(1) But it was not only the most highly intellectual of the Egyptians, but also such of other barbarians as prosecuted philosophy, that affected the symbolical style. They say, then, that Idanthuris king of the Scythians, as Pherecydes of Syros relates, sent to Darius, on his passing the Ister in threat of war, a symbol, instead of a letter, consisting of a mouse, a frog, a bird, a javelin, a plough. And there being a doubt in reference to them, as was to be expected, Orontopagas the Chiliarch said that they were to resign the kingdom; taking dwellings to be meant by the mouse, waters by the frog, air by the bird, land by the plough, arms by the javelin. But Xiphodres interpreted the contrary; for he said, "If we do not take our flight like birds, or like mice get below the earth, or like frogs beneath the water, we shall not escape their arrows; for we are not lords of the territory."

(2) And there are those who fashion ears and eyes of costly material, and consecrate them, dedicating them in the temples to the gods - by this plainly indicating that God sees and hears all things. Besides, the lion is with them the symbol of strength and prowess, as the ox clearly is of the earth itself, and husbandry and food, and the horse of fortitude and confidence; while, on the other hand, the sphinx, of strength combined with intelligence - as it had a body entirely that of a lion, and the face of a man. Similarly to these, to indicate intelligence, and memory, and power, and art, a man is sculptured in the temples. And in what is called among them the Komasiae of the gods, they carry about golden images - two dogs, one hawk, and one ibis; and the four figures of the images they call four letters. For the dogs are symbols of the two hemispheres, which, as it were, go round and keep watch; the hawk, of the sun, for it is fiery and destructive (so they attribute pestilential diseases to the sun); the ibis, of the moon, likening the shady parts to that which is dark in plumage, and the luminous to the light. And some will have it that by the dogs are meant the tropics, which guard and watch the sun's passage to the south and north. The hawk signifies the equinoctial line, which is high and parched with heat, as the ibis the ecliptic. For the ibis seems, above other animals, to have furnished to the Egyptians the first rudiments of the invention of number and measure, as the oblique line did of circles.

(1) Whence also the Egyptians did not entrust the mysteries they possessed to all and sundry, and did not divulge the knowledge of divine things to the profane; but only to those destined to ascend the throne, and those of the priests that were judged the worthiest, from their nurture, culture, and birth. Similar, then, to the Hebrew enigmas in respect to concealment, are those of the Egyptians also. Of the Egyptians, some show the sun on a ship, others on a crocodile. And they signify hereby, that the sun, making a passage through the delicious and moist air, generates time; which is symbolized by the crocodile in some other sacerdotal account. Further, at Diospolis in Egypt, on the temple called Pylon, there was figured a boy as the symbol of production, and an old man as that of decay. A hawk, on the other hand, was the symbol of God, as a fish of hate; and, according to a different symbolism, the crocodile; of impudence. The whole symbol, then, when put together, appears to teach this: "Oh ye who are born and die, God hates impudence."

(21) is not so much a text as a picture. It represents the funeral chamber. The four walls, which should be vertical, are drawn lying flat on the ground. In the middle of the chamber, under a canopy, is the mummy, on which Anubis lays his hands; under the bed is a bird with a human head, the symbol of the soul of the deceased. We must suppose that the god Anubis is a priest, or a member of the family, who has put on a jackal’s head, and who pronounces the words said to be those of the god. At the foot of the bed are the two goddesses Isis and Nephthys

(4) The oldest papyrus containing this chapter is that of Ani, and the translation is based upon it. But the text differs both from those written on the very ancient coffins of Heru and Set-Bastit, copied by M. Maspero, [34] and from the later texts

(26) This Chapter is taken also from London 9900. The vignette at the end represents Osiris sitting in a naos. Before him are the offerings of fowl and cattle which Horus presents to his father. At the beginning the deceased is seen, with raised arms; he is supposed to be Horus, and above him are written the following words:—“Adoration to Osiris, Khenta Amenta, the great god, the lord of Abydos, king for ever, prince of eternity, the venerable god in Restau, pronounced by N. , I give thee grain, lord of the gods, the one god who liveth on justice. I am thy son Horus. I have come to thee. I avenge thee, I bring to thee Maat, to the place where is the circle of thy gods. Grant me to be among thy followers, and to smite thy enemies. I have established for thee thy food offerings on the earth for ever.”

(9) And Semele, the daughter of Cadmus, too, bore an illustrious son, Dionysus, the joy-inspiring, when she mingled with him in love." Cadmus, the father of Semele, came to Thebes in the time of Lynceus, and was the inventor of the Greek letters. Triopas was a contemporary of Isis, in the seventh generation from Inachus. And Isis, who is the same as Io, is so called, it is said, from her going (ienai) roaming over the whole earth. Her, Istrus, in his work on the migration of the Egyptians, calls the daughter of Prometheus. Prometheus lived in the time of Triopas, in the seventh generation after Moses. So that Moses appears to have flourished even before the birth of men, according to the chronology of the Greeks. Leon, who treated of the Egyptian divinities, says that Isis by the Greeks was called Ceres, who lived in the time of Lynceus, in the eleventh generation after Moses. And Apis the king of Argos built Memphis, as Aristippus says in the first book of the Arcadica. And Aristeas the Argive says that he was named Serapis, and that it is he that the Egyptians worship.

(3) Osiris is he who prayeth that he may be buried

(23) In the chamber were four so-called canopic vases, with the gods of the four cardinal points, each of whom has his words to say. Besides these were statuettes called shabti or ushabti , the helpers of the deceased in his work in the Elysian fields. In the papyrus London, 10010 ( Af. ), from which this chapter is translated, one of them has the usual appearance, the other the head of Anubis

(2) The old texts which we follow here, join in one chapter, 141, what in the Turin Todtenbuch is divided into two, 141, 142; 143 being merely the vignettes which accompany them. This chapter is the first of a series in which the deceased has to show his knowledge. His being well-informed as to the names of the gods and of their sanctuaries, and also of the doors through which he passes, the halls which he enters, confers upon him certain privileges. Here the deceased has to recite the names of the gods while offerings are made to them; the second part of the chapter refers only to Osiris in all his forms, and in his numerous sanctuaries, which have not all been identified. The old versions differ only slightly in length, from one or two of the gods being omitted. The translation follows mainly the Cairo papyrus, Cc , with a few variants taken from other papyri, one of the best of which is the papyrus papyrus Nu of the British Museum (ed. Budge

(13) This Chapter is not frequently met with in the papyri; it was written on the wrappings and the bandages of the dead; for instance, on the funeral cloth of King Thothmes III, where it is not complete. This Chapter is interesting, as it shows how repulsive to the Egyptians was the idea of corruption, of the decay of the body, which is described here in most realistic terms. This is one of the reasons why they gave such importance to mummification

(1) should not have been placed among those of the Book of the Dead, it belongs to another book similar to the , the book engraved on the walls of the royal tombs. It describes gods and genii of the bounds in the Tuat who confer certain blessings on the deceased; such as this: “those who lift up their faces towards the sky at the prow of the boat of Rā, grant that Osiris N. may see Rā when he rises.” A vignette gives the appearance of the god or genius spoken of. Every one of them is followed by this sentence: “for the libation of a vase has been made on earth by Osiris N. who is (now) the lord of abundance, and goes round the garden of Hotepit.”

(13) Therefore also the Egyptians place Sphinxes before their temples, to signify that the doctrine respecting God is enigmatical and obscure; perhaps also that we ought both to love and fear the Divine Being: to love Him as gentle and benign to the pious; to fear Him as inexorably just to the impious; for the sphinx shows the image of a wild beast and of a man together.

(11) Ha, Osiris! thou hast received thy sceptre, thy pedestal and the flight of stairs beneath thee

(8) The text which has been followed in the translation of this chapter is that of the Royal Tombs of Rameses IV and Rameses VI, called by M. Naville Chapter 127 A . The lost Busca papyrus, of which Lepsius had a tracing, furnishes a different text, (127 B ), and the text of the Turin Todtenbuch has been enlarged by means of numerous interpolations. M. Naville has called attention to the close relationship between this chapter and the second part of the “Solar Litany.”

(13) Lo, to thee I pour as a libation the sparkling gleam of Bromius."He signifies, as I think, the soul's first milk-like nutriment of the four-and-twenty elements, after which solidified milk comes as food. And last, he teaches of the blood of the vine of the Word, the sparkling wine, the perfecting gladness of instruction. And Drops is the operating Word, which, beginning with elementary training, and advancing to the growth of the man, inflames and illumines man up to the measure of maturity. The third is said to be a writing copy for children -marptes, sfigx klwy, zxnkqhdos. And it signifies, in my opinion, that by the arrangement of the elements and of the world, we must advance to the knowledge of what is more perfect, since eternal salvation is attained by force and toil; for maryai is to grasp. And the harmony of the world is meant by the Sphinx; and zunkqhdon means difficulty; and klwys means at once the secret knowledge of the Lord and day. Well! does not Epigenes, in his book on the Poetry of Orpheus, in exhibiting the peculiarities found in Orpheus, say that by " the curved rods" (keraisi) is meant "ploughs;"and by the warp (sthmosi), the furrows; and the woof (mitos) is a figurative expression for the seed; and that the tears of Zeus signify a shower; and that the "parts" (moirai) are, again, the phases of the moon, the thirtieth day, and the fifteenth, and the new moon, and that Orpheus accordingly calls them "white-robed," as being parts of the light?

(5) And for this cause it comes to pass that these are called the “sacred animals” by the Egyptians, and that each several state gives service to the souls of those whose souls have been made holy, while they were still alive; so that [the several states] are governed by the laws [of their peculiar sacred animals], and called after their names. It is because of this, Asclepius, those [animals] which are considered by some states deserving of their worship, in others are thought otherwise; and on account of this the states of the Egyptians wage with each other frequent war. XXXVIII

(5) Secured by reason of the writing with gum mixed with colours upon a strip of royal papyrus, put at the throat of the deceased on the day of burial. If these phylacteries are put at his throat, he will rise up as one of the Divine Circle, and be united to the followers of Horus, whilst his Lamp is made firm by Isis in heaven beside Sothis. He followeth Horus who resideth in Sothis. His Shade becometh divine as well as human. Vegetation is made to grow out of his body through the goddess Menkit. He becometh a god for ever, and his limbs are made vigorous in the Netherworld through Thoth, who hath done the like to Osiris, in causing the light to rise out of his dead body; undeviatingly and for times infinite

(10) And Nymphodorus of Amphipolis, in the third book of the Institutions of Asia, says that the bull Apis, dead and laid in a coffin (soros), was deposited in the temple of the god (daimonos) there worshipped, and thence was called Soroapis, and afterwards Serapis by the custom of the natives. And Apis is third after Inachus. Further, Latona lived in the time of Tityus. "For he dragged Latona, the radiant consort of Zeus." Now Tityus was contemporary with Tantalus. Rightly, therefor, the Boeotian Pindar writes, "And in time was Apollo born;" and no wonder when he is found along with Hercules, serving Admetus "for a long year." Zethus and Amphion, the inventors of music, lived about the age of Cadmus. And should one assert that Phemonoe was the first who sang oracles in verse to Acrisius, let him know that twenty-seven years after Phemonoe, lived Orpheus, and Musaeus, and Linus the teacher of Hercules. And Homer and Hesiod are much more recent than the Trojan war; and after them the legislators among the Greeks are far more recent, Lycurgus and Solon, and the seven wise men, and Pherecydes of Syros, and Pythagoras the great, who lived later, about the Olympiads, as we have shown. We have also demonstrated Moses to be more ancient, not only than those called poets and wise men among the Greeks, but than the most of their deities. Nor he alone, but the Sibyl also is more ancient than Orpheus. For it is said, that respecting her appellation and her oracular utterances there are several accounts; that being a Phrygian, she was called Artemis; and that on her arrival at Delphi, she sang- "O Delphians, ministers of far-darting Apollo, I come to declare the mind of Ægis-bearing Zeus, Enraged as I am at my own brother Apollo."

(659) 1860 To say: He is assembled: This thy going; 1860 He is assembled: These thy goings, 1860 are the goings of Horus in search of his father, Osiris. 1861 His messengers go; his runners hasten, 1861 his envoys rush on. 1862 Hasten to R`; say to R, to him who lifts up his arm in the East, 1862 that he is coming as a god, that N. stands in the double 'itr.tpalace of the horizon. 1863 Thou hearest the words of R`, as a god, as Horus mti: 1863 "I am thy brother, like Sopdu." 1864 Behold, he comes; behold, he comes; 1864 behold, thy brother comes; behold, Mnti-n-'irti comes. 1865 Thou recognizest him not, though thou spendest the night in his arms- 1865 thy putrefaction being avoided 1865 like thy calf, like thy herdsman. 1866 Thou hast taken these thy white teeth of this mn; 1866 they go around like an arrow, in their name of "Arrow;" 1867 thy leg of beef is in the nome of Abydos, thy (lit. his) piece of meat is in the land of Nubia; 1867 thou hast descended like the jackal of the South, like Anubis who is over (i.e. protects) the (southern) 'itr.t-palace; 1868 thou standest before the Rd-wr-lake, 1868 like Geb, at the head of his Ennead. 1869 Thou hast thy heart; thou hast thy ka, N.; 1869 thou furnishest thy house, N.; thou fastenest thy door, N. 50. TEXTS OF MISCELLANEOUS CONTENTS,