I am deleting this tomorrow because I already spend too much time on the ever after high sub and I dont eant my account to be too active. Screen shot if you'd like.

Primary Sources

• The Greek Magical Papyri in Translation, edited by Hans Dieter Betz (essential primary source)
• On the Mysteries by Iamblichus
• Plato: The Republic, The Timaeus, The Phaedrus
• On the Theology of Plato and Commentary on The Timaeus by Proclus.
• On the Gods and the World by Sallustius
• De Natura Deorum by Cicero
• The Golden Ass by Apuleius
• The Orphic Hymns (modern translation recommended)
• The Corpus Hermeticum (recommended edition: The Way of Hermes by Clement Salaman et. al.)
• Papyri Copticae Magicae: Coptic Magical Texts, Volume 1. Formularies by Korshi Dosoo and Markéta Preininger
• The Mithras Liturgy: Text, Translation, and Commentary by Hans Dieter Betz

Books

General Books on Hellenic and Roman Religion

• Greek Religion by Walter Burkert.
• The Oxford Handbook of Ancient Greek Religion by Esther Eidenow and Julia Kindt
• Gods of Ancient Rome by Robert Turcan

Books on Greco-Roman Magic

• Drawing Down the Moon: Magic in the Ancient Greco-Roman World by Radcliffe G. Edmonds III (recommended for beginners)
• Cults of the Roman Empire by Robert Turcan. 
• Curse Tablets and Binding Spells from the Ancient World by John G. Gager
• Magic, Witchcraft, and Ghosts in the Greek and Roman Worlds by Daniel Ogden
• Techniques of Greco-Egyptian Magic by Stephen Skinner
• Ancient Magic: A Practitioners Guide to the Supernatural in Ancient Greece and Rome by Philip Matyszak
• The Hekataeon by Jack Grayle.
• The Headless One by Jake Stratton-Kent
• Ancient Greek Love Magic by Christopher A. Faraone
• The Greco-Egyptian Magical Formularies: Libraries, Books, and Individual Recipes by Christopher A. Faraone and Sofia Toralles Tovar
• Magica Heira: Ancient Greek Magic and Religion by Christopher A. Faraone and Dirk Obbink
• The Getty Hexameters: Poetry, Magic, and Mystery in Ancient Selinous by Christopher A. Faraone and Dirk Obbink
• Apotropaia and Phylakteria: Confronting Evil in Ancient Greece by Maria G. Spathi, Maria Chidiroglou, and Jenny Wallensten
• Greek Magic: Ancient, Medieval and Modern by John Petropoulos
• Magic in Ancient Greece and Rome by Lindsay C. Watson
• Greek and Roman Necromancy by Daniel Ogden
• Evocating the Gods: Divine Evocation in the Græco-Egyptian Magical Papyri by Christopher A. Plaisance
• The Concepts of the Divine in the Greek Magical Papyri by Eleni Pachoumi
• The Greek Magical Papyri: an Introduction and Survey by William M. Brashear
• Living and Cursing in the Roman West: Curse Tablets and Society by Stuart McKie
• In Blood and Ashes: Curse Tablets and Binding Spells in Ancient Greece by Jessica L. Lamont
• Sylloge of Defixiones from the Roman West, Volumes I and II by Celia Sánchez Natalías

Books on Mystery Cults

• Redefining Ancient Orphism and The “Orphic” Gold Tablets and Greek Religion by Radcliffe G. Edmonds III
• The Orphic Hymns: A New Translation for the Occult Practitioner by Patrick Dunn
• The Ancient Mysteries: A Sourcebook of Sacred Texts, edited by Marvin W. Meyer.
• Greek Mysteries: The Archaeology and Ritual of Ancient Greek Secret Cults, edited by Michael B. Cosmopoulos.
• Mystery Cults of the Ancient World by Hugh Bowden

Books on Greco-Roman Philosophies and Theurgy

• Living Theurgy: A Course in Iamblichus' Philosophy, Theology, and Theurgy by Jeffrey S. Kupperman
• The Practical Art of Divine Magic by Patrick Dunn

Videos

By ESOTERICA

• Plato 
• Greek Magical Papyri 
• Mithras Liturgy
• Hermeticism
• Emerald Tablet of Hermes Trismegistus
• Pythagoras and Parmenides 
• Derveni Papyrus
• Hellenistic Astrology 
• Theurgy 
• Chaldean Oracles
• Stoic Origins of Western Occultism, Perennialism, Esoteric Hermeneutics & Magical Correspondences

By Ronald Hutton

• Hecate: Mistress of Magic
• Mithras: Master of Mystery

By Religion For Breakfast

• What is Hermeticism?
• Why Fictional Magic Systems Feel So Fake

By LetsTalkReligion

• Mysticism in Ancient Greece
• Mystical Initiation in Ancient Greece

By Angela's Symposium

• Greek Magical Papyri & Contemporary Esotericism

Articles

• Practical Polytheism series by Bret Devereaux 
• Articles on the PGM by u/polyphanes
• Primer on Ancient Greek Magic by u/NyxShadowhawk
• Logic of Ancient Greek Magic by u/NyxShadowhawk
• Christian Deprogramming: What is the "Pagan Mindset"? by u/NyxShadowhawk
• What Even Is Orphism, Anyway? by u/NyxShadowhawk
• "Gods around the Grave: Hermes and Hekate in Early Attic Curse Tablets" by Athanassia Zografou
• " 'May He Not Be Able to Sacrifice...' concerning a Curious Formula in Greek and Latin Curses" by H. S. Versnel
• "'She Who Changes' (Amibousa), a Re-Examination of the Triangular Table from Pergamon" by Kassandra Jackson
• "Towards a Typology of Triangular Bronze Hekate Bases" by William Bruce and Kassandra Jackson Miller

Websites

• Theoi.com 
• Internet Sacred Texts Archive
• The Hermetic Library

Hi there everybody,

Hope you are all doing well!

I saw this post a few days ago about the Consecration Rite for All Purposes (PGM IV.1596-1715) and thought I'd edit it by preserving that same architecture while translating its theological centre from a solar deity to Hekate.

It is therefore best understood as a modern ritual adaptation that takes the original logic of the consecration formula and re-voices it through Hekate’s own sacred domain.

1. The origins of Her name.
2. Her ancestral lineage.
3. Her role in Hesiod's Theogony.
4. An exploration of Her Orphic Hymn.
5. Hekate's Temple at Lagina.
6. Hekate's arrival in Greece. 
7. The rise of Her chthonic powers.
8. Deipnon in a traditional context.
9. Hekate's role in the Homeric Hymn to Demeter. 
10. Why the Maiden-Mother-Crone schema is a modern invention.
11. Hekate's role in the Homeric Hymn to Demeter. 
12. Decoding The Charm of Hekate Ereshkigal Against Fear of Punishment.
13. Analysing a lead tablet invoking Hekate.
14. The Sardis and Pergamon Triangles.
15. Hekate's identification with the Lunar Goddess Mēnē.
16. Casting fortune magic with Hekate. 
17. Hekate in Japan?
18. Analysing Hekate’s appearance in American Horror Story: Coven.

And of course, I'm open to correction as well, if anyone more experienced or knowledgeable has any feedback. Please enjoy—it was a pleasure reworking this consecration prayer!

🏛️🏛️🏛️

I invoke you, the great goddess Hekate, ever-present Lady, sovereign of liminal things, who is above the heavens and below the earth, who walks upon sea, land, and sky, who shines in the night, and who passes unseen through the dark ways between all worlds.

This opening establishes Hekate in the broadest possible sacred frame. I named her first as “great goddess” and “ever-present Lady,” which places Her immediately in a position of divine sovereignty and continuous nearness. The phrase “sovereign of liminal things” is especially important because it defines the entire logic of the prayer: Hekate is not being invoked here merely as a night goddess, but as ruler of thresholds, transitions, crossings, and states of in-betweenness. Everything that follows grows out of that idea.

The next phrases expand Her across the full structure of the cosmos. “Above the heavens and below the earth” gives Her vertical reach, while “who walks upon sea, land, and sky” gives Her horizontal range, as mentioned in Hesiod's Theogony. The point is not that she belongs to only one realm, but that she moves through all of them.

This is very much in keeping with Hekate’s long theological development, in which she appears not as a limited deity confined to one domain, but as one whose power crosses boundaries between upper, middle, and lower worlds. In a consecration prayer, this matters because the deity being called upon must be able to reach wherever the object’s power is meant to extend.

“Who shines in the night” then shifts the register from cosmic scope to sacred visibility. Hekate is not a solar deity who rules through daylight revelation; Her presence belongs to the night, to torchlight, moonlight, and the forms of sight that emerge in darkness. This makes the phrase both theological and atmospheric, as it places Her in the proper emotional world of the rite.

The final part, “who passes unseen through the dark ways between all worlds,” draws together the whole line’s purpose. Hekate is invoked as one who traverses what others cannot. She moves not only through realms, but between them, and this is a concise expression of Her liminal sovereignty.

The “dark ways” are not simply gloomy imagery; they represent the hidden passages between life and death, mortal and divine, protected and unprotected, profane and consecrated. Opening with this line, therefore, prepares the entire prayer by declaring that the goddess addressed is one whose nature is to move across boundaries and to make passage possible.

Come to me, you who approach from the three roads, torch-bearing Queen and Companion of spirits, for whom the night is a sacred procession.

This second line shifts from description to invitation. The first line established who Hekate is in cosmic terms; this line asks Her to draw near in ritual terms. “Come to me” is therefore the first true act of summoning. Yet even here, she is not called randomly or abstractly. She is called “from the three roads,” which is one of the most recognisable and symbolically dense ways of locating Hekate.

In Her tradition they signify the meeting place of choices, dangers, transitions, and unseen presences. To call Her from the three roads is to summon Her from the place where Her power is most classically imagined to gather.

“Torch-bearing Queen” gives Her two linked identities at once. As torch-bearer, she is the one who illuminates darkness, guides through uncertainty, and reveals what lies hidden. The torch is also one of Her most enduring ritual emblems, associated with search, passage, night travel, and initiation. To call Her “Queen” adds not just grandeur, but command. She does not wander through the night as a lesser spirit among others, because she Herself rules it.

“Companion of spirits” places Her in relation to the unseen beings who populate Her sphere. This is a careful phrase, because it does not reduce Her to being simply a goddess of the dead. Rather, it marks Her as one who moves with, governs, or is attended by daimones and restless presences.

In the prayer’s logic, this reinforces Her authority over forces that exist beyond ordinary human perception. A consecrated object meant to protect, guide, or mediate would naturally require the patronage of such a goddess.

The final phrase, “for whom the night is a sacred procession,” transforms the night from backdrop into liturgical terrain. Night here is Her ceremonial path, the time and atmosphere in which Her movement unfolds with dignity and force.

I invoke your sacred and great and hidden names, for which you rejoice upon hearing them. The earth flourished when you appear, and the herbs are filled with virtue when you breathe; the daimones and restless dead are quieted or awakened when you inclined towards them.

This passage turns from summons to the invocation of divine names, which in ritual traditions of this kind is never ornamental. To speak a deity’s hidden or sacred names is to address the god more fully, more intimately, and more powerfully than a single common name can allow. The phrase “for which you rejoice upon hearing them” suggests that the names themselves are pleasing to the goddess because they acknowledge the fullness of Her being. In ritual logic, naming is a form of access.

The line then moves into a series of effects that express what Her presence does to the world. “The earth flourished when you appear” presents Hekate not only as a dark or fearsome goddess, but as one whose epiphany is generative. This is important, because it keeps the prayer from collapsing into a narrow underworld reading. Hekate governs transitions, and transitions include fertility, emergence, and increase as much as endings and ghosts.

“And the herbs are filled with virtue when you breathe” is especially apt for Hekate. Herbs belong to Her sphere in multiple ways: as plants of the margins, ingredients in rites, carriers of medicine, poison, purification, protection, and magical efficacy. To say they are filled with virtue by Her breath means that their potency is activated through Her influence.

“Virtue” here carries the older sense of force or efficacy, not merely moral goodness. The line therefore, presents Hekate as the animating power behind ritual and medicinal plant life.

“The daimones and restless dead are quieted or awakened when you inclined towards them” expresses another side of Her authority. Hekate is here shown as one whose presence governs the invisible world. She can pacify or stir it, and is not subject to these beings, nor merely associated with them, but sovereign in relation to them.

This dual ability to quiet or awaken is especially important. It means Her power is not one-directional. She restrains when restraint is needed and rouses when movement is required. In consecratory terms, this broadens Her usefulness: She can protect an object from hostile influence, empower it through unseen assistance, or establish its authority in relation to spiritual presences.

Give glory, honour, grace, fortune, and power to this XX, which I consecrate today for XX.

This line is the ritual centre of the whole passage, because it states plainly what the prayer is for. Everything before it has established Hekate’s reach, presence, and authority; now the prayer turns to the object itself. The verbs and nouns here matter. “Give” marks the transfer of divine efficacy.

“Glory, honour, grace, fortune, and power” are not just decorative blessings, but a catalogue of desirable sacred qualities. Glory and honour elevate the object’s status. Grace gives it favour and beauty of presence, and fortune aligns it with a successful outcome. Power gives it operative force.

“Which I consecrate today for XX” adds two further points. First, the act is happening in sacred present time — “today” — which marks the rite as an event of formal transformation. Second, it identifies the beneficiary.

The object is not only made powerful in itself; it is consecrated on behalf of a named person. This personalises the rite and ties the object’s force to a human recipient. The line therefore, completes the shift from theology to operation. What has been described about Hekate is now being asked to take effect in matter.

I call you, Hekate, the great one in heaven, on earth, and beneath the earth:

This is the beginning of the great name-litany, and its role is to gather Hekate in the fullness of Her manifestations before the consecration proceeds further. “The great one in heaven, on earth, and beneath the earth” is a concise cosmological map. It places Her across the three great zones of existence and establishes at once that no level of reality lies outside Her power.

In ritual terms, this gives the consecration total scope. The object is entrusted to a goddess whose authority reaches above, around, and below.

Einodíïn (Of the crossroads), Aekátin (Hekate), Triodítin (Of the three roads)
Aerannín (Lovely), Ouraníin (Heavenly), Khthonían (Chthonic)
Einalíin (Of the sea), Krokópæplon (Saffron-robed), Tymvidíin (Sepulchral)
Nækýohn (Of the dead), Pǽrseian (Persian), Philǽrimon (Loving solitude)
Nyktæríin (Nocturnal), Skylakítin (Protectress of dogs), Amaimákæton (Irresistible)
Vasíleian (Queen), Tavropólon (Bull-riding), Pandós Kózmou (Of all the cosmos)
Kliidoukhon (Key-holding), ánassan (Lady), Iyæmónin (Guide), Nýmphin (Maiden)
Kourotróphon (Nurturer of children), Ouræsiphítin (Mountain-wandering), Kourin (Maiden), Osíaisi (Sacred), Evmænǽousan (Gracious)

This section is to draw Hekate ritually through description. In other words, the list functions as a verbal unveiling. By gathering how she is described in Her Orphic Hymn in sequence, we do not merely praise the goddess, but gradually make Her present in language. This is very much in keeping with the logic of hymnic invocation, especially in the Orphic Hymns, where the deity is approached through an accumulation of attributes, domains, garments, movements, powers, and sacred associations.

The names build an image, while sketching Her form, atmosphere, regions, and authority until the goddess stands fully imagined before the one who calls.

You are the great goddess of the crossing places, leader of spirits; you who possess the key of the world below and the pathways above, you who accomplish the act of guarding the boundaries. You are the one who becomes visible at night, and who moves in silence through the heavens and in shadow through the earth.

The earlier litany unfolded Her piece by piece — crossroads, night, sea, tomb, key, queen, guide — whereas this passage is meant to consolidate those scattered facets into one clear image of divine function. It says, in effect, this is who Hekate is in action.

“You are the great goddess of the crossing places” begins by returning Her to the core of Her identity. The crossing place is any threshold where one condition gives way to another: life to death, danger to safety, uncertainty to decision, impurity to purification, mortal space to sacred space.

To call Hekate the goddess of crossing places is therefore to name Her as sovereign over transition itself. This is why the phrase is so central in a consecration rite, because a consecrated object is itself crossing from ordinary matter into sacred matter. It is being moved from common use into divine use. Hekate is invoked here as the one who governs precisely that kind of passage.

“Leader of spirits” extends that liminal authority into the unseen world. The phrase presents Her not as merely accompanied by spirits, but as one who stands in command among them. In ritual terms, this is essential.

If the object is to be protected, enlivened, or empowered in a world that includes daimones, restless dead, and unseen presences, then the goddess presiding over the rite must be one whose authority is recognised there as well. This title is meant to establish that Hekate’s sovereignty is not limited to the visible world. She governs traffic between seen and unseen orders of being.

“Possess the key of the world below and the pathways above” then gives more precise shape to that authority. The key is one of Hekate’s most important symbols because it signifies control over access. A key-holder does not merely stand near a gate; she determines who may pass, what may be opened, and what remains shut.

Here, the “world below” points clearly to the underworld, the realm of the dead and the hidden. But the phrase does not stop there. Hekate also possesses “the pathways above,” which extends Her power upward as well as downward. The image is therefore not simply funerary, because it is also cosmological. She controls descent and ascent, hidden entry and elevated passage. In this line, the prayer presents Her as a goddess who knows the roads between realms because those roads are Hers to open.

“You who accomplish the act of guarding the boundaries”, explains the ethical and ritual consequence of that power. Hekate does not only preside over thresholds, because she also protects them. The boundary is sacred because it separates what must remain distinct while also allowing rightful passage. This is a crucial distinction.

Hekate is not invoked here as a goddess of chaos or dissolution, but as one who keeps limits intact. She is the guardian who ensures that crossings happen properly, safely, and under divine order. In a consecration prayer, that has particular importance. The newly consecrated object must be bound, protected, and held apart from corruption or profanation. By invoking Hekate as guardian of boundaries, the prayer asks Her not only to empower the object but to keep its sacred condition intact.

“You are the one who becomes visible at night” returns the passage from function to epiphany. Hekate’s appearing is placed firmly in Her proper temporal sphere. Night is when Her presence is most fittingly imagined: under moonlight, at the crossroads, by the threshold, near the tomb, or in the quiet hours when the ordinary world feels thinner.

This does not mean she is absent by day, but that Her manifestation belongs especially to darkness. To say she “becomes visible” at night is also important because it preserves a sense of mystery. Hekate is not always manifest. She appears, and Her visibility is an event, an epiphany, a moment in which the unseen draws near enough to be perceived.

The closing line, “who moves in silence through the heavens and in shadow through the earth,” is meant to complete the whole image with extraordinary economy. Silence and shadow are meant to inform us on how Hekate moves. Her passage is quieter, subtler, and more secretive, yet Her reach remains immense.

She moves “through the heavens” and “through the earth,” which means that neither upper nor lower realms lie outside Her course. The heavens do not exclude Her because she is chthonic, nor does the earth confine Her because she is nocturnal. She traverses both, and the line, therefore, is meant to gather together the whole theology of the passage: Hekate is liminal, yes, but liminality here is a mode of Her cosmic movement.

In the first hour, you appear torch-bearing, radiant, and moon-crowned, and your name is Phosphoros. Give glory and grace to this XX.

In the second hour, you appear three-headed and of the triple way, and your name is Trioditis. Give strength and honour to this XX.

In the third hour, you appear at the meeting of roads, and your name is Enodia. Give honour to this XX.

In the fourth hour, you stand before the gate and threshold, and your name is Propylaia. Provide strong support for this XX, for which the ritual is completed.

In the fifth hour, you hold the keys of the guarded places, and your name is Kleidouchos. Give strength, courage and power to this XX.

In the sixth hour, you bear untiring flame in the darkness, and your name is Dadouchos. Give success and beautiful victory to this XX.

In the seventh hour, you appear as saviour and protector, and your name is Soteira. Give allure to this XX.

In the eighth hour, you move beneath the earth, serpent-crowned and fearsome, and your name is Chthonia. Let all things be accomplished by means of this XX.

In the ninth hour, you are dread and terrible in power, and your name is Brimo. Give success and good opportunity to this XX.

In the tenth hour, you roam by night unseen with the voice of dogs, and your name is Nyktipolos.

In the eleventh hour, you nourish and preserve what is placed in your care, and your name is Kourotrophos. Consecrate the great XX for the good XX, from this very day and for all time.

In the twelfth hour, you attend the divine way through the three realms, and your name is Propolos.

You who appear as Maiden, Hound, and Queen, You who are above the cosmos and below the cosmos,

You who move through sea, earth, and starry heaven, hear my voice on this very day, on this night, in these holy hours, and let everything be accomplished by means of this XX, which I consecrate.

Truly, Lady Hekate! Phosphoros, Trioditis, Enodia, Propylaia, Kleidouchos, Dadouchos, Soteira, Chthonia, Brimo, Nyktipolos, Kourotrophos, Propolos.

Regarding this sequence, I wanted to frame it as a ritual procession of Hekate’s presence, a gradual movement from appearance, to encounter, to guardianship, to descent, and finally to divine escort across all realms. She first emerges as Phosphoros, radiant and torch-bearing, the one who makes Herself seen and opens the rite in light. She then becomes Trioditis and Enodia, taking Her place at the triple road and the meeting of ways, so that the consecration is properly set within Her own liminal ground.

From there she advances to the threshold as Propylaia, and then to the guarded interior as Kleidouchos, holding the keys and authorising entry into sacred space. As Dadouchos, she bears the untiring flame deeper into darkness, no longer simply appearing but actively guiding and empowering the rite. In Soteira, that guidance becomes protection; in Chthonia, it descends beneath the earth into the hidden and underworld dimensions of Her power; and in Brimo, that power reaches its most formidable and awe-bearing form, where the object is not only blessed but made potent through dread force.

After this descent, Hekate moves outward again as Nyktipolos, ranging through the night with the cry of dogs, extending Her presence beyond the ritual centre into the living world around it. She then settles into Kourotrophos, the nurturer and preserver, so that what has been consecrated is not merely charged for a moment but placed under ongoing care.

Finally, as Propolos, she becomes the attendant and guide through the three realms, sealing the rite by showing that the object now stands under Her escort across heaven, earth, and the world below.

I adjure earth and heaven, moon and night, light and darkness, and You, great goddess who moves through all boundaries, Hekate of many names, to accomplish everything for me by means of this XX.

This closing section acts as the rite’s final binding. After Hekate has been invoked, described, drawn through Her epithets, and unfolded across the twelve hours, the prayer now turns outward and inward at once. “I adjure earth and heaven, moon and night, light and darkness”, calls the full structure of the cosmos to witness the consecration. These are totalities: above and below, brightness and obscurity, visible and unseen, the ordered world of day and the more veiled world of night.

By naming them together, we place the act within a complete sacred field, as though nothing in creation stands outside the rite’s scope. Hekate is then addressed again as “the great goddess who moves through all boundaries” and “of many names,” which gathers the entire prayer into one final theological truth: she is the deity who passes where others cannot, and the deity whose fullness cannot be contained in one title alone.

The request “to accomplish everything for me by means of this XX” is especially important, because it returns the prayer to its operative centre. The object is established as the instrument through which Her power is to work.

This is Hekate’s. The one of Hekate is this.

The final line functions as the seal, and the moment in which consecration becomes possession. The object is something now marked as Hers, and the phrasing is deliberately simple and declarative, which gives it force. After the elaborate invocations and unfolding names, the rite ends not in ornament but in certainty. In effect, the line claims the object for the goddess and places it under Her identity, authority, and protection. It is a statement of sacred belonging, as the object has been invoked over, named, empowered, and finally assigned; it now stands as a thing of Hekate, bearing Her claim and operating under Her presence.

This is for all my occultists in the room!

The Lesser Banishing Ritual of the Pentagram (LBRP) is an occultist's bread-and-butter. If you're an occultist, you know what it is. If you're not an occultist, or you're a newbie, here's the basics: The LBRP is a banishing spell meant to purify the space at the beginning of every rite. It comes from the Hermetic Order of the Golden Dawn's (not to be confused with the Greek neo-Nazi group) tradition of ceremonial magic.

The standard version is very Abrahamic, but it's a simple framework that can easily be modified. If you have a Wiccan background, you'll be familiar with the Circle Casting, which is a version of it. The “before me, behind me” formula is also genuinely ancient — it shows up in the Greek Magical Papyri (PDM xiv. 239-95) and in Babylonian magical texts. I'm not comfortable using the Abrahamic version, and I'm not really comfortable with the Wiccan version either, so I thought, why not create a Hellenic version?

There are a couple already in existence. Here's Israel Regardie's version. There's some things I like about this, but his Greek version of the Qabalistic Cross literally just translates the last line from the Lord's Prayer into Greek. IMHO no pagan rite should begin with that, in any language. And the names he chooses for the "before me, behind me" feel inconsistent. Then there's the John Opsopaus' version, the "Olympic LBRP." I like this one better than Regardie’s version, because it seems to be an actual adaptation of the LBRP and not just a translation of it. But it's very long-winded. It includes a lot of complicated visualizations, which are worth doing once, but I don't think they're necessary at the beginning of every ritual. I'd personally prefer something more streamlined.

Then there's this Orphic version by Ariadne Rainbird. There's things I like about this one, too. One interesting thing I learned from it is that, in the Pythagorean tradition, the Pentagram is called "Hygeia," which means "health" or "wholeness." The letters of the word in Greek act as an acronym for the five elements: Ύ for hudor (ύδωρ, Water), Γ for Ge (Γη, Earth), I for heiron (ἱερόν, holiness/divinity, Spirit), EI for heile (εἵλη, heat, Fire), A for aer (ἀήρ, Air). How convenient is that!

Pythagorean pentagram with the letters of \"HYGEIA\" arranged at its points (counterclockwise from top).

But again, the Orphic version is long-winded. As much as I love the Olympians, having a *twelve-*point circle casting is a little much. The advantage is that you can evoke all the Olympians without having to shoehorn them into four points, and it makes sense to do if you already evoke each of the Olympians separately at the beginning of every ritual… but I don’t have the patience for that as part of a quick and low-effort banishing rite. (I also don’t know what most of the words used to greet them mean, and I would struggle to memorize them. The less memorization, the better.)

So, being the lazy occultist that I am, I developed this short and sweet version. The “Pneuma, Psyche, Nous, Soma” is taken from Israel Regardie’s version, but the rest is my own adaptation:

***

Simple Hellenic LBRP

[I'm skipping the Qabalistic Cross entirely. I can't think of a way to adapt it, and you're basically doing the same thing three times anyway.]

Face East. Trace a pentagram in the air with your wand or athame, intone “AITHER.”
Thrust your wand/athame through the pentagram and say “Pneuma” (noo-mah)

Face South. Trace a pentagram in the air, intone “PHANES.”
Thrust your wand/athame through the pentagram and say “Psyche”

Face West. Trace a pentagram in the air, intone “OKEANOS.”
Thrust your wand/athame through the pentagram and say “Nous.”

Face North. Trace a pentagram in the air, intone “GE.”
Thrust your athame or index finger through the pentagram and say “Soma.”

Stand and face east. Say, “HERA before me, POSEIDON behind me, HESTIA at my right hand, DEMETER at my left hand, ZEUS above me, HAIDES below me, DIONYSOS within me. For about me flames the Pentagram, HYGEIA.”

***

Feel free to take this format and substitute whatever divine names you like! Traditionally, each cardinal direction corresponds to a Classical element: East to Air, South to Fire, West to Water, and North to Earth. So, you may want to pick names that work with those correspondences. I chose the names of four Protogenoi who embody those elements most directly. I kept Regardie's use of “Pneuma, Psyche, Nous, Soma," which means “spirit, soul, mind, body.” For the "before me, behind me" portion, I used the names of the six Children of Kronos, arranged according to their elemental correspondences, with Zeus and Hades as an "as above, so below." I added "Dionysus within" for a particularly Orphic flair, and because Dionysus is personally significant to me.

From here, you can make it as complicated as you like, adding visualizations, or voces magicae, or chanting the Ancient Greek vowels, etc. The great thing about this ritual is how versatile it is. And I do recommend using it! It clears the space of negative influences, it puts you in the right mindset for ritual, and I've found that it helps to calm me down when I'm anxious. Even if you don't want to use this format, having an easy way to invoke the gods while dispelling bad stuff is recommended.