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The Osirian Khoiak Festival Drama - OSIRIS MYTH., THE STORY., SOURCES., FESTIVAL CALENDARS., PREPARATIONS., ACTIONS., DETAILS., MASKS AND PROPS., SOURCES

osiris’ temple body gods

The Egyptologist Louis B. Mikhail argued that the ritual associated with the god Osiris, performed during the Egyptian month Khoiak (mid-September to mid-October) was the best example of a festival drama known to modern scholars. The subject of the drama was the struggle between Osiris and his brother Seth, Osiris’ death, and his resurrection. The festival itself lasted for ten days, culminating with Osiris’ resurrection at the end of the month that paralleled with the planting of new crops at the beginning of the agricultural year.

THE STORY.

No one Egyptian text narrates the story of Osiris’ life, death, and resurrection, but the outline of the story can be reconstructed. The good King Osiris ruled Egypt with his devoted wife Isis, a great magician. Osiris’ brother, Seth, was jealous and believed he should be the king. Seth murdered Osiris—in this version through drowning—and dismembered his body into sixteen pieces that he scattered around Egypt. Isis gathered together the pieces of Osiris’ body and reanimated his body so that they could conceive a child, the next legitimate king, named Horus. Osiris proceeded to the next world where he ruled over the dead. This story and its various elements were dramatized in the Osirian Khoiak Festival.

SOURCES.

In order to reconstruct the Osirian Khoiak Festival ritual drama, Mikhail drew on festival calendars inscribed on temple walls, texts on stele, reliefs in temples, and archaeological remains such as the statues of Osiris used in the performance. One problem with these sources is that they originate from widely different time periods. The oldest material dates to the Middle Kingdom (2008–1630 B.C.E. ) while the newest sources date to the Ptolemaic Period (332–30 B.C.E. ). The sources thus would also reflect variations in the importance of the different parts of the festival at temples widely separated both in time and space. Thus it is not really possible to understand fully the development of the festival, but only to reconstruct it in broad outline.

FESTIVAL CALENDARS.

Mikhail drew on festival calendars from temples at Medinet Habu, Edfu, Dendera, and Esna. All these temples are located in Upper (southern) Egypt. They date as early as the time of Ramesses III (1187–1156 B.C.E. ) and as late as the end of the Ptolemaic Period (30 B.C.E. ). Mikhail reconstructed the scenes of the play that took place between the twenty-first and thirtieth of Khoiak. Each day witnessed a particular festival scene that included purifications, processions, feasts, and erection of obelisks and pillars that symbolized Osiris’ resurrection.

PREPARATIONS.

Different texts supply different kinds of information about the festival drama. Inscriptions at the Temple of Isis at Dendera supply information about preparations for the festival between the twelfth and twentieth of Khoiak before the festival began in earnest. These preparations include creating the figures used in the drama. The figures represent the gods Sokar and Khenty-imentyu, two forms of the god Osiris. Priests buried these figures so they could resurrect them later in the festival. It was also necessary to create and decorate a coffin for Osiris and to create a shroud. These preparations also took place on designated days between the fifteenth and twentieth of the month.

ACTIONS.

The Dendera texts also record specific ceremonies that took place during the festival drama. On the sixteenth of the month the god Horus, in the form of a crocodile, conveyed Osiris’ body to the temple from the water. It is possible that crocodile mummies, known from many temples, actually portrayed Horus at this point in the drama. The priests then held a procession that included the gods Sokar and Anubis, other gods with their emblems, and the obelisk tops called benben stones. They traveled through the temple and the necropolis. This procession marked the divine transformation of Osiris’ body. On the twenty-second of the month, 34 boats bearing different gods participated in the search for the drowned remains of Osiris. They searched on the sacred lake within the temple. The boats were small, about 63.5 centimeters (25 inches) long. Though the measurements of the statues of the gods on the boats are not recorded, clearly the statues were also fairly small. It is not clear why the gods continue to search for Osiris if Horus had already conveyed his body to the temple on the sixteenth. Perhaps this ceremony is a kind of flashback. On the twenty-fourth of the month, the figures of Sokar and Khenty-imentyu were shrouded and the procession of the sixteenth was repeated. This time the procession preceded the burial of Osiris’ body. On the thirtieth Sokar and Khenty-imentyu were buried under a persea tree.

DETAILS.

The overall dramatic qualities of the play cannot be determined from the existing source materials, but certain details emerge. The drama took place over at least ten days and the priests performed only certain episodes on each day. The actors played different gods, but the main character, Osiris, was played by a small statue. The drama thus proceeded as interactions among human actors (priests), statues, in one case possibly a crocodile mummy, and small props such as boats. Thus dialogue was probably much less important than it is in modern drama.

MASKS AND PROPS.

Reliefs on the roof of the Dendera temple illustrate scenes from the Osirian Khoiak drama. The reliefs portray a priest wearing a jackal mask, designating him as the god Anubis. Another priest wears a falcon mask, indicating that he plays the god Horus. Actual jackal masks are known from archaeological evidence. The small statues seem to be made from gold, silver, or wood. They are both props and characters in the drama. Archaeological examples of the Osiris statues are known. They were hollow, made from bitumen, resin, and natron and filled with barley seeds. The seeds sprouted, symbolizing Osiris’ resurrection.

SOURCES

E. Chassinat, Le mystère d’Osiris au mois de Khoiak (Cairo: L’Institut français d’archéologie orientale, 1966–1968).

Louis Boctor Mikhail, Dramatic Aspects of the Osirian Khoiak Festival (Uppsala, Sweden: Institute of Egyptology, Uppsala University, 1983).

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