After the cut is a devotional sadhana written in a Tibetan Buddhist liturgical style, adapted symbolically for Ares. It draws on traditional Vajrayana structure (refuge, bodhicitta, visualization, mantra, offerings, dissolution, dedication), while honoring Ares as an archetype of awakened strength and courageous compassion.
The Practice of Fierce Compassion and Courage
1. Preparation
Sit in a stable posture.
Let the breath settle naturally.
Rest awareness in spacious clarity.
Recognize that all conflict arises first in the mind.
Resolve that this practice is not for domination, but for the transformation of aggression into fearless compassion.
2. Refuge and Bodhicitta
In the space before you, vast and clear, appear the Three Jewels as spheres of radiant light.
I take refuge in awakened wisdom.
I take refuge in the path of discipline and clarity.
I take refuge in the noble community of courageous hearts.
For the benefit of all beings who struggle,
who fear, who burn with anger or despair,
I generate bodhicitta —
the wish to transform conflict into protection,
rage into clarity,
fear into steadfast strength.
3. Invocation and Visualization
From the red syllable RAM at your heart
light radiates into space and returns,
condensing before you into Ares, Lord of Courage.
He appears youthful and powerful,
his body deep crimson like molten iron.
His eyes blaze not with hatred,
but with unwavering presence.
He wears armor of luminous bronze —
symbol of disciplined strength.
In his right hand he holds a spear of clear light,
which pierces ignorance and cowardice.
In his left, a shield marked with a golden sun —
the protection of the vulnerable.
Flames of wisdom-fire surround him,
burning away injustice and inner weakness.
Though fierce in form,
his expression is noble and resolute —
the compassion that dares to confront harm.
Above his crown shines a white syllable OM.
At his throat, a red AH.
At his heart, a blue HUM blazing like a star.
4. Praise
Homage to the fearless one,
who strides into chaos without hatred.
Homage to the guardian of oaths,
protector of the innocent,
embodiment of disciplined power.
You who transform trembling into courage,
hesitation into decisive clarity,
anger into sacred resolve —
to you I bow.
5. Mantra Recitation
At his heart, a wheel of red light turns.
Upon it appears the mantra:
OM ARES VAJRA HUM PHAT
Recite steadily.
With OM — purify body and action.
With ARES — awaken fearless strength.
With VAJRA — stabilize unshakable resolve.
With HUM — unite wrath and compassion.
With PHAT — cut through cowardice and delusion.
As you recite, red light radiates outward,
empowering all beings with courage,
especially those who must stand against harm.
Your own body gradually becomes identical with Ares —
Aphrodite is sensual, loving, multifaceted. Beautiful in the way a woman is. Beautiful in the way a pearl is, the way an ocean is. Beautiful the way a bath and bed are after a long day. Beautiful the way sex and longing and love itself are. Beautiful in the most subtle and unsubtle ways all at once.
Ares has a beauty I can't quite describe. I see it in the old statues of him, a vulnerability that perhaps may seem like a paradox. Beautiful in the way blood can be beautiful; with a brightness. Warmth. Beauty in willingness to stand for your brothers; for all your fellow man.
Apollo is beautiful is such an overt way. Gold and light and art and healing, yes. An almost androgynous beauty, masculine in a way that pierces through the confines so many men today would try to keep wrapped around it. He is beautiful like the sun and fresh paint glistening with promise. He is beautiful like the moment you realize a terrible pain has faded. Beautiful like a poem that gives you shivers, beautiful like a love that makes you burn.
Dionysus is beautiful like felines; graceful and powerful and brazen, and full of knowledge of pleasure. Beautiful like the taste of wine lingering on the tongue, beautiful like an emotion that threatens to overwhelm you completely. Beautiful like laughter and tears after sex. Beautiful like the little spark of madness that drives creativity. Beautiful like a spread of jewel-toned fruit. Beautiful like a dark forest; temptation despite knowing that wild things lay beyond.
Nyx is beautiful like velvet darkness. Beautiful like the moon and stars. Beautiful like poisonous flowers. Beautiful like shadows and secrets. Beautiful like the dark parts of the self that beg to be known, or conquered, or pulled into balance. Beautiful like silence and solitude; but also like a vibrant community of so many souls shining their light into your life the way stars light up the sky. Beautiful in the way that strikes fear into the hearts of men. Beautiful in the way it feels to be surrounded by the safety and warmth of a dark womb. Beautiful in a way that is both intense and soft.
Today, December 19th, is the Roman festival of Opalia. The goddess Ops is honored during the Saturnalia as a reminder that all wealth originates in the bountiful earth.
Ops, or Opis, is a Sabine goddess and the sister-wife of Saturn. Their reign was known for peace and prosperity, a time when the soil produced plentiful food without human toil. Ops represents agricultural abundance, and her symbols are a sheaf of grain and a scepter. She was eventually superseded by the Roman goddess Abundantia, who holds an overflowing cornucopia as her attribute.
A temple dedicated to Ops stood on the Capitoline HIll, near the temple to Jupiter Optimus Maximus. Some scholars believe that standard weights used to regulate commerce and agriculture were stored there, under the protection of the goddess. This temple was so sacred that only the Pontifex Maximus and the Vestal Virgins were permitted to enter.
Featured image: Goddess Ops, reverse of a brass sestertius of Antoninus Pius, 2nd century CE. Image source forumancientcoins.com
Round Trip to Hades edited by Gunnel Ekroth and Ingela Nilsson: Explores the depictions of the Underworld through time.
Chapter 4, 'Divine Bondage and Katabaseis in Hesiod’s Theogony' focuses primarily on Tartaros; Chapter 8, 'Round Trip to Hades: Herakles’ Advice and Directions' examines the literary and iconographical representations of Herakles' round trips.
Greek Way of Death by Robert Garland: Chapter 5, 'Life in Hades' covers the some of the topography, as described through literature.
I think these are all I have on hand, but I would be interested in doing more actual research into it. I've never read all of the Round Trip to Hades, but this might give me a good excuse to try.
“What is the difference between Orphic and Homeric Hymns?”
The Orphic and Homeric hymns are both significant in the context of ancient Greek literature and religion, but they differ in origin, purpose, and style.
1. Origin and Tradition:
- Homeric Hymns: These hymns are attributed to Homer, though they were likely composed by various poets in the 7th and 6th centuries BCE. They are part of the broader tradition of epic poetry and are generally seen as a way to honor the gods through narrative and invocation.
- Orphic Hymns: These hymns are tied to the Orphic tradition, which is associated with the mythical figure Orpheus. The Orphic hymns date from later periods (around the 3rd century BCE to the 3rd century CE) and reflect a more esoteric and philosophical approach to religion.
2. Content and Themes:
- Homeric Hymns: Each hymn typically praises a specific deity, recounting myths or stories related to their attributes, powers, and deeds. They often serve a liturgical purpose, meant to invoke the favour of the gods.
- Orphic Hymns: These often incorporate themes of mysticism, cosmology, and the soul's journey. They focus more on personal religious experience and metaphysical concepts, such as the nature of the divine and the afterlife.
3. Style and Structure:
- Homeric Hymns: They generally follow a narrative structure and employ traditional epic techniques, such as invocation and epithets. The language is grand and formal.
- Orphic Hymns: While also poetic, these hymns tend to use a more lyrical and mystical language, emphasizing philosophical ideas. The structure can be less consistent than that of the Homeric hymns.
While both types of hymns celebrate the gods, the Homeric hymns are more concerned with storytelling and invocation in a traditional epic style, whereas the Orphic hymns delve into mystical and philosophical themes, reflecting a different aspect of religious belief.
If I missed anything or messed anything up please let me know, I am up to hear about your opinions / knowledge on this too ^^
I’m looking into miasma again (previous research here, here and here) and the more I read, the more I’m struck by the gap between ancient texts and modern interpretations. Among Hellenic polytheistic communities, miasma is generally defined as the ickiness of mortal life, as in this explanation by Elani Temperance:
Miasma occurs whenever the space or person comes into contact with death, sickness, birth, sex, excessive negative emotions and bodily fluids. It also comes from a lack of contact with the Hellenic Gods. […] The most important things to remember about miasma is that it holds no judgment from the Gods, and that everyone attracts miasma. It’s a mortal, human, thing.
Or in this similar one by shipping-the-gods:
Miasma translates to the vague word “pollution”, but it isn’t as bad as you might think. It’s just the everyday things we hold onto throughout our lives as humans. It is humanness, and nothing to ashamed of or scared of.
If these definitions were historically accurate, we would expect to find a number of ancient texts describing purification from miasma before a ritual. However, I went through all instances of the word “miasma” in ancient texts, using the TLG Text Search tool, and to my surprise, this usage does not appear a single time. Let me repeat that: there is not a single text in which a regular person purifies themselves of miasma before a ritual. All attested purifications from miasma are expiatory rituals designed for criminals.
Instead of miasma being “everyday things” of which the presence “holds no judgement from the Gods”, in ancient texts it has the following causes (excluding fragmentary texts and passages with vague context):
murder (by far the most common, mentioned by ten authors)
murder of a family member
murder of fellow citizens
murder of animals (only in Plutarch)
abandonment of a person to death
eating human flesh
incest, both contemplated and acted upon
adultery
refusal of suppliants
crime against a member of the priesthood
dedication of plunder taken from Greek people to the Greek Gods
taking offerings from temples
death in a sacred space
non-specific crime
using bad language (only in Charondas)
In the above contexts, miasma is often coupled with the words ἀσεβής (impious), ἀκαθαρός (impure) and ἀνόσιος (unholy). It’s also worth noting that there are no mentions of miasma in the poetry of Homer or Hesiod; its earliest appearance is in Aeschylus’ plays.
The only causes which overlap to some extent with modern understanding are the following:
natural death and funerary rites
pollution associated with birth and death (mentioned by Diogenes Laertius in the phrase “death, birth and all miasma”, though it should be clarified that this is in relation to Pythagoreanism, not to the mainstream cult)
certain diseases, disabilities and disfigurements (explainable by the fact that illness and physical deformities were considered to be signs of moral failure)
In summary, what ancient texts tell us is that miasma is not a morally neutral and inherently human occurrence. Its most normal cause is death, and possibly also birth; but more commonly, miasma is caused by (what the Ancient Greeks considered to be) severe physical impurity and by crime, specifically crimes against another person, especially one of the same family or social group, and crimes against the Gods.
Nevertheless, as I’ve discussed in previous posts, the impurities described at the beginning of this post do exist in Hellenic polytheism; the term for them is not miasma but lyma, a mild form of spiritual (and physical) pollution that can simply be translated as “dirt”. From Homer onwards, it’s lyma, not miasma, that ancient people purified themselves of before ritual.
So how did this confusion arise? How did the current definition of miasma, as used by Hellenic polytheists, come to be? I would point in part towards Christian and Christian-influenced texts, which understand miasma as a softer, less specific kind of impurity; in 2 Peter 2:20, for example, it refers to worldly things, as opposed to the holiness of God. It’s also worth noting that of the 923 occurrences of the word “miasma” in Greek literature, over 600 are found in Christian texts.
But beyond ancient interpretations, I would also point towards the nature of the modern Hellenic polytheistic community. Since many worshippers don’t have access to scholarly resources, and even fewer can read ancient texts in their original language, much of the information found online is essentially from a handful of (often simplified) sources. As that information travels, it gets reinterpreted and expanded upon via UPG, while still being presented in an authoritative manner. Somehow, along the way, we decided to call all spiritual pollution miasma; somehow, along the way, we assumed that miasma was caused by mortality; somehow, along the way, we interpreted it not as a defilement but as a distraction from worship. In short, somehow, along the way, we created for ourselves a whole new definition of spiritual pollution which has almost nothing to do with the ancient understanding of it, and yet which is almost universally accepted among modern worshippers.
This is not inherently a bad thing; in fact, I find it quite fascinating. I would still highly encourage my fellow reconstructionists to use the ancient definitions of miasma and lyma in their worship - because we strive to be close to our religious ancestors, because these terms preserve a nuanced view of pollution which is lost in the all-encompassing “miasma”, and because they lessen the otherwise strenuous expectation that we should go through elaborate purifications before each ritual. But if the neo-definition of miasma, or your personal definition, suits your own practise better, I’ll not be the one to stop you from using it.
What this topic does highlight is how easy it is for what is essentially UPG to get widely accepted by the Hellenic polytheistic community. Our religion is growing and thriving, and as it develops, new understandings naturally arise - which is great! But it’s just as important that, as a community, we strive towards giving an honest representation of what is new and what is historical, so that each individual may make an informed choice of what suits their practise best.
“It’s worth noting that of the 923 occurrences of the word “miasma” in Greek literature, over 600 are found in Christian texts.”
here is an AMAZING post diving into the difference between historical and modern understandings of miasma and purity. i, myself, can be quick to scroll past ‘tap here to read more’, but this is quick read, extremely non-judgmental, and easily digestible! i included a fascinating quote above, and another quote below:
“Our religion is growing and thriving, and as it develops, new understandings naturally arise - which is great! But it’s just as important that, as a community, we strive towards giving an honest representation of what is new and what is historical, so that each individual may make an informed choice of what suits their practise best.”
On the 5th of September the Ancient Romans celebrated the anniversary of the temple of Jupiter Stator, which was build in 146 BCE (Scullard 183). So, I wanted to write a little post about the epithet of Jupiter Stator, in order to learn about it myself and offer some ways in which this epithet could be brought into a modern practice.
Seemingly the most well-attested interpretation of Stator (related to the word sto "to stand") is as "stayer" or "supporter", in a war context. Jupiter Stator seems to have been invoked to help armies stand their ground in battle (Adkins and Adkins 125). According to legend, that's what Romulus did in the war against the Sabines. Rather than strength or battle prowess, Jupiter Stator seems to have been seen to be involved in morale amongst the soldiers.
However, alternate interpretations exist outside of the war context. Angel Pariente (cited in de Gruyter 126-127) argues that it instead referred to Jupiter as a custodian of the city of Rome and its citizens. Sometimes Stator is translated as "sustainer" (Wikipedia) or "one who establishes or upholds" (Oxford Latin Dictionary 1815). There seems to have been an alternate function outside of war, which had some sort of defensive aspect, but I have not been able to find much about it, apart from this.
My Revivalist Take
Now, this is going to be the section where I ramble on about how we could re-interpret this epithet for use in our modern world (revivalism), so if you're not interested in that, thank you for reading up until here!
Due to its etymological connection to the Latin word sto "to stand", I see Jupiter Stator in a modern context as Jupiter who Stands. Primarily, I see this as Jupiter who watches over those who stand their ground and resist, people who try to not get pushed back when protests get heated, people who stand up for what is right, people who speak up and fight back when it is needed (I'm noticing now that English has a surprising number of expressions related to this that include the word "stand"). It is an aspect of Jupiter that gives courage and strength in the face of something intimidating and scary.
This can go beyond just these somewhat "fighting" actions. For example, I think a job interview can be something intimidating where you need to stand your ground, so I believe that Jupiter Stator could be the one to address prayers to in that situation.
In the more defensive aspect of the epithet I think Jupiter Stator could be invoked as a protector, who stands by you when you need it. I think this side of the epithet could be delved into more, and I invite anyone interested to do so, but I'm most invested in the previous interpretation outlined above.
Sources:
H.H. Scullard, Festivals and Ceremonies of the Roman Republic
Lesley Adkins, Roy A. Adkins, Dictionary of Roman Religion
Walter de Gruyter, The Cult of Jupiter and Roman Imperial Ideology
Wikipedia, "Temple of Jupiter Stator (3rd century BC)"
Collective of Authors, Oxford Latin Dictionary, 1968
⠀⠀ ✧. "Priesthood" in Ancient Greece
⠀⠀ ✧. Seers in Ancient Greece
⠀⠀ ✧. Divine Inspiration: Theia Mania (Part 1)
⠀⠀ ✧. What did Hellenic Priest Do in Antiquity?
⠀⠀ ✧. do people nowadays really "hear" the gods? (reblog)
Household Worship
⠀⠀ ✧. Household Worship - Personal Religion Structure & Setup
⠀⠀ ✧. Household Worship - How Worship Was Conducted at Home
⠀⠀ ✧. Agathos Daimon and the Agathoi Daimones
⠀⠀ ✧. Ways to Honor the Theoi Daily
⠀⠀ ✧. Concept of the Okios
Asked & Answered
⠀⠀ ✧. Travel Altar for Hermes
⠀⠀ ✧. Hermes, as the Patron of Spoken Word
⠀⠀ ✧. Devoting Studies to Hermes
For a more modern take, I like @hyakinthou-naos' calendar (based on the Delphic Calendar).
But if you're looking for a more traditional approach, then the Hellenion has a calendar based on the Attic Calendar. There are a lot of different calendars out there, too, and there are a lot of holidays and festivals to celebrate, so I recommend picking what interests you and focusing on those rather than trying to celebrate everything.
when i first entered hellenic polytheism, i was wary of Zeus. of course, i’ve grown to love him— lately, i’ve been feeling His presence heavily, specifically drawn to the epithet Zeus Pater.
what has your experience worshipping and approaching Zeus been like?
I had a similar experience. I started out my journey by worshipping Haides and Persephone, but refused to incorporate Zeus into my praxis because I found myself falling for the "Hades good, Zeus bad" mentality that is popular in Greek mythology spaces.
Nevertheless, as my practices and beliefs became more solid, my views on Zeus changed dramatically. I recognized him for the loving, benevolent father he is. Not only that, but I grew to revere his might and his power over the cosmos.
Praised be Zeus, ruler of the deathless gods and lord of all things! Hail, Zeus Pater, hail Zeus Pantokrator!
Hey there, all! It is Sybil (fka Clever Crow) speaking!
A couple of weeks from now, I will go on holiday. This may seem completely unrelated, but it actually the reason why I was inspired into writing this post. In fact, I have decided to build a portable Lararium, and I want to take you with me on this "journey".
Before delving into the making of the shrine, though, I want to say this: even though, *to me*, this Lararium will be portable; others may use the same project to make a standard Lararium. And that 👏🏻 is 👏🏻 valid 👏🏻. Actually, your shrine could be even more modest: a candle with a bowl is as much of a Lararium as mines'. A Lararium doesn't have to be fancy in order to work.
The only reason why I made my Lararia complex/extremely detailed is because I was lucky enough to have a very supportive family who does not mind me showing my shrines (furthermore, I'm a Libra rising *and* an art history student: I adore aesthetics). I am aware that a big portion of the pagan/witchy community might not be as lucky (nor be as interested in aesthetics), and this is why I felt the need to write dowm the following disclaimer: your safety > functionality > aesthetics.
Now, without further ado, let us see what a Lararium is, shall we?
"The lararium was a shrine to the guardian spirits of the Roman household. Family members performed daily rituals at this shrine to guarantee the protection of these domestic spirits, the most significant of which were the lares." [source: VRoma]
"The Lararium (pl. lararia) altar is the sacred place of the home where offerings and prayers are made to the Gods." [source: Nova Roma]
These two quotes summarise ever-so perfectly the definition of "Lararium". We are, indeed, talking about a place where Ancient Romans used to leave offering to the domestic gods. For the sake of conciseness, I will only name them and will refrain from introducing them:
➳ Lares (that is where the word "Lararium" comes from);
➳ Penates;
➳ Vesta;
➳ Genius (or Genii, plural) loci;
➳ Personal Genius/Iuno (on the practitioner's birthday).
With the definition of "Penates" going from "deities who watch over the penus [= pantry]" to "any deity that the paterfamilias [= the father, the head of the family] felt like including in his devotional workings", deities from the public cult started to be worshipped in these private shrines as well. Thanks to this, archaeologists were able to retrieve some remarkable statues (as well as paintings) of "major" deities (Bacchus, Vulcan, Diana and Apollo, to name some) angloside imagery of domestic, "minor" deities (Lares).
Lararia were built in a wide variety of materials (wood, marble, silver), ranging from entire devotional rooms to smaller shrines depending on the income of the family. They were usually set up in the kitchen and, most of the times, they resemble a temple. Usually, they also include decorations connected to the ritual sphere in the pediment (bucranium, patera, garlands, etc).
But now, to the pièce of résistance: in Comacchio, Emilia-Romagna, Italy, a portable silver Lararium was found. This discovery is revolutionary to say the least: this is the proof that Romans used to worship their gods when abroad as well (which is what inspired me into making my own portable Lararium).
baratheonpilled
jbbartram-illu
izzy806
dededos
