by Alexander Turner Cory

The Hieroglyphica of Horapollo Nilous is one of the most curious and influential texts to survive from late antiquity. Purporting to be a systematic explanation of Egyptian hieroglyphic writing by an Egyptian priest, the work mixes genuine knowledge of hieroglyphic symbolism with allegorical and philosophical interpretations that often stray far from the actual meanings of the signs. Nevertheless, it preserves authentic information about Egyptian religious symbolism unavailable from any other source.

Alexander Turner Cory's 1840 translation brought this enigmatic text to English readers. The Hieroglyphica had an enormous influence on Renaissance art and symbolism, shaping European ideas about Egypt and hieroglyphics for centuries before Champollion's decipherment revealed their true nature. It remains an essential document for understanding both Egyptian symbolism and its reception in the Western imagination.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

PREFACE.

FOR some years past an ardent spirit of enquiry has been awakened with regard to the interpretation of the hieroglyphics inscribed upon the monuments of Egypt. For ages, these had been looked upon as the depositories to which had been committed the religion arts and sciences of a nation once pre-eminent in civilization. Attempts had been continually made to penetrate the darkness, but without the slightest success, till the great discovery of Dr. Young kindled the light, with which the energetic and imaginative genius of Champollion, and the steady industry and zeal of his fellow labourers and successors, have illustrated almost every department of Egyptian antiquity, and rendered the religion and arts, and manners of that country, almost as familiar to us as those of Greece and Rome; and revived the names and histories of the long-forgotten Pharaohs.
The ill success of every previous attempt, may in a great measure, be attributed to the scanty remnants of Egyptian literature that had survived, and the neglect into which the sacred writings of Egypt had fallen, at the time when Eusebius and several of the fathers of the Christian church turned their attention to antiquity.

The ravages of the Persians had scattered and degraded the priesthood of Egypt, the sole depositories of its learning. But the fostering care of the Ptolemies reinstated them in splendour, and again established learning in its ancient seat. The cultivation of the sacred literature and a knowledge of hieroglyphics continued through the whole of the Greek dynasty, although the introduction of alphabetic writing was tending gradually to supersede them. Under the Roman dominion and upon the diffusion of Christianity they further declined; but the names of Roman emperors are found inscribed in hieroglyphic characters, down to the close of the second century, that of Commodus being, we believe, the latest that appears. During the two centuries that succeeded, the influence of Christianity, and the establishment of the Platonic schools at Alexandria, caused them to be altogether neglected.
At the beginning of the fifth century, Horapollo, a scribe of the Egyptian race, and a native of Phænebythis, attempted to collect and perpetuate in the volume before us, the then remaining, but fast fading knowledge of the symbols inscribed upon the monuments, which attested the ancient grandeur of his country. This compilation was originally made in the Egyptian language; but a translation of it into Greek by Philip has alone come down to us, and in a condition very far from satisfactory. From the internal evidence of the work, we should judge Philip to have lived a century or two later than Horapollo; and at a time when every remnant of actual knowledge of the subject must have vanished. He moreover, expressly professes to have embellished the second book, by the insertion of symbols and hieroglyphics, which Horapollo had omitted to introduce; and appears to have extended his embellishments also to the first book. Nevertheless, there is no room to doubt but that the greater portion of the hieroglyphics and interpretations given in that book, as well as some few in the second book, are translated from the genuine work of Horapollo, so far as Philip understood it: but in all those portions of each chapter, which pretend to assign a reason why the hieroglyphics have been used to denote the thing signified, we think the illustrations of Philip may be detected.
In the first stages of hieroglyphical interpretation, this work afforded no inconsiderable light. But upon the whole, it has scarcely received the attention which it may justly claim, as the only ancient volume entirely devoted to the task of unravelling the mystery in which Egyptian learning has been involved; and as one, which in many instances, unquestionably contains the correct interpretations. In the present edition of the work, where any interpretations have been ascertained to be correct, the chapter has been illustrated by the corresponding hieroglyphic. In those cases where the hieroglyphic is mentioned, but an incorrect interpretation assigned, engravings have been given of it, as well as of the hieroglyphic corresponding to such interpretation, wherever these have been ascertained: and they have been inserted in the hope that they may lead persons better acquainted with the subject to discover more accurate meanings than we have been able to suggest.

Among the engravings is inserted a complete Pantheon of the great gods and goddesses of Egypt —Khem, of whom Osiris is a form, is the great deity corresponding to the Indian Siva, and the Pluto of the Greeks—Phtha, of whom Horus is another form, is the Indian Brahma, and Greek Apollo—and Kneph is the counterpart of Vishnu and Jupiter—Isis, of Vesta—Hathor, of Venus—

Neith, of Minerva—and Thoth, of whom Anubis is another form, * is the origin of Mercury.

In this edition, the best text that could be found has been adopted, and in no instance has any emendation been hazarded without express authority; and our own suggestions have throughout been inserted in the notes, or within parentheses. And at the end will be found an index of the authors and manuscripts referred to, as well as the celebrated passages of Porphyry and Clemens relating to Hieroglyphical interpretation.

To Lord Prudhoe, at whose request and expense this work has been completed, and by whom also a very considerable part of the illustrations has been furnished, I beg to return my most sincere thanks. To Sir Gardner Wilkinson's published works I am much indebted, as well as to his assistance in the progress of the work; also to the kindness of Messrs. Burton, Bonomi, Sharpe, and Birch, who have respectively supplied several additional illustrations. But for more convenient reference, I have generally cited Mr. Sharpe's vocabulary, in which are comprised in a condensed form almost all the established discoveries of his predecessors.
The edition of Horapollo by Dr. Leemans has afforded some illustrations, and several of the various readings subjoined; and it is with great pleasure that the reader is referred to chat work for almost every passage contained in ancient authors which has any bearing upon the subject. The kindness of Mr. Bonomi, in executing designs for all the engravings, and of Mr. J. A. Cory, for the frontispiece and plates at the end, I beg with many thanks to acknowledge: and to Mr. I. P. Cory I am indebted for much assistance throughout the whole progress of the work, both in the translation and the notes, and in furnishing many of the illustrations and elucidations of some of the very obscure passages that occur throughout the work; and also for the labour of correcting much of the press, which he undertook for me while unavoidably engaged in other pursuits.

In conclusion, I beg to state, that upon myself must rest the responsibility of all the errors and deficiencies in the work, which I feel convinced cannot but be many; I trust, however, that they will in general be found comparatively unimportant.

Pembroke College, 1840.

Footnotes

xi:* See I. P. Cory's Mythological and Chronological Inquiries.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

HORAPOLLO.

ΩΡΑΠΟΛΛΩΝΟΣ ΝΕΙΛΩΟΥ ΙΕΡΟΓΡΑΥΦΙΚΑ

Α ΕΞΗΝΕΓΚΕ ΜΕΝ ΑΥΤΟΣ ΑΙΓΥΠΤΙΑΙ ΦΩΝΗΙ, ΜΕΤΕΦΡΑΣΕ ΔΕ ΦΙΛΙΠΠΟΣ ΕΙΣ ΤΗΝ ΕΛΛΑΔΑ ΔΙΑΛΕΚΤΟΝ

THE HIEROGLYPHICS OF HORAPOLLO NILOUS

WHICH HE PUBLISHED IN THE EGYPTIAN TONGUE, AND WHICH PHILIP TRANSLATED INTO THE GREEK LANGUAGE.

N. B The inverted commas in the text denote the parts which have been already recognized in the hieroglyphics: and the Italics between the text und notes refer to the hieroglyphical illustrations.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

H O R A P O L L O.

ΒΙΒΛΙΟΝ ΠΡΟΩΤΟΝ·

BOOK I.

I. HOW THEY DENOTE ETERNITY.

 1 To denote Eternity 2 they depict the SUN and MOON, because their elements are eternal. But when they would represent Eternity 2 differently, they delineate a SERPENT with its tail covered by the rest of its body: the Egyptians call this Ouraius, 1 which in the Greek language signifies Basilisk: 2 And they place golden figures of it round the Gods. The Egyptians say that Eternity is represented by this animal; because of the three existing species of serpents, the others are mortal, but this alone is immortal; and 3 because it destroys any other animal by merely breathing upon 4 it even without biting. And hence, inasmuch as it thus appears to have power over life and death, they place it upon the head of the Gods.

Footnotes

5:1 I. Denotes Eternal.

II. Head of a God with the Basilisk upon it. The basilisk often passes over the head, and is occasionally found passing round it.

III. Denotes Immortality.—Sharpe, 186, 191.

5:2 Eternal power?—a definite period?—an age?

6:1 ΟΥΡΟ, in Coptic, signifies a king. Jab. Champ. Tat.—Morell suggests Οὐβαῖος, as a derivative from ‏אוב‎, Ob, a serpent.

6:2 The Cobra Capella.—Hasselquist is in error when he says that the Arabs call this serpent Haje. They call it Nasher: and Haiyeh or Hayyeh is a general name for a serpent.

6:4 Kircher suggests, "By the hiss."—See also Sanchoniatho Eus. Pr. Ev. lib. i. c. 10.

6:3 Qy. insert" Power?"

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

II. HOW THE UNIVERSE.

 1 When they would represent the universe, they delineate a SERPENT bespeckled with variegated scales, devouring its own tail; by the scales intimating the stars in the universe. The animal is also extremely heavy, as is the earth, and extremely slippery, like the water: moreover, it every year puts off its old age with its skin, as in the universe the annual period effects a corresponding change, and becomes renovated. And the making use of its own body for food implies, that all things whatsoever, that are generated by divine providence in the world, undergo a corruption 1 into it again.

Footnotes

7:1 I. II. III. The three species of serpents found upon the monuments.

The figures of the god Atmou sometimes exhibit instances of a serpent with its tail in its mouth. See Pl. I. fig. 1. Perhaps the nearest known approximation to the text is the serpent running round the lid of the sarcophagus of Ramesses III. at Cambridge, which rusts its head upon its tail, and may indicate the Universe.

8:1 De Pauw proposes εἰς αυτὸ, or εἰς αὑτὰ, which Leemans adopts. But it simply refers to the ancient doctrine of Generation and Corruption. See Arist. de Gen. et Cor.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

III. HOW A YEAR.

 2 When they would represent a year, they delineate ISIS, i. e. a woman. By the same symbol they also represent the goddess. Now Isis is with them a star, called in Egyptian, Sothis, but in Greek Astrocyon, [the Dog' star]; which seems also to preside over the other stars, inasmuch as it sometimes rises greater, and at other times less; sometimes brighter, and at other times not so; and moreover, because according to the rising of this star we shew all the events of the ensuing year: 1 therefore not without reason do they call the year Isis. When they would represent the year otherwise, they delineate a PALM TREE 2 [BRANCH], because of all others this tree alone at each renovation of the moon produces one additional branch, so that in twelve branches the year is completed.

Footnotes

8:2 I. A year.

II. ISIS SOTHIS, from the ceiling of the Ramesseion.

III. The palm branch; on which Thoth measures time.

9:1 Regulate the calendar.

9:2 Qy. A palm branch, Sharpe, 636. Clemens Alex. describing a procession, states that the Horoscopus carries a φοίνικα, which evidently must imply a palm branch. See passage of Clemens in the Appendix.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

IV. HOW A MONTH.

 1 To represent a month they delineate a PALM BRANCH, or, the MOON INVERTED.

A palm branch for the reason before mentioned respecting the palm tree; and the moon inverted, because they say, that, in its increase, when it has come to fifteen degrees, 1 it appears in figure with its horns erect; and in its decrease, after having completed the number of thirty days, 2 it sets with its horns inverted.

Footnotes

10:1 I. II. A month.**

*III. *The twelve months, divided into three seasons:

Season of Vegetation.

Thoth.

Paophi.

Hathor.

Choiak.

Season of Harvest.

Toby.

Mechir.

Phamenoth.

Pharmuthi.

Season of Inundation.

Pachon.

Paoni.

Epiphi.

Mesori.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

V. HOW THE CURRENT OR CIVIL YEAR.

 3 'To represent the current year, they depict [with the sign of the year?] the fourth part of an ARURA: now the Arura is a measure of land of an hundred cubits. And when they would express a year they say a quarter [add the quarter?]: 1 for they affirm that in the rising of the star Sothis, 2 the fourth part of a day intervenes between the (completion of the solar year and the) following rising (of the star Sothis), because the year of the God [the solar year] consists of only 365 days; 3 hence in the course of each tetracterid 4 the Egyptians intercalate an entire day, for the four quarters complete the day.

Footnotes

11:3 I. Year as used in dates that refer to the reigns of kings or ages of individuals.

II. Year as an interval of time.—Sh. 634, 633.

11:1 During the first fifteen days?

11:2 During the last fifteen days.

12:1 Substitute a square?

12:2 i.e. calculating according to Sothic time.

12:3 Salm. and De Pauw suggest, and Leem has ventured to insert in the text καὶ τετάρου, i.e. and a quarter, which entirely destroys the passage. Mr. Wilkinson says, "They had two years, one intercalated, the other not: the former was calculated from the Heliacal rising of the Dogstar, to that of the ensuing year, and was hence called the Sothic year: it had also the name of Squared year, from the intercalation; and when expressed in hieroglyphics a square is placed instead of the globe of the solar year, which last was used in the dates of their tablets, that refer to the reigns of kings or ages of individuals." Mat. Hier. part ii. p. 134.

12:4 The period of four Julian years.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

VI. WHAT THEY SIGNIFY BY DELINEATING A HAWK.

 1 When they would signify God, or height, or lowness, or excellence, or blood, or victory, (or Ares, or Aphrodite,) [Hor or Hathor] 2, they delineate a HAWK. They symbolize by it God, because the bird is prolific and long-lived, or perhaps rather because it seems to be an image of the sun, being capable of looking more intently towards his rays than all other winged creatures: and hence physicians for the cure of the eyes use the herb hawkweed: hence also it is, that under the form of a HAWK, they sometimes depict the sun as lord of vision. And they use it to denote height, because other birds, when they would soar on high, move themselves from side to side, being incapable of ascending vertically; but the hawk alone soars directly upwards. And they use it as a symbol of lowness, because other animals move not in a vertical line, but descend obliquely; the hawk, however, stoops directly down upon any thing beneath it. And they use it to denote excellence, because it appears to excel all birds—and for blood, because they say that this animal does not drink water, but blood—and for victory, because it shews itself capable of overcoming every winged creature; for when pressed by some more powerful bird, it directly turns itself in the air upon its back, and fights with its claws extended upwards, and its wings and back below; and its opponent being unable to do the. like, is overcome.

Footnotes

13:1 I. RA or PHRA, the Sun, also HOR.—Sh. 110.

II. HATHOR.

III. This figure is constantly found over the head of the Egyptian kings in the representations of their victories, as well as upon other occasions.

13:2 Ald. and Treb. omit.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

VII. HOW THEY INDICATE THE SOUL.

 1 Moreover, the HAWK is put for the soul, from the signification of its name; for among ' the Egyptians the hawk is called BAIETH: and this name in decomposition signifies soul and heart; for the word BAI is the soul, and ETH the heart; and the heart, according to the Egyptians, is the shrine of the soul; so that in its composition the name signifies 'soul enshrined in heart.' Whence also the hawk, from its correspondence with the soul, never drinks water, but blood, by which, also, the soul is sustained.

Footnotes

15:1 I. The departing soul.

II. The hawk found sitting upon the mummy cases.

III. The external mummy case.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

VIII. HOW ARES AND APHRODITE (HOR AND HATHOR.) 1

 2 'To denote Ares and Aphrodite (Hor and Athor), they delineate TWO HAWKS; 1 of which they assimilate the male to Ares (Hor), and the female to Aphrodite (Hathor), for this reason, quod ex cæteris animantibus fœmina mari non ad omnem congressum obtemperat, ut in accipitrum genere, in quo etsi tricies in die fœmina a mare comprimatur, ab eo digressa, si inclamata fuerit paret iterum. Wherefore the Egyptians call every female that is obedient to her husband Aphrodite (Hathor), but one that is not obedient they do not so denominate. For this reason they have consecrated the hawk to the sun: for, like the sun, it completes the number thirty in its conjunctions with the female.
When they would denote Ares and Aphrodite (Hor and Athor) otherwise, they depict TWO CROWS [ravens?] as a man and woman; because this bird lays two eggs, from which a male and female ought to be produced, and, ([except?] when it produces two males or two females, which, however, rarely happens,) the males mate with the females, and hold no intercourse with any other crow, neither does the female with any other crow, till death; but those that are widowed pass their lives in solitude. And hence, when men meet with a single crow, they look upon it as an omen, as having met with a widowed creature; and 1 on account of the remarkable concord of these birds, the Greeks to this day in their marriages exclaim, EKKOKI KORI KORONE, though unacquainted with its import.

Footnotes

16:2 I. Hor or Horus.

II. Athor, Hathor, or Thyhor, the Egyptian Venus.

16:1 To denote Hor, they delineate a HAWK; and to denote Hathor, a HAWK WITHIN AN ENCLOSURE, as in the figure, which is read as an abode of Horus. Plutarch states that ATHURI signifies Horus's mundane house.

18:1 Treb. omits the concluding sentence from ζώῳ

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

IX. HOW MARRIAGE.

To denote marriage, they again depict TWO CROWS, on account of what has been mentioned.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

X. HOW AN ONLY BEGOTTEN.

 1 To denote an only begotten, or generation, or a father, or the world, or a man, they delineate a SCARABÆUS. 2 And they symbolise by this an only begotten, because the scarabæus is a creature self-produced, being unconceived by a female; for the propagation of it is unique after this manner:—when the male is desirous of procreating, he takes dung of an ox, and shapes it into a spherical form like the world; he then rolls it from the hinder parts from east to west, looking himself towards the east, that he may impart to it the figure of the world, (for that is borne from east to west, while the course of the stars is from west to east): then, having dug a hole, the scarabæus deposits this ball in the earth for the space of twenty-eight days, (for in so many days the moon passes through the twelve signs of the zodiac). By thus remaining under the moon, the race of scarabæi is endued with life; and upon the nine and twentieth day after having opened the ball, it casts it into water, for it is aware that upon that day the conjunction of the moon and sun takes place, as well as the generation of the world. From the ball thus opened in the water, the animals, that is the scarabæi, issue forth. The scarabæus also symbolizes generation, for the reason before mentioned —and a father, because the scarabæus is engendered by a father only—and the world, because in its generation it is fashioned in the form of the world—and a man, because there is no female race among them. Moreover there are three species of scarabæi, the first like a cat, and irradiated, which species they have consecrated to the sun from this similarity: for they say that the male cat changes the shape of the pupils of his eyes according to the course of the sun: for in the morning at the rising of the god, they are dilated, and in the middle of the day become round, and about sunset appear less brilliant: whence, also, the statue of the god in the city of the sun is of the form of a cat. Every scarabæus also has thirty toes, corresponding with the thirty days duration of the month, during which the rising sun [moon?] performs his course. The second species is the two horned and bull formed, which is consecrated to the moon; whence the children of the Egyptians say, that the bull in the heavens is the exaltation of this goddess. The third species is the one horned and Ibis formed, 1 which they regard as consecrated to Hermes [Thoth], in like manner as the bird Ibis.

Footnotes

19:1 I. The Scarabæus signifies the world: it is very commonly found with the circle, emblematic of the sun, in front of it.

19:2 Produced by a single parent?

22:1 Cuper. and De Pauw propose ἰβιόμορφος, ibis-formed; which is adopted in the translation above, but not inserted in the text.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XI. WHAT THEY IMPLY BY DEPICTING A VULTURE.

 1 To denote a mother, or vision, or boundary, or foreknowledge, or a year, or heaven, or one that is compassionate, or Athena [Neith], or Hera [Saté], or two drachmas, they delineate it a mother, because in this race of creatures there is no male. Gignuntur autem hunc in modum. Cum amore concipiendi vultur exarserit, vulvam ad Boream aperiens, ab eo velut comprimitur per dies quinque, during which time she partakes neither of food nor drink, being intent upon procreation. There are also other kinds of birds which conceive by the wind, but their eggs are of use only for food, and not for procreation; but the eggs of the vultures that are impregnated by the wind possess a vital principle. The vulture is used also as a symbol of vision, because it sees more keenly than all other creatures; and by looking towards the west when the sun is in the east, and towards the east when the god is in the west, it procures its necessary food from afar. And it signifies a boundary [landmark?] because, when a battle is to be fought, it points out the spot on which it will take place, by betaking itself thither seven days beforehand:—and foreknowledge, both from the circumstance last mentioned, and because it looks towards that army which is about to have the greater number killed, and be defeated, reckoning on its food from their slain: and on this account the ancient kings were accustomed to send forth observers to ascertain towards which part of the battle the vultures were looking, to be thereby apprized which army was to be overcome. And it symbolizes a year, because the 365 days of the year, in which the annual period is completed, are exactly apportioned by the habits of this creature; for it remains pregnant 120 days, and during an equal number it brings up its young, and during the remaining 120 it gives its attention to itself, neither conceiving nor bringing up its young, but preparing itself for another conception; 1 and the remaining five days of the year, as I have said before, it devotes to another impregnation by the wind. It symbolises also a compassionate person, which appears to some to be the furthest from its nature, inasmuch as it is a creature that preys upon all things; but they were induced to use it as a symbol for this, because in the 120 days, during which it brings up its offspring, it flies to no great distance, but is solely engaged about its young and their sustenance; and if during this period it should be without food to give its young, it opens its own thigh, and suffers its offspring to partake of the blood, that they may not perish from want of nourishment:—and Athena [Neith], and Hera [Saté], because among the Egyptians Athena [ Neith] is regarded as presiding over the upper hemisphere, and Hera [Saté] over the lower; whence also they think it absurd to designate the heaven in the masculine, τὸν οὑρανὸν, but represent it in the feminine, τὴν οὑρανὸν, inasmuch as the generation of the sun and moon and the rest of the stars, is perfected in it, which is the peculiar property of a female. And the race of vultures, as I said before, is a race of females alone, and on this account the Egyptians over any female hieroglyph place the vulture as a mark of royalty [maternity?]. And hence, not to prolong my discourse by mentioning each individually, when the Egyptians would designate any goddess who is a mother, they delineate a vulture, for it is the mother of a female progeny. And they denote by it (οὑρανίαν)

heaven, (for it does not suit them to say τὸν οὑρανὸν, as I said before,) because its generation is from thence [by the wind]:—and two drachmas, because among the Egyptians the unit [of money] is the two drachmas, 1 and the unit is the origin of every number, therefore when they would denote two drachmas, they with good reason depict a vulture, inasmuch as like unity it seems to be mother and generation.

Netpe, as the upper hemisphere, or heaven; Isis, as the lower, or earth.

Footnotes

23:1 I. Mother. II. Victory. III. Lower Egypt.

26:1 This division appears to intimate the three seasons of the Egyptian year,—four months of Vegetation, four months of Harvest, and four of the Inundation, and the five epagomenæ consecrated as the birthdays of the gods.

28:1 Par A. Treb. Leem.γραμμαί al.—Leemans observes that the Alexandrine Interpreters of the Old Testament always reckon the money by the didrachma, as in xxx. Ex. 13, for the drachma they use the half of a didrachma, τὸ ἡ?'μισυ τοῦ διδράχμου.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XII. HOW THEY DENOTE HEPHÆSTUS [PHTHAH.]

 1 'To denote Hephæstus [Phthah], they delineate a SCARABÆUS and a VULTURE, and to denote Athena [Neith], 2 a VULTURE and a SCARABÆUS; for to them the world appears to consist both of male and female, (for Athena [Neith] however they also depict a vulture) and; according to them, these are the only Gods who are both male and female. 3

Footnotes

29:1 I. Neith, Athena, or Minerva.

II. Phthah Tore, the deformed pigmy God of Memphis, has a scarabæus on his head, and sometimes stands upon a crocodile.

III. Phthah Socari.

29:2 To denote Phthah, they delineate a SCARABÆUS i and a VULTURE, to denote Neith?

29:3 See c. 10 and 11.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XIII. WHAT THEY INTIMATE WHEN THEY DEPICT A STAR.

 1 When they would symbolise the Mundane God, or fate, or the number 5, they depict a STAR. And they use it to denote God, because the providence of God maintains the order by which the motion of the stars and the whole universe is subjected to his government, for it appears to them that without a god nothing whatsoever could endure. And they symbolise by it fate, because even this is regulated by the dispositions of the stars:—and also the number 5, because, though there are multitudes of stars in the heavens, five of them only by their motion perfect the natural order of the world.

Footnotes

30:1 I. A figure denoting Prayer or Glorifying.

II. The number 5.

III. From the architraves of the Ramesseion.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XIV. WHAT THEY DENOTE WHEN THEY POURTRAY A CYNOCEPHALUS.

 1 To denote the moon, or the habitable world, or letters, or a priest, or anger, or swimming, they pourtray a CYNOCEPHALUS. And they symbolise the moon by it, because the animal has a kind of sympathy with it at its conjunction with the god. For at the exact instant of the conjunction of the moon with the sun, when the moon becomes unillumined, then the male Cynocephalus neither sees, nor eats, but is bowed down to the earth with grief, as if lamenting the ravishment of the moon: and the female also, in addition to its being unable to see, and being afflicted in the same manner as the male, ex genitalibus sanguinem emittit: hence even to this day cynocephali are brought up in the temples, in order that from them may be ascertained the exact instant of the conjunction of the sun and moon. And they symbolise by it the habitable world, because they hold that there are seventy-two primitive countries of the world; and because these animals, when brought up in the temples, and attended with care, do not die like other creatures at once in the same day, but a portion of them dying daily is buried by the priests, while the rest of the body remains in its natural state, and so on till seventy-two days are completed, by which time it is all dead. They also symbolise letters by it, because there is an Egyptian race of cynocephali that is acquainted with letters; wherefore, when a cynocephalus is first brought into a temple, the priest places before him a tablet, and a reed, and ink, to ascertain whether it be of the tribe that is acquainted with letters, and whether it writes. The animal is moreover consecrated to Hermes [Thoth], the patron of all letters. And they denote by it a priest, 1 because by nature the cynocephalus does not eat fish, nor even any food that is fishy, like the priests. And it is born circumcised, which circumcision the priests also adopt. And they denote by it anger, because this animal is both exceedingly passionate and choleric beyond others:—and swimming, because other animals by swimming 1 appear dirty, but this alone swims to whatever spot it intends to reach, and is in no respect affected with dirt.

Footnotes

31:1 I. Ioh or Pooh, the Moon, a form of Thoth.

II. A common symbol of Thoth.

33:1 Sacred scribe.

34:1 De Pauw suggests——are borne down by the stream, but this alone swims to the spot it intends to reach without being carried down by the stream. The passage is very obscure.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XV. HOW THEY DENOTE THE RENOVATION OF THE MOON.

 1 When they would denote the renovation of the moon, they again pourtray a CYNOCEPHALUS in this posture, standing upright, and raising its hands to heaven, with a diadem upon its head; and for the renovation they depict this posture, into which the cynocephalus throws itself, as congratulating the goddess, if we may so express it, in that they have both recovered light.

Footnotes

35:1 From the temple of Edfou.—Sh. E. I. 46. 6. Vocab. 959.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XVI. HOW THE TWO EQUINOXES.

 1 Again, to signify the two Equinoxes they depict a sitting CYNOCEPHALUS, for at the two equinoxes of the year it makes water twelve times in the day, once in each hour, and it does the same also during the two nights; wherefore not without reason do the Egyptians sculpture a sitting Cynocephalus on their Hydrologia (or waterclocks); and they cause the water to run from its member, because, as I said before, the animal thus indicates the twelve hours of the equinox. And lest the contrivance, by which the water is discharged into the Horologium, should be too wide, or on the other hand too narrow, (for against both these caution must be taken, for the one that is too wide, by discharging the water quickly, does not accurately fulfil the measurement of the hour, neither the one that is too narrow, since it lets forth the water little by little, and too slowly,) they perforate an aperture to the extremity of the member, and according to its thickness insert in it an iron tube adapted to the circumstances required. And this they are pleased to do, not without sufficient reason, more than in other cases. They also use this symbol, because it is the only animal that at the equinoxes utters its cries twelve times in the day, once in each hour.

Footnotes

36:1 I. The Cynocephalus upon the Nilometer, from the ceiling of the Ramesseion, where it occupies the central position between the last and first months of the year.

II. A water-clock in the Museum at Leyden.—Leemans.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XVII. HOW THEY DENOTE INTREPIDITY.

 1 When they would denote intrepidity, they depict a LION, for he has a great head, and fiery eyeballs, and a round face, and about it hairs like rays in resemblance of the sun; and hence it is, that they place lions under the throne of Horus, intimating the connexion of the animal with the god. And the sun is called Horus from presiding over the Hours.

Footnotes

38:1 I. The Lion signifying Lord.—Sh. 770.

II. Lions supporting the sun in his resting place; from Thebes about the beginning of the 18th dynasty.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XVIII. HOW THEY DENOTE STRENGTH.

 1 To denote strength, they pourtray the FOREPARTS OF A LION, because these are the most powerful members of his body.

Footnotes

39:1 This hieroglyphic signifies "Powerful;" and the head by itself "Victrix," as it occurs in Nitocris or Neith victrix.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XIX. HOW THEY DENOTE A WATCHFUL PERSON.

 1 To denote a watchful person, or even a guard, they pourtray the HEAD OF A LION, because the lion, when awake, closes his eyes, but when asleep keeps them open, which is a sign of watching. Wherefore at the gates of the temples they have symbolically appropriated lions as guardians.

Footnotes

40:1 II. Watchful.

I. III. Andro-Sphinxes, and Crio-Sphinxes, were almost universally placed in the dromos of a temple. The magnificent lions, presented by Lord Prudhoe to the British Museum, are from Napata, now Gebel Burkel.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XX. HOW THE TERRIBLE.

To signify the terrible they make use of the SAME SYMBOL, 1 because this animal, being the most powerful, terrifies all who behold it.

Footnotes

41:1 See Chap. XVIII.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXI. HOW THE RISING OF THE NILE.

 2 To signify the rising of the Nile, which they call in the Egyptian language NOUN, and which, when interpreted, signifies New, they sometimes pourtray a LION, and sometimes THREE LARGE WATERPOTS, and at other times HEAVEN AND EARTH GUSHING FORTH WITH WATER. And they depict a LION, because when the sun is in Leo it augments the rising of the Nile, so that oftentimes while the sun remains in that sign of the zodiac, half of the new water [Noun, the entire inundation?] is supplied; and hence it is, that those who anciently presided over the sacred works, have made the spouts [?] and passages of the sacred fountains in the form of lions. 1 Wherefore, even to this day in prayer for an abundant inundation - - - - - - - - - And they depict THREE WATERPOTS, or HEAVEN AND EARTH GUSHING FORTH WITH WATER, because they make a waterpot like a heart having a tongue,—like a heart, because in their opinion the heart is the ruling member of the body, as the Nile is the ruler of Egypt, and like [a heart with?] a tongue, because it is always in a state of humidity, and they call it the producer of existence. And they depict three waterpots, and neither more nor less, because according to them there is a triple cause of the inundation. And they depict one for the Egyptian soil, as being of itself productive of water; and another for the ocean, for at the period of the inundation, water flows up from it into Egypt; and the third to symbolise the rains which prevail in the southern parts of Ethiopia at the time of the rising of the Nile. Now that Egypt generates the water, we may deduce from this, that in the rest of the earth the inundations of the rivers take place in the winter, and are caused by frequent rains; but the country of the Egyptians alone, inasmuch as it is situated in the middle of the habitable world, like that part of the eye, which is called the pupil, of itself causes the rising of the Nile in summer.

Footnotes

41:2 I. The Inundation.

II. Lord of the waters of the Nile, a title of Kneph.—Sh. 781.

III. A figure from a tomb at Thebes; the symbols of heaven and earth, with drops distilling between them.

IV. The sign of the month, of the inundation—Noun.

42:1 The Lion's head is commonly used as a waterspout in the temples of Egypt.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXII. HOW THEY DESIGNATE EGYPT.

 1 To designate Egypt, 2 they depict a BURNING CENSER AND A HEART. ABOVE IT, implying, that as the heart of a jealous person is constantly inflamed, so Egypt from its heat perpetually vivifies the things which are in or near it.

Footnotes

45:1 Of the above nine hieroglyphical groups, I, II, III, upon the left, signify Egypt. The fourth, in the centre, signifies Upper and Lower Egypt; and is apparently that to which Horapollo alludes, but is mistaken in his description of it. V, and VI, immediately beneath it, denote King, and King of the Upper and Lower country. And XII, VIII, IX, upon the right, signify the Upper and Lower country.

45:2 Qy. Αἴγυπτος, the Nile? or Egypt after the inundation?

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXIII. HOW A MAN THAT HAS NOT TRAVELLED ABROAD.

To symbolize a man that has not travelled out of his own country, they delineate an ONOCEPHALUS [creature with an ass's head], because he is neither acquainted with history, nor conversant with foreign affairs.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXIV. HOW AN AMULET [PROTECTION]. 1

 2 When they would denote an amulet, they pourtray TWO HUMAN HEADS, one of a male looking inwards, the other of a female looking outwards, (for they say that no demon will interfere with any person thus guarded); for without inscriptions they protect themselves with the two heads.

Footnotes

46:2 Two heads, one in front and the other in profile, is a common hieroglyphic signifying Protection, but is not ascertained us an amulet.

46:1 Mr. Birch has suggested, that φυλακτήριον has been substituted by Horapollo for φύλακα, a Guard or Protector; which is extremely happy.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXV. HOW THEY DENOTE AN IMPERFECT MAN.

 1 To denote an imperfect man, they delineate a FROG, because it is generated from the slime of the river, whence it occasionally happens that it is seen with one part of a frog, and the remainder formed of slime, so that should the river fall, the animal would be left imperfect.

Footnotes

47:1 I. A common hieroglyphic, but not ascertained. In the British Museum is an inscription, in which Kneph is called "the king of Frogs."—Birch.

II. Kneph.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXVI. HOW AN OPENING.

 1 When they would denote an opening, they delineate a HARE, because this animal always has its eyes open.

Footnotes

48:1 Denotes "opening" according to Wilkinson—according to Sharpe it signifies "It is lawful." Qy. "Open or unprohibited."

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXVII. HOW SPEECH.

 1 To denote speech they depict a TONGUE, and a BLOODSHOT EYE; because they allot the principal parts of speech to the tongue, but the secondary parts thereof to the eyes. For these kinds of discourses are strictly those of the soul varying in conformity with its emotions; more especially as they are denominated by the Egyptians as different languages. And to symbolize speech differently, they depict a TONGUE and a HAND BENEATH; allotting the principal parts of speech to the tongue to perform, and the secondary parts to the hand as effecting the wishes of the tongue.

Footnotes

49:1 I. Supposed by Mr. Wilkinson to represent three tongues, and to apply to the goddess of speech.

II. Champollion considered this as the tongue and hand alluded to: it is often found inscribed at the beginning of tablets; a position not tin frequently occupied by an eye. It appears as a title of Hor.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXVIII. HOW DUMBNESS.

To denote dumbness, they depict the number 1095, which is the number of days in the space of three years, the year consisting of 365 days, within which time, if a child does not speak, it chews that it has an impediment in its tongue.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXIX. HOW A VOICE FROM A DISTANCE.

When they would symbolise a voice from a distance, which is called by the Egyptians Ouaie, they portray the VOICE OF THE AIR, i. e. THUNDER, than which nothing utters a greater or more powerful voice.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXX. HOW ANCIENT DESCENT.

 1 To denote ancient descent they depict a BUNDLE OF PAPYRUS, and by this they intimate the primeval food; for no one can find the beginning of food or generation.

Footnotes

51:1 A roll of papyrus.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXI. HOW TASTE.

To denote taste they delineate the EXTREMITY OF THE GULLET, for all taste is preserved thus far: I am speaking however of perfect taste. But to denote imperfect taste they delineate the TONGUE UPON THE TEETH, inasmuch as all taste is effected by these.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXII. HOW DELIGHT.

When they would represent delight they depict the NUMBER 16; 1 for from this age men begin to hold commerce with women, and to procreate children.

Footnotes

52:1 Leemans very happily suggests, from the following passage in Pliny. Nat. Hist. V. 9., that the symbol had some reference to the rising of the Nile: "Justum incrementum est cubitorum sedecim . . . . . . . in duodecim cubitis famem sentit; in tredecim etiamnum esurit; quatuordecim cubits hilaritatem adferunt; quindecim securitatem; sedecim delicias."

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXIII. HOW SEXUAL INTERCOURSE.

To denote sexual intercourse they depict TWO NUMBERS 16. Cum enim sedecim voluptatem esse diximus; congressus autem, duplici constet, maris ac fœminæ, voluptate, propterea alia sedecim adscribunt.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXIV. HOW A SOUL CONTINUING A LONG TIME HERE.

 1 When they would denote a soul continuing a long time here, 2 or an inundation, they depict the PHŒNIX the bird: 3 and they denote the soul by it, because this is the longest lived of all creatures in the world; and an inundation, because the Phœnix is a symbol of the sun, than which nothing is greater in the universe. For the sun passes over all and scrutinises all, hence he is called . . . . . Polys 1 (much).

Footnotes

54:1 The Phœnix.

54:2 Qy. 'When they would denote the soul, or an expiring cycle of time, or an inundation?' Of the two first the Phœnix was certainly a symbol, and possibly of the last, on account of its periodical return.

54:3 The Phœnix the Bird, to distinguish it from the Phœnix the Palm branch.—See Ch. 7.

55:1 Phanes? Apollo.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXV. HOW A MAN RETURNING HOME AFTER A LONG TIME FROM A FOREIGN LAND.

To denote a man returning home after a long time from a foreign land they again delineate the PHŒNIX the bird: for this creature, after an interval of 580 years, 2 when the time of death is about to overtake him, returns to Egypt, and as soon as he pays the debt of nature in Egypt, he is mystically served with funeral rites; and whatever rites the Egyptians pay to the rest of the sacred animals, the same are due to the Phœnix: 1 for it is said by the Egyptians to rejoice in the sun more than other birds, and because among them the Nile overflows through the heat of this god; of which matter we discoursed with you a short time since.

Footnotes

55:2 See a similar relation in Tacitus Ann. vi. 28.

56:1 I have translated this according to Treb.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXVI. HOW THEY DENOTE THE HEART.

 2 When they would denote the heart they delineate the Isis; for this animal is consecrated to Hermes [Thoth], the lord of every heart and of reasoning. The Ibis also is itself in its own shape like the heart, respecting which great discussions are maintained by the Egyptians.

Footnotes

56:2 Ibis, the emblem of Thoth or Hermes.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXVII. HOW EDUCATION.

To denote education 1 they represent the HEAVEN DISTILLING DEW, intimating that as falling dew alights on all Vegetables, and softens those which have a nature susceptible of being softened, but is unable to operate upon those which essentially remain hard in the same way as upon the others; so also among men education is common to all; and a man of an apt disposition receives it as dew, while a man of a disposition less docile is incapable of doing so.

Footnotes

57:1 Qy. An Educator or Priest? See Ch. 21, fig. 4. See also fig. 3 of Neith, who was the Minerva, the Goddess of Education, pouring out the waters.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXVIII. HOW THE EGYPTIAN LETTERS.

 1 To denote the Egyptian letters, or a sacred scribe, or a boundary, they delineate INK, and a SIEVE, and a REED, and they thus symbolise the Egyptian letters, because by means of these things all writings among the Egyptians are executed: for they write with a reed and nothing else: and they depict a SIEVE, because the sieve being originally an instrument for making bread is constructed of reed; and they thereby intimate that every one who has a subsistence should learn the letters, but that one who has not should practise some other art. And hence it is that among them education is called SBO, 1 which when interpreted signifies sufficient food. Also they symbolize by these a sacred scribe, because he judges of life and death. For there is among the sacred scribes a sacred book called AMBRES, by which they decide respecting any one who is lying sick, whether he will live or not, ascertaining it from the recumbent posture of the sick person. And a boundary, because he who has learnt his letters has arrived at a tranquil harbour of existence, no longer wandering among the evils of this life.

Footnotes

58:1 I. Inkstand: the ink and reeds, with one of which Thoth is writing, are placed in the cavities of the inkstand.

II. A royal scribe.

III. Thoth, the sacred scribe, is usually in this position, behind Osiris in the judgment of the dead.

59:1 SBO in Coptic denotes learning.—Champ.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXIX. HOW A SACRED SCRIBE.

 1 And again when they would denote a sacred scribe, or a prophet, or an embalmer, or the spleen, or smelling, or laughter, or sneezing, [or government, or a judge,] they depict a DOG. And by this they denote a sacred scribe, because it is necessary for one who is desirous of becoming a perfect sacred scribe to be extremely careful, and to bark perpetually, and to be fierce, fawning upon no one, like dogs. And they symbolise by it a prophet, because the dog gazes intently 1 upon the images of the gods more than all other animals, as does a prophet. And an embalmer of the sacred animals, because he also surveys the naked and dissected forms which are preserved by him. And the spleen, because this animal alone of all other creatures has this organ very light: and whether death or madness seizes him it arises from his spleen. And those who attend this animal in his exequies, when about themselves to die, generally become splenetic; for smelling the exhalations from the dog, when dissecting him, they are affected by them.

And it denotes smelling, and laughter, and sneezing, because the thoroughly splenetic are neither able to smell, nor laugh, nor sneeze.

Footnotes

60:1 I. Anubis on a tomb.

II. Anubis as an embalmer.

61:1 In the ceiling of the Ramesseion is a figure of Anubis seated, as in fig. I., at each end of the zodiac, gazing at the gods, who represent the intermediate months.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XL. IN WHAT MANNER THEY REPRESENT GOVERNMENT, OR A JUDGE.

 1 2 When they denote government, 3 or a judge, they place close against the dog a ROYAL ROBE, the undress garment: 1 because like the dog, who, as I said before, gazes intently on the images of the gods, so likewise the minister, being in the more ancient times a judge also, used to see the king naked, and on this account they add the royal garment.

Footnotes

62:1 I. The figure, which appears to be some spotted skin upon a pole, is commonly placed beside Osiris or Thoth in the judgment of the dead, in which Anubis or the Dog is also concerned. It may be some coarse garment, but it is evidently the panther skin of the Greek Dionysus, the counter-part of Osiris.

II. Osiris as judge of the dead; another forth of Khem.

62:2 Qy. ὀσφραινόμενοι, the robe bearer, who was one of the officers of the procession. See the illustration of these chapters from Clemens, in the plate and note at the end.

62:3 Qy. Ἄρχοντα, An archon or minister of state.

63:1 Very obscure—Treb. reads nudæ figuræ appositam, placed on a naked figure.—Mer. and De Pauw. suggest σχήματι γύμνῳ—Caus. καὶ σχῆμα γυμνόν. It seems to have been the hide of some beast worn next the skin by the King, (as Dionysus and Hercules are represented,) sod, according to Mr. Wilkinson, by the priests of a certain grade.—See his Ancient Egypt.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLI. HOW THEY SIGNIFY THE BEARER OF THE SHRINE.

 2 To signify the bearer of the shrine, 3 they depict the KEEPER OF A HOUSE, because by him the temple is guarded.

Footnotes

63:2 I. Shrine or small portable temple, which was borne like the Jewish ark by staves passed along its sides, as above.—Sh. 361.

II. This figure supporting a shrine is very common.

III. A temple; literally a shrine-house.—Sh. 362.

63:3 The cell in which the statue was carried in procession.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLII. HOW THEY REPRESENT AN HOROSCOPUS [OBSERVER OF THE HOURS.]

 1 To signify an Horoscopus [observer of the hours], they delineate a MAN EATING THE HOURS, not that the man eats the hours, for that is impossible, but because food is prepared for men according to the hours.

Footnotes

64:1 This figure of a man with the emblem of life against his mouth is found; and seems to he the figure alluded to.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLIII. HOW THEY DENOTE PURITY.

To represent purity they delineate FIRE AND WATER, because by these elements all purification is perfected.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLIV. HOW THEY INTIMATE A THING UNLAWFUL, OK AN ABOMINATION.

 1 To denote a thing unlawful, or an abomination, they delineate a FISH, because the feeding upon fish is considered in the sacred rites as abominable, and a pollution: for every fish is an animal that is a desolator [laxative as food?], and a devourer of its own species.

Footnotes

65:1 Clemens states that the fish denotes hatred: and, according to Leemans, it is found in some inscriptions with that signfication.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLV. HOW THEY REPRESENT THE MOUTH.

To represent the mouth they depict a SERPENT, because the serpent is powerful in no other of its members except the mouth alone.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLVI. HOW MANLINESS COMBINED WITH TEMPERANCE.

 1 To denote manliness combined with temperance, they delineate a BULL that has a vigorous constitution. Calidissimum enim est huic animali membrum, ita ut semel eo in fœminæ vulvam immisso, vel absque ullo motu semen effutiat. Quod si quando a vulvâ vaccæ aberrans, in alium corporis partem membrum intenderit, tum ejus immodicâ intentione vaccani vulnerat. Quin et temperans est: quippe cum nunquam post conceptum, vaccam ineat.

Footnotes

66:1 I. The commencement of numerous dedicatory inscriptions, generally interpreted "Sacred."—Sh. 309, 311. Does it signify things, or a tablet to "set up to, or in honour of?"

II. KHEM, one of the principal divinities, the god of generation, his emblem was the bull.

III. Powerful. Compare the translation of the obelisk of Hermapion, Anc. Fr. p. 169, with the square banners of the kings.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLVII. HOW HEARING.

 1 To denote hearing, they delineate the EAR OF THE BULL, for when the cow is desirous of conception, (and she continues so for not longer than three hours together,) she vehemently lows, and if during this time the bull should not approach her, she reserves herself till another meeting. This however rarely happens; for the bull hears her from a great distance, and knowing that she is inflamed, he hastens to the meeting, and is the only animal that does so.

Footnotes

67:1 The bull's ear denotes hearing.—Champ.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

 1

XLVIII. HOW THE MEMBER OF A PROLIFIC MAN.

To denote the member of a prolific man, they depict a GOAT, and not a bull: ille enim antequam annum attigerit, coire non solet: hic septem statim post ortum diebus congreditur, infœcundum et genituræ minime accommodum semen excernens. Prius tamen ac celerius cæteris animantibus coit.

Footnotes

68:1 The Mendesian goat appears to have been considered by Herodotus as sacred to Khem. The goat as well as the bull was an emblem of Siva.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLIX. HOW THEY DENOTE IMPURITY.

 1 To denote impurity, they delineate an ORYX 2 (a species of wild goat), because when the moon rises, this animal looks intently towards the goddess and raises an outcry, and that, neither to praise nor welcome her; and of this the proof is most evident, for it scrapes up the earth with its fore legs, and fixes its eyes in the earth, as if indignant and unwilling to behold the rising of the goddess. And it acts in the same manner at the rising of (the divine star) the sun. Wherefore the ancient kings, when the Horoscopus apprised them of the rising of the moon, placed themselves near this animal, and by observing the middle of its operations, ascertained, as by a kind of gnomon, the exact time of the rising. And hence the priests, of all other cattle, eat this alone without being previously marked with the seal, inasmuch as it appears to entertain a kind of aversion to the goddess: and in the desert wherever it finds a watering place, after having drunk, it stirs it up with its lips, and mingles the mud with the water, and throws dust into it with its feet, that it may be fit for no other animal to drink; so malicious and odious has the nature of the Oryx been considered. Nor does it act thus unmeaningly, because it is this same goddess who germinates and causes all things whatsoever to increase that are useful in the world.

Footnotes

69:1 I. The Oryx is found upon the monuments, but not explained.

II. A conical seal frequently appears in the hands of persons making oblations. Several with inscriptions on the base, as represented above, are in Dr. Lee's Museum.

69:2 Moe. Pur A. B. Mer. Causs. ὄρτυγα, a quail.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

L. HOW A DISAPPEARANCE.

To denote a disappearance, they delineate a MOUSE 1, because it pollutes and spoils all things by nibbling them. They also make use of the same symbol when they would denote discernment, for when many different sorts of bread lie before him, the mouse selects the purest from among them and eats it. And hence the selection by the bakers is guided by mice.

Footnotes

71:1 No hieroglyphic of a mouse has yet been found. But Herodotus states, that when Sennacherib approached Egypt, the bowstrings of his army were destroyed by mice during the night, in consequence of which, he was defeated by Sethos, king of Egypt, to whom was erected a statue with a mouse in his hand, as an emblem of DESTRUCTION.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LI. HOW IMPUDENCE.

To denote impudence, they represent a FLY, for this, though perpetually driven away, nevertheless returns.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LII. HOW THEY REPRESENT KNOWLEDGE.

To represent knowledge, they delineate an ANT, for whatever a man may carefully conceal, this creature obtains a knowledge of: and not for this reason only, but also because beyond all other animals when it is providing for itself its winter's food, it never deviates from its home, but arrives at it unerringly.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LIII. HOW THEY REPRESENT A SON.

 1 When they would denote a son, they delineate a CHENALOPEX (a species of goose). For this animal is excessively fond of its offspring, and if ever it is pursued so as to be in danger of being taken with its young, both the father and mother voluntarily give themselves up to the pursuers, that their offspring may be saved; and for this reason the Egyptians have thought fit to consecrate this animal.

Footnotes

73:1 I. The Goose signifies a Son; and with the globe, Son of the Sun, the common title of the Pharaoh.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LIV. HOW A FOOL.

When they depict a PELICAN, they signify both a fool, and an idiot, because although like other winged creatures it is able to deposit its eggs on the higher places, it does not, but it merely scrapes up the earth and there lays its eggs. And the people observing this, surround the place with dried cows’ dung, to which they apply fire. And when the pelican sees the smoke, by endeavouring to extinguish the fire with its wings, she on the contrary kindles it by their motion: and thus, her wings being burnt by the fire, she easily becomes a prey for the fowlers. And because it enters into the contest simply for the sake of its young, the priests consider it unlawful to eat it. But the rest of the Egyptians eat it, alleging that the pelican does not enter into the contest with discretion, as do the geese, but with folly.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LV. HOW THEY REPRESENT GRATITUDE.

 1 To represent gratitude, they delineate a CUCUPHA, because this is the only one of dumb animals, which, after it has been brought up by its parents, repays their kindness to them when they are old. For it makes them a nest in the place where it was brought up by them, and trims their wings, and brings them food, till the parents acquire a new plumage, and are able to assist themselves: whence it is that the Cucupha is honored by being placed as an ornament upon the sceptres of the gods.

Footnotes

75:1 The top of the sceptre placed in the hands of the gods is ornamented with a crated head which appears to be that of some beast, but was evidently considered by Horapollo to be the Hoopoo of Egypt. See Ch. 8. and title page.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LVI. HOW AN UNJUST AND UNGRATEFUL MAN.

 1 To symbolize an unjust and ungrateful man, they depict TWO CLAWS OF AN HIPPOPOTAMUS TURNED DOWNWARDS.

For this animal when arrived at its prime of life contends in fight against his father, to try which is the stronger of the two, and should the father give way he assigns him a place of residence, permitting him to live, and consorts himself with his own mother; but if his father should not permit him to hold intercourse with his mother, he kills him, being the stronger and more vigorous of the two. And they make use of the lowest parts of the hippopotamus, the two claws, that men seeing this, and understanding the story of it, may be more inclined to kindness.

Footnotes

76:1 I. II. Typhonian figures.

II. Has the body of an hippopotamus.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LVII. HOW ONE WHO 1S UNGRATEFUL TO HIS BENEFACTORS.

To signify a man that is ungrateful and quarrelsome with his benefactors, they delineate a Dove, for when the male becomes the stronger, the drives his father away from his mother, and mates himself with her. This creature however seems to be pure, because when any pestilential epidemic rages, and every thing, animate and inanimate, sickens with disease, those persons alone who feed upon this bird do not share in so great a calamity. Wherefore during such a time nothing is served up to the king as food except the dove alone. And the same food is served up to those who are under a course of purification, that they may minister to the gods. It is likewise reported that this creature has no gall.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LVIII. HOW AN IMPOSSIBILITY.

 1 To signify an impossibility, they represent A MAN'S FEET WALKING ON THE WATER; or when they would signify the same thing differently, they delineate A HEADLESS MAN WALKING. And since these are both impossibilities, they have with good reason selected them for this purpose.

Footnotes

79:1 Well known hieroglyphics not yet interpreted. The second is from the ceiling of the Ramesseion.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LIX. HOW A VERY BAD KING.

 1 To denote a very bad [a very good? a very powerful?] king, they depict a SERPENT in the form of a circle, whose tail they place in his mouth, and they write the name of the king in the middle of the coil, intimating that the king governs the world. The serpent's name among the Egyptians is Meisi.

Footnotes

80:1 I. An oval decorated with the basilisks, containing the prenomen of Amunoph III.

II. A plain oval containing the name of Ramesses II. 'Amun me Ramses.' The oval is considered to hate been originally a serpent coiled.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LX. HOW A VIGILANT KING.

And otherwise to denote a vigilant king, they depict the SERPENT (UPON THE WATCH), and in the place of the king's name they depict a watcher: for he is the guardian of the whole world; and the king ought to be vigilant everywhere.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXI. HOW THEY DESIGNATE A RULER OF THE WORLD.

 1 Again when they would signify and designate a king who rules the world, they delineate the same SERPENT, and in the middle thereof they represent a LARGE HOUSE, and with reason for the royal abode from him - - - - - - in the world.

Footnotes

81:1 I. After the king's name has been once or twice given in an inscription, a serpent seems to be sometimes substituted.

II. From Belzoni's tomb.

III. Golden house or palace.—Sh. 380.

IV. King's house or palace.—Sh. 379.

V. God's house or temple.—Sh. 371.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXII. HOW A PEOPLE OBEDIENT TO THEIR KING.

 1 To denote a people obedient to their king, they depict a BEE, for this is the only one of all creatures which has a king whom the rest of the tribe of bees obey, as men serve their king. And they intimate from the honey's - - - - - - from the force of the creature's sting - - - - that - - - - should be both lenient and firm in - - - - and administration.

Footnotes

82:1 Champollion interprets this as 'King of an obedient people;' Sharpe, as 'King of Upper and Lower Egypt.'—Sh. 417. 419.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXIII. HOW A KING WHO GOVERNS A PART OF THE WORLD.

When they would symbolize a king who governs not all but a part of the world, they depict HALF A SERPENT. For by this creature they denote a king, and by half of it, that he is not king over all the world.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXIV. HOW ONE WHO GOVERNS ALL THINGS. 1

 1 They symbolize one who governs all things by the perfect form of the same animal, again depicting the ENTIRE SERPENT: for amongst them it is the spirit that pervades the universe.

Footnotes

83:1 See the winged globe and serpent in the frontispiece. which is called Agathodæmon, und is said to signify the spirit that pervades the universe. See also the Egg and Serpent in Pl. I.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXV. HOW A FULLER. 1

 1 To denote a fuller, they depict the TWO FEET OF A MAN IN WATER, and they depict this from the resemblance of the work.

Footnotes

84:1 γραφέα, Par B. C.—Qy. Kneph, the spirit pervading the universe, and moving on the water. See Chaps. 23 and 58.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXVI. HOW A MONTH. 2

 2 To represent a month, they depict as before explained the figure of the MOON when it has attained the age of eight and twenty days of equal lengths, each day containing twenty-four hours, for during these it is apparent, and in the remaining two it is in a state of evanescence.

Footnotes

84:2 Treb. om. this chap.—See illustrations of Chap. 4.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXVII. HOW A RAPACIOUS, OR PROLIFIC, OR FURIOUS MAN.

When they would symbolize a rapacious, or prolific, or furious man, they delineate a CROCODILE, because it is prolific [?], and fertile in offspring, and furious. For if it fails in its intention of seizing any thing it rages in anger against itself.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXVIII. HOW SUNRISE.

To express sunrise they depict the TWO EYES OF A CROCODILE, because of the whole body of the animal its eyes glare conspicuously from the deep.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXIX. HOW SUNSET.

 1 To denote sunset, they represent A CROCODILE TENDING DOWNWARDS, for this animal is self productive [?] and inclining downwards.

Footnotes

86:1 This illustration is front the descent in Belzoni's tomb. The central group is connected with the sun, and the stags’ heads appear to be emblems of eternity, or renovation. See Pl. II. and also Book II. Chap. 21.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXX. HOW THEY SHADOW FORTH DARKNESS.

 1 To denote darkness, they represent the TAIL OF A CROCODILE, for by no other means does the crocodile inflict death and destruction on any animal which it may have caught, than by first striking it with its tail, and rendering it incapable of motion: for in this part lies the strength and power of the crocodile. And now, though there are other appropriate symbols deducible from the nature of the crocodile, those which we have mentioned are sufficient for the first Book.

Τέλος τοῦ πρώτου βιβλίου.

END OF THE FIRST BOOK.

Footnotes

87:1 I. The illustration is from Belzoni's tomb. There are properly 12 figures of each side of the crocodile; representing the hours of the day and night.

II. The fig. beneath certainly signifies darkness; and is supposed to represent the end of a crocodile's tail.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

HORAPOLLO.

BOOK II.

ΩΡΑΠΟΛΛΩΝΟΣ ΝΕΙΛΩΟΥ ΙΕΡΟΓΡΑΥΦΙΚΑ

Α ΕΞΗΝΕΓΚΕ ΜΕΝ ΑΥΤΟΣ ΑΙΓΥΠΤΙΑΙ ΦΩΝΗΙ, ΜΕΤΕΦΡΑΣΕ ΔΕ ΦΙΛΙΠΠΟΣ ΕΙΣ ΤΗΝ ΕΛΛΑΔΑ ΔΙΑΛΕΚΤΟΝ

THE HIEROGLYPHICS OF HORAPOLLO NILOUS

WHICH HE PUBLISHED IN THE EGYPTIAN TONGUE, AND WHICH PHILIP TRANSLATED INTO THE GREEK LANGUAGE.

HORAPOLLO.

ΒΙΒΛΙΟΝ ΔΕΥΤΕΡΟΝ.

BOOK II.

In this second part of the work, I shall present you with the complete treatise of the remaining subjects: and some also from other writings, which have no explanation, I have deemed it requisite to subjoin.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

I. WHAT THEY SIGNIFY BY DEPICTING A STAR.  1

When a STAR is depicted by the Egyptians, it sometimes symbolizes God, sometimes evening, sometimes night, sometimes time, and sometimes the soul of a male man.

Footnotes

93:1 I. The Star signer nod. See Book I. c. 13.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

II. WHAT BY AN EAGLET.

 1 An EAGLET symbolizes something prolific of males, or of a circular form, or the seed of man.

Footnotes

94:1 Treb. omits this chapter.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

III. WHAT BY TWO FEET CONJOINED AND ADVANCING.

Two FEET CONJOINED AND ADVANCING, symbolize the course of the sun in the winter solstice.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

IV. WHAT BY THE HEART OF A MAN SUSPENDED BY THE WINDPIPE.

 1 The HEART OF A MAN SUSPENDED BY THE WINDPIPE signifies the mouth of a good man.

Footnotes

95:1 IV. The first signifies Good, and seems to be the hieroglyphic referred to, but mistaken for the other. It is a musical instrument.

V. Victorious. Sh.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

V. HOW THEY DENOTE THE FRONT OF BATTLE.

 2 The HANDS OF A MAN, ONE HOLDING A SHIELD AND THE OTHER A Bow, when delineated, denote the front of battle 

Footnotes

95:2 Treb. om this chapter.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

VI. WHAT BY A FINGER.

A FINGER denotes the stomach of a man.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

VII. QUID PENIS MANU COMPRESSA.

PENIS MANU COMPRESSA denotes continence in a man.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

VIII. HOW THEY DENOTE DISEASE.

The FLOWERS OF THE ANEMONY denote disease of a man.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

IX. HOW THE LOINS OF A MAN.

When we would denote the loins or the constitution of a man we depict the BACKBONE; for some hold that the seed proceeds from thence.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

X. HOW THEY SYMBOLIZE PERMANENCY AND SAFETY.

 1 The BONE OF A QUAIL when delineated symbolizes permanency and safety; because the bone of this animal is difficult to be affected.

Footnotes

97:1 I. The quail.

II. Signifies "Good." Sh. 625.

III. Bone with flesh upon it is common. Probably "Son." Sh. 1012.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XI. HOW CONCORD.

TWO MEN JOINING THEIR RIGHT HANDS denote concord.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XII. HOW A CROWD.

 1 AN ARMED MAN SHOOTING WITH A BOW denotes a crowd [troop or army?]

Footnotes

98:1 XII. This signifies soldiers.—Sh. 988, 910. Perhaps an army. Sh.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XIII. HOW ADMEASUREMENT.

The FINGER OF A MAN denotes admeasurement.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XIV. HOW A WOMAN PREGNANT.

When they would denote a woman pregnant, they portray the ORB OF THE SUN WITH A STAR AND THE SUN'S DISK BISECTED.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XV. HOW WIND.

A HAWK soaring on high towards the east, signifies the winds; [the spirit or soul?] and again otherwise, a HAWK with its wings expanded in the air symbolizes the wind, as having wings.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XVI. HOW FIRE.

SMOKE ascending towards heaven denotes fire.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XVII. HOW A WORK.

A BULL'S HORN when depicted signifies work.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XVIII. HOW PUNISHMENT.

 1 A cow's HORN when depicted signifies punishment.

Footnotes

100:1 XVIII. The Horns are used as the syllable "An," as in Anepo.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XIX. HOW IMPIETY.

 1 A BUST portrayed WITH A SWORD denotes impiety.

Footnotes

101:1 XIX. Not ascertained.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XX. HOW AN HOUR [EXECRATION?].

 2 3 A RIVER HORSE when delineated, denotes an hour.

Footnotes

101:2 XX. Commonly found near Osiris in the judgment scenes. Qy.

101:3 Causs. sug. ἄραν, A curse.—De Pauw. φθόραν, Destruction.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXI. How Anything of Long Duration.

 1 2 A STAG shoots its horns every year, and when depicted, signifies anything of long duration.

Footnotes

102:1 XXI. Several inverted stags’ heads alternating with hieroglyphics, are delineated in the judgment scene, where they seem to have some connexion with duration, perhaps eternity. See Pl. 3. and B. I. c. 69.

102:2 Par. A. B. Pier πολυχρόνια.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXII. HOW AVERSION.

A WOLF OR A DOG AVERTED denotes aversion.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXIII. HOW A FUTURE ACT.

 1 An EAR when delineated symbolizes a future act.

Footnotes

103:1 XXIII. Immortal or Eternal. Sh. 318. Qy. Extension in time. The coil may have been mistaken by Horapollo for an ear.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXIV. HOW A MURDERER, OR THE BLOOD OF A CROCODILE.

A WASP FLYING IN THE AIR signifies either the noxious blood of a crocodile, or a murderer.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXV. HOW DEATH.

A NIGHT RAVEN signifies death; 2 for it suddenly pounces upon the young of the crows by night, as death suddenly overtakes men.

Footnotes

103:2 Qy. Erebus? The Hebrew word ‏ערב‎, EREB, signifies either Erebus darkness, or the Nightraven, and it appears by Damascius, that the Sidonians substituted this bird as an emblem of Erebus.—An. Frag. p. 319.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XVI. HOW LOVE.

 1 A NOOSE denotes love as . . . . . . . . . .

Footnotes

104:1 I. A prisoner handcuffed. Horapollo seems to have confounded the handcuff with the mouth in the next expression, which Mr. Wilkinson considers to signify "beloved."

II. III. IV. V. VI. Also signify beloved.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXVII. HOW THE MOST ANCIENT.

 1 WORDS AND LEAVES OF A SEALED BOOK denote the most ancient.

Footnotes

105:1 XXVII. The Papyri are found tied up, and sealed with clay above the knot.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXVIII. HOW A SIEGE.

 2 A LADDER signifies a siege by reason of its inequality [?].

Footnotes

105:2 XXVIII. A kind of tower frequently found battle scenes.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXIX. HOW INFINITE, OR A SONG, OR FATE.

 1 SEVEN LETTERS INCLUDED WITHIN TWO FINGERS [RINGS?] 2 symbolize a song, or infinite, or fate.

Footnotes

106:1 XXIX. 1. The number 70 is very common on funereal tablets, and signifies "The Days of mourning." Sh. 676. The Egyptians still sing their lamentations, perhaps a relic of the funereal chant called, Maneros by Plutarch.

2. An amulet with some mystic signification.

106:2 De Pauw. sug. δακτυλίοις," rings."—Reuv. ἐντος δακτυλίου, "within a ring." Qy. Bent into the form of a ring.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXX. WHAT ONE LINE BENT OVER ANOTHER SIGNIFIES.

 3 A straight line with a curved line above it signifies TEN PLANE LINES. 4

Footnotes

106:3 xxx. The plane lines denote units, the curved 10's, the coils 100's, and the other 1000's.

106:4 Qy. When a curved line is placed above a straight line it denotes ten of such straight lines.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXI. WHAT THEY DENOTE BY DEPICTING A SWALLOW.

 1 When they would signify that the whole of a parent's substance has been left to the sons, they depict a SWALLOW. For she rolls herself in the mud, and builds a nest for her young, when she is herself about to die.

Footnotes

107:1 XXXI.* Jewels, valuables*. Sh. 551.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXII. WHAT BY A BLACK DOVE.

When they would symbolise a woman who remains a widow till death, they depict a BLACK DOVE; for this bird has no connexion with another mate from the time that it is widowed.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXIII. WHAT BY AN ICHNEUMON.

When they would represent a man that is feeble, and unable of himself to help himself, but who does so by the aid of others, they delineate an ICHNEUMON. For this animal, when it spies a serpent, does not at once attack it, but by its noise calls others to its assistance, and then attacks the serpent.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXIV. WHAT THEY DENOTE BY ENGRAVING ORIGANUM (WILD MARJORAM) FOR A HIEROGLYPHIC.

When they would symbolise the departure of ants, they engrave ORIGANUM. For if this plant be laid down over the spot from whence the ants issue forth, it causes them to desert it.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXV. WHAT BY A SCORPION AND CROCODILE.

 1 When they would symbolise one enemy engaging with another equal to himself, they depict a SCORPION AND A CROCODILE. For these kill one another. But if they would symbolise one who is hostile to, and has slain another, they depict a CROCODILE or a SCORPION; and if he has slain him speedily, they depict a CROCODILE, but if slowly, a SCORPION, from its tardy motion.

Footnotes

109:1 XXXV. This seems to hare some astronomical allusion. The Crocodile was one of the Vahans of the Sun, and the year began with Scorpio. It is not an uncommon hieroglyphic.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXVI. WHAT BY A WEASEL.

When they would symbolise a woman performing the works of a man, they depict a WEASEL; quod maris pudendum habeat velut ossiculum.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXVII. WHAT BY A HOG. 1

When they would symbolise a filthy man, they depict a HOG; from such being the nature of the hog.

Footnotes

110:1 XXXVII. There is an example of a hog in a judgment scene in the tombs of the kings, where, according to Champollion, it denotes the metampsychosis of a glutton condemned by Osiris into a hog: Bonomi. See Pl. 3.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXVIII. HOW IMMODERATE ANGER.

If they would represent immoderate anger, so that he who is angry takes a fever thereby, they depict a LION BREAKING THE BONES OF ITS OWN WHELPS. And they portray the lion to signify anger, and the whelps having their bones broken, because the bones of the whelps when struck together emit sparks of fire.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XXXIX. HOW AN OLD MINSTREL.

When they would symbolise an old minstrel, they depict a SWAN, for when old it sings the sweetest melody.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XL. HOW THEY DENOTE A MAN WHO LIVES WITH HIS WIFE.

When they would symbolise a man living in intercourse with his own wife, they depict TWO CROWS; for these birds cohabit with one another in the same manner as does a man by nature.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLI. WHAT THEY INTIMATE BY POURTRAYING A BLIND BEETLE.

When they would symbolise a man who has caught a fever from a stroke of the sun, and died in consequence, they portray a BLIND BEETLE; for this creature dies after it has been blinded by the sun.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLII. WHAT THEY DESIGN BY DEPICTING A MULE.

When they would symbolise a barren woman, they delineate a MULE; for this animal is barren, quod matricem rectam non habet.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLIII. HOW THEY DENOTE A WOMAN WHO HAS BROUGHT FORTH FEMALE INFANTS.

When they would symbolise a woman who has brought forth female infants first, they delineate a BULL INCLINING TOWARDS THE LEFT: and again if male infants, then they delineate a BULL inclining to the right. Is enim ex congressu discedens, si ad lævam conversus fuerit, genitam esse fœminam indicat, si ad dexteram marem.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLIV. HOW THEY DENOTE WASPS.

When they would denote wasps, they depict a DEAD HORSE; for many wasps are generated from him when dead.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLV. HOW A WOMAN WHO MISCARRIES.

When they would symbolise a woman who miscarries, they depict a MARE KICKING A WOLF; for not only by kicking a wolf does a mare miscarry, but it immediately miscarries if it should merely tread on the footstep of a wolf.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLVI. HOW A MAN WHO CURES HIMSELF BY AN ORACLE.

When they would symbolize a man who cures himself by an oracle, they delineate a WOOD PIGEON CARRYING A BRANCH OF LAUREL; for this bird when sick deposits a branch of laurel in its nest, and recovers.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLVII. HOW A SWARM OF GNATS.

When they would represent many gnats swarming together, they depict MAGGOTS; for from them gnats are engendered.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLVIII. HOW A MAN THAT HAS NO BILE, BUT RECEIVES IT FROM ANOTHER.

When they would symbolise a man who has naturally no bile but receives it from another, they depict a DOVE WITH HER HINDER PARTS ERECT; for in them she has her bile.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XLIX. HOW A MAN WHO DWELLS SECURELY IN A CITY.

When they would symbolise a man who dwells securely in a city, they depict an EAGLE CONVEYING A STONE; for he takes up a stone, either from the sea or land, and deposits it in his nest, to keep it steady.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

L. HOW A MAN WHO IS WEAK AND PERSECUTED BY ANOTHER.

When they would symbolise a man that is weak and persecuted by a stronger, they delineate a BUSTARD AND A HORSE; for this bird flies away whenever it sees a horse.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LI. HOW THEY DENOTE A MAN WHO FLEES FOR REFUGE TO HIS PATRON, AND RECEIVES NO ASSISTANCE.

When they would denote a man who flees for refuge to his patron, and receives no assistance, they depict a SPARROW AND AN OWL; for the sparrow when pursued betakes itself to the owl, and being near it is seized.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LII. HOW THEY REPRESENT A WEAK MAN THAT IS AUDACIOUS.

When they would symbolise a man who is weak and audacious, they portray a BAT, for she flies though destitute of feathers.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LIII. HOW A WOMAN SUCKLING AND BRINGING UP HER CHILDREN WELL.

When they would represent a woman suckling and bringing up her children well, they again portray a BAT WITH TEETH AND BREASTS; for this is the only winged creature which has teeth and breasts.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LIV. HOW A MAN FOND OF DANCING.

When they would symbolise a man fond of dancing and piping, they delineate a TURTLE DOVE; for it is taken by means of a pipe and dancing.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LV. HOW A MYSTIC MAN.

When they would symbolise a mystic man, and one initiated, they delineate a GRASSHOPPER; for he does not utter sounds through his mouth, but chirping by means of his spine, sings a sweet melody.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LVI. HOW A KING WHO KEEPS HIMSELF APART, AND SHEWS NO MERCY TO DELINQUENCIES.

 1 When they would symbolise a king who keeps himself apart, 2 and shews no mercy to delinquencies, 3 they depict an EAGLE; for he builds his nest in desert places, and flies higher than all birds.

Footnotes

120:1 Signifies Pharaoh.

120:2 ἰδιάζω, "to live apart," also "to revenge oneself."

120:3 πταῖσμα, "a calamity in war," also "a fault."

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LVII. HOW THE GREAT CYCLICAL RENOVATION.

 1 When they would denote the great cyclical renovation, they portray the bird PHŒNIX. For when he is produced a renovation of things takes place, and he is produced in this manner. When the Phœnix is about to die, he casts himself vehemently upon the ground, and is wounded by the blow, and from the ichor, which flows from the wound, another phœnix is produced; which as soon as it is fledged, goes with his father to the city of the sun in Egypt; who when he is come thither, dies in that place at the rising of the sun. And after the death of his father, the young one departs again to his own country; and the priests of Egypt bury the phœnix that is dead.

Footnotes

121:1 Phœnix.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LVIII. HOW ONE WHO IS FOND OF HIS FATHER.

 1 When they would denote a man fond of his father, they depict a STORK; for after he has been brought up by his parents he departs not from them, but remains with them to the end of their life, taking upon himself the care of them.

Footnotes

122:1 Thoth.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LIX. HOW A WOMAN THAT HATES HER HUSBAND.

When they would symbolise a woman that hates her own husband, and designs his death, and is complaisant only during intercourse, they delineate a VIPER; for when in connexion with the male, she places his mouth in her mouth, and after they have disjoined, she bites the head of the male and kills him.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LX. HOW THEY DENOTE CHILDREN PLOTTING AGAINST THEIR MOTHERS.

When they would denote children plotting against their mothers, they delineate a VIPER; for the viper is not brought forth in the [usual manner?], but disengages itself by gnawing through the belly of its mother.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXI. HOW THEY DENOTE A MAN WHO SICKENS UNDER THE REPROACH OF ACCUSATION.

When they would symbolise a man who is reproached with accusations and thence falls sick, they delineate a BASILISK; for he kills those that approach him with his breath.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXII. HOW A MAN THAT IS BURNT WITH FIRE.

When they would symbolise a man that is burnt with fire, they depict a SALAMANDER; for it destroys with either head.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXIII. HOW A BLIND MAN.

When they would symbolise a blind man, they depict a MOLE; for it neither has eyes, nor does it see.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXIV. HOW A MAN THAT NEVER STIRS OUT.

When they would symbolise a man that never stirs 

out, they depict an ANT AND THE WINGS OF A BAT; because, when these wings are placed over an ant's nest, none of them come forth.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXV. HOW A MAN WHO IS INJURED BY SELF-INFLICTIONS.

When they would symbolise a man injured by self inflictions, they delineate a BEAVER; for when pursued he tears out his own testicles, and casts them as spoil to his pursuers.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXVI. HOW A MAN WHO HAS BEEN SUCCEEDED IN HIS PROPERTY BY A SON WHOM HE HATED.

When they would symbolise a man who has been succeeded 

in his property by a son whom he hated, they depict AN APE WITH A YOUNG APE BEHIND IT, For the ape begets two young apes, one of which he loves extravagantly, and the other he hates: and the one which he loves he keeps before him and kills with fondling; but the one which he hates he keeps behind him and brings up.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXVII. HOW A MAN THAT CONCEALS HIS OWN DEFECTS.

When they would symbolise a man that conceals his own defects, they depict AN APE 1 MAKING WATER; for when he makes water he conceals his urine.

Footnotes

127:1 Pier. mentions a reading, αἴλουρον "a cat."

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXVIII. HOW ONE WHO HEARS WITH MORE THAN USUAL ACUTENESS.

When they would symbolise a man who hears with more than usual acuteness, they portray A SHE-GOAT, for she respires [hears?] through both her nostrils and ears.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXIX. HOW AN UNSETTLED PERSON.

When they would symbolise one that is unsettled, and that does not remain in the same state, but is sometimes strong, and at other times weak, they depict an HYÆNA; for this creature is at times male, and at times female. 1

Footnotes

128:1 The Arabs still believe this to be the case.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXIX. HOW A MAN OVERCOME BY HIS INFERIORS.

When they would symbolise a man overcome by his inferiors, they depict TWO SKINS, one of an HYÆNA, 1 and the other of a PANTHER; for if these two skins be placed together, the panther's shoots its hair, but the other does not.

Footnotes

129:1 Qy. A water skin.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXX. HOW A MAN WHO OVERCOMES HIS PRIVATE ENEMY 2.

To denote a man who overcomes his private enemy, they delineate an HYÆNA TURNING TO THE RIGHT; but if himself overcome, they on the contrary depict ONE TURNING TO THE LEFT; for should this animal, when pursued, turn to the right, it slays the pursuer, but if to the left, it is slain by the pursuer.

Footnotes

129:2 LXX. See the skin placed before Osiris, B. I. c. 40*. The skin is in some manner connected with judgment and protection, but it is not yet well understood*.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXII. HOW A MAN WHO PASSES FEARLESSLY THROUGH THE EVILS WHICH ASSAIL HIM.

When they would denote a man who passes fearlessly through the evils which assail him, even until death, they delineate the SKIN OF AN HYÆNA; 1 for if a man gird this skin about himself, and pass through any of his enemies, he shall be injured by none of them, but passes through fearlessly.

Footnotes

130:1 The Arabs eat the flesh of this animal to free themselves from some particular illness.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXIII. HOW A MAN ANNOYED BY HIS PRIVATE ENEMIES.

When they would represent a man annoyed 1 by his private enemies, and extricating himself with small loss, they portray a WOLF WHICH HAS LOST THE EXTREMITY OF HIS TAIL; for the wolf, when about to be hunted, shoots the hairs and extremity of his tail.

Footnotes

131:1 διαθέντα, Ald.—σιανθέντα Par. C. Leem. "compelled to make a compact with."

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXIV. HOW A MAN WHO IS FEARFUL LEST ACCIDENTS SHOULD HAPPEN UNEXPECTEDLY TO HIMSELF.

When they would denote a man who is fearful lest accidents should happen unexpectedly to himself, they depict a WOLF AND A STONE; for it fears neither iron, nor a stick, but a stone only; and indeed, if any one throw a stone at him he will find him terrified: and wherever a wolf is struck by a stone, maggots are engendered from the bruise.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXV. HOW A MAN CALMED BY FIRE DURING ANGER.

 1 When they would denote a man calmed by fire even during 

anger, they portray LIONS AND TORCHES; for the lion dreads nothing so much as lighted torches, and is tamed by nothing so readily as by them.

Footnotes

132:1 Treb. igne castigatum "chastised by fire."

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXVI. HOW A FEVERISH MAN WHO CURES HIMSELF.

When they would denote a feverish man who cures himself, they depict A LION DEVOURING AN APE; for if, when in a fever, he devours an ape, he recovers.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXVII. HOW A MAN WHO BECOMES STEADY AT LAST AFTER HIS FORMER EXCESSES.

 1 When they would denote a man who after his former 

excesses at length becomes steady, they portray a BULL BOUND ABOUT BY A WILD FIG BRANCH; for if when violent he is bound with a wild fig branch, he becomes gentle.

Footnotes

133:1 Treb. renders, novissima calamitate castigatum, "chastised by a very recent calamity."

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXVIII. HOW A MAN WHOSE TEMPERANCE IS EASILY CHANGED.

When they would symbolise a man whose temperance is easily changed and inconstant, they depict a BULL WITH HIS RIGHT KNEE BOUND ROUND; for if you bind him by a fetter on his right knee, you will find him follow 1. And the bull is always assumed as a symbol of temperance, because it never approaches the cow after conception.

Footnotes

134:1 Treb. from τοῦτον, sic enim non coit, "for thus he holds no intercourse."

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXIX. HOW A SLAYER OF SHEEP AND GOATS.

When they would symbolise a slayer of sheep and goats, they portray THESE ANIMALS EATING FLEABANE; for if they eat fleabane they die, being cut off by thirst.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXX. HOW THEY DENOTE A MAN EATING.

When they would symbolise a man eating, they depict A CROCODILE WITH HIS MOUTH OPEN; for he - - -

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXXI. HOW THEY DENOTE A RAPACIOUS AND INACTIVE MAN.

When they would denote a rapacious and inactive man, they portray a CROCODILE WITH THE WING OF AN IBIS ON HIS HEAD; for if you touch him with the wing of an Ibis you will find him motionless.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXXII. HOW A WOMAN THAT HAS BROUGHT FORTH ONCE.

When they would symbolise a woman that has brought forth once, they depict A LIONESS; for she never conceives twice.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXXIII. HOW A MAN WHO IS AT FIRST DEFORMED.

When they would symbolise a man born deformed at first, but that has afterwards acquired his proper shape, they delineate a PREGNANT BEAR, for it brings forth (a mass of) thick and condensed blood, which is afterwards endued with life by being warmed between its thighs, and perfected by being licked with its tongue.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXXIV. HOW A POWERFUL MAN, AND ONE THAT DISCERNS WHAT THINGS ARE RIGHT.

When they would symbolise a powerful man, and one that discerns what things are right, they depict an ELEPHANT WITH A TRUNK; for with this he discerns by smelling, and overcomes all obstacles.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXXV. HOW A KING THAT FLEES FROM FOLLY AND INTEMPERANCE.

When they would symbolise a king that flees from folly and intemperance, they delineate AN ELEPHANT 1 AND A RAM; for he flees at the sight of a ram.

Footnotes

138:1 Treb. cervum "a stag."

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXXVI. HOW A KING THAT FLEES FROM A TRIFLER.

When they would symbolise a king that flees from a 

trifler, they depict an ELEPHANT WITH A HOG; for he flees upon hearing the voice of the hog.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXXVII. HOW A MAN THAT IS QUICK IN HIS MOVEMENTS, BUT WHO MOVES IMPRUDENTLY AND INCONSIDERATELY.

When they would symbolise a man that is quick in his movements, but who moves without prudence and consideration, they portray A STAG AND A VIPER; for she flees at the sight of the viper.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXXVIII. HOW A MAN THAT AT IS PROVIDING HIS OWN TOMB.

When they would symbolise a man that is providing 

his own tomb, they depict an ELEPHANT 1 BURYING ITS OWN TEETH; for when his teeth fall out, he takes them up and buries them.

Footnotes

140:1 Treb. cervum.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

LXXXIX. HOW A MAN THAT HAS LIVED TO A PROPER AGE.

When they would symbolise a man that has lived to a proper age, they depict a DYING CROW; for she lives an hundred years according to the Egyptians; and a year among the Egyptians consists of four (of our) years.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XC. HOW A MAN WHO CONCEALS HIS DEPRAVITY WITHIN HIMSELF.

When they would denote a man who conceals his depravity within himself, and hides himself so as not to be known by his own friends and family, they depict a PANTHER; for it secretly pursues the beasts, not suffering its scent to escape, which is [a hindrance in the pursuit fl of other animals.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XCI. How A MAN DECEIVED BY FLATTERY.

When they would symbolise a man deceived by flattery, they represent A STAG AND A MAN PLAYING ON A PIPE; for she is caught while listening to the sweet breathings of the singers as she stands entranced in pleasure.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XCII. HOW THE PRESAGE OF A PLENTIFUL VINTAGE.

When they would symbolise the presage of a plentiful vintage, they depict the HOU-POO; for if this bird sings [moans?) before the season of the vines, it is a sign of a good vintage.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XCIII. HOW A MAN HAVING RECEIVED INJURY FROM THE GRAPE.

When they would symbolise a man that is injured by the grape and cures himself, they depict a HOUPOO AND THE HERB ADIANTUM (maidenhair); for when injured by the grape, if he places a piece of adiantum in his mouth he is healed.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XCIV. HOW A MAN THAT GUARDS HIMSELF FROM THE PLOTS OF HIS ENEMIES.

 1 When they would symbolise a man that guards himself from the plots of his enemies, they depict A CRANE ON THE WATCH; for these birds guard themselves by watching in turns during the whole night.

Footnotes

143:1 Thoth, who was always considered as a guardian of the land.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XCV. QUOMODO PÆDICATIONEM.

Pædicationem designantes, geminas perdices pingunt: quæ cum viduæ sunt, se invicem abutuntur.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XCVI. HOW AN OLD MAN DYING OF HUNGER.

When they would symbolise an old man dying of hunger, they delineate AN EAGLE WITH HIS BEAK EXTREMELY HOOKED; for as he grows old his beak becomes extremely hooked, and he dies of hunger.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XCVII. HOW A MAN LIVING PERPETUALLY IN MOTION, AND AGITATION OF MIND.

 1 When they would symbolise a man living perpetually 

in motion, and agitation of mind, and not even remaining quiet during meals, they depict THE YOUNG ONES OF A CROW 1 [a crow with its young]; for whilst she flies she feeds her young.

Footnotes

144:1 Al. om.

145:1 De Pauw sug. and Treb. reads κορώνην νεοσσοῖς, a crow with its young.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XCVIII. HOW A MAN SKILLED IN CELESTIAL MATTERS.

When they would symbolise a man skilled in celestial matters, they depict A CRANE FLYING;  2 for she always flies very high, to inspect the clouds lest they send forth a storm, that she may remain in quiet. 3

Footnotes

145:2 The Ibis denotes Thoth, who was the Egyptian inventor of astronomy.

145:3 Treb. hæc enim ita alte advolat, ut nubes videat et tangat, "for it flies so high that it inspects and touches the clouds."

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

XCIX. HOW A MAN WHO THROUGH WANT DISMISSES HIS OWN CHILDREN.

When they would symbolise a man who through want dismisses his own children, they portray A HAWK WITH EGG; for though she lays three eggs, she hatches and brings up but one, and breaks the other two: and she does this on account of the loss of her claws at that season, being for that reason unable to bring up all three young ones.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

C. HOW A MAN WHO IS TARDY IN MOVING WITH HIS FEET.

When they would symbolise a man who is tardy in moving with his feet, they delineate A CAMEL 1; for this is the only animal which bends the thigh, whence it is called κάμηλος 2, a camel.

Footnotes

147:1 It is a singular fact, that in a country like Egypt, where Camels must have been abundant, there is no known instance of a Camel among the existing sculptures, hieroglyphics, or paintings. Bonomi.

147:2 κάμηρος, Al.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CI. HOW A MAN WHO IS IMPUDENT AND QUICK-SIGHTED.

When they would symbolise a man who is impudent 

and quicksighted, they depict A FROG; for it has no blood except in the eyes alone, and they call those who have blood in those parts impudent: and hence the poet sings, "Drunkard with eyes of dog and heart of stag."

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CII. HOW A MAN UNABLE TO MOVE HIMSELF.

When they would symbolise a man who for a long time is unable to move himself, but who afterwards moves with his feet, they depict A FROG HAVING ITS HIND FEET; for it is born without feet, but subsequently as it grows acquires its hind feet.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CIII. HOW A MAN HOSTILE TO ALL.

When they would symbolise a man that is hostile to, and secluded from, all men, they depict AN EEL; for it is found associating with no other fishes.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CIV. HOW A MAN WHO SAVES MANY IN THE SEA.

When they would symbolise a man who saves many in the sea, they depict the TORPEDO FISH; for this, when it perceives a number of fishes unable to swim, draws them to itself and preserves them.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CV. HOW A MAN THAT WASTEFULLY CONSUMES BOTH THINGS THAT ARE REQUISITE AND THINGS THAT ARE NOT.

When they would symbolise a man that wastefully consumes both things that are requisite and useless, they delineate a POLYPUS; for after eating much and extravagantly, it lays by food in its holes, and when it has consumed that which is useful, it then throws away that which is useless.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CVI. HOW A MAN THE RULER OF HIS TRIBE.

When they would symbolise a man the ruler of his 

tribe, they depict A CRAYFISH AND A POLYPUS; for he rules over the polypi, and holds the chief place among them.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CVII. HOW A MAN WHO IS MARRIED TO A WOMAN.

When they would symbolise a man who is married to a woman from their very infancy wherein they were born, they depict PREGNANT PINNÆ; for these when produced within the shell, after a short time are joined with one another, even within the shell.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CVIII. HOW A MAN THAT DOES NOT PROVIDE FOR HIMSELF.

When they would symbolise a father, or a man who 

does not provide for himself, but is provided for by his domestics, they depict A PINNA AND A CRAYFISH; for this crayfish remains adhering to the flesh of the pinna, and is called pinnophylax (protector of the pinna), and acts agreeably with its name. For the pinna when hungry always opens her shell, and when, whilst she lies gaping, any little fish comes within it, the pinnophylax pinches the pinna with its claw, which when the pinna perceives, she closes her shell, and thus catches the little fish.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CIX. HOW A MAN ADDICTED TO GLUTTONY.

When they would symbolise a man addicted to gluttony, they delineate A CHARFISH; for this is the only fish which ruminates, and eats all the little fishes which fall in its way.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CX. HOW A MAN THAT VOMITS UP HIS FOOD.

When they would symbolise a man that vomits up his food, and again eats insatiably, they depict a SEAWEASEL; for it brings forth through its mouth, and drinks in the seed whilst swimming.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CXI. HOW A MAN THAT HAS COMMERCE WITH PERSONS OF ANOTHER TRIBE.

When they would symbolise a man that has commerce with persons of another tribe, they depict the LAMPREY; because it ascends out of the sea, and has commerce with the vipers, and straightway returns to the sea.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CXII. HOW A MAN PUNISHED FOR MURDER.

When they would symbolise a man punished for murder and repenting, they depict a PARTINACA (a fish with a sting in its tail,) CAUGHT ON A HOOK; for when caught it casts away the sting in its tail.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CXIII. HOW A MAN THAT EATS UNSPARINGLY OF ANOTHER'S SUBSTANCE.

When they would symbolise *a man that eats unsparingly *

of another's substance, and afterwards consumes his own, they depict a POLYPUS; for, if he be in want of food from other things, he eats his own feelers.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CXIV. HOW A MAN THAT IS EAGER AFTER GOOD.

When they would symbolise a man that is eager for good, and who instead of it falls into evil, they portray a CUTTLEFISH; for this fish if it see any other longing to catch it, ejects a black liquid from its belly into the water, so that by these means it is no longer visible, and thus escapes.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CXV. HOW A PROLIFIC MAN.

When they would symbolise a prolific man, they depict the HOUSE-SPARROW; hic enim immodicâ irâ et copiâ seminis ductus septies in horâ fœminam init copiosum semen effutiens.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CXVI. HOW A MAN THAT IS CONSTANT, AND UNIFORMLY TEMPERED.

When they would symbolise a man that is constant, and uniformly tempered, they depict a LYRE; for it preserves the continuity of its notes.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CXVII. HOW A MAN PREVIOUSLY DERANGED IN HIS INTELLECTS, BUT AFTERWARDS BECOMING SANE.

When they would symbolise a man previously deranged in his intellects, but afterwards becoming sane, and bringing a degree of regularity into his life, they depict a SYRINX; for it is soothing, and calls to remembrance things that have been pleasurably done; and it produces a very regulated sound.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CXVIII. HOW A MAN WHO DISTRIBUTES JUSTICE IMPARTIALLY TO ALL.

 1 When they would symbolise a man who distributes justice impartially to all, they depict THE FEATHER OF AN OSTRICH; for this bird has the feathers of its wings equal on every side, beyond all other birds.

Footnotes

158:1 Tme, the goddess of Justice; the Themis of the Greeks. Justice is denoted by the ostrich's feather; with which the head of the goddess is ornamented.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

CXIX. HOW A MAN THAT IS FOND OF BUILDING.

 1 When they would symbolise a man that is fond of building, they delineate A MAN'S HAND; for it performs all works.

Ὡραπόλλωνος Νειλώου ἱερογλυφικῶν τέλος

THE END OF THE HIEROGLYPHICS OF HORAPOLLO NILOUS.

Footnotes

159:1 A Hand signifies a hand, also the letters T, Th, or D.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

APPENDIX.

EXPLANATION OF THE PLATES.

The FRONTISPIECE is a Ptolemaic doorway, with the supreme god, Ammon, upon its piers, holding in one hand the staff of power, and in the other the emblem of life. The sacred symbol of the. Winged Globe and Serpent is upon the architrave: and a continuous row of serpents forms .an attic above the cornice. The symbol in the centre signifies "Hieroglyphics."

PLATE I.

Fig. I. is a representation of the god Atmou surrounded by a serpent with his tail in his mouth, and is given by Dr. Leemans in illustration of book I. chapter 2.

II. Is an illustration of the same chapter; it occurs on a sarcophagus in the British Museum.

III. Is from a scarab seal in the possession of J. Millingen, Esq. It is a representation of Netpe holding two palm branches indicative of the year, and seems to imply that the calendar was reformed by Thothmos III. whose signet occupies the upper half. See chapter 12.

IV. A lamp or pot of fire, signifies the letter B, and may be an illustration of chapter 22.

V. This has not unfrequently been considered. an illustration of book I. chapter 43; but is extremely doubtful.

Plate I

PLATE II.

This plate, sketched by Mr. Bonomi, from a tomb in Thebes, represents a judgment scene in which, as explained by Champollion, different souls are ascending the steps to judgment by Osiris. The soul of a glutton last condemned is departing in the boat in the form of a swine. See book II. chapter 37: and for the inverted stags’ heads, which seem to have some connection with eternity, see book I. chapter 69, and book II. chapter 21. A similar judgment scene appears upon the sarcophagus from Belzoni's tomb in Sir J. Soame's museum.
Plate II Plate III

PLATE III.

It is evident that in the chapters, 37, 38, 39, 40, 41, and 42, of the first Book, Horapollo must have had in view one of the ceremonial processions of the Egyptian priests.

The plate, a copy of a basso relievo of Roman date, given in Bartoli's Admiranda, represents a similar procession. The following passage from Clemens of Alexandria throws considerably more light upon the subject:
The Egyptians possess a certain native philosophy of their own, and this their sacred ceremonies principally shew. For first proceeds a Singer bearing some of the symbols of music: and they say that his duty is to be versed in the two books of Hermes, one of which contains the hymns of the gods, and the other precepts for the regulation of the king's life. After the singer comes the Horoscopus holding in his hand a clock and a palm branch, the symbols of astrology. His duty is constantly to retain in memory the astrological books of Hermes, which are four in number: of these one treats of the disposition of the apparently fixed stars, another of the conjunctions and illuminations of the sun and moon, and the remaining ones of their rising. After him proceeds the sacred Scribe, having wings upon his head, and in his hands a book and rule containing ink and the reed with which they write. His duty is to be acquainted with what are called hieroglyphics, relating to cosmography, geography, the positions of the sun and moon, the five planets, the topography. of Egypt, the Nile, and its adjacent shores; comprising also a description of the attire of the priests, and of the places set apart for them, and concerning the measures and other matters appertaining to the priests. After the preceding, follows the Stolistes (the Master of the Robes,) holding the rod of justice and the chalice. His duty is to be versed in all things relating to education, and the rites called "the sacrifice of the calf." Ten of these [books] relate to the worship of their gods and the Egyptian religion, viz. such as concern the sacrifices, first fruits, hymns, prayers, processions, festivals, and the like. Last of all comes the Prophet openly carrying in his bosom the waterpot: and he is followed by the supervisors of the exportation of bread. His duty as president of the temple is to be conversant with the ten books called hieratic. These contain all things relating to the laws and the gods, and the entire ordinances respecting sacred matters. For among the Egyptians the prophet presides over the distribution of the revenue; hence there are forty-two books of Hermes which are absolutely necessary. Of these, thirty-six, containing all the philosophy of the Egyptians, are learned by the above-mentioned officers: the remaining six, relating to medicine and the constitution of the body, and to its diseases and organs, and to pharmacy and the eyes, and lastly to woman, are learned by the pastophori.—Clemens. Strom. VI. 633.

The following passages from Clemens of Alexandria and Porphyry are illustrative of the different kinds of writing anciently practised in Egypt. The passage of Clemens is found to be strictly in accordance with the result of modern discoveries, which have brought to light the Enchorial, Hieratic, and Hieroglyphic inscriptions, and the different species of Hieroglyphics.

FROM CLEMENS.

Now those who are instructed by the Egyptians, first of all learn that system of Egyptian writing, which is called the EPISTOLOGRAPHIC [or enchorial]; secondly, the HIERATIC, which is used by the sacred scribes; thirdly and lastly, the HIEROGLYPHIC. Of this [last] one kind expresses its own meaning by the first elements [alphabetically]; but the other kind is symbolical. Of the symbolical, one sort directly conveys its meaning by imitation; another sort is written as it were metaphorically; while the remaining sort speaks allegorically as it were by means of (enigmas. Thus, [Imitatively,] when they would indicate the Sun they make a CIRCLE, and the moon, a CRESCENT by a form which conveys its own signification. But Metaphorically, they adopt some appropriate turn or transfer in their engravings, simply changing some things, but multifariously transforming others: thus in expressing the praises of their kings they invest them with the mythological attributes of the gods, by a transfer of their symbols. But of the third form, the Enigmatical, let this serve as an example: some of the stars, on account of the obliquity of their courses they portray by the bodies of Serpents; but the Sun by that of a Beetle, because it forms a globe of cow-dung, rolling it with its face averted: they say also that this creature lives six months under ground, but the other portion of the year above ground; that it propagates by vivifying the beforementioned globe; and that no female beetle is ever born.—Strom. V. 555.

FROM PORPHYRY.

Pythagoras travelled also among the Egyptians; and in Egypt he lived with the priests, and learned from them the wisdom and language of the Egyptians, and the three kinds of writing, viz. the epistolographic, the hieroglyphic, and the symbolic, the one conveying its meaning directly by imitation, the other allegorically, by means of ænigmas. De Vit. Pyth. p. 8.

Hieroglyphics of Horapollo, tr. Alexander Turner Cory, [1840], at sacred-texts.com

Colophon

First published in 1840 by William Pickering, London. Translation by Alexander Turner Cory. The Hieroglyphica of Horapollo Nilous, composed in Greek, probably in the fifth century CE. Scanned and digitized for sacred-texts.com. Compiled and formatted for the Good Work Library by the New Tianmu Anglican Church, 2026.

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