Hence all three members of the Trinity were identified, not only with the dragon, but also with the hero who was the dragon-slayer.
But the weapon used by the latter was also animated by the same Trinity, and in fact identified with them. In the Saga of the Winged Disk, Horus assumed the form of the sun equipped with the wings of his own falcon and the fire-spitting uræus serpents. Flying down from heaven in this form he was at the same time the god and the god's weapon. As a fiery bolt from heaven he slew the enemies of Re, who were now identified with his own personal foes, the followers of Set. But in the earlier versions of the myth (i.e. the "Destruction of Mankind"), it was Hathor who was the "Eye of Re" and descended from heaven to destroy mankind with fire; she also was the vulture (Mut); and in the earliest version she did the slaughter with a knife or an axe with which she was animistically identified.
But Osiris also was the weapon of destruction, both in the form of the flood (for he was the personification of the river) and the rain-storms from heaven. But he was also an instrument for vanquishing the demon, when the intoxicating beer or the sedative drink (the potency of which was due to the indwelling spirit of the god) was the chosen means of overcoming the dragon.
This, in brief, is the framework of the dragon-story. The early Trinity as the hero, armed with the Trinity as weapon, slays the dragon, which again is the same Trinity. With its illimitable possibilities for dramatic development and fantastic embellishment with incident and ethical symbolism, this theme has provided countless thousands of story-tellers with the skeleton which they clothed with the living flesh of their stories, representing not merely the earliest theories of astronomy and meteorology, but all the emotional conflicts of daily life, the struggle between light and darkness, heat and cold, right and wrong, justice and injustice, prosperity and adversity, wealth and poverty. The whole gamut of human strivings and emotions was drawn into the legend until it became the great epic of the human spirit and the main theme that has appealed to the interest of all mankind in every age.
An ancient Chinese philosopher, Wang Fu, writing in the time of the Han Dynasty, enumerates the "nine resemblances" of the dragon. "His horns resemble those of a stag, his head that of a camel, his eyes those of a demon, his neck that of a snake, his belly that of a clam, his scales those of a carp, his claws those of an eagle, his soles those of a tiger, his ears those of a cow."[134] But this list includes only a small minority of the menagerie of diverse creatures which at one time or another have contributed their quota to this truly astounding hotchpotch.
This composite wonder-beast ranges from Western Europe to the Far East of Asia, and as we shall see, also even across the Pacific to America. Although in the different localities a great number of most varied ingredients enter into its composition, in most places where the dragon occurs the substratum of its anatomy consists of a serpent or a crocodile, usually with the scales of a fish for covering, and the feet and wings, and sometimes also the head, of an eagle, falcon, or hawk, and the forelimbs and sometimes the head of a lion. An association of anatomical features of so unnatural and arbitrary a nature can only mean that all dragons are the progeny of the same ultimate ancestors.
Fig. 7.—A Mediæval Picture of a Chinese Dragon upon its cloud (After the late Professor W. Anderson)