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The Egyptian Heaven and Hell · 60 of 96 · tr. E.A. Wallis Budge

Chapter 14 (part 1)

FIFTH DIVISION OF THE TUAT. I. THE KINGDOM OF SEKER ACCORDING TO THE BOOK AM-TUAT. This DIVISION, or HOUR, or CIRCLE, as it is described in the text, is called AMENT, and it contains the secret ways, and the doors of the hidden chamber of the holy place of the Land of SEKER, and his flesh, and his members, and his body, in the forms which they had in primeval times; the main gate is called AHA-NETERU, the gods are called BAIU-AMMIU-TUAT, and the goddess of the HOUR is SEMIT-HER-ABT-UAA-S. The Boat of AFU-RA is towed by seven gods and seven goddesses, and is preceded by a few gods who are led by Isis (vol. i., pp. 87, 91, 95, 99, 100, 107, 111); the texts make it clear that AFU-RA continues his journey by the help of KHEPERA. The corridor of RE-STAU through which he travels now bends upwards, and passing by p. 135 the secret abode of SEKER, by which it is hidden, once more descends to its former level. The Land of Seker is in the form of an elongated ellipse, and is enclosed by a wall of sand; it rests upon the backs of two man-headed sphinxes, each of which is called AF and lives upon the voice, or word, of the great god. The duty of these is to guard the Image of Seker. The form in which this god is depicted is that of a hawk-headed man, who stands between a pair of wings that project from the back of a huge serpent having two heads and necks, and a tail terminating in a bearded human head. The Land of Seker is covered by a pyramid having its apex in the form of the head of a goddess, and above it is the vault of night, from which emerges the Beetle of KHEPERA When the Boat of AFU-RA comes to the pyramid, the Beetle ceases to converse with the goddess of the apex, whose duty it is to pass on its words to SEKER, and betakes itself to the Boat, and begins the revivification of AFU-RA, who is led on without delay to the end of RE-STAU, where he is received by the MORNING STAR and the light of a new day. The IMAGE of Seker, which has been described above, lives in thick darkness, and any light which is seen there proceeds from the "eyes of the heads of the great god whose flesh sendeth forth light," and the god himself lives upon the offerings which are made to the god TEMU upon earth. When AFU-RA has passed by in his boat there is heard in the Land of p. 136 [paragraph continues] Seker a mighty noise which is like unto that heard in the heights of heaven when they are disturbed by a storm. On one side of the Land of Seker is the serpent TEPAN (vol. i., p. 95), which presents to the god the offerings made to him daily; on the other is the serpent ANKHAAPAU, which lives upon its own fire, and remains always on guard. Close by are the emblems of the various forms of Seker. Behind the serpent TEPAN is a lake of boiling water, from which project the heads of those who are being boiled therein. This lake or stream is called NETU, and it is situated in the region of the kingdom of Seker which is called AMMAHET, the unfortunate beings who are in the boiling water weep when the Boat of AFU-RA has passed them by.
Themes
Divine Hiddennesstheology

The supreme God's radical concealment beyond ordinary knowledge or perception; the Hidden Father.

The text refers to 'hidden gods' and a 'hidden chamber,' suggesting aspects of the divine that are concealed from ordinary perception.

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Divine Lighttheology

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

The text mentions the Eye identified with Sekri and a serpent's face that illumines the chamber where Khepera is born daily.

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Living Godtheology

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

The deities are depicted as active agents who march, journey, guard doors, and perform acts to assist the solar barque.

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Numerical Mysticismtheology

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

The passage explicitly links fourteen heads on a serpent to the gods of the first fourteen days of the month, showing numbers as cosmic structure.

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Funerary Navigationpraxis

Texts and rituals guiding the soul through death.

[auto] The passage explicitly describes the progression of the solar barque through specific divisions of the underworld (Tuat) as detailed in the Book of Am-Tuat, a core funerary text.

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Psychopomp Journeycosmology

Guided passage of the soul through afterlife realms.

[auto] The text details the guided movement of the divine boat through distinct afterlife realms ruled by different deities such as Khenti-Amenti and Seker.

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Related passages · 3 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 that is central to the creation and sustenance of the world. In Passage A, AFU-RA is depicted as a god who navigates through a challenging realm, while in Passage B, Pan is described as the substance of the whole universe, encompassing all parts of nature. Both texts emphasize the divine power's role in maintaining cosmic order and protecting humanity.
jewish_mysticism|The Book of Enoch (1 Enoch, Charles translation)|Chapter XXII (part 1)
XXII. Sheol, or the Underworld . CHAPTER XXII. 1. And thence I went to another place, and he showed me in the west ⌈ another ⌉ great and high mountain [ and ] of hard rock. E 2 And there was in it †four† hollow places, deep and wide an…”
Both passages describe an underworld or afterlife realm with distinct divisions and inhabitants. They share themes of judgment, separation of spirits, and the presence of divine figures overseeing these realms.
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 describe a mystical quest for knowledge and the involvement of divine figures sacrificing parts of themselves for wisdom. The Poetic Edda's Odin sacrifices his eye for knowledge, while the Egyptian text describes Seker and the revivification of Afu-Ra, involving divine offerings and hidden knowledge.