Legend of the Dragon God: Agni is Siva the Devil, Red Dragon and the God of fire

So, based from the chapter "Shiva in the Bible" I am giving the reader some introductions to the Phallic pillar and how this practice is addressed to this God. He is known by some names like Pan, Cernunnos, and by the Navajo (Dine') the Black God of fire. This God is very prominent throughout the whole world and will detail why, but first we have to start from the God called "Agni".

So, when learning about the BBC Documentary on Ancient India, there was a segment detailing a legend on how the Brahmins were led by the God of fire into new lands. Having to learn about the culture of Hinduism and the practices, I started to connect the pieces together as this reveals the true Exodus story. Again, even though History is written by the victors, however, some important information gets by for a good reason. This story in the Bible is basically "paralleled" to the people dubbed "Aryans", as they were led by the Legendary fire God. Based from the Biblical perspective, the God that the apparent Israelites were led by was described as being engulfed in fire.

So, this is where we have to learn about the fire God, to which the Hindus call "AGNI". Interesting enough, the Rig Vedas states of "33" gods being mentioned and recited to, and out of the 33 gods, there are two that are most known amongst their Hymns, and that is Indra the storm god and Agni the fire god. Even though Indra would have the most Hymns in the Rig Vedas, however Agni would be the first and foremost in the beginning of each Chapter of the Rig Vedas to be recited to. Their relationship are described as being twin brothers to each other, or are either one and the same God (Depending on source material).

So, when I began to study about Indra and Agni as the two most earliest deities that was chanted to, I found how the other gods like Vayu (wind) Varuna (water) Soma (either the alcoholic drink of Indra or the moon deity) Yama the god of the underworld, Mitra, Surya (Sun God) would also be addressed as well in the Rig Vedas. Then there are gods like "Rudra", "Vishnu", the "Rudras or Maruts" as the storm deities amongst others to be some that are stated in the book. Though I will detail later on how these Gods are merely broken down from the two major deities "Indra" and "Agni".

The story generally states that "Indra" as the thunder deity would rule the storms, rain and a certain level in Heaven. Then there is "Surya" as the Sun would rule the Heavens, and then Agni was said to be the ruler of the Earth. But as the stories are formed, it appears that the earliest gods like Indra and Agni are then demoted and worshiped on occasions based on the introduction of Brahma the creator, Vishnu the preserver and Shiva the destroyer (respectively). However, even when I had learned about their demotions, I would also see how their stories are reprised over time as another god with a different name would often take their place along with their attributes (Stories of one battling the other). This will later make sense as to how the earliest attributes of the deities are then transferred to the newer Gods and their epithets around the world.

Now, when learning about the God of fire in the Rig Vedas it states that Agni would be described as a bird-like being who would carry the Amrit (which is the nectar of the gods) and would often disappear at times (as a trickster deity). He is said to be what they call "Vaishvanara" or the "Cosmic soul" as a universal aspect. In the Upanishads, He would be described as the "all knowing" and "all seeing" one (a Peacock reference). So, just like the concept of God being everywhere is what Agni is shown to have that attribute (as fire and light resides in all things). Then the term "Matarisvan" (Growing in the mother or the swell) states that He was formed from the friction of two sticks, to being a messenger who brings the fire to the Bhrigu sage from Vivasvat (as the Sun God Surya). This is very similar to the Titan Prometheus, who also was said to have brought the fire from the gods to mankind.

Now, other sources state that Agni was formed from the Primordial Creator Prajapati's third eye and how Agni would be his soul, or as they state to be both father and son to each other and would create the Universe together. This is similar to th story of the Egyptian god "Atum", who was said to have came forth from the egg and started to create life along with the "Bennu bird" as his helper. Other stories would state Agni to being the lightning, the Sun and the fire in the Heavens and Earth, and how He would have the aspects of the Creator, the Maintainer and the Destroyer positions (Or "Generator, Operator and Destroyer" G.O.D) However, due to his fire abilities, they state that He would be the first destroyer prior to the arrival of Shiva . In fact, other versions indicate that the fiery Stambha (as the Fiery pillar in the beginning) is AGNI himself, as the one who appeared in the beginning before time began and before the creation of the Universe.

Here is an excerpt from the "Emerald Tablets" in the "The Space Born" chapter: "Mighty beyond words is the flame of the Cosmic, hanging in planes, unknown to man; mighty and balanced, moving in Order, music of harmonies, far beyond man. Speaking with music, singing with color, flame from the beginning of Eternity's ALL. Spark of the flame art thou, O my children, burning with color and living with music. List to the voice and thou shalt be free." The Key of Wisdom states this: "Mysteries there are in the Cosmos that unveiled fill the world with their light. Let he who would be free from the bonds of darkness first divine the material from the immaterial, the fire from the earth; for know ye that as earth descends to earth, so also fire ascends unto fire and becomes one with fire. He who knows the fire that is within himself shall ascend unto the eternal fire and dwell in it eternally."

Now, it's important to understand the Early Vedic scripts compared to the post Vedic scripts. Based from the Post Vedic Scripts, there are two versions that state who created who amongst the different stories in Hinduism. One would be shown as Shiva who then creates Vishnu and Brahma, and is shown as a fiery pillar (Agni Stambha) before them. Then the other story states that it was Vishnu who created Shiva from his third eye, which is quite similar to "Prajapati and Agni" story, and the Egyptian story of "Atum and the Bennu bird". In one documentary on Shiva would state that he would be the destroying aspect of the Great pillar of Fire, who along with the other Gods like Vishnu the preserver and the Creator Brahma are mere manifestations from that pillar of fire. It does not detail the fiery pillar to be either Shiva, Brahma or Vishnu, but The Creator who brings these aspects to life.

Here in the Wiki states this: "The word Agni is used in many contexts, ranging from fire in the stomach, the cooking fire in a home, the sacrificial fire in an altar, the fire of cremation, the fire of rebirth, the fire in the energetic saps concealed within plants, the atmospheric fire in lightning and the celestial fire in the sun. In the Brahmanas layer of the Vedas, such as in section 5.2.3 of Shatapatha Brahmana, Agni represents all the gods, all concepts of spiritual energy that permeates everything in the universe. In the Upanishads and post-Vedic literature, Agni additionally became a metaphor for immortal principle in man, and any energy or knowledge that consumes and dispels a state of darkness, transforms and procreates an enlightened state of existence."

"Agni is originally conceptualized as the ultimate source of the "creator-maintainer-destroyer" triad, then one of the trinities, as the one who ruled the earth. His twin brother Indra ruled the atmosphere as the god of storm, rain and war, while Surya ruled the sky and heavens. His position and importance evolves over time, in the "creator-maintainer-destroyer" aspects of existence in Hindu thought."

"Rudra and Agni have a close relationship. The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva. The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra." (They also state Agni, Indra, Rudra and Shiva to being similar by their aspects)

"The interconnections between the two deities are complex, and according to Stella Kramrisch: "The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination. In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities. Agni is said to be a bull, and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned. In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature."

"In verse 18 of the Isha Upanishad, Agni is invoked with, "O Agni, you know all the paths, lead me on to success by the good path, keep me away from the wrong path of sin". "Vedic rituals involve Agni. He is a part of many Hindu rites-of-passage ceremonies such as celebrating a birth (lighting a lamp), prayers (aarti lamp), at weddings (the yajna where the bride and groom circle the fire seven times) and at death (cremation). According to Atharvaveda, it is Agni that conveys the soul of the dead from the pyre to be reborn in the next world or life. However, this role was in post-Vedic texts subsumed in the role of god Yama."

"Agni is the essence of the knowledge of Existence. Agni destroys ignorance and all delusions, removes nescience. The Kanvasatpathabrahmanam (SB.IV.i.iv.11) calls Agni "wisdom". Agni is symbolism for "the mind swiftest among (all) those that fly." It also symbolizes the soul; it is the power of change that cannot be limited or overcome. Light, heat, colour and energy are merely its outer attributes; inwardly, Agni impels consciousness, perception and discernment."

"The design guidelines and specifications of his iconography are described in the Hindu Agama texts. He is shown with one to three heads, two to four armed, is typically red-complexioned or smoky-grey complexioned standing next to or riding a ram, with a characteristic dramatic halo of flames leaping upwards from his crown. He is shown as a strong looking man, sometimes bearded, with a large belly because he eats everything offered into his flames, with golden brown hair, eyes and mustache to match the color of fire."

Agni holds a rosary in one hand to symbolize his prayer-related role, and a sphere in another hand in eastern states of India. In other regions, his four arms hold an ax, torch, spoon (or fan) a flaming spear (or rosary).^[109]

Seven rays of light or flames emit from his body. One of his names is Saptajihva, "the one having seven tongues", to symbolize how rapidly he consumes sacrificial butter.^[110]Occasionally, Agni iconography is shown in Rohitasva form, which has no ram as his vahana, but where he is pulled in a chariot with seven red horses, and the symbolic wind that makes fire move as the wheels of the chariot.^[109]In Cambodian art, Agni has been depicted with a rhinoceros as his vahana.^[111]^[112]The number seven symbolizes his reach in all seven mythical continents in ancient Hindu cosmology where Agni lives and also the seven colours of a rainbow in his form as the sun.^[113]

Agni has three forms, namely fire, lightning, and the Sun, forms sometimes symbolized by giving his icon three heads or three legs. He sometimes is shown wearing a garland of fruits or flowers, symbolic of the offerings made into the fire.

Agni is symbolism for psychological and physiological aspects of life, states Maha Purana section LXVII.202–203. There are three kinds of Agni inside every human being, states this text, the krodha-agni or "fire of anger", the kama-agni or "fire of passion and desire", and the udara-agni or "fire of digestion". These respectively need introspective and voluntary offerings of forgiveness, detachment and fasting, if one desires spiritual freedom, liberation.^[45]

Agni variously denotes the natural element fire, the supernatural deity symbolized by fire and the inner natural will aspiring for the highest knowledge.^[97]^[98]^[99]

Heat, combustion and energy is the realm of Agni which symbolizes the transformation of the gross to the subtle; Agni is the life-giving energy.^[100]Agnibija is the consciousness of tapas (proto-cosmic energy); agni (the energizing principle); the sun, representing the Reality (Brahman) and the Truth (Satya), is Rta, the order, the organizing principle of everything that is.^[101]

Agni, who is addressed as Atithi ('guest'), is also called Jatavedasam (जातवेदसम्), meaning "the one who knows all things that are born".^[102]He symbolizes will-power united with wisdom.^[103]

Agni is the essence of the knowledge of Existence. Agni destroys ignorance and all delusions, removes nescience. The Kanvasatpathabrahmanam (SB.IV.i.iv.11) calls Agni "wisdom" (मेधायैमनसेऽग्नये स्वाहेति).^[104]Agni is symbolism for "the mind swiftest among (all) those that fly".

The Ram symbolism will come to play a huge part of this God....

Then there is this God called "Mangala" which is likened to Agni. Based from the Wiki states this: "Mangala is the name for Mars, the red planet, in Hindu texts. Also known as Lohit (meaning: red), he is the god of anger, celibate. His origins vary with different mythological texts; in most texts, he is the son of Bhumi, the Earth Goddess and Vishnu, born when he raised her from the depths of water in Varaha avatar."

Calendar and zodiac: "Mangala is the root of the word 'Mangalavara' or Tuesday in the Hindu calendar. The word मंगल also means "auspicious" but the planet मंगल is considered malefic. Similarly, the names of Tuesday in other Indo-European languages are often derived from the Roman god Mars, (such as the Latin word Martis "Tuesday") or a god ascribed with similar characteristics. The root of the English word Tuesday, for instance, is the old Germanic god of war and victory, Tīw, also known as Týr."

"Mangala is part of the Navagraha in Hindu zodiac system. The role and importance of the Navagraha developed over time with various influences. The earliest work of astrology recorded in India is the Vedanga Jyotisha which began to be compiled in the 14th century BCE. Deifying planetary bodies and their astrological significance occurred as early as the Vedic period and was recorded in the Vedas. The classical planets, including Mars, were referenced in the Atharvaveda from the second millennium BCE. The Navagraha was furthered by additional contributions from Western Asia, including Zoroastrian and Hellenistic influences. The Yavanajataka, or 'Science of the Yavanas', was written by the Indo-Greek named "Yavanesvara" ("Lord of the Greeks") under the rule of the Western Kshatrapa king Rudrakarman I. The Yavanajataka written in 120 CE is often attributed to standardizing Indian astrology. The Navagraha would further develop and culminate in the Shaka era with the Saka, or Scythian, people. Additionally the contributions by the Saka people would be the basis of the Indian national calendar, which is also called the Saka calendar."

Iconography: "He is painted red or flame colour, four-armed, carrying a trident (Sanskrit: trishūla), mace (Sanskrit: gadā), lotus (Sanskrit: Padma) and a spear (Sanskrit: shūla. His mount (Sanskrit: vahana) is a ram. He presides over (Tuesday).

Now, here is what is states on this God: "Mars (Mangala) is also called: Angāraka (अङ्गारक) - one who is red in colour also called Raktavarna (रक्तवर्ण) - whose color is like blood. Bhauma (भौम) - son of Bhumi. Lohitānga (लोहिताङ्ग) - red bodied (Loha also means Iron, so could also mean Iron Bodied). Kuja (कुज) - he who is born from Earth. Bha (भ) - shining.

In the Wiki states this: "Two major festivals in Hinduism, namely Holi (festival of colors) and Diwali (festival of lights) incorporate Agni in their ritual grammar, as a symbol of divine energy. During the autumn celebrations of Diwali, traditional small fire lamps called Diya are included to mark the festivities. For Holi, Hindus burn bonfires as Holika, on the night before the spring festival. The bonfire marks god Agni, and in rural India mothers carry their babies around the fire clockwise on Holika in Agni's remembrance."

So, depending on the era and who gives it, there would be many versions and origins based on the God Agni. It states in the "Shatapatha Brahman", that there were three other "Agnis" previously to the current fourth one, so it's evident that there were many changes based on this God to which out of the origins, there is a description of Him being a bird like God who brings the elixir (nectar/fire) to mankind in which is similar to Prometheus bringing the fire to mankind. Here states that Agni would be called "the Heavenly Garutman" which is the "Garuda bird" that holds the nectar of the gods. The story of Garuda states that He was born from a stone egg from his father Kashyapa (Turtle) and Vinata, to which he then comes out radiating like fire. It's said that Garuda can shapeshift as this attribute is based on a trickster deity. He can become large as a mountain to being small like an ant. His wings was said to shake the mountains, and spin the axis of the three worlds (as Heaven, Earth and Underworld).

Here is an excerpt from the Wiki on "AGNI": "The origin myth found in many Indo-European cultures is one of a bird, or bird like being, that carries or brings fire from the gods to mankind. Alternatively, this messenger brings an elixir of immortality from heaven to earth. In either case, the bird returns everyday with sacrificial offerings for the gods, but sometimes the bird hides or disappears without trace. Agni is molded in similar mythical themes, in some hymns with the phrase the "heavenly bird that flies".

Based on the story of Garuda states how he came against Heaven to steal the Amrit of the Gods, but in the process states this: "Garuda in anger, vaunt about his feats and compares himself to Indra's equal. Vishnu teaches lesson to Garuda and cured his pride on might." Now, the bird myth is shown to connect to Agni, to which they would say is based on Garuda, but there I will show how this connects to Vritra as the Naga whereas the "Naga" symbolism will connect to this as the story as the God that stole fire called "Matarisvan". This is likened to the story of Sun Wukong the Monkey King who challenged Heaven as he also stated that he was "equal to Heaven". Then there is an little known story of Typhon who was said to have lived with the Gods either before or after the great war.

Based on the latter story let's see "Journey to the West". Based on this excerpt in the Wiki:

"According to Journey to the West, Sun Wukong is born from a strong magic stone that sits atop the Mountain of Flowers and Fruit. The stone is said to receive the nurture of heaven (yang), which possesses a positive nature, and earth (yin), which possesses a negative nature, and thus is able to produce living beings, according to Taoist philosophies. The stone develops a magic womb, which bursts open one day to produce a stone egg about the size of a ball.^[7]When the wind blows on the egg, the egg becomes the stone monkey. As his eyes move, two beams of golden light shoot toward the Jade palace and startle the Jade Emperor. When he sees the light he orders two of his officers to investigate. They report the stone monkey, and that the light is dying down as the monkey eats and drinks. The Jade Emperor believes him to be nothing special."

On the mountain, the monkey joins a group of other wild monkeys. After playing, the monkeys regularly bathe in a stream. One day, they decide to seek the source of the stream and climb the mountain to a waterfall. They declare that whoever goes through the waterfall, finds the stream's source, and comes out again will become their king. The stone monkey volunteers and jumps into the waterfall.

The stone monkey finds a large iron bridge over rushing water, across which is a cave. He persuades the other monkeys to jump in also, and they make it into their home. He then reminds them of their prior declaration, so they declare him their king. He takes the throne and calls himself Handsome Monkey King (美猴王). This happiness does not last. When one of his older monkey friends dies, the Monkey King is very upset. He decides to strike out from his island on a self-made raft, in search of an Immortal to teach him how to beat death.

He comes ashore and wanders around. Humans see him and flee, uncertain of his ape-like appearance. He takes some clothes that were left out to dry and continues on foot. His face hidden by a hood, he travels through towns and sees many examples of human degeneracy and vice. He continues on and into a forest. The Monkey King hears a woodcutter singing an interesting song, and when questioning the woodcutter about the origin he learns it was taught to the woodcutter by an Immortal who resides in the forest."

"The Monkey King comes to the entrance of a temple in which a magical Taoist martial artist named Puti Zushi resides. Puti Zushi initially refuses to let him in, but the Monkey King refuses to leave and waits outside the entrance for months. Puti Zushi is impressed by the Monkey King's persistence and allows him to enter. He accepts the Monkey King as a student, giving him his religious name, "Sun Wukong", and teaches him many advanced Taoist practices, including the Way of Immortality.

He later advises Sun Wukong never to needlessly show off his skills, because others might ask him to teach them, and if he does teach them, they may go on to cause trouble, but if he doesn't teach them, they will resent him for it. He then forbids Sun Wukong from ever revealing who it was that taught him, and the loyal Monkey King promises never to reveal the identity of his Master. Later, whenever Sun Wukong is asked about his powers and skills, he honestly replies that he learned everything in his dreams. Throughout the rest of the book, however, Sun Wukong is, repeatedly, referred to as a member of the "Monad Sect"."

"After the Monkey King returns home, he learns that a demon called the Demon King of Confusion is kidnapping the monkeys of the Mountain of Flowers and Fruit to use as slaves. He subsequently kills the demon and his minions, saving the kidnapped monkeys. He also brings the entire weapon storage of a nearby country for his subjects but is unable to find a weapon fit for himself. Upon hearing that Dragon Kings possess many treasures, he travels the oceans and finds the palace of a Dragon King. At the entrance, Sun Wukong asks for an introduction, but Dragon King Ao Guang tells his guards to turn him away. Sun Wukong barges in anyway, brushing off protests from the guards, insisting the Dragon King must be confused to turn away a fellow king. Inside, he introduces himself and encourages the Dragon King to give him a weapon. Quickly realizing Sun Wukong is quite formidable, the Dragon King feigns willingness and hospitality, ordering his underlings to bring out weapon after weapon, starting from basic spears and swords but quickly escalating to genuine treasures. Sun Wukong tests each weapon, but none are robust enough for the Monkey King, who is unhappy with the situation."

"Sun Wukong then acquires the golden-banded staff Ruyi Jingu Bang/Ding Hai Shen Zhen (如意金箍棒/定海神针), the stabilizer of the Four Seas and a treasure of Ao Guang. The Monkey King is the only creature strong enough to wield the staff-like weapon and there is an instant affinity between them. The golden-banded staff can change its size, elongate, fly, and attack opponents according to its master's will. It weighs 13,500jīnor 7960kg. When not wielding the weapon, the Monkey King shrinks it down to the size of a sewing needle and stores it in his ear.

In addition to taking the magical staff, the Monkey King encourages the Dragon King to gift him attire fit for a King. The Dragon King calls upon the Dragon Kings for assistance, and they arrive and give Sun Wukong a golden chain mail shirt (鎖子黃金甲;Suǒzihuángjīnjiǎ), a phoenix-feather cap (鳳翅紫金冠;Fèngchìzǐjinguān), and cloud-walking boots (藕絲步雲履;Ǒusībùyúnlǚ). Sun Wukong thanks the Dragon Kings and leaves happy. Upon his return to the mountain, Wukong demonstrates the new weapon to his monkey tribe and draws the attention of other beastly powers, who seek to ally with him. He forms a fraternity, the Seven Sages (七聖), with the Bull Demon King (牛魔王), the Saurian Demon King (蛟魔王), the Roc Demon King (鵬魔王), the Lion Spirit King (獅狔王), the Macaque Spirit King (獼猴王), and the snub-nosed monkey Spirit King (禺狨王).

The Monkey King, now sentenced to death for extorting the Dragon Kings, then defies Hell's attempt to collect his soul. He wipes his name out of the Book of Life and Death, a collection of books claimed to have every name of every mortal alive and the ability to manipulate lifespan, along with the names of all monkeys known to him. The kings of the Diyu report him to the Jade Emperor. The heavenly army uses everything, even trying to erase him from existence altogether, but ultimately fails."

"Hoping that a promotion and a rank among the gods will make him more manageable, the Jade Emperor invites the Monkey King to Heaven. The Monkey King believes he is receiving an honorable place as one of the gods as he is told he will be made "Protector of the Horses", a fancy term the Heavens coined for a stable boy, the lowest job in heaven. When he discovers the importance of status in Heaven, and how he has been given the lowest position, the Monkey King sets the Cloud Horses free from the stable, then returns to his own kingdom and proclaims himself The Great Sage, Heaven's Equal."

"The Heavens reluctantly recognize his self-proclaimed title after Gold Star advises the Jade Emperor against rushing into military action against the "brash, rude, and impudent"^[8]monkey, warning that failing to defeat Monkey would harm the reputation of Heaven. Gold Star advises the Jade Emperor to superficially appease Sun Wukong's vanity while treating him as a pet and invite him back to Heaven to keep him from causing trouble on earth. The Jade Emperor agrees after Gold Star laughs that, in reality, the fanciful title is a meaningless joke revealing Sun Wukong's overconfidence and ignorance of the important workings of Heaven.

Sun Wukong suspects a trap but is happy when Gold Star, acting as an envoy, addresses him as the Great Sage Equal of Heaven and presents him with official papers. Gold Star tells Sun Wukong he has been granted a far more important position as "Guardian of the Heavenly Peach Garden", which peach-loving Sun Wukong accepts. Later, when seven heavenly maidens are sent by Queen Mother Xi Wangmu to pluck peaches for the Royal Banquet, Sun Wukong discovers every important god, and goddess has been invited to the banquet except for him. When he tells the maidens he is the Great Sage Equal of Heaven, the maidens giggle, replying that everyone in Heaven knows he is merely an immortal who tends to the peach garden. The Monkey King's indignation then turns to open defiance."

"During the preparations for the Royal Banquet, Sun Wukong sneaks in to taste the fine foods and drink royal wine. In a tipsy state, the Monkey King roams Heaven while all the gods and goddesses are on their way to the banquet. He reaches high levels of the palace that the authorities of Heaven leave unguarded, for they can only be accessed by deities of the highest and purest spiritual power. Upon realizing that he is at the top of the 33 layers of the heavenly palace, Sun Wukong steals and consumes Laozi's Pills of Immortality and Xi Wangmu's Peaches of Immortality, takes the remainder of the Jade Emperor's royal wine, and then escapes back to his kingdom in preparation for his rebellion."

"The Jade Emperor refuses to accept Gold Star's counsel to find another peaceful way to deal with Sun Wukong and orders his forces to mobilize. Laughing continuously and fully enjoying himself, and with a combination of martial prowess, guile, and quick-witted creative responses to many different types of powerful Heavenly weapons used against him, the Monkey King single-handedly defeats the Army of Heaven's 100,000 celestial warriors, all 28 constellations, Nezha, and all of the Four Heavenly Kings. ThenGuanyin, the Boddhisattva of Mercy, and her disciple Muzha/Moksha arrive. Guanyin sends Muzha to inspect the situation and fight Sun Wukong. Muzha is defeated, and then Guanyin suggests the Jade Emperor's nephew Erlang Shen fight Wukong. Wukong and Erlang are evenly matched and eventually, both turn into terrifying figures, which scares Wukong's monkey army away. Sun Wukong is disheartened and turns into a fish to run away, then both of them keep shapeshifting to turn into more powerful things than the other, finally, Laozi throws his Diamond Jade ring at Wukong from behind while he is fighting, knocking him senseless and enabling Erlang to bind him up."

After several failed attempts at execution, Sun Wukong is locked into Laozi's eight-way trigram crucible for 49 days to be distilled into an elixir by samadhi fires; this will allow Laozi to regain his pills of longevity. The fire of the crucible is hot enough to burn beings of so much unspeakable power that they rival Buddha himself. When the cauldron is opened 49 days later, the Monkey King jumps out, having survived by hiding in a corner marked by the wind trigram, where there is less fire. The heat from the samadhi fires has reinforced his bodily frame, making him stronger than ever before and impervious to greater damage. The heat gives him a new ability; the Monkey King can now recognize evil with his new huǒyǎn-jīnjīng(火眼金睛,lit.'fiery eyes and golden pupils'). Sun Wukong then proceeds to destroy the crucible and makes his way to Heaven's main chamber to confront the Jade Emperor and his senior advisors."

"The Jade Emperor and the authorities of Heaven appeal to the Buddha, who arrives from his temple in the West in person. After listening to Sun Wukong, who makes a case that he should be the new Jade Emperor, the Buddha makes a bet that the Monkey King cannot escape from his palm. The Monkey King smugly accepts the bet. He leaps and flies all the way to the edge of the universe. Seeing nothing there but five towering pillars, the Monkey King believes that he has reached the end of all existence. To prove his trail, he marks a pillar with a phrase declaring himself the Great Sage Equal to Heaven and urinates on the middle pillar. He then leaps back and returns to Buddha's palm to claim his victory in winning the bet. Sun Wukong is then very surprised to find that the five "pillars" he found are merely fingers of the Buddha's hand, finding it impossible to believe. When the Monkey King tries to escape the palm, Buddha turns his hand into a mountain of rocks, sending Sun Wukong hurtling back down to earth. Before the Monkey King can lift the mountain off, the Buddha seals him there, using a paper talisman bearing the mantra, Om Mani Padme Hum, in gold letters. The Monkey King remains imprisoned in stocks for five hundred years, to "learn patience and humility", with only his head and hands protruding from the base of the mountain. The Buddha arranges two earth spirits to feed the Monkey King iron pellets when he is hungry, and molten copper when he is thirsty."

So, now that we have established the connections as both Garuda and Sun Wukong were "born from a stone egg", and both became immortal to even challenging armies of Heaven. Even Mithra was shown to have sprung from a stone egg. This is where things start to connect to the apparent "pride" of Satan as the who tried to challenge God and his angels. Here we can see that instead of the bird we have a Monkey God who states that he is equal to Heaven. Based on this stance reveals that this is the "Red Dragon" as Revelations 12:7-12 states:

7And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels,

8And prevailed not; neither was their place found any more in heaven.

9And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.

So, let's break this down. The reason why he is called the Red Dragon is because he has "red" all over and is considered a feisty and fiery type of God. This is where the Devil being red all over comes into play. In other words he was haughty for stating that he is equal to the Gods in Heaven. Based from this symbolism of Sun Wukong he is considered a birdlike entity due to the Phoenix armor that he carries and is consumed in fire thus becoming a fire deity. So, now we come back to the story of Agni as a bird like entity who carries the Amrit from Heaven to mankind. Let's see Prometheus in the Wiki:

In Greek mythology, Prometheus is a Titan responsible for creating or aiding humanity in its earliest days. He defied the Olympian gods by taking fire from them and giving it to humanity in the form of technology, knowledge and, more generally, civilization. In some versions of the myth, Prometheus is also credited with the creation of humanity from clay.^[2]He is known for his intelligence and for being a champion of mankind^[3]and is also generally seen as the author of the human arts and sciences.^[4]He is sometimes presented as the father of Deucalion, the hero of the flood story.

The punishment of Prometheus for stealing fire from Olympus and giving it to humans is a subject of both ancient and modern culture. Zeus, king of the Olympian gods, condemned Prometheus to eternal torment for his transgression. Prometheus was bound to a rock, and an eagle—the emblem of Zeus—was sent to eat his liver (in ancient Greece, the liver was thought to be the seat of human emotions). His liver would then grow back overnight, only to be eaten again the next day in an ongoing cycle. According to several major versions of the myth, most notably that of Hesiod, Prometheus was eventually freed by the hero Heracles.^[8]^[9]The struggle of Prometheus is located by some at Mount Elbrusor at Mount Kazbek, two volcanic promontories in the Caucasus Mountains beyond which for the ancient Greeks lay the realm of the barbari.

In another myth, Prometheus establishes the form of animal sacrifice practiced in ancient Greek religion.^[11]Evidence of a cult to Prometheus himself is not widespread. He was a focus of religious activity mainly at Athens, where he was linked to Athena and Hephaestus, who were the Greek deities of creative skills and technology. His etymology is unknown, possibly meaning "forethought".

The first recorded account of the Prometheus myth appeared in the late 8th-century BC Greek epic poet Hesiod's Theogony. In that account, Prometheus was a son of the Titan Iapetus by Clymene or Asia, one of the Oceanids. He was brother to Menoetius, Atlas, and Epimetheus. Hesiod, in Theogony, introduces Prometheus as a lowly challenger to Zeus's omniscience and omnipotence.

In the trick at Mecone, a sacrificial meal marking the "settling of accounts" between mortals and immortals, Prometheus played a trick against Zeus. He placed two sacrificial offerings before the Olympian: a selection of beef hidden inside an ox's stomach (nourishment hidden inside a displeasing exterior), and the bull's bones wrapped completely in "glistening fat" (something inedible hidden inside a pleasing exterior). Zeus chose the latter, setting a precedent for future sacrifices. Henceforth, humans would keep that meat for themselves and burn the bones wrapped in fat as an offering to the gods. This angered Zeus, who hid fire from humans in retribution. In this version of the myth, the use of fire was already known to humans, but withdrawn by Zeus.^[20]

Prometheus stole fire back from Zeus in a fennel stalk and restored it to humanity. This further enraged Zeus, who sent the first woman to live with humanity (Pandora, not explicitly mentioned). The woman, a "shy maiden", was fashioned by Hephaestus out of clay and Athena helped to adorn her properly. Hesiod writes, "From her is the race of women and female kind: of her is the deadly race and tribe of women who live amongst mortal men to their great trouble, no helpmeets in hateful poverty, but only in wealth". For his crimes, Prometheus was punished by Zeus, who bound him with chains and sent an eagle to eat Prometheus's immortal liver every day, which then grew back every night. Years later, the Greek hero Heracles, with Zeus's permission, killed the eagle and freed Prometheus from this torment.

So, now we come back to Agni being suited for animal sacrifice to the Gods. Again, he is labeled "Matarisvan" as the God who brings the elixir to the Bhrigu sages, or in other words to mankind as Prometheus. Since Agni is the Greek equivalent to Prometheus, then we can see how the animal sacrifices are used connecting to the Israelites in the Bible. But first let's take a look at this statement:

Agni (Sanskrit:अग्नि[ˈɐgni], meaning 'fire'), also called Agni Deva ('fire deity'), is the Hindu god of fire.^[5]^[6]^[7]As the guardian deity of the southeast direction, he is typically found in southeast corners of Hindu temples.^[8]In the classical cosmology of Hinduism, fire (Agni) is one of the five inert impermanent elements (Pañcabhūtá) along with sky (Ākāśa), water (Apas), air (Vāyu) and earth (Pṛthvī), the five combining to form the empirically perceived material existence (Prakṛti). In the Vedas, Agni is a major and most invoked god along with Indra and Soma.^[6]^[11]Agni is considered the mouth of the gods and goddesses and the medium that conveys offerings to them in a homa (votive ritual).^[5]^[12]^[13]He is conceptualized in ancient Hindu texts to exist at three levels, on earth as fire, in the atmosphere as lightning, and in the sky as the sun. This triple presence accords him as the messenger between the deities and humans in the Vedic scriptures.^[6]The relative importance of Agni declined in the post-Vedic era,^[14]as he was internalised^[15]and his identity evolved to metaphorically represent all transformative energy and knowledge in the Upanishads and later Hindu literature.^[16]^[17]^[18]Agni remains an integral part of Hindu traditions, such as being the central witness of the rite-of-passage ritual in traditional Hindu weddings called Saptapadi (seven steps and mutual vows), in the Upanayana ceremony of rite of passage, as well being part of the diyā (lamp) in festivals such as Deepavali and Arti in Puja.^[6]

Agni (Pali:Aggi) is a term that appears extensively in Buddhist texts^[19]and in the literature related to the Senika heresy debate within the Buddhist traditions.^[20]^[21]In the ancient Jainism thought, Agni (fire) contains soul and fire-bodied beings,^[22]additionally appears as Agni-kumaras or "fire children" in its theory of rebirth and a class of reincarnated beings^[23]and is discussed in its texts with the equivalent term Tejas.

In the early Vedic literature, Agni primarily connotes the fire as a god, one reflecting the primordial powers to consume, transform and convey.^[34]^[35]Yet the term is also used with the meaning of a Mahabhuta (constitutive substance), one of five that the earliest Vedic thinkers believed to constitute material existence, and that later Vedic thinkers such as Kanada and Kapila expanded widely, namely Dyaus (aether), Vayu (air), Varuna (water), Bhumi (earth) and Agni (fire).

The word Agni is used in many contexts, ranging from fire in the stomach, the cooking fire in a home, the sacrificial fire in an altar, the fire of cremation, the fire of rebirth, the fire in the energetic saps concealed within plants, the atmospheric fire in lightning and the celestial fire in the sun.^[7]^[34]^[38]In theBrahmanaslayer of the Vedas, such as in section 5.2.3 of Shatapatha Brahmana, Agni represents all the gods and goddesses, all concepts of spiritual energy that permeates everything in the universe.^[16]^[39]In the Upanishads and post-Vedic literature, Agni additionally became a metaphor for immortal principle in humans, and any energy or knowledge that consumes and dispels a state of darkness, transforms and procreates an enlightened state of existence.^[17]^[18]^[36]

Agni is also famously known as:^[40]

Pāvaka– one who is the sanctifier of everything;
Havyavāhana– one who carries the sacrificial butter;
Saptajihvi– one who with seven tongues (flames); and consumes the sacrificial butter very fast;
Vahni– one who is travelling with wind;
Anala– one who is one of theVasus;
Hutāśana– one who is the consumer of the sacrificed offerings;
Chitrabhānu– one who is the colourful light producing one;
Jvalana– one who is always glowing;
Vaiśvānara– one who is the man of the world;
Vibhāvasu– one whose light is all's wealth;
Dhumaketu– one who is crowned with fire.

The Agni hotra involves fire, and the term refers to the ritual of keeping fire at home, and in some cases making "sacrificial offerings" such as milk and seeds to this fire.^[87]The Srauta texts state that it is the duty of man to perform Agni hotra. A wide range of Agnihotra procedures are found in the Brahmana layer of the Vedas, ranging from the most common simple keeping of sacred fire and its symbolism, to more complicated procedures for the expiation of guilt, to rituals claimed to grant immortality to the performer.^[88]According to the Jaiminiya Brahmana, for example, an Agni hotra sacrifice frees the performer from evil and death.^[89]In contrast, states the Shatapatha Brahmana, Agni hotra is a symbolic reminder and equivalent to the Sun, where the fire keeper is reminded of the heat that creates life, the fire in beings, the heat in the womb behind the cycle of life.

Now, since one of the scripts detail Agni in the Rig Vedas as being a messenger God of the three worlds and would oversee the sacrifices of the gods from mankind, then this can connect to the Israelites doing the animal sacrifices and burnt offerings to the God of fire in the Bible. In the tradition states "Agnihotra" or the sacrificial fire offerings that is done in their home. It states that in the Wiki, the last animal sacrifice was done by a Brahman sect in the 1970s as they would sacrifice a goat, and also how they would make a figure of a bird out of bricks. Agni is depicted in the form of a bird, see "Agnicayana" documentary.

Here is an excerpt from the Wiki:

Agnicayana: "The Agnicayana (ati-rātra agni-cayana; lit. 'over-night piling up of the fire') or Athirathram is a category of advanced Śrauta rituals. After one has established the routine of the twice-daily routine of Agnihotra offerings and biweekly dara-purna-masa offerings, one is eligible to perform the Agnistoma, the simplest soma rite. After the agnistoma, one is eligible to perform more extensive soma rites and Agnicayana rites. There are various varieties of Agnicayana. Agnicayana continues to be performed in Kerala, Andhra."

"The entire ritual takes twelve days to perform, in the course of which a great bird-shaped altar, the uttaravedi "northern altar" is built out of 1005 bricks. The liturgical text is in Chapters 20 through 25 of the Krishna Yajurveda. The immediate purpose of the Agnicayana is to build up for the sacrificer an immortal body that is permanently beyond the reach of the transitory nature of life, suffering and death that, according to this rite, characterizes man's mortal existence. The ritual emerged from predecessor rituals, which were incorporated as building blocks, around the 10th century BCE, and was likely continuously practiced until the late Vedic period, or the 6th century BCE."

"In post-Vedic times, there were various revivals of the practice, under the Gupta Empire in the north (ca. 4th to 6th century), and under the Chola Empire in the south (ca. 9th century), but by the 11th century, the practice was held to have been discontinued, with the exception of the Nambudiris of Kerala. The 1975 Nambudiri Agnicayana filmed by Frits Staal, was criticized by Andhra Śrautins who claimed the Nambudiri omitted animal sacrifice, which is an element in their own opinion.

Now this is where it states Agni to having a wife and child: The goddess Svāhā is Agni's wife. Her name is pronounced with offerings such as butter and seeds poured into the fire during ceremonies. However, like many names in Hindu traditions, the name Svāhā embeds symbolic meanings, through its relationship with the Vedic word Svadhā found in the hymns of the Rigveda. Thomas Coburn states that the term Svadhā refers to "one's own particular nature or inclination", and the secondary sense of "a customary pleasure or enjoyment, a refreshment that nourishes".^[123]Svāhā is also found in the hymns of the Vedic literature, in the sense of "welcome, praise to you". This salutation is a remembrance of Agni, as an aspect of that which is "the source of all beings".^[123]As a goddess and wife of Agni, Svāhā represents this shakti. In the Mahabharata's earlier chapters, Svāhā is the daughter of Daksha and Asikini who develops feelings for Agni. She seduces him by successively taking the forms of the six wives of the Saptarishi except Arundhati, the wife of Vashishta as she is virtuous with him because that Agni desired them as his wives,^[125]and thus with him has a son who is the god Skanda– the god of war. The later chapters of the Mahabharata show that he was the son of the god Shiva and goddess Parvati.

So, basically it was Agni and Svaha who bore Skanda, who is known as the Peacock warrior Kartikeya or Murugan. Then we see the stories of Agni being demoted while the aspects remain somewhat the same. However, Agni is linked to Shiva and he is called "Rudra", which will connect to the devil.

Based on Rudra states this in the Wiki:

Rudra (Sanskrit:रुद्र) is a Rigvedic deity associated with Shiva, the wind or storms, medicine, and the hunt.^[4]One translation of the name is 'the roarer'. In the Rigveda, Rudra is praised as the "mightiest of the mighty".^[8]Rudra means "who eradicates problems from their roots". Depending upon the period, the name Rudra can be interpreted as 'the most severe roarer/howler' or 'the most frightening one'. This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is often used as a name of Shivain later languages. The "Shri Rudram" hymn from the Yajurveda is dedicated to Rudra and is important in the Shaivite sect.^[9]^[10]In the Prathama Anuvaka of Namakam (Taittiriya Samhita4.5), Rudra is revered as Sadasiva (meaning 'mighty Shiva') and Mahadeva. Sadashiva is the Supreme Being, Paramashiva, in the Siddhanta sect of Shaivism.

The etymology of the theonym Rudra is uncertain.^[11]It is usually derived from the Proto-Indo-European(PIE) root rud-(related to English rude), which means 'to cry, howl'.^[11]^[12]The name Rudra may thus be translated as 'the roarer'.^[5]An alternative etymology interprets Rudra as the 'red one', the 'brilliant one', possibly derived from a lost root rud-, 'red'^[7]or 'ruddy', or alternatively, according to Grassman, 'shining'.^[11]

Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means 'wild', i.e., of rude(untamed) nature, and translates the name Rudraas 'the wild one' or 'the fierce god'.^[13]R. K. Śarmā follows this alternative etymology and translates the name as 'the terrible' in his glossary for the Shiva Sahasranama.^[14]Mallory and Adams also mention a comparison with the Old Russian deity Rŭglŭ to reconstruct a Proto-Indo-Europeanwild-god named*Rudlos, though they remind that the issue of the etymology remains problematic: from PIE*reud-('rend, tear apart'; cf.Latinrullus, 'rustic'), or*reu-('howl').^[15]

The commentator Sāyaṇa suggests six possible derivations for rudra.^[16]However, another reference states that Sayana suggested ten derivations.^[17]The adjective śiva(shiva) in the sense of 'propitious' or 'kind' is first applied to the Rudra in RV 10.92.9.^[18]

Rudra is called 'the archer' (Sanskrit:Śarva) and the arrow is an essential attribute of Rudra.^[20]This name appears in the Shiva Sahasranama, and R. K. Śarmā notes that it is used as a name of Shiva often in later languages.^[21]The word is derived from the Sanskrit root śarv-which means 'to injure' or 'to kill',^[19]and Śarmā uses that general sense in his interpretive translation of the name Śarvaas 'One who can kill the forces of darkness'.^[21]The names Dhanvin('bowman')^[22]and Bāṇahasta ('archer',literally' Armed with a hand-full of arrows') also refer to archery. In other contexts, the word rudra can simply mean 'the number eleven'.^[24]The word rudraksha (Sanskrit: rudrākṣa=rudra and akṣa 'eye' or tear), or 'eye or tears of Rudra', is used as a name for both the berry of the rudraksha tree and a name for a string of the prayer beads made from those seeds.

The earliest known mentions of the Vedic deity Rudra, occur in the Rigveda, where three entire hymns are devoted to him (RV 1.114, 2.33, and 7.46). Two further hymns are devoted to Rudra jointly with Soma (RV 1.43 and 6.74). There are about seventy-five references to Rudra in the Rigveda overall.

In the Rigveda, Rudra's role as a frightening god is apparent in references to him as ghora ('extremely terrifying'), or simply as asau devam ('that god').^[31]He is 'fierce like a terrific wild beast' (RV 2.33.11).^[32]Chakravarti sums up the perception of Rudra by saying: 'Rudra is thus regarded with a kind of cringing fear, as a deity whose wrath is to be deprecated and whose favor curried'.^[33]

RV 1.114 is an appeal to Rudra for mercy, where he is referred to as 'mighty Rudra, the god with braided hair'.^[34]

In RV 7.46, Rudra is described as armed with a bow and fast-flying arrows, although many other weapons are known to exist. As quoted by R. G. Bhandarkar, the hymn declare that Rudra discharges 'brilliant shafts which run about the heaven and the earth' (RV 7.46.3), which may be a reference to lightning.^[35]

Rudra was believed to cure diseases, and when people recovered from them or were free of them, that too was attributed to the agency of Rudra. He is asked not to afflict children with disease (RV 7.46.2) and to keep villages free of illness (RV 1.114.1). He is said to have healing remedies (RV 1.43.4), as the best physician of physicians (RV 2.33.4), and as possessed of a thousand medicines (RV 7.46.3). So, he is described with an alternative name, Vaidyanatha (Lord of Remedies).

Shiva as known today shares many features with Rudra,^[53]and Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.^[31]

The oldest surviving text of Hinduism is the Rig Veda, which is dated to between 1700 and 1100 BC based on linguistic and philological evidence.^[54]A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the 'Father of the Rudras', a group of storm gods.^[55]

Hymn 10.92 of the Rigveda states that the deity Rudra has two natures, one wild and cruel (rudra), and another that is kind and tranquil (shiva).^[56]The Vedic texts mention a horse as the vehicle (vahana) of Rudra, the "Hero on horseback" that "should be indulgent" to the singer (RV. 2.33.1). Whereas post-Vedic texts such as the Mahabharata and the Puranas mention Nandi the bull and the zebu as the vehicles of Rudra and of Shiva, thereby unmistakably linking them as the same.

So, based on the God called Rudra is Shiva and are one and the same. Here states that he is considered "Ruddy" is complexion. Then there is this excerpt: RV 1.114 is an appeal to Rudra for mercy, where he is referred to as 'mighty Rudra, the god with braided hair'.

Here states that he has a single braided hair. This is linked to the Tibetan and Japanese God called "Acala" who is known as Fudo Myoo.

Now, let's look at the Acala/Fudo-Myo-o in the Wiki: "Acala or Achala (Sanskrit: अचल "Immovable") is a dharmapala (protector of the Dharma), prominent in Vajrayana Buddhism and East Asian Buddhism. He is classed among the Wisdom Kings and is preeminent among the Five Wisdom Kings of the Womb Realm. Accordingly, his figure occupies an important hierarchical position in the Mandala of the Two Realms. In China, he is known through esoteric Tangmi traditions as Budong Mingwang ("The Immovable Wisdom King")."

"In Japan, he is known as Fudō Myōō, which is the on'yomi reading of his Chinese name. Acala is especially important in Japanese Buddhism, where he is venerated in the Shingon, Tendai, Zen, and Nichiren sects, as well as in Shugendō. He is also highly revered among some Yakuza members, who often draw on his intense facial expression and demeanor. In later Tantric scriptures, the epithet Caṇḍaroṣaṇa and Caṇḍamahāroṣaṇa became more common, and he is known as such in countries like Nepal and Tibet."

"...His face is expressive of extreme wrath, wrinkle-browed, left eye squinted or looking askance, lower teeth biting down the upper lip. He has the physique of a corpulent (round-bellied) child. He bears a straight sword in his right hand, and a lariat or noose in his left hand. He is engulfed in flame, and seated on a huge rock base. Acala is said to be a powerful deity who protects the faithful by burning away all impediments (antarāya) and defilements (kleśa), thus aiding them towards enlightenment."

"Originally the Mahayana deity Acalanātha, whose name means "immovable protector", Acala was incorporated into Vajrayana Buddhism as a servant of the Buddha. In Tangmi (Tang-era Chinese Vajrayana), his name was translated as Budong "immovable" (Chinese: 不動; pinyin: Búdòng, Middle Chinese: /pǝw dungx/). In turn, the deity was imported into Japan as "Immovable" (不動, Fudō) by the priest Kūkai (died 835) who was studying in China as a member of the Kentoshi mission and founded Shingon Buddhism. Scholars such as Miyeko Murase state that the origins of this Buddhist deity are in the Hindu god Shiva, particularly his attributes of destruction and reincarnation."

"He evolves into a deity invoked in Buddhist rituals to "frighten gods, titans, men and destroy the strength of demons", and he slays all ghosts and evil spirits. In some Buddhist texts such as the Sādhanamālā, the Hindu gods Vishnu, Shiva, Brahma and Kandarpa (god of love) are said to be "wicked" because they cause endless rebirth, and these gods are terrified of Acala because he carries a rope to bind them."

"The flaming nimbus or halo behind the statue is known as the "Garuda flame", after the mythical fire breathing bird from Indian mythology....At temples dedicated to Acala, priests perform the Fudō-hō (不動法), or ritual service to enlist the deity's power of purification to benefit the faithful. This rite routinely involves the use of the Homa ritual (護摩, goma) as a purification tool."

Acala first appears in the Amoghapāśakalparāja Sūtra (Chinese:不空羂索神変真言經;pinyin:Bùkōng juànsuǒ shénbiàn zhēnyán jīng, translated by Bodhiruci circa 707-709 CE^[7]), where he is described as a servant or messenger of the buddha Vairocana:^[8]

The first from the west in the northern quadrant is the acolyte Acala (不動使者). In his left hand he grasps a noose and in his right hand he holds a sword. He is seated in the half-lotus position.^[8]^[9]

More well-known, however, is the following passage from the Mahāvairocana Tantra(also known as the Mahāvairocanābhisaṃbodhi Tantra or the Vairocana Sūtra) which refers to Acala as one of the deities of the Womb Realm Mandala:

Below the mantra-lord (i.e., Vairocana), in the direction ofNairṛti(i.e., southwest), Is Acala, the Tathāgata's servant (不動如來使): he holds a wisdom sword and a noose (pāśa), The hair from the top of his head hangs down on his left shoulder, and with one eye he looks fixedly; Awesomely wrathful, his body [is enveloped in] fierce flames, and he rests on a rock; His face is marked with [a frown like] waves on water, and he has the figure of a stout young boy. The deity was apparently popular in India during the 8th-9th centuries as evident by the fact that six of the Sanskrit texts translated by the esoteric master Amoghavajra into Chinese are devoted entirely to him.^[3]Indeed, Acala's rise to a more prominent position in the Esoteric pantheon in East Asian Buddhism may be credited in part to the writings of Amoghavajra and his teacher Vajrabodhi.

While some scholars have put forward the theory that Acala originated from the Hindu god Shiva, particularly his attributes of destruction and reincarnation,^[13]^[14]Bernard Faure suggested the wrathful esoteric deity Trailokyavijaya (whose name is an epithet of Shiva), the Vedic fire god Agni, and the guardian deity Vajrapani to be other, more likely prototypes for Acala. He notes: "one could theoretically locate Acala's origins in a generic Śiva, but only in the sense that all Tantric deities can in one way or another be traced back to Śiva."^[8]Faure compares Acala to Vajrapani in that both were originally minor deities who eventually came to occupy important places in the Buddhist pantheon.

In Nepalese and Tibetan art, Acala is usually shown either kneeling on his left knee or standing astride, bearing a noose or lasso (pāśa) and an upraised sword. Some depictions portray him trampling on the elephant-headed Vighnarāja (lit. "Ruler of Hindrances", a Buddhist equivalent to the Hindu god Ganesha, albeit interpreted negatively as one who causes obstacles), signifying his role as the destroyer of impediments to enlightenment. He may also be shown wearing a tiger skin, with snakes coiled around his arms and body.

So basically, he wears the tiger skin around him, is engulfed in flames and would carry a noose and a sword and is called the "3 eyed one". They are correct as this form goes back to Shiva and Agni.

Now, we can get into the other manifestations of Shiva. Based from the term "Wisdom King" states this:

A wisdom king (Sanskrit:विद्याराज;IAST:vidyārāja, Chinese:明王;pinyin:Míngwáng;Japanese pronunciation: Myōō) is a type of wrathful deity in East Asian Buddhism. Whereas the Sanskrit name is translated literally as "wisdom / knowledge king(s)," the term vidyā in Vajrayana Buddhism is also specifically used to denote mantras;^[1]the term may thus also be rendered "mantra king(s)."^[2]^[3]Vidyā is translated in Chinese with the character明(lit. "bright, radiant", figuratively "knowledge(able), wisdom, wise"), leading to a wide array of alternative translations such as "bright king(s)" or "radiant king(s)". A similar category of fierce deities known as herukas are found in Tibetan Buddhism.

"...Wisdom Kings are usually represented as fierce-looking, often with blue or black skin and multiple heads, arms, and legs. They hold various weapons in their hands and are sometimes adorned with skulls, snakes or animal skins and wreathed in flames. This fiery aura is symbolically interpreted as the fire that purifies the practitioner and transforms one's passions into awakening, the so-called "fire samadhi" (火生三昧kashō-zanmai).

Then comes the Wrathful deities:

In Buddhism, wrathful deities or fierce deities are the fierce, wrathful or forceful (Tibetan: trowo, Sanskrit: krodha) forms (or "aspects", "manifestations") of enlightened Buddhas, Bodhisattvas or Devas(divine beings); normally the same figure has other, peaceful, aspects as well. Because of their power to destroy the obstacles to enlightenment, they are also termed krodha-vighnantaka, "Wrathful onlookers on destroying obstacles".^[1]Wrathful deities are a notable feature of the iconography of Mahayana and Vajrayana Buddhism, especially in Tibetan art. These types of deities first appeared in India during the late 6th century, with its main source being the Yaksha imagery, and became a central feature of Indian Tantric Buddhism by the late 10th or early 11th century.

So, based on this we get the different versions of these wrathful gods from Buddhism, but they are originally from Shiva who comes from Agni.

So, now that we have established this fact, we can now connect this God to Yama the Lord of Hell.

Yama (Sanskrit:यम,lit.'twin'), also known as Kāla and Dharmarāja, is the Hindu god of death and justice, responsible for the dispensation of law and punishment of sinners in his abode, Naraka.^[12]^[13]He is often identified with Dharmadeva, the personification of Dharma, though the two deities have different origins and myths.^[14]

In Vedic tradition, Yama was considered the first mortal who died and espied the way to the celestial abodes;^[15]as a result, he became the ruler of the departed.^[16]His role, characteristics, and abode have been expounded in texts such as the Upanishads, the Ramayana, the Mahabharata, and the Puranas.

Yama is described as the twin of the goddess Yami, and the son of the god Surya(sun) (in earlier traditions Vivasvat) and Sanjna. He judges the souls of the dead and, depending on their deeds, assigns them to the realm of the Pitris (forefathers),Naraka(hell), or to be reborn on the earth.

Yama is one of the Lokapalas (guardians of the realms), appointed as the protector of the south direction. He is often depicted as a dark-complexioned man riding a buffalo and carrying a noose or mace to capture souls.^[17]Yama was subsequently adopted by Buddhist, Chinese, Tibetan, Korean, and Japanese mythology as the king of hell. In modern culture, Yama has been depicted in various safety campaigns in India.

In Hinduism,^[21]Yama is the lokapala ("Guardian of the realms") of the south and the son of Surya.^[22]Three hymns (10, 14, and 35) in the 10th book of the Rig Vedaare addressed to him.^[23]In Puranas, Yama is described as having four arms, protruding fangs, and complexion of storm clouds, with a wrathful expression; surrounded by a garland of flames; dressed in red, yellow, or blue garments; holding a noose and a mace or sword; and riding a water-buffalo.^[24]He holds a noose (pāśa) of rope in one hand, with which he seizes the lives of people who are about to die. He is also depicted holding a danda (which is a Sanskrit word for "staff").^[25]Yama is the son of Surya and Saranyu. He is the twin brother of Yami,^[26]brother of Shraddhadeva Manu and the step brother of Shani and his son was Katila.^[27]There are several temples across India dedicated to Yama.^[28]As per Vishnu Dharmottara, Yama is said to be represented on a buffalo, with garments like of heated gold, and all kinds of ornaments. He has four arms with the complexion of rain clouds. Dhumorna, his wife, is represented sitting on the left haunch of Yama and she has the colour of a dark blue lotus.

In the Rigveda, Yama is the son of a solar deity Vivasvat and Saraṇyū and has a twin sister named Yamī. He is cognate to the Avestan Yima, son of Vīvanhvant. The majority of Yama's appearances are in the first and tenth book. Yama is closely associated with Agni in the Rigveda. Agni is both Yama's friend and priest, and Yama is stated to have found the hiding Agni. In the Rigveda, Yama is the king of the dead, and one of the two kings that humans see when they reach heaven (the other being Varuna). Yama is stated to be a gatherer of the people, who gave dead people a place to rest. Out of the three Rigvedic heavens, the third and highest belong to Yama (the lower two belong to Savitr). Here is where the gods resides, and Yama is surrounded by music. In the ritual sacrifice, Yama is offered soma and ghee, and is invoked to sit at the sacrifice, lead the sacrificers to the abode of the gods, and provide long life.

Vedic literature states that Yama is the first mortal, and that he chose to die, and then proceeded to create a path to the "other world", where deceased ancestral fathers reside. Due to being the first man to die, he is considered the chief of the dead, lord of settlers, and a father. Throughout the course of Vedic literature, Yama becomes more and more associated with the negative aspects of death and eventually becomes the god of death. He also becomes associated with Antaka (the Ender), Mṛtyu (Death), Nirṛti (Decease), and Sleep.

Yama has two four-eyed, broad nosed, brindled, reddish-brown dogs, Sharvara and Shyama, who are the sons of Saramā. However, in the Atharvaveda, one of dogs is brindled and the other is dark. The dogs are meant to track down those who are about to die, and guard the path to Yama's realm. Scholars who adhere to Theodor Aufrecht's interpretation of RV 7.55 state that the dogs were also meant to keep wicked men out of heaven.

Interesting that Yama is considered the first mortal who dies and becomes the King of the Underworld. There will be many connections based on this but first let's identify why Yama is Fudo Myoo and Acala all leading back to Shiva. "In Hinduism,^[21]Yama is the lokapala ("Guardian of the realms") of the south and the son of Surya.^[22]Three hymns (10, 14, and 35) in the 10th book of the Rig Veda are addressed to him.^[23]In Puranas, Yama is described as having four arms, protruding fangs, and complexion of storm clouds, with a wrathful expression; surrounded by a garland of flames; dressed in red, yellow, or blue garments; holding a noose and a mace or sword; and riding a water-buffalo.^[24]He holds a noose (pāśa) of rope in one hand, with which he seizes the lives of people who are about to die."

Based from this describes Yama as holding a "noose", with a mace or "a sword" being black complexioned and having fangs. This leads back to Acala who is shown having these items having the same expression as Fudo Myoo. This is the God of Death. Also, the Buddhist version or Yama is in the form of a bull.

So, now we can see how these different manifestations of Shiva came to be in Buddhism. Though when looking at these Buddhist ideologies, they would say that either Fudo Myoo would come against Shiva for causing reincarnation and such, and yet they are the same deity. This is we go to the God called "Mahakala": Mahākāla is a deity common to Hinduism and Buddhism.^[1]

In Buddhism, Mahākāla is regarded as a Dharmapāla("Protector of the Dharma") and a wrathful manifestation of a Buddha, while in Hinduism, Mahākāla is a fierce manifestation of the Hindu god Shiva and the consort of the goddess Mahākālī;^[1]he most prominently appears in the Kalikula sect of Shaktism.

Mahākāla appears as a protector deity in the various traditions of Vajrayana Buddhism, like Chinese Esoteric Buddhism, Shingon, and Tibetan Buddhism.^[1]He is known as Dàhēitiān and Daaih'hāktīn(大黑天) in Mandarin and Cantonese, Daeheukcheon(대흑천) in Korean, Đại Hắc Thiênin Vietnamese, and Daikokuten(大黒天) in Japanese. Mahākālais a Sanskrit bahuvrihi of mahā" great" and kāla "time/death", which means "beyond time" or death.^[5]Tibetan:ནག་པོ་ཆེན་པོ།,THL:nak po chen pomeans "Great Black One".Tibetan:མགོན་པོ།,THL:gön po"Protector" is also used to refer specifically to Mahākāla.

According to Shaktisamgama Tantra, the spouse of Mahākālī is extremely frightening. Mahākāla has four arms, three eyes and is of the brilliance of 10 million black fires of dissolution, dwells in the midst of eight cremation grounds (śmaśāna). He is adorned with eight human skulls, seated on five corpses, holds a trident (triśūla), a drum, a sword, and a scythe in his hands. He is adorned with ashes from the cremation ground and surrounded by numbers of loudly shrieking vultures and jackals. At his side is his consort, symbolized as Kālī. Mahakala (known as Daikokuten大黑天) enjoys an exalted position as a household deity in Japan, as he is one of the Seven Lucky Gods in Japanese folklore.

The Japanese also use the symbol of Mahakala as a monogram. The traditional pilgrims climbing the holy Mount Ontake wear tenugui on white Japanese scarves with the Sanskrit seed syllable of Mahakala. In Japan, this deity is variously considered to be the god of wealth or of the household, particularly the kitchen. He is recognised by his wide face, smile, and a flat black hat, in stark contrast to the fierce imagery portrayed in Tibetan Buddhist art. He is often portrayed holding a golden mallet, otherwise known as a magic money mallet, and is seen seated on bales of rice, with mice nearby (mice signify plentiful food).

Mahākāla is mentioned in many Chinese Buddhist texts, although iconographic depictions of him in China were rare during the Tang and Song periods. The deity's name was both transcribed into Chinese characters as 摩訶迦羅 (Móhējiāluó; Middle Chinese(Baxter):mwa xa kæ la) andtranslatedas大黑天(pinyin: Dàhēitiān;lit.'Great Black Deva', with kālabeing understood to mean 'black'; Baxter:dɑ^Hxok then). He eventually became the center of a flourishing cult after the 9th century in the kingdoms of Nanzhao and Dali in what is now the province of Yunnan, a region bordering Tibet, where his cult was also widespread. Due to Tibetan influence, his importance further increased during the Mongol-led Yuan dynasty, with his likeness being displayed in the imperial palace and in Buddhist temples inside and outside the capital.^[18]^[19]Mahakala remains a central figure in the minority Buddhist tradition of Azhaliism.

In some texts, Mahākāla is described as a fearsome god, a "demon who steals the vital essence (of people)" and who feeds on flesh and blood, though he is also said to only devour those who committed sins against the Three Jewels of Buddhism.^[20]

One story found in the Tang-era monk Yi Xing's commentary on the Mahāvairocana Tantra portrays Mahākāla as a manifestation of the buddha Vairocana who subjugated the ḍākinīs, a race of flesh-eating female demons, by swallowing them. Mahākāla released them on the condition that they no longer kill humans, decreeing that they could only eat the heart- believed to contain the vital essence of humans known as 'human yellow' (人黄;rénhuáng) - of those who were near death.^[21]^[22]^[23]A tale found in Amoghavajra's translation of the Humane King Sūtra relates how a heterodox (i.e. non-Buddhist) master instructed Prince Kalmāṣapāda (斑足王) to offer the heads of a thousand kings to Mahākāla, the "great black god of the graveyard" (塚間摩訶迦羅大黑天神), if he wished to ascend the throne of his kingdom.^[24]^[25]

As time went by, Mahākāla also became seen as a guardian of Buddhist monasteries, especially its kitchens. The monk Yijing, who traveled to Srivijaya and India during the late 7th century, claimed that images of Mahākāla were to be found in the kitchens and porches of Indian Buddhist monasteries, before which offerings of food were made:^[26]

There is likewise in great monasteries in India, at the side of a pillar in the kitchen, or before the porch, a figure of a deity carved in wood, two or three feet high, holding a golden bag, and seated on a small chair, with one foot hanging down towards the ground. Being always wiped with oil its countenance is blackened, and the deity is called Mahākāla [莫訶哥羅,Mòhēgēluō, Baxter:mak xa ka la] or the great black deity [大黑神,pinyin:Dàhēishén, Baxter:dɑ^Hxok zyin]. The ancient tradition asserts that he belonged to the beings (in the heaven) of the great god (or Maheśvara). He naturally loves the Three Jewels, and protects the five assemblies from misfortune. Those who offer prayers to him have their desires fulfilled. At meal-times those who serve in the kitchen offer light and incense, and arrange all kinds of prepared food before the deity. (...) In China the image of that deity has often been found in the districts of Kiang-nan, though not in Huai-poh. Those who ask him (for a boon) find their wishes fulfilled. The efficacy of that deity is undeniable.^[27]

In China, the god was also associated with fertility and sexuality: during the Qixi Festival(a.k.a. the Double Seventh Festival) held on the 7th day of the 7th month of the Chinese calendar, married women traditionally bought dolls or figurines called Móhéluó (魔合羅) or Móhóuluó(摩睺羅) - the term probably deriving from 'Mahākāla' - in the hopes of giving birth to a child.^[28]^[29]^[30]

Ritual texts also prescribe the worship of Mahākāla to women looking for a male partner or to pregnant women.

Now, it's important to note that this will connect to the later chapters as what the Chinese do, but based on this God being a fertility God, goes back to the Sivalingam which Mahakala is Shiva.

Then we come to the God called "Akuma":

An akuma (悪魔あくま)is an evil spirit in Japanese folklore,^[1]^[2]sometimes described in English-language sources as a devil or demon.^[2]^[3]An alternative name for the akuma is ma(ま).^[4]Akuma is the name assigned to Satan in Japanese Christianity, and the Mara in Japanese Buddhism.

The earliest uses of the word akuma are mainly found in Buddhist texts, but it also appears in literary works, especially those written during the Heian period (794–1185 AD).^[5]Later, following the introduction of Christianity to Japan, akuma became the customary way of translating the English word Satan.^[5]An akuma is typically depicted as an entity with a fiery head and flaming eyes, and carrying a sword. It is said to be a harbinger of misfortune to those who see it. There have been attestations of people traditionally associating mental illness with the presence of akuma.

So, based on the God called "Akuma" is described as having red hair? This is shown to be Shiva. Then we come to the God called Sanbo Kojin:

Kōjin, also known as Sambō-Kōjin or Sanbō-Kōjin (三宝荒神), is the Japanese kami (god) of fire, the hearth and the kitchen. He is sometimes called Kamado-gami (竃神), literally the god of the stove. He represents violent forces that are turned toward the betterment of humankind.

The name Sambō-Kōjin means three-way rough deity, and he is considered a deity of uncertain temper.^[1]Fire, which he represents, is a destructive force, as shown in the myth of Kagu-tsuchi, the original fire deity, whose birth caused his mother's death. However, Kōjin embodies fire controlled and turned toward a good purpose. He is said to destroy all impurity.^[1]He is also responsible for watching over the household and reporting any misdeeds to the kami of the village or city. These reports are discussed, and the according rewards or punishments assigned, by an assembly of gods in Izumo province in the tenth month of the traditional lunar calendar.^[2]Kōjin is sometimes identified as an incarnation of Fudō Myō-Ō, who is likewise depicted as surrounded by flames and tasked with dealing with misdeeds.

Traditionally, a representation of Kōjin is placed near the hearth. This representation might be a simple fuda (memorial tablet) in many homes, or it might be as elaborate as a statue, as is common in Buddhist temples. In his statues, Kōjin is depicted with flaming hair, fangs, and a contorted face, and he often wields a bow and arrows. He has two pairs of hands. Some representations of Kōjin present him as possessing three heads. The Kōjiki mentions an imperial script detailing instructions for worshipping Kōjin, in the form of Kamado-gami. Kōjin is believed to have come from Shugendō worshippers from the late Heian or early Kamakura period.

Again, this God is shown to have three heads as Shiva/Mahakala is described, and even this God is known for the hearth as the Kitchen God linked to Mahakala. So, based on this details Shiva's different manifestations going back to the Vedic Agni who is the God associated with sacrifice. But also this is where we get to the point that Shiva is also where the modern depictions of the devil came from, all stemming from the trident symbolism and the wrathful type of behavior. Even Poseidon as the God of the seas pertains to this as well, but will come in full detail in later chapters.

So, this is shown that the Devil originated from Shiva who is known as Agni the fire deity. We can see a common occurrence throughout the world on the devil. One is the black God of fire called "Surtr":

In Norse mythology, Surtr (Old Norse "black"^[1]or more narrowly "swart",^[2]Surtur in modern Icelandic), also sometimes written Surtin English,^[3]is a jötunn; he is the greatest of the fire giants and further serves as the guardian of Muspelheim, which is one of the only two realms to exist before the beginning of time, alongside Niflheim.^[4]Surtr is attested in the Poetic Edda, compiled in the 13th century from earlier traditional sources, and the Prose Edda, written in the 13th century by Snorri Sturluson. In both sources, Surtr is foretold as being a major figure during the events of Ragnarök; carrying his bright sword, he will go to battle against the Æsir, he will battle the major god Freyr, and afterward the flames that he brings forth will engulf the Earth. In a book from the Prose Edda additional information is given about Surtr, including that he is stationed guarding the frontier of the fiery realm Múspell, that he will lead "Múspell's sons" to Ragnarök, and that he will defeat Freyr. Surtr has been the subject of place names and artistic depictions, and scholars have proposed theories regarding elements of Surtr's descriptions and his potential origins. The Navajo story on the Black God of fire details this same significance as this is a black God, who is basically Mahakala as the "great black God".

Then comes Karya Khan who is described as the Black King who lives in the Underworld:

Kayra or Kaira (Old Turkic: 𐰴𐰖𐰺𐰀) is the creator god in Turkic mythology. He is the god who planted the tree of life called Ulukayın.^[1]Kayra is described as both father and mother, and resides in the 17th layer of heaven.

Kayra is the supreme god of the pantheon and the son of the sky deity named Tengri. Kayra is occasionally identified with Kara Han (the black king or ruler of the land – Kara may mean land, earth, black or in a sense strong, powerful), a son of Tengri, who left his father's home in heaven and went to live in the underworld. The name of this deity is found in several forms, as is that of his opponent. "Kayra-Khan" which may be translated as "merciful king", while the form "Kara Han" signifies "black king". Furthermore, the Turkish word karacan mean both black and land, with the result that Kara Han can mean not only 'Black (Dark) Ruler' but also 'Ruler of the Land'.

Even though they state him to being different than Erlik Khan, they are shown to be the same deity actually:

Erlik, Erlig, Erlik Khan (Old Turkic:𐰀𐰼𐰠𐰃𐰚;Turkish: Erlik Han) is the god of death and the underworld, sometimes referred to as Tamag (hell) in Turkic mythology. Er (oryer) means Earth, in the depths of which Erlik lives in.^[1]From the underworld, Erlik brings forth death, plague and evil spirits to torment humans and take their souls into his realm. Since Tengrism is not based on a written corpus but encompasses the experienced spiritual life of Turkic people, there are no unanimous beliefs among all Turkic people. Erlik has already been mentioned in the Orkhon writings and shows a consistent pattern as the lord of the underworld among Turkic belief systems.^[2]In Mongolian, Erlik is referred to as Erleg or Yerleg, and in Hungarian mythology he is equivalent to Ördög.

In Turkic mythology, Erlik was involved in the creation of humanity.^[3]He slew the messenger-god, Maidere/Maydere, and is a teacher of sin. He is sometimes represented by a totemic bear. In Turkic mythology, Erlik was the deity of evil, darkness, lord of the lower world and judge of the dead. Erlik is a brother of Ülgen, they both have been created from Kayra (Tengere Kayra Khan).^[4]He wants to be equal to Ulgen, he makes his own land and was sent to the prison at the 9th layer of the earth and became opposed to the upper world, the realm of light. According to the Khakas, Erlik resides in the deepest underworld in a palace of copper with furniture made of gold.^[5]

According to an Altai legend, Erlik created the spirits (İye) while he was still in heaven. Erlik and his spirits were cast out and fell to earth together when he claimed divinity for himself.^[6]Another legend of the Altai people recorded states, God (Tengri) endowed Erlik with a hammer and an anvil, but took his power away when Erlik was creating evil with it. (the anvil and hammer is the symbol of Vulcan who is the God of fire).

According to another legend, recorded by Vasily Radlov, God ordered the first human to dive into the primordial water and remove a handful of soil from the bottom of the sea. The first human, however, desired to hide some soil in order to create his own world later. But the soil in his mouth grew and he spit it out. Kayra, who designs the world in this legend, cast the first human away from the heavenly realm as means of punishment and thus named him Erlik.^[8]

In yet another narrative, people have been immortal before the advent of Erlik. People and animals overpopulated the world, until a crow suggested to summon Death into the world. So, people summoned Erlik, whereupon death enters. First, all people knew when they would die, and so they lived in fear, until Tengri hid their date of death.^[9]

The evil spirits created by Erlik cause misfortune, sickness and death to mankind. These spirits are imagined as Erlik's assistants. Besides these, his nine sons and daughters help their father in the way of evil. Erlik's daughters especially try to change a shaman's mind while he is attempting to reach Ulgen with their beauties. Erlik gives all kinds of sickness and wants sacrifices from the people. If they do not sacrifice to him, he catches the dead bodies of the people that he killed and takes them away to this lower world and then makes them his slaves. So, especially in the Altays, when sickness appears, people become scared of Erlik and make many animal sacrifices to him.^[3]

In the prayers of shamans, Erlik is described as a monster, having the face and teeth of a pig combined with a human body. Besides his face, he is an old man with a well-built body, black eyes, eyebrows and mustache.

Again, we have the symbolism of the God who is described as pig faced, to which is based on Yama the God of the Underworld. Here you can see the same symbolism from pop culture video Games like "The Legend of Zelda" as the villain Ganondorf is shown with red hair and black skin and his true form is the monstrous pig demon. There is a show called "Good Omens" and they show the devil as having red hair.

Now, based on this God having "red hair" we go the "Red Dragon" mythos on Gong gong the Dragon God in the Chinese mythos. Here states this in the Wiki and "Symbolsage.com":

In Chinese mythology, Gonggong is a water god who brought a disastrous flood to ruin the Earth and cause cosmic disorder. In ancient texts, he’s sometimes referred to as Kanghui. He’s commonly depicted as a huge, black dragon with a human face and a horn on his head. Some descriptions say that he has a body of a serpent, a man’s face, and red hair. Some stories depict Gonggong as a demon deity with a great strength, who battled with other gods to take over the world. He is notorious for the battle he created that broke one of the pillars that supported the heavens. There are different versions of the tale, but in most cases, the water god’s anger and vanity caused the chaos.

Myths about Gonggong: In all accounts, Gonggong ends up being sent into exile or is killed, usually after losing in an epic battle with another god or ruler.

Gonggong is a Chinese water god who is depicted in Chinese mythology and folktales as having a copper human head with an iron forehead, red hair, and the body of a serpent, or sometimes the head and torso are human, with the tail of a serpent.^[1]^[2]He is destructive and is blamed for various cosmic catastrophes. In all accounts, Gonggong ends up being killed or sent into exile, usually after losing a struggle with another major deity such as the fire god Zhurong.

Then we come to Typhon who battles Zeus:

Typhon, also Typhoeus, Typhaon or Typhos, was a monstrous serpentine giant and one of the deadliest creatures in Greek mythology. According to Hesiod, Typhon was the son of Gaia and Tartarus. However, one source has Typhon as the son of Hera alone, while another makes Typhon the offspring of Cronus. Typhon and his mate Echidna were the progenitors of many famous monsters. Typhon attempted to overthrow Zeus for the supremacy of the cosmos. The two fought a cataclysmic battle, which Zeus finally won with the aid of his thunderbolts. Defeated, Typhon was cast into Tartarus, or buried underneath Mount Etna, or in later accounts, the island of Ischia. Typhon mythology is part of the Greek succession myth, which explained how Zeus came to rule the gods. Typhon's story is also connected with that of Python (the serpent killed by Apollo), and both stories probably derived from several Near Eastern antecedents. Typhon was (fromc.500 BC) also identified with the Egyptian god of destruction Set. In later accounts, Typhon was often confused with the Giants.

According to Hesiod's Theogony(c.8th– 7th century BC), Typhon was the son of Gaia(Earth) and Tartarus: "when Zeus had driven the Titans from heaven, huge Earth bore her youngest child Typhoeus of the love of Tartarus, by the aid of golden Aphrodite".^[2]The mythographer Apollodorus(1st or 2nd century AD) adds that Gaia bore Typhon in anger at the gods for their destruction of her offspring the Giants. Numerous other sources mention Typhon as being the offspring of Gaia, or simply "earth-born", with no mention of Tartarus.^[4]However, according to the Homeric Hymn to Apollo(6th century BC), Typhon was the child of Hera alone.^[5]Hera, angry at Zeus for having given birth to Athena by himself, prayed to Gaia, Uranus, and the Titans, to give her a son stronger than Zeus, then slapped the ground and became pregnant. Hera gave the infant Typhon to the serpent Python to raise, and Typhon grew up to become a great bane to mortals.

The b scholia to Iliad 2.783, preserving a possibly Orphic tradition, has Typhon born in Cilicia, as the offspring of Cronus. Gaia, angry at the destruction of the Giants, slanders Zeus to Hera. So Hera goes to Cronus, the father of her and Zeus (whom Zeus had overthrown), and Cronus gives Hera two eggs smeared with his own semen, telling her to bury them underground, and that from them would be born one who would overthrow Zeus. Hera, angry at Zeus, buries the eggs in Cilicia "under Arimon", but when Typhon is born, Hera, now reconciled with Zeus, informs him.

According to Hesiod, Typhon was "terrible, outrageous and lawless",^[13]immensely powerful, and on his shoulders were one hundred snake heads, that emitted fire and every kind of noise:

Strength was with his hands in all that he did and the feet of the strong god were untiring. From his shoulders grew a hundred heads of a snake, a fearful dragon, with dark, flickering tongues, and from under the brows of his eyes in his marvelous heads flashed fire, and fire burned from his heads as he glared. And there were voices in all his dreadful heads which uttered every kind of sound unspeakable; for at one time they made sounds such that the gods understood, but at another, the noise of a bull bellowing aloud in proud ungovernable fury; and at another, the sound of a lion, relentless of heart; and at another, sounds like whelps, wonderful to hear; and again, at another, he would hiss, so that the high mountains re-echoed.^[14]

The Homeric Hymn to Apollo describes Typhon as "fell" and "cruel", and like neither gods nor men.^[15]Three of Pindar's poems have Typhon as hundred-headed (as in Hesiod),^[16]while apparently a fourth gives him only fifty heads,^[17]but a hundred heads for Typhon became standard.^[18]A Chalcidian hydria (c.540–530 BC), depicts Typhon as a winged humanoid from the waist up, with two snake tails for legs below.^[19]Aeschylus calls Typhon "fire-breathing".^[20]For Nicander (2nd century BC), Typhon was a monster of enormous strength, and strange appearance, with many heads, hands, and wings, and with huge snake coils coming from his thighs.

Apollodorus describes Typhon as a huge winged monster, whose head "brushed the stars", human in form above the waist, with snake coils below, and fire flashing from his eyes:

In size and strength he surpassed all the offspring of Earth. As far as the thighs he was of human shape and of such prodigious bulk that he out-topped all the mountains, and his head often brushed the stars. One of his hands reached out to the west and the other to the east, and from them projected a hundred dragons' heads. From the thighs downward he had huge coils of vipers, which when drawn out, reached to his very head and emitted a loud hissing. His body was all winged: unkempt hair streamed on the wind from his head and cheeks; and fire flashed from his eyes.

The most elaborate description of Typhon is found in Nonnus's Dionysiaca. Nonnus makes numerous references to Typhon's serpentine nature,^[22]giving him a "tangled army of snakes",^[23]snaky feet,^[24]and hair.^[25]According to Nonnus, Typhon was a "poison-spitting viper",^[26]whose "every hair belched viper-poison",^[27]and Typhon "spat out showers of poison from his throat; the mountain torrents were swollen, as the monster showered fountains from the viperish bristles of his high head",^[28]and "the water-snakes of the monster's viperish feet crawl into the caverns underground, spitting poison!".^[29]

Following Hesiod and others, Nonnus gives Typhon many heads (though untotaled), but in addition to snake heads,^[30]Nonnus also gives Typhon many other animal heads, including leopards, lions, bulls, boars, bears, cattle, wolves, and dogs, which combine to make 'the cries of all wild beasts together',^[31]and a "babel of screaming sounds".^[32]Nonnus also gives Typhon "legions of arms innumerable",^[33]and where Nicander had only said that Typhon had "many" hands, and Ovid had given Typhon a hundred hands, Nonnus gives Typhon two hundred.

Typhon's story seems related to that of another monstrous offspring of Gaia: Python, the serpent killed by Apollo at Delphi,^[133]suggesting a possible common origin.^[134]Besides the similarity of names, their shared parentage, and the fact that both were snaky monsters killed in single combat with an Olympian god, there are other connections between the stories surrounding Typhon, and those surrounding Python.

Although the Delphic monster killed by Apollo is usually said to be the male serpent Python, in the Homeric Hymn to Apollo, the earliest account of this story, the god kills a nameless she-serpent (drakaina), subsequently called Delphyne, who had been Typhon's foster-mother.^[136]Delphyne and Echidna, besides both being intimately connected to Typhon—one as mother, the other as mate—share other similarities.^[137]Both were half-maid and half-snake,^[138]a plague to men,^[139]and associated with the Corycian cave in Cilicia.^[140]

Python was also perhaps connected with a different Corycian Cave than the one in Cilicia, this one on the slopes of Parnassus above Delphi, and just as the Corycian cave in Cilicia was thought to be Typhon and Echidna's lair, and associated with Typhon's battle with Zeus, there is evidence to suggest that the Corycian cave above Delphi was supposed to be Python's (or Delphyne's) lair, and associated with his (or her) battle with Apollo.

Typhon's name has a number of variants.^[122]The earliest forms, Typhoeus and Typhaon, occur prior to the 5th century BC. Homer uses Typhoeus,^[123]Hesiod and theHomeric Hymn to Apollouse both Typhoeus and Typhaon.^[124]The later forms Typhos and Typhon occur from the 5th century BC onwards, with Typhon becoming the standard form by the end of that century.

Though several possible derivations of the name Typhon have been suggested, the derivation remains uncertain.^[125]Consistent with Hesiod's making storm winds Typhon's offspring, some have supposed that Typhon was originally a wind-god, and ancient sources associated him with the Greek word stuphon, tuphos meaning "whirlwind".^[126]Other theories include derivation from a Greek root meaning "smoke" (consistent with Typhon's identification with volcanoes),^[127]from an Indo-European root(*dhuH-) meaning "abyss" (making Typhon a "Serpent of the Deep"),^[128]^[129]and from Sapõn the Phoenician name for the Ugaritic god Baal's holy mountain Jebel Aqra (the classical Mount Kasios) associated with the epithet Baʿal Sapōn. The name may have influenced the Persian word tūfān which is a source of the meteorological term typhoon.

Vritra is a danava in Hinduism. He serves as the personification of drought, and is an adversary of the king of the devas, Indra. As a danava, he belongs to the race of the asuras. Vritra is also known in the Vedas as Ahi (Sanskrit:अहि,lit.'snake' IAST:ahi Sanskrit pronunciation). He appears as a human-like serpent blocking the course of the Rigvedic rivers, and is slain by Indra with his newly forged vajra.

Here he is also called Gozu tenno aka the "Heavenly Ox King":

Gozu Tennō (牛頭天王, lit. "Ox-Headed Heavenly King") is a syncretic Japanese deity of disease and healing. Originally imported to Japan from mainland Asia, he was regarded since the Heian period both as a causer of and protector against epidemics and eventually became amalgamated with the native kami Susanoo during the medieval and early modern periods.^[1]During the Meiji period, when the government mandated the separation of Shinto and Buddhism, Shinto shrines dedicated to Gozu Tennō of the Gion cult tradition such as Yasaka Shrine in the Gion district of Kyoto or Tsushima Shrine in Tsushima, Aichi Prefecture or Hiromine Shrine in Hyōgo Prefecture officially reidentified their enshrined deity as Susanoo.

The origins and early development of the Gozu Tennō cult before it reached Japan, as well as the process of his amalgamation with other deities, are unclear and a matter of debate. One theory for instance claims that Gozu Tennō was originally a minor Buddhist deity regarded as the protector of the monastery (vihara) of Jetavana, with his Sanskrit name being reconstructed either as 'Gavagrīva'^[2]^[3]("Ox-Necked") or 'Gośirsa Devarāja '^[4]("Ox-Headed Divine King", a calque of 'Gozu Tennō'). From India, the deity's cult was supposedly transmitted to Japan via Tibet and China, where it was influenced by esoteric Buddhism and Taoism.^[4]Another theory proposes a Korean origin for the deity.

Gozu Tennō was historically identified with a number of deities, foremost among these being Susanoo, the impetuous storm god of classical Japanese mythology, and Mutō-no-Kami (武塔神), an obscure deity who appears in the legend of Somin Shōrai. The story relates that Mutō was a god from the northern sea who stayed at the house of a poor man named Somin Shōrai after Somin Shōrai's wealthy brother refused to give him lodgings. Mutō later provided Somin Shōrai's family a magical means to save themselves from future epidemics as a reward for their hospitality and slew the rich man who rejected him. The earliest extant version of this legend dating from the Nara period (surviving in an extract quoted in a medieval work) has Mutō revealing himself to be Susanoo, suggesting that the two deities were already being conflated during the 8th century, if not earlier. Sources that equate Gozu Tennō with Susanoo first appear during the Kamakura period(1185–1333), although one theory supposes that these three gods and various other disease-related deities were already loosely coalesced around the 9th century, probably around the year 877 when a major epidemic swept through Japan.^[6]In later versions of the Somin Shōrai legend, the deity in the story came to be identified as Gozu Tennō, who at this stage had become more or less synonymous with both Susanoo and Mutō (though one source instead applies the name 'Mutō' to Gozu Tennō's father).

Gozu Tennō was usually portrayed as a fierce-looking man with the head of an ox above his head. He is sometimes shown wielding an axe in one hand and a noose or lasso in the other,^[14]^[19]though other depictions may instead show him brandishing a sword or a halberd.^[21]He may be clad either in Indian-style garments, a suit of armor,^[21]^[22]or (rarely) in Japanese (Heian period)clothing.^[23]Some artworks might depict the deity with multiple arms and heads: a late Heian period statue in Sakai, Osaka Prefecture for instance shows him with three faces and four arms.^[24]Another statue in Tsushima, Aichi Prefecture depicts him with twelve arms, four heads (two fierce human heads each with a single horn, a horse's head, and an ox's head), and bird talons for feet.^[25]An ink drawing on a wooden panel (dating from 1490) which portrays the god with five heads is preserved in a temple in Konan, Shiga Prefecture.^[26]

Several early modern depictions of Susanoo identify the deity as Gozu Tennō^[27]and may even exhibit iconographic traits of the latter (e.g. the ox's head) such as the first two images in this article.

Then comes the deity called "Shennong":

Shennong, variously translated as "Divine Farmer"^[1]or "Divine Husbandman", born Jiang Shinian (姜石年), was a mythological Chinese ruler known as the first Yan Emperor who has become a deity in Chinese folk religion. He is venerated as a culture hero in China.

According to legend, Shennong's mother swallowed the vapor of a dragon and nine days later, her son was born on the banks of the river Jiang. He had a bull (or ox's) head with a man's body. He developed rapidly and began speaking after three days, eventually growing to over eight feet tall.^[5]

In Chinese mythology, he obtained a mystical book of herbs from a Taoist master and later journeyed across China to record 365 medicinal herbs and fungi that became essential in traditional Chinese medicine. Shennong also taught humans the use of the plow, aspects of basic agriculture, and the use of cannabis. Possibly influenced by the Yan Emperor mythos or the use of slash-and-burn agriculture,^[7]Shennong was a god of burning wind. He was also sometimes said to be a progenitor to, or to have had as one of his ministers, Chiyou (and like him, was ox-headed, sharp-horned, bronze-fore headed, and iron-skulled).

Then Shennong can connect to the "Yan Emperor":

The Yan Emperor (Chinese:炎帝;pinyin:Yán Dì) or the Flame Emperor was a legendary ancient Chinese emperor in pre-dynastic times. Some modern Chinese scholars have identified the Sheep's Head Mountains (Yángtóu Shān)Weibin District, Baoji as his homeland and territory.^[1]

A long debate has existed over whether or not the Yan Emperor was the same person as the legendary Shennong. An academic conference held in China in 2004 achieved general consensus that the Yan Emperor and Shennong were the same person.^[2]Another possibility is that the term "Yan Emperor" or "Flame Emperor" was a title, held by dynastic succession of tribal lords, with Shennong being known as Yandi perhaps posthumously. Accordingly, the term "Yan Emperors" or "Flame Emperors" would be generally more correct. The succession of these Yan or Flame emperors, from Shennong, the first Yan Emperor, until the time of the last Yan Emperor's defeat by the Yellow Emperor, may have been some 500 years. No written records are known to exist from the era of Yan Emperor's reign. However, he and Shennong are mentioned in many of the classic works of ancient China. Yan literally means "flame", implying that Yan Emperor's people possibly uphold a symbol of fire as their tribal totems. K. C. Wu speculates that this appellation may be connected with the use of fire to clear the fields in slash and burn agriculture.^[4]In any case, it appears that agricultural innovations by Shennong and his descendants contributed to some sort of socioeconomic success that led them to style themselves as di (帝; 'emperors'), rather than hou (侯; 'lord'), as in the case of lesser tribal leaders. At this time it appears that there were only the bare beginnings of written language, and that for record keeping a system of knotting strings (perhaps similar to quipu) was in use.^[5]The Zuo Zhuan states that in 525 BC, the descendants of Yan were recognized as long having been masters of fire and having used fire in their names.^[6]Yan Emperor was known as "Emperor of the South"

The Flame Emperor will then connect to Chiyou:

Chiyou is a mythological being that appears in Chinese mythology. He was a tribal leader of the Nine Li tribe in ancient China.^[2]He is best known as a king who lost against the future Yellow Emperor during the Three Sovereigns and Five Emperors era in Chinese mythology. According to the Song dynasty history book Lushi, Chiyou's surname was Jiang (姜), and he was a descendant of the Flame Emperor.

Chiyou is often associated with chaos and war, earning him the status of a demon god in later mythological interpretations, especially in northern China. In some Daoist traditions, he is considered a demon or evil god representing war and violence.

According to legend, Chiyou had a bronze head with a distinct metal forehead.^[10]He had four eyes and six arms, wielding terrible sharp weapons in every hand, similar to a description of fangxiangshi.^[11]In some sources, Chiyou had certain features associated with various mythological bovines: his head was that of a bull with two horns, although the body was human, and his hindquarters were those of a bear.^[11]He is said to have been unbelievably fierce, and to have had 81 brothers and many followers.^[11]Historical sources often described him as 'bold leader',^[5]as well as 'brave'.^[12]Some sources have asserted that the figure 81 should rather be associated with 81 clans in his kingdom.^[13]Chiyou knows the constellations and the ancients spells for calling upon the weather. For example, he called upon a fog to surround Huangdi and his soldiers during the Battle of Zhuolu.

When the Yan emperor was leading his tribe and conflicts with Nine Li tribes led by Chiyou,^[2]the Yan emperor stood no chance and lost the fight. He escaped, and later ended up in Zhuolu begging for help from the Yellow Emperor.^[2]At this point the epic battle between Chiyou and the Yellow Emperor's forces began. The battle lasted for 10 years with Chiyou having the upper hand. During the Battle of Zhuolu, Chiyou breathed out a thick fog and obscured the sunlight.^[18]The battle dragged on for days while the emperor's side was in danger.^[11]Only after the Yellow Emperor invented the south-pointing chariot, did he find his way out of the battlefield. Chiyou then conjured up a heavy storm. The Yellow Emperor then called upon the drought demon Nüba (女魃), who blew away the storm clouds and cleared the battlefield.^[18]Chiyou and his army could not hold up, and were later killed by the Yellow Emperor.^[2]^[11]After this defeat, the Yellow Emperor is said to become the ancestor of all Huaxia.^[11]His followers were forced to live in the mountains and leave their Li kingdom.^[15]After Chiyou's death, it is said that it rained blood for some time.

So, now that we have established the bull or ox symbolism, we can now go back to Susanoo who they state was associated with this being. What I can state is that this Gozu Tenno is basically Shiva as the fire God or "flame Emperor" as the Chinese story states. In my old information I had stated Susanoo battling the dragon is pretty much Michael the Archangel battling the Red dragon to which are shown with many epithets. The story of the God of fire Kagutsuchi who was then cut up into 8 pieces by Izanagi is Set cutting up Osiris into pieces. Osiris is the fire God who is known for agricultural practices like Shennong and is the God of the underworld. The God of pestilence and diseases is where the God Shiva/Rudra would do and is the healer. Then we come to Chiyou as the same description details him to be like one of the Wisdom Kings similar to Daiitoku Myoo. When we see the syncretism of Gozu Tenno, Shennong, and Chiyou, then we see that it all goes back to Shiva who is Agni the God of fire. But based on Susanoo who battles the dragon, I will later detail how the dragon god is based on Vritra, Shiva who is Agni all linking to the same deity with red hair and black skin, and Susanoo with Michael the Archangel.

Then we come to the fire God Kagutsuchi: Kagutsuchi (カグツチ;Old Japanese: Kagututi), also known as Hi-no-Kagutsuchi or Homusubi among other names, is the kami of fire in classical Japanese mythology. Kagutsuchi's birth burned his mother Izanami, causing her death. His father Izanagi, in his grief, beheaded Kagutsuchi with his sword, Ame no Ohabari (天之尾羽張), and cut his body into eight pieces, which became eight volcanoes. Kagutsuchi's corpse created numerous deities, which typically includes Watatsumi, Kuraokami, Takemikazuchi, Futsunushi, Amatsu-Mikaboshi, and Ōyamatsumi.^[2]^[3]

Kagutsuchi's birth, in Japanese mythology, comes at the end of the creation of the world and marks the beginning of death.^[4]In the Engishiki, a source which contains the myth, Izanami, in her death throes, bears the water goddess Mizuhanome, instructing her to pacify Kagu-tsuchi if he should become violent. This story also contains references to traditional fire-fighting tools: gourds for carrying water and wet clay and water reeds for smothering fires.

He is then cut into pieces such as Osiris.

Here are Rig Vedic references and excerpts based on AGNI being described as a bull and fighting the demons. He is depicted as a boar sometimes, mainly to having tusk like a boar.

"HYMN VI. Agni1: PRAISE of the Asura, high imperial Ruler, the Manly One in whom the folk shall triumph- I laud his deeds who is as strong as Indra, and lauding celebrate the Fort-destroyer. (Revealing that AGNI is of the Asuras)

"HYMN VIII. Agni: 6 Be this my song, that winneth countless treasure, engendered with redoubled force for Agni, That, splendid, chasing sickness, slaying demons, it may delight our friend and bless the singers."

"HYMN XV. Agni: 10 Bright, Purifier, meet for praise, Immortal with refulgent glow, Agni drives Rākṣasas away." (This is when Agni destroys the man-eating giants that was recking havoc on mankind, similar to Iblis of the Jinn fighting the Jinn race, and Red Horn fighting the red headed giants)

"HYMN XVI. Agni: 3 The flame of him the Bountiful, the Much-invoked, hath mounted up, And his red-coloured smoke-clouds reach and touch the sky: the men are kindling Agni well."

"HYMN XXXVI. Agni: 20 The flames of Agni full of splendour and of might are fearful, not to be approached. Consume for ever all demons and sorcerers, consume thou each devouring fiend." "HYMN XXXVI. Agni: 9 Seat thee, for thou art mighty; shine, best entertainer of the Gods. Worthy of sacred food, praised Agni! loose the smoke, ruddy and beautiful to see."

"HYMN XXXI. Agni: 5 Thou, Agni, art a Bull who makes our store increase, to be invoked by him who lifts the ladle up. Well knowing the oblation with the hallowing word, uniting all who live, thou lightenest first our folk."

"HYMN XV. Agni. 1. RESPLENDENT with thy wide-extending lustre, dispel the terrors of the fiends who hate us May lofty Agni be my guide and shelter, the easily-invoked, the good Protector. 2 Be thou To us, while now the morn is breaking, be thou a guardian when the Sun hath mounted.. Accept, as men accept a true-born infant, my laud, O Agni nobly born in body. 3 Bull, who beholdest men, through many mornings, among the dark ones shine forth red, O Agni. Lead us, good Lord, and bear us over trouble: Help us who long, Most Youthful God, to riches. 4 Shine forth, a Bull invincible, O Agni, winning by conquest all the forts and treasures, Thou Jātavedas who art skilled in guiding, the chief high saving sacrifice's Leader. 5 Lighting Gods hither, Agni, wisest Singer, bring thou to us many and flawless shelters. Bring vigour, like a car that gathers booty: bring us, O Agni, beauteous Earth and Heaven. 6 Swell, O thou Bull and give those powers an impulse, e’en Earth and Heaven who yield their milk in plenty, Shining, O God, with Gods in clear effulgence. Let not a mortal's evil will obstruct us. 7 Agni, as holy food to thine invoker, give wealth in cattle, lasting, rich in marvels. To us be born a son and spreading offspring. Agni, be this thy gracious will to us-ward."

"HYMN XVII. Agni. 1. DULY enkindled after ancient customs, bringing all treasures, he is balmed with unguents,— Flame-haired, oil-clad, the purifying Agni, skilled in fair rites, to bring the Gods for worship." (This details Agni having "flaming hair") "HYMN XXVII. Agni:14 Agni is kindled as a bull, like a horsebearer of the Gods: Men with oblations worship him. 15 Thee will we kindle as a bull, we who are Bulls ourselves, O Bull. Thee, Agni, shining mightily."

"HYMN III. Agni: 10 Agni the Bull, the manly, hath been sprinkled with oil upon his back, by Law eternal."

In the Rig Vedas 3.15.4 states “Shine forth, a Bull invincible, O Agni, winning by conquest all the forts and treasures, thou Jātavedas who art skilled in guiding, the chief high saving sacrifice's Leader”

5. “Swell, O thou Bull and give those powers an impulse, even Earth and Heaven who yield their milk in plenty, Shining, O God, with Gods in clear effulgence. Let not a mortal's evil will obstruct us."

"HYMN IV. Agni: 4 Rise up, O Agni, spread thee out before us: burn down our foes, thou who hast sharpened arrows. Him, blazing Agni! who hath worked us mischief, consume thou utterly like dried-up stubble. 5 Rise, Agni, drive off those who fight against us: make manifest thine own celestial vigour. Slacken the strong bows of the demon-driven: destroy our foemen whether kin or stranger."

"HYMN VIII. Agni: 1. YOUR envoy who possesses all, Immortal, bearer of your gifts, Best worshipper, I woo with song. 2 He, Mighty, knows the gift of wealth, he knows the deep recess of heaven: He shall bring hitherward the Gods. 3 He knows, a God himself, to guide Gods to the righteous in his home: He gives e’en treasures that we love. 4 He is the Herald: well-informed, he doth his errand to and fro, Knowing the deep recess of heaven. 5 May we be they who gratify Agni with sacrificial gifts, Who cherish and enkindle him. 6 Illustrious for wealth are they, and hero deeds, victorious, Who have served Agni reverently. 7 So unto us, day after day, may riches craved by many come, And power and might spring up for us. 8 That holy Singer in his strength shoots forth his arrows swifter than The swift shafts of the tribes of men."

"HYMN XLIX. Agni: 14 Not to be stayed, O Bull, O Agni, are thy teeth when thou art spreading far and wide. Make our oblations duly offered up, O Priest, and give us store of precious things."

"HYMN VIII. Agni: 1. AGNI advances with his lofty banner: the Bull is bellowing to the earth and heavens. He hath attained the sky's supremest limits. the Steer hath waxen in the lap of waters. 2 The Bull, the youngling with the hump, hath frolicked, the strong and never-ceasing Calf hath bellowed. Bringing our offerings to the God's assembly, he moves as Chief in his own dwelling-places."

"HYMN XXI. Agni: 8 Wide and aloft thou spreadest thee, O Agni, with thy brilliant flame. A Bull art thou when bellowing,—at your glad carouse-thou dost impregned the Sisters. Thou art waxing great."

"HYMN XCI. Agni: 14 He in whom horses, bulls, oxen, and barren cows, and rams, when duly set apart, are offered up,— To Agni, Soma-sprinkled, drinker of sweet juice, Disposer, with my heart I bring a fair hymn forth. 15 Into thy mouth is poured the offering, Agni, as Soma into cup, oil into ladle. Vouchsafe us wealth. strength-winning, blest with heroes, wealth lofty, praised by men, and full of splendour."

"HYMN CXXII. Agni: 4 The seven who bring oblations worship thee, the Strong, the first, the Great Chief Priest, Ensign of sacrifice, The oil-anointed Bull, Agni who hears, who sends as God full hero strength to him who freely gives."

"HYMN CXVIII. Agni: 1. AGNI, refulgent among men thou slayest the devouring fiend, Bright Ruler in thine own abode. 7 O Agni, burn the Rākṣasas with thine unconquerable flame Shine guardian of Eternal Law."

"HYMN IX. Agni: 4 Yea, very hard art thou to grasp, like offspring of the wriggling snakes, When thou consumest many woods like an ox, Agni, in the mead. 5 Whose flames, when thou art sending forth the smoke, completely reach the mark, When Tṛta in the height of heaven, like as a smelter fanneth thee, even as a smelter sharpeneth thee."

"HYMN LVIII. Agni: 1 NE’ER waxeth faint the Immortal, Son of Strength, since he, the Herald, hath become Vivasvān's messenger. On paths most excellent he measured out mid-air: he with oblation calls to service of the Gods. 2 Never decaying, seizing his appropriate food, rapidly, eagerly through the dry wood he spreads. His back, as he is sprinkled, glistens like a horse: loud hath he roared and shouted like the heights of heaven? 3 Set high in place o’er all that Vasus, Rudras do, immortal, Lord of riches, seated as High Priest; Hastening like a car to men, to those who live, the God without delay gives boons to be desired. 4 Urged by the wind be spreads through dry wood as he lists, armed with his tongues for sickles, with a mighty roar. Black is thy path, Agni, changeless, with glittering waves! when like a bull thou rushest eager to the trees. 5 With teeth of flame, wind-driven, through the wood he speeds, triumphant like a bull among the herd of cows, With bright strength roaming to the everlasting air: things fixed, things moving quake before him as he flies." (Vivasvan is the Sun God Surya. And again, more references towards the Bull)

"HYMN LXX. Agni: 6 Like a brave archer, like one skilled and bold, a fierce avenger, so he shines in fight."

"HYMN LXXVII. Agni: 3 For he is mental power, a man, and perfect; he is the bringer, friend-like, of the wondrous. The pious Āryan tribes at sacrifices address them first to him who doeth marvels. 4 May Agni, foe-destroyer, manliest Hero, accept with love our hymns and our devotion. So may the liberal lords whose strength is strongest, urged by their riches, stir our thoughts with vigour."

"HYMN CXL. Agni: 5 Dispelling on their way the horror of black gloom, making a glorious show these flames of his fly forth, When o’er the spacious tract he spreads himself abroad, and rushes panting on with thunder and with roar. 6 Amid brown plants he stoops as if adorning them, and rushes bellowing like a bull upon his wives. Proving his might, he decks the glory of his form, and shakes his horns like one terrific, hard to stay."

"HYMN XII. Agni: 1 To Agni, lofty Asura, meet for worship, Steer of eternal Law, my prayer I offer; I bring my song directed to the Mighty like pure oil for his mouth at sacrifices. 2 Mark the Law, thou who knowest, yea, observe it: send forth the full streams of eternal Order. I use no sorcery with might or falsehood the sacred Law of the Red Steer I follow. 3 How hast thou, follower of the Law eternal, become the knower of a new song, Agni? The God, the Guardian of the seasons, knows me: the Lord of him who won this wealth I know not. 4 Who, Agni, in alliance with thy foeman, what splendid helpers won for them their riches? Agni, who guard the dwelling-place of falsehood? Who are protectors of the speech of liars? 5 Agni, those friends of thine have turned them from thee: gracious of old, they have become ungracious. They have deceived themselves by their own speeches, uttering wicked words against the righteous. 6 He who pays sacrifice to thee with homage, O Agni, keeps the Red Steer's Law eternal; Wide is his dwelling. May the noble offspring of Nahuṣa who wandered forth come hither." (Again, another reference to Agni being an Asura and being compared as a bull)

"HYMN XIV. Agni: 1. ENKINDLING the Immortal, wake Agni with song of praise: may he bear our oblations to the Gods. 2 At high solemnities mortal men glorify him the Immortal, best At sacrifice among mankind. 3 That he may bear their gifts to heaven, all glorify him Agni, God, With ladle that distilleth oil. 4 Agni shone bright when born, with light killing the Dasyus and the dark: He found the Kine, the Floods, the Sun. 5 Serve Agni, God adorable, the Sage whose back is balmed with oil: Let him approach, and hear my call. 6 They have exalted Agni, God of all mankind, with oil and hymns Of praise, devout and eloquent."

"HYMN VI. Agni. 1. AGNI, accept this flaming brand, this waiting with my prayer on thee: Hear graciously these songs of praise. 2 With this hymn let us honour thee, seeker of horses, Son of Strength, With this fair hymn, thou nobly born. 3 As such, lover of song, with songs, wealth-lover, giver of our wealth! With reverence let us worship thee. 4 Be thou for us a liberal Prince, giver and Lord of precious things. Drive those who hate us far away. 5 Such as thou art, give rain from heaven, give strength which no man may resist: Give food exceeding plentiful. 6 To him who lauds thee, craving help, most youthful envoy! through our song, Most holy Herald! come thou nigh. 7 Between both races, Agni, Sage, well skilled thou passest to and fro, As envoy friendly to mankind. 8 Befriend us thou as knowing all. Sage, duly worship thou the Gods, And seat thee on this sacred grass."

"HYMN CXIV. Rudra. 1. To the strong Rudra bring we these our songs of praise, to him the Lord of Heroes with the braided hair, That it be well with all our cattle and our men, that in this village all be healthy and well-fed. 2 Be gracious unto us, O Rudra, bring us joy: thee, Lord of Heroes, thee with reverence will we serve. Whatever health and strength our father Manu won by sacrifice may we, under thy guidance, gain. 3 By worship of the Gods may we, O Bounteous One, O Rudra, gain thy grace, Ruler of valiant men. Come to our families, bringing them bliss: may we, whose heroes are uninjured, bring thee sacred gifts, 4 Hither we call for aid the wise, the wanderer, impetuous Rudra, perfecter of sacrifice. May he repel from us the anger of the Gods: verily we desire his favourable grace. 5 Him with the braided hair we call with reverence down, the wild-boar of the sky, the red, the dazzling shape. May he, his hand filled full of sovran medicines, grant us protection, shelter, and a home secure. 6 To him the Maruts’ Father is this hymn addressed, to strengthen Rudra's might, a song more sweet than sweet. Grant us, Immortal One, the food which mortals eat: be gracious unto me, my seed, my progeny. 7 O Rudra, harm not either great or small of us, harm not the growing boy, harm not the full-grown man. Slay not a sire among us, slay no mother here, and to our own dear bodies, Rudra, do not harm. 8 Harm us not, Rudra, in our seed and progeny, harm us not in the living, nor in cows or steeds, Slay not our heroes in the fury of thy wrath. Bringing oblations evermore we call to thee. 9 Even as a herdsman I have brought thee hymns of praise: O Father of the Maruts, give us happiness, Blessed is thy most favouring benevolence, so, verily, do we desire thy saving help. 10 Far be thy dart that killeth men or cattle: thy bliss be with us, O thou Lord of Heroes. Be gracious unto us, O God, and bless us, and then vouchsafe us doubly-strong protection. 11 We, seeking help, have spoken and adored him: may Rudra, girt by Maruts, hear our calling. This prayer of ours may Varuṇa grant, and Mitra, and Aditi and Sindhu, Earth and Heaven."

"HYMN XXXIII. Rudra: 1. FATHER of Maruts, let thy bliss approach us: exclude us not from looking on the sunlight. Gracious to our fleet courser be the Hero may we transplant us, Rudra, in our children. 2 With the most saving medicines which thou givest, Rudra, may I attain a hundred winters. Far from us banish enmity and hatred, and to all quarters maladies and trouble. 3 Chief of all born art thou in glory, Rudra, armed with the thunder, mightiest of the mighty. Transport us over trouble to well-being repel thou from us all assaults of mischief. 4 Let us not anger thee with worship, Rudra, ill praise, Strong God! or mingled invocation. Do thou with strengthening balms incite our heroes: I hear thee famed as best of all physicians. 5 May I with praise-songs win that Rudra's favour who is adored with gifts and invocations. Ne’er may the tawny God, fair-checked, and gracious, swifthearing, yield us to this evil purpose. 6 The Strong, begirt by Maruts, hath refreshed me, with most invigorating food, imploring. As he who finds a shade in fervent sunlight may I, uninjured, win the bliss of Rudra. 7 Where is that gracious hand of thine, O Rudra, the hand that giveth health and bringeth comfort, Remover of the woe that Gods have sent us? O Strong One, look thou on me with compassion. 8 To him the strong, great, tawny, fair-complexioned, I utter forth a mighty hymn of praises. We serve the brilliant God with adorations, we glorify, the splendid name of Rudra. 9 With firm limbs, multiform, the strong, the tawny adorns himself with bright gold decorations: The strength of Godhead ne’er departs from Rudra, him who is Sovran of this world, the mighty. 10 Worthy, thou carriest thy bow and arrows, worthy, thy manyhued and honoured necklace. Worthy, thou cuttest here each fiend to pieces: a mightier than thou there is not, Rudra. 11 Praise him the chariot-borne, the young, the famous, fierce, slaying like a dread beast of the forest. O Rudra, praised, be gracious to the singer. let thy hosts spare us and smite down another. 12 I bend to thee as thou approachest, Rudra, even as a boy before the sire who greets him. I praise thee Bounteous Giver, Lord of heroes: give medicines to us as thou art lauded. 13 Of your pure medicines, O potent Maruts, those that are wholesomest and health-bestowing, Those which our father Manu hath selected, I crave from. Rudra for our gain and welfare. 14 May Rudra's missile turn aside and spare us, the great wrath of the impetuous One avoid us. Turn, Bounteous God, thy strong bow from our princes, and be thou gracious to our seed and offspring. 15 O tawny Bull, thus showing forth thy nature, as neither to be wroth, O God, nor slay us. Here, Rudra, listen to our invocation. Loud may we speak, with heroes, in assembly."

"HYMN XV. Agni: 6 Worship ye Agni, Agni, with your log of wood; praise your beloved, your beloved guest with songs. Invite ye the Immortal hither with your hymns. A God among the Gods, he loveth what is choice, loveth our service, God mid Gods. 7 Agni inflamed with fuel in my song I sing, pure, Cleanser, steadlast, set in tront at sacrifice. Wise Jātavedas we implore with prayers for bliss the Priest, the holy Singer, bounteous, void of guile. 8 Men, Agni, in each age have made thee, Deathiess One, their envoy, offering-bearer, guard adorable. With reverence Gods and mortals have established thee, the ever-watchful, omnipresent Household Lord. 9 Thou, Agni, ordering the works and ways of both, as envoy of the Gods traversest both the worlds. When we lay claim to thy regard and gracious fare, be thou to us a thriceprotecting friendly guard. 10 Him fair of face, rapid, and fair to look on, him very wise may we who know not follow. Let him who knows all rules invite for worship, Agru announce our offering to the Immortals. 11 Him, Agni, thou deliverest and savest who brings him prayer to thee the Wise, O Hero, The end of sacrifice or its inception; yea, thou endowest him with power and riches."

"HYMN II. Agni: 9 Agni shines far and wide with lofty splendour, and by his greatness makes all things apparent. He conquers godless and malign enchantments, and sharpens both his horns to gore the Rakṣas. 10 Loud in the heaven above be Agni's roarings with keen-edged weapons to destroy the demons. Forth burst his splendours in the Soma's rapture. The godless bands press round but cannot stay him."

"11 As a skilled craftsman makes a car, a singer I, Mighty One! this hymn for thee have fashioned. If thou, O Agni, God, accept it gladly, may we obtain thereby the heavenly Waters. 12 May he, the strong-necked Steer, waxing in vigour, gather the foeman's wealth with none to check him. Thus to this Agni have the Immortals spoken. To man who spreads the grass may he grant shelter, grant shelter to the man who brings oblation."

"HYMN VI. Agni.1: I VALUE Agni that good Lord, the home to which the kine return: Whom fleet-foot coursers seek as home, and strong enduring steeds as home. Bring food to those who sing thy praise. 2 ’Tis Agni whom we laud as good, to whom the milch-kine come in herds, To whom the chargers swift of foot, to whom our well-born princes come. Bring food to those who sing thy praise. 3 Agni the God of all mankind, gives, verily, a steed to man. Agni gives precious gear for wealth, treasure he gives when he is pleased. Bring food to those who sing thy praise. 4 God, Agni, we will kindle thee, rich in thy splendour, fading not, So that this glorious fuel may send forth by day its light for thee. Bring food to those who sing thy praise. 5 To thee the splendid, Lord of flame, bright, wondrous, Prince of men, is brought. Oblation with the holy verse, O Agni, bearer of our gifts. Bring food to those who sing thy praise. 6 These Agnis in the seats of the fire nourish each thing most excellent. They give delight, they spread abroad, they move themselves continually. Bring food to those who sing thy praise. 7 Agni, these brilliant flames of thine wax like strong chargers mightily, Who with the treadings of their hoofs go swiftly to the stalls of kine. Bring food to those who sing thy praise. 8 To us who laud thee, Agni, bring fresh food and safe and happy homes. May we who have sung hymns to thee have thee for envoy in each house. Bring food to those who sing thy praise. 9 Thou, brilliant God, within thy mouth warmest both ladles of the oil. So fill us also, in our hymns, abundantly, O Lord of Strength. Bring food to those who sing thy praise. 10 Thus Agni have we duly served with sacrifices and with hymns. So may he give us what we crave, store of brave sons and fleet-foot steeds. Bring food to those who sing thy praise."

HYMN III. Agni. 1. ASSOCIATE with fires, make your God Agni envoy at sacrifice, best skilled in worship, Established firm among mankind, the Holy, flame-crowned and fed with oil, the Purifier. 2 Like a steed neighing eager for the pasture, when he hath stepped forth from the great enclosure: Then the wind following blows upon his splendour, and, straight, the path is black which thou hast travelled. 3 From thee a Bull but newly born, O Agni, the kindled everlasting flames rise upward. Aloft to heaven thy ruddy smoke ascendeth: Agni, thou speedest to the Gods as envoy. 4 Thou whose fresh lustre o’er the earth advanceth when greedily with thy jaws thy food thou eatest. Like a host hurried onward comes thy lasso: fierce, with thy tongue thou piercest, as ’twere barley. 5 The men have decked him both at eve and morning, Most Youthful Agni, as they tend a courser. They kindle him, a guest within his dwelling: bright shines the splendour of the worshipped Hero. 6 O fair of face, beautiful is thine aspect when, very near at hand, like gold thou gleamest, Like Heaven's thundering roar thy might approaches, and like the wondrous Sun thy light thou showest. 7 That we may worship, with your Hail to Agni! with sacrificial cakes and fat oblations, Guard us, O Agni, with those boundless glories as with a hundred fortresses of iron. 8 Thine are resistless songs for him who offers, and hero-giving hymns wherewith thou savest; With these, O Son of Strength, O Jātavedas, guard us, preserve these princes and the singers. 9 When forth he cometh, like an axe new-sharpened, pure in his form, resplendent in his body, Sprung, sought with eager longing, from his Parents, for the Gods’ worship, Sage and Purifier: 10 Shine this felicity on us, O Agni: may we attain to perfect understanding. All happiness be theirs who sing and praise thee. Ye Gods, preserve us evermore with blessings."

Let's recap on the Black God of fire:

The Black God (Haashchʼééshzhiní), sometimes known as the Fire God, in Diné folklore is known as the God who created and placed the stars.^[1]He is described as having a crescent moon on his forehead, a full moon for a mouth, the Pleiades on his temple and he wears a buckskin mask covered in sacred charcoal with white paint.^[2]He is the inventor of the fire drill and was the first being to discover the means by which to generate fire.^[3]He is also attributed to the practice of witchcraft.^[4]

Black God is not portrayed in the admirable, heroic fashion of other Navajo Gods. Instead, he is imagined as old, slow and apparently helpless. Other times he is imagined as a “a moody, humorless trickster” who “passes himself off as poor so that people will be generous to him.”^[3]According to one version of the Navajo creation story, Black God is first encountered by First Man and First Woman on the Yellow (third) world.^[5]Black God is, first and foremost, a fire god.

Ritual Significance:

Despite his importance in the act of creation, Black God (or Haashch’eezhini) appears very seldom in Navajo ritual. The only sacrament involving Him is the Night way (or Yeibichai), a nine-day midwinter healing ceremony.^[6]On the ninth and final day of the ritual, a man arrives in the guise of the Black God. It is not uncommon for Black God to be portrayed by an old man dressed in traditional garb including: fox skin, black body paint, and the Black God mask. The impersonator carries with him a fire-drill (a device that uses friction to incite ignition) and shredded bark (tinder) with which he will demonstrate his pyromancy.

Th fire drill will connect to another deity in later chapters, but here in this picture shows that the figurine has "red hair" and is painted black, just like the description of Shiva. So, now we see that Shiva has many epithets and is shown to go back to the Vedic Agni. We can also identify the God of fire as the Jinn who was said to be made from smokeless fire.

Here is what Hermes states in the Wiki:

Hermes is an Olympian deity in ancient Greek religion and mythology considered the herald of the gods. He is also widely considered the protector of human heralds, travelers, thieves,^[2]merchants, and orators.^[3]^[4]He is able to move quickly and freely between the worlds of the mortal and the divine aided by his winged sandals. Hermes plays the role of the psychopomp or "soul guide"—a conductor of souls into the afterlife.

In myth, Hermes functions as the emissary and messenger of the gods,^[6]and is often presented as the son of Zeus and Maia, the Pleiad. He is regarded as "the divine trickster",^[7]about which the Homeric Hymn to Hermes offers the most well-known account.^[8]

Hermes's attributes and symbols include the herma, the rooster, the tortoise, satchel or pouch, talaria(winged sandals), and winged helmet or simple petasos, as well as the palm tree, goat, the number four, several kinds of fish, and incense.^[9]However, his main symbol is the caduceus, a winged staff intertwined with two snakes copulating and carvings of the other gods.^[10]

In Roman mythology and religion many of Hermes's characteristics belong to Mercury,^[11]a name derived from the Latin merx, meaning "merchandise", and the origin of the words "merchant" and "commerce."

The earliest form of the name Hermes (Ἑρμῆς) is the Mycenaean Greek* hermāhās,^[12]written𐀁𐀔𐁀e-ma-a₂(e-ma-ha) in the Linear B syllabic script.^[13]Other forms of the name of Hermes are Hermei as (Ἑρμείας), Hermaōn (Ἑρμάων), Hermān (Ἑρμᾱν), Hermaios (Ἓρμαιος), and Hermaỵos (Ἓρμαιυος).^[14]Most scholars derive Hermes from Greekἕρμα (herma),^[15]'stone heap'.^[3]^{: 177}Hermax, ('heap of stones'),^[16]hermaīon, ('gift of Hermes'),^[17]hermaīos hill were holy to Hermes.^[14]

The etymology of ἕρμα itself is unknown, but is probably not a Proto-Indo-Europea word.^[12]R. S. P. Beekes rejects the connection with herma and suggests a Pre-Greek origin.^[12]However, the stone etymology is also linked to Indo-European*ser-('to bind, put together'). Scholarly speculation that Hermes derives from a more primitive form meaning 'one cairn' is disputed.^[18]Other scholars have suggested that Hermes may be a cognate of the Vedic Sarama.^[19]^[20]

It is likely that Hermes is a pre-Hellenic god, though the exact origins of his worship, and its original nature, remain unclear. Frothingham thought the god to have existed as a Mesopotamian snake-god, similar or identical to Ningishzida, a god who served as mediator between humans and the divine, especially Ishtar, and who was depicted in art as a caduceus.^[21]^[22]Angelo (1997) thinks Hermes to be based on the Thoth archetype.^[23]The absorbing ("combining") of the attributes of Hermes to Thoth developed after the time of Homer amongst Greeks and Romans; Herodotus was the first to identify the Greek god with the Egyptian (Hermopolis) (Plutarch and Diodorus also did so), although Plato thought the gods were dissimilar (Friedlander 1992).^[24]^[25]

His cult was established in Greece in remote regions, likely making him originally a god of nature, farmers, and shepherds. It is also possible that since the beginning he has been a deity with shamanic attributes linked to divination, reconciliation, magic, sacrifices, and initiation and contact with other planes of existence, a role of mediator between the worlds of the visible and invisible.^[26]According to a theory that has received considerable scholarly acceptance, Hermes originated as a form of the god Pan, who has been identified as a reflex of the Proto-Indo-European pastoral god*Péh₂usōn,^[27]^[28]in his aspect as the god of boundary markers. The PIE root*peh₂'protect' also shows up in Latin pastor' shepherd' (whence the English pastoral). A zero grade of the full PIE form (*ph₂usōn) yields the name of the Sanskrit psychopomp Pushan, who, like Pan, is associated with goats.^[29]Later, the epithet supplanted the original name itself and Hermes took over the role of psychopomp and as god of messengers, travelers, and boundaries, which had originally belonged to Pan, while Pan himself continued to be venerated by his original name in his more rustic aspect as the god of the wild in the relatively isolated mountainous region of Arcadia. In later myths, after the cult of Pan was reintroduced to Attica, Pan was said to be Hermes's son.

So, him being a "Psychopomp" for the dead details his connection to Yama the Lord of the underworld. He is known as Ningishzida and Pushan for the same attributes:

Then based on "Pushan" states this: Pushan (Sanskrit:पूषन्,IAST:Pūṣan) is a Hindu Vedic solar deity and one of the Adityas. He is the god of meeting. Pushan is responsible for marriages, journeys, roads, and the feeding of cattle. He was a psychopomp (soul guide), conducting souls to the other world. He protected travelers from bandits and wild beasts, and protected men from being exploited by other men. He was a supportive guide, a "good" god, leading his adherents towards rich pastures and wealth.

Traditionally, the name of the deity is said to be derived from Sanskrit verb, pūṣyati, which means "to cause to thrive".^[1]Many modern scholars consider Pushan to be derived from the reconstructed Proto-Indo-European god*Péh₂usōn,^[2]which would thereby make Pushan a cognate of the Greek god Pan. The connection between Pan and Pushan was first proposed by the German scholar Hermann Collitz in 1924.^[3]

Texts:

Ten hymns in the Rigveda are dedicated to Pūṣan (including one jointly to Soma and Pūṣan and another to Indra and Pūṣan).^[4]His chariot is pulled by goats.^[5]^[6]Sometimes he is described as driving the Sun in its course across the sky. He seems to represent the sun as a guardian of flocks and herds. Pushan is also regarded as Kavi, who in turn became an epithet of a number of gods and further a title signifying "king".

He has braided hair and a beard, and carries a golden axe, a nawl, and a goad.^[7]^[8]He eats gruel, and in the Shatapatha Brahmana is stated to be toothless. He is married to Sūryā, the daughter of the Sun, whom the gods bestowed on him. He is a knower of paths and a guardian of roads.^[5]In this role he protects people from various dangers on roads, such as wolves and ambushers. He is also associated with divine paths, and is familiar with the path between earth and heaven, which allows him lead souls to heaven.^[8]He is invoked to guard cattle, horses, and sheep, and is asked to find those cattle that have been lost.^[6]^[8]

According to a narrative found in the Taittiriya Samhita, Rudra was excluded from the Daksha yajna, an important sacrifice in honor of various deities. He, in anger, pierced the sacrifice with an arrow and broke Pushan's teeth as he attempted to eat a part of the oblation. The later versions of this narrative are found in the Ramayana, Mahabharata, and the Puranas. In these versions, Rudra (or Shiva) was angry because his father-in-law, Daksha, the sacrificer, did not invite him. Shiva, in anger, kicked Pushan and knocked out his teeth as he was eating the oblation.^[9]In the Puranic versions, Virabhadra, created by Shiva from a lock of his matted hair, knocked out Pushan's teeth.

Then based on Ningishzida states this:

Ningishzida (Sumerian:𒀭𒊩𒌆𒄑𒍣𒁕^DNIN.G̃IŠ.ZID.DA, possible meaning "Lord [of the] Good Tree") was a Mesopotamian deity of vegetation, the underworld and sometimes war. He was commonly associated with snakes. Like Dumuzi, he was believed to spend a part of the year in the land of the dead. He also shared many of his functions with his father Ninazu.

In myths he usually appears in an underworld setting, though in the myth of Adapa he is instead described as one of the doorkeepers of the sky god Anu.

Ningishzida's titles connect him to plants and agriculture.^[4]He was frequently mentioned in connection with grass, which he was believed to provide for domestic animals.^[5]The death of vegetation was associated with his annual travel to the underworld.^[6]The "tree" in his name might be vine according to some Assyriologists, including Wilfred G. Lambert, and an association between him and alcoholic beverages (specifically wine) is well attested, for example one text mentions him alongside the beer goddess Ninkasi, while one of his titles was "lord of the innkeepers."^[6]

Like his father Ninazu, he was also associated with snakes, including the mythical mushussu, ushumgal and bashmu and in one case Nirah.^[6]He was also an underworld god, and in this role was known as the "chair bearer (or chamberlain) of the underworld."^[7]Frans Wiggermann on the basis of these similarities considers him and his father to be members of the group of "Transtigridian snake gods," who according to him shared a connection with the underworld, justice, vegetation and snakes.^[8]A further similarity between Ningishzida and his father was his occasional role as a warrior god, associated with victory (and as a result with the goddess Irnina, the personification of it).^[7]However, not all of their functions overlapped, as unlike Ninazu, Ningishzida never appears in the role of a divine healer.^[4]

According to Frans Wiggermann, Ningishzida's diverse functions can be considered different aspects of his perception as a "reliable god," well attested in Mesopotamian texts. The constellation Hydra could serve as his symbol, though it was also associated with Ishtaran and Ereshkigal.

In ancient Greek religion and mythology, Pan is the god of the wild, shepherds and flocks, rustic music and impromptus, and companion of the nymphs.^[3]He has the hindquarters, legs, and horns of a goat, in the same manner as a faun or satyr. With his homeland in rustic Arcadia, he is also recognized as the god of fields, groves, wooded glens, and often affiliated with sex; because of this, Pan is connected to fertility and the season of spring.^[1]

In Roman religion and myth, Pan was frequently identified with Faunus, a nature god who was the father of Bona Dea, sometimes identified as Fauna; he was also closely associated with Silvanus, due to their similar relationships with woodlands, and Inuus, a vaguely defined deity also sometimes identified with Faunus. In the eighteenth and nineteenth centuries, Pan became a significant figure in the Romantic movement of Western Europe and also in the twentieth-century Neopagan movement.

Then based on "Fauna" states this:

In ancient Roman religion and myth, Faunus was the rustic god of the forest, plains and fields; when he made cattle fertile, he was called Inuus. He came to be equated in literature with the Greek god Pan, after which Romans depicted him as a horned god. Faunus was one of the oldest Roman deities, known as the di indigetes. According to the epic poet Virgil, he was a legendary king of the Latins. His shade was consulted as a goddess of prophecy under the name of Fatuus, with oracles^[1]in the sacred grove of Tibur, around the well Albunea, and on the Aventine Hill in ancient Rome itself. Marcus Terentius Varro asserted that the oracular responses were given in Saturnian verse.^[3]Faunus revealed the future in dreams and voices that were communicated to those who came to sleep in his precincts, lying on the fleeces of sacrificed lambs. Fowler(1899) suggested that Faunus is identical with Favonius, one of the Roman wind gods (compare the Anemoi).Faunus may be of Indo-European origin and related to the Vedic god Rudra.^[6]It is believed that he was worshipped by traditional Roman farmers before becoming a nature deity.

(This is Cernunnos)

Then here is what the Wiki states on the Fertility God Min: "Min (Egyptian mnw) is an ancient Egyptian god whose cult originated in the predynastic period (4th millennium BCE). He was represented in many different forms, but was most often represented in male human form, shown with an erect penis which he holds in his left hand and an upheld right arm holding a flail."

"....His importance grew in the Middle Kingdom when he became even more closely linked with Horus as the deity Min-Horus. By the New Kingdom he was also fused with Amun in the form of Min-Amun, who was also the serpent Irta, a kamutef (the "bull of his mother" - aka father of his own mother as well as her son). Min as an independent deity was also a kamutef of Isis. One of Isis's many places of cult throughout the valley was at Min's temple in Koptos as his divine wife. Min's shrine was crowned with a pair of bull horns."

"As the central deity of fertility and possibly orgiastic rites, Min became identified by the Greeks with the god Pan. One feature of Min worship was the wild prickly lettuce Lactuca virosa and Lactuca serriola of which is the domestic version Lactuca sativa (lettuce) which has aphrodisiac and opiate qualities and produce latex when cut, possibly identified with semen. He also had connections with Nubia."

"However, his main centers of worship remained at Coptos and Akhmim (Khemmis)..... Male deities as vehicles for fertility and potency rose to prevalence at the emergence of widespread agriculture. Male Egyptians would work in agriculture, making bountiful harvests a male-centered occasion."

"Thus, male gods of virility such as Osiris and Min were more developed during this time. Fertility was not associated with solely women, but with men as well, even increasing the role of the male in childbirth. As a god of male sexual potency, he was honoured during the coronation rites of the New Kingdom, when the Pharaoh was expected to sow his seed—generally thought to have been plant seeds, although there have been controversial suggestions that the Pharaoh was expected to demonstrate that he could ejaculate—and thus ensure the annual flooding of the Nile."

"At the beginning of the harvest season, his image was taken out of the temple and brought to the fields in the festival of the departure of Min, the Min Festival, when they blessed the harvest, and played games naked in his honour, the most important of these being the climbing of a huge (tent) pole. This four day festival is evident from the great festivals list at the temple of Ramses III at Medinet Habu. In Hymn to Min it is said: Min, Lord of the Processions, God of the High Plumes, Son of Osiris and Isis, Venerated in Ipu... Min's wives were Iabet and Repyt (Repit)".

He is known as the Greek God Pan which again connects to Shiva.

Then we come to the Hopi God called "Masau'u", with whom is also called "The Great Spirit". It is apparent that the Yezidis state the God Masau'u would be Tawus Melek as they have similar stories. Let's look at some of the excerpts from a book called "Pueblo Gods and Myths" by Hamilton A. Tyler. "Here is a thorough, and long-needed, presentation of the nature of the Pueblo gods and myths. The Pueblo Indians, which include the Hopi, Zufii, and Keres groups, and their ancestors are closely bound to the Plateau region of the United States, . . . and-especially in recent years-New Mexico and Arizona. . . . There is an unmistakable analogy between Masau’u [Hopi] and the Christian Devil, and between the Greek god Hermes, who guided dead souls on their journey to the nether world. Mr. Tyler has drawn many useful comparisons between the religions of the Pueblos and the Greeks. ‘Because there is a widespread knowledge of the Greek gods and their ways,’ the author writes, ‘many people will thus be at ease with the Pueblo gods and myths.’ Of utmost importance is the final chapter of the book, which relates Pueblo cosmology to contemporary Western thought. . . . This account of their [the Pueblos] epic struggles to accommodate themselves and their society to the cosmic order is ‘must’ reading for historians, +ethnologists, students of comparative religions, and for all who take an interest in the role of religious devotion in their own lives."

In the website on The Peacock angel based by the Yezidi people states this: "The Hopis of Arizona know the Peacock Angel as their Masau’u, the King of the World during this era of the Fourth World. According to their tradition, Masau’u, whom the Hopis address as the “Great Spirit,” was ruler of the Third World but then fell from grace because of his pride. He subsequently lost his position as planetary ruler but was then reinstated to that exalted office at the beginning of the Fourth World."

In one source states: "Skeleton Man is Lord of the Dead in Hopi mythology, but is often depicted as a benign and even humorous figure. In the Hopi creation epic Skeleton Man is a culture hero who taught the Hopis the arts of agriculture as well as warning them about the dangers of the world. In other legends, he plays the role of a very earthy trickster who chases women and makes bumbling mistakes. These funny and scandalous stories make Skeleton Man into a more endearing, accessible figure. Although his aspects can be terrifying, Skeleton Man is generally considered a great friend of humanity who can be trusted to take care of Hopi people in the afterlife."

In the book "Pueblo Gods and Myths" by Hamilton A. Tyler states Masau'u to be a fire diety who would give fire to mankind. He is considered a feared deity who destroys everything he touches (Like Rudra the God of destruction and the Navajo Black God of fire from the Chapter "Shiva in the Bible"), and is a Psychopomp, which deals with the dead and a fertility deity. He is compared to Hermes as they are both trickster deities and fire deities. Here he is referred to as the "Great Spirit" the God who lives in the third world. He always would carry a blazing torch (similar to Prometheus, Mars and Venus, as they all carry the torches connecting to Genesis 15:17 "....behold a smoking furnace, and a burning "lamp/torch"..)

In the website called "Ancientpages.com" based on Masau'u states this: "The Hopi Indians’ encounter with Maasaw was very emotional and frightening. His physical appearance was so horrifying that many of the Hopi Indians ran. Some of the Hopi had the courage to stay because they had been looking for him for such a long time. They wanted to listen to Maasaw and receive spiritual wisdom. The remarkable encounter with Maasaw is one of the reasons why the Hopi are today considered keepers of sacred knowledge."

"The Hopi Indians have a very rich mythological tradition stretching back over centuries and they have stories about their ancestral journeys through three worlds to the Fourth World, where the people live today. According to Hopi legends, Maasaw (Masaw ,Massau, Masauwu) was a spirit that could not die and he was therefore appointed to be Guardian of the Underworld. He is described as a Skeleton Man and Lord of the Dead in Hopi mythology. Hopi mythology tells about the existence of worlds before our own. All previous worlds were destroyed because people became disobedient and lived contrary to Tawa’s plan. Tawa is the Sun spirit and creator in Hopi mythology. There are different versions of how the previous worlds were destroyed and who managed to survive. Some legends tell that the Third World was destroyed along with all evil people, but other stories reveal good inhabitants were simply led away from the chaos which had been created by their actions." (Here Tawa would be like Brahma as the Creator)

"Maasaw looked like a skeleton man, a stick person and he was a fearsome sight. When the Hopi Indians accepted Maasaw’s frightening physical appearance, his attitude began to change and he gave them wonderful knowledge. Maasaw explained to them how they should live and allowed their people to flourish."

Then it gets very interesting in the website "The Hopi/Extraterrestrial Connection: As Above, So Below", as Sean Casteel details some stories from the Hopi on Masau'u: “The flying shields are interesting,” he said, “because the term for them is ‘paatuwvota.’ The prefix for this word is ‘paa,’ which means ‘water’ or ‘wonder.’ Some think that this describes the concentric circles in water, the way they expand in water. This is the way flying shields looked in the air when they were flying.” Along with Sotuknang, the benevolent Kachinas, the spirit messengers, also pilot the flying shields-type craft." In India they would be called "Vimanas" as flying ships by the ancients....

"There is yet another Hopis god with extraterrestrial overtones, named Masau’u. “Masau’u was there at the beginning of the Fourth World . He’s the god of the Earth and the underworld and fire. This god led the people around and determined where they should build their villages. The people were basically migrating across the desert and building stone pueblos. They would live in these pueblos for maybe a century or less, and then they would abandon things and move on to another place. And the god Masau’u was with them all along in their journey. That’s where I believe this pattern of Orion on the desert of Arizona was fixed, by their migrations and the instructions of the Hopi god about where to build these villages."

“But Masau’u is a strange looking creature,” David continued. “He has a bulbous head and very large round eyes and a large round mouth. And he’s kind of bald. It’s said that his skin resembles the texture of a summer squash, kind of bumpy like that. His feet are very long and his body is always described as being gray. In fact, the word ‘amaus,’ the root word of Masau’u, literally means in the Hopi language gray. There are connections with the underworld and death and this kind of subterranean world that Masau’u is supposed to inhabit. “Artists have made drawings based upon the descriptions that the Hopi elders have made of this particular god and it really looks like an extraterrestrial gray. Our contemporary idea of what a gray looks like matches this ancient Hopi god perfectly. So, like I say, this god has a lot to do with how the Hopis lived and where they settled. Perhaps another extraterrestrial creature or maybe an inter-dimensional creature was assisting the Hopi in their life, in their existence in this Fourth World .”

So, when understanding Hermes and Thoth as the "Psychopomp", it's shown that he is Massau'u and Osiris the Lord of the Underworld. He is also called "Papa Legba":

Papa Legba is alwa, or loa, in West African Vodun and its diasporic derivatives (Dominican Republic Vudú, Haitian Vodou, Louisiana Voodoo, and Winti), who serves as the intermediary between God and humanity. He stands at a spiritual crossroads and gives (or denies) permission to speak with the spirits of Guineé, and is believed to speak all human languages. In Haiti, he is the great elocutioner. Legba facilitates communication, speech, and understanding. He is commonly associated with dogs. Papa Legba is invoked at the beginning of every ceremony. Papa Legba has his origins in the historic West African kingdom of Dahomey, located within present-day Benin. He usually appears as an old man on a crutch or with a cane, wearing a broad-brimmed straw hat and smoking a pipe, or drinking dark rum. The dog is sacred to him.....

"Papa Legba is a loa in Haitian Vodou, who serves as the intermediary between the loa and humanity. He stands at a spiritual you crossroads and gives (or denies) permission to speak with the spirits of Guinee, and is believed to speak all human languages. In Haiti, he is the great elocutioner. Legba facilitates communication, speech, and understanding. He is commonly associated with dogs."

"He usually appears as an old man on a crutch or with a cane, wearing a broad-brimmed straw hat and smoking a pipe, or drinking sparkling water. The dog is sacred to him. Legba is syncretized with Saint Peter, Saint Lazarus, and Saint Anthony. In Benin, Nigeria and Togo, Legba is viewed as young and virile trickster deity, often horned and phallic, and his shrine is usually located at the gate of the village in the countryside. Alternatively, he is addressed as Legba Atibon, Atibon Legba, or Ati-Gbon Legba."

Then there is the Orisha called "Elegua". In the Wiki states this: "Elegua (Yoruba: Èṣù-Ẹlẹ́gbára, also spelled Eleggua; known as Eleguá in Latin America and Spanish-speaking Caribbean islands) is an Orisha, a deity of roads in the religions of Santeria (Santería), Umbanda, Quimbanda, Candomblé."

"He is syncretized with either Saint Michael, Saint Anthony of Padua, or the Holy Child of Atocha. Elegua is known as Èṣù-Ẹlẹ́gbára in the Yoruba religion and is closely associated with Eshu. Ẹlẹ́gbára means the "master of force" in the Yoruba language. Eleguá is known in Cuba and Puerto Rico as the orisha and "owner" of caminos, or roads and paths."

"All ceremonies and rituals in Santería must first have the approval of Eleguá before progressing. He is the messenger of Olofi. Within the "Regla de Ocha" [Cuba], he slightly differs from Echu, who in this case is seen as his brother, by having less dangerous and less aggressive characteristics. Eleguá moves silently; in contrast, Echu "breaks through". Manifestations of Eleguá includes Akefun, Aleshujade, Arabobo, Awanjonu, Lalafán, Obasín, Oparicocha, and Osokere."

"There is a patakí (story) in Santería in which Olodumare gives Eleguá the keys to the past, present, and future; for this reason, Eleguá is often depicted holding a set of keys. A figure of Eleguá may be placed in the house behind the entrance door."

Then when you go to the "Holy Infant of Atocha or Santo Niño de Atocha", it states this: "....is a Roman Catholic image of the Christ Child popular among the Hispanic cultures of Spain, Latin America and the southwestern United States. It is distinctly characterized by a basket he carries, along with a staff, drinking gourd, and a cape affixed to which is a scallop shell, symbol of a pilgrimage to Saint James."

Then based on Baron Samedi states this: Baron Samedi (English: Baron Saturday), also written Baron Samdi, Bawon Samedi or Bawon Sanmdi, is one of the lwa of Haitian Vodou. He is a lwa of the dead, along with Baron's numerous other in carnations Baron Cimetière, Baron La Croix and Baron Criminel. He is the head of the Gede family of lwa; his brothers are Azagon Lacroix and Baron Piquant. He is sometimes identified with Guede Nibo.

Baron Samedi is usually depicted with a top hat, black tail coat, dark glasses, and cotton plugs in the nostrils, as if to resemble a corpse dressed and prepared for burial in the Haitian style. He is frequently depicted as a skeleton (but sometimes as a black man that merely has his face painted as a skull), and speaks in a nasal voice. The former dictator of Haiti, François Duvalier, known as Papa Doc, modeled his cult of personality on Baron Samedi; he was often seen speaking in a deep nasal tone and wearing dark glasses.

He is noted for disruption, obscenity, debauchery, and having a particular fondness for tobacco and rum. Additionally, he is the loa of resurrection, and in the latter capacity he is often called upon for healing by those near or approaching death, as it is only the Baron that can accept an individual into the realm of the dead.^[3]^[4]

Due to affiliation with François Duvalier, Baron Samedi is linked to secret societies in the Haitian government and includes them in his domain.^[5]

Baron Samedi spends most of his time in the invisible realm of vodou spirits. He is notorious for his outrageous behavior, swearing continuously and making filthy jokes to the other spirits. He is married to another powerful spirit known as Maman Brigitte, but often chases after mortal women. He loves smoking and drinking and is rarely seen without a cigar in his mouth or a glass of rum in his bony fingers. Baron Samedi can usually be found at the crossroads between the worlds of death and the living. When someone dies, he digs their grave and greets their soul after they have been buried, leading them to the underworld.

Among believers in Vodou, Baron Samedi is the master of the dead as well as a giver of life. He can cure mortals of any disease or wound so long as he thinks it is worthwhile. His powers are especially great when it comes to Vodou curses and black magic. Even if somebody has been afflicted by a hex that brings them to the verge of death, they will not die if The Baron refuses to dig their grave. So long as The Baron keeps them out of the ground, they are safe. In many Haitian cemeteries the longest standing grave of male is designated as the grave of Baron Samedi. A cross (the kwa Bawon, meaning "Baron's cross") is placed at a crossroads in the cemetery to represent the point where the mortal and spiritual world cross. Often, a black top hat is placed on top of this cross.

Then comes his consort "Maman Brigitt":

Maman Brigitte (English: Mother Brigitte) sometimes also written as Manman Brigitte and also known by Gran Brigitte, Grann Brigitte, Manman, Manman Brigit, and Maman Brijit is a death loa (or lwa) and the consort of Baron Samedi inHaitian Vodou. She drinks rum infused with hot peppers and is symbolized by a black rooster.^[1]Maman Brigitte protects graves in Haitian cemeteries that are marked by the cross of Baron Samedi.^[2]^[3]Graves that are protected by Brigitte are marked by a mound of stones.^[3]In Vodou practice, the first burials serve as offerings to either Baron Samedi or Maman Brigitte depending on the sex of the person being buried: if male, the grave is dedicated to Baron Samedi; if female to Maman Brigitte.^[4]

Like Samedi and the Guede, she is foul-mouthed.^[4]She is also the adoptive mother of Guede Nibo. Due to the religious persecution of enslaved African and Caribbean people in Haiti and the Americas, Maman Brigitte was disguised via syncretism and represented by various saints, usually those depicted with fire or snakes, including Brigid of Kildare and, less frequently, Mary Magdalene.

Based on this segment, Baron Samedi and Maman Brigitt is basically Shiva and Kali, though Siva is shown with red hair who has a black wife Kali, whereas Baron Samedi is black whose consort has red hair. What is also interesting is that Papa Legba's symbol is the dog. In the next Chapter will detail the dog symbolism towards Satan.

Based from "ancient-origins.net" states this:

Baron Samedi And the Voodoo Loa of Haiti:

Death is an inevitability that every person must face. It is the fate of all humans. However, to make death easier, each religion provides a guide that assists the transition from the human world to the afterlife. Within the religion of Haitian Voodoo, the task is carried out by the Loa known as Baron Samedi. Loa are spirits in the African diasporic religion of Haitian Voodoo. Baron Samedi’s name translated means “Lord Saturday,” and he is the most recognizable of the Voodoo Loa.

Voodoo Religion and the Powers of Baron Samedi:

To understand the Baron and his powers, we must first understand the religion that he hails from. Catherine Beyer writes in her article, “An introduction to the Basic Beliefs of the Vodou (Voodoo) Religion” that:

Vodou (or Voodoo) is a monotheistic religion that is often misunderstood. Common in Haiti and New Orleans, Vodou merges Catholic and African beliefs to form a unique set of rituals that include Voodoo dolls and Symbolic drawings.”

Thus, the practitioners of Voodoo believe in one Supreme God, whom they call Bondye. However, Bondye’s existence is beyond human comprehension and because of that, He does not intervene directly in human affairs. This is where the Loa or Lwa come in. These are the primary spirits of Voodoo, and each one is responsible for a particular aspect of life. They also possess dynamic and changing personalities, depending on the duties they perform. They act as intermediaries between humans and Bondye.

Britannica describes the relationship between the humans and Loa as follows:

“The Lwa play a major role in the lives of Vodou devotees. In fact, the relationship between the Lwa and the living is intense, demanding, and yet reported to be quite fulfilling. Human beings serve the Lwa, whom they love, respect, and fear. In fact, Vodou practitioners always, out of respect, use the prefix Papa (father), Manman (mother), or Metres (mistress) while referring to a lwa. In return for their devotion and piety, the living expect blessings, protection, and favors from the lwa.”

Loa can be understood as being like angels, but different in the sense that they each possess their own unique personalities. Therefore, to navigate through daily life, Voodooists must cultivate personal relationships with the Loa, to have their needs met. Relationships can be formed by making offerings at personal altars created to a particular Loa and by participating in elaborate ceremonies of dance, music, and spirit possession.

The Loa are divided into three families: Rada, Petro, and Ghede. Within this article, the primary focus will be on the Ghede, who, as Beyer describes, are:

“Ghede lwa are associated with the dead and also with carnality. They transport dead souls, behave irreverently, make obscene jokes, and perform dances that mimic sexual intercourse. They celebrate life in the midst of death. Their color is black.” (This is twerking)

Baron Samedi is the head of the Ghede family of Loa, ruling over them with his wife, Maman Brigitte. Both figures are associated with the dead and the underworld.

The Unique Role of Baron Samedi:

Baron Samedi has a unique presence. He is often described by his followers as wearing a black tailcoat, accompanied by his iconic top hat. In some cases, they even depict him as having a skull instead of a face. A proper description of the Baron is provided by Fritz in his article, “Who is Baron Samedi of Haitian Voodoo?”:

The man is dressed in an impeccable purple and black suit, accompanied by an ornate top hat. His shoes are fine leather. He smokes cigars and sips from a glass of rum. Taking a closer look at the man, you see that his face is not normal at all, but a skull, grinning at you from beneath his black hat.

He introduces himself as Baron Samedi, master of the dead. Confused about how you came to be lying in the bottom of an open grave, he explains: The grave is yours. Baron Samedi dug it for you himself, to grant you passage from the mortal world. He cracks more jokes, drinks, and smokes some more and welcomes you to the afterlife.”

From the description, the Baron seems to be a mix of the Greek gods, Hades (god of the dead) and Thanatos. Like Thanatos, he guides the souls of the dead into the afterlife. On the other hand, like Hades he rules over the underworld, ensuring that the dead remain dead. However, Baron Samedi is not a deity like Hades or Thanatos, therefore, many see him as the angel of death, although a bit more on the eccentric side.

Baron Samedi has the power to decide who should die and who can go on living. He isn’t simply a spirit who guides the souls, he has the power over life and death. He ensures that the veil between the living world and the dead is never disrupted, and that the dead never return as zombies to bother the living.

Thus, anyone wishing to connect with the dead must evoke the help of the Baron, who then determines whether to allow the dead to contact the living world or not. He may also be asked to dispel ghosts that may be haunting the living and even asked to ward off death. In return, the Baron may expect gifts for his deeds, which can vary according to his mood; but mostly he is content with gifts of black coffee, cigars, or spicy rum.

However, there is a flip side to his character. He is said to be just and kind, with a soft spot for children. He prefers children to live full lives before they meet him. Much of his time is spent lingering at the crossroads between life and death. This shows that he knows the value of life and wants the person he is transporting to the afterlife to have had a complete life. He is also a protector of life, having the power to cure any disease or wound, but he will only do so if the person is worth saving. Baron Samedi is powerful enough to counteract powerful curses and hexes.

Authors Micah Issitt and Carlyn Main explain the Baron’s abilities further:

“Baron Samedi may be petitioned for help with conception, as he represents the confluence of sexuality and death. He is also invoked as the patron of many professionals who come into contact with death, such as gravediggers, funerary officials, and mortuary workers. Because Samedi has absolute authority to decide when and how an individual will die, he is also thought to favor children and to intervene on the behalf of ailing children, ensuring that they live a full life before they arrive in the underworld.”

Baron Samedi has various incarnations, they each perform a distinct role and even have their own personality traits and mannerisms. They are Baron La Croix, Baron Cimitiere, and Baron Criminel. Sometimes these personas are depicted as separate beings that have a strong link to Baron Samedi. Baron La Croix is depicted as a sophisticated spirit of death; he is quite cultured and debonair. He is very philosophical in his views about death and finds death both absurd and humorous. He offers a constant reminder to his followers about delighting in life’s pleasures before it comes to an end.

Baron Cimitiere performs the duty of guardian of the cemetery, digging the graves and welcoming the deceased to the underworld. He even protects the graves, so that the dead aren’t disturbed. He is a dashing and debonair character, so much so, that even his horses wear tuxedos and top hats. He has expensive tastes, smokes the best cigars, and drinks fine liquor. However, Baron Cimitiere is still just as crass as the other Ghede, but with a polite manner and upper-class airs. Baron Criminel is the most feared among the three, he is believed to be the first murderer who was condemned to death. People invoke him when they wish for swift judgment to be pronounced. A person possessed by Baron Criminel will shout obscenities, spit, and even try to stab the people around him. Sometimes people must sacrifice a black chicken by burning it alive because it is believed that the shrieks of the animal appeal to the Baron’s cruel nature. There are symbols associated with the Baron as well, these include coffins, black goats and roosters, and skeletons. Even the colors black and purple, which appear in his clothing, have become associated with this powerful Loa.

Throughout history, many have used religion to ensure their control over their people. One of them is the former president of Haiti, Francois Duvalier, who believed that he was the reincarnation of Baron Samedi. In 1959, Duvalier collapsed into a coma, which lasted nine hours before he regained consciousness. There is evidence that he may have suffered considerable brain damage from his collapse, and after regaining consciousness he began to behave like the powerful Loa, Baron Samedi. Duvalier dressed in black, trying to replicate the look of the Baron, and even tried to copy the way he is believed have spoken.

Baron Samedi is an important Loa in the pantheon of Haitian Voodoo spirits. He welcomes the dead to the afterlife; protects people from untimely death; and deals with the ghosts that try to haunt the living. He is responsible for all things associated with death; however, he still finds time to enjoy his cigars and rum. He embodies an undying life force and is a reminder for people to live their lives to the fullest before meeting their end. Practitioners of Voodoo can be assured that they have “friends on the other side.”

So, based on the Voudon deity of the dead and Mahakala the Black God details this same significance of death and the graveyard (as Mahakala is the Black Deva of the Graveyard). He is Massau'u as the Skeleton God, but another deity called Mictlantecutli the God of Death.

Mictlāntēcutli or Mictlantecuhtli (Nahuatl meaning "Lord of Mictlan"), in Aztec mythology, is a god of the dead and the king of Mictlan (Chicunauhmictlan), the lowest and northernmost section of the underworld. He is one of the principal gods of the Aztecs and is the most prominent of several gods and goddesses of death and the underworld. The worship of Mictlantecuhtli sometimes involve dritual cannibalism, with human flesh being consumed in and around the temple.^[2]Other names given to Mictlantecuhtli include Ixpuztec (“Broken Face”), Nextepehua (“Scatterer of Ashes”), and Tzontemoc (“He Who Lowers His Head”).

Mictlantecuhtli was considered 6 feet (1.8 m) tall and was depicted as a blood-spattered skeleton or a person wearing a toothy skull.^[5]Although his head was typically a skull, his eye sockets did contain eyeballs.^[6]His headdress was shown decorated with owl feathers and paper banners and he wore a necklace of human eyeballs,^[5]while his earspools were made from human bones.^[7]

He was not the only Aztec god to be depicted in this fashion, as numerous other deities had skulls for heads or else wore clothing or decorations that incorporated bones and skulls. In the Aztec world, skeletal imagery was a symbol of fertility, health and abundance, alluding to the close symbolic links between life and death.^[8]He was often depicted wearing sandals as a symbol of his high rank as Lord of Mictlan.^[9]His arms were frequently depicted raised in an aggressive gesture, showing that he was ready to tear apart the dead as they entered his presence.^[9]In the Aztec codices, Mictlantecuhtli is often depicted with his skeletal jaw open to receive the stars that descend into him during the daytime.^[7]

His wife was Mictecacihuatl,^[5]and together they were said to dwell in a windowless house in Mictlan. Mictlantecuhtli was associated withspiders,^[7]owls,^[7]bats,^[7]the 11th hour, and the northern compass direction, known as Mictlampa, the region of death.^[10]He was one of only a few deities held to govern over all three types of souls identified by the Aztecs, who distinguished between the souls of people who died normal deaths (of old age, disease, etc.), heroic deaths (e.g. in battle, sacrifice or during childbirth), or non-heroic deaths. Mictlantecuhtli and his wife were the opposites and complements of Ometecuhtli and Omecihuatl, the givers of life.^[11]

Mictlantecuhtli was the god of the day signItzcuintli (dog),^[5]one of the 20 such signs recognised in the Aztec calendar, and was regarded as supplying the souls of those who were born on that day. He was seen as the source of souls for those born on the sixth day of the13-day week and was the fifth of the nine Night Gods of the Aztecs. He was also the secondary Week God for the 10th week of the20-week cycle of the calendar, joining the sun god Tonatiuh to symbolize the dichotomy of light and darkness.

So, here states that his sign is the Dog to which will connect to Anubis and Xolotl as the God of the Underworld, but also, he is shown with the Pope's mitre. Agni is linked to the God of fire and the Underworld, and will be revealed as the Red Dragon.

Now, let's recap the story "Journey to the West" which is about Sun Wukong the Monkey King who had fought against the gods of Heaven. The story states that Sun Wukong was born from a stone egg and came out radiating like fire. He grows up living amongst the other demons, goes to learn martial arts and learns the "72" shapeshifting techniques. He gets picked up by the gods in Heaven and comes to live with them, but doesn't like the way the angels treat him. These are subtle references to Thoth or Enoch.

So, he steals and eats the peaches of Immortality, swallows the pills of longevity, and gets his name erased from the book of death when he was taken into hell. He later proves to be formidable as he was able to take a cudgel weapon from the Ocean, gets the Phoenix armor and because of the food he ate, he becomes a fire deity. He goes out to defeat the gods and creates havoc in the Heavens until the Buddha comes and puts a stop to him. Afterwards He is placed underneath a mountain for 500 years as a prison. It is very interesting that he would be care free and proud of himself, similar to the pride of this Angel. This is similar to the Garuda story as He also comes out of the stone egg radiating like fire, and had to go and steal the Amrit from Heaven on the account of his mother (Vinata) being ransomed by the serpent race (his half brothers). He goes and fights against the gods and defeats them until Vishnu comes and puts a stop to him. Although Vishnu didn't fight him, but shows that Garuda is given immortality and becomes Vishnu's vehicle.

Now, another version (Post Vedic story) states that Garuda would be proud for his abilities but gets humbled by Vishnu (Buddha and Vishnu in the similar position and Sun Wukong and Garuda having pride or "equal to Heaven"). Then there is the monkey god Hanuman who is also given immortality, has the ability to shapeshift, but then becomes humbled by the gods. Based on the story of Sun Wukong, it's shown that after he gets humbled and becomes free, he goes to help mankind from the scourge of demons plaguing mankind. In one perspective this would be the "reinstated" position by God after his fall, but there is more to this segment because the Garuda bird stands for something far more significant than what the Post Vedic story states.

Now, from this we can connect to the legendary fire bird called the "Phoenix", which is a bird that dies into ashes and gets reborn. The number of the Phoenix depends from 500 to 1000 years. Based from certain sources, Phoenix can be broken down to "Pho-Enix", "Pa-Hanok" to the "House of Enoch". The legend of the Phoenix seems to be based on the story of Enoch who was "taken" by God, as Enoch was the one who never saw death but became immortal, or a mortal who became an angel in this situation. Then there is the "Emerald Tablets" as Thoth the Atlantean was taken up to Heaven by the gods and became immortal. It's interesting as the images of "Thoth" connects to the bird Ibis (Iblis) and the Baboon Thoth, to which seemingly connects to Sun Wukong who was taken to Heaven. Again, Sun Wukong would adorn himself the "Phoenix armor" that engulfs him in flames. This is Iblis who was taken up to Heaven. Though they state it to being the bird Garuda however this the "Post Vedic" story. I will reveal how the true bird symbolism really belongs to Archangel Michael whereas the Devil who is Shiva was originally based on the Serpent as the Naga.

Now, based on the "Tengu" is somewhat described as a bird or a monkey-like entity, though this details the hidden significance of the Monkey King Sun Wukong, which would be separated from the actual bird deity as they state is "Tengu". They state the Tengu is called "Heavenly Dog", but is really based on the Chinese "Tiangou" reference to the dog:

The tiangou (Chinese:天狗;pinyin:tiāngǒu;Wade–Giles:t'ien¹-kou³;lit.'Heavenly Dog') is a legendary creature from China. The tiangou resembles a black dog or meteor, and is thought to eat the Sun or Moon during an eclipse.

As a good spirit, it has the appearance of a white-headed fox. It brings peace and tranquility, and gives protection from all sorts of troubles and robbers. It is referred to by astrologers as a constellation guardian of welfare. This constellation consists of seven stars. In ancient China it was called "Dog" (in the constellation Argo Navis). As a bad spirit, it is a black dog that eats the Moon. According to the legends, as an interpretation of a lunar eclipse, after Houyi shot down the nine Suns in the sky, he was awarded with an immortality-granting pill by the Queen Mother of the West. Before he could eat it, his wife Chang'e ate it, hoping she could maintain her youth. Chang'e felt her body getting lighter and flew away. Seeing this, a black dog that Hou Yi was rearing went inside her room and licked the remains of the pill. He then chased after Chang'e, getting bigger and bigger. Chang'e, terrified, hid on the Moon. The black dog then ate the Moon, along with Chang'e. After being informed of this, the Queen Mother of the West captured the dog. Surprised to see that the dog was actually Hou Yi's, she assigned him to guard the gates of heavens and bestowed upon him the title of Tiangou. Tiangou spat the Moon and Chang'e back out, and Chang'e continued living on the Moon.

Zhang Xian (Chinese:張仙; pinyin: Zhāng Xiān) is the enemy of the tiangou. It is said that he protects his children from the dog god with his bow and arrows. He is often depicted aiming at the sky, waiting for the beast to appear. He is the god of birth and the protector of male children. Many sought for him to give them male offspring and to protect their living sons. The term tengu and the characters used to write it may be borrowed from the name of tiangou, though this is still to be confirmed. Despite the characters, both creatures are independent mythological creatures with no common ancestor or origin. A tengu is usually depicted as a bird or man with a long nose and other bird-like characteristics, while the tiangou is a dog.

Then based on "Tiangou" we get "Tien Kou". Let's see Erlang Shen's dog:

Xiaotian Quan(Chinese:哮天犬 or 嘯天犬;pinyin:Xiàotiān Quǎn; lit. 'Howling/Barking Celestial Dog') is a Chinese mythological beast and companion of the Chinese god Erlang Shen. Depicted as a black dog, it assists Erlang Shen in battle by using its powerful bite and howl to attack, maul, or subdue demons. Xiaotian Quan appears in Journey to the West, Fengshen Yanyi, and other legends about Erlang Shen, such as Lotus Lantern and several Chinese folktales.

Then Erlang Shen: Erlang Shen, or simply Erlang, is a god in Chinese folk religion and Daoism, associated with water (flood control), justice, warriorhood, hunting, and demon subdual. He is commonly depicted as a young man with a third, truth-seeing eye in the middle of his forehead, wielding a three-pronged spear, and being accompanied by his loyal hunting dog, Xiaotian Quan.

The origin of Erlang is complex. He is most commonly believed to be the deification of Li Erlang, the second son of Li Bing, a hydraulic engineer of the Qin dynasty (221–206 BC). Later stories identify him as the deification of Yang Jian, the nephew of the legendary Jade Emperor. He is also identified with several other folk heroes associated with controlling floods.

In the Ming-era semi-mythical novels Investiture of the Gods and Journey to the West, Erlang Shen is the nephew of the Jade Emperor. In the former novel, he assists the Zhou army in defeating the Shang. In the latter, he is the second son of a mortal and the Jade Emperor's sister Yunhua, as well as an enemy-turned-ally of the Monkey King. In his legends he is known as the greatest warrior god of heaven, and was a disciple of Yuding Zhenren, who taught him fighting and magical skills such as the 72 Earthly Transformations.

It is rather interesting that Erlang Shen would have a dog by his side. In the Islamic story of Iblis, the dog came forth from his spit, while other means states him to having a dog has his companion. Erlang Shen is shown in the same manner while having the third eye and the three prong spear like Shiva. Let's connect this God to "Ogun":

In Yoruba religion, Ogun is a primordial orisha in Yoruba Land. In some traditions, he is said to have cleared a path for the other orisha to enter Earth, using a metal axe and with the assistance of a dog. To commemorate this, one of his praise names, ororiki, is Osin Imole or the "first of the primordial Orisha to come to Earth". He is the god of war and metals. In his earthly life Ogun is said to be the first king of Ife. When some of his subjects failed to show respect, Ogun killed them and ultimately himself with his own sword. He disappeared into the earth at a place called Ire-Ekiti, with the promise to help those who call on his name. His followers believe him to have wo ile sun, to have disappeared into the earth's surface instead of dying. Throughout his earthly life, he is thought to have fought for the people of Ire, thus is known also as Onire. The primary symbols of Ogun are iron, the dog, and the palm frond. Meats are sacrifices for Ogun. Dogs are the traditional companions of hunters, but Ogun's personality is also seen as "doglike": aggressive, able to face danger, and straightforward.

In Dahomey religion, Gu is the vodun of war and patron deity of smiths and craftsmen. He was sent to earth to make it a suitable place for men to live happily, and he has not yet finished this task.

Then based from Yama states this segment on having dogs has his companion:

Sharvara (Sanskrit:शार्वर,romanized: Śārvara), also rendered Shabala (Sanskrit:शबल,romanized: Śabala)^[1]and Shyama (Sanskrit:श्याम,romanized: Śyāma) are two Hindu mythological watch dogs associated with Yama. Sharvara is identified with the constellation Canis Major, and Shyama with Canis Minor; together they guard the gates of the underworld, the domain of Yama.

Sharvara and Shyama are described to be two ferocious, four-eyed dogs that guard the entrance to the palace of Yama. The dead are required to get past these dogs in order to be rendered judgement by their master.^[8]They are referred to as Mithūdṛśā, meaning that they are not both capable of sight at the same time. The dogs are first described in the Yamasukta section of the Rigveda. Named as the children of Sharama, departed souls are asked to venture beyond the two spotted four-eyed dogs in order to join their pitrs. They are also mentioned in a prayer to Yama, in which the dead are requested to be entrusted to their protection, and are extolled as the guardians of the road. The Atharvaveda describes the dogs as the messengers of Yama, designated with the role of seeking out individuals who are to die. Sharvara can be compared with the Greek Cerberus, the mythological dog of the Greeks with similar characteristics. However, there is no description of Cerberus having a companion, and he is usually depicted with three heads.^[12]Scholars have concluded that the three heads were a Greek addition to the underlying Indo-Aryan myth. Shavara and Shyama can also be compared to Odin's wolves Geri and Freki in Norse mythology.^[15]Odin (the all-father) just like Yama (the progenitor of all humans) sits on a chair guarded by two dogs.

So, let's see Odin:

Odin(/ˈoʊdɪn/; from Old Norse: Óðinn) is a widely revered god in Norse mythology and Germanic paganism. Most surviving information on Odin comes from Norse mythology, but he figures prominently in the recorded history of Northern Europe. This includes the Roman Empire's partial occupation of Germania (c.2BCE), the Migration Period (4th–6th centuries CE) and the Viking Age(8th–11th centuries CE). Consequently, Odin has hundreds of names and titles. Several of this stem from the reconstructed Proto-Germanic theonym Wōðanaz, meaning "lord of frenzy" or "leader of the possessed", which may relate to the god's strong association with poetry.

Most mythological stories about Odin survive from the 13th-centuryProse Edda and an earlier collection of Old Norse poems, the Poetic Edda, along with other Old Norse items like Ynglinga saga. The Prose Edda and other sources depict Odin as the head of the pantheon, sometimes called the Æsir,^[a]and bearing a spear and a ring. Wider sources depict Odin as the son of Bestla and Borr; brother to Vili and Vé; and husband to the goddess Frigg, with whom he fathered Baldr. Odin has many other sons, including Thor, whom he sired with the earth-goddess Jörð. He is sometimes accompanied by animal familiars, such as the ravens Huginn and Muninn and the wolves Geri and Freki. The Prose Edda describes Odin and his brothers' creation of the world through slaying the primordial being Ymir, and his giving of life to the first humans. Odin is often referred to as long-bearded, sometimes as an old man, and also as possessing only one eye, having sacrificed the other for wisdom.

Odin is widely regarded as a god of the dead and warfare. In this role, he receives slain warriors—the einherjar—at Valhöll ("Carrion-hall" or "Hall of the Slain") in the realm of Asgard. The Poetic Edda associates him with valkyries, perhaps as their leader. In the mythic future, Odin leads thee in herjarat Ragnarök, where he is killed by the monstrous wolf Fenrir. Accounts by early travellers to Northern Europe describe human sacrifices being made to Odin. In Old English texts, Odin is euhemerized as an ancestral figure for royalty and is frequently depicted as a founding figure for various Germanic peoples, such as the Langobards. In some later folklore, he is a leader of the Wild Hunt, a ghostly procession of the dead.

Odin has an attested history spanning over a thousand years. He is an important subject of interest to Germanic scholars. Some scholars consider the god's relations to other figures—as reflected, for example in the etymological similarity of his name to the name of Freyja's husband Óðr. Others discuss his historical lineage, exploring whether he derives from Proto-Indo-European mythology or developed later in Germanic society. In modern times, most forms of the new religious movement Heathenry venerate him; in some, he is the central deity. The god regularly features across all forms of modern media, especially genre fiction, and—alongside others in the Germanic pantheon—has lent his name to a day of the week, Wednesday, in many languages.

The modern English weekday name Wednesday derives from Old English Wōdnesdæg, meaning 'day of Wōden'. Cognate terms are found in other Germanic languages, such as Middle Low German and Middle Dutch Wōdensdach (modern Dutchwoensdag),Old Frisian Wērnisdei (≈Wērendei) and Old Norse Óðinsdagr (cf. Danish, Norwegian, Swedishonsdag). All of these terms derive from Late Proto-Germanic *Wodanesdag ('Day of Wōðanaz'), a calque of Latin Mercurii dies('Day of Mercury'; cf. modern Italian mercoledì, French mercredi, Spanish miércoles)

Based on Odin's dogs states this:

In Norse mythology, Geri and Freki are two wolves which are said to accompany the god Odin. They are attested in the Poetic Edda, a collection of epic poetry compiled in the 13th century from earlier traditional sources, in the Prose Edda, written in the 13th century by Snorri Sturluson, and in the poetry of skalds. The pair has been compared to similar figures found in Greek, Roman and Vedic mythology, and may also be connected to beliefs surrounding the Germanic "wolf-warrior bands", the Úlfhéðnar.

So he is basically Hermes and Mercury. Based on Hades details this: Hades, in the ancient Greek religion and mythology, is the God of the dead and riches and the King of the underworld, with which his name became synonymous.^[2]Hades was the eldest son of Cronus and Rhea, although this also made him the last son to be regurgitated by his father.^[3]He and his brothers, Zeus and Poseidon, defeated, overthrew, and replaced their father's generation of gods, the Titans,^[4]and claimed joint sovereignty over the cosmos. Hades received the underworld, Zeus the sky, and Poseidon the sea, with the solid earth, which was long the domain of Gaia, available to all three concurrently. In artistic depictions, Hades is typically portrayed holding a bident^[5]and wearing his helm with Cerberus, the three-headed guard-dog of the underworld, standing at his side.

Again, all depicting this Angel to having the dog symbolism. Even Loki would have the symbolism of the dog fenrir:

Loki is a god in Norse mythology. He is the son of Fárbauti (a jötunn) and Laufey (a goddess), and the brother of Helblindi and Býleistr. Loki is married to the goddess Sigyn and they have two sons, Narfi or Nari and Váli. By the jötunn Angrboða, Loki is the father of Hel, the wolf Fenrir and the world serpent Jörmungandr. In the form of a mare, Loki was impregnated by the stallion Svaðilfari and gave birth to the eight-legged horse Sleipnir.

Like other gods, Loki is a shape shifter and in separate sources appears in the form of a salmon, a mare, a fly, and possibly an elderly woman named Þökk(Old Norse 'thanks'). While sometimes friendly with the gods, Loki engineers the death of the beloved god Baldr. For this, Odin's specially engendered son Válibinds Loki with the entrails of one of his sons, where he writhes in pain. In the Prose Edda, this son, Nari or Narfi, is killed by another of Loki's sons, who is also called Váli. The goddess Skaði is responsible for placing a serpent above him while he is bound. The serpent drips venom from above him that Sigyn collects into a bowl; however, she must empty the bowl when it is full and the venom that drips in the meantime causes Loki to writhe in pain, thereby causing earthquakes. Loki is foretold to eventually break free from his bonds and, among the forces of the jötnar, to go to battle with the gods, during which time his children play a key role in the destruction of all but two humans over the events of Ragnarök. Loki has a particular enmity with the god Heimdallr. The two are in fact prophesied to kill one another during Ragnarök.

Basically, the serpent and the dog along with Hell depicts the God of the Underworld symbolism. Ogun, Erlang Shen, Hades, Yama, Odin, Loki is Shiva going back to Agni. Loki and the fire God Logi would be one and the same considering the fore God Surtur is Shiva.

Now, based from understanding the legends and stories of the Thoth as an "herald", this aspect can par with the story of "Prometheus" who, as the "Theogony of Hesiod" states was a messenger from the Gods to mankind. There are many interesting similarities based on this segment. Here in the aftermath of the Titanomachy (Gods vs Titan war) which lasted 10 years, the story states that it was he and his brother Epimetheus (meaning afterthought) who would create the animals and the earth. He gave every creation a gift of ability, but when it came to the last creation called man, he gave him the power of fire. In another version states that after Prometheus created man, Athena was the one who breathe her spirit into man to bring life. This is similar to the Enki and Ninurta story and the creation of mankind.

Now, it's stated that it was the fire that made mankind into an enlightened being, but Zeus apparently didn't want mankind to grow from their knowledge, so he took away the fire from them. Then based from the story states that Mankind became ignorant, but Prometheus was able to distract the gods and steal the fire from Hephaestus' cauldron, and came down bringing the fire to them. Then as the story goes, Zeus and the gods had bound Prometheus to a rock with chains to having an eagle eat his liver everyday (the liver grows back as He is immortal).

Then there is the story of Loki as he was said to be a trickster deity, and was said to be mischievous as the Asgardians didn't like Him. Apparently, Loki was said to be responsible for the death of Baldur (the God of light) and as the result states, the Asgardians had him bound to a rock with the entrails of one of his children, and had placed a serpent above dripping poison on his face. This torture is similar to Prometheus as well. Sun Wukong is punished under five mountains for 500 years until his release.

Based from Revelations 20: "And I saw an angel come down from heaven, having the key of the bottomless pit and a great chain in his hand.²And he laid hold on the dragon, that old serpent, which is the Devil, and Satan, and bound him a thousand years,³And cast him into the bottomless pit, and shut him up, and set a seal upon him, that he should deceive the nations no more, till the thousand years should be fulfilled: and after that he must be loosed a little season."

Now, there is a theory that Prometheus wasn't chained due to bringing the fire to mankind, but was responsible for the death of Dionysus. This situation would be based on Loki's indirect involvement of Baldur's death and thus was punished in chains. Now, I had wonder why in Revelations the dragon would be bound for aa thousand years and then be let loose? It's just common sense to end it, but knowing the similar story of the Devil being bound or punished is the same story. Even "The Book of Enoch" states Samyaza and Azazel being bound hand and foot on was due to exposing mankind the secrets to Heaven, as this is a Prometheus story.

Then based on the dog reference, we can now establish the dog deity called "Anubis" who is the God of the Underworld. it's noted that Osiris is Anubis and all considered the same God (or Dog):

Osiris was the god of fertility, agriculture, the afterlife, the dead, resurrection, life, and vegetation in ancient Egyptian religion. He was classically depicted as a green-skinned deity with a pharaoh's beard, partially mummy-wrapped at the legs, wearing a distinctive atef crown and holding a symbolic crook and flail.^[5]He was one of the first to be associated with the mummy wrap. When his brother Set cut him to pieces after killing him, with her sister Nephthys, Osiris's sister-wife, Isis, searched Egypt to find each part of Osiris. She collected all but one – Osiris's genitalia. She then wrapped his body up, enabling him to return to life. Osiris was widely worshipped until the decline of ancient Egyptian religion during the rise of Christianity in the Roman Empire.^[6]^[7]

Osiris was at times considered the eldest son of the earth god Geb^[8]and the sky goddess Nut, as well as brother and husband of Isis, and brother of Set, Nephthys, and Horus the Elder, with Horus the Younger being considered his posthumously begotten son.^[8]^[9]Through syncretism with Iah, he was also a god of the Moon.^[10]

Osiris was the judge and lord of the dead and the underworld, the "Lord of Silence"^[11]and Khenti-Amentiu, meaning "Foremost of the Westerners".^[12]In the Old Kingdom(2686–2181 BC) the pharaoh was considered a son of the sun god Ra who, after his death, ascended to join Ra in the sky. After the spread of the Osiris cult, however, the kings of Egypt were associated with Osiris in death – as Osiris rose from the dead, they would unite with him and inherit eternal life through imitative magic.^[13]^[14]Through the hope of new life after death, Osiris began to be associated with the cycles in nature, in particular the sprouting of vegetation and annual flooding of the Nile River, as well as the heliacal rising of Orion and Sirius at the start of the new year.^[15]He became the sovereign that granted all life, "He Who is Permanently Benign and Youthful".

Here is what the Wiki states on this Xolotl the dog God of the world: "In Aztec mythology, Xolotl was a god of fire and lightning. He was commonly depicted as a dog-headed man and was a soul-guide for the dead. He was also god of twins, monsters, misfortune, sickness, and deformities."

"Xolotl is the canine brother and twin of Quetzalcoatl, the pair being sons of the virgin Coatlicue. He is the dark personification of Venus, the evening star, and was associated with heavenly fire. Xolotl was the sinister god of monstrosities who wears the spirally-twisted wind jewel and the ear ornaments of Quetzalcoatl. His job was to protect the sun from the dangers of the underworld. As a double of Quetzalcoatl, he carries his conch-like ehecailacacozcatl or wind jewel."

"Xolotl accompanied Quetzalcoatl to Mictlan, the land of the dead, or the underworld, to retrieve the bones from those who inhabited the previous world (Nahui Atl) to create new life for the present world, Nahui Ollin, the sun of movement."

"In a sense, this re-creation of life is reenacted every night when Xolotl guides the sun through the underworld. In the tonalpohualli, Xolotl rules over day Ollin (movement) and over trecena 1-Cozcacuauhtli (vulture). His empty eye sockets are explained in the legend of Teotihuacan, in which the gods decided to sacrifice themselves for the newly created sun. Xolotl withdrew from this sacrifice and wept so much his eyes fell out of their sockets."

"According to the creation recounted in the Florentine Codex , after the Fifth Sun was initially created, it did not move. Ehecatl ("God of Wind") consequently began slaying all other gods to induce the newly created Sun into movement."

"Xolotl, however, was unwilling to die in order to give movement to the new Sun. Xolotl transformed himself into a young maize plant with two stalks (xolotl), a doubled maguey plant (mexolotl), and an amphibious animal (axolotl). Xolotl is thus a master transformer. In the end, Ehecatl succeeded in finding and killing Xolotl."

"In art, Xolotl was typically depicted as a dog-headed man, a skeleton, or a deformed monster with reversed feet. An incense burner in the form of a skeletal canine depicts Xolotl. As a psychopomp, Xolotl would guide the dead on their journey to Mictlan the afterlife in myths. His two spirit animal forms are the Xoloitzcuintli dog and the water salamander species known as the Axolotl."

"Xolos served as companions to the Aztecs in this life and also in the after-life, as many dog remains and dog sculptures have been found in Aztec burials, including some at the main temple in Tenochtitlan. Dogs were often subject to ritual sacrifice so that they could accompany their master on his voyage through Mictlan, the underworld. " "Xolotl is sometimes depicted carrying a torch in the surviving Maya codices, which reference the Maya tradition that the dog brought fire to mankind. In the Mayan codices, the dog is conspicuously associated with the god of death, storm, and lightning."

"Xolotl appears to have affinities with the Zapotec and Maya lightning-dog and may represent the lightning which descends from the thundercloud, the flash, the reflection of which arouses the misconceived belief that lightning is "double", and leads them to suppose a connection between lightning and twins."

"Xolotl originated in the southern regions, and may represent fire rushing down from the heavens or light flaming up in the heavens. Xolotl was originally the name for lightning beast of the Maya tribe, often taking the form of a dog."

"The dog plays an important role in Maya manuscripts. He is the lightning beast, who darts from heaven with a torch in his hand. Xolotl is represented directly as a dog, and is distinguished as the deity of air and of the four directions of the wind by Quetzalcoatl's breast ornament. Xolotl is to be considered equivalent to the beast darting from heaven of the Maya manuscript. The dog is the animal of the dead and therefore of the Place of Shadows."

Then there is a God called "Satre": "Satre or Satres was an Etruscan god who appears on the Liver of Piacenza, a bronze model used for haruspicy. He occupies the dark and negative northwest region, and seems to be a "frightening and dangerous god who hurls his lightning from his abode deep in the earth."

"It's possible that Satre is also referred to with the word satrs in the Liber Linteus ("Linen Book," IX.3), the Etruscan text preserved in Ptolemaic Egypt as mummy wrappings. Satre is usually identified with the Roman god Saturn, who in a description by Martianus Capella holds a position similar to that of Satre on the liver."

"The name Satre may be only an Etruscan translation of Saturnus, or Saturnus may derive from the Etruscan; it is also possible that the two deities are unrelated. No image in Etruscan art has been identified as Satre: "this deity remains a riddle."

Then based on Anubis:

Anubis, also known as Inpu, Inpw, Jnpw, or Anpu in Ancient Egyptian, is the god of funerary rites, protector of graves, and guide to the underworld in ancient Egyptian religion, usually depicted as acanine or a man with a canine head.^[4]Like many ancient Egyptian deities, Anubis assumed different roles in various contexts. Depicted as a protector of graves as early as the First Dynasty(c.3100– c.2890 BC), Anubis was also an embalmer. By the Middle Kingdom(c. 2055–1650 BC) he was replaced by Osiris in his role as lord of the underworld. One of his prominent roles was as a god who ushered souls into the afterlife. He attended the weighing scale during the "Weighing of the Heart", in which it was determined whether a soul would be allowed to enter the realm of the dead. Anubis is one of the most frequently depicted and mentioned gods in the Egyptian pantheon; however, few major myths involved him.^[5]

Anubis was depicted in black, a color that symbolized regeneration, life, the soil of the Nile River, and the discoloration of the corpse after embalming. Anubis is associated with Wepwawet, another Egyptian god portrayed with a dog's head or in canine form, but with grey or white fur. Historians assume that the two figures were eventually combined.^[6]Anubis's female counterpart is Anput. His daughter is the serpent goddess Kebechet.

In Egypt's Early Dynastic period (c.3100– c.2686 BC), Anubis was portrayed in full animal form, with a "jackal" head and body.^[17]A jackal god, probably Anubis, is depicted in stone inscriptions from the reigns of Hor-Aha, Djer, and other pharaohs of the First Dynasty.^[18]Since Predynastic Egypt, when the dead were buried in shallow graves, jackals had been strongly associated with cemeteries because they were scavengers which uncovered human bodies and ate their flesh.^[19]In the spirit of "fighting like with like," a jackal was chosen to protect the dead, because "a common problem (and cause of concern) must have been the digging up of bodies, shortly after burial, by jackals and other wild dogs which lived on the margins of the cultivation." In the Old Kingdom, Anubis was the most important god of the dead. He was replaced in that role by Osiris during the Middle Kingdom(2000–1700 BC).^[21]In the Roman era, which started in 30 BC, tomb paintings depict him holding the hand of deceased persons to guide them to Osiris.

More commonly, however, he is recognized as the offspring of Osiris and Isis. In later periods, particularly during the Ptolemaic era, Anubis was sometimes described as the son of Isis and Serapis, a Hellenized form of Osiris designed to appeal to Egypt's growing Greek population.

The Jumilhac papyrus recounts another tale where Anubis protected the body of Osiris from Set. Set attempted to attack the body of Osiris by transforming himself into a leopard. Anubis stopped and subdued Set, however, and he branded Set's skin with a hot iron rod. Anubis then flayed Set and wore his skin as a warning against evil-doers who would desecrate the tombs of the dead. Priests who attended to the dead wore leopard skin in order to commemorate Anubis's victory over Set. The legend of Anubis branding the hide of Set in leopard form was used to explain how the leopard got its spots.

Greek writers from the Roman period of Egyptian history designated that role as that of "psychopomp", a Greek term meaning "guide of souls" that they used to refer to their own god Hermes, who also played that role in Greek religion.^[29]Funerary art from that period represents Anubis guiding either men or women dressed in Greek clothes into the presence of Osiris, who by then had long replaced Anubis as ruler of the underworld.

One of the roles of Anubis was as the "Guardian of the Scales."^[41]The critical scene depicting the weighing of the heart, in the Book of the Dead, shows Anubis performing a measurement that determined whether the person was worthy of entering the realm of the dead (the underworld, known as Duat). By weighing the heart of a deceased person against ma'at, who was often represented as an ostrich feather, Anubis dictated the fate of souls. Souls heavier than a feather would be devoured by Ammit, and souls lighter than a feather would ascend to a heavenly existence.

So, let's break this down. Osiris is Anubis as they are the same deity (one replaced the other in later times) and is known for weighing the heart of the soul, depicting good deeds and bad deeds. Then comes an interesting take on Anubis flaying the skin of Set in the form of a leopard to which connects to Shiva and Sun Wukong, as they also had flayed a tiger from it's skin.

In "hindutempletalk.org" states this: According to the Puranas, Lord Shiva used to wander in the forest as a bare-bodied sage. But even then his powerful form was not revealed. One day while wandering in this way, he appeared in a forest where the hermitages of some powerful sages were situated. The sages were governed by the rules of civilized society, meaning they wore clothes, cooked and ate foods, and even lived in the hermitages with their families. The wives of the sages were attracted to see the young bare-bodied Shiva although they were unaware of his presence. They could not concentrate on their household chores. When the sages of the hermitages figured that the reason behind the changed behavior of the wives was the bare-bodied sage, they became very enraged. They decided to teach him a lesson. The sages dug out a pit on Shiva’s path and left a ferocious tiger inside the pit. While wandering through the forest, Shiva fell into the pit. The sages thought that the tiger would kill bare-bodied young sage (Shiva). But it did not happen. In contrast, Lord Shiva killed the tiger, tore off its skin and draped the skin around his body. When Shiva came out of the pit wearing the tiger skin, the sages of the forest realized that the bare-bodied traveler was not an ordinary sage, but god himself. Then they fell at his feet on becoming of his true power and began to worship him. Since then Lord Shiva continued to wear the tiger skin.

He is also Fuxi as well: Fuxi or Fu Hsi(Chinese:伏羲)^[a]^[1]is a culture hero in Chinese mythology, credited along with his sister and wife Nüwa with creating humanity and the invention of music,^[2]hunting, fishing, domestication,^[3]and cooking, as well as the Cangjie system of writing Chinese characters around 2900 BC^[4]or 2000BC. He is also said to be the originator of bagua(the eight trigrams) after observing that there were eight fundamental building blocks in nature: heaven, earth, water, fire, thunder, wind, mountain, and lake. These eight are all made of different combinations of yin and yang, which are what came to be called bagua.^[5]Fuxi was counted as the first mythical emperor of China, "a divine being with a serpent's body" who was miraculously born,^[6]a Taoist deity, and/or a member of the Three Sovereigns at the beginning of the Chinese dynastic period. Some representations show him as a human with snake-like characteristics, "a leaf-wreathed head growing out of a mountain", "or as a man clothed with animal skins."

So, here shows why Shiva wears the tiger, thus connecting to Anubis who wears the leopard skin. The Priest of Anubis wears the leopard skin in the same manner. Then comes Sun Wukong and the Devil's bible Codex Gigas to which the entity wears the same thing. It's also noted that Sun Wukong would wear the "crescent" crown on his head, which is wear the Devil's horns and Shiva's crescent moon symbolism is based on. So now that we have established this Angel who is Shiva, Fuxi, Thoth, Xololt, Anubis and Osiris.

The Children of Agni