Book Review *Classic*: Lost Goddesses of Early Greece

Lost Goddesses of Early Greece: A Collection of Pre-Hellenic Mythology, by Charlene Spretnak, illustrated by Edidt Geever, first edition

Written in 1978, Spretnak's treatment of the myths of Gaia, Pandora, Themis, Aphrodite, Artemis, Selene, Hecate, Hera, Athena, Demeter and Persephone clearly steps right out from the time of the Women's Movement, Equal Rights, and early modern Wicca. The book reflects the keen desire among women and scholars to reclaim the stories of Goddess mythology from a patriarchal matrix that has dominated the way we have come to think about the female image of Divinity. The work supposes a matrifocal society from which these pre-Hellenic deities emerged. Here, we see the goddesses establish themselves as powers and as potent symbols of life, creativity, sovereignty, rebirth, magic, the arts and other aspects of life. While the belief in the "Old Religion" has suffered under scrutiny and scholarship, Spretnak's stories ring true, since the antiquity of these goddesses is not in dispute. Indeed, Spretnak's renderings convincingly express the primal forces and concerns of an earlier time.

This book, written in what appears to be a 16 point font, is not written as scholarly research; however, Spretnak does provide ample notes and references for the reader who wishes to examine her sources. Each chapter provides a brief overview of the pre-Hellenic character of each Goddess, followed by a poetic rewriting of the myth(s) of the Goddess. In many cases, the overview indicates how the earlier character of the Goddess was lost, submerged or perverted as the mythos of the Olympian Gods began to dominate Greek culture. Geever's lovely drawings help to define the book as a series of portraits honoring the beauty of the Goddess.

Aside from the aims of scholarship, Spretnak's written work and Geever's illustrations capture a particular understanding of the need for goddesses. By 1978, women had begun to see themselves as potent beings, magical, but denied their full rights. As women sought sovereignty in this world, they eagerly wished for models of female greatness. So, while these portraits may not necessarily be an historical record of their very ancient characters in all exactness, the stories reflect what I believe to be the true creative ability of women in turbulent times.

Gaia
Spretnak's introduction reminds us that the oracles of Delphi originally worshiped Gaia. "She was the earliest possessor of the Delphic oracle, before Poseidon, Dionysos, or Apollo" (Spretnak 30). Spretnak interprets Gaia's oracular sendings as gifts of peace to people overly concerned with what the future will bring. Her story tells us that the earth provides all things, even the intuition of our minds. When we come to know the Goddess as our originator and our destiny, she becomes also our solace.

Pandora
Pandora has been much maligned. She gives humanity many gifts of the earth and the mind. She brings also flint with which we can make fire -- fire to give light and to heat our food or to make weapons. What we choose to do with the gift is our own choice.

Themis
Themis is a goddess perfect for the "dawning of the age of Aquarius," for she is "the collective conscience, the social imperative, the social order" (47). She represents the righteous law. Here, Spretnak reminds us of the trauma and oppression women have faced for many millennium in the name of law, philosophy and social justice: "They seized Themis at the outset. With the Goddess a bound captive, the invaders proclaimed the new order: children must be named after their fathers; cities must be fortified; power must be worshipped" (50). However, Themis is the one to call the Olympians to order and is the first to offer Hera her cup. Clearly, even the Olympians had respect for Themis, and in this passage, we see her character assert herself from the backdrop: "Yet Themis would not be silenced. 'You dare not crush the primal Order. When your new gods and your mutilations of our old Goddesses assemble on Mount Olympus, I alone will have the right to convoke them. I will not die" (50).

Aphrodite
Aphrodite is so much more than the simpering, vain tart she is too often made out to be. Spretnak speaks of her as a virgin in its original sense, not as one who doesn't have sex, but as one who is self-contained, on her own and belonging to no man. Aphrodite's "marriage" to Hephaestus is seen here as a futile attempt to contain the power of a popular and in some ways very subversive goddess. Aphrodite rules fertility, creativity, and the sea. She is also connected to herbal magic, and the apple, myrtle, poppy, rose and watermint are sacred to her (54).

Artemis, Selene, and Hecate
The triple goddesses of the moon are all strongly associated with the cycles of life: Artemis with childbirth, youth and dancing; Selene, lesser known, drives the moon chariot and therefore seems to be about a woman in the fullness of her power, while Hecate represents the dark, the dead and the hidden mysteries.

Hera
Hera is often portrayed as a rather one-dimensional, jealous wife. However, she predates Zeus, giving Spretnak the idea that Hera's scorn may have more to do with an unwillingness to relinquish her power than with a desire to keep her husband at home. In fact, Hera presides over the sacred marriage of the lunar cow and the solar bull, so lust and fecundity are not strangers to her. For me, Hera is an archetype for the defiant woman, who does not let her husband or any man tell her [when she can continue to run for President] when she may speak.

Athena
In her myth of Athena, Spretnak reveals how Athena's peaceful artistry was co-opted. "Northern barbarians, more fierce than the Aegean Goddess had ever known, invaded the island and carried Athena away to Attica. There they made Her a soldier" (95). In a world in which sitting down for talks with one's enemy is seen as "appeasement," the arts of peace -- including diplomacy -- are always going to be secondary to the more brutish skills of war.

Demeter and Persephone
Spretnak's reworking of the story of Demeter and Persephone seems the most radical of all. Their association with Isis and the mysteries of the underworld suggests much more power than the Hellenic version of rape and usurpation of power. In this version, there is no Hades, no rape. Persephone willingly enters the underworld to become the Queen because she recognizes the needs of the confused spirits of the dead. Demeter mourns her daughter's descent, bringing winter to the world. Their story is not about a power struggle in which one (or two) loses the right to act. Rather, this tale is about the sacrifices one willingly makes for the good of others, for the good of all. It also reminds us of our connection, not our separation, from the rest of life. As we live and grow, so do we add abundance to the world. As we die and mourn, we retract our essence from others. Finally, as we renew ourselves, others rejoice with us, and our joy is shared.

This book really is a companion to all of the other Greek mythology on our bookshelves -- Homer, Ovid, and the rest. For me, Spretnak's versions of the stories of the Greek Goddesses provide a necessary counterweight to the "authority" of the more dominant tales and help to refresh my interest in working with these energies.