Invocations and the power of words.
Invocations and prayers are also much used in theurgical operations. But such invocations do not draw down the impassive and pure gods to this world; rather they purify those who employ them from their passions and impurity and exalt them to union with the pure and the divine.[1388] These prayers are symbolic, too. They do not appeal to human passions or reason, “for they are perfectly unknown and arcane and are alone known to the God whom they invoke.”[1389] In another passage[1390] Iamblichus replies to Porphyry’s objection that such prayers are often composed of meaningless words and names without signification by declaring—somewhat inconsistently with his previous assertion that these invocations are “perfectly unknown”—that some of the names “which we can scientifically analyze” comprehend “the whole divine essence, power and order.” Moreover, if translated into another language, they do not have exactly the same meaning, and even if they do, they no longer retain the same power as in the original tongue. We shall meet a similar passage concerning the power of words and divine names in the church father Origen who lived earlier in the third century than Porphyry and Iamblichus. Iamblichus concludes that “it is necessary that ancient prayers ... should be preserved invariably the same.”[1391]
Magic a human art: theurgy divine.
Neither Porphyry nor Iamblichus, I believe, employs the word, “magic,” but they both often allude to its practitioners and methods by such expressions as “jugglers” and “enchanters” or by contrasting what is done “artificially” or by means of art with theurgical operations. In the last case the distinction is between what on the one hand is regarded as a divine mystery or revelation and what on the other hand is looked upon as a mere human art and contrivance. And “nothing ... which is fashioned by human art is genuine and pure.”[1392] Christian writers drew a like distinction between prophecy or miracle and divination or magic. Sometimes, however, Iamblichus speaks of theurgy itself as an art, an involuntary admission of the close resemblance between its methods and those of magic. We are also told that if the theurgist makes a slip in his procedure, he thereby reduces it to the level of magic.[1393]
Magic’s abuse of nature’s forces.
Another distinction is that theurgy aims at communion with the gods while magic has to do rather with “the physical or corporeal powers of the universe.”[1394] Both Porphyry and Iamblichus believed that harmony, sympathy, and mutual attraction existed between the various objects in the universe, which Iamblichus asserted was one animal.[1395] Thus it is possible for man to draw distant things to himself or to unite them to, or separate them from, one another.[1396] But art may also use this force of sympathy between objects in an extreme and unseemly manner, and this disorderly forcing of nature, we are left to infer, constitutes an essential feature of magic, whose procedure is not truly natural or scientific.
Its evil character.
Magic not only disorders the law and harmony, and makes a perverse and contrary use of natural forces. Its practitioners are also represented as aiming at evil ends and as themselves of evil character.[1397] They may try by their illicit and impure procedure to have intercourse with the gods or with pure spirits, but they are unable to accomplish this. All that they succeed in doing is to secure the alliance of evil demons by associating with whom they become more depraved than ever. Such wicked demons may pose as angels of light by requiring that those who invoke them should be just or chaste, but afterwards they show their true colors by assisting in crimes and the gratification of lusts.[1398] It is they, too, who assuming the guise of superior spirits are responsible for the boastful and arrogant utterances of which Porphyry complained in persons supposed to be divinely inspired.[1399]
Its deceit and unreality.
Finally magic is unstable and fantastic. “The imaginations artificially produced by enchantment” are not real objects. Those who foretell the future by “standing on characters” are no theurgists, but employ a superficial, false, and deceptive procedure which can attract only evil demons.[1400] These demons are themselves deceitful and produce “fictitious images.”[1401] Porphyry in the Letter to Anebo also alluded to the frauds of “jugglers.” Although the attitude both of Porphyry and Iamblichus is thus professedly unfavorable to the magic arts, we find that one of Iamblichus’s disciples, named Sopater, was executed under Constantine on a charge of having charmed the winds.[1402]