Tattoo of a snake biting its own tail. Ouroboros tattoo. The importance of Ouroboros in modern society
Ancient Egypt, Israel and Greece
D. Bopri, describing the appearance of images of ouroboros in Ancient Egypt, claims that this symbol was painted on the walls of tombs and denoted the guard of the underworld, as well as the threshold moment between death and rebirth. The first appearance of the ouroboros sign in ancient Egypt dates back to approximately 1600 BC. e. (according to other sources - 1100). A coiled snake, for example, is carved on the walls of the Temple of Osiris in the ancient city of Abydos. The symbol, among other things, was a representation of duration, eternity and/or infinity. In the understanding of the Egyptians, ouroboros was the personification of the universe, paradise, water, earth and stars - all existing elements, old and new. There is a surviving poem written by Pharaoh Pianhi, which mentions the ouroboros.
Historians believe that from Egypt the Ouroboros symbol came to Ancient Greece, where, along with the Phoenix, it began to personify processes that have no end and beginning. In Greece, snakes were an object of veneration, a symbol of health, and were also associated with the afterlife, which is reflected in many myths and legends. The very word “dragon” (ancient Greek. Draco) is translated literally as “snake”.
Ancient China
R. Robertson and A. Combs note that in ancient China ouroboros was called “ Zhulong"and was depicted as a creature combining a pig and a dragon, biting its own tail. Many scientists are of the opinion that over time this symbol has undergone significant changes and transformed into the traditional “Chinese dragon”, symbolizing good luck. Some of the first mentions of the ouroboros as a symbol date back to 4200 BC. e. . The first finds of figurines of curled dragons date back to the Hongshan culture (4700-2900 BC). One of them, in the shape of a full circle, was located on the chest of the deceased.
There is also an opinion that the monad depicting the concept of “yin and yang” is directly related to the symbol of ouroboros in ancient Chinese natural philosophy. Also, images of the ouroboros in Ancient China are characterized by the placement of an egg inside the space that the snake’s body covers; it is assumed that this is the symbol of the same name, created by the Creator himself. The “center” of ouroboros - the mentioned space inside the ring - in philosophy is reflected in the concept of “tao”, which means “the path of man”.
Ancient India
In the Vedic religion and Hinduism, Shesha (or Ananta-shesha) appears as one of the forms of God. Images and descriptions of Shesha in the form of a snake biting its own tail are commented on by D. Thorne-Bird, pointing out its connection with the symbol of ouroboros. From ancient times to this day, snakes (nagas) have been revered in India - the patrons of waterways, lakes and springs, as well as the embodiment of life and fertility. In addition, nagas represent the eternal cycle of time and immortality. According to legends, all nagas are the offspring of three snake gods - Vasuki, Takshaka (English)Russian and Sheshi.
An image of Shesha can often be seen in paintings depicting a coiled snake on which Vishnu sits cross-legged. The coils of Shesha's body symbolize the endless cycle of time. In a broader interpretation of the myth, a huge snake (like a cobra) lives in the world's oceans and has a hundred heads. The space hidden by the massive body of Shesha includes all the planets of the Universe; to be precise, it is Shesha who holds these planets with his many heads, and also sings songs of praise in honor of Vishnu. The image of Shesha, among other things, was also used as a protective totem by Indian maharajas, since there was a belief that a snake, encircling the earth with its body, protects it from evil forces. The word "Shesha" itself means "remnant", which refers to remaining after everything created returns back to primary matter. According to Klaus Klostermeier, the philosophical interpretation of the image of Shesha makes it possible to understand history from the point of view of Hindu philosophy, according to which history is not limited to human history on planet Earth or the history of one single universe: there are countless universes, in each of which certain events are constantly unfolding. events .
Germanic-Scandinavian mythology
In German-Scandinavian mythology, as L. Fubister writes, the form of ouroboros is taken by Jormungandr (also called the “Midgard Serpent” or “Midgardsorm”, the god of evil) - a male huge snake-like dragon, one of the children of the god Loki and the giantess Angrboda. When the father and leader of the Aesir, Odin, learned from the norns that Thor’s death was hidden in Jormungand, he exiled him to the bottom of the sea. In the ocean, Jormungandr grew to such a large size that he was able to encircle the earth with his body and bite his tail - it is here, in the world's oceans, that he will remain most of the time until the onset of Ragnarok, when he is destined to meet Thor in the last battle.
Scandinavian legends contain a description of two meetings between the serpent and Thor before Ragnarok. The first meeting occurred when Thor went to the king of the giants, Utgard-Loki, to endure three tests of physical strength. The first of the tasks was to raise the royal cat. Utgard-Loki's trick was that it was actually Jormungandr transformed into a cat; this made the task very difficult - the only thing Thor could achieve was to force the animal to lift one paw off the floor. The King of the Giants, however, recognized this as a successful completion of the task and revealed the deception. This legend is contained in the text of the Younger Edda.
The second time Jormungandr and Thor met was when the latter went fishing with Gimir. The bait used was a bull's head; When Thor's boat passed over the snake, it let go of its tail and grabbed the bait. The fight went on for quite a long time. Thor managed to pull the monster's head to the surface - he wanted to hit it with a blow from Mjolnir, but Gimir could not stand the sight of the snake writhing in agony and cut the line, allowing Jormungandr to disappear into the depths of the ocean.
During the last battle (Ragnarok), the death of the Gods, Thor and Jormungandr will meet for the last time. Having emerged from the world's oceans, the snake will poison the sky and earth with its poison, forcing the expanses of water to rush onto land. Having fought with Jormungandr, Thor will knock off the monster's head, but he himself will only be able to move away nine steps - the poison splashing from the monster's body will kill him.
Gnosticism and alchemy
In the teachings of Christian Gnostics, ouroboros was a reflection of the finitude of the material world. One of the early Gnostic treatises "Pistis Sophia" (English)Russian gave the following definition: “material darkness is the great dragon that holds its tail in its mouth, beyond the boundaries of the whole world and surrounding the whole world”; according to the same work, the body of the mystical snake has twelve parts (symbolically associated with twelve months). In Gnosticism, ouroboros also personifies light ( agathodaemon- the spirit of goodness), and darkness ( kakadaimon- The spirit of evil). Texts discovered at Nag Hammadi contain a number of references to uroborostic the nature of creation and disintegration of the entire universe, which are directly related to the great serpent. The image of a coiled serpent played a prominent role in Gnostic teaching - for example, several sects were named after it.
Medieval alchemists used the ouroboros symbol to represent a variety of “truths”; Thus, in various woodcuts of the 18th century, a snake biting its tail was depicted at almost every stage of the alchemical action. The image of ouroboros together with the philosophical egg was also common. (English)Russian(one of the most important elements for obtaining the philosopher's stone). Alchemists considered the ouroboros to represent a cyclical process in which the heating, evaporation, cooling and condensation of a liquid contribute to the process of purifying the elements and transforming them into the philosopher's stone or gold.
For alchemists, the ouroboros was the embodiment of the cycle of death and rebirth, one of the key ideas of the discipline; the snake biting its tail personified the completeness of the process of transformation, the transformation of the four elements. Thus, the ouroboros represented the “opus circulare” (or “opus circularium”) - the flow of life, what Buddhists call “Bhavachakra”, the wheel of being. In this sense, what was symbolized by ouroboros was endowed with an extremely positive meaning; it was the embodiment of integrity, a complete life cycle. The coiled snake outlined chaos and restrained it, therefore it was perceived as “ prima materia"; Ouroboros was often depicted as having two heads and/or a double body, thus personifying the unity of spirituality and the frailty of existence.
Modern times
The famous English alchemist and essayist Sir Thomas Browne (1605-1682) in his treatise “ A letter to a friend”, listing those who died on their birthday, he was amazed that the first day of life so often coincides with the last and that “the snake’s tail returns to its mouth at exactly the same time.” He also considered the ouroboros to be a symbol of the unity of all things. The German chemist Friedrich August Kekule (1829-1896) claimed that a dream he had of an ouroboros-shaped ring led him to discover the cyclic formula of benzene.
Ouroboros was also depicted on the coats of arms, for example, of the Dolivo-Dobrovolsky family, the Hungarian city of Hajduboszormen and the self-proclaimed Republic of Fiume. The image of a coiled snake can be found on modern Tarot cards; used for divination, a card depicting the ouroboros signifies infinity.
The image of the ouroboros is actively used in feature films and literature: for example, in “The Neverending Story” by Petersen, “Red Dwarf” by Grant and Naylor, “The Holy Book of the Werewolf” by Pelevin, “Fullmetal Alchemist” by Arakawa, “The Wheel of Time” by Jordan and “The X-Files” (episode "Never Again" (English)Russian) Carter. The motif of a looped snake is often found in tattoos, found in the form of designs that imitate various knots and generally relate to Celtic art. Among other things, the ouroboros symbol is used in architecture to decorate floors and building facades.
American physicist and biologist R. Fox in the book “Energy and Evolution of Life on Earth” uses the image of ouroboros to illustrate one of the fundamental problems of the theory of the origin of life: for the synthesis of proteins, nucleic acids are needed, and for their synthesis, proteins (according to modern ideas, the problem is solved with using the “RNA world” hypothesis).
In later Jungian studies, the Ouroboros archetype is already understood more broadly - as a single whole, uniting consciousness and unconsciousness, thus containing both masculine and feminine essences. During the passage of the individual uroboric stage of development (according to Neumann), the ouroboros component is divided directly into the Ego and the World Parents (an archetype that is the foundation for a person’s expectations and feelings towards parents). Since the archetype of the World Parents at this stage becomes in a position of confrontation with the Ego, their interaction is the first stage in the formation of the unconscious self of a person, the Hero.
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Notes
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Excerpt characterizing Ouroboros
“Boris doesn’t want to help me, and I don’t want to turn to him. This matter is decided - Nikolai thought - everything is over between us, but I will not leave here without doing everything I can for Denisov and, most importantly, without delivering the letter to the sovereign. Emperor?!... He’s here!” thought Rostov, involuntarily approaching again the house occupied by Alexander.At this house there were riding horses and a retinue had gathered, apparently preparing for the departure of the sovereign.
“I can see him any minute,” thought Rostov. If only I could directly hand him the letter and tell him everything, would I really be arrested for wearing a tailcoat? Can't be! He would understand on whose side justice is. He understands everything, knows everything. Who could be fairer and more generous than him? Well, even if they arrested me for being here, what’s the harm?” he thought, looking at the officer entering the house occupied by the sovereign. “After all, they are sprouting. - Eh! It's all nonsense. I’ll go and submit the letter to the sovereign myself: so much the worse it will be for Drubetskoy, who brought me to this.” And suddenly, with a determination that he himself did not expect from himself, Rostov, feeling the letter in his pocket, went straight to the house occupied by the sovereign.
“No, now I won’t miss the opportunity, like after Austerlitz,” he thought, expecting every second to meet the sovereign and feeling a rush of blood to his heart at this thought. I will fall at my feet and ask him. He will raise me, listen and thank me.” “I am happy when I can do good, but correcting injustice is the greatest happiness,” Rostov imagined the words that the sovereign would say to him. And he walked past those who were looking at him curiously, onto the porch of the house occupied by the sovereign.
From the porch a wide staircase led straight upstairs; to the right a closed door was visible. At the bottom of the stairs there was a door to the lower floor.
-Who do you want? - someone asked.
“Submit a letter, a request to His Majesty,” said Nikolai with a trembling voice.
- Please contact the duty officer, please come here (he was shown the door below). They just won't accept it.
Hearing this indifferent voice, Rostov was afraid of what he was doing; the thought of meeting the sovereign at any moment was so tempting and therefore so terrible for him that he was ready to flee, but the chamberlain Fourier, who met him, opened the door to the duty room for him and Rostov entered.
A short, plump man of about 30, in white trousers, over the knee boots and one cambric shirt, apparently just put on, stood in this room; the valet was fastening a beautiful new silk-embroidered belt on his back, which for some reason Rostov noticed. This man was talking to someone who was in another room.
“Bien faite et la beaute du diable, [Well-built and the beauty of youth," this man said, and when he saw Rostov he stopped talking and frowned.
-What do you want? Request?…
– Qu"est ce que c"est? [What is this?] - someone asked from another room.
“Encore un petitionnaire, [Another petitioner,”] answered the man with the help.
- Tell him what's next. It's coming out now, we have to go.
- After the day after tomorrow. Late…
Rostov turned and wanted to go out, but the man in the arms stopped him.
- From whom? Who are you?
“From Major Denisov,” Rostov answered.
- Who are you? Officer?
- Lieutenant, Count Rostov.
- What courage! Give it on command. And go, go... - And he began to put on the uniform handed to him by the valet.
Rostov went out again into the hallway and noticed that there were already many officers and generals on the porch in full dress uniform, whom he had to pass by.
Cursing his courage, frozen by the thought that at any moment he could meet the sovereign and in his presence be disgraced and sent under arrest, fully understanding the indecency of his act and repenting of it, Rostov, with downcast eyes, made his way out of the house, surrounded by a crowd of brilliant retinue , when someone's familiar voice called out to him and someone's hand stopped him.
- What are you doing here, father, in a tailcoat? – his bass voice asked.
This was a cavalry general who earned the special favor of the sovereign during this campaign, the former head of the division in which Rostov served.
Rostov fearfully began to make excuses, but seeing the good-naturedly playful face of the general, he moved to the side and in an excited voice conveyed the whole matter to him, asking him to intercede for Denisov, known to the general. The general, after listening to Rostov, seriously shook his head.
- It’s a pity, it’s a pity for the fellow; give me a letter.
Rostov barely had time to hand over the letter and tell Denisov’s whole business when quick steps with spurs began to sound from the stairs and the general, moving away from him, moved towards the porch. The gentlemen of the sovereign's retinue ran down the stairs and went to the horses. Bereitor Ene, the same one who was in Austerlitz, brought the sovereign's horse, and a light creaking of steps was heard on the stairs, which Rostov now recognized. Forgetting the danger of being recognized, Rostov moved with several curious residents to the porch itself and again, after two years, he saw the same features he adored, the same face, the same look, the same gait, the same combination of greatness and meekness... And the feeling of delight and love for the sovereign was resurrected with the same strength in Rostov’s soul. The Emperor in the Preobrazhensky uniform, in white leggings and high boots, with a star that Rostov did not know (it was legion d'honneur) [star of the Legion of Honor] went out onto the porch, holding his hat at hand and putting on a glove. He stopped, looking around and that's it illuminating the surroundings with his gaze. He said a few words to some of the generals. He also recognized the former chief of the division, Rostov, smiled at him and called him over.
The entire retinue retreated, and Rostov saw how this general said something to the sovereign for quite a long time.
The Emperor said a few words to him and took a step to approach the horse. Again the crowd of the retinue and the crowd of the street in which Rostov was located moved closer to the sovereign. Stopping by the horse and holding the saddle with his hand, the sovereign turned to the cavalry general and spoke loudly, obviously with the desire for everyone to hear him.
“I can’t, general, and that’s why I can’t because the law is stronger than me,” said the sovereign and raised his foot in the stirrup. The general bowed his head respectfully, the sovereign sat down and galloped down the street. Rostov, beside himself with delight, ran after him with the crowd.
On the square where the sovereign went, a battalion of Preobrazhensky soldiers stood face to face on the right, and a battalion of the French Guard in bearskin hats on the left.
While the sovereign was approaching one flank of the battalions, which were on guard duty, another crowd of horsemen jumped up to the opposite flank and ahead of them Rostov recognized Napoleon. It couldn't be anyone else. He rode at a gallop in a small hat, with a St. Andrew's ribbon over his shoulder, in a blue uniform open over a white camisole, on an unusually thoroughbred Arabian gray horse, on a crimson, gold embroidered saddle cloth. Having approached Alexander, he raised his hat and with this movement, Rostov’s cavalry eye could not help but notice that Napoleon was sitting poorly and not firmly on his horse. The battalions shouted: Hurray and Vive l "Empereur! [Long live the Emperor!] Napoleon said something to Alexander. Both emperors got off their horses and took each other's hands. There was an unpleasantly feigned smile on Napoleon's face. Alexander said something to him with an affectionate expression .
Rostov, without taking his eyes off, despite the trampling of the horses of the French gendarmes besieging the crowd, followed every move of Emperor Alexander and Bonaparte. He was struck as a surprise by the fact that Alexander behaved as an equal with Bonaparte, and that Bonaparte was completely free, as if this closeness with the sovereign was natural and familiar to him, as an equal, he treated the Russian Tsar.
Alexander and Napoleon with a long tail of their retinue approached the right flank of the Preobrazhensky battalion, directly towards the crowd that stood there. The crowd suddenly found itself so close to the emperors that Rostov, who was standing in the front rows, became afraid that they would recognize him.
“Sire, je vous demande la permission de donner la legion d"honneur au plus brave de vos soldats, [Sire, I ask your permission to give the Order of the Legion of Honor to the bravest of your soldiers,] said a sharp, precise voice, finishing each letter It was the short Bonaparte who spoke, looking straight into Alexander's eyes from below. Alexander listened attentively to what was being said to him, and bowed his head, smiling pleasantly.
“A celui qui s"est le plus vaillament conduit dans cette derieniere guerre, [To the one who showed himself bravest during the war],” Napoleon added, emphasizing each syllable, with a calm and confidence outrageous for Rostov, looking around the ranks of Russians stretched out in front of there are soldiers, keeping everything on guard and motionlessly looking into the face of their emperor.
“Votre majeste me permettra t elle de demander l"avis du colonel? [Your Majesty will allow me to ask the colonel’s opinion?] - said Alexander and took several hasty steps towards Prince Kozlovsky, the battalion commander. Meanwhile, Bonaparte began to take off his white glove, small hand and, tearing it apart, threw it in. The adjutant, hastily rushing forward from behind, picked it up.
- Who should I give it to? – Emperor Alexander asked Kozlovsky not loudly, in Russian.
- Whom do you order, Your Majesty? “The Emperor winced with displeasure and, looking around, said:
- But you have to answer him.
Kozlovsky looked back at the ranks with a decisive look and in this glance captured Rostov as well.
“Isn’t it me?” thought Rostov.
- Lazarev! – the colonel commanded with a frown; and the first-ranked soldier, Lazarev, smartly stepped forward.
-Where are you going? Stop here! - voices whispered to Lazarev, who did not know where to go. Lazarev stopped, looked sideways at the colonel in fear, and his face trembled, as happens with soldiers called to the front.
Napoleon slightly turned his head back and pulled back his small chubby hand, as if wanting to take something. The faces of his retinue, having guessed at that very second what was going on, began to fuss, whisper, passing something on to one another, and the page, the same one whom Rostov saw yesterday at Boris’s, ran forward and respectfully bent over the outstretched hand and did not make her wait either one second, he put an order on a red ribbon into it. Napoleon, without looking, clenched two fingers. The Order found itself between them. Napoleon approached Lazarev, who, rolling his eyes, stubbornly continued to look only at his sovereign, and looked back at Emperor Alexander, thereby showing that what he was doing now, he was doing for his ally. A small white hand with an order touched the button of soldier Lazarev. It was as if Napoleon knew that in order for this soldier to be happy, rewarded and distinguished from everyone else in the world forever, it was only necessary for him, Napoleon’s hand, to be worthy of touching the soldier’s chest. Napoleon just put the cross to Lazarev's chest and, letting go of his hand, turned to Alexander, as if he knew that the cross should stick to Lazarev's chest. The cross really stuck.
Helpful Russian and French hands instantly picked up the cross and attached it to the uniform. Lazarev looked gloomily at the little man with white hands, who was doing something above him, and, continuing to keep him motionless on guard, again began to look straight into Alexander’s eyes, as if he was asking Alexander: whether he should still stand, or whether they would order him should I go for a walk now, or maybe do something else? But he was not ordered to do anything, and he remained in this motionless state for quite a long time.
The sovereigns mounted and rode away. The Preobrazhentsy, breaking up the ranks, mixed with the French guards and sat down at the tables prepared for them.
Lazarev sat in a place of honor; Russian and French officers hugged him, congratulated him and shook his hands. Crowds of officers and people came up just to look at Lazarev. The roar of Russian French conversation and laughter stood in the square around the tables. Two officers with flushed faces, cheerful and happy, walked past Rostov.
- What is the treat, brother? “Everything is on silver,” said one. – Have you seen Lazarev?
- Saw.
“Tomorrow, they say, the Preobrazhensky people will treat them.”
- No, Lazarev is so lucky! 10 francs life pension.
- That's the hat, guys! - shouted the Transfiguration man, putting on the shaggy Frenchman’s hat.
- It’s a miracle, how good, lovely!
-Have you heard the review? - the guards officer said to the other. The third day was Napoleon, France, bravoure; [Napoleon, France, courage;] yesterday Alexandre, Russie, grandeur; [Alexander, Russia, greatness;] one day our sovereign gives a review, and the next day Napoleon. Tomorrow the Emperor will send George to the bravest of the French guards. It's impossible! I must answer in kind.
Boris and his friend Zhilinsky also came to watch the Transfiguration banquet. Returning back, Boris noticed Rostov, who was standing at the corner of the house.
- Rostov! Hello; “We never saw each other,” he told him, and could not resist asking him what had happened to him: Rostov’s face was so strangely gloomy and upset.
“Nothing, nothing,” answered Rostov.
-Will you come in?
- Yes, I’ll come in.
Rostov stood at the corner for a long time, looking at the feasters from afar. A painful work was going on in his mind, which he could not complete. Terrible doubts arose in my soul. Then he remembered Denisov with his changed expression, with his humility, and the whole hospital with these torn off arms and legs, with this dirt and disease. It seemed to him so vividly that he could now smell this hospital smell of a dead body that he looked around to understand where this smell could come from. Then he remembered this smug Bonaparte with his white hand, who was now the emperor, whom Emperor Alexander loves and respects. What are the torn off arms, legs, and killed people for? Then he remembered the awarded Lazarev and Denisov, punished and unforgiven. He caught himself having such strange thoughts that he was frightened by them.
The smell of food from the Preobrazhentsev and hunger brought him out of this state: he had to eat something before leaving. He went to the hotel he had seen in the morning. At the hotel he found so many people, officers, just like him, who had arrived in civilian dress, that he had to force himself to have dinner. Two officers from the same division joined him. The conversation naturally turned to peace. The officers and comrades of Rostov, like most of the army, were dissatisfied with the peace concluded after Friedland. They said that if they had held out any longer, Napoleon would have disappeared, that he had no crackers or ammunition in his troops. Nikolai ate in silence and mostly drank. He drank one or two bottles of wine. The internal work that arose in him, not being resolved, still tormented him. He was afraid to indulge in his thoughts and could not leave them. Suddenly, at the words of one of the officers that it was offensive to look at the French, Rostov began to shout with vehemence, which was not justified in any way, and therefore greatly surprised the officers.
– And how can you judge what would be better! - he shouted with his face suddenly flushed with blood. - How can you judge the actions of the sovereign, what right do we have to reason?! We cannot understand either the goals or the actions of the sovereign!
“Yes, I didn’t say a word about the sovereign,” the officer justified himself, unable to explain his temper otherwise than by the fact that Rostov was drunk.
But Rostov did not listen.
“We are not diplomatic officials, but we are soldiers and nothing more,” he continued. “They tell us to die—that’s how we die.” And if they punish, it means he is guilty; It's not for us to judge. It pleases the sovereign emperor to recognize Bonaparte as emperor and enter into an alliance with him—that means it must be so. Otherwise, if we began to judge and reason about everything, then there would be nothing sacred left. This way we will say that there is no God, there is nothing,” Nikolai shouted, hitting the table, very inappropriately, according to the concepts of his interlocutors, but very consistently in the course of his thoughts.
“Our job is to do our duty, to hack and not think, that’s all,” he concluded.
“And drink,” said one of the officers, who did not want to quarrel.
“Yes, and drink,” Nikolai picked up. - Hey, you! Another bottle! - he shouted.
In 1808, Emperor Alexander traveled to Erfurt for a new meeting with Emperor Napoleon, and in high society in St. Petersburg there was a lot of talk about the greatness of this solemn meeting.
In 1809, the closeness of the two rulers of the world, as Napoleon and Alexander were called, reached the point that when Napoleon declared war on Austria that year, the Russian corps went abroad to assist their former enemy Bonaparte against their former ally, the Austrian emperor; to the point that in high society they talked about the possibility of a marriage between Napoleon and one of the sisters of Emperor Alexander. But, in addition to external political considerations, at this time the attention of Russian society was especially keenly drawn to the internal transformations that were being carried out at that time in all parts of public administration.
Life, meanwhile, the real life of people with their essential interests of health, illness, work, rest, with their interests of thought, science, poetry, music, love, friendship, hatred, passions, went on as always, independently and without political affinity or enmity with Napoleon Bonaparte, and beyond all possible transformations.
Prince Andrei lived in the village for two years without a break. All those enterprises on estates that Pierre started and did not bring to any result, constantly moving from one thing to another, all these enterprises, without showing them to anyone and without noticeable labor, were carried out by Prince Andrei.
He had, to a high degree, that practical tenacity that Pierre lacked, which, without scope or effort on his part, set things in motion.
One of his estates of three hundred peasant souls was transferred to free cultivators (this was one of the first examples in Russia); in others, corvee was replaced by quitrent. In Bogucharovo, a learned grandmother was written out to his account to help mothers in labor, and for a salary the priest taught the children of peasants and courtyard servants to read and write.
Prince Andrei spent half of his time in Bald Mountains with his father and son, who was still with the nannies; the other half of the time in the Bogucharov monastery, as his father called his village. Despite the indifference he showed Pierre to all the external events of the world, he diligently followed them, received many books, and to his surprise he noticed when fresh people came to him or his father from St. Petersburg, from the very whirlpool of life, that these people, in knowledge of everything that is happening in foreign and domestic policy, they are far behind him, who sits in the village all the time.
In addition to classes on names, in addition to general reading of a wide variety of books, Prince Andrei was at this time engaged in a critical analysis of our last two unfortunate campaigns and drawing up a project to change our military regulations and regulations.
In the spring of 1809, Prince Andrei went to the Ryazan estates of his son, whom he was guardian.
Warmed by the spring sun, he sat in the stroller, looking at the first grass, the first birch leaves and the first clouds of white spring clouds scattering across the bright blue sky. He didn’t think about anything, but looked around cheerfully and meaninglessly.
We passed the carriage on which he had spoken with Pierre a year ago. We drove through a dirty village, threshing floors, greenery, a descent with remaining snow near the bridge, an ascent through washed-out clay, stripes of stubble and green bushes here and there, and entered a birch forest on both sides of the road. It was almost hot in the forest; you couldn’t hear the wind. The birch tree, all covered with green sticky leaves, did not move, and from under last year’s leaves, lifting them, the first green grass and purple flowers crawled out. The small spruce trees scattered here and there throughout the birch forest with their coarse, eternal greenness were an unpleasant reminder of winter. The horses snorted as they rode into the forest and began to fog up.
The footman Peter said something to the coachman, the coachman answered in the affirmative. But apparently Peter had little sympathy for the coachman: he turned on the box to the master.
- Your Excellency, how easy it is! – he said, smiling respectfully.
- What!
- Easy, your Excellency.
"What he says?" thought Prince Andrei. “Yes, that’s right about spring,” he thought, looking around. And everything is already green... how soon! And the birch, and the bird cherry, and the alder are already starting... But the oak is not noticeable. Yes, here it is, the oak tree.”
There was an oak tree on the edge of the road. Probably ten times older than the birches that made up the forest, it was ten times thicker and twice as tall as each birch. It was a huge oak tree, two girths wide, with branches that had been broken off for a long time and with broken bark overgrown with old sores. With his huge, clumsy, asymmetrically splayed, gnarled hands and fingers, he stood like an old, angry and contemptuous freak between the smiling birches. Only he alone did not want to submit to the charm of spring and did not want to see either spring or the sun.
“Spring, and love, and happiness!” - as if this oak tree was saying, - “and how can you not get tired of the same stupid and senseless deception. Everything is the same, and everything is a lie! There is no spring, no sun, no happiness. Look, there are the crushed dead spruce trees sitting, always the same, and there I am, spreading out my broken, skinned fingers, wherever they grew - from the back, from the sides; As we grew up, I still stand, and I don’t believe your hopes and deceptions.”
Prince Andrei looked back at this oak tree several times while driving through the forest, as if he was expecting something from it. There were flowers and grass under the oak tree, but he still stood in the midst of them, frowning, motionless, ugly and stubborn.
“Yes, he is right, this oak tree is a thousand times right,” thought Prince Andrei, let others, young people, again succumb to this deception, but we know life - our life is over! A whole new series of hopeless, but sadly pleasant thoughts in connection with this oak tree arose in the soul of Prince Andrei. During this journey, he seemed to think over his whole life again, and came to the same old reassuring and hopeless conclusion that he did not need to start anything, that he should live out his life without doing evil, without worrying and without wanting anything.
On guardianship matters of the Ryazan estate, Prince Andrei had to see the district leader. The leader was Count Ilya Andreich Rostov, and Prince Andrei went to see him in mid-May.
It was already a hot period of spring. The forest was already completely dressed, there was dust and it was so hot that driving past the water, I wanted to swim.
Prince Andrei, gloomy and preoccupied with considerations about what and what he needed to ask the leader about matters, drove up the garden alley to the Rostovs’ Otradnensky house. To the right, from behind the trees, he heard a woman's cheerful cry, and saw a crowd of girls running towards his stroller. Ahead of the others, a black-haired, very thin, strangely thin, black-eyed girl in a yellow cotton dress, tied with a white handkerchief, from under which strands of combed hair were escaping, ran up to the carriage. The girl screamed something, but recognizing the stranger, without looking at him, she ran back laughing.
Prince Andrei suddenly felt pain from something. The day was so good, the sun was so bright, everything around was so cheerful; and this thin and pretty girl did not know and did not want to know about his existence and was content and happy with some kind of separate, certainly stupid, but cheerful and happy life. “Why is she so happy? what is she thinking about! Not about the military regulations, not about the structure of the Ryazan quitrents. What is she thinking about? And what makes her happy?” Prince Andrei involuntarily asked himself with curiosity.
Count Ilya Andreich in 1809 lived in Otradnoye still as before, that is, hosting almost the entire province, with hunts, theaters, dinners and musicians. He, like any new guest, was glad to see Prince Andrei, and almost forcibly left him to spend the night.
Throughout the boring day, during which Prince Andrei was occupied by the senior hosts and the most honorable of the guests, with whom the old count's house was full on the occasion of the approaching name day, Bolkonsky, looking several times at Natasha, who was laughing and having fun among the other young half of the company, kept asking himself: “What is she thinking about? Why is she so happy!”
In the evening, left alone in a new place, he could not fall asleep for a long time. He read, then put out the candle and lit it again. It was hot in the room with the shutters closed from the inside. He was annoyed with this stupid old man (as he called Rostov), who detained him, assuring him that the necessary papers in the city had not yet been delivered, and he was annoyed with himself for staying.
Prince Andrei stood up and went to the window to open it. As soon as he opened the shutters, moonlight, as if he had been on guard at the window for a long time waiting for it, rushed into the room. He opened the window. The night was fresh and still bright. Just in front of the window there was a row of trimmed trees, black on one side and silvery lit on the other. Under the trees there was some kind of lush, wet, curly vegetation with silvery leaves and stems here and there. Further behind the black trees there was some kind of roof shining with dew, to the right a large curly tree, with a bright white trunk and branches, and above it was an almost full moon in a bright, almost starless spring sky. Prince Andrei leaned his elbows on the window and his eyes stopped at this sky.
It is believed that this symbol came to Western culture from Ancient Egypt, where the first images of a coiled snake date back to the period between 1600 and 1100 BC. e. They personified eternity and the universe, as well as the cycle of death and rebirth. D. Beaupru, describing the appearance of images of the ouroboros in Ancient Egypt, claims that this symbol was painted on the walls of tombs and denoted the guardian of the underworld, as well as the threshold moment between death and rebirth. The first appearance of the ouroboros sign in ancient Egypt dates back to approximately 1600 BC. e. (according to other sources - in the year 1100. A coiled snake, for example, is carved on the walls of the temple of Osiris in the ancient city of Abydos. In the understanding of the Egyptians, ouroboros was the personification of the universe, paradise, water, earth and stars - all existing elements, old and new. Preserved a poem written by Pharaoh Pianhi in which the Ouroboros is mentioned.
Ancient Greece
Some historians believe that from Egypt the symbol of a snake eating its tail migrated to Ancient Greece, where it began to be used to denote processes that have no beginning or end. Note that it is difficult to accurately establish the origin of this symbol, since its close analogues are also found in the cultures of Scandinavia, India, China and Greece. In Ancient Greece, along with the Phoenix, ouroboros began to personify processes that have no end or beginning. In Greece, snakes were an object of veneration, a symbol of health, and were also associated with the afterlife, which is reflected in many myths and legends. The word “dragon” itself (ancient Greek Draco) is literally translated as “snake”.
The symbol of a coiled snake is found in an implicit form on the New Continent, in particular among the Aztecs. Despite the fact that snakes played a significant role in their mythology, the question of a direct connection between the pantheon of Indian gods and ouroboros remains open.
Interest in ouroboros has persisted for many centuries - in particular, it plays a prominent role in the teachings of the Gnostics, and is also an important element in the craft of medieval alchemists, symbolizing the transformation of elements into the philosopher's stone, required for the transformation of metals into gold, and also personifying chaos in the mythological understanding term.
In recent times, the Swiss psychoanalyst C. G. Jung has given a new meaning to the symbol of ouroboros. Thus, in orthodox analytical psychology, the Ouroboros archetype symbolizes darkness and self-destruction at the same time as fertility and creative potency. Further research into this archetype was most reflected in the works of the Jungian psychoanalyst Erich Neumann, who identified ouroboros as an early stage of personality development.
W. Becker, speaking about the symbolism of snakes as such, notes that Jews from ancient times viewed them as threatening, evil creatures. In the text of the Old Testament, in particular, the snake is ranked among the “unclean” creatures; it symbolizes Satan and evil in general - thus, the Serpent is the reason for the expulsion of Adam and Eve from paradise. The view that an equal sign was placed between the Serpent from the Garden of Eden and the Ouroboros was also held by some Gnostic sects, for example, the Ophites.
Ancient China
R. Robertson and A. Combs note that in Ancient China the ouroboros was called “Zhulong” and was depicted as a creature combining a pig and a dragon, biting its own tail. Many scientists are of the opinion that over time this symbol has undergone significant changes and transformed into the traditional “Chinese dragon”, symbolizing good luck. Some of the first mentions of the ouroboros as a symbol date back to 4200 BC. e.. The first finds of figurines of dragons curled into a ring date back to the Hongshan culture (4700-2900 BC). One of them, in the shape of a full circle, was located on the chest of the deceased.
There is also an opinion that the monad depicting the concept of “yin and yang” is directly related to the symbol of ouroboros in ancient Chinese natural philosophy. Also, images of the ouroboros in Ancient China are characterized by the placement of an egg inside the space that the snake’s body covers; it is assumed that this is the symbol of the same name, created by the Creator himself. The “center” of the ouroboros—the aforementioned space inside the ring—in philosophy is reflected in the concept of “tao,” which means “the path of man.”
Ancient India
In the Vedic religion and Hinduism, Shesha (or Ananta-shesha) appears as one of the forms of God. Images and descriptions of Shesha in the form of a snake biting its own tail are commented on by D. Thorne-Bird, pointing out its connection with the symbol of ouroboros. From ancient times to this day, snakes (nagas) have been revered in India - the patrons of waterways, lakes and springs, as well as the embodiment of life and fertility. In addition, nagas represent the eternal cycle of time and immortality. According to legends, all nagas are the offspring of three snake gods - Vasuki, Takshaka (English) Russian. and Sheshi.
The image of Shesha can often be seen in paintings depicting a coiled snake on which Vishnu sits cross-legged. The coils of Shesha's body symbolize the endless cycle of time. In a broader interpretation of the myth, a huge snake (like a cobra) lives in the world's oceans and has a hundred heads. The space hidden by the massive body of Shesha includes all the planets of the Universe; to be precise, it is Shesha who holds these planets with his many heads and also sings songs of praise in honor of Vishnu. The image of Shesha, among other things, was also used as a protective totem by Indian maharajas, since there was a belief that a snake, encircling the earth with its body, protects it from evil forces. The word “Shesha” itself means “remnant”, which refers to what remains after everything created returns back to primary matter. According to Klaus Klostermeier, the philosophical interpretation of the image of Shesha makes it possible to understand history from the point of view of Hindu philosophy, according to which history is not limited to human history on planet Earth or the history of one single universe: there are countless universes, in each of which certain events are constantly unfolding. events.
Germanic-Scandinavian mythology
In Norse mythology, the ouroboros form is taken by Jörmungandr (also called the "Midgard Serpent" or "Midgardsorm", the goddess of evil) - a female huge snake-like dragon, one of the children of the god Loki and the giantess Angrboda. When the father and leader of the Aesir Odin first saw her, he realized the danger lurking in the snake and threw it into the world's oceans. In the ocean, Jormungandr grew to such a large size that she was able to encircle the earth with her body and bite herself by the tail - it is here, in the world's oceans, that she will remain most of the time until the onset of Ragnarok, when she is destined to meet Thor in the last battle.
Scandinavian legends contain a description of two meetings between the snake and Thor before Ragnarok. The first meeting occurred when Thor went to the king of the giants, Utgard-Loki, to endure three tests of physical strength. The first task was to raise the royal cat. Utgard-Loki's trick was that it was actually Jormungandr transformed into a cat; this made the task very difficult - the only thing Thor could achieve was to force the animal to lift one paw off the floor. The King of the Giants, however, recognized this as a successful completion of the task and revealed the deception. This legend is contained in the text of the Younger Edda.
The second time Jormungandr and Thor met was when the latter went fishing with Gimir. The bait used was a bull's head; When Thor's boat passed over the snake, it let go of its tail and grabbed the bait. The fight went on for quite a long time. Thor managed to pull the monster's head to the surface - he wanted to hit it with a blow from Mjolnir, but Gimir could not stand the sight of the snake writhing in agony and cut the fishing line, allowing Jormungand to disappear into the depths of the ocean.
During the last battle (Ragnarok), the death of the Gods, Thor and Jormungandr will meet for the last time. Having emerged from the world's oceans, the snake will poison the sky and earth with its poison, forcing the expanses of water to rush onto land. Having fought with Jormungand, Thor will knock off the monster's head, but he himself will only be able to move away nine steps - the poison splashing from the monster's body will kill him.
Gnosticism and alchemy
In the teachings of Christian Gnostics, ouroboros was a reflection of the finitude of the material world. One of the early Gnostic treatises “Pistis Sophia” (English) Russian. gave the following definition: “material darkness is the great dragon that holds its tail in its mouth, beyond the boundaries of the whole world and surrounding the whole world”; according to the same work, the body of the mystical snake has twelve parts (symbolically associated with twelve months). In Gnosticism, the ouroboros personifies both light (agathodaemon - the spirit of good) and darkness (kakadaimon - the spirit of evil). The texts discovered at Nag Hammadi contain a number of references to the uroborostic nature of the creation and disintegration of the entire universe, which are directly related to the great serpent. The image of the coiled serpent played a prominent role in Gnostic teaching - for example, several sects were named in his honor.
Medieval alchemists used the ouroboros symbol to represent a variety of “truths”; Thus, in various woodcuts of the 18th century, a snake biting its tail was depicted at almost every stage of the alchemical action. The image of the ouroboros together with the philosophical egg was also common. (one of the most important elements for obtaining the philosopher's stone). Alchemists considered the ouroboros to represent a cyclical process in which heating, evaporation, cooling and condensation of a liquid contribute to the process of purifying the elements and transforming them into the philosopher's stone or gold.
For alchemists, the ouroboros was the embodiment of the cycle of death and rebirth, one of the key ideas of the discipline; the snake biting its tail personified the completeness of the process of transformation, the transformation of the four elements. Thus, the ouroboros represented the “opus circulare” (or “opus circularium”) - the flow of life, what Buddhists call “Bhavachakra”, the wheel of being. In this sense, what was symbolized by the ouroboros was endowed with an extremely positive meaning; it was the embodiment of integrity, a complete life cycle. The coiled snake outlined chaos and contained it, therefore it was perceived as a “prima materia”; Ouroboros was often depicted as having two heads and/or a double body, thus personifying the unity of spirituality and the frailty of existence.
Modern times
The famous English alchemist and essayist Sir Thomas Browne (1605-1682), in his treatise “Letter to a Friend,” listing those who died on their birthday, was amazed that the first day of life so often coincides with the last and that “the tail of the snake returns to it.” into the mouth at exactly the same time.” He also considered the ouroboros to be a symbol of the unity of all things. The German chemist Friedrich August Kekule (1829–1896) claimed that his dream of an ouroboros-shaped ring led him to the discovery of the cyclic formula of benzene.
The seal of the International Theosophical Society, founded by Helena Blavatsky, has the shape of a ouroboros crowned with an ohm, within which are located other symbols: a six-pointed star, an ankh and a swastika. The image of the ouroboros is used by Masonic Grand Lodges as one of the main distinctive symbols. The main idea behind the use of this symbol is the eternity and continuity of the organization’s existence. Ouroboros can be seen on the official seal of the Grand Orient of France and the United Grand Lodge of Russia.
Ouroboros was also depicted on the coats of arms, for example, of the Dolivo-Dobrovolsky family, the Hungarian city of Hajduboszormen and the self-proclaimed Republic of Fiume. The image of a coiled snake can be found on modern Tarot cards; A card with the image of ouroboros used for fortune telling means infinity.
Some ancient signs and symbols are also used in the modern world. Often such original images are asked to be applied to the body by tattoo artists. However, before making a special body drawing, it is important to find out about its real meaning. We propose to understand what ouroboros is and what the sign of ouroboros symbolizes in magic and psychology.
Ouroboros - what is it?
The very unusual name of the sign can be misleading. Ouroboros is a snake that is coiled and biting its own tail. He is one of the most ancient symbols known to mankind. Its exact origin is not so easy to establish. Ouroboros has many different meanings. The most famous interpretation describes it as the personification of eternity and infinity, the cyclical nature of life.
Translated from Greek, this word means “tail” and “food” or a snake biting its own tail. Ouroboros among the Slavs is a creature from ancient Sumerian myths. In some sources, this animal was depicted with small, barely noticeable paws. Similar drawings are found in medieval treatises. Different peoples had completely different meanings for this sign, but common features were present everywhere. The creature has always been imagined as capable of encircling the entire world. The circle, which is the main feature of the snake, almost always symbolizes the sun, as well as the cyclical nature of life.
Ouroboros in magic
For alchemists, such a symbol as the ouroboros dragon personified the cyclical nature of the substance during heating, evaporation, cooling and condensation. Often this sign could become a common symbol of all alchemy. Over time, supporters of many new syncretic religions began to turn their attention to ouroboros. Often this symbol represents infinity in the Tarot.
Ouroboros in alchemy was a cleansing amulet. In esotericism, this sign is understood as two principles, two fields inextricably linked with each other. This is a space that is externally and internally present in every person. The number eight symbolizes several biofields - the real and the unreal, which feed off each other. It is generally accepted that they are able to control the life cycle of a person, and upon death they change their places.
Ouroboros in Christianity
In the Christian religion, the serpent ouroboros signified the completeness of the material world and the frailty of existence, which is ultimately capable of consuming itself, based on Ecclesiastes. Now it is one of the main signs of the Unitarian Church of Transylvania. Supporters of opposing beliefs and movements have their own understanding of the sign. So, Satanists understand ouroboros as one of the attributes of the Beast.
Ouroboros in psychology
At one time, specialists in the field of psychiatry also made attempts to find out what ouroboros means. Thus, Carl Jung was able to develop the theory of archetypes, according to which this myth is inextricably linked with within the person himself. In each of us there is a constant struggle between the creative and destructive principles.
Such a state is unattainable at a conscious age. It refers to the balance and equilibrium that is present in infancy. The desire to achieve such a state is the key to mental health. This symbol is very strongly connected with a person’s understanding of the world, and therefore its importance for the development of humanity is difficult to overestimate. This is indeed a very powerful amulet and even a psychological principle, and not just a mythical creature. Everyone can use its potential and power.
Ouroboros - interesting facts
There are many interesting facts about the Ouroboros symbol:
- In ancient Chinese natural philosophy, this sign is associated with a monad that depicts “yin” and “yang.”
- In German-Scandinavian philosophy, this is the female of a large snake-like dragon.
- In Hinduism and Vedic religion, the snake lives in the ocean and has a hundred heads.
- The British Museum houses a 3rd century Greek amulet symbolizing infinity.
- According to the German philosopher Friedrich Kekule, his dream of a ring in the shape of an ouroboros gave him the idea of discovering the cyclic formula of benzene.
- The sign came to Western culture from Ancient Egypt, where it was depicted from 1600 to 1100 BC. e.
The image of a snake is often used in tattoos. Moreover, he is loved not only by men, but also by women. The ouroboros stands apart - a snake (less often a dragon) that bites its own tail. There are many meanings for this version of the sketch, but the main one is the cyclical nature of everything that happens, a vicious circle, the unification of mortal and earthly life. However, ouroboros influenced the minds of great philosophers so much that it was assigned different meanings, often mutually exclusive.
Ouroboros. What kind of animal?
Ouroboros is one of the options for depicting a snake in which it holds its tail with its teeth. It is believed that this symbol is one of the oldest. Moreover, the exact time of its occurrence is not clear. However, there is an opinion that this symbol came to the culture of Western countries from Ancient Egypt. He was a symbol of rebirth and the unity of life and death. There are still doubts about where exactly the image of the ouroboros originated, since similar symbols appeared in both Scandinavia and China.
Ouroboros tattoo on a girl's chest
Ouroboros was also actively used by philosophical schools of different times. For example, in Gnosticism it was given a separate place. In Gnostic teachings, ouroboros is a symbol of light and darkness. The inhabitants of Ancient China adhered to a similar concept. They identified this symbol with the designation of Yin and Yang. The ouroboros tattoo, a photo of which can also be found in conjunction with a white egg, can also mean the unity of the masculine and feminine principles.
Ouroboros and mythology
Ouroboros, often used in tattoos, gained its fame thanks to mentions in the myths of various peoples. For example, in German-Scandinavian mythology, ouroboros was named Jörmungand and had the appearance of a dragon, similar to a snake. He was the god of evil. He was exiled to the bottom of the ocean, where he eventually grew so large that he could bite his own tail. According to this myth, Jörmungandr is waiting in the wings to this day for a great battle with Thor.
In Hinduism you can also find a god whose image was represented in the form of a snake, with its tail in its mouth. He was called Shesha and was the patron of waterways and lakes. According to ancient legends, all snakes originate from three gods, one of which is Shesha.
Ouroboros tattoo on the wrist in black and white version
This is interesting. Ouroboros also had another name - ourobo. Initially he was personified with the ocean. For the Ancient Greeks, the ocean was just a river that surrounded the world and had neither end nor beginning. The ouroboros tattoo, the meaning of which is consistent with this view of this body of water, could look different. The Greeks depicted the ocean as an old man with a beard forming a circle. And then he was modified into a snake. The reptile was depicted with long antennae and somewhat resembled a dragon.
Ouroboros tattoo in red color
Ouroboros Tattoo Meanings
Some meanings of this type of tattoo have already been described above. They originate from the myths and legends associated with this snake. However, the meaning of this image is much broader. Thus, an ouroboros tattoo, the design of which should be selected especially carefully, can mean the following:
- cyclicality of life. This design is chosen by a strong personality who is not afraid of death, but believes that he will always return to a new life.;
- unity of beginning and end. This interpretation means that everything in the world is closely connected, that there is no beginning and end to the path, that everything is one;
- eternal struggle. In this context, a tattoo can be understood in two ways. Either as a struggle with the environment, with life’s difficulties, or as a battle with one’s own shortcomings;
- the impossibility of knowing life to the end. This meaning comes from theology and emphasizes that the divine essence is difficult to comprehend.
Ouroboros tattoo with flower branches
The meaning of snake tattoos
It is impossible not to touch upon the symbol of snakes in tattoos, since the meaning of the image of the ouroboros is directly related to this. The snake can have different interpretations, and radically different from each other. So, in some cases it is a symbol of good, and in others - evil. In the first case, she is associated with wisdom, with female cunning. You can ask the snake for advice and find out the answer to questions. In the second case, there is a direct parallel with biblical stories in which the snake appears as a tempter. Due to its ability to shed its skin, the snake is also considered a symbol of transformation and immortality.
Two ouroboros tattoos in one
The tattoo of a snake biting its own tail is my pride. It is located on the ankle, encircling it. Ouroboros, as it is usually called, has many meanings, but in my case it is the personification of the fight against internal vices. It took me a long time to find the sketch, but it was worth it.
Alina, Yaroslavl.
Ouroboros tattoo with symbol
The meaning of the ouroboros tattoo, according to the teachings of Jung
Carl Jung, in his teaching on archetypes, mentions the symbol ouroboros. In his understanding, this creature means self-destruction and darkness, but at the same time it also carries information about creative potency and fertility. There is also an opinion that this is unrequited love and aggression, which cannot live without each other.
Important! Alchemists, the people who sacrificed their lives to create the philosopher's stone, also revered the snake biting its own tail. Ouroboros was also called the Wheel of Time, or the Wheel of Alchemy. According to alchemists, Ouroboros meant the unity of all things. There is also an opinion that this image carries a certain message, since in some cases it resembles DNA chains. Also in alchemy it was considered a symbol of purification.
Ouroboros (with emphasis on the last syllable) - you've probably come across this sign more than once, although perhaps this is the first time you've heard its official name. If we literally translate it from Greek, it will mean “devouring [its] tail”) - this is a coiled snake, or rather a snake biting its own tail. Ouroboros is one of the oldest symbols known to mankind, the exact origin of which - historical period and specific culture - is, alas, impossible to establish. But we can make some assumptions.
Despite the fact that the symbol has many different meanings, the most common interpretation describes it as a sign of eternity, a sign of infinity, the cyclical nature of life: alternation of creation and destruction, life and death, constant rebirth and dying. The Ouroboros symbol has a rich history of use in religion, magic, alchemy, mythology and even psychology. It turns out that one of its analogues is the swastika - both of these ancient symbols mean the movement of space.
Ancient Egypt
It is believed that this symbol came to Western culture from Ancient Egypt, where the first images of a coiled snake date back to the period between 1600 and 1100 BC. e. They personified eternity and the universe, as well as the cycle of death and rebirth. D. Beaupru, describing the appearance of images of the ouroboros in Ancient Egypt, claims that this symbol was painted on the walls of tombs and denoted the guardian of the underworld, as well as the threshold moment between death and rebirth. The first appearance of the ouroboros sign in ancient Egypt dates back to approximately 1600 BC. e. (according to other sources - in the year 1100. A coiled snake, for example, is carved on the walls of the temple of Osiris in the ancient city of Abydos. In the understanding of the Egyptians, ouroboros was the personification of the universe, paradise, water, earth and stars - all existing elements, old and new. Preserved a poem written by Pharaoh Pianhi in which the Ouroboros is mentioned.
Ancient Greece
Some historians believe that from Egypt the symbol of a snake eating its tail migrated to Ancient Greece, where it began to be used to denote processes that have no beginning or end. Note that it is difficult to accurately establish the origin of this symbol, since its close analogues are also found in the cultures of Scandinavia, India, China and Greece. In Ancient Greece, along with the Phoenix, ouroboros began to personify processes that have no end or beginning. In Greece, snakes were an object of veneration, a symbol of health, and were also associated with the afterlife, which is reflected in many myths and legends. The word “dragon” itself (ancient Greek Draco) is literally translated as “snake”.
The symbol of a coiled snake is found in an implicit form on the New Continent, in particular among the Aztecs. Despite the fact that snakes played a significant role in their mythology, the question of a direct connection between the pantheon of Indian gods and ouroboros remains open.
Interest in ouroboros has persisted for many centuries - in particular, it plays a prominent role in the teachings of the Gnostics, and is also an important element in the craft of medieval alchemists, symbolizing the transformation of elements into the philosopher's stone, required for the transformation of metals into gold, and also personifying chaos in the mythological understanding term.
In recent times, the Swiss psychoanalyst C. G. Jung has given a new meaning to the symbol of ouroboros. Thus, in orthodox analytical psychology, the Ouroboros archetype symbolizes darkness and self-destruction at the same time as fertility and creative potency. Further research into this archetype was most reflected in the works of the Jungian psychoanalyst Erich Neumann, who identified ouroboros as an early stage of personality development.
W. Becker, speaking about the symbolism of snakes as such, notes that Jews from ancient times viewed them as threatening, evil creatures. In the text of the Old Testament, in particular, the snake is ranked among the “unclean” creatures; it symbolizes Satan and evil in general - thus, the Serpent is the reason for the expulsion of Adam and Eve from paradise. The view that an equal sign was placed between the Serpent from the Garden of Eden and the Ouroboros was also held by some Gnostic sects, for example, the Ophites.
Ancient China
R. Robertson and A. Combs note that in Ancient China the ouroboros was called “Zhulong” and was depicted as a creature combining a pig and a dragon, biting its own tail. Many scientists are of the opinion that over time this symbol has undergone significant changes and transformed into the traditional “Chinese dragon”, symbolizing good luck. Some of the first mentions of the ouroboros as a symbol date back to 4200 BC. e.. The first finds of figurines of dragons curled into a ring date back to the Hongshan culture (4700-2900 BC). One of them, in the shape of a full circle, was located on the chest of the deceased.
There is also an opinion that the monad depicting the concept of “yin and yang” is directly related to the symbol of ouroboros in ancient Chinese natural philosophy. Also, images of the ouroboros in Ancient China are characterized by the placement of an egg inside the space that the snake’s body covers; it is assumed that this is the symbol of the same name, created by the Creator himself. The “center” of ouroboros - the mentioned space inside the ring - in philosophy is reflected in the concept of “tao”, which means “the path of man”.
Ancient India
In the Vedic religion and Hinduism, Shesha (or Ananta-shesha) appears as one of the forms of God. Images and descriptions of Shesha in the form of a snake biting its own tail are commented on by D. Thorne-Bird, pointing out its connection with the symbol of ouroboros. From ancient times to this day, snakes (nagas) have been revered in India - the patrons of waterways, lakes and springs, as well as the embodiment of life and fertility. In addition, nagas represent the eternal cycle of time and immortality. According to legends, all nagas are the offspring of three snake gods - Vasuki, Takshaka (English) Russian. and Sheshi.
The image of Shesha can often be seen in paintings depicting a coiled snake on which Vishnu sits cross-legged. The coils of Shesha's body symbolize the endless cycle of time. In a broader interpretation of the myth, a huge snake (like a cobra) lives in the world's oceans and has a hundred heads. The space hidden by the massive body of Shesha includes all the planets of the Universe; to be precise, it is Shesha who holds these planets with his many heads and also sings songs of praise in honor of Vishnu. The image of Shesha, among other things, was also used as a protective totem by Indian maharajas, since there was a belief that a snake, encircling the earth with its body, protects it from evil forces. The word “Shesha” itself means “remnant”, which refers to what remains after everything created returns back to primary matter. According to Klaus Klostermeier, the philosophical interpretation of the image of Shesha makes it possible to understand history from the point of view of Hindu philosophy, according to which history is not limited to human history on planet Earth or the history of one single universe: there are countless universes, in each of which certain events are constantly unfolding. events.
Germanic-Scandinavian mythology
In German-Scandinavian mythology, the form of ouroboros is taken by Jörmungandr (also called the "Midgard Serpent" or "Midgardsorm", the goddess of evil) - a female huge snake-like dragon, one of the children of the god Loki and the giantess Angrboda. When the father and leader of the Aesir Odin first saw her, he realized the danger lurking in the snake and threw it into the world's oceans. In the ocean, Jormungandr grew to such a large size that she was able to encircle the earth with her body and bite herself by the tail - it is here, in the world's oceans, that she will remain most of the time until the onset of Ragnarok, when she is destined to meet Thor in the last battle.
Scandinavian legends contain a description of two meetings between the snake and Thor before Ragnarok. The first meeting occurred when Thor went to the king of the giants, Utgard-Loki, to endure three tests of physical strength. The first task was to raise the royal cat. Utgard-Loki's trick was that it was actually Jormungandr transformed into a cat; this made the task very difficult - the only thing Thor could achieve was to force the animal to lift one paw off the floor. The King of the Giants, however, recognized this as a successful completion of the task and revealed the deception. This legend is contained in the text of the Younger Edda.
The second time Jormungandr and Thor met was when the latter went fishing with Gimir. The bait used was a bull's head; When Thor's boat passed over the snake, it let go of its tail and grabbed the bait. The fight went on for quite a long time. Thor managed to pull the monster's head to the surface - he wanted to hit it with a blow from Mjolnir, but Gimir could not stand the sight of the snake writhing in agony and cut the fishing line, allowing Jormungand to disappear into the depths of the ocean.
During the last battle (Ragnarok), the death of the Gods, Thor and Jormungandr will meet for the last time. Having emerged from the world's oceans, the snake will poison the sky and earth with its poison, forcing the expanses of water to rush onto land. Having fought with Jormungand, Thor will knock off the monster's head, but he himself will only be able to move away nine steps - the poison splashing from the monster's body will kill him.
Gnosticism and alchemy
In the teachings of Christian Gnostics, ouroboros was a reflection of the finitude of the material world. One of the early Gnostic treatises “Pistis Sophia” (English) Russian. gave the following definition: “material darkness is the great dragon that holds its tail in its mouth, beyond the boundaries of the whole world and surrounding the whole world”; according to the same work, the body of the mystical snake has twelve parts (symbolically associated with twelve months). In Gnosticism, the ouroboros personifies both light (agathodaemon - the spirit of good) and darkness (kakadaimon - the spirit of evil). The texts discovered at Nag Hammadi contain a number of references to the uroborostic nature of the creation and disintegration of the entire universe, which are directly related to the great serpent. The image of a coiled serpent played a prominent role in Gnostic teaching - for example, several sects were named in his honor.
Medieval alchemists used the ouroboros symbol to represent a variety of “truths”; Thus, in various woodcuts of the 18th century, a snake biting its tail was depicted at almost every stage of the alchemical action. The image of the ouroboros together with the philosophical egg was also common. (one of the most important elements for obtaining the philosopher's stone). Alchemists considered the ouroboros to represent a cyclical process in which heating, evaporation, cooling and condensation of a liquid contribute to the process of purifying the elements and transforming them into the philosopher's stone or gold.
For alchemists, the ouroboros was the embodiment of the cycle of death and rebirth, one of the key ideas of the discipline; the snake biting its tail personified the completeness of the process of transformation, the transformation of the four elements. Thus, the ouroboros represented the “opus circulare” (or “opus circularium”) - the flow of life, what Buddhists call “Bhavachakra”, the wheel of being. In this sense, what was symbolized by the ouroboros was endowed with an extremely positive meaning; it was the embodiment of integrity, a complete life cycle. The coiled snake outlined chaos and contained it, therefore it was perceived as a “prima materia”; Ouroboros was often depicted as having two heads and/or a double body, thus personifying the unity of spirituality and the frailty of existence.
Modern times
The famous English alchemist and essayist Sir Thomas Browne (1605-1682), in his treatise “Letter to a Friend,” listing those who died on their birthday, was amazed that the first day of life so often coincides with the last and that “the tail of the snake returns to it.” into the mouth at exactly the same time.” He also considered the ouroboros to be a symbol of the unity of all things. The German chemist Friedrich August Kekule (1829-1896) claimed that his dream of an ouroboros-shaped ring led him to the discovery of the cyclic formula of benzene.
The seal of the International Theosophical Society, founded by Helena Blavatsky, has the shape of a ouroboros crowned with an ohm, within which are located other symbols: a six-pointed star, an ankh and a swastika. The image of the ouroboros is used by Masonic Grand Lodges as one of the main distinctive symbols. The main idea behind the use of this symbol is the eternity and continuity of the organization’s existence. Ouroboros can be seen on the official seal of the Grand Orient of France and the United Grand Lodge of Russia.
Ouroboros was also depicted on the coats of arms, for example, of the Dolivo-Dobrovolsky family, the Hungarian city of Hajduboszormen and the self-proclaimed Republic of Fiume. The image of a coiled snake can be found on modern Tarot cards; A card with the image of ouroboros used for fortune telling means infinity.
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