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d nirvana. chokmah: the second emanation on the tree of life, following kether. occultists identify chokmah with the great father, the giver of the seminal spark of life which is potent only when it enters the womb of the great mother, binah. from the union of the great father and great mother come forth all the images of creation. chokmah is associated with such deities as kronos, saturn, thoth, atum-ra, and ptah in other pantheons. 66 binah: the third emanation on the tree of life. occultists identify binah with the great mother in all her forms. she is the womb of forthcoming, the source of all the great images and forms that manifest in the universe as archetypes. she is also the supreme female principal in the process of creation and, via the process of mythological correspondences, i

DAVID ICKE CHILDREN OF THE MATRIX

the "two thieves" are possibly symbolic of sagittarius and capricorn, which cross over at the winter solstice, thus the sun "dies" between them. john the baptist this guy was invented from the stories of anup, who baptised the ancient egyptian son of god, horus. like "john, anup lost his head. thor/indara, the first king of sumer, was known as "bil-the-baptist" on sumerian seals and he was ad or atum baptising the infant crown prince in egyptian sculpture. baptism was introduced by the sumerians, not the christians, and appears to have originated, at least in the post cataclysmic era, in the phoenician/st george centre of cappadocia. john the baptist, and his association with water, further symbolises the water sign of aquarius, through which the sun travels to be "baptised, according to

GRAHAM HANCOCK FINGERPRINTS OF THE GODS

theology rested on a creation-myth distinguished by a number of unique and curious features. it taught that in the beginning the universe had been filled with a dark, watery nothingness, called the nun. out of this inert cosmic ocean (described as shapeless, black with the blackness of the blackest night) rose a mound of dry land on which ra, the sun god, materialized in his self-created form as atum (sometimes depicted as an old bearded man leaning on a staff):5 1 saqqara, egypt: archaeologists have discovered a green limestone obelisk, the world s oldest-known complete obelisk, dedicated to inty, a wife of pharaoh pepi i, egypt s ruler almost 4300 years ago, who was regarded as a goddess after her death. times, london, 9 may 1992; see also daily telegraph, london, 9 may 1992. 2 atlas of

13. 3 the encyclopaedia of ancient egypt, p. 110. 4 george hart, egyptian myths, british museum publications, 1990, p. 11. 5 the encyclopaedia of ancient egypt, p. 110; traveller s key to ancient egypt, p. 66; graham hancock fingerprints of the gods 348 the sky had not been created, the earth had not been created, the children of the earth and the reptiles had not been fashioned in that place. i, atum, was one by myself. there existed no other who worked with me..6 conscious of being alone, this blessed and immortal being contrived to create two divine offspring, shu, god of the air and dryness, and tefnut the goddess of moisture: i thrust my phallus into my closed hand. i made my seed to enter my hand. i poured it into my own mouth. i evacuated under the form of shu, i passed water under

e fallen from the skies. unfortunately, it had been lost so long before that its appearance was no longer from fetish to god in ancient egypt, p. 140. 6 papyrus of nesiamsu, cited in sacred science: the king of pharaonic theocracy, pp. 188-9; see also from fetish to god in ancient egypt, pp. 141-3. 7 from fetish to god in ancient egypt, p. 142. in other readings shu and tefnut were spat out by ra-atum. 8 new larousse encyclopaedia of mythology, p. 27. the figure 3126 is given in some accounts. 9 the pyramids: an enigma solved, p. 13; c. jacq, egyptian magic, aris and phillips, warminster, 1985, p. 8; the death of gods in ancient egypt, p. 36. graham hancock fingerprints of the gods 349 remembered by the time senuseret took the throne in 1971 bc. in that period (the twelfth dynasty) all tha

t period (the twelfth dynasty) all that was clearly recalled was that the benben had been pyramidal in form, thus providing (together with the pillar on which it stood) a prototype for the shape of all future obelisks. the name benben was likewise applied to the pyramidion, or apex stone, usually placed on top of pyramids.10 in a symbolic sense, it was also associated closely and directly with ra-atum, of whom the ancient texts said, you became high on the height; you rose up as the benben stone in the mansion of the phoenix. 11 mansion of the phoenix described the original temple at heliopolis where the benben had been housed. it reflected the fact that the mysterious object had also served as an enduring symbol for the mythical phoenix, the divine bennu bird whose appearances and disappe

and disappearances were believed to be linked to violent cosmic cycles and to the destruction and rebirth of world ages.12 connections and similarities driving through the suburbs of heliopolis at around 6:30 in the morning i closed my eyes and tried to summon up a picture of the landscape as it might have looked in the mythical first time after the island of creation13 the primordial mound of ra-atum had risen out of the flood waters of the nun. it was tempting to see a connection between this imagery and the andean traditions that spoke of the emergence of the civilizer god viracocha from the waters of lake titicaca after an earthdestroying flood. moreover there was the figure of osiris to consider a conspicuously bearded figure, like viracocha, and like quetzalcoatl as well remembered f

f fire having turned myself about. the two skies go to me.10 and in utterance 669 it was asked, wherewith can the king be made to fly-up? the reply was given: there shall be brought to you the hnw-bark [italicized word untranslatable] and the [text missing] of the hn-bird [italicized word untranslatable. you shall fly up therewith. you shall fly 5 ibid, p. 227, utt. 572. 6 ibid, p. 297, utt. 688: atum has done what he said he would do for this king; he ties the rope-ladder for him. 7 the gods of the egyptians, volume ii, p. 241. 8 the ancient egyptian pyramid texts, p. 70, utt. 261. 9 ibid, p. 97. 10 ibid, p. 107. graham hancock fingerprints of the gods 356 up and alight. 11 other passages also seemed to me worthy of more thorough investigation than they have received from scholars. here a

myths which transmit hard astronomical data, the precessional symbolism is interwoven tightly with violent images of terrestrial destruction as though to suggest that the breaking of the mill of heaven, that is the transition every 2160 years from one zodiacal age to another, could under ill-omened circumstances bring catastrophic influences to bear on terrestrial events. thus it was said that ra-atum, the god who created himself, was originally king over gods and men together but mankind schemed against his sovereignty, for he began to grow old, his bones became silver, his flesh gold and his hair [as] lapis lazuli.23 when he realized what was happening, the ageing sun god (so reminiscent of tonatiuh, the bloodthirsty fifth sun of the aztecs) determined that he would punish this insurrect

d in structures that expressed extremely old ideas. plentiful evidence exists within ancient egyptian tradition which seems to attest to the existence and preservation of such ancient ideas. for example, king nefer-hetep [xiiith dynasty] was a loyal worshipper of osiris and hearing that his temple [at abydos] was in ruins, and that a new statue of the god was required, he went to the temple of ra-atum at heliopolis, and consulted the books in the library there, so that he might learn how to make a statue of osiris which should be like that which had existed in the beginning of the world (osiris and the egyptian resurrection, volume ii, p. 14. also sacred science; pp. 103-4, explains that the construction of temples in the ptolemaic and late periods of egyptian history continued to obey ver

HANDBOOK OF EGYPTIAN MYTHOLOGY

ing took on the role of many different deities. around 200 deities are mentioned in the pyramid texts. some are the major deities already known from cult temples, such the fertility god min and the creator goddess neith. others are entities such as snake deities and celestial ferrymen who inhabit a complex and intensely imagined realm of the gods. the most frequently mentioned deities are anubis, atum, geb, horus, isis, nephthys, nut, osiris, ra, seth, shu, and thoth (see deities, themes, and concepts. these include most of the deities who make up the ennead of heliopolis, and it is often argued that the pyramid texts largely represent the theology of the solar temple at heliopolis. a stellar element was also important in the pyramid texts. the king was destined to join the imperishable st

afterlife is presented has a hallucinatory quality similar to that of the spirit voyages induced by shamans in many cultures. 28 although they are not narratives, some spells in the coffin texts describe major events in the egyptian creation story and even provide evidence for egyptian views about the end of the world (see return to chaos under linear time in mythical time lines. the creator god atum-ra and his offspring shu and tefnut are particularly prominent. many texts deal with transformations of the sun god into various forms. a new element is a stress on the dangers faced by the sun god during his celestial voyages, such as attacks by the chaos monster apophis. the prominence of the solar cult leads some egyptologists to believe that the coffin texts were, like the pyramid texts

difficult to read. these books contained very restricted knowledge, which was supposed to be known only to the king and people who held high-ranking priestly offices. the purpose of the underworld books was to maintain the cosmos and, secondarily, to aid the king s transition to the afterlife through his identification with the sun god. their common theme was the daily journey of the sun god, ra-atum. most concentrated on his perilous passage through the night sky, which was equated with the underworld. the dangerous journey is probably the world s oldest narrative motif, but the underworld books are not presented as stories. the structure of the books is provided by the passing of time55 or by the geography of the underworld, which was imagined as divided into caverns or re- 24 handbook

dentified with the living king, he developed an important role in mythology and popular religion. by the eighth century bce, egypt was split up into a number of regions ruled by petty kings and chieftains. the theban area was under the control of a line of royal high priestesses known as the divine adoratrices of amun. in temple rituals these priestesses acted the mythological role of the hand of atum, the partner of the creator.70 egypt s divisions were eventually brought to an end by invaders from the south. late period and ptolemaic period (dynasties 25 30 and the ptolemies: 747 30 bce the first millennium bce saw the rise and fall of a series of great empires. egypt suffered invasions and occupations by the nubians, the assyrians, the persians, and the greeks; so for most of this perio

ded contain passages that are probably in the nubian language. 72 also dating to this nubian period is the shabaqo stone with a copy of the text known as the memphite theology (see figure 8. the memphite theology this text tells how the earth god geb judged between the rival gods horus and seth and how osiris was established as ruler of the underworld. it reconciles the separate creation myths of atum of heliopolis and ptah of memphis and includes a first-person account by ptah of how he created all life through his powers of thought and speech. this section has often been compared to the famous opening of st. john s gospel: in the beginning was the word, and the word was with god and the word was god. the whole text may have been read aloud during religious festivals. king shabaqo (c. 716

s did not try to impose their own religion on egypt, and they were willing to honor egyptian deities. the innovative reliefs in the temple of hibis in the western desert were mainly carved under darius i, one of the persian kings who made up the twenty-seventh dynasty (see figure 33. the reliefs include some very unusual forms of deities. these forms and the epithets used in the captions, such as atum scarab who appeared at the first time, help to define the deities mythological roles.76 it was during the first period of persian rule that the greek historian herodotus of helicarnassus (c. 484 420 bce) seems to have visited egypt. book two of his historia is a description of the geography, history, customs, and marvels of egypt. some classicists and egyptologists think that herodotus made u

ine order. surrounding the central figure of horus on most cippi is a grotesque array of deities in their most terrifying and powerful forms. these images complement the text of the spells but do not illustrate them.94 the power of the words and images could be absorbed by drinking or bathing in water poured over the stela. most of the spells center on a briefly stated mythical event, such as ra- atum transforming himself into a mongoose to kill apophis. a few are fleshed out into narratives with lively dialogue. in the longest of these dramatized spells, isis is imprisoned by seth but escapes to the marshes of chemmis, where she gives birth to horus. isis is depicted as oppressed by powerful males, struggling with poverty, and in constant fear of losing her child. this was probably the lo

om these tombs, which includes splendid jewelry with mythological motifs, is displayed in the cairo museum. hardly any royal tombs from the rest of the first millennium bce have survived in egypt, but it is known that underworld books continued to be used on royal sarcophagi. 69. for examples of such amulets, see c. andrews, amulets of ancient egypt (london, 1994, pls.80, 101. 70. for the myth of atum s creating life with his hand, see creation under linear time in mythical time lines. the word for hand was feminine in egyptian. for further information on these powerful royal women, see g. robins, women in ancient egypt (london and cambridge, ma, 1993, chap. 8. 71. for a translation of this inscription, see miriam lichtheim, ancient egyptian literature, vol. 3 the late period (berkeley, lo

ward independent life. in some accounts the eight join together to be fertilized by the seed of the serpent amun kem-atef, the first primeval god who gave birth to the primeval gods. 2 the serpent may have been considered an appropriate form for the spirit of the creator because of its undivided body or because it periodically renewed itself by shedding its skin. when creator gods such as amun or atum are spoken of as serpents, they usually represent the positive aspect of chaos as an energy force, but they had a negative counterpart in the great serpent apophis. apophis represented the destructive aspect of chaos that constantly tried to overwhelm all individual beings and reduce everything back to its primeval state of oneness. so, even before creation began, the world contained the elem

this state contained the potential for all life. passages in the coffin texts stress that the self-created god came into being alone. for a group-oriented culture such as that of the egyptians, such loneliness must have been almost unimaginable. the creator remained alone until his/her heart became effective and he/she began to think and feel. in coffin texts spell 76, the creator (here named as atum) brings eight gods into existence by speaking with the nun, presumably separating the elements of chaos by the process of naming them. other texts refer to the creator s driving back the primeval waters, perhaps by the power of spoken command, to create a space in which to begin the work of creation. images of emergence. the primal event of the emergence of the creator to dispel the watery si

ould be personified as the god tatjenen, the rising land. tatjenen, who was often identified with ptah, could also be called the father of the creator.4 one of the sacred books at edfu was the book of the mounds of the first time. this presents a primeval landscape of mounds, water, and reeds 60 handbook of egyptian mythology figure 11. a pyramidion from a late period tomb showing the creator god atum with the primeval benu bird. the pyramidion itself may represent the primeval mound (courtesy of geraldine pinch) that is close to what the nile valley must have looked like before it was settled by the first egyptians.5 the creator could now begin the work of creating the world and its inhabitants. creation summary: at different periods and in various theological centers, a number of deities

ch) that is close to what the nile valley must have looked like before it was settled by the first egyptians.5 the creator could now begin the work of creating the world and its inhabitants. creation summary: at different periods and in various theological centers, a number of deities could be identified with the creator who emerged from the primeval waters. these creator deities include the gods atum, ra (often combined as ra- atum, shu, ptah, khnum, and amun-ra and the goddesses neith, hathor, and isis. important stages in the creation process were the establishment of maat, the divine order; the division of beings into male and female; and the separation of earth and sky. the egyptian cosmos consisted of a divine realm in the upper sky; the earth, with egypt its center; and the duat (or

reate other beings were sometimes conceptualized as deities. the most important of these were the gods sia, hu, and heka. sia was the power of perception or insight, which allowed the creator to visualize other forms. hu was the power of authoritative speech, which enabled the creator to bring things into being by naming them. in coffin texts spell 335, hu and sia are said to be with their father atum every day. in the illustrated underworld books of the new kingdom, these two deities were often shown accompanying the creator sun god. the power by which the thoughts and commands of the creator became reality was heka (magic. in coffin texts spell 261, the god heka claims to have been with the creator even in the primeval era. in the cosmogony of neith recorded in the roman period temple at

ing on his potter s wheel. craftsmen were valued and well treated in egyptian society, but few of them attained high social status. khnum s original role seems to have been as the divine potter who made things at the command of the creator. when he became a form of the universal creator, khnum s name was usually linked with those of more established creator deities such as ra or ptah. the hand of atum. before creation begins there is no division into genders. the creator seems to include both the male and female principles. creator deities were commonly called the father and mother of all things. deities who were normally regarded as male, such as atum, are described as giving birth to other deities during the creative process.8 the actual means by which the creator reproduced were sometim

female principles. creator deities were commonly called the father and mother of all things. deities who were normally regarded as male, such as atum, are described as giving birth to other deities during the creative process.8 the actual means by which the creator reproduced were sometimes left vague and sometimes described in terms of blunt sexual imagery. pyramid texts (pt) spell 527 says that atum took his penis in his hand and masturbated and so were born the two siblings, that is shu and tefnut. in pt 600, atum- khepri is said to be the one who spat out shu and tefnut.9 several passages in the coffin texts refer to shu being exhaled from atum s nose and tefnut being spat from his mouth. these apparently contradictory statements are clarified in later sources, such as the bremner-rhin

asturbated and so were born the two siblings, that is shu and tefnut. in pt 600, atum- khepri is said to be the one who spat out shu and tefnut.9 several passages in the coffin texts refer to shu being exhaled from atum s nose and tefnut being spat from his mouth. these apparently contradictory statements are clarified in later sources, such as the bremner-rhind papyrus and the memphite theology. atum excites his penis with his hand and takes the semen into his mouth. the vignettes to some mythological papyri illustrate this moment in graphic detail. the mouth of the creator acts as a substitute womb. atum uses his powers of thought and utterance to transform the seed into the first two gendered deities, who are expelled from his mouth or through the nose and mouth. the combination of biol

illustrate this moment in graphic detail. the mouth of the creator acts as a substitute womb. atum uses his powers of thought and utterance to transform the seed into the first two gendered deities, who are expelled from his mouth or through the nose and mouth. the combination of biological and intellectual methods of creation is stressed in the memphite theology, which states that the ennead of atum (the first nine deities created) came into existence through his seed and his fingers, but the ennead is the teeth and lips in this mouth that spoke the name of every thing and from which shu and tefnut came forth. once the twins had been born, the sexual identity of atum becomes fixed as a father. a further development was the personification of the hand of atum as a goddess, thus giving him

r development was the personification of the hand of atum as a goddess, thus giving him a sexual partner. since the hand goddess came directly from the creator, she was his daughter as well as his consort. this god- mythical time lines 63 dess was often identified with hathor, who came to be regarded as the female creative principle. the twins sometimes appear to be the male and female aspects of atum. he embraces them to transfer his ka (vital essence) to them. in coffin texts spell 80, shu and tefnut are described as living with their father in the primeval waters. the three deities cling tightly to each other as if they were still one entity. for creation to continue, shu and tefnut had to become fully differentiated from the creator. the lost children. there are some allusions in the c

es them to transfer his ka (vital essence) to them. in coffin texts spell 80, shu and tefnut are described as living with their father in the primeval waters. the three deities cling tightly to each other as if they were still one entity. for creation to continue, shu and tefnut had to become fully differentiated from the creator. the lost children. there are some allusions in the coffin texts to atum becoming separated from his children. shu and tefnut seem to have drifted away from their father and become lost in the darkness of the primeval waters. in coffin texts spell 76, shu is made to say that atum once sent his sole eye searching for me and tefnut, my sister. i made light in the darkness and it found me. this eye is usually called the daughter of ra, rather than of atum, because sh

obra, and puts her in the place of honor on his forehead.12 this is one of several myths about the anger and appeasement of the solar eye. the creator s relationships with the aspects of his being that are embodied as daughter-goddesses are crucial to this stage of creation. the divine order and the separation of earth and sky. in coffin texts spell 80, new identities are given to shu and tefnut. atum names shu as life and tefnut as maat (truth, justice, order. by naming these qualities, the creator brings them into existence. atum embraces the two forms of his daughter, tefnut and maat.13 nun, the god of the primeval waters, tells atum to kiss maat and place her at his nose so that your heart may live. maat the goddess 64 handbook of egyptian mythology was the favorite daughter of the cre

isis and nephthys. some sources leave out horus. a tradition as old as the pyramid texts had seth break violently out of his mother s womb. seth was mythical time lines 65 a god whose nature linked him with chaos, so the birthday of seth was said to be the day on which disorder and strife first entered the world. osiris, seth, isis, and nephthys, together with geb and nut, shu and tefnut, and ra-atum, made up the four-generational group of deities known as the ennead of heliopolis or the great ennead. horus, the sky falcon whose two eyes were the sun and the moon, was probably left out of the nine because he was usually thought of as a manifestation of the creator sun god. the number nine was sometimes used by the egyptians to indicate many, so the establishment of the ennead can stand fo

LEWIS JAMES SATANISM TODAY AN ENCYCLOPEDIA OF RELIGION FOLKLORE AND POPULAR CULTURE

yptian pantheon, whose domains covered everything from natural phenomena like air (the god shu) to cultural phenomena like writing (the goddess safekht. many gods were represented as e 77 78 egypt an animal or part-human/part-animal, perhaps the residue of earlier animal worship. generally, egyptians gave most prominence to those gods associated with the nile (hapy, sothis, sebek, the sun (re, re-atum, horus, and helping the dead (osiris, anubis, sokaris. during the time of the old kingdom, the sun god re was the dominant god. re served to give immortality to the collective state through the pharaoh, his son. the sun seemed to the egyptians and to many other ancients to be clearly immortal, as it died every evening, traveled through the underworld, and was reborn every morning. the sun was

PHILIP NEIL MYTHS LEGENDS EXPLAINED

d it the phoenix, recognizing that the bird was really an aspect of the sun god, re. at the great temple of amun at karnak, a duck was released across the waters of the sacred lake each morning in imitation of the benu bird. re, the sun god 14 re, the sun god r e, the sun god, took three main forms: khepri, the scarab beetle, who was the rising sun; re, the sun s disc, who was the midday sun; and atum, an old man leaning on a stick, who was the setting sun. each evening, as the sun reached the westernmost peak of mount manu, the sky goddess, nut (see p. 13, swallowed it, whereupon the sun god journeyed perilously through a netherworld in his night barque (boat. here, he was assailed by demons led by the monstrous snake apophis, his enemy who, according to one myth, came into being at the v

RUBY TABLET OF SET

ternity. i, honored guests, have been gifted by the gods. my talent and occupation is that of artisan; my primary responsibility lies in the creation of scenic paintings and adding lifelike pigments to the work of sculptors. i have painted temples and private dwellings alike, depicting scenes of everyday life and the activities of the gods as well. my work is fashioned to survive millenia, for as atum has said "thou are destined for millions and millions of years, a lifetime of millions" the spirits of my people will live forever, and as i have told you previously, it is in the works of myselves and those like me that this great empire will be remembered in future aeons. but! enough of my own occupation, for i would not wish to appear a braggart. let me touch upon some of the different asp

me to support me: let all be worshipped, for they shall cluster to exalt me. i am the visible object of worship; the others are secret; for the beast& his bride are they: and for the winners of the ordeal x. what is this? thou shalt know. crowley thought "the other images" to be those of nuit and "hadit. in view of #iii-21 it would seem more probable for them to be ra's other aspects: aten (noon, atum (sunset, and xepera (the sun at night. nevertheless [in liber resh vel helios] crowley did institute periodic devotions to these other aspects of ra. the significance of xepera would indeed remain a secret until the year x of the aon of set, at which time it would indeed be revealed to the "winners" of that particular ordeal. 23. for perfume mix meal& honey& thick leavings of red wine: then o

orshipped in the western nile delta at behdet.29 [the curious term "hadit" is actually arabic, and means "a divinely inspired utterance] as for ra hoor khuit, whom crowley incorrectly identifies as horus the younger,30 the hieroglyphs on the stele title the figure ra-harakhti. ra-harakhti("ra-horus of the two horizons) was a form of horus the elder identified with ra, especially in his aspects of atum and xepera.31 ra-harakhti was a rival "final judgment" god to osiris in addition to being a solar deity, which explains his presence on the funerary stele. he is also noteworthy for having defended set in the osirian-mythos trial between set and horus the younger [at one point in the debate, according to the legend, ra-harakhti was insulted and retired to his house in a huff. the proceedings

SCHLAGER NEIL WORLD RELIGIONS REFERENCE LIBRARY

ians from the earliest times, and pharaohs and queens were buried with material to make their lives easier after death. early gods included ptah; anubis, the protector of the tomb; and nit, the goddess of war. different cities in the united nation of egypt held different creation myths, each centered on its own local creator god. heliopolis, for instance, was a center near present-day cairo where atum was worshipped. here, it was thought that atum created himself out of the void, and then either spit or sneezed out shu, the god of air, and tefnut, the goddess of moisture. these two in turn gave birth to geb, the earth god, and nut, the sky goddess. from them came two pairs of siblings: osiris and isis, and set and nephtys. eventually ra, the sun god, took the place of atum in the pantheon;

giza (cairo) n 0 150 300 mi. 0 150 300 km ancient egypt and mesopotamia area under egyptian control mesopotoamia ancient coastline ancient city temple great pyramid sphinx world religions: almanac 43 ancient religions of egypt and mesopotamia another creation myth came from the city of memphis, where ptah was worshipped for creating the universe out of divine thought. ultimately, however, the ra-atum creation story became the most popular and most widely accepted myth in ancient egypt. religion during the middle kingdom during the period of the old kingdom (c. 2686 2181 bce, egyptian society built the great pyramids at giza while working as a fully organized theocracy, a government with one god as the supreme leader. this theocracy reflected the role of the pharaoh, a living god whose wor

she was featured in many fertility rites, but was also called upon in time of war. over the course of time, with movements of new people into the area, the names of the gods changed. for instance, the sumerian goddess innana received the akkadian name of ishtar, just as nanna later became sin and enki became ea. beliefs in ancient egypt egyptians believed that the world was brought into being by atum or ra, whose descendants were osiris, set, and isis. these, however, were just a fraction of the gods worshipped by egyptians. some estimates put the total number as high as one or two thousand different deities. what began as animal worship led to an immense pantheon. amen or amen-ra became the most powerful of the gods, center of the national cult; the cult of osiris was second most powerfu

TECHNICIANS GUIDE TO THE LEFT HAND PATH

exists outside of thought and consciousness, all of which impact and influence one another in various ways. so, we can state unequivocably that true evil is the denial of the self to move towards unification with god- to the extent that a personal spiritual transformation is made. true evil is that which empowers us to individuality and to the antinomian this is true good as well. chapter- 1+ 1) atum this small volume details those lines of thought that specifically affect the antinomian nature of the left hand path (lhp. in the sense of transformation, this book is an alchemical text influenced by the symbolism found within the element of salt. salt is the antinomian element, it purifies and preserves, it destroys and makes noxious, it is found in both water and earth- it is often an ele

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