Iamblichus: On the Mysteries · 174 of 218 · tr. Thomas Taylor
Chapter VIIIn
As, therefore, it is possible for the tyrannic life, when suddenly changed, to become aristocratic, through employing strenuous promptitude and a divine allotment, but the gradual ascent is from a tyrannic to a democratic, and from this to an oligarchic life, afterwards to a timocratic, and at last to an aristocratic life, but the descent and lapse are vice versa; thus also here, the soul being about to ascend, and be restored to its former felicity, is in the first place possessed with the musical mania, afterwards with the telestic, then with the prophetic, and, in the last place, with the amatory mania.
These inspirations, however; conspire with, and are in want of, each other; so abundant is their communion.
For the telestic requires the prophetic [159] mania; since the latter [160] interprets many things pertaining to the former.
And again, the prophetic requires the telestic mania.
For the telestic mania perfects and establishes oracular predictions.
Farther still, the prophetic uses the poetic and musical mania.
For prophets, as I may say, always speak in verse.
And again, the musical uses the prophetic mania spontaneously, as Plato says.
But what occasion is there to speak about the amatory and musical 355 manias?
For nearly the same persons exercise both these, as, for instance, Sappho, Anacreon, and the like, in consequence of these not being able to subsist without each other.
But it is very evident that the amatory mania contributes to all these, since it is subservient to enthusiasm of every kind: for no enthusiasm can be effected without amatory inspiration.
And you may see how Orpheus appears to have applied himself to all these, as being in want of, and adhering to, each other.
For we learn that he was most telestic, and most prophetic, and was excited by Apollo; and besides this, that he was most poetic, on which account he is said to have been the son of Calliope.
He was likewise most amatory, as he himself acknowledges to Musæus, extending to him divine goods, and rendering him perfect.
Hence he appears to have been possessed with all the manias, and this by a necessary consequence.
For there is an abundant union, conspiration, and alliance with each other, of the Gods who preside over these manias, viz.
of the Muses, Bacchus, Apollo, and Love.
“It remains, therefore, that we should unfold the nature of each of the manias, previously observing that those which are internal, and originate from the soul itself, and give perfection to it, are of one kind; but the external energies of them, and which preserve the outward man, and our nature, are of another.
The four external, however, are analogous to the four internal manias.
Let us consider, therefore, in the first place, the internal, and which alone originate from the soul itself, and let us see what they effect in the soul.
In order, likewise, that this may become manifest, and also their arrangement, let us survey from on high, the descent, as Plato says, and defluxion of the wings of the soul.
From the beginning, therefore, and at first, the soul was united to the Gods, and its unity to their one.
But afterwards the soul departing from this divine union descended into intellect, and no longer possessed real beings unitedly, and in one, but apprehended and surveyed them by simple projections, and, as it were, contacts of its intellect.
Themes
◆Alchemical Workpraxis
The transformation of base substance — outer matter or the inner soul — into a purified, perfected, or 'gold' state; the magnum opus as both laboratory practice and spiritual allegory.
The passage describes a staged transformation of the soul from tyrannic to aristocratic states, mirroring the alchemical process of purification and perfection.
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 text notes that inspirations 'conspire with, and are in want of, each other,' indicating a hidden affinity between divine states.
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 ascent as being possessed by specific manias like musical, telestic, and prophetic inspirations that perfect the soul.
A chain of divine beings or principles flowing downward from a single transcendent source (the One or the Father), each level less perfect than the one above.
The text outlines a descent from the divine union into intellect and then into lower levels of being, implying a hierarchical flow downward.
Diotima's staged ascent from love of beautiful bodies → beautiful souls → beautiful pursuits → beautiful knowledge → Beauty itself; the canonical scala amoris that grounds Plotinus's On the Beautiful and Bruno's Eroici Furori — distinct from generic spiritual_ascent in that eros is the specific motive force.
The ascent includes stages such as amatory mania and the union with Gods presiding over these states.