The Ouroboros or Uroboros is an ancient symbol depicting a serpent or dragon eating its own
tail.
The Ouroboros often symbolizes self-reflexivity or cyclicality, especially in the sense of
something constantly re-creating itself, the eternal return, and other things such as the
phoenix which operate in cycles that begin anew as soon as they end.
It can also represent the idea of primordial unity related to something existing in or
persisting from the beginning with such force or qualities it cannot be extinguished.
While first emerging in Ancient Egypt, the Ouroboros has been important in religious
and mythological symbolism, but has also been frequently used in alchemical illustrations,
where it symbolizes the circular nature of the alchemist's opus.
It is also often associated with Gnosticism, and Hermeticism.
Carl Jung interpreted the Ouroboros as having an archetypal significance to the human psyche.
The Jungian psychologist Erich Neumann writes of it as a representation of the pre-ego "dawn
state", depicting the undifferentiated infancy experience of both mankind and the individual
child.
Historical representations Antiquity
In ancient Egypt, the scarab was viewed as a sign of eternal renewal and reemergence
of life, a reminder of the life to come.
The ancient Mayans and Aztecs also took a cyclical view of time.
In ancient Greece, the concept of eternal return was connected with Empedocles, Zeno
of Citium, and most notably in Stoicism.
Egypt
The first known appearance of the ouroboros motif is in the Enigmatic Book of the Netherworld,
an ancient Egyptian funerary text in KV62, the tomb of Tutankhamun, in the 14th century
BC.
The text concerns the actions of the god Ra and his union with Osiris in the underworld.
In an illustration from this text, two serpents, holding their tails in their mouths, coil
around the head and feet of an enormous god, who may represent the unified Ra-Osiris.
Both serpents are manifestations of the deity Mehen, who in other funerary texts protects
Ra in his underworld journey.
The whole divine figure represents the beginning and the end of time.
The ouroboros appears elsewhere in Egyptian sources, where, like many Egyptian serpent
deities, it represents the formless disorder that surrounds the orderly world and is involved
in that world's periodic renewal.
The symbol persisted in Egypt into Roman times, when it frequently appeared on magical talismans,
sometimes in combination with other magical emblems.
The 4th-century AD Latin commentator Servius was aware of the Egyptian use of the symbol,
noting that the image of a snake biting its tail represents the cyclical nature of the
year.
Greece Plato described a self-eating, circular being
as the first living thing—the universe as an immortal, mythologically constructed entity.
The living being had no need of eyes because there was nothing outside of him to be seen;
nor of ears because there was nothing to be heard; and there was no surrounding atmosphere
to be breathed; nor would there have been any use of organs by the help of which he
might receive his food or get rid of what he had already digested, since there was nothing
which went from him or came into him: for there was nothing beside him.
Of design he created thus; his own waste providing his own food, and all that he did or suffered
taking place in and by himself.
For the Creator conceived that a being which was self-sufficient would be far more excellent
than one which lacked anything; and, as he had no need to take anything or defend himself
against any one, the Creator did not think it necessary to bestow upon him hands: nor
had he any need of feet, nor of the whole apparatus of walking; but the movement suited
to his spherical form which was designed by him, being of all the seven that which is
most appropriate to mind and intelligence; and he was made to move in the same manner
and on the same spot, within his own limits revolving in a circle.
All the other six motions were taken away from him, and he was made not to partake of
their deviations.
And as this circular movement required no feet, the universe was created without legs
and without feet.
In Gnosticism, this serpent symbolized eternity and the soul of the world.
The Gnostic text Pistis Sophia describes the disc of the sun as a 12-part dragon with his
tail in his mouth.
Middle Ages
In Norse mythology, it appears as the serpent Jörmungandr, one of the three children of
Loki and Angrboda, who grew so large that it could encircle the world and grasp its
tail in its teeth.
In the legends of Ragnar Lodbrok, such as Ragnarssona þáttr, the Geatish king Herraud
gives a small lindworm as a gift to his daughter Þóra Town-Hart after which it grows into
a large serpent which encircles the girl's bower and bites itself in the tail.
The serpent is slain by Ragnar Lodbrok who marries Þóra.
Ragnar later has a son with another woman named Kráka and this son is born with the
image of a white snake in one eye.
This snake encircled the iris and bit itself in the tail, and the son was named Sigurd
Snake-in-the-Eye.
Alchemy
In alchemy, the Ouroboros is a sigil.
Swiss psychologist Carl Jung saw the Ouroboros as an archetype and the basic mandala of alchemy.
Jung also defined the relationship of the Ouroboros to alchemy:
The alchemists, who in their own way knew more about the nature of the individuation
process than we moderns do, expressed this paradox through the symbol of the Ouroboros,
the snake that eats its own tail.
The Ouroboros has been said to have a meaning of infinity or wholeness.
In the age-old image of the Ouroboros lies the thought of devouring oneself and turning
oneself into a circulatory process, for it was clear to the more astute alchemists that
the prima materia of the art was man himself.
The Ouroboros is a dramatic symbol for the integration and assimilation of the opposite,
i.e. of the shadow.
This 'feed-back' process is at the same time a symbol of immortality, since it is said
of the Ouroboros that he slays himself and brings himself to life, fertilizes himself
and gives birth to himself.
He symbolizes the One, who proceeds from the clash of opposites, and he therefore constitutes
the secret of the prima materia which [...] unquestionably stems from man's unconscious.
The famous Ouroboros drawing from the early alchemical text The Chrysopoeia of Cleopatra
dating to 2nd century Alexandria encloses the words hen to pan, "one is the all".
Its black and white halves represent the Gnostic duality of existence.
As such, the Ouroboros could be interpreted as the Western equivalent of the Taoist Yin-Yang
symbol.
The Chrysopoeia Ouroboros of Cleopatra the Alchemist is one of the oldest images of the
Ouroboros to be linked with the legendary opus of the Alchemists, the Philosopher’s
Stone.
As a symbol of the eternal unity of all things, the cycle of birth and death from which the
alchemist sought release and liberation, it was familiar to the alchemist/physician Sir
Thomas Browne.
In his A Letter to a Friend, a medical treatise full of case-histories and witty speculations
upon the human condition, he wrote of it:
[...] that the first day should make the last, that the Tail of the Snake should return into
its Mouth precisely at that time, and they should wind up upon the day of their Nativity,
is indeed a remarkable Coincidence,
Chemistry
August Kekulé described the eureka moment when he realized the structure of benzene:
I was sitting, writing at my text-book; but the work did not progress; my thoughts were
elsewhere.
I turned my chair to the fire and dozed.
Again the atoms were gamboling before my eyes.
This time the smaller groups kept modestly in the background.
My mental eye, rendered more acute by the repeated visions of the kind, could now distinguish
larger structures of manifold conformation: long rows, sometimes more closely fitted together;
all twining and twisting in snake-like motion.
But look!
What was that?
One of the snakes had seized hold of its own tail, and the form whirled mockingly before
my eyes.
As if by a flash of lightning I awoke; and this time also I spent the rest of the night
in working out the consequences of the hypothesis.
Kundalini Yoga Ouroboros symbolism has been used to describe
Kundalini energy.
According to the second century Yoga Kundalini Upanishad, "The divine power, Kundalini, shines
like the stem of a young lotus; like a snake, coiled round upon herself she holds her tail
in her mouth and lies resting half asleep as the base of the body".
Another interpretation is that Kundalini equates to the entwined serpents of the caduceus,
the entwined serpents representing medicine in the west or, esoterically, human DNA.
Non-western traditions It is a common belief among indigenous people
of the tropical lowlands of South America that waters at the edge of the world-disc
are encircled by a snake, often an anaconda, biting its own tail.
Figurative use
The image of Ouroboros is used by Jadran Mimica in his analysis of the Yagwoia psychology
and worldview.
E.g.
"this is the archetypal, cosmic tree of life^death whose structural determination is ouroboric
because, like the serpent that eats its own tail, this tree grows in-through-and-out-of-itself,
ad infinitum."
In the media On the TV series X-Files in the episode "Never
Again", Scully has an Ouroboros tattooed on her back to symbolize a new beginning in her
life, after resolving to end her cycle of dependence on father figures.
In the Japanese anime and manga series Fullmetal Alchemist, the homunculi bear Ouroboros tattoos
on parts of their bodies related to the sins they represent.
Gluttony's tattoo is located on his tongue, and Lust's tattoo is located on her sternum,
just above her breasts.
In the 2003 anime and film, Conqueror of Shambala, the homunculus Envy transforms into a serpentine
dragon that resembles the Ouroboros.
The symbol is also prominently displayed and discussed in the Netflix original series "Hemlock
Grove."
See also
Notes and references
Bibliography Bayley, Harold S, New Light On the Renaissance,
Kessinger . Hornung, Erik, The Secret Lore of Egypt: Its
Impact on the West, Cornell University Press . References
External links The Ouroboros Society, founded 1923