The Suns of God, by Acharya S
several pages on scarabs from above book.
More about Kircher on the scarab including an Osiris-headed scarab.
In reference to the 17th century Athanasius Kircher, the author mentions the scarab in context of alchemy and cabala. The author also points out the scarab being representative of the Son of God and defends this by quoting Augustine.
A History of Egyptian Mummies, by Thomas Joseph Pettigrew
pp. 178-9: “Remarkably, a stylistic representation of the Rostau meteorite appears in the fifth chapter of the Book of the Hidden Chamber. In figure 73, we see the beginning of the creation, as if it were frozen in time. In the lower register is the body (or flesh) of Sokar, contained within an ellipse of sand, representing his ‘hidden land’. He is about to put on his wings of transformation. Above him, in the middle register, a pyramid-shaped hill represents the body (or flesh) of Isis, whose head is seen at the apex of the mound. Above the head of Isis, in the upper register, there appears a dark, bell-shaped chamber, flanked by two falcons and surmounted by the hieroglyphic sign for ‘night’. From the bottom of this chamber, a scarab beetle — symbolic of rebirth — descends towards the head of Isis in order to converse with Sokar below, but is menanced by a two-headed serpent who ‘sets himself in opposition to the scarab’. Between the beetle and the head of Isis, there runs the rope by which the barque of Re is towed through the underworld by seven gods and seven goddesses.”
Pyramid of Secrets, by Alan F. Alford
“On the central vertical band, beneath Nut with her outspread wings, are (from top to bottom) a shrine with two crouching figures of Osiris flanking a scarab, Isis and Nephthys adoring the symbol of Osiris, a scepter flanked by winged wedjat eyes, and a winged scarab above the boat of the sun.”
Coffin set of Henettawy
pp. 10-11: “In one rendition of John’s Gospel, instead of the “only-begotten Son of God,” a variant reading gives the “only-begotten God,” which has been declared an impossible rendering. But the “only-begotten God” was an especial type in Egyptian Mythology, and the phrase re-identifies the divinity whose emblem is the beetle. Hor-Apollo says, “To denote the only-begotten or a father, the Egyptians delineate a scarabeus! B this they symbolize an only-begotten, because the creature is self-produced, being unconceived by a female.” Now the youthful manifestor of the Beetle-God was this Iu-em-hept, the Egyptian Jesus. The very phraseology of John is common to the Inscriptions, which tell of him who was the Beginner of Becoming from the first, and who made all things, but who himself was not made. I quote verbatim. And not only was the Beetle-God continued in the “only-begotten God”; the beetle-type was also brought on as a symbol of the Christ. Ambrose and Augustine, amongst the Christian Fathers, identified Jesus with, and as, the “good Scarabeus,” which further identifies the Jesus of John’s Gospel with the Jesus of Egpt, who was the Ever-Coming One, and the Bringer of Peace, whom I have elsewhere shown to be the Jesus to whom the Book of Ecclesiasticus is inscribed, and ascribed in the Apocrypha.
In accordance with this continuation of the Kamite symbols, it was also maintained by some sectaries that Jesus was a potter, and not a carpenter; and the fact is that this only-begotten Beetle-God, who is portrayed sitting at the potter’s wheel forming the Egg, or shaping the vase-symbol of creation, was the Potter personified, as well as the only-begotten God in Egypt.”
Gerald Massey’s Lectures
This article shows that beetles (and in particular dung beetles) are a religious symbol older than Egypt. As a main source of food, beetles have always fascinated humans and taken on divine meaning. Beetles are able to fly and descend into the earth, and they emerge out of the earth when they’re growing. The beetle as a creator and a potter is found in tribal cultures, in Egyptian mythology and even Jesus is portrayed as a potter. In Egypt, the scarab was identified as a solar deity. This is because the dung beetle forms balls of dung which it rolls around (and out of which it is born), and also because they’re shiny beetles who can fly (and it was believed they could fly carrying a dung ball).
Egyptians came to believe in the scarab as a resurrection deity and that it was self-originating. So, it was considered virginal as they believed no sex occurred. The author doesn’t note this but it is reminiscent of how Mithras was born out of a rock. The scarab became identified in two forms that were identified with Osiris who dies and his son Horus who is born from his death, but the two forms were also identified as singular. This dual aspect god was a central prototype of Jesus Christ. In its role as resurrection deity and ruler over the dead, the scarab was associated with the heart (the scarab being placed over the heart of the mummified deceased). From the Wikipedia article on the Dung Beetle:
|“||It may not have gone unnoticed that the pupa, whose wings and legs are encased at this stage of development, is very mummy-like. It has even been pointed out that the egg-bearing ball of dung is created in an underground chamber which is reached by a vertical shaft and horizontal passage curiously reminiscent of Old Kingdom mastaba tombs.”||”|
Another interesting connection (not from this article) is the understanding of gender in Gnosticism and in the Egyptian portrayal of the dung beetle. Despite an earlier association with a goddess, Egyptians came to believe that all dung beetles were male. Another excerpt from the Wikipedia article:
The scarab was linked to Khepri (“he who has come into being”), the god of the rising sun. The ancients believed that the dung beetle was only male in gender, and reproduced by depositing semen into a dung ball. The supposed self-creation of the beetle resembles that of Khepri, who creates himself out of nothing. Moreover, the dung ball rolled by a dung beetle resembles the sun. Plutarch wrote:
|“||The race of beetles has no female, but all the males eject their sperm into a round pellet of material which they roll up by pushing it from the opposite side, just as the sun seems to turn the heavens in the direction opposite to its own course, which is from west to east.”||”|
The ancient Egyptians believed that Khepri renewed the sun every day before rolling it above the horizon, then carried it through the other world after sunset, only to renew it, again, the next day.
Strong arguments have been made that Gnosticism (and through it Christianity) came from Egypt, and certain Gnostic texts speak of the female becoming the male. Also, during the Axial Age, there was a mixing of gender traits as gender identities shifted. Many gods (such as Yahweh) had taken over aspects of prior goddesses. D.M. Murdock, in her book Christ In Egypt, argues that in Christianity’s competition with Isis worship, Jesus became identified with that which had been formerly identified with Isis for centuries throughout the Graeco-Roman world. Furthermore, Isis’ son Horus (in his form as Harmakhet the rising sun) was associated with Khepri (combined forming an image of a scarab with wings). Murdock points out archaeological evidence of Egyptian Gnostic merging of Horus and Jesus; and, in the Alexandrian Gnostic system, Isis is Sophia and Horus is the Logos/Word. Early Coptic Christians mummified their dead, had scarabs with Christian emblems etched on them (The Sacred Scarabs, The New York Times), used the ankh as a cross, and even invoked Jesus and Horus together. Also, followers of Serapis (a mix of Greek and Egyptian gods) are another example as they were supposedly described as the first Christians by Clement of Alexandria in his Stromata. In many locations in Egypt, such as at the Serapeum (temple to Serapis) in Alexandria, large sculptures of scarabs have been found. (Besides Murdock’s Christ In Egypt, much of this info and more can be found in Egyptologist E. A. Wallis Budge’s Amulets and Superstitions, the Egyptologist Erik Hornung’s The Secret Lore of Egypt, and Theologian Karl W. Luckert’s Egyptian Light and Hebrew Fire; also, check out the books of Alvin Boyd Kuhn, Gerald Massey, and G. R. S. Mead.)
To return to Cambefort’s article, the author mentions that Ptah the divine craftsman was connected with the scarab as the potter. Ptah was also was at times confused with Osiris. The wife of Ptah was Neith who was originally considered a beetle goddess before the scarab became identified as solely male and so she instead became identified with the vulture (which was considered solely female). The vulture and scarab became a paired symbol and a word play. In the 4th century, Horapollo wrote about hieroglyphics of this pair of deities. “He also described the scarab as “only begotten,” and the Greek word is the same used by John (3:16) referring to Christ (below).”
In Minoan Creta, horned “scarabs” crudely modeled in clay were used by peasants, probably in fecundity rites (right). Apart from these models, the scarab’s role is not obvious in archaic and classic Greek civilization. During late Egyptian periods, dwarves were devoted to Ptah (under the name “pataeci”) and many of them wore a scarab on their head. Probably for this reason, the scarab gained the reputation among the Greeks to be the king of Pygmies, although the Pygmies themselves represented the dead. In addition, we can find evidence that scarabs in a broad sense (sacred scarab and stag beetle were more or less confused) were important in the initiation rites of warriors (possibly due to the fact that warriors bring death). As a result, the scarab was consecrated to Zeus, to the same extent as the eagle. In fact, both animals seem interchangeable as favorites of the King of gods. Æsopus fable, “The Eagle and the Scarab,” is a testimony to the secular dispute between the scarab and the Eagle, or rather between their supporters. In this fable, the scarab wins, but historically, the eagle gained victory over the scarab, and remained the emblem of Zeus, carrying his thunder. The fable might also be a reminiscence of the late Egyptian periods, when the scarab and vulture (there are no eagles in Egypt) were united to write the Great Gods’ name T-N and N-T(above).
Meanwhile, the scarab became an object of derision and jokes, the most famous of them being Aristophanes comedy “Peace,” where a peasant flies up to Olympus riding a colossal scarab, whose coprophagous habits are insisted upon. Despite these trivial manners, the scarab retains his divine nature, which enables him to reach Zeus’ throne. Another clue of his importance could be the name “scarab” (greek: kantharos) of Dionysos’ cup, where pure wine is served in order to provide sacred drunkenness. Dionysos seems to be related to Osiris, who was said to have introduced wine in Egypt. As a sacred trance, drunkenness is related to shamanic powers of uniting the sky, the earth, and the underworld. Dionysos also had close relationships with Hephaistos, who was god of the fire. Since wine “burns” or at least heats as fire does, Hephaistos is often represented as being drunk. Hephaistos was confused by the Greeks with the late Egyptian scarab god, Ptah. In Germany, the property of thunder belonged to the god Thor (or Donar), who was second only to Odhin. The stag-beetle was devoted to Thor, and reputed to bear not only lightning and thunder, but also fire, in the form of embers. Thor was reputed to set fire to thatched houses, hence many names relating to fire and thunder are still frequently used in Germany.
…Coming back to Israel, the word “scarab” does not occur in the Hebrew Bible. The Jewish authors probably did not want to recall the detested enemy through this Egyptian emblematic character. However, in the Greek translation of the Bible (called Septuagint,) the word “beetle” occurs once (Habakkuk 2:11):
“For the stone shall cry out of the wall, and the beetle out of the timber shall answer it.”
The author connects the dung beetle with the vulture in opposition to the eagle. He uses as an example Aristophanes play Peace where the dung beetle is used by Trygaeus to fly up to speak to Zeus. This connection of dung beetle and vulture is similar to Bruno Schultz’ story “Cockroach”.
Richard Marsh’s The Beetle has a woman that transforms into a scarab. The author speaks about the Gothic being relevant during times of uncertainty and change such as during the urbanization of the industrial age. He also mentions Darwinism that created a sense of the closeness between man and animal, and theories arose of the possibility of degeneration to earlier forms.
The Cambridge Companion to Gothic Fiction, by Jerrold E. Hogle
“Holland notes that beetles, unlike cockroaches, undergo total metamorphosis. Further, dung beetles are scarabs. The Egyptians venerated the scarab as an image of the sacred dung beetle linked to the sun god. Samson (Samsa) means in Hebrew “the sun’s man.” The German word for the title of the story, Die Verwandlung, means not only insect metamorphosis and transformation in general, but also transubstantiation… “The dung-beetle, then,” Holland concludes, “was the one animal that gave Kafka everything he needed: total metamorphosis from a wingless grub to a hard-working, traveling salesman-like adult plus the combination of loathsomeness and divinity”
“The brilliant writer Vladimir Nabokov wrote of the interpretative impact Kafka’s earliest translators had made by turning the character from The Metamorphosis, Gregory Samsa, into a lowly cockroach, when in actuality Kafka had Gregory metamorphosed into a magnificently domed scarab beetle. The implications here are profound when we contemplate Kafka’s intense intimacy with the figure of Christ, and his knowledge of ancient cultures and art. Kafka was obviously aware that Albrecht Duer associated the symbolic aspect of the stag beetle with Christ. ‘Some biblical linguists have written of the aramaic word “scarab” being mistranslated as “worm,” in Psalm 22:6, “But I am a worm, not a man.” Certain imminent alchemists considered the scarab to be a symbol for the Great Work of transformation. In ancient Egyptian alchemy the scarab beetle’s activity of making its nest out of dung for eggs to hatch from, symbolized the process of creating disciplines and procedures to bring forth spirit from flesh. The scarab is also associated in both Egyptian and Greek text with the solar aspects of the divine.”
Pushing Ultimates, by Lew Paz
Gregor Samsa “is “a phonetic contraction of the Czech words sam (‘alone’) and jsem (‘I am’).” Also there is the suggestion of “samson” (literally “the sun’s man”), combining the image of the lowly dung beetle with the sacred scarab linked to sun god worship, an ironic “combination of lothesomeness [sic] and divinity.” The name “Gregory” (literally “watchful” or “awakened”) strengthens the symbolism of the story by implying that Gregor’s transformation corresponds with his sudden awareness of his own alienation.”
“In “carry, as earwigs do their dead, their soil to the earthball,” Joyce confuses (probably intentionally) the earwig with the dung beetle, the prototype of the Egyptian scarab.” In a notebook, Joyce mentioned the scarab along with other symbols of regeneration.
Narrative design in Finnegans Wake, by Harry Burrell
Author describes Joyce’s reference to scarab (in terms of creation and generation) in a notebook that was later developed in Finnegan’s Wake.
Dick writes in his Exegesis:
“Ugly like this, despised and teased and tormented and finally put to death, he returned shining and transfigured; our Savior Jesus Christ (before him Ikhanaton, Zoroaster, et; Hefestus). When He returned we saw Him as he really is — that is, not by surface appearance. His radiance, his essence, like light. The God of Light wears a humble and plain shell here. (Like a metamorphosis of some humble toiling beetle).”
Mckee comments on this:
“For Dick, Christ will not return riding a white horse, but rather in the form of a beetle, a beggar, or an empty beer can kicked to the side of the road. God, though remaining all-powerful, allows himself to be made weak and to appear defeated in this world. But his moment of apparent defeat is truly his moment of final victory: Christ’s death on the cross is the moment that assures the salvation of humankind.
‘In this concept of the deus absconditus Dick’s theology overlaps with thtat of Martin Luther. Luther’s “theology of the cross” depends on just such a view of God’s hiddenness in wretched and helpless forms in our world.”
PKD’s God in the garbage is Augustine’s Christ as beetle who “has rolled himself in our filth and chooses to be born from this filth itself”.
The author quotes PKD describing an event from third-grade where he was tormenting a beetle that was trying to hide itself:
“And he came out, and all of a sudden I realized — it was total satori, just infinite, that this beetle was like I was. There was an understanding. He wanted to live just like I was, and I was hurting him. For a moment — it was like Siddhartha does, was like that dead jackal in the ditch — I was that beetle. Immediately I was different. I was never the same again.”
Divine Invasions, by Lawrence Sutin
Jung: “A young woman I was treating had at a critical moment, a dream in which she was given a golden scarab. While she was telling me this dream I sat with my back to the closed window. Suddenly I heard a noise behind me, like a gentle tapping. I turned round and saw a flying insect knocking against the window-pane from the outside. I opened the window and caught the creature in the air as it flew in. It was the nearest analogy to a golden scarab that one finds in our latitudes, a scarabaeid beetle, the common rose-chafer (Cetonia aurata), which contrary to its usual habits had evidently felt an urge to get into a dark room at this particular moment. (The Structure and the Dynamics of the Psyche, p. 438)
The scarab here can be interpreted as a symbol of rebirth, of new life, an external manifestation of an inner awakening. The dung beetle lives in filth, the material world which the rational mind can comprehend. And yet the dung beetle represents that which is greater than rational and above the physical, the solar disk. The Sun of God is Logos, but this isn’t rationality. Logos signifies an ordering principle beyond causality, which Jung termed synchronicity.
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