Analysing the Corpus Hermeticum, an Introduction

“Write an essay concerning your understanding of Hellenic Hermeticism.”

The Temple of the Stars wishes to offer a brief introduction to the Corpus Hermeticum before we begin to publish an in-depth analysis into the collection of writings. We will be using David Myatt's 2017 translation Corpus Hermeticum, Eight Tractates, which also contains his commentaries, as well as Brian Copenhaver’s 1995 edition of his translation of Hermetica, which also includes his notes and introduction.

The Corpus Hermeticum and the Asclepius are the foundational texts of the Hermetic Tradition. These writings—penned by unknown authors—were once part of a larger body of work attributed to the legendary figure of Hermes Trismegistus, a supposed “Greco-Egyptian” deity blending the Greek god Hermes with influences from indigenous, pre-Alexandrian, Egyptian times. This literature emerged from the same religious and philosophical climate that gave rise to Neoplatonism and the diverse teachings of Gnosticism. These traditions were shaped by the impact of Platonic thought on the older belief systems of the Hellenized East.

Here it would behoove us to reconsider just how indigenously Egyptian Hermeticism’s roots really are. It is factual that the fourth tractate of the Corpus does mention “Thoth” in relation to Hermes Trismegistus. But as Myatt brings up in VII. Notes on the Fourth Tractate of the Corpus Hermeticum Ἑρμοῦ πρὸς Τάτ ὁ κρατῆρ ἡ μονάς, from his 2022 essay anthology Sarigthersa:

In respect of Τάτ, while there is no disputing that Thoth is meant, what may or may not be implied by the name Thoth is whether or not there is a primarily Egyptian genesis for the metaphysics and the cosmogony of this particular tractate. For what does 'Egyptian' mean in the context of the Corpus Hermeticum, written when Egypt was a post-Ptolemaic Roman province where Hellenism still thrived? That is, is the text propounding a metaphysics and a cosmogony primarily redolent of indigenous, pre-Alexandrian, times, with Hermes Trismegistus simply a Hellenic name for the ancient Dynastic deity Thoth, and thus with the Greek Hermes possibly being a son of that ancient Egyptian deity?

Or is the text redolent of a classical metaphysics and a cosmogony; or of a Hellenic metaphysics and cosmogony; or of some syncretism of Egyptian (pre-Alexandrian) weltanschauungen with Hellenic mysticism? Or has the author (or authors) of Ἑρμοῦ πρὸς Τάτ ὁ κρατῆρ ἡ μονάς simply used the name of an ancient deity—Thoth—in order to appeal to an audience of Hellenized Egyptians, or Greeks/Romans dwelling in Egypt, or because it seemed to add some esoteric gravitas to the text? Or, as the title might be taken to imply—of Hermes to Thoth—is it a text intended to inform Egyptians (Hellenized or expatriate Greeks/Romans, or otherwise) about Greek/Hellenic metaphysics and cosmogony, with Thoth thus regarded, symbolically, esoterically, or otherwise, as the son of the Greek divinity Hermes?

In this matter, I incline toward the view—based on some forty years of study of the Corpus Hermeticum and similar mystical and esoteric texts, classical, Hellenic, medieval, Arabic and otherwise—that what is imparted in this tractate, as with the Poemandres and the Ιερός Λόγος, is primarily a mystical, and—for centuries—aural, Greek tradition, albeit one possibly influenced, over time and in some degree, by the metaphysical speculations of later philosophers such as Plato and Aristotle.

That is, that in Ἑρμοῦ πρὸς Τάτ ὁ κρατῆρ ἡ μονάς and Ιερός Λόγος and Ποιμάνδρης, we have an intimation of the metaphysics and the cosmogony taught to initiates of that (or those) ancient and aural and paganus Greek mystical tradition(s) mentioned by writers such as Herodotus. And an intimation that is not—a few borrowed illustrative terms notwithstanding—in any significant and metaphysical manner deriving from or influenced by Biblical stories or by early Christian theology or by indigenous Egyptian culture. In the matter of a paganus Greek mystical tradition, the opening of the fourth tractate is, metaphysically, very interesting:

Επειδὴ τὸν πάντα κόσμον ἐποίησεν ὁ δημιουργός οὐ χερσὶν ἀλλὰ λόγῳ ὥστε οὕτως ὑπολάμβανε ὡς τοῦ παρόντος καὶ ἀεὶ ὄντος καὶ πάντα ποιήσαντος καὶ ἑνὸς μόνου τῇ δὲ αὐτοῦ θελήσει δημιουργήσαντος τὰ ὄντα

Because the artisan crafted the complete cosmic order not by hand but through Logos, you should understand that Being as presential, as eternal, as having crafted all being, as One only, who by thelesis formed all that is.

For it is incorrect and misleading to write about those three tractates—and most if not all the other tractates of the Corpus Hermeticum—as being in any way indigenously Egyptian. Rather, their genesis—the tradition they represented—was the Greek culture of post-Alexandrian Egypt, a cultural influence so evident in the numerous papyri found in places such as Oxyrhynchus, containing as such papyri do verses from Homer, Sappho, Menander, Sophocles, and other Greek authors.

The specific treatises we now call the Corpus Hermeticum were later compiled into a single volume during the Byzantine period. This collection eventually made its way to 15th Century Florence, where the scholar Marsilio Ficino was tasked with translating it into Latin. Ficino’s 1463 translation was widely reprinted over the following century and a half—helping to revive interest in the Hermetic Tradition.

Hermeticism is a philosophical tradition primarily concerned with understanding the nature of the universe, the human soul, and the relationship between humanity and the divine. At its core, Hermetic philosophy is based on several key concepts, including the principle of correspondence, the nature of the Divine, and the idea of spiritual transformation.

The principle of correspondence, also known as “As above, so below,” is a central tenet of Hermetic thought. This principle suggests a fundamental interconnectedness and interdependence between the physical and spiritual realms, akin to the concept of microcosm and macrocosm found in other strands of Western esotericism. According to Hermeticists, there exists a correspondence between the different levels of reality, from the physical to the metaphysical, which are seen as intrinsically linked.

The influence of the Corpus Hermeticum can be felt across Western esotericism, influencing groups at varying degrees, ranging from the “Hermetic” Order of the Golden Dawn and Thelema, to Hebdomadry as well as the Hebdomian Way.

We see this as early as in the publication of the 1980s text Naos: A Practical Guide to Modern Magick, where the internal sorcery used to bring about personal development is also called “physis magick”. The word ‘physis’, or φύσις, is a Greek term which frequently occurs in the Pœmandres section of the the Corpus Hermeticum. This section also describes in some details a septenary system of seven spheres in an ascending journey or quest—an anodos, ἄνοδος—upwards through the aforementioned spheres unto mystical immortality; along the way, throughout the process, the hebdomadary is changed by the spheres.

Hermeticism’s influences are greatly felt within Western esotericism in general and the Occult in particular—but also across the Arts. The entire creative world has been influenced by these writings. The renowned surrealist artist Salvador Dalí was deeply influenced by and incorporated elements of Hermeticism—and Alchemy—into his work. Dalí’s artistic approach, known as the “paranoiac-critical method,” in which he induced a state of heightened awareness and paranoia to unlock the unconscious mind and reveal hidden truths—a concept that mirrors the Hermetic pursuit of knowledge and self-discovery. Through his exploration of themes such as transformation, the hidden nature of reality, and the search for knowledge, Dalí’s unique style and techniques aligned with the esoteric principles of Hermeticism.

Alejandro Jodorowsky’s 1973 film The Holy Mountain is regarded as one of the most overtly alchemical works in cinema history. The film’s narrative and visual language are deeply rooted in Hermetic philosophy, following the spiritual transformation of its characters as they embody archetypal planetary energies and undergo processes akin to the Hermetic “Great Work” of refining the soul. Jodorowsky has acknowledged his study of occult traditions, including Hermeticism, Tarot, and Alchemy, and these occult influences permeate the film’s symbolism—from the Philosopher’s Stone to the Unity of Opposites. The structure of the film itself mirrors the Hermetic principle of “As above, so below,” with earthly struggles reflecting cosmic truths. Overall, The Holy Mountain immerses the viewer in a deeply alchemical, transformative cinematic experience.

On your journey studying Western esotericism, the Corpus Hermeticum and its influence are of profound importance. Hermeticism is a crucial framework for understanding Western esotericism. It provides a foundational structure of philosophical and spiritual concepts, including the idea of a unified reality, the significance of symbolism, and the pursuit of numinous knowledge through esoteric practices such as Alchemy and Magic. These elements are central to many esoteric traditions.

Hermeticism is what gives us a framework for understanding our rituals, divination and general praxis. To have a strong grasp on Hermeticism is to have a strong grasp on Western Esotericism for you cannot have one without the other—lest you succumb to the pitfalls of Gnosticism or Neoplatonism.

Failing to employ a sound Hermetic approach risks reading our own biases and preconceived notions into the text, leading to misinterpretations and potentially harmful applications. As we engage in the practice of the Occult and strive to apply esoteric principles to our lives, it is crucial that we maintain continuous learning and study. Occultism at heart is the pursuit of hidden knowledge, and such knowledge is never easily forthcoming.

“For the mind does not require filling like a bottle, but rather, like wood, it only requires kindling to create in it an impulse to think independently and an ardent desire for the truth.” – Plutarch, Moralia sect. 48c ‘On Listening to Lectures’

“The English word 'truth' suggests conformity with fact, agreement with reality, accuracy of representation; with the Latin veritas and the Greek ἀλήθεια (alétheia) suggesting a similar sense but also and importantly, in regard to the Greek, of what is disclosed having been previously concealed for whatever reason or from whatever cause.” – David Myatt, “A Fundamental Question” (Spring Equilux, 2025)