The practical use of these spells or magical invocations is more or less identical to that of the better-known Graeco Egyptian papyrus called the ‘Bornless Ritual’. That use is defined poetically as the ‘Knowledge and Conversation of the Holy Guardian Angel’. This work is also to prepare us for the ultimate crossing or passing through the duat, which is the overcoming of physical death in the miracle of the soul’s resurrection and transcendence.
In our desire to understand the wisdom of Egypt, we tend to draw Egypt into the sphere of our modern mentality. But our effort will bear no fruit unless we pierce that sphere and try to draw nearer to Egypt.
The Egyptian Book of the Dead is more correctly ‘The Book of Coming Forth into Light’. According to Bika Reed, ‘The Book of the Dead Man’ was a name coined by tomb robbers. Egyptologists have used the term ever since, for reasons best known to themselves. They are entirely unable to translate Egyptian sacred texts but will not admit the fact, or if they do, they will deny that anyone else can do it either. Most commonly, they will say the confusion in their literal word-by-word translations is the fault of the ‘primitive’ ancient Egyptians, who did not know what they were doing. They assume that the language of hieroglyphics could only be used to convey simple ideas. On the contrary, the ancient Egyptian language includes poetry and prose. The meaning may be construed literally, when that is required, or metaphorically.
This article is abridged from the introduction to ‘Liber 364 vel Lux Occulta’, from the book, Babalon Unveiled! Thelemic Monographs.
There are three levels of the mysteries.
1. The literal or simple sense, where concrete meaning is applied to the symbol.
2. The allegorical or symbolic sense, which requires study and learning to master.
3. The gnostic sense, which requires meditation. The symbol is followed back to its source with all other symbols, through reversal of the consciousness current. Analogous thought is a means of approaching direct knowledge.
Spells for Eternity
The E.A. Wallis Budge translation, famously The Egyptian Book of the Dead or Papyrus of Ani (1895), was first published seven years after the British Museum acquired the 18th Dynasty papyrus that makes up a large part of the text. Early Egyptologists assumed the name ‘Ani’ to be that of an ecclesiastical dignitary of the priesthood of Aunnu (Heliopolis) that produced the funerary papyrus. The name actually means ‘anyone’—it is clearly in the plural form! The idea, as with any oath or magical spell, is to insert our own name in the place of ‘N’ if we are going to use it for sacred or magical purposes. The great usefulness of the Budge presentation is that it is threefold. The top line is a transliteration into English with some phonetic keys. The middle line is a beautiful copy of the hieroglyphic text. The lower line renders Budge’s attempt to make some sense of it all through word-by-word translation. This has enabled our prose translation and commentary on three selected spells. The difficulty in translation becomes apparent when we consider there are countless ways to spell one word in Egyptian; even the same spelling of a word may convey as many shades of meaning.
It may seem strange that some short sentences in the papyrus often have long explanations in the commentary. However, those ‘short sentences’ relate to definite mythological themes and yield sense only through them. To appreciate the development of the argument and therefore the depth of its conclusion, one must understand how these mythological themes relate to the papyrus. It is through such long explanations that we arrive at a consistent interpretation; they therefore prove themselves necessary.
Bika Reed, in producing the only initiated translation of a complete Egyptian sacred text to date, has shed a great deal of light on what has previously been a very dark area. She has opened the ways for us. Her method is to take the literal Egyptological rendition and compare it side by side with all the variations of meaning given in the hieroglyphic dictionary. By applying her knowledge of the hieroglyphics and deep understanding of the mythological basis—without which, nothing can be achieved as these are profoundly sacred texts—Reed was able to produce the first meaningful translation of Egyptian prose. The text cannot be interpreted on a word by word or even a line-by-line basis. It is only when the context of the whole is taken into consideration that a small light begins to glow in the night of obscurity—a light that grows in intensity if the person is receptive to the initiatic ancient Egyptian current. Conditions being suitable, previously unknown faculties are awakened in the mind of the translator.
Spells 80, 78 and 84 Translated
We began this present work with the spell numbered 80 by Budge, ‘Making the transformation into the God who giveth Light in the Darkness’. It later transpired that Spell 80 was the correct place to begin such a work—which seems obvious now but it certainly was not when we made the first draft some fifteen years ago, not as a linguistic exercise but for practical use. We agree with Bika Reed that such texts had more than one use, and that originally at least—for they were edited and recopied over thousands of years—their use was initiatic. The Papyrus of Ani was produced, according to Budge, during the second half of the 18th Dynasty, a relatively late time in the long history of the ancient Egyptian civilisation. Scribes and others entitled to full funeral rites would believe in the power of magical words and spells to secure a passage in the afterlife. Thus the papyrus was treated much in the way of a talisman. The use of such texts as initiatory devices involves memorising the words and images. Thus in speaking forth the words, the appropriate images are at the same time invoked. In fact, with much practice the visualisation technique is not required as such, for the words automatically summon the images and the powers associated with them.
Spells of the Papyrus of Ani
By the time the Papyrus of Ani was created, the popular cult of Osiris had become dominant over all of Egypt; the far more ancient Setian gnosis was preserved through secret orders of priests such as the cult of Mentu at Thebes, from whence the Stele of Revealing. The gnosis is preserved throughout the texts of the Papyrus of Ani, however, as with the Pyramid Texts. Most persons wished only to continue a dreaming life in the underworld. This was achieved through familial offerings and observances made to the Ka double at the mastaba tomb. This life in the underworld was seen as being much like the life lived on earth, though in an idealised form, consisting of rest, pleasure and recreation. Indeed, the underworld, Yetzirah, is a kind of mirror reflection or image of the terrestrial life, Assiah. In the (Egyptian) Book of the Law, Liber AL vel Legis, I: 49, the duality is likened to Osiris and Isis who are “not of me” (i.e., Nuit-Hadit), existing in symbiotic relationship.
Abrogate are all rituals, all ordeals, all words and signs. Ra-Hoor-Khuit hath taken his seat in the East at the Equinox of the Gods; and let Asar be with Isa, who also are one. But they are not of me. Let Asar be the adorant, Isa the sufferer; Hoor in his secret name and splendour is the Lord initiating.
The spelling of the name of Horus, ‘Hoor’, occurs in this passage uniquely. Hoor has the numerical value of 217, equal to Set (Σηθ). This is the “secret name and splendour” of Horus in the form of Mentu or Set, the Lord of Initiation. Aiwass, the intelligence that communicated the Book of the Law, would have it known that he was revealing a secret doctrine known only to a few—and not the doctrine of the Osirians. Set and Horus are a dual form of Nuit’s only begotten child—for she requires no paternal intervention to manifest her star or ‘son’. Hadit is Nuit’s power of manifestation or self-realisation. The key to this secret doctrine becomes clear if we consider the nature of Set, whose number is 217.
Set … embodies the principles of dividing, cleaving, breaking, slaying and reversing. Set is the means of ingress and egress between the worlds, and of passing backwards and forwards between time and eternity. Set is the ‘slayer of the real’ who breaks the circle of infinity to beget creation. Conversely, Set moves through creation as the destroyer perpetually annihilating the forms he created out of chaos. His dwelling place is the desert, the burning and transforming expanse of the Abyss in which knowledge and the contents of mind turn to dust. Set is the double; he is always where consciousness, embodied by his twin brother Horus, is not. Thus he drives consciousness forwards—which may mean backwards, depending on one’s point of view!
At Thebes in Upper Egypt, the dual form of Horus and Set was personified in one figure as Mentu. The principal cult of Thebes was that of Amoun, Mut and Khonsu—known as the Theban triad. The local deity Mentu, who appeared as a warrior god in the form of Horus, or as a lunar god, hawk-headed, at other times the serpent Apep, continued to be honoured. The ancient Egyptians never adopted monotheism save for the brief twenty-year reign of the profane ruler Akhenaten, who forcibly imposed his belief on them.
The Osirians hoped to cheat the second death by the ineffable power of words and spells, the sacred rites. By that time this included animal sacrifices, expensive unguents, professional mourners and two or more officiating priests to perform the opening of the mouth ceremony at the door of the tomb. The ‘second death’, or dispersion of the astral body following physical death, could then be averted and the Ka of the deceased live on as Osiris, coming and going as he pleased. His domain, though, like that of Osiris, was strictly limited to the underworld. If the offerings of flowers, cakes, meat and beer were discontinued, the Ka became an astral vampire.
Initiates, however, learn the secret power of rectification or VITRIOL. They have overcome, while in their life on earth, the state of thraldom where the magnetic power of the underworld moves them in any given direction. The power is thereby made subject to the True Will (Thelema). It is the Holy Guardian Angel, not the person, who works the magick of transmutation on the soul whereby the twin serpents of kundalini are woven into the eternal starlight of Nuit.
The three spells we have translated, Spell 80, 78 and 84, are all located, mythically speaking at least, in the North of Egypt. The North was the region of the watery lakes and canals of the Delta. The Delta uniquely symbolises the place of birth of all things from the primordial abyss. At the same time it symbolises the second birth of Horus, as all-transcendent spiritualised soul, and his flight to the immeasurable regions. The spells are concerned with the ultimate resurrection of the soul to an immortal life in ‘heaven’ or eternity.
1. Rebel in the Soul, Bika Reed, pp. 89. The author’s initiated translation and commentary on the Berlin Papyrus 3024, assisted by Lucy Lamy [Inner Traditions International, 1978].
2. Pp. 89 [ibid].
3. The Egyptian Book of the Dead, E.A. Wallis Budge.
4. Rebel in the Soul, pp. 105 [ibid].
5. 1500–1400 BCE.
6. See The Flaming Sword Sepher Sephiroth, Volume One [Ordo Astri].
7. Visitae Interiora Terrae Rectificando Invenies Occultum Lapidum.
8. Kundalini is a Sanskrit term for the dual operation of the life force that carries consciousness. It is also a name of the divine feminine power or Shakti. According to the Tantras, when Kundalini sleeps she weaves the dream of world appearance. When she awakens the illusion is destroyed and Reality obtains.
© Oliver St. John 2018
Bennu Bird and Egyptian Wings drawings by Jeff Dahl
Hall of Judgement from Book of the Dead, courtesy of British Museum
This article is abridged from the introduction to ‘Liber 364 vel Lux Occulta’ from the book, Babalon Unveiled! Thelemic Monographs [Ordo Astri].
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