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The Egyptian Heaven and Hell · 58 of 96 · tr. E.A. Wallis Budge

Chapter 13 (part 1)

p. 131 CHAPTER VIII. FOURTH DIVISION OF THE TUAT. I. THE KINGDOM OF SEKER ACCORDING TO THE BOOK AM-TUAT. THE Boat of AFU-RA has now passed out of the dominions of KHENTI-AMENTI, the ancient god of the dead of the city of Abydos, and has entered the kingdom of SEKER, who is probably the oldest of all the gods of the dead in Egypt. The dominions Of SEKER were situated in the deserts round about Memphis, and were supposed to cover a large extent of territory, and their characteristics were entirely different from those of the regions ruled over by KHENTI-AMENTI near Abydos, and from those of the kingdom of Osiris, the lord of Busiris and Mendes, in the Delta. The kingdom of SEKER was shrouded in thick darkness, and, instead of consisting of fertile plains and fields, intersected by streams of running water, was formed of bare, barren, sandy deserts, wherein lived monster serpents of terrifying aspect, some having two, and some three heads, and some having wings. This region offered so many difficulties to the passage of the boat of AFU-RA, that special means had to be found for overcoming them, and p. 132 for enabling the god and his followers to proceed northwards to the House of Osiris. As there was no river in the land of SEKER a boat was useless to AFU-RA, and as the god was unable to travel through the FOURTH DIVISION boldly, and to allow himself to be seen by all the inhabitants thereof, it was arranged that he should pass through a series of narrow corridors, which were provided with doors. The pictures which illustrate the passage of the god through this DIVISION, or HOUR, are arranged in three registers, but the actual corridors through which he travelled are drawn across these obliquely. The main corridor is called RE-STAU. At the end of the first section of it is the door MATES-SMA-TA (Vol. i., p. 63), at the end of the second section is the door MATES-MAU-AT (vol. i., p. 71), and at the end of the third section is the door MATES-EN-NEHEH (vol. i., p. 75). An inscription in this last tells us that it is the road by which the body of SEKER enters and that his form is neither seen nor perceived; hence it is clear that the road by which AFU-RA passed through this DIVISION was supposed to be high up above the dominions Of SEKER, and that he never saw that god at all. The name given to this DIVISION, or "CIRCLE," as it is called in the Summary, is ANKHET-KHEPERU, and that of its Gate is AMENT-SETHAU. the goddess of the Hour is called URT-EM-SEKHEMU-S. We may now consider the means employed by AFU-RA p. 133 for passing through this HOUR. Looking at the middle register (vol. i., p. 63) we see that the god has discarded his ordinary boat, and that he and his crew are standing in a boat which is formed of a two-headed serpent; a serpent was the best means of transport for the god, because it could glide easily along the sandy floor of the rocky corridor. From the "mouth of the boat," which is drawn by four gods, rays of light are emitted; this light is not strong enough to enable AFU-RA to see the beings who are on each side of him (vol. i., p. 66), but knowing they are there, he cries out to them, and they hear him.
Themes
Archonscosmology

Malevolent planetary rulers or demiurgic powers that govern the material world and obstruct the soul's ascent.

The serpents Apap, Seba, and Af function as malevolent powers obstructing the divine journey, analogous to archonic obstruction.

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Correspondencecosmology

The Hermetic axiom that the structure of the cosmos is reflected at every scale — 'as above, so below; as within, so without' — making each level a legible map of the others.

Offerings made upon earth are linked to the sustenance of beings in the afterlife realm.

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Cosmic Dualismtheology

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

The text presents a clear opposition between the order of Ra/Maat and the chaotic forces of the serpents Apap, Seba, and Af.

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Divine Lighttheology

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

The dwellers entreat for light, and the god is described as having 'fire in thine eye', emphasizing luminosity as a divine attribute.

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Divine Providencetheology

Pronoia — the doctrine that the divine actively orders the unfolding of the cosmos and human affairs toward intelligible ends, against pure chance or blind necessity.

The god actively decrees the sustenance of the dwellers and orders the movements of the boat through the divisions.

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Logoscosmology

The divine reason, word, or ordering principle through which the universe was created; mediates between the transcendent God and the material world.

The 'word of power' and 'word of maat' function as ordering principles that necessarily effect change in the cosmos.

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Numerical Mysticismtheology

Numbers, proportions, and mathematical relationships as the underlying structure of divine reality.

Specific numbers like 'nine men' and 'nine gods' are used to structure the divine groups.

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Prayerpraxis

Direct address to the divine, whether petitionary, contemplative, or liturgical; speech and silence offered upward.

The passage begins with dwellers entreating Afu-Ra to send forth his light upon them.

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Ritual Firepraxis

Fire as medium of divine presence.

Fire is present as a divine attribute ('fire in thine eye') and in the Lake of Boiling Water.

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Sacred Namestheology

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

The narrative highlights the power of AFU-RA's word to instantly open closed shrine doors.

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Spiritual Ascentpraxis

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

The movement from the Third Division to the Fourth Division of the Tuat represents a staged journey through heavenly or underworld realms.

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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 beings use consecrated words and tones to enchant and render serpents helpless, engaging divine power through ritual speech.

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Anthropomorphismtheology

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

[auto] Divine beings are explicitly described with physical forms like ram-headed or mummied and human emotions such as weeping and adoring.

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Funerary Navigationpraxis

Texts and rituals guiding the soul through death.

[auto] The passage describes the specific journey through the Tuat (underworld) and the sustenance of the dead in shrines, which is central to Egyptian funerary texts.

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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 deity AFU-RA is depicted as actively speaking, opening doors, and providing food and air to the gods in the shrines.

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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.

[auto] The passage explicitly centers on the 'word of maat' and 'maat kheru' as the mechanism by which divine power and order are enacted against chaos.

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Psychopomp Journeycosmology

Guided passage of the soul through afterlife realms.

[auto] AFU-RA travels through the underworld divisions, opening shrines for the dead to receive sustenance during their passage.

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Related passages · 1 parallel
christian_mysticism|The Life and Doctrines of Jacob Boehme|Chapter 5 (part 9)
1.) "Lucifer having left the harmony of God, the holy name of God separated from him and remained in its own unity; but Lucifer remained in the qualities of the central fire which he had awakened within himself." ( Theosophical Questions ,…”
Both passages describe a realm of darkness and separation from the divine, with beings that are unable to perceive or interact with the divine light. They also depict a journey or passage through these realms, highlighting the difficulties and means of overcoming them.