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This is the first in a series of posts about the MMP pantheon. Find the full list of the whole series here.

Last time, I shared the full pantheon that we've developed for Modern Minoan Paganism. Now it's time to explore the deities one at a time and discover where we can find their iconography in Minoan art.

I've been blogging here for three and a half years now, and I've just been looking back through all my blog posts as the year nears its end. I suppose I shouldn't be surprised to discover that my five most popular posts aren't necessarily the ones I was hoping people would pick up and run with, and they're certainly not the ones I expected. But it is interesting to see what draws people, so maybe I can take the hint and provide more of what you lovely folks might like to read.

My most popular blog post? Tying a Sacred Knot - The various types of sacred knots are pretty well known, especially the tet of Isis, which appears to have a counterpart in Minoan Crete. But there's another object that Sir Arthur Evans conflated with this type of sacred knot, and this second object is obviously a piece of fabric, not a cord. I've written about this second object, which we've come to call the Sacral Scarf, in this blog post. It has its own place in Modern Minoan Paganism and was, as far as we can tell, unique in the ancient world.

The Triple Goddess is a major component of modern Paganism, but the Maiden-Mother-Crone triplicity doesn't appear in ancient Crete. The closest we can come to that kind of "life phases" division is a Younger and Elder Goddess, exemplified by Rhea (the Great Mother) and Ariadne (the daughter). This mother-daughter duo is the possible origin of the Eleusinian Mysteries, whose sacred pair of Demeter and Persephone are well known in the modern Pagan world (check out Charlene Spretnak's inspired book Lost Goddesses of Early Greece for more on this subject). I like to think of this twofold goddess as Maiden and Matriarch, the two stages of womanhood in a society in which women's ability to birth children for men wasn't their primary function in life.

But there is a Minoan triplicity associated with the Goddess. It doesn't have to do with the life stages and fertility functions of women, but with the world around us and how the Sacred Feminine manifests in it. It's the ancient threefold division of Land/Sea/Sky. This triplicity unfolds around each and every one of us every day of our lives.

When I talk about Minoan spirituality, people tend to recognize the names Ariadne and Dionysus, and maybe Rhea and Minos as well. But there's one that often leaves them shaking their heads: Amalthea. I actually had someone ask me one day if Amalthea was one of the characters from Game of Thrones. Um, no. LOL

Amalthea is a Minoan goddess who, like Ariadne and the others, was absorbed into later Greek myth as something less than divine (FYI the Minoans weren't Greek). But I promise you, she was originally a full-fledged goddess and not just a goat-herding foster mother of Zeus. In fact, you'll note that Zeus is a Greek god, not a Minoan one. Like the Romans, the Greeks enjoyed equating foreign deities with their own, both as a way to understand other pantheons and as a handy method for taking over those cultures and absorbing them. So when the Greeks say that Amalthea was the foster mother of "Cretan Zeus," they're talking about Dionysus, the Minoan god who is born in his mother Rhea's cave at the Winter Solstice. And Amalthea plays a role in that story.

It's been a busy month for the Third Wave Witch. I've been adjusting to having more structure in my life than I've had in more than a decade. With the (exciting, wonderful) new job has come the need to adapt to an actual schedule -- with a wake up time, a "get to work" time, and a "quitting" time -- as well as to make the internal adjustments that go along with not being quite as much of a free agent as I've been for the last few years. I've been very used to having near-total control over my own time, to following my whims throughout the day, to doing what I feel like doing at any given moment. (Essentially, I've lived much like a large housecat, but with opposable thumbs and a bank account.) In some ways it's been a process of taming myself. It's a strange feeling. I enjoy my job (and the financial freedom and career advancement it will provide). I am doing work I believe in, on a campus that is incredibly supportive and diverse. I even get to read more, now that I have a train commute each day. And I've also chafed at times, trying to find the sweet spot between structure and freedom.

Freedom has always been one of my core desired feelings, to borrow a phrase from the wonderful Danielle LaPorte. This desire for freedom is what kept me self-employed (and under-employed) for much of the last decade, caught on the adjunct treadmill. My only real experience with full time corporate work had been so negative and scarring that I wasn't willing to go back there. But over the last year it became clear that while I had much control over my time, the poverty wages I was earning as an adjunct actively hindered my freedom. A long and heartfelt conversation with my partner encouraged me to rethink what it mean for me to have freedom, to be free. 

Most people are familiar with Dionysus as a vegetation god. In fact, that’s how he started life (so to speak) among humans, dying each year at the time of the grape harvest. In the Mediterranean, where Crete is located, that happens most years in late August or early September. So in many ways Dionysos is similar to the other dying-and-reborn vegetation gods we’re familiar with from the Near East, Europe and other regions. But as so often happens, cultures change over time, inventing or importing new ideas and layering them onto what’s already there. Something like that happened with Dionysos in ancient Crete.

Before we get to his details, though, let me explain a bit about how the Minoan pantheon works. Rather than having a particular slot in a human-style family tree, the Minoan gods and goddesses unfold out of each other in a multi-faceted fashion. In a way, all the deities within the Minoan pantheon can be considered reflections or facets of the Great Mother Goddess Rhea. But for practical purposes, they behave as individual deities with their own personalities and qualities. This henotheistic setup can make it difficult to tease out exactly which aspects go with which deity name, and to sort out whether two different names belong to two different gods or a single one. In addition, as Minoan society changed over time, more layers were added onto those already-complicated facets, and some of the deity names only come down to us in later forms, from languages and cultures foreign to the Minoans. I’ll do my best to untangle some of the bits about Dionysos today. I’ve worked with him for a long time and as far as I can tell, these aspects of him manage to work well together in spite of their apparent differences.

One of the issues we face when reviving ancient spiritual practices is that we often don’t know exactly what the original people called their gods and goddesses. In the case of the Minoans, we don’t even know what language they spoke, and their deity names have come down to us only through the Greeks. Today I’m going to toss out some thoughts about some of the god and goddess names from ancient Crete. Maybe, if we put enough ideas into the pot, we can brew up some useful bits for modern Minoan Paganism. Let’s start with Rhea, the Minoan Earth Mother goddess.

First of all, there is no generally-accepted etymology for the name Rhea. It may be the Greek interpolation of the native Minoan name for their Earth Mother goddess. The Greeks often attempted to transliterate the names of foreign deities into their own language, but as so often happens in this kind of situation, the pronunciation changes to feel more comfortable to the speakers. Through this process we ended up with the Greek name  Isis for the Egyptian Aset and Greek Osiris for Egyptian Ausar. The Greeks said Rhea was the Mother Goddess of Crete; even among the Olympians, she was still considered Cretan. I’ve always felt that her name, however it was originally pronounced, was the word the Minoans used for the island of Crete, which was the embodiment of their goddess.