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Excerpt from the Papyrus of Hunefer, BC 1350

“But it must be remembered that hitherto only the “bull of the south” has been sacrificed, and that the “bull of the north” has yet to be offered up; and all the ceremonies which have been already performed must be repeated if the deceased would have the power to go forth at will over the whole earth.

From the earliest times the South and the North were the two great sections into which the world was divided, and each section possessed its own special gods, all of whom had to be propitiated by the deceased; hence most religious ceremonies were ordered to be performed in duplicate.

In later days each section was divided into two parts, and the four divisions thus made were apportioned to the four children of Horus; hence prayers and formulæ were usually said four times, once in honour of each god, and the rubrical directions on this point are definite.

The ceremony of "opening the mouth" being performed on the mummy of Hunefer, about B.C. 1350 (From the Papyrus of Hunefer, sheet 5)

The ceremony of “opening the mouth” being performed on the mummy of Hunefer, about B.C. 1350 (From the Papyrus of Hunefer, sheet 5)

In the limited space of this book it is not possible to reproduce all the scenes of the ceremony of opening the mouth and the eyes which are depicted in the tombs and elsewhere, but on page 199 is a general view of the ceremony as it is often given in the papyri of the XVIIIth and XIXth dynasties.

On the right we see the pyramidal tomb in the Theban hill with its open door, and by the side of it is the funeral stele with a rounded top inscribed with a figure of the deceased standing in adoration before Osiris, and with a prayer to the god for sepulchral offerings.

Anubis, the god of the dead, embraces the mummy, thus indicating his readiness to take the deceased under his protection.

Nasha, the wife of the deceased, stands weeping before the mummy, and at his feet kneels another weeping woman, probably his daughter.

Anubis and the mummy stand upon a layer of sand which has been placed there with the object of sanctifying the ground.

A priest clad in a panther’s skin holds a censer containing burning incense in one hand, and a vase, from which he sprinkles water, in the other.

One ministrant holds the two instruments “Tun-tet” and “Seb-ur” in the right hand, and the “Ur hekau” instrument in the left; and another offers four vases of unguent.

In the lower register are a cow and her calf, and two men are carrying along to the mummy the haunch which we must assume to have been recently cut from the slaughtered bull, and the heart which has just been taken out of him.

On a table we see lying a number of objects, the “Meskhet,” and Pesh-en-kef,” and other instruments, two sets of four vases for holding unguents and oil, the bags of colour, the iron of the south and north, etc.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 198-202.

Opening of the Mouth Concluded

“Thus the mouth and the eyes of the deceased are opened. The Sem priest then took in his hand the instrument called ur hekau, i.e., the “mighty one of enchantments,” a curious, sinuous piece of wood, one end of which is in the form of a ram’s head surmounted by a uraeus, and touched the mouth and the eyes of the statue or mummy four times, whilst the Kher-heb recited a long address in which he declared that this portion of the ceremony had secured for the deceased all the benefits which accrued to the god Osiris from the actions of Nut, Horus, and Set, when he was in a similar state.

It has been said above that every dead man hoped to be provided with the hekau, or words of power, which were necessary for him in the next world, but without a mouth it was impossible for him to utter them.

Now that the mouth, or rather the use of it, was restored to the deceased, it was all important to give him not only the words of power, but also the ability to utter them correctly and in such wise that the gods and other beings would hearken to them and obey them; four touches of the ur hekau instrument on the lips endowed the deceased with the faculty of uttering the proper words in the proper manner in each of the four quarters of the world.

When this had been done, several other ceremonies were performed with the object of allowing the “son who loveth him” or his representative to take part in the opening of the mouth of his father.

In order to do this he took in his hand a metal chisel and touched the openings of the mouth and of the eyes, and then the Sem priest touched them first with his little finger, and afterwards with a little bag filled with pieces of red stone or carnelian, with the idea, M. Maspero thinks, of restoring to the lips and eyelids the colour which they had lost during the process of mummification.

The “son who loves him” then took four objects called “iron of the South, and iron of the North,” and laid each of them four times upon the mouth and the eyes while the Kher-heb recited the proper address in which the mummy or statue is said to have had his mouth and lips established firmly.

Pesh-en-kef Instrument This done, the Sem priest brings an instrument called the “Pesh-en-kef,” and touches the mouth of the mummy or statue therewith, and says, “O Osiris, I have stablished for thee the two jaw-bones in thy face, and they are now separated”; that is to say, the bandages with which they have been tied up can no longer prevent their movement when the deceased wishes to eat.

After the Pesh-en-kef had been used the Sem priest brought forward a basket or vessel of some kind of food in the shape of balls, and by the order of the Kher-heb offered them to the mouth of the mummy, and when this portion of the ceremony was ended, the Sem priest took an ostrich feather, and waved it before its face four times, but with what object is not clear.

Such are the ceremonies which it was thought necessary to perform in order to restore to the deceased the functions which his body possessed upon earth.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 196-8.

Opening of the Mouth

“The sprinkling of water was followed by a purification by means of incense, also contained in four vases, one for each of the four quarters of the earth.

The burning of this sweet-smelling substance assisted in opening the mouth of the deceased and in strengthening his heart.

At this stage the Sem priest dressed himself in the skin of a cow, and lying down upon a kind of couch pretended to be asleep; but he was roused up by the Am-asi priest in the presence of the Kher-heb and the Am-khent priest, and when the Sem priest had seated himself upon a seat, the four men together represented the four children of Horus, (i.e., Mestha, Hâpi, Tuamutef and Qebhsennuf) or the gods with the heads of a hawk, an ape, a jackal, and a man respectively.

The Sem priest then said, “I have seen my father in all his forms,” which the other men in turn repeat.

The meaning of this portion of the ceremony is hard to explain, but M. Maspero (op. cit., p. 168) thinks that it was intended to bring back to the body of the deceased its shadow (khaibit), which had departed from it when it died.

The preliminary purifications being ended, and the shadow having been joined to the body once more, the statue or mummy is approached by the men who represent the armed guard of Horus; and one of their number, having taken upon himself the character of Horus, the son of Osiris and Isis, touches its mouth with his finger.

The Kher-heb next made ready to perform the sacrifice which was intended to commemorate the slaughter, at some very early period, of the fiends who were the friends of Set.

It seems that, the soul of Horus dwelt in an eye, and that Set nearly succeeded in devouring it; but Horus vanquished Set and saved his eye.

Set’s associates then changed themselves into the forms of animals, and birds, and fish, but they were caught, and their heads were cut off; Set, however, who was concealed in the form of a pig, contrived to escape.

The sacrifice consisted of a bull (or cow) or two, two gazelles or antelopes, and ducks.

When the bull had been slain, one of the forelegs was cut off, and the heart taken out, and offered to the statue or mummy; the Sem priest then took the bleeding leg and touched, or pretended to touch, the mouth and eyes with it four times.

The slaughtered gazelles or antelopes and ducks were simply offered before the statue. The Sem priest next said to the statue, “I have come to embrace thee, I am thy son Horus, I have pressed thy mouth; I am thy son, I love thee. . . . Thy mouth was closed, but I have set in order for thee thy mouth and thy teeth.”

The "Seb-ur" and "Tuntet" Instruments for Opening the Mouth.

The “Seb-ur” and “Tuntet” Instruments for Opening the Mouth.

He then brought two instruments, called “Seb-ur” and “Tuntet” respectively, and touched the mouth of the statue or mummy with them, whilst the Kher-heb said, “Thy mouth was closed, but I have set in order for thee thy mouth and thy teeth. I open for thee thy mouth, I open for thee thy two eyes. I have opened for thee thy mouth with the instrument of Anubis. I have opened thy mouth with the instrument of Anubis, with the iron implement with which the mouths of the gods were opened.”

“Horus, open the mouth! Horus, open the mouth! Horus hath opened the mouth of the dead, as he in times of old opened the mouth of Osiris, with the iron which came forth from Set, with the iron instrument with which he opened the mouths of the gods.”

“He hath opened thy mouth with it. The deceased shall walk and shall speak, and his body shall be with the great company of the gods in the Great House of the Aged One in Annu, and he shall receive there the ureret crown from Horus, the lord of mankind.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 193-6.

Rites of Mummification Concluded

“On the conclusion of the ceremonies which concern the head the deceased has the power to go in among the holy and perfect spirits, his name is exalted among men, the denizens of heaven receive his soul, the beings of the underworld bow down before his body, the dwellers upon earth adore him, and the inhabitants of the funeral mountain renew for him his youth.

Besides these things, Anubis and Horus make perfect his bandages, and the god Thoth protects his members by his words of magical power; and he himself has learned the magical formulæ which are necessary to make his path straight in the underworld, and also the proper way in which to utter them.

All these benefits were secured for him by the use of bandages and unguents which possess both magical names and properties, and by the words of power uttered by the priests who recited the Ritual of Embalmment, and by the ceremonies which the priest who personated Anubis performed beside the body of the deceased in imitation of those which the god Anubis performed for the dead god Osiris in remote days.

Next the left hand of the deceased was mummified and bandaged according to the instructions given in the Ritual of Embalmment. The hand was stretched out on a piece of linen, and a ring was passed over the fingers; it was then filled with thirty-six of the substances which were used in embalming, according to the number of the forms of the god Osiris.

This done, the hand was bandaged with a strip of linen in six folds, upon which were drawn figures of Isis and Hâpi. The right hand was treated in a similar way, only the figures drawn upon the bandages were those of Râ and Amsu; and when the appropriate words had been recited over both hands divine protection was assured them.

After these things the ceremonies concerning the right and left arms were performed, and these were followed by rubbing the soles of the feet and the legs and the thighs, first with black-stone oil, and secondly with holy oil.

The toes were wrapped in linen, and a piece of linen was laid on each leg; on each piece was drawn the figure of a jackal, that on the right leg representing Anubis, and that on the left Horus.

When flowers of the ânkham plant and other substances had been laid beside and on the legs, and they had been treated with ebony-gum water and holy oil, and appropriate addresses had been said, the ceremony of bandaging the body was ended.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 189-91.

The Rites Continued

“When these words have been said, a priest who is made to personify Anubis comes to the deceased and performs certain symbolical ceremonies by his head, and lays certain bandages upon it. When the head and mouth and face have been well oiled the bandage of Nekheb is laid on the forehead, the bandage of Hathor on the face, the bandage of Thoth upon the two ears, and the bandage of Nebt-hetep on the nape of the neck.

Over the head was laid the bandage of Sekhet, in two pieces, and over each ear, and each nostril, and each cheek was fastened a bandage or strip of linen; over the forehead went four pieces of linen, on the top of the head two, outside the mouth two, and inside two, over the chin two, and over the nape of the neck four large pieces; there were to be twenty-two pieces to the right and to the left of the face passing over the two ears.

The Lady of the West is then addressed in these words:—

“Grant thou that breathing may take place in the head of the deceased in the underworld, and that be may see with his eyes, and that he may hear with his two ears; and that he may breathe through his nose; and that he may be able to utter sounds with his mouth; and that he may be able to speak with his tongue in the underworld.”

“Receive thou his voice in the Hall of Maâti and his speech in the Hall of Seb in the presence of the Great God, the lord of Amentet.”

The addresses which follow these words have reference to the delights and pleasures of the future life which shall be secured for him through the oil and unguents, which are duly specified and described, and through the magical figures which are drawn upon the bandages.

The protecting properties of the turquoise and other precious stones are alluded to, and after a further anointing with oil and the placing of grains of myrrh and resin, the deceased is declared to have “received his head,” and he is promised that it shall nevermore depart from him.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 188-9.

The Rites

Continued:

“The unguent cometh unto thee to fashion thy members and to gladden thy heart, and thou shalt appear in the form of Râ; it shall make thee to be sound when thou settest in the sky at eventide, and it shall spread abroad the smell of thee in the nomes of Aqert. . . .”

“Thou receivest the oil of the cedar in Amentet, and the cedar which came forth from Osiris cometh unto thee; it delivereth thee from thy enemies, and it protecteth thee in the nomes.”

“Thy soul alighteth upon the venerable sycamores. Thou criest to Isis, and Osiris heareth thy voice, and Anubis cometh unto thee to invoke thee.”

“Thou receivest the oil of the country of Manu which hath come from the East, and Râ riseth upon thee at the gates of the horizon, at the holy doors of Neith.”

“Thou goest therein, thy soul is in the upper heaven, and thy body is in the lower heaven . . . O Osiris, may the Eye of Horus cause that which floweth forth from it to come to thee, and to thy heart for ever!”

These words having been said, the whole ceremony was repeated, and then the internal organs which had been removed from the body were placed in the “liquid of the children of Horus,” so that the liquid of this god might enter into them, and whilst they were being thus treated a chapter was read over them and they were put in the funeral chest.

When this was done the internal organs were placed on the body, and the body having been made to lie straight the backbone was immersed in holy oil, and the face of the deceased was turned towards the sky; the bandage of Sebek and Sedi was then laid upon the backbone.

In a long speech the deceased is addressed and told that the liquid is “secret,” and that it is an emanation of the gods Shu and Seb, and that the resin of Phoenicia and the bitumen of Byblos will make his burial perfect in the underworld, and give him his legs, and facilitate his movements, and sanctify his steps in the Hall of Seb.

Next gold, silver, lapis-lazuli, and turquoise are brought to the deceased, and crystal to lighten his face, and carnelian to strengthen his steps; these form amulets which will secure for him a free passage in the underworld.

Meanwhile the backbone is kept in oil, and the face of the deceased is turned towards the heavens; and next the gilding of the nails of the fingers and toes begins.

When this has been done, and portions of the fingers have been wrapped in linen made at Saïs, the following address is made to the deceased:—

“O Osiris, thou receivest thy nails of gold, thy fingers of gold, and thy thumb of smu (or uasm) metal; the liquid of Râ entereth into thee as well as into the divine members of Osiris, and thou journeyest on thy legs to the immortal abode.”

“Thou hast carried thy hands to the house of eternity, thou art made perfect in gold, thou dost shine brightly in smu metal, and thy fingers shine in the dwelling of Osiris, in the sanctuary of Horus himself.”

“O Osiris, the gold of the mountains cometh to thee; it is a holy talisman of the gods in their abodes, and it lighteneth thy face in the lower heaven.”

“Thou breathest in gold, thou appearest in smu metal, and the dwellers in Re-stau receive thee; those who are in the funeral chest rejoice because thou hast transformed thyself into a hawk of gold by means of thy amulets (or talismans) of the City of Gold,” etc.

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 186-8.

Le Rituel de l’Embaumement

“He believed that he would feed upon the celestial and imperishable food whereon the gods lived, but at the same time he spared no effort or expense to provide for his tomb being supplied at stated intervals throughout the year with perishable food in the shape of offerings of oxen, feathered fowl, cakes, bread, and the like.

He mummified his dead and swathed them in linen bandages, and then by the performance of magical ceremonies and by the recital of words of power sought to give back to their members the strength to eat, and drink, and talk, and think, and move at will.

Indeed, all the evidence now forthcoming seems to prove that he never succeeded in bringing himself to think that the gods could do without his help, or that the pictures or representations of the scenes which took place in the life, and death, and burial, and resurrection of Osiris, upon which he relied so implicitly, could possibly fail to be as efficacious as the actual power of the god himself.

The examination of mummies has shown us with tolerable clearness what methods were adopted in preparing bodies for bandaging and final ornamentation, and the means adopted for disposing of the more corruptible portions of the body are well known from classical and other writers.

But for an account of the manner in which the body was bandaged, and a list of the unguents and other materials employed in the process, and the words of power which were spoken as each bandage was laid in its place, we must have, recourse to a very interesting papyrus which has been edited and translated by M. Maspero under the title of Le Rituel de l’Embaumement. (In Mémoire sur quelques Papyrus du Louvre, Paris, 1875).

The first part of the papyrus, which probably gave instructions for the evisceration of the body, is wanting, and only the section which refers to the bandaging is at all perfect.

The text opens with an address to the deceased in which it is said, “The perfume of Arabia hath been brought to thee to make perfect thy smell through the scent of the god.”

“Here are brought to thee liquids which have come forth from Râ, to make perfect . . . thy smell in the Hall [of Judgment].

O sweet-smelling soul of the great god, thou dost contain such a sweet odour that thy face shall neither change nor perish. . . .

Thy members shall become young in Arabia, and thy soul shall appear over thy body in Ta-neter (i.e., the ‘divine land’).”

 After this the priest or mummifier was to take a vase of liquid which contained ten perfumes, and to smear therewith the body from head to foot twice, taking especial care to anoint the head thoroughly. He was then to say, “Osiris (i.e., the deceased), thou hast received the perfume which shall make thy members perfect.”

“Thou receivest the source [of life] and thou takest the form of the great Disk (i.e., Aten), which uniteth itself unto thee to give enduring form to thy members; thou shalt unite with Osiris in the great Hall.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 184-6.

On Mummification

MAGICAL CEREMONIES.
“IN the preceding pages we have seen how the Egyptians employed magical stones or amulets, and magical words, and magical pictures, and magical names, in the performance of deeds both good and evil; it remains to consider these magical ceremonies in which the skill of the magician-priest was exerted to its fullest extent, and with the highest objects, that is to say, to preserve the human body in a mummified condition, and to perform the symbolic acts which would restore its natural functions.

When we think of the sublime character of the life which the souls of the blessed dead were believed to lead in heaven with the gods, it is hard to understand why the Egyptians took such pains to preserve the physical body from decay.

No Egyptian who believed his Scriptures ever expected that his corruptible body would ascend into heaven and live with the gods, for they declare in no uncertain manner that it remains upon the earth whilst the soul dwells in heaven.

But that the preservation of the body was in some way or for some reason absolutely necessary is certain, for the art of mummification flourished for several thousands of years, and unless there was some good reason, besides the observance of conservative custom and traditional use, why it should do so, king and priest, gentle and simple, and rich and poor, would never have burdened their relatives and heirs with the expense of costly funeral ceremonies, and with the performance of rites which were of no avail.

At first sight, too, it seems strange to find the Egyptians studying carefully how best to provide the dead with a regular supply of sepulchral offerings, for when we come to think about it we notice that in arranging for the well-being of the dead nothing whatever was left to chance.

For example, a papyrus will contain several prayers and pictures with appropriate formulæ, the object of each of which is to give the deceased meat and drink; any one of these would have been enough for the purpose, but it was thought best in such an important matter to make assurance doubly sure, and if there was the least doubt about the efficacy of one Chapter one or more of the same class were added.

Similarly, the tendency of the natural body after death being to decay, the greatest care was taken in mummifying its various members, lest perchance any one of them should be neglected accidentally, and should, either by the omission of the words of power that ought to have been said over it, or through the lax performance of some ceremony, decay and perish.

The Egyptian declared that he was immortal, and believed that he would enjoy eternal life in a spiritual body; yet he attempted by the performance of magical ceremonies and the recital of words of power to make his corruptible body to endure for ever.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 182-4.

Abrasax, the Invincible Name of Power

“The last class of documents undoubtedly contains a very large proportion of the magical ideas, beliefs, formulæ, etc., which were current in Egypt from the time of the Ptolemies to the end of the Roman Period, but from about B.C. 150 to A.D. 200 the papyri exhibit traces of the influence of Greek, Hebrew, and Syrian philosophers and magicians, and from a passage like the following (see Goodwin, Fragment of a Græco-Egyptian Work upon Magic, p. 7) we may get a proof of this:—

“I call thee, the headless one, that didst create earth and heaven, that didst create night and day, thee the creator of light and darkness. Thou art Osoronnophris, whom no man hath seen at any time; thou art Iabas, thou art Iapôs, thou hast distinguished the just and the unjust, thou didst make female and male, thou didst produce seeds and fruits, thou didst make men to love one another and to hate one another.”

“I am Moses thy prophet, to whom thou didst commit thy mysteries, the ceremonies of Israel; thou didst produce the moist and the dry and all manner of food.”

“Listen to me: I am an angel of Phapro Osoronnophris; this is thy true name, handed down to the prophets of Israel. Listen to me. (Here follow a number of names of which Reibet, Athelebersthe, Blatha, Abeu, Ebenphi, are examples) . . .”

In this passage the name Osoronnophris is clearly a corruption of the old Egyptian names of the great god of the dead “Ausar Unnefer,” and Phapro seems to represent the Egyptian Per-âa (literally, “great house”) or “Pharaoh,” with the article pa “the” prefixed.

It is interesting to note that Moses is mentioned, a fact which seems to indicate Jewish influence.

In another magical formula we read, (Goodwin, op. cit., p. 21) “I call upon thee that didst create the earth and bones, and all flesh and all spirit, that didst establish the sea and that shakest the heavens, that didst divide the light from the darkness, the great regulative mind, that disposest everything, eye of the world, spirit of spirits, god of gods, the lord of spirits, the immoveable Aeon, IAOOUÊI, hear my voice.”

“I call upon thee, the ruler of the gods, high-thundering Zeus, Zeus, king, Adonai, lord, Iaoouêe. I am he that invokes thee in the Syrian tongue, the great god, Zaalaêr, Iphphou, do thou not disregard the Hebrew appellation Ablanathanalb, Abrasilôa.”

“For I am Silthakhôoukh, Lailam, Blasalôth, Iaô, Ieô, Nebouth, Sabiothar, Bôth, Arbathiaô, Iaoth, Sabaôth, Patoure, Zagourê, Baroukh Adonai, Elôai, Iabraam, Barbarauô, Nau, Siph,” etc.

The spell ends with the statement that it “loosens chains, blinds, brings dreams, creates favour; it may be used in common for whatever purpose you will.”

In the above we notice at once the use of the seven vowels which form “a name wherein be contained all Names, and all Lights, and all Powers” (see Kenyon, Greek Papyri in the British Museum, London, 1893, p. 63). The seven vowels have, of course, reference to the three vowels “Iaô” (for Iaoouêi we should probably read Iaô ouêi) which were intended to represent one of the Hebrew names for Almighty God, “Jâh.”

The names “Adonai, Elôai,” are also derived through the Hebrew from the Bible, and Sabaôth is another well-known Hebrew word meaning “hosts”; some of the remaining names could be explained, if space permitted, by Hebrew and Syriac words.

On papyri and amulets the vowels are written in magical combinations in such a manner as to form triangles and other shapes; with them are often found the names of the seven archangels of God; the following are examples:–

 (British Museum, Gnostic gem, No. G. 33). (Kenyon, Greek Papyri, p. 123). (Ibid., p. 123. These names read Michael, Raphael, Gabriel, Souriel, Zaziel, Badakiel, and Suliel).


(British Museum, Gnostic gem, No. G. 33).
(Kenyon, Greek Papyri, p. 123).
(Ibid., p. 123. These names read Michael, Raphael, Gabriel, Souriel, Zaziel, Badakiel, and Suliel)

In combination with a number of signs which owe their origin to the Gnostics the seven vowels were sometimes engraved upon plaques, or written upon papyri, with the view of giving the possessor power over gods or demons or his fellow creatures.

The example printed below is found on a papyrus in the British Museum and accompanies a spell written for the purpose of overcoming the malice of enemies, and for giving security against alarms and nocturnal visions. (Kenyon, op. cit., P. 121).

Amulet inscribed with signs and letters of magical power for overcoming the malice of enemies. (From Brit. Mus., Greek Papyrus, Nu. CXXIV.--4th or 5th century.) (Kenyon, Greek Papyri, p. 123).

Amulet inscribed with signs and letters of magical power for overcoming the malice of enemies. (From Brit. Mus., Greek Papyrus, Nu. CXXIV.–4th or 5th century.) (Kenyon, Greek Papyri, p. 123).

But of all the names found upon Gnostic gems two, i.e., Khnoubis (or Khnoumis), and Abrasax (or Abraxas), are of the most frequent occurrence. The first is usually represented as a huge serpent having the head of a lion surrounded by seven or twelve rays.

Over the seven rays, one on the point of each, are the seven vowels of the Greek alphabet, which some suppose to refer to the seven heavens; and on the back of the amulet, on which the figure of Khnoumis occurs, is usually found the sign of the triple S and bar.

Khnoumis is, of course, a form of the ancient Egyptian god Khnemu, or “Fashioner” of man and beast, the god to whom many of the attributes of the Creator of the universe were ascribed.

Khnemu is, however, often depicted with the head of a ram, and in the later times, as the “beautiful ram of Râ,” he has four heads; in the Egyptian monuments he has at times the head of a hawk, but never that of a lion.

The god Abrasax is represented in a form which has a human body, the bead of a hawk or cock, and legs terminating in serpents; in one hand he holds a knife or dagger, and in the other a shield upon which is inscribed the great name ΙΑΩ {Greek IAW}, or JÂH.

Considerable difference of opinion exists as to the meaning and derivation of the name Abrasax, but there is no doubt that the god who bore it was a form of the Sun-god, and that he was intended to represent some aspect of the Creator of the world.

The name was believed to possess magical powers of the highest class, and Basileides, (he of Alexandria, who lived about A.D. 120. He was a disciple of Menander, and declared that he had received the esoteric doctrine of Saint Peter from Glaucias, a disciple of the Apostle) who gave it currency in the second century, seems to have regarded it as an invincible name.

It is probable, however, that its exact meaning was lost at an early date, and that it soon degenerated into a mere magical symbol, for it is often found inscribed on amulets side by side with scenes and figures with which, seemingly, it cannot have any connexion whatever.

Judging from certain Gnostic gems in the British Museum, Abrasax is to be identified with the polytheistic figure that stands in the upper part of the Metternich stele depicted on p. 153 and below.

Metternich Stele.

Metternich Stele.

This figure has two bodies, one being that of a man, and the other that of a bird; from these extend four wings, and from each of his knees projects a serpent.

He has two pairs of hands and arms; one pair is extended along the wings, each hand holding the symbols of “life,” “stability,” and “power,” and two knives and two serpents; the other pair is pendent, the right hand grasping the sign of life, and the other a sceptre.

His face is grotesque, and probably represents that of Bes, or the sun as an old man; on his head is a pylon-shaped object with figures of various animals, and above it a pair of horns which support eight knives and the figure of a god with raised hands and arms, which typifies “millions of years.”

The god stands upon an oval wherein are depicted figures of various “typhonic” animals, and from each side of his crown proceed several symbols of fire.

Whether in the Gnostic system Abraxas absorbed all the names and attributes of this god of many forms cannot be said with certainty.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 177-80.

Gnostic Magical Names From the Metternich Stele and the Harris Magical Papyrus

“The examples of the use of names possessing magical powers described above illustrate the semi-religious views on the subject of names which the Egyptians held, and we have now to consider briefly the manner in which the knowledge of a name was employed in uses less important than those which had for their object the attainment of life and happiness in the world to come.

In the famous magical papyrus (British Museum, No. 10,042) which Chabas published (Le Papyrus Magique Harris, Chalon-sur-Saône, 1860) we find a series of interesting charms and magical formulæ which were written to preserve its possessor from the attacks of sea and river monsters of every kind, of which the following is an example.

“Hail, lord of the gods! Drive away from me the lions of the country of Meru (Meroë?), and the crocodiles which come forth from the river, and the bite of all poisonous reptiles which crawl forth from their holes. Get thee back, O crocodile Mâk, thou son of Set! Move not by means of thy tail! Work not thy legs and feet! Open not thy mouth! Let the water which is before thee turn into a consuming fire, O thou whom the thirty-seven gods did make, and whom the serpent of Râ did put in chains, O thou who wast fettered with links of iron before the boat of Râ! Get thee back, O crocodile Mâk, thou son of Set!”

These words were to be said over a figure of the god Amen painted on clay; the rod was to have four rams’ heads upon one neck, under his feet was to be a figure of the crocodile Mâk, and to the right and left of him were to be the dog headed apes, i.e., the transformed spirits of the dawn, who sang hymns of praise to Râ when he rose daily. (See the scene in the rounded portion of the Metternichstele illustrated on p. 149, reproduced below).

Detail, Metternich stele. (Clippus of Horus, Metternichestele, ed. Golenischeff, plate 1.) Reproduced from E.A. Wallis Budge, Egyptian Magic, p. 149.

Detail, Metternich stele. (Clippus of Horus, Metternichestele, ed. Golenischeff, plate 1.)
Reproduced from E.A. Wallis Budge, Egyptian Magic, p. 149.

Again, let us suppose that some water monster wished to attack a man in a boat. To avoid this the man stood before the cabin of the boat and, taking a hard egg in his hand, he said, “O egg of the water which hath been spread over the earth, essence of the divine apes, the great one in the heaven above and in the earth beneath, who dost dwell in the nests which are in the waters, I have come forth with thee from the water, I have been with thee in thy nest, I am Amsu of Coptos, I am Amsu, lord of Kebu.”

When he had said these words he would appear to the animal in the water in the form of the god Amsu, with whom he had identified himself, and it would be afraid and flee.

At the end of the papyrus in which the above extracts occur we find a series of magical names which may be read thus:–Atir-Atisa, Atirkaha-Atisa, Samumatnatmu-Atisa, Samuanemui-Atisa, Samutekaari-Atisa, Samutekabaiu-Atisa, Samutchakaretcha-Atisa, Tâuuarehasa, Qina, Hama, Senentuta-Batetsataiu, Anrehakatha-sataiu, Haubailra-Haari.

From these and similar magical names it is quite certain that the Gnostics and other sects which held views akin to theirs obtained the names which they were so fond of inscribing upon their amulets and upon the so-called magical papyri.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 173-6.

Names of the God Amen, and Sekhet-Bast-Ra

“Passing now to certain chapters of the Book of the Dead which are rich in names of magical power, (chapters CLXII., CLXIII., CLXIV., CLXV) we notice that the god Amen, whose name meant the “hidden one,” possessed numerous names, upon the knowledge of which the deceased relied for protection.

Thus he says, “O Amen, (see Chapters of Coming Forth by Day, p. 295) Amen; O Re-Iukasa; O God, Prince of the gods of the east, thy name is Na-ari-k, or (as others say) Ka-ari-ka, Kasaika is thy name. Arethikasathika is thy name. Amen-na-an-ka-entek-share, or (as others say) Thek-share-Amen-kerethi, is thy name.”

“O Amen, let me make supplication unto thee, for I, even I, know thy name. Amen is thy name. Ireqai is thy name. Marqathai is thy name. Rerei is thy name. Nasaqbubu is thy name. Thanasa-Thanasa is thy name. Shareshatha-katha is thy name. O Amen, O Amen, O God, O God, O Amen, I adore thy name.”

In another place (Ibid., p. 293) the deceased addresses Sekhet-Bast-Râ, saying, “Thou art the fire-goddess Ami-seshet, whose opportunity escapeth her not; thy name is Kaharesapusaremkakaremet, Thou art like unto the mighty flame of Saqenaqat which is in the bow of the boat of thy father Harepukakashareshabaiu, for behold, thus is [the name uttered] in the speech of the Negroes, and of the Anti, and of the people of Nubia. Sefiperemhesihrahaputchetef is thy name; Atareamtcherqemturennuparsheta is the name of one of thy divine sons, and Panemma that of the other.”

And in yet another chapter (see Chapters of Coming Forth by Day, p. 289) the deceased addressing the god Par says, “Thou art the mighty one of names among the gods, the mighty runner whose strides are might thou art the god the mighty one who comest and rescuest the needy one and the afflicted from him that oppresseth him; give heed to my cry.”

“I am the Cow, and thy divine name is in my mouth, and I will utter it; Haqabakaher is thy name; Âurauaaqersaanqrebathi is thy name; Kherserau is thy name; Kharsatha is thy name. I praise thy name . . . . O be gracious unto the deceased, and cause thou heat to exist under his head, for, indeed, he is the soul of the great divine Body which resteth in Annu (Heliopolis), whose names are Khukheperuru and Barekathatchara.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 172-3.

The Names of Apep

“But among the beings whom the deceased wished to avoid in the underworld were the beings who “lay snares, and who work the nets, and who are fishers,” and who would draw him into their nets.

It seems as if it were absolutely necessary that he should fall in with these beings and their nets, for a whole chapter of the Book of the Dead was written with the view of enabling him to escape from them unharmed; the god their leader is called “the god whose face is behind him,” and “the god who hath gained the mastery over his heart.”

To escape from the net which was worked by “the fishers who lay snares with their nets and who go round about in the chambers of the waters,” the deceased had to know the names of the net, and of the ropes, and of the pole, and of the hooks, and of each and every part of it; without this knowledge nothing could save him from calamity.

We unfortunately understand very few of the allusions to mythological events which are contained in the names of the various parts of the machinery which work the net, but it is quite certain that they have reference to certain events in the lives of the gods who are mentioned, and that these were well known to the writers and readers of religious texts.

From the above descriptions of the means whereby the deceased made his way through the gates and the halls of the underworld and escaped from the fowler and his net, it will be readily understood that the knowledge of the name alone was, in some cases, sufficient to help him out of his difficulties; but in others it was necessary to have the name which was possessed of magical power inscribed upon some object, amulet or otherwise.

Moreover, some gods and devils were thought to have the power to assume different forms, and as each form carried with it its own name, to have absolute power over a god of many forms it was necessary to know all his names.

Thus in the “Book of Overthrowing Âpep” (Papyrus of Nesi-Amsu, col. xxiii. 1. 6. (Archæologia, vol. LII)) we are told not only to make a wax figure of the monster, but also to write his name upon it, so that when the figure is destroyed by being burnt in the fire his name also may be destroyed; this is a striking example of the belief that the name was an integral part of the economy of a living creature.

But Âpep possessed many forms and therefore many names, and unless he could be invoked by these names he still had the power to do evil; the above-mentioned book (ibid., col. xxxii. 1. 13 f) therefore supplies us with a list of his names, among which occur the following:—

“Tutu (i.e., “Doubly evil one”), Hau-hra (i.e., “Backward Face”), Hemhemti (i.e., “Roarer”), Qetu (i.e., “Evil-doer”), Âmam (i.e., “Devourer”), Saatet-ta (i.e., “Darkener of earth”), Iubani, Khermuti, Unti, Karauememti, Khesef-hra, Sekhem-hra, Khak-ab, Nâi, Uai, Beteshu, Kharebutu “the fourfold fiend,” etc.

All these names represent, as may be seen from the few of which translations are given, various aspects of Âpep, the devil of thunder, lightning, cloud, rain, mist, storm, and the like, and the anxiety to personify these so that the personifications might be attacked by means of magical ceremonies and words of power seems positively childish.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 170-2.

The Halls of Osiris

“In another Chapter (see Chapters of Coming Forth by Day, p. 128) the deceased addresses seven gods, and says, “Hail, ye seven beings who make decrees, who support the Balance on the night of the judgment of the Utchat, who cut off heads, who hack necks in pieces, who take possession of hearts by violence and rend the places where hearts are fixed, who make slaughterings in the Lake of Fire, I know you, and I know your names; therefore know ye me, even as I know your names.”

The deceased, having declared that the seven gods know his name and he their names, has no further apprehension that evil will befall him.

In one portion of the kingdom of Osiris there existed seven halls or mansions through which the deceased was anxious to pass, but each of the gates was guarded by a doorkeeper, a watcher, and a herald, and it required special provision on the part of the deceased to satisfy these beings that he had a right to pass them.

In the first place, figures of the seven gates had to be made in some substance (or painted upon papyrus), as well as a figure of the deceased: the latter was made to approach each of the gates and to stand before it and to recite an address which had been specially prepared for the purpose.

Meanwhile the thigh, the head, the heart, and the hoof of a red bull were offered at each gate, as well as a very large number of miscellaneous offerings which need not be described in detail.

But all these ceremonies would not help the deceased to pass through the gates, unless be knew the names of the seven doorkeepers, and the seven watchers, and the seven heralds who guarded them.

The gods of the first gate were:—

Sekhet-hra-âsht-aru, Semetu, and Hukheru;

those of the second, Tun-hât, Seqet-hra, and Sabes;

of the third, Am-huat-ent-pehfi, Res-hra, and Uâau;

of the fourth, Khesef-hra-âsht-kheru, Res-ab, and Neteka-hra-khesef-atu;

of the fifth, Ânkh-em-fentu, Ashebu, and Tebherkehaat;

of the sixth, Akentauk-ha-kheru, An-hra, and Metes-hra-ari-she;

of the seventh, Metes-sen, Ââa-kheru, and Khesef-hra-khemiu.

And the text, which the deceased recites to the Halls collectively, begins, “Hail, ye Halls! Hail, ye who made the Halls for Osiris! Hail, ye who watch your Halls! Hail, ye who herald the affairs of the two lands for the god Osiris each day, the deceased knoweth you, and he knoweth your names.” (See Chapters of Coming Forth by Day, p. 211).

The names having been uttered, and the addresses duly recited, the deceased went wherever he pleased in the seven Halls of Osiris.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 165-6.

Getting to the Afterlife is No Cakewalk

“Without the knowledge of the names of the gods and devils of the underworld the dead Egyptian would have fared badly, for his personal liberty would have been fettered, the roads and paths would have been blocked to him, the gates of the mansions of the underworld would have been irrevocably shut in his face, and the hostile powers which dogged his footsteps would have made an end of him; these facts are best illustrated by the following examples:—

When the deceased comes to the Hall of Judgment, at the very beginning of his speech he says, “Homage to thee, O Great God, thou Lord of Maâti, I have come to thee, O my Lord, and I have brought myself hither that I may behold thy beauties.”

“I know thee, and I know thy name, and I know the names of the two and forty gods who exist with thee in this Hall of Maâti.” (See Chapters of Coming Forth by Day, p. 191).

But although the gods may be favourable to him, and he be found righteous in the judgment, he cannot make his way among the other gods of the underworld without a knowledge of the names of certain parts of the Hall of Maâti.

After the judgment he acquires the mystical name of “He who is equipped with the flowers and the dweller in his olive tree,” and it is only after he has uttered this name that the gods say “Pass onwards.”

Next the gods invite him to enter the Hall of Maâti, but he is not allowed to pass in until he has, in answer to questions asked by the bolts, lintels, threshold, fastenings, socket, door-leaves, and door-posts, told their names.

The floor of the Hall will not permit him to walk upon it unless he tells not only its name, but also the mystical names of his two legs and feet wherewith he is about to tread upon it.

When all this has been done the guardian of the Hall says to him, “I will not announce thy name [to the god] unless thou tellest me my name”; and the deceased replies, “‘Discerner of hearts and searcher of the reins’ is thy name.”

In reply to this the guardian says, “If I announce thy name thou must utter the name of the god who dwelleth in his hour,” and the deceased utters the name “Mâau-Taui.”

But still the guardian is not satisfied, and he says, “If I announce thy name thou must tell me who is he whose heaven is of fire, whose walls [are surmounted by] living uraei, and the floor of whose house is a stream of water.”

Who is he, I say? (i.e., what is his name?)” But the deceased has, of course, learnt the name of the Great God, and he replies, “Osiris.”

The guardian of the Hall is now content, and he says, “Advance, verily thy name shall be mentioned to him”; and he further promises that the cakes, and ale, and sepulchral meals which the deceased shall enjoy shall come from the “Eye of Râ.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 163-5.

The Gods of Ancient Egypt are Personifications of the Names of Ra

“Again, in the story of Râ and Isis, given in the preceding chapter, we have seen that although Isis was able to make a serpent and to cause it to bite Râ, and to make him very ill, she was powerless to do as she wished in heaven and upon earth until she had persuaded the god to reveal to her his name by which he ruled the universe.

In yielding up his name to the goddess he placed himself in her power, and in this example we have a striking instance of the belief that the knowledge of the name of god, or devil, or human being, implied dominion over that being.

We have seen elsewhere that Râ, the type and symbol of God, is described as the god of “many names,” and in that wonderful composition the XVIIth Chapter of the Book of the Dead, (see Chapters of Coming Forth by Day, p. 49) we have the following statement:—

“I am the great god Nu, who gave birth unto himself, and who made his name to become the company of the gods.”

Then the question, “What does this mean?” or “Who is this?” is asked. And this is the answer:

“It is Râ, the creator of the name[s] of his limbs, which came into being in the form of the gods who are in the following of Râ.”

From this we see that all the “gods” of Egypt were merely personifications of the NAMES Of Râ, and that each god was one of his members, and that a name of a god was the god himself.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 162.

The God Khepera Utters His Own Name at the Creation

“But in the present chapter we are not so much concerned with the ordinary as with the extraordinary uses to which a name might be put, and the above facts have only been mentioned to prove that a man’s name was regarded as an essential part of himself, and that the blotting out of the name of an individual was synonymous with his destruction.

Without a name no man could be identified in the judgment, and as a man only came into being upon this earth when his name had been pronounced, so the future life could only be attained after the gods of the world beyond the grave had become acquainted with it and had uttered it.

According to the story of the Creation which is related in the Papyrus of Nesi-Amsu, (see my paper in Archæologia, Vol. LII., London, 1891) before the world and all that therein is came into being, only the great god Neb-er-tcher existed, for even the gods were not born.

Now when the time had come for the god to create all things be says, “I brought (i.e., fashioned) my mouth, and I uttered my own name as a word of power, and thus I evolved myself under the evolutions of the god Khepera, and I developed myself out of the primeval matter which had evolved multitudes of evolutions from the beginning of time.

“Nothing existed on this earth [before me], I made all things. There was none other who worked with me at that time.”

Elsewhere, that is to say, in the other version of the story, the god Khepera says, “I developed myself from the primeval matter which I made, I developed myself out of the primeval matter. My name is ‘Osiris,’ the germ of primeval matter.”

Here, then, we have a proof that the Egyptians regarded the creation as the result of the utterance of the name of the god Neb-er-tcher or Khepera by himself.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. P. 161.

On Magical Names in Ancient Egyptian Magical Literature

MAGICAL NAMES.
“THE Egyptians, like most Oriental nations, attached very great importance to the knowledge of names, and the knowledge of how to use and to make mention of names which possessed magical powers was a necessity both for the living and the dead.

It was believed that if a man knew the name of a god or a devil, and addressed him by it, he was bound to answer him and to do whatever he wished; and the possession of the knowledge of the name of a man enabled his neighbour to do him good or evil.

The name that was the object of a curse brought down evil upon its owner, and similarly the name that was the object of a blessing or prayer for benefits secured for its master many good things.

To the Egyptian the name was as much a part of a man’s being as his soul, or his double (KA), or his body, and it is quite certain that this view was held by him in the earliest times.

Thus in the text which is inscribed on the walls inside (Line 169) the pyramid of Pepi L, king of Egypt about B.C. 3200, we read, “Pepi hath been purified. He hath taken in his hand the mâh staff, he hath provided himself with his throne, and he hath taken his seat in the boat of the great and little companies of the gods.”

“Ed maketh Pepi to sail to the West, he stablisheth his seat above those of the lords of doubles, and he writeth down Pepi at the head of those who live.”

“The doors of Pekh-ka which are in the abyss open themselves to Pepi, the doors of the iron which is the ceiling of the sky open themselves to Pepi, and he passeth through them; he hath his panther skin upon him, and the staff and whip are in his hand.”

“Pepi goeth forward with his flesh, Pepi is happy with his name, and he liveth with his ka (double).”

Curiously enough only the body and name and double of the king are mentioned, just as if these three constituted his whole economy; and it is noteworthy what importance is attached to the name in this passage.

In the text from the pyramid of another king (Pepi II. (ed. Maspero, 1. 669, ff. Recueil, tom. xii. 1892, p. 146)) we have a prayer concerning the preservation of the name, which is of such interest that a rendering of it in full is here given: it reads, “O Great Company of the gods who dwell in Annu (Heliopolis), grant that Pepi Nefer-ka-Râ may flourish (literally ‘germinate’), and that his pyramid, his ever lasting building, may flourish, even as the name of Temu, the chief of the nine gods, doth flourish.”

“If the name of Shu, the lord of the upper shrine in Annu, flourisheth, then Pepi shall flourish, and his pyramid, his everlasting building, shall flourish!”

“If the name of Tefnut, the lady of the lower shrine in Annu, flourisheth, the name of Pepi shall be established, and this his pyramid shall be established to all eternity!”

“If the name of Seb flourisheth at the ‘homage of the earth,’ then the name of Pepi shall flourish, and this his pyramid shall flourish, and this his building shall flourish unto all eternity!”

“If the name of Nut in the House of Shenth in Annu flourisheth, the name of Pepi shall flourish, and this his pyramid shall flourish, and this his building shall flourish unto all eternity!”

“If the name of Osiris flourisheth in the nome of Abydos, then the name of Pepi shall flourish, and this his pyramid shall flourish, and this his building shall flourish unto all eternity!”

“If the name of Osiris Khent-Amentet flourisheth, then the name of Pepi shall flourish, and this his pyramid shall flourish, and this his building shall flourish unto all eternity!”

“If the name of Set, the dweller in Nubt (Ombos) flourisheth, then the name of Pepi shall flourish, and this his pyramid shall flourish, and this his building shall flourish unto all eternity!”

“If the name of Horus flourisheth, then the name of Pepi shall flourish, and this his pyramid shall flourish, and this his building shall flourish unto all eternity!”

“If the name of Râ flourisheth in the horizon, then the name of Pepi shall flourish, and this his pyramid shall flourish, and this his building shall flourish unto all eternity!”

“If the name of Khent-merti flourisheth in Sekhem (Letopolis), then the name of Pepi shall flourish, and this his pyramid shall flourish, and this his building shall flourish unto all eternity!”

“If the name of Uatchet in Tep flourisheth, then the name of Pepi shall flourish, and this his pyramid shall flourish, and this his building shall flourish unto all eternity!”

The above prayer or formula was the origin of most of the prayers and texts which had for their object the “making the name to germinate or flourish,” and which were copied so frequently in the Saïte, Ptolemaic, and Roman periods.

All these compositions show that from the earliest to the latest times the belief as to the importance of the preservation of the name never changed in Egypt, and the son who assisted in keeping green his father’s name, and in consequence his memory, performed a most meritorious duty.”

E.A. Wallis Budge, Egyptian Magic, London, 1901. Pp. 157-61.

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