art

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. Enneads I,3,

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. Enneads I,3,

Now rests: instructed and satisfied as to the Being in that sphere, it is no longer busy about many things: it has arrived at Unity and it contemplates: it leaves to another science all that coil of premisses and conclusions called the art of reasoning, much as it leaves the art of writing: some of the matter of logic, no doubt, it considers necessary – to clear the ground – but it makes itself the judge, here as in everything else; where it sees use, it uses; anything it finds superfluous, it leaves to whatever department of learning or practice may turn that matter to account. Enneads I,3,

But then we would be imputing the creation of evil to the Reason-Principles, though the arts and their guiding principle do not include blundering, do not cover the inartistic, the destruction of the work of art. Enneads II,3,

For who that truly perceives the harmony of the Intellectual Realm could fail, if he has any bent towards music, to answer to the harmony in sensible sounds? What geometrician or arithmetician could fail to take pleasure in the symmetries, correspondences and principles of order observed in visible things? Consider, even, the case of pictures: those seeing by the bodily sense the productions of the art of painting do not see the one thing in the one only way; they are deeply stirred by recognizing in the objects depicted to the eyes the presentation of what lies in the idea, and so are called to recollection of the truth – the very experience out of which Love rises. Now, if the sight of Beauty excellently reproduced upon a face hurries the mind to that other Sphere, surely no one seeing the loveliness lavish in the world of sense – this vast orderliness, the Form which the stars even in their remoteness display – no one could be so dull-witted, so immoveable, as not to be carried by all this to recollection, and gripped by reverent awe in the thought of all this, so great, sprung from that greatness. Not to answer thus could only be to have neither fathomed this world nor had any vision of that other. Enneads: II VIII.

We cannot but recognize from what we observe in this universe that some such principle of order prevails throughout the entire of existence – the minutest of things a tributary to the vast total; the marvellous art shown not merely in the mightiest works and sublimest members of the All, but even amid such littleness as one would think Providence must disdain: the varied workmanship of wonder in any and every animal form; the world of vegetation, too; the grace of fruits and even of leaves, the lavishness, the delicacy, the diversity of exquisite bloom; and all this not issuing once, and then to die out, but made ever and ever anew as the Transcendent Beings move variously over this earth. Enneads III,2,

In the dramas of human art, the poet provides the words but the actors add their own quality, good or bad – for they have more to do than merely repeat the author’s words – in the truer drama which dramatic genius imitates in its degree, the Soul displays itself in a part assigned by the creator of the piece. Enneads III,2,

The act of the libertine is not done by Providence or in accordance with Providence; neither is the action of the good done by Providence – it is done by the man – but it is done in accordance with Providence, for it is an act consonant with the Reason-Principle. Thus a patient following his treatment is himself an agent and yet is acting in accordance with the doctor’s method inspired by the art concerned with the causes of health and sickness: what one does against the laws of health is one’s act, but an act conflicting with the Providence of medicine. Enneads III,3,

These, then, are presented as mingled both by their initial nature and by the continuous process of their existence; and the Seer is not able to make a perfect discrimination setting on the one side Providence with all that happens under Providence and on the other side what the substrate communicates to its product. Such discrimination is not for a man, not for a wise man or a divine man: one may say it is the prerogative of a god. Not causes but facts lie in the Seer’s province; his art is the reading of the scriptures of Nature which tell of the ordered and never condescend to the disorderly; the movement of the Universe utters its testimony to him and, before men and things reveal themselves, brings to light what severally and collectively they are. Enneads III,3,

We are not to think that the Soul acts upon the object by conformity to any external judgement; there is no pause for willing or planning: any such procedure would not be an act of sheer nature, but one of applied art: but art is of later origin than soul; it is an imitator, producing dim and feeble copies – toys, things of no great worth – and it is dependent upon all sorts of mechanism by which alone its images can be produced. The soul, on the contrary, is sovereign over material things by might of Real-Being; their quality is determined by its lead, and those elementary things cannot stand against its will. On the later level, things are hindered one by the other, and thus often fall short of the characteristic shape at which their unextended Reason-Principle must be aiming; in that other world [under the soul but above the material] the entire shape [as well as the idea] comes from soul, and all that is produced takes and keeps its appointed place in a unity, so that the engendered thing, without labour as without clash, becomes all that it should be. In that world the soul has elaborated its creation, the images of the gods, dwellings for men, each existing to some peculiar purpose. Enneads IV,3,

Reasoning is for this sphere; it is the act of the soul fallen into perplexity, distracted with cares, diminished in strength: the need of deliberation goes with the less self-sufficing intelligence; craftsmen faced by a difficulty stop to consider; where there is no problem their art works on by its own forthright power. Enneads IV,3,

But this is simply a human error which assumes wisdom to be what in fact is unwisdom, taking the search for wisdom to be wisdom itself. For what can reasoning be but a struggle, the effort to discover the wise course, to attain the principle which is true and derives from real-being? To reason is like playing the cithara for the sake of achieving the art, like practising with a view to mastery, like any learning that aims at knowing. What reasoners seek, the wise hold: wisdom, in a word, is a condition in a being that possesses repose. Think what happens when one has accomplished the reasoning process: as soon as we have discovered the right course, we cease to reason: we rest because we have come to wisdom. If then we are to range the leading principle of the All among learners, we must allow it reasonings, perplexities and those acts of memory which link the past with the present and the future: if it is to be considered as a knower, then the wisdom within it consists in a rest possessing the object [absolved, therefore, from search and from remembrance]. Enneads IV,4,

Their knowledge of our prayers is due to what we may call an enlinking, a determined relation of things fitted into a system; so, too, the fulfillment of the petitions; in the art of magic all looks to this enlinkment: prayer and its answer, magic and its success, depend upon the sympathy of enchained forces. Enneads IV,4,

Our problem embraces all act and all experience throughout the entire kosmos – whether due to nature, in the current phrase, or effected by art. The natural proceeds, we must hold, from the All towards its members and from the members to the All, or from member to other member: the artificial either remains, as it began, within the limit of the art – attaining finality in the artificial product alone – or is the expression of an art which calls to its aid natural forces and agencies, and so sets up act and experience within the sphere of the natural. Enneads IV,4,

Love is given in Nature; the qualities inducing love induce mutual approach: hence there has arisen an art of magic love-drawing whose practitioners, by the force of contact implant in others a new temperament, one favouring union as being informed with love; they knit soul to soul as they might train two separate trees towards each other. The magician too draws on these patterns of power, and by ranging himself also into the pattern is able tranquilly to possess himself of these forces with whose nature and purpose he has become identified. Supposing the mage to stand outside the All, his evocations and invocations would no longer avail to draw up or to call down; but as things are he operates from no outside standground, he pulls knowing the pull of everything towards any other thing in the living system. Enneads IV,4,

It follows that, for the purposes which have induced this discussion, the stars have no need of memory or of any sense of petitions addressed to them; they give no such voluntary attention to prayers as some have thought: it is sufficient that, in virtue simply of the nature of parts and of parts within a whole, something proceeds from them whether in answer to prayer or without prayer. We have the analogy of many powers – as in some one living organism – which, independently of plan or as the result of applied method, act without any collaboration of the will: one member or function is helped or hurt by another in the mere play of natural forces; and the art of doctor or magic healer will compel some one centre to purvey something of its own power to another centre. just so the All: it purveys spontaneously, but it purveys also under spell; some entity [acting like the healer] is concerned for a member situated within itself and summons the All which, then, pours in its gift; it gives to its own part by the natural law we have cited since the petitioner is no alien to it. Even though the suppliant be a sinner, the answering need not shock us; sinners draw from the brooks; and the giver does not know of the gift but simply gives – though we must remember that all is one woof and the giving is always consonant with the order of the universe. There is, therefore, no necessity by ineluctable law that one who has helped himself to what lies open to all should receive his deserts then and there. Enneads IV,4,

Let us go to the realm of magnitudes: Suppose two blocks of stone lying side by side: one is unpatterned, quite untouched by art; the other has been minutely wrought by the craftsman’s hands into some statue of god or man, a Grace or a Muse, or if a human being, not a portrait but a creation in which the sculptor’s art has concentrated all loveliness. Enneads V,8,

Now it must be seen that the stone thus brought under the artist’s hand to the beauty of form is beautiful not as stone – for so the crude block would be as pleasant – but in virtue of the form or idea introduced by the art. This form is not in the material; it is in the designer before ever it enters the stone; and the artificer holds it not by his equipment of eyes and hands but by his participation in his art. The beauty, therefore, exists in a far higher state in the art; for it does not come over integrally into the work; that original beauty is not transferred; what comes over is a derivative and a minor: and even that shows itself upon the statue not integrally and with entire realization of intention but only in so far as it has subdued the resistance of the material. Enneads V,8,

Art, then, creating in the image of its own nature and content, and working by the Idea or Reason-Principle of the beautiful object it is to produce, must itself be beautiful in a far higher and purer degree since it is the seat and source of that beauty, indwelling in the art, which must naturally be more complete than any comeliness of the external. In the degree in which the beauty is diffused by entering into matter, it is so much the weaker than that concentrated in unity; everything that reaches outwards is the less for it, strength less strong, heat less hot, every power less potent, and so beauty less beautiful. Enneads V,8,

Then again every prime cause must be, within itself, more powerful than its effect can be: the musical does not derive from an unmusical source but from music; and so the art exhibited in the material work derives from an art yet higher. Enneads V,8,

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. Enneads V,8,

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. Enneads V,8,

This second Kosmos at every point copies the archetype: it has life and being in copy, and has beauty as springing from that diviner world. In its character of image it holds, too, that divine perpetuity without which it would only at times be truly representative and sometimes fail like a construction of art; for every image whose existence lies in the nature of things must stand during the entire existence of the archetype. Enneads V,8,

The crafts, such as building and carpentry which give us Matter in wrought forms, may be said, in that they draw on pattern, to take their principles from that realm and from the thinking There: but in that they bring these down into contact with the sense-order, they are not wholly in the Intellectual: they are founded in man. So agriculture, dealing with material growths: so medicine watching over physical health; so the art which aims at corporeal strength and well-being: power and well-being mean something else There, the fearlessness and self-sufficing quality of all that lives. Enneads V,8,

For the arts and products of art, these observations may suffice. Enneads V,8,

From natural things we turn to the artificial. Every art in all its operation aims at whatsoever unity its capacity and its models permit, though Being most achieves unity since it is closer at the start. Enneads VI,2,

It may even be doubted whether the arts, as Reason-Principles, can fairly be among Sensible qualities; Reason-Principles, it is true, may reside in Matter, but “matter” for them means Soul. On the other hand, their being found in company with Matter commits them in some degree to the lower sphere. Take the case of lyrical music: it is performed upon strings; melody, which may be termed a part of the art, is sensuous sound – though, perhaps, we should speak here not of parts but of manifestations [Acts]: yet, called manifestations, they are nonetheless sensuous. The beauty inherent in body is similarly bodiless; but we have assigned it to the order of things bound up with body and subordinate to it. Enneads VI,3,

But if it is by becoming evil and inferior that the soul produces the animal nature, the making of ox or horse was not at the outset in its character; the reason-principle of the animal, and the animal itself, must lie outside of the natural plan? Inferior, yes; but outside of nature, no. The thing There [Soul in the Intellectual] was in some sense horse and dog from the beginning; given the condition, it produces the higher kind; let the condition fail, then, since produce it must, it produces what it may: it is like a skillful craftsman competent to create all kinds of works of art but reduced to making what is ordered and what the aptitude of his material indicates. Enneads VI,7,