The whole story of Egypt has taken about 7000 years. This roughly translates to about three hundred generations, or a hundred average human lifetimes. The Ancient Egyptian culture meets its natural end around the time of Alexander the Macedonian. However, it is such a magnificent flowering of the human spirit that we turn to it for reference to this day to lead us into understanding many other cultures around the world.
The rise and fall of empires, dynasties and cultures are patterns that we find in the recollection of events, but the patterns in ancient Egypt are repeated throughout human history, and in the mythology of many nations – the king murdered by his brother, the old king with a young wife, the assassination of a saintly king, the attempt by courtiers to take control of the kingdom, the king brought down by his ambition or pride, and many others, all very Shakespearean. On a larger scale there are social upheavals, cultural revivals, wars that lasted for generations, superb technical achievements, works of art that stimulated the ancient Greeks and hence influenced the world, as well as religious inspirations that helped shape the Judeo-Christian-Islamic tradition.
Written with a Mathematician’s precision and a Historian’s curiosity, Time Maps covers over millennia worth of developments & impacts of civilizations, migrations, leaders and continents. Illuminating concepts of societies, dynasties, heroes, kings and eras through incisive and thorough research, looking at ideas, theories & world views with a sense of wonder and delight.
Time Maps: Gods, Kings and Prophets is now available on Amazon.
In Canada in 2014, the rather beautiful Justin Trudeau’s leadership numbers surpassed those of the older, somewhat less Disney prince-like, then-prime minister Stephen Harper with 38 percent of respondents telling Ipsos Reid that Trudeau was the leader they trusted most versus 31 percent weighing in for Harper and 30 percent for Tom Mulcair – this was despite Trudeau’s own lack of experience and sustained political attacks portraying him as feckless and self-absorbed. Sensing trouble, the other political party tried to turn Trudeau’s looks into a negative adding the qualifier “Nice hair, though”. But in doing so, they unwittingly drew attention to a powerful trait that Trudeau had to smooth over voters’ uncertainty. Thanks to this, Trudeau’s physical presentation became his most recognizable feature, setting him apart from his competitors and filling the conversation void left by the absence of reliable information about his experience and trustworthiness. When the time came, Justin Trudeau and the Liberal party won 184 of the 338 seats in the Commons. Shorty after this, he and his also beautiful wife appeared on the pages of Vogue.
As much as our parents like to tell us to not judge a book by its covers (ignoring the fact that most books with ugly covers aren’t flying off the shelves), or “it’s the inside that counts” (as if anyone ever fall in love with a particularly attractive pair of kidneys), we cannot deny that beauty is power. For thousands of years, philosophers and poets marvel at the mysterious power of beautiful people. Each trying to come up with the best way to describe what “beauty” is, giving it numerous other qualities beyond that which we can see such as “a certain something”, “aura”, “sex appeal”, “inner beauty” etc. In the 1960s, a psychological research reveal we tend to persuade ourselves of the greatness of people who we consider as beautiful. We happily project virtues onto the beautiful person without the slightest knowledge of whether or not they possess them. Study after study has shown that we assume beautiful people to be smarter, kinder and more trustworthy even when we have nothing more to go on than pictures of their faces.
Beauty lies in the eye of the beholder, Plato says. But even Plato must have noticed that those beholders have strangely similar tastes relating to facial and body symmetry. He would have realized, then, that agreement on what is “beautiful” is often consistent within nationalities and ethnic groups. For example, women in Egyptian art are often depicted as slim with high waists and narrow hips, ideally with dark black hair and golden skin. In Ancient Greece, however, the ideal woman was light skinned and plump. Plato also tells us tells us the three wishes of every Greek: to be healthy, to be beautiful, and to become rich by honest means. Ancient Greek parents-to-be were so concerned about their offspring’s beauty that they placed statues of Aphrodite or Apollo, the two deities of beautiful physical appearance, in their bedrooms to help them conceive beautiful children.
The rules of beauty were all important in ancient Greece especially for the men. This was, of course, fabulous news for men who were buff and pretty. A full-lipped, chiselled man in Ancient Greece understood that his beauty was a gift of the gods and that his perfect exterior hid an inner perfection, he therefore had no qualms in spending more than eight hours at the gym every day to maximize his gifts. For the ancient Greeks, a beautiful body was considered direct evidence of a beautiful mind.
This did not apply to the ladies. Although being a beautiful man was good news, being a beautiful woman spelt trouble. That charming fellow Hesiod described the first created woman simply as kalon kakon (“the beautiful-evil thing”). The woman was evil because she was beautiful, and beautiful because she was evil. But what is this “evil” that women had? Helen of Troy gives us an example. Her “evil” beauty was considered to stem not from the way she looked, but how she “made” men feel and what she “made” men do. When we first meet Helen in book three of Homer’s Iliad. The old men sing about her “Oh what beauty!”. “Terrible beauty – beauty like that of a goddess” – meaning that Helen has the kind of presence that drives men to distraction. Helen’s beauty, in the ancient world, was a weapon of mass destruction. The “evil” of women’s physical beauty is also emphasised in a famous anecdote about Phyrne. Phyrne was the young mistress of the fourth-century Athenian sculptor Praxitiles. She was also the model for some of his most beautiful works. During a game of follow-the-leader with other courtesans at a feast, Phyrne called for a bowl of water and washed her face. The other women, bound by the rules of the game to follow suit, were then also forced to wash their faces. Young and naturally beautiful, Phyrne of course looked none the worse, but her older companions had to spend an uncomfortable evening with their faces bare of any makeup.
This “eyes of the beholder” business that Plato talked about is also surprisingly specific and modern. One might remember the awful “thigh gap” fashion which started in 2013. We also have that search for the “perfect nipple” in 2017. Nipples that occupied between 25 and 30 percent of the breast were rated highest in terms of desirability. At the top of customers’ cosmetic surgery wish lists is having a symmetrical pair of nipples, despite the fact that most women have asymmetric nipples to go with their also asymmetric breasts. Second on the wish list is making the size of the nipple and areola (the pigmented area surrounding it) smaller. Those are just two examples of our many modern preoccupation with the “ideal” beauty.
The ancient Greeks also recognized specific characteristics as beautiful: a straight nose or one that fell in a slightly depressed line from its root to the forehead, a low forehead and perfect eyebrows called “eyebrows of grace” that formed a delicate arch just over the brow bone. Particularly appealing were eyebrows that grew together over the nose – a feature which we certainly wouldn’t think much of today as we call it “unibrow”. The mouth admired by the Greeks was naturally reddish, with the lower lip slightly fuller than the upper lip. The perfect Greek chin, round and smooth, should be dimple-free.
The ancient Greek housewives were somewhat exempt from this fuss. As Demonthenes put it, a man married “to have a faithful watchdog in the house. Beauty and gratification of the senses came from the mistress.” The use of makeup of enhance one’s appearance was therefore limited to the hetaera (courtesans) as a plain housewife was preferable.
In Asia, in the Han Dynasty of China (c. 206 BC – 220 AD) very slim women with long black hair and red lips were favoured. While the Japanese Heian beauty included pale skin, round and rosy cheeks, and little bow lips. In pre-modern Chinese literature, the ideal man in caizi jiaren romances was said to have “rosy lips, sparkling white teeth” and a “jasper-like face”.
Despite the obvious perks of being beautiful, Bob Dylan was right when he said that “behind every beautiful thing, there’s some kind of pain.” The public tends to be more scathing and less forgiving when a person perceived to be beautiful made mistakes and show weaknesses as they hold this person to a higher standard. This also works the other way. The world’s most incompetent politicians and worst dictators in history tend to be quite unattractive with hideous haircuts. Although no one really expect people with such serious and demanding jobs to look like supermodels, these politicians would have had access to the best barbers in their countries – therefore, they really had no excuse to have their hairs looking so ridiculous. One can only assume that they were so miserable to live with that the people in their lives may have let them out of the house looking like that as a form of payback. However, they seemed to enjoy a higher degree of freedom as they tend be held to a much lower standard and able to get away with so much more than their more beautiful counterparts.
Out of all the millions of myths around the world today, I think we can agree that Greek mythology is arguably the most famous. A significant reason for this is that the ancient Greeks were very media-savvy. The Greek myths that we know today are known primarily from representations on visual media dating from c. 900 BCE to c. 800 BCE onward as well as from written literature.
The ancient Greeks also started what we roughly know now as “product placement.” In this case, the “product” was myths and legends. Mythical narration plays an important role in nearly every genre of ancient Greek literature. They covered their bases so thoroughly and entwined the gods into the mortals’ narratives so well that, although we have of course lost many ancient Greek writings and visual representations, we are still familiar with the gods and heroes as if they were members of our own extended family.
Among the earliest literary sources, and arguably the most famous, are Homer’s two epic poems, the Iliad and the Odyssey. Any reader of Homer would recognize the close relationship between the gods and human destinies. The study of Homer is also one of the oldest topics in scholarship. The earliest preserved comments on Homer concerning his treatment of the gods which is not unlike the religious debates we see today. Hostile critics such as the poet Xenophanes of Calophon denounced Homer’s depictions of the gods as immoral. The allegorist Theagenes of Rhegium defended Homer by arguing that the Homeric poems are allegories and thus never meant to be taken literally. These kinds of debate only served to propel Homer and his work even further. As one American political consultant said, “If you’re not controversial, you’ll never break through the din of all the commentary.” In other words, any publicity is good publicity.
Hesiod, a possible contemporary with Homer, offers in his Theogony (Origin of the Gods) the fullest account of the earliest Greek myths, dealing with the creation of the world; the origin of the gods, Titans and Giants. He also includes elaborate genealogies, folktales, and etiological myths. Hesiod also includes the myths of Prometheus, Pandora and the Five Ages of Man in his Works and Days, a didactic poem about farming.
Both Homer and Hesiod are central to the history of ancient Greece. They received their greatest endorsement from none other than the “father of history,” Herodotus himself, who credits them with giving the Greeks their gods: “For Hesiod and Homer I suppose were four hundred years before my time and not more, and these are they who made a theogony for the Hellenes and gave the titles to the gods and distributed to them honours and arts, and set forth their forms: but the poets who are said to have been before these men were really in my opinion after them. Of these things the first are said by the priestesses of Dodona, and the latter things, those namely which have regard to Hesiod and Homer, by myself.”
Not much is known about the actual life of Hesiod. He started his working life as a young shepherd in the mountains. He says that his father left his home at Aetolian Cyme because his life of sea-trading was unprofitable; “he settled near Helicon in a miserable hamlet, Ascra, which is bad in winter, sultry in the summer, and good at no time.” Hesiod then moved on to be a small peasant on a hard land after his father’s death. While tending his flock on Mt. Helicon, he claims that the Muses appeared to him in a mist. It should be noted that this is a common claim. Two of the easiest way to distinguish oneself from the market these days is to be the first or the best. Leaders in the ancient world liked to distinguish themselves by associating themselves to the deities or ancient heroes. Hesiod, like many other epic poets, claims to have been inspired by the Muses and tells his audience that this happened “while he was shepherding his lambs under holy Helicon”.
The Theogony covers the beginning of the world with Chaos, followed by Gaia, Tartarus, and Eros. It then moves on to Gaia’s creation of Uranus, and their parenting of the Titans, Cyclopes and other giants. He tells us about Cronus’ castration of Uranus and the parenting of Cronus and Rhea of the Olympian gods. Cronus, as we know, ate his divine children as soon as they were born, with only Zeus surviving, who later forced Cronus to throw-up the other Olympians. Hesiod took great care to cover the story of Prometheus and his punishment by Zeus for giving fire to humans and the Titanomcahy, the great battle between the Titans and Olympians which Zeus won, casting the Titans and Typhoeus into Tartarus. He also devoted sections to Zeus and his many wives and the birth of Hercules.
The Works and Days, again, begins with an appeal to the Muses, but then goes on to address Hesiod’s brother, Perses, urging him to put aside their dispute, “Perses, lay these things in your heart, and do not let that Strife who delights in mischief hold your heart back from work…”. Hesiod dedicated Works and Days to his brother, giving him advice on life, farming, sea trade, as well as religious and social expectations. On a personal note, although Works and Days tended to be a little overlooked compared to the Theogony, this work appeals to me more due to its humanity and attempt at making the myths and belief that the brothers would have already known relevant to their day to day human existence.
Clown-like characters have been around for thousands of years. Jesters date back at least as far as ancient Egypt. Tracing back the figure of the Jester leads us to the mythological trickster. Tricksters are archetypal characters who appear in the myths of many different cultures. They cross and often break both physical and societal rules, violating principles of social and natural order, playfully disrupting normal life and then re-establishing it on a new basis. They openly question and mock authority and usually fond of breaking rules and playing tricks on both humans and gods. Hermes plays this role in some Greek myths. He is the messenger of the gods, patron of thieves and the inventor of lying, a gift he passed on to his son Autolycus. The trickster is also unconstrained by form or gender. In Norse mythology, the trickster Loki is also a shape shifter who could move freely between genders. At one point, he even becomes a mare who later gives birth to Odin’s eight-legged horse .
In later folklore, the trickster is incarnated as a clever man or creature, who defends himself by using trickery to survive the dangers of the world. For example, typical fairy tales have the king who wants to find the best groom for his daughter through ordering trials. No brave and valiant prince or knight manages to win them, until a simple but clever peasant comes. Instead of fighting, the peasant fools the monsters and villains and dangers and win the hand of the princess.
This leads us to the elusive character of the jester. Early jesters were popular in Ancient Egypt, and entertained Egyptian pharaohs. The ancient Romans also had a tradition of professional jesters called Balatrones who moved freely in the company of the wealthy due to the general amusement they afforded. Perhaps the earliest antecedents of the European court jester were the comic actors of ancient Rome. Several Latin terms used in medieval references to jesters such as scurrae, mimi or histriones originally referred either to amusing hangers-on or to the comic actors and entertainers of Rome. If there was no formal professional jester in Rome, the comic actors fulfilled his functions.
In the 11th and 12th centuries, the title minstrel (“little servant”), was the name given to a wide range of entertainers, including singers, musicians, jugglers, tumblers, magicians as well as jesters. Both men and women were employed as minstrels and there is a record of a female jester called Adeline owning land in Hampshire in 1086. In the 12th century, the title of follus or “fool” began to be mentioned in documents, often when these jesters had been rewarded with land as payment for loyal service. A fool named Roland le Pettour was given 30 acres of land by King Henry II when he retired on condition that Roland returned to the royal court every year on Christmas Day to “leap, whistle and fart”.
By the 13th century, some talented jesters were beginning to achieve superstar status. In Europe and India the most eminent jesters were household names, as top-class comedians are today, and stories about their jokes and tricks circulated freely. In India there is even a kind of lentil soup named after Birbal. The star jesters of China may also have enjoyed this celebrity status, as Ban Gu’s biography of Dongfang Shuo suggests that Shuo’s jokes and sallies, his divinations and guesses, shallow and inconsequential though they are, were passed around among the ordinary run of people, and there was no stripling or cowherd who failed to be quite dazzled by them.
An individual court jester in Europe could emerge from a wide range of backgrounds: a university dropout, a monk thrown out of a priory for nun frolics, a jongleur with exceptional verbal or physical dexterity, or the apprentice of a village blacksmith whose fooling amused a passing nobleman. The recruiting of jesters was informal and meritocratic.
A dwarf-jester called Nai Teh (Mr. Little) at the court of King Mongkut of Siam (r. 1851-68), described by Anna Leonowens in Anna and the King of Siam, was similarly recruited: He was discovered by one of the King’s half-brothers on a hunting trip into the north and brought to Bangkok to be trained in athletic and gymnastic tricks. When he had learned these, he was presented to the king as a comedian and a buffoon.
Tenali Rama, one of the three superstar jesters of India, is said to have earned his position as jester by making King Krsnadevaraya laugh. According to one story, he contrived for the king’s guru to carry him around on his shoulders within sight of the king. Outraged at the humiliation of his holy man, the king sent some guards out to beat the man riding on the guru’s shoulders. Tenali Rama, smelling impending danger, jumped down and begged forgiveness of the guru, insisting that to make amends he should carry him on his own shoulders. The guru agreed, and when the guards arrived the guru was duly beaten. The king found the trick amusing enough to appoint Tenali Rama his jester.
Of at least equal importance with his entertainer’s cap was the jester’s function as adviser and critic. The jester everywhere employed the same techniques to carry out this delicate role, and it would take a really obtuse king or emperor not to realize what he was driving at. The Chinese records give us an idea of just how effective a jester could be in tempering the ruler’s excesses, as the occasions when his words of warning were either ignored or punished are heavily outnumbered by those when he was listened to and rewarded.
Perhaps the reason for this is that Jesters are generally of inferior social and political status and are not in a position to pose a power threat. They have little to gain by caution and little to lose by candor—apart from liberty, livelihood, and occasionally even life. They are peripheral to the game of politics, and this can reassure a king that their words are unlikely to be geared to their own advancement. The ruler can be isolated from his courtiers and ministers, who might conspire against him. The jester too can be an isolated and peripheral figure somehow detached from the intrigues of the court, and this enables him to act as a kind of confidant.
The jester could soften the blow of a critical comment in a way that prevented a dignified personage from losing face. Humor is the great defuser of tense situations. Among the Murngin tribe of Australia, it is the duty of the clown to act outrageously if men begin to quarrel. In making them laugh at him, he distracts their attention from their own fight and dispels their aggression
In the medieval period, being the personal jester of a king or nobleman came with a serious health warning; jesters were often required to go to the battlefield with their masters to carry messages between the leaders of warring armies, demanding that a city surrender to a besieging army or delivering terms for the release of hostages. Unfortunately for the jesters, the enemy did sometimes “kill the messenger” as an act of defiance and some used a catapult to hurl the unfortunate messenger, or his severed head, back into his own camp as a graphic illustration of what they thought of the message.
Jesters also had a vital role to play in the battle themselves. In the early Middle Ages their job was to wage psychological warfare, boosting their army’s morale the night before with songs and stories. When the two armies took up their opposing positions in preparation for battle, the jesters would cavort up and down on foot or horseback between them, calming the nerves of their own men by making them laugh at jokes, singing songs and calling out mocking abuse to their enemies in order to hearten their own soldiers and demoralise the opposition. Some even juggled swords or lances in front of the enemy, taunting and baiting them. With any luck, those in the enemy with the hottest tempers will break ranks and charge prematurely to avenge the insult and kill the fool, which would weaken their own defensive position.
Modern clowns are strongly associated with the tradition of the circus clown, which developed out of earlier comedic roles in theatre or Varieté shows during the 19th to mid 20th centuries. Many circus clowns have become well known and are a key circus act in their own right. The first mainstream clown role was portrayed by Joseph Grimaldi (1778 – 1837) who also created the traditional whiteface make-up design.
In the early 20th century, with the disappearance of the rustic simpleton or village idiot character of everyday experience, North American circuses developed characters such as the tramp or hobo. Examples include Charlie Chaplin’s The Tramp (1914), and Emmett Kelly’s Weary Willie based on hobos of the Depression era. Red Skelton’s Dodo the Clown in The Clown (1953), depicts the circus clown as a tragicomic stock character, “a funny man with a drinking problem”.
Now the figure of the clown develops into something a little bit more complicated, The 1980s gave rise to the evil clown character, the attraction of clowns for small children being based in their fundamentally threatening or frightening nature. Batman’s the Joker is an evil clown character. He is known by a number of nicknames, including “the Clown Prince of Crime”, “the Harlequin of Hate”, “the Ace of Knaves”, and “the Jester of Genocide”. How did this happen? Tricksters and jesters may act strange and tell a nasty joke or two, but they were never considered evil and children don’t have nightmares about them. Why is the more colorful and child-friendly clown is so feared?
In recent decades, one of the great advances in the social sciences is the concept of evil as an evoked feature of social situations instead of a disposition of certain individuals. Specific situations were found that people engage in behavior that would be considered “evil,” and there are specific situations that facilitate pro-social behavior in others.
One of the most important factor that seems to predict anti-social behavior is deindividuation, a state in which one’s identity is hidden. For example, if you are online in an anonymous chat room, you and everyone you come in contact with are deindividuated. If you wear a face covering mask and never reveal your identity, you are deindividuated. Researchers have found that deindividuated individuals are more likely to hurt others, cheat, steal, lie, and even kill under such conditions. Although it was not a requirement of the tricksters and jesters (their “victims” always knew who played the trick on them), deindividuation is one of the hallmarks of clowns. They wear funny outfits, crazy wigs and full make-up with a fake nose. When one is in their clown outfit, their true identity becomes buried in the minds of anyone observing and their behavior is likely to change. From an evolutionary perspective, we can think of deindividuation as a tool individuals have often used during activities such as warfare. In battles across human history, soldiers have worn all kinds of costumes, uniforms and masks. These take away the individuality of any particular soldier, so they all “benefit” from the effects of deindividuation on social behavior, which leads them to be more OK with killing their enemies. When people are in a state of deindividuation, we can expect them to act at their worst.
There are three little messages that we pass along to each other in my family. One, spend a little time to pray around midnight to be grateful for the year that has passed and ask for blessings for the coming year. Two, if possible, despite perhaps the long night of partying, get up early in the first day of the New Year to watch the sunrise. Lastly, don’t travel long distance so near the major holidays. If one does need to travel, try to travel one or two weeks before 25 December at the latest and ideally wait for one or two weeks after the holidays to return. These are all ancient advice.
Nowruz is not only an ancient holiday that is still celebrated globally, it has the distinction of being one of the longest continually celebrated holiday in the world. Although there even records of it being celebrated in 550 BCE by Cyrus the Great, versions of the same celebration were also known to be observed 2,000 years earlier in the Kingdom of Aratta.
Nowruz is traditionally observed on the day of the vernal equinox, when the coming of spring also heralds the new year. The first five days of the ancient Nowruz celebration were very public, then followed by a more reverent observance. On the thirteenth day of the festival, people would throw wheat grass into rivers and canals to throw away bad luck and misfortune.
In Babylonia, the festival of Akitu honored Marduk and marked the beginning of the growing season. For the general population, the beginning of the festival meant a week of holidays and celebrations. The king would begin the festival by going to the temple of Nabu, where the priests presented him with a royal scepter reminding him of his responsibility. He then travelled to the city of Borsippa, where he spent the night participating in religious ceremonies in this city’s temple such as the re-enactment of their creation myths to remind him of his past and the past of his people. When the king returned to Babylonia, he would go to a temple and stripped off his weapons and royal regalia to approach his god with humility befit someone given their rule by a supreme deity.
The hieroglyph for the Egyptian word renpet (“year”) is a woman wearing a palm shoot, symbolizing time, over her head. She was often referred to as the Mistress of Eternity. She also personified fertility, youth and spring. The New Year, Wepet Renpet (“the opening of the year”), was based on the annual flooding of the Nile River, an earthly cycle which also coincided with a heavenly cycle. Therefore, the New Year was marked with community feasting and a mix of hope and fear. To the ancient Egyptians, every year was potentially their last, because they didn’t know how the flood would impact them. The annual flood left behind rich deposits of silt, which fertilized crops to feed the entire country. Just the right amount of flooding assured a fruitful harvest – too little means famine, too much means destruction.
The festival for the annual flood celebrated the death and rebirth of Osiris and, by extension, the rejuvenation and rebirth of the land and the people. The legend behind this celebration was that the god Set and his accomplices murdered Osiris by drowning him in the river and dismembered him – scattering his limbs up and down the valley. Osiris’ death brought about the annual floods that brought life to the valley. It was then believed that Osiris arose from the dead, but needed the constant supplication of his devoted followers to strengthen his return. The priests mourned his death, prayed for his return and, at the moment of his resurrection, celebrated with dancing, singing, and feasting. Traditionally, young boys chosen for their exceptional beauty were thrown into the Nile to drown, just as Osiris had drowned, as a sacrifice for the benefit of the living. Those who drowned in the Nile were then considered to have become gods, especially if the water responded the following year with a flood.
Solemn rituals related to the death of Osiris were observed as well as singing and dancing to celebrate his rebirth. The call-and-response poem known as The Lamentations of Isis and Nephthys was recited at the beginning to call Osiris to his feast.
The lamentation is when the two goddess-sisters call the soul of Osiris to rejoin the living. The dual entreaties of the two sisters echoed each other in their attempts to symbolically revive Osiris. The best-preserved version of this work comes from the Berlin Papyrus dating to the Ptolemaic Dynasty (323 – 30 BCE) although the work itself is much older.
Another ancient Egyptian interpretation is that the New Year’s Day itself was also regarded as the birthday of the god Ra-Horakhety. The belief was that, on New Year’s day the sun was reborn and grew increasingly frail over the year’s final few months. This is another reason why the end of the year was considered dangerous. At the end of the year, the sun god was weak and vulnerable to attack from his enemies. If he were to be defeated, the New Year might never arrive.
Therefore, it was a time of great relief when the sun rose on New Year’s day, because the end of the world had been averted. People would then make offerings to Ra-Horakhety at sunrise, pour black ink into the Nile for the goddess Nut and the god Nun as a sign of gratitude, then cleansed themselves by bathing in the Nile. Afterwards, they wore their best clothes and went off to riotous banquets to celebrate their opportunity to see another year.
Another belief is to do with the fact that the Egyptian civil calendar consisted of 360 days, with five “extra” days added to the end. These five extra days were regarded as a dangerous, transitional time, when the goddess Sekhmet controlled twelve demonic murderers who travelled the earth shooting arrows from their mouths and cause plague wherever they went. To protect themselves, the ancient Egyptians performed rituals and wore charms around their necks to pacify Sekhmet, ensuring her protection instead of her wrath. This is similar to the Aztec calendar where the passing of the old year and the coming of the new were two very different sets of days. The last five days of the year were called nemontemi, and they were considered very dangerous days where dark spirits wander the land. People mostly stayed indoors, kept to themselves, and kept quiet to avoid attracting the attention of these spirits.
Although the role of lions in ancient culture were later mostly confined to being slain with lances and spears, the lioness has been an important symbol to humans for tens of thousands of years and appear as a theme in cultures across Europe, Asia and Africa. The earliest historical records in Egypt present an established religious pantheon that included a lioness as one of the most powerful cultural figures, protecting the people as well as their rulers. The earliest tomb paintings in Ancient Egypt, at Nekhen, c. 3500 BC., include images of lions, including an image of a deity flanked by two lions in an upright posture. The war goddess Sekhmet, depicted as woman with a lioness head, was one of the ancient Egyptian’s major deities. Even before the rise of Skehmet’s popularity, there was already a belief that a sacred lioness was responsible for the annual flooding of the Nile. Although the name sometimes differ from one region to another, a lioness deity was the patron and protector of the people and the land. As the country united, a blending of those deities was assigned to Sekhmet. The image of lions and great goddesses did not stop there. The Babylonian goddess Ishtar has been represented driving a chariot drawn by seven lions. Ishtar’s Sumerian Inanna was frequently depicted standing on the backs of two lionesses and Persian goddess Anahita was sometimes portrayed standing on a lioness.
Archeologists discovered a figurine at Çatal Hüyük, dating back approximately 8,000 years, which depicts the Mother Goddess flanked by two leopards, squatting, while in the process of giving birth. The leopards were replaced by lions centuries later. Cybele was frequently depicted wearing her turreted crown, while she was seated on a throne, with either a lion lying in her lap or with one of them lying on each side of her. She has also been pictured driving a chariot which was drawn by two lions. Her association lions lend more strength to her already formidable image – that her power was so great, that even lions became meek whenever they were in her presence. Later, lions were used in sculpture to provide a sense of majesty and awe, especially on public buildings. Ancient cities would have an abundance of lion sculptures to show strength such as lions at the entrances of cities and sacred sites from Mesopotamian cultures, the Lion Gate of ancient Mycenae in Greece and the gates in the walls of the Hittite city of Bogazkoy, Turkey. “The Lion of Menecrates” is a funerary statue of a crouching lion, found near the cenotaph of Menecrates. Lionesses often flanked the Gorgon, a vestige of the earliest Greek protective deity that often was featured above temples of later eras.
Then, the powerful needs to be conquered. A poem later relates how a eunuch priest of Cybele, sheltering during a snowstorm in a cave, saves himself from a lion’s attack by beating the great kettle-drum which was used in the worship of Cybele and scares it away. This poem was evidently popular enough that ancient writers such as Alcaeus c. 620 – 6th century BC) and Simonides ( c. 556 – 468 BC) paraphrase it with variations and elaborations of their own.
The Dying Lioness, depicting a half-paralyzed lioness pierced with arrows, is a well-known detail from the Lion Hunt of Ashurbanipal, a large set of Assyrian palace relief from about 645–635 BC, depicting dozens of lions being hunted, originally in an Assyrian royal palace in Nineveh (modern day Iraq).
Panopeus, hunter of lions and leopards, dies from the sting of a scorpion; the accident is not impossible, though this may be merely a rhetorical exercise, showing how the boldest man may be overcome by the weakest of animals:
Tis in this tomb strong Panopeus rests, Lion-hunter, piercer of rough panthers’ breasts. On the hills a scorpion from earth issuing Wounded his heel with its death-giving sting. Upon the ground lie his poor darts and spear, Alas ! — the playthings of audacious deer.
Hercules, slayer of the Nemean lion, is frequently hymned and brave men like Leonidas have lions sculptured on their tombs. We also have the well-known lines from Aristophanes comparing Alcibiades to a lion-cub which should not have been reared in the city. A figure of Eros, driving a chariot drawn by lions (the “whip” has been noticeably absent from previous depictions of lions and deities) is noted by Marcus Argentarius:
Upon this seal Love whom none e’er withstands I see, guiding strong lions with his hands; One flaunts o’er them a whip, the other holds The reins ; and grace abundant him enfolds. I fear this bane of men; he who wild beast Can tame won’t pity mortals in the least.
Besides these, there is an anonymous poem praising the Roman Emperor because he emptied Libya of her lions and other prowling monsters, and sent them to Rome to fight in the Circus. In Socrates’ model of the psyche (as described by Plato), the bestial, selfish nature of humanity is described metaphorically as a lion, the “leontomorphic principle”.
One night we were together, you and I, And had unsown Assyria for a lair, Before the walls of Babylon rose in air. How languid hills were heaped along the sky, And white bones marked the wells of alkali, When suddenly down the lion-path a sound . . . The wild man-odor . . . then a crouch, a bound, And the frail Thing fell quivering with a cry!
Your yellow eyes burned beautiful with light: The dead man lying there quieted and white: I roared my triumph over the desert wide, Then stretched out, glad for the sands and satisfied; And through the long, star-stilled Assyrian night, I felt your body breathing by my side.
I would like you to be among the first to know that my new course, called “Ancient Marketing Practices for the Modern World”, is now live on Udemy.
I started researching modern business practices in the ancient world since 2011 out of interest, looking at things such as taxation in ancient Mesopotamia, trades in ancient Egypt, etc. However, I found branding and marketing in the ancient world particularly intriguing and my research took me to a wide range of places and times from ancient Greek cults to Roman propaganda.
I got the opportunity to speak about this in Yoohcan early in 2017, and decided to build a course explaining this subject in greater detail. At this time, the course has only been live for less than 24 hours and has accumulated more than 700 students without hardly any promotion on my part (it was the weekend, after all)
To celebrate the launching of this new course, I am opening the course free for everybody until 8 October 2018. An enrollment will give you a lifetime access to the materials to this course.
to enroll in this course, you can follow this link.
I hope to see some of you there.
From concubines to emperors, even the people in the ancient world have had to market themselves. “Ancient Marketing Practices for the Modern World” takes you through the practice of marketing and promotion in the ancient world – practices we recognize in today’s age of the internet, social media and personal branding has been perfected by for thousands of years by everyone from graceful Chinese concubines, powerful Roman Emperors to pious priests of ancient Greece.
If you are looking for more ideas on how to market yourself and your products, this course is for you. For complete beginners, you will also gain ideas on how and where to start your marketing journey. After all, what better way to start than from the beginning?