because they were mentioned in the pyramid texts
from the 5th dynasty. There is a festival carrying
his name celebrated on the 26th day of the first
month of the year, the month named after Thoth.
The actual dates of these festivals were mentioned
on the most important calendar from ancient
times at the temple of Esna. The calendar identi-
fied the dates as the 4th, 19th, and 21st of this
month. The calendar also described two themes
for two of these days: one for the 19th as the fes-
tival of Thoth, the great, in the whole country, and
the second for the 21st to celebrate the triumph of
Thoth in the presence of Re.
Shaza Gamal IsmailSeealsoAusar; Auset; Min
Further Readings
Bleeker, C. J. (1973).Hathor and Thoth,Two Key
Figures of the Ancient Egyptian Religion. Leiden,
Netherlands: E. J. Brill.
Dunad, F., & Coche, C. Z. (2002).Gods and Men in
Egypt 3000 BCE to 395 CE. Ithaca, NY: Cornell
University Press.
Shorter, A. (1983).The Egyptian Gods:A Handbook.
Suffolk, UK: St. Edmundsbury Press.
THREE
The number 3 has been significant in the language
and iconography of Africa from the time of
Kemet, being extensively represented in the rituals
and general cultural life throughout the ages. It
conveys the ancient Egyptian notion of plurality
and often that of unity. In the mental universe of
the Kemetyu, there was singular (1), dual (2),
plural (3 and more), and, oftentimes, very many
or an indeterminate number was expressed as 9,
that is, “the plural of plurals,” which was also,
but less often, represented as other multiples of 3.
In keeping with this status, the number 9 also
represented everything in the Kemetyu universe.
This much is conveyed in such terms as psdt:
“Ennead,” literally, “group of nine.” This repre-
sentation of indeterminate plurality was given
rather concrete expression in the concept of the
Nine Bows, the summation of Kemet’s traditional
enemies. The nine petitions made by the farmer in
the ancient Egyptian story called The Eloquent
Peasant in Egyptology also may have represented
the notion of a considerable quantity and there-
fore indeterminate plurality.
The number 3 also represented a closed system
of units that are simultaneously complete, interac-
tive, and representational of the cyclical nature of
some aspects of reality. The Kemetyu divinity
Ptah-Sokar-Wsir illustrates this. Here is a trinity,
a three-in-one divinity that represents Creation
or Birth, Death or Decay, and Rebirth or
Resurrection—an entire cycle.
It is therefore not surprising that the number 3
continues to be of great significance in many rituals
in African communities on the continent and abroad.
One of the clearest contemporary expressions of
this continuity from the ancient African past is
seen in the pouring of Libations at the Libation
and Orison (orientation of important persons and
paraphernalia) during the opening ritual of a Vodu
service. In fact, the significance of water as well as
the number 3 may be observed here. At a certain
point in the ceremony, water is poured three times
before the center post orPotomitan, then three
times at one entrance, and sometimes at three
entrances to the peristyle (the building or part
thereof in which the service is held). Next, lines
are traced to the peristyle, which is then kissed
three times. Water is then poured three times
before each of the three drums, which together
form thebatière. At a certain point in the rites
marking the initiation or introduction of someone
into the followers of the divinity Erzulie Freda, the
Houngan (Vodu priest) or the Mambo (Vodu
priestess) recites the Ave Maria, the Credo, and the
Confiteor, each three times—a total of nine recita-
tions. Certain other things are done three times as
well during other ceremonies.
The number 3 also resounds in the drums,
which constitute a most important part of African
sacred rituals and indeed in general African cul-
tural expression. Three drums are played in most
African spiritual ceremonies.
In Candomblé, there are three drums. These are
collectively calledatabaques and are believed to
have been war drums in Africa. Each also has its
own identity and its own name, hencerum, the
largest and deepest-toned;rumpi, the middle drum
in size as well as tone; andlé, the smallest drum662 Three