Myths and Legends of Ancient Egypt - Lewis Spence

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      But is there anything so very extraordinary in these terrible doings? Theosophists and others would lead us to suppose that in the gloomy crypts of Egypt weird spiritistic rites of evocation and magical ceremonies of dark import were gone through. What are the probabilities?

      The Greek Mysteries

      Let us briefly examine the mysteries of ancient Greece. We find that these are for the most part pre-Hellenic, and that the conquered populations of the country adopted the mystic attitude in order to shroud their religious ceremonies from the eyes of the invaders. Now those early populations inherited a strong cultural influence from Egypt. The most important of the mysteries was perhaps the Eleusinian, and we may take it as typical of the Greek religious mysteries as a whole. The chief figures in this mysterious cult were Demeter and Kore (or Persephone) and Pluto. Now these are all deities of the underworld and, like many other gods of Hades all the world over, they are also deities possessing an agricultural significance. Much remains uncertain regarding the actual ritual in the hall of the Mystæ, but one thing is certain, and that is that the ceremony was in the nature of a religious drama or Passion-play, in which were enacted the adventures of Demeter and Kore, symbolic of the growth of the corn. Hippolytus also stated that a cornstalk was shown to the worshippers at the Eleusinian mysteries. The whole mystery then resolved itself into symbolism of the growth of the crops. Exactly how the ceremonies in connexion with this came to have the appearance of those usually associated with a savage secret society is not quite clear. The blackfellows of Australia and certain North American Indian tribes possess societies and celebrations almost identical with that of Eleusis, but why they should be wrapped in such mystery it is difficult to understand. It has been stated that the mystic setting of these cults arose in many cases from the dread of the under-world and the miasma which emanated therefrom, and which necessitated a ritual purification; but this does not seem at all explanatory. In the Popul Vuh of Central America we find what appear to be the doings of a secret society among the deities of the underworld, some of whom are gods of growth.

      We seem to see some such society outlined in the Book of the Dead, which perhaps dates from prehistoric times, and is most probably the remains of a Neolithic cult connected with the phenomena of growth. In its pages we find password and countersign and all the magical material necessary to the existence of such a secret cult as we have been speaking of. We may take it, then, that the Egyptian mysteries strongly resembled those of Greece, that their ritual was of a character similar to that of the Book of the Dead, and that it perhaps possessed an origin in common with that work. These mystical associations would appear to be all of Neolithic origin, and to possess an agricultural basis for the most part. When, therefore, we see in Herodotus and elsewhere a strong disposition to preserve these mysteries intact we find ourselves once more face to face with the original question—Why are they mysteries?

      In the first place, all growth is mysterious, and primitive man probably regarded it as in some manner magical. Secondly, it is noticeable that nearly all these mysteries, in the old world at least, took place underground, in darkness, and that there was enacted the symbolism of the growth of corn, probably for the purpose of inciting the powers of growth to greater activity by dint of sympathetic magic.

      The Egyptian Temple

      The earliest form of temple was a mere hut of plaited wickerwork, serving as a shrine for the symbols of the god; the altar but a mat of reeds. The earliest temples evolve from a wall built round the name-stelæ, which was afterward roofed in. With the advent of the New Empire the temple-building became of a much more complicated character, though the essential plan from the earliest period to the latest remained practically unchanged. The simplest form was a surrounding wall, the pylon or entrance gateway with flanking towers, before which were generally placed two colossal statues of the king and two obelisks, then the innermost sanctuary, the naos, which held the divine symbols. This was elaborated by various additions, such as three pylons, divided by three avenues of sphinxes, then columned courts, and a hypostyle or columnar hall. In this way many of the Egyptian kings enlarged the buildings of their predecessors.

      These temples stood in the midst of populous cities, the huge surrounding wall shutting out the noise and bustle of the narrow streets. Leading up to the great pylon, the chief gateway, was a broad road carried right through the inhabited quarter and guarded on each side by rows of lions, rams, or other sacred animals. In front of the gateway were two obelisks, likewise statues of the king who founded the temple, as protector of the sanctuary. On either side of the entrance stood a high tower, square in shape, with the sides sloping inward. These were of course originally designed for defensive purposes, and the passage through the pylon could thus be successfully barred against all foes, while from postern-gates in the wall sorties could be made. Tall masts were fixed in sockets at the foot of the pylon. From these gaily coloured streamers waved to keep afar all menace of evil, as did the symbol of the sun, the Winged Disk, over the great doors. These were often made of wood, a valuable material in Egypt, and covered with a sheathing of glittering gold. The outer walls were decorated with brightly coloured reliefs and inscriptions, depicting the deeds of the founder, for the temple was as much a personal monument as a shrine of the tutelary deity. Inside the pylon was a great court, open to the sky, usually only colonnaded on either side, but in larger temples, as that of Karnak, a series of columns ran the length of the centre. Here the great festivals were held, in which a large number of citizens had the right to take part. By a low doorway from this the hypostyle was entered, the windows of which were near the roof, so that the light was dim, while the sanctuary was in complete and profound darkness.

      The Holy Place

      This, the Holy Place, was the chief room of the temple. Here stood the naos, a box rectangular in shape and open in front, often with a latticework door. This served as the receptacle of the divine symbols or in some cases as the cage of the sacred animal. On either side of the sanctuary were dark chambers, used as the store-rooms for the sacred vestments, the processional standards and sacred barque, the temple furniture, and so on. It is to be noted that as the progression was from the blazing light of the first great court to the complete darkness of the Holy of Holies, so the roofs grew less lofty. The inside walls and columns were decorated with reliefs in brilliant colours depicting the rites and worship connected with the presiding deity in ceremonial order.

      Surrounding the temple was the temenos, enveloped by a wall in which were situated other and smaller temples, with groves of sacred trees and birds, lakes on which the sacred barque floated, the dwellings of the priests, and sometimes palaces amid the gardens. Outside again were sacred ways that led in different directions, some branching from temple to temple, through cities, villages, and fields, while at the side steps sloped down to the Nile, where boats were anchored. Along these ways went the sacred processions, bearing the images of the gods; by them came the monarch in royal state to make offerings to the gods; and here the dead were carried to their tombs across the Nile.

      Greece has frequently been alluded to as the 'Land of Temples.' The appellation might with greater justice be applied to Egypt, where fanes of Cyclopean magnitude rose in every nome ere yet Hellas could boast knowledge of the mason's art. Still they stand, those giant shrines, well-nigh as perfect as when fresh from the chisels of the old hierophants who shaped and designed them. And so long as a fostering love of the past dwells in the heart of man so long shall they remain.

      [2] Sebek.

      Osiris—Photo W.A. Mansell & Co.

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      Osiris

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