The Evolution of the Dragon. Grafton Elliot Smith

      The reference to the "eye of the body" (see p. 55) means the life-giving god or goddess who is the "eye" of the sky, i.e. the god with whom the dead king is identified.

[60] It would lead me too far afield to enter into a discussion of the use of scents and unguents, which is closely related to this question.

[61] "The Religion of the Semites," p. 133.

[62] Breasted, p. 28.

[63] For reasons explained on a subsequent page (56).

[64] It is also worth considering whether the extension of this idea may not have been responsible for originating the practice of cremation—as a device for transferring, not merely the animating incense and the supplications of the living, but also the body of the deceased to the sky-world. This, of course, did not happen in Egypt, but in some other country which adopted the Egyptian practice of incense-burning, but was not hampered by the religious conservatism that guarded the sacredness of the corpse.

[65] "The Ascent of Olympus," 1917.

[66] For a collection of stories relating to human beings, generally women, dwelling in trees, see Hartland's "Legend of Perseus".

[67] The fact that the fir and cypress are "hardy and long-lived" is not the reason for their being accredited with these life-prolonging qualities. But once the latter virtues had become attributed to them the fact that the trees were "hardy and long-lived" may have been used to bolster up the belief by a process of rationalization.

The Breath of Life.

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      Although the pouring of libations and the burning of incense played so prominent a part in the ritual of animating the statue or the mummy, the most important incident in the ceremony was the "opening of the mouth," which was regarded as giving it the breath of life.

      Elsewhere[68] I have suggested that the conception of the heart and blood as the vehicles of life, feeling, volition, and knowledge may have been extremely ancient. It is not known when or under what circumstances the idea of the breath being the "life" was first entertained. The fact that in certain primitive systems of philosophy the breath was supposed to have something to do with the heart suggests that these beliefs may be a constituent element of the ancient heart-theory. In some of the rock-pictures in America, Australia, and elsewhere the air-passages are represented leading to the heart. But there can be little doubt that the practice of mummification gave greater definiteness to the ideas regarding the "heart" and "breath," which eventually led to a differentiation between their supposed functions.[69] As the heart and the blood were obviously present in the dead body they could no longer be regarded as the "life". The breath was clearly the "element" the lack of which rendered the body inanimate. It was therefore regarded as necessary to set the heart working. The heart then came to be looked upon as the seat of knowledge, the organ that feels and wills during waking life. All the pulsating motions of the body seem to have been regarded, like the act of respiration, as expressions of the vital principle or "life," which Dutch ethnological writers refer to as "soul substance". The neighbourhood of certain joints where the pulse can be felt most readily, and the top of the head, where pulsation can be felt in the infant's fontanelle, were therefore regarded by some Asiatic peoples as the places where the substance of life could leave or enter the body.

      It is possible that in ancient times this belief was more widespread than it is now. It affords an explanation of the motive for trephining the skull among ancient peoples, to afford a more ready passage for the "vital essence" to and from the skull.

      In his lecture on "The Socratic Doctrine of the Soul,"[70] Professor John Burnet has expounded the meaning of early Greek conceptions of the soul with rare insight and lucidity. Originally, the word ψυχή meant "breath," but, by historical times, it had already been specialized in two distinct ways. It had come to mean courage in the first place, and secondly the breath of life, the presence or absence of which is the most obvious distinction between the animate and the inanimate, the "ghost" which a man "gives up" at death. But it may also quit the body temporarily, which explains the phenomenon of swooning (λιποψυχία). It seemed natural to suppose it was also the thing that can roam at large when the body is asleep, and even appear to another sleeping person in his dream. Moreover, since we can dream of the dead, what then appears to us must be just what leaves the body at the moment of death. These considerations explain the world-wide belief in the "soul" as a sort of double of the real bodily man, the Egyptian ka,[71] the Italian genius, and the Greek ψυχή.

      Now this double is not identical with whatever it is in us that feels and wills during our waking life. That is generally supposed to be blood and not breath.

      What we feel and perceive have their seat in the heart: they belong to the body and perish with it.

      It is only when the shades have been allowed to drink blood that consciousness returns to them for a while.

      At one time the ψυχή was supposed to dwell with the body in the grave, where it had to be supported by the offerings of the survivors, especially by libations (χοαί).

      An Egyptian psychologist has carried the story back long before the times of which Professor Burnet writes. He has explained "his conception of the functions of the 'heart (mind) and tongue'. 'When the eyes see, the ears hear, and the nose breathes, they transmit to the heart. It is he (the heart) who brings forth every issue and it is the tongue which repeats the thought of the heart.'"[72]

      "There came the saying that Atum, who created the gods, stated concerning Ptah-Tatenen: 'He is the fashioner of the gods. … He made likenesses of their bodies to the satisfaction of their hearts. Then the gods entered into their bodies of every wood and every stone and every metal.'"[73]

      That these ideas are really ancient is shown by the fact that in the Pyramid Texts Isis is represented conveying the breath of life to Osiris by "causing a wind with her wings".[74] The ceremony of "opening the mouth" which aimed at achieving this restoration of the breath of life was the principal part of the ritual procedure before the statue or mummy. As I have already mentioned (p. 25), the sculptor who modelled the portrait statue was called "he who causes to live," and the word "to fashion" a statue is identical with that which means "to give birth". The god Ptah created man by modelling his form in clay. Similarly the life-giving sculptor made the portrait which was to be the means of securing a perpetuation of existence, when it was animated by the "opening of the mouth," by libations and incense.

      As the outcome of this process of rationalization in Egypt a vast crop of creation-legends came into existence, which have persisted with remarkable completeness until the present day in India, Indonesia, China, America, and elsewhere. A statue of stone, wood, or clay is fashioned, and the ceremony of animation is performed to convey to it the breath of life, which in many places is supposed to be brought down from the sky.[75]

      In