Classical Antiquity
Roman dragons evolved from serpentine Greek ones, combined with the dragons of the Near East, in the mix that characterized the hybrid Greek/Eastern Hellenistic culture. From Babylon, the muš-ḫuššu was a classic representation of a Near Eastern dragon. John's Book of Revelation—Greek literature, not Roman—describes Satan as "a great dragon, flaming red, with seven heads and ten horns". Much of John's literary inspiration is late Hebrew and Greek, but John's dragon is more likely to have come originally through the Near East. Perhaps the distinctions between dragons of western origin and Chinese dragons are arbitrary, since the later Roman dragon was certainly of Iranian origin: in the Roman Empire, where each military cohort had a particular identifying signum, (military standard), after the Parthian and Dacian Wars of Trajan in the east, the Dacian Draco military standard entered the Legion with the Cohors Sarmatarum and Cohors Dacorum (Sarmatian and Dacian cohorts)—a large dragon fixed to the end of a lance, with large gaping jaws of silver and with the rest of the body formed of colored silk. With the jaws facing into the wind, the silken body inflated and rippled, resembling a windsock. This signum is described in the surviving epitome of Vegetius De Re Militari 379 CE—"The first sign of the entire legion is the eagle, which the eagle-bearer carries. In addition, dragons are carried into battle by each cohort, by the 'dragoneers'"—and in Ammianus Marcellinus, xvi. 10, 7. Parthia lies athwart the Silk Road, the cultural thread between East and West, allowing for possible connections between this Romanized Parthian dragon and distant Chinese origins.
Several vague incarnations of evil in the Old Testament were given the translation draco in Jerome's Vulgate, to undergo changes in meaning and become broad embodiments of evil.
Read more about this topic: European Dragon
Famous quotes containing the words classical and/or antiquity:
“Classical art, in a word, stands for form; romantic art for content. The romantic artist expects people to ask, What has he got to say? The classical artist expects them to ask, How does he say it?”
—R.G. (Robin George)
“When we dream about those who are long since forgotten or dead, it is a sign that we have undergone a radical transformation and that the ground on which we live has been completely dug up: then the dead rise up, and our antiquity becomes modernity.”
—Friedrich Nietzsche (18441900)