Mithras Liturgy

The Mithras Liturgy is a syncretic ritual text from late antiquity, preserved as lines 475–829 of the Great Magical Papyrus of Paris (PGM IV), a Greek codex dated paleographically to the early 4th century CE and likely originating from Thebes, Egypt.^[1] It outlines a mystical rite of immortalization (apathanatismos), involving invocations to the solar deity Helios-Mithras for oracular consultation and ecstatic ascent through cosmic spheres, blending elements of mystery cult piety, magical practices, and Hellenistic-Egyptian syncretism without direct Christian or Neoplatonic influences. The papyrus was acquired by the Bibliothèque Nationale in Paris in 1857 and first gained scholarly attention through Albrecht Dieterich's 1903 edition and commentary, Eine Mithrasliturgie, which proposed its connection to the Roman Mithraic mysteries despite limited evidence of Mithraism in Egypt.^[1] Subsequent analyses, including Hans Dieter Betz's 2003 critical edition, translation, and commentary, refined its dating to a composition around 100–300 CE, suggesting adaptation from an original Mithraic or syncretistic cultic context (ca. 150–200 CE) into a magical handbook by the 3rd century.^[1] Betz's work emphasizes its structure as a "ritual of immortalization" divided into an exordium/prayer, main rite, supplemental rituals, and epilogue, supported by photographic reproductions of the fragile papyrus.^[1] At its core, the liturgy describes a practitioner's ascent through seven cosmic levels—encompassing elements, aerial powers, the eternal Aion, Helios, the Fates, lords of the pole, and finally Mithras—employing techniques such as controlled breathing, protective amulets, and voces magicae (unintelligible magical words) to achieve temporary deification and divine revelation. It portrays Mithras as a cosmic ruler with a bull's shoulder, linked to the Great Bear constellation and astronomical motifs like the precession of the equinoxes, reflecting Stoic cosmology and Hermetic soul-journey traditions. Secrecy and silence are recurrent themes, underscoring its initiatory character, though it functions more as a "magical shortcut" to spiritual elevation than a standard Mithraic initiation. Scholarly interpretations highlight its significance for understanding Greco-Roman religious hybridity, with Betz viewing it as evidence of Egyptian Mithras worship infused with philosophical undertones, while others like David Ulansey connect it to Mithraism's broader astronomical symbolism.^[1] Despite debates over its precise ties to Roman Mithraism—given the scarcity of Egyptian archaeological evidence—the text remains a vital source for studying ancient magic, mystery religions, and rituals of rebirth, paralleling motifs in early Christian practices without direct derivation.

Discovery and Textual History

Provenance and Acquisition

The Great Magical Papyrus of Paris, designated PGM IV in the corpus of Greek Magical Papyri, is a papyrus codex containing the Mithras Liturgy in lines 475–829. This artifact was acquired by the Bibliothèque Nationale de France in 1857 through an auction of the collection amassed by Giovanni Anastasi, a Swedish consul and antiquities dealer active in Egypt during the early 19th century. Anastasi obtained the codex in Thebes (ancient Diospolis Magna), Upper Egypt, where it likely originated as part of a local magical tradition.^[2] Paleographic and material analyses confirm a late antique Egyptian provenance for the manuscript, with the handwriting exhibiting a transition from the severe style to a more pointed majuscule script typical of the period. The codex is dated to the first half of the 4th century AD (ca. 300–350 AD), based on these script features and contextual elements such as ink composition and binding remnants.^[3] Scholars estimate the original composition of the Mithras Liturgy text to around 100–150 AD, a dating first proposed by Albrecht Dieterich in his seminal 1903 edition and supported by linguistic analysis revealing Hellenistic Greek influences alongside Egyptian and Persian cultural markers.^[1] The papyrus, consisting of 36 leaves written on both sides, measures approximately 27–30.5 cm in height and 9.5–13 cm in width, forming a substantial handbook of over 3,000 lines. While generally well-preserved for its age, it exhibits damage from wear and environmental exposure, including lacunae and illegible sections that particularly impact lines 475–829, where restorations have been necessary to reconstruct portions of the ritual text.

Publication and Editions

The Mithras Liturgy was first published in 1903 by Albrecht Dieterich in his monograph Eine Mithrasliturgie, which included the Greek text transcribed from the papyrus, a German translation, and an extensive commentary interpreting the document as a liturgical text associated with the worship of the god Mithras.^[4] Dieterich's edition marked the initial scholarly recognition of the text's significance, though his transcription contained some errors due to the damaged state of the artifact.^[1] In 1928–1931, the text was incorporated into the comprehensive collection Papyri Graecae Magicae edited by Karl Preisendanz, where it appears as PGM IV.475–829, establishing the standard line numbering and contextualizing it within the broader corpus of Greco-Egyptian magical papyri. This edition provided a more accurate Greek text and German translation, correcting several of Dieterich's readings and emphasizing the document's magical dimensions over its purported Mithraic origins. English translations emerged in the late 20th century, with Marvin W. Meyer offering an accessible version in 1976 alongside an introduction highlighting its ritual and mystical elements.^[5] A major advancement came in 2003 with Hans Dieter Betz's The "Mithras Liturgy": Text, Translation, and Commentary, which presented a revised critical Greek text, a new English translation, and detailed line-by-line analysis that underscored the text's theurgic and magical practices while addressing textual lacunae through improved paleographic examination.^[6] Subsequent scholarship has refined these editions further; the second edition of Papyri Graecae Magicae (1973–1974), revised by Albert Henrichs, incorporated additional corrections to the Greek text based on enhanced photographic evidence and philological comparisons.^[7] Translations into modern languages, including French and Italian, have followed, often building on Betz's work to propose alternative restorations for ambiguous passages and lacunae, reflecting ongoing debates in papyrology and ancient religion studies.^[6]

Content and Form

Invocation and Cosmological Structure

The Mithras Liturgy opens with an invocation addressed to Providence (Πρόνοια) and Psyche (Ψυχή), beseeching their favor as the practitioner records the "mysteries handed down by the great god Helios Mithras" to him as an initiate.^[8] This address positions Helios-Mithras as the supreme deity who reveals the ritual for the purpose of apathanatismos, or immortalization, enabling the practitioner to achieve divine revelation and union with the eternal.^[9] Key phrases in the invocation emphasize this deificatory intent, such as the plea "give me over to immortal birth... that I may gaze upon the immortal beginning with the immortal spirit," underscoring the ritual's aim of transforming the mortal into an immortal state through direct encounter with the divine.^[10] The text's cosmological framework presents a three-tiered universe that integrates material, ethereal, and divine realms, reflecting a syncretic worldview blending Greek philosophical elements, Egyptian magical traditions, and Persian solar deity worship.^[11] The lowest tier encompasses the sublunar material world of the four elements—earth, water, air, and fire—through which the practitioner must pass for purification and transformation.^[8] Above this lies the ethereal or ouranian realm of planetary powers, winds, and stellar entities, including the seven Fates and Pole-Lords, serving as intermediaries in the cosmic order.^[9] The highest tier comprises the hyperouranian divine realms, crowned by Helios-Mithras as the eternal Aion and supreme ruler, where ultimate deification occurs beyond the visible cosmos.^[11] Central to the invocation is the phrase "I invoke you, the one who is," directed toward Helios-Mithras as the unbegotten source of all existence, echoing monotheistic undertones amid the polytheistic structure.^[10] This syncretism manifests in the liturgy's portrayal of Helios-Mithras with attributes drawn from Egyptian solar iconography, such as a fiery crown and youthful form, combined with Greek invocations of cosmic harmony and Persian Mithraic savior motifs.^[9] The practitioner is depicted as a solitary initiate (mystes), distinct from communal mystery cults, who seeks personal union with the divine through this revelatory rite, emphasizing individual ecstatic ascent over group initiation.^[8] This role highlights the liturgy's theurgic orientation, where the ritual enacts a temporary yet transformative deification, performed ideally under specific lunar conditions to align with cosmic rhythms.^[11] The papyrus, dated to the 4th century CE, preserves this framework within a broader corpus of Greco-Egyptian magical texts.^[8]

The Ascent Sequence

The ascent sequence in the Mithras Liturgy constitutes the ritual's core progression, guiding the practitioner through a visionary journey across cosmic realms to achieve temporary union with divine powers, as detailed in lines 475–750 of PGM IV.^[12] This structured ascent unfolds in seven distinct stages, each involving specific invocations, mystical utterances known as voces magicae, and ritual gestures to overcome barriers and encounter celestial entities.^[10] The sequence emphasizes ecstatic transformation, culminating in a revelation of immortality that elevates the practitioner to a stellar or divine status before a return to the mortal realm.^[8] The first stage (lines 475–500) involves passing through the four elements—earth, water, air, and fire—by invoking their immortal counterparts to replace the practitioner's mortal composition. The ritualist draws breath three times from the sun's rays, anoints the face with a "mystery" (likely myrrh), and recites: "First origin of my origin, AEEIOYO... Open! By the power of the eternal god!" accompanied by voces magicae such as AEEIOYO and TAGRGAT. This elemental purification sets the foundation for ascent, symbolizing separation from the physical world.^[12] In the second stage (lines 500–550), the practitioner confronts the powers of the lower air, including winds, thunder, and archons, issuing commands like "Silence! Silence! Silence!" while making hissing and popping sounds with the mouth and placing the right finger on the lips. Gestures include stretching out the hands, and voces magicae such as BOEL and AKRAMMACHAMARI are uttered to compel passage through this atmospheric barrier, envisioning the self lifted upward to glimpse immortal realms.^[12] The third stage (lines 521–600) features an encounter with Aion, the eternal time deity, and the planetary powers, where the ritualist perceives the "divine order of the heavens" and the seven planetary sounds. Invocations include "Aion, ruler of the gods... EEO OEEO," with voces magicae like IAO and SEMEILAM to affirm authority over these cosmic rulers, marking a deeper penetration into the celestial hierarchy without explicit physical gestures noted.^[12]^[10] Advancing to the fourth stage (lines 561–620), the practitioner invokes and interacts with Helios, the sun god syncretized with Mithras, hailing him as "Great Power, who has bound the world together" and requesting revelation through fiery breath drawn eastward. Key voces magicae include IAO and PHARAKOUNETH, facilitating a visionary meeting with the youthful, fiery deity at the sun's gates.^[12] The fifth stage (lines 621–650) brings the appearance of the seven Fates (Μοῖραι), depicted as virgin goddesses who greet the ascendant. With outstretched arms, the ritualist addresses them reverently, reciting names and praises without prominent voces magicae, emphasizing their role as benevolent intermediaries in the heavenly pivot.^[12]^[10] In the sixth stage (lines 651–680), the seven Pole-Lords, or archons governing the cosmic poles, are confronted and appeased. The practitioner raises hands, points to the stars, and bellows individual names such as CHREPSENTHAES and AIERONTHI, employing voces magicae like ABRASAX to secure passage, underscoring the archons' dual role as guardians and obstacles.^[12] The seventh and climactic stage (lines 681–750) achieves union with the highest god, portrayed as a golden-haired, fiery figure with a bull's shoulder—evoking Mithras or the transcendent One—who delivers an oracle of immortality. The ritualist kneels, raises arms, and declares unity in silence, transformed temporarily into a "star wandering with you," experiencing apotheosis through phrases like "I, born mortal from mortal womb, but transformed by tremendous power." This revelation grants insight into eternal life, repeatable thrice yearly, before the descent.^[12]^[8]^[10]

Ritual Enactment Instructions

The ritual enactment instructions in the Mithras Liturgy provide detailed practical guidance for the practitioner, emphasizing preparatory objects and actions to facilitate the rite's efficacy. Central to these preparations is the creation of a sun scarab amulet, fashioned by placing a sun scarab with twelve rays into a deep blue-green turquoise cup during the new moon, along with lotometra (lotus) seed and honey to form a cake that the scarab consumes before dying.^[10] This mixture is then transferred to rose oil within a glass vessel set upon sacred sand, where it is left for seven days under daily recitations of a consecration formula at the sun's zenith, resulting in an ointment used for anointing.^[10] Complementing this is the incorporation of the kentritis herb, harvested in the Egyptian month of Payni from black-soil regions and resembling erect verbena, whose juice is blended with honey and myrrh before inscribing an eight-letter formula ("I EE OO IAI") on a persea leaf; this leaf is licked facing east at the new moon in Leo and added to the rose oil for enhanced potency.^[10] Although the text does not explicitly mention vulture blood in these preparations, the amulet's anointing with myrrh oil underscores its role in invoking solar and regenerative powers, drawing on traditional consecration practices. Vocal and gestural components integrate performative elements to invoke divine presence and maintain ritual focus. The practitioner is directed to produce specific sounds, such as hissing three times, popping the tongue seven times against the teeth, and bellowing like a horn to greet the encircling Fates and Pole Lords during key invocations.^[10] Gestural actions include forming finger signs known as schēmata, such as placing the right forefinger on the lips to enforce silence before divine addresses, and kissing protective phylacteries inscribed with voces magicae like "PROSYMERIS" for safeguarding against spiritual threats.^[10] These phylacteries, worn during the rite, feature engraved formulae on tin or papyrus to ward off demonic interference, reflecting a layered approach to ritual security.^[10] The liturgy specifies performance at dawn, with the practitioner facing the rising sun's rays while inhaling them to draw in divine energy, ensuring alignment with Helios-Mithras.^[10] A state of purity is required, achieved through a three-day regimen of abstinence and cleansing, to prepare the body as a suitable vessel for the rite; the immortalization process itself is limited to three times annually, with monthly consultations at the full moon.^[10] This timing and setting emphasize solar orientation and ritual isolation in a purified space, free from impurities that could disrupt the proceedings.^[10] Lines 751–834 append detailed post-ascent protections and closure protocols, outlining the scarab ointment's preparation as a means to achieve temporary deification, followed by instructions for the kentritis integration and phylactery fabrication to shield the practitioner upon return from divine encounters.^[10] These lines conclude the rite with dismissal formulae, such as invoking eternal protection from the deity, ensuring the ritual's safe termination and the practitioner's earthly reintegration.^[10] The instructions exhibit syncretic fusion of Egyptian and Greek magical practices, evident in the Egyptian scarab symbolism and herbal lore (e.g., kentritis and myrrh anointing) combined with Greek invocations to Mithras-Helios and Homeric phrasing, creating a hybrid rite suited to the Hellenistic cultural milieu.

Interpretive Contexts

Magical and Theurgic Elements

The Mithras Liturgy represents a theurgic ritual that integrates elements of goēteia, or sorcery, with invocations to divine entities, setting it apart through its explicit aim of achieving personal immortality via deification of the practitioner.^[13] This blend is evident in the text's structure, where mundane magical operations facilitate a mystical union with higher powers, culminating in a prayer for the "strength of the immortals" and transformation into a god. Unlike purely philosophical ascents in Neoplatonism, the ritual demands active participation through material aids, bridging coercive magic and contemplative theurgy.^[14] Central to its magical framework are techniques drawn from the broader Greco-Egyptian tradition preserved in the PGM corpus, including the preparation and use of amulets for safeguarding the soul during ascent, the employment of purifying herbs to consecrate the ritual space, and the recitation of barbarous names—nonsensical yet potent strings of syllables believed to compel divine attention. For instance, the practitioner kisses inscribed amulets while intoning names like "EEY SIO EYO," which function as keys to unlock celestial barriers, a method typical of PGM spells for protection and invocation.^[14] These elements underscore the text's roots in practical sorcery, where physical objects and vocal formulas manipulate cosmic forces to enable the soul's elevation. In comparison to other PGM ascent rituals, such as the Stele of Jeu (PGM V.96-172), the Mithras Liturgy shares motifs of progressing through heavenly spheres via passwords and seals, yet distinguishes itself with a pronounced solar-Mithraic orientation, emphasizing communion with Helios-Mithras as the ultimate goal.^[15] Both texts employ sequential gate-passings to symbolize purification, but the Liturgy's focus on solar rays and fiery transformation highlights its unique theurgic intent. The theurgic dimensions of the ritual center on the soul's progressive purification and deification, achieved through embodied practices like breath control and visualization, which align with Neoplatonic ideals of reuniting the divine spark within humanity with the One.^[16] This process, as theorized by figures like Iamblichus, views ritual as essential for elevating the material soul beyond its limitations, granting temporary immortality and visionary insight into the divine realm. In Iamblichus's framework, such operations harness sympathetic correspondences between human actions and cosmic sympathies, enabling the practitioner's apotheosis without reliance on innate philosophical virtue alone.^[17]

Connections to Mithraism

The Mithras Liturgy derives its name from Albrecht Dieterich's 1903 publication Eine Mithrasliturgie, in which he proposed it as a ritual text originating from the worship of the god Mithras, primarily due to explicit invocations of the solar deity as "the great god Helios Mithras" and allusions to bull-slaying imagery reminiscent of Mithraic iconography, such as references to the "bull's shoulder."^[18] These elements suggested to Dieterich a direct liturgical connection to the Mithraic mysteries, challenging prevailing views of the text as purely Egyptian hermetic material.^[1] Several motifs in the liturgy parallel aspects of Roman Mithraism, including the structure of seven initiatory grades—from Corax to Pater—in the cult, which echo the text's depiction of a seven-stage ascent of the soul through cosmic levels.^[18] Veneration of a solar deity is prominent in both, with the liturgy's repeated appeals to Helios-Mithras aligning with Mithraism's central identification of Mithras as a sun god, often syncretized with Helios.^[19] Additionally, promises of immortality and deification feature in the ritual's goals, mirroring Mithraic eschatological hopes for the soul's liberation and eternal life through initiatory progression.^[18] Scholarly interpretations of these links vary. Marvin Meyer, in his 2013 analysis, posits peripheral Mithraic influences on the text within an Egyptian context, viewing it as a syncretic liturgy blending Mithraic piety with local magical practices, though not a core cult document.^[18] In contrast, Franz Cumont rejected any direct ties in his 1904 and 1956 assessments, arguing the liturgy lacks essential Mithraic doctrines like the soul's passage through planetary spheres and emphasizes individualistic revelation over communal mystery rites. This debate underscores the text's hybrid nature rather than straightforward affiliation. Despite these parallels, the Mithras Liturgy differs markedly from Roman Mithraism's communal, hierarchical initiations conducted in underground temples (mithraea) by organized groups, often tied to military brotherhoods.^[19] Instead, it prescribes a solitary, performative ritual for personal empowerment and divine encounter, adaptable by an individual practitioner without reference to graded brotherhoods or shared cultic spaces.^[18]

Scholarly Debates

Dating and Authenticity

The codex preserving the Mithras Liturgy, known as the Great Paris Magical Papyrus (PGM IV), has been paleographically dated to the early fourth century AD based on the script's characteristics, as determined by the papyrologist Carl Wessely. Scholars estimate the text's original composition in the second or third century AD, potentially as early as 100–150 AD, reflecting a process of ritual adaptation over time, though this dating faces challenges from linguistic elements that seem anachronistic for such an early period.^[1] Debates over the text's relation to Mithraism center on whether it represents a genuine adaptation from Mithraic cult practices or a syncretic magical composition incorporating Mithraic elements. Hans Dieter Betz, in his comprehensive edition, argues for its authenticity as an organic product of Hellenistic-Egyptian syncretism, devoid of overt Christian, Gnostic, or Neoplatonic influences, and aligned with Middle Stoic and Hermetic traditions. In contrast, Richard Gordon has expressed skepticism, suggesting the text does not authentically reflect Mithraic practices, emphasizing its magical rather than strictly cultic character.^[20] Supporting evidence for the text's organic development comes from the codex's script, which integrates the Liturgy seamlessly into a larger compilation of magical formulas, and from parallels with other PGM texts that exhibit similar syncretic invocations and ascent motifs, indicating evolution within a shared Greco-Egyptian magical tradition rather than isolated fabrication.^[1] Recent scholarly analyses as of 2021, such as those by Radcliffe G. Edmonds III refining interpretations of its ritual structure through comparative methods, continue to affirm a late antique origin while highlighting the challenges posed by the text's eclectic linguistic and thematic borrowings, without resolving the debate over its Mithraic ties.^[21] The Liturgy was first published in 1903 by Albrecht Dieterich, whose edition sparked ongoing discussions of its historical context.

Theological Significance

The Mithras Liturgy exemplifies henotheism by presenting Mithras as a syncretic solar deity who integrates Persian, Greek, and Egyptian traditions, often equated with Helios and Aion in a unified divine persona that dominates the ritual's invocations. This portrayal underscores Mithras's role as a supreme yet multifaceted god, capable of mediating between earthly practitioners and the celestial realm, reflecting the devotional focus on a single deity amid a polytheistic backdrop. Such henotheistic emphasis aligns with broader late antique tendencies where solar figures absorbed attributes from multiple cultural sources to appeal to diverse worshippers. Central to the liturgy's theology are themes of personal salvation and a structured cosmic hierarchy, where the initiate achieves temporary immortality through ritual ascent past archons and planetary spheres, culminating in communion with the divine. This process demands esoteric knowledge, passwords, and protective formulae to overcome cosmic barriers, promising deification and eternal life beyond mortality. These motifs resonate with Hermetic texts like the Asclepius, which similarly depict soul elevation via gnosis, and early Christian works such as the Apocalypse of Paul, indicating cross-pollination in the empire's esoteric traditions.^[8] The liturgy's significance extends to illuminating the interplay among mystery religions, magic, and theurgy in the Roman Empire, where ritual practices blurred distinctions between public cults, private spells, and divine invocation techniques. By embedding magical elements—such as voces magicae and elemental manipulations—within a theurgic framework aimed at god-union, it demonstrates how such texts enabled lay individuals to enact salvific mysteries without formal initiation hierarchies. This fluidity challenges traditional views of mystery cults as rigidly separate from "low" magic, revealing a continuum of religious expression. Modern interpretations emphasize the liturgy's embodiment of popular religiosity, operating on the fringes of elite philosophies and institutional cults to offer accessible esoteric paths for personal empowerment. Scholars highlight its individualistic focus as evidence of grassroots syncretism in Hellenistic Egypt, distinct from the structured Mithraic grades yet evocative of solar piety's widespread appeal. While its precise ties to Mithraism remain debated, the text enriches understandings of esotericism's democratic undercurrents in late antiquity.^[22]