After this all-perfect comprehension of the first theory, we must deliver the modes according to which Plato teaches us mystic conceptions of divine natures. For he appears not to have pursued every where the same mode of doctrine about these; but sometimes according to a deific energy, and at other times dialectically, he evolves the truth concerning them. And sometimes he symbolically announces their ineffable peculiarities, but at other times he recurs to them from images, and discovers in them the primary causes of wholes. For in the Phædrus being inspired by the Nymphs, and having exchanged human intelligence for a better possession, fury, he unfolds with a divine mouth many arcane dogmas concerning the intellectual Gods, and many concerning the liberated rulers of the universe, who lead upwards the multitude of mundane Gods to the monads which are intelligible and separate from [mundane] wholes. But relating still more about those Gods who are allotted the world, he celebrates their intellections, and mundane fabrications, their unpolluted providence and government of souls, and whatever else Socrates delivers entheastically [or according to a divinely-inspired energy] in that dialogue, as he clearly asserts, ascribing at the same time this fury to the deities of the place. But in the Sophista, dialectically contending about being, and the separate hypostasis of _the one_ from beings, and doubting against those more ancient than himself, he shows how all beings are suspended from their cause, and the first being, but that being itself participates of the unity which is exempt from the whole of things, that it is a passive one, but not _the one_ itself, being subject to and united to _the one_, but not being that which is primarily one. In a similar manner too, in the Parmenides, he unfolds dialectically the progressions of being from _the one_, and the transcendency of _the one_, through the first hypotheses, and this, as he asserts in that dialogue, according to the most perfect division of this method. And again, in the Gorgias, he relates the fable concerning the three demiurgi [or fabricators] and their demiurgic allotment, which indeed is not only a fable, but a true narration. But in the Banquet, he speaks concerning the union of Love. And in the Protagoras, about the distribution of mortal animals from the Gods; in a symbolical manner concealing the truth respecting divine natures, and as far as to mere indication unfolding his mind to the most genuine of his hearers.