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It was the ba , depicted as a human-headed bird, which could "go forth by day" from the tomb into the world; spells 61 and 89 acted to preserve it.
An akh was a blessed spirit with magical powers who would dwell among the gods. The nature of the afterlife which the dead person enjoyed is difficult to define, because of the differing traditions within Ancient Egyptian religion.
In the Book of the Dead , the dead were taken into the presence of the god Osiris , who was confined to the subterranean Duat.
There are also spells to enable the ba or akh of the dead to join Ra as he travelled the sky in his sun-barque, and help him fight off Apep.
There are fields, crops, oxen, people and waterways. The deceased person is shown encountering the Great Ennead , a group of gods, as well as his or her own parents.
While the depiction of the Field of Reeds is pleasant and plentiful, it is also clear that manual labour is required. For this reason burials included a number of statuettes named shabti , or later ushebti.
The path to the afterlife as laid out in the Book of the Dead was a difficult one. The deceased was required to pass a series of gates, caverns and mounds guarded by supernatural creatures.
Their names—for instance, "He who lives on snakes" or "He who dances in blood"—are equally grotesque. These creatures had to be pacified by reciting the appropriate spells included in the Book of the Dead ; once pacified they posed no further threat, and could even extend their protection to the dead person.
If all the obstacles of the Duat could be negotiated, the deceased would be judged in the "Weighing of the Heart" ritual, depicted in Spell The deceased was led by the god Anubis into the presence of Osiris.
There, the dead person swore that he had not committed any sin from a list of 42 sins ,  reciting a text known as the "Negative Confession".
Maat was often represented by an ostrich feather, the hieroglyphic sign for her name. If the scales balanced, this meant the deceased had led a good life.
Anubis would take them to Osiris and they would find their place in the afterlife, becoming maa-kheru , meaning "vindicated" or "true of voice".
This scene is remarkable not only for its vividness but as one of the few parts of the Book of the Dead with any explicit moral content.
The judgment of the dead and the Negative Confession were a representation of the conventional moral code which governed Egyptian society.
For every "I have not John Taylor points out the wording of Spells 30B and suggests a pragmatic approach to morality; by preventing the heart from contradicting him with any inconvenient truths, it seems that the deceased could enter the afterlife even if their life had not been entirely pure.
A Book of the Dead papyrus was produced to order by scribes. They were commissioned by people in preparation for their own funeral, or by the relatives of someone recently deceased.
They were expensive items; one source gives the price of a Book of the Dead scroll as one deben of silver,  perhaps half the annual pay of a labourer.
In one case, a Book of the Dead was written on second-hand papyrus. Most owners of the Book of the Dead were evidently part of the social elite; they were initially reserved for the royal family, but later papyri are found in the tombs of scribes, priests and officials.
Towards the beginning of the history of the Book of the Dead , there are roughly 10 copies belonging to men for every one for a woman.
The dimensions of a Book of the Dead could vary widely; the longest is 40m long while some are as short as 1m. The scribes working on Book of the Dead papyri took more care over their work than those working on more mundane texts; care was taken to frame the text within margins, and to avoid writing on the joints between sheets.
Books were often prefabricated in funerary workshops, with spaces being left for the name of the deceased to be written in later. The text of a New Kingdom Book of the Dead was typically written in cursive hieroglyphs , most often from left to right, but also sometimes from right to left.
The hieroglyphs were in columns, which were separated by black lines — a similar arrangement to that used when hieroglyphs were carved on tomb walls or monuments.
Illustrations were put in frames above, below, or between the columns of text. The largest illustrations took up a full page of papyrus.
From the 21st Dynasty onward, more copies of the Book of the Dead are found in hieratic script. The calligraphy is similar to that of other hieratic manuscripts of the New Kingdom; the text is written in horizontal lines across wide columns often the column size corresponds to the size of the papyrus sheets of which a scroll is made up.
Occasionally a hieratic Book of the Dead contains captions in hieroglyphic. The text of a Book of the Dead was written in both black and red ink, regardless of whether it was in hieroglyphic or hieratic script.
Most of the text was in black, with red ink used for the titles of spells, opening and closing sections of spells, the instructions to perform spells correctly in rituals, and also for the names of dangerous creatures such as the demon Apep.
The style and nature of the vignettes used to illustrate a Book of the Dead varies widely. Instead of crossing over the chain and continuing with the dungeon, walk along it to reach the page.
Book of the Dead Page 9 Location. On the second floor of the Lost Temple, there is the Stone of Power. The page is located next to the stone, in the small room off to the east side of the second floor.
The Stone of Power can be found after defeating two Savage Stalkers on the balcony, and proceeding north. Climb the wall in the next room and look up the corner to find a Stone of Power.
After acquiring the Deathgrip, use it on the first hook you see. Then, turn around and look for another hook. Leap towards it and grab onto it with Deathgrip.
This will lead you to the next page. In the open-air room at the center of the first floor, and you will see a fairly evident hook. Use Deathgrip and find the page on the second floor.
The Weeping Crag Book of the Dead Page 12 Go back to the Weeping Crag, and after unlocking the Skeleton Door, you will have to make your way through a passage with continuous wall jumps.
The page lies at the end of this passage. On this first floor of the Scar, immediately after obtaining the skeleton key, you can turn around and look for some handholds on the left wall.
Follow this route to find a page. Additionally, you can jump off the ledge after getting the key to get a Boatman Coin. Before entering the passage that contains the door to the Arena, Check the left side with skulls to find the page.
Book of the Dead Page 15 Location. A page is located in the westernmost room of the second floor. Rotate the lantern in the adjacent room till the light points west, which will raise a bridge.
On the fourth floor of the dungeon, check behind the easternmost statue to find the page. Book of the Dead Page 17 Location.
After using the lever to raise the bridge in the east room of first floor, drop down and cross it, and then climb the wall with the Deathgrip hook at the other end.
In the Spine, check the eastern edge, where the bridges seem to intersect. This page can be found in the northeastern corner of the first floor.
Turn left to find it. Book of the Dead Page 20 Location. This is located on the second floor of the tomb. On the north wall is a Deathgrip hook.
Use it to reach the handhold, and jump from the handhold to the right. Book of the Dead Page 21 Location. On the fourth floor, before proceeding into the room containing the final soul, loop around and grab a page.
Backtracking to the Fjord, northeast structure, stand on the central platform elevator and activate the newly acquired Soul Splitter. Use the two soul forms to step on the plates and raise your stone form.
Then, cancel the Soul Split and jump off the elevator onto the higher level. Use Soul Splitter again and activate the two pressure plates to gain access to the page.
Book of the Dead Page 24 Location. On the second floor, look for a handhold to the south, and wall-jump until you reach the next level up. Check the balcony to the right of the lever to find the page.
The scent of life was faint, yet dried blood and strange oil was rampant. Atop the ramp a stone table had been carved out of the wall, shaped like a cube, it was littered with large, curving struts of Dwemer metal.
I continued down the hall, into a steamy room where a tiny, mechanical golden spider with a garnet eye scuttled into view.
It stopped for a moment then hurried forward to attack us. Wolfie sank her teeth into its carapace and shook it before letting it fly.
It smacked against a pipe with a ringing clang before I skewered it with my sword. A small compartment within the spider reveal a small gyro, a common soul gem, a flawless garnet and a few pieces of gilt.
The rooms varied slightly in width, height and variety of pipes, alcoves and stairs but generally remained the same until we emerged into an enormous, roughly hewn hallway of brownish-grey rock.
Beyond it lay a chamber someone had attempted to turn into a camp, cooked meat and unsliced cheese lay on a table nearby and in crates beside that, a large wooden scaffold, half green with rot, stood nearby.
It was in that hall we encountered our second new enemy: It was a thin, flying insect with a black scaled, sectored body and pale green eyes.
Wings whirred as it flew out from behind the scaffold, Wolfie leaped at it as I circled to set fire to its thorax.
Lydia contributed by bashing it in the face, still her go-to battle tactic it seemed. Just as it seemed the chaurus it seemed had killed a pair of blue robed Synod mages, one lay near our entry point slashed to death by razor sharp claws, the other atop the scaffold and a set of bed rolls.
Lydia tightened her grip on her sword, be fleshed tan knuckles turning white from pressure. She took a deep breath and exhaled slowly, "I am sworn to serve you, to go where you will and to carry your burdens, even if it means a second meeting with the Falmer.
Ascending the stairs, we stumbled upon a small scale massacre - a dead falmer surrounded by a group of slain chaurus.
It wore a green loincloth, small cords of braided leather wound around its forearms and thighs and a dark metal torc on its upper right arm.
A jagged edged blade of pale metal lay at its side, the tip stained with dried blood. It lay before another pair of ornate golden doors.
Lydia stared at it for a moment. Only a moment, she proceeded to kick it, stomp on its chest and ultimately dismember it. I hate you, you and bandits.
Talos damn you to Aetherius! These doors lead into a hall that split in twain and met back up in a sloping upward ramp, apparently the Dwemer had liked them.
I summoned my bow and put an arrow through its skull and into the wall beyond. More rough caverns led to groups of chauras, male only falmer villages and my first use of a fear spell.
I tried it first on a charaus but it was too reactive to fear me, so I cast it on one of the falmer. It fled like I had threatened to eat alive and whole.
Eventually we found our way into an enormous Dwemer hall with four daises, all of which were clustered with falmer huts constructed of mammoth bones and charaus chitin.
Lightning, fang, sword and shield saw over 20 falmer sent to the Judicator. The crystal was not a pure crystal glowing from within with a blue light like mine, it was a type of blue ore veined grey rock with blue crystal set into it and banded with a thick ring of gold.
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