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The Egyptian Book of the Dead (Papyrus of Ani) · 326 of 357 · tr. E.A. Wallis Budge

Chapter 43 (part 87)

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
Living Godtheology

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

Osiris is described as the god of both yesterday and today, signifying an active and eternal presence rather than a static abstraction.

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Maat Cosmic Ordercosmology

The Egyptian principle of truth, balance, and right order underlying both the cosmos and human conduct; the parallel to Zoroastrian asha and Greek dike.

Osiris is described as the judge of the dead upholding a doctrine of immortality and order unchanged for four thousand years.

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Paradox As Teachingethics

Using apparent contradiction, reversal, or riddle to destabilise ordinary understanding and induce insight.

The assertion that Osiris was the father of the gods who gave him birth presents a cyclical temporal paradox regarding divine origin.

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Ritual Puritypraxis

The maintenance of a state of cleanliness—physical, moral, or spiritual—required for encounter with the divine.

The text specifies that the body must be mummified in the prescribed way and proper ceremonies performed for salvation.

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Theosis Deificationsoteriology

The doctrine — central to Eastern Orthodox and Maximian theology — that the human person is progressively transformed into a partaker of the divine nature by grace, not merely justified or united in passing ecstasy.

The passage states the deceased hoped to become like Osiris, entering his presence as a glorified body.

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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.

The passage mentions amulets, ceremonies, and prayers used to effect physical changes like germinating flesh and saving the body from decay.

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Anthropomorphismtheology

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

[auto] The passage explicitly attributes human familial relationships such as son, husband, father, and brother to the deity Osiris.

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Related passages · 5 parallels
christian_mysticism|The Life and Doctrines of Jacob Boehme|Chapter 10 (part 5)
The wrath must kill and consume the external image that has grown in the wrath, but from its death springs forth the eternal life." ( Mysterium , xxviii. 14.) "Abel, representing an antitype of Christ, who was to suffer death for humanity,…”
Both passages discuss the concept of death and resurrection as a pathway to eternal life or immortality. Passage A focuses on Osiris as a symbol of immortality and resurrection in Egyptian mythology, while Passage B discusses the death of Abel as a symbol of the external man's mortification and the subsequent eternal life. Both texts explore the theme of transformation through death and the promise of eternal existence.
christian_mysticism|The Life and Doctrines of Jacob Boehme|Chapter 12 (part 5)
He now sat in the chair of David, and was the true priest in the order of Melchisedec." ( Three Principles , xxii. 3.) But the victory which the Redeemer had gained over Satan at the time of the temptation could not be sufficient for the p…”
Both passages describe a divine figure who undergoes suffering, death, and resurrection, serving as a savior and judge for the deceased. They also highlight the transformation and eternal existence associated with these figures, Osiris in the Egyptian tradition and Christ in the Christian tradition.
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 a divine figure associated with celestial bodies and maternal qualities. Isis in Passage A is linked to the sun and depicted as a mother figure, while the Moon in Passage B is described as a goddess with maternal attributes and associated with the night sky. Both texts highlight the divine's role in nature and their multifaceted 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 attributes 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 feminine and its role in sustaining and nurturing the world.
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 with multiple aspects and attributes, representing cosmic and spiritual principles. They share a structural parallel in depicting divine beings with complex roles and symbols, though the specific names and cultural contexts differ.