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HPB-SD(ed.1) v.2 p.1 st.8 sl.28 (view source)
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<nowiki>*</nowiki> An allegorical reference to the “ Sacred Animals ” of the Zodiac and other heavenly bodies. Some Kabalists see in them the prototypes of the animals. | <nowiki>*</nowiki> An allegorical reference to the “ Sacred Animals ” of the Zodiac and other heavenly bodies. Some Kabalists see in them the prototypes of the animals. | ||
† In “ Hesiod,” Zeus creates his ''third ''race of men out of ash-trees. In the “ Popol Vuh ” the Third Race of men is created out of the tree ''Tzita ''and the marrow of the reed called ''Sibac. ''But Sibac means “ egg ” in the mystery language of the ''Artufas ''(or Initiation caves). In a report sent in 1812 to the Cortes by Don Baptista Pino it is said : “ All the Pueblos have their ''Artufas — ''so the natives call subterranean rooms with only a single door where they (secretly) assemble. . . . . These are impenetrable temples . . . . and the doors are always closed to the Spaniards. . . . . They adore the Sun and Moon . . . . fire and the great snake (the creative power), whose eggs are called ''Sibac.''” | † In “ Hesiod,” Zeus creates his ''third ''race of men out of ash-trees. In the “ Popol Vuh ” the Third Race of men is created out of the tree ''Tzita ''and the marrow of the reed called ''Sibac. ''But Sibac means “ egg ” in the mystery language of the ''Artufas ''(or Initiation caves). In a report sent in 1812 to the Cortes by Don Baptista Pino it is said : “ All the Pueblos have their ''Artufas — ''so the natives call subterranean rooms with only a single door where they (secretly) assemble. . . . . These are impenetrable temples . . . . and the doors are always closed to the Spaniards. . . . . They adore the Sun and Moon . . . . fire and the great {{Style S-Small capitals|snake}} (the creative power), whose eggs are called ''Sibac.''” | ||
‡ There is a notable difference ''esoterically ''between the words Sarpa and Naga, though | ‡ There is a notable difference ''esoterically ''between the words Sarpa and Naga, though | ||
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In almost all the Purânas, the story of the “ Sacrifice of Daksha ” is given, the oldest account of which is to be found in ''Vayu Purâna. ''Allegorical as it is, there is more meaning and biological revelation in it to a Naturalist, than in all the ''pseudo-scientific ''vagaries, which are regarded as learned theories and hypotheses. | In almost all the Purânas, the story of the “ Sacrifice of Daksha ” is given, the oldest account of which is to be found in ''Vayu Purâna. ''Allegorical as it is, there is more meaning and biological revelation in it to a Naturalist, than in all the ''pseudo-scientific ''vagaries, which are regarded as learned theories and hypotheses. | ||
Daksha, who is regarded as the Chief Progenitor, is, moreover, pointed out as the creator of ''physical man ''in the “ fable,” which makes him lose his head from his body in the general strife between the gods and the ''Raumas. ''This head, being burnt in the fire, is replaced by the ''head of a ram ''(Kasi-Khanda). Now the ram’s head and horns are ever the symbol of generating power and of reproductive force, and are ''phallic. ''As we have shown, it is Daksha who establishes the era of men engendered by sexual intercourse. But this mode of procreation did not occur suddenly, as one may think, and required long ages before it became the one “ natural ” way. Therefore, his sacrifice to the gods is shown as interfered with by Siva, the ''destroying ''deity, ''evolution and ''progress ''personified'', who is the ''regenerator ''at the same time ; who destroys things under one form but to recall them to life under another more perfect type. Siva-Rudra creates the terrible Virabhadra (born of his breath) the “ thousand-headed, thousand-armed ” (etc.) monster, and commissions him to destroy the sacrifice prepared by Daksha. Then Virabhadra, “ abiding in the region of the ghosts (ethereal men) . . . . | Daksha, who is regarded as the Chief Progenitor, is, moreover, pointed out as the creator of ''physical man ''in the “ fable,” which makes him lose his head from his body in the general strife between the gods and the ''Raumas. ''This head, being burnt in the fire, is replaced by the ''head of a ram ''(Kasi-Khanda). Now the ram’s head and horns are ever the symbol of generating power and of reproductive force, and are ''phallic. ''As we have shown, it is Daksha who establishes the era of men engendered by sexual intercourse. But this mode of procreation did not occur suddenly, as one may think, and required long ages before it became the one “ natural ” way. Therefore, his sacrifice to the gods is shown as interfered with by Siva, the ''destroying ''deity, ''evolution and'' {{Style S-Small capitals|progress}} ''personified'', who is the ''regenerator ''at the same time ; who destroys things under one form but to recall them to life under another more perfect type. Siva-Rudra creates the terrible Virabhadra (born of his breath) the “ thousand-headed, thousand-armed ” (etc.) monster, and commissions him to destroy the sacrifice prepared by Daksha. Then Virabhadra, “ abiding in the region of the ghosts (ethereal men) . . . . | ||
{{Footnotes start}} | {{Footnotes start}} | ||
{{Style P-No indent|they are both used indiscriminately. Sarpa (serpent) is from the root ''Srip'', ''serpo ''to creep ; and they are called “ Ahi,” from ''Ha'', to abandon. “ The sarpa was produced from Brahmâ’s hair, which, owing to his fright at beholding the Yakshas, whom he had created horrible to behold, fell off from the head, each hair becoming a serpent. They are called Sarpa from their creeping and ''Ahi ''because they had deserted the head ” (Wilson). But the ''Nagas'', their serpent’s tail notwithstanding, do not creep, but manage to walk, run and fight in the allegories.}} | {{Style P-No indent|they are both used indiscriminately. Sarpa (serpent) is from the root ''Srip'', ''serpo'' to creep ; and they are called “ Ahi,” from ''Ha'', to abandon. “ The sarpa was produced from Brahmâ’s hair, which, owing to his fright at beholding the Yakshas, whom he had created horrible to behold, fell off from the head, each hair becoming a serpent. They are called Sarpa from their creeping and ''Ahi ''because they had deserted the head ” (Wilson). But the ''Nagas'', their serpent’s tail notwithstanding, do not creep, but manage to walk, run and fight in the allegories.}} | ||
{{Footnotes end}} | {{Footnotes end}} | ||