Egyptian accounts give sequences of divine rulers who take the place of the sun god as king on earth, each reigning for many thousands of years.

Both of them face revolts that parallel those in the reign of the sun god, but the revolt that receives the most attention in Egyptian sources is the one in the reign of Geb's heir Osiris.

The collection of episodes surrounding Osiris ' death and succession is the most elaborate of all Egyptian myths, and it had the most widespread influence in Egyptian culture.

In some versions of the myth, Osiris is actually dismembered and the pieces of his corpse scattered across Egypt.

Osiris' sister and wife, Isis , finds her husband's body and restores it to wholeness. Isis then briefly revives Osiris to conceive an heir with him: the god Horus.

The next portion of the myth concerns Horus' birth and childhood. Isis gives birth to and raises her son in secluded places, hidden from the menace of Set.

The episodes in this phase of the myth concern Isis' efforts to protect her son from Set or other hostile beings, or to heal him from sickness or injury.

In these episodes Isis is the epitome of maternal devotion and a powerful practitioner of healing magic. In the third phase of the story, Horus competes with Set for the kingship.

Their struggle encompasses a great number of separate episodes and ranges in character from violent conflict to a legal judgment by the assembled gods.

For this reason, the Eye of Horus is a prominent symbol of life and well-being in Egyptian iconography. Because Horus is a sky god, with one eye equated with the sun and the other with the moon, the destruction and restoration of the single eye explains why the moon is less bright than the sun.

Texts present two different resolutions for the divine contest: one in which Egypt is divided between the two claimants, and another in which Horus becomes sole ruler.

In the latter version, the ascension of Horus, Osiris' rightful heir, symbolizes the reestablishment of maat after the unrighteous rule of Set.

With order restored, Horus can perform the funerary rites for his father that are his duty as son and heir. Through this service Osiris is given new life in the Duat, whose ruler he becomes.

The relationship between Osiris as king of the dead and Horus as king of the living stands for the relationship between every king and his deceased predecessors.

Osiris, meanwhile, represents the regeneration of life. On earth he is credited with the annual growth of crops, and in the Duat he is involved in the rebirth of the sun and of deceased human souls.

Although Horus to some extent represents any living pharaoh, he is not the end of the lineage of ruling gods. He is succeeded first by gods and then by spirits that represent dim memories of Egypt's Predynastic rulers, the souls of Nekhen and Pe.

They link the entirely mythical rulers to the final part of the sequence, the lineage of Egypt's historical kings. Several disparate Egyptian texts address a similar theme: the birth of a divinely fathered child who is heir to the kingship.

The earliest known appearance of such a story does not appear to be a myth but an entertaining folktale, found in the Middle Kingdom Westcar Papyrus , about the birth of the first three kings of Egypt's Fifth Dynasty.

In that story, the three kings are the offspring of Ra and a human woman. The same theme appears in a firmly religious context in the New Kingdom, when the rulers Hatshepsut , Amenhotep III , and Ramesses II depicted in temple reliefs their own conception and birth, in which the god Amun is the father and the historical queen the mother.

By stating that the king originated among the gods and was deliberately created by the most important god of the period, the story gives a mythical background to the king's coronation, which appears alongside the birth story.

The divine connection legitimizes the king's rule and provides a rationale for his role as intercessor between gods and humans.

Similar scenes appear in many post-New Kingdom temples, but this time the events they depict involve the gods alone.

In this period, most temples were dedicated to a mythical family of deities, usually a father, mother, and son.

In these versions of the story, the birth is that of the son in each triad. This shift in focus from the human king to the gods who are associated with him reflects a decline in the status of the pharaoh in the late stages of Egyptian history.

Ra's movements through the sky and the Duat are not fully narrated in Egyptian sources, [89] although funerary texts like the Amduat , Book of Gates , and Book of Caverns relate the nighttime half of the journey in sequences of vignettes.

In traveling across the sky, Ra brings light to the earth, sustaining all things that live there. He reaches the peak of his strength at noon and then ages and weakens as he moves toward sunset.

In the evening, Ra takes the form of Atum, the creator god, oldest of all things in the world. According to early Egyptian texts, at the end of the day he spits out all the other deities, whom he devoured at sunrise.

Here they represent the stars, and the story explains why the stars are visible at night and seemingly absent during the day. At sunset Ra passes through the akhet , the horizon, in the west.

At times the horizon is described as a gate or door that leads to the Duat. At others, the sky goddess Nut is said to swallow the sun god, so that his journey through the Duat is likened to a journey through her body.

These images are symbolic of the awesome and enigmatic nature of the Duat, where both the gods and the dead are renewed by contact with the original powers of creation.

Indeed, although Egyptian texts avoid saying it explicitly, Ra's entry into the Duat is seen as his death. Certain themes appear repeatedly in depictions of the journey.

Ra overcomes numerous obstacles in his course, representative of the effort necessary to maintain maat.

The greatest challenge is the opposition of Apep , a serpent god who represents the destructive aspect of disorder, and who threatens to destroy the sun god and plunge creation into chaos.

In contrast, his enemies—people who have undermined maat —are tormented and thrown into dark pits or lakes of fire. The key event in the journey is the meeting of Ra and Osiris.

In the New Kingdom, this event developed into a complex symbol of the Egyptian conception of life and time. Osiris, relegated to the Duat, is like a mummified body within its tomb.

Ra, endlessly moving, is like the ba , or soul, of a deceased human, which may travel during the day but must return to its body each night.

When Ra and Osiris meet, they merge into a single being. Their pairing reflects the Egyptian vision of time as a continuous repeating pattern, with one member Osiris being always static and the other Ra living in a constant cycle.

Once he has united with Osiris' regenerative power, Ra continues on his journey with renewed vitality. At this moment, the rising sun god swallows the stars once more, absorbing their power.

Egyptian texts typically treat the dissolution of the world as a possibility to be avoided, and for that reason they do not often describe it in detail.

However, many texts allude to the idea that the world, after countless cycles of renewal, is destined to end. This end is described in a passage in the Coffin Texts and a more explicit one in the Book of the Dead , in which Atum says that he will one day dissolve the ordered world and return to his primeval, inert state within the waters of chaos.

All things other than the creator will cease to exist, except Osiris, who will survive along with him. Because the Egyptians rarely described theological ideas explicitly, the implicit ideas of mythology formed much of the basis for Egyptian religion.

The purpose of Egyptian religion was the maintenance of maat , and the concepts that myths express were believed to be essential to maat.

The rituals of Egyptian religion were meant to make the mythic events, and the concepts they represented, real once more, thereby renewing maat.

For this reason, Egyptian rituals often included actions that symbolized mythical events. There are borderline cases, like a ceremony alluding to the Osiris myth in which two women took on the roles of Isis and Nephthys, but scholars disagree about whether these performances formed sequences of events.

Myths could inspire rituals, like the ceremony with Isis and Nephthys; and rituals that did not originally have a mythic meaning could be reinterpreted as having one, as in the case of offering ceremonies, in which food and other items given to the gods or the dead were equated with the Eye of Horus.

Kingship was a key element of Egyptian religion, through the king's role as link between humanity and the gods.

Myths explain the background for this connection between royalty and divinity. The myths about the Ennead establish the king as heir to the lineage of rulers reaching back to the creator; the myth of divine birth states that the king is the son and heir of a god; and the myths about Osiris and Horus emphasize that rightful succession to the throne is essential to the maintenance of maat.

Thus, mythology provided the rationale for the very nature of Egyptian government. Illustrations of gods and mythical events appear extensively alongside religious writing in tombs, temples, and funerary texts.

Allusions to myth were very widespread in Egyptian art and architecture. In temple design, the central path of the temple axis was likened to the sun god's path across the sky, and the sanctuary at the end of the path represented the place of creation from which he rose.

Temple decoration was filled with solar emblems that underscored this relationship. Similarly, the corridors of tombs were linked with the god's journey through the Duat, and the burial chamber with the tomb of Osiris.

More ordinary works of art were also designed to evoke mythic themes, like the amulets that Egyptians commonly wore to invoke divine powers.

The Eye of Horus , for instance, was a very common shape for protective amulets because it represented Horus' well-being after the restoration of his lost eye.

Themes and motifs from mythology appear frequently in Egyptian literature, even outside of religious writings. An early instruction text , the " Teaching for King Merykara " from the Middle Kingdom, contains a brief reference to a myth of some kind, possibly the Destruction of Mankind; the earliest known Egyptian short story, " Tale of the Shipwrecked Sailor ", incorporates ideas about the gods and the eventual dissolution of the world into a story set in the past.

Some later stories take much of their plot from mythical events: " Tale of the Two Brothers " adapts parts of the Osiris myth into a fantastic story about ordinary people, and " The Blinding of Truth by Falsehood " transforms the conflict between Horus and Set into an allegory.

A fragment of a text about the actions of Horus and Set dates to the Middle Kingdom, suggesting that stories about the gods arose in that era.

Several texts of this type are known from the New Kingdom, and many more were written in the Late and Greco-Roman periods.

Although these texts are more clearly derived from myth than those mentioned above, they still adapt the myths for non-religious purposes.

The Roman-era "Myth of the Eye of the Sun" incorporates fables into a framing story taken from myth. Venus is close to the Sun and can only be seen shortly before sunrise.

Try finding a good, unobstructed view of the horizon. Venus is visible by day, but may be hard to find. Jupiter can best be seen in the hours just after sunset.

Visibility improves as the sunlight fades. Saturn can best be seen in the hours just after sunset.

Uranus is visible during most of the night, but it is best viewed in the late evening hours after sunset.

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