The Concepts of Beauty and Form

(as found in select writings of Origen, Gregory of Nyssa & Bernard of Clairvaux)



The incentive for compiling this list of references pertaining to beauty is quite simple. I was prompted to search for that which is essential to every human being regardless of where he or she happens to stand with regard to moral and spiritual advancement. In addition, I desire to behold a capacity in each person which is open to appreciate a reality larger than our limited circumstances, however vague this apprehension might be. For a starting point, we may take this undefined awareness as an innate attraction to beauty in various objects found in creation; of course, nothing prevents this awareness from being transferred to some praiseworthy human activity at a later stage of development. The advantage of appealing to one's instinctive sense of beauty is that even a person with a deformed conscience can readily apprehend such things as a lovely scene or fine music. Yet apart from these aesthetic appreciations, they do not necessarily provide impetus for the person enjoying them to modify his or her deficient behavior for the better. Nevertheless, recourse to our inherent sense of beauty is a starting point and an important one at that.



The subject of beauty raises another essential ingredient for its appreciation, namely form, that which circumscribes our awareness that we may better focus attention upon an attractive object. In other words, beauty does not exist in a vacuum; it needs to be delineated according to a pattern not only in the outer world but requires an echo within ourselves that it may assume a specific interior shape. Those beautiful forms in the natural order are immediately available to our perception and have an existence independent from our inner condition. This objectivity can provide an incentive for transcending any inner disorder and lack of harmony; for example, a sunset or sweeping vista of the ocean has the capacity of averting attention, albeit temporary, from a thought or emotion which is currently disturbing us.



I just noted that anyone can be drawn to an attractive natural form external to his or her inner condition. Its observation can capture one's attention to such an extent that we seek to appropriate the object of our contemplation. In other words, we commandeer the form of beauty, a tendency which de-forms that which first had enthralled our imagination. Perhaps a better way of putting this is to say that physical beauty can trigger a desire to possess it selfishly while paying scant attention to the inherent structure of beauty's form so necessary for its manifestation. Form contains a built in mechanism, as it were, which bestows beauty with its proper dignity, a boundary beyond which it cannot trespass without risk of losing its inherent identity. Thus the form provides both a protection for beauty to flourish as well as a barrier to keep external or harmful influences from exerting themselves.



The best example of beauty found within persons may be identified with virtue which has its own form, namely, admirable behavior usually under difficult circumstances. Such beauty by itself is not always manifest to the eyes of the flesh; it can be overlooked much like that physical appreciation of a lovely object mentioned above. Although one may admire a virtuous action, it necessarily does not follow that the person observing it will appropriate this trait. Implied here is that a genuine appreciation of beauty or virtuous action requires assumption of its form or the necessity of being con-formed to it. The form of virtue lies concealed from the casual onlooker; it compels an observer to seek the source of this power which ultimately lies in a reality transcendent to him or herself. This wellspring of virtue is hidden from sight and often does not become fully appreciated until after the person we admire has passed away from our lives or has died. Yet for some reason or another, this mysterious transcendent source has a way of manifesting itself even after death; by this I do not mean through miraculous interventions but that the memory of the person in question somehow makes him or her present in a tangible way.



One common misunderstanding of virtue is that it almost invariably suggests difficult circumstances where one is compelled to act courageously or manifest a stoic indifference in the face of overwhelming misfortune. In other words, this idea of virtue intimates a grim determination with little or no joy. Yet despite the universal attractiveness of virtue in other persons, we tend to shrink away from it because of the equation, virtue = affliction. While preferring to avoid this unsophisticated attitude, a closer look reveals that it is more or less part and parcel of our common belief of how we perceive virtue(1).



Honorable behavior in another person also exposes our own weaknesses which can give rise to a sense of inferiority and shame. Yet should our inquiry into virtue persist, more precisely, inquiry into the life of a person who lives virtuously, there soon emerges a profound sense of beauty as revealed in how he or she con-forms to or assumes a particular form of attractive behavior. This admiration often begins with that contrast just mentioned between exemplary conduct demonstrated when we are confronted with unfavorable circumstances. Should we persist in our inquiry, we soon discover that the virtuous person seems to exemplify a pattern transcending the commendable behavior that has caught out attention. It is precisely because virtuous behavior works on a plane unfamiliar to us that we cannot help be curious about where it came from. We then wonder if this source of virtue which we admire in a particular person can pass over into our own lives. In brief, the charm of a virtuous person either living or deceased is contagious and is characterized by constancy or strength. Our English word "virtue" derives from the Latin virtus, which in fact means "fortitude," a definition implying not such much suffering but the sustained maintenance of correct moral behavior whether in or out of season.



Without a doubt, virtue has been studied as long as human beings have existed or more precisely, as long as they have become self-conscious as individuals engaged in the process of relating to other self-conscious individuals. It is not the purpose of this document to digress upon virtue; numerous texts exist, both ancient and modern. My intention is to present selections related to both the notion of virtue and form through the writings of Origen, Gregory of Nyssa and Bernard of Clairvaux. Since all three writers were heavily influenced by Plato and Plotinus, at the beginning of this document I include a select list of words pertaining to beauty from these two authors. Furthermore, in many extracts I insert brief annotations intended to enhance the text.



What makes this inquiry into beauty as a transcendent reality fascinating is that Origen, Gregory and Bernard equate virtue (he arete-virtus) with beauty (to kallos-pulchritudo) which has precedents in the classical Greek tradition. This equivalent is significant for practical reasons: that which we commonly perceive as something arduous does not have to be so; virtue is an attractive and therefore a beautiful, indeed, a divine quality. Regardless of where we may find ourselves on the scale of virtue, we are all are attracted to a lovely person and/or physical object. On one hand, this attraction is often overlooked when it comes to things religious, yet we cannot help but admire a person who lives in accord with religious (and therefore) virtuous habits. Certainly the adjective "beautiful" in its fullest sense applies to such a person.



I originally decided to examine beauty through the writings of Gregory of Nyssa; a search in the Thesaurus Linguae Graecae for this word, to kallos and its variants, yielded a total of 637 references, a significant number of which covers the full spectrum from the conventional to the sublime. Despite this wide range of meanings, Gregory, Origen and Bernard have in mind the relationship of beauty to form, especially the to transcendent form of God(2). The advantage of this association should not go unexamined because awareness of its role in spirituality can make religious terminology and teachings more appealing, thereby overcoming any hesitations associated with the practice of virtuous living.



The great number of references to beauty reveals that for Gregory, let alone for other authors of this late Christian period of antiquity, it was a main preoccupation inherited from the classical Greek tradition of which they considered themselves guardians in the light of the new Christian religion. For the most part these authors ascribed to the Platonic view that beauty is an ontological reality; it is not just something pleasant to behold but is a goal worthy of emulation. In comparison to this wholesome world view, Western Christianity seemed to have evolved a concept of beauty which is more descriptive and hence functions more as an accessory to revelation. One obvious example is the role of icons vis-a-vis Western religious paintings; the former communicate a somewhat static, other worldly feel, whereas the latter embraces a wider range of perceptions from statuary to conventional paintings intended to adorn, for example, sacred places. This generalization should not be taken as decisive in the sense of setting up a contrast between two aspects of one religious tradition; it is simply an observation in light of this study on beauty and form.



One theme closely related to that beauty and therefore of virtue is love which finds its best expression in commentaries on the biblical Song of Songs. I refer the reader to numerous studies on this matter in both this Home Page as well as the Lectio Divina Home Page(3). Through the fairly exhaustive list of references plus comments on the passages at hand, the reader may obtain better insight into how each author of his respective Song Commentary handled the concept of beauty(4). Please note that these texts are divided into four sections: the first is devoted to references from Plato and Plotinus with regard to to kallos(5). The second contains excerpts from the Song Commentaries by Origen, Gregory of Nyssa and Bernard of Clairvaux pertaining to the words pulchritudo and to kallos. The third part contains further citations from Gregory's other works devoted to the same word, and the fourth contains references from all three authors related to the word forma and he morphe as found in the three Song Commentaries. Please observe that those excerpts after which I insert brief notations are in quotation marks, including references to the critical texts.



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First Section: References to To Kallos in Works by Plato and Plotinus



Plato(6)



For he who would proceed aright in this matter should begin in youth to visit beautiful (ta kala somata) forms; and first, if he be guided by his instructor aright, to love one such form only-out of that he should create fair thoughts; and soon he will of himself perceive that the beauty of one form is akin to the beauty of another; and then if beauty (ep' eidei kalous) of form in general is his pursuit, how foolish would he be not to recognize that the beauty (epi pasin tois somasi kallos) every form is one and the same! Symposium, 210



So that if a virtuous soul have but a little comeliness, he will be content to love and tend him, and will search out and bring to the birth thoughts which may improve the young, until he is compelled to contemplate and see the beauty (en tois epitedeumasi kai tois nomois kalon) of institutions and laws, and to understand that the beauty of them all is of one family, and that personal beauty (peri to soma kalon mikron) is a trifle; and after laws and institutions he will go on to the sciences, that he may see their beauty (kallos), being not like a servant in love with the beauty of one youth or man or institution, himself a slave...but drawing towards and contemplating the vast sea of beauty (polu pelagos tou kalou), he will create many fair and noble thoughts and notions in boundless love of wisdom; until on that shore he grows and waxes strong, and at last the vision is revealed to him of a single science, which is the science of beauty (epistemen...kalou) everywhere. Symposium, 210



He who has been instructed the things of love, and who has learned to see the beautiful (theomenos ta kala) in due order and succession, when he comes toward the end will suddenly perceive a nature of wondrous beauty (ti thaumaston ten phusin kalon)-thus far in a nature which in the first place is everlasting, not growing and decaying, or waxing and waning. Symposium, 210-11



but beauty (to kalon) absolute, separate, simple, and everlasting, which without diminution and without increase, or any change, is imparted to the ever-growing and perishing beauties (apollumenon) of all other things. He who from these ascending under the influence of true love, begins to perceive that beauty (to kalon), is not far from the end. And the true order of going, or being led by another, to the things of love, is to begin from the beauties (ta kala somata) of earth and mount upwards for the sake of that other beauty (epi ta kala epitedeumata), using these as steps only...and from fair practices to fair notions, until from fair notions he arrives at the notion of absolute beauty (kalon), and at last knows what the essence of beauty (teleuton ho esti kalon) is. Symposium, 211



But what if man had eyes to see the true beauty-the divine beauty (to theion kalon), I mean, pure and clear and unalloyed, not clogged with the pollutions of mortality and all the colours and vanities of human life-thither looking, and holding converse with the true beauty (kalon) simple and divine? Remember how in that communion only, beholding beauty (horonti ho oraton to kalon) with the eye of the mind, he will be enabled to bring forth, not images of beauty (ouk eidola aretes), but realities (for he has hold not of an image but of a reality), and bringing forth and nourishing true virtue to become the friend of God and be immortal. Symposium, 212



Thus far I have been speaking of the fourth and last kind of madness, which is imputed to him who, when he sees the beauty (tis horon kallos) of earth, is transported with the recollection of the true beauty (tou alethous anamimneskomenos); he would like to fly away, but he cannot; he is like a bird fluttering and looking upward and careless of the world below...And I have shown this of all inspirations to be the noblest and highest and the offspring of the highest to him who has or shares in it, and that he who loves the beautiful (to koinonounti autes) is called a lover because he partakes of it. Phaedrus, 249



But of beauty (peri kallous), I repeat again that we saw her there shining in company with the celestial forms; and coming to earth we find her here too, shining in clearness through the clearest aperture of sense. For sight is the most piercing of our bodily senses; though not by that is wisdom seen; her loveliness would have been transporting if there had been a visible image of her, and the other ideas, if they had visible counterparts, would be equally lovely. But this is the privilege of beauty (kallos monon), that being the loveliest she is also the most palpable to sight. Phaedrus, 250



But he whose initiation is recent, and who has been the spectator of many glories in the other world, is amazed when he sees any one having a godlike face or form, which is the expression of divine beauty (theoeides prosopon de kallos). Phaedrus, 251



And wherever she thinks that she will behold the beautiful (to kallos idousa) one, thither in her desire she runs. And when she has seen him, and bathed herself in the waters of beauty, her constraint is loosened, and she is refreshed, and has no more pangs and pains; and this is the sweetest of all pleasures at the time, and is the reason why the soul of the lover will never forsake his beautiful (en to paronti parpoutai) one, whom he esteems above all. Phaedrus, 251-2



Yes, Socrates, he said; and that I think is certainly true: for he who this science or knowledge which knows itself will become like the knowledge which he has, in the same way that he who has swiftness will be swift, and he who has beauty will be beautiful (hotan kallos, kalos), and he who has knowledge will know. In the same way he who has that knowledge which is self-knowing, will know himself. Charmides, 169



But take the case of the other, who recognizes the existence of absolute beauty (ti auto kalon) and is able to distinguish the idea from the objects which participate in the idea, nether putting the objects in the place of the idea nor the idea in the place of the objects-is he a dreamer, or is he awake? He is wide awake. Republic V, 476



And when they are filled in the work, as I conceive, they will often turn their eyes upwards and downwards: I mean that they will first look at absolute justice and beauty (kalon kai sophron) and temperance, and again at the human copy; and will mingle and temper the various elements of life into the image of a man; and thus they will conceive according to that other image, which, when existing among men, Homer calls the form and likeness of God. Republic VI, 501



And the excellence or beauty (arete kai kallos kai orthotes) or truth of every structure, animate or inanimate, and of every action of man, is relative to the use for which nature or the artist has intended them. Republic X, 601





The Enneads of Plotinus(7)



He must be led and taught to make abstraction of the material element in them and come to the principles from which their proportions and ordering forces derive and to the beauty (to en taute kalon) which is in it, and beauty universal, not just some particular beauty (ou to ti kalon monon), and he must have the doctrines of philosophy implanted in him. I.3.1



Some things, bodies for instance, are not beautiful (ou kala) from the nature of the objects themselves, but by participation (methexei), others are beauties (ta kalle husper aretes he phusis) in themselves, like the nature of virtue. I.6.1



On this theory nothing single and simple but only a composite thing will have any beauty (to suntheton ex anagkes kalon huparxei). It will be the whole which is beautiful (to holon kalon), and the parts will not have the property of beauty (ouch hexei par' heauton to kala) by themselves, but will contribute to the beauty (pros to holon suntelounta) of the whole. But if the whole is beautiful, the parts must be beautiful too. I.6.1



Again, every sort of virtue is a beauty (kallos psuches arete pasa) of the soul, a truer beauty (kallos alethinoteron) than those mentioned before. I.6.1



It [corporeal beauty, en tois sumasi palon] is something which we become aware of even at the first glance. I.6.2



How are both the things in that world and the things in this beautiful (pos kala kakeina kai tauta)? We maintain that the things in this world are beautiful (kala metoche eidous) by participating in form. I.6.2



So then the beautiful (to kalon soma) body comes into being by sharing in a formative power which comes from the divine forms. I.6.2



But about the beauties (ton prosotero kalon) beyond, which it is no more the part of sense to see, but the soul sees them and speaks of them without instruments-we must go up to them and contemplate them and leave sense to stay down below. I.6.4



But there must be those who see this beauty (ho psuche ta toiauta blepei) by that with which the soul sees things of this sort, and when they see it they must be delighted and overwhelmed and excited much more than by those beauties we spoke of before, since now it is true beauty they are grasping. These experiences must occur whenever there is contact with any sort of beautiful (peri to ho ti an e kalon) thing. I.6.4



What do you feel when you see your own inward beauty (ti paschete...kala)? I.6.5



What does "really exists" (ta ontos onta) mean? That they exist as beauties (he kala). I.6.5



So the soul when it is purified becomes form and formative power, altogether bodiless and intellectual and entirely belonging to the divine, whence beauty (he pege tou kalou) springs and all that is akin to it. Intellect and the things of intellect are its beauty (nous kai ta para nou to kallos), its own beauty and not another's since only then it is truly soul. I.6.6



the soul's becoming something good and beautiful (kalon ten psuchen) is its being made like to God, because from Him come beauty (ekeithen to kalon) and all else which falls to the lot of real beings. I.6.6



so for God the qualities of good and beauty (agathon kai kalon) are the same, or the realities, the good and beauty (tagathon kai kallone). I.6.6



And soul makes beautiful (hosa) the bodies which are spoken of as beautiful (hosa); for since it is a divine thing and a kind of part of beauty (moira tou kalou), it makes everything it grasps and masters beautiful (ephapsetai kai krate kala), as far as they are capable of participation. I.6.6



So we must ascend again to the good, which every soul desires. Anyone who has seen it knows what I mean when I say that it is beautiful (kalon). I.6.7



he who has seen it glories in its beauty (kalon kataphronein) and is full of wonder and delight, enduring a shock which causes no hurt, loving with true passion and piercing longing. I.6.7



Since it is beauty (malista kallos) most of all, and primary beauty (to proton), makes its lovers beautiful (kalous kai erastous) and lovable. I.6.7



When he sees the beauty (en somasi kala) in bodies he must not run after them; we must know that they are images, traces, shadows, and hurry away to that which they image. I.6.8



How can you see the sort of beauty (to kallos echei) a good soul has? Go back into yourself and look; and if you do not yet see yourself beautiful (ides kalon), then, just as someone making a statue which has to be beautiful (dei kalon) cuts away here and polishes there...til he has given his statue a beautiful (kalon prosopon) face. I.6.8



No eye ever saw the sun without becoming sun-like, nor can a soul see beauty (to kalon) without becoming beautiful (kale). You must become first all godlike and all beautiful (theoeides pas kai kalos pas) if you intend to see God and beauty (theon kai kalon). First the soul will come in its ascent to intellect and there will know the Forms, all beautiful (panta kala ta eide), and will affirm that these, the Ideas, are beauty (to kallos...tas ideas); for all things are beautiful (tautais kala) by these, by the products and essence of intellect. I.6.9



but if one distinguishes the intelligibles [from the Good] one will say that the place of the Forms is the intelligible beauty (noeton kalon), but the Good is That which is beyond, the "spring and origin" (Phaedrus 245c9) of beauty (pegen kai archen tou kalou)...in any case, beauty (ekei to kalon) is in the intelligible world. I.6.9



But if someone who sees beauty (kallos en prosopo) excellently represented in a face is carried to that higher world, will anyone be so sluggish in mind and so immovable that, when he sees all the beauties (en aistheto kalle) in the world of sense...he will not think, "What wonders, and from what a source?" II.9.16



Then one should be aware that there is not the same beauty (kallos epi meri) in part and whole and in all individual things and the All: and then that there are such beauties (toiauta kalle) in things perceived by the senses...that they come from the higher world. II.9.17



And the man whose love of the beautiful is pure will be satisfied with beauty (ho tou kalou eros) alone, if he recollects the archetype. III.5.1



and mover of the soul towards the beauty (pros to ekei kallos) of the higher world, or also to increase the impulse towards that world which is already there. III.5.2



One must "take away," as if there was some evil in the soul, and "put in" virtue, and set the soul in order and produce beauty (kallos empoiesai) in it instead of the ugliness which was there before. III.6.2



Often I have woken up out of the body to my self and have entered into myself, going out from all other things; I have seen a beauty (thaumaston helikon kallos) wonderfully great. IV.8.1



For the First in its progress could not take its stand upon something soulless, nor immediately upon Soul, but there must be an inconceivable beauty (kallos amechanon pro autou) going out before it. V.5.3



But the passionate love of beauty (tou kalou ho eros), when it comes, causes pain, because one must have seen it to desire it. V.5.12



But the more ancient, unperceived desire of the Good proclaims that the Good itself is more ancient and prior to beauty (archaiotera tou) . All men think that when they have attained the Good it is sufficient for them: for they have reached their end. But not all see beauty (to kalon). V.5.12



The stone which has been brought to beauty (eis eidous kallos) of form by art will appear beautiful (kalos) not because it is a stone-for then the other would be just as beautiful (kalos)-but as a result of the form which art has put into it. V.8.1



If art makes its work like what it is and has-and it makes it beautiful (he techne...kalon) according to the forming principle of what it is making-it is itself more, and more truly, beautiful (alethesteros kale) since it has the beauty (to kallos to technes) of art which is greater and more beautiful (kallion...en to exo) than anything in the external object. V.8.1



Well, then, are the things made and the forming principle in matter beautiful (kala ta poiemata), but the forming principle which is not in matter but in the maker, the first immaterial one, is that not beauty (kallos)? V.8.2



There is therefore in nature a rational forming principle which is the archetype of the beauty (kallous archetupos tou en somati) in body, and the rational principle in soul is more beautiful (kallion) than that in nature, and is also the source of that in nature. V.8.3



For this reason it is not an expressed forming principle at all, but is the maker of the first forming principle which is the beauty (kallous en hule psuchike) present in the matter which is soul. V.8.3



For, if that was not transcendently beautiful (to huperkalon) with an overwhelming beauty (kallei amechano), what would be more beautiful (kallion) than this visible universe?

Nonetheless, a thing is beautiful (kallos prostheon) in itself; as related to something else it is either more or less beautiful (kallion). VI.3.11



It is surely inconceivable that any living thing be beautiful (ti zoon kalon) failing a Life-Absolute of a wonderful, an ineffable, beauty (me thaumastou to kallos kai aphaustou): this must be the Collective Life, made up of all living things, or embracing all, forming a unity coextensive with all, as our universe is a unity embracing all the visible. VI.6.7



This is why we read of "Truth introduced into the Mixture" and of the "measuring standard as a prior condition" and are told that the symmetry and beauty (summetria kai to kallos) necessary to the Mixture come Thence into whatever has beauty (kalon) ; it is in this way that we have our share in Beauty (kallen);. VI.7.30



Its beauty, too, will be unique, a beauty above beauty (kallos huper kallos): it cannot be beauty (kallos) since it is not a thing among things. It is lovable and the author of beauty (kallou anthos); as the power to all beautiful shape (periousia tou kallous), it will be the ultimate of beauty (kallous kai peras kallous). VI.7.32



When therefore we name beauty (kallos), all such shape must be dismissed; nothing visible is to be conceived, or at once we descend from beauty (kpeses tou kalou) to what but bears the name in virtue of some participation. This formless Form is beautiful (to amorphon eidos kalon) as Form, beautiful (kallon) in proportion as we strip away all shape even that given in thought to mark difference. VI.7.33



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Second Section: The Three Song Commentaries by Origen, Gregory of Nyssa and Bernard of Clairvaux



Origen(8)



"And the soul is moved by heavenly love and longing when, having clearly beheld the beauty (pulchritudine et decore Verbi Dei speciem) and the fairness of the Word Himself and receives a certain dart and wound of love. Prol 2.17" Note the use of cupiditas for "longing," the equivalent of eros in Greek which means erotic love; furthermore, Origen associates it with "love," amor. Here Origen identifies cupiditas with "heavenly" love or caelesti, its opposite quality. It seems that such cupiditas and amor impel the soul to seek God to behold "the fairness of the Word (Verbi)" followed by a reception of that "dart" (telum) and "wound" (vulnus) of amor. In the next sentence Origen augments this by a quote from Col 1.15-16: "He is the image of the invisible God, the first-born of all creation, for in him all things were created, in heaven and on earth." He implies that cupiditas and amor apply to those "all things" "in heaven and on earth."



"So that, having beheld the beauty of the Word of God (perspecta pulchritudine Verbi Dei), we may be kindled with a saving love for Him, and He Himself may deign to love the soul whose longing for Himself He has perceived. Prol 3.23" Here the beholding (perspecta) of that beauty proper to God's Verbum or Jesus Christ results in salutari in eum amore; note use of amor as opposed to cupiditas.



"His beauty (pulchritudinem quoque eius) also they described, His charm and gentleness, that I might be inflamed beyond all bearing with the love of Him by all these things. Bk 1.1.6" Origen has the prophets speaking here; the primary function of their vision consists in a beholding of God's pulchritudo together with his charm (speciem) and gentleness (mansuetudinem). These latter two qualities necessarily following pulchritudo result in an inflammation (inflammarer) of the bride with the bridegroom's amor. Note that such burning is intensified by the adjective intolerabiliter.



"That is to say, the young souls growing up in years and beauty (in augmento scilicet aetatis et pulchritudinis positae animae), who are always being made new and renewed from day to day, as they put on the new man who is created according to God [Eph 4.24]. Bk 1.4.3" This verse is within the context of beauty regarding a verse from Ephesians implying continuous growth, foreshadowing Gregory of Nyssa's doctrine on this matter. Two features of growth (in augumento) are included, in augmento or conventional time or chronos and in pulchritudinis which intimates "divine" time or kairos. The former is biological whereas the latter is transcendental, the plane where true beauty is to be found. Note the twofold renewal, innovantur and renovantur: the former seems to apply to spiritual growth in general and the latter to a more specific form of temporal grow, i.e., de die in diem.



"Do not reproach me for my color, then, O daughters of Jerusalem, seeing that my body lacks neither natural beauty (pulchritudo non desit), nor that which is acquired by practice. Bk 2.1.2" Two qualities of which the bride indirectly boasts, "natural (naturalis) beauty" and that implied beauty which is acquired or exercitio which implies exercise of the virtues. Another contrast between two types of pulchritudo, physical and moral.



"But I have my own beauty (habeo tamen pulchritudinem meam mecum) all the same. For in me too there is that primal thing, the Image of God wherein I was created. Bk 2.1.4" Implied here is a close identification with, indeed an interchangeable reality, between pulchritudo and ad imaginem Dei in which the bride was made. By reason of being "primal," this imago is the wellspring from which all her qualities flow. The next sentence reads, "And coming now to the Word of God, I have received my beauty" or speciem. This section includes the two features of the bride already being an imago Dei and of her necessity of accedens ad Verbum Dei.



"So, if the bride compares her beauty (pulchritudinem suam) to the curtains of Solomon, she doubtless means the glory and beauty (gloriam et pulchritudinem) of those curtains which cover that tabernacle, which God has pitched, and not man. Bk 2.1.54" Occurring with the context of Heb 8.2 and therefore Ex 25.40 ("And see that you make them after the pattern for them, which is being shown you on the mountain"). The beauty of these curtains is external to the interior beauty of the tabernacle, but we have here an "exterior" beauty quite different from the physical kind. It is of the moral variety which both veils and reveals the inner (tabernacle) beauty or that proper to imago Dei.



"Unless you have known yourself, O fair one among women, and have recognized whence the ground of thy beauty (agnoveris pulchritudinis tuae causas inde descendere) proceeds-namely, that you were created in God's Image, so that there is an abundance of natural beauty; unless you have thus realized how fair (quam pulchra) you were in the beginning. Bk 2.5.2" Origen borrows the famous gnothi sauton or "Know thyself" ascribed to the Spartan Ephor Chilon in the context of imago Dei. Note the way by which the bride's beauty "proceeds," descendere, that is, from tuae causas. Such "descent" is consistent with the general Greek notion of creation emanating from God; it also implies the potential for a "fall" associated with the Genesis narrative. The close affiliation of the bride's beauty with imago Dei for Origen is a natural source for her "abundance of natural beauty" or plurimum naturalis decoris.



"These things shalt you endure till circumstances and experience teach you how great an evil it is for the soul not to know herself, nor yet that beauty (animam nescire semet ipsam neque pulchritudinem suam) of hers by which she is superior not to other virgins, but to other women. Bk 2.5.4" Again, reference to "know thyself" but in the context of its potential failure, ignorance of this self which is equated with beauty. We could modify this expression to read, "Know thy beauty."



"and contemplating the beauty (quibus cognoscere semet ipsam anima probeter et pulchritudinem suam) which she received at her creation in God's Image, may judge how it may be renewed and restored. Bk 2.5.15" Pondering (contemplari) her inherent beauty which Origen again associates with Imago Dei yields a two-fold result: the bride acknowledges that such beauty is integral to constitution while at the same time she realizes it needs fulfillment, to "be renewed (repare) and restored (resituere)." Note that the bride's act of congnoscere as a type of conscious examination of facts flows from such contemplari. This perception of a future fulfillment of what is essentially part and parcel of the bride's essence is know by the Greek term apokatastasis. Origen received much criticism for it, yet Gregory of Nyssa took up and developed it later on.(9)



"among whom you art fair (tamen iam in mulieribus pulchra est), because you have already not only received the kisses of the Word of God, but also have beheld the secrets of His chamber. Bk 2.5.16" Such "being among (in) women" is a presence-with, not necessarily a comparison of the bride in the sense of being better than her companions. Origen says that she has received two things from her beloved, "kisses of the Word" and "secrets of His chamber" (cubilis eius arcana), the former being exterior and the latter interior. Kisses are essential for knowing the bridegroom's arcana. Origen sees a unity between these kisses/chamber and "know thyself" in the words which immediately follow: "If, then, I say, you have not known yourself, but making no distinction, have preferred to live as do the common people."



"So, then, if thou, O soul, that art fairer (quae pulchrior es et eminentior inter ceteros) and more notable than others-teachers, for instance-neglect yourself and continue in your ignorance, how will those desiring edification obtain instruction? Bk 2.5.35" Note use of inter which means "among;" compare it with "among (in) whom you are fair" immediately above. Although the bride's role is not one of teaching, Origen has her being present inter such "others." Here failure not to "know thyself" as being pulchrior has the potential of disappointing others less fortunate than the bride. I.e., it seems her role is not so much to teach as to impart beauty, that is a beauty springing from the dictum, "know thyself."



"Thus we may understand once and for all how vital it is for a soul-and especially for one who is good and lovely (quae bona et pulchra est sensibus et ingenio vigilans) in disposition and awake in her intelligence-to acquire knowledge of herself. Bk 2.5.39" Again, this "know thyself" (cognoscere ipsam) achieves fruition by the sentence which follows as related to Rom 8.14-15: "to give heed to the recognition of herself (ad agnitionem sui) through the study of doctrine and sacred pursuits, and thus to be led by the Spirit of God and the Spirit of adoption." The bride is "good and lovely" in two ways, "in her disposition (sensibus) and intelligence (ingenio)." By becoming aware of these (i.e., through the practice of vigilans), the bride sets herself on the way to achieving that apokatastasis or restoration "by the Spirit of God and of adoption." Note that exercitia applies to doctrine and studia to what is divina, two essentials for achieving apokatastasis.



"and without doubt she receives the splendor of beauty (splendorem decoris) from the Bridegroom Himself, so that having once gained that loveliness (ab ipso sumpta pulchritudine), she will continue beautiful (pulchra permaneat) even if she should chance to suffer absence from Him for a little while. Bk 3.1.3" Earlier Origen spoke of the bride as being beautiful in her own soul ("in the beginning," Bk 2.5.2), whereas here he says it comes "from the Bridegroom Himself." He has the bride continuing (permaneat) in beauty after having attained it a fact which transcends both the bridegroom's presence and absence.



"and [she] has considered with her eyes that have been called doves, the fairness and the beauty (inspexisse sponsi sui pulchritudinem sponsa) of the Word of God. Bk 3.2.1" Here the bride's eyes are identified with doves, a symbol for beauty, which behold the Verumi Dei who is decus et speciem, the source of her own pulchritudo.



"But these people who only believe in the Bridegroom and have lacked power to see what beauty (in Verbo Dei quanta sit pulchritudo) there is in the Son of God say, 'And we looked, and He had no beauty nor comeliness,' Is 53.2. Bk 3.2.3" This sentence at first seems strange because the important element of belief (credunt) is contrasted with an inability to perceive the bridegroom's beauty; it seems that while important, belief takes second place to beauty, an encouraging observation.



"The Nephew, then, is said to be good and beautiful (tanto speciosior invenitur et pulchrior), and the more closely He can be contemplated with the eyes of the spirit, so much the lovelier and more beautiful (pulchritudo mirabilis apparebit) is He found. Bk 3.2.7" Here is a direct parallel between the capacity to contemplate (invenitur, more properly, to discover) through the medium of spiritualibus oculis which find (apparebit) the beloved.



"And the soul who is aflame with longing for God's wisdom-a soul, that is, who has been able to behold the beauty (sapientiae eius pulchritudinem potuit intueri) of His wisdom-can say in the same way: 'I have been wounded by Wisdom.' Bk 3.8.15" Here beauty is affiliated with "longing for God's wisdom," sapientia; not just longing but the more explicit fervens. Origen does not exactly say what type of wounding Sapientia imparts but most likely it assumes the form of an arrow according to the Song of Songs.



"For, just as he who calls himself a lover of the beauty (pulchritudinis sapientiae) of wisdom will transfer the natural affection of charity that is in him to the pursuit of wisdom. Bk 3.9.5" Such an amator or lover of beauty with regards to sapientia has the capacity of transference (transtulerit), that is, of making a transition from natural affections (affectum) to sapientia. This ability lies at the heart of most Church Fathers in their quest to make an analogy between visible and invisible creation which, as Origen claims, is a genuine Christian studia.



"For He is certain both that her face is beautiful (facies eius pulchra ) and that her voice is sweet and a delight to hear. Bk 3.11.8" Here the bridegroom attributes beauty to his spouse's face. Next he attributes sweetness (suavis) and delight (delectabilis), qualities proper to hearing, however, these adjectives imply the sense of taste.



"When, on the other hand, a soul, seeing how the world is decked out, perceives the Creator of all in the beauty (ex pulchritudine creaturarum conditorem omnium intelligat Deum) of His creatures and marvels at His works and praises their Maker, to this soul life enters through the windows of the eyes. Bk 3.14.17" Origen speaks of the world's natural splendor which provides incentive to attribute it to God (i.e., intelligat Deum). Here natural beauty when immediately perceived as coming from the Creator has the capacity to impart life by means of vision (per fenestras ingreditur oculorum). Thus we have a three-fold result: beauty in creation (the starting point), beauty in God and finally beauty in the person beholding the relationship of beautiful things to God. In the sentences which follow, Origen speaks of listening with regard to the Word of God which is also a window by which audible beauty enters.



"This body [the Church] truly will appear as beautiful (pulchrum videbitur et decorum) and comely, if the souls of which that body is constituted persevere in all the comeliness of perfection. Bk 4.2.18" Towards the end of his Song Commentary, Origen specifies the Church as repository of beauty when its members remain (permanserint) in the comeliness of perfection (in omni perfectionis decore). Note that he specifies decor which is another way of speaking about beauty vis-a-vis perfection. This is an attractive way of uniting beauty with an such abstract concept as perfection.



"If indeed anyone is able to discern this beauty (pulchritudinem vultus probare) of face-if he is spiritual, that is to say, and a person who knows how to sift all things out. Bk 4.2.28" Here the bride's beauty related to her face is bound up with discernment, probare. Furthermore, Origen allies such probare with being spiritual, that is, not bound by the limitations of physical beauty. He alludes to 1Cor 2.15, "The spiritual man judges all things but is himself to be judged by no one." Such capacity for judgement lies in the fact that the spiritual realm includes the physical, not the other way around, realization of which is a true examinare as the next sentence says.





Gregory of Nyssa



"You have become beautiful (gegonas kale) by approaching my light; by drawing near to me, you have attained communion with my beauty (ten koinonian tou kallous). 104.15" Such drawing near to the bridegroom is essential for his spouse's transformation. Gregory does not focus upon different degrees of "approaching," simply the fact that the bride is engaged in this process. That second sentence stresses this fact and is associated with koinonia. In brief, light (phos) is that which effects beauty and effects koinoia with such beauty.



"When the purified eye of the soul has received the impression of a dove, it becomes capable of contemplating the bridegroom's loveliness (tou kallous auten theasamenos). 106.7" Notice the connection between impression (charackter) of a dove, symbol of the Holy Spirit, and the bridegroom's (Christ) beauty. Gregory is saying that this Spirit enables the purified eye of the soul to behold Christ's beauty where one is an active participant in Trinitarian life and sharing the Spirit's position as engaged in such a beholding.



"The bride...sees the decorative work in cypress which graces the beautiful sight (to tes orophes kallos diapoikillousa) with its highly polished and well fitted construction. 112.4" Reference is to the "chaste bridal chamber;" the verb diapoikillo implies variety, that is, variety as well as intricacy in this chamber's construction.



"By properly carrying out what we just mentioned, beauty (epauxesis tou en hemin ginetai kallous) will grow in us. 113.2" Gregory refers to correct moral behavior as Christian witness. Implied is the association of such behavior with beauty which gives a certain attractiveness to virtue. Ginetai suggests a coming to birth, a constant begetting of different stages related to beauty.



"The reason for this is that its [lily] loveliness (kathoaron...to kallos) might remain pure while raised on high. 114.9" This sentence continues with "and not be defiled [i.e., in the moral sense] by contact with the earth below." The contrast between earth and heaven ("on high") is typical of Gregory as one influenced by the Platonic division of invisible reality and the created realm.



"that she may become a flower by springing up through his wisdom from the valleys of human existence into the beauty of a lily (eis krinou kallos anadramousa). 114.15" These word carry over the Platonic division mentioned in the sentence just above where "human existence" (anthropines zoes) by its very association with "valleys" implies a lowlier existence than that lily on high. The means of making a transition between the two planes is by anatrecho, "to shoot up quickly," that is, by not making any stops along the way.



"it [human nature perfected by virtue] does not give nourishment to the husbandman but provides adornment (heauten kallopizousa) for itself. 117.16" Gregory backs up this claim by citing Ps 15.2, "You do not need any of my good deeds."



"For what could be a more beautiful sight (perikallesteron theama) than an arrangement of apples when the fruit...yields a many-colored spectacle? 125.1" Although emphasis is upon the sight of apples in their "arrangement" or sunthesis, Gregory suggests that their true value lies in their scent or odor. In the context of this passage Gregory has these apples with a "natural inclination upward" (pros to hupsos ten rhopen) quite similar to the upward movement of the lily mentioned earlier.



"The bride desires the roof of her own house to be adorned with the beauty (dio te kallei ton toiouton melon) of such apples. 125.11" Again, "roof" is symbolic of pros to hupsos yet at the same time implying a sheltered area, namely, the divine bridal chamber. Gregory continues to identify apples with virtue or as a "path (hodegia) to virtue;" he implies movement towards it, not necessarily achievement.



"Human nature is also a mirror, and it was not beautiful (kalon) until it drew near to Beauty (to kalo eplesiase) and was transformed by the image of the divine loveliness (te eikoni tou theiou kallous enemorphothe). 150.13" The notion of a mirror is important for Gregory in that it immediately reflects in itself any object placed before it. Cf. 440.4: "When the soul has prepared itself and has rejected every material stain, it represents the image of that pure, unstained beauty." Observe that in 150.13 Gregory doesn't say "human nature is like a mirror" but "human nature is also a mirror," thereby signifying mirror-ness as integral to our human constitution. The "image (eikon) of the divine loveliness" is intimated as being Jesus Christ much like Heb 1.3, "He reflects the glory of God and bears the very stamp (charakter) of his nature." Note that the bride does two things: it first "drew near" and was then "transformed" or enemorphothe, more specifically, receiving the (divine) morphe within herself.



"The Word has spoken to the bride and called her "beautiful" (kalen) due to her proximity to him and "dove" because of her beauty (dia to kallos). 151.5" Two reasons for calling the bride beautiful: first, she is near (plesion) the divine spouse, although Gregory doesn't spell out what such "nearness" means; secondly, her beauty resembles that of a dove which in the sentence before "indicates the presence of the Holy Spirit." Most likely such proximity to the divine bridegroom is one of degree but a degree determined by the Holy Spirit (dove) who, as it were, flies back and forth. I.e., emphasis is more upon the movement, so typical of Gregory's thought, not so much as upon the "distance" between the two objects.



"Man was stripped of the beauty of immortality (tou kallous tes athanasias). 153.4" Obvious reference to the "fall" of our first parents. Note use of "stripped" (egunmothe) which implies exterior removal or the "likeness" (homoiosis) of God, not our eikon or image.



"Then he starts again to draw her to participate in a higher beauty (pros ten tou huperkeimenou kallous) as if she had never tasted it. 159.7" This sentence is situated within a broader description of perpetual advancement or epektasis, a theme for which Gregory of Nyssa is most famous. The verb "draw" or choreo more specifically means making a separation, that is, making a divergence from her "lower" beauty to the "higher" one. However, such a contrast between low and high is a degree of the bride's awareness with regard to beauty. Certainly all along she had enjoyed a met(a)-ousia...a true being-with... such beauty which has an innate ability for perpetual epektasis. Shortly afterwards Gregory associates epektasis with a development of the bride's "desire" or epithumia. Thus, as she progresses, her desire grows with each step.



"to teach lovers of transcendent beauty (tous erastas tou huperkeimenou kallous) about God. 173.1" The word "transcendent" literally means "lying above," that is, situated above lower stages of the bride-soul's advancement but not in the sense of these steps being inferior. The person engaged in the teaching is the bride who imparts wisdom from her own experience of continuous growth or epektasis in knowledge of her divine spouse.



"In her growth through these ascents she is called beautiful (kale legetai). 176.10" A clear identification of the bride's epektasis through her "ascents" (auxetheisa dia ton toiouton hodon) with beauty. Again, Gregory posits no hard and fast distinction with regard to such ascents; the main point is that the bride is constantly in the process of making such ascents, a fact which makes her beautiful to behold.



"later they [bridegroom's friends] glorify her loveliness (to kallos autes horaizontes) by comparing it to gold with studs of silver. 186.16" The reason for marveling at the bride's beauty on part of her spouse's friends (which we may take as angelic spirits) is that "not only do they marvel at her ascent but at the depth from which she arose." I.e., the source for such veneration lies in the distance she has come and at the even greater distance she must traverse which, of course, is infinite.



"It seems that the desert caused these things and made her shoot rise up and change into such beauty (metaballousa kallos). 188.1" "Desert" signifies a place of testing, a theme found throughout the Old and New Testaments; it is also a place of preparation for prophetic witness. Applied to the bride in her search for the divine spouse, she was purified in the desert. "Her shoot" is that epektasis which constantly becomes (metaballo, 'to change') beautiful.



"After bearing witness to the bride's loveliness (epi to kallei marturian), the bridegroom's friends...show her the beauty (tes basilikes klines to kallos) of the royal bed. 189.16 & 190.2" First comes the bridegroom's friends "bearing witness" to his spouse's beauty, that is, they must confirm for themselves that this is true and then "prepare a pure wedding chamber" and are her "escorts." Only then do these friends or angelic spirits point out (hupodeiknumi) the "beauty of the royal bed," this verb meaning more specifically tracing out a pattern. This makes sense because of the words which follow, "they want to excite in her a desire (epithumia) for the divine, immaculate marriage."



"Who was adorned (kallopismos genoito klines numphikes) about the nuptial bed by sixty armed men trained in the fearful deeds of war? 190.19" Gregory poses this rhetorical question which is answered in part by the verse which follows just below, 191.7. There is a contrast between the show of armed force and the fact that it "was adorned" or made to appear beautiful.



"Perhaps the loveliness of the divine beauty (theion kallos en to phobero) has something fearful about it. 191.7" Note the word "perhaps" (eoike) as if Gregory were hesitant to present his readers with the paradox of beauty and fear. More specifically, he is referring to "loveliness" or erasmios which can also mean something desired.



"On the other hand, that incorruptible beauty (akeraton kallos ekeno) is fearful, terrifying and not easily frightened. 191.12" It seems logical that a beauty which is incorruptible could not be alarmed; it also has two other qualities, "fearful" and "terrifying." This sentence is preceded by the words, "what attracts our desire (epithumia) is pleasant to the sight, soft to the touch and not associated with anything fearful." At first such epithumia and "incorruptible beauty" seem contrary, but the Song for Gregory is a transformation of epithumia into those characteristics which are its opposite such as incorruptibility.



"thus revealing the soul's beauty (to katharo tes psuches kallos) as pure and no longer sullied by a desire for carnal pleasure. 192.6" What does the revealing is "unrelenting anger" (androdous thumou, literally, 'manlike') which also imparts indifference "for carnal pleasure," somatikes eipthumias. Hence, fear and epithumia are opposite to each other. Note the context in which this is set, the "king's nuptial bed."



"all parts [chariot or Church's body] are tastefully adorned (pros ton kallopismon), and the beauty (panta katakosmeitai to kallei) of each part is intended to be different yet harmonious. 210.10 & 11" This sentence reveals a Stoic influence or the harmony between the various parts which make up a whole; even the preposition pros, "towards," reveals a direction-towards-which or attention to that which effects beauty with regard to all the parts. Only then can there be difference (diaphoros) and harmony (katallelos hekasto).



"The proclamation of her beauty (kerux tou kallous autes) is made more solemn and is clearly depicted in the Song, for the praise of the bride's beauty (epainos tou kallous) does not simply pertain to her loveliness but to each member. 215.2 & 5" Here Gregory briefly states the function of the Song of Songs, to proclaim the bride's beauty; this loveliness must have a source, namely, the divine bridegroom. Apart from her various praises there exists the more comprehensive reality of "each member" which may apply not only to specific members of the Church but to the Song's readers. This theme is developed at length on pp.216-19.



"Those following the good shepherd from out of the nations share in the beauty (tou tes numphes kallous) of the bride's hair [i.e., her chastity]. 222.11" This reference to universal evangelization stresses beauty in the bride, an exemplar for those coming "from out of the nations" and suggests the prophet Elijah who led a "philosophic way of life" (philosophias tropon). Furthermore, the nations share this beauty as a result of evangelization, a fact not usually stressed.



"a person wishing to show a more subtle kind of beauty (glaphuroteron to kallos) indicates a smile on the mouth. 223.14" This description of the bride's smile resembles a Mona Lisa-like intimation of gladness which is deliberately enigmatic, indeed "subtle" or glaphuros, an adjective which implies something hollowed out or polished.



"The text next adds a fitting praise to the bride's lips by comparing their beauty (pareikazon to kallos) to a 'scarlet thread.' 228.5" Such a "scarlet thread" intimates the bride's smile mentioned just above and is closely identified with "her lovely speech" or beautiful manner of conveying love for the bridegroom through the medium of the "faith of our confession," p.229.17.



"then the bride's lips are adorned (kallopisthenai) with a scarlet form when the entire Church has one lip and one voice in harmony with the good. 228.17" An elaboration of the sentence just above but now applied to the "entire Church." The "harmony with the good" (kata ten tou agathou sumphonian) is another intimation of Stoic influence as applied to the ekklesia.



"The beauty (to kallos...pros ti paratheseos kai homoioseos) of the entire Church's body will in the future be glorified in each member through some kind of comparison and likeness. 232.12" Gregory alludes to a future beauty in terms of glorification, egkomiazo. Note that it will occur by a parathesis and homoiosis, "comparison" and "likeness," two means which now allow for glimpses into the Church's nature but await further revelation. Gregory continues in the following pages to give a description of each member of the Church through a comparison with a bodily limb. Although helpful, this obscure analogy will achieve fulfillment "in the future;" the task in this world consists in paying close attention to the order of beauty as signified by the important word akolouthia which signifies the correct sequence or succession of events and functions: d'akolouthou tous en to lao.



"the loveliness of their [lilies] beauty (tou kallous tes oras) which delights the eyes. 240.17" Here emphasis is upon the sense of sight, yet this sentence is in the context of the sense of smell with regard to the lilies (next sentence): "However, their scent is filled with the good odor (euodia) of Christ while purity and undefilement appear through their form."



"Not only does he manifest his own beauty (kallos...prodeiknusin) to the bride. 252.4" This demonstration of divine beauty is in conjunction with the bridegroom who "reminds her of her horrible, beastly forms." I.e., despite her advancement, the divine spouse informs his bride of her previous condition not to abase her but that she may grown in appreciation of his beauty.



"If I may put it more boldly, by contemplating the bridegroom's beauty (to tou numphiou kallos idontes) in his spouse. 256.10" Reference here is to the "bridegroom's friends" who behold (idontes signifies more a seeing) his loveliness in the bride mainly because she is constantly seeking him. Furthermore, such friends "marvel at his invisible, incomprehensible (aoraton kai akatalepton) presence in all creatures," presumably including the bride herself. Thus the "contemplating" refers to the bridegroom's beauty, whereas their "marveling" (ethaumasan) refers to his shrouded presence among creatures.



"He testifies to his spouse's loveliness (te marturia tou kallous) by adding greater wonder in the description of her beauty (horan) shining in her bodily members. 260.15" The bride's "loveliness" seems to be an overall impression which caught her spouse's attention, a fact which makes him perceive it extending to "her bodily members" which infers the Church. The all-pervasiveness of kallos makes the divine spouse describe it with this same Church. As bodily members, it is helpful to become aware of this describing, that is, of the divine Logos "speaking' logoi within the Church.



"I may receive some assistance from on high to perceive these mysteries, understand the Church's beauty (eis epiknosis tou kallous tes ekklesias), and praise the glory of God's grace in Christ Jesus 661.1." These concluding words of Homily Eight are Gregory's own as opposed to using the bride as a mouthpiece; they assume a three-fold request: perception (pros ten katanoesin), understanding, (eis epignosin) and praise (eis epainon). Note the use of prepositions: pros ("towards") with regard to perception and eis ("into") pertaining to both understanding and praise. All serve to point out two definite directions, towards and in, which are related to the bride.



"Let us now pay attention to the divine words describing the bride's immaculate beauty (tes amiantou nuphes to kallos). 262.20" Here "immaculate" or amiantos is used in the sense of being undefiled. This sentence precedes, "Let us listen as if we had no share in the nature of flesh and blood [i.e., implying a condition of miantos] and have been transferred into the spiritual realm." Such "transference" comes from the verb metastoicheioo which more specifically means changing the elementary nature of something. In this instance, Gregory indicates that "flesh and blood," the realm of sensation, has its very substance transformed into its opposite, pneumatikos.



"the bridegroom explains her increase in beauty (eis to kallos autes epidoseos). 263.11" That is, she makes a connection between her elevated condition and the pracitce of virtue ('through good works') where the word "increase" or epidosis more specifically means "being endowed," that is, receiving something through some one else's intervention. Throughout the Song Commentary we constantly see how the bride increases her beauty, this being one of many such stages.



"she would not have been adorned (kalliotheises) by the fountains of good doctrines...unless she had first made herself a sister of the Lord. 263.12" Such "fountains" are the hidden sources of the bride's beauty, namely, her being made in the image and likeness of God which is the meaning of "sister of the Lord." There is a close connection between "inner fountains" and "exterior fountains," the Church's "doctrines."



"Now the bride gives a fitting response when she sings of her Lord's beauty (tou despotou to kallos). 265.11" Here the bride sings, not simply describes her beloved's "beauty."



"by which the beauty (kata theo hupsotheses to kallos) of divine loftiness creates wonder by various exalted praises. 278.1" Note the close association between "beauty" associated with God and "wonder" (en thaumati).



"The person showing the divinity in any of life's circumstances manifests the beauty (tou libanou xulon to kallos) of the woods of Lebanon which represent the divine image 290.5." In the previous sentence Gregory associates the wood of Lebanon with frankincense and various spices, intimating that its scent is closely related to "the divine image" or eikon in which the bride is fashioned. Such scent assumes many forms "in any of life's circumstances," that is, its "spiritual" nature is not bound by the restrictions of physical or created elements.



"It seems that she has no further to reach once she has been compared to beauty's (to archetupon kallos) archetype. 293.10" The important word here is "compared," homoioo, which suggests the divine eikon as well as its homoiosis. Note that "archetype" is in the genitive thereby implying the primacy of beauty.



"how our mind is taken up in a fiery chariot and raised on high to that heavenly beauty (pros ta ourania kalle). 295.12" These words directly refer to the prophet Elijah who was bodily assumed into heaven (cf. 2 Kg 2.11); he had as his goal not just "heaven" but its beauty. Note the use of pros, "towards," signifying direction, the same heavenward direction in which the bride is advancing through the Song of Songs.



"[David] saw the invisible beauty (to atheaton kallos). 309.6" This sentence is in the context of Paul's ecstasy recounted in 2 Cor 5.13 which uses the imagery of inebriation: "the great David became inebriated (emethusthe) because he went out of himself and into ecstasy (en ekstasei)." Gregory seems to be saying that divine beauty can only be perceived in a state resembling this special type of inebriation.



"In the same way the person looking at the divine, invisible beauty (pros to theion kai aoriston kallos) will always discover it anew. 321.17" Gregory situates these words in the context of a fountain's "endless stream of water gushing forth," that is, of being at the exact source of this water. Note that this is not a mere fountain but one "large enough to water the earth's surface." Such is the way Gregory has use perceive "divine, invisible beauty;" this fountain imperceptible to senses is presented in the context of a simple "looking," blepo. We may assume that the loud noise or roar of the fountain has a mesmerizing affect upon the beholder. Despite the fountain's sameness (i.e., water), we "will always discover it anew," a paradox of this sameness and the fresh perceptions it brings.



"it does not cease to search out and seek the origin of created reality, the source of its [soul] beauty (he tou kallous ton onton pege) from which springs the power whose wisdom is manifested in it. 334.3" This searching is like being situated at the "endless stream of water gushing forth" mentioned just above, a fact evident by the use of pege ("fountain") for "source." Two actions are involved: searching (diereunomene) and seeking (anazetousa) with their respective suffixes determining the pursuit with regard to "created reality: dia or "through" and ana or "on," "above." Wisdom or sophia is revealed in this fountain which as the next sentence says, "moves all one's thought and capacity for investigation." Note the word anakineo for "to move" with the preposition ana again signifying upward motion.



"Because God was seen on earth and conversed among men, we have known the pure, immortal beauty (to katharon kai aulon tou numphiou kallos) of the bridegroom, the Word's divinity. 338.18" Our knowledge of "immortal beauty" rests upon the fact that Jesus Christ became incarnate or as Gregory says here, "was seen" (ophthe) and "conversed" (sunanestraphe) with people. The latter term is composed of two prepositions, sun ('with') and ana ('above') prefixed to strepho which fundamentally means "to turn." As a result of such "with-ness" and "above-ness" on the part of Christ, we obtain insight not only into his "immortal beauty" but into the "Word's divinity" which the sun and ana serve to both conceal and to reveal.



"Among such exceedingly beautiful things (ton lian kalon) is man; rather, he was adorned with a beauty (kekosmemenos to kallei) better than other created beings. 348.1" Here "man" or humanity as a whole has this special type of beauty similar to yet transcending that of the created realm. As Gregory points out, such beauty is dependent upon God's utterance in Gen 1.31 at the completion of his creation, "And God saw everything that he had made, and behold, it was very good."



"However, man was the image and likeness of eternal life, truly beautiful (lian kalos) and exceedingly good, adorned (kallopizomenos) with the radiant form of life. 348.9" The "however" counters Gregory's earlier statement that man has the "sullen stamp of death." Note man as being the "image and likeness of eternal life," another phrase for God. Such eikon and homoiosis assume a specific form or charakter, that is, "of life."



"her eye is free and unhindered to contemplate the beauty (to pothoumeno kallei) which she had desired. 360.20" Such contemplating or enatenizo means more an intense staring; it is composed of en, "into," and teino, "to extend." This act of ex-tension is related to the bride's desire or to pothoumeno which she similarly exerts.



"In this way the soul's beauty (to tes psuches kallos) is revealed, no longer overshadowed by a covering. 366.9" Of course, the psuche is essentially invisible, so when Gregory says it is "revealed," he means it in the sense of the verb used here, anakalupto, to bring to awareness that which previously escaped our attention. Such a "covering" or epiblema refers not so much to the bride's createdness but to her previous imperfection with regard to virtue.



"The soul which looks to God and conceives that desire for incorruptible beauty (pothon tou aphthartou kallous) always has a new desire for the transcendent" 366.12" Gregory posits a close connection between "looking" (horosa) and "conceiving" (analambanousa) not so much beauty but a desire or pothos for it. Upon conception, this pothos gives way to yet another desire or in this case, epithumia. The words "looks to God" are important, especially with emphasis upon the preposition pros, direction-towards-which.



"With her veil now removed, the bride sees with pure eyes the ineffable beauty (to aphraston kallos) of her spouse. 383.7" Such a "veil" or theristron more specifically means a "light summer garment" which can easily be removed, implying that the bride has reached a more advanced stage of detachment from material reality and passion. The beauty which the bride beholds in her beloved in "ineffable," aphraston; it cannot be communicated by words. Such is the action Gregory speaks of in conjunction with this sentence, "For love (agape) which is aroused is called desire (eros)." She can only speak of this eros by saying, "I am wounded with love (agape)."



"All these elements constituting the bridegroom's beauty (he tou kallous hupographe) are made known for our benefit. 384.14" That is, those physical attributes of the bridegroom such as cheeks, eyes, lips, hands, belly, legs, form and throat. Despite such beneficial revelations, Gregory quickly adds, "but [they] do not show his invisible, incomprehensible divinity." Note the ease with which Gregory can switch from vivid, physical descriptions to the impenetrable reality of God without seeing a contradiction or split between them.



"Whoever looks at the visible world and understands the wisdom that has been made manifest by the beauty (to kallei ton onton) of creatures, can make an analogy from the visible to invisible beauty (aoraton kallos). 386.1 & 3" These words sum up what I stated above, namely, the compatibility between the created and uncreated realms. "Making an analogy" (analogizetai) is the key means by which Gregory bridges this apparent gap; he does so by having recourse to beauty.



"She shows that the entire Church is one body of the bridegroom and describes his beauty (en te hupographe tou kallous) to each one of his members. 386.15" Again, Stoic influence of the relationship between the one and the many. Although there is an equivalence between the "entire Church" and its members, the bride finds herself with the task of describing (hupographe) her beloved's beauty to them. We might say that the members are born with the divine eikon or image yet need to be reminded that they have this birthright; the bride does this by informing them of their homoiosis or likeness.



"Now let us consider the bridegroom's beauty (to kallos en tois kath'ekaston melesi) which is praised in each of his bodily limbs. 390.9" This sentence fulfills the bride's task mentioned just above, that is, of activating the Church's members of their homoiosis-nature. Naturally the bride begins with the bridegroom's head who is "head of his body the Church" [Col 1.18] mentioned towards the bottom of p. 390.



"We learn about their [eyes] qualities by comparing their beauty (pros to kreitton paratheseos to kallos) to something better 395.1." Here is that process of making an analogy (anaologizetai) mentioned with regard to 386.1 above. The word parathesis, "comparison," is a refinement of analogy, literally, "setting" (tithemi) "beside" (para) two disparate elements with a view towards seeing a certain identity between them.



"we can acquire the bridegroom's own beauty (to idion kallos) by always sitting by the 'plentiful waters.' 397.7" In the context of this Homily, such waters may be associated with those "fountains" related to creation in 321.17. Instead of gazing at them as in the former instance, here Gregory has us sitting by them in the sense of taking up permanent residence. This act of sitting is strenuous in that "we must assiduously (prosedreia) apply ourselves to the divine teachings," where prosedreia means setting up a blockade, that is, a rampart against "insubstantial fantasies" (anupostaton phantasioumenon, 398.1).



"The beauty (kallos diazographousa) describing the bridegroom's body also serves to praise his cheeks. 403.21" Here is another Stoic influence; the divine spouse's beauty pervades every limb which in turn is communicated to the Church at large. Note that this sentence is preceded by "The bowl compounds the perfume according to each person's need who receives God's word," that is, the diffusion of the bridegroom's beauty follows the manner of a scent which wafts throughout his body.



"Adorned (kekallopismenon te theia lamproteti) with divine splendor, it [pure eye] buds with the lilies of his words from his mouth. 404.18" Another reference to "spices" combined with the faculties of sight and speech, thereby bestowing them with a "spiritual" character.



"After Thekla received this salvific teaching, her youth and external beauty (to epiphainomenon kallos) died. 405.8" The divine teaching which Thekla received takes the form of myrrh which enables her "out of desire for the transcendent good" to mortify "every carnal thought and desire."



"The hand will become pure when stripped of anything carved in gold which hinders its beauty (to empodizon to kallei). 407.16" Such hands are "members who administer to the Church's common need." Despite the exterior beauty of gold, a precious metal, it yields to the innate beauty of such hands.



"Thus the many hands of the Church's body must be fashioned into something beautiful (tes cheiros to kallei) by the chiseling effected through much reflection. 408.6" The act of chiseling may be equated with homoiosis, "likeness," which reveals the innate eikon or "image" of God.



"Only gold which conforms to the head's beauty (to tes kephales kallei) must remain. 409.10" Despite the removal of gold from hands or those administering to the Church mentioned above, this metal has value only when "conforming" (sumbainon) to Christ the Church's head.



"The bridegroom's head is pure, undefiled gold to whomever gazes upon his beauty (blepousa kallos) with pure eyes. 416.8" Note the connection between beauty and gazing as pertaining to the bridegroom's head. Gold is a bright color which can be blinding to a person not accustomed to viewing it. Hence the need for purity (katharos) which a way of saying that the bridegroom's golden color is present in the beholder.



Truth is golden and its bases are the bridegroom's legs adorning (kallopizousa) his hands and head. 416.21



"The bride now proceeds to sum up her spouse's beauty (anakephalaioumene to kallos). 419.20" This "summing up" is a type of recapitulation in the literal sense of continuing the theme of bodily members sharing in the head's (golden) nature.



"I think that she points out her spouse here more clearly because the beauty (peri to blepomenon kallos) she praises is visible. 420.3" Again, a verse within the larger context of "the Church as a body with its respective limbs." The bride "points out" or diasemainein in the sense of making her sense of spouse's visible beauty in terms of a sign, the basic meaning of the verb semaino.



"The bride compares her Lord's beauty (pareikazei to kallos) to that of choice cedars of Lebanon. 424.17" Such comparison or pareikazo functions in the sense of "making like" which in this case is to a particular type of wood. Note the connection between such pareikazo and "His form (eidos) is as Lebanon."



"'altogether desirable,' a definition of the beauty (tou zetoumenou kallos) of him whom she seeks. 425.18" Thus far in the Song Commentary Gregory has presented numerous types of beauty with respect to the two spouses. The definition here is perhaps the best (from Sg 5.16), holon epithumian, where emphasis is upon that force which impels the bride to seek her divine spouse.



"Perfect in every good, the bridegroom's limbs form a desirable beauty (kata ten huperbolen tou kallous) composed from all his members. 426.7" The word huperbole as used for "desirable" suggests an excess of beauty penetrating every aspect of the divine spouse. The basis for such perfection rests upon beauty which in turn is closely bound up with the practice of virtue necessary by each bodily member (i.e., the Church).



"to discover the good revealed to them [young maidens] have used the soul perfected through beauty (te teleiotheise dia tou kallous). 434.14" Note the "perfecting" (teleiotheise) role of beauty, the active principle which forms that process of analogizomai, of making analogies, by which the young maidens "discover the good revealed to them" in the sense of being informed, menuthentos.



"and be transformed into that which is spiritual and immaterial, a splendid image and likeness of the archetype's beauty (eikona tou archetupou kallous). 439.11" Note that the emphasis upon beauty in this closing Homily of the Song Commentary assumes a closer identification between any material (and therefore strictly human) aspect of beauty with its transcendent counterpart. This act of transformation or metatasso means a taking what is in one realm, the visible, and bringing it over (meta) to another, the invisible. The entire process of this transformation rests upon the practice of virtue which upon completion, "resembles a mirror" (440.1) which is both that divine eikon and homoiosis.



"In her conformity to Christ she receives her proper beauty (to idion kallos). 439.18" Note the important of form, summemorphosthai, with regard to Christ, the receptacle of true beauty. Upon receiving it, the bride likewise becomes beautiful, that is her homoiosis has achieved complete alignment with her eikon.



"according to the image and likeness of the original beauty (kallous horaistheisa) which alone is true and worthy of adoration. 439.20" What was noted above with regard to eikon and homoiosis in the bride similarly applies to the divine bridegroom who is the same eikon and homoiosis of the Father.



"When the soul has prepared itself and has rejected every material stain, it represents the image of that pure, unstained beauty (tou akeratou kallous). 440.6" This verse is reminiscent of the virgin Thekla in 405.8 and emphasizes the necessity of combining beauty with virtue. It happens by representing beauty's eidos, enetuposato, or by incorporating this image in its entirety.



"When I look at my beloved's face, the beauty (morphes to kallos) of his form is reflected in me. 440.10" A unity between beholding (blepo) and reflection (en emoi kathoratai). Note the en emoi, "in me," which means that the bride's beholding assumes a morphe, a form; thus her vision and its object are one and the same.



"All these virtues are in the soul by a pure life, and they adorn (dia tou eisdexamenou kallopizomena) the soul which possesses them. 442.8" Another example of the unity between virtue and beauty. Note that the soul possesses such virtues, eisdexamenou, literally, takes them into herself from which they alone can provide adornment.



"The bride gives herself to her beloved and receives the beauty (dexamene tou agapethentos to kallos) of him whom she loves. 442.11" Here the bride hands over herself (anatheisa) to her spouse in response for manifesting agape towards him, the gift of which is beauty.



"The bride compares her own beauty (homoiosasa kallos) to such divine benevolence by imitating Christ in her works. 443.13" Here is an example of homoioo, a verb from which the noun homoiosis is derived. Consider this "comparing" with "imitating" (mimeitai) Christ; the former seems to involve a heightened awareness of the distinction between the two spouses, whereas the latter, while aware of this distinction, focuses attention more on being like and assuming the characteristics of the object of one's regard.



"Such is the beauty (tes psuches sou to kallos) of your soul. 444.1" More specifically, Gregory situates this beauty in the context of Rom 9.3, "I wish that I were accursed and cut off from Christ for the sake of my brethren." I.e., the soul's beauty (as opposed to physical beauty) is discovered in abasement.



The divine beauty (to theoion kallos) is thus characterized by truth, righteousness and meekness. 444.20



"The soul formed by such embellishments becomes lovely (kallesi morphotheisa) like Jerusalem which is adorned (kallopistheisa) by the king's beauty. 445.1 & 3" This sentence immediately follows the one just above. Note that the soul receives its form (morphe) by being adorned, another example of the close relationship between beauty and form.



"Each aspect of her beauty (he tou kallous tes numphes) is honored by an appropriate comparison. 450.4" The "appropriate comparison" or prosphuous homoioseos is that process of making analogies mentioned earlier regarding 386.1 only here emphasis is placed more on the being like relationship between the bride's actual beauty and what mirrors it.



"so does the beauty (to phainomeno kallei) of her outward life manifest her inner treasure. 455.16" This last reference to beauty sums up the theme running throughout, namely, a correspondence between inner and out beauty, with various means of its achievement having been advanced.





Bernard of Clairvaux



"And still more that beautiful (pulcherrima saluberrimaque) and salutary exhortation of the Apostle [cf. Eph 5.19]. 1.10.22" The passage in question reads, "With psalms and hymns and spiritual canticles, singing and chanting to the Lord in your hearts." Note accent upon "in your hearts," in cordibus. Bernard uses this word several verses earlier: "in that each one, at whatever stage of growth he be, in accord with the upward movements of his heart," ascensiones...in corde suo. Thus we may say that the person so singing these songs is in the process of spiritual ascent; cf. G. Nyssa on this.



"For my Jesus utterly surpasses these in his majesty and splendor, specie sua et pulchritudine sua. 2.2.23" Jesus "surpasses" (superat) the "beauty of the angels," angelicas fastidio species. Bernard asks Jesus "that he kiss me with the kiss of his mouth," something which angels cannot grant. Note that species means "majesty" as well as "display," so we have a visual contrast between Christ and angels.



How beautiful this is (pulchre omnio, cf Sg 5.15), because in very truth, in the incarnate wisdom of God, signified by the gold. 6.7.20



"This comparison of carnal pleasures with wine is so very apt (pulchre). 9.10.24" In the section just prior to this (#9) we read "These spiritual delights (deliciae spirituales) that your breasts distill can conquer in us the pleasures of the flesh that enslaved us just as drunkards are enslaved by wine." Such deliciae spirituales Bernard contrasts with the carnalem affectum, "carnal pleasures."



"With a planned (pulcherrimo cogat) excellence he bends all things from the highest to the lowest to the sway of his supremely upright will. 19.3.13" According to Bernard, the result of this "excellence" is for these created beings "to be caught up in a wondrous ecstasy of contemplation (intentissimae suavissimaeque contemplationis stupore, vs. 17) ."



"She knows that your ways are delightful (viae pulchrae) ways. 21.3.26" This section deals with the Father drawing the bride (precatur se trahi), a forward-looking motion which is beautiful, pulcher.



"Further on the bride beautifully (pulchre) describes both the delight and the restlessness of this stage of contemplation ['I sleep though my heart is awake']. 23.11.4" Note the adverb pulchre which Bernard associates with the bride's description of the paradox of contemplation, "a repose full of sweetest surprise (in somno suavissimi stuporis)" and "the lassitude of avid desire and laborious effort (laboriosae exercitationis pati se fatigationem)."



"despite the gracefulness (cum pulchritudine utique compositionis) of her person, [the bride] bears the stigma of a dark skin. 25.3.20" Bernard is quick to add that this stigma is "only in the place of her pilgrimage (in loco peregrinationis suae)" and not an essential mark of the bride.



"O soul of surpassing beauty (o vere pulcherrima anima)...heaven's own loveliness (pulchritudo caelestis) had not scorned your company. 25.5.2" Bernard reiterates his view that the bride's stigma is external: "The blackness you observe is merely external (forinsecus)."



"No physical loveliness (pulchritudo carnis) can compare with it [Paul's ugliness, cf 2Cor 11.23]. 25.6.2" Such "ugliness" (nigrum) of Paul consists of "wisdom hidden in mystery (cf. 1Cor 2.7-8).



Do you not see whence blackness appears on the Church's body, why persons of the greatest beauty (pulcherrimis) are tainted by defects? 26.2.15



For must not outward loveliness, no matter how radiant, seem to an enlightened mind to be cheap and ugly when compared with the inward beauty (internae sanctae animae pulchritudini comparetur) of a holy soul. 27.1.12" This "loveliness" is situated in the context of "the curtains of Solomon" (Sg 1.4) which Bernard interprets as the cosmos.



He it was who spread out the heavens like a curtain, a curtain of superlative beauty (pulcherrima pellis). 27.2.9



"Though this visible, material heaven, with its great variety of stars is unsurpassingly beautiful (tam pulchrae). 27.4.10" Despite such beauty, Bernard says it pales in comparison with "this heaven in the world of the intellect and the spirit (intellectuale ac spirituale)."



I should not dare to compare its beauty (varietate pulcherrimum) with the spiritual and varied loveliness she received with her first robe. 27.4.13



"Then the width, height and beauty (nec dissimilis pulchritudo) of your soul will be the width, height and beauty (pulchritudinis caelo) of heaven itself. 27.11.13" This verse is reminiscent of Eph 3.18: "may have power to comprehend with all the saints what is the breadth and length and height and depth;" Bernard supplements it with pulchritudo.



Though of their nature opposites, they [lowliness & good fortune] will work with equal effectiveness (pulchrem omnino ambae) for the good of the bride. 27.14.26



"Her complexion grows dark in the zeal for moral brightness, for the prize of beauty (lucro pulchritudo). 28.1.6" Bernard situates the bride's color in the context of Christ having assumed sinful humanity.



"How then did the centurion see the beauty (pulchritudinem Crucifixi) of the Crucified? 28.4.2" Bernard answers this question several lines later, "It was the sound of his voice that inspired his belief, it was by the voice that he recognized the Song of God, and not by the face." Thus perception of beauty is allied not with sight but with sound.



Why do you term swarthy one who yields only to the sun in loveliness (solis pulchritudini) ? 28.13.10



"By a special privilege of the bride, all these gifts beautifully (pulchre in sponsae praerogativam) and equally concur in the crowning of her virtues. 33.1.8" The gifts in question are "loveliness from the habit of righteousness, prudence from her knowledge of judgments, and chastity from her desire for the presence of her Bridegroom."



Such are the gifts that are fitting for a bride of the Lord: beauty (pulchram), knowledge and chastity. 33.1.11



"and be lost in wonder at the superb beauty (stupere pulcherrimos ordines) of the angel choirs. 35.3.22" This absorption in divine beauty Bernard contrasts with the bride's "shameful change of occupation, that is, by "straying beside the shepherds' tents."



"How aptly (pulchre) he describes her as beautiful (pulchram), not in every sense, but beautiful among women (pulchram inter mulieres). 38.4.17" The beauty to which Bernard limits the bride belongs to "people who are entirely superficial, soft and effeminate in their lives and behavior."



"But the person who is spiritual, although enjoying a beauty (pulchra...secundum spiritum) that comes from following the ways of the Spirit rather than the ways of the flesh, will still fall short of perfect beauty (perfectum pulchritudinis) by the fact of living in a body. 38.4.23" Contrast this beauty with the one of the previous excerpt. Despite this more elevated form of beauty, Bernard says "the bride is declared beautiful (pulchra) now, but for the time being, among women, and not among the blessed spirits of heaven" (vs 5).



"The time will come when I shall reveal myself, and your beauty (pulcher totus) will be complete, just as my beauty (sum pulcher totus) is complete; you will be so like me that you will see me as I am. 38.5.24" Note that beauty rests upon "being like" the bridegroom, simillima mihi.



"for ever I give you the title beautiful (dico pulchram), but beautiful (pulchra inter mulieres) among women, with a [beauty] that is imperfect. 38.5.2" Just prior to these words we have "Otherwise, you do not know yourself," the famous dictum with regard to self-knowledge so important in the patristic tradition, both Greek and Latin.



when a person's beauty (describere pulchram) is praised the normal thing to say is that she has a beautiful (pulchra facie) or comely face. 40.1.4



"to possess two cheeks made most beautiful (bipertitae intentionis...pulcherrimam) by the two elements of intention. 40.3.17" The object of intentio here is "to seek God for his own sake alone" (propter ipsum solum).



"Perhaps, too, we have here those puzzling reflections seen by the Apostle in the mirror [cf. 1 Cor 13.12] and fashioned by angelic hands from pure and beautiful (puris pulchrisque imaginationibus) images. 41.4.2" Paul does not mention "those puzzling reflections" except that "now we see in a mirror dimly." Anyway, their purpose in Bernard's view is to "bring us in contact somehow with the being of God."



he could not depart til he had praised the beauty (pulchritudinem) of her cheeks and neck in words that came from his heart. 42.1.23



"It was not...any beauty (non mea pulchritudo) , for these meant nothing to me; it was my humility alone that gave forth fragrance. 42.9.17" Note Bernard's remarks with regards to humility a bit later, "God is habitually (solito) pleased with humility."



He calls her his dearest one, proclaims her beauty (pulchram pronuntiat), repeats that proclamation, only to win a like response from her. 45.1.8



"Let us see what is meant by the soul's twofold beauty (geminam animae pulchritudinem). 45.2.11" Right after this sentence Bernard says, "Humily is the soul's loveliness (decor animae)."



"Rightly too is this beauty (pulchra repetitur) praised twice over, since she lacked neither of the two sources of beauty (neutra defuit pulchritudo). 45.3.11" The two sources is "where neither innocence is lost nor humility excluded by innocence."



I make no comparison of your beauty (pulchram), nor qualification nor any other distinction. I speak of your beauty (pulchra) as such. 45.3.2



"she declares him both beautiful (pulchrum decorumque) and majestic, making it clear that her present vision transcended all others. 45.6.15" The bride's "present vision" consists in the context of Sg 1.15, "Behold, how beautiful you are, my love, how beautiful" where pulcher is used twice. Similarly, Bernard situates the bride's remarks in the context of Num 12.13 where God "speaks to her face to face as once he spoke to Moses."



"she hears his voice telling her that she is beautiful (pulchra), and she in return offers a similar compliment to him. 45.7.7" Several lines below Bernard says with regards to this "voice" that "it is the Spirit who speaks, and whatever is said must be spiritually understood" (spiritualiter oportere intelligi).



And when the soul addresses him as beloved and praises his beauty (fateri pulchrum), she is filled with admiration for his goodness. 45.8.27



"The Bridegroom's beauty (pulchritude illius dilectio eius) is his love of the bride, all the greater in that it existed before hers. 45.8.29" Situate this sentence in the context of one just below, "The speech of the Word is an infusion of grace (infusio doni), the soul's response is wonder and thanksgiving."



"Hence, not satisfied to tell him once that he is beautiful (pulchrum), she repeats the word to signify by that repetition the pre-eminence of his beauty (eminentiam decoris). 45.8.5" Bernard begins the next section (9) by saying this repetition "expressed her admiration at the beauty (decorem) in each of Christ's natures, the beauty of nature and the beauty of grace."



"How beautiful (quam pulcher) you appear to the angels, Lord Jesus, in the form of God. 45.9.8" Here we have the equivalence of beauty and form, a theme discussed in the Introduction and one developed by Plotinus (cf. references above).



"describing in beautiful (pulchro sermone describens) language the marriage bed and bridal suite. 46.1.10" Bernard refers to cloisters and monasteries "where one lives undisturbed by the cares (curis) of the world and the anxieties (sollicitudinibus) of life."



"It is worth noting how beautifully (pulchre omnem Ecclesiae statum) every state of the Church is comprehended in one brief expression. 46.4.26" The "brief expression" (brevi versiculo) is "Ps 92.5, "Holiness befits your house, O Lord, for evermore," and which he applies to each member of the Church in his and her respective role.



Hence the Church so excellently (pulchre psallens) sings of her bridegroom that he dwells in the heights and cares for the lowly in heaven and on earth. 54.4.13



"But how beautiful (pulchre) that the Holy Spirit drew the comparison not from the stage but from the fawn. 55.2.11" What is notable about the "fawn" is that it represents "the child who was born to us" [Is 9.6].



Because without facial beauty (pulchre facie) he is not fit to be seen. 62.7.30



So the Bridegroom is among the lilies and it is thus that he is altogether lovely and handsome (speciosus et pulcher). 70.4.8



Even if virtue is not made greater by good report, it becomes brighter and more beautiful (pulchrior tamen illustriorque). 71.2.9



"But that sweetness, pleasantness and beauty (pulchritudo) is not yours, O woman. 82.4.23" Bernard says later that "What is truly yours is of a different kind, and comes from a different source, for it is eternal and comes from eternity."



"Now let us elucidate what we mean by honor, and wherein it may be found; so that the soul's beauty (pulchritudo animae palam erit) may shine forth even more. 85.11.27" What Bernard wishes to expand is "integrity of mind" (mentis ingenuitas).



for the grace of modesty...shines out with greater brightness and beauty (amplius pulchriusque eniteat) in those of tender age. 86.1.13



* * * *































Third Section: References from the works of Gregory of Nyssa other than his Song Commentary which contain the word "beauty," to kallos



The Great Catechism(10)



"But the evil is, in some way or other, engendered from within, springing up in the will at that moment when there is a retrocession of the soul from the beautiful (apo tou kalou tes psuches anachoresis). 479b" Gregory suggests that such an anachoresis is situated in the "will" or thelema (the word is not explicitly mentioned here) in which awareness of true beauty is located.



"owing to the Divine wisdom, there is an admixture and interpenetration of the sensible with the intellectual department, in order that all things may equally have a share in the beautiful (panta tou kalou kata to ison metechoi). 480a" Note the relationship between "sensible" (tou aisthetou) with the "intellectual deptartment" (pros to noeton; note use of pros, 'in the direction towards').



"In him, by an ineffable influence, the godlike beauty (to theoides tes noetes phuseos kallos) of the intellectual nature was mingled. 480b" Reference is made to the first man, Adam, and his "transcendent dignity," pros ten huperechousan axian, mentioned a few lines below.



"he [man] was beautiful (kalos to eidos, apeikonisma tou archetupou kallous) in his form, being created an image of the archetypal beauty. 481b" Note the identity between beauty and form (cf. Plotinus above). In the next sentence Gregory posits such kalos with as "being without passion (apathous) in his nature, for he was an imitation (mimema) of the unimpassioned."



"remoulding it [soul] again by the Resurrection without any admixture of the contrary matter, will recombine the elements into the vessel in its original beauty (kallos anastoicheiosei to skeuos). 483a" Reference is made to the body. Anastoicheosis means "restoration" in the sense of primal elements which compose the universe, a Stoic concept. Note the suffix ana as in anastasis (resurrection), anaplasa (remoulding) and anastoicheiosei.



He foresaw that the being about to be created would fall away from that which is morally beautiful (tou kalou); or to bring him back by repentance, and restore his diseased nature to its original beauty (pros ten ex arches charin anakalesasthai). 484a" Such "restoring" also has the suffix ana; coupled with (pros, 'to,' 'towards') Gregory gives insight into a twofold motion, "up" and "towards," actions bound up with correcting our nature.



"I deem it necessary first of all to remove our thoughts for a moment from the grossness of the carnal element, and to fix them on what is morally beautiful (auto to kalon ep'eautou) in itself. 485a" Note this "for a moment" or mikron; Perhaps such "fixing" of thoughts (katanoesai) on beauty refers to contemplative prayer when thoughts are momentarily suspended.



"and whatever has no mixture in it of disgrace is certainly to be found on the side of the beautiful (en te tou kalou moira); and what is really beautiful (to alethos kalon) has in it no mixture of its opposite. 485a" Besides beauty having no association with evil, Gregory implies that it partakes of God's unity; refer to the next sentence just below.



"Now whatever is to be regarded as coming within the sphere of the beautiful (en te tou kalou theoreitai chora) becomes the character of God. 485a" It may be better to say "what is appropriate for God," prepei to Theo.



what is thus removed from every disgraceful and vicious quality is abundantly shown to be morally beautiful (kalou pantos anadeiknumenou). 485b



"but there is always something towards which the will is tending, the appetency for moral beauty (pros to kalon epithumias) naturally drawing it on to movement, this beauty (kalon kata ten phusin esti) is in one instance really such in its nature, in another it is not some, only blossoming with an illusive appearance of beauty (tini kalou phantasia). 492a" Note use of epithumia, desire in the sense of concupiscence; Gregory stresses its role of movement, eis kinesin. In the next sentence he gives the criterion to distinguish between these two beauties, "the mind that dwells within us" (ho nous endothen).



"Under these circumstances it is a matter of risk whether we happen to choose the real beauty (tou ontos kalou), or whether we are diverted from its choice by some deception arising from appearance. 492a-b" Note the contrast between tou ontos kalou, implying that beauty possesses being, and the deceptive nature of appearances, phantasia.



for this deception would never have succeeded, had not the glamour of beauty (tes tou kalou phantasias) been spread over the hook of vice like a bait. 492b



but for all that, this melting away of the actual thing that was embedded in it to the injury of its beauty (epi lume tou kalou) is a kind of healing of the gold. 495b



On Virginity



"moreover, as the beauty (tou en hekasto kalou) in anything gains lustre by the contrast with its opposite, it is requisite that some mention should be made of the vexations of everyday life. 343a" Note the word Gregory uses in the next sentence, "it will be in the plan of this work to introduce a sketch of the contemplative (or better, 'philosophical') life," kata philosophian biou.



"The holy look of virginity is precious indeed in the judgment of all who make purity the test of beauty (to kalon en katharoteti krinousi). 343b" The word for "look" here is eidos, signifying more a form or pattern with regard to virginity.



and we must choose one of two things; either to appear never to have felt the special beauty (ta tes parthenias kala) of virginity, or to exhibit ourselves as obstinately blind to all beauty (pros ten ton kalon aisthesin). 345a



"As it is, this my knowledge of the beauty (he gnosis emoi ton tes parthenias kalon) of virginity is in some sort vain and useless to me. 345a" Gregory seems to lament his lack of virginity, i.e., he was a married bishop and admired it from outside, as it were.



Whenever he [a husband] is glad with gazing on her beauty (te theoria tou kallous), then he shudders most with the presentiment of mourning her loss. 346a



he must have this thought also in his inmost soul that some day all this beauty (to kallos diarruen) will melt away and become as nothing. 346a



Has not Nature made the bloom of beauty (to tou kallous anthos) even more short lived than the shows of spring? 350b



after shedding they are again in leaf, and retain their beauty (kallos) of today to a late prime. 350b



"Their [spirits] work and their excellence is to contemplate the Father of all purity, and to beautify (pros to archetupon kallos) the lines of their own character from the Source of all beauty (ten idian kallopizein morphen dia tes endechomenes mimeseos), so far as imitation of It is possible. 351a" Contemplation of the Father, to theorein ton Patera, is the source of beauty which in turn leads to minesis, imitation. Hence, there is a close identification between contemplation and imitation. The result is to make one's charakter endowed with beauty.



"no more can the soul whose body drags it down look any longer upon the beauty (pros ton ouranon kai ta ano kalle) above. 351a" Note contrast between the two vertical planes of "down" (sugkataspastheisa) and "up" (pros and ta ano).



"it [soul] will transfer all its powers of affection from material objects to the intellectual contemplation of immaterial beauty (epi ten noeten kai aulon tou kalou theorian). 351a" Such transference or metathesei of erotiken dunamin lies at the heart of why one follows a life of virginity and hence monasticism. At the beginning of the next section (6) Gregory demonstrates this difficult transition through the example of Elias who was assumed into heaven corporeally and John the Baptist.



"The standard of beauty (epispasasthai ten psuchen kai tina kalou paraschein phantasian) and of honour is different in each [nation], the custom of each regulating their enthusiasms and their aims. 353b" Gregory is referring to the "enormous power of attracting and seducing the soul" with regard to custom, sunetheia.



"in like manner, to see the beauty (hina to kallos ekeino theasetai) of the true and intellectual light, each man has need of eyes of his own. 354b" Gregory follows with an interesting sentence, "and he who by a gift of Divine inspiration can see it retains his ecstasy unexpressed in the depths of his consciousness" (en to aporreto tes suneideseos).



"We have not learnt the peculiar language expressive of this beauty (phonas semantikas ekenou tou kallous). 354b" Gregory says this is impossible simply because "an example of what we want to say does not exist in the world," that is, where language or communication plays an integral role.



"And that tiny drop and that diminutive spark bear the same relation to the Deep and to the Sun, as any beautiful (hos kala) object of man's admiration does to that real beauty (to kallso ho peri to proton agathon) on the features of the First Good, of which we catch the glimpse beyond any other good. 354b" Note the association between "real beauty" and "First Good" which is marked by a "lying beyond," epekeina.



"he [David] sees in a blessed state of ecstacy the boundless and incomprehensible Beauty (anechanon kai aperinoeton kallos). 354b" Such ecstasy is a "lifting by the power of the Spirit out of himself," ekbas heauton.



"The visible beauty (to aistheton kallos) to be met with in this life of ours, showing glimpses of itself...can be adequately admired by our power of aesthetic feeling. 355a" Gregory closely associates "visible beauty" with "aesthetic feeling," aisthesin dunamis.



"The Beauty (to aeides pante, aschematiston kai pelikotetos pases) which is invisible and formless, which is destitute of qualities and far removed from everything which we recognize in bodies by the eye, can never be made known by the traits which require nothing but the perceptions of our senses in order to be grasped. 455a" A classical adaption of the platonic conception of beauty to a Christian context. Gregory continues, "we must lift our thoughts and excite them (hupsousthai...sunepairesthai) with the greatness of that object."



"As regards the inquiry into the nature of beauty (en te tou kalou zetesei), we see, again, that the man of half-grown intelligence, when he observes an object which is bathed in the glow of a seeming beauty (ho kallous phantasia), thinks that that object is in its essence beautiful (kalon te heautou phusei). 355b" Such a person of "half-grown intelligence" is one who fails to "lift his thoughts and excite them" as noted in the except just above.



"But the other, whose mind's eyes is clear...will neglect those elements which are the material only upon which the Form of Beauty (te tou kalou idea) works; to him they will be but the ladder by which he climbs to the prospect of that Intellectual Beauty (pros ten tou noetou theorian kallous), in accordance with their share in which all other beauties get their existence and their name. 355b" Such a "ladder" is the "transference of all its [soul] powers of affection from material objects to the intellectual contemplation of immaterial beauty" of 351a above.



"it is a difficult thing to perform this feat of mental analysis and of discriminating the material vehicle from the immanent beauty (ten hulen apo tou epitheoroumenou kallous), and thereby of grasping the actual nature of the Beautiful (eph'heautes tou kalou ten phusin katanoesai). 355b" This difficulty of discrimination should be read within the context of this treatise, virginity, which Gregory admits is an arduous pursuit.



"Others limit their imagination of the beautiful (to kalon horisanto) to worldly honours, fame and power. 355b" Gregory implies that the imaginative faculty is essential to making analogies between visible and invisible beauty.



"But he who turns from all grosser thoughts and all passionate longings after what is seeming, and explores the nature of the beauty (anezetoun ten haplen kai aulon kai aschematiston tou kalou phusin) which is simple, immaterial, formless, would never make a mistake like that. 355b" A key word here is "explore," anezetoun, the prime function of theoria or contemplation.



Admiration even of the beauty (ouranou kallos) of the heavens...will then cease. The beauty noticed there will be but as the hand to leave us to the love of the supernal Beauty (pros ten ekeinou tou kallous epithumian) whose glory the heavens and the firmament declare. 356a



"He therefore who...raises himself on the aforesaid wings above all low earthly ambitions...to find that which is alone worth loving (monon epithumias), and to become himself as the beautiful as the Beauty (genesetai kai autos kalos to kalo prospelasas) which he has touched and entered. 356a" Epithumia or desire forms those wings as "the powers of loving (ten epithumetiken dunamin) which we possess."



"and moulds her own beauty (emphaneian tou prototupou kallous kai to en aute morphothenai) at the touch and the sight of the Archetype of all beauty. 356b" Gregory uses two verbs applicable taken from that which is physical and applies them to the spiritual realm, "touch and sight," which forms the basis of such "moulding" of beauty.



for still in all of them error in the apprehension of the Beautiful (he plane tes tou kalou katanoeseos) comes in, sense being the criterion. 356b



"such a character will feel as a passionate lover only towards that beauty (ho ouch heterothen echei to kalon einai) which has no source but Itself, which is not such at one particular time or relatively only, which is Beautiful (ex heautou kai di'heautou kalon kai en heauto) from, and through, and in itself, not such at one moment...incapable of change and alteration. 356b" Here again Gregory applies the passion of love, monon erotikos kai epithumetikos. Note the bold juxtaposition of these two forceful words as applied to beauty "which has no source but Itself."



"to one who has cleansed all the powers of his being from every form of vice, the Beauty (to monon te phusei kalon) which is essential, the source of every beauty (to kalon, implied) and every good, will become visible. 356b" Gregory suggests an apokalupsis, a revelation, of beauty's source, God, through the medium of purification from evil, the true goal of virginity.



the God of the Universe is the only absolute, and primal, and unrivaled Beauty (monos kalon kai agathon kai katharon) and Goodness. 357a



"Indeed, the truth about the image could never have been maintained if the beauty (to apeikonismenon kallos pros to archetupon) reflected in that image had been in the slightest degree opposed to the Archetypal Beauty [implied]. 357a" The "image" or eikon to which Gregory refers is that in which humanity was created. The contrast between "reflected" and "opposed" suggests a situation in which the eikon and "Archetypal Beauty" must be properly aligned. In this context we may say that virginity is crucial for such an orientation.



"So the first man on the earth, or rather he who generated evil in man, had for choice the Good and the Beautiful (to kalon kai agathon) lying all around him in the very nature of things. 357b" The excerpt just above identifies beauty with eikon; here beauty is "lying all around him." I.e., in paradise there was no distinction between "inner" and "outer" beauty.



Then that godly beauty (ekeino tes psuches kallos) of the soul which was an imitation of the Archetypal Beauty (kata mimesin tou prototupou, implied)...preserved no longer the glory of its familiar essence, but was disfigured with the ugliness of sin. 357b



"The earthly envelopment once removed, the soul's beauty (palin tes psuches phanerothe to kallos) will again appear. 358a" The means for removal is "by washing it off in the cleansing water of this calling" (politeias), a political word transferred to meaning fellowship or association with God. Baptism may be intimated but it is not clear from the context.



"human efforts can only go so far as to clear away the filth of sin, and so cause the buried beauty (to kekalummenon en te psuche kallos diaphotisai) of the soul to shine forth again. 358a" Note use of diaphotisai, "to shine through." Experience with this purification process demonstrates that we alternate between being mired in sin and liberation from it. The insight contained in the preposition dia suggests an escape from this conflict in the sense that one becomes aware that such "buried beauty" is always radiating forth.



"when so be that the image of the mighty King is revealed in all its brightness at last...will then be converted to that divine delight and festivity, and will gaze upon the ineffable beauty (to aphrasto kallei tou heurethentos) of the recovered one. 358a-b" Gregory makes these comments in light of Lk 15.8, parable of the lost drachma and situates in the context of the recovery of our eikon. Such "gazing" or enatenizousai is more an intense, unswerving look.



"it is meet that they should all rejoice in the Lord when they all look towards the Beautiful (pros to kalon kai agathon bleposi) and the Good, and do everything for the glory of God, no longer instruments of sin. 358b" Note the use of the preposition pros, "towards, "in the direction of," suggesting distance from the person doing the looking and the object perceived.



"so that one single beautiful (hen apotelesthenai kalon epitedeuma) character should be created from the two, a union of simplicity of purpose with shrewdness. 362b" Gregory is discussing Christ's words, i.e., his sending of the disciples as sheep among wolves (cf. Mt 10.16).



he is the man who is truly living, and has the bloom of beauty (horios to kallei), and is efficient and stirring. 368b



and they have been tripped up from madly deluding themselves into thinking that that to which their own mind inclined them was the true beauty (ekeino hegeisthai kalon). 369a



On the Soul and the Resurrection



I, too, am sensible of the fact that human life will be bereft of the most beautiful (tou kallistou) ornament that life has to give, I mean virtue, unless an undoubting confidence with regard to this be established in us. 431b



"all these [emotions] we reckon as accretions from without, because in the Beauty (to archetupo kallei) which is man's prototype no such characteristics are to be found. 441a" These "characteristics" or charaktera imply a definite impression or stamp, not simply superficial markings. By its very nature, "man's prototype" lacks them.



"Since there has been scattered amongst these the bad seed of the error of judgment as to the true Beauty (ten tou kalou krisin di'hamartian) which is alone in its intrinsic nature such. 442b" The preposition para in parenespare, "has been scattered," suggests an element of badness as in sowing beside the place intended to receive the seed.



"for the active principle of desire does not germinate and increase in the direction of that natural Beauty (to epithumetikon ou pros to phusei kalon) which was the object of its being sown in us, but it has changed its growth so as to move towards a bestial and unthinking state, this very error as to Beauty (peri to kalon akrisias) carrying its impulse towards this result. 443a" Gregory seems to say that such "desire" or epithumia by its nature is directed towards the opposite of Beauty (God). Contrast his use of this word, for example, in those passages above where it assumes a more positive role.



"If, then...our soul becomes free from any emotional connection with brute creation, there will be nothing to impede its contemplation of the Beautiful (pros ten tou kalou theorian). 449a" Another use of the preposition pros, "towards," "in the direction of," suggesting varying degrees of theoria.



If, then, the soul is purified of every vice, it will most certainly be in the sphere of Beauty (en to kalo pantos). 449a



"The Deity is in very substance Beautiful (kalon te heautou phusei to theion); and to the Deity the soul will in its state of purity have affinity, and will embrace It as like itself. 449a" This "affinity" or sunapheia implies a combination from which flows an "embrace" or sunaptomene. Note use of preposition sun in both instances.



"Whenever this happens, then, there will be no longer need of the impulse of Desire to lead the way to the Beautiful (pros to kalon hegemoneusei). 449a" This sentence follows immediately after the one before it, i.e., speaks of what happens upon achieving sunapheia. Such a sun- abolishes any need for direction-towards-which or pros with regard to the Beautiful.



"and should behold the original Beauty (to archetupon) reflected in the mirror and in the figure of her own beauty (dia tou oikeiou kallous). 449b" Note the close connection between "mirror" (en katoptro) and "figure" (eikoni) where beauty is present through "beholding," blepousa.



"none of its habits are left to it except that of love, which clings by natural affinity to the Beautiful (phusikos to kalo prosphuomenes). 450a" The text more accurately reads "loving disposition" (tes agapetikes diatheseos). The verb prosphuo for "cling" has the preposition pros whose function was already noted above. This verb also means "to grow."



"For the life of the Supreme Being is love, seeing that the Beautiful (to kalon agapeton pantos) is necessarily lovable to those who recognize it. 450b" Note connection between agape in the "Supreme Being" (ano phuseos) as "the Beautiful" which yields agapeton by a process of "recognition," katalambanetai.



that which He recognizes being essentially beautiful (kalon esti te phusei). 450b



"This True Beauty (tou alethos kalou) the insolence of satiety cannot touch; and no satiety interrupting this continuous capacity to love the Beautiful (korou ten agaptiken pros to kalon schesin), God's life will have its activity in love; which life is thus in itself beautiful (kale kata phusin), and is essentially of a loving disposition towards the Beautiful (agapetikos pros to kalon). 450b" The "satiety" Gregory mentions here is koros which is intensified when coupled with "insolence," hubris or "pride." He equates to kalon with agape, more specifically, a "loving disposition," agapetikos, which is an adverb here.



"In fact, in the Beautiful (oude tou kalou ti peras katalambanetai) no limit is to be found so that love should have to cease with any limit of the Beautiful (sunapolegein to perati tou kalou ten agapen). 450b" Gregory reenforces this statement with one just after it, "then that good will go on unchecked into infinity," where "go unchecked" or sunapolegein means more specifically, "cease along with;" not the combination of two prepositions, sun and apo.



"You will behold this bodily envelopment, which is now dissolved in death, woven again out of the same atoms, not indeed into this organization with its gross and heavy texture, but with its threads worked up into something more subtle and ethereal...but it will be restored to you with a brighter and more entrancing beauty (en ameinoni kai erasmiotero kallei palin apokathistasthai). 453b" The key word here is apokatathisasthai or the restoration of all things in Christ. See references to this word elsewhere on this Home Page.



"Blessed are they, indeed, in whom the full beauty (to teleion kallos ton astachuon) of those ears shall be developed directly they are born in the Resurrection. 468a" Such "fullness" or teleion is characteristic of apokatastasis, another term Gregory uses for resurrection in his writings. Its "direct development" (sunanatelei) contains this word coupled with the two prepositions sun and ana.



On the Making of Man



"and the particular things were adorned with their appropriate beauty (to katallelo kallei). 389b" Gregory is referring to the Genesis narrative "to all which, empowered by the Divine will, it gave birth together."



"the varied produce of the trees, just risen from the ground, yet shot up at once into their perfect beauty (pros to teleion kallos). 389b" Implied here is the notion that created things were made perfect (teleion) all at once.



"by the beauty (dia tou kallous kai megethous ton oromenon) and majesty of the things he saw might trace out that power of the Maker which is beyond speech and language. 390a" Despite God's transcendence, we can nevertheless "trace out" (anichneuein) his "power" which results from perceiving created beauty. Between such "power" and things seen, we get "traces," the realm signified by the preposition pros prefixed to many verbs as noted above.



when He had decked the habitation with beauties (panotoiois kallesi katakosmesas) of every kind. 390a



"and to liken his form to an archetypal beauty (archetupo tini kallei), and, setting before him a mark for which he is to come into being. 390b" Gregory alludes to the Genesis narrative of man's creation. Note the association between "form" (morphe) and "beauty" with regard to such creation.



"so that it is shown to be perfectly like to the beauty (pros to archetupon kallos homoiotheisan) of its archetype in all that belongs to the dignity of royalty. 391a" Yet another instance of the preposition pros, "in the direction-towards-which."



"It is true, indeed, that the Divine beauty (to theion kallos ou schemati tini) is not adorned with any shape or endowment of form. 391a" Although Gregory points out that God lacks form, morphe, nevertheless he "His true form is portrayed...purity, freedom from passion, blessedness, alienation from all evil, and all those attributes of the like which help to form (morphoutai) in men the likeness of God (pros to Theon)."

"As then painters transfer human forms to their pictures by the means of certain colours...so that the beauty (d'akribeias to archetupon kallos metenechtheie) of the original may be accurately transferred to the likeness. 391a" The key word here is "transfer" or metapherousi which sums up Gregory's attempt (as well as all Church Fathers) the task of relating created beings to God.



"painting the portrait to resemble His own beauty (pros to idion kallos ten eikona). 391a" Note use of preposition pros with respect to beauty.



"If you were to examine the other points also by which the Divine beauty (d'on to theion kallos charakterizetai) is expressed, you will find that to them too the likeness in the image which we present is perfectly preserved. 391b" Gregory presents the relation of likeness ((homoiosis) to image (eikon). Referring to Jn 1.1 & 1Cor 2.16, he continues by saying that "The Godhead is mind (dianoia) and word (logos)."



"For since the most beautiful (to kalliston) and supreme good of all is the Divinity Itself, to which incline all things that have a tendency towards what is beautiful (osa tou kalou ten ephesin), itself also remains in beauty (kat'eikona tou kallistou) and goodness so long as it partakes in its likeness to the archetype. 398b" Note directional words, "incline" (pros ho neneuken) and "tendency towards" (hephesin). Such movement towards "Divinity" is countered by the more fixed "partaking in" or meteche the archetype.



"And as we said that the mind was adorned by the likeness of the archetypal beauty (te homoiosei tou prototupou kallistous). 399a" Gregory fills out this sentence by continuing, "being formed as though it were a mirror to receive the figure of that which it expresses."



"and that it too is adorned by the beauty (parakeimeno kallei) that the mind gives, being, so to say, a mirror of the mirror. 399a" Just prior to these words Gregory has, "the nature which is governed by it is attached to the mind in the same relation," that is, the "material element" (to hulikon). This complex passage attempts to show the relationship first of mind to archetypal beauty and then the relationship of this same mind to created beings.



"So long as one keeps in touch with the other, the communication of the true beauty (he tou ontos kallous koinonia) extends proportionally through the whole series, beautifying (kallopizousa) by the superior nature that which comes next to it. 399a" This sentence follows shortly after the one above, thereby drawing a relationship between all three elements, namely, archetypal beauty, mind and created being. What binds them together is the word "proportionally," analogos.



"and by its [the inferior] shapelessness is also destroyed that beauty (to kallos tes phuseos) of nature with which it is adorned through the mind. 399a" Note the word for "shapelessness," amorphia, the opposite not only of morphe but of beauty, to kallos.



"And in this way is brought about the genesis of evil, arising through the withdrawal of that which is beautiful (dia tes hupexaireseos tou kalou) and good. Now all is beautiful (kalon pan) and good that is closely related to the First Good; but that which departs from its relation and likeness to this is certainly devoid of beauty (pros touto scheseos kai homoioseos, amoiron tou kalou) and goodness. 399a" The "way" to which Gregory refers is shutting off rays from the mirror of our souls. Note the connection of this withdrawal (hupexaireseos) with "likeness," homoiosis.



and the mind itself also has its power of being beautiful (autos echei to kalos) and good, in so far as it is in the image of the good and beautiful (ho nous to kat'eikona tou kalou). 399a



our material part...is dissolved and disorganized when it is separated from that which upholds and sustains it, and is dissevered from its conjunction with beauty (diaspasthe tes pros to kalon sumphuias). 399b" Again, note the use of prepositions: "dissever," (diaspasthe) and "conjunction with," pros...sumphuias.



"an overturning of nature to the opposite state, in which the desire has no inclination for beauty (me pros to kalon tes epithuias) and goodness, but for that which is in need of the adorning element. 399b" Another use of epithumia for "desire," a word noted several times earlier in this document. It has a direction, pros, "towards which," and can go either towards good or towards evil.



"so man seems to me to bear a double likeness to opposite things, being moulded in the Divine element of his mind to the divine beauty (pros to theion kallos), but bearing in the passionate impulses that arise in him a likeness to the brute nature. 408a" This "divine element of his mind" or theoeide tes dianoias has a relationship to beauty marked by pros, again, direction-towards-which. Note how Gregory contrasts the two "likenesses," theoeide and ktenodes, the latter similarly marked by pros.



"for anger produces courage...the power of love the desire for what is truly beautiful (he agapetike dunamis ten pros to alethos kalon epithumian). 408b" Yet another example of pros with regard to epithumia, the driving force of desire in human existence here joined with the adjective agapetike.



"and so we find that every such motion, when elevated by the loftiness of mind, is conformed to the beauty (kata ten theian eikona kallei suschematizetai) of the Divine image. 408b" Gregory is speaking about the emotions (thumos) whose motions are depicted in an upward fashion, to hupselo, after which they assume the schema of beauty, i.e., its figure or shape.



"hence the misery that encompasses us often causes the Divine gift to be forgotten, and spreads the passions of the flesh, like some ugly mask, over the beauty (kata ten eikona kallei) of the image. 408b" Words reminiscent of the "coverings of skin" which God gave to our first parents when expelled from Eden. Cf. Gregory's Song Commentary, J.327.



"If the man who is subject to passion, and carnal, makes it incredible that man was adorned, as it were, with Divine beauty (theio kallei kekosmemenon), surely the man of lofty virtue ...will confirm you in the better conception of human nature. 408b" Such a "conception of human nature" or hupolepsis implies an assumption gained from experience. The man of virtue, arete, is equated with "divine beauty," a theme mentioned in the Introduction.



some other evil has obliterated the beauty (to tes phuseos kallos) of his nature by the pollution of wickedness. 408b



"Now where the beauty (ouk emaurothe to kallos) of the form has not been obscured, there is made plain the faithfulness of the saying that man is an image of God. 408b" Note the close connection between three words, to kallos, morphe, eikon.



The beauty (kata to phainomenon apate kalou) of the substance seems good to those who love money, yet "the love of money is a root of all evil" (1Tm 6.10). 410a



Against Eunomius



"This thought suggests itself when I think of one who freely communicated to others the beauties (koinonountaton idion kalon) of his own soul. 35a" Gregory has in mind his brother Basil who struggled against Eunomius as mentioned in the next sentence.



What need indeed for one who is fair in the beauty (kallous to kosmo tes aletheias) of truth to drag in the paraphernalia of a decorator for the production of a false artificial beauty? 37a



But those whose only aim is simple truth...find the light of a natural beauty (tois legomenois to kallos) emitted from their words. 37a



A man who thinks this will be proving that their nature is one thing in itself, and becomes something else by virtue of its participation in this beauty (te metousia tou kalou) or its opposite. 61b



Isaiah's Seraphim, by whom the mystery of the Trinity was luminously proclaimed, when they uttered that marvelous cry "Holy," being awestruck with the beauty (en te Triadi kallos kataplessomena) in each Person of the Trinity. 64b



an offspring out of the Ungenerate sun, and simultaneously with our conception of the First, and in every way like him, in beauty (kallei), in power, in lustre, in size, in brilliance, in all things at once that we observe in the sun. 84b



the Son being in the Father as the beauty (epi tes eikonos kallos) of the image is to be found in the form from which it has been outlined. 94b



and the Father in the Son, as that original beauty (en te eikoni heautou to prototupon kallos) is to be found in the image of itself. 94b



here the manifestation of the hidden meaning is called by Solomon a "turn of the saying," as if the beauty (tou kallous ton noematon) of the thoughts could not be perceived, unless one were to obtain a view of the revealed brightness of the thought by turning the apparent meaning of the saying round about. 138a



Seeing that they, with their untrained and narrow intelligence, were disposed to look with wonder on the beauties of nature, not employing the things they beheld as a leader and guide to the beauty (pros ta tes ktiseos kalle) of the Nature that transcends them. 172b



The Life of Moses (11)



The tabernacle was a sanctuary with beauty (tini poikilia to kallos) of indescribable variety. 1.49



So that their beauty (to kallos kai ten diathesin) and arrangement might not be forgotten, [Moses] was counseled not to represent these things in mere writing but to imitate in material construction that immaterial creation. 1.49



'Time had not harmed his beauty (ou to kallei chronos ouk elumenato), neither dimmed his brightness of eye...Always remaining the same, he preserved in the changeableness of nature an unchangeable beauty (en to kalo ametaptoton). 1.76" The verb diasosas ('preserved') contains the preposition dia ('through') signifying constancy, the fruit of "unchangeable beauty."



to equip themselves with the wealth of pagan learning by which foreigners to the fair beautify (allophuloi kallopizontai) themselves. 2.115



For when our gardener opens the pomegranate of life at the proper time and manifests the hidden beauty (deixe ton apotheton to kallos), then those who partake of their own fruit will enjoy the sweetness. 2.193



The patriarchs engraved on the shoulders make a great contribution to our adornment (kallopismon hemin), for men's lives are adorned by the earlier examples of good men. 2.196



Since human nature was fashioned by the divine hands and beautified (tois agraphois tou nomou kekallopismene charagmasi) with the unwritten characters of the Law. 2.215



For when the restorer of our broken nature had restored the broken table of our nature to its original beauty (eis to archaion kallos)...the eyes of the unworthy could no longer behold him. 2.217



"Such an experience seems to me to belong to the soul which loves what is beautiful (erotike tini diathesei pros to te phusei kalon). Hope always draws the soul from the beauty (apo tou ophthentos kalou) which is seen to what is beyond. 2.231" Gregory associates eros with beauty, the propelling force which lies behind our forward movement "to what is beyond," pros to huperkeimonon. Note again the preposition pros.



"Therefore the ardent lover of beauty (ho spodros erastes tou kallous)...longs to be filled with the very stamp of the archetype. 2.231" Another instance of a derivative of eros, erastes with regard to beauty; such a person "longs" or epipothei to have the archetype's stamp, charakteros.



they did not hide their excess but adorned themselves with the dishonor of passion and beautified (egkallopizomenous) themselves with the stain of shame. 2.302



After this he stood above human honor and beyond royal dignity, considering it to be stronger...to be beautified (to tautes kosmo egkallopizesthai) with its [virtue] adornment than to be a spearman and to wear royal adornment. 2.309



"he beautifies (ten idian psuchen kallopizon) his own soul with what is incorruptible, unchangeable, and shares in no evil at all. 2.318" Such a person as noted in the previous sentence is one "who has truly come to be in the image of God," kata'eikona Theou, more specifically, "according to the image of God."



"tracing in outline like a pattern of beauty (prototupon en morphe kallous) the life of the great Moses so that each one of us might copy the image of that beauty which has been shown to us by imitating his life. 2.319" Another close association between morphe and to kallos which is effected by the act of "tracing" or hupograpsas Moses' life. Such tracing is akin to "copying" (metagraphein) and "imitating" (mimeseos).



* * * *











































































Fourth Section: A List of References Pertaining to the Word "Form" (Forma, Morphe) from the Three Song Commentaries by Origen, Gregory of Nyssa and Bernard of Clairvaux

Origen

and also the whole body of it [Song] consists (mysticis formatur eloquiis) of mystical utterances. Prol 1.3



nothing in the metaphors used to describe and represent (describitur ac formatur) the love of the Bride for her celestial Bridegroom may cause him to stumble. Pro 3.16



I think that this threefold structure (triplicem divinae philosophiae formam) of divine philosophy was prefigured in those holy and blessed men. Pro 3.17



And you will find that this order, which we have pointed out in regard to the books of Solomon, appears in just the same pattern (secundum hanc eandem formam designant) in many other things in the Divine Scriptures too. 3.21



But perhaps the glory of this figure (species formae huius expletur, cf. Lk 2.46-7) is fulfilled in the place where, going up into a mountain, He taught the people. Bk 1.2.12



See now if we can fit into this pattern (huic formae aptare) that Gospel parable. Bk 1.21



For she sees that those four ingredients of that ointment symbolized the form (formam tenebant incarnationis Verbi Dei) of Incarnation of the Word of God. Bk 1.3.6



being in the form of God (forma Dei), took the form of a servant (formam servi). Bk 1.3.10



For we are certain that the Holy Spirit willed that the figures (mysteriorum formas) of the mysteries should be roofed over in the Divine Scriptures. Bk 1.3.14



that He might no longer dwell only in light unapproachable and abide in the form (in forma Dei) of God. Bk 1.4.4



the parallel between all the several powers of the bodily senses according to their kind (secundum hanc vero formam) and the corresponding powers of the soul. Bk 1.4.19



anyone who none the less does not accept a spiritual exegesis (spiritalis formam) on these lines. Bk 1.4.25



so that in all things she might set them an example (formam praeberet). Bk 1.5.1



though it may seem a long and toilsome matter to collect from the Divine Scriptures the passages containing types (sacramenti huius forma) foreshadowing this mystery. Bk 2.1.8



Mary [Mariam] who typified (synagogae derelictae formam) the forsaken Synagogue. Bk 2.1.23



the sacrifice of that Victim who was offered on the day of the Pasch for the redemption of man, who himself was formed (formatus est a Deo) by God on the sixth day. Bk 2.4.34



For the soul whether [soul] it is introduced from the outside into the womb of a woman, and there united, as a perfect thing, to the body already prepared and formed ( formato intra viscera muliebria) for it. Bk 2.5.22



the Tabernacle of the Testimony...a type (formam tenere naturalis legis) of the natural law in which the light of knowledge is contained. Bk 2.9.15



made Himself as a drop in His self-emptying of the form (Dei forma effici et ipsum guttam) of God. Bk 2.10.9



as she looks at and beholds Him, an immense glory and extraordinary beauty of form (species formae nova ac mirabilis orietur) will arise. Bk 3.2.7



He leaped upon the prophetical mountains and the holy hills who in this world bore His image and His form (imaginem eius formamque). Bk 3.11.11



Jesus Himself, when He came to be transfigured (transformandum), was not on some plain, nor in a valley, but went up a mountain and was there transfigured (ibi transformatus est). Bk 3.12.5



yet they [animals] also have the shapes (incorporalium rerum formas et imagines) and likenesses of incorporeal things. Bk 3.13.14



But if we were to look for the spiritual harts, of which the corporeal animal possesses the form (formam et imaginem) and image, you would find that they can be brought to the height of perfection by the voice of the Lord. Bk 3.13.31



and they may be in labour only until such time as Christ be formed in them (formetur Christus in iis). Bk 3.13.32.



the number three hundred itself signifies that there are three kinds (triplicem formam indicant peccatorum) of sins [deed, word, mind's consent]. Bk 4.3.26.





Gregory of Nyssa



and have wrapped yourselves by the purity of your lives in the bright garments of the Lord which he displayed on the mount of transfiguration (tou metamorphoseos). 14.16



and have been transformed (summetamorphothentes) with him into a state which is free from passion and more divine. 14.19



The form (morphe) constituted by these terms is blessedness, detachment, union with God, alienation from evil and likeness to what is truly beautiful and good. 28.21



Although I am black, I am now this beautiful form (eis kallous morphen). 47.12



and the dark form (he skoteine tou biou morphe) of its life is changed to resplendent grace. 48.12



because the sun changed my appearance (ten morphen metachrosantos) from radiance to darkness. 50.15



She struggles to learn and to think how her loveliness (eumorphia) can remain forever. 63.4



if you wish that your beautiful form (diaionizein soi tes eumorphias) abide forever, do not wander in the footsteps of those who have preceded you in this life. 66.18



Rather, they speak of the splendor of God's glory, the stamp of his nature, the form (morphen theou) of God. 86.6



he looks into the cluster of his own conscience and sees the form (homoioutai morphen) of the bridegroom there and mirrors the light of truth by his own pure life. 98.6



he testified that the form (eumorphia hippou) of his spouse's beauty resembled a horse. 101.14



When the inclination is to cowardice, fear or any other passion, human nature takes on the forms (morphias hupoduetai) of each of them. 102.10



Just like a mirror you have taken on (emmorphotheisa) my appearance. 104.2



the beauty (eumorphias) of the bride's eyes is praised since the image of a dove appears in her pupils. 105.15



For unless you "shaded yourself over" with the form (tou doulou morphe) of a servant,...who could bear your manifestation? 108.3



How can one behold a beautiful sight in a mirror unless the mirror has reflected the image of a beautiful form (kales tinos morphes)? 150.10



and it was not beautiful until it drew near to Beauty and was transformed (eikoni tou theiou kallous enemorphothe) by the image of the divine loveliness. 150.13



He exhorts her to draw near to the light and to become beautiful by being transformed (morphotheisan) into a dove's image in the light. 159.4



the Apostle who bids the same image to be transformed (metamorphoseos) "from glory to glory." 160.8; also 186.6



The bride's companions ask each other about her as if she appeared in a form (proteran morphen) different from her first one. 187.10



testifying to her great change and transformation (ten epanthousan morphen) for the better. 187.14



Images of visible reality striking the purity of the eye's pupil effect the act of seeing, that is, a form (ten morphen analambanein) impresses itself upon the eye like a mirror. 218.19



and his life is formed (katamorphoutai) by the grace of the Holy Spirit. 219.5



and from the glory which the soul had, it is transformed (anoteran doxan metamorphotheisa) into a loftier glory by a wonderful alteration. 253.17



If the Church is Christ's body with Christ as its head, he forms (to idio charakteri morphon) its countenance with his own features. 256.19



by not flowing out, it [soul] will be sealed by the stamp of truth and formed (pros to agathon schesi emmorphoumene) with a disposition towards the good. 277.11



No one can share God's glory unless he has been first conformed (summorphos) to the likeness of Christ's death. 290.7



For the person who beholds himself clothed with the radiant tunic of the Lord which he put on with purity and incorruptibility is like the tunic Christ showed in his transfiguration (metamorphoseos) on the mountain. 329.12



he was in the form (en morphe theou) of God and lived with men in the disguise of a slave. 381.17



Nothing humble nor base composes his bodily form (ten eumorphian tou somatos). 420.8



When a person sees a picture upon a board which accurately conforms (memorphomenen) to its model, he exclaims that one form (morphen) exists in both. 439.13



When I look at my beloved's face, the beauty of his form (morphes to kallos) is reflected in me. 440.10



Thus the bride gives herself to her beloved and receives the form (en te idia morphe) of his beauty whom she loves. 442.11



and by his form (en tes douleias autou morphe) we might reign. 444.6



The soul formed (morphotheisa) by such embellishments becomes lovely like Jerusalem. 445.1





Bernard of Clairvaux



The preacher who desires to follow St Paul's method (formam tenet) of teaching will give them milk to drink rather than solid food. 1.18



has not your life and your conduct been sufficiently amended and enlightened (informati sunt)? 1.2.19



Rather let him who is the most handsome [form, speciosus forma] of the sons of men, let him kiss me with the kiss of his mouth. 2.2.8



no bodily medicine whatsoever contributes (informatus intuitu) to its vision. 5.4.11



whatever they [angels] form (forma et specie) and figure suits them when they wish to become visible. 5.7.16



for the guidance (exemplis informari desiderant) of her religious observances. 9.9.13



She cannot avoid being conformed (suis eam conformari visceribus) to them in the depths of her being in these experiences. 10.1.1



She becomes (se conformat) all things to all. 10.2.21



giving birth to them all over and over again, until Christ was formed (Christus formaretur in eis) in them, that the members might be renewed (capiti reformarentur) in the likeness of their head. 12.2.22



All praise for the manifold gifts of grace with which you are endowed (de bonis multiformis gratiae) must be given to him who is the author and giver of all that is praiseworthy. 13.7.29



now at last filled with the same that urges them to rid themselves of that deformity (deformitatem) and to hasten to put on the form (in novi hominis formani) of the new man. 14.5.9



at first he created me a living being, then remade (reformavit me) me a life-giving spirit. 16.2.2



I was imbued with the power of doing good, with the grace (formam oboedientiae) of obedience. 16.2.2



You too should follow this Prophet's example (formam habens propheticam) in lamenting your own sings. 16.4.24



Have you not read in the Gospel the example (formam oboediendi) of obedience given by the boy Jesus? 19.7.2



and reformed (renovare et reformare) according to the glorious and original plan of the eternal God. 21.6.20



since he deems it unworthy to be conformed (saeculo conformari) to a world that is waning. 21.6.26



he strives to be reformed (reformari) by the renewal of his mind. 21.6.26



to become conformed (conformari) to him by an admirable change of relationship, according as all things in their true and natural form (in propria et naturali forma) begin to co-operate for his good. 21.6.26



In short, you adapt (conformaris crumenae tuae) yourself to your purse like a slave to his mistress. 21.8.29



no time to see him in that form (in ea forma) in which, as the Father's equal, he was born before the dawning amid the sacred splendors. 22.3.4



and I, a man, describe him to men according to the human form (secundum eam formam) that he adopted. 22.3.7



he laid down a pattern (tradere formam vitae) of life that is a pathway back to the fatherland. 22.7.16



and become sharers in the inheritance of the Son to whose image they were to be conformed (conformes imaginis). 23.15.7



they become transfigured (in eamdem imaginem transformentur) into the same likeness, borrowing glory from that glory. 24.5.9



that the beauty of the body of clay might rebuke the deformity (decor limi deformitatem) of the mind. 24.6.13



Perfection...is the model (optimorum forma) for prelates who wish to be worthy. 25.2.21



These remarks of mine are for simple persons who have not learned to distinguish between color and form (formam discernere non noverunt). 25.3.13



form (forma) refers to the shape of a thing, blackness is a color. 25.3.13



as they are turned (in eamdem imaginem transforentur) by the Spirit of the Lord into the image they reflect. 25.5.18



Though it involves the stigma of blackness, it is also in the pattern (forma et similitu) and the likeness of the Lord. 25.8.5



Even clad in my form (quam formosum et in mea forma), how beautiful you are, Lord Jesus! 25.9.22



but our spiritual affinity, our similar outlooks and harmony (morum conformitas) of temperaments, drew us more close still. 26.9.7



she strives to resemble (conformare vivendo) them in the way she lives. 27.4.20



We are dealing with only one of the curtains of my Solomon, but the one that surpasses all in the radiance of its multiform (multiformis gloriae) glory. 27.5.1



Their likeness makes (unam conformitas facit) them one, one now in their similar purpose, one hereafter in the same glory. 27.6.10



taking the form (formam servi) of a servant. 27.7.13



Hence she strives more and more to resemble (magis magisque conformari satagit formae) her who came from heaven. 27.7.6



She will never be ashamed of a condition that owes (caritas formet) its origin to charity. 28.1.3



he who surpasses all mankind in [form, speciosus forma] beauty. 28.2.12



I recognize here the image (denigratae formam naturae) of our sin-darkened nature. 28.2.22



he clothed (ad hoc induit formam) himself in my nature for this purpose. 28.3.13



Here we find both a model of voluntary obedience and an example (oboedientiae formam) of perseverence. 28.6.9



I still accommodate myself to your senses by bearing this form (formam servilem) of a servant which you are accustomed to seeing. 28.9.18



why wish to touch what is ugly (deformem)? Have patience that you may touch the beautiful (formosum). 28.10.27



the reward and the model (forma martyrii) of martyrs. 28.10.8



surpassing in beauty (speciosus forma) not only all mankind but even the angels. 28.10.13



Do not condemn me as repulsive (deformem). 28.13.11



now that I enjoy the fruit of my pain, seeing Christ formed (Christum formatum in sobole) in my offspring. 29.6.17



That vision is unchanging, because the form (quia forma stat) in which he will then be seen is unchanging. 31.1.10



all grow brighter and brighter as we are turned (transformemur) into the same image. 31.2.27



this immense variety of forms (formarum varietas)...what are they but rays emanating from the Godhead. 31.3.8



His face, though without form (formata), is the source of form (formans). 31.6.16



how he delights in transforming (transformari) himself from one charming guise to another in the beloved's presence. 31.7.26



even we shall see him as he is, in the form (in forma Dei) of God, no longer in shadow. 31.8.2



That is no mean shadow which is formed (de virtute Altissimi formatur) by the power of the Most High. 31.9.19



the presence of the Bridegroom dispensing his multiform (multiformis gratia) graces. 32.1.24



he will certainly meet the Word in the guise (forma sponsi) of a Bridegroom on whatever day he comes. 32.2.9



And the Word who comes to visit will be clothed in beauty, in every aspect (formam sponsi) a Bridegroom. 32.3.27



nor the image of God of a slave's condition (forma servi). 33.3.21



Active at all times, it [pestilence] retains the appearance (formam retinens pietatis) of piety as a mask to hide behind. 33.12.13



And you...will be transformed (in eamdem imaginem transformaris) into that same image with ever increasing brightness by the work of the Spirit of the Lord. 36.6.7



setting up (formans) for itself an image that does not represent him. 38.2.12



because of her partial deformity (deformitatem). 40.2.17



follow the advice and example (formam) of the Bridegroom [cf. Mt 6.6].



But the neck of the bride is so beautiful in itself, so exquisitely formed (natura formatum est) by nature. 41.1.15



My opinion is that they [images of earthly things] are formed (formari in nobis) in our imaginations by the inspirations of the holy angels. 41.3.27



there is a humility inspired (caritas format et inflammat) and inflamed by charity. 42.6.27



and so gave us the pattern (formam humilitatis) of humility. 42.7.18



since he himself has inspired and composed (formavit) them [bride's words] in a way befitting the praises of him whose Spirit he is.



he draws the inspiration and the insight (formam miserendi) to compassionate other men. 44.7.19



but to prepare (informare) the ears of her heart. 45.5.18



and him who surpasses men in beauty of form (speciosum forma). 45.6.2



How beautiful you appear to the angels, Lord Jesus, in the form (in forma Dei) of God. 45.9.9



He is the flower of the field, martyr and crown of martyrs, the exemplar (martyrii forma) of martyrdom. 47.5.15



he will transfigure (reformabit) these wretched bodies of ours into copies of his glorious body. 47.7.2



as the prophet proclaims him the fairest [form, forma] of the sons of men. 48.4.30



They shall be formed (formabuntur), and none among them left imperfect (informis). 49.7.3



an explicit (formatum) commandment has been given to men. 50.2.6



It [gaze of the Lord] conforms (conformari meritis singulorum) to each person's deserts. 57.2.15



being transformed (transformantur) into his likeness from splendor to splendor by the Spirit of the Lord. 57.11.17



This gold discolored itself, concealing the form (formam Dei) of God and displaying the form (formam servi) of a servant. 61.7.20



beholding the glory of the Lord, are being transformed (transformamur) into his likeness from one degree of glory to another. 62.5.19



We are transformed (transformamur) when we are conformed (conformamur) . 62.5.20



God forbid that a man presume to be conformed (Dei conformitas) to God in the glory of his majesty rather than in the modesty of his will. 62.5.21



This is the form (forma) he desires to see when he says to the Church, "Let me see your face," the form (forma pietatis et mansuetudinis) of love and gentleness. 62.5.24



transformed (transformata) into the very image of the brightness it beholds. 62.7.6



Where is the apostolic pattern (apostolica forma) of life of which you boast? 65.4.24



unless he is enlightened for this very purpose [to know what is in a man] by the Spirit of God or guided (angelica informatus industria) by angelic activity. 65.4.20



it is not to be attained by reason but by affections by conformity (conformitate). 67.8.1



beholding the glory of the Lord, are being changed (transformamur) into his likeness from glory into glory. 67.8.2



He alone is in your form (in forma tua), he alone did not think it robbery to be equal with you. 69.4.16



it is compelled by some affinity of nature to be conformed (conformari) to it, and be transformed (in eamdem imaginem tranformari) to its very image. 69.7.24



He is never without lilies...because he is always radiant and fairer [form, forma] than the children of men. 71.1.18



I am made one (conformer) as I am transformed (transformer). 71.5.15



the Savior whom we await, "who shall change (reformabit) the body of our lowliness to conform (configuratum) it to the body of his glory. 72.11.23



the type (formam) of that old earthly-minded race who are taught to labor for an earthly heritage [cf. Lk 15.25]. 73.2.21



he should not appear to us in the form (forma Dei) of God but in that form (in ea) wherein he was born as a little child. 73.4.19



going into heaven, that is, in the very form (corporis forma atque substantia) and substance of his body. 73.5.24



in the renewal (ex reformatione ac renovatione) and remaking of the spirit of my mind. 74.6.24



What is an angel or a soul without wisdom but a rough, shapeless (deformisque materia) mass? But with wisdom there is a splendor not only of form but (non modo formatus sed et formosus) of beauty. 74.10.26



he did not think it robbery to be equal with God, since he is in the form (in forma Dei) of God. 76.2.17



and to teach (instruant et informant) her the faith and counsel her in the ways of holiness and true religion. 76.7.14



But when, at the Creator's bidding, the Church appeared and was seen in visible and material form (in species formasque), she was not immediately perceived by any angels or men, because she was not recognize. 78.4.21



You see that his uprightness is indicated because he is in the form (in forma Dei) of God. 80.2.12



Likewise that of which the soul is the form (forma) has no form (forma), whereas its greatness is the form (forma animae) of the soul. It must be its form (forma) when it is inseparable from it. 80.5.20



The soul has not in fact put off its original form (nativam formam) but has put on one foreign to it. 82.2.19



Why do you imprint upon your soul a different form (alterma formam)-or rather deformity (deformitatem)? 82.4.30



and the splendor of your freedom has been swept away and replaced by the form (speciem forma servilis) of a slave. 82.4.7



So the soul returns and is converted to the Word to be reformed (reformandae) by him and conformed (conformandae) to him. 83.2.18



Such conformity (talis conformitas maritat) weds the soul to the Word. 83.3.21



What is lovelier than this conformity (conformitate iucundius)? 83.3.23



molded (reformetur) to wisdom, conformed (conformetur) to his likeness. 85.1.15



that we are conformed (reformari) to wisdom by the Word. 85.7.21



Happy is the mind which is protected by a taste for good and a hatred form evil, for this is what it means to be reformed (reformari ad sapientiam) to wisdom. 85.9.16



him who is lovelier [form, specioso forma] than all the sons of men. 85.10.1



the beauty of holiness and the brightness of innocence, by which it manifests its glorious likeness (conformitatem) not to the world but to the Word. 85.11.5



until Christ shall be formed (formetur Christus) in you. 85.12.24



+ The End +

1. This equation virtue = affliction is operative in some religious traditions colored by a sense of guilt (in recent times Roman Catholicism has been criticized for this). Although a person may rebel against this attitude, there can still remain in his or her unconsciousness a tendency to equate virtuous behavior with an inordinate sense of suffering.

2. The starting point for Origen, Gregory and Bernard is "...Christ Jesus, who, though he was in the form (morphe) of God, did not count equality with God a thing to be grasped." (Phil 2.6).

3. For example, refer to Notes on the Song of Songs which examines this book through the Hebrew verbal root system.

4. For the most part, the Latin and Greek words are left in their original transliterated forms.

5. I insert the references to Plato and Plotinus before those of Origen, Gregory and Bernard simply because these two philosophers antedate them.

6. The Dialogues of Plato translated by B. Jowett (New York, 1937 reprint), volumes One and Two.

7. Plotinus, translation by A.H. Armstrong (Cambridge, Ma, 1966), six volumes. Ennead I.6 is entitled "On Beauty," so there are numerous citations from this volume.

8. I make reference to Origen's use of the Latin noun, pulchritudo; the same applies to Bernard of Clairvaux.

9. Refer to numerous references of apokatastasis in a separate document in this Home Page.

10. References are from Nicene and Post-Nicene Fathers, volume V, 1972 reprint. Also included are the Great Catechism, On Virginity, On the Soul and the Resurrection, On the Making of Man and Against Eunomius. The printed edition of these works are divided into two columns; I refer to their respective pages and column numbers as "a" and "b."

11. Translation by Abraham Malherbe and Everett Ferguson (New York, 1978).