Art seems to capture Kheperu best; this is The Lotus Soul by Frantisek Kupka, 1898. This is what  the energy feels like in Kheperu
Art seems to capture Kheperu best; this is The Lotus Soul by Frantisek Kupka, 1898. This is what the energy feels like in Kheperu

Last week, we talked about Kheperu or Transformations as the key to Egyptian magic. This is the technique by which a human magician may briefly partake of Divine powers through the use of sacred imaginal images, ritual speech, and right action. It is a way of empowering our magic.

To develop this technique, a society would need to understand that human beings could become godlike—which ancient Egypt did—and further, that human and Divine beings naturally interact with each other and mutually affect each other.

This is a magical and participatory world. In Jeremy Naydler’s book The Temple of the Cosmos, he comments that the Egyptians believed human beings depended on the Deities, but that the Deities also depended on human beings—even to the extent of relying on human action to help mobilize heka (“magic”) in the universe through the temple rites. Both Deities and humanity must uphold Ma’et or the universe will be thrown into chaos. Thus human beings have an innate power and influence, although they cannot hope to match that of the Goddesses and Gods. In this world view, it was theoretically possible for a human being—especially one who had acquired a lot of heka—to cause chaos in the universe. If humans are part of the cosmic order, they can affect the cosmic order. (If you don’t think that’s true, you’ve been among the fortunate few who haven’t been listening to the news.)

This interconnectedness is why we sometimes find threats made against the Deities in Egyptian magical formulæ. This was one of the things that freaked out Greek magic workers when they encountered it. To them, claiming godlike power was hubris—and the Gods were sure to smack you down for it rather than help you out.

Heaven and Earth
Heaven and Earth

Yet the idea that human beings have the power to affect the universe stems from the interrelatedness and interdependence of the human and the Divine worlds in Egyptian tradition. In the same way that the Great  Goddess of Magic, Isis, threatens to stop the Boat of the Sun in its tracks unless Her son Horus is healed, so the human magician sometimes threatened the Deities with a similar upset to the cosmic order unless her desires were met. “The expertise of the magician lay in bringing together the spiritual and material levels in a deliberately engendered and powerful coalescence. Magic did not function exclusively on the physical or the psychic or the spiritual planes but on all three together,” writes Naydler. And a most effective way of joining all three worlds is through the technique of Kheperu.

Some Examples of Kheperu

"I put on the cloak of the Great Lady, and I AM the Great Lady."
“I put on the cloak of the Great Lady, and I AM the Great Lady.”

In his excellent study, Conceptions of God in Ancient Egypt, the One and the Many, Egyptologist Erik Hornung defines Egyptian Deities by three criteria: Onoma (the name of the Deity), Logos (words or knowledge about the Deity), and Eidolon (the image of the Deity). All three, combined with ritual, are also used in Kheperu as we see it expressed in Egyptian texts. A longish passage from the Coffin Texts illustrates these principles and highlights some of the characteristics of Kheperu.

“The Sistrum-Player is in my body, the pure flesh of my mother, and the dress will enclose me. I don the dress of Hathor, my hands are under it to the width of the sky, my fingers are under it as living uraei, my nails are under it as the Two Ladies of Dep, and I kiss the earth, I worship my mistress, for I have seen her beauty. She creates the fair movements which I make when the Protector of the Land comes; the gods come to me bowing and praise is given to me by the gods, they see me at my duty, and I am initiated into what I did not know, I cross the retinue of this Great Lady to the western horizon of the sky, I speak in the Tribunal. […]

“The god who protects the land comes,” say the horizon dwellers concerning me. “The god comes, having gone aboard the bark,” say they who are about the shrine, who sit in the sides of the bark, who eat their food. They see me as the Sole One with the secret seal. I don the dress, I wear the robe, I receive the wand, I adorn the Great Lady in her dignity. Her Sistrum-Player is on her lap, and he has built mansions among your great ones, he has presented offering cakes, so that he may live thereon and that he may celebrate the monthly festival in his hour in company of those who are in linen, for he has looked at his face. So says the occupant of the throne of the Great Lady concerning me.”

God-blasted; beautiful art by Andrew Gonzales; you can buy prints, yay!
God-blasted; beautiful art by Andrew Gonzales; you can buy prints, yay!

We can be sure that the deceased is intended to be in the Kheper of Form of the Goddess because when he “dons the dress of Hathor,” “the Sistrum-Player is in my body,” it is She Who “creates the fair movements which I make,” and the horizon dwellers “see me as the Sole One with the secret seal.” He employs the Onoma, the names and epithets, of Hathor in his formula. He has knowledge of Her Logos for he describes Her place in the sacred barques of the Gods. He also uses Her Eidolon, symbolized as the dress of Hathor, building up the Goddess’ image through the description in the text and donning Her dress or image.

As in this example, Kheperu is often characterized by a multiple consciousness. Here, the deceased perceives as himself, as Hathor, and as Her son, the Sistrum-Player. He is the Great Lady, he is Her son, and he is Her worshipper. He is both human being and Divine Being. He mediates between Heaven and Earth, partaking of and blending both.

Another excellent example is a Coffin Text formula “for the Soul of Shu and for Becoming Shu”:

“I am the soul of Shu the self-created god, I have come into being from the flesh of the self-created god. I am the soul of Shu, the god invisible of shape, I have come into being from the flesh of the self-created god, I am merged in the god, I have become he.”

In the rest of this spell, the magician spends considerable time making statements that identify her with Shu. She tells the full myth of Shu, and beautifully ends the formula with “I am invisible of shape, I am merged in the Sunshine-God.”

In this example, the deceased is identified with Re, quality by quality—which would allow ritual time for visualization:

“His sun disk is your sun disk;

His rays are your rays;

His crown is your crown;

His greatness is your greatness;

His appearings are your appearings;

His beauty is your beauty. . .”

In the Book of Coming Forth by Day, the deceased says:

“Horus has invested me with his shape [. . .] I am the falcon who dwells in the sunshine, who has power through his light and his flashing. My arms are those of a divine falcon, I am one who has acquired the position of his lord, and Horus has invested me with his shape. “

And another Gonzales, because, damn beautiful
And another Gonzales, because, damn beautiful

Once the Kheper is assumed, the Deity could be perceived within: “Hail to you, Khopri within my body” states a Coffin Texts formula.

I have no doubt that if you worked these spells today—as written and while in the proper frame of mind—you could indeed assume the Form of Hathor or Shu or Re or Horus…or Isis.

This is really a huge topic and, once again, I have taken up enough of your time. One of the most important things about this technique is that it persisted. From ancient Egypt to the magic of the Greco-Egyptian Magical Papyri to the Hermetica to early Christian magic to Medieval magic to Qabalah and Christian mystics to modern magic, Kheperu is there. And it is there because it works.