diff options
Diffstat (limited to '29510.txt')
| -rw-r--r-- | 29510.txt | 1299 |
1 files changed, 1299 insertions, 0 deletions
diff --git a/29510.txt b/29510.txt new file mode 100644 index 0000000..09edd45 --- /dev/null +++ b/29510.txt @@ -0,0 +1,1299 @@ +The Project Gutenberg EBook of An Essay on the Beautiful, by Plotinus + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: An Essay on the Beautiful + From the Greek of Plotinus + +Author: Plotinus + +Translator: Thomas Taylor + +Release Date: July 25, 2009 [EBook #29510] +[Last updated: April 8, 2012] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK AN ESSAY ON THE BEAUTIFUL *** + + + + +Produced by Ruth Hart + + + + +AN ESSAY ON THE BEAUTIFUL +_(From the Greek of Plotinus)_ + + +Translated by +Thomas Taylor + + +London +John M. Watkins +21 Cecil Court, Charing Cross Road +1917 + + + +INTRODUCTION + +It may seem wonderful that language, which is the only method of +conveying our conceptions, should, at the same time, be an +hindrance to our advancement in philosophy; but the wonder ceases +when we consider, that it is seldom studied as the vehicle of truth, +but is too frequently esteemed for its own sake, independent of its +connection with things. This observation is remarkably verified in +the Greek language; which, as it is the only repository of ancient +wisdom, has, unfortunately for us, been the means of concealing, in +shameful obscurity, the most profound researches and the sublimest +truths. That words, indeed, are not otherwise valuable than as +subservient to things, must surely be acknowledged by every liberal +mind, and will alone be disputed by him who has spent the prime of +his life, and consumed the vigour of his understanding, in verbal +criticisms and grammatical trifles. And, if this is the case, every +lover of truth will only study a language for the purpose of +procuring the wisdom it contains; and will doubtless wish to make +his native language the vehicle of it to others. For, since all truth is +eternal, its nature can never be altered by transposition, though by +this means its dress may be varied, and become less elegant and +refined. Perhaps even this inconvenience may be remedied by +sedulous cultivation; at least, the particular inability of some, ought +not to discourage the well-meant endeavours of others. Whoever +reads the lives of the ancient Heroes of Philosophy, must be +convinced that they studied things more than words, and that Truth +alone was the ultimate object of their search; and he who wishes to +emulate their glory and participate their wisdom, will study their +doctrines more than their language, and value the depth of their +understandings far beyond the elegance of their composition. The +native charms of Truth will ever be sufficient to allure the truly +philosophic mind; and he who has once discovered her retreats will +surely endeavour to fix a mark by which they may be detected by +others. + +But, though the mischief arising from the study of words is +prodigious, we must not consider it as the only cause of darkening +the splendours of Truth, and obstructing the free diffusion of her +light. Different manners and philosophies have equally contributed +to banish the goddess from our realms, and to render our eyes +offended with her celestial light. Hence we must not wonder that, +being indignant at the change, and perceiving the empire of +ignorance rising to unbounded dominion, she has retired from the +spreading darkness, and concealed herself in the tranquil and +divinely lucid regions of mind. For we need but barely survey +modern pursuits to be convinced how little they are connected with +wisdom. Since, to describe the nature of some particular place, the +form, situation and magnitude of a certain city; to trace the windings +of a river to its source, or delineate the aspect of a pleasant mountain; +to calculate the fineness of the silkworm's threads, and arrange the +gaudy colours of butterflies; in short, to pursue matter through its +infinite divisions, and wander in its dark labyrinths, is the +employment of the philosophy in vogue. But surely the energies of +intellect are more worthy our concern than the operations of sense; +and the science of universals, permanent and fixed, must be superior +to the knowledge of particulars, fleeting and frail. Where is a +sensible object to be found, which abides for a moment the same; +which is not either rising to perfection, or verging to decay; which is +not mixed and confused with its contrary; whose flowing nature no +resistance can stop, nor any art confine? Where is the chemist who, +by the most accurate analyzation can arrive at the principles of +bodies; or who, though he might be so lucky in his search as to +detect the atoms of Democritus, could by this means give respite to +mental investigation? For every atom, since endued with figure, +must consist of parts, though indissolubly cemented together; and +the immediate cause of this cement must be something incorporeal +or knowledge can have no stability and enquiry no end. Where, says +Mr Harris, is the microscope which can discern what is smallest in +nature? Where the telescope which can see at what point in the +universe wisdom first began? Since, then, there is no portion of +matter which may not be the subject of experiments without end, let +us betake ourselves to the regions of mind, where all things are +bounded in intellectual measure; where everything is permanent and +beautiful, eternal and divine. Let us quit the study of particulars, for +that which is general and comprehensive, and through this, learn to +see and recognize whatever exists. + +With a view to this desirable end, I have presented the reader with a +specimen of that sublime wisdom which first arose in the colleges of +the Egyptian priests, and flourished afterwards in Greece; which was +there cultivated by Pythagoras, under the mysterious veil of numbers; +by Plato, in the graceful dress of poetry; and was systematized by +Aristotle, as far as it could be reduced into scientific order; which, +after becoming in a manner extinct, shone again with its pristine +splendour among the philosophers of the Alexandrian school; was +learnedly illustrated with Asiatic luxuriancy of style by Proclus; was +divinely explained by Iamblichus: and profoundly delivered in the +writings of Plotinus. Indeed, the works of this last philosopher are +particularly valuable to all who desire to penetrate into the depths of +this divine wisdom. From the exalted nature of his genius, he was +called Intellect by his contemporaries, and is said to have composed +his books under the influence of divine illumination. Porphyry +relates, in his life, that he was four times united by an ineffable +energy with the divinity; which, however such an account may be +ridiculed in the present age, will be credited by everyone who has +properly explored the profundity of his mind. The facility and +vehemence of his composition was such, that when he had once +conceived a subject, he wrote as from an internal pattern, without +paying much attention to the orthography, or reviewing what he had +written; for the celestial vigour of his intellect rendered him +incapable of trifling concerns, and in this respect, inferior to +common understandings, as the eagle, which in its bold flight +pierces the clouds, skims the surface of the earth with less rapidity +than the swallow. Indeed a minute attention to trifles is inconsistent +with great genius of every kind, and it is on this account that +retirement is so absolutely necessary to the discovery of truths of the +first dignity and importance; for how is it possible to mix much with +the world, without imbibing the false and puerile conceptions of the +multitude; and without losing that true elevation of soul which +comparatively despises every mortal concern? Plotinus, therefore, +conscious of the incorrectness of his writings arising from the +rapidity, exuberance and daring sublimity of his thoughts, +committed their revision to his disciple Porphyry; who, though +inferior in depth of thought to his master, was, on account of his +extraordinary abilities, called by way of eminence the Philosopher. + +The design of the following discourse is to bring us to the perception +of the beautiful itself, even while connected with a corporeal nature, +which must be the great end of all true philosophy and which +Plotinus happily obtained. To a genius, indeed, truly modern, with +whom the crucible and the air-pump are alone the standards of Truth, +such an attempt must appear ridiculous in the extreme. With these, +nothing is real but what the hand can grasp or the corporeal eye +perceives, and nothing useful but what pampers the appetite or fills +the purse; but unfortunately, their perceptions, like Homer's frail +dreams, pass through the ivory gate; and are consequently empty +and fallacious, and contain nothing belonging to the vigilant soul. +To such as these a treatise on the beautiful cannot be addressed; +since its object is too exalted to be approached by those engaged in +the impurities of sense, and too bright to be seen by the eye +accustomed to the obscurity of corporeal vision. But it is alone +proper to him who is sensible that his soul is strongly marked with +ruin by its union with body; who considers himself in the language +of Empedocles, as + + "Heaven's exile, straying from the orb of light"; + +and who so ardently longs for a return to his true country, that to +him, as to Ulysses when fighting for Ithaca, + + "Slow seems the fun to move, the hours to roll; + His native home deep-imag'd in his soul".[1] + +But here it is requisite to observe that our ascent to this region of +Beauty must be made by gradual advances, for, from our association +with matter, it is impossible to pass directly, and without a medium, +to such transcendent perfection; but we must proceed in a manner +similar to those who pass from darkness to the brightest light, by +advancing from places moderately enlightened, to such as are the +most luminous of all. It is necessary therefore, that we should +become very familiar with the most abstract contemplations; and +that our intellectual eye should be strongly irradiated with the light +of ideas which precedes the splendours of the beautiful itself, like +the brightness which is seen on the summit of mountains previous to +the rising of the sun. Nor ought it to seem strange, if it should be +some time before even the liberal soul can recognize the beautiful +progeny of intellect as its kindred and allies; for, from its union with +body, it has drunk deep of the cup of oblivion, and all its energetic +powers are stupefied by the intoxicating draught; so that the +intelligible world, on its first appearance, is utterly unknown by us, +and our recollection of its inhabitants entirely lost; and we become +familiar to Ulysses on his first entrance into Ithaca, of whom Homer +says, + + "Yet had his mind, thro' tedious absence lost + The dear remembrance of his native coast".[2] + +For, + + "Now all the land another prospect bore, + Another port appeared, another shore, + And long-continued ways, and winding floods + And unknown mountains crowned with unknown woods": + +until the goddess of wisdom purges our eyes from the mists of sense +and says to each of us, as she did to Ulysses, + + "Now lift thy longing eyes, while I restore + The pleasing prospect of thy native shore." + +For then will + + " . . . . the prospect clear, + The mists disperse, and all the coast appear." + +Let us then, humbly supplicate the irradiations of wisdom, and +follow Plotinus as our divine guide to the beatific vision of the +Beautiful itself; for in this alone can we find perfect repose, and +repair those destructive clefts and chinks of the soul which its +departure from the light of good, and its lapse into a corporeal nature, +have introduced. + +But before I conclude, I think it necessary to caution the reader not +to mix any modern enthusiastic opinions with the doctrines +contained in the following discourse; for there is not a greater +difference between substance and shade than between ancient and +modern enthusiasm. The object of the former was the highest good +and supreme beauty; but that of the latter is nothing more than a +phantom raised by bewildered imaginations, floating on the unstable +ocean of opinion, the sport of the waves of prejudice and blown +about by the breath of factious party. Like substance and shade, +indeed they possess a similitude in outward appearance, but in +reality they are perfect contraries; for the one fills the mind with +solid and durable good, but the other with empty delusions; which +like the ever-running waters of the Danaides, glide away as fast as +they enter, and leave nothing behind but the ruinous passages +through which they flowed. + +I only add, that the ensuing treatise is designed as a specimen +(if it should meet with encouragement) of my intended mode of +publishing all the works of Plotinus. The undertaking is, I am +sensible, arduous in the extreme; and the disciples of wisdom are +unfortunately few; but, as I desire no other reward of my labour, +than to have the expense of printing defrayed, and to see Truth +propagated in my native tongue; I hope those few will enable me to +obtain the completion of my desires. For then, to adopt the words of +Ulysses, + + "That view vouchsaf'd, let instant death surprise + With ever-during shade these happy eyes!"[3] + + + +CONCERNING THE BEAUTIFUL + +Beauty[4] for the most part, consists in objects of sight; but it is also +received through the ears, by the skilful composition of words, and +the consonant proportion of sounds; for in every species of harmony, +beauty is to be found. And if we rise from sense into the regions of +soul, we shall there perceive studies and offices, actions and habits, +sciences and virtues, invested with a much larger portion of beauty. +But whether there is above these, a still higher beauty, will appear as +we advance in its investigation. What is it then, which causes bodies +to appear fair to the sight, sounds beautiful to the ear, and science +and virtue lovely to the mind? May we not enquire after what +manner they all partake of beauty? Whether beauty is one and the +same in all? Or, whether the beauty of bodies is of one kind, and the +beauty of souls of another? And again, what these are, if they are +two? Or, what beauty is, if perfectly simple, and one? For some +things, as bodies, are doubtless beautiful, not from the natures of the +subjects in which they reside, but rather by some kind of +participation; but others again appear to be essentially beautiful, or +beauties themselves; and such is the nature of virtue. For, with +respect, to the same bodies, they appear beautiful to one person, and +the reverse of beauty to another; as if the essence of body were a +thing different from the essence of beauty. In the first place then, +what is that, which, by its presence, causes the beauty of bodies? Let +us reflect, what most powerfully attracts the eyes of beholders, and +seizes the spectator with rapturous delight; for if we can find what +this is, we may perhaps use it as a ladder, enabling us to ascend into +the region of beauty, and survey its immeasurable extent. + +It is the general opinion that a certain commensuration of parts to +each other, and to the whole, with the addition, of colour, generates +that beauty which is the object of sight; and that in the +commensurate and the moderate alone the beauty of everything +consists. But from such an opinion the compound only, and not the +simple, can be beautiful, the single parts will have no peculiar +beauty; and will only merit that appellation by conferring to the +beauty of the whole. But it is surely necessary that a lovely whole +should consist of beautiful parts, for the fair can never rise out of the +deformed. But from such a definition, it follows, that beautiful +colours and the light of the sun, since they are simple and do not +receive their beauty from commensuration, must be excluded the +regions of beauty. Besides, how, from such an hypothesis can gold +be beautiful? Or the glittering of night and the glorious spectacle of +the stars? In like manner, the most simple musical sounds will be +foreign from beauty, though in a song wholly beautiful every note +must be beautiful, as necessary to the being of the whole. Again, +since the same proportion remaining, the same face is to one person +beautiful and to another the reverse, is it not necessary to call +the beauty of the commensurate one kind of beauty and the +commensuration another kind, and that the commensurate is fair by +means of something else? But if transferring themselves to beautiful +studies and fair discourses, they shall assign as the cause of beauty +in these the proportion of measure, what is that which in beautiful +sciences, laws or disciplines, is called commensurate proportion? Or +in what manner can speculations themselves be called mutually +commensurate? If it be said because of the inherent concord, we +reply that there is a certain concord and consent in evil souls, a +conformity of sentiment, in believing (as it is said) that temperance +is folly and justice generous ignorance. It appears, therefore, that the +beauty of the soul is every virtue, and this species of the beautiful +possesses far greater reality than any of the superior we have +mentioned. But after what manner in this is commensuration to be +found? For it is neither like the symmetry in magnitude nor in +numbers. And since the parts of the soul are many, in what +proportion and synthesis, in what temperament of parts or concord +of speculations, does beauty consist? Lastly, of what kind is the +beauty of intellect itself, abstracted from every corporeal concern, +and intimately conversing with itself alone? + +We still, therefore, repeat the question, What is the beauty of bodies? +It is something which at first view presents itself to sense, and which +the soul familiarly apprehends and eagerly embraces, as if it were +allied to itself. But when it meets with the deformed, it hastily starts +from the view and retires abhorrent from its discordant nature. For +since the soul in its proper state ranks according to the most +excellent essence in the order of things, when it perceives any object +related to itself, or the mere vestige of a relation, it congratulates +itself on the pleasing event, and astonished with the striking +resemblance[5] enters deep into its essence, and, by rousing its +dormant powers, at length perfectly recollects its kindred and allies. +What is the similitude then between the beauties of sense and that +beauty which is divine? For if there be any similitude the respective +objects must be similar. But after what manner are the two beautiful? +For it is by participation of species that we call every sensible object +beautiful. Thus, since everything void of form is by nature fitted for +its reception, as far as it is destitute of reason and form it is base and +separate from the divine reason, the great fountain of forms; and +whatever is entirely remote from this immortal source is perfectly +base and deformed.[6] And such is matter, which by its nature is +ever averse from the supervening irradiations of form. Whenever, +therefore, form accedes, it conciliates in amicable unity the parts +which are about to compose a whole; for being itself one it is not +wonderful that the subject of its power should tend to unity, as far as +the nature of a compound will admit. Hence beauty is established in +multitude when the many is reduced into one, and in this case it +communicates itself both to the parts and to the whole. But when a +particular one, composed from similar parts, is received it gives +itself to the whole, without departing from the sameness and +integrity of its nature. Thus at one and the same time it +communicates itself to the whole building and its several parts; and +at another time confines itself to a single stone, and then the first +participation arises from the operations of art, but the second from +the formation of nature. And hence body becomes beautiful through +the communion supernally proceeding from divinity. + +But the soul, by her innate power, than which nothing more +powerful, in judging its proper concerns, when another soul concurs +in the decision, acknowledges the beauty of forms. And, perhaps, its +knowledge in this case arises from its accommodating its internal +ray of beauty to form, and trusting to this in its judgment; in the +same manner as a rule is employed in the decision of what is straight. +But how can that which is inherent in body, accord with that which +is above body? Let us reply by asking how the architect pronounces +the building beautiful by accommodating the external structure the +fabric of his soul? Perhaps, because the outward building, when +entirely deprived of the stones, is no other than the intrinsic form, +divided by the external mass of matter, but indivisibly existing, +though appearing in the many. When, therefore, sense beholds the +form in bodies, at strife with matter, binding and vanquishing its +contrary nature, and sees form gracefully shining forth in other +forms, it collects together the scattered whole, and introduces it to +itself, and to the indivisible form within; and renders it consonant, +congruous and friendly to its own intimate form. Thus, to the good +man, virtue shining forth in youth is lovely because consonant to the +true virtue which lies deep in the soul. But the simple beauty of +colour arises, when light, which is something incorporeal, and +reason and form entering the obscure involutions of matter, +irradiates and forms its dark and formless nature. It is on this +account that fire surpasses other bodies in beauty, because, +compared with the other elements, it obtains the order of form; for it +is more eminent than the rest, and is the most subtle of all, bordering, +as it were, on an incorporeal nature. And too, that though +impervious itself it is intimately received by others, for it imparts +heat, but admits no cold. Hence it is the first nature which is +ornamented with colour, and is the source of it to others; and on this +account it beams forth exalted like some immaterial form. But when +it cannot vanquish its subject, as participating but a slender light, it +is no longer beautiful, because it does not receive the whole form of +colour. Again, the music of the voice rouses the harmony latent in +the soul, and opens her eye to the perception of beauty, existing in +many the same. But it is the property of the harmony perceived by +sense, to be measured by numbers, yet not in every proportion of +number or voice; but in that alone which is obedient to the +production, and conquest of its species. And this much for the +beauties of sense, which, like images and shadows flowing into +matter, adorn with spectacles of beauty its formless being, and strike +the respective senses with wonder and delight. + +But it is now time, leaving every object of sense far behind, to +contemplate, by a certain ascent, a beauty of a much higher order; a +beauty not visible to the corporeal eye, but alone manifest to the +brighter eye of the soul, independent of all corporeal aid. However, +since, without some previous perception of beauty it is impossible to +express by words the beauties of sense, but we must remain in the +state of the blind, so neither can we ever speak of the beauty of +offices and sciences, and whatever is allied to these, if deprived of +their intimate possession. Thus we shall never be able to tell of +virtue's brightness, unless by looking inward we perceive the fair +countenance of justice and temperance, and are convinced that +neither the evening nor morning star are half so beautiful and bright. +But it is requisite to perceive objects of this kind by that eye by +which the soul beholds such real beauties. Besides it is necessary +that whoever perceives this species of beauty, should be seized with +much greater delight, and more vehement admiration, than any +corporeal beauty can excite; as now embracing beauty real and +substantial. Such affections, I say, ought to be excited about true +beauty, as admiration and sweet astonishment; desire also and love +and a pleasant trepidation. For all souls, as I may say, are affected in +this manner about invisible objects, but those the most who have the +strongest propensity to their love; as it likewise happens about +corporeal beauty; for all equally perceive beautiful corporeal forms, +yet all are not equally excited, but lovers in the greatest degree. + +But it may be allowable to interrogate those, who rise above sense, +concerning the effects of love in this manner; of such we enquire, +what do you suffer respecting fair studies, and beautiful manners, +virtuous works, affections, and habits, and the beauty of souls? What +do you experience on perceiving yourselves lovely within? After +what manner are you roused as it were to a Bacchalian fury; striving +to converse with yourselves, and collecting yourselves separate from +the impediments of body? For thus are true lovers enraptured. But +what is the cause of these wonderful effects. It is neither figure, nor +colour, nor magnitude; but soul herself, fair through temperance, +and not with the false gloss of colour, and bright with the splendours +of virtue herself. And this you experience as often as you turn your +eye inwards; or contemplate the amplitude of another soul; the just +manners, the pure temperance; fortitude venerable by her noble +countenance; and modesty and honesty walking with an intrepid step, +and a tranquil and steady aspect; and what crowns the beauty of +them all, constantly receiving the irradiations of a divine intellect. + +In what respect then, shall we call these beautiful? For they are such +as they appear, nor did ever anyone behold them, and not pronounce +them realities. But as yet reason desires to know how they cause the +loveliness of the soul; and what that grace is in every virtue which +beams forth to view like light? Are you then willing we should +assume the contrary part, and consider what in the soul appears +deformed? for perhaps it will facilitate our search, if we can thus +find what is base in the soul, and from whence it derives its original. + +Let us suppose a soul deformed, to be one intemperate and unjust, +filled with a multitude of desires, a prey to foolish hopes and vexed +with idle fears; through its diminutive and avaricious nature the +subject of envy; employed solely in thought of what is immoral and +low, bound in the fetters of impure delights, living the life, whatever +it may be, peculiar to the passion of body; and so totally merged in +sensuality as to esteem the base pleasant, and the deformed beautiful +and fair. But may we not say, that this baseness approaches the soul +as an adventitious evil, under the pretext of adventitious beauty; +which, with great detriment, renders it impure, and pollutes it with +much depravity; so that it neither possesses true life, nor true sense, +but is endued with a slender life through its mixture of evil, and this +worn out by the continual depredations of death; no longer +perceiving the objects of mental vision, nor permitted any more to +dwell with itself, because ever hurried away to things obscure, +external and low? Hence, becoming impure, and being on all sides +snatched in the unceasing whirl of sensible forms, it is covered with +corporeal stains, and wholly given to matter, contracts deeply its +nature, loses all its original splendour, and almost changes its own +species into that of another; just as the pristine beauty of the most +lovely form would be destroyed by its total immersion in mire and +clay. But the deformity of the first arises from inward filth, of its +own contracting; of the second, from the accession of some foreign +nature. If such a one then desires to recover his former beauty, it is +necessary to cleanse the infected parts, and thus by a thorough +purgation to resume his original form. Hence, then if we assert that +the soul, by her mixture, confusion and commerce with body and +matter, becomes thus base, our assertion will, I think, be right. For +the baseness of the soul consists in not being pure and sincere. And +as the gold is deformed by the adherence of earthly clods, which are +no sooner removed than on a sudden the gold shines forth with its +native purity; and then becomes beautiful when separated from +natures foreign from its own, and when it is content with its own +purity for the possession of beauty; so the soul, when separated from +the sordid desires engendered by its too great immersion in body, +and liberated from the dominion of every perturbation, can thus and +thus only, blot out the base stains imbibed from its union with body; +and thus becoming alone, will doubtless expel all the turpitude +contracted from a nature so opposite to its own. + +Indeed, as the ancient oracle declares, temperance and fortitude, +prudence and every virtue, are certain purgatives of the soul; and +hence the sacred mysteries prophesy obscurely, yet with truth, that +the soul not purified lies in Tartarus, immersed in filth. Since the +impure is, from his depravity, the friend of filth, as swine, from their +sordid body, delight in mire alone. + +For what else is true temperance than not to indulge in corporeal +delights, but to fly from their connection, as things which are neither +pure, nor the offspring of purity? And true fortitude is not to fear +death; for death is nothing more than a certain separation of soul +from body, and this he will not fear, who desires to be alone. Again, +magnanimity is the contempt of every mortal concern; it is the wing +by which we fly into the regions of intellect. And lastly, prudence is +no other than intelligence, declining subordinate objects; and +directing the eye of the soul to that which is immortal and divine. +The soul, thus defined, becomes form and reason, is altogether +incorporeal and intellectual, and wholly participates of that divine +nature, which is the fountain of loveliness, and of whatever is allied +to the beautiful and fair. Hence the soul reduced to intellect becomes +astonishingly beautiful; for as the lambent flame which appears +detached from the burning wood, enlightens its dark and smoky +parts, so intellect irradiates and adorns the inferior powers of the +soul, which, without its aid, would be buried in the gloom of +formless matter. But intellect, and whatever emanates from intellect, +is not the foreign, but the proper ornament of the soul, for the being +of the soul, when absorbed in intellect, is then alone real and true. It +is, therefore, rightly said, that the beauty and good of the soul +consists in her similitude to the Deity_;_ for from hence flows all +her beauty, and her allotment of a better being. But the beautiful +itself is that which is called beings; and turpitude is of a different +nature and participates more of non-entity than being. + +But, perhaps, the good and the beautiful are the same, and must be +investigated by one and the same process; and in like manner the +base and the evil. And in the first rank we must place the beautiful, +and consider it as the same with the good; from which immediately +emanates intellect as beautiful. Next to this, we must consider the +soul receiving its beauty from intellect, and every inferior beauty +deriving its origin from the forming power of the soul, whether +conversant in fair actions and offices, or sciences and arts. Lastly, +bodies themselves participate of beauty from the soul, which, as +something divine, and a portion of the beautiful itself, renders +whatever it supervenes and subdues, beautiful as far as its natural +capacity will admit. + +Let us, therefore, re-ascend to the good itself, which every soul +desires; and in which it can alone find perfect repose. For if anyone +shall become acquainted with this source of beauty he will then +know what I say, and after what manner he is beautiful. Indeed, +whatever is desirable is a kind of good, since to this desire tends. +But they alone pursue true good, who rise to intelligible beauty, and +so far only tend to good itself; as far as they lay aside the deformed +vestments of matter, with which they become connected in their +descent. Just as those who penetrate into the holy retreats of sacred +mysteries, are first purified and then divest themselves of their +garments, until someone by such a process, having dismissed +everything foreign from the God, by himself alone, beholds the +solitary principle of the universe, sincere, simple and pure, from +which all things depend, and to whose transcendent perfections the +eyes of all intelligent natures are directed, as the proper cause of +being, life and intelligence. With what ardent love, with what strong +desire will he who enjoys this transporting vision be inflamed while +vehemently affecting to become one with this supreme beauty! For +this it is ordained, that he who does not yet perceive him, yet desires +him as good, but he who enjoys the vision is enraptured with his +beauty, and is equally filled with admiration and delight. Hence, +such a one is agitated with a salutary astonishment; is affected with +the highest and truest love; derides vehement affections and inferior +loves, and despises the beauty which he once approved. Such, too, is +the condition of those who, on perceiving the forms of gods or +daemons, no longer esteem the fairest of corporeal forms. What, +then, must be the condition of that being, who beholds the beautiful +itself? + +In itself perfectly pure[7], not confined by any corporeal bond, +neither existing in the heavens, nor in the earth, nor to be imaged by +the most lovely form imagination can conceive; since these are all +adventitious and mixed, and mere secondary beauties, proceeding +from the beautiful itself. If, then, anyone should ever behold that +which is the source of munificence to others, remaining in itself, +while it communicates to all, and receiving nothing, because +possessing an inexhaustible fulness; and should so abide in the +intuition, as to become similar to his nature, what more of beauty +can such a one desire? For such beauty, since it is supreme in +dignity and excellence, cannot fail of rendering its votaries lovely +and fair. Add too, that since the object of contest to souls is the +highest beauty, we should strive for its acquisition with unabated +ardour, lest we should be deserted of that blissful contemplation, +which, whoever pursues in the right way, becomes blessed from the +happy vision; and which he who does not obtain is unavoidably +unhappy. For the miserable man is not he who neglects to pursue +fair colours, and beautiful corporeal forms; who is deprived of +power, and falls from dominion and empire but he alone who is +destitute of this divine possession, for which the ample dominion of +the earth and sea and the still more extended empire of the heavens, +must be relinquished and forgot, if, despising and leaving these far +behind, we ever intend to arrive at substantial felicity, by beholding +the beautiful itself. + +What measures, then, shall we adopt? What machine employ, or +what reason consult by means of which we may contemplate this +ineffable beauty; a beauty abiding in the most divine sanctuary +without ever proceeding from its sacred retreats lest it should be +beheld by the profane and vulgar eye? We must enter deep into +ourselves, and, leaving behind the objects of corporeal sight, no +longer look back after any of the accustomed spectacles of sense. +For, it is necessary that whoever beholds this beauty, should +withdraw his view from the fairest corporeal forms; and, convinced +that these are nothing more than images, vestiges and shadows of +beauty, should eagerly soar to the fair original from which they are +derived. For he who rushes to these lower beauties, as if grasping +realities, when they are only like beautiful images appearing in +water, will, doubtless, like him in the fable, by stretching after the +shadow, sink into the lake and disappear. For, by thus embracing +and adhering to corporeal forms, he is precipitated, not so much in +his body as in his soul, into profound and horrid darkness; and thus +blind, like those in the infernal regions, converses only with +phantoms, deprived of the perception of what is real and true. It is +here, then, we may more truly exclaim, "Let us depart from hence, +and fly to our father's delightful land".[8] But, by what leading stars +shall we direct our flight, and by what means avoid the magic power +of Circe, and the detaining charms of Calypso?[9] For thus the fable +of Ulysses obscurely signifies, which feigns him abiding an +unwilling exile, though pleasant spectacles were continually +presented to his sight; and everything was promised to invite his stay +which can delight the senses, and captivate the heart. But our true +country, like that of Ulysses, is from whence we came, and where +our father lives. But where is the ship to be found by which we can +accomplish our flight? For our feet are unequal to the task since they +only take us from one part of the earth to another. May we not each +of us say, + + "What ships have I, what sailors to convey, + What oars to cut the long laborious way".[10] + +But it is in vain that we prepare horses to draw our ships to transport +us to our native land. On the contrary, neglecting all these, as +unequal to the task, and excluding them entirely from our view, +having now closed the corporeal eye,[11] we must stir up and +assume a purer eye within, which all men possess, but which is +alone used by a few. What is it, then, this inward eye beholds? +Indeed, suddenly raised to intellectual vision, it cannot perceive an +object exceeding bright. The soul must therefore be first accustomed +to contemplate fair studies and then beautiful works, not such as +arise from the operations of art, but such as are the offspring of +worthy men; and next to this it is necessary to view the soul, which +is the parent of this lovely race. But you will ask, after what manner +is this beauty of a worthy soul to be perceived? It is thus. Recall +your thoughts inward, and if while contemplating yourself, you do +not perceive yourself beautiful, imitate the statuary; who when he +desires a beautiful statue cuts away what is superfluous, smooths +and polishes what is rough, and never desists until he has given it all +the beauty his art is able to effect. In this manner must you proceed, +by lopping what is luxuriant, directing what is oblique, and, by +purgation, illustrating what is obscure, and thus continue to polish +and beautify your statue until the divine splendour of Virtue shines +upon you, and Temperance seated in pure and holy majesty rises to +your view. If you become thus purified residing in yourself, and +having nothing any longer to impede this unity of mind, and no +farther mixture to be found within, but perceiving your whole self to +be a true light, and light alone; a light which though immense is not +measured by any magnitude, nor limited by any circumscribing +figure, but is everywhere immeasurable, as being greater than every +measure, and more excellent than every quantity; if, perceiving +yourself thus improved, and trusting solely to yourself, as no longer +requiring a guide, fix now steadfastly your mental view, for with the +intellectual eye alone can such immense beauty be perceived. But if +your eye is yet infected with any sordid concern, and not thoroughly +refined, while it is on the stretch to behold this most shining +spectacle, it will be immediately darkened and incapable of intuition, +though someone should declare the spectacle present, which it might +be otherwise able to discern. For, it is here necessary that the +perceiver and the thing perceived should be similar to each other +before true vision can exist. Thus the sensitive eye can never be able +to survey, the orb of the sun, unless strongly endued with solar fire, +and participating largely off the vivid ray. Everyone therefore must +become divine, and of godlike beauty, before he can gaze upon a +god and the beautiful itself. Thus proceeding in the right way of +beauty he will first ascend into the region of intellect, contemplating +every fair species, the beauty of which he will perceive to be no +other than ideas themselves; for all things are beautiful by the +supervening irradiations of these, because they are the offspring and +essence of intellect. But that which is superior to these is no other +than the fountain of good, everywhere widely diffusing around the +streams of beauty, and hence in discourse called the beautiful itself +because beauty is its immediate offspring. But if you accurately +distinguish the intelligible objects you will call the beautiful the +receptacle of ideas; but the good itself, which is superior, the +fountain and principle of the beautiful; or, you may place the first +beautiful and the good in the same principle, independent of the +beauty which there subsists.[12] + + + +NOTES + +1 Pope's Homer's _Odyssey,_ Book xiii., ver. 37. + +2 _Odyssey,_ Book xiii., ver. 223. + +3 _Odyssey,_ Book vii., ver. 303. + +4 It is necessary to inform the Platonical reader, that the Beautiful, +in the present discourse, is considered according to its most general +acceptation, as the same with the Good: though, according to a more +accurate distinction, as Plotinus himself informs us, the Good is +considered as the fountain and principle of the Beautiful. I think it +likewise proper to observe, that as I have endeavoured, by my +paraphrase, to render as much as possible the obscure parts evident, +and to expand those sentences which are so very much contracted in +the original, I shall be sparing of notes; for my design is not to +accommodate the sublimest truths to the meanest understandings (as +this would be a contemptible and useless prostitution), but to render +them perspicuous to truly liberal and philosophic minds. My reasons +for adopting this mode of paraphrase, may be seen in the preface to +my translation of _Orpheus's Hymns._ + +5 "Enters deep into its essence," etc. The Platonic Philosophy insists +much on the necessity of retiring into ourselves in order to the +discovery of truth; and on this account Socrates, in the first +_Alcibiades,_ says that the soul entering into herself will +contemplate whatever exists and the divinity himself. Upon which +Proclus thus comments, with his usual elegance and depth (in +_Theol. Plat,_ p. 7): "For the soul," says he, "contracting herself +wholly into a union with herself, and into the centre of universal life, +and removing the multitude and variety of all-various powers, +ascends into the highest place of speculation, from whence she will +survey the nature of beings. For if she looks back upon things +posterior to her essence, she will perceive nothing but the shadows +and resemblances of beings; but if she returns into herself she will +evolve her own essence, and the reasons she contains. And at first +indeed she will, as it were, only behold herself; but when by her +knowledge she penetrates more profoundly in her investigations she +will find intellect seated in her essence and the universal orders of +beings; but when she advances into the more interior recesses of +herself, and as it were into the sanctuary of the soul, she will be +enabled to contemplate, with her eyes closed to corporeal vision, the +genus of the gods and the unities of beings. For all things reside in +us, after a manner correspondent to the nature of the soul; and on +this account we are naturally enabled to know all things, by exciting +our inherent powers and images of whatever exists." + +6 "And such is matter," etc. There is nothing affords more +wonderful speculation than matter, which ranks as the last among +the universality of things, and has the same relation to being as +shade to substance. For, as in an ascending series of causes it is +necessary to arrive at something, which is the first cause of all, and +to which no perfection is wanting; so in a descending series of +subjects, it is equally necessary we should stop at some general +subject, the lowest in the order of things, and to which every +perfection of being is denied. But let us hear the profound and +admirable description which Plotinus gives us of matter (lib. vi., +Ennead 3), and of which the following is a paraphrase: "Since +matter," says he, "is neither soul, nor intellect, nor life, nor form, nor +reason, nor bound, but a certain indefiniteness; nor yet capacity, for +what can it produce? Since it is foreign from all these, it cannot +merit the appellation of being, but is deservedly called non-entity. +Nor yet is it non-entity in the manner as motion or station; but it is +true non-entity, the mere shadow and imagination of bulk and the +desire of subsistence; abiding without station, of itself invisible, and +avoiding the desire of him who wishes to perceive its nature. Hence, +when no one perceives it, it is then in a manner present, but cannot +be viewed by him who strives intently to behold it. Again, in itself +contraries always appear, the small and the great, the less and the +more, deficience and excess. So that it is a phantom, neither abiding +nor yet able to fly away; capable of no one denomination and +possessing no power from intellect, but constituted in the defect and +shade, as it were, of all real being. Hence, too, in each of its +vanishing appellations it eludes our search; for if we think of it as +something great, it is in the meantime small; if as something more, it +becomes less; and the apparent being which we meet with in its +image is non-being, and as it were a flying mockery. So that the +forms which appear in matter are merely ludicrous, shadows falling +upon shadow, as in a mirror, where the position of a thing is +different from its real situation; and which, though apparently full of +forms, possesses nothing real and true--but imitations of being and +semblances flowing about a formless semblance. They appear, +indeed, to affect something in the subject matter, but in reality +produce nothing; from their debile and flowing nature being endued +with no solidity and no rebounding power. And since matter, +likewise, has no solidity they penetrate it without division, like +images in water, or as if anyone should fill a vacuum with forms." + +7 "In itself perfectly pure." This is analogous to the description of +the beautiful in the latter part of Diotima's Speech in the _Banquet_; +a speech which is surely unequalled, both for elegance of +composition and sublimity of sentiment. Indeed, all the disciples of +Plato are remarkable for nothing so much as their profound and +exalted conceptions of the Deity; and he who can read the works of +Plotinus and Proclus in particular, and afterwards pity the weakness +and erroneousness of their opinions on this subject, may be fairly +presumed to be himself equally an object of pity and contempt. + +8 "Let us depart," etc., _vide_ Hom., _Iliad,_ lib. ii., 140, et lib. ix., +27. + +9 Porphyry informs us in his excellent treatise, _De Antro Nymph,_ +that it was the opinion of Numenius, the Pythagorean (to which he +also assents), that the person of Ulysses in the _Odyssey,_ +represents to us a man, who passes in a regular manner, over the +dark and stormy sea of generation; and thus, at length, arrives at that +region where tempests and seas are unknown, and finds a nation +who + + "Ne'er knew salt, or heard the billows roar." + +Indeed, he who is conscious of the delusions of the present life and +the enchantments of this material house, in which his soul is +detained like Ulysses in the irriguous cavern of Calypso, will like +him continually bewail his captivity, and inly pine for a return to his +native country. Of such a one it may be said as of Ulysses (in the +excellent and pathetic translation of Mr Pope): + + "But sad Ulysses by himself apart + Pour'd the big sorrows of his swelling heart, + All on the lonely shore he sate to weep + And roll'd his eyes around the restless deep + Tow'rd the lov'd coast he roll'd his eyes in vain + Till, dimmed with rising grief, they stream'd again." + _Odyssey,_ book v., 103. + +Such a one too, like Ulysses, will not always wish in vain for a +passage over the dark ocean of a corporeal life, but by the assistance +of Mercury, who may be considered as the emblem of reason, he +will at length be enabled to quit the magic embraces of Calypso, the +Goddess of Imagination, and to return again into the arms of +Penelope, or Philosophy, the long lost and proper object of his love. + +10 See Pope's Homer's _Odyssey,_ book v., 182. + +11 "We must stir up and assume a purer eye within." This inward +eye is no other than intellect, which contains in its most inward +recesses a certain ray of light, participated from the sun of Beauty +and Good, by which the soul is enabled to behold and become united +with her divinely solitary original. This divine ray, or, as Proclus +calls it, mark or impression, is thus beautifully described by that +philosopher _(Theol. Plat,_ p. 105): "The Author of the Universe," +says he, "has planted in all beings impressions of his own perfect +excellence, and through these he has placed all beings about himself, +and is present with them in an ineffable manner, exempt from the +universality of things. Hence, every being entering into the ineffable +sanctuary of its own nature finds there a symbol of the Father of all. +And by this mystical impression which corresponds to his nature +they become united with their original, divesting themselves of their +own essence and hastening to become his impression alone; and, +through a desire of his unknown nature and of the fountain of good, +to participate in him alone. And when they have ascended as far as +to this cause they enjoy perfect tranquillity and are conversant in the +perception of his divine progeny and of the love which all things +naturally possess, and goodness, unknown, ineffable, without +participation and transcendently full." + +12 But before I take my leave of Plotinus, I cannot refrain from +addressing a few words to the Platonical part of my readers. If such +then is the wisdom contained in the works of this philosopher, as we +may conclude from the present specimen, is it fit so divine a treasure +should be concealed in shameful oblivion? With respect to true +philosophy you must be sensible that all modern sects are in a state +of barbarous ignorance; for Materialism and its attendant Sensuality +have darkened the eyes of the _many_ with the mists of error, and +are continually strengthening their corporeal tie. And can anything +more effectually dissipate this increasing gloom than discourses +composed by so sublime a genius, pregnant with the most profound +conceptions, and everywhere full of intellectual light? Can anything +so thoroughly destroy the phantom of false enthusiasm as +establishing the real object of the true? Let us then boldly enlist +ourselves under the banners of Plotinus, and, by his assistance, +vigorously repel the encroachments of error, plunge her dominions +into the abyss of forgetfulness, and disperse the darkness of her +baneful night. For indeed there never was a period which required so +much philosophic exertion, or such vehement contention from the +lovers of Truth. On all sides nothing of philosophy remains but the +name, and this is become the subject of the vilest prostitution; since +it is not only engrossed by the naturalist, chemist, and anatomist, but +is usurped by the mechanic in every trifling invention, and made +subservient to the lucre of traffic and merchandise. There cannot +surely be a greater proof of the degeneracy of the times than so +unparalleled a degradation and so barbarous a perversion of terms. +For the word philosophy, which implies the love of wisdom, is now +become the ornament of folly. In the times of its inventor, and for +many succeeding ages, it was expressive of modesty and worth; in +our days it is the badge of impudence and vain pretensions. It was +formerly the symbol of the profound contemplative genius, it is now +the mark of the superficial and unthinking practitioner. It was once +reverenced by kings and clothed in the robes of nobility; it is now +(according to its true acceptation) abandoned and despised and +ridiculed by the vilest plebeian. Permit me, then, my friends, to +address you in the words of Achilles to Hector: + + "Rouse, then, your forces this important hour, + Collect your strength and call forth all your pow'r." + +Since, to adopt the animated language of Neptune to the Greeks, + + " . . . On dastards, dead to fame, + I waste no anger, for they feel no shame, + But you, the pride, the flower of all our host, + My heart weeps blood, to see your glory lost." + +Nor deem the exhortation impertinent, and the danger groundless: + + "For lo! the fated time, th' appointed shore, + Hark, the gates burst, the brazen barriers roar." + +Impetuous ignorance is thundering at the bulwarks of philosophy +and her sacred retreats are in danger of being demolished, through +our feeble resistance. Rise then, my friends, and the victory will be +ours. The foe is indeed numerous, but at the same time feeble; and +the weapons of truth in the hands of vigorous union, descend with +irresistible force, and are fatal wherever they fall. + +--- + +[Transcriber's notes: I have made minor changes to the punctuation +and the format of the notes. I have also made the following spelling +changes: + + "powerfully attacts" to "powerfully attracts" + + "converses only with plantoms" to "converses only with phantoms"] + + + + + + + +End of the Project Gutenberg EBook of An Essay on the Beautiful, by Plotinus + +*** END OF THIS PROJECT GUTENBERG EBOOK AN ESSAY ON THE BEAUTIFUL *** + +***** This file should be named 29510.txt or 29510.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/9/5/1/29510/ + +Produced by Ruth Hart + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. |