When they became acquainted with Crete, the Mycenaeans were influenced by the Minoans, not only in artistic matters but also in the whole system of organization of their socio-economic life and most importantly in the field of religion; but a thorough examination shows that the ancestral religion of the Mycenaeans differs from the Minoan one, even if at first sight there are similarities. The Mycenaean religion is polytheistic; the nameless Cretan Great goddess is worshipped but also a number of male gods (though without any iconography), named Zeus, Poseidon or Hermes; syncretism was its central characteristic. In later times, as the Cretan spiritual dominance waned, typically Minoan symbols lost their prime symbolic power to the benefit of Mycenaean conceptions. Official and popular religion, the function of open-air and built sanctuaries, the symbols, rituals and Linear B tablets are subjects constantly debated, and yet the essence of Mycenaean religion, the related ideas and concepts escape us.

This chapter explores the religious practice of characters in the five ‘ideal’ Greek novels, arguing that despite these works’ overall presentation of a world that is in many ways ‘realistic’, their representation of religion diverges from ‘reality’. At one end of the spectrum the behaviour of the rustic couple Daphnis and Chloe is almost hyper-religious, and it is only in Longus’ novel that we find a full range of traditional religious practices, including vows and libations. In the other four many features correspond to behaviour in the ‘real’ world – prayers, offerings, sacrifices, feasts and festivals: but libations are sometimes not poured when they might be expected; rituals associated with marriage or burial are omitted or played down; and, most strikingly, the practice of making a vow to a god at critical moments to secure help or rescue, a practice documented in the ‘real’ world by epigraphy and literature from the archaic period down to at least the third century AD, is wholly absent. Possible reasons for this absence are briefly discussed: is it simply a generally soft-focus and elliptical account of religious behaviour, or is it the avoidance of a device which, if deployed, would risk short-circuiting characters’ tension-creating peril in cliff-hanging situations?