Enéadas (I)
- Idioma:
- inglés
- Estado:
- Obra completa
- Autoría:
- Escrita por el autor
- Estado del texto:
- Texto limpio · 1 pasajes ilegibles, excluidos de las respuestas
- Extensión:
- ~86.100 palabras · 409 pasajes
Cita esta obra
- APAPlotino. (n.d.). Enéadas (I). SigPhi. https://sigphiai.com/es/works/plotinus/plotinos-complete-works-v-1
- MLAPlotino. "Enéadas (I)." SigPhi, https://sigphiai.com/es/works/plotinus/plotinos-complete-works-v-1.
- ChicagoPlotino. Enéadas (I). SigPhi. https://sigphiai.com/es/works/plotinus/plotinos-complete-works-v-1.
De qué trata
El primer de los cuatro volúmenes de Plotino en la traducción de Kenneth Guthrie: la otra edición del corpus.
Contexto e historia
Plotino enseñó en Roma en el siglo III y no escribía para publicar; Porfirio, discípulo suyo, reunió sus escritos tras su muerte y los ordenó en seis grupos de nueve tratados —de ahí «Enéadas», «novenas»—, un orden que no es de Plotino. Su filosofía parte de Platón y lo lleva más lejos: del Uno, que está más allá del ser y del pensamiento, sale por emanación el Intelecto, y de este el Alma, y de esta el mundo sensible; el alma humana puede desandar el camino hacia arriba, y Porfirio dice que su maestro lo consiguió cuatro veces. De ahí sale todo el neoplatonismo, y por él pasan Agustín, Dionisio, los árabes, Ficino y el Renacimiento. AVISO AL LECTOR: en el catálogo hay DOS ediciones inglesas del mismo material, «Select Works of Plotinus» (traducción de Thomas Taylor) y los cuatro volúmenes de «Plotinos Complete Works» (traducción de Kenneth Guthrie), con traducciones y ordenaciones distintas; y «An Essay on the Beautiful» es la Enéada I.6, que está dentro de ambas. No es un error: son ediciones distintas del mismo autor. La cita debe decir siempre qué edición usa, y mejor si da también el número de Enéada y de tratado.
Contexto editorial, no una fuente citable: a diferencia de los pasajes de la obra, estos datos no se pueden comprobar contra el corpus.
By PORPHYRY. (_Written when about 70 years of age, see 23._) I. PLOTINOS, LIKE PORPHYRY, DESPISED HIS PHYSICAL NATURE, BUT A PICTURE OF HIM WAS SECURED. Plotinos the philosopher, who lived recently, seemed ashamed of having a body. Consequently he never spoke of his family or home (Lycopolis, now Syout, in the Thebaid, in Egypt). He never would permit anybody to perpetuate him in a portrait or statue. One day that Amelius[1] begged him to allow a painting to be made of him, he said, "Is it not enough for me to have to carry around this image[2], in which nature has enclosed us? Must I besides transmit to posterity the image of this image as worthy of attention?" As Amelius never succeeded in getting Plotinos to reconsider his refusal, and to consent to give a sitting, Amelius begged his friend Carterius, the most famous painter of those times, to attend Plotinos's lectures, which were free to all. By dint of gazing at Plotinos, Carterius so filled his own imagination with Plotinos's features that he succeeded in painting them from memory. By his advice, Amelius directed Carterius in these labors, so that this portrait was a very good likeness. All this occurred without the knowledge of Plotinos. II. SICKNESS AND DEATH OF PLOTINOS; HIS BIRTHDAY UNKNOWN. Plotinos was subject to chronic digestive disorders; nevertheless, he never was willing to take any remedies, on the plea that it was unworthy of a man of his age to relieve himself by such means. Neither did he ever take any of the then popular "wild animal remedy," because, said he, he did not even eat the flesh of domestic animals, let alone that of savage ones. He never bathed, contenting himself, with daily massage at home. But when at the period of the plague, which was most virulent,[3] the man who rubbed him died of it, he gave up the massage.…