Egyptian Mythology Quotes

To pronounce the name of the dead is to make them live again.

Just because there is no perceivable alternate exit does not mean another exit does not exist. I believe there may indeed be a way to escape.

We don't worship Satan, we worship ourselves using the metaphorical representation of the qualities of Satan. Satan is the name used by Judeo-Christians for that force of individuality and pride within us. But the force itself has been called by many names.We embrace Christian myths of Satan and Lucifer, along with Satanic renderings in Greek, Roman, Islamic, Sumerian, Syrian, Phrygian, Egyptian, Chinese or Hindu mythologies, to name but a few. We are not limited to one deity, but encompass all the expressions of the accuser or the one who advocates free thought and rational alternatives by whatever name he is called in a particular time and land. It so happens that we are living in a culture that is predominantly Judeo-Christian, so we emphasize Satan. If we were living in Roman times, the central figure, perhaps the title of our religion, would be different. But the name would be expressing and communicating the same thing. It's all context.

Truth came home one day, naked and wounded, having been beaten and cursed by the people who did not wish to hear, while his brother Falsehood went dressed in the brightest garments and feasted with every household. “What shall I do?” cried Truth to the gods. “No man wishes to hear me and all beat me and throw things at me; look, I am covered with dung.” “You are naked” said the goddess Maat, sympathetically. “No naked one can command respect. Therefore take these robes and you will walk without fear and all men will sit at your feet to hear your stories.” And she dressed Truth in Fable’s garments, and he was welcome at every house.

[...]when everybody starts laughing at Ra's old hair and senility he gets real pissed and when you are a god and you are real pissed there is only one solution, my friends: GENOCIDE.

I want to go home.” “Impossible. You’re here now.” “But why?” “Jane Ezrael,” Anubis says, “you’re dead.

I’ve heard the name before: Anubis. An Egyptian name. The name of a god. The god of the dead.

What is remarkable is that there are no traces of evolution from simple to sophisticated, and the same is true of mathematics, medicine, astronomy and architecture and of Egypt's amazingly rich and convoluted religio-mythological system (even the central content of such refined works as the Book of the Dead existed right at the start of the dynastic period). 7 The majority of Egyptologists will not consider the implications of Egypt's early sophistication. These implications are startling, according to a number of more daring thinkers. John Anthony West, an expert on the early dynastic period, asks: How does a complex civilization spring full-blown into being? Look at a 1905 automobile and compare it to a modern one. There is no mistaking the process of `development'. But in Egypt there are no parallels. Everything is right there at the start. The answer to the mystery is of course obvious but, because it is repellent to the prevailing cast of modern thinking, it is seldom considered. Egyptian civilization was not a `development', it was a legacy.

Well, it’s probably a good thing Anubis didn’t kiss me. I would have died all over again.

She comes closer to me. She is beautiful, in the way lightning striking across a storm-swept sky is beautiful: dangerous and distant.

His lips are soft and crushing at the same time. I’m not sure what to do—is there an algorithm for kissing?

Experiment: Live and love as much as I can, before my particles fall away to wander in stardust.

The Egyptians saw the sun and called him Ra, the Sun God. He rode across the sky in his chariot until it was time to sleep. Copernicus and Galileo proved otherwise and poor Ra lost his divinity.

What they teach you as history is mythology, and true mythology is far from fantasy - every kind reveals true fragments of our real history. A bulk of our real history can be found in Egyptian and Greek mythology. Yes, myths reveal to us worlds of other dimensions that make up our true reality. History books teach us that the minds of the past operated on the same frequency, dimension, or level of consciousness as we do now. Not true at all.

It was said that after his first creative act, Atum wept. As his tears fell, they turned into men and women. Humanity was born in tears and condemned to tears. Humanity is made of the tears of God. It’s a divine species, lubricated by misery.

We are on our way to the Hall of the Dead. I requested that I be the one to come for you.” “Why?” “You were a hard worker. Why not?” “Because . . .” Shadow marshaled his thoughts. “Because I never believed in you. Because I don’t know much about Egyptian mythology. Because I didn’t expect this. What happened to Saint Peter and the Pearly Gates?” The long-beaked white head shook from side to side, gravely. “It doesn’t matter that you didn’t believe in us,” said Mr. Ibis. “We believed in you.

I bet if I were pharaoh, I’d have had my tomb planned and designed by the time I was ten. I've always wanted to be five steps ahead of where I am. And my mind does it right now: I picture the king on his deathbed, and Ay delivers the awful news to me, but I'm the best embalmer in Thebes thanks to Anubis, so I'm alone in a dark room, and I cut open his soft chest, and take out a heart filled with dreams and love and sadness.

Do you really think that Tutankhamen would have taken a chance on some pale girl with pretty eyes had you not been the priestess of Anubis?” “You did.” The words fall out of me. “What?” I look up at him. “You took a chance on me.” I sit up, breath heavy in my throat. “When I was nothing but a dead, lost thing.

Anubis is associated with the mummification and protection of the dead for their journeys through Denver International Airport to the afterlife. He is usually portrayed as being half human and half jackal, and holding a metal detector in his hand ... Anubis is employed by the Department of Homeland Security to examine the hearts of all travellers to make sure they have not exceeded the weight limit for psychological baggage ... He is also shown frisking mummies and confiscating firearms and other contraband. It doesn't take much to tip the scales in favour of a dead body cavity search or an afterlifetime travel ban.

So Isis shows up in Byblos like "Hey queen my husband is embedded in your palace may I please extract him?" And the queen is like "sure, go ahead. It's not like he's a major structural support or anything, right?" and Isis is like "haha, sucker". And she goes and removes the pillar WITHOUT DAMAGING THE PALACE AT ALL Thus inventing Jenga.

The sun god Ra was described as the ba which “came forth from Nun,” the ba “which Nun created.” In these terms, the ba is a potentiality which is actualized. According to these statements, Chaos produced Order. Nun, primordial Chaos, generated the god Ra who then made the ordered cosmos. This is actually extremely similar to science’s version of Big Bang theory. Randomness – primordial Chaos, formlessness or non-existence (non-being) – miraculously produced its opposite: a formed, ordered cosmos. In truth, science hasn’t moved on at all from Egyptian mythology. It has no better explanation for how the cosmos was produced than ancient Egyptian priests spinning mythological webs did.

She wants me. And I am terrified, knowing how much I want her back.

The Gods do not dwell in the sky above, as in most other mythologies, but in manmade temples during their lives and then in giant pyramids when they move into the Underworld.

In the 'Contendings of Horus and Seth' Seth becomes angry with the gods and shouts: 'I shall take my d'm-sceptre of 4500 nms-pounds and every day I shall kill one of you'.

Worry,” he whispered to himself, “is a wasted effort about something that might not happen. Better to enjoy the moments we have and to make the best of them.

This function of the King energy shows up everywhere in ancient mythology and in ancient interpretations of actual history. In ancient Egyptian mythology, as James Breasted and Henri Frankfort have shown, the world arose from the formlessness and chaos of a vast ocean in the form of a central Hill, or Mound. It came into being by the decree, by the sacred “Word,” of the Father god, Ptah, god of wisdom and order. Yahweh, in the Bible, creates in exactly the same way. Words, in fact, define our reality; they define our worlds. We organize our lives and our worlds by concepts, by our thoughts about them, and we can only think in terms of words. In this sense, at least, words make our reality and make our universe real.

Brigit, the Exalted One. Also known as Bridgit, Brigindo, Bride, and Mistress of the Mantle, she is a goddess of fire, the forge, light and the sun, wells and springs, healing, childbirth, poetry, smithcraft, and martial arts.

I could have killed you,” I snarl. “You think you can become a god. You always meddle and change and create. No, that is not the way. What is shall always be. What is known shall always stand.” “Then you’ve never been in a laboratory!

Everyone thinks of Anubis as this super jacked up jackal. I find that amusing. I guess he must work out a lot.” I guess when you think of it, it is kind of funny. No other picture of gods from that time are ripped. I guess Anubis did Egyptian steroids.

Beekeeping is the world’s second oldest profession. The first apiarists were the ancient Egyptians. Bees were royal symbols, the tears of Re, the sun god. In Greek mythology, Aristaeus, the god of beekeeping, was taught by nymphs to tend bees. The Bible promises a land of milk and honey. The Koran says paradise has rivers of honey for those who guard against evil. Krishna, the Hindu deity, is often shown with a blue bee on his forehead. The bee itself is considered a symbol of Christ: the sting of Justice and mercy of honey, side by side. The first voodoo dolls were molded from beeswax; an oungan might tell you to smear honey on a person to keep ghosts at bay; a manbo would make little cakes of honey, amaranth, and whiskey, which, eaten before the new moon, could show you your future. Sometimes I wonder which of my prehistoric ancestors first stuck his arm into a hole in a tree. Did he come out with a handful of honey, or a fistful of stings? Is the promise of one worth the risk of the other?

The history of Celtic mythology is held in the natural landscape, in the bloodlines of its people, in apparitions that manifest and then are gone as you glance their way. There is very little you can pin down, and there is much more than you can ever tell.

Osiris, to go directly to the important part of this, was not a "dying god," not "life caught in the spell of death," or "a dead god," as modern interpreters have said. He was the hallucinated voice of a dead king whose admonitions could still carry weight. And since he could still be heard, there is no paradox in the fact that the body from which the voice once came should be mummified, with all the equipment of the tomb providing life's necessities: food, drink, slaves, women, the lot. There was no mysterious power that emanated from him; simply his remembered voice which appeared in hallucination to those who had known him and which could admonish or suggest even as it has before he stopped moving and breathing. And that various natural phenomena such as the whispering of waves could act as the cue for such hallucinations accounts for the belief that Osiris, or the king whose body has ceased to move and is in his mummy cloths, continues to control the flooding of the Nile. Further, the relationship between Horus and Osiris, 'embodied' in each new king and his dead father forever, can only be understood as the assimilation of an hallucinated advising voice into the king's own voice, which then would be repeated with the next generation.

Diodorus wrote at great length of the worship of the Goddess Isis (the Greek translation for Au Set), who had incorporated the aspects of both Ua Zit and Hathor. Isis was also closely associated with the Goddess as Nut, who was mythologically recorded as Her mother; in paintings Isis wore the wings of Nekhebt. Diodorus explained that, according to Egyptian religion, Isis was revered as the inventor of agriculture, as a great healer and physician and as the one who first established the laws of justice in the land. He then recorded what we today may find a most startling description of the laws of Egypt, explaining that they were the result of the reverence paid to this mighty Goddess. He wrote, “It is for these reasons, in fact, that it was ordained that the queen should have greater power and honour than the king and that among private persons the wife should enjoy authority over the husband, husbands agreeing in the marriage contract that they will be obedient in all things to their wives.

Ahhh." Anubis narrows his eyes at me. “I’ve given you inspiration. Now you’re thinking about bringing the lightbulb to ancient Egypt. It would be a hit––all those dark tombs.” You. I was thinking about you. His eyebrows rise. “Huh? Me?” Fluorine uranium carbon potassium. I said that out loud. "I mean," I stutter, "I was thinking about…unimolecular reactions.

He stares blankly, then leaves the room like a ghost—never truly here. I gaze at the doorway. I do not know if he means for me to follow him. It’s a choice then. And I realize that this is no choice at all, but rather a sentence. By love or by evil, somehow I am bound to Tutankhamen. It’s not a choice any more if I will follow him, but a question of what I will do when I catch him.

The ancient Egyptians had already figured this out thousands of years ago, although their knowledge remained embodied in dramatic form.154 They worshipped Osiris, mythological founder of the state and the god of tradition. Osiris, however, was vulnerable to overthrow and banishment to the underworld by Set, his evil, scheming brother. The Egyptians represented in story the fact that social organizations ossify with time, and tend towards willful blindness. Osiris would not see his brother’s true character, even though he could have. Set waits and, at an opportune moment, attacks. He hacks Osiris into pieces, and scatters the divine remains through the kingdom. He sends his brother’s spirit to the underworld. He makes it very difficult for Osiris to pull himself back together.

All known great religions have had an exoteric aspect, that is, exterior, profane, for the masses of believers, and another esoteric, for a restricted select minority of initiates. So it was with the Egyptian and Greek cults. Those ignorant people who pompously speak to us about Aristotle, Socrates, Plato and the 'rational thought of the Greeks' ignore the fact that behind their ideas one finds the Eleusinian Mysteries of Delphi and elsewhere, in which these same philosophers, above all Plato, Aeschylus, Euripides took part, though they could not speak of it in public. The Orphic cults and mythology are the foundation of the philosophical thought of Ancient Greece. The word esoteric itself comes from the Greek work eisoteo and means 'to enter into' and 'to open a door' (towards the Gods: Theo, eiso-theo).

From beneath the folds of his robes, he reveals a small steel dagger. “You have tempted fate so many times already and still yield to it. Time for history to rewrite itself. Time for Tutankhamen to have a new ending.” Aten holds the hilt out to me. I stare at the dagger. The hilt is bronze, carved with sun discs that glow when they catch the sun. “What do you want me to do with that?” Aten smiles a white, gaping grin. “Kill Tutankhamen and carve out his heart.

In America’s earliest mythologizing of itself, America is the underdog guided to the promised land by a merciful God. Other countries do something similar. In some other national mythology, America might be the Egyptian Pharaoh holding a worthy population captive. We can’t all be that righteous. And sometimes that’s hard to stomach. It’s hard accepting that your comfort, or privilege, or disinterest might feed into a real and palpable problem for another group of people. And it’s hard, once you’ve recognized this to be the case, to heed the call to change.

In the beginning, according to the Doctrine of Hermopolis, there was water, darkness, formlessness, and hidden powers. This is how the ancients understood the primeval Chaos into which the ordered universe was inserted through the actions of the gods. The Hebrew Book of Genesis is merely a variant of pagan Egyptian mythology. The Hebrew God is just Amun, Atum, Ptah or Thoth by another name. He collects all of the powers of the Ogdoad or Ennead into himself, but all the same factors and ingredients are still at play, and there is absolutely no sign of science, mathematics or philosophy. Do you see that the Bible’s Creation myth is of a very familiar nature? If the Book of Genesis were taught alongside Egyptian Creation myths, which long preceded it and set the ground for it, all the believers in the Bible would see that it’s just another story, another myth, and that Yahweh, the Hebrew God is no more real than any of the Egyptian deities. If Yahweh goes, so does his “son” – Jesus Christ! Christianity is just a myth cobbled together from Egyptian, Greek and Persian sources. It’s amazing how Abrahamists are unable to see that their entire religion is in fact derived from the pagan Egyptians.

The concept of furry characters (another term for anthropomorphic animals) is relatively new; it was popularized in the 1980s. But art and stories juxtaposing humans and animals can be traced back thousands of years. The ancient Egyptians, for example, had animalistic deities such as Anubis, who had the head of a jackal. Anthropomorphic kimono-clad foxes, raccoons, dogs, cats, and other animals were a recurring subject in classical Japanese uikyo-e artwork. Further historical examples of anthropomorphic animals can be found in Native American mythology and works of literature like Aesop's fables, wherein talking animals took the roles of humans.

The Greeks, unlike the Egyptians, made their gods in their own image. Why it happened, or when, we have no idea at all. We know only that in the earliest Greek poets a new point of view dawned, never dreamed of in the world before them, but never to leave the world after them. With the coming forward of Greece, mankind became the center of the universe, the most important thing in it. This was a revolution in thought. Human beings had counted for little heretofore. In Greece man first realized what mankind was. The Greeks made their gods in their own image. That had not entered the mind of man before. Until then, gods had had no semblance of reality. They were unlike all living things.

the promise about the bruising of the serpent's head, recorded in Genesis, as made to our first parents, was actually made, and if all mankind were descended from them, then it might be expected that some trace of this promise would be found in all nations. And such is the fact. There is hardly a people or kindred on earth in whose mythology it is not shadowed forth. The Greeks represented their great god Apollo as slaying the serpent Pytho, and Hercules as strangling serpents while yet in his cradle. In Egypt, in India, in Scandinavia, in Mexico, we find clear allusions to the same great truth. "The evil genius," says Wilkinson, "of the adversaries of the Egyptian god Horus is frequently figured under the form of a snake, whose head he is seen piercing with a spear. The same fable occurs in the religion of India, where the malignant serpent Calyia is slain by Vishnu, in his avatar of Crishna; and the Scandinavian deity Thor was said to have bruised the head of the great serpent with his mace." "The origin of this," he adds, "may be readily traced to the Bible." In reference to a similar belief among the Mexicans, we find Humboldt saying, that "The serpent crushed by the great spirit Teotl, when he takes the form of one of the subaltern deities, is the genius of evil--a real Kakodaemon.

Everything and Nothing* There was no one inside him; behind his face (which even in the bad paintings of the time resembles no other) and his words (which were multitudinous, and of a fantastical and agitated turn) there was no more than a slight chill, a dream someone had failed to dream. At first he thought that everyone was like him, but the surprise and bewilderment of an acquaintance to whom he began to describe that hollowness showed him his error, and also let him know, forever after, that an individual ought not to differ from its species. He thought at one point that books might hold some remedy for his condition, and so he learned the "little Latin and less Greek" that a contemporary would later mention. Then he reflected that what he was looking for might be found in the performance of an elemental ritual of humanity, and so he allowed himself to be initiated by Anne Hathaway one long evening in June. At twenty-something he went off to London. Instinctively, he had already trained himself to the habit of feigning that he was somebody, so that his "nobodiness" might not be discovered. In London he found the calling he had been predestined to; he became an actor, that person who stands upon a stage and plays at being another person, for an audience of people who play at taking him for that person. The work of a thespian held out a remarkable happiness to him—the first, perhaps, he had ever known; but when the last line was delivered and the last dead man applauded off the stage, the hated taste of unreality would assail him. He would cease being Ferrex or Tamerlane and return to being nobody. Haunted, hounded, he began imagining other heroes, other tragic fables. Thus while his body, in whorehouses and taverns around London, lived its life as body, the soul that lived inside it would be Cassar, who ignores the admonition of the sibyl, and Juliet, who hates the lark, and Macbeth, who speaks on the moor with the witches who are also the Fates, the Three Weird Sisters. No one was as many men as that man—that man whose repertoire, like that of the Egyptian Proteus, was all the appearances of being. From time to time he would leave a confession in one corner or another of the work, certain that it would not be deciphered; Richard says that inside himself, he plays the part of many, and Iago says, with curious words, I am not what I am. The fundamental identity of living, dreaming, and performing inspired him to famous passages. For twenty years he inhabited that guided and directed hallucination, but one morning he was overwhelmed with the surfeit and horror of being so many kings that die by the sword and so many unrequited lovers who come together, separate, and melodiously expire. That very day, he decided to sell his theater. Within a week he had returned to his birthplace, where he recovered the trees and the river of his childhood and did not associate them with those others, fabled with mythological allusion and Latin words, that his muse had celebrated. He had to be somebody; he became a retired businessman who'd made a fortune and had an interest in loans, lawsuits, and petty usury. It was in that role that he dictated the arid last will and testament that we know today, from which he deliberately banished every trace of sentiment or literature. Friends from London would visit his re-treat, and he would once again play the role of poet for them. History adds that before or after he died, he discovered himself standing before God, and said to Him: I , who have been so many men in vain, wish to be one, to be myself. God's voice answered him out of a whirlwind: I, too, am not I; I dreamed the world as you, Shakespeare, dreamed your own work, and among the forms of my dream are you, who like me, are many, yet no one.

Even as the feminine principle was venerated for its fertile, life-giving properties, there are also many examples of Goddesses who embodied the entire life process: birth, life, death, and regeneration. This is important because it can be tempting to romanticise the Goddess as a sort of angelic Fairy Godmother or abundant Good Mother. The feminine principle is more complex and more powerful than that. There are many stories from mythology that tell of the different faces of the Goddess. One such myth tells of the ancient Sumerian goddess who “outweighed, overshadowed, and outlasted them all . . .Inanna, Queen of Heaven.”[xxvi] This story originated in ancient Mesopotamia, five or six thousand years ago. In the myth, Inanna, who rules as queen over the upper world (birth and life), decides to visit Ereshkigal, queen of the Underworld (death and transformation). As Inanna descends into her sister’s realm, she is stripped of all the symbols of her upper world sovereignty, so that she comes before Ereshkigal naked and bowed low. Her enforced stay in the Underworld and the return after three days predates the Christian story by thousands of years. It is one of the first stories of ritual descent from the realm of life to the realm of death and the return to life after a time of incubation in the Underworld. This is also the theme of most ancient initiation rituals like the Orphic mysteries, the Eleusinian mysteries, and of much of the Egyptian sacred teachings. At the time when the story of Inanna’s journey first appeared, the increasingly male dominated Sumerian culture was separating from earlier matrilineal forms. Before the descent myth, another story tells how Inanna, in order to rule, had to take power from the God, Enki, assuming his symbols of sovereignty as her own. Ereshkigal, queen of the Underworld, represents the archaic feminine, the dark mysteries of the older religion which had been sent underground. The descent story can, therefore, be understood as Inanna balancing her heroic victories in the upper (masculine) world by reconnecting with the rhythms and cycles of the under (feminine) world. Based on clinical experience, one analyst called this a “pattern of a woman’s passage from cultural adaptation to an encounter with her essential nature”.

Chapter 1, “Esoteric Antiquarianism,” situates Egyptian Oedipus in its most important literary contexts: Renaissance Egyptology, including philosophical and archeological traditions, and early modern scholarship on paganism and mythology. It argues that Kircher’s hieroglyphic studies are better understood as an antiquarian rather than philosophical enterprise, and it shows how much he shared with other seventeenth-century scholars who used symbolism and allegory to explain ancient imagery. The next two chapters chronicle the evolution of Kircher’s hieroglyphic studies, including his pioneering publications on Coptic. Chapter 2, “How to Get Ahead in the Republic of Letters,” treats the period from 1632 until 1637 and tells the story of young Kircher’s decisive encounter with the arch-antiquary Peiresc, which revolved around the study of Arabic and Coptic manuscripts. Chapter 3, “Oedipus in Rome,” continues the narrative until 1655, emphasizing the networks and institutions, especially in Rome, that were essential to Kircher’s enterprise. Using correspondence and archival documents, this pair of chapters reconstructs the social world in which Kircher’s studies were conceived, executed, and consumed, showing how he forged his career by establishing a reputation as an Oriental philologist. The next four chapters examine Egyptian Oedipus and Pamphilian Obelisk through a series of thematic case studies. Chapter 4, “Ancient Theology and the Antiquarian,” shows in detail how Kircher turned Renaissance occult philosophy, especially the doctrine of the prisca theologia, into a historical framework for explaining antiquities. Chapter 5, “The Discovery of Oriental Antiquity,” looks at his use of Oriental sources, focusing on Arabic texts related to Egypt and Hebrew kabbalistic literature. It provides an in-depth look at the modus operandi behind Kircher’s imposing edifice of erudition, which combined bogus and genuine learning. Chapter 6, “Erudition and Censorship,” draws on archival evidence to document how the pressures of ecclesiastical censorship shaped Kircher’s hieroglyphic studies. Readers curious about how Kircher actually produced his astonishing translations of hieroglyphic inscriptions will find a detailed discussion in chapter 7, “Symbolic Wisdom in an Age of Criticism,” which also examines his desperate effort to defend their reliability. This chapter brings into sharp focus the central irony of Kircher’s project: his unyielding antiquarian passion to explain hieroglyphic inscriptions and discover new historical sources led him to disregard the critical standards that defined erudite scholarship at its best. The book’s final chapter, “Oedipus at Large,” examines the reception of Kircher’s hieroglyphic studies through the eighteenth century in relation to changing ideas about the history of civilization.

We need to be humble enough to recognize that unforeseen things can and do happen that are nobody’s fault. A good example of this occurred during the making of Toy Story 2. Earlier, when I described the evolution of that movie, I explained that our decision to overhaul the film so late in the game led to a meltdown of our workforce. This meltdown was the big unexpected event, and our response to it became part of our mythology. But about ten months before the reboot was ordered, in the winter of 1998, we’d been hit with a series of three smaller, random events—the first of which would threaten the future of Pixar. To understand this first event, you need to know that we rely on Unix and Linux machines to store the thousands of computer files that comprise all the shots of any given film. And on those machines, there is a command—/bin/rm -r -f *—that removes everything on the file system as fast as it can. Hearing that, you can probably anticipate what’s coming: Somehow, by accident, someone used this command on the drives where the Toy Story 2 files were kept. Not just some of the files, either. All of the data that made up the pictures, from objects to backgrounds, from lighting to shading, was dumped out of the system. First, Woody’s hat disappeared. Then his boots. Then he disappeared entirely. One by one, the other characters began to vanish, too: Buzz, Mr. Potato Head, Hamm, Rex. Whole sequences—poof!—were deleted from the drive. Oren Jacobs, one of the lead technical directors on the movie, remembers watching this occur in real time. At first, he couldn’t believe what he was seeing. Then, he was frantically dialing the phone to reach systems. “Pull out the plug on the Toy Story 2 master machine!” he screamed. When the guy on the other end asked, sensibly, why, Oren screamed louder: “Please, God, just pull it out as fast as you can!” The systems guy moved quickly, but still, two years of work—90 percent of the film—had been erased in a matter of seconds. An hour later, Oren and his boss, Galyn Susman, were in my office, trying to figure out what we would do next. “Don’t worry,” we all reassured each other. “We’ll restore the data from the backup system tonight. We’ll only lose half a day of work.” But then came random event number two: The backup system, we discovered, hadn’t been working correctly. The mechanism we had in place specifically to help us recover from data failures had itself failed. Toy Story 2 was gone and, at this point, the urge to panic was quite real. To reassemble the film would have taken thirty people a solid year. I remember the meeting when, as this devastating reality began to sink in, the company’s leaders gathered in a conference room to discuss our options—of which there seemed to be none. Then, about an hour into our discussion, Galyn Susman, the movie’s supervising technical director, remembered something: “Wait,” she said. “I might have a backup on my home computer.” About six months before, Galyn had had her second baby, which required that she spend more of her time working from home. To make that process more convenient, she’d set up a system that copied the entire film database to her home computer, automatically, once a week. This—our third random event—would be our salvation. Within a minute of her epiphany, Galyn and Oren were in her Volvo, speeding to her home in San Anselmo. They got her computer, wrapped it in blankets, and placed it carefully in the backseat. Then they drove in the slow lane all the way back to the office, where the machine was, as Oren describes it, “carried into Pixar like an Egyptian pharaoh.” Thanks to Galyn’s files, Woody was back—along with the rest of the movie.

He writes: The pacification of the untamed forces in the beast of prey, as we see it in the magical taming of the injurious powers of “poisonous” nature deities, and above all in the conquest of the Uraeus serpent as the royal diadem of Buto, is a very characteristic contribution of human thought in the historical epoch. Actually the taming of terrible deities goes back to the prehistoric age of mythology, as when the Egyptian Hathor is mollified and her “wrath” averted with the help of dancing, music, and intoxicating liquor; or when Bast, the friendly form of the lion goddess Sekhmet, becomes the goddess of healing, and her priests become physicians.

Typhon is the Greek name for the multi-faceted god who perpetually brings about change in the universe. He appears in mythology under many names, including: Hadit, Set, Bes, or “the Beast”. One of his symbols is the Egyptian Sphinx. He is the son who manifests his mother, the primal goddess who, through him, takes on any number of forms and aspects.

And whose heart do you want me to steal?” The words escape me in a whisper. A small smile pricks Aten’s lips. “King Tutankhamen.

If I wasn't discovering something, if I wasn't studying, well then, what was I doing? I know I wouldn’t be happy unless I made a difference. So what was the happiness of a moment worth against the happiness of my life?" I let out a breathy laugh and squeeze his hand. "I guess it doesn't matter now.” I stare out over camp, but a glassy sadness blurs my vision. “Have you ever wanted something so much that everything else in the world seemed so small?" He tilts his head toward me, narrowing his eyes. "I'm beginning to.

Beaumont's views are confirmed by an important and well known mythic anecdote - the dismemberment of Osiris. Osiris represented the earth itself. His conflict with Set (god of wastelands), and subsequent dismemberment, are mythic allusions commemorating the tearing to pieces of the planet by Phaeton. The story of a god or hero torn apart, with body parts scattered over the land, retells the story of terrestrial disaster. The resurrection of the god involved the methodical piecing together of body parts; a motif that represented the lands and hemispheres of earth reemerging from receding waters and ice sheets. The Egyptians preserved the entire saga of destruction followed by renewal in their earliest mythological motifs, particularly those of the Primordial Mound and conflict between Osiris, Horus and Set. Whether a mythic hero is wounded, blinded or pierced by a spear or lance - as is the case with Jesus, Esus, Tiresius, Odin, and so on - the allusion is to terrestrial catastrophe. Of all places in the British

women enjoyed more freedom in ancient Egypt than they did in other civilizations, in many cases for thousands of years to come, they had house pets, used a form of chewing gum made from myrrh and wax and some Egyptian doctors actually specialized in different areas of medicine.

Plutarch’s account is late in terms of the wider history of Egyptian mythology, it is a surprisingly accurate take on the formation of the myth of Isis and Osiris, dating back to around 600 years before his arrival.[15] Of course, this does not make it an accurate account of the much earlier story of Osiris, but since describing his death and dismemberment was not a taboo for a Greek, his later account did not suffer from the obliqueness of the early sources. Moreover, although Plutarch was not an Egyptian, he was an excellent scholar of foreign mythology. For him, the reason for writing down the myth of Isis and Osiris was to try and find a “fundamental truth” to the myths of both his own culture (of which he was a priest at Delphi for the remaining 30 years of his life) and that of his neighboring culture,

A further difficulty in understanding such early texts is that their translation can only be accomplished by reference to other, later texts. And here a paradox arises, for to assume that Metjen’s inscriptions are merely ‘primitive’ versions of later similar examples, and that gaps in their understanding may be resolved by reference to the fuller texts of later times serves to deny internal change within a society that, in Sneferu’s day, was clearly undergoing a series of colossal transformations. It is the very nature of most grammars and dictionaries, moreover, to provide compacted, generalizing visions of the language of the culture in which they deal and this, as far as the traditional vision of ‘ancient Egypt’ is concerned, has created a jargon-filled vocabulary with its own internal mythologies, so that, however rigorous or erudite the act of translation may have been, it often serves to bewitch the genuine relics of the past and reinforce a vision of an ‘ancient Egypt’ held by earlier generations of lexicographers and philologists. That, of course, is how Metjen can appear to be like an English squire, and Imhotep, an Egyptian Leonardo

The ancient Egyptians believed that the purpose of life was to prepare for a meaningful death, after having reached one's potential during a lifetime. Once that is achieved, then one lived among the gods as an immortal.

When anyone does a crime, it’s only natural for them to suspect that others may readily do the same crime against them. Perhaps within this attitude of self-concern is born the seed of karma.

A British Lord named Acton once said that power tends to corrupt and absolute power corrupts absolutely.

Extra-biblical texts and the Bible The rich variety of types of written material from the ancient Near East enables the world from which the Bible emerged and in which the Bible is set to be seen in clearer focus. Much attention has been paid to the myths and legends of the Mesopotamians and the Canaanites, not least because of the Bible’s own suggestion that the people of Israel and Judah emerged from Mesopotamian ancestry, settled among Canaanites, and were exiled in Babylon. But the mythology of other ancient peoples such as the Egyptians and the Hittites, now known as a result of archaeological activity,

The most important mystery of ancient Egypt was presided over by a priesthood. That mystery concerned the annual inundation of the Nile flood plain. It was this flooding which made Egyptian agriculture, and therefore civilisation, possible. It was the centre of their society in both practical and ritual terms for many centuries; it made ancient Egypt the most stable society the world has ever seen. The Egyptian calendar itself was calculated with reference to the river, and was divided into three seasons, all of them linked to the Nile and the agricultural cycle it determined: Akhet, or the inundation, Peret, the growing season, and Shemu, the harvest. The size of the flood determined the size of the harvest: too little water and there would be famine; too much and there would be catastrophe; just the right amount and the whole country would bloom and prosper. Every detail of Egyptian life was linked to the flood: even the tax system was based on the level of the water, since it was that level which determined how prosperous the farmers were going to be in the subsequent season. The priests performed complicated rituals to divine the nature of that year’s flood and the resulting harvest. The religious elite had at their disposal a rich, emotionally satisfying mythological system; a subtle, complicated language of symbols that drew on that mythology; and a position of unchallenged power at the centre of their extraordinarily stable society, one which remained in an essentially static condition for thousands of years. But the priests were cheating, because they had something else too: they had a nilometer. This was a secret device made to measure and predict the level of flood water. It consisted of a large, permanent measuring station sited on the river, with lines and markers designed to predict the level of the annual flood. The calibrations used the water level to forecast levels of harvest from Hunger up through Suffering through to Happiness, Security and Abundance, to, in a year with too much water, Disaster. Nilometers were a – perhaps the – priestly secret. They were situated in temples where only priests were allowed access; Herodotus, who wrote the first outsider’s account of Egyptian life the fifth century BC, was told of their existence, but wasn’t allowed to see one. As late as 1810, thousands of years after the nilometers had entered use, foreigners were still forbidden access to them. Added to the accurate records of flood patters dating back centuries, the nilometer was an essential tool for control of Egypt. It had to be kept secret by the ruling class and institutions, because it was a central component of their authority. The world is full of priesthoods. The nilometer offers a good paradigm for many kinds of expertise, many varieties of religious and professional mystery. Many of the words for deliberately obfuscating nonsense come from priestly ritual: mumbo jumbo from the Mandinka word maamajomboo, a masked shamanic ceremonial dancer; hocus pocus from hoc est corpus meum in the Latin Mass. On the one hand, the elaborate language and ritual, designed to bamboozle and mystify and intimidate and add value; on the other the calculations that the pros make in private. Practitioners of almost every métier, from plumbers to chefs to nurses to teachers to police, have a gap between the way they talk to each other and they way they talk to their customers or audience. Grayson Perry is very funny on this phenomenon at work in the art world, as he described it in an interview with Brian Eno. ‘As for the language of the art world – “International Art English” – I think obfuscation was part of its purpose, to protect what in fact was probably a fairly simple philosophical point, to keep some sort of mystery around it. There was a fear that if it was made understandable, it wouldn’t seem important.

Lady Beatrice insisted that she was no witch, but an Elemental. This is an unfamiliar term to most, but certainly not one invented by the late duchess. References to Elementalism are found as far back as in Greek mythology and Ancient Egyptian writings. An Elemental is known as a child of nature. Unlike mere humans, they are one with the four elements, able to manipulate the air, earth, water, and fire around them. There are those who find it a frightening concept, but I have interviewed two of the late duchess's acquaintances who profess that she used her gift for good. A Wickersham tenant farmer who was growing destitute from the lack of thriving crops recalls that Lady Beatrice visited his land, and shortly after her departure, the soil came back to life and grew fertile.

But soon he stopped short: a giant, three-headed dog was blocking his path, growling and gnashing its huge white teeth, long and sharp as a warrior’s dagger. This was Cerberus, the guardian of the gates of Hades, offspring of the Titans Echidna and Typhon. But Orpheus did not fear the great dog: again, he took up his lyre and he sang, this time a soothing lullaby, and soon the great beast’s eyes began to close, and it swayed, and then fell to the floor, fast asleep.

So, we are going into the large, creepy hole. Perfectly logical.

Social Media During the Trump presidency, the internet has itself become a purveyor of claimed reality. Any group—indeed, any individual person—can make use of the internet to disseminate the most bizarre version of ultimate reality, and can do so anonymously. I have mentioned QAnon as a largely social media–created apocalyptic conspiracy theory. Another internet product is the “Cult of Kek,” the alt-right’s semi-ironic religion, which claims the reappearance of Kek, the mythological Egyptian God of Chaos and Darkness, sometimes taking the form of Pepe the Frog. In this narrative, Donald Trump has become the embodiment of this Kek/Pepe chaos, the prophet of the world-destruction sought by the alt-right.

The pyramids of the Egyptians can still be admired today, some five thousand years after they were built, and there is no trace of the Egyptians of that time. Not culturally, not linguistically, not mythologically.

أيها الكاتب، كم تبدو وكأنك تبصر ما لا يراه أحد الناس يأتون إلى الدنيا ويرحلون وتبقى أنت في لفائف البردي الناطقة باسمك يستمتع الناس بسطورك ويتولاك أبناء الأرض جميعا أبا لهم فأنت حبيب المعبود طالما القلم ابن لك

لقد أمسك بالهارب من لا يعرف النغم ومن لا صوت له يدعي أنه مغنٍ -نفرتي

Augustus connected his villa on the Palatine hill to the temple of Apollo with a portico representing the mythological Danaids, Egyptian-born Greeks. The Greeks had integrated Egypt into their ideological landscape through the gadfly-tormented Io, thought to be Isis, who shed her bovine shape in Egypt when she married the pharaoh. Hellenized Egypt, through Alexandria, found its way to Rome, where it was integrated into the fabric of Rome’s founding location.

Augustus’ house on the Palatine had decorations in the private chambers that included Egyptian landscapes. The house connected to a temple of Apollo, the guardian god of Actium. The connection itself was a portico of the Danaids, daughters of Danaus. The myth of the Danaids integrated Egypt into the Greek cultural system, which Romans embraced and had made their own. The Danaids, like the Romans, were culturally ambiguous; they were Egyptian-born Greeks who, in flight, returned home to Argos. The portico made a cultural albeit vague statement: Egypt was and yet was not introduced into Rome’s own mythological center. Augustus had the Sibylline Books deposited in the new temple of Apollo.

In their mythological and theological dresses (intimately related to corresponding hieratic rites), the so-called theory of Ideas and Archetypes can be traced back to the ancient Egyptian and Sumerian cosmogonies. Plato received this doctrine in its semi-Pythagorean form, along with conceptions of the ultimate metaphysical principles (the One, Limit, and Unlimited), Form and Matter—woven together through numerical harmony and the doctrine of the tripartite soul.

Like many of the myths in other cultures, the gods are frequently described as if they have human-like form. For instance, Atum either masturbates or sneezes his first two children into existence.

I’m beginning to appreciate the notion that diplomats are very much like salesmen in the bazaars. We need to check our valuables when we leave—to make certain we possess all our fingers.

But if history teaches us anything, we need to remain aware of the patterns of history itself, lest we repeat past mistakes.

Minister and favorite of the Emperor Augustus. He was distinguished for the wisdom of his counsels, and his rare abilities as a statesman. Although himself an indifferent poet, he was still a patron of literature and literary men; Virgil, Horace, Ovid and other celebrated writers of the Augustan age, were among his most intimate friends. Such was the care with which Mæcenas sought out and rewarded every species of merit, that his name is proverbially used to denote a generous patron.

The perpetrator of such a misdemeanor must have a motive. Is UMMO the private joke of a group of Spanish engineers? Is it a psychological warfare exercise, as some French analysts suspect? Or is the truth more complex, rooted in a social reality where the ideas and symbols of UMMO have acquired a life of their own, their special mythology, and a set of beliefs that feed on themselves? We can at least be certain of one thing: the UMMO documents do not come from advanced beings trying to demonstrate their existence to us. But try to explain it to their disciples! Very few UFO believers, and even fewer of their New Age counterparts, have any formal training in science. They are easily awed by any document that contains a few equations and a numerical system of base 12. Yet if they had some awareness of modern technology, they would realize how easy it should be for an advanced race to prove its genuine skill to a society like the human race. After reading the masses of documents purportedly coming from the planet UMMO, I asked myself: if I had the opportunity to communicate with intelligent beings of an earlier time, such as the high priests of Egypt, how would I establish a meaningful dialogue? I certainly would not insult them by sending a letter beginning with ”We are aware of the transcendence of what we are about to tell you”—especially if I had an imperfect command of hieroglyphics! Instead, I would concentrate on a few points of valuable, verifiable information. Since the Egyptians already knew how to make electrical batteries and were aware of the magnetic properties of certain minerals, I would send them a simple set of instructions to make a coil and a compass. I could explain resistance and Ohm’s Law, a simple equation that was easily within the grasp of their mathematicians. Or I would tell them about making glass and lenses from sand. If they wanted proof, I would not bother to reveal to them set theory or the fact that E is equal to mc2. Instead, I would send them a table predicting future eclipses, or a diagram to build an alternator, or Leonardo da Vinci’s design for variable-speed cogwheels. That should get the attention of the top scientists in their culture and open up a dialogue. Unfortunately, the extraterrestrials of UMMO and other planets never seem to communicate at this level. Are they afraid of collapsing our society by appearing too advanced with respect to us? This hypothesis does not hold, since they have chosen a very obvious way of showing themselves in our skies.

I’ve always liked Greek and Roman mythology,” I say. “I can do Apollo and Helios.” “I can do Norse mythology,” Blaze says. “And Egyptian.” “I’ll take Aztec and Mayan,” Morgan volunteers. “That works.” Damien glances around the chamber. “I’ll focus on Hindu and Japanese.

Even Margaret’s beloved Wordsworth fell short on the issue; for him, she quoted ruefully, the ideal woman should not be “Too bright and good / For Human nature’s daily food.” Margaret drew on examples from ancient myth, wherein “the idea of female perfection is as fully presented as that of male,” to show that women had been accorded greater respect in earlier times. In Egyptian mythology, “Isis is even more powerful than Osiris,” and “the Hindoo goddesses reign on the highest peaks of sanctification.” In Greek myth, “not only Beauty, Health and the Soul are represented under feminine attributes, but the Muses, the inspirers of all genius,” and “Wisdom itself . . . are feminine.” Margaret’s dream was to bring the dispirited “individual man” together with the disempowered woman—unite the two sides of the Great Hall’s classroom—and create, by merging the best attributes of each, “fully” perfected souls. Then, a nation of men and women will for the first time exist, she might have said, amending Waldo Emerson’s visionary claim.

The one who wins even after death is known as Tut-Ankh-Amun.

She set the empty mug in front of him, his eyes never leaving her face. “There are lists, of course. And you and I both know they’re incomplete. Project OSIRIS has never been disclosed to the public.” “OSIRIS?” The surprise showed in her face and she cursed herself for it. He had taken her off-guard, once again—and he could tell. “Come on now, Mehr,” he replied, and there was almost a sadness in his dark eyes. Pain. “We’ve known each other too long for these games. We both know that after 7/7, your government began exploring the potential of installing a network of facial-recognition cameras around London. It was code-named Project OSIRIS, an allusion to the all-seeing eye of Egyptian mythology—and completed in 2012. I haven’t been in-country since, don’t know where any of them are located. It’s a risk I can’t afford to take. Not now.” “Why?” she asked quietly

Breidablikk,

Thanks again to Alan Butler's work, this time I was able to inspect the work of Hesiod in connection with the Phaistos Disc for being calendrical, and now I view it through the lens of ancient Egypt by projecting it directly onto the circular zodiac of Dendera. Hesiod has used three different references to the days in his work: (the first ..); (the middle ..); and (.. of the month). With this system which he had used, I linked the "first" references to the zodiac's portals on the East; the "middle" references to the Fullmoon days of the month which are located on the zodiac's western portals; and the "of the month" references to the zodiac's days which are located right after passing by and finishing the rotation beyond the eastern portals. Therefore, Hesiod has recognized Egypt's month's count of days (And tell your slaves the thirtieth is the month's best-suited day). He has also explicitly identified the beginning of the Equinox and Solstice portals on the zodiac based on the zodiac's anticlockwise orientation while emphasizing the more prominent role of the Summer Solstice in the calendar system (The first and fourth and seventh days are holy days to men, the eighth and ninth as well). Hesiod has also issued a warning against, Apophis, the snake demon (But shun the fifth day, fifth days are both difficult and dread). Hesiod has recognized Egypt's royal-cosmic copulation event that takes place at the culmination of the Summer Solstice (The first ninth, though, for human beings, is harmless, quite benign for planting and for being born; indeed, it's very fine For men and women both; this day is never bad all through) Hesiod has identified the exact position of the newly born infant boy on the zodiac (For planting vines the middle sixth is uncongenial but good for the birth of males) and also established the Minoan bull's head rhyton connection with Egypt (The middle fourth, which is a day to soothe and gently tame the sheep and curved-horned), (Open a jar on the middle fourth),(And on the fourth the long and narrow boats can be begun). Hesiod gave Osiris' role in the ancient Egyptian agrarian Theology to men (two Days of the waxing month stand out for tasks men have to do, the eleventh and the twelfth) and pointed out the right location of the boar on the zodiac (Geld your boar on the eighth of the month) and counted on top of these days the days of the mule which comes afterward (on the twelfth day of the month [geld] the long-laboring mule) - since the reference to the mule in the historical text comes right after that of the boar's and both are grouped together conceptually with the act of gelding. He has also identified the role of Isis for resurrecting Osiris after the Summer Solstice event (On the fourth day of the month bring back a wife to your abode) and even referred to the two female figures on the zodiac and identified them as, Demeter and Persephone, the two mythical Greek queens (Upon the middle seventh throw Demeter's holy grain) where we see them along with the reference to Poseidon (i.e. fishes and water) right next to them as the account exists in the Greek mythology. Even more, Hesiod knows when the sequence of the boats' appearances begins on the zodiac (And on the fourth the long and narrow boats can be begun). Astonishingly enough, he mentions the solar eclipse when the Moon fully blocks the Sun (the third ninth's best of all, though this is known by few) and also glorifies sunrise and warns from sunset on that same day (Again, few know the after-twentieth day of the month is best ..) and identifies the event's dangerous location on the west (.. at dawn and that it worsens when the sun sinks in the west).

feather. Apophis (Apep)—

construction – and how they were aligned so precisely with the aid of astronomy – leave us with more questions than answers. Like anything the Egyptians did, there were many rituals surrounding the building of a pyramid tomb. The first ritual, dating back to the 2nd dynasty, was called “stretching the cord” and it was done at night. The building was precisely aligned by careful astronomical observations. There are several ways in which this could have been done. A tool called a “market” or “merket” could have been used.

When you consider the great writings of the Egyptians, the Babylonians, the Greeks and the Romans, how they are saturated with mythology, superstition, and fantasy … replete with scientific blunders, surely it is impossible the Bible could escape without error. Still it stands without a single proven error after thirty-four centuries of scholarship.

both the Egyptian [and] American pyramids, the outside of the structures was covered with a thick coating of smooth, shining cement.”   “The Aztecs, like the Egyptians, had progressed through all the three different modes of writing—the picture-writing, the symbolical, and the phonetic. They recorded all their laws, their tribute-rolls specifying the various imposts, their mythology, astronomical calendars, and rituals, their political annals and their chronology. They wrote on cotton-cloth, on skins prepared like parchment, on a composition of silk and gum, and on a species of paper, soft and beautiful, made from the aloe. Their books were about

the end chaos would burst forth to overwhelm the order that the gods had made and preserved. In Midgard the end would begin with three winters of war and general lawlessness; men would fight without mercy, murder one another and betray their own kin through adultery and with violence. After this would come three years of winter, with the sun’s warmth weakened and terrible winds sweeping the earth so that its people died of hunger. Then the wolves that ran behind the moon and sun would overtake them, and darkness would fall on the land. ​In Asgard Loki would break from his bonds and so would his son, the wolf Fenrir.  In the depths of the sea Loki’s other monster-son, the Midgard Serpent, would rise in anger. The giants out of Jotunheim and the fire-demons out of Muspelheim would come to Loki’s call and attack the gods. The battle would be desperate. Thor would kill and be killed by the Midgard Serpent, and Heimdall the sentry of Asgard would kill and be killed by Loki. Odin would fight against the wolf Fenrir and die, but his son Vidar would destroy the wolf. At the end, when the best part of both armies lay dead, Surt the fire-bearer would come from the burning world of Muspelheim and set Asgard, Midgard and the World Tree itself ablaze. The sea would rise, churned up by the death-throes of the Midgard Serpent, and the ruined land would be drowned. ​But this destruction, while great and terrible, was not quite final. Out of the empty seas land would rise again and green plants would grow there; indeed, fine crops of grain would grow without any man tending them. Balder would return from the dead, Honir would return with the gift of prophecy added to his other strengths, and Thor’s sons would arise carrying their father’s great hammer. Soli would not return from death to drive the chariot of the sun but her daughter, even stronger and lovelier than she, would rise and give light to the worlds again. And a man and a woman, long concealed in a safe place hidden from the ruin, would emerge to drink of the dew and eat of the plants of the field and start the human race again. Some said also that the dead humans in Helheim would be raised to life again, but some said otherwise.

SET, OR SETH, whom the Greeks called Typhon, the nefarious demon of death and evil in Egyptian mythology, is characterised as “a strong god (a-pahuti), whose anger is to be feared.

Heimdallr, from Norse Mythology, is present on the ancient Egyptian circular zodiac and is represented by the Ram; as the watcher and the guardian of the bridge between heaven and earth. His head measures the crossroads of the ecliptic and the vernal equinox as also expressed on the zodiac. Heimdallr was born and raised by the blood of a sacrificial boar which is portrayed on the zodiac at the exact position and right before the bridge (i.e., entrance to Asgard). The Marsian stride starts at the front leg of Capricon marking the nine realms of Asgard thereby - which are unified by the world tree: Yggdrasil. He was born by nine goddesses who turn the mill and was identified as Mars, the hopping one. He is Vindler, the turner, who is the personification of fire who twists and turns the mill.

The first time Kiya met Hapi was over a year ago. On that day, she was at the temple - not to sell pigeons and bread as usual, but to pray and offer sacrifices on the altar of Horus - the God of protection.

He knelt down beside her and slowly rubbed a soft, muculent mix on her bare skin like a sculptor at work. It carried the pleasurable smell of wet earth. With his fingertips, he gently stroked every part of her body; and with every stroke, she groaned softly. She felt the pain that filled every bone in her body, yet she also felt the immense sensation of pleasure and comfort that was so foreign to her

The Egyptian Saviour Osiris was gratefully regarded as the great exemplar of self-sacrifice, in giving his life for others." [190:5] Sir J. G. Wilkinson says of him: "The sufferings and death of Osiris were the great Mystery of the Egyptian religion, and some traces of it are perceptible among other peoples of antiquity. His being the Divine Goodness, and the abstract idea of 'good,' his manifestation upon earth (like a Hindoo god), his death and resurrection, and his office as judge of the dead in a future state, look like the early revelation of a future manifestation of the deity converted into a mythological fable." [190:6]

My name is Zia Rashid.

...the strongholds of Fingerprints of the Gods lie in its analysis of mythology, in its exposure of a great worldwide spiritual system - older than history - encompassing astronomical, architectural, mathematical, and geodetic information, in opening up to wider view the extraordinary nature of ancient Egyptian civilisation & the ancient Egyptians monuments, in the case it makes for an inherited legacy of high knowledge from earlier times, in its investigation of the post-glacial cataclysms that shook the world...and in the correlation of these with myths of universal catastrophe...

Hail Eochaid Ollathair, Father of All! Hail Ruad Ro-fhessa, Lord of Perfect Knowledge! Lord of the Oak Tree, Phallus of the summer saplings, Rough as tree bark is your wisdom, Yet deep as sunken roots. You who can call the seasons with your harp, You are called upon by the common people For your gift of fair weather. You whose club is so great That nine men are required to carry it And even then it plows a great ditch; Whose terrible end slays hundreds at a blow And whose other end can restore them to life; You stake your life on the fertility of the land That others may survive the cold winters. You who build great fortresses, You know what it is to be the sole protection Of those you love, and to go forth In battle to save their lives. —By Cianaodh Óg from Our Pantheon’s Way

There is an old wisdom that those who put themselves first shall become last. The subtext of this wisdom tells us that self-concern is the root of all evil. Self-concern is behind the love of money and all the other deadly sins. Certainly, Cronus’s lust for power drove him to murder his own children, even worse than what his father, Uranus had done.

Prayer, when done right, comes from feeling or ‘the heart.’ It never comes from thought or the words on someone’s lips. A fearful heart, asking for salvation, will receive more to fear. A confident, but humble heart, asking for anything, will receive that thing instantly. And most people are not too confident about instantly, so time (delay) becomes part of the delivery.

Priests believed cats to be holy animals, which were mummified in their death and presented to Bastet as offering.

Bastet is easily one of the most loved goddesses in Egyptian history, and boasts of many temples and shrines to her name.

The Maori mythology of the Haka is ancient Egyptian in origin for that it refers to the Sun god having two wives; the Summer and the Winter maids who obviously act as embodiments of the Solstices. And since the pivotal point in front of the Balance of Giza (i.e. The eastern alignment of Khafre's Pyramid) resembles this dance of war, the crucial movement of the Sun is from the Winter Solstice event upwards to that of the Summer's exactly as the chant's lyrics state and as the circular zodiac of Dendera shows.

Heh is a formless god and is the depiction of infinity and eternity. He is one of the oldest Egyptian gods and is also the god of time and long life.