The accounts are similar in that they both describe the creation of animals, plants, and humans. But they are distinct in several ways and even contradict each other on key issues. For example, though the stories describe some of the same events, they order them differently.
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. 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 An analysis of the two versions of the myth of creation 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.
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. 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: 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. 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.
Types of cosmogonic myths The world as a structure of meaning and value has not appeared in the same manner to all human civilizations. There are, therefore, almost as many cosmogonic myths as there are human cultures. Until quite recently, the classification of these myths on an evolutionary scale, from the most archaic cultures to contemporary Western cultures i.
Recent 20th-century scholars, however, have begun to look at the various types of myths in terms of the structures that they reveal rather than considering them on an evolutionary scale that extends from the so-called simple to the complex, for, in a sense, there are no simple myths regarding the beginning of the world.
The beginning of the world is simultaneously the beginning of the human condition, and it is impossible to speak of this beginning as if it were simple.
Creation by a supreme being The 19th-century scholars who took an evolutionary survey of human culture and religion e. Andrew Langa Scottish folklorist, challenged this conception of the development of religious ideas, for he found in the writings of anthropologists, ethnologists, and travellers evidence of a belief in a supreme being or high god among cultures that had been classified as the most primitive.Genesis stresses that creation was/is an orderly process requiring Divine intelligence and power.
The end of both creation stories show that the pinnacle of creation is the human which starts to prepare us for the Incarnation — even before the description of the fall in Genesis.
Fall of Man, by Titian, / Public Domain.
Courtesy of Wikipedia. The first book of the Old Testament is the Book of leslutinsduphoenix.com it is an account of the creation of the world by God in 6 days.
That version of the creation was taken largely from Hesiod, a Greek poet of the seventh century B.C.. But here is an earlier story by way of contrast.
Eurynome, the goddess of all creation, arose from Chaos and separated the sea from the sky. The similarities between the two myths lead to the conclusion that Heracles Eleventh Labor along with the second portion of Genesis are not typical creation myths.
The myth itself is not so much a creation myth as it serves a greater purpose than to tell how the world and man came to exist. Genesis stresses that creation was/is an orderly process requiring Divine intelligence and power. The end of both creation stories show that the pinnacle of creation is the human which starts to prepare us for the Incarnation — even before the description of .
Although two small rebellions attempt to remove Zeus and his siblings from power, the gods establish themselves as the new rulers of the universe. Analysis. This creation story sets a foundation for the Greek myths.
With this history established, Zeus and his siblings are clearly the ruling powers on Mount Olympus.