we may take as agreed: we have established elsewhere, by many considerations, that our journey is to the Good, to the Primal-Principle; and, indeed, the very reasoning which discovered the Term was itself something like an initiation.

But what order of beings will attain the Term?

Surely, as we read, those that have already seen all or most things, those who at their first birth have entered into the life-germ from which is to spring a metaphysician, a musician or a born lover, the metaphysician taking to the path by instinct, the musician and the nature peculiarly susceptible to love needing outside guidance.

But how lies the course? Is it alike for all, or is there a distinct method for each class of temperament?

For all there are two stages of the path, as they are making upwards or have already gained the upper sphere.

The first degree is the conversion from the lower life; the second- held by those that have already made their way to the sphere of the Intelligibles, have set as it were a footprint there but must still advance within the realm- lasts until they reach the extreme hold of the place, the Term attained when the topmost peak of the Intellectual realm is won.

But this highest degree must bide its time: let us first try to speak of the initial process of conversion.

We must begin by distinguishing the three types.Let us take the musician first and indicate his temperamental equipment for the task.

The musician we may think of as being exceedingly quick to beauty, drawn in a very rapture to it: somewhat slow to stir of his own impulse, he answers at once to the outer stimulus: as the timid are sensitive to noise so he to tones and the beauty they convey; all that offends against unison or harmony in melodies and rhythms repels him; he longs for measure and shapely pattern.

This natural tendency must be made the starting-point to such a man; he must be drawn by the tone, rhythm and design in things of sense: he must learn to distinguish the material forms from the Authentic-Existent which is the source of all these correspondences and of the entire reasoned scheme in the work of art: he must be led to the Beauty that manifests itself through these forms; he must be shown that what ravished him was no other than the Harmony of the Intellectual world and the Beauty in that sphere, not some one shape of beauty but the All-Beauty, the Absolute Beauty; and the truths of philosophy must be implanted in him to lead him to faith in that which, unknowing it, he possesses within himself.What these truths are we will show later.

2.The born lover, to whose degree the musician also may attain-and then either come to a stand or pass beyond- has a certain memory of beauty but, severed from it now, he no longer comprehends it:

spellbound by visible loveliness he clings amazed about that.His lesson must be to fall down no longer in bewildered delight before some, one embodied form; he must be led, under a system of mental discipline, to beauty everywhere and made to discern the One Principle underlying all, a Principle apart from the material forms, springing from another source, and elsewhere more truly present.The beauty, for example, in a noble course of life and in an admirably organized social system may be pointed out to him- a first training this in the loveliness of the immaterial- he must learn to recognise the beauty in the arts, sciences, virtues; then these severed and particular forms must be brought under the one principle by the explanation of their origin.From the virtues he is to be led to the Intellectual-Principle, to the Authentic-Existent; thence onward, he treads the upward way.

3.The metaphysician, equipped by that very character, winged already and not like those others, in need of disengagement, stirring of himself towards the supernal but doubting of the way, needs only a guide.He must be shown, then, and instructed, a willing wayfarer by his very temperament, all but self-directed.

Mathematics, which as a student by nature he will take very easily, will be prescribed to train him to abstract thought and to faith in the unembodied; a moral being by native disposition, he must be led to make his virtue perfect; after the Mathematics he must be put through a course in Dialectic and made an adept in the science.