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A stunning and original interpretation of an ancient system of poetic, religious, and philosophical thought
Buried in the Egyptian desert some four thousand years ago, the Pyramid Texts are among the world’s oldest poetry. Yet ever since the discovery of these hieroglyphs in 1881, they have been misconstrued by Western Egyptologists as a garbled collection of primitive myths and incantations, relegating to obscurity their radiant fusion of philosophy, scientific inquiry, and religion.
Now, in a seminal work, the classicist and linguist Susan Brind Morrow has recast the Pyramid Texts as a coherent work of art, arguing that they should be recognized as a formative event in the evolution of human thought. In The Dawning Moon of the Mind she explains how to read hieroglyphs, contextualizes their evocative imagery, and interprets the entire poem. The result is a magisterial religious and philosophical text revealing a profound consciousness of the world with astonishing parallels to Judeo-Christian culture, Buddhism, and Tantra.
More than twenty years in the making, The Dawning Moon of the Mind is a monumental achievement that locates one of the origins of poetic thought in Western culture. Almost before science, art, and written language, these texts set forth the relationship between time and eternity, life and death, history and ideas. In The Dawning Moon of the Mindthey emerge in their original luminosity and intelligence alongside a persuasive argument for their central importance to the history of language.
- Sales Rank: #139238 in Books
- Published on: 2015-12-08
- Released on: 2015-12-08
- Original language: English
- Number of items: 1
- Dimensions: 9.23" h x 1.09" w x 6.32" l, 1.00 pounds
- Binding: Hardcover
- 304 pages
Review
"In this exciting book, Morrow . . . provides a radical new translation and a line-by-line exegesis." ―The New Yorker
"With a brilliant combination of literary criticism, cultural history, and linguistic expertise, archaeologist Morrow . . . provides a dazzling new translation of the hieroglyphs of the pyramid of Unis (built in 2323 B.C.E.) as well as a detailed and thoughtful guide to interpreting hieroglyphs and understanding the culture that produced them. . . . Most translations misinterpret the Pyramid Texts to be the stories of animals and gods, but Morrow’s translation and interpretation reveal them to be the story of the invention of time and an examination of the ways in which humanity is deeply embedded in the cosmic." ―Publishers Weekly
“An erudite investigation that rewards patient, careful reading.” ―Kirkus Reviews
“With the skill of a scholar and the sensibility of a poet, Susan Morrow opens the language of hieroglyphs.”
―Elaine Pagels, author of The Gnostic Gospels
“Susan Brind Morrow has given us a work of sublime intelligence and importance in which she manages with kindness and courtesy to explode the old myths of the Pyramid Texts, revealing a cascade of new and hitherto-unknown truths about the wisdom of the Egyptian ancients. The Dawning Moon of the Mind is beautifully and wisely crafted―a treasure-house of secrets that is a perfect joy to read.”
―Simon Winchester, author of The Professor and the Madman: A Tale of Murder, Insanity, and the Making of the Oxford English Dictionary
“Bringing a much-needed poetic and visual sensitivity to the Pyramid Texts, Susan Brind Morrow shows that they are indeed deeply visual and poetic in their language, and she makes a compelling case that they need reinterpretation. The author’s deep knowledge of Egypt and affection for the land, along with her long-time immersion in Arabic, give The Dawning Moon of the Mind a remarkable range and immediacy.”
―Roger Bagnall, Leon Levy Director, Institute for the study of the Ancient World, New York University
“This is a profound and profoundly inspiring book, a work of the scholarly heart, the feeling mind.”
―Verlyn Klinkenborg, author of The Rural Life
About the Author
Susan Brind Morrow studied classics, Arabic, and Egyptology at Columbia University. She has lived and traveled extensively in Egypt and Sudan, working as an archaeologist and as a Guggenheim Foundation fellow studying natural history, language, and the uses of poetry. Her first book,The Names of Things: A Passage in the Egyptian Desert, was a finalist for the PEN/Martha Albrand Award for the Art of the Memoir in 1998. She is also the author of Wolves andHoney: A Hidden History of the Natural World.
Most helpful customer reviews
18 of 20 people found the following review helpful.
Susan Brind Morrow has broken the mold of the stilted "authorities"
By J. A. Schwager
We have all seen a complainer, protecting his ego, while receiving a gold platter, yet criticizing it's luster, it late delivery, or other distracting collateral. Thus I differ from detractors of Susan Brind Morrow. If someone wants site archeology they should buy such a book, if they want mind splitting insight on the Egyptian mind, they should buy The Dawning Moon of the Mind."
Her well-titled new publication, "The Dawning Moon of the Mind" completes a cycle begun over 4000 years ago by Egyptian thinkers---a contemplation on life, death, and the universe---to which she brings her brilliant archeologist's and linguist's insight in a closely examined analysis of some of the oldest hieroglyphics on earth, bringing them back to life as the coded language revealing thrilling insights to human existence as held by those alive at the time. Should humans survive our 21st Century bestial degradation, imagine 4000 years forward, the year on earth at say, 6016, during which archeologists, linguists, and poets contemplate the language they called English. Their interpretation are likely to be laughable, as have been those done by Sir Alan Gardiner, poor James P Allen and other established "authorities" of Eqyptian times.
Susan Brind Morrow is a scientist, who instead of merely leaning on academics, engages her genius to reveal the "gold platter" is all its luster. It's apparent she is working in a different league than the others, is combining what is, with her profound linguistic intelligence, and bringing back to 21st century readers a rare trove of insight. Morrow is not afraid to use one of humans highest tools, the mind of poetry, as an excavationary tool. If you differ, dip into Dr. Leonard Shlain's Art And Physics.
9 of 9 people found the following review helpful.
The Crack!
By Jason A. Voss
Way to go Susan Brind Morrow, this is one of the masterpieces of spiritual literature. Exceptionally well done!
In keeping with the multi-meanings possible with hieroglyphs as a symbolique, I entitled this review The Crack because Susan Brind Morrow's nearly flawless Dawning Moon of the Mind deserves such a layered, and in-depth meaning. That is, The Crack here has multiple meanings:
First, I believe Susan Brind Morrow has (nearly) cracked the code of the Pyramid Texts [more on this below]. Anyone that has ever traveled to Egypt and spent time in the ancient monuments comes away with one overriding thought: This was a culture that did not do anything without consciousness. Intention is writ large everywhere. Ancient Egypt is, in my opinion, the closest a people has come to living harmoniously, with humanity, and with profound meaning. Yet, to read the normal Egyptological work you would think these were a most primitive people that were ignorant and foolhardy. I think this is mostly because the depth of ancient Egyptian culture simply escapes reviewers who are not fully qualified to understand and appreciate just how much depth is present before them. This is especially true for the great spiritual works of this majestic culture, where the interpreters of these traditions could scarcely be called initiated, yet alone enlightened. Because they lack a well trod shamanic path, they cannot hear or see the transcendent depth of meaning in the masterful spiritual works. Yet, Brind Morrow has restored most of the brilliance and the voice of this lost culture. BRAVO! THANK YOU, THANK YOU!
Second, Brind-Morrow's writing itself is inspired. So the next version of "The Crack" is the sound of a lightning strike signaling great and brilliant insight; an a-ha, a eureka! Not only is her translation of individual words and phrases potent. But the damned thing is charged with electricity. Dawning Moon of the Mind is/was clearly a labor of love and it shows. Only in a very few places does the translation seem to veer away from the spirit of Ancient Kmt (i.e. Egypt, to the modern reader). [More on this below]
Third, because of the precision and love invested in Dawning Moon of the Mind, Brind Morrow has cracked open a long gestating egg. Namely, how can this ancient culture's great spiritual contribution, long gestating, take wing in the modern world to inform and teach anew? This is a project that I had on my back burner to be done at some point in my (retired) future. But alas, the egg now has "The Crack" and has been opened so beautifully, that at best all I could add here are some footnotes about meaning that seem missing from Dawning Moon of the Mind. [More on that below]
Fourth, I could not put the book down and re-read many passages just for the sheer delight. In this sense, the book was like The Crack of drug-fame: highly addictive and potent. I haven't read anything this aggressively in a long time. Thanks!
Fifth, Brind Morrow rightly compares what is being described in the Pyramid Texts to vajrayana Buddhism. This is so danged obvious to those who have spent time with both traditions. Kundalini rising is The Crack of lighting for the body, and The Crack for the soul. That others have not noticed this (excepting Jeremy Naydler's "Shamanic Wisdom in the Pyramid Texts) is testimony to just how cloistered and overly contextualized are most academics.
Last, when swords are forged well they are a balance of flexibility and hardness. Too flexible and they will not cut. Too hard and they will crack like glass. Here "The Crack" is the sharp, but not as flexible sword of Brind Morrow's wisdom and intelligence of the heart. Most of my very, very limited criticism for Dawning Moon of the Mind has to do with some of the overly rigid interpretations of the symbols contained within the Pyramid Texts themselves. Before I delve into some of that criticism I need to make abundantly clear that I rate this book a 96 out of 100. In fact, I cannot recommend this book enough and am considering ordering many copies to hand out to people in the future as gifts. Well done, Susan Brind Morrow.
[For those not wanting to read my limited, but detailed criticisms below. Please feel free to exit the review : )]
So here are my limited criticisms:
The Egyptian hieroglyphs are amazing in that they are precise, yet vast in meaning simultaneously. Brind Morrow makes this point herself. However, at times I think her translation of the symbols is too literal, and hence I believe she misses some of the richer meaning. For example, she translates Ra as essentially "light." No doubt this is one of the intended meanings by the author(s) of the Pyramid Texts. Let me illustrate why this translation misses much. A good initiation (intentional, or unintentional) has basically four stages:
1) the choice to be initiated;
2) the death of self, or the letting go absolutely of one's ego (deeply felt prejudices and preferences that lead to separateness) (i.e. Asar (i.e. Osiris, for the modern reader));
3) the ultimate overcoming of the ego (i.e. Sutekh (i.e. Set, for a modern reader) which fills one with a golden light, and absolute bliss (i.e. Ra); and,
4) the return (i.e. Hor (i.e. Horus for the modern reader)).
When I first read the Pyramid Texts I could hear, even in the poor Egyptologists' translations I endured, these four states being described. In fact, Brind Morrow describes them, too. However, Ra is much more than "light." Ra is the quality of profound, non-conceptual awareness, and direct knowing of the divine. There is for the initiate a sense of complete separateness, but an approaching of the infinite. This is followed by total immersion/disintegration, and a sense of rebirth. This is why Hor and Ra are essentially depicted the same way, as hawk-headed humans. Ra has a distinct consciousness that pulses, is alive, and is far from the abstract narrowness of "light" or bland "energy." Call this what you will, the collective consciousness, the zero point field, God, or whatever. But it deserves a bit of exploration in Dawning Moon of the Mind. I believe an excellent place would be in the extensive pre-Pyramid Texts translation notes.
In short, what is missing is the understanding of symbol as symbolique as exhaustively, yet brilliantly, described by R.A. Schwaller de Lubicz in his opus, Temple of Man. The ancient Egyptians did not mess around with their choice of symbols. So why was Hor depicted as a hawk, and Djhty depicted as an Ibis, when there are so many other choices available? These were not indiscriminate choices on the part of the ancient Egyptians. Hor is a hawk, not just because of his eye sight, but because he can touch both the earthly world, and fly into the sky, approach the sun, and disappear into the sun, returning ultimately to earth. The vision attained when Asar becomes Ra, becomes Hor, is the eyesight of the earthbound and the sky flyer both. The one that has made this journey in later Egyptian texts (e.g. the Book of Going Forth by Day) is known as Ra Hor Akh Te. One interpretation of this is as a formula Ra - the highest aspiration; Hor - the one that knows Ra intimately, but must return to earth to continue life; Akh, the immortal soul, the knowledge of which the initiate now has as his spirit clear the horizon exiting the night time via the Duat (by the way, love Dawning Moon of the Mind's perfect cover art), only to then occupy the position of the sun, dawning, reborn from night, to touch the earth again (Ta). Brind Morrow gets most of this. But an in-depth acknowledgment of, and explanation of the symbolique makes the poem even richer for the reader. It also transmits more and richer content, and supports Brind Morrow's case even more meaningfully.
One more. Why is Asar (i.e. Osiris) depicted as green? Brind Morrow discusses this, but then does not discuss the equally interesting question as to why Asar is half mummy, half man. I agree with her completely about the understanding of green. This is the mystery: life survives on death. We eat animals and/or plants, in so doing we kill them to sustain ourselves. This is the mystery of nature. How it cycles through these great natural functions (again see R.A. Schwaller de Lubicz for a full exposition of the vibrancy and living quality of functions) is impenetrable with logic. So why is Asar half mummy, half man? In short, for the same reason that this initiate/function/neter is green. Asar is half-way between death (mummy) and life (he might be re-born if he becomes Ra/merges with the light). Asar's feet are not green, it is his head. Why? Because through his choices, informed by wisdom, he may attain the rebirth. There are other examples of symbols described, rather than a symbolique described. This is a critical distinction. But again, this is my only criticism of Brind Morrow's work. You simply must buy it if you ever wanted to hear and feel the ancient Egyptians in their full, rich majesty!
Finally, (and thank you to the patient reader of this extended review) for those of you that love this book, you may also appreciate Jeremy Naydler's "Shamanic Wisdom in the Pyramid Texts" and the aforementioned, R.A. Schwaller de Lubicz's "Temple of Man." Though, be forewarned, this latter book is a beast and is not to be undertaken lightly.
Shamanic Wisdom in the Pyramid Texts: The Mystical Tradition of Ancient Egypt
The Temple of Man
14 of 17 people found the following review helpful.
This was kind of a missed opportunity
By Marty
This was kind of a missed opportunity. The basic idea is that the Pyramid Texts (mortuary writings found on the walls of a number of pyramids) represent high poetry, a mathematical description of life (and death) in the physical world and the convergence of ideograms and phonetic writing. Morrow feels that these writings are greatly devalued and viewed as either pagan incantations or as well known formulas for the deceased to escape the pitfalls encountered on the way to “heaven.” Morrow does a great job in making her case. But there were failures, as I kind of harp on later.
First, I have to say that Morrows rendering of the texts must be closer to the truth than those of the past. Who would believe that the lines “Unis has come to you falcons in your enclosures – become peaceful to Unis – with his tail bent , of the intestines of a baboon, at his rear…” or, “pull back, Baboon’s penis! Open the sky’s door!” would be placed in the tomb of a great king? And yet, this is a well-known translation of text verse. Clearly, much interpretation of the various cognates would be required to understand what’s going on here.
Morrow does supply a lot of sensible effort in achieving this goal. She asserts that the baboon, Babay, is actually a figure representing wisdom. And, in keeping with the “astronomical” interpretations of the texts, the “penis” referred to is a mistaken interpretation relating to Orion’s sword.
Also, you cannot fail to be moved by her interpretation of the repeated refrain:
Death is before me today
Like the smell of myrrh…
The verse grounds us to the fact that this is a kind of eulogy. We’re burying the dead. And the questions bubble up. How do the eulogizers view death? How, for that matter, do they view life?
As those are the subjects of the book, I won’t provide “spoilers” giving you what I think the author is saying about these things. I will say, she does make the case that there is a real grandeur in the view the ancient Egyptians took about these things. Their view was not at all “barbaric” or somehow lacking sophistication.
But a lot of the book is devoted to writing and the “immortality” it brings. In that arena, I think it fails. The hieroglyphs presented are hard to make out. They give really low contrast relief on the books pages. And so, it’s hard to really make sense or Morrow’s comments on the how the shapes amplify the impact of the phonetic content of the individual words. I think there were two ways out of this. Either, you could produce a more expensive book on better paper with higher contrast, higher resolution images with more detailed captions to refer back to the text. Or, like many scientific journals, you could have an on-line “methods” section with higher quality images and better tie-ins to the text.
Also, the book is full of references to modern poetry (to Elliot, Auden, Hopkins…) and to later literary works, like the bible. I think to claim that these were evolutions of Egyptian thought is a bit of a stretch. They just don’t fit in and they could have been omitted without loss. Their omission would have tightened the actual focus of the text.
While I bought off on Morrow’s astronomical and geometrical interpretations, I do have to comment on some of her claims. First of all, even though Pi (from the circle stuff you learned as a kid) is irrational and can only be expressed as an infinite sequence of apparently random digits, it is not infinite! As Leibnitz’ formula clearly shows, there is a formula that definitely converges to Pi divided by 4. So if we multiply that number by 4, we get a convergent series for Pi. Many infinite series are “bounded.” The series that represents Pi is one of them. Pi is not infinite, even though it requires an infinite series of digits to represent it.
Finally, the book could have added a few helpful facts. Who was Unis and where did he stand in the lineage of pharaohs? The actual way the hieroglyphs were interpreted by Champollion and Young deserved some mention as I’m sure not all readers were fully tuned in to their work.
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