(8) Being scavengers, the vulture, the buzzard, and the condor signified that form of divine power which by disposing of refuse and other matter dangerous to the life and health of humanity cleanses and purifies the lower spheres. These birds were therefore adopted as symbols of the disintegrative processes which accomplish good while apparently destroying, and by some religions have been mistakenly regarded as evil. Birds such as the parrot and raven were accorded veneration because, being able to mimic the human voice, they were looked upon as links between the human and animal kingdoms.

(2) Every existing creature manifests some aspect of the intelligence or power of the Eternal One, who can never be known save through a study and appreciation of His numbered but inconceivable parts. When a creature is chosen, therefore, to symbolize to the concrete human mind some concealed abstract principle it is because its characteristics demonstrate this invisible principle in visible action. Fishes, insects, animals, reptiles, and birds appear in the religious symbolism of nearly all nations, because the forms and habits of these creatures and the media in which they exist closely relate them to the various generative and germinative powers of Nature, which were considered as prima-facie evidence of divine omnipresence.

(1) Descending, however, to particulars, the soul of animals, the dæmon who presides over them, the air, the motion of the air, and the circulation of the heavens, variously change the viscera, conformably to the will of the Gods. But an indication that they are so changed is this, that they are frequently found without a heart, or deprived of the most principal parts, without which it is not at all possible for animals to be supplied with life. With respect to birds, likewise, the impulse of their proper soul moves them, and also the dæmon who presides over animals; and, together with these, the revolution of the air, and the power of the heavens which descends into the air, accord with the will of the Gods, and consentaneously lead the birds to what the Gods ordained from the first. Of this the greatest indication is, that birds frequently precipitate themselves to the earth, and destroy themselves, which it is not natural for any thing to do; but this is something supernatural, so that it is some other thing which produces these effects through birds.

(92) Sound the note of every bird that draws near; When God sent, thee to the birds, To the predestinarian bird talk predestination, To the bird with broken wings preach patience, To the patient well-doer preach comfort and pardon, To the spiritual 'Anka relate the glories of Mount Qaf, To the pigeon preach avoidance of the hawk, To the lordly hawk mercy and self-control; As for the bat, who lingers helpless in the dark, Acquaint him with the society of the light;

(8) The Image of the Ox denotes the strong and the mature, turning up the intellectual furrows for the reception of the heavenly and productive showers; and the Horns, the guarding and indomitable. The representation of the Eagle denotes the kingly, and soaring, and swift in flight, and quickness in search of the nourishment which makes strong, and wanness, and agility, and cleverness; and the unimpeded, straight, and unflinching gaze towards the bounteous and brilliant splendour of the Divine rays of the sun, with the robust extension of the visual powers. That of Horses represents obedience and docility, and of those who are white, brilliancy, and as especially congenial to the Divine Light; but of those who are dark blue, the Hidden; and of those red, the fiery and vigorous; and of the piebald, the uniting of the extremes by the power passing through them, and joining the first to the second, and the second to the first, reciprocally and considerately. Now if we did not consult the proportion of our discourse, we might, not inappropriately, adapt the particular characteristics of the aforesaid living creatures, and all their bodily representations to the Heavenly Powers, upon the principle of dissimilar similitudes; for instance, their appearance of anger, to intellectual manliness, of which anger is the remotest echo, and their desire, to the Divine love; and to speak summarily, referring all the sensible perceptions, and many parts of irrational beings, to the immaterial conceptions and unified Powers of the Heavenly Beings. Now not only is this sufficient for the wise, but even an explanation of one of the dissimilar representations would be sufficient for the accurate description of similar things, after the same fashion.

(4) And the creation of all the four-footed animals and the birds being finished, they were told by the Creator and the Maker and the Forefathers: "Speak, cry, warble, call, speak each one according to your variety, each, according to your kind." So was it said to the deer, the birds, pumas, jaguars, and serpents. "Speak, then, our names, praise us, your mother, your father. Invoke then, Huracán, ChipiCaculhá, Raxa-Caculhá, the Heart of Heaven, the Heart of Earth, the Creator, the Maker, the Forefathers; speak, invoke us, adore us," they were told. But they could not make them speak like men; they only hissed and screamed and cackled; they were unable to make words, and each screamed in a different way.

(89) And they began to bring forth beasts of the field and birds, so that there arose different geneANSWER: lions, tigers, wolves, dogs, hyenas, wild boars, foxes, squirrels, swine, falcons, vultures, kites, eagles, and ravens; and among them was born a white bull.

(7) Nocturnal birds were appropriate symbols of both sorcery and the secret divine sciences: sorcery because black magic cannot function in the light of truth (day) and is powerful only when surrounded by ignorance (night); and the divine sciences because those possessing the arcana are able to see through the darkness of ignorance and materiality. Owls and bats were consequently often associated with either witchcraft or wisdom. The goose was an emblem of the first primitive substance or condition from which and within which the worlds were fashioned. In the Mysteries, the universe was likened to an egg which the Cosmic Goose had laid in space. Because of its blackness the crow was the symbol of chaos or the chaotic darkness preceding the light of creation. The grace and purity of the swan were emblematic of the spiritual grace and purity of the initiate. This bird also represented the Mysteries which unfolded these qualities in humanity. This explains the allegories of the gods (the secret wisdom) incarnating in the body of a swan (the initiate).

(15) These considerations apply very well to things considered as standing alone: but there is a stumbling-block, a new problem, when we think of all these forms, permanent and ceaselessly produced, in mutual relationship.

The animals devour each other: men attack each other: all is war without rest, without truce: this gives new force to the question how Reason can be author of the plan and how all can be declared well done.

This new difficulty is not met by the former answer; that all stands as well as the nature of things allows; that the blame for their condition falls on Matter dragging them down; that, given the plan as we know it, evil cannot be eliminated and should not be; that the Matter making its presence felt is still not supreme but remains an element taken in from outside to contribute to a definite total, or rather to be itself brought to order by Reason.

The Divine Reason is the beginning and the end; all that comes into being must be rational and fall at its coming into an ordered scheme reasonable at every point. Where, then, is the necessity of this bandit war of man and beast?

This devouring of Kind by Kind is necessary as the means to the transmutation of living things which could not keep form for ever even though no other killed them: what grievance is it that when they must go their despatch is so planned as to be serviceable to others?

Still more, what does it matter when they are devoured only to return in some new form? It comes to no more than the murder of one of the personages in a play; the actor alters his make-up and enters in a new role. The actor, of course, was not really killed; but if dying is but changing a body as the actor changes a costume, or even an exit from the body like the exit of the actor from the boards when he has no more to say or do, what is there so very dreadful in this transformation of living beings one into another?

Surely it is much better so than if they had never existed: that way would mean the bleak quenching of life, precluded from passing outside itself; as the plan holds, life is poured copiously throughout a Universe, engendering the universal things and weaving variety into their being, never at rest from producing an endless sequence of comeliness and shapeliness, a living pastime.

Men directing their weapons against each other- under doom of death yet neatly lined up to fight as in the pyrrhic sword-dances of their sport- this is enough to tell us that all human intentions are but play, that death is nothing terrible, that to die in a war or in a fight is but to taste a little beforehand what old age has in store, to go away earlier and come back the sooner. So for misfortunes that may accompany life, the loss of property, for instance; the loser will see that there was a time when it was not his, that its possession is but a mock boon to the robbers, who will in their turn lose it to others, and even that to retain property is a greater loss than to forfeit it.

Murders, death in all its guises, the reduction and sacking of cities, all must be to us just such a spectacle as the changing scenes of a play; all is but the varied incident of a plot, costume on and off, acted grief and lament. For on earth, in all the succession of life, it is not the Soul within but the Shadow outside of the authentic man, that grieves and complains and acts out the plot on this world stage which men have dotted with stages of their own constructing. All this is the doing of man knowing no more than to live the lower and outer life, and never perceiving that, in his weeping and in his graver doings alike, he is but at play; to handle austere matters austerely is reserved for the thoughtful: the other kind of man is himself a futility. Those incapable of thinking gravely read gravity into frivolities which correspond to their own frivolous Nature. Anyone that joins in their trifling and so comes to look on life with their eyes must understand that by lending himself to such idleness he has laid aside his own character. If Socrates himself takes part in the trifling, he trifles in the outer Socrates.

We must remember, too, that we cannot take tears and laments as proof that anything is wrong; children cry and whimper where there is nothing amiss.

(1) Then they made the small wild animals, the guardians of the woods, the spirits of the mountains, the deer, the birds, pumas, jaguars, serpents, snakes. vipers, guardians of the thickets. And the Forefathers asked: 'Shall there be only silence and calm under the trees, under the vines? It is well that hereafter there be someone to guard them."

(2) And there are those who fashion ears and eyes of costly material, and consecrate them, dedicating them in the temples to the gods - by this plainly indicating that God sees and hears all things. Besides, the lion is with them the symbol of strength and prowess, as the ox clearly is of the earth itself, and husbandry and food, and the horse of fortitude and confidence; while, on the other hand, the sphinx, of strength combined with intelligence - as it had a body entirely that of a lion, and the face of a man. Similarly to these, to indicate intelligence, and memory, and power, and art, a man is sculptured in the temples. And in what is called among them the Komasiae of the gods, they carry about golden images - two dogs, one hawk, and one ibis; and the four figures of the images they call four letters. For the dogs are symbols of the two hemispheres, which, as it were, go round and keep watch; the hawk, of the sun, for it is fiery and destructive (so they attribute pestilential diseases to the sun); the ibis, of the moon, likening the shady parts to that which is dark in plumage, and the luminous to the light. And some will have it that by the dogs are meant the tropics, which guard and watch the sun's passage to the south and north. The hawk signifies the equinoctial line, which is high and parched with heat, as the ibis the ecliptic. For the ibis seems, above other animals, to have furnished to the Egyptians the first rudiments of the invention of number and measure, as the oblique line did of circles.

(54) The Egyptian sphinx, the Greek centaur, and the Assyrian man-bull have much in common. All are composite creatures combining human and animal members; in the Mysteries all signify the composite nature of man and subtly refer to the hierarchies of celestial beings that have charge of the destiny of mankind. These hierarchies are the twelve holy animals now known as constellations--star groups which are merely symbols of impersonal spiritual impulses. Chiron, the centaur, teaching the sons of men, symbolizes the intelligences of the constellation of Sagittarius, who were the custodians of the secret doctrine while (geocentrically) the sun was passing through the sign of Gemini. The five-footed Assyrian man-bull with the wings of an eagle and the head of a man is a reminder that the invisible nature of man has the wings of a god, the head of a man, and the body of a beast. The same concept was expressed through the sphinx--that armed guardian of the Mysteries who, crouching at the gate of the temple, denied entrance to the profane. Thus placed between man and his divine possibilities, the sphinx also represented the secret doctrine itself. Children's fairy stories abound with descriptions of symbolic monsters, for nearly all such tales are based upon the ancient mystic folklore.

(7) So also it is very clear and manifest, that before the Curse there grew not such venomous [or poisonous] Thorns and Thistles, and poisonous Fruits; and if God had not cursed the Earth (from the [one] Element) then no Beast should have been so fierce and [mischievous or] evil; for God said, Let the Earth be cursed for thy Sake. From whence now is also arisen the Disobedience of the Beasts towards Man, and their Wildness, [or flying in their Face,] as also, that they are so [cruel,] fierce, [mischievous,] and evil, and that Man must hide himself from their fierce Rage and Fury;] whereas God (in the Creation) gave all into his Power, all Beasts of the Field should be in Subjection under him, which now is quite contrary; for Man is become a Wolf to them [in devouring the Beasts,] and they are [like] Lions against him, and there is mere Eternity against one another; he can scarce order the tame Beasts, much less the wild.

(5) And for this cause it comes to pass that these are called the “sacred animals” by the Egyptians, and that each several state gives service to the souls of those whose souls have been made holy, while they were still alive; so that [the several states] are governed by the laws [of their peculiar sacred animals], and called after their names. It is because of this, Asclepius, those [animals] which are considered by some states deserving of their worship, in others are thought otherwise; and on account of this the states of the Egyptians wage with each other frequent war. XXXVIII

(5) Both the peacock and the ibis were objects of veneration because they destroyed the poisonous reptiles which were popularly regarded as the emissaries of the infernal gods. Because of the myriad of eyes in its tail feathers the peacock was accepted as the symbol of wisdom, and on account of its general appearance it was often confused with the fabled phœnix of the Mysteries. There is a curious belief that the flesh of the peacock will not putrefy even though kept for a considerable time. As an outgrowth of this belief the peacock became the emblem of immortality, because the spiritual nature of man--like the flesh of this bird--is incorruptible.

(2) But if any one think well to accept the sacred compositions as of things simple and unknown in their own nature, and beyond our contemplation, but thinks the imagery of the holy minds in the Oracles is incongruous, and that all this is, so to speak, a rude scenic representation of the angelic names; and further says that the theologians ought, when they have come to the bodily representation of creatures altogether without body, to represent and display them by appropriate and, as far as possible, cognate figures, taken, at any rate, from our most honoured and immaterial and exalted beings, and ought not to clothe the heavenly and Godlike simple essences with the many forms of the lowest creatures to be found on the earth (for the one would perhaps be more adapted to our instruction, and would not degrade the celestial explanations to incongruous dissimilitudes; but the other both does violence without authority to the Divine powers, and likewise leads astray our minds, through dwelling upon these irreverent descriptions); and perhaps he will also think that the super-heavenly places are filled with certain herds of lions, and troops of horses, and bellowing songs of praise, and flocks of birds, and other living creatures, and material and less honourable things, and whatever else the similitudes of the Oracles, in every respect dissimilar, describe, for a so-called explanation, but which verge towards the absurd, and pernicious, and impassioned; now, in my opinion, the investigation of the truth demonstrates the most sacred wisdom of the Oracles, in the descriptions of the Heavenly Minds, taking forethought, as that wisdom does, wholly for each, so as neither, as one may say, to do violence to the Divine Powers, nor at the same time to enthral us in the grovelling passions of the debased imagery. For any one might say that the cause why forms are naturally attributed to the formless, and shapes to the shapeless, is not alone our capacity which is unable immediately to elevate itself to the intelligible contemplations, and that it needs appropriate and cognate instructions which present images, suitable to us, of the formless and supernatural objects of contemplation; but further, that it is most agreeable to the revealing Oracles to conceal, through mystical and sacred enigmas, and to keep the holy and secret truth respecting the supermundane minds inaccessible to the multitude. For it is not every one that is holy, nor, as the Oracles affirm, does knowledge belong to all.

(1) AS appropriate emblems of various human and divine attributes birds were included in religious and philosophic symbolism that of pagans and of Christians alike. Cruelty was signified by the buzzard; courage by the eagle; self-sacrifice by the pelican; and pride by the peacock. The ability of birds to leave the earth and fly aloft toward the source of light has resulted in their being associated with aspiration, purity, and beauty. Wings were therefore often added to various terrene creatures in an effort to suggest transcendency. Because their habitat was among the branches of the sacred trees in the hearts of ancient forests, birds were also regarded as the appointed messengers of the tree spirits and Nature gods dwelling in these consecrated groves, and through their clear notes the gods themselves were said to speak. Many myths have been fabricated to explain the brilliant plumage of birds. A familiar example is the story of Juno's peacock, in whose tail feathers were placed the eyes of Argus. Numerous American Indian legends also deal with birds and the origin of the various colors of feathers. The Navahos declare that when all living things climbed to the stalk of a bamboo to escape the Flood, the wild turkey was on the lowest branch and his tail feathers trailed in the water; hence the color was all washed out.

(17) From the south, the Yellow Tseurima, holding a bow and arrow, ready to shoot; from the west, the Red Pramoha, holding a maWa-banner; from the north, the Black Petali, holding a dorje and a blood-filled skull-bowl; from the south-east, the Red Pukkase, holding intestines in the right [hand] and [with] the left putting them to her mouth; from the south-west, the Dark-Green Ghasmarl, the left [hand] holding a blood- filled skull-bowl, [with] the right stirring it with a dorje, and [she then] drinking it with majestic relish; from the north-west, the Yellowish- White Tsandhal?, tearing asunder a head from a corpse, the right [hand] holding a heart, the left putting the corpse to the mouth and [she then] eating [thereof]; from the north-east, the Dark-Blue Smasha, tearing asunder a head from a corpse and eating [thereof]: these, the Eight Kerimas of the Abodes [or Eight Directions], also come to shine upon thee, surrounding the Five Blood-drinking Fathers. Yet be not afraid.

(35) The learned have had many disputations, questions, conceits and opinions concerning the fierce malignity and evil that is in all the creatures in this world, and even in the very sun and stars; moreover, there are some so very poisonous and venomous beasts, worms and vegetables in this world, that thereupon rational men have justly wondered, and some have concluded peremptorily, That God must needs have willed the evil also, seeing he has created so much that is evil; and some have laid the blame and fault thereof upon the fall of Adam, and some have imputed it to the work and doings of the devil.

(1) It is necessary then, as I think, first to set forth what we think is the purpose of every Hierarchy, and what benefit each one confers upon its followers; and next to celebrate the Heavenly Hierarchies according to their revelation in the Oracles; then following these Oracles, to say in what sacred forms the holy writings of the Oracles depict the celestial orders, and to what sort of simplicity we must be carried through the representations; in order that we also may not, like the vulgar, irreverently think that the heavenly and Godlike minds are certain many-footed and many-faced creatures, or moulded to the brutishness of oxen, or the savage form of lions, and fashioned like the hooked beaks of eagles, or the feathery down of birds, and should imagine that there are certain wheels of fire above the heaven, or material thrones upon which the Godhead may recline, or certain many-coloured horses, and spear-bearing leaders of the host, and whatever else was transmitted by the Oracles to us under multifarious symbols of sacred imagery. And indeed, the Word of God artlessly makes use of poetic representations of sacred things, respecting the shapeless minds, out of regard to our intelligence, so to speak, consulting a mode of education proper and natural to it, and moulding the inspired writings for it.