Sabazios – the ‘other’ Thracian god.

The Thracian/Phrygian god Sabazios is well-attested in ancient Europe, but little – if any – mythology is known about him, not in the least because Thrace (modern Bulgaria) was not a literate culture before its Hellenisation, Romanisation and later Christianisation. Another fact might be because his worship (where it is attested outside of Thrace) appears to have been part of a ‘mystery cult’ where mythology was imparted as secrets to initiates and was not – in common with the greater part of the more ancient Greek, Italic, Celtic and Pontic/Phrygian traditions – part of a common orally-transmitted mythical corpus of knowledge.

We know that the cult of Sabazios was popular in late archaic and Classical Greece, and that it was later to spread throughout the Roman empire. We also know that it showed a good deal of syncretism with the cult of Dionysus/Bacchus, and that two were sometimes considered to be the same god, albeit that the connection of Dionysus/Bacchus to wine was more explicit among the Greeks and Romans while the cult of Sabazios appears to have emphasized the fertility aspects common to the two.

Dionysus/Bacchus and Sabazios were both gods whose cultic worship and festivals typically surrounded the event of the ‘arrival’ (epiphany) of the god and his band of animalistic male and wild human female attendants among the people, associated with ritual cries announcing the god’s coming. In fact, in the Attic cult of Dionysus (practiced at Athens and Delphi) the ‘Bacchic cries’ to the god and his retinue, according to the great 4thC BCE Athenian statesman-author Demosthenes (in his book ‘The Crown’), appear to refer to a ‘foreign’ Sabazios as well as the Phrygian consort-god Attis, suggesting that the cult was considered as something ‘other’ or ‘alien’, at least to men like Demosthenes, who was seeking to denigrate an opponent when he said:

“… On attaining manhood you abetted your mother in her initiations and the other rituals, and read aloud from the cultic writings …You rubbed the fat-cheeked snakes and swung them above your head, crying Euoi saboi and hues attes, attes hues… ”

The cry was called ‘Sabasmos‘ according to the 10thC CE Byzantine encylopedia known as the Suda, which stated (perhaps echoing earlier observations by Clement of Alexandria) that the cults of Sabazios, Bacchus and Dionysus were effectively the same.

Demosthenes’ ancient account refers to a cult of women that involved the carrying of snakes as part of its rituals. Another important part of the ritual or cult was intoxication: the placing of a krater of wine was a part of the ritual of arrival demonstrated on ancient Greek illustrations. The ritual ecstasy of the female band of celebrant-priestesses known as the Maenads who accompanied the god may have been due to factors other than alcohol-intoxication, however. Foremost among these were the group hysteria of the event, heightened by dance and chanting, but perhaps another important factor in the excitement was blood – from the ritual slaughter of an animal or animals, said in some accounts to have been ritually (and primally) rended physically apart by the Maenads in sacrifice to the god. All of these events typically preceded the showpiece ‘arrival’ of the god’s image and his accompanying band of Maenads and disguised male performers dressed as animals, satyrs etc. This would have been followed by feasting and jollity, after which the Dionysia were typified (in the Greek world, at least) by the production of great plays and dramas – a hallmark of Attic culture, from which we have the plays of Aristophanes and other greats of classical drama.

The 'Vix Krater' - an equisite Greek bronze krater buried in the grave of a Gaulish noblewoman c.500BCE. Elaborate kraters were a central symbol of Dionysiac and Sabazian cult worship.

The ‘Vix Krater’ – an exquisite Greek bronze krater buried in the grave of a Gaulish noblewoman c.500BCE. Elaborate kraters were a central symbol of Dionysiac and Sabazian cult worship.

The Thracian and Phrygian (ie – Anatolian) Sabazios emerged from a slightly different religious tradition, but appears to a have merged successfully with the Greek and Roman traditions of Dionysus-Bacchus. In fact, the Dionysiac religion in the Greek cultural world has (rightly or wrongly) generally been considered somewhat ‘different’ to the Olympian traditions, being considered much more of a ‘barbaric’ form of ‘mystery cult’ and generally felt to be somewhat alien and exotic – under the influence of more eastern traditions. This may be a typically ‘Hellenic’ view, however: Greeks of this era (5thC BCE > early Common Era) had a tendency to deride their own ‘primitive’ past and consign such aspects of their indigenous cultural history to the ‘barbaric’ world of Thrace, Phrygia and (of course) the ‘Celts’. The explosion of Hellenic influence and the rise of the Roman Republic on its coat-tails exposed the Greco-Roman world to a plethora of exotic influences, the most favourable of which they found in the Near East. For this reason, these cultures began to ‘orientalise’ and absorb the religious cultures of Thrace and Phrygia, which after the 3rdC BCE were a melting pot also incorporating Celtic and Eastern beliefs. The official acceptance of the Phrygian cults of Attis and the Magna Mater, Cybele, were a prime example of this process, but the older mystery-cults of Orphism and Sabazios-Dionysus had a longer history of influence, which along with the chthonic mystery cult at Eleusis and on the island of Samothrace were testament to the diverse interactions occurring in European paganism. The exoticism and potential for disorder of the Bacchic rites in Rome were accompanied during the late Roman Republic by no small degree of official anxiety, perhaps due to the fact that the state exercised little control over such matters. The adoption of Phrygian Cybele into the official cult of Rome marked the end of the second Punic War, and was perhaps a useful buffer against the more chaotic but no less exotic Bacchanalia. It was following this that the Romans increasingly appear to have shown an interest in the cult of Sabazios (Rome had a temple of ‘Jupiter Sabazios’), which perhaps offered a more conservative aspect of the Dionysiac-Bacchic cult. Rome’s ambitions by the 3rdC BCE lay in the East and her strategy of expansion was achieved as much through cultural incorporation and franchise as by military might.

Thracian/Phrygian Sabazios:

Having mentioned the apparent syncretism of Sabazios with Dionysus during the Hellenic era, it is worth noting the indigenous Thracian and Phrygian aspects of the cult to draw a distinction. As this was (on the whole) a mystery cult and was not written about by indigenous authors, we only have limited epigraphic and artistic (sculptural) evidence to call upon, and most of this during the period of Roman influence following the 2nC BCE. The most common Phrygian and Thracian imagery associated with Sabazios are stone stelae depicting him as a horseman – not a feature seen in Dionysian imagery, except where we see the god’s accomplice Silenus mounted on an Ass. The ‘Thracian Horseman’ is depicted as active and young, and usually shown wearing a billowing cloak and armed with a lance. His image is usually accompanied by some adversarial animals: most often a snake twined around a tree, and sometimes by lions and other wild beasts. Apart from his mount and his weapon, the imagery correlates strongly with that often seen with the archetypal Greek mythical Hero, Hercules. The serpent-slaying hero-role is also seen with Greek Apollo, and it appears that the syncretism between these characters as well as the Centaur Chiron and the god Hermes was a strong feature stamped upon Thracian and Phrygian religion, as well as that of the Celts whose ideas had mingled with theirs during the ‘La Téne’ cultural period. Indeed, when the Romans invaded the Balkans and pushed for Anatolia they were met by combined Thracian, Dacian and ‘Celtic’ forces, whose cavalry was a remarkable and obviously elite part of their fighting style and source of much success until Rome finally defeated and incorporated them into their own armies. The regional prowess of cavalry warfare was at its greatest with the Macedonian Hero-King Alexander, whose father bore the name ‘Phillip’ (‘lover of horses’) and whose cavalry swept aside all opposition in his great surge of conquest during the 4th and 3rdC’s BCE. This was perhaps the spiritual origin of Europe’s medieval mounted warrior elites, and the image of the mounted Thracian Sabazios was used for that of Christianity’s interloper ‘St. George’:

A typical 'Thracian Horseman' image of Sabazios

A typical ‘Thracian Horseman’ image of Sabazios, here hunting a boar – yet another ‘fanged’ chthonic creature representing plenty and growth. The board was a particularly ‘celtic’ image, whereas the serpent was more ‘Greek’ or ‘Eastern’…

The Thracian Horseman image obviously relates to a hero-god, and the name ‘Thracian Heros’ is also applied to the icon-image, one of which is inscribed to ‘Heros Karabazmos’, which name incorporates the ‘-baz-‘ of ‘Sabazios’. To the Thracians, Phrygians and Celts (who used the horse imagery extensively in their otherworldly coins after the 4thC BCE) the ‘Heros’ character represented fertility through the closeness of death: similar to the ancient Etruscan/Roman Mars as well as the all-popular Hercules. In fact, it is worth comparing the iconography of Hercules with that of the Thracian Heros:

Armed Hercules confronts the Serpent Ladon in the garden of the Hesperides (Roman Hispania)

Armed Hercules confronts the Serpent Ladon in the garden of the Hesperides (Roman Hispania)

And now, here’s the Thracian ‘Heros’ to compare. Note the ‘phallic Herma’ to the right of the tree – these were a feature of Dionysiac and Sabazian worship:


The mythology regarding the ‘horseman’ must have incorporated much of that common to the Herculaean and Apollonian myths as well as the Dionysian aspects of Sabazios. not to mention the martial aspects of gods such as Mars. The icon of the galloping helpful horseman ‘coming from’ the underworld where it has been victorious over the serpents and demons incorporates all of these in a more simplified and much more fundamental and portable manner.

Chiron the hunter - teacher of Greek heros. Are him and Sabazios one and the same? Perhaps the Minotaur too?

Chiron the hunter – teacher of Greek heros. Are him and Sabazios one and the same? Perhaps the Minotaur too?

The coins of Celtic tribes in the Balkans such as the Scordisci and Bastarnae demonstrate a syncretic incorporation of such imagery in their appropriations and modification of Greek designs, and this propagated throughout the Celtic world as far as Britain by the 1stC CE. Often the warlike rider is female in the Celtic numismatic images – particularly so during times of conflict with Rome. It finally seems to have been mollified into the form of the benign ‘Epona’ by the early common era when Rome had broken the fanatical and wizardly backbone of wild Celtic culture:

Cuddly mother Epona - the original Celtic form would have bought your head on a plate, not food!

Cuddly mother Epona – the original Celtic form would have bought your head on a plate, not food!

Sabazios in Rome:

As previously mentioned, the cult of the Thracian-Phrygian god Sabazios met with some degree of popularity in the Roman Empire. Apart from a few religious stelae, the most prominent artefacts from the cult are the bronze-alloy votive ‘hands’ discovered in places such as Herculaneum and even as far north as modern Belgium. These hands are know as the ‘Hand of Sabazios’, and generally display a gesture which appears to have been adopted by the early Christian church, and is still used by priests in blessings to this day. Here are some examples:

Hand of Sabazios (British Museum)

Hand of Sabazios (British Museum)

The hands take a variety of forms, with some common elements:

1. Most depict the fingers in the gesture shown in the image.

2. All have a pine-cone (or possibly even a hop-flower) either balanced upon the thumb or grasped between thumb and forefinger. In a few cases, these appears to be more explicitly depicted as the Orphic Egg, in one case holding the image of the Thracian Heros with his horse, lance and serpent adversary within. Although Thrace was a beer-drinking culture, hops were not known to have been used as a beer additive until after the medieval period.

3. All have a serpent or basilisk (serpent with a cock’s comb: lit. ‘king of serpents’) representing the chthonic ideal. Other ‘serpentae’ or ‘herpetae’ such as frogs, turtles and lizards frequently accompany this.

4. Most depict a mother lying with her child on the wrist part of the design. This may be an allusion to Ariadne, wife of Dionysus in the Cretan-Greek version of the myth. The birth and rebirth of ‘Dionysus’ were central parts of the Orphic mystery-legend, and Orphism was ascribec by the Greeks to Thrace.

5. Most depict the Dionysian Krater and bowls or cups.

6. Most depict a ram’s head, sometimes that of a bull, upon which the god places his foot in depictions. This is redolent of the sacrifice of animals at the Dionysia.

7. Many depict a miniature figure of Sabazios himself as a bearded man sat against the extended index and middle finger of the hand. He is sometimes crowned with lunar ‘horns’.

Other iconcography commonly associated with these hands include: The Caduceus or wand of the god Hermes/Mercury (think of the serpent on the tree in the Thracian Heros images), a set of scales, a perched eagle, vines and sometimes ritual objects such as a sacrificial knife and a lituus (ceremonial wand). One example of the hand has a bracelet to which human and animal penises are attached by chains! These hands were believed to have been mounted upon poles at ceremonies

Apart from the hands, the cult of Jupiter-Sabazios is also represented on a few ancient stelae recovered from the Roman world. Here is one particularly fine example from Roman Illyria (modern Albania) depicting what appears to be the Phrygian gods Cybele and Attis – maybe even Selene and Endymion or Artemis and Apollo – (who actually hold a pole with a hand on it!), as well as ploutic father Sabazios himself, as well as the usual icons found on the hands and ‘Thracian Heros’ stelae:


The overwhelming fertility aspects of the cult are well-demonstrated, and the warlike aspects of the Thracian god have been removed. Even Mercury appears at the base of the serpent-tree to grant his blessing! Observant readers might begin to see how Julius Caesar’s comments about ‘Dis Pater’ being worshipped by the Gauls point to a more ancient and once-widespread cult which emerged from Bronze Age Europe and had influence from far Britain and Ireland right through to the Near East. Just a peak over the common ‘barbarian’ yet mythologically sophisticated event-horizon of our ancient ancestors….

Beltane – Nature and the Secret Blacksmith

The implicit spiritual idea of blacksmiths in the pagan world was an expression of the reforging of nature each year as part of the annual cycle. In the temperate regions of Atlantic Europe this was so explicit that it became a core part of the religion and was celebrated through a cycle of annual festivals personifying this process. It was also an important part of the mythos of southern Europe and was also a key part of the mysteries of Eleusis, Orphism and the Dionysiac rites of ancient Greco-Roman religion. As with the southern forms of paganism, the northern forms portrayed the year as the life-cycle of a woman – the producer/guardian of developing life and human continuity. As each year progressed, so she aged – only to born again after each final ‘death’!

The Gaelic words ‘Caillin’ (Young Woman) and the name ‘Cuillin’ (a legendary ‘blacksmith’) have such an interesting concordance in Gaelic and Norse mythology that it is time for European pagans to start examining this in greater detail…

Who was she? I will leave this answer to a medieval Irish sage named Cormac:

BRIGIT i.e. a poetess, daughter of the Dagda. This is Brigit, the female sage, or woman of wisdom. i.e. Brigit the goddess whom poets adored because very great and very famous was her protecting care. It is therefore they call her goddess of poets, by this name. Whose sisters were Brigit the female physician, woman of leechcraft. Brigit the female smith, woman of smithwork, from whose names with all Irishmen, a goddess was called Brigit.

(p.23 of 1868 Whitley Stokes edition of John O’Donovan’s translation) 




Scholars seemed to have remained intrigued by similarities between Irish and ancient Greek mythology since the advent of Irish literature in the early medieval period, down to the modern day: The monastic writers of the medieval periods, the brilliant Ruaidhrí Ó Flaithbheartaigh (who titled his 17thC history of Ireland Ogygia after Homer and Plutarch’s mystic isle) to the eccentric Charles Vallancey in the 18thC, and the eccentric and brilliant James Joyce of the 20th – all have been able to draw parallels.

Care needs to be taken in approaching the subject as it was, after all,  a hallmark of medieval and early modern Renaissance learning to draw parallels with Europe’s classical ‘golden age’.  National histories and mythologies from across Europe have therefore attracted similar comparisons at one time or another. Nevertheless, the Irish mythological landscape bears perhaps the closest resemblance in its content and complexity to that of ancient Greece. The Greek mythology served to illustrate an understanding of the universe by assigning spiritual entities to all of its functions, and in this regard is similar to every other ‘pagan’ system of learning which coded knowledge into an elaborate prosaic, artistic, poetic, dramatic repository of tradition, supported by dialectic traditions.

Fionn mac Cumhaill recurs as one of the key popular figures and vehicles of the ancient Irish traditions. I would like to discuss similarities in function shared by Fionn and his legendary Greek counterpart, Dionysus.

Dionysus (Bacchus) was revered in Europe’s Eastern Mediterranean provinces since the Bronze Age. Although most often characterised as a god of wine and intoxication, a wider reading of his cultural function reveals that he was equally associated with the convocations and group-efforts of human beings. Whether it be feasting or revels, hunting or adventure expeditions, war-bands, public theatre or the large-scale religious rituals and the mystery cults – Dionysus was often the key spiritual figure. His position as an ‘outsider’ to the Olympian tradition (which possibly post-dated him) was incorporated easily into the diversifying and expanding world of the Greek archaic and Hellenic ages. Many of his traditions were supposed to have been related by the poet Orpheus, and it is apparent that we have a number of links here to Ireland’s Fionn legends.

Fionn, like Dionysus, was a troop-leader whose tales are usually related in traditions by his poet-son Oisín or another of his followers. In his legends he feasts, hunts, fights and travels, and – like his counterpart Cuchullain – is often fractious, destructive, sometimes somewhat simple and erratic. Some of the traditions about him (e.g. – ‘Compert Mongan’) deal with his death and reincarnation – similar to Dionysus in the Orphic mysteries. Fionn is also ascribed a semi-divine parentage in some traditions. Dionysus’ Orphic name, Zagreus,  is interpreted as meaning ‘hunter’ or ‘capturer’ – perhaps alluding to his underworld/psychopomp functions in the Dionysiac mysteries.

Fionn, as leader of the Fianna can therefore be seen to serve a similar narrative function to Dionysus. His connection to the Sluagh of disincarnate souls has never been made explicit in Gaelic (Atlantic) literature, but a connection between the Fianna and the ‘Fairy Host’ is implicit in regional folklore. Finally, the Isle of Man’s Phynnodderee – a mythological half-man, half-beast who helps householders – shares Fionn’s name and attributes in many Manx folk traditions, which otherwise reference a giant called ‘Finn MacCool’.

The last (but by no means the least) connection to Dionysus/Bacchus is that ‘Fion’ is the Irish word for wine!


Cronos, Orphic and Eleusinian mysteries and spirit-traditions of ancient Europe

In Greek poet Hesiod’s c.7thC BCE account of the ‘time before memory’ in the early days of creation, Cronus was the Titan ‘god’ of the ‘Golden Age’ – an idealised period after creation when a perfect race of men existed, and all was bountiful with no work or conflict nescessary:

First of all the deathless gods who dwell on Olympus made a golden race of mortal men who lived in the time of Cronos when he was reigning in heaven.  And they lived like gods without sorrow of heart, remote and free from toil and grief: miserable age rested not on them; but with legs and arms never failing they made merry with feasting beyond the reach of all evils.  When they died, it was as though they were overcome with sleep, and they had all good things; for the fruitful earth unforced bare them fruit abundantly and without stint.  They dwelt in ease and peace upon their lands with many good things, rich in flocks and loved by the blessed gods.

But after earth had covered this generation — they are called pure spirits dwelling on the earth, and are kindly, delivering from harm, and guardians of mortal men; for they roam everywhere over the earth, clothed in mist and keep watch on judgements and cruel deeds, givers of wealth; for this royal right also they received…

Source: Hesiod ‘Works and Days’ trans H.G. Evelyn White 1912.

The myth goes on to relate the subsequent four creations of humans down to Hesiod’s ‘modern’ day (c.7thC BCE, the ‘Age of Iron’), portraying each successive race of mankind as progressively debased and further from the godly ideals. The other races who came after the Golden are the Silver, the Bronze, and penultimately and somewhat curiously – the Race of Demi-Gods: people who were great enough to enjoy a deified status or to have a half-divine parentage. To these, he assigns an eternal existence in the Blessed Isles:

But to the others father Zeus the son of Kronos gave a living and an abode apart from men, and made them dwell at the ends of earth. And they live untouched by sorrow in the Islands of the Blessed (Nesoi Makarôn) along the shore of deep swirling Okeanos, happy heroes for whom the grain-giving earth bears honey-sweet fruit flourishing thrice a year, far from the deathless gods, and Kronos rules over them; for the father of men and gods released him from his bonds. And these last equally have honour and glory.”

It appears that Hesiod has made a distinction between the more ancient Golden Race and the Demigods who preceded the Men of Iron, yet the description of their existence and their ruler -Kronos/Cronos – is more or less identical, suggesting Hesiod sought to somehow change the tradition. This may well relate to Hesiod’s wish to promote the Olympian cult of Zeus which must have displaced that of Cronos, as described in his poetic narratives – Theogony and Works and Days. It is quite possible that Cronos represented a more primitive occidental god that the Greeks identified with the barbarian peoples to their north and west, and for this reason Hesiod and his contemporaries demoted him into exile on an Island far to the west…

Hesiod’s account of the race of the Golden Age is interesting in that these ‘ancestors’ who live on as helper-spirits (the original greek word is Daimôn) seem very similar to what Atlantic Europeans in the 2nd millennium CE referred to as fairies or elves in their own mythology. They certainly have aspects that we encounter in the denizens of much later ‘Celtic’ tales of the glorious otherworld – beauty, abundance, prosperity and peace.

Plato (4thC BCE) in his Socratic dialogue known as Cratylus discusses the belief that the eternal souls of virtuous humans become Daimones or Daemones (helper spirits – not the ‘evil spirits’ which Christianity later created from them) and refers to Hesiod’s Golden Race to make his point. His 4thC BCE Athenians agree that the eternal souls of virtuous men in their own time might achieve the same – not just those of the ancient mythical race of men. In Timaeus Plato expounded a common belief that souls were made of aither and the stars could be conceived of as souls of the departed (which is why demigods were placed in the sky as constellations). He has this to say of the Creator of the Universe:

….And once more into the cup in which he had previously  mingled the soul of the universe he poured the remains of the elements,  and mingled them in much the same manner; they were not, however, pure  as before, but diluted to the second and third degree. And having made  it he divided the whole mixture into souls equal in number to the stars, and assigned each soul to a star…

He based much of this story on Hesiod, who he references in Cratylus. He goes on to discuss reincarnation:

He who lived well during his appointed time was  to return and dwell in his native star, and there he would have a blessed  and congenial existence. But if he failed in attaining this, at the second birth he would pass into a woman, and if, when in that state of being,  he did not desist from evil, he would continually be changed into some  brute who resembled him in the evil nature which he had acquired, and would not cease from his toils and transformations until he followed the revolution  of the same and the like within him, and overcame by the help of reason  the turbulent and irrational mob of later accretions, made up of fire and  air and water and earth, and returned to the form of his first and better  state.

The 1stC BCE Roman author Virgil was of the same opinion, being heavily influenced by Pythagorean, Platonic and Orphic doctrines which often went hand-in-hand in his day, as they were intimately concerned with the passage of the soul in former and future lives as well as the current. In this regard they were not much different to what Caesar said the Atlantic peoples of northwest Europe believed in. One of Roman society’s most popular celebrations was the Saturnalia which terminated at the Winter Solstice and celebrated the abundance of the Golden Age ruled over by Saturn (Rome’s name for Cronos), in the lead-up to the returning year. This was a festival of what I have referred to as ‘Otherworld Inversions‘ – masters would serve slaves, and the slaves could rest, for example.

So … what was Orphism and how does it relate to Cronos?

The Orphic faith has been identified from writings dated from at least the 4thC BCE onwards, though its origins are unknown and it may be partly evolved from a much older belief system – namely the Dionysian and Eleusinian mysteries with which they share much of their narrative structure. Orphism had definitely attained a consolidated (literary) existence at the advent of the Hellenic period and became one of the most influential mystery cults of the classical world, staying in existence until the late classical period. The surviving evidence for it is fragmentary and comes from literature (e.g. – the ‘Dereveni papyrus’, writings of the Neo-Platonist philosophers), art and inscriptions.

The key knowledge of the mysteries was said to have been gained by the proto-poet Orpheus in a visit to (and return from) Hades – the afterlife, which is the key aspect of the mysteries. The background story relied upon what are termed the ‘Orphic Theogonies’ (creation myths of the universe and the gods) which ultimately explained the creation of mankind the passage of the eternal soul through various states or cycles of reincarnation before it reached perfection.

The reincarnation beliefs of the Orphic and Eleusinian mysteries revolved around a shared dramatisation of the reincarnation of the year: The abduction of Kore (Persephone), daughter of Demeter (Rhea) by Hades, and her eventual release on the condition that she returned annually to his underworld. Zeus’ son and heir by Persephone (his daughter!) is the first incarnation of the god Dionysus – sometimes referred to in Orphism as ‘Zagreus’ and identified with Egyptian Osiris. Orphism attempted to weld aspects of older (Mycaenean and Barbarian/Thracian) religion and the high philosophies of Egyptian religion to the Olympian pantheon. In the Orphic theogonies, the young Dionysus-Zagreus is given the throne of Olympus by his father. Rhea inflames the Titans with anger at this and they dismember him after the manner of Osiris before consuming most of his body (Rhea keeps the heart). As punishment Zeus burns the Titans with lightning, turning them (and their meal) to ash and soot from which humans are created – their souls formed from the spiritual essence of Dionysus and their bodies from the soot and ash of the Titans’ bodies.

This is somewhat different from Hesiod’s ages of men, and perhaps explains the importance attained by the Cult of Dionysus or Bacchus in later antiquity: Celebrants of the cult sought to liberate themselves from their bodily limitations and experience the divine in a state of ecstasy. The Orphic and Eleusinian initiates appear to have believed that the soul passed through a number of bodies in order to purify itself from the envy and pride of the Titans of whom Cronus was the exiled leader. Dionysus represented a liminal figure whose death and rebirth (from the heart saved by Rhea) meant that he trod between the ordered realm of the Olympian gods and that of the Titans (who represented chaos, and primal forces), to whom the Olympians were ultimately subject to, in spite of their apparent besting and mastery of them in legend. Zeus and his colleagues were not omnipotent in Greek theology – they were prone to human foibles and subject to the forces of higher powers such as Fate and Chaos, as much as they were beholden to the structure of the elements and aither…

It is apparent that the theologies about Cronus, the origins of humanity, the transmigrations of the soul, and the link of this to the seasonal drama of the returning year was part of a more ancient European and Middle-Eastern religious system. Their existence is paralleled in the fairy beliefs of the Atlantic Europeans, and in the folklore of the Cailleach, Manannan,  Mag Mell and the Land of Youth, all of which are at the heart of the survivals of the Atlantic Religion in folk culture of northwest Europe.