Category Archives: Plato

Neheh, Djet & Isis

I’ve done some more reading and some more meditation and I want to come back to neheh and djet. Why? Because I am very inspired by a 2022 work by Egyptologist Steven Gregory on the subject.

Unless you’re super geeky on this subject like me, I don’t think you’ll want to read all his arguments for how he thinks neheh and djet should be defined and translated.* (Translating is the trickier part, tbh.) So I’ll summarize and then we can discover some things we might do with these insights.

As we saw last time, Egyptologists have tried translating these two Egyptian concepts in a variety of ways, all of which, I think, add to our understanding. Their interpretations usually have to do with a repetitive time cycle for neheh and a perfected and unchanging time cycle for djet. But rather frequently, when translating the ancient texts, Egyptologists will translate the two terms as if they were synonyms. That’s when we get translations of neheh djet as “forever and ever.” This is Gregory’s big bugaboo.

He argues, persuasively as far as I am concerned, that they are very much not synonyms and that we miss an important part of what the texts are telling us if we so translate. In the book, he takes a while to get to his point because he gives lots of examples, but the point itself is actually fairly easy to home in on. It is simply this: that neheh is physical and temporal, like the cycles of sun and moon in our “real world;” djet is metaphysical and atemporal. In other words, they are not really types of time (though they are sort of), but conditions. Neheh is the condition of the existing world. It is imperfect and changing, providing for natural cycles and regeneration. Djet is the condition of the ideal world; it is the state of the Deities. Djet is outside of time. It is, or contains, the ideal Forms of everything.

Art by Bill Bounard, “Open Your Heart”

And if that makes you think of Plato and his Forms/Ideas/Ideals, yes indeed, Gregory suggests that Plato may have been inspired by the ancient Egyptian concepts of neheh and djet. The Greek philosopher is, after all, said to have studied in Egypt.

If we were to apply those terms to Plato’s philosophy, neheh would be his world of appearances, which is a shadow of the more-real World of Forms. Djet is the realm of the Forms/Ideas/Ideals, which are “abstract, perfect, unchanging concepts or ideals that transcend time or space.”

As I said, I think all the translators’ translations are helpful in understanding these key concepts. And sometimes, thinking of them as variations on time is quite useful. But layering on Gregory’s physical-metaphysical definitions just opened the doors wider for me. It’s funny how sometimes a little thing like a new avenue for looking at things can blossom and unfold and burst into galaxies in your head. This was one of those for me. And it just reinforced for me how much the ancient Egyptian scribes and priests knew what the hell they were doing. They KNEW they were writing about different levels of reality. Always. Because our examples of this go back all the way to the earliest writings. In funerary texts, temple texts, and ritual documents of all kinds, they were very much aware of the different Worlds and they addressed those Worlds in their works, calling them out as neheh and djet. What’s more, thinking of djet as the metaphysical realm, we get additional hints as to how the ancient Egyptians may of conceived of the Divine realms.

I still do like the idea of neheh-time and djet-time, as well as neheh-eternity and djet-eternity, even though my guy Gregory doesn’t so much. But with his insights, we can now add new layers to our own definitions. We can think about the neheh-realm and the djet-realm—Neheh World and Djet World—so that we have levels or planes of reality as well as different dimensions of time and eternity. Of course, we’ve always known about the realness of the heavenly and underworlds in Egyptian thought, but adding the extra mystery of djet-time-eternity to it just adds to the complexity of Reality, which for me reveals a little bit more of what is true, what is right, what is Ma’et.

If you would like to experience these concepts for yourself, try the following visualization and meditation. This one focuses on djet, but you can do something similar for neheh.

Purify and consecrate yourself in any manner you wish. If you’d like an Isiac version, you could use the first part of this, up to “Entering.”

In your vision, imagine yourself in the Temple of Isis. It is night. The temple is illuminated by wall torches, burning in startling colors of blue and orange. As you enter in, you smell the smoke of incense, dark, sweet, and musky. You feel the cool stone floor on your bare feet. As your eyes adjust to the darkness, you begin to make out the designs of wall paintings. In the flickers of torchlight, their colors are muted. The low, rumbling sound of soft chanting comes to your ears. You hear Her name being chanted over and again with devotion, with love. Join in, if you wish.

Ahead there is a doorway, and beyond it, another. And another, and again. A long passageway stretches before you. Impossibly, it seems you can see into forever. A soft, deep voice whispers in your mind, “Enter the Chamber of Secrets.”

You enter the passageway, moving through each doorway. In a little while, the path begins to angle upward. Then you see a stairway that you somehow know will take you to the roof of the temple.

Walk up the stairs and you emerge on the temple roof. Look up. And you look into the infinite belly of Nuet, full of stars. Stars and space, moving slowly in their infinity, envelop you. Your eyes can see into the depths of space, opening, opening, opening. Your eyes, your heart, your mind, opening, opening, opening.

And when you let your attention fall back to the roof of the temple, you see the Boat of Millions of Years docked near the edge of the roof. It floats on darkness and stars. Thoth, the master of this vessel, motions you aboard. As you step upon the deck, the boat rocks and dips as if it were floating in water. You take your place, facing the prow, facing the night.

In a moment, the ship begins to move. First, slowly. Then faster. And faster. Moving upward into the depths of space and time. Starlight streaks by you. Your hair is blown back as the Boat of Millions of Years sails and sails.

Then suddenly, it stops.

The soft voice in your head, the one you know is the voice of Isis, says, “Call to Her.” And you do. You call to the Great Goddess Djet, asking Her to come to you, come to you.

Do this now.

In an unknown period of time, the Great Goddess Djet answers. “I am all around you and I am in you. The threads of My Magic knit you together. You are born from Me, but do not live in Me.” And you ask Her how you can better experience Her. She says, “Imagine yourself perfected.”

And you do. Allow as much time as you need for this thought experiment. What would you be like? Who would you be? How would you feel? How would you be?

When you are complete with this, thank the Goddess. The soft, deep voice of Isis speaks in your mind. “Come now,” She says. And you are once more aware of the Boat of Millions of Years. It once more begins to move, this time backwards. In time, you arrive at the roof of the Temple of Isis, thank Great Thoth, and disembark. Move down the stairs, through the many doorways. Thank Wise Isis and let your consciousness return to the here and now, to neheh.

*If you are super geeky and want to read the whole thing for yourself, get Tutankhamun Knew the Names of the Two Great Gods: dt and nhh as Fundamental Concepts of Pharaonic Idealology by Steven R. W. Gregory.

More Occult History of the Mensa Isiaca

Isis leading the initiate…

Part 3

For the past couple of weeks, we’ve been looking into the history—occult and otherwise—of the unique artifact known as the Mensa Isiaca or Table/t of Isis. And it is, literally, unique. We have no other ancient artifact like it. It is a large bronze tabletop, or perhaps altar top, with Egyptianizing figures and pseudo-hieroglyphs, all expertly crafted in polychrome metals.

Lets dive back in and see what some other writers, thinkers, and magicians had to say about it.

Other Ideas

Following Kircher’s intensive explication of the meaning of the Mensa, it became a subject of much scholarly discussion. For centuries.

In 1719, a monk named Bernard de Montfaucon addressed the Mensa. Montfaucon was a scholar and is credited with helping to develop early archeology. He thought the Mensa described Egyptian religion in some way and found it very symbolical and enigmatic. He went on to describe the Mensa in some detail, seeing almost every figure in it as either Isis or Osiris. Of Kircher’s interpretation, he commented, somewhat snarkily, that he doubted whether any Egyptian had ever thought as he did.

Another of the sections of the Mensa

In his Sacred and Profane History of the World Connected, Samuel Shuckford considered the Mensa to have been made before the Egyptians came to worship their Deities in anthropomorphic form because the priests shown kneeling in the border all kneel before animal forms.

William Warburton, a Christian Bishop and writer, came pretty close to modern thinking about the Mensa. He thought it was made in Rome by an Isis devotee due to the odd mixture of hieroglyphs and the fact the Isis is clearly the most important figure. Yet another writer, Paul Ernest Jablonski, thought the central figure was Neith. He saw Isis in a number of the other female figures and thought that the Mensa was a calendar of Egyptian festivals, adjusted to Rome.

Levi’s attribution of the sections of the Mensa Isiaca to Qabalistic and astrological symbolism—and thus to the tarot

The English masonic authority, Kenneth Mackenzie took note of the Mensa because of its three-part division and thus its possible correspondence with three-part craft masonry.

Eliphas Levi & the Mensa Isiaca

Eliphas Levi, a French writer, esotericist, and magician, also had an interest in the Mensa Isiaca. Writing in his History of Magic (1860), Levi said,

The most curious, and at the same time the most complete key to the Tarot, or modern version of the famous Book of Thoth, is found in the Isiac Tablet of Cardinal Bembo, which has been represented by Kircher in his work on Egypt: this learned Jesuit has divined, without being able to establish complete proof, that this Tablet contained a key in hieroglyphics to the sacred alphabet.

History of Magic, Eliphas Levi

(You see, it was the secrets of the Alphabet of Thoth that the Hebrews took with them when they left Egypt…and thus developed Qabalah…which, in Hermetic Qabalah, has correspondences to the tarot.)

Looking at his chart (above) and his description in his book, I am baffled as to how he reached some of his conclusions. For instance, he says there are 21 images in the middle register that correspond to the letters of the alphabet. Surely he must mean the Hebrew alphabet, but neither the French, Hebrew, nor Egyptian alphabets have 21 letters. Second, there’s no way I can count the figures in the middle register that adds up to 21. You?

An easier-to-see illustration of the Mensa Isiaca; click to enlarge

But perhaps it’s all just too recondite and admirable for me. Or perhaps Levi cheated a bit. Westcott (remember him from last week?) was a big fan of Levi and in his own book on the Mensa, he expanded on Levi’s comments, connecting the images and divisions of the Mensa to various Qabalistic and astrological symbols.

The Secret Teachings of All Ages & the Mensa Isiaca

Manly P. Hall in his Secret Teachings of All Ages introduces the section on the Mensa Isiaca by quoting “a manuscript by Thomas Taylor” that said,

Plato was initiated into the ‘Greater Mysteries’ at the age of 49. The initiation took place in one of the subterranean halls of the Great Pyramid in Egypt. The Isiac Table formed the altar, before which the Divine Plato stood and received what was always his, but which the ceremony of the Mysteries enkindled and brought from its dormant state. With this ascent, after three days in the Great Hall, he was received by the Hierophant of the Pyramid (the Hierophant was seen only by those who had passed the three days, the three degrees, the three dimensions) and given verbally the Highest Esoteric Teachings. After a further three months’ sojourn in the halls of the Pyramid, the Initiate Plato was sent out into the world to do the work of the Great Order, as Pythagoras and Orpheus had been before him.

Manly P. Hall, The Secret Teachings of All Ages

Due to the popularity of Secret Teachings, this statement has been often repeated in various esoteric publications, both print and digital. For the record, there is nothing like this in any of Thomas Taylor’s* published works, nor are there any known records of such details of Plato’s purported initiation. According to the Greek historian and geographer Strabo, Plato studied in Egypt for 13 years, learning geometry and theology. But the description above sounds perhaps a bit too masonic with its three degrees. For the rest of his section on the Mensa, Hall relies mainly on Westcott’s book.

IYNX! A Funny Thing Happened on the Way to this Blog Post

Strangely, this part of the Mensa is what Kircher labels the Azonian Hecatine Triad

Perhaps it was a subconscious prompting. Or perhaps it really was a meaningful synchronicity. But here’s what’s going on. I keep a folder with blog post ideas. And since the Getty Museum semi-recently put out a paper on their study of the Mensa, I thought, “why not?” What I intended to be one post turned into three. And then I came across a somewhat surprising name in Kircher’s discussion of the Mensa. The name is Hekate.

Where does She come into it? Remember that Westcott remarked that the Mensa’s cosmic scheme is almost identical to that of the Chaldean Oracles? Well, if you’ve got Chaldean Oracles, you’ve got Hekate. She is the Anima Mundi, the Soul of the World, and the connector between the Empyrean (heavenly) and Hylic (earthly) Worlds.

And that funny word, Iynx, with which the Mensa’s Isis is labeled? It can be a magical tool—the so-called strophalos, or wheel, of Hekate—a bird used in erotic magic, or a type of Being in the Chaldean system. As a Being, Iynges (plural) are “transmitters” of higher-level energies to the lower worlds. The Hathor-headed pillar in the center of the image (above) is what Kircher says is “Isis under the form of Hekate.”

Isis—as the “Supreme Mind, or Pantomorphous Iynx”—sits in the center of the Mensa, connecting everything and transmitting the Divine energies throughout the Universe.

Don’t know if these are actually supposed to be Chaldean Iynges, but it will do

Why does this matter to me right now? Because I’m preparing to take part in a Fall Equinox festival dedicated to Hekate. I’ve been working with Her for many months now in preparation. And so, with this series of posts, my two Goddesses have come together for me, for now.

A Meditation

As you can see, the Mensa Isiaca, the Table of Isis, has been a screen upon which many have projected their thoughts for hundreds of years. Even as a Roman work of art with incomprehensible hieroglyphs, it has served as an Egyptological and esoteric inspiration. And, I think, it has also shown how things can be symbolically connected, even if that was not the original intent of the work. And though we may not be quite as invested in all ancient religions being the same as Kircher was—still—there is something beautiful and magical in the weaving of those connections.

Honestly, a meditation like Kircher’s could be very worth doing for Isis devotees. For instance, we might pick out an ancient Egyptian image of Isis (like the one at the top of this post) and, in gentle meditation, give a meaning to each and every detail, each and every color the artist used. When we do, we’ll see what connections arise for us and in us. No doubt, it won’t be exactly what the ancient Egyptians intended. But it will be a meditation of deepening and it might help us identify some of our own inner symbolism and how, for us, it connects with Isis.

*Thomas Taylor was an 18th-19th-century English translator and neoplatonist. He was the first to translate into English the complete works of Aristotle and Plato.

What is the Mensa Isiaca?

Have you ever heard of the Mensa Isiaca?

Did this mysterious Isiac artifact serve as the altar when Plato received his initiation into the Egyptian Greater Mysteries in a secret, subterranean hall beneath the Great Pyramid? Was it an altar top from a Roman Temple of Isis? Was it a repository of ancient occult lore? A key to the hieroglyphs? Or the tarot? Perhaps it was just a rather expensive piece of home decor for a rich Roman with a penchant for Isis?

All of these things have been suggested as the ultimate identity of this significant Isiac artifact. It has quite the history…and some legit mysteries, all of which we take a look at as we try to find out more about this literally unique artifact—and discover what it has meant in the long story of the worship of our Goddess Isis.

As you may have guessed, “Mensa Isiaca” is Latin. It means “Table (or Tablet) of Isis.” It’s also known as the Bembine Table of Isis. I’ll explain why in a bit.

One of the prizes in our library, a copy of one of the few works about the Mensa Isiaca. The author is W. Wynn Westcott, one of the three founders of the Hermetic Order of the Golden Dawn.

First, what is it?

The Mensa Isiaca is a large bronze tabletop inlaid with polychrome metals—that is, a variety of colored metals—featuring Egyptian figures in a selection of typical Egyptian-style poses, all surrounding the central, enshrined figure of Isis. Or at least She has always been taken to be Isis due to the popularity of the Goddess during the period of the Mensa’s creation, sometime between the 1st century BCE and the 1st century CE. And it was almost certainly made in Rome.

The reason we cannot be absolutely sure the central figure is Isis is that, while the Mensa includes hieroglyphs, they are only pseudo-hieroglyphs and cannot be read. They are decoratively placed near the figures, as well as around the lip of the Mensa and the borders that separate its three surface registers. So, unfortunately, they cannot help us clearly identify the figures on the Mensa. The Mensa’s later interpreters, however, did not know this and spent a good deal of brainpower on trying, unsuccessfully, to decipher the glyphs.

The art style is all very Egyptian, in the Hellenistic mode. In other words, the images look very much like the ones found in many of the Hellenistic-era temples we see in Egypt today. It’s that slightly softer style you see at Denderah rather than the older, crisper style at Abydos.

But before we go further, you may be wondering what the Mensa Isiaca looks like; click for a larger image:

The Mensa Isiaca; I know, it’s hard to see, so there’s an illustration later in the post. As you may have guessed, that’s Isis in the middle.

I hadn’t remembered how large the Mensa Isiaca was until I read a recent article with results from an intensive study of the Mensa while it was on loan from Italy’s Turin Egyptian Museum to the Getty Museum in L.A. At almost 50 inches wide (126 cm) and 30 inches tall (75.5 cm), it is decidedly table-sized rather than tablet-sized. It also has a slightly-over-2-inch lip on all sides of the table. I had been picturing it as something a bit more portable. But no. It’s of an impressive size as well as being an impressive work of art.

While at the Getty Museum, researchers took advantage of new technologies that enabled them to study the Mensa Isiaca in new depth and non-invasively.

Examples of Egyptian polychrome metalwork; note the inlaid gold, silver, and copper

A striking feature of the Mensa is its polychrome inlays. Earlier in the Mensa’s history, some of the more colorful inlays had been described as enamel. Others suggested that the beautiful variety of colored metals were the result of Egyptian alchemical experiments. Researchers found that the metalsmiths used at least seven distinct alloys, including silver, gold, black bronze, and a variety of different copper and zinc alloys. They achieved colors from red, yellow, orange, and brown to blue-grey. Each figure is intricately outlined in silver or black bronze wire. The Mensa is in remarkably good shape and shows no signs of ever having been buried. In other words, it has remained in someone’s hands throughout its lifetime.

An illustration of the Mensa Isiaca so you can more easily see the imagery; click to enlarge

Polychrome metalwork was a specialty of Egyptian craftspeople; we have examples from at least the 18th dynasty and researchers now think the technique was much more widespread than they had previously believed. Thus, the Mensa Isiaca was created using techniques that were genuinely Egyptian—even if the craftspeople didn’t know hieroglyphs (many didn’t by that time). Due to the excellence of the work and Egyptian mastery of those techniques, my guess is that is was created by Egyptian metalsmiths working in Rome, perhaps with Roman smiths. But we have no proof. It could also have been made by Roman smiths in an Egyptianizing style.

A closeup of some of the complex metalwork on the Mensa
The green represents where silver was used; the purple represents gold

If you’d like to read all the details about the Getty investigation into the physical properties of the Mensa Isiaca, here’s the link. (Most of the images in this post are from this article.)

What is its history?

Cardinal Bembo

There is no historical mention of the Mensa Isiaca until after the sacking of Rome in 1527. Some of the unpaid-for-a-long-time forces of the Holy Roman Emperor, Charles V, overran the city of Rome and went on a rampage of destruction, looting, and killing.

The Mensa was likely kept in one of Rome’s palaces prior to the sacking. Afterwards, it came into the hands of a blacksmith or ironworker who eventually sold it to Cardinal Bembo—after which it was known as the Bembine Table (or Tablet) of Isis. Bembo was an Italian scholar, trained in Neoplatonism and intensely interested in his country’s history. In later life, he was made a cardinal in secret. He is buried in the Santa Maria Sopra Minerva basilica, part of which lies over the older Temple of Isis in the Campus Martius.

The Mensa remained in Bembo’s hands until after his death. Then, it came into the possession of the Dukes of Mantua, who kept it in their museum until 1630, when Mantua was besieged and also sacked. We don’t know how, but it next came into the hands of Cardinal Pava, who gifted it to the Duke of Savoy, who eventually gave it to the King of Sardinia in 1730. In 1797, French troops brought it to Paris, where it was exhibited in the Bibliothèque Nationale. With peace between France and Italy, it was returned to Turin. Today, Turin is the site of Italy’s Museo Egizio (Egyptian Museum) and the permanent home of the Mensa Isiaca.

Proposed original appearance of the central register with Isis, digitally recreated except for missing or damaged areas

In Westcott’s book about the Mensa (see the image above), he notes that a guidebook for travelers to northern Italy by John Murray, published in 1863, mentions the Mensa and gives an unattributed history. Murray says that the Mensa was originally found on Mount Aventine in Rome where once stood a temple of Isis and suggests it was made during the reign of Emperor Hadrian. This period for its creation is entirely possible since Hadrian’s reign roughly matches the current scholarly dating for the Mensa Isiaca—and Hadrian himself was quite the Egyptophile. As far as I can tell, none of the known Isis temples in Rome was on the Aventine hill. But then, much of the Aventine is unexcavated since it is covered with many homes.

What is the Mensa Isiaca’s occult significance?

That’s enough of historical history (as far as we know it) for now. Its occult history is much more interesting. The Mensa Isiaca has been an inspiration to occultists for centuries and was believed to contain the deep secrets of ancient Egyptian mysteries and magic. We’ll get into that fascinating subject next time in Part 2.

The Keeper of the Pharos Lighthouse

An artist's depiction of reincarnation
An artist’s depiction of reincarnation

I don’t know whether I believe in reincarnation; at least in the usual contemporary sense. Oh, I like the idea of it…and it’s quite true that there are some amazing stories people tell of past lives.

Egyptologists, however, are almost unanimously certain that the ancient Egyptians did not believe in reincarnation; presumably, they had enough going on in their afterlives already.

On the other hand, we do have ancient Greek reports of Egyptian belief in reincarnation or the “transmigration of the soul.”

Herodotus writes,

The Egyptians say that Demeter [that is, Isis] and Dionysos [that is, Osiris] are rulers of the world below; and the Egyptians are also the first who reported the doctrine that the soul of man is immortal, and that when the body dies, the soul enters into another creature which chances then to be coming to the birth, and when it has gone the round of all the creatures of land and sea and of the air, it enters again into a human body as it comes to the birth; and that it makes this round in a period of three thousand years. This doctrine certain Hellenes adopted, some earlier and some later, as if it were of their own invention, and of these men I know the names but I abstain from recording them. (Herodotus, Histories Book II, 123)

Diodorus Siculus also reported prominent Greeks who adopted Egyptian teachings, including the transmigration of the soul:

Lycurgus also and Plato and Solon, they say, incorporated many Egyptian customs into their own legislation and Pythagoras learned from Egyptians his teachings about the gods, his geometrical propositions and theory of numbers, as well as the transmigration of the soul into every living thing. (Diodorus Siculus, Library of History, Book I, 98)

Plutarch mentions it, too:

The Egyptians, believing that Typhon was born with red hair, dedicate to sacrifice the red coloured oxen, and make the scrutiny so close that if the beast should have even a single black or white hair, they consider it unfit for sacrifice; because such beast, offered for sacrifice, is not acceptable to the gods, but the contrary (as is) whatsoever has received the souls of unholy and unjust men, that have migrated into other bodies. (Plutarch, “On Isis & Osiris,” 31)

Herodotus

It may be that Herodotus misinterpreted the post mortum transformations of the dead (“Becoming a Hawk of Gold,” for example) as transmigrations of the soul. It may be that Diodorus and Plutarch, writing after Herodotus, just picked up his idea.

Empedokles, a contemporary of Herodotus, refers to “polluted daimons” who are forced to wander the world in many forms “changing one toilsome path of life for another,” though he does not refer to this as being an Egyptian conception. (Empedokles, Katharmoi) 

In a number of his works, Plato mentions transmigration as punishment that souls suffer for bad deeds in life. The idea entered the Roman world as well. It can be seen in Virgil’s Aeneid, where reincarnation was seen as a reward for a good soul rather than a punishment for a bad one.

Becoming a Hawk of Gold
Becoming a Hawk of Gold

For the Egyptians, the transformations of the dead were simply part of an active and happy afterlife. The dead could become a hawk, a lotus, a serpent…and godlike. Louis Zabkar (an Egyptologist who made an important study of the Isis hymns at Philae) believes that this was a way of ensuring the ba of the person had unlimited freedom to come and go at will on earth and in the otherworld.

Several pharaohs took the name Repeater of Births, which sounds like a reference to reincarnation, but probably isn’t. For Seti I, it apparently meant that he intended to usher in an Egyptian renaissance of sorts. Or it may have referred to the pharaoh’s divine rebirths, which occurred at certain festivals of renewal, or to the the king’s connection to the Sun God Re Who is reborn daily.

All that said, I’d like to share with you one of my (possible?) past life stories.

During a vacation period a while ago, I had the luxury of frequent invocation of the Goddess. While working the Opening of the Ways ritual, I “saw” a flash of a scene that had a deju vu feeling about it, so I decided to follow up on that vision with Isis. Under Her wings, I traveled back in the Boat of Millions of Years to locate the life that included the scene that had touched me. Here is that tale…

A woman of about 20 is looking out across the Alexandrian harbor. Her name is Ankesphilia and she is the priestess of the Pharos, the Lighthouse of Alexandria. Her duty is to perform something like the Opening of the Ways ritual—but for the opening of the Alexandrian harbor and for fair, “open” weather. This is done within the Pharos itself, about halfway up the structure. That’s where the scene that first caught my attention is from: halfway up the Pharos, overlooking the harbor.

And while Isis is the Goddess of the Lighthouse, it is not Isis who is in Ankesphilia’s heart. Instead, it is her duty to the city that occupies her. Ankesphilia has almost no personal freedom and must stay on Pharos Island at all times, except when there are great festivals in the city. Then she may go to see the processions. I have the feeling that she was “given” or vowed to the Pharos, though it was not her own vow; perhaps her parents? In a way, it reminds me of the later Christian anchorites.

An artist's vision of the Pharos lighthouse of Alexandria
An artist’s vision of the Pharos lighthouse of Alexandria

The priestess is from a wealthy, but not noble, family. Her parents own a shipping business, but now her father has retired to the priesthood and her mother runs the business. Her father sometimes visits Ankesphilia at the Pharos. She rarely sees her mother. She has two brothers, both in the military. Though she has had no choice in her fate, I sense no rebellion or resentment in her. I have the feeling she is perhaps not very well educated, bright, or curious. She simply does the duty that has been given to her without complaint and with conscientiousness.

Ankesphilia died in her 30s after contracting a disease that came into the harbor city from overseas.

And that’s it. Past life? Fantasy? I don’t know, but either way, it tells me something about myself.