Ancient Egyptian conception of the soul

In addition to these components of the soul, there was the human body (called the ḥꜥ, occasionally a plural ḥꜥw, meaning approximately "sum of bodily parts").

According to ancient Egyptian creation myths, the god Atum created the world out of chaos, utilizing his own magic (ḥkꜣ).

[2][a] Egyptologist R. David,[3] at the University of Manchester, explains the many facets of the soul as follows: The Egyptians believed that the human personality had many facets—a concept that was probably developed early in the Old Kingdom.

[3] The ẖt (Egyptological spelling: khet), or physical form, had to exist for the soul (kꜣ/bꜣ) to have intelligence or the chance to be judged by the guardians of the underworld.

Therefore, it was necessary for the body to be preserved as efficiently and completely as possible and for the burial chamber to be as personalized as it could be, with paintings and statuary showing scenes and triumphs from the deceased's life.

[4] Herodotus, an ancient Greek scholar, observed that grieving families were given a choice as to the type and or quality of the mummification they preferred: "The best and most expensive kind is said to represent [Osiris], the next best is somewhat inferior and cheaper, while the third is cheapest of all.

"[5] Because the state of the body was tied so closely with the quality of the afterlife, by the time of the Middle Kingdom, not only were the burial chambers painted with depictions of favourite pastimes and great accomplishments of the dead, but there were also small figurines (ushabtis) of servants, slaves, and guards (and, in some cases beloved pets) included in the tombs, to serve the deceased in the afterlife.

[6] Before a person could be judged by the gods, they had to be "awakened" through a series of funerary rites designed to reanimate their mummified remains in the afterlife.

If all the rites, ceremonies, and preservation rituals for the ẖt were observed correctly, and the deceased was found worthy (by Osiris and the gods of the underworld) of passing through into the afterlife, the sꜥḥ (sah; spiritual representation of the physical body) forms.

A well-known example was found in a tomb from the Middle Kingdom in which a man leaves a letter to his late wife who, it can be supposed, is haunting him: What wicked thing have I done to thee that I should have come to this evil pass?

The bꜣ is an aspect of a person that the Egyptians believed would live after the body died, and it is sometimes depicted as a human-headed bird flying out of the tomb to join with the kꜣ in the afterlife.

[clarification needed] The idea of a purely immaterial existence was so foreign to Egyptian thought that when Christianity spread in Egypt, they borrowed the Greek word ψυχή psychē to describe the concept of soul instead of the term bꜣ.

[12] In another mode of existence the bꜣ of the deceased is depicted in the Book of the Dead returning to the mummy and participating in life outside the tomb in non-corporeal form, echoing the solar theology of Ra uniting with Osiris each night.

Depending on the region, Egyptians believed that Heqet or Meskhenet was the creator of each person's kꜣ, breathing it into them at the instant of their birth as the part of their soul that made them be alive.

As Ancient Orient Curator Andrey Bolshakov explains: "The notion of the ka was a dominating concept of the next life in the Old Kingdom.

In a commentary to The Egyptian Book of the Dead (BD), Egyptologist Ogden Goelet, Jr. discusses the forms of the shadow: In many BD papyri and tombs the deceased is depicted emerging from the tomb by day in shadow form, a thin, black, featureless silhouette of a person.

Many scholars define sḫm (sekhem) as the living force or life-force of the soul which exists in the afterlife after all judgement has been passed.

The ꜣḫ "(magically) effective one"[11] was a concept of the dead that varied over the long history of ancient Egyptian belief.

An ꜣḫ could do either harm or good to persons still living, depending on the circumstances, causing, e.g., nightmares, feelings of guilt, sickness, etc.

It could be invoked by prayers or written letters left in the tomb's offering chapel also in order to help living family members, e.g., by intervening in disputes, by making an appeal to other dead persons or deities with any authority to influence things on earth for the better, but also to inflict punishments.

For this process to work, some sort of bodily preservation was required, to allow the bꜣ to return during the night, and to rise to new life in the morning.

They helped people avoid the perils of the afterlife and also aided their existence, containing spells to ensure "not dying a second time in the underworld", and to "grant memory always" to a person.

Fragment from Egyptian Book of the Dead
An ushabti box, Ptolemaic Period. On display at the Rosicrucian Egyptian Museum in San Jose, California. RC 623
Ostrakon with the beginning of the Ghost story . Terracotta from Deir el-Medina , 19th–20th Dynasties, New Kingdom of Egypt . Found by Ernesto Schiaparelli in 1905. Museo Egizio , S.6619.
Bꜣ takes the form of a bird with a human head.
This golden bꜣ amulet from the Ptolemaic Kingdom would have been worn as an apotropaic device. Walters Art Museum , Baltimore .
the Ka take the form of 2 upright arms
Scenes from the north wall of the burial chamber of Tutankhamun . On the left side, Tutankhamun , followed by his ka , embraces the god of the dead Osiris .
This exquisite gold and green stone heart scarab belonged to Hatnofer, the mother of the prominent 18th dynasty state official Senenmut, who served under the female king and pharaoh Hatshepsut. The tomb of Ramose and Hatnofer was found intact by archaeologists at Sheikh Abd el-Qurna, in Thebes. The scarab is today on display at the Metropolitan Museum of Art.
This detail scene based from the Papyrus of Ani (ca. 1375 B.C.) shows a heart being weighed on the scale of Maat against the feather of truth , by the jackal -headed Anubis . [ 19 ]
ꜣḫ glyph