creation story essay

A Summary and Analysis of the Creation Story in the Book of Genesis

By Dr Oliver Tearle (Loughborough University)

‘In the beginning God created the heaven and the earth’: so begins the Book of Genesis and, with it, the Old Testament, and, with that, the Bible. But where did this Creation story come from, ‘in the beginning’? How was it shaped? Did it rely on earlier accounts? And is there really one Creation story in the Book of Genesis, or are there, in fact, two? And how many gods, after all, did the creating, according to the Bible?

Let’s take a closer look at the Creation story – or rather, stories – in the Book of Genesis, offering a close analysis of their meaning and origins.

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Genesis creation story: summary

The Book of Genesis famously opens with the words:

1:1 In the beginning God created the heaven and the earth.

Although we know the first book of the Bible as the Book of Genesis, in Hebrew, where this book begins the Torah, the book is known as Bereshith , which literally means ‘in the beginning’, as the Hebrew practice was to call each book after its opening words.

‘Genesis’ is from the Greek translation of the Hebrew book, and means literally ‘coming into being’ or, if you will, ‘origins’.

Curiously, although the English translation of this Greek translation uses the word ‘God’, the Hebrew word used is Elohim , which is actually a plural form: so ‘gods’, rather then God. The earliest version of the Book of Genesis (as it’s now known), then, may well have begun with a polytheistic rather than monotheistic account of Creation.

Even when the authors of these early books of the Bible came to co-opt this earlier account for a monotheistic vision of the world, the term Elohim was, as Isaac Asimov notes in his Asimov’s Guide to the Bible: The Old Testament , too familiar and too firmly ingrained to change.

Indeed, as Asimov goes on to observe, some traces of this polytheism may have remained in later passages from Genesis. So, for instance, when Adam and Eve eat of the forbidden fruit, God says, ‘Behold, the man is become as one of us’ (Genesis 3:22). And when God sees the Tower of Babel , he says, ‘Go to, let us go down, and there confound their language’ (Genesis 11:7).

Even if we grant the use of the royal ‘we’ (and surely God, if anyone, is allowed to use that), in this second passage we’d also have to accept that he was talking to himself and telling himself to go down there. It makes more sense to think of ‘Elohim’ as addressing each other and deciding to act collectively.

1:2 And the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters.

Once the writers have established God as the Creator of everything, they then describe the early state of the earth as soon as God (or gods) had brought it into being. There is no light as yet.

1:3 And God said, Let there be light: and there was light.

In a famous quotation, God merely has to command that light should exist, and light exists. Night and day are quickly established:

1:4 And God saw the light, that it was good: and God divided the light from the darkness.

1:5 And God called the light Day, and the darkness he called Night. And the evening and the morning were the first day.

Now night and day have been created, as a time-division between the two halves of the day, God creates the sky or ‘firmament’:

1:8 And God called the firmament Heaven. And the evening and the morning were the second day.

On the third day, grass and flowers and trees are created at God’s command:

1:12 And the earth brought forth grass, and herb yielding seed after his kind, and the tree yielding fruit, whose seed was in itself, after his kind: and God saw that it was good.

Next, on the fourth day, he creates a ‘greater light’ for the day (the sun), and a ‘lesser light’ for the night (the moon), as well as all the stars:

1:16 And God made two great lights; the greater light to rule the day, and the lesser light to rule the night: he made the stars also.

On the fifth day, the creatures of the sea and the birds in the sky are brought into being:

1:22 And God blessed them, saying, Be fruitful, and multiply, and fill the waters in the seas, and let fowl multiply in the earth.

On the sixth day, God creates cattle, ‘creeping’ things, and the various beasts of the earth:

1:24 And God said, Let the earth bring forth the living creature after his kind, cattle, and creeping thing, and beast of the earth after his kind: and it was so.

1:25 And God made the beast of the earth after his kind, and cattle after their kind, and every thing that creepeth upon the earth after his kind: and God saw that it was good.

He also makes man in his own image, and lets him have dominion over all of these animals:

1:26 And God said, Let us make man in our image, after our likeness: and let them have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing that creepeth upon the earth.

On the seventh day, he rests, and this is the basis of the Sabbath, the ‘seventh day’ of the week (Saturday in Judaism, but this became Sunday in Christianity), on which God’s followers are supposed to rest in honour of the Creation and not work, because God didn’t work on the seventh day.

Genesis creation story: analysis

As Kristin Swenson points out in her engaging book on the Bible, A Most Peculiar Book: The Inherent Strangeness of the Bible , there are some rather curious inconsistencies between the account of Creation given in chapter 1 of Genesis and the details we find in chapters 2 and 3. In chapter 1, the most familiar version of Creation, God creates man last, on the sixth day, having created the other animals already.

Yet in chapter 2 of Genesis, we are told that God created Adam and then created the animals for Adam to give names to:

2:18 And the LORD God said, It is not good that the man should be alone; I will make him an help meet for him.

2:19 And out of the ground the LORD God formed every beast of the field, and every fowl of the air; and brought them unto Adam to see what he would call them: and whatsoever Adam called every living creature, that was the name thereof.

Note that in this account, God clearly creates the animals after he has created man, so that man (i.e., Adam) will have some ‘help meet’ and company. Yet in the earlier account in chapter 1, the cattle, creeping things, and beasts are all mentioned first, and then God gives man dominion over them after he has created man.

Some scholars have maintained that this doesn’t necessarily mean God created the animals first in chapter 1: it may be that the authors simply mentioned them before the creation of man. But the wording certainly implies that the creation of man came after the other creatures.

God also had to invent rain, because although he had created the flowers and crops, nothing was growing in the Garden of Eden:

2:4 These are the generations of the heavens and of the earth when they were created, in the day that the LORD God made the earth and the heavens, 2:5 And every plant of the field before it was in the earth, and every herb of the field before it grew: for the LORD God had not caused it to rain upon the earth, and there was not a man to till the ground.

What such inconsistencies suggest is that there were (at least) two slightly different accounts of Creation which the authors of Genesis fused together.

So although the first few chapters of Genesis broadly follow a chronology (God creates the heavens and earth, then he creates man, and then the focus turns to Adam and Eve), some details remain in the second chapter, which is clearly from a different source than chapter 1, and these details contradict what was set out in chapter 1.

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The Creation Story: Summary and Study Guide

Find out what happened on each of the seven days of creation

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General Biblical Studies, Interdenominational Christian Training Center

The creation story begins with the opening chapter of the Bible and these words: "In the beginning, God created the heavens and the earth." (NIV) This sentence summarizes the drama that was about to unfold.

We learn from the text that the earth was formless, empty, and dark, and God's Spirit moved over the waters preparing to perform God's creative Word. Then began the seven most creative days of all time as God spoke life into existence. A day by day account follows.

Watch Now: A Simple Version of The Bible Creation Story

The creation day by day.

The creation story takes place in Genesis 1:1-2:3.

Day 1 - God created light and separated the light from the darkness, calling light "day" and darkness "night."
Day 2 - God created an expanse to separate the waters and called it "sky."
Day 3 - God created the dry ground and gathered the waters, calling the dry ground "land," and the gathered waters "seas." On day three, God also created vegetation (plants and trees).
Day 4 - God created the sun, moon, and the stars to give light to the earth and to govern and separate the day and the night. These would also serve as signs to mark seasons, days, and years.
Day 5 - God created every living creature of the seas and every winged bird, blessing them to multiply and fill the waters and the sky with life.
Day 6 - God created the animals to fill the earth. On day six, God also created man and woman ( Adam and Eve ) in his own image to commune with him. He blessed them and gave them every creature and the whole earth to rule over, care for, and cultivate.
Day 7 - God had finished his work of creation and so he rested on the seventh day, blessing it and making it holy.

A Simple—Not Scientific—Truth

Genesis 1, the opening scene of the biblical drama, introduces us to the two main characters in the Bible: God and man. Author Gene Edwards refers to this drama as "the divine romance." Here we meet God, the Almighty Creator of all things, revealing the ultimate object of his love —man—as he concludes the stunning work of creation. God has set the stage. The drama has begun.

The simple truth of the biblical creation story is that God is the author of creation. In Genesis 1, we are presented with the beginning of a divine drama that can only be examined and understood from the standpoint of faith. How long did it take? How did it happen, exactly? No one can answer these questions definitively. In fact, these mysteries are not the focus of the creation story. The purpose, rather, is for moral and spiritual revelation.

God was very pleased with his creation. Six times throughout the process of creating, God stopped, observed his handiwork, and saw that it was good. On final inspection of all that he had made, God regarded it as "very good."

This is a great time to remind ourselves that we are part of God's creation. Even when you don't feel worthy of his pleasure, remember that God made you and is pleased with you . You are of great worth to him.

The Trinity in the Creation

In verse 26, God says, "Let us make man in our image, in our likeness ..." This is the only instance in the creation account that God uses the plural form to refer to himself. It's interesting to note that this happens just as he begins to create man. Many scholars believe this is the Bible's first reference to the Trinity .

The Rest of God

On the seventh day, God rested. It's hard to come up with a reason why God would need to rest, but apparently, he considered it important. Rest is often an unfamiliar concept in our busy, fast-paced world. It's socially unacceptable to take an entire day to rest. God knows we need times of refreshing. Our example, Jesus Christ , spent time alone, away from the crowds.

The rest of God on the seventh day sets an example for how we ought to spend and enjoy a regular day of rest from our labors. We should not feel guilty when we take time each week to rest and renew our bodies, souls, and spirits.

But there is a more profound significance to God's rest. It figurately points to a spiritual rest for believers. The Bible teaches that through faith in Jesus Christ, believers will experience the delights of resting in heaven forever with God: "So God’s rest is there for people to enter, but those who first heard this good news failed to enter because they disobeyed God. For all who have entered into God’s rest have rested from their labors, just as God did after creating the world." (See Hebrews 4:1-10)

Questions for Reflection

The creation story clearly shows that God enjoyed himself as he went about the work of creation. As noted previously, six times he stopped and savored his accomplishments. If God takes pleasure in his handiwork, is there anything wrong with us feeling good about our achievements?

Do you enjoy your work? Whether it's your job, your hobby, or your ministry service, if your work is pleasing to God , then it should also bring pleasure to you. Consider the work of your hands. What things are you doing to bring pleasure to both you and God?

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Heilbrunn Timeline of Art History Essays

Mesopotamian creation myths.

Ira Spar Department of Ancient Near Eastern Art, The Metropolitan Museum of Art

Stories describing creation are prominent in many cultures of the world. In Mesopotamia, the surviving evidence from the third millennium to the end of the first millennium B.C. indicates that although many of the gods were associated with natural forces, no single myth addressed issues of initial creation. It was simply assumed that the gods existed before the world was formed. Unfortunately, very little survives of Sumerian literature from the third millennium B.C. Several fragmentary tablets contain references to a time before the pantheon of the gods, when only the Earth (Sumerian: ki ) and Heavens (Sumerian: an ) existed. All was dark, there existed neither sunlight nor moonlight; however, the earth was green and water was in the ground, although there was no vegetation. More is known from Sumerian poems that date to the beginning centuries of the second millennium B.C.

A Sumerian myth known today as “ Gilgamesh and the Netherworld” opens with a mythological prologue. It assumes that the gods and the universe already exist and that once a long time ago the heavens and earth were united, only later to be split apart. Later, humankind was created and the great gods divided up the job of managing and keeping control over heavens, earth, and the Netherworld.

The origins of humans are described in another early second-millennium Sumerian poem, “The Song of the Hoe.” In this myth, as in many other Sumerian stories, the god Enlil is described as the deity who separates heavens and earth and creates humankind. Humanity is formed to provide for the gods, a common theme in Mesopotamian literature.

In the Sumerian poem “The Debate between Grain and Sheep,” the earth first appeared barren, without grain, sheep, or goats. People went naked. They ate grass for nourishment and drank water from ditches. Later, the gods created sheep and grain and gave them to humankind as sustenance. According to “The Debate between Bird and Fish,” water for human consumption did not exist until Enki, lord of wisdom, created the Tigris and Euphrates and caused water to flow into them from the mountains. He also created the smaller streams and watercourses, established sheepfolds, marshes, and reedbeds, and filled them with fish and birds. He founded cities and established kingship and rule over foreign countries. In “The Debate between Winter and Summer,” an unknown Sumerian author explains that summer and winter, abundance, spring floods, and fertility are the result of Enlil’s copulation with the hills of the earth.

Another early second-millennium Sumerian myth, “Enki and the World Order,” provides an explanation as to why the world appears organized. Enki decided that the world had to be well managed to avoid chaos. Various gods were thus assigned management responsibilities that included overseeing the waters, crops, building activities, control of wildlife, and herding of domestic animals, as well as oversight of the heavens and earth and the activities of women.

According to the Sumerian story “Enki and Ninmah,” the lesser gods, burdened with the toil of creating the earth, complained to Namma, the primeval mother, about their hard work. She in turn roused her son Enki, the god of wisdom, and urged him to create a substitute to free the gods from their toil. Namma then kneaded some clay, placed it in her womb, and gave birth to the first humans.

Babylonian poets, like their Sumerian counterparts, had no single explanation for creation. Diverse stories regarding creation were incorporated into other types of texts. Most prominently, the Babylonian creation story Enuma Elish is a theological legitimization of the rise of Marduk as the supreme god in Babylon, replacing Enlil, the former head of the pantheon. The poem was most likely compiled during the reign of Nebuchadnezzar I in the later twelfth century B.C., or possibly a short time afterward. At this time, Babylon , after many centuries of rule by the foreign Kassite dynasty , achieved political and cultural independence. The poem celebrates the ascendancy of the city and acts as a political tractate explaining how Babylon came to succeed the older city of Nippur as the center of religious festivals.

The poem itself has 1,091 lines written on seven tablets. It opens with a theogony, the descent of the gods, set in a time frame prior to creation of the heavens and earth. At that time, the ocean waters, called Tiamat, and her husband, the freshwater Apsu, mingled, with the result that several gods emerged in pairs. Like boisterous children, the gods produced so much noise that Apsu decided to do away with them. Tiamat, more indulgent than her spouse, urged patience, but Apsu, stirred to action by his vizier, was unmoved. The gods, stunned by the prospect of death, called on the resourceful god Ea to save them. Ea recited a spell that made Apsu sleep. He then killed Apsu and captured Mummu, his vizier. Ea and his wife Damkina then gave birth to the hero Marduk, the tallest and mightiest of the gods. Marduk, given control of the four winds by the sky god Anu, is told to let the winds whirl. Picking up dust, the winds create storms that upset and confound Tiamat. Other gods suddenly appear and complain that they, too, cannot sleep because of the hurricane winds. They urge Tiamat to do battle against Marduk so that they can rest. Tiamat agrees and decides to confront Marduk. She prepares for battle by having the mother goddess create eleven monsters. Tiamat places the monsters in charge of her new spouse, Qingu, who she elevates to rule over all the gods. When Ea hears of the preparations for battle, he seeks advice from his father, Anshar, king of the junior gods. Anshar urges Ea and afterward his brother Anu to appease the goddess with incantations. Both return frightened and demoralized by their failure. The young warrior god Marduk then volunteers his strength in return for a promise that, if victorious, he will become king of the gods. The gods agree, a battle ensues, and Marduk vanquishes Tiamat and Qingu, her host. Marduk then uses Tiamat’s carcass for the purpose of creation. He splits her in half, “like a dried fish,” and places one part on high to become the heavens, the other half to be the earth. As sky is now a watery mass, Marduk stretches her skin to the heavens to prevent the waters from escaping, a motif that explains why there is so little rainfall in southern Iraq. With the sky now in place, Marduk organizes the constellations of the stars. He lays out the calendar by assigning three stars to each month, creates his own planet, makes the moon appear, and establishes the sun, day, and night. From various parts of Tiamat’s body, he creates the clouds, winds, mists, mountains, and earth.

The myth continues as the gods swear allegiance to the mighty king and create Babylon and his temple, the Esagila, a home where the gods can rest during their sojourn upon the earth. The myth conveniently ignores Nippur, the holy city esteemed by both the Sumerians and the rulers of Kassite Babylonia . Babylon has replaced Nippur as the dwelling place of the gods.

Meanwhile, Marduk fulfills an earlier promise to provide provisions for the junior gods if he gains victory as their supreme leader. He then creates humans from the blood of Qingu, the slain and rebellious consort of Tiamat. He does this for two reasons: first, in order to release the gods from their burdensome menial labors, and second, to provide a continuous source of food and drink to temples.

The gods then celebrate and pronounce Marduk’s fifty names, each an aspect of his character and powers. The composition ends by stating that this story and its message (presumably the importance of kingship to the maintenance of order) should be preserved for future generations and pondered by those who are wise and knowledgeable. It should also be used by parents and teachers to instruct so that the land may flourish and its inhabitants prosper.

The short tale “Marduk, Creator of the World” is another Babylonian narrative that opens with the existence of the sea before any act of creation. First to be created are the cities, Eridu and Babylon, and the temple Esagil is founded. Then the earth is created by heaping dirt upon a raft in the primeval waters. Humankind, wild animals, the Tigris and Euphrates rivers, the marshlands and canebrake, vegetation, and domesticated animals follow. Finally, palm groves and forests appear. Just before the composition becomes fragmentary and breaks off, Marduk is said to create the city of Nippur and its temple, the Ekur, and the city of Uruk, with its temple Eanna.

“The Creation of Humankind” is a bilingual Sumerian- Akkadian story also referred to in scholarly literature as KAR 4. This account begins after heaven was separated from earth, and features of the earth such as the Tigris, Euphrates, and canals established. At that time, the god Enlil addressed the gods asking what should next be accomplished. The answer was to create humans by killing Alla-gods and creating humans from their blood. Their purpose will be to labor for the gods, maintaining the fields and irrigation works in order to create bountiful harvests, celebrate the gods’ rites, and attain wisdom through study.

Spar, Ira. “Mesopotamian Creation Myths.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/epic/hd_epic.htm (April 2009)

Additional Essays by Ira Spar

Spar, Ira. “ Flood Stories .” (April 2009)
Spar, Ira. “ Gilgamesh .” (April 2009)
Spar, Ira. “ Mesopotamian Deities .” (April 2009)
Spar, Ira. “ The Gods and Goddesses of Canaan .” (April 2009)
Spar, Ira. “ The Origins of Writing .” (October 2004)

Related Essays

Flood Stories
The Isin-Larsa and Old Babylonian Periods (2004–1595 B.C.)
Mesopotamian Deities
The Akkadian Period (ca. 2350–2150 B.C.)
Art of the First Cities in the Third Millennium B.C.
Assyria, 1365–609 B.C.
Early Excavations in Assyria
The Gods and Goddesses of Canaan
The Middle Babylonian / Kassite Period (ca. 1595–1155 B.C.) in Mesopotamia
The Old Assyrian Period (ca. 2000–1600 B.C.)
The Origins of Writing
Mesopotamia, 1000 B.C.–1 A.D.
Mesopotamia, 1–500 A.D.
Mesopotamia, 2000–1000 B.C.
Mesopotamia, 8000–2000 B.C.
10th Century B.C.
1st Century B.C.
2nd Century B.C.
2nd Millennium B.C.
3rd Century B.C.
3rd Millennium B.C.
4th Century B.C.
5th Century B.C.
6th Century B.C.
7th Century B.C.
8th Century B.C.
9th Century B.C.
Agriculture
Akkadian Period
Ancient Near Eastern Art
Aquatic Animal
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Astronomy / Astrology
Babylonian Art
Deity / Religious Figure
Kassite Period
Literature / Poetry
Mesopotamian Art
Mythical Creature
Religious Art
Sumerian Art

Understanding the Creation Story from Genesis

May 1, 2018
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How did the world begin? Was the world a cosmological mistake or an intentional creation? What existed before the universe as we know it? Questions like these have generated tons of discussion (and arguments) in the historical, scientific, and religious communities.

While most people are familiar with the creation story found in Genesis, there’s a richness that’s often lost. In The Torah Story online course , Gary E. Schnittjer, Cairn University’s professor of Old Testament, plumbs the depth of the creation story while answering important questions like:

How did the author of Genesis receive the creation story?
How does the narrative style of the creation story provide the backdrop for the rest of the biblical story?
What does the creation story reveal about God?
How are humans different than the rest of creation?
What is mankind’s responsibility to creation?

This post is adapted from Dr. Schnittjer’s course.

What is the origin of the creation story?

The Torah begins with a beginning—“in the beginning.” It simultaneously serves as the introduction to the book of Genesis, the Torah, the Hebrew scriptures, and the entire Bible.

You may wonder, “The beginning of what?”

The story that follows reveals that this is the beginning of the human world—the setting for God’s story. Whether there are other beginnings or not remains a significant issue. The opening of Genesis, however, attempts to tell the story of the beginning of the human realm.

You may also ask, “How did the author learn of this story since there were no people to observe it?” We, as readers, can make guesses.

Perhaps the author learned the story from an ancient oral tradition. He could have imaginatively adapted his narrative as a polemic against an ancient written account like the Babylonian creation story, Enuma Elish. Perhaps he offered his own interpretation of how it might have happened based on his understanding of God, humanity, and creation. Or, perhaps God revealed it to him in a special way, such as through an oracle or vision.

The author does not disclose the source of the Genesis creation story . From ancient times, Judaic and Christian believers have embraced Genesis and its account of creation as Scripture—God’s word. The other biblical authors found in the pentateuchal creation narrative an account on which to construct their own writings.

Biblical readers are free to wonder about the source or sources of the creation account. An apprentice of the biblical writers, especially one who regards their writings as Scripture, needs to put the weight of his or her studies on what the biblical authors have written rather than on what they have omitted.

In this case, the author is not primarily explaining in historical or scientific terms the beginning of the human realm. Instead, the opening of Genesis theologically interprets the relationship between God and the human world, namely, that he created it by the power of his word.

Learn more in The Torah Story online course .

Formed from the wild and the waste

According to the storyteller, the world God created in the beginning was unformed and unfilled—wild and waste. The unformed and unfilled state of the earth set up the six creation days—three in which God formed the world and three in which he filled it. The relationship between the preformed and pre-filled world and the creation days is important for this passage and for the entire Torah (not to mention all Scripture).

In the creating days, the power of God’s word tamed what was wild and brought to life what was desolate. The Torah closes with the people at the end of a trek through the wild and barren wilderness hoping for blessing and life in the land God promised to their ancestors (see Deut. 32:9–11). What God did at the beginning and in the wilderness he can do again . Indeed, the Torah portrays a gracious God with a powerful voice that all readers need to obey.

The style of the creation story

Within these first verses readers are introduced to a distinctive biblical literary style that, in some ways and to varying degrees, was emulated by later biblical writers. In Genesis 1:2, for example, a “special word” is used, or better, an ordinary word is used in a special way.

The Hebrew word rûaḥ can signify one of several meanings depending on context. Here it seems to mean spirit—“the Spirit of God was hovering over the waters.” In the following chapters rûaḥ is applied in other contexts that at once give it a new sense and invite readers to consider the new use in light of this context.

In Genesis 3:8 God is said to have walked in the garden in the rûaḥ of the day (traditionally, in the “cool” of the day). If rûaḥ here means windy, then perhaps cool of the day or evening is appropriate. Still, the reader may easily think of the rûaḥ of the day in reference to the rûaḥ of God hovering over the waters in Genesis 1:2. The hiding humans and the chaotic empty world provide the contexts in which God is seeking and hovering.

In Genesis 8:1 God remembers Noah and sends the rûaḥ (wind) to make the waters of judgment subside so that Noah can again live on the earth. The fact that rûaḥ is sent by God to clear the waters for human life on earth to resume and that previously the rûaḥ of God hovered over the unformed and unfilled world prior to the creation days invites readers to compare and consider this word in a special way.

The dual imagery of the flood and the wind—judgment and new beginning—is similar to the imagery of Israel’s salvation from the Egyptians at the sea in Exodus 14. There God sends an east wind ( rûaḥ ) to provide deliverance to Israel and uses the waters to destroy his enemies.

The narrative of the sea crossing in Exodus uses imagery from Genesis 1 in order to depict the theological significance that God is creating a nation for himself (Gen. 1 language in italics):

“Then Moses stretched out his hand over the sea, and all that night Yahweh drove the sea back with a strong east wind [ rûaḥ ] and turned it into dry land. The waters were divided, and the Israelites went through the sea on dry ground, with a wall of water on their right and on their left” (Ex. 14:21–22).

The imagery here can also be thought of in terms of “denotation” and “connotation.” The narrative of the sea crossing denotes or refers to the acts of God to save Israel from the Egyptian threat. Yet, the specific language used to tell the story of the sea crossing connects it by its imagery with the account of creation in Genesis. Thus, the sea crossing narrative connotes God as the Creator of his nation .

Genesis’ textual depth

Many biblical words are used in special ways that both reveal a need for close reading and show a depth, another dimension, to the text. This textual depth is among the reasons that ancient biblical interpreters—before and after the New Testament era—considered the Bible a cryptic writing with subtle and hidden meanings.

In a manner similar to the use of special words, Genesis 1:1–2:4a begins the biblical precedent for special numbers. The seven days set a pattern for a complete week—God finished his work and rested. Thus, in the biblical writings, seven often signifies completion or perfection.

In the following chapters of Genesis other numbers become special, such as three, ten, twelve, and forty. The special numbers become part of the fabric of classic biblical style. The use of special numbers invites readers to reflect on the later events in relation to earlier ones. The forty years that Israel was wandering in the wilderness, for example, encourages the reader to compare it to the forty days of rain in the flood narrative.

The use of special words and numbers are among the many distinctive characteristics of biblical narrative that begin in Genesis 1. The narrative style—somewhere between prose and poetry—displays:

Rhythmic lines
Characteristic repetition
Symmetrical imagery
The manifold use of “and” to connect lines and scenes
Frequent intertextual allusions
Earthy symbolic language

The literary features effectively create a narrative almost poetic with its intertwined realistic and surreal qualities so familiar to biblical readers. Later biblical narrators emulated, whether by intention or otherwise, many of these literary characteristics, always with their own flair, in such a way that their writings “sound like” the Bible .

What does it mean to create: the creation days

The creating days themselves demonstrate the significance of the entire story. Throughout chapter 1 there is a repetition of “God” plus verb—the fourfold repetition in Day 1, for instance: “God said,” “God saw,” “God separated,” “God called” (1:3–5).

The rhythm of God-plus-verb demonstrates several things: the power of God’s word; the relationship between God and creation, namely, the dependence of creation on God and God’s power over and ownership of creation; God’s interest in measuring the character of creation (i.e., “God saw that it was good”); and so forth. Above all else, the reader is confronted by God the Creator.

What does it mean to create? Whatever it means to form and to fill is synonymous with creating in the context of Genesis 1. To understand the Creator, therefore, one must comprehend what it means to form and to fill. In the first three creating days God formed the realms for existence in this world—light and darkness, skies and seas, land and vegetation. During the next three creating days God filled these realms successively with celestial lights, birds and marine life, and the land animals and humankind. The six creation days demonstrate, among other things, the power of God’s word to order and to grant life.

The first three creation days expose the difference between unformed and formed, chaos and order. The difference is separation. To create, in these cases, is to separate. The light was separated from the darkness, the skies from waters, and the land from the seas. Without grasping the essence of order as separation, the call to be holy, to be separate toward God, in Leviticus will not be rightly appreciated. The holiness required of worshipers is the basic characteristic for relating to the Creator.

The fourth, fifth, and sixth creation days likewise display the difference between unfilled and filled. The difference, in large part, is life. To grant life, or to fill realms with life, is, in these instances, what it means to create. The realm of illumination was filled with life-sustaining cosmic lights (these lights also function as time separators; thus the fourth day is transitional), the skies with flying beings, the waters with aquatic creatures, and the land with terrestrial beings. The Creator is the life-giver.

By conceiving of creation as forming and filling, separating and life-giving, the tools are in hand for uncovering the meaning of judgment. To be specific, to die is at once separation and life-losing. Death is the effect of the anti-creational acts of sin . Death is not separation to form but from form. It does not give but takes life. Therefore, the death that comes from defying God’s commanding word contradicts creation. Life, by analogy, is to accord with the word of God. When the nature of creation and judgment is recognized, the oneness of God as Creator and Redeemer comes into sharp relief.

Where does humanity fit in creation?

The story of the creating days not only reveals the relationship of God and the created realm and the meaning of creation itself, but also the place of humanity within creation. Specifically, creation is viewed in human-centered terms; the created realm itself tells of God’s grace toward humankind. The creation is the home or context for human life. Human beings make sense within their realm, namely, the creation of God. The human-centered view of the created world can be seen in the case of each of the six creation days. I will illustrate the human-centered orientation of the fourth day. On the fourth day according to Genesis 1, God created the celestial lights. The entire description is geocentric.

The earth-centered viewpoint of the fourth day is the opposite of the modernist perspective of the nineteenth and twentieth centuries. The “objective” perspective of modernity saw the rather ordinary star that is our sun as located in a remote area of the rather unexceptional Milky Way galaxy, which is one of billions of such galaxies.

This is one of the points made in the 1997 motion picture Contact , based on the late Carl Sagan’s book. Three times during the movie lead characters say something to the effect, “If human beings are the only life in the vast universe, then it sure is a waste of space.”

The objective view from “out there” makes the earth seem inconsequential within the universe of planets and stars and galaxies. One of the biblical poets, by contrast, reflecting on Genesis 1, marveled at God’s grace toward humans given the enormity of the skies and the celestial lights: “ When I look at your heavens, the work of your fingers, the moon and the stars that you have established; what are human beings that you are mindful of them? . . . . You have given them dominion over the works of your hands; you have put all things under their feet” (Ps 8:3–4a, 5 NRSV).

The vantage point of the fourth creating day is that of the earth-dwellers—“from here.” The great lights are those that rule the earth days and the earth nights, namely, the sun and the moon. Even describing the cosmic lights in terms of “day” and “night” is an entirely earth-centered point of view. The stars, moreover, are regarded according to their function of measuring the earth-dwellers time.

“And God said, ‘Let there be lights in the dome of the sky to separate the day from the night; and let them be for signs and for seasons and for days and years, and let them be lights in the dome of the sky to give light upon the earth.’ And it was so” (Gen. 1:14–15 NRSV; italics added).

By interpreting creation in a human-centered manner, the stage is set for the entire biblical drama. The story unfolds from this beginning. It is the story of humankind within the human world—both created by God—and their progressive relationship with the God who speaks, creates, evaluates, and gives.

Comparing humans to the rest of creation

On the sixth day God made land animals after their kind and humankind in his own image and likeness. The phrases “after their kind” for animals and “in his image” for human beings underscore the categorical difference between humankind and all other created beings—the unique ability to relate personally to God.

Although God prohibits making images of himself in the Ten Commandments, he made humanity in his image. Human beings reflect and represent God in a special sense. Their creational design defines them according to the Creator. This image is displayed vertically in responsible dominion over the creation and horizontally in mutual social relationships.

Then God said, “Let us make humankind in our image, according to our likeness; and let them have dominion over the fish of the sea, and over the birds of the air, and over the cattle, and over all the wild animals of the earth, and over every creeping thing that creeps upon the earth.” So God created humankind in his image, in the image of God he created them; male and female he created them ” (1:26–27 NRSV; italics added).

The two great commandments—love God and love others—are direct implications from and applications of humanity’s being created in the image of God. Because humans are created in the image of God, it is their intrinsic responsibility to love him. And because all other human beings are created in his image, it is each one’s responsibility to love others as oneself.

The great commands of Leviticus and Deuteronomy are the natural extensions of creational design .

Human responsibility toward creation

Beyond the responsibility humans have toward their Creator and toward fellow humans is their responsibility toward the rest of creation. Humankind is related to but distinct from the Creator and the creation at the same time.

Human beings are creatures among other creatures who live within the created realm. Yet with respect to dominion, humans are responsible to rule over the other creatures by virtue of humankind’s distinction of being created in God’s image. Humans are creatures, but not like any other because they are like God. The idea of image signifying dominion was part of the ancient Near Eastern idea that statues or images of a king could be used to mark or define the realm of his domain. It is in this sense that humankind is the Creator’s royal representative ruler on earth. Human beings are the lords of creation because they are specially created in the image of God .

The creation days move in a direction. They move toward the seventh day, the day of God’s rest. The nature and significance of time itself is thus defined. Time is measured in earth days and counted in sevens or weeks. Each week moves invariably toward its completion—the sabbath. The perpetual repetition of celebrating the day of God’s rest provides a constant reminder of the human place within the world. Humankind lives in a world created by God, forever moving toward the day of God’s rest.

The creation story provides history’s backdrop

The biblical story, thus, begins with the human world created by God. Genesis 1 defines the manner in which the story is told and the way to hear and read the story. Moreover, the beginning provides the cosmological backdrop against which the rest of the story—the book of Genesis, the Torah, and the Bible—unfolds.

The events narrated in the remainder of the biblical story did not just happen in a remote historical context. They happened within the context of the entire human world, the world God created by his word. Because the beginning of the story is God’s creation of humankind within the human context, the story line is, in some way, about the relationship between God and humankind as they exist within his creation.

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In This Section

The History of the Americas
World History
Imperialism: European, American, and Japanese

Creation Stories and Epics

Social Science Laboratories via the Web: Active Learning with Data
The World History Survey: Visual Literacy and Associative Thought
World Civilizations: The Ancient Period to 500 CE
Through the Lens of History: Biafra, Nigeria, the West and the World
Images of Power: Art as an Historiographic Tool
Linking Family History and World History
Did the Sans-Culottes Wear Nikes? The Impact of Electronic Media on the Understanding and Teaching of History
Links for the AHA Teaching and Learning Project

By William Jones Mount San Antonio College [email protected]

Biography Reflective Essay Project Summary Introduction Gilgamesh Genesis Popol Vuh Other Creation Stories and Ancient History Links

Creation stories and epics have performed enormous and essential tasks for human societies. They have explained the universe and defined the meaning of existence. They have entertained us and introduced us to extraordinary events and individuals. Some of these narratives have done their work with such grace and power that they have long outlived the civilizations that first gave them voice. They may also have travelled thousands of miles from their homes. Some of us share the values and beliefs taught in the creation stories and epics of people who died centuries before we were born, who spoke languages we shall never understand, and who lived in places we shall never visit.

Viewed from the perspective of modern historical studies, creation stories offer evidence about religious and cultural belief systems and cosmologies. Epics also deserve our attention, for they relate the adventures and achievements of heroic figures in a culture. Both kinds of narratives can also be important clues for historians and students of history who want to understand and explain the formation of group identity, social relationships, definitions of ethical behavior, and the construction of gender roles and class hierarchies. Some tales may contain elements of both creation stories and epics, offering explanations of the cosmos as well as narratives of the deeds of key individuals.

This portion of the site offers pathways into three texts: the Epic of Gilgamesh , the book of Genesis, and the Popol Vuh . It also includes questions about each of these narratives along with links to other stories and suggestions for further study. You may begin with the Introduction and then proceed to one of the texts, or you may go directly to one of the texts, if you prefer.

I wish to thank Nancy Fitch for her help in setting up this part of the website.

Comments or Questions: [email protected]

How-To Guides

How To Write A Creation Myth in 10 Steps

Ever wondered how worlds come to life in stories? Learn how to write a creation myth in a few simple steps with examples. Writing a creation myth can seem daunting, but crafting an origin story for your fictional world doesn’t have to be hard. Let’s explore a few examples of creation myths and look at some key elements that make them work, like symbolism and explaining natural phenomena.

What is a creation myth?

A creation myth is a symbolic story that explains how the world and everything in it was created. Creation myths are found in nearly all cultures and religions throughout history. They help make sense of where we came from and why the world is the way it is.

The most well-known creation myth is probably the Biblical story of Adam and Eve and the Garden of Eden. But creation stories come in all shapes and sizes with a wide variety of beliefs. Common themes involve one or more creator gods, earliest chaos, creatures being shaped from clay or emerging from a cosmic egg, and the separation of various natural realms like the heavens, earth, and underworld.

No matter the tradition, creation myths give insight into a culture’s fundamental values and understanding of the universe. As an author crafting your own fictional realm, thinking about its origins through a creation myth can reveal a lot about its inhabitants, environment, and belief systems. The key is tapping into timeless archetypes that resonate with readers while putting your own fresh spin on the genre.

See our post on how to write a myth for more details on the different types of myths .

Types of Creation Myths

There are many ways to classify creation myths, but one common method is to identify the main theme or motif that connects them. For example, some creation myths involve a creator god or goddess who makes the world out of nothing, while others involve a primordial being or force that is divided or separated into different parts. Here are some examples of different types of creation myths based on this method:

Creation from chaos : This type of myth describes how the world came from a state of disorder or nothingness, and how order was established by a powerful being or force. For example, in the Babylonian creation myth, Enûma Eliš, Marduk defeated Tiamat, the primordial sea monster, and created the heavens and the earth from her body.
Creation by emergence : This type of myth describes how the world emerged from a primordial substance or element, such as water, fire, or air. For example, in the Chinese creation myth, Pangu was a giant who separated heaven and earth by his body. He died after 18 days and his body parts became different features of nature.
Creation by world parents : This type of myth describes how the world was created by a pair of deities who represented different aspects of nature or life. For example, in the Greek cosmogonical myth, Heliopolis creation myth, Uranus (sky) and Gaia (earth) were separated by their children Cronus (time) and Rhea (motherhood). They gave birth to other gods and goddesses who shaped the world.
Creation from the cosmic egg : This type of myth describes how the world was created from an egg that contained all living things. The egg hatched or broke open to reveal a new world. For example, in the Hindu creation myth, Hiranyagarbha creation (India), Brahma (the creator god) emerged from a lotus that grew from Vishnu’s navel. He created various worlds with his breath.
Creation ex nihilo: This type of myth describes how the world was created out of nothing by a single deity or a group of deities. The deity(s) then shaped the world according to their will and imagination. For example, in the Genesis creation myth (Judaism, Christianity, Islam, and Rastafari), God created the heavens and the earth in six days and rested on the seventh.
Earth-diver: This type of myth describes how the world was created by a deity or a group of deities who plunged into the primordial waters and brought up different elements or features of nature. For example, in the Chinese creation myth, Pangu was a giant who separated heaven and earth by his body. He died after 18 days and his body parts became different features of nature.
Division: This type of myth describes how the world was created by a primordial being or force that was divided into two halves or joined together by another being or force. The two halves then became different realms or aspects of reality. For example, in the Greek cosmogonical myth, Uranus (sky) and Gaia (earth) were separated by their children Cronus (time) and Rhea (motherhood). They gave birth to other gods and goddesses who shaped the world.
Dismemberment : This type of myth describes how the world was created by a primordial being or force that was dismembered into different parts by another being or force. The parts then became different realms or aspects of reality. For example, in the Norse cosmogonical myth, Ymir was a giant who was killed by Odin and his brothers. His body parts became different features of nature.

These are just some examples of creation myths from different cultures and religions. Keep on reading to learn how to write a creation myth yourself.

Examples of Famous Creation Myths

Before diving into how to craft your own creation myth, let’s look at a few popular creation myths from various cultures around the world to inspire your imagination:

Ancient Greek Creation Myth : In ancient Greek mythology, first there was only chaos in the form of a primordial void known as Gaia. The Titans emerged out of Gaia, including the sky god Uranus and earth goddess Gaea. They gave birth to the first gods like Cronus, who later produced the Olympian gods such as Zeus and Poseidon who shaped the cosmos. Zeus would defeat Cronus and the Titans to usher in mankind along with the other creations of the gods.
Aboriginal Australian Creation Myth: According to Aboriginal Australian beliefs, in the beginning, the world was flat, barren, and dark. The Rainbow Serpent emerged from the ground and gave life to plants, animals, and the first people. The travels of the Rainbow Serpent shaped the earth itself, forming mountains, valleys and waterways. The stars were embodiment of ancestral spirits. Tjukurrpa stories detail their creative acts.
Mayan Creation Myth: The Mayans told that originally the world was covered only by the primordial sea. Then the feathered serpent god Kukulkan built land in the sea and created sky to separate realms. Kukulkan constructed people out of maize then set the sun, moon, stars and planets in motion. Other gods finished details like mountains, rivers, plants and animals to finish creation.
Norse Creation Myth: According to Norse mythology, in the beginning, there was only a vast abyss called Ginnungagap, between the realms of fire and ice. When the fire and ice met, they formed a giant being named Ymir, who was the ancestor of all the frost giants. From Ymir’s sweat, a cow named Audhumla emerged, who nourished Ymir with her milk. Audhumla licked the ice and revealed a god named Buri, who had a son named Bor. Bor married a frost giantess named Bestla, and they had three sons: Odin, Vili, and Ve. The three brothers killed Ymir and used his body to create the world. His flesh became the land, his blood became the sea, his bones became the mountains, his teeth became the rocks, his hair became the trees, and his skull became the sky. They also created the first humans, Ask and Embla, from two pieces of wood.
Chinese Creation Myth: According to Chinese mythology, in the beginning, there was only a chaotic mass of energy called Hundun, which contained the seeds of all things. A cosmic egg formed within Hundun, and a giant being named Pangu emerged from it. Pangu held the eggshell above him and the earth below him, separating the sky and the land. He grew taller every day for 18,000 years until the sky and the earth were fully apart. When he died, his body parts transformed into various elements of nature. His breath became the wind, his voice became the thunder, his eyes became the sun and the moon, his blood became the rivers, his hair became the stars, his flesh became the soil, his bones became the minerals, his sweat became the rain, and his parasites became the humans and animals.

Crafting an imaginative origin story for your fictional world can seem daunting, but it doesn’t have to be. Follow these 10 key steps on how to write a creation myth and give a deeper meaning to your fictional world’s lands, creatures, and beliefs.

Step 1: Define the Purpose of the Myth

Before embarking on the creation of a myth, it’s essential to clarify the purpose behind it. Consider what you want the myth to achieve and the message you aim to convey to your audience. This step involves introspection on the broader goals and themes you wish to explore in your myth. Here are key questions to help guide this process:

Define the core idea or moral lesson you intend your myth to communicate. This could be a lesson about courage, the consequences of hubris, the cyclical nature of life, or any other theme.
Clarify whether your myth will focus on cosmogony (the origin of the universe), theogony (the origin of gods), anthropogony (the origin of humans), or a combination of these.
Decide if your myth will serve as a vehicle for conveying moral principles, ethical guidelines, or cultural norms.
Consider if the myth will play a role in preserving cultural identity, offering solace during challenging times, or instilling hope in the face of adversity.

If you need some inspiration, take a look at this post on 56+ myth ideas .

Example:

Let’s say the purpose of your myth is to convey the importance of environmental stewardship and the consequences of neglecting the natural world. Your message could revolve around the interconnectedness of all living things and the responsibility humans have to care for the planet. This purpose will guide the development of themes, characters, and events in your myth, ensuring they align with the overarching message of environmental harmony.

Step 2: Establish the First State

In this step, you define the formless initial state of your fictional world before creation. This setting provides the canvas upon which the rest of your myth will unfold. The first (or primordial) state could be chaos, oblivion, darkness, a void, or even a cosmic egg. It sets the stage for the transformative journey from the formless to the formed.

Let’s imagine your myth begins with the description of a cosmic egg hovering in the dark vastness of chaos. The egg symbolizes the potential for creation, containing within it the essence of all that will come into existence. The chaos represents the undifferentiated and unstructured state before order and life emerge. This cosmic egg becomes the focal point from which the entire universe will hatch and evolve. In your myth, you might describe the cosmic egg as a luminous orb, pulsating with energy. The darkness surrounding it is impenetrable, emphasizing the mystery and limitless possibilities contained within the egg. As your myth progresses, the cosmic egg will play a pivotal role in the creation process, acting as the catalyst for the birth of stars, planets, and life forms.

Step 3: Introduce the Creator/s

This step involves introducing the entities or forces responsible for bringing your world into existence. Consider whether they are gods, demigods, spirits, early human beings, or something entirely different. Understand their powers, limitations, intentions, and how they shape the narrative. The nature of your creators will significantly influence the tone, themes, and messages conveyed by your myth.

In your creation myth, let’s say the creators are ancient celestial beings known as the Luminara. These divine entities are beings of light, each representing different aspects of creation. They possess the power to mould reality, shape cosmic forces, and breathe life into the void. The Luminara exist beyond mortal comprehension, and their intentions for creating the world are rooted in a desire for balance and harmony. You can describe the Luminara as radiant beings, shimmering with ethereal energy. Each deity has a unique role: one governs the celestial realms, another oversees the natural world, and a third is the guardian of the cosmic order. The limitations of the Luminara might include their inability to directly interfere in the affairs of the mortal world, emphasizing the need for mediators in the creation process. Understanding the Luminara’s motivations and characteristics will guide the subsequent stages of your myth.

Step 4: The First Creations

In this step, you define the earliest realms formed out of primordial chaos or the initial state you established. Typically, these creations represent fundamental elements like light/dark, sky/earth, and land/sea. Consider the symbolic significance of each creation and how they contribute to the overall structure of your fictional world.

Continuing with the myth of the Luminara, the first creations could include the division of the cosmic elements. One deity, associated with radiant light, manifests the celestial realm, where stars and galaxies form. Another deity shapes the earthly domain, sculpting mountains, valleys, and seas. A third deity is responsible for the ethereal space between, crafting the atmospheres and cosmic energies that connect the celestial and earthly realms. The light and dark paradox may be introduced at this stage, symbolizing the cosmic balance maintained by the Luminara. The celestial realm shines with eternal brilliance, while the earthly realm experiences the ebb and flow of day and night. This sets the stage for the subsequent steps in the creation process, illustrating the interconnectedness of these elemental realms and their importance in the unfolding myth.

Step 5: Describe the Creation Process

In this step, you delve into how your creators brought the world into existence. Consider the method they used, the challenges they faced, and the setbacks they overcame. This is an opportunity to inject excitement, drama, and conflict into your myth, making the creation process dynamic and engaging.

In the Luminara myth, the creators embark on a harmonious dance, weaving cosmic energies with their divine powers to shape the realms. As they perform this cosmic ballet, challenges arise—conflicting forces seeking to disrupt the balance. A disgraceful deity, jealous of the Luminara’s creation, attempts to plant chaos. The creators face the challenge of maintaining cosmic order against these destructive forces. The dance becomes a metaphorical battleground, with each step countering the disruptive energies. Setbacks occur as the evil deity temporarily throws the realms into turmoil. The Luminara respond with resilience, devising ingenious solutions to restore equilibrium. This step adds depth to the myth, portraying the creation process as a struggle against opposing forces, reinforcing the themes of balance and resilience.

Step 6: Create a Cosmic Structure

This step involves outlining the establishment of cosmic order within your mythological world. Define the celestial elements such as stars, planets , moons, and seasons. This cosmic structure shapes the framework of your universe and influences the life within it.

In the myth, as the Luminara harmonize the cosmic forces, they sculpt a breathtaking celestial panorama. Seven planets, each infused with unique essences, orbit in perfect synchrony. Gaianthos, the green orb, symbolizes life and growth, while Lunathria, bathed in silver luminescence, embodies wisdom and reflection. And Celestria, the yellow orb symbolises everything that is light and positive. Each planet becomes a testament to the Luminara’s intention for a diverse and thriving cosmos. Three moons gracefully dance around the planets. Selentara, with its gentle glow, influences dreams and emotions. Umbraforge, the shadowed companion, governs the ebb and flow of magical energies. Lastly, Aetherion, the radiant moon, bestows blessings upon the creatures below. The moons’ celestial choreography weaves an intricate tapestry of energy that resonates through the mythic realms. The seasons unfold as a divine symphony, orchestrated by the Luminara. Spring brings a burst of life, with blossoms unfurling in the wake of Gaianthos. Summer bathes the cosmos in a warm glow from Celestria, while autumn heralds a time of reflection under Lunathria’s silver gaze. Winter, guided by the ethereal dance of the moons, is a season of rest and introspection. This detailed cosmic structure enriches the myth, intertwining natural elements with symbolic significance, reinforcing themes of balance and interconnectedness.

Step 7: Introduce the World

Mark the point where humans enter the world, often after everything else is prepared for them. What is the physical appearance of your world? Is it a vast expanse of stars and planets, a lush and verdant planet filled with life, or something else entirely? What creatures inhabit your world? Are they humans, animals, spirits, or something else entirely? What is their relationship to the creators and the world itself?

See our guide on 112+ World-Building Questions for more ideas.

The Luminara’s cosmic symphony gives birth to Celestria. The world has endless sunshine, floating islands adorned with vibrant flora, and crystalline rivers that weave through the landscape. Celestria, along with the six other planets, all orbit a radiant sun casting a kaleidoscope of colours across the cosmic universe. Three moons—Umbraforge, Selentara, and Aetherion— rotate the world, influencing the ebb and flow of magic in the realm. As the planets and moons collaborated, they birthed the first inhabitants: the Celestrians. These beings possessed ethereal beauty and a deep connection to the cosmic energies surrounding them. The Celestrians lived in harmony with the enchanted flora and fauna that adorned Celestria. Beyond the Celestrians, mythical creatures roamed the land. Majestic Gryphons soared through the starlit skies, their wings trailing stardust. Luminescent Faewings flittered among the floating islands, spreading magical pollen that gave life to vibrant, floating blossoms. Enigmatic Meriphins, beings with the tail of a dolphin and the grace of a celestial dancer, inhabited the crystal-clear waters of Celestria. The land also echoed with the calls of Celestial Songbirds, their melodies harmonizing with the cosmic energies. These creatures, with feathers that shimmered like the night sky, brought messages of harmony and unity to all corners of the realm. Celestria, a world of wonders, where Celestrians coexisted with enchanting creatures, embodying the magic and harmony instilled by their cosmic creators.

Step 8: Establish the Moral

If your myth is intended to teach moral lessons, now is the time to introduce them. What are the values and principles that the creators instilled in their creation? What actions are considered right or wrong? What are the consequences of breaking these codes? This will help to shape the culture and society of your fictional world.

Celestria’s creation myth revolves around the moral teachings bestowed by the Luminara, the creators of the world. They emphasized virtues such as compassion, enlightenment, and cosmic balance. The Celestrians were entrusted with the duty of upholding these virtues, fostering an enlightened society that respected the diversity of all cosmic beings and maintained harmony on Celestria as well as the entire universe. The gatherings in Celestria are marked by celestial festivals, where the Celestrians come together to celebrate cosmic diversity. During these luminous events, they engage in celestial dances, exchanging stories of enlightenment, and participating in rituals that symbolize the interconnectedness of all beings. Holidays in Celestria align with events such as the Great Conjunctions and Nova Unions. These moments are revered as sacred, prompting Celestrians to reflect on the celestial order and renew their commitment to the moral teachings of the Luminara. Actions considered right in Celestria involve fostering unity, seeking enlightenment, and maintaining cosmic balance. Celestrians are encouraged to assist fellow beings in their cosmic journeys and contribute to the collective enlightenment of the world. Conversely, actions that disrupt cosmic harmony or show disregard for the diversity of beings are deemed wrong. Celestrians who deviate from the moral code may experience a temporary dimming of their celestial essence, symbolizing a disconnection from the cosmic wisdom imparted by the Luminara. Serious consequences involve the permanent removal of the celestial light that surrounds them exiling them into eternal darkness. Through these consequences, the myth emphasizes the enduring importance of upholding moral teachings.

Step 9: Convey a Sense of Wonder

Remember, your creation myth is not a scientific explanation of the universe. It is a symbolic story that is meant to inspire awe and wonder. Use vivid language, imagery, and metaphors to create a sense of mystery and enchantment.

As the Celestrians engage in their celestial dances during the Great Conjunction, the myth describes the celestial bodies swirling in harmonious choreography, casting ethereal glows that illuminate the entire universe. The celestial music, a symphony of energies, resonates through the heavens, captivating the senses of all who partake in the celestial celebration. The celestial realm itself is described as a tapestry of cosmic hues, where stars paint trails of radiant colours across the vast canvas of space. Nebulas unfurl their tendrils, weaving tales of ancient cosmic events, and the gentle hum of energies provides a soothing backdrop to the cosmic wonders. Metaphors and vivid language abound, describing the celestial bodies as poets and the cosmic winds as storytellers whispering secrets across the celestial plane. The narrative is infused with a sense of mystique, urging Celestrians to look upon their cosmic home with ever-renewed wonder and appreciation. Through such poetic imagery and metaphorical language, the creation myth transports its audience to a realm where the boundaries of reality blur, inviting them to experience the cosmic wonders with a childlike sense of awe.

Step 10: Share your Myth

Once you have written your myth, share it with others. Let them interpret its meaning and draw their own lessons from it. The more people who hear your myth, the more it will become part of your fictional world’s culture and history.

In the vast expanse of nothingness, where darkness reigned supreme, an ethereal orb pulsated with an otherworldly glow. This was the cosmic egg, the cradle of all creation. Within its shimmering depths, the seeds of existence lay dormant, waiting to be awakened by the Luminara, the celestial beings who had sculpted the cosmos with their divine light. The Luminara, a triad of radiant beings, each representing a facet of creation – Zenith, the celestial architect, Solaris, the guardian of life, and Umbra, the weaver of harmony – converged upon the cosmic egg. Their combined brilliance illuminated the surrounding darkness, heralding the dawn of a new era. Zenith, with a touch as gentle as a star’s caress, moulded the cosmic egg into a swirling vortex of energy. Solaris, with her warm embrace, infused the vortex with life’s essence, and Umbra, with his gentle touch, wove the threads of harmony into the fabric of creation. As the Luminara worked, strong opposing forces emerged seeking to disrupt their work. A sinister entity blanketed sections of space in shadow, suppressing light and life. The Luminara persevered, countering darkness with galaxies of dazzling stars. But the shadow would not be easily defeated. It was cunning, unpredictable – a worthy cosmic adversary. The struggle between light and dark turned into an elegant dance – creation countering destruction in an eternal interplay of forces. Matter and antimatter were borne. From this dance seven celestial bodies emerged – planets of vibrant hues, each with its unique essence. Gaianthos, the verdant gem, was a beacon of life, teeming with lush flora and diverse creatures. Lunathria, the silver sphere, exuded wisdom and tranquillity, its ethereal glow illuminating the cosmos. Celestria, the golden orb, pulsed with warmth and enlightenment, embodying the divine principles of balance and harmony. Encircling these celestial gems, three moons – Selentara, the gentle guardian of dreams and emotions, Umbraforge, the shadowed protector of magic, and Aetherion, the radiant bestower of blessings – danced in perfect harmony, their celestial ballet weaving a tapestry of cosmic energies. As the Luminara continued their creation, they brought forth the seasons, each with its distinct character. Spring, awakened by Gaianthos, ushered forth a burst of life, with blossoms unfurling in a riot of colours. Summer, bathed in Celestria’s golden glow, brought warmth and vitality, while autumn, under Lunathria’s silver gaze, inspired reflection and introspection. Winter, guided by the moons’ ethereal dance, was a time of rest, rejuvenation, and inner peace. From the celestial symphony, the world of Celestria emerged, a paradise of endless sunshine, floating islands adorned with vibrant flora, and crystalline rivers that wove through the landscape. Its inhabitants, the Celestrians, were beings of ethereal beauty, their hearts attuned to the cosmic energies that permeated their world. With the Celestrians came a harmonious society, where humans, mythical creatures, and the natural world coexisted in perfect balance. Majestic Gryphons soared through the skies, their wings trailing stardust, while Luminescent Faewings flittered among the floating islands, spreading magical pollen that gave life to vibrant, floating blossoms. Enigmatic Meriphins, beings with the tail of a dolphin and the grace of a celestial dancer, inhabited the crystal-clear waters of Celestria, while Celestial Songbirds, their melodies harmonizing with the cosmic energies, brought messages of harmony and unity from the sky. Celestria, a world of wonder and magic, exemplified the principles of harmony, balance, and interconnectedness, a testament to the Luminara’s divine creation. The Celestrians, guided by the moral teachings of the Luminara, fostered a society that respected the diversity of all beings and maintained harmony on Celestria and throughout the cosmos. Through celestial festivals, gatherings, and rituals, the Celestrians celebrated their cosmic heritage, reinforcing the importance of unity, enlightenment, and the interconnectedness of all beings. The Great Conjunctions, when the celestial bodies aligned in perfect harmony, and the Nova Unions, when new stars were born, were considered sacred occasions, prompting Celestrians to reflect on their cosmic journey and renew their commitment to the Luminara’s teachings. Celestria’s creation myth served as a guiding force, emphasizing the importance of upholding the moral principles instilled by the Luminara. Celestrians who strayed from the path of righteousness faced consequences, their celestial essence dimming as a reminder of their connection to the cosmic wisdom. Those who committed acts of disharmony or disregard for the diversity of beings were exiled into eternal darkness, a stark reminder of the consequences of disrupting the cosmic order. Through the creation myth, the Celestrians were reminded of their responsibility to cherish their world, to foster harmony among all beings, and to uphold the principles of enlightenment and compassion. The myth served as a constant beacon, guiding Celestrians towards a future filled with cosmic harmony and wisdom.

And that’s how to write a creation myth in just 10 easy steps. Follow each step and create a spectacular origin story for your fantasy world.

Frequently Asked Questions

What is an example of a creation myth.

A famous creation myth comes from Ancient Greek mythology. This story explains how the god Chaos was the first thing to exist. The Ancient Greeks thought Chaos was an empty, black nothingness.

Then Gaia, the Earth goddess, emerged from Chaos. Next came Eros, the god of love. Gaia and Eros created Uranus, the sky, and Pontus, the sea. Together, Gaia and Uranus made the Titans, who were the parents of the Olympian gods like Zeus and Athena.

There was a big battle between Zeus and the Titans. Zeus won and then became the chief god. Under Zeus, the Olympian gods created humans and the world as the Ancient Greeks knew it.

This Greek myth shows how creation stories try to explain where everything originally came from. They often involve supernatural beings with magical powers that form lands, seas, skies and living creatures. By sharing these tales, people aim to understand cosmic forces shaping the universe and the world around them.

What Is The Structure Of A Creation Myth?

A creation myth has a similar structure to any good story. There’s a beginning, middle and end. But there are also some key elements that most creation tales include:

The First State: This sets up the formless initial situation, like a void, chaos or darkness.
Introducing Creators: Next, gods, magical beings or cosmic forces arrive to start shaping things.
First Creations: The most basic parts of reality are formed first, like night and day, water and land.
Shaping the World: The creators make landscapes, plants , animals and humans.
Cosmic Structure: Heavenly features like stars, planets and moons are established.
Introducing Inhabitants: Creatures, spirits and people emerge to inhabit the world.
Initiating Actions: The creators instruct inhabitants how to act or make mistakes that affect what happens next.
Imparting Meaning: By the end, readers understand the beliefs behind the myth and the lessons it teaches.

So most creation stories follow a logical order where the cosmos originates from some initial state and then evolves bit by bit. Scenes where the gods use their powers to craft different natural elements are very common. Adding vivid imagery for each step makes myths even more engaging!

How To Write A Creation Myth Story?

A creation myth is all about imagining a fictional origin tale for your fantasy world. Here are some tips on how to write a creation myth:

Brainstorm Ideas: First, jot down any concepts, images or creatures that you want to include. Cosmic eggs? Mysterious gods? Dragon ancestors? Let your ideas run wild!
Build the World: Outline the geography, environments and beings that will populate your world. Decide if events will take place on an Earth-like planet, in magical dimensions, or across multiple realms.
Develop a Plot: Structure your myth into a narrative with a beginning, middle and climax. Maintain continuity by listing each major step in the creation process.
Characterise the Creators: Give your cosmic creators clear identities and abilities that influence how they shape reality. Are they benevolent goddesses or mischievous sorcerers?
Incorporate Symbolism: Embed symbolic elements that hint at deeper meanings about life, death, human nature or spirituality.
Use Description: Choose emotive, vivid language to immerse readers in your world and leave a strong impression.
Add Your Own Flair: Make your story distinctive by putting a spin on common myth tropes. Surprise your audience and stir their imaginations!

Once you have a draft, re-read your myth and fine-tune anything unclear or contradictory. Polish any rough patches. Then bring your fictional creation epic to life! Crafting creation stories takes creativity but yields epic world-building rewards.

And there you have the foundation you need to start crafting an imaginative creation myth for your own fantasy realm! We explored creation myths by covering the essential steps – establishing the first state, introducing supernatural creators, shaping domains out of the void, populating your world with wondrous inhabitants, and instilling deeper meaning.

With this guide on how to write a creation myth plus examples, you now have the tools to develop a custom origin tale filled with symbolic flare. So put these tips into action, unleash your inner cosmic vision, and build a unique creation myth that will enrich your fictional universe. we would love for you to share it in the comments below!

Marty the wizard is the master of Imagine Forest. When he's not reading a ton of books or writing some of his own tales, he loves to be surrounded by the magical creatures that live in Imagine Forest. While living in his tree house he has devoted his time to helping children around the world with their writing skills and creativity.

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A Biblical Theology of Creation

Other essays.

A biblical theology of creation helps us to see the patterns of creation, fall, redemption, and new creation that are repeated throughout the creation story; though the chaos of sin leads to judgment, God will ultimately redeem and renew his creation.

To trace a biblical theology of creation, we must begin with God’s rule and intent in his creation. Though sin brings chaos into the creation order that ultimately leads to judgment, God is committed to redeeming his creation. Throughout the story of redemption, we see a series of “new creation” events following the judgments of the flood, the Tower of Babel, the exodus, and the exile. In the commission of Noah, the covenant with Abraham, the Mosaic law, and the promises of the new covenant, God begins his creative work anew. However, except for the new covenant, all of these new creation events are followed by another “fall.” In the new covenant, the decisive new creation begins with the person and work of Jesus. Though it is not yet complete, at the end of the age, God himself will make all things new and come again to dwell among his people in the new creation.

The Beginning

It is important to begin a biblical theology of creation with God’s original intent in his creative work. In Genesis 1, we see God forming and filling the creation, and at the end of his work, he pronounces that this ordered creation is “very good.” This very good creation is the place that God has always intended to dwell with his people. Contrary to some views of the created order, the creation itself is intrinsically good and should be regarded as such. In spite of the judgments that sin has brought on God’s creation, God is committed to making it new and redeeming a people who will live in it forever.

Moreover, while Christians may disagree about some of the details and timing of the creation week, all can agree that the biblical account of the creation week in Genesis 1 clearly teaches that God made all things and orders all things. As a result of this, he is sovereign over his creation. That is to say, he is in charge of his good creation.

Yet it is clear to us that something happened to mar this good creation. In Genesis 3, we discover that sin has entered the world through the rebellion of Adam and Eve. They were entrusted as the stewards of God’s good creation, but instead they turned away from him and sought to establish themselves as the true kings (Gen. 3:6-7).

Alongside of the consequences of sin that human beings personally experience, sin has cosmic effects. In Genesis 3, we learn that the creation itself is transformed by sin. The ground itself is cursed (Gen. 3:17). No longer do human beings have a harmonious and peaceful relationship with the creation. Instead, we have to fight with the ground in order to cultivate it.

However, God did not leave human beings without hope of redemption, and the creation itself shares that hope. Romans tells us that the creation itself “waits in eager expectation” for God to redeem his people, for when we are redeemed it too will be (Rom. 8:19). But right now, we are waiting for that hope to be fulfilled. As we wait, God has given us tastes of that new creation to come. He has revealed his plan to redeem the world through a series of “new creations,” and these new-creation type events are preparing us for the ultimate new creation yet to come.

Adam and Eve were waiting for God to act to renew his creation, but in the generations that followed, the sin of the human race continued to increase. Instead of renewal, the creation was moving toward greater chaos as humans ran headlong into greater sin (Gen. 6:1). As a result, God looked at the chaos that sin had brought to his creation and condemned it to judgment. Through the waters of the flood, he judged the rebellious human beings and even the fallen creation itself.

But even in the chaos of that judgment, God remained committed to his creation. Almost all of humanity had turned against him, but one man was righteous in God’s eyes. God rescued that man, Noah, along with his family, through the waters of the flood. From these eight people, God’s creation began anew, and he pronounced the same blessing on Noah that he did on Adam and Eve (Gen. 9:7). Yet like Adam and Eve, Noah and his sons turned away from God. Again, God’s creation work was soon followed by the chaos of sin, and the rebellion of the human race continued unabated until the tower of Babel.

At Babel, humans were again attempting to establish their own authority and power. They wanted to “make a name” for themselves (Gen. 11:4). Again, God came down to judge his people, this time by confusing their language so they could no longer communicate with each other clearly.

In the midst of this chaos, God again chose a single human through whom he would continue his commitment to the creation. The covenant with Abraham is a type of new creation in which God began anew, calling his people to remain faithful to him, and giving them a commission to fill the earth (Gen. 12:3). With the family of Abraham, we have another new creation. But as we observe the life of Abraham, his sons, and his grandsons, the corruption of the old creation remains. Abraham lied about his wife being his sister to preserve himself (Gen. 12:10–17). His son Isaac did something similar (Gen. 26:1–11). His grandson Jacob deceived his own father to get a greater inheritance (Gen. 27:1–29) and his great-grandsons sold their own brother into slavery (Gen. 37:18–36). Yet God did not abandon this new creation people, even when they ended up in the chaos of slavery in Egypt.

After judgments of the flood and the Tower of Babel, God remained committed to his people and his creation. As we’ve seen, following these judgments, there is a kind of new creation; however, this is more evident in the exodus from Egypt. As God worked to bring the Hebrews, the descendants of Abraham, out of slavery, we see judgment on Egypt that brings chaos to that nation while the rescue of the Hebrews echoes God’s work in the creation itself.

Through the plagues he brought to Egypt, God was bringing judgment in the form of chaos. Instead of water being sent to its proper order, water is turning to blood (Exod. 7:17–18). Instead of animals coming to life, you have animals dying (Exod. 9:1–4). Rather than light appearing, the ninth plague shrouds the land in darkness (Exod. 10:21–22). And then, at the crossing of the Red Sea, the waters are divided so that dry land appears (Exod. 14:21) after a wind (Spirit) from God blew over the sea (Exod. 15:12).

The new creation language continues after Israel emerged from the Red Sea. The tabernacle that God commanded his people to build reminds us a little of the Garden of Eden. When it was finished, everything was done just as the LORD had commanded—just as the first creation was just had God had intended it to be. Some scholars even argue that the seven speeches in Exodus 25-31 point us back to the seven days of creation! Whether that is true or not, the imagery is pretty clear—when God called his people out of Egypt, he was pointing us back to the new creation, reminding us that he is bringing order out of chaos for the salvation of his people. 1

However, the pattern of creation followed by a fall continues in the history of Israel. Shortly after emerging from the Red Sea, Israel came to Mount Sinai. While Moses met with God and received the law on the mountain, Israel again began to doubt God’s care for them, and wanted to create a god that they could see and manage for themselves. Once again, God’s “new creational” people failed to trust his care for them, and the result was judgment and chaos; the pattern of creation followed by fall continues.

This pattern continues throughout Israel’s history. God graciously brought them into the land he had promised (another kind of new creation), but they continued to turn away from him. While there were periods of more or less faithfulness, the overall trajectory of the nation’s history was away from the Lord and toward idolatry. And this pattern ultimately led to the judgment of the exile.

Exile and Return

If the exodus and settlement in the Promised Land is the clearest picture of new creation, then the judgment of exile is perhaps the clearest picture of the fall and its consequent chaos. For centuries, the prophets in Israel warned God’s people to turn away from their idolatry or else the Lord would send foreign invaders to conquer the land and take the people captive. In fact, before they even entered the land, Moses himself warned of exile for ongoing unfaithfulness (Deut. 28–30).

The prophets sometimes use language that seems to reverse the original creation when anticipating the judgment of the exile. For example, when envisioning the land after the exile, Jeremiah echoes Genesis 1:2 before God ordered the creation: “I looked on the land, and behold, it was without form and void; and to the heavens, and they had no light” (Jer. 4:23). Yet the promise of restoration and return from exile points forward to a new creation. When Isaiah looked forward to the return from exile and the restoration of God’s people, he often used creation language (Isa. 40:28; 42:5; 43:15; 45:18; 57:19; 65:17; 66:18). In fact, the return from exile is nothing short of a new heaven and a new earth (Isa. 65:17).

The New Creation

As the people of God were waiting for God to act and decisively end the exile, they were in reality waiting for the new creation, when God would make all things new. However, when we come to the New Testament, something surprising happens. The new creation arrives in the person and work of Jesus, but the chaos of the fallen creation is still present with us. As with many other parts of God’s saving plan, the new creation is both already and not yet.

The greatest judgment for sin was found at the cross. There, the sin of God’s people was placed on the Messiah, Jesus, who suffered in their place (Isa. 53:6). Yet the decisive work of new creation began with the resurrection of Jesus. He is the firstborn from the dead, the beginning of God’s final new creation work (Col. 1:18). Though he is the firstborn from the dead, everyone who is united with him can look forward to sharing in his creation in the new creation (1 Cor. 15:20–23).

The new creation is a way of talking about God’s new work in redemption. But with the coming of Christ, it is not simply a step toward the promised new creation. The new creation is in some sense already present. This is why Paul could write, “Therefore, if anyone is in Christ, the new creation has come: The old has gone, the new is here!” (2 Cor. 5:17, NIV). The work of Christ is the beginning of this new creation. Through his death, burial, resurrection, ascension, and present reign, Christ has brought the long-promised new creation into existence. We are truly living in the age of the new creation.

But when we look around at the world as we experience it now, it does not feel like we are living in the new creation. As we noted above, the Scriptures also teach us about the ongoing longing of the creation itself to be set free of its corruption. We look forward to the day when “the creation itself will be liberated from its bondage to decay” (Rom. 8:21, NIV).

The new creation has come, but the creation itself continues to wait with eager longing. Living in this overlap of the ages should affect the way we see creation both now and in the future. Now, we can remember that God has remained committed to his creation through many judgments, both of individuals and whole nations (and, in the flood, the entire world). We ought to remember that the created world is not an afterthought. God is committed to removing its “bondage to decay.”

Consequently, we ought to care for God’s good world and seek to steward it well, just as he commanded Adam and Eve so many years ago. God intends not only to redeem disembodied people, but also the world itself. However, we should guard against an ecological idealism in which we equate the good work of environmentalism with gospel ministry or the idea that our creation care will somehow usher in the new heavens and the new earth. The restoration of the creation is ultimately God’s work alone.

The New Heavens and New Earth

In Revelation 21, John paints a picture of the final consummation of the new creation. Heaven comes to earth, and the dwelling place of God in heaven and the dwelling place of his people on earth become one. It is a total transformation of the universe. There is no threat of another fall, for every sorrow and pain will be removed (Rev. 21:4). All of the dangers and threats of the old creation will be wiped away, because no sinful things are admitted to this new creation (v. 8). The creation will once again reflect the glory of God and be full of beauty that all people can enjoy (vv. 22–26). Death itself will be finally defeated, and God’s resurrected people will live forever, enjoying his good creation.

But of all the glories of the new creation, the greatest is God’s very presence among his people (vv. 3, 22–23). This very good creation is the place that God has always intended to dwell with his people. At the end of the story of redemption, God’s resurrected people will enjoy his presence once again to the fullest degree. The goal of God’s creation and new creation has always been the same: to glorify himself by providing a place where his people can enjoy him forever. And in the new creation, this goal will be accomplished for all of eternity.

53 Creation Myth Essay Topic Ideas & Examples

🏆 best creation myth topic ideas & essay examples, 📃 good research topics about creation myth, 🔎 simple & easy creation myth essay titles.

The Roman Creation Myth However, the most common myth indicates that before creation of the heavens, the sea and the earth were made and whatever existed could only be described as lifeless, disorganized and shapeless matter.
Hindu Creation Myth The story of Hindu creation myths differs from Ancient Greek creation myths in a number of facts, including the beginning of the world, and some elements of the creation of the living creatures.
Mayan and Egyptian Myth of Creation Comparison As the creator of humans and gods, he had the initiative to bring order to earth and the heavens. Like other creations narratives, the Mayan initializes that in the beginning, the earth was void as […]
The Five Standard Types of Creation Myths The third theory of the world’s creation concerns the appearance of the world is connected with world parents for whom the world is the child.
A New Perspective on the Myth of Creation First, they create the sun, the moon, and the stars, then, the Earth and the other planets. H n, then, invented the words to describe the creation to Hann, putting words in music and music […]
Creation Myths in American Tradition Some other Native American groups like the Hopi and the Zuni believed that the creation of the universe began from emergence from the earth.
Ovid’s and Indian Versions of the Creation Myths In this paper I am going to compare and contrast three versions of the creation of the world: the Greek one presented in the first chapter of Ovid’s Metamorphoses and two Indian myths of the […]
Modern Myth: Seneca Indians Creation Myths This myth attempts to explain the origin of the land or the earth by the Seneca people, and like many other myths on the issue of the originality of land, these people held to the […]
A Conceptual Creation Myth: Weigle’s Inclination It has been argued that a creation-myth can rarely be differentiated from a narrative of origination; this is because a narrative of origination would present the existence of a deity in a period of infinite […]
Orthodox Christianity and Creation Myth In this, the creation of the universe is viewed as a mystery with the origin from the sovereign God in the presence of the Holy Trinity.
Creation: Truth and Myth While the second part of genesis is a simple narrative that picks from the formation of the first man in the Garden of Eden to the creation of the first woman and the establishment of […]
Creation Myths: Theories of Myths This longing to explore on the nature of creation through vivid accounts or tales, prompted the materialization of way of life and custom which in the long run led to formation of religions and subsequent […]
Iran vs Hebrew Creation Myth: Comparative Analysis
Comparing the Christian Account of Our Creation to the Yoruba Creation Myth
Comparison of Cosmological Argument and Creation Myth
How Helios Created the World: Creation Myth
Creation Myth: How the Turtle Got Its Shell
Differences Between Greek Creation Myth and Native American Creation Myth
Comparing Genesis and the Norse Creation Myth
How Rome’s Creation Myth Influenced Its Character
Impression Management, Myth Creation, and Fabrication in Private Social and Environmental Reporting
Ishmael: Universe and Creation Myth
Comparison of Jane Urquhart and the Creation of Myth
Malcolm Gladwell’s “The Creation Myth”: Review
Mic Mac Creation Myth: Comparison to Christianity
Osiris and Iris Creation Myth: An Overview
Slavic Creation Myth and Its Comparison With the Northern Beliefs
The Ancient Egyptian Myth of Creation
The Apache, Navajo, and Iroquois Creation Myth and Legend Stories
The Enuma Elin Creation Theth of the Enlonian Creation Myth
The First Creation Myth Is the Hindu Version of Creation
Iroquois Creation Myth of the Huron Tribe and the Stone Giant
The Maya Creation Myth: Story Summary
The Role and Creation of Myth in Dutchman
The Popul Vuh: The Mayan Creation Myth
Comparing and Contrasting the Iroquois and Genesis Creation Stories
The Creation of Enuma Elish: The Babylonian Creation Myth
Similarities and Differences of Creation Myths in Every Culture
The Universal Qualities of Chinese Creation Myths
Influences of Trickster Tales and Creation Myths
Overview of Hindu Myths of the Creation of Life
Comparing Iroquois and Babylonian Creation Myths
Analysis of the Navajo Creation Myth Story
Native American Creations: The Myth of the Earth Divers
The Book of Genesis: An Ex Nihilo Creation Myth
The Most Common Motifs in Greek Creation Myth
Comparing Mohawk Tribe and the Hebrew Bible Creation Myth
Creation Myths of Kono, Cherokee, Ethiopian, Iroquois, and the Navaho
Comparing Greek Creation Myth and World on a Turtle’s Back
Peace or Violence: Differences Between the Navajo and Babylonian Creation Myths
Comparing Creation Myths of Ancient Egypt and the Christian Bible
A Review of Creation Myths From Around the World
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A Few Reflections on Creation in Genesis 1

Lutheran Theology: Kill Your Passions

Cyril of alexandria: lull your passions to sleep, gregory of nyssa: direct the passions, by david adams & charles p. arand.

Introductory Note: In the previous posts , we have surveyed three camps in the faith–science debates regarding origins among contemporary Evangelicals. Three issues arise in these debates: (1) the exegesis of Scripture, (2) the methods and conclusions of science, and (3) the attempt to harmonize theology with science. Without adequate background or knowledge to discuss the methods and conclusions of science, we will leave that aside in this and upcoming posts and discuss the first and third issues only.

This post will consider some of the key biblical texts where our interpretation of Genesis 1 conflicts with the conclusions drawn by many scientists from their reading of nature (and its history). How to deal with these texts is crucial for the three evangelical camps in their quest to show that God’s “two books” (the book of Scripture and the book of Nature) do not contradict each other.

Because of their central role in these debates, I want to set forth the historical interpretation of these texts in Genesis 1 within the Lutheran Church—Missouri Synod (LCMS). We will then explore the larger theological approach that seeks to develop a theological–scientific synthesis.

My thanks to David Adams for writing much of this as we talked together. Also thanks to my faculty colleagues for looking over this post as well

Reflection #1: The God of Creation

When we read the creation account in Genesis 1 we typically focus on what it says about us, that is, about the world of creation and our place in it. While these are important truths, they are not the most important thing that Genesis 1 teaches. All the religions of the Ancient Near East taught that the gods they worshiped were responsible for shaping the world in which we live.

And so before looking at a few passages or words, and before bringing our questions to the text, it is helpful to understand God’s purpose and goal in using Moses to write Genesis 1 for his people past and present. This begins with the question regarding the context in which Moses wrote this chapter and what it would have meant for the people of Israel. What questions was Moses seeking to address for the people of Israel as they looked at the world?

What is fundamentally distinctive about Genesis 1, when compared with creation accounts from the Ancient Near East, is what it teaches about who God is. While most of us think of this difference primarily in terms of the Hebrew Bible being monotheistic and other religions of the Ancient Near East being polytheistic, there are at least three other fundamental differences reflected in the creation account.

FIRST , what Genesis 1 says about how God created the world shows us that the God revealed in the Bible is radically different from the gods worshiped in the Ancient Near East with respect to the relationship between the divine and the material. There is no such thing as creation ex nihilo (out of nothing) in any Ancient Near Eastern religion that we know of outside the Bible. For all other religions of the Ancient Near East both the gods and the material world are thought to be derived from a single fundamental but undifferentiated substance which is understood to be eternal. [1]

This leads to a SECOND important difference. While the gods of the Ancient Neat East were not limited by what we call space and time, they were understood to be a part of the perpetual cycle of the cosmos. They are born, they age, they mate and produce offspring, they may become sick or injured, and they may die. When the cycle is complete and the world returns to its primitive state (i.e., chaos), the gods will cease to exist and the process will begin again.

THIRD and finally, no god in the ancient world was truly supreme. None had absolute power. To be sure, polytheistic systems often had a chief god or top god (e.g., Zeus, Odin) who had more power than the other gods. But that “top god” did not have all power, that is to say, he was not Almighty . As a result, they were subject to the same “fates” that shaped the destinies of humankind, and even the most powerful of them could be thwarted by the combined efforts of the other gods.

The biblical creation account, indeed the whole of Scripture, reveals a radically different God. There is only one God. God is not a part of the continuum that includes the material world but brought into being even the unformed substance from which all things were made (the “empty and void” deep of Genesis 1:2). God is not subject to the cycle of the cosmos, but the distinctions that he introduced into the material world brought about time (Gn 1:3–4, resulting in the day as the fundamental natural cycle of time) and space (Gn 1:6–7). Since no part of the material cosmos is a manifestation of his being, he may not be worshiped using any image (Ex 20:4; Dt 4:11–12, 15–19). God and God alone, of all the things worshiped as gods, is all-powerful and can bring about whatever he wills. In this way, the creation account reveals that YHWH stands apart, and YHWH stands alone.

Reflection #2: The Creation Week of Genesis 1

Another unique feature of the biblical account of creation quickly emerges when compared with other “creation” accounts in the ancient world.

Genesis records God creating both time and space and everything that fills them within the span of six days after which God rested on the seventh day. It is the only creation account that is temporally structured. Not only is this temporal ordering one of the biblical account’s most distinctive features, but the period of time in which God creates the world lays the foundation for key elements of the theology of the Bible.

The “liturgical calendar” for the religions of the Ancient Near East is based on the naturally occurring cycles of nature: the year, the season, and the month (including some half-monthly elements). The Bible alone recognizes a period of time that is not based on the naturally occurring cycles of nature but on God’s distinctive activity. In other words, the week as we know it is both unique to the religion of Ancient Israel and fundamental to the theology of the Bible.

This pattern, based purely upon the account of God’s activity in which he created the world over the course of a week, is fundamental to the theology of the Bible in three ways. FIRST , it provided the basis for the rhythm of the Israelite’s own life within creation, especially, with the observance of the Sabbath as the central element of Israel’s worship. SECOND , it provides the framework for almost all of the chief promises and blessings that God gives to Israel. And THIRD , it unites God’s creative work (Ex 20:11) and his redemptive work (Dt 5:15) to understand Christ’s saving work as the fulfillment of God’s plan to restore the state of “rest” that was lost as a result of the fall, and by whose grace we are brought into that rest.

For these reasons we can hardly overstate the significance of the Sabbath to the theology of the Bible and the importance of the creation account’s temporal structuring in laying its foundation. Confessing the pattern of God’s creative work in seven days, culminating and including the Sabbath rest, is confessing what God did, is doing, and will do both in creation and in redemption. This literal weekly pattern lays the foundation for our understanding that God’s redemptive work in Christ brings about what is sometimes called the “eighth day,” the day when all things become again as God intended them to be.

God makes a special connection between the first week of creation and the dawn of the new creation with Jesus’s resurrection. At times, the early church focused on the days of creation in its preaching during the days of Holy Week. The parallels are striking. God creates humans on the sixth day—the second Adam dies on the sixth day, namely, Friday. And so when Jesus was tried, Pilate said, “behold the man.”

During the first week of creation, God rested on the seventh day, Saturday. Jesus in turn “rested” in the tomb on the seventh day, Saturday. Then on the next day, Sunday, the Gospel of John stresses that it was “the first day of the week,” the beginning of a new week, the beginning of a new creation. Thus, it became known as the “eighth day” of creation for which our baptismal fonts often have eight sides.

Reflection #3: The Age of the Earth and Genesis 1

So how old is the earth? Although the Scriptures do not give a specific age to the earth or a specific date for its creation, the Scriptures portray a world that has been created in the relatively recent past, that is, within a historical span of time measured in thousands of years rather than millions or billions of years. [2]

To be sure, the exegetical reading of the creation account raises certain questions but does not give clear and definitive answers to them. For example, how long was the Spirit hovering over the waters? How long were Adam and Even in the garden before the fall?

More importantly, possible gaps in the biblical genealogies may not allow us to pin down a specific age as advocated by many in the Young Earth Creationist movement (especially by the influential organization Answers in Genesis). What is the purpose or the function of those genealogies within their literary context? What is their role or place within the narrative? Genealogies perform one (or more) of three functions in relation to narratives.

First they may serve to establish the bona fides (or identity) of someone in the account. The genealogy of Moses and Aaron in Exodus 6:14–26, for example, does this. Similarly, Matthew’s account of Jesus’s genealogy establishes the identity of Jesus. Matthew organizes Jesus’s genealogy through his mother, Mary, into three patterns of fourteen generations each. The first fourteen generations following Abraham are a period when the people had no king. The next fourteen generations beginning with David focus on the period when Israel had a king. The third fourteen generations again focus on a time when Israel had no king, and end with Jesus who is born to be king. Matthew’s genealogies thus serve to identify who Jesus is.
Second, they may be used to “wrap up” the account of a person, summarizing their history and descendants. Many of the smaller genealogies in the book of Genesis function in this way. For example, the short genealogy of the descendants of Abraham by Keturah (25:1–4) serves to wrap up the discussion of all of Abraham’s descendants except those who come from the line of Isaac.
The third literary function that genealogies sometimes perform is to “fast-forward” from one major event to the next by summarizing the generations in between. This is how the genealogy of Genesis 5 functions. It moves the narrative quickly from the end of the aftermath of the fall in chapter 4 to the account of the conditions that led God to decide to bring about the flood at the beginning of chapter 6.

While genealogies do sometimes provide chronological information, we must also assess the purpose of the narrative so that we can understand the significance of that chronological information. Therefore, it is both legitimate and necessary to ask whether the biblical authors are providing genealogies for deducing the age of the earth or whether they are using the genealogy to perform a different function.

A consideration of the literary or theological purposes of genealogies does not mean that one can or should discount the chronological information. The challenge is to make sure that we honor the chronological and historical significance of these genealogies as well as their literary or theological function.

In other words, these genealogies give us a sense of the flow of time within the narrative in terms of actual years (even without a precise computation of the age of the earth). To that end, Moses records the age of each father at the son’s birth, as well as each father’s total years of life. Thus

even if the genealogies are selective and incomplete (but not inaccurate), and
even if the genealogies are not exhaustive in a way that one can add them up in order to arrive at firm date from which to calculate the age of the earth, [3]

it is difficult not to conclude that the cumulative year totals in the genealogies contribute to the impression that God created everything in the relatively recent past. [4]

For a good article on genealogies, see Andrew E. Steinmann, “Gaps in the Genealogies in Genesis 5 and 11?,” Bibliotheca Sacra 174, no. 694 (April 2017): 141–158. Steinmann responds to those who maintain that there are no gaps in the genealogies that such views are not correct. Steinmann also cautions that this does not imply that the earth is millions or billions of years old. “Instead, it simply argues that the earth is older than the 6,000 years that can be obtained by a simple arithmetic calculation based on the Genesis 5 and 11 genealogies” (158).

For an older discussion of science, genealogies, and age issues, I recommend Paul Zimmerman’s chapter “The Age of the Earth” in Darwin, Evolution and Creation (CPH, 1959). Zimmerman held a PhD in chemistry and served as president of Concordia Teachers College in River Forest, Illinois. The five-point summary of his chapter bears repeating:

1. The Bible does not give us sufficient information to date the time of creation and the age of the earth. 2. We cannot be certain how long a period of time is involved in Genesis 1:2 in the moving of the Spirit over the deep. It is not clear if this is before the reckoning of days begins. If it is outside the days, we cannot set a limit. However, important ordering of the world comes during the first three days. This includes the succession of day and night, firmament, separation of waters and dry land. 3. The creative days are best accepted as days of ordinary length. This is the obvious meaning. However, we must remember that God’s creation is vastly different from His present preservation where present-day laws of nature obtain. God created a dynamic, operating earth. To attempt to probe these beginnings by using modern conditions is to ignore the fact that creation was a once-in-eternity event to which present laws do not apply. This actually takes the question out of the realm of the scientific and places it into the purely theological and philosophical. 4. If the days of Genesis are days of normal length, then man is about as old as the earth. There is then no point in attempting to stretch the genealogies of Gen. 5 and 11 to cover more than thousands of years…. The really vast age estimates deal with the age of rocks whose condition possibly is the result of the initial creation of God. They did not need to wait for crystallization and recrystallization to achieve their present form. Moreover, we would expect that things were created in chemical and physical balance. 5. Scripture, then, does not give a precise calendar. But it does give the impression of an earth far younger than the theories of some scientists indicate. Neither side can be definite. However, the Christian must be sure that any conclusions he reaches must be in harmony with the very clear picture of a great creative act, of man specially created by God in his image, of man’s fall from perfection into sin, and of the first promise of the Savior in Genesis 3:15. To lose those precious truths would be tragic indeed! (Zimmerman, 165–166)

Exactly how recently did God create it? We simply can’t say definitively on the basis of Scripture. We can offer suggestions and guesses . . . but that is as far as we should go. LCMS President Matthew Harrison clearly stated as much in his own LCMS blog post of January 4: “it is true that the Synod has not defined as biblical doctrine a specific age of the earth” ( https://blogs.lcms.org/2018/64959 ).

Reflection #4: A Day is a Day in Genesis 1

The question regarding the length of the days of creation arises especially in connection with the new geological sciences that appeared in the century before Darwin. The idea of interpreting them as representing long geological epochs became a popular way to account for the conclusions of geology regarding the age of the earth. We also see this in the “day-age” theory popular among many Fundamentalists in the twentieth century.

Although the Scriptures are silent on defining the number of hours in a day (the Hebrew does not have a word for “hour,” which is why we have not made this a doctrine binding on consciences), exegetically strong arguments exist to regard it as what we ordinarily experience a day to be. Paul Zimmerman (above) referred to them as “days of normal length.”

In other words, the interpretation of “ yom” in Genesis 1 to mean something other than a day is exegetically unconvincing. For example:

There are no linguistic or literary grounds—either in the etymology of the word “day” in Hebrew or the grammar, syntax, context, or in any figure of speech related to its usage in Genesis 1—that can justify an understanding of the term in any way other than as a day as we ordinarily experience it.
Genesis 1:5 defines what is meant by a “day” in this context: a day is a period of light (daylight) and a period of darkness (night) separated by two transitional periods (morning and evening). [5]
All of the other time-related words in Genesis 1 appear from the context to be used in what we might call their natural sense. [6]
Most importantly, in Exodus 20:8–11 Moses speaks of the “days” of creation and relates them to the “days” of Israel’s week that culminates in the Sabbath. Moses reiterates this in Exodus 31:15–17. Here, as in Genesis 1, Moses intended “six days” to be what we ordinarily experience six days to be.
Interpreting a “day” as what we ordinarily experience as a day is the cleanest way of interpreting the text in that it creates no difficulties for interpreting other portions of Scripture. Put another way, it best fits the overall scope or stream of Scripture.
Over the course of these six days, we have “eight originating miracles” (as my colleague Paul Raabe refers to them). One on each day with two on the third day and two on the sixth day. These creative acts (the initial opera ad extra of the Trinity) are miracles , and miracles are by definition not accessible to human reason or empirical science (in the same way that Jesus’s calming of the storm is not accessible to science).

Horace Hummel expressed it well in his classic introduction to the Old Testament, The Word Becoming Flesh (CPH, 1979):

Grammatically , it is impossible to try to calculate a date for creation on the basis of the meaning of “day” ( yom ). The word is undeniably used in Hebrew as in English in a variety of extended senses. Yet in the context of Gen. 1, its ordinary 24-hour sense is certainly the most natural or “literal” sense, if external criteria are not invalidly introduced. The problem of Gen. 1–11 is not primarily exegetical, but hermeneutical (philosophical and epistemological starting points). (64)

Reflection #5: Animal Death and the Fall

One of the questions that arises both for Old Earth Creationism and Evolutionary Creationism is whether or not animal death existed before the fall.

The narrative of Genesis 2, and the scriptures that follow, focuses on those two human creatures that God made in his image and to whom he gave dominion over his creation. It focuses on their life, their death, and their renewal of life as the gift of eternal life. Thus Paul writes, “Therefore, just as sin came into the world through one man, and death through sin, and so death spread to all men because all sinned ” (Rom 5:12, italics added). Paul follows with, “For if many died through one man’s trespass, much more have the grace of God and the free gift by the grace of that one man Jesus Christ abounded for many ” (Rom 5:15, italics added).

Although the biblical record focuses primarily on human history, human life, human sin, human death, and human restoration, it does not do so in isolation from the wider creation of which Adam and Eve were members. As the catechism puts it, “God made me together with all creatures.” Consider the following connections.

FIRST , in Scripture, animals and humans were both created on the sixth day and both seek their food from God (Ps 104:27). In addition, God’s human creatures and non-human creatures possess the breath of life and thus are both regarded as “living creatures” ( nephesh chayyah— Gn 2:7, 19; Ps 104:29–30). This linkage binds them together in both life and death after the fall. Plant “death” is not of concern since plants do not have nephesh or breath (thus humans and animals were given plants to eat).

SECOND , given the role of humans as stewards of creation, it follows that all creation is impacted by human dominion, sin, and restoration. Scripture repeatedly suggests that animal life and death are closely bound with humanity’s fall and restoration. On the ark, God preserved Noah’s family and the animals. Outside the ark, everything that had the breath of life died. After the flood, God made a covenant three times with humans and every living creature (Gn 9:9, 12, 15; cf. Hos 2:18–20).

THIRD , we might also note that animals were not given to humans for consumption in the initial creation. Genesis 1:29–30 portrays a world in which both animals and humans are given plants to eat. This would further support the idea of no animal death prior to the fall. Then, following the flood, God grants humans the right to kill animals and consume their flesh. At the same time, he puts the fear of humans into animals that they might flee and preserve their life (Gn 9:2–3).

FOURTH , animal life was analogous enough to human life that substitutionary sacrifice was logical and acceptable to God, for the life is in the blood.

Finally, when Paul talks about the fall in Romans 8, he speaks about how all creation was impacted and subjected to futility (pointlessness or meaninglessness). The same language is used in Ecclesiastes to describe life hemmed in by death. In humanity’s restoration the animal creation will participate as well; in the eschaton when humanity is liberated, animals will be, too. Hence Isaiah describes what has been called the “peaceable kingdom” (Is 11 and 65) in terms of humans and beasts living in harmony, and an end of predation.

Luther comments on Genesis 3:17–19 about the curse making the earth resistant to bringing forth its bounty:

Moreover, it appears here what a great misfortune followed sin, because the earth, which is innocent and committed no sin, is nevertheless compelled to endure a curse and, as St. Paul says in Rom. 8: 20, “has been subjected to vanity.” But it will be freed from this on the Last Day, for which it is waiting. Pliny calls the earth a kind, gentle, and forbearing mother; likewise, the perpetual servant of the need of mortals. But, as Paul points out, the earth itself feels its curse. In the first place, it does not bring forth the good things it would have produced if man had not fallen. In the second place, it produces many harmful plants, which it would not have produced, such as darnel, wild oats, weeds, nettles, thorns, thistles. Add to these the poisons, the injurious vermin, and whatever else there is of this kind. All these were brought in through sin. (Luther’s Works , vol. 1, 204, italics added)

A few paragraphs later, he reiterates, “The earth indeed is innocent and would gladly produce the best products, but it is prevented by the curse which was placed upon man because of sin” (LW 1, 205).

But even as we identify these similarities or correspondences between humans and animals, we cannot ignore the scriptural differences with regard to their role and telos within Scripture. Even though they both are “living creatures,” only humans were made by the hands and breath of God. Only humans were made in the image of God, and only humans are given the task of serving as God’s vice-regents upon the earth.

These are a few of the significant exegetical issues raised for those searching for harmony or synthesis between theology and science, or faith and reason. We have crafted these reflections so as to say neither less than Scripture says nor more than Scripture says. In such matters, about which people quite rightly have strong opinions and deep concerns, it is difficult to provide answers without saying more than what the Word of God itself says.

When we encounter conflicts between the conclusions reached by Scripture and science it is natural for us to ask how they can be resolved. God created us to want to understand the world around us, and to find answers to all the questions that our study of the Bible and of the world raises. We want answers, but sometimes we cannot find them.

In this we share Habakkuk’s dilemma as we wonder how long it will be until we see all things fully revealed. It can be hard to hear God say, “Wait for it” (Hab 2:3). Like Habakkuk, God calls us to wait in faith. Until that day, genuine faithfulness requires us to confess the truth of God’s Word while having enough humility to recognize that when the Word of God does not speak directly to a question, we may have to live without answers. This we can do by the grace of God that constantly recalls us to the cross, the empty tomb, and the risen Christ who is both the source and the object of our faith, and who is the answer to the one question that we must ultimately know, “How can I be saved?”

[1] This primitive substance, which we often call “chaos,” is typically given a name and regarded as a god, but it is also a material substance. It is commonly pictured in these texts as “water.” The ancients employed this way of talking about the undifferentiated divine/material substance because water was the only thing commonly known to them that had a physical substance but no natural form.

[2] Paul Zimmerman, for example, in “The Age of the Earth,” in Darwin, Evolution, and Creation (Concordia Publishing House, 1959) writes, “Scripture, then, does not give a precise calendar. But it does give the impression of an earth far younger than the theories of some scientists indicate” (166).

[3] For a very good discussion on the topic of genealogies in Genesis, see Andrew E. Steinmann, “Gaps in the Genealogies in Genesis 5 and 11?,” Bibliotheca Sacra 174, no. 694 (April 2017): 141–158.

[4] I personally prefer this language to keep the focus on God’s creative act rather than the language of “young earth” which too easily gets into the issue of whether or not the earth looks young. By relatively recent past, I would understand a time scale measured in thousands of years rather than in millions and billions of years.

[5] This passage provides us with the one certain exception to the basic rule that we have just stated. In its first usage in Genesis 1:5 the Hebrew word for day is used in the sense of the period of light (what we commonly term “daylight”) in contrast to the night. This is within the common use of the term, both in Hebrew and in Greek (cf. Jn 9:4 and Rom 13:12) as well as in English, and does not invalidate the general point.

[6] These would include terms “night, “evening,” and “morning” all in 1:5, and “seasons” and “years” in 1:14. Genesis 1:14 includes the only ambiguous usage of the term “day,” there in the plural for the only time in the chapter. While the matter is debatable, the apparent meaning of 1:14 is that the “lights” function as signs to indicate the passage of two things, the “seasons” and the “days and years” (the grouping in this case suggested by the pattern of the usage of the prepositions in Hebrew). By this interpretation the term “days,” while plural, still refers to normal days. The other possibility, that the term “days” is being used euphemistically to refer to some other period of time, perhaps a “month” or a “week,” seems unlikely. The former (month) is unlikely because Hebrew has two other words (both related to the new moon) regularly used for a month and “days” is never elsewhere used that way. The latter (week) is unlikely since it is not a period of time for which the lights function as a sign, and thus makes no sense in the context. In either case the context requires that the term “days” as used in Genesis 1:14 refers to some naturally occurring period of time, apparently less than a year.

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Sanctify Them in the Truth!

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Pastor Tom Eckstein March 6, 2018

This is an excellent, well balanced article on this issue. Thanks!

Charles Paulson, retired LCMS pastor May 12, 2018

Excellent article. I agree, Genesis 1 is the inspired truth of God’s own Word, but it does nothing to establish the age of the earth in geologic terms. I would refer you to an excellent article by Henry B. Smith, “MT, SP or LXX? Deciphering a Chronological and Textual Conundrum in Genesis 5,” Bible and Spade 31 1 (2018), 18-27. He makes a compelling argument that the Masoretic Text was shortened to conform to the time frame of the Book of Jubilees. He notes that the LXX, Samaritan Pentateuch and Josephus all have higher begetting dates of 100 years for almost every generation, raising the creation event to 5500 and the Flood to 3300 B.C.

Daniel Pech November 15, 2021

According to the universal self-evidence of life-affirming, Divine Design, there is a particular hierarchy of natural dependencies in the Completed Creation. For example, creaturely life depends on the Earth’s ecology, and the Earth’s ecology depends on the Sun.

Indeed, the Day Four portion of Genesis 1 (vs. 14-18) mentions the value of the luminaries for life on Earth. This is the account’s textual central portion, being essentially halfway between v. 1 and v. 31. Indeed, by word count in the Hebrew, the central word or phrase of the account is firmly within this portion. By my count, this is the word translated ‘the light’ in v. 18. Or, leaving out v. 31, it is the word or phrase translated ‘to shine’ or ‘give light’ in v. 17.

But vs. 14-18 is the only part of the account to outright mention the luminaries at all. This has caused a deep debate regarding when, in the Creation Week, the account intends to say that the luminaries were created. Were they created on Day Four? Or, instead, were they created in the ‘in the beginning’ of v. 1?

Part of the issue of this debate is whether the account presupposes the universal self-evidence of Divine Design, not only of the Completed Natural World, but of Natural Language. For example, is the account

(X) straightforward, in that each verse in turn is to be understood on the basis of any and all prior verse(s)? or, instead, (Y) a bit of a ‘botch job’ that involves a measure of the less or more arbitrary kinds of ‘inside secrets’?

In other words, (X), is vs. 1:1-5 the context for interpreting vs. 14-18? Or, instead, (Y), are vs. 14-18 the context for interpreting vs. 1-5?

According to most readers, Believer and skeptic alike, the account teaches that the luminaries were created on Day Four (vs. 14-18). Let us call this the Earth Created Before Luminaries interpretation, or the ECBL.

But my impression of the ECBL is that the ECBL fails to take the account as a straightforward narrative. For, it can be charged that the ECBL ignores the particulars of the entire first thirteen verses, specifically of these particulars in terms of the universal self-evidence of Divine Design. For, these are particulars that, in their own terms—that is, aside from the ECBL—would seem to compel the impression that the luminaries are created in v. 1.

Of course, the account nowhere mentions the luminaries except in vs. 14-18. So, if we suppose that the account’s author intends to be understood as saying that the luminaries are created in v. 1, then why does he not ensure, contrary to vs. 14-18, that that is what all readers understand? I mean, it would be very easy for the author to have outright stated, as part of v. 1, that the luminaries are created at the beginning. For example, he could easily have said in v. 1,

‘In the beginning, God created the heaven and all its host, and created the Earth.’

That way, when a reader gets to vs. 14-18, the reader can sense that vs. 14-18, as a way of mentioning the value of the luminaries for life on Earth, are merely recapitulating the fact that the luminaries were created at the beginning.

But, countering this last problem is the very fact, as already stated, that the particulars of the first thirteen verses, in their own terms, would seem to compel the impression that the luminaries are created in v. 1. For, if one had only the first thirteen verses, and if one did not know of any of the rest of the account, one normally would never expect that any part of the rest of the account would contradict that impression.

Moreover, the universal self-evidence of Divine Design implicitly affirms the hierarchy of natural dependencies.

Moreover still, if one were an ancient Hebrew, one would be familiar with the common usage, on the part of one’s people, of the word ‘darkness’ as implying or identifying dense cloud cover (ex: Job 3; Job 38:9; Deuteronomy 4:11).

So again my issue: Does not the ECBL fail to take the account as a straightforward narrative? Is not the ECBL just an act of alternately arranging the Inspired-as-already-assembled pieces of the ‘jigsaw puzzle?’ What, regarding the luminaries, is the picture that the account’s author intends to present? And is his intention effective in the account’s own terms? What, exactly, are those terms. Do the account’s terms involve some elements that are foreign to the bulk of its terms?

Or, instead, are all its terms in keeping with one sole standard? If so, what is that standard?

And, what is the first thing the account is concerned to tell us was created, and why? According to a reading that may well be the simplest and most intuitive, childlike reading, the answer is ‘the heaven and the Earth’ (v. 1). Only an ‘aloof’ kind of reading would say ‘light’ (v. 3), in that an ‘aloof’ reading allows that v. 1 can be seen as constituting a mere title or summary title. This allowance, in effect, disparages the childlike observation that a things’ rightly servicing a need does not equate to the idea that that service is that thing’s own most proper purpose. By analogy, the service of Adam as Title Human in no way negates Adam’s historicity. If anything, it is that historicity that ‘puts the meat on the bones’ of that very service. By a clearer analogy, despite the service which 2+2=4 has as polemic against financial fraud, that service in no way negates the truth of the equation itself. On the contrary, it is the equation itself that makes that service both logically possible and right.

It may not be untrue, as far as it goes, to say that ‘In the chronologically absolutely first instant, God created space and matter.’ But, consider the depth to which vs. can express Divine Design:

1. the general cosmos and the special Earth. 2. The Earth, as its own general subject, implying that which we all intuit is most valuable about the Earth unto itself in all the cosmos: its abiding maximal abundance of open liquid water. 3. that water and its special relation to the Sun’s light, hence the water cycle; 4. The water cycle and its special beneficiary and member, biology; 5. biology and its special category, animal biology (plant/animal/mineral = animal); 6. Animal biology and its special category, human; 7. The man and his wife (Genesis 2:21-23)

Therefore, v. 1 can well afford merely to imply a blandly ‘creationary’ kind of ‘cosmic ‘physics’ information. This is because Genesis 1:1 can be found to be entirely concerned to affirm the fact that, since God designed and created us, we are—contrary either to a Godless or Platonic outlook—not insignificant.

Indeed, had God created everything together in a single durationless instant, and had He told us this, it would not show us His wisdom and goodness, but only His power. The Almighty is not defined merely as the Almighty. He also is wise, good, and relational toward us. He wants us to know of Him as He is, not merely that He is almighty.

So, we might want to ask, ‘One, how does the completed creation hold together, or operate; and Two, how did God created it?’ I think Genesis 1 constitutes a single recognizable answer to both questions.

Daniel Pech February 28, 2023

The pagan gods ‘were subject to the same “fates” that shaped the destinies of humankind, and even the most powerful of them could be thwarted by the combined efforts of the other gods.’

How did the pagan peoples come to believe in such gods in the first place? What is the cause for the fact that such god’s were imagined to exist? Was it not by the common practice of historical revisionism on the part of delusional, superstition-inclined tyrants? Today, such revisionism is one of the means by which tyrants convince a people that those tyrants’ tyrannical ways are justified. So it seems highly doubtful that Genesis 1 is a *reaction against* the popular ancient belief in pagan god’s. For, how else can these ‘pagan gods’ even come to exist in anyone’s superstitious minds except by the first tyrants’ co-opting some original, naturally widely respected account of origins (an original, totally benevolent account that was, to begin with,, the only account to have any currency)?

Alex Goodwin September 11, 2023

Perhaps I am just missing something but I don’t think you ever got around to the second half of what you were aiming to write in response to the Evangelical positions you surveyed.

You said, “Because of their central role in these debates, I want to set forth the historical interpretation of these texts in Genesis 1 within the Lutheran Church—Missouri Synod (LCMS). We will then explore the larger theological approach that seeks to develop a theological–scientific synthesis.”

You and Dr. Adams did a wonderful job with the first part, but in the years since this was published I cannot find anything pertaining to the second part.

Thank you again for your wonderful posts! Hopefully someone actually is made aware when comments are made to old posts, otherwise I have little confidence in this series ever being finished (unless it was meant to end with this post and I am missing something).

Emmanuel Chidziva 16 days ago

This answers a lot of questions that go around. I wish this information could be ready by many.

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Similarities Between Genesis 1 and 2

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Comparing and Contrasting The Iroquois and Genesis Creation Stories

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Comparative Analysis of Creation Myths in Two Different Cultures

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A creation myth refers to a traditional narrative or story that seeks to explain the origins of the universe, humanity, and the natural world. Found across various cultures and civilizations, creation myths often involve supernatural beings, deities, or forces shaping the cosmos and establishing the order of existence.

Creation myths are ancient narratives that attempt to explain the origins of the universe, humanity, and the natural world. They vary across different cultures and civilizations, each reflecting the unique beliefs, values, and cosmologies of the societies in which they originated. The historical context of creation myths spans thousands of years and encompasses a wide range of civilizations, including ancient Mesopotamia, Egypt, Greece, and indigenous cultures around the world. In ancient times, creation myths served as a foundation for religious and cultural beliefs, providing a framework for understanding the world and one's place in it. They often incorporated elements of gods, goddesses, celestial bodies, and natural phenomena to convey the complex relationships between humans, nature, and the divine. Throughout history, creation myths have evolved and been influenced by societal changes, religious shifts, and scientific advancements. As societies have progressed and gained a better understanding of the natural world, creation myths have adapted to accommodate new knowledge and interpretations. Studying the historical context of creation myths allows us to explore the evolution of human thought, the development of religious beliefs, and the cultural diversity of different civilizations. It provides insights into the ways in which ancient societies sought to make sense of their existence and grappled with existential questions that continue to resonate with us today.

Creation myths are found in diverse cultures around the world and can be classified into several types based on their themes, characters, and cosmological concepts. Here are three common types of creation myths: 1. Ex Nihilo: This type of creation myth portrays the universe emerging from a formless void or nothingness. In these myths, a supreme being or group of deities creates the world and all living beings from scratch. Examples include the Judeo-Christian account of God creating the world in the Book of Genesis or the Maori creation myth of Ranginui (Sky Father) and Papatūānuku (Earth Mother). 2. Emergence: These myths describe the emergence of the world and its inhabitants from preexisting elements, such as water, land, or the body of a primordial being. They often involve the transformation or birth of gods, animals, or ancestral beings who shape the physical and spiritual realms. The Hopi creation myth of the Spider Woman guiding the emergence of humanity is an example of this type. 3. World Parent: World parent creation myths depict the creation of the universe as the result of procreation or conflict between divine entities. The universe is often seen as the offspring of primordial gods or as a product of divine copulation. The Norse creation myth of Ymir, whose body becomes the earth, sky, and oceans, exemplifies this type.

Creation myths, present in various cultures across the globe, share several distinctive features that contribute to their significance and enduring appeal. Here are some key features of creation myths: 1. Origin of the Universe: Creation myths seek to explain the origins of the cosmos, including the creation of the world, celestial bodies, and natural phenomena. They often provide narratives that describe how the universe came into existence and its fundamental elements. 2. Divine Beings: Creation myths typically involve the presence of powerful and supernatural beings, such as gods, goddesses, or cosmic entities. These beings possess extraordinary abilities and play a central role in the creation process, shaping the world and its inhabitants. 3. Symbolism and Metaphor: Creation myths frequently employ symbolism and metaphorical language to convey deeper meanings. They use vivid imagery, allegorical elements, and mythical symbols to represent cosmic forces, natural elements, and human experiences. 4. Order and Chaos: Many creation myths explore the transition from chaos to order, depicting the organization and arrangement of the cosmos out of primordial chaos. They illustrate the establishment of a structured and harmonious world. 5. Human Origins: Creation myths often address the origin of humanity, explaining the creation of human beings and their place within the natural and spiritual realms. They may describe the unique characteristics, roles, and relationships of humans in the created world. 6. Cultural and Moral Values: Creation myths reflect the cultural, moral, and spiritual beliefs of a particular society or civilization. They reinforce cultural norms, moral codes, and societal values, providing a foundation for understanding the relationship between humans, the divine, and the natural world. 7. Ritual and Tradition: Creation myths are often intertwined with religious rituals, ceremonies, and traditions. They form the basis of sacred narratives and shape religious practices, providing a sense of identity, purpose, and meaning to individuals and communities.

Public opinion regarding creation myths varies significantly depending on cultural, religious, and individual perspectives: 1. Cultural Relativism: Many individuals appreciate creation myths as an integral part of cultural heritage and identity. They view these myths as valuable narratives that reflect the beliefs, values, and traditions of specific cultures. Such individuals emphasize the importance of respecting and understanding different cultural perspectives. 2. Religious Significance: For those who adhere to religious beliefs, creation myths hold deep spiritual and theological meaning. They consider these myths as sacred accounts that offer insights into the origins of the world, the divine order, and humanity's relationship with the divine. These individuals may view creation myths as foundational to their religious faith and uphold them as religious truths. 3. Symbolic Interpretation: Some people interpret creation myths metaphorically or symbolically rather than as literal accounts of historical events. They appreciate the rich symbolism and metaphorical language employed in these myths, finding deeper philosophical, psychological, or ethical meanings within them. Such individuals may value creation myths for their ability to convey universal truths or explore existential questions. 4. Skepticism and Secular Perspectives: Others approach creation myths with skepticism, considering them as imaginative stories or ancient explanations born out of limited scientific knowledge. They may view creation myths as cultural artifacts without factual basis and instead emphasize the importance of empirical evidence and scientific understanding in explaining the origins of the universe. 5. Academic Interest: Creation myths also garner attention and study within academic disciplines such as anthropology, comparative religion, and folklore. Scholars examine these myths as cultural phenomena, analyzing their historical development, cross-cultural similarities, and societal functions. They approach creation myths from an academic standpoint, studying their cultural significance and their role in shaping collective beliefs and behaviors.

1. Films and Television: Creation myths often serve as inspiration for storytelling in the realm of film and television. One notable example is the film "Avatar" (2009), directed by James Cameron, which features the Na'vi people and their belief in Eywa, a deity representing the interconnectedness of all living beings. The film incorporates elements of creation mythology to explore themes of nature, spirituality, and the balance between humans and the natural world. 2. Literature and Fantasy Novels: Many works of literature and fantasy novels draw upon creation myths to construct their fictional worlds. J.R.R. Tolkien's "The Silmarillion" is a prime example, as it presents a detailed creation myth called the "Ainulindalë," which establishes the origins of Middle-earth and the various races inhabiting it. These creation myths enrich the world-building process and add depth to the narratives. 3. Visual Art and Illustration: Creation myths have long been a subject of inspiration for visual artists. Paintings, sculptures, and illustrations often depict scenes from creation myths, capturing the grandeur of cosmic events and the birth of the world. One notable example is Michelangelo's iconic fresco painting on the Sistine Chapel ceiling, which includes a portrayal of the creation of Adam based on the biblical creation myth. 4. Music and Song Lyrics: Creation myths also find their way into the world of music. Artists and songwriters incorporate elements of these myths into their lyrics, evoking themes of origins, spirituality, and human existence. The band Led Zeppelin's song "Stairway to Heaven" contains allusions to Norse mythology and the concept of Valhalla, connecting to the broader tapestry of creation myths and their cultural significance.

Creation myths are of significant importance when it comes to exploring the origins of human understanding, culture, and belief systems. They provide valuable insights into how different societies across time and space have grappled with fundamental questions about the creation of the world, the emergence of life, and humanity's place within the cosmic order. Studying creation myths allows us to delve into the rich tapestry of human imagination, symbolism, and cultural diversity. These myths reflect the values, aspirations, and worldview of various societies, offering glimpses into their cosmologies and the foundations of their social structures. By analyzing creation myths, we can gain a deeper understanding of human thought, the formation of cultural identities, and the interconnectedness of different civilizations. Furthermore, creation myths provide a platform to explore universal themes and archetypal motifs that transcend cultural boundaries. They offer narratives that address existential questions, the human condition, and our relationship with the natural world. Exploring and analyzing creation myths can broaden our perspectives, foster intercultural dialogue, and shed light on the intricate connections between mythology, religion, and human society.

1. Campbell, J. (1949). The hero with a thousand faces. Pantheon Books. 2. Eliade, M. (1954). The myth of the eternal return: Cosmos and history. Princeton University Press. 3. Graves, R. (1955). The Greek myths. Penguin Books. 4. Leeming, D. A. (1994). Creation myths of the world: An encyclopedia. ABC-CLIO. 5. Levi-Strauss, C. (1963). Structural anthropology. Basic Books. 6. Malinowski, B. (1926). Myth in primitive psychology. Norton. 7. O'Brien, J. M. (1982). Theological themes in creation myths. In A. Dundes (Ed.), Sacred narrative: Readings in the theory of myth (pp. 135-152). University of California Press. 8. Segal, R. A. (2004). Myth: A very short introduction. Oxford University Press. 9. Von Franz, M.-L. (1972). Creation myths. Shambhala. 10, Wolkstein, D., & Kramer, S. N. (1983). Inanna: Queen of heaven and earth: Her stories and hymns from Sumer. Harper & Row.

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What Does It Mean to Have a Child? We Should Be Taking That Question Seriously.

van der Lugt is a lecturer in philosophy at the University of St Andrews, where she specializes in early modern intellectual history and philosophy. She is the author of Dark Matters: Pessimism and the Problem of Suffering and Begetting: What Does It Mean to Create a Child?

T he question of begetting —that is, to bring (a child) into existence by the process of reproduction—is one that we routinely ask each other. It is also a question that young people are asking themselves with increasing urgency, as many wonder if, in an age of climate crisis and existential uncertainty, it’s still OK to have kids. What does it mean to create another person, not knowing what their life will be like?

In response, every so often an article or essay is published to the extent that having children is an intrinsically hopeful act; that not to have them is to give in to despair ; that this is how we express gratitude for existence; that “the meaning of life is to pass it on.”

This is interesting—not just for what it suggests about begetting (that this is a question not up for consideration), but for what it suggests about hope and meaning; about our lives, and what it would mean for them to have purpose. We tend to speak in binaries such as light/dark, optimism/pessimism, hope/despair . Presenting the problem in this manner—where to beget is to be hopeful, while anything else is automatically the opposite—is to suggest a stark choice: either you are on the side of life, or you have already given up.

But is reality truly colored in such stark tones? Are our lives, our hearts, our motives?

Consider a person living through the through the atrocities of a global war, and yet expressing an indomitable gratitude “for everything.” Consider another, convinced that life is bad and non-existence preferable, who nevertheless comes to long for a child and does not keep themselves from creating it. Consider a third who, deeply in love with life, nevertheless believesit would be wrong to bring another person into it—a person liable to suffering; a person who has not asked to be created.

These examples are all real and point towards a simple truth: that the dichotomy is a false one. There are ways to be grateful for life that are compatible with not begetting; just as there are modes of grief and even despair of which begetting is the consequence. So, too, there are ways of being that command obedience to a calling—and it is intrinsic to the nature of a calling that one does not know in advance what one is called to do. The call may lead to begetting, but also, it may lead away from it.

Read More: Why So Many Women Are Waiting Longer to Have Kids

But more important than all these things is the simple fact that, as the late writer Hilary Mantel once posited in her memoir Giving Up the Ghost , “motives are seldom simple and never pure.” The person who found her belief in the immorality of procreation superseded by the longing to beget; the person who lived through dark times yet loved life; the person who loved life yet refused to beget—what does this prove, except that life is complicated and begetting is also?

If anything, what these examples show is that there are these tangles and complications that we are not seeing—there are ways of grounding hope and meaning to which our minds and hearts are closed.

Perhaps one loves the world while seeing, with open eyes, the shadows clinging to even the most privileged corners of creation. Perhaps one shudders to bring a frail thing into the reaches of such shadows. Perhaps one fears the world but feels a calling that cannot be answered except by an act of creation. Perhaps the calling leads elsewhere.

Read More: The Parents Who Regret Having Children

What I want to resist is the automatic assumption that one path and not another is called “hopeful,” that one path and not another is an expression of commitment and moral fervor—even, of gratitude. What I want to ask is: what would it mean for hope and meaning not to be inflected with optimism or with the strain of “positive thinking” that has cast so powerful a spell on modern culture? What would it mean to envision different grounds for perseverance, for activism even, and for hope itself—for it to be rooted not in positive expectations about the future, but in a commitment to value and justice? What would it mean to recognize creation for what it is, a golden shadowed thing, and form our hopes accordingly?

When I speak of shadows, some may think this goes without saying; surely we all know, have always known, that all of existence is like this?

But in truth they are all too easily disregarded. In an age when entrepreneurs are preparing to make “space babies,” for the sake of proving that procreation is possible outside of earth’s atmosphere—there, in the cold and dark of distant space, with no knowledge whatsoever of the risks in zero gravity to either mother or child—because humanity must be propagated, this forgetfulness can take terrifying forms. Is that then hope? To create, because creating is always the better road? Is that then meaning?

There is more to say about this, and more to think about, for all of us. But we can begin by resisting the temptation of painting the decision to beget along the lines of hope vs despair, which fails to do justice to the richness and complexity of our moral lives. We can begin by recognizing that people asking the question of begetting do so not out of shortsightedness but out of a deep sense that there is something worth asking here, something that is owed. The least we can do is take their question seriously. What does it mean to create a child?

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3 content creation strategies to help you build a global audience.

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Krishan Arora is CEO & Founder at Arora Project , a globally recognized leader in raising investor capital & scaling high-growth ventures.

In 2024, consistent content creation is one of the most powerful strategies you can leverage to build a business or help grow a brand. The true power of this strategy lies in the ever-increasing consumption of online content in the global digital world and the ability to target your content to specific demographics. Those who understand how to create content and disseminate it to a global audience in an authentic manner yield a true advantage over others.

In this rapidly evolving world of digital media, generating a lasting connection with your audience demands more than just regular content posting; it requires a thoughtful and strategic approach to engagement that resonates on a global scale. In this article, I will cover three strategies you can use to build a global audience, with specific real-life examples, and how to convert that audience into a community that fosters meaningful online engagement.

The most effective way to grasp the global process of audience building and content creation is to examine these three strategies that successful content creators are currently leveraging:

Strategy 1: Share personal stories that resonate globally.

Strategy 2: Maintain authenticity as your true North Star.

Strategy 3: Capitalize on current events and emerging trends.

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2 obvious signs of ‘workplace gaslighting,’ from a psychologist, wells fargo championship 2024 golf betting preview odds and pga picks, strategy 1: share personal stories that resonate globally.

Maya Angelou famously once stated, “People will forget what you said, people will forget what you did, but people will never forget how you made them feel.” And that could not be more accurate when it comes to the game of audience building and content creation.

An incredible content creation and audience-building titan to benchmark and learn from is Casey Neistat, one of the pioneers of personal storytelling via vlogging on YouTube. His approach to content creation clearly illustrates the power of sharing stories that have a universal appeal. His content, which details his daily adventures, challenges and even his mundane activities, is created in a relatable way that highlights everyday human experiences such as creativity and the pursuit of passion.

Content that transcends cultures and geographies is deeply rooted in the human experience. Such content captures not only triumph but also vulnerability, which helps build a genuine connection with a global audience. It’s not the end product that viewers are looking for; it’s the journey there, filled with obstacles, insights and emotions that viewers are drawn to. This method of storytelling doesn’t involve sharing a curated or filtered narrative, but rather a lived reality that many can relate to. Share your story—your own personal journey—and people will be drawn to that.

Strategy 2: Maintain Authenticity As Your True North Star

One of the most crucial aspects of audience building on a global scale is authenticity. Staying true to your beliefs is the cornerstone of building a connection with your community and is key to sustaining engagement over time. Not succumbing to external pressures is a serious competitive advantage in today’s world.

One of the best content creators that exemplifies this is comedian Andrew Schulz. Through his unfiltered comedic style, he presents his genuine self without appearing to be influenced by external beliefs or organizations. This authenticity fosters a trustful relationship with his audience, encouraging them to return for more content that feels refreshing.

In today’s heavily polarized world, viewers are yearning for meaningful perspectives and insightful content that is genuine, honest and fearless. To truly be successful in remaining authentic, you have to be authentic even beyond the screen and cameras; it has to be woven into the fabric of all your content. Make it a point to speak on topics you are genuinely passionate about. This genuine expression resonates extremely well with audiences who are seeking more raw and real content in an age when many content creators polish themselves to appeal to advertisers and sponsors. This level of authenticity fosters a deeper connection with audiences worldwide.

Strategy 3: Capitalize On Current Events And Emerging Trends

In a world driven by instant gratification and real-time updates, staying relevant with a global audience is not just about keeping up; it’s about leading the conversation. You can do this by discussing topical trends and emerging events. Highlight the latest developments and trends in your content to connect more deeply with your audience, and provide them with real-time insights and perspectives that resonate with their immediate concerns and interests.

One content creator who is executing this strategy well is Patrick Bet-David. His content strategy revolves around swift and insightful responses to current market trends and global events—and on interviewing all kinds of guests on his podcast, even controversial ones. By addressing these topics as they unfold, he helps his viewers gather valuable context and meaning that helps them understand and react to these developments.

By providing viewers with timely and actionable knowledge, you can build a connection with a global audience that enriches their lives, and you become an indispensable resource that viewers look toward to understand and navigate more upcoming trends. This strategic approach can transform content into a vital resource for viewers all around the world. By staying topical with your content, you can guide your audience through many of the complexities of today’s global landscape and cement your status as a needed resource for your community.

The digital media landscape offers a vast opportunity for those who engage with their audience through personal stories that are authentic and relevant. By embracing these three powerful techniques, you can build robust global communities that are loyal and eager to grow with your brand. As we look to the future, these strategies will be pivotal for anyone looking to build a real connection with viewers and readers around the world.

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A Summary and Analysis of the Creation Story in the Book of Genesis
Genesis creation story: summary. The Book of Genesis famously opens with the words: 1:1 In the beginning God created the heaven and the earth. Although we know the first book of the Bible as the Book of Genesis, in Hebrew, where this book begins the Torah, the book is known as Bereshith, which literally means 'in the beginning', as the ...
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The creation story takes place in Genesis 1:1-2:3. Day 1 - God created light and separated the light from the darkness, calling light "day" and darkness "night." Day 2 - God created an expanse to separate the waters and called it "sky." Day 3 - God created the dry ground and gathered the waters, calling the dry ground "land," and the gathered ...
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Stories describing creation are prominent in many cultures of the world. In Mesopotamia, the surviving evidence from the third millennium to the end of the first millennium B.C. indicates that although many of the gods were associated with natural forces, no single myth addressed issues of initial creation. It was simply assumed that the gods existed before the world was formed.
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A creation story is a supernatural story or explanation that describes the beginnings of humanity, earth, life, and the universe. Religion plays a significant role in the establishment of Creation for both the Native Americans and the Puritans. "The people known collectively as the Iroquois were made up of the Mohawk, Seneca, Oneida, Onondaga ...
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Human beings make sense within their realm, namely, the creation of God. The human-centered view of the created world can be seen in the case of each of the six creation days. I will illustrate the human-centered orientation of the fourth day. On the fourth day according to Genesis 1, God created the celestial lights.
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In this myth things seem to happen accidentally, from Eurynome's birth to the creation of man. There is no unifying principle at work here beyond that of feminine playfulness and pique. Given the two stories of the creation, it is easy to see why the one told by Hesiod achieved dominance, for it stemmed from a race of fighters.
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A lot of creation myths also involve the creation of an ultimate evil, the most obvious being the devil. But I wouldn't say this is a requirement of all creation myths. It is a requirement, however, that there be some form of conflict. If the god that created your world is super nice and sticks around to help the humans, then you run the risk ...
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creation myth, philosophical and theological elaboration of the primal myth of creation within a religious community.The term myth here refers to the imaginative expression in narrative form of what is experienced or apprehended as basic reality (see also myth).The term creation refers to the beginning of things, whether by the will and act of a transcendent being, by emanation from some ...
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Understand their powers, limitations, intentions, and how they shape the narrative. The nature of your creators will significantly influence the tone, themes, and messages conveyed by your myth. Example: In your creation myth, let's say the creators are ancient celestial beings known as the Luminara.
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Summary. To trace a biblical theology of creation, we must begin with God's rule and intent in his creation. Though sin brings chaos into the creation order that ultimately leads to judgment, God is committed to redeeming his creation. Throughout the story of redemption, we see a series of "new creation" events following the judgments of ...
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Creation Myth Essay. In the beginning…. There was only water and bare, empty land. In the center of this nothingness was a great mountain. This mountain stood tall and proud and it reached all the way into the heavens. At the very top of this mountain lived a pair of every kind of animal. In the center of this heaven grew a tree.
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The creation myth of "The World on the Turtle's Back" is a fascinating tale that offers insight into the beliefs and values of the Onondaga people. This myth tells the story of how the world was created by a pregnant sky woman who fell from the sky and landed on the back of a giant turtle. This myth is rich in symbolism and provides a unique ...
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The Five Standard Types of Creation Myths. The third theory of the world's creation concerns the appearance of the world is connected with world parents for whom the world is the child. A New Perspective on the Myth of Creation. First, they create the sun, the moon, and the stars, then, the Earth and the other planets.
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There are two creation stories out of the Christians beliefs, both out of the book of Genesis. In Genesis 1:1 to 2:3 the bible says that God created the heavens and earth in six days: On the first day the creation of light and its separation from darkness; On the second day the separation of the sky and oceans; On the third day separation of ...
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The Delicate Interplay. At the heart of the Navajo Creation Story lies the concept of balance and harmony. The Holy People, in their infinite wisdom, recognized the importance of equilibrium in the natural world. They established a delicate interplay between light and darkness, hot and cold, life and death. This balance, much like the delicate ...
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The parallels are striking. God creates humans on the sixth day—the second Adam dies on the sixth day, namely, Friday. And so when Jesus was tried, Pilate said, "behold the man.". During the first week of creation, God rested on the seventh day, Saturday. Jesus in turn "rested" in the tomb on the seventh day, Saturday.
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In this paper, I examine the Genesis creation narrative (Gen. 1:1-2:3) through a theological lens and argue that the creation themes in the Pentateuch are fundamentally theological rather than ...
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Creation Myth Story Genesis and Iroquois Creation Stories God and Iroquois Indians play huge parts into our history which many are familiar with. Genesis from the Bible and Iroquois creation myth share many similarities but also have their differences. Genesis in the Bible tells the story of how God created earth and everything on it.
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Kylee Bouse Creation Myth Motif Essay Mrs. O'Brien October 23, 2017 Creation Myth Motifs In a clear, concise, and well-organized essay, I will analyze the different motifs of the creation myths process, struggle, and organic material. The definition of a motif is "something in literature we notice repeated over and over again.
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The World on The Turtle's Back: Creation Myth. 2 pages / 690 words. The creation myth of "The World on the Turtle's Back" is a fascinating tale that offers insight into the beliefs and values of the Onondaga people. This myth tells the story of how the world was created by a pregnant sky woman who fell from...
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Topic 1 Creation Myth Essay; ENG-360KJones WK 3 - Book Analysis Essay; ENG-360KJones WK 6 - Narrative Essay; ENG-360KJones WK 8 - Essay on poets; ENG-360KJonesWK 7; ENG-360KJonesWK 1; Related documents. UNV-103 - this is something; ENG-360-Analysis Essay; SEC-350 RS T1 SEC-350 Unwrapping the ELA Standards (sam)
The Question of Having a Child
Perhaps one loves the world while seeing, with open eyes, the shadows clinging to even the most privileged corners of creation. Perhaps one shudders to bring a frail thing into the reaches of such ...
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Share your story—your own personal journey—and people will be drawn to that. Strategy 2: Maintain Authenticity As Your True North Star One of the most crucial aspects of audience building on a ...