Which Myths Are Explained In The Secret History Of The World?

2025-08-24 06:48:49 306

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Theo
Theo
2025-08-25 22:58:44
One rainy evening I cracked open 'The Secret History of the World' with a mug of bad coffee and ended up spiraling through a bunch of myths I thought I knew. The book treats myths not as isolated fairy tales but as layers of a hidden curriculum: Atlantis and Lemuria show up as lost-civilization myths; Hyperborea pops up as a primordial, sun-blessed northern age; Sumerian and Babylonian legends (think Gilgamesh and creation epics) are used to trace primeval kings and cosmic floods.

It also dives deep into Egyptian stories — Osiris, Isis, Thoth — and how their imagery got braided into Hermeticism and later into western esoteric streams. Greek myths like Prometheus and Orpheus are recast as carriers of secret knowledge; Christian stories are read alongside Gnostic reworkings; Zoroastrian and Mithraic motifs are pulled in as part of a worldwide pattern. Then there’s the bit about mystery schools, alchemy, Kabbalah, the Rosicrucians, Templars and Freemasonry as custodians or interpreters of these myths. Reading it felt like chasing a map where every landmark is a legend, and whether you treat the map as literal or symbolic, it makes you look at familiar stories in a new, sometimes uncanny light.
Zane
Zane
2025-08-26 16:37:18
I've got more of a librarian's habit of checking footnotes, so when I read 'The Secret History of the World' I was paying attention to which myths get retold and how sources are woven together. The book surveys classic flood myths, the Mesopotamian creation cycles, and the Egyptian cosmogonies, then moves into Greek mystery cults and Orphic traditions. It frames Platonic and Pythagorean ideas, links them to Hermetic texts, and threads in Gnostic reinterpretations of Christian scripture.

Beyond ancient Near Eastern and Mediterranean material, the narrative pulls in Northern myths — a kind of golden age or Arctic origin story — and the idea of cyclical world ages. It also treats mythic heroes, arcane sciences like alchemy, and esoteric commentaries such as Kabbalistic symbolism as part of a continual secret teaching. I liked how it nudges you to compare myth motifs cross-culturally, though I had to pause and cross-check a few claims against primary scholarship. It’s a great jumping-off point if you enjoy myths as living, changing stories rather than fixed history.
Harper
Harper
2025-08-26 20:15:29
Late-night reads and incense: that's my vibe when I got into 'The Secret History of the World', and it felt like an all-you-can-eat myth buffet. You get Atlantis and its cousins, like Lemuria; creation-and-flood cycles from Sumer and the Bible; the mystery of Egypt wrapped up with Hermes/Thoth lore; and Greek thinkers turned into custodians of hidden knowledge. The author treats gnosticism, Mithraism, and Orphic strands as alternative Christianities, and then folds in Pythagoras, Hermetic texts, and alchemical symbolism as techniques for inner transformation.

What I appreciated most was the connective tissue: mythic themes keep repeating — descent and return, secret teachers, sacred geometry, cycles of destruction and rebirth — and the book points you to thinkers who propagated these threads, like Blavatsky or later esotericists. It's part history, part speculative synthesis, part invitation to read myth as code. If you’re into symbolic patterns and conspiracy-adjacent lore (in a curious, not paranoid way), it scratches that itch and sends you off to more focused reads like 'The Secret Doctrine' or 'The Golden Bough'.
Bella
Bella
2025-08-30 19:31:39
My quick take: 'The Secret History of the World' strings together a lot of the planet’s big myth themes and reads them as layers of hidden teaching. It covers the Atlantis/Lemuria motif, Sumerian epics, Egyptian gods and cosmology, Greek mystery traditions, Gnostic reinterpretations of Christian stories, and the esoteric practices that grew into alchemy, Kabbalah, Rosicrucianism and things like Freemasonry.

It doesn’t treat these as plain archaeology so much as symbolic or initiatory accounts, which makes it a fun, sometimes dizzy ride. I’d say use it as a poetic synthesis rather than a straight textbook, and follow up with primary sources if a particular myth hooks you.
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