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The Egyptian Book of the Dead (Papyrus of Ani) · 91 of 357 · tr. E.A. Wallis Budge

Chapter 10 (part 6)

Auset or Isis , the seventh member of the company of the gods of Annu, was the wife of Osiris and the mother of Horus; her woes have been described both by Egyptian and Greek writers.[2] Her commonest names are "the great goddess, the divine mother, the mistress of charms or enchantments"; in later times she is called the "mother of the gods," and the "living one." She is usually depicted in the form of a woman, with a head-dress in the shape of a seat, the hieroglyphic for which forms her name. The animal sacred to her was the cow, hence she sometimes wears upon her head the horns of that animal accompanied by plumes and feathers. In one aspect she is identified with the goddess Selk or Serq, and she then has upon her head a scorpion, the emblem of that goddess;[3] in another aspect she is united to the star Sothis, and then a star is added to her crown. She is, however, most commonly represented as the mother suckling her child Horus, and figures of her in this aspect, in bronze and faïence , exist in thousands. As a nature goddess she is seen standing in the boat of the sun, and she was probably the deity of the dawn. Heru or Horus , the sun-god, was originally a totally distinct god from Horus, the son of Osiris and Isis, but from the earliest times it seems that the two gods were confounded, and that the attributes of the one were ascribed to the other; the fight which Horus the sun-god waged against night and darkness was also at a very early period identified with the combat between Horus, the son of [1. ###. 2. Chabas, Un Hymne à Osiris (in Revue Archéologique , t. xiv., p. 65 ff.); Horrack, Les Lamentations d'Isis et de Nephthys , Paris, 1866; The Festival Songs of Isis and Nephthys (in Archæologia , vol. lii., London, 1891), etc. 3 See Lanzone, op. cit. , tav. 306 ff.] {p. cxv} Isis, and his brother Set. The visible emblem of the sun-god was at a very early date the hawk is, which was probably the first living thing worshipped by the early Egyptians; already in the pyramid texts the hawk on a standard is used indiscriminately with ### to represent the word "god." The principal forms of Horus the sun-god, which probably represent the sun at various periods of the day and night, are:--Heru-ur ({Greek A?rwh`rei ), "Horus the Great"; Heru-merti, "Horus of the two eyes," i.e. , of the sun and moon;[1] Heru-nub, "the golden Horus"; Heru-khent-khat; Heru-khent-an-maa, "Horus dwelling in blindness"; Heru-khuti, "Horus of the two horizons,"[2] the type of which on earth was the Sphinx; Heru-sam-taui, "Horus the uniter of the north and south"; Heru-hekenu, " Horus of Heken"; and Heru-behutet, "Horus of Behutet."[3] The cippi of Horus, which became so common at a late period in Egypt, seem to unite the idea of the physical and moral conceptions of Horus the sun-god and of Horus the son of Osiris and Isis.
Themes
Cosmic Dualismtheology

Ontological opposition between two primal principles (light/darkness, truth/lie, spirit/matter) as the fundamental structure of reality.

The passage details the conflict between Horus and Set, and the sun-god's fight against night and darkness as fundamental cosmic struggles.

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Living Godtheology

The divine conceived as active, present, and dynamic—not an abstract principle but a personal responsive reality.

The text explicitly uses the epithet 'living one' to describe the goddess, indicating a dynamic divine presence.

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Theurgypraxis

Iamblichean ritual practice that engages the gods directly through consecrated material symbols and actions, on the premise that divine power descends into properly prepared matter — distinct from philosophical contemplation alone.

Isis is described as the 'mistress of charms or enchantments,' implying a connection to magical or ritual power.

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Anthropomorphismtheology

Attributing human characteristics, emotions, or form to the divine; embodied divine imagery.

[auto] The passage explicitly describes the goddess in human form ('form of a woman') and performing human actions ('mother suckling her child').

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Related passages · 3 parallels
greek_mystery|Orphic Hymns|Hymn VIII. THE MOON (part 1)
VIII. TO THE MOON * . The FUMIGATION from AROMATICS. HEAR, Goddess queen, diffusing silver light, Bull-horn'd and wand'ring thro' the gloom of Night. 2 p. 125 With stars surrounded, and with circuit wide Night's torch extending, thro'…”
Both passages describe divine figures associated with celestial bodies and their multifaceted roles in their respective mythologies. Passage A discusses Isis and Horus in Egyptian mythology, while Passage B describes the Moon goddess in Orphic tradition, highlighting their divine attributes and symbolic representations.
greek_mystery|Orphic Hymns|Hymn IX. NATURE (part 1)
IX. TO NATURE. * The FUMIGATION from AROMATICS. NATURE, all parent, ancient, and divine, O Much-mechanic mother, art is thine; p. 127 Heav'nly, abundant, venerable queen, In ev'ry part of thy dominions seen. p. 128 Untam'd, all-taming…”
Both passages describe a divine figure associated with nature and creation. Isis in Passage A is depicted as a mother goddess with various aspects related to nature and the sun, while Nature in Passage B is described as an all-encompassing, creative force that governs the universe. Both texts emphasize the divine attributes and roles of these figures in their respective mythologies.
western_esoteric|Transcendental Magic II: The Ritual (Éliphas Lévi)|22. The Book Of Hermese
Symbol, THE EMPRESS, a woman, winged, crowned, seated and uplifting a sceptre with the orb of the world at its end: her sign is an eagle, image of the soul and of life. She is the Venus-Urania of the Greeks and was represented by St. John…”
Both passages describe divine figures associated with sovereignty, spirituality, and cosmic order. The Empress in Passage A and Isis in Passage B are both depicted as divine feminine figures with significant symbolic attributes, while the Emperor and Horus represent divine masculine figures with symbolic significance. The passages share a structural parallel in their description of divine hierarchies and symbolic representations.