![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
Somewhere - and I am determined to find it again - I read that Apophis has one redeeming feature: that when it comes time for the cosmos to end, he's involved in the necessary process of destruction. That gives him a positive cosmic role, much as Set has a positive role in warding off Apophis's nightly attacks on the sun god. I mentioned this idea on Tumblr, provoking a great deal of alarm and warning that Apophis is strictly off-limits, which has only prompted me to start a little research project on the wriggly fucker. :) ETA: Eventually I figured out what I'd misremembered: Atum destroying creation and turning into a snake in BD 175.
Assmann, Jan. "The Iconography of the Solar Journey". In Egyptian solar religion in the New Kingdom: Re, Amun and the crisis of polytheism. London ; New York : Kegan Paul International ; New York : Distributed by Columbia University Press, 1995.
Apophis takes a thorough beating each time he attacks the sun-god, with numerous gods participating. In The Book of the Day, the fight is on at noon and through the early afternoon (the Sixth, Seventh, and Eighth hours). The battle is, naturally, referred to in language that "presupposes" the good guys win: "It is not the struggle that is represented here, but the state of the enemy defeated and harmony restored." The sun-god himself doesn't engage; Apophis is fought off with Isis's magic and Set's spear (or by Thoth's knife). The sun-god's protective uraeus spits fire at it, which Assmann connects to the noon heat of the sun and to sacrifice. The victory is less like a show of force, writes Assmann, and more like the execution of a judgement.
The place where the battle takes places is called the "sandbank", which Assmann connects to the Egyptian word for midday: "standstill". Apophis, as snake or turtle, has swallowed up all the water, leaving the solar barque high and dry; Seth stabbing Apophis forces him to vomit up the water so that the boat can be on its way. This "sandbank of Apophis" was also used as an expression for drought and famine: the stranding of the barque symbolises not just the daily battle, but any crisis which threatens life ("famine, disease, sickness, snake bite, uprising, war etc.") Hence spells which treat a scorpion sting or what-have-you as a cosmic disruption. There are also spells against Set' disruptive activities which invoke the same image of the stranding on the sandbank.
The victory is followed by general jubilation; Assmann quotes a celebration from the Book of the Dead of Nedjmet, and remarks that "Overcoming the obstacle of the sandbank means the salvation of Nedjmet."
Borghouts, J. F. The Evil Eye of Apopis. The Journal of Egyptian Archaeology, Vol. 59 (Aug., 1973), pp. 114-150.
Discussing an image of Wnty (a frequent name for Apophis) in the form of a crocodile in the tomb of Ramesses IX, Borghouts notes that he's more usually associated with the tortoise and the scorpion. This crocodile figure vomits up the Eye of Re. Strikingly, this seems to be a positive role for Apophis: "The crocodile rather represents divine being, a kind of equal of Re, and the latter rejuvenates himself passing through its body. It looks like Re meeting his other, chaotic counterpart, but without feelings of enmity; is it the depth and the primeval surroundings meeting-place which annihilate the contrasts?" The serpents W3mmty, equated with Apophis, has a positive role, guarding the resting-places of the gods. The Nḥb-k3w and Ḏsr-tp serpents are ambiguous, sometimes equated with Apophis, at other times beneficent.
Finally, the ritual game where pharaoh hits a ball before a goddess has been interpreted as deflecting Apophis's eye! Significantly, it's done before Hathor, Tefnut, and Sekhmet - the Eye of Re.
Faulkner, R. O. The Bremner-Rhind Papyrus: III: D. The Book of Overthrowing 'Apep. The Journal of Egyptian Archaeology, Vol. 23, No. 2 (Dec., 1937), pp. 166-185
-- The Bremner-Rhind Papyrus: IV. The Journal of Egyptian Archaeology, Vol. 24, No. 1 (Jun., 1938), pp. 41-53
I can't write a better introduction than Faulkner's: "The main purpose of these texts is the magical protection sun-god in his daily course across the sky from the attacks of the storm demon ʿApep... but they are secondarily directed to the protection of Pharaoh, the earthly representative of the solar divinity, from his foes also, 'whether dead or alive'." Significant passages, and the names of malevolent creatures, are written in red (though so is the name of Set, who acts as the sun-god's defender). Spells spit on, trample, spear, bind, stab, and set fire to Apophis; he is burned in effigy (drawn in green ink - interesting) both to ward off his attack on the barque and to prevent thunder-storms (I wonder if this signifies some connection with that other cosmic enemy, Set?).
Quite a lot of telling Apophis to fall down, fall on his face, etc, which I suppose suggests the serpent is rearing up to attack. Sekhmet does a lot of burning, as do Wepes (Wepset?) and Pakhet, amongst others. In fact, Apophis is so comprehensively annihilated that it's surprising he keeps coming back for more. Given that so much of the spells is directed not at Apophis, but at the foes of pharaoh, I wonder if Apophis in fact symbolises those enemies -- and with the king of Egypt the lynchpin of cosmic order, those enemies must be constantly "annihilated" -- thoroughly defeated.
(Also in this papyrus: Re tells the story of creation, including his generation of Shu and Tefnut, their returning to him his Eye (or the Eye returning them to him, in a variation), and the creation of humanity from his tears.)
Morenz, Ludwig D. On the Origin, Name, and Nature of an Ancient Egyptian Anti‐God. Journal of Near Eastern Studies, Vol. 63, No. 3 (July 2004), pp. 201-205.
As it turns out, Apophis doesn't even turn up until the First Intermediate Period (as far as we know); the earliest attestation we have comes from a Ninth Dynasty tomb which mentions "the sandbank of Apophis". The practice of "mutilating" his name begins later, with the Coffin Texts (where it is apparently inconsistent), in which he increasingly appears during the Middle Kingdom. (Morenz suggests he might have been around before this in popular religion, and was incorporated into elite theology at this time.)
Apophis was not referred to as a god, and did not receive cult (and was therefore not represented by statues, though of course he routinely appears in art, eg tomb paintings). He dwelt in water (compare similar Ancient Near Eastern water monsters, such as Leviathan). His name, ʿ3pp, means something like "great babbler": he makes noise, but it is "anticommunication", just roaring or meaningless shouting. "Apophis is just noisy," remarks Morenz. (Interestingly, he also notes that the language of the gods was transcendent, something "transhuman".)
Pinch, Geraldine. Egyptian Mythology. Oxford University Press, 2002.
"Apophis was first mentioned in the twenty-first century BCE. A much later creation myth explained that Apophis sprang from the saliva of the goddess Neith when she was still in the primeval waters. Her spit became a snake 120 yards long." (This is the creation myth from Esna.) ETA: According to Mpay Kemboly, it was Re's spit, not Neith's.
Jan Zandee's Death as an Enemy gives numerous examples of Apophis being restrained and/or punished.
Assmann, Jan. "The Iconography of the Solar Journey". In Egyptian solar religion in the New Kingdom: Re, Amun and the crisis of polytheism. London ; New York : Kegan Paul International ; New York : Distributed by Columbia University Press, 1995.
Apophis takes a thorough beating each time he attacks the sun-god, with numerous gods participating. In The Book of the Day, the fight is on at noon and through the early afternoon (the Sixth, Seventh, and Eighth hours). The battle is, naturally, referred to in language that "presupposes" the good guys win: "It is not the struggle that is represented here, but the state of the enemy defeated and harmony restored." The sun-god himself doesn't engage; Apophis is fought off with Isis's magic and Set's spear (or by Thoth's knife). The sun-god's protective uraeus spits fire at it, which Assmann connects to the noon heat of the sun and to sacrifice. The victory is less like a show of force, writes Assmann, and more like the execution of a judgement.
The place where the battle takes places is called the "sandbank", which Assmann connects to the Egyptian word for midday: "standstill". Apophis, as snake or turtle, has swallowed up all the water, leaving the solar barque high and dry; Seth stabbing Apophis forces him to vomit up the water so that the boat can be on its way. This "sandbank of Apophis" was also used as an expression for drought and famine: the stranding of the barque symbolises not just the daily battle, but any crisis which threatens life ("famine, disease, sickness, snake bite, uprising, war etc.") Hence spells which treat a scorpion sting or what-have-you as a cosmic disruption. There are also spells against Set' disruptive activities which invoke the same image of the stranding on the sandbank.
The victory is followed by general jubilation; Assmann quotes a celebration from the Book of the Dead of Nedjmet, and remarks that "Overcoming the obstacle of the sandbank means the salvation of Nedjmet."
Borghouts, J. F. The Evil Eye of Apopis. The Journal of Egyptian Archaeology, Vol. 59 (Aug., 1973), pp. 114-150.
Discussing an image of Wnty (a frequent name for Apophis) in the form of a crocodile in the tomb of Ramesses IX, Borghouts notes that he's more usually associated with the tortoise and the scorpion. This crocodile figure vomits up the Eye of Re. Strikingly, this seems to be a positive role for Apophis: "The crocodile rather represents divine being, a kind of equal of Re, and the latter rejuvenates himself passing through its body. It looks like Re meeting his other, chaotic counterpart, but without feelings of enmity; is it the depth and the primeval surroundings meeting-place which annihilate the contrasts?" The serpents W3mmty, equated with Apophis, has a positive role, guarding the resting-places of the gods. The Nḥb-k3w and Ḏsr-tp serpents are ambiguous, sometimes equated with Apophis, at other times beneficent.
Finally, the ritual game where pharaoh hits a ball before a goddess has been interpreted as deflecting Apophis's eye! Significantly, it's done before Hathor, Tefnut, and Sekhmet - the Eye of Re.
Faulkner, R. O. The Bremner-Rhind Papyrus: III: D. The Book of Overthrowing 'Apep. The Journal of Egyptian Archaeology, Vol. 23, No. 2 (Dec., 1937), pp. 166-185
-- The Bremner-Rhind Papyrus: IV. The Journal of Egyptian Archaeology, Vol. 24, No. 1 (Jun., 1938), pp. 41-53
I can't write a better introduction than Faulkner's: "The main purpose of these texts is the magical protection sun-god in his daily course across the sky from the attacks of the storm demon ʿApep... but they are secondarily directed to the protection of Pharaoh, the earthly representative of the solar divinity, from his foes also, 'whether dead or alive'." Significant passages, and the names of malevolent creatures, are written in red (though so is the name of Set, who acts as the sun-god's defender). Spells spit on, trample, spear, bind, stab, and set fire to Apophis; he is burned in effigy (drawn in green ink - interesting) both to ward off his attack on the barque and to prevent thunder-storms (I wonder if this signifies some connection with that other cosmic enemy, Set?).
Quite a lot of telling Apophis to fall down, fall on his face, etc, which I suppose suggests the serpent is rearing up to attack. Sekhmet does a lot of burning, as do Wepes (Wepset?) and Pakhet, amongst others. In fact, Apophis is so comprehensively annihilated that it's surprising he keeps coming back for more. Given that so much of the spells is directed not at Apophis, but at the foes of pharaoh, I wonder if Apophis in fact symbolises those enemies -- and with the king of Egypt the lynchpin of cosmic order, those enemies must be constantly "annihilated" -- thoroughly defeated.
(Also in this papyrus: Re tells the story of creation, including his generation of Shu and Tefnut, their returning to him his Eye (or the Eye returning them to him, in a variation), and the creation of humanity from his tears.)
Morenz, Ludwig D. On the Origin, Name, and Nature of an Ancient Egyptian Anti‐God. Journal of Near Eastern Studies, Vol. 63, No. 3 (July 2004), pp. 201-205.
As it turns out, Apophis doesn't even turn up until the First Intermediate Period (as far as we know); the earliest attestation we have comes from a Ninth Dynasty tomb which mentions "the sandbank of Apophis". The practice of "mutilating" his name begins later, with the Coffin Texts (where it is apparently inconsistent), in which he increasingly appears during the Middle Kingdom. (Morenz suggests he might have been around before this in popular religion, and was incorporated into elite theology at this time.)
Apophis was not referred to as a god, and did not receive cult (and was therefore not represented by statues, though of course he routinely appears in art, eg tomb paintings). He dwelt in water (compare similar Ancient Near Eastern water monsters, such as Leviathan). His name, ʿ3pp, means something like "great babbler": he makes noise, but it is "anticommunication", just roaring or meaningless shouting. "Apophis is just noisy," remarks Morenz. (Interestingly, he also notes that the language of the gods was transcendent, something "transhuman".)
Pinch, Geraldine. Egyptian Mythology. Oxford University Press, 2002.
"Apophis was first mentioned in the twenty-first century BCE. A much later creation myth explained that Apophis sprang from the saliva of the goddess Neith when she was still in the primeval waters. Her spit became a snake 120 yards long." (This is the creation myth from Esna.) ETA: According to Mpay Kemboly, it was Re's spit, not Neith's.
Jan Zandee's Death as an Enemy gives numerous examples of Apophis being restrained and/or punished.
![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif){kind=small}
