PIÉ DE LA ILUSTRACIÓN DE ANDRÉS PENA GRAÑA.
"El dios solar tiene un solo ojo. Odín, el dios solar germano lo sabe todo, ese conocimiento le costó un ojo de la cara que pagó en prenda a su maestro"


"1. 7. 1 ESSUS
“We know from a number of Babylonian hymns which were used at the annual lamentation which the people of Babylonia made when the death of Tammuz was solemnised that Dumu-zi is the spirit of Vegetation, particularly of the corn. This corn by being planted in the womb of Mother Earth dies, but hereby a plenteous harvest is produced and throughout the sacrifice of the corn spirit mankind is saved. The children of Mother Earth thus begotten, i.e. the ears of corn, become her ‘lovers year by year and suffer the same fate by being planted in the earth again. [...] [...] the prosperity of the land was held to be dependent upon the virility of the King. When the crops failed or the flocks ceased to be productive it was believed the king’s strength was failing, and he had to die, usually a violent death, his soul being transferred to a vigorous successor before it had been seriously impaired by remaining too long in an enfeebled body. By slaying the man-god his worshippers could, in the first place, make sure of catching his soul as it escaped and transferring it to a suitable successor, and, in the second place, by putting him to death before his natural force was abated, they would secure that the world should not fall into decay with the decay of the man-god. The manner of death differed: some times he was strangled, sometimes clubbed, sometimes he was hanged on a tree” .

Esus encarnaría entre los galos la idea del díos que voluntariamente acepta su muerte y la vence luego, renaciendo victorioso de entre los muertos, escena representada en bajo relieve de Trèves donde, está presente un toro, y ya sabemos ahora lo que eso significa y sobre el árbol talado hay tres ánades. El Aen-dia, solar dios crepuscular Essus (si la idea es tolerable) aceptando intencionalmente y de buen grado su muerte, hecho de por sí lo suficientemente trascendente para que la plástica celta expresamente lo represente con su propia brosa o hacha, non invitus, talando voluntariamente del Árbol de la Vida los maderos en los que iba a ser clavado, no colgado, y luego alanceado en el corazón, para que con su deliberada muerte y posterior resurrección la Tierra, la Treba, el Teuta, el país, renovara sus frutos y se confortasen los hombres en la promesa cierta de la inmortalidad . F 149" IN ANDRÉS PENA GRAÑA, TREBA Y TERRITORIUM..." USC 2004, SANTIAGO DE COMPOSTELA