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Monday, January 10, 2022

Saṃsāra (Buddhism)

From Wikipedia, the free encyclopedia

Translations of
saṃsāra
Englishcycle of existence, endless rebirth, wheel of dharma, beginningless time
Sanskritsaṃsāra, sangsara (Dev: संसार)
Palisaṃsāra
Bengaliসংসার (sôngsarô)
Burmeseသံသရာ
(MLCTS: θàɰ̃ðajà)
Chinese生死, 輪迴, 流轉
(Pinyin: shēngsǐ, lúnhuí, liúzhuǎn)
Japanese輪廻
(Rōmaji: rinne)
Khmerសង្សារ, វដ្ដសង្សារ
(UNGEGN: sângsar, vôddsângsar)
Korean윤회, 생사유전
(RR: Yunhoi, Saengsayujeon)
Mongolianᠣᠷᠴᠢᠯᠠᠩ, орчлон (orchilang, orchlon)
Sinhalaසංසාරය (sansāra)
Tibetanའཁོར་བ་
(khor ba)
Thaiวัฏสงสาร
VietnameseLuân hồi, Lục đạo

Saṃsāra (Sanskrit, Pali; also samsara) in Buddhism and Hinduism is the beginningless cycle of repeated birth, mundane existence and dying again. Samsara is considered to be dukkha, suffering, and in general unsatisfactory and painful, perpetuated by desire and avidya (ignorance), and the resulting karma.

Rebirths occur in six realms of existence, namely three good realms (heavenly, demi-god, human) and three evil realms (animal, ghosts, hellish). Samsara ends if a person attains nirvana, the "blowing out" of the desires and the gaining of true insight into impermanence and non-self reality.

Characteristics

In Buddhism, saṃsāra is the "suffering-laden, continuous cycle of life, death, and rebirth, without beginning or end". In several suttas of the Samyutta Nikaya's chapter XV in particular it's said "From an inconstruable beginning comes transmigration. A beginning point is not evident, though beings hindered by ignorance and fettered by craving are transmigrating & wandering on". It is the never-ending repetitive cycle of birth and death, in six realms of reality (gati, domains of existence), wandering from one life to another life with no particular direction or purpose. Samsara is characterized by dukkha ("unsatisfactory," "painful"). Samsara relates to the Four Noble Truths in Buddhism, as dukkha ("unsatisfactory," "painful") is the essence of Samsara. Every rebirth is temporary and impermanent. In each rebirth one is born and dies, to be reborn elsewhere in accordance with one's own karma. It is perpetuated by one's avidya ("ignorance"), particularly about anicca (“impermanence”) and anatta, (“no-self”) and from craving. Samsara continues until moksha is attained by means of insight and nirvana. the "blowing out" of the desires and the gaining of true insight into impermanence and non-self reality. Samsara and the notion of cyclic existence dates back to 800 BCE.

Mechanism

The Saṃsāra doctrine of Buddhism asserts that while beings undergo endless cycles of rebirth, there is no changeless soul that transmigrates from one lifetime to another - a view that distinguishes its Saṃsāra doctrine from that in Hinduism and Jainism. This no-soul (no-self) doctrine is called the Anatta or Anatman in Buddhist texts.

The early Buddhist texts suggest that Buddha faced a difficulty in explaining what is reborn and how rebirth occurs, after he innovated the concept that there is "no self" (Anatta).[30] Later Buddhist scholars, such as the mid-1st millennium CE Pali scholar Buddhaghosa, suggested that the lack of a self or soul does not mean lack of continuity; and the rebirth across different realms of birth – such as heavenly, human, animal, hellish and others – occurs in the same way that a flame is transferred from one candle to another. Buddhaghosa attempted to explain rebirth mechanism with "rebirth-linking consciousness" (patisandhi).

The mechanistic details of the Samsara doctrine vary within the Buddhist traditions. Theravada Buddhists assert that rebirth is immediate while the Tibetan schools hold to the notion of a bardo (intermediate state) that can last at least forty-nine days before the being is reborn. In Mahayana Buddhist philosophy Samsara and Nirvana are seen as the same. According to Nagarjuna, an ancient Indian philosopher, and a teacher of Mahayana Buddhism, "Nothing of Samsara is different from Nirvana, nothing of Nirvana is different from Samsara. That which is the limit of Nirvana is also the limit of Samsara, there is not the slightest difference between the two."

Realms of rebirth

A thangka showing the bhavacakra with the ancient five cyclic realms of saṃsāra in Buddhist cosmology. Medieval and contemporary texts typically describe six realms of reincarnation.
 

There are six Enlightened Buddhas that exist in each of the six realms. These six Buddhas have also been known as the "Six Sages." Their names are Indrasakra (Buddha in the god realm), Vemacitra (Buddha of the petty god realm), Sakyamuni (Buddha in the human realm); Sthirasimha (Buddha in the animal realm), Jvalamukha (Buddha in the hungry ghost realm), and Yama Dharmaraja (Buddha in the hot hell realm). Buddhist cosmology typically identifies six realms of rebirth and existence: gods, demi-gods, humans, animals, hungry ghosts and hells. Earlier Buddhist texts refer to five realms rather than six realms; when described as five realms, the god realm and demi-god realm constitute a single realm.

The six realms are typically divided into three higher realms (good, fortunate) and three lower realms (evil, unfortunate). The three higher realms are the realms of the gods, humans and demi-gods; the three lower realms are the realms of the animals, hungry ghosts and hell beings. The six realms are organized into thirty one levels in east Asian literature. Buddhist texts describe these realms as follows:

  • Gods realm: the gods (devas) is the most pleasure-filled among the six realms, and typically subdivided into twenty six sub-realms. A rebirth in this heavenly realm is believed to be from very good karma accumulation. A Deva does not need to work, and is able to enjoy in the heavenly realm all pleasures found on earth. However, the pleasures of this realm lead to attachment (Upādāna), lack of spiritual pursuits and therefore no nirvana. The vast majority of Buddhist lay people, states Kevin Trainor, have historically pursued Buddhist rituals and practices motivated with rebirth into Deva realm. The Deva realm in Buddhist practice in southeast and east Asia, states Keown, include gods found in Hindu traditions such as Indra and Brahma, and concepts in Hindu cosmology such as Mount Meru.
  • Human realm: called the manuṣya realm. Buddhism asserts that one is reborn in this realm with vastly different physical endowments and moral natures because of a being's past karma. A rebirth in this realm is considered as fortunate because it offers an opportunity to attain nirvana and end the Saṃsāra cycle.
  • Demi-god realm (Asura): the demi-gods (asuras) is the third realm of existence in Buddhism. Asura are notable for their anger and some supernatural powers. They fight with the Devas (gods), or trouble the Manusya (humans) through illnesses and natural disasters. They accumulate karma, and are reborn. Demi-god is sometimes ranked as one of the evil realms as there are stories of them fighting against the Gods.
  • Animal realm: is state of existence of a being as an animal (tiryag). This realm is traditionally thought to be similar to a hellish realm, because animals are believed in Buddhist texts to be driven by impulse and instinct, they prey on each other and suffer. Some Buddhist texts assert that plants belong to this realm, with primitive consciousness.
Hungry Ghosts realm of Buddhist samsara, a 12th-century painting from Kyoto Japan
  • Hungry ghost realm: hungry ghosts and other restless spirits (preta) are rebirths caused by karma of excessive craving and attachments. They do not have a body, are invisible and constitute only "subtle matter" of a being. Buddhist texts describe them as beings who are extremely thirsty and hungry, very small mouths but very large stomachs. Buddhist traditions in Asia attempt to care for them on ritual days every year, by leaving food and drinks in open, to feed any hungry ghosts nearby. When their bad karma demerit runs out, these beings are reborn into another realm. According to McClelland, this realm is the mildest of the three evil realms. According to Yangsi Rinpoche, in contrast, the suffering of the beings born in the realm of the hungry ghosts is far more intense than those born in the animal realm.
  • Hell realm: beings in hell (naraka) enter this realm for evil karma such as theft, lying, adultery and others. The texts vary in their details, but typically describe numerous hellish regions each with different forms of intense suffering, such as eight extremely hot hellish realms, eight extremely cold, being partially eaten alive, beating and other forms of torture in proportion to the evil karma accumulated. These beings are reborn in another realm after their evil karma has run its course, they die, and they get another chance. This realm is not similar to afterlife hell in Christianity, states Damien Keown, because in Buddhism there is no realm of final damnation and existence in this realm is also a temporary state.

Cause and end

Samsara is perpetuated by one's karma, which is caused by craving and ignorance (avidya).

Karma

Samsara is perpetuated by karma. Karma or 'action' results from an intentional physical or mental act, which causes a future consequence. Gethin explains:

Thus acts of body and speech are driven by an underlying intention or will (cetanā), and they are unwholesome or wholesome because they are motivated by unwholesome or wholesome intentions. Acts of body and speech are, then, the end products of particular kinds of mentality. At the same time karma can exist as a simple 'act of will', a forceful mental intention or volition that does not lead to an act of body or speech.

In the Buddhist view, therefore, the type of birth one has in this life is determined by actions or karma from the previous lives; and the circumstances of the future rebirth are determined by the actions in the current and previous lives.

Craving and ignorance

Inconsistencies in the oldest texts show that the Buddhist teachings on craving and ignorance, and the means to attain liberation, evolved, either during the lifetime of the Buddha, or thereafter. According to Frauwallner, the Buddhist texts show a shift in the explanation of the root cause of samsara. Originally craving was considered to be the root cause of samsara, which could be stilled by the practice of dhyana, leading to a calm of mind which according to Vetter is the liberation which is being sought.

The later Buddhist tradition considers ignorance (avidya) to be the root cause of samsara. Avidya is misconception and ignorance about reality, leading to grasping and clinging, and repeated rebirth. According to Paul Williams, "it is the not-knowingness of things as they truly are, or of oneself as one really is." It can be overcome by insight into the true nature of reality. In the later Buddhist tradition "liberating insight" came to be regarded as equally liberating as the practice of dhyana. According to Vetter and Bronkhorst, this happened in response to other religious groups in India, who held that a liberating insight was an indispensable requisite for moksha, liberation from rebirth.

The ideas on what exactly constituted this "liberating insight" evolved over time. Initially the term prajna served to denote this "liberating insight." Later on, prajna was replaced in the suttas by the four truths. This happened in those texts where "liberating insight" was preceded by the four jhanas, and where this practice of the four jhanas then culminates in "liberating insight." The four truths were superseded by pratityasamutpada, and still later, in the Hinayana schools, by the doctrine of the non-existence of a substantial self or person. And Schmithausen states that still other descriptions of this "liberating insight" exist in the Buddhist canon:

"that the five Skandhas are impermanent, disagreeable, and neither the Self nor belonging to oneself"; "the contemplation of the arising and disappearance (udayabbaya) of the five Skandhas"; "the realisation of the Skandhas as empty (rittaka), vain (tucchaka) and without any pith or substance (asaraka).

Liberation

Samsara ends when one attains moksha, liberation. In early Buddhism, Nirvana, the "blowing out" of desire, is moksha. In later Buddhism insight becomes predominant, for example the recognition and acceptance of non-self, also called the anatta doctrine. One who no longer sees any soul or self, concludes Walpola Rahula, is the one who has been liberated from the samsara suffering cycles. The theme that Nirvana is non-Self, states Peter Harvey, is recurring in early Buddhist texts.

Some Buddhist texts suggest that rebirth occurs through the transfer of vinnana (consciousness) from one life to another. When this consciousness ceases, then liberation is attained. There is a connection between consciousness, karmic activities, and the cycle of rebirth, argues William Waldron, and with the destruction of vinnana, there is "destruction and cessation of "karmic activities" (anabhisankhara, S III, 53), which are considered in Buddhism to be "necessary for the continued perpetuation of cyclic existence."

While Buddhism considers the liberation from samsara as the ultimate spiritual goal, in traditional practice, Buddhists seek and accumulate merit through good deeds, donations to monks and various Buddhist rituals in order to gain better rebirths rather than nirvana.

Impermanence and Non-Self Reality

A value of Buddhism is the idea of impermanence. All living things, causes, conditions, situations are impermanent. Impermanence is the idea that all things disappear once they have originated. According to Buddhism, Impermanence occurs constantly "moment to moment", and this is why there is no recognition of the self. Since everything is considered to be in a state of decay, happiness and self cannot exist in Samsara.

Anatta is the Buddhist idea of non-self. Winston L. King, a writer from the University of Hawai'i Press, references two integral parts of Anatta in Philosophy East and West. King details the first aspect, that Anatta can be "experienced and not just described." King states the second aspect of Anatta is that it is the liberation from the "power of samsaric drives." Obtaining awareness of Anatta and non-self reality results in a, "freedom from the push-pull of his own appetites, passions, ambitions, and fixations and from the external world's domination in general, that is, the conquest of greed, hatred, and delusion." This "push-pull" of mundane human existence or samsara results in dukka, but the recognition of Anatta results in a "freedom from the push-pull."

Psychological interpretation

According to Chogyam Trungpa the realms of samsara can refer to both "psychological states of mind and physical cosmological realms".

Gethin argues, rebirth in the different realms is determined by one's karma, which is directly determined by one's psychological states. The Buddhist cosmology may thus be seen as a map of different realms of existence and a description of all possible psychological experiences. The psychological states of a person in current life lead to the nature of next rebirth in Buddhist cosmology.

Paul Williams acknowledges Gethin's suggestion of the "principle of the equivalence of cosmology and psychology," but notes that Gethin is not asserting the Buddhist cosmology is really all about current or potential states of mind or psychology. The realms in Buddhist cosmology are indeed realms of rebirths. Otherwise rebirth would always be into the human realm, or there would be no rebirth at all. And that is not traditional Buddhism, states Williams.

David McMahan concludes that the attempts to construe ancient Buddhist cosmology in modern psychological terms is modernistic reconstruction, "detraditionalization and demythologization" of Buddhism, a sociological phenomenon that is seen in all religions.

A pre-modern form of this interpretation can be seen in the views of Zhiyi, the founder of the Tiantai school in China. The Record of Linji, a text attributed to the 9th Century Chan teacher Linji Yixuan, also presents the view that the Three Realms originate with the mind.

Alternate translations

  • Conditioned existence (Daniel Goleman)
  • Cycle of clinging and taking birth in one desire after another (Phillip Moffitt)
  • Cycle of existence
  • Cyclic existence (Jeffry Hopkins)
  • Uncontrollably recurring rebirth (Alexander Berzin)
  • Wheel of suffering (Mingyur Rinpoche)

Bardo Thodol (The Tibetan Book of the Dead)

    From Wikipedia, the free encyclopedia
    Manuscript of the Bardo Thodol.
    Bardo Thodol
    Tibetan name
    Tibetan བར་དོ་ཐོས་གྲོལ་

    The Bardo Thodol (Tibetan: བར་དོ་ཐོས་གྲོལ, Wylie: bar do thos grol, "Liberation Through Hearing During the Intermediate State"), commonly known in the West as The Tibetan Book of the Dead, is a terma text from a larger corpus of teachings, the Profound Dharma of Self-Liberation through the Intention of the Peaceful and Wrathful Ones, revealed by Karma Lingpa (1326–1386). It is the best-known work of Nyingma literature. In 1927 the text was one of the first examples of both Tibetan and Vajrayana literature to be translated into a European language and arguably continues to this day to be the best known.

    The Tibetan text describes, and is intended to guide one through, the experiences that the consciousness has after death, in the bardo, the interval between death and the next rebirth. The text also includes chapters on the signs of death and rituals to undertake when death is closing in or has taken place. The text can be used as either an advanced practice for trained meditators or to support the uninitiated during the death experience.

    Etymology

    Bar do thos grol (Tibetan: བར་དོ་ཐོས་གྲོལ, Wylie: bar do thos grol, THL: bardo thödrol) translates as: “Liberation (grol) through Hearing (thos) in the Intermediate State (bardo)”

    • The Tibetan bar and its Sanskrit cognate antarā mean ‘between.’ The Sanskrit bhava means a place of existence. Thus antarābhava means ‘an existence between,’ translated into Tibetan as bardo.
    • thos grol: thos means hearing. Grol means ‘liberation,’ which may be understood in this context as being synonymous with the Sanskrit bodhi, "awakening", "understanding", "enlightenment", as well as with the term nirvāṇa, "blowing out", "extinction", "the extinction of illusion". Grol has connotations of freeing, liberating, unravelling, becoming undone.

    Original text

    Origins and dating

    Centuries old Zhi-Khro mandala, a part of the Bardo Thodol's collection, a text known in the West as The Tibetan Book of the Dead, which comprises part of a group of bardo teachings held in the Nyingma (Tibetan tradition) originated with guru Padmasambhava in the 8th century.

    According to Tibetan tradition, the Liberation Through Hearing During the Intermediate State was composed in the 8th century by Padmasambhava, written down by his primary student, Yeshe Tsogyal, buried in the Gampo hills in central Tibet and subsequently discovered by a Tibetan terton, Karma Lingpa, in the 14th century.

    bar do thos grol

    The Tibetan title is bar do thos grol, Liberation Through Hearing During the Intermediate State. It consists of two comparatively long texts:

    • "Great Liberation through Hearing: The Supplication of the Bardo of Dharmata" (chos nyid bar do'i gsol 'debs thos grol chen mo), the bardo of dharmata (including the bardo of dying);
    • "Great Liberation through Hearing: The Supplication Pointing Out the Bardo of Existence" (strid pa'i bar do ngo sprod gsol 'debs thos grol chen mo), the bardo of existence.

    Within the texts themselves, the two combined are referred to as Liberation through Hearing in the Bardo, Great Liberation through Hearing, or just Liberation through Hearing.

    kar-gling zhi-khro

    It is part of a larger terma cycle, Profound Dharma of Self-Liberation through the Intention of the Peaceful and Wrathful Ones (zab-chos zhi khro dgongs pa rang grol, also known as kar-gling zhi-khro), popularly known as "Karma Lingpa's Peaceful and Wrathful Ones."

    The Profound Dharma of Self-Liberation is known in several versions, containing varying numbers of sections and subsections, and arranged in different orders, ranging from around ten to thirty-eight titles. The individual texts cover a wide range of subjects, including meditation instructions, visualizations of deities, liturgies and prayers, lists of mantras, descriptions of the signs of death, indications of future rebirth, and texts such as the bar do thos grol that are concerned with the bardo-state.

    Three bardos

    The Bardo Thodol differentiates the intermediate state between lives into three bardos:

    1. The chikhai bardo or "bardo of the moment of death", which features the experience of the "clear light of reality", or at least the nearest approximation of which one is spiritually capable;
    2. The chonyid bardo or "bardo of the experiencing of reality", which features the experience of visions of various Buddha forms, or the nearest approximations of which one is capable;
    3. The sidpa bardo or "bardo of rebirth", which features karmically impelled hallucinations which eventually result in rebirth, typically yab-yum imagery of men and women passionately entwined.

    The Liberation Through Hearing During the Intermediate State also mentions three other bardos:

    1. "Life", or ordinary waking consciousness;
    2. "Dhyana" (meditation);
    3. "Dream", the dream state during normal sleep.

    Together these "six bardos" form a classification of states of consciousness into six broad types. Any state of consciousness can form a type of "intermediate state", intermediate between other states of consciousness. Indeed, one can consider any momentary state of consciousness a bardo, since it lies between our past and future existences; it provides us with the opportunity to experience reality, which is always present but obscured by the projections and confusions that are due to our previous unskillful actions.

    English translations

    Evans-Wentz's The Tibetan Book of the Dead

    Tibetan Thanka of Bardo. Vision of Serene Deities, 19th century, Giumet Museum

    The bar do thos grol has become known in the English speaking world as The Tibetan Book of the Dead, a title popularized by Walter Evans-Wentz's edition, after the Egyptian Book of the Dead, though the English title bears no relationship with the Tibetan, as outlined above. The Evans-Wentz edition was first published in 1927 by Oxford University Press.

    According to John Myrdhin Reynolds, Evans-Wentz's edition of the Tibetan Book of the Dead introduced a number of misunderstandings about Dzogchen. In fact, Evans-Wentz collected seven texts about visualization of the after-death experiences and he introduced this work collection as "The Tibetan Book of Death." Evans-Wentz was well acquainted with Theosophy and used this framework to interpret the translation of The Tibetan Book of the Dead, which was largely provided by two Tibetan lamas who spoke English, Lama Sumdhon Paul and Lama Lobzang Mingnur Dorje. Evans-Wentz was not familiar with Tibetan Buddhism, and his view of Tibetan Buddhism was "fundamentally neither Tibetan nor Buddhist, but Theosophical and Vedantist." He introduced a terminology into the translation which was largely derived from Hinduism, as well as from his Theosophical beliefs.

    Carl Jung’s psychological commentary first appeared in an English translation by R. F. C. Hull in the third revised and expanded Evans-Wentz edition of The Tibetan Book of the Dead. The commentary also appears in the Collected Works. Jung applied his extensive knowledge of eastern religion to craft a commentary specifically aimed at a western audience unfamiliar with eastern religious tradition in general and Tibetan Buddhism specifically. He does not attempt to directly correlate the content of the Bardo Thodol with rituals or dogma found in occidental religion, but rather highlights karmic phenomena described on the Bardo plane and shows how they parallel unconscious contents (both personal and collective) encountered in the West, particularly in the context of analytical psychology. Jung's comments should be taken strictly within the realm of psychology, and not that of theology or metaphysics. 

    Other translations and summaries

    Popular influence

    The Psychedelic Experience

    The Psychedelic Experience, published in 1964, is a guide for LSD trips, written by Timothy Leary, Ralph Metzner and Richard Alpert (later known as Ram Dass), loosely based on Evan-Wentz's translation of the Tibetan Book of the Dead. Aldous Huxley introduced the Tibetan Book of the Dead to Timothy Leary. According to Leary, Metzner and Alpert, the Tibetan Book of the Dead is

    ... a key to the innermost recesses of the human mind, and a guide for initiates, and for those who are seeking the spiritual path of liberation.

    They construed the effect of LSD as a "stripping away" of ego-defenses, finding parallels between the stages of death and rebirth in the Tibetan Book of the Dead, and the stages of psychological "death" and "rebirth" which Leary had identified during his research. According to Leary, Metzner and Alpert it is:

    ... one of the oldest and most universal practices for the initiate to go through the experience of death before he can be spiritually reborn. Symbolically he must die to his past, and to his old ego, before he can take his place in the new spiritual life into which he has been initiated.

    Musical, cinematic, and literary works

  • French composer Pierre Henry based his pioneering 1963 electroacoustic ballet work Le Voyage on the narrative of the text. A recording of the work was released by Philips in 1967.
  • The 1969 novel Ubik by Philip K. Dick is inspired by The Tibetan Book of the Dead and features a direct quote from it by one of the characters.
  • The late 1960s band The Third Bardo took their name from the Tibetan Book of the Dead.
  • in 1974 Finnish composer Erik Bergman composed a work titled Bardo Thödol for a speaker, mezzo-soprano, baritone, mixed choir and orchestra; the text was based on a German translation of the Book of the Dead
  • 1985 2-part documentary filmed in Ladakh and the States, first part entitled "The Tibetan Book of the Dead: A Way of Life"; the second part "The Tibetan Book of the Dead: The Great Liberation" was a co-production between NHK (Japan), Mistral (France) and FBC (Canada). Narration in the English version is by Leonard Cohen.
  • Between 1983 and 1993 French composer Éliane Radigue created her three-hour work of electronic music, Trilogie de la Mort. Her Tibetan Buddhist meditation practise, including engagement with the Bardo Thodol after the deaths of her son and her meditation teacher, are central to this piece, in particular the first section entitled "Kyema (Intermediate States)".
  • Screenwriter and film producer Bruce Joel Rubin, who once lived in a Tibetan Buddhist monastery, considers his 1990 film Jacob's Ladder a modern interpretation of the Bardo Thodol.
  • Space rock band Bardo Pond, formed in Philadelphia, Pennsylvania in 1991, take their name in part from the Bardo Thodol. 
  • In 1991 The Tibetan Book of Living and Dying by Sogyal Rinpoche was published as an updated version of the Bardo Thodol.
  • In 1996, Delerium Records released the Liberation Thru' Hearing CD which contains spoken/chanted readings from the Bardo Thodol set to music.
  • Enter the Void, a 2009 French film written and directed by Gaspar Noé, is loosely based on the Tibetan Book of the Dead.
  • Electronic group Demdike Stare released an album in 2010, Liberation Through Hearing, featuring a track titled "Bardo Thodol".
  • Alternative rock group Live has a song called "T.B.D." on their 1994 album Throwing Copper, which the singer Ed Kowalczyk explained on "The Public Affection" bootleg, stands for "Tibetan Book of the Dead". The songs' lyrics also refer to a state "when the brain is dead".
  • Lincoln in the Bardo is a 2017 experimental novel by American writer George Saunders. It is Saunder

Sunday, January 9, 2022

Book of the Dead

From Wikipedia, the free encyclopedia

This detail scene, from the Papyrus of Hunefer (c. 1275 BCE), shows the scribe Hunefer's heart being weighed on the scale of Maat against the feather of truth, by the jackal-headed Anubis. The ibis-headed Thoth, scribe of the gods, records the result. If his heart equals exactly the weight of the feather, Hunefer is allowed to pass into the afterlife. If not, he is eaten by the waiting chimeric devouring creature Ammit composed of the deadly crocodile, lion, and hippopotamus. Vignettes such as these were a common illustration in Egyptian books of the dead.

The Book of the Dead (Egyptian: 𓂋𓏤𓈒 𓏌𓏤 𓉐𓂋 𓏏𓂻 𓅓 𓉔𓂋 𓅱 𓇳𓏤 ru nu peret em heru) is an ancient Egyptian funerary text generally written on papyrus and used from the beginning of the New Kingdom (around 1550 BCE) to around 50 BCE. The original Egyptian name for the text, transliterated rw nw prt m hrw, is translated as Book of Coming Forth by Day or Book of Emerging Forth into the Light. "Book" is the closest term to describe the loose collection of texts consisting of a number of magic spells intended to assist a dead person's journey through the Duat, or underworld, and into the afterlife and written by many priests over a period of about 1,000 years.

The Book of the Dead, which was placed in the coffin or burial chamber of the deceased, was part of a tradition of funerary texts which includes the earlier Pyramid Texts and Coffin Texts, which were painted onto objects, not written on papyrus. Some of the spells included in the book were drawn from these older works and date to the 3rd millennium BCE. Other spells were composed later in Egyptian history, dating to the Third Intermediate Period (11th to 7th centuries BCE). A number of the spells which make up the Book continued to be separately inscribed on tomb walls and sarcophagi, as the spells from which they originated always had been.

There was no single or canonical Book of the Dead. The surviving papyri contain a varying selection of religious and magical texts and vary considerably in their illustration. Some people seem to have commissioned their own copies of the Book of the Dead, perhaps choosing the spells they thought most vital in their own progression to the afterlife. The Book of the Dead was most commonly written in hieroglyphic or hieratic script on a papyrus scroll, and often illustrated with vignettes depicting the deceased and their journey into the afterlife.

The finest extant example of the Egyptian Book of the Dead in antiquity is the Papyrus of Ani. Ani was an Egyptian scribe. It was discovered by Sir E. A. Wallis Budge in 1888 and was taken to the British Museum, where it currently resides.

Development

Part of the Pyramid Texts, a precursor of the Book of the Dead, inscribed on the tomb of Teti

The Book of the Dead developed from a tradition of funerary manuscripts dating back to the Egyptian Old Kingdom. The first funerary texts were the Pyramid Texts, first used in the Pyramid of King Unas of the 5th Dynasty, around 2400 BCE. These texts were written on the walls of the burial chambers within pyramids, and were exclusively for the use of the pharaoh (and, from the 6th Dynasty, the queen). The Pyramid Texts were written in an unusual hieroglyphic style; many of the hieroglyphs representing humans or animals were left incomplete or drawn mutilated, most likely to prevent them causing any harm to the dead pharaoh. The purpose of the Pyramid Texts was to help the dead king take his place amongst the gods, in particular to reunite him with his divine father Ra; at this period the afterlife was seen as being in the sky, rather than the underworld described in the Book of the Dead. Towards the end of the Old Kingdom, the Pyramid Texts ceased to be an exclusively royal privilege, and were adopted by regional governors and other high-ranking officials.

In the Middle Kingdom, a new funerary text emerged, the Coffin Texts. The Coffin Texts used a newer version of the language, new spells, and included illustrations for the first time. The Coffin Texts were most commonly written on the inner surfaces of coffins, though they are occasionally found on tomb walls or on papyri. The Coffin Texts were available to wealthy private individuals, vastly increasing the number of people who could expect to participate in the afterlife; a process which has been described as the "democratization of the afterlife".

The Book of the Dead first developed in Thebes toward the beginning of the Second Intermediate Period, around 1700 BCE. The earliest known occurrence of the spells included in the Book of the Dead is from the coffin of Queen Mentuhotep, of the 13th Dynasty, where the new spells were included amongst older texts known from the Pyramid Texts and Coffin Texts. Some of the spells introduced at this time claim an older provenance; for instance the rubric to spell 30B states that it was discovered by the Prince Hordjedef in the reign of King Menkaure, many hundreds of years before it is attested in the archaeological record.

By the 17th Dynasty, the Book of the Dead had become widespread not only for members of the royal family, but courtiers and other officials as well. At this stage, the spells were typically inscribed on linen shrouds wrapped around the dead, though occasionally they are found written on coffins or on papyrus.

The New Kingdom saw the Book of the Dead develop and spread further. The famous Spell 125, the 'Weighing of the Heart', is first known from the reign of Hatshepsut and Thutmose III, c.1475 BCE. From this period onward the Book of the Dead was typically written on a papyrus scroll, and the text illustrated with vignettes. During the 19th Dynasty in particular, the vignettes tended to be lavish, sometimes at the expense of the surrounding text.

In the Third Intermediate Period, the Book of the Dead started to appear in hieratic script, as well as in the traditional hieroglyphics. The hieratic scrolls were a cheaper version, lacking illustration apart from a single vignette at the beginning, and were produced on smaller papyri. At the same time, many burials used additional funerary texts, for instance the Amduat.

During the 25th and 26th Dynasties, the Book of the Dead was updated, revised and standardised. Spells were ordered and numbered consistently for the first time. This standardised version is known today as the 'Saite recension', after the Saite (26th) Dynasty. In the Late period and Ptolemaic period, the Book of the Dead continued to be based on the Saite recension, though increasingly abbreviated towards the end of the Ptolemaic period. New funerary texts appeared, including the Book of Breathing and Book of Traversing Eternity. The last use of the Book of the Dead was in the 1st century BCE, though some artistic motifs drawn from it were still in use in Roman times.

Spells

The mystical Spell 17, from the Papyrus of Ani. The vignette at the top illustrates, from left to right, the god Heh as a representation of the Sea; a gateway to the realm of Osiris; the Eye of Horus; the celestial cow Mehet-Weret; and a human head rising from a coffin, guarded by the four Sons of Horus.

The Book of the Dead is made up of a number of individual texts and their accompanying illustrations. Most sub-texts begin with the word ro, which can mean "mouth", "speech", "spell", "utterance", "incantation", or "chapter of a book". This ambiguity reflects the similarity in Egyptian thought between ritual speech and magical power. In the context of the Book of the Dead, it is typically translated as either chapter or spell. In this article, the word spell is used.

At present, some 192 spells are known, though no single manuscript contains them all. They served a range of purposes. Some are intended to give the deceased mystical knowledge in the afterlife, or perhaps to identify them with the gods: for instance, Spell 17 is an obscure and lengthy description of the god Atum. Others are incantations to ensure the different elements of the dead person's being were preserved and reunited, and to give the deceased control over the world around him. Still others protect the deceased from various hostile forces or guide him through the underworld past various obstacles. Famously, two spells also deal with the judgement of the deceased in the Weighing of the Heart ritual.

Such spells as 26–30, and sometimes spells 6 and 126, relate to the heart and were inscribed on scarabs.

The texts and images of the Book of the Dead were magical as well as religious. Magic was as legitimate an activity as praying to the gods, even when the magic was aimed at controlling the gods themselves. Indeed, there was little distinction for the Ancient Egyptians between magical and religious practice. The concept of magic (heka) was also intimately linked with the spoken and written word. The act of speaking a ritual formula was an act of creation; there is a sense in which action and speech were one and the same thing. The magical power of words extended to the written word. Hieroglyphic script was held to have been invented by the god Thoth, and the hieroglyphs themselves were powerful. Written words conveyed the full force of a spell. This was even true when the text was abbreviated or omitted, as often occurred in later Book of the Dead scrolls, particularly if the accompanying images were present. The Egyptians also believed that knowing the name of something gave power over it; thus, the Book of the Dead equips its owner with the mystical names of many of the entities he would encounter in the afterlife, giving him power over them.

Egyptian Book of the Dead, painted on a coffin fragment (c. 747–656 BCE): Spell 79 (attaching the soul to the body); and Spell 80 (preventing incoherent speech)

The spells of the Book of the Dead made use of several magical techniques which can also be seen in other areas of Egyptian life. A number of spells are for magical amulets, which would protect the deceased from harm. In addition to being represented on a Book of the Dead papyrus, these spells appeared on amulets wound into the wrappings of a mummy. Everyday magic made use of amulets in huge numbers. Other items in direct contact with the body in the tomb, such as headrests, were also considered to have amuletic value. A number of spells also refer to Egyptian beliefs about the magical healing power of saliva.

Organization

Almost every Book of the Dead was unique, containing a different mixture of spells drawn from the corpus of texts available. For most of the history of the Book of the Dead there was no defined order or structure. In fact, until Paul Barguet's 1967 "pioneering study" of common themes between texts, Egyptologists concluded there was no internal structure at all. It is only from the Saite period (26th Dynasty) onwards that there is a defined order.

The Books of the Dead from the Saite period tend to organize the Chapters into four sections:

  • Chapters 1–16* The deceased enters the tomb and descends to the underworld, and the body regains its powers of movement and speech.
  • Chapters 17–63 Explanation of the mythic origin of the gods and places. The deceased is made to live again so that he may arise, reborn, with the morning sun.
  • Chapters 64–129 The deceased travels across the sky in the sun ark as one of the blessed dead. In the evening, the deceased travels to the underworld to appear before Osiris.
  • Chapters 130–189 Having been vindicated, the deceased assumes power in the universe as one of the gods. This section also includes assorted chapters on protective amulets, provision of food, and important places.

Egyptian concepts of death and afterlife

A vignette in The Papyrus of Ani, from Spell 30B: Spell For Not Letting Ani's Heart Create Opposition Against Him, in the Gods' Domain, which contains a depiction of the ba of the deceased

The spells in the Book of the Dead depict Egyptian beliefs about the nature of death and the afterlife. The Book of the Dead is a vital source of information about Egyptian beliefs in this area.

Preservation

One aspect of death was the disintegration of the various kheperu, or modes of existence. Funerary rituals served to re-integrate these different aspects of being. Mummification served to preserve and transform the physical body into sah, an idealised form with divine aspects; the Book of the Dead contained spells aimed at preserving the body of the deceased, which may have been recited during the process of mummification. The heart, which was regarded as the aspect of being which included intelligence and memory, was also protected with spells, and in case anything happened to the physical heart, it was common to bury jewelled heart scarabs with a body to provide a replacement. The ka, or life-force, remained in the tomb with the dead body, and required sustenance from offerings of food, water and incense. In case priests or relatives failed to provide these offerings, Spell 105 ensured the ka was satisfied. The name of the dead person, which constituted their individuality and was required for their continued existence, was written in many places throughout the Book, and spell 25 ensured the deceased would remember their own name. The ba was a free-ranging spirit aspect of the deceased. It was the ba, depicted as a human-headed bird, which could "go forth by day" from the tomb into the world; spells 61 and 89 acted to preserve it. Finally, the shut, or shadow of the deceased, was preserved by spells 91, 92 and 188. If all these aspects of the person could be variously preserved, remembered, and satiated, then the dead person would live on in the form of an akh. An akh was a blessed spirit with magical powers who would dwell among the gods.

Afterlife

The nature of the afterlife which the dead people enjoyed is difficult to define, because of the differing traditions within Ancient Egyptian religion. In the Book of the Dead, the dead were taken into the presence of the god Osiris, who was confined to the subterranean Duat. There are also spells to enable the ba or akh of the dead to join Ra as he travelled the sky in his sun-barque, and help him fight off Apep. As well as joining the Gods, the Book of the Dead also depicts the dead living on in the 'Field of Reeds', a paradisiac likeness of the real world. The Field of Reeds is depicted as a lush, plentiful version of the Egyptian way of living. There are fields, crops, oxen, people and waterways. The deceased person is shown encountering the Great Ennead, a group of gods, as well as his or her own parents. While the depiction of the Field of Reeds is pleasant and plentiful, it is also clear that manual labour is required. For this reason burials included a number of statuettes named shabti, or later ushebti. These statuettes were inscribed with a spell, also included in the Book of the Dead, requiring them to undertake any manual labour that might be the owner's duty in the afterlife. It is also clear that the dead not only went to a place where the gods lived, but that they acquired divine characteristics themselves. In many occasions, the deceased is mentioned as "The Osiris – [Name]" in the Book of the Dead.

Two 'gate spells'. On the top register, Ani and his wife face the 'seven gates of the House of Osiris'. Below, they encounter ten of the 21 'mysterious portals of the House of Osiris in the Field of Reeds'. All are guarded by unpleasant protectors.

The path to the afterlife as laid out in the Book of the Dead was a difficult one. The deceased was required to pass a series of gates, caverns and mounds guarded by supernatural creatures. These terrifying entities were armed with enormous knives and are illustrated in grotesque forms, typically as human figures with the heads of animals or combinations of different ferocious beasts. Their names—for instance, "He who lives on snakes" or "He who dances in blood"—are equally grotesque. These creatures had to be pacified by reciting the appropriate spells included in the Book of the Dead; once pacified they posed no further threat, and could even extend their protection to the dead person. Another breed of supernatural creatures was 'slaughterers' who killed the unrighteous on behalf of Osiris; the Book of the Dead equipped its owner to escape their attentions. As well as these supernatural entities, there were also threats from natural or supernatural animals, including crocodiles, snakes, and beetles.

Judgment

The Weighing of the Heart ritual, shown in the Book of the Dead of Sesostris

If all the obstacles of the Duat could be negotiated, the deceased would be judged in the "Weighing of the Heart" ritual, depicted in Spell 125. The deceased was led by the god Anubis into the presence of Osiris. There, the dead person swore that he had not committed any sin from a list of 42 sins, reciting a text known as the "Negative Confession". Then the dead person's heart was weighed on a pair of scales, against the goddess Maat, who embodied truth and justice. Maat was often represented by an ostrich feather, the hieroglyphic sign for her name. At this point, there was a risk that the deceased's heart would bear witness, owning up to sins committed in life; Spell 30B guarded against this eventuality. If the scales balanced, this meant the deceased had led a good life. Anubis would take them to Osiris and they would find their place in the afterlife, becoming maa-kheru, meaning "vindicated" or "true of voice". If the heart was out of balance with Maat, then another fearsome beast called Ammit, the Devourer, stood ready to eat it and put the dead person's afterlife to an early and unpleasant end.

This scene is remarkable not only for its vividness but as one of the few parts of the Book of the Dead with any explicit moral content. The judgment of the dead and the Negative Confession were a representation of the conventional moral code which governed Egyptian society. For every "I have not..." in the Negative Confession, it is possible to read an unexpressed "Thou shalt not". While the Ten Commandments of Jewish and Christian ethics are rules of conduct laid down by a perceived divine revelation, the Negative Confession is more a divine enforcement of everyday morality. Views differ among Egyptologists about how far the Negative Confession represents a moral absolute, with ethical purity being necessary for progress to the Afterlife. John Taylor points out the wording of Spells 30B and 125 suggests a pragmatic approach to morality; by preventing the heart from contradicting him with any inconvenient truths, it seems that the deceased could enter the afterlife even if their life had not been entirely pure. Ogden Goelet says "without an exemplary and moral existence, there was no hope for a successful afterlife", while Geraldine Pinch suggests that the Negative Confession is essentially similar to the spells protecting from demons, and that the success of the Weighing of the Heart depended on the mystical knowledge of the true names of the judges rather than on the deceased's moral behaviour.

Producing a Book of the Dead

Part of the Book of the Dead of Pinedjem II. The text is hieratic, except for hieroglyphics in the vignette. The use of red pigment, and the joins between papyrus sheets, are also visible.
 
A close-up of the Papyrus of Ani, showing the cursive hieroglyphs of the text

A Book of the Dead was produced to order by scribes. They were commissioned by people in preparation for their own funerals, or by the relatives of someone recently deceased. They were expensive items; one source gives the price of a Book of the Dead scroll as one deben of silver, perhaps half the annual pay of a labourer. Papyrus itself was evidently costly, as there are many instances of its re-use in everyday documents, creating palimpsests. In one case, a Book of the Dead was written on second-hand papyrus.

Most owners of the Book of the Dead were evidently part of the social elite; they were initially reserved for the royal family, but later papyri are found in the tombs of scribes, priests and officials. Most owners were men, and generally the vignettes included the owner's wife as well. Towards the beginning of the history of the Book of the Dead, there are roughly 10 copies belonging to men for every 1 for a woman. However, during the Third Intermediate Period, 2 were for women for every 1 for a man; and women owned roughly a third of the hieratic papyri from the Late and Ptolemaic Periods.

The dimensions of a Book of the Dead could vary widely; the longest is 40 m long while some are as short as 1 m. They are composed of sheets of papyrus joined together, the individual papyri varying in width from 15 cm to 45 cm. The scribes working on Book of the Dead papyri took more care over their work than those working on more mundane texts; care was taken to frame the text within margins, and to avoid writing on the joints between sheets. The words peret em heru, or coming forth by day sometimes appear on the reverse of the outer margin, perhaps acting as a label.

Books were often prefabricated in funerary workshops, with spaces being left for the name of the deceased to be written in later. For instance, in the Papyrus of Ani, the name "Ani" appears at the top or bottom of a column, or immediately following a rubric introducing him as the speaker of a block of text; the name appears in a different handwriting to the rest of the manuscript, and in some places is mis-spelt or omitted entirely.

The text of a New Kingdom Book of the Dead was typically written in cursive hieroglyphs, most often from left to right, but also sometimes from right to left. The hieroglyphs were in columns, which were separated by black lines – a similar arrangement to that used when hieroglyphs were carved on tomb walls or monuments. Illustrations were put in frames above, below, or between the columns of text. The largest illustrations took up a full page of papyrus.

From the 21st Dynasty onward, more copies of the Book of the Dead are found in hieratic script. The calligraphy is similar to that of other hieratic manuscripts of the New Kingdom; the text is written in horizontal lines across wide columns (often the column size corresponds to the size of the papyrus sheets of which a scroll is made up). Occasionally a hieratic Book of the Dead contains captions in hieroglyphic.

The text of a Book of the Dead was written in both black and red ink, regardless of whether it was in hieroglyphic or hieratic script. Most of the text was in black, with red ink used for the titles of spells, opening and closing sections of spells, the instructions to perform spells correctly in rituals, and also for the names of dangerous creatures such as the demon Apep. The black ink used was based on carbon, and the red ink on ochre, in both cases mixed with water.

The style and nature of the vignettes used to illustrate a Book of the Dead varies widely. Some contain lavish colour illustrations, even making use of gold leaf. Others contain only line drawings, or one simple illustration at the opening.

Book of the Dead papyri were often the work of several different scribes and artists whose work was literally pasted together. It is usually possible to identify the style of more than one scribe used on a given manuscript, even when the manuscript is a shorter one. The text and illustrations were produced by different scribes; there are a number of Books where the text was completed but the illustrations were left empty.

Book of the Dead of Sobekmose, the Goldworker of Amun, 31.1777e, Brooklyn Museum

Discovery, translation, interpretation and preservation

Karl Richard Lepsius, first translator of a complete Book of the Dead manuscript

The existence of the Book of the Dead was known as early as the Middle Ages, well before its contents could be understood. Since it was found in tombs, it was evidently a document of a religious nature, and this led to the widespread but mistaken belief that the Book of the Dead was the equivalent of a Bible or Qur'an.

In 1842 Karl Richard Lepsius published a translation of a manuscript dated to the Ptolemaic era and coined the name "Book of The Dead" (das Todtenbuch). He also introduced the spell numbering system which is still in use, identifying 165 different spells. Lepsius promoted the idea of a comparative edition of the Book of the Dead, drawing on all relevant manuscripts. This project was undertaken by Édouard Naville, starting in 1875 and completed in 1886, producing a three-volume work including a selection of vignettes for every one of the 186 spells he worked with, the more significant variations of the text for every spell, and commentary. In 1867 Samuel Birch of the British Museum published the first extensive English translation. In 1876 he published a photographic copy of the Papyrus of Nebseny.

The work of E. A. Wallis Budge, Birch's successor at the British Museum, is still in wide circulation – including both his hieroglyphic editions and his English translations of the Papyrus of Ani, though the latter are now considered inaccurate and out-of-date. More recent translations in English have been published by T. G. Allen (1974) and Raymond O. Faulkner (1972). As more work has been done on the Book of the Dead, more spells have been identified, and the total now stands at 192.

In the 1970s, Ursula Rößler-Köhler at the University of Bonn began a working group to develop the history of Book of the Dead texts. This later received sponsorship from the German state of North Rhine-Westphalia and the German Research Foundation, in 2004 coming under the auspices of the German Academies of Sciences and Arts. Today the Book of the Dead Project, as it is called, maintains a database of documentation and photography covering 80% of extant copies and fragments from the corpus of Book of the Dead texts, and provides current services to Egyptologists. It is housed at the University of Bonn, with much material available online. Affiliated scholars are authoring a series of monograph studies, the Studien zum Altägyptischen Totenbuch, alongside a series that publishes the manuscripts themselves, Handschriften des Altägyptischen Totenbuches. Both are in print by Harrassowitz Verlag. Orientverlag has released another series of related monographs, Totenbuchtexte, focused on analysis, synoptic comparison, and textual criticism.

Research work on the Book of the Dead has always posed technical difficulties thanks to the need to copy very long hieroglyphic texts. Initially, these were copied out by hand, with the assistance either of tracing paper or a camera lucida. In the mid-19th century, hieroglyphic fonts became available and made lithographic reproduction of manuscripts more feasible. In the present day, hieroglyphics can be rendered in desktop publishing software and this, combined with digital print technology, means that the costs of publishing a Book of the Dead may be considerably reduced. However, a very large amount of the source material in museums around the world remains unpublished.

Chronology

Sheet from a Book of the Dead, c. 1075–945 BCE, 37.1699E, Brooklyn Museum
  • c. 3150 BCE – First preserved hieroglyphs, on small labels in the tomb of a king buried (in tomb U-j) at Abydos
  • c. 3000 BCE – The beginning of the numbered dynasties of kings of ancient Egypt
  • c. 2345 BCE – First royal pyramid, of King Unas, to contain the Pyramid Texts, carved precursors (intended only for the king) to the funerary literature from which the Book of the Dead ultimately developed
  • c. 2100 BCE – First Coffin Texts, developed from the Pyramid Texts and for a time painted on the coffins of commoners. Many spells of the Book of the Dead are closely derived from them
  • c. 1600 BCE – Earliest spells of the Book of the Dead, on the coffin of Queen Menthuhotep, an ancestor of kings from the New Kingdom
  • c. 1550 BCE – From this time onward to the beginning of the New Kingdom, papyrus copies of the Book of the Dead are used instead of inscribing spells on the walls of the tombs
  • c. 600 BCE – Approximately when the order of the spells became standard
  • 42–553 CE – Christianity spreads to Egypt, gradually replacing the native religion as successive emperors alternately tolerate or suppress them, culminating in the last temple at Philae (also site of the last known religious inscription in demotic, dating from 452) being closed by order of Emperor Justinian in 533
  • 2nd century CE – Possibly the last copies of the Book of the Dead were produced, but it is a poorly documented era of history
  • 1798 CE – Napoleon's invasion of Egypt encourages European interests in ancient Egypt; 1799, Vivant Denon was handed a copy of the Book of the Dead
  • 1805 CE – J. Marc Cadet makes the first publication, on 18 plates, of a Book of the Dead, Copie figurée d'un Roleau de Papyrus trouvé à Thèbes dans un Thombeau des Rois, accompagnèe d'une notice descriptive, Paris, Levrault
  • 1822 CEJean-François Champollion announces the key to the decipherment of ancient Egyptian hieroglyphic writing, subsequently developed in his later publications, the most extensive after his death in 1832
  • 1842 CE – Lepsius publishes the first major study of the Book of the Dead, begins the numbering of the spells or chapters, and brings the name "Book of the Dead" into general circulation

Archetype

From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Archetype The concept of an archetyp...