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Translated by W. Moore and H. A. Wilson
St Gregory of Nyssa Resources Online.Please note that a bilingual edition (Greek original / English translation) is being prepared and will be published in print soon; if you are interested bookmark this page to know when it is ready and available.
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53 Pages
Page 21
When she had finished, I hesitated a moment, and then said: I am not yet satisfied about the thing which we have been inquiring into; after all that has been said my mind is still in doubt; and I beg that our discussion may be allowed to revert to the same line of reasoning as before [1817] , omitting only that upon which we are thoroughly agreed. I say this, for I think that all but the most stubborn controversialists will have been sufficiently convinced by our debate not to consign the soul after the body's dissolution to annihilation and nonentity, nor to argue that because it differs substantially from the atoms it is impossible for it to exist anywhere in the universe; for, however much a being that is intellectual and immaterial may fail to coincide with these atoms, it is in no ways hindered (so far) from existing in them; and this belief of ours rests on two facts: firstly, on the soul's existing in our bodies in this present life, though fundamentally different from them: and secondly, on the fact that the Divine being, as our argument has shown, though distinctly something other than visible and material substances, nevertheless pervades each one amongst all existences, and by this penetration of the whole keeps the world in a state of being; so that following these analogies we need not think that the soul, either, is out of existence, when she passes from the world of forms to the Unseen. But how, I insisted, after the united whole of the atoms has assumed [1818] , owing to their mixing together, a form quite different--the form in fact with which the soul has been actually domesticated--by what mark, when this form, as we should have expected, is effaced along with the resolution of the atoms, shall the soul follow along (them), now that that familiar form ceases to persist?
She waited a moment and then said: Give me leave to invent a fanciful simile in order to illustrate the matter before us: even though that which I suppose may be outside the range of possibility. Grant it possible, then, in the art of painting not only to mix opposite colours, as painters are always doing, to represent a particular tint [1819] , but also to separate again this mixture and to restore to each of the colours its natural dye. If then white, or black, or red, or golden colour, or any other colour that has been mixed to form the given tint, were to be again separated from that union with another and remain by itself, we suppose that our artist will none the less remember the actual nature of that colour, and that in no case will he show forgetfulness, either of the red, for instance, or the black, if after having become quite a different colour by composition with each other they each return to their natural dye. We suppose, I say, that our artist remembers the manner of the mutual blending of these colours, and so knows what sort of colour was mixed with a given colour and what sort of colour was the result, and how, the other colour being ejected from the composition, (the original colour) in consequence of such release resumed its own peculiar hue; and, supposing it were required to produce the same result again by composition, the process will be all the easier from having been already practised in his previous work. Now, if reason can see any analogy in this simile, we must search the matter in hand by its light. Let the soul stand for this Art of the painter [1820] ; and let the natural atoms stand for the colours of his art; and let the mixture of that tint compounded of the various dyes, and the return of these to their native state (which we have been allowed to assume), represent respectively the concourse, and the separation of the atoms. Then, as we assume in the simile that the painter's Art tells him the actual dye of each colour, when it has returned after mixing to its proper hue, so that he has an exact knowledge of the red, and of the black, and of any other colour that went to form the required tint by a specific way of uniting with another kind--a knowledge which includes its appearance both in the mixture, and now when it is in its natural state, and in the future again, supposing all the colours were mixed over again in like fashion--so, we assert, does the soul know the natural peculiarities of those atoms whose concourse makes the frame of the body in which it has itself grown, even after the scattering of those atoms. However far from each other their natural propensity and their inherent forces of repulsion urge them, and debar each from mingling with its opposite, none the less will the soul be near each by its power of recognition, and will persistently cling to the familiar atoms, until their concourse after this division again takes place in the same way, for that fresh formation of the dissolved body which will properly be, and be called, resurrection.
[1817] The conclusion of which was drawn, 199 C. "Therefore the soul exists in the actual atoms which she has once animated, and there is no force to tear her away from her cohesion with them." It is to the line of reasoning (akolouthia) leading up to this conclusion that Gregory would revert, in order to question this conclusion. What both sides are agreed on is, the existence merely of the soul after death. All between this conclusion and the present break in the discussion has been a digression on the Passions and on Hades. Now Gregory asks, how can the soul possibly recognize the atoms that once belonged to her? Oehler therefore does not translate aright, "ich bitte nur den geführten Beweis...in derselben Folge zu wiederholen:" but Krabinger expresses the true sense, "ut rursus mihi ad eandem consequentiam reducatur oratio," i.e. the discussion (not the proof), which is here again, almost in Platonic fashion, personified.
[1818] has assumed, analabonton. The construction is accommodated to the sense, not the words; tes ton stoicheion henoseos having preceded.
[1819] tint, morphes. Certainly in earlier Greek morphe is strictly used of "form," "shape" (or the beauty of it) only, and colours cannot be said to be mixed in imitation of form. It seems we have here a late use of morphe as = "outward appearance"; so that we may even speak of the morphe of a colour, or combinations of colours. So (214 A) the painter "works up (on his palette) a particular tint of colour" (morphen). Here it is the particular hue, in person or picture, which it is desired to imitate. Akin to this question is that of the proper translation of pros ten homoioteta tou prokeimenou, which Sifanus and Krabinger translate "ad similitudinem argumenti," and which may either mean (1) "to make the analogy to the subject matter of our question as perfect as possible," i.e. as a parenthesis, or (2) "in imitation of the thing or colour (lying before the painter) to be copied." The last seems preferable ("to form the given tint").
[1820] graphikes technes.
Reference address : https://www.elpenor.org/nyssa/soul-resurrection.asp?pg=21
