イシス
Rises
オペレッタ
ムスタファ・ガダラ
Copyrights
イシス ライジング オペレッタ
ムスタファ・ガダラ著
All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recorded or by any information storage and retrieval system without written permission from the author, except for the inclusion of brief quotations in a review.
Copyright © 2023 by Moustafa Gadalla, All rights reserved.
Contents
Chapter 2 : Overview of Operetta
2.2 Dancing Types and Formations
Chapter 3 : Act 1 – Return and Subsequent Demise of Osiris
3.1 Summary of Act 1 – Return and Subsequent Demise of Osiris
3.2.1 Celebrating safe return of Osiris
3.3.2 The Unshaven Traveler [Osiris]
3.3.3 The Mystical Demise of Osiris
3.3.4 Casket Mystical Significance:
Chapter 4 : Act 2 – Out of the Mouths of Babes!
4.1 Summary of Act 2 – Out of the Mouths of Babes!
Chapter 5 : Act 3 – The Sacred Tree of Life
5.1 Summary of Act 3 – The Sacred Tree of Life
5.2.1- Sweeping around the Tree Dance
5.3.2 Isis ; The Humble Servant
5.3.3 Osiris The Moon—Fertility Cycles
Chapter 6 : Act 4 – The Immaculate Conception of Horus
6.1 Summary of Act 4 – The Immaculate Conception of Horus
6.2.1 – Awakening Osiris by Isis
6.2.2 – Vulture Immaculate Conception
6.2.3 – Child Birth celebration
6.3.2 – The Immaculate Conception of Horus — The Virgin Vulture
6.3.4 – Protecting The NewBorn — The Serket Scorpion
Chapter 7 : Act 5 – The Broken Pieces
7.1 Summary of Act 5 – The Broken Pieces
7.2 The Main Ritualistic Dance
7.3.1 Osiris The Moon—The Fourteen Pieces
7.3.2 Collecting and Re-membering The Pieces Mysticism
Chapter 8 : Act 6 – Isis Rises
8.1 Summary of Act 6 – Isis Rises
The Rising Sun Dance
Chapter 9 : Summary of Underlying Mystical Symbols in The Operetta
9.2 Color Symbolism of Costume Outfits
9.8 Solar and Lunar Principles
In Act 6 : Isis The Rising Sun
9.9 The Four Universal Elements
Isis (Mother Earth) and Osiris (Water)
Act 1 : Osiris (Water) and Seth ( Heat)
Act 6 : Isis Regenerates Water (Osiris)
Chapter 10 : Notes by Manon Bastardie
10.1 An Overview
10.2 The Isis Inspiration
10.3 Synergy and Choreography
10.4 Team Work
About Author
ムスタファ・ガダラは、1944 年にエジプトのカイロで生まれたエジプト系アメリカ人の独立系エジプト学者です。カイロ大学で土木工学の理学士号を取得しています。
ガダラは幼い頃から、継続的な学習と研究を通じて、情熱を持って自分の古代エジプトのルーツを追求しました。 1990 年以来、彼は研究と執筆にすべての時間を捧げ、集中してきました。
Gadalla is the author of twenty-two published internationally acclaimed books about the various aspects of Ancient Egyptian history and civilization and its influences worldwide. In addition he operates a multimedia resource center for accurate, educative studies of Ancient Egypt, presented in an engaging, practical, and interesting manner that appeals to the general public.
He was the Founder of Tehuti Research Foundation which was later incorporated into the multi-lingual Egyptian Wisdom Center (https://www.egyptianwisdomcenter.org) in more than ten languages. He is also the Founder and Head of the online Egyptian Mystical University (https://www.EgyptianMysticalUniversity.org). Another ongoing activity has been his creation and production of performing arts projects such as the Isis Rises Operetta (https://www.isisrisesoperetta.com); to be followed soon by Horus The Initiate Operetta; as well other productions.
Preface
This book is a supplement to the video of Isis Rises Operetta. The book will provide the background information and mystical meanings behind all its aspects. Isis Rises Operetta is a wordless musical operetta to cross all boundaries in the world. It relays the allegorical story of the trials, tribulations, tragedy and triumph of Isis as the archetypal Goddess of all women; through acting, interpretive dancing , lyrical dancing , projection and special light effects, all portrayed in an Ancient Egyptian setting.
All selected music is performed with enduring Ancient Egyptian musical instruments with the same ancient musical composition. Also all types of dances in the Operetta are also found in Ancient Egypt. The Isis Operetta contains several dances of various types. They vary from a ballet type dance to a freelance to a rhythmic striding movements.
This book consists of 10 Chapters as follows:
Chapter 1 : View The Video
Chapter 2 : Overview of Operetta
Chapter 3 : Act 1 – Return and subsequent demise of Osiris
Chapter 4 : Act 2 – Out of the Mouths of Babes!
Chapter 5 : Act 3 – The Sacred Tree of Life
Chapter 6 : Act 4 – The Immaculate Conception of Horus
Chapter 7 : Act 5 – The Broken Pieces
Chapter 8 : Act 6 – Isis Rises
Chapter 9 : Summary of Underlying Mystical Symbols in The Operetta
Chapter 10 : Notes by Manon Bastardie, Artistic Director and Choreographer
ムスタファ・ガダラ
Chapter 1 : View The Video
The video of the Operetta may be viewed at many locations on the internet including at the secure website of Isis Rises Operetta website : https://www.isisrisesoperetta.com
To keep up with the news of this Operetta, please check its website.
Chapter 2 : Overview of Operetta
2.1 Overview of Operetta
The Isis Rises Operetta is an Egyptian Mystery Play Performance. This and similar mystery plays were performed in ancient times in conjunction with various and numerous public festivities.
The Egyptian well-crafted mystery plays are an intentionally chosen means for communicating knowledge. Meaning and the mystical experience are not tied to a literal interpretation of events. Once the inner meanings of the narratives have been revealed, they become marvels of simultaneous scientific and philosophical completeness and conciseness. The more they are studied, the richer they become. And, rooted in the narrative as it is, the part can never be mistaken for the whole; nor can its functional significance be forgotten or distorted.
The Isis Rises Operetta has been created from The Ancient Egyptian allegory of Isis and Osiris.
Isis Rises Operetta is a mesmerizing performance of a wordless musical operetta to cross all boundaries in the world. It relays the allegorical story of the trials, tribulations, tragedy and triumph of Isis as the archetypal Goddess of all women; through acting, interpretive dancing , lyrical dancing , projection and special light effects, all portrayed in an Ancient Egyptian setting.
Viewers will experience the powerful whole spectrum of emotions of such a spectacular beautiful parade of music, color, lights and entertainment that will fill the hearts and minds of all peoples and ages with absolute joy and love.
The Operetta helps discover and empower the multitude qualities of the Goddess within.
2.2 Dancing Types and Formations
Just as all selected music is performed with enduring Ancient Egyptian musical instruments with the same ancient musical composition; all types of dances in the Operetta are also found in Ancient Egypt.The Isis Operetta contains several dances of various types. They vary from a ballet type dance to a freelance to a rhythmic striding movements.
The walls of the Ancient Egyptian tombs and temples depict a wide variety of dancing styles, forms, and purposes—each for a certain time and place.
The energy level for the different types varied from the slow/gesture dance, to acrobatic, to dances out of harmony with the body—either as pure or weakened convulsive dances, to the most frenzied, exhausting dances. Except for the latter, they were all choreographed.
The following is a list of some of the Ancient and Baladi [present-day silent majority] Egyptian dance themes:
- Measured/Moderate Rhythmical Movement/Dancing
Rhythmic movements/exercises/games include, but are not limited to: yoga, martial arts, wrestling, etc. A unique Egyptian rhythmic ritual/game is the performing of routines with wooden sticks.
- Ecstatic Enlightenment Dancing
A practice performed by a group of mystical seekers, by chanting, rhythmic gestures, dancing, and deep breathing.
- Exhilaration Dancing — bear a quite striking resemblance to flamenco dancers
- Ballet
- Belly Dancing
- Acrobatic
Dancing formations can be done in lines, circles (rounds), solos, or with partners, groups, etc. The group stands in line with a row of men opposite to a row of women. They could then form labyrinths, processions, solo dances, and couple dances, or a few would step into the circle for a few minutes of performance.
2.3 Further reading
For additional information about topics in this chapter,check the following books by Moustafa Gadalla:
– イシス神聖な女性
– Egyptian Cosmology: The Animated Universe – 3rd edition
– Egyptian Divinities: The All Who Are THE ONE.2nd edition
– Egyptian Mystics: Seekers of the Way, 2nd edition
– 不朽の古代エジプトの音楽システム、理論と実践
– Egyptian Musical Instruments, 2nd edition
Chapter 3
Act 1 – Return and Subsequent Demise of Osiris
3.1 Summary of Act 1 – Return and Subsequent Demise of Osiris
a- We begin with a screen showing the cosmos — then Earth — then Egypt and the Nile [from above] — Our story begins at the tip of the Delta.
b- ヤシの木の枝を持ったダンサーたちがおしゃべりしながら、特別な人の到着を待っています。
c- オシリスが遠くに現れると、群衆は喜びに沸き起こり、典型的なエジプトのお祝いのザガリード[口の中で舌が鳴る]が起こります。 2人の女性ダンサーがオシリスにそれぞれ果物のボウルを差し出す
楽しい音楽が鳴り響き、7 人の女性ダンサーがヤシの木の枝を振りながらオシリスを歓迎するホームダンスを踊ります。
d- オシリスの無事な帰還を記念して、7 人の踊り手[ミューズ]が蓮の踊りを踊ります。この特別なダンス パフォーマンスのために、ダンサーは蓮の花が付いている典型的なエジプト女性のヘッドバンドを着用しています。また、ダンスパフォーマンスの小道具として、蓮の花の形をしたエンブレムを持っています。
e- ダンサーは去ります — シンプルな棺を持った影のある [男性] キャラクターが登場します。彼らは蓋を開け、オシリスに棺をテストするよう勧めます。オシリスはその中に横たわります。彼らはすぐに蓋を閉めて密閉しました。彼らは棺をナイル川まで運び、ナイル川の流水に投げ入れました。
f- 舞台スクリーンは、オシリスの遺体が入った棺がナイルデルタの東支流ノースウッドを地中海に向かって移動する様子を示しています。そこから遠くの海岸線には、立派な木がある緑豊かな敷地があります。
g- すべてが始まった元の場所に戻ると、7 人の女性ダンサーが絶望に泣き叫びながらステージに現れます - 鳩の鳴き声 - イシスは悲しみに打ちひしがれているように見えます。イシスは[金色のドレスを着て]「嘆きの」ダンスに参加します。
h- 泣き叫ぶ女性たちとダンサーたちは去り、イシスはステージ上でひとりぼっちになります。彼女は嘆きの踊りを続けます。それから彼女は一人で座って泣きました！
3.2 The Main Dances
3.2.1 Celebrating safe return of Osiris
As Osiris appears in the distance, the crowd erupts in joy and the typical Egyptian zaghareed[ringing tongues in mouths]. The happy music erupts and the dancers waive their palm tree branches welcoming Osiris.
Welcoming with palm tree branches — an image from ancient Egyptian depiction is shown below.
3.2.2 Lotus Dance
The dance conveys the symbolism of the lotus from being submerged underneath the water surface to the splendor of its beauty and renewal when opened upon merging out of the water at daytime.
More about lotus symbolism in Chapter 9 of this book.
3.2.3 Wailing Women
Seven dancers are wailing in despair — sounds of doves crying – Isis appears grief stricken. Isis joins them. The wailing women leave and Isis is all alone on stage — Isis is wandering aimlessly sad and lonely
Below is an image from an Ancient Egyptian Papyrus
3.3 Mystical Significances
3.3.1 Osiris’ Role
Osiris symbolizes the divine in a mortal form, combining both spirit and matter.
In the Egyptian allegory, Osiris became King of the land (Egypt) after marrying Isis.
>> The story sets the basis for the matrilineal/matriarchal society. Isis is the legal heiress.
In one of the many attributes of Isis, she is called:
The Maker of Kings.
Isis, who delivereth to the king his rank, without whom no king can exist.
Allegorically Osiris traveled around the world to bring good will, peace and learning to other peoples.
> Osiris, representing the universal soul, is always in motion. He travels, while the feminine principle Isis is the symbol of stability. He spread the thoughts of Isis throughout the whole world.
3.3.2 The Unshaven Traveler [Osiris]
At the beginning of the Isis Rises Operetta, Osiris will appear to the anxiously waiting Egyptian crowds to welcome his safe home return after traveling the world spreading the ‘Word’. Osiris will appear unshaven as per the ancient Egyptian custom of not shaving while traveling.
The tradition of the unshaven Egyptian traveler was well recognized by classical Greek and Roman writers such as Diodorus, who wrote in his Book I, [2]:
“And when all his [travel] preparations had been completed Osiris made a vow to the gods that he would let his hair grow until his return to Egypt and then made his way through Ethiopia[old term for Africa]; and this is the reason why this custom with regard to their hair was observed among the Egyptians until recent times, and why those who journeyed abroad let their hair grow until their return home”.
On a side note, it is not too difficult to prove that most[if not all] groups in the world whose males do not shave are “lost” ancient Egyptian colonies/settlements — most obvious are the Sikhs in the Punjabi region/state of India. The evidence is overwhelming and stunning. Another example is the famous story of Samson and his long hair! However, elaborating on such matters is beyond the scope of this book!
3.3.3 The Mystical Demise of Osiris
In the typical Ancient Egyptian story form, Plutarch writes in his モラリア、Vol. V (356, 13) オシリスがどのようにしてセスから祝宴に招待され、そこでセスと彼の共犯者がオシリスを騙して間に合わせの棺に横たわらせたかについて。プルタルコスは次のように続けています。
“。 。そして、その区画にいた人々はそこに駆け寄り、蓋を叩きつけ、外側から釘で、また溶けた鉛を使って蓋を固定した。それから彼らは箱を川に運び、タニティック口を通って海に流しました。そのため、エジプト人は今日に至るまで、この口を憎むべき、忌まわしい口と呼んでいます。それが伝統なのです。彼らはまた、この行為が行われた日は17年であるとも言います。番目 アソールの日 【11月27日】太陽がスコーピオンを通過するとき。」
プルタルコスが報告したように、ハトゥール/アソール 17 日 (11 月 27 日) の出来事には、聖書のイエスの最後の晩餐の要素がすべて含まれています。すなわち、陰謀、祝宴、友人、そして裏切り。しかし、古代エジプト人にとって、この物語には別の意味があります。プルタルコス、 モラリア、Vol. V (366、39D)、次のように書いています。
オシリスが胸に閉じ込められたという物語は、どうやら それは水の消滅と消滅以外の何ものをも意味しない。 。 。その時に。 。 。ナイル川は低地まで後退し、土地は裸地になります。夜が長くなると、 暗闇が増し、光の効力は弱まり、抑制されます。 . .”
の 敵対的な 環境条件に関連するオシリスとセトの関係については、プルタルコスが言及しています。 モラリア、Vol. V (364, 33B) のように:
”。 。 。エジプト人 湿気の源と創造力全体にオシリスの名前を与えるだけです、これが生成の原因であり、生命を生み出す種子の本質であると信じています。そしての名前 Seth they give to all that is dry, fiery, and arid, in general, and antagonistic to moisture. . .
。 。 。したがって、セスの陰湿な陰謀と簒奪は、ナイル川とその増水の源である湿気を制御し、消散させる干ばつの力です。 。 」
3.3.4 Casket Mystical Significance:
Selecting one’s own casket was an Egyptian practice to instill in the individual the need to be a good human and the governing sense of mortality — to teach how to live by learning of ultimate death.
The interest shown by the Egyptians in their fate after death arose in part from their passionate interest in life itself. This principle is shared by Montaigne, who said:
“He who would teach men to die, would teach them to live.”
The Egyptians’ principal motto was/is to work for your earthly life as if you are going to live forever, but also prepare for your inevitable death as if you will die tomorrow. These dual directions made them both very religious and very happy. Because “life is short”, one must live it up but simultaneously always be on his/her best behavior, ready to meet the Creator at any time.
Chapter 4 : Act 2 – Out of the Mouths of Babes!
4.1 Summary of Act 2 – Out of the Mouths of Babes!
a- イシスは舞台の隅に疲れて意気消沈した様子で座っており、その一方で5人の幼い子供たちが「ヤマママ・バイダ」（白鳩についてのエジプトの子供民謡）の調子に合わせて遊んだり踊ったりしている。
b- 子供たちはイシスの悲惨な状況に気づきました。彼らは悲しむイシスを気の毒に思い、演奏をやめました。彼らは彼女に近づき、何が問題だったのかと尋ねました?!
c- イシスは彼らに、行方不明のオシリスを必死に探していると伝えました。彼女は彼らに、オシリスの居場所について何か知っているかどうか尋ねました。
d- 彼らは彼女に、木の上にいる彼を見つけるように言い、彼女の方向を指さしました。ステージスクリーンには立派なツリーが！
e-Isis さんは子供たちに感謝し、指示に従って出発する前に手を振りました。
f- 子供たちは遊びに戻りました。
4.2 The Children Play Dance
Young children are playing/dancing to the tone of ‘Yamama Byda” [an Egyptian Children folk song about the White Dove].
One of the epithets of Isis who was called by the Egyptians : “Isis of the 10000 names/attributes” is ‘The White Dove‘ The music for this dance is the music of an enduring Egyptian children folk song that describes how the White Dove is flying away to find and reconnect with her [missing] companion/partner/soulmate.
Doves represent total fidelity and devotion. A pair of doves are the most loyal and devoted couple of all creatures in the universe..
4.3 Mystical Significances
Upon receiving the news of the fate of Osiris and his disappearance, Isis was in grief and vowed never to rest until she found her lost beloved Osiris—for her heart could not live without her soul mate. The power of love and devotion made her move. There would be nothing that could stand in her way. She will do whatever it takes because she must reunite with her soul—Osiris.
Isis searched everywhere, accosting everyone she met, including children.
>> 1. This reflects a total devotion and commitment to finding and pursuing the spiritual path that will reunite her with Osiris, who is described in the Egyptian texts as ‘the Manifester of Truth’.
>> 2. Isis was not passive, but was very active in searching everywhere and accosting everyone she met, including children. Children represent the power of divination, which is a mode of gaining knowledge that is beyond our limited human senses.
For those who relate to the Bible, we read in Matthew 11:25
「At that time Jesus declared, “I praise You, Father, Lord of heaven and earth, because You have hidden these things from the wise and learned, and revealed them to little children.」
The story continues that the casket containing the body of Osiris was taken by the waves to the shoreline of a foreign land. A tree sprang up and grew around it, enclosing the body of Osiris in its trunk. The tree grew large, beautiful, and fragrant.
Depictions in Ancient Egyptian temples show Osiris embedded into an evergreen tree, as shown below.
Chapter 5 : Act 3 – The Sacred Tree of Life
5.1 Summary of Act 3 – The Sacred Tree of Life
a- ステージのスクリーンには、イシスが子供たちに教えてもらった木に近づく風景が表示されます。
b- イシスは木に向かって移動し、木の枝で木の周りの地面を儀式的に掃いているメイドを表すダンサーのグループに遭遇します。
c- 1 ～ 2 分後、イシスは乙女たちの掃除の儀式的なダンスに加わり始めます。
d- 数分後、イシスはもう待ちきれなくなり、踊っているメイドたちを振り切って木の方へ向かいました。
e- 彼女は慎重に人差し指で木に触れました。稲妻が起こり、ステージが一瞬暗転しました。はい、その木にはオシリスの体が含まれています。イシスは大喜びして木を抱きしめます – 本質的に彼女はオシリスを抱きしめているのです
f- ラマ・バダ・ヤタタナの音色[歌詞なし]に合わせて、イシスは風にそよぐ生きた木のように踊ります。
g- イシスと再会した後、満月がオシリスの象徴として空に現れます。 ムーン – その光は太陽光の反射です – イシスに象徴されるように！
しかし、この満月は特別です。なぜなら、それはめったにないブルームーンだからです。
h- 7 人の乙女が月明かりの下で踊る [オシリスの象徴] — 豊饒の踊り。
i- ライトが暗くなり、画面にはイシスとオシリスの遺体[周囲の木を取り除いた後]の移動ルートの概要が表示されます – 木の場所から海岸線まで、地中海の外海を横切ってエジプトに戻るまで— ダミエッタの町とマンザラ湖の間の沼地で。
5.2 The Main Dances
5.2.1- Sweeping around the Tree Dance
A group of dancers representing maids together with Isis ritualistically sweep the ground around the Tree with tree branches around.Mystically this action signifies the [inner] cleansing process — a prerequisite to approaching the Divine!
5.2.2 – Tree of Life Dance
After Isis touches Osiris’ tree with her forefinger and touches the tree gently for 2 minutes ‘ she begins dancing like a living tree/branches/leaves in the breeze.– for she brought him to life with her touch — and he brought life to her with his appearance.
5.2.3 – MoonDance — Fertility Dance
Female dancers perform a fertility dance in the moonlight [symbol of Osiris]. They are using balls in the form of a blue moon for their dance
More about the moon symbolism in other parts of this book.
5.3 Mystical Significances
5.3.1 Tree of Life Symbolism
As stated earlier a tree sprang up and grew enclosing the body of Osiris in its trunk. The tree grew large, beautiful, and fragrant. Such a tree was an Evergreen
>> This refers to the Tree of Life, with all that that implies. It is also a reference to the Tet (Djed) pillar of Osiris.
キリスト教では、これがクリスマスツリーになりました。
5.3.2 Isis ; The Humble Servant
Isis in her search for Osiris did not hesitate to seek, join, befriend the handmaidens and participate in the cleaning activity, so as to get closer to the tree-embedded body of her beloved Osiris.
>> This is remarkable, because here is Isis . . . the Queen of Egypt . . . serving without exception, to achieve UNION with her love Osiris.
5.3.3 Osiris The Moon—Fertility Cycles
エジプトの文献ではオシリスについて次のように説明されています。 ムーン。月の周期は、宇宙の周期的な性質を全体的にも部分的にも完璧に表しています。月は満ち欠けし、数日間消えては再び現れ、生、死、再生を繰り返します。
見かけ上の死から生命が生まれる原理は、と呼ばれていた、またはそう呼ばれていた アウサール 再生の力を象徴する【オシリス】。
オシリスは宇宙の過程、成長、そして根底にある周期的な側面を表しています。したがって、彼は穀物、木、動物、爬虫類、鳥などの霊（エネルギー）とも同一視されました。
Chapter 6 : Act 4 – The Immaculate Conception of Horus
6.1 Summary of Act 4 – The Immaculate Conception of Horus
a- シーンはセスとその共犯者の邪悪な力から身を隠すために沼地に設定されています。オシリスの生気のない遺体は、ライオンの姿で典型的なエジプトの桟橋に横たわっています。
b- イシスはオシリスの胸に触れ、かすかな脈動を感じます。それから彼女はオシリスが再び復活するように懇願し始めます。オシリスは反応しようとしますが、意識を取り戻すことができません。
c- 彼を目覚めさせることができず、イシスは彼の上で泣き叫んだのです！
d- イシスは、オシリスを目覚めさせることができないのであれば、オシリスの子供を産む方法を見つけなければならないと決心しました。イシスは自分自身をハゲワシに変え、翼を開いて彼の種子[精子]に身をさらしました。
[ハゲワシが交尾するのは、オスと直接接触するのではなく、儀式的なダンスで遠くからオスに身をさらすことによって行われることに注意すべきである。
e – 星空に3つの稲妻の音が見えます – ホルスの無原罪の受胎を示しています – イシスが妊娠していることを示しています！
彼女の妊娠に関与した宇宙の力は、 メッセ。ワニの星、棺テキストの呪文 148 によると:
ワニの星 (MeSSeH) が襲いかかります…イシスはオシリスの種、つまりホルスを身ごもって目覚めます。
f- 生まれたばかりのホルスの泣き声が聞こえると、ステージは暗くなります。続いて、典型的なエジプトのお祝いのザガリードが続きます。
g- イシスと新生児は、歓喜のお祝いのダンスを踊るダンサーたちに囲まれています。
h- 影のような人物が遠くに現れ、すぐに生まれたばかりのホルスを盗もうと攻撃します。
i- 7 人の女性のグループ – それぞれがサソリの付いた赤いヘッドバンドを着用し、儀式的なパフォーマンスでイシスとホルスを守り、闇の勢力を撃退しました。
この特定のヘッドバンドは、新生児の保護モードを示しています。
6.2 The Main Dances
6.2.1 – Awakening Osiris by Isis
Isis is begging for the laying Osiris to rise again.The awakening of Osiris signifies the awakening potentials in each human being.More about this subject later on.
6.2.2 – Vulture Immaculate Conception
When Osiris did not respond to Isis’ request to rise again, Isis turned herself into a vulture — opening her wings and exposing herself to his seeds[sperms]. Female vultures are impregnated by exposing themselves to males without any physical contact. More about vulture symbolism later on.
6.2.3 – Child Birth celebration
After we hear the crying of the newborn Horus, Isis and her new-born child are surrounded by jubilant singing and dancing.
6.2.4 – Scorpion Dance
When the dark forces of Seth and his accomplices found the location of the Newborn Horus and his mother hiding in the marshes, they began to plot on harming him.The unyielding deadly female protective instinct sprang into action and a protective circle of women with scorpions on their heads surrounded Mother and Baby, repelling the dark forces.
6.3 Mystical Significances
6.3.1 – Awakening Osiris
Isis returned back to Egypt with the chest containing the lifeless body of Osiris. She hid the body in the marshes of the Nile Delta.
Any woman who truly loves her husband is considered to be like Isis, and has the power of awakening him into greater life, as Horus. Father S.J. Vann likened the awakening of Christ by Mary Magdalene, as he emerged from his tomb, to Isis awakening Osiris from the dead.
The comparison between the two cases is illuminated in the “Lament for Osiris”, in which Isis and her sister Nephthys bewailed Osiris death and pleaded with him to come back to life. The text for this duet was derived from a much older lamentation.
Begging Osiris to rise/awaken – on a typical Egyptian bed; shown below.
“Lament for Osiris” was described by Andrew Lang to “have the power to stir our deepest emotions”.
6.3.2 – The Immaculate Conception of Horus — The Virgin Vulture
Isis wanted her husband to live on. The lifeless body of Osiris was never going to stop Isis; for where there is a will, there is a way. She therefore wanted to have his son by any means.
She used her magical powers to transform herself into a vulture. Drawing the essence of Osiris from him, she conceived a child—Horus.
Below is shown an Ancient Egyptian depiction of the Immaculate vulture conception — wearing vulture wings.
In other words, Isis was impregnated by the holy ghost of Osiris.
> 1. This action symbolizes reincarnation and spiritual rebirth—a key to understanding the Egyptian belief in life after death.
At her most specific role, Isis is the womb out of which the new Osirian life rises after death.
> 2. The conception of Horus by Isis by no living man is the oldest documented version of an Immaculate Conception. The role of Isis in the Egyptian Model Story and the story of the Virgin Mary are strikingly similar; for both were able to conceive without male impregnation, and, as such, Isis was revered as the Virgin Mother.
- On a purely intellectual level, we see here that the female principle (Isis) is creating the essence of the male Osiris so as to be impregnated by him. In other words, the female principle of intellect generated the male principle of soul so that an offspring could be born and the creation process could continue. This Egyptian thinking gives a deeper meaning to the Immaculate Conception.
Isis’ role in the Egyptian Model Story and the story of the Virgin Mary are strikingly similar, for both were able to conceive without male impregnation. Horus was conceived and born after the death of Isis’ husband and, as such, Isis was revered as the 処女の母.
The ideal of virginity was a cornerstone of the Ancient Egyptian traditions. Ancient Egyptian women are depicted wearing a vulture headdress. The choice of the vulture for this particular feminine role is because:
- The vulture is supposed to be particularly zealous in caring for its young.
- There is no physical sexual contact between male and female vultures. The female vulture gets impregnated by exposing herself to receive the male seeds carried by the winds without physical contact. The vulture is therefore a symbol of virgin birth.
6.3.3 – Hiding The NewBorn
When Seth heard about the new child, Horus, he went to kill the newborn. Hearing that Seth was coming, Isis was told to take Horus to a secluded spot in the marshes of the Nile Delta, where she kept him safe and raised him.
>> This is the source of the story in which Herod, upon hearing about the birth of the biblical Jesus, set out to destroy all the newborn males.
In the New Testament, the angel of the Lord says to Joseph, “Arise and take the young child and his mother and flee into Egypt」
6.3.4 – Protecting The NewBorn — The Serket Scorpion
Scorpions are famous for their deadly protection of their young.
The scorpion females attack without the slightest hesitation incoming danger with deadly response!
Below is an Ancient Egyptian depiction showing Serket wearing a scorpion on her head
Selkis (Serket, Selkit, Serqet) is The Scorpion Lady.
Selkis is one of several manifestations of the female principle in her various attributes.
Selkis represents the zealous protection aspect of motherhood.
Selkis is identified with the scorpion, which is famous for its protection of its young.
Selkis as an aspect of Isis represents protection and nurturing of young children.
Selkis is usually depicted as a woman with a scorpion on her head, or sometimes as a scorpion with a woman’s head.
Chapter 7 : Act 5 – The Broken Pieces
7.1 Summary of Act 5 – The Broken Pieces
a- 私たちはまだ沼地にいます – イシスはホルスに栄養を与えており、セルケトの女性たちによって守られています。
オシリスの死骸は近くの桟橋/ベッドの上にあります。
b- 空には満月が浮かぶ夜です
c-影のような人影が厚い沼地を通ってやって来て、オシリスに向かって走り、彼を14個に切り裂き、四方八方に散らばらせた。作品は満月の作品として表現されています。
d- 影の勢力はオシリスの二重王冠を盗み、それを新しい王になるようセスに渡します。セスの共犯者たちが新王に忠誠を誓う中、新王に向けてトランペットが鳴り響く！
e- 画面には、空の満月が 14 個に分割されていることが示されています [満月に達するまでにかかる 14 日間に相当します]。
f- イシスはオシリスを失った悲しみで一人で泣いています。
g- イシスは神犬アヌビスに導かれ、オシリスの砕けた破片を探しに行く！
7.2 The Main Ritualistic Dance
Collecting broken pieces
After the evil forces broke Osiris into pieces and scattered them in different places, Isis went searching, collecting and putting the pieces together; with the help of Anubis, the guiding dog!
7.3 Mystical Significances
7.3.1 Osiris The Moon—The Fourteen Pieces
エジプトの文献ではオシリスについて次のように説明されています。 ムーン。月の周期は、宇宙の周期的な性質を全体的にも部分的にも完璧に表しています。月は満ち欠けし、数日間消えては再び現れ、生、死、再生を繰り返します。
The story continues that one night (while Isis was caring for Horus in hiding and when the moon was full), the evil Seth and his accomplices found the chest containing the lifeless body of Osiris and cut him into fourteen pieces. The number fourteen symbolizes the number of days required to shape a full moon.
Osiris represents the lunar principle in the universe, and is known as Osiris ムーン.
The moon reflects the power of the sun. Isis, the female principle, represents the sun. Osiris, the male, represents the moon.
Breaking the moon is reflected in the source of the moonlight being the Sun Isis. In other words Isis herself is broken into pieces as a consequence of the broken Moon Osiris. To put the broken pieces together, Isis is putting herself back together!
7.3.2 Collecting and Re-membering The Pieces Mysticism
When Isis heard about how Seth and his accomplices cut Osiris into different pieces and scattered them throughout the land, her job was to search near and far so as to collect and put the broken pieces back together.
>> 1. One remembers and recollects in order to heal and in order never to forget. The actions of Isis to recollect and to remember involve puting the pieces together so as to achieve unity with the Divine.
>> 2. By recollecting and remembering the story of Isis and Osiris, we keep in our hearts a tale that expresses, in Joseph Campbell’s words, “the immanence of divinity in the phenomenal forms of the universe.」
>> 3. ‘To bind or tie together’ is the meaning of the “Latin” word RELIGIO, which is the root of the word ‘religion’.
Isis then reunited the dismembered body of Osiris and, with the help of others, wrapped it in linen bandages and mummified it.
Chapter 8 : Act 6 – Isis Rises
8.1 Summary of Act 6 – Isis Rises
a- イシスは非常に悲しく孤独な空のステージに入ります。彼女は（母なる自然として）泣き始め、ステージのスクリーンには降り続く雨が映ります。その後、雨はしずくになり、雨が止みます。太陽が空に昇ります。
b- 「Tel-et Ya Mahla Nourha Shams el Shamousa」の調子で：「太陽の輝かしい光[イシス]が昇った/現れた」 - イシスは地面から立ち上がり、昇る太陽に合わせて踊ります。
その後、彼女は 7 人の女性ダンサーと再び合流して「ライジング サン」ダンスを続けます。最後はイシスがすべてに勝利することで終わります。太陽が昇ると、典型的なエジプトのお祝いのザガリードが空気を満たします。
c-アイシスと7人の女性ダンサーがライジングロータスダンスのグランドフィナーレを飾ります！ 7 人の女性ダンサーは、この特別なダンス パフォーマンスのために、蓮の花が付いた典型的な女性のヘッドバンドを着用しています。
パフォーマンスは、典型的なエジプトのお祝いのザガリードを鳴り響かせながら、女性ダンサーによってイシスが勝利を担いで終わるところで終わります。
8.2 The Main Dances
The Rising Sun Dance
After the rain stopped, the sun appeared again. To the tone of ‘Tel-et Ya Mahla Nourha Shams el Shamousa – 意味: ‘The glorious light of the Sun[Isis] has Risen/appeared‘ —- Isis begins the ‘Rising Sun’ dance — from a sleeping position to a rising and liberating movement.
She will be joined by the seven female dancers in about 5 minutes of an incredible superbly arranged and executed musical performance that contains three Egyptian folk-songs — all related to Isis:
1- Telaa-et Ya Mahla Nour-ha – The beautiful Sun has risen.[Isis symbolizes the sun/solar energy]
2- Yamama Byda — The White Dove.[ An epithet of Isis]
3- Att-shan Ya Ssabaya — I ‘m thirsty O Young People., guide me to the water – bearers [Isis represents the fertile Mother Earth — seeking water [symbol of Osiris]
The Rising Lotus Dance – Finale
As the sun rises in the sky. Isis and the seven female dancers provide the Grand Finale of the Rising Lotus Dance!
8.3 Mystical Significances
8.3.1 – The Weeping Widow — Generator of [New] Life
The Egyptians associate the beginning of the annual flood season with Isis, who began to weep after her soul mate Osiris, who ascended to heaven 40 days after his death. Egyptians associated Isis’ first teardrop with the beginning of the rise of the Nile. Isis continued to weep, wishing for the lifeless Osiris to rise again. The Weeping Widow became, to the Egyptians, the 悲しみの淑女.
This religious festival was/is associated with a renewal cycle—the water cycle, where, symbolically, Isis regenerates/recreates Osiris (who represents the element of water) when ‘he’ evaporates and ‘rises to heaven’—so to speak.
When there is no water, Isis (‘Mother Earth’) yearns for it.
8.3.2 – Isis Rises : Lady of Assumption : Isis, being Mother Earth, gets flooded by the rising water of the River Nile.
Isis becomes submerged underneath her own tears. As a result, the earth/land disappears underneath the water (i.e. the earth, being Isis, disappears) she rises to the Heavens.
The 14th day of August is a national holiday in many countries, commemorating the Ascension of the Virgin Mary to the heavens. On the very same day—the 14th of August – the Egyptians have commemorated, since ancient times, a very similar festival for Isis: the Ancient Egyptian Virgin Mother, called ナイルの花嫁.
In the Ancient Egyptian context, the Bride of the Nile is Isis—the Virgin Mother—and the River Nile is her soulmate Osiris. On the 14th of August, the Ancient Egyptian festival commemorates the end of the 50-day rainy period in Ethiopia, which causes the annual flooding of the Nile.
In this popular Egyptian allegory, Isis finished crying over her soul mate Osiris in about the middle of August, which means that Isis had cried all the tears she had. It is at this point in time that the Egyptians (both ancient and modern) hold a festival, signifying the last teardrop from Isis, which will cause the peak of the flood level. It is during this celebration that the Egyptians throw an effigy of Isis into the waters, to symbolize that Isis drowned in her own tears—the River Nile itself.
8.3.3 – Isis Rises — The Rising Sun Symbolism:
The sun will rise [tomorrow/again] after all the tears. Isis symbolizes the sun/solar energy
More about the Sun [Solar] symbolism in the next chapter of this book.
Chapter 9 : Summary of Underlying Mystical Symbols in The Operetta
The Isis Rises Operetta has been created from The Ancient Egyptian allegory of Isis and Osiris. The Operetta likewise is saturated with underlying mystical symbols.Let us give an overview of the purpose of such mystical symbolism
9.1 Symbolism Significance
A symbol, by definition, is not what it represents, but what it stands for – what it suggests. A symbol reveals to the mind a reality other than itself. Words convey information; symbols evoke understanding.
A chosen symbol represents that function or principle on all levels, simultaneously—from the simplest, most obvious physical manifestation of that function to the most abstract and metaphysical. Without recognizing the simple fact of the intent of symbolism, we will continue to be ignorant of the wealth of Egyptian knowledge and wisdom.
Here are several of such underlying symbols in our Operetta:
9.2 Color Symbolism of Costume Outfits
– Osiris wears a lush green outfit with white trimmings; indicative of renewal and rejuvenation
– Seth and his accomplices wear hooded tarry blue color outfits indicative of awfulness
-Maidens/Muses/Women are wearing white outfits with green trimmings and headbands while in their normal roles in Egypt proper and wearing royal blue outfits outside Egypt, as in Act 3.
– Isis wears a [shining] golden colored attire to indicate her essence as being:
– Symbol of the metal gold as precious, pure and solid.
– Symbol of gold in the alchemical [metaphysical] sense.
– Symbol of the [Golden] Sun for she represents the universal solar principle.
-Children are wearing purple outfits for girls and light blue outfits for boys.
9.3 Numbers Symbolism
In the animated world of Ancient Egypt, numbers did not
simply designate quantities; but instead were considered
to be concrete definitions of energetic formative principles
of nature.
Numbers conform to the arrangement of natural
things; for most natural things were established by the
Creator in orders. Numbers are neither abstractions nor
entities in themselves. Numbers are names applied to
the functions and principles upon which the universe
is created and maintained.
The Egyptians used their knowledge of the mysticism of
numbers in all aspects of their lives.
Here are some numbers related to this Operetta:
9.3.a The number 5 [Sum of 2 (Isis) and 3 (Osiris)]:
In Act 2 of the operetta, there are five children.The number 5 is
associated with Horus: the child of Isis and Osiris.
Plutarch confirmed this Egyptian wisdom in his Works
Moralia, Volume V as follows:
“Indeed, three [Osiris] is the first odd number and
Perfect ; four is the square of two [Isis], first number
peer ; and five [Horus], which is composed of three and two,
Holds both from his father and his mother. »
Five incorporates the principles of polarity (II) and reconciliation
(III). All phenomena, without exception, are polar by
nature and triples in principle.
Five is also called the first “universal” number.
9.3.b Number 7:
The mystical function of the number 7 in ancient Egypt is
demonstrated in the union of spirit (Three) and matter (Four).One of the
forms that traditionally expresses the meaning of 7 is the pyramid,
which combines the square base symbolizing the four elements
and the triangular sides symbolizing the three modes of spirit.
Seven is the number of process, growth, and the underly-
ing cyclical aspects of the universe. Osiris represents the
same exact principles; and as such, he is associated with
the number 7 and its multiples.
Seven of something frequently makes a complete set—the
7 days of the week, 7 colors of the spectrum, 7 notes of the
musical scale, etc. The cells of the human body are totally
renewed every 7 years.
In Act 1: there are two mystical manifestations of this number:
a- Osiris: Seven is the number of the process, of growth
and underlying cyclical aspects of the universe. Osiris
represents exactly the same principles and is thus
associated with the number seven and its multiples.
b- The Seven Muses and the Lotus Dance: the [Egyptian]
Lotus represents renewal and rejuvenation – same as the
essence of the number seven.
As for the seven female dancers, they are the Seven Celestial
Muses. In the traditions of ancient Egypt that have endured,
the universal energy matrix is made up of seven
celestial/metaphysical realms and two terrestrial realms .
In Act 4: We find it in the symbolism of the typical Egyptian bed,
as will be explained later in this chapter.
9.4 Lotus Symbolism
In Acts 1 and 6
A woman/man sniffing at the lotus is a recurrent theme in Egyptian tombs. The perfume of the lotus is its spiritualized essence, similar to the “odor of sanctity” in the Christian traditions. The depiction of the lotus is very common in Egyptian symbology. The four disciples (“sons”) of Horus are often shown coming out from a lotus flower. Also, Nefer-Tum, son of Ptah, the Creative Fire, is born from the lotus.
In Act 1 of Isis Rises Operetta, the seven muses will be performing the Lotus Dance in honor of the Beloved Osiris — whose mystical number is also ‘seven’!
The dance conveys the symbolism of the lotus from being submerged underneath the water surface to the splendor of its beauty and renewal when opened upon merging out of the water at daytime.
Rising out of the water after it has been submerged is the same exact concept and practice of Baptism.
To be born or reborn of the purity of a lily is the embodiment of the principle of conscious creation. Such represents the perpetual renewal creation.
The Lotus dance represents renewal/rejuvenation,rebirth,etc.
In Act 6 of Isis Rises Operetta, the seven muses will be performing the Rising
Lotus Dance together with Isis herself!
The [Egyptian] lotus thus represents the perpetual renewal creation.
9.5 Animal Symbolism
エジプト人は自然界についての注意深く観察し深い知識を持っていたため、特定の神の機能や原則を特に純粋で印象的な方法で象徴する可能性のある特定の特質を持つ特定の動物を特定することができました。そのため、特定の動物が神のこれらの特定の側面の象徴として選ばれました。
誰かが忠実だと言うとき、「忠実」という言葉は非常に曖昧です。しかし、「犬のように忠実」と言えば、その意図に疑いの余地はありません。これが動物のアナロジーの力です。
9.5.a Doves [In Acts 1,2 and 5]
Doves represent total fidelity and devotion.A pair of doves are the most loyal and devoted couple of all creatures in the universe..
The Operetta has two manifestations of doves’ symbolism:
9.5.a.i Dove Wailing Sounds represent absolute sadness of a departed soulmate, since doves represent total fidelity and devotion.
9.5.a.ii The White Dove is one of the epithets of Isis who was called by the Egyptians: “Isis of the 10000 names/attributes”. The music in Act 2 of the Operetta is the music of an enduring Egyptian children folk song that describes how the White Dove is flying away to find and reconnect with her [missing] companion/partner/soulmate.
9.5.b Lion [In Act 4]
Throughout Egyptian history, we find a consistent shape of depicted beds/biers in tombs and temples as being in a lion-shaped form.
One of Osiris’ titles was The Lion.
The Egyptian word for a lion is SaBA., which is the same word for the number seven, in the Egyptian language
The universal cyclical number par excellence is SEVEN—and Osiris represents the cyclical aspect of the universe.
Osiris relates to the number seven and its multiples.
Since Osiris represents the latent power of resurrection to begin a new cycle, the Egyptians depicted the 死 bed in the shape of a lion—being number seven—being Osiris.
9.5.c Scorpion [In Act 4]
Scorpions are famous for their deadly protection of their young.
In Egyptian symbolism, the netert(goddess) Serket is identified by her wearing a scorpion on her head.
9.5.d Vulture [In Act 4]
The ideal of virginity was a cornerstone of the Ancient Egyptian traditions. Ancient Egyptian women are depicted wearing a vulture headdress.
The choice of the vulture for this particular feminine role is because:
- The vulture is supposed to be particularly zealous in caring for its young.
- There is no physical sexual contact between male and female vultures. The female vulture gets impregnated by exposing herself to receive the male seeds carried by the winds without physical contact. The vulture is therefore a symbol of virgin birth.
Here is a depiction of a female goddess with extended vulture wings
翼を広げて広げたハゲワシ。
9.6 Tree Symbolism
In Acts 3 and 6
The tree symbolizes ALL aspects of the creation cycle—both the emanation of the original unity as well as the eventual return of all things back to the original unity.
We read about the significance of the immortal Tree of Life as far back as The Egyptian Pharaoh Pepi more than 4,300 years ago. The text in chapter 20 in his tomb reads:
“This Pepi travelleth to the Great Lake in Sekhet-hetep, by which the Great Gods alight, and these great ones of the imperishable stars give unto Pepi the tree of life whereon they themselves do live, so that he also may live thereon.”
We have a primary tree in this Operetta being ‘The tree Of Life’ of Osiris: [In Act 3]
The Tree of Life being an Evergreen Tree also relates to the green color for Osiris.
In the Isis Osiris allegory Osiris’ body was being surrounded by a cedar tree.
Below is an Egyptian temple depiction of Osiris enshrined in The Tree of Life.
9.7 Egyptian Bed Symbolism
In Act 4
In Act 4 of Isis Rises Operetta, the body of Osiris will be lying on top of the typical (Ancient) Egyptian bed.
Throughout Egyptian history, we find a consistent shape of depicted beds/biers in tombs and temples as being in a lion-shaped form.
The bed/bier represented a threshold between death and resurrection.
Osiris symbolizes death and resurrection.
One of Osiris’ titles was The Lion.
The Egyptian word for a lion is SaBA., which is the same word for the number seven.
The universal cyclical number par excellence is SEVEN—and Osiris represents the cyclical aspect of the universe.
Osiris relates to the number seven and its multiples.
Since Osiris represents the latent power of resurrection to begin a new cycle, the Egyptians depicted the death bed in the shape of a lion—being number seven—being Osiris.
Since all people—male and female, rich and poor—are Osiris upon their death, their DEATHBed (so to speak) represents the lion—the number seven; the Return to the Source.
Shown below is the typical Egyptian bed with a lion head at one side and its tail at the other side.Supporting legs are also lion’s legs.
9.8 Solar and Lunar Principles
[In Acts 3, 5 & 6]
The significance and interplay between solar and lunar principles is symbolized by the sun and moon.
The sun and the moon, among other things as being related to Isis and Osiris, are best described by Diodorus of Sicily, Book I, 11. 5-6:
These two neteru (gods), they hold, regulate the entire universe, giving both nourishment and increase to all things. . .
Moreover, practically all the physical matter which is essential to the generation of all things is furnished by these two neteru (gods), Isis and Osiris, symbolized as the sun and the moon. The sun contributes the fiery element and the spirit, the moon the wet and the dry, and both together the air; and it is through these elements that all things are engendered and nourished. And so it is out of the sun and moon that the whole physical body of the universe is made complete; and as for the five parts just named of these bodies—the spirit, the fire, the dry, as well as the wet, and, lastly, the air-like—just as in the case of a man we enumerate head and hands and feet and the other parts, so in the same way the body of the universe is composed in its entirety of these parts.
Diodorus’ statements highlight:
- The Egyptian concept that the neteru (gods, goddesses) are the forces of nature and not actual characters.
- The importance of the four elements of creation.
- The fact that the human body is a miniature universe.
So the archetypal model of solar and lunar principles is based on the fact that all aspects of the universe follow this criteria of an original and permanent female principle and a cyclical, changeable, and moving male principle. The female is the sun—the source of energy – and the male principle is the moon that manifests/reflects this energy in the universe.
In Act 3: Osiris The Moon
The Moon Dance with blue moon-shaped balls is performed in the Operetta by women as a fertility dance.
エジプトの文献ではオシリスについて次のように説明されています。 ムーン。月の周期は、宇宙の周期的な性質を全体的にも部分的にも完璧に表しています。月は満ち欠けし、数日間消えては再び現れ、生、死、再生を繰り返します。
見かけ上の死から生命が生まれる原理は、と呼ばれていた、またはそう呼ばれていた アウサール 再生の力を象徴する【オシリス】。
The moon appears in the sky because Isis[the sun] provides the light to the moon being Osiris.
In Act 5 : Osiris The Moon—The Fourteen Pieces
In Act 5 of the Operetta we find that one night (while Isis was caring for Horus in hiding and when the moon was full), the evil Seth and his accomplices found the lifeless body of Osiris and cut him into fourteen pieces. The number fourteen symbolizes the number of days required to shape a full moon.
Osiris represents the lunar principle in the universe, and is known as Osiris ムーン.
The moon reflects the power of the sun. Isis, the female principle, represents the sun. Osiris, the male, represents the moon.
Breaking the moon is reflected in the source of the moonlight being the Sun Isis. In other words Isis herself is broken into pieces as a consequence of the broken Moon Osiris. To put the broken pieces together, Isis is putting herself back together!
In Act 6 : Isis The Rising Sun
In Scene 6 of the Operetta, the sun rises after Isis sheds all the tears. Isis is the sun/solar energy
9.9 The Four Universal Elements
Isis (Mother Earth) and Osiris (Water)
Of the four elements of creation—earth, water, air, and fire – the element that is solid and permanent is earth.
Several of Isis’ 10,000 names relate to her being Mother Earth:
The Queen of earth.
Lady of the solid earth.
The four elements of the world (water, fire, earth, and air) were described by Plutarch in his モラリア、Vol. V:
“The Egyptians simply give the name of Osiris to the whole source and faculty creative of moisture, believing this to be the cause of generation and the substance of life-producing seed; and the name of Seth they give to all that is dry, fiery, and arid, in general, and antagonistic to moisture.
As the Egyptians regard the Nile as the effusion of Osiris, so they hold and believe the earth to be the body of Isis, not all of it, but so much of it as the Nile covers, fertilizing it and uniting with it. From this union they make Horus to be born. The all-conserving and fostering Hora, that is the seasonable tempering of the surrounding air, is Horus.
The insidious scheming and usurpation of Seth, then, is the power of drought, which gains control and dissipates the moisture which is the source of the Nile and of its rising.”
So, while Isis, the divine female principle, represents solid earth, the other three elements are representations of the changeable male principle.
Osiris is the water which comes and goes, rises during floods and high tide, recedes and evaporates totally, disappearing to rise again in a new cycle.
Horus is the air, moving and shifting, which rises when it warms up and falls when it cools down.
Seth is the fire, moving and causing droughts.
Act 1 : Osiris (Water) and Seth ( Heat)
In the typical Ancient Egyptian story form, Plutarch writes in his モラリア、Vol. V (356, 13) オシリスがどのようにしてセスから祝宴に招待され、そこでセスと彼の共犯者がオシリスを騙して間に合わせの棺に横たわらせたかについて。プルタルコスは次のように続けています。
“。 。そして、その区画にいた人々はそこに駆け寄り、蓋を叩きつけ、外側から釘で、また溶けた鉛を使って蓋を固定した。それから彼らは箱を川に運び、タニティック口を通って海に流しました。そのため、エジプト人は今日に至るまで、この口を憎むべき、忌まわしい口と呼んでいます。それが伝統なのです。彼らはまた、この行為が行われた日は17年であるとも言います。番目 アソールの日 【11月27日】太陽がスコーピオンを通過するとき。」
プルタルコスが報告したように、ハトゥール/アソール 17 日 (11 月 27 日) の出来事には、聖書のイエスの最後の晩餐の要素がすべて含まれています。すなわち、陰謀、祝宴、友人、そして裏切り。しかし、古代エジプト人にとって、この物語には別の意味があります。プルタルコス、 モラリア、Vol. V (366、39D)、次のように書いています。
オシリスが胸に閉じ込められたという物語は、どうやら それは水の消滅と消滅以外の何ものをも意味しない。 。 。その時に。 。 。ナイル川は低地まで後退し、土地は裸地になります。夜が長くなると、 暗闇が増し、光の効力は弱まり、抑制されます。 . .”
の 敵対的な 環境条件に関連するオシリスとセトの関係については、プルタルコスが言及しています。 モラリア、Vol. V (364, 33B) のように:
”。 。 。エジプト人 湿気の源と創造力全体にオシリスの名前を与えるだけです、これが生成の原因であり、生命を生み出す種子の本質であると信じています。そしての名前 Seth they give to all that is dry, fiery, and arid, in general, and antagonistic to moisture. . .
。 。 。したがって、セスの陰湿な陰謀と簒奪は、ナイル川とその増水の源である湿気を制御し、消散させる干ばつの力です。 。 」
The Loss of Osiris has both physical and metaphysical significance.
Act 6 : Isis Regenerates Water (Osiris)
The Egyptians associate the beginning of the annual flood season with Isis, who began to weep after her soul mate Osiris, who ascended to heaven 40 days after his death. Egyptians associated Isis’ first teardrop with the beginning of the rise of the Nile. Isis continued to weep, wishing for the lifeless Osiris to rise again. The Weeping Widow became, to the Egyptians, the 悲しみの淑女.
This religious festival was/is associated with a renewal cycle—the water cycle, where, symbolically, Isis regenerates/recreates Osiris (who represents the element of water) when ‘he’ evaporates and ‘rises to heaven’—so to speak.
Ancient Egyptian texts refer to Isis as:
“The Queen of earth.
The Lady of the solid earth”.
The feminine principle of fertility is found in equating the Earth with Isis. But without water, no growth can occur. As we have seen, Isis, the female principle of intellect, has created the soul to animate the creation conception and bring it into life.
On another manifestation of that thought, we find that Isis, being Mother Earth, will generate water to fertilize the seeds in her womb—here being Mother Earth. Just as the intellectual aspect of Isis generated the soul, we likewise find Isis’ role as the generator and life-giver of Osiris is shown in several of her 10,000 names; for we read that Isis is:
The Creatrix of the Nile Flood.
Whose husband is the lord of the deep
Whose husband is the inundation of the Nile.
Who maketh the Nile to swell and overflow.
Who maketh the Nile to swell in his season.
When there is no water, Mother Earth yearns for it. The feminine principle of Isis therefore generates the water; and when the water disappears, Isis regenerates it.
One of the most compelling parts of the Egyptian Model Story of Isis and Osiris is how these two symbols relate to the flood season in Egypt. The Egyptians associated the beginning of the flood with Isis after her husband/soulmate Osiris ascended to heaven 40 days after his death, when she started weeping, begging her dead husband to rise again. Egyptians associated her first teardrop with the beginning of the rise of the Nile. Isis continued to weep, wishing for her husband to rise.
The beauty here is that Isis wishes her husband to rise from the dead, and the water of the Nile consequently rises, as well. It should be noted that the water of the Nile is symbolized by Osiris himself.
Plutarch described this relationship in his モラリア、Vol. V (366, 38A), as follows:
. . . As the Egyptians regard the Nile as the effusion of Osiris, so they hold and believe the earth to be the body of Isis, not all of it, but so much of it as the Nile covers, fertilizing it and uniting with it. From this union they make Horus to be born. . .
In other words, Isis recreates/regenerates Osiris from her tears every year. Her tears are blood red in color, which is the same color of the floodwaters, since this water comes as a result of the rainy season in Ethiopia, which erodes the silt of the Ethiopian highlands and carries it towards Egypt along the Blue Nile and other tributaries. So, Isis’ tears represent this reddish color of the water during the flood season. In essence, Isis is crying a river—so to speak. The Christian faithful follow the same Ancient Egyptian traditions in their presentations of the statues of Mary with bloody teardrops coming out of her eyes.
9.10 Further reading
For additional information about topics in this chapter,check the following books by Moustafa Gadalla:
– イシス神聖な女性
– Egyptian Cosmology: The Animated Universe – 3rd Edition
– Egyptian Divinities: The All Who Are THE ONE.2nd Edition
– 古代エジプトの形而上学的建築
– Egyptian Mystics: Seekers of the Way, 2nd Edition
Chapter 10 : Notes by Manon Bastardie,
Artistic Director and Choreographer
10.1 An Overview
“Isis Rises Operetta” is a great production allowing the audience to have a captivating and immersive experience. The creation of this operetta involves organization, research, immersion, coordination and a meticulous symbiosis between dancers, sets, music and costumes while respecting the story and intentions of the author.
The story serves as a catalyst, triggering memories, associations and thoughts in viewers. Through the power of movement and emotion, dance becomes a mirror, reflecting the emotional landscape of the audience and allowing them to find resonance in the performance. Dance has the power to transcend the boundaries of language, culture and personal experiences, and connect us on a deep and universal level. We are thus reminded of the infinite capacity of human expression and the indelible mark that emotions and stories leave on our souls.
The decorations of this creation are an essential element which makes it possible to bring the story to life and to take the spectators on this journey to the heart of ancient Egypt. Skilled and professional artisans work together to design and build the physical environments that will serve as the backdrop for the performances. From the fabrics for the costumes to the props and stage elements, each material is carefully chosen to enhance the aesthetics and the universe of the operetta. The costume designers work closely with the choreographer to create outfits that enhance the choreographies. Props and costumes are carefully selected and designed to support the narrative and create a visually arresting experience.
Finally, an operetta would be incomplete without its score and its musical composition. The music captures the essence of the story and complements the dancers’ performances. The score includes both instrumental pieces, vocal elements without forgetting the simple sounds of nature that embellish the narration.
10.2 The Isis Inspiration
ISIS is revered as the embodiment of femininity, wisdom and motherhood. Isis always has captured everyone’s imagination. Her multifaceted qualities combining love, power and wisdom, has provided a very rich creative impulse that we put at the service of Moustafa Gadalla’s work by trying to get closer to his personal inspiration.
In the field of artistic and choreographic creation, few inspirations can lead to this feeling of elegance and divine beauty.
This artistic and choreographic creation around the Egyptian goddess Isis resides in her ability to transcend time and cultural borders.
The beauty of this Egyptian goddess was transcribed through the stage expression of the artist interpreting her role. The versatility, the depth of this divinity, its ethereal grace demanded from the artist an incarnation of the strong symbol of this goddess represented by wings spread out as a sign of protection and transcendence.
The role of Isis bears witness to the power of allegory and the capacity of dance to transcend time and space. It is a celebration of feminine energy, wisdom and beauty eternal felt through artistic expression.
The choreographies inspired by the story of Isis immerse us in the timelessness of Egyptian allegory and the unshakable power of feminine energy. The dance allows the story of Isis to come to life, invoking an ongoing sense of wonder. The power of the emotional and spiritual impact captured by the choreographer is remarkably transcribed. Each viewer then finds themselves connected to the character by a palpable divine energy that ignites their soul and awakens a deeper understanding of ourselves and the world around us.
The choreographer thus set herself the challenge of capturing the essence of Isis through movement. We sought to embody her divine femininity, channeling her enchanting energy through the body. The dancers glide gracefully across the stage, their fluid movements echoing the gentle swinging of Isis’ celestial robe. Every impulse and every step testifies to the strength, love and unwavering determination of this goddess.
By realizing a deep immersion of the essence of the goddess, the choreographer translates these acts and its being through movement.The dancers embody the characters, themes and emotions while respecting the will of the author.
10.3 Synergy of Choreography and Emotions
The purity of the artistic and choreographic creation does not lie only in the visual spectacle or the technical mastery alone, the deep emotions take on all their magnitudes and arouse a real resonance in the public. Dance has this unique ability to evoke and amplify our feelings, allowing the audience to take an inner journey and project themselves in a deeply visceral and captivating way.
The synergy between choreography and emotions makes it possible to weave a deep bond between performers and spectators. As the dancers channel their own emotions into their movements, they create a space of vulnerability and authenticity, inviting the audience to connect on an emotional level, resonating with the shared human experiences portrayed.
The choreographer works closely with the dancers, guiding them through an exploration of their own physicality and personal interpretations. Together they immerse themselves fully in the incarnation of each character in the story. The choreography reflects the allegorical sense and symbolism of Isis. The story thus traces its journey from the depths of grief and loss to its ascent. This goes through her protective role and her ability to unite. The choreographer mixes moments of tenderness, passion, strength and vulnerability, creating a multidimensional representation of Isis that challenges the audience.
Choreographer and performer dancers live a spiritual and transformative experience. The process becomes a form of devotion, a means of paying homage to the goddess and to honor Her ever-present legacy.
The heart of this piece lies in the interplay of movement and emotions. Each gesture, each step and each interference between the dancers carries meaning, creating a nuanced and evocative narrative. Just as the choice of words conveys the intricacies of a story, dance communicates through the eloquence of the body, expressing joy, sadness, love, longing and a myriad of feelings.
Emotions are released, stories are embodied and the audience finds themselves transported to a realm where words are useless, as the language of movement and emotion speaks directly to the heart.
The interplay of light and shadow, the delicate balance between strength and vulnerability, and finally the captivating narrative woven through the movement contribute to a very rich immersive experience.
10.4 Team Work
Teamwork is essential in any choreographic creation process, where everyone brings their skills, perspectives and ideas. A strong team fosters a dynamic creative exchange. Thanks to the combined work of the set designers, the dancers, the costume designers and the production team, this operetta comes to life, and offers a visually breathtaking and emotionally captivating experience.
The choreographer also relies on her dancers for their inspiration and contribution throughout the creative process. They bring their technical skills, physique and performance skills, enriching the choreography with their unique movement qualities and personal experiences. Thanks to a mode of open communication, listening, exchange and mutual respect, the team can thus explore different ideas, experiment with all possibilities of movement for an optimal rendering.
Trust is a fundamental aspect of all teamwork. Dancers must have confidence in the vision and guidance of their choreographer, allow themselves to be vulnerable by daring to explore new paths of movement. Likewise, the choreographer must have confidence in the abilities of each dancer to offer them a serene space for expression.
A supportive team environment encourages risk-taking and fosters an atmosphere where everyone feels valued and able to give their best without limits. This work environment makes it possible to correct, improve and fine-tune in complete fluidity without any breaks or limiting questions.
The importance of good teamwork in choreographic creation cannot be underestimated and plays a major role in the viewer’s feelings. By fostering positive team dynamics, dancers and choreographers can unleash their full potential, resulting in powerful and meaningful performances that resonate with audiences.
Behind the scenes, a dedicated production team orchestrates all elements of “Isis Rises Operetta.” This technical support is essential to ensure the smooth running of the show and the rehearsals with the lighting of the various scenes, sound and stage transitions. Their technical expertise and coordination are essential to the success of the production.
Thanks to all these elements put together and by its singularity, “ISIS RISES OPERETTA” will undoubtedly leave a permanent impression on each viewer.