#modern minoan polytheism

[thepaganraccoon]

Great Goddess Ariadne most high;

The spider's web you weave into tapestry

As glowing and vibrant as your spirit.

Every where you go, joy and abundance blossoms.

From the lands of the living, where you kiss the scythe that feeds,

To the lands of the dead, where your honey-sweet nectar nourishes.

Love and light are your cape

That guides you through the labyrinth.

Wrap us with your blessings too,

And we shall give thanks everlastingly to you.

- HP Oboyski

[aboutanancientenquiry]

Walter Burkert (1931-2015) "Greek Religion", Harvard University Press 1987

"In this book Walter Burkert, the most eminent living historian of ancient Greek religion, has produced the standard work for our time on that subject. First published in German in 1977, it has now been translated into English with the assistance of the author himself. A clearly structured and readable survey for students and scholars, it will be welcomed as the best modern account of any polytheistic religious system. Burkert draws on archaeological discoveries, insights from other disciplines, and inscriptions in Linear B to reconstruct the practices and beliefs of the Minoan-Mycenaean age. The major part of his book is devoted to the archaic and classical epochs. He describes the various rituals of sacrifice and libation and explains Greek beliefs about purification. He investigates the inspiration behind the great temples at Olympia, Delphi, Delos, and the Acropolis - discussing the priesthood, sanctuary, and oracles. Considerable attention is given to the individual gods, the position of the heroes, and beliefs about the afterlife. The different festivals are used to illuminate the place of religion in the society of the city-state. The mystery cults, at Eleusis and among the followers of Bacchus and Orpheus, are also set in that context. The book concludes with an assessment of the great classical philosophers' attitudes to religion. Insofar as possible, Burkert lets the evidence -- from literature and legend, vase paintings and archaeology -- speak for itself; he elucidates the controversies surrounding its interpretation without glossing over the enigmas that remain. Throughout, the notes (updated for the English-language edition) afford a wealth of further references as the text builds up its coherent picture of what is known of the religion of ancient Greece. (From the publisher)"

Table of Contents

Introduction I. PREHISTORY AND THE MINOAN-MYCENAEAN AGE 1. The Neolithic and Early Bronze Age 2. Indo-European 3. The Minoan-Mycenaean Religion 4. The 'Dark Age' and the Problem of Continuity II. RITUAL AND SANCTUARY 1. 'Working Sacred Things': Animal Sacrifice 2. Gift Offerings and Libation 3. Prayer 4. Purification 5. The Sanctuary 6. Priests 7. The Festival 8. Ecstasy and Divination III. THE GODS 1. The Spell of Homer 2. Individual Gods 3. The Remainder of the Pantheon 4. The Special Character of Greek Anthropomorphism IV. THE DEAD, HEROES, AND CHTHONIC GODS 1. Burial and the Cult of the Dead 2. Afterlife Mythology 3. Olympian and Chthonic 4. The Heroes 5. Figures Who Cross the Chthonic-Olympian Boundary V. POLIS AND POLYTHEISM 1. Thought Patterns in Greek Polytheism 2. The Rhythm of the Festivals 3. Social Functions of Cult 4. Piety in the Mirror of Greek Language VI. MYSTERIES AND ASCETICISM 1. Mystery Sanctuaries 2. Bacchica and Orphica 3. Bios VII. PHILOSOPHICAL RELIGION 1. The New Foundation: Being and the Divine 2. The Crisis: Sophists and Atheists 3. The Deliverance: Cosmic Religion and Metaphysics 4. Philosophical Religion and Polis Religion: Plato's Laws

A classic on ancient Greek religion! Herodotus is naturally used in it - alongside the other great ancient Greek classics- as a major source on ancient Greek religion. But Burkert highliths also Herodotus' role as one of the pioneers of the critical reflection on the religious beliefs and practices of the ancient Greeks.

[burningtyranthp]

Is Hellenismos open culture?

Photo is my own taken by myself of the Parthenon at the Acropolis

One thing that doesn't sit well with me is that those who tend to participate in what they describe as "Hellenistic polytheism" in the Western world, often don't look into whether or not Hellenismos is an open or closed culture. There is an unspoken norm within neopagan spaces that Hellenismos is "for anyone and everyone," but that never sat right with me, knowing about the way Ethnikoi--Greeks who have ethnic ties to their own Greek culture, language, land, and religious practises--speak of Western "neopaganism" or "pagan" usage of their original, indigenous culture.

Before I get into accounts that raised these concerns, I'd like to clarify that I whole-heartedly support all indigenous communities or tribes and their ability to practise their original traditions and customs safely without any discrimination, persecution, or harm. I also super support the individual choice to relearn, revive, and recreate one's indigenous practises (if one is eligible to do so). As a member of an indigenous tribe myself, I can empathise with other indigenous communities on some overlapping struggles we might share such as frustration with appropriation, erasure, or persecution in the modern day.

Lastly, the intent behind writing out the following is not to place judgment on anyone for doing anything; the purpose is providing food for thought, and forwarding a different perspective that isn't as popular as the prevailing Western perspective around the topic. I will not speak for Ethnikoi, however I will include references and quotes from sites where Ethnikoi describe who they in their own terms, and share how they think on the matter. By learning more about indigenous cultures, we can show greater respect and support for them, and their preservation.

ΕΛΛΗΝΙΣΜΟΣ (Hellenismos) vs. Hellenism

Hellenismos, also known as Hellenikon, is the indigenous cultural and religious tradition of Greece, but also the worldview and ethnic identity of the ancient and medieval Hellenes (Plethon, Marullus etc.). Hellenismos is the official name of the Hellenic tradition and way of life. “Hellenismos” and “Hellenic religion” are synonymous to many Hellenes, since the ancestral cults are a very important part of Hellenic identity. Hellenic tradition, Hellenismos, Hellenikon etc. are different names for the same culture and should therefore not confuse people, especially since the Hellenes perceive their religion, identity, worldview, language and way of life as a unity. Thus Hellēnismôs refers automatically to Hellenic religion. [Hellenismos.org]

The proper name for the religion isn't what people know it by in neopagan or pagan spaces. Furthermore, the religion is tied to cultural identity, ethnic background, language, and way of life--a word describing the isolated spirituality does not exist because each of these things is an all-in-one identity package.

Hellenismos and paganism are differentiated from each other culturally, historically, and by time, since paganism emerged from occultism, which is a by-product of Western Christianity. Hellenismos, on the other hand, is a Mediterranean culture that emerged from the commingling of Mycenaean, Minoan and other Helladic cultures. But it is still common to mistake revitalization or even re-indigenization for neopaganism, even in academic environments. [The Real Problem of Cultural Appropriation, Hellenismos.org]

Hellenismos is not paganism or neopaganism because it predates the existence of Christianity, and has been a mixture of Mediterranean cultures within a specific area long before Christianity's idea of a "pagan" designation was made.

Worship

A follow-up to the main question is, "can a non-Greek person worship the Greek gods, too?" The answer based on the following account is a hesitant yes, with a couple important things to bear in mind, in the event that someone would like to worship this pantheon.

People are, of course, allowed to worship the Greek gods, draw ideas and inspiration from Hellenic history and religion, build temples to their gods and find their own way in life. However, what they are not allowed to do is to usurp other people’s ethnonym, misrepresent their practices as something they are not and exploit or distort other people’s ethno-cultural identity, religion and language. And, of course, they are not allowed to speak on behalf of foreign communities. [Avoiding Cultural Appropriation, Hellenismos.org]

There is nothing stopping one from worshipping the Greek gods or goddesses per se, though it is one's responsibility to do so respectfully by not impersonating Hellenismos, and speaking as if one is a member of a tribe or cult one isn't a member of. As long as one doesn't cosplay as a member of a culture they have no ties to in any way, worship is not an issue.

The issue is...

...a matter of cultural appropriation vs. cultural appreciation:

People should not feel guilty for worshipping the Greek gods, should not feel bad for learning from Greek philosophy, adapting Greek ethics, listening to Greek music, enjoying Greek cuisine or learning Greek. This is not cultural appropriation. Loving Greek mythology or feeling drawn to a specific god is not cultural appropriation. Cultural appreciation is not cultural appropriation. Cultural exchange is not cultural appropriation. It never was. People enjoying the cultural goods of Hellenism are not appropriating anything. [ibid.]

Both terms are understood in terms of power and invitation: one one hand, when you appreciate a culture, you are invited to take part in it alongside others who belong to it. You are a guest in another's home who is expected to show respect for the one who invites you in, as well as the things they have in their home. You can learn, admire, and participate in everything the host invites you to do, and when it's time for you to return to your own home, you leave only with things your host allows (think extra food to take home from dinner at a friends house).

On the other hand, when you appropriate a culture, you are not invited by anyone who belongs to it to take part in it. You are not a guest in someone's home, but you invite yourself in anyway. You break in and enter, take whatever catches your eye without the homeowner's knowledge, and disappear into the night with stuff that doesn't belong to you. You then add what you took to a personal collection of other things you've taken from other homes on subsequent nights out.

Paganism and neopaganism can sometimes fall prey to the second scenario because some may pick and choose bits and pieces of different cultures and practises to create their own personal spirituality. I am not saying every pagan or neopagan does this, but this mixing of cultures that have little to no similarities to create a personalised spirituality is a popular approach within pagan and neopagan expression. In short, you can choose your own adventure because nobody's going to stop you, but you will run into opposition if you:

identify with an identity or a descriptor that is not yours, like "Hellenic" when you are not Ethnikoi . (You are welcome to come up with your own terms to define yourself or your spirituality as long as it doesn't involve claiming an entire ethnic background you have no part in.)

project your own ideologies onto a culture where said ideologies simply do not exist, or do not apply to a culture. (Many modern terms and designations did not exist for Hellenismos, and therefore do not apply to Hellenismos.)

utilise a culture solely to support a political leaning. (This could be romanticising classicism to justify "conservativism," "liberalism," "nationalism," etc.--either way, a culture and its values are unique to itself, and should not be reduced to a justification for [insert modern political idea].)

speak for the Hellenic community instead of amplifying members of it. (This may not sit well with some, but Hellenic people are indigenous people who deserve full rights to self-determination in their native land--just like all other tribes or groups of indigenous people.)

In Conclusion

Hellenismos, Hellenic culture, ethnic background, and identity, are not open for the taking. It would be offensive to cosplay or claim a background one does not simply have. However, nobody will stop one from worshipping, working with, or serving Hellenic gods and goddesses. In the same capacity, it's perfectly fine to enjoy all of the really cool things this culture produced so long as this enjoyment remains appreciative rather than appropriative. Paganism and neopaganism do sometimes gamble with the line between the two (not all the time), so that's something to be cautious of if someone does choose this pantheon.

References

ΥΠΑΤΟ ΣΥΜΒΟΥΛΙΟ ΤΩΝ ΕΛΛΗΝΩΝ ΕΘΝΙΚΩΝ (Supreme Council of Ethnikoi Hellenes)

Hellenismos heute

Labrys Religious Community: for the resurgence of the sacred heart of Hellenism

Further Reading

Whose Gods are These? A Classicist Looks at Neopaganism by Sarah Johnstone

[pagansquare]

The Minoan Sacred Year: A Modern Pagan Calendar

Most modern Pagans are familiar with the eightfold Wheel of the Year: the solstices and equinoxes and the points halfway in between. But that's a modern construct. It also doesn't match the unique seasons of the Mediterranean region, where Crete is (and where the Minoans lived).

Read more...

[yamayuandadu]

Cynthia Eller outlines two core reasons behind the birth of the false notion that Minoan society was “monotheist” and focused on a singular “virgin mother” goddess: 1. Arthur Evans, responsible for the early excavations, wanted to present the Minoans as completely different from their neighbors from pharaonic Egypt and bronze age Levant and Mesopotamia; this applies to much later writing about Minoan culture and its purported singular mother goddess courtesy of Gimbutas and her goddess movement peers (as well as garden variety online pop-spiritualists) as well. Evans notably contrasted his made up concept of “pure,” maternal Minoan mother goddess with Ishtar/Inanna* (horny) and Isis (scheming) and thus implicitly the entire systems of religious belief which shaped them. It should be noted that by now we have a plenty of evidence that Egyptian gods (Taweret, Bes and possibly Anubis) were a part of religious beliefs of the Minoans, and at least some artifacts make in plausible that in turn their deities showed up in the Levant, in addition to evidence of many potential deities in Minoan art itself. It’s however called into question if there was a mother goddess among them, as Minoan art basically doesn’t depict women with infants the way ex. Isis was depicted with baby Horus and Hathor with the pharaoh. 2. Evans was a firm believer in the idea that reigions evolve from polytheism to monotheism, presented in the infamous book The Golden Bough - and before excavating any Minoan figures he was already convinced that ancient Minoans had a singe god, whom he deemed the original Zeus. Shift to a “mother goddess” theory was just an attempt at twisting recovered evidence to suit a fraudulent preexisting claim. * - as a side note it has to be said that Inanna got a fair share of interpretationsf this sort too - as far as I can tell they partially rely on translating mesopotamian epithets which simply indicate being unmarried or young as "virgin" to create a false notion of "virgin mother" by combining them with an incorrect view that Dumuzi was much younger than Inanna (the difference between them was actually social class) relying on projecting Cybele and Attis over many goddesses courtesy of The Golden Bough. Sumerians, Akkadians and friends didn't really have a concept of virginity per say and also pretty clearly did not associate sex only with procreation, unless you want to argue they also associated every pastime with procreation, from beer to boardgames - so, funnily enough "virgin mother goddess" Inanna hailed even by some purportedly progressive sources as the respectable original is the one who's a modern invention whose only purpose was to defend an archaic (victorian) viewpoint, while the version which seems modern in concept - who had no children (because she didn't feel like it) but was anything but celibate - is authentic (and doesn’t overlap in the slightest with the hoax). I don’t think it would be fair to call Sumerians or Minoans or any other bronze age culture enlightened by modern standards but I do think that they on average had healthier approach to life than victorian aristocrats who wanted to twist their history, and the 1970s enthusiasts of their works trying to launder the same arguments as progressive.

[ofbloodandfaith]

Day 16 of 30 Days of Apollon

How do you think this deity represents the values of their pantheon and cultural origins?

Well, one of the main group of values of Hellenic polytheism is considered by most to be from Apollon, these are called the Delphic Maxims and is where the phrase, ‘Know Thyself’ comes from.

The Delphic maxims are a set of 147 aphorisms inscribed at Delphi. Originally, they were said to have been given by the Greek god Apollo's Oracle at Delphi, Pythia and therefore were attributed to Apollo.[1] The 5th century scholar Stobaeus later attributed them to the Seven Sages of Greece.[2] Contemporary scholars, however, hold that their original authorship is uncertain and that 'most likely they were popular proverbs, which tended later to be attributed to particular sages.'[3] Roman educator Quintilian argued that students should copy those aphorisms often to improve their moral core.[4] Perhaps the most famous of these maxims is 'know thyself,' which was carved into the Temple of Apollo at Delphi. The specific order and wording of each maxim varies among different versions (and translations) of the text. 

I believe Apollon (city/society/neighbourhood worship) along with Hestia (household/family/personal worship) had a strong hand in keeping the cultus of (the ancient version of) Hellenic Polytheism alive and along with the other gods made it their job to guide humans. He is considered, ‘The national divinity of the Greeks’, which to me means that when he shows himself he is not just Apollon but all the gods, a representative of the Olympians, in a similar way to how Hermes represents the gods as the messenger. Yet in a modern way, Apollon would be a foreign king/ambassador/politician while Hermes would a foreign correspondent/news reporter/politician.

Considering his cultural origins, he seemed to gain attributes from the gods around him (gods from different parts of Greece) through the years, which explains why he is considered by some a migratory god because it seems like he doesn’t take the place of most of these gods he learns a skill or power from them. 

For the Greeks, Apollo was all the Gods in one and through the centuries he acquired different functions which could originate from different gods. In archaic Greece he was the prophet, the oracular god who in older times was connected with "healing". In classical Greece he was the god of light and of music, but in popular religion he had a strong function to keep away evil.[50] Walter Burkert[51] discerned three components in the prehistory of Apollo worship, which he termed "a Dorian-northwest Greek component, a Cretan-Minoan component, and a Syro-Hittite component."

From his eastern origin Apollo brought the art of inspection of "symbols and omina" (σημεῖα καὶ τέρατα : sēmeia kai terata), and of the observation of the omens of the days. The inspiration oracular-cult was probably introduced from Anatolia. The ritualism belonged to Apollo from the beginning. The Greeks created the legalism, the supervision of the orders of the gods, and the demand for moderation and harmony. Apollo became the god of shining youth, ideal beauty, fine arts, philosophy, moderation, spiritual-life, the protector of music, divine law and perceptible order. The improvement of the old Anatolian god, and his elevation to an intellectual sphere, may be considered an achievement of the Greek people.[52]

In my experience and from reading other introductions to Hellenic polytheism, Apollon tends to be the first god you meet/explore from the Hellenic pantheon, which fits with his role as an ambassador who introduces humans to the divinity of the Olympians

So to answer the question I believe that he does represent the values of his pantheon and his cultural origins as he still portrays the attributes he procured in his Dorian:

The connection with the Dorians and their initiation festival apellai is reinforced by the month Apellaios in northwest Greek calendars.[66] The family-festival was dedicated to Apollo (Doric: Ἀπέλλων).[67] Apellaios is the month of these rites, and Apellon is the "megistos kouros" (the great Kouros).[68] However it can explain only the Doric type of the name, which is connected with the Ancient Macedonian word "pella" (Pella), stone. Stones played an important part in the cult of the god, especially in the oracular shrine of Delphi (Omphalos).[69][70]

The "Homeric hymn" represents Apollo as a Northern intruder. His arrival must have occurred during the "Dark Ages" that followed the destruction of the Mycenaean civilization, and his conflict with Gaia (Mother Earth) was represented by the legend of his slaying her daughter the serpent Python.[71]

The earth deity had power over the ghostly world, and it is believed that she was the deity behind the oracle.[72] The older tales mentioned two dragons who were perhaps intentionally conflated. A female dragon named Delphyne (Δελφύνη; cf. δελφύς, "womb"),[73] and a male serpent Typhon (Τυφῶν; from τύφειν, "to smoke"), the adversary of Zeus in the Titanomachy, who the narrators confused with Python.[74][75] Python was the good daemon (ἀγαθὸς δαίμων) of the temple as it appears in Minoan religion,[76] but she was represented as a dragon, as often happens in Northern European folklore as well as in the East.[77]

Apollo and his sister Artemis can bring death with their arrows. The conception that diseases and death come from invisible shots sent by supernatural beings, or magicians is common in Germanic and Norse mythology.[58] In Greek mythology Artemis was the leader (ἡγεμών, "hegemon") of the nymphs, who had similar functions with the Nordic Elves.[78] The "elf-shot" originally indicated disease or death attributed to the elves, but it was later attested denoting stone arrow-heads which were used by witches to harm people, and also for healing rituals.[79]

The Vedic Rudra has some similar functions with Apollo. The terrible god is called "The Archer", and the bow is also an attribute of Shiva.[80] Rudra could bring diseases with his arrows, but he was able to free people of them, and his alternative Shiva is a healer physician god.[81] However the Indo-European component of Apollo does not explain his strong relation with omens, exorcisms, and with the oracular cult.

Minoan:

it seems an oracular cult existed in Delphi from the Mycenaean age.[82] In historical times, the priests of Delphi were called Lab(r)yadai, "the double-axe men", which indicates Minoan origin. The double-axe, labrys, was the holy symbol of the Cretan labyrinth.[83][84] The Homeric hymn adds that Apollo appeared as a dolphin and carried Cretan priests to Delphi, where they evidently transferred their religious practices. Apollo Delphinios or Delphidios was a sea-god especially worshiped in Crete and in the islands.[85] Apollo's sister Artemis, who was the Greek goddess of hunting, is identified with Britomartis (Diktynna), the Minoan "Mistress of the animals". In her earliest depictions she is accompanied by the "Master of the animals", a male god of hunting who had the bow as his attribute. His original name is unknown, but it seems that he was absorbed by the more popular Apollo, who stood by the virgin "Mistress of the Animals", becoming her brother.[78]

The old oracles in Delphi seem to be connected with a local tradition of the priesthood, and there is not clear evidence that a kind of inspiration-prophecy existed in the temple. This led some scholars to the conclusion that Pythia carried on the rituals in a consistent procedure through many centuries, according to the local tradition. In that regard, the mythical seeress Sibyl of Anatolian origin, with her ecstatic art, looks unrelated to the oracle itself.[86] However, the Greek tradition is referring to the existence of vapours and chewing of laurel-leaves, which seem to be confirmed by recent studies.[87]

Plato describes the priestesses of Delphi and Dodona as frenzied women, obsessed by "mania" (μανία, "frenzy"), a Greek word he connected with mantis (μάντις, "prophet").[88] Frenzied women like Sibyls from whose lips the god speaks are recorded in the Near East as Mari in the second millennium BC.[89] Although Crete had contacts with Mari from 2000 BC,[90] there is no evidence that the ecstatic prophetic art existed during the Minoan and Mycenean ages. It is more probable that this art was introduced later from Anatolia and regenerated an existing oracular cult that was local to Delphi and dormant in several areas of Greece.[91]

and Anatolian origins:

A non-Greek origin of Apollo has long been assumed in scholarship.[7] The name of Apollo's mother Leto has Lydian origin, and she was worshipped on the coasts of Asia Minor. The inspiration oracular cult was probably introduced into Greece from Anatolia, which is the origin of Sibyl, and where existed some of the oldest oracular shrines. Omens, symbols, purifications, and exorcisms appear in old Assyro-Babylonian texts, and these rituals were spread into the empire of the Hittites. In a Hittite text is mentioned that the king invited a Babylonian priestess for a certain "purification".[52]

A similar story is mentioned by Plutarch. He writes that the Cretan seer Epimenides purified Athens after the pollution brought by the Alcmeonidae, and that the seer's expertise in sacrifices and reform of funeral practices were of great help to Solon in his reform of the Athenian state.[92] The story indicates that Epimenides was probably heir to the shamanic religions of Asia, and proves, together with the Homeric hymn, that Crete had a resisting religion up to historical times. It seems that these rituals were dormant in Greece, and they were reinforced when the Greeks migrated to Anatolia.

Homer pictures Apollo on the side of the Trojans, fighting against the Achaeans, during the Trojan War. He is pictured as a terrible god, less trusted by the Greeks than other gods. The god seems to be related to Appaliunas, a tutelary god of Wilusa (Troy) in Asia Minor, but the word is not complete.[93] The stones found in front of the gates of Homeric Troy were the symbols of Apollo. A western Anatolian origin may also be bolstered by references to the parallel worship of Artimus (Artemis) and Qλdãns, whose name may be cognate with the Hittite and Doric forms, in surviving Lydian texts.[94] However, recent scholars have cast doubt on the identification of Qλdãns with Apollo.[95]

The Greeks gave to him the name ἀγυιεύς agyieus as the protector god of public places and houses who wards off evil, and his symbol was a tapered stone or column.[96] However, while usually Greek festivals were celebrated at the full moon, all the feasts of Apollo were celebrated at the seventh day of the month, and the emphasis given to that day (sibutu) indicates a Babylonian origin.[97]

The Late Bronze Age (from 1700 to 1200 BCE) Hittite and Hurrian Aplu was a god of plague, invoked during plague years. Here we have an apotropaic situation, where a god originally bringing the plague was invoked to end it. Aplu, meaning the son of, was a title given to the god Nergal, who was linked to the Babylonian god of the sun Shamash.[21] Homer interprets Apollo as a terrible god (δεινὸς θεός) who brings death and disease with his arrows, but who can also heal, possessing a magic art that separates him from the other Greek gods.[98] In Iliad, his priest prays to Apollo Smintheus,[99] the mouse god who retains an older agricultural function as the protector from field rats.[33][100][101] All these functions, including the function of the healer-god Paean, who seems to have Mycenean origin, are fused in the cult of Apollo.

[the-caffeinatedmom-love-blog]

Chapter 6 and Essays

So, basically what I got from the two essays had everything to do with the differences between the views of the West versus the views of the East. Granted, it makes sense to me. The Eastern countries are more open to showing their history no matter how graphic that may be, because they do not see it as being graphic. While the Western countries have been disciplined to not show things they would see as vulgar. This has a lot to do with the difference of religions between the two areas. Western tends to be monotheistic whereas the Eastern is open to polytheistic religions. Back in the day of Mark Twain, this was especially true. Nowadays, this has ceased to be as much of a problem, but still remains the stance between the two sides comparatively. Granted the West has started to be more open to polytheism, most of the West is still monotheistic.

Because of this, even the study of such worldviews is highly unusual and practically frowned down upon. I am actually appalled when realizing it is actually the museums and universities making the decision not to include Eastern art in their exhibits and studies. The universities that could pull off the study of these cultures’ art are being extremely prejudice because of the difference of beliefs. Shouldn’t the difference of beliefs be the reason to research and study and try to further understand the other viewpoint?

I guess I hadn’t realized the difficulty there was for the museums to get art in their facilities and what a controversy it would be for them to try and get different pieces from not just traditional art, but also historical ancient art. Besides that, I hadn’t realized the scholastic side of the conversation. Sure, there are art history majors and scholars, but are there modern archeologists still out there? Does no one want to be like Indiana Jones or even Tomb Raider for that matter? Those are a little out there, but those are the examples of the profession in entertainment and even those are dated.

The way it will affect my museum visiting in the future is I will take more notice of the variety of the pieces featured. Will they be all the same ones that we’ve heard so much about? Or will they include a variety across the world showing all cultures, not just those that are pretty and in the Western view of what art is?

As for my responsibility of the study of art history, I am the observer. I will continue to try and experience any art that is presented for me to study and appreciate it for what is. Art history is not just about the beautiful pieces, but also the pieces that show the cultural aspects of our world. In viewing, I will try to continue the discussion and share with others to continue to get the word out and maybe because of this more variety of art will be brought to Western museums because with popularity would grow interest in the unknown and thus more research and studies to be done.

With that being said, I loved this chapter. I love that this chapter continues to show us the similarities and differences between the art we are currently studying to those we had just studied. The Minoan and the Mycenaean cultures and art are o similar to each other with how they present themselves with the curvilinear contours and the vibrancy of the frescos with the illusion of movement in the way they portrayed their figures. At the same time they shared similarities with Egyptian art with the non-natural stances and the frontal eyes in the profile faces.

[sisterofiris]

Hi, I saw you offer help regarding Hellenic Polytheism to someone in a reply and I thought it was worth a shot to ask. I want to worship Eileithyia but I'm having trouble finding literally anything about her. Can you direct me towards some resources or give me some advice? I'm a student midwife and I've felt drawn to her for awhile and it's really getting me down that I can't find a lot and that she doesn't seem like a popular deity.

Hi! You’re most welcome to ask!

Eileithuia is indeed a lesser-known deity and doesn’t play a major role in many myths, so information about her can be sparse. I’d wager that, like Hestia, her cult left little traces because it mainly took place privately in the household, and was transmitted orally from mother to daughter, instead of being written down by men.

That said, archeological evidence, as well as Pausanias’ Description of Greece, suggest that she was widely worshipped. A quick browse of her theoi.com page shows that she had temples all across southern Greece and down to Delos and Crete. In fact, she seems to have a strong link to Crete, which is said by Pausanias to be her birthplace. The Cave of Eileithuia at Amnisos, in Crete, was sacred to her. Interestingly, the cave was a place of worship since Neolithic times, though offerings became more numerous from the late Minoan Era (14th century BC) onwards. It also gets a mention in Homer’s Odyssey (Book XIX). The name Eleuthia (a variant of Eileithuia) is also recorded on a Linear B tablet from Knossos, in which she is given an amphora of honey at Amnisos.

So what does this mean? This means she is an incredibly ancient Goddess who may not be well-known now, but who was certainly honoured and called upon by women all over southern Greece. Pretty awesome, huh?

Now although she isn’t the protagonist of many myths, she does appear in several from which we can glean some information about her. She assisted in the birth of many Gods, heroes and mortals, including Herakles and Asklepios. Her most famous myth, however, is the birth of Apollon. Leto, his mother, was pregnant by Zeus, but out of jealousy Hera kept her daughter Eileithuia nearby, so Leto would suffer and give birth slowly. After nine days and nine nights, Eileithuia was finally warned and came down to the island of Delos, where Leto lay. As soon as Eileithuia set foot on the island, Apollon was born.

Artemis is also said to have assisted Leto in birthing her brother, so it’s no wonder that she and Eileithuia became closely associated as Goddesses of childbirth. In the Orphic Hymn to Prothuraia (OH 2), the pair are assimilated into one Goddess, Artemis Eileithuia. Elsewhere, Eileithuia was said to be the handmaiden of Artemis. That’s not to say that their approach is identical: Artemis is a protectress of young children, especially girls, and she is both helper and killer of women in birth (see the Orphic Hymn to Artemis, OH 36), while Eileithuia speeds up delivery and soothes the pain of childbirth, and is said to make it worse on women who wish for chastity (see Theocritus, Idylls 27). You may want to look into honouring the pair together.

Another Goddess closely associated with Eileithuia is Hera. As mother and daughter, they would be called upon together in situations related to marriage and the creation of a family. These were very important in Ancient Greece, because they meant carrying on the bloodline, the tradition and values; without both marriage and safe birthing conditions, you wouldn’t have children, and without children, your lineage would come to an end. So Eileithuia as daughter of Hera and protectress of the family is another aspect you could focus on.

Symbols of Eileithuia are hard to find, but I did come across two: the undone belt, and the torch. The belts of ancient Greek women were undone during childbirth so as to ease the birth, so Eileithuia (and Artemis) is sometimes called λυσίζωνη, she who undoes the belt, or she with the undone belt. Pausanias’ explanation for torches is that birth contractions burn like fire. Alternatively, he writes, Eileithuia carries torches because she brings children to the light. (It’s interesting to note that Artemis and Hekate, both very ancient maiden Goddesses like Eileithuia, also bear torches. I’m not quite sure what to make of that.)

Using all this as a starting point, you could think about devotional activities or ways in which you could involve her in your life and your job. Referring to any of the above myths and cult places could be a nice addition to your prayers!

As for concrete worship, like I said, it’s hard to know exactly what was done. Callimachus writes in his Epigrams (no. 54) that Eileithuia was called upon during childbirth. This makes Eileithuia one of the few deities deeply involved in miasmatic situations. I would argue that her domain stretches a little further, from late pregnancy to five or seven days after birth, when the household was purified. Rituals took place during this period, such as the Amphidromia (carrying the baby around the hearth and presenting it to the family and household Gods) and the hanging of an olive branch (for a boy) or a strip of wool (for a girl) above the front door. Though these were not directly in honour of Eileithuia, they were linked to her domain, and you might find ways to adapt and include them in your own practise.

Offerings could include honey - as was offered at Amnisos - and anything you associate with the birthing process. Natural painkilling herbs or oils might be an idea. After a successful birth, depending on the sex of the baby, you could even offer wool or olives to give thanks.

I hope that helps. Let me know if you have any more questions. May Eileithuia bring you good luck and joy in your midwife studies! :)

Bibliography and recommended reading

Ancient sources

Homeric Hymn to Apollon: tells of Eileithuia’s role in the birth of Apollon

Orphic Hymn no. 2, to Prothuraia: the closest you will get to a hymn to Eileithuia, here Prothuraia is assimilated to her and to Artemis

Orphic Hymn no. 36, to Artemis: evokes Artemis’ role during birth

Pausanias, Description of Greece: not the most fascinating read, it mainly lists where Eileithuia’s temples were

Theocritus, Idylls, no. 27: discusses love, marriage, the fear of childbirth and the role of Artemis and Eileithuia

Modern sources

Walter Burkert, Greek Religion: has a small section devoted to Minoan/Mycenaean Eileithuia and her cave at Amnisos

Labrys Community, Hellenic Polytheism: Household Worship: while no mention of Eileithuia is made, it includes a short explanation of birth in Hellenic polytheism, as well as a baby naming ceremony

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