Sir James George Frazer (18541941). The Golden Bough. 1922.
was a great event in the festal year of the Egyptians. The shouts of joy which greeted it are described or alluded to by many ancient writers.
The funeral rites of Osiris, as they were observed at his great festival in the sixteen provinces of Egypt, are described in a long inscription of the Ptolemaic period, which is engraved on the walls of the gods temple at Denderah, the Tentyra of the Greeks, a town of Upper Egypt situated on the western bank of the Nile about forty miles north of Thebes. Unfortunately, while the information thus furnished is remarkably full and minute on many points, the arrangement adopted in the inscription is so confused and the expression often so obscure that a clear and consistent account of the ceremonies as a whole can hardly be extracted from it. Moreover, we learn from the document that the ceremonies varied somewhat in the several cities, the ritual of Abydos, for example, differing from that of Busiris. Without attempting to trace all the particularities of local usage I shall briefly indicate what seem to have been the leading features of the festival, so far as these can be ascertained with tolerable certainty.
The rites lasted eighteen days, from the twelfth to the thirtieth of the month Khoiak, and set forth the nature of Osiris in his triple aspect as dead, dismembered, and finally reconstituted by the union of his scattered limbs. In the first of these aspects he was called Chent-Ament (Khenti-Amenti), in the second Osiris-Sep, and in the third Sokari (Seker). Small images of the god were moulded of sand or vegetable earth and corn, to which incense was sometimes added; his face was painted yellow and his cheek-bones green. These images were cast in a mould of pure gold, which represented the god in the form of a mummy, with the white crown of Egypt on his head. The festival opened on the twelfth day of Khoiak with a ceremony of ploughing and sowing. Two black cows were yoked to the plough, which was made of tamarisk wood, while the share was of black copper. A boy scattered the seed. One end of the field was sown with barley, the other with spelt, and the middle with flax. During the operation the chief celebrant recited the ritual chapter of the sowing of the fields. At Busiris on the twentieth of Khoiak sand and barley were put in the gods garden, which appears to have been a sort of large flower-pot. This was done in the presence of the cow-goddess Shenty, represented seemingly by the image of a cow made of gilt sycamore wood with a headless human image in its inside. Then fresh inundation water was poured out of a golden vase over both the goddess and the garden, and the barley was allowed to grow as the emblem of the resurrection of the god after his burial in the earth, for the growth of the garden is the growth of the divine substance. On the twenty-second of Khoiak, at the eighth hour, the images of Osiris, attended by thirty-four images of deities, performed a mysterious voyage in thirty-four tiny boats made of papyrus, which were illuminated by three hundred and sixty-five lights. On the twenty-fourth of Khoiak, after sunset, the effigy of Osiris in a coffin of mulberry