We left Ellen on the eve of the multiple royal marriages of 1873 installed in the grand, but uncomfortable New Hotel, after being forced to pack up all her belongings herself. Despite cold and wet weather she was still touring around Cairo, lamenting the bad state of repair of repair of some exceptional mosques, visiting the site of ancient Heliopolis – where nothing remained to be seen “except the obelisk, which is on such low ground that it is not visible until you are close upon it.”

At least the view of the Pyramids from the New Hotel was some compensation. And also of course there was the excitement of the approaching marriages, as well as the rather comical attempt to photograph the harem, described earlier.

This leads to a lengthy passage in her book, in which marriages and preparations are described in detail. This, after all, was something that not only plainly interested her, but which she felt that she could write freely about, even years later, in the 1890s, in retirement. She always remained very loyal to the memory of Princess Zeinab, at least, and indeed, in the preface to her book says that she only eventually published as “there is no one left to feel aggrieved at my publication, and I have spoken ill of none.”

After all, she must have been well aware of the rather scandalous books by “Emmeline Lott”, supposedly also an English governess at the Khedival court, although her existence as such, indeed her actual gender, is open to question. She would most certainly have not wished to be regarded as a second “Emmeline Lott”, though the contents of the books and their presentation are vastly different. Indeed, I’m sure that it was no coincidence that Ellen chose an impeccably respectable and long established publishing house, William Blackwood and Sons of Edinburgh and London. Anything appearing under their imprint was certainly not likely to offend anyone, particularly those in positions of power that Ellen had moved amongst.

She may, in fact, have made a veiled reference to “Emmeline Lott” in the preface to her book, when she wrote that:

“Great displeasure was manifested when (as occasionally happened) some distinguished visitor to the harem gave her impressions to the world at large.”

Her diaries, on which the book was based, would undoubtedly have said far more. After all, she appears to have kept them in sufficient detail to record even individual conversations. In fact sometimes I get the impression of a somewhat compulsive diarist. Her method of diary keeping seems to have been direct – she describes carrying a notebook about with her, and “wrote openly in it”, “making entries” about whatever she saw, experienced and heard. Whether or not she copied these notes into a main diary, in ink, later, we can only speculate.

Her diaries would make fascinating reading now. She must also surely have had photographs and other mementos. However, what became of them – indeed of any of Ellen’s possessions, I have been unable to discover. She may have had next of kin, if only distant, and certainly had an executor who arranged for her funeral and burial with her sister Anne Lydia, at Cheltenham, Gloucestershire. But so much of Ellen’s life remains enigmatic – and that, I’m sure, is how she wanted it.

Incidentally, it has not been possible to find out more from the records of her publishers, as these, together with much of her stock, was destroyed by bombing in the Second World War.

It is in her description of the marriages that we see Ellen at her best as an anthropologist, a career which, if it had been available to her, she would surely have excelled at. Even the tiniest details are recorded. But more than that, Ellen is interested in the customs and etiquette, and furthermore the reasons for the customs and etiquette. There are times when she does appear to be a true forerunner of the Egyptian social anthropologist Winifred Blackman (1872-1950), who also wrote a single book, The Fellahin of Upper Egypt (1927). The description of Winifred’s work by Al-Ahram Weekly in 2000 could apply equally to both women:

“Some of Blackman's subjects are esoteric, such as belief in magic, the evil eye and evil spirits (afarit ), while others - agriculture, industry and everyday village life - are more mundane, interweaved with topics as diverse as personal adornment and "the law of revenge." But the anthropologist was also a literary alchemist, transforming each chapter into a multi-faceted gem. Such is the abundance of detailed description, the vivid imagery, the apposite quotations or songs, the relevant anecdotes, the historical context and the fluid narration, that we are drawn into, and fascinated by, each successive chapter to the extent that we feel that we were there with her.”

(http://weekly.ahram.org.eg/2000/481/bk3_481.htm , but the link appears to now be defunct?)

Expense no object
“I had a private view of the plate and jewels for each bride,” Ellen wrote “but as they were pretty much the same in each instance, I will only particularise one… In a large saloon were thirty or forty women, all carefully arranging the jewels on crimson velvet cushions. There were tiaras, bracelets, necklaces, brooches, medallions, clasps, buckles, butterflies, earrings, and sprays, all of gold and diamonds, a massive gold circlet for the waist with an immense diamond clasp. There were other precious stones but diamonds greatly predominated, as being the most costly. Over each cushion was firmly fixed a wire-work cover which looked like lace, and while protecting the jewels allowed them to be seen.”

And there was much more:

“I was then taken to two other rooms which were kept locked, and were full of stands on which were arranged the different articles of gold and silver plate for the new ménage. There were about sixty stands, on which were dishes, plates, looking-glasses (of silver or gold), the little jewelled filigree gold cups for coffee, amber mouthpieces for pipes, &c., &c. The plate was, like the jewels, secured by wire covers which allowed them to be seen.”

This, remember, was for only one of the brides, Princess Fatma, Ishmail’s second daughter. It’s little surprise, then, that Ishmail is still described in some works as “Egypt’s spendthrift khedive” (Colonialism: an international social, cultural and political encyclopedia (2003) Ed. Melvin E. Page, Santa Barbara [California]: ABC-CLIO Inc.

Ishmail may, or may not, have judged public opinion correctly by displaying this vast wealth. However, he did so:

“The trousseau for each wedding was on a certain day carried through the town under an escort of soldiers. The streets through which it passed, and the balconies to the houses and hotels, were lined with people to witness the spectacle, which the fine wire covers guarded but did not conceal.”

Ellen then describes the marriage traditions, which took place n 26 January 1873:

“No ceremony, either religious or civil, is performed in [the] presence of both the contracting parties. A large party of relations and friends on both sides are assembled in the house of the parents of the bride. The gentlemen are in the selamlik, the ladies in the harem. The bridgeroom signs the contract in the presence of witnesses, and two or three of the most influential persons (generally relatives) go into the harem to obtain from the bride’s own lips authority to sign the contract in her name. These gentlemen are preceded by a couple of eunuchs crying “Dustoor!” which signifies “Get out of the way, attend to Mahometan [sic] customs,” and all women hide themselves as the gentlemen approach. The bride is in an inner room, surrounded by her nearest relations and friends; the door is ajar, but a thick curtain is drawn before it. The gentlemen stop outside, and one of them asks the important question, “N, wilt thou have this man to be thy wedded husband?” There is a dead silence, for, willing or unwilling, it is not etiquette for the lady to be so easily won. After a pause the question is repeated, and again there is no response.

“Now I have been told that if there is no reply to the third time of asking, there is an end to the business, and the parties all go home again without any marriage taking place I don’t suppose this often occurs, but there is a long pause between the second and third times of asking, to give time for the ladies to work on the bride, and induce her to pronounce the equivalent to “I will.” At last it is said, and then the gentlemen go back to the selamlik, and the contract is signed. In each of the weddings I am about to describe, a royal salute in each case announced the accomplishment of the signature.”

Whatever the mutterings in the back streets of Cairo, in Ellen’s book the day was full only of brightness and entertainment.

“There was plenty of movement in the streets on this day, gay harem carriages flitting about, their occupants distinctly visible in their gleaming yashmaks and bright coloured feridjees… It happened that the annual races began on this day, and… the hotels are always filled with Alexandrians coming to see them. I was told that Sir George Chetwynd sent a horse to run on this occasion, but it was beaten easily – I suppose from the difference of ground and of temperature.”

One of the races was “a dromedary race… very attractive from its novelty to Europeans.”

The Sir George Chetwynd mentioned was the 4th Baronet (1849-1917), of Brocton Hall, Staffordshire, notable in his day as a racehorse breeder and competitor, and author of Racing reminscences and experiences of the turf (1891). Presumably the Cairo races were not amongst his most agreeable reminiscences. His interest in an Egyptian race is indicative of the growing interest in, and involvement with, Egypt by wealthy Europeans, that in the end was to be Ishmail’s downfall.

But for the moment, the House of Muhammad Ali looked, from the outside at least, to be secure. Following the races, on 18 January 1873, came “the anniversary of the Khédive’s accession, and a ball is usually given in honour of it.

“It is held at Gezireh, in the State apartments occupied by the Empress of the French [Empress Eugenie, 1826-1920, deposed 1870] .during her visit to Egypt in 1869 at the opening of the Suez Canal.

“They are magnificent apartments, and the position of the palace on the Nile, with the beautiful gardens all illuminated, combine to make a ball there a sort of realisation of fairyland. Invitations are ardently coveted, and liberally given – on this occasion almost too liberally, for some persons complained of being crowded.”

Ellen roundly scolded the complainers: “There is plenty of space, but of course if everyone will rush to the ball-room, it may become rather too full for comfort.”

Next: the marriage ceremonies begin, described at length by Ellen.

It's been some time now since I last wrote for the "Guild of Hypatia". I'm glad that it has attracted some interest from around the world.

Although I promised that the series on Ellen Chennels was "to be continued", that continuation has been a long time coming, now, and the next chapter is very long overdue!

In particular, two e-mails have been interesting. The first was from Mr. Terry Walz, who agrees with me that Emmeline Lott's book "Nights in the Harem" was not written by a governess to the Khedival family!

I'd like to quote Mr. Walz's e-mail at length, as his comments are very intresting:

"It [i.e. 'Nights in the Harem'] displays an unusual grasp of the geography of Cairo in the 1850s, maybe 1860s - I even want to say a man's grasp - the location of markets, the different nationalities - and yet a poor grasp of Arabic (odd spellings that seem almost correct, but are not)... the 'mohaddetyn' in the title comes from Lane's 'Manners and Customs', and perhaps some of the other descriptions from Lane or Lane Poole, or Sophia Poole, and even Burton. Yet they would not have made the same mistakes in Arabic that she did.

You're quite right to conclude that it was entirely imagined, and yet it is interesting that she used an old eunuch - usually the most terrifying, horrifying of creatures in Victorian literature - as her central character and endowed him with some sympathetic feelings."

I personally think that Mr. Walz has found the answer to the puzzle. The books by "Emmeline Lott" are indeed by a man - the titles and content suggest this so very strongly. Who, however, I have no idea, and perhaps we can only speculate, now.

One thing seems for sure - my researches now and since have failed to find any trace of an "Emmeline Lott." I'm increasingly of the opinion, therefore, that the works attributed to her should not, therefore be regarded as history, but rather as fiction.

The second e-mail was from Mr. Michael Ward, who has asked me for more information about the visit to the Khedival family by the Earl and Countess of Dudley. Mr. Ward points out that in turn the Khedive stayed with them in England, at Dudley House, London.

I'm still researching this. My initial thoughts are that it was associated with Ishmail's plans for the economic expansion of Egypt - the Dudleys were very well-connected in banking and industrial, as well as political circles. The Earl of Dudley would, in short, have been a very useful person for the Khedive to know.

If anyone has any further information about this, please pass it on to Mr. Ward and the Guild of Hypatia.

And now, where precisely did I leave poor Miss Chennells?

Isis Yule Prayer

Isis Yule Prayer

Yule Tide returns

As the candle slowly burns

Sending out Blessings Bright

Guided by the might of Isis light.

Throughout the darkness she’ll shine

Showering her glory Divine

To all of those who have learned

They're Her children - returned.

Giving back as we are blessed

Gifts to others who have less

Her joy then is spread

We see no-one goes unfed.

The light of Isis reaches out

Erasing negativity and doubt

That Her Will be done

Restoring balance where their were none.

Her warm invigorating light shines beyond the dark

Calling to all through a tiny spark Yule Tide Returns

Come warm beside Her flames

Merge with Isis of 10'000 names.

Rosie Weaver

Personal Space and Sacred Earth: spiritual work space

Spring is here. The blossoms are showing in many places and once again we can actually head out of doors.

Just sitting, feeling the breezes and experiencing the smells of the earth are both centering and ultimately healing. There is a spiritual side to this relaxation. I have always found disturbing that the two things of nature and spirituality could not appear to be mixed in one spot. I will not need to seek a church, a circle or a shrine else where if I can but build a space here to pass into as part of my day.

So I decided to try again to capture both a sacred space where my feet meet the earth in a private spot near my back door. Finally, after much disaster in the past occurring to my small sacred space from invading neighboring dogs there is a fence being built to block off the end of this long empty space. In that space what survived were two dwarf apple trees and a climbing rose bush that the dogs did not bother with. So now the space is free of traffic that had been its focus and energy before - forcible abandoned by the disregard of others.

This space that would otherwise become over grown/abused is now ready to become a sacred area with a little work, that can be used to re-focus life and energy within. The plan is to sit out once more the Kuan Yin brass statue on the flat gray stone near the back door and plant more field roses and a dog wood. Then place a support arbor for the climbing rose, who has no where to climb. On this arbor wind chimes and even small prayer flags can be hung. The entire area will be open to birds, small animals, toads, frogs, fae, elementals, bees and butterflies. Water will be offered there. A small strips of bird seeds hung. The area becomes inviting, energized and focused.

The biggest "sacred" place I would say that inspired me was the Redwoods in Oregon and California. I could not imagine any thing better than to own a small piece of ground that these giant trees lived on. I had seen this believe it or not. There were privately owned small acreages of land with Redwood trees on them. The saddest of these pieces of land were the ones that the owners were preparing to log off for profit and then sell the bare land - I witnessed this as a child with my first visit to the Redwoods. I am thankful that there are national forests to keep safe what is found on the land. But the ultimate for me would be to own land and then live with what was present there. A beautiful example of this is found here at the "Tsubaki Grand Shrine of America" - the natural places to celebrate and practice the rituals of life.

Now back to reality. Most of us do not have wide parks and local shrines to visit. Most of us do not have time to each day draw ourselves to these places to rest, recharge and center ourselves. And there is a majority of people who don't see value in this either - these social or religious attitudes prevent the building of such needed public areas - for people who do find such places valuable.

But for those of us who do see value in it, but do not live where we can enter any of these amazing places to do our spiritual work - we must create this space. We can create this space out of nothing. We can create this space through experimenting with different areas in our homes, apartments or where ever we live. We can find a space that is not being used and create a sense of expanse and energy. So the little alley between properties will be my space to live in, work in and place objects that are important to me.

Though this space is not Redwoods or a mountain or a spring or a waterfall.... it is a space I can place things in and invite energies and beings to and keep to my self where I can think and do spiritual work.

That is my shrine, and no one else need know. You can make one too.

Ostara, chocolate eggs and Mother Goose

Ostara, chocolate eggs and Mother Goose


During our childhood, my sister 'Julie' and I celebrated every Easter time together by seeing which one of us could consume the most chocolate eggs in the shortest amount of time, (hopefully before my parents awoke).

I can still see my younger sister now, surrounded by shiny wrappers with her face covered in chocolate holding her tummy; and me having to call my mum because she was about to be sick everywhere.

Our family, friends & neighbours all gave eggs to us. Throughout the neighbourhood it was a pretty standard practise, most families to indulged their offspring by purchasing a wide array of Easter eggs.

The eggs were proudly displayed upon the shelf like glittering jewels; until that special sunday when the chocolate fest commenced.

On reflection, I can’t think why we were allowed to just munch our ways through mounds of choccy, but I remember how excited we got as children at the prospect of which eggs we were going to unwrap & eat first.

We talked about it for weeks beforehand, and got up as early as we had on xmas morning with the same level of anticipation to be the first to get our hands on those brightly coloured boxes of our hearts desire.

One of the other peculiar practices foisted upon us as children at school consisted of the annual ‘Grande Easter Bonnet parade/competition’.The lucky contestants were lined up like embarrassed Carmen Miranda’s’ along the length of the playground all wearing the offending home made articles that had taken many of the more competitive mothers weeks to construct; prior to the event.

The winning prize (normally an Easter egg) usually went to some child whose father was a set designer for ‘Crossroads’ or of similar ilk.

Later on in life I learned that the word ‘Easter’ derives from Germanic Goddess of Spring called Ostara or Eastre she also has connections with the Greek Goddess of Dawn/Springtime named ‘Eos’. The word for the direction ‘East’ also stems from Eos.

The ancient word for the springtime was thought to be named ‘Eastre’.

Christianity campaigned to win over Pagan holidays through fostering the celebrations themselves and pilfering our more ancient symbolism, finally staking claim to its truer meanings & origins.

Ancient Egyptians held a widespread belief that the universe itself was egg shaped.The womb of the Great Goddess was seen to be an egg.

Creation stories of Gods and Goddesses being born form eggs were well known, Hathor the great goddess of nature shape shifted into a Nile goose called ‘The Great Cackler’ and gave birth to the sun.

Today’s remnants of the old creation stories linger with us still in the form of the pantomime character ‘Mother Goose’ the goose that laid the golden egg.

A common practice which greatly predates Christianity was the painting of eggs by the Anglo Saxon folk who buried the brightly coloured eggs as offerings to Mother Earth buried in the hope that prayers be answered.

The Christian resurrection of Jesus Christ takes also stems from more ancient stories of the birth, death & resurrection of the Isis’s husband Osiris, God of renewal.

Many similar creation stories have been adapted by various cultures/Pantheons throughout the ages with an element of spiritual truth running through each.

The Spring-time symbolism of eggs/ Easter egg hunts/egg decorating/hares/rabbitsand rebirth filter through the ages globally and in time honoured fashion continue to do so from a more ancient nature based religion.

This year when I hand over Easter eggs to my children I shall be pointing out that theirs more to the humble choccy egg than meets the eye.

Hopefully before the ‘choccy fest’ commences they may be interested enough to take some time and learn a little more.

NAVIGIUM ISIDIS

On March 5th & 6th an ancient festival took place in Egypt and ancient Rome known as ‘Navigium Isidis’.
It was a great community event, accounts tell of some fabulous processions perhaps our equivalent now would be Notting Hill Carnival held in London or Mardi Gras in New Orleans.

In honour Isis and in remembrance of ‘Navigium Isidis’ I take a little wooden boat to the sea and launch it with my own personal prayers.
Luckily I live very close to a fishing quarter here in Hastings and so it is the ideal place to do this. My little Isis ship will set sail from the fisherman’s beach. The following poem I wrote with these thoughts ….



NAVIGIUM ISIDIS

Many moons ago in the Black lands far away
People joined the procession of Navigium Isidis
Celebrated upon this day.

All our current carnivals with floats derived from this
A mosaic of musical merriment; masks & costumes headed towards the port,
Where the boat of Isis waits; laden with offerings of every sort.

Before She sets sail
She is purified and Blessed
The boat represents Isis
Honoured throughout Her Fest.

She is patroness of sailors
The river Nile and all the seas,
She steers humanity on a journey
Bringing worldly sufferings to ease.

The Mast is raised, as the gentle spring breeze blows
The procession lets out a cheer as the ship of Isis departs,
Off across the waters or maybe to the stars above
Isis is Mistress of All Magick keeper of human hearts.

Out across the distance the Ship of Isis diminishes from sight
The procession continues to celebrate; as daytime turns to night,
Navigium Isidis was celebrated back through the mists of time
Yet still little boats are launched honouring Isis, the Great Mother Divine.




Rosie Weaver. March 09




.

One of my new friends and I have been working with some of the Fellowship of Isis
Rituals and Mystery Drama’s recently.
I read a brilliant article by the Priestess 'Caroline Wise' this week saying just how deep and meaningful these rites are for her and I have to agree 100%.
Even some of the rituals that I have done several times over the years always bring fresh & often profound personal insights.
I’ve been a member of the fellowship of Isis since 1976, and am delighted to see now that all of the rituals and mystery dramas are freely available online for members of the fellowship of Isis to download.
It is such a good idea to have access to the beautiful rites written by one of the co- founders of the F.O.I ‘Lady Olivia Robertson’ whom wrote these works of art whilst in a trance state; it is thanks to her that we may all benefit from these Goddess given gifts.
Over the years I have been privileged to share & celebrate some of the rituals with fellow Isians (as Isis followers often are called).
Other times it has not been possible to link up with other devotee’s and so I perform the Rites solo here at home, from my personal shrine to Isis.
I’m always able to adapt the rituals to suit one person and have found creative ways of performing the Mystery Drama’s solo too!
In a group situation the members would be ‘playing’ the roles themselves; during the rite.
For solo practitioners however I would begin by looking at the various roles included of a specific drama from the Fellowship of Isis Liturgy, next I ‘Google’ images on the internet to find nice pictures that resonates with me for the given roles and characters involved.
It might be for example; of a God or Goddess or any number of characters from various Pantheons, but I always manage to find nice images to use for a ritual/mystery play.
For more creative folk I recommend making your own images through painting/drawing/collage.
Often background music is also recommended to play during the Rite.
Thanks again to the magic of the internet we may also find sites that allow us free access to the required sounds.



For the rite itself I am fortunate enough to have my computer next to my Shrine, which enables me to light my candles & incense, then I will be able to bring the character images up on my computer & also play the required background music as I continue solo with the rite.
The entire effect of being to use evocative images to accompany the rite reminds me of a modern day Victorian puppet theatre.
I can narrate the story of the Mystery Drama myself as I go along and use the characters on screen to add more meaning to the ritual itself.
It’s great fun to try the various role playing of the characters as you read out each of the individual characters ‘lines’ and the beauty of it is that you may keep it as simple or elaborate as you wish.
You may for example like to include images of scenery and further images of the ritual regalia which may be called for in the play. All of these items may be pasted onto one document which you may scroll down to, as required during the play/ritual.



If you’d like to try this for yourself the Rites & Drama’s may be found at:

http://lotuspharia.freeyellow.com/thecircleofisis/id4.html

May I suggest to begin with you try the Rites from the Liturgy booklets of ‘Dea’ and ‘Panthea’.

For those that would like to follow a structured study course please contact me here at:
The Iseum of the Solar Goddess
Blessings
Rosie Weaver
Prs.H. Prs. A