Creative Thought and the Divine Word: An Examination of the Mythological Expression of Cosmic Consciousness

Abstract

This article adopts a comparative mythology framework in order to situate creation myths within a broad cultural context. It examines how different societies conceptualize the emergence of the universe through the interconnected notions of thought and word. The study demonstrates that, despite cultural diversity, these narratives articulate shared principles concerning the mental and linguistic foundations of existence while preserving tradition-specific expressions. The analysis is based on qualitative content analysis of primary mythological texts drawn from Hindu, Maori, Maya, Maiana, Dogon, Polynesian, Ancient Egyptian, and Turkish traditions, encompassing sources ranging from the Rig Veda and the Popol Vuh to the theology of Ptah and Dogon doctrines of word-based creation. These materials were examined through hermeneutic reading practices and comparatively evaluated using concept-oriented analytical categories. The findings indicate that cosmogonic myths operate beyond mere narrative description by structuring coherent models of creation in which cognitive intention and verbal articulation play constitutive roles.

1. Introduction

From the most ancient communities onward, the search for an explanation of how the universe and humanity came into being exists in almost all belief systems. These explanations are mythological in nature, interpreting the meaning of creation in symbolic forms. Every society shapes its creation stories within the framework of its own historical experience and geographical conditions. Although these narratives are expressed differently across various cultures, they converge around shared symbols and archetypes regarding human existence. The oldest intellectual responses man gave to fundamental questions concerning the universe’s inception and his own existence are the cosmogony mythoses. The symbolic language employed in creation myths renders abstract concepts meaningful through concrete imagery. This language articulates humanity’s existential anxieties and allows the individual to question the social structure and cultural values. In this respect, myth uncovers the deep strata of human consciousness. Myths, which also ensure the continuity of cultural thought, become a creative narrative form. As emphasized by Joseph Campbell, these myths not only explain the process of the universe’s formation but also serve as guides for humanity’s journey to make sense of itself and its environment (Campbell 1988, p. 13).

Throughout human history, narrative has been regarded as one of the most powerful expressions in the effort to give meaning to existence. Narrative is the cultural projection of the individual’s and society’s desire to comprehend, order, and explain the world. Mythos, as the oldest form of the narrative tradition, carries the symbolic expression of the relationship established by mankind with nature, the cosmos, and self-consciousness. These narratives are not merely products of the imagination but are also mental creations where thought converges with the sacred. Man, during the phase of mythical consciousness, learns to decipher the signs of the universe and transform these signs into narratives as consciousness is gained. Inspired by the polarities of nature, he constructs his own symbolic universe in the relationship between light and darkness, life and death, sky and earth. Humanity shaped its creation narratives by drawing upon the natural cycles it observed. A mythical continuity, where the sun born at the boundary between earth and sky pursues the moon vanishing in the heavens, and life resurrected in spring slumbers once more in autumn, acquires a permanent place in man’s realm of thought (Koçak 2016, p. 261). Gaining existence through ritual and symbol, myth has established itself at the foundation of belief systems.

Mythological cosmogonies present diverse conceptual models for explaining the origin of creation. In some narratives, the universe comes into existence through divine thought or word without reliance on any pre-existing reality. In others, creation is described not as arising from absolute nothingness but as the ordering or shaping of a primordial state of indeterminacy. Certain accounts conceive creation as a relational act of separation, in which initially connected fundamental elements are divided, thereby making existence possible. In some mythological imaginaries, the origin of the cosmos is explained through the opening or unfolding of a closed totality that contains the essence of all being. In other narratives, the creative act is mediated by a secondary agent who brings forth material substance from primordial waters. These cosmogonic approaches articulate, in different ways, the role of creative thought and divine agency in the emergence of cosmic consciousness. Although these distinctions do not encompass the full range of mythological diversity, they provide a functional conceptual framework for comparative analysis.

Narratives concerning the creation of the universe, having been passed down through generations within oral tradition, were profoundly influenced by the geographical environment, cultural values, and world view of the societies in which they were found. For this reason, the creation myths of every society have become narratives reflecting both common human experience and cultural uniqueness. In world mythologies, belief systems, and religions, creation often commences not with a physical act, but with a divine thought or utterance. This concept carries the idea that God’s creative power is reflected in the universe originating from a mental conception. The concept of the “Divine Mind” suggests that a kind of cosmic consciousness lies at the root of creation, while the concept of “Cosmic Language” posits that this consciousness transforms into matter through sound, speech, or breath. For instance, the creation accounts in the Torah and the Quran transmit the formation of the heavens and the earth in an orderly manner. In both texts, the process of the universe’s creation is founded upon the idea of an order progressing in distinct phases. Notably, the division of creation into six stages or six days is one of the striking commonalities between the two sacred texts. This parallelism indicates that creation occurred within a cosmic order, and furthermore, that time is conceived as a sacred measure (Bucaille [1987] 1997, p. 219). According to the Holy Bible, God also completed the creation of the universe in six days (Yıldırım 2001, p. 16). In all three holy books, the expression “six days” carries a shared connotation that creation occurred in a regular process. However, in Islamic thought, creation is addressed differently from the other two faiths. Here, the main emphasis is on the meaning and purpose of creation, rather than how the universe was created. In this approach, the act of creation is evaluated as a demonstration of God’s absolute will and wisdom (Engin 2006, p. 21)

From a metaphysical and theological perspective, creation in the strict sense (creatio ex nihilo) belongs exclusively to the omnipotent God. In this framework, nothingness does not denote a primordial condition or an antecedent mode of being, whether conceived temporally or logically. Rather, it signifies the complete absence of any ontological principle, substrate, or preexistent matter. The divine act of creation thus constitutes an absolute ontological initiation, whereby existence emerges solely through divine agency without dependence upon any prior material, causal, or metaphysical ground (Słomka 2025, p. 2).

Within the Tanakh, creation is conceptualized not as a material or mechanical intervention, but as the realization of creative thought through the divine word. Passages such as Genesis 1:3 and Psalm 33:6 present the emergence of the cosmos as the outcome of articulated divine speech, establishing an intrinsic relationship between creative thought, the spoken word, and being.1 This perspective frames cosmic order as a manifestation of cosmic consciousness, in which intentionality precedes material existence. In this respect, Tanakhic cosmogony may be situated alongside broader mythological traditions that understand creation as the outward expression of primordial consciousness articulated through the divine word. The Tanakh, as a corpus of sacred texts grounded in revelation, positions the concept of creation at the level of a foundational principle of existence. Creation is theorized as a divine act that establishes the primordial framework of cosmic order. Within Tanakhic discourse, the domain of being is represented as a structured reality actualized through the divine word. In this conceptual framework, divine creative power functions as a constitutive ontological ground that underwrites the very possibility of the universe’s existence (Özemir 2025, p. 273).

In this respect, creation myths represent the most ancient form of the universal quest for meaning, deepening humanity’s endeavor to question its place in the cosmos. According to Campbell, creation myths are the symbolic articulation of cultural responses offered to humanity’s existential inquiries (Campbell 1988, p. 5). Every creation narrative shapes the worldview of societies and simultaneously carries the collective consciousness of the intellectual connection man forges with the universe. These myths function as a universal intellectual inheritance, drawing disparate cultures nearer to one another. Through these narratives, man apprehends his own internal world and the cosmic order. Thus, the fostering of continuity and mutual comprehension amongst cultures becomes feasible (Campbell 1988, p. 6). In religious and mythological thought, almost every creation narrative is uniquely reestablished. This condition is akin to all great poets recreating their expression. The order of the universe is most often predicated upon oppositions. Concepts such as duality, polarity, and antithesis manifest in similar configurations across varying cultures and levels of civilization. Researchers of religious history incline toward examining how this universal understanding of opposition in creation is interpreted and transformed by cultures (Eliade 1969, p. 9).

Nā te kune te pupuke/Increase was born from the Concept/Notion.

Nā te pupuke te hihiri/Thought was born from the Increase.

Nā te hihiri te mahara/Remembrance was born from the Thought.

Nā te mahara te hinengaro/Consciousness was born from the Remembrance.

Nā te hinengaro te manako/Desire was born from the Consciousness.

Ka hua te wānanga/Thus, knowledge (learning) bore fruit, becoming prolific.

(Salmond 1991, pp. 171–72)

When one examines the Maori creation narrative, the genesis of the universe is described as the progressive transformation of thought into matter. In one of these accounts, creation is depicted as a three-stage process, beginning with an abstract concept, passing through the darkness of night, and culminating in light. The origin of creation is not a divine persona but thought itself. The formation of the universe is not wrought by the decree of a single entity but unfolds through the internal expansion of thought. The initial stage recounted in the chant is thought. In this phase, form, direction, or time are yet absent. Existence rests solely in potentiality. Thought engenders the first motion of the cosmos, carrying the seed of existence. In the second stage, night, or darkness, emerges. This epoch is the stage wherein thought tests itself and commences its search for form. Darkness represents a creative expanse where thought becomes intensified. The final stage is light. This is the phase where thought matures, becoming manifest, and where spirit and matter coalesce. In this concept of creation, there is no divine subject; the process operates within nature’s own internal order. The unknowable power, termed being-itself, develops from thought, giving birth to spirit and matter. The universe achieves existence through the mutual transformation of these three levels. Thought transcends its state as an abstract concept and transforms into a creative energy. Light constitutes the apex of this process. It is the purest state of thought converting into matter. This depiction within Maori mythology posits the essence of creation upon thought. Thought is both the genesis and the culmination. The universe is born through the internal rhythm of thought. Consequently, creation subsists by virtue of an inner consciousness experienced within existence (Sproul 1991, p. 337).

When divine creation is understood as an ongoing reality, the existence of those who are being created is likewise conceived as continually undergoing change and reconfiguration. On this view, the uninterrupted character of creation allows different dimensions of divine creativity to be disclosed within distinct religious traditions. These traditions should therefore be regarded not as completed systems, but as dynamic frameworks engaged in the continual pursuit of deeper understanding of divine creativity (Spica 2025, p. 169).

In myths, creation is often portrayed in the form of a mental endeavor. The formation of the cosmos is explained by the creative power of thought and imagination rather than by physical intervention. Just as man dreams, designs, and shapes his own world, so too in the mythological cosmos, existence springs forth from the imagination of the Divine consciousness. The world is the material manifestation of a thought or a word. In this conception, creation is regarded as the product of absolute intelligence and boundless imagination. The universe is not created by an external interference; rather, it is the result of contemplation. That which has been contemplated, dreamt, or spoken transforms into existence itself. Thought, acting as a Divine force, has guided material reality. The gods contemplate in this absolute void before uttering anything. Thus, thought becomes the primordial form of creation.

This study is designed as qualitative research based on a comparative mythology approach. The research material consists of creation myths from different cultures. The scope of the examination includes Hindu, Maori, Maya, Dogon, Polynesian, Ancient Egyptian, and Turkish mythological narratives, as well as cosmogonic texts centered on the Rig Veda, Popol Vuh, and Ptah. The selected texts were determined from oral tradition narratives and written sacred and mythological sources, specifically examples that address the emergence of the universe in the context of thought, word, and creative principle.

Qualitative content analysis was used as the research method. Within this framework, the texts were systematically analyzed through themes related to the conceptualization of creation, the constitutive function of the word, mental conception processes, and the establishment of cosmic order. During the analysis process, each mythological narrative was evaluated within its own cultural context, followed by a comparative examination of thematic similarities and points of divergence.

In the evaluation of the data, the historical, cultural, and symbolic contexts of the mythological narratives were taken into consideration. While making comparisons between texts, the original thought system of each narrative was preserved. Both descriptive and interpretive analyses were used in the study.

In the analyzed creation myths, despite belonging to different cultures, the emergence of the universe is envisioned within similar conceptual frameworks. In the narratives examined, creation is constructed as a transition process from a state of ambiguity to an orderly cosmic structure. This transition occurs through a founding principle associated with thought, word, or divine conception. In texts such as Rig Veda, ancient Egyptian cosmogonies centered on Ptah, and Popol Vuh, the word is both a descriptive element and an active force that makes existence possible.

Maori, Dogon, Polynesian, and Turkish creation narratives explain the creative process through practices of naming, rhythm, lineage chains, and order establishment based on command. In these narratives, word and thought play a decisive role in establishing cosmic order, while culture-specific symbolic forms emerge as different reflections of a common mental infrastructure. The findings indicate that creation myths reflect not only cosmological conceptions of the universe but also humanity’s effort to make sense of existence through language and thought.

2. The Essence of Existence: Thought

Discussions undertaken to explain the importance of thought constitute one of the most fundamental quests concerning the operation of the human mind. The orientation of the mind toward the external world is not limited solely to the recording of sensorially obtained data. Rather, these data must be interpreted, organized, and reconstructed within a framework of integrity. Consequently, thinking is also assessed as an ontological activity that surpasses classical epistemology. The mind does not merely detect what is perceived; it reshapes it. In this context, thinking serves as both a prerequisite for knowledge and a factor ensuring its continuity. It stands as one of the essential necessities that establish the bond between humanity and the world.

Knowing is an event in which the soul is involved. Knowledge, conversely, is the expressed outcome of knowing. Conception, apprehension, and thinking may be considered distinct modes of knowing. Von Aster answers the question, “What is thinking?” thus: Thinking, “… we may say, is uniting, dissecting, and comparing. In uniting, I gather objects into a unity or a whole; by dissecting, I divide an object into its constituent parts; and in comparing, I ascertain a relation (such as a relation of equality, similarity, or difference) existing between two or more objects.” The modes of apprehension, conception, and thinking are inseparable. One cannot exist without the other. For instance, something not apprehended cannot be conceived, nor can something unconceived be thought about. In short, thinking is the state in which knowing, a mental phenomenon, is achieved in conjunction with apprehension and conception (von Aster 1945, p. 35). It is possible to divide systems of thought into two groups: realist and idealist. Some characteristics of these systems are presented below (see

Table 1. The realistic and idealistic states of systems of thought.

Realistic Worldly	Sacred Idealism
Materialistic	Spiritualistic
Temporalistic	Eternalistic
Relativistic	Absolutistic

).

Divine thought and intuition may be defined as the discovery of an existing but veiled truth through a sudden spiritual impulse, while inspiration may be defined as creativity born within a person. The essence of the soul can only be grasped through intuition, which is a subtle point of the mind. A range of qualities cannot be understood outside of intuition, certainly never through the five senses. Certain spiritual truths and knowledge can only be attained via intuition, exclusive of means such as reasoning and the five senses. Intuition is accepted as a source of knowledge, provided that the acquired information is subject to verification (Helmstadter 1970, pp. 8–9).

Existence gained meaning with the emergence of humanity following the creation of the universe. Nearly all mythological systems shape their narratives around this moment of creation. While myths concerning creation elucidate the establishment of the cosmos, all other mythological narratives evolve based upon this primary creative act. Thus, myths treat the world’s beginning not merely as an event, but as a form of thought explaining the fundamental principle of existence. Creation becomes the genesis point for all narratives concerning the origin of humanity and the universe. Other myths function as interpretations and extensions of this initial divine order. For example, in Iranian thought, material creation is inherently good and worthy of being purified and restored to its original state. The doctrine of the resurrection of bodies expresses the invaluable worth of creation (Eliade 1982, p. 192). Ahura Mazda is accepted in the Zoroastrian faith as the creator of all lights and the supreme lord. Depicted as an omniscient and all-seeing deity, Ahura Mazda was defined by Zoroaster as “the creator of true order and action.” He is a power that determines the source of good and evil among beings, governing justice with divine wisdom. However, this order is not founded upon a belief in absolute fate. Ahura Mazda grants room for human will. Good and evil are determined by human free choice. Therefore, fate is susceptible to change. In later sections of the Avesta, it is stated that Ahura Mazda is the creator only of good and pure beings, while the evil and polluted ones were created by Ehrimen (Angra Mainyu). No bodily form is attributed to Ahura Mazda; he is conceived as a being born of fire, light, or flame. Hence, Ahura Mazda is the principle of light, knowledge, and creation shaped by thought. He created the world through the power of will and thought (Eliade 1978, p. 310).

3. The Pure State of Thought

Texts detailing creation in Hindu mythology also reveal how the universe came into being and how the most fundamental state of thought is understood. According to the Vedic tradition, prior to creation, the Absolute Being did not yet possess any form. In this phase, time and space did not exist either. In the initial stage, thought is accepted as a potentiality that exists but is yet unspoken. This state of pure consciousness, devoid of desire or intent, is considered the fundamental power that enables the emergence of the universe. In the Upanishads, creation commences with the Absolute Being’s “thought.” Here, thinking is the initial movement that initiates the manifestation of Being in numerous forms. Indeed, in Hindu narratives, thought is both the cause of creation and its reflection in the universe. Thus, the stages recounted in creation myths express not only a material formation but also the deep bond that consciousness establishes with existence.

The creation myths of the universe are present in the sacred texts of Hinduism, namely the Vedas, the Upanishads, the Mahabharata, the Code of Manu, and the Puranas. Throughout the historical process, owing to the transcription of these sacred texts and the influence of tradition, the creation mythology of the universe became more clearly articulated in the later sacred texts. Although the texts concerning the mythology of cosmic creation underwent a philosophical transformation from the Vedic period up to the Puranic period, creation occurs in four distinct phases in all of them. Consequently, these disparate myths express the same foundational system.

The Vedas consist of the texts Rig Veda, Ayur (Yajur) Veda, Sama Veda, and Atharva Veda. All four existing Vedic texts are the product of an oral tradition. The initial date for the compilation and arrangement of these texts is generally attributed to around 1500/1000 BCE. However, there are Indologists who accept the years 4500–4000 BCE as the initial date. Among these, the Rig Veda is the oldest in terms of compilation start, being dated to 1500/1200 BCE. The Sanskrit term Veda signifies sacred/divine knowledge and is derived from the root vid, which corresponds to the meaning of knowing, grasping, or naming (Campbell 1960, p. 438).

The first text among the Four Vedas addressing creation is the Rig Veda. The text in the Rig Veda that entirely encompasses the creation of the universe is the hymn named Nasadiya Sukta. Nasadiya is the most renowned creation hymn and is the text that describes the pre-creation state, the origin of the cosmos, and the creation of the universe (Mahato and Krisshan 2018, p. 61). Furthermore, there are Vedic hymns named Viśvakarman, Hiraṇyagarbha, Puruṣa, and Prajāpati, which contain information related to the gods and the creation of the universe (Das 2007, p. 54).

Enveloped by naught and lying in the void, He, who is Mind, creating the entire universe through thought (tapas), felt desire. This desire is stated to have been the first seed of the spirit (mind). Thus, the transition from non-existence to existence—that is, creation—commenced with the desire and volition of the Absolute One. Nasadiya also contains profound inquiries concerning the commencement of creation. One of these concerns the substance of creation. It is questioned whether this substance existed prior to creation or was brought into being by the Absolute One (God). Yet, the text provides no explicit answer, emphasizing only that the Creator might know, and none other could. The phrases in the Nasadiya hymn indicating that existence, non-existence, reality, air, heaven, and earth were absent at the inception can also be interpreted as the beginning of the universe being the manifestation of the existent from the non-existent. The translation of the Nasadiya hymn, which recounts the creation of the universe, is as follows:

“Neither existence (sat) nor non-existence (asat) was at the beginning. Neither air nor the void was present. There were no deep, unfathomable waters. There was naught to embrace (cover) or to safeguard. Neither death nor immortality was neither night nor day was there. Only God (He) breathed windlessly by His own inherent power. There was nothing beyond God. Before the cosmos was created, darkness prevailed everywhere. Nevertheless, there was a magnificent Entity, possessing all intelligence, who created the universe by pondering that which He desired to achieve. Subsequently, Desire arose, which was the sprout of the Spirit and the primal seed at the inception. Sages, searching with the vision of their hearts, discovered the kinship of the existent within the non-existent. The intersecting lines were extended transversely: What then lay above, and what below? There were beginners, there were potent forces, here was free movement, and above was energy. We humans verily know not. Who, then, can articulate how and when this universe was created? Even the angels may have come into being after the universe was fashioned. No one can say. Some people inquire: ‘Was the fundamental substance from which this universe was constructed always in existence, or was it created by God?’ He who alone constructed and controls the universe knows. If He knows not, who knows?

(Dharmic Scriptures Team 2002)

The creation by thought, which constitutes the first phase of creation in the Upanishads, demonstrates similarity with the phenomenon of creation in the Nasadiya hymn of the Vedas. The Upanishads are the concluding texts of the Vedas. Therefore, evaluating the idea of creation within these texts collectively provides a comprehensive approach to the subject. The stage of creation by means of thought in the Upanishads is observed in the Bṛhadāraṇyaka, Aitareya, and Chāndogya Upanishads. These texts contain the fundamental mantras encompassing the state preceding creation and the myth of creation’s origin. The initial phase of creation in the Bṛhadāraṇyaka Upanishad among these is stated as follows:

“In the beginning, there was naught. Everything was covered by death, by hunger, for hunger is death. Then did He reflect: “Let me obtain a body.” Then did He begin to worship. From this worship, water emerged. “I took delight while worshipping,” He reflected. Therefore, that which relates to brightness is called Arka. Joyous is the one who knows that which relates to brightness is called Arka”

(Kaya 2008, pp. 1–2)

Upon evaluation of the text of the Brihadaranyaka Upanishad, it is understood that while everything was initially covered by death and hunger, He contemplated obtaining a body. Here, the contemplation of obtaining a body and the act of worship signify the desire to manifest in the realm of concrete existence. The creation that begins with thought and desire in the Vedas is identical to the Absolute Brahman contemplating the acquisition of a body in the Upanishads.

4. Intellectual Harmony

Cosmogonies that center the creative power of thought indicate a shared theme within humanity’s most ancient mythical memory. The emergence of existence is frequently not the result of a material action but of a mental conception. The narrative of the Popol Vuh is situated within this deeply rooted theme, perceiving creation as a manifestation of the intellectual harmony of the gods. The power that shapes the universe is the creative energy born from “thinking together,” prior to any physical intervention. In this approach, the Word of God is not a passive declaration but a cosmic action in which thought is transformed into existence. Consequently, the Popol Vuh interprets creation as a metaphysical thought process and the primordial principle that establishes existence, thus offering a unique framework that attributes a pure and constitutive role to mental conception in cosmogony. Certain societies generally utilized methods of knowledge transfer reliant on oral narration and hieroglyphs, rather than systematic archives written upon paper. During colonization, following the subjugation of the indigenous populations, explorers subjected the natives to scrutiny in order to learn about the region’s culture and beliefs. The information they obtained was subsequently transcribed into various volumes (Narçın 2012, pp. 50–51). The work entitled Popol-Vuh, which recounts Maya culture and was penned by Spanish missionaries, stands as an instance of this phenomenon (Girard 1991, p. 22). It is for this reason that the culture, traditions, and beliefs of the societies aforementioned have been able to reach us today solely through the notes compiled by and the extent of the writings of the European explorers (Narçın 2012, pp. 50–51).

In the Popol Vuh narrative, creation is elucidated through the creativity of thought rather than physical action. The coming into being of the universe is the consequence of the gods’ mental conception. In the beginning, only Tepeu and Gucumatz exist. Everything is darkness, silence, and shapeless.

Within the darkness, there was only motionlessness and silence; it was night. Only The Creator and Maker, Tepeu and Gucumatz, the Forefathers, were encircled by light within the water (…). They were concealed beneath green and blue feathers, and the name Gucumatz derived from this. By their very nature, they were great wise priests and thinkers. The Sky existed in this form, and for that reason, the Heart of Sky also existed, and that was the name of God; He was thus called.

Thereafter the word came forth. Tepeu and Gucumatz assembled in the darkness, in the night, and conversed together. They then spoke, discussed, and deliberated; they agreed, uniting their words and their thoughts. Then, while contemplating, it became distinctly manifest unto them that man must come forth at the rising of the sun. Subsequently, they planned the creation—that is, the growth of the trees and the shrubs, the genesis of life, and the creation of man. Thus, was creation planned in the darkness and the night by the Heart of Sky (Huracan).

(Sproul 1991, p. 18)

In the Popol Vuh, creative thought is viewed as the solidified form of God’s will. While conceiving the world, Tepeu and Gucumatz are in a state of mental concord and internal unity. This unity is accepted as the primordial principle that renders existence possible. Their utterance, “Let the void be filled!” is more than mere speech. What is expressed here is the transformation of thought into matter. The Gods first mentally establish the order of the universe and then bring this order into existence through the word. The universe is born from the intellectual harmony of these two creative principles. Creative thought, in this context, is a cosmic force alongside mental action (Tedlock 1996).

The conception of the Gods determines the form, order, and law of the universe. In this form of creation, thought is both the cause and the consequence. Everything emanates from within it. Tepeu and Gucumatz create through thought, disseminating the rhythm of thought throughout the cosmos with speech. Thus, the universe becomes a reflection of the Divine consciousness. In Maya philosophy, the principle of “first thought, then creation” is fundamental to cosmic order. Thought is viewed as the prerequisite for the creative act. Speech is the manner in which this thought is realized. In this understanding, creation commences with an internal movement of the Divine mind. Every being is preconceived in the mind of God. The creation segment of the Popol Vuh mythologically expresses the notion that consciousness lies at the foundation of the universe, and that all things originate from a single thought (Sproul 1991, pp. 287–88).

5. Conceptual Separation

The transformation of thought into being within creation myths constitutes one of the most sophisticated dimensions of cosmogonies. In numerous cultures, the genesis of cosmic order is explained by the creative power of mental conception. The positioning of thought as the primary principle shaping the universe involves an ontological and epistemological approach. The cosmos first manifests in thought and subsequently acquires existence by transforming into matter. Within this framework, the Maiana creation narrative commands attention with its unique construct, wherein thought is treated as a “self-fulfilling power.” Here, the creative essence is the consciousness existing within a motionless void. The process of creation commences with this consciousness directing itself inwardly. Consequently, creation in the Maiana myth represents a philosophical process signifying the materialization of consciousness’s own potential. In the Maiana creation myth, the origin of the universe is elucidated through the concrete embodiment of thought (Sproul 1991, p. 336). Na Arean, the source of all things, exists within absolute nothingness, in a silent equilibrium between existence and non-existence. Creation begins with a mental motion on his part. This initial thought is the creative force that guides the emergence of the universe. Na Arean does not merely conceive his thought; he simultaneously gives it form. Abstract conception transitions into action. This material state of thought forms the very essence of creation:

Na Arean is depicted alone in space “as a cloud floating in nothingness.” He did not sleep, for there was yet no sleep; he did not suffer hunger, for there was yet no hunger. Thus, he remained in this manner for a long period, until at last a thought entered his mind. He said to himself, “I shall make something.”

Therefore, with his left hand, he made water, and playing with it with his right hand, he turned it into mud; afterward, he rolled the mud to be flat and sat upon it. As he had spoken, a large swelling appeared on his forehead, and after three days of growing, it burst open, and a little man emerged from within. “You are my thought,” Na Arean said, “You are the image of my thought (taamnein an iango, ngkoe).

(Sproul 1991, p. 336)

Na Arean divides himself into two, thereby separating existence from non-existence. With his left hand, he brings forth water, which is chaos and nothingness; with his right hand, he brings forth land, which is order and existence. Thus, the universe is born from the twofold manifestation of thought. Na Arean’s thought gains form and transforms into young Na Arean, the “concrete reflection of the creative thought.” This second being is sent forth to establish the order of the universe. The enacted state of the creative thought has now evolved into an independent consciousness. Nevertheless, creation remains aimless and chaotic. A center is required for the thought to attain its complete form. At this juncture, Na Arean removes a hollow female tooth and uses it to establish the center of the world, namely the navel. This center represents a cosmic and sacred axis. The transformation of thought, taking on a corporeal form and becoming the center of the universe, ensures the completion of creation.

“You are my thought,” said Na

Arean, “You are the image of my thought” (taamnein an iango, ngkoe).

Your name is Young Na Arean.

(Sproul 1991, p. 336)

At the end of the myth, young Na Arean separates the sky and the earth from one another, whereupon light emerges. This light is born from the divine tooth and guides the order of the universe. The creative power originates from thought taking form and transforming into matter. The universe is the concrete form of this thought. Everything is a component of a design that emanated from Na Arean’s mind and transitioned into being (Sproul 1991, p. 336).

6. The Essence of Fecundity: The Word

The word Logos, derived from Greek roots, stems from the verb “to say” and is initially a multilayered concept that encompasses both the meanings of “word” and “reason.” In Ancient Greek thought, owing to the rational foundation of the act of speaking, Logos was interpreted as a philosophical principle representing the order of the universe and the rational structure of existence. This concept garnered a new meaning within Christian theology, finding its counterpart in the Gospel of John as “the word”. According to John, the Logos is the concrete manifestation of God’s creative reason upon the world. This principle, which is identical with God, became incarnate in the body of Jesus. Hence, by common assent, Jesus is the human reflection of the divine reason that creates and regulates the universe. In the expression of John, “He was in the world, and the world was created through Him.” This narrative elucidates the apprehension of God’s creative word as an operative force on the ontological and cosmological planes (Leeming 2010, p. 452).

The creative quality of words is concretely evidenced in the first part of Genesis, where God brings the world into being through the word. The emergence of the universe by God’s speaking demonstrates that the word is not merely a mechanism of expression. It proves that it harbors a power which shapes existence and establishes order. From the inception of the Creation process, God established the universal order through the word, and language became the essential instrument of divine creation (Casey 2016, pp. 156–57).

Words, along with the images and metaphors they bear, determine the manner in which we perceive and experience the world. These expressions constitute structures that we unconsciously adopt, consider natural, yet which we must critically reassess. The Word sometimes stands as the wellspring of the problem, while at other times it transforms into the solution itself. It may occasionally engender a damaging impact, but within the selfsame process, it simultaneously contains a power of remediation. Words may demarcate boundaries and constrict thought; nevertheless, they also possess the capacity to transcend these very confines, thus revealing broader domains of hope and possibility (Casey 2016, p. 159).

Within this structure, creation myths conceptualize the transformative power of the word, assigning an existential and cognitive trajectory to man. In these myths, the word is the representation not only of the shaping of the universe but also of the awakening of consciousness. Creation narratives demonstrate that the word is a divine vehicle of action and a source that fosters humanity’s intellectual creativity. In this respect, myths render manifest the linguistic and symbolic dimensions of humanity’s engagement with the universe, reinforce the capacity for generating meaning, and perpetuate the creative, ordering function of the word within cultural memory. Cassirer perceives the function of the God image also within the fabric of language. According to him, the inclination toward durability and perpetuity manifests not as a creative pursuit attributable to man, but as a verity intrinsic to language itself. The word, in Cassirer’s philosophy, represents a truth that exists “in itself,” independent of human consciousness, much akin to a divine entity. In this perspective, sound constitutes the inaugural step in the transit to the realm of being. Sound transmutes into word, word into existence, and existence, in turn, transforms into God Himself. Thus, language moves beyond being a merely human production, acquiring a sacred potency that symbolizes the essential act of creation (Cassirer 2017, p. 45).

Among the various cults, one that commands the most attention and possesses the deepest layers of meaning is the “cult of the word.” In mythological systems, deities are delineated as the creative subjects who institute existence through the agency of the word. In divine religions, the act of God creating the universe is realized through the omnipotence of the “word.” In this understanding, the word stands as a principle that shapes existence and confers meaning upon it. God’s relationship with humanity is made concrete through the manifestation of the word in the form of revelation. Man’s movement towards God similarly occurs through the word, taking the form of prayer and supplication. Thus, the word becomes the metaphysical foundation of creation and the expression of the most potent bond between the sacred and humanity. In this context, the “cult of the word” may be regarded both as a mythological constituent clarifying the inception of cosmic order and as a theological structure determining the mode of man’s communication with the sacred (Dilek 2020, p. 62).

The notion of “creation by word” expresses the universal occurrence of existence rather than merely the formation of a singular entity. The expression found in verse 117 of Surah Al-Baqarah in the Quran, “He is the Creator of the heavens and the earth; when He wills a thing, He only says to it, ‘Be,’ and it is,” demonstrates that creation is actualized through the Divine word.

Similarly, in the Torah, the Gospel, and Mesopotamia’s ancient creation epic, Enuma Elish, the creative power inherent in God’s word is evident. This thought pattern may also be regarded as a symbolic reflection of social orders wherein action is brought forth by the command of a governing figure. That is to say, the universe, brought into existence by the word of God, is the reflection on the sacred plane of the concept of the “master who rules by his word” in human societies. The motif of “creation by word” is founded upon the belief that language and thought become the instruments of the Divine Will.

In the creation narrative of the Holy Bible, the universe takes shape through the word of God. The power that separates light from darkness and organizes the heavens and the earth is the creative voice of God. However, in this narrative, the naming of the beings upon the earth is no longer the direct task of God. This duty is left to man. After God created the animals on earth and the birds in the sky, He brought them to man and awaited how man would name them. The expression, “Whatever the man called each living creature, that was its name” (Cassirer 2017, p. 97), demonstrates that man participates in the creation process through his language and acquires the authority to assign meaning. Thus, naming becomes an echoing continuation in humanity of the order born of God’s word; the word of man transforms into a reflection of divine creation within the cosmic order.

Theogony and cosmogony assert that the universe and the divine order emerged as a result of the creative potency of the thought and word of a single god. This understanding constitutes the most advanced example of thought and word being perceived as creative forces in Egyptian metaphysics. In Ancient Egyptian thought, the period preceding creation is defined as an era of absolute uncertainty, wherein the names of neither gods nor objects existed. The first existence emerged from this state of silence, beginning when the creator god pronounced his own name. The magical power inherent in the Word causes the god to exist spontaneously; thus, God manifests as a causa sui, the cause of His own being. This narrative is the mythological expression of the creative potency borne by the name. In “The Book of the Dead,” the sun-god Râ is presented as his own creator because he bestowed his names and attributes upon himself. The emergence of all beings stems from this primordial act of speech, embodied in the demiurge (Greek: “creative master”). Gods and men are summoned into existence through this creative act established by his word (Cassirer 2017, p. 96). In the early periods of Egyptian thought, one encounters a conceptual basis akin to Christianity’s doctrine of “Logos,” meaning “The Word.” This resemblance indicates that “the word,” situated at the core of creation, is regarded as a sacred principle enabling the formation of the universe in both Egyptian metaphysics and Christian theology (Eliade 1978, pp. 89–90).

7. The First Vibration: The Word

The positing of the Word as a creative potency is one of the most fundamental common denominators across mythological cosmogonies. In many cultures, the beginning of the universe is explained by the movement of existence being instigated by a vibrating sound, a spoken name, or a divine command expressed in language. This approach demonstrates that the word establishes existence and serves as a regulating cosmic principle. This cosmic quality of the Word transforms into a universal creation paradigm across a vast cultural area, extending from Sumerian thought to Dogon mythology. Thus, the word acquires meaning as the symbol of divine authority and the essential energy that makes existence possible.

In the Dogon belief system, the creator being Amma is the initial principle who shapes the universe with the creative power borne by the word. According to the narrative, Amma creates a feminine-natured placenta, or world egg through the “word” in his saliva. This cosmic egg bears the kernel of all existence. Amma fertilizes this placenta with the seeds of two beings. These beings are sometimes depicted as twins, and sometimes as androgynous, meaning they possess both male and female characteristics (Tuğrul 2010, p. 44). As the creation process proceeds in order, one of these beings disobeys the command of God and emerges from the egg prematurely. This action is accepted as the first act of disobedience that disturbs the balance of the universe. As this prematurely born being is “singular,” it leaves its feminine half, or twin, inside. Thus, the first incompleteness manifests in existence. This fragmented being wanders in darkness, desiring reunion with its twin, but God has concealed the lost half. To restore the corrupted order, Amma tears off a piece from his own placenta and sends it downwards. This piece turns into earth. The surface of the world comes into existence through this piece, separated from the essence of God.

In the Dogon creation myth, creation is a sacred act shaped by the tension between the word, disobedience, and the quest for wholeness. The “word” in Amma’s saliva is the initial vibration forming the source of existence and is accepted as the creative principle placed at the foundation of the universe (Tuğrul 2010, p. 44). According to the Dogon people, the Creator God is the originator of all beings upon the earth, and his name is Amma. God Amma brings the universe into existence through creative words called “Nommo.” Nommo is also “the spirit of the word,” signifying the totality of divine words that regulate the universe. In the Dogon belief system, the “word” is accepted as a sacred force that shapes existence upon both the physical and spiritual planes. According to this understanding, the word is generated within the internal organs of the human body. It warms in the heart, acquires form in the lungs, and issues forth through saliva. Saliva, which is water, is the essence and carrier of the word; it imparts vitality unto it. The heat of the heart warms this water, thus activating the word, whereupon the lungs carry this power upward. The word is woven like a textile within the mouth and spills from the lips to integrate with the world. In Dogon mythology, existence springs forth from the Word of God. Every fragment of the universe is perceived as an echo of God’s voice. For this reason, all things found in the world possess a language, a meaning. Every creature created bears a trace of God’s Word. What is paramount for humankind is the ability to perceive this divine word and to comprehend its significance. In this system of thought, the word is the fundamental principle not merely of communication, but of existence itself (Tuğrul 2010, p. 101).

“When Nummo speaks, what comes from his mouth is a warm vapour which conveys, and itself constitutes, speech. This vapour, like all water, has sound, dies away in a helicoid line. The coiled fringes of the skirt were therefore the chosen vehicle for the words which the Spirit desired to reveal to the earth. He endued his hands with magic power by raising them to his lips while he plaited the skirt, so that the moisture of his words was imparted to the damp plaits, and the spiritual revelation was embodied in the technical instruction.”

(Griaule 1965, p. 20)

In mythological thought, speech is almost a divine law. Sumerian philosophers developed a hypothesis concerning the creative power of the divine word, which subsequently became a prevalent belief throughout the Near East. According to this doctrine, the tasks to be undertaken by all creative deities are “to present a plan,” “to speak the word,” and “to utter the name.” It is probable that this concept of the “creative power of the divine word” is the outcome of a comparison based on observations within human societies. If a human sovereign can attain everything he desires through a word or a command issuing from his mouth, then the immortal and superhuman gods, who are responsible for the four corners of the universe, can surely attain even more (Kramer 1990, p. 66).

This understanding led to the conception of speech as a foundational principle governing cosmic order. The power of the divine word to shape the universe transcends the boundaries of Near Eastern mythologies, reappearing in similar forms across various cultures. The universal validity of the divine word converges in the same creative principle within different mythological systems, enabling creation to evolve from an abstract potency into a concrete existence.

When all things were deaf and silent, and naught existed, the earth and sky were created by “creative words laden with thought and sacred power.” In a prayer recorded in the Ancient Egyptian Book of the Dead, the God Aton is described. He was born before every being and created the self-recreating substance through the power of all the names by which He is called:

“I am the god of the celestial realms, of space when it was a fluid ocean without end, and of times and forms. No one birthed me, for I was born before every being. Through the intercession of the magical power inherent in all the names by which I am called, I created the celestial hierarchy and the self-recreating substance.”

(Crampdor 1998, p. 56)

Information concerning speech being an element of creation is also contained within the Holy Scriptures. The Word (Kelam), being the source of all activities by virtue of its origin in God, possesses the power of realization. In the six-day creation process of the world narrated at the beginning of the Torah, God is seen accomplishing what He desired to happen by expressing it through words. The motif of the Word in the realization of creation is also seen in the Holy Qur’an. The world was created subsequent to the command “Kün” (Be!).2 In the Holy Qur’an, a prominent approach invites careful reflection on the order and meaning inherent in the structure of the universe and human existence. The universe is presented as a book belonging to God. Every being, phenomenon, and event is described as an “āyah” of God, expressing the view that all aspects of existence convey meaning regarding the nature and reality of God (Almirzanah 2020, p. 4). Another divine book that accepts the Word as the “initial element” is the Gospel. The following record concerning the Word is situated in the Gospel: “In the beginning was the Word, and the Word was with God, and the Word was God.”

According to the mythological beliefs of the Turks, the universe was created through the Word, a concept explicitly presented in the creation myths collected by Verbitskiy and Radloff. Ak Ana’s teaching to Ülgen, stating: “Say ‘I have done, it is accomplished,’ say not ‘I have not done, it is not accomplished’” and Kayrakan’s declaration of “let there be earth” in Radloff’s variant, demonstrate the influence of the word in creation. The creation of the world occurred suddenly, not through evolution. Action followed the word, and creation was realized by the power of the word. These words in the Turkish creation myths are verbs that express action, such as “to do, to become, to make, to create, to finalize.”

In the myth compiled by Verbitskiy, it is recounted that Ülgen, flying in the boundless expanse of water that constituted the universe, began creation through an “afflatus” (divine inspiration). First, influenced by a voice of uncertain origin, he seized a stone that emerged from the water:

“His spirit was somehow filled with a sacred inspiration

This renown, arriving from the unseen, found him a solution.

A voice descending from the heavens gave Ülgen a command:

-“Seize that which is before you, capture it instantly!” It said.

Ülgen complied with this decree, extending his hands

Within his heart, he repeated the words of the firmament.”

(Ögel 1971, p. 433)

While Ülgen was contemplating how to accomplish creation, Ak Ana, who dwells in the water, guided him and instructed him on what was necessary for creation. The position of Ak Ana as the “instructor” to Ülgen may be considered a feature indicating that the legend originates from a matriarchal period. Similarly, the conception of individuals who bestow names upon heroes in Altai epics as white-haired women can be considered an extension of this characteristic. It is notable that what is required for creation is a “word,” rather than “light, thought, motion, etc.” According to this myth, by Ak Ana’s decree, Ülgen spoke the words, “Let the earth be created,” and the earth was created:

“If thou too wish to create aught, O Ülgen,”

“As the Creator, learn this sacred utterance!”

“Always say, ‘I willed it, and it came to be,’ and utter naught else!”

“And never, while creating, say, ‘I willed it, but it came not to be!’”

(Ögel 1971, p. 433)

Thereafter, Ülgen, speaking the necessary words, created the earth, the heavens, and other things:

“Gazing upon the earth, Ülgen commanded: -Let the earth be created! He said.”

Upon this wish, the earth sprouted forth from the sea.

Gazing upon the heavens, Ülgen commanded: -Let the sky be created! He said.

Upon this decree, the sky adorned the space above”

(Ögel 1971, p. 433)

(…)

“One day God commanded: -“Let the solid stone be created!”

“From the depths of the seas, a stone somehow emerged”

(Ögel 1971, p. 452)

(…)

“God commanded once more: -“Let the nine branches flourish also!”

“Straightway the branches emerged, along with their nine shoots”

(Ögel 1971, p. 453)

The phrases found in the creation myths, such as “I willed it, and it came to be” or “let there be earth,” are similar to the expression “bolsun kıl” in the Oğuz Kağan Epic. The Oğuz Kağan Epic begins with the sentence: “Bolsun kıl dep dediler” (They said, ‘Let it be done/created’). Immediately following this sentence, the depiction of a bull is found. According to Fuzuli Bayat, this “May be interpreted as a symbolic materialization of the word.” (Bayat 2006, p. 55). Here, the creation phenomenon—that is, the creation of the macrocosm and microcosm—is brought to the fore in the Oğuz Kağan Epic. Creation is presented here within a single sentence (Bayat 2006, p. 55). In anthropogonic texts, the event of man being created through the power of the word is also encountered. Ülgen, addressing the clay he saw upon the water, states: “Let this be humankind, let him be the father of man,” and the first human is created:

“A figure, resembling man, began to appear,”

“Suddenly, the clay upon the soil had become human.”

(Ögel 1971, p. 435)

In the text compiled by Radloff, God creates nine individuals from the nine-branched tree by means of His command:3

“He thus issued the command, so that races might multiply:”

“Let nine individuals be made, from the root of the nine branches,”

“Let nine tribes emerge, from the essence of the nine persons!”

(Ögel 1971, p. 453)

8. The Essence of Essence: The Word

In creation myths, the word is viewed as the fundamental principle establishing existence. This understanding, which posits that the universe emerged through the sound and naming act that mobilizes thought, is particularly prominent in Polynesian cosmogonies. In the Tuamoto tradition, the word, as the immaterial yet potent form of creative power, enables the initial moment of cosmic order. This framework allows Kiho’s speech to be conceived as an ontological action that brings the universe into the realm of existence. In Tuamoto cosmology, the primary cause of creation is Kiho, described as the “source of sources.” Kiho is an entity that existed prior to the formation of the universe, quietly abiding in the void. He initiates the act of creation not through physical force, but “through the power of beautiful speech.” His word transforms into a productive energy, and with this energy, he brings forth Chaos, that is, the dark and fertile waters. In this narration, the word is regarded as the essence of the creative substance. Kiho’s speech sets being in motion; it gives form to silence.

Now Kiho spoke, “Thou art Atea from the legion of Gods, and thou shalt be a firm foundation for Havaiki-Above, and a temple for the legions of spirits.”

Atea then beheld the god lying prone.

Thereafter, Kiho addressed Atea again thus:

“Thou shalt be known to all through My grace,

I shall teach thee all hidden arts and sciences

Thou shalt become an Interpreter

I shall ensure that thou become a father to children

I shall instill in the productivity, thereby shall Havaiki be filled with life.

Thou shalt ascend swiftly towards the heights

Thou shalt impart knowledge unto infinite space

Thou shalt take thy dwelling within the Heavenly-Sphere

Thou art the Pillar of the Heavens

Thou art the Stretching Rafter—

Verily, thou art the very Wall-Substance of the Sky.

You are the First One

You are the Last One

You are Above

You are Below—

You are the Completer!”

(Stimson 1933, pp. 12–19)

Discourse bears both an intellectual and corporeal creative power. The language of the myth equates the creative effect of words with the productivity of semen. This analogy emphasizes the life-giving nature of the word. In this conception, where spiritual and physical creation are not distinct, the word is the essence of fertility, and thought is the essence of existence. This first movement, brought into being by Kiho through thought from silent emptiness, is accepted as the commencement of creation (Sproul 1991, pp. 354–56).

9. Intellectual and Verbal Integrity

Mythological conceptions, built upon the intellectual and verbal foundations of creation, present a deep metaphysical approach peculiar to Egyptian cosmogony. According to this understanding, existence first manifests in the divine mind, subsequently taking shape through the creative power of the word and thereby opening up to the world. This sacred harmony between thought and word demonstrates that creation is not merely an action but a principle that establishes order. The creative might of Ptah is embodied in this cosmic process, wherein mental design and the performative effect of the word constitute an indissoluble unity.

In Egyptian mythology, Ptah is recognized as the god who executes the act of creation through thought and speech. He first conceives all beings and deities he desires to create within his heart and then ensures their realization by articulating them with his tongue. In this perception, creation is a sacred process where thought assumes form by means of the Word:

“Ptah-Nun, the father who engendered Atum (…) Ptah-Naunet, the mother who gave birth to Atum (…) Ptah the Great, the tongue and heart of the Ennead (…) Thence came something in the form of Atum from his (Ptah’s) heart and his tongue. Ptah the Great, who caused all the gods (to live) and who is also their “spirit,” (God) Horus came forth from the heart of Ptah, and (God) Thoth came forth from the tongue of Ptah (…) Shu and Tefnut, who were fashioned in the Ennead, came from him. The sight of the eyes and the hearing of the ears and the inhaling of the nose were within his (Ptah’s) heart. It was this that caused everything to come forth; he declared with his tongue what his heart conceived. Thus, all the gods were born, and his Ennead was completed. Everything that the God spoke came into existence through the thoughts of his heart and the commands of his tongue”.

(Pritchard 1969, pp. 4–5)

The deities considered to be different manifestations of Ptah emerge through this method. For this reason, Ptah was given the name “Anhtavi,” meaning “two living ones.” He sequentially determines the names of the gods, thereby completing the Ennead, that is, the company of nine deities. In Egyptian thought, the “sacred word” is viewed as an act taking place between the design of the heart and the command of the tongue. This conception symbolizes the intellectual and verbal integrity that forms the essence of divine creation. Each of the gods created by Ptah is contemplated as a reflection of his existence. Hence, the names of the gods are invoked alongside the name Ptah. For example, the air god is named Ptah-Shu, and the goddess of moisture is named Ptah-Tefnut. Thus, Ptah does not merely create the gods; he also incorporates their functions within his own being (Lalouette 1987, p. 105).

Ptah’s method of creation differs from the act of creation carried out by Atum through physiological means. While Atum creates through spitting or sexual symbols, Ptah utilizes mental conception and the power of the word. This circumstance elevates Ptah to the highest expression of the creative principle in the unity of thought and word. The Memphite theology, in accordance with this understanding, places thought antecedent to action; it regards the heart as the center of human consciousness and the tongue as the external manifestation of this consciousness. Thus, creation ceases to be a corporeal act and becomes an intellectual process, and the idea that thought manifests the universe through the Word (Kelam) transforms into a sacred doctrine (Lalouette 1987, p. 95).

Another form of the creation myth emerged with the purpose of highlighting the religious and political significance of Memphis, the capital during Egypt’s first dynastic period. Ptah, the local god of Memphis, was situated at the center of this narrative and referred to as the “Memphite Theology,” drawing reference from the document containing the myth. This doctrine alters the classical hierarchy of the Heliopolitan Ennead, granting the primacy of creation to Ptah. In this version, Ptah is identified with the primeval ocean Nun and is depicted as the supreme god who brought into existence Atum and all other deities included in the Heliopolitan Ennead through his divine “word.”

“Ptah said, ‘I am He who created the gods and who made all things exist’ (…)

Understand and know that I am the mightiest of the gods. (…) He (Ptah) created the gods, He (Ptah) established the settlements, He (Ptah) formed the cities, He (Ptah) placed the gods in their temples. (…) Every tree, every stone, and every clay (is in Him), Everything that grows upon all things comes from Him (Ptah). (…) Ultimately, He is the unifier of the two lands.”

(Pritchard 1969, p. 55)

Ptah creates the gods through His thought and His word, gives birth to order out of chaos, determines destinies, provides sustenance for humanity, divides Egypt into regions and cities, and assigns local deities their own domains. Having completed all acts of creation, He then retreats to rest as a creator who has established cosmic order (Bratton 1995, p. 65; Hooke 1995, p. 74).

In Polynesian mythology, too, the power of the “word” stands prominent as the source of creation. According to the narrative, initially, there was only darkness and boundless waters. Io, the supreme god, brought order to this chaotic state through the might of His thought and words:

“In the beginning, there were only the Waters and the darknesses. Io, the Supreme God, by the power of His thought and His words, separated the Waters and created the Sky and the Earth. ‘Let the Waters be separated from one another, let the Heavens form, let the Earth appear!’ He said. These cosmogonic [universe-generating] words of Io (the world began to exist by means of these very words) are creative words laden with sacred power.

(Eliade 2001, p. 45)

This creative word, which shaped the universe by stating, “Let the Waters be separated from one another, let the heavens form, let the earth appear!” transforms into an act of divine will combined with thought, enabling the inception of existence. As conveyed by Eliade, Io’s cosmogonic expressions possess a creative potency. In this regard, the word is perceived both as a sacred charge and as a fundamental principle establishing existence itself (Eliade 1978, p. 147).

In the Maori tradition, the belief holds that Io speaks sacred words to bring the universe out of darkness and into light. These same words are repeated in rituals symbolizing fertility. The identical phrases are reiterated in the ceremony for placing the child in the womb, thereby integrating the power of Divine creation with human life. The words Io spoke for the light to shine forth in the darkness are also used to reinvigorate people consumed by despair. These words are recited during ceremonies that strengthen the elders, heal the sick, and illuminate the heart. The sacred word provides spiritual and physical enlightenment. The same words are employed in revealing esoteric knowledge, in musicians’ search for inspiration, and in preserving courage amidst the grievous conditions of war. The words repeated in these rituals symbolize the creative power that dispels darkness. The utterance Io utilized to illuminate the universe also destroys the darkness within the human soul. In this conception, the word is not merely a means of communication but is a divine force that transforms existence and generates light (Hongi 1907).

10. Conclusions

In this study, creation narratives belonging to different cultures were compared through the lens of thought and word, and consequently, it was determined that cosmogonies express far more than merely “starting stories.” Creation myths present a philosophy of existence. A common theme emerging across the Hindu, Maori, Maya, Maiana, Dogon, Polynesian, and Egyptian traditions is the noteworthy finding that the origin of the universe resides not in a material intervention, but rather in mental conception and the word. The cosmos is a design first determined in the divine mind and then transitioned onto the plane of existence through the creative word. This perspective transforms creation myths into texts that interrogate the intellectual and verbal foundations of humanity’s relationship with the universe, the sacred, and self-awareness. “Thought,” considered the essence of existence, is not depicted as a passive state in any of the examined mythical examples. This power, variously termed Tapas, primal desire, divine conception, or the mind’s first vibration, represents a potential yet unformed possibility, but simultaneously, the effective initial cause that initiates creation. The Nasadiya hymn in the Rig Veda, the creation sections in the Upanishads, the emphasis on “thinking together” in the Popol Vuh, and Na Arean’s expression, “You are my thought,” in the Maiana myth, all demonstrate that existence blossoms from a mental kernel. Within this framework, thought emerges beyond a concept marking the starting point of the cosmic process; it appears as an ontological principle establishing the connection between existence and consciousness.4

The “word”, regarded as the source of fertility, manifests as a creative power that regulates the cosmos, defines boundaries, and imparts meaning through naming. The Logos doctrine, the emphasis on “creation by word” in the Torah and the Qur’an, the definition of Nommo as the “spirit of the word” in Dogon mythology, the formula “I made, and it was” taught by Ak Ana in Turkic creation myths, and the divine address transforming chaos into order in Tuamoto and Polynesian cosmogonies all follow the same intellectual trajectory. In these narratives, the word is an action possessing ontological power. The unity of “heart and tongue” attributed to Ptah in Egypt offers an understanding within these mythological universes where the distinction between thought and word is ultimately eliminated. The gods, cities, and order conceived in Ptah’s heart and brought into being by his tongue demonstrate that the mental and verbal dimensions of creation cannot be severed from one another. This model, developed by Memphite theology, places thought precedent to action and sets forth a holistic conception of creation that regards the word as the materialized form of thought.

The mythological examples scrutinized within the article demonstrate that narratives concerning the universe’s inception also reflect the efforts of the human mind to comprehend its own operation. Thought functions as the origin of existence; the word serves as the visible manifestation of this origin. This dual structure indicates that creation myths are far more than mere antiquated, closed narratives. These mythical conceptions, which bring language, consciousness, and cosmic order together upon the same founding axis, may be evaluated as a symbolic memory that still retains its vitality in humanity‘s process of understanding itself and the cosmos.

The creation narratives examined comparatively in this study demonstrate that divine power is constructed on the mythological plane primarily through thought. The initiation of the creative process through mental conception indicates that the sacred is structured within the sphere of consciousness before entering the material realm. From the perspective of the history of religions, this suggests that the idea of creation offers a theoretical model concerned with the functioning of sacred consciousness rather than a mere account of a cosmic beginning. The positioning of speech as a force that brings existence into being within mythological narratives shows that the function of language in studies of sacred discourse cannot be confined to representation alone. In this context, myth may be understood as a conceptual field that renders the ontological efficacy of sacred language visible. The comparative findings clarify the conceptual permeability between mythology and theology. Sacred language emerges in these narratives as a force that directly shapes the constitution of being.