MICHAEL POE ANCIENT EGYPTIAN METAPHYSICS Many Requests For
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JIIA.Eu Journal of Intercultural and Interdisciplinary Archaeology Isis-Thermouthis and the Anguiform Deities in Egypt: a Cultural and Semantic Evolution M
JIIA.eu Journal of Intercultural and Interdisciplinary Archaeology Isis-Thermouthis and the anguiform deities in Egypt: a cultural and semantic evolution M. Franci CAMNES, Firenze The snake, for its primeval power and chthonic life, has always had a central but ambivalent role, in Egypt as well as in the Ancient Near Eastern world. Here the semantic field of the serpent is mainly negative: just for example, the god Mot, the deification of the death, can also appear as a serpent;1 the world äl-mā-yuḏkar “snake” in the semitic dialect of Sana means “the one who is not named” is a clear evidence of a linguistic taboo; and the Common Semitic word NAḤAŠ “snake” was related with the meaning “prophecy” and “exorcist formula”.2 From the reading of the Egyptian documents and representations on the tomb and temple’s walls it is clear that in Egypt the symbolic significance of the snake figure was intimately considered powerful and productive during all the Egyptian history. It was used to express different and wide meanings – political, religious, philosophical – because in Egypt the snake could be also seen, at the same time, as an evil and dangerous entity (Apophis above all), as a protective deity (the goddess Wadjet, for example): one can easily find in the Pyramid Texts a long list of serpents, as evil entity e.g. the hpnwi-snake, as protective entity, e.g. the ḏnn-serpent, a clear evidence of an interesting quantity of more ancient myths that merged in the Corpus of the Pyramid Texts. The example of the snake-god Nehebkaw is paradigmatic: in the Utterance 229 the god Atum pressing down on the vertebrae of this serpent have stilled the turmoil in Heliopolis; but in the utterance 510 the deceased king is identified with Nehebkaw.3 A double meaning that had been created, doubtless, by the natural relationship of the snake with the creative process, generating a continuous contradiction, for a modern point of view. -
Wiccan Handbook
DPC DRAGON PALM CIRCLE Wiccan Handbook WiccanHandbook DRAGON PALM CIRCLE Wiccan Handbook Dragon Palm Circle Sevierville, TN 4th Edition July 2002 Compiled by Dreamweaver 1st edition January 1998 2nd edition March 2000 3rd edition August 2001 Table of Contents Introduction i Day 17 Lunar Magick 17 C H A P T E R 1 Lunar Cycles 17 Wiccan Rede 1 Lunar Month 18 Blessing for a Child 2 Witches Rune 2 Witches Creed 2 Charge of the Goddess 3 C H A P T E R 2 Signs 5 Number, planets, and signs 5 Number system for letters 6 C H A P T E R 3 Wiccan Rede 7 Three Fold Law 7 Wiccan Code of Chivalry 7 C H A P T E R 4 Calling Quarters 10 C H A P T E R 5 Colors 12 C H A P T E R 6 Herbs, stones, and colors 13 Eleminals 16 C H A P T E R 7 Introduction This is a book of information that include laws, poems, and what different things mean. This book is not a book to learn Wicca, but a handbook that contains some things that can be useful in putting together spells and rituals. The Wiccan Handbook This handbook has been put together to give you information you may need in forming rituals and participating in rituals. This will not include everything, but enough to get you started. Note about edition: Items are added and taken away depending upon the usefulness of the items. This is a good book to have in Circles for the Rede and Rune. -
The King of the Witches: the World of Alex Sanders
This torrent represents a w o rk of LOVE All texts so far gathered, as 'well as all future gatherings aim at e xposing interested students to occ u lt infonnation. Future re leases w ill include submissions fro m users like YOU. For some of us, the time has come to mobilize. If yo u h ave an interest in assisting in this process - w e all h ave strengths to b rin g to the tab le - please email occult.digital.mobilizationiGgmail.com Complacency serves the old gods, By the same author .itcbt~ The Grasshopper Boy i{iug of tbt : Zoo Without Bars The World of Alex Sanders JUNE JOHNS With photographs by JACK SMITH PETER DAVIES LONDON © 1969 byJuneJohns <toutents First published .1969 page Glossary viii Introduction I Chapters I. The Young Initiate 10 2. A Magic Childhood IS 3. The Haunted Hill 23 4. Call Down the Spirits 3° 5. Bewitched 36 6. The Devil to Pay 45 illustrations © 1969 byJack Smith 7. Time ofAtonement 53 8. In. Search ofAngels 64 9. The Unwelcome Apprentice 72 10. Relic of the Past 80 II. Witch Wedding 88 12. King ofthe Witches 96 13. Toil and Trouble l°S 14. Betrayal in the Coven II4 An Interview withAlex Sanders 120 Appendices A. The Book of Shadows 13° B. The Witches' Calendar 142 C. Initiation Ceremonies 145 D. The Magic ofMatter 152 Made and printed in Great Britain by Morrison and Gibb Limited; London and Edinburgh 3JIlustrations The illustrations appear between pages 56-57 and 72-73. Alex Sanders with his crystal Maxine blesses her athame Tarot cards The witches' circle . -
The Deity Shemaa-Nefer “Sma Nfr” at Esna Temple Mofida El-Weshahy1 and Noha Mohamed Hafez2 Faculty of Tourism and Hotels, Suez Canal University
Mofida El-Weshahy and Noha Hafez (JAAUTH), Vol. 17 No. 2, 2019, pp. 15-31. The Deity Shemaa-nefer “Sma nfr” at Esna Temple Mofida El-Weshahy1 and Noha Mohamed Hafez2 Faculty of Tourism and Hotels, Suez Canal University. ARTICLE INFO Abstract Shemaa-nefer is the crocodile god who was mentioned at Esna temple Keywords: as “the son of goddess Neith”. His name means “the long and the good Shemaa-nefer; god” which agrees with the main figure of the god more than “the crocodile; Esna; Southern beautiful”. Shemaa-nefer was not only sacred at Upper Egypt. Neith. His name was found among the deities’ names “Semenouphis, Samanouphis” in some of the Greek texts from the 2nd and 3rd centuries. (JAAUTH) His name appeared on one of the papyrus which was found at Vol. 17, No. 2, Elephantine. Another papyrus found at Esna mentioned the deity’s (2019), name, but it is now in Chicago1. This research aims to; (1) shed light on PP. 15 -31. the deity Shemaa-nefer; (2) study the role of Shemaa-nefer at Esna; (3) study the relationship of Shemaa-nefer with the other deities. Introduction Esna tA-snj 2, iwnjt 3 is located on the West bank of the Nile, 64 km south of Luxor. This site was an important cultural center during the Ptolemaic period4. The temple of Esna dates to Ptolemaic and Roman times and was one of the last Egyptian temples erected in Egypt. It was dedicated to god Khnum along with other deities such as Mehet5, Menhyt6, Tefnut7, Sekhmet8, Nebtu, Neith9 and Heka10,11.The temple was built during the reign of Ptolemy VI Philometor and completed under Decius whose inscriptions included the last hieroglyphs sculpted in ancient Egypt12. -
Statuette of a Snake-Legged Anubis in the National Museum, Warsaw 214 ALEKSANDRA MAJEWSKA
INSTITUT DES CULTURES MÉDITERRANÉENNES ET ORIENTALES DE L’ACADÉMIE POLONAISE DES SCIENCES ÉTUDES et TRAVAUX XXV 2012 ALEKSANDRA MAJEWSKA Statuette of a Snake-legged Anubis in the National Museum, Warsaw 214 ALEKSANDRA MAJEWSKA Among the images of Egyptian gods on display in the gallery of Ancient Egyptian Art at the National Museum in Warsaw there is an exceptional fi gurine of bronze with a jackal’s head, torso of a man and serpentine coils instead of legs. It is undoubtedly a representa- tion of Anubis, but suffi ciently unique to merit a broader commentary than the brief notes published on its subject so far.1 The iconographic and stylistic distinctness with regard to canonical representations of Anubis in Egyptian art indicate a background in the artistic production of an age in which a native tradition coexisted with Graeco-Roman culture. The Anubis statuette from the Warsaw National Museum is of composite form.2 It is made up of three independent elements: jackal’s head, male upper body and serpentine coils (Figs 1–4). The relatively small head features a long narrow snout. Set in deep sockets, the large slanting eyes with marked pupils look attentively to the front. Curly wisps of fur encircle the snout and neck, joining the tripartite wig to form a hairdo that skillfully softens the animality of the head. Preserved between the fl eshy ears of natural shape is the base of the broken crown. The harmoniously built male torso is characterized by ample pectoral muscles passing into a narrowed waist and softly modeled, slightly rounded abdominal muscles with a distinctly sunk navel. -
Religion and the Return of Magic: Wicca As Esoteric Spirituality
RELIGION AND THE RETURN OF MAGIC: WICCA AS ESOTERIC SPIRITUALITY A thesis submitted for the degree of PhD March 2000 Joanne Elizabeth Pearson, B.A. (Hons.) ProQuest Number: 11003543 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003543 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 AUTHOR’S DECLARATION The thesis presented is entirely my own work, and has not been previously presented for the award of a higher degree elsewhere. The views expressed here are those of the author and not of Lancaster University. Joanne Elizabeth Pearson. RELIGION AND THE RETURN OF MAGIC: WICCA AS ESOTERIC SPIRITUALITY CONTENTS DIAGRAMS AND ILLUSTRATIONS viii ACKNOWLEDGEMENTS ix ABSTRACT xi INTRODUCTION: RELIGION AND THE RETURN OF MAGIC 1 CATEGORISING WICCA 1 The Sociology of the Occult 3 The New Age Movement 5 New Religious Movements and ‘Revived’ Religion 6 Nature Religion 8 MAGIC AND RELIGION 9 A Brief Outline of the Debate 9 Religion and the Decline o f Magic? 12 ESOTERICISM 16 Academic Understandings of -
Complete Book of Witchcraft Was Born When One of the Cavemen Threw on a Skin and Antlered Mask and Played the Part of the Hunting God, Directing the Attack
INTRODUCTION Witchcraft is not merely legendary; it was, and is, real. It is not extinct; it is alive and prospering. Since the last laws against Witchcraft were repealed (as recently as the 1950s), Witches have been able to come out into the open and show themselves for what they are. And what are they? They are intelligent, community-conscious, thoughtful men and women of TODAY. Witchcraft is not a step backwards; a retreat into a more superstition-filled time. Far from it. It is a step forward. Witchcraft is a religion far more relevant to the times than the vast majority of the established churches. It is the acceptance of personal and social responsibility. It is acknowledgement of a holistic universe and a means towards a raising of consciousness. Equal rights; feminism; ecology; attunement; brotherly/sisterly love; planetary care—these are all part and parcel of Witchcraft, the old yet new religion. The above is certainly not what the average person thinks of in relation to "Witchcraft". No; the misconceptions are deeply ingrained, from centuries of propaganda. How and why these misconceptions came about will be examined later. With the spreading news of Witchcraft—what it is; its relevance in the world today—comes "The Seeker". If there is this alternative to the conventional religions, this modern, forward-looking approach to life known as "Witchcraft", then how does one become a part of it? There, for many, is the snag. General information on the Old Religion—valid information, from the Witches themselves—is available, but entry into the order is not. -
Yasser Abd El Tawab Nour (JAAUTH), Vol
Yasser Abd El Tawab Nour (JAAUTH), Vol. 17 No. 1, 2019, pp. 16-25. The Effect of the Legend of Osiris on the Behaviour of the King Ptolemy Philadelphus Yasser Abd El Tawab Nour El Hady El Sherif the Tour Guidance Department High Institute of Specific Studies, El-Haram, El-Giza ARTICLE INFO Abstract Keywords: It is clear that, king Ptolemy "Philadelphus" was affected by the legend king Ptolemy of Osiris and what had accured to the four brothers, Osiris "Wsir", Isis "Philadelphus"; "Ast", Seth "stX", and Nephthys "Nbt-Hwt", and specially what had legend of Osiris; happened to god Osiris and his beloved sister-wife Isis. Therefore, this queen Arsinoe II. effect appeared clearly in the behaviour and deeds of king Ptolemy II “Philadelphus”as manifested in their cases. Firstly in honour of both Osiris and Isis he built the temple of Osiris in the city of Pithom and the (JAAUTH) great temple of Isis at the Island of Philae. Secondly by his marriage to Vol. 17, No. 1, his beloved sister-wife queen Arsinoe II as the case of Osiris and Isis in (2019), the legend. So "Philadelphus" is considered the first Ptolemaic king pp. 16-25 who married his sister. Thirdly, by honouring and deifying both of his dead father Ptolemy I "Soteros" and his dead mother queen Berenike I and then his deifying his beloved sister-wife queen Arsinoe II. Imitating Isis when she honoured her dead husband Osiris and Horus "Hr" when he honoured his dead father Osiris and his beloved mother Isis. Thereon both king Ptolemy II “Philadelphus” and his beloved sister-wife queen “Arsinoe II” become representing god Osiris and goddess Isis on the earth. -
The Story of Osiris and Isis
The Story of Osiris and Isis A long time ago, the god Osiris came to Egypt to rule as king. He brought the Egyptian people new laws and taught them how to farm well and live peacefully in their villages. Osiris was a very wise and powerful king, and was loved and respected by the Egyptian people. Unfortunately, his brother Seth, was very jealous of his brother’s power in Egypt, and began to form a plan to kill Osiris and take over his throne. Late one night, Seth tiptoed into Osiris’s bedroom. Careful to not wake up Osiris, or his queen, the goddess, Isis, Seth measured Osiris’s body from top to bottom and from side to side. The next morning, Seth took the measurements to a carpenter who made a beautiful wooden chest decorated with bright paint and sheets of gold. That night, Seth threw a huge party, and invited Osiris as the guest of honor. The night was spent feasting, singing, dancing, and playing games. For the final game, Seth brought out the huge wooden chest. He announced that the first person to fit perfectly into the chest would be allowed to keep it. One by one, each of Seth’s friends climbed into the chest. Unsurprisingly, no one was able to fit into the chest, which was made perfectly for Osiris. Finally, Seth and his friends convinced Osiris to try his luck with the chest. Osiris stepped into the chest and lay down. The chest fit him perfectly, just as Seth had planned. Just as Osiris lay down, Seth slammed the lid and sealed it shut. -
Blood, Crocodiles, Frogs and Gnats
October 17, 2012, Rebecca Jones Blood, Crocodiles, Frogs and Gnats Exodus 7:6–8:19 I AM gave this “sign” to Moses Exodus 3:12 "I will be with you, and this shall be the sign for you, that I have sent you: when you have brought the people out of Egypt, you shall serve God on this mountain." Hold that thought! I. A Croc on the Loose: Setting the Scene A. Which Pharaoh? Perhaps Ramses II (Dynasty 19 – about the 13th century BC). Perhaps Amenhotep II (15th century BC, with Thutmoses III reigning for most of Moses’ life). One scholar feels that the Egyptian timeline is erroneous. We don’t need to know in order to benefit from the truth of the Scriptures. The biblical texts were written by someone familiar with Egyptian beliefs and habits. Pharaoh was known as the king with a “strong arm.” Now it will be proven that the “arm” of the I AM will save.1 I AM begins the one-on-one struggle to the death – of Pharaoh’s firstborn, or I AM’s firstborn. B. Snake or Crocodile? Aaron and Moses throw down the staff and I AM turns it into a “monster of the sea,” perhaps a crocodile (tannin, not naḥaš, as in chapter 4:3). The magicians are able to do the same, but Aaron’s serpent swallows2 their serpents. Some scholars think that a snake is meant by both words, but that the text is reminding us of the Genesis references, in which naḥaš is used (3:1) for the serpent that tempted Eve, whereas tannin is used (1:21) for the sea creatures. -
Principi Della Wicca
1 Disegno di copertina: Jako 77 Grafica di copertina e impaginazione di Daniele Massarotto Artangelo www.unclonable.it - [email protected] Proprietà letteraria riservata 2011 Stampato in Marzo 2011 per Circolo dei Trivi da Global Print Srl - Gorgonzola (Mi) 2 A Voi, con perfetto amore e perfetta fiducia. A Voi, che avete spalancato davanti ai nostri occhi la Porta che non ha chiave, la Porta dei Sogni. A Voi, il cui battito pulsa nel profondo del nostro cuore fin dall’infanzia. A Voi, che ci avete introdotto sui Sentieri magici dell’Arte, insegnandoci che ogni caduta è preziosa, perché ci insegna a rialzarci più saggi. A Voi, che ci avete insegnato e ci insegnate a riconoscervi, conoscervi ed amarvi. A Voi, che da sempre accompagnate i nostri passi, silenziosi, ma costantemente presenti. A Voi, che da sempre ci parlate attraverso il canto melodioso del vento, il bagliore di un rag- gio di sole, il gorgoglio di ruscello e il bocciolo che dischiude dolcemente i suoi petali. A Voi, che in silenzio riempite i vuoti lasciati dalle nostre domande, come nessuno ha mai saputo fare. A te Dea, Signora della notte, che avvolgi d’impalpabile luce argentea le nostre vite e i nostri incanti. A te, che ci meravigli e affascini nelle notti di luna piena. A te, che ci insegni i segreti della Stregoneria e i suoi misteri più profondi, rispettando i nostri passi e i nostri tempi. A te, spensierata Fanciulla, grande Madre, saggia e potente Anziana, che ci continui ad affascinare e stregare con la tua bellezza e il tuo mistero. -
Perceptions of the Serpent in the Ancient Near East: Its Bronze Age Role in Apotropaic Magic, Healing and Protection
PERCEPTIONS OF THE SERPENT IN THE ANCIENT NEAR EAST: ITS BRONZE AGE ROLE IN APOTROPAIC MAGIC, HEALING AND PROTECTION by WENDY REBECCA JENNIFER GOLDING submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject ANCIENT NEAR EASTERN STUDIES at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR M LE ROUX November 2013 Snake I am The Beginning and the End, The Protector and the Healer, The Primordial Creator, Wisdom, all-knowing, Duality, Life, yet the terror in the darkness. I am Creation and Chaos, The water and the fire. I am all of this, I am Snake. I rise with the lotus From muddy concepts of Nun. I am the protector of kings And the fiery eye of Ra. I am the fiery one, The dark one, Leviathan Above and below, The all-encompassing ouroboros, I am Snake. (Wendy Golding 2012) ii SUMMARY In this dissertation I examine the role played by the ancient Near Eastern serpent in apotropaic and prophylactic magic. Within this realm the serpent appears in roles in healing and protection where magic is often employed. The possibility of positive and negative roles is investigated. The study is confined to the Bronze Age in ancient Egypt, Mesopotamia and Syria-Palestine. The serpents, serpent deities and deities with ophidian aspects and associations are described. By examining these serpents and deities and their roles it is possible to incorporate a comparative element into his study on an intra- and inter- regional basis. In order to accumulate information for this study I have utilised textual and pictorial evidence, as well as artefacts (such as jewellery, pottery and other amulets) bearing serpent motifs.