"Are there ancient beliefs or texts which are indicative of a synergy of the masculine and feminine aspects of divinity, or indeed an association of reason with ratio, notably as it relates to one’s truth?”
Of the Gnostic text from the Nag Hammadi library, ‘On
the Origin of the World’, Wikipedia informs, “The contents provide an
alternate interpretation of Genesis, in which the dark ruler Yaldabaoth created
heaven and earth, and a wise instructor opened the minds of Adam and Eve to the
truth when they ate from the Tree of Knowledge.”
Who or what is Yaldabaoth? Interesting, in that the
etymology has caused for speculation. Wikipedia informs that in 1575, Francois
Feuardentius offered a translation to suggest that the name meant ‘the child of
the father(s)’. In 1828, Jacques Matter suggested that Yaldabaoth referred to ‘child
of darkness’ or ‘element of chaos’.
In 1967, Alfred Adam departed from the mainstream
view in that he translated ‘yaldā‘ as ‘bringing forth, particularly in a generative capacity’.
In 1974, Gershom Scholem pointed out errors in previous
translation whereby ‘darkness’ and ‘chaos’ had been associated with another
word used for the ‘unformed (as without form)’ or ‘nothingness (or empty)’. Also,
that the earliest textual data suggested that Yaldabaoth refers to a progenitor
or begetter of (armies or hosts) and not a progeny/child (of darkness/chaos).
Rev. Matthew Black disagreed with Scholem’s interpretation
of the second noun (baoth) and said that it referred to ‘behūṯā’ lit. ‘shame’, cognate with ‘bōšeṯ‘ or bosheth.
Is it correct to infer from some of these interpretations of ‘Yald/Yaldā‘, that Yaldabaoth implies a ‘progenitor/begetter (generative capacity)
of shame’ - and why shame?
The Syro-Phoenicians used to worship the active and
passive forces of nature; these forces were personified in Ba’al and Attar(t). ‘Attart
being the Northwest Semitic/Amorite equivalent of the East Semitic Ishtar, Astarte
being the Hellenized form of Attar(t).
Historically, as conflict between Yahwism and pagan
practices in the Levant grew, the names of the pagan deities, including of the epithet
Baal were thrown into disrepute. Their names were censored or substituted with
words to suggest ‘abomination or shame/shameful thing’ (bōšeṯ/bosheth).
In Gnostic practices, Yaldabaoth was portrayed as a
demiurge, trickster or malevolent god. Indeed, Saklas (Aramaic for fool) is an alternative
title for the demiurge. In the Apocryphon of John, Yaldabaoth is known as both Saklas
and Samael (‘blind God’ or ‘God of the blind’ in Hebrew).
Is it possible that from the pagan
perspective, Yaldabaoth meant ‘the progenitor/begetter of the cycles or forces
of nature’?
There is evidence that Yaldabaoth was represented
as a lion-headed serpent. This symbology could be an indication that at some
point, one nation’s gods were appropriated to fit with the pantheon of another.
The serpent has been regarded as a guardian of the underworld, the divine
feminine, intuition, fertility, cycles, regeneration, and immortality. The
zodiacal lion has been associated with royalty, courage, strength and the generative
power and omniscience of the sun.
In ancient Egypt, Ra or Re was recognised as the
divinity of the sun. He ruled in all parts of the created world: the sky, the
earth, and the underworld. The solar goddess Sekhmet (Sachmis, Sahmat, Sakhmi)
was daughter of/associated with Ra. In combination with the mother goddess Hathor,
Sekhmet was a warrior goddess and as the vengeful aspect of Ra’s power, she was
referred to as the eye of Ra.
Sekhmet had another side: she was a goddess of healing.
A regenerative aspect might explain why images of her are painted green, similarly
as with Osiris. Sekhmet was portrayed with the head of a lioness and wearing a
sun disk and uraeus (upright form of a cobra). Her consort was Ptah, a creator
god who conceived and brought the world into being through the power of speech.
Ptah was a patron deity of craftsmen and architects.
Sekhmet had a sister Bastet; over time, the fierce or
fiery nature (lioness) of Sekhmet was diminished and she was represented as a cat
goddess. It was as if Sekhmet and Bastet had fused, characterised as two
aspects of the same goddess: Sekhmet as destructive warrior and Bastet as regenerative
healer. Bastet was associated with mystery (as in initiation) as well as being represented
with an ointment jar.
I would like to explore whether there is correlation between the lion-headed
and serpentine aspects of the Egyptian deities, the Greek mythology of Hephaestus
(the artisan) and Athena and of the passages of Gnosticism. Is there a dual aspect, that is to say, evidence of the masculine and feminine energies that are working in synergy to express the
creativity of nature?
To glimpse whether Yaldabaoth is ‘the
progenitor/begetter of the cycles of nature’, it would be appropriate to approach the spirituality
of the Phoenicians - in particular, whether the active and passive aspects of
nature were personified through Ba’al (Hadad) and Attar.
Wikipedia informs, “Hadad (Ugaritic Haddu),
Haddad, Adad or Iskur (Sumerian) was the storm and rain god in the Canaanite
and ancient Mesopotamian religions. He was attested in Ebla as ‘Hadda’ in
c.2500 BCE. From the Levant, Hadad was introduced to Mesopotamia by the
Amorites, where he became known as the Akkadian (Assyrian-Babylonian) god Adad.”
"Greek equivalent: Zeus. Roman equivalent: Jupiter.
Canaanite equivalent: Baal. Egyptian equivalent: Horus. Hurrian equivalent: Teshub.
The traditions provide that his parents were Anu, sometimes Enlil, Sin and
Ningal or Dagon/Dagan."
There has almost certainly been an association between
the masculine deities and the weather – the storms, lightning bolts, wind, and rain.
Are these deities simply the faces of a changing climate or are they representative
of something else?
Does Baal/Hadad share any characteristics with Ptah
and Hephaestus in being a creator god/artisan - one who conceives and brings the
world into being? If so, would this make him a demiurge – akin to Yaldabaoth?
What can we know of the ‘spirit’ or ‘light’ – that of
the ‘invisible hand at the potter’s wheel’ so to speak?
Is it possible that in a similar fashion to Sekhmet
and Bastet (as the differing faces of one goddess), that Astarte (Attar) had a
dual nature?
Wikipedia informs that Astarte “was worshipped from
the Bronze Age through classical antiquity, and her name is particularly
associated with her worship in the ancient Levant among the Canaanites and Phoenicians,
though she was originally associated with Amorite cities like Ugarit and Emar,
as well as Mari and Ebla. She was also celebrated in Egypt.”
“In various cultures Astarte
was connected to some combination of the following spheres: war, sexuality,
royal power, beauty, healing and – especially in Ugarit and Emar – hunting. …
Her symbol was the lion, and she was also often associated with the horse… “
There is some indication that Astarte (Attar) had a
dual nature. Her parents (in the Egyptian tradition) are given as Ptah or Ra. It
is interesting that instead of being associated with the sun, Astarte was associated
with the planet Venus.
Wikipedia informs of Venus, “… in old English,
the planet was known as morgensteorra (morning star) and aefensteorra (evening
star). It was not until the 13th century C.E. that the name ‘Venus’
was adopted for the planet (in classical Latin, though the morning star was
considered sacred to the goddess Venus, it was called Lucifer).”
“Lucifer corresponds to the
Greek names Phosphorus ‘light-bringer’ and Eosphorus ‘dawn-bringer’.” The Latin
name of Lucifer was mistranslated as Satan and subsequently absorbed into Christianity
as a name for the devil.”
The mistranslation as regards Lucifer is unfortunate,
particularly given that whilst the term Baal was used in reference to the various
Levantine deities, often with application towards Hadad, it was depicted as a
false god. That use was taken over into Christianity and Islam, sometimes under
the form Beelzebub in demonology.
To continue, “Venus is the second brightest
object in the night sky. It follows a synodic cycle, by which it seems to
disappear for several days due to its proximity to the sun and reappears on the
opposite side of the sun and on the other horizon. Dependent on the point in
its cycle, Venus may appear before sunrise in the morning, or after sunset in
the evening, but it never appears to reach the apex of the sky. Therefore, many
cultures have recognised it with two names, even if their astronomers realised
that it was really one object.”
Given as Venus is viewed in two aspects in relation
to the sun, does this explain why the goddesses identified as the consorts of the
weather god(s) were attributed with dual natures - peace and strife, for instance?
Is it possible that the personification of Venus is
indicative of it being androgynous in its nature?
Is what is being revealed through the
representation of Venus in direct proportion or harmony (resonance or ratio) with
the ‘nature’ of the weather god? Would this amplify the synergy?
Looking to physics for a moment – a dipole moment
occurs when one end of the bond is positive, and the other end is negative.
Interestingly, according to an article dated 2010
and published on the website The Planetary Society, “When Pioneer Venus visited our
sister planet in 1979, it found an atmospheric feature called a ‘dipole’ near Venus’
north pole – a pair of eddies swirling and rotating around each other as Venus
rotated.”
“When ESA’s Venus Express
arrived in 2006, it observed the same sort of thing at Venus’ south pole, and
scientists wrote a lot about how Venus was symmetric from north to south and
how the polar dipoles were atmospheric features that were stable over decades.”
The article continued to inform “… after four
years of watching Venus’ swirling atmospheric patterns, Venus Express showed
that the ‘stable’ southern dipole was not stable – that Venus’ south polar
vortex changes over time and in complicated patterns.”
It appears also that the Venusian polar dipoles are
elongated, warm features, are centred close to the pole and appear to rotate
with a period of ~3 days retrograde.
According to an article dated 2016 and published on
the website Nature “… This warm polar vortex is zonally surrounded by a
cold latitude band located at ~60° latitude, which is a unique feature called ‘cold
collar’ in the Venus atmosphere. Although these structures have been observed
in numerous previous observations, the formation mechanism is still unknown.”
Is Yaldabaoth or Baal/Hadad representative of atmospheric
conditions as Venus moves through its synodic cycle? Does it have to do with the
solar winds or is it a representation of earth – even of ourselves as we influence
or are influenced through an act of our participating in the cosmos?
Certainly, Baal has been interpreted with an academic
leaning, such as “the dry summers of the area were explained as Baal’s time
in the ‘underworld’ and his return in Autumn was said to cause the storms which
revived the land. Thus, the worship of Baal in Canaan, where he eventually supplanted
El as the leader of the gods and patron of kingship – was connected to the
region’s dependence on rainfall for its agriculture.”
The ‘Baal Cycle’ is a series of stories which revolves around Baal (Hadad), his encounter with Yam (representing the sea/other waters) and Mot (death/underworld).
I would suggest that the Baal cycle
is intended to be understood as a fractal or spiral of creativity, rather than
of a closed circuit of mortal combat and repetition.
Something is ‘missing the mark’ if we have an intellectual
perspective only – a dry dismissal - of the many tales of ‘slaying the serpent’,
‘walking upon or overcoming the water’ or ‘descent into the underworld’, as if
they are fanciful stories, created by earlier generations to explain the agricultural
cycles or conditions of the natural world.
Recall that “… the Venusian polar dipoles are
elongated, warm features, are centred close to the pole and appear to rotate
with a period of ~3 days retrograde.”
In describing the Mesopotamian story of the ‘Descent
of Inanna’ (goddess) into the underworld, the website World History Encyclopedia
informs “… after three days and three nights waiting for her mistress,
Ninshubur follows the commands Inanna gave her, goes to Inanna’s father-god
Enki for help, and receives two ‘galla’, two transgender beings created ‘neither
male nor female’, to aid her in returning Inanna to the earth.”
Is it just coincidence as to the Venusian polar
dipoles rotating with a period of 3 days retrograde and of the period of 3 days/nights
(cycles) before Inanna’s servant approached Enki for help? Or of the insignificant
magnetic fields of Venus and the dual aspects being represented by many
goddesses in history, as if androgynous in nature and of the two ‘galla’ beings
that aid Inanna in her returning from the underworld?
The World History Encyclopedia continues, “Modern
readers of this poem have available to them a wealth of interpretation of the
piece through writers applying a psychological, specifically Jungian, view to
the poem as an archetypal myth of the journey an individual must take to reach
wholeness. Inanna in this piece, so the interpretation goes, is not a ‘whole
person’ until she appears vulnerable before her ‘darker half’, dies, and
returns to life. At the poem’s end, this interpretation asserts, Inanna,
through her descent into darkness, the shedding of the trappings of her former
self, confrontation with her ‘shadow’, death of who she was, and final re-birth,
is now a complete individual, wholly aware.”
Incidentally, Matthew 12:40 reads, “For as Jonah
was three days and three nights in the belly of a huge fish, so the Son of Man
will be three days and three nights in the heart of the earth.”