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Some are intended to give the deceased mystical knowledge in the afterlife, or perhaps to identify them with the gods: Still others protect the deceased from various hostile forces or guide him through the underworld past various obstacles.

Famously, two spells also deal with the judgement of the deceased in the Weighing of the Heart ritual. Such spells as 26—30, and sometimes spells 6 and , relate to the heart and were inscribed on scarabs.

The texts and images of the Book of the Dead were magical as well as religious. Magic was as legitimate an activity as praying to the gods, even when the magic was aimed at controlling the gods themselves.

The act of speaking a ritual formula was an act of creation; [20] there is a sense in which action and speech were one and the same thing.

Hieroglyphic script was held to have been invented by the god Thoth , and the hieroglyphs themselves were powerful.

Written words conveyed the full force of a spell. The spells of the Book of the Dead made use of several magical techniques which can also be seen in other areas of Egyptian life.

A number of spells are for magical amulets , which would protect the deceased from harm. In addition to being represented on a Book of the Dead papyrus, these spells appeared on amulets wound into the wrappings of a mummy.

Other items in direct contact with the body in the tomb, such as headrests, were also considered to have amuletic value. Almost every Book of the Dead was unique, containing a different mixture of spells drawn from the corpus of texts available.

For most of the history of the Book of the Dead there was no defined order or structure. The spells in the Book of the Dead depict Egyptian beliefs about the nature of death and the afterlife.

The Book of the Dead is a vital source of information about Egyptian beliefs in this area. One aspect of death was the disintegration of the various kheperu , or modes of existence.

Mummification served to preserve and transform the physical body into sah , an idealised form with divine aspects; [29] the Book of the Dead contained spells aimed at preserving the body of the deceased, which may have been recited during the process of mummification.

The ka , or life-force, remained in the tomb with the dead body, and required sustenance from offerings of food, water and incense.

In case priests or relatives failed to provide these offerings, Spell ensured the ka was satisfied. It was the ba , depicted as a human-headed bird, which could "go forth by day" from the tomb into the world; spells 61 and 89 acted to preserve it.

An akh was a blessed spirit with magical powers who would dwell among the gods. The nature of the afterlife which the dead person enjoyed is difficult to define, because of the differing traditions within Ancient Egyptian religion.

In the Book of the Dead , the dead were taken into the presence of the god Osiris , who was confined to the subterranean Duat.

There are also spells to enable the ba or akh of the dead to join Ra as he travelled the sky in his sun-barque, and help him fight off Apep.

There are fields, crops, oxen, people and waterways. The deceased person is shown encountering the Great Ennead , a group of gods, as well as his or her own parents.

While the depiction of the Field of Reeds is pleasant and plentiful, it is also clear that manual labour is required.

For this reason burials included a number of statuettes named shabti , or later ushebti. The path to the afterlife as laid out in the Book of the Dead was a difficult one.

The deceased was required to pass a series of gates, caverns and mounds guarded by supernatural creatures. Their names—for instance, "He who lives on snakes" or "He who dances in blood"—are equally grotesque.

These creatures had to be pacified by reciting the appropriate spells included in the Book of the Dead ; once pacified they posed no further threat, and could even extend their protection to the dead person.

If all the obstacles of the Duat could be negotiated, the deceased would be judged in the "Weighing of the Heart" ritual, depicted in Spell The deceased was led by the god Anubis into the presence of Osiris.

There, the dead person swore that he had not committed any sin from a list of 42 sins , [44] reciting a text known as the "Negative Confession".

Maat was often represented by an ostrich feather, the hieroglyphic sign for her name. If the scales balanced, this meant the deceased had led a good life.

Anubis would take them to Osiris and they would find their place in the afterlife, becoming maa-kheru , meaning "vindicated" or "true of voice".

This scene is remarkable not only for its vividness but as one of the few parts of the Book of the Dead with any explicit moral content. The judgment of the dead and the Negative Confession were a representation of the conventional moral code which governed Egyptian society.

For every "I have not John Taylor points out the wording of Spells 30B and suggests a pragmatic approach to morality; by preventing the heart from contradicting him with any inconvenient truths, it seems that the deceased could enter the afterlife even if their life had not been entirely pure.

A Book of the Dead papyrus was produced to order by scribes. They were commissioned by people in preparation for their own funeral, or by the relatives of someone recently deceased.

They were expensive items; one source gives the price of a Book of the Dead scroll as one deben of silver, [51] perhaps half the annual pay of a labourer.

In one case, a Book of the Dead was written on second-hand papyrus. Most owners of the Book of the Dead were evidently part of the social elite; they were initially reserved for the royal family, but later papyri are found in the tombs of scribes, priests and officials.

Towards the beginning of the history of the Book of the Dead , there are roughly 10 copies belonging to men for every one for a woman. The dimensions of a Book of the Dead could vary widely; the longest is 40m long while some are as short as 1m.

The scribes working on Book of the Dead papyri took more care over their work than those working on more mundane texts; care was taken to frame the text within margins, and to avoid writing on the joints between sheets.

Books were often prefabricated in funerary workshops, with spaces being left for the name of the deceased to be written in later. The text of a New Kingdom Book of the Dead was typically written in cursive hieroglyphs , most often from left to right, but also sometimes from right to left.

The hieroglyphs were in columns, which were separated by black lines — a similar arrangement to that used when hieroglyphs were carved on tomb walls or monuments.

Illustrations were put in frames above, below, or between the columns of text. The largest illustrations took up a full page of papyrus.

From the 21st Dynasty onward, more copies of the Book of the Dead are found in hieratic script. The calligraphy is similar to that of other hieratic manuscripts of the New Kingdom; the text is written in horizontal lines across wide columns often the column size corresponds to the size of the papyrus sheets of which a scroll is made up.

Occasionally a hieratic Book of the Dead contains captions in hieroglyphic. The text of a Book of the Dead was written in both black and red ink, regardless of whether it was in hieroglyphic or hieratic script.

Most of the text was in black, with red ink used for the titles of spells, opening and closing sections of spells, the instructions to perform spells correctly in rituals, and also for the names of dangerous creatures such as the demon Apep.

The style and nature of the vignettes used to illustrate a Book of the Dead varies widely. Howard is responsible for Friedrich von Junzt and his Unaussprechlichen Kulten In , Lovecraft wrote a brief pseudo-history of the Necronomicon that was published in , after his death, as " History of the Necronomicon ".

He is described as being from Sanaa in Yemen , and as visiting the ruins of Babylon , the "subterranean secrets" of Memphis and the Empty Quarter of Arabia where he discovered the " nameless city " below Irem.

In his last years, he lived in Damascus , where he wrote Al Azif before his sudden and mysterious death in In subsequent years, Lovecraft wrote, the Azif "gained considerable, though surreptitious circulation amongst the philosophers of the age.

This version "impelled certain experimenters to terrible attempts" before being "suppressed and burnt" in by Patriarch Michael a historical figure who died in After this attempted suppression, the work was "only heard of furtively" until it was translated from Greek into Latin by Olaus Wormius.

Lovecraft gives the date of this edition as , though the real-life Danish scholar Olaus Wormius lived from to Both the Latin and Greek text, the "History" relates, were banned by Pope Gregory IX in , though Latin editions were apparently published in 15th century Germany and 17th century Spain.

A Greek edition was printed in Italy in the first half of the 16th century. The Elizabethan magician John Dee c.

According to Lovecraft, the Arabic version of Al Azif had already disappeared by the time the Greek version was banned in , though he cites "a vague account of a secret copy appearing in San Francisco during the current [20th] century" that "later perished in fire".

According to "History of the Necronomicon " the very act of studying the text is inherently dangerous, as those who attempt to master its arcane knowledge generally meet terrible ends.

However, despite frequent references to the book, Lovecraft was very sparing of details about its appearance and contents. He once wrote that "if anyone were to try to write the Necronomicon , it would disappoint all those who have shuddered at cryptic references to it.

In "The Nameless City" , a rhyming couplet that appears at two points in the story is ascribed to Abdul Alhazred:. The same couplet appears in " The Call of Cthulhu " , where it is identified as a quotation from the Necronomicon.

In his story " History of the Necronomicon ", Lovecraft states that it is rumored that artist R. The Necronomicon is undoubtedly a substantial text, as indicated by its description in The Dunwich Horror The Necronomicon passage in question states:.

Nor is it to be thought Not in the spaces we know, but between them, they walk serene and primal, undimensioned and to us unseen.

Yog-Sothoth knows the gate. Yog-Sothoth is the gate. Yog-Sothoth is the key and guardian of the gate. Past, present, future, all are one in Yog-Sothoth.

He knows where the Old Ones broke through of old, and where They shall break through again. They walk unseen and foul in lonely places where the Words have been spoken and the Rites howled through at their Seasons.

The wind gibbers with Their voices, and the earth mutters with Their consciousness. They bend the forest and crush the city, yet may not forest or city behold the hand that smites.

Kadath in the cold waste hath known Them, and what man knows Kadath? The ice desert of the South and the sunken isles of Ocean hold stones whereon Their seal is engraver, but who hath seen the deep frozen city or the sealed tower long garlanded with seaweed and barnacles?

Great Cthulhu is Their cousin, yet can he spy Them only dimly. As a foulness shall ye know Them. Their hand is at your throats, yet ye see Them not; and Their habitation is even one with your guarded threshold.

Yog-Sothoth is the key to the gate, whereby the spheres meet. Man rules now where They ruled once; They shall soon rule where man rules now. After summer is winter, after winter summer.

They wait patient and potent, for here shall They reign again. Other than the obvious black letter editions, it is commonly portrayed as bound in leather of various types and having metal clasps.

Moreover, editions are sometimes disguised. Many commercially available versions of the book fail to include any of the contents that Lovecraft describes.

The Simon Necronomicon in particular has been criticized for this. Other copies, Lovecraft wrote, were kept by private individuals.

A version is held in Kingsport in " The Festival " The provenance of the copy read by the narrator of " The Nameless City " is unknown; a version is read by the protagonist in "The Hound" Although Lovecraft insisted that the book was pure invention and other writers invented passages from the book for their own works , there are accounts of some people actually believing the Necronomicon to be a real book.

The Vatican also receives requests for this book from those who believe the Vatican Library holds a copy. While the stories surrounding the Necronomicon claim that it is an extremely powerful and dangerous book one that would not be safe just sitting on a shelf, where anyone could read it , it is equally possible that the listing has a much more mundane purpose—several equally fictional versions of the book do exist, and since books such as the Necronomicon are frequently stolen from the shelves the entry may simply be an attempt to prevent theft.

In , Owlswick Press issued an edition of the Necronomicon written in an indecipherable, apparently fictional language known as "Duriac".

The book contains a brief introduction by L. The line between fact and fiction was further blurred in the late s when a book purporting to be a translation of "the real" Necronomicon was published.

This book, by the pseudonymous "Simon," had little connection to the fictional Lovecraft Mythos but instead was based on Sumerian mythology.

It was later dubbed the " Simon Necronomicon ".

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