The Ouroboros or Uroboros is an ancient symbol depicting a serpent or dragon eating its own tail. The ouroboros entered Western tradition via ancient Egyptian iconography and the Greek magical tradition. It was adopted as a symbol in Gnosticism and Hermeticism and most notably in alchemy.
This ancient and enigmatic emblem holds a unique place in the pantheon of symbols, transcending cultural boundaries and time periods. Throughout history, the Ouroboros has been interpreted in various ways, reflecting the diverse and complex nature of human thought and creativity. In this essay, we will explore the origins, symbolism, and the profound implications of the Ouroboros.
This symbol has roots in various cultures, including ancient Egypt, Greece, and China, dating back thousands of years.
Ancient Egypt: The Ouroboros is often associated with ancient Egypt, where it symbolized the cycle of life, death, and rebirth. This symbol was closely linked to the sun-god Ra, who was believed to travel through the underworld at night, only to emerge renewed and rejuvenated each day. The Ouroboros, with its circular form, mirrored this eternal journey of the sun and the continuous cycles of existence.
Greek Alchemy and Gnosticism: In Greek alchemical and Gnostic traditions, the Ouroboros symbolized the unity of opposites, such as life and death, creation and destruction, beginning and end. It was a powerful representation of the cyclical nature of existence and the eternal cycle of renewal.
Chinese Tradition: While less known in the Western world, a similar symbol called the “Yuangong Shengzhi Jue” appears in Chinese Taoist alchemy. This symbol, also depicting a serpent or dragon in a circular form, is associated with the circulation of energy and the quest for immortality. It shares philosophical similarities with the Western interpretations of the Ouroboros, emphasizing the cyclical nature of life.
The term Ouroboros derives from Ancient Greek oura ‘tail’ plus boros-‘eating’.
The ouroboros is often interpreted as a symbol for eternal cyclic renewal or a cycle of life, death and rebirth.
The snake’s skin-shedding symbolises the transmigration of souls. The snake biting its own tail is a fertility symbol in some religions: the tail is a phallic symbol and the mouth is a yoni or womb-like symbol.
One of the earliest known ouroboros motifs is found in the Enigmatic Book of the Netherworld, an ancient Egyptian funerary text found in the tomb of Tutankhamun, in the 14th century Before Current Era.
The text concerns the actions of Ra and his union with Osiris in the underworld.
The Ouroboros is depicted twice on the figure: holding their tails in their mouths, one encircling the head and upper chest, the other surrounding the feet of a large figure, which may represent the unified Ra-Osiris (Osiris born again as Ra).
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.
Like many Egyptian serpent deities, the Ouroboros represents the formless disorder that surrounds the orderly world and is involved in that world’s periodic renewal.
The symbol persisted from Egyptian into Roman times, when it frequently appeared on magical talismans, sometimes in combination with other magical emblems.
The 4th-century Current Era 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.
According to the Egyptians, before the invention of the alphabet the Year was symbolized by a picture, a serpent biting its own tail because it recurs on itself.
In Gnosticism, a serpent biting its tail symbolised eternity and the soul of the world. The Gnostic Pistis Sophia (circa 400 CE) describes the Ouroboros as a twelve-part dragon surrounding the world with its tail in its mouth.
The famous Ouroboros drawing from the early alchemical text The Chrysopoeia of Cleopatra encloses the Greek words hen to pan, “The All is One”.
Its black and white halves may perhaps represent a Gnostic duality of existence, analogous to the Taoist yin and yang symbol. In the Chrysopoeia of Cleopatra the Alchemist, we find one of the oldest images of the Ouroboros to be linked with the legendary opus of the alchemists, the philosopher’s stone.
Cyprianus was also known as the Black Book of the Black School at Wittenburg, a textbook from the 18th century witches and sorcerers would get their spells from. Various figures are represented in animal form, one resembling a Ouroboros. The Black School at Wittenburg was purportedly a place in Germany where one went to learn the black arts.
In Norse mythology, the Ouroboros appears as the serpent Jörmungandr, one of the three children of Loki and Angrboda. It grew so large that it could encircle the world and grasp its tail in its teeth.
It is a common belief among the 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.
The Ouroboros has certain features in common with the Biblical Leviathan. According to the Zohar, the Leviathan is a singular creature with no mate. “Its tail is placed in its mouth”. It is also described as “twisting around and encompassing the entire world”.
In the Aitareya Brahmana, a Vedic text of the early 1st millennium BCE, the nature of the Vedic rituals is compared to “a snake biting its own tail.”
Ouroboros symbolism has been used to describe the Kundalini. According to the medieval 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”
When Shakti is united with Shiva, she is a radiant, gentle goddess; but when she is separated from him, she turns into a terrible, destructive fury. She is the endless Ouroboros, the dragon biting its own tail, symbolizing the cycle of samsara.
Swiss psychiatrist 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 opposites. This ‘feedback’ process is ALSO 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.”
Some researchers also used the Ouroboros to illustrate the various scales of the universe, ranging from the subatomic at the tail, up to the supragalactic at the head, representing “the intimate links between the microworld and the cosmos, symbolised by the Ouroborus“, as tail and head meet to complete the circle.
A school of Cybernetics affirms that living things maintain essential variables of the body within critical limits, with the brain as a regulator of the necessary feedback loops.
Others apply the cybernetic Ouroboros principle to musical improvisation and self-indication, the logical processual notation for analysing and explaining self-producing autonomous systems and “the riddle of the living”.
One of the most important characteristics observed in metabolic networks is that they produce themselves as Ouroboros Avatars. We envision that the ideas behind this equation, a unique kind of mathematical concept initially found in biology, would play an important role in the development of a true systemic theoretical biology.
Second-order cybernetics, or the cybernetics of cybernetics, applies the principle of self-referentiality, or the participation of the observer in the observed, to explore observer involvement. The Ouroboros analogy is evident.
The genus of the armadillo girdled lizard, Ouroborus cataphractus, takes its name from the animal’s defensive posture: curling into a ball and holding its own tail in its mouth.
In Portuguese Uma pescadinha de rabo na boca “tail-in mouth little hake” and in Spanish La pescadilla que se muerde la cola, “the hake that bites its tail”, are proverbial expressions for circular reasoning and vicious cycles.
Symbolism of the Ouroboros
Infinity and Wholeness: The Ouroboros is often interpreted as a symbol of infinity, as it creates an unbroken circle or loop. This conveys the idea of completeness, unity, and the eternal nature of existence. It reminds us that life is a continuous cycle with no clear beginning or end.
Transformation and Renewal: The act of the serpent consuming its own tail signifies self-renewal and transformation. It represents the idea that in order to grow and evolve, one must first let go of the old, much like a snake shedding its skin to reveal a fresh layer underneath.
Unity of Opposites: The Ouroboros embodies the harmonious coexistence of opposites. It symbolizes the idea that life and death, creation and destruction, and other opposing forces are interconnected and interdependent, forming a harmonious whole. It promotes a holistic worldview that emphasizes harmony and balance.
Timelessness and Immortality: This symbol suggests that time is cyclical rather than linear. It implies a sense of timelessness and immortality, as the Ouroboros continues its eternal cycle without end.
Philosophical and Mystical Implications
The Ouroboros has profound philosophical and mystical implications, inspiring contemplation on the nature of existence and the human condition.
Embrace of Change: The Ouroboros teaches us that change is inevitable and necessary for growth. To achieve personal development, we must accept and embrace the cycles of life, including both its creative and destructive aspects.
Pursuit of Self-Knowledge: The act of the serpent consuming its tail also represents introspection and self-discovery. It invites individuals to explore their inner depths and seek self-understanding.
Whether viewed through the lens of ancient mythology, alchemical symbolism, or modern theories, the Ouroboros continues to inspire contemplation and wonder, inviting us to explore the mysteries of life, death, and rebirth at the deepest levels of human consciousness.
In doing so, we gain insight into the profound wisdom embedded in this ancient symbol and its enduring relevance in our ever-evolving understanding of existence.
The Ouroboros, as a symbol, does not inherently carry a positive or negative meaning. Instead, its interpretation and significance can vary widely depending on the context in which it is used and the cultural, philosophical, and practical perspective of the observer. Here are some common interpretations:
Positive Symbolism:
Eternal Renewal: In many interpretations, the Ouroboros represents eternal renewal and the cycle of life, death, and rebirth. This can be seen as a positive and hopeful symbol, emphasizing the potential for growth, transformation, and continuous renewal in life.
Unity and Balance: The Ouroboros often symbolizes the unity of opposites and the interconnectedness of all things. This perspective can be seen as positive, promoting a sense of harmony and balance in the universe.
Negative Symbolism:
Cyclical Suffering: Some interpretations emphasize the cyclical nature of suffering and hardship, suggesting that individuals may be trapped in repetitive, negative patterns. In this pessimistic view, the Ouroboros could represent the idea that we are destined to face the same challenges and problems repeatedly, without the hope of lasting change. In such cases, the Ouroboros could be seen as a symbol of entrapment or stagnation.
Existential Themes: In existentialist philosophy, the Ouroboros can be seen as a symbol of existential dread and the idea that life lacks inherent meaning. The eternal return of events and experiences can be viewed negatively when contemplating the idea of a universe without a predetermined purpose.
Neutral Symbolism:
Symbol of Nature: The Ouroboros can be seen as a neutral symbol representing the natural order of life, death, and renewal. It does not inherently carry positive or negative connotations but reflects the cyclical processes observed in the natural world.
Ultimately, whether the Ouroboros is viewed positively, negatively, or neutrally, it depends on the personal lens through which it is examined. It is essential to consider the broader context and the specific interpretation when assessing its symbolism.
In doing so, it is worth noting that it has appeared in various forms throughout history and across different cultures, and it has ALSO been featured in various works of art and masonry, even in modern culture. Here are a few notable examples:
Modern Art and Pop Culture: The Ouroboros has made its way into modern art, literature, and popular culture. It can be found in contemporary art pieces, tattoos, and literature, often used to convey themes of self-discovery, personal transformation, and the cyclical nature of life.
Medical Symbol: The Rod of Asclepius, a symbol associated with medicine and healing, features a serpent coiled around a staff. While not a traditional Ouroboros, this representation shares similarities, symbolizing health, healing, and the restoration of life.
Codex Parisinus Graecus: This ancient Greek manuscript, dating back to the 10th century, features an illustration of the Ouroboros alongside alchemical and mystical texts.
The Aztec Calendar Stone: While not a traditional Ouroboros, the Aztec Calendar Stone (or Sun Stone) features a serpent-like creature at its center, which could be interpreted as a similar concept of cyclical time.
Alchemical manuscripts frequently feature the Ouroboros as a symbol of the cyclical nature of alchemical processes, transformation, and the unity of opposites.
Here are a few alchemical manuscripts that include the Ouroboros:
“The Chrysopoeia of Cleopatra” (Cleopatra’s Gold-Making): This ancient alchemical text attributed to Cleopatra The Seventh, includes depictions of the Ouroboros. It is one of the earliest known alchemical texts and is known for its symbolic and allegorical content.
“The Rosarium Philosophorum” (The Rosary of the Philosophers): This medieval alchemical text, dating from the 16th century, contains a series of symbolic illustrations, some of which feature the Ouroboros. It explores the stages of the alchemical journey and the philosopher’s stone.
“Atalanta Fugiens” by Michael Maier: This 17th-century alchemical work by Michael Maier includes a series of emblematic engravings, some of which feature the Ouroboros. It is considered one of the most intricate and symbolic alchemical texts of its time.
“The Book of Lambspring”: This 16th-century alchemical text features a poetic and symbolic narrative accompanied by illustrations, some of which incorporate the Ouroboros. It is known for its allegorical storytelling.
“The Splendor Solis” (The Splendor of the Sun): This 16th-century alchemical manuscript, attributed to Salomon Trismosin, contains a series of colorful and symbolic illustrations, with some depicting the Ouroboros. It is a notable work in the history of alchemy.
“The Aurora Consurgens”: This alchemical manuscript, believed to date back to the 15th century, contains a collection of texts and illustrations, and some of them feature the Ouroboros. It explores the union of opposites and the process of transformation.
Alchemy and Occult teachings have always been rich in symbolism and mysticism and the Ouroboros played a significant role in conveying the philosophical and practical concepts of many esoteric schools of thought.
And you, what do you think about the Ouroboros? Did you find any new and obscure meanings that have not come to the surface yet?
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Interesting sources, additional info and other points of views:
https://en.wikipedia.org/wiki/Ouroboros
More info about the Ouroboros, additional images and attributions here:
Monument in Ukraine
Ouroboros, City of Grove, Oklahoma
https://www.cityofgroveok.gov/building/page/serpent-eating-tail-ouroboros
Walter Ross Munro Mausoleum. Glencairn Parish Church, Kirklands. Dumfries and Galloway. Coat of Arms
https://commons.wikimedia.org/wiki/File:Anstey_churchyard,_Leicestershire.jpg
https://commons.wikimedia.org/wiki/File:Katarrhaktes_ouroboros.jpg
Photo by Simon Garbutt
https://commons.wikimedia.org/wiki/Category:Ouroboros#/media/File:Kilpeck_Details_of_Door_Arch.jpg
Prayer Book from Ethiopia by
https://commons.wikimedia.org/wiki/File:Livre_de_pri%C3%A8res_%C3%A0_Ragouel-Ethiopie.jpg
Atalanta Fugiens
https://commons.wikimedia.org/wiki/File:Michael_Maier_Atalanta_Fugiens_Emblem_14.jpeg Michael Maier, Public domain, via Wikimedia Commons
Jeff Kubina, CC BY-SA 2.0 <https://creativecommons.org/licenses/by-sa/2.0>, via Wikimedia Commons
https://commons.wikimedia.org/wiki/File:Ottignies_-_dalle_fun%C3%A9raire_Bertout_de_Carillo_04.JPG
https://commons.wikimedia.org/wiki/File:Ouroboros_on_a_cemetery_door_(cropped).jpg
Swiertz, CC BY 3.0 <https://creativecommons.org/licenses/by/3.0>, via Wikimedia Commons
https://commons.wikimedia.org/wiki/File:Palazzo_della_ragione_di_Padova_12.jpg
Colin Rose, CC BY 2.0 <https://creativecommons.org/licenses/by/2.0>, via Wikimedia Commons
Ouroboros in a wall of the castle of Ptuj (Slovenija)
https://commons.wikimedia.org/wiki/File:Ptuj_Castle_Ouroboros_27102006_01.jpg
Detail of the ceiling of the “Room of the Seasons”, central part, allegory of the Year, Residenz, Munich, Bavaria, Germany.
https://commons.wikimedia.org/wiki/File:Room_of_the_seasons_ceiling_detail_Residenz_Munich.jpg
Salterio di corbie (iniziale istoriata), Amiens, Bibliothèque Municipale, 800 circa
Steinrelief mit Symbolen für Vergänglichkeit und Ewigkeit: eine Motte, von einem Ouroboros umgeben.
https://commons.wikimedia.org/wiki/File:Sascha_Grosser_-_Motte_in_Stein.jpg
Allegorie der Toskana
https://commons.wikimedia.org/wiki/File:Sebastiano_Ricci_003.jpg
Sebastiano Ricci, Public domain, via Wikimedia Commons
Symbolical figure from Levi’s Haute magie
https://commons.wikimedia.org/wiki/File:The_Open_court_(1887)_(14781669601).jpg
Internet Archive Book Images, No restrictions, via Wikimedia Commons
llustrations showing kings wearing gold crowns, represented by Uricus – a red-crowned and winged serpent – as King of the East; Paymon – a black cat-like animal with horns, long whiskers and tail – as King of the West; Maymon – a black bird – as King of the South; and Egyn – a black bear-like animal with a short tail – as King of the North. From Cyprianus, 18th century. Cyprianus is also known as the Black Book, and is the textbook of the Black School at Wittenburg, the book from which a witch or sorceror gets his spells. The Black School at Wittenburg was purportedly a place in Germany where one went to learn the black arts. Archives & Manuscripts Keywords: Occult; King; Birds; Magic; Snakes; Serpent; Demon; Bear; Monsters; Ursidae; Snake; Bird
Image taken from
https://wellcomecollection.org/search/works
Tropenmuseum
https://commons.wikimedia.org/wiki/File:Tropenmuseum_J_left_top_stone.jpg
Raffigurazione del serpente uroboros che forma un circolo zodiacale intorno a un esagramma, ai cui angoli ed al centro sono disposti i simboli dei sette pianeti tradizionali.
Incisione dal trattato Donum Dei dell’alchimista Abraham Eleazar, pubblicato a Erfurt.
https://commons.wikimedia.org/wiki/File:Uroboro_cosmico.png
Casa Carlini
