The idea that some of the Ancient Greek myths, specifically those which denigrate and demoralize the Ancient Greek elite, originated from a foreign (Semitic) genetic cluster was first proposed by Mark Brahmin. Most notably, the cults of Kronos, Prometheus, Hephaestus, and Dionysus emerge as the most salient examples of foreign subversion. This essay expands on this idea and demonstrates that these foreign myths stand on the opposite side of a cyclical dialectic against canonical myths of Greek origin.
Therefore, any student of Greek mythology should bear in mind that, unlike the Torah or the Prose Edda (of “Norse” mythology) which were written by jews from start to finish, the Greek myths were developed piece by piece, beginning with the myth of Uranus. With every myth of Greek origin, a Semitic or proto-jewish myth was developed in response. The Indo-European Uranus was responded with the Semitic Kronos. In turn, the Indo-European Zeus was developed to re-assert Greek dominance, but that elicited a response in the form of the Semitic Prometheus.
In essence, there is a culture war taking place between Greeks and Semitic proto-jews, where Greeks assert their ancestral Gods as morally righteous and victorious, while proto-jewish myths assert the morality of wandering outcasts who often fulfill the role of a sacrificial messiah that saves the down-trodden. To regard a proto-jewish myth like that of Kronos, Prometheus, or even Hercules, as “Greek” is to defame the Ancient Greeks.
In Hegelian dialectics, we are confronted with the thesis / antithesis model: the antithesis negates the thesis and resolves with a comprehensive synthesis of the two. The cyclical nature of the dialectic in Greek myth will be a crucial theme throughout this study, as it explains how self-abasing myths became canonical, thereby leading contemporary researchers to misidentify them as Greek and, later on, Roman. Indeed, this dialectical process likely precedes the Greeks all the way back to, at least, Sumer. For reference, see the evidence in support of the Sumerian Origin Hypothesis.
Like Sumerian mythology, we must assume that Greek mythology, as we know it, is a final subverted version of an initial canon which has been revised and expanded upon by numerous dialectical cycles. If every dialectical cycle results in a more demoralizing synthesis, then it can only be the case that, with each earlier version, we find a more moralizing thesis.
The general tree-like structure of Greek mythology should be noted. The trunk of this tree is comprised of the stories of Uranus, then Zeus, and finally Apollo. At every stage of this trunk, there may be side-stories of adjacent characters appended representing branches. To demonstrate the dialectic and the historical tendency towards demoralization, let’s analyze Greek mythology in chronological order. While the focus of this analysis is on the trunk, the same dialectic appears in every branch, as well.
The Primordial Deities
Uranus, the 1st Greek Sky Father
The story begins with Chaos which contains a meaningless mixture of all of the elements that would form the universe. This Chaotic period is said to have lasted many ages. Already, we can identify the Semitic properties of Chaos: non-representation, abstraction, mixture, and temporal cycles.
From this Chaos emerged the fertile Gaia, a primordial Goddess. Gaia gave birth to Earth, and several primordial deities who personify components of Earth. As this story progresses, we observe a move away from the Chaotic; meaning is introduced, the abstract is made concrete, and the mixture is being unmixed and purified. Thanks to Gaia, the Indo-European is gaining ground at the expense of the Semitic, a trend which confirms Gaia as an Indo-European archetype and continues with the birth of Uranus (“sky”) who personifies the reign of heaven over everything.
Uranus takes Gaia as his wife and, with their offspring, Uranus becomes the storyline’s first father figure – a Sky Father (Deus Pater). Evidently, we have our first instance of a deity who inherits the traits of the Yamnaya‘s Sky Father – *Dyḗus ph₂tḗr. Myth comparison suggests that Uranus is a later version of the Sky Father of the proto-Greeks in the pre-Hellenic period preceding their conquest of Greece.
The Populist Revolt of Kronos
However, the prevailing understanding of Greek mythology asserts that the story continues. As we shall see, the remainder of this story is a Semitic appendix to a story which, in its inception, originally ended with the supremacy of Uranus.
As per contemporary understanding, the story continues with Gaia giving birth to a number of ugly deformed creatures as well as a new generation of powerful beings called Titans. Uranus began to fear the Titans, worried he would lose his throne. So he hid his children in Gaia’s womb.
The Titans beat the walls of Gaia’s womb, resulting in immense pain. Failing to tolerate her situation, Gaia decided to conspire against Uranus, plotting to overthrow him. She pleaded with her children to rise up against Uranus, but only Kronos was willing to champion Gaia’s cause. Here, Kronos was given a scythe – a symbol of harvest (i.e. the gather of mature crops for consumption).
Using his scythe to strike, Kronos then castrated Uranus whose blood painted the sky red. Uranus’ testes were then thrown into the ocean, which spawned numerous deities; this detail was likely appended to the story to explain the emergence of Gods which appear in myths developed later in Greek history. Finally, Kronos returns to free his imprisoned brothers, as the hero of an underclass revolt. With his victory, Kronos is hailed as the new ruler.
Let’s examine the symbolism. Essentially, Kronos is a messianic figure, a savior who ushers in a new era where the last (his undesirable brothers) finish first and the first (the Indo-European Uranus) finish last. Moreover, Kronos’ use of the scythe symbolizes the consumption of an Indo-European era.
Let’s consider this appendix for a moment. Why would the Greeks willingly emasculate their own Sky Father, in mythology? Evidently, the cult of Kronos is a foreign antithesis to the Greek thesis of Uranus and, together, they form a dialectic. To claim that the Greek elites willingly undermined the culture they created is to claim that they undermined their own power and sexual access. The claim is not supported by evolutionary science.
To the contrary, the cult of Kronos is strongly associated with the jewish island of Crete, as per Cretan archaeological finds. This corroborates the genetic continuity between proto-jewish peoples who predate judaism and those we now know as jews. It also proves a philomemetic continuity between Kronos and the modern Yahweh.
The fact remains that, eventually, the myth of Kronos was successfully appended to the canon. The only way to explain its canonization is that the proto-jewish originators of the cult of Kronos became powerful, such that at a later, more decadent stage of history, it became the dominant cult. In other words, it would have been socially advantageous to be part of the cult of Kronos and socially costly to be of a different cult. I speculate that the technique of maliciously weaponizing words like “antisemitism” might have occurred in that period where Kronos was dominant, presumably being labelled something akin to a “kronophobe”; I don’t believe there is any specific evidence of the latter’s usage, but the etymology is congruent with the idea of “one who fears or hates the new era” (read: fears or hates proto-jews) and, in any case, the word is symbolically and mythologically equivalent to “antisemite”.
Reign of the Olympians
The Supremacy of Zeus
Now that the Greeks found themselves in a decadent period of history, they decided that it was time to overthrow Kronos: Greek elites sought to return as the dominant cultural power of Greece. Once the cult of Kronos reached its dominance, it became impossible to deny Kronos. The next best option was to append their mythic ascendancy, just as the proto-jews did before them when Uranus was dominant. Alas, the story continues with a 2nd appendix, only this time, of Greek origin. Hence, the story of Zeus (“bright” or “shining”), the 2nd Greek Sky Father, emerges as a synthesis to the Greco-Semitic dialectic of Uranus and Kronos; it marks the beginning of a new dialectical cycle.
Intelligently, the story of Zeus begins by retroactively appending details to the story of Kronos. In the story of Zeus, Kronos freed his brothers, except for the Hundred-Handers and Cyclops. The spirit of Uranus appears before Kronos and prophesizes that he, too, will be overthrown by one of his sons. Willing to do anything to prevent this fate, Kronos devoured (consumed) his offspring which he sprung with Rhea.
After seeing so many of her babies devoured, Rhea devised a plan to save her next baby. Rhea hid in a cave on the proto-jewish island of Crete; again, it should be noted that the author’s choice of Zeus’ birthplace was likely deliberate and symbolically significant. There, she quietly gave birth to Zeus. In an act of trickery, Rhea wrapped a stone in a cloth and gave it Kronos who swallowed it without hesitation, thus saving Zeus.
On the island of Crete, Zeus grew to adulthood where he was eventually visited by the Goddess Metis (“skill” or “craft”) who gave Zeus an emetic potion along with news of the fate of his brothers, who were stuck in the stomach of Kronos. Zeus then disguised himself and traveled to Kronos, where Zeus offered him the potion promising that it was a delicacy. Feeling nauseous, Kronos vomited out Hestia, Hera, Demeter, Hades, and Poseidon.
Having released his relatives, Zeus then setup his headquarters on Mount Olympus where he would lead the war against the Titans – the Titanomachy. Kronos summoned his Titan army with Atlas as its general. The battle took place on the plains of Thessaly, where the Titans had the upper hand. Aware of Titan power, Zeus freed the Cyclops to serve as reinforcements.
As a gesture of gratitude, they produced formidable weapons for the Olympian Gods, such as Zeus’ famous lightning bolts, Poseidon’s trident, and Hades’ invisibility cap. After 10 years of intense fighting, the balance of power favored the Titans. To gain the upper hand, Zeus freed the Hundred-Handers. Finally, he gathered all of his power into a single lightning bolt which struck Kronos’ head; the impact shook the universe and won Zeus the war.
Now, the Titans were subdued and made an example of. They were sent to Tartarus where the Hundred-Handers would serve as their jailers. The Titan general Atlas was condemned to bear the weight of the world on his shoulders indefinitely. Here, Indo-European eternity triumphs over the Semitic cycle of time.
Again, we find ourselves with a similar question: why would proto-jews allow Zeus to enter the canon? They wouldn’t. Here, we find evidence of a historical period of Greek ascendancy whose return to power imposes a new canon which includes the supremacy of Zeus.
The Weaselry of Prometheus
By now, it should be fairly predictable that the appendix of the Semitic Titan Prometheus to Zeus’ story is the antithesis in a 2nd dialectical cycle. Thus, the story continues with the Titan Prometheus who can see the future.
Having predicted the Olympian victory in the Titanomachy, Prometheus refused to oppose Zeus in the war. As such, Zeus spared him from imprisonment in Tartarus. When the war ended, Zeus ordered Prometheus and his brother, Epimetheus, to populate the land with diverse animals. Epimetheus would produce the animals from raw materials and Prometheus would give each species its talents.
By the time they got to humans, there were no talents left. These humans were in a pathetic state, fearing animals, hiding in caves, tormented by cold and darkness, and feeding off of the unwanted fruit left on the ground. Athena suggested to Prometheus to introduce fire to humanity. At dusk, Prometheus headed to Helios’ carriage which was waiting for a new dawn. Thus, Prometheus lit a fire and gave it to humans and this allowed them to develop rapidly. From tools to weapons, humans developed and wielded these to dominate nature; this made Prometheus happy. Symbolically, the fire, used as a technology, represents a source of proto-jewish power. Prometheus is thus empowering the down-trodden.
Zeus declared that humans must honor the Gods by offering sacrifices. However, Prometheus, being the weasel that he is, interfered to prevent humans from doing so through cunning and deception. Here, we encounter a mythic iconoclast (a popular practice in Abrahamic history). Evidently, Prometheus regards the honor of ancestral Gods (idol worship) with the same attitude as Yahweh.
Prometheus demanded that a bull be sacrificed to the gods. He ordered humans to split the sacrifice into 2 piles. The smaller pile consisted of the best meats covered by the skin while the larger pile consisted of bones and organs wrapped in fat.
Prometheus devised this setup to trick Zeus into choosing the less valuable pile, saving the more valuable one for man. Realizing he had been deceived, Zeus took fire from humanity. This prompted Prometheus to steal the sacred fire from the forges of Hephaestus and give it back to man.
With fire re-established, the flames lit at night attracted Zeus’ attention and his fury sparked him to punish Prometheus by chaining him to a Caucasian rock (hanging like on a crucifix), where a bird would come poke a hole through the side of his torso (like Jesus) to eat his liver. His liver would regenerate only to be eaten again on a daily basis.
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After years of suffering, Zeus came down to Earth to offer Prometheus clemency in exchange for a promise to hide the knowledge of fire from man. Prometheus rejected the offer, opting instead to sacrifice himself to save his creation – mankind. We have a continued reminiscence with Jesus, one that is not coincidental given the Semitic author(s) of this myth.
When Prometheus had stolen the fire, he had anticipated the punishment that would come his way, which meant that his brother and humanity were in danger. He advised Epimetheus not to accept any gift from the Gods so that humans can be safe.
Zeus ordered Hephaestus to nurture the first woman – Pandora. The Gods gave her various gifts, such as beauty, the power of the word, clothing, and jewelry. The gift of Zeus consisted of a beautiful box that was meant for humans; Pandora’s only condition was not to open it. Zeus then ordered Hermes to deliver the now-magnificent Pandora to Epimetheus as a gift. Infatuated, Epimetheus forgot his brother’s advice and accepted Zeus’ gift.
Once in Epimetheus’ palace, Pandora pondered about the contents of Zeus’ box. Overwhelmed by curiosity, she opened the box, unleashing its contents. A black Mist escaped the box, containing all of the evils that Prometheus had kept from man. Until then, man was a pure and happy being in a golden age with no needs or conflicts. Thanks to Zeus, cruelty, greed, disease, and hunger were now introduced to man. Here, we see that Zeus and, by extension, Greeks / Indo-Europeans are defamed, by the Semitic authors, as the cause of everything wrong with the world.
At the bottom of the box, Pandora found Hope which gives man the strength to not commit suicide in the face of Indo-European evil and obstacles. Symbolically, we are to understand Hope as the down-trodden’s survival mechanism against the Indo-European elite (the oppressor).
At this stage of Greek history, we see that a number of mythic branches are formed. But which of these is the continuation of the trunk? To answer this, let’s consider the following.
Historically, the eldest son is an Indo-European identifier and a beneficiary of primogeniture – a Noble practice as the cause of revolts in the late Ancient Greek city-states. From the myths, it is clear that Hephaestus and Ares are the older brothers of Apollo. Yet, it is unclear which of the two are older.
That being said, there are accounts of Hephaestus which paint him as a miracle baby of Hera’s virgin birth. This account of Hephaestus appears to be more symbolically consistent with his Semitic features – an exiled wanderer and fire God like Yahweh. Just as Yahweh impregnated Abraham’s wife Sarah and Joseph’s wife Mary, this account of Hephaestus also implies cuckoldry. Thus, Hephaestus is not the son of Zeus.
This leaves us with Ares. However, the myths of Ares are not flattering to an eldest son. Indeed, one finds that our perception of Ares in late Ancient Greece might be our view of a once-honored God who has been defamed and humbled by proto-jewish antitheses. To corroborate this, we can look at the myth of his dalliance with Aphrodite who cheats on Hephaestus in favor of Ares – perhaps, a failed attempt to restore respect for the God of war on the part of the Greeks. Interestingly, a clear origin story of Ares seems to be lacking. One may further speculate that it may have been the subject of an iconoclasm (who knows). Either way, it is clear that the myth of Ares failed to take hold as a successful appendix to the trunk of Greek mythology.
Thus, one must wonder if the myth of Apollo was an attempt to re-establish a respectable eldest son figure, after having failed to do so with Ares. Indeed, the cult of Apollo did eventually become dominant. As such, Apollo appears to be the final piece of the trunk, even if the tree itself does not end with Apollo.
At this stage, we see that the trunk ends and we are left only with branches, some of which are meant to humble Apollo. These include his rejection by Daphne and the defeat of his patron city of Troy (in the Iliad). On this point, one must wonder if the rise of Greek tragedy (e.g. Iliad) was a cultural Trojan Horse by proto-jews.
We know, for example, that the theme of scapegoating is pervasive throughout the Abrahamic texts. It must, therefore, be of relevance that the word “tragedy” has its roots in ancient Greek, derived from the words:
- Tragos (τράγος): This word means “goat.” The connection to tragedy is often linked to the ritualistic and religious aspects of early Greek drama, which involved choral songs and might have originally been performed during festivals where goats were sacrificed. Some theories suggest that the term could have referred to a “goat song” or a song performed in exchange for a goat, which was a prize in ancient Greek festivities.
- Ode (ᾠδή): This word means “song.” In the context of Greek drama, an ode was a form of lyrical verse that was sung.
Thus, “tragedy” essentially combines these elements to mean “goat song”. That the word “goat” is used in reference to goat sacrifice, a ritualistic metaphor for scapegoating the Indo-European.
Finally, we enter the Roman stage of Greek history, where the Greek Gods are being syncretized into the Roman Pantheon. It is noteworthy that the Romans essentially provided little historical background on their Gods while placing a greater emphasis on their archetypes in themselves.
Could it be that the Roman elite conducted an autopsy of Greece’s downfall? Based on the existence of ancient Interpretatio Romana, it is likely. One does not simply look at the Greeks and think “surely, that won’t happen to us”. To that end, one can suppose that a set of prescriptions were made to prevent that outcome and that perhaps these prescriptions were incorporated into Roman religion thereby obfuscating or deemphasizing the Gods’ background stories.
Another one of these may have been the suppression of cthonic mystery cults, such as the cult of the Semitic Bacchus whose festival, the Bacchanalia, was eventually banned. To contrast, the cult of Dionysius (the Greek Bacchus) did not suffer such a fate under the Greeks, wherein the festival of Dionysia was, at one point, the second largest of them all.
Thus, these Roman prescriptions made it difficult for proto-jewish culture creators to resume the dialectic or to be as successful with their antitheses. As such, the inability to successfully contribute to existing Roman lore, in the same manner as with the Greeks, might (partly) explain the proto-jewish impetus to create an independent myth body – the Torah.