_Theurgy and the Soul_ is a study of Iamblichus of Syria, whose teachings set the final form of pagan spirituality prior to the Christianization of the Roman Empire. Gregory Shaw focuses on the theory and practice of theurgy, the most controversial and significant aspect of Iamblichus's Platonism. Theurgy literally means "divine action." Unlike previous Platonists who stressed the elevated status of the human soul, Iamblichus taught that the soul descended completely into the body and thereby required the performance (...) of theurgic rites—revealed by the gods—to unite the soul with the One. Iamblichus was once considered one of the great philosophers whose views on the soul and the importance of ritual profoundly influenced subsequent Platonists such as Proclus and Damascius. The Emperor Julian followed Iamblichus's teachings to guide the restoration of traditional pagan cults in his campaign against Christianity. Although Julian was unsuccessful, Iamblichus's ideas persisted well into the Middle Ages and beyond. His vision of a hierarchical cosmos united by divine ritual became the dominant world view for the entire medieval world and played an important role in the Renaissance Platonism of Marsilio Ficino. Even Ralph Waldo Emerson wrote that he expected a reading of Iamblichus to cause a "revival in the churches." But modern scholars have dismissed him, seeing theurgy as ritual magic or "manipulation of the gods." Shaw, however, shows that theurgy was a subtle and intellectually sophisticated attempt to apply Platonic and Pythagorean teachings to the full expression of human existence in the material world. (shrink)

Mysticism, theurgy, non-philosophy: this text will experiment with the three in an attempt to perform a non-philosophical hijacking of so-called theurgy. I will experiment with a comparison between Iamblichus' theurgy, Laruelle's non-philosophy, and the notion of the Vision-in-One. I claim their point of convergence is their allegiances to the theory of the One, derived from Plato's Unwritten Doctrines. The ancient notion of the One is subject to a similar procedural gesture in both Iamblichus and Laruelle, namely, the (...) procession of the One from the noematic to the aesthetic realm. What connects them is their rejection of the theory that the soul's descension from the One to the visible realm represents a degeneration of the Nous. In a concept akin to the very idea of theurgy, Laruelle proposes his Vision-in-One, which is to think from the One rather than the One. The Vision-in-One is an attempt to materialize the disembodied fate of the noema against realistic skepticism. (shrink)

Theurgy was a system of magical practices in the late Roman Empire. It was applied Neoplatonism. The theurgists aimed to enable human bodies to assume divine attributes, that is, to become deities. I aim to show that much of the structure of theurgical Neoplatonism appears in transhumanism. Theurgists and transhumanists share a core Platonic-Pythagorean metaphysics. They share goals and methods. The theurgists practiced astrology, the reading of entrails, the consultation of oracles, channeling deities, magic, and the animation of statues. (...) The transhumanist counterparts of those practices are genetics, self-tracking with biosensors, artificial intellects like Google and Siri, brain-computer interfaces, programming, and robotics. Transhumanist techno-theurgy shows how Neoplatonism can be a modern philosophical way of life. (shrink)

Originally presented as the author's thesis, Cologne, 1989.

Theurgy, the ritual practice intended to free the descended soul from the body, has been considered an irrational and hence uninteresting part of late Neoplatonism. In this chapter, the author vindicates theurgy by showing that for Proclus there is an intimate relation between philosophy and theurgy. More specifically, he discusses the relevance of theurgy in Proclus’ metaphysics of causation, psychology, theology, and ethics. Theurgical symbols work because they are in fact low immanent forms. We need them, (...) because our souls are entirely descended, and theurgical excellence is the highest virtue. After a discussion of the role of theurgy in Proclus’ reading of the myth of the winged charioteer, the limits of theurgy, and the theurgical practices of purifying the soul from the body and of contemplation, the author ends with a short discussion of hymns as ‘theurgy in action’. (shrink)

Oracles and philosophy -- Oracles, allegory and mystery cults -- Debating oracles: pagan and Christian perspectives -- Debating oracles: Porphyry's letter to Anebo and Iamblichus' De mysteriis -- Divination, rationality and ritual in neoplatonism -- Divination inspiration, possession and contact with the gods in Iamblichus' De mysteriis -- Divination and theurgy in Iamblichus' De mysteriis -- Manifesting the gods: oracles as symbola.

The paper argues that Nikolai Berdyaev’s doctrine of theurgy has remained relevant in today’s cultural-historical context because it highlights a continuing problem in the philosophy of art. The problem is the misunderstanding of the ludic nature of art, its role in the evolution of consciousness and transformation of reality. The author questions the idea that artistic play is deficient compared with religious expression. As a result of this critique, he proposes that the theurgic quest for a radically new form (...) of creativity was misguided and that the true meaning of the aspiration behind it is the need to comprehend culture as a dialectically articulated integral system of the cultural forms that constitute it. (shrink)

An issue which plainly exercised the thoughts of many intellectuals in the late antique world was that of man's relation to the gods, and specifically the problems of the mode of interaction between the human and divine planes of existence. Once one accepted, as anyone with any philosophical training did, that God, or the gods, were not subject to passions, and that, as not only Stoics but also Platonists, at least after the time of Plotinus, believed, the world-order was (either (...) entirely or very largely) determined as a product of God's providence, it became a serious problem as to how precisely one could influence the gods, or the course of events, by one's prayers or sacrifices. And yet efforts to do this, on both the popular and the official level, continued unabated. What was the proper attitude for a Platonist philosopher to take up? This is very much the subject of the well-known controversy between Plotinus' pupil Porphyry and his own pupil Iamblichus which manifests itself in the exchange of public letters known as The Letter to Anebo and The Reply of the Master Abammon to the Letter of Porphyry to Anebo (popularly known, since Marsilio Ficino conferred this title upon it, as De Mysteriis Aegyptiorum). The present article involves a close and sympathetic study of Iamblichus' position in defence of theurgy, reflecting on the validity of the distinction between religion and magic. (shrink)

Theurgy, the religious magic practised by the later Neoplatonists, has been commonly regarded as the point at which Neoplatonism degenerates into magic, superstition and irrationalism.1 A superficial glance at the ancient lives of the Neoplatonists, and in particular at Eunapius’ Lives of the Sophists, reveals a group of people interested in animating statues, favoured with visions of gods and demons, and skilled in rain-making. But when we look more closely at the works of the Neoplatonists themselves, rather than the (...) stories biographers tell about them, we find a considerable diversity of attitudes towards theurgy and a number of attempts to fit theurgy into their philosophical system. (shrink)

The origins and meaning of philosophy -- Voices of the fire : ancient theurgy and its tools -- Sacred images and animated statues in antiquity -- Metaphysical symbols and their function in theurgy -- Divine rites and philosophy in neoplatonism.

Theurgy, the religious magic practised by the later Neoplatonists, has been commonly regarded as the point at which Neoplatonism degenerates into magic, superstition and irrationalism.1 A superficial glance at the ancient lives of the Neoplatonists, and in particular at Eunapius’ Lives of the Sophists, reveals a group of people interested in animating statues, favoured with visions of gods and demons, and skilled in rain-making. But when we look more closely at the works of the Neoplatonists themselves, rather than the (...) stories biographers tell about them, we find a considerable diversity of attitudes towards theurgy and a number of attempts to fit theurgy into their philosophical system. (shrink)

The gods that guard the poles have been assigned the function of assembling the separate and unifying the manifold members of the whole, while those appointed to the axes keep the circuits in everlasting revolution around and around. And if I may add my own conceit, the centers and poles of all the spheres symbolize the wry-necked gods by imitating the mysterious union and synthesis which they effect; the axes represent the connectors of all the cosmic orders … and the (...) very spheres are likenesses of the perfecting divinities … 1 Proclus’s Commentary on the First Book of Euclid’s Elements contains one of the most important discussions of the nature of mathematical objects and preserves a wealth of historical information about mathematics from antiquity. However, large sections of the text have been neglected by scholars since the text’s first publication in the sixteenth century. Proclus expounds at length on correspondences between mathematical objects and the gods. At times he uses the language of “theurgy,” the ritual practices that later Neoplatonists insisted were necessary for the human soul to ascend to the intelligibles. The contention of this article is that the Commentary, taken as a whole, concerns the practice of “inner theurgy,” mental rituals used by advanced students to raise the soul beyond its assigned bounds. This practice can be traced back to Plotinus and the very beginnings of Neoplatonism; however, the particular methods presented by Proclus are his own development. This interpretation of the Commentary is supported by Proclus’s works Commentary on the Parmenides and Platonic Theology. Parts of the Commentary that have been studied carefully by modern scholars, especially the theory of the mathematical phantasia or imagination, will be shown to be crucial elements in Proclus’s theory and practice of inner theurgy. (shrink)

The essays in Practicing Gnosis demonstrate that the Gnostics were not necessarily trendy intellectuals seeking epistomological certainities. Instead, this book explores how Gnostics were seeking religious experiences that relied on practices including ritual, magic, liturgy, and theurgy. This book celebrates the career of Birger A. Pearson.

In this article, we want to analyse the principal characteristics of three faculties of the soul in Proclus’ work : discursive thinking, contemplation and theurgic practice. We will then establish links between these faculties and the process of purification, divided into philosophical, dialectic and telestic types. We will then analyse these types of purification in relation with three metaphors exploited by Proclus : the naked soul, the flower of the intellect, and silence. The goal of this article consists in proving (...) that dianoia (discursive thinking), even if it has to be overcome by other faculties (contemplation and theurgic practice), still operates implicitly in the process of assimilation to the One. In other words, contemplation and theurgic practice are not a substitute for rational thinking, but rather its ultimate achievement. (shrink)

This simple and informal approach to the study of philosophy offers a straightforward explanation and interpretation of the seven departments of philosophy: Metaphysics, the Nature of Being and of God; Logic, the Rule of Reason: Ethics, the Code of Conduct: Psychology, the Science of the Soul; Epistemology, the Nature of Knowledge: Esthetics, the Urge to Beauty; and Theurgy, the Living of Wisdom.

The paper is devoted to the analysis of theurgic aesthetics in relation to the concept of utopia that initiates a different understanding of the philosophy of the Russian diaspora representatives through the prism of utopian theurgy of beauty and art. Introducing the idea of utopian theurgy of beauty and art the authors emphasize its meaningful, axiological component. The authors interpret the utopian theurgy of beauty and art in the Russian diaspora philosophy of the first third of the (...) 20th century as an aesthetically mystical experience of the imperfection of human earthly existence that causes a gap with socio-historical reality with direct co-existence of the creative individual with God who is considered to be the true Beauty, the cosmic Harmony, and the universal Love. The meaning of the utopian theurgy of beauty and art is in achieving the goal of possible union with the deity, as well as in affirming persons actions as a co-creator of the world process. The utopian theurgy of beauty and art of an optimistic nature, associated with the light of hope directed to the transformation of earthly existence is reflected in N.S. Arsenyev's idea of spiritual joy achievable in the mystical experience of "longing for Beauty in God"; in B.P. Vysheslavtsev's reflections about the artistic and creative embodiment of eros as thirst, the birth of the God-Man in beauty, as well as in I.A. Ilyin's philosophy, in which, despite disappointments in social changes, the faith in art as the Mystery, as "a service and a joy" always following sacred traditions is preserved. The aesthetic and pessimistic foundations of utopian theurgy are realized in the aesthetic views of V.V. Weidle, according to which art has lost its orientation to high objective spirituality; in S.L. Frank's idea of unrealized Beauty as a dream of the ultimate transformation of the world that is opposed by the bitter reality of the split of being; as well as in the philosophy of N.A. Berdyaev, who postulates the tragedy of earthly existence caused by the unattainability of the full realization of the cosmic Beauty that considers as the goal of the world process. N.O. Lossky's metaphysics, intuitionism and value system are of particular importance, as the utopian theurgy of beauty and art consists in the following: there always remains a share of the absolute truth in art that is the world of illusions and artists imagination; the absolute value of beauty universally valid for all substantial personalities is affirmed. (shrink)

The philosophy of Henry More was deeply indebted to the philosophical tradition of late antiquity. His metaphysics, clearly inspired by the magnificent synthesis of Plato, Plotinus and the later Platonists operated in the fifteenth century by Marsilio Ficino, relied on the continuity of being between Spirit and Matter, which also justified the presence of daemons and disembodied souls within the natural world. However, More fiercely criticised all forms of religious worship in which dii medioxumi were regarded as a mean to (...) rejoin with God, including theurgy, or philosophical magic. Theurgy, which was aimed at purifying the soul and reuniting it with the divine, had a central place in the works of the Platonists who followed Plotinus. Intriguingly, More accepted the theoretical premises of theurgy, i.e., the ontological continuity between the natural and the divine worlds, but condemned its practice, which involved the deification of daemons and minor gods. This criticism can be fully understood only if looked at within the context of More’s iconoclastic polemic against the Roman Catholics. (shrink)