Phoenix (mythology)

The phoenix from the Aberdeen Bestiary.

The phoenix, or phœnix as it is sometimes spelled, has been an enduring myth symbol for millennia and across vastly different cultures. From religion and naturalistic symbolism in ancient Egypt, to a secular symbol for recent armies, communities, and even societies, as well as an often used literary symbol, the mythical bird's representation of death and re-birth seems to resonate throughout human societies.

General Description

A reborn Phoenix, rising from its ashes.

Although many cultures have their own interpretation of the phoenix, the differences in nuance are overshadowed by the mythical creature's more homogeneous characteristics. The phoenix is always a bird, usually having plumage of colors corresponding to fire: yellow, orange, red, and gold. The most universal characteristic is the bird's ability to resurrect. Living a long life (the exact age can vary from 500 to over a thousand years), the bird dies in a self-created fire, burning into a pile of ashes, from which a phoenix chick is born, representing a cyclical process of life from death. Because it is re-born from its own death, the phoenix also took on characteristics of regeneration and immortality.

Mythical Origins

Egyptian

Bennu –or Heron Phoenix in hieroglyphs

The earliest representation of the phoenix is found in the ancient Egyptian Bennu bird, the name relating to the verb “weben,” meaning “to rise brilliantly,” or “to shine.” Some researchers believe that a now extinct large Heron was a possible real life inspiration for the Bennu. However, since the Bennu, like all the other versions of the phoenix, are primarily symbolic icons, the many mythical sources of the Bennu in ancient Egyptian culture reveal more about the civilization.

In one of the more prevalent myths, the Bennu had created itself from a fire that was burned on a holy tree in one of the sacred precincts of the temple of Ra. Other versions say that the Bennu bird burst forth from the heart of Osiris. The Bennu was supposed to have rested on a sacred pillar that was known as the benben-stone. At the end of its life-cycle the phoenix would build itself a nest of cinnamon twigs that it then ignited; both nest and bird burned fiercely and would be reduced to ashes, from which a new, young phoenix arose. The new phoenix embalmed the ashes of the old phoenix in an egg made of myrrh and deposited it in the Egyptian city of Heliopolis ("the city of the sun" in Greek).

The Bennu was pictured as a grey, purple, blue, or white heron with a long beak and a two-feathered crest. Occasionally the Bennu was depicted as a yellow wagtail, or as an eagle with feathers of red and gold. In rare instances the Bennu was pictured as a man with the head of a heron, wearing a white or blue mummy dress under a transparent long coat. Because of its connection to Egyptian religion, the Bennu was considered the “soul” of the god Atum, Ra, or Osiris, and was sometimes called “He Who Came Into Being by Himself,” “Ascending One,” and “Lord of Jubilees.” These names and the connection with Ra, the Sun God, reflected not just the ancient Egyptian belief in a spiritual continuation of life after physical death, but also reflected the crucial natural process of the Nile River's rising and falling, which the Egyptians depended upon for survival. The Bennu also became closely connected to the Egyptian calender, and the Egyptians kept intricate time measuring devices in the Bennu Temple.

Persian

The Huma, also known as the "bird of paradise," is a Persian mythological bird, similar to the Egyptian phoenix, which consumes itself in fire every few hundred years, only to rise anew from the ashes. It is considered to be a compassionate bird. The touch of the Huma is said to bring great fortune.

The Huma bird joins both the male and female natures together in one body, each sharing a wing and a leg. It avoids killing for food, rather preferring to feed on carrion. The Persians teach that great blessings come to that person on whom the huma's shadow falls.

According to Sufi master Inayat Khan, "The word huma in the Persian language stands for a fabulous bird. There is a belief that if the huma bird sits for a moment on someone's head it is a sign that he will become a king. Its true meaning is that when a person's thoughts evolve so that they break all limitation, he then becomes a king. It is the limitation of language that it can only describe the Most High as something like a king."

Greek

The Greeks adapted the word bennu (and also took over its further Egyptian meaning of date palm tree), and identified it with their own word phoenix φοινιξ, meaning the color purple-red or crimson. They and the Romans subsequently pictured the bird more like a peacock or an eagle. According to the Greeks the phoenix lived in Arabia next to a well. At dawn, it bathed in the water of the well, and the Greek sun-god Apollo stopped his chariot (the sun) in order to listen to its song.

Detail from mosaic Semis de roses et phénix Louvre Museum, Paris, France

Oriental

The phoenix (known as Garuda in Sanskrit) is the mystical fire bird which is considered as the chariot of the Hindu God Vishnu. Its reference can be found in the Hindu epic Ramayana.

In Tibet, the phoenix is also called Garuda, which means "the bird of life" and is depicted as a conglomerate of the typical brightly colored bird, eagle and human.

In China, the phoenix is called Feng-huang and symbolizes completeness, incorporating the basic elements of music, colors, nature, as well as the joining of yin and yang. The Chinese believed that the Feng-huang lived in a mythical realm, heralding peace and harmony in the world.

Christianity

The phoenix became a symbol of Christianity in early literature, either from ancient Hebrew legend regarding a phoenix in the Garden of Eden, or from the incorporation of Greek and Roman culture, or from a conglomerate of both. In either case, the ideology of the phoenix fit perfectly with the story of Christ. The phoenix's resurrection from death as new and pure can be viewed as a metaphor for Christ's resurrection, central to Christian belief. The early Christian Apostolic Father 1 Clement references the phoenix in The First Epistle of Clement to the Corinthians. Most of the Christian-based phoenix symbolism appears in individual works of literature, instead of as a self-standing myth, especially in Medieval and Renaissance Christian literature that combined classical and regional myth and folklore with more mainstream dogma.

Heraldry

Rinasce piu gloriosa ("It rises again more glorious").

The phoenix does not appear as a heraldic figure as often as other mythical creatures. However, it has appeared on family crests and shields throughout time, usually depicted as an eagle surrounded, but not hurt, by flames. Elizabeth I used the phoenix as a royal badge, while some cities in Europe use the phoenix in their municipal emblem to denote the one time destruction and consequent re-building of the city, connecting to the image of resurrection inherent in the phoenix.

Phoenix, Arizona was named such because it was a frontier station settled upon the ruins of a Native American site. The first European inhabitants decided to name their city in concurrence with the idea that from the ruins of one city, another was created.

Literature

The phoenix no longer appears significantly in any religious or cultural truths. However, the image is still used in literature, perhaps because of all the mythical creatures from antiquity, the phoenix is the one that frequently expresses an enduring sense of hope and redemption. Its beauty is not as otherworldly as most of the other conglomerate creatures in myth, and its symbolism is conveyed with a profound subtlety when used in literature.

The phoenix has been used frequently in Western literature for centuries. William Shakespeare made one of the most prominent references in both his plays The Tempest, incorporating a number of other mythical creatures, but placing the phoenix separate and above the rest and in Timon of Athens, when a senator metaphorically calls Timon "a naked gull, which flashes now a phoenix." In other works of Renaissance literature, the phoenix is said to have been eaten as the rarest of dishes—for only one was alive at any one time. Jonson, in Volpone (1605) writes: "could we get the phœnix, though nature lost her kind, shee were our dish."

Sylvia Townsend Warner's 1940 short story "The Phoenix" satirized the exploitation of nature using a phoenix maltreated in a carnival sideshow, revealing the modern preference for violence and sensationalism over beauty and dignity. The majesty of Eudora Welty's classic 1941 short story A Worn Path employs the phoenix as the name of the major and virtually sole character of a sparsely written yet rich story of regeneration and the South.

Edith Nesbit's famous children's novel, The Phoenix and the Carpet is based on this legendary creature and its quirky friendship with a family of children. The phoenix was also famed for being a symbol of the rise and fall of society in Ray Bradbury's Fahrenheit 451. The pattern of an over complacent and abusive society's destruction yielding a fresh new start was compared to the Phoenix's mythological pattern of consumption by flame, then resurrection out of ashes.

Sylvia Plath also alludes to the phoenix in the end of her famous poem Lady Lazarus. The speaker of this poem describes her unsuccessful attempts at committing suicide not as failures, but as successful resurrections, like those described in the tales of the biblical character Lazarus and the phoenix. By the end of the poem, the speaker has transformed into a fire bird, effectively marking her rebirth, which some critics liken to a demonic transformation. The poem ends: "Out of the ash / I rise with my red hair / And I eat men like air."

More recently, Harry Potter series author J.K. Rowlings has used a phoenix as a central symbol in her stories. While the Harry Potter series has drawn some controversy from the Christian community, Rowling's use of other classical mythical beasts and her classical literature background suggests that she is using the phoenix as a Christian symbol of purification and resurrection

References

ISBN links support NWE through referral fees

• Nigg, Joe. 1995. Wonder Beasts: Tales and Lore of the Phoenix, the Griffin, the Unicorn, and the Dragon Libraries Unlimited ISBN 156308242X

External links

• Entry for the Phoenix in The Aberdeen Bestiary
• Mythical Phoenix History
• General description, with Ancient References

• Ancient Egypt: The mythology
• Pedigree of the Phoenix - The Total Solar Eclipse Sun-Bird This link is broken!

• Image of the mythological Huma bird
• The Mysticism of Sound, Hazrat Inayat Khan (includes discussion of Huma myth)

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