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Marsilio Ficino

Marsilio Ficino’s Platonic Theology, Volume II

Books V–VIII · Latin with an independent English translation

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Marsilio Ficino’s Platonic Theology, Volume IIBook VIII · Chapter 1 · § 1

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English Page · Branch 145 of 191

Book VIII · Chapter 1 · § 1

Latin

p. 284

Animus per quattuor gradus ascendit ad spiritum. Prima ratio.

Tertiam nunc disputationis partem aggrediemur, quae propositum nostrum ostendit per intelligendi virtutem, si prius exposuerimus quo pacto animus noster secundum Platonicorum sententiam per quattuor gradus cognoscendo a corpore ascendit ad spiritum, quorum est postremus intelligentia. Ascendit enim per sensum, imaginationem, phantasiam, intelligentiam. Per sensum quidem videt Socrates Platonem, ubi incorporale Platonis simulacrum absque Platonis materia attingit per oculos, ea tamen conditione, ut oculus Platonem non videat aliter quam corpore ipso Platonis praesente. Deinde etiam absente Platone per internam imaginationem Platonis cogitat colorem figuramque quam viderat, item Platonis suavem illam quam audiverat vocem et reliqua quae per quinque sensus acceperat. Surgitque huiusmodi imaginatio supra materiam magis quam sensus, tum quia, ut cogitet corpora, praesentia illorum non indiget, tum quia ipsa una facit quicquid quinque sensus omnes efficiunt. At enim non omnino pura est, quia nihil aliud sapit quam quod sensus accepit sive concepit. Sensus quidem circa corpora, imaginatio circa imagines corporum per sensus acceptas sive conceptas sese volutat. Paulo post Socrates per phantasiam de hoc universo Platonis simulacro, quod per quinque sensus imaginatio ipsa collegerat, sic incipit iudicare: Quis hic tam procero corpore, ampla fronte, latis humeris, colore candido, glaucis oculis, elato supercilio, naso aquilino, ore parvo, voce suavi? Plato hic est, homo pulcher, bonus, discipulus dilectissimus. Cernis quantum excellat imaginationem Socratis phantasia. Imaginatio ipsa talem quidem collegit Platonis effigiem, sed quem designaret et qualem effigies illa non novit. Phantasia iam discernit eam esse effigiem hominis huius qui Plato vocatur, effigiem pulchram viri boni atque amici. Ergo in his sensum aliquem habet iam substantiae, ut quidam putant, et pulchritudinis, bonitatisque et amicitiae. Platonici tamen substantiam a phantasia cognosci revera negant, quoniam rationem substantiae non agnoscat. Imaginatio neque substantiam rei suspicatur quidem, sed rei superficiem exterioremque picturam; phantasia substantiam saltem auguratur, dum pronuntiat: Obvius ille homo aliquis est, et Plato. Atque etiam res incorporales quodammodo somniare videtur, dum Platonem iudicat pulchrum, bonum, amicum, discipulum. Pulchritudo enim, bonitas, amicitia, disciplina incorporalia sunt neque sensibus neque imaginationi patentia. Huiusmodi quidam conceptus phantasiae incorporales quodammodo corporum intentiones vocantur.

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Marsilio Ficino’s Platonic Theology, Volume II: Book VIII

p. 285

The soul ascends through four stages to spirit. First argument.

We shall now enter the third part of the inquiry, which establishes our proposition from the power of understanding, provided that we first explain how, according to the Platonists, our soul rises in knowledge through four stages from body to spirit, the last of which is intelligence. It ascends through sensation, imagination, phantasy, and intelligence. Through sensation Socrates sees Plato: through his eyes he apprehends an incorporeal image of Plato apart from Plato’s matter, yet on this condition—that the eye cannot see Plato unless Plato’s own body is present. Then, even when Plato is absent, by inward imagination Socrates thinks of the color and figure he had seen, of the pleasant voice of Plato he had heard, and of all else he had received through the five senses. Imagination of this kind rises farther above matter than sensation does, both because it does not need bodies to be present in order to think of them and because it alone accomplishes what all five senses accomplish together. Yet it is not wholly pure, for it knows nothing except what sensation has received or conceived. Sensation is occupied with bodies, while imagination moves among images of bodies received or conceived through the senses. A little later, through phantasy, Socrates begins to judge the entire image of Plato which imagination itself had gathered through the five senses: ‘Who is this, so tall in body, broad in forehead and shoulders, fair in complexion, grey-eyed, with raised brow, aquiline nose, small mouth, and pleasant voice? This is Plato—a handsome and good man, a pupil most dear to me.’ You see how far Socrates’ phantasy surpasses his imagination. Imagination did indeed gather such an image of Plato, but it did not know whom or what manner of man the image represented. Phantasy now discerns that it is the image of this man called Plato: the handsome image of a good man and a friend. In these judgments phantasy already possesses some sense of substance, as some hold, and of beauty, goodness, and friendship. Yet the Platonists deny that phantasy truly knows substance, since it does not recognize the rational account of substance. Imagination does not even surmise the substance of a thing, but only its surface and outward picture; phantasy at least divines substance when it declares, ‘That figure approaching us is a man—and that man is Plato.’ It also seems in some manner to dream of incorporeal things when it judges Plato to be handsome, good, a friend, and a pupil. For beauty, goodness, friendship, and learning are incorporeal and lie open neither to sensation nor to imagination. Certain conceptions of phantasy are in a sense called incorporeal intentions of bodies.

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About This Reading Edition

Volume II continues Ficino’s inquiry into the immortality of the soul through Books V–VIII. Its arguments consider the rational soul’s self-motion, its relation to the body, sensation, and the powers of the mind. The Latin and independent English translation follow the supplied edition’s facing pages and matching comparison units.

Historical Text and Translation

The Latin reading text is independently established from the Florence 1482 editio princeps (M1482), collated against the Paris 1559 printing (G1559), with the Paris 1641 Opera used only as a late control. Abbreviations are expanded, spelling and punctuation are conservatively normalized, and consequential readings are recorded in the apparatus.

About Diotimos Editions

Diotimos Editions prepared this independent English translation in the voice established in Volume I, preserving Ficino’s argumentative sequence, metaphors, technical distinctions, repetitions, conditions, purposes, and qualifications. Editorial notes and witness variants accompany their passages as numbered notes. The edition and source statement, contents, and reading guidance are also retained. The source locator register remains available in the downloadable edition.

Rights

Ficino’s Latin source work is in the public domain. The 2026 English translation and Diotimos editorial matter are original to this edition and remain © 2026 Diotimos.