The Seba library treats Minos in 9 passages, across 5 authors (including Campbell, Joseph, Liz Greene, Kerényi, Carl).
In the library
9 passages
The bull sacrifice required of King Minos implied that he would sacrifice himself, according to the pattern of the inherited tradition, at the close of his eight-year term. But he seems to have offered, instead, the substitute of the Athenian youths and maidens.
Campbell argues that Minos's substitution of the Athenian tribute for the required self-sacrifice is the foundational act by which the sacred king becomes a tyrant and the hieratic order collapses into mercantile empire.
Campbell, Joseph, The Hero With a Thousand Faces, 2015thesis
Minos had asserted that the throne was his, by divine right, and had prayed the god to send up a bull out of the sea, as a sign... he determined to risk a merchant's sub-tution — of which he supposed the god would take no great account.
Campbell establishes the origin of the Minos complex in a deliberate act of mercantile calculation overriding sacred vow, initiating the entire mythological catastrophe of Pasiphae, the Minotaur, and the labyrinth.
Campbell, Joseph, The Hero With a Thousand Faces, 2015thesis
The earthy power which allows the tyrant to accrue his wealth, as Minos gathered wealth and power over the seas, is the gift of Taurus; but the dilemma lies in his relationship with the god, and which god it
Greene maps the Minos myth onto the astrological shadow of Taurus, reading his imperial accumulation as the dark face of a sign whose highest expression requires surrender to divine authority rather than its hoarding.
Minos' passion for the sacred bull leads to his wife's overwhelming passion for the same bull, and the monster that results becomes the canker that rots the kingdom from within.
Greene traces the psychological chain from Minos's initial sacrilege through Pasiphae's compulsion to the Minotaur, reading the myth as a demonstration of how refused sacred obligation generates progressive contamination of the social order.
Homer characterizes Minos, in his function of judge of the dead, as seated and holding his scepter in his hand while the others most uncharacteristically sit or stand.
Kerenyi locates the underworld-judge function of Minos within the Minoan tradition of the enthroned king, linking the Homeric depiction to the ceremonial throne-room culture of Knossos and its cultic practice of thronosis.
Kerényi, Carl, Dionysos: Archetypal Image of Indestructible Life, 1976supporting
"Minotauros," "the bull of Minos," was not a true name. For the inhabitant of the labyrinth the names "Asterios" and "Asterion" have come down to us, both synonymous with aster, "star."
Kerenyi argues that the Minotaur's authentic Cretan names reveal a stellar-cosmological identity suppressed by Greek mythologization, suggesting the labyrinth complex originally encoded astronomical meaning rather than a tale of monstrous birth.
Kerényi, Carl, Dionysos: Archetypal Image of Indestructible Life, 1976supporting
The bull was deceived, and begat by the Queen the Minotauros, the "bull of Minos", named Asterios. This latter was a child with a bull's head, and it had to be hidden away. It grew up in the Labyrinthos.
Kerenyi retells the birth of the Minotaur from Pasiphae and the Poseidon bull, emphasizing the creature's alternative stellar name and its containment in the labyrinth as essential mythological data.
Kerényi, Karl, The Gods of the Greeks, 1951supporting
This labyrinth was traditionally supposed to have been at Knossos, the royal seat of Minos, and had been built by Dedalus to serve as a dwelling-place for this monster, born of a union between Queen Pasiphaé and the Poseidon-bull.
Rank situates the Knossos labyrinth within the Minos myth complex, reading the Minotaur as an expression of Greek detestation of Egyptian animal-cult transformed into a narrative of monstrous concealment.
Rank, Otto, Art and Artist: Creative Urge and Personality Development, 1932supporting
An index entry in Kerenyi's Dionysos records the multiple contexts in which Minos appears, signalling the figure's recurrence throughout the Cretan-Dionysian mythological complex.
Kerényi, Carl, Dionysos: Archetypal Image of Indestructible Life, 1976aside