An ancient prophet by the name of Zoroaster (or, in the original Persian, Zarathustra) was likely among the first, if not the first, to dichotomize the divine forces as “good” and “evil.” Zoroaster, who is generally believed to have lived sometime between 1700 BCE and 1200 BCE, portrayed these forces as a battle in which a benevolent god named Ahura Mazda wages a constant war against a malevolent god named Angra Mainyu. In the early beliefs of Zoroastrianism both Ahura Mazda and Angra Mainyu were seen as nearly equal creator gods. While Ahura Mazda created life, light, and all things good, his counterpart Angra Mainyu created demons, darkness, and all things evil.
While Zoroastrianism eventually came to resemble a more monotheistic belief system, in which the one god Ahura Mazda was worshipped, this was not the case in the earlier years of the religion’s development. History tells us that prior to the arrival of the prophet Zoroaster the Indo-Iranian people worshipped Ahura Mazda in a polytheistic form, as one god among others.
Zoroaster claimed to have received divine revelation from a being named Voluh Manah that made him aware of how his people had formed certain mistaken ideas about the true nature of the divine world and cosmic order. Zoroaster explained to the Indo-Iranians that there was only one benevolent god, Ahura Mazda. However, he did not claim that the other worshipped deities did not exist. Instead, Zoroaster explained that these other entities were not gods but special beings created by Ahura Mazda to assist humankind and aid in the battle against evil. He called these beings, which he claimed were still worthy of human adoration, yazatas (which, appropriately enough, means “worthy of adoration”). In addition, Zoroaster claimed that a race of beings called daevas were the servants of the evil Angra Mainyu.
Even though the word had not yet been created, Zoroaster was saying that the yazatas were “angels.” In fact, the writings about the angelic entities in the book of Enoch are believed to have been heavily influenced by this idea in Zoroastrianism.
Another possible influence Zoroaster had on the ancient writings of Judaism, both canonical and apocryphal, has to do with the portrayal of God on a divine throne surrounded by angels. Zoroastrian texts describe Ahura Mazda as ruler of the Domain of Light, in which he sat upon his heavenly throne while wearing the sky above as robes. As in Judaism, Ahura Mazda’s throne is surrounded by seven of his created beings (much as the Judeo-Christian God’s throne is often written to be surrounded by seven angels).
Since the dawn of creation, these brothers of Light and Dark have waged war for the lives and souls of humankind. Eventually, of course, every war must come to an end. Usually, this means someone wins . . . and someone loses. Zoroastrianism bears a number of striking similarities to the Judeo-Christian ideas regarding the Apocalypse. And it is generally believed that many of the apocalyptic concepts of early Judaism were heavily influenced by those found in Zoroastrianism.
The Zoroastrian Apocalypse portrays a final war between Ahura Mazda (alongside his yazatas) and Angra Mainyu (with his daevas), just like the final showdowns between the forces of good and evil that one finds in Judaism and Christianity (as well as many other world religions). Eventually, Zoroastrianism teaches, Ahura Mazda and his yazatas will defeat Angra Mainyu and his minions in a final and terrible battle that will more or less hit the restart button on existence. The physical world will be destroyed, but those who have remained loyal to the ways of Ahura Mazda will be rewarded with eternity in the Paradise of Light.
Perhaps the multitude of close similarities between the Zoroastrian and Judeo-Christian Apocalypses explains why neither Ahura Mazda nor Zoroaster were included in the roll call of pre-Christian gods who assembled in “Hammer of the Gods” (5-19).
THE HAMMER OF THE PRE-CHRISTIAN GODS
In “Hammer of the Gods,” the angels and Lucifer find themselves at odds with a number of powerful deities from across the globe. This episode introduced viewers to gods from various pre-Christian religions as well as to the unique apocalyptic concepts attached to each. Dean and Sam unknowingly stumble into a hotel that the gods have renovated in order to trap the Winchester brothers, the chosen vessels for both Michael and Lucifer, and use them as leverage against their Judeo-Christian adversaries.
THE ELYSIAN FIELDS
The first clue that should have told the Winchesters something wasn’t quite right with the hotel was the name of the place: Elysian Fields. This is a reference to the green fields of Elysium, which in Greek mythology is said to be the dwelling place of those dead who were blessed and/or brave. Elysium was far different from the dark Greek underworld of the dead and home to the death god Hades where those who died violently or did not receive proper burial rights found themselves. In many respects, Elysium is about as close as one can get in finding a Greek equivalent of the Judeo-Christian concept of Heaven.
Interestingly enough, the word Elysium originally referred to a person or thing that had been struck by lightning. Since lightning was the tool of the mighty Zeus, lord of the Olympian pantheon, this may have been a way of saying that those who inhabit Elysium have been “touched by Zeus.” As with the underworld ruled by Hades, the Greeks considered Elysium to be a very real place that had its own geographical location. The Greeks believed that the world was encircled by an enormous river called Oceanus, which would have been located at the planetary equator. The ancient Greeks were ahead of the learning curve in that they believed the world was round (unlike what certain wildly inaccurate history books would have you believe). Greek myths commonly state that Elysium could be found on the farthest western banks of the river Oceanus.
Oceanus was created during the time of the Titans, which were giant, powerful, and often violent creatures that existed before the Greek gods. Most of them were destroyed by Zeus and his fellow Olympians. So the river Oceanus was not just a body of water but a living, breathing, sentient entity, and it is said to be the son of the Greek creation gods Uranus and Gaia. Oceanus is, in turn, the father of all sea nymphs, a race of beautiful female demigoddesses who often acted as the consorts of both gods and heroes alike.
Since Elysium was not located in Oceanus but on its farthest western banks, this would basically mean that Elysium was located on the “far side of the world”—a place that in ancient times was altogether unreachable, even for the most skilled of Greek sailors. One could not reach Elysium by traditional means of travel, making it different from the underworld where Greek heroes such as Odysseus were said to have traveled.
Elysium also had another sharp contrast when compared to the underworld—those who inhabit its fields are not spirits. At the moment of death, those chosen to dwell in Elysium were transported there in their own physical (and, presumably, now immortal) bodies. This idea, as you will see later on in this chapter, bears some similarities to the Teutonic concept of Valhalla, where the brave entertain themselves by slaughtering each other in daily combat, only to be healed and resurrected in its grand Mead Hall. Those who dwell in Hades do not have bodies to inhabit, and most Greek myths depict the inhabitants of the Necropolis (a Greek word meaning “city of the dead,” sometimes used to refer to the realm of the death god Hades) as sad and wandering shades.
While there are a number of different mythical portrayals of Elysium, the most widely accepted descriptions come from two prominent ancient Greek authors—Homer and Hesiod. Homer described Elysium as a lush green landscape where the weather was always perfect. Homer’s Elysium is a land without snow, storms, or rain (and yet it is thick with vegetation) and is the dwelling place of such Greek heroes as King Menelaus. He also claimed the inhabitants lived in physical bodies yet could not die. The land was kept in order by a ruler, King Rhadamanthus.
Hesiod described Elysium as fields found on the Islands of the Blessed. His portrayal of Elysium was similar to Homer’s. However, Hesiod claimed that it was ruled by the slain Titan known as Kronos (father of both Zeus and Poseidon, not only the two most powerful Olympian gods but also the ones who slew him) and that Rhadamanthus simply maintained th
e order of the island in the service of Kronos.
As already stated, even half-god heroes could not reach the distant shores of Elysium under their own steam. For that, they needed the help of a psychopomp, which is somewhat like a divine guide responsible for leading souls to the afterlife (if you just thought “Reaper,” give yourself a pat on the back). In Greek myth, one was ushered to an afterlife in either Hades or Elysium by the swiftest member of the Greco-Roman pantheon—Mercury (first known to the Greeks as Hermes).
MERCURY: CONCIERGE OF ELYSIAN FIELDS
I’m quick.
—MERCURY, “HAMMER OF THE GODS” (5-19)
Once you know a bit more about the Elysian Fields, it begins to make sense that Mercury would be running the show (behind the scenes, at least). After all, if Elysium was a hotel, then Mercury would certainly be the one manning the front desk. Even during his earlier Greek portrayals, Mercury was given the role of psychopomp and led the spirits of the chosen dead to the underworld realm of Hades or took them to be physically resurrected in the paradise of Elysium.
As with many of the Olympian gods, Mercury is a son of Zeus. Aside from being a psychopomp, Mercury’s second primary duty is as messenger/courier for the Olympian gods. He appears in a very large number of Greco-Roman myths, often bringing messages or gifts (such as special/magical weapons, armor, or items) to heroes from the gods who favor them. He also delivers commands to lesser deities or demigods from their leader, Zeus/Jupiter. For example, the Greek hero Odysseus was trapped on an island for seven years by the sea nymph Calypso, who kept him as a lover and refused to allow him to return to his wife, son, and kingdom in Ithaca. Odysseus is finally freed when Mercury arrives and delivers the orders of Zeus to Calypso that say she must free the hero.
Most of Mercury’s duties are related to service, which may explain why he is portrayed in Supernatural as the one doing all of the “grunt work.”
RAGNARÖK: THE PRE-CHRISTIAN APOCALYPSE OF NORTHERN EUROPE
I don’t know what everybody’s getting so worked up about. This is just a couple of angels having a slap fight. It’s no Ar- mageddon. Everybody knows that when the world comes to an end the great serpent Jormungandr rises up, and I myself will be eaten by a big wolf.
—ODIN, “HAMMER OF THE GODS” (5-19)
In “Hammer of the Gods,” the apocalyptic events that Odin describes are from myths of the Norse tradition. He is talking about Ragnarök, which is the Norse version of the Apocalypse. The Norse believed that the universe was held together by a cosmic tree called Yggsdrasil. As with most creation stories, the Norse primal myth has a tree involved. That’s right, the Judeo-Christian Tree of Knowledge of Good and Evil isn’t the only tree in primal mythology. In fact, there’s a multitude of such trees.
Yggsdrasil is an enormous tree (said to be an ash) that grows throughout all levels of existence, connecting them all together. From roots to top, Yggsdrasil connects these realms in the following order:
Nifelheim—Found at Yggsdrasil’s roots, Nifelheim is an underworld realm that is ruled by Hel, goddess of death. Some myths also say that the Three Daughters of Jotunheim reside here. The Jotunheim are an ancient race of giants, and these three daughters are the Norse equivalent of the Greek Fates. It is the Three Daughters of Jotunheim who are responsible for all suffering and misfortune in the world. Norse tradition also states that, until the arrival of these fates, the gods were content, kind, and productive.
Midgarth (also spelled Midgard or Middengard)—This area is located at the base of Yggsdrasil’s immense trunk. It is the realm of Middle Earth (yes, this is where Tolkien took the name for The Lord of the Rings and other books), and it is the land inhabited by human beings and animals.
Utgard—Located in the branches of Yggsdrasil, this is the land of elves and giants.
Asgard—Resting on the top of Yggsdrasil, this is the realm of the Aesir gods. Asgard should not be misinterpreted as the Norse equivalent of a Heaven. The Norse idea of Heaven is a place called Valhalla, ruled over by the most popular god of their mythical tradition—Odin.
Everything that lives must one day die, and even the mighty tree Yggsdrasil is not exempt from this absolute rule of existence. When Ragnarök finally occurs, every member of the Norse pantheon, the Aesir, will have to face an equally powerful being in a final battle. This meeting of such powerful opposing forces will result in mutual death for both sides, kind of like a rhino the size of a planet charging an equally sized elephant. No one survives Ragnarök, not even the powerful Aesir, and certainly not the human race they helped to create.
ODIN: NORSE GOD OF . . . WELL . . . JUST ABOUT EVERYTHING
Watch your mouth when you talk to me, boy!
—ODIN, “HAMMER OF THE GODS” (5-19)
In the oldest Norse traditions, the chief god was Tyr (also known as Thor). When Odin (which has alternative spellings such as Woden, Wotan, or Votan) was introduced to the Norse tradition, he quickly became the most popular god in the Norse pantheon and eventually replaced Tyr in status. The war-hammer-wielding Tyr eventually came to be portrayed as one of Odin’s sons.
Odin’s popularity led him to be seen as a god of just about every ability, trade, and trait that the Norse valued. The Norse considered Odin to be the wisest being in existence, both all-knowing and all-seeing. Among other things, Odin is the Norse god of war and battle, death, strategy, fatherhood, wisdom, knowledge, wealth, and poetry. He is also the god of mead, a potent wine of fermented honey and the alcoholic beverage of choice for Norse warriors.
Odin defies the usual mythological categories of gods. Usually, creators, destroyers, and psychopomps are portrayed by separate entities in polytheistic pantheons. However, Odin is all three. It was Odin (along with his siblings) who fashioned the realm of Midgard. It is also Odin who favors warriors in battle, making him a destroyer god. Last but not least, it is Odin who leads the souls of the brave and valiant dead to paradise. The Norse paradise is a place called Valhalla, where fallen warriors spend their days butchering each other in battle, their evenings drinking in an incredible Mead Hall, and their nights in bed with the most beautiful of maidens. Not a bad way to spend eternity.
Supernatural’s portrayal of Odin has a lot in common with his mythical descriptions. Odin is often physically portrayed in myths as a man of middle age. This was seen as an age of great wisdom at the time, because very few men survived to see the age of twenty. In art he is often shown sitting in the silver halls of Valhalla, on his throne called Hlidskialf. He has another throne located in the realm of Asgard, called Gladsheim, where he conducts meetings with the other Aesir gods. Similar to Zeus/Jupiter in the Greco-Roman pantheon, Odin is the lord of the Aesir (and pretty much the rest of the Norse pantheon). His hair is long and curly, and his chin is adorned with a long gray beard. His clothing is usually gray, and over his apparel he often wears a hooded blue cloak. His face or eyes are often concealed beneath the hood of his cloak or under an extremely wide-brimmed hat. On his arm is Draupnir, an arm ring that provides endless wealth to the wearer. In his hand he grips the spear named Gungnir, “Unwavering,” so named because it is endowed with a magical enchantment that causes it to always hit the intended target. The spear Gungnir was created by the members of a dwarf craftsman guild called the Sons of Ivaldi.
Odin’s most coveted tools, however, are absent from his portrayal in Supernatural—a pair of black ravens. One of the two ravens sits on either of his shoulders. These blackbirds give Odin a strategic edge above any other being in existence. One raven is called Hugin (Thought) and the other Munin (Memory). These two birds can whisper into Odin’s ears from their shoulder perches, not just in the form of words, but in thoughts, images, and memories as well, and can act as nearly infallible advisers in any situation. The first raven of Odin, Hugin, always speaks the truth into Odin’s ear. This means that if Odin is being tricked, lied to, or otherwise deceived, Hugin will allow him to know the truth. Odin’s second raven, Munin, allows Odin to recall any memory w
ith perfect accuracy, and not just his own memories but those of others as well. This means that Odin has access to any memory in existence. This allows him to understand the opinions, emotions, and points of view of others like no other Aesir.
Considering his impressive résumé, it is somewhat saddening to think of how easily Odin was taken out by Lucifer. It appears that he won’t be eaten by a giant wolf, after all.
Speaking of which, that “big wolf” is called Fenrir, and he is one mean, scary pooch (kind of like Crowley’s hellhound on steroids). In the final battles of Ragnarök, Odin and Fenrir will clash in battle. Odin will eventually be devoured, but Fenrir will not emerge victorious. The monstrous wolf will be killed in his attempt to swallow the powerful Odin. Fenrir, as with many other troublesome figures in the Norse tradition, is the offspring of the most problematic god among the Aesir—a trickster named Loki.
LOKI (AKA GABRIEL: PART 2)
You think I’d give Kali my real sword? That thing can kill me.
—LOKI/GABRIEL, “HAMMER OF THE GODS” (5-19)
Okay, technically speaking, the Norse god Loki is not a character on Supernatural. In “Hammer of the Gods” (5-19) the figure that the pre-Christian gods refer to as Loki is in actuality the archangel Gabriel. Loki is, however, the name of a powerful trickster in the Norse tradition. And the mythical tradition related to this figure offers some insight into why Gabriel chose Loki as his new identity.
The Mythology of Supernatural Page 15