PERHAPS the most widespread and universal among
the symbols in the old astronomical systems, which have passed down
the stream of time to our century, and have left traces everywhere
in the Christian religion as elsewhere,--are the Cross and the Fire--the
latter, the emblem of the Sun. The ancient Aryans had them both as
the symbols of Agni. Whenever the ancient Hindu devotee desired to
worship Agni--says E. Burnouf (Science des Religions, c.
10)--he arranged two pieces of wood in the form of a cross, and,
by a peculiar whirling and friction obtained fire for his sacrifice.
As a symbol, it is called Swastica, and, as an instrument manufactured
out of a sacred tree and in possession of every Brahmin, it is known
as Arani.
The Scandinavians had the same sign and called it Thor's Hammer,
as bearing a mysterious magneto-electric relation to Thor, the god
of thunder, who, like Jupiter armed with his thunderbolts, holds likewise
in his hand this ensign of power, over not only mortals but also the
mischievous spirits of the elements, over which he presides. In Masonry
it appears in the form of the grand master's mallet; at Allahabad
it may be seen on the Fort as the Jaina Cross, or the Talisman of
the Jaina Kings; and the gavel of the modern judge is no more than
this crux dissimulata--as de Rossi, the archæologist
calls it; for the gavel is the sign of power and strength, as the
hammer represented the might of Thor, who, in the Norse legends splits
a rock with it, and kills Medgar. Dr. Schliemann found it in terra
cotta disks, on the site, as he believes, of ancient Troy, in
the lowest strata of his excavations; which indicated, according to
Dr. Lundy, "an Aryan civilization long anterior to the Greek--say
from two to three thousand years B.C." Burnouf
calls it the oldest form of the cross known, and affirms that it is
found personified in the ancient religion of the Greeks under the
figure of Prometheus "the fire-bearer," crucified on mount
Caucasus, while the celestial bird--the Cyena of the Vedic
hymns,--daily devours his entrails. Boldetti, (Osservazioni I.,
15, p. 60) gives a copy from the painting in the cemetery of St. Sebastian,
representing a Christian convert and grave-digger, named Diogenes,
who wears on both his legs and right arm the signs of the Swastica.
The Mexicans and the Peruvians had it, and it is found as the
sacred Tau in the oldest tombs of Egypt.
It is, to say the least, a strange coincidence, remarked even by
some Christian clergymen, that Agnus Dei, the Lamb of God,
should have the symbols, identical with the Hindu God Agni. While
Agnus Dei expiates and takes away the sins of the world, in
one religion, the God Agni, in the other, likewise expiates
sins against the gods, man, the manes, the soul, and repeated sins;
as shown in the six prayers accompanied by six oblations. (Colebrooke--Essays,
Vol. I, p. 190.)
If, then, we find these two--the Cross and the Fire--so closely
associated in the esoteric symbolism of nearly every nation, it is
because on the combined powers of the two rests the whole plan of
the universal laws. In astronomy, physics, chemistry, in the whole
range of natural philosophy, in short, they always come out as the
invisible cause and the visible result; and only metaphysics and alchemy--or
shall we say Metachemistry, since we prefer coining a new word
to shocking sceptical ears?--can fully and conclusively solve the
mysterious meaning. An instance or two will suffice for those who
are willing to think over hints.
The Central Point, or the great central sun of the Kosmos, as the
Kabalists call it, is the Deity. It is the point of intersection between
the two great conflicting powers--the centripetal and centrifugal
forces, which drive the planets into their elliptical orbits, that
make them trace a cross in their paths through the Zodiac. These two
terrible, though as yet hypothetical and imaginary powers, preserve
harmony and keep the Universe in steady, unceasing motion; and the
four bent points of the Swastica typify the revolution of the Earth
upon its axis. Plato calls the Universe a "blessed god"
which was made in a circle and decussated in the form of the letter
X. So much for astronomy. In Masonry the Royal Arch degree
retains the cross as the triple Egyptian Tau. It is the mundane circle
with the astronomical cross upon it rapidly revolving; the perfect
square of the Pythagorean mathematics in the scale of numbers, as
its occult meaning is interpreted by Cornelius Agrippa. Fire is heat,--the
central point; the perpendicular ray represents the male element or
spirit; and the horizontal one the female element--or matter. Spirit
vivifies and fructifies the matter, and everything proceeds from the
central point, the focus of Life, and Light, and Heat, represented
by the terrestrial fire. So much, again, for physics and chemistry,
for the field of analogies is boundless, and Universal Laws are immutable
and identical in their outward and inward applications. Without intending
to be disrespectful to any one, or to wander far away from truth,
we think we may say that there are strong reasons to believe that
in their original sense the Christian Cross--as the cause, and Eternal
torment by Hell Fire--as the direct effect of negation of the former--have
more to do with these two ancient symbols than our Western theologians
are prepared to admit. If Fire is the Deity with some heathens, so
in the Bible, God is likewise the Life and the Light of the World;
if the Holy Ghost and Fire cleanse and purify the Christian, on the
other hand Lucifer is also Light, and called the "Son of the
morning star."
Turn wherever we will, we are sure to find these conjoint relics
of ancient worship with almost every nation and people. From the Aryans,
the Chaldeans, the Zoroastrians, Peruvians, Mexicans, Scandinavians,
Celts, and ancient Greeks and Latins, it has descended in its completeness
to the modern Parsi. The Phœnician Cabiri and the Greek Dioscuri
are partially revived in every temple, cathedral, and village church;
while, as will now be shown, the Christian Bulgarians have even preserved
the sun worship in full.
It is more than a thousand years since this people, who, emerging
from obscurity, suddenly became famous through the late Russo-Turkish
war, were converted to Christianity. And yet they appear none the
less pagans than they were before, for this is how they meet Christmas
and the New Year's day. To this time they call this festival Sourjvaki,
as it falls in with the festival in honour of the ancient Slavonian
god Sourja. In the Slavonian mythology this deity--Sourja or Sourva,--evidently
identical with the Aryan Surya . . . sun . . . is the god of
heat, fertility, and abundance. The celebration of this festival is
of an immense antiquity, as, far before the days of Christianity,
the Bulgarians worshipped Sourva, and consecrated New Year's day to
this god, praying him to bless their fields with fertility, and send
them happiness and prosperity. This custom has remained among them
in all its primitive heathenism, and though it varies according to
localities, yet the rites and ceremonies are essentially the same.
On the eve of New Year's day the Bulgarians do no work and are obliged
to fast. Young betrothed maidens are busy preparing a large platiy
(cake) in which they place roots and young shoots of various forms,
to each of which a name is given according to the shape of the root.
Thus, one means the "house," another represents the "garden";
others again, the mill, the vineyard, the horse, a cat, a hen, and
so on, according to the landed property and worldly possessions of
the family. Even articles of value such as jewellery and bags of money
are represented in this emblem of the horn of abundance. Besides all
these, a large and ancient silver coin is placed inside the cake;
it is called bábka and is tied two ways with a red thread,
which forms a cross. This coin is regarded as the symbol of fortune.
After sunset, and other ceremonies, including prayers addressed
in the direction of the departing luminary, the whole family assemble
about a large round table called paralyà, on which are
placed the above-mentioned cake, dry vegetables, corn, wax taper,
and, finally, a large censer containing incense of the best quality
to perfume the god. The head of the household, usually the oldest
in the family--either the grandfather, or the father himself--taking
up the censer with the greatest veneration, in one hand, and the wax
taper in the other, begins walking about the premises, incensing the
four corners, beginning and ending with the East; and reads various
invocations, which close with the Christian "Our Father who art
in Heaven," addressed to Sourja. The taper is then laid away
to be preserved throughout the whole year, till the next festival.
It is thought to have acquired marvellous healing properties, and
is lighted only upon occasions of family sickness, in which case it
is expected to cure the patient.
After this ceremony, the old man takes his knife and cuts the cake
into as many slices as there are members of the household present.
Each person, upon receiving his or her share, makes haste to open
and search the piece. The happiest of the lot, for the ensuing year,
is he or she who gets the part containing the old coin crossed with
the scarlet thread; he is considered the elect of Sourja, and every
one envies the fortunate possessor. Then in order of importance come
the emblems of the house, the vineyard, and so on; and according to
his finding, the finder reads his horoscope for the coming year. Most
unlucky he who gets the cat; he turns pale and trembles. Woe to him
and misery, for he is surrounded by enemies, and has to prepare for
great trials.
At the same time, a large log which represents a flaming altar,
is set up in the chimney-place, and fire is applied to it. This log
burns in honour of Sourja and is intended as an oracle for the whole
house. If it burns the whole night through till morning without the
flame dying out, it is a good sign; otherwise, the family prepares
to see death that year, and deep lamentations end the festival.
Neither the momtzee (young bachelor), nor the mommee
(the maiden), sleep that night. At midnight begins a series
of sooth-saying, magic, and various rites, in which the burning log
plays the part of the oracle. A young bud thrown into the fire and
bursting with a loud snap is a sign of happy and speedy marriage,
and vice versa. Long after midnight, the young couples leave
their respective homes, and begin visiting their acquaintances, from
house to house, offering and receiving congratulations, and rendering
thanks to the deity. These deputy couples are called the Souryakari,
and each male carries a large branch ornamented with red ribbons,
old coins, and the image of Sourja, and as they wend along sing in
chorus. Their chant is as original as it is peculiar and merits translation,
though, of course, it must lose in being rendered into a foreign language.
The following stanzas are addressed by them to those they visit:
Sôurvá, Soúrvá, Lord of the Season,
Happy New Year mayst thou send;
Health and fortune on this household,
Success and blessings till next year.
With good crops and full ears,
With gold and silk, and grapes and fruits;
With barrels full of wine, and stomachs full,
You and your house be blessed by the God . . .
His blessing on you all.--Amen! Amen! Amen!
The singing Souryakari, recompensed for their good wishes with a present
at every house, go home at early dawn. . . . And this is how the symbolical
exoteric Cross and Fire worship of old Aryavart go hand in hand in Christian
Bulgaria. . . .
Theosophist, November, 1879
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