Analysis of Symbolism and Comparison in Pima Creation Story
The number four is used many times in The Pima Stories of the Beginning of the World. It is the pattern number of the Pimas and corresponds to the importance of three and seven as pattern numbers in the Western culture. The number four can represent the four seasons and four directions. Light is also an important factor in the Pima creation story and the story of Genesis in the Bible. In both stories, light was a major priority and one of the first things to be created. Due to the fact that light is an essential symbol in these stories of creation, they easily can represent rebirth or establishment and cleansing of a new world about to be made. The Pima creation myth has many differentiating factors from the Bible story of creation, Genesis. Regarding importance of numbers, Genesis has the pattern of number seven and this is important because God created the world in seven days. Christianity, in general today, also has other signs of the number seven such as the seven sacraments and seven deadly sins. This shows that the creation stories of certain religions and cultures lead the people to follow and believe the stories of how their world came about because they use them as guidance. The role of women is also contrasting in The Bible versus the Pima Stories from the Beginning of the World. This is because in the Bible, Eve, is looked upon as being curious rather than afraid of what will happen to her unlike the young woman afraid of marriage in the Pima creation story.
Read more about this topic: Pima People
Famous quotes containing the words analysis of, analysis, symbolism, comparison, creation and/or story:
“Cubism had been an analysis of the object and an attempt to put it before us in its totality; both as analysis and as synthesis, it was a criticism of appearance. Surrealism transmuted the object, and suddenly a canvas became an apparition: a new figuration, a real transfiguration.”
—Octavio Paz (b. 1914)
“... the big courageous acts of life are those one never hears of and only suspects from having been through like experience. It takes real courage to do battle in the unspectacular task. We always listen for the applause of our co-workers. He is courageous who plods on, unlettered and unknown.... In the last analysis it is this courage, developing between man and his limitations, that brings success.”
—Alice Foote MacDougall (1867–1945)
“...I remembered the rose bush that had reached a thorny branch out through the ragged fence, and caught my dress, detaining me when I would have passed on. And again the symbolism of it all came over me. These memories and visions of the poor—they were the clutch of the thorns. Social workers have all felt it. It holds them to their work, because the thorns curve backward, and one cannot pull away.”
—Albion Fellows Bacon (1865–1933)
“The comparison between Coleridge and Johnson is obvious in so far as each held sway chiefly by the power of his tongue. The difference between their methods is so marked that it is tempting, but also unnecessary, to judge one to be inferior to the other. Johnson was robust, combative, and concrete; Coleridge was the opposite. The contrast was perhaps in his mind when he said of Johnson: “his bow-wow manner must have had a good deal to do with the effect produced.””
—Virginia Woolf (1882–1941)
“The creation of a thousand forests is in one acorn, and Egypt, Greece, Rome, Gaul, Britain, America, lie folded in the first man.”
—Ralph Waldo Emerson (1803–1882)
“The public history of modern art is the story of conventional people not knowing what they are dealing with.”
—Robert Motherwell (1915–1991)