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another vessel and carried into port, the pattern of the ship causing it to be called a “great fish.” (“Veritatis simplex oratio est!“) More probably the “whale” of Jonah is based upon the pagan mythological creature, hippocampus, part horse and part dolphin, for the early Christian statues and carvings show the composite creature and not a true whale.

It is reasonable to suppose that the mysterious sea serpents, which, according to the Mayan and Toltec legends, brought the gods to Mexico were Viking or Chaldean ships, built in the shape of composite sea monsters or dragons. H. P. Blavatsky advances the theory that the word cetus, the great whale, is derived from keto, a name for the fish god, Dagon, and that Jonah was actually confined in a cell hollowed out in the body of a gigantic statue of Dagon after he had been captured by Phœnician sailors and carried to one of their cities. There is no doubt a great mystery in the gigantic form of cetus, which is still preserved as a constellation.

According to many scattered fragments extant, man’s lower nature was symbolized by a tremendous, awkward creature resembling a great sea serpent, or dragon, called leviathan. All symbols having serpentine form or motion signify the solar energy in one of its many forms. This great creature of the sea therefore represents the solar life force imprisoned in water and also the divine energy coursing through the body of man, where, until transmuted, it manifests itself as a writhing, twisting monster—man’s greeds, passions, and lusts. Among the symbols of Christ as the Savior of men are a number relating to the mystery of His divine nature concealed within the personality of the lowly Jesus.

The Gnostics divided the nature of the Christian Redeemer into two parts–the one Jesus, a mortal man; the other, Christos, a personification of Nous, the principle of Cosmic Mind. Nous, the greater, was for the period of three years (from baptism to crucifixion) using the fleshly garment of the mortal man (Jesus). In order to illustrate this point and still conceal it from the ignorant, many strange, and often repulsive, creatures were used whose rough exteriors concealed magnificent organisms. Kenealy, in his notes on the Book of Enoch, observes: “Why the caterpillar was a symbol of the Messiah is evident; because, under a lowly, creeping, and wholly terrestrial aspect, he conceals the beautiful butterfly-form, with its radiant wings, emulating in its varied colors the Rainbow, the Serpent, the Salmon, the Scarab, the Peacock, and the dying Dolphin * * *.

INSECTS

In 1609 Henry Khunrath’s Amphitheatrum Sapientiæ Æternæ was published. Eliphas Levi declared that within its pages are concealed all the great secrets of magical philosophy. A remarkable plate in this work shows the Hermetic sciences being attacked by the bigoted and ignorant pedagogues of the seventeenth century. In order to express his complete contempt for his slanderers, Khunrath made out of each a composite beast, adding donkey ears to one and a false tail to another. He reserved the upper part of the picture for certain petty backbiters whom he gave appropriate forms. The air was filled with strange creatures–great dragon flies, winged frogs, birds with human heads, and other weird forms which defy description–heaping venom, gossip, spite, slander, and other forms of persecution upon the secret arcanum of the wise. The drawing indicated that their attacks were ineffectual. Poisonous insects were often used to symbolize the deadly power of the human tongue.

Insects of all kinds were also considered emblematic of the Nature spirits and dæmons, for both were believed to inhabit the atmosphere. Mediæval drawings showing magicians in the act of invoking spirits, often portray the mysterious powers of the other world, which the conjurer has exorcised, as appearing to him in composite part-insect forms. The early philosophers apparently held the opinion that the disease which swept through communities in the form of plagues were actually living creatures, but instead of considering a number of tiny germs they viewed the entire plague as one individuality and gave it a hideous shape to symbolize its destructiveness. The fact that plagues came in the air caused an insect or a bird to be used as their symbol.

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