La Figura De Baphomet: Desentrañando El Mal En Culturas Y Religiones Historias De Terror - REDE

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Satan, the figure of Baphomet,
also known as Satan Devil, among other

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names, intertwines in various etymologies that
converge in a single concept, evil.

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In abramic religions, evil personifies itself
as a deity, adopting an anthropomorphic form.

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In Christianity he is represented as a
fallen angel, formerly endowed with great

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piety and beauty, but rebelled against
God, resulting in Hell being banished.

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Thus he becomes the leader and opponent
of the kingdom of God. On the

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other hand, in Judaism, Satan
is interpreted as a metaphor of the inclination

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to evil or as an agent subordinate
to God. Within the Christian faith,

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Satan presents himself as an accuser and
adversary, a decidedly malevolent one with evil

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qualities. He plays an antagonistic role
in readings such as the Apocalypse and figures

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as the one who tried to tempt
Jesus Christ in the desert. In the

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context of theistic satanism, the figure
of Satan is seen differently, considering it

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a positive force and a divinity worthy
of worship and veneration. The term Satan

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has its roots in the Latin Satan, which in turn comes from Hebrew to

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Satan with possible interpretative translations as an
enemy adversary or accuser. In the book

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of numbers he is mentioned as Shattan, a wandering spy of God upon earth.

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In Israelite legal life, the term
Shattan acquires the meaning of accuser before

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the court and Shitna, derived from
the same root, refers to the accusation

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in the mentality of Hebrews to so
is also seen as an angelic being acting

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as prosecutor in heaven, accusing humans
for their sins before God. Their mission

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involves subjecting people to temptations to expose
sin. Satan thus becomes synonymous with perdition,

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destruction, malice, and the pursuit
of evil by men, as is

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repeatedly evidenced in the Old Testament.
The richness of the interpretations and representations of

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satan throughout the different traditions and currents
of thought offers a complex and nuanced view

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of this figure, which goes beyond
simply being the antagonist in a religious account.

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Its role ranges from the personification of
evil to the representation of temptation and

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accusation, making this entity a fascinating
and multifaceted element in mythology and theology.

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The original Hebrew term Satan displays its
meaning in an amplitude ranging from the generic

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accuser or adversary used to refer to
conflicts between humans to the designation of a

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specific supernatural entity. This noun is
derived from a verb whose main meaning is

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to obstruct or oppose, giving the
word a rich semantic complexity. When used

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without the definite article, Satan may
allude to any accuser, but with the

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definite article the focus is on the
heavenly accuser. Satan to Satan with the

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definite article appears in the Masoretic text. The Hebrew version of Tanach officially used

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among Jews in three significant instances,
outlining its irrelevance in the biblical narrative.

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It is interesting to note that the
word Satan does not make its entrance into

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the Book of Genesis, where we
only find a talking serpent without a clear

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identification, with no supernatural n n
ns. This detail adds mystery to the

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initial account, where the figure of
the heavenly accuser is not yet manifest.

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The first time the word Satan emerges
in the Hebrew Bible linked to a supernatural

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entity brings us to numbers twenty-
two. Twenty- two. Here,

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the Angel of Keys confronts Balaham on
his donkey, marking a crucial moment where

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the presence of Satan is revealed in
a specific and transcendental context. In addition,

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some Bible passages offer an implicit description
of Satan without using the word itself.

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An example is found in Samuel’
s first two twelve, where Eli

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’ s sons are qualified as sons
of Belial, a term that later becomes

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clearly synonymous with Satan. Likewise,
in Samuel’ s first, sixteen,

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fourteen to twenty- three yave sends
a disturbing spy to torment King Saul,

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revealing the complex relationship between the divine
and Satan as a mechanism for congrating with

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the future King David. A fascinating
vision is revealed in Zechariah three one to

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seven, dated mid- February to
five hundred nineteen before Christ. In this

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vision, Joshua the high priest representing
the nation of Judah, with his sins

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is in judgment before Yagüe with Satan, serving as prosecutor. The narrative highlights

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divine interaction, where Yahue rebukes Satan
and orders Joshua to receive clean clothing,

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symbolizing divine forgiveness for Judah’ s
sins. In the context of Jewish domination

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in the Achaemenid Empire, a fascinating
synergy between Judaism and Zoroastrianism emerged leaving an

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indelible imprint on Satan' s Jewish
conceptions. This narrow bond is manifested through

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the influence of Angra Mainjou, the
golden god asrian or evil, darkness and

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ignorance over Jewish perceptions. Angra Mainyu, whose name evokes the meaning of tormenting

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spirit. In the Zoroastrian context,
it is presented as the main figure of

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evil, introducing limitations, stains and
diseases. This Zoroastrian mythological background significantly influenced

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Satan’ s Jewish conceptualization, providing
a frame of reference that resonated with the

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beliefs of the time. An intriguing
transition occurs in the translation of Satan from

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Hebrew to Greek. In the Septuagint. In texts such as the Book of

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Job and Zechariah, the Hebrew word
is translated as diabolos, the same word

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that will later give rise to the
term devil in the Greek New Testament.

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This linguistic connection underscores the continuity in
the perception of an adverse entity between Jewish

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and Christian traditions is during the period
of the Second Temple, especially in the

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apocalypse present in the pseudo Jewish epigraphy, where the figure of Satan acquires new

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layers of complexity. The notion of
Satan as an opponent of God and a

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purely evil entity is rooted in these
texts, providing fertile ground for the development

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of mythology. A revealing example of
this mythology is found in the book of

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enoch a work that has gained prominence
thanks to the manuscripts of the Dead Sea.

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This book, almost as influential as
the Torah, tells the story of

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the vigilantes, a group of two
hundred angels charged with supervising the earth.

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However, these angels, led by
Semiatza, abandon their duties to have relations

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with human women, unleashing sin and
corruption in humanity. Asasel' s figure,

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another member of the watchers, stands
out as the propagator of evil among

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humans. The fall of Semiaza,
the rebellious angel and leader of the two

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hundred, is situated on the top
of Mount Hermon, known as Cenir by

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the Amorites and Sirion by the Phoenicians. These names, present in Hugaritic texts

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found in Rashambra, Syria and in
documents of Coy Turkey bogas, contribute a

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geographical and cultural dimension to the narrative. The mountain identified as Mount Vallermón already

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gives a subtle hint of another of
the names with which it associates itself with

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the devil, but that one we
will see a little later. Exploring Azazel

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’ s figure leads us to a
Hebrew background, where his name reveals a

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deep symbolology of origin. In Hebrew
asasel means the goat of emissary or scapegoat.

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This term is manifested four times in
the Bible, specifically in the regulations

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relating to the annual day of atonement. Untangle the meaning of Azazel implies breaking

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down its etymology into two words of
root makes it denote goat and asel that

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implies disappearing. This conceptual duality adds
layers of meaning to the figure, revealing

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not only its symbolic nature, but
also its connection to sacred rituals. In

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the panorama of pseudo epigraphy, the
figure of Sataniel appears in the second book

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of Enoch also known as the Slavic
Book of Enoch. This text of unknown

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authorship and uncertain date presents Satan Ael
as the prince of the Grigori expelled from

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heaven, an evil spirit that understands
the difference between the righteous and the sinful.

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The complexity of this figure adds nuances
to the narrative by exploring the ethical

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and moral dimensions of heavenly rebellion.
In the book of Wisdom we find a

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reinterpretation of the figure of the devil
as the one who brought death to the

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world, a perspective that initially fell
upon them. This connection between the devil

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and the introduction of death offers an
intriguing perspective on the evolution of interpretations over

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time. The term satan so rooted
in popular culture, finds its synonym in

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English as devil. The latter is
the embodiment of evil in various cultures and

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religious traditions, representing a hostile and
destructive force. The word has its origin

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in the Latin diabolos, which in
turn comes from the slandering Greek. The

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etymology proposed from the protoindoEuropean suggests an
adjective that means heavenly or resplendent, highlighting

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the complexities in the linguistic evolution of
this concept. This devil, so well

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known as Belial and Samael in the
Bible, awakens the inner one by its

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many facets. Belial, a word
composed by Blay that means corruption and yal

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that denotes profit, suggests deep meanings
such as corrupt profits, disobedient or rebellious.

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In addition, he is attributed titles
as lord of arrogance or lord of

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pride, as well as the son
of hell, evoking a rich imagery that

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intertwines with mythology and spirituality. Since
the Middle Ages, Belial has been considered

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the prince of hell. The figure
of Belial emerges as a central character in

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various ancient texts and his presence is
recorded in the manuscripts of the Dead Sea,

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specifically in war of the children of
Light against the children of Darkness.

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This prophetic text narrates a cosmic war
between good and evil, with Belial being

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the leader of the children of Darkness. His role as a direct opponent of

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God is also highlighted in the Apocryphal, the Testament of the twelve Patriarchs,

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consolidating his figure as the incarnation of
evil in the cosmology of the time.

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As the scripture of the Bible resumes
in the first century, the term Belial

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acquires a new dimension by being used
as an appellation of Satan. This linguistic

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transition reflects how interpretations of these mythological
figures evolve over time, merging different traditions

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and attributes into a broader narrative.
Inside this complex trimitological tapéz comes Samael,

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whose name translates as God' s
poison or God' s blindness. In

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such a musical and post- malmudical
tradition, Samael plays several roles, being

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the accuser, the seducer and the
destroying angel. In the Midrachic texts he

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is considered a member of the heavenly
hosts, with often grim and destructive functions,

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highlighting his role as the chief angel
of death and head of the satans.

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The richness of Jewish narratives reveals that
Samael often appears in the history of

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the Garden of Eden and is credited
with the plan of Adam' s fall

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and eva with a serpent. In
some traditions he is depicted as a fallen

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angel who plotted the original sin and
curiously, he is linked as Cain'

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s possible father and Lilith' s
partner. As angel of the Guardian and

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prince of Rome, Samael stands as
the archenemy of Israel, adding additional layers

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to his complex identity. In some
Gnostic cosmologies Samael is identified with the demiurge,

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the source of evil and creator of
the material world, although these accounts

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probably originate from the same source.
Gnostic development differs from Jewish narrative, where

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Samael is considered simply an angel and
servant of God. The presence of Samael

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rooted in the period of the second
temple and its subsequent destruction unfolds a rich

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narrative woven into several ancient sources.
His first mention is linked to the book

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of Enoch where he emerges with other
rebellious angels, marking the beginning of his

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role in the mythological fabric. The
Greek apocalypse of barug, an apocryphal text

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of the Old Testament, projects Samael
as the preeminent evil figure here. His

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connection with the temptation of Adam and
Eve takes shape as he plants the tree

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of knowledge and, after his banishment
and curse for God, seeks vengeance leading

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mankind to sin in the ascension of
isaiah. Samael presents himself as the very

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incarnation of evil, consolidating his status
as an influential cosmic entity in the Rabbah

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exodus. His role as accuser in
the Heavenly Court and tempter of sins is

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accentuated while Michael emerges as a defender
of Israel' s actions. Samael'

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s identification with Satan adds layers of
complexity, where Satan becomes a title describing

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his accusing function. While Samael is
recognized as his own name, his role

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as Angel of Death, manifests at
the time of taking Moses' soul,

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consolidating his position as leader of satans. Texts describing him as a twelve-

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winged seraphim underline his heavenly nature,
revealing an image of power and majesty in

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the cabal. Samael acquires an additional
facet by being associated with God' s

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severity, highlighting his connection with divine
aspects. The rich diversity of interpretations and

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mythology expands by exploring evil representations in
other cultures and religions. Unlike Abrahamic Triad,

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Christianity, Judaism and Islam, where
the devil is commonly understood as a

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fallen angel or demon, other traditions
present similar entities, but with different nuances.

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In Buddhism, for example, the
figure of Mara arises, the obstacle

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to the enlightenment of the Buddha Sidartaha
Gautama, personifying resistance against the destruction of

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the ego. In Hinduism, the
association of samael with Iama or called God

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of Death highlights significant differences, since
Yama is not perceived as a demonic entity,

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but rather as the lord of the
spirits of the dead and guardian of

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the underworld. Pre- Columbian cultures, like the Inca, present the supa

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and as an intriguing and ambivalent figure, marked by syncretism that associates her with

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both the Christian Devil and the venerable
Lord of the Depths or Salamanca. In

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this context, unlike the repudiation of
the Devil in the n Christian culture,

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the indigenous did not reject him,
but, fearing him, invoked him and

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worshiped him to avoid his harm,
revealing a complexity in the relationship between deity

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and those who revered her. With
the arrival of Christianity and the Gospels,

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the supai acquires a more personal character, being considered an enemy of Christ,

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an antichrist. This change in the
perception of deity highlights the cultural and religious

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influence that the arrival of new beliefs
had on interpretations of pre- existing entities.

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In the Arabic language, the figure
of the devil is named as Shaitan,

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a term that, by implication,
also means serpent. This link with

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the serpent resonates with mythological and religious
narratives of various traditions, adding a layer

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of symbolic complexity to the figure of
the devil. Exploring Canaanite mythology, Eilel

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the god of the planet Venus emerges, whose name can be translated as this

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morning. In Latin, this term
becomes lucifer or Luzbel. This connection between

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Lucifer and the planet Venus is also
reflected in the goddess Sumeria and Nana,

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associated with that planet. Inana'
s myths, especially his descent into the

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underworld, present fascinating parallels with the
Devil' s narratives, illustrating how mythological

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concepts can transcend cultures and epochs.
Perhaps this may be the origin of Satan

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being shown in some representations with some
female factions. Canaanite mythology also introduces us

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to Baal and, derived from his
name, Baalzebub arises, which evolves towards

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Beelzebub This deity. In his allegorical
representations he assumes colossal forms, with threatening

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features, cuckolds and bat wings.
In Christian literature, Beelzebus is used to

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designate the primer of demons, a
practice rooted in the ancient Hebrew custom of

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representing other people' s deities in
an evil way. In Solomon' s

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Testament he deepens the figure of Belzebub, mentioning that he was enslaved by Solomon

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and that under his command he had
all the demons Belzebub had at his command

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to build the temple of Jerusalem.
This account adds an intriguing nuance to mythology,

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connecting the figure of the devil with
specific events and giving him a role

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in the construction of a sacred place. In the context of Christianity, Lucifer

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emerges as the prince of demons,
a fallen angel who before his descent bore

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this name and who subsequently adopts the
title Satan or Satan. This change of

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names symbolizes his rebellion and fall from
his original angelic state. The Arabic equivalent

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of Satan is known as Shaitan,
one which, in addition to being an

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adjective applicable to both man and Gyan, is used specifically in reference to Satan.

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In the Koran, the figure of
Satan is named after Iblis, possibly

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derived from the Greek word Diabolos.
Satan’ s Islamic view differs from that

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of Christians, since they do not
regard him as the cause of evil,

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but rather as a tempter who takes
advantage of human inclinations toward egocentrism. The

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Quran tells of the moment when God
commands all angels and Iblis to bow down

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to the newly created Adam. While
all angels obey, Iblis refuses to proclaim

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his superiority by being made of fire
compared to Adam, made of clay.

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This disobedience leads to his expulsion from
paradise and his condemnation of Yahannahm as a

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place of purification for the wicked marking
the beginning of his role as ungrateful unbelieving

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Kafir, whose mission is to divert
humanity. Satan’ s distinctive feature,

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in addition to his arrogance and despair, lies in his ability to suggest evil

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to men and women. The coran
in the sura fifteen forty- five points

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out that Satan has no influence over
the righteous, but exercises his power over

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those who fall into error. Immunity
from Satan’ s temptations is presented as

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a reward for those who obey the
divine laws in the coroner. Satan describes

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himself as a particular angel who shares
similarities with the Gian beings, who could

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be understood as the known geniuses of
the lamps. In popular culture. This

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duality raises debates among Muslim exegetes who
do not agree on themselves. Satan is

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a fallen angel or leader of a
group of evil geniuses adding layers of interpretation

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to the complexity of this figure in
the Islamic worldview. Islamic belief holds that

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Iblis, known as Satan, was
created by God from fire. However,

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during the first two centuries of Islam, the history known as satanic verses was

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widely accepted by Muslims. According to
this narrative, Satan deceived Muhammad into adding

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words to the Koran that would allow
Muslims to pray for the intercession of pagan

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goddesses, confusing Satan’ s words
with divine inspiration. The Islamic doctrine of

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birth also includes teaching that newborns weep
because Satan touches them during childbirth, which

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supposedly predisposes them to sin. This
idea has similarities with the doctrine of original

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sin. In other religious traditions.
The exception to this evil influence would be

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Jesus and Mary, who, according
to Muslim tradition, were not touched by

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Satan at birth in the NS spectrum
of names associated with the devil Mephistopheles is

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another worthy mention. The etymology of
his name suggests that he does not love

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light. Mephistopheles. In literary tradition
he presents himself as a tragicomic figure caught

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between his victory by displacing God as
the center of all things and his defeat

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by losing relevance. For the same
reason, visually mephistopheles is represented in lavish

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robes of nobility and a cool rational
and logical mind that they use to mentally

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trap people and manipulate their actions.
Having explored the various names of the devil

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and his etymological characteristics, it is
essential to address the concept of fallen Angel.

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In the Gospel of Salucas, Jesus
claims to have witnessed the fall of

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satan from heaven, adding a theological
dimension to the figure of the fallen angel

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in the Christian tradition. This event
represents the rebellion and separation of satan from

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his original angelic state, marking the
beginning of his role as an adversary to

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God and humanity. An epic narrative
detailing a monumental heavenly battle is displayed in

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chapter twelve of the Book of Revelation. In this account, an army of

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rebellious angels led by the imposing seven- headed Red Dragon faces forces led by

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the Archangel Michael and his loyal angels. This conflict culminates in the defeat of

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the rebellious angels, who are exiled
from heaven. The symbolism present in this

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passage is intriguing, especially when describing
the Red Dragon dragging a third of the

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stars in the sky with its tail. Biblical scholars interpret this symbolism as a

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representation of the rebellious angels, those
who participated in the struggle and were expelled

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from heaven. This image evokes a
rnd the majestic and cosmic, where the

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celestial forces are confronted in an epic
battle that defines the destiny of these entities.

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It is fascinating to see how these
entities, associated with pure evil,

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share physical descriptions common in various traditions. The presence of tails, horns and

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goat legs in the representations of malevolent
figures transcends cultural and religious boundaries. These

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symbolic elements intertwine in the narrative of
evil, creating an archetypal image that endures

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throughout various interpretations and artistic representations.
These physical descriptions shared among malignant entities suggest

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the existence of cultural archetypes rooted in
the collective psyche. The presence of common

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elements in the representations of evil throughout
the different traditions highlights the universality of certain

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symbolic concepts. This phenomenon reveals how
cultures, despite their differences, have converged

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in the creation of images and symbols
that encapsulate the essence of evil. The

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symbolic fabric surrounding the representations of malevolent
entities in various cultures is as vast as

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it is intriguing. These figures,
associated with different animals, acquire multifaceted meanings

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that reveal the complexity of cultural and
religious beliefs throughout history. The ram,

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for example, stands as a duality
in Christian culture. His horns incarnate the

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devil, while his figure also represents
the lamb of God, symbol of peace.

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This duality reflects the richness of symbolic
interpretations within the same figure. The

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raven linked to superstition becomes a dominant
entity in some cultures due to its black

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plumage and its association with death.
However, in the biblical narrative, these

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birds play a divine role in providing
the prophet Elijah during his confinement by Keritzi

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Creek. In the case of the
Wolf, his symbolism experienced a dichotomy between

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the medieval era, where he represented
evil, and the Greco- Roman tradition,

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where he embodied the god Zeus and
was associated with the protection of rowing

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and rowing. This contrast shows the
ability to reinterpret symbols over time and in

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different cultures. The black cat during
the Middle Ages was linked to the devil

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and witchcraft, but in ancient Egypt
these felines were considered sacred and protective against

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evil spirits. This duality highlights how
the same entity can be perceived in an

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opposite way in various traditions. The
dragon, on the other hand, shows

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remarkable diversity in its symbolism. In
medieval Christian art, he represents the ocation,

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but in other cultures, such as
China, he is a sacred figure

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associated with wisdom and fortune. This
diversity underlines the versatility of symbols in different

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cultural contexts. The serpent, inspired
by genesis, is a universal symbol of

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sin and temptation in the Jewish Christian
tradition. However, in the Far East

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the serpent acquires a positive connotation,
being considered sacred and protective against negative energies.

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These varied interpretations reveal how symbols acquire
complex and often contradictory meanings throughout cultures

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and ages. As we delve into
the complex fabric of religious interpretations, we

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find a controversial topic that some authors
have boldly addressed throughout history, the proposal

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to consider the God of Abraham as
the devil himself. This defiant notion has

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been espoused by several religious thinkers,
who argue that the Biblical God, instead

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of being a benevolent force, is
an entity that inflicts suffering, death and

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destruction, directing mankind towards acts of
violence and genocide. These provocative writings do

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not hesitate to use forceful terms referring
to the God of Abraham as the devil

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god. This expression encapsulates the essence
of criticism, suggesting that the divine actions

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described in the tanach the Jewish sacred
text are imbued with evil, even becoming

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compared to the figure of the Devil. Criticism focuses primarily on the God of

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the Old Testament, finding a marked
contrast with the perception of a true God

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that, according to these authors,
is revealed in the New Testament. Here

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lies the dichotomy, a god that
for some manifests itself as benevolent and loving

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in New Testament Christianity, while in
the tanach it is attributed actions that critics

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consider evil or even diabolical. To
support their arguments, these authors dive into

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the Bible passages by carefully selecting those
who describe divine actions that, according to

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them, are morally questionable. It
is through these fragments that they build their

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narrative by presenting a god who,
in his interpretation, is not only the

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creator and guide, but also a
being who can be perceived as the promoter

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of acts that go against human ethical
and moral principles. This critical approach not

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only challenges traditional interpretations of divinity,
but also invites deep reflection on the nature

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of faith and morality. By entwining
criticism through the exploration of specific passages,

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these authors seek to question deep-
rooted perceptions and offer an alternate native perspective

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on the Divine character, thus marking
a controversial chapter in theological interpretation. Tale

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written and adapted by Ramiro Contreras