The word krs denotes the embalmment of the mummy, and the krst, as the mummy, was made in the process of preparation by purifying, anointing, and embalming. To karas the dead body was to embalm it, to bandage it, to make the mummy. The mummy was the Osirian Corpus Christi, prepared for burial as the laid-out dead, the karast by name. When raised to its feet, it was the risen mummy, or sahu. The place of embalmment was likewise the krs. Thus the process of making the mummy was to karas, the place in which it was laid is the karas, and the product was the krst, whose image is the upright mummy=the risen Christ. Hence the name of the Christ, Christos in Greek, Chrestus in Latin, for the anointed, was derived, as the present writer previously suggested, from the Egyptian word krst. Karas also signifies the burial-place, and the word modifies into Kâs or Châs. Kâsu the “burial place” was a name of the 14th Nome in Upper Egypt. A god Kâs is mentioned three or four times in the Book of the Dead, “the god Kâs who is in the Tuat” (ch. 40). This was a title of the mummy Osiris in the funerary dwelling. In one passage Kâs is described as the deliverer or saviour from all mortal needs. In “the chapter of raising the body” (178) it is said of the deceased that he had been hungry and thirsty (on earth), but he will never hunger or thirst any more, “for Kâs delivers him” and does away with wants like these. That is, in the resurrection. Here the name of the god Osiris-Kâs written at full is Osiris the Karast—the Egyptian Christ. Not only is the risen mummy or sahu called the karast, Osiris as lord of the bier is the Neb-karast equivalent to the later Christ the Lord, and the lord of the bier is god of the resurrection from the house of death.
The karast is literally the god or person who has been mummified, embalmed, and anointed or christified. Anup the baptizer and embalmer of the dead for the new life was the preparer of the karast-mummy. As John the Baptist is the founder of the Christ in baptism, so Anup was the christifier of the moral Horus, he on whom the holy ghost descended as a bird when the Osiris made his transformation in the marriage mystery of Tattu (Rit., ch. 17). We read in the funeral texts of Anup being “Suten tu hetep, Anup, neb tser khent neter ta krast-ef em set” (Birch, Funeral Text, 4th Dynasty). “Suten hept tu Anup tep-tuf khent neter ha am ut neb tser krast ef em as-ef en kar
neter em set Amenta” (Birch, Funeral Stele of Ra-Khepr-Ka, 12th Dynasty). Anup gives embalmment, krast; he is lord over the place of embalmment, the kras; the lord of embalming (krast), who, so to say, makes the “krast.” The process of embalmment is to make the mummy. This was a type of immortality or rising again. Osiris is krast, or embalmed and mummified for the resurrection. Passage into life and light is made for the karast-dead through the embalmment of the good Osiris (Rit., ch. 162)—that is, through his being karast as the mummy type. Thus the Egyptian krast was the pre-Christian Christ, and the pictures in the Roman Catacombs preserve the proof. The passing of the karast into the Christ is depicted in the gnostic iconography. It is in the form of a child bound up in the swathings of a diminutive Egyptian mummy, with the halo and cross of the four quarters round its head, which show its solar origin.
It is the divine infant which has the head of Ra in the Ritual who says, “I am the babe; I renew myself, and I grow young again” (chs. 42 and 43). The karast mummy is the type of resurrection in the Roman Catacombs because the karast was the prototypal Christ. It is the Egyptian karast as thing and word that supplied and will explain the Greek Christ, Christos, Krstos, or Latin Chrestus, and account for the Corpus Christi, the anointed, the Saviour, doctrinally, typically, actually in every way except historically, and of that the karast, Krstos, or Christ is entirely independent. “Henceforth,” said a dignitary of the Church of England the other day, “Christianity has done with the metaphysical Christ.” But there is no physical Christ except the karast mummy, which was Osiris when laid out and lying down in death, and Horus of the resurrection standing up as Amsu risen from the sepulchre, having the whip hand over all the powers of darkness and the adversaries of his father.
Say what you will or believe what you may, there is no other origin for Christ the anointed than for Horus the karast or anointed son of god the father. There is no other origin for a Messiah as the anointed than for the Masu or anointed. Finally, then, the mystery of the mummy is the mystery of the Christ. As Christian, it is allowed to be for ever inexplicable. As Osirian, the mystery can be explained. It is one of the mysteries of Amenta, with a more primitive origin in the rites of totemism.
We now claim sufficient warrant for affirming that Christ the anointed is a mystical figure which originated as the Egyptian mummy in the twofold character of Osiris in his death and in his resurrection: as Osiris, or mortal Horus, the karast; and Osiris-sahu, or Horus divinized as the anointed son. The Christ or karast still continues to be made when the sacrament of extreme unction is administered to the dying as a Roman Catholic rite. Though but a shadow of the primitive reality, it perpetuates the “sacred mystery” of converting the corpse into the sahu, the transubstantiation of the inert Osiris by descent of Ra; the mortal Horus, child of the mother,
into Horus the anointed son of god the father. “Extreme unction,” the seventh of the holy sacraments, is indeed a Christian rite.
It will now be necessary to give an account of certain other mysteries of Amenta and doctrines of the Ritual. The Egyptians celebrated ten great mysteries on ten different nights of the year. The first was the night of the evening meal (literally the last supper), and the laying of offerings on the altar. It is the night of provisioning the Lord’s table. Osiris had been overcome by Sut and the Sebau, who had once more renewed their assault upon Un-nefer when they were defeated and exterminated by his faithful followers. Therefore this was also the night of the great battle when the moon god Taht and the children of light annihilated the rebellious powers of darkness. On the second night the overthrown Tat-Cross, with Osiris in it, or on it, was again erected by Horus, Prince of Sekhem, in the region of Tattu, where the holy spirit Ra descends upon the mummy and the twain become united for the resurrection. On the third night the scene is in Sekhem; the mystery is that of the blind Horus or of Horus in the dark, who here receives his sight. It is also the mystery of dawn upon the coffin of Osiris. We might call it the mystery of Horus the mortal transfiguring into Horus the immortal. On the fourth night the four pillars are erected with which the future kingdom of god the father is to be founded. It is called “the night of erecting the flagstaffs of Horus, and of establishing him as the heir of his father’s property.” The fifth scene is in the region of Rekhet, and the mystery is that of the two sisters with Isis watching in tears over her brother Osiris, and brooding above the dead body to give it the warmth of new life. On the sixth night the glorious ones are judged, the evil dead are parted off, and joy goeth its round in Thinnis. This is the night of the great festival named Ha-k-er-a, or “Come thou to me,” in which the blending of the two souls was solemnized as a glorious mystery by a festival at which there was much eating and drinking. The mystery of the seventh night was that of the great judgment on the highway of the damned, when the suit was closed against the rebels who had failed once more and were ignominiously defeated. After the verdict comes the avengement. The eighth is the night of the great hoeing in Tattu, when the associates of Sut are massacred and the fields are manured with their blood. The ninth is called “the night of hiding the body of him who is supreme in attributes.” The mystery is that of collecting the remains of Osiris, whose body was mutilated and scattered piecemeal by Sut, and of hiding it. The mystery on the tenth night presents a picture of Anup, the embalmer, the anointer, or christifier of the mummy. This is in Rusta, the place of resurrection from Amenta. It may be the series is not in exact order, but that does not interfere with the nature of the mysteries. In each of the ten acts of the drama the suffering Osiris and the triumph over all his adversaries are portrayed as mysteries in a prototypal miracle-play or drama that was held to be divine. The chapter of these ten mysteries was recited penitentially for the purification of the Manes and the coming forth after death (Rit., ch. 18, rubric). With this we may compare the fact that the Jewish new year is ushered in with ten days of penitence.
The altar or communion-table thus provisioned was the coffin lid. This also was continued in the ritual of Rome, for it is a fact that the earliest Christian altar was a coffin. According to Blunt’s Dictionary of Doctrinal and Historical Theology (p. 16), this was a hollow chest, on the lid or mensa of which the Eucharist was celebrated. This, as Egyptian, was the coffin of Osiris that constituted the altar on which the provisions were laid in Sekhem for the Eucharistic meal. Hence the resurrection is described as “dawn upon the coffin of Osiris.” Therefore he rose in spirit from the mummy in the coffin, beneath the lid which constituted the table. This was the body supposed to be eaten as the Eucharist, which was represented by the provisions that were laid upon the altar for the sacramental meal. The first of the ten great mysteries is the mystery of the Eucharist, and we find that the primitive Christian liturgies are all and wholly restricted to the Eucharist as the one primordial sacrament of the Christian Church. The first of the Osirian mysteries is the primary Christian sacrament. “Provisioning the altar” was continued by the Church of Rome. “The mysteries laid upon the altar” which preceded” the communion of the body and blood of Christ” were then eaten in the Eucharistic meal (Neale, Rev. J. M., The Liturgies, Introd., p. 33). Thus we see in the camera obscura that the provisions laid on the altar or table represented the flesh and blood of the victim about to be eaten sacramentally. The night of the things that were laid upon the altar is the night of the great sacrifice, with Osiris as the victim. The things laid on the altar for the evening meal represented the body and blood of the Lord. These, as the bread and wine, or flesh and beer, were transelemented or transubstantiated by the descent of Ra the holy spirit, which quickened and transformed the mummy Osiris into the risen sahu, the unleavened bread into the leavened, the water into wine. Osiris, the sacrifice, was the giver of himself as “the food which never perishes” (Rit., ch. 89).
The Christian liturgies are reckoned to be the “most pure sources of Eucharistical doctrine.” And liturgy appears to have been the groundwork of the Egyptian ritual. It is said by one of the priests (Rit., ch. 1), “I am he who reciteth the liturgies of the soul who is lord of Tattu”—that is, of Osiris who establishes a soul for ever in conjunction with Ra the holy spirit in the mysteries of Amenta. In one character Osiris was eaten as the Bull of Eternity, who gave his flesh and blood as sustenance for humanity, and who was the divine providence as the provider of food. The eating of the mother was also continued in the Eucharist, Osiris being of both sexes. This was typically fulfilled in one way by converting the bull into an ox. The duality was also imaged in the bread and beer or wine, which is the mother blood in a commuted guise. It is said of the body that was eaten in “the Roman mysteries” that it is “the body which bestows on us, out of its wounds, immortality and life, and the beatific vision with the angels, and food and drink, and life and light, the very bread of life, the true light, eternal life, Christ Jesus.” “Wherefore this entrance symbolizes at the same time both the second advent of Christ and His sepulture, for it is He who will
be our beatific vision in the life to come,” as Horus of the second sight, all of which was portrayed of Osiris and fulfilled. (Neale, The Liturgies, Introd., p. 30.) Blood sacrifice from the beginning was an offering of life, hence the life offering. When the mother was the victim her blood was offered as life to the ancestral spirits. It was also life to the brotherhood, and partaking of it in communion constituted the sacrament. So in the Christian Eucharist the blood is taken to be the life, and is partaken of as the life, the “life of the world” (Neale, Liturgy of Basil the Great), “the divine life that is the life everlasting, the new life that is for ever” (Neale, Liturgy of St. Chrysostom, II). The bread broken in the Christian sacrament represents a body that was “broken, immolated, and divided.” This does not apply to the body of Jesus, according to the “history.” But it does apply to the body of Osiris, which was “broken, immolated, and divided” by Sut, who tore it into fourteen fragments. The altar table, or coffin lid, was provisioned with these parts of the broken body to be typically eaten as the Eucharist on the night “when there are at the coffin the thigh, the head, the heel, and the leg of Un-nefer.” Moreover, when the mother was eaten as the sacrifice, the flesh and blood were warm with life. She was not eaten in cold blood. It was the same with the Meriah of the Kolarians, and also with the totemic animal. The efficacy lay in the flesh being eaten alive, and the blood being drunk whilst it was warm with life which constituted the “living sacrifice.” This type of sacrifice was also continued in the Christian Eucharist. Hot water was at one time poured into the chalice with the wine at the consecration of the elements, to give it the warmth of life (Neale, Liturgy of St. Chrysostom, p. 120.) Even the act of tearing the flesh of the victim’s body piecemeal is piously perpetuated by the breaking instead of cutting the bread for the Christian sacrament. The lights upon the coffin of Osiris are represented in the Roman ritual by a double taper, the dikerion, reputed to signify “the advent of the Holy Spirit,” which corresponds to the descent of Ra the holy spirit on the inert body of Osiris in Tattu, where the two souls are blended to become one in Horus of the resurrection.
The flabellum or fan is a mystical emblem in the Egyptian mysteries. For one thing, it signified the shade or spirit. Fans are frequently portrayed for souls of a primitive type. (Birch, Trans. Soc. Bib. Arch., vol. VIII, p. 386.) Souls burning in the hells are imaged by flabella. These fans were brought on in the Oriental Church. In the Clementine liturgy they are ordered to be made of peacocks’ feathers (Neale, p. 76, Introd., pp. 29, 30). They are called fans of the Holy Spirit, and were carried in procession with the “veil that was wrapped about the body of the Lord Jesus” like the folds of gauze that were wrapped round the mummy at Medum. But the fan or shade=spirit had been reduced in status, and was then used as a flapper for whisking the flies away from the sacrifice (Durandus, IV, 33-8; Neale, Introd., p. 29). It is not pretended that the second advent is historical, nevertheless it is portrayed in the mystery of the Eucharist by the descent of the Holy Spirit. The second advent is the coming forth of Horus in spirit from the
mummy or corpse which was his image in the human form. The first is in being made flesh and putting on the likeness of mortality, the second is in making his transformation into a spirit, as the type of immortality. The marriage of Cupid and Psyche is a fable that was founded on this union of the two souls which we have traced in the Ritual as the soul in matter, or the human soul, and the soul in spirit. Cupid, under another name, is Eros, whilst Eros and Anteros are a form of the double Horus, Eros in spirit, Anteros in matter, and the blending of the two in the mysteries was the marriage of Cupid and Psyche in the mystery of Tattu. Now here is another of those many mysteries which have no origin in historic Christianity. The Agape was celebrated in connection with the Eucharist. This was not founded at the time of the Last Supper, nevertheless it was held to be a Christian sacrament. Paul in speaking of the love-feast at Corinth as a scene of drunken revelry (I Cor. II. 20-22), recognizes the celebration of two suppers, which he is desirous of having kept apart, one for the church, and one for the house. These two are the Eucharist and the Agape. Ecclesiastical writers differ as to which of the two ought to be solemnized first, but there is no question that two were celebrated in connection with each other. In his attack on the licentiousness of the Christian Agape Tertullian asks the wives, “Will not your husbands know what it is you secretly take before other food?” and again, “Who will without anxiety endure her absence all night long at the Pascal solemnities?” “Who will without some suspicion of his own let her go to attend that Lord’s banquet which they defame?” (Keating, Y. F., The Agape and the Eucharist, p. 70.) As Egyptian, we can identify the two, and thus infer the order in which they stood to each other. Whether both were called suppers or not, the Egyptians celebrated the last supper of Osiris on the last night of the old year, and the mesiu, or the evening meal, on the first night of the new year. And this duality was maintained by the gnostics and continued by the Christians. These are two of the Osirian mysteries, and in the list of the ten great mysteries there are two nights of provisioning the altar—that is, two nights of a feast or memorial supper. One is held in Annu, the other in Sekhem, with the resurrection in Tattu coming between the two. In Sekhem the blind Horus receives his sight, or his beatific vision of the divine glory, which was seen when he had pierced the veil hawk-headed in the image of Ra. Provisioning the altar in Sekhem is designated “dawn upon the coffin of Osiris” (Rit., ch. 18). The Eucharist was a form of the mortuary meal in which the death of Osiris was commemorated by the eating of the body and the drinking of the blood. The Agape, or phallic feast, was a mode of celebrating the re-arising of Horus, Prince of Sekhem, as portrayed by the re-erection of the Tat. This accounts for the sexual orgie of the Agape, a primitive form of which was acted by the Eskimo in the festival of reproduction. In their mysteries this was the reproduction of food. In the Egyptian it was the regeneration and resurrection of the soul that was celebrated at the Agape. The death, of course, came first. This was on the night of the great sacrifice, and the Eucharist was
eaten in commemoration. Then followed the triumph in Tattu and the regenesis of the soul, which was acted by the “holy kiss” or blending of the sexes in the feast of love, as a dramatic rendering of this union betwixt the human nature and divine, or of the brother and sister, Shu and Tefnut. In the totemic mysteries of young man making begettal was included in the modus operandi, and in this the women invoked the spirit of the male for the new birth. The phallic festival of promiscuous intercourse still survived when the mysteries became religious, whether in Egypt, Greece, or Rome. In these Osiris was resuscitated as Horus the only begotten son, the women being the begetters or regenerators. In the evocations of Isis and Nephthys we hear them calling on the lost Osiris to come back to them in the person of the son. They plead that the lamp of life may be relighted, or more literally that the womb may be replenished. “Come to thine abode, god An,” they cry. “Beloved of the Adytum! Come to Kha” (a name of phallic significance), “oh, fructifying Bull.” This is in the beneficent formulæ that were made by the two divine sisters, Isis and Nephthys, to effect the resurrection of Osiris, which are said to have been composed by them on the twenty-fifth day of the month Koiak, December 22nd. They are magical evocations of the god addressed to the inert Osiris, who is caused to rise again by Isis in his ithyphallic form. Most pathetic in its primitiveness is the picture of the two divine sisters, or mothers, Isis and Nephthys, watching by the dead or inert brother who is Osiris in death and Horus in his resurrection, crooning their incantations, brooding bird-like over the germ of life in the egg, and breathing out the very soul of their own life in yearning for him, until the first token of returning consciousness is given, the earliest sign of the resurrection is made in response to the vitalizing warmth of their affection. These evocations follow the night of “the last supper” and the battle with Sut and the Sebau. “Oh, come to thine abode!” the two dear sisters cry. “Come to thy sister! Come to thy wife! Come to thy spouse!” they plead whilst stretching out their longing arms for his embrace. “Oh, excellent Sovereign, come to thine abode. Rejoice; all thine enemies are annihilated. Thy two sisters are near to thee, protecting thy funeral couch, calling thee in weeping, thou who art prostrate on thy funeral bed. Thou seest our tender solicitude. Speak to us, Supreme Ruler, our Lord. Chase away all the anguish which is in our hearts.” These in the funeral scenes are the two women watching in the tomb (Records, vol. II, 119). Then was the only son of god begotten of the holy spirit Ra. The “pair of souls” were blended in the Horus of a soul that was to live for ever, or to taste eternal life. The marriage rite was acted, and the marriage feast was celebrated in this prototypal ceremony that was continued in the Agape of the Osirian and the Christian cult.
The Christian dogma of a physical resurrection founded on the historic fact of a dead corpse rising from the grave can be explained as one of the Kamite mysteries which were reproduced as miracles in the Gospels. If we take the original representation in the solar mythos, the sun in the under-world, the diminished, unvirile, impotent
or suffering sun was imaged as Ans-Ra, the solar god bound up in linen, as the mummified Osiris. The type remained for permanent use, but when the transformation had been effected the mummy vanished. The sepulchre was empty. The sun of winter or of night did not remain in Hades. Neither did it come forth as the dead body or unbreathing mummy of Osiris. Osiris, the hidden god in the earth of Amenta, does not come forth at all except in the person of the risen Horus, who is the manifestor for the ever-hidden father. To issue thus he makes his transfiguration which constitutes the mystery, not the miracle, of the resurrection. Osiris defecates and spiritualizes. The mummy as corpus is transubstantiated into the sahu, the mortal Horus into the immortal, and the physical mummy disappears. But it did not disappear because the living Horus rose up and walked off with the dead body of Osiris. When the transformation took place the type was changed in a moment, in the “twinkling of an eye.” The mummy Osiris transubstantiates, and makes his transformation into Osiris-sahu. As the Ritual expresses it, “he is renewed in an instant” in this second birth (ch. 182). The place was empty where the mummy had lain upon the bier, and the body was not found. This change is described when it is said in the litany of Ra, he “raises his soul and hides his body.” Thus the body was hidden in the resurrection of the soul. “Hiding his body” is consequently a name of Horus, “emanating from Hes” as a babe in the renewal of Osiris. Concealing the body of dead matter was one way of describing the transubstantiation in texture and the transfiguration in form. This was one of the greater mysteries.
When Horus rent the veil of the tabernacle he had become hawk-headed, and consequently was a spirit in the divine likeness of Ra the holy ghost. Therefore the tabernacle was the body or mummy, “the veil of flesh” (Neale, Liturgy of St. James, pp. 46-7) from which he had emerged. The speaker in the Ritual says, “I am the hawk in the tabernacle, and I pierce through the veil”—that is, when he is invested with the soul of Horus and disrobes himself of the mummy (Rit., ch. 71, Renouf) or the veil which represented the flesh, as did the veil of gauze when folded round the mummy in the pyramid at Medum. The “holy veil” was carried in the Christian mysteries, together with the “holy gifts” and “fans of the spirit,” and this is said to represent “the veil that was wrapped about the body of the Lord Jesus” (Neale, The Liturgies, Introd., p. 30, “Prayer of the Veil.”) This (in the Liturgy of St. James, Neale, p. 46) is “the veil of the flesh of Christ,” therefore the veil of the body or temple of the spirit that was rent in the resurrection by Horus when he “pierced through the veil.” He rends or pierces through the veil, saying, “I am the hawk in the tabernacle, and I pierce through the veil. Here is Horus!” who comes forth to the day as a hawk (ch. 71). In the form of a divine hawk the risen one is revealed and goes forth as a spirit. In the Gospel the loud cry is immediately followed by the going forth as a spirit. “And behold, the veil of the sanctuary was rent in twain from the top to the bottom. And the earth did quake, and the rocks were rent and the tombs were opened, and many bodies of the saints that had fallen asleep were raised (Matt. XXVII. 45-53). Horus now takes his seat at the table of his father Osiris, with those who eat bread in Annu. He gives breath to