E. Walter Maunder

As we have just shown, the constellations evidently were designed long before the earliest books of the Old Testament received their present form. But the first nine chapters of Genesis give the history of the world before any date that we can assign to the constellations, and are clearly derived from very early documents or traditions.

When the constellations are compared with those nine chapters, several correspondences appear between the two; remarkable, when it is borne in mind how few are the events that can be plainly set forth in a group of forty-eight figures on the one hand, and how condensed are the narratives of those nine chapters on the other.

Look at the six southern constellations (see pp. 164, 165) which were seen during the nights of spring in that distant time. The largest of these six is a great Ship resting on the southern horizon. Just above, a Raven is perched on the stretched-out body of a reptile. A figure of a Centaur appears to have just left the Ship, and is represented as offering up an animal on an Altar. The animal is now shown as a Wolf, but Aratus, our earliest authority, states that he did not know what kind of animal it was that was being thus offered up. The cloud of smoke from the Altar is represented by the bright coiling wreaths of the Milky Way, and here in the midst of that cloud is set the Bow—the bow of Sagittarius, the Archer. Is it possible that this can be mere coincidence, or was it indeed intended as a memorial of the covenant which God made with Noah, and with his children for ever?—"I do set My bow in the cloud, and it shall be for a token of a covenant between Me and the earth."

Close by this group was another, made up of five constellations. Towards the south, near midnight in spring, the observer in those ancient times saw the Scorpion. The figure of a man was standing upon that venomous beast, with his left foot pressed firmly down upon its head; but the scorpion's tail was curled up to sting him in the right heel. Ophiuchus, the Serpent-holder, the man treading on the Scorpion, derives his name from the Serpent which he holds in his hands and strangles; the Serpent that, as we have seen in the preceding chapter, marked the autumnal colure. The head of Ophiuchus reached nearly to the zenith, and there close to it was the head of another hero, so close that to complete the form of the two heads the same stars must be used to some extent twice over. Facing north, this second hero, now known to us as Hercules, but to Aratus simply as the "Kneeler," was seen kneeling with his foot on the head of the great northern Dragon. This great conflict between the man and the serpent, therefore, was presented in a twofold form. Looking south there was the picture of Ophiuchus trampling on the scorpion and strangling the snake, yet wounded in the heel by the scorpion's sting; looking north, the corresponding picture of the kneeling figure of Hercules treading down the dragon's head. Here there seems an evident reference to the word spoken by God to the serpent in the garden in Eden: "I will put enmity between thee and the woman, and between thy seed and her Seed; It shall bruise thy head, and thou shalt bruise His heel."

THE MIDNIGHT CONSTELLATIONS OF SPRING, B.C. 2700.ToList

These two groups of star-figures seem therefore to point to the two great promises made to mankind and recorded in the early chapters of Genesis; the Promise of the Deliverer, Who, "Seed of the woman," should bruise the serpent's head, and the promise of the "Bow set in the cloud," the pledge that the world should not again be destroyed by a flood.

One or two other constellations appear, less distinctly, to refer to the first of these two promises. The Virgin, the woman of the zodiac, carries in her hand a bright star, the ear of corn, the seed; whilst, immediately under her, the great Water-snake, Hydra, is drawn out at enormous length, "going on its belly;" not writhing upwards like the Serpent, nor twined round the crown of the sky like the Dragon.

Yet again, the narrative in Genesis tells us that God "drove out the man" (i. e. Adam), "and He placed at the east of the garden of Eden the cherubim, and the flame of a sword which turned every way, to keep the way of the tree of life." No description is given of the form of the cherubim in that passage, but they are fully described by Ezekiel, who saw them in vision when he was by the river Chebar, as "the likeness of four living creatures." The same beings were also seen in vision by St. John, and are described by him in the Apocalypse as "four living creatures" (Zoa). "The first creature was like a lion, and the second creature like a calf, and the third creature had a face as of a man, and the fourth creature was like a flying eagle." Ezekiel gives a fuller and more complex description, but agreeing in its essential elements with that given by the Apostle, and, at the close of one of these descriptions, he adds, "This is the living creature that I saw under the God of Israel by the river of Chebar; and I knew that they were cherubim"—no doubt because as a priest he had been familiar with the cherubic forms as they were embroidered upon the curtains of the Temple, and carved upon its walls and doors.

The same four forms were seen amongst the constellation figures; not placed at random amongst them, but as far as possible in the four most important positions in the sky. For the constellations were originally so designed that the sun at the time of the summer solstice was in the middle of the constellation Leo, the Lion; at the time of the spring equinox in the middle of Taurus, the Bull; and at the time of the winter solstice, in the middle of Aquarius, the Man bearing the waterpot. The fourth point, that held by the sun at the autumnal equinox, would appear to have been already assigned to the foot of the Serpent-holder as he crushes down the Scorpion's head; but a flying eagle, Aquila, is placed as near the equinoctial point as seems to have been consistent with the ample space that it was desired to give to the emblems of the great conflict between the Deliverer and the Serpent. Thus, as in the vision of Ezekiel, so in the constellation figures, the Lion, the Ox, the Man, and the Eagle, stood as the upholders of the firmament, as "the pillars of heaven." They looked down like watchers upon all creation; they seemed to guard the four quarters of the sky.

If we accept an old Jewish tradition, the constellations may likewise give us some hint of an event recorded in the tenth chapter of Genesis. For it has been supposed that the great stellar giant Orion is none other than "Nimrod, the mighty hunter before the Lord," and the founder of the Babylonian kingdom; identified by some Assyriologists with Merodach, the tutelary deity of Babylon: and by others with Gilgamesh, the tyrant of Erech, whose exploits have been preserved to us in the great epic now known by his name. Possibly both identifications may prove to be correct. More than one third of the constellation figures thus appear to have a close connection with some of the chief incidents recorded in the first ten chapters of Genesis as having taken place in the earliest ages of the world's history. If we include the Hare and the two Dogs as adjuncts of Orion, and the Cup as well as the Raven with Hydra, then no fewer than twenty-two out of the forty-eight are directly or indirectly so connected. But the constellation figures only deal with a very few isolated incidents, and these are necessarily such as lend themselves to graphic representation. The points in common with the Genesis narrative are indeed striking, but the points of independence are no less striking. The majority of the constellation figures do not appear to refer to any incidents in Genesis; the majority of the incidents in the Genesis narrative find no record in the sky. Even in the treatment of incidents common to both there are differences, which make it impossible to suppose that either was directly derived from the other.

But it is clear that when the constellations were devised,—that is to say, roughly speaking, about 2,700 b.c.,—the promise of the Deliverer, the "Seed of the woman" who should bruise the serpent's head, was well known and highly valued; so highly valued that a large part of the sky was devoted to its commemoration and to that of the curse on the serpent. The story of the Flood was also known, and especially the covenant made with those who were saved in the ark, that the world should not again be destroyed by water, the token of which covenant was the "Bow set in the cloud." The fourfold cherubic forms were known, the keepers of the way of the tree of life, the symbols of the presence of God; and they were set in the four parts of the heaven, marking it out as the tabernacle which He spreadeth abroad, for He dwelleth between the cherubim.