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numinous-archives · 4 months ago

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Homeric Hymn to Demeter

Interpretations of Religious and Socio-Cultural Significance

The Homeric Hymn to Demeter (circa 7th–6th century BCE) is one of the most significant literary works in Ancient Greek religion, offering profound insights into the myth of Demeter and Persephone, the establishment of the Eleusinian Mysteries, and the theological themes of life, death, and renewal.

Attributed to the Homeric Hymns, the poem serves as both a sacred narrative and a theological foundation for the Eleusinian Mysteries, one of the most important mystery cults in Ancient Greece

The Abduction of Persephone

Zeus, without Demeter’s knowledge, permits Hades, the god of the underworld, to abduct Persephone. While gathering flowers in a meadow, Persephone is seized by Hades and taken to the underworld. Her screams go unanswered except by Hekate and Helios, who later reveal the truth to Demeter.

Interpretations of Marriage

This myth can be interpreted as a reflection of ancient Greek societal norms and traditions surrounding marriage, where the man would take his bride away from her family and bring her to his home/household, or oikos, where she'd then become a part of the man's family.

This was an important rite of passage for both the man (who was often much older, around 30) and the woman (who was often much younger, around teenage years).

This bond represented not only their love, but also their family, a crucial institution that contributed to the development and maintenance of the polis.

Demeter's Search (and Grief)

Devastated by her daughter’s disappearance, Demeter wanders the earth in search of Persephone.

Disguising herself as a mortal, she withdraws from her divine role as the goddess of agriculture, causing a famine that threatens the survival of humanity.

The hymn is a profound exploration of maternal grief through Demeter’s relentless search for Persephone. Her anguish disrupts the natural order, illustrating the deep connection between divine emotions and the functioning of the cosmos.

Interpretations of Seasonal Changes

The hymn portrays a cosmic cycle of death and rebirth, with Persephone’s descent and return symbolizing the seasons: the barren winter (her time in the underworld) and the fertile spring and summer (her time on earth with Demeter).

The grief of Demeter is thought to represent the season of winter as Persephone spends the half or quarter (depending on the version) of each year with Hades in the Underworld.

This mythological symbolism of seasonal changes is also quite common among religious traditions and mythologies in the ancient world.

Interpretations connected to Marriage

The grief of Demeter is also thought to represent the grief of a mother after her daughter's marriage. Persephone's abduction is thought to have represented the daughter's transition into the man's household (oikos) and becoming a part of his family.

Demeter at Eleusis

Demeter arrives at Eleusis and is taken in by the household of King Celeus and Queen Metaneira, becoming the nursemaid for their son, Demophon. Attempting to make the child immortal by placing him in the fire, she is interrupted by Metaneira, revealing her divine identity. Demeter then instructs the people of Eleusis to build her a temple.

Eleusis, as a setting, became a holy site, with the Telesterion (initiation hall) serving as the cult’s sacred center. The hymn’s connection to Eleusis reinforced its cultural and religious significance.

The Reunion of Demeter and Persephone

Zeus, pressured by the famine, sends Hermes or Hekate (depending on the version of the myth) to the underworld to negotiate Persephone’s return.

Hades agrees but tricks Persephone into eating pomegranate seeds, binding her to the underworld for part of the year.

Persephone is reunited with Demeter, but her dual residency establishes the seasonal cycle.

The hymn reflects Greek religious concerns about divine justice, cosmic order, and humanity’s role within it. Persephone’s seasonal cycle reassures the faithful of the gods’ ability to maintain cosmic balance, despite temporary disruptions.

Foundation of the Eleusinian Mysteries

The hymn concludes with Demeter teaching the rites of the Eleusinian Mysteries to the people of Eleusis, ensuring the preservation of her worship and promising initiates a blessed afterlife.

The Mysteries promised initiates a deeper understanding of the mysteries of existence, offering hope for a blessed afterlife. This esoteric knowledge distinguished initiates from the uninitiated, who were believed to lack access to such spiritual insight.

Central to the Mysteries was the belief in the immortality of the soul. Initiates were taught to view death not as an end but as a transformation, aligning with the mythological journey of Persephone between the realms of life and death.

Held in spring at Agrai near Athens, the Lesser Mysteries served as a preparatory stage for the Greater Mysteries. Participants underwent preliminary purification rituals and initiations, paving the way for full participation in the Greater Mysteries.

Celebrated annually in September or October, the Greater Mysteries lasted for nine days and culminated in the central rites at Eleusis. These included processions, sacrifices, and secret rituals held in the Telesterion, the sacred hall of initiation.

Literature List

Bowden, H. (2023). The Eleusinian Mysteries. Mystery Cults in the Ancient World. Thames and Hudson Ltd

#homeric hymns #demeter #persephone #eleusinian mysteries #ancient greece #ancient greek religion #greek mythology #religious studies #ancient history #history of religion

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lost-locket-antiques · 2 months ago

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Inanühel: Son of God

"On every planet, in every solar system that we have discovered, a similar story emerges from the depths of history: a man [or in one case, a woman] claiming to be the One True God dying in a brutal fashion, and raising from the dead 3 days later. [S]he would later be the founder of the most prominent religion on that planet. The oddest part, as most my more secular colleges would admit, is that these religions are almost complete mirrors of each other. Names and stories are different from one planet to another, to be sure, but the practices and beginnings remain the same, even with thousands of lightyears of separation!

"It is my belief that this may be proof of not only the divine and supernatural, but of a God who believed in consistency throughout the cosmos."

-Dr. Gerthrak Hermokal, Xeno-Anthropologist

The Nijezdi Son of God was known to be a Vita Pixie, called by many names, but his most common name was Inanühel (ee-nahn-uh-hehl). He was the first non-Decks of the Fae Pixie that could speak the languages of Humans and Fae, and performed miracles completely impossible for a Pixie, let alone any other Nijezdi race. While it was believed that the Son of God would be born a grander race; such as a Centaur or a Hume, that doesn't seem to be the way of God…

This illustration is based off Inanühel's most common portrayal in art during the centuries. Upper hands to His heart, while His lower hands open wide for embrace.

#my art #salt and light #christian fantasy #art room #inanühel son of god #fantasy history #world building #worldbuilding #fantasy #sci fi #sci fi fantasy #art #digital art #small artist #artists on tumblr #artists of tumblr

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jessywing · 1 year ago

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The genderbent assassins are hanging out 🍷

I am still new to Clip Studio Paint EX, but I think with this I am starting to get it.

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misspjsuperior · 1 year ago

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Tonantzin Guadalupe 🌵🌹

The original \/u| \//\ goddess I created in 2013 is Maria Rosa. Her design was inspired in major part between the miracle of La Virgen de Guadalupe and the concept of Mary Queen of Heaven.

I was recently commissioned to create a new (\/) Goddess inspired similarly between Guadalupe and Tonantzin by my chingona hermana Janet Bella Rosa who also knew Mi padrino Antonio 🙏 I felt his spirit guiding me to connect our visions! 💞

Tonantzin is an enduring Nahuatl title for the maternal aspect of any Aztec goddess, much like “Our Lady”, rather than the name of a particular goddess. I chose a blue background to parallel Her starry mantle of heaven and also represent Lake Texcoco since the eagle, snake, and cactus from its story of the founding of ancient Mexico there are present. 💙🌵

Tonantzin in various forms is frequently depicted with eagle feet so I thought it appropriate to have the legendary golden eagle clutch the silvery moon below Her in place of Guadalupe’s cherub 🦅 🌙 Tonantzin is often known, by many names, to wear a skirt of snakes- the celestial Aztec earth mother Coatlicue’s particular name translates to “She of Snake Skirts”. So I couldn’t help but see the snake emerge from the opening in Her folds here. Frequently in Aztec art snakes emerging from or replacing body parts represents blood so I feel a menstrual element from how the snake manifested in this vision 🐍 🩸

Many believe that the apparition of La Virgen de Guadalupe on Tepeyac Hill unto St. Juan Diego, an Indigenous peasant originally named Cuauhtlatoatzin meaning “Talking Eagle”, was a vision of a new form of Tonantzin. Her local temple had formerly been on that very site, destroyed by conquistadors. When Cuauhtlatoatzin received these holy visions, the Goddess spoke to him not in Spanish but in his native Nahuatl language even though She identified Herself as The Virgin Mother of God. Even the Church documents testify that The Holy Mother assured him in his moment of doubt, in his Indigenous tongue, “Am I not here who am your Mother?” Indeed Tonantzin Coatlicue herself is said to have had her own divine conception via a feather 🪶

The miraculous vision of Guadalupe that appeared upon Juan Diego/Talking Eagle’s tilma is often seen as a self portrait by Her and there are many analyses of the visual element’s encoding of Aztec symbolism. I took these theories and insights into consideration while creating this vision.

Even within the suppression of Spanish colonization ancient indigenous Mexican Curanderismo healing practices were able to persevere and often in the name of La Virgen de Guadalupe, under the protection of Her image.

Choose-your-goddess prints now include Tonantzin Guadalupe!

🌟🌟🌟🌟🌟

“At home, on the evening of December 12th we may light a candle and place offerings of flowers, copal and chocolate in front of her statue or painting. In the public square, those who follow the Mexica spiritual tradition will join brothers and sisters for an all-night vigil of prayer, Danza, offerings, and songs to her, who is Tonantzin Tlalli Coatlicue, who was always honored at the hill of Tepeyac. As we salute the Four Winds and dance in the ceremonial circle, we honor those who have gone before us, the courageous people who kept traditions alive through the centuries despite the threat to their life if discovered. The feathers in the copilli, the ceremonial headdress worn by the dancers, will draw down the energy of the cosmos into Mother Earth, our beautiful Tonantzin Tlalli Coatlicue to help her heal from the many ways she is dishonored.

Nearby, children will play and laugh, faces smeared with the traces of candy and the cinnamon of churros, the delicious deep fried pastry covered with sugar and cinnamon while the sound of mariachi music adds to the feeling of a fusion of cultures and beliefs. If you wander the crowded street you will see a handful of Catholic pilgrims on their knees on the hard pavement slowly make their way to the entrance of the church in gratitude for answered prayers.

And, in spite of quiet official church disapproval, the local parish priest will invite Indigenous ceremonial dancers to participate during the special December 11-12 mass for Our Lady of Guadalupe. Inside the church, for a few moments, Mayan copal will blend with European frankincense, quetzal feathers will dance on the air, and elders with bundles of aromatic rosemary plants will cleanse the People’s spirit. The two cultures, reconciled at this moment, acknowledge their bond of love for the Woman Who is Cloaked with the Sun; a bridge of Light between peoples.”

- Maestra Grace via Curanderismo.org

#curanderismo #tonantzin #virgen de guadalupe #holy mother of god #mother goddess #goddess art #brujeria #marian devotion #folk catholicism #folk traditions #ancient origins #Aztec

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khensaptah · 1 year ago

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Mystic Egyptian Polytheism Resource List

Because I wanted to do a little more digging into the philosophy elements explored in Mahmoud's book, I took the time tonight to pull together the recommended reading he listed toward the end of each chapter. The notes included are his own.

MEP discusses Pharaonic Egypt and Hellenistic Egypt, and thus some of these sources are relevant to Hellenic polytheists (hence me intruding in those tags)!

Note: extremely long text post under this read more.

What Are The Gods And The Myths?

ψ Jeremy Naydler’s Temple of the Cosmos: The Ancient Egyptian Experience of the Sacred is my top text recommendation for further exploration of this topic. It dives deep into how the ancients envisioned the gods and proposes how the various Egyptian cosmologies can be reconciled. ψ Jan Assmann’s Egyptian Solar Religion in the New Kingdom: Re, Amun and the Crisis of Polytheism focuses on New Kingdom theology by analyzing and comparing religious literature. Assmann fleshes out a kind of “monistic polytheism,” as well as a robust culture of personal piety that is reflected most prominently in the religious literature of this period. He shows how New Kingdom religious thought was an antecedent to concepts in Hermeticism and Neoplatonism. ψ Moustafa Gadalla’s Egyptian Divinities: The All Who Are The One provides a modern Egyptian analysis of the gods, including reviews of the most significant deities. Although Gadalla is not an academic, his insights and contributions as a native Egyptian Muslim with sympathies towards the ancient religion are valuable.

How to Think like an Egyptian

ψ Jan Assmann’s The Mind of Egypt: History and Meaning in the Time of the Pharaohs is my top text recommendation for further exploration of this topic. It illuminates Egyptian theology by exploring their ideals, values, mentalities, belief systems, and aspirations from the Old Kingdom period to the Ptolemaic period. ψ Garth Fowden’s The Egyptian Hermes: A Historical Approach to the Late Pagan Mind identifies the Egyptian character of religion and wisdom in late antiquity and provides a cultural and historical context to the Hermetica, a collection of Greco-Egyptian religious texts. ψ Christian Bull’s The Tradition of Hermes Trismegistus: The Egyptian Priestly Figure as a Teacher of Hellenized Wisdom provides a rich assessment of the Egyptian religious landscape at the end of widespread polytheism in Egypt and how it came to interact with and be codified in Greek schools of thought and their writings.

How To Think Like A Neoplatonist

Radek Chlup’s Proclus: An Introduction is my top text recommendation for further exploration of this topic. It addresses the Neoplatonic system of Proclus but gives an excellent overview of Neoplatonism generally. It contains many valuable graphics and charts that help illustrate the main ideas within Neoplatonism. ψ John Opsopaus’ The Secret Texts of Hellenic Polytheism: A Practical Guide to the Restored Pagan Religion of George Gemistos Plethon succinctly addresses several concepts in Neoplatonism from the point of view of Gemistos Plethon, a crypto-polytheist who lived during the final years of the Byzantine Empire. It provides insight into the practical application of Neoplatonism to ritual and religion. ψ Algis Uzdavinys’ Philosophy as a Rite of Rebirth: From Ancient Egypt to Neoplatonism draws connections between theological concepts and practices in Ancient Egypt to those represented in the writings and practices of the Neoplatonists.

What Is “Theurgy,” And How Do You Make A Prayer “Theurgical?”

ψ Jeffrey Kupperman’s Living Theurgy: A Course in Iamblichus’ Philosophy, Theology and Theurgy is my top text recommendation for further exploration of this topic. It is a practical guide on theurgy, complete with straightforward explanations of theurgical concepts and contemplative exercises for practice. ψ Gregory Shaw’s Theurgy and the Soul: The Neoplatonism of Iamblichus demonstrates how Iamblichus used religious ritual as the primary tool of the soul’s ascent towards God. He lays out how Iamblichus proposed using rites to achieve henosis. ψ Algis Uzdavinys’ Philosophy and Theurgy in Late Antiquity explores the various ways theurgy operated in the prime of its widespread usage. He focuses mainly on temple rites and how theurgy helped translate them into personal piety rituals.

What Is “Demiurgy,” And How Do I Do Devotional, “Demiurgical” Acts?

ψ Shannon Grimes’ Becoming Gold: Zosimos of Panopolis and the Alchemical Arts in Roman Egypt is my top text recommendation for further exploration of this topic. It constitutes an in-depth look at Zosimos—an Egyptian Hermetic priest, scribe, metallurgist, and alchemist. It explores alchemy (ancient chemistry and metallurgy) as material rites of the soul’s ascent. She shows how Zosimos believed that partaking in these practical arts produced divine realities and spiritual advancements. ψ Alison M. Robert’s Hathor’s Alchemy: The Ancient Egyptian Roots of the Hermetic Art delves deep temple inscriptions and corresponding religious literature from the Pharaonic period and demonstrates them as premises for alchemy. These texts “alchemize” the “body” of the temple, offering a model for the “alchemizing” of the self. ψ A.J. Arberry’s translation of Farid al-Din Attar’s Muslim Saints and Mystics: Episodes from the Tadhkirat al-Auliya contains a chapter on the Egyptian Sufi saint Dhul-Nun al-Misri (sometimes rendered as Dho‘l-Nun al-Mesri). He is regarded as an alchemist, thaumaturge, and master of Egyptian hieroglyphics. It contains apocryphal stories of his ascetic and mystic life as a way of “living demiurgically.” It is an insightful glimpse into how the Ancient Egyptian arts continued into new religious paradigms long after polytheism was no longer widespread in Egypt.

Further Reading

Contemporary Works Assmann, Jan. 1995. Egyptian Solar Religion in the New Kingdom: Re, Amun and the Crisis of Polytheism. Translated by Anthony Alcock. Kegan Paul International. Assmann, Jan. 2003. The Mind of Egypt: History and Meaning in the Time of the Pharaohs. Harvard University Press. Bull, Christian H. 2019. The Tradition of Hermes Trismegistus: The Egyptian Priestly Figure as a Teacher of Hellenized Wisdom. Brill. Chlup, Radek. 2012. Proclus: An Introduction. Cambridge University Press. Escolano-Poveda, Marina. 2008. The Egyptian Priests of the Graeco-Roman Period. Brill. Fowden, Garth. 1986. The Egyptian Hermes: A Historical Approach to the Late Pagan Mind. Cambridge University Press. Freke, Tim, and Peter Gandy. 2008. The Hermetica: The Lost Wisdom of the Pharaohs. Jeremy P. Tarcher/Penguin. Gadalla, Moustafa. 2001. Egyptian Divinities: The All Who Are The One. Tehuti Research Foundation. Grimes, Shannon. 2019. Becoming Gold: Zosimos of Panopolis and the Alchemical Arts in Roman Egypt. Princeton University Press. Jackson, Howard. 2017. “A New Proposal for the Origin of the Hermetic God Poimandres.” Aries: Journal for the Study of Western Esotericism 17 (2): 193-212. Kupperman, Jeffrey. 2014. Living Theurgy: A Course in Iamblichus’ Philosophy, Theology and Theurgy. Avalonia. Mierzwicki, Tony. 2011. Graeco-Egyptian Magick: Everyday Empowerment. Llewellyn Publications. Naydler, Jeremy. 1996. Temple of the Cosmos: The Ancient Egyptian Experience of the Sacred. Inner Traditions. Opsopaus, J. 2006. The Secret Texts of Hellenic Polytheism: A Practical Guide to the Restored Pagan Religion of George Gemistos Plethon. New York: Llewellyn Publications. Roberts, Alison M. 2019. Hathor’s Alchemy: The Ancient Egyptian Roots of the Hermetic Art. Northgate Publishers. Shaw, Gregory. 1995. Theurgy and the Soul: The Neoplatonism of Iamblichus. 2nd ed. Angelico Press. Snape, Steven. 2014. The Complete Cities of Ancient Egypt. Thames & Hudson. Uzdavinys, Algis. 1995. Philosophy and Theurgy in Late Antiquity. Wheaton, IL: Quest Books. Uzdavinys, Algis. 2008. Philosophy as a Rite of Rebirth: From Ancient Egypt to Neoplatonism. Lindisfarne Books. Wilkinson, Richard H. 2000. The Complete Temples of Ancient Egypt. Thames & Hudson.

Ancient Sources in Translation Attar, Farid al-Din. 1966. Muslim Saints and Mystics: Episodes from the Tadhkirat alAuliya. Translated by A.J. Arberry. London: Routledge & Kegan Paul. Betz, Hans Dieter. 1992. The Greek Magical Papyri in Translation, Including the Demotic Spells. Chicago: University of Chicago Press. Copenhaver, Brian P. 1995. Hermetica: The Greek Corpus Hermeticum and the Latin Asclepius in a New English Translation, with Notes and Introduction. Cambridge: Cambridge University Press. Guthrie, Kenneth. 1988. The Pythagorean Sourcebook and Library: An Anthology of Ancient Writings which Relate to Pythagoras and Pythagorean Philosophy. Grand Rapids, MI: Phanes Press. Iamblichus. 1988. The Theology of Arithmetic. Translated by Robin Waterfield. Grand Rapids, MI: Phanes Press. Iamblichus. 2003. Iamblichus: On the Mysteries. Translated by Clarke, E., Dillon, J. M., & Hershbell, J. P. Atlanta: Society of Biblical Literature. Iamblichus. 2008. The Life of Pythagoras (Abridged). Translated by Thomas Taylor. Whitefish, MT: Kessinger Publishing. Lichtheim, Miriam. 1973-1980. Ancient Egyptian Literature. Volumes I-III. Berkeley: University of California Press. Litwa, M. David. 2018. Hermetica II. Cambridge: Cambridge University Press. Majercik, Ruth. 1989. The Chaldean Oracles: Text, Translation, and Commentary. Leiden: Brill. Plato. 1997. Plato: Complete Works. Edited by John M. Cooper and D. S. Hutchinson. Indianapolis: Hackett Publishing. Plotinus. 1984-1988. The Enneads. Volumes 1-7. Translated by A.H. Armstrong. Cambridge, Massachusetts: Harvard University Press. Van der Horst, Pieter Willem. 1984. The Fragments of Chaeremon, Egyptian Priest and Stoic Philosopher. Leiden: E.J. Brill.

#mystic egyptian polytheism #resource list #philosophy #neoplatonism #egyptian polytheism #hellenic polytheism #hermeticism

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santoschristos · 4 months ago

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“The world rests as the lotus in the palm of my hand, the cosmos revolves around my finger like a discus. I blow the music of life through my conch and wield my mace to protect all creatures.” – Krishna Upanishad This material world is the dream of Maha-Vishnu. When one imitates Krishna, they enter the dream of material creation. --Srimad Bhagavatam 4.29.83.

Vishnu’s Dream: The Creation of the Cosmos

I. Introduction

In Hindu mythology, Lord Vishnu is one of the principal deities, revered as the preserver and protector of the universe. He embodies the principle of preservation and is essential in the cosmic cycle of creation, preservation, and destruction. The concept of creation holds immense significance in Hinduism, as it illustrates the cyclical nature of existence and the continuous renewal of life.

One of the most fascinating narratives within this context is Vishnu’s dream, which serves as a creative force leading to the birth of the cosmos. This article delves into the various aspects of Vishnu’s dream, exploring the symbolism and implications of this profound mythological theme.

II. The Cosmic Ocean (Kshira Sagara)

The Kshira Sagara, or the Cosmic Ocean, is often described as the primordial ocean from which all creation emerges. This ocean is not merely a body of water; it symbolizes the vast, unmanifest potential from which the universe is born. In Hindu cosmology, the ocean is a representation of the infinite, the formless void, and the source of all existence.

Vishnu’s association with the Kshira Sagara is significant. He is often depicted resting on the serpent Ananta Shesha in this ocean, symbolizing his eternal nature and the tranquillity that precedes creation. The ocean serves as a reminder of the need for balance between chaos and order, a theme prevalent in Hindu philosophy.

III. Vishnu’s Divine Sleep (Yoganidra)

Yoganidra, or divine sleep, is a crucial aspect of Vishnu’s role in creation. During this state, Vishnu enters a deep, transcendental sleep, which is not merely rest but a profound state of cosmic consciousness. This divine sleep represents the potentiality of creation, where all forms and phenomena exist in a latent state.

The implications of Yoganidra in the creation process are significant. It is during this sleep that the universe is conceived in Vishnu’s consciousness, setting the stage for its eventual manifestation. This connection between sleep and the subconscious creation highlights the idea that all creation begins in the mind, emphasizing the power of thought and intention.

Vishnu’s Dream --Mahaboka

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wianes · 6 months ago

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Exploring Griffith's duality symbolism: beyond Light and Dark part 1

My intention was to explore the various contradictions surrounding Griffith's character. These contradictions stem from the narrative itself—what the series conveys, how other characters perceive him, and the underlying allegorical subtexts. This, of course, shouldn't be taken literally. Still, I believe that considering layers from different interdisciplinary fields is a valid and approach.

As a result, I ended up writing quite a lengthy piece about Griffith. Sometimes that happens when the source material and my engagement feel endless.

In Berserk, Griffith holds a central, almost heliocentric position, reflecting the broader universe in his complex nature. My goal is to illustrate that his duality is a recurring theme throughout the narrative, resonating on multiple levels. I plan to illustrate this across different points in the manga.

For technical reasons, I decided to split the topic into two parts. Even though the second part turned out especially long, I hope this work will be to your liking, both for the exploration of Griffith’s character and the cultural elements it touches on.

What drew me to explore this concept is how Berserk presents an intriguing perspective on the interplay of opposing forces. These elements transcend individual characters and shape both societies and the cosmos. The series demonstrates that contradictions extend beyond personal conflict, influencing the natural world and the universe itself. Griffith embodies this complexity, merging the Falcon of Light with the Hawk of Darkness, symbolizing the balance between light and shadow.

As time unfolds, the duality woven into his character becomes increasingly clear through his many actions and intricate interactions. These moments reveal the rich, multifaceted nature of his persona, surrounding him with an air of mystery and adding depth to the story. This ongoing conflict in his character, shown through his decisions, is a key theme throughout the story. While Griffith initially appears innocent, his later choices reveal a more complex individual, combining outward purity with a calculated, methodical approach. From the very beginning, after his first encounter with Guts, it becomes evident that Guts holds two distinct impressions of him.

As the inexorable flow of time continues, Griffith’s complexity invites deeper scrutiny. This becomes particularly evident during his reflective conversation with Judeau. In this exchange, they delve into the core essence of Griffith's character.

Judeau carefully outlines the various instances that illustrate the complexity of understanding Griffith. He doesn’t know the direct answer, even after all the battles they’ve fought together. After observing Griffith closely... Judeau describes him as someone who swings between childish tantrums and a deep seriousness—showing absolute conviction in everything, sometimes to the point of being incomprehensible. Griffith seems to have a gift that feels otherworldly, and this reveals the paradox within him. By now, he has already become both mesmerizing and unsettling. Even someone as observant as Judeau struggles to define him, as Griffith seems to constantly shift between extremes.

He is both terrifying and captivating. Whether he is a hero or a villain seems less important. Judeau notes that, at times, Griffith blurs the line between wise and immature, revealing a mix of human vulnerability and divine purpose. The character remains a mystery, someone whose true nature might never be fully understood. The story emphasizes that, whether he appears good or evil, his most defining trait is his extraordinary essence. This suggests that what truly draws people to him isn't their belief in his goodness, but rather the sense that he is beyond ordinary human experience. There are indeed aspects that go beyond verbal description and manifest themselves in ways that are truly mystical.

Charlotte, too, senses this duality in her view of Griffith.

We can see poeple (especally women) adore him for his grace, which surpasses the elegance of the most refined members of upper social circles. These individuals, who should naturally embody grace—as if chosen by the gods themselves, and also spend their entire lives among peers of similar refinement.

Grace encompasses a range of traits: poise, dignity, aesthetic sense, charm, articulation, fluidity, and lightness in physical movement. It often appears almost supernatural, like the divine figures depicted in art and religion. Heroes and deities show a level of harmony and aesthetic that surpasses human capabilities, suggesting that grace, in its rarity and uniqueness, may have its roots in a higher realm. Yet, even among nobles, Griffith, a commoner, stands out remarkably.

Nonetheless, Charlotte also perceives a certain extremity in this. His divine grace stands in stark contrast to his image as a simple child from the countryside. Children, as we know, can be tactless and unaware of social conventions. They act with little understanding of what is considered appropriate or inappropriate, following their natural instincts. They do what feels pleasant and avoid what feels unpleasant, unburdened by the social constructs that societies have built over centuries.

This contrast becomes especially clear in the hunting scene. Here, Griffith decides to approach the princess who represents his ultimate goal. While the subtle tension of being watched by both allies and enemies is present, he casually plucks leaves from trees and whistles in the presence of the most important woman in the country.

Charlotte perceives Griffith through his fundamental simplicity and naturalness, finding it enchanting. He evokes the carefree spirit of a child wandering through an endless meadow, reminiscent of a butterfly. Griffith embodies straightforwardness, fun, and spontaneity. His innocence stands out against the sophisticated and artificial world around him, which adults have built up over time with learned behaviors and restrictions.

His godlike grace seems otherworldly and reflects an inherent perfection, untouched by mortal clumsiness and heaviness. He expresses beauty, flowing effortlessly with each moment.

In this child-like purity, Griffith reaches the 'source' of an original state of being—something divine, since beyond human again. Childlike and godlike figures exist outside the complex web of human rules and norms, though for different reasons. Griffith’s approach is akin to that of gods and children who often act according to their own will.

From my perspective, Charlotte’s admiration wasn’t due to Griffith's stylized kindness, romanticism, or his services to the country. Nor was it based on his physical attributes. Instead, she was captivated by his genuine nature. His grace, his detachment from conventional desirable behaviors, and his ability to address existential matters with deep conviction stood out. He spoke with inspiration, as if he possessed the breath of a god. And Griffith's purity, rooted in fundamental principles of reality, extended beyond mere gifts.

He seems almost perfectly made, like the gods with all their awareness shaped him with passion and love. Yet, he remains pristine and innocent, driven by unconscious instincts.

During the hunting scene, we get our first glimpse of the intricate interaction between Griffith and Charlotte. She represents his desires and is dressed in a way that reflects the contrasting aspects of his fantasies, showcasing his varying shades.

In the Golden Age arc, this theme is consistently explored around Griffith's character. It appears in moments like his conversation with Guts, which takes on a more abstract and metaphysical context. As we know, Griffith may be interested in this topic since one of his motivations is to uncover the truth about the world.

I will quote Miura’s words to show how his reasoning aligns with Griffith’s perspective. This approach may be crucial for understanding the series and suggests that Griffith’s striking presentation is not insignificant.

“If I used words like ‘god’ and ‘devil,’ the world of my story would become more limited, lacking depth and originality. God and the devil are constructs of human thought. This argument is similar to the chicken and egg paradox: which comes first? The existence of god and the devil reflects human existence.”

Berserk does not follow the structure of modern stories where absolute good prevails. Instead, it closely resembles ancient mythological narratives, where even gods and heroes also commit acts of moral ambiguity. With this in mind, let’s consider some icons from different parts of the world.

Heracles, renowned for his Twelve Labors, once killed his wife Megara and their children in a moment of madness. This event shows that even heroes are capable of tragic violence.

Sigurd, famous for slaying the dragon Fafnir and acquiring his treasure, later betrayed his loved ones. Under the influence of treacherous advice, he killed his friend Regin.

Apollo, the god of art, beauty, and prophecy, was also known to flay people alive in his rage.

Gilgamesh, the builder of Uruk and seeker of immortality, was both a hero and a tyrant. He oppressed his people, illustrating the complex duality in leadership.

Odin, the god of wisdom and war, often used manipulation and led brutal conflicts to achieve his goals. This demonstrates the darker side of divine wisdom.

Zeus, the ruler of the gods, maintained cosmic order but was notorious for violent affairs and betrayals. His actions sparked countless tragedies.

Shiva, the "Destroyer" used extreme measures, sometimes testing the devotion of his followers with harsh trials. This reflects the unpredictable nature of divine power.

Achilles, one of the greatest warriors of the Trojan War, brutally killed Hector and desecrated his body by dragging it behind his chariot.

This emphasizes the savage side of heroism, and I could continue listing more examples like this.

Each of these mythological figures embodies both greatness and cruelty. Their actions challenge the notion of absolute good, leaving morality in a constant state of flux.

Expanding on Miura's quote and Griffith's idea: Deities, in their essence, are neither inherently benevolent nor malevolent. They might choose to favor us or ignore us. This dichotomy, which we refer to as fate or luck, is a fickle force that shapes our lives and influences our perception of the world. Consequently, the fruits of our labor may yield a bountiful harvest or turn our orchards into ashes. This reflects a natural order beyond human control or intervention. We should accept the full spectrum of reality, avoid unnecessary interference, and seize opportunities when they arise. By engaging passively with existence, we might discover a deeper sense of purpose.

In summary, Griffith suggests that what we consider good or evil is not universal; what’s good for one might not be good for another, like how a fish might not see things the same way. Everything is relative; defining good and evil is inherently arbitrary. Moral values are not concrete but abstract by nature, and abstraction requires a mind to abstact it.

This perspective allows Griffith to navigate his complex web of relationships with introspection. He sees a clear divide between those who openly revere him and those who secretly conspire against him. As an exceptional figure, the character evokes strong emotional responses. He attracts both deep admiration and malignant intent. Some people are willing to risk their lives for his cause, believing he can elevate their existence and provide unmatched fulfillment. In contrast, others view him as a serious threat, particularly because of his humble origins and the sweeping reforms he envisions. These changes might marginalize them in the new order he proposes. Thus he is no longer seen as the embodiment of fulfillment, Griffith now represents an element of insecurity.

In the grand theater of observation, whether viewed from a high or low perspective, this complexity makes it challenging to establish fair relationships with him. How can one achieve fairness when some people view him with disdain, while others see him from a perspective akin to that of a frog? Some people smile at him with the intent of taking something from him, while others smile in hopes of gaining something from him. Let's be honest— No one is here because they woke up with the idea of bestowing this young man with a castle. Both factions , fixated on his presence, inadvertently give him a degree of control over the course of their lives.

Moving on to the eclipse, Femto emerges from a form that also carries symbolic meaning related to this theme.

The cosmic egg, a recurring symbol in many mythologies, appears in Greek, Egyptian, Finnish, Buddhist, and Japanese traditions. From the primordial void of non-being, the world came into existence, emerging from a state of pure potential. Hindu sacred texts vividly describe it: "In the beginning, it was without form. It took the shape of an egg, resting in tranquil stillness for a year. When divided, the shell split into two halves: one silver and the other gold. The silver half became the earth, while the golden half turned into the sky. The outer membrane of the egg transformed into mountains, while the inner membrane gave rise to clouds and mist. Rivers formed from the egg’s veins, and its fluid gave birth to the ocean. From this genesis, the sun emerged."

Symbolically, the shell of the cosmic egg represents the universe’s spatial extent, while the latent seed power embodies nature’s boundless energy. This symbol is essential not only for understanding the origins of worlds but also for illustrating the interconnectedness of creation and existence. It represents the duality of the cosmos and the intrinsic potential that drives the ongoing cycle of creation and transformation. By revealing a profound truth, this mythological archetype shows the intricate balance of the universe, with each element playing a crucial role in the grand scheme. The egg’s shell often signifies the external or physical realm, while its inner contents symbolize the internal or spiritual dimensions.

Many mythological traditions depict the cosmic egg as split into two halves: one half representing the Earth and the other representing the sky. This division highlights the dualistic nature of existence, separating the tangible from the celestial. It captures the essence of dualism, revealing the interplay between the material and the immaterial, the manifest and the unmanifest. Different cultures view the cosmic egg through various dualistic lenses, representing unions of male and female principles, light and dark, the divine and earthly, creation and destruction, order and chaos, or birth and death. The egg's role in creation often involves a transformative process, symbolizing the dissolution or transformation of a prior state. Its symbolism blends creation and dissolution, merging corporeal and ethereal elements, thus integrating dualistic principles.

During the eclipse, Femto stands on the palm of the hand, symbolizing the acute union of opposites.

This imagery combines fish and flames, symbolizing mercury and sulfur, respectively. In alchemy, the prominent placement of the fish in the sixth secret sign underscores the importance of the center of the hand, which represents this key element. According to alchemical philosophy, the presence of both mercury and the fish is crucial for achieving substantial results. Mercury (quicksilver) is considered the alpha and omega, acting as a priest who harmonizes all elements. It is believed that all metals originate from the male essence, seed, and water, with mercury playing a central role in all arts and symbolizing the highest of secrets.

The palm of the hand carries additional symbolism in alchemy. The seventh sign of the philosophers is fire, which represents sulfur. Sulfur symbolizes the earth and the origin of all metals. It embodies the feminine principle, nurturing growth and symbolizing the fertile soil needed for seeds to flourish. When pure mercury combines with pure sulfur, it produces pure fruit. This fruit represents the union of man and woman, father and mother, fire and water, and seed and ground. This alchemical marriage brings together opposites to create harmony and perfection, highlighting the transformative power of alchemy. By combining these fundamental principles, one achieves the ultimate creation.

Among the series' quotes, the most beautiful and enigmatic one clearly relates to this motif.

Femto perceives the shadowed aspects within both the external realm and the self. Enlightenment and wisdom come from recognizing how opposing forces naturally interact. It's not just about understanding that the day is good and the night is bad. From the darkness, the essence of illumination emerges, with light and shadow working together as harmonious forces to create profound, unified insight.

Consequently, we see Femto as a demon emerging from the shadows. He has a void-like, murky interior and radiates beams of light from within. Despite the emptiness at the core of his monstrosity, his eyes are imbued with a white light.

To avoid being verbal-only, I should add that, at least during this period in the manga (we don't know what will happen next), Griffith consistently receives symbolism related to harmony and balance, as seen here.

Griffith’s connection to Lord Vishnu is a prime example of rich symbolism. Vishnu is depicted as a deity who blends childlike innocence with the role of a protector, preserving cosmic equilibrium. His armed form symbolizes omnipotence and multifaceted nature. Each of his attributes represents a different aspect of his divine character: creation, preservation, and spiritual liberation.

This is just one example among many in the manga. I have illustrated various scenarios to show how this principle intricately weaves into different aspects of Griffith’s character. It is quite meticulously shown that the theme surrounding Griffith starts to develop at the beginning with Guts's first contemplation about him. This theme will be continued and elaborated upon through the lens of other characters, Griffith himself, symbols, and the visual applications.

I consider this a good point to conclude. I will continue with this topic in the next post, as I have more to discuss on the subject. The next part will focus even more on various synchronizing motifs, concentrating on the concepts from Jungian and Freudian psychoanalysis, as well as European, Chinese, and Hindu religious and philosophical traditions.

On the margins, I want to emphasize that these symbols should not be taken too literally as exact representations. Nevertheless, We can see that their application is quite consistent, deliberate, and inevitable. I don’t believe that understanding the narracy and subtext is unnecessary or completly useless when trying to grasp the author’s intentions.

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tenebrisdivina · 1 year ago

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A bit about Lord Lucifer and Demonic Offices

Disclaimer: The Lord Lucifer I am speaking of here is the Dark Lord- not the roman god or other versions of Him. Also to clarify "Truth" (with capital) in this context means divine truth or like "universal".

Lord Lucifer is often associated with enlightenment- as one of His main “offices” or areas He presides over. And to an extent He is (but also so much more then that.) It’s not enlightenment in the usual sense though (as in similar to Buddhist enlightenment or the realization that all is one and you are god too, so everything is part of you- kind of thing), it’s not external. What Lord Lucifer actually works on is enlightenment of the Self; which is more focused on knowing Thyself. It is focused on the practitioners internal machinations, where that being stands in regards to the cosmos- getting really clear about their power, where and who they are, their Will to Power, self confidence ( that is based from within yourself), personal freedom, developing the self to a “greater level” etc. These kinds of areas. This is why shadow work is something He pushes and encourages- because it helps with this.

There is a tendency in certain spaces I have noticed- to associate a lot of different ideologies with Lord Lucifer. Seemingly whatever the practitioner (connecting with Lucifer) cares about in particular- the ideological “flavor of the week” so to speak is attributed to something Lucifer also “cares” about. And I feel there is a nuanced often missed here. Lord Lucifer Himself is actually rather neutral in regard to these areas. In connecting, working with Him and in developing/healing/“ improving”- said practitioners begin to feel more confident in themselves and their own beliefs and so are more comfortable in recognizing these as truths and potentially “core” beliefs/behaviors in their paradigms. They then seem to attribute that to being because Lucifer cares about a particular topic (and also associating in some ways that the topic in question and the “conclusions” they have about this- must be True). And it’s not so much that He Himself does or even that it is True (it could be, it could also not be), but more so; that in working with Him the practitioners feel better and more confident in themselves and so attribute these (newer/improved) ideologies/behaviors to Him (as something He cares about specifically) and to Truth. It an area of nuance with Him that is often missed. It’s the practitioner Themselves and their growth that concerns Him, not the ideologies they hold.

For an illustrative example to make it a bit clearer; lets say the practitioner in question is an alcoholic and wants to stop and recover or heal from this as an addiction. In working with Lord Lucifer they end up improving and healing- reaching their goal. They then attribute that to Lucifer being against alcohol consumption altogether. And then speak and act from their understanding and “truth” that this is the case. While completely missing the fact that Lucifer Himself is not against alcohol consumption. This is the nuance that is often missed in working with Him and something I felt called to bring attention towards.

And in closing as well, the Offices of the demonic divine Dark Lords and Ladies that are listed in the grimoires- are only a very small aspect of what they truly oversee, in my experience. This may be however because I connect with them as individual god level beings and also on the level that I do, which is not so “catered towards” humans desires. The Demonic divine are more complex beings with lives and existences of Their own outside of just the “function” or “office” that the grimoires give them (this is on all levels not just the outer realms levels I personally connect with). Sometimes what is listed is not even the main thing they are actually associated with. It is perfectly okay if They come across as differently than what has been written down “about” Them.

artist is Yin Zhe

artist is Carlos-Quevedo

#demonic divine #demonolatry #spirit work #dark lord #lord Lucifer #fallen angel Dark Lord #occult #theistic satanism #theistic luciferianism

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kaifougere666 · 1 year ago

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Don't repost my work.

Welcome!

-I don't reply to dms if I don't know you. Unless it's for art trades.

-Not available for commissions, stop asking :]

-When I grow up, I want to illustrate children books, its my dream

DNI:

(DNI image not by me)

I am poly, pan, ace trans and a communist 👍

My alt blog for reblogging things and post things I don't post here is @kai666secretblog

I also post animations on YouTube

https://youtube.com/@KaiFougere666?si=gY90mRedpdsdCPyV

I make a lot of Canon X OC and [self insert]OC x OC here are my current/main crushes

○ Fender Pinwheeler, Loretta Geargrinder (Robots 2005)

○ Raggedy Andy

○ Velvet and Veneer (trolls 3)

○ Joost Klein (the only real man here)

○ Hidden Phantom, Sage Harpuia (Megaman zero)

○ Periwinkle (fairly odd parents)

○ Sebastian solace (pressure)

○ Willy Wonka (catcf)

○ Frank & Len (Ruby Gloom)

○ Snufkin, Joxter, moomintroll (Moomin)

○ Ayezl, Gabriel (My OCs)

○ Sebastian (Stardew valley)

○ Gabriel, Jonah, Adam, Cesar (tmc)

○ Goob (dandy's world)

And here are my comfort characters:

○ Tweek Tweak, Craig Tucker (South Park)

○ Sundrop, Moondrop (Fnaf)

○ Cosmo, Wanda, Dev dimmadome (FOP)

○ Sophia, Vegnini (Lies of P)

○ Jack Walten, Rosemary Walten (Walten files)

○ Charlotte Wiltshire (hello Charlotte)

○ Joxter, Snufkin, Moomintroll, Snorkmaiden, too-ticky, moominmamma (Moomin)

○ Jonah (tmc)

○ Herb Cookie (Crk)

○ Goob (dandy's world)

○ Xie Lian (TGCF)

[Xie Lian is my biggest comfort character]

My lore is edgy and don't make sense! But feel free to ask me about it :D

my OCs and main lore:

[Little lore infos]

Main lore plot

The twist before the finale

Last part before the end

The end

Note: my lore is inspired by a lot of things and certain religions. But, these are my own characters, even though they might be similar to existing divinities they arent them. They are other persons from them ! Also, in my lore, all gods were assigned duties that they didn't choose. There are no good or bad guys here, only guys. (gals and non binary pals too but you get me) also, religion is a blury subject in my lore and it won't be mentioned (I'm not educated enough on the matter anyway)

Excpet if the duty was passed from a family member!~

Momo: 1 (main character)

Lillith: 1

Anasui: 1

Tenshi: 1

Marianne (Mother of Momo) : 1, redemption arc(pt1)

Arie (Marianne's mother) : 1

Morio Amos (father of Momo) : 1

other lore: 1

The gods and the assembly :

Assembly members:

Lodjaý

Blaorne (Deity of death)

Ayezl (goddess of ice): 1, 2, 3, 4, 5

Ezili (goddess of water) : 1

Solaria (goddess of the sun in the milky way) and Lunaria (goddess of the earth's moon) : s, L

Eguillati (goddess of time) : 1

Demetheria (god of nature) : 1

Cerys (Goddess of love) : 1

Supernova, étoile-Azure: 1,

Pele (goddess of earth, fire and lava) : 1

Fujinowa (goddess of the wind) : 1

Anahid (goddess of the moons of Saturn/ mum of lunaria and solaria) : 1

Devil OCs

Leviathan: 1

Belzebuth: 1

Asmodeus: 1

Satan: 1

Azazel: 1

Lucifer: 1

Hades: 1

Luccia: 1

Alexia: 1

Archangel OCs

Lantzel: 1

Anomia: 1

Azalée: 1

Gabriel : 1, 2, 3

Here is my character hub profile if you wanna check it out, it propably will never have all of my characters, but the ones that are there have detailed infos

My second lore, and the one that's the less messy in term of story:

In the heart of time/au cœur du temps: 1

#intro post #pinned post

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talonabraxas · 1 month ago

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Hiranyagarbha - Golden Egg Talon Abraxas The Hiranyagarbha Sukta: The Golden Seed of Creation and Cosmic Order

In Hindu Vedic cosmology, Hiranyagarbha metaphorically represents the universe's creation, symbolized by a "Golden Womb" or "Golden Egg." The Vedas, including the Rigveda, explicitly states that it is all creation's origin. Hiranyagarbha is depicted as a celestial ovum from which the entirety of the universe and all living entities originate. It represents the fundamental substance and sacred origin from which the universe arises. The notion highlights the recurring pattern of the universe, which encompasses the processes of creation, preservation, and dissolution.

The Hiranyagarbha Sukta is a hymn from the Rigveda (RV 10.121) that poetically describes the universe's origin through the concept of the Hiranyagarbha, or "Golden Womb." It provides a metaphysical framework for understanding the creation of the cosmos from a Hindu perspective. Here's a brief explanation of Hiranyagarbha Sukta: The Golden Seed of Creation Understanding the Universe's Beginning

The Hiranyagarbha Sukta uses symbolic and poetic language to describe the origin of the universe, focusing on the following themes:

Unity and Origin: The universe is born from a single, unified source, represented by the golden egg. This symbolizes the potential and the seed of all existence.

Divine Creation: The creation process is not random but guided by divine intelligence, embodying creation and sustenance.

Cosmic Order: Hiranyagarbha is seen as the maintainer of cosmic order, emphasizing the interconnectedness and interdependence of all beings

Significance and Themes

Primordial Creation

The Hiranyagarbha Sukta presents a vision of the universe from a singular, divine source—the golden egg or womb. This concept emphasizes the unity and interconnectedness of all existence.

Divine Authority

Hiranyagarbha is not just the creator but also the sustainer and governor of the cosmos. This highlights the belief in a divine order and authority that permeates the universe, ensuring its balance and harmony.

Cyclical Nature of Time

The golden egg imagery suggests creation, preservation, and dissolution cycles, reflecting the cyclical nature of time and existence in Hindu cosmology.

Symbolism and Metaphor

The hymn's rich symbolism and metaphor allow for a deeper, contemplative understanding of the universe's origins, blending the physical and the metaphysical.

The Hiranyagarbha Sukta offers a profound and eloquent account of the universe's genesis, firmly grounded in Hinduism's profound spiritual and philosophical traditions. The depiction illustrates the cosmos originating from a celestial, gilded womb, highlighting the concepts of oneness, divine supremacy, and the recurring pattern of creation. The hymn ponders the interdependence of all things and the divine powers that uphold them. Verse 1: The Emergence of the Golden Seed (Hiranyagarbha)

hi̠ra̠ṇya̠ga̠rbha-ssama̍varta̠tāgrē̍ bhū̠tasya̍ jā̠taḥ pati̠rēka̍ āsīt ।

sa dā̍dhāra pṛthi̠vī-ndyāmu̠tēmā-ṅkasmai̍ dē̠vāya̍ ha̠viṣā̍ vidhēma ॥ 1

"In the beginning arose the golden seed (Hiranyagarbha); born, he was the sole lord of every creature. He upheld this earth and heaven. Which Lord shall we worship with the offering?"

Hiranyagarbha, the golden seed, is the primordial entity that emerged at the start of creation. This verse highlights his role as the creator and sustainer of the universe. He is recognized as the lord of all beings and upholds the earth and the heavens. The rhetorical question "Which god shall we worship with offering?" implies that no other god is as worthy of worship as Hiranyagarbha.

Verse 2: Bestower of Life and Strength

ya ā̍tma̠dā ba̍la̠dā yasya̠ viśva̍ u̠pāsa̍tē pra̠śiṣa̠ṃ yasya̍ dē̠vāḥ ।

yasya̍ Chā̠yāmṛta̠ṃ yasya̍ mṛ̠tyuḥ kasmai̍ dē̠vāya̍ ha̠viṣā̍ vidhēma ॥ 2

"He bestows the soul force and vigour upon his call, and all, even gods, approach. His shadow is immortality; death is also his shadow. Which Lord shall we worship with the offering?"

Hiranyagarbha is the giver of life force (atmada) and strength (balada). All beings, including the gods, revere and approach him. He embodies the dual aspects of existence: immortality and death. This verse emphasizes his supreme power and the essential nature of his being, suggesting that he is the ultimate deity worthy of worship.

Verse 3: Sovereign Ruler of All Beings

yaḥ prā̍ṇa̠tō ni̍miṣa̠tō ma̍hi̠tvaika̠ idrājā̠ jaga̍tō ba̠bhūva̍ ।

ya īśē̍ a̠sya dvi̠pada̠śchatu̍ṣpada̠ḥ kasmai̍ dē̠vāya̍ ha̠viṣā̍ vidhēma ॥ 3

"In this Universe, he by his greatness becomes the sole king of the breathing and seeing. He is the lord of all beings with two states and four. Which Lord shall we worship with the offering?"

Hiranyagarbha is portrayed as the sovereign ruler of all living beings, those who breathe and see. He governs all creatures, both bipeds (humans) and quadrupeds (animals). His greatness makes him the sole king of the universe. This verse underscores his omnipotence and the universal scope of his rule, reinforcing that he is the only deity worthy of worship with offerings.

Verse 4: Creator of Mountains and Oceans

yasyē̠mē hi̠mava̍ntō mahi̠tvā yasya̍ samu̠draṃ ra̠sayā̍ sa̠hāhuḥ ।

yasyē̠māḥ pra̠diśō̠ yasya̍ bā̠hū kasmai̍ dē̠vāya̍ ha̠viṣā̍ vidhēma ॥ 4

"These snowy mountains arose through his greatness. They call the oceans and their essence as his. These quarters are his arms. Which Lord shall we worship with the offering?"

This verse emphasizes the vastness and power of Hiranyagarbha, whose greatness manifests in the creation of snowy mountains and oceans. The quarters or directions are metaphorically described as his arms, indicating his omnipresence and control over all regions of the earth.

Verse 5: Supporter of Heaven and Earth

yēna̠ dyauru̠grā pṛ̍thi̠vī cha̍ dṛ̠ḻhā yēna̠ sva̍-sstabhi̠taṃ yēna̠ nāka̍ḥ ।

yō a̠ntari̍kṣē̠ raja̍sō vi̠māna̠ḥ kasmai̍ dē̠vāya̍ ha̠viṣā̍ vidhēma ॥ 5

"Through him heaven is forceful and earth firm; He supported the world of Light (svah) and heaven (naka). He is the measurer of the region of the midworld. Which Lord shall we worship with the offering?"

Hiranyagarbha is the force that strengthens the heavens and stabilizes the earth. He upholds the world of light and the higher heavens, acting as the measurer and regulator of the cosmic regions. This verse highlights his crucial role in maintaining cosmic order.

Verse 6: Stabilizer of the Universe

ya-ṅkranda̍sī̠ ava̍sā tastabhā̠nē a̠bhyaikṣē̍tā̠-mmana̍sā̠ rēja̍mānē ।

yatrādhi̠ sūra̠ udi̍tō vi̠bhāti̠ kasmai̍ dē̠vāya̍ ha̠viṣā̍ vidhēma ॥ 6

"He who propped up the heavens and the earth, beholding them with his mind as they trembled. Where the risen sun brightly shines, which Lord shall we worship with offering?"

This verse portrays Hiranyagarbha as the supporter of the heavens and the earth, stabilizing them with his power. His gaze encompasses the entire universe, and the sun's rising symbolizes his sustaining energy and presence. It again poses the rhetorical question of which deity deserves worship.

Verse 7: Progenitor of Agni and Divine Life

āpō̍ ha̠ yadbṛ̍ha̠tīrviśva̠māya̠-ngarbha̠-ndadhā̍nā ja̠naya̍ntīra̠gnim ।

tatō̍ dē̠vānā̠ṃ sama̍varta̠tāsu̠rēka̠ḥ kasmai̍ dē̠vāya̍ ha̠viṣā̍ vidhēma ॥ 7

"When the mighty Waters enveloped the universe, bearing the child in birth and gave birth to Agni, then (Prajapati), the sole breath of the Gods, arose. Which Lord shall we worship with the offering?"

In the primordial waters, Hiranyagarbha bore and gave birth to Agni, the fire god. This event marks Prajapati's emergence, the gods' sole breath, signifying the origin of divine life. The verse underscores his role as the creator and sustainer of the divine and natural orders.

Verse 8: Creator of Sacrifice and Supreme God

yaśchi̠dāpō̍ mahi̠nā pa̠ryapa̍śya̠ddakṣa̠-ndadhā̍nā ja̠naya̍ntīrya̠jñam ।

yō dē̠vēṣvidhi̍ dē̠va ēka̠ āsī̠tkasmai̍ dē̠vāya̍ ha̠viṣā̍ vidhēma ॥ 8

"He in his might beheld energies (waters), bearing discernment and gave birth to Yajna. He was the sole God above all the Gods. Which God shall we worship with the offering?"

Hiranyagarbha might perceive the waters' energies, giving rise to discernment and Yajna (sacrifice). He is recognized as the supreme god above all others, highlighting his singular divinity and role in the inception of sacrificial (Yajna) rituals, a cornerstone of Vedic worship.

Verse 9: Protector and Creator of Heaven and Earth

mā nō̍ hiṃsījjani̠tā yaḥ pṛ̍thi̠vyā yō vā̠ diva̍ṃ sa̠tyadha̍rmā ja̠jāna̍ ।

yaśchā̠paścha̠ndrā bṛ̍ha̠tīrja̠jāna̠ kasmai̍ dē̠vāya̍ ha̠viṣā̍ vidhēma ॥ 9

"May he who is the father of earth protect us. He created heaven, and his law of being is Truth. He created the great, delightful Waters. Which god shall we worship with the offering?"

The hymn seeks protection from Hiranyagarbha, acknowledging him as the earth's father and heaven's creator. His being is rooted in truth, and he is the creator of the great and delightful waters. This verse emphasizes his role as the universe's protector and foundational force.

Verse 10: Prajapati: The Supreme Creator and Fulfillment of Desires

prajā̍patē̠ na tvadē̠tānya̠nyō viśvā̍ jā̠tāni̠ pari̠ tā ba̍bhūva ।

yatkā̍māstē juhu̠mastannō̍ astu va̠yaṃ syā̍ma̠ pata̍yō rayī̠ṇām ॥ 10

"O Prajapati, none other than you has given existence to all these beings. That object of our desires for which we call you may be ours. May we become the masters of felicities?"

Hiranyagarbha is addressed as Prajapati, the lord of all creatures, who alone has brought all beings into existence. The verse is a prayer for the fulfilment of desires and for attaining prosperity and happiness through his blessings. It acknowledges his unique role as the creator and sustainer of all life.

The Hiranyagarbha Sukta extols the cosmic golden seed as the source and sustainer of the universe, seeking his favour and blessings through reverent hymns and offerings. The verses highlight his paramount importance in creation, his role as the life-giver, and his control over all aspects of existence, culminating in a prayer for protection, fulfilment of desires, and prosperity.

The Hiranyagarbha Sukta provides a rich and poetic depiction of the universe's creation from the Hindu cosmology perspective. Each verse emphasizes Hiranyagarbha's role as the cosmos' supreme creator, sustainer, and ruler. Through symbolic language and profound metaphors, the hymn captures the essence of the divine origin and ongoing maintenance of the universe, reflecting the profound spiritual insights of the Vedic tradition.

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