Isis
Isis

Stage 19

   

1hic vir est Aristō. Aristō est
amīcus Barbillī. in vīllā
splendidā habitat, sed
miserrimus est.
2haec fēmina est Galatēa.
Galatēa est uxor Aristōnis.
Galatēa marītum saepe
castīgat, numquam laudat.
3haec puella est Helena. Helena est fīlia Aristōnis et Galatēae.
multī iuvenēs hanc puellam amant, quod pulcherrima est.

138  Stage 19

4pompa splendida per viās
Alexandrīae prōcēdit. omnēs
Alexandrīnī hanc pompam
spectāre volunt.
5hī virī sunt sacerdōtēs deae
Īsidis. Aristō hōs virōs intentē
spectat. sacerdōtēs statuam
deae per viās portant.
6hae puellae prō pompā currunt.
Helena hās puellās intentē
spectat. puellae corōnās
rosārum gerunt.
7pompa ad templum Augustī
advenit. prope hoc templum
stant duo iuvenēs. hī iuvenēs
tamen pompam nōn spectant.

Stage 19  139

Aristō!
Aristō vir miserrimus est, quod vītam dūram vīvit. pater Aristōnis
scrīptor nōtissimus erat, quī in Graeciā habitābat. tragoediās
optimās scrībēbat. Aristō, quod ipse tragoediās scrībere vult,
vītam quiētam quaerit; sed uxor et fīlia eī obstant.

Galatēa, uxor Aristōnis, amīcōs ad vīllam semper invītat. amīcī5

Galatēae sunt tībīcinēs et citharoedī. hī amīcī in vīllā Aristōnis
semper cantant et iocōs faciunt. Aristō amīcōs uxōris semper fugit.

Helena quoque, fīlia Aristōnis et Galatēae, patrem vexat. multōs

iuvenēs ad vīllam patris invītat. amīcī Helenae sunt poētae. in vīllā
Aristōnis poētae versūs suōs recitant. Aristō hōs versūs nōn amat,10
quod scurrīlēs sunt. saepe hī poētae inter sē pugnant. saepe Aristō
amīcōs fīliae ē vīllā expellit. difficile est Aristōnī vītam quiētam
vīvere.
vīvit: vīverelive
scrīptorwriter
tragoediās: tragoediatragedy
tībīcinēs: tībīcenpipe player
citharoedī: citharoeduscithara player
amat: amārelove, like
expellit: expellerethrow out
The Roman theater at Alexandria.
A writer of plays.

140  Stage 19

diēs fēstus!
I
cīvēs laetī erant. nam hiems erat cōnfecta. iam prīmus diēs vēris
aderat. iam sacerdōtēs deam Īsidem per viās urbis portāre
solēbant. sacerdōtēs effigiem deae ad portum quotannīs ferēbant.
pompa, quam plūrimī Alexandrīnī spectāre volēbant, splendida
erat.5

hanc pompam autem Barbillus spectāre nōlēbat.

“nōn commodum est mihi hodiē ad urbem īre,” inquit. “ego

hanc pompam saepe vīdī, tū tamen numquam. amīcus meus igitur,
Aristō, tē ad pompam dūcere vult.”

Barbillō grātiās ēgī, et cum Aristōne ad portum ībam. Galatēa et10

fīlia, Helena, nōbīscum ībant. viās urbis iam complēbant cīvēs
Alexandrīnī. ubi portuī appropinquābāmus, Galatēa fīliam et
marītum assiduē castīgābat:

“Helena! nōlī festīnāre! tolle caput! Aristō! ēmovē hanc turbam!

turba Alexandrīnōrum tōtam viam complet. in magnō perīculō15
sumus.”
diēs fēstusfestival, holiday
cōnfecta: cōnfectusfinished
vēris: vērspring
assiduēcontinually
castīgābat: castīgārescold, nag
tolle!hold up!
This portrait of a young woman called Eirene ("Peace") might help us to picture Helena in our stories. Portraits like this (and those on page 134) enable us to visualize the varied faces in the Alexandrian crowd at the festival of Isis.

Stage 19  141

II!
postquam ad templum Augustī vēnimus, Galatēa

“locum optimum nōvimus,” inquit, “unde tōtum spectāculum

vidēre solēmus. illinc pompam et nāvem sacram vidēre possumus.
servus nōbīs illum locum servat. Aristō! nōnne servum māne
ēmīsistī?”5

“ēheu!” Aristō sibi dīxit.

ubi ad illum locum, quem Galatēa ēlēgerat, tandem

pervēnimus, Galatēa duōs iuvenēs cōnspexit. hī iuvenēs locum
tenēbant, ubi Galatēa stāre volēbat.

“marīte!” inquit. “ēmovē illōs iuvenēs! ubi est servus noster?10

nōnne servum ēmīsistī?”

Aristō, quī anxius circumspectābat, respondit. “cārissima,

melius est nōbīs locum novum quaerere. iste servus sānē
neglegēns erat.”

Galatēa tamen, quae iam īrātissima erat, Aristōnem incitāvit.15

ille igitur iuvenibus appropinquāvit et cōmiter locum poscēbat.
uxor tamen vehementer clāmāvit,

“iuvenēs! cēdite! nōlīte nōbīs obstāre!”

iuvenēs, quamquam rem graviter ferēbant, cessērunt. iuvenēs

Galatēam spectābant timidī, Helenam avidī.20

subitō spectātōrēs pompam cōnspexērunt. statim multitūdō

spectātōrum clāmōrem sustulit.

“ecce pompa! ecce! dea Īsis!”

undefrom where
illincfrom there
sānēobviously
cōmiterpolitely, courteously
avidī: aviduseager

142  Stage 19

Questions

  1. ad templum Augustī vēnimus (line 1). Write down one thing you already know about this temple.
  2. locum optimum nōvimus (line 2). Why did Galatea think the place was optimum?
  3. What was the slave’s job (line 4)?
  4. Why do you think Aristo said “ēheu!” to himself (line 6)?
  5. In lines 7–9, what unpleasant surprise did Galatea have?
  6. What did Galatea tell her husband to do? What suspicion did she have (lines 10–11)?
  7. What alternative suggestion did Aristo make? How did he try to avoid blame?
  8. After going up to the young men, how did Aristo carry out his wife’s instruction (line 16)?
  9. What did Galatea do that showed her attitude was different from her husband’s? What did she tell the young men to do (line 18)?
  10. Why do you think they finally gave up the place (lines 19–20)?
  11. Why do you think Galatea at last stopped nagging everyone?
  12. Having read this part of the story, how would you describe Aristo’s character? Make three points and give evidence for each one.

Stage 19  143

About the Language I: hic and ille

AYou have now met the Latin word for this (plural these):

singular plural
masculinefeminineneuter masculinefeminineneuter
nominative  hichaechochaehaec
accusativehunchanchochōshāshaec
hic vir est Barbillus. This man is Barbillus.
hanc pompam vīdī.I saw this procession.
hae stolae sunt sordidae!These dresses are dirty!
tibi hōs flōrēs trādō.I hand these flowers to you.

BYou have also met the Latin word for that (plural those):

singular plural
masculinefeminineneuter masculinefeminineneuter
nominative  illeillailludillīillaeilla
accusativeillumillamilludillōsillāsilla
illa fēmina est Galatēa. That woman is Galatea.
Clēmēns illōs sacerdōtēs saepe adiuvābat.Clemens often used to help those priests.
illae viae sunt perīculōsae. Those roads are dangerous.
multī Aegyptiī illud templum vīsitābant.Many Egyptians used to visit that temple.

CFor a complete chart of the forms for hic and ille, see page 200.
Note that hic and ille agree in case, number, and gender with the
nouns they describe.

DFurther examples:

1haec cēna est optima.
2latrōnēs illum mercātōrem vituperant.
3haec templa laudābāmus; illa aedificia vidēre nōn poterāmus.
4hī servī sunt Aegyptiī.
5Plancus illud monumentum dēmōnstrāvit.
6Galatēa hunc iuvenem ēmovēre voluit.
7ille poēta Aristōnem vexat.

144  Stage 19

pompa!
pompa adveniēbat. prō pompā currēbant multae puellae, quae flōrēs in
canistrīs ferēbant. puellae flōrēs spectātōribus dabant et in viam
spargēbant. post multitūdinem puellārum tubicinēs et puerī prōcēdēbant.
puerī carmina dulcia cantābant. tubicinēs tubās īnflābant. nōs, quī
pompam plānē vidēre poterāmus, assiduē plaudēbāmus. duo iuvenēs5
tamen, quōs Galatēa ē locō ēmōverat, pompam vidēre vix poterant.

Helena:spectā illās rosās, quās fēminae in viam
spargunt! rosās pulchriōrēs quam illās
numquam vīdī.
iuvenis prīmus:pompam vidēre nōn possum. sed spectā10
illam puellam! puellam pulchriōrem quam
illam rārō vīdī.
Galatēa:Helena! hūc venī! stā prope mē! Aristō! cūr
fīliam tuam in tantā multitūdine nōn cūrās?
(subitō omnēs tubicinēs tubās vehementer15
īnflābant.
)
Galatēa:ō mē miseram! ō caput meum! audīte illōs
tubicinēs! audīte illum sonitum! quam
raucus est sonitus tubārum!
iuvenis secundus:tubicinēs vix audīre possum. quam raucae20
sunt vōcēs fēminārum Graecārum!
(post turbam puerōrum tubicinumque vēnit dea
ipsa. quattuor sacerdōtēs effigiem deae in umerīs
ferēbant.
)
pompaprocession
canistrīs: canistrumbasket
spargēbant: spargerescatter
tubicinēs: tubicentrumpeter
carmina: carmensong
dulcia: dulcissweet
īnflābant: īnflāreblow
plānēclearly
rosās: rosarose
rārōrarely
sonitum: sonitussound
raucusharsh
vōcēs: vōxvoice

Stage 19  145

Galatēa:spectā illam stolam croceam! pulcherrima25
est illa stola, pretiōsissima quoque. ēheu!
vīlēs sunt omnēs stolae meae, quod marītus
avārus est.
(subitō iuvenēs, quī effigiem vidēre nōn
poterant, Galatēam trūsērunt. iuvenis forte30
pedem Galatēae calcāvit.)
Galatēa:ō iuvenem īnsolentissimum! nōlī mē vexāre!
nōn decōrum est mātrōnam trūdere. num
bēstia es?
Helena:māter! hic iuvenis forte tibi nocuit.35
spectātōrēs nōs premunt, quod pompam
vidēre cupiunt.
Galatēa:Helena! nōlī istum iuvenem dēfendere!
īnsolentissimus est. Aristō! cūr mē nōn
servās? uxōrem fīliamque flōccī nōn facis.40
miserrima sum!
Aristō:ēheu! uxor mē vexat, fīlia mātrem. clāmōrēs
eārum numquam effugere possum. facile est
mihi tragoediās scrībere. tōta vīta mea est
tragoedia!45
vīlēs: vīlischeap
trūsērunt: trūderepush, shove
calcāvit: calcāretread on
nocuit: nocērehurt
premunt: premerepush
eārumtheir
tōta vīta mea est tragoedia!

146  Stage 19

About the Language II: Imperatives

AIn the following sentences, people are told to do something:

māter! spectā hoc! amīcī! spectāte hoc!
Mother! Look at thisFriends! Look at this!
Helena! venī ad mē! servī! venīte ad mē!
Helena! Come to me!Slaves! Come to me!

The form of the verb in boldface is known as the imperative. It can be singular or plural, depending on who is being ordered.

BCompare the imperative forms with the infinitive:

imperative     infinitive
singularplural
first conjugationportā!portāte!portāre
carry!carry!to carry
second conjugation  docē!docēte!docēre
teach!teach!to teach
third conjugationtrahe!trahite!trahere
drag!drag!to drag
fourth conjugationaudī!audīte!audīre
listen!listen!to listen

CStudy the way in which people are ordered not to do things:

singular nōlī currere! Don’t run!
nōlī cantāre! Don’t sing!
plural nōlīte festīnāre! Don’t hurry!
nōlīte trūdere! Don’t push!

nōlī and nōlīte, the imperative forms of nōlō, are used with the infinitive. nōlī currere means literally “be unwilling to run.”

DFurther examples:

1iuvenēs! tacēte!5nōlī dormīre!
2dīligenter labōrā!6nōlīte discēdere!
3date mihi pecūniam!7nōlīte Rōmānōs interficere!
4mē adiuvā!8nōlī mē pūnīre!

Stage 19  147

nāvis sacra!
sacerdōtēs, ubi ad portum pervēnērunt, effigiem deae Īsidis
dēposuērunt. in portū stābat nāvis, quae ōrnātissima erat. tōta
puppis erat aurāta. corōna rosārum dē mālō nāvis pendēbat. nūllī
tamen nautae in nāve erant.

sacerdōtēs cum effigiē deae ad hanc nāvem prōcessērunt.5

deinde pontifex ipse deae Īsidī precēs adhibēbat. cīvēs
sacerdōtēsque rosās in nāvem et in mare iēcērunt. tum nautae
rudentēs solvere coepērunt. ventus secundus nāvem in altum lentē
impellēbat. spectātōrēs iterum iterumque plaudēbant. clāmor
spectātōrum precēsque sacerdōtum aurēs nostrās implēbant.10

“nunc nāvis solūta est; nunc mare placidum. dea Īsis nōbīs

favet. dea cīvibus Alexandrīnīs favet.”

sacerdōtēs, postquam nāvem sacram ita ēmīsērunt, effigiem

deae ad templum reportāvērunt. cīvēs per viās urbis laetī
currēbant.15

ad vīllam Aristōnis lentē reveniēbāmus. Helena cum illīs

iuvenibus ambulābat, quōs Galatēa ē locō ēmōverat. hoc tamen
Galatēa nōn sēnsit, quod assiduē marītum castīgābat:

“in hāc urbe diūtius manēre nōlō. tū nihil facis, nihil cūrās.

servum nōn ēmīsistī, quamquam tē saepe monēbam. ēheu! cīvēs20
Alexandrīnī sunt bēstiae. fīliam nostram vexābant illī iuvenēs.
Helena ērubēscēbat; paene lacrimābat. cūr eam numquam servās?
mihi semper necesse est fīliam nostram cūrāre.”

“ubi est Helena?” rogāvit Aristō.

“nōnne tēcum ambulābat?” respondit Galatēa. “ēheu! illī25

iuvenēs columbam meam iterum agitant.”

“stultissima es, uxor!” respondit ille. “columba iuvenēs agitat,

nōn iuvenēs columbam.”
puppissternimpellēbant:drive forward,
corōnagarland, wreath   impellēre   carry
dē mālōfrom the mastaurēs: aurisear
pendēbat: pendērehangimplēbant: implērefill
pontifexhigh priestsolūta: solūtusuntied, cast off
precēs adhibēbatoffered prayers placidum: placiduscalm, peaceful
iēcērunt: iacerethrowreportāvērunt:
rudentēs: rudēnscable, rope   reportārecarry back
solvereuntie, cast offērubēscēbat:
ventuswind   ērubēscereblush
secundusfavorable, following
in altumonto the deep, towards the open sea

148  Stage 19

vēnātiō!
I
Barbillus mē ad vēnātiōnem invītāvit. māne vīlicum Phormiōnem
cum multīs servīs ēmīsit. Phormiō sēcum duōs haedōs dūxit. sed,
ubi ē vīllā discēdēbāmus, astrologus Barbillī commōtus ad nōs
cucurrit.

“domine, quō festīnās?” clāmāvit. “cūr ē vīllā hodiē exīre vīs?”5

“ad praedium meum iter facimus,” Barbillus respondit.

“sed, domine,” inquit astrologus, “immemor es. perīculōsum
est tibi hodiē ē vīllā exīre, quod hodiē sōl Arietī appropinquat.”
ubi hoc audīvī, astrologum dērīsī. Barbillus, quamquam eī
crēdēbat, mē offendere nōluit. postquam rem diū cōgitāvit,10

“mihi placet exīre,” inquit.

astrologus igitur, ubi dominō persuādēre nōn potuit,
amulētum, quod Chaldaeī fēcerant, eī dedit. tum sēcūrī ad
praedium Barbillī contendimus. per partem praediī flūmen Nīlus
lēniter fluēbat.15

ubi illūc advēnimus, multōs servōs vīdimus collēctōs. in hāc
multitūdine servōrum erant nōnnūllī Aethiopes, quī hastās in
manibus tenēbant. prope Aethiopas stābat Phormiō.

Phormiō “salvē, domine!” inquit. “omnia tibi parāvimus.
scaphās, quās postulāvistī, comparāvimus.”20

“haedōs cecīdistis?” rogavit Barbillus.

“duōs haedōs cecīdimus, domine,” inquit vīlicus. “eōs in
scaphās iam posuimus.”

haedōs: haeduskid, young goatflūmen Nīlusriver Nile
astrologusastrologerlēnitergently
commōtusalarmed, excitedcollēctōs: collēctusassembled
praediumestateAethiopesEthiopians
immemorforgetfulomniaeverything
Arietī: Ariēsthe Ram (sign of the   all things
  zodiac)scaphās: scaphapunt
offenderedisplease   small boat
persuādērepersuadececīdistis: caederekill
amulētumamulet, lucky charm
ChaldaeīChaldeans (an ancient
  people of Babylon)

Stage 19  149

II!
tum Phormiō nōs ad rīpam flūminis dūxit, ubi scaphae, quās
comparāverat, dēligātae erant. postquam scaphās cōnscendimus,
ad palūdem, in quā crocodīlī latēbant, cautē nāvigāvimus. ubi
palūdī appropinquāvimus, aqua līmōsior fiēbat, harundinēsque
dēnsiōrēs. postquam ad mediam palūdem nāvigāvimus, Barbillus5
Phormiōnī signum dedit. haedōs Phormiō in aquam iniēcit.
sanguis haedōrum crocodīlōs trahēbat, quī praecipitēs haedōs
petēbant. tum Aethiopes crocodīlōs agitāre coepērunt. hastās
ēmittēbant et crocodīlōs interficiēbant. magna erat fortitūdō
crocodīlōrum, maior tamen perītia Aethiopum. mox multī10
crocodīlī mortuī erant.

subitō ingentem clāmōrem audīvimus. Phormiō dominum

vocābat, quod hippopotamus, quem Aethiopes ē palūde
excitāverant, scapham Barbillī ēverterat. Barbillum et trēs servōs
in aquam dēiēcerat.15

quamquam ad Barbillum et ad servōs, quī in aquā natābant,

celeriter nāvigāvimus, crocodīlī iam eōs circumvēnerant. hastās in
crocodīlōs statim ēmīsimus. ubi crocodīlōs dēpulimus, Barbillum
et ūnum servum servāre potuimus. sed postquam Barbillum ex
aquā trāximus, eum invēnimus vulnerātum. hasta, quam servus20
ēmīserat, umerum Barbillī percusserat. Barbillus ā servō suō
graviter vulnerātus erat.
rīpam: rīpabank
dēligātae: dēligātustied up, moored
palūdem: palūsmarsh, swamp
crocodīlī: crocodīluscrocodile
līmōsior: līmōsusmuddy
fiēbatbecame
harundinēs: harundōreed
iniēcit: inicerethrow in
praecipitēs: praecepsheadlong, straight for
fortitūdō courage
perītiaskill
hippopotamushippopotamus
ēverterat: ēvertereoverturn
dēpulimus: dēpelleredrive off
ā servō suōby his own slave

An amulet, in the form of the hippopotamus god Thueris.

150  Stage 19

About the Language III: Vocative Case

AIn each of the following sentences, somebody is being spoken to:
Aristō! quam stultus es! Aristo! How stupid you are!
quid accidit, Barbille?What happened, Barbillus?
contendite, amīcī! Hurry, friends!
cūr rīdētis, cīvēs?Why are you laughing, citizens?

The words in boldface are in the vocative case. If only one person is spoken to, the vocative singular is used; if more than one person, the vocative plural is used.

BThe vocative case has the same form as the nominative with the
exception of the vocative singular of words in the second declension.

CCompare the nominative singular and vocative singular of second
declension nouns like servus and Salvius:
nominativevocative
servus labōrat.cūr labōrās, serve?
amīcus gladium habet.dā mihi gladium, amīce!
Eutychus est in viā.ubi sunt latrōnēs, Eutyche?
Salvius est īrātus.quid accidit, Salvī?
fīlius currit.cūr curris, fīlī?
Holcōnius in lectō recumbit.  Holcōnī! surge!

DThe vocative plural always has the same form as the nominative plural:
nominativevocative
custōdēs dormiunt.vōs semper dormītis, custōdēs.
puerī in forō stant.ubi est theātrum, puerī?
puellae ad pompam festīnant.  nōlīte currere, puellae!

A Nile crocodile in a painting in the Temple of Isis at Pompeii.

Stage 19  151

Practicing the Language!

AComplete each sentence with the correct form of hic or

ille and then translate. If you are not sure of the gender of a noun, you will find it in the vocabulary at the end of the book.

1(hic, hoc) astrologus Barbillō dē perīculō persuādēre nōn potuit.
2Phormiō (illōs, illās) servōs ad flūmen Nīlum mīsit.
3(hic, hoc) flūmen est perīculōsum.
4(hī, hae) servī prope flūmen stābant.
5Phormiō (illōs, illās) scaphās in rīpā īnstrūxit.
6(illī, illae) crocodīlī haedōs petīvērunt.
7Aethiopes (illum, illam, illud) hippopotamum ē palūde excitāvērunt.
8(hic, haec, hoc) hasta umerum Barbillī percussit.

BThis exercise is based on the story diēs fēstus on pages 141–142.

Read the story again. Complete each of the sentences below with one of the following groups of words and then translate. Use each group of words once only.

postquam ad illum locum pervēnērunt
quod pompam vidēre volēbat
simulac prīmus diēs vēris advēnit
postquam marītum vituperāvit
quamquam Galatēa eum saepe monēbat
quod valdē īrāta erat

1sacerdōtēs . . . . . deam Īsidem ad portum ferre solēbant.
2Galatēa Aristōnem iussit servum māne ēmittere et locum servāre
. . . . . .
3sed Aristō . . . . . servum nōn ēmīsit.
4Aristō et Galatēa . . . . . duōs iuvenēs ibi cōnspexērunt.
5Galatēa marītum vituperāre coepit . . . . . .
6Galatēa . . . . . iuvenēs ēmōvit.

152  Stage 19

CComplete each sentence with the correct form of the verb. Then

translate the sentence.

1Barbillus: Quīnte! mēcum ad vēnātiōnem (venī, venīte)!
2Phormiō: servī! ad flūmen Nīlum (prōcēde, prōcēdite)!
3astrologus: domine! (nōlī, nōlīte) ē vīllā discēdere!
4Quīntus: amīce! nōlī astrologō (crēde, crēdere).
5Phormiō: servī! ad mediam palūdem cautē (nāvigā, nāvigāte)!
6Barbillus: Aethiopes! hastās (ēmitte, ēmittite)!
7Quīntus: servī! (nōlī, nōlīte) hippopotamum vexāre!
8Barbillus: Quīnte! vulnerātus sum. mē (servā, servāte)!


Procession of priests and priestesses carrying sacred objects: the sistrum, ladle, jug, sacred scroll, sacred cobra, water pot.

Stage 19  153

The Worship of Isis

Isis was one of Egypt’s oldest and most important goddesses. The Egyptians worshiped her as the devoted wife and loving mother and for her power to give new life; they believed that just as she had given new life to Osiris (whom the Romans called Serapis), she was also responsible for the new life which followed the annual flooding of the Nile waters. They believed also that she offered a hope of life after death for those who became her followers. Within the cult of Isis, women enjoyed an equal position with men, even becoming priestesses.

One of the most important festivals of Isis was held at the beginning of spring. It took place annually on March 5th, when the sailing season opened and the large grain ships, so crucial to Rome’s food supply, could once again set off safely across the Mediterranean. A statue of Isis was carried in procession down to the Great Harbor.

The procession was headed by dancers and musicians playing pipes, trumpets, and castanets. Female attendants scattered roses in the road and over the tightly packed crowd. The statue of Isis was carried high on the shoulders of her priests, so that everyone could get a glimpse of the goddess and her splendid robe. Next came more priests and priestesses and more trumpeters and finally the high priest, wearing garlands of roses and shaking a sacred rattle known as a sistrum.

At the harbor, a special newly built ship was moored. Its stern was shaped like a goose’s neck and covered with gold plate. First the high priest dedicated the ship to Isis and offered prayers; then the priests and people loaded it with gifts of spices and flowers; finally the mooring-ropes were unfastened and the wind carried the ship out to sea.

Two bronze sistra.
Woman holding a sistrum.

154  Stage 19

Isis

According to the Egyptians, Isis loved her brother, the god Osiris, who appeared on earth in the form of a man. However, Osiris was murdered; his body was cut up and the pieces were scattered throughout the world. Overcome with grief, Isis set out on a search for the pieces of Osiris’ corpse. When at last she had found them all, a miracle took place: the dead Osiris was given new life and became the father of the child Horus.

Osiris and Isis.
Isis was often portrayed as a loving mother, nursing her child, Horus.


Isis, as protector of shipping, holds a billowing sail in this Alexandrian coin. The Pharos can be seen on the right.
Mosaic showing the Nile in flood. Isis was believed to send these floods, which brought Egypt its fertile soil.

Stage 19  155

After the ceremony at the harbor, the statue of Isis was taken back to the temple. The spectators crowded into the open area in front of the temple, and the priests replaced the statue in the cella or sanctuary of the temple. Then a priest read to the people from a sacred book and recited prayers for the safety of the Roman people and their emperor, and for sailors and ships.

The festival was noisy and colorful. Everybody had the day off, and although the religious ceremony was serious, it was also good entertainment. When the ceremony was over, the Alexandrians continued to enjoy themselves in a lively and spirited way. Their behavior was sometimes criticized, for example by the writer Philo:

They give themselves up to heavy drinking, noisy music, amusements, feasting, luxury, and rowdy behavior, eager for what is shameful and neglecting what is decent. They wake by night and sleep by day, turning the laws of nature upside down.

But in spite of these words of Philo, a festival of Isis was not just an excuse for a holiday. The worship of the goddess was taken seriously by many Egyptians, who went regularly to her temple, prayed to her statue, and made offerings. Some of them, like Clemens in Stage 18, went further and became Īsiacī, members of the special fellowship of Isis; this involved a long period of preparation leading up to an initiation ceremony in the temple.

A ceremony outside a temple of Isis.

156  Stage 19

As the worship of Isis spread from Egypt into the Greek and Roman world, new ways were found of picturing the goddess. This Egyptian drawing shows her with her hieroglyph, a throne, above her head; she carries a scepter in one hand and an ankh, the symbol for life, in the other. On the right is a Roman painting of Isis holding the sacred cobra of Egypt. It was found in her temple at Pompeii.

Those who wished to become initiates had to begin with an act of repentance for the sins they had committed in the past; for example, they might offer a sacrifice, or fast from food, or go on a pilgrimage. In a Latin novel known as The Golden Ass, the main character becomes a follower of Isis. He explains to his readers how he prepared to be admitted to the brotherhood. First his body was washed by the priests in a ceremony of baptism; next he was taught the sacred mysteries of the goddess, and forbidden to reveal them to anyone outside the brotherhood; then he fasted for ten days; and finally he underwent the initiation ceremony in the temple.

This was a ceremony of mystery and magic, full of strange and emotional experiences for the worshipers: those who were initiated believed that they had personally met Isis and that by dedicating themselves as her followers they could hope for life after death. But the exact details of the ceremony were kept strictly secret, as the narrator of The Golden Ass explains:

If you are interested in my story, you may want to know what was said and done in the temple. I would tell you if I were allowed to tell, you would learn if you were allowed to hear; but your ears and my tongue would suffer for your foolish curiosity.


Stage 19  157

Roman statue of the goddess Isis with sistrum and jug for sacred water.

In Egyptian mythology, the male hippopotamus was identified with Seth, god of storms, and enemy of Isis and Osiris. Small figures like this are often found in tombs to placate Seth and keep him from injuring the owner.

By the time of our stories, the worship of Isis had spread from Alexandria and was flourishing across the ancient world. Temples to Isis have been found in places as far apart as London and the Black Sea area. A group of priests serving in a temple of Isis at Pompeii suffered a miserable death when the city was destroyed in the eruption of Vesuvius. They collected the sacred objects and treasures and fled from the temple, but by then it was too late. Their bodies were found along the route of their flight across the city, each corpse surrounded by the valuables he had tried to save.


Mosaic from Pompeii of the River Nile with Egyptian animals, including a hippopotamus and a crocodile.

158  Stage 19

Word Study

ABased on your knowledge of the Stage 19 Vocabulary Checklist,

give an English word to match each of the following definitions. Use the underlined words as a help.

1one who does something for the love of it
2extreme danger
3one who looks after a museum or house, for example
4using the voice
5a plan or outline of a journey
6occurring by chance
7flowing like honey

BBased on your knowledge of previous Checklists and the verb

caedō, caedere suggest meanings for the following words:

1infanticide 4deicide 7regicide 10uxoricide
2homicide 5pesticide 8suicide
3matricide 6fratricide 9parricide

CMatch the definitions to the following -ate words:

1affiliate ato bring into another’s favor
2castigate bto think seriously, to ponder
3cogitate cto avoid committing oneself
4curate dto rebuke or punish
5equivocate ean assistant clergyman
6hastate fspear-shaped
7ingratiate gto find
8locate han associate


Stage 19  159

Stage 19!

Vocabulary Checklist

amō, amāre, amāvīlove, like
caedō, caedere, cecīdīkill
cārus, cāra, cārumdear
castīgō, castīgāre, castīgāvīscold, nag
cōgitō, cōgitāre, cōgitāvīthink, consider
comparō, comparāre, comparāvīobtain
cōnficiō, cōnficere, cōnfēcīfinish
cūrō, cūrāre, cūrāvīlook after
dulcis, dulcis, dulcesweet
fīlia, fīliae, f.daughter
fluō, fluere, flūxīflow
forteby chance
grātiās agōI thank, give thanks
hasta, hastae, f.spear
illūcthere, to that place
iter, itineris, n.journey
locus, locī, m.place
mānein the morning
neglegēns, neglegēns, neglegēns
    gen. neglegentiscareless
nōvīI know
perīculum, perīculī, n.danger
plūrimus, plūrima, plūrimumvery much
    plūrimī, plūrimae, plūrimavery many
poscō, poscere, poposcīdemand, ask for
sonitus, sonitūs, m.sound
totso many
umerus, umerī, m.shoulder
vexō, vexāre, vexāvīannoy
vīvō, vīvere, vīxīlive
vixhardly, scarcely
vōx, vōcis, f.voice

160  Stage 19