The "One Story"

The mythology, traditions and religions of ancient cultures the world over and across all time are based in singular astral objects and events observed by the earliest inhabitants of this planet. That’s the basis of what one comparative mythologist called “the One Story told around the world.”

This is a novel concept, but one that is central to deciphering almost all the mysteries from the past. It declares that the seemingly bizarre beliefs and traditions of widely divergent and isolated cultures in hoary antiquity all derived from a single source: our ancient heavens.

This notion stands in diametric opposition to the traditional, scientific view that the heavens have appeared constant for as long as Man trod this planet. Yet, when we turn to the records bequeathed us by our ancestors, we find they tell us a very different story—one that makes no sense in light of our present concepts.

What those primeval people saw defies all description. We see nothing remotely like it in our present skies. It was so overwhelming, so dramatic that its elements indelibly impressed themselves upon the human psyche. The mythologies, legends, traditions and religions it spawned still retain a vivid memory of things seen in ancient skies, though we fail to perceive them as such.

These myths, legends, traditions and religions are the repositories for the memories of cosmological pageants that played out over Earth’s skies for an extended period of time in the very earliest epoch of Mankind. They are an invaluable record, bequeathed us by our ancestors, each containing some elements of the One Story.

Each culture remembered the story of those events from a unique, proprietary perspective. Yet they all retain a remarkable coherence when seen as memories stemming from a common, astral origin. Moreover, they were modified and elaborated down through time in very different ways by widely divergent cultures, such that today, they are nearly unrecognizable as the same story. But they are.

For Latter-day Saints who wish to fully benefit from their scripture study, their temple experience and the teachings of Joseph Smith, this knowledge is vital. Because the Prophet sought to restore “all things as at first,” he included the data about Earth’s ancient cosmology in his teachings. If we lack this perspective, his teachings in this regard are meaningless to us. Without this knowledge, our efforts to grasp the teachings of Christ and the Prophets are greatly hampered.

In order to provide the interested reader with an overview of the events once seen to evolve in ancient skies, the following narrative and commentary have been created in an easy to understand, side-by-side format. The italicized text is a narrative describing the beliefs and traditions in the One Story. The normal text is an analytical commentary describing the events and conditions that obtained in order to create those beliefs and traditions.

Once upon a time in a Golden Age, this world was an idyllic place, very different than it is now. People hardly aged at all. They lived much longer than today. There was little or no disease.

Comparative mythology tells us that all ancient cultures have traditions of an idyllic era, a halcyon epoch at the beginning of human memory when life was tranquil and without hardship, pain or illness.

There were no temperature extremes, no rain, no snow, no wind and no weather, as we know it.

Earth’s meteorological environment was drastically different than now due to tremendous electromagnetic forces in play.

Food grew in abundance year round, with no need of cultivation or irrigation. The whole world was a garden.

This electromagnetically enhanced environment dramatically affected its flora and fauna. All life prospered, whether animal or vegetable.

There were no nations, governments or even tribes. Therefore, there were no wars, no battles, no contention and no strife.

The abundance humans enjoyed led to an absence of need and hardship. Competition for vital resources was unknown. It was a completely egalitarian society.

Not only was this Earth vastly different, so were the heavens. A motionless, golden sun that never set warmed the world. Thus, there was no darkness, no day-night cycle. Its light was softer and more diffuse than the brilliant sunlight we see today.

Cultures the world over worshipped this god/sun. Anthropologists consistently refer to early cultures as “sun worshippers,” which is true. But it was not the sun we see in our sky today. Surprisingly, the ancients report the “first, best sun” was the planet we know today as Saturn.

Though it produced a subdued light equivalent to our twilight, Saturn generated sufficient electromagnetic energy to illuminate and warm our world.

It appeared to hover, motionless, because Earth was positioned directly beneath Saturn’s southern pole. At the same time, Earth’s North Pole was oriented toward Saturn. Put simply, they shared a common axis of rotation. Thus, Saturn stood where Polaris, the North Star, stands today.

A Supreme or Universal Monarch, the same sun that lighted the world, ruled from the high heavens. He was the Creator King, the first light of creation, who created himself as well as all the cosmos.

This was the archetype for all earthly kings. Coronation rites reflected Saturn’s station and actions in the heavens. This is also the source of royal imagery in our scriptures.

This creator brought himself into being as he emerged from a pool or sea of churning water, foam or mud, seen hovering like a layer of clouds in the heavens. From that chaotic void, he emerged to begin his reign over this world and its heavens.

This was the event that all cultures, including the Hebrew, recalled as the creation. The cyclonic pool, called the “firmament” in the Old Testament, was the core vortex of a plasma column or “pinch” that enclosed several planets, positioned along the common axis of rotation between them.

This Great King, seated on his throne, was also the City, Temple or Kingdom of God. He presided over an age of natural abundance, longevity and cosmic harmony.

A variety of symbols were ascribed to Saturn, due to its position and size. It was not only anthropomorphosized as a king, it was also considered a city, a temple and a kingdom. Thus, it was so described in a multitude of variations on one archetype, a dominant orb in Earth’s ancient skies.

Also born in this fixed spot in the northern heavens were the Monarch’s first creations and companions. They appeared as the Warrior or Hero of Heaven and the Son of the King and as the Queen of Heaven. Together, they joined the Sovereign to form a Holy Trinity of ruling, celestial deity.

The first act of this creator god/planet was to bring two others into existence to accompany him. Both were planets that shared the same axis of rotation with Earth and Saturn. They were Mars and Venus, Mars standing closest to Earth.

Like Saturn, anthropomorphic characteristics were attributed to them because of their appearance and behavior. One was the female planet, and the other was the male planet—the yin and the yang. Together, they spawned a multitude of sacred images: the celestial city with a temple in the middle, a heavenly eye, a wheel, etc.

These two active, companion planets appeared to stand before Saturn as it emerged from what was characterized as the heavenly “waters” of creation.

All four planets shared a common axis of rotation and were “stacked” in the following order, from the “bottom” upward: Earth, Mars, Venus and Saturn. From a visual perspective on Earth, Mars appeared centered on Venus, and Venus appeared centered on Saturn. Thus, earthbound observers saw three nested planets in Earth’s northern skies.Earth’s inhabitants honored, worshipped and revered these celestial powers in all their phases and manifestations, and there were many.

The abode of the Three was fixed in the heavens, suspended on a marvelous column or pillar of light, the Cosmic Mountain or Celestial Tree of Life. This was also the Heavenly Street and Great River of Light. It was The Way to heaven. It was this Pillar of Light or Celestial Mountain that supported and sustained the Celestial City wherein dwelt the gods. Only the worthy could mount its heights to access high heaven.

But there was more … much more. There was also a polar, plasma column that appeared to connect heaven to Earth, resembling a great pillar of light, that embraced those three planets overhead and our planet beneath, illuminating our world day and night. From its magnificent crest, the planetary triumvirate dominated the earth and the heavens. To the Hebrews, it was Zion or Sinai; to the Greeks, it was Olympus, the abode of Zeus, Hera and all the Olympians.

The polar column was also visualized as the Celestial Tree, with roots in the earth and branches among the planets/stars/gods. It was also seen as the Great River of Light, Life or Abundance connecting heaven and earth and as a ladder/stairway/path to heaven, the only avenue to the gods’ abode, the Heavenly City.

The Queen of Heaven was the wife/daughter/consort of the Creator King. She was the Celestial Egg or the Womb or Heaven, who held within her the Holy Seed, the Son of God, to whom she would later give birth in a monumental event that stirred the imagination of ancient peoples everywhere. She was the Iris of God’s Eye; her unborn child was the Pupil of God’s Eye. She was the Mouth; he was the Opener of the mouth. Together, they were the dual Heart of Heaven, the Creator’s Heart.

Venus was the archetype of all female goddesses in antiquity, the prototype of every female character in religion and mythology.Because Mars was centered on Venus, various aspects were attributed to that planet. It was an iris to Mars’ pupil, forming an eye with Saturn. It was part of Saturn’s heart. It was an egg, with the unborn child within it. Mars completed the mouth formed by Venus on Saturn’s face.

Soon, she became the Star of Heaven, the dazzling Radiant Goddess. She burst into glory that eclipsed the Creator King. She was the light and power of the Heaven King, the animating force that illuminated and protected heaven or the Kingdom of God.

The entire world remembered the planet Venus as the “star” goddess. It was Astarte, Ishtar, Ashteroth, Aphrodite, Hathor and the Greek Venus. It was not only stunningly brilliant, the planet’s plasma discharge assumed a variety of shapes that came to dominate the iconography of all ancient cultures. These star icons still dominate the imagination of humankind today. The flags of nearly every nation carry Venus’ star image in one form or another.

The Warrior Hero was a powerful god, the son of the King and Queen of Heaven. Born of his mother, he left his exalted station to descend to the Earth. As he descended, he grew from a dwarf to a giant, and heaven erupted into chaos. He had become the Destroyer of Worlds. The earth and the heavens shook. The closer he approached, the worse things became and the more terrible he looked. In so descending, he became old, sickly and decrepit, becoming human-like and taking upon himself the evils of the world, thus redeeming mankind.

Mars was the archetype for most male gods of antiquity. That planet’s story is the stuff of a multitude of legends. Mars became the model for every legendary, cultural hero. It was powerful, yet strangely impotent at times. It could topple the heavens, but it could not control itself. It was the dwarf who became a giant, the prototypical shape shifter. It was the quixotic Hero that very nearly destroyed creation, yet it was also the god who restored the heavens to their former peace and glory. It was the youth that aged and then became a youth again.

Yet, this is only one take on a variety of misadventures of Mars in ancient skies.

After his descent to the Earth, the Warrior Hero returned to his home in heaven by climbing the Cosmic Mountain or Celestial Stairway to Heaven. As he ascended, the commotion and tumult diminished. He became the Prince of Peace as the heavens ceased their tumultuous roar and the incessant shaking of the earth died away.

As Mars receded from its close encounter with Earth, it appeared to grow smaller as it also appeared to ascend along the polar column toward Venus. As the distance between Earth and Mars increased, its harmful effect on our planet diminished.

He ascended once again to return to the Mother Goddess’ womb. As he did so, he became youthful once again or reborn. He had completed his given task and overcome many vicissitudes. The Hero entered Heaven only after great Gates of Light parted to admit him, whereupon he took his mother as his wife by coupling with her in the celestial city or garden.

This is the story of the polar column as told in conjunction with Mars’ odyssey. As such, its story became the genesis of heroic adventure tales in all ancient cultures.This version of the Mars saga is the core of the Oedipus legend. As risqué as it sounds to our Victorian ears, this was at the center of many cultural traditions, including illicit temple rites the world over.

In returning to the Center Place, the Warrior/Hero reinstated the Eye or Mouth of God, thus restoring Heaven to its former appearance, glory and splendor.

During Mars’ absence, the eye or mouth was no longer complete. With its return to the center place, the eye or mouth archetypes were reinstated. This is the source of Egyptian resurrection rituals called “The Opening of the Mouth or Eye,” and similar rites in other cultures.

All was well for a time. But one day, a fierce Chaos Monster arose from the Cosmic Mountain. Breathing fire and roaring across heaven, it menaced the Celestial City and the Gods as it writhed and struck out at heaven and earth. The Queen of Heaven became the disheveled Hag of Heaven, the Witch. All creation seemed doomed to destruction by the dragon who had grown many heads until the Warrior/Hero stepped forward to subdue the monster or beast. When he did, all things became tranquil again. Life was beautiful and all heaven was at peace.

On occasion, the denizens of this kingdom moved from their appointed places, changing their appearance and their behavior, menacing our Earth, unleashing chaos and catastrophe. At such times for example, the Cosmic Mountain transformed into a serpent/snake/beast called the Chaos Monster, writhing and fierce beyond comprehension in disordered heavens, striking fear and awe into Earth’s inhabitants.

During these periods of disorder, the formerly brilliant and spectacular Venus did a role reversal, taking on the appearance of a disheveled monster that raged across the skies.

At these times of chaos, Mars became a warrior, appearing to do battle with a monster, using great bolts of lightning to subdue the threatening beast, as in the Babylonian tradition of Marduk and Tiamat.

Then, things would settle down again for a time.

In the end, this Golden Age perished in the greatest upheaval the world had ever known. The monarch was thrown down, fled and vanished, along with his castle, city or kingdom. The mountain that sustained him vanished as well, along with the queen and the son—all went into the dark abyss. The remnants of their dismembered bodies were scattered across the sky to become the glittering star field we know today. But in the process, our world was nearly destroyed, and mankind with it, by a vast flood of epic proportions. Yet, some few survived to inherit a new world and a new sky—not as pleasant as the first, but survivable.

All the movement, appearance changes disruptions and dislocations of orbs in the ancient polar configuration of planets were the result of forces dismantling that grouping. When the final dissolution came, earthlings saw the gods and the mountain they lived on recede into distant space.

Once those brilliant planets and glowing plasma disappeared, the starry heavens could be seen for the first time.

The polar oceans, held in place as permanent tides, were released, flooding the Earth. Centrifugal force drove those waters to the equator, dividing continents and creating islands for the first time. This was the origin of flood traditions in all ancient cultures.

So, everyone lived happily ever after. The end. (Until it all starts over again.)

Humans adapted and thus survived, but at a terrible cost. Constant fear of destruction from the skies haunted all mankind. We adopted survival strategies that evolved into beliefs, institutions and practices taken for granted today.But the fear of astral destruction remains, buried deep in our subconscious. The fear of doomsday remains vivid in the human psyche, though unrecognized and largely unacknowledged. We struggle to suppress those fears, denying them by replacing them with ‘scientific’ theories that put us on a peaceful and largely uneventful planet for “billions and billions of years.”

Sounds a bit like a fairy tale, doesn’t it? That’s because all myths and legends began life as cultural traditions, reenacted in sacred rites, rituals, pageants and holidays designed to preserve those memories. This One Story is also the basis for all religious tradition. Parts of it were incorporated into our temples, telling us that Joseph Smith knew the One Story ... all of it ... by heart.

This overview may be a bit hard to accept for those new to these ideas. Yet, if given enough time to fully consider them and study them in relation to the restored gospel, anyone can see the simplicity and power of such concepts. They not only explain the system of traditions, myths and legends of all nations and cultures, they explain the iconic elements of our restored religion, instituted by a prophet who knew and understood all these things, judging by his many corroborating statements.

Restoring the true religion meant reinstating all the elements of the One Story. The evidence for this can be found in our temples and scriptures, where symbols, rituals and metaphors true to the many actors and elements of the One Story abound. They are the iconic and metaphorical trappings of our religion, restored in their fullness for our edification and enlightenment. This connects us to antiquity and our ancestors. It offers a basis for understanding the ineffable and the inexplicable. But most of all, it promises to expand our wisdom and our testimonies far beyond their present, narrow boundaries.

© Anthony E. Larson, 2009

The Keys to Prophecy 4: Of Beasts and Men

Ancient monuments, temples, tombs and sacred texts are replete with strange, mysterious symbols and creatures. By comparing those symbols to the verbal imagery of prophecy, we learn that they gave rise to even more bizarre language.

In order to understand the symbolism of the scriptures, we must allow ancient images to illuminate the texts, beliefs and traditions of the past, while permitting the texts, beliefs and traditions to illuminate the images. This is one key to understanding the strange language used by the prophets.

A comparison will allow us to see how one gave rise to the other.

Take the vision of John, for example, in Revelation. He described seeing four distinct creatures.

"And … in the midst of the throne, and round about the throne, were four beasts full of eyes before and behind. And the first beast was like a lion, and the second beast like a calf, and the third beast had a face as a man, and the fourth beast was like a flying eagle." (Revelation 4:6, 7.)

Ezekiel, too, saw four creatures in a similar setting.

"As for the likeness of their faces, they four had the face of a man, and the face of a lion, on the right side: and they four had the face of an ox on the left side; they four also had the face of an eagle." (Ezekiel 1:10.)

The lists of creatures are identical, save that Ezekiel named an ox where John listed a calf. This is understandable given that the two prophets were separated in time by about 600 years, allowing for a slight 'shift' in cultural symbolism.

Of course, the universal mistake made by Bible scholars of all epochs is to assign some fantastic meaning to these symbolic creatures — especially in John’s vision because he says these creatures surround the throne of God in heaven. In truth, the two prophets are probably describing something far more mundane, but quite remarkable, as we shall see momentarily.

Most revealing is the fact that these four creatures are not unique to the Israelite religious tradition. They figure prominently in the religions of neighboring cultures — the Egyptian, for example, where we meet them face-to-face in funerary art. They are called "canopic figures." Curiously, human figures with the heads of beasts dominate Egyptian art. They are one of the most obvious features of their religious iconography.

Named after Canopus, an area in the Nile delta region, these jars were funerary furniture used to house various organs of the deceased during internment rites. The four creatures were said to be the sons of Horus.



The Egyptians employed the heads of a baboon and a jackal rather than the Israelite ox (calf) and lion. This variation is typical from culture to culture and across time, just as the names of the same gods varied. But there is no mistaking that the four creatures seen in prophetic vision also adorned the burial art of Egyptians for hundreds, perhaps thousands of years.

Ezekiel is more specific in his description of the four. "Also out of the midst thereof came the likeness of four living creatures. And this was their appearance; they had the likeness of a man." (Ezekiel 1:5.)

So, these four looked like men with the heads of beasts, which is exactly what we see here.



Anthropomorphic creatures — animals with the body and limbs of humans — figure prominently in Egyptian religious art. Curiously, this is the same thing the prophets describe seeing in their visions. Ezekiel described them as "living creatures" with "the likeness of a man," which is exactly what we see here.



Israelite tradition prohibited the use of such symbolic masks, thanks to the Ten Commandments, so these did not exist in the Israelite culture. Nevertheless, these four creatures figured prominently in their traditions, as we’ve seen in the visions of John and Ezekiel.

More interesting still is the fact that these same four creatures are also found in the Pearl of Great Price. Two of the facsimiles copied from the Joseph Smith papyri show these same four canopic figures, described as four "idolatrous gods."



Significantly, most of the images for which Joseph provides explanations turn out to be planets and stars, suggesting that these four also represent celestial objects. This, as it turns out, is a key that will be explored in a subsequent installment in this series.

As we have seen previously, the Israelites often strayed into pagan beliefs and practices. It should hardly be surprising that these four 'gods' of their neighbors should show up in the system of symbols Israelites held sacred.

What is not generally acknowledged is that the language of prophecy also draws on these types of well-known images from antiquity.

While this explains the imagery of only a few passages of scriptural prophecy, these two, Revelation and Ezekiel, are among the most mysterious. This comparison clearly points out the mechanism of describing sacred images in narrative form: prophetic imagery is drawn from ancient images or idols.

While this may be a surprising turn of events, this takes some of the mystery out of prophetic imagery.

© Anthony E. Larson, 2005

The Keys to Prophecy 3: The Prophets' Language

The bizarre and mystifying images employed by the prophets — by all ancient cultures, in fact — are derived from one common source: the heavens of antiquity. We have only to look at Hebrew history to determine this, though it is universally true of ancient cultures.

Israel strayed into the same practices as their neighbors, though their prophets strove mightily to curb that idolatry.

"And they left all the commandments of the Lord their God, and made them molten images, even two calves, and made a grove, and worshipped all the host of heaven, and served Baal." (2 Kings 17:16, italics added.)

King Josiah attempted to "put down the idolatrous priests, whom the kings of Judah had ordained to burn incense in the high places in the cities of Judah, and in the places round about Jerusalem; them also that burned incense unto Baal, to the sun, and to the moon, and to the planets, and to all the host of heaven." (ibid. 23:5, italics added.)

Clearly this "host" or group was not comprised of God and his angels, and the heaven spoken of is not God's residence. The prophets referred to astral or cosmological bodies, as is specifically stated: the sun, moon, planets and stars. And the heaven spoken of is the vault of the sky over the Earth where all such astral bodies reside. This concept is key to understanding the meaning of the prophets.

Pay particular attention to the fact that planets are listed, along with the sun and the moon, among the things designated as the "host of heaven." Note that calves, cows and bulls were intrinsic symbols employed in their worship and the implication long recognized by scholars that Baal was an astral or cosmological deity.



Likewise, illustrations of the Egyptian goddess Hathor always depict her either as a cow with what is called a "sun disk" between her horns or as a queen wearing a disk and horns on her head.



In fact, it was the worship of astral images that the Lord, speaking through Moses, condemned "… lest thou lift up thine eyes unto heaven, and when thou seest the sun, and the moon, and the stars, even all the host of heaven, shouldest be driven to worship them, and serve them …." (Deuteronomy 4:19.)

So, the Israelites worshipped the stars and the planets in identical fashion to their neighbors the Babylonians, the Assyrians and the Egyptians. Scholars who study antiquity have long asserted this.

Joseph Smith, too, emphasized that the Egyptians’ gods represented "planets" and "stars" when he produced his explanations of his Egyptian papyri. It is no great leap of logic, therefore, to assume that the language of the prophets, immersed in Israelite culture, reflected that astral worship — reverence for the stars, moon, sun and planets — even though they condemned the practices associated with it.

So it is that when we turn to the scriptures, we see an abundance of such cosmological imagery in prophetic declarations — especially those concerning the last days. Tellingly, the same imagery can be found in other biblical pronouncements, illuminating their origins for us.

Let’s look at just one example.

"And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars." (Revelation 12:1.)

This 'woman,' described by John, is the same 'woman' worshipped by the idolatrous Israelites, their Queen of Heaven.

"But we will certainly do whatsoever thing goeth forth out of our own mouth, to burn incense unto the queen of heaven, and to pour out drink offerings unto her, as we have done, we, and our fathers, our kings, and our princes, in the cities of Judah, and in the streets of Jerusalem …." (Jeremiah 44:17.)

Sumerians also called their sky goddess, Inanna, the "Queen of Heaven." She was the Babylonians’ Ishtar, the Assyrians’ Astarte and the Egyptians’ Hathor (Athyr), Isis, or Sekhmet.

Of particular importance is that the very names of this goddess, Astarte, Ishtar and Athyr (the ‘s’ is aspirated), have the same root as our word ‘star,’ betraying their astral origin. They were all 'star' goddesses.

More familiar names for the same star goddess would include the Greek Aphrodite, Athena, and Artemis, or the Latin Venus, Minerva, and Diana.

As we learned in the previous installment in this series, Joseph Smith indicated that such symbols are representations. "When the prophets speak of seeing beasts [a woman in this case] in their visions, they mean that they saw the images, they being types to represent certain things." (History of the Church, p. 343.)

In the case of the Egyptian papyri, Joseph explained that those images that did not represent some spiritual concept such as God or the priesthood, instead represented stars and planets.

This is key. Like most Egyptian icons, the woman represents a star or a planet. Of course, in the ancient mind, both words can apply to the same image in the sky because they looked alike, mere pinpoints of light. But the archetype, the original image for these goddesses, was a planet. Joseph was emphatic about that.

Yet another connection is provided by the fact that Hathor, who nearly all scholars agree represented the planet Venus, was a celestial calf or heifer — the very same calf goddess worshipped by idolatrous Israelites, as we have seen. This lets us look at the woman of Revelation with new eyes. Substitute the word 'planet' for 'woman,' in the above verse, and you have a more relevant, understandable image that fits better with the sun, moon and stars imagery.

The same kinds of connections can be made for nearly all prophetic images, such as the beasts, the mountain, the kings, horses and other creatures, further strengthening this assessment.

© Anthony E. Larson, 2004

The Keys to Prophecy 2: Joseph Smith's Marvelous Key

The first and perhaps most crucial key to prophecy was revealed in this dispensation by Joseph Smith when he spoke on the subject of scriptural imagery.

"The prophets do not declare that they saw a beast or beasts, but that they saw the image or figure of a beast. Daniel did not see an actual bear or a lion, but the images or figures of those beasts. The translation should have been rendered 'image' instead of 'beast,' in every instance where beasts are mentioned by the prophets." (History of the Church, p. 343.)

Joseph’s use of the term "image" makes his meaning clear. Similar terms used by today’s scholars are "icon," or "symbol." In this context, all three words mean the same thing. That is, the images they saw were icons, not representations or pictures of the actual animals or creatures. Rather, what they saw were substitutes for the animals or beasts named.

An example of these "beasts" from Daniel, cited by Joseph Smith, may help to clarify. "The first was like a lion, and had eagle’s wings … and was made stand upon the feet as a man …." (Daniel 7:4.)



Here is that very "image of a beast" that conforms to Daniels description. It is a lion with wings and it stands erect. It is the mythical Babylonian "monster" Tiamat, which, coincidentally, corresponds to Daniel’s Babylonian era.

So, these images Joseph referred to are the icons of ancient cultures. "When the prophets speak of seeing beasts in their visions, they mean that they saw the images, they being types to represent certain things." (Ibid., p. 343.)

The profound importance of this bit of information becomes clear when we consider that "images" were the very things that the ancients venerated. When we look at Hebrew, Egyptian or Babylonian religious art, we are confronted by nothing but images and symbols. They are everywhere in ancient cultures, overwhelming and mysterious.



Beasts aren’t the only images in prophecy. We read of kings, stars, mountains, highways, temples, locusts and women as well, to name just a few. Drawing on Joseph’s statement, we can infer that all these are meant to convey meaning and not depict real creatures, individuals or objects. Instead, they are meant to symbolize or represent cultural gods and traditions that were well understood by the people of their era.



Open the quintessentially prophetic book of Revelation, and what leaps out at us, given this new perspective, are some of the same images we see on the walls of ancient temples and monuments. This is a key to scriptural iconography that almost everyone has missed, even though Joseph Smith made the connection, albeit obliquely.

For example, in that same sermon, the prophet mentioned Daniel’s vision of a four-headed beast. One looked like a lion, another a bear and the third a leopard. The fourth he described as a "dreadful and terrible," beast with ten heads. John apparently described seeing the same beast, although his description varies slightly from Daniel’s. "And I stood upon the sand of the sea, and saw a beast rise up out of the sea, having seven heads and ten horns, and upon his horns ten crowns, and upon his heads the name of blasphemy." (Revelation 13:1.)

Further, John also described seeing aspects of the leopard, bear and lion in his beast. (Revelation 13:2.) This suggests that they were describing the same images.

And John added this peculiar detail: "And I saw one of his heads as it were wounded to death; and his deadly wound was healed: and all the world wondered after the beast." (Revelation 13:3.)

Astoundingly, this beast—wounded head and all—was depicted in Mesopotamian cylinder seal art hundreds of years before John and Daniel described seeing them in vision.



Here we see the Babylonian dragon Tiamat, clearly the archetype of John’s and Daniel’s beast, doing battle with Marduk. Note that this illustration predates John and Daniel, meaning that these images were borrowed by the Hebrew prophets.

Other examples of this link between ancient imagery and prophetic imagery are found in Ezekiel, Revelation and Abraham.

Ezekiel also saw a creature with four heads, listed as that of a man, a lion, an ox and an eagle. (Ezekiel 1:10.) John listed the four as well as a man, a lion, a calf and an eagle. (Revelation 4:6, 7.)

Most stunning of all to Latter-day Saints is that these same four “beasts” can be seen in Facsimile No. 1 in the Pearl of Great Price, where Joseph describes them as "idolatrous gods," further confirming our thesis.

Some beasts of prophecy are virtually identical to the four images on Egyptian funerary jars, seen here beneath the couch on the Joseph Smith papyri.



We tend to think of scriptural imagery as unique, something completely separate and apart from that of other cultures and religions. But the above examples, and many more like them, amply demonstrate that this is not so.

The prophets’ sacred imagery drew its symbolism from the same sources as the idolatrous imagery of the pagans, hence the conspicuous similarities between mythological imagery and scriptural imagery.

As it turns out, we have been repeatedly exposed to these images. We simply failed to recognize them in the scriptures because our mindset told us they were images of things from the future, not the past.

Thus, we see that while the visions of the prophets may have been about the future, the imagery they employed was already ancient in their day.

So it is that we must first look backward in time to learn the meaning of those ancient symbols before we can properly attempt to interpret their use in visions of future events.

This is likely what Peter meant when he wrote, "We have also a more sure word of prophecy …." (2 Peter 1:19.) That is to say, the images of prophecy were well established and understood in his day. Then, for clarity, he added, "Knowing this first, that no prophecy of the scripture is of any private interpretation." (2 Peter 1:20.) In other words, guessing — the preferred method of modern interpreters — is out.

Of course, to know the meaning of these symbols, "…they being types to represent certain things," as Joseph said, we must learn their source and what they meant to those who held them sacred.

© Anthony E. Larson, 2004

Revelation: Understanding John's Apocalypse

LDS scholars and church members alike fail to notice vital elements of John’s New Testament book, Revelation. They see it solely as a eschatological writing—a revelation of future tribulations to befall the world in a period of physical and political upheaval immediately preceding the second coming of Christ.

While it is certainly all that, there is much more to discover. With the aid of a new perspective, the mystery of that book vanishes. Revelation becomes a pivotal document, a virtual 'Rosetta Stone’ of the cultural traditions common to 1st century Mediterranean and Middle Eastern peoples.

Let’s look at a summary of the situation that led to John’s vision. Christianity's early leaders, most notably the Apostle Paul, had expanded their missionary efforts far beyond Palestine and its roots in Judaism. Thanks to a revelation given to Peter, they initiated a campaign to win converts from non-Jewish or 'gentile' cultural groups, including Romans, Greeks, Egyptians and Babylonians.

This put the fledgling church on the horns of a dilemma. Gentile religious and cultural traditions were very different from those of Judaism and Christianity. For example, the gentiles believed in a multiplicity of gods while Christianity taught of only one God. This and many other fundamental differences made proselytism difficult for the newly born religion. Yet, if the new church were to survive and flourish, it had to win converts.

What was needed was a strategy to find connections, common ground with the religious traditions of their 'pagan' neighbors to make Christianity more palatable.

John's Revelation was part of that strategy. His vision was an attempt to reconcile the cultural and religious traditions of the Gentiles with that of the Jews, melding them into a new, common tradition for the Christian church that would allow it to appeal to both communities.

Evidence for this is found in several examples of Revelation imagery, which are also found in ancient sources that predate John's writing, demonstrating the 'borrowing' nature of his account.
In Revelation, chapter 13, we read of a rather remarkable beast. "And I stood upon the sand of the sea, and saw a beast rise up out of the sea, having seven heads and ten horns, and upon his horns ten crowns, and upon his heads the name of blasphemy.

"And the beast which I saw was like unto a leopard, and his feet were as the feet of a bear, and his mouth as the mouth of a lion: and the dragon gave him his power, and his seat, and great authority.

"And I saw one of his heads as it were wounded to death; and his deadly wound was healed; and all the world wondered after the beast." (Revelation 13:1-3.)

When we consult sources outside the Bible and Israelite tradition, we find that this story is a rhetorical rendition of a Babylonian tradition. It depicts the epic myth of the celestial battle between the beast, Tiamat and the thunderbolt god, Marduk, as depicted in Babylonian fine art.

To assure the reader that this illustration and John’s depiction stem from the same, identical tradition, note the specific features of the beast: looks like a leopard, feet of a bear and a lion’s head or mouth. The wings on both Tiamat and Marduk represent their power to move about in the heavens as do the winged birds.

Astoundingly, we also see this beast — wounded head and all — depicted in Mesopotamian cylinder seal art hundreds of years before John described seeing it in vision.

This Babylonian ostracon clearly shows the multi-headed leopard form (note the spots) of the beast, as John described it - including the slash mark of Marduk’s sword across one of the heads.

After comparing these two examples of Babylonian art to the Revelation narrative, there can be little doubt that they both stem from the same mythical tradition of the battle between Marduk and Tiamat. This discovery allows for only one of two conclusions: Either this is a rather remarkable coincidence, or it is an instance of borrowing from older, pagan tradition by John. As we shall see from the next example, it was most likely a borrowing.

In his epic vision, John also reported seeing four other beasts in heaven. "And the first beast was like a lion, and the second beast like a calf, and the third beast had a face as a man, and the fourth beast was like a flying eagle." (Revelation 4:7.)

These four are also seen everywhere in the Egyptian tradition that long predates John. Named after Canopus, an area in the Nile delta region, these jars were funerary furniture used to house various organs of the deceased during internment rites. The four creatures depicted on lids of these Canopic jars were said to be the sons of Horus. They are also found in the Joseph Smith papyri.

The Egyptians employed the heads of a baboon and a jackal rather than the Israelite designation of a calf (ox) and lion. This variation is typical from culture to culture and across time, just as the names of the same gods varied. But there is no mistaking that the four creatures seen in prophetic vision also adorned the burial art of Egyptians for many centuries before John penned his Apocalypse.

These two examples amply demonstrate John’s borrowing of pagan tradition and imagery for his own vision. As it turns out, almost all the imagery in Revelation can be traced to common religious traditions of that day and time.

This is a remarkable discovery.

John created an admixture of ancient cultural motifs and Christian beliefs that would give the ring of familiarity to doctrines of the early Christian church among any of his ‘gentile’ contemporaries—a calculated attempt to give Christianity the proper traditional underpinnings necessary to validate any religion, thus making it more acceptable to a much wider audience.

Given this alternative view, we can now see John’s vision with new eyes. Here is the answer to the riddle that is Revelation: The multitude of pagan gods became mythic characters and images in John’s vision—the strange beasts, creatures, kings, women and other icons—in a revised series of sacred dramas, each one calculated to show Christ’s place in those traditions.

© Anthony E. Larson, 2006