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Iamblichus: On the Mysteries · 177 of 218 · tr. Thomas Taylor

Chapter VIIIq

On the contrary, divinely-inspired poets, as Hermeas well observes, knock, as it were, at the gates of the Muses, and thus being filled from thence exclaim, Εσπετε νυν μοι Μουσαι And, Μηνιν αειδε θεα— And, Ανδρα μοι εννεπε Μουσα . For being always extended to them, they dispose the whole of what they afterwards say as derived from their inspiring influence. With an arrogance too, peculiar to the Romans, who, as a certain Greek poet [163] says, were a people Beyond measure proud. He associates himself, in his fourth Eclogue, with the Muses, as their equal: Sicelides Musæ, paulo majora canamus. 359 Which reminds me of what Suetonius relates of Caligula, that he would place himself between the statues of Castor and Pollux, and confer privately with Jupiter Capitolinus, fancying that he was intimate with, and of equal dignity with, these divinities. And as to the poets that have lived since the fall of the Roman empire, it would be ridiculous to suppose that they possessed this highest enthusiasm, as they did not believe in the existence of the sources from whence it is alone genuinely derived. P. 67 . The attentive power of the soul. This is that part or power of the rational soul which primarily apprehends the operations of the senses. For the rational soul not only has intellect in capacity, the dianoetic power, will, and choice, but another power, which is called by the best of the Greek interpreters of Aristotle, as well as by Iamblichus, το προσεκτικον , the attentive . This power investigates and perceives whatever is transacted in man; and says, I understand, I think, I opine, I am angry, I desire. And, in short, this attentive part of the rational soul passes through all the rational, irrational, vegetable, or physical powers. If, therefore, it is requisite it should pass through all these powers, it will also proceed through the senses, and say, I see, I hear; for it is the peculiarity of that which apprehends energies thus to speak. Hence if it is the attentive power which says these things, it is this power which apprehends the energy of sensibles; for it is necessary that the nature which apprehends all things should be one, since man also is one. For if one part of it should apprehend these , and another those things, it is just, as Aristotle says, as if you should perceive this thing, and I that. It is necessary, therefore, that the attentive power should be one indivisible thing. P. 74 . For the human soul is on all sides darkened by body, which he who denominates the river of Negligence, or the water of Oblivion , &c.—— will not by such appellations sufficiently express its turpitude . “The whole of generation, as well as the human body,” says Proclus in Tim. lib. v. p. 339 , “may be called a river, through its rapid, impetuous, and unstable flux. Thus also in the Republic, Plato calls the whole genesiurgic nature the river of Lethe; in which are contained, as Empedocles says, Oblivion, and the meadow of Ate; the voracity of matter, and the light-hating world, as the Gods say; and the winding streams 360 under which many are drawn down, as the Chaldean oracles assert.” P. 105 .
Themes
Body As Obstacleanthropology

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

The text explicitly states that the human soul is 'on all sides darkened by body' and that the material world is 'light-hating'.

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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 light-hating world with divine divinity and describes the human soul as darkened by body.

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Divine Hiddennesstheology

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

The Muses are described as gates that must be knocked upon to access their divine influence.

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Divine Lighttheology

The uncreated luminous quality of the divine, sometimes experienced directly in mystical states; illumination as revelation.

The text references the 'light-hating world' and contrasts it with the divine sources from which inspiration is derived.

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Divine Madnesssoteriology

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 describes the 'highest enthusiasm' and 'ecstatic rapture' of poets who are divinely inspired to speak as equals with the Muses.

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Emanation Hierarchycosmology

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 references Muses and Gods as sources from which inspiration flows downward to poets.

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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 emphasizes that divinely-inspired poets derive their words directly from the Muses rather than through ordinary belief or capacity.

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Hidden Sayingssoteriology

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

The text notes that the highest enthusiasm is derived from sources not accessible to ordinary belief.

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Inner Lightanthropology

The divine spark or luminous quality residing within the human person, potentially recognisable through introspection.

The 'attentive power' of the soul is described as investigating and perceiving energies within man, implying an internal luminous capacity.

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Kingdom Withinanthropology

The claim that the divine realm is present inside the individual, accessible without external mediation.

The attentive power is said to pass through all rational and irrational powers within the human being.

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Living Godtheology

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

The text depicts the Muses and Gods as active, responsive divinities that poets can directly confer with or speak to.

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Meditationpraxis

Disciplined inward attention — sitting, focused, or open-awareness practice — as a stand-alone term that umbrellas active_contemplation, inner_silence, and dhyana-style sitting.

The 'attentive power' is described as investigating and perceiving energies within man through an inward process.

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Mystical Unionsoteriology

The merging of the individual soul or self with the divine, transcending personal identity.

The text describes poets being filled from the Muses and speaking as their equals, indicating a state of union with divine inspiration.

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Return To Sourcesoteriology

The soul's journey back to its divine origin, reversing the fall into matter through stages of purification or illumination.

The passage implies a return to the divine sources through inspiration rather than ordinary belief.

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Ritual Puritypraxis

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

The 'river of Negligence' or 'water of Oblivion' is used metaphorically to describe the state of the soul before inspiration.

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Self Knowledgesoteriology

The recognition of one's own true divine nature as the primary path to liberation; 'know thyself' as soteriology.

The attentive power investigates and perceives whatever is transacted in man, including emotions and desires.

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Separation From Sourcesoteriology

The felt condition of exile from one's divine origin — Rumi's reed flute torn from its bed, Plotinus's 'we have forgotten,' the Gnostic forgetfulness; the affective wound that complements return_to_source and gives the return its motive.

The human soul is described as 'darkened by body' and separated from the divine sources of inspiration.

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Spiritual Ascentpraxis

A staged journey of the soul upward through heavenly realms or levels of being toward the divine source.

The text describes poets knocking at the gates of the Muses to access higher divine influence.

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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 passage discusses the soul's capacity to be filled from the Muses and speak as an equal with divinities.

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Tripartite Soulanthropology

Division of the human being into three principles: spirit (pneuma), soul (psyche), and body/matter (hyle or soma).

The text distinguishes between the rational soul, its dianoetic power, will, and choice, and an additional attentive power that passes through all other powers.

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Related passages · 9 parallels
christian_mysticism|The Life and Doctrines of Jacob Boehme|Chapter 1 (part 11)
54 From this it appears that truly inspired writings are quite different from those produced by ordinary mediumship; because in the former instance the seer perceives the truths which he is to express, while in the latter case the medium is…”
Both passages discuss the nature of divine inspiration and the limitations of human understanding when trying to comprehend spiritual truths. They emphasize the need for a higher, spiritual state of consciousness to grasp these truths, and both acknowledge the influence of external factors that can obscure this understanding.
greek_mystery|Orphic Hymns|Hymn LXXV. THE MUSES (part 1)
LXXV. TO THE MUSES. The FUMIGATION from FRANKINCENSE. Daughters of Jove, dire-sounding and divine, 1 Renown'd Pierian, sweetly speaking Nine; p. 206 To those whose breasts your sacred furies fire Much-form'd, the objects of supreme desi…”
Both passages discuss the Muses and their role in inspiring poetry and divine knowledge. They share a common theme of the Muses as sources of divine inspiration and intellectual elevation, though they come from different traditions.
greek_mystery|Orphic Hymns|Hymn LXXV. THE MUSES (part 2)
207 fury arises from truth, and the amatorial from beauty; so the poetic proceeds from divine symmetry, by means of which it most intimately unites the poets with the Gods. Plato, in the Phædrus, speaking of this Fury, says that it is an o…”
Both passages discuss the concept of divine inspiration in poetry, emphasizing the role of the Muses and the idea of a higher power influencing the poet. They share the theme of the poet being a conduit for divine knowledge and the importance of the soul's receptivity to this inspiration.
greek_mystery|Orphic Hymns|Hymn LXXV. THE MUSES (part 3)
So in the poetic chain, it is requisite there should be something divine, which, through proper mediums, may connect the last to the first monad. This Fury Homer, as well as Plato, calls at one time in the plural number Muses, and at anoth…”
Both passages discuss the divine inspiration of poets and the role of the Muses. They explore the concept of divine influence on poetic creation and the hierarchy of poetic inspiration, showing a genuine conceptual parallel across different mystical traditions.
greek_mystery|Orphic Hymns|Hymn LXXV. THE MUSES (part 4)
Besides this, it teaches the circuits of the soul, its immortality and various powers; explains to mortals many names of an incorporeal nature, and produces many probable Dogmata respecting corporeal substance. The Athenian guest (in Plato…”
Both passages discuss the nature and role of poetry, particularly its connection to divine inspiration and the Muses. They explore the different kinds of poetry and their effects on the soul, showing a conceptual parallel in their mystical traditions.
platonism|Plato: Symposium|Section 1r
In the first place he is a poet (and here, like Eryximachus, I magnify my art), and he is also the source of poesy in others, which he could not be if he were not himself a poet. And at the touch of him every one becomes a poet, even thoug…”
Both passages discuss the divine inspiration of poets and the role of divine entities in creative processes. They share a theme of the divine influence on human creativity and the elevation of the human soul through this connection.
renaissance_hermeticism|The Heroic Enthusiasts, Part I (Gli Eroici Furori)|Third Dialoguea
. Tansillo . There are several varieties of enthusiasts, which may all be reduced to two kinds. While some only display blindness, stupidity, and irrational impetuosity, which tend towards savage madness, others by divine abstraction bec…”
Both passages discuss the concept of divine inspiration and the role of the soul in perceiving and interacting with the divine. They explore the idea of enthusiasts or inspired individuals who are elevated beyond ordinary human experience through their connection to the divine.
renaissance_hermeticism|The Heroic Enthusiasts, Part II (Gli Eroici Furori)|First Dialogued
You see, Cesarino, how this enthusiast is justified in his anger against those who reproach him with being in captivity to a low beauty, to which he dedicates his vows, and attributes these forms, so that he is deaf to those voices which ca…”
Both passages discuss the relationship between divine inspiration and human perception, emphasizing the role of higher powers in guiding human thought and action. They explore the idea of divine beauty and the aspirational nature of human love and creativity, though within different cultural and religious contexts.
renaissance_hermeticism|The Heroic Enthusiasts, Part II (Gli Eroici Furori)|Fourth Dialoguei
As he who looks aloft sometimes is overcome by the majesty.[AG] Besides, when he comes to penetrate the Divine species, he passes it like a ray. Whence say the theologians that the Divine word is more penetrating than sharp point of sword…”
Both passages explore the theme of divine inspiration and the limitations of human perception in encountering the divine. They discuss the profound impact of divine presence and the inadequacy of human faculties to fully comprehend or express it, though they do so within different cultural and theological contexts.