Enneads I.6: Of Beauty
Polemic Against Symmetry, the Stoic Definition of Beauty
(The Stoics), like almost everybody, insist that visual beauty consists in the proportion of the parts relatively to each other and to the whole, joined to the grace of colors. If then, as in this case, the beauty of bodies in general consists in the symmetry and just proportion of their parts, beauty could not consist of anything simple, and necessarily could not appear in anything but what was compound. Only the totality will be beautiful; the parts by themselves will possess no beauty; they will be beautiful only by their relation with the totality. Nevertheless, if the totality is beautiful, it would seem also necessary that the parts be beautiful; for indeed beauty could never result from the assemblage of ugly things. Beauty must therefore be spread among all the parts. According to the same doctrine, the colors which, like sunlight, are beautiful, are beautiful but simple, and those whose beauty is not derived from proportion, will also be excluded from the domain of beauty. According to this hypothesis, how will gold be beautiful? The brilliant lightning in the night, even the stars, would not be beautiful to contemplate. In the sphere of sounds, also, it would be necessary to insist that what is simple possesses no beauty. Still, in a beautiful harmony, every sound, even when isolated, is beautiful. While preserving the same proportions, the same countenance seems at one time beautiful, and at another ugly. Evidently, there is but one conclusion: namely, that proportion is not beauty itself, but that it derives its beauty from some superior principle. (This will appear more clearly from further examples). Let us examine occupations and utterances. If also their beauty depended on proportion, what would be the function of proportion when considering occupations, laws, studies and sciences? Relations of proportion could not obtain in scientific speculations; no, nor even in the mutual agreement of these speculations. On the other hand, even bad things may show a certain mutual agreement and harmony; as, for instance, were we to assert that wisdom is softening of the brain, and that justice is a generous folly. Here we have two revoltingly absurd statements, which agree perfectly, and harmonize mutually. Further, every virtue is a soul-beauty far truer than any that we have till now examined; yet it could not admit of proportion, as it involves neither size nor number. Again, granting that the soul is divided into several faculties, who will undertake to decide which combination of these faculties, or of the speculations to which the soul devotes itself, will produce beauty? Moreover (if beauty is but proportion), what beauty could be predicated of pure intelligence?
2. Returning to our first consideration, we shall examine the nature of the element of beauty in bodies. It is something perceivable at the very first glance, something which the soul recognizes as kindred, and sympathetic to her own nature, which she welcomes and assimilates. But as soon as she meets an ugly object, she recoils, repudiates it, and rejects it as something foreign, towards which her real nature feels antipathy. That is the reason why the soul, being such as it is, namely, of an essence superior to all other beings, when she perceives an object kindred to her own nature, or which reveals only some traces of it, rejoices, is transported, compares this object with her own nature, thinks of herself, and of her intimate being as it would be impossible to fail to perceive this resemblance.
How can both sensible and intelligible objects be beautiful? Because, as we said, sensible objects participate in a form. While a shapeless object, by nature capable of receiving shape (physical) and form (intelligible), remains without reason or form, it is ugly. That which remains completely foreign to all divine reason (a reason proceeding from the universal Soul), is absolute ugliness. Any object should be considered ugly which is not entirely molded by informing reason, the matter, not being able to receive perfectly the form (which the Soul gives it). On joining matter, form co-ordinates the different parts which are to compose unity, combines them, and by their harmony produces something which is a unit. Since (form) is one, that which it fashions will also have to be one, as far as a composite object can be one. When such an object has arrived at unity, beauty resides in it, and it communicates itself to the parts as well as to the whole. When it meets a whole, the parts of which are perfectly similar, it interpenetrates it evenly. Thus it would show itself now in an entire building, then in a single stone, later in art-products as well as in the works of nature. Thus bodies become beautiful by communion with (or, participation in) a reason descending upon it from the divine (universal Soul).