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Category: Zeus

The Sexual Mingling of Gods and Humans

“Flavius Joseph noted in his Jewish Antiquities the affinities between Genesis 6:1-4 and Greek traditions: “In fact the deeds that tradition ascribes to them resemble the audacious exploits told by the Greeks of the giants.”

The sexual encounters between Greek gods and human women (and also between Greek goddesses and human men) are a common topic in Greek mythology. A work almost wholly devoted to this theme is the fragmentary Catalogue of Women, a work of the seventh or sixth century BCE, though drawing on earlier traditions. (M.L. West, The Hasidic Catalogue of Women: Its Nature, Structure, and Origins, Oxford, 1985; Ludwig Koenen, “Greece, the Near East, and Egypt: Cyclic Destruction in Hesiod and the Catalogue of Women,” TAPA 124 (1994), pp. 1-34.)

It begins with an invocation to the Muses: “Sing now of the tribe of women … who unfasten their waistbands … in union with gods.” (R. Merkelbach and M.L. West, eds., Fragmenta Hesiodea (Oxford: Clarendon, 1967), pp. 3-4. Fragment I)

At the beginning of this account, gods and mortals mingled and feasted together, a proximity that led to their sexual unions.

The Catalogue seems to conclude with a fragment that describes the end of this era of divine-human intimacy. Zeus conceives a plan to send a great destruction–the Trojan War–to bring to an end the easy mingling of gods and humans.

“For at that time high-thundering Zeus was planning tremendous deeds, stirring up <quarrel> throughout the boundless earth. For now he was hastening to annihilate the greater part of the human race as a pretext to destroy the lives of the demigods.”

(Merckelbach-West, Fragmenta Hesiodea, 101-2).

It is not entirely clear what Zeus’ intentions are, since it is impossible (depending on some restorations in the following fragmentary lines) that he does not actually destroy the demigods but rather removes them to an idyllic existence in the Islands of the Blessed, as happens in Hesiod’s Works and Days. (H.G. Evelyn-White, Hesiod, the Homeric Hymns and Homerica (LCL: Cambridge, 1914), pp. 199-201.)

In any case, as L. Koenen observes, “he brings to an end the age of social and sexual intercourse between gods and mortal women.” (See Ludwig Koenen, “Greece, the Near East, and Egypt: Cyclic Destruction in Hesiod and the Catalogue of Women,” TAPA 124 (1994), p. 30).

This fragment, as scholars have noted, is remarkably similar to Genesis 6:1-4, particularly in the latter’s context as a prelude to the Flood story. (Ronald Hendel, “Of Demigods and the Deluge,” Journal of Biblical Literature, 1987, pp. 18-20) The Greek fragment includes the details of male gods having sex with human women, propagating a race of semi divine offspring, and the high god’s decision to send a great destruction.

In this case, Zeus’ decision to destroy “the greater part (pollen) of the human race” (or perhaps “the multitudinous human race”) is motivated by his desire to destroy (or remove) the race of mixed human-divine creatures, the demigods or heroes.

These are the great warriors who fight and die on both sides of the Trojan War. A separation between the human world and the divine world is established by Zeus’ plan, preventing the further sexual mingling of gods and humans and bringing to an end the age of heroes. (Ronald Hendel, “Of Demigods and the Deluge,” Journal of Biblical Literature, 1987, pp. 16-20).

R. Scodel has argued that the ideas in this fragment are in fact more suitable to a cosmic destruction than to the Trojan War:

“A war, no matter how long and how bitter, does not seem calamitous enough to have been an original form of the myth of destruction: it is, moreover, a normally human and local activity … It therefore seems likely that this aspect of the Trojan War is secondary, and that the theme has actually been borrowed from the Deluge.”

(Ruth Scodel, “The Achaean Wall and the Myth of Destruction,” HSCP 86, 1982, 42-3).

If it is plausible that this motive for the Trojan War (and there are others, including Zeus’ intent to reduce overpopulation, reminiscent of Enlil’s motive in Atrahasis) (See A.D. Kilmer, “The Mesopotamian Concept of Overpopulation and Its Solution as Reflected in the Mythology,” Or 41 (1972), p. 176) is related to Near Eastern traditions, in which Genesis 6:1-4 and the flood stories are mutually implicated.”

Ronald Hendel, “The Nephilim Were on the Earth: Genesis 6:1-4 and its Ancient Near Eastern Context,” in Christoph Auffarth and Loren T. Stuckenbruck, eds., The Fall of the Angels, Brill, 2004, pp. 30-2.

An Excerpt from The Fall of the Angels

“How did the story about the fall of the angels relate to biblical tradition? Why is it only hinted at there, and not incorporated into the canon in more complete form? Two general points may be offered in response to these questions.

First, the story presupposes, rather than lies behind, the Hebrew Bible and, thus, is to be regarded as a development, indeed interpretation, of what later came to be recognized as canonical. Second, the communities which produced the story did so by transforming the biblical tradition through the dual filters of apocalyptic dualism and their own social contexts.

These points have to be taken into account when considering how it was that “the day of the Lord” of the exilic and post-exilic prophets could be absorbed into the notion of a final apocalyptic battle in later early Jewish literature. Was this shift from prophetic to apocalyptic eschatology the result of an attempt to reject the foreign domination by Hellenistic rulers—such as the Ptolemies in Egypt and the Seleucids in Syria—in the wake of Alexander the Great’s conquests?

Or was this growing dualism a reflection of the breach between urban and rural culture? Or, by contrast, did the apocalyptic religious tradition re-present knowledge gleaned from the “foreign” sciences of its day as divine revelation, doing so long before the Greeks came on the scene?

There were yet other stories in the Ancient Near East that had been told long time and retold in the Greek world. Those stories were adapted to the current social situation and to the clash of civilizations. (sic).

The famous passage from Genesis 6:1-4 played a central role in the development of apocalyptic traditions. The biblical tradition itself is ambiguous; it conveys a story about ancient “heroes”, on the one hand, and the “sons of the gods”, on the other. What these figures have to do with the destruction brought about through the Great Flood in the following narrative (Genesis 6:5ff.) constitutes the first question to be examined in this volume.

The contribution by Ronald Hendel does so by exploring possible parallels to the biblical story in the Ancient Near East. One of the most significant traditions to throw light on the biblical account is shown to be the Atrahasis Epic. If read alongside this epic, the ruptures and ambiguities within the Genesis narrative, which involves the insertion of a polytheistic conflict between deities into a monotheistic narrative about God and creation, do not appear so conspicuous or unexpected.

This is further illustrated by the common motif that has the lower world flooded by the heavenly world in order to prevent the superhuman inhabitants of the lower world from becoming too powerful. The attempt by the gods above to destroy the younger and smaller ones reaches a truce in the form of a treaty or alliance. This is how Genesis chapters 6-9 may be comprehended as a complete narrative and, in addition, came to include the passage in 6:1-4.

A tradition about a revolt in a heavenly palace is preserved in the Babylonian Atrahasis Epic, also known through the Baal-Cycle from Ugarit and the Hethitic Kumarbi Epic, has also influenced Greek mythology which tells of the conflict between Zeus, on the one hand, and his tyrannical murderer-father and the Titans his helpers, on the other. In this volume, Jan Bremmer argues impressively that the “Titans” of the story are actually not destroyed. The fear of their possible return persists and remains an irrepressible potential and threat.

How astronomic observation, the interpretation of stars as deities living in a distant world, and scientific knowledge are coalesced into the traditional image of God is shown by Matthias Albani in his analysis of Isaiah 14.

The Fall of the Rebel Angels is an oil-on-panel by Flemish renaissance artist Pieter Bruegel the Elder, painted in 1562. It is currently held and exhibited at the Royal Museums of Fine Arts of Belgium in Brussels. Bruegel's depiction of this subject is taken from a passage from the Book of Revelation (12, 2-9) and reveals the artist's profound debt to Hieronymous Bosch, especially in the grotesque figures of the fallen angels, shown as half-human, half-animal monsters.  Together with Dulle Griet and The Triumph of Death, which have similar dimensions, it was probably painted for the same collector and destined to become part of a series.

The Fall of the Rebel Angels is an oil-on-panel by Flemish renaissance artist Pieter Bruegel the Elder, painted in 1562. It is currently held and exhibited at the Royal Museums of Fine Arts of Belgium in Brussels.
Bruegel’s depiction of this subject is taken from a passage from the Book of Revelation (12, 2-9) and reveals the artist’s profound debt to Hieronymous Bosch, especially in the grotesque figures of the fallen angels, shown as half-human, half-animal monsters.
Together with Dulle Griet and The Triumph of Death, which have similar dimensions, it was probably painted for the same collector and destined to become part of a series.

For Albani, the myth of the morning star that rises at night only to be driven away and dissolved by the light of the sun is discernible in a story about the power of God who, though rivaled by the smaller stars, is never surpassed by them.

The fact that the Isaiah account may be dated to the exilic period—and so is similar to expulsion of the throne pretender mentioned in Ezekiel 28—strengthens the likelihood that it functioned as a story of consolation. The image of the rise and fall of Helel was later translated into “Lucifer” in Latin tradition. The interpretation is depicted in Figure No. 2.

No direct line can be drawn from the Isaiah narrative to the Enochic apocalyptic literature and its Gnostic adaptation. The apocalyptic and cosmological dualisms of the latter fundamentally changed the religious tradition into something cosmic, super-historical, and superhuman.”

Christoph Auffarth & Loren T. Stuckenbruck, eds., “The Centre for Power for Evil: Its Origins and Development,” in The Fall of the Angels, Brill, 2004.

Barbarian Wisdom and Berossus

“Tiamat’s monsters were characterised by a mixture of animal and human features. If my reconstruction is broadly correct, Berossos filled the void left by their demise with separate creation accounts for each of these categories of being.

The Enūma Eliš has nothing to say about the creation of animals, but does describe human creation in some detail. Berossos agrees broadly with its account of human creation, though some details differ.

Above all, Berossos claims that Bel used his own blood to create mankind whereas in the epic Marduk uses that of another god. Berossos may or may not have found this version of events in now lost Mesopotamian texts, but the question remains why he introduced it here, against the pull of his main source.

The answer, one suspects, was once again that he was keen to cater for the tastes of his Greek readers. In Enūma Eliš, as in other Mesopotamian texts, mankind descends from a rebel against the emerging order of the universe.

Among other things, that explains why we must shoulder the gods’ work and lead a life of misery. In Berossos, this typically Babylonian view of human life is developed into one that would have spoken to educated Greeks: the blood that flows in our veins is not after all that of a devil but of Zeus no less: and so it is that we are endowed with νους (‘intelligence’), and divine φρόνησις (‘understanding’).

De Breucker points out that Berossos is here elaborating on an idea which he found in the Babylonian Poem of the Flood or Atrahasis, where the god (W)ē, ‘who has intelligence’ (Akkadian tēmu) is slaughtered to create man.

This is an interesting detail, for it shows that Berossos creatively combined diverse Babylonian sources. But he did more than merely cut and paste what he found: in the Babyloniaca the ruling god himself gives of his intel­ligence.

One last time, the preferred version of the story seems chosen for its resonances with Greek, and more specifically Stoic, thought. The Stoic god is himself νους, or νοερός. The same must be true of Bel in Berossos, for as recipients of his blood we too are νοεροί.

Indeed, we are also endowed with divine understanding, φρόνησις. In allegorical terms, Athena is φρόνησις, sprung from the head of Zeus, which may explain why decapitation becomes an issue in Berossos whereas it plays no role in Enūma Eliš or Atrahasis: the story which describes Zeus giving birth to Athena / Phronesis from his head was much-discussed in Stoic circles from Greece to Babylon itself. Berossos, it would seem, alludes to it here.

There is much in the Babyloniaca that will remain forever lost to us. The extant fragments are scanty, and often do not allow us to reconstruct with certainty what Berossos wrote, or even what he intended. That is a fact which must be accepted.

But I also hope to have shown that progress can be made; and that, through careful and sympathetic reading, we can often gain a fairly good sense of what Berossos was trying to achieve. I have argued that Book 1 of the Babyloniaca was in many ways Berossos’ signature piece. It is here that he establishes his credentials as a conveyor of barbarian wisdom, one of the few subject positions that were available to a non-Greek wishing to address a Greek audience.

Already Aristotle thought that the Chaldaeans were among those who invented philosophy, so for once Berossos had a positive stereotype with which to work. He embraced the project with gusto, conjuring up the super-sage Oannes, who was equally at home in water and darkness as in daylight and air (who better to describe how these principles coalesced to form the cosmos?); and putting in the mouth of this creature a cosmogonic myth that could literally not have been more ancient: after all, Oannes appears in year one of human history.



Yet, ancient as it is, Oanneslogos becomes philosophically fresh when read through Berossos’ rationalising lens. What is on display here is both age-old barbarian wisdom and cutting-edge Greek philosophy, or rather, a pretence to cutting-edge philosophy.

Stoic el­ements are predominant, partly because Stoicism was the best-selling brand of philosophy at the time, and partly, one suspects, because it lent itself to the project of educating a king. But Berossos does far more than simply default to the Stoa. He shows that he can do Empedocles too. Above all, he throws in outrageous intellectual feats of his own, none more outrageous than his numerical equation of Omorka / Tiamat with Selene, the moon (BNJ 680 F lb (6)).

This too has sometimes been branded an interpolation, but it strikes me as quintessential Berossos, precisely the kind of thing this author would do. Book 1 of the Babyloniaca was his opportunity to shine, and he made sure he took it. Abydenos was right to summarises the contents of the book as ‘the wisdom of the Chaldaeans’ (BNJ 685 F2b). That is surely how Berossos intended it.”

Johannes Haubold, “The Wisdom of the Chaldaeans: Reading Berossos, Babyloniaca Book 1,” from Johannes Haubold, Giovanni B. Lanfranchi, Robert Rollinger, John Steele (eds.), The World of Berossos, Proceedings of the 4th International Colloquium on the Ancient Near East Between Classical and Ancient Oriental Traditions, Harrassowitz Verlag, Wiesbaden, 2013, pp. 41-3.

Herodotus on E-Sagila

“181. This wall then which I have mentioned is as it were a cuirass for the town, and another wall runs round within it, not much weaker for defence than the first but enclosing a smaller space.

And in each division of the city was a building in the midst, in the one the king’s palace of great extent and strongly fortified round, and in the other the temple of Zeus Belos with bronze gates, and this exists still up to my time and measures two furlongs each way, being of a square shape: and in the midst of the temple is built a solid tower measuring a furlong both in length and in breadth, and on this tower another tower has been erected, and another again upon this, and so on up to the number of eight towers.

An ascent to these has been built running outside round about all the towers; and when one reaches about the middle of the ascent one finds a stopping-place and seats to rest upon, on which those who ascend sit down and rest: and on the top of the last tower there is a large cell, and in the cell a large couch is laid, well covered, and by it is placed a golden table: and there is no image there set up nor does any human being spend the night there except only one woman of the natives of the place, whomsoever the god shall choose from all the woman, as say the Chaldeans who are the priests of this god.

182. These same men say also, but I do not believe them, that the god himself comes often to the cell and rests upon the couch, as happens likewise in the Egyptian Thebes according to the report of the Egyptians, for there also a woman sleeps in the temple of the Theban Zeus (and both these women are said to abstain from commerce with men), and as happens also with the prophetess of the god in Patara of Lykia, whenever there is one, for there is not always an Oracle there, but whenever there is one, then she is shut up during the nights in the temple within the cell.

183. There is moreover in the temple at Babylon another cell below, wherein is a great image of Zeus sitting, made of gold, and by it is placed a large table of gold, and his footstool and seat are of gold also; and, as the Chaldeans reported, the weight of the gold of which these things are made is eight hundred talents.

Outside this cell is an altar of gold; and there is also another altar of great size, where full-grown animals are sacrificed, whereas on the golden altar it is not lawful to sacrifice any but young sucklings only: and also on the larger altar the Chaldeans offer one thousand talents of frankincense every year at the time when they celebrate the feast in honour of this god.

There was moreover in these precincts still remaining at the time of Cyrus, a statue twelve cubits high, of gold and solid. This I did not myself see, but that which is related by the Chaldeans I relate. Against this statue Dareios the son of Hystaspes formed a design, but he did not venture to take it: it was taken however by Xerxes the son of Dareios, who also killed the priest when he forbade him to meddle with the statue. This temple, then, is thus adorned with magnificence, and there are also many private votive-offerings.”

G.C. Macaulay, trans., The History of Herodotus, 1890, pp. Book 1, Clio, 180.

Tammuz and Ishtar, Adonis and Aphrodite, Attis and Cybele, Isis and Osiris

As has been indicated already, the myth of Tammuz and Ishtar furnished the groundwork for certain myths of classic Greece and Rome.

The Phoenician Astarte (Ashtoreth), a development of Ishtar, became in time the Aphrodite of the Greeks, a deity who plays a part in the Adonis legend analogous to that of Ishtar in the Tammuz story. The name Adonis itself is derived from Adoni (‘my lord’), the word with which the Phoenician worshippers of Tammuz hailed the setting sun.

The myth of Adonis is perhaps the most nearly related of any to that of Tammuz, since its chief characters are acknowledged counterparts of those in the Babylonian legend, while the tale of Ishtar’s descent into Hades may be regarded as a sequel to the Greek story, or rather to an early Babylonian variant thereof.

Briefly outlined, the story runs as follows: Adonis was the fruit of an unnatural union between the Syrian king Theias and his daughter Smyrna (Myrrha). Theias pursued the princess, intending to take her life for the crime, but the pity of the gods turned her into a tree from which, at the end of ten months, Adonis was born. It is said that a boar rent open the tree-trunk with its tusk, and thus enabled the divine infant to see the light.

Aphrodite, charmed with the beauty of the child, gave him into the care of Persephone, who was so enamoured of her charge that she afterwards refused to give him up. The goddesses appealed to Zeus, who decreed that Adonis should spend six months of each year with Aphrodite and six with Persephone in the underworld; or, according to another version, four months were to be passed with Aphrodite and four with Persephone, while the remaining four were to be at his own disposal.

He was afterwards slain by a boar sent against him by Artemis (herself, by the way, a development of Ishtar). It may be remarked that Aphrodite, who figures, like Ishtar, as the goddess of love and beauty, is also closely associated with the nether regions, perhaps because she was identified with the Babylonian goddess in her journey to Hades in search of her spouse.

Akin to Adonis is the god Attis, who likewise, according to one version of his myth, is slain by a boar. After his death he becomes a pine-tree, and from his blood violets spring. He is beloved of Cybele, the mother-goddess, who laments his untimely end.

In the Adonis legend there is evidence of some overlapping. Persephone, or Proserpine, who here corresponds to the Allatu of the Babylonian variant, figures in another well-known myth as the prototype of Tammuz. When she is carried off to the nether-world by Pluto, her mother, Ceres, will not suffer the corn to grow while her daughter remains a prisoner. Like Ishtar in search of her spouse, the mother-goddess seeks her child with weeping and lamentation. Through the eating of a pomegranate seed, Proserpine is finally obliged to pass four (or six) months of every year with her dark captor, as his consort.

Another myth which has affinities with the tale of Tammuz and Ishtar is the Egyptian one which deals with the quest of Isis. The god Osiris is slain through the machinations of his brother Set (who, being identified elsewhere with a black hog, recalls the boar which slew Adonis and Attis), and his body, enclosed in a chest, is cast into the Nile.

Afterwards the chest is thrown up by the waves, and round it springs miraculously a tamarisk tree. Meanwhile Isis, wife and sister to Osiris, travels hither and thither in search of his remains, which in due time she finds. However, the chest is stolen from her by Set, who, taking therefrom the body of Osiris, tears the corpse into fourteen pieces, which he scatters through the land. Isis still pursues her quest, till she has found all the portions and buried them.

These tales were the mythical correlates of certain ritualistic practices designed to bring about the change of seasons, and other natural phenomena, by means of sympathetic magic. The burden of a great duty falls upon the shoulders of primitive man; with his rites and spells and magic arts he must assist the universe in its course.

His esoteric plays, typifying the mysterious fact of growth, are necessary to ensure the sprouting of the corn; his charms and incantations are essential even for the rising of the sun; lacking the guarantee of science that one season shall follow another in its proper order, he goes through an elaborate performance symbolizing the decay and revival of vegetation, believing that only thus can the natural order be maintained. Through the force of sympathetic magic he sees his puny efforts related to the mighty results which follow them.

This, then, is the origin of the ritual of the Tammuz festival, which may conceivably have had an existence prior to that of the myth itself. The representation of the death and resurrection of the god, whether in myth or ritual, had undoubtedly a seasonal significance, wherefore the date of his festival varied in the different localities.

In Babylonia it was celebrated in June, thus showing that the deity was slain by the fierce heat of the sun, burning up all the springtide vegetation. Ishtar’s sojourn in Hades would thus occupy the arid months of summer.

In other and more temperate climes winter would be regarded as the enemy of Tammuz. An interesting account of the Tammuz festival is that given by an Arabic author writing in the tenth century, and quoted by Sir James Frazer in his Golden Bough.

Tammuz (July). In the middle of this month is the festival of el-Būgāt, that is, of the weeping women, and this is the Ta-uz festival, which is celebrated in honour of the god Ta-uz. The women bewail him, because his lord slew him so cruelly, ground his bones in a mill, and then scattered them to the wind. The women (during this festival) eat nothing which has been ground in a mill, but limit their diet to steeped wheat, sweet vetches, dates, raisins, and the like.”

The material for this description was furnished by the Syrians of Harran. Of the curious legend attaching to the mourning rites more will be said later.”

Lewis Spence, Myths and Legends of Babylonia and Assyria, 1917, pp. 131-5.

The Myth of Tammuz, or Adonis

“The date of the rise of the myth of Tammuz is uncertain, but as the name of this god is found on tablets of the time of Lugal-anda and Uru-ka-gina (about 3500 B.C.), it can hardly be of later date than 4000 B.C., and may be much earlier.

As he is repeatedly called “the shepherd,” and had a domain where he pastured his flock, Professor Sayce sees in Tammuz “Daonus or Daos, the shepherd of Pantibibla,” who, according to Berosus, ruled in Babylonia for 10 /sari/, or 36,000 years, and was the sixth king of the mythical period.

According to the classic story, the mother of Tammuz had unnatural intercourse with her own father, being urged thereto by Aphrodite whom she had offended, and who had decided thus to avenge herself.

Being pursued by her father, who wished to kill her for this crime, she prayed to the gods, and was turned into a tree, from whose trunk Adonis was afterwards born.

Aphrodite was so charmed with the infant that, placing him in a chest, she gave him into the care of Persephone, who, however, when she discovered what a treasure she had in her keeping, refused to part with him again.

Zeus was appealed to, and decided that for four months in the year Adonis should be left to himself, four should be spent with Aphrodite, and four with Persephone; or, as a variant account makes it, he should spend six months with Persephone, and six with Aphrodite on earth. He was afterwards slain, whilst hunting, by a wild boar.

Nothing has come down to us as yet concerning this legend except the incident of his dwelling in Hades, whither Ištar, the Babylonian Venus, went in search of him.

It is not by any means unlikely, however, that the whole story existed in Babylonia, and thence spread to Phœnicia, and afterwards to Greece. In Phœnicia it was adapted to the physical conditions of the country, and the place of Tammuz’s encounter with the boar was said to be the mountains of Lebanon, whilst the river named after him, Adonis (now the Nahr Ibrahim), which ran red with the earth washed down by the autumn rains, was said to be so coloured in consequence of being mingled with his blood.

The descent of Tammuz to the underworld, typified by the flowing down of the earth-laden waters of the rivers to the sea, was not only celebrated by the Phœnicians, but also by the Babylonians, who had at least two series of lamentations which were used on this occasion, and were probably the originals of those chanted by the Hebrew women in the time of Ezekiel (about 597 B.C.).”

Theophilus G. Pinches, The Religion of Babylonia and Assyria, London, 1906, pp. 69-70.

Comparative Deluge Myths

Flood myths are found in many mythologies both in the Old World and the New.

The violent and deceitful men of the mythical Bronze Age of Greece were destroyed by a flood. It is related that Zeus said on one occasion to Hermes:

“I will send a great rain, such as hath not been since the making of the world, and the whole race of men shall perish.

I am weary of their iniquity.”

For receiving with hospitable warmth these two gods in human guise, Deucalion, an old man, and his wife Pyrrha were spared, however. Zeus instructed his host to build an ark of oak, and store it well with food. When this was done, the couple entered the vessel and shut the door. Then Zeus “broke up all the fountains of the deep, and opened the well springs of heaven, and it rained for forty days and forty nights continually.”

The Bronze folk perished: not even those who fled to the hilltops could escape. The ark rested on Parnassus, and when the waters ebbed the old couple descended the mountain and took up their abode in a cave.

In Indian mythology the world is destroyed by a flood at the end of each Age of the Universe. There are four ages: the Krita or Perfect Age, the Treta Age, the Dwapara Age, and the Kali or Wicked Age. These correspond closely to the Greek and Celtic ages.

There are also references in Sanskrit literature to the destruction of the world because too many human beings lived upon it.

“When the increase of population had been so frightful,” a sage related, “the Earth, oppressed with the excessive burden, sank down for a hundred Yojanas. Suffering pain in all her limbs, and being deprived of her senses by excessive pressure, the Earth in distress sought the protection of Narayana, the foremost of the gods.”

Manu’s account of the flood has been already referred to (Chapter II). The god in fish shape informed him:

“The time is ripe for purging the world…. Build a strong and massive ark, and furnish it with a long rope….”

When the waters rose the horned fish towed the ark over the roaring sea, until it grounded on the highest peak of the Himavat, which is still called Naubandha (the harbour). Manu was accompanied by seven rishis.

In the Celtic (Irish) account of the flood, Cessair, granddaughter of Noah, was refused a chamber for herself in the ark, and fled to the western borders of the world as advised by her idol. Her fleet consisted of three ships, but two foundered before Ireland was reached. The survivors in addition to Cessair were, her father Bith, two other men, Fintan and Ladru, and fifty women.

All of these perished on the hills except Fintan, who slept on the crest of a great billow, and lived to see Partholon, the giant, arriving from Greece.

There is a deluge also in Egyptian mythology. When Ra, the sun god, grew old as an earthly king, men began to mutter words against him. He called the gods together and said: “I will not slay them (his subjects) until I have heard what ye say concerning them.”

Nu, his father, who was the god of primeval waters, advised the wholesale destruction of mankind.

Said Ra: “Behold men flee unto the hills; their heart is full of fear because of that which they said.”

The goddess Hathor-Sekhet, the Eye of Ra, then went forth and slew mankind on the hills. Thereafter Ra, desiring to protect the remnant of humanity, caused a great offering to be made to the goddess, consisting of corn beer mixed with herbs and human blood. This drink was poured out during the night.

“And the goddess came in the morning; she found the fields inundated, she rejoiced thereat, she drank thereof, her heart was rejoiced, she went about drunken and took no more cognizance of men.”

Donald A. Mackenzie, Myths of Babylonia and Assyria, 1915.

The Attis Cult and the Baptism of Blood

“Tammuz died with the dying vegetation, and Diarmid expired when the hills apparently were assuming their purple tints. The month of Tammuz wailings was from 20th June till 20th July, when the heat and dryness brought forth the demons of pestilence. The mourners chanted:

He has gone, he has gone to the bosom of the earth,

And the dead are numerous in the land….

Men are filled with sorrow: they stagger by day in gloom …

In the month of thy year which brings not peace hast thou gone.

Thou hast gone on a journey that makes an end of thy people.

The following extract contains a reference to the slaying of the god:

The holy one of Ishtar, in the middle of the year the fields languish…

The shepherd, the wise one, the man of sorrows, why have they slain?…

In his temple, in his inhabited domain,

The child, lord of knowledge, abides no more…

In the meadows, verily, verily, the soul of life perishes.

There is wailing for Tammuz “at the sacred cedar, where the mother bore thee,” a reference which connects the god, like Adonis and Osiris, with tree worship:

The wailing is for the herbs: the first lament is, “they are not produced.”

The wailing is for the grain, ears are not produced.

The wailing is for the habitations, for the flocks which bring forth no more.

The wailing is for the perishing wedded ones; for the perishing children; the dark-headed people create no more.

The wailing is also for the shrunken river, the parched meadows, the fish pools, the cane brakes, the forests, the plains, the gardens, and the palace, which all suffer because the god of fertility has departed. The mourner cries:

How long shall the springing of verdure be restrained?

How long shall the putting forth of leaves be held back?

Whither went Tammuz? His destination has already been referred to as “the bosom of the earth,” and in the Assyrian version of the “Descent of Ishtar” he dwells in “the house of darkness” among the dead, “where dust is their nourishment and their food mud,” and “the light is never seen”–the gloomy Babylonian Hades.

In one of the Sumerian hymns, however, it is stated that Tammuz “upon the flood was cast out.” The reference may be to the submarine “house of Ea,” or the Blessed Island to which the Babylonian Noah was carried. In this Hades bloomed the nether “garden of Adonis.”

The following extract refers to the garden of Damu (Tammuz):–

Damu his youth therein slumbers …

Among the garden flowers he slumbers; among the garden flowers he is cast away …

Among the tamarisks he slumbers, with woe he causes us to be satiated.

Although Tammuz of the hymns was slain, he returned again from Hades. Apparently he came back as a child. He is wailed for as “child, Lord Gishzida,” as well as “my hero Damu.”

In his lunar character the Egyptian Osiris appeared each month as “the child surpassingly beautiful;” the Osiris bull was also a child of the moon; “it was begotten”, says Plutarch, “by a ray of generative light falling from the moon.”

When the bull of Attis was sacrificed his worshippers were drenched with its blood, and were afterwards ceremonially fed with milk, as they were supposed to have “renewed their youth” and become children.

The ancient Greek god Eros (Cupid) was represented as a wanton boy or handsome youth. Another god of fertility, the Irish Angus, who resembles Eros, is called “the ever young;” he slumbers like Tammuz and awakes in the Spring.

Apparently it was believed that the child god, Tammuz, returned from the earlier Sumerian Paradise of the Deep, and grew into full manhood in a comparatively brief period, like Vyasa and other super-men of Indian mythology. A couplet from a Tammuz hymn says tersely:

In his infancy in a sunken boat he lay.

In his manhood in the submerged grain he lay.

The “boat” may be the “chest” in which Adonis was concealed by Aphrodite when she confided him to the care of Persephone, queen of Hades, who desired to retain the young god, but was compelled by Zeus to send him back to the goddess of love and vegetation.

The fact that Ishtar descended to Hades in quest of Tammuz may perhaps explain the symbolic references in hymns to mother goddesses being in sunken boats also when their powers were in abeyance, as were those of the god for part of each year.

It is possible, too, that the boat had a lunar and a solar significance. Khonsu, the Egyptian moon god, for instance, was associated with the Spring sun, being a deity of fertility and therefore a corn spirit; he was a form of Osiris, the Patriarch, who sojourned on earth to teach mankind how to grow corn and cultivate fruit trees.

In the Egyptian legend Osiris received the corn seeds from Isis, which suggests that among Great-Mother-worshipping peoples, it was believed that agricultural civilization had a female origin.

The same myths may have been attached to corn gods and corn goddesses, associated with water, sun, moon, and stars.”

Donald A. Mackenzie, Myths of Babylonia and Assyria, 1915.

Tammuz, Attis, Osiris, Adonis, Diarmid Derive from a More Ancient God of Fertility

“The Babylonian myth of Tammuz, the dying god, bears a close resemblance to the Greek myth of Adonis. It also links with the myth of Osiris. According to Professor Sayce, Tammuz is identical with “Daonus or Daos, the shepherd of Pantibibla,” referred to by Berosus as the ruler of one of the mythical ages of Babylonia. We have therefore to deal with Tammuz in his twofold character as a patriarch and a god of fertility.

The Adonis version of the myth may be summarized briefly. Ere the god was born, his mother, who was pursued by her angry sire, as the river goddesses of the folk tales are pursued by the well demons, transformed herself into a tree.

Adonis sprang from the trunk of this tree, and Aphrodite, having placed the child in a chest, committed him to the care of Persephone, queen of Hades, who resembles the Babylonian Eresh-ki-gal. Persephone desired to retain the young god, and Aphrodite (Ishtar) appealed to Zeus (Anu), who decreed that Adonis should spend part of the year with one goddess and part of the year with the other.

It is suggested that the myth of Adonis was derived in post-Homeric times by the Greeks indirectly from Babylonia through the Western Semites, the Semitic title “Adon,” meaning “lord,” having been mistaken for a proper name. This theory, however, cannot be accepted without qualifications.

It does not explain the existence of either the Phrygian myth of Attis, which was developed differently from the Tammuz myth, or the Celtic story of “Diarmid and the boar,” which belongs to the archaeological “Hunting Period.”

There are traces in Greek mythology of pre-Hellenic myths about dying harvest deities, like Hyakinthos and Erigone, for instance, who appear to have been mourned for. There is every possibility, therefore, that the Tammuz ritual may have been attached to a harvest god of the pre-Hellenic Greeks, who received at the same time the new name of Adonis.

Osiris of Egypt resembles Tammuz, but his Mesopotamian origin has not been proved. It would appear probable that Tammuz, Attis, Osiris, and the deities represented by Adonis and Diarmid were all developed from an archaic god of fertility and vegetation, the central figure of a myth which was not only as ancient as the knowledge and practice of agriculture, but had existence even in the “Hunting Period.”

Traces of the Tammuz-Osiris story in various forms are found all over the area occupied by the Mediterranean or Brown race from Sumeria to the British Isles. Apparently the original myth was connected with tree and water worship and the worship of animals.

Adonis sprang from a tree; the body of Osiris was concealed in a tree which grew round the sea-drifted chest in which he was concealed. Diarmid concealed himself in a tree when pursued by Finn.

The blood of Tammuz, Osiris, and Adonis reddened the swollen rivers which fertilized the soil. Various animals were associated with the harvest god, who appears to have been manifested from time to time in different forms, for his spirit pervaded all nature. In Egypt the soul of Osiris entered the Apis bull or the ram of Mendes.

Tammuz in the hymns is called “the pre-eminent steer of heaven,” and a popular sacrifice was “a white kid of the god Tammuz,” which, however, might be substituted by a sucking pig. Osiris had also associations with swine, and the Egyptians, according to Herodotus, sacrificed a pig to him annually.

When Set at full moon hunted the boar in the Delta marshes, he probably hunted the boar form of Osiris, whose human body had been recovered from the sacred tree by Isis.

As the soul of Bata, the hero of the Egyptian folk tale, migrated from the blossom to the bull, and the bull to the tree, so apparently did the soul of Osiris pass from incarnation to incarnation. Set, the demon slayer of the harvest god, had also a boar form; he was the black pig who devoured the waning moon and blinded the Eye of Ra.

In his character as a long-lived patriarch, Tammuz, the King Daonus or Daos of Berosus, reigned in Babylonia for 36,000 years. When he died, he departed to Hades or the Abyss. Osiris, after reigning over the Egyptians, became Judge of the Dead.”

Donald A. Mackenzie, Myths of Babylonia and Assyria, 1915.

Osiris, Tammuz, Adonis, Attis

“Under the names of Osiris, Tammuz, Adonis, and Attis, the peoples of Egypt and Western Asia represented the yearly decay and revival of life, especially of vegetable life, which they personified as a god who annually died and rose again from the dead. In name and detail the rites varied from place to place: in substance they were the same. The supposed death and resurrection of this oriental deity, a god of many names but of essentially one nature, is now to be examined. We begin with Tammuz or Adonis.

The worship of Adonis was practised by the Semitic peoples of Babylonia and Syria, and the Greeks borrowed it from them as early as the seventh century before Christ. The true name of the deity was Tammuz: the appellation of Adonis is merely the Semitic Adon, “lord,” a title of honour by which his worshippers addressed him. But the Greeks through a misunderstanding converted the title of honour into a proper name.

In the religious literature of Babylonia Tammuz appears as the youthful spouse or lover of Ishtar, the great mother goddess, the embodiment of the reproductive energies of nature. The references to their connexion with each other in myth and ritual are both fragmentary and obscure, but we gather from them that every year Tammuz was believed to die, passing away from the cheerful earth to the gloomy subterranean world, and that every year his divine mistress journeyed in quest of him “to the land from which there is no returning, to the house of darkness, where dust lies on door and bolt.”

During her absence the passion of love ceased to operate: men and beasts alike forgot to reproduce their kinds: all life was threatened with extinction. So intimately bound up with the goddess were the sexual functions of the whole animal kingdom that without her presence they could not be discharged.

A messenger of the great god Ea was accordingly despatched to rescue the goddess on whom so much depended. The stern queen of the infernal regions, Allatu or Eresh-Kigal by name, reluctantly allowed Ishtar to be sprinkled with the Water of Life and to depart, in company probably with her lover Tammuz, that the two might return together to the upper world, and that with their return all nature might revive.

[ … ]

The tragical story and the melancholy rites of Adonis are better known to us from the descriptions of Greek writers than from the fragments of Babylonian literature or the brief reference of the prophet Ezekiel, who saw the women of Jerusalem weeping for Tammuz at the north gate of the temple.

Mirrored in the glass of Greek mythology, the oriental deity appears as a comely youth beloved by Aphrodite. In his infancy the goddess hid him in a chest, which she gave in charge to Persephone, queen of the nether world. But when Persephone opened the chest and beheld the beauty of the babe, she refused to give him back to Aphrodite, though the goddess of love went down herself to hell to ransom her dear one from the power of the grave.

The dispute between the two goddesses of love and death was settled by Zeus, who decreed that Adonis should abide with Persephone in the under world for one part of the year, and with Aphrodite in the upper world for another part.

At last the fair youth was killed in hunting by a wild boar, or by the jealous Ares, who turned himself into the likeness of a boar in order to compass the death of his rival. Bitterly did Aphrodite lament her loved and lost Adonis.

In this form of the myth, the contest between Aphrodite and Persephone for the possession of Adonis clearly reflects the struggle between Ishtar and Allatu in the land of the dead, while the decision of Zeus that Adonis is to spend one part of the year under ground and another part above ground is merely a Greek version of the annual disappearance and reappearance of Tammuz.”

James George Frazer, The Golden Bough: A Study in Magic and Religion, 1922, The Myth of Adonis, np.

Rituals of Human Sacrifice and Moloch

” … Without being unduly rash we may surmise that the tribute of seven youths and seven maidens whom the Athenians were bound to send to Minos every eight years had some connexion with the renewal of the king’s power for another octennial cycle.

Traditions varied as to the fate which awaited the lads and damsels on their arrival in Crete; but the common view appears to have been that they were shut up in the labyrinth, there to be devoured by the Minotaur, or at least to be imprisoned for life.

Perhaps they were sacrificed by being roasted alive in a bronze image of a bull, or of a bull-headed man, in order to renew the strength of the king and of the sun, whom he personated. This at all events is suggested by the legend of Talos, a bronze man who clutched people to his breast and leaped with them into the fire, so that they were roasted alive. He is said to have been given by Zeus to Europa, or by Hephaestus to Minos, to guard the island of Crete, which he patrolled thrice daily. According to one account he was a bull, according to another he was the sun.

Probably he was identical with the Minotaur, and stripped of his mythical features was nothing but a bronze image of the sun represented as a man with a bull’s head. In order to renew the solar fires, human victims may have been sacrificed to the idol by being roasted in its hollow body or placed on its sloping hands and allowed to roll into a pit of fire. It was in the latter fashion that the Carthaginians sacrificed their offspring to Moloch.

The children were laid on the hands of a calf-headed image of bronze, from which they slid into a fiery oven, while the people danced to the music of flutes and timbrels to drown the shrieks of the burning victims. The resemblance which the Cretan traditions bear to the Carthaginian practice suggests that the worship associated with the names of Minos and the Minotaur may have been powerfully influenced by that of a Semitic Baal.

In the tradition of Phalaris, tyrant of Agrigentum, and his brazen bull we may have an echo of similar rites in Sicily, where the Carthaginian power struck deep roots.”

James George Frazer, The Golden Bough: A Study in Magic and Religion, 1922, The Killing of the Divine King, np.

Mortality of the Gods

“The grave of Zeus, the great god of Greece, was shown to visitors in Crete as late as about the beginning of our era. The body of Dionysus was buried at Delphi beside the golden statue of Apollo, and his tomb bore the inscription, “Here lies Dionysus dead, the son of Semele.”

According to one account, Apollo himself was buried at Delphi; for Pythagoras is said to have carved an inscription on his tomb, setting forth how the god had been killed by the python and buried under the tripod.

The great gods of Egypt themselves were not exempt from the common lot. They too grew old and died. But when at a later time the discovery of the art of embalming gave a new lease of life to the souls of the dead by preserving their bodies for an indefinite time from corruption, the deities were permitted to share the benefit of an invention which held out to gods as well as to men a reasonable hope of immortality.

Every province then had the tomb and mummy of its dead god. The mummy of Osiris was to be seen at Mendes; Thinis boasted of the mummy of Anhouri; and Heliopolis rejoiced in the possession of that of Toumou.

The high gods of Babylon also, though they appeared to their worshippers only in dreams and visions, were conceived to be human in their bodily shape, human in their passions, and human in their fate; for like men they were born into the world, and like men they loved and fought and died.”

James George Frazer, The Golden Bough: A Study in Magic and Religion, 1922, The Mortality of the Gods, np.

What was the Third Image?

” … In this shrine are placed the statues, one of which is Hera, the other Zeus, though they call him by another name. Both of these are golden, both are sitting; Hera is supported by lions, Zeus is sitting on bulls. The effigy of Zeus recalls Zeus in all its details—his head, his robes, his throne; nor even if you wished it could you take him for another deity. 43

Hera, however, as you look at her will recall to you a variety of forms. Speaking generally she is undoubtedly Hera, but she has something of the attributes of Athene, and of Aphrodite, and of Selene, and of Rhea, and of Artemis, and of Nemesis, and of The Fates.

In one of her hands she holds a sceptre, in the other a distaff; on her head she bears rays and a tower and she has a girdle wherewith they adorn none but Aphrodite of the sky. 44 And without she is gilt with gold, and gems of great price adorn her, some white, some sea-green, others wine-dark, others flashing like fire. Besides these there are many onyxes from Sardinia and the jacinth and emeralds, the offerings of the Egyptians and of the Indians, Ethiopians, Medes, Armenians, and Babylonians.

But the greatest wonder of all I will proceed to tell: she bears a gem on her head called a Lychnis; it takes its name from its attribute. From this stone flashes a great light in the night-time, so that the whole temple gleams brightly as by the light of myriads of candles, but in the day-time the brightness grows faint; the gem has the likeness of a bright fire. There is also another marvel in this image: if you stand over against it, it looks you in the face, and as you pass it the gaze still follows you, and if another approaching from a different quarter looks at it, he is similarly affected.

Between the two there stands another image of gold, no part of it resembling the others. This possesses no special form of its own, but recalls the characteristics of other gods. The Assyrians themselves speak of it as a symbol, but they have assigned to it no definite name. They have nothing to tell us about its origin, nor its form: some refer it to Dionysus; others to Deukalion; others to Semiramis; for its summit is crowned by a golden pigeon, 45 and this is why they allege that it is the effigy of Semiramis. It is taken down to the sea twice in every year to bring up the water of which I have spoken. 46

In the body of the temple, as you enter, there stands on the left hand side, a throne for the Sun god; but there is no image upon it, for the effigies of the Sun and Moon are not exhibited. I have learnt, however, the reasons of this practice. They say that religion does not forbid making effigies of the other deities, for the outward form of these deities is known to all; but the Sun and Moon are plain for all to see, and all men behold them. What boots it, therefore, to make effigies of those deities who offer themselves for all to gaze on?”

Herbert A. Strong and John Garstang, trans., The Syrian Goddess, by Lucian, 1913, pp. 70-4.

Deukalion and the Deluge

” … The people, then, allege that it was Deukalion or Sisythus who founded the temple; I mean the Deukalion in whose time the great flood occurred.

I have heard the story about Deukalion as the Greeks narrate it from the Greeks themselves. The story runs as follows: The present race of men was not the first to be created. The first generation perished to a man; the present is a second creation.

This generation became a vast multitude, owing to Deukalion. Of the men of the original creation they tell this tale: they were rebellious, and wilful, and performed unholy deeds, disregarding the sanctity of oaths and hospitality, and behaving cruelly to suppliants; and it was for these misdeeds that the great destruction fell upon them.

Straightway the earth discharged a vast volume of water, and the rivers of heaven came down in streams and the sea mounted high. Thus everything became water, and all men perished; Deukalion alone was saved for another generation, on the score of his wisdom and piety.

The manner of his salvation was as follows: He placed his children and his wives in an ark of vast size, and he himself also entered in. Now, when he had embarked, there came to him wild boars and horses, and generations of lions and serpents, and all the other beasts which roam the earth, all in couples. He welcomed them all. Nor did they harm him; and friendship remained amongst them as Zeus himself ordained. These, one and all, floated in this ark as long as the flood remained. This is the legend of Deukalion as told by the Greeks.” 22

Herbert A. Strong and John Garstang, trans., The Syrian Goddess, by Lucian, 1913, pp. 50-1.

The Mystery of the Third Gate

” … But what is of special interest to us is the treatment meted out to the Christian Mystics, whom Hippolytus stigmatizes as heretics, and whose teaching he deliberately asserts to be simply that of the Pagan Mysteries.

He had come into possession of a secret document belonging to one of these sects, whom he calls the Naassenes; this document he gives in full, and it certainly throws a most extraordinary light upon the relation which this early Christian sect held to exist between the New, and the Old, Faith.

Mr G. R. S. Mead, in his translation of the Hermetic writings entitled Thrice-Greatest Hermes, has given a careful translation and detailed analysis of this most important text … [ … ]  edited by Hippolytus, in the Refutation, about 222 A. D. Thus the ground covered is roughly from 50 B. C. to 220 A. D. 1 [ … ] Mr Mead, in his introductory remarks, summarizes the evidence as follows:

“The claim of these Gnostics was practically that Christianity, or rather the Good News of The Christ, was precisely the consummation of the inner doctrine of the Mystery-institutions of all the nations: the end of them all was the revelation of the Mystery of Man.” 1

[ … ]

In other words the teaching of these Naassenes was practically a synthesis of all the Mystery-religions, and although Hippolytus regards them as nothing more than devotees of the cult of the Magna Mater, we shall see that, while their doctrine and teaching were undoubtedly based mainly upon the doctrine and practices of the Phrygian Mysteries, they practically identified the deity therein worshipped, i.e., Attis, with the presiding deity of all the other Mysteries.

Mr Mead draws attention to the fact that Hippolytus places these Naassenes in the fore-front of his Refutation; they are the first group of Heretics with whom he deals, and we may therefore conclude that he considered them, if not the most important, at least the oldest, of such sectaries. 2

[ … ]

At the outset it will be well to understand that the central doctrine of all these Mysteries is what Reitzenstein sums up as “the doctrine of the Man, the Heavenly Man, the Son of God, who descends and becomes a slave of the Fate Sphere: the Man who, though originally endowed with all power, descends into weakness and bondage, and has to win his own freedom, and regain his original state.

This doctrine is not Egyptian, but seems to have been in its origin part and parcel of the Chaldean Mystery-tradition and was widely spread in Hellenistic circles. 1

Thus, in the introductory remarks prefixed by Hippolytus to the document he is quoting he asserts that the Naassenes honour as the Logos of all universals Man, and Son of Man–“and they divide him into three, for they say he has a mental, psychic, and choïc aspect; and they think that the Gnosis of this Man is the beginning of the possibility of knowing God, saying, ‘The beginning of Perfection is the Gnosis of Man, but the Gnosis of God is perfected Perfection.’

All these, mental, psychic, and earthy, descended together into one Man, Jesus, the Son of Mary.” 2

Thus the Myth of Man, the Mystery of Generation, is the subject matter of the document in question, and this myth is set forth with reference to all the Mysteries, beginning with the Assyrian.

Paragraph 5 runs: “Now the Assyrians call this Mystery Adonis, and whenever it is called Adonis it is Aphrodite who is in love with and desires Soul so-called, and Aphrodite is Genesis according to them.” 3

But in the next section the writer jumps from the Assyrian to the Phrygian Mysteries, saying, “But if the Mother of the Gods emasculates Attis, she too regarding him as the object of her love, it is the Blessed Nature above of the super-Cosmic, and Aeonian spaces which calls back the masculine power of Soul to herself.” 4

In a note to this Mr Mead quotes from The Life of Isidorus: “I fell asleep and in a vision Attis seemed to appear to me, and on behalf of the Mother of gods to initiate me into the feast called Hilario, a mystery which discloses the way of our salvation from Hades.”

Throughout the document reference is continually made to the Phrygians and their doctrine of Man. The Eleusinian Mysteries are then treated of as subsequent to the Phrygian, “after the Phrygians, the Athenians,” but the teaching is represented as being essentially identical.

We have then a passage of great interest for our investigation, in which the Mysteries are sharply divided into two classes, and their separate content clearly defined.

There are–“the little Mysteries, those of the Fleshly Generation, and after men have been initiated into them they should cease for a while and become initiated in the Great, Heavenly, Mysteries–for this is the Gate of Heaven, and this is the House of God, where the Good God dwells alone, into which House no impure man shall come.” 1

Hippolytus remarks that “these Naassenes say that the performers in theatres, they too, neither say nor do anything without design–for example, when the people assemble in the theatre, and a man comes on the stage clad in a robe different from all others, with lute in hand on which he plays, and thus chants the Great Mysteries, not knowing what he says:

‘Whether blest Child of Kronos, or of Zeus, or of Great Rhea,

Hail Attis, thou mournful song of Rhea!

Assyrians call thee thrice-longed-for Adonis;

All Egypt calls thee Osiris;

The Wisdom of Hellas names thee Men’s Heavenly Horn;

The Samothracians call thee august Adama;

The Haemonians, Korybas;

The Phrygians name thee Papa sometimes;

At times again Dead, or God, or Unfruitful, or Aipolos;

Or Green Reaped Wheat-ear;

Or the Fruitful that Amygdalas brought forth,

Man, Piper–Attis!’

This is the Attis of many forms, of whom they sing as follows:

‘Of Attis will I sing, of Rhea’s Beloved,

Not with the booming of bells,

Nor with the deep-toned pipe of Idaean Kuretes;

But I will blend my song with Phoebus’ music of the lyre;

Evoi, Evan,

–for thou art Pan, thou Bacchus art, and Shepherd of bright stars!'” 1

On this Hippolytus comments:

“For these and suchlike reasons these Naassenes frequent what are called the Mysteries of the Great Mother, believing that they obtain the clearest view of the universal Mystery from the things done in them.”

And after all this evidence of elaborate syncretism, this practical identification of all the Mystery-gods with the Vegetation deity Adonis-Attis, we are confronted in the concluding paragraph, after stating that “the True Gate is Jesus the Blessed,” with this astounding claim, from the pen of the latest redactor, “And of all men we alone are Christians, accomplishing the Mystery at the Third Gate.” 2

Jessie L. Weston, From Ritual to Romance, 1920, pp. 144-8.

A Human Head Carried on a River of Blood

” … The first men on earth to receive knowledge of the gods, and to build temples and shrines and to summon meetings for religious observances are said to have been the Egyptians. 5 They were the first, too, to take cognizance of holy names, and to repeat sacred traditions. Not long after them the Assyrians heard from the Egyptians their doctrines as to the gods, and they reared temples and shrines: in these they placed statues and images.

Originally the temples of the Egyptians possessed no images. And there exist in Syria temples of a date not much later than those of Egypt, many of which I have seen myself, for instance, the temple of Hercules in Tyre. 6 This is not the Hercules of Greek legend; but a Tyrian hero of much greater antiquity than he.

There is likewise in Phœnicia a temple of great size owned by the Sidonians. They call it the temple of Astarte. 7 I hold this Astarte to be no other than the moon-goddess. But according to the story of one of the priests this temple is sacred to Europa, the sister of Cadmus. She was the daughter of Agenor, and on her disappearance from Earth the Phœnicians honoured her with a temple and told a sacred legend about her; how that Zeus was enamoured of her for her beauty, and changing his form into that of a bull carried her off into Crete. 8 This legend I heard from other Phœnicians as well; and the coinage current among the Sidonians bears upon it the effigy of Europa sitting upon a bull, none other than Zeus. 9 Thus they do not agree that the temple in question is sacred to Europa.

The Phœnicians have also another sacred custom, derived from Egypt, not from Assyria: it came, they say, from Heliopolis into Phœnicia. I never witnessed this myself, but it is important, and of great antiquity.

I saw too at Byblos a large temple, 10 sacred to the Byblian Aphrodite 11: this is the scene of the secret rites of Adonis: I mastered these. They assert that the legend about Adonis and the wild boar is true, 12 and that the facts occurred in their country, and in memory of this calamity they beat their breasts and wail every year, and perform their secret ritual amid signs of mourning through the whole countryside.

When they have finished their mourning and wailing, they sacrifice in the first place to Adonis, as to one who has departed this life: after this they allege that he is alive again, and exhibit his effigy to the sky. They proceed to shave their heads, 13 too, like the Egyptians on the loss of their Apis. The women who refuse to be shaved have to submit to the following penalty, viz., to stand for the space of an entire day in readiness to expose their persons for hire. The place of hire is open to none but foreigners, and out of the proceeds of the traffic of these women a sacrifice to Aphrodite is paid. 14

Some of the inhabitants of Byblos maintain that the Egyptian Osiris is buried in their town, and that the public mourning and secret rites are performed in memory not of Adonis, but of Osiris. 15 I will tell you why this story seems worthy of credence. A human head comes every year from Egypt to Byblos, 16 floating on its seven days’ journey thence: the winds, by some divine instinct, waft it on its way: it never varies from its course but goes straight to Byblos. The whole occurrence is miraculous. It occurs every year, and it came to pass while I was myself in Byblos, and I saw the head in that city.

There is, too, another marvellous portent in the region of the Byblians. A river, flowing from Mount Libanus, discharges itself into the sea: this river bears the name of Adonis. 17 Every year regularly it is tinged with blood, and loses its proper colour before it falls into the sea: it dyes the sea, to a large space, red: 18 and thus announces their time of mourning to the Byblians.

Their story is that during these days Adonis is wounded, and that the river’s nature is changed by the blood which flows into its waters; and that it takes its name from this blood. Such is the legend vulgarly accepted: but a man of Byblos, who seemed to me to be telling the truth, told me another reason for this marvellous change.

He spoke as follows: “This river, my friend and guest, passes through the Libanus: now this Libanus abounds in red earth. The violent winds which blow regularly on those days bring down into the river a quantity of earth resembling vermilion. It is this earth that turns the river to red. And thus the change in the river’s colour is due, not to blood as they affirm, but to the nature of the soil.” 19

This was the story of the Byblian. But even assuming that he spoke the truth, yet there certainly seems to me something supernatural in the regular coincidence of the wind and the colouring of the river.”

Herbert A. Strong and John Garstang, trans., The Syrian Goddess, by Lucian, 1913, pp. 42-8.

Worshipping Virility

“While it is only of comparatively recent date that information as to the exact character of the worship directed to Tammuz has been available and the material we at present possess is but fragmentary in character, the corresponding cult of the Phoenician-Greek divinity we know as Adonis has for some years been the subject of scholarly research.

Not only have the details of the ritual been examined and discussed, and the surviving artistic evidence described and illustrated, but from the anthropological side attention has been forcibly directed to its importance as a factor in the elucidation of certain widespread Folk-beliefs and practices 2.

We know now that the worship of Adonis, which enjoyed among the Greeks a popularity extending to our own day, was originally of Phoenician origin, its principal centres being the cities of Byblos, and Aphaka.

From Phoenicia it spread to the Greek islands, the earliest evidence of the worship being found in Cyprus, and from thence to the mainland, where it established itself firmly.

The records of the cult go back to 700 B.C., but it may quite possibly be of much earlier date. Mr Langdon suggests that the worship of the divinity we know as Adonis, may, under another name, reach back to an antiquity equal with that we can now ascribe to the cult of Tammuz.

In its fully evolved classical form the cult of Adonis offers, as it were, a halfway house, between the fragmentary relics of Aryan and Babylonian antiquity, and the wealth of Medieval and Modern survivals to which the ingenuity and patience of contemporary scholars have directed our attention.

We all know the mythological tale popularly attached to the name of Adonis; that he was a fair youth, beloved of Aphrodite, who, wounded in the thigh by a wild boar, died of his wound.

The goddess, in despair at his death, by her prayers won from Zeus the boon that Adonis be allowed to return to earth for a portion of each year, and henceforward the youthful god divides his time between the goddess of Hades, Persephone, and Aphrodite. But the importance assumed by the story, the elaborate ceremonial with which the death of Adonis was mourned, and his restoration to life fêted, the date and character of the celebrations, all leave no doubt that the personage with whom we are dealing was no mere favourite of a goddess, but one with whose life and well-being the ordinary processes of Nature, whether animal or vegetable, were closely and intimately concerned.

In fact the central figure of these rites, by whatever name he may be called, is the somewhat elusive and impersonal entity, who represents in anthropomorphic form the principle of animate Nature, upon whose preservation, and unimpaired energies, the life of man, directly, and indirectly, depends 1.

Before proceeding to examine these rites there is one point, to which I have alluded earlier, in another connection, upon which our minds must be quite clear, i.e., the nature of the injury suffered. Writers upon the subject are of one accord in considering the usual account to be but a euphemistic veiling of the truth, while the close relation between the stories of Adonis and Attis, and the practices associated with the cult, place beyond any shadow of a doubt the fact that the true reason for this universal mourning was the cessation, or suspension, by injury or death, of the reproductive energy of the god upon whose virile activity vegetable life directly, and human life indirectly, depended.” 2

Jessie L. Weston, From Ritual to Romance, 1920. Pp. 39-41.

Excerpts from the Naassene Fragment

” … In the following analysis H. stands for Hippolytus; C. for the Christian Gnostic final overwriter, the “Naassene” whose MS. lay before H.; J. for the Naassene Jewish mystic who preceded C. and overworked the original; S. for the original Heathen Hellenistic Source. …”

“(1) S. “Earth (say the Greeks 3) first brought forth Man—bearing a fair gift, desiring to be mother not of plants without feeling, nor of brutes without reason, but of a tamed God-loving life.

“Difficult is it (H. he says 4) to discover whether it was among the Bœotians that Alalkomeneus rose from the Kephisian Lake as first of men; or whether it was the Idæan Kurētes, race divine, or the Phrygian Korybantes, whom Helios saw first sprouting forth tree-like; or whether Arkadia brought forth Pelasgos [first], older than the Moon; or Eleusis Diaulos, dweller in Raria; or Lēmnos Kabeiros, fair child of ineffable orgies; 1 or whether Pallēnē Phlegræan Alkyoneus, eldest of Giants.

“The Libyans say that Garamas, 2 rising from parched plains, first picked sweet date of Zeus; while Neilos, making fat the mud of Egypt to this day (H. he says), breeds living things, and renders from damp heat things clothed in flesh.” 3

The Assyrians say it was with them Ōannēs, the Fish-eater; while the Chaldæans [say that it was] Adam.

(2) J. And this Adam they [the Chaldæans] say was the man that Earth produced—a body only, and that he lay breathless, motionless, immovable, like a statue, being an image of that Man Above—

H. —of whom they sing, and brought into existence by the many Powers, 1 concerning which there is much detailed teaching.

J. In order, then, that the Great Man from Above—

C. From whom, as is said, every fatherhood has its name on earth or in the heavens. 2

J. —might be completely brought low, there was given unto him 3 Soul also, in order that through the Soul the enclosed plasm of the Great, Most-fair, and Perfect Man might suffer and be chastened.

H. For thus they call Him. They seek to discover then further what is the Soul, and whence, and of what nature, that by entering into man and moving him, it should enslave and chasten the plasm of the Perfect Man; but they seek this also not from the Scriptures, but from the Mysteries.

(3) S. And they 4 say that Soul is very difficult to discover, and hard to understand; for it never remains of the same appearance, or form, or in the same state, so that one can describe it by a general type, 5 or comprehend it by an essential quality.

H. These variegated metamorphoses they 6 have laid down in the Gospel, superscribed “According to the Egyptians.” 7

S. They are accordingly in doubt—

H. —like all the rest of the Gentiles—

J. —whether it [sc. the Soul] is from the Pre-existing [One], or from the Self-begotten, or from the Streaming Chaos. 8

H. And first of all, in considering the triple division of Man, they fly for help to the Initiations of the Assyrians; for the Assyrians were the first to consider the Soul triple and [yet] one. …”

 G.R.S.Mead, Thrice-Greatest Hermes, Vol. 1, 1906, pp. 148-51.

From Hippolytus, Philosophumena; or, Refutation of all Heresies.

The Five Epagomenal Days

“But to the three hundred and sixty days given in the calendars of lucky and unlucky days must be added the five epagomenal days which were considered to be of great importance and had each its peculiar name.

On the first Osiris was born, on the second Heru-ur (Aroueris), on the third Set, on the fourth Isis, and on the fifth Nephthys; the first, third, and fifth of these days were unlucky, and no work of any kind was to be undertaken on them.

The rubric which refers to these days (See Chabas, op. cit., p. 104) states that whosoever knoweth their names shall never suffer from thirst, that he shall never be smitten down by disease, and that the goddess Sekhet (the Eye of Sekhet seems to have taken the form of noxious vapours in the fields at sunrise; see Chabas, op. cit., p. 78) shall never take possession of him; it also directs that figures of the five gods mentioned above shall be drawn with unguent and ânti scent upon a piece of fine linen, evidently to serve as an amulet.

From the life of Alexander the Great by Pseudo-Callisthenes (I. 4) we learn that the Egyptians were skilled in the art of casting nativities, and that knowing the exact moment of the birth of a man they proceeded to construct his horoscope.

Nectanebus employed for the purpose a tablet made of gold and silver and acacia wood, to which were fitted three belts. Upon the outer belt was Zeus with the thirty-six decani surrounding him; upon the second the twelve signs of the Zodiac were represented; and upon the third the sun and moon (quote from my History of Alexander the Great, Cambridge, 1889, p. 5).

He set the tablet upon a tripod, and then emptied out of a small box upon it models of the seven stars (i.e., Sun, Moon, Zeus, Kronos, Aphrodite, and Hermes; we must add Mars according to Meusel’s Greek text) that were in the belts, and put into the middle belt eight precious stones; these he arranged in the places wherein he supposed the planets which they represented would be at the time of the birth of Olympias, and then told her fortune from them.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. Pp. 228-9.

Abrasax, the Invincible Name of Power

“The last class of documents undoubtedly contains a very large proportion of the magical ideas, beliefs, formulæ, etc., which were current in Egypt from the time of the Ptolemies to the end of the Roman Period, but from about B.C. 150 to A.D. 200 the papyri exhibit traces of the influence of Greek, Hebrew, and Syrian philosophers and magicians, and from a passage like the following (see Goodwin, Fragment of a Græco-Egyptian Work upon Magic, p. 7) we may get a proof of this:—

“I call thee, the headless one, that didst create earth and heaven, that didst create night and day, thee the creator of light and darkness. Thou art Osoronnophris, whom no man hath seen at any time; thou art Iabas, thou art Iapôs, thou hast distinguished the just and the unjust, thou didst make female and male, thou didst produce seeds and fruits, thou didst make men to love one another and to hate one another.”

“I am Moses thy prophet, to whom thou didst commit thy mysteries, the ceremonies of Israel; thou didst produce the moist and the dry and all manner of food.”

“Listen to me: I am an angel of Phapro Osoronnophris; this is thy true name, handed down to the prophets of Israel. Listen to me. (Here follow a number of names of which Reibet, Athelebersthe, Blatha, Abeu, Ebenphi, are examples) . . .”

In this passage the name Osoronnophris is clearly a corruption of the old Egyptian names of the great god of the dead “Ausar Unnefer,” and Phapro seems to represent the Egyptian Per-âa (literally, “great house”) or “Pharaoh,” with the article pa “the” prefixed.

It is interesting to note that Moses is mentioned, a fact which seems to indicate Jewish influence.

In another magical formula we read, (Goodwin, op. cit., p. 21) “I call upon thee that didst create the earth and bones, and all flesh and all spirit, that didst establish the sea and that shakest the heavens, that didst divide the light from the darkness, the great regulative mind, that disposest everything, eye of the world, spirit of spirits, god of gods, the lord of spirits, the immoveable Aeon, IAOOUÊI, hear my voice.”

“I call upon thee, the ruler of the gods, high-thundering Zeus, Zeus, king, Adonai, lord, Iaoouêe. I am he that invokes thee in the Syrian tongue, the great god, Zaalaêr, Iphphou, do thou not disregard the Hebrew appellation Ablanathanalb, Abrasilôa.”

“For I am Silthakhôoukh, Lailam, Blasalôth, Iaô, Ieô, Nebouth, Sabiothar, Bôth, Arbathiaô, Iaoth, Sabaôth, Patoure, Zagourê, Baroukh Adonai, Elôai, Iabraam, Barbarauô, Nau, Siph,” etc.

The spell ends with the statement that it “loosens chains, blinds, brings dreams, creates favour; it may be used in common for whatever purpose you will.”

In the above we notice at once the use of the seven vowels which form “a name wherein be contained all Names, and all Lights, and all Powers” (see Kenyon, Greek Papyri in the British Museum, London, 1893, p. 63). The seven vowels have, of course, reference to the three vowels “Iaô” (for Iaoouêi we should probably read Iaô ouêi) which were intended to represent one of the Hebrew names for Almighty God, “Jâh.”

The names “Adonai, Elôai,” are also derived through the Hebrew from the Bible, and Sabaôth is another well-known Hebrew word meaning “hosts”; some of the remaining names could be explained, if space permitted, by Hebrew and Syriac words.

On papyri and amulets the vowels are written in magical combinations in such a manner as to form triangles and other shapes; with them are often found the names of the seven archangels of God; the following are examples:–

 (British Museum, Gnostic gem, No. G. 33). (Kenyon, Greek Papyri, p. 123). (Ibid., p. 123. These names read Michael, Raphael, Gabriel, Souriel, Zaziel, Badakiel, and Suliel).

(British Museum, Gnostic gem, No. G. 33).
(Kenyon, Greek Papyri, p. 123).
(Ibid., p. 123. These names read Michael, Raphael, Gabriel, Souriel, Zaziel, Badakiel, and Suliel)

In combination with a number of signs which owe their origin to the Gnostics the seven vowels were sometimes engraved upon plaques, or written upon papyri, with the view of giving the possessor power over gods or demons or his fellow creatures.

The example printed below is found on a papyrus in the British Museum and accompanies a spell written for the purpose of overcoming the malice of enemies, and for giving security against alarms and nocturnal visions. (Kenyon, op. cit., P. 121).

Amulet inscribed with signs and letters of magical power for overcoming the malice of enemies. (From Brit. Mus., Greek Papyrus, Nu. CXXIV.--4th or 5th century.) (Kenyon, Greek Papyri, p. 123).

Amulet inscribed with signs and letters of magical power for overcoming the malice of enemies. (From Brit. Mus., Greek Papyrus, Nu. CXXIV.–4th or 5th century.) (Kenyon, Greek Papyri, p. 123).

But of all the names found upon Gnostic gems two, i.e., Khnoubis (or Khnoumis), and Abrasax (or Abraxas), are of the most frequent occurrence. The first is usually represented as a huge serpent having the head of a lion surrounded by seven or twelve rays.

Over the seven rays, one on the point of each, are the seven vowels of the Greek alphabet, which some suppose to refer to the seven heavens; and on the back of the amulet, on which the figure of Khnoumis occurs, is usually found the sign of the triple S and bar.

Khnoumis is, of course, a form of the ancient Egyptian god Khnemu, or “Fashioner” of man and beast, the god to whom many of the attributes of the Creator of the universe were ascribed.

Khnemu is, however, often depicted with the head of a ram, and in the later times, as the “beautiful ram of Râ,” he has four heads; in the Egyptian monuments he has at times the head of a hawk, but never that of a lion.

The god Abrasax is represented in a form which has a human body, the bead of a hawk or cock, and legs terminating in serpents; in one hand he holds a knife or dagger, and in the other a shield upon which is inscribed the great name ΙΑΩ {Greek IAW}, or JÂH.

Considerable difference of opinion exists as to the meaning and derivation of the name Abrasax, but there is no doubt that the god who bore it was a form of the Sun-god, and that he was intended to represent some aspect of the Creator of the world.

The name was believed to possess magical powers of the highest class, and Basileides, (he of Alexandria, who lived about A.D. 120. He was a disciple of Menander, and declared that he had received the esoteric doctrine of Saint Peter from Glaucias, a disciple of the Apostle) who gave it currency in the second century, seems to have regarded it as an invincible name.

It is probable, however, that its exact meaning was lost at an early date, and that it soon degenerated into a mere magical symbol, for it is often found inscribed on amulets side by side with scenes and figures with which, seemingly, it cannot have any connexion whatever.

Judging from certain Gnostic gems in the British Museum, Abrasax is to be identified with the polytheistic figure that stands in the upper part of the Metternich stele depicted on p. 153 and below.

Metternich Stele.

Metternich Stele.

This figure has two bodies, one being that of a man, and the other that of a bird; from these extend four wings, and from each of his knees projects a serpent.

He has two pairs of hands and arms; one pair is extended along the wings, each hand holding the symbols of “life,” “stability,” and “power,” and two knives and two serpents; the other pair is pendent, the right hand grasping the sign of life, and the other a sceptre.

His face is grotesque, and probably represents that of Bes, or the sun as an old man; on his head is a pylon-shaped object with figures of various animals, and above it a pair of horns which support eight knives and the figure of a god with raised hands and arms, which typifies “millions of years.”

The god stands upon an oval wherein are depicted figures of various “typhonic” animals, and from each side of his crown proceed several symbols of fire.

Whether in the Gnostic system Abraxas absorbed all the names and attributes of this god of many forms cannot be said with certainty.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 177-80.

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