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Dragons, Dragons Everywhere

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Every culture has dragon folktales and these dragons share the same characteristics. David Jones reaches fascinating conclusions about our fear and fascination with these creatures, including that we are essentially “hardwired” to believe in them. Get a copy here.

Dragons are not just fairy tale creatures who like to eat an occasional princess or fight a knight or two. Dragons are mythic-poetic creatures used in tales or sermons to make sophisticated points. Perhaps rooted in early human experience of three major predators–lions, eagles, and large serpents–dragons both warn of danger and show how to escape that danger.

Although we think of dragons as fire-breathing serpents with legs and wings, the oldest stories report that dragons had a foul, poisonous breath, the stench of which could kill anything that inhaled it. Dragons are Chaos. Dragons are spiritual and emotional energy that is out of control. Unfocused. Wild. They are in stories or texts what horses with loose, untied tails are in icons.

In the New Testament (Revelation 12:3) we read about a vision of a Great Red Dragon with seven heads, ten horns, seven crowns, and a massive tail, an image which is clearly inspired by the vision of the four beasts from the sea in the Book of Daniel and the Leviathan described in various Old Testament passages. This dragon is the enemy of the woman clothed with the sun, with the moon beneath her feet, and a crown of 12 stars upon her head: the Church. The dragon attacks the Church at the End of Days and slays the martyrs as Judgement Day approaches. In the lives of the saints–such as SS. Margaret or George–a dragon is the enemy of the saint or of specific persons now, during history.

In the story of St. Margaret, she is swallowed alive by a dragon in her jail cell but she makes the sign of the Cross and the dragon’s stomach explodes… allowing her to step out, unharmed. (Not unlike Red Riding Hood and her grandmother stepping unharmed from the wolf’s stomach.) In the story of St. George (whose horse’s tail is always tied in a knot), the dragon is attacking a town and is about to devour a princess as its most recent victim but George is able to kill it; in some versions, he wounds it so that it becomes a tame beast and he can lead it into the town with a leash made of the princess’ belt.

St. Margaret is clearly attacked by the enemies of God but is able to overcome them by her faith in Christ, crucified and risen. The princess (soul) is attacked by the passions–anger, jealousy, greed, etc.–but is able to either overcome them by the help of the saints and the Cross of Christ (the wooden spear of St. George). In the versions where the dragon is wounded, it means the soul is able to redirect its energy away from destructive desires into constructive desires, such as righteous anger on behalf of the oppressed, desire to care for the needy, or peace-making between enemies.

Dragons are the great enemy both at the End of Time and now, as history plays itself out. They are the spiritual energy that we can channel to come close to God or that we can let it create chaos in our lives to destroy us. We can embrace the dragon within or we can tame it. The choice is ours.

Firebird

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Ivan Bilibin’s illustration to a Russian fairy tale about the Firebird, 1899.

Russian composer Igor Stravinsky (1882-1971) was born on June 17 near St. Petersburg. Among his best known works, the ballets The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913), and the choral work Symphony of Psalms (1930).

The Firebird character is one of the most poplar in Russian fairy tales. The Firebird is essentially a phoenix, a golden immortal bird that is reborn from its own incinerated ashes. Its flames and beauty save a variety of heroes and heroines–often princes and princesses–from evil wizards and devils, as in the famous Stravinsky ballet. Some tales say that the Firebird never eats but only sips dew. It saw Adam and Eve expelled from Paradise and is often a messenger between humans and the Otherworld.

One story about the Firebird tells us that a modest and gentle orphan girl named Maryushka lives in a small village. People would come from all over to buy her embroidery, and many merchants asked her to come away and work for them. She told them all that she would sell to any who found her work beautiful, but she would never leave the village of her birth. One day the evil sorcerer Kaschei the Immortal heard of Maryushka’s beautiful needlework and transformed himself into a beautiful young man and visited her. Upon seeing her ability he became enraged that a mere mortal could produce finer work than he himself possessed. He tried to tempt her by offering to make her Queen if she would embroider for him alone, but she refused saying she never wanted to leave her village. Because of this last insult to his ego he turned Maryushka into a Firebird, and himself into a great black Falcon, picked her up in his talons, and stole her away from her village. To leave a memory of herself with her village forever she shed her feathers onto the land below. As the last feather fell Maryushka died in the falcon’s talons. The glowing rainbow feathers were magic and remain undimmed, but show their colors only to those who love beauty and seek to make beauty for others

The Firebird concept has parallels in Iranian legends of magical birds, in the Brothers Grimm fairy tale about The Golden Bird. In an Armenian tale, the Firebird does not burn but rather makes the land bloom through its song. In Czech folklore, it is called Pták Ohnivák (Fire-like Bird) and appears, for example, in a Karel Jaromír Erben fairy tale, also as an object of a difficult quest. Moreover, in the beginning of this fairy tale, the bird steals magical golden apples belonging to a king and is therefore pursued by the king’s servants in order to protect the precious apples.