The symbolism of the ‘Throne’ hieroglyph in the name of Isis The Egyptian goddess Isis is one of the earliest, and best known, of the Egyptian deities. She was first referred to in the 5th Dynasty (c. 2494–2345 B.C.) and is frequently mentioned in the Pyramid Texts dating from c. 2350 - 2100 B.C. The wording of these texts suggests that by this time she was sufficiently well-known to obviate the need for any detailed explanation of her role or character. Over the centuries she became increasingly popular, absorbing the attributes of other female deities, blending into the mythology of the Greeks and Romans who conquered Egypt, and eventually becoming the ubiquitous figure of the goddess now acknowledged world-wide. The nature of her original character and function is therefore now quite unclear, but it is well worth the attempt to rediscover it. For this purpose, the hieroglyphs provide a valuable source of information. The hieroglyphs were not only used as sounds and images but also as symbols that indicate the deeper levels of meaning within a word.i This essay explores the original role of Isis as it is revealed in the symbolism of the hieroglyphs that spell her name, focusing on the first hieroglyph – the throne - as shown below. 𓊨𓆇𓏏𓁐 Aset - Isis There are some variations in the way the name of Isis was written but this is the most commonly used version.ii The name Isis is the Greek translation of the original Egyptian Ast or Aset which was probably pronounced something like ‘Ah-set.’ There are no vowels in the hieroglyphs, so it is customary to insert one where necessary to make the words easier to voice.iii The first hieroglyph is generally said to represent a throne. The second hieroglyph is an egg, the third represents a small loaf, pronounced ‘t,’ which indicates that the word is feminine. The final sign is an example of the unpronounced ‘determinative’ which determines or defines the meaning of the previous hieroglyphs, in this instance by telling us that the word represents a female deity. The first hieroglyph is closely linked with Isis, who is often portrayed wearing it as a headdress. Because Isis is one of the most prominent figures in Egyptian mythology, the image of a throne to represent her status would initially seem to be an obvious choice. The use of the throne as the symbol or emblem of a sovereign, ruling power or royal dynasty is widely recognised; the term ‘Crown’ is often similarly used. The same word can also refer to the status or condition of being a ruler: ‘he inherited the throne’ or ‘she ascended to the throne.’ However, this use of the word cannot be said to apply to Isis. First, she was never regarded as the queen or ruler of Egypt in a mundane or worldly sense, nor was she believed to rule over Egypt in a symbolic or metaphorical sense.iv More significantly, so far as is known there are no illustrations of Isis or indeed any other figure sitting on this ‘throne.’ In fact the ‘throne’ looks nothing like a throne or a seat of any kind. The proportions are wrong: the seat is too narrow and is raised so high above the plinth that it would be very difficult to sit on it. This cannot be dismissed as careless draughtsmanship on the part of the Egyptian scribes. Most of the hieroglyphs are so accurately drawn that they are immediately recognisable. Moreover, the proportions of the ‘throne’ hieroglyph are quite different to the many examples of a throne painted and engraved on the walls of temples and tombs, all of which are properly proportioned to provide adequate support for the human frame. The illustration below is a typical example, with its occupant comfortably seated. Temple of Seti I, Abydos. Image courtesy of Wikimedia Commons It therefore seems plausible to suggest that the hieroglyph of the ‘throne’ may not be a throne but something else. As to what this might be, a number of possibilities are indicated by the way in which the hieroglyph is used in other words. For example, it forms the prefix to words that describe a ‘state of being’ or a ‘condition of being’ such as a ‘state of cleanliness/purity.’ This state of being could be associated with a particular place or location as illustrated in the following word: 𓊨𓏏 𓉐𓄣 set ib The place of the heart, the heart’s chosen place, a favourite place Here, the hieroglyph of the ‘throne’ is followed by the small sign ’t’ that indicates the feminine. The next hieroglyph, per, represents a house, building or room of almost any type including a palace or temple. It is used here as the unpronounced ‘determinative’ to indicate that the qualities represented by the ‘throne’ are associated with an enclosure of some sort. The final hieroglyph is a depiction of the heart. The complete phrase therefore describes a location in which there is a correspondence between the qualities of the outer locus and the qualities of an inner state of being; the one enhances the other. The correspondence between them might occur naturally or, as discussed below, it could be deliberately created. Other phrases prefixed by the throne hieroglyph describe idyllic inner-world locations: the place of the two lands, the place of the Wedjat Eye or Eye of Horus, the great place (i.e. the sky), the everlasting abode or place, the place of cool water, the place of repose.v Another group of phrases prefixed by the ‘throne’ hieroglyph appears to refer to the sequence of events surrounding death: the state of dying, the state of being placed in a coffin, the state of interment and even the state of divinity.vi But the symbolism of the hieroglyphs that spell these phrases suggests that in ancient Egypt they were regarded as stages of an evolving ‘state of being’ or ‘state of consciousness’ which was experienced by the living. This concept is literally spelt out in the sequence of hieroglyphs that means ‘place of interment’ or, more literally, ‘the place of being united with the earth.’ The symbolism of the hieroglyphs indicates that the expression does not refer only to a grave or tomb but describes a state of raised and enlightened consciousness that can be achieved during one’s lifetime for the benefit of the earth and those who inhabit the earth. vii 𓊨𓏏 𓉐 𓄥 𓄿𓏜 𓇾𓈇 set semA tA The place of being united with the earth In this phrase the first word, as seen earlier, means ‘the place of.’ The second word, smA, describes the process of the ascent of human consciousness into the spiritual realities. The first hieroglyph of this word is generally agreed to represent the lungs and means ‘to unite, to join, to bring together.’ It is often used in combination with the next hieroglyph which is an illustration of a vulture. This is the White Scavenger vulture or Neophron percnopterus, one of the oldest species of vulture and frequently used in Egyptian iconography to represent an advanced stage of spiritual awareness. The bird has white feathers and a golden yellow face that was seen as a representation of the golden faces of the gods. The distinctive white ruff around its head and neck may have been imitated in the nemes headdress worn by the Pharaohs, for whom the bird was sacred. The hieroglyph of the white vulture was used in a number of words that refer to the stars and to the ascended state of enlightened spirituality that was represented by the light of the stars. This state of being, of shining with spiritual light, was originally demonstrated by the risen Osiris whose ascended, starry form was visible as the constellation sAhu or Orion. The third sign in this word is the determinative, in this instance the sealed roll of papyrus which indicates that the previous two hieroglyphs should be interpreted for their symbolic meaning rather than as literal depictions of a pair of lungs and a vulture. The meaning of the phrase so far suggests that the journey into spiritual enlightenment in which the human or earthly being is united with the immortal spiritual being, is linked with certain locations or centres. The final word consists of two signs each pronounced tA; the hieroglyph for the earth followed by the sign that represents an irrigation canal or irrigated land. The meaning of this word is transformed by the symbolic content of the preceding words. The implication is that just as the arid desert is irrigated and fertilised by the river Nile, so the incarnate human being is spiritually regenerated by the invoked presence of the light of the spirit, with similar benefit for the earth. The complete phrase ‘the place of being united with the earth’ describes the spiritual journey that results in transfigured life, the state of being that is achieved when the divine spirit is integrated into full waking consciousness, thus uniting the worlds of spirit and matter. Those who achieve this transformation within themselves will become a centre for spiritual energy within the world that can have a beneficial and uplifting effect upon others. Such centres might become the spiritual focus for a land or nation, or they can be part of a pattern of centres across the land. They can be created by a spiritual or magical group or by an individual. They can be a vitalised centre or ‘chakra’ within the subtle body of an individual - or all of these. Assuming then that the ‘throne’ hieroglyph indicates the purposeful creation of a centre of regenerative spiritual energy within the earth, and that the creation of such centres was a significant element in the original role and function of Isis, this leads us to a rewarding interpretation of the best-known section of the story of Isis and Osiris. The earliest versions of the story presented as a complete narrative are those of the Greek historians Diodorus Siculus (1st century AD) and Plutarch in his De Iside et Osiride (early 2nd century AD.) They describe how the body of Osiris was dismembered by his murderer (either Typhon or Set) and was divided into 14 parts. The parts were then scattered throughout Egypt. Isis searched the land and was successful in finding and recovering each part. Plutarch records that she then either buried each part in situ with ceremonial rites or that she made an effigy of each part and distributed these about the cities of Egypt, persuading the local priests that they were in possession of the actual body so that they would conduct the appropriate ceremonies themselves.viii Although this is the best-remembered episode of the entire narrative it cannot be read literally. Osiris was not a human being, so there was no physical body to dismember. Even if a supra-human being temporarily adopted the form of a human who became known as Osiris, the idea that a physical body can be dismembered into 14 parts (26 or 42 according to other chroniclers) which are scattered about the many thousand square miles of Egypt but then miraculously identified and recovered, makes no sense. The significant point of this story is that at certain locations in Egypt, an enduring contact with the essential life-spirit of Osiris was created which, when combined with the awakening, initiating energies of Isis, created an empowered centre of regenerative energy. By ‘becoming Osiris’ within such a centre, others could also experience the same spiritual awakening. This is the ‘throne’ of Isis: a potentised centre of energy in which the spiritual rebirth of Osiris is re-created through magical ritual. Each centre would thus illustrate the symbolism of the phrase: “The place of being united with the earth.” The ‘body’ or essential substance of Osiris is contactable upon earth but, through magical means, his ascension and transformation into the light of the stars creates a channel for the same process to be experienced by those who participate in this magical ritual of rebirth and regeneration It is worth noting that the ritual was instigated and established by “Isis Great of Magic.” Without her contribution, the story would end with the death of Osiris. The source of her initiating energy is Sirius, but further discussion of this must be reserved for another paper. As to what the hieroglyph of the ‘throne’ actually represents, the question remains open. Because it is never depicted with a human occupant we have no indication of its size. It could be described as a horizontal rectangle which is mirrored by a vertical rectangle, these being connected by a third, larger rectangle. The two smaller rectangles are ‘blended’ into the connecting rectangle so that it is not possible to be precise as to their boundaries. Perhaps this suggests the idea of ‘as above, so below;’ of earthly things connected to heavenly things through the intermediary of the human mind which partakes of both. It is hoped that readers will be inspired to form their own interpretation. 𓊨 For a full discussion of the symbolism of the hieroglyphs see Wendy Berg, The House of the Net: The Magical Symbolism of the Hieroglyphs (Skylight Press, 2021) i ii Gardiner Classification: Q1, H8, X1 There is some debate as to the pronunciation of the first sign and four possible phonetic values have been attributed to it: s as in set (meaning seat or place); As as in Aset (Isis); htm as in htmt (meaning chair) and ws as in ws-ir (Osiris). See: Muchiki, Y., 1990, “On the transliteration of the name Osiris” JEA 76, 191-94 iii No cities were dedicated to Isis, and the first temple dedicated to her name was not built until the time of the last native Egyptian pharaoh Nectanebo II (360 - 343 B.C.) at Behbeit el-Hagar in the Nile delta. The better known temple of Isis at Philae was begun in 260 B.C. by Ptolemy II. iv A.E. Wallis Budge A Hieroglyphic Vocabulary to the Book of the Dead (New York, Dover Publications 1991) pp 63 – 64 v Dictionaries consulted: Paul Dickson, transcribed by Mark Vygus with Ted Young, Will Meriic Dictionary of Middle Egyptian: GlyphStudy Open Source Projects site: http://gosp.sourceforge.net. R.O. Faulkner, A Concise Dictionary of Middle Egyptian vi vii Gardiner Classification: Q1-X1- O1-F36-G1-Y1v-N16-N23 viii http://penelope.uchicago.edu/thayer/e/roman/texts/plutarch/moralia/isis_and_osiris*