Cradle of Civilization

A Blog about the Birth of Our Civilisation and Development

The chief deity

Posted by Fredsvenn on October 29, 2015


Dingir is a Sumerian cuneiform sign, most commonly the determinative for “deity” although it has related meanings as well. As a determinative, it is not pronounced, and is conventionally transliterated as a superscript “D” as in e.g. DInanna. Generically, dingir can be translated as “god” or “goddess”.

The concept of “divinity” in Sumerian is closely associated with the heavens, as is evident from the fact that the cuneiform sign doubles as the ideogram for “sky”, and that it’s original shape is the picture of a star. The original association of “divinity” is thus with “bright” or “shining” hierophanies in the sky.

The sign in Sumerian cuneiform DIĜIR originated as a star-shaped ideogram indicating a god in general and by itself represents the Sumerian word diĝir (“god”) or the word an (“sky” or “heaven”), the ideogram for An, the earliest attested supreme deity of the Sumerian pantheon, the supreme Sky Father of the gods. Dingir also meant sky or heaven in contrast with ki which meant earth. Its emesal pronunciation was dimer.


In Sumerian the designation An was used interchangeably with “the heavens” so that in some cases it is doubtful whether, under the term, the god An or the heavens is being denoted. Anu was also “King of the Gods”, “Lord of the Constellations, Spirits and Demons”, and “Supreme Ruler of the Kingdom of Heaven”, where Anu himself wandered the highest Heavenly Regions.

Anu existed in Sumerian cosmogony as a dome that covered the flat earth; Outside of this dome was the primordial body of water known as Nammu, a primeval goddess, corresponding to Tiamat in Babylonian mythology (not to be confused with the subterranean Abzu).

Anu was believed to have the power to judge those who had committed crimes, and to have created the stars as soldiers to destroy the wicked. His attribute was the Royal Tiara. His attendant and Overseer was the God Ilabrat. In Sumerian texts of the third millennium the goddess Uraš is his consort; later this position was taken by Ki, the personification of earth, and in Akkadian texts by Antu, whose name is probably derived from his own.

The Akkadians inherited An as the god of heavens from the Sumerian as Anu-, and in Akkadian cuneiform the DINGIR character may refer either to Anum or to the Akkadian word for god, ilu-, and consequently had two phonetic values an and il; the Akkadian word šamû meaning “sky”, the syllables an and il, a preposition meaning “at” or “to”, and a determinative indicating that the following word is the name of a god.

In Assyrian cuneiform AN and DIĜIR could be either an ideogram for “deity” (ilum), a syllabogram for an, or the Akkadian nominal stem il-, meaning “god” or “goddess”, derived acrophonically from the Semitic ʾil-, the god Anum. In Hittite orthography and cuneiform, as adapted from the Old Assyrian, the syllabic value of the sign was an, but abandoned il.


According to one interpretation, DINGIR could also refer to a priest or priestess although there are other Akkadian words ēnu and ēntu that are also translated priest and priestess. For example, nin-dingir (lady divine) meant a priestess who received foodstuffs at the temple of Enki in the city of Eridu.


A tiara (from Latin: tiara, from Ancient Greek: τιάρα) is a jeweled ornamental crown worn by women. They may be worn during formal occasions particularly if the dress code is White tie. Today the word tiara is often used interchangeably with the word diadem and to confuse matters further tiara is translated to a word similar to diadem in other languages. Both words come from head ornaments worn by ancient people, both men and women, to denote high status.


Ninti, the Sumerian goddess of life, is one of the eight goddesses of healing who was created by Ninhursag to heal Enki’s body. Her specific healing area was the rib (Sumerian Ti means rib and to live). Enki had eaten forbidden flowers and was then cursed by Ninhursaga, who was later persuaded by the other gods to heal him. Some scholars suggest that this served as the basis for the story of Eve created from Adam’s rib in the Book of Genesis.

Ninti, the title of Ninhursag, also means “the mother of all living”, and was a title given to the later Hurrian goddess Hebat. This is also the title given in the Bible to Eve, the Hebrew and Aramaic Ḥawwah (חוה), who was made from the rib of Adam, in a strange reflection of the Sumerian myth, in which Adam — not Enki — walks in the Garden of Paradise.

The story thus symbolically reflects the way in which life is brought forth through the addition of water to the land, and once it grows, water is required to bring plants to fruit. It also counsels balance and responsibility, nothing to excess.


Cuneiform KI is the sign for “earth”. It is also read as GI, GUNNI (=KI.NE) “hearth”, KARAŠ (=KI.KAL.BAD) “encampment, army”, KISLAḪ (=KI.UD) “threshing floor” or steath, and SUR (=KI.GAG). In Akkadian orthography, it functions as a determiner for toponyms and has the syllabic values gi, ge, qi, and qe.

As an earth goddess in Sumerian mythology, Ki was the chief consort of An, the sky god. In some legends Ki and An were brother and sister, being the offspring of Anshar (“Sky Pivot”) and Kishar (“Earth Pivot”), earlier personifications of heaven and earth.

By her consort Anu, Ki gave birth to the Anunnaki, the most prominent of these deities being Enlil, god of the air. According to legends, heaven and earth were once inseparable until Enlil was born; Enlil cleaved heaven and earth in two. An carried away heaven. Ki, in company with Enlil, took the earth.

Some authorities question whether Ki was regarded as a deity since there is no evidence of a cult and the name appears only in a limited number of Sumerian creation texts. Samuel Noah Kramer identifies Ki with the Sumerian mother goddess Ninhursag and claims that they were originally the same figure.


In Greek mythology, Gaia, (GAY-ə or GAH-yə; from Ancient Greek Γαῖα, a poetical form of Γῆ Gē, Ge, “land” or “earth”) also spelled Gaea, was the personification of the Earth and one of the Greek primordial deities. In Mycenean Greek Ma-ka (trans. as Ma-ga, “Mother Gaia”) also contains the root ga-.

Gaia was the great mother of all: the primal Greek Mother Goddess; creator and giver of birth to the Earth and all the Universe; the heavenly gods, the Titans, and the Giants were born to her. The gods reigning over their classical pantheon were born from her union with Uranus (the sky), while the sea-gods were born from her union with Pontus (the sea). Her equivalent in the Roman pantheon was Terra.

Some modern sources, such as James Mellaart, Marija Gimbutas and Barbara Walker, claim that Gaia as Mother Earth is a later form of a pre-Indo-European Great Mother, venerated in Neolithic times. Her existence is a speculation, and controversial in the academic community. Some modern mythographers, including Karl Kerenyi, Carl A. P. Ruck and Danny Staples interpret the goddesses Demeter the “mother,” Persephone the “daughter” and Hecate the “crone,” as aspects of a former Great goddess identified by some as Rhea or as Gaia herself.

In Crete, a goddess was worshiped as Potnia Theron (the “Mistress of the Animals”) or simply Potnia (“Mistress”), speculated as Rhea or Gaia; the title was later applied in Greek texts to Demeter, Artemis or Athena. The mother-goddess Cybele from Anatolia (modern Turkey) was partly identified by the Greeks with Gaia, but more so with Rhea and Demeter.

Hesiod’s Theogony tells how, after Chaos, the primeval void, “wide-bosomed” Gaia (Earth) arose to be the everlasting seat of the immortals who possess Olympus above, and the depths of Tartarus below (as some scholars interpret it).

He then tells that Gaia brought forth her equal Uranus (Heaven, Sky) to “cover her on every side” and to be the abode of the gods. Gaia also bore the hills (ourea), and Pontus (Sea), “without sweet union of love” (i.e., with no father) Afterwards with Uranus, she gave birth to the Titans, as Hesiod tells it:

She lay with Heaven and bore deep-swirling Oceanus, Coeus and Crius and Hyperion and Iapetus, Theia and Rhea, Themis and Mnemosyne and gold-crowned Phoebe and lovely Tethys. After them was born Cronus the wily, youngest and most terrible of her children, and he hated his lusty sire.

According to Hesiod, Gaia conceived further offspring with Uranus, first the giant one-eyed Cyclopes: Brontes (“Thunder”), Steropes (“Lightning”) and Arges (“Bright”); then the Hecatonchires: Cottus, Briareos and Gyges, each with a hundred arms and fifty heads.

As each of the Cyclopes and Hecatonchires were born, Uranus hid them in a secret place within Gaia, causing her great pain. So Gaia devised a plan. She created a grey flint (or adamantine) sickle. And Cronus used the sickle to castrate his father Uranus as he approached Gaia to have intercourse with her.

From Uranus’ spilled blood, Gaia produced the Erinyes, the Giants and the Meliae (ash-tree nymphs). From the testicles of Uranus in the sea came forth Aphrodite. By her son Pontus, Gaia bore the sea-deities Nereus, Thaumas, Phorcys, Ceto, and Eurybia.

Because Cronus had learned from Gaia and Uranus that he was destined to be overthrown by one of his children, he swallowed each of the children born to him by his Titan sister Rhea. But when Rhea was pregnant with her youngest child, Zeus, she sought help from Gaia and Uranus. When Zeus was born, Rhea gave Cronus a stone wrapped in swaddling-clothes in his place, which Cronus swallowed, and Gaia took the child into her care.

With the help of Gaia’s advice, Zeus defeated the Titans. But afterwards, Gaia, in union with Tartarus, bore the youngest of her sons Typhon, who would be the last challenge to the authority of Zeus.

According to Hyginus, Earth (Gaia), along with Heaven and Sea were the children of Aether and Day (Hemera). According to Apollodorus, Gaia and Tartarus were the parents of Echidna.

Zeus hid Elara, one of his lovers, from Hera by stowing her under the earth. His son by Elara, the giant Tityos, is therefore sometimes said to be a son of Gaia, the earth goddess.

Gaia is believed by some sources to be the original deity behind the Oracle at Delphi. Depending on the source, Gaia passed her powers on to Poseidon, Apollo, or Themis. Apollo is the best-known as the oracle power behind Delphi, long established by the time of Homer, having killed Gaia’s child Python there and usurped the chthonic power. Hera punished Apollo for this by sending him to King Admetus as a shepherd for nine years.

In classical art Gaia was represented in one of two ways. In Athenian vase painting she was shown as a matronly woman only half risen from the earth, often in the act of handing the baby Erichthonius (a future king of Athens) to Athena to foster. In mosaic representations, she appears as a woman reclining upon the earth surrounded by a host of Carpi, infant gods of the fruits of the earth.


In January, Ceres was offered spelt wheat and a pregnant sow, along with the earth-goddess Tellus at the movable Feriae Sementivae. In ancient Roman religion and myth, Tellus or Terra Mater (“Mother Earth”) is a goddess of the earth. Although Tellus and Terra are hardly distinguishable during the Imperial era, Tellus was the name of the original earth goddess in the religious practices of the Republic or earlier.

The scholar Varro (1st century BC) lists Tellus as one of the di selecti, the twenty principal gods of Rome, and one of the twelve agricultural deities. She is regularly associated with Ceres in rituals pertaining to the earth and agricultural fertility.

The attributes of Tellus were the cornucopia, or bunches of flowers or fruit. She was typically depicted reclining. Her male complement was a sky god such as Caelus (Uranus) or a form of Jupiter. A male counterpart Tellumo or Tellurus is mentioned, though rarely.

The word tellus, telluris is also a Latin common noun for “land, territory; earth,” as is terra, “earth, ground”. In literary uses, particularly in poetry, it may be ambiguous as to whether the goddess, a personification, or the common noun is meant.

The two words terra and tellus are thought to derive from the formulaic phrase tersa tellus, meaning “dry land”. The etymology of tellus is uncertain; it is perhaps related to Sanskrit talam, “plain ground”.

Her Greek counterpart is Gaea (Gē Mâtēr), and among the Etruscans she was Cel, the Etruscan goddess of the earth. In Etruscan mythology, Cel was the mother of the Giants.

A bronze mirror from the 5th century BC depicts a theomachy in which Celsclan, “son of Cel,” is a Giant attacked by Laran, the god of war. In Greek, “giant” comes from a word meaning “born from Gaia.”

Michael Lipka has argued that the Terra Mater who appears during the reign of Augustus is a direct transferral of the Greek Ge Mater into Roman religious practice, while Tellus, whose temple was within Rome’s sacred boundary (pomerium), represents the original earth goddess cultivated by the state priests.

The word tellus, telluris is also a Latin common noun for “land, territory; earth,” as is terra, “earth, ground”. In literary uses, particularly in poetry, it may be ambiguous as to whether the goddess, a personification, or the common noun is meant. This article preserves the usage of the ancient sources regarding Tellus or Terra.


Uraš or Urash, in Sumerian mythology is a goddess of earth, and one of the consorts of the sky god Anu. She is the mother of the goddess Ninsun (“lady wild cow”) and a grandmother of the hero Gilgamesh.

Ninsun, best known as the mother of the legendary hero Gilgamesh, called “Rimat-Ninsun”, the “August cow”, the “Wild Cow of the Enclosure”, and “The Great Queen”, is the daughter of Anu and Uras.

In the Tello relief (the ancient Lagash, 2150 BC) her name is written with the cuneiform glyphs as: DINGIR.NIN.GUL where the glyph for GUL is the same for SUN. The meaning of SUN is attested as “cow”.

Ninsun was originally named Nininsina, according to Pabilsag’s journey to Nibru. According to the ancient Babylonian text, Nininsina wedded Pabilsag near a riverbank. By Pabilsag she bore Damu, a god of vegetation.

However, Uras may only have been another name for Antum, Anu’s wife. The name Uras even became applied to Anu himself, and acquired the meaning “heaven”. Ninurta also was apparently called Uras in later times.


Uranus (meaning “sky” or “heaven”) was the primal Greek god personifying the sky. In Ancient Greek literature, Uranus or Father Sky was the son and husband of Gaia, Mother Earth. According to Hesiod’s Theogony, Uranus was conceived by Gaia alone, but other sources cite Aether or Aither, the personification of the upper air, as his father.

Uranus and Gaia were the parents of the first generation of Titans, and the ancestors of most of the Greek gods, but no cult addressed directly to Uranus survived into Classical times, and Uranus does not appear among the usual themes of Greek painted pottery. Elemental Earth, Sky and Styx might be joined, however, in a solemn invocation in Homeric epic.

In the Olympian creation myth, as Hesiod tells it in the Theogony, Uranus came every night to cover the earth and mate with Gaia, but he hated the children she bore him. Hesiod named their first six sons and six daughters the Titans, the three one-hundred-handed giants the Hekatonkheires, and the one-eyed giants the Cyclopes.

Uranus imprisoned Gaia’s youngest children in Tartarus, deep within Earth, where they caused pain to Gaia. She shaped a great flint-bladed sickle and asked her sons to castrate Uranus. Only Cronus, youngest and most ambitious of the Titans, was willing: he ambushed his father and castrated him, casting the severed testicles into the sea.

For this fearful deed, Uranus called his sons Titanes Theoi, or “Straining Gods.” From the blood that spilled from Uranus onto the Earth came forth the Giants, the Erinyes (the avenging Furies), the Meliae (the ash-tree nymphs), and, according to some, the Telchines. From the genitals in the sea came forth Aphrodite.

After Uranus was deposed, Cronus re-imprisoned the Hekatonkheires and Cyclopes in Tartarus. Uranus and Gaia then prophesied that Cronus in turn was destined to be overthrown by his own son, and so the Titan attempted to avoid this fate by devouring his young. Zeus, through deception by his mother Rhea, avoided this fate.

After his castration, the Sky came no more to cover the Earth at night, but held to its place, and “the original begetting came to an end” (Kerényi). Uranus was scarcely regarded as anthropomorphic, aside from the genitalia in the castration myth. He was simply the sky, which was conceived by the ancients as an overarching dome or roof of bronze, held in place (or turned on an axis) by the Titan Atlas.

In formulaic expressions in the Homeric poems ouranos is sometimes an alternative to Olympus as the collective home of the gods; an obvious occurrence would be the moment in Iliad 1.495, when Thetis rises from the sea to plead with Zeus: “and early in the morning she rose up to greet Ouranos-and-Olympus and she found the son of Kronos …”

William Sale remarks that “… ‘Olympus’ is almost always used of [the home of the Olympian gods], but ouranos often refers to the natural sky above us without any suggestion that the gods, collectively live there”.

Sale concluded that the earlier seat of the gods was the actual Mount Olympus, from which the epic tradition by the time of Homer had transported them to the sky, ouranos. By the sixth century, when a “heavenly Aphrodite” (Urania) was to be distinguished from the “common Aphrodite of the people”, ouranos signifies purely the celestial sphere itself.

It is possible that Uranus was originally an Indo-European god, to be identified with the Vedic Váruṇa, the supreme keeper of order who later became the god of oceans and rivers, as suggested by Georges Dumézil, following hints in Émile Durkheim, The Elementary Forms of Religious Life (1912).

Another of Dumézil’s theories is that the Iranian supreme God Ahura Mazda is a development of the Indo-Iranian *vouruna-*mitra. Therefore this divinity has also the qualities of Mitra, which is the god of the falling rain.

Uranus is connected with the night sky, and Váruṇa is the god of the sky and the celestial ocean, which is connected with the Milky Way. His daughter Lakshmi is said to have arisen from an ocean of milk, a myth similar to the myth of Aphrodite.

Georges Dumézil made a cautious case for the identity of Uranus and Vedic Váruṇa at the earliest Indo-European cultural level. Dumézil’s identification of mythic elements shared by the two figures, relying to a great extent on linguistic interpretation, but not positing a common origin, was taken up by Robert Graves and others.

The identification of the name Ouranos with the Hindu Váruṇa, based in part on a posited PIE root *-ŭer with a sense of “binding”—ancient king god Váruṇa binds the wicked, ancient king god Uranus binds the Cyclopes, whom had tormented him. The most probable etymology is from Proto-Greek *(F)orsanόj (worsanos) from a PIE root *ers “to moisten, to drip” (referring to the rain).


Aether or Aither was one of the primordial deities. Aether is the personification of the upper air. He embodies the pure upper air that the gods breathe, as opposed to the normal air (ἀήρ, aer) breathed by mortals.

In Hesiod’s Theogony, Aether (Light) was the son of Erebus (Darkness) and Nyx (Night), and the brother of Hemera (Day). The Roman mythographer Hyginus says Aether was the son of Chaos and Caligo (Darkness).

Hyginus says further that the children of Aether and Day were Earth, Heaven, and Sea, while the children of Aether and Earth were “Grief, Deceit, Wrath, Lamentation, Falsehood, Oath, Vengeance, Intemperance, Altercation, Forgetfulness, Sloth, Fear, Pride, Incest, Combat, Ocean, Themis, Tartarus, Pontus; and the Titans, Briareus, Gyges, Steropes, Atlas, Hyperion, and Polus, Saturn, Ops, Moneta, Dione; and three Furies – namely, Alecto, Megaera, Tisiphone.”

Like Tartarus (TAR-tər-əs), the deep abyss that is used as a dungeon of torment and suffering for the wicked and as the prison for the Titans, and Erebus, (Greek: Ἔρεβος, “deep darkness, shadow”), Aether may have had shrines in ancient Greece, but he had no temples and it is unlikely that he had a cult.


Tartarus is the deep abyss that is used as a dungeon of torment and suffering for the wicked and as the prison for the Titans. As far below Hades as the earth is below the heavens, Tartarus is the place where, according to Plato in Gorgias (c. 400 BC), souls were judged after death and where the wicked received divine punishment. Like other primal entities (such as the Earth, Night and Time), Tartarus was also considered to be a primordial force or deity.

In Greek mythology, Tartarus is both a deity and a place in the underworld. In ancient Orphic sources and in the mystery schools, Tartarus is also the unbounded first-existing entity from which the Light and the cosmos are born.

In the Greek poet Hesiod’s Theogony, c. 700 BC, Tartarus was the third of the primordial deities, following after Chaos and Gaia (Earth), and preceding Eros, and was the father, by Gaia, of the monster Typhon.

As for the place, Hesiod asserts that a bronze anvil falling from heaven would fall nine days before it reached the earth. The anvil would take nine more days to fall from earth to Tartarus. In The Iliad (c. 700 BC), Zeus asserts that Tartarus is “as far beneath Hades as heaven is high above the earth.”

In Roman mythology, Tartarus is the place where sinners are sent. Virgil describes it in the Aeneid as a gigantic place, surrounded by the flaming river Phlegethon and triple walls to prevent sinners from escaping from it. It is guarded by a hydra with fifty black gaping jaws, which sits at a screeching gate protected by columns of solid adamantine, a substance akin to diamond – so hard that nothing will cut through it. Inside, there is a castle with wide walls, and a tall iron turret.

Tisiphone, one of the Erinyes who represents revenge, stands guard sleepless at the top of this turret lashing a whip. There is a pit inside which is said to extend down into the earth twice as far as the distance from the lands of the living to Olympus. At the bottom of this pit lie the Titans, the twin sons of Aloeus, and many other sinners. Still more sinners are contained inside Tartarus, with punishments similar to those of Greek myth.

Tartarus is only known in Hellenistic Jewish literature from the Greek text of 1 Enoch, dated to 400–200 BC. This states that God placed the archangel Uriel/ Auriel (“El/God is my light” (God is my light) “in charge of the world and of Tartarus”. Tartarus is generally understood to be the place where 200 fallen Watchers (angels) are imprisoned.

In Mesopotamian mythology, Kur (Sumerian) or Ersetu (Akkadian) is the underworld from which there is no return. It was also called earth of no return, Kurnugia in Sumerian and Erset la tari in Akkadian. Kur is ruled by the goddess Ereshkigal and her consort, the death god Nergal.

Irkalla was originally another name for Ereshkigal, who ruled the underworld alone until Nergal was sent to the underworld and seduced Ereshkigal (in Babylonian mythology). Both the deity and the location were called Irkalla, much like how Hades in Greek mythology is both the name of the underworld and the god who ruled it.

As the subterranean destination for all who die, Irkalla is similar to Sheol of the Hebrew Bible or Hades of classic Greek mythology. It is different from more hopeful versions of the afterlife, such as those envisioned by the contemporaneous Egyptians and the later in Platonic philosophy, Judaism, and Christianity.

However, Irkalla also differs from the Greek Tartarus and the Christian perspective of hell. Irkalla had no punishment or reward, being seen as a more dreary version of life above, with Erishkigal being seen as both warden and guardian of the dead rather than a sinister ruler like Satan or death gods of other religions.

The underworld had various names, some of which were used for the earth and the surface of the earth as well. Sumerian names are: a.rá, arali, bùr, ganzer, idim, ki, kir5, kiši, kukku (darkness), kur,, kunugi / kurnugia (earth of no return), lam / lamma, lamḫu, uraš2, urugal / erigal (grave / great city) and ZÉ.

Akkadian names are: ammatu, arali / arallû, bīt ddumuzi (house of Dumuzi), danninu, erṣetu, erṣetu la târi (earth of no return), ganzer / kanisurra, ḫaštu, irkalla, kiūru, kukkû (darkness), kurnugû (earth of no return), lammu, mātu šaplītu en qaqqaru.

Erebus, also Erebos (“deep darkness, shadow”), was often conceived as a primordial deity, representing the personification of darkness; for instance, Hesiod’s Theogony identifies him as one of the first five beings in existence, born of Chaos.

Erebus features little in Greek mythological tradition and literature, but is said to have fathered several other deities with Nyx; depending on the source of the mythology, this union includes Aether, Hemera, the Hesperides, Hypnos, the Moirai, Geras, Styx, Charon, and Thanatos.

In Greek literature the name Erebus is also used of a region of the Greek underworld where the dead pass immediately after dying, and is sometimes used interchangeably with Tartarus.

The perceived meaning of Erebus is “darkness”; the first recorded instance of it was “place of darkness between earth and Hades”. Semitic forms such as Hebrew עֶרֶב (ˤerev) ‘sunset, evening’ are sometimes cited as a source. However, an Indo-European origin for the name itself is possible from PIE *hregʷ-es/os-, “darkness” “darkness” (cf. Sanskrit rájas, Gothic riqis, Old Norse røkkr).

According to the Greek oral poet Hesiod’s Theogony, Erebus is the offspring of Chaos, and brother to Nyx: “From Chaos came forth Erebus and black Night; but of Night were born Aether and Day, whom she conceived and bore from union in love with Erebus.” Hesiod, Theogony (120–125).


Nyx (“Night”) is the Greek goddess (or personification) of the night. A shadowy figure, Nyx stood at or near the beginning of creation, and mothered other personified deities such as Hypnos (Sleep) and Thanatos (Death), with Erebus.

Her appearances are sparse in surviving mythology, but reveal her as a figure of such exceptional power and beauty, that she is feared by Zeus himself. She is found in the shadows of the world and only ever seen in glimpses.

In Hesiod’s Theogony, Nyx is born of Chaos. With Erebus (Darkness), Nyx gives birth to Aether (Brightness) and Hemera (Day). Later, on her own, Nyx gives birth to Moros (Doom, Destiny), Ker (Fate, Destruction, Death), Thanatos (Death), Hypnos (Sleep), the Oneiroi (Dreams), Momus (Blame), Oizys (Woe, Pain, Distress), the Hesperides (Evening, Sunset), the Moirai (Fates), the Keres, Nemesis (Indignation, Retribution, heavenly punishment for excessive hubris), Apate (Deceit), Philotes (Friendship, Love), Geras (Old Age), and Eris (Strife).

In his description of Tartarus, Hesiod locates there the home of Nyx, and the homes of her children Hypnos and Thanatos. Hesiod says further that Hemera (Day), who is Nyx’s daughter, left Tartarus just as Nyx entered it; continuing cyclicly, when Hemera returned, Nyx left. This mirrors the portrayal of Ratri (night) in the Rigveda, where she works in close cooperation but also tension with her sister Ushas (dawn).

In several fragmentary poems attributed to Orpheus Nyx, rather than Chaos is the first principle from which all creation emerges. Nyx occupies a cave or adyton, in which she gives oracles. Cronus – who is chained within, asleep and drunk on honey – dreams and prophesies. Outside the cave, Adrasteia clashes cymbals and beats upon her tympanon, moving the entire universe in an ecstatic dance to the rhythm of Nyx’s chanting.

Phanes – the strange, monstrous, hermaphrodite Orphic demiurge – was the child or father of Nyx. Nyx is also the first principle in the opening chorus of Aristophanes’ The Birds, which may be Orphic in inspiration. Here she is also the mother of Eros.


Aristophanes states that Aether was the son of Erebus. However, Damascius says that Aether, Erebus and Chaos were siblings, and the offspring of Chronos (Father Time), the personification of Time in pre-Socratic philosophy and later literature. The original meaning and etymology of the word chronos are uncertain.

According to Epiphanius, the world began as a cosmic egg, encircled by Time and Inevitability (most likely Chronos and Ananke) in serpent fashion. Together they constricted the egg, squeezing its matter with great force, until the world divided into two hemispheres.

After that, the atoms sorted themselves out. The lighter and finer ones floated above and became the Bright Air (Aether and/or Uranus) and the rarefied Wind (Chaos), while the heavier and dirtier atoms sank and became the Earth (Gaia) and the Ocean (Pontos and/or Oceanus).

The fifth Orphic hymn to Aether describes the substance as “the high-reigning, ever indestructible power of Zeus,” “the best element,” and “the life-spark of all creatures.”

Though attributed to the mythological poet Orpheus who lived before the time of Homer, the likely composition of the hymns in the 6th-4th centuries BCE make them contemporary with natural philosophers, such as Empedocles, who theorized the material forces of nature as identical with the gods and superior to the anthropomorphic divinities of Homeric religion.

Chronos is a god, who is serpentine shape in form, with three heads—those of a man, a bull, and a lion. He and his consort, serpentine Ananke (Inevitability), circled the primal world egg in their coils and split it apart to form the ordered universe of earth, sea and sky.

Chronos was confused with, or perhaps consciously identified with, due to the similarity in name, the Titan Cronus already in antiquity, the identification becoming more widespread during the Renaissance, giving rise to the allegory of “Father Time” wielding the harvesting scythe.

He was depicted in Greco-Roman mosaics as a man turning the Zodiac Wheel. Chronos, however, might also be contrasted with the deity Aion as Eternal Time.

Chronos is usually portrayed through an old, wise man with a long, grey beard, similar to Father Time. Some of the current English words whose etymological root is khronos/chronos include chronology, chronometer, chronic, anachronism, and chronicle.

In the Orphic cosmogony, the unaging Chronos produced Aether and Chaos, and made a silvery egg in the divine Aether. It produced the hermaphroditic god Phanes, who gave birth to the first generation of gods and is the ultimate creator of the cosmos.

Pherecydes of Syros in his lost Heptamychos (the seven recesses), around 6th century BC, claimed that there were three eternal principles: Chronos, Zas (Zeus) and Chthonie (the chthonic). The semen of Chronos was placed in the recesses and produced the first generation of gods.

During antiquity, Chronos was occasionally interpreted as Cronus, according to Plutarch the Greeks believed that Cronus was an allegorical name for Chronos. In addition to the name, the story of Cronus eating his children was also interpreted as an allegory to a specific aspect of time held within Cronus’ sphere of influence.

As the theory went, Cronus represented the destructive ravages of time which consumed all things, a concept that was definitely illustrated when the Titan king devoured the Olympian gods — the past consuming the future, the older generation suppressing the next generation. During the Renaissance, the identification of Cronus and Chronos gave rise to “Father Time” wielding the harvesting scythe.


The equivalent of Uranus in Roman mythology was Caelus or Coelus, a primal god of the sky in Roman myth and theology, iconography, and literature (compare caelum, the Latin word for “sky” or “the heavens”, hence English “celestial”).

The deity’s name usually appears in masculine grammatical form when he is conceived of as a male generative force, but the neuter form Caelum is also found as a divine personification.

The name of Caelus indicates that he was the Roman counterpart of the Greek god Uranus, who was of major importance in the theogonies of the Greeks. Varro couples him with Terra (Earth) as pater and mater (father and mother), and says that they are “great deities” (dei magni) in the theology of the mysteries at Samothrace.

Caelus begins to appear regularly in Augustan art and in connection with the cult of Mithras during the Imperial era. Vitruvius includes him among celestial gods whose temple-buildings (aedes) should be built open to the sky. As a sky god, he became identified with Jupiter, as indicated by an inscription that reads Optimus Maximus Caelus Aeternus Iup<pi>ter.

According to Cicero and Hyginus, Caelus was the son of Aether, one of the primordial deities, and Dies (“Day” or “Daylight”). Caelus and Dies were in this tradition the parents of Mercury. With Trivia, Caelus was the father of the distinctively Roman god Janus, as well as of Saturn and Ops, a fertility deity and earth-goddess of Sabine origin.

The husband of Ops was Saturn, in Roman mythology, and in Greek mythology where she is identified as Rhea, her husband was Cronus, the bountiful monarch of the Golden Age. Rhea was Cronus’s wife and sister. In her statues and coins, Opis is figured sitting down, as Chthonian deities normally are, and generally holds a scepter or a corn spike as her main attributes.

Caelus was also the father of one of the three forms of Jupiter, the other two fathers being Aether and Saturn. In one tradition, Caelus was the father with Tellus or Terra Mater (“Mother Earth”) of the Muses, the goddesses of the inspiration of literature, science, and the arts, though was this probably a mere translation of Ouranos from a Greek source.

The Muses (perhaps from the o-grade of the Proto-Indo-European root *men- “think”) were considered the source of the knowledge embodied in the poetry, song-lyrics, and myths that were related orally for centuries in these ancient cultures. They were later adopted by the Romans as a part of their pantheon. In current English usage, “muse” can refer in general to a person who inspires an artist, writer, or musician.

Pausanias records a tradition of two generations of Muses; the first are the daughters of Uranus and Gaia, the second of Zeus and Mnemosyne. In later tradition, four Muses were recognized: Thelxinoë, Aoedē, Arche, and Meletē, said to be daughters of Zeus and Plusia or of Uranus.

Caelus substituted for Uranus in Latin versions of the myth of Saturn (Cronus) castrating his heavenly father, from whose severed genitals, cast upon the sea, the goddess Venus (Aphrodite) was born.

In his work On the Nature of the Gods, Cicero presents a Stoic allegory of the myth in which the castration signifies “that the highest heavenly aether, that seed-fire which generates all things, did not require the equivalent of human genitals to proceed in its generative work.”

For Macrobius, the severing marks off Chaos from fixed and measured Time (Saturn) as determined by the revolving Heavens (Caelum). The semina rerum (“seeds” of things that exist physically) come from Caelum and are the elements which create the world.

The divine spatial abstraction Caelum is a synonym for Olympus as a metaphorical heavenly abode of the divine, both identified with and distinguished from the mountain in ancient Greece named as the home of the gods.

Varro says that the Greeks call Caelum (or Caelus) “Olympus.” As a representation of space, Caelum is one of the components of the mundus, the “world” or cosmos, along with terra (earth), mare (sea), and aer (air).

In his work on the cosmological systems of antiquity, the Dutch Renaissance humanist Gerardus Vossius deals extensively with Caelus and his duality as both a god and a place that the other gods inhabit.

The ante-Nicene Christian writer Lactantius routinely uses the Latin theonyms Caelus, Saturn, and Jupiter to refer to the three divine hypostases of the Neoplatonic school of Plotinus: the First God (Caelus), Intellect (Saturn), and Soul, son of the Intelligible (Jupiter).

It is generally though not universally agreed that Caelus is depicted on the cuirass of the Augustus of Prima Porta, at the very top above the four horses of the Sun god’s quadriga.

He is a mature, bearded man who holds a cloak over his head so that it billows in the form of an arch, a conventional sign of deity (velificatio) that “recalls the vault of the firmament.” He is balanced and paired with the personification of Earth at the bottom of the cuirass.

These two figures have also been identified as Saturn and the Magna Mater, to represent the new Saturnian “Golden Age” of Augustan ideology. On an altar of the Lares now held by the Vatican, Caelus in his chariot appears along with Apollo-Sol above the figure of Augustus.

As Caelus Nocturnus, he was the god of the night-time, starry sky. In a passage from Plautus, Nocturnus is regarded as the opposite of Sol, the Sun god. Nocturnus appears in several inscriptions found in Dalmatia and Italy, in the company of other deities who are found also in the cosmological schema of Martianus Capella, based on the Etruscan tradition.

In the Etruscan discipline of divination, Caelus Nocturnus was placed in the sunless north opposite Sol to represent the polar extremities of the axis. This alignment was fundamental to the drawing of a templum (sacred space) for the practice of augury.

The name Caelus occurs in dedicatory inscriptions in connection to the cult of Mithras. The Mithraic deity Caelus is sometimes depicted allegorically as an eagle bending over the sphere of heaven marked with symbols of the planets or the zodiac.

In a Mithraic context he is associated with Cautes and can appear as Caelus Aeternus (“Eternal Sky”). A form of Ahura-Mazda is invoked in Latin as Caelus Aeternus Iupiter. The walls of some mithrea feature allegorical depictions of the cosmos with Oceanus and Caelus. The mithraeum of Dieburg represents the tripartite world with Caelus, Oceanus, and Tellus below Phaeton-Heliodromus.

Some Roman writers used Caelus or Caelum as a way to express the monotheistic god of Judaism. Juvenal identifies the Jewish god with Caelus as the highest heaven (summum caelum), saying that Jews worship the numen of Caelus; Petronius uses similar language.

Florus has a rather odd passage describing the Holy of Holies in the Temple of Jerusalem as housing a “sky” (caelum) under a golden vine, which has been taken as an uncomprehending attempt to grasp the presence of the Jewish god. A golden vine, perhaps the one mentioned, was sent by the Hasmonean king Aristobulus to Pompeius Magnus after his defeat of Jerusalem, and was later displayed in the Temple of Jupiter Capitolinus.


Although Caelus is not known to have had a cult at Rome, not all scholars consider him a Greek import given a Latin name; he has been associated with Summanus, the god of nocturnal thunder, as counterposed to Jupiter, the god of diurnal (daylight) thunder, as “purely Roman.” His precise nature was unclear even to Ovid.

The temple of Summanus was dedicated during the Pyrrhic War c. 278 BCE on June 20. It stood at the west of the Circus Maximus, perhaps on the slope of the Aventine. It seems the temple had been dedicated because the statue of the god which stood on the roof of the temple of Jupiter Capitolinus had been struck by a lightningbolt.

Every June 20, the day before the summer solstice, round cakes called summanalia, made of flour, milk and honey and shaped as wheels, were offered to him as a token of propitiation: the wheel might be a solar symbol. Summanus also received a sacrifice of two black oxen or wethers. Dark animals were typically offered to chthonic deities.

Saint Augustine records that in earlier times Summanus had been more exalted than Jupiter, but with the construction of a temple that was more magnificent than that of Summanus, Jupiter became more honored.

Cicero recounts that the clay statue of the god which stood on the roof of the Temple of Jupiter Optimus Maximus was struck by a lightningbolt: its head was nowhere to be seen. The haruspices announced that it had been hurled into the Tiber River, where indeed it was found on the very spot indicated by them. The temple of Summanus itself was struck by lightning in 197 BCE.

Pliny thought that he was of Etruscan origin, and one of the nine gods of thunder. Varro, however, lists Summanus among gods he considers of Sabine origin, to whom king Titus Tatius dedicated altars (arae) in consequence of a votum. Paulus Diaconus considers him a god of lightning.

Georges Dumézil has argued that Summanus would represent the uncanny, violent and awe-inspiring element of the gods of the first function, connected to heavenly sovereignty. The double aspect of heavenly sovereign power would be reflected in the dichotomy Varuna-Mitra in Vedic religion and in Rome in the dichotomy Summanus-Dius Fidius. The first gods of these pairs would incarnate the violent, nocturnal, mysterious aspect of sovereignty while the second ones would reflect its reassuring, daylight and legalistic aspect.

The name Summanus is thought to be from Summus Manium “the greatest of the Manes”, or sub-, “under” + manus, “hand”. According to Martianus Capella, Summanus is another name for Pluto as the “highest” (summus) of the Manes.

This identification is taken up by later writers such as Camões (“If in Summanus’ gloomy realm / Severest punishment you now endure …”) and Milton, in a simile to describe Satan visiting Rome: “Just so Summanus, wrapped in a smoking whirlwind of blue flame, falls upon people and cities”.

In ancient Roman religion, the Manes or Di Manes are chthonic deities sometimes thought to represent souls of deceased loved ones. They were associated with the Lares, Lemures, Genii, and Di Penates as deities (di) that pertained to domestic, local, and personal cult. They belonged broadly to the category of di inferi, “those who dwell below,” the undifferentiated collective of divine dead.

Lares (archaic Lases, singular Lar), were guardian deities in ancient Roman religion. Their origin is uncertain; they may have been hero-ancestors, guardians of the hearth, fields, boundaries or fruitfulness, or an amalgam of these.

A lamassu (Cuneiform: AN.KAL; Sumerian: lamma; Akkadian: lamassu; sometimes called a lamassus) is an Assyrian protective deity, often depicted as having a human’s head, a body of an ox or a lion, and bird’s wings. The Assyrians typically prominently placed lamassu at the entrances of cities and palaces.

In some writings, it is portrayed to represent a female deity. A less frequently used name is shedu (Cuneiform: AN.KAL×BAD; Sumerian: alad; Akkadian, šēdu) which refers to the male counterpart of a lamassu. The Lammasu or Lumasi represent the zodiacs, parent-stars or constellations. They are depicted as protective deities because they encompass all life within them.

In the Sumerian Epic of Gilgamesh they are depicted as physical deities as well, which is where the Lammasu iconography originates, these deities could be microcosms of their microcosmic zodiac, parent-star, or constellation.

Although “lamassu” had a different iconography and portrayal in Sumerian culture, the terms lamassu, alad, and shedu evolved throughout the Assyro-Akkadian culture from the Sumerian culture to denote the Assyrian-winged-man-bull symbol and statues during the Neo-Assyrian empire. Female lamassus were called “apsasû”.

The motif of the Assyrian-winged-man-bull called Aladlammu and Lamassu interchangeably is not the lamassu or alad of Sumerian origin which were depicted with different iconography. These monumental statues were called aladlammû or lamassu which meant “protective spirit”.

The lamassu is a celestial being from Mesopotamian mythology bearing a human head, bull’s body, sometimes with the horns and the ears of a bull, and wings. It appears frequently in Mesopotamian art. The lamassu and shedu were household protective spirits of the common Babylonian people, becoming associated later as royal protectors, were placed as sentinels at the entrances. The Akkadians associated the god Papsukkal with lamassu and the god Išum with shedu.

To protect houses, the lamassu were engraved in clay tablets, which were then buried under the door’s threshold. They were often placed as a pair at the entrance of palaces. At the entrance of cities, they were sculpted in colossal size, and placed as a pair, one at each side of the door of the city, that generally had doors in the surrounding wall, each one looking towards one of the cardinal points.

In Hittite the Sumerian form LAMMA is used both a name for the so-called “Tutelary deity” identified in certain later texts with Inara and a title given to similar protective gods. In the Enûma Eliš they are both symbolized as the zodiacs, parent-stars, or constellations and as physical deities as well as was in the Epic of Gilgamesh.

The ancient Jewish people were influenced by the iconography of Assyrian culture. The prophet Ezekial wrote about a fantastic being made up of aspects of a human being, a lion, an eagle and a bull. Later, in the early Christian period, the four Gospels were ascribed to each of these components. When it was depicted in art, this image was called the Tetramorph, a symbolic arrangement of four differing elements, or the combination of four disparate elements in one unit. The term is derived from the Greek tetra, meaning four, and morph, shape.

Archaeological evidence exists showing that early man divided the four quarters of the horizon, or space, later a place of sacrifice, such as a temple, and attributed characteristics and spiritual qualities to each quarter. Alternatively the composite elements were carved into mythic creatures such as the Egyptian, Greek and Babylonian sphinxes of antiquity depicting bull-like bodies with birds-wings, lion’s paws and human faces. Such composite creatures are found in many mythologies.

In Christian art the tetramorph is the union of the symbols of the Four Evangelists, the four living Creatures derived from the Book of Ezekiel, into a single figure or, more commonly, a group of four figures. Each of the four Evangelists has a creature, usually shown with wings: St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.

In Christian art and iconography, Evangelist portraits are often accompanied by tetramorphs, or the symbols alone used to represent them. Evangelist portraits that depict them in their human forms are often accompanied by their symbolic creatures, and Christ in Majesty is often shown surrounded by the four symbols.

Laḫmu, Lakhmu, Lache, Lumasi, or Assyro-Akkadian Lammasu is a deity from Akkadian mythology that represents the zodiac, parent stars, or constellations. It is the name of a protective and beneficent deity, the first-born son of Abzu and Tiamat.

He and his sister Laḫamu are the parents of Anshar and Kishar, the sky father and earth mother, who birthed the gods of the Mesopotamian Pantheon.

Laḫmu is depicted as a bearded man with a red sash-usually with three strands- and four to six curls on his head and they are also depicted as monsters, which each encompasses a specific constellation. He is often associated with the Kusarikku or “Bull-Man.”

Lahamu is sometimes seen as a serpent, and sometimes as a woman with a red sash and six curls on her head. It is suggested that the pair were represented by the silt of the sea-bed, but more accurately are known to be the representations of the zodiac, parent-stars, or constellations.

In Sumerian times Laḫmu may have meant “the muddy one”. Lahmu guarded the gates of the Abzu temple of Enki at Eridu. He and his sister Laḫamu are primordial deities in the Babylonian Epic of Creation Enuma Elis and Lahmu may be related to or identical with “Lahamu”, one of Tiamat’s creatures in that epic.

In Mesopotamian mythology, Lamashtu (Akkadian La-maš-tu; Sumerian Dimme Dim-me) was a female demon, monster, malevolent goddess or demigoddess who menaced women during childbirth and, if possible, kidnapped their children while they were breastfeeding. She would gnaw on their bones and suck their blood, as well as being charged with a number of other evil deeds. She was a daughter of the Sky God Anu.

Lamashtu is depicted as a mythological hybrid, with a hairy body, a lioness’ head with donkey’s teeth and ears, long fingers and fingernails, and the feet of a bird with sharp talons. She is often shown standing or kneeling on a donkey, nursing a pig and a dog, and holding snakes. She thus bears some functions and resemblance to the Mesopotamian demon Lilith.

Lamashtu’s father was the Sky God Anu (Sumer An). Unlike many other usual demonic figures and depictions in Mesopotamian lore, Lamashtu was said to act in malevolence of her own accord, rather than at the gods’ instructions. Along with this her name was written together with the cuneiform determinative indicating deity. This means she was a goddess or a demigoddess in her own right.

She bore seven names and was described as seven witches in incantations. Her evil deeds included (but were not limited to): slaying children, unborns, and neonates; causing harm to mothers and expectant mothers; eating men and drinking their blood; disturbing sleep; bringing nightmares; killing foliage; infesting rivers and lakes; and being a bringer of disease, sickness, and death.

Pazuzu, a god or demon, was invoked to protect birthing mothers and infants against Lamashtu’s malevolence, usually on amulets and statues. Although Pazuzu was said to be bringer of famine and drought, he was also invoked against evil for protection, and against plague, but he was primarily and popularly invoked against his fierce, malicious rival Lamashtu.


In religious terms, divinity or godhead is the state of things that come from a supernatural power or deity, such as a god, Supreme Being, Creator-God or spirits, and are therefore regarded as sacred and holy. Such things are regarded as “divine” due to their transcendental origins, and/or because their attributes or qualities are superior or supreme relative to things of the Earth.

Divine things are regarded as eternal and based in truth, while material things are regarded as ephemeral and based in illusion. Such thing that may qualify as “divine” are apparitions, visions, prophecies, miracles, and in some views also the soul, or more general things like resurrection, immortality, grace, and salvation. Otherwise what is or is not divine may be loosely defined, as it is used by different belief systems.

The root of the word “divine” is literally “godly” (from the Latin deus, cf. Dyaus, closely related to Greek zeus, div in Persian and deva in Sanskrit), but the use varies significantly depending on which deity is being discussed. This article outlines the major distinctions in the conventional use of the terms.


In religious belief, a deity is either a natural or supernatural being, who is thought of as holy, divine, or sacred. Some religions have one supreme deity, while others have multiple deities of various ranks.

The word “deity” derives from the Latin deus (“god”), which is related through a common Indo-European origin to Sanskrit deva (“god”), devi (“goddess”), divya (“transcendental”, “spiritual”). The root is related to words for “sky”, such as Latin dies (“day”), and the Sanskrit div, divus, diu (“sky”, “day”, “shine”). Also related are “divine” and “divinity,” from the Latin “divinus,” from “divus.”

I. Scott Littleton’s Gods, Goddesses, and Mythology defined a deity as “a being with powers greater than those of ordinary humans, but who interacts with humans, positively or negatively, in ways that carry humans to new levels of consciousness beyond the grounded preoccupations of ordinary life”.

Deities are depicted in a variety of forms, but are also frequently expressed as having human form. Some faiths and traditions consider it blasphemous to imagine or depict the deity as having any concrete form.

Deities are often thought to be immortal, and are commonly assumed to have personalities and to possess consciousness, intellects, desires, and emotions comparable but usually superior to those of humans. A male deity is a god, while a female deity is a goddess.

Historically, natural phenomena whose causes were not well understood, such as lightning and catastrophes such as earthquakes and floods, were attributed to deities. They were thought to be able to work supernatural miracles and to be the authorities and controllers of various aspects of human life (such as birth or an afterlife).

Some deities were asserted to be the directors of time and fate itself, the givers of human law and morality, the ultimate judges of human worth and behavior, or designers of the Universe.

In Christian theology, divinization (deification, making divine, or theosis) is the transforming effect of divine grace, the spirit of God, or the atonement of Christ. It literally means to become more divine, more like God, or take upon a divine nature.


Deus is Latin for “god” or “deity”. Latin deus and dīvus “divine”, are descended from Proto-Indo-European *deiwos, “celestial” or “shining”, from the same root as *Dyēus, the reconstructed chief god of the Proto-Indo-European pantheon. Compare Greek Zeus (dzeus; Aeolic Greek deus) and Sanskrit deva.

Latin dies (“day”) is considered to have derived from the same PIE root that originated deus. This is to say that a celestial shining body, the Sun, gives material form to the words for “day” in the Romance Languages.

In Classical Latin, deus (feminine dea) was a general noun referring to a deity, while in technical usage a divus or diva was a figure who had become divine, such as a divinized emperor. In Late Latin, Deus came to be used mostly for the Christian God. It was inherited by the Romance languages in French Dieu, Spanish Dios, Portuguese and Galician Deus, Italian Dio, etc, and by the Celtic languages in Welsh Duw and Irish Dia. Latin deus consistently translates Greek θεός theos in both the Vetus Latina and Jerome’s Vulgate. In the Septuagint, Greek theos in turn renders Hebrew Elohim.

The word de-us is the root of Deity, and thereby of deism, pandeism, panendeism, and polydeism, ironically all of which are theories in which any divine figure is absent from intervening in human affairs. This curious circumstance originates from the use of the word “deism” in the 17th and 18th centuries as a contrast to the prevailing “theism”, belief in an actively intervening God:

The new religion of reason would be known as Deism. It had no time for the imaginative disciplines of mysticism and mythology. It turned its back on the myth of revelation and on such traditional “mysteries” as the Trinity, which had for so long held people in the thrall of superstition. Instead it declared allegiance to the impersonal “Deus”.

Followers of these theories, and occasionally followers of pantheism, may sometimes refer to God as “Deus” or “the Deus” to make clear that the entity being discussed is not a theistic “God”. Arthur C. Clarke picks up this usage in his novel 3001: The Final Odyssey. William Blake said of the Deists that they worship “the Deus of the Heathen, The God of This World, & the Goddess Nature, Mystery, Babylon the Great, The Druid Dragon & hidden Harlot”.

In Cartesian philosophy, the phrase deus deceptor is sometimes used to discuss the possibility of an evil God that seeks to deceive us. This character is related to a skeptical argument as to how much we can really know if an evil demon were attempting to thwart our knowledge.

Another is the deus otiosus (“idle god”), a theological concept used to describe the belief in a creator god who largely retires from the world and is no longer involved in its daily operation. A similar concept is that of the deus absconditus (“hidden god”) of Thomas Aquinas. Both refer to a deity whose existence is not readily knowable by humans through either contemplation or examination of divine actions.

The concept of deus otiosus often suggests a god who has grown weary from involvement in this world and who has been replaced by younger, more active gods, whereas deus absconditus suggests a god whom humans are incapable of seeing, or who has consciously left this world to hide elsewhere.

Nobiscum deus (“God with us”) was a battle cry of the late Roman Empire and of the Byzantine Empire. The name Amadeus translates to “for love of God”. The genitive/dative dei occurs in such phrases as Roman Catholic organization Opus Dei (work of God), Agnus Dei (Lamb of God) and Dei Gratia (By the Grace of God).


A diva is a celebrated female singer; a woman of outstanding talent in the world of opera, and by extension in theatre, cinema and popular music. The meaning of diva is closely related to that of prima donna.

The word entered the English language in the late 19th century. It is derived from the Italian noun diva, a female deity. The plural of the word in English is “divas”; in Italian, dive. The basic sense of the term is goddess, the feminine of the Latin word divus (Italian divo), someone deified after death, or Latin deus, a god.

The male form divo exists in Italian and is usually reserved for the most prominent leading tenors, like Enrico Caruso and Beniamino Gigli. The Italian term divismo describes the star-making system in the film industry. In contemporary Italian, diva and divo simply denote much-admired celebrities, especially film actresses and actors, and can be translated as “(film) star”.

Diva can also refer to a woman with a reputation for being temperamental or difficult to please. In show business, having a “diva attitude” implies someone who is self-important or hard to work with.


Dyēus (also *Dyēus phter, alternatively spelled dyēws) is believed to have been chief deity in the religious traditions of the prehistoric Proto-Indo-European societies. Part of a larger pantheon, he was the god of the daylight sky, and his position may have mirrored the position of the patriarch or monarch in society. In his aspect as a father god, his consort would have been Pltwih Mhter, “Earth Mother”.

This deity is not directly attested; rather scholars have reconstructed this deity from the languages and cultures of later Indo-European peoples such as Greeks, Latins and Indo-Aryans.

According to this scholarly reconstruction, Dyeus was addressed as Dyeu Phter, literally “Sky father” or “shining father”, as reflected in Latin Iūpiter, Diēspiter, possibly Dis Pater and deus pater, Greek Zeu pater, Sanskrit Dyàuṣpítaḥ.

As the pantheons of the individual mythologies related to the Proto-Indo-European religion evolved, attributes of Dyeus seem to have been redistributed to other deities. In Greek and Roman mythology, Dyeus remained the chief god, but in Vedic mythology, the etymological continuant of Dyeus became a very abstract god, and his original attributes, and his dominance over other gods, seem to have been transferred to gods such as Agni or Indra.

Later figures etymologically connected with Dyeus is in Greek mythology Zeus, in Roman mythology Jupiter (pronounced Iuppiter), and Dis Pater, in Historical Vedic religion Dyauṣ Pitār, and Dionysus, especially with the Thracians and Sabines.

Rooted in the related but distinct Indo-European word *deiwos is the Latin word for deity, deus. The Latin word is also continued in English divine, “deity”, and the original Germanic word remains visible in “Tuesday” (“Day of Tīwaz”) and Old Norse tívar, which may be continued in the toponym Tiveden (“Wood of the Gods”, or of Týr).

Germanic Tīwaz (known as Týr in Old Norse), Latin Deus (originally used to address Jupiter, but later adopted as the name of the Christian god), Indo-Aryan deva: Vedic/Puranic deva, Buddhist deva, Iranic daeva, daiva, diw, etc., Baltic Dievas, Celtic e.g. Gaulish Dēuos, and Slavic div(-ese) (miracle) derive from the related *deiwos. Estonian Tharapita bears similarity to Dyaus Pita in name, although it has been interpreted as being related to the god Thor.

Although some of the more iconic reflexes of Dyeus are storm deities, such as Zeus and Jupiter, this is thought to be a late development exclusive to mediterranean traditions, probably derived from syncretism with canaanite deities and Perkwunos.

The deity’s original domain was over the daylit sky, and indeed reflexes emphasise this connection to light. The solar deity Istanu (Ištanu; from Hattic Estan, “Sun-god”), the Hittite and Hattic god of the sun in Luwian, was known as Tiwaz or Tijaz. He was a god of judgement, and was depicted bearing a winged sun on his crown or head-dress, and a crooked staff.

Helios is often referred to as the “eye of Zeus”, in Romanian paganism the Sun is similarly called “God’s eye” and in Indo-Iranian tradition Surya/Hvare-khshaeta is similarly associated with Ahura Mazda. Even in roman tradition, Jupiter often is only associated with diurnal lightning at most, while Summanus is a deity responsible for nocturnal lightning or storms as a whole.

As an ordinary noun Dyēus’s name also likely means “the daytime sky”: In Sanskrit as div- (nominative singular dyāus with vrddhi), its singular means “the sky” and its plural means “days”. Its accusative form *dyēm became Latin diem “day”, which later gave rise to a new nominative diēs. The original nominative survives as diūs in a few fixed expressions.

Finnish taivas Estonian taevas, Livonian tōvaz etc. (from Proto-Finnic *taivas), meaning “heaven” or “sky,” are likely rooted in the Indo-European word. The neighboring Baltic Dievas or Germanic Tiwaz are possible sources, but the Indo-Iranian *daivas accords better in both form and meaning. Similar origin has been proposed for the word family represented by Finnish toivoa “to hope” (originally “to pray from gods”).


Deva means “heavenly, divine, anything of excellence”, and is also one of the terms for a deity in Hinduism. According to Douglas Harper, the etymological roots of Deva mean “a shining one,” from *div- “to shine,” and it is a cognate with Greek dios “divine” and Zeus, and Latin deus (Old Latin deivos). The word Deva is also a proper name or part of name in Indian culture, where it refers to “one who wishes to excel, overcome” or the “seeker of, master of or a best among-“.

Deva is masculine, and the related feminine equivalent is devi. Etymologically, the cognates of Devi are Latin dea and Greek thea. When capitalized, Devi or Mata refers to goddess as divine mother in Hinduism. Deva is also referred to as Devatā, while Devi as Devika.

In the earliest Vedic literature, all supernatural beings are called Asuras. The concepts and legends evolve in ancient Indian literature, and by late Vedic period, benevolent supernatural beings are referred to as Deva-Asuras.

In post-Vedic texts, such as the Puranas and the Itihasas of Hinduism, the Devas represent the good, and the Asuras the bad. In some medieval Indian literature, Devas are also referred to as Suras and contrasted with their equally powerful, but malevolent half-brothers referred to as the Asuras.

Devas along with Asuras, Yaksha (nature spirits) and Rakshasas (ghosts, ogres) are part of Indian mythology, and Devas feature in one of many cosmological theories in Hinduism.

Deva is a Sanskrit word found in Vedic literature of 2nd millennium BCE. Monier Williams translates it as “heavenly, divine, terrestrial things of high excellence, exalted, shining ones”. The concept also is used to refer to deity.

The Sanskrit deva- derives from Indo-Iranian *dev- which in turn descends from the Proto-Indo-European word, *deiwos, originally an adjective meaning “celestial” or “shining”, which is a (not synchronic Sanskrit) vrddhi derivative from the root *diw meaning “to shine”, especially as the day-lit sky. The feminine form of *deiwos is *deiwih, which descends into Indic languages as devi, in that context meaning “female deity”.

Also deriving from *deiwos, and thus cognates of deva, are Lithuanian Dievas (Latvian Dievs, Prussian Deiwas), Germanic Tiwaz (seen in English “Tuesday”) and the related Old Norse Tivar (gods), and Latin deus and divus “divine”, from which the English words “divine”, “deity”, French “dieu”, Portuguese “deus”, Spanish “dios” and Italian “dio”, also “Zeys/Ζεύς” – “Dias/Δίας”, the Greek father of the gods, are derived.

It is related to *Dyeus which while from the same root, may originally have referred to the “heavenly shining father”, and hence to “Father Sky”, the chief God of the Indo-European pantheon, continued in Sanskrit Dyaus. The bode of the Devas is Dyuloka.


Daeva is an Avestan language term for a particular sort of supernatural entity with disagreeable characteristics. In the Gathas, the oldest texts of the Zoroastrian canon, the daevas are “wrong gods” or “false gods” or “gods that are (to be) rejected”.

This meaning is – subject to interpretation – perhaps also evident in the Old Persian “daiva inscription” of the 5th century BCE. In the Younger Avesta, the daevas are noxious creatures that promote chaos and disorder. In later tradition and folklore, the dēws (Zoroastrian Middle Persian; New Persian divs) are personifications of every imaginable evil.

Daeva, the Iranian language term, should not be confused with the devas of Indian religions. While the word for the Vedic spirits and the word for the Zoroastrian entities are etymologically related, their function and thematic development is altogether different.

The once-widespread notion that the radically different functions of Iranian daeva and Indic deva (and ahura versus asura) represented a prehistoric inversion of roles is no longer followed in 21st century academic discourse.

Equivalents for Avestan daeva in Iranian languages include Pashto, Balochi, Kurdish dêw, Persian dīv/deev, all of which apply to demons, monsters, and other villainous creatures. The Iranian word was borrowed into Old Armenian as dew, Georgian as devi, and Urdu as deo, with the same negative associations in those languages. In English, the word appears as daeva, div, deev, and in the 18th century fantasy novels of William Thomas Beckford as dive.

Old Avestan daēuua or daēva derives from Old Iranian *daiva, which in turn derives from Indo-Iranian *daivá- “god,” reflecting Proto-Indo-European *deiu̯ó with the same meaning. The Vedic Sanskrit cognate of Avestan daēuua is devá-, continuing in later Indo-Aryan languages as dev.

Dyauṣ Pitā

Dyauṣ Pitā, literally “Sky Father” is the ancient sky god of Vedic pantheon, consort of Prithvi Mata “Earth Mother” and father of the chief deities of the Rigveda, Agni (Fire), Indra, and Ushas (Dawn).

In the Rigveda, Dyaus Pita appears only in verses 1.89.4, 1.90.7, 1.164.33, 1.191.6 and 4.1.10, and only in RV 1.89.4 does Pitar Dyaus “Father Sky” appear alongside Mata Prithvi “Mother Earth”. He is thus a very marginal deity in Rigvedic mythology, but his intrinsic importance is visible from his being the father of the chief deities.

That Dyaus was seen as the father of Indra is known only from one verse, RV 4.17.4: “Thy Father Dyaus esteemed himself a hero: most noble was the work of Indra’s Maker / His who begat the strong bolt’s Lord who roareth, immovable like earth from her foundation.”

He is mainly considered in comparative philology as a last remnant of the chief god of Proto-Indo-European religion. The name Dyauṣ Pitā is exactly parallel to the Greek Zeus Pater etymologically and closely related to Latin Jupiter. Both Dyauṣ and Zeus reflect a Proto-Indo-European *Dyeus.

Based on this reconstruction, the widespread opinion in scholarship since the 19th century has been that Indra had replaced Dyaus as the chief god of the early Indo-Aryans. While Prthivi survives as a Hindu goddess after the end of the Vedic period, Dyaus Pita became almost unknown already in antiquity.

The noun dyaús (when used without the pitā “father”) means “sky, heaven” and occurs frequently in the Rigveda, as a mythological entity, but not as a male deity: the sky in Vedic mythology was imagined as rising in three tiers, avama , madhyama, and uttama or tṛtīya (RV 5.60.6). In the Purusha Suktam (10.90.14), the sky is described to have been created from the head of the primaeval being, the Purusha.

Dīs Pater

Dīs Pater was a Roman god of the underworld, later subsumed by Pluto or Hades (Hades was Greek). Originally a chthonic god of riches, fertile agricultural land, and underground mineral wealth, he was later commonly equated with the Roman deities Pluto and Orcus, becoming an underworld deity.

Dīs Pater was commonly shortened to simply Dīs. This name has since become an alternative name for the underworld or a part of the underworld, such as the City of Dis of The Divine Comedy.

Cicero in his De Natura Deorum derives the name of Dīs Pater from dives, suggesting a meaning of “father of riches”, directly corresponding to the name Pluto (from Greek Ploutōn meaning “wealthy”).

Many of Cicero’s etymological derivations are not to be taken seriously, and may indeed have been intended ironically. Nevertheless, this particular derivation of Cicero’s has been accepted by some authors, some even suggesting that Dīs Pater is a direct loan translation of Ploutōn. Alternatively, he may be a secondary reflex of the same god as Jupiter (Proto-Indo-European Dyeus Phter).

Like Pluto, Dīs Pater eventually became associated with death and the underworld because the wealth of the earth, gems and precious metals, was considered in the domain of the Greco-Roman underworld. As a result, Dīs Pater was over time conflated with the Greek god Hades.

In being conflated with Pluto, Dīs Pater took on some of the Greek mythological attributes of Pluto/Hades, being one of the three sons of Saturn (Greek: Cronus) and Ops (Greek: Rhea), along with Jupiter and Neptune. He ruled the underworld and the dead beside his wife, Proserpina (Greek: Persephone). In literature, Dīs Pater was commonly used as a symbolic and poetic way of referring to death itself.

In 249 BC and 207 BC, the Roman Senate under Senator Lucius Catelli ordained special festivals to appease Dīs Pater and Proserpina. Every hundred years, a festival was celebrated in his name.

Dīs Pater was sometimes identified with the Sabine god Soranus. In southern Germany and the Balkans, Dīs Pater had a Celtic goddess, Aericura, as a consort. Dīs Pater was rarely associated with foreign deities in the shortened form of his name, Dis.


Lithuanian Dievas, Latvian Dievs, Latgalian Dīvs, Prussian Deywis, Yotvingian Deivas was the supreme god in the Baltic mythology and one of the most important deities together with Perkūnas. Dievas is a direct successor of the Proto-Indo-European supreme god *Dyēus of the root *deiwo-. Its Proto-Baltic form was *Deivas. In recent Lithuanian, this word may refer to the deity of any kind (Pagan, Christian, fictional and the like).

In English, Dievas may be used as a word to describe the God (or, the supreme god) in the pre-Christian religion of Balts, where Dievas was understood to be the supreme being of the world. In Lithuanian and Latvian, it is also used to describe God as it is understood by major world religions today. Earlier *Deivas simply denoted the shining sunlit dome of the sky, as in other Indo-European mythologies. The celestial aspect is still apparent in phrases such as Saule noiet dievā, from Latvian folksongs. In Hinduism any deity is known as Deva, a result of shared Proto-Indo-European roots.


Zeus (Modern Greek: Días) was the sky and thunder god in ancient Greek religion, who ruled as king of the gods of Mount Olympus. His name is cognate with the first element of his Roman equivalent Jupiter.

Zeus is the child of Cronus and Rhea, the youngest of his siblings to be born, though sometimes reckoned the eldest as the others required disgorging from Cronos’s stomach. In most traditions, he is married to Hera, by whom he is usually said to have fathered Ares, Hebe, and Hephaestus. At the oracle of Dodona, his consort was said to be Dione, by whom the Iliad states that he fathered Aphrodite. Zeus was also infamous for his erotic escapades. These resulted in many godly and heroic offspring, including Athena, Apollo, Artemis, Hermes, Persephone, Dionysus, Perseus, Heracles, Helen of Troy, Minos, and the Muses.

He was respected as an allfather who was chief of the gods and assigned the others to their roles: “Even the gods who are not his natural children address him as Father, and all the gods rises in his presence.” He was equated with many foreign weather gods, permitting Pausanias to observe “That Zeus is king in heaven is a saying common to all men”. His symbols are the thunderbolt, eagle, bull, and oak.

In addition to his Indo-European inheritance, the classical “cloud-gatherer” (Greek: Nephelēgereta) also derives certain iconographic traits from the cultures of the Ancient Near East, such as the scepter. Zeus is frequently depicted by Greek artists in one of two poses: standing, striding forward with a thunderbolt leveled in his raised right hand, or seated in majesty.

Zeus is the Greek continuation of *Di̯ēus, the name of the Proto-Indo-European god of the daytime sky, also called *Dyeus phtēr (“Sky Father”). The god is known under this name in the Rigveda (Vedic Sanskrit Dyaus/Dyaus Pita), Latin (compare Jupiter, from Iuppiter, deriving from the Proto-Indo-European vocative *dyeu-phtēr), deriving from the root *dyeu- (“to shine”, and in its many derivatives, “sky, heaven, god”). Zeus is the only deity in the Olympic pantheon whose name has such a transparent Indo-European etymology.

The earliest attested forms of the name are the Mycenaean Greek di-we and di-wo, written in the Linear B syllabic script. Plato, in his Cratylus, gives a folk etymology of Zeus meaning “cause of life always to all things,” because of puns between alternate titles of Zeus (Zen and Dia) with the Greek words for life and “because of.” This etymology, along with Plato’s entire method of deriving etymologies, is not supported by modern scholarship.


Jupiter, also Jove (Latin: Iuppiter, gen. Iovis, is the god of sky and thunder and king of the gods in Ancient Roman religion and mythology. Jupiter was the chief deity of Roman state religion throughout the Republican and Imperial eras, until Christianity became the dominant religion of the Empire. In Roman mythology, he negotiates with Numa Pompilius, the second king of Rome, to establish principles of Roman religion such as sacrifice.

Jupiter is usually thought to have originated as a sky god. His identifying implement is the thunderbolt and his primary sacred animal is the eagle, which held precedence over other birds in the taking of auspices and became one of the most common symbols of the Roman army.

The two emblems were often combined to represent the god in the form of an eagle holding in its claws a thunderbolt, frequently seen on Greek and Roman coins. As the sky-god, he was a divine witness to oaths, the sacred trust on which justice and good government depend. Many of his functions were focused on the Capitoline Hill, where the citadel was located. He was the chief deity of the early Capitoline Triad with Mars and Quirinus. In the later Capitoline Triad, he was the central guardian of the state with Juno and Minerva. His sacred tree was the oak.

The Romans regarded Jupiter as the equivalent of the Greek Zeus, and in Latin literature and Roman art, the myths and iconography of Zeus are adapted under the name Iuppiter.

In the Greek-influenced tradition, Jupiter was the brother of Neptune and Pluto. Each presided over one of the three realms of the universe: sky, the waters, and the underworld. The Italic Diespiter was also a sky god who manifested himself in the daylight, usually but not always identified with Jupiter.

Tinia (also Tin, Tinh, Tins or Tina), the god of the sky and the highest god in Etruscan mythology, is usually regarded as his Etruscan counterpart. He was the husband of Thalna, a divine figure usually regarded as a goddess of childbirth, or Uni, the supreme goddess of the Etruscan pantheon, and the father of Hercle. Uni was identified by the Etruscans as their equivalent of Juno in Roman mythology and Hera in Greek mythology.


Týr (Old Norse: Týr) is a god associated with law and heroic glory in Norse mythology, portrayed as one-handed. Corresponding names in other Germanic languages are Gothic Teiws, Old English Tīw and Old High German Ziu and Cyo, all from Proto-Germanic *Tīwaz. The Latinised name is Tius or Tio.


In Norse mythology, Ymir, Aurgelmir, Brimir, or Bláinn is a primeval being born of primordial elemental poison and the ancestor of all jötnar. The gods Odin, Vili, and Vé fashioned the Earth (elsewhere personified as a goddess; Jörð) from his flesh, from his blood the ocean, from his bones the hills, from his hair the trees, from his brains the clouds, from his skull the heavens, and from his eyebrows the middle realm in which mankind lives, Midgard. In addition, one stanza relates that the dwarfs were given life by the gods from Ymir’s flesh and blood (or the Earth and sea).

In the late Icelandic Eddas, Tyr is portrayed, alternately, as the son of Odin (Prose Edda) or of Hymir (Poetic Edda), while the origins of his name and his possible relationship to Tuisto suggest he was once considered the father of the gods and head of the pantheon, since his name is ultimately cognate to that of *Dyeus (cf. Dyaus), the reconstructed chief deity in Indo-European religion. Connections have been proposed between the 1st century figure of Tuisto and the hermaphroditic primeval being Ymir in later Norse mythology, attested in 13th century sources, based upon etymological and functional similarity.

By way of historical linguistics and comparative mythology, scholars have linked Ymir to Tuisto, the Proto-Germanic being attested by Tacitus in his 1st century AD work Germania and have identified Ymir as an echo of a primordial being reconstructed in Proto-Indo-European mythology. It is assumed that Tîwaz was overtaken in popularity and in authority by both Odin and Thor at some point during the Migration Age, as Odin shares his role as God of war.


Purusha is a complex concept whose meaning evolved in Vedic and Upanishadic times. Depending on source and historical timeline, it means the cosmic man or it means Self, Consciousness, and Universal principle.

In early Vedas, Purusa meant a cosmic man whose sacrifice by the gods created all life. This was one of many creation theories discussed in the Vedas. The idea parallels Norse Ymir, with the myth’s origin in Proto-Indo-European religion.

In the Upanishads, the Purusa concept no longer meant a being or cosmic man. The meaning evolved to an abstract essence of Self, Spirit and the Universal Principle that is eternal, indestructible, without form and all pervasive.

The Purusa concept is explained with the concept of Prakrti in the Upanishads. The universe is envisioned, in these ancient Sanskrit texts, as a combination of perceivable material reality and non-perceivable, non-material laws and principles of nature.

Material reality, or Prakrti, is everything that has changed, can change and is subject to cause and effect. Purusa is the Universal principle that is unchanging, uncaused but is present everywhere and the reason why Prakrti changes, evolves all the time and why there is cause and effect. Purusa is what connects everything and everyone, according to various schools of Hinduism.


Ziusudra (also Zi-ud-sura and Zin-Suddu; Hellenized Xisuthros: “found long life” or “life of long days”) of Shuruppak is listed in the WB-62 Sumerian king list recension as the last king of Sumer prior to the deluge. He is subsequently recorded as the hero of the Sumerian flood epic.

He is also mentioned in other ancient literature, including The Death of Gilgamesh and The Poem of Early Rulers, and a late version of The Instructions of Shuruppak refers to Ziusudra. Akkadian Atrahasis (“extremely wise”) and Utnapishtim (“he found life”), as well as biblical Noah (“rest”) are similar heroes of flood legends of the ancient Near East.

Although each version of the flood myth has distinctive story elements, there are numerous story elements that are common to two, three, or four versions. The earliest version of the flood myth is preserved fragmentarily in the Eridu Genesis, written in Sumerian cuneiform and dating to the 17th century BC, during the 1st Dynasty of Babylon when the language of writing and administration was still Sumerian. Strong parallels are notable with other Near Eastern flood legends, such as the biblical account of Noah.


According to Tacitus’s Germania (98 CE), Tuisto is the divine ancestor of the Germanic peoples. The figure remains the subject of some scholarly discussion, largely focused upon etymological connections and comparisons to figures in later (particularly Norse) Germanic mythology. In the larger Indo-European pantheon, Tuisto is equated to the Vedic Tvastar.

The Germania manuscript corpus contains two primary variant readings of the name. The most frequently occurring, Tuisto, is commonly connected to the Proto-Germanic root tvai (“two”) and its derivative tvis (“twice”; “doubled”).

Allusions to intersex is entirely conjectural, as the tvia/tvis roots are also the roots of any number of other concepts/words in the Germanic languages. Take for instance the Germanic “twist”, which, in all but the English has the primary meaning of “dispute/conflict”.

The second variant of the name, occurring originally in manuscript E, is Tuisco (sometimes rendered Tuiscon). One proposed etymology for this variant reconstructs a Proto-Germanic tiwisko, and connects this with Proto-Germanic Tiwaz, yielded the meaning “son of Tiu”. This interpretation implies that Tuisco is the son of the sky god (Proto-Indo-European Dyeus) and the earth-goddess.

Connections have been proposed between the 1st century figure of Tuisto and the hermaphroditic primeval being Ymir in later Norse mythology, attested in 13th century sources, based upon etymological and functional similarity. Meyer (1907) sees the connection as so strong, that he considers the two to be identical.

Lindow (2001), while mindful of the possible semantic connection between Tuisto and Ymir, notes an essential functional difference: while Ymir is portrayed as an “essentially … negative figure” – Tuisto is described as being “celebrated” (celebrant) by the early Germanic peoples in song, with Tacitus reporting nothing negative about Tuisto.

Jacob (2005) attempts to establish a genealogical relationship between Tuisto and Ymir based on etymology and a comparison with (post-)Vedic Indian mythology: as Tvastr, through his daughter Saranyū and her husband Vivaswān, is said to have been the grandfather of the twins Yama and Yami, so Jacob argues that the Germanic Tuisto (assuming a connection with Tvastr) must originally have been the grandfather of Ymir (cognate to Yama). Incidentally, Indian mythology also places Manu (cognate to Germanic Mannus), the Vedic progenitor of mankind, as a son of Vivaswān, thus making him the brother of Yama/Ymir.

Tacitus relates that “ancient songs” (Latin carminibus antiquis) of the Germanic peoples celebrated Tuisto as “a god, born of the earth” (deum terra editum). These songs further attributed to him a son, Mannus, who in turn had three sons, the offspring of whom were referred to as Ingaevones, Herminones and Istaevones, living near the Ocean (proximi Oceano), in the interior (medii), and the remaining parts (ceteri) of the geographical region of Germania, respectively.

Tacitus’s report falls squarely within the ethnographic tradition of the classical world, which often fused anthropogony, ethnogony, and theogony together into a synthetic whole. The succession of father-son-three sons parallels occurs in both Germanic and non-Germanic Indo-European areas. The essential characteristics of the myth have been theorized as ultimately originating in Proto-Indo-European society around 2,000 BCE.

According to Rives (1999), the fact that the ancient Germanic peoples claimed descent from an earth-born god was used by Tacitus to support his contention that they were an indigenous population: the Latin word indigena was often used in the same sense as the Greek autochthonos, meaning literally ‘[born from] the earth itself’ (from χθών – chthōn “earth”).

Lindauer (1975) notes that, although this claim is to be judged as one made out of simple ignorance of the facts on the part of Tacitus, he was not entirely wrong, as he made the judgement based on a comparison with the relatively turbulent Mediterranean region of his day.

The sequence in which one god has a son, who has three famous sons, has a resemblance to how Búri has a son Borr who has three sons: Odin, Vili and Vé. The same tradition occurs with the Slavs and their expansion, in the legend of Lech, Čech and Rus.

Bull of Heaven

Gugalanna was sent by the gods to take retribution upon Gilgamesh for rejecting the sexual advances of the goddess Inanna. Gugalanna, whose feet made the earth shake, was slain and dismembered by Gilgamesh and his companion Enkidu. Inanna looked down from the city walls and Enkidu shook the haunches of the bull at her, threatening to do the same if he ever caught her. He is later killed for this impiety.

Gugalanna was the first husband of the Goddess Ereshkigal, the Goddess of the Realm of the Dead, a gloomy place devoid of light. It was to share the sorrow with her sister that Inanna later descends to the Underworld.

In the Mesopotamian Epic of Gilgamesh, one of the earliest works of literature, the goddess Ishtar sends Taurus, the Bull of Heaven, to kill Gilgamesh for spurning her advances. Some locate Gilgamesh as the neighboring constellation of Orion, facing Taurus as if in combat, while others identify him with the sun whose rising on the equinox vanquishes the constellation.

In early Mesopotamian art, the Bull of Heaven was closely associated with Inanna, the Sumerian goddess of sexual love, fertility, and warfare. One of the oldest depictions shows the bull standing before the goddess’ standard; since it has 3 stars depicted on its back (the cuneiform sign for “star-constellation”), there is good reason to regard this as the constellation later known as Taurus.

The same iconic representation of the Heavenly Bull was depicted in the Dendera zodiac, an Egyptian bas-relief carving in a ceiling that depicted the celestial hemisphere using a planisphere.

In these ancient cultures, the orientation of the horns was portrayed as upward or backward. This differed from the later Greek depiction where the horns pointed forward. To the Egyptians, the constellation Taurus was a sacred bull that was associated with the renewal of life in spring.

When the spring equinox entered Taurus, the constellation would become covered by the Sun in the western sky as spring began. This “sacrifice” led to the renewal of the land. To the early Hebrews, Taurus was the first constellation in their zodiac and consequently it was represented by the first letter in their alphabet, Aleph.

In Greek mythology, Taurus was identified with Zeus, who assumed the form of a magnificent white bull to abduct Europa, a legendary Phoenician princess. In illustrations of Greek mythology, only the front portion of this constellation are depicted; this was sometimes explained as Taurus being partly submerged as he carried Europa out to sea.

A second Greek myth portrays Taurus as Io, a mistress of Zeus. To hide his lover from his wife Hera, Zeus changed Io into the form of a heifer. Greek mythographer Acusilaus marks the bull Taurus as the same that formed the myth of the Cretan Bull, one of The Twelve Labors of Heracles.

Taurus became an important object of worship among the Druids. Their Tauric religious festival was held while the Sun passed through the constellation. In Buddhism, legends hold that Gautama Buddha was born when the Full Moon was in Vaisakha, or Taurus. Buddha’s birthday is celebrated with the Wesak Festival, or Vesākha, which occurs on the first or second Full Moon when the Sun is in Taurus.

Taurus was the constellation of the Northern Hemisphere’s Spring Equinox from about 3,200 BC. The equinox was considered the Sumerian New Year, Akitu, an important event in their religion.

The story of the death of Gugalanna has been considered to represent the sun’s obscuring of the constellation as it rose on the morning of the equinox.

“Between the period of the earliest female figurines circa 4500 B.C. … a span of a thousand years elapsed, during which the archaeological signs constantly increase of a cult of the tilled earth fertilised by that noblest and most powerful beast of the recently developed holy barnyard, the bull – who not only sired the milk yielding cows, but also drew the plow, which in that early period simultaneously broke and seeded the earth.

Moreover by analogy, the horned moon, lord of the rhythm of the womb and of the rains and dews, was equated with the bull; so that the animal became a cosmological symbol, uniting the fields and the laws of sky and earth.”


Taurus (Latin for “the Bull”) is the second astrological sign in the present Zodiac which means it is crossed by the plane of the ecliptic. It spans the 30-60th degree of the zodiac, between 27.25 and 54.75 degree of celestial longitude. Under the tropic zodiac, the Sun transits this area on average between April 20 and May 20 each year. Under the sidereal zodiac, the sun transits the constellation of Taurus from May 16 (approx.) to June 21.

People born between these dates, depending on which system of astrology they subscribe to, may be called Taureans. The symbol of the bull is based on the Cretan Bull, the white bull that fathered the Minotaur and was killed by Theseus.

Taurus is a large and prominent constellation in the northern hemisphere’s winter sky. It is one of the oldest constellations, dating back to at least the Early Bronze Age when it marked the location of the Sun during the spring equinox. Its importance to the agricultural calendar influenced various bull figures in the mythologies of Ancient Sumer, Akkad, Assyria, Babylon, Egypt, Greece, and Rome.

Taurus was the second sign of the zodiac established among the ancient Mesopotamians —who knew it as the Bull of Heaven — because it was the sign through which the sun rose on the vernal equinox.

Taurus marked the point of vernal (spring) equinox in the Chalcolithic and the Early Bronze Age, from about 4000 BC to 1700 BC, after which it due to the procession of the equinox moved into the neighboring constellation Aries.

The Bull represents a strong-willed character with great perseverance and determination. In Egypt, Taurus was seen as the cow goddess Hathor, the goddess of beauty, love, and happiness. Hathor represented all of the riches seen in cattle as the providers of nourishment. Roman astrologers considered Taurus ruled by Venus, the goddess of beauty.

The Pleiades were closest to the Sun at vernal equinox around the 23rd century BC. In Babylonian astronomy, the constellation was listed in the MUL.APIN as GU.AN.NA, “The Bull of Heaven”. As this constellation marked the vernal equinox, it was also the first constellation in the Babylonian zodiac and they described it as “The Bull in Front”. The Akkadian name was Alu.


Kumarbi is the chief god of the Hurrians. He is the son of Anu (the sky), and father of the storm-god Teshub. He was identified by the Hurrians with Sumerian Enlil, and by the Ugaritians with El.

Kumarbi is known from a number of mythological Hittite texts, sometimes summarized under the term “Kumarbi Cycle”. These texts notably include the myth of The Kingship in Heaven (also known as the Song of Kumarbi or the “Hittite Theogony”), the Song of Ullikummi, the Kingship of the God KAL, the Myth of the dragon Hedammu, and the Song of Silver.

The Song of Kumarbi or Kingship in Heaven is the title given to a Hittite version of the Hurrian Kumarbi myth, dating to the 14th or 13th century BC. It is preserved in three tablets, but only a small fraction of the text is legible.

The song relates that Alalu was overthrown by Anu who was in turn overthrown by Kumarbi. When Anu tried to escape, Kumarbi bit off his genitals and spat out three new gods. In the text Anu tells his son that he is now pregnant with the Teshub, Tigris, and Tašmišu.

Upon hearing this Kumarbi spit the semen upon the ground and it became impregnated with two children. Kumarbi is cut open to deliver Tešub. Together, Anu and Teshub depose Kumarbi.

In another version of the Kingship in Heaven, the three gods, Alalu, Anu, and Kumarbi, rule heaven, each serving the one who precedes him in the nine-year reign. After nine years of reign, Alalu was defeated by his son Anu. Anuʻs son Kumarbi also defeated his father, and his son Teshub defeated him, too. It is Kumarbi’s son Tešub, the Weather-God, who begins to conspire to overthrow his father.

From the first publication of the Kingship in Heaven tablets scholars have pointed out the similarities between the Hurrian creation myth and the story from Greek mythology of Uranus, Cronus, and Zeus.


Alalu was a primeval deity of the Hurrian mythology. He is considered to have housed “the Hosts of Sky”, the divine family, because he was a progenitor of the gods, and possibly the father of Earth. Alalu fled to the underworld.

The name “Alalu” is a compound word made up of the definite article al and the supreme deity Alu. The -u at the end of the word is an inflectional ending; thus, Alalu may also occur as Alali or Alala depending on the position of the word in the sentence. He was identified by the Greeks as Hypsistos. He was also called Alalus.


Eridu, also transliterated as Eridug, could mean “mighty place” or “guidance place”. In the Sumerian king list, Eridu is named as the city of the first kings. The king list continues: In Eridu, Alulim became king; he ruled for 28800 years. Alalngar ruled for 36000 years. 2 kings; they ruled for 64800 years. Then Eridu fell and the kingship was taken to Bad-tibira.

The king list gave particularly long rules to the kings who ruled before a great flood occurred, and shows how the center of power progressively moved from the south to the north of the country.

Adapa, a man of Eridu, is depicted as an early culture hero. Identified with U-an, a half-human creature from the sea (Abgallu, from ab=water, gal=big, lu=man), he was considered to have brought civilization to the city during the time of King Alulim.

The myth Enki and Inanna seems to indicate events of an early period when political authority passed from Enki’s city of Eridu to Inanna’s city of Uruk. It tells the story of the young goddess of the É-anna temple of Uruk, who visits the senior god of Eridu, and is entertained by him in a feast.

The seductive god plies her with beer, and the young goddess maintains her virtue, whilst Enki proceeds to get drunk. In generosity he gives her all the gifts of his Me, the gifts of civilized life.

Next morning, with a hangover, he asks his servant Isimud for his Me, only to be informed that he has given them to Inanna. Upset at his actions, he sends Galla demons to recover them. Inanna escapes her pursuers and arrives safely back at the quay at Uruk. Enki realises that he has been tricked in his hubris and accepts a peace treaty forever with Uruk.

In the myth of Inanna’s descent, Inanna, in order to console her grieving sister Ereshkigal, who is mourning the death of her husband Gugalana (gu, bull, gal, big, ana, sky/heaven), slain by Gilgamesh and Enkidu, sets out to visit her sister. She tells her servant Ninshubur (Lady Evening), a reference to Inanna’s role as the evening star, that if she does not return in three days, to get help from her father Anu, Enlil, king of the gods, or Enki.

When she does not return, Ninshubur approaches Anu only to be told that he understands that his daughter is strong and can take care of herself. Enlil tells Ninshubur he is much too busy running the cosmos. Enki immediately expresses concern and dispatches his Galla demons, Galaturra or Kurgarra, sexless beings created from the dirt from beneath the god’s finger-nails, to recover the young goddess. These beings may be the origin of the Greco-Roman Galli, androgynous beings of the third sex, who played an important part in early religious ritual.


In Akkadian and Sumerian mythology, Alû is a vengeful spirit of the Utukku that goes down to the underworld Kur. The demon has no mouth, lips or ears. It roams at night and terrifies people while they sleep, and possession by Alû results in unconsciousness and coma; in this manner it resembles creatures such as the mara, and incubus, which are invoked to explain sleep paralysis. In Akkadian and Sumerian mythology, it is associated with other demons like Gallu and Lilu. In the Epic of Gilgamesh, Alû is the celestial Bull.


The word Abgallu, sage (Ab = water, Gal = great, Lu = man, Sumerian) survived into Nabatean times, around the 1st century, as apkallum, used to describe the profession of a certain kind of priest. The planet Mercury, associated with Babylonian Nabu (the son of Marduk) was in Sumerian times, identified with Enki.

In the court of Assyria, special physicians trained in the ancient lore of Eridu, far to the south, foretold the course of sickness from signs and portents on the patient’s body, and offered the appropriate incantations and magical resources as cures.

Abgal (cognate with the sumerian, related to the akkadian apkallu, “ferryman”) is a pre-Islamic north Arabian god, known from the Palmyrian desert regions as a god of Bedouins and camel drivers.

A kind of early form of the merman, the Abgal is mentioned in Sumerian mythology. It is one of a number of spirits, originally servants of Enki, the god of wisdom. Like the centaurs of Greek mythology, who helped civilize humanity, the task of these beings was to teach the arts and sciences to humanity. They did this during the day while fasting only stopping to eat at night. Early carved reliefs show them men above the waist, fish below.

The Abgal (Sumerian) or Apkallu (Akkadian), are seven Sumerian sages, demigods who are said to have been created by the god Enki (Akkadian: Ea) to establish culture and give civilization to mankind. They served as priests of Enki and as advisors or sages to the earliest kings of Sumer before the flood. They are credited with giving mankind the Me (moral code), the crafts, and the arts. They were seen as fish-like men who emerged from the sweet water Abzu. They are commonly represented as having the lower torso of a fish, or dressed as a fish.

According to the myth, human beings were initially unaware of the benefits of culture and civilization. The god Enki sent from Dilmun, amphibious half-fish, half-human creatures, who emerged from the oceans to live with the early human beings and teach them the arts and other aspects of civilization such as writing, law, temple and city building and agriculture. These creatures are known as the Apkallu. The Apkallu remained with human beings after teaching them the ways of civilization, and served as advisors to the kings.


Adapa, the first of the Mesopotamian seven sages, was a mythical figure who unknowingly refused the gift of immortality. The story is first attested in the Kassite period (14th century BC), in fragmentary tablets from Tell el-Amarna, and from Assur, of the late second millennium BC.

Mesopotamian myth tells of seven antediluvian sages, who were sent by Ea, the wise god of Eridu, to bring the arts of civilisation to humankind. The first of these, Adapa, also known as Uan, the name given as Oannes by Berossus, introduced the practice of the correct rites of religious observance as priest of the E’Apsu temple, at Eridu.

The sages are described in Mesopotamian literature as ‘pure parādu-fish, probably carp, whose bones are found associated with the earliest shrine, and still kept as a holy duty in the precincts of Near Eastern mosques and monasteries. Adapa as a fisherman was iconographically portrayed as a fish-man composite.

Enki and later Ea were apparently depicted, sometimes, as a man covered with the skin of a fish, and this representation, as likewise the name of his temple E-apsu, “house of the watery deep”, points decidedly to his original character as a god of the waters.

The pool of the Abzu at the front of his temple was adopted also at the temple to Nanna (Akkadian Sin) the Moon, at Ur, and spread from there throughout the Middle East. It is believed to remain today as the sacred pool at Mosques, or as the holy water font in Catholic or Eastern Orthodox churches.


Ki later developed into the Babylonian and Akkadian goddess Antu or Antum, consort of the god Anu (from Sumerian An). Antu in Sumerian mythology is a goddess, possibly a female principle of the creator god An. Early iconography suggests a celestial sky goddess in the form of a cow whose udders produce rain and who becomes Antu in the Akkadian pantheon.

In Akkadian mythology, Antu or Antum is a Babylonian goddess. She was the first consort of Anu, and the pair were the parents of the Anunnaki and the Utukki. Antu was a dominant feature of the Babylonian akit festival until as recently as 200 BC, her later pre-eminence possibly attributable to identification with the Greek goddess Hera.

Antu is a Babylonian goddess. She was the first consort of Anu, and the pair were the parents of the Anunnaki and the Utukki. She was a dominant feature of the Babylonian akit festival until as recently as 200 BC, her later pre-eminence possibly attributable to identification with the Greek goddess Hera. Antu was replaced as consort by Ishtar or Inanna, who may also be a daughter of Anu and Antu.

Antu was a dominant feature of the Babylonian akit festival until as recently as 200 BC, her later pre-eminence possibly attributable to identification with the Greek goddess Hera. Antu was replaced as consort by Ishtar or Inanna, who may also be a daughter of Anu and Antu.


Akitu or Akitum (EZEN Á.KI.TUM, akiti-šekinku, Á.KI.TI.ŠE.GUR.KU, lit. “the barley-cutting”, akiti-šununum, lit. “barley-sowing”; Akkadian: akitu or rêš-šattim, “head of the year”) was a spring festival in ancient Mesopotamia.

The Babylonian Akitu festival has played a pivotal role in the development of theories of religion, myth and ritual, yet the purpose of the festival remains a point of contention among both historians of religion and Assyriologists.

The name is from the Sumerian for “barley”, originally marking two festivals celebrating the beginning of each of the two half-years of the Sumerian calendar, marking the sowing of barley in autumn and the cutting of barley in spring. In Babylonian religion it came to be dedicated to Marduk’s victory over Tiamat.

Marduk in the myth enacted in the festival is preserved in the so-called Marduk Ordeal Text. In this myth, Marduk appears as a life-death-rebirth deity, reflecting the festival’s agrarian origin based on the cycle of sowing and harvesting.

In the myth Marduk is imprisoned in the underworld and rises again on the third day. The obvious parallel to the death and resurrection of Christ celebrated at Christian Easter has been noted at an early time, and elaborated in detail by Heinrich Zimmern in his 1918 editio princeps.

Tikva Frymer-Kensky noted that Pallis (1926) rejected some of the Christological parallels noted by Zimmern, but continued to stress that the death of Marduk, the lamentation over him, his subsequent restoration and the rejoicing over his resurrection is among the Near Eastern templates for the Christ myth.

Yet Frymer-Kensky goes on to say that further analaysis by von Soden shows that this text is not a tale of a dying and resurrecting god, but that it is a manifestly political text relating to the enmity between Assyria and Babylon.

The political themes don’t involve anyway that the mythical module of the resurrecting god would be meant as inexistent. This theme of a dying young (harvest/vegetable) God (common throughout the Middle east) is also reflected in the legends of Tammuz (Sumerian: Dumuzid (DUMU.ZI(D), “faithful or true son”), the name of a Sumerian god of food and vegetation, also worshiped in the later Mesopotamian states of Akkad, Assyria and Babylonia, and is referenced in the Bible as “women weeping for Tammuz” even in the temple of the Hebrew God.

In Babylonia, the month Tammuz was established in honor of the eponymous god Tammuz, who originated as a Sumerian shepherd-god, Dumuzid or Dumuzi, the consort of Inanna and, in his Akkadian form, the parallel consort of Ishtar. Inanna was associated with the eastern fish of the last of the zodiacal constellations, Pisces. Her consort Dumuzi was associated with the contiguous first constellation, Aries.

Beginning with the summer solstice came a time of mourning in the Ancient Near East, as in the Aegean: the Babylonians marked the decline in daylight hours and the onset of killing summer heat and drought with a six-day “funeral” for the god. Recent discoveries reconfirm him as an annual life-death-rebirth deity: tablets discovered in 1963 show that Dumuzi was in fact consigned to the Underworld himself, in order to secure Inanna’s release, though the recovered final line reveals that he is to revive for six months of each year.

The Levantine Adonis (“lord”), who was drawn into the Greek pantheon, was considered by Joseph Campbell among others to be another counterpart of Tammuz, son and consort. The Aramaic name “Tammuz” seems to have been derived from the Akkadian form Tammuzi, based on early Sumerian Damu-zid. The later standard Sumerian form, Dumu-zid, in turn became Dumuzi in Akkadian. Tamuzi also is Dumuzid or Dumuzi.


Aries is one of the constellations of the zodiac. It is located in the northern celestial hemisphere between Pisces to the west and Taurus to the east. The name Aries is Latin for ram, representing a ram’s horns.

In the description of the Babylonian zodiac given in the clay tablets known as the MUL.APIN, a comprehensive table of the risings and settings of stars, which likely served as an agricultural calendar, the constellation now known as Aries was the final station along the ecliptic.

Modern-day Aries was known as MULLÚ.ḪUN.GÁ, “The Agrarian Worker” or “The Hired Man”. Although likely compiled in the 12th or 11th century BC, the MUL.APIN reflects a tradition which marks the Pleiades as the vernal equinox, which was the case with some precision at the beginning of the Middle Bronze Age.

The earliest identifiable reference to Aries as a distinct constellation comes from the boundary stones that date from 1350 to 1000 BC. On several boundary stones, a zodiacal ram figure is distinct from the other characters present.

The shift in identification from the constellation as the Agrarian Worker to the Ram likely occurred in later Babylonian tradition because of its growing association with Dumuzi the Shepherd.

By the time the MUL.APIN was created—by 1000 BC—modern Aries was identified with both Dumuzi’s ram and a hired laborer. The exact timing of this shift is difficult to determine due to the lack of images of Aries or other ram figures.

In ancient Egyptian astronomy, Aries was associated with the god Amon-Ra, who was depicted as a man with a ram’s head and represented fertility and creativity. Because it was the location of the vernal equinox, it was called the “Indicator of the Reborn Sun”.

During the times of the year when Aries was prominent, priests would process statues of Amon-Ra to temples, a practice that was modified by Persian astronomers centuries later. Aries acquired the title of “Lord of the Head” in Egypt, referring to its symbolic and mythological importance.


Kingu, also spelled Qingu, meaning “unskilled laborer,” was a god in Babylonian mythology, and — after the murder of his father Abzu — the consort of the goddess Tiamat, his mother, who wanted to establish him as ruler and leader of all gods before she was killed by Marduk.

Tiamat gave Kingu the 3 Tablets of Destiny, which he wore as a breastplate and which gave him great power. She placed him as the general of her army. However, like Tiamat, Kingu was eventually killed by Marduk.

Marduk mixed Kingu’s blood with earth and used the clay to mold the first human beings, while Tiamat’s body created the earth and the skies. Kingu then went to live in the underworld kingdom of Ereshkigal, along with the other deities who had sided with Tiamat.

Geshtu-E/ Ngeshtin-ana

Geshtu-E (also Geshtu, Gestu) is, in Sumerian and Akkadian mythology, a minor god of intelligence. Legend says that he was sacrificed by the great gods and his blood was used in the creation of mankind. Ngeshtin-ana, the daughter of Enki and Ninhursag, is a minor goddess in Sumerian mythology, the so-called “heavenly grape-vine”.

The sister of Dumuzi and consort of Ningisida, she is involved in the account of Dumuzi trying to escape his fate at the hands of Inanna and Ereshkigal. In her house he is changed into a gazelle before being caught and transported to the underworld. After her death, she became the goddess of wine and cold seasons. She is a divine poet and interpreter of dreams.

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