The Religions of Ancient Egypt and Babylonia. A. H. Sayce

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СКАЧАТЬ borne on the flagstaffs of the prehistoric boats, like the emblems on the standards of the several nomes, must have been the animals or objects in which the clans saw the divine powers which held them together, and from which, it may be, they were derived. The subsequent history of animal worship in Egypt is a continuous drifting away from this primitive totemism. The inanimate objects first fall into the background; then, under the influence of a higher form of religion, the animals become symbols, and assume semi-human shapes, and finally one only out of a species is selected to become the incarnation of a god. But the god of whom he is the incarnation is a very different god from the divinity that was believed to reside in the original fetish. It is a god in the Asiatic and not in the African sense, a god [pg 117] whose nature is spiritual and free from the limitations of our earthly existence, so that he can enter at any moment into whatsoever form he desires. The old fetishes survived, indeed, but it was as amulets and charms; and to these the multitude transferred its faith as the State religion became more and more unintelligible to it. The magic lock of hair and image of a serpent preserved at Saft el-Henna, and said by the priests to have belonged to the sun-god, had doubtless come down from the days of fetishism.

      It has often been asserted that besides the bull or the ram or the crocodile, there were other creatures of a composite or fabulous character which were also accounted sacred by the Egyptians. It is true that the sacred animal and symbol of Set seems to be of this nature. His forked tail and ass-like ears make it difficult to believe that any existing beast ever served for his portrait. But the sphinx, in whom the men of the Eighteenth Dynasty saw the image of Harmakhis, the rising sun, or the phœnix in whom the sun-god of Heliopolis was incarnated, belongs to a different category. They are not sacred animals in the sense in which Apis and Mnevis were so.

      The sphinx, like the symbol of Set, is one of those composite creatures which meet us from time to time in Egyptian art. It has been said that such composite creatures were as real to the Egyptian as the cattle and sheep he tended in the fields; that he was quite as much prepared to meet with them in the desert, as the ancient Greek would have been to meet with a satyr in the woods or a Highlander with a kelpie by the waterside. Very possibly that was the case; it will not, however, explain their origin, or the forms that were assigned to them. Why, for instance, should the sphinx of Giza be in the form of a lion with a human head?

      [pg 118]

      Once more we must look to Asia for an explanation. The sphinx of Giza was the guardian of the tombs of the dead; it protected them from the spiritual foes whose home was in the desert. “I protect thy sepulchral chapel,” it is made to say in an inscription, “I watch over thy sepulchral chamber, I keep away the stranger who would enter, I overthrow the foe with their weapons, I drive the wicked from thy tomb, I annihilate thy opponents … so that they return no more.”79 The sphinx, in fact, performed precisely the same office as the winged bulls that guarded the entrance to an Assyrian palace, or the cherubim who stood at the gates of the garden of Eden.

      The winged bulls and the cherubim were composite creatures, and came originally from Babylonia. Babylonia was the primal home, indeed, of all such animal combinations. They were painted on the walls of the temple of Bel at Babylon, and their existence formed an essential part of the Babylonian cosmogony. That cosmogony rested on the doctrine of a contest between the powers of light and darkness, of order and chaos, and on the final victory of the gods of light. There was a world of chaos as well as a world of order; and before the present creation could be evolved with its settled laws and definite boundaries, there had been of necessity another creation in which all things were confused and chaotic. The brood of Tiamat, the dragon of chaos, corresponded with the creatures of the actual world which the gods of light had called into existence; they were abortive attempts at creation, composed of limbs which matched not together, “men with the body of birds, or the faces of ravens.”

      This brood of chaos were the demons who were the enemies of Bel-Merodach and his followers. In order to [pg 119] oppose them successfully, it was needful that there should be similarly composite creatures, who, instead of being on the side of evil, were under the orders of the gods. By the side of the evil demon, therefore, there was the “good cherub,” who protected the pious Babylonian, and barred the way to the spirits of wickedness. The winged bull with his human head defended the approach to a temple or house; men with the bodies of scorpions guarded the gateways of the sun.

      This curious similarity in the functions assigned to the images of composite animals both in Egypt and Babylonia, raises the presumption that the composite forms themselves were ultimately derived from a Babylonian source. That such was the case we now have proof.

      On the slate plaques and mace-heads of Nekhen and Abydos we find composite forms similar to those of Babylonia. What afterwards became the Hathor-headed column appears as a human face with a cow's ears and horns. Below are two monsters with a dog's body and a lion's head, whose intertwined necks are snakes. What makes the latter representation the more interesting is, that M. Heuzey has pointed out exactly the same figures on an early Babylonian seal now in the Louvre.80 Like the seal-cylinder, therefore, which distinguishes the early period of Egyptian history, the composite monsters of which the sphinx and the symbol of Set were surviving examples indicate direct communication with Chaldæa.

      And, it must be remembered, it is only in Chaldæa that they find their explanation. Here they originated in the religious and cosmological ideas associated with the physical features of the country. The sphinx of [pg 120] Giza still guards the desert of Giza, because ages ago the flooding waves of the Persian Gulf made the Babylonians believe that the world had arisen out of a watery chaos peopled by unformed creatures of monstrous shape.

      The case of the phœnix or bennu is somewhat different. Here we have to do not with a fabulous monster, but with an existing bird of which a fabulous story was told. The bird was not an eagle, as Herodotos supposed, but a heron, which at an early date seems to have been confounded with the crested ibis, the symbol of the khu or luminous soul. It was, in fact, the spirit of the sun-god, and later legends declared that it stood and sang on the top of a tree at Heliopolis, while a flame burst forth beside it, and the sun rose from the morning sky. With sunset it became an Osiris, whose mummy was interred at Heliopolis, to awake again to life with the first rays of the rising sun. It was thus for Christian writers an emblem of the resurrection, and as such its story is told by St. Clement of Rome:81 “There is a certain bird which is called the phœnix. This is the only one of its kind, and it lives five hundred years. When the time of its dissolution draws near that it must die, it builds itself a nest of frankincense and myrrh and other spices, into which, when the time is fulfilled, it enters and dies. But as the flesh decays a certain kind of worm is produced, which, being nourished by the juices of the dead bird, brings forth feathers. Then, when it has acquired strength, it takes up the nest in which are the bones of its parent, and, bearing these, it passes from the land of Arabia into Egypt, to the city called Heliopolis. And, flying in open day in the sight of all men, it places them on the altar of the sun, and, having done this, it hastens back to its former abode. The priests then inspect the [pg 121] chronological registers, and find that it has returned exactly when the five hundredth year is completed.”82

      The legend of the phœnix has grown up round the belief that the disembodied soul could enter at will into the body of a bird. The phœnix was allied to the hawk of Horus, and probably was originally identical with that primitive symbol of the soul (khu), the name of which means literally “the luminous.” It will be remembered that the Pyramid texts speak of the “four khu” or “luminous souls of Horus” “who live in Heliopolis,” and the sun-god of that city was usually invoked by his bau or “souls,” figured as three birds which appear as three ostriches on objects found in the tomb of Menes.83 On an early seal-cylinder of Babylonian type the bennu or khu is termed “the double of Horus.”84

      The story of the phœnix illustrates the influence exercised by the pictorial character of Egyptian writing upon the course of religious thought. The soul was first symbolised by a bird. It passed out of the corpse and into the air like a bird; it was free to enter whatever body it chose, СКАЧАТЬ