mirrored file at http://SaturnianCosmology.Org/ For complete access to all the files of this collection see http://SaturnianCosmology.org/search.php ========================================================== [1]homepage [2]personal web page Marinus Anthony van der Sluijs [3]MAVANDERSLUIJS at HETNET.NL THE PROTOMYTH _ _ THE ARCHETYPAL MYTH There is no definite number of actors, as the identification of actors is a first form of _interpretation_ of the protomyth itself. The protomyth is a sequence of events occurring in the relative position and appearance of a number of bodies. How exactly the actors are defined is, indeed, a matter of free definition. If actors are defined as `centres of autonomous activity' three actors dominate the scene and a number of minor actors play in the background. These actors come to be the gods in mythico-religious language. These three entities basically have an orb-like appearance. They differ in colour and size. Initially they are superimposed on top of each other, the smaller ones being placed over or on top of the larger ones. This primeval conjunction is associated with stability, peace and origin. The largest orb is the Father-King, the middle-sized orb is the Mother Goddess, and the smallest orb is the Hero. The assignment of masculine and feminine gender to the primeval apparition occurs once more on the level of interpretation and is not inherent to the protomyth itself. Yet this primitive distribution of gender is universally agreed upon. In our essay _the enclosing goddess_ it will become clear why the Mother Goddess is systematically identified as the larger body than the Hero. The protomyth is the narrative of how this primeval constellation came to be distorted. The dislodgement of the two smaller bodies, and their subsequent return to their original places, both events being associated with complex concomitant phenomena, becomes the nucleus of the mythical story. The protomyth, and in its train _every _myth is thus in its simplest form a story of _conjunction and disjunction_. _I: CONJUNCTION_ _o _ _The Father-King, the Mother Goddess and the Hero are in conjunction. They form the centre of the `world'._ _o The form of the Father-King is either undetermined, he being an amorphous `cloud', or he is identified with a little winding tail attached to a central luminous orb of whitish or yellowish appearance._ _o The Mother Goddess is the central luminous orb of whitish or yellowish appearance. At various stages different numbers of tentacles or `arms' are seen emanating from her body and two wings are attached as well._ _o The Hero is a small red orb enclosed by the orb of the Mother Goddess._ _II: INCREASING ACTIVITY_ _o _ _The little appendage attached to the Mother Goddess begins to grow and wraps itself around the orb of the Mother Goddess._ o As this happens, the light eradiating from the Mother Goddess is gradually diminished until darkness prevails in the constellation. o The tail has a watery, streaming appearance and looks fragmented as well, as if composed of hordes of smaller units and particles. Seven smaller bodies are included in it. III: THE TEMPORARY REST _o This situation continues for an undetermined span of time, demarcating a temporary period of rest or preparation for the `battle'._ IV: DISJUNCTION _o The Hero initiates turbulent movements in the interior and causes disturbance and damage to the bond surrounding the Mother Goddess._ _o This goes on until the bond is broken and the Hero and the Mother Goddess issue forth._ _o While this takes place, an influx of light is seen and the impression of an outburst of fire is given._ _ _ _o The bond is broken to the south or the below and the Hero who is encapsulated in the Mother Goddess bursts forth to the south or the below and descends along the Axis Mundi._ _o While this happens, the Hero is all the time encapsulated by the Mother Goddess, who moves with him._ _o The Hero is followed by a stream of watery, streaming appearance which also gives the impression of being composed of hordes of smaller units. This stream is part of the former bond._ _o The stream is tinged blood-red or fiery under the influence of the fiery colour surrounding the Hero. Seven tailed orbs are part of it._ _o Where the Hero reaches the bottom of the body of the Father-King, the bodies of the Hero and the Mother Goddess separate, the Mother Goddess remaining at her spot and returning to her station, and the Hero still descending._ _ _ _o When the Hero has reached his deepest point along the Axis Mundi he turns back and ascends along the Axis Mundi._ _o When the Hero reaches the Father-King he enters into the centre and the broken bond is restored._ o Meanwhile the stream has stabilised along the Axis Mundi and functions as a virtual prop upholding the Father-King. It is almost preposterous to believe that such a simple yet strange order of events, answering to nothing in the natural world, would lie at the basis of every myth, every rite, every symbol in traditional human culture. Precisely this is what we claim to be the truth, however. Our contention that the primary subject of myth is _the sequence of a former conjunction and a later disjunction_ is the final blow to Briffault's sublime explanation of mythology. It has been Briffault's inestimable contribution to the science of mythology to show the prominence of femininity in archaic mythology and society. We will leave aside Briffault's proposal to regard the moon as the prototype of all gods and the connection between the moon and the female sex as the beginning of religion[4][1]. The main objection to Briffault's cogent argument is, as we see it, _the transfer of the rivalry between the female and the male sex from inner-mythological circumstances to human society._ In Briffault's scenario, the sex of the moon is an irrelevant datum, the moon variously being identified as a man or a woman, due to the prevalence of either one of these sexes in human society itself - and this prevalence is always dictated by the supposed universal shift from a primordial matriarchy to a younger patriarchy. Now, although it would be unwise to deny the existence of such a shift from matriarchy to patriarchy in the history of the human race, this is no argument to eliminate the rivalry between the two sexes from the books of mythology themselves. Briffault overlooked or underestimated the principal role of the interaction between the masculine and the feminine principles in mythology. Apart from the metaphorical significance of the lunar cycle there is no `stuff of myth' in Briffault's scenario and that is the failure in his theory. The woman is a woman who dies and is resurrected with the moon cycle and who governs moisture and magic, so far so good. But what to think of the woman's fundamental role as _container_? In mythology, the `lunar' aspects of the goddess are certainly of great import, but they shrink in significance when compared to the `enclosing' aspects of the goddess. The notion of the Mother Goddess as the primeval container is the central tenet of myth and the real key to an unlocking of the past. In our essay on `the enclosing goddess' an enumeration of the goddess' container-metaphors is given. In the theory unfolded here the conjunction and subsequent disjunction of the male and the female principles is the central motif of mythology, the conjunction being brought about by the Mother Goddess as container and encloser, the disjunction by the Mother Goddess as emitter or disgorger of the Hero. This event is of momentous importance in our study. In short, the woman's basic role in myth is not only determined by her function as progenitor, but by her double function as container in the first place and progenitor in the second place. The protomyth is in its very essence the myth of the Mother Goddess and the Hero, who are at first in conjunction and then come to be disjuncted[5][2]. The dissocation of the Hero and the Goddess, and redundantly, the subsequent reunion, is the grand central theme of myth, sometimes readily apparent at the surface of the myth, but often hidden under a wealth of obscuring metaphors. See how this basic theme pervades the seven dominating themes of Heroic mythology: o the Hero's birth cycle: The Hero was in the womb of the Mother Goddess, and was born under miraculous circumstances. o the Hero's death cycle: The Hero was interred in the earth, in a tomb or in another form of the Mother Goddess, and came forth from this place after his resurrection reborn. o the Hero's dragon combat: The Hero was swallowed by his opponent, but slew the dragon and came forth from the belly. o the Hero's creation cycle: The Hero was present in the cosmic egg or another form of the Mother Goddess, broke the egg shell, thus separating sky and earth, and started to create the world. o the Hero's flood cycle: The Hero resided within a vessel or another form of the Mother Goddess during the deluge, and came forth from it after the waters had retreated. o the culture Hero: The Hero dwelled for a while on the earth or another form of the Mother Goddess, teaching the arts and initiating culture, and left the place after a certain time. o the storm god: The Hero dwelled a certain time in the interior of the clouds, to suddenly burst forth and descend in the rain and amid the lightning as a thunderstone. Although this comparison may seem somewhat arbitrary to the newcomer, it is corroborated in all its minutest details, as is abundantly shown in my forthcoming essays on the life of the Hero. One of these details is the role of a stream of water, surrounding the Hero's maternal enclosure at the moment of disjunction: o the Hero's birth cycle: The Hero is born amid a stream of water, or he is exposed on a river at birth, being placed in a container. o the Hero's death cycle: The Hero died by drowning in a stream of water, or the dead soul has to cross the river of death. o the Hero's dragon combat: The Hero's opponent lived in a sea or river, swallowed all the waters of the world and issued these waters or a stream of blood when the Hero cut him open. o the Hero's creation cycle: The Hero floats or flies over the primeval waters before creation and the irrigation of the waters is one of his main acts as creator. o the Hero's flood cycle: The Hero's vessel is surrounded by the waters of the flood. o the culture Hero: The Hero leaves his former habitat in a vessel over the sea or a river. o the storm god: The Hero descends to earth amid showers of rain and hail. The Hero's acquisition of a shining garment; his sojourn in the belly of a monster; his sojourn in the womb of his mother; his sojourn in the tomb; his love-affair and marriage; the treasure he finds; the journey over the seas in a vessel - all these themes centre around the conjunction of the Hero and the Goddess. The Hero's birth, his rise from the tomb, his disgorgement from the dragon, his shipwreck, the loss of his lover, the loss of his treasure, the loss of his clothes, his rejuvenation by the sloughing of his skin, his expulsion from the place where he lived, and all sorts of mutilations befalling him are the disguises of the myth of subsequent disjunction. Similar comparisons can be multiplied by the hundreds with the greatest ease, and the protomyth can directly be reconstructed from a strictly structural comparison of the myths themselves. OVERCAPACITY OF THE THEORY This explanatory power of the protomyth is at the same time the strength of the theory and its _weakness_. The potential of the model is so huge, due to the general character of the pattern `conjunction and disjunction' and the complicated forms adopted by actors in the protomyth, that it sometimes appears as if any given story can be explained from the protomyth. Even _random stories_, which are originally invented, often naturally fall within the model prescribed by the protomyth. Witness the scenario of the recently released movie _The Man in the Iron Mask_: the king intends to put his twin brother to death, but is prevented from doing so by the three musketeers. Here is clearly recognisable the conflict between the Heroic twins and the helping role of a triple being. Was the writer of the script preoccupied with mythology or do we have a clear case of coincidence? There are several ways to go with this. If the protomyth is explained as the natural outcome of an inner-psychological phenomenon, as psycho-analysts are accustomed to do, and as is exemplified in the entire oeuvre of Joseph Campbell, there are no problems and it is only to be expected that `arbitrary' stories fit in the same patterns as the traditional tales. In any other explanation scheme, on the other hand, such as the theory of natural metaphorism, the conclusion is startling. Is the human mind to such an extent conditioned by the traditional structure of stories that it is hardly capable anymore of inventing any stories that are not moulded in this form? Or is the protomyth too broadly defined, capable of including all thinkable stories? We leave it for the reader to decide this for himself. THE METAPHORIC EXPRESSIONS OF THE PROTOMYTH _ _ The following is a more detailed retelling of the protomyth, in which the archetypal actors and actions are identified with the symbols and metaphors with which they appear in the mythical record; in other words this document connects the surface of myth with the archetypal origins. The archetypes are referred to between brackets. _ _ _I: CONJUNCTION_ The protomyth takes place in cosmic space and cosmic time: o Cosmic space is defined by the symbolism of the centre. The stage of the age of the gods was the centre of the universe and the entire universe at once. In astronomical metaphors the principle of the centre translates into the north pole of the sky as the point of reference. o Cosmic time is defined by a transition from darkness to light. This transition is reflected metaphorically as the creation of the first light; the transition from Winter to Spring or Summer; and the transition from night to day. In this environment of time and space is located a triple conjunction, consisting of the Father-King in the background, the Goddess on the surface, and the Hero on the surface of the Goddess. A number of basic qualities of these gods derives directly from the sketched position in time and space (_north god_, _north goddess_, _polar god_, _polar goddess_, _sky god_, _sky goddess_, _central god_, _central goddess_, _unmoved god_, _unmoved goddess_, _sitting god_, _sitting goddess_, _impeller_, _darkness god_, _darkness goddess_). In correlation with the original presence of all three bodies in the configuration, all three gods are equally endowed with the following notions: o the god has always existed (_immortal god_, _immortal goddess_) o the god is never born (_unborn god_,_unborn goddess_) o the god was the first being or person (_ancestor_, _ancestress_) o the god was the only being in the universe (_only god_, _lonely god_) o the god was the parent of all other gods (_emanating god_) o the god has initiated creation (_creator_, _creatrix_) o the god stands at the head of the pantheon (_main god_, _main goddess_) The Father-King had the form of an amorphous cloud with a watery appearance, gradually condensating into a little winding tail. This tail is going to play the part of the _enclosure_ and partially of the _Axis Mundi_ in the following stages. The Goddess had the form of a shining orb of a white-yellowish colour (_circular goddess_, _light goddess_, _shining goddess_, _yellow goddess_, _golden goddess_, _white goddess_). The Hero had the form of a shining orb of a bright red colour (_circular god_, _red god_, _fire god_, _shining god_, _blood god_). The Hero's minute form identified him as an insect, another small animal, a dwarf, or a child (_child_, _dwarf_, _insect god_, _mouse god_, _parasite_, _young god_). There are no strong signs that the Goddess and the Hero were not already present in the initial stages of the configuration. The conjunction of the Father-King and the Goddess is described in familial terms as that of marriage (_marriage_), daughtership or sistership (_daughter_, _sister_), or as that of an essential identity (_androgynous god_), or in terms of a bodily relationship, the Goddess representing a specific organ of the Father-King's body. The metaphors used to describe this are included in the following listing of metaphors describing the conjunction of the Goddess and the Hero. Although the roles of the Hero and the Father-King are defined by the protomyth, the delineation between the one and the other is essentially a matter of arbitrary choice. The conjunction of the Father-King and the Hero is described in the following metaphors (and between brackets is added the role of the minor attendants): o paternity the Father-King is the father of the Hero (_father_, _son_) or the uncle, the notion of uncle being derived from strictly matriarchal family institutions (the Hero has a number of brothers) o twinship or brotherhood the Father-King and the Hero are brothers or twins (_twin god_) (the Hero has a number of brothers) o friendship the Father-King and the Hero are friends or companions (_friend_) (the Hero has other friends) o host and guest the Father-King is host and the Hero is guest (_guest_) (there are other guests) o servitude the Father-King is king or lord and the Hero is servant (_servant_, _king_) or usurper (_usurper_) (the king has more subjugated citizens) o duel or combat the Father-King and the Hero are engaged in a contest (_duellist_, _combattant_) (both are joined by followers) The conjunction of the Goddess and the Hero must be not seen as static, but as dynamic. In its original form the conjunction was part of a second conjunction with the Father-King, but in a later phase it moved away from the Father-King, the Hero still residing in the Goddess. This `moving conjunction' has received the following metaphorical renditions, in which the Father-King serves as the microcosmic background (primeval body) or macrocosmic background (cosmos) of the Goddess' form: _FUNCTIONAL METAPHORS_ o enclosure the Goddess is an enclosure, the Hero resides within the enclosure (_enclosing goddess_, _enclosed god_) o vehicle the Goddess carries the Hero (`_carried goddess'_, _carried god_) o androgyny the Goddess and the Hero are one organic being, which is bisexual, hermaphrodite or androgynous (_androgynous god_) o rescue the Goddess is rescued and removed by the Hero (_goddess' saver_, _saved goddess_) o marriage or sex the Goddess and the Hero are married or have a dalliance (_marriage_, _adulterous god_, _adulterous goddess_, _sex_, _incest_) o rape the Goddess is kidnapped and raped by the Hero (_goddess' raper_, _raped goddess_) o dance the Goddess and the Hero dance (_dancing god_, _dancing goddess_) o ploughing the Hero ploughs the Goddess (_ploughing god_, _plough goddess_) o writing the Hero inscribes or writes on the Goddess (_writing god_) o eating the Goddess is eaten by the Hero or the Hero is eaten on the goddess (_glutton_, _food god_, _food goddess_, _eaten god_, _eaten goddess_, _cannibal_) FORMAL METAPHORS _celestial forms_ o star the Goddess is a star, the Hero resides on the star (_star god_, _star goddess_) o planet the Goddess is the planet Venus, the Hero is the planet Mars, Saturn, Jupiter or Mercury (_planet Venus_, _planet Saturn_,_planet Mars_, _planet Mercury_) o moon the Goddess is the moon, the Hero resides on the moon (_moon god_, _moon goddess_) _atmospherical forms_ o sun the Goddess is the sun, the Hero resides on the sun (_sun god_, _sun goddess_) o cloud the Goddess is a cloud, the Hero resides in the cloud (_cloud god_, _cloud goddess_) o day the Goddess is the `day', the Hero brings the day (_day god_, _day goddess_, _dawn goddess_, _dawn god_) o light the Goddess is the light, the Hero brings the light (_light god_, _light goddess_) _geographical forms_ o stone the Goddess is a rock or stone, the Hero resides in the stone (_stone god_, _stone goddess_) o island the Goddess is an island, the Hero resides on the island (_island god_, _island goddess_) o earth the Goddess is the earth or a cave in the earth, the Hero resides on the earth or in a cave on the earth (_earth god_, _cave god_, _earth goddess_, _cave goddess_) o gemstone the Goddess is a gemstone, the Hero resides in the gemstone (_gemstone god_, _gemstone goddess_) o fire the Goddess is a fire or flame, the Hero kindles the fire and resides in the fire (_fire god_, _fire goddess_, _hearth goddess_) o halo the Goddess is a halo, the Hero resides in the halo (_halo god_, _halo goddess_) o thicket the Goddess is a thicket or bush, the Hero resides in the thicket (_thicket god_, _thicket goddess_) _plant forms_ o garden the Goddess is a garden, the Hero resides in the garden [this is a subfunction of the earth] (_garden god_, _garden goddess_) o flower the Goddess is a flower, the Hero resides in the flower (_flower god_, _flower goddess_) o gourd the Goddess is a gourd, the Hero resides in the gourd (_gourd god_, _gourd goddess_) o nut the Goddess is a nut, the Hero resides in the nut (_nut god_, _nut goddess_) o fruit the Goddess is a fruit, the Hero resides in the fruit, often as the pit or seed (_fruit god_, _fruit goddess_) _animal forms_ o dragon the Goddess is a dragon, the Hero is swallowed by the dragon or rides the dragon (_swallowed god_) o bird and egg the Goddess is a bird or an egg, the Hero is the egg or resides in the egg (_bird god_, _bird goddess_, _egg god_, _egg goddess_) o bee the Goddess is a bee queen, the Hero resides in the bee or the Goddess is a beehive and the Hero a bee (_bee god_, _bee goddess_) o butterfly the Goddess is a butterfly, the Hero resides in the butterfly (_butterfly god_, _butterfly goddess_) o shell the Goddess is a shell, the Hero resides in the shell (_shell god_, _shell goddess_) o frog the Goddess is a frog, the Hero resides in the frog (_frog god_, _frog goddess_) _body parts_ o womb the Goddess is a womb, the Hero resides in a womb and is born from there (_womb god_, _womb goddess_, _mother goddess_, _birth goddess_, _fertility goddess_, _birth god_) o heart the Goddess is a heart, the Hero resides in the heart (_heart god_, _heart goddess_) o eye the Goddess is an eye, the Hero resides in the eye (_eye god_, _eye goddess_) o navel the Goddess is a navel, the Hero resides in the navel (_navel god_, _navel goddess_) o head the Goddess is a head, the Hero resides in the head (_head god_, _head goddess_) o hand the Goddess is a hand, the Hero resides on or in the hand (_hand god_, _hand goddess_) o breast the Goddess is a breast, the Hero resides at or in the breast (_breast god_, _breast goddess_, _suckling god_, _nurturing goddess_) o lap the Goddess is a lap, the Hero resides on the lap (_lap god_, _lap goddess_) o soul the Goddess is a soul, the Hero resides in the soul (_soul god_, _soul goddess_) _habitat forms_ o city the Goddess is a city, the Hero resides in the city (_city god_, _city goddess_)__ o palace the Goddess is a palace, the Hero resides in the palace (_palace god_, _palace goddess_) o temple the Goddess is a temple or sanctuary, the Hero resides in the temple (_temple god_, _temple goddess_) o altar the Goddess is an altar, the Hero resides on the altar (_altar god_, _altar goddess_) o platform the Goddess is a platform, the Hero resides on the platform (_platform god_, _platform goddess_) o house the Goddess is a house, hut or tent, the Hero resides in the dwelling (_house god_, _house goddess_) o wall the Goddess is a wall, the Hero resides within the walls (_wall god_, _wall goddess_) _dressing forms_ o crown the Goddess is a crown, the Hero resides in or under the crown (_crown god_, _crown goddess_) o belt the Goddess is a belt, the Hero wears the belt (_belt god_, _belt goddess_) o wreath the Goddess is a wreath, the Hero is wreathed (_wreath god_, _wreath goddess_) o ring the Goddess is a ring, the Hero wears the ring (_ring god_, _ring goddess_) o garment the Goddess is a garment, cloak or apron, the Hero wears the garment (_garment god_, _garment goddess_, _naked god_, _naked goddess_, _travestite_) o shield the Goddess is a shield, the Hero carries the shield (_shield god_, _shield goddess_) o helmet the Goddess is a helmet, the Hero wears the helmet (_helmet god_, _helmet goddess_) o headdress the Goddess is hat, cap or headdress, the Hero wears the headdress (_hat god_, _hat goddess_, _cap god_, _cap goddess_) o fan the Goddess is a fan, the Hero carries the fan (_fan god_, _fan goddess_) o feather the Goddess is a feather, the Hero wears the feather on his head (_feather god_, _feather goddess_) _supporting or transporting forms_ o cradle the Goddess is a cradle, the Hero resides in the cradle (_cradle god_, _cradle goddess_) o coffin the Goddess is a coffin or chest, the Hero resides in the coffin (_chest god_, _chest goddess_, _coffin god_, _coffin goddess_) o tomb the Goddess is a tomb, the Hero resides in the tomb (_tomb god_, _tomb goddess_) o throne the Goddess is a throne, the Hero sits on the throne (_throne god_, _throne goddess_) o ship the Goddess is a ship, the Hero resides in the ship (_ship god_, _ship goddess_) o chariot the Goddess is a chariot or wheel, the Hero rides the chariot or wheel (_charioteer_, _wheel god_, _wheel goddess_) o bird the Goddess is a bird, the Hero resides in the beak or belly of the bird, under the bird or on top of the bird (_bird god_, _bird goddess_) o fish the Goddess is a fish, the Hero resides in the belly of the fish or on top of the fish (_fish god_, _fish goddess_) o other animals the Goddess is an animal, the Hero resides in the belly or on the back of the animal _receptive tools_ o band the Goddess is a band, the Hero resides in the band (_band god_, _band goddess_) o rope and noose the Goddess is a rope, noose or net, the Hero resides in the rope, noose or net (_rope god_, _rope goddess_, _noose god_, _noose goddess_, _net goddess_) o knot the Goddess is a knot, the Hero resides in the knot or at the knot (_knot god_, _knot goddess_) o plate the Goddess is a plate, the Hero resides on the plate (_plate god_, _plate goddess_) o jar the Goddess is a jar, cup, goblet, mug, vase, pot, or other receptacle, the Hero resides in the jar (_jar god_, _jar goddess_) o basket the Goddess is a basket, the Hero resides in the basket (_basket god_, _basket goddess_) o kettle the Goddess is a kettle, the Hero resides in the kettle (_kettle god_, _kettle goddess_) o disc the Goddess is a disc, the Hero resides on the disc (_disc god_, _disc goddess_) o mirror the Goddess is a mirror, the Hero holds the mirror (_mirror god_, _mirror goddess_) _animal forms_ _ _ o wolf or dog the Goddess and the Hero are canine gods (_canine god_, _canine goddess_) o bear the Goddess and the Hero are bears (_bear goddess_, _bear god_) o ram and sheep the Goddess and the Hero are ram and sheep (_ram god_, _ram goddess_, _sheep god_, _sheep goddess_) o goat the Goddess and the Hero are goats (_goat god_, _goat goddess_) o lion, tiger or cat the Goddess and the Hero are feline gods (_feline god_, _feline goddess_) o horse the Goddess and the Hero are horses (_horse god_, _horse goddess_) o boar and pig the Goddess and the Hero are boar and pig (_boar_, _pig goddess_ _II: INCREASING ACTIVITY_ The events following on the initial conjunction do no introduce any new metaphors, but are the consequences of the already adopted metaphors. If the Hero is a child in the womb, the next episode is birth; if the Hero is a man sailing in a ship, the next episode is shipwreck; or if the Hero has a garment, he loses his garment in the next episode. The form of the Hero himself does not essentially change (apart from the appearance of a scar on his surface), only the Goddess and the Father-King change in appearance. First the spiral representing the Father-King wraps itself around the Goddess and comes to form a circle around her. As a result, the Goddess and the Father-King become functionally indistinguishable. Due to the circular enclosure, the Goddess begins to emit an alternating number of streamers. The light gradually diminishes until virtual darkness prevails. The following stages must be distinguished in the emission of the Goddess' streamers: o The Goddess started to glow and took on a golden or greenish hue (_golden goddess_, _green goddess_), colours that also dyed the orb of the Hero (_golden god_, _green god_). o The circle around the Goddess took an oval form (_egg goddess_, _egg god_). o A triangle appeared (_triangle_), that changed into three arms (_three arms_), giving rise to the idea of the Goddess or the Hero as a threefold god or goddess of some kind (_triple goddess_, _triple god_). The triangle evoked the image of a vulva and strengthened the idea of the Goddess as a mother goddess (_vulva goddess_, _vulva god_). o After a short-timed four-angled form, four arms appeared, being issued from the Goddess (_four arms_). The four arms gave rise to a large number of metaphors: a four-pointed star (_four-pointed star_), a spoked wheel, rivers, limbs (_four arms_, _four legs_, _four limbs_), winds, pillars, breasts and the milk streams issuing from these, faces or persons (_four slaves_, _four attendants_, _four sons_), eyes or streams of arrows. The wheel came to be surrounded by the enclosing band of the Goddess. o A five-fold form appeared next (_pentagram_). o The number of arms increased, first up to eight (_eight arms_) and then up to an uncountable amount (_many arms_). The metaphors used to describe the streamers merge fluently into the metaphors used to describe the Goddess in general and have influenced the selection of metaphors fit to describe the Goddess, especially the metaphors of the flower, the gemstone, the crown, and the fire. The streamers seemed also to have appeared as the body of the Hero or the Goddess which was torn apart (_dismembered god_, _dismembered goddess_). A crescent appeared, which must have been part of the body of the Goddess, as all crescentine symbols are interchangeable with the Goddess: the crescent was probably produced by the Hero shifting downward from his polar station, the orb surrounding him appearing as an inverted crescent[6][3]. Hence the same metaphors are found to describe this crescent and the Goddess: a moon, horns (_cow goddess_, _bull god_, _horned goddess_, _horned god_), a ship, outstretched arms (_arm goddess_, _arm god_), wings (_winged goddess_, _winged god_), a cup or vessel, or two separate beings (_twin god_) or two faces of the god (_two faces_). Or the crescent was seen as the tool of the Hero (_scythe god_) or as the two halves of a broken egg, or as a kettle in which the Hero and the Goddess boiled. III: THE TEMPORARY REST At this juncture a period of relative stability passed, during which the Hero and the Goddess were still enveloped by the coils of the Father-King and darkness prevailed in the centre. This period of rest is characterised as: o The god is or gods are waiting (_waiting god_). o The god is or gods are resting (_resting god_). o The god is or gods are sleeping (_sleeping god_). o The god is or gods are thinking (_thinking god_). o The god or goddess lives in quarantaine in a `hut' (_secluded god_). o The Goddess is pregnant with the Hero. o The god is dead (_dying god_). o The god hides himself (_hidden god_). o The god rules an uneventful reign. o Famine, plague or eclipse rules the country (_famine god_, _eclipse god_, _plague god_). _IV: DISJUNCTION_ Seven concentric circles are now formed around the Goddess and the Hero, which is described in the following metaphors: o seven heavens, mountains, walls or concentric circles (_seven heavens_, _concentric circles_) o a maze or labyrinth (_maze_) o chains or fetters binding the god (_chained god_) o a spider web (_spider god_, _spider goddess_) o a heirloom and a spinning deity ((_spinstress_, _knot goddess_) What follows is the main event in mythology: the disjunction of the Goddess and the Hero from the Father-King. This entire process is described in the following sets of metaphors: o the defeat of the dragon (_dragon slayer_): the Hero leaves the body of the dragon who had swallowed him o the murder of the king, twin brother, friend or opponent (_murderer_) o the murder of the father or the mother (_parricidal god_, _parricidal goddess_, _matricidal god_) o the birth of the Hero (_birth god_) or the Goddess (_birth goddess_) o the death and resurrection of the Hero (_death god_, _revived god_) o the primeval storm (_storm god_, _storm goddess_) o the primeval war (_war god_, _war goddess_) o the primeval hunt (_hunter_, _huntress_) o the creation of the world (_creator_, _creatrix_, _smith_) o the deluge (_flood god_, _flood goddess_) o the destruction of the world o the Hero sloughs his skin and is rejuvenated (_skin god_, _rejuvenated god_) or becomes deformed and unrecognisable (_deformed god_, _unrecognisable god_) o the Hero loses his house, his hair or headdress, his clothes, or his attributes (_bald god_, _naked god_) The disjunction consisted of two acts: the opening of the bond that had been formed (_opener_, _piercing god_, _borer_, _violator_, _trickster_), which was the `solution of the riddle' (_riddle-solver_) giving the Hero his reputation as a sage of some kind (_poet_, _prophet_), and the descent. As soon as the bond was broken, a stream of a shining watery substance, with a fragmented nature, descended along the Axis Mundi, bursting forth from the bond (_south god_, _nether god_, _descender_). Seven or nine smaller orbs with tails were visible within this stream (_seven attendants_, _nine attendants_, _seven slaves_, _nine slaves_). Here, physically three components have to be distinguished: o A vertical column with a liquid, fragmented appearance and a fiery hue, which is undulating and straight in different phases and on one occasion surrounded by one or two winding streams, called the Axis Mundi; o An orb called the Goddess, moving vertically in this column; o An orb called the Hero nestled in the interior of the Goddess, moving vertically in the column. The Hero and the Goddess are in two different ways associated with the Axis Mundi: o the macrodefinition: the Axis Mundi is the deity's body and the orbs of the Goddess and the Hero are organs within this body; o the microdefinition: the orbs are the bodies of the deity which move within the Axis Mundi. The following metaphors are classified according to the nature of the metaphor[7][4]. Generally this metaphor is the form of the deity in a macrodefinition, and is the environment established by and traversed by the deity in a microdefinition. _FUNCTIONAL METAPHORS_ The following metaphors cover the function of the Axis Mundi and of the orbs travelling along the Axis Mundi: o support propping the sky, the earth, the god or paradise, established by the god (_supporter_) o connection connecting heaven and earth, established by the god (_connector_) o separation separating heaven and earth, established by the god (_separator_) o travel (_traveller_) o messenger (_messenger_) o labour (_labourer_) o trade (_merchant_) o dance or leap (_dancing god_, _leaping god_) o theft the deity makes way with some object he has stolen (_thief_) o guardianship guardian, protector or ferryman of the nether world or the upper world (_guardian_, _boundary god_, _protector_, _ferryman_) o ascent and descent generally a traveller along the Axis Mundi (_descender_, _ascender_, _climbing god_) o hanging the deity is hanged on the Axis Mundi (_hanging god_, _hanging goddess_) o initiation the movement is the archetypal initiation (_initiation god_) o expulsion (_outcast_, _dropped god_, _ousted goddess_) o exposure exposed deity, often as a child (_exposed god_) o flight fleeing deity (_flight god_, _flight goddess_) _MICROCOSMIC FORMAL METAPHORS: AS IF THE CONFIGURATION IS A BODY_ _liquids issuing from the body_ o blood a stream of blood issuing from dragon or deity or menstrual blood (_bleeding god_, _bleeding goddess_, m_enstruation god_, _menstruating goddess_) o tears tears from a weeping deity (_weeping god_, _weeping goddess_) o urine urine from a micturating deity (_micturating god_, _micturating goddess_) o saliva saliva of a spitting deity (_spit god_, _spit goddess_) o sperm sperm of a masturbating or copulating deity (_seed god_) o sweat sweat of sweating deity (_sweating god_, _sweating goddess_) o fire fire ejected from a dragon or deity (_fire god_, _fire goddess_) o vomit vomit of a vomiting god (_vomiting god_, _vomiting goddess_) o excrement the deity's excrement (_excrement god_, _excrement goddess_) _abstract concepts detached from the body_ o speech creative or destructive words spoken by the deity, which dwell in the breath (_word god_) o name the deity's name travelling along the Axis Mundi (_name god_, _name goddess_) o soul the deity's soul travelling along the Axis Mundi (_soul god_, _soul goddess_) o glory the deity's glory travelling along the Axis Mundi (_glorious god_, _glorious goddess_) _extension or mutilation of concrete body parts_ o body as a whole stretching of the deity's body (_stretching god_, _shapeshifter_, _giant_, _sorcerer_) o eye the loss and restauration of the deity's eye (_eye god_, _eye goddess_, _blind god_, _blind goddess_) o head the loss and restauration of the deity's head (_head god_, _head goddess_, _decapitated god_, _decapitated _ _goddess_) o heart the loss and restauration of the deity's heart (_heart god_, _heart goddess_) o penis and testicles emasculation, circumcision or castration of the deity (_emasculated god_, _circumcised god_) or erection of the deity's phallus (_phallus god_), impregnating the goddess (_impregnating god_) o spine the deity's spine (_spine god_) o ulcer growth of an ulcer on the deity's body (_ulcer god_) o leg or foot the deity's single leg or foot or the loss of one leg or foot (_limb god_, _cripple god_, _leg god_, _foot god_) o arm extension or loss of the deity's arm (_arm god_, _arm goddess_) o tail extension of the deity's tail (_tailed god_, _tailed goddess_) o beard growth of the deity's beard (_beard god_, _beard goddess_) o tongue extension or removal of the deity's tongue (_tongue god_, _tongue goddess_) o tooth extension or removal of the deity's tooth or tusk (_tooth god_, _tooth goddess_) o horn extension or removal of the deity's horn (_horned god_, _horned goddess_) o hair growth or removal of the deity's hair (_hair god_, _hair goddess_, _bald god_, _bald goddess_) o child birth or rebirth of a deity with its umbilical cord (_birth god_, _birth goddess_, _child_, _virgin_, _rejuvenated god_, r_evived god_, _immortal god_) _tools and dress_ [ o headdress the deity's headdress (_hat god_, _cap god_)] o staff the deity's staff, rod, stake or wand (_staff god_) o spear the deity's spear, lance, javelin or harpoon (_spear god_) o hammer the deity's hammer, club or axe (_club god_) o sword the deity's sword or dagger (_sword god_) o sceptre the deity's sceptre (_sceptre god_) o fishing rod the deity's fishing rod (_fishing god_) o arrows a chain of arrows directed towards the world of the gods (_archer_) o rope the deity's rope, cord or string (_rope god_, _rope goddess_) o broom the deity's broom (_broom god_, _broom goddess_) _MACROCOSMIC FORMAL METAPHORS: AS IF THE CONFIGURATION IS A NATURAL ENVIRONMENT_ _natural objects_ o world axis (_axis of heaven_) o water the released waters that had been imprisoned, the primeval waters, the flood, a well or river in which the god dwells, the waters that are irrigated or sailed by the god, the waters in which the deity is bathing, drowning, swimming, diving or being baptised (_water god_, _irrigator_, _cleaner_, _baptised god_, _diving god_, _drowning god_, _swimming god_, _flood god_, _well god_, _well goddess_, _bathing god_, _bathing goddess_) or the waters in which the deity is boiled (_boiling god_, _boiling goddess_) or foam (_foam goddess_) o fire fire descending from heaven or burning the deity (_fire god_, _fire goddess_, _burning god_, _burning goddess_) o wind a column of wind (_wind god_) o lightning lightning traversed by the god, issuing from a cloud and concurrent with rain, wind, hail and boulders (_storm god_, _storm goddess_, _lightning god_, _lightning goddess_, _rain god_, _rain goddess_, _cloud god_, _cloud _ _goddess_) o comet the tail of a comet (_comet god_, _comet goddess_) o Milky Way the Milky Way (_Milky Way_) o rainbow the rainbow (_rainbow god_, _rainbow goddess_) o plant world tree, established and traversed by the god, the four arms being the roots of this tree, which grew upside down (_tree god_, _tree goddess_, _plant god_, _plant goddess_) or a reed (_reed god_) or the stem of a plant Or a beanstalk o animal a serpent or fish sustaining the cosmos (_snake god_, _snake goddess_, _fish god_, _fish goddess_) o mushroom a mushroom o stone or pillar propping the world or the deity, established and traversed by the god (_pillar god_, _pillar goddess_, _trident _ _god_, _trident goddess_) o mountain world mountain, traversed by the god, sometimes erupting (_mountain god_, _volcano god_, _mountain _ g_oddess_, _volcano goddess_) o nether world nether world or realm of death controlled by the deity (_nether god_, _death god_) o desert expulsion or retreat into the desert (_desert god_, _hermit_) o beverage a divine beverage, causing strength, wisdom or immortality, often issuing from the cosmic plant (_beverage _ _god_, _beverage goddess_) and causing ecstasy and drunkenness (_drunk god_, _mad god_, _mad goddess_) o potion a poisonous venom, drunk by the deity (_poison_) o stretch heaven collapses and falls down or heaven is unrolled by the deity o earthquake a celestial earthquake occurs (_earthquake_) _civilisational edifices_ o ladder connecting heaven and earth (_ladder god_, _ladder goddess_) o tower connecting heaven and earth (_tower god_, _tower goddess_) o mill or windmill reaching to heaven, established by the god (_mill god_, _mill goddess_) o bridge connecting heaven and earth (_bridge god_, _bridge goddess_) o pathway pathway or road leading to the deity, connecting heaven and earth (_pathway god_, _pathway goddess_) o nave nave of the deity's wheel (_nave god_) o mooring post mooring post of the deity's ship (_mooring post_) o stairway a stairway or staircase (_staircase god_) _group: the deity as the leader or the persecuted_ o in general the deity as leader of a group (_leader_) o released group the released children that had been swallowed (_infanticidal god_, _infanticidal goddess_, _murdered brothers_, _threatened god_) o plague the deity removing a plague of flies, mice, lice, vermin, etc. (_plague god_, _healer_, _saviour_) o army the deity leading his army to war o procession a royal procession or a procession before execution (_god's procession_, _goddess' procession_) o cattle the deity and his herd (_cattle god_, _shepherd_) o hunt the deity and his dogs or the game chased by him (_hunter_, _huntress_) o souls the deity as a psychopomp (_psychopomp_) o colonist the deity leads his people to find a new city (_colonist_) o persecution a group trying and hunting the deity (_tried god_, _flight god_, _flight goddess_, _chased god_, _chased goddess_), beating him with stones and rods (_beaten god_) The variety of metaphors suggests that the column had at some stage a stable erect form and at other stages a whirling or spiralling form. This is only to be expected if the column had indeed been formed out of the matter that previously constituted the bond. In later times the images were syncretised and combined, so that a lot of overlapping imagery can be found in the mythical record. The tree growing on the dead body, for instance, is an image made up of the notion of (1) the rise of the cosmic tree, and (2) the Axis Mundi below the centre as the realm of death. At some stage, the Goddess and the Hero separated and the Goddess returned to her stationary centre. This movement was interpreted as the lamenting goddess who searches for her dead lover (_lamenting goddess_, _searching goddess_). The Hero later returned to heaven and resettled in the station, which was the reunion with the Goddess in all her metaphorical values. V: SOUND All these events were accompanied by sounds. This sound has inspired many ideas: o the Hero as the word (of creation, of wisdom, of oracle, as a soothsayer) (_word god_, _oracle god_), issued from the Goddess as the mouth (_mouth goddess_) o the Hero as god of music, the column being his instrument, like a flute or didgeridoo (_music god_) o the Hero as the thunder (_thunder god_) o revelation of the secret divine name (_name god_) o the roaring of the Hero as a wild beast (_roarer_) o the screaming of the infantile Hero (_screecher_) o the breaking wind of the god (_wind-breaking god_) o the laughter of the god (_laughing god_) o the singing of the god (_singing god_) o the sneezing of the god (_sneezing god_) _VI: FINAL ANALYSIS_ The actions of the gods gave rise to some general associations and qualifications, which dictated the nature of the worship - qualifications which are essentially foreign to natural life, but are concepts of civilisations due to interpretation of meaning and function. As such they are no real archetypes. These general associations can be described in terms of _leadership_ and in terms of `the ambivalence of the sacred'. Metaphors derived from the notion tha the deities were the primeval leaders are the following: o the deity is the first king (_king_, _queen_) o the deity is the first priest (_servant_) o the deity is the first medicine-man, shaman, sorcerer (_sorcerer_, _sorceress_, _healer_) o the deity is the first legislator and teacher (_culture teacher_, _judge_, _fate goddess_) o the deity is the initiator of the festivals and the offerings (_festival god_, _festival goddess_, _sacrifice god_, _sacrifice goddess_) Under the category `ethics: the ambivalence of the sacred' we can place the following qualifications: o the deity was evil and frightful (_malevolent god_, _malevolent goddess_) o the deity was good (_benevolent god_, _benevolent goddess_) o the deity was a protector (_protector_, _protectress_) o the deity was a fool (_fool_) o the deity was a scapegoat, as creation had been triggered by his passion (_scapegoat_) o the deity was a healer, purifier and saviour (_healer_, _purifier_, _saviour_) o the deity was a miracle-worker (_thaumaturg_) o the deity was a hero (_hero_, _heroine_) o the deity had numerous aspects (_many-named god_) The ancients came to realise that with the departure of the gods an epoch had come to an end - hence, history was obviously divided in periods (_aeon god_). Because this was all so long ago, the gods are frequently called `old' (_old god_, _old goddess_). _______________________ [8][1] There is no doubt that Briffault's approach has a huge advantage over the bulk of competing theories, such as Müller's solar mythology. Nevertheless, although the mythical evidence cited in _The Mothers_ is strongly in favour of the lunar theory, a large portion of mythical motifs fails to be explained within the framework of a lunar hypothesis. From a methodical point of view it is preferred to classify the moon as a metaphor for the female sex, along with numerous other female symbols, such as the shell, the earth, the egg, and the ship. The question whether one of these metaphors or none of them at all is an eligible candidate for the _ultimate_ origin of this entire set of metaphors can be addressed in the final analysis. [9][2] The role of the Father-King is marginal. He is certainly present in all mythical cycles, but always in the background or as the `defeated' one. In fact, the Father-King and the Hero turn out to be interchangeable beings, the same divinity sometimes portrayed in the role of the Father-King and sometimes in that of the Hero. An explanation for this perhaps most baffling of all mysteries in mythology is provided in the essays on the Hero, which are published on this website. [10][3]In the traditional scenario of David Talbott the crescent was produced as a `shadow' on the Father-King. It circled around and was seen as the first measuring standard, defining the length of the primeval day (_crescent_, _time god_). We cannot accept this reconstruction. [11][4]Speaking in terms of the polar configuration it would be necessary to distinguish between metaphors for the matter between Saturn and Venus, between Venus and Mars, and between Mars and earth. Working downwards from the mythical record, however, such a distinction is not immediately apparent and can only be made in a more advanced stage of reconstruction. References 1. file://localhost/www/sat/files/synthesis.htm 2. file://localhost/www/sat/files/index.htm 3. mailto:MAVANDERSLUIJS at HETNET.NL 4. file://localhost/www/sat/files/proto%7Eqw.htm#_ftn1 5. file://localhost/www/sat/files/proto%7Eqw.htm#_ftn2 6. file://localhost/www/sat/files/proto%7Eqw.htm#_ftn3 7. file://localhost/www/sat/files/proto%7Eqw.htm#_ftn4 8. file://localhost/www/sat/files/proto%7Eqw.htm#_ftnref1 9. file://localhost/www/sat/files/proto%7Eqw.htm#_ftnref2 10. file://localhost/www/sat/files/proto%7Eqw.htm#_ftnref3 11. file://localhost/www/sat/files/proto%7Eqw.htm#_ftnref4