¶ Here begins the first distinction, which concerns the figures. And first, concerning the first figure.

Decorative woodcut initial 'P' with foliage and floral motifs.

The first figure is established from nine principles, which are these: namely, goodness, greatness, eternity or duration, power, wisdom, will, virtue, truth, and glory or delight. So it is that in this figure, we describe goodness by B, greatness by C, eternity or duration by D, power by E, wisdom by F, will by G, virtue by H, truth by I, and glory or delight by K. Let us now come to the definition and declaration of these principles, and to the reasons why they are placed in this Art. And first, to goodness, in this manner:

¶ Concerning Goodness. B.

Decorative woodcut initial 'B' with floral designs.

Goodness is the being by reason of which that which is good acts well. And thus, "to be good" is "to be," and "to be evil" is "not to be" original: "bonum est esse et malum est non esse." In Llull’s philosophy, existence itself is a form of goodness; evil is viewed as a lack or negation of being.. Therefore, a good being, acting as a subject, is the principle of "being" itself, by reason of its own goodness and the goodness of that which is produced from it. So it is that goodness is the principle outside of which no "being" can be produced, so that all "being" is essentially good. Hence, just as one good thing is greater than another, there is one principle of good things and another of goodnesses, and so on by degrees up to the Supreme Good—which is the highest goodness itself, the supreme principle of all other goods and goodnesses, and of all other beings. Moreover, the Supreme Good is that which moves all other goods, as an end The "final cause" or goal toward which things strive. attracting to itself the agent, the form, and the matter; the agent, by reason of its goodness, moves the form toward a good end, and the form moves the matter toward the same; indeed, it is impossible for this end to exist outside of goodness. This Supreme Good is the end of its own goodness, and abounds in itself with such great goodness that it needs no external goodness.

¶ The reason why goodness is brought into this Art as one of its principles is this: so that through the conditions which goodness has by its own nature, and which it also influences in the other principles of this Art, and which it similarly holds by reason of those other principles, the practitioner original: "artista," meaning one who practices or studies Llull's Art. may investigate particulars and find a middle term The "middle term" is a logical bridge used to connect two ideas in a syllogism or argument.. For as some goodnesses differ according to the essential or accidental conditions they possess, they denote different types of goodness. And in the same way, one good thing has a way of denoting another.

¶ Concerning Greatness. C.

Decorative woodcut initial 'M' with ornate floral infill.

Greatness is that by reason of which goodness, eternity or duration, etc., are great, encompassing all the extremities of being. Therefore, outside of greatness there is no end for the agent, the form, or the matter, since the "end" is that which exists by reason of greatness. Therefore, greatness is a diffusive principle by reason of the end of the agent, form, and matter, since in the end itself greatness is greater than in the agent; and in the agent greater than in the form; and in the form greater than in the matter; and the same follows for the accidents of these subjects. Moreover, greatness is in itself only one principle and is considered as one being; nevertheless, there are many

distinct greatnesses in essence and nature. Wherefore one is greater than another, and one is of the same quality as another. And this occurs in diverse ways up to that Supreme Greatness which is the ultimate principle of all other greatnesses, being simply Greatness or a Great Being. Under this rule, the other greatnesses of other beings are ordered, existing as likenesses and images in which the human intellect contemplates the Supreme Greatness. For just as the intellect contemplates in the figure of the world's eternity The cosmos or the celestial spheres. an intense form as if it were infinite without quantity—which form is like the Supreme Greatness—so the intellect itself apprehends the higher greatness within the lower greatnesses. The reason why greatness is ordered as one principle of this Art is this: so that the practitioner can find a middle term pertaining to the principle by affirming or denying, always preserving that which is most similar to greatness or to the "greaterness" of the Supreme Greatness. For "greaterness" is the impression and assimilation of greatness in which the human intellect contemplates the Supreme Greatness and other greatnesses; hence, by reason of all the aforementioned, it is necessary for greatness to be one of the principles of this Art.

¶ Concerning Duration. D.

Decorative woodcut initial 'D' featuring scrolled floral patterns.

Duration is the persistence original: "perpetuitas," the quality of lasting or remaining. by reason of which goodness, greatness, power, etc., endure. Moreover, duration is understood in two ways: namely, without succession and in succession. Duration without succession is infinite, and this is Eternity, which is the principle of duration existing in succession. This [successive] duration is the figure of eternity, so that the human intellect may apprehend the form of eternity in it—which form actually exists without the succession of time and quantity, since successive duration is not of the essence of eternity, just as quantity is not of the essence of infinity. Moreover, this eternity is a principlizing principle original: "principium principians principiabile." A core Llullian concept where principles are active (principlizing) and produce effects (principlized). so that it does not exist idly, and also so that goodness, greatness, power, etc., do not stand idly within eternity itself. Hence it is manifest that eternity as a subject is the principle that acts as a principle, the act of principlizing, that which is produced as a principle, and that which is capable of being produced. This, however, is a "transcendent point" original: "punctus transcendens." A highly abstract or difficult concept that goes beyond everyday understanding. and is difficult for the intellect. Concerning these transcendent points, we intend to provide clarification in the third distinction, chapters 7, 8, and 11.

¶ The reason why eternity is one of the principles of this Art is this: because the practitioner, by knowing the conditions of eternity, also reaches the conditions of successive duration, just as one knows the effect through the cause, and vice versa. Hence the practitioner must regulate successive duration—as it tends toward its end—by that eternal duration, just as the incomplete is regulated by its completion. For through this relationship, the practitioner can find the middle terms appropriate to duration; the conditions of eternity itself will be declared in the third figure.

¶ Concerning Power. E.

Decorative woodcut initial 'P' with intricate line work and floral elements.

Power is that through which goodness, greatness, eternity, and so on, are able to exist and to act. Therefore, there is a difference between power The capacity or faculty. and being able The exercise of that capacity., just as there is between existing and acting. For "being able" is the act of power, just as "understanding" is the act of wisdom. And therefore power, by reason of acting, is the principle, while "being able" is that which is produced from it. And also when power exists as a subject actually capable, then there is "being able," and it is "possible." Therefore, the "possible" is a principle of being, passing from potentiality into actuality through habit...