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Alot about the Phoenix

Phoenix's Wisdom (Shamanism)

Keeper of the Fires of Creation
Protector of all Fire
Death and Rebirth Regeneration
Connection to Raven


In Jewish legend, the phoenix's name is Milcham.
According to tradition, after Eve ate the forbidden fruit,
she became jealous of the immortality and purity
of the other creatures in the garden.
Eventually, she persuaded all the animals
except the phoenix to share in her fallen state
by eating from the forbidden tree.

God rewarded the phoenix by setting him up in a walled city
where he could live in great peace for 1000 years.
At the end of every 1000-year period, the bird is consumed
by fire and reborn from an egg found in its ashes.
One variation of this Jewish legend states that at
the end of each 1000-year period, the phoenix's body
becomes small and featherless like a baby's
and then he grows up all over again.

In any case, the Angel of Death may never touch him.



Wherever it is found, the phoenix is associated with resurrection,
immortality, triumph over adversity, and that which rises out of the ashes.
Thus it became a favorite symbol on early Christian tombstones.
In chapters 25-26 of his letter to the Corinthians, St. Clement, Bishop of Rome,
upheld the legendary phoenix as an evidence of Christ's ability to accomplish
the resurrection of the faithful. He quotes Job as saying,
"Thou shalt raise up this flesh of mine, which has suffered all these things."

In numerous ways, the phoenix was found to be a symbol of Christ.
In most countries, it was believed that only one phoenix lived at a time.
It was born from itself without following the natural laws of reproduction.
During the Middle Ages, it was believed to rise from the dead after three days.
Often, as an emblem of Christ, it was found with the palm tree
(another symbol of resurrection) or carrying a palm branch (a symbol of triumph over death),
or carrying an olive branch (a symbol of God's peace offered to humans).

The Phoenix is symbolic of rebirth, hope, purity, chastity, marriage, faith,
constancy, summer, eternity, immortality, and light. It is an image of the cosmic fire
some believe the world began and will end in. The Taoists called it the
"cinnabar bird." Romans placed the phoenix on coins and medals as an emblem of their
desire for the Roman Empire to last forever.

The Story of the Phoenix

There is a bird that lays no eggs and has no young. It was here when the world began and is still living today, in a hidden, faraway desert spot. It is the phoenix, the bird of fire.

One day in the beginning times, the sun looked down and saw a large bird with shimmering feathers. They were red and gold--bright and dazzling like the sun itself. The sun called out, "Glorious Phoenix, you shall be my bird and live forever!" Live forever!

The Phoenix was overjoyed to hear these words. It lifted its head and sang, "Sun glorious sun, I shall sing my songs for you alone!"

But the Phoenix was not happy for long. Poor bird. Its feathers were far too beautiful. Men, women, and children were always casing it and trying to trap it. They wanted to have some of those beautiful, shiny feathers for themselves.

"I cannot live here," thought the phoenix. and it flew off toward the east, where the sun rises in the morning.

The Phoenix flew for a long time, and then came to a far away, hidden desert where no humans lived. And there the phoenix remained in peace, flying freely and singing its songs of praise to the sun above.

Almost five hundred years passed. The Phoenix was still alive, but it had grown old. It was often tired, and it had lost much of its strength. It couldn't soar so high in the sky, nor fly as fast or as far as it was young.

"I don't want to live like this," thought the Phoenix. "I want to be young and strong."

So the Phoenix lifted it's head and sang, "Sun, glorious sun, make me young and strong again!" but the sun didn't answer. Day after day the Phoenix sang. When the sun still didn't answer, the Phoenix decided to return to the place where it had lived in the beginning and ask the sun one more time.

It flew across the desert, over hills, green valleys, and high mountains. The journey was long, and because the Phoenix was old and weak, it had to rest along the way. Now, the Phoenix has a keen sense of smell and is particularly fond of herbs and spices. So each time it landed, it collected pieces of cinnamon bark and all kinds of fragrant leaves. It tucked some in among its feathers and carried the rest in its claws.

When at last the bird came to the place that had once been its home, it landed on a tall palm tree growing high on a mountainside. Right at the top of the tree, the Phoenix built a nest with the cinnamon bark and lined it with the fragrant leaves. Then the Phoenix flew off and collected some sharp-scented gum called myrrh, which it had seen oozing out of a nearby tree. The Phoenix made an egg from the myrrh and carried the egg back to the nest.

Now everything was ready. The Phoenix sat down in its nest, lifted its head, and sang, "Sun, glorious sun, make me young and strong again!"

This time the sun heard the song. Swiftly it chased the clouds from the sky and stilled the winds and shone down on the mountainside with all its power.

The animals, the snakes, the lizards, and every other bird hid from the sun's fierce rays -- in caves and holes, under shady rocks and trees. Only the Phoenix sat upon its nest and let the suns rays beat down upon it beautiful, shiny feathers.

Suddenly there was a flash of light, flames leaped out of the nest, and the Phoenix became a big round blaze of fire.

After a while the flames died down. The tree was not burnt, nor was the nest. But the Phoenix was gone. In the nest was a heap of silvery-gray ash.

The ash began to tremble and slowly heave itself upward. From under the ash there rose up a young Phoenix. It was small and looked sort of crumpled, but it stretched its neck and lifted its wings and flapped them. Moment by moment it grew, until it was the same size as the old Phoenix. It looked around, found the egg made of myrrh, and hollowed it out. Then it placed the ashes inside and finally closed up the egg. The young Phoenix lifted its head and sang, "Sun, glorious sun, I shall sing my songs for you alone! Forever and ever!"

When the song ended, the wind began to blow, the clouds came scudding across the sky, and the other living creatures crept out of their hiding places.

Then the Phoenix, with the egg in its claws, flew up and away. At the same time, a cloud of birds of all shapes and sizes rose up from the earth and flew behind the Phoenix, singing together, "You are the greatest of birds! You are our king!"

The birds flew with the Phoenix to the temple of the sun that the Egyptians had built at Heliopolis, city of the sun. Then the Phoenix placed the egg with the ashes inside on the sun's altar.

"Now," said the Phoenix, "I must fly on alone." And while the other birds watched, it flew off toward the faraway desert.

The Phoenix lives there still. But every five hundred years, when it begins to feel weak and old, it flies west to the same mountain. There it builds a fragrant nest on top of a palm tree, and there the sun once again burns it to ashes. But each time, the Phoenix rises up from those ashes, fresh and new and young again.


The Bennu, the sacred bird, is the quintessence of rebirth...
by Athon Veggi and Alison Davidson

Bennu... To Rise, To Shine

The wonderful Bennu, with its brilliant red and golden plumage, was the sacred bird of Heliopolis. Identified as a heron with its long straight back and head adorned at the back with two erect feathers, the Bennu was later called Phoenix by the Greeks and fabulous stories were told about it.

In Heliopolis, the Bennu bird played a major role in Egyptian mythology, dwelling on the ben-ben stone or obelisk within its sanctuary and revered alongside Ra and Ausar (Osiris). For it was in the City of the Sun where the work of creation began.

The Bennu bird was said to create itself from the fire that burned on the top of the sacred Persea tree in Heliopolis, and in the Metternich Stele, Auset (Isis) says to her son Heru: 'Thou art the Great Bennu who was born on the Incense Trees in the House of the Great Prince in Heliopoli.'
(Budge, 1969, vol. 2209)

As the 'soul of Ra,' the sun rose in the form of the Bennu to shine out across the world renewed each morning. But the Bennu was also a manifestation of Ausar (Osiris) and was said to spring from his heart as a living symbol of the god. In the 'Book of the Dead,' there are formulae to transform the deceased into the Great Bennu. Here, the deceased says, 'I am the Bennu, the soul of Ra, and the guide of the gods in the Duat.' In another verse, he says, 'I am pure. My purity is the purity of the Great Bennu which is in the city of Suten-henen.'

For the Bennu is the quintessence of rebirth, it rises from its ashes as the spiritual body rises from the dead physical form, as the new sun rises from the old. It is the new condition reached when the return to life is accomplished, namely the resurrection of Ausar (Osiris).

Herodotus records the Bennu bird -- making its appearance only once in 500 years -- as coming from Arabia, carrying in its beak an egg of myrrh that contained its father's body. This egg is similar to Geb's egg that was laid on the primordial hill and gave birth to the sun, the egg within which the whole alchemical process of transformation is effected.

When the Bennu became old, he built a nest of incense twigs in the sacred tree, and lay down and died. In Pliny's account, a small worm appeared from his body that metamorphosed into a bird, and thus the Bennu was reborn.

The planet Venus was called the 'star of the ship of the Bennu-Ausar' (Osiris), mentioned as the Morning Star in this invocation to the sacred sun bird.

I am the Bennu, the soul of Ra,
and the guide of the gods in the Tuat;
let it be so done unto me that
I may enter in like a hawk,
and that I may come forth like Bennu,
the Morning Star.

"The Book of Doors: An Alchemical Oracle from Ancient Egypt."
From: Veggi, Athon and Davidson, Alison

The Classical Phoenix

In Greek and Roman legends, the Phoenix is the symbol of immortality and resurrection.
It is associated with the Sun god Phoebus (Apollo). Its name "Phoenix" is the Greek word for "red",
which links this magical bird to fire and the sun. It is said to resemble an eagle or a peacock.

The Greek believed that the Phoenix lived in Arabia, in a cool well. At dawn, each morning, it sung
a beautiful song, so beautiful that the Sun god would stop his chariot to listen. The Phoenix is a unique
bird, there may only exist one at a time, which makes it a solitary bird. It does not reproduce, which
adds to its loneliness, as only its death will bring on another of its race. When it feels its end approaching (between 500 and 1461 years, depending on the legend), it builds a nest with the finest aromatic woods,
sets it on fire, and is consumed by his own flames. From the pile of ashes, a new Phoenix arises, young
and powerful. It then embalms the ashes of its predecessor in an egg of myrrh, and flies to the city
of the Sun, Heliopolis, where he deposits the egg on the altar of the Sun god.

The following is a text by a Roman author, Claudian, which tells the story of the Phoenix.
This poetic version is translated by Henry Vaughan.


He knows his time is out! and doth provide
New principles of life; herbs he brings dried
From the hot hills, and with rich spices frames
A Pile shall burn, and Hatch him with his flames.

On this the weakling sits; salutes the Sun
With pleasant noise, and prays and begs for some
Of his own fire, that quickly may restore
The youth and vigor, which he had before.
Whom soon as Phoebus * spies, stopping his rays

He makes a stand, and thus allays his pains......
He shakes his locks, and from his golden head,
Shoots on bright beam, which smites with vital fire

The willing bird; to burn is his desire.
That he may live again; he's proud in death,
And goes in haste to gain a better breath.
The spice heap fired with celestial rays
Doth burn the aged Phoenix, when straight stays
The Chariot of the amazed Moon; the pole
Resists the wheeling, swift Orbs, and the whole
Fabric of Nature at a stand remains.
Till the old bird anew, young begins again.

* Phoebus another name for Apollo, but is also a poetic word to describe the sun.

In the legends of native North Americans, the thunderbird is a powerful spirit in the form of a bird.
Lightning flashes from its beak, and the beating of its wings is creates the thunder.
It is often portrayed with an extra head on its abdomen. The majestic thunderbird is
often accompanied by lesser bird spirits, frequently in the form of eagles or falcons.
The thunderbird petroglyph symbol has been found across Canada and the United States.
Evidence of similar figures has been found throughout Africa, Asia, and Europe.

The following was written by Steve Mizrach

Thunderbird and Trickster


The Thunderbird is one of the few cross-cultural elements of Native North American mythology.
He is found not just among Plains Indians, but also among Pacific Northwest
and Northeastern tribes. He has also become quite a bit of an icon for non-Indians,
since he has also had the honor of having automobiles, liquors, and even a United States Air Force
squadron named after him. Totems bearing his representation can be found all over the continent.
There have been a number of curious theories about the origins of the Thunderbird myth - ones
which I will show are probably wrongheaded.

In this paper, moreover, I want to examine how the myths and legends of the Thunderbird
tie into the sacred clowning/trickster ritual complex of Plains tribes such as the Lakota.
I will show how the Thunderbird is intimately connected to this complex, and attempt
to explain why. It is the intimate association between these two traditions that may help explain
some features of Plains culture and folklore. Aspects of the Thunderbird myth only make
sense in light of these associations.

Plains Indians myth and folklore

In order to understand Plains Indians folklore, we have to realize that their myths were not just
"just-so" stories to entertain, divert, or make inadequate efforts at naturalistic explanation.
Rather, Indian myth functioned in religious, pedagogical, and initiatory ways, to help socialize
young people and illuminate the various religious and other roles in society. Indian myth was always
fluid, and grounded in the present, which is what might be expected of societies which largely lacked
static, written traditions. Storytelling was an art which was maintained by the medicine people with
great fidelity, because it was used to explain the development of certain rituals and elements of society.
(Hines 1992)

Some have looked at the Thunderbird myths through the same lens of understanding applied to
European mythology. The Thunderbird is like the Indo-European dragon or ogre or Leviathan,
a huge monster who kidnaps virginal maidens, and who must be slain by the brave hero. Or the
Thunderbird is simply treated as some kind of fantastic oddity, like the mythical unicorn or
mermaid - an impossible construction borne from the extremes of the imagination. Both these attempts
at explaining myth lose the important point of seeing Thunderbird as a personification of energies
in nature - those found in violent thunderstorms and such - and his crucial dual nature.

Still, the Indians were not merely "mythmaking" in the pejorative sense. They no more literally believed
in a giant bird generating storms through the beating of its wings, then Christians today literally believe
in their divine being as an old man with a beard sitting on a marble throne. Thunderbird is an
allegory; his conflicts with other forces in nature are then an attempt to allegorize relationships
observed in the natural order, such as the changing of the weather. Like other Thunder Beings,
he is essentially an attempt to represent the patterns of activity of a powerful, mysterious force
in a way that can be understood simply and easily - sort of the way in which a weather
map functions today. (Edmonds and Clark 1989)

The Plains Indians believed that everything that was found in nature had a human representative
in microcosm. Everything in nature often contained its own opposite polarity, hence the expected
existence of beings such as contraries, women warriors, and berdaches. Because the
Thunderbird in particular represented this mysterious dual aspect of nature, manifest through
the primordial power of thunderstorms, it is not surprising that his representatives were the
heyoka or sacred clowns, who displayed wisdom through seemingly foolhardy action.
Western thinking has prevented us from seeing the reasons why Indians perceived this connection.
Few anthropologists have sought to locate how Thunderbird may have been mythologically
linked to Trickster.

The Nature of Thunderbird

In Plains tribes, the Thunderbird is sometimes known as Wakinyan, from the Dakota word kinyan
meaning "winged." Others suggest the word links the Thunderbird to wakan, or sacred power.
In many stories, the Thunderbird is thought of as a great Eagle, who produces thunder from the
beating of his wings and flashes lightning from his eyes. (Descriptions are vague because it is
thought Thunderbird is always surrounded by thick, rolling clouds which prevent him from being seen.)
Further, there were a variety of beliefs about Thunderbird, which suggest a somewhat complicated
picture. Usually, his role is to challenge some other great power and protect the Indians - such as
White Owl Woman, the bringer of winter storms; the malevolent Unktehi, or water oxen who
plague mankind; the horned serpents; Wochowsen, the enemy bird; or Waziya, the killing North Wind.
But in some other legends (not so much in the Plains), Thunderbird is himself malevolent, carrying
off people (or reindeer or whales) to their doom, or slaying people who seek to cross his
sacred mountain. (Erdoes and Ortiz 1984)

Many Plains Indians claim there are in fact four colors (varieties) of Thunderbirds (the blue
ones are said, strangely, to have no ears or eyes), sometimes associated with the four
cardinal directions, but also sometimes only with the west and the western wind. (According to
the medicine man Lame Deer, there were four, one at each compass point, but the western one
was the Greatest and most senior.) (Fire and Erdoes 1972)

The fact that they are sometimes known as "grandfathers" suggest they are held in considerable
reverence and awe. It is supposed to be very dangerous to approach a Thunderbird nest,
and many are supposed to have died in the attempt, swept away by ferocious storms.
The symbol of Thunderbird is the red zig-zag, lightning-bolt design, which some people mistakenly
think represents a stairway. Most tribes feel he and the other Thunder beings were the first to
appear in the Creation, and that they have an especially close connection to wakan tanka,
the Great Mysterious. (Gill and Sullivan 1992)

The fact that Thunderbird sometimes appears as something that terrorizes and plagues Indians,
and sometimes as their protector and liberator (in some myths, he was once an Indian himself)
is said to reflect the way thunderstorms and violent weather are seen by Plains people. On the
one hand, they bring life-giving rain (Thunderbird is said to be the creator of 'wild rice' and
other Plains Indians crops); on the other hand, they bring hail, flood, and lightning and fire. It is not
clear where with them worship and awe end, and fear and terror begin. Some Indians claim
that there are good and bad Thunderbirds, and that these beings are at war with each other.
Others claim that the large predatory birds which are said to kidnap hunters and livestock
are not Thunderbirds at all. Largely, I suspect that this dual nature of the Thunderbird ties it to
the Trickster figure in Indian belief: like the Trickster, the harm the Thunderbird causes is mostly
because it is so large and powerful and primeval.

Origins of the Thunderbird

Myth Cryptozoologists like Mark A. Hall, having studied the Thunderbird myths
of numerous tribes, and compared them to (mostly folkloric) accounts of unusually large
birds in modern times, as well as large birds (like the Roc) in other mythic traditions, suggest
that there may well be a surviving species of large avians in America - big enough, apparently,
to fly off carrying small animals or children, as has been claimed in some accounts. (Hall
suggests the wingspan of such a species would be several feet longer than any
known birds - certainly bigger than that of the turkey vulture or other identifiable
North American species.) (Hall 1988) Such researchers feel the Thunderbird myth may have
originated from sightings of a real-life flesh-and-blood avian which might be an atavism
from earlier epochs (a quasi-pterodactyl or teratorn, perhaps.)

However, the big problem with this theory is that most ornithologists consider it to be
quite farfetched. If such a species existed (a situation akin to the folkloric Sasquatch), it would
be amazing that to this point it has remained unidentified and uncatalogued. A species of birds
that big, unless it consisted of an extremely small number of members, would find it hard to avoid
detection for long. Hall does suggest the possibility that maybe, like the mastodon, these large
birds were hunted to extinction prior to the arrival of Europeans on the North American continent.
Still, the other problem with his theory is that it ignores what Indians themselves have to say
about the Thunderbird.

They describe the Thunderbird as a spiritual, not just physical, being. It is not seen as just
a large, fearsome predatory bird that people tell stories about. Rather, it's an integral part
of Plains Indians religion and ritual. Only by ignoring this fact could we put our Western
ethnocentric biases into effect, and reduce it to a zoological curiosity. The Thunderbird is
much more than that; the Indian attitude toward it comes from more than just the
mere fact that it is supposed to be really big. To understand the origins of Thunderbird myths,
it's necessary to see how they connect with other elements of Indian belief and
ceremony - especially the Trickster complex - and see how they fit into the structure
of Plains Indian myth as a whole.

Clowning around in Plains Indian culture

Clowning, like the icon of the Thunderbird, could be found in almost every North American
Indian society. In every case, it involved ridiculous behavior, but on the Plains it especially
exhibited inversion and reversal as elements of satire. There were four types of clown
societies on the Plains - age-graded societies, military societies, the northern plains type, and
the heyoka shamanistic societies. The behaviors of all sorts of clowns revolved around a
few basic themes or attributes: burlesque, mocking the sacred, playing pranks or practical
jokes, making obscene jokes or gestures, caricature of others, exhibiting gross gluttony or
extreme appetite, strange acts of self-mortification or self-deprecation, and taunting
of enemies or strangers. (Steward 1991)

The age-graded clown societies primarily consisted of older people who had been inducted into
their ranks - groups such as the Gros Ventre Crazy Lodge or the Hidatsa Dog Society. These
clowns were assumed to simply be playing a role appropriate to their sodality, rather
than receiving some sort of supernatural inspiration. They carried out certain expected ritual
performances on proscribed days, such as the Crazy Dance or the imitation of animals.
In contrast, the military clown societies such as the Cheyenne Inverted Bow String Warriors,
often carried comical or ridiculous weapons, but were also expected to show absurd
bravery in battle, provoking the enemy into giving up its discipline and cohesion with
taunts and insults. Not surprisingly, they sometimes rode their horses backwards into battle.

The northern plains clowns, found among tribes such as the Ojibway, wore masks which
made them appear to be two-faced, and costumes of rags which made them appear comical.
All of these three types of clown societies practiced a sort of conventionalized or patterned sort
of anti-natural behavior. That is, they might do something which seemed strange or contrary, but
under somewhat regular conditions. You knew when they might do something weird - and
there were times when they were forbidden to perform their antics. Further, they might often
"give up" the clowning way of life, and return to a non-contrary state by marrying and engaging
in a more normal mode of existence.

The heyoka were different in three primary ways from the other sorts of clowns.
They were truly unpredictable, and could do the unexpected or tasteless even during the
most solemn of occasions. Moreso than other clowns, they really seemed to be insane.
Also, they were thought to be more inspired by trans-human supernatural forces
(as individuals driven by spirits rather than group conventions), and to have a
closer link to wakan or power than other clowns. And lastly, they kept their role for
life - it was a sacred calling which could not be given up without performing an agonizing
ritual of expiation. Not surprisingly, these unique differences were seen as the result of their
having visions of Thunderbird, a unique and transforming experience.

Testimony of Black Elk: the heyoka and lightning

The Oglala Indian Black Elk had some interesting things to say about the heyoka ceremony,
which he himself participated in. Black Elk describes the "dog in boiling water" ceremony
in some detail. He also describes the bizarre items he had to carry as a heyoka,
and the crazy antics he had to perform with his companions. He also attempts to explain
the link between the contrary trickster nature of heyokas with that of Thunderbird.

"When a vision comes from the thunder beings of the West, it comes with terror like a
thunder storm; but when the storm of vision has passed, the world is greener
and happier; for wherever the truth of vision comes upon the world, it is like a rain. The world,
you see, is happier after the terror of the storm... you have noticed that truth comes into
this world with two faces. One is sad with suffering, and the other laughs; but it is the
same face, laughing or weeping. When people are already in despair, maybe the laughing
is better for them; and when they feel too good and are too sure of being safe, maybe
the weeping face is better. And so I think this is what the heyoka ceremony is for ... the dog
had to be killed quickly and without making any scar, as lightning kills, for it is the
power of lightning that heyokas have." (quoted in Neihardt 1959: 160)

Today, of course, Western physicists describe the dual nature of electricity. An object can
carry a positive or negative electric charge. The electron is simultaneously a wave and a particle.
Electricity and magnetism are thought to be aspects of the same force, and as is well know with
magnetism, it comes in polarities, with opposite poles (north and south) attracting. Though the Indians
did not have access to our modern scientific instruments, they are likely to have observed some
of the same properties in lightning. Thus it would have been intuitive to link the dual spiritual nature
of the heyoka (tragicomedy - solemn joking - joy united with pain) with the dual nature of electricity.

Thunderbird and Heyoka, the Sacred Clown

It was believed among the Lakota and other tribes that if you had a dream or vision of birds,
you were destined to be a medicine man; but if you had a vision of Thunderbird,
it was your destiny to become something else; heyoka, or sacred clown. Like Thunderbird,
the heyoka were at once feared and held in reverence. They were supposed to startle
easily at the first sound of thunder or first sight of lightning. Thunderbird supposedly
inspired the "contrariness" of the heyoka through his own contrary nature. He alternates
strong winds with calm ones. While all things in nature move clockwise, Thunderbird
is said to move counterclockwise. Thunderbird is said to have sharp teeth, but no
mouth; sharp claws, but no limbs; huge wings, but no body. All of these things suggest
Thunderbird (and the heyoka) have a curious, paradoxical, contrary nature. You
could become heyoka through a vision of the Thunderbird, or just of lightning or
a formidable winged being of power. (Steiger 1974)

While clown societies were found throughout the Plains, the heyoka, or sacred
clowns, were usually few in number, but were found in almost every clan. Heyoka
were contraries, often speaking and walking backwards. They acted in ridiculous,
obscene, and comical ways, especially during sacred ceremonies. They were thought
to be fearless and painless, able to seize a piece of meat out of a pot
of boiling water. They often dressed in a bizarre and ludicrous manner, wearing
conical hats, red paint, a bladder over the head (to simulate baldness), and bark
earrings. The heyoka was thought to usually carry various sacred items - a deer
hoof rattle, a colored bow, a flute, or drum. His "anti-natural" nature was thought
to be shamanistic in origin -- and as a contrary, he was expected to act silly and
foolhardy during battle (although this was found more among warrior
clown societies such as the Cheyenne Inverted Warriors.)

However insulting or sacrilegious heyoka actions might be, they were tolerated, since
it was assumed they were acting on the higher and more inscrutable imperatives of the
Great Mystery. Heyoka were freed from all the ordinary constraints of life, and thus
were usually not expected to marry, have children, or participate in the work of the tribe.
Despite their bizarre acts (such as dressing in warm clothes during summer or wearing
things inside out), they were trusted as healers, interpreters of dreams, and people
of great medicine. Whenever they interrupted the solemnity of a ceremony, people took
it as an admonition to see beyond the literalness of the ritual and into the deeper
mysteries of the sacred. Like the flash of lightning, the heyoka's sudden outbursts
and disturbances were thought to be the keys to enlightenment - much like the
absurd acts of Zen masters in Japan. (Hultkrantz 1987)

Thunderbird and Trickster

Part of the link between heyoka and Thunderbird comes from Iktomi, the Trickster
figure. Iktomi is said to be heyoka because he has seen and talked with Thunderbird.
Iktomi is the first-born son of Inyan (rock), and is said to speak with rocks and stones.
Like Coyote and other Trickster figures, Iktomi likes to pull pranks on people, but is just
as often the victim of tricks and misfortunes. This makes him at once a culture hero, and a
figure to be feared and avoided. Iktomi was thought to be a hypersexual predator, one who
frequently pursued winchinchalas (young virgins) who bathed in streams, through various
methods of deceit. Yet his pursuits and antics often wound up with him inadvertently
getting hurt or winding up in trouble.

Paul Radin suggests that Iktomi and other Trickster figures are akin to the
Great Fool or Wild Man of European folklore, who often shows up in the Feast
of Fools and other ceremonies where the social order is turned topsy-turvy. (Radin 1956)
Jung, following his lead, claims the Trickster as an archetypal part of the collective
unconscious; and his "crazy wisdom" as emblematic of humankind's earlier, undivided,
unindividuated consciousness. Iktomi and other tricksters seem to be at the constant
mercy of their desires; yet their blind luck always seems to protect them from the
consequences of their missteps. He is dangerous primarily because he is so powerful,
yet so rarely has the forethought or good judgment to use his power wisely. Radin
and others proclaim him the representative of untamed, unpredictably
wild nature, within the confines of culture.

In other cultural traditions, thunder and lightning are connected with the unexpected.
We talk about a "bolt out of the blue." In American folk culture, there are a
host of legendary stories of mysterious cures or transformations wrought by someone
being struck by lightning. It's at once dangerous, and a symbol of sudden, shocking
revelation and inspiration. It's also the primary weapon in most pantheons of the chief
sky god (such as Zeus in Greek mythology.) For the Plains Indians, thunder and lightning
symbolized the vast, uncontrollable energy of nature. It's not surprising, then, that
the Thunderbird is connected with the strange, uncontrollable force of the
Trickster figure, and his avatar, the heyoka.

Significance of the Trickster Figure and "Contrariness" in Plains Society

Psychological anthropologists, especially those oriented toward psychoanalytic
theory and depth psychology, point to the Trickster figure as a sort of important cultural
"release valve." He represents the "return of the repressed," the Dionysian aspects
of life only temporarily held in abeyance by the Apollonian forces of civilization. The carnivals
and feasts held in honor of fools in Europe, suggest some anthropologists, are "outlets,"
allowing people to invert the social order temporarily as a way of promoting its continuity in the
long run (avoiding its ultimate collapse.) The ruler is dressed in peasants' clothes, and some
ignorant serf is crowned king. Symbols of authority normally held in extreme
reverence are mocked and desecrated.

Clowns and contraries in Plains societies do not just come out once a year, however.
They are permanent parts of the society, and are seen as continual reminders of
the contingency and arbitrariness of the social order. Long before French theorists
came on the scene, the heyoka was reminding his own people about the social
construction of reality. By doing everything backwards, the heyoka in a way is
carrying out a constant experiment in ethnomethodology, showing people how their
own expectations limit their behavior. Like a good performance artist, the shocking
behavior of the heyoka is supposed to confront people and make them reconsider what
they may have arbitrarily accepted as normal. It's to "jolt" them out of their
ordinary frames of mind. (Steward 1991)

More importantly, as a representative of Thunderbird and Trickster, the heyoka
reminds his people that the primordial energy of nature is beyond good and evil.
It doesn't correspond to human categories of right and wrong. It doesn't always follow
our preconceptions of what is expected and proper. It doesn't really care about our
human woes and concerns. Like electricity, it can be deadly dangerous, or harnessed
for great uses. If we're too narrow or parochial in trying to understand it, it will
zap us in the middle of the night. Like any good trickster, the heyoka plays pranks
on others in his culture not to make them feel embarrassed and stupid,
but to show them ways they could start being more smart.

The Account of John (Fire) Lame Deer: Heyoka and ASC

Lame Deer calls the heyoka the "upside-down, forward-backward, icy-hot contrary."
He describes in detail one particular heyoka trick which may give some clues to
the nature of their antics. Apparently, they would grab pieces of dog meat out of
a pot of boiling water, and fling them at a crowd of people, without being burned or
harmed in any way. (Why dog meat? Lame Deer gives a clue when he says, "For the
heyoka, he says god when he means dog, and dog when he means god.") Lame Deer
suggests before doing this they chewed a grayish moss called tapejuta. I suspect
that heyoka were able to perform this feat through going into trance, an altered state
of consciousness, by utilizing this and other psychotropic plants on occasion.

More importantly, I think they induced trance in others through their contrary
behavior. Psychologists have noted that trance does not always occur through
rhythmic repetition. Another way in which it occurs (the "paradoxical state") is through
a sudden shock to the nervous system. Ethnomethodologists have often noted the blank,
glassy stares and strange states produced by violating peoples' expectations - by,
for example, getting into an elevator and facing the other people in it. It's in such
"paradoxical states" that people often may assimilate new information quickly,
without filtering. They also may be able to "abreact" psychological trauma. For these
reasons, the heyoka may have been seen as a source of wisdom and healing.

Lame Deer seems to suggest the power of trance is connected to the power of Thunderbird.
As a paradoxical state of consciousness, it ties into the paradoxical energy of thunder
and lightning. The crash of thunder can startle us and wake us up out of dreaming sleep.
The trance of the heyoka comes from sacred power. He ties it all together in a
way that's fairly succinct:

" These Thunderbirds are part of the Great Spirit. Theirs is about the greatest power in the
whole universe. It is the power of the hot and the cold clashing above the clouds.
It is blue lightning from the sun. It is like atomic power. The thunder power protects
and destroys. It is good and bad; the great winged power. We draw the lightning as a
forked zigzag, because lightning branches out into a good and bad part... In our Indian
belief, the clown has a power which comes from the thunder beings, not from the
animals or the Earth. He has more power than the atom bomb, he could blow off the
dome of the Capitol. Being a clown gives you honor, but also shame. It brings you power,
but you have to pay for it."
(quoted in Erdoes 1972: 251)


The Thunderbird's association with heyoka clowns is not simply serendipitous. The fact
that the Thunderbird displays many paradoxical and contradictory attributes links it
to Trickster figures and to the contraries of Plains Indians culture. This culture complex
probably resulted from Indian beliefs about nature and the ways in which thunder and lightning
exemplified the manners in which it could be at once capricious, beneficent, and
destructive. The Thunderbird's own link to the original Great Mystery suggests that the
role of the sacred clown was seen as one of the highest in Plains society - like wandering
fools in Europe, they were thought to be touched by the Divine power itself. Like
Thunderbird himself, the heyoka was thought to be a conduit to forces that defied
comprehension, and by his absurd, backwards behavior he was merely showing
the ironic, mysterious dualities that existed within the universe itself.


Edmonds, Margot, and Clark, Ella E., Voices of the Winds: Native American Legends, Facts on File, New York, 1989.

Erdoes, Richard, and Ortiz, Alfonso, eds., American Indian Myths and Legends, Pantheon Books, New York, 1984.

Fire, John, and Erdoes, Richard, Lame Deer: Seeker of Visions, Washington Square Press, New York, 1972.

Gill, Sam D., and Sullivan, Irene F., Dictionary of Native American Mythology, ABC-CLIO Inc., Santa Barbara, 1992.

Hall, Mark A., Thunderbirds: The Living Legend of Giant Birds, Fortean Publications, Minneapolis, 1988.

Hines, Donald M., Ghost Voices: Indian Myths, Legends, Humor, and Hunting Stories, Great Eagle Publishing, Issaquah, 1992.

Hultkrantz, Ake, Native Religions of North America, Harper & Row Publishers, San Francisco, 1987.

Neihardt, John G., Black Elk Speaks, Simon & Schuster, New York, 1959.

Radin, Paul, The Trickster: a Study in American Indian Mythology, Greenwood Press, Westport, 1956.

Steiger, Brad, Medicine Power, Doubleday & Company, Inc., Garden City, New York, 1974.

Steward, Julian Haynes, The Clown in Native North America, Garland Publishing, New York, 1991.


( 3 comments — Leave a comment )
Sep. 4th, 2002 08:24 pm (UTC)
ooohhh... I didn't get to read all of it, but I particularly liked the story close under the "christian" heading. The way the bird would sing for the sun for all eternity in gratefulness. :D
Sep. 5th, 2002 12:43 pm (UTC)
Very fascinating!!!
Especially the part about the Thunder Beings, Heyoka and all that.

Though I will say this -- phoenixes and Thunder Beings (thunderbirds) are very different beings.

~~KT of the Lore~~
Sep. 5th, 2002 01:22 pm (UTC)
Re: Very fascinating!!!
I thought it was intresting stuff ;)
( 3 comments — Leave a comment )