I dwell in the midst of them all; I now, therefore, have come down unto thee to declare unto thee the works which my hands have made, wherein my wisdom excelleth them all, for I rule in the heavens above, and in the earth beneath, in all wisdom and prudence, over all the intelligences thine eyes have seen from the beginning; I came down in the beginning in the midst of all the intelligences thou hast seen (Abraham 3:21).
I am Atum, when I was alone in Nun [the encircling waters], (but) I am Re when he appeared at the moment when he began to govern that which he created (Book of the Dead, chapter 17, quoted in Francoise Dunand and Christiane Zivie-Coche,
Gods and Men in Egypt, 49).
Each new reading of these passages, when set together, reveals still more correspondence.
"I came down in the beginning"--the words accord well with the teachings of the both the Book of the Dead and the round hypocephalus. There is going and coming
between the worlds, as we shall see.
On the rim of the hypocephalus we find the words:
jnk Db3.ty m Hw.t bnbn m jwnw q3 3x zp 2 (I am the Djebaty--the one of the Djeba--in the House of the Benben in Heliopolis, On High, On High; Glorious; Glorious). The first lesson in reading Facsimile 2 centers around that one title, Djebaty. Hugh Nibley, who calls it "perhaps the most significant word on the Joseph Smith hypocephalus," pauses long over that significant word until the lesson is learned, the lesson of many meanings, many shades of meaning.
The title bespeaks mystery: Djebat, in nominal form "is the name of a place or a building," a "dwelling of the gods, Palace, Chapel" as also box or chest; Djebaty (the one of the Djebat), the relational (
nisba) form ending in -
y, says Conrad Leemans, signals "both a divine person and a personified object." Djebat, continues Nibley: "is also the name of the ancient city of Edfu to which the hypocephali properly belong, according to Speleers." Indeed the hypocephali "invoke and represent the Sun of Edfu, considered from of old 'the most perfect form of cosmic energy'" (Hugh Nibley, "The Three Facsimilies from the Book of Abraham," 1980, citing Louis Speleers,
Catalogue des intailles et empreintes orientales des Musees Royaux de Art et de Histoire, Supplement, Bruxelles, 1943; Hugh Nibley and Michael Rhodes,
One Eternal Round, 335 [and section headings: 'Between Heaven and Earth,' 335-340, and 'The Ceremonial Complex,' 340-341], quoting Conrad Leemans, "Hypocephale egyptien du Musee Royal Neerlandais d'Antiquites a Leide," in
Actes du sixieme Congres Internationale des Orientalistes, 1885, 125-26, italics added).
To the many possible readings of
Db3.ty, several of which point to nature and roles of the cosmic deity, I add still another. Because
Db3, at Edfu, can also refer to the reed that springs from the primeval mound,
Db3.ty, as "the one of the primeval reed," suggests the descent of the Creator at the beginning: "I came down in the beginning." The Edfu cosmology, in fact, yields two words (
nbi.t, Db3) for the reed "upon which the first Falcon deity might perch" (David Klotz,
Adoration of the Ram, 106). And such sacred writings, it should be remembered, are indeed "to be found in the temple of God," being literally engraven on the walls of Edfu Temple.
But what has a reed perch to do with the House of the Benben in Heliopolis?
I was alone together with Nun in inertness,
I not having found a place to sit or to stand.
Heliopolis not having been founded so I might be there,
The Papyrus Stalk (
w3D) not having been bound so I might sit upon it.
(Great Amun Hymn cited in
Adoration of the Ram, 106)
That word,
w3D, by the way, appears in the same panel as figure 1 on another hypocephalus on which four baboons offer what appear to be two lotuses and two papyrus stalks to a two-headed ram in the freshness of morning. That same hypocephalus (Turin 2333), yet bright with reds and greens, on the very same panel, also features a heron or two on a perch! The heron, my favorite bird, is the bennu-bird, which naturally suggests the benben-house. The perching heron is a sign of the seasonal flood: It rests on a perch while the flood inundates the land below. On the far-left side of the panel we first find what likely is the heron on its traditional three-pointed perch; then, just to the right, the heron again (this time clearly) on a much larger perch, a three-pronged spear topped by a
r3-sign; finally, on the opposite end of the panel, we find another three-pronged sign topped by a spear point, a sign of the East. These symbols, word-laden, bespeak more than I can spell at the moment: they signal time and place and action. Together, perching birds and sprouts and flowers tell one story: the stars of morning shout for joy.
It is clear from the Great Amun Hymn that the foundation of Heliopolis and the up-springing of the Perch go together. The House of the Benben, as the place of the benben-stone or pillar, is, in fact, also the place of the perch. No wonder the god is described on the hypocephalus rim as doubly lofty, even exalted (
q3j), as well as doubly glorious. Like the sun in the sky, the descending god, alighting on his Reed or Pillar or Stalk, brightens the new creation, the first creation, with splendid light. The hieroglyph of the heron on a perch denotes the
inundation (
imHw; b'H; also
nTr) and connotes a veritable flood of light. (So is the Pearl of Great Price "a veritable flood of light.") Glorious, glorious Kolob bathes the worlds in cascading apportionment.
The Djeba at Edfu can in fact be any "solid element": "In certain cases," we are told, "the name of the solid element that appeared at the beginning served as a support and justification for the sacred etymology that explained the name of the temple or its city: thus Edfu,
Djeba, which derived from the name of the 'floater' (
djeba) that drifted on the waters there" (Francoise Dunand and Christiane Zivie-Coche,
Gods and Men in Egypt, 51). The floater herein described is a reed floater, a touch of element at odds with chaotic swirl. At Esna, the place of resting becomes "a platform of land (set) in the midst of the initial waters, that I might lean [rest] on it!" (Ibid, 51). The Djeba is, then, the place upon which the Creator descends to begin to govern that which he created. The later temple at Edfu (or Djeba) thus also becomes the place of universal governance, the "temple of the world" ("Egypt is the temple of the world").
Djeba also signifies the harpoon of Horus, a most sacred object, which surely marks both possession and victory. (No surprise, then, to spy Horus with his spear on the lower half of Turin 2333 and other exemplars.) "Descent, in Afroasiatic semantics, connotes 'battle': it is the swift descent upon an enemy, with ringing battle-cry. And the descent (or attack) stirs the hidden, passive depths into action" (Sederholm,
Papyrus British Museum 10808 and Its Cultural and Religious Setting, 78).
Db3.ty, which may also signal Osiris in his coffin, box, or shrine (all Djeba) down at the nadir of all things, may therefore also signify, in a "coincidence of opposites" that is key to the Re-Osiris doctrine, "the one of the lofty reed perch" or "he who pertains to the reed perch." The United-Ba of Re and Osiris, who takes the form of the Ram of Mendes, linked as he is to the Cosmic Amun, becomes the "ultimate, transcendent deity, residing simultaneously in heaven and earth" (David Klotz,
Adoration of the Ram, 168). "The key theological concern of later Egyptian religion [is] the solar-Osirian opposition. The opposition, the balancing of the poles of the universe, also holds the key to the workings of life in all three of its manifest (or hidden) realms: heaven, earth (or temple) and Netherworld. Re and Osiris meet, in a moment of awful suspense, in order to reconcile life's contrarieties and ensure its continual renewal. In response to the mighty shout of joy that follows in the wake of the sun, the cold, hidden world of death stirs inwardly into blossom" (
Papyrus British Museum 10808, 77).
The reed marks both place and moment of descent, for the Egyptians the holy moment of investiture, of inhabitation, of enlivening, even an at-one-ment of worlds above and below (see Papyrus British Museum 10808, 66). "I came down in the beginning in the midst of all the intelligences (
3x.w)": I came down to earth, to the primeval hill, as Tatenen, as Shepsi, as Amun, the Cosmic Creative god, the First Creation. And--I came down, as Re, to hear the words of Osiris. At Hibis the Mendesian Ram, our Kolob ram, bears the epithet
sDm-wrj, the Great Listener (Klotz,
Adoration of the Ram, 170; see right-hand panel, Facsimile 2).
Tatenen? Shepsi? David Klotz (
Adoration of the Ram, 78, 100-101) reminds us that the hieroglyphic sign for
Sps (noble) or Shepsi (the Noble one), in its Late Period form, may also be read as
Tnn (distinguished) or
t3-Tnn (Tatenen, the creator associated with the primeval mound, as "distinguished earth"). And if it may so be read, it must be so read: so the rule in Egyptian. (The two high feathers of the noble on this sign link it also, to be sure, with figure 2, Oliblish.) A text beginning with the invocation "O netjer Shepsi in the Zep Tepi" resounds with the mythological and ritual depths of Hermopolitan cosmology (for it is in Hermopolis that Shepsi names the creative solar god, later also associated with the Cosmic Amun). (See also
One Eternal Round for Tatenen's crown as worn by Oliblish.)
Nothing drawn or written on the hypocephalus is as it first appears--or ever appears--the resonance is deep, fathoms so. Given the synthetic concision of these Late Egyptian writings, which bind the secret cosmogonic fullness of one ancient religious center to another in what appear to be crisp, abbreviated one liners, only a fool would claim competency. The very simplicity of the signs, the ease of ready translation, becomes a barrier that fences the kernel of meaning from view. Such matters ultimately require a divine touch, seeric insight, a Zaphnath-Paaneah, Joseph.