The Cult of Mithra and the Proto-Knight
Depiction of the Mithraic tauroctony (slaying of the bull) from a coloured relief from Argentoratum (current-day Strasbourg, France). 140-160 AD. Themes of spiritual ascend and descend are also evident in the symbols of cautes and cautopates, who were often depicted flanking the sacrificial bull during the tauroctony; the former represented the spring, dawn and resurrection while the latter represented the autumn, death and descent.
The cult of Mithra, which predominated in early Zoroastrian Persia in the first millennia BC, was an esoteric, initiatory sect that spread far beyond the borders of Iran and was eventually adopted by Roman legionaries up to the widespread adoption of Christianity in the Empire. Coming from the Avestan root -mi (“to bind”--similar to religare, the origin of the word “religion), Mithra was the “lord of heavenly light and the protector of truth” and “was invoked whenever a contract or an oath was taken.” (1) A critical part of the Zoroastrian faith, Mithra serves as the great warrior in the eternal battle between light and darkness. Bearer of the “hundred-knotted mace,” from which “demons flee in fear,” (2) Mithra is viewed as a friend, protector, and guide to the Indo-Aryan nations, most notably Iran, as well as Aryan offshoots in Greece and Roman Empire.
The popularity of Mithra cannot be overestimated. Numerous discoveries have been made at Hadrian’s Wall in Northern Britain attesting to the enduring devotion to the solar god, one inscription saying, Deo invicto et Soli socio sacrum, “Sacred to the invincible God and Sol his ally. (3) ”The remnants of Mithraic temples can be found from Northern English cities such as York to London, and across the former Roman world, with soldiers in barracks and garrison towns particularly devoted to Mithra. Mithra’s title of invictus, “invincible,” became increasingly associated with Roman emperors beginning with Commodus, who claimed descent from Hercules and who became famous for his exploits as a gladiator in the Roman Colosseum (4). Mithraic neophytes were required to pass seven separate grades during an initiation process, and to swear an oath admitting them to “the sacred militia of the invincible god of light.” (5) Mithras was duly identified with the titan Prometheus,(6) whose theft of fire and light from the gods placed him as a figure representing luminous transfiguration. (7)
The Mithraic cult became the chief rival with Christianity for hearts and minds in the early centuries following the death of Christ. Despite a brief attempt to revive pagan cults under the Emperor Julian (r. 361-363 AD) (8) persecution of the Mithrians sped up; many of their holy shrines were destroyed and Christian churches built over top of them (9). There are many reasons given for the eventual victory of Christianity over Mithraism. Among others was the disorganized nature of Mithraism when compared to the organized hierarchy of the early Christian church. Traditional pagan concepts of duty also played a role; once Roman emperors such as Constantine made the decision to commit to Christianity, those who followed orders in the military structure tended to follow. Since Mithraic cults lacked any central organization and often met under occulted and mysterious conditions, in caves and the like, prevented any kind of organized resistance to the Christian onslaught and eventual absorption.
Despite the extirpation of the cult of Mithra, the sheer amount of elements incorporated into early Christian practice and ritual from Mithraism is staggering. Mithra, like Christ, was a savior god. Like Christ, Mithra was born of a virgin, remained celibate, and was born in late December. His worshippers were baptized, viewed wine as sacrificial blood–water and bread were generated through the sacrifice of the bull, known as tauroctony–and followers of the cult viewed Sundays as sacred. The equidistant cross was a symbol of the sun long before Christianity adopted the crucifix. The motif of the last supper and Christ’s ascension to heaven can be seen in the gathering of Mithraic followers around a table of the “slayed bull,” as well as Mithra’s leap to heaven in the chariot of Sol, the solar deity. Christ himself was crowned with rays of light, what was called a “crown of righteousness.” Some historians have also drawn parallels to the nave-architecture of churches with the ancient temples of Mithra, citing the long, covered side-colonnades as places where followers would feast and break bread together, something echoed in the holy Mass in Christianity. (10)
Mithraeum of the Baths of Mithras (Ostia, Italy)
The Mithraic cult was replete with symbolism, much of which can be seen in the sacrifice of the bull, which matches the general story arc of the Christian saga. The disciple of Mithra captures the bull after a long period of inner struggle. In this sense, the bull can be seen as a reflection of the human ego. After slaying the bull–a symbolic death–the disciple participates in a sacred meal and shares in the divine life, signifying rebirth. Upon reaching a state of divinity, the follower of Mithra ascends to the light in Sol’s chariot in a process of apotheosis. In Mithraic belief, the blood of the bull becomes wine while the tail sprouts wheat (bread). In this sense, the sacrifice of the bull becomes an alchemical symbol of transforming the base into the sublime. It should be noted that in Mithraic belief, the blood of the bull symbolizes the Milky Way, the cosmic path upon which the disciple reaches perfection (11). In this sense, Mithra becomes the “Kosmokrator,” the ruler of the heavens and the pole around which the universe revolves. The slaying of the constellation Taurus by the hero Perseus is perhaps the best cosmic representation of the Mithraic path, in which disciples partake in a quest of courage and self-mastery to attain god-like powers.
Mithraic initiation involved seven key steps, each of which represented higher levels of mastery, divinity, and perfection in the soul of the neophyte.
Corax (The Raven)
Corax (the Raven) operated under the symbol of Mercury, messenger of the gods and the courier between the physical and spiritual realms. Upon being washed in water and baptized, The neophyte would symbolically die and be feasted upon by ravens, an allusion to Zoroastrian sky burials, the ravens being a symbol of the sun. Indeed, to this day, ravens are seen as messengers of the spirit realm. Ravens were held sacred in ancient Britain and served as as symbol of King Arthur’s divine connection with the sun. the House of Windsor famously maintains a skilled “ravenmaster” to this day whose job it is to keep a home for the sacred ravens in the Tower of London, their absence symbolizing the imminent fall of the English monarchy.
Nymphus (the Male Bride)
The Nymphus (Male Bride) operated under the symbol of Venus, goddess of love and beauty, and required the initiate to enter a state of spiritual marriage with Mithra. The neophyte would enter the room veiled and carrying a lamp, the veil a symbol of ignorance that cannot be dispelled until the veil is lifted. The initiate then offers a cup of water to the statue of Mithra, the cup his heart, the water his love. He would then declare, “Hail Nymphus, hail New Light.” The neophyte would remain celebate during this stage, the symbolism of which clearly reflects elements later found in Christianity: the veil of the bride, the holy cup, and the transformation of water all forming key aspects. The aspect of love and devotion to the beloved, it should be noted, is particularly pronounced in Islamic Sufi traditions, with the Salik (or, “traveller”) seeking reunion with God.
Miles (the Soldier)
The Miles (Soldier) stage traditionally corresponded to Mars, the god of war, and signified courage, discipline, and loyalty. Much like those Roman soldiers who may have gathered at Volubilis and other garrison towns to honour Mithra, this stage took place as a group. The initiate would kneel naked and blindfolded, his hands bound. Then, a crown would be offered to him on the point of the sword–a clear allusion between found in Christ’s rejection of Satan and the “kingdoms of the world”--to which he replies, “Mithra is my crown.” The bindings are then cut from the neophyte with great care, who would then take on a branding or tattoo, one of which would be the sun cross, often applied to the forehead. The parallel with Christian practices on Ash Wednesday is striking.
Leo (the Lion)
The Leo (Lion) stage was represented by the god Jupiter and symbolized power, authority, and purification. At this stage, a sacred meal is held with the pouring of honey, symbolically linked to fire. The lions would deliver the ritual meal, and also symbolized the tenders of the sacred altar flame, while declaring: “Receive the incense-burners, Father, receive the Lions, Holy One, through whom we offer incense, through whom we offer ourselves consumed!” Early Christian sources spoke of Mithraic rituals involving practitioners crawling with strange masks–the raven and the lion–while ordeal pits for the performance of rituals have been found throughout Roman garrison towns in Northern Britain. It is clear that Mithraic rituals involved a shamanistic aspect to them. In Sufi iterations of the rite, performed in Iran during the rule of the Umayyad caliphs (670-750 AD) as a way of preserving national identity during the Arab invasions of Persia, the divine feast would also include wine, a symbol of divine love (eshgh, in Persian). The great poet Rumi himself would refer to all Sufis as “lions” and was himself called asadollah, “the lion of God.”
Perses (the Persian)
The Perses (Persian) stage of the ritual was intended to reflect the Persian origins of Mithraism. Having found with the ego during the Miles (Soldier) stage and drank the wine of love during the Leo (Lion) stage, the disciple of Mithra now takes up the curved sword (harpe), a symbol of the hero Perseus smiting the head of the gorgon, representing the ego (nafs in Arabic and Persian). Parallels with the hero Gilgamesh slaying the beast Humbaba or Saint George killing the dragon are evident. Honey would again play a key role, symbolizing purification and fertility.
Heliodromus (the Sun-Runner)
The Heliodromus (Sun-Runner) stage traditionally corresponded to Sol (the sun) and represented the swift runner who brought light to the world. Entering the banquet call in red–the colour of the sun and the blood of the bull–the disciple would take a seat next to Mithras (the Father) in a scene evocative of Christ’s last supper. Wine and grapes would be offered in a symbol of divine ecstasy. This stage symbolized knowledge of the celestial spheres, of light and of darkness,
Pater (the Father)
The final stage was Pater (the Father), where the discipline, having reached the end of the initiatory process, was bestowed with the Persian (or Phrygian hat), the patera (a type of libation dish), and a sickle-like sword. Resting under the planetary symbol of Saturn, representing wisdom, authority, and the completion of the initiatory journey, the role of the newly baptized Pater would be to inculcate the wisdom of the light of Mithra upon the uninitiated. In some rituals (particularly in Iran), the drinking of homa (in Sanskrit, Soma) would occur, with the disciple entering a trancelike state. There is a belief among some Persians that Ahura Mazda fed a hemp-like juice to sedate the white bull prior to it being slaughtered by Ahriman, the lord of darkness (12).
A fictitious Mithraeum in Nijmegen (Amsterdam), Netherlands depicts the seven grades of initiation, represented by mosaics on the floor.
Nabarz ends the chapter thus:
“ It is only when we come from our hearts, within which is the truth of “Mithra is my only crown,” that the battle can be won. It is only on the path of Love, with the guidance of the Father who has already slain the bull, that we can decapitate our own Gorgon before it turns us to stone (13).”
The ritual steps of initiation inherent in Mithraism find reflection in later ages, most notably in the world of knighthood and chivalry of the Middle Ages–most notably the Knights Templar–as well as in the practices of various esoteric cults including the Rosicurians and Freemasons. One of the most enduring motifs of Mithraism that survives today is the ritual handshake–an ancient sign of oath-bound brotherhood. This is doubly reflected in the use of solemn vows, similar to those employed by soldiers in the military. During the Crusades, it was commonly inveighed by the clergy that “paradise lies under the shade of swords” and that “the blood of the heroes is closer to God than the ink of the philosophers and the prayers of the faithful (14).” According to the esotericist Julius Evola, ascension into the Mithraic mysteries and the Solar (or, Uranic) principle was a necessary counter-balance to the downward pull of telluric (earth-bound), chthonic deities, examples of which can be seen in the cults of Iris, Cybele, and even the Slavic Mokosh (symbol of the wet mother-earth, later incorporated into the Catholic cult of the Virgin).
The concepts of spiritual knighthood and oath-bound duty found clear expression for many Romans through the cult of Mithra. Indeed, the Mithraic cults emerged out of a culture that, traditionally, had been based around Earth-goddesses and the divine feminine. Beginning with the monotheistic Zoroastrians, a stronger masculine emphasis was developed in these cultures, focusing on bravery, honour, and spiritual ascent. The influence of the Mithraic cults was widely absorbed into Christianity, which took on many of the militaristic and imperial facets of the later Roman Empire. In turn, themes of initiation, trial and rite made their way into popular concepts of knighthood and chivalry during the Middle Ages.
(Marching Song of the Roman Ninth Legion)
As the sun rises
And we soldiers march to “meet Ra”
We sing; hail to the sun god
He’s a real fun god, mit ra ra ra
As our loins feel the heat of the midday sun,
As Lions we roar, and run for a shade, a glade, a pool.
We swim across rivers, to cool our heated leather pouch,
We brave and cocky soldiers of “Sol Invictus.”
The afternoon siesta ends, and we march home.
Rome’s sons have defended the Wall with honor again.
Like their Lord, hope to get their “leg over” a bull tonight.
So much wine will we drink, at dusk, for our Friend.
As the bars shut, we get thrown out, at the midnight hour.
We compete for a place to sleep in the ordeal pit.
‘Cause we are hard, we soldiers of Mithras.
O Lord, please clear our hangovers by dawn. (15)
Perseus with the Head of Medusa by Benvenuto Cellini (1545-1554), Florence, Italy
CITATIONS
(1) Nabarz, Payam. The Mysteries of Mithras: The Pagan Belief That Shaped the Christian World. Inner Traditions, 2005.p.11
(2) Ibid.p.16
(3) Clauss, Manfred. The Roman Cult of Mithras: The God and His Mysteries. Translated by Richard Gordon, Routledge, 2000.p.146
(4) Ibid. p.148
(5) Evola, Julius. Revolt Against the Modern World: Politics, Religion, and Social Order in the Kali Yuga. Translated by Guido Stucco, Inner Traditions International, 1995.p.122
(6) Ibid. p.230
(7) Ibid.
(8) Nabarz p.85
(9) Ibid p.67-68-There is perhaps nothing more telling of Christianity’s dislike of its main rival than what was found in a Mithraic temple in Sarrebourg, in Lorraine, France. The find was of a human skeleton (a Mithraic priest perhaps) who was chained to the Mithraic altar and the door blocked up."Did not your kinsman Gracchus, whose name recalls his patrician rank, destroy a cave of Mithras a few years ago when he was prefect of Rome? Did he not break up and burn all the monstrous images there? . . . Did he not send them before him as hostages, and gain for himself baptism in Christ?
(10) Nabarz p.63-64
(11) Nabarz p.35
(12) Nabarz p.43-57
(13) Nabarz p.57
(14) Evola p.122
(15) Nabarz p.190-191
IMAGES
(2) Ostia_Antica_Mithraeum.jpg (1600×1200)
