3. Interwoven Notions of Creation and Destruction
Prometheus references again and again that the Universe functions on conflicting yet complimentary interwoven themes of creation and destruction. In this universe, only death and annihilation can beget genesis. This is illustrated at the outset of the movie, when the sacrificial Engineer gives up his life to seed Earth with his DNA in a scene that is unmistakably reminiscent of the sacrifice of the Sumerian god Geshtu, from Mesopotamian mythology. The Sumerian connection is given additional credence when you consider the cuneiform-like markings that appear on the cheeks of the large stone head in the Engineers cave complex on LV-223. This motif of death being key to engendering life is also tied into the New Testament symbolism that the movie not too subtly communicates to the viewer. Twinned themes of creation and destruction are embodied in the black liquid, of which we previously theorised that there are
2 variants, both utilising the potent genetic material of the original ancient and revered xenomorph. The liquid is representative of the Norse
eitr (referenced in the viral marketing campaign for
Prometheus as an incredibly rare mineral from Earth), which in Norse mythology is a highly poisonous organic liquid which produces life. In the opening scene, the black liquid brings about life on Earth through the death of the sacrificial Engineer. Similarly, these interlaced notions of death and creation are embodied in the xenomorphs- powerful monstrosities that they are-which require the death of their hosts in order to fully gestate and be born. We see this at the end of the movie when the xenomorph creature rips itself screaming from the abdomen of the dead Engineer. Shaw escapes this fate by virtue of a messy and cringe-inducing self-caesarean, but if she had not been so lucky (!) then the birth of her alien progeny would have resulted in her death too.
Key line: David - Sometimes to create, one must first destroy