The chapter explained what the _ushebti_-figures were intended for. Before the dead man, justified though he had been by faith in Osiris and his own good deeds, could be admitted to the full enjoyment of the fields of paradise, it was necessary that he should show that he was worthy of them by the performance of some work. He was therefore called upon to cultivate that portion of them which had been allotted to him, to till the ground and water it from the heavenly Nile. Had he been a peasant while on earth, the task would have been an easy one; had he, on the contrary, belonged to the wealthier classes, or been unaccustomed to agricultural labour, it would have been hard and irksome. Thanks to the doctrine of the Ka, however, means were found for lightening the obligation. The relatives of the dead buried with him a number of _ushebti_-figures, each of which represented a fellah with mattock and basket, and their Kas, it was believed, would, with the help of the sacred words of the Ritual, assist him in his work. Sometimes, to make assurance doubly sure, the images were broken; thus, as it were, putting an end to their earthly existence, and setting their Kas free. When once the tomb was closed and the mummy hidden away in the recesses, it was necessary to find a way by which the Ka could enter the abode of the dead, and so eat and drink the food that had been deposited there. For it must be remembered that the Ka from its very nature was subject to the same limitations as the person whom it represented. If there was no door it could not enter. Where it differed from the living person was in its existing in a world in which what are shams and pictures to us were so many concrete realities. Consequently all that was needed in order to allow the Ka free entrance into the tomb was to paint a false door on one of its walls; the Ka could then pass in and out through the Ka of the door, and so rejoin its mummy or its statue when so it wished.