Iamblichus: On the Mysteries · 78 of 218 · tr. Thomas Taylor

Chapter XXIX

Why, therefore, does the maker of images, who effects these things, desert himself, though he is better than these images, and consists of 195 things of a more excellent nature, and confide in inanimate idols, which are inspired with the representation alone of life, contain a renovated harmony, and which is externally multiform, and are in reality diurnal? Shall we say that something genuine and true is inherent in them? Nothing, however, which is fashioned by human art is genuine and pure. But you will say, that simplicity and uniformity of energy predominate in the whole of their composition. This is very far from being the case. For the idol, according to its visible composition, is mingled from all-various and contrary qualities. Shall we say then, that a certain pure and perfect power is manifest in them? By no means. For a thing of this kind possesses an adventitious multitude of effluxions, collected from many places, and which shows itself to be imbecile and evanescent. But if these particulars, which we have enumerated, are not found to take place in images, is stability present with them, as it is said to be [by the patrons of these images]? By no means, likewise, is this the case. For these idols are extinguished with much greater rapidity than the images which are seen in mirrors. For they are immediately formed by the accession of fumigations from exhaling vapours; but when the fumigation is mingled with, and diffused through, 196 the whole air, then the idol is likewise immediately dissolved, and is not naturally adapted to remain for the smallest portion of time. Why, therefore, should the man who is a lover of truth, pay attention to these useless delusions? I, indeed, do not think them to be of any value. For if the makers of these images know that the fictions about which they are busily employed, are nothing more than the formations of passive matter, the evil arising from an attention to them will be simple. But in addition to this, these idol-makers are similar to the images in which they confide. And if they pay attention to these idols as if they were Gods, the absurdity will be so great, as neither to be effable by words, nor to be endured in deeds. For a certain divine splendour never illuminates a soul of this kind, because it is not adapted to be imparted to things which are entirely repugnant to it; neither have those things which are detained by dark phantasms a place for its reception. This delusive formation, therefore, of phantasms, will be conversant with shadows, which are very remote from the truth. 197

Themes

◆Body As Obstacleanthropology

The material body viewed as a prison, tomb, or source of error that hinders spiritual knowledge and return.

The passage argues that attention to material idols hinders the soul's reception of divine splendour.

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◆Cosmic Dualismtheology

Ontological opposition between two primal principles (light/darkness, truth/lie, spirit/matter) as the fundamental structure of reality.

The text contrasts the 'genuine and true' divine nature with the 'contrary qualities' and 'repugnant' material idols.

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◆Divine Hiddennesstheology

The supreme God's radical concealment beyond ordinary knowledge or perception; the Hidden Father.

The divine splendour is described as never illuminating a soul adapted to repugnant things.

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◆Evil As Privationtheology

Augustinian and Plotinian doctrine that evil has no positive being of its own but is a lack, distortion, or absence of the good — denying ontological dualism while preserving moral seriousness.

Material idols are characterized as 'imbecile and evanescent' lacking genuine truth or stability.

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◆Gnosis Direct Knowledgesoteriology

Salvation through direct experiential knowledge of the divine nature, not through faith, ritual, or moral works alone.

The passage advocates for a lover of truth who pays attention to genuine reality rather than delusions.

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◆Hidden Sayingssoteriology

Esoteric teachings reserved for those ready to receive them; outer meaning conceals an inner liberating truth.

The text implies that the true nature of the divine is concealed within idols and not manifest in their outward forms.

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◆Living Godtheology

The divine conceived as active, present, and dynamic—not an abstract principle but a personal responsive reality.

The passage contrasts the 'genuine and true' divine nature with inert idols that are extinguished rapidly.

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◆Paradox As Teachingethics

Using apparent contradiction, reversal, or riddle to destabilise ordinary understanding and induce insight.

The author uses apparent contradictions to destabilize ordinary understanding regarding idols and truth.

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◆Pneumatic Electsoteriology

A spiritual elite who possess the divine spark and are predestined for salvation, contrasted with psychic (faithful) and hylic (material) persons.

A distinction is drawn between the maker of images and those who pay attention to them.

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◆Ritual Firepraxis

Fire as medium of divine presence.

Fumigations from exhaling vapours are mentioned as a component in forming the idols.

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◆Ritual Puritypraxis

The maintenance of a state of cleanliness—physical, moral, or spiritual—required for encounter with the divine.

The passage emphasizes that genuine truth is inherent only in things of pure nature, contrasting with fashioned art.

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◆Theosis Deificationsoteriology

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 maker is depicted as consisting of 'things of a more excellent nature' than the material idols he creates.

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