Category Archives: Shu

Isis as a Wandering Goddess

Part 2

Last time, we wondered whether Our Lady Isis might be one of the Wandering/Distant/Returning Goddesses of ancient Egypt. And while we don’t have myths of an angry Isian departure or a festival of drunkenness for Her, I still think there are enough traces left to connect Isis to this important Egyptian mythic theme.

Isis’ Philae temple, now on Agilika island

Let’s start at Philae, the location of Isis’ great Upper Egyptian temple, located near Egypt’s border with ancient Nubia. As you might recall, Philae was Tefnut’s first stop upon that Goddess’ return to Egypt following Her angry flight to Nubia. An inscription on Isis’ temple there says that when Tefnut arrived, there was a great flame around Her, but then She went up into the sky 10,000 cubits and immediately became peaceful.

Egyptologist Joachim Quack suggests an astronomical solution to the burning lioness’ aerial ascent: the heliacal rising of the star Sirius, which twinkles red close to the horizon, but as it rises higher takes on a calmer, blue-white color, and which—thousands of years ago—heralded the beginning of the vital Egyptian Inundation. The temple at Philae, in ancient Egypt’s far south, would have been one of the first places observers could have witnessed the heliacal return of the star.

The star’s behavior, apparently leaving the sky for a period of about 70 days each year while it is in a too-close conjunction with the greater light of the sun, works well with the myth. The Goddess disappears for a while, then returns to the rejoicing of the people, for as She returns, She brings with Her the floods that ensure the fertility of the land. What’s more, some of these festivals for the Returning Goddess seem to have taken place around the summer solstice. Depending on when in time and where on earth you were or are, the summer solstice could coincide roughly with the rise of Sirius.

Iset-Sopdet following Sah-Osiris in Their celestial boats

So…here in Isis’ temple on the border of Nubia, we have Isis’ own grandmother Tefnut, identified with the star Sirius, which is itself personified as the Goddess Sopdet, a Goddess Who has been identified with Isis since at least the time of the Pyramid Texts. If we appreciate the Sirius solution as a possible origin for the myth of the Wandering Goddess, it’s a pretty easy, pretty clean Distant/Returning Isis connection.

Of course, if you’ve looked into Egyptian myth, you know that most of it doesn’t come in clear, narrative form. The only reason we have a narrative-ish version of the Isis and Osiris story is that the Greek priest Plutarch wrote it down like that.

As a source for the story of Tefnut as the Returning Goddess, we have the Demotic and Greek versions I mentioned last time, but mostly what we have are bits and pieces from temple walls, monuments, funerary texts, and texts like the Delta and Tebtunis mythological manuals. And while the overarching theme is the same—Goddess goes, bad; Goddess returns, good—the details are different enough that no one has tried to put together any such thing as a definitive version of the myth.

So, to track down our Wandering Isis, I’ll try to pull together some of the pieces of Her story that seem to relate to the main features of the myth/s as we know them.

The Angry Goddess

One of the first things you may have noticed is that our Distant Goddesses all have a lioness form. Most people are familiar with the lioness forms of Sakhmet-Hathor and Tefnut, but the other Distant Goddesses are lionesses, too. As the pride’s main hunters, lionesses are decidedly fierce. Even lions back off in the face of an angry lioness; you’ve seen the videos.

And yes, even glittery Sopdet has a lioness form. If you’ve been following along with this blog, you already know that Isis Herself can appear as a lioness and is frequently identified with Sakhmet or Bastet, just to name two of our most prominent Feline Goddesses. Isis’ Philae temple entrance is guarded by two lion statues and She is often shown seated upon a lion-throne.

Horit (read about Her here and here) is lioness connected, too. Like Isis, She is repeatedly identified with some of our fierce feline Goddesses. One of Her children is killed by a lioness. The lioness is hunted down by Nephthys and Thoth and flayed. The remains of the child are wrapped in the lioness’ skin and the child is reborn.

Isis with the head of a lioness from the Kom Ombo temple

Another part to Horit’s myth makes Her a duplicate of Isis. One of the children She bears to Osiris is Horus of Medenu. When Osiris is killed by Seth, Horit hides Her Horus in the marshes, raising Him to be an avenger of His father Osiris—just as Isis did with Her Horus, Harsiese “Horus, son of Isis.”

Further, Horit is imprisoned in Sebennytos where She is connected with Tefnut, Sakhmet, Bastet, and Hathor. Sebennytos also had a temple of the lioness Meyht and Her consort-hunter Onuris. Just a few miles from Sebennytos is the location of the Lower Egyptian temple of Isis known (later) as Isiopolis with its focus on the resurrection of Osiris. So right here, in this part of the Egyptian Delta, we find temples and myths that incorporate both the Returning Goddess and Isis-Osiris themes. What’s more, we have a duplicate Isis—Horit—Who forms a kind of bridge between these two important motifs.

Another characteristic of our Distant Goddesses is that They are angry when They leave. In some cases, we know why; in others, we don’t. And while many people think of Isis as an exclusively kind and motherly Deity, She can also show an angry-burning-lioness side and be kick-yer-ass insistent from time to time.

Warning: discussion of rape in myth upcoming

You may recall that in several fragments of the myth, the reason Tefnut leaves in anger is that She has been raped by Her son Geb. Isis, too, suffers rape by Her son Horus. A stele from the Middle Kingdom refers to Horus violating Isis while He “inclined His heart toward Her”(!?!). From the Harris Magical Papyrus, we have this heart-rending account of Isis’ reaction:

Isis is weary on the water; Isis lifts Herself on the water; Her tears fall into the water. See, Horus violates his mother Isis and Her tears fall into the water.
Harris Magical Papyrus, VIII, 9-10

In Koptos, where Min has the epithet Bull of His Mother and is the consort of Isis, the God eventually came to be assimilated with Horus—again sexually pairing Isis and Horus. So much so, that They formed the very unusual cross-sex combination form of Isis-Horus. In a papyrus from the Ramesseum collection, another falcon God, Hemen, a form of Horus, has sex with Isis and impregnates Nephthys with a daughter, and we again have reason to think this was not consensual. Of course the Goddess is angry.

You do not want the hyt of Isis cast against you. Photo by OmarPhotos.com. See more work here.

Even in Plutarch’s rendition of the story of Isis and Osiris, Isis displays anger. As Isis is bringing Osiris’ body back to Egypt from Byblos by ship, the wind makes for rough sailing, so Isis dried up the river with an angry look. When She stopped to mourn Osiris, a prince of Byblos who had accompanied Her, became unwisely curious and observed Her in Her grief. She turned a terrible gaze upon him and he died instantly.

In Demotic (late Egyptian), we find a term hyt, that would be pronounced something like khyt, which could mean anything from divine inspiration and ecstasy to doom, fury, or curse. Interestingly, it was usually “cast” on or against someone or something—just as heka, magic, was (and is) cast. A graffito from Isis’ temple at Philae says that “the hyt of Isis is upon any man who will read these writings.” The person had written their name on the temple and was calling down the hyt of Isis on anyone who might remove the writing. A graffito at Aswan makes this clearer:

The hyt of Isis the Great, Chief of the Multitude/Army is upon every man on earth who will read these writings. Do not let [him] attack [the writings], to not let him disparage the writings. Every man on earth who will find these writings and erase or disparage the writings, Isis the Great, Chief of the Multitude/Army will decrease his lifetime because of it, while every man who will give praise and respond regarding them, [he will be praised(?)] before Isis the Great, the Great Goddess.”
Graffito Aswan 13, ll. 6-13; Appendix, no. 2, in Robert Ritner’s “An Eternal Curse upon the Reader of These Lines”

From Saqqara, a Demotic inscription forebodingly says that, “the hyt of Isis is upon you.” While Isis is not the only Deity having hyt (most did), we can at least see the fearsome power of Isis’ fury or curse. From the later Greek Magical Papyri, we still find a fierce Isis Who is called upon in an erotic spell of compulsion:

For Isis raised up a loud cry, and the world was thrown into confusion. She tosses and turns on her holy bed and its bonds and those of the daimon world are smashed to pieces because of the enmity and impiety of her, [name of the woman who does not desire the spell caster] whom [name of her mother] bore.
PGM XXXVI, 134-160

We’ve not come to the end of our exploration of Isis as a Wandering-Distant-Returning Goddess…but this post is long enough for now. So we’ll take it up again next time to see what else there might be to be seen.

For now, we know that Isis has a fierce lioness form, that She has reason to be angry in a manner similar to at least some of our Wandering Goddesses, and that, in Lower Egypt—around Her temple at Isiopolis—this myth was not only particularly important, prevalent, and widespread, but most of the Goddesses participated in some version of the myth in one way or another.

Is Isis a Wandering Goddess?

This summer, we’ll be celebrating a festival for the Wandering Goddesses, Hathor and Sakhmet. The myth of the Wandering Goddess is one of the most important myths of ancient Egypt. Almost every locality had their own version of the story and their own Wandering Goddess. So, I’m going to repost my Wandering Goddess series—while I work on new posts and attend a Board meeting today. I hope you find it interesting.

Part 1

Isis Wandering in Search of Osiris, by Louis Braquet

If your first reaction is, “Well, heck yeah; She wandered all over looking for the bits of Osiris,” you would not be wrong. But I’m thinking of a different wandering Goddess motif—and not one that is usually associated with Isis.

This mythic theme is also known as the tale of the Distant Goddess, the Wrathful Goddess, or the Returning Goddess. Most people are familiar with it from the Egyptian text known as the Book of the Heavenly Cow.

In that story, humanity has rebelled against Re and He sends Hathor—Who becomes the much-more-violent Sakhmet—to punish them. She enjoys Her work so well that Re is afraid She might wipe out all of humanity. To quell Her berserker rage, beer is colored red. Lioness Sakhmet laps it up like blood, becomes drunk…and is thus “pacified.” Egyptian festivals celebrated Her peaceful return to Her father Re with all-around drunkenness—and not a few hookups on one hand and mystical communions with the Goddess on the other.

But there are many other Goddesses Who share this mythic motif. While the details—to the extent that we have them—are different in the different tales, let’s take a brief look at Who-all-else may have been involved.

In the second most well known of these tales, it is Tefnut Who is our Wandering Goddess. We have a Demotic (late Egyptian) version of the tale and a Greek folktale-ish one. Both are spotty as the papyri are quite damaged and neither has been translated into English, so I’m working from paraphrases.

As our story begins, Tefnut—one of the Fiery Feline Goddesses of the Eye—is angry. She is the Eye of Re, Who, in this version, is Her father. We don’t know why She is angry, but She leaves, heading south, possibly to Nubia or to some other place That Is Not Here.

Without His powerful daughter, Re is vulnerable, so He sends Shu, Tefnut’s husband and brother, and Thoth, Who is particularly clever at pacifying angry Goddesses, to fetch Her back. Eventually, They track Her down. It takes some doing, but with entertaining stories, promises of offerings and festivals, jars of beer, and the wensheb, the symbol of ordered time (and general ma’et-ness), the Fiery Goddess is persuaded to return to Egypt and Her father.

The first place She stops on Her way back into Egypt is the southern Egyptian temple of Isis at Philae. There, She is purified and transforms from Her Burning Lioness form into a lovely woman. On the nearby island of Biggeh, where a tomb of Osiris and an Isis-Osiris temple were located, we find also a temple to Tefnut-Hathor, our angry/joyful Goddess. Perhaps this temple was Her starting point as She traveled from southern Egypt to northern, stopping at temples and towns along the way.

At each stop, a joyous welcome-home-and-restoration-of-order festival of music, dancing, drinking, and feasting ensues. (I am reminded that in cultures throughout the world—often—festivals of license are required in order to usher in a renewed period of order.)

Warning: references to rape in myth upcoming.

“The lance was placed in Geb’s thigh” and we all know what thigh stands in for, right?

Another of Tefnut’s Wandering Goddess myths is darker. We have bits of it from papyri found in the Faiyum and the Delta and on a naos from the 30th dynasty. From these sources, we learn that Geb has raped His mother Tefnut and taken the kingship from His father Shu, recently deceased, though we’re not sure how Shu died. Another version of the myth says Geb “hurt His father Shu as He copulated with His mother Tefnut.” In the next sentence, Tefnut leaves—surely blazing with anger, though what we have says nothing of Her state of mind. During Her absence, the text says, “the lance was placed in His [Geb’s] thigh,” in punishment. Another version has Geb taking up the royal Uraeus of Shu and placing it on His own head, but it burns Him ferociously with a wound that won’t heal. (And we recall that the royal Uraeus is yet another form of the fiery Eye Goddess.)

There are many confusing details in these myths that I won’t go into here. But I do want to again call out the reason why the outraged Goddess leaves, going as far away as She can: She has been raped by Her son.

In a different post, we looked at another raped-Goddess myth, the story of Horit. We don’t hear of Horit leaving for somewhere That Is Not Here. While being identified with Tefnut, She is instead imprisoned—in Sebennytos, the Lower Egyptian capital of the nome where Isis’ temple complex at Isiopolis was located. Eventually, She is freed. So, the Return of the Goddess, in this case, is a return from imprisonment…with the same joyous welcome from the people.

From Upper Egypt, there is the story of Mehyt and Onuris. Onuris, the desert hunter, is the consort of the Lioness Goddess Mehyt. His name means something like “Bringer of the Distant One” and Her name means something like “the Full One.” It may relate to Her identification as the Udjat Eye of Horus, that is the full Eye or the full moon. Mehyt, like all Eye Goddesses, is a protective Goddess, and protects both Osiris and Re. She is also a Fierce Goddess wielding arrows or hoards of demons as needed. As Onuris is involved in a hunt for the Eye of Horus, His heart is said to ache for the Sacred Eye, which certainly seems to make The Eye less of a thing to be procured and more of…well…a Goddess to be desired. Mehyt and Onuris were also honored in Lower Egypt; there was a temple to Them at Sebennytos.

There were many local versions of the Distant Goddess theme. Frequently, the raging Goddess goes by one name and the pacified one by another—like Sakhmet/Hathor in the Heavenly Cow. At Hermopolis, the fiery Goddess is Ai or Tai, while the peaceful one is Nehemant. Demotic inscriptions from Herakleopolis, where these Goddesses were also honored, show evidence of a festival of drunkenness for Her, as it seems there may have been for all our Returning Goddesses.

Inscriptions tell us that “when they are drunk, they will see . . . by means of the vessel” and that people make love before the Goddess and celebrate Her with feasts. From Tebtunis (in the Faiyum), Wenut (Who we met here) is the Raging Goddess and Nehemtua is the Returning One. Nehemant/Nehemtua (and other, similar renderings of Her name) is, predictably, identified with Tefnut, Horit, and Hathor.

Instead of Nubia, Nehemtua has fled to Naunet, the Great Goddess of the Hermopolitan Abyss, and settled Herself within Naunet. Here, we do know why She fled: because Set wants to possess Her, both sexually and as a symbol of His father Geb’s kingdom. So again, the Goddess is fleeing either post-rape or to prevent it. In this tale, it is Thoth and Nephthys Who go to bring the Goddess back.

Upon Her return, Nehemtua is said to have been “initiated” (bsi) to Shu (reinforcing Her connection to Tefnut) in the great (sacred) lake at Hermopolis. Frequently, water is required to cool down the fiery Goddess.

The Great Goddess Mut, Whose name means simply “mother,” is also associated with this theme. She is the Lady of the Isheru,* the crescent-shaped sacred lake in which the Raging Goddess is cooled and, no doubt, purified upon Her return. Part of Her ecstatic festival of return was called the Navigation of Mut and was enacted upon the cooling isheru. Some semi-recently come-to-light texts have made Mut’s festival of drunkenness rather famous. A very fragmentary text about these festivals refers to “the Distant One” and to pacification of the Goddess. We learn of singing, dancing, drinking, feasting, and “sexual bliss” in honor of Mut. Pharaoh Hatshepsut is recorded as having built a “portico of drunkenness” for Her.

Also of note is Mut’s ability to renew Herself; She is both mother and daughter. Her consort is Amun, Who is capable of self-renewal, too, for He bears the epithet Kamutef, Bull of His Mother. And yes, the bull part refers to sex. So we have Mut and Amun (and Re, as possessor of the Eye, is in there somewhere, too) as mother and daughter and son and father to each other. The God Min of Koptos is also called Kamutef—with Isis as His mother/sexual partner. With the Isis-Horus connection so strong, Min eventually takes on the name Horus as well.

And this is by no means the end of the Egyptian Goddesses associated with the myth of the Wandering Goddess, but it is enough to get a picture of its widespread nature. Egyptologists’ explanations for its origins include: the sun’s movement southward from summer to winter; the heliacal disappearance and return of the star Sirius to herald the Inundation; the waning and waxing of the moon during its cycle; the Inundation itself as its waters quench Egyptian fields and cool the red-hot Goddess; the hunter bringing back a tamed animal to his tribe; the maintenance of royal power; the return of ma’et after a period of disorder; and a young woman’s first menstrual period—wherein she leaves as an immature girl, but returns as a sexually mature being, a possibility I find intriguing. Oh, and let’s not forget (in some cases) rape as the reason for the Goddess’ departure and the “sorry, come back home, baby” nature of the persuasions—to put another human face on it. All of these make some sense and there doesn’t have to be just one answer.

As I said in the beginning, we don’t usually connect Isis with this myth. We have no stories left to us in which Isis rages off and has to be persuaded to return, from Nubia or anywhere else. We know of no festivals of drunkenness for Her. And yet, I feel almost certain that there used to be just such a tale. We’ll talk about that next time and I’ll lay out my case.

*As you might guess, Sakhmet and Bast, both feline Deities, were known to have isheru…but Wadjet had one, too. Usually, we think of Her in the form of the Uraeus Goddess, but She also had a lioness form—and is thus among our Fierce and Fiery Felines, too.

The Great Mother & Her Mother & Her Mother’s Mother

Lately, I am thinking about the stars.

With our hot weather, the night skies are clear now, so when I look up, I can see the body of beautiful, star-filled Nuet, the mother of Isis. A little while ago, a friend of this blog asked a very interesting question about Her…and Her. “How we can reconcile the idea that Isis is both Mother of All with the idea that Isis has a mother Herself,” they asked.

Isis the Mother and Her Holy Child Horus — Isis the Mother

It’s a very interesting question because it has to do with our conception of the nature of the Divine and Divine Beings in general.

So how do we start to look at this?

For me, history is always a good place to begin. It gives us a useful foothold to know what our ancestors thought about these things; after all, when it comes to Divinity and Divine Beings, we human beings have been thinking about this for a very long time indeed.

Erik Hornung’s Conceptions of God in Ancient Egypt, the One and the Many is one key text for understanding the nature of the Divine in terms of ancient Egypt. Hornung writes that the Egyptians had a multiplicity of approaches to the Divine and only when taken together can we see the whole picture. For them, he says, everything came from One because the non-existent is One, Undifferentiated Thing. Once something becomes existent, it also becomes multiple.

Atum arises from the Nun, the primordial waters of No-Thing-Ness

We see this in the Heliopolitan myth in which Atum comes forth from the Nun, the non-existent, the inert, and immediately begins generating other Deities through an act of masturbation: first Shu and Tefnut, Who beget Nuet and Geb, Who beget Isis, Osiris, Set, and Nephthys.

And so we meet Isis, Her mother Nuet, and Her mother’s mother Tefnut. And there may even be a great grandmother present, for when Atum came into existence, He was both masculine and feminine; His “shadow” or “hand” (the one He used to masturbate) is the Goddess Iusaaset or Iusâas. She is usually represented anthropomorphically, through, and not as a disembodied hand, and She is said to be the Grandmother of All the Gods.

Another important characteristic of the Divine in ancient Egypt is Its fluidity. Hornung says of the Egyptian Deities, “They are formulas rather than forms, and in their world, one is sometimes as if displaced into the world of elementary particles.” Deities may be combined with one another or split off from one another; one Deity can be the ba—soul or manifestation—of another; They can even be assimilated with foreign Deities without losing Their essence. “But wherever one turns to the divine in worship, addresses it and tends to it in cult” Hornung writes, “it appears as a single, well-defined figure that can for a moment unite all divinity within itself and does not share it with any other god.”

The primordiality and uniqueness of Isis is attested on the Great Pylon of Her graceful temple at Philæ. The Ptolemaic passage states that Isis “is the one who was in the beginning; the one who first came into existence on earth.” In the Coffin Texts, Isis is invoked with a group of Deities considered to be the most ancient: “O Re, Atum, Nu, Old One, Isis the Divine…” (Formula 1140). She is called Great Goddess Existing from the Beginning, Great One Who Initiated Existence, and Great One Who Is From the Beginning. Her very name, Iset or Throne , speaks to Her ancient nature.

By the time of the New Kingdom, Isis is routinely called Mother of All the Gods. Then, with Her worship spreading throughout the Mediterranean and beyond, Apuleius can write that Isis “brings the sweet love of a mother to the trials of the unfortunate,” while a Latin dedicatory inscription sums up Her all-encompassing nature: Tibi, Una Quae es Omnia, Dea Isis, “Thou, Being One, Art All, Goddess Isis.”

So now we have ancient attestations both of Isis’ ancient and original one-ness and of Her generation from Her parents, grandparents, and great grandparents. How do we resolve it?

If we are among those who are uncomfortable with paradox, I’m afraid there may be no satisfying reconciliation between these two ideas. If it has been deeply ingrained that there can only be one right answer—especially when it comes to spiritual questions—then it may seem impossible for both these things to be true. After all, they contradict each other. At the very least, we should be able to pick one as the “right” answer. At the very most, we may decide the contradiction means both things must be false.

And yet we have already seen that, at least to the ancient worshipers of Isis, both things were indeed true.

This is what paradox is; and religion is absolutely rife with it. Why? Because most religions, or spiritualities, involve Mystery. Mystery is at the very core of the Divine and paradox is one of Its favorite languages. Yet this is not to say we should simply throw up our hands up and say, “Goddess works in mysterious ways” and quit thinking about it.

Quite the opposite in fact. Paradox invites thought. It is intended to teach. So what can we learn from our paradox: Isis is Mother of All, yet She Herself has a mother…and a mother’s mother…and?

Originally an illustration for a book of pseudo-Indian love poetry called *The Garden of Kama*, this lovely illustration by Byam Shaw, 1914, captures something of Nuet caring for one of Her Holy Children

Let’s look at it through that ancient Egyptian lens that shows us a multiplicity of approaches to the Divine.

One way we can approach is through the Heliopolitan myth does: Isis is part of a Divine family. By being so, perhaps She is better able to understand human beings when we come to Her with our own familial problems. Her family relations make Her more suited to be a Soteira, a Savior Goddess, as She was known throughout the Mediterranean world.

We can also learn some important things about Isis through Her family relations. Isis is the daughter of Heaven (Nuet) and Earth (Geb). She is married to the Underworld God, Osiris, and is Herself a Goddess of the Underworld. Thus Isis is intimately connected to All That Is; She walks in all the Worlds.

Another approach to our paradox is through the fluidity of the Egyptian Deities that we talked about. If They can combine or split at will, or if one can become the ba of another, why can’t Isis be at once a Great Mother Herself and the daughter of a Great Mother?

Yet another approach is to open our hearts toward Isis in worship and experience Her for ourselves. Then, as Erik Hornung explained, Isis “appears as a single, well-defined figure that can for a moment unite all divinity” within Herself; She is the One Who is All, and She is the Mother of All.

By combining these approaches, and tolerating a little paradox, we learn more about Isis than we ever would have by restricting ourselves to a single position alone and Isis reveals Herself ever more as the Great Goddess She is.

Isis is all things and all things are Isis

Is your sacred image of Isis “alive”?

If so, how did that happen?

Did you do a specific ritual? Did it slowly gain its living quality over time?

Following the inspirations of ancient Egyptian cult, for me, the ones that are alive are so because of ritual. I’ve used versions of “Enlivening the Divine Image” from Isis Magic on several of them. But my main image—my BIG Isis—was enlivened long before Isis Magic existed.

To enliven Her, I invited a circle of friends to come over for an Isis birthday party. There was ritual around everything, of course, but the main event was that each participant cradled the image in their arms, as if holding a baby, and breathed their living breath into the sacred image…then passed Her to the next person. And it worked; She has been quite lively ever since.

But what exactly do I mean by “is alive,” anyway?

Let me give you an example. Several years ago, one of the traveling Egyptian museum shows came to our local museum and a group of us went. Of course, there were many wonderful things. But one image—smallish, broken, a head of Sakhmet in yellow alabaster—hummed with magical power. I felt Something in its presence. Mind you, not everything in the show felt like that. But this piece did. I think what I felt was the magic of the ritual that had “opened the mouth and eyes” of this sacred image of Sakhmet so that something of the Goddess was still within the image. The priests who worked that rite, those guys were good. This Sakhmet had power; it had life.

That’s what I want from my sacred images of Isis, too. When someone visits my Isis shrine, I hope they feel Something. A little buzz. A little hum. A little magic that says, “yes, I’m here.”

From the very start of the artistic process of making such a sacred image, the ancient Egyptians knew they were creating something that would be alive. Sculptors sometimes referred to their work as “giving birth.”

We are used to thinking of Egyptian statuary are gargantuan. But the main cult image in each temple—the one kept in the holy of holies and cared for each day—was likely no more than about a foot in height for anthropomorphic images. We know this due to the size of the shrines that enclosed these images. So this means that the size of the images many of us have on our own home altars are very much in harmony with the most important Egyptian temple images. I like that. A lot.

The oldest texts we have that provide information on what the ancients thought about their divine images come from the New Kingdom (1570-1069 BCE), but the ideas in them are likely much older. We find this information in ritual texts for the Daily Ritual, which cared for and fed the Deity and the Opening of the Mouth rite used to enliven the images, as well as some additional temple texts that mention the relationship between the Deities and Their images.

At core, what these texts make apparent is that some part of the essence of the Deity was considered to be alive in the sacred image. In the Daily Ritual, the sacred image is awakened, clothed, praised, and anointed as a living being. Each step in the ritual re-enlivens the statue each time the ritual is performed. Toward the end of the rite, the priest can finally say to the Deity in the image, “oh living ba who smites His enemies, Your ba is with You and Your sekhem is with You.” In this case, the ba of the Deity is Their manifestation (ba also has connotations of power) and sekhem is the word for power. The priest then says that he, too, is a ba and embraces the sacred image.

So at this point, the ba of the Deity is in the image. Ba is a complicated term and I won’t go into all its complications here. (Besides, I’m still learning about some of them.) For our purposes here, we can think of the ba of a Deity as Their Presence or Manifestation. In this way, the sacred image of the Deity IS the outward manifestation of the Deity. But that’s not all that it is. For we have other texts that tell us that the ba of the Deity swoops down like a great hawk to alight upon the image and indwell it.

But back to the Daily Ritual…

Next, food is presented and now the emphasis shifts to the ka of the Deity. The ritual says that Ma’et embraces the Deity “so that your ka will exist through Her.” The simplest definition for ka is “vital essence;” it’s the difference between alive and dead. And since I am, at this moment, into simplification, we’ll let that do for now.

The hieroglyph for the word ka is two upraised arms, perhaps intended to be read as an embrace. For it is through an embrace that ka may be passed, for example, from Atum to His children Shu and Tefnut to protect Them and give Them Their kas. The royal ka—the ancestral power that makes the pharaoh a pharaoh—is passed by an embrace from the old king as Osiris to his heir as Horus.

So we have two aspects of the Deity present in the sacred image during the Daily Rituals: ba and ka. The ba is the Presence and the ka is Life. It is through the ka that the Deity Who is alive in the sacred image receives offerings. You can read more about that here.

These sacred images were taken out in procession during certain festivals. On such occasions, the Deity would also be present in the image—present enough to give oracular responses, and we even have one instance of a man claiming that he was cured of blindness during such a procession. Unfortunately, we don’t have texts of any of the rituals that might re-enliven or “charge up” the image before going out, but we know they existed because the library at Edfu was supposed to contain a book of “all ritual relating to the exodus of the God from His temple on feast days.”

From another temple text, we know that the Opening of the Mouth ritual was performed on statues. The full name of the text is “Performing the Opening of the Mouth in the workshop for the statue (tut) of (Name of person or Deity).” The key part of that ritual was known as netjerty, when the mouth of the image was touched with the adze, a specific craftsman’s tool. Netjerty is formed from the root Netjer (also Nutjer, Neter)—Deity—so we can understand that this part of the rite was a god-ifying part. Much of the rest of the ritual is very similar to the Daily Ritual and its magic, with both ba and ka present.

Other than these references in the Daily Ritual and Opening of the Mouth, there are a few scattered references about the relationship between Deity and image. In the Hibis temple of Amun-Re, all the other Deities are considered aspects of Him as Creator. And, as Creator, He is also the one Who creates His own image. He made it “according to His desire, He having graced it with the grace of His breath…” In the Daily Ritual text that we have for Amun, He is said to be “the tut Who made Their [all the Deities] kas.”

In several similar passages, the creation of the sacred image is attributed to the Deity Who’s image it was. This reminds me of why all the books of Egypt could be said to have been written by Thoth: the scribe, in the act of writing, is in the Godform of Thoth, so the book is written by Thoth. Perhaps the sculptors and artists were supposed to be in the Deityform of the Deity they were sculpting, too. I am imagining an artist, in the Goddessform of Isis, crafting Her image by channeling inspiration from Her.

In what is known as the Memphite Theology, Ptah the Craftsman is the Creator and He creates the bodies—statues—of all the Deities according to Their desire, so that They willingly “enter into” Their bodies and Their kas are satisfied.

At Isis’ temple at Philae, a text says that Isis’ son Horus is the one who established all the temples and made all the sacred images. Horus and Hathor were known to “go out as Their statues” during one of Their festivals. Edfu temple also has passages that say the Deities “unite with Their bas in the horizon—the akhet, that most liminal of liminal places and a very reasonable place to work this transitional magic.

From these and similar clues, we can be sure that a Deity’s ba and ka were understood to be present in Their sacred images. What’s more, Their presence in one temple neither precluded nor diminished Their presence or power in another. Both ka and ba are in divinely infinite supply.

Thus Isis can be alive and present in my shine, on your altar, and on the altars and in the shrines of all those who love Her.

May She bless and be alive in your sacred image always.

Isis & the Soul

What is your concept of the soul?

It’s one of those things that we often talk about, but we don’t have a firm definition of what—exactly—it is. Is it the divine part of ourselves? Is it the immortal part that survives after death? Is it some kind of “essence” of ourselves? Is it our inner life, our thoughts, feelings, passions? Do only human beings have one, or do other beings and things have one, too? Is it what animates us, what makes us alive? In Latin, the word for soul is anima and modern languages like French and Spanish have words for soul (âme and alma) that come directly from Latin.

The English word derives from Old English sawol and is related to a number of similar old-European words. Psychology, the study of the psyche—Greek for soul—thus involves the study (or literally, “speaking about,” –ology) the soul. So psychologists and psychotherapists are concerned with healing the soul.

Most people, throughout the world, have some sort of concept of something like the soul. Yes, of course, the ancient Egyptians did, too. And yes, of course, Our Lady Isis has an intimate concern with souls.

Those of you who have been reading this blog probably already know that the ancient Egyptians did things a little differently. And you may already know that they had a broader concept of what goes into making up the full nature of the human being. These are words like ka, ba, akh, khat, ren, ib, and shadow. We find these terms numbering from about five on the low end to about sixteen on the high end. Often, you will see them referred to as “components” or “parts” of the human being, both in life and afterlife. That’s not quite right, so more-modern scholars will call them “aspects” of the human being. This is much closer.

The ba-bird and the shadow of the deceased

But I just learned today, that there is an Egyptian word that is not only appropriate and which at least some learned Egyptians seem to have used as the collective term for these aspects. The word is kheperu.* It means “forms, transformations, manifestations” and oh-so-much more. It is found in the name of the Sun Scarab God, Khepri or Khepera. As a verb, it means “changing, transforming, becoming.” The root also has to do with creation, birth, and rebirth.

What I learned is that in some examples of the funerary literature, you will see a list of the familiar aspects of the human being, but with the word kheperu at the end. Scholars think that the word kheperu—transformations—at the end was meant to sum up all the preceding aspects. Why is this important? Because it confirms that the kheperu of a person should not be understood as discreet or disjointed “parts” of the human being. But rather that the ancients understood them to be forms or ways of being that the human being could transform into during different aspects of their life/afterlife journey.

Today, I’d like to focus on just one of these kheperu: the ba.

The ba hovers over the body of its deceased

We have come to use the word “soul” to translate ba because way back in the 4th century CE, a writer name Horapollo (a perfect Egypto-Greek name if ever there was one) so translated it. Horapollo was a Greco-Egyptian intellectual who wrote a book, in Greek, on the meanings of the hieroglyphs. In addition to giving us the ba = psyche equation, Horapollo also connected the ba with the heart, for, he said, the Egyptians say that the soul resides in the heart.

Here’s Horapollo’s entry on The Soul:

That the hawk is a symbol for the soul is clear from the interpretation of its name. For the hawk is called by the Egyptians Baieth. If this name is divided, it means “soul” and “heart.” For Bai is the soul and Eth is the heart. And the heart, according to the Egyptians, contains the soul. Hence the interpretation of the combined name is the “soul in the heart.” Wherefore the hawk, since it has the same character as the soul, never drinks water, but blood, on which the soul is nourished.
The Hierogliphics, Book I, entry on The Soul

We may also note that in Book II of Horapollo, the symbol for the human soul is a star—as well as a symbol for a Deity, twilight, night, and time, all of which is true enough. Remember that by the 4th century CE, a lot of the traditional knowledge about the sacred writing had been lost. So it’s likely that what Horapollo reports is what was current in his day.

The ba of Shu fills the sail of the deceased with the breath of life

Ba is an extremely complicated concept in ancient Egypt (and don’t get me started on ka!) Like so many other things, it too, changed over the millennia. Scholars are still trying to figure out precisely what it meant. But happily, we do know some things, so we’re not completely in the dark.

In the earliest Egyptian texts, the ba appears to be a Divine force. The word seems to refer to a manifested spirit, usually the manifestation of a Deity. The ba of a Deity could appear as a natural force—the wind is the ba of Shu—or in the form of a sacred animal. For instance, the Apis bull of Memphis was considered the ba of, first Ptah, then Osiris; the Hesis cow, mother of the Apis, was considered the ba of Isis. What’s more, one Deity could be the ba of another. Osiris and Heka are bas of Re; Sothis is the ba of Isis. By the end of the Old Kingdom, the concept of the ba was understood more broadly. Everybody—and some things as well—had one. Post Amarna, every Deity and everything could be considered a ba of Amun/Amun-Re.

The ba of the deceased perched on a papyrus plant; Ptolemaic era

When it comes to human beings, generally, the ba was thought to be a non-physical aspect of a person that comprised their personality or character. The impression one makes on others is because of the nature of one’s ba. The ba is also a form or manifestation—a kheper—of the human being in the spiritual realm. After death, a human being’s ba could take on super-human power; not as powerful as a Deity’s, but powerful.

In tombs, the ba of the deceased person is usually shown as a human-headed bird, often a hawk like Horapollo says. Sometimes the ba-bird also has human arms and hands. With it’s human face, it is linked to the individual human being and reflects the personality or character of the person. Yet its birdform gives it the ability to move between the worlds. And because it can enter into the spirit world, it knows things beyond normal human knowledge. Thus it can also serve as a counselor to human beings while we are still alive. We have a piece of ancient literature in which a man is in a dispute with his ba over whether or not he should commit suicide. Egyptian wisdom literature also advised people to do good in life in order to feed their bas.

A man and his ba greet and mirror each other in the underworld

Well. I see that this post has gotten a bit long and I haven’t even brought in Isis, She Who “guides my soul on the paths of the Netherworld.” So we’ll continue this soulful discussion next time and learn the may ways that Isis is connected with the powerful ba.

* In Isis Magic, I use the term Kheperu for the various forms of the Deities as well as the magical technique of “Taking on the God/dessform.”

The Great Mother, Her Mother, and Her Mother’s Mother

A friend of this blog asked a very interesting question. She asked how we can reconcile the idea that Isis is both Mother of All with the idea that Isis has a mother Herself. It’s a question I’ve been wanting to work on ever since it was asked, so with this post I’m finally getting around to it.

It’s a very interesting question because it has to do with our conception of the nature of the Divine and Divine Beings in general.

So how do we start to look at this?

Erik Hornung’s Conceptions of God in Ancient Egypt, the One and the Many is a key text for understanding the nature of the Divine in terms of ancient Egypt. Hornung writes that the Egyptians had a multiplicity of approaches to the Divine and only when taken together can we see the whole picture. For them, he says, everything came from One because the non-existent is One, Undifferentiated Thing. Once something becomes existent, it also becomes multiple.

And so we meet Isis, Her mother Nuet, and Her mother’s mother Tefnut. And there may even be a great grandmother present, for when Atum came into existence, He was both masculine and feminine; His “shadow” or “hand” (the one He used to masturbate) is the Goddess Iusaaset or Iusâas Who is said to be the Grandmother of all the Gods.

Another important characteristic of the Divine in ancient Egypt is Its fluidity. Hornung says of the Egyptian Deities, “They are formulas rather than forms, and in their world, one is sometimes as if displaced into the world of elementary particles.” Deities may be combined with one another or split off from one another; one Deity can be the ba or soul of another; They can even be assimilated with foreign Deities without losing Their essence. “But wherever one turns to the divine in worship, addresses it and tends to it in cult” Hornung writes, “it appears as a single, well-defined figure that can for a moment unite all divinity within itself and does not share it with any other god.”

The primordiality of Isis is attested on the Great Pylon of Her graceful temple at Philæ. The Ptolemaic passage states that Isis “is the one who was in the beginning; the one who first came into existence on earth.” In the Coffin Texts, Isis is invoked with a group of Deities considered to be the most ancient: “O Re, Atum, Nu, Old One, Isis the Divine…” (Formula 1140). She is called Great Goddess Existing from the Beginning, Great One Who Initiated Existence, and Great One Who Is From the Beginning. Her very name, Iset or Throne, speaks to Her ancient nature.

So now we have ancient attestations both of Isis’ primordiality and of Her generation from Her parents, grandparents, and great grandparents. How do we resolve it?

And yet we have already seen that, at least to the ancient worshippers of Isis, both things were indeed true.

This is what paradox is; and religion is absolutely rife with it. Why? Because most religions, or spiritualities if you prefer, involve Mystery. Mystery is at the very core of the Divine and paradox is one of Its favorite languages. Yet this is not to say we should simply throw up our hands up and say, “Goddess works in mysterious ways” and quit thinking about it.

Quite the opposite in fact. Paradox invites thought. It is intended to teach. So what can we learn from our paradox: Isis is Mother of All, yet She Herself has a mother?

Originally an illustration for a book of pseudo_Indian love poetry, this lovely illustration by Byam Shaw, 1914, captures something of Nuet and one of Her Holy Children — Originally an illustration for a book of pseudo-Indian love poetry called *The Garden of Kama*, this lovely illustration by Byam Shaw, 1914, captures something of Nuet caring for one of Her Holy Children

Let’s look at it through that ancient Egyptian lens that shows us a multiplicity of approaches to the Divine.

One way we can approach is as the Heliopolitan myth does: Isis is part of a Divine family. By being so, perhaps She is better able to understand human beings when we come to Her with our own familial problems. Her family relations make Her more suited to be a Soteira, a Savior Goddess, as She was known throughout the Mediterranean world.

The Goddess of Willendorf

In Search of the Feminine Divine