The True Mythology of the Serpent

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Mythological review and going beyond the cultural tapasigns [distorted cover signs], regarding the Serpent

The stigma and rejection of the figure of the serpent and the reptile is deeply rooted in the collective unconscious. This conditioning, from a cultural program, has generated an almost mechanical attitude, of rejection, fear, and even in some disgust. Although the stigma mark clearly has an essentially Judeo-Christian imprint, this rejection of the reptilian figure has been brewing in numerous myths over time, since even before Christianity.

It is a psychosocial control maneuver, to block initiatory access to the reptilian potential, and what it represents.

Thus, myths have been structured, such as cultural tapasigns, in which the serpent or the dragon presented itself as disastrous, and it should be fought.

It should be noted that myths are expressed in multiple planes of significance, according to the connoted language, some of them extremely oblique. But, from the synarchic tactics of psychosocial control, the archetypal expression of myths is structured in a first instance as the cultural tapasigns found in each myth.

To this must be added the mutations and adaptations suffered by myths due to cultural hybridization, deformation in some cases, and syncretism with other myths.

In this study, what is sought is to rescue from the depth of the myth, the ophidic initiatory aspect, which has been presented and covered in many different ways.

We can see how in ancient myths prior to Christianity, of the pagan world, a certain initiatory value of the serpent was still preserved, even when the stage was presented in the form of combat or strife.

Thus we find various myths, such as the one where Zeus defeats Typhon, Apollo the Python, Hercules the Hydra of Lerna, Perseus to Medusa, Krishna to Kaliya, or Marduk to Tiamat.

However, in all these cases a link of each of these Gods / heroes with the serpent appears.

Thus, we find that there are at least three instances in myths, in which Zeus assumes the form of a snake.

The hyperborean Apollo carries the serpentine caduceus, and to him was consecrated the Delphi oracle, where the Pythonesses officiated, named for their prophetic power, in honor of the Python serpent.

In the case of Hercules, we find that the etymology of his name refers to the Sanskrit Hara Kala, epithet for Shiva, who as is well known, he is always portrayed ornamented with Nagas snakes that accompany him.

The case of Medusa and Perseus, has been brilliantly explained by Nimrod de Rosario, in The Mystery of Belicena Villca, and it refers precisely to the Gorgona, known as Pyrenees, she was the Goddess of cold fire at the initiations of the Tharsis house, and as in the deformation of the myth, Perseus comes to represent the cultural hero Golen.

Regarding Krishna, although he faces Kaliya, banishing him from the Yamuna river, in other variants of the myth, according to the Puranas, it is Kaliya precisely who transports like Vahana (Vehicle) to Krishna, through the Yamuna, to the city of Mathura.

It should also be noted that in Hinduism Krishna is considered an avatar of Vishnu, who rests as a bed in the multi-headed serpent, Ananta Sesha.

And in relation to Marduk, the last of the examples cited, he is known in Sumerian mythology as the son of Enki, sometimes represented as a serpent. So he is the son of the serpent, bearing his essence.

In Norse mythology on the other hand, the roles of the Gods and serpents like Jormungandr and Nidhog are considered as complementary, in a contest or confrontation that culminates in the Ragnarok, cyclically.

However, beyond this, Odin himself (Wotan) assumes the form of a serpent, when he takes the elixir prepared by dwarves with the blood of the wise Kvasir.

Entering already into the framework of Judeo-Christian culture, a radical change is already observed with respect to the serpent, exposing it in an eschatological conception , as the adversary and enemy that must be fought relentlessly until the end of time.

Thus, the figure of the tempter or accuser appears, taken from the Canaanite culture, and known today even by the Arabs as Shaitan or Sheitan.

This tempter or Sheitan has its prototype and equivalent, in the Egyptian Seth and the Persian Ahriman, figures that in their respective mythic-cosmogonic contexts, also have their representation as a snake.

And this is where the cultural degradation and stigma of the serpent begins, since although in the Hebrew myth Sheitan is presented as a kind of ally of the Biblical God Yaveh, the demiurge, however this serpent, in his role as tempter, is cursed by God, because » has exceeded his tempting test of Adam and Eve », deceiving them.

From here on, the serpent will be further stigmatized later by Christianity, as it has been represented in so many myths and art of Christianity.

This is how images of saints fighting dragons emerge, such as Saint George or Saint Michael, Saint Patrick expelling snakes in Ireland, or the Virgin Mary crushing the serpent.

However, for a time in the medieval folklore of Christianity, there was a legend that alternatively Saint George could defeat the dragon, or conversely the dragon defeat Saint George.

Some mythologists have interpreted this kind of contest with alternate victory and defeat, in this and other similar ancient myths, as a mythic-folk reflection of the alternation of the winter and summer seasons.

And so also the hidden knowledge of the domain of serpentine energies, it was encrypted under the legend of Saint Anthony who is said to pass through tests of « serpent-shaped temptation of demons », or even the local tradition in Cucullo, Italy, of San Doménico, in whose local celebration his image is carried in procession, with snake carvings, and even sweet snake-shaped people are distributed among the people.

In the same way the confrontation is explained, somehow « balanced » or « complementary » in the mythical account, of Gods like Horus and Seth, Hormuz and Ahriman, Odin and Loki, Quetzalcoatl and Tezcatlipoca, etc.

It is notorious that in these last given examples (Seth, Ahriman, Loki and Tezcatlipoca) they all have a representation or appearance of a snake.

Hence, from myths such as those mentioned, even many of them distorted, modified or syncretized with other myths, the presence of the serpent in the dark environment is always evident, chaotic, and from the underworld.

It is from this consideration that some demiurgic cults, seeking to hide the secret of the serpent, also created a polarized worldview of solar vs lunar character, in which they relegated everything dark to the lunar sphere, and in some cases also appropriating serpentine aspects from their solar polarity.

Then, it must be remembered that the reptilian or lizard-like aspect was that assumed by the Siddhas as they entered this world through the gate of Venus. Even the traitorous Siddhas, who later camouflaged their reptilian appearance with that of angelic winged beings.

This is how the term Serafin has its root in Seraph or Serpent.

Let us remember more that in The Mystery of Belícena Villca, when the encounter on Venus of the Virgin of Agartha with Lucifer is mentioned, it is also mentioned as Serafin.

Similarly, the demiurge himself also has a draconian aspect, like the one presented to Princess Isa in the episode of King Nimrod and the Kassites.

Considering this draconian demiurgic aspect, called Enlil, it is understandable that in archeology there were also medals from the 1st century, with the representation of the serpent-shaped demiurge Yaveh, even the consort attributed to Yaveh, Asherah, will also be represented in serpentine form.

But this demiurgic serpentine aspect can be completely neutralized by Ophis Lucifer, the serpent God.

Similarly, some demiurgic archons also have certain features of reptilian typology. But they are in opposition to the lizard men of Venus, the hyperborean Siddhas.

A myth where combat with a dragon is presented, but at the same time an initiatory secret stands out, is when Siegfried kills the Fafner dragon. Fafner's blood splatters Siegfried, who tests his blood, being able to « understand the language of the birds ». Let us remember that behind the winged shape of the birds lies the reptile, which was found before the birds. So, the blood of the dragon Fafner, reptilian blood, acts as a powerful trigger in Siegfried's blood memory, being able to understand the tongue of the lizards.

A literary myth where the figure of the dragon receives an initiatory character, even when the knight fights him to kill him, is that of the legend of King Arthur and his noble knights.

In the legends of the Arthurian saga, the contest or confrontation between two dragons, one red, and one white, is common, that in symbolic terms respectively represented the kingdoms of Uther Pendragon (father of the legendary Arthur) and his enemy Vortigern.

Much has been written and commented on these legends, but very little regarding the ophidic secret that is hidden there.

In the esoteric language of symbols, white and red respectively represent the venom and blood of the serpent, and it is from its mixture that the elixir is obtained.

This « blood and poison » are also expressed at different levels of meaning, from the chemical itself through a symbolism of internal glandular secretion that triggers mystical experiences , as well as the crossing of opposite and complementary energies, another variety of « red and white ».

Arthur's own last name, Pendragon, hides the key to this mystery, meaning « dragon head ». At the same time Arturo derives from « Arthos » bear, a concept that has also been interpreted shamanically alluding to the bear's totem, but when « oo » is given a complementary name of « dragon head », it seems to read between the lines that it is a bear / dragon class.

In the Perlezvaus text, a story is told in which Arthur is sent by his wife, Queen Geneva, to rescue a maiden.

In the midst of this adventure, Arthur is attacked by a black knight (substitute here for the dragon that holds the maiden prisoner) and wounded in the arm by a spear, whose shape resembled a snake.

Arthur's own blood (the dragon) heals and heals the wound, and then continues to fight and defeat the black knight.

After decapitating him, he brings the black knight's head to the already released maiden, and with this skull the maiden anoints Arturo's wound, healing him definitively.

Here is seen in the first instance a combination or mixture of the burning serpentine (the poison) with the blood of Arthur. A mixture of white and red….

And in a second instance, the blood of the black knight (dragon blood, which also carries its venom) is anointed on Arthur's arm, which is completely healed.

This alchemical mix of red and white, and the serpent maiden or priestess, hold the key to all secrecy.

From these examples of myths and legends cited, it is clear that in ancient times the serpent and the dragon, even when their original role had already been distorted , nevertheless retained an initiatory role.

Even cases of combat with a dragon or ophidic figure must be understood from the initiatory perspective.