Iamblichus: On the Mysteries · 54 of 218 · tr. Thomas Taylor
Chapter IX
What you afterwards say is as follows: “ That some of those who suffer a mental alienation, energize enthusiastically on hearing cymbals or drums, or a certain modulated sound, such as those who are Corybantically inspired, those who are possessed by Sabazius, and those who are inspired by the mother of the Gods .” It is necessary, therefore, to discuss the causes of these things, and to show how they are definitely produced. That music, therefore, is of a motive nature, 130 and is adapted to excite the affections, and that the melody of pipes produces or heals the disordered passions of the soul, changes the temperaments or dispositions of the body, and by some melodies causes a Bacchic fury, but by others occasions this fury to cease; and, 131 likewise, how the differences of these accord with the several dispositions of the soul, and 132 that an unstable and variable melody is adapted to ecstasies, such as are the melodies of Olympus, and others of the like kind; all these appear to me to be adduced in a way foreign to enthusiasm. For they are physical and human, and the work of our art; but nothing whatever of a divine nature in them presents itself to the view. We must rather, therefore, say, that sounds and melodies are appropriately consecrated to the Gods. There is, also, an alliance in these sounds and melodies to the proper orders and powers of the several Gods, to the motions in the universe itself, and to the harmonious sounds which proceed from the motions. Conformably, 133 therefore, to such like adaptations of melodies to the Gods, the Gods themselves become present. For there is not any thing which intercepts; so that whatever has but a casual similitude to, directly participates of, them . A perfect possession, likewise, immediately takes place, and a plenitude of a more excellent essence and power. Not that the body and the soul are in each other, and sympathize, and are copassive with the melodies; but because the inspiration of the Gods is not separated from divine harmony, but is originally adapted and allied to it, on this account it is participated by it in appropriate measures. Hence also, it is excited and restrained according to the several orders of the Gods. But this inspiration must by no means be called an ablation, purgation, or medicine. For it is not primarily implanted in us from a certain disease, or excess, or redundance; but the whole principle and participation of it are supernally derived from the Gods. Neither is it proper to say that the soul primarily consists of harmony and rythm. For thus enthusiasm would be adapted to the soul alone. It is better, therefore, to deny this, and to assert that the soul, before she gave herself to body, was an auditor of divine harmony; and that hence, when she proceeded into body, 134 and heard melodies of such a kind as especially preserve the divine vestigie of harmony, she embraced these, from them recollected divine harmony, and tends and is allied to it, and as much as possible participates of it. Hence the cause of divine divination may, after this manner, be assigned in common.
The Stoic and Plotinian doctrine that all parts of the cosmos are bound by hidden affinities, so that a movement in one part resonates through the whole; the metaphysical basis for astrology, magic, and divination.
The passage explicitly states that sounds and melodies are allied to the motions in the universe and that Gods become present through these harmonious adaptations.
Ecstatic irrational rapture — Plato's mania, Bruno's furore — by which the soul transcends ordinary reason and attains direct contact with divine reality; madness reframed as higher knowledge.
The passage centrally defines the state of those inspired by music or gods as an ecstatic 'enthusiasm' that transcends ordinary reason and participates in divine harmony.
The doctrine — central to Eastern Orthodox and Maximian theology — that the human person is progressively transformed into a partaker of the divine nature by grace, not merely justified or united in passing ecstasy.
The passage asserts that the soul participates in a more excellent essence and power through divine inspiration.
Iamblichean ritual practice that engages the gods directly through consecrated material symbols and actions, on the premise that divine power descends into properly prepared matter — distinct from philosophical contemplation alone.
The text discusses consecrated sounds and melodies that engage the Gods directly to produce possession and plenitude of power.