The noose may stand for solemn judgment and the hangman, it may also symbolize the snare of the fowler, temptation.

Then there is the spider web, close kin, representing the cruelty of evolution, in The Avenging Conscience.
This list is based on the rows of hieroglyphics most readily at hand.

Any volume on Egypt, such as one of those by Maspero, has a multitude of suggestions for the man inclined to the idea.
If this system of pasteboard scenarios is taken literally, I would like to suggest as a beginning rule that in a play based on twenty hieroglyphics, nineteen should be the black realistic signs with obvious meanings, and only one of them white and inexplicably strange.

It has been proclaimed further back in this treatise that there is only one witch in every wood.

And to illustrate further, there is but one scarlet letter in Hawthorne's story of that name, but one wine-cup in all of Omar, one Bluebird in Maeterlinck's play.
I do not insist that the prospective author-producer adopt the hieroglyphic method as a routine, if he but consents in his meditative hours to the point of view that it implies.
The more fastidious photoplay audience that uses the hieroglyphic hypothesis in analyzing the film before it, will acquire a new tolerance and understanding of the avalanche of photoplay conceptions, and find a promise of beauty in what have been properly classed as mediocre and stereotyped productions.
The nineteenth chapter has a discourse on the Book of the Dead.