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Mysteries, Spirituality

Egyptian Book of the Dead

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Now when we have looked the Tibetan Book Of The Deatd there is also an Egyptian Book Of The Dead:

The Book of the Dead is an ancient Egyptian funerary text, used from the beginning of the New Kingdom (around 1550 BCE) to around 50 BCE.[1] The original Egyptian name for the text, transliterated rw nw prt m hrw[2] is translated as “Book of Coming Forth by Day”.[3] Another translation would be “Book of emerging forth into the Light”. The text consists of a number of magic spells intended to assist a dead person’s journey through the Duat, or underworld, and into the afterlife.

The Book of the Dead was part of a tradition of funerary texts which includes the earlier Pyramid Texts and Coffin Texts, which were painted onto objects, not papyrus. Some of the spells included were drawn from these older works and date to the 3rd millennium BCE. Other spells were composed later in Egyptian history, dating to the Third Intermediate Period (11th to 7th centuries BCE). A number of the spells which made up the Book continued to be inscribed on tomb walls and sarcophagi, as had always been the spells from which they originated. The Book of the Dead was placed in the coffin or burial chamber of the deceased.

There was no single or canonical Book of the Dead. The surviving papyri contain a varying selection of religious and magical texts and vary considerably in their illustration. Some people seem to have commissioned their own copies of the Book of the Dead, perhaps choosing the spells they thought most vital in their own progression to the afterlife. The Book of the Dead was most commonly written in hieroglyphic or hieratic script on a papyrus scroll, and often illustrated with vignettes depicting the deceased and their journey into the afterlife.

Development

The Book of the Dead developed from a tradition of funerary manuscripts dating back to the Egyptian Old Kingdom. The first funerary texts were the Pyramid Texts, first used in the Pyramid of King Unas of the 5th dynasty, around 2400 BCE.[4] These texts were written on the walls of the burial chambers within pyramids, and were exclusively for the use of the Pharaoh (and, from the 6th dynasty, the Queen). The Pyramid Texts were written in an unusual hieroglyphic style; many of the hieroglyphs representing humans or animals were left incomplete or drawn mutilated, most likely to prevent them causing any harm to the dead pharaoh.[5] The purpose of the Pyramid Texts was to help the dead King take his place amongst the gods, in particular to reunite him with his divine father Ra; at this period the afterlife was seen as being in the sky, rather than the underworld described in the Book of the Dead.[5] Towards the end of the Old Kingdom, the Pyramid Texts ceased to be an exclusively royal privilege, and were adopted by regional governors and other high-ranking officials.

In the Middle Kingdom, a new funerary text emerged, the Coffin Texts. The Coffin Texts used a newer version of the language, new spells, and included illustrations for the first time. The Coffin Texts were most commonly written on the inner surfaces of coffins, though they are occasionally found on tomb walls or on papyri.[5] The Coffin Texts were available to wealthy private individuals, vastly increasing the number of people who could expect to participate in the afterlife; a process which has been described as the “democratization of the afterlife”.[6]

The Book of the Dead first developed in Thebes towards the beginning of the Second Intermediate Period, around 1700 BCE. The earliest known occurrence of the spells included in the Book of the Dead is from the coffin of Queen Mentuhotep, of the 13th dynasty, where the new spells were included amongst older texts known from the Pyramid Texts and Coffin Texts. Some of the spells introduced at this time claim an older provenance; for instance the rubric to spell 30B states that it was discovered by the Prince Hordjedef in the reign of King Menkaure, many hundreds of years before it is attested in the archaeological record.[7]

By the 19th dynasty, the Book of the Dead had become widespread not only for members of the royal family, but courtiers and other officials as well. At this stage, the spells were typically inscribed on linen shrouds wrapped around the dead, though occasionally they are found written on coffins or on papyrus.[8]

The New Kingdom saw the Book of the Dead develop and spread further. The famous Spell 125, the ‘Weighing of the Heart‘, is first known from the reign of Hatshepsut and Tuthmose III, c.1475 BCE. From this period onward the Book of the Dead was typically written on a papyrus scroll, and the text illustrated with vignettes. During the 19th dynasty in particular, the vignettes tended to be lavish, sometimes at the expense of the surrounding text.[9]

In the Third Intermediate Period, the Book of the Dead started to appear in hieratic script, as well as in the traditional hieroglyphics. The hieratic scrolls were a cheaper version, lacking illustration apart from a single vignette at the beginning, and were produced on smaller papyri. At the same time, many burials used additional funerary texts, for instance the Amduat.[10]

During the 25th and 26th dynasties, the Book of the Dead was updated, revised and standardised. Spells were consistently ordered and numbered for the first time. This standardised version is known today as the ‘Saite recension’, after the Saite (26th) dynasty. In the Late period and Ptolemaic period, the Book of the Dead remained based on the Saite recension, though increasingly abbreviated towards the end of the Ptolemaic period. New funerary texts appeared, including the Book of Breathing and Book of Traversing Eternity. The last use of the Book of the Dead was in the 1st century BCE, though some artistic motifs drawn from it were still in use in Roman times.[11]

Spells

The mystical Spell 17, from the Papyrus of Ani. The vignette at the top illustrates, from left to right, the god Heh as a representation of the Sea; a gateway to the realm of Osiris; the Eye of Horus; the celestial cow Mehet-Weret; and a human head rising from a coffin, guarded by the four Sons of Horus.[12]

The Book of the Dead is made up of a number of individual texts and their accompanying illustrations. Most sub-texts begin with the word ro, which can mean mouth, speech, a chapter of a book, spell, utterance, or incantation. This ambiguity reflects the similarity in Egyptian thought between ritual speech and magical power.[13] In the context of the Book of the Dead, it is typically translated as either “chapter” or “spell”. In this article, the word “spell” is used.

At present, some 192 spells are known,[14] though no single manuscript contains them all. They served a range of purposes. Some are intended to give the deceased mystical knowledge in the afterlife, or perhaps to identify them with the gods: for instance, Spell 17, an obscure and lengthy description of the god Atum.[15] Others are incantations to ensure the different elements of the dead person’s being were preserved and reunited, and to give the deceased control over the world around him. Still others protect the deceased from various hostile forces, or guide him through the underworld past various obstacles. Famously, two spells also deal with the judgement of the deceased in the Weighing of the Heart ritual.

Such spells as 26-30, and sometimes spells 6 and 126 relate to the heart, and were inscribed on scarabs.[16]

The texts and images of the Book of the Dead were magical as well as religious. Magic was as legitimate an activity as praying to the gods, even when the magic was aimed at controlling the gods themselves.[17] Indeed, there was little distinction for the Ancient Egyptians between magical and religious practice.[18] The concept of magic (heka) was also intimately linked with the spoken and written word. The act of speaking a ritual formula was an act of creation;[19] there is a sense in which action and speech were one and the same thing.[18] The magical power of words extended to the written word. Hieroglyphic script was held to have been invented by the god Thoth, and the hieroglyphs themselves were powerful. Written words conveyed the full force of a spell.[19] This was even true when the text was abbreviated or omitted, as often occurred in later Book of the Dead scrolls, particularly if the accompanying images were present.[20] The Egyptians also believed that knowing the name of something gave power over it; thus, the Book of the Dead equips its owner with the mystical names of many of the entities he would encounter in the afterlife, giving him power of them.[21]

The spells of the Book of the Dead made use of several magical techniques which can also be seen in other areas of Egyptian life. A number of spells are for magical amulets, which would protect the deceased from harm. In addition to being represented on a Book of the Dead papyrus, these spells appeared on amulets wound into the wrappings of a mummy.[17] Everyday magic made use of amulets in huge numbers. Other items in direct contact with the body in the tomb, such as headrests, were also considered to have amuletic value.[22] A number of spells also refer to Egyptian beliefs about the magical healing power of saliva.[17]

Organization

Almost every Book of the Dead was unique, containing a different mixture of spells drawn from the corpus of texts available. For most of the history of the Book of the Dead there was no defined order or structure.[23] In fact, until Paul Barguet‘s 1967 “pioneering study” of common themes between texts,[24] Egyptologists concluded there was no internal structure at all.[25] It is only from the Saite period (26th dynasty) onwards that there is a defined order.[26]

The Books of the Dead from the Saite period tend to organize the Chapters into four sections:

  • Chapters 1–16 The deceased enters the tomb, descends to the underworld, and the body regains its powers of movement and speech.
  • Chapters 17–63 Explanation of the mythic origin of the gods and places, the deceased are made to live again so that they may arise, reborn, with the morning sun.
  • Chapters 64–129 The deceased travels across the sky in the sun ark as one of the blessed dead. In the evening, the deceased travels to the underworld to appear before Osiris.
  • Chapters 130–189 Having been vindicated, the deceased assumes power in the universe as one of the gods. This section also includes assorted chapters on protective amulets, provision of food, and important places.[25]

Afterlife

The nature of the afterlife which the dead person enjoyed is difficult to define, because of the differing traditions within Ancient Egyptian religion. In the Book of the Dead, the dead were taken into the presence of the god Osiris, who was confined to the subterranean Duat. There are also spells to enable the ba or akh of the dead to join Ra as he travelled the sky in his sun-barque, and help him fight off Apep.[35] As well as joining the Gods, the Book of the Dead also depicts the dead living on in the ‘Field of Reeds’, a paradisaical likeness of the real world.[36] The Field of Reeds is depicted as a lush, plentiful version of the Egypt of the living. There are fields, crops, oxen, people and waterways. The deceased person is shown encountering the Great Ennead, a group of gods, as well as his or her own parents. While the depiction of the Field of Reeds is pleasant and plentiful, it is also clear that manual labour is required. For this reason burials included a number of statuettes named shabti, or later ushebti. These statuettes were inscribed with a spell, also included in the Book of the Dead, requiring them to undertake any manual labour that might be the owner’s duty in the afterlife.[37] It is also clear that the dead not only went to a place where the gods lived, but that they acquired divine characteristics themselves. In many occasions, the deceased is mentioned as “The Osiris – [Name]” in the Book of the Dead.

Two ‘gate spells’. On the top register, Ani and his wife face the ‘seven gates of the House of Osiris’. Below, they encounter ten of the 21 ‘mysterious portals of the House of Osiris in the Field of Reeds’. All are guarded by unpleasant protectors.[38]

The path to the afterlife as laid out in the Book of the Dead was a difficult one. The deceased was required to pass a series of gates, caverns and mounds guarded by supernatural creatures.[39] These terrifying entities were armed with enormous knives and are illustrated in grotesque forms, typically as human figures with the heads of animals or combinations of different ferocious beasts. Their names—for instance, “He who lives on snakes” or “He who dances in blood”—are equally grotesque. These creatures had to be pacified by reciting the appropriate spells included in the Book of the Dead; once pacified they posed no further threat, and could even extend their protection to the dead person.[40] Another breed of supernatural creatures was ‘slaughterers’ who killed the unrighteous on behalf of Osiris; the Book of the Dead equipped its owner to escape their attentions.[41] As well as these supernatural entities, there were also threats from natural or supernatural animals, including crocodiles, snakes, and beetles.[42]

Judgement

The Weighing of the Heart ritual, shown in the Book of the Dead of Sesostris.

If all the obstacles of the Duat could be negotiated, the deceased would be judged in the “Weighing of the Heart” ritual, depicted in Spell 125. The deceased was led by the god Anubis into the presence of Osiris. There, the dead person swore that he had not committed any sin from a list of 42 sins,[43] reciting a text known as the “Negative Confession”. Then the dead person’s heart was weighed on a pair of scales, against the goddess Maat, who embodied truth and justice. Maat was often represented by an ostrich feather, the hieroglyphic sign for her name.[44] At this point, there was a risk that the deceased’s heart would bear witness, owning up to sins committed in life; Spell 30B guarded against this eventuality. If the scales balanced, this meant the deceased had led a good life. Anubis would take them to Osiris and they would find their place in the afterlife, becoming maa-kheru, meaning “vindicated” or “true of voice”.[45] If the heart was out of balance with Maat, then another fearsome beast called Ammit, the Devourer, stood ready to eat it and put the dead person’s afterlife to an early and unpleasant end.[46]

This scene is remarkable not only for its vividness but as one of the few parts of the Book of the Dead with any explicit moral content. The judgement of the dead and the Negative Confession were a representation of the conventional moral code which governed Egyptian society. For every “I have not…” in the Negative Confession, it is possible to read an unexpressed “Thou shalt not”.[47] While the Ten Commandments of Judaeo-Christian ethics are rules of conduct laid down by a perceived divine revelation, the Negative Confession is more a divine enforcement of everyday morality.[48] Views differ among Egyptologists about how far the Negative Confession represents a moral absolute, with ethical purity being necessary for progress to the Afterlife. John Taylor points out the wording of Spells 30B and 125 suggests a pragmatic approach to morality; by preventing the heart from contradicting him with any inconvenient truths, it seems that the deceased could enter the afterlife even if their life had not been entirely pure.[46] Ogden Goelet says “without an exemplary and moral existence, there was no hope for a successful afterlife”,[47] while Geraldine Pinch suggests that the Negative Confession is essentially similar to the spells protecting from demons, and that the success of the Weighing of the Heart depended on the mystical knowledge of the true names of the judges rather than on the deceased’s moral behaviour.[49]

Producing a Book of the Dead

Part of the Book of the Dead of Pinedjem II. The text is hieratic, except for hieroglyphics in the vignette. The use of red pigment, and the joins between papyrus sheets, are also visible

A close-up of the Papyrus of Ani, showing the cursive hieroglyphs of the text

A Book of the Dead papyrus was produced to order by scribes. They were commissioned by people in preparation for their own funeral, or by the relatives of someone recently deceased. They were expensive items; one source gives the price of a Book of the Dead scroll as one deben of silver,[50] perhaps half the annual pay of a labourer.[51] Papyrus itself was evidently costly, as there are many instances of its re-use in everyday documents, creating palimpsests. In one case, a Book of the Dead was written on second-hand papyrus.[52]

Most owners of the Book of the Dead were evidently part of the social elite; they were initially reserved for the royal family, but later papyri are found in the tombs of scribes, priests and officials. Most owners were men, and generally the vignettes included the owner’s wife as well. Towards the beginning of the history of the Book of the Dead, there are roughly 10 copies belonging to men for every one for a woman. However, during the Third Intermediate Period, 2/3 were for women; and women owned roughly a third of the hieratic paypri from the Late and Ptolemaic Periods.[53]

The dimensions of a Book of the Dead could vary widely; the longest is 40m long while some are as short as 1m. They are composed of sheets of papyrus joined together, the individual papyri varying in width from 15 cm to 45 cm. The scribes working on Book of the Dead papyri took more care over their work than those working on more mundane texts; care was taken to frame the text within margins, and to avoid writing on the joints between sheets. The words peret em heru, or ‘coming forth by day’ sometimes appear on the reverse of the outer margin, perhaps acting as a label.[52]

Books were often prefabricated in funerary workshops, with spaces being left for the name of the deceased to be written in later.[54] For instance, in the Papyrus of Ani, the name “Ani” appears at the top or bottom of a column, or immediately following a rubric introducing him as the speaker of a block of text; the name appears in a different handwriting to the rest of the manuscript, and in some places is mis-spelt or omitted entirely.[51]

The text of a New Kingdom Book of the Dead was typically written in cursive hieroglyphs, most often from left to right, but also sometimes from right to left. The hieroglyphs were in columns, which were separated by black lines – a similar arrangement to that used when hieroglyphs were carved on tomb walls or monuments. Illustrations were put in frames above, below, or between the columns of text. The largest illustrations took up a full page of papyrus.[55]

From the 21st Dynasty onward, more copies of the Book of the Dead are found in hieratic script. The calligraphy is similar to that of other hieratic manuscripts of the New Kingdom; the text is written in horizontal lines across wide columns (often the column size corresponds to the size of the papyrus sheets of which a scroll is made up). Occasionally a hieratic Book of the Dead contains captions in hieroglyphic.

The text of a Book of the Dead was written in both black and red ink, regardless of whether it was in hieroglyphic or hieratic script. Most of the text was in black, with red used for the titles of spells, opening and closing sections of spells, the instructions to perform spells correctly in rituals, and also for the names of dangerous creatures such as the demon Apep.[56] The black ink used was based on carbon, and the red ink on ochre, in both cases mixed with water.[57]

The style and nature of the vignettes used to illustrate a Book of the Dead varies widely. Some contain lavish colour illustrations, even making use of gold leaf. Others contain only line drawings, or one simple illustration at the opening.[58]

Book of the Dead papyri were often the work of several different scribes and artists whose work was literally pasted together.[52] It is usually possible to identify the style of more than one scribe used on a given manuscript, even when the manuscript is a shorter one.[59] The text and illustrations were produced by different scribes; there are a number of Books where the text was completed but the illustrations were left empty.[60]

Discovery, translation, interpretation and preservation

Karl Richard Lepsius, first translator of a complete Book of the Dead manuscript

The existence of the Book of the Dead was known as early as the Middle Ages, well before its contents could be understood. Since it was found in tombs, it was evidently a document of a religious nature, and this led to the widespread misapprehension that the Book of the Dead was the equivalent of a Bible or Qu’ran.[61]

The first modern facsimile of a Book of the Dead was produced in 1805 and included in the Description de l’Égypte produced by the staff of Napoleon’s expedition to Egypt. In 1822, Jean Francois Champollion began to translate hieroglyphic text; he examined some of the Book of the Dead papyri and identified them as a funerary ritual.[62]

In 1842 Karl Richard Lepsius published a translation of a manuscript dated to the Ptolemaic era and coined the name “Book of The Dead”. He also introduced the spell numbering system which is still in use, identifying 165 different spells.[14] Lepsius promoted the idea of a comparative edition of the Book of the Dead, drawing on all relevant manuscripts. This project was undertaken by Edouard Naville, starting in 1875 and completed in 1886, producing a three-volume work including a selection of vignettes for every one of the 186 spells he worked with, the variations of the text for every spell, and commentary. In 1876, Samuel Birch of the British Museum published a photographic copy of the papyrus of Nebseny.[63]

The work of E. A. Wallis Budge, Birch’s successor at the British Museum, is still in wide circulation – including both his hieroglyphic editions and his English translations, though the latter are now considered inaccurate and out-of-date.[64] More recent translations in English have been published by T. G. Allen (1974) and Raymond O. Faulkner (1972).[65] As more work has been done on the Book of the Dead, more spells have been identified, and the total now stands at 192.[14]

Research work on the Book of the Dead has always posed technical difficulties thanks to the need to copy very long hieroglyphic texts. Initially, these were copied out by hand, with the assistance either of tracing paper or a camera lucida. In the mid-19th century, hieroglyphic fonts became available and made lithographic reproduction of manuscripts more feasible. In the present day, hieroglyphics can be rendered in desktop publishing software and this, combined with digital print technology, means that the costs of publishing a Book of the Dead may be considerably reduced. However, a very large amount of the source material in museums around the world remains unpublished.[66]

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Mysteries, Spirituality

Secret Tibetan Book of the Dead

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Now some info about the Tibetan Book of the Dead:

Bardo Thodol: The Liberation Through Hearing During the Intermediate State, it is often referred to in the West by the more casual title, Tibetan Book of the Dead, a name which draws a parallel with the ancient Egyptian Book of the Dead, another funerary text.

The Tibetan text describes, and is intended to guide one through, the experiences that the consciousness has after death, during the interval between death and the next rebirth. This interval is known in Tibetan as the bardo. The text also includes chapters on the signs of death, and rituals to undertake when death is closing in, or has taken place. It is the most internationally famous and widespread work of Tibetan Nyingma literature.

According to Tibetan tradition, the Liberation Through Hearing During the Intermediate State was composed in the 8th century by Padmasambhava, written down by his primary student, Yeshe Tsogyal, buried in the Gampo hills in central Tibet and subsequently discovered by a Tibetan terton, Karma Lingpa, in the 14th century.[7][8] There were variants of the book among different sects.[9] The Tibetan Book of the Dead was first published in 1927 by Oxford University Press. Dr. Walter Y. Evans-Wentz chose this title because of the parallels he found with the Egyptian Book of the Dead.[10]

The Liberation Through Hearing During the Intermediate State is recited by Tibetan Buddhist lamas over a dying or recently deceased person, or sometimes over an effigy of the deceased. The name means literally “liberation through hearing in the intermediate state”.

 

 Bardo Thodol

The Liberation Through Hearing During the Intermediate State (Standard Tibetan: bardo “liminality” or “threshold”; thodol “liberation”[1]), sometimes translated as Liberation Through Hearing or transliterated as Bardo Thodol, is a funerary text. It is often referred to in the West by the more casual title, Tibetan Book of the Dead, a name which draws a parallel with the ancient Egyptian Book of the Dead, another funerary text.

The Tibetan text describes, and is intended to guide one through, the experiences that the consciousness has after death, during the interval between death and the next rebirth. This interval is known in Tibetan as the bardo. The text also includes chapters on the signs of death, and rituals to undertake when death is closing in, or has taken place. It is the most internationally famous and widespread work of TibetanNyingma literature.[2]

Title

This text is commonly known by its Western title: The Tibetan Book of the Dead. However, Fremantle (2001: p. 20) states:

…there is in fact no single Tibetan title corresponding to the Tibetan Book of the Dead.[3] The overall name given to the whole terma cycle is Profound Dharma of Self-Liberation through the Intention of the Peaceful and Wrathful Ones, and it is popularly known as Karma Lingpa’s Peaceful and Wrathful Ones.[4] It has been handed down through the centuries in several versions containing varying numbers of sections and subsections, arranged in different orders, ranging from around ten to thirty-eight titles. These individual texts cover a wide range of subjects, including the dzogchen view…, meditation instructions, visualizations of deities, liturgies and prayers, lists of mantras, descriptions of the signs of death, and indications of future rebirth, as well as those that are actually concerned with the after-death state. the [sic.] Tibetan Book of the Dead as we know it in English consists of two comparatively long texts on the bardo of dharmata (including the bardo of dying) and the bardo of existence… They are called Great Liberation through Hearing: The Supplication of the Bardo of Dharmata and Great liberation through Hearing: The Supplication Pointing Out the Bardo of Existence.[5] Within the texts themselves, the two combined are referred to as Liberation through Hearing in the Bardo, Great Liberation through Hearing, or just Liberation through Hearing,[6]….

Background

According to Tibetan tradition, the Liberation Through Hearing During the Intermediate State was composed in the 8th century by Padmasambhava, written down by his primary student, Yeshe Tsogyal, buried in the Gampo hills in central Tibet and subsequently discovered by a Tibetanterton, Karma Lingpa, in the 14th century.[7][8] There were variants of the book among different sects.[9]The Tibetan Book of the Dead was first published in 1927 by Oxford University Press. Dr. Walter Y. Evans-Wentz chose this title because of the parallels he found with the Egyptian Book of the Dead.[10]

The Liberation Through Hearing During the Intermediate State is recited by Tibetan Buddhist lamas over a dying or recently deceased person, or sometimes over an effigy of the deceased. The name means literally “liberation through hearing in the intermediate state”.

The Liberation Through Hearing During the Intermediate State differentiates the intermediate state between lives into three bardos:

  1. The chikhai bardo or “bardo of the moment of death”, which features the experience of the “clear light of reality”, or at least the nearest approximation of which one is spiritually capable.
  2. The chonyid bardo or “bardo of the experiencing of reality”, which features the experience of visions of various Buddha forms (or, again, the nearest approximations of which one is capable).
  3. The sidpa bardo or “bardo of rebirth”, which features karmically impelled hallucinations which eventually result in rebirth. (Typically imagery of men and women passionately entwined.)

The Liberation Through Hearing During the Intermediate State also mentions three other bardos: those of “life” (or ordinary waking consciousness), of “dhyana” (meditation), and of “dream” (the dream state during normal sleep).

Together these “six bardos” form a classification of states of consciousness into six broad types. Any state of consciousness can form a type of “intermediate state”, intermediate between other states of consciousness. Indeed, one can consider any momentary state of consciousness a bardo, since it lies between our past and future existences; it provides us with the opportunity to experience reality, which is always present but obscured by the projections and confusions that are due to our previous unskillful actions.

In an introduction to Evans-Wentz’ version, SwisspsychiatristCarl Jung summarizes his psychological commentary:

The Bardo Thödol[Tibetan Book of the Dead] began by being a closed book, and so it has remained, no matter what kind of commentaries may be written upon it. For it is a book that will only open itself to spiritual understanding, and this is a capacity which no man is born with, but which he can only acquire through special training and special experience. It is good that such to all intents and purposes useless books exist. They are meant for those queer folk who no longer set much store by the uses, aims, and meaning of present-day civilisation.[11]

— Carl Jung
Ghosts, Mysteries, Paranormal

Robert and Annabelle dolls – Fact or fiction?

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These are just those stories, which are hard to believe if you don’t see it yourself… I would like to see these dolls and make my own conclusions about them, what about you?

Robert, otherwise known as Robert the Doll,[1]Robert the Haunted Doll,[2][3][4] or Robert the Enchanted Doll;[5] is a doll that was once owned by Key West painter and author Robert Eugene Otto. The doll is alleged to be possessed by evil spirits and has a terrifying reputation.

The doll, which is allegedly cursed, has become a fixture of ghost tours in the Key West area since it was inducted into the Fort East Martello Museum. Aesthetically, Robert resembles an early 20th-century American Naval officer. Contrary to popular belief, however, the doll’s hair is not made of human hair, but rather, it consists of a synthetic material resembling wool yarn.[6]

Eugene was given the doll in 1906 by a Bahamian servant who was skilled in black magic and voodoo and was displeased with the family. Soon afterward, it became clear that there was something eerie about the doll. Eugene’s parents said they often heard him talking to the doll and that the doll appeared to be talking back. Although at first they assumed that Eugene was simply answering himself in a changed voice, they later believed that the doll was actually speaking.

Neighbors claimed to see the doll moving from window to window when the family was out. The Otto family swore that sometimes the doll would emit a terrifying giggle and that they caught glimpses of it running from room to room. In the night Eugene would scream, and when his parents ran to the room, they would find furniture knocked over and Eugene in bed, looking incredibly scared, telling them that “Robert did it!”. In addition, guests swore that they saw Robert’s expression change before their eyes.

When Eugene died in 1974, the doll was left in the attic until the house was bought again. The new family included a ten-year old girl, who became Robert’s new owner. It was not long before the girl began screaming out in the night, claiming that Robert moved about the room and even attempted to attack her on multiple occasions. More than thirty years later, she still tells interviewers that the doll was alive and wanted to kill her.[7]

The doll is annually rotated to the Old Post Office and Customhouse in October, with the museum staff claiming that strange activity in the museum increases during such times.

The doll made an appearance at Taps CON,[8] a paranormal convention held in Clearwater, Florida in May 2008. This was the first time that it had left Key West, Florida in the 104 (at the time) years of its existence.

For individuals who visit Robert in the Fort East Martello Museum and wish to take a picture of him, according to legend, the person must ask the doll politely. If the doll feels disrespected it may choose to curse or follow a person. [9] If he does not agree (by tipping his head to one side), and the individual takes a picture anyway, the doll will curse the person and their family.[10]

The doll served as an inspiration for the Chucky doll in the Child’s Play film franchise.[1]

Source

Creepy Legends Paranormal Research investigates Robert the Possessed Doll of Key West, Florida and the old Civil War Fort East Martello. Support the team by going to Creepy Legends Paranormal Research on facebook and mark “Like”. Visit the Creepy Legends Website at creepylegends.yolasite.com and learn of our research

 

 

 

 

Annabelle

Annabelle was the focus of a case that famed paranormal investigators Ed and Lorraine Warren took part in during the early 1970s and is highlighted in the book The Demonologist. It has been stated that this is one of the most unusual cases of a possessed object on record.

In 1970 a mother purchased an antique Raggedy Ann Doll from a hobby store. The doll was a present for her daughter Donna on her birthday. Donna, at the time, was a student in college, preparing to graduate with her nursing degree and resided in a tiny apartment with her roommate Angie (a nurse as well). Pleased with the doll, Donna placed it on her bed as a decoration and didn’t give it a second thought until a few days later. Within that time, both Donna and Angie noticed that there appeared to be something very strange and creepy about the doll. The doll apparently moved on its own, relatively unnoticeable movements at first, like a change in position, but as time passed the movement became more noticeable. Donna and Angie would come home to find the doll in a completely different room from which they had left it. Sometimes the doll would be found crossed legged on the couch with its arms folded, other times it was found upright, standing on its feet, leaning against a chair in the dining room. Several times Donna, placing the doll on the couch before leaving for work, would return home to find the doll back in her room on the bed with the door closed.

The Medium

One night Donna came home to find the doll had moved again, this time it was on her bed. Donna had come to find that this was typical of the doll but somehow she knew this time it was different, something wasn’t right. A sense of fear came over her when she inspected the doll and saw what looked like blood drops on the back of its hands and its chest. Seemingly, from nowhere, a red liquid had appeared on the doll. Scared and desperate, Donna and Angie decide it was time to seek expert advice.

Not knowing where to turn, they contacted a medium and a séance was held. Donna was then introduced to the spirit of Annabelle Higgins. The medium related the story of Annabelle to both Donna and Angie. Annabelle was a young girl that resided on the property before the apartments were built. She was a young girl of only seven years old when her lifeless body was found in the field upon which the apartment complex now stands. The spirit related to the medium that she felt comfort with Donna and Angie and wanted to stay with them by moving into the doll. Feeling compassion for Annabelle and her story Donna gave her permission to inhibit the doll and stay. They were to soon find out however, that Annabelle was not what she seemed.

Lou

Lou was friends with Donna and Angie and had been with them since the day the doll arrived. He had never been fond of the doll and on several occasions warned Donna that it was evil, saying that she should get rid of it. However, Donna had developed a personal tie to the doll and decided to keep it, despite Lou’s feelings. Her decision was a terrible mistake.

One night Lou awoke with a jolt of terror, a jolt that didn’t seem like it was from his usual nightmares. Somehow, something felt different. What would appear to be a common case of sleep paralysis became all too real; he looked around the room but couldn’t discern anything out of the ordinary. At first anyway. Looking down toward his feet he saw the doll, Annabelle. It began to slowly glide up his leg, moving over his chest and stopping at his neck. Helpless against it, the doll began to strangle him. After a moment Lou, at the point of asphyxiation, blacked out. He awoke the next morning, certain it wasn’t an ordinary night terror, and was determined to rid himself of that doll and the spirit that possessed it.

Preparing for a road trip the next day, Lou and Angie were reading over maps alone in her apartment. The apartment was eerily quiet. The silence was broken when rustling sounds coming from Donna’s room aroused fear that someone had broken into the apartment. Lou, determined to figure out what was causing the noise, quietly made his way to the bedroom door. He waited for the noises to stop before entering and turning on the light. The room was empty except for Annabelle, whom was tossed in a corner on the floor. Lou searched the room for signs of forced entry but nothing was out of place. As he got closer to the doll he got the distinct impression that somebody was behind him. Spinning around Lou found that despite his unease nobody besides himself and the doll were in the room. Then in a flurry of motion he found himself doubled over in pain, with blood dripping from a cut on his chest. Upon opening his shirt, there on his chest were what appeared to be 7 distinct claw marks.

Today

I hope you enjoyed this article and should you ever want to visit the famous Annabelle, she can be found at the Warren Occult Museum in Moodus, Connecticut. The museum is run by Lorraine Warren, the famous paranormal investigator, and now frequent guest on the television show “Paranormal State”. Housed in a glass case at the museum you will find Annabelle. Mrs. Warren relates that Annabelle still moves about occasionally and is still known to make growling noises at unsuspecting visitors….

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So what is the Truth… hard to believe. I would have to see the doll myself and do some investigations. Once again it’s up to you.

“Many yet are the secret truths of God which will be unfolded as they are needed.”
HENRY WARD BEECHER, Proverbs from Plymouth Pulpit

Giants, Mysteries, Nephilim

Poll Of The Month Winner: Giants and Nephilims

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So the last month’s winner was giants and Nephilims, so I will make more postings considering these mystery creatures from beyond. Thanks to all who voted!

Here are couple of posts, that I have made them before, just for starters:

https://www.auricmedia.net/creatures-from-beyond-part-viii-giants-and-nephilims/

https://www.auricmedia.net/little-update-to-nephilim-saga/

And please vote again in this month.

History, Mysteries, Time Travel

Something from the history…

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This video is from 1964. It just makes you wonder why we have to be suppressed all of this information. There must to be an end to this dark cabal and it seems that we have to demand disclosure. Otherwise we just have to keep on going in the darkness…

This recording is from the KVOS Channel 12 Films, Center for Pacific Northwest Studies, Western Washington University, Bellingham WA.

700 year old Nordics, Space Travel, Time travel (f =1/T), technology swap.

In 1952, over a week before the events of the 1952 Washington D.C. UFO incident George-Van-Tassel notified the US air force, Los Angeles Herald-Examiner and the Life (magazine) of the future events of the 1952 Washington D.C. UFO incident via registered letters.[6] This event was witnessed by thousands of people in and around the Washington D.C. area. It is one of the most publicized sightings to have ever taken place.

GEORGE VAN TASSEL
1910-1978
Author, inventor and controversial UFO advocate. Some agreed, some disagreed with his philosophy.
None found him boring.
http://www.integratron.com/2History/H…

FAIR USE NOTICE: These pages/video may contain copyrighted (© ) material the use of which has not always been specifically authorized by the copyright owner. Such material is made available to advance understanding of ecological, POLITICAL, HUMAN RIGHTS, economic, DEMOCRACY, scientific, MORAL, ETHICAL, and SOCIAL JUSTICE ISSUES, etc. It is believed that this constitutes a ‘fair use’ of any such copyrighted material as provided for in section 107 of the US Copyright Law. In accordance with Title 17 U.S.C. Section 107, this material is distributed without profit to those who have expressed a prior general interest in receiving similar information for research and educational.

 

 

“They frequently find the truth who do not seek it, they who do, frequently lose it.”
FANNY KEMBLE, Further Records, Feb. 8, 1875