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Theurgy: Theory and Practice. The Mysteries of the Ascent to the Divine
Connects the magical practice of theurgy to the time of Homer
• Explores the many theurgic themes and events in the Odyssey and the Iliad
• Analyzes the writings of Neoplatonists Porphyry and Proclus, showing how both describe the technical ritual praxis of theurgy in Homeric terms
• Examines the methods of telestikē, a form of theurgic statue animation and technique to divinize the soul, and how theurgy is akin to shamanic soul flight
First defined by the second century Chaldean Oracles , theurgy is an ancient magic practice whereby practitioners divinized the soul and achieved mystical union with a deity, the Demiurge, or the One.
In this detailed study, P. D. Newman pushes the roots of theurgy all the way back before the time of Homer. He shows how the Chaldean Oracles were not only written in Homeric Greek but also in dactylic hexameter, the same meter as the epics of Homer. Linking the Greek shamanic practices of the late Archaic period with the theurgic rites of late antiquity, the author explains how both anabasis , soul ascent, and katabasis , soul descent, can be considered varieties of shamanic soul flight and how these practices existed in ancient Greek culture prior to the influx of shamanic influence from Thrace and the Hyperborean North.
The author explores the many theurgic themes and symbolic events in the Odyssey and the Iliad , including the famous journey of Odysseus to Hades and the incident of the funeral pyre of Patroclus. He presents a close analysis of On the Cave of the Nymphs , Porphyry’s commentary on Homer’s Odyssey, as well as a detailed look at Proclus’s symbolic reading of Homer’s Iliad , showing how both of these Neoplatonists describe the philosophical theory and the technical ritual praxis of theurgy. Using the Chaldean Oracles as a case study, Newman examines in detail the methods of telestikē , a form of theurgic statue animation, linking this practice to ancient Egyptian and Greek traditions as well as theurgic techniques to divinize the soul.
Revealing how the theurgic arts are far older than the second century, Newman’s study not only examines the philosophical theory of theurgy but also the actual ritual practices of the theurgists, as described in their own words.
• Explores the many theurgic themes and events in the Odyssey and the Iliad
• Analyzes the writings of Neoplatonists Porphyry and Proclus, showing how both describe the technical ritual praxis of theurgy in Homeric terms
• Examines the methods of telestikē, a form of theurgic statue animation and technique to divinize the soul, and how theurgy is akin to shamanic soul flight
First defined by the second century Chaldean Oracles , theurgy is an ancient magic practice whereby practitioners divinized the soul and achieved mystical union with a deity, the Demiurge, or the One.
In this detailed study, P. D. Newman pushes the roots of theurgy all the way back before the time of Homer. He shows how the Chaldean Oracles were not only written in Homeric Greek but also in dactylic hexameter, the same meter as the epics of Homer. Linking the Greek shamanic practices of the late Archaic period with the theurgic rites of late antiquity, the author explains how both anabasis , soul ascent, and katabasis , soul descent, can be considered varieties of shamanic soul flight and how these practices existed in ancient Greek culture prior to the influx of shamanic influence from Thrace and the Hyperborean North.
The author explores the many theurgic themes and symbolic events in the Odyssey and the Iliad , including the famous journey of Odysseus to Hades and the incident of the funeral pyre of Patroclus. He presents a close analysis of On the Cave of the Nymphs , Porphyry’s commentary on Homer’s Odyssey, as well as a detailed look at Proclus’s symbolic reading of Homer’s Iliad , showing how both of these Neoplatonists describe the philosophical theory and the technical ritual praxis of theurgy. Using the Chaldean Oracles as a case study, Newman examines in detail the methods of telestikē , a form of theurgic statue animation, linking this practice to ancient Egyptian and Greek traditions as well as theurgic techniques to divinize the soul.
Revealing how the theurgic arts are far older than the second century, Newman’s study not only examines the philosophical theory of theurgy but also the actual ritual practices of the theurgists, as described in their own words.
224 pages, Hardcover
Published December 5, 2024
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Displaying 1 - 8 of 8 reviews
September 29, 2024
In Theurgy: Theory and Practice, P. D. Newman sets out to redefine the accepted historical trajectory of theurgy, tracing its roots far beyond the Chaldean Oracles of the second century and positioning it firmly within the framework of Homeric tradition. Through meticulous research and innovative interpretation, Newman draws a clear line connecting the esoteric practices of the ancient Greek world with the later Neoplatonic traditions, offering an eye-opening study that recontextualizes the origins of Western esotericism.
Newman’s approach is both ambitious and compelling. The book opens by exploring the linguistic and metrical commonalities between the Chaldean Oracles and Homer’s Odyssey and Iliad. By emphasizing that the Oracles were composed in dactylic hexameter—the same meter employed by Homer—Newman establishes a crucial link between the mystical poetry of the Chaldeans and the epic storytelling of the Homeric age. This insight alone is groundbreaking, suggesting that the theurgical practices of soul ascent (anabasis) and descent (katabasis) described in the Oracles might not have been foreign imports into Greek culture, but rather deeply rooted in its own indigenous shamanic traditions.
The central premise of Theurgy hinges on the idea that the ritual techniques and mystical symbolism embedded within Homer’s works predate—and directly influenced—the later theurgical practices of figures like Porphyry and Proclus. Newman meticulously deconstructs key scenes from the Odyssey and Iliad, such as Odysseus’s journey to the Underworld and the funerary rites for Patroclus, presenting them not just as literary devices, but as reflections of ancient Greek spiritual practices aimed at achieving communion with the divine. His readings of these texts are nuanced and insightful, shedding new light on elements that have often been dismissed as purely narrative.
The book’s treatment of On the Cave of the Nymphs by Porphyry and Proclus’s symbolic commentary on the Iliad further bolsters Newman’s argument. By dissecting these Neoplatonic texts through a Homeric lens, Newman shows how theurgy’s emphasis on ritual and the ascent of the soul was, in fact, a continuation of a much older Greek tradition. He reveals how the rituals described by Porphyry and Proclus—often seen as later innovations—were deeply informed by Homeric models of interaction with the divine. This continuity suggests that theurgy’s roots are not in foreign mysticism, but in the very heart of Greek religious and poetic culture.
One of the standout sections of the book is Newman’s exploration of telestikē, a form of theurgic statue animation that aimed to draw the essence of a deity into a physical vessel. Newman traces the origins of this practice not only to the Chaldean and Neoplatonic traditions but also to Egyptian ritual forms and early Greek magical papyri. His analysis of telestikē as a form of animating the divine presence offers a fascinating perspective on how theurgy sought to make the unseen world visible and tangible. This focus on telestikē bridges the gap between philosophical abstraction and practical magic, highlighting how theurgic rites functioned as both symbolic acts and real transformations.
Where Newman’s study truly excels is in its ability to balance theoretical depth with concrete examples of theurgical practice. He doesn’t merely outline the philosophical underpinnings of theurgy; he brings the rituals themselves to life. From detailed descriptions of ritual implements to step-by-step reconstructions of soul-ascent practices, Theurgy offers a rare glimpse into the praxis of the ancient theurgists. This attention to detail, combined with his authoritative grasp of the source material, makes the book a valuable resource for both scholars and practitioners seeking to understand the complexities of theurgy on a deeper level.
Newman’s examination of Homeric shamanism is particularly thought-provoking. By framing the mythological journeys of Odysseus and other Greek heroes as initiatory voyages akin to shamanic soul flight, he invites readers to reconsider the very nature of ancient Greek spirituality. This perspective, which sees the Homeric epics as repositories of esoteric knowledge rather than mere tales of adventure, opens up new pathways for interpreting Greek myth and its impact on Western esotericism. Newman’s arguments are bold, but his use of textual evidence and his ability to weave together disparate threads make them convincing.
Despite its scholarly rigor, Theurgy is written in a style that remains accessible without sacrificing complexity. Newman avoids overloading the reader with jargon, choosing instead to elucidate complex ideas through clear language and well-chosen analogies. This makes the book approachable for those new to the subject, while still offering enough depth to satisfy seasoned students of the occult.
Theurgy: Theory and Practice is more than a historical study—it is a reclamation of theurgy’s place within the broader tapestry of Greek religious thought. Newman’s work challenges long-held assumptions about the origins of Western esotericism, suggesting that theurgy is not a foreign import grafted onto Greek soil, but a native tradition with roots that run as deep as the poetry of Homer himself. For anyone interested in the history of magic, the Neoplatonic tradition, or the esoteric significance of Greek literature, this book is an essential read.
Newman’s approach is both ambitious and compelling. The book opens by exploring the linguistic and metrical commonalities between the Chaldean Oracles and Homer’s Odyssey and Iliad. By emphasizing that the Oracles were composed in dactylic hexameter—the same meter employed by Homer—Newman establishes a crucial link between the mystical poetry of the Chaldeans and the epic storytelling of the Homeric age. This insight alone is groundbreaking, suggesting that the theurgical practices of soul ascent (anabasis) and descent (katabasis) described in the Oracles might not have been foreign imports into Greek culture, but rather deeply rooted in its own indigenous shamanic traditions.
The central premise of Theurgy hinges on the idea that the ritual techniques and mystical symbolism embedded within Homer’s works predate—and directly influenced—the later theurgical practices of figures like Porphyry and Proclus. Newman meticulously deconstructs key scenes from the Odyssey and Iliad, such as Odysseus’s journey to the Underworld and the funerary rites for Patroclus, presenting them not just as literary devices, but as reflections of ancient Greek spiritual practices aimed at achieving communion with the divine. His readings of these texts are nuanced and insightful, shedding new light on elements that have often been dismissed as purely narrative.
The book’s treatment of On the Cave of the Nymphs by Porphyry and Proclus’s symbolic commentary on the Iliad further bolsters Newman’s argument. By dissecting these Neoplatonic texts through a Homeric lens, Newman shows how theurgy’s emphasis on ritual and the ascent of the soul was, in fact, a continuation of a much older Greek tradition. He reveals how the rituals described by Porphyry and Proclus—often seen as later innovations—were deeply informed by Homeric models of interaction with the divine. This continuity suggests that theurgy’s roots are not in foreign mysticism, but in the very heart of Greek religious and poetic culture.
One of the standout sections of the book is Newman’s exploration of telestikē, a form of theurgic statue animation that aimed to draw the essence of a deity into a physical vessel. Newman traces the origins of this practice not only to the Chaldean and Neoplatonic traditions but also to Egyptian ritual forms and early Greek magical papyri. His analysis of telestikē as a form of animating the divine presence offers a fascinating perspective on how theurgy sought to make the unseen world visible and tangible. This focus on telestikē bridges the gap between philosophical abstraction and practical magic, highlighting how theurgic rites functioned as both symbolic acts and real transformations.
Where Newman’s study truly excels is in its ability to balance theoretical depth with concrete examples of theurgical practice. He doesn’t merely outline the philosophical underpinnings of theurgy; he brings the rituals themselves to life. From detailed descriptions of ritual implements to step-by-step reconstructions of soul-ascent practices, Theurgy offers a rare glimpse into the praxis of the ancient theurgists. This attention to detail, combined with his authoritative grasp of the source material, makes the book a valuable resource for both scholars and practitioners seeking to understand the complexities of theurgy on a deeper level.
Newman’s examination of Homeric shamanism is particularly thought-provoking. By framing the mythological journeys of Odysseus and other Greek heroes as initiatory voyages akin to shamanic soul flight, he invites readers to reconsider the very nature of ancient Greek spirituality. This perspective, which sees the Homeric epics as repositories of esoteric knowledge rather than mere tales of adventure, opens up new pathways for interpreting Greek myth and its impact on Western esotericism. Newman’s arguments are bold, but his use of textual evidence and his ability to weave together disparate threads make them convincing.
Despite its scholarly rigor, Theurgy is written in a style that remains accessible without sacrificing complexity. Newman avoids overloading the reader with jargon, choosing instead to elucidate complex ideas through clear language and well-chosen analogies. This makes the book approachable for those new to the subject, while still offering enough depth to satisfy seasoned students of the occult.
Theurgy: Theory and Practice is more than a historical study—it is a reclamation of theurgy’s place within the broader tapestry of Greek religious thought. Newman’s work challenges long-held assumptions about the origins of Western esotericism, suggesting that theurgy is not a foreign import grafted onto Greek soil, but a native tradition with roots that run as deep as the poetry of Homer himself. For anyone interested in the history of magic, the Neoplatonic tradition, or the esoteric significance of Greek literature, this book is an essential read.
January 21, 2024
This book helped to explain connections for me between Plato, Homer, and Socrates with Egyptian and Sumerian civilizations. Understanding how the Odyssey resembles the Egyptian Book of the Dead was fascinating after reading both of these. This is a fast-paced explanation of theurgists throughout history that was informative and interesting.
July 1, 2025
Starts as an excellent intro to the subject, before tackling its core: theurgy "viewed through a Homeric lens by the Neoplatonists,” by analyzing two fascinating commentaries from Porphyry and Proclus. It does so by touching the right points in the right ways, addressing theurgy as born out of Scythian and Thracian shamanism. Hell yes.
It claims something changed around the time of Plato, from katabasis to anabasis, thus explaining the late juxtaposition between goetia and theurgy—nonexistent during the time of the Presocratics and the birth of iatromanteia. This is visible in late interpretations of the Homeric works, in which theurgical practices can be seen, but of a much chthonic nature.
I found the conversation about the etymology of the word krater particularly fascinating—it explains a lot about the legends surrounding some of the pre-Socratic philosophers. Near the end, it hints at an entheogenic usage in both early Gnostics and in a purely theurgical context, when animating statues—and dealing with theurgy as an animation of oneself, which I found novel.
(As a curiosity: I stopped reading the book for a while. Resumed it, and the author started dealing with the soul's ascent and descent through Cancer and Capricorn while Paula read Henry Miller's Cancer right next to me.)
It claims something changed around the time of Plato, from katabasis to anabasis, thus explaining the late juxtaposition between goetia and theurgy—nonexistent during the time of the Presocratics and the birth of iatromanteia. This is visible in late interpretations of the Homeric works, in which theurgical practices can be seen, but of a much chthonic nature.
I found the conversation about the etymology of the word krater particularly fascinating—it explains a lot about the legends surrounding some of the pre-Socratic philosophers. Near the end, it hints at an entheogenic usage in both early Gnostics and in a purely theurgical context, when animating statues—and dealing with theurgy as an animation of oneself, which I found novel.
(As a curiosity: I stopped reading the book for a while. Resumed it, and the author started dealing with the soul's ascent and descent through Cancer and Capricorn while Paula read Henry Miller's Cancer right next to me.)
January 2, 2025
Why I love this book and will return to it, again and again:
1) It is Hermetic to its core, yet avoids all the lowest hanging tropes out there available on social media.
2) It brings Homer, Hesiod, The pre-Socratics, Plato and the Neoplatonic writers to life in a way no scholar ever has for me, and no modern hermeticist has.
3) It brings the Chaldean Oracles to light in a simple yet exciting way.
4) It makes sound, easy to follow illustrations of some of the most fascinating mysteries of our time, using both western and eastern texts as the basis for Illuminating spooky and exciting anthropological findings in the realm of theosophy.
5) Shines light on a whole realm of Homer, polemics to, and apologetics for Homer - somehow walking the balance of atheism, monism and dualism, which gives myth a much deeper dimension than usually given, and art a much more important place in our history and development as a species.
6) Is so well written, and convincing, that even if a whole team of scholars dispelled every argument made here, it would still seem like a channeled work, with original and meaningful creativity akin to Eliphas Levi’s Dogme et Rituel de la Haute Magie.
7) Gives an enormous amount of material to work with, whether scholarly, or creative.
1) It is Hermetic to its core, yet avoids all the lowest hanging tropes out there available on social media.
2) It brings Homer, Hesiod, The pre-Socratics, Plato and the Neoplatonic writers to life in a way no scholar ever has for me, and no modern hermeticist has.
3) It brings the Chaldean Oracles to light in a simple yet exciting way.
4) It makes sound, easy to follow illustrations of some of the most fascinating mysteries of our time, using both western and eastern texts as the basis for Illuminating spooky and exciting anthropological findings in the realm of theosophy.
5) Shines light on a whole realm of Homer, polemics to, and apologetics for Homer - somehow walking the balance of atheism, monism and dualism, which gives myth a much deeper dimension than usually given, and art a much more important place in our history and development as a species.
6) Is so well written, and convincing, that even if a whole team of scholars dispelled every argument made here, it would still seem like a channeled work, with original and meaningful creativity akin to Eliphas Levi’s Dogme et Rituel de la Haute Magie.
7) Gives an enormous amount of material to work with, whether scholarly, or creative.
March 25, 2024
Nothing terribly groundbreaking, but a solid overview of the development of theurgy, its Greco-Egyptian background, and the manners in which Greek civilization continuously built upon itself a complex spiritual tradition subsequently usurped by the Patristics; although Newman deals somewhat with the hypothesis that Plato & Homer were influenced by the Persians or Indians, this book is better appreciated as a "road map" for learning about Greek philosophy and theurgical practice more broadly. I think Newman himself would agree that Uždavinys is still the gold standard on this topic, and this book is an elaboration on certain themes overlooked by the late, great doctor.
November 9, 2025
Some great info, but it's a real dry read and a bit limited in its scope. I don't know that I would say it's a comprehensive book on Theurgy, but rather the book is an argument that much of Theurgy practice rooted in Homer's works. Still an interesting read.
June 19, 2024
If one enjoyed Jake Stratton-Kent’s Encyclopaedia Goetica, then you will probably like this one. Mines similar themes while also using a comparable methodology to Stratton-Kent's work.
November 16, 2024
A very nice overview of the history and philosophy of theurgy, though the practice portion is a bit underwhelming.
Displaying 1 - 8 of 8 reviews