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This short essay was originally published as part of Appendix 1 from my book Babylonian Star-Map. An Illustrated Guide to the Star-lore and Constellations of Ancient Babylonia by Gavin White.
Even though the Greek star-map is fundamental to modern astronomy, very little is actually known concerning its origins or date of creation. We can be certain that all, or nearly all, of the 48 traditional constellations were established by the 4th century BCE when Eudoxus of Cnidos wrote his Phaenomena. This work, which was subsequently lost, was versified by Aratos of Soloi a century or so after its creation, and fortunately for us, Aratos’ work does survive. From this we can infer that Eudoxus’ work described the appearances and locations of the constellations but didn’t pay much heed to the mythology associated with them.
This, at least, provides us with a latest possible date for the formation of the Greek constellations, but trying to trace back their origins any further becomes increasingly difficult. All we know for sure is that Ursa Minor, the Little Bear, was added in the 6th century BCE and that 4 or 5 constellations and a few individual stars were known to Homer and Hesiod – the earliest Greek writers whose births are conventionally dated between 700 and 750 BCE. In truth, this is the earliest date that any Greek star-lore can be positively ascribed to.
The stars and constellations mentioned by Homer and Hesiod – the Great Bear, the Pleiades, Hyades, Orion, Sirius and Arcturus – are very prominent figures, both in the heavens and in the realm of astral mythology. Even though some modern scholars argue that Homer and Hesiod only knew of these few star figures, many find it difficult to accept that this was the sum total of Greek star-lore in the 8th century BCE. Even though there is no textual evidence from Greece beyond this time, it is known that Homer’s epics draw on legends first formulated in the Mycenean period (1550-1100 BCE) and I believe that this is a plausible enough timeframe for the creation of at least some of the early Greek constellations. One factor in particular supports this early date – Mycenean Greece had strong trading and cultural contacts with the Near East, especially so in the 13th century BCE when Babylonia was actively exporting its literate culture.
The Near Eastern influence in Hesiod’s mythical works are relatively well-known but Homer too, also reveals that he knew a little star-lore that originated in Babylonia when he specifically states that the stars of the Great Bear were also called the Wagon (which is of course the Babylonian name for the seven principal stars of Ursa Major).
As we will see a little later, a considerable number of Greek constellations have been derived from Babylonian sources, even though many have been distorted, misplaced or otherwise transformed in the process of transmission.
Our detailed knowledge of the Greek star-map is largely due to the illustrations and descriptions found in medieval Arabic works on astronomy. These works, especially Al-Sufi’s Uranometry, were a substantial improvement on the earlier work of Ptolemy. The following map of the Greek constellations (fig 166) is primarily based on the illustrations found in the Uranometry.
The Arabian version of the Greek star-map is well worth reproducing, not only for its greater artistic merit, but also for the occurrence of a number of instances where Arab astronomers have departed from the familiar forms of the Greek constellations. The following examples amply demonstrate the types of transformation and misunderstanding that inevitably arise when a body of traditional lore is transmitted from one culture to another.
The figure of Virgo has lost her barley stalk and date-palm frond, and to fit her image onto the star map she has had her right arm cut off above the elbow and shifted downwards towards her thigh.
The lion’s skin held by Orion has been transformed into an elaborately extended sleeve, which was popular among upper-class Arabian society during the medieval period.
The Greek Wolf (Lupus) has been changed into a lion or lioness. And curiously enough, this is actually closer to the Babylonian prototype of the Mad Dog, which was portrayed as a combination of man and lion.
Arabian astronomers have transformed the figure of Lyra, which should be a musical instrument whose sounding box was an empty tortoise shell, into a complete living tortoise.
Finally, the Gorgon’s head carried by Perseus has been transformed into the head of a masculine ghoul – from which we derive the modern star-name of Algol (literally meaning ‘the ghoul’).
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Received wisdom states that beyond the zodiac and such constellations as the Raven, Hydra and Southern Fish that are closely assimilated to zodiac figures, only 4 or 5 Greek constellations are derived from Babylonian sources.1 The remaining 28 or 29 constellations are widely regarded as either being native inventions or transmissions from non-Babylonian sources. The sea-faring Phoenicians are sometimes cited as a potential source, especially for the maritime constellations found in the southern reaches of heaven, even though next to nothing is actually known of Phoenician star-lore. 2
Now that more information is available on Babylonian star-lore, there is every reason to suspect that the Greek star-map has been influenced by the Babylonian tradition to a much greater degree than has previously been recognised. Personally, I would argue that some form of Babylonian influence is detectable in between 25 and 30 of the 48 Greek constellations, which is nearly double the conventional tally. Even so, beyond the zodiac figures and their associated constellations already mentioned, there are only two Greek constellations – the Charioteer and the Eagle – that are likely to be accurate representations of their Babylonian counterparts:
The Greek Charioteer (Auriga) is plainly based on the Babylonian constellation of the Chariot. Contrary to its name, the Chariot was also depicted as a chariot-driver, and as yet there is no reason to believe that he ever had a chariot. The figure of a goat (Capella), sometimes found at his shoulder is also a memory of a Babylonian star called the Crook, which was similarly envisioned as a goat-kid (see fig 37).
The Greek Eagle (Aquila) is almost certainly derived from the Babylonian Eagle. In their respective traditions, both stars are often associated or confused with a vulture; and both birds are carrying another object represented among the stars – the Greek Eagle carries an Arrow (Sagitta) while the Babylonian Eagle carries the constellation known as the Dead Man.
Beyond these well-known and potentially accurate transmissions, another 8 or 9 Greek constellations are more loosely based on Babylonian prototypes. The parallels are not so easy to recognise as various components of the figures have been transfigured in the process of transmission:
The Serpent-bearer (Ophiuchus) is represented on the Greek star-map by a hero wrestling with an enormous serpent. I believe that this figure is ultimately based on the Babylonian constellation known as the Sitting Gods. It was sacred to the serpent-god Nirah, who was sometimes depicted as a man with a huge serpent in place of his legs.
Two further Greek figures – Centaurus and Lupus – are obviously based on Babylonian prototypes, even if there are some notable changes in their respective appearances. The Babylonian forerunner of Centaurus was known as the Bison-man, a mythical creature that combined the torso of a man with the hindquarters of a bison. But during the process of transmission, this two-legged figure was transformed into the four-legged Centaurus, which combined a human torso with the body of a horse.
The Greek figure of the Wolf (Lupus) can be traced back to the Babylonian constellation known as the Mad Dog, which was portrayed as a combination of man and lion. Although the form of the Greek constellation may have changed considerably, its close relationship to the Babylonian figure is most clearly expressed in an alternative Greek title – the ‘Wild Beast’ – which is a surprisingly accurate translation of the Mad Dog’s name.
In Babylonian tradition, the symbolism of the Mad Dog and Bison-man is informed by a well-defined seasonal motif called the Lion-Bull conflict. The essential meaning of this motif is displayed in the stars where the Bison-man, who represents the autumn rainy season, is seen killing the lion, which symbolises the drought-stricken summer months. This basic motif appears to have entered Greek tradition as star-myths inform us that Centaurus is depicted in the act of sacrificing Lupus to the gods.
We can also be pretty certain that three more Greek constellations – Pegasus, Hercules and Eridanus – are all derived from Babylonian sources, even if their images have been re-orientated, relocated or otherwise distorted in relation to their Babylonian prototypes:
Pegasus is clearly based on the Babylonian Horse constellation, which has been faithfully preserved in Arabic stellar traditions. But quite why Pegasus is portrayed upside down on the Greek star-map and is further missing its hindquarters has proved impossible to explain.
Hercules too, has been inexplicably placed upside down on the celestial sphere, where he can be seen fighting the dragon (Draco), which guards the Golden Apples. His origins probably lie with the Babylonian constellation called the Standing Gods, which like the Sitting Gods mentioned earlier, was depicted as a man with a serpent for legs. In the earliest Greek traditions this constellation was simply known as the ‘Kneeler’ – which is, I believe, a misunderstanding of the names of the Sitting and Standing Gods.
There can be little doubt that Eridanus, the celestial river that flows from the region around Orion’s legs, derives its name from the Babylonian constellation known as the Star of Eridu. However, their respective constellation images are placed some distance apart on the celestial sphere, either side of Orion. In the section on the Star of Eridu, I suggest that Eridu was depicted as a enthroned goddess holding a vase overflowing with water, which represents the wellspring of the waters, and that Eridanus might be thought of as the extended outflow of the Babylonian figure.
Beyond the foregoing examples that bear an obvious, if corrupt, debt to Babylonian prototypes, a handful of remaining examples are much more uncertain:
It is po
ssible that Ara, the Fire Altar, which is found close to the Scorpio’s tail, is derived, not from a Babylonian constellation but, from the lore of a star at the Scorpion’s Breast. This star, our Antares, is known as Lisi in Babylonian tradition, and her name is significantly written with the sign for ‘fire brazier’.
The origins of Andromeda have exercised the imagination of every investigator of the constellations, both ancient and modern. Many modern commentators suggest she comes from the Near East but no substantial evidence has ever been cited to support such claims. The figure of Andromeda is often compared to the Babylonian constellation of Anunitum, ‘the goddess of heaven’, who represented the Northern Fish of Pisces.
There is some tantalising evidence in Arabic lore that the image of a mermaid was once located in this part of the skies. It could be a remnant of the Sumerian figure known as Kulianna (the Mermaid) who was counted as one of the Slain Heroes. I believe it is possible that this mermaid was split up into separate parts as it became assimilated into the Greek star-map – its human element being transformed into Andromeda, and its fish element becoming the northern fish of Pisces. The close link between the Andromeda and the fish is best expressed by the cord that binds Andromeda’s feet, which can now be understood as another version of the cord that binds together the Piscean fish.
From the perspective of myth and star-lore, the Greek hero Perseus has always been regarded as a purely native figure. However, in the section on the Old Man, I argue that the principal elements of his iconography effectively identify him with Enmešarra, an ancient Babylonian god associated with the dead and the underworld.
Finally, I believe that the figure the Greek Swan (Cygnus) may be a distant memory of the archaic Babylonian constellation called the Anzu-bird (see fig 7). The Swan’s outstretched wings and trailing feet are suspiciously similar to representations of the Anzu-bird, which would originally have been located in this region of the sky.
The potential identification between Cygnus and the Anzu-bird is of considerable interest as, along with the Bison-man seen earlier, the Anzu-bird’s celestial image was actually removed from the Babylonian heavens in the mid 3rd millennium BCE, long before any constellation lore was transmitted to Greece. Both the Bison-man and Anzu-bird are counted among the Slain Heroes, a group of early gods and mythical monsters that were slain by Ninurta. In the section on the Slain Heroes, I suggest that several of the Heroes represented archaic Mesopotamian constellations, and that their deaths at the hands of Ninurta symbolised the removal of their constellation images from the celestial sphere.
Among the other Slain Heroes we find Kulianna (the Mermaid), who may be related to Andromeda and the Northern Fish of Pisces; the Magilum Boat that some commentators suggest maybe related to the Argo; and the Seven-headed serpent that may be a prototype for the Hydra. Additionally I would also suggest that the Greek figure of Cetus, the Sea-Monster, could be another ancient Mesopotamian constellation figure. This intriguing subject demands further study. 3
NOTES
1 I have published a set of short essays on the Zodiac figures of Babylonia on the Skyscript website. Please refer to these documents for information on the nature and history of these pivotal constellation figures.
2 The most up-to-date survey on the origins of the Greek star-map is to be found in two articles by John H. Rogers – The Origins of the Ancient Constellations: 1. The Mesopotamian Traditions; and 2. The Mediterranean Traditions published in the Journal of the British Astronomy Association 1998.
3 I hope to explore this subject in a future book on the reconstruction of the Babylonian Star-Map.
Queen of the Night
The Role of the Stars in the Creation of the Child
In Queen of the Night, author Gavin White develops a radial new theory of how the prehistoric peoples of the Near East conceived of the heavens that circled above them. Drawing on ancient art and design, the author elucidates the symbolism of the principal constellations of the zodiac, and furthermore explores the nature of the planets that weave their way around the skies. In doing so, he uncovers the basis of a perennial philosophy that lies at the very heart of ancient astrology, mythology and early religion.
Author: Gavin White Pages: 216
244 black & white drawings
Publisher: Solaria Publications Publication date: 11 June 2014
10 digit ISBN: 0955903731 13 digit ISBN: 978-0-9559037-3-1
Dimensions: 190mm x 246mm x 10mm
Wholesale: Available in the UK from Bertrams and Gardners at wholesale discount (55%)
Available in the USA from Ingram and Baker & Taylor at wholesale discount (55%) on a returnable basis
RRP: $24.00, £16.00, €18.00
The Queen of Heaven
A New Interpretation of the Goddess in Ancient Near Eastern Art
Author: Gavin White
Pages: 190
179 black & white drawings
Publisher: Solaria Publications
Publication date: 27th October 2013
10 digit ISBN: 0955903718
13 digit ISBN: 978-0-9559037-1-7
Dimensions: 190mm x 246mm x 10mm
RRP: $22.00, £15.00, €17.00
‘The Queen of Heaven’ is a step-by-step guide to symbolism of the so-called ‘fertility religions’ of the antique worlds. Behind the charming imagery of cattle and calves, flying birds, flowers and stars, there is a profound philosophy of human nature and its intimate relationship to the goddess and the wider cosmos.
Thousands of years before the invention of writing, the artists of the Near East – the potters, painters, and seal-cutters – invented a complex system of visual signs and symbols. The system they created was the foundation of the traditional visual arts for millennia hence. However, in time, the keys to that system were eventually lost – if they could be recovered, they would revolutionise our understanding of prehistory.
With over 150 line drawings, ‘the Queen of Heaven’, finally cracks the code of this symbol system. It is the indispensable guide to the nature and meaning of many of the major symbols found in ancient art and myth.
CONTENTS
PART ONE: The Child, Metaphors of the Child, Animal Metaphors, the Seed of Mankind, the Symbol System
PART TWO: the Goddess of Life, the Winged Goddess, the Storm Goddess, the Celestial Goddess, the Fertile Skies, the Waters of the Sun, the Flower of Heaven
PART THREE: the Battle of the Gods, the Sun and the Child, Death enters the World
Preview passages are now available on Amazon. Reader reviews are online at Amazon and Goodreads.
ILLUSTRATION REFERENCES BSL-2. A few sources are still missing.
All illustrations are redrawn by the author. The picture sources are as follows:
1a. Syrian Seal from the Louvre collection AO7296
9a. Black & Green 1992, fig 7.
40a. Detail from Rogers 1998b, page 83.
96a. Collon 1987, fig 796.
165a. See fig 81 above.
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GSL = The Great Star List as found in Koch-Westenholz 1995, pages 187-205.
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NOTES TO BSL-2
Paragraphs (§) are numbered from the start of each gazette section and where the text continues they are numbered from the top of the page. The boxed sections are referred to as ‘Name-boxes’ and are not included in the paragraph count.
INTRODUCTION
THE BABYLONIAN COSMOS
A BRIEF GUIDE TO THE STAR-MAP
ABUNDANCE
ANUNITUM
ANZU-BIRD
ARROW
BISON-MAN
BOW
BRIDLE
BRISTLE
BULL OF HEAVEN
BULL’S JAW
CARGO-BOAT
CATTLE-PEN
CHARIOT
CIRCLE
CRAB
CREATURES OF TIAMAT
CROOK
CROWN OF ANU
DEAD MAN
DESTROYER
DIGNITY
EAGLE
ELAMATUM
ERIDU
EWE
EXALTED LION
FIELD
FIRE STAR
FISH
FOX
FROND OF ERUA
FURROW
GOATFISH
GREAT ONE
GREAT TWINS
HARNESS
HARROW
HIRED MAN
HITCHED YOKE
HORSE
INHERITOR OF THE EXALTED TEMPLE
KIDNEY
KING STAR
LION
LITTLE TWINS
LULAL & LATARAK
MAD DOG
NINMAH
NUMUŠDA
NUSKU
OLD MAN
PABILSAG
PANTHER
PLOUGH
RAINBOW
RAVEN
RIVERS OF HEAVEN
ROOSTER
ROPES OF HEAVEN
SACRED MOUND AND HOLY MOUNTAIN
SCALES
SCORPION
SCORPION’S BREAST
SCORPION’S CLAWS
SCORPION’S STING
SERPENT
SHE-GOAT
SITTING DOG
SITTING GODS
SLAIN HEROES
SLAYERS OF HEAVEN & EARTH
STAG
STANDING GODS
STAR CLUSTER
STELLAR PATHS OF ENLIL, ANU & EA
ŠULLAT & HANIŠ
ŠUPA
SWALLOW
SWINE
TAILS
TRUE SHEPHERD OF ANU
WAGON
WAGON OF HEAVEN
WIDOW’S OVEN
WILD BOAR
WOLF
WORM
YOKE
ZABABA
APPENDIX 1
APPENDIX 2
APPENDIX 3
APPENDIX 4
APPENDIX 5
APPENDIX 6
APPENDIX 7
APPENDIX 8
APPENDIX 9
APPENDIX 10
APPENDIX 12
APPENDIX 13 – Page 303. General note: I intend to expand and reorganise this section in a future edition.
APPENDIX 14
APPENDIX 16 – Page 308
Mul-Apin is a composite text that can be thought of as a general compendium dealing with many diverse aspects of celestial divination.The first sections of tablet 1 list all the mainstream Babylonian constellations along with the deities associated with them. Various other sections give the rising dates for the stars and provide further useful information that helps to locate the constellations in relation to each other and as such it is the single most important resource for reconstructing the overall plan of the Babylonian starmap.
Even though the earliest copy so far discovered was only written shortly after 700 BCE, the text was probably composed sometime between 1200 and 1000 BCE.
The following lists are derived from ‘Mul.Apin, An Astronomical Compendium in Cuneiform’ by Hermann Hunger and David Pingree, 1989. The locations of the Babylonian stars in terms of the Greek stars are my own attributions.
Mul-Apin divides the stars into northern, equatorial and southern paths:
33 Northern stars on the path of Enlil
The Plough, Enlil, the lead star of the stars of Enlil (Most of Draco)
The Wolf at the seed funnel of the Plough (Head & middle of Draco)
The Old Man, Enmesharra (Perseus)
The Crook, the Crouching god (Auriga)
The Great Twins, Lugalirra and Meslamtaea (Gemini)
The Little Twins, Alammush and Ninezengud (Canis Minor)
The Crab, the seat of Anu (Cancer)
The Lion, Latarak (Leo)
The stars that stands in the breast of the Lion, the King Star (The star Regulus in Leo)
The dusky stars that stand in the tail of the Lion, the Frond of Erua, Zarpanitu (Coma Berenices & the western part of Virgo)
Shupa, Enlil, who decrees the fate of the land (Bootes)
The star before him, the Star of Abundance, the messenger of Ninlil (A star in the western part part of Bootes)
The star behind him, the Star of Dignity, the messenger of Tishpak (A star in the eastern part of Bootes)
The Wagon, Ninlil (The 7 principal stars of Ursa Major)
The star at the shaft of the Wagon, the Fox, Erra, the strong one among the gods (The star Zeta in Ursa Major)
The star at the front of the Wagon, the Ewe, Aya (Probably the star Epsilon in Ursa Major)
The Hitched Yoke, Anu, the great one of the heavens (the star Eta in Ursa Major)
The Wagon of Heaven, Damkianna (Ursa Minor)
The star on its rope, the Heir of the Sublime Temple, the first ranking son of Anu (The star Polaris in Ursa Minor)
The Standing Gods of the E-kur, the Sitting Gods of the E-kur (The western part of Ophiuchus; Corona Borealis)
The She-Goat, Gula (Lyra)
The star before the She-Goat, the Sitting Dog (Most of Hercules)
The bright star of the She-Goat, Lamma, the messenger of Baba (The star Vega in Lyra)
Two stars behind her, Ninsar and Erragal (The stars Beta & Gamma in Lyra)
The Panther, Nergal (Most of Cygnus & probably part of Cepheus)
The star to his right, the Swine, Damu (Probably Delphinus)
The star to his left, the Horse (front legs of Pegasus & Lacerta)
The star behind him, the Stag, messenger of the Star Cluster (Cassiopeia & part of Andromeda)
The dusky stars at the breast of the Stag, Harriru, god of the Rainbow (The spiral galaxy M31 in Andromeda)
The bright red star at the kidney of the Stag, the Destroyer (The star Gamma in Cassiopeia)
23 Equatorial stars on the Path of Anu
The Field, the seat of Ea, which leads the stars of Anu (The 4 stars of the Square of Pegasus)
The star at the Field, the Swallow (The head & neck of Pegasus, & the western fish of Pisces)
The star behind the Field, Anunitum (The northern fish of Pisces)
The star behind it, the Hired Man, Dumuzi (Aries)
The Star Cluster, the Seven Gods, the great gods (The Pleiades)
The Bull of Heaven, the Bull’s Jaw, the Crown of Anu (Taurus, or at least its head)
The True Shepherd of Anu, Papsukal, the messenger of Anu and Ishtar (Orion)
The Twins who are opposite the True Shepherd of Anu, Lulal and Latarak (Cetus & part of Eridanus)
The star behind him, the Rooster (Lepus)
The Arrow, the arrow of the great god Ninurta (The star Sirius & probably other stars in Canis Major)
The Bow, the Elamite Ishtar, the daughter of Anu (Puppis)
The Serpent, Ningishzida, lord of the Underworld (Hydra)
The Raven, the star of Adad (Corvus)
The Furrow, Shala with her ear of barley (The eastern part of Virgo)
The Scales, the Horn of the Scorpion (Libra)
Zababa (The eastern part of Ophiuchus), the Eagle (Aquila) and the Dead Man (Sagitta)
15 Southern stars on the Path of Ea
The Fish, Ea, the lead star of the stars of Ea (Pisces Austrinus)
The Great One, Ea (Aquarius). The Star of Eridu, Ea (Vela)
The star to his right, Ninmah (Vela)
The Wild Boar, Ningirsu (Most of Centaurus)
The star to its side, the Harrow, the weapon of Mar-biti, within which one sees the Abyss (The western part of Centaurus)
The two stars that are behind him, Shullat and Hanish, Shamas and Adad (Two stars in Centaurus)
The star behind them, rises like Ea and sets like Ea, Numushda, Adad (Unknown, possibly part of the Milky Way)
The star to the left of the Scorpion, the Mad Dog, Kusu (Lupus)
The Scorpion, Ishhara, the governess of the lands (Scorpio)
The Breast of the Scorpion, Lisi and Nabu (The star Antares in Scorpio)
The two stars on the Stinger of the Scorpion, Sharur and Shargaz (The stars Lambda and Nu in Scorpio)
The star behind them, Pabilsag (Sagittarius)
The Cargo-Boat (Corona Australis)and the Goatfish (Capricorn)
PUBLISHER’S UPDATE: ‘Babylonian Star-Lore’ is to be updated and republished with full text and illustration references by late 2014
___________________________________________________________
BABYLONIAN STAR-LORE
An Illustrated Guide to the Stars & Constellations
of Ancient Babylonia
by Gavin White
Today our most obvious link to the ancient cultures of Babylonia is through the twelve constellations that make up the zodiac. The zodiac is, however, but a part of a much larger system of star-lore that could reveal so much about ancient man and his beliefs. Knowledge of this lore could provide many profound insights into how early civilizations viewed the gods, the nature of the universe and the destiny of mankind.
This book is the first of its kind, specifically written for the layman, to explore the constellations and star-lore of ancient Babylonia. It presents the idea that the constellation figures as a whole amount to a pictorial calendar that integrates various seasonal festivals – concerned with the mythic life-cycle of the sun, the farming and herding year, the institution of kingship and various rites directed towards the dead – into an elegant system that ultimately represents an archaic image of time itself.
The Introductory section describes the structure of the archaic cosmos, and then goes on to give an overview of the whole star-map.
The main body of the book is comprised of an A-Z gazette, which explores the names, appearances ans associated lore of each star and constellation in greater detail.
A set of appendices furnishes additional background information on the reconstruction of the Babylonian star-map, the history of star-lore in Mesopotamia, the calendar, the cuneiform writing system and the use of the stars in divination texts.
Beyond the familiar figures of the zodiac, the Babylonian constellations have laid in almost total obscurity for the last two thousand years. Here for the very first time the complete star-map is reconstructed and many of its secrets revealed, so that now the whole system of celestial symbolism can be restored to something approaching its former glory.
Pages: 324
Illustrations: 169 black & white drawings
10-digit ISNB: 09559037-0-X 13-digit ISNB: 978-0-9559037-0-0
Recommended Retail Price: $29.95 £16.95 Euro:18.95
Generally available from Amazon at a good discount:
The following notes describe the essential meanings of the 50 or so mainstream constellations found in the Babylonian tradition. For more information on these and other less well-known stars and constellations the reader is referred to ‘Babylonian Star-lore, An Illustrated Guide to the Star-lore and Constellations of Ancient Babylonia’ by Gavin White.
Anunitum (Northern fish of Pisces) Anunitum was the patron goddess of the city of Akkad. She was closely affiliated to Inanna-Ishtar, who as the ‘Syrian Goddess’ was envisioned holding her sacred fish and dove. As a seasonal symbol the fish of Anunitum represents the spring floods when river carp swim upstream in swollen rivers to their spawning grounds. As a mythic symbol the fish guides the sun on its ascending path from the darkness of winter towards the spring.
Arrow (Sirius & probably other adjacent stars in Canis Major) Although closely associated with the constellation of the Bow, the Arrow is always treated separately in Babylonian tradition. The annual rising of the Arrow marked the summer solstice when the sun was at its maximum height above the horizon. The Arrow was probably chosen for this role as it is the man-made object that can reach highest into the heavens. Similarly, the bird on a high perch, which is often seen besides the Arrow in ancient artwork, can also be thought of as representing the sun at its highest station.
Bow (Puppis – the poop deck of the Argo) The Bow depicts Inanna-Ishtar in her aspect of war goddess and granter of victory. Her star rises in high summer, when campaigns started in the spring come to their natural fruition. Mythical texts often describe the goddess in gory detail in the midst of battle.
Bull of Heaven (Taurus) The Bull of Heaven symbolizes the fecund powers of the spring-time skies – rain and sunshine – which bring life and growth to the earth. The Bull also represents the Golden Calf of biblical fame, which symbolizes the new-born sun emerging from the cosmic waters of creation just as the new-born calf emerges from the waters of the womb.
Cargo-Boat (Pisces Australis) The mythic function of the Cargo-Boat is probably to transport the souls of new-born children from the ancestral realms towards the realms of living. The ‘Cargo’ refers to various objects carried in the boat that symbolize the sex of the child – boys are represented by throwing sticks and axes, girls by spindles, hair-clasps and needles.
Crab (Cancer) The Crab symbolizes the summer-time drought. Like the adjacent Serpent it was thought to withhold the waters of heaven thus preventing any rain from falling during the hot summer months.
Crook (Auriga) The Crook depicts a shepherd tending a goat-kid. It naturally symbolizes the spring-time when the majority of calves, lambs and kids are born in the cattle-folds. The shepherd also symbolizes the king, who figuratively guides his people on the paths of safety and security. The Crook therefore appropriately rises in the first month of the year when the king was enthroned and empowered to rule for another year.
Eagle & Dead Man (Aquila & Sagitta) The Dead Man, carried by the Eagle, represents the souls of the dead traveling into the afterlife. Ir rises just before the winter solstice which is the time when the earth-bound dead were thought to journey to the realm of the ancestors.
Eridu (Vela – the sails of Argo) The Star of Eridu rises in the autumn months when the summer-time drought is broken by the arrival of the rainy season. Her overflowing vases, a common symbol of fertility in artwork, represents the returning rains and the rising water levels in the rivers and canals.
Field (The Square of Pegasus) The Field represents a barley field divided by a series of irrigation ditches. The constellation rises as the barley is regularly irrigated and starts to ripen. In astrology its omens naturally foretell the nature of the coming harvest.
Fish (Pisces Austrinus) Like Anunitum, the Fish symbolizes the season of flooding, which commences in the early spring. Like other creatures of the Abyss, fish were thought to be symbols of wisdom and were accordingly held sacred to Enki, the god of creative intelligence, incantations and magic.
Frond (Coma Berenices & western part of Virgo) The Frond is represented in the heavens by the figure of the goddess Erua holding her sacred branch of the Date-palm. Her constellation rises in the autumn months as the dates are ripening on the fronds.
Furrow (Eastern half of Virgo) The Furrow is obviously the origin of our modern Virgo with her familiar ear of barley. The constellation rises in the autumn when the fields have been prepared and are ready to be sown with the coming season’s barley seed.
Goatfish (Capricorn) The Goatfish rises after the winter solstice, when it announces the welcome return of the sun. I believe that the Goatfish is one of the relatively new constellation figures and can be best understood in terms of two older constellations – the Stag which announces the returning sun, and the Fish which guides the sun through the darkness of winter.
Great One (Aquarius) The Great One with his overflowing vases symbolizes the rains of heaven and the swollen rivers that characterize late winter and early spring. In the context of the star-map he can also be regarded as the ‘Irrigator’ who waters the barley fields that are represented on the star-map by the adjacent constellation known as the Field.
Great Twins (Gemini) The Great Twins are closely related to Nergal, the king of the dead in Mesopotamia tradition. The Twins stand guard, weapons at the ready, at the entrance to the underworld – their divine role being to prevent the living from descending to the realm of the dead, and perhaps more importantly to prevent the dead from rising up to overwhelm the realm of the living.
Harrow(Vela – the sails of the Argo) The Harrow is another seasonal star closely associated with the Furrow. Harrows were used to break down the large clods of earth produced by ploughing; they are used in the early autumn just before the fields are seeded.
Hired Man (Aries) The Hired Man is the Babylonian name for the familiar ram of Aries. The name is really a literate pun, which overtly refers to the hired labour employed in the spring to bring in the barley harvest, but with a little literary license the name can also be understood as something like ‘the sheep of atonement’. It rightly symbolizes the spring-time when the harvest is brought in and the lambs are born in the cattle-folds.
Horse (Front legs of Pegasus & Lacerta) In many ancient cultures the horse is allocated the divine duty of pulling the chariot of the sun. There seem to be two principle reasons underpinning this solar association – one is his great speed, and the other is that his flowing mane was thought to be a fitting symbol of the rays of light emanating from the sun.
Lion (Leo) The Lion has two main strands of symbolism. Firstly as a seasonal star it represents the ferocious heat of summer – its radiant mane stands for the overbearing radiance of the summer sun. Secondly, as the sacred beast of the war goddess Inanna-Ishtar, the Lion represents victory and war. The bright star at its breast (our Regulus) is known as the King Star – here representing the favourite of the goddess to whom she grants victory.
Little Twins (Canis Minor) The Little Twins no doubt share the same symbolism as their larger counterparts – the Great Twins. In astrology both sets of Twins are were thought to predict war and the outbreak of hostilities.
Lulal & Latarak (Cetus & part of Eridanus) The Lion-headed figures known as Lulal and Latarak are probably best regarded as protective deities who have been set at the juncture of the old and new years. Their divine role would therefore be to banish the influences of the past year and to purify the coming calendrical cycle.
Mad Dog (Lupus) The Mad Dog is probably a relic of an ancient star configuration which included the now derelict Bison-man. Together they constituted a version of the ‘Lion-bull’ conflict, which is widely thought to symbolise the seasonal conflict between summer and autumn. Here the bull, who represents the autumn rains slays the lion of summer.
Ninmah (Vela – the sails of Argo) The mother goddess is represented among the stars by Ninmah – the ‘Exalted Lady’. Her star rises in late summer just after the great ancestral festival celebrated in month 5. Just as the winter stars depict the souls of the dead traveling to the underworld, here in late summer new souls destined for birth journey from the ancestral worlds towards the realm of men.
Old Man (Perseus) The Old Man rises in the final month of the year and is appropriately associated with Enmesharra – an ancestral god who resides in the underworld in the form of a ghost.
Pabilsag (Sagittarius) Pabilsag is the direct forerunner to the centaur-archer that we know today as Sagittarius. His name can be translated as the ‘Chief Ancestor’ or ‘Forefather’, and he can be best compared to the Wild Hunter of western folklore who guides the souls of the dead to the afterlife over the course of the winter months.
Panther (Cygnus & part of Cepheus) Like Pabilsag, the Eagle and Dead Man, which all rise at the time of the winter solstice, the Panther is closely associated with the realm of the dead and the afterlife. It is the sacred beast of Nergal, the Babylonian lord of the dead, and it has probably been set among the winter-time stars to guard the entrance to the underworld. A memory of the Panther may well live on in the guise of Cerberus, the three-headed hound that guarded the entrance to the Greek underworld.
Plough (Most of Draco) For the 8 months of the year that the seed-plough was not in use it was suspended from a peg and hung from the rafters of a barn. This farming tradition seems to inform the location and symbolism of the Plough-constellation. The celestial Plough is located in the circumpolar regions – ie the ‘heights of heaven’ that correspond to the barn’s rafters. Like its terrestrial counterpart the celestial Plough is also suspended from a peg, which here represents the pole of the ecliptic – the eternal centre point of the heavens.
Rainbow (M31 Galaxy in Andromeda) The Rainbow is considered a sign of good fortune bringing rain and abundance to the land. It rises in early spring when the rains water the ripening crops.
Raven (Corvus) The Raven is sacred to Adad, the god of rain and storm. Appropriately enough the Raven rises as the summer dry season comes to an end and the storm clouds of autumn start to gather.
Rooster (Lepus) The Rooster is the animal symbol belonging to the herald of the godswho appears in his human form in the adjacent figure known as the True Shepherd of Anu. The Rooster was probably assigned the role of herald to the gods as it announced the coming of dawn each day.
Scales (Libra) The Scales are held sacred to the god Shamash, who was not only the sun god of ancient Mesopotamia but was also the god of truth and justice. His scales symbolised the principle of justice as in the judge ‘weighing up’ the evidence before issuing a commensurate verdict and a fair sentence. The sun god’s all-seeing eye made him the infalliable witness to all deeds and as such men called upon him as the upholder of righteousness and petitioned him to rectify the inequities they suffered.
Scorpion (Scorpio) In astrology the Scorpion’s armoured body segments and its array of weaponry predisposed it to become a creature symbolizing war and the martial prowess of the king. However a different meaning is attached to it in mythic texts such as the Gilgamesh Epic where Scorpion-men and women guard the sacred mountain through which the hero has traverse on his quest for immortality. The Scorpion-people are said to guard the sun at his rising and setting and because Gilgamesh is a favourite of the sun god they allow him to travel the subterranean path that the sun travels every night under the mountain.
Serpent (Hydra) In many cultures the world over the snake is regarded as one of the primary symbols of death and the underworld. In Babylonian lore, the constellation of the Serpent is held sacred to the god Ningishzida, who is a major god of the underworld. He is generally portrayed with a pair of horned serpents arising from his shoulders. In astrology the Serpent is thought to bring plague and pestilence to the land.
She-Goat (Lyra) In astrology the omens of the She-Goat foretell the fate of cattle. However for unknown reasons the constellation is not represented by a goat but by the figure of an enthroned goddess known as Gula. She is the patron of healing and medicine and as a benevolent goddess she naturally has the power to restore the health and life of men. But she also has a darker side as she also has the power to inflict disease and death to man and beast alike.
Sitting Dog (Most of Hercules) The Sitting Dog is the sacred animal of Gula (the regent of the She-Goat). It reflects the darker side of the goddess as it is widely considered to be a harbinger of death and disease. The underlying meaning of the dog is revealed in many cultures where it is simply known as the ‘eater of corpses’ – a rather grisly symbol of all-devouring death. For this reason the dog or wolf is often stationed at the entrance to the underworld in world mythology.
Sitting Gods (Most of Ophiuchus) The serpent-bodied men known as the Sitting and Standing Gods represent the ancestors of Enlil, the ultimate leader of the whole Babylonian pantheon. They dwell in the Sacred Mound, which is at once a burial mound and an image of the primeval earth. As such the serpent-bodied gods represent the dual powers of the earth as an abode of the dead and as the source of all earthly fertility.
Stag (Cassiopeia & part of Andromeda) In world mythology the stag is frequently associated with the sun and the rekindling of fire – sometimes it is even portrayed pulling the chariot of the sun instead of the more familiar horse. The constellation of the Stag rises just after mid-winter and is no doubt stationed in this region of the heavens to symbolize the rebirth of the sun after its winter-time death.
Standing Gods (Corona Borealis) See the section on the Sitting Gods above.
Star Cluster (Pleiades) The 7 principle stars of the Star Cluster represent seven war-mongering demons found in the entourage of Erra – the ferocious and unpredictable god of war, wild-fire and plague. They are typically portrayed carrying bows, axes and daggers, and in astrology their presence portends the death and destruction brought by war.
Shupa (Bootes) Shupa probably represents the high god Enlil, who is considered to be the leader of the Babylonian pantheon. As a mark of his exalted status he holds the symbol known as the ‘rod and ring’. He is closely associated with the ‘Ropes of Heaven’, which figuratively bind together the various levels of the cosmos and regulate the temporal movement of the heavens.
Swallow (Head & neck of Pegasus plus the western fish of Pisces) The Swallow or ‘Exalted bird’ may be identified with the dove that appears in Greek myths surrounding the Syrian goddess. Her characteristic myth recounts how a dove brooded an enormous egg that two fish found floating in the Euphrates, and that the Syrian goddess herself was born from this egg.
Swine (Probably Delphinus) The Swine is sacred to Damu, ‘the Child’. His cult is closely related to tat of Dumuzi who died every summer and was subsequently reborn every winter. Myths relate how Damu escaped from the underworld via a river and it is thus appropriate that his sacred constellation should rise just after mid-winter.
True Shepherd of Anu (Orion) The True Shepherd represents the herald of the gods, variously called Papshukkal or Ninshubur. Small statues of him were sometimes deposited in a brick box beneath the main cult statue in a temple as if to relay messages between the gods and mankind.
Wagon (The 7 principal stars of Ursa Major) In astrology the Wagon is said to portend eclipses, which are thought to cause the violent death of the king. Various other references in Babylonian literature effectively identify the Wagon as a funeral bier carrying the corpse to the burial ground. Such a meaning has evidently been transmitted to Arabian star-lore where these same stars are envisioned as a group of mourners pulling a funeral bier.
Wagon of Heaven (Ursa Minor) See the description of the Wagon above.
Wild Boar (Most of Centaurus) The Wild Boar is sacred to Ningirsu, a local form of Ninurta, who is a god closely associated with farming. Indeed the boar’s habit of churning up the earth as it forages for food may ultimately be the historical inspiration for the invention of the plough, which allowed early societies to adopt a sedentary lifestyle.
Wolf (Head & middle of Draco) The Wolf gnaws at the harness-work that suspends the Plough to the centre of heaven. When it finally tears the rope asunder, the different levels of the cosmos that the rope unites will collapse bringing about the end of a world-era.
Zababa (Eastern part of Ophiuchus) Zababa was a little known war god sometimes called the ‘king of battles’. He was associated with the city of Kish in northern Babylonia, which produced four dynsties of overlords in the ages immediately after the Great Flood.