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The Book of the Dead was most commonly written in hieroglyphic or hieratic script on a papyrus scroll, and often illustrated with vignettes depicting the deceased and their journey into the afterlife.
Wallis Budge, and was brought to the London Museum to preserve it, and it is where the Papyrus Scroll of Ani remains unto this day.
The Book of the Dead developed from a tradition of funerary manuscripts dating back to the Egyptian Old Kingdom.
The Pyramid Texts were written in an unusual hieroglyphic style; many of the hieroglyphs representing humans or animals were left incomplete or drawn mutilated, most likely to prevent them causing any harm to the dead pharaoh.
In the Middle Kingdom , a new funerary text emerged, the Coffin Texts. The Coffin Texts used a newer version of the language, new spells, and included illustrations for the first time.
The Coffin Texts were most commonly written on the inner surfaces of coffins, though they are occasionally found on tomb walls or on papyri. The earliest known occurrence of the spells included in the Book of the Dead is from the coffin of Queen Mentuhotep , of the 13th dynasty , where the new spells were included amongst older texts known from the Pyramid Texts and Coffin Texts.
Some of the spells introduced at this time claim an older provenance; for instance the rubric to spell 30B states that it was discovered by the Prince Hordjedef in the reign of King Menkaure , many hundreds of years before it is attested in the archaeological record.
By the 17th dynasty , the Book of the Dead had become widespread not only for members of the royal family, but courtiers and other officials as well.
At this stage, the spells were typically inscribed on linen shrouds wrapped around the dead, though occasionally they are found written on coffins or on papyrus.
The New Kingdom saw the Book of the Dead develop and spread further. From this period onward the Book of the Dead was typically written on a papyrus scroll, and the text illustrated with vignettes.
During the 19th dynasty in particular, the vignettes tended to be lavish, sometimes at the expense of the surrounding text. In the Third Intermediate Period , the Book of the Dead started to appear in hieratic script, as well as in the traditional hieroglyphics.
The hieratic scrolls were a cheaper version, lacking illustration apart from a single vignette at the beginning, and were produced on smaller papyri.
At the same time, many burials used additional funerary texts, for instance the Amduat. During the 25th and 26th dynasties , the Book of the Dead was updated, revised and standardised.
Spells were consistently ordered and numbered for the first time. This standardised version is known today as the 'Saite recension', after the Saite 26th dynasty.
In the Late period and Ptolemaic period , the Book of the Dead remained based on the Saite recension, though increasingly abbreviated towards the end of the Ptolemaic period.
The last use of the Book of the Dead was in the 1st century BCE, though some artistic motifs drawn from it were still in use in Roman times.
The Book of the Dead is made up of a number of individual texts and their accompanying illustrations. Most sub-texts begin with the word ro, which can mean "mouth," "speech," "spell," "utterance," "incantation," or "a chapter of a book.
At present, some spells are known,  though no single manuscript contains them all. They served a range of purposes.
Some are intended to give the deceased mystical knowledge in the afterlife, or perhaps to identify them with the gods: Still others protect the deceased from various hostile forces or guide him through the underworld past various obstacles.
Famously, two spells also deal with the judgement of the deceased in the Weighing of the Heart ritual. Such spells as 26—30, and sometimes spells 6 and , relate to the heart and were inscribed on scarabs.
The texts and images of the Book of the Dead were magical as well as religious. Magic was as legitimate an activity as praying to the gods, even when the magic was aimed at controlling the gods themselves.
The act of speaking a ritual formula was an act of creation;  there is a sense in which action and speech were one and the same thing.
Hieroglyphic script was held to have been invented by the god Thoth , and the hieroglyphs themselves were powerful.
Written words conveyed the full force of a spell. The spells of the Book of the Dead made use of several magical techniques which can also be seen in other areas of Egyptian life.
A number of spells are for magical amulets , which would protect the deceased from harm. In addition to being represented on a Book of the Dead papyrus, these spells appeared on amulets wound into the wrappings of a mummy.
Other items in direct contact with the body in the tomb, such as headrests, were also considered to have amuletic value. Almost every Book of the Dead was unique, containing a different mixture of spells drawn from the corpus of texts available.
For most of the history of the Book of the Dead there was no defined order or structure. The spells in the Book of the Dead depict Egyptian beliefs about the nature of death and the afterlife.
The Book of the Dead is a vital source of information about Egyptian beliefs in this area. One aspect of death was the disintegration of the various kheperu , or modes of existence.
Mummification served to preserve and transform the physical body into sah , an idealised form with divine aspects;  the Book of the Dead contained spells aimed at preserving the body of the deceased, which may have been recited during the process of mummification.
The ka , or life-force, remained in the tomb with the dead body, and required sustenance from offerings of food, water and incense.
In case priests or relatives failed to provide these offerings, Spell ensured the ka was satisfied.
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. These statuettes were inscribed with a spell, also included in the Book of the Dead , requiring them to undertake any manual labour that might be the owner's duty in the afterlife.
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".
Then the dead person's heart was weighed on a pair of scales, against the goddess Maat , who embodied truth and justice. Maat was often represented by an ostrich feather, the hieroglyphic sign for her name.
Her character has an outgoing and humorous personality. Fran, as a result of her mother's overbearing personality, often feels the need to date and is compelled to get married as well.
She is usually seen getting into trouble and having to solve those problems through using her street smarts.
Maxwell Sheffield is the male protagonist who ends up hiring Fran Fine to watch over his three children, Maggie, Brighton, and Grace.
He is a widowed Broadway producer, having lost his wife Sara four years before the start of the series. While he does have some success as a Broadway producer, he remains constantly in the shadow of his rival Andrew Lloyd Webber , who always seems to have the upper hand.
He does not spend a lot of time with his children due to his busy schedule, hence he ends up hiring Fran Fine as the children's nanny. Despite his mutual attraction to Fran, he tries to keep their relationship professional for fear of commitment.
Margaret Sheffield is the eldest child of Maxwell Sheffield. She is constantly seen bickering with her brother, Brighton, who views her as a nerd.
While she is constantly fighting with Brighton, her relationship with her sister, Grace, is more one of mentorship.
Towards the beginning of the series, Maggie is shy and awkward but, with Fran's influence, she becomes a somewhat popular young woman. Upon meeting Fran Fine, the two bond almost instantly.
Brighton Sheffield is the middle child of the family and the only son of Maxwell Sheffield. Due to being the only son, he often feels left out.
This causes him to purposely bring about trouble for his two sisters. He doesn't bond with Fran Fine at first, having disliked all his previous nannies, but eventually becomes close with her as well.
He plans to become a Broadway producer, like his father. Grace Sheffield is the youngest child in the Sheffield family. She has a habit of naming medical conditions and complicated words.
When Fran first became her nanny, Grace was in therapy. But, under Fran Fine's influence and guidance, she eventually doesn't need therapy any more.
As the two became close to one another Grace started picking up some of Fran's Jewish slang and dressing habits, eventually thinking of Fran as a mother to her.
Babcock is the egocentric business partner of Maxwell Sheffield, with whom she has been working for almost 20 years.
She clearly wants him as more than a business partner. Maxwell, however, appears oblivious and Babcock has yet to make a serious move on him.
She never seems to be able to remember the names of Maxwell's three children. From her first meeting with Fran Fine, she accurately views the newly hired nanny as a threat and tries to undermine her.
Fran is not C. Niles is the loyal butler and chauffeur for the Sheffield family. He and Maxwell have known each other their whole lives.
He bonds with Fran Fine immediately, viewing her as the breath of fresh air that the Sheffield family needs. Niles is known as the household snoop as he is constantly seen listening in on conversations via intercoms, keyholes, and even in the very rooms where the conversations are taking place.
He tends to manipulate events in Fran's favor to undermine C. In spite of this, over time it becomes clear that Niles has himself fallen for C.
The Nanny maintained an ensemble cast , keeping the same set of characters for its entire six-season run.
Although largely operating around the main ensemble cast, The Nanny featured an enormous number of guest stars over the years. Scott Baio made an appearance as a rookie doctor who was Fran's former schoolmate.
Jon Stewart portrayed a Jewish love interest of Fran's until it was discovered at a family wedding that the two were cousins; on the June 29, airing of The Daily Show , Stewart stated he agreed to make an appearance after receiving a personal call from Fran Drescher.
Marvin Hamlisch appeared as Fran's former high school music teacher, a Marvin Hamlisch look-alike. Fran Drescher also reprised her role of Bobbi Fleckman from the film This Is Spinal Tap and made a cameo appearance as herself in the third to last episode.
Charles Shaughnessy had a double role as a foreign sultan in one episode. Drescher's real-life parents, Morty and Sylvia, initially appeared as a couple in the waiting room of Grace's therapist and made subsequent appearances as Fran's Uncle Stanley and Aunt Rose; her Pomeranian Chester appeared as C.
Romano and Drescher actually did know each other in high school. Tyne Daly appeared as a fellow nanny facing forced retirement.
David Letterman made an uncredited appearance during a fantasy sequence, where Fran describes how she exaggerated her fame to impress a pen pal.
The opening sequence for the pilot featured Fran in front of a white background, getting herself made up going to work as the nanny; at the end of the sequence, it shows Fran heading toward a stroller and a lipstick print appears to the above right.
Along with the change of the theme song from "If My Friends Could See Me Now" to "The Nanny Named Fran" came the change of the opening sequence, which like the theme, describes with the main characters in animated form the story of how Fran Fine went from being fired from the bridal shop by Danny Imperiali to becoming the nanny of the Sheffield children.
The only change to the sequence was in season six when producer Kathy Landsberg was promoted to co-executive producer of the series as her producer credit was moved to the in-show credits, while the creator credits of Drescher and Jacobson, and the developer credits of Sternin and Fraser were added in its place.
The animated opening sequence begins with Fran Fine walking into the bridal shop, only to be kicked out by Danny Imperalli.
Then, she hitches a ride in a cab, crosses the bridge from Queens , New York to Manhattan and arrives at the Sheffield mansion.
Maxwell Sheffield opens the door and observes Fran. Then, he pulls her inside and she falls into the flower pot. Niles dusts her off and puts a cap on her head that reads Nanny.
Fran whistles for Maggie, Brighton and Gracie and the four of them form a conga line. Finally, the Sheffields, Niles and Fran gather on the couch for a group picture similar to that of the One Day at a Time series opening.
However, when Fran presses the camera's button, smoke emits from the camera, covering the entire group in dust and messing up their best clothes.
Rosie O'Donnell employed the same team that created the Nanny's opening credits to do the opening credits for her popular daytime talk show.
O'Donnell mentioned this in an interview with Drescher on that show. The Nanny began in with a chance meeting on a transatlantic flight between Drescher and Jeff Sagansky, at the time president of CBS Corporation , for whom she had starred in the short-lived TV series Princesses.
Drescher persuaded Sagansky to let her and her then-husband Jacobson pitch an idea for a sitcom to CBS. Sagansky agreed to a future meeting once all of the parties were back in Los Angeles; however, neither Drescher nor Jacobson had any idea what to pitch.
Later, while in London, Drescher was visiting friend Twiggy Lawson and her family in London, England, where she went on a culture-clash shopping tour with Lawson's then teenage daughter.
Drescher was inspired by her behavior towards the teenage daughter on the shopping trip as functioning in a less parental but "humorous [ Drescher immediately called her husband in Los Angeles with her sitcom idea, which she pitched as a spin on The Sound of Music , except, in Drescher's words: Like the character in The Nanny , Drescher was born and raised in Flushing, Queens , and attended beauty school.
However, unlike her on-screen counterpart, Drescher never worked in a bridal shop; Drescher wrote that into the character as a tribute to her mother, who did work in a bridal shop.
Most of the early episodes of The Nanny were shot in front of a live studio audience on Stage 6 at the Culver Studios.
During later seasons the taping was no longer performed before an audience due to the complexities of the fantasy sequences, costume changes, etc.
On Mondays, the cast went through the script as a table read. On Tuesdays and Wednesdays, they rehearsed before the series' producers and executives.
And, on Thursdays and Fridays, the series was shot using a multi-camera set up in front of a live studio audience.
Nearly crew members were involved in the shooting of a single episode. Kavanagh, known mainly for his writing with Fraser, added a recognizable dry humor to the show.
Jacobson presided over the writing team, and Fraser observed the run-throughs. Stemming from a home invasion and attack she experienced in , Fran Drescher requested the show to provide prescreened audiences , based fear of having random strangers invited to the productions.
The show hired Central Casting to gather a cast of "laughers" who would be recorded during taping. The audio track of the laughers would then be added to the episodes in post-production.
Casting director Lisette St. The comedy in The Nanny was formulated with many running gags , which contributed heavily to the success of the series.
Much of this formula was character-based, with all major characters possessing a specific trait or quirks that provided a source of parody for other characters.
The conflicting elements of each character's own comedy were often played off against one another Fran and Maxwell , Niles and C.
Occasionally the characters would break the fourth wall and comment on the situations themselves, or Fran would comment to the audience or look into the camera.
Most of the humor Fran uses is aimed toward a Jewish audience. She makes references to Yiddish words and teaches the Sheffield children to be stereotypical Jews to never pay retail price, to go after men like doctors, etc.
Much of this humor is featured in scenes including her mother Sylvia. At times, they would also make humorous references to the stars' previous careers or real life off-screen time.
This was noticeable when Yetta saw her reflection in the mirror and thought she was seeing Millie Helper from The Dick Van Dyke Show the role that Guilbert played on that long-running show , Maxwell remembering how he wanted to hire a former cast member from Days of Our Lives but thought he wasn't "British" enough a reference to Charles Shaughnessy's former series , C.
Drescher also appeared in the series as tough-talking music publicist Bobbi Fleckman, reprising her role from the film This Is Spinal Tap , setting up an obvious visual gag where Drescher as the Nanny would disguise herself as Fleckman in order to get Mr.
More running gags include Fran's frequent references to classic TV sitcoms such as Gilligan's Island and Bewitched and her many eccentric family members some never shown, most of them dying ; Fran lying about her age—especially to men; Maxwell fighting through his rivalry with actual Broadway producer Andrew Lloyd Webber ; Maxwell's physical resemblance to Pierce Brosnan ; Maxwell's fondness of Kaye Ballard ; Sylvia loving food in excess;  Niles delivering sharp one-liners, often aimed at C.
There was also the occasional tryst between Niles and C. Season 4 featured a running gag where both Fran and Maxwell kept secret from the other household members "The Thing" the fact that in the season 3 finale Maxwell tells Fran he loves her, but then in the Season 4 premiere he takes it back.
It's also following "The Thing" that whenever Maxwell makes comments denying he has feelings for Fran, she is temporary "paralyzed" she can't feel her arm, her entire left side shuts down, etc.
In addition, there is also a great deal of physical comedy in The Nanny including exaggerated falls and chases. Drescher's facial expressions, when shocked or surprised, can also be seen as reminiscent of Lucille Ball 's portrayals of Lucy Ricardo and Lucy Carmichael.
Sheffield refers to Fran as "Mrs. Carmichael", and asks in another: Mooney fire you from the bank again? The episode that featured a visit from Elizabeth Taylor who also appeared on Here's Lucy as a guest star began with Maxwell and Niles trying to hide the visit from Fran "Boys, boys, boys.
Now do you think my mother gave birth to a dummy 25 years ago? In an episode of The Nanny , Fran sees a man watching I Love Lucy on TV and as the theme song plays she gets a sneaky look on her face and gets the idea to gain entry into Mr.
Sheffield's men's only club dressed as a man. It was well written and entertaining.