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The Egyptian Book of the Dead (Papyrus of Ani) · 280 of 357 · tr. E.A. Wallis Budge

Chapter 43 (part 41)

Later in the XVIIIth, or early in the XIXth dynasty, we find Osiris called "the king of eternity, the lord of everlastingness, who traverseth millions of years in the duration of his life, the firstborn son of the womb of Nut, begotten of Seb, the prince of gods and men, the god of gods, the king of kings, the lord of lords, the prince of princes, the governor of the world, from the womb of Nut, whose existence is for everlasting,[1] Unnefer of many forms and of many attributes, Tmu in Annu, the lord of Akert,[2] the only one, the lord of the land on each side of the celestial Nile."[3] In the XXVIth dynasty and later there grew up a class of literature [1. For the text see the papyrus of Ani, pl. ii., and pl. xxxvi., 1. 2. 2. I.e. , the underworld. 3. neb atebui ; see Ani, pl. xix., 1. 9.] {p. liv} Osiris the god of the resurrection. represented by such works as "The Book of Respirations,"[1] "The Lamentations of Isis and Nephthys,"[2] "The Festival Songs of Isis and Nephthys,"[3] "The Litanies of Seker,"[4] and the like, the hymns and prayers of which are addressed to Osiris rather as the god of the dead and type of the resurrection[5] than as the successor of the great cosmic god Tmu-Ra. He is called "the soul that liveth again,"[6] "the being who becometh a child again," "the firstborn son of unformed matter, the lord of multitudes of aspects and forms, the lord of time and bestower of years, the lord of life for all eternity."[7] He is the "giver of life from the beginning;"[8] "life springs up to us from his destruction,"[9] and the germ which proceeds from him engenders life in both the dead and the living.[10] [1. ###. The text of this work, transcribed into hieroglyphics, was published, with a Latin translation, by Brugsch, under the title, Sai an Sinsin sive Aber Metempsychosis veterum Aegyptiorum , Berlin, 1851; and an English translation of the same work, but made from a Paris MS., was given by p. J. de Horrack in Records of the Past , 1st series, vol., iv., p. 121 ff. See also Birch, Facsimiles of Two Papyri , London, 1863, p. 3; Devéria, Catalogue des MSS. Égyptiens , Paris, 1874, pp. 130 ff., where several copies of this work are described. 2. The hieratic text of this work is published with a French translation by p. J. de Horrack, Les Lamentations d'Isis et de Nephthys, Paris, 1886. 3. A hieroglyphic transcript of these works, with an English translation, was given in Archælogia , vol. iii., London, 1891. 4. What Devéria says with reference to the Book of Respirations applies to the whole class: "Toutefois, on remarque dans cet écrit une tendance à la doctrine de la résurrection du corps plus marquée que dans les compositions antérieures" ( Catalogue , p. 13). 5. ###. Festival Songs, iv., 33. 6. ###. Ibid. , viii., 21, ix., 8.
Themes
Anthropomorphismtheology

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

[auto] The text attributes human features such as hands, speech, and a diadem to the divine figure.

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Cosmic Dualismtheology

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

[auto] There is a clear contrast drawn between light and darkness which the subject overcomes.

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Divine Lighttheology

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

[auto] The passage explicitly describes the subject flooding the world with light and sending forth light into darkness.

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Funerary Navigationpraxis

Texts and rituals guiding the soul through death.

[auto] This text is from the Book of the Dead, a collection of spells designed to guide the deceased through the afterlife.

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Mystical Unionsoteriology

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

[auto] The deceased is identified as the form of every god and ascending the throne like Ra, indicating a merging with divine identity.

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Return To Sourcesoteriology

The soul's journey back to its divine origin, reversing the fall into matter through stages of purification or illumination.

[auto] Ascending the father's throne suggests a return to the divine origin or lineage of Nut and Seb.

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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 passage describes ascending the father's throne, implying an upward movement in the cosmic hierarchy.

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Related passages · 4 parallels
greek_mystery|Orphic Hymns|Hymn X (part 2)
For the World is one, and only-begotten. Opusc. Mythol. p. 203. 131:17 Ver. 17] The sportive nymphs . This is because Pan rejoices in the exhalations produced from humid substances; without which the world cannot subsist. Phurnutus…”
Both passages describe a divine being as the creator and ruler of the universe, emphasizing their power over all elements and their role in maintaining cosmic order. The passages share a similar reverence for the divine and the depiction of the deity as the source of life and light.
greek_mystery|Orphic Hymns|Hymn XI. HERCULES (part 2)
127 hence the reason is obvious why Hercules is called "earth's best blossom." And we shall find that Saturn in the following hymn is called "blossom of the earth;" and Themis, in Hymn 78, "young blossom of the earth;" and the Titans, in Hy…”
Both passages describe a divine figure with immense power and attributes related to creation and governance of the universe. They also highlight the divine figure's role in bringing light and order, and their reverence among other deities.
greek_mystery|Orphic Hymns|Hymn XIII. RHEA (part 2)
Rhea, in the Orphic theology, is among the mundane divinities, the earth. Hence, according to Varro, she is represented with a drum; because that instrument is a symbol of the earth. August. dc Civitat. lib. vii. 139:12 XIII Ver. 12.…”
Both passages describe a divine figure who plays a central role in the creation and governance of the universe. They emphasize the divine power and attributes of the figure, highlighting their role in bringing order and light to the world. The passages share themes of divine parentage, protection, and the establishment of cosmic order.
western_esoteric|Transcendental Magic II: The Ritual (Éliphas Lévi)|4. The Conjuration Of The Fourc
Prayer of the Undines Dread King of the Sea, Who hast the keys of the floodgates of heaven and dost confine the waters of the underworld in the caverns of earth; King of the deluge and the floods of springtime; Thou Who dost unseal the sour…”
Both passages discuss the concept of resurrection and eternal life, with Osiris in the Egyptian Book of the Dead being described as the 'god of the resurrection' and the 'soul that liveth again,' while the Prayer of the Undines invokes the 'Immensity into which flow all rivers of life, to be continually reborn.' Both texts emphasize the cyclical nature of life, death, and rebirth, and the divine figures associated with these processes.