Copts refer to the Christians of Egypt, who were in the majority after the Arab conquest, and now make up only a small part of the population of this country. Their history, language, and culture represent a multi-faceted field of study. Coptic is the last stage of ancient Egyptian, the Coptic alphabet is based on Greek with the addition of several letters from the ancient Egyptian demotic script to convey consonant sounds that were absent in Greek. One of the reasons for the transition to a new script is considered to be the need for Christian Egyptians to make the translation of the Holy Scriptures accessible to all residents of Egypt, which, in turn, contributed to the spread of Christianity in this country. On the one hand, over time, under the influence of new relationships with other Christian traditions, the pagan past became obsolete. On the other hand, the culture of Ancient Egypt was ingrained in all spheres of life, and it was impossible to part with it once and for all. This article examines some of the motifs and plots of Coptic hagiographic and apocryphal literature. In particular, for subjects depicting the afterlife, for the motif of the integrity of the martyr's body, the motif of swaddling clothes, etc. the author finds possible origins in ancient Egyptian literature.

Keywords: Coptic literature, hagiography, apocrypha, testimonies of the dead, veils, flood of the Nile, the myth of Osiris.

Among scholars of the 19th and early 20th centuries, there was a prevailing tendency to derive Christian postulates and stories from pagan ones, including ancient Egyptian ones (Graves, 1875). Later, on the contrary, Judeo-Christian and Iranian influences began to be found in late Egyptian motifs (Zandee, 1960). However, the question of the influence of Egypt on Christianity was still of concern to researchers (Hallock, 1934, p. 6-17) .1 In the second half of the 20th century, studies devoted to the Egyptian mentality, its reflection in Coptic literature, and its predisposition to adopt a new religion became dominant [Krause, 1981, pp. 53-73]. Some studies have tried to prove that Egypt had a strong influence on the Greek civilization (and on the subsequent Western one) [Bernal, 1987]. Russian Egyptologists have also noted the connection of Christian Egypt with the previous tradition, see, for example, the works of M. E. Mathieu, M. A. Korostovtsev, and B. A. Turaev (Mathieu, 1939; Korostovtsev, 1976; Turaev, 1920).

Researcher X. Belhmer argues that, on the one hand, if you carefully examine almost every Coptic text, you can find connections with ancient Egyptian motifs, on the other hand, scientists should always carefully study the possible influence of Judeo-Christian and other Eastern cultures on Coptic literature [Belhmer, 1996, p.567, 572]. Thus, E. A. W. Budge attributed the motif of the fiery river, which is widespread in hagiographic texts, to the Ancient Egyptian ones (Budge, 1913, p. lxvi). Although the torment of fire, even the lake of Fire, is found in the Book of the Dead

1 The absolute novelty of Christianity was defended by Karl Prumm [Prumm, 1939].

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[The Book of the Dead..., 1974, p. 16, 19, 31 et al.], however, the roots of this motif are more likely to go back to the ancient Iranian faith. It says that during the last trial of people by fire, all sinners will die in it again and will finally disappear from the universe 2 [Boyce, 1987, pp. 38-39]. The motif of spending the night on the relics of saints in the temple, which resembles incubation, is also common in Coptic texts.3 It is known in the practice of ancient Egypt, but not only: in ancient Greece, this method of getting a prediction or healing from a disease was popular, and in Greek Christian texts it is repeatedly attested 4.

Our analysis of the ancient Egyptian elements directly should begin with the already mentioned theme of the afterlife, which is widely reflected in Coptic literature. For example, in literary texts 5, the word amnte (amente)is used everywhere to denote hell6. Its literal translation is "west". The ancestor of this name is used in many ancient Egyptian religious texts, in particular in The Book of the Dead [The Book of the Dead..., 1974, p. 285 et al.]. Originally denoting the place of sunset, it later came to be applied to necropolises and tombs that were usually built on the west bank of the Nile, and then later to the City of Jerusalem. it became the name of the place where souls stay after death [Arkhipova, 2003, p. 118]. When translating the New Testament, the Copts began to translate the Greek abps; with the word amnte.

There are a sufficient number of ancient Egyptian books dedicated to the afterlife: the aforementioned "Book of the Dead", "The Book of Two Paths", "The Book of Amduat". Of course, in other ancient cultures, the story of the hero's descent into the underworld is also common. For example, in antiquity there is a famous story about the journey of Aeneas to Hades. In the Sumerian-Akkadian epic of Gilgamesh, at the request of the main character, the gods allow the soul of his deceased colleague to visit Gilgamesh and tell about the underworld [Epic of Gilgamesh..., 1961, pp. 83-87]. But it was the culture of the ancient Egyptians that was distinguished by a special interest in the fate of the deceased and a belief in the immortality of not only the soul, but also the body [Kees, 2005, p.5-14; Tolmacheva, 2001, p. 183].

A common part of the composition of Coptic texts are the stories of witnesses about the afterlife. Most often, the narrator himself talks about what he has passed and seen. For example, in the" Sayings of the Egyptian Fathers": Abba Macarius, seeing a skull in the desert, asked about the fate of this man. I will quote this passage in full:

"It was also said about Apa Macarius that once in the desert he found a skull. He touched it with his staff, and it spoke. The elder said to him, " Who are you?" He told him: "I am the priest of the Hellenes 7 who were in this place, and you are Makarii the Spirit-Bearer. Whenever you feel sorry for those who are in pain, there is a little peace for them." Apa Macarius said to him, " What peace is this?" He said, " As the sky is far from the earth, so is the fire below us and above us, and we are standing in the middle of the fire, and it is impossible for one to see the face of his neighbor, but the back is turned to the back. But when you pray for us, everyone sees part of the face of their neighbor." The elder heard and said: "Woe to the day on which a person is born, if it is a rest from torment." The old man said to him,"Is there no flour worse than this?" The skull said to him, " Great torments are beneath us." The elder said to him, " Who is in them?" He said to him ," We did not know God, (they)were merciful

2 M. Boyce notes that the author of this vision was most likely influenced by stories about volcanic eruptions [Boyce, 1987, pp. 38-39].

3 For example, in the Encomia to Victor [Coptic Martyrdoms..., 1914, for the Coptic text see: p. 68-71; English translation: p. 319-322], in the Encomia to Kolluf [Encomiaslka..., 1993, for the Coptic text see: p. 79-81; English translation: p. 58-60].

4 For example, in the miracles of Cyrus and John, written by Sophronius of Jerusalem [Sophronius Hycrosolymitanus..., p. 3635-3638].

5 I will give a few examples: "The Martyrdom of Macarius of Antioch "[Hyvcrnat, 1886, p. 55]. "The Martyrdom of Philophilus "[Bibliothecae P. Morgan..., 1922, p. 162].

Amnte 6 in the Sa'id dialect, which is the language of the earliest literary texts. In the Bohair dialect, this word sounds like atepT (Crum, 1939, p. 8b). In addition, the word" west " in Coptic is derived from the same root: emnt (Sa'id dialect), eimnte (Bohairek dialect) [Crum, 1939, p.56a].

7 In the meaning of " pagans "(my note - L. F.).

8 For a clearer understanding of the text, I inserted the pronoun "they" in the translation by A. I. Elanskaya.

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those who knew God, and denied Him, and did not do His will, are beneath us." After that, the elder took the skull, buried it in the ground, left it and left" [Elanskaya, 2001, pp. 92-93].

If in "Sayings..." this episode is independent, then in hagiographic texts the plot with the resurrection is embedded in the composition. For example, it is found in the Martyrdom of Macarius of Antioch [Hyvernat, 1886, p. 55-57], the Martyrdom of Philotheus [Bibliothecae P. Morgan..., 1922, p.162-167], and the Life of Bishop Pisentius [Amélineau, 1889, p. 409-411]. In all cases, the one who is resurrected by the saint is a pagan who tells about his painful stay in hell. Meeting a dead person is introduced in different ways. Macarius of Antioch witnessed the funeral and, to enlighten the surrounding people, resurrected the deceased. Bishop Pisentius found a burial place with mummies and settled in it, and his disciple, the author of the life, overheard a conversation between the saint and one of the mummies. Sometimes it happens that the saint does not raise up someone unknown, but people close to him: for example, Philotheus raised up his pagan parents. The subsequent fate of the resurrected people varies: Philotheus ' parents were baptized, began to lead a righteous life, and died a year later; nothing is said about the fate of the person who was resurrected thanks to the prayer of Macarius of Antioch. The revived mummy asked to pray for her and returned to its previous state.

What is the description of the Ame itself? Many of its elements find parallels in ancient Egyptian descriptions of the afterlife (Cody, 1991, p. 974). Hell appears as a place of torture, inhabited by terrible demons and beasts. Philotheus ' parents suffer torment in hell, first, from the calf that they worshipped, and secondly, from the fiery river, from the stench, sitting in a pit with snakes. Their eyes and tongue are pulled out. According to the story of the revived mummy from the "Life of Bishop Pisentius" in Amenta there is an abyss filled with reptiles, each with seven heads and the body is covered with scorpions. The soul of the deceased is thrown into the mouth of the largest snake, which, without stopping, devours everything that falls into its mouth. A huge worm with the head of a crocodile, which swallows souls but does not kill them, is depicted in the Martyrdom of Macarius of Antioch. It describes demons that take on the images of various animals: snakes, lions, dragons, and crocodiles. In addition, in the prayer of Joseph to God before his death in the apocrypha "The Book of Joseph the Betrothed", one of the requests sounded like this:" Let no lions rush at me " [Sventsitskaya, 1999, p.52]. All these creatures are also found in ancient Egyptian books (Korostovtsev, 1976, p. 4). 365]. See, for example, The Book of the Dead, which describes the" eater of the dead " Amemit, a creature endowed with the features of a crocodile, lion and hippopotamus (Arkhipova, 2003, p. 114; The Book of the Dead..., 1974, p. 101).

The attitude to the apocrypha mentioned above is ambiguous among scientists: it is believed that it is based on another Greek text [Sventsitskaya, 1999, p. 44]. However, the originality of the part describing Joseph's death itself is recognized by many [Klameth, 1930, S. 6-31; Perez, 1991, p. 1373]. For my research, an episode related to the miraculous "mummification" of the body of Joseph according to the word of Christ is relevant:

"The honorary residents of the city then gathered at the place where the body of the holy elder Joseph was laid. And they brought with them strips of cloth and tried to wrap it around him according to the custom accepted among the Jews. But they saw that his shroud was so tightly wrapped around his body that when they wanted to take it off, they could not move it, and it was as hard as iron, and there was not a single seam in it to find its edge. This led them to great surprise" [Sventsitskaya, 1999, p. 59].

In another text, in the "Praise of Mary", dedicated to the events of the Dormition of the Most Holy Theotokos, her body is wrapped by Christ in heavenly linen funeral veils [Brysina, 2007, p. 115]. According to ancient Egyptian beliefs, the god Anubis was the first to mummify the body of the slain Osiris, one of the stages of which was swaddling the body

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bandages [Najovits, 2003, p. 9-10; Pinch, 2002, p. 94-95]. The bodies of people were also tightly wrapped in swaddling clothes, which allowed them to keep their shape and were often painted.

But not only is Joseph's body wrapped in swaddling clothes. Another episode reads: "Michael and Gabriel have come down to the soul of my father Joseph. And, taking her, they wrapped her in a shiny shroud" [Sventsitskaya, 1999, p. 57]. That is, "spiritual veils" appear here as a kind of analog of material ones. This detail is also attested in other texts. For example, in the Martyrdom of Eusebius, it is said: "The Archangel Raphael received his (Eusebius') soul, greeted it, wrapped it in linen cloth, and ascended with it to heaven in glory "(Hyvemat, 1886, p. 38). In the ancient Egyptian incantation against the evil actions of the dead, one of the threats sounds like this: "Take care, otherwise I will tear off the veils from you (from the mummies)" [Erman, 1901, p. 8]. In my opinion, both "spiritual" veils and real ones to a certain extent remained for the Copts, as well as for the Egyptians of the Pharaonic time, a necessary attribute of the afterlife of both the body and the soul, which is confirmed by the analyzed sources.

The Copts retained the idea of the rook as one of the attributes of the afterlife. For example, in the Encomium to John the Baptist [Budge, 1913, Coptic text see: p. 140; English translation: p. 347], a golden boat is noted as one of the gifts to him from Christ. On it, the righteous who venerated this saint will cross the fiery river, which all souls must cross. The apostles ask Christ to tell them about the size of the river, so that they can pass on this frightening information to people. Then the description of the boat itself is given: there are oars on it, a lamp on each oar, and seven holes in each lamp, through which light illuminates the way through the darkness [Budge, 1913, Coptic text see: p. 143; English translation: p. 349]. Although the Savior notes that it is John who transports the righteous in his boat, the presence of oars indicates a possible independent crossing of the river. This image goes back to the boat mentioned in The Book of the Dead, in which the deities swam across the sky [The Book of the Dead..., 1974, p. 80ff.]. The deceased Pharaoh ascended to the heavenly boat with other gods and received an oar in order to row on a par with everyone else [Korostovtsev, 1976, p. 305]. Models of rooks have long been an integral part of what was placed in tombs. Later, instead of them, lists of ship parts were left on the walls [Kees, 2005, p. 298].

The role of the carrier in the Encomium to John the Baptist is played by John the Baptist; the ancient Egyptians have a special carrier, who is called "looking behind him" (Korostovtsev, 1976, p. 304). Of course, in light of this, we should not forget about the famous character of ancient Greek mythology Charon, the carrier of the souls of the dead by boat across the river Styx (Virgil. Aeneid. VI. 298-304; XII. 91). However, it was in the tradition of Ancient Egypt that the burial site was located on the other side of the Nile, and the river crossing was an important element of the funeral rite [Bonnet, 1952, see the chapter "Beisetzung" ("Burial") for more details; Griffiths, 1980, p. 59-60].

Let's move on to another topic. Ideas about the causes of natural phenomena, similar to ancient Egyptian ones, can be found in the apocryphal work "Secrets of the Apostle John and the Holy Virgin".

It is clear that the life of the Egyptians completely depended on the river, on the banks of which their homeland stretched. From early texts it is known about the general Egyptian god of the Nile flood Hapi. He represented only the flood itself, and it was caused, among others, by the gods Isis and Osiris. The body of the latter, according to the myth, was thrown into the Nile, and his wife Isis, mourning the loss of her husband, filled the Nile with water [Bonneau, 1964, p. 220, 229-242, 248, 254]. In some vignettes of the Book of the Dead, Osiris is depicted sitting on a throne that is located on a rectangular pond (see Figure 1). In The Mysteries of the Apostle John and the Holy Virgin, when John asks why one year is fruitful and another is not, the Cherub answers: "Have you seen the water that is under your Father's feet? When He raises His feet, water pours out. If at the moment when the Father

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Figure 1. The British Museum. Papyrus No. 9901, fragment [Naville, 1886, S. CXXXVI, Kapitel 125].

He is going to let the water flow, people sin against Him, He makes it so that there will be little fruit due to the sins of people 9 " [Budge, 1913, Coptic text see: p. 60-61; English translation: p. 243].

The Copts represented Archangel Michael as a special intercessor before God for the flood of the Nile. In the Encomium to the Archangel Michael, the devil pursues a pious widow, but the image of the Archangel Michael always saves her. Then the devil frightens her with these words: "Know that I will come to you on a day when you do not expect. This will be the twelfth day of the month Paoni, when the archangel Michael gathers with all the angels and kneels before the veil of God, asking for water for the river of Egypt, dew and rain. I know that this kneeling prayer will continue continuously for three days and three nights until the Lord hears Archangel Michael and fulfills his requests " [Three Encomiums..., 1894, Coptic text see: p. 113-114; English translation: p. 90-91].

The researcher T. Baumeister also found a reflection of the myth of Osiris and Isis in the Coptic martyrdom. Among them, he singled out a group of texts that are united by the motif of "indestructible life". It is connected with the fact that every time after tortures aimed at physical destruction of the body, especially dismemberment, it is healed, and the saint is resurrected. All this is repeated several times, until the final death [Baumeister, 1972, S. 27-30, 149, etc.]. For example, in the" Martyrdom of Macarius of Antioch " the hero dies twice: the first time-from torture, then Christ resurrects him and completely heals the body of the martyr [Hyvernat, 1886, p. 40-77], the second time once his head is cut off. The same tortures are described in "The Martyrdom of Philotheus" [Bibliothecae P. Morgan..., 1922, p. 149-204], "The Martyrdom of Lacaron" [Balestri, Hyvernat, 1908, Coptic text see: p. 1-23; French translation: p. 11-23], "The Martyrdom of John and Simeon" [Hyvernat, 1886,

9 Translated by L. R. Frangulyan.

10 Translated by L. R. Frangulyan.

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p. 174-202] and others. It is the dissemination of this detail that suggests that it is connected with the mythological story of the dismemberment of the body of Osiris and its subsequent revival by Isis.11 The following detail is interesting: in the Martyrdom of Macarius of Antioch, the envoy of Emperor Constantine searches for the graves of the rulers and judges who passed sentences on the martyrs in order to burn their ashes [Hyvernat, 1886, p.73, 75]. Let us recall that in Ancient Egypt, the penalty for anyone who dared to desecrate the grave of the deceased was burning [Korostovtsev, 1976, p. 268], which deprived the dead body of the criminal of its integrity.

Some of the stories surprise with how unexpectedly the ancient Egyptian motif appears in them. For example, in the Martyrdom of Epimus (Mina, 1937, p.25), Saint Dioscorus reproaches the executioner Symmachus for intending to kill Christians and threatens punishment for this. The executioner answers: "Let me die and in the next world they will stick the rod of the door leading to the other world in the pupil of my right eye." At first glance, this phrase is meaningless. But a similar image is found in one of the " Tales of the High Priests of Memphis." In it, the father and son witnessed two funeral processions: lush for the rich and simple for the poor. The father appeals to heaven to provide for a funeral like the first one, expecting that his posthumous fate will be just as good. His son, on the contrary, wishes his father the fate of a poor man. Then they come to the city of the dead outside Memphis and use spells to find themselves in the afterlife. Here, the first four halls are filled with wicked people, and the rich man gets here. The fifth hall is inhabited by pure souls, where the poor are settled. However, we are only interested in one detail: the lower spike of the door leading to the fifth hall sticks out in the right eye of a certain person who prays and groans loudly when the door opens and closes, and the spike turns in his eye [Pharaoh Khufu..., 1958, pp. 149-153].

Thus, there is every reason to conclude that the Copts, in their reinterpretation, used some of the motifs, plots and images of the ancient Egyptian tradition in their texts. Nevertheless, the researcher should always be careful, since much was spread in other traditions, and it is not always possible to talk about the exact influence of the ancient Egyptian one.

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