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The Egyptian Book of the Dead (Papyrus of Ani) · 98 of 357 · tr. E.A. Wallis Budge

Chapter 10 (part 13)

In turn it was identified with all the gods of Egypt, new or old, and its influence was so great upon the minds of the Egyptians that from the earliest days they depicted to themselves a material heaven wherein the Isles of the Blest were laved by the waters of the Nile, and the approach to which was by the way of its stream as it flowed to the north. Others again lived in imagination on the banks of the heavenly Nile, whereon they built cities; and it seems as if the Egyptians never succeeded in conceiving a heaven without a Nile and canals. The Nile is depicted in the form of a man, who wears upon his head a clump of papyrus or lotus flowers; his breasts are those of a woman, indicating fertility. Lanzone reproduces an interesting scene[1] in which the north and south Nile gods are tying a papyrus and a lotus stalk around the emblem of union to indicate the unity of Upper and Lower Egypt, and this emblem is found cut upon the thrones of the kings of Egypt to indicate their sovereignty over the regions traversed by the South and North Niles. It has already been said that Hapi was identified with all the gods in turn, and it follows as a matter of course that the attributes of each were ascribed to him; in one respect, however he is different from them all, for of him it is written an mehu en aner tut her uah set sexet aarat He cannot be sculptured in stone; in the images on which men place crowns and uræi an qemuh entuf an baka an xerpu tuf an he is not made manifest; service cannot be rendered nor offerings made to him; not [1. Dizionario , tav. 198.] {p. cxxiv} seset-tu em setau an rex-tu bu entuf an can he be drawn from [his] mystery; not can be known the place where he is; not qem tephet anu. is he found in the painted shrine.[1] Here the scribe gave to the Nile the attributes of the great and unknown God its Maker. In the pyramid texts we find a group of four gods with whom the deceased is closely connected in the "other world"; these are the four "children of Horus" whose names are given in the following order:-- Hapi , Tua-mautef , Amset and Qebhsennuf .[2] The deceased is called their "father."[3] His two arms were identified with Hapi and Tuamautef, and his two legs with Amset and Qebhsennuf;[4] and when he entered into the Sekhet-Aaru they accompanied him as guides, and went in with him two on each side.[5] They took away all hunger and thirst from him,[6] they gave him life in heaven and protected it when given,[7] and they brought to him from the Lake of Khemta the boat of the Eye of Khnemu.[8] In one passage they are called the "four Khu 's of Horus",[9] and originally they represented the four pillars which supported the sky or Horus. Each was supposed to be lord of one of the quarters of the world, and finally became the god of one of the cardinal points. Hapi represented the north, Tuamautef the east, Amset the south, and Qebhsennuf the west. In the XVIIIth dynasty the Egyptians originated the custom of embalming the intestines of the [1. For the hieratic text from which this extract is taken see Birch, Select Papyri , pll. 20 ff. and 134 ff.
Themes
Apophatic Theologytheology

Describing the divine only by negation—God transcends all positive categories and concepts; the via negativa.

The text states that Hapi cannot be sculptured, known, or found in shrines, describing the divine through negation.

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Psychopomp Journeycosmology

Guided passage of the soul through afterlife realms.

The Four Children of Horus are explicitly described as accompanying the deceased as guides into Sekhet-Aaru.

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Unity Of Beingtheology

The doctrine that all existence is ultimately one substance or one divine reality; non-duality as a theological claim.

The text states that Hapi was identified with all the gods in turn, suggesting a theological tendency toward a unified divine reality.

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Anthropomorphismtheology

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

[auto] The passage explicitly describes the Nile god Hapi as a man with female breasts, attributing human physical characteristics to the divine.

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Funerary Navigationpraxis

Texts and rituals guiding the soul through death.

[auto] The text describes the geography of the afterlife (Isles of the Blest) and the path to approach it via the Nile stream within the context of the Book of the Dead.

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Related passages · 2 parallels
greek_mystery|Orphic Hymns|Front Matter, p. 4 (part 6)
34 all things, and yet as separate and apart from all; as the source of all multitude, yet himself perfect unity; and as immensly prolific, yet divinely solitary and ineffably good. Thus, according to Porphyry m , explaining the properties…”
Both passages describe a supreme deity that encompasses all things and is the source of creation. The Egyptian passage speaks of Hapi as a unifying force, while the Orphic passage describes Jove as containing all things within himself. Both traditions emphasize the unity and all-encompassing nature of their respective deities.
neoplatonism|Select Works of Plotinus|Select Works, Section 298
Section 11 11. I think, therefore, that those ancient sages, who sought to secure the presence of divine beings by the erection of shrines and statues, showed insight into the nature of the All; they perceived that, though this Soul is ever…”
Both passages explore the concept of divine representation and the interaction between the divine and the material world. Passage A discusses the Egyptian belief in the Nile god Hapi and its attributes, while Passage B talks about ancient sages creating shrines and statues to secure the presence of divine beings. Both highlight the idea of the divine being accessible through specific, material representations.