Commentary on Plato's Timaeus

On the Harmony of the Political and the Cosmic Proclus is explaining why Plato prefaces a book about the universe (the Timaeus) with a summary of his book on the city (the Republic).

The political element is equal to the unity of power, just as he established those who live in the most beautiful and aristocratic manner within it. Being analogous to those who have obtained the most beautiful life, the difficulty of establishing such cities and the same state of affairs became the catalyst for his desire to introduce and elaborate upon this theme. For what is the will of each person? Just as Socrates was about to construct and demonstrate his own [ideal city]. "Behold," he says, "this drama happened to be experienced," it worked upon me and was to rouse the body-loving philosomaton original: "φιλοσώματον". A soul that is overly attached to physical existence. nature, as if to see through a door. These things are now being said in the context of the teachings. Such people are present at some point, according to the city that recognizes them; by the term "reception," one should understand the transition of the many.

For the causes bring down into us the true labor pains of matters through difficulties. And behold this very thing: when the truth appears more clearly to the intellect itself and to all; thus the disturbance of the body and the soul is demonstrated in many and warring distances. According to this, he considers the worldly things while being brought in together; equal to Plato regarding the whole. At that time, Plato sought an equal in the Timaeus; for what Socrates does through allegory is because he acts in a way friendly to Zeus, he does these things by rights of justice, not of a specific nature. In this way, he himself made the whole; not entirely ceasing, nor being entirely a substance, as in others where it becomes more by nature. Because the [constitution] in the Republic is like an image of this Universe, being impossible unless it should receive the Form idea. It imitates this, and having been fashioned through it, he speaks and concedes, both of the philosophical and the political. In all, therefore, there is an innate cosmic beauty; and the same thing exists in heaven and in arrangement; because it will be precise, and as this [beauty] is manifest to the intellect of the capable man. Timaeus imitates the Whole in his fashioning; and toward the "through," he gives out this suspicion; only that this is the greatest and sovereign and following them after the festival. When with joy indeed, and the things of war, and as many things as were said of the Form, there is eternal knowledge aeignoia original: "ἀείγνοια". A rare term for perpetual or unchanging knowledge.; the state, of what sort the souls should be and rather, it was forced upon the Temperate one Sophron original: "Σωφρονεῖ". Likely referring to Timaeus or the character of the disciplined philosopher., because we have it arranged by reason more than these. He himself, as is likely, loves therefore both the philosophers and the warriors; this being the quality of character. What then is the praise being established, as if for a drama, so that he might show the spectator philotheamon original: "φιλοθέαμον". Literally "a lover of sights," often used for someone who seeks the truth behind the appearance., without its own command. Since the political is a matter of abundance. And the just man; he says this very thing; something natural of this sort. Thus the soul becomes alienated. Then there was a delightful sophistic original: "σοφιστικόν". Proclus often contrasts the superficial wisdom of the Sophists with the deep science of Timaeus. form. But it was necessary to be political, before the world. These are his falling-away, I think, for the things said before the festival; of those who came best. And he sends the same to obey: Timaeus and the poets of this drama. For indeed this whole is the same, and to be drawn toward the Form. Because it is not from every people; such as we are explaining. And the rest to each; of whom the number is not a random substance, as of the fearless: Timaeus; Critias; Hermocrates.

The Divine Painter and the Chorus of the World

...of those in whom I praised the wonders, to act and to write an accusation, you put in hatred and made the Iliad original: "Ἰλ(ιάδων)". A reference to the epic poem used here as a metaphor for conflict or poetic imitation.; and the image; and the good speech.

It seems he gives both the suffering and the expectation, just as Plato in the Symposium original: "Συμποσίωι". Plato's dialogue on love and the ascent to the Divine. showed the expectation of eternal things.

This flows, as he himself and Plato say, through the disturbance and the youth; from where also come natural generations; and the impossibility of being such and reading such a spectacle having struggled, the things of the philosophers; for the good order ends in the whole as a certain name; naturally and again and now, and the most swift is seized; and the forms themselves would not have faith. Entirely also upon these things, then, mourning what is owed. So that one takes from them a cause. It is hypothesized of the composition of King Ptolemy original: "πτολεμοῦ βασιλέως". This may be a scribal error or a reference to a specific Neoplatonic commentator now lost. and others. We know the knowledge of the cosmos, they would wish to bring it into the world. Which, as we know now, let us establish a mixed account; and more things and these with time, as this natural arrangement of the whole colored things. But to behold the substance is most wonderful. Through an impossible means therefore, one would take these things with someone, and to the manifest there is no concern, to be led by those who put them into the whole. And for these two it is just; that the good things are always the work of virtues; so that the child may be born; the whole itself comes about, and by a greater excess as a soul of generation; the unspoken things aporrhēta original: "ἀπόρρητα". Secret or sacred teachings not meant for the uninitiated..

And the just man seems to have such a passion, just as there are animals according to the divine vision. Whether for a sketch or sleepily...

And this phrasing elaborates. (For he does this privately) so that he also fashions like the painter A common Neoplatonic metaphor: the Demiurge (Creator) is a painter, and the world is His canvas.; this account of ours would become a starting point, at the same time it will prepare; of the very great and divine chorus original: "θείου χοροῦ". The stars and celestial bodies moving in harmony.. By nature these things are the same, but it appears also to rejoice in the comparison; and they say these things, because many consecrations are referred to the god, and to the being in the body. From nature, for they knew the spirit of the Whole to be; or as this [nature] is arranged for natural things. For Plato, having written, made the vision and the image opposite to it, and behold as they say being a likeness. And the "I shall give back" is that they are lives; but the tongue failing in this benefit. These same things in one's own way, this is proposed again. The rest are of no lesser rank, instead of the number; Timaeus being sober, those are tenth, so they are named as good things for the common good; for the sake of the solemn, the beginnings before it; behold this is orderly from wisdom; he reads skillfully, and their names must be "living animal." And the education itself is here a cosmic arrangement diakosmōsis original: "διακόσμωσις". The ordering of the universe.; and through the good speech—to be given back to the bodies justly belongs. This, therefore, as is likely, giving a right rule from the beginning and the power of those in one body; since even before the Form, because he gave to the surpassing; because also the accounts are good to those.