General History for Colleges and High Schools

by P. V. N. Myers

Many explanations have been given to account for the existence of such a debased form of worship among so cultured a people as were the ancient Egyptians. Probably the sacred animals in the later worship represent an earlier stage of the Egyptian religion, just as many superstitious beliefs and observances among ourselves are simply survivals from earlier and ruder times.

JUDGMENT OF THE DEAD.—Death was a great equalizer among the Egyptians. King and peasant alike must stand before the judgment-seat of Osiris and his forty-two assessors.

This judgment of the soul in the other world was prefigured by a peculiar ordeal to which the body was subjected here. Between each chief city and the burial-place on the western edge of the valley was a sacred lake, across which the body was borne in a barge. But, before admittance to the boat, it must pass the ordeal called "the judgment of the dead." This was a trial before a tribunal of forty-two judges, assembled upon the shore of the lake. Any person could bring accusations against the deceased, false charges being guarded against by the most dreadful penalties. If it appeared that the life of the deceased had been evil, passage to the boat was denied; and the body was either carried home in dishonor, or, in case of the poor who could not afford to care for the mummy, was interred on the shores of the lake. Many mummies of those refused admission to the tombs of their fathers have been dug up along these "Stygian banks."

[Illustration: JUDGMENT OF THE DEAD: above, an ape-assessor scourges an evil soul, that has been changed into an unclean animal.]

But this ordeal of the body was only a faint symbol of the dread tribunal of Osiris before which the soul must appear in the lower world. In one scale of a balance was placed the heart of the deceased; in the other scale, an image of Justice, or Truth. The soul stands by watching the result, and, as the beam inclines, is either welcomed to the companionship of the good Osiris, or consigned to oblivion in the jaws of a frightful hippopotamus-headed monster, "the devourer of evil souls." This annihilation, however, is only the fate of those inveterately wicked. Those respecting whom hopes of reformation may be entertained are condemned to return to earth and do penance in long cycles of lives in the bodies of various animals. This is what is known as the transmigration of souls. The kind of animals the soul should animate, and the length of its transmigrations, were determined by the nature of its sins.

TOMBS.—The Egyptians bestowed little care upon the temporary residences of the living, but the "eternal homes" of the dead were fitted up with the most lavish expenditure of labor. These were chambers, sometimes built of brick or stone, but more usually cut in the limestone cliffs that form the western rim of the Nile valley; for that, as the land of the sunset, was conceived to be the realm of darkness and of death. The cliffs opposite the ancient Egyptian capitals are honeycombed with sepulchral cells.

[Illustration: BRICK-MAKING IN ANCIENT EGYPT, (From Thebes.)]

In the hills back of Thebes is the so-called Valley of the Tombs of the Kings, the "Westminster Abbey of Egypt." Here are twenty-five magnificent sepulchres. These consist of extensive rock-cut passages and chambers richly sculptured and painted.

The subjects of the decorations of many of the tombs, particularly of the oldest, are drawn from the life and manners of the times. Thus the artist has converted for us the Egyptian necropolis into a city of the living, where the Egypt of four thousand years ago seems to pass before our eyes.

THE PYRAMIDS.—The Egyptian pyramids, the tombs of the earlier Pharaohs, are the most venerable monuments that have been preserved to us from the early world. They were almost all erected before the Twelfth Dynasty. Although thus standing away back in the earliest twilight of the historic morning, nevertheless they mark, not the beginning, but the perfection of Egyptian art. They speak of long periods of growth in art and science lying beyond the era they represent. It is this vast and mysterious background that astonishes us even more than these giant forms cast up against it.