Lumawig the Great Spirit - Igorot. Lumawig was the Great Spirit before the earth had any people. A creation myth or creation story is a symbolic narrative of a culture, tradition or people that describes their earliest beginnings, how the world they know began and how they first came into it. Creation myths develop in oral traditions, and are the most common form of myth, found throughout human culture.
- Types of cosmogonic myths
- Doctrines of creation
- Basic mythical themes
- Theological and philosophical doctrines
- Skepticism regarding creation
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Join Britannica's Publishing Partner Program and our community of experts to gain a global audience for your work! Charles H. LongCreation myth, also called cosmogonic myth, philosophical and theological elaboration of the primal myth of creation within a religious community. The term myth here refers to the imaginative expression in narrative form of what is experienced or apprehended as basic reality (see alsomyth). The term creation refers to the beginning of things, whether by the will and act of a transcendent being, by emanation from some ultimate source, or in any other way.
Nature and significance
Creationall About Myths Coronavirus
The myth of creation is the symbolic narrative of the beginning of the world as understood by a particular community. The later doctrines of creation are interpretations of this myth in light of the subsequent history and needs of the community. Thus, for example, all theology and speculation concerning creation in the Christian community are based on the myth of creation in the biblical book of Genesis and of the new creation in Jesus Christ. Doctrines of creation are based on the myth of creation, which expresses and embodies all of the fertile possibilities for thinking about this subject within a particular religious community.
Myths are narratives that express the basic valuations of a religious community. Myths of creation refer to the process through which the world is centred and given a definite form within the whole of reality. They also serve as a basis for the orientation of human beings within the world. This centring and orientation specify humanity’s place in the universe and the regard that humans must have for other humans, nature, and the entire nonhuman world; they set the stylistic tone that tends to determine all other gestures, actions, and structures in the culture. The cosmogonic (origin of the world) myth is the myth par excellence. In this sense, the myth is akin to philosophy, but, unlike philosophy, it is constituted by a system of symbols; and because it is the basis for any subsequent cultural thought, it contains rational and nonrational forms. There is an order and structure to the myth, but this order and structure is not to be confused with rational, philosophical order and structure. The myth possesses its own distinctive kind of order.
Myths of creation have another distinctive character in that they provide both the model for nonmythic expression in the culture and the model for other cultural myths. In this sense, one must distinguish between cosmogonic myths and myths of the origin of cultural techniques and artifacts. Insofar as the cosmogonic myth tells the story of the creation of the world, other myths that narrate the story of a specific technique or the discovery of a particular area of cultural life take their models from the stylistic structure of the cosmogonic myth. These latter myths may be etiological (i.e., explaining origins); but the cosmogonic myth is never simply etiological, for it deals with the ultimate origin of all things.
The cosmogonic myth thus has a pervasive structure; its expression in the form of philosophical and theological thought is only one dimension of its function as a model for cultural life. Though the cosmogonic myth does not necessarily lead to ritual expression, ritual is often the dramatic presentation of the myth. Such dramatization is performed to emphasize the permanence and efficacy of the central themes of the myth, which integrates and undergirds the structure of meaning and value in the culture. The ritual dramatization of the myth is the beginning of liturgy, for the religious community in its central liturgy attempts to re-create the time of the beginning.
From this ritual dramatization the notion of time is established within the religious community. To be sure, in most communities there is the notion of a sacred and a profane time. The prestige of the cosmogonic myth establishes sacred or real time. It is this time that is most efficacious for the life of the community. Dramatization of sacred time enables the community to participate in a time that has a different quality than ordinary time, which tends to be neutral. All significant temporal events are spoken of in the language of the cosmogonic myth, for only by referring them to this primordial model will they have significance.
In like manner, artistic expression in archaic or “primitive” societies, often related to ritual presentation, is modelled on the structure of the cosmogonic myth. The masks, dances, and gestures are, in one way or another, aspects of the structure of the cosmogonic myth. This meaning may also extend to the tools that people use in the making of artistic designs and to the precise technique they employ in the craft.
Mention has been made above of the fact that the cosmogonic myth situates humankind in a place, in space. This centring is at once symbolic and empirical: symbolic because through symbols it defines the spatiality of human beings in ontological terms (of being) and empirical because it orients them in a definite landscape. Indeed, the names given to the flora and fauna and to the topography are a part of the orientation of humans in a space. The subsequent development of language within a human community is an extension of the language of the cosmogonic myth.
List Of Creation Myths
The initial ordering of the world through the cosmogonic myth serves as the primordial structure of culture and the articulation of the embryonic forms and styles of cultural life out of which various and differing forms of culture emerge. The recollection and celebration of the myth enable the religious community to think of and participate in the fundamentally real time, space, and mode of orientation that enables them to define their cultural life in a specific manner.
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In the beginning, there was only Chaos, the gaping emptiness. Then, either all by themselves or out of the formless void, sprang forth three more primordial deities: Gaea (Earth), Tartarus (the Underworld), and Eros (Love). Once Love was there, Gaea and Chaos – two female deities – were able to procreate and shape everything known and unknown in the universe.
The Children of Chaos and Gaea
Chaos gave birth to Erebus (Darkness) and Nyx (Night). Erebus slept with his sister Nyx, and out of this union Aether, the bright upper air, and Hemera, the Day, emerged. Afterward, feared by everyone but her brother, Night fashioned a family of haunting forces all by herself. Among others, her children included the hateful Moros (Fate), the black Ker (Doom), Thanatos (Death), Hypnos (Sleep), Oneiroi (Dreams), Geras (Old Age), Oizus (Pain), Nemesis (Revenge), Eris (Strife), Apate (Deceit), Philotes (Sexual Pleasure), Momos (Blame), and the Hesperides (the Daughters of the Evening).
Creation Myths About Earth
Meanwhile, Gaea gave birth to Uranus, the Starry Sky. Uranus became Gaea's husband, surrounding her from all sides. Together, they produced three sets of children: the three one-eyed Cyclopes, the three Hundred-Handed Hecatoncheires, and the twelve Titans.