Pherecydes developed a unique,
syncretistic theogony with a new beginning stage, in which Zas, Chronos, and Chthoniê were the first gods to exist all along. He was probably the first to do this. There is no creation out of nothing (
creatio ex nihilo). The
cosmogony is justified through etymology, a new understanding of the deity Kronos as Chronos and the insertion of a creator god (
demiurge). Also, Pherecydes combined
Greek mythology with non-Greek myths and religions. According to Aristotle, he was innovative in his approach, because he broke with the
theological tradition and combined mythology with philosophy. Pherecydes' creation story therefore had to be more rational and concrete than Hesiod's
Theogony. He wrote that first Chaos came to be (
genetos) without explanation, while Zas, Chronos and Chthoniê existed eternally (
êsan aeí). The adoption of an eternal principle (
arche) for the
cosmos was characteristic of
Pre-Socratic thinkers. The sequence of Pherecydes' creation myth is as follows. First, there are the eternal gods Zas (Zeus), Chthoniê (Gaia) and Chronos (Kronos). Then Chronos creates elements in niches in the earth with his seed, from which other gods arise. This is followed by the three-day wedding of Zas and Chthonie. On the third day Zas makes the robe of the world, which he hangs from a winged oak and then presents as a wedding gift to Chthonie, and wraps around her. The "winged oak" in this cosmology has no precedent in Greek tradition. The stories are different but not mutually exclusive, because much is lacking in the fragments, but it seems clear that creation is hindered by chaotic forces. Before the world is ordered, a cosmic battle takes place, with Cronus as the head of one side and Ophion as the leader of the other. Ophion then attacks Kronos, who defeats him and throws him in Ogenos. Sometime after his battle with Ophion, Kronos is succeeded by Zas. This is implied by the fact that Zas/Zeus is ultimately the one who assigns the gods their domain in the world. For example, the
Harpies are assigned to guard
Tartarus The fact that Kronos disappears into the background is due to his great magnificence. The argument for this is that Aristotle conceives Pherecydes as a semi-philosopher in that he connects the philosophical Good and
Beautiful with the first, prevailing principle (
arche) of the theologians, and eternity, according to Aristotle, is connected with the good. The three primordial gods are eternal, equal and wholly responsible for the world order. (BM 92687) from the 5th century BC. Here the ocean lies like a circle around the land.
Etymology Pherecydes was interested in
etymology and word associations. Like Thales, he associated
chaos with the
primordial elemental water, presumably because he associates the word 'chaos' with the verb 'cheesthai', 'to flow out', and because chaos is an undefined, disorderly state. By that approach he adapted
god names, although Pherecydes probably saw his gods as traditional deities. He mentioned
Rhea for example Rhê, presumably by association with
rhein '(out)streams'. The common names were in the 6th century BC. already traditional. In addition, the names are not a Greek dialect. The reason for deviant forms is to make them resemble other words and to construct an original form. •
Zas resembles
Zeus. One explanation is association with the prefix
za- 'very', as in
zatheos 'very divine'. An alternative is that the
Sky deity is thus connected with the
Earth Goddess Gê. Namely, the
Cypriot form is
Zã. A third interpretation is based on the genitive form
Zantos. Pherecydes' father Babys came from
Cilicia, where the
Luwian god Šanta was known as Sandes and Sandon. The
Hittites identified it as the sky god, and the Greeks as Zeus or Heracles. Based on Zeus and Sandon with their associations, Pherecydes constructed a basic form with
Zas-
Zantos. Zas (Zeus) is comparable with the
Orphic Eros in function, as a personification of masculine sexual creativity. According to
Proclus, "Pherecydes used to say that Zeus changed into Eros when about to create, for the reason that, having created the world from opposites, he led it into agreement and peace and sowed sameness in all things, and unity that interpenetrates the universe". •
Chronos as time, the creator god, was unusual and is probably Eastern in origin. Phoenician myths and Zoroastrianism have a deified Time (
Zurvan) that also creates without a partner with its seed, but leaves the concrete design of the physical world to another god. The semen (seeds) of Chronos which can probably be considered as a
watery chaos was placed in the recesses and composed numerous other offspring of gods. This is described in a fragment preserved in
Damascius'
On First Principles. In later Greek poetry, Chronos (also called Aiōn) appears as
personification. Some Pherecydes fragments say
Kronos, not
Chronos. The association between the two figures is not traditional but may be correct. According to Hermias and Probus, Pherecydes did connect Chronos with Kronos, perhaps on etymological grounds. After him
Pindar and Hellenistic orphism did this too. •
Chthoniê comes from
chthôn 'earth' and
chthonios 'in/under the earth'. It concerns the invisible part of the dark, primitive earth mass.
Gê, on the other hand, refers to the visible, differentiated
Earth's surface. Chthoniê's role is related to myths about
Cybele in western Anatolia.
Herodotus uses
chthoniai theai as a name for
Demeter (
mother earth) and her daughter
Persephone. Pherecydes probably regarded Chthoniê as 'mother of the gods'.
Hesiod described
Tartaros as being "in a recess (
muchos) of broad-wayed earth". Hermann S. Schibli thinks the five
muchoi were actually harboured within Chthonie, or at least were so initially when Chronos disposed his seed in the five "nooks". A close relationship is thought to exist between these recesses and Chthonie. •
Ogenos,
Okeanos/Oceanus. This non-Greek name is explained by the Akkadian
uginna(circle) because Oceanus encircles the earth, or with the
Aramaic ôganâ 'basin' or
ôgen 'edge/band/edging'. This Eastern influence has been suggested by assuming that Pherecydes knew of a
world map such as the
Babylonian world map. Finally, the non-traditional Greek "abodes of Ogenos" ("Ogenou dómata") are parts of the earth covering Chthoniê, and resemble the regions beyond the ocean on the Babylonian map. , is the personification of time. Pherecydes was one of the first mythographers in the ancient greek religion to personify time.
Cosmogony The sequence of Pherecydes' cosmogony begins with the eternal gods Zas (Zeus), Chthoniê (Gê) and Chronos (Kronos), who "always existed." The first creation is an act of ordering in the cosmos through niches and division of the world. That creation coincides with the dichotomy of eternity-temporality and being-becoming. Chronos must step out of eternity to create, and creation means becoming. Later on
Plato also used the distinction between
eternal being and temporal genesis. This is opposed to the older
cosmogony of
Hesiod (8th–7th century BCE) where the initial state of the universe is Chaos, a dark void considered as a divine primordial condition and the creation is
ex nihilo (out of nothing). The titles
Penta-/
Heptamychos and
Theokrasia of the work indicate that niches (
mychoi) and mixing are an important part of the creation story. Pherecydes first identified five niches (
mychoi). If there were five niches in the story, they correspond to the five parts (
moirai) of the cosmos: the sea, underworld and heaven (the
homeric three-part division), plus the earth and
Mount Olympus. Therefore Damascius calls the five niches 'five worlds' and the
Suda mentions the alternative title
Pentamychos. Once Chronos fills them to create the worlds, they turn into the five cosmic regions ("moirai")
Uranus ("heaven"), Tartarus, Chaos,
Ether/Aer (“sky”) and
Nyx (“night”). According to Porphyry, there were all kinds of caves and gates in the world. In
classical antiquity caves were associated with sexuality and birth. However, the niches here are not stone caves in mountains, because the world has yet to be shaped. They are cavities in the still primitive, undifferentiated mass of the Earth. At an early stage, Chronos creates with his seed the three elements fire, air (
pneuma) and water. The Earth element already existed with Chthoniê. Warmth, humidity and 'airiness' were according to
Ancient Greek medicine three properties of seed, and through those principles the embryo developed. The first three concepts are traditional and appear in the Pherecydes fragments (eg fragment DK 7 B4 below). Poets like Probus and Hermias, equated Pherecydes' Zas with Aether because since Zeus is the Greek
sky god, he would have had Aether as his domain. The title
Heptamychos in the
Suda is explained by including Gê and Ogenos (hepta = seven). Pherecydes writes that Tartarus lies below the earth ("gê"), so that gê is therefore considered a separate region that could be seen. Fire, air and water are placed in the niches by Chronos and mixed (
krasis). Mixing elements in five niches only makes sense if those mixtures are in different proportions. Contrary to later philosophy of
Anaxagoras, the world is not created from the mixtures, but a second generation of gods (
theokrasia), including Ophion. The formed gods derive their characteristics from the dominant element in each mixture and possibly associate them with the five regions. The elements may also be a later,
stoic reinterpretation of the text, as the elements, especially air/pneuma, appear anachronistic and fit within Aristotelian and Stoic
physiology. That means Chronos' seed will go straight into the niches. This representation is possible, because in a scholium at the
Iliad, for example, it says that Chronos smeared two eggs with his seed and gave it to Hera. She had to keep the eggs underground (
kata gês) so that
Typhon was born, the enemy of Zeus. Typhon is a parallel of Pherecydes' serpent god Ophion. depicting the
heiros gamos of Zeus and Hera, where Zeus presents a
pharos to his betrothed, a popular motif in Ancient Roman art. The story is retold in Pherecydes' cosmogony
Marriage between Zas and Chthoniê It is quite possible that in the course of the theogony the primeval trio changed into the traditional Zeus, Kronos and Hera. Such changes have Orphic parallels: Rhea is Demeter after she becomes Zeus' mother, and
Phanes simultaneously becomes Zeus and
Eros. In Pherecydes, Chthoniê becomes Gê through marriage, after which she becomes the protector of the marriage, and that was traditionally the domain of Hera. Hera is also associated with the earth in some sources. The marriage of the gods is a union (
hieros gamos) where Zas makes a robe (
pharos) depicting Gaia and Ogenos. This is an allegory for the acts of creation (
mellonta dêmiourgein). Zas is a
demiurge and creates by turning into Eros. The robe is a covering, namely of Chthoniê, the earth's mass, thus taking as its domain the varied surface of the earth and the encircling ocean. Marriage is also
etiological, because it explains the origin of the ritual unveiling of the bride (
anakalypteria). The cloth makes Chthoniê vivid and alive. She is the base matter, but Gê is the form of it. The robe hangs on a winged oak. This passage is unique and has several interpretations. The robust oak was traditionally dedicated to Zeus and presumably indicates the solid structure and foundation of the earth. The roots and branches support the earth's surface. Below is Tartarus, and above it, according to Hesiod, grow "the
roots of the earth and the barren sea". Pherecydes followed this
archaic representation. The wings refer to the broad spreading branches of the oak. Over this hangs the cloth, which as the earth's surface is thus both smooth and varied in shape. The robe as a mythical image for the earth's surface also appears in some Orphic texts. In the
Homeric Hymn to Demeter,
Persephone is weaving a rich robe representing the cosmos when she is carried off by
Hades to the underworld.Finally, the proverb 'The face of the earth is the garment of Persephone' is in the style of early Pythagoreans, who had sayings like 'tears of Zeus' for rain and 'The sea is the tear of Kronos'. The mythical images of the tree as an earthly structure and a robe as a gift at marriage have Greek cultic counterparts. In
Plataeae, for example, the Daedala festival was celebrated, in which an oak was cut down to make a statue of a girl dressed as a bride. Zeus gave
Persephone Sicily or
Thebes, while
Cadmus gave a robe to
Harmonia. Still, the images may be oriental in origin. There are
Mesopotamian parallels of the palace with a complex of spaces reserved for the bride and groom is built. There are also myths such as the one in which
Anu takes heaven as his portion, whereupon
Enlil takes the earth and gives it as a dowry to
Ereshkigal, 'mistress of the great deep' (
chthoniê).
Theomachy Pherecydes described a battle between Kronos and Ophion similar to that of Zeus and
Typhon in Hesiod's older "Theogony". The stake of the battle is cosmic supremacy and is reminiscent of the
Titanomachy and Gigantomachy of traditional theogony, in which the successive conflicts between gods are described with the current world order as a result. In Pherecydes' cosmogony, however, no initial chaos or tyranny is overcome, followed by the establishment of a new order. The creative gods are eternal and co-equal. Their order is temporarily threatened by Ophion, but that threat becomes a (re)affirmation of the divine order, with Kronos as the first king. The battle is also etiological, for it explained the myths about ancient sea monsters in both Greece and
Asia Minor and the
Middle East. The battle is described by
Celsus: 'Pherecydes told the myth that an army was lined up against army, and he mentioned Kronos as leader of one, Ophion of the other, and he related their challenges and struggles, and that they agreed that the one who fell into Ogenos was the loser, while those who cast them out and conquered should possess the sky'. Chronos has become Kronos here. Presumably, as a prominent second creator, Zas also participates in the battle, after which he becomes Zeus. Ophion did not exist from the beginning but was born and had progeny of his own (
Ophionidai). He is serpentine, because his name is derived from
ophis 'snake'. Traditionally, Gaia (Gê) was regarded as the mother of Typhon, and Chthoniê/Gê may be the mother of Ophion here. Ophion may also have been produced on her own in Tartarus, the cave under the earth. Typhon also originated in a cave. Otherwise the father may be Chronos, because his seed is the niches of the earth. Ophion and its brood are often depicted as ruling the birthing cosmos for some time before falling from power. The chaotic forces are eternal and cannot be destroyed; instead they are thrown out from the ordered world and locked away in Tartaros in a kind of "appointment of the spheres", in which the victor (Zeus-Cronus) takes possession of the sky and of space and time. Cronus (or Zeus in the more popularly known version) orders the offspring out from the cosmos to Tartaros. There they are kept behind locked gates, fashioned in iron and bronze. We are told about chaotic beings put into the pentemychos, and we are told that the Darkness has an offspring that is cast into the recesses of Tartaros. No surviving fragment makes the connection, but it is possible that the prison-house in Tartaros and the pentemychos are ways of referring to the essentially same thing. According to
Celsus, Pherecydes said that: "Below that portion is the portion of Tartaros; the daughters of Boreas (the north wind), the Harpies and Thuella (Storm), guard it; there Zeus banished any of the gods whenever one behaves with insolence." Thus the identity between Zeus' prison-house and the pentemychos seems likely. Judging from some ancient fragments Ophion is thrown into
Oceanus, not into Tartaros. Exactly what entities or forces that were locked away in Pherecydes’ story cannot be known for sure. There may have been five principal figures. Ophion and Typhon are one and the same, and
Eurynome fought on the side of Ophion against Cronus. Chthonie is a principal "thing" of the underworld, but whether she is to be counted as one of the five or the five "sum-total" is an open question. Apart from these it is known that Ophion-Typhon mated with
Echidna, and that Echidna herself was somehow mysteriously "produced" by
Callirhoe. If Pherecydes counted five principal entities in association the pentemychos doctrine, then Ophion, Eurynome, Echidna, Calirrhoe and Chthonie are the main contenders. == Legacy ==