#egyptian magic

[chthonic-sorcery]

Fuck candles and jars,

Here's a real 2000 Year Old Greco-Egyptian Spell 𓂀

Learn more here

𓀫

[alephskoteinos]

I'd like to share some fascinating insights about the ancient Egyptian concept of Heka, which refers both to basically the concept of "magic" in Egyptian terms and to the deity who personified that concept, derived from The Mechanics of Ancient Egyptian Magical Practice by Robert Kriech Ritner. I do not doubt it will have a certain relevance to the broad milieu of Left Hand Path occultism, though in a larger sense I figure it has important things to say about magic in paganism. What follows is an overview of how Ritner covers the concept of heka.

Heka is an Egyptian word that was selected by Coptic scribes to translate the Greek terms "mageia", and therefore magic. Magic is often defined in opposition to traditional religion, and this understanding was sadly, to varying degrees, reflected in pre-Christian Roman and Greek cultures almost as much as it was across Christianity (remember, the Greek word "mageia" was typically derogatory), but this was just not the case for ancient Egyptians. In fact, if by magic we mean heka and by heka we mean magic, magic was seen by ancient Egyptians as an important part of religious life and the life of the cosmos itself. Egyptian texts such as the Pyramid Texts treated magic or heka as something that someone could possess and work over the cosmos or the world around them. That being said, understanding what heka means also depends on understanding the god Heka.

Heka is a deity who is first attested to in visual form at the funerary temple of the Fifth Dynasty pharaoh Sahure, where Heka is depicted leading a procession of gods bearing offerings to the pharoah. In the Coffin Texts, there is a spell meant to allow a magician to become Heka, which also serves as the longest theological exposition on the concept of heka or magic. In this text, the god Heka is shown as the first being to have been created by Re-Atum, who was created before the emanation of Hu (the first word) and before the emergence of duality, gave rise to the Ennead, and thus preceded almost all of the other Egyptian deities. In this sense, however, Ritner argues that the god Heka is really a hypostasis of the creative power of Re-Atum which is the source of the order of the cosmos itself. Further, in the Coffin Texts, Heka is also said to inspire fear in all the gods who came into being after him through his powers, and came into being of himself. Heka's creative power is not limited to a single event but is instead re-enacted daily. In fact, Heka is depicted as taking his place on the solar barque of Ra as a protector of Ra.

Heka, as magic, was understood as a power that could be used defensively, both by the gods and by humans, to destroy their enemies or preserve existence. In fact, according to the Instructions for King Merikare, magic was divinely created as a "weapon" for human beings to use for their own defense. Heka was thus, on its own, perfectly religiously legitimate, not to mention perfectly legal, but in a sense it was also basically "morally" neutral. It could be used to defend or create things, but it could also be used for "evil", presumably usually meaning hostile or "criminal" acts. "Sorcery" in itself was not illegal in ancient Egypt, but it was illegal to use magic against the king. In that context, though, one might assume that the crime was not magic itself but rather was understood simply as a form of sedition or seditious conspiracy. In fact, there is only one trial in the whole of Egyptian history for sorcery: the crime was using wax figures for magic in a plot against the throne, and even so the magic itself came from books that belonged to the king himself. Otherwise, the Coffin Texts also apparently mention an "evil magic", a form of heka used by spirits of the underworld and sorcerers that the deceased does not obey, but this is in the sense of meaning "hostile" magic - as in "hostile" from the perspective of deceased souls, and Ritner stresses this is nothing like the concept of "black magic" taken for granted in our Western Christocentric culture. Even Apep, who is daily destroyed by Heka, has his own heka and spells that he wields ineffectually against Ra.

Even so, Heka has an interestingly ambiguous stature, even in relationship to the cosmic order. On the one hand, the god Heka is depicted as the generator and protector of cosmic order. On the other hand, heka is something that can be used to threaten other gods and the order of the cosmos. In the Book of the Heavenly Cow, Ra flees into the heavens from magicians who act as they please using the magic that is in their bodies. In Egyptian myth, Ra refuses to share his divine name with Isis on the grounds that he doesnt want magicians knowing it and therefore being able to threaten him with it. Egyptian theologians sometimes responded to this idea by declaring that at least some gods (for example, Shu and the divine bull of Medamud) were immune to the effects of magic. Despite this, there are numerous magical texts and spells in which magic had the power to threaten gods, the solar barque, and even the existence of the cosmos. According to Ritner, this reflects a widely held Egyptian belief in the power of heka as something all beings are subject to. You can see this clearly in the Greek Magical Papyri, in which lots and lots of spells featured compulsion rites or "threats" made to various gods by magicians, often assimilating into the identity of other gods.

Incidentally, the god Heka was also sometimes seen as having the power to threaten the souls of the deceased: in the Book of Coming Forth by Day (or "The Book of the Dead"), Heka can be threatening to the deceased soul along with a thousand violent divine guardians who stand beside him, and this threat has to be overcome by the deceased (though, again, this isn't necessarily supposed to mean something demonic).

Interestingly, the Egyptians did not see heka as something "supernatural" in the sense that we think of it today, and neither was it seen as "prenatural" as such, but rather as something present within "nature", or at least within the order of the cosmos itself, and as something that gives life to the cosmos itself. It was thought to reside in the bodies of gods and humans as well as in the plants and stones of the earth. This is actually very much in line with the concept of sunthemata as presented by "Neoplatonist" philosophers such as Iamblichus and Proclus, in which The One and/or the divine is diffused across all things in the cosmos, even plants and stones. In the Book of the Heavenly Cow, Ra is also depicted as being immanent in heka or Heka, which in turn is imminent in everything else. This is very interesting because it's as if Ra sees himself as being threatened by that which he himself is immanent in. Even more interesting is the text's ba-theology, in which heka is established as the ba-spirit of Ra himself, who created and established the heavens to house the ba-spirits of the other gods in. So heka is the ba-spirit of Ra, who is immanent in heka, which in turn is immanent in the bodies of the magicians who now threaten Ra. On the other hand, a separate hymn currently housed in Berlin depicts heka or magic as the ba-spirit of the god Ptah. In later papyri, heka is describe as the ka of Ra.

Ritner suggests that Heka's association with ka is linked to the power of heka to enter or penetrate the ka of anything in creation and invest it with either generative or destructive power. Power itself becomes the emblem of Heka's name. In Ptolemaic hieroglyphs, the image of Heka featured a phty-sign on his head, which Ritner suggests is a way of writing the word "ntr", or neteru, meaning "god" or "deity", thus reflecting the notion of the gods as being sources of heka or magical power. In another payprus, Re-Atum says "magic (heka) is my name".

Heka (magic) is to be understood as a power immanent throughout the cosmos, which both underwrites the very existence of the cosmos and might potentially destroy it, and can both support the order of the cosmos and subvert and shatter it; divine power that also threatens gods. That last part is in the sense that heka (magic) comes from the gods, is immanent in gods and at least one god is immanent in it, but it is also capable of threatening gods and spirits, or allowing magicians to do so. The way that works runs along lines similar to the theurgical logic of sunthemata, but also runs along the lines of Egyptian theology concerning ka. From that very standpoint, you can see the true extent to which the magic of the PGM is underwritten by Egyptian theology.

Those who align with a "Left Hand Path" magical orientation can clearly derive something useful from this conception, especially when seeking a link to paganism that might break them from what they see as the confines of the Christocentric religious imaginary. It seems then that those who want a pagan magical worldview that also allows the same kind of Promethean conceit so present in modern Satanism and similar systems would do well to explore the subject of ancient Egyptian magic and theology.

[ghostofmybones]

Hymn to Hathor, Lady of Gold

O my Lady, come and protect me, give me abundant life. Make me healthy on the east side of the sky, So that I will be established in the horizon.

O my Lady, come and restore me, O come! Lady of Gold! Keep me safely on the east side of the sky, So that I will be protected in the horizon.

O Come, Lady of Gold, O Come! For millions of years you have sailed in the Sun Barque of Your Father without ceasing.

As you ride in the boat of your Father, so, I pray for happiness! I pray for prosperity! I pray for health! I pray for protection! May they flow from you without ceasing!

Available here and here

I absolutely love this hymn and say it almost everyday

[thesorceresstemple]

Egypt (3rd Intermediate Period, 1069-664 BC), Amulet: cat © Musée du Louvre - Georges Poncet

[iridesca-enchantress]

Witches of witchblr, what do you guys do when you feel your energy is on the fritz or you feel like you have an over abundance to know what to do with it? As of this moment i believe im in a state of flux and my workings are yeilding some weird results as of late.

[convexicalcrow]

Cub's bare feet slipped in the hot sand, sinking in as the dune fought against his ascent. The sun was hot, too hot, compounding the effort needed to keep moving. He'd forgotten how hard it was traversing the desert, but something was compelling him to keep going.

He covered his eyes as he got to the top of the dune, the sun in just the right spot to feel almost blinding. The sand slipped around his feet again, and this time, he lost his footing, sliding down the other side of the dune.

When he came to a stop, half-buried in sand, that's when he saw it. The pyramid. His pyramid. Right. Of course. That made sense. He hadn't known that was his destination, as all he'd seen for so long was sand and dunes and sun burning down on him, but of course. Of course. Of course.

Cub got to his feet and brushed the sand off him. The pyramid had been plagueing his dreams lately. His hands itching to build another one. Smelling soft frankincense on the breeze. Seeing Ra's temple again. Feeling that old, old magic flowing up through the souls of his feet and into his hands. It felt so different to Vex magic. Hot, fluid, sharp, like Blazes, really.

So no, it wasn't surprising to be back here again. He idly wondered why as he made his way to the entrance, letting the towers slowly come into view. It really was a magnificent pyramid. He hadn't been back here since season 7 ended.

The big door was already open, as it turned out. He was sure he hadn't left it like that. Still, he stood in the entrance, gazing in at the pyramid. It all looked the same. Not that he expected it would have changed by now, but, well. Anything could happen, really.

He smelled frankincense in the air as he walked inside, taking refuge from the hot sun outside. His body sighed with relief and he spent a moment washing the sand off his feet in the cool water before proceeding further.

He'd forgotten how small he felt gazing up at the top of the pyramid from the middle of the storage room. The terracotta felt cool under his feet, though, smooth and cool. A blessed change from the hot, rough sand. As he stood there, something caught his attention over by one of the honeyvators. Something moving.

"Hey! Who's there?" Cub called as he saw a shadow sink into the wall. There was no reply. Frankincense drifted in the air around him. "Oh, I see how it is. Gods, hey? Alright."

Instinct told him to go check on the tomb. Just to make sure the Pharaoh was still at rest.

-

The tunnel to the Pharaoh's tomb was still well-hidden. There was a little more sand and rubble though, causing him to move material out of the way in order to get past. He'd done very well in making it a difficult path to take, which he hoped would protect the Pharaoh's resting place from being disturbed.

Eventually, he found the crawl space, and made his way towards the tomb. He could hear the guard patrolling, its armour clanking as it moved. It was the only sound it made, as it didn't breath or speak otherwise.

Cub paused at the only way in to the tomb. The guard would definitely come for him if he got in. That was its entire purpose. And it had definitely killed him at least twice in the process of getting it in there, and he'd kitted it out in the best gear and weapons he had.

Of course, he didn't want to kill the guard either. That would defeat the purpose of having them there. But perhaps he could...

An invisibility spell presented itself. Risky, because there was no guarantee it would work. But curiosity got the better of him, and he felt it was worth a try. Vex magic pooled in his fingers as he began tracing the runes in the air as he spoke.

"Blind the guard, they will not see, sneaking around, the likes of-"

Cub didn't get to finish as a large, rough hand gripped his own tightly, stopping him from tracing the last glyph. He was roughly dragged into the tomb - he presumed, as he could still hear the guard - as he was blinded himself.

"Hey! I wasn't going to-"

Something heavy hit the back of his head. He remembered nothing more.

-

His head was pounding as he became aware of lying on cold ground. His body ached. He breathed slowly, eyes unwilling to open. Seemed odd for the gods to treat him like this. After all, he'd built this pyramid at their behest.

"That'll teach you to grave rob."

Cub sighed. He knew that voice. It was his voice. The Pharaoh's voice. Right. So that's what this was about.

"I just wanted to make sure no one had disturbed the tomb, that's all," Cub said. He blinked, forcing his eyes open as he started to sit up. The garish colours of glazed terracotta greeted him, and confused him. "Where is this? I'm not in the-"

Cub sat up. Ah. The statue room. And there in front of him, sitting on a very grand throne made of gold, lapis, and emerald, was the Pharaoh. Old, of course, and looking just like he had before he'd moved on to season eight. But very recognisable. And carrying himself with as much power and authority as he should do.

"I'm assuming there's a reason I'm here," Cub said.

"Of course. You're going to build me a TCG arena in the form of a pyramid. I've done my rest. It's time to play. And it's time to win. I'll be the unstoppable force they will never be able to beat," the Pharaoh said.

"I mean, sure, I can do that. I-I'm not sure how you'll be able to play them though?" Cub said.

The Pharaoh stood and walked down to where Cub was. He'd sort of understood that the Pharaoh had become a separate soul, a separate part of himself. An emanation of the Kingly Ka that had made him a god. But addressing him like this still felt very weird, especially when the Pharaoh reached down and touched his chin, lifting Cub's face up to look at him.

"A vessel doesn't question what it'll be filled with," the Pharaoh said.

Cub frowned. Confused. Thought he understood that, then realised he really didn't. Thought about pondering soul stuff, decided he already had a headache and didn't need another.

At the back of his head, he heard Vex cooing. Fierce hot energy flooded all around him. The Pharaoh gripped his head with his other hand. Spells being recited were the last thing Cub was conscious of.

-

The Pharaoh stood outside the pyramid, the big piston door closing behind him. Cub could feel the King's power flooding through him once more. He'd forgotten how hot it was, how it made his skin glow. It felt so different to Vex magic.

He walked out to the sand and started tracing glyphs on the ground, summoning the portal he needed to leave this place. Cub would ordinarily have used Vex magic for this, but the Pharaoh's magic would work just as well.

He could feel Thoth's energy as Lord of Time filling his hands, powering the words he was speaking as the glyphs glowed and came to life. Protective serpents circled around him, and as he stepped into the portal, golden light surrounded him, and he returned home to Scar's tree.

[blueheartbookclub]

"Unveiling the Mysteries: E. A. Wallis Budge's 'Egyptian Magic'—A Scholarly Odyssey into Ancient Mysticism"

"Egyptian Magic" by E. A. Wallis Budge serves as a captivating portal to the mystical world of ancient Egypt, where the realms of magic, religion, and spirituality seamlessly intertwined. Published in [year], this seminal work by Budge, a renowned Egyptologist, offers readers a comprehensive exploration of the magical practices and beliefs that permeated the daily lives of the ancient Egyptians. The title itself hints at the enigmatic allure that beckons readers into a realm where the boundaries between the mundane and the supernatural blur.

Budge, known for his extensive scholarship on Egyptology, brings to life the magical traditions of ancient Egypt with meticulous detail. The title "Egyptian Magic" acts as a prelude to a journey through the spells, rituals, and incantations that were integral to the spiritual landscape of this ancient civilization. Budge's prose, though rooted in academic rigor, retains a sense of wonder that makes the subject accessible to both scholars and enthusiasts alike.

One of the strengths of "Egyptian Magic" lies in Budge's ability to contextualize magical practices within the broader religious and cultural framework of ancient Egypt. Each chapter unfolds like a chapter in the Book of the Dead, revealing the layers of meaning behind the magical spells and their significance in the Egyptian worldview. The title becomes a guide through this esoteric terrain, inviting readers to decipher the symbols and incantations that held profound meaning for the practitioners of ancient Egyptian magic.

Budge delves into the different categories of magical practices, from healing spells to protective amulets, showcasing the diverse ways in which magic permeated every facet of Egyptian life. The title "Egyptian Magic" encapsulates this multifaceted exploration, promising readers a glimpse into the rituals that sought to harness cosmic forces and commune with the divine. Budge's meticulous research and translations transport readers back in time, allowing them to witness the rituals and ceremonies that were once an integral part of the Egyptian magical tradition.

The inclusion of hieroglyphic illustrations and translations of magical texts further enhances the immersive experience of "Egyptian Magic." Budge's expertise in deciphering ancient Egyptian scripts provides readers with a firsthand encounter with the original magical incantations. The title serves as a doorway to an ancient scriptorium, where the secrets of Egyptian magic are inscribed in symbols that continue to captivate and mystify.

Beyond the academic discourse, Budge's work touches upon the spiritual dimensions of ancient Egyptian magic. The title becomes a metaphorical key, unlocking the mystical teachings that guided the Egyptian magicians in their quest for spiritual enlightenment. Budge sheds light on the deep connection between magic and the afterlife, where spells and charms were believed to secure a favorable passage through the realm of the dead.

In conclusion, "Egyptian Magic" by E. A. Wallis Budge stands as a magnum opus that unravels the complexities of an ancient civilization's magical traditions. The title invites readers into a world where the mystical and the mundane coalesce, where words held the power to shape destinies and unlock the gates to the divine. Budge's meticulous scholarship, coupled with the evocative title, ensures that "Egyptian Magic" remains a timeless exploration of the enchantments that once echoed through the sacred temples and burial chambers of ancient Egypt.

"Egyptian Magic" by E. A. Wallis Budge is available in Amazon in paperback 11.99$ and hardcover 19.99$ editions.

Number of pages: 196

Language: English

Rating: 10/10                                           

Link of the book!

Review By: King's Cat

[authorjessicacale]

Burning for You: Love Curses and Erotic Magic in the Greco-Roman World

A man in 4th Century BCE Macedon wants to separate a woman he desires from a rival. In 2nd Century CE Egypt, a woman wants the woman she desires to return her feelings. The Pompeian man seeks the help of Cupid, and the Egyptian woman is seeking help from a ghost. More than 500 years and 1,000 miles separated them, but the solution to their dilemma was the same. They each went to a magical…

[artaud23]

Interesting online reprint of an early theosophical article.

https://lightofluxor.files.wordpress.com/2022/11/the-light-of-luxor-iv.pdf

[underground-hip-hop-affiliated]

"ALLAH In The Flesh

You lookin' at 'em

Arm Leg Leg Arm Head

That's The Black Man."

True Masterz, "Egyptian Magic"

[blueheartbooks]

"Unveiling the Mysteries: E. A. Wallis Budge's 'Egyptian Magic'—A Scholarly Odyssey into Ancient Mysticism"

"Egyptian Magic" by E. A. Wallis Budge serves as a captivating portal to the mystical world of ancient Egypt, where the realms of magic, religion, and spirituality seamlessly intertwined. Published in [year], this seminal work by Budge, a renowned Egyptologist, offers readers a comprehensive exploration of the magical practices and beliefs that permeated the daily lives of the ancient Egyptians. The title itself hints at the enigmatic allure that beckons readers into a realm where the boundaries between the mundane and the supernatural blur.

Budge, known for his extensive scholarship on Egyptology, brings to life the magical traditions of ancient Egypt with meticulous detail. The title "Egyptian Magic" acts as a prelude to a journey through the spells, rituals, and incantations that were integral to the spiritual landscape of this ancient civilization. Budge's prose, though rooted in academic rigor, retains a sense of wonder that makes the subject accessible to both scholars and enthusiasts alike.

One of the strengths of "Egyptian Magic" lies in Budge's ability to contextualize magical practices within the broader religious and cultural framework of ancient Egypt. Each chapter unfolds like a chapter in the Book of the Dead, revealing the layers of meaning behind the magical spells and their significance in the Egyptian worldview. The title becomes a guide through this esoteric terrain, inviting readers to decipher the symbols and incantations that held profound meaning for the practitioners of ancient Egyptian magic.

Budge delves into the different categories of magical practices, from healing spells to protective amulets, showcasing the diverse ways in which magic permeated every facet of Egyptian life. The title "Egyptian Magic" encapsulates this multifaceted exploration, promising readers a glimpse into the rituals that sought to harness cosmic forces and commune with the divine. Budge's meticulous research and translations transport readers back in time, allowing them to witness the rituals and ceremonies that were once an integral part of the Egyptian magical tradition.

The inclusion of hieroglyphic illustrations and translations of magical texts further enhances the immersive experience of "Egyptian Magic." Budge's expertise in deciphering ancient Egyptian scripts provides readers with a firsthand encounter with the original magical incantations. The title serves as a doorway to an ancient scriptorium, where the secrets of Egyptian magic are inscribed in symbols that continue to captivate and mystify.

Beyond the academic discourse, Budge's work touches upon the spiritual dimensions of ancient Egyptian magic. The title becomes a metaphorical key, unlocking the mystical teachings that guided the Egyptian magicians in their quest for spiritual enlightenment. Budge sheds light on the deep connection between magic and the afterlife, where spells and charms were believed to secure a favorable passage through the realm of the dead.

In conclusion, "Egyptian Magic" by E. A. Wallis Budge stands as a magnum opus that unravels the complexities of an ancient civilization's magical traditions. The title invites readers into a world where the mystical and the mundane coalesce, where words held the power to shape destinies and unlock the gates to the divine. Budge's meticulous scholarship, coupled with the evocative title, ensures that "Egyptian Magic" remains a timeless exploration of the enchantments that once echoed through the sacred temples and burial chambers of ancient Egypt.

"Egyptian Magic" by E. A. Wallis Budge is available in Amazon in paperback 11.99$ and hardcover 19.99$ editions.

Number of pages: 196

Language: English

Rating: 10/10                                           

Link of the book!

Review By: King's Cat

[auroraborus]

Reading about Egyptian magical papiri making me long to learn Greek and join the discussion 😩😩😩

[alephskoteinos]

I've decided to post something from a set of notes I've been writing on the Greek Magical Papyri, because I think it contains something of a clue regarding my inquiry on the PGM and the "demonic".

PGM III. 494-611 is a spell meant to allow a magician to establish a relationship with the god Helios. Over twelve hours Helios appears in numerous different forms and produces different kinds of trees and stones and goes by different names. On the twelfth hour, Helios goes by the name Adonai, one of the names of the God of Judaism. By speaking all the signs and symbols, Helios can be adjured to perform certain deeds, lest the magician “shake heaven”. The interesting thing here is that Helios, the same deity who is addressed as the image of the whole universe, could conceivably be compelled by a magician threatening the order of heaven to do their bidding. But there is another twist to this as well. In the spell the magician says the following:

“Do the NN deed for me, the one who keeps the keys of the triangular paradise of earth, which is the kingdom. Do the NN deed for me, the fatherless child of an honoured widow, BOIATHYRITH, lest they take away from me the lord's fatherland and so that all I good things happen by command, PHOKENGEPSEUARETATHOUMISONKTAIKT MASKELLI MASKELLO PHNOUNKENTABAO AORIO ZAGRA RESICHTHON HIPPOCHTHON PYROSPARIPEGANYX KAILAM IALMIO LILIMOULBALABABNEREDEMOU.”

Betz notes that, according to Karl Preisendanz, the widow that the spell refers to is the goddess Isis, whose son is Horus, who was sometimes believed to be the product of parthenogenesis by Isis. If that is true, then the magician is adjuring Helios while identifying as Horus. This has many practical implications. On the one hand, it suggests that Helios is in this spell meant to be understood as Ra, or the Greek god Helios is here influenced by Egyptian conceptions of Ra, or the Egyptian god Ra is being interpreted as Helios by Greek authors. In Egyptian myth, Ra is forced by Isis to reveal his secret name, while in Egyptian magical texts Isis threatens to stop the course of the sun in the sky unless Ra “cures” Horus of some ailment. On the other hand, it also suggests a certain concord with what Stephen Skinner suggests is Iamblichus’ conception of the demonic. According to Skinner, Iamblichus describes a kind of spiritual creature that does not know truth from falsehood, can be stirred up when threats are brandished, and can be led by appearances. Skinner supposes that this idea is reflected in the grimoire tradition and in the Lesser Key of Solomon, such as in the examples of the invocation of spirits such as Shax or Beleth. When reading On the Mysteries of the Egyptians, Chaldeans, and Assyrians, it is obvious that Iamblichus would have regarded the rites of the PGM as stupid and blasphemous, because he objected that the gods and the celestial objects could never be threatened in any way by any magician. But if that’s the case, per Iamblichus, if any being could be compelled in such a way, it would have to be a demon. But then the PGM still regards these beings as gods, while also sometimes referring to them as daimons. This is thus what makes the PGM so strange and unique, wherein the line between god and demon often seems to be incredibly ambiguous, and where the magician can, by performing certain rites correctly, compel the gods and daimons to perform their will, often by ritually taking on the identities of other gods.

[ghostofmybones]

Prayer to Hathor

Praise Hathor full of love The sun is with thee Joyful are the days of thy glory And blessed is the fruit of thy womb Heavenly cow Mother of life Care for us now and at the time of out death

Written by me in the flow of our lady's prayer

[heilos]

Living Harmony AU relevant character sheets/info: Harmony aka the "Tree of Harmony" Stygian Shadow Lock Starswirl the Bearded Somnambula is the next pillar up on the list with an updated design, courtesy of my buddy Ori, and a fresh character sheet from me. Her and Mistmane are the two pillars that ended up getting a species swap with their rewritten backstories for this AU. Bat ponies were super underutilized in the MLP G4 show and the idea of Somnambula and her town being mostly made up of Egyptian fruit bat ponies was super fun to think about. Listed below is some character and story context for these sketches provided by my myself and Ori like usual. Hope you enjoy!

Pillar of Aspiration

Bat pony from ancient Neighgypt

Comes from a village made up of mostly bat ponies with some of the other standard pony races sprinkled in and a healthy population of anubis style diamond dogs

Not a princess, but the equivalent of high nobility in her culture. Had cash to burn and was very generous in giving her wealth to the less fortunate in her village be it money, food, clothing etc...

Was also an advisor to the Pharaoh and Prince Hisan

Her village was trapped in a collective dream by a huge mythical Sphinx that hails from the dream realm. It would have turned Somnambula’s ponies into dreamless husks had she not broken free and solved the Sphinx’s riddles, which were the basis of its magic.

Somnambula’s artifact, the Sphinx’s Crescent Moon, is a trinket she stole straight from the Sphinx’s headpiece. Affixing it to her tiara, it allows her free travel between the dreaming and physical realms. Though, spending so much time in the Dream Realm as a mortal pony has its consequences…

Gained a weird aura about her after breaking the Sphinx’s spell. A small radius around her is folded into dream space, which makes it difficult to perceive her normally. She’s essentially a friendly cognitohazard. Take a good look, because you won’t be able to recall her face later. Lucid dreamers can see past this effect.

Has a somewhat eerie quality to her that she likes to play up. Dispenses philosophical queries just to mess with ponies such as: “Perhaps I am merely a fruit bat dreaming that she is a pony” or “Perhaps this is a dream, you don’t know!”

Has sharp teeth, but they’re meant for biting into fruits. Sometimes will joke about "gobbling" someone up if they get too close

Sleeps like a regular bat by hanging upside down. The bottom of bat pony hooves can grip many different surfaces for this purpose

Firmly believes in making your dreams into reality

Ancient Equestrians would call upon her name for protection in their dreams

Dream walked so Princess Luna could dream run

Somnambula is Luna's favorite pillar and legend

Is celebrated with a statue of her in the center of the town “Somnambula” in modern Equestria. However it incorrectly depicts her as a pegasus pony instead of a bat pony due to wibbly wobbly history record keeping and/or the strange dream like effect that surrounds her

Somnambula’s Weather Abjuration (The Crystalling Part 2 - 16:26) is a spell named after her, though she herself had no hoof in its creation. It’s very likely that this weather ward was made after the perception of Somnambula shifted into her being a pegasus

Somnambula redesign by Orin331

[milky-rozen]

Meaning of Colors in Anciet Egyptian Art: