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Saturday, October 26, 2024

Ptolemy

From Wikipedia, the free encyclopedia

Κλαύδιος Πτολεμαῖος
Portrait of Ptolemy by Justus van Gent and Pedro Berruguete (1476)
Bornc. AD 100
Unknown
Diedc. 170 (aged 69–70)
Alexandria, Egypt, Roman Empire
Citizenshippossibly Roman; ethnicity:Greco-Egyptian or Hellenized Egyptian
Known forPtolemaic universe
Ptolemy's world map
Ptolemy's intense diatonic scale
Ptolemy's table of chords
Ptolemy's inequality
Ptolemy's theorem
Equant
Evection
Quadrant
Scientific career
FieldsAstronomy, Geography, Astrology, Optics

Claudius Ptolemy (/ˈtɒləmi/; Greek: Πτολεμαῖος, Ptolemaios; Latin: Claudius Ptolemaeus; c. 100 – c. 170 AD) was an Alexandrian mathematician, astronomer, astrologer, geographer, and music theorist who wrote about a dozen scientific treatises, three of which were important to later Byzantine, Islamic, and Western European science. The first was his astronomical treatise now known as the Almagest, originally entitled Mathematical Treatise (Greek: Μαθηματικὴ Σύνταξις, Mathēmatikḗ Syntaxis). The second is the Geography, which is a thorough discussion on maps and the geographic knowledge of the Greco-Roman world. The third is the astrological treatise in which he attempted to adapt horoscopic astrology to the Aristotelian natural philosophy of his day. This is sometimes known as the Apotelesmatika (Greek: Αποτελεσματικά, lit.'On the Effects') but more commonly known as the Tetrábiblos, from the Koine Greek meaning "Four Books", or by its Latin equivalent Quadripartite.

The Catholic Church promoted his work, which included the only mathematically sound geocentric model of the Solar System, and unlike most Greek mathematicians, Ptolemy's writings (foremost the Almagest) never ceased to be copied or commented upon, both in late antiquity and in the Middle Ages. However, it is likely that only a few truly mastered the mathematics necessary to understand his works, as evidenced particularly by the many abridged and watered-down introductions to Ptolemy's astronomy that were popular among the Arabs and Byzantines. His work on epicycles has come to symbolize a very complex theoretical model built in order to explain a false assumption.

Biography

Ptolemy's date of birth and birthplace are both unknown. The 14th-century astronomer Theodore Meliteniotes wrote that Ptolemy's birthplace was Ptolemais Hermiou, a Greek city in the Thebaid region of Egypt (now El Mansha, Sohag Governorate). This attestation is quite late, however, and there is no evidence to support it.

It is known that Ptolemy lived in or around the city of Alexandria, in the Roman province of Egypt under Roman rule. He had a Latin name, Claudius, which is generally taken to imply he was a Roman citizen. He was familiar with Greek philosophers and used Babylonian observations and Babylonian lunar theory. In half of his extant works, Ptolemy addresses a certain Syrus, a figure of whom almost nothing is known but who likely shared some of Ptolemy's astronomical interests.

Ptolemy died in Alexandria c. 168.

Naming and nationality

Engraving of a crowned Ptolemy being guided by Urania, by Gregor Reisch (1508), from Margarita Philosophica showing an early conflation of the mathematician with the royal house of Ptolemaic Egypt, with the same last name.

Ptolemy's Greek name, Ptolemaeus (Πτολεμαῖος, Ptolemaîos), is an ancient Greek personal name. It occurs once in Greek mythology and is of Homeric form. It was common among the Macedonian upper class at the time of Alexander the Great and there were several of this name among Alexander's army, one of whom made himself pharaoh in 323 BC: Ptolemy I Soter, the first pharaoh of the Ptolemaic Kingdom. Almost all subsequent pharaohs of Egypt, with a few exceptions, were named Ptolemy until Egypt became a Roman province in 30 BC, ending the Macedonian family's rule.

The name Claudius is a Roman name, belonging to the gens Claudia; the peculiar multipart form of the whole name Claudius Ptolemaeus is a Roman custom, characteristic of Roman citizens. This indicates that Ptolemy would have been a Roman citizen. Gerald Toomer, the translator of Ptolemy's Almagest into English, suggests that citizenship was probably granted to one of Ptolemy's ancestors by either the emperor Claudius or the emperor Nero.

The 9th century Persian astronomer Abu Ma'shar al-Balkhi mistakenly presents Ptolemy as a member of Ptolemaic Egypt's royal lineage, stating that the descendants of the Alexandrine general and Pharaoh Ptolemy I Soter were wise "and included Ptolemy the Wise, who composed the book of the Almagest". Abu Ma'shar recorded a belief that a different member of this royal line "composed the book on astrology and attributed it to Ptolemy". Historical confusion on this point can be inferred from Abu Ma'shar's subsequent remark: "It is sometimes said that the very learned man who wrote the book of astrology also wrote the book of the Almagest. The correct answer is not known." Not much positive evidence is known on the subject of Ptolemy's ancestry, apart from what can be drawn from the details of his name, although modern scholars have concluded that Abu Ma'shar's account is erroneous. It is no longer doubted that the astronomer who wrote the Almagest also wrote the Tetrabiblos as its astrological counterpart. In later Arabic sources, he was often known as "the Upper Egyptian", suggesting he may have had origins in southern Egypt. Arabic astronomers, geographers, and physicists referred to his name in Arabic as Baṭlumyus (Arabic: بَطْلُمْيوس).

Ptolemy wrote in Koine Greek, and can be shown to have used Babylonian astronomical data. He might have been a Roman citizen, but was ethnically either a Greek or at least a Hellenized Egyptian.

Astronomy

Astronomy was the subject to which Ptolemy devoted the most time and effort; about half of all the works that survived deal with astronomical matters, and even others such as the Geography and the Tetrabiblos have significant references to astronomy.

Mathēmatikē Syntaxis

Pages from the Almagest in Arabic translation showing astronomical tables.

Ptolemy's Mathēmatikē Syntaxis (Greek: Μαθηματικὴ Σύνταξις, lit.'Mathematical Systematic Treatise'), better known as the Almagest, is the only surviving comprehensive ancient treatise on astronomy. Although Babylonian astronomers had developed arithmetical techniques for calculating and predicting astronomical phenomena, these were not based on any underlying model of the heavens; early Greek astronomers, on the other hand, provided qualitative geometrical models to "save the appearances" of celestial phenomena without the ability to make any predictions.

The earliest person who attempted to merge these two approaches was Hipparchus, who produced geometric models that not only reflected the arrangement of the planets and stars but could be used to calculate celestial motions. Ptolemy, following Hipparchus, derived each of his geometrical models for the Sun, Moon, and the planets from selected astronomical observations done in the spanning of more than 800 years; however, many astronomers have for centuries suspected that some of his models' parameters were adopted independently of observations.

Ptolemy presented his astronomical models alongside convenient tables, which could be used to compute the future or past position of the planets. The Almagest also contains a star catalogue, which is a version of a catalogue created by Hipparchus. Its list of forty-eight constellations is ancestral to the modern system of constellations but, unlike the modern system, they did not cover the whole sky (only what could be seen with the naked eye in the northern hemisphere). For over a thousand years, the Almagest was the authoritative text on astronomy across Europe, the Middle East, and North Africa.

The Almagest was preserved, like many extant Greek scientific works, in Arabic manuscripts; the modern title is thought to be an Arabic corruption of the Greek name Hē Megistē Syntaxis (lit. "The greatest treatise"), as the work was presumably known in Late Antiquity. Because of its reputation, it was widely sought and translated twice into Latin in the 12th century, once in Sicily and again in Spain. Ptolemy's planetary models, like those of the majority of his predecessors, were geocentric and almost universally accepted until the reappearance of heliocentric models during the scientific revolution.

Modern reassessment

Under the scrutiny of modern scholarship, and the cross-checking of observations contained in the Almagest against figures produced through backwards extrapolation, various patterns of errors have emerged within the work. A prominent miscalculation is Ptolemy's use of measurements that he claimed were taken at noon, but which systematically produce readings now shown to be off by half an hour, as if the observations were taken at 12:30pm.

The overall quality of Ptolemy's observations has been challenged by several modern scientists, but prominently by Robert R. Newton in his 1977 book The Crime of Claudius Ptolemy, which asserted that Ptolemy fabricated many of his observations to fit his theories. Newton accused Ptolemy of systematically inventing data or doctoring the data of earlier astronomers, and labelled him "the most successful fraud in the history of science". One striking error noted by Newton was an autumn equinox said to have been observed by Ptolemy and "measured with the greatest care" at 2pm on 25 September 132, when the equinox should have been observed around 9:55am the day prior. In attempting to disprove Newton, Herbert Lewis also found himself agreeing that "Ptolemy was an outrageous fraud," and that "all those result capable of statistical analysis point beyond question towards fraud and against accidental error".

The charges laid by Newton and others have been the subject of wide discussions and received significant push back from other scholars against the findings. Owen Gingerich, while agreeing that the Almagest contains "some remarkably fishy numbers", including in the matter of the 30-hour displaced equinox, which he noted aligned perfectly with predictions made by Hipparchus 278 years earlier, rejected the qualification of fraud. Objections were also raised by Bernard Goldstein, who questioned Newton's findings and suggested that he had misunderstood the secondary literature, while noting that issues with the accuracy of Ptolemy's observations had long been known. Other authors have pointed out that instrument warping or atmospheric refraction may also explain some of Ptolemy's observations at a wrong time.

In 2022 the first Greek fragments of Hipparchus' lost star catalog were discovered in a palimpsest and they debunked accusations made by the French astronomer Delambre in the early 1800s which were repeated by R.R. Newton. Specifically, it proved Hipparchus was not the sole source of Ptolemy's catalog, as they both had claimed, and proved that Ptolemy did not simply copy Hipparchus' measurements and adjust them to account for precession of the equinoxes, as they had claimed. Scientists analyzing the charts concluded:

It also confirms that Ptolemy’s Star Catalogue was not based solely on data from Hipparchus’ Catalogue.

... These observations are consistent with the view that Ptolemy composed his star catalogue by combining various sources, including Hipparchus’ catalogue, his own observations and, possibly, those of other authors.

Handy Tables

The Handy Tables (Greek: Πρόχειροι κανόνες) are a set of astronomical tables, together with canons for their use. To facilitate astronomical calculations, Ptolemy tabulated all the data needed to compute the positions of the Sun, Moon and planets, the rising and setting of the stars, and eclipses of the Sun and Moon, making it a useful tool for astronomers and astrologers. The tables themselves are known through Theon of Alexandria's version. Although Ptolemy's Handy Tables do not survive as such in Arabic or in Latin, they represent the prototype of most Arabic and Latin astronomical tables or zījes.

Additionally, the introduction to the Handy Tables survived separately from the tables themselves (apparently part of a gathering of some of Ptolemy's shorter writings) under the title Arrangement and Calculation of the Handy Tables.

Planetary Hypotheses

A depiction of the non-Ptolemaic Universe with no epicycles, possibly from 500 years before Ptolemy, as described in the Planetary Hypotheses by Bartolomeu Velho (1568).

The Planetary Hypotheses (Greek: Ὑποθέσεις τῶν πλανωμένων, lit.'Hypotheses of the Planets') is a cosmological work, probably one of the last written by Ptolemy, in two books dealing with the structure of the universe and the laws that govern celestial motion. Ptolemy goes beyond the mathematical models of the Almagest to present a physical realization of the universe as a set of nested spheres, in which he used the epicycles of his planetary model to compute the dimensions of the universe. He estimated the Sun was at an average distance of 1210 Earth radii (now known to actually be ~23450 radii), while the radius of the sphere of the fixed stars was 20000 times the radius of the Earth.

The work is also notable for having descriptions on how to build instruments to depict the planets and their movements from a geocentric perspective, much like an orrery would have done for a heliocentric one, presumably for didactic purposes.

Other works

The Analemma is a short treatise where Ptolemy provides a method for specifying the location of the Sun in three pairs of locally oriented coordinate arcs as a function of the declination of the Sun, the terrestrial latitude, and the hour. The key to the approach is to represent the solid configuration in a plane diagram that Ptolemy calls the analemma.

In another work, the Phaseis (Risings of the Fixed Stars), Ptolemy gave a parapegma, a star calendar or almanac, based on the appearances and disappearances of stars over the course of the solar year.

The Planisphaerium (Greek: Ἅπλωσις ἐπιφανείας σφαίρας, lit.'Flattening of the sphere') contains 16 propositions dealing with the projection of the celestial circles onto a plane. The text is lost in Greek (except for a fragment) and survives in Arabic and Latin only.

Ptolemy also erected an inscription in a temple at Canopus, around 146–147 AD, known as the Canobic Inscription. Although the inscription has not survived, someone in the sixth century transcribed it, and manuscript copies preserved it through the Middle Ages. It begins: "To the saviour god, Claudius Ptolemy (dedicates) the first principles and models of astronomy", following by a catalogue of numbers that define a system of celestial mechanics governing the motions of the Sun, Moon, planets, and stars.

In 2023, archaeologists were able to read a manuscript which gives instructions for the construction of an astronomical tool called a meteoroscope (μετεωροσκόπιον or μετεωροσκοπεῖον). The text, which comes from an eighth-century manuscript which also contains Ptolemy's Analemma, was identified on the basis of both its content and linguistic analysis as being by Ptolemy.

Cartography

A printed map from the 15th century depicting Ptolemy's description of the Ecumene by Johannes Schnitzer (1482).

Ptolemy's second most well-known work is his Geographike Hyphegesis (Greek: Γεωγραφικὴ Ὑφήγησις; lit.'Guide to Drawing the Earth'), known as the Geography, a handbook on how to draw maps using geographical coordinates for parts of the Roman world known at the time. He relied on previous work by an earlier geographer, Marinus of Tyre, as well as on gazetteers of the Roman and ancient Persian Empire. He also acknowledged ancient astronomer Hipparchus for having provided the elevation of the north celestial pole for a few cities. Although maps based on scientific principles had been made since the time of Eratosthenes (c. 276 – c. 195 BC), Ptolemy improved on map projections.

The first part of the Geography is a discussion of the data and of the methods he used. Ptolemy notes the supremacy of astronomical data over land measurements or travelers' reports, though he possessed these data for only a handful of places. Ptolemy's real innovation, however, occurs in the second part of the book, where he provides a catalogue of 8,000 localities he collected from Marinus and others, the biggest such database from antiquity. About 6300 of these places and geographic features have assigned coordinates so that they can be placed in a grid that spanned the globe. Latitude was measured from the equator, as it is today, but Ptolemy preferred to express it as climata, the length of the longest day rather than degrees of arc: The length of the midsummer day increases from 12h to 24h as one goes from the equator to the polar circle. One of the places Ptolemy noted specific coordinates for was the now-lost stone tower which marked the midpoint on the ancient Silk Road, and which scholars have been trying to locate ever since.

In the third part of the Geography, Ptolemy gives instructions on how to create maps both of the whole inhabited world (oikoumenē) and of the Roman provinces, including the necessary topographic lists, and captions for the maps. His oikoumenē spanned 180 degrees of longitude from the Blessed Islands in the Atlantic Ocean to the middle of China, and about 80 degrees of latitude from Shetland to anti-Meroe (east coast of Africa); Ptolemy was well aware that he knew about only a quarter of the globe, and an erroneous extension of China southward suggests his sources did not reach all the way to the Pacific Ocean.

It seems likely that the topographical tables in the second part of the work (Books 2–7) are cumulative texts, which were altered as new knowledge became available in the centuries after Ptolemy. This means that information contained in different parts of the Geography is likely to be of different dates, in addition to containing many scribal errors. However, although the regional and world maps in surviving manuscripts date from c. 1300 AD (after the text was rediscovered by Maximus Planudes), there are some scholars who think that such maps go back to Ptolemy himself.

Astrology

A copy of the Quadripartitum (1622)

Ptolemy wrote an astrological treatise, in four parts, known by the Greek term Tetrabiblos (lit. "Four Books") or by its Latin equivalent Quadripartitum. Its original title is unknown, but may have been a term found in some Greek manuscripts, Apotelesmatiká (biblía), roughly meaning "(books) on the Effects" or "Outcomes", or "Prognostics". As a source of reference, the Tetrabiblos is said to have "enjoyed almost the authority of a Bible among the astrological writers of a thousand years or more". It was first translated from Arabic into Latin by Plato of Tivoli (Tiburtinus) in 1138, while he was in Spain.

Much of the content of the Tetrabiblos was collected from earlier sources; Ptolemy's achievement was to order his material in a systematic way, showing how the subject could, in his view, be rationalized. It is, indeed, presented as the second part of the study of astronomy of which the Almagest was the first, concerned with the influences of the celestial bodies in the sublunary sphere. Thus explanations of a sort are provided for the astrological effects of the planets, based upon their combined effects of heating, cooling, moistening, and drying. Ptolemy dismisses other astrological practices, such as considering the numerological significance of names, that he believed to be without sound basis, and leaves out popular topics, such as electional astrology (interpreting astrological charts to determine courses of action) and medical astrology, for similar reasons.

The great respect in which later astrologers held the Tetrabiblos derived from its nature as an exposition of theory, rather than as a manual.

A collection of one hundred aphorisms about astrology called the Centiloquium, ascribed to Ptolemy, was widely reproduced and commented on by Arabic, Latin, and Hebrew scholars, and often bound together in medieval manuscripts after the Tetrabiblos as a kind of summation. It is now believed to be a much later pseudepigraphical composition. The identity and date of the actual author of the work, referred to now as Pseudo-Ptolemy, remains the subject of conjecture.

Music

A diagram showing Pythagorean tuning.

Ptolemy wrote a work entitled Harmonikon (Greek: Ἁρμονικόν, known as the Harmonics, on music theory and the mathematics behind musical scales in three books.

Harmonics begins with a definition of harmonic theory, with a long exposition on the relationship between reason and sense perception in corroborating theoretical assumptions. After criticizing the approaches of his predecessors, Ptolemy argues for basing musical intervals on mathematical ratios (as opposed to the ideas advocated by followers of Aristoxenus), backed up by empirical observation (in contrast to the excessively theoretical approach of the Pythagoreans).

Ptolemy introduces the harmonic canon (Greek name) or monochord (Latin name), which is an experimental musical apparatus that he used to measure relative pitches, and used to describe to his readers how to demonstrate the relations discussed in the following chapters for themselves. After the early exposition on to build and use monochord to test proposed tuning systems, Ptolemy proceeds to discuss Pythagorean tuning (and how to demonstrate that their idealized musical scale fails in practice). The Pythagoreans believed that the mathematics of music should be based on only the one specific ratio of 3:2, the perfect fifth, and believed that tunings mathematically exact to their system would prove to be melodious, if only the extremely large numbers involved could be calculated (by hand). To the contrary, Ptolemy believed that musical scales and tunings should in general involve multiple different ratios arranged to fit together evenly into smaller tetrachords (combinations of four pitch ratios which together make a perfect fourth) and octaves. Ptolemy reviewed standard (and ancient, disused) musical tuning practice of his day, which he then compared to his own subdivisions of the tetrachord and the octave, which he derived experimentally using a monochord / harmonic canon. The volume ends with a more speculative exposition of the relationships between harmony, the soul (psyche), and the planets (harmony of the spheres).

Although Ptolemy's Harmonics never had the influence of his Almagest or Geography, it is nonetheless a well-structured treatise and contains more methodological reflections than any other of his writings. In particular, it is a nascent form of what in the following millennium developed into the scientific method, with specific descriptions of the experimental apparatus that he built and used to test musical conjectures, and the empirical musical relations he identified by testing pitches against each other: He was able to accurately measure relative pitches based on the ratios of vibrating lengths two separate sides of the same single string, hence which were assured to be under equal tension, eliminating one source of error. He analyzed the empirically determined ratios of "pleasant" pairs of pitches, and then synthesised all of them into a coherent mathematical description, which persists to the present as just intonation – the standard for comparison of consonance in the many other, less-than exact but more facile compromise tuning systems.

During the Renaissance, Ptolemy's ideas inspired Kepler in his own musings on the harmony of the world (Harmonice Mundi, Appendix to Book V).

Optics

The Optica (Koine Greek: Ὀπτικά), known as the Optics, is a work that survives only in a somewhat poor Latin version, which, in turn, was translated from a lost Arabic version by Eugenius of Palermo (c. 1154). In it, Ptolemy writes about properties of sight (not light), including reflection, refraction, and colour. The work is a significant part of the early history of optics and influenced the more famous and superior 11th-century Book of Optics by Ibn al-Haytham. Ptolemy offered explanations for many phenomena concerning illumination and colour, size, shape, movement, and binocular vision. He also divided illusions into those caused by physical or optical factors and those caused by judgmental factors. He offered an obscure explanation of the Sun or Moon illusion (the enlarged apparent size on the horizon) based on the difficulty of looking upwards.

The work is divided into three major sections. The first section (Book II) deals with direct vision from first principles and ends with a discussion of binocular vision. The second section (Books III-IV) treats reflection in plane, convex, concave, and compound mirrors. The last section (Book V) deals with refraction and includes the earliest surviving table of refraction from air to water, for which the values (with the exception of the 60° angle of incidence) show signs of being obtained from an arithmetic progression. However, according to Mark Smith, Ptolemy's table was based in part on real experiments.

Ptolemy's theory of vision consisted of rays (or flux) coming from the eye forming a cone, the vertex being within the eye, and the base defining the visual field. The rays were sensitive, and conveyed information back to the observer's intellect about the distance and orientation of surfaces. Size and shape were determined by the visual angle subtended at the eye combined with perceived distance and orientation. This was one of the early statements of size-distance invariance as a cause of perceptual size and shape constancy, a view supported by the Stoics.

Philosophy

Although mainly known for his contributions to astronomy and other scientific subjects, Ptolemy also engaged in epistemological and psychological discussions across his corpus. He wrote a short essay entitled On the Criterion and Hegemonikon (Greek: Περὶ Κριτηρίου καὶ Ἡγεμονικοῡ), which may have been one of his earliest works. Ptolemy deals specifically with how humans obtain scientific knowledge (i.e., the "criterion" of truth), as well as with the nature and structure of the human psyche or soul, particularly its ruling faculty (i.e., the hegemonikon). Ptolemy argues that, to arrive at the truth, one should use both reason and sense perception in ways that complement each other. On the Criterion is also noteworthy for being the only one of Ptolemy's works that is devoid of mathematics.

Elsewhere, Ptolemy affirms the supremacy of mathematical knowledge over other forms of knowledge. Like Aristotle before him, Ptolemy classifies mathematics as a type of theoretical philosophy; however, Ptolemy believes mathematics to be superior to theology or metaphysics because the latter are conjectural while only the former can secure certain knowledge. This view is contrary to the Platonic and Aristotelian traditions, where theology or metaphysics occupied the highest honour. Despite being a minority position among ancient philosophers, Ptolemy's views were shared by other mathematicians such as Hero of Alexandria.

Named after Ptolemy

There are several characters and items named after Ptolemy, including:

Friday, October 25, 2024

Aeon (Gnosticism)

From Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Aeon_(Gnosticism)

In many Gnostic systems, various emanations of God are known by such names as One, Monad, Aion teleos (αἰών τέλεος "The Broadest Aeon"), Bythos (βυθός, "depth" or "profundity"), Arkhe (ἀρχή, "the beginning"), Proarkhe (προαρχή, "before the beginning") and as Aeons (which are also often named and may be paired or grouped). In different systems these emanations are differently named, classified, and described (but emanation is common to all forms of 'Gnosticism'). In Basilidian Gnosis they are called sonships (υἱότητες huiotetes; sing.: υἱότης huiotes); according to Marcus, they are numbers and sounds; in Valentinianism they form male/female pairs called syzygies (συζυγίαι, from σύζυγοι syzygoi: lit. "yokings together").

This source of all being is an Aeon, in which an inner being dwells, known as Ennoea (ἔννοια, "thought, intent"), Charis (χάρις, "grace") or Sige (σιγή, "silence"). The split perfect being conceives the second Aeon, Nous (Νους, "mind"), within itself. Complex hierarchies of Aeons are thus produced, sometimes to the number of thirty. These Aeons belong to a purely ideal, noumenal, intelligible, or supersensible world; they are immaterial, they are hypostatic ideas. Together with the source from which they emanate, they form Pleroma (πλήρωμα, "fullness"). The lowest regions of Pleroma are closest to darkness; that is, the physical world.

The transition from immaterial to material, from noumenal to sensible, is created by a flaw, passion, or sin in an Aeon. According to Basilides, it is a flaw in the last sonship; according to others the sin of the Great Archon, or Aeon-Creator, of the Universe; according to others it is the passion of the female Aeon Sophia, who emanates without her partner Aeon, resulting in the Demiurge (Δημιουργός), a creature that should never have been. This creature does not belong to Pleroma, and the One emanates two savior Aeons, Christ and the Holy Spirit, to save humanity from the Demiurge. Christ then took a human form (Jesus), to teach humanity how to achieve Gnosis. The ultimate end of all Gnosis is metanoia (μετάνοια), or repentance—undoing the sin of material existence and returning to Pleroma.

Aeons bear a number of similarities to Judaeo-Christian angels, including roles as servants and emanations of God, and existing as beings of light. In fact, certain Gnostic Angels, such as Armozel, are also Aeons. The Gnostic Gospel of Judas, found in 2006, purchased, held, and translated by the National Geographic Society, also mentions Aeons.

Valentinus

Valentinus assumed, as the beginning of all things, the Primal Being or Bythos, who after ages of silence and contemplation, gave rise to other beings by a process of emanation. The first series of beings, the Aeons, were thirty in number, representing fifteen syzygies or pairs sexually complementary. One common form is outlined below:

Scheme of the Aeons

Tertullian's Against the Valentinians gives a slightly different sequence. The first eight of these Aeons, corresponding to generations one through four below, are referred to as the Ogdoad.

  • First generation
    • Bythos Βύθος (the One) and Sige Σιγή (Silence, Charis, Ennoea, etc.)
  • Second generation
    • Nous Νοΰς (Nus, Mind) and Aletheia Άλήθεια (Veritas, Truth)
  • Third generation, emanated from Nous and Aletheia
    • Sermo (the Word; Logos Λόγος) and Vita (the Life; Zoe Ζωή)
  • Fourth generation, emanated from Sermo and Vita
    • Anthropos Άνθρωπος (Homo, Man) and Ecclesia Έκκλησία
  • Fifth generation
    • Emanated from Sermo and Vita:
      • Bythios (Profound) and Mixis (Mixture)
      • Ageratos (Never old) and Henosis (Union)
      • Autophyes (Essential nature) and Hedone (Pleasure)
      • Acinetos (Immovable) and Syncrasis (Commixture)
      • Monogenes (Only-begotten) and Macaria (Happiness)
    • Emanated from Anthropos and Ecclesia
      • Paracletus (Comforter) and Pistis (Faith)
      • Patricas (Paternal) and Elpis (Hope)
      • Metricos (Maternal) and Agape (Love)
      • Ainos (Praise) and Synesis (Intelligence)
      • Ecclesiasticus (Son of Ecclesia) and Macariotes (Blessedness)
      • Theletus (Perfect) and Sophia (Wisdom)

Ptolemy and Colorbasus

According to Irenaeus, the followers of the Gnostics Ptolemy and Colorbasus had Aeons that differ from those of Valentinus. Logos is created when Anthropos learns to speak. The first four are called the Tetrad, and the eight are the Ogdoad deities of the Ancient Egyptian pantheon.

  • First generation
    • Bythos Βύθος (the One) and Sige Σιγή (Silence, Charis, Ennoea, etc.)
  • Second generation (conceived by the One):
    • Ennoea (Thought) and Thelesis (Will)
  • Third generation, emanated from Ennoea and Thelesis:
    • Nous Νοΰς (or Monogenes) and Aletheia Άλήθεια
  • Fourth generation, emanated from Nous and Aletheia:
    • Anthropos Άνθρωπος (Homo, Man) and Ecclesia Έκκλησία (see ref. 5 below)
  • Fifth generation, emanated from Anthropos and Ecclesia:
    • Logos Λόγος and Zoe Ζωή
  • Sixth generation:
    • Emanated from Logos and Zoe:
      • Bythius and Mixis
      • Ageratos and Henosis
      • Autophyes and Hedone
      • Acinetos and Syncrasis
      • Monogenes and Macaria
    • Emanated from Anthropos and Ecclesia:
      • Paracletus and Pistis
      • Patricos and Elpis
      • Metricos and Agape
      • Ainos and Synesis
      • Ecclesiasticus and Macariotes
      • Theletos and Sophia

The order of Anthropos and Ecclesia versus Logos and Zoe is somewhat debated; different sources give different accounts. Logos and Zoe are unique to this system as compared to the previous, and may be an evolved version of the first, totalling 32 Aeons, but it is not clear if the first two were actually regarded Aeons.

Modern interpretations

According to Myther, "The total number of Aeons, being 32, reflects the similarity of the mechanism to the Tree of Life, which, as suggested in the Zohar, incorporates 10 Sephiroth and 22 paths interconnecting these 10 Sephiroth; while 10 Aeons are created during the first five generations from which come the other 22 Aeons later during the sixth generation."

Sige

Plérome de Valentin, from Histoire critique du Gnosticisme; Jacques Matter, 1826, Vol. II, Plate II

In the system of Valentinus, as expounded by Irenaeus (i. 1), the origin of things was traced to two eternal co-existent principles, a male and a female. The male was called Bythos or Proarche, or Propator, etc.; the female had the names Ennoea, Charis and Sige. The whole Aeonology of Valentinus was based on a theory of syzygies, or pairs of Aeons, each Aeon being provided with a consort; and the supposed need of the co-operation of a male and female principle for the generation of new ones, was common to Valentinus and some earlier Gnostic systems. But it was a disputed point in these systems whether the First Principle of all was thus twofold. There were those, both in earlier systems, and even among the Valentinians who held, that the origin of things was to be traced to a single Principle, which some described as hermaphrodite; others said was above all sex. And among the Valentinians who counted thirty Aeons, there were those who counted Bythos and Sige as the first pair; others who asserted the Single Principle excluded Bythos from the number, and made out the number of thirty without reckoning him. Thus Irenaeus says of the Valentinians (I. ii. 4. p. 10), "For they maintain that sometimes the Father acts in conjunction with Sige, but that at other times he shows himself independent both of male and female." And (I. xi. 5) "For some declare him to be without a consort, and neither male nor female, and, in fact, nothing at all; while others affirm him to be masculo-feminine, assigning to him the nature of a hermaphrodite; others, again, allot Sige to him as a spouse, that thus may be formed the first conjunction."

Hippolytus supposes Valentinus to have derived his system from that of Simon; and in that as expounded in the Apophasis Megale, from which he gives extracts, the origin of things is derived from six roots, divided into three pairs; but all these roots spring from a single independent Principle, which is without consort. The name Sige occurs in the description which Hippolytus (vi. 18) quotes from the Apophasis, how from the supreme Principle there arise the male and female offshoots nous and epinoia. The name Sige is there given not to either of the offshoots but to the supreme Principle itself: however, in the description, these offshoots appear less as distinct entities than as different aspects of the same Being.

Cyril of Jerusalem (Catech. vi. 17) makes Sige the daughter of Bythos and by him the mother of Logos, a fable which he classes with the incests which heathen mythology attributed to Jupiter. Irenaeus (II. xii.) ridicules the absurdity of the later form of Valentinian theory, in which Sige and Logos are represented as coexistent Aeons in the same Pleroma. "Where there is Silence" he says, "there will not be Word; and where there is Word, there cannot be Silence". He goes on (ii. 14) to trace the invention of Sige to the heathen poets, quoting Antiphanes, who in his Theogony makes Chaos the offspring of Night and Silence.

In place of Night and Silence they substitute Bythus and Sige; instead of Chaos, they put Nous; and for Love (by whom, says the comic poet, all other things were set in order) they have brought forward the Word; while for the primary and greatest gods they have formed the Æons; and in place of the secondary gods, they tell us of that creation by their mother which is outside of the Pleroma, calling it the second Ogdoad. ... these men call those things which are within the Pleroma real existences, just as those philosophers did the atoms; while they maintain that those which are without the Pleroma have no true existence, even as those did respecting the vacuum. They have thus banished themselves in this world (since they are here outside of the Pleroma) into a place which has no existence. Again, when they maintain that these things [below] are images of those which have a true existence [above], they again most manifestly rehearse the doctrine of Democritus and Plato. For Democritus was the first who maintained that numerous and diverse figures were stamped, as it were, with the forms [of things above], and descended from universal space into this world. But Plato, for his part, speaks of matter, and exemplar, and God. These men, following those distinctions, have styled what he calls ideas, and exemplar, the images of those things which are above ...

Ennoea

In the attempts made by the framers of different Gnostic systems to explain the origin of the existing world, the first stage in the process was usually made by personifying the conception in the divine mind of that which was to emanate from Him. We learn from Justin Martyr (Ap. I. 26), and from Irenaeus (I. 23), that the word Ennoea was used in a technical sense in the system of Simon. The Latin translation of Irenaeus either retains the word, or renders "mentis conceptio." Tertullian has "injectio" (De Anima, 34). In the Apophasis Megale cited by Hippolytus (Ref. vi. 18, 19, p. 174), the word used is not Ennoia but Epinoia. Irenaeus states (I. 23) that the word Ennoea passed from the system of Simon into that of Menander. In the Barbeliot system which Irenaeus also counts as derived from that of Simon (I. 29), Ennoea appears as one of the first in the series of emanations from the unnameable Father.

In the system of Valentinus (Iren. I. i.) Ennoea is one of several alternative names for the consort of the primary Aeon Bythos. For the somewhat different form in which Ptolemaeus presented this part of the system see Irenaeus (I. xii.). Irenaeus criticises this part of the system (II. xiii.). The name Ennoea is similarly used in the Ophite system described by Irenaeus (I. xxx.).

Charis

Charis, in the system of Valentinus, was an alternative name, with Ennoea and Sige, for the consort of the primary Aeon Bythos (Iren. i. 4). The name expresses that aspect of the absolute Greatness in which it is regarded not as a solitary monad, but as imparting from its perfection to beings of which it is the ultimate source; and this is the explanation given in the Valentinian fragment preserved by Epiphanius (Haer. xxxi. 6), dia to epikechoregekenai auten thesaurismata tou Megethous tois ek tou Megethous. The use of the word Charis enabled Ptolemaeus (quoted by Irenaeus, i. 8) to find in John 1:14 the first tetrad of Aeons, viz., Pater, Monogenes, Charis, Aletheia. The suspicion arises that it was with a view to such an identification that names to be found in the prologue of St. John's Gospel were added as alternative appellations to the original names of the Aeons. But this is a point on which we have no data to pronounce. Charis has an important place in the system of Marcus (Irenaeus, i. 13). The name Charis appears also in the system of the Barbelitae (Irenaeus, i. 29), but as denoting a later emanation than in the Valentinian system. The word has possibly also a technical meaning in the Ophite prayers preserved by Origen (Contra Celsum, vi. 31), all of which end with the invocation he charis synesto moi, nai pater, synesto.

Nous

Ecclesia

This higher Ecclesia was held to be the archetype of the lower Ecclesia constituted by the spiritual seed on earth (Iren. I. v. 6, p. 28). In a Gnostic system described by Irenaeus (I. xxx. p. 109) we have also a heavenly church, not, however, as a separate Aeon, but as constituted by the harmony of the first existing beings. According to Hippolytus (v. 6, p. 95), the Naassenes counted three Ecclesiae.

It is especially in the case of the church that we find in Christian speculation prior to Valentinus traces of the conception, which lies at the root of the whole doctrine of Aeons, that earthly things have their archetypes in preexistent heavenly things. Hermas (Vis. ii. 4) speaks of the church as created before all things and of the world as formed for her sake; and in the newly discovered portion of the so-called Second Epistle of Clement to the Corinthians (c. 14) the writer speaks of the spiritual church as created before the sun and moon, as pre-existent like Christ Himself, and like him manifested in the last days for men's salvation; and he even uses language which, if it were not sufficiently accounted for by what is said in the Epistle to the Ephesians as to the union between Christ and His church, might be supposed to have affinity with the Valentinian doctrine of the relation between Anthropos and Ecclesia.

The author of the Epistle to the Hebrews quotes the direction to Moses to make the tabernacle after the pattern shewn him on the Mount (a passage cited in Acts 7:44), and his argument dwells on the inference that the various parts of the Jewish service were but copies of better heavenly archetypes. This same heavenly tabernacle appears as part of the imagery of the book of the Revelation (11:19, 15:5). In the same book the church appears as the Lamb's wife, the new Jerusalem descending from heaven; and St. Paul's teaching (Ephesians 1:3) might be thrown into the form that the church existed in God's election before the foundation of the world.

Anthropos

As the world is an image of the living Aeon (tou zontos aionos), so is man an image of the pre-existent man of the anthrops proon. Valentinus, according to Clemens Alexandrinus (Valentini homil. ap. Clem. Strom. iv. 13, 92), spoke of the Sophia as an artist (zographos) making this visible lower world a picture of the glorious Archetype, but the hearer or reader would as readily understand the heavenly wisdom of the Book of Proverbs to be meant by this Sophia, as the 12th and fallen Aeon. Under her (according to Valentinus) stand the world-creative angels, whose head is the Demiurge. Her formation (plasma) is Adam created in the name of the Anthropos proon. In him thus made a higher power puts the seed of the heavenly pneumatic essence (sperma tes anothen ousias). Thus furnished with higher insight, Adam excites the fears of the angels; for even as kosmikoi anthropoi are seized with fear of the images made by their own hands to bear the name of God, i.e. the idols, so these angels cause the images they have made to disappear (Ep. ad amicos ap. Clem. Alex. Strom. ii. 8, 36).

... they say that Achamoth sketched these pictures in honor of the aeons. Yet they transfer this work to Soter as its originator who operated through Achamoth so as to present her as the very image of the invisible and unknown Father, she being invisible, of course, and unknown to the Demiurge, and in the same way he created this same Demiurge to correspond to Nus, the son. The Archangels, creations of the Demiurge, are models of the rest of the aeons. ... don't you agree that I should laugh at these pictures painted by such a lunatic painter? Achamoth, a female and yet the image of the Father; the Demiurge, ignorant of his mother—not to mention of his Father—yet representing Nus who is not ignorant of his Father; the angels, the reproductions of their masters. This is the same as counterfeiting a fake ...

— Tertullian, Against the Valentinians, XIX

Horos

According to the doctrine of Valentinus, as described by Irenaeus i. 2, the youngest Aeon Sophia, in her passion to comprehend the Father of all, runs the danger of being absorbed into his essence, from which she is saved by coming into contact with the limiting power Horos, whose function it is to strengthen all things outside the ineffable Greatness, by confining each to its appointed place. According to this version Horos was a previously existing power; but according to another, and apparently a later account, Horos is an Aeon only generated on this occasion at the request of all the Aeons, who implored the Father to avert a danger that threatened to affect them all. Then (as Hippolytus tells the story, vi. 31) he directs the production of a new pair of Aeons, Christ and the Holy Spirit, who restore order by separating from the Pleroma the unformed offspring of Sophia. After this Horos is produced in order to secure the permanence of the order thus produced. Irenaeus (u. s.) reverses this order, and Horos is produced first, afterwards the other pair.

The Valentinian fragment in Epiphanius (Haer. 31, p. 171), which seems to give a more ancient form of this heresy, knows nothing of Horos, but it relates as the last spiritual birth the generation of five beings without consorts, whose names are used in the Irenaean version as titles for the supernumerary Aeon Horos. But besides, this Aeon has a sixth name, which in the version of Hippolytus is made his primary title Stauros; and it is explained (Irenaeus, i. 3) that besides his function as a separator, in respect of which he is called Horos, this Aeon does the work of stablishing and settling, in respect of which he is called Stauros. A derivation from sterizo is hinted at.

The literal earthly crucifixion of the Saviour (that seen by the psychic church, which only believes in the historical Jesus) was meant to represent an archetypal scene in the world of Aeons, when the younger Sophia, Achamoth, is healed through the Savior's instrumentation.

The animal and carnal Christ, however, does suffer after the fashion of the superior Christ, who, for the purpose of producing Achamoth, had been stretched upon the cross, that is, Horos, in a substantial though not a cognizable form. In this manner do they reduce all things to mere images—Christians themselves being indeed nothing but imaginary beings!

— Tertullian, Against the Valentinians, XXVII

The distinction just explained as to the different use of the names Horos and Stauros was not carefully observed by Valentinians. Thus the last word is sometimes used when the function of separation and division is spoken of (Excerpt. ex Script. Theodot. 22 and 42, Clem. Alex. ii. pp. 974, 979), it being remarked in the latter passage that the cross separates the faithful from the unbelievers; and Clem. Alex., who occasionally uses Valentinian language in an orthodox sense, speaks in the same way (Paed. iii. 12, p. 303, and Strom. ii. 20, p. 486).

In the Valentinian theory there is a double Horos, or at least a double function discharged by Horos.

Plato, then, in expounding mysteries concerning the universe, writes to Dionysius expressing himself after some such manner as this: “. . . All things are about the King of all, and on his account are all things, and he is cause of all the glorious (objects of creation). The second is about the second, and the third about the third. But pertaining to the King there is none of those things of which I have spoken. But after this the soul earnestly desires to learn what sort these are, looking upon those things that are akin to itself, and not one of these is (in itself) sufficient. . . .”

Valentinus, falling in with these (remarks), has made a fundamental principle in his system “the King of all,” whom Plato mentioned, and whom this heretic styles Pater, and Bythos, and Proarche over the rest of the Æons. And when Plato uses the words, “what is second about things that are second,” Valentinus supposes to be second all the Æons that are within the limit [Horos] (of the Pleroma, as well as) the limit (itself). And when Plato uses the words, “what is third about what is third,” he has (constituted as third) the entire of the arrangement (existing) outside the limit and the Pleroma.

— Hippolytus, Philosophumena, VI, 32

On the one hand, he discharges as already described, a function within the Pleroma, separating the other Aeons from the ineffable Bythos, and saving them from absorption into his essence. On the other hand, Horos is the outside boundary of the Pleroma itself, giving it permanence and stability by guarding it against the intrusion of any foreign element.

Cultural references

The animated TV series Æon Flux draws its name and some of its iconography from Gnosticism, notably aeons (the two main characters forming a syzygy) and a demiurge.

The webcomic Homestuck also draws inspiration from Gnostic ideas, with the main character Jade Harley being called "gardenGnostic" as a pseudonym. She also fuses with her dog, Becquerel, forming a syzygy. Yaldabaoth and Abraxas also appear in the comic.

The video game "Cruelty Squad" has multiple mentions and nods to the Gnostic mythology. The targets of the level "Office" are four sub archons. The level after it, aptly named "Archon Grid" has its final boss as Abraxas, although he is contorted to look much different, holding certain characteristics in common. There are many other references to Gnostic ideologies, such as the main goal of the game achieving ultimate enlightenment over everything else, rather than accepting your situation.

Ragnarök

From Wikipedia, the free encyclopedia
The north portal of the 12th-century Urnes stave church has been interpreted as containing depictions of snakes and dragons that represent Ragnarök.

In Norse mythology, Ragnarök (/ˈræɡnərɒk/ RAG-nə-rok or /ˈrɑːɡ-/ RAHG-; Old Norse: Ragnarǫk [ˈrɑɣnɑˌrɒk]) is a foretold series of impending events, including a great battle in which numerous great Norse mythological figures will perish (including the gods Odin, Thor, Týr, Freyr, Heimdall, and Loki); it will entail a catastrophic series of natural disasters, including the burning of the world, and culminate in the submersion of the world underwater. After these events, the world will rise again, cleansed and fertile, the surviving and returning gods will meet, and the world will be repopulated by two human survivors, Líf and Lífþrasir. Ragnarök is an important event in Norse mythology and has been the subject of scholarly discourse and theory in the history of Germanic studies.

The event is attested primarily in the Poetic Edda, compiled in the 13th century from earlier traditional sources, and the Prose Edda, written in the 13th century by Snorri Sturluson. In the Prose Edda and in a single poem in the Poetic Edda, the event is referred to as Ragnarøkkr (Old Norse for 'Twilight of the Gods'), a usage popularised by 19th-century composer Richard Wagner with the title of the last of his Der Ring des Nibelungen operas, Götterdämmerung (1876), which is "Twilight of the Gods" in German.

Etymology

The Old Norse compound word ragnarok has a long history of interpretation. Its first element is clear: ragna, the genitive plural of regin (n. pl.) 'the ruling powers, gods.' The second element is more problematic, as it occurs in two variants, -rök and -røkkr. Writing in the early 20th century, philologist Geir Zoëga treats the two forms as two separate compounds, glossing ragnarök as 'the doom or destruction of the gods' and ragnarøkkr as 'the twilight of the gods.' The plural noun rök has several meanings, including 'development', 'origin', 'cause', 'relation', 'fate.' The word ragnarök as a whole is then usually interpreted as the 'final destiny of the gods.'

The singular form ragnarøk(k)r is found in a stanza of the Poetic Edda poem Lokasenna, and in the Prose Edda. The noun røk(k)r means 'twilight' (from the verb røkkva 'to grow dark'), suggesting a translation 'twilight of the gods.' This reading was widely considered a result of folk etymology, or a learned reinterpretation of the original term due to the merger of /ɔ/ (spelled ǫ) and /ø/ (spelled ø) in Old Icelandic after c. 1200 (nevertheless giving rise to the calque Götterdämmerung 'Twilight of the Gods' in the German reception of Norse mythology).

Other terms used to refer to the events surrounding Ragnarök in the Poetic Edda include aldar rök (aldar means age, 'end of an age') from a stanza of Vafþrúðnismál, tíva rök from two stanzas of Vafþrúðnismál, þá er regin deyja ('when the gods die') from Vafþrúðnismál, unz um rjúfask regin ('when the gods will be destroyed') from Vafþrúðnismál, Lokasenna, and Sigrdrífumál, aldar rof ('destruction of the age') from Helgakviða Hundingsbana II, regin þrjóta ('end of the gods') from Hyndluljóð, and, in the Prose Edda, þá er Muspellz-synir herja ('when the sons of Muspell move into battle') can be found in chapters 18 and 36 of Gylfaginning.

Presence in literature

Poetic Edda

The Poetic Edda contains various references to Ragnarök:

Völuspá

Then the Awful Fight Began (by George Wright, 1908)
Odin and Fenrir, Freyr and Surt (by Emil Doepler, 1905)
Thor and the Midgard Serpent (by Emil Doepler, 1905)
Battle of the Doomed Gods (by Friedrich Wilhelm Heine, 1882)
The twilight of the gods (by Willy Pogany, 1920)

In the Poetic Edda poem Völuspá, references to Ragnarök begin from stanza 40 until 58, with the rest of the poem describing the aftermath. In the poem, a völva (a female seer) recites information to Odin. In stanza 41, the völva says:

The völva then describes three roosters crowing: In stanza 42, the jötunn herdsman Eggthér sits on a mound and cheerfully plays his harp while the crimson rooster Fjalar (Old Norse "hider, deceiver") crows in the forest Gálgviðr. The golden rooster Gullinkambi crows to the Æsir in Valhalla, and the third, unnamed soot-red rooster crows in the halls of the underworld location of Hel in stanza 43.

After these stanzas, the völva further relates that the hound Garmr produces deep howls in front of the cave of Gnipahellir. Garmr's bindings break and he runs free. The völva describes the state of humanity:

The "sons of Mím" are described as being "at play," though this reference is not further explained in surviving sources. Heimdall raises the Gjallarhorn into the air and blows deeply into it, and Odin converses with Mím's head. The world tree Yggdrasil shudders and groans. The jötunn Hrym comes from the east, his shield before him. The Midgard serpent Jörmungandr furiously writhes, causing waves to crash. "The eagle shrieks, pale-beaked he tears the corpse," and the ship Naglfar breaks free thanks to the waves made by Jormungandr and sets sail from the east. The fire jötnar inhabitants of Muspelheim come forth.

The völva continues that Jötunheimr, the land of the jötnar, is aroar, and that the Æsir are in council. The dwarfs groan by their stone doors. Surtr advances from the south, his sword brighter than the sun. Rocky cliffs open and the jötnar women sink.

The gods then do battle with the invaders: Odin is swallowed whole and alive fighting the wolf Fenrir, causing his wife Frigg her second great sorrow (the first being the death of her son, the god Baldr). Odin's son Víðarr avenges his father by rending Fenrir's jaws apart and stabbing it in the heart with his spear, thus killing the wolf. The serpent Jörmungandr opens its gaping maw, yawning widely in the air, and is met in combat by Thor. Thor, also a son of Odin and described here as protector of the earth, furiously fights the serpent, defeating it, but Thor is only able to take nine steps afterwards before collapsing dead from the Serpent's venom. The god Freyr fights Surtr and loses. After this, people flee their homes, and the sun becomes black while the earth sinks into the sea, the stars vanish, steam rises, and flames touch the heavens.

The völva sees the earth reappearing from the water and an eagle over a waterfall hunting fish on a mountain. The surviving Æsir meet together at the field of Iðavöllr. They discuss Jörmungandr, great events of the past, and the runic alphabet. In stanza 61, in the grass, they find the golden game pieces that the gods are described as having once happily enjoyed playing games with long ago (attested earlier in the same poem). The reemerged fields grow without needing to be sown. The gods Höðr and Baldr return from Hel and live happily together.

The völva says that the god Hœnir chooses wooden slips for divination and that the sons of two brothers will widely inhabit the windy world. She sees a hall thatched with gold in Gimlé, where nobility will live and spend their lives pleasurably. Stanzas 65, found in the Hauksbók version of the poem, refers to a "powerful, mighty one" that "rules over everything" and who will arrive from above at the court of the gods (Old Norse regindómr), which has been interpreted as a Christian addition to the poem. In stanza 66, the völva ends her account with a description of the dragon Níðhöggr, corpses in his jaws, flying through the air. The völva then "sinks down." It is unclear if stanza 66 indicates that the völva is referring to the present time or if this is an element of the post-Ragnarök world.

Vafþrúðnismál

An illustration of Víðarr stabbing Fenrir while holding his jaws apart (by W. G. Collingwood, inspired by the Gosforth Cross, 1908)
Fenrir and Odin (by Lorenz Frølich, 1895)

The Vanir god Njörðr is mentioned in relation to Ragnarök in stanza 39 of the poem Vafþrúðnismál. In the poem, Odin, disguised as Gagnráðr, faces off with the wise jötunn Vafþrúðnir in a battle of wits. Vafþrúðnismál references Njörðr's status as a hostage during the earlier Æsir–Vanir War, and that he will "come back home among the wise Vanir" at "the doom of men."

In stanza 44, Odin poses the question to Vafþrúðnir as to who of mankind will survive the "famous" Fimbulwinter ("Mighty Winter"). Vafþrúðnir responds in stanza 45 that those survivors will be Líf and Lífþrasir and that they will hide in the forest of Hoddmímis holt, that they will consume the morning dew, and will produce generations of offspring. In stanza 46, Odin asks what sun will come into the sky after Fenrir has consumed the sun that exists. Vafþrúðnir responds that Sól will bear a daughter before Fenrir assails her and that after Ragnarök this daughter will continue her mother's path.

In stanza 51, Vafþrúðnir states that, after Surtr's flames have been sated, Odin's sons Víðarr and Váli will live in the temples of the gods, and that Thor's sons Móði and Magni will possess the hammer Mjolnir. In stanza 52, the disguised Odin asks the jötunn about his fate. Vafþrúðnir responds that "the wolf" will consume Odin, and that Víðarr will avenge him by sundering its cold jaws in battle. Odin ends the duel with one final question: what did Odin say to his son before preparing his funeral pyre? With this, Vafþrúðnir realizes that he is dealing with none other than Odin, whom he refers to as "the wisest of beings," adding that Odin alone could know this. Odin's message has been interpreted as a promise of resurrection to Baldr after Ragnarök.

Helgakviða Hundingsbana II

Ragnarök is briefly referenced in stanza 40 of the poem Helgakviða Hundingsbana II. Here, the valkyrie Sigrún's unnamed maid is passing the deceased hero Helgi Hundingsbane's burial mound. Helgi is there with a retinue of men, surprising the maid. The maid asks if she is witnessing a delusion since she sees dead men riding, or if Ragnarök has occurred. In stanza 41, Helgi responds that it is neither.

Prose Edda

Snorri Sturluson's Prose Edda quotes heavily from Völuspá and elaborates extensively in prose on the information there, though some of this information conflicts with that provided in Völuspá.

Gylfaginning chapters 26 and 34

Loki breaks free at the onset of Ragnarök (by Ernst H. Walther, 1897)

In the Prose Edda book Gylfaginning, various references are made to Ragnarök. Ragnarök is first mentioned in chapter 26, where the throned figure of High, king of the hall, tells Gangleri (King Gylfi in disguise) some basic information about the goddess Iðunn, including that her apples will keep the gods young until Ragnarök.

In chapter 34, High describes the binding of the wolf Fenrir by the gods, causing the god Týr to lose his right hand, and that Fenrir remains there until Ragnarök. Gangleri asks High why, since the gods could only expect destruction from Fenrir, they did not simply kill Fenrir once he was bound. High responds that "the gods hold their sacred places and sanctuaries in such respect that they chose not to defile them with the wolf's blood, even though the prophecies foretold that he would be the death of Odin."

As a consequence of his role in the death of the god Baldr, Loki (described as father of Fenrir) is bound on top of three stones with the internal organs of his son Narfi (which are turned into iron) in three places. There, venom drops onto his face periodically from a snake placed by the jötunn Skaði. Loki's wife Sigyn collects the venom into a bucket, but whenever she leaves to empty it, the drops reach Loki's face, and the pain he experiences causes convulsions, resulting in earthquakes. Loki is further described as being bound this way until the onset of Ragnarök.

Gylfaginning chapter 51

A scene from the last phase of Ragnarök, after Surtr has engulfed the world with fire (by Emil Doepler, 1905)

Chapter 51 provides a detailed account of Ragnarök interspersed with various quotes from Völuspá, while chapters 52 and 53 describe the aftermath of these events. In Chapter 51, High states that the first sign of Ragnarök will be Fimbulwinter, during which time three winters will arrive without a summer, and the sun will be useless. High details that, before these winters, three earlier winters will have occurred, marked with great battles throughout the world. During this time, greed will cause brothers to kill brothers, and fathers and sons will suffer from the collapse of kinship bonds. High then quotes stanza 45 of Völuspá. Next, High describes that the wolf will swallow the sun, then his brother will swallow the moon, and mankind will consider the occurrence as a great disaster resulting in much ruin. The stars will disappear. The earth and mountains will shake so violently that the trees will come loose from the soil, the mountains will topple, and all restraints will break, causing Fenrir to break free from his bonds.

High relates that the great serpent Jörmungandr, also described as a child of Loki in the same source, will breach land as the sea violently swells onto it. The ship Naglfar, described in the Prose Edda as being made from the human nails of the dead, is released from its mooring and sets sail on the surging sea, steered by a jötunn named Hrym. At the same time, Fenrir, eyes and nostrils spraying flames, charges forward with his mouth wide open, his upper jaw reaching to the heavens, and his lower jaw touching the earth. At Fenrir's side, Jörmungandr sprays venom throughout the air and the sea.

During all of this, the sky splits into two. From the split, the "sons of Muspell" ride forth. Surtr rides first, surrounded by flames, his sword brighter than the sun. High says that "Muspell's sons" will ride across Bifröst, described in Gylfaginning as a rainbow bridge, and that the bridge will then break. The sons of Muspell (and their shining battle troop) advance to the field of Vígríðr, described as an expanse that reaches "a hundred leagues in each direction," where Fenrir, Jörmungandr, Loki (followed by "Hel's own"), and Hrym (accompanied by all frost jötnar) join them. While this occurs, Heimdallr stands and blows the Gjallarhorn with all his might. The gods awaken at the sound, and they meet. Odin rides to Mímisbrunnr in search of counsel from Mímir. Yggdrasil shakes, and everything, everywhere fears.

High relates that the Æsir and the Einherjar dress for war and head to the field. Odin, wearing a gold helmet and an intricate coat of mail, carries his spear Gungnir and rides before them. Odin advances against Fenrir, while Thor moves at his side, though Thor is unable to assist Odin because he has engaged Jörmungandr in combat. According to High, Freyr fights fiercely with Surtr, but falls because he lacks the sword he once gave to his messenger, Skírnir. The hound Garmr (described here as the "worst of monsters") breaks free from his bonds in front of Gnipahellir, and fights the god Týr, resulting in both of their deaths.

Thor kills Jörmungandr but is poisoned by the serpent, and manages to walk only nine steps before falling to the earth dead. Fenrir swallows Odin, though immediately afterwards his son Víðarr kicks his foot into Fenrir's lower jaw, grips the upper jaw, and rips apart Fenrir's mouth, killing the great wolf. Loki fights Heimdallr and the two kill each other. Surtr covers the earth in fire, causing the entire world to burn. High quotes stanzas 46 to 47 of Völuspá, and additionally stanza 18 of Vafþrúðnismál (the latter relating information about the battlefield Vígríðr).

Gylfaginning chapters 52 and 53

At the beginning of chapter 52, Gangleri asks "what will be after heaven and earth and the whole world are burned? All the gods will be dead, together with the Einherjar and the whole of mankind. Didn't you say earlier that each person will live in some world throughout all ages?"

The figure of Third, seated on the highest throne in the hall, responds that there will be many good places to live, but also many bad ones. Third states that the best place to be is Gimlé in the heavens, where a place exists called Okolnir that houses a hall called Brimir—where one can find plenty to drink. Third describes a hall made of red gold located in Niðafjöll called Sindri, where "good and virtuous men will live." Third further relates an unnamed hall in Náströnd, the beaches of the dead, that he describes as a large repugnant hall facing north that is built from the spines of snakes, and resembles "a house with walls woven from branches"; the heads of the snakes face the inside of the house and spew so much venom that rivers of it flow throughout the hall, in which oath breakers and murderers must wade. Third here quotes Völuspá stanzas 38 to 39, with the insertion of original prose stating that the worst place of all to be is in Hvergelmir, followed by a quote from Völuspá to highlight that the dragon Níðhöggr harasses the corpses of the dead there.

Chapter 53 begins with Gangleri asking if any of the gods will survive and if there will be anything left of the earth or the sky. High responds that the earth will appear once more from the sea, beautiful and green, where self-sown crops grow. The field Iðavöllr exists where Asgard once was, and, there, untouched by Surtr's flames, Víðarr and Váli reside. Now possessing their father's hammer Mjölnir, Thor's sons Móði and Magni will meet them there, and, coming from Hel, Baldr and Höðr also arrive. Together, they all sit and recount memories, later finding the gold game pieces the Æsir once owned. Völuspá stanza 51 is then quoted.

High reveals that two humans, Líf and Lífþrasir, will have also survived the destruction by hiding in the wood Hoddmímis holt. These two survivors consume the morning dew for sustenance, and from their descendants, the world will be repopulated. Vafþrúðnismál stanza 45 is then quoted. The personified sun, Sól, will have a daughter at least as beautiful as she, and this daughter will follow the same path as her mother. Vafþrúðnismál stanza 47 is quoted, and so ends the foretelling of Ragnarök in Gylfaginning.

Archaeological record

Thorwald's Cross, on the grounds of Kirk Andreas, Isle of Man

Various objects have been identified as depicting events from Ragnarök.

Thorwald's Cross

Thorwald's Cross, a partially surviving runestone erected at Kirk Andreas on the Isle of Man, depicts a bearded human holding a spear downward at a wolf, his right foot in its mouth, while a large bird sits at his shoulder. Rundata dates it to 940, while Pluskowski dates it to the 11th century. This depiction has been interpreted as Odin, with a raven or eagle at his shoulder, being consumed by Fenrir at Ragnarök. On the other side of the stone is a depiction of a large cross and another image parallel to the Odin figure that has been described as Christ triumphing over Satan. These combined elements have led to the cross as being described as "syncretic art," a mixture of pagan and Christian beliefs.

Gosforth Cross

The Gosforth Cross (920–950), in Cumbria, England, is a standing cross of a typical Anglo-Saxon form, carved on all sides of the long shaft, which is nearly square in section. Apart from panels of ornament, the scenes include a Christian crucifixion, and possibly another scene in Hell, but the other scenes are generally interpreted as narrative incidents from the Ragnarök story, even by a scholar as cautious of such interpretations as David M. Wilson. The Ragnarök battle itself may be depicted on the north side. The cross features various figures depicted in Borre style, including a man with a spear facing a monstrous head, with one foot thrust into the beast's forked tongue and on its lower jaw, and the other is against its upper jaw, a scene interpreted as Víðarr fighting Fenrir.

Ledberg stone

A composite image of three different angles of the Ledberg stone

The 11th-century Ledberg stone in Sweden, similarly to Thorwald's Cross, features a figure with his foot at the mouth of a four-legged beast, and this may also be a depiction of Odin being devoured by Fenrir at Ragnarök. Below the beast and the man is a depiction of a legless, helmeted man, with his arms in a prostrate position. The Younger Futhark inscription on the stone bears a commonly seen memorial dedication, but is followed by an encoded runic sequence that has been described as "mysterious," and "an interesting magic formula which is known from all over the ancient Norse world."

Skarpåker stone

On the early 11th-century Skarpåker Stone, from Södermanland, Sweden, a father grieving his dead son used the same verse form, fornyrðislag, as in the Poetic Edda in the following engraving:

Jansson (1987) notes that at the time of the inscription, everyone who read the lines would have thought of Ragnarök and the allusion that the father found fitting as an expression of his grief.

Theories and interpretations

Ragnarök (Motif from the Heysham Hogback) (by W. G. Collingwood, 1908)
The Downfall of the Æsir by Karl Ehrenberg, 1882

Cyclic time and Hoddmímis holt

Rudolf Simek theorizes that the survival of Líf and Lífþrasir at the end of Ragnarök is "a case of reduplication of the anthropogeny, understandable from the cyclic nature of the Eddic eschatology." Simek says that Hoddmímis holt "should not be understood literally as a wood or even a forest in which the two keep themselves hidden, but rather as an alternative name for the world-tree Yggdrasill. Thus, the creation of mankind from tree trunks (Askr, Embla) is repeated after the Ragnarök as well." Simek says that in Germanic regions, the concept of mankind originating from trees is ancient, and additionally points out legendary parallels in a Bavarian legend of a shepherd who lives inside a tree, whose descendants repopulate the land after life there has been wiped out by plague (citing a retelling by F. R. Schröder). In addition, Simek points to an Old Norse parallel in the figure of Örvar-Oddr, "who is rejuvenated after living as a tree-man (Ǫrvar-Odds saga 24–27)."

Muspille, Heliand, and Christianity

Theories have been proposed about the relation between Ragnarök and the 9th-century Old High German epic poem Muspilli about the Christian Last Judgment, where the word Muspille appears, and the 9th-century Old Saxon epic poem Heliand about the life of Christ, where various other forms of the word appear. In both sources, the word is used to signify the end of the world through fire. Old Norse forms of the term also appear throughout accounts of Ragnarök, where the world is also consumed in flames, and, though various theories exist about the meaning and origins of the term, its etymology has not been solved.

Proto-Indo-European basis

Parallels have been pointed out between the Ragnarök of Norse religion and the beliefs of other related Indo-European peoples. Subsequently, theories have been put forth that Ragnarök represents a later evolution of a Proto-Indo-European belief along with other cultures descending from the Proto-Indo-Europeans. These parallels include comparisons of a cosmic winter motif between the Norse Fimbulwinter, the Iranian Bundahishn and Yima. Víðarr's stride has been compared to the Vedic god Vishnu in that both have a "cosmic stride" with a special shoe used to tear apart a beastly wolf. Larger patterns have also been drawn between "final battle" events in Indo-European cultures, including the occurrence of a blind or semi-blind figure in "final battle" themes, and figures appearing suddenly with surprising skills.

Volcanic eruptions

Hilda Ellis Davidson theorizes that the events in Völuspá occurring after the death of the gods (the sun turning black, steam rising, flames touching the heavens, etc.) may be inspired by the volcanic eruptions on Iceland. Records of eruptions in Iceland bear strong similarities to the sequence of events described in Völuspá, especially the eruption at Laki that occurred in 1783. Bertha Phillpotts theorizes that the figure of Surtr was inspired by Icelandic eruptions and that he was a volcano demon. Surtr's name occurs in some Icelandic place names, among them the lava tube Surtshellir, a number of dark caverns in the volcanic central region of Iceland.

Bergbúa þáttr

Parallels have been pointed out between a poem spoken by a jötunn found in the 13th-century þáttr Bergbúa þáttr ("the tale of the mountain dweller"). In the tale, Thórd and his servant get lost while travelling to church in winter, and so take shelter for the night within a cave. Inside the cave they hear noises, witness a pair of immense burning eyes, and then the being with burning eyes recites a poem of 12 stanzas. The poem the being recites contains references to Norse mythology (including a mention of Thor) and also prophecies (including that "mountains will tumble, the earth will move, men will be scoured by hot water and burned by fire"). Surtr's fire receives a mention in stanza 10. John Lindow says that the poem may describe "a mix of the destruction of the race of giants and of humans, as in Ragnarök" but that "many of the predictions of disruption on earth could also fit the volcanic activity that is so common in Iceland."

Modern influences

The events of Ragnarok are dramatized, albeit briefly, in Hans Christian Andersen's fairy tale "The Marsh King's Daughter".

In late 2013 and early 2014, English-language media outlets widely reported that Ragnarök was foretold to occur on 22 February 2014. Apparently patterned after the 2012 phenomenon, the claim was at times attributed to a "Viking Calendar". No such calendar is known to have existed, and the source was a "prediction" made to media outlets by the Jorvik Viking Centre in York, England, intended to draw attention to an event that the institution was to hold on that date. The Jorvik Viking Centre was criticized for misleading the public to promote the event. In a 2014 article on the claims, philologist Joseph S. Hopkins perceives the media response as an example of a broad revival of interest in the Viking Age and ancient Germanic topics.

The Norwegian fantasy adventure film Gåten Ragnarok was released in 2013 and centres on the discovery of the mythical serpent in contemporary Finnmark.

The myth is central to the 2017 Marvel Cinematic Universe film Thor: Ragnarok, at whose climax the demon Surtur destroys Asgard as its people flee into space under the guidance of Thor, Valkyrie, Loki, Heimdall, Hulk, and Korg.

A. S. Byatt published a novel entitled Ragnarok: The End of the Gods in 2011.

Ragnarök is set up at the end of the 2018 video game God of War, which is rooted in Norse mythology, after the protagonist Kratos kills Baldr. The 2022 sequel, God of War Ragnarök, deals with the aftermath of this event and covers the in-game version of Ragnarök.

Norse mythology and climate change inspired the eponymous TV series Ragnarok. The town of Edda in Western Norway is plagued by climate change and industrial pollution caused by the factories owned by the Jutul family, a group of jötunn. They are challenged by a teenage boy, Magne, the reincarnation of Thor. Thus begins the event Ragnarok ("twilight of the gods"), the fight against those who are destroying the planet.

In the 2020 video game Assassin's Creed Valhalla, which is partially inspired by Norse mythology, the Æsir are depicted as members of the Isu, who within the series' fictional lore, are an advanced civilization that predate humanity, and Ragnarök refers to a series of events revolving around the Toba Catastrophe, or the "Great Catastrophe", which was a solar flare that hit the Earth, killing most of the Isu. In one of the game's story arcs, the protagonist Eivor Varinsdottir assumes the role of Odin (later revealed to be her previous life), who searches for a way for himself and the other Æsir to survive beyond Ragnarök, during which they are all foretold to perish. One of the game's downloadable content packs, titled Dawn of Ragnarök, builds upon this, as it follows Odin just as the events of Ragnarök are about to begin.

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