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The Egyptian Book of the Dead (Papyrus of Ani) · 239 of 357 · tr. E.A. Wallis Budge

Chapter 42

PLATE XXXVII. Vignette: A shrine wherein stands Sekeri-Ausar neb setait neter aa neb Neter-xert Seker-Osiris, lord of the hidden place, the great god, the lord of the underworld. He wears the white crown with feathers, and holds in his hands the sceptre, flail, and crook. The goddess Hathor, in the form of a hippopotamus, wearing upon her head a disk and horns; in her right hand she holds an unidentified object, and in her [1. The text of all this passage is corrupt, and the version here given is little more than a suggestion. 2. The version of the CLXXXVth Chapter given by Naville ( Todtenbuch , Bd. I., Bl. 211) reads:-- anet'-hra-k neter pen seps aa menx ser er neheh, xenti auset-f em sektet aa xaau em atetet tata nef hennu em pet em ta seqai pat rexi aa sefsefet-f em abu en reth xu mu ertat baiu-f Tettet sefsefet-f em Suten-henen ertai axemu-f em Annu aa xeperu-f em abti i-nek ab-a xer maa hati-a an ker ta-k un-a emma anxiu xet-a xent-a am sesiu-k. Homage to thee god this sacred great, beneficent, prince of eternity, dweller in his seat in the Sektet boat great, diademed in the atet boat, are given to him praises in heaven and in earth, exalted by the ancients and by mankind, the greatness of his might is in the hearts of men, shining spirits, and the dead, placing his souls in Tattu, his might in Suten-henen, and placing the visible emblems of himself in Annu, and the might of his forms in the place of purification. I have come to thee, my heart is right, my breast is without deceit, grant thou that I may be among the living, that I may sail down and that I may sail up among thy followers.] left the emblem of life. Before her are tables of meat and drink offerings and flowers. Behind the hippopotamus, the divine cow, Meh-urit, symbolizing the same goddess, looks out from the funeral mountain, wearing the menat on her neck. At the foot of the mountain is the tomb; and in the foreground grows a group of flowering plants. Text: [CHAPTER CLXXXVI.] Hathor, lady of Amentet, dweller in the land of Urt, lady of Ta-sert, the Eye of Ra, the dweller in his brow, the beautiful Face in the Boat of Millions of Years.[1]. . . . . . . . [1. The few remaining words are corrupt.]
Themes
Divine Lighttheology

The uncreated luminous quality of the divine, sometimes experienced directly in mystical states; illumination as revelation.

Deities are described with luminous attributes such as 'shining one' and 'bright-faced ones'.

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Anthropomorphismtheology

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

[auto] Divine beings are described with human-like functions such as piloting, living in temples, and having thighs for birth.

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Funerary Navigationpraxis

Texts and rituals guiding the soul through death.

[auto] The passage is from the Book of the Dead and explicitly addresses pilots and rudders to guide the deceased through the afterlife.

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Living Godtheology

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

[auto] The deities are addressed as active agents who 'goest round about heaven' and 'livest' in temples.

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Mystical Unionsoteriology

The merging of the individual soul or self with the divine, transcending personal identity.

[auto] The deceased prays to become 'like unto one of you' and a 'glorious being' among the gods in Amenta.

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Psychopomp Journeycosmology

Guided passage of the soul through afterlife realms.

[auto] The text invokes 'pilots of the underworld' and 'rudders' to facilitate the guided passage of the soul through death realms.

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Sacred Namestheology

Divine names or formulas that carry ontological power, used in prayer, liturgy, or magical practice.

[auto] The passage relies on specific invocations and titles like 'beautiful Power' and 'pilot of the world' which function as magical formulas in Egyptian theology.

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Spiritual Ascentpraxis

A staged journey of the soul upward through heavenly realms or levels of being toward the divine source.

[auto] The text outlines a journey through specific heavenly realms (north, west, east, south) and the underworld.

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Related passages · 4 parallels
greek_mystery|Orphic Hymns|Hymn XXVIII. PROSERPINE (part 2)
371, informs us, that, according to the Eleusinian mysteries, Proserpine together with Pluto, governs terrestrial concerns, and the recesses of the earth: that she supplies life to the extreme p. 155 parts of the universe, and imparts soul…”
Both passages are hymns addressed to deities associated with the underworld and the cycle of life and death. They share themes of reverence, divine power, and the afterlife, reflecting a common mystical focus on the divine and the beyond.
mesopotamian|Enuma Elish: The Epic of Creation|1j
Tutu [Marduk] is "He who created them anew"; Should their wants be pure, then are they satisfied; Should he make an incantation, then are the gods appeased; Should they attack him in anger, he withstandeth their onslaught! Let him therefor…”
Both passages are hymns of praise to a deity, invoking divine protection and blessings. They share themes of reverence, divine creation, and the deity's role in sustaining and guiding the cosmos and humanity.
mesopotamian|Enuma Elish: The Epic of Creation|1k
May he hold the Beginning and the Future, may they pay homage unto him, Saying, "He who forced his way through the midst of Tiamat without resting, Let his name be Nibiru, 'the Seizer of the Midst'! For the stars of heaven he upheld the pa…”
Both passages are hymns of praise and invocation to a deity, seeking divine favor and protection. They share themes of eternal existence, divine power, and the reverence of the deity within the underworld or cosmic order.
norse|The Poetic Edda: Voluspo|Section 1h
Here the Volva turns from her memories of the past to a statement of some of Othin's own secrets in his eternal search for knowledge (stanzas 27-29). Bugge puts this stanza after stanza 29. The horn of Heimdall : the Gjallarhorn ("Shrieki…”
Both passages explore the theme of divine sacrifice and hidden knowledge. In Passage A, Odin sacrifices his eye to gain wisdom, while in Passage B, Seker-Osiris is associated with hidden knowledge and the underworld. Both highlight the quest for esoteric understanding through divine or mystical means.