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As Toby Wilkinson, in his magisterial new history of ancient Egypt, The Rise and Fall of Ancient Egypt , makes clear, the attitude of the average pharaoh towards dissent would have done credit to Kim Jong-il.
Even details on royal portraiture that might, at first sight, appear to be the work of some ancient Steve Bell are revealed, on closer inspection, to be the precise opposite.
The Middle Kingdom pharaoh Senusret III is shown with large ears, for instance, not because he looked like Prince Charles, but because he was imagined as listening to everything that his subjects said.
Indeed, no matter who the individual king might be, it made little difference to the image of the all-hearing, all-watching state: Yet if this was reason enough for the failure of Egyptian writers to indulge in the kind of salacious detail that the Greeks and the Romans so relished, then there was also a broader cultural explanation.
A blurring of the individual with the universal lay at the very heart of Egyptian ideology. Pharaoh himself was regarded less as a man than as an expression of the divine.
Even those of non-royal birth came to dream of an afterlife in which they would lead an idealised version of their mortal existence.
This was why art, for instance, invariably dealt in generalisations — and panglossian ones at that. No one in a tomb relief was ever shown with the worn gums endemic in a land where food was invariably seasoned with sand.
Immortals, of course, stood at even further remove from base reality. No wonder that the gods of Egypt — of which there were approximately 1, in all — can seem, to anyone brought up on tales of the Olympians, or even the choleric god of the Old Testament, decidedly lacking in individuality.
Joyce Tyldesley, in her new book, Myths and Legends of Ancient Egypt , provides as panoramic a survey as one could hope to read — and yet the gods themselves, despite all her best efforts, remain frustratingly opaque.
Indeed, it is telling that the only really entertaining story to feature the gods — the bloody soap opera of Osiris, his sister-wife Isis, and their fratricidal brother, the "voraciously bisexual" Seth — derives from a version by Plutarch, a Greek.
Journey back to ancient Egypt and find up to 35 free spins on an extra 5-reel slot machine with 20 payout lines. Bastet, Goddess of Harmony and Happiness, will guide you through the game and reward you by replacing all symbols except the scatter.
Do you know why the Egyptians adored cats so much? In this online casino game, you win by making combinations from left to right.
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The slot machine world is full of games which take on the Ancient Egyptians, whether it is focussing on the magnificent pyramids, the mighty pharaohs, or the all powerful gods of the ancient culture.
However, no slot machine has depicted the Egyptian culture quite like Egyptian Rise does, because the new video slot by Side City Studios offers a unique design, giving the slight weary theme a much-needed makeover.
As such, players are presented with a game screen that is rendered in a variety of bright, neon colours, showing a range of symbols that appear to be more like something from a science fiction movie than from 3, years ago in the past!
Even so, all of the same familiar symbols are present, showing a glimpse into ancient world with various artefacts, characters and sacred emblems.
Starting with the lowest paying symbols, there is an ankh cross which symbolised life in the hieroglyphics of the time, while there is also an icon that depicts the Eye of Horus, an important image that represents protection, royal power and good health.
Other symbols include typical cat and falcon emblem as well as almighty pharaoh characters with the instantly recognisable busts of Nefertiti and Tutankhamun.
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