title: Lars von Trier

text: Von Trier achieved his greatest international success with his "Golden Heart" trilogy. Each film in the trilogy is about naive heroines who maintain their "golden hearts" despite the tragedies they experience. This trilogy consists of: "Breaking the Waves" (1996), "The Idiots" (1998), and "Dancer in the Dark" (2000). While all three films are sometimes associated with the Dogme 95 movement, only "The Idiots" is a certified Dogme95 film.


title: Lars von Trier

text: "Breaking the Waves" (1996), the first film in his "Golden Heart" trilogy, won the Grand Prix at the Cannes Film Festival and featured Emily Watson, who was nominated for the Academy Award for Best Actress. Its grainy images, and hand-held photography, pointed towards Dogme95 but violated several of the manifesto's rules, and therefore does not qualify as a Dogme95 film. The second film in the trilogy, "The Idiots" (1998), was nominated for a Palme d'Or, with which he was presented in person at the Cannes Film Festival despite his dislike of traveling. In 2000, von Trier premiered a musical featuring Icelandic musician Björk, "Dancer in the Dark". The film won the Palme d'Or at Cannes. The song "I've Seen It All" (co-written by vonTrier) received an Academy Award nomination for Best Original Song.


title: Lars von Trier

text: "The Five Obstructions" (2003), made by vonTrier and Jørgen Leth, is a documentary that incorporates lengthy sections of experimental films. The premise is that vonTrier challenges director Jørgen Leth, his friend and mentor, to remake his old experimental film "The Perfect Human" (1967) five times, each time with a different "obstruction" (or obstacle) specified by vonTrier.


title: Lars von Trier

text: A proposed trilogy, von Trier's "Land of Opportunities" consists of "Dogville" (2003), "Manderlay" (2005), and "", which is yet to be made. "Dogville" and "Manderlay" were both shot with the same distinctive, extremely stylized approach, placing the actors on a bare sound stage with no set decoration and the buildings' walls marked by chalk lines on the floor, a style inspired by 1970s televised theatre. "Dogville" (2003) starred Nicole Kidman and "Manderlay" (2005) starred Bryce Dallas Howard in the same main role as Grace Margaret Mulligan. Both films have casts of major international actors, including Harriet Andersson, Lauren Bacall, James Caan, Danny Glover, and Willem Dafoe, and question various issues relating to American society, such as intolerance (in "Dogville") and slavery (in "Manderlay").


title: Lars von Trier

text: In 2006, von Trier released a Danish-language comedy film, "The Boss of It All". It was shot using an experimental process that he has called Automavision, which involves the director choosing the best possible fixed camera position and then allowing a computer to randomly choose when to tilt, pan, or zoom. Following "The Boss of It All", von Trier scripted an autobiographical film, "" in 2007, which went on to be directed by Jacob Thuesen. The film tells the story of vonTrier's years as a student at the National Film School of Denmark. It stars Jonatan Spang as vonTrier's alter ego, called "Erik Nietzsche", and is narrated by vonTrier himself. All the main characters in the film are based on real people from the Danish film industry, with thinly veiled portrayals including Jens Albinus as director Nils Malmros, Dejan Čukić as screenwriter Mogens Rukov, and Søren Pilmark.


title: Lars von Trier

text: The "Depression" trilogy consists of "Antichrist", "Melancholia", and "Nymphomaniac". The three films star Charlotte Gainsbourg, and deal with characters who suffer depression or grief in different ways. This trilogy is said to represent the depression that Trier himself experiences.


title: Lars von Trier

text: Von Trier's next feature film was "Antichrist", a film about "a grieving couple who retreat to their cabin in the woods, hoping a return to Eden will repair their broken hearts and troubled marriage; but nature takes its course and things go from bad to worse". The film stars Willem Dafoe and Charlotte Gainsbourg. It premiered in competition at the 2009 Cannes Film Festival, where the festival's jury honoured the movie by giving the Best Actress award to Gainsbourg.


title: Lars von Trier

text: In 2011, vonTrier released "Melancholia", an apocalyptic drama about two depressive sisters played by Kirsten Dunst and Charlotte Gainsbourg, the former whom marries just before a rogue planet is about to collide with Earth. The film was in competition at the 2011 Cannes Film Festival, where it won the Best Actress award for Dunst.


title: Lars von Trier

text: Following "Melancholia", von Trier began the production of "Nymphomaniac", a film about the sexual awakening of a woman played by Charlotte Gainsbourg. In early December 2013, a four-hour version of the five-and-a-half-hour film was shown to the press in a private preview session. The cast also included Stellan Skarsgård (in his sixth film for von Trier), Shia LaBeouf, Willem Dafoe, Jamie Bell, Christian Slater, and Uma Thurman. In response to claims that he had merely created a "porn film", Skarsgård stated "... if you look at this film, it's actually a really bad porn movie, even if you fast forward. And after a while you find you don't even react to the explicit scenes. They become as natural as seeing someone eating a bowl of cereal." For its public release in the United Kingdom, the four-hour version of "Nymphomaniac" was divided into two "volumes""VolumeI" and "VolumeII"and the film's British premiere was on 22February 2014. In interviews prior to the release date, Gainsbourg and co-star Stacy Martin revealed that prosthetic vaginas, body doubles, and special effects were used for the production of the film. Martin also stated that the film's characters were a reflection of the director himself and referred to the experience as an "honour" that she enjoyed. The film was also released in two "volumes" for the Australian release on 20 March 2014, with an interval separating the back-to-back sections. In his review of the film for 3RRR's film criticism program, "Plato's Cave", presenter Josh Nelson stated that, since the production of "Breaking the Waves", the filmmaker von Trier is most akin to is Alfred Hitchcock, due to his portrayal of feminine issues. Nelson also mentioned filmmaker Andrei Tarkovsky as another influence whom Trier himself has also cited. In February 2014, an uncensored version of "Volume I" was shown at the Berlin Film Festival, with no announcement of when or if the complete five-and-a-half-hour "Nymphomaniac" would be made available to the public. The complete version premiered at the 2014 Venice Film Festival and was shortly afterward released in a limited theatrical run worldwide that fall.


title: Lars von Trier

text: In 2015, von Trier started to work on a new feature film, "The House That Jack Built" (2018), which was originally planned as an eight-part television series. The story is about a serial killer, seen from the murderer's point of view. Shooting started in March 2017 in Sweden, with shooting moving to Copenhagen in May.


title: Lars von Trier

text: In February 2017, von Trier explained in his own words that "The House That Jack Built" "celebrates the idea that life is evil and soulless, which is sadly proven by the recent rise of the "Homo trumpus" – the rat king". The film premiered at the Cannes Film Festival in May 2018. Despite more than a hundred walkouts by audience members when initially screened at the Cannes Film Festival, the film still received a 10-minute standing ovation.


title: Lars von Trier

text: After the release of "The House That Jack Built" (2018), von Trier planned to produce "Études", an anthology film consisting of ten black and white segments, each ten minutes long, inspired by the musical form.


title: Lars von Trier

text: In December 2020, it was announced that von Trier would produce a belated third and final season for his acclaimed series "The Kingdom", titled "The Kingdom Exodus". Without Järegård,and Rolffes, they would return Søren Pilmark as Jørgen 'Hook' Krogshøj and Ghita Nørby as Rigmor Mortensen, both returned with a new cast Mikael Persbrandt as Dr. Helmer, Jr in the final season as the three main protagonists. It was expected to be shot in 2021, consisting of five episodes to be released in November 2022. The miniseries premiered out of competition at the Venice Film Festival as a five-hour feature length film. The third season was warmly received by critics.


title: Lars von Trier

text: Von Trier is heavily influenced by the work of Carl Theodor Dreyer and the film "The Night Porter". He was so inspired by the short film "The Perfect Human", directed by Jørgen Leth, that he challenged Leth to redo the short five times in the feature film "The Five Obstructions".


title: Lars von Trier

text: Von Trier's writing style has been heavily influenced by his work with actors on set, as well as the Dogme 95 manifesto that he co-authored. In an interview with "Creative Screenwriting", von Trier described his process as "writing a sketch and keep[ing] the story simple...then part of the script work is with the actors."


title: Lars von Trier

text: While reflecting on the storytelling across his body of work, von Trier said, "All the stories are about a realist who comes into conflict with life. I'm not crazy about real life, and real life is not crazy about me." He further described his process as dividing different parts of his personality into different characters.


title: Lars von Trier

text: Von Trier has cited Danish filmmaker Carl Dreyer as a writing influence, pointing to Dreyer's method of overwriting his scripts then significantly cutting the length down.


title: Lars von Trier

text: Von Trier has said that "a film should be like a stone in your shoe". To create original art he feels that filmmakers must distinguish themselves stylistically from other films, often by placing restrictions on the film making process. The most famous such restriction is the cinematic "vow of chastity" of the Dogme 95 movement with which he is associated. In "Dancer in the Dark", he used jump shots and dramatically different color palettes and camera techniques for the "real world" and musical portions of the film, and in "Dogville" everything was filmed on a sound stage with no set, where the walls of the buildings in the fictional town were marked as lines on the floor.


title: Lars von Trier

text: Von Trier often shoots digitally and operates the camera himself, preferring to continuously shoot the actors in-character without stopping between takes. In "Dogville" he let actors stay in character for hours, in the style of method acting. These techniques often put great strain on the actors, most famously with Björk during the filming of "Dancer in the Dark".


title: Lars von Trier

text: Von Trier would later return to explicit images in "Antichrist" (2009), exploring darker themes, but he ran into problems when he tried once more with "Nymphomaniac", which had 90 minutes cut out (reducing it from five-and-one-half to four hours) for its international release in 2013 in order to be commercially viable, taking nearly a year to be shown complete anywhere in an uncensored director's cut.


title: Lars von Trier

text: While Lars von Trier commissioned new musical compositions for his early films, from "Breaking the Waves" (1996) onwards, almost without exception music is heard in his films that already existed before the films (so-called "pre-existing music"). Until 2013, the choice of music within his films is largely consistent in terms of musical style, although strong differences prevail across films. With Nymphomaniac, the principle of musical eclecticism is also applied within the film. The musical pieces were sometimes heavily edited in order to use them in a dramaturgically targeted manner, for example to manipulate and provoke the audience.


title: Lars von Trier

text: In a Skype interview for IndieWire, von Trier compared his approach to actors with "how a chef would work with a potato or a piece of meat", clarifying that working with actors has differed on each film based on the production conditions.


title: Lars von Trier

text: Von Trier has occasionally courted controversy by his treatment of his leading ladies. He and Björk famously fell out during the shooting of "Dancer in the Dark", to the point where Björk would abscond from filming for days at a time. She stated about Trier, who among other things shattered a monitor while it was next to her, "...you can take quite sexist film directors like Woody Allen or Stanley Kubrick and still they are the one that provide the soul to their movies. In Lars von Trier's case it is not so and he knows it. He needs a female to provide his work soul. And he envies them and hates them for it. So he has to destroy them during the filming. And hide the evidence." Despite this, other actresses such as Kirsten Dunst and Charlotte Gainsbourg have spoken out in defence of von Trier's approach. "Nymphomaniac" star Stacy Martin has stated that he never forced her to do anything that was outside her comfort zone. She said "I don't think he's a misogynist. The fact that he sometimes depicts women as troubled or dangerous or dark or even evil; that doesn't automatically make him anti-feminist. It's a very dated argument. I think that Lars loves women."


title: Lars von Trier

text: Nicole Kidman, who starred in von Trier's "Dogville", said in an interview with ABC Radio National: "I think I tried to quit the film three times because he said, 'I want to tie you up and whip you, and that's not to be kind.' I was, like, what do you mean? I've come all this way to rehearse with you, to work with you, and now you're telling me you want to tie me up and whip me? But that's Lars, and Lars takes his clothes off and stands there naked and you're like, 'Oh, put your clothes back on, Lars, please, let's just shoot the film.' But he's very, very raw and he's almost like a child in that he'll say and do anything. And we would have to eat dinner every night and most of the time that would end with me in tears because Lars would sit next to me and drink peach schnapps and get drunk and get abusive and I'd leave and...anyway, then we'd go to work the next morning. But I say this laughing...I didn't do the ["Dogville"] sequel but I'm still very good friends with him, strangely enough, because I admire his honesty and I see him as an artist, and I say, my gosh, it's such a hard world now to have a unique voice, and he certainly has that, and he hasn't bent over to any of the mainstream approaches to film making or money, and I admire it."


title: Lars von Trier

text: Von Trier has a penchant for working with actors and production members more than once. His main crew members and producer team has remained intact since the film "Europa". The list of actors reappearing in his films, even for small parts or cameos, is also extensive. Many of them have repeatedly expressed their devotion to von Trier and willingness to return on set with him, even without payment. He uses the same regular group of actors in many of his films including Jean-Marc Barr, Udo Kier and Stellan Skarsgård who was cast in several von Trier films: "Breaking the Waves", "Dancer in the Dark", "Dogville", "Dimension" (unfinished), and "Nymphomaniac". With the exception of "Medea", "The Kingdom", "USA Trilogy", and "The House that Jack Built"; Charlotte Gainsbourg is the only actress that appeared in a single trilogy (Depression: all three films consist "Antichrist", "Melancholia", and "Nymphomaniac") directed by Von Trier. Nonetheless, von Trier starred in three different roles for his first trilogy, "Europa".


title: Lars von Trier

text: "Note: This list shows only the actors (in alphabetical order only) who have collaborated with von Trier in three or more productions".


title: Lars von Trier

text: Among his more than 100 awards and 200 nominations at film festivals worldwide, von Trier has received: the Palme d'Or (for "Dancer in the Dark"), the Grand Prix (for "Breaking the Waves"), the Prix du Jury (for "Europa"), and the Technical Grand Prize (for "The Element of Crime" and "Europa") at the Cannes Film Festival. Von Trier has also received both Golden Globe Award and Academy Award nomination.


title: Lars von Trier

text: In May 2011, known to be provocative in interviews, vonTrier's remarks during the press conference before the premiere of "Melancholia" in Cannes caused significant controversy in the media, leading the festival to declare him "persona non grata" and to ban him from the festival for one year (without, however, excluding "Melancholia" from that year's competition). Minutes before the end of the interview, Trier was asked by a journalist about his German roots and the Nazi aesthetic in response to the director's description of the film's genre as "German romance". The director, who was brought up with his Jewish father and only found out later in life that his biological father was a non-Jewish German, responded by discussing his German identity. He joked that since he was no longer Jewish he now "understands" and "sympathizes" with Hitler, that he is not against the Jews except for Israel which is "a pain in the ass" and that he is a Nazi. These remarks caused a stir in the media which, for the most part, presented the incident as an antisemitic scandal. The director released a formal apology immediately after the controversial press conference and kept apologizing for his joke during all of the interviews he gave in the weeks following the incident, admitting that he was not sober, and saying that he did not need to explain that he is not a Nazi. The actors of "Melancholia" who were present during the incident – Dunst, Gainsbourg, Skarsgård – defended the director, pointing to his provocative sense of humor and his depression. The director of the Cannes festival later called the controversy "unfair" and as "stupid" as vonTrier's bad joke, concluding that his films are welcome at the festival and that vonTrier is considered a "friend". In 2019, von Trier stated that he made this remark at the "only press conference I ever had when I was sober."


title: Lars von Trier

text: Von Trier refused to attend a private press screening of his subsequent feature film "Nymphomaniac" following the controversy surrounding his remarks at the 2011 Cannes Film Festival. In the director's defense, Skarsgård stated at the screening, "Everyone knows he's not a Nazi, and it was disgraceful the way the press had these headlines saying he was."


title: Lars von Trier

text: In October 2017, Björk posted on her Facebook page that she had been sexually harassed by a "Danish film director she worked with". The "Los Angeles Times" found evidence identifying him as Lars von Trier. Von Trier has apologized for psychologically abusing her but rejected Björk's allegation that he sexually harassed her during the making of the film "Dancer in the Dark", and said "That was not the case. But that we were definitely not friends, that's a fact," to Danish daily "Jyllands-Posten" in its online edition. Peter Aalbaek Jensen, the producer of "Dancer in the Dark", told "Jyllands-Posten" that "As far as I remember we [Lars von Trier and I] were the victims. That woman was stronger than both Lars von Trier and me and our company put together. She dictated everything and was about to close a movie of 100M kroner [$16M]."


title: Lars von Trier

text: After von Trier's statement, Björk explained the details about this incident, while her manager, Derek Birkett, also condemned von Trier's alleged past actions.


title: Lars von Trier

text: "The Guardian" later found that Jensen's studio, Zentropa, with which von Trier has frequently collaborated, had an endemic culture of sexual harassment. Jensen stepped down as CEO of Zentropa when further allegations of harassment came to light in 2017.


title: Lars von Trier

text: During production of "Manderlay" (2005), a donkey was slaughtered for dramatic purposes, an act that caused actors including John C. Reilly to quit the film in protest of its cruelty to animals. The scene was cut from the film before it was released.


title: Lars von Trier

text: Although it was praised by animal rights organization PETA during the premiere of "The House that Jack Built" (2018), the audience caused backlash toward a scene involving the main character's mutilation of a duckling when Jack was a child.


title: Lars von Trier

text: In 1989, von Trier's mother told him on her deathbed that the man vonTrier thought was his biological father was not, and that he was the result of a liaison she had with her former employer, Fritz Michael Hartmann (1909–2000), who was descended from a long line of Danish classical musicians. Hartmann's grandfather was Emil Hartmann, his great-grandfather J. P. E. Hartmann, his uncles included Niels Gade and Johan Ernst Hartmann, and Niels Viggo Bentzon was his cousin. She stated that she did this to give her son "artistic genes".


title: Lars von Trier

text: Until that point I thought I had a Jewish background. But I'm really more of a Nazi. I believe that my biological father's German family went back two further generations. Before she died, my mother told me to be happy that I was the son of this other man. She said my foster father had had no goals and no strength. But he was a loving man. And I was very sad about this revelation. And you then feel manipulated when you really do turn out to be creative. If I'd known that my mother had this plan, I would have become something else. I would have shown her. The slut!"


title: Lars von Trier

text: During the German occupation of Denmark, vonTrier's biological father Fritz Michael Hartmann worked as a civil servant and joined a resistance group, "Frit Danmark", actively counteracting any pro-German and pro-Nazi colleagues in his department. Another member of this infiltrative resistance group was Hartmann's colleague Viggo Kampmann, who would later become prime minister of Denmark. After vonTrier had four awkward meetings with his biological father, Hartmann refused further contact.


title: Lars von Trier

text: Von Trier's mother considered herself a communist, while his father was a social democrat. Both were committed nudists, and vonTrier went on several childhood holidays to nudist camps. His parents regarded the disciplining of children as reactionary. He has noted that he was brought up in an atheist family, and that although Ulf Trier was Jewish, he was not religious. His parents did not allow much room in their household for "feelings, religion, or enjoyment", and also refused to make any rules for their children, with complex effects upon vonTrier's personality and development.


title: Lars von Trier

text: In a 2005 interview with "Die Zeit", vonTrier said, "I don't know if I'm all that Catholic really. I'm probably not. Denmark is a very Protestant country. Perhaps I only turned Catholic to piss off a few of my countrymen."


title: Lars von Trier

text: Von Trier suffers from various fears and phobias, including an intense fear of flying. This fear frequently places severe constraints on him and his crew, necessitating that virtually all of his films be shot in either Denmark or Sweden. As he quipped in an interview, "Basically, I'm afraid of everything in life, except film making."


title: Lars von Trier

text: On numerous occasions, von Trier has also stated that he suffers from occasional depression which renders him incapable of doing his work and unable to fulfill social obligations.


title: Lars von Trier

text: On 8 August 2022, it was announced that von Trier had been diagnosed with Parkinson's disease. According to "Variety", von Trier plans to take a break from filmmaking to adjust to his new life with the disease, saying: "I will take a little break and find out what to do, but I certainly hope that my condition will be better. It’s a disease you can’t take away; you can work with the symptoms, though.”


title: Jacob

text: Jacob (; ; ; ), later given the name Israel, is regarded as a patriarch of the Israelites and is an important figure in Abrahamic religions, such as Judaism, Christianity, and Islam. Jacob first appears in the Book of Genesis, where he is described as the son of Isaac and Rebecca, and the grandson of Abraham, Sarah, and Bethuel. According to the biblical account, he was the second-born of Isaac's children, the elder being Jacob's fraternal twin brother, Esau. Jacob is said to have bought Esau's birthright and, with his mother's help, deceived his aging father to bless him instead of Esau. Later in the narrative, following a severe drought in his homeland of Canaan, Jacob and his descendants, with the help of his son Joseph (who had become a confidant of the pharaoh), moved to Egypt where Jacob died at the age of 147. He is supposed to have been buried in the Cave of Machpelah.


title: Jacob

text: Jacob had twelve sons through four women, his wives, Leah and Rachel, and his concubines, Bilhah and Zilpah, who were, in order of their birth, Reuben, Simeon, Levi, Judah, Dan, Naphtali, Gad, Asher, Issachar, Zebulun, Joseph, and Benjamin, all of whom became the heads of their own family groups, later known as the Twelve Tribes of Israel. He also had a daughter named Dinah. According to Genesis, Jacob displayed favoritism among his wives and children, preferring Rachel and her sons, Joseph and Benjamin, causing tension within the family—culminating in Joseph's older brothers selling him into slavery.


title: Jacob

text: Scholars have taken a mixed view as to Jacob's historicity, with archaeology so far producing no evidence for his existence.


title: Jacob

text: According to the folk etymology found in Genesis 25:26, the name is derived from "heel", as Jacob was born grasping the heel of his twin brother Esau. The historical origin of the name is uncertain, although similar names have been recorded. is recorded as a place name in a list by Thutmose III (15th century BC), and later as the "nomen" of a Hyksos pharaoh. The hieroglyphs are ambiguous, and can be read as "Yaqub-Har", "Yaqubaal", or "Yaqub El". The same name is recorded earlier still, in c. 1800 BC, in cuneiform inscriptions (spelled "ya-ah-qu-ub-el", "ya-qu-ub-el"). The suggestion that the personal name may be shortened from this compound name, which would translate to "may El protect", originates with Bright (1960). The Septuagint renders the name , whence Latin , English "Jacob".


title: Jacob

text: The name "Israel" given to Jacob following the episode of his wrestling with the angel (Genesis 32:22–32) is etymologized as composition of "el" "god" and the root "śarah" "to rule, contend, have power, prevail over":  (KJV: "a prince hast thou power with God"); alternatively, the "el" can be read as the subject, for a translation of "El rules/contends/struggles".


title: Jacob

text: Jacob and his twin brother, Esau, were born to Isaac and Rebecca after 20 years of marriage, when Isaac was 60 years of age. Rebecca was uncomfortable during her pregnancy and went to inquire of God why she was suffering. She received the prophecy that twins were fighting in her womb and would continue to fight all their lives, even after they became two separate nations. The prophecy also said that "the one people shall be stronger than the other people; and the elder shall serve the younger" (Genesis 25:25 KJV).


title: Jacob

text: When the time came for Rebecca to give birth, the firstborn, Esau, came out covered with red hair, as if he were wearing a hairy garment, and his heel was grasped by the hand of Jacob, the secondborn. According to Genesis 25, Isaac and Rebecca named the first son , Esau. The second son they named יעקב, Jacob (Ya'aqob or Ya'aqov, meaning "heel-catcher", "supplanter", "leg-puller", "he who follows upon the heels of one", from , "aqab" or "aqav", "seize by the heel", "circumvent", "restrain", a wordplay upon , "iqqebah" or "iqqbah", "heel").


title: Jacob

text: The boys displayed very different natures as they matured. "... and Esau was a cunning hunter, a man of the field; but Jacob was a simple man, dwelling in tents". Moreover, the attitudes of their parents toward them also differed: "And Isaac loved Esau, because he did eat of his venison: but Rebecca loved Jacob."


title: Jacob

text: Genesis 25:29–34 tells the account of Esau selling his birthright to Jacob. This passage tells that Esau, returning famished from the fields, begged Jacob to give him some of the stew that Jacob had just made. (Esau referred to the dish as "that same red pottage", giving rise to his nickname, ("'Edom", meaning "Red").) Jacob offered to give Esau a bowl of stew in exchange for his birthright, to which Esau agreed.


title: Jacob

text: As Isaac aged, he became blind and was uncertain when he would die, so he decided to bestow Esau's birthright upon him. He requested that Esau go out to the fields with his weapons (quiver and bow) to kill some venison. Isaac then requested that Esau make "savory meat" for him out of the venison, according to the way he enjoyed it the most, so that he could eat it and bless Esau.


title: Jacob

text: Rebecca overheard this conversation. It is suggested that she realized prophetically that Isaac's blessings would go to Jacob, since she was told before the twins' birth that the older son would serve the younger. Rebecca blessed Jacob and she quickly ordered Jacob to bring her two kid goats from their flock so that he could take Esau's place in serving Isaac and receiving his blessing. Jacob protested that his father would recognize their deception since Esau was hairy and he himself was smooth-skinned. He feared his father would curse him as soon as he felt him, but Rebecca offered to take the curse herself, then insisted that Jacob obey her. Jacob did as his mother instructed and, when he returned with the kids, Rebecca made the savory meat that Isaac loved. Before she sent Jacob to his father, she dressed him in Esau's garments and laid goatskins on his arms and neck to simulate hairy skin.


title: Jacob

text: Disguised as Esau, Jacob entered Isaac's room. Surprised that Esau was back so soon, Isaac asked how it could be that the hunt went so quickly. Jacob responded, "Because the LORD your God brought it to me." Rashi, says Isaac's suspicions were aroused even more, because Esau never used the personal name of God. Isaac demanded that Jacob come close so he could feel him, but the goatskins felt just like Esau's hairy skin. Confused, Isaac exclaimed, "The voice is Jacob's voice, but the hands are the hands of Esau!" Still trying to get at the truth, Isaac asked him directly, "Art thou my very son Esau?" and Jacob answered simply, "I am." Isaac proceeded to eat the food and to drink the wine that Jacob gave him, and then told him to come close and kiss him. As Jacob kissed his father, Isaac smelled the clothes which belonged to Esau and finally accepted that the person in front of him was Esau. Isaac then blessed Jacob with the blessing that was meant for Esau. Genesis 27:28–29 states Isaac's blessing: "Therefore God give thee of the dew of heavens, and the fatness of the earth, and plenty of corn and wine: Let people serve thee: be lord over thy brethren, and let thy mother's sons bow down to thee: cursed be every one that curseth thee, and blessed be he that blesseth thee."


title: Jacob

text: Jacob had scarcely left the room when Esau returned from the hunt to prepare his game and receive the blessing. The realization that he had been deceived shocked Isaac, yet he acknowledged that Jacob had received the blessings by adding, "Indeed, he will be [or remain] blessed!" (27:33).


title: Jacob

text: Esau was heartbroken by the deception and begged for his own blessing. Having made Jacob a ruler over his brothers, Isaac could only promise, "By your sword you shall live, but your brother you shall serve; yet it shall be that when you are aggrieved, you may cast off his yoke from upon your neck" (27:39–40).


title: Jacob

text: Although Esau sold Jacob his own birthright, which was his blessing, for "red pottage," Esau still hated Jacob for receiving his blessing that their father Isaac unknowingly had given to him. He vowed to kill Jacob as soon as Isaac died. When Rebecca heard about his murderous intentions, she ordered Jacob to travel to her brother Laban's house in Haran, until Esau's anger subsided. She convinced Isaac to send Jacob away by telling him that she despaired of his marrying a local girl from the idol-worshipping families of Canaan (as Esau had done). After Isaac sent Jacob away to find a wife, Esau realized his own Canaanite wives were evil in his father's eyes and so he took a daughter of Isaac's half-brother, Ishmael, as another wife.


title: Jacob

text: Near Luz en route to Haran, Jacob experienced a vision of a ladder, or staircase, reaching into heaven with angels going up and down it, commonly referred to as "Jacob's ladder." He heard the voice of God, who repeated many of the blessings upon him, coming from the top of the ladder.


title: Jacob

text: According to Midrash Genesis Rabbah, the ladder signified the exiles that the Jewish people would suffer before the coming of the Jewish Messiah: the angels that represented the exiles of Babylonia, Persia, and Greece each climbed up a certain number of steps, paralleling the years of the exile, before they "fell down"; but the angel representing the last exile, that of Edom, kept climbing higher and higher into the clouds. Jacob feared that his descendants would never be free of Esau's domination, but God assured him that at the End of Days, Edom too would come falling down.


title: Jacob

text: In the morning, Jacob awakened and continued on his way to Haran, after naming the place where he had spent the night "Bethel," "God's house."


title: Jacob

text: Arriving in Haran, Jacob saw a well where shepherds were gathering their flocks to water them and met Laban's younger daughter, Rachel, Jacob's first cousin; she was working as a shepherdess. Jacob was 77 years old, and he loved Rachel immediately. After spending a month with his relatives he asked for her hand in marriage in return for working seven years for Laban the Aramean. Laban agreed to the arrangement. These seven years seemed to Jacob "but a few days, for the love he had for her." When they were complete and he was 84 years old he asked for his wife, but Laban deceived him by switching Rachel for her older sister, Leah, as the veiled bride. In the morning, when the truth became known, Laban justified his action, saying that in his country it was unheard of to give a younger daughter before the older. However, he agreed to give Rachel in marriage as well if Jacob would work another seven years. After the week of wedding celebrations with Leah, Jacob married Rachel, and he continued to work for Laban for another seven years.


title: Jacob

text: Jacob, having been celibate until the age of 84, fathered twelve children in the next seven years. He loved Rachel more than Leah, and Leah felt hated. God opened Leah's womb and she gave birth to four sons rapidly: Reuben, Simeon, Levi, and Judah. Rachel, however, remained barren. Following the example of Sarah, who gave her handmaid to Abraham after years of infertility, Rachel gave her handmaid Bilhah to Jacob so that Rachel could raise children through her. Bilhah gave birth to Dan and Naphtali. Seeing that she had left off childbearing temporarily, Leah then gave her handmaid Zilpah to Jacob so that Leah could raise more children through her. Zilpah gave birth to Gad and Asher. Afterwards, Leah became fertile again and gave birth to Issachar, Zebulun, and Dinah, Jacob's first and only daughter. God remembered Rachel, who gave birth to Joseph and Benjamin.


title: Jacob

text: After Joseph was born, Jacob decided to return home to his parents. Laban the Aramean was reluctant to release him, as God had blessed his flock on account of Jacob. Laban asked what he could pay Jacob. Jacob suggested that all the spotted, speckled, and brown goats and sheep of Laban's flock, at any given moment, would be his wages. Jacob placed rods of poplar, hazel, and chestnut, all of which he peeled "white streaks upon them," within the flocks' watering holes or troughs, associating the stripes of the rods with the growth of stripes on the livestock. Despite this practicing of magic, later on Jacob says to his wives that it was God who made the livestock give birth to the convenient offspring, in order to turn the tide against the deceptive Laban. As time passed, Laban's sons noticed that Jacob was taking the better part of their flocks, and so Laban's friendly attitude towards Jacob began to change. The angel of the Lord, in a dream back during the breeding season, told Jacob "Now lift your eyes and see [that] all the he goats mounting the animals are ringed, speckled, and striped, for I have seen all that Laban is doing to you", that he is the God whom Jacob met at Bethel, and that Jacob should leave and go back to the land where he was born, which he and his wives and children did without informing Laban. Before they left, Rachel stole the "teraphim," considered to be household idols, from Laban's house.


title: Jacob

text: Laban pursued Jacob for seven days. The night before he caught up to him, God appeared to Laban in a dream and warned him not to say anything good or bad to Jacob. When the two met, Laban said to Jacob, "What have you done, that you have tricked me and driven away my daughters like captives of the sword?" He also asked for his stolen "teraphim" back. Knowing nothing about Rachel's theft, Jacob told Laban that whoever stole them should die and stood aside to let him search. When Laban reached Rachel's tent, she hid the "teraphim" by sitting on them and stating she could not get up because she was menstruating. Jacob and Laban then parted from each other with a pact to preserve the peace between them near Gilead. Laban returned to his home and Jacob continued on his way.


title: Jacob

text: As Jacob neared the land of Canaan as he passed Mahanaim, he sent messengers ahead to his brother Esau. They returned with the news that Esau was coming to meet Jacob with an army of 400 men. With great apprehension, Jacob prepared for the worst. He engaged in earnest prayer to God, then sent on before him a tribute of flocks and herds to Esau, "A present to my lord Esau from thy servant Jacob."


title: Jacob

text: Jacob then transported his family and flocks across the ford Jabbok by night, then recrossed back to send over his possessions, being left alone in communion with God. There, a mysterious being appeared ("man," Genesis 32:24, 28; or "God," Genesis 32:28, 30, Hosea 12:3, 5; or "angel," Hosea 12:4), and the two wrestled until daybreak. When the being saw that he did not overpower Jacob, he touched Jacob on the sinew of his thigh (the "gid hanasheh", גיד הנשה), and, as a result, Jacob developed a limp (Genesis 32:31). Because of this, "to this day the people of Israel do not eat the sinew of the thigh that is on the hip socket" This incident is the source of the mitzvah of porging.


title: Jacob

text: Jacob then demanded a blessing, and the being declared in Genesis 32:28 that, from then on, Jacob would be called יִשְׂרָאֵל, Israel ("Yisra'el", meaning "one that struggled with the divine angel" (Josephus), "one who has prevailed with God" (Rashi), "a man seeing God" (Whiston), "he will rule as God" (Strong), or "a prince with God" (Morris), from , "prevail," "have power as a prince"). While he is still called Jacob in later texts, his name Israel makes some consider him the eponymous ancestor of the Israelites.


title: Jacob

text: Jacob asked the being's name, but he refused to answer. Afterwards, Jacob named the place Penuel ("Penuw'el", "Peniy'el", meaning "face of God"), saying: "I have seen God face to face and lived."


title: Jacob

text: Because the terminology is ambiguous ("el" in "Yisra'el") and inconsistent, and because this being refused to reveal his name, there are varying views as to whether he was a man, an angel, or God. Josephus uses only the terms "angel", "divine angel," and "angel of God," describing the struggle as no small victory. According to Rashi, the being was the guardian angel of Esau himself, sent to destroy Jacob before he could return to the land of Canaan. Trachtenberg theorized that the being refused to identify itself for fear that, if its secret name was known, it would be conjurable by incantations. Literal Christian interpreters like Henry M. Morris say that the stranger was "God Himself and, therefore, Christ in His preincarnate state", citing Jacob's own evaluation and the name he assumed thereafter, "one who fights victoriously with God", and adding that God had appeared in the human form of the Angel of the Lord to eat a meal with Abraham in Genesis 18. Geller wrote that, "in the context of the wrestling bout, the name implies that Jacob won this supremacy, linked to that of God's, by a kind of theomachy."


title: Jacob

text: In the morning, Jacob assembled his four wives and 11 sons, placing the maidservants and their children in front, Leah and her children next, and Rachel and Joseph in the rear. Some commentators cite this placement as proof that Jacob continued to favor Joseph over Leah's children, as presumably the rear position would have been safer from a frontal assault by Esau, which Jacob feared. Jacob himself took the foremost position. Esau's spirit of revenge, however, was apparently appeased by Jacob's bounteous gifts of camels, goats and flocks. Their reunion was an emotional one.


title: Jacob

text: Esau offered to accompany them on their way back to Israel, but Jacob protested that his children were still young and tender (born six to 13 years prior in the narrative); Jacob suggested eventually catching up with Esau at Mount Seir. According to the Sages, this was a prophetic reference to the End of Days, when Jacob's descendants will come to Mount Seir, the home of Edom, to deliver judgment against Esau's descendants for persecuting them throughout the millennia. Jacob actually diverted himself to Succoth and was not recorded as rejoining Esau until, at Machpelah, the two bury their father Isaac, who lived to be 180, and was 60 years older than they were.


title: Jacob

text: Jacob then arrived in Shechem, where he bought a parcel of land, now identified as Joseph's Tomb. In Shechem, Jacob's daughter Dinah was kidnapped and raped by the ruler's son, who desired to marry the girl. Dinah's brothers, Simeon and Levi, agreed in Jacob's name to permit the marriage as long as all the men of Shechem first circumcised themselves, ostensibly to unite the children of Jacob in Abraham's covenant of familial harmony. On the third day after the circumcisions, when all the men of Shechem were still in pain, Simeon and Levi put them all to death by the sword and rescued their sister Dinah, and their brothers plundered the property, women, and children. Jacob condemned this act, saying: "You have brought trouble on me by making me a stench to the Canaanites and Perizzites, the people living in this land." He later rebuked his two sons for their anger in his deathbed blessing (Genesis 49:5–7).


title: Jacob

text: Jacob returned to Bethel, where he had another vision of blessing. Although the death of Rebecca, Jacob's mother, is not explicitly recorded in the Bible, Deborah, Rebecca's nurse, died and was buried at Bethel, at a place that Jacob calls "Allon Bachuth" (אלון בכות), "Oak of Weepings" (Genesis 35:8). According to the Midrash, the plural form of the word "weeping" indicates the double sorrow that Rebecca also died at this time.


title: Jacob

text: Jacob then made a further move while Rachel was pregnant; near Bethlehem, Rachel went into labor and died as she gave birth to her second son, Benjamin (Jacob's twelfth son). Jacob buried her and erected a monument over her grave. Rachel's Tomb, just outside Bethlehem, remains a popular site for pilgrimages and prayers to this day. Jacob then settled in Migdal Eder, where his firstborn, Reuben, slept with Rachel's servant Bilhah; Jacob's response was not given at the time, but he did condemn Reuben for it later, in his deathbed blessing. Jacob was finally reunited with his father Isaac in Mamre (outside Hebron).


title: Jacob

text: When Isaac died at the age of 180, Jacob and Esau buried him in the Cave of the Patriarchs, which Abraham had purchased as a family burial plot. At this point in the biblical narrative, two genealogies of Esau's family appear under the headings "the generations of Esau". A conservative interpretation is that, at Isaac's burial, Jacob obtained the records of Esau, who had been married 80 years prior, and incorporated them into his own family records, and that Moses augmented and published them.


title: Jacob

text: The house of Jacob dwelt in Hebron, in the land of Canaan. His flocks were often fed in the pastures of Shechem as well as Dothan. Of all the children in his household, he loved Rachel's firstborn son, Joseph, the most. Thus Joseph's half brothers were jealous of him and they ridiculed him often. Joseph even told his father about all of his half brothers' misdeeds. When Joseph was 17 years old, Jacob made a long coat or tunic of many colors for him. Seeing this, the half brothers began to hate Joseph. Then Joseph began to have dreams that implied that his family would bow down to him. When he told his brothers about such dreams, it drove them to conspire against him. When Jacob heard of these dreams, he rebuked his son for proposing the idea that the house of Jacob would even bow down to Joseph. Yet, he contemplated his son's words about these dreams.


title: Jacob

text: Sometime afterward, the sons of Jacob by Leah, Bilhah and Zilpah, were feeding his flocks in Shechem. Jacob wanted to know how things were doing, so he asked Joseph to go down there and return with a report. This was the last time he would ever see his son in Hebron. Later that day, the report that Jacob ended up receiving came from Joseph's brothers who brought before him a coat laden with blood. Jacob identified the coat as the one he made for Joseph. At that moment he cried "It is my son's tunic. A wild beast has devoured him. Without doubt Joseph is torn to pieces." He rent his clothes and put sackcloth around his waist mourning for days. No one from the house of Jacob could comfort him during this time of bereavement.


title: Jacob

text: The truth was that Joseph's older brothers had turned on him, apprehended him and ultimately sold him into slavery on a caravan headed for Egypt.


title: Jacob

text: Twenty years later, throughout the Middle East a severe famine occurred like none other that lasted seven years. It crippled nations. The word was that the only kingdom prospering was Egypt. In the second year of this great famine, when Israel (Jacob) was about 130 years old, he told his 10 sons of Leah, Bilhah and Zilpah, to go to Egypt and buy grain. Israel's youngest son Benjamin, born from Rachel, stayed behind by his father's order to keep him safe.


title: Jacob

text: Nine of the sons returned to their father Israel from Egypt, stockpiled with grain on their donkeys. They relayed to their father all that had happened in Egypt. They spoke of being accused of as spies and that their brother Simeon, had been taken prisoner. When Reuben, the eldest, mentioned that they needed to bring Benjamin to Egypt to prove their word as honest men, their father became furious with them. He couldn't understand how they were put in a position to tell the Egyptians all about their family. When the sons of Israel opened their sacks, they saw their money that they used to pay for the grain. It was still in their possession, and so they all became afraid. Israel then became angry with the loss of Joseph, Simeon, and now possibly Benjamin.


title: Jacob

text: It turned out that Joseph, who identified his brothers in Egypt, was able to secretly return that money that they used to pay for the grain, back to them. When the house of Israel consumed all the grain that they brought from Egypt, Israel told his sons to go back and buy more. This time, Judah spoke to his father in order to persuade him about having Benjamin accompany them, so as to prevent Egyptian retribution. In hopes of retrieving Simeon and ensuring Benjamin's return, Israel told them to bring the best fruits of their land, including: balm, honey, spices, myrrh, pistachio nuts and almonds. Israel also mentioned that the money that was returned to their money sacks was probably a mistake or an oversight on their part. So, he told them to bring that money back and use double that amount to pay for the new grain. Lastly, he let Benjamin go with them and said "may God Almighty give you mercy... If I am bereaved, I am bereaved!"


title: Jacob

text: When the sons of Israel (Jacob) returned to Hebron from their second trip, they came back with 20 additional donkeys carrying all kinds of goods and supplies as well as Egyptian transport wagons. When their father came out to meet them, his sons told him that Joseph was still alive, that he was the governor over all of Egypt and that he wanted the house of Israel to move to Egypt. Israel's heart "stood still" and just couldn't believe what he was hearing. Looking upon the wagons he declared "Joseph my son is still alive. I will go and see him before I die."


title: Jacob

text: Israel and his entire house of 70, gathered up with all their livestock and began their journey to Egypt. En route, Israel stopped at Beersheba for the night to make a sacrificial offering to his God, Yahweh. Apparently he had some reservations about leaving the land of his forefathers, but God reassured him not to fear that he would rise again. God also assured that he would be with him, he would prosper, and he would also see his son Joseph who would lay him to rest. Continuing their journey to Egypt, when they approached in proximity, Israel sent his son Judah ahead to find out where the caravans were to stop. They were directed to disembark at Goshen. It was here, after 22 years, that Jacob saw his son Joseph once again. They embraced each other and wept together for quite a while. Israel then said, "Now let me die, since I have seen your face, because you are still alive."


title: Jacob

text: The time had come for Joseph's family to personally meet the Pharaoh of Egypt. After Joseph prepared his family for the meeting, the brothers came before the Pharaoh first, formally requesting to pasture in Egyptian lands. The Pharaoh honored their stay and even made the notion that if there were any competent men in their house, then they may elect a chief herdsman to oversee Egyptian livestock. Finally, Joseph's father was brought out to meet the Pharaoh. Because the Pharaoh had such a high regard for Joseph, practically making him his equal, it was an honor to meet his father. Thus, Israel was able to bless the Pharaoh. The two chatted for a bit, the Pharaoh even inquiring of Israel's age which happened to be 130 years old at that time. After the meeting, the families were directed to pasture in the land of Ramses where they lived in the province of Goshen. The house of Israel acquired many possessions and multiplied exceedingly during the course of 17 years, even through the worst of the seven-year famine.


title: Jacob

text: Israel (Jacob) was 147 years old when he called to his favorite son Joseph and pleaded that he not be buried in Egypt. Rather, he requested to be carried to the land of Canaan to be buried with his forefathers. Joseph swore to do as his father asked of him. Not too long afterward, Israel had fallen ill, losing much of his vision. When Joseph came to visit his father, he brought with him his two sons, Ephraim and Manasseh. Israel declared that they would be heirs to the inheritance of the house of Israel, as if they were his own children, just as Reuben and Simeon were. Then Israel laid his right hand on the younger Ephraim's head and his left hand on the eldest Manasseh's head and blessed Joseph. However, Joseph was displeased that his father's right hand was not on the head of his firstborn, so he switched his father's hands. But Israel refused saying, "but truly his younger brother shall be greater than he." A declaration he made, just as Israel himself was to his firstborn brother Esau. Then Israel called all of his sons in and prophesied their blessings or curses to all twelve of them in order of their ages.


title: Jacob

text: Afterward, Israel died and the family, including the Egyptians, mourned him 70 days. Israel was embalmed and a great ceremonial journey to Canaan was prepared by Joseph. He led the servants of Pharaoh, and the elders of the houses Israel and Egypt beyond the Jordan River to Atad where they observed seven days of mourning. Their lamentation was so great that it caught the attention of surrounding Canaanites who remarked "This is a deep mourning of the Egyptians." This spot was then named Abel Mizraim. Then they buried him in the cave of Machpelah, the property of Abraham when he bought it from the Hittites.


title: Jacob

text: Jacob, through his two wives and his two concubines had 12 biological sons; Reuben, Simeon, Levi, Judah, Dan, Naphtali,


title: Jacob

text: Gad, Asher, Issachar, Zebulun, Joseph and Benjamin and at least one daughter, Dinah (if there were other daughters, they are not mentioned in the Genesis story). In addition, Jacob also adopted the two sons of Joseph, Manasseh and Ephraim.


title: Jacob

text: The offspring of Jacob's sons became the tribes of Israel following the Exodus, when the Israelites conquered and settled in the Land of Israel.


title: Jacob

text: There are two opinions in the Midrash as to how old Rebecca was at the time of her marriage and, consequently, at the twins' birth. According to the traditional counting cited by Rashi, Isaac was 37 years old at the time of the Binding of Isaac, and news of Rebecca's birth reached Abraham immediately after that event. In that case, since Isaac was 60 when Jacob and Esau were born and they had been married for 20 years, then Isaac was 40 years old when he married Rebecca (Gen. 25:20), making Rebecca three years old at the time of her marriage, and 23 years old at the birth of Jacob and Esau. According to the second opinion, Rebecca was 14 years old at the time of their marriage, and 34 years old at the birth of Jacob and Esau. In either case, Isaac and Rebecca were married for 20 years before Jacob and Esau were born. The Midrash says that during Rebecca's pregnancy whenever she would pass a house of Torah study, Jacob would struggle to come out; whenever she would pass a house of idolatry, Esau would agitate to come out.


title: Jacob

text: Rashi explained that Isaac, when blessing Jacob instead of Esau, smelled the heavenly scent of Gan Eden (Paradise) when Jacob entered his room and, in contrast, perceived Gehenna opening beneath Esau when the latter entered the room, showing him that he had been deceived all along by Esau's show of piety.


title: Jacob

text: According to the Talmud, Jacob did not flee directly to Haran (as would seem from the Biblical text), but rather studied for 14 years at the study house of Shem and Eber before continuing towards Haran.


title: Jacob

text: When Laban planned to deceive Jacob into marrying Leah instead of Rachel, the Midrash recounts that both Jacob and Rachel suspected that Laban would pull such a trick; Laban was known as the "Aramean" (deceiver), and changed Jacob's wages ten times during his employ (Genesis 31:7). The couple therefore devised a series of signs by which Jacob could identify the veiled bride on his wedding night. But when Rachel saw her sister being taken out to the wedding canopy, her heart went out to her for the public shame Leah would suffer if she were exposed. Rachel therefore gave Leah the signs so that Jacob would not realize the switch.


title: Jacob

text: Jacob had still another reason for grieving the loss of Joseph. God had promised to him: "If none of your sons dies during your lifetime, you may look upon it as a token that you will not be put in (Hell of) Gehenna after your death." Thinking Joseph to be dead, Jacob had his own destiny to lament because he considered that he was doomed to that Hell.


title: Jacob

text: Jewish apocalyptic literature of the Hellenistic period includes many ancient texts with narratives about Jacob, many times with details different from Genesis. The more important are the Book of Jubilees and the Book of Biblical Antiquities. Jacob is also the protagonist of the Testament of Jacob, of the Ladder of Jacob and of the Prayer of Joseph, which interpret the experience of this Patriarch in the context of merkabah mysticism.


title: Jacob

text: The Eastern Orthodox Church and those Eastern Catholic Churches which follow the Byzantine Rite see Jacob's dream as a prophecy of the incarnation of the Logos, whereby Jacob's ladder is understood as a symbol of the Theotokos (Virgin Mary), who, according to Eastern Orthodox theology, united heaven and earth in her womb. The biblical account of this vision is one of the standard Old Testament readings at Vespers on Great Feasts of the Theotokos.


title: Jacob

text: The Eastern and Western Churches consider Jacob as a saint along with other biblical patriarchs. Along with other patriarchs his feast day is celebrated in the Byzantine rite on the Second Sunday before the Advent (December 11–17), under the title "the Sunday of the Forefathers".


title: Jacob

text: Two further references to Isra'il (Arabic: إِسْرَآئِیل ["ˈisraāˈiyl"]; Classical/ Quranic Arabic: إِسْرَآءِیْل ["ˈisraāãˈiyl"]) are believed to be mention of Jacob. The Arabic form Ya'qūb ( may be direct from the Hebrew or indirect through Syriac.


title: Jacob

text: He is recognized in Islam as a prophet who received inspiration from God. He is acknowledged as a patriarch of Islam. Muslims believe that he preached the same monotheistic faith as his forefathers ʾIbrāhīm, ʾIsḥāq and Ismā'īl. Jacob is mentioned 16 times in the Quran. In the majority of these references, Jacob is mentioned alongside fellow prophets and patriarchs as an ancient and pious prophet. According to the Quran, Jacob remained in the company of the elect throughout his life. (38:47) The Quran specifically mentions that Jacob was guided (6:84) and inspired (4:163) and was chosen to enforce the awareness of the Hereafter. (38:46) Jacob is described as a good-doer (21:72) and the Quran further makes it clear that God inspired Jacob to contribute towards purification and hold the contact prayer. (21:73) Jacob is further described as being resourceful and a possessor of great vision (38:45) and is further spoken of as being granted a "tongue [voice] of truthfulness to be heard." (19:50)


title: Jacob

text: Of the life of Jacob, the Quran narrates two especially important events. The first is the role he plays in the story of his son Joseph. The Quran narrates the story of Joseph in detail, and Jacob, being Joseph's father, is mentioned thrice and is referenced another 25 times. In the narrative, Jacob does not trust some of his older sons (12: 11, 18, 23) because they do not respect him. (12: 8, 16–17) Jacob's prophetic nature is evident from his foreknowledge of Joseph's future greatness (12:6), his foreboding and response to the supposed death of Joseph (12: 13, 18) and in his response to the sons' plight in Egypt. (12: 83, 86–87, 96) Islamic literature fleshes out the narrative of Jacob, and mentions that his wives included Rachel. Jacob is later mentioned in the Quran in the context of the promise bestowed to Zechariah, regarding the birth of John the Baptist. (19:6) Jacob's second mention is in the Quran's second chapter. As Jacob lay on his deathbed, he asked his 12 sons to testify their faith to him before he departed from this world to the next. (2:132) Each son testified in front of Jacob that they would promise to remain Muslim (in submission to God) until the day of their death, that is they would surrender their wholeselves to God alone and would worship only Him.


title: Jacob

text: In contrast to the Judeo-Christian view of Jacob, one main difference is that the story of Jacob's blessing, in which he deceives Isaac, is not accepted in Islam. The Quran makes it clear that Jacob was blessed by God as a prophet and, therefore, Muslims believe that his father, being a prophet as well, also knew of his son's greatness. Jacob is also cited in the "Hadith" as an example of one who was patient and trusting in God in the face of suffering.


title: Jacob

text: According to the teachings of the Nation of Islam (NOI), the original inhabitants of the world were black (referred to as the "Asiatic Blackman"), while the white race are "devils" who were created 6,000 years ago on what is today the Greek island of Patmos by the biblical and quranic Jacob, whom the group refers to as the "bigheaded scientist" Yakub. Though rejected by the vast majority of American Muslims, several NOI breakaway sects, including the Five-Percent Nation subscribe to this narrative. In contrast to both the Bible and Qu’ran, NOI theology teaches Yakub was born in Mecca.


title: Jacob

text: Although archaeologist and biblical scholar William F. Albright maintained (c. 1961) that the narratives of Abraham and Jacob could be dated to about the 19th century BCE;, John J. Bimson wrote in 1980: "Since then ... there has been a strong reaction against the use of archaeological evidence in support of the biblical traditions, and Albright's comment could not be repeated with any truth today." Nahum M. Sarna (1978) noted that an inability to date the narratives of the patriarchs does not necessarily invalidate their historicity, a view supported by Bimson, who admitted that "Our knowledge of the centuries around 2000 BC is very small, and our ignorance very great."


title: Jacob

text: Gerhard von Rad, in his "Old Testament Theology" (1962) postulated that the patriarchal narratives describe actual events subsequently interpreted by the community through its own experience.


title: Jacob

text: Other scholars, such as Thomas L. Thompson, view the narratives as late literary compositions (6th and 5th centuries BCE) that have ideological and theological purposes but are unreliable for historical reconstruction of the pre-settlement period of the Israelites. In "The Historicity of the Patriarchal Narratives" (1974), Thompson suggested that the narratives arose in a response to some emergent situation, expressed as an imaginative picture of the past to embody hope.


title: Jacob

text: In "The Ascent of Man" (1973), Jacob Bronowski pointed out similarities between Jacob and Bakhtyar, who lends his name to Iran's Bakhtiari people. Both were herdsmen who had two wives, and are regarded as the ancestral patriarch of their nomadic people.


title: Jacob

text: Archaeologist William G. Dever wrote in 2001: "After a century of exhaustive investigation, all respectable archaeologists have given up hope of recovering any context that would make Abraham, Isaac, or Jacob 'historical figures.'"


title: Jacob

text: Excavations in the Timna Valley produced what may be the earliest camel bones found in Israel or even outside the Arabian Peninsula, dating to around 930 BCE. This is seen by some as evidence that the stories of Abraham, Jacob, and Joseph (said to have taken place a thousand years earlier) were written no earlier than the 10th century BCE.


title: Jacob

text: According to researches on the historicity of the Old Testament, the descent of Abraham into Egypt as recorded in Genesis 12:10–20 should correspond to the early years of the 2nd millennium BCE, which is before the time the Hyksos ruled in Egypt, but would coincide with the Semitic parties known to have visited the Egyptians circa 1900 BCE, as documented of the tomb of Khnumhotep II at Beni Hasan. It might be possible to associate Abraham to such known Semitic visitors to Egypt, as they would have been ethnically connected. The period of Joseph and Jacob/Israel in Egypt (Genesis 39:50), where they were in favour at the Egyptian court and Joseph held high administrative positions next to the ruler of the land, would correspond to the time the Hyksos ruled in Egypt, during the Fifteenth Dynasty. The time of Moses and the expulsion to Palestine related in The Exodus could also correspond to the expulsion of the Hyksos from Egypt.


title: Isis

text: Isis (; "Ēse"; ; Meroitic: "Wos"["a"] or "Wusa"; Phoenician: 𐤀𐤎, ʾs) was a major goddess in ancient Egyptian religion whose worship spread throughout the Greco-Roman world. Isis was first mentioned in the Old Kingdom () as one of the main characters of the Osiris myth, in which she resurrects her slain brother and husband, the divine king Osiris, and produces and protects his heir, Horus. She was believed to help the dead enter the afterlife as she had helped Osiris, and she was considered the divine mother of the pharaoh, who was likened to Horus. Her maternal aid was invoked in healing spells to benefit ordinary people. Originally, she played a limited role in royal rituals and temple rites, although she was more prominent in funerary practices and magical texts. She was usually portrayed in art as a human woman wearing a throne-like hieroglyph on her head. During the New Kingdom (), as she took on traits that originally belonged to Hathor, the preeminent goddess of earlier times, Isis was portrayed wearing Hathor's headdress: a sun disk between the horns of a cow.


title: Isis

text: In the first millennium BCE, Osiris and Isis became the most widely worshipped Egyptian deities, and Isis absorbed traits from many other goddesses. Rulers in Egypt and its neighbor to the south, Nubia, built temples dedicated primarily to Isis, and her temple at Philae was a religious center for Egyptians and Nubians alike. Her reputed magical power was greater than that of all other gods, and she was said to protect the kingdom from its enemies, govern the skies and the natural world, and have power over fate itself.


title: Isis

text: In the Hellenistic period (323–30 BCE), when Egypt was ruled and settled by Greeks, Isis was worshipped by Greeks and Egyptians, along with a new god, Serapis. Their worship diffused into the wider Mediterranean world. Isis's Greek devotees ascribed to her traits taken from Greek deities, such as the invention of marriage and the protection of ships at sea, and she retained strong links with Egypt and other Egyptian deities who were popular in the Hellenistic world, such as Osiris and Harpocrates. As Hellenistic culture was absorbed by Rome in the first century BCE, the cult of Isis became a part of Roman religion. Her devotees were a small proportion of the Roman Empire's population but were found all across its territory. Her following developed distinctive festivals such as the Navigium Isidis, as well as initiation ceremonies resembling those of other Greco-Roman mystery cults. Some of her devotees said she encompassed all feminine divine powers in the world.


title: Isis

text: The worship of Isis was ended by the rise of Christianity in the fourth through sixth centuries CE. Her worship may have influenced Christian beliefs and practices such as the veneration of Mary, but the evidence for this influence is ambiguous and often controversial. Isis continues to appear in Western culture, particularly in esotericism and modern Paganism, often as a personification of nature or the feminine aspect of divinity.


title: Isis

text: Whereas some Egyptian deities appeared in the late Predynastic Period (before c. 3100 BCE), neither Isis nor her husband Osiris were mentioned by name before the Fifth Dynasty (c. 2494–2345 BCE). An inscription that may refer to Isis dates to the reign of Nyuserre Ini during that period, and she appears prominently in the Pyramid Texts, which began to be written down at the end of the dynasty and whose content may have developed much earlier. Several passages in the Pyramid Texts link Isis with the region of the Nile Delta near Behbeit el-Hagar and Sebennytos, and her cult may have originated there.


title: Isis

text: Many scholars have focused on Isis's name in trying to determine her origins. Her Egyptian name was "ꜣst", which became ("Ēse") in the Coptic form of Egyptian, "Wusa" in the Meroitic language of Nubia, and Ἶσις, on which her modern name is based, in Greek. The hieroglyphic writing of her name incorporates the sign for a throne, which Isis also wears on her head as a sign of her identity. The symbol serves as a phonogram, spelling the "st" sounds in her name, but it may have also represented a link with actual thrones. The Egyptian term for a throne was also "st" and may have shared a common etymology with Isis's name. Therefore, the Egyptologist Kurt Sethe suggested she was originally a personification of thrones. Henri Frankfort agreed, believing that the throne was considered the king's mother, and thus a goddess, because of its power to make a man into a king. Other scholars, such as Jürgen Osing and Klaus P. Kuhlmann, have disputed this interpretation, because of dissimilarities between Isis's name and the word for a throne or a lack of evidence that the throne was ever deified.


title: Isis

text: The cycle of myth surrounding Osiris's death and resurrection was first recorded in the Pyramid Texts and grew into the most elaborate and influential of all Egyptian myths. Isis plays a more active role in this myth than the other protagonists, so as it developed in literature from the New Kingdom (c. 1550–1070 BCE) to the Ptolemaic Period (305–30 BCE), she became the most complex literary character of all Egyptian deities. At the same time, she absorbed characteristics from many other goddesses, broadening her significance well beyond the Osiris myth.


title: Isis

text: Isis is part of the Ennead of Heliopolis, a family of nine deities descended from the creator god, Atum or Ra. She and her siblings—Osiris, Set, and Nephthys—are the last generation of the Ennead, born to Geb, god of the earth, and Nut, goddess of the sky. The creator god, the world's original ruler, passes down his authority through the male generations of the Ennead, so that Osiris becomes king. Isis, who is Osiris's wife as well as his sister, is his queen.


title: Isis

text: Set kills Osiris and, in several versions of the story, dismembers his corpse. Isis and Nephthys, along with other deities such as Anubis, search for the pieces of their brother's body and reassemble it. Their efforts are the mythic prototype for mummification and other ancient Egyptian funerary practices. According to some texts, they must also protect Osiris's body from further desecration by Set or his servants. Isis is the epitome of a mourning widow. Her and Nephthys's love and grief for their brother help restore him to life, as does Isis's recitation of magical spells. Funerary texts contain speeches by Isis in which she expresses her sorrow at Osiris's death, her sexual desire for him, and even anger that he has left her. All these emotions play a part in his revival, as they are meant to stir him into action. Finally, Isis restores breath and life to Osiris's body and copulates with him, conceiving their son, Horus. After this point Osiris lives on only in the Duat, or underworld. But by producing a son and heir to avenge his death and carry out funerary rites for him, Isis has ensured that her husband will endure in the afterlife.


title: Isis

text: Isis's role in afterlife beliefs was based on that in the myth. She helped to restore the souls of deceased humans to wholeness as she had done for Osiris. Like other goddesses, such as Hathor, she also acted as a mother to the deceased, providing protection and nourishment. Thus, like Hathor, she sometimes took the form of Imentet, the goddess of the west, who welcomed the deceased soul into the afterlife as her child. But for much of Egyptian history, male deities such as Osiris were believed to provide the regenerative powers, including sexual potency, that were crucial for rebirth. Isis was thought to merely assist by stimulating this power. Feminine divine powers became more important in afterlife beliefs in the late New Kingdom. Various Ptolemaic funerary texts emphasize that Isis took the active role in Horus's conception by sexually stimulating her inert husband, some tomb decoration from the Roman period in Egypt depicts Isis in a central role in the afterlife, and a funerary text from that era suggests that women were thought able to join the retinue of Isis and Nephthys in the afterlife.


title: Isis

text: Isis is treated as the mother of Horus even in the earliest copies of the Pyramid Texts. Yet there are signs that Hathor was originally regarded as his mother, and other traditions make an elder form of Horus the son of Nut and a sibling of Isis and Osiris. Isis may only have come to be Horus's mother as the Osiris myth took shape during the Old Kingdom, but through her relationship with him she came to be seen as the epitome of maternal devotion.


title: Isis

text: In the developed form of the myth, Isis gives birth to Horus, after a long pregnancy and a difficult labor, in the papyrus thickets of the Nile Delta. As her child grows she must protect him from Set and many other hazards—snakes, scorpions, and simple illness. In some texts, Isis travels among humans and must seek their help. According to one such story, seven minor scorpion deities travel with and guard her. They take revenge on a wealthy woman who has refused to help Isis by stinging the woman's son, making it necessary for the goddess to heal the blameless child. Isis's reputation as a compassionate deity, willing to relieve human suffering, contributed greatly to her appeal.


title: Isis

text: Isis continues to assist her son when he challenges Set to claim the kingship that Set has usurped, although mother and son are sometimes portrayed in conflict, as when Horus beheads Isis and she replaces her original head with that of a cow—an origin myth explaining the cow-horn headdress that Isis wears.


title: Isis

text: Isis's maternal aspect extended to other deities as well. The Coffin Texts from the Middle Kingdom (c. 2055–1650 BCE) say the Four sons of Horus, funerary deities who were thought to protect the internal organs of the deceased, were the offspring of Isis and the elder form of Horus. In the same era, Horus was syncretized with the fertility god Min, so Isis was regarded as Min's mother. A form of Min known as Kamutef, "bull of his mother", who represented the cyclical regeneration of the gods and of kingship, was said to impregnate his mother to engender himself. Thus, Isis was also regarded as Min's consort. The same ideology of kingship may lie behind a tradition, found in a few texts, that Horus raped Isis. Amun, the foremost Egyptian deity during the Middle and New Kingdoms, also took on the role of Kamutef, and when he was in this form, Isis often acted as his consort. Apis, a bull that was worshipped as a living god at Memphis, was said to be Isis's son, fathered by a form of Osiris known as Osiris-Apis. The biological mother of each Apis bull was thus known as the "Isis cow". Isis was said to be the mother of Bastet by Ra.


title: Isis

text: A story in the Westcar Papyrus from the Middle Kingdom includes Isis among a group of goddesses who serve as midwives during the delivery of three future kings. She serves a similar role in New Kingdom texts that describe the divinely ordained births of reigning pharaohs.


title: Isis

text: In the Westcar Papyrus, Isis calls out the names of the three children as they are born. Barbara S. Lesko sees this story as a sign that Isis had the power to predict or influence future events, as did other deities who presided over birth, such as Shai and Renenutet. Texts from much later times call Isis "mistress of life, ruler of fate and destiny" and indicate she has control over Shai and Renenutet, just as other great deities such as Amun were said to do in earlier eras of Egyptian history. By governing these deities, Isis determined the length and quality of human lives.


title: Isis

text: Horus was equated with each living pharaoh and Osiris with the pharaoh's deceased predecessors. Isis was therefore the mythological mother and wife of kings. In the Pyramid Texts her primary importance to the king was as one of the deities who protected and assisted him in the afterlife. Her prominence in royal ideology grew in the New Kingdom. Temple reliefs from that time on show the king nursing at Isis's breast; her milk not only healed her child, but symbolized his divine right to rule. Royal ideology increasingly emphasized the importance of queens as earthly counterparts of the goddesses who served as wives to the king and mothers to his heirs. Initially the most important of these goddesses was Hathor, whose attributes in art were incorporated into queens' crowns. But because of her own mythological links with queenship, Isis too was given the same titles and regalia as human queens.


title: Isis

text: Isis's actions in protecting Osiris against Set became part of a larger, more warlike aspect of her character. New Kingdom funerary texts portray Isis in the barque of Ra as he sails through the underworld, acting as one of several deities who subdue Ra's archenemy, Apep. Kings also called upon her protective magical power against human enemies. In her Ptolemaic temple at Philae, which lay near the frontier with Nubian peoples who raided Egypt, she was described as the protectress of the entire nation, more effective in battle than "millions of soldiers", supporting Ptolemaic kings and Roman emperors in their efforts to subdue Egypt's enemies.


title: Isis

text: Isis was also known for her magical power, which enabled her to revive Osiris and to protect and heal Horus, and for her cunning. By virtue of her magical knowledge, she was said to be "more clever than a million gods". In several episodes in the New Kingdom story "The Contendings of Horus and Set", Isis uses these abilities to outmaneuver Set during his conflict with her son. On one occasion, she transforms into a young woman who tells Set she is involved in an inheritance dispute similar to Set's usurpation of Osiris's crown. When Set calls this situation unjust, Isis taunts him, saying he has judged himself to be in the wrong. In later texts, she uses her powers of transformation to fight and destroy Set and his followers.


title: Isis

text: Many stories about Isis appear as "historiolae", prologues to magical texts that describe mythic events related to the goal that the spell aims to accomplish. In one spell, Isis creates a snake that bites Ra, who is older and greater than she is, and makes him ill with its venom. She offers to cure Ra if he will tell her his true, secret name—a piece of knowledge that carries with it incomparable power. After much coercion, Ra tells her his name, which she passes on to Horus, bolstering his royal authority. The story may be meant as an origin story to explain why Isis's magical ability surpasses that of other deities, but because she uses magic to subdue Ra, the story seems to treat her as having such abilities even before learning his name.


title: Isis

text: Many of the roles Isis acquired gave her an important position in the sky. Passages in the Pyramid Texts connect Isis closely with Sopdet, the goddess representing the star Sirius, whose relationship with her husband Sah—the constellation Orion—and their son Sopdu parallels Isis's relations with Osiris and Horus. Sirius's heliacal rising, just before the start of the Nile flood, gave Sopdet a close connection with the flood and the resulting growth of plants. Partly because of her relationship with Sopdet, Isis was also linked with the flood, which was sometimes equated with the tears she shed for Osiris.


title: Isis

text: By Ptolemaic times she was connected with rain, which Egyptian texts call a "Nile in the sky"; with the sun as the protector of Ra's barque; and with the moon, possibly because she was linked with the Greek lunar goddess Artemis by a shared connection with an Egyptian fertility goddess, Bastet. In hymns inscribed at Philae she is called the "Lady of Heaven" whose dominion over the sky parallels Osiris's rule over the Duat and Horus's kingship on earth.


title: Isis

text: In Ptolemaic times Isis's sphere of influence could include the entire cosmos. As the deity that protected Egypt and endorsed its king, she had power over all nations, and as the provider of rain, she enlivened the natural world. The Philae hymn that initially calls her ruler of the sky goes on to expand her authority, so at its climax her dominion encompasses the sky, earth, and Duat. It says her power over nature nourishes humans, the blessed dead, and the gods. Other, Greek-language hymns from Ptolemaic Egypt call her "the beautiful essence of all the gods". In the course of Egyptian history, many deities, major and minor, had been described in similar grand terms. Amun was most commonly described this way in the New Kingdom, whereas in Roman Egypt such terms tended to be applied to Isis. Such texts do not deny the existence of other deities but treat them as aspects of the supreme deity, a type of theology sometimes called "summodeism".


title: Isis

text: In the Late, Ptolemaic, and Roman Periods, many temples contained a creation myth that adapted long-standing ideas about creation to give the primary roles to local deities. At Philae, Isis is described as the creator in the same way that older texts speak of the work of the god Ptah, who was said to have designed the world with his intellect and sculpted it into being. Like him, Isis formed the cosmos "through what her heart conceived and her hands created".


title: Isis

text: Like other deities throughout Egyptian history, Isis had many forms in her individual cult centers, and each cult center emphasized different aspects of her character. Local Isis cults focused on the distinctive traits of their deity more than on her universality, whereas some Egyptian hymns to Isis treat other goddesses in cult centers from across Egypt and the Mediterranean as manifestations of her. A text in her temple at Dendera says "in each nome it is she who is in every town, in every nome with her son Horus."


title: Isis

text: In Ancient Egyptian art, Isis was most commonly depicted as a woman with the typical attributes of a goddess: a sheath dress, a staff of papyrus in one hand, and an "ankh" sign in the other. Her original headdress was the throne sign used in writing her name. She and Nephthys often appear together, particularly when mourning Osiris's death, supporting him on his throne, or protecting the sarcophagi of the dead. In these situations their arms are often flung across their faces, in a gesture of mourning, or outstretched around Osiris or the deceased as a sign of their protective role. In these circumstances they were often depicted as kites or women with the wings of kites. This form may be inspired by a similarity between the kites' calls and the cries of wailing women, or by a metaphor likening the kite's search for carrion to the goddesses' search for their dead brother. Isis sometimes appeared in other animal forms: as a sow, representing her maternal character; as a cow, particularly when linked with Apis; or as a scorpion. She also took the form of a tree or a woman emerging from a tree, sometimes offering food and water to deceased souls. This form alluded to the maternal nourishment she provided.


title: Isis

text: Beginning in the New Kingdom, thanks to the close links between Isis and Hathor, Isis took on Hathor's attributes, such as a sistrum rattle and a headdress of cow horns enclosing a sun disk. Sometimes both headdresses were combined, so the throne glyph sat atop the sun disk. In the same era, she began to wear the insignia of a human queen, such as a vulture-shaped crown on her head and the royal uraeus, or rearing cobra, on her brow. In Ptolemaic and Roman times, statues and figurines of Isis often showed her in a Greek sculptural style, with attributes taken from Egyptian and Greek tradition. Some of these images reflected her linkage with other goddesses in novel ways. Isis-Thermuthis, a combination of Isis and Renenutet who represented agricultural fertility, was depicted in this style as a woman with the lower body of a snake. Figurines of a woman wearing an elaborate headdress and exposing her genitals may represent Isis-Aphrodite.


title: Isis

text: The "tyet" symbol, a looped shape similar to the "ankh", came to be seen as Isis's emblem at least as early as the New Kingdom, though it existed long before. It was often made of red jasper and likened to Isis's blood. Used as a funerary amulet, it was said to confer her protection on the wearer.


title: Isis

text: Despite her significance in the Osiris myth, Isis was originally a minor deity in the ideology surrounding the living king. She played only a small role, for instance, in the Dramatic Ramesseum Papyrus, the script for royal rituals performed in the reign of Senusret I in the Middle Kingdom. Her importance grew during the New Kingdom, when she was increasingly connected with Hathor and the human queen.


title: Isis

text: The early first millennium BCE saw an increased emphasis on the family triad of Osiris, Isis, and Horus and an explosive growth in Isis's popularity. In the fourth century BCE, Nectanebo I of the Thirtieth Dynasty claimed Isis as his patron deity, tying her still more closely to political power. The Kingdom of Kush, which ruled Nubia from the eighth century BCE to the fourth century CE, absorbed and adapted the Egyptian ideology surrounding kingship. It equated Isis with the "kandake", the queen or queen mother of the Kushite king.


title: Isis

text: The Ptolemaic Greek kings, who ruled Egypt as pharaohs from 305 to 30 BCE, developed an ideology that linked them with both Egyptian and Greek deities, to strengthen their claim to the throne in the eyes of their Greek and Egyptian subjects. For centuries before, Greek colonists and visitors to Egypt had drawn parallels between Egyptian deities and their own, in a process known as "interpretatio graeca". Herodotus, a Greek who wrote about Egypt in the fifth century BCE, likened Isis to Demeter, whose mythical search for her daughter Persephone resembled Isis's search for Osiris. Demeter was one of the few Greek deities to be widely adopted by Egyptians in Ptolemaic times, so the similarity between her and Isis provided a link between the two cultures. In other cases, Isis was linked with Aphrodite through the sexual aspects of her character. Building on these traditions, the first two Ptolemies promoted the cult of the new god Serapis, who combined aspects of Osiris and Apis with those of Greek gods such as Zeus and Dionysus. Isis, portrayed in a Hellenized form, was regarded as the consort of Serapis as well as of Osiris. Ptolemy II and his sister and wife Arsinoe II developed a ruler cult around themselves, so that they were worshipped in the same temples as Serapis and Isis, and Arsinoe was likened to both Isis and Aphrodite. Some later Ptolemaic queens identified themselves still more closely with Isis. Cleopatra III, in the second century BCE, used Isis's name in place of her own in inscriptions, and Cleopatra VII, the last ruler of Egypt before it was annexed by Rome, used the epithet "the new Isis".


title: Isis

text: Down to the end of the New Kingdom, Isis's cult was closely tied to those of male deities such as Osiris, Min, or Amun. She was commonly worshipped alongside them as their mother or consort, and she was especially widely worshipped as the mother of various local forms of Horus. Nevertheless, she had independent priesthoods at some sites and at least one temple of her own, at Osiris's cult center of Abydos, during the late New Kingdom.


title: Isis

text: The earliest known major temples to Isis were the Iseion at Behbeit el-Hagar in northern Egypt and Philae in the far south. Both began construction during the Thirtieth Dynasty and were completed or enlarged by Ptolemaic kings. Thanks to Isis's widespread fame, Philae drew pilgrims from across the Mediterranean. Many other temples of Isis sprang up in Ptolemaic times, ranging from Alexandria and Canopus on the Mediterranean coast to Egypt's frontier with Nubia. A series of temples of Isis stood in that region, stretching from Philae south to Maharraqa, and were sites of worship for both Egyptians and various Nubian peoples. The Nubians of Kush built their own temples to Isis at sites as far south as Wad ban Naqa, including one in their capital, Meroe.


title: Isis

text: The most frequent temple rite for any deity was the daily offering ritual, in which priests clothed the deity's cult image and offered it food. In Roman times, temples to Isis in Egypt could be built either in Egyptian style, in which the cult image was in a secluded sanctuary accessible only to priests, and in a Greco-Roman style in which devotees were allowed to see the cult image. Greek and Egyptian culture were highly intermingled by this time, and there may have been no ethnic separation between Isis's worshippers. The same people may have prayed to Isis outside Egyptian-style temples and in front of her statue inside Greek-style temples.


title: Isis

text: Temples celebrated many festivals in the course of the year, some nationwide and some very local. An elaborate series of rites were performed all across Egypt for Osiris during the month of Khoiak, and Isis and Nephthys were prominent in these rites at least as early as the New Kingdom. In Ptolemaic times, two women acted out the roles of Isis and Nephthys during Khoiak, singing or chanting in mourning for their dead brother. Their chants are preserved in the Festival Songs of Isis and Nephthys and Lamentations of Isis and Nephthys.


title: Isis

text: Festivals dedicated to Isis eventually developed. In Roman times, Egyptians across the country celebrated her birthday, the Amesysia, by carrying the local cult statue of Isis through their fields, probably celebrating her powers of fertility. The priests at Philae held a festival every ten days when the cult statue of Isis visited the neighboring island of Bigeh, which was said to be Osiris's place of burial, and the priests performed funerary rites for him. The cult statue also visited the neighboring temples to the south, even during the last centuries of activity at Philae when those temples were run by Nubian peoples outside Roman rule.


title: Isis

text: Christianity became the dominant religion in the Roman Empire, including Egypt, during the fourth and fifth centuries CE. Egyptian temple cults died out, gradually and at various times, from a combination of lack of funds and Christian hostility. Isis's temple at Philae, supported by its Nubian worshippers, still had an organized priesthood and regular festivals until at least the mid-fifth century CE, making it the last fully functioning temple in Egypt.


title: Isis

text: In many spells in the Pyramid Texts, Isis and Nephthys help the deceased king reach the afterlife. In the Coffin Texts from the Middle Kingdom, Isis appears still more frequently, though in these texts Osiris is credited with reviving the dead more often than she is. New Kingdom sources such as the Book of the Dead describe Isis as protecting deceased souls as they face the dangers in the Duat. They also describe Isis as a member of the divine councils that judge souls' moral righteousness before admitting them into the afterlife, and she appears in vignettes standing beside Osiris as he presides over this tribunal.


title: Isis

text: Isis and Nephthys took part in funeral ceremonies, where two wailing women, much like those in the festival at Abydos, mourned the deceased as the two goddesses mourned Osiris. Isis was frequently shown or alluded to in funerary equipment: on sarcophagi and canopic chests as one of the four goddesses who protected the Four Sons of Horus, in tomb art offering her enlivening milk to the dead, and in the "tyet" amulets that were often placed on mummies to ensure that Isis's power would shield them from harm. Late funerary texts prominently featured her mourning for Osiris, and one such text, one of the Books of Breathing, was said to have been written by her for Osiris's benefit. In Nubian funerary religion, Isis was regarded as more significant than her husband, because she was the active partner while he only passively received the offerings she made to sustain him in the afterlife.


title: Isis

text: Unlike many Egyptian deities, Isis was rarely addressed in prayers, or invoked in personal names, before the end of the New Kingdom. From the Late Period on, she became one of the deities most commonly mentioned in these sources, which often refer to her kindly character and her willingness to answer those who call upon her for help. Hundreds of thousands of amulets and votive statues of Isis nursing Horus were made during the first millennium BCE, and in Roman Egypt she was among the deities most commonly represented in household religious art, such as figurines and panel paintings.


title: Isis

text: Isis was prominent in magical texts from the Middle Kingdom onward. The dangers Horus faces in childhood are a frequent theme in magical healing spells, in which Isis's efforts to heal him are extended to cure any patient. In many of these spells, Isis forces Ra to help Horus by declaring that she will stop the sun in its course through the sky unless her son is cured. Other spells equated pregnant women with Isis to ensure that they would deliver their children successfully.


title: Isis

text: Egyptian magic began to incorporate Christian concepts as Christianity was established in Egypt, but Egyptian and Greek deities continued to appear in spells long after their temple worship had ceased. Spells that may date to the sixth, seventh, or eighth centuries CE invoke the name of Isis alongside Christian figures.


title: Isis

text: Cults based in a particular city or nation were the norm across the ancient world until the mid- to late first millennium BCE, when increased contact between different cultures allowed some cults to spread more widely. Greeks were aware of Egyptian deities, including Isis, at least as early as the Archaic Period (c. 700–480 BCE), and her first known temple in Greece was built during or before the fourth century BCE by Egyptians living in Athens. The conquests of Alexander the Great late in that century created Hellenistic kingdoms around the Mediterranean and Near East, including Ptolemaic Egypt, and put Greek and non-Greek religions in much closer contact. The resulting diffusion of cultures allowed many religious traditions to spread across the Hellenistic world in the last three centuries BCE. The new mobile cults adapted greatly to appeal to people from a variety of cultures. The cults of Isis and Serapis were among those that expanded in this way.


title: Isis

text: Spread by merchants and other Mediterranean travelers, the cults of Isis and Serapis were established in Greek port cities at the end of the fourth century BCE and expanded throughout Greece and Asia Minor during the third and second centuries. The Greek island of Delos was an early cult center for both deities, and its status as a trading center made it a springboard for the Egyptian cults to diffuse into Italy. Isis and Serapis were also worshipped at scattered sites in the Seleucid Empire, the Hellenistic kingdom in the Middle East, as far east as Iran, though they disappeared from the region as the Seleucids lost their eastern territory to the Parthian Empire.


title: Isis

text: Greeks regarded Egyptian religion as exotic and sometimes bizarre, yet full of ancient wisdom. Like other cults from the eastern regions of the Mediterranean, the cult of Isis attracted Greeks and Romans by playing upon its exotic origins, but the form it took after reaching Greece was heavily Hellenized.


title: Isis

text: Isis's cult reached Italy and the Roman sphere of influence at some point in the second century BCE. It was one of many cults that were introduced to Rome as the Roman Republic's territory expanded in the last centuries BCE. Authorities in the Republic tried to define which cults were acceptable and which were not, as a way of defining Roman cultural identity amid the cultural changes brought on by Rome's expansion. In Isis's case, shrines and altars to her were set up on the Capitoline Hill, at the heart of the city, by private persons in the early first century BCE. The independence of her cult from the control of Roman authorities made it potentially unsettling to them. In the 50s and 40s BCE, when the crisis of the Roman Republic made many Romans fear that peace among the gods was being disrupted, the Roman Senate destroyed these shrines, although it did not ban Isis from the city outright.


title: Isis

text: Egyptian cults faced further hostility during the Final War of the Roman Republic (32–30 BCE), when Rome, led by Octavian, the future emperor Augustus, fought Egypt under Cleopatra VII. After Octavian's victory, he banned shrines to Isis and Serapis within the "pomerium", the city's innermost, sacred boundary, but allowed them in parts of the city outside the "pomerium", thus marking Egyptian deities as non-Roman but acceptable to Rome. Despite being temporarily expelled from Rome during the reign of Tiberius (14–37 CE), the Egyptian cults gradually became an accepted part of the Roman religious landscape. The Flavian emperors in the late first century CE treated Serapis and Isis as patrons of their rule in much the same manner as traditional Roman deities such as Jupiter and Minerva. Even as it was being integrated into Roman culture, Isis's worship developed new features that emphasized its Egyptian background.


title: Isis

text: The cults also expanded into Rome's western provinces, beginning along the Mediterranean coast in early imperial times. At their peak in the late second and early third centuries CE, Isis and Serapis were worshipped in most towns across the western empire, though without much presence in the countryside. Their temples were found from Petra and Palmyra, in the Arabian and Syrian provinces, to Italica in Spain and Londinium in Britain. By this time they were on a comparable footing with native Roman deities.