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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 05:29:37 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 05:29:37 -0700 |
| commit | 67b93f2ed461b718245907cee5aabd682082199b (patch) | |
| tree | 5329d301f3b08cce6023bdb0cf5383e20cc5ebf9 /7413-h | |
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height:150.2pt;} + img.c22 { width:201.1pt; height:101.8pt;} + img.c21 { width:145.4pt; height:171.8pt;} + img.c20 { width:214.1pt; height:159.4pt;} + img.c19 { width:214.6pt; height:186.2pt;} + img.c18 { width:330.2pt; height:229.4pt;} + img.c17 { width:217.4pt; height:406.1pt;} + img.c16 { width:214.6pt; height:170.9pt;} + img.c15 { width:205.9pt; height:185.3pt;} + span.c14 { line-height:14.9pt;} + span.c13 { line-height:14.4pt;} + img.c12 { width:215.5pt; height:192.0pt;} + img.c11 { width:196.3pt; height:148.8pt;} + span.c10 { line-height:28.1pt;} + span.c9 { line-height:15.8pt;} + span.c8 { line-height:16.1pt;} + span.c7 { line-height:24.7pt;} + span.c6 { line-height:11.0pt;} + span.c5 { line-height:14.6pt;} + span.c4 { line-height:9.1pt;} + span.c3 { line-height:15.6pt;} + span.c2 { line-height:10.6pt;} + img.c1 { width:328.8pt; height:236.6pt;} + --> +</style> + </head> + <body> +<pre xml:space="preserve"> + +The Project Gutenberg EBook of Egyptian Tales, Second Series, XVIIIth To +XIXth Dynasty, by W. M. Flinders Petrie + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Egyptian Tales, Second Series, XVIIIth To XIXth Dynasty + Translated From The Papyri, Second Edition + +Author: W. M. Flinders Petrie + +Editor: W. M. Flinders Petrie + +Illustrator: Tristram Ellis + +Release Date: February, 2005 [EBook #7413] +Last Updated: August 27, 2012 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK EGYPTIAN TALES, SECOND *** + + + + +Produced by Eric Eldred and David Widger + + + + + +</pre> + <p> + <img src="images/p1-1.jpg" alt="p1-1.jpg" class="c1" /> + </p> + <p class="paragraph"> + <span class="font14">THE QUEEN'S TRIAL <i>(p.</i> <b>65)</b></span><br /> + </p> + <hr /> + <p class="paragraph"> + <br /> + </p> + <p class="paragraph"> + <br /> + </p> + <h1> + EGYPTIAN TALES + </h1> + <p> + <br /> + </p> + <h2> + TRANSLATED FROM THE PAPYRI + </h2> + <p> + <br /> + </p> + <h3> + SECOND SERIES, XVIIIth TO XIXth DYNASTY + </h3> + <p> + <br /> <br /> + </p> + <h3> + EDITED BY W. M. FLINDERS PETRIE, HON. D.C.L., LL.D. + </h3> + <h4> + EDWARDS PROFESSOR OF EGYPTOLOGY, UNIVERSITY COLLEGE, LONDON + </h4> + <p> + <br /> <br /> + </p> + <h3> + ILLUSTRATED BY TRISTRAM ELLIS + </h3> + <p> + <br /> <br /> + </p> + <h4> + SECOND EDITION<br /> + </h4> + <hr /> + <h4> + <i>First Published . . . September 1895 Second Edition . . . February 1913</i> + </h4> + <p> + <br /> + </p> + <hr /> + <p> + <br /> + </p> + <blockquote> + <p> + PG Editor's Note: This early contribution to Project Gutenberg has been + reproofed with many corrections of spelling, scannos and punctuation. + The html file has received many hours of work to make the illustrations + visible and the file conform to WCA standards. A great deal more work is + needed to bring this file to prsent day PG standards. I have hopes + another volunteer will find a print copy of this work which can be + scanned and digitized to produce a file to replace this, as yet, + unsatisfactory edition. DW + </p> + </blockquote> + <p> + <br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font22">PREFACE</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">AS the scope of the first series of these Tales + seems to have been somewhat overlooked, a few words of introduction may + not be out of place before this second volume.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">It seems that any simple form of fiction is + supposed to be a "fairy tale:" which implies that it has to do with an + impossible world of imaginary beings. Now the Egyptian Tales are exactly + the opposite of this, they relate the doings and the thoughts of men and + women who are human—sometimes "very human," as Mr. Balfour said. + Whatever there is of supernatural elements is a very part of the beliefs + and motives of the</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font0"><b>VI</b></span><br /> + </p> + <h2> + PREFACE + </h2> + <p class="paragraph"> + <span class="font18 c5">people whose lives are here pictured. But most of + what is here might happen in some corner of our own country to-day, where + ancient beliefs may have a home. So far, then, from being fairy tales + there is not a single being that could be termed a fairy in the whole of + them.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Another notion that seems to be about is that the + only possible object of reading any form of fiction is for pure amusement, + to fill an idle hour and be forgotten and if these tales are not as + amusing as some jester of to-day, then the idler says, Away with them as a + failure! For such a person, who only looks to have the tedium of a vacuous + mind relieved, these tales are not in the least intended. But the real and + genuine charm of all fiction is that of enabling the reader to place + himself in the mental position of, another, to see with the eyes, to feel + with the thoughts, to reason with the mind, of a wholly different being. + All the greatest work has this charm. It may be to place the reader</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font17">PREFACE vii</span><br /> + </p> + <p class="paragraph"> + <span class="font17 c5">in new mental positions, or in a different level + of the society that he already knows, either higher or lower; or it may be + to make alive to him a society of a different land or age. Whether he read + "Treasure Island" or "Plain Tales from the Hills," "The Scarlet Letter," + "Old Mortality," or "Hypatia," it is the transplanting of the reader into + a new life, the doubling of his mental experience, that is the very power + of fiction. The same interest attaches to these tales. In place of + regarding Egyptians only as the builders of pyramids and the makers of + mummies, we here see the men and women as they lived, their passions, + their foibles, their beliefs, and their follies. The old refugee Sanehat + craving to be buried with his ancestors in the blessed land, the + enterprise and success of the Doomed Prince, the sweetness of Bata, the + misfortunes of Ahura, these all live before us, and we can for a brief + half hour share the feelings and see with the eyes of those who ruled the + world when it was young. This is the real</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font17">via</span><br /> + </p> + <p class="paragraph"> + <span class="font17">PREFACE</span><br /> + </p> + <p class="paragraph"> + <span class="font17 c5">value of these tales, and the power which still + belongs to the oldest literature in the world.</span><br /> + </p> + <p class="paragraph"> + <span class="font13 c6">Erratum in First Edition, 1st Series. Page 31, + line 6 from below, <i>for</i> no It <i>read</i> not I.</span><br /> + </p> + <hr /> + <h2> + CONTENTS + </h2> + <p class="paragraph"> + <span class="font8"><b>PAGE</b></span><br /> + </p> + <p class="paragraph"> + <span class="font17 c7">THE TAKING OF JOPPA . . . 1</span><br /> + </p> + <p class="paragraph"> + <span class="font17 c7">REMARKS .... 7</span> + </p> + <p> + THE DOOMED PRINCE . . 13<br /> + </p> + <p class="paragraph"> + <span class="font17 c7">REMARKS . . . .28</span> + </p> + <p> + ANPU AND BATA . . . 36<br /> + </p> + <p class="paragraph"> + <span class="font17 c7">REMARKS . . . -65</span> + </p> + <p> + SETNA AND THE MAGIC BOOK . . 87<br /> + </p> + <p class="paragraph"> + <span class="font17 c7">REMARKS . . . .119</span> + </p> + <p> + INDEX ..... 143<br /> + </p> + <hr /> + <h2> + LIST OF ILLUSTRATIONS + </h2> + <p class="paragraph"> + <span class="font7"><b>PAGE</b></span><br /> + </p> + <p class="paragraph"> + <span class="font16 c8">THE QUEEN'S TRIAL . . . <i>Frontispiece</i></span><br /> + </p> + <p class="paragraph"> + <span class="font16 c8">SMITING THE FOE . . . . 4</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c8">THE TWO HUNDRED SACKS . . -5</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c8">THE PRINCE'S HOUSE . . . 14</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c8">GOING INTO THE DESERT . . 16</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c8">THE CLIMBING SUITORS . . 17</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c8">REACHING THE WINDOW . . .21</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c8">LOVE'S RESCUE . . . . 23</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c8">THE BOWL OF MILK . . . .26</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c8">THE RETURN AT EVEN . . '37</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c8">GOING TO THE FIELDS . . 39</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c8">WAITING FOR CORN . . . .40</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c8">THE DARK RETURN . . . -43</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c8">THE AMBUSH. . . . 44</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c8">THE CANAL OF RA . . . 47</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font9"><b>XII</b></span><br /> + </p> + <p class="paragraph"> + <span class="font18">LIST OF ILLUSTRATIONS</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c9">THE HOUSE IN THE VALLEY . . . 50</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c9">THE PROPHECY . . . -51</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c9">THE RAVISHING SEA . . . -53</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c9">THE CHIEF FULLER OF PHARAOH . . 54</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c9">THE REUNION . . . . 58</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c9">ANPU ON THE BULL . . . -59</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c9">BATA'S PERSEA TREES . . .62</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c9">AHURA'S APPEAL . . . .88</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c9">READING THE INSCRIPTIONS . . . 92</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c9">SENDING THE SILVER . . -94</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c9">THE PRIESTS' WIVES . . . -97</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c9">SLAYING THE SNAKE . . -99</span><br /> + </p> + <p class="paragraph"> + <span class="font16 c9">READING THE SPELL. . . . 104</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c9">REMORSE ..... 105</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c9">SETNA DEMANDING THE ROLL . . 108</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c9">SETNA VANQUISHED . . . . 109</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c9">APPLYING THE TALISMAN . . . 110</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c9">SETNA VICTORIOUS . . . .111</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c9">SETNA READING THE ROLL . . .113</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18 c10">XVIIITH DYNASTY <i>THE TAKING OF JOPPA</i></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">THERE was once in the time of King Men-kheper-ra a + revolt of the servants of his majesty who were in Joppa; and his majesty + said, "Let Tahutia go with his footmen and destroy this wicked Foe in + Joppa." And he called one of his followers, and said moreover, "Hide thou + my great cane, which works wonders, in the baggage of Tahutia that my + power may go with him."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Now when Tahutia came near to Joppa, with all the + footmen of Pharaoh, he sent unto the Foe in Joppa, and said, "Be</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">2 THE TAKING OF JOPPA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">hold now his majesty, King Men-kheper-ra, has sent + all this great army against thee; but what is that if my heart is as thy + heart? Do thou come, and let us talk in the field, and see each other face + to face." So Tahutia came with certain of his men; and the Foe in Joppa + came likewise, but his charioteer that was with him was true of heart unto + the king of Egypt. And they spoke with one another in his great tent, + which Tahutia had placed far off from the soldiers. But Tahutia had made + ready two hundred sacks, with cords and fetters, and had made a great sack + of skins with bronze fetters, and many baskets: and they were in his tent, + the sacks and the baskets, and he had placed them as the forage for the + horses is put in baskets. For whilst the Foe in Joppa drank with Tahutia, + the people who were with him drank with the footmen of Pharaoh, and made + merry with them. And when their bout of drinking was past, Tahutia said to + the Foe in Joppa, "If it please thee, while</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">THE TAKING OF JOPFA 3</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">I remain with the women and children of thy own + city, let one bring of my people with their horses, that they may give + them provender, or let one of the Apuro run to fetch them." So they came, + and hobbled their horses, and gave them provender, and one found the great + cane of Men-kheper-ra (Tahutmes III.), and came to tell of it to Tahutia. + And thereupon the Foe in Joppa said to Tahutia, "My heart is set on + examining the great cane of Men-kheper-ra, which is named '. . . + tautnefer.' By the <i>ka</i> of the King Men-kheper-ra it will be in thy + hands to-day; now do thou well and bring thou it to me." And Tahutia did + thus, and he brought the cane of King Men-kheper-ra. And he laid hold on + the Foe in Joppa by his garment, and he arose and stood up, and said, + "Look on me, O Foe in Joppa; here is the great cane of King Men-kheper-ra, + the terrible lion, the son of Sekhet, to whom Amen his father gives power + and strength." And he raised his hand and struck the fore-</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">4 THE TAKING OF JOPPA</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">head of the Foe in Joppa, and he fell helpless + before him. He put him in the sack of skins and he bound with gyves the + hands of the Foe in Joppa, and put on his feet the fetters</span><br /> + </p> + <p> + <img src="images/p1-2.jpg" alt="p1-2.jpg" class="c11" /> + </p> + <p class="paragraph"> + <span class="font9">SMITING THE FOE</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">with four rings. And he made them bring the two + hundred sacks which he had cleaned, and made to enter into them two + hundred soldiers, and filled the hollows with cords and fetters of wood, + he sealed them with a seal,</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">THE TAKING OF JOPPA 5</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">and added to them their rope-nets and the poles to + bear them. And he put every strong footman to bear them, in all six + hundred men, and said to them, "When you come</span><br /> + </p> + <p> + <img src="images/p1-3.jpg" alt="p1-3.jpg" class="c12" /> + </p> + <p class="paragraph"> + <span class="font18 c13">into the town you shall open your burdens, you + shall seize on all the inhabitants of the town, and you shall quickly put + fetters upon them."</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">6 THE TAKING OF JOPPA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Then one went out and said unto the charioteer of + the Foe in Joppa, "Thy master is fallen; go, say to thy mistress, 'A + pleasant message! For Sutekh has given Tahutia to us, with his wife and + his children; behold the beginning of their tribute,' that she may + comprehend the two hundred sacks, which are full of men and cords and + fetters." So he went before them to please the heart of his mistress, + saying, "We have laid hands on Tahutia." Then the gates of the city were + opened before the footmen: they entered the city, they opened their + burdens, they laid hands on them of the city, both small and great, they + put on them the cords and fetters quickly; the power of Pharaoh seized + upon that city. After he had rested Tahutia sent a message to Egypt to the + King Men-kheper-ra his lord, saying, "Be pleased, for Amen thy good father + has given to thee the Foe in Joppa, together with all his people, likewise + also his city. Send, therefore, people to take them as captives that thou + mayest fill</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 7</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">the house of thy father Amen Ra, king of the + gods, with men-servants and maid-servants, and that they may be overthrown + beneath thy feet for ever and ever."</span><br /> + </p> + <p class="paragraph"> + <span class="font18"><i>REMARKS</i></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">This tale of the taking of Joppa appears to be + probably on an historical basis. Tahutia was a well-known officer of + Tahutmes III.; and the splendid embossed dish of weighty gold which the + king presented to him is one of the principal treasures of the Louvre + museum. It is ornamented with groups of fish in the flat bottom, and a + long inscription around the side.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Unfortunately the earlier part of this tale has + been lost; but in order to render it intelligible I have restored an + opening to it, without introducing any details but what are alluded to, or + necessitated, by the existing story. The original text begins at the star.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">It is evident that the basis of the tale is</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">8 THE TAKING OF JOPPA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">the stratagem of the Egyptian general, offering to + make friends with the rebel of Joppa, while he sought to trap him. To a + Western soldier such an unblushing offer of being treacherous to his + master the king would be enough to make the good faith of his proposals to + the enemy very doubtful. But in the East offers of wholesale desertion are + not rare. In Greek history it was quite an open question whether Athens or + Persia would retain a general's service; in Byzantine history a commander + might be in favour with the Khalif one year and with the Autokrator the + next; and in the present century the entire transfer of the Turkish fleet + to Mohammed Ali in 1840 is a grand instance of such a case.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The scheme of taking a fortress by means of + smuggling in soldiers hidden in packages has often recurred in history; + but this taking of Joppa is the oldest tale of the kind yet known. + Following this we have the wooden horse of Troy. Then comes in mediaeval</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 9</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">times the Arab scheme for taking Edessa, in 1038 + A.D., by a train of five hundred camels bearing presents for the + Autokrator at Constantinople. The governor of Edessa declined to admit + such travellers, and a bystander, hearing some talking in the baskets + slung on the camels, soon gave the alarm, which led to the destruction of + the whole party; the chief alone, less hands, ears, and nose, being left + to take the tale back to Bagdad. And in fiction there are the stories of a + lady avenging her husband by introducing men hidden in skins, and the best + known version of all in the "Arabian Nights," of Ali Baba and the thieves.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">It appears from the tale that the conference of + Tahutia with the rebel took place between the town and the Egyptian army, + but near the town. Then Tahutia proposes to go into the town as a pledge + of his sincerity, while the men of the town were to supply his troops with + fodder. But he appears to have remained talking with the</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">10 THE TAKING OF JOPPA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">rebel in the tent, until the lucky chance of the + stick turned up. This cleared the way for a neater management of his plan, + by enabling him to quietly make away with the chief, without exciting his + suspicions beforehand.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The name of the cane of the king is partly + illegible; but we know how many actual sticks and personal objects have + their own names inscribed on them. Nothing had a real entity to the + Egyptian mind without an individual name belonging to it.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The message sent by the charioteer presupposes + that he was in the secret; and he must therefore have been an Egyptian who + had not heartily joined in the rebellion. From the conclusion we see that + the captives taken as slaves to Egypt were by no means only prisoners of + war, but were the ordinary civil inhabitants of the conquered cities, + "them of the city, both small and great."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The gold dish which the king gave to the tomb of + Tahuti is so splendid that it deserves some notice, especially as it has</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS <b>ii</b></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">never been published in England. It is circular, + about seven inches across, with vertical sides an inch high. The inside of + the bottom bears a boss and rosette in the centre, a line of swimming fish + around that, and beyond all a chain of lotus flowers. On the upright edge + is an incised inscription, "Given in praise by the king of Upper and Lower + Egypt, <i>Ra-men-kheper,</i> to the hereditary chief, the divine father, + the beloved by God, filling the heart of the king in all foreign lands and + in the isles in the midst of the great sea, filling stores with lazuli, + electrum, and gold, keeper of all foreign lands, keeper of the troops, + praised by the good gold lord of both lands and his <i>ka,—</i>the + royal scribe Tahuti deceased." This splendid piece of gold work was + therefore given in honour of Tahuti at his funeral, to be placed in his + tomb for the use of his <i>ka.</i> The weight of it is very nearly a troy + pound, being 5,729 grains or four utens. The allusion on it to the + Mediter-</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18"><b>12</b> THE TAKING OF JOPPA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">ranean wars of Tahuti, "satisfying the king in all + foreign lands and in the isles in the midst of the great sea," is just in + accord with this tale of the conquest of Joppa.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Beside this golden bowl there are many other + objects from Tahuti's tomb which must have been very rich, and have + escaped plundering until this century. A silver dish, broken, and a + canopic jar of alabaster, are in Paris; another canopic jar, a palette, a + kohl vase, and a heart scarab set in gold, are in Leyden; while in + Darmstadt is the dagger of this great general. This piece of a popular + tale founded on an incident of his Syrian wars has curiously survived, + while the more solid official records of his conquests has perished in the + wreck of history. His tomb even is unknown, although it has been + plundered; perhaps his active life of foreign service did not give him + that leisure to carve and decorate it, which was so laboriously spent by + the home-living dignitaries of Thebes.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font20">CLOSE OF THE XVIIIth DYNASTY</span><br /> + </p> + <p class="paragraph"> + <span class="font16"><i>THE DOOMED PRINCE</i></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">THERE once was a king to whom no son was born; and + his heart was grieved, and he prayed for himself unto the gods around him + for a child. They decreed that one should be born to him. And his wife, + after her time was fulfilled, brought forth a son. Then came the Hathors + to decree for him a destiny; they said, "His death is to be by the + crocodile, or by the serpent, or by the dog." Then the people who stood by + heard this, and they went to tell it to his majesty. Then his majesty's + heart sickened</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18"><b>14</b> THE DOOMED PRINCE</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">very greatly. And his majesty caused a house to be + built upon the desert; it was furnished with people and with all good + things of the royal house, that the child</span><br /> + </p> + <p> + <img src="images/p1-4.jpg" alt="p1-4.jpg" class="c15" /> + </p> + <p class="paragraph"> + <span class="font14">THE PRINCE'S HOUSE</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">should not go abroad. And when the child was + grown, he went up upon the roof, and he saw a dog; it was following a man + who was walking on the road. He spoke to his</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">THE DOOMED PRINCE 15</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">page, who was with him, "What is this that walks + behind the man who is coming along the road?" He answered him, "This is a + dog." The child said to him, "Let there be brought to me one like it." The + page went to repeat it to his majesty. And his majesty said, "Let there be + brought to him a little pet dog, lest his heart be sad." And behold they + brought to him the dog.</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">Then when the days increased after this, and when + the child became grown in all his limbs, he sent a message to his father + saying, "Come, wherefore am I kept here? Inasmuch as I am fated to three + evil fates, let me follow my desire. Let God do what is in His heart." + They agreed to all he said, and gave him all sorts of arms, and also his + dog to follow him, and they took him to the east country, and said to him, + "Behold, go thou whither thou wilt." His dog was with him, and he went + northward, following his heart in the desert, while he</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">i6</span><br /> + </p> + <p class="paragraph"> + <span class="font19">THE DOOMED PRINCE</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">lived on all the best of the game of the desert. + He went to the chief of Naha-raina.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And behold there had not been any born</span><br /> + </p> + <p> + <img src="images/p1-5.jpg" alt="p1-5.jpg" class="c16" /> + </p> + <p class="paragraph"> + <span class="font9"><b>GOING INTO</b> THE DESERT</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">to the chief of Naharaina, except one daughter. + Behold, there had been built for her a house; its seventy windows were + seventy cubits from the ground. And the chief caused to be brought all the + sons</span><br /> + </p> + <hr /> + <p> + <img src="images/p1-6.jpg" alt="p1-6.jpg" class="c17" /> + </p> + <p class="paragraph"> + <span class="font9">THE CLIMBING SUITORS</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">THE DOOMED PRINCE 19</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">of the chiefs of the land of Khalu, and said to + them, "He who reaches the window of my daughter, she shall be to him for a + wife."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And many days after these things, as they were in + their daily task, the youth rode by the place where they were. They took + the youth to their house, they bathed him, they gave provender to his + horses, they brought all kinds of things for the youth, they perfumed him, + they anointed his feet, they gave him portions of their own food; and they + spake to him, "Whence comest thou, goodly youth?" He said to them, "I am + son of an officer of the land of Egypt; my mother is dead, and my father + has taken another wife. And when she bore children, she grew to hate me, + and I have come as a fugitive from before her." And they embraced him, and + kissed him.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And after many days were passed, he said to the + youths, "What is it that ye do here?" And they said to him, "We spend our + time</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">20 THE DOOMED PRINCE</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">in this: we climb up, and he who shall reach the + window of the daughter of the chief of Naharaina, to him will he given her + to wife." He said to them, "If it please you, let me behold the matter, + that I may come to climb with you." They went to climb, as was their daily + wont: and the youth stood afar off to behold; and the face of the daughter + of the chief of Naharaina was turned to them. And another day the sons + came to climb, and the youth came to climb with the sons of the chiefs. He + climbed, and he reached the window of the daughter of the chief of + Naharaina. She kissed him, she embraced him in all his limbs.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And one went to rejoice the heart of her father, + and said to him, "One of the people has reached the window of thy + daughter." And the prince inquired of the messenger, saying, "The son of + which of the princes is it?" And he replied to him, "It is the son of an + officer, who has come as a fugitive from the land of Egypt, fleeing from + before his</span><br /> + </p> + <hr /> + <p> + <img src="images/p1-7.jpg" alt="p1-7.jpg" class="c18" /> + </p> + <p class="paragraph"> + <span class="font9">REACHING THE WINDOW</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">THE DOOMED PRINCE 23</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">stepmother when she had children." Then the chief + of Naharaina was exceeding angry; and he said, "Shall I indeed give my + daughter to the Egyptian fugitive? Let him go back</span><br /> + </p> + <p> + <img src="images/p1-8.jpg" alt="p1-8.jpg" class="c19" /> + </p> + <p class="paragraph"> + <span class="font14">LOVE'S RESCUE</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">whence he came." And one came to tell the youth, + "Go back to the place thou earnest from." But the maiden seized his hand; + she swore an oath by God, saying, "By the</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">24 THE DOOMED PRINCE</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">being of Ra Harakhti, if one takes him from me, I + will not eat, I will not drink, I shall die in that same hour." The + messenger went to tell unto her father all that she said. Then the prince + sent men to slay the youth, while he was in his house. But the maiden + said, "By the being of Ra, if one slay him I shall be dead ere the sun + goeth down. I will not pass an hour of life if I am parted from him." And + one went to tell her father. Then the prince made them bring the youth + with the maiden. The youth was seized with fear when he came before the + prince. But he embraced him, he kissed him all over, and said, "Oh! tell + me who thou art; behold, thou art to me as a son." He said to him, "I am a + son of an officer of the land of Egypt; my mother died, my father took to + him a second wife; she came to hate me, and I fled a fugitive from before + her." He then gave to him his daughter to wife; he gave also to him a + house, and serfs, and fields, also cattle and all manner of good things.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">THE DOOMED PRINCE 25</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">But after the days of these things were passed, + the youth said to his wife, "I am doomed to three fates—a crocodile, + a serpent, and a dog." She said to him, "Let one kill the dog which + belongs to thee." He replied to her, "I am not going to kill my dog, which + I have brought up from when it was small." And she feared greatly for her + husband, and would not let him go alone abroad.</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">And one went with the youth toward the land of + Egypt, to travel in that country. Behold the crocodile of the river, he + came out by the town in which the youth was. And in that town was a mighty + man. And the mighty man would not suffer the crocodile to escape. And when + the crocodile was bound, the mighty man went out and walked abroad. And + when the sun rose the mighty man went back to the house; and he did so + every day, during two months of days.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Now when the days passed after this, the youth sat + making a good day in his house.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font11"><b>26</b></span><br /> + </p> + <p class="paragraph"> + <span class="font18">THE DOOMED PRINCE</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And when the evening came he lay down on his bed, + sleep seized upon his limbs; and his wife filled a bowl of milk, and + placed it by his side. Then came out a serpent from his hole, to bite the + youth; behold his wife</span><br /> + </p> + <p> + <img src="images/p1-9.jpg" alt="p1-9.jpg" class="c20" /> + </p> + <p class="paragraph"> + <span class="font10"><b>T.£.</b></span><br /> + </p> + <p class="paragraph"> + <span class="font9">THE BOWL OF MILK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">was sitting by him, she lay not down. Thereupon + the servants gave milk to the serpent, and he drank, and was drunk, and + lay upside down. Then his wife made it to perish with the blows of her + dagger. And</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">THE DOOMED PRINCE 27</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">they woke her husband, who was astonished; and she + said unto him, "Behold thy God has given one of thy dooms into thy hand; + He will also give thee the others." And he sacrificed to God, adoring Him, + and praising His spirits from day to day.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And when the days were passed after these things, + the youth went to walk in the fields of his domain. He went not alone, + behold his dog was following him. And his dog ran aside after the wild + game, and he followed the dog. He came to the river, and entered the river + behind his dog. Then came out the crocodile, and took him to the place + where the mighty man was. And the crocodile said to the youth, "I am thy + doom, following after thee. ..."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">[Here the papyrus breaks off.]</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">28 THE DOOMED PRINCE</span><br /> + </p> + <p class="paragraph"> + <span class="font18"><i>REMARKS</i></span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">This tale is preserved in one of the Harris papyri + (No. 500) in the British Museum. It has been translated by Goodwin, + Chabas, Maspero, and Ebers. The present version is adapted from that of + Maspero, with frequent reference by Mr. Griffith to the original.</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">The marvellous parentage of a fated or gifted hero + is familiar in Eastern tales, and he is often described as a divine reward + to a long-childless king. This element of fate or destiny is, however, not + seen before this age in Egyptian ideas; nor, indeed, would it seem at all + in place with the simple, easygoing, joyous life of the early days. It + belongs to an age when ideals possess the mind, when man struggles against + his circumstances, when he wills to be different from what he is. Dedi or + the shipwrecked sailor think nothing about fate, but live day by day as + life comes to them. There is here, then,</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 29</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">a new element, that of striving and of unrest, + quite foreign to the old Egyptian mind. The age of this tale is shown + plainly in the incidents. The prince goes to the chief of Naharaina, a + land probably unknown to the Egyptians until the Asiatic conquests of the + XVIIIth Dynasty had led them to the upper waters of the Euphrates. In + earlier days Sanehat fled to the frontier at the Wady Tumilat, and was + quite lost to Egypt when he settled in the south of Palestine. But when + the Doomed Prince goes out of Egypt he goes to the chief of Naharaina, as + the frontier State. This stamps the tale as subsequent to the wars of the + Tahutimes family, and reflects rather the peaceful intercourse of the + great monarch Amenhotep the Third. If it belonged to the Ramessides we + should not hear of Naharaina, which was quite lost to them, but rather of + Dapur (Tabor) and Kadesh, and of the Hittites as the familiar frontier + power.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The Hathors here appear as the Fates,</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font2"><b>3°</b></span><br /> + </p> + <p class="paragraph"> + <span class="font18">THE DOOMED PRINCE</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">instead of the goddesses Isis, Nebhat, Mes-khent, + and Hakt, of the old tale in the IVth Dynasty (see first series, p. 33); + and we find in the next tale of Anpu and Bata, in the XlXth Dynasty, that + the seven Hathors decree the fate of the wife of Bata. That Hathor should + be a name given to seven deities is not strange when we see that Hathor + was a generic name for a goddess. There was the Hathor of foreign lands, + such as Punt or Sinai; there was the Hathor of home towns, as Dendera or + Atfih; and Hathor was as widely known, and yet as local, as the Madonna. + In short, to one of the races which composed the Egyptian people Hathor + was the term for any goddess, or for a universal goddess to whom all + others were assimilated. Why and how this title "house of Horus " should + be so general is not obvious.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The variety of fate here predicted is like the + vagueness of the fate of Bata's wife, by "a sharp death." It points to the + Hathors</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 31</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">predicting as seers, rather than to their having + the control of the future. It bears the stamp of the oracle of Delphi, + rather than that of a divine decree. In this these goddesses differ + greatly from the Parcae, whose ordinances not even Zeus could withstand, + as Lucian lets us know in one of the most audacious and philosophical of + the dialogues. The Hathors seem rather to deal with what we should call + luck than with fate: they see the nature of the close of life from its + beginning, without either knowing or controlling its details.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">In this tale we meet for the first time the idea + of inaccessible and mysterious buildings; and from the resort to this + element or curiosity in describing both the prince and the princess, it + appears as if it were then a new motive in story-telling, and had not lost + its power. To modern ears it is, of course, done to death since the + "Castle of Otranto"; though as a minor element it can still be gently used + by the poet and novelist in a</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18"><b>32</b> THE DOOMED PRINCE</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">moated grange, a house in a marsh or a maze. + Another point of wonder, so well known in later times, is the large and + mystic number of windows, like the 365 windows attributed to great + buildings of the present age. It would not be difficult from these papyrus + tales to start an historical dictionary of the elements of fiction: a kind + of analysis that should be the death of much of the venerable + stock-in-trade.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">We see coming in here, more strongly than before, + the use of emotions and the force of character. The generous friendship of + the sons of the Syrian chiefs; then the burst of passionate love from the + chiefs daughter, which saves the prince's life twice over from her father, + and guards him afterwards from his fates; again, the devotion of the + prince to his favourite dog, in spite of all warnings—these show a + reliance on personal emotion and feeling in creating the interest of the + tale, quite different from the mere interest of incident which was + employed</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 33</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">earlier. The reason which the prince alleges for + his leaving Egypt is also a touch of nature, the wish of a mother to oust + her stepson in order to make way for her own children, one of the deepest + and most elemental feelings of feminine nature.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The mighty man and the crocodile are difficult to + understand, the more so as the tale breaks off in the midst of that part. + It appears also as if there had been some inversion of the paragraphs; + for, first, we read that the wife would not let the prince go alone, and + one goes with him toward Egypt, and the crocodile of the Nile (apparently) + is mentioned; then he is said to be sitting in his house with his wife; + then he goes in the fields of his domain and meets the crocodile. It may + be that a passage has dropped out, describing his wife's accompanying him + to settle in Egypt. But the mighty man—that is another puzzle. He + binds a crocodile, and goes out while he is bound, but by night. The point + of this is not clear. It may have 4-</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">34 THE DOOMED PRINCE</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">been, however, that the mighty man went back to + the house when the sun was high, that he might not lose his shadow. In + Arabia there was a belief that a hyena could deprive a man of speech and + motion by stepping on his shadow—analogous to the belief in many + other lands of the importance of preserving the shadow, and avoiding the + shadowless hour of high noon (Frazer, "Golden Bough," p. 143). Hence the + strength of the mighty man, and his magic power over the crocodile, would + perhaps depend on his not allowing his shadow to disappear. And though + Egypt is not quite tropical, yet shadows do practically vanish in the + summer, the shadow of the thin branches of a tall palm appearing to + radiate round its root without the stem casting any shade.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The use of milk to entice serpents is still well + known in Egypt; and when a serpent appeared in some of my excavations in a + pit, the men proposed to me to let down a saucer of milk to entice it out, + that they might kill it.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">REMARKS 35</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">The close of the tale would have explained much + that is now lost to us. The crocodile boasts of being the fate of the + prince; but his dog is with him, and one can hardly doubt that the dog + attacks the crocodile. There is also the mighty man to come in and manage + the crocodile. Then the dog is left to bring about the catastrophe. Or + does the faithful wife rescue him from all the fates? Hardly so, as the + prediction of the Hathors comes strictly to pass in the tale of Anpu and + Bata. Let us hope that another copy may be found to give us the clue to + the working of the Egyptian mind in this situation.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font21 c10">XIXTH DYNASTY <i>ANPU AND BATA.</i></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">ONCE there were two brethren, of one mother and + one father; Anpu was the name of the elder, and Bata was the name of the + younger. Now, as for Anpu he had a house, and he had a wife. But his + little brother was to him as it were a son; he it was who made for him his + clothes; he it was who followed behind his oxen to the fields; he it was + who did the ploughing; he it was who harvested the corn; he it was who did + for him all the matters that were in the field. Behold, his</span><br /> + </p> + <p class="paragraph"> + <span class="font18">younger brother grew to be an excellent 36</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font2">37</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">worker, there was not his equal in the whole land; + behold, the spirit of a god was in him.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Now after this the younger brother fol-</span><br /> + </p> + <p> + <img src="images/p1-10.jpg" alt="p1-10.jpg" class="c21" /> + </p> + <p class="paragraph"> + <span class="font9"><b>THE RETURN AT</b> EVEN</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">lowed his oxen in his daily manner; and every + evening he turned again to the house, laden with all the herbs of the + field, with milk and with wood, and with all things of</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">38 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">the field. And he put them down before his elder + brother, who was sitting with his wife; and he drank and ate, and he lay + down in his stable with the cattle. And at the dawn of day he took bread + which he had baked, and laid it before his elder brother; and he took with + him his bread to the field, and he drave his cattle to pasture in the + fields. And as he walked behind his cattle, they said to him, "Good is the + herbage which is in that place; " and he listened to all that they said, + and he took them to the good place which they desired. And the cattle + which were before him became exceeding excellent, and they multiplied + greatly.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Now at the time of ploughing his elder brother + said unto him, "Let us make ready for ourselves a goodly yoke of oxen for + ploughing, for the land has come out from the water, it is fit for + ploughing. Moreover, do thou come to the field with corn, for we will + begin the ploughing in the morrow morning." Thus said he to him; and</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">ANPU AND BATA 39</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">his younger brother did all things as his elder + brother had spoken unto him to do them.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And when the morn was come, they went to the + fields with their things; and their hearts were pleased exceedingly with + their task in the beginning of their work. And</span><br /> + </p> + <p> + <img src="images/p1-11.jpg" alt="p1-11.jpg" class="c22" /> + </p> + <p class="paragraph"> + <span class="font9">GOING TO THE FIELDS</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">it came to pass after this that as they were in + the field they stopped for corn, and he sent his younger brother, saying, + "Haste thou, bring to us corn from the farm." And the younger brother + found the wife of his elder brother, as she was sitting tiring her hair. + He said to her, "Get up, and give to me</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">40 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">corn, that I may run to the field, for my elder + brother hastened me; do not delay." She said to him, "Go, open the bin, + and thou shalt take to thyself according to thy will, that I may not drop + my locks of hair while I dress them."</span><br /> + </p> + <p> + <img src="images/p1-12.jpg" alt="p1-12.jpg" class="c23" /> + </p> + <p class="paragraph"> + <span class="font9">WAITING <b>FOR CORN</b></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The youth went into the stable; he took a large + measure, for he desired to take much corn; he loaded it with wheat and + barley; and he went out carrying it. She said to</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">ANPU AND BATA 41</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">him, "How much of the corn that is wanted, is that + which is on thy shoulder?" He said to her, "Three bushels of barley, and + two of wheat, in all five; these are what are upon my shoulder: " thus + said he to her. And she conversed with him, saying, "There is great + strength in thee, for I see thy might every day." And her heart knew him + with the knowledge of youth. And she arose and came to him, and conversed + with him, saying, "Come, stay with me, and it shall be well for thee, and + I will make for thee beautiful garments." Then the youth became like a + panther of the south with fury at the evil speech which she had made to + him; and she feared greatly. And he spake unto her, saying, "Behold thou + art to me as a mother, thy husband is to me as a father, for he who is + elder than I has brought me up. What is this wickedness that thou hast + said to me? Say it not to me again. For I will not tell it to any man, for + I will not let it be uttered by the mouth of any man." He lifted up</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">42 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">his burden, and he went to the field and came to + his elder brother; and they took up their work, to labour at their task.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Now afterward, at eventime, his elder brother was + returning to his house; and the younger brother was following after his + oxen, and he loaded himself with all the things of the field; and he + brought his oxen before him, to make them lie down in their stable which + was in the farm. And behold the wife of the elder brother was afraid for + the words which she had said. She took a parcel of fat, she became like + one who is evilly beaten, desiring to say to her husband, "It is thy + younger brother who has done this wrong." Her husband returned in the + even, as was his wont of every day; he came unto his house; he found his + wife ill of violence; she did not give him water upon his hands as he used + to have, she did not make a light before him, his house was in darkness, + and she was lying very sick. Her husband said to her, "Who has spoken with + thee?"</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font1"><b>43</b></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Behold she said, "No one has spoken with me except + thy younger brother. When he came to take for thee corn he found me + sitting alone; he said to me, 'Come, let us</span><br /> + </p> + <p> + <img src="images/p1-13.jpg" alt="p1-13.jpg" class="c24" /> + </p> + <p class="paragraph"> + <span class="font9"><b>THE DARK</b> RETURN</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">stay together, tie up thy hair:' thus spake he to + me. I did not listen to him, but thus spake I to him: 'Behold, am I not + thy mother, is not thy elder brother to thee as a father?' And he feared, + and he beat me to stop me from making report to thee, and if thou lettest + him live I shall die. Now</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font1">44</span><br /> + </p> + <p class="paragraph"> + <span class="font18">ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">behold he is coming in the evening; and I complain + of these wicked words, for he would have done this even in daylight."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And the elder brother became as a panther of the + south; he sharpened his knife; he</span><br /> + </p> + <p> + <img src="images/p1-14.jpg" alt="p1-14.jpg" class="c25" /> + </p> + <p class="paragraph"> + <span class="font9"><b>THE AMBUSH</b></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">took it in his hand; he stood behind the door of + his stable to slay his younger brother as he came in the evening to bring + his cattle into the stable.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Now the sun went down, and he loaded</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">ANPU AND BATA 45</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">himself with herbs in his daily manner. He came, + and his foremost cow entered the stable, and she said to her keeper, + "Behold thou thy elder brother standing before thee with his knife to slay + thee; flee from before him." He heard what his first cow had said; and the + next entering, she also said likewise. He looked beneath the door of the + stable; he saw the feet of his elder brother; he was standing behind the + door, and his knife was in his hand. He cast down his load to the ground, + and betook himself to flee swiftly; and his elder brother pursued after + him with his knife. Then the younger brother cried out unto Ra Harakhti, + saying, "My good Lord! Thou art he who divides the evil from the good." + And Ra stood and heard all his cry; and Ra made a wide water between him + and his elder brother, and it was full of crocodiles; and the one brother + was on one bank, and the other on the other bank; and the elder brother + smote twice on his hands at not</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">46 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">slaying him. Thus did he. And the younger brother + called to the elder on the bank, saying, "Stand still until the dawn of + day; and when Ra ariseth, I shall judge with thee before Him, and He + discerneth between the good and the evil. For I shall not be with thee any + more for ever; I shall not be in the place in which thou art; I shall go + to the valley of the acacia."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Now when the land was lightened, and the next day + appeared, Ra Harakhti arose, and one looked unto the other. And the youth + spake with his elder brother, saying, "Wherefore earnest thou after me to + slay me in craftiness, when thou didst not hear the words of my mouth? For + I am thy brother in truth, and thou art to me as a father, and thy wife + even as a mother: is it not so? Verily, when I was sent to bring for us + corn, thy wife said to me, 'Come, stay with me;' for behold this has been + turned over unto thee into another wise." And he caused him to understand + of all that happened with him and his</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font1">47</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">wife. And he swore an oath by Ra Har-akhti, + saying, "Thy coming to slay me by deceit with thy knife was an + abomination." Then the youth took a knife, and cut off of his flesh, and + cast it into the water, and the fish swallowed it. He failed; he became</span><br /> + </p> + <p> + <img src="images/p1-15.jpg" alt="p1-15.jpg" class="c26" /> + </p> + <p class="paragraph"> + <span class="font9">THE CANAL OF RA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">faint; and his elder brother cursed his own heart + greatly; he stood weeping for him afar off; he knew not how to pass over + to where his younger brother was, because of the crocodiles. And the + younger brother called unto him, saying, "Whereas thou hast devised</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">48 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">an evil thing, wilt thou not also devise a good + thing, even like that which I would do unto thee? When thou goest to thy + house thou must look to thy cattle, for I shall not stay in the place + where thou art; I am going to the valley of the acacia. And now as to what + thou shalt do for me; it is even that thou shalt come to seek after me, if + thou perceivest a matter, namely, that there are things happening unto me. + And this is what shall come to pass, that I shall draw out my soul, and I + shall put it upon the top of the flowers of the acacia, and when the + acacia is cut down, and it falls to the ground, and thou comest to seek + for it, if thou searchest for it seven years do not let thy heart be + wearied. For thou wilt find it, and thou must put it in a cup of cold + water, and expect that I shall live again, that I may make answer to what + has been done wrong.. And thou shalt know of this, that is to say, that + things are happening to me, when one shall give to thee a cup of beer in + thy hand,</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">ANPU AND BATA 49</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">and it shall be troubled; stay not then, for + verily it shall come to pass with thee."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And the youth went to the valley of the acacia; + and his elder brother went unto his house; his hand was laid on his head, + and he cast dust on his head; he came to his house, and he slew his wife, + he cast her to the dogs, and he sat in mourning for his younger brother.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Now many days after these things, the younger + brother was in the valley of the acacia; there was none with him; he spent + his time in hunting the beasts of the desert, and he came back in the even + to lie down under the acacia, which bore his soul upon the topmost flower. + And after this he built himself a tower with his own hands, in the valley + of the acacia; it was full of all good things, that he might provide for + himself a home.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c9">And he went out from his tower, and he 5</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">50 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">met the Nine Gods, who were walking forth to look + upon the whole land. The Nine Gods talked one with another, and they said + unto him, "Ho! Bata, bull of the Nine Gods, art thou remaining alone? Thou</span><br /> + </p> + <p> + <img src="images/p1-16.jpg" alt="p1-16.jpg" class="c27" /> + </p> + <p class="paragraph"> + <span class="font9"><b>THE HOUSE IN THE VALLEY</b></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">hast left thy village for the wife of Anpu, thy + elder brother. Behold his wife is slain. Thou hast given him an answer to + all that was transgressed against thee." And their hearts were vexed for + him exceedingly. And Ra Harakhti said to Khnumu, "Behold,</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">ANPU AND BATA 51</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">frame thou a woman for Bata, that he may not + remain alive alone." And Khnumu made for him a mate to dwell with him.</span><br /> + </p> + <p> + <img src="images/p1-17.jpg" alt="p1-17.jpg" class="c28" /> + </p> + <p class="paragraph"> + <span class="font9"><b>THE PROPHECY</b></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">She was more beautiful in her limbs than any woman + who is in the whole land. The essence of every god was in her. The seven + Hathors came to see her: they said</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18"><b>52</b> ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">with one mouth, "She will die a sharp death."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And Bata loved her very exceedingly, and she dwelt + in his house; he passed his time in hunting the beasts of the desert, and + brought and laid them before her. He said, "Go not outside, lest the sea + seize thee; for I cannot rescue thee from it, for I am a woman like thee; + my soul is placed on the head of the flower of the acacia; and if another + find it, I must fight with him." And he opened unto her his heart in all + its nature.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Now after these things Bata went to hunt in his + daily manner. And the young girl went to walk under the acacia which was + by the side of her house. Then the sea saw her, and cast its waves up + after her. She betook herself to flee from before it. She entered her + house. And the sea called unto the acacia, saying, "Oh, would that I could + seize her!" And the acacia brought a lock from her hair, and the sea + carried it to Egypt, and</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font19">53</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">dropped it in the place of the fullers of + Pharaoh's linen. The smell of the lock of hair entered into the clothes of + Pharaoh; and they were wroth with the fullers of Pharaoh, saying, "The + smell of ointment is in the clothes of Pharaoh." And the people were + rebuked every day, they knew not what they</span><br /> + </p> + <p> + <img src="images/p1-18.jpg" alt="p1-18.jpg" class="c29" /> + </p> + <p class="paragraph"> + <span class="font9"><b>THE RAVISHING SEA</b></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">should do. And the chief fuller of Pharaoh walked + by the bank, and his heart was very evil within him after the daily + quarrel with him. He stood still, he stood upon the sand opposite to the + lock of hair, which was in the water, and he made one enter into the water + and bring it to him; and there was</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">54</span><br /> + </p> + <p class="paragraph"> + <span class="font18">ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">found in it a smell, exceeding sweet. <b>He</b> + took it to Pharaoh; and they brought the scribes and the wise men, and + they said unto Pharaoh, "This lock of hair belongs to a</span><br /> + </p> + <p> + <img src="images/p1-19.jpg" alt="p1-19.jpg" class="c30" /> + </p> + <p class="paragraph"> + <span class="font4">THE CHIEF FULLER OF PHARAOH</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c13">daughter of Ra Harakhti: the essence of every god + is in her, and it is a tribute to thee from another land. Let messengers + go to every strange land to seek her: and as for</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">ANPU AND BATA 55</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">the messenger who shall go to the valley of the + acacia, let many men go with him to bring her." Then said his majesty, + "Excellent exceedingly is what has been said to us;" and they sent them. + And many days after these things the people who were sent to strange lands + came to give report unto the king: but there came not those who went to + the valley of the acacia, for Bata had slain them, but let one of them + return to give a report to the king. His majesty sent many men and + soldiers, as well as horsemen, to bring her back. And there was a woman + amongst them, and to her had been given in her hand beautiful ornaments of + a woman. And the girl came back with her, and they rejoiced over her in + the whole land.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And his majesty loved her exceedingly, and raised + her to high estate; and he spake unto her that she should tell him + concerning her husband. And she said, "Let the acacia</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">56 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">be cut down, and let one chop it up." And they + sent men and soldiers with their weapons to cut down the acacia; and they + came to the acacia, and they cut the flower upon which was the soul of + Bata, and he fell dead suddenly.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And when the next day came, and the earth was + lightened, the acacia was cut down. And Anpu, the elder brother of Bata, + entered his house, and washed his hands; and one gave him a cup of beer, + and it became troubled; and one gave him another of wine, and the smell of + it was evil. Then he took his staff, and his sandals, and likewise his + clothes, with his weapons of war; and he betook himself forth to the + valley of the acacia. He entered the tower of his younger brother, and he + found him lying upon his mat; he was dead. And he wept when he saw his + younger brother verily lying dead. And he went out to seek the soul of his + younger brother under the acacia tree, under which his younger brother lay + in the evening.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">ANPU AND BATA 57</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">He spent three years in seeking for it, but found + it not. And when he began the fourth year, he desired in his heart to + return into Egypt; he said "I will go to-morrow morn: " thus spake he in + his heart.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Now when the land lightened, and the next day + appeared, he was walking under the acacia; he was spending his time in + seeking it. And he returned in the evening, and laboured at seeking it + again. He found a seed. He returned with it. Behold this was the soul of + his younger brother. He brought a cup of cold water, and he cast the seed + into it: and he sat down, as he was wont. Now when the night came his soul + sucked up the water; Bata shuddered in all his limbs, and he looked on his + elder brother; his soul was in the cup. Then Anpu took the cup of cold + water, in which the soul of his younger brother was; Bata drank it, his + soul stood again in its place, and he became as he had been. They embraced + each other, and they conversed together.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">58 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And Bata said to his elder brother, "Behold I am + to become as a great bull, which bears every good mark; no one knoweth its + history, and thou must sit upon my back. When the sun arises I shall be in + the place where my wife is, that I may return answer to her; and</span><br /> + </p> + <p> + <img src="images/p1-20.jpg" alt="p1-20.jpg" class="c31" /> + </p> + <p class="paragraph"> + <span class="font9">THE REUNION</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">thou must take me to the place where the king is. + For all good things shall be done for thee; for one shall lade thee with + silver and gold, because thou bringest me to Pharaoh, for I become a great + marvel, and they shall rejoice for me in all the land. And thou shalt go + to thy village."</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18">59</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And when the land was lightened, and the next day + appeared, Bata became in the form which he had told to his elder brother. + And Anpu sat upon his back until the dawn. He</span><br /> + </p> + <p> + <img src="images/p1-21.jpg" alt="p1-21.jpg" class="c32" /> + </p> + <p class="paragraph"> + <br /> + </p> + <p class="paragraph"> + <span class="font9">ANPU ON THE BULL</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">came to the place where the king was, and they + made his majesty to know of him; he saw him, and he was exceeding joyful + with him. He made for him great offerings, saying,</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">60 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"This is a great wonder which has come to pass." + There were rejoicings over him in the whole land. They presented unto him + silver and gold for his elder brother, who went and stayed in his village. + They gave to the bull many men and many things, and Pharaoh loved him + exceedingly above all that is in this land.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And after many days after these things, the bull + entered the purified place; he stood in the place where the princess was; + he began to speak with her, saying, "Behold, I am alive indeed." And she + said to him, "And, pray, who art thou?" He said to her, "I am Bata. I + perceived when thou causedst that they should destroy the acacia of + Pharaoh, which was my abode, that I might not be suffered to live. Behold, + I am alive indeed, I am as an ox." Then the princess feared exceedingly + for the words that her husband had spoken to her. And he went out from the + purified place.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And his majesty was sitting, making a</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">ANPU AND BATA 61</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">good day with her: she was at the table of his + majesty, and the king was exceeding pleased with her. And she said to his + majesty, "Swear to me by God, saying, 'What thou shalt say, I will obey it + for thy sake.'" He hearkened unto all that she said, even this. "Let me + eat of the liver of the ox, because he is fit for nought:" thus spake she + to him. And the king was exceeding sad at her words, the heart of Pharaoh + grieved him greatly. And after the land was lightened, and the next day + appeared, they proclaimed a great feast with offerings to the ox. And the + king sent one of the chief butchers of his majesty, to cause the ox to be + sacrificed. And when he was sacrificed, as he was upon the shoulders of + the people, he shook his neck, and he threw two drops of blood over + against the two doors of his majesty. The one fell upon the one side, on + the great door of Pharaoh, and the other upon the other door. They grew as + two great Persea trees, and each of them was excellent.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font11"><b>62</b></span><br /> + </p> + <p class="paragraph"> + <span class="font18">ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">And one went to tell unto his majesty, "Two great + Persea trees have grown, as a great marvel of his majesty, in the night by + the side of the great gate of his majesty." And</span><br /> + </p> + <p> + <img src="images/p1-23.jpg" alt="p1-23.jpg" class="c34" /> + </p> + <p class="paragraph"> + <span class="font15">BATA'S PERSEA TREES</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">there was rejoicing for them in all the land, and + there were offerings made to them.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And when the days were multiplied after these + things, his majesty was adorned with the blue crown, with garlands of + flowers on</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">ANPU AND BATA 63</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">his neck, and he was upon the chariot of pale + gold, and he went out from the palace to behold the Persea trees: the + princess also was going out with horses behind his majesty. And his + majesty sat beneath one of the Persea trees, and it spake thus with his + wife: "Oh thou deceitful one, I am Bata, I am alive, though I have been + evilly entreated. I knew who caused the acacia to be cut down by Pharaoh + at my dwelling. I then became an ox, and thou causedst that I should be + killed."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">And many days after these things the princess + stood at the table of Pharaoh, and the king was pleased with her. And she + said to his majesty, "Swear to me by God, saying, 'That which the princess + shall say to me I will obey it for her.'" And he hearkened unto all she + said. And he commanded, "Let these two Persea trees be cut down, and let + them be made into goodly planks." And he hearkened unto all she said. And + after this his majesty sent skilful craftsmen, and they</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">64 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">cut down the Persea trees of Pharaoh; and the + princess, the royal wife, was standing looking on, and they did all that + was in her heart unto the trees. But a chip flew up, and it entered into + the mouth of the princess; she swallowed it, and after many days she bore + a son. And one went to tell his majesty, "There is born to thee a son." + And they brought him, and gave to him a nurse and servants; and there were + rejoicings in the whole land. And the king sat making a merry day, as they + were about the naming of him, and his majesty loved him exceedingly at + that moment, and the king raised him to be the royal son of Kush.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Now after the days had multiplied after these + things, his majesty made him heir of all the land. And many days after + that, when he had fulfilled many years as heir, his majesty flew up to + heaven. And the heir said, "Let my great nobles of his majesty be brought + before me, that I may make them to know all that has happened to me." And + they brought</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 65</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">also before him his wife, and he judged with her + before him, and they agreed with him. They brought to him his elder + brother; he made him hereditary prince in all his land. He was thirty + years king of Egypt, and he died, and his elder brother stood in his place + on the day of burial.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5"><i>Excellently finished in peace, for the</i> ka + <i>of the scribe of the treasury Kagabu, of the treasury of Pharaoh, and + for the scribe Hora, and the scribe Meremapt. Written by the scribe Anena, + the owner of this roll. He who speaks against this roll, may Tahuti smite + him.</i></span><br /> + </p> + <p class="paragraph"> + <span class="font18"><i>REMARKS</i></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c13">This tale, which is perhaps, of all this</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c13">series, the best known in modern times, has</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c13">often been published. It exists only in one</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c13">papyrus, that of Madame d'Orbiney, pur-</span><br /> + </p> + <p class="paragraph"> + <span class="font1 c13">6</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">66 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">chased by the British Museum in 1857. The papyrus + had belonged to Sety II. when crown prince, and hence is of the XlXth + Dynasty. Most of the great scholars of this age have worked at it: De + Rouge, Goodwin, Renouf, Chabas, Brugsch, Ebers, Maspero, and Groff have + all made original studies on it. The present translation is, however, a + fresh one made by Mr. Griffith word for word, and shaped as little as + possible by myself in editing it. The copy followed is the publication by + Birch in "Select Papyri," part ii. pls. ix. to xix. Before considering the + details of the story, we should notice an important question about its age + and composition. That it is as old as the XlXth Dynasty in its present + form is certain from the papyrus; but probably parts of it are older. The + idyllic beauty of the opening of it, with the simplicity and directness of + the ideas, and the absence of any impossible or marvellous feature, is in + the strongest opposition to the latter part, where marvel is piled on + marvel in</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 67</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">pointless profusion. In the first few pages there + is not a word superfluous or an idea out of place in drawing the picture. + That we have to do with an older story lengthened out by some inartistic + compiler, seems only too probable. And this is borne out by the colophon. + In the tales of the Shipwrecked Sailor, and of Sanehat, the colophon runs—"This + is finished from beginning to end, even as it was found in the writing," + and the earlier of these two tales follows this with a blessing on the + transcriber. But, apparently conscious of his meddling, the author of Anpu + and Bata ends with a curse: "Written by the scribe Anena, the owner of + this roll. He who speaks against this roll, may Tahuti smite him." This + points to a part of it at least being newly composed in Ramesside times; + while the delicate beauty of the opening is not only far better than the + latter part, but is out of harmony with the forced and artificial taste of + the XlXth Dynasty. At the same time, the careful drawing of character is + hardly akin to the simple, matter-</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">68 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">of-fact style of Sanehat, and seems more in + keeping with the emotional style of the Doomed Prince. If we attribute the + earlier part to the opening of the XVIIIth Dynasty—the age of the + pastoral scenes of the tombs of El Kab, which are the latest instances of + such sculptures in Egypt—we shall probably be nearest to the truth.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The description of Bata is one of the most + beautiful character-drawings in the past. The self-denial and sweet + innocence of the lad, his sympathy with his cattle, "listening to all that + they said," and allowing them their natural wishes and ways, is touchingly + expressed. And those who know Egypt will know that Bata still lives there—several + Batas I have known myself. His sweetness of manner, his devotion, his + untiringly earnest work, his modesty, his quietness, makes Bata to be one + of the most charming friends. Bata I have met in many places, Bata I have + loved as one of the flowers of human nature, and Bata I hope often to meet + again in divers</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">REMARKS 69</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">forms and varied incarnations among the <i>fellah</i> + lads of Egypt.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The touches of description of Bata are slight, and + yet so pointed. His growing to be an excellent worker; his return at + evening laden with all the produce, just as may be seen now any evening as + the lads come in bearing on their backs large bundles of vegetables for + the house, and of fodder for the home-driven cattle; his sleeping with his + cattle in the stable; his zeal in rising before dawn to make the daily + bread for his brother, ready to give him when he arose; and then his + driving out the cattle to pasture—all contrasts with his elder + brother's life of ease. The making of the bread was rightly the duty of + Anpu's wife; she ought to have risen to grind the corn long before dawn, + as the millstones may now be heard grinding in the dark, morning by + morning; she ought to have baked the bread ready for the toiler who spent + his whole day in the field. But it was the ever-willing Bata who did the + work of the house as well as</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">yo ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">the work of the farm. "Behold the spirit of a god + was in him."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The driving in of the cattle at night is still a + particular feature of Egyptian life. About an hour before sunset the + tether ropes are drawn in the fields, and the cattle file off, with a + little child for a leader—if any; the master gathers up the produce + that is required, some buffalo is laden with a heap of clover, or a lad + carries it on his back, for the evening feed of the cattle, and all troop + along the path through the fields and by the canal. For two or three miles + the road becomes more and more crowded with the flocks driven into it from + every field, a long haze of dust lies glowing in the crimson glory of + sunset over the stream of cows and buffaloes, sheep and goats, that pour + into the village. Each beast well knows his master and his crib, and turns + in at the familiar gate to the stable under the house, or by the side of + the hut; and there all spend the night. Not a hoof is left out in the + field; the last belated stragglers come in</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 71</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">while the gleam of amber still edges the + night-blue sky behind the black horizon. Then the silent fields lie under + the brightening moon, glittering with dew, untrodden and deserted. It is + not cold or climate that leads men to this custom, but the unsafety of a + country bordered by unseen deserts, whence untold men may suddenly appear + and ravage all the plain.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The ploughing scene next follows, on "the land + coming out from the water"; as the inundation goes down the well-known + banks and ridges appear, "the back-bones of the land," as they were so + naturally called; and when the surface is firm enough to walk on—with + many a pool and ditch still full—the ploughing begins on the soft + dark clay</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The catastrophe of the story—the black gulf + of deceit that suddenly opens under Bata's feet—has always been seen + to be strikingly like the story of Joseph. And—as we have noticed—there + is good reason for the early part of this tale belonging to about the + beginning of the XVIIIth Dynasty, so it</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">72 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">is very closely allied in time as well as + character to the account of Joseph. In this part again is one of those + pointed touches, which show the power of the poet—for a poem in + prose this is—"her heart knew him with the knowledge of youth."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">On reaching the mistaken revenge of Anpu, we see + the sympathy of Bata with his cattle, and his way of reading their + feelings, returned to him most fittingly by the cows perceiving the + presence of the treachery. "He heard what his first cow had said; and the + next entering she also said likewise."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">After this we find a change; instead of the simple + and natural narrative, full of human feeling, and without a touch of + impossibility, every subsequent episode involves the supernatural; Ra + creating a wide water, the extraction of the soul of Bata, his miraculous + wife, and all the transformations—these have nothing in common with + the style or ideas of the earlier tale.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Whence this later tangle came, and how</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">REMARKS 73</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">much of it is drawn from other sources, we can + hardly hope to explain from the fragments of literature that we have. But + strangely there is a parallel which is close enough to suggest that the + patchwork is due to popular mythology. In the myths of Phrygia we meet + with Atys or Attis, of whom varying legends are told. Among these we glean + that he was a shepherd, beautiful and chaste; that he fled from + corruption; that he mutilated himself; lastly he died under a tree, and + afterwards was revived. All this is a duplicate of the story of Bata. And + looking further, we see parallels to the three subsequent transformations. + Drops of blood were shed from the Atys-priest; and Bata, in his first + transformation as a bull, sprinkles two drops of blood by the doors of the + palace. Again, Atys is identified with a tree, which was cut down and + taken into a sanctuary; and Bata in his second transformation is a Persea + tree which is cut down and used in building. Lastly, the mother of Atys is + said to have been a</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">74 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">virgin, who bore him from placing in her bosom a + ripe almond or pomegranate; and in his third transformation Bata is born + from a chip of a tree being swallowed by the princess. These resemblances + in nearly all the main points are too close and continuous to be a mere + chance, especially as such incidents are not found in any other Egyptian + tale, nor in few—if any—other classical myths. It is not + impossible that the names even may have been the same; for Bata, as we + write it, was pronounced Vata (or Vatiu or Vitiou, as others would + vocalise it), and the digamma would disappear in the later Greek form in + which we have Atys.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The most likely course seems to have been that, + starting with a simple Egyptian tale, the resemblance to the shepherd of + the Asiatic myth, led to a Ramesside author improving the story by tacking + on the branches of the myth one after another, and borrowing the name. If + this be granted, we have here in Bata the earliest indications of the + elements</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 75</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">of the Atys mysteries, a thousand years before the + Greek versions.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Returning now from the general structure to the + separate incidents, we note the expression of annoyance where the elder + brother "smote twice on his hands." This gesture is very common in Egypt + now, the two hands being rapidly slid one past the other, palm to palm, + vertically, grating the fingers of one hand over the other; the right hand + moving downwards, and the left a little up. This implies that there is + nothing, that a thing is worthless, that a desired result has not been + attained, or annoyance at want of success; but the latter meanings are now + rare, and more latent than otherwise, and this tale points to the gesture + being originally one of positive anger, though it has been transferred + gradually to express mere negative results.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The valley of the acacia would appear from the + indications to have been by the sea, and probably in Syria; perhaps one of + the half-desert wadis toward Gaza was in the writer's</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18"><i>76</i> ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">mind. The idea of Bata taking out his heart, and + placing it on the flower of a tree, has seemed hopelessly unintelligible. + But it depends on what we are to understand by the heart in Egyptian. Two + words are well known for it, <i>hati</i> and <i>ah;</i> and as it is + unlikely that these should be mere synonyms, we have a presumption that + one of them does not mean the physical heart, but rather the mental heart. + We are accustomed to the same mixture of thought; and far the more common + usage in English is not to employ the name to express the physical heart, + but for the will, as when we say "good-hearted";—for the spring of + action, "broken-hearted ";—for the feelings, "hard-hearted";—for + the passions, "an affair of the heart";—or for the vigour, as when a + man in nature or in act is "hearty" The Egyptian, with his metaphysical + mind, took two different words where we only use one; and when we read of + placing the heart <i>(hati)</i> out of a man, we are led at once by the + analogy of beliefs in</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 77</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">other races to understand this as the vitality or + soul. In the "Golden Bough" Mr. Frazer has explained this part of natural + metaphysics; and in this, and the following points, I freely quote from + that work as a convenient text-book. The soul or vitality of a man is + thought of as separable from the body at will, and therefore communicable + to other objects or positions. In those positions it cannot be harmed by + what happens to the body, which is therefore deathless for the time. But + if the external seat of the soul be attacked or destroyed, the man + immediately dies. This is illustrated from the Norse, Saxons, Celts, + Italians, Greeks, Kabyles, Arabs, Hindus, Malays, Mongolians, Tartars, + Magyars, and Slavonians. It may well, then, be considered as a piece of + inherent psychology: and following this interpretation, I have rendered + "heart" in this sense "soul" in the translation.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The Nine Gods who meet Bata are one of the great + cycles of divinities, which were dif-</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">78 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">ferently reckoned in various places. Khnumu is + always the formative god, who makes man upon the potter's wheel, as in the + scene in the temple of Luqsor. And even in natural birth it was Khnumu who + "gave strength to the limbs," as in the earlier "Tales of the Magicians." + The character of the wife of Bata is a very curious study. The total + absence of the affections in her was probably designed as in accord with + her non-natural formation, as she could not inherit aught from human + parents. Ambition appears as the only emotion of this being; her attacks + on the transformations of Bata are not due to dislike, but only to fear + that he should claim her removal from her high station; she "feared + exceedingly for the words that her husband had spoken to her." Her Lilith + nature is incapable of any craving but that for power.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The action here of the seven Hathors we have + noticed in the remarks on the previous tale of the Doomed Prince. The + episode of the sea is very strange; and if we need find</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 79</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">some rationalising account of it, we might suppose + it to be a mythical form of a raid of pirates, who, not catching the + woman, carried off something of hers, which proved an object of contention + in Egypt. But such renderings are unlikely, and we may the rather expect + to find some explanation in a mythological parallel.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The carrying of the lock of hair to Pharaoh, and + his proclaiming a search for the owner, is plainly an early form of the + story of the little slipper, whose owner is sought by the king. The point + that she could not be caught except by setting another woman to tempt her + with ornaments, anticipates the modern novelist's saying, "Set a woman to + catch a woman."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The sudden death of Bata, so soon as the + depository of his soul was destroyed, is a usual feature in such tales + about souls. But it is only in the Indian forms quoted by Mr. Frazer that + there is any revival of the dead; and in no case is there any + transformation like that of Bata. Perhaps none but</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">80 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">an Egyptian or a Chinese would have credited Anpu + with wandering up and down for four years seeking the lost soul. But the + idea of returning the soul in water to the man is found as a magic process + in North America ("Golden Bough," i. 141).</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The first transformation of Bata, into a bull, is + clearly drawn from the Apis bull of Memphis. The rejoicings at discovering + a real successor of Apis are here, the rejoicings over Bata, who is the + Apis bull, distinguished as he says by "bearing every good mark." These + marks on the back and other parts were the tokens of the true Apis, who + was sought for anxiously through the country on the death of the sacred + animal who had lived in the sanctuary. The man who, like Anpu, brought up + a true Apis to the temple would receive great rewards and honours.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The scene where the princess demands the grant of + a favour is repeated over again by Esther at her banquet, and by the + daughter of Herodias. It is the Oriental way of doing</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">REMARKS 81</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">business. But the curious incongruity of making a + great feast with offerings to the ox before sacrificing it, appears + inexplicable until we note the habits of other peoples in slaying their + sacred animals at certain intervals. This tale shows us what is stated by + Greek authors, that the Egyptians slew the sacred Apis at stated times, or + when a new one was discovered with the right marks. The annual sacrifice + of a sacred ram at Thebes shows that the Egyptians were familiar with such + an idea. And though it was considered by the writer of this tale as a + monstrous act, yet the offerings and festivity which accompanied it are in + accordance with the strange fact found by Mariette, that in the three + undisturbed Apis burials which he discovered there were only fragments of + bone, and in one case a head, carefully embalmed with bitumen and + magnificent offerings of jewellery. The divine Apis was eaten as a sacred + feast.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The reason that the princess desires the liver is + strangely explained by a present belief 7</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">82 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">on the Upper Nile. The Darfuris think that the + liver is the seat of the soul ("Golden Bough," ii. 88); and hence if she + ate the liver she would destroy the soul of Bata, or prevent it entering + any other incarnation.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The next detail is also curiously significant. If + a bull was being sacrificed we should naturally suppose the blood would + flow, and that a few drops would not be noticed. Here, however, two drops + are said to fall, and this was when the bull "was upon the shoulders of + the people." Now it is a very general idea that blood must not be allowed + to fall upon the ground; the eastern and southern Africans will not shed + the blood of cattle ("Golden Bough," i. 182); and strangely the + Australians avoid the falling of blood to the ground by placing the + bleeding persons upon the shoulders of other men. This parallel is so + close to the Egyptian tale that it seems as if the bull was borne "on the + shoulders of the people," that his blood should not fall to the ground; + yet in spite of</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 83</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">this precaution "he shook his neck, and he threw + two drops of blood over against the doors of his majesty." In these drops + of blood was the soul of Bata, in spite of the princess having eaten his + liver; and we know how among Jews, Arabs, and other peoples, the blood is + regarded as the vehicle of the soul or life.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The evidence of tree worship is plainer here than + perhaps in any other passage of Egyptian literature. The people rejoice + for the two Persea trees, "and there were offerings made to them."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The blue crown worn by the king was the war cap of + leather covered with scales of copper: it is often found made in dark blue + glaze for statuettes, and it seems probable that the copper was + superficially sulphurised to tint it. Such head-dress was usually worn by + kings when riding in their chariots. The pale gold or electrum here + mentioned was the general material for decorating the royal chariot.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">84 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">The miraculous birth of Bata in his third + transformation is, as we have noticed, closely paralleled by the birth of + Atys from the almond. The idea at the root of this is that of + self-creation or self-existence, as in the usual Egyptian phrase, "bull of + his mother."</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">The king flying up to heaven is a regular + expression for his death: "the hawk has soared," "the follower of the god + has met his maker," so Sanehat describes it (see ist series, pp. 97, 98).</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">This hawk-form of the king may be connected with + the hawk bearing the double crown which is perched on the top of the <i>ka</i> + name of each king. That hawk is not Horus, nor even the king deified as + Horus, because the emblem of life is given to it by other gods (as by Set + on a lintel of XVIIIth Dynasty from Nubt), and therefore the hawk is the + human king who could perish, and not an immortal divinity. Further, this + hawk-king is always perched on the top of the drawing of the doorway to + the sepulchre</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">REMARKS <b>85</b></span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">which bears the <i>ka</i> name of the king; and + when we see the drawings of the <i>ba</i> bird or soul flying down the + well to the sepulchre, it appears as if the hawk were the royal <i>ba</i> + bird (ordinary men having a <i>ba</i> bird with a human head); and that + the well-known first title of each king represents the royal soul or <i>ba</i> + bird perched on the door of the sepulchre, resting on his way to and from + the visit to the corpse below. The soul or <i>ba</i> of the king at his + death thus flew away as a hawk to meet the sun.</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">The veil drawn over the fate of the inhuman + princess is well conceived. That she should die a sharp death has been + foretold; but how Bata should slay the divine creation—his wife—his + mother—is a matter that the scribe reserves in silence; we only read + that "he judged with her before him, and the great nobles agreed with + him." That judgment is best left among the things unwritten.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">86 ANPU AND BATA</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The strange manner in which we can see incident + after incident in the latter part of the tale, each to refer to some + ceremony or belief, even imperfect as our knowledge of such must be, and + the evidence that the whole being of Bata is a transference of the myth of + Atys, must lead us to look on this, the marvellous portion, as woven out + of a group of myths, ceremonies, and beliefs which were joined and + explained by the formation of such a tale. How far it is due to purely + Egyptian ideas, indicated by the Apis bull and the analogies in present + African beliefs, and how far it is Asiatic and belonging to Atys, it would + be premature to decide. But from the weird confusion and mystery of these + transformations, we turn back with renewed pleasure to the simple and + sweet picture of peasant life, and the beauty of Bata, and we see how true + a poet the Egyptian was in feeling and in expression.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font20 c8">XIXth DYNASTY, PTOLEMAIC WRITING</span><br /> + </p> + <p class="paragraph"> + <span class="font16"><i>SETNA AND THE MAGIC BOOK</i></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">THE mighty King User-maat-ra (Ra-meses the Great) + had a son named Setna Kha-em-uast who was a great scribe, and very learned + in all the ancient writings. And he heard that the magic book of Thoth, by + which a man may enchant heaven and earth, and know the language of all + birds and beasts, was buried in the cemetery of Memphis. And he went to + search for it with his brother An-he-hor-eru; and when they found the tomb + of the king's son, Na-nefer-ka-ptah, son of the king of Upper</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">88 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">and Lower Egypt, Mer-neb-ptah, Setna opened it and + went in.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Now in the tomb was Na-nefer-ka-ptah, and with him + was the <i>ka</i> of his wife Ahura;</span><br /> + </p> + <p> + <img src="images/p1-24.jpg" alt="p1-24.jpg" class="c35" /> + </p> + <p class="paragraph"> + <span class="font14">AHURA'S APPEAL.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">for though she was buried at Koptos, her <i>ka</i> + dwelt at Memphis with her husband, whom she loved. And Setna saw them + seated before their offerings, and the book lay</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">AHURA'S TALE 89</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">between them. And Na-nefer-ka-ptah said to Setna, + "Who are you that break into my tomb in this way?" He said, "I am Setna, + son of the great King User-maat-ra, living for ever, and I come for that + book which I see between you." And Na-nefer-ka-ptah said, "It cannot be + given to you." Then said Setna, "But I will carry it away by force."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Then Ahura said to Setna, "Do not take this book; + for it will bring trouble on you, as it has upon us. Listen to what we + have suffered for it."</span><br /> + </p> + <p class="paragraph"> + <span class="font20">AHURA'S TALE</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"We were the two children of the King + Mer-neb-ptah, and he loved us very much, for he had no others; and + Na-nefer-ka-ptah was in his palace as heir over all the land. And when we + were grown, the king said to the queen, 'I will marry Na-nefer-ka-ptah</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">90 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">to the daughter of a general, and Ahura to the son + of another general.' And the queen said, 'No, he is the heir, let him + marry his sister, like the heir of a king, none other is fit for him.' And + the king said, 'That is not fair; they had better be married to the + children of the general.'</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"And the queen said, 'It is you who are not + dealing rightly with me.' And the king answered, 'If I have no more than + these two children, is it right that they should marry one another? I will + marry Na-nefer-ka-ptah to the daughter of an officer, and Ahura to the son + of another officer. It has often been done so in our family.'</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"And at a time when there was a great feast before + the king, they came to fetch me to the feast. And I was very troubled, and + did not behave as I used to do. And the king said to me, 'Ahura, have you + sent some one to me about this sorry matter, saying, "Let me be married to + my elder brother"? 'I said to him, 'Well, let me marry the son</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">AHURA'S TALE 91</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">of an officer, and he marry the daughter of + another officer, as it often happens so in our family.' I laughed, and the + king laughed. And the king told the steward of the palace, 'Let them take + Ahura to the house of Na-nefer-ka-ptah to-night, and all kinds of good + things with her.' So they brought me as a wife to the house of + Na-nefer-ka-ptah; and the king ordered them to give me presents of silver + and gold, and things from the palace.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"And Na-nefer-ka-ptah passed a happy time with me, + and received all the presents from the palace; and we loved one another. + And when I expected a child, they told the king, and he was most heartily + glad; and he sent me many things, and a present of the best silver and + gold and linen. And when the time came, I bore this little child that is + before you. And they gave him the name of Mer-ab, and registered him in + the book of the 'House of life.'</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"And when my brother Na-nefer-ka-ptah</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">92 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">went to the cemetery of Memphis, he did nothing on + earth but read the writings that are in the catacombs of the kings, and + the tablets of the 'House of life,' and the</span><br /> + </p> + <p> + <img src="images/p1-25.jpg" alt="p1-25.jpg" class="c36" /> + </p> + <p class="paragraph"> + <span class="font9">READING THE INSCRIPTION.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">inscriptions that are seen on the monuments, and + he worked hard on the writings. And there was a priest there called + Nesi-ptah; and as Na-nefer-ka-ptah went into a</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">AHURA'S TALE 93</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">temple to pray, it happened that he went behind + this priest, and was reading the inscriptions that were on the chapels of + the gods. And the priest mocked him and laughed. So Na-nefer-ka-ptah said + to him, 'Why are you laughing at me?' And he replied, 'I was not laughing + at you, or if I happened to do so, it was at your reading writings that + are worthless. If you wish so much to read writings, come to me, and I + will bring you to the place where the book is which Thoth himself wrote + with his own hand, and which will bring you to the gods. When you read but + two pages in this you will enchant the heaven, the earth, the abyss, the + mountains, and the sea; you shall know what the birds of the sky and the + crawling things are saying; you shall see the fishes of the deep, for a + divine power is there to bring them up out of the depth. And when you read + the second page, if you are in the world of ghosts, you will become again + in the shape you were in on earth. You will</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font5">94 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">see the sun shining in the sky, with all the gods, + and the full moon.'</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"And Na-nefer-ka-ptah said, 'By the life of the + king! Tell me of anything you want</span><br /> + </p> + <p> + <img src="images/p1-26.jpg" alt="p1-26.jpg" class="c37" /> + </p> + <p class="paragraph"> + <span class="font9">SENDING THE SILVER.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">done and I'll do it for you, if you will only send + me where this book is.' And the priest answered Na-nefer-ka-ptah, 'If you + want to go to the place where the book is, you must</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">AHURA'S TALE 95</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">give me a hundred pieces of silver for my funeral, + and provide that they shall bury me as a rich priest.' So Na-nefer-ka-ptah + called his lad and told him to give the priest a hundred pieces of silver; + and he made them do as he wished, even everything that he asked for. Then + the priest said to Na-nefer-ka-ptah, 'This book is in the middle of the + river at Koptos, in an iron box; in the iron box is a bronze box; in the + bronze box is a sycamore box; in the sycamore box is an ivory and ebony + box; in the ivory and ebony box is a silver box; in the silver box is a + golden box, and in that is the book. It is twisted all round with snakes + and scorpions and all the other crawling things around the box in which + the book is; and there is a deathless snake by the box.' And when the + priest told Na-nefer-ka-ptah, he did not know where on earth he was, he + was so much delighted.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">"And when he came from the temple he told me all + that had happened to him. And</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font6">96 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">he said, 'I shall go to Koptos, for I must fetch + this book; I will not stay any longer in the north.' And I said, 'Let me + dissuade you, for you prepare sorrow and you will bring me into trouble in + the Thebaid.' And I laid my hand on Na-nefer-ka-ptah, to keep him from + going to Koptos, but he would not listen to me; and he went to the king, + and told the king all that the priest had said. The king asked him, 'What + is it that you want?' and he replied, 'Let them give me the royal boat + with its belongings, for I will go to the south with Ahura and her little + boy Mer-ab, and fetch this book without delay.' So they gave him the royal + boat with its belongings, and we went with him to the haven, and sailed + from there up to Koptos.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"Then the priests of Isis of Koptos, and the high + priest of Isis, came down to us without waiting, to meet Na-nefer-ka-ptah, + and their wives also came to me. We went into the temple of Isis and + Harpokrates; and</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">AHURA'S TALE</span><br /> + </p> + <p class="paragraph"> + <span class="font1"><b>97</b></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Na-nefer-ka-ptah brought an ox, a goose, and some + wine, and made a burnt-offering and a drink-offering before Isis of Koptos + and Harpokrates. They brought us to a very</span><br /> + </p> + <p> + <img src="images/p1-27.jpg" alt="p1-27.jpg" class="c38" /> + </p> + <p class="paragraph"> + <br /> + </p> + <p class="paragraph"> + <span class="font14">THE PRIESTS' WIVES.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c13">fine house, with all good things; and + Na-nefer-ka-ptah spent four days there and feasted with the priests of + Isis of Koptos, and the wives of the priests of Isis also made holiday + with me.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c13">8</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">98 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"And the morning of the fifth day came; and + Na-nefer-ka-ptah called a priest to him, and made a magic cabin that was + full of men and tackle. He put the spell upon it, and put life in it, and + gave them breath, and sank it in the water. He filled the royal boat with + sand, and took leave of me, and sailed from the haven: and I sat by the + river at Koptos that I might see what would become of him. And he said, + 'Workmen, work for me, even at the place where the book is.' And they + toiled by night and by day; and when they had reached it in three days, he + threw the sand out, and made a shoal in the river. And then he found on it + entwined serpents and scorpions and all kinds of crawling things around + the box in which the book was; and by it he found a deathless snake around + the box. And he laid the spell upon the entwined serpents and scorpions + and all kinds of crawling things which were around the box, that they + should not come out. And he went to the deathless snake, and fought with</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">AHURA'S TALE 99</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">him, and killed him; but he came to life again, + and took a new form. He then fought again with him a second time; but he + came to life again, and took a third form. He then cut him in two parts, + and put sand</span><br /> + </p> + <p> + <img src="images/p1-28.jpg" alt="p1-28.jpg" class="c39" /> + </p> + <p class="paragraph"> + <span class="font9">SLAYING THE SNAKE.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">between the parts, that he should not appear + again.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"Na-nefer-ka-ptah then went to the place where he + found the box. He uncovered a box of iron, and opened it; he found then a + box of bronze, and opened that; then he found</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">100 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">a box of sycamore wood, and opened that; again, he + found a box of ivory and ebony, and opened that; yet, he found a box of + silver, and opened that; and then he found a box of gold; he opened that, + and found the book in it. He took the book from the golden box, and read a + page of spells from it. He enchanted the heaven and the earth, the abyss, + the mountains, and the sea; he knew what the birds of the sky, the fish of + the deep, and the beasts of the hills all said. He read another page of + the spells, and saw the sun shining in the sky, with all the gods, the + full moon, and the stars in their shapes; he saw the fishes of the deep, + for a divine power was present that brought them up from the water. He + then read the spell upon the workmen that he had made, and taken from the + haven, and said to them, 'Work for me, back to the place from which I + came.' And they toiled night and day, and so he came back to the place + where I sat by the river of Koptos; I had not drunk nor</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">AHURA'S TALE 101</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">eaten anything, and had done nothing on earth, but + sat like one who is gone to the grave.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"I then told Na-nefer-ka-ptah that I wished to see + this book, for which we had taken so much trouble. He gave the book into + my hands; and when I read a page of the spells in it I also enchanted + heaven and earth, the abyss, the mountains, and the sea; I also knew what + the birds of the sky, the fishes of the deep, and the beasts of the hills + all said. I read another page of the spells, and I saw the sun shining in + the sky with all the gods, the full moon, and the stars in their shapes; I + saw the fishes of the deep, for a divine power was present that brought + them up from the water. As I could not write, I asked Na-nefer-ka-ptah, + who was a good writer, and a very learned one; he called for a new piece + of papyrus, and wrote on it all that was in the book before him. He dipped + it in beer, and washed it off in the liquid; for he knew that if it were + washed off, and he</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">102 SETNA AND THE MAGIC BOOK .</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">drank it, he would know all that there was in the + writing.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"We returned back to Koptos the same day, and made + a feast before Isis of Koptos and Harpokrates. We then went to the haven + and sailed, and went northward of Koptos. And as we went on Thoth + discovered all that Na-nefer-ka-ptah had done with the book; and Thoth + hastened to tell Ra, and said, 'Now know that my book and my revelation + are with Na-nefer-ka-ptah, son of the King Mer-neb-ptah. He has forced + himself into my place, and robbed it, and seized my box with the writings, + and killed my guards who protected it.' And Ra replied to him, 'He is + before you, take him and all his kin.'He sent a power from heaven with the + command, 'Do not let Na-nefer-ka-ptah return safe to Memphis with all his + kin.' And after this hour, the little boy Mer-ab, going out from the + awning of the royal boat, fell into the river: he called on Ra, and + everybody who was on the bank raised a cry. Na-nefer-ka.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">AHURA'S TALE 103</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">ptah went out of the cabin, and read the spell + over him; he brought his body up because a divine power brought him to the + surface. He read another spell over him, and made him tell of all what + happened to him, and of what Thoth had said before Ra.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"We turned back with him to Koptos. We brought him + to the Good House, we fetched the people to him, and made one embalm him; + and we buried him in his coffin in the cemetery of Koptos like a great and + noble person.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"And Na-nefer-ka-ptah, my brother, said, 'Let us + go down, let us not delay, for the king has not yet heard of what has + happened to him, and his heart will be sad about it.' So we went to the + haven, we sailed, and did not stay to the north of Koptos. When we were + come to the place where the little boy Mer-ab had fallen in the water, I + went out from the awning of the royal boat, and I fell into the river. + They called Na-nefer-ka-ptah, and he came out from the cabin of the royal</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">104 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">boat; he read a spell over me, and brought my body + up, because a divine power brought me to the surface. He drew me out, and + read the spell over me, and made me tell him</span><br /> + </p> + <p> + <img src="images/p1-29.jpg" alt="p1-29.jpg" class="c40" /> + </p> + <p class="paragraph"> + <span class="font9">READING THE SPELL.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">of all that had happened to me, and of what Thoth + had said before Ra. Then he turned back with me to Koptos, he brought me + to the Good House, he fetched the people to me, and made one embalm me, as + great and noble people are buried, and laid me in the tomb where Mer-ab my + young child was.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">AHURA'S TALE</span><br /> + </p> + <p class="paragraph"> + <span class="font18">105</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"He turned to the haven, and sailed down, and + delayed not in the north of Koptos. When he was come to the place where we + fell</span><br /> + </p> + <p> + <img src="images/p1-30.jpg" alt="p1-30.jpg" class="c41" /> + </p> + <p class="paragraph"> + <span class="font3">re.</span><br /> + </p> + <p class="paragraph"> + <span class="font9"><b>REMORSE.</b></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">into the river, he said to his heart, 'Shall I not + better turn back again to Koptos, that I may lie by them? For, if not, + when I go down to Memphis, and the king asks after</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">106 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">his children, what shall I say to him? Can I tell + him, "I have taken your children to the Thebaid, and killed them, while I + remained alive, and I have come to Memphis still alive"?' Then he made + them bring him a linen cloth of striped byssus; he made a band, and bound + the book firmly, and tied it upon him. Na-nefer-ka-ptah then went out of + the awning of the royal boat and fell into the river. He cried on Ra; and + all those who were on the bank made an outcry, saying, 'Great woe! Sad + woe! Is he lost, that good scribe and able man that has no equal?'</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"The royal boat went on, without any one on earth + knowing where Na-nefer-ka-ptah was. It went on to Memphis, and they told + all this to the king. Then the king went down to the royal boat in + mourning, and all the soldiers and high priests and priests of Ptah were + in mourning, and all the officials and courtiers. And when he saw + Na-nefer-ka-ptah, who was in the inner cabin of the</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">AHURA'S TALE 107</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">royal boat—from his rank of high scribe—he + lifted him up. And they saw the book by him; and the king said, 'Let one + hide this book that is with him.' And the officers of the king, the + priests of Ptah, and the high priest of Ptah, said to the king, 'Our Lord, + may the king live as long as the sun! Na-nefer-ka-ptah was a good scribe, + and a very skilful man.' And the king had him laid in his Good House to + the sixteenth day, and then had him wrapped to the thirty-fifth day, and + laid him out to the seventieth day, and then had him put in his grave in + his resting-place.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"I have now told you the sorrow which has come + upon us because of this book for which you ask, saying, 'Let it be given + to me.' You have no claim to it; and, indeed, for the sake of it, we have + given up our life on earth."</span><br /> + </p> + <p class="paragraph"> + <span class="font18">And Setna said to Ahura, "Give me the</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">108 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">book which I see between you and Na-nefer-ka-ptah; + for if you do not I will take it by force." Then Na-nefer-ka-ptah rose + from his seat and said, "Are you Setna, to whom</span><br /> + </p> + <p> + <img src="images/p1-31.jpg" alt="p1-31.jpg" class="c42" /> + </p> + <p class="paragraph"> + <span class="font9"><b>SETNA DEMANDING THE ROLL.</b></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">my wife has told of all these blows of fate, which + you have not suffered? Can you take this book by your skill as a good + scribe? If, indeed, you can play games with</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">SETNA AND THE MAGIC BOOK 109</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">me, let us play a game, then, of 52 points." And + Setna said, "I am ready," and the board and its pieces were put before + him. And Na-nefer-ka-ptah won a game from Setna; and he put the spell upon + him, and</span><br /> + </p> + <p> + <img src="images/p1-32.jpg" alt="p1-32.jpg" class="c43" /> + </p> + <p class="paragraph"> + <span class="font9">SETNA VANQUISHED.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">defended himself with the game board that was + before him, and sunk him into the ground above his feet. He did the same + at the second game, and won it from Setna, and sunk him into the ground to + his waist.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">110 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">He did the same at the third game, and made him + sink into the ground up to his ears. Then Setna struck Na-nefer-ka-ptah a + great blow with his hand. And Setna called his brother An-he-hor-eru and + said to him,</span><br /> + </p> + <p> + <img src="images/p1-33.jpg" alt="p1-33.jpg" class="c44" /> + </p> + <p class="paragraph"> + <span class="font9"><b>APPLYING</b> THE TALISMAN.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">"Make haste and go up upon earth, and tell the + king all that has happened to me, and bring me the talisman of my father + Ptah, and my magic books."</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">And he hurried up upon earth, and told</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font5">SETNA AND THE MAGIC BOOK 111</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">the king all that had happened to Setna. The king + said, "Bring him the talisman of his father Ptah, and his magic books." + And An-he-hor-eru hurried down into the tomb;</span><br /> + </p> + <p> + <img src="images/p1-34.jpg" alt="p1-34.jpg" class="c45" /> + </p> + <p class="paragraph"> + <span class="font9">SETNA VICTORIOUS.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">he laid the talisman on Setna, and he sprang up + again immediately. And then Setna reached out his hand for the book, and + took it. Then—as Setna went out from the</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">112 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">tomb—there went a Light before him, and + Darkness behind him. And Ahura wept at him, and she said, "Glory to the + King of Darkness! Hail to the King of Light! all power is gone from the + tomb." But Na-nefer-ka-ptah said to Ahura, "Do not let your heart be sad; + I will make him bring back this book, with a forked stick in his hand, and + a fire-pan on his head." And Setna went out from the tomb, and it closed + behind him as it was before.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Then Setna went to the king, and told him + everything that had happened to him with the book. And the king said to + Setna, "Take back the book to the grave of Na-nefer-ka-ptah, like a + prudent man, or else he will make you bring it with a forked stick in your + hand, and a fire-pan on your head." But Setna would not listen to him; and + when Setna had unrolled the book he did nothing on earth but read it to + everybody.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">[Here follows a story of how Setna, walking in the + court of the temple of Ptah, met</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">SETNA AND THE MAGIC BOOK 113</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Tabubua, a fascinating girl, daughter of a priest + of Bast, of Ankhtaui; how she repelled his advances, until she had + beguiled him into giving up all his possessions, and</span><br /> + </p> + <p> + <img src="images/p1-35.jpg" alt="p1-35.jpg" class="c46" /> + </p> + <p class="paragraph"> + <span class="font9">SETNA READING THE ROLL.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">slaying his children. At the last she gives a + fearful cry and vanishes, leaving Setna bereft of even his clothes. This + would seem to be merely a dream, by the disappearance of Tabubua, and by + Setna finding 9</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">114 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">his children alive after it all; but on the other + hand he comes to his senses in an unknown place, and is so terrified as to + be quite ready to make restitution to Na-nefer-ka-ptah. The episode, which + is not creditable to Egyptian society, seems to be intended for one of the + vivid dreams which the credulous readily accept as half realities.]</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">So Setna went to Memphis, and embraced his + children for that they were alive. And the king said to him, "Were you not + drunk to do so?" Then Setna told all things that had happened with Tabubua + and Na-nefer. ka-ptah. And the king said, "Setna, I have already lifted up + my hand against you before, and said, 'He will kill you if you do not take + back the book to the place you took it from.' But you have never listened + to me till this hour. Now, then, take the book to Na-nefer-ka-ptah, with a + forked stick in your hand, and a fire-pan on your head."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">So Setna went out from before the king, with a + forked stick in his hand, and a fire-</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">SETNA AND THE MAGIC BOOK 115</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">pan on his head. He went down to the tomb in which + was Na-nefer-ka-ptah. And Ahura said to him, "It is Ptah, the great god, + that has brought you back safe." Na-nefer-ka-ptah laughed, and he said, + "This is the business that I told you before." And when Setna had praised + Na-nefer-ka-ptah, he found it as the proverb says, "The sun was in the + whole tomb." And Ahura and Na-nefer-ka-ptah besought Setna greatly. And + Setna said, "Na-nefer-ka-ptah, is it aught disgraceful (that you lay on me + to do)?" And Na-nefer-ka-ptah said, "Setna, you know this, that Ahura and + Mer-ab, her child, behold! they are in Koptos; bring them here into this + tomb, by the skill of a good scribe. Let it be impressed upon you to take + pains, and to go to Koptos to bring them here." Setna then went out from + the tomb to the king, and told the king all that Na-nefer-ka-ptah had told + him.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The king said, "Setna, go to Koptos and bring back + Ahura and Mer-ab." He</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">116 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">answered the king, "Let one give me the royal boat + and its belongings." And they gave him the royal boat and its belongings, + and he left the haven, and sailed without stopping till he came to Koptos.</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">And they made this known to the priests of Isis at + Koptos and to the high priest of Isis; and behold they came down to him, + and gave him their hand to the shore. He went up with them and entered + into the temple of Isis of Koptos and of Harpo-krates. He ordered one to + offer for him an ox, a goose, and some wine, and he made a burnt-offering + and a drink-offering before Isis of Koptos and Harpokrates. He went to the + cemetery of Koptos with the priests of Isis and the high priest of Isis. + They dug about for three days and three nights, for they searched even in + all the catacombs which were in the cemetery of Koptos; they turned over + the steles of the scribes of the "double house of life," and read the + inscriptions that they found on them. But</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">SETNA AND THE MAGIC BOOK 117</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">they could not find the resting-place of Ahura and + Mer-ab.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Now Na-nefer-ka-ptah perceived that they could not + find the resting-place of Ahura and her child Mer-ab. So he raised himself + up as a venerable, very old, ancient, and came before Setna. And Setna saw + him, and Setna said to the ancient, "You look like a very old man, do you + know where is the resting-place of Ahura and her child Mer-ab?" The + ancient said to Setna, "It was told by the father of the father of my + father to the father of my father, and the father of my father has told it + to my father; the resting-place of Ahura and of her child Mer-ab is in a + mound south of the town of Pehemato (?)" And Setna said to the ancient, + "Perhaps we may do damage to Pehemato, and you are ready to lead one to + the town for the sake of that." The ancient replied to Setna, "If one + listens to me, shall he therefore destroy the town of Pehemato! If they do + not find Ahura and her child</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">118 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Mer-ab under the south corner of their town may I + be disgraced." They attended to the ancient, and found the resting-place + of Ahura and her child Mer-ab under the south corner of the town of + Pehemato. Setna laid them in the royal boat to bring them as honoured + persons, and restored the town of Pehemato as it originally was. And + Na-nefer-ka-ptah made Setna to know that it was he who had come to Koptos, + to enable them to find out where the resting-place was of Ahura and her + child Mer-ab.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">So Setna left the haven in the royal boat, and + sailed without stopping, and reached Memphis with all the soldiers who + were with him. And when they told the king he came down to the royal boat. + He took them as honoured persons escorted to the catacombs, in which + Na-nefer-ka-ptah was, and smoothed down the ground over them.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5"><i>This is the completed writing of the tale of + Setna Kha-em-uast, and Na-nefer-ka.-ptah, and</i></span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 119</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14"><i>his wife Ahura, and their Mid Mer-ab. It was + written in the 35th</i> <i>year, the month Tybi.</i></span><br /> + </p> + <p class="paragraph"> + <span class="font18"><i>REMARKS</i></span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">This tale of Setna only exists in one copy, a + demotic papyrus in the Ghizeh Museum. The demotic was published in + facsimile by Mariette in 1871, among "Les Papyrus du Musee de Boulaq; " + and it has been translated by Brugsch, Revillout, Maspero, and Hess. The + last version—"Der Demotische Roman von Stne Ha-m-us, von J. J. Hess"—being + a full study of the text with discussion and glossary, has been followed + here; while the interpretation of Maspero has also been kept in view in + the rendering of obscure passages.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Unhappily the opening of this tale is lost, and I + have therefore restored it by a recital of the circumstances which are + referred to in what remains. Nothing has been introduced</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">120 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">which is not necessarily involved or stated in + the existing text. The limit of this restoration is marked by ]; the + papyrus beginning with the words, "It is you who are not dealing rightly + with me."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">The construction is complicated by the mixture of + times and persons; and we must remember that it was written in the + Ptolemaic period concerning an age long past. It stood to the author much + as Tennyson's "Harold" stands to us, referring to an historical age, + without too strict a tie to facts and details. Five different acts, as we + may call them, succeed one another. In the first act—which is + entirely lost, and here only outlined—the circumstances which led + Setna of the XlXth Dynasty to search for the magic book must have been + related. In the second act Ahura recites the long history of herself and + family, to deter Setna from his purpose. This act is a complete tale by + itself, and belongs to a time some generations before Setna; it is here + supposed to belong to the time of Amenhotep</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 121</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">III., in the details of costume adopted for + illustration. The third act is Setna's struggle as a rival magician to + Na-nefer-ka-ptah, from which he finally comes off victorious by his + brother's use of a talisman, and so secures possession of the coveted + magic book. The fourth act—which I have here only summarised—shows + how Na-nefer-ka-ptah resorts to a bewitchment of Setna by a sprite, by + subjection to whom he loses his magic power. The fifth act shows Setna as + subjected to Na-nefer-ka-ptah, and ordered by him to bring the bodies of + his wife and child to Memphis into his tomb.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">While, therefore, the sentimental climax of the + tale—the restoration of the unity of the family in one tomb—belongs + to persons of the XVIIIth Dynasty, the action of the tale is entirely of + the XlXth Dynasty, for what happened in the XVIIIth Dynasty (second act) + is all related in the XlXth. And the actual composition of it belongs to + Ptolemaic times, not only on the evidence of the manuscript,</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">122 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">but also of the language; this being certified by + the importance of Isis and Horus at Koptos, which is essentially a late + worship there.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">Turning now to the details, we may note that the + statement that Setna Kha-em-uast was a son of User-maat-ra (or Ramessu + II.) occurs in the fourth act which is here only summarised. Among the + sons of Ramessu historically known, the Prince Kha-em-uast (or + "Glory-in-Thebes ") was the most important; he appears to have been the + eldest son, exercising the highest offices during his father's life. That + the succession fell on the thirteenth son, Mer-en-ptah, was doubtless due + to the elder sons having died during the preternaturally long reign of + Ramessu.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">The other main personage here is Na-nefer-ka-ptah + (or "Excellent is the <i>ka</i> of Ptah "), who is said to be the son of a + King Mer-neb. ptah. No such name is known among historical kings; and it + is probably a popular corruption or abbreviation. It was pro-</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 123</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">nounced Minibptah, the r being dropped in early + times. It would seem most like Mine-ptah or Mer-en-ptah, the son and + successor of Ramessu II.; but as the date of Mer-neb-ptah is supposed to + be some generations before that, such a supposition would involve a great + confusion on the scribes' part. Another possibility is that it represents + Amenhotep III., Neb-maat-ra-mer-ptah, pronounced as Nimu-rimiptah, which + might be shortened to Neb. mer-ptah or Mer-neb-ptah. Such a time would + well suit the tale, and that reign has been adopted here in fixing the + style of the dress of Ahura and her family.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">This tale shows how far the <i>ka</i> or double + might wander from its body or tomb. Here Ahura and her child lie buried at + Koptos, while her husband's tomb is at Memphis. But that does not separate + them in death; her <i>ka</i> left her tomb and went down to Memphis to + live with the <i>ka</i> of her husband in his tomb. Thus, when Setna + forces the tomb of Na-nefer-ka-ptah, he finds Ahura seated by</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">124 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">him with the precious magic roll between them and + the child Mer-ab; and the voluble Ahura recounts all their history, and + weeps when the roll is carried away by Setna. Yet all the time her body is + at Koptos, and the penalty imposed on Setna is that of bringing her body + to the tomb where her <i>ka</i> already was dwelling. If a <i>ka</i> could + thus wander so many hundred miles from its body to gratify its affections, + it would doubtless run some risks of starving, or having to put up with + impure food; or might even lose its way, and rather than intrude on the + wrong tomb, have to roam as a vagabond <i>ka.</i> It was to guard against + these misfortunes that a supply of formulas were provided for it, by which + it should obtain a guarantee against such misfortunes—a kind of + spiritual directory or guide to the unprotected; and such formulas, when + once accepted as valid, were copied, repeated, enlarged, and added to, + until they became the complex and elaborate work—The Book of the + Dead, Perhaps nothing else</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">REMARKS 125</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c14">gives such a view of the action of the <i>ka</i> + as this tale of Setna.</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c14">There is here also an insight into the + arrangement of marriages in Egypt. It does not seem that anything was + determined about a marriage during childhood; it is only when the children + are full-grown that a dispute arises between the king and queen as to + their disposal. But the parents decide the whole question. It is, of + course, well known that the Egyptians had no laws against consanguinity in + marriages; on the contrary, it was with them, as with the Persians, + essential for a king to marry in the royal family, and also usual for + private persons to marry in their family. Even to the present day in + Egypt, although sister-marriage has disappeared, yet it is the duty of a + man to marry his first cousin or some one in the family. The very idea of + relationship being any possible impediment to marriage was un-thought of + by the Egyptian; his favourite concrete expression for a self-existent or + self-</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">126 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">created being—"husband of his mother "—shows + this unmistakably.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The objection made by the king to the marriage of + Na-nefer-ka-ptah and Ahura turns on the point that he has only these two + children, and hence, if they marry the children of the generals, there + will be two families instead of only one to ensure future posterity. The + queen, however, talks the king over on the matter. The cause of Ahura's + being troubled at the feast is not certain, but the king evidently + supposes that she has been pleading to be allowed to marry her beloved + brother, and when taxed with it she only expresses her willingness to give + way to his exogamic views. The brief sentence, "I laughed and the king + laughed," seems to mean that she pleased and amused her father so that he + gave way, and immediately told the steward to arrange for her marriage as + she desired. I have here abbreviated a few needlessly precise details. We + also learn, by the way, that there was a regular registry of births, in + which Mer-ab was entered.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 127</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">It appears that the court was considered to be at + Memphis, and not at Thebes. This would not have been so arranged had this + been written in the Ramesside times, but under the Ptolemies Memphis was + the seat of the court—when not at Alexandria. The name of the + priest, Nesi-ptah, also shows another anachronism. Such a name was not + usual till some time after the XlXth Dynasty. Another touch of late times + is in the antiquarian curiosity of Na-nefer-ka-ptah about ancient + writings, "He did nothing on earth but read the writings that are in the + catacombs of the kings, and the tablets of the House of Life." In the + XlXth Dynasty there is no sign of interest in such records, but in the + Renascence ancient things came into fashion, all the old titles were + revived, the old style was copied, and very long genealogies were worked + up and carved in the inscriptions. In such an age many a <i>dilettante</i> + rich young man would amuse himself, as in this tale, with reading + inscriptions</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">128 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">and hunting up his family genealogy from the + tombstones and the registers.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">The firm belief in magic which underlies all this + tale might perhaps be thought to be inappropriate to the enlightenment of + Greek times. We have seen how in the earliest tales magic is a mainspring + of the action, and it is at first sight surprising that its sway should + last through so many thousands of years. But there may well have been a + recrudescence of such beliefs, along with the revival of interest in the + earlier history. The enormous spread and popularity of Gnosticism—the + belief in the efficacy of words and formulas to control spirits and their + actions—in the centuries immediately after this, shows how ingrained + magic ideas were, and how ready to sprout up when the counterbalancing + interests of the old mythology were gone, and their place taken by the + intangible spirituality of Platonism and the early Christian atmosphere.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">A most Egyptian turn is given where the</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 129</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">priest bargains for a large payment for his + funeral, and to be buried as a rich priest. The enclosing of the magic + roll in a series of boxes has many parallels. In an Indian tale we read: + "Round the tree are tigers and bears and scorpions and snakes; on the top + of the tree is a very fat great snake; on his head is a little cage; in + the cage is a bird; and my soul is in that bird" ("Golden Bough," ii. + 300). In Celtic tales the series-idea also occurs. The soul of a giant is + in an egg, the egg is in a dove, the dove is in a hare, the hare is in a + wolf, and the wolf is in an iron chest at the bottom of the sea ("Golden + Bough," ii. 314). The Tartars have stories of a golden casket containing + the soul, inside a copper or silver casket ("Golden Bough," ii. 324). And + the Arabs tell of a soul put in the crop of a sparrow, and the sparrow in + a little box, and this in another small box, and this put into seven other + boxes, and these in seven chests, and the chest in a coffer of marble + ("Golden 10</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">130 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Bough," ii. 318). The notion, therefore, of a + series of boxes, one enclosing another, and the whole guarded by dangerous + animals, is well known as an element in tales. The late date is here shown + by the largest and least precious of the boxes being of iron, which was + rarely, if ever, used in Ramesside times, and was not common till the + Greek age.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The magic engineering of Na-nefer-ka. ptah is very + curious. The cabin or air-chamber of men in model, who are let down to + work for him, suggests that Egyptians may have used the principle of a + diving-bell or air-chamber for reaching parts under water. Certainly the + device of raising things by dropping down sand to be put under them is + still practised. An immense sarcophagus at Gizeh was raised from a deep + well by natives who thrust sand under it rammed tight by a stick, and by + this simple kind of hydraulic press raised it a hundred feet to the + surface. In this way the magic men of Na-nefer-ka-ptah raised up the chest + when</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">REMARKS 131</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">they had discovered it by means of the sand which + he poured over from the boat.</span><br /> + </p> + <p class="paragraph"> + <span class="font19 c5">There is some picturesqueness in this tale, though + it has not the charm of the earlier compositions. The scene of Ahura + sitting for three days and nights, during the combat, watching by the side + of the river, where she "had not drunk or eaten anything, and had done + nothing on earth but sat like one who is gone to the grave," is a touching + detail.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The light on the education of women is curious. + Ahura can read the roll, but she cannot write. We are so accustomed to + regard reading and writing as all one subject that the distinction is + rare; but with a writing comprising so many hundred signs as the Egyptian, + the art of writing or draw-Ing all the forms, and knowing which to use, is + far more complex than that of reading. There are now ten students who can + read an inscription for one who could compose it correctly. Here a woman + of the highest rank is supposed to be able to read, but not</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font23">132 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">to write; that is reserved for the skill of "a + good writer, and a very learned one."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The writing of spells and then washing the ink off + and drinking it is a familiar idea in the East. Modern Egyptian bowls have + charms engraved on them to be imparted to the drink, and ancient + Babylonian bowls are inscribed with the like purpose.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">An insight into the powers of the gods is here + given us. The Egyptian did not attribute to them omniscience. Thoth only + discovered what Na-nefer-ka-ptah had done as they were sailing away, some + days after the seizure of the book. And even Ra is informed by the + complaint of Thoth. If Ra were the physical sun it would be obvious that + he would see all that was being done on earth; it would rather be he who + would inform Thoth. The conception of the gods must therefore have been + not pantheistic or materialist, but solely as spiritual powers who needed + to obtain information, and who only could act through intermediaries. + Further,</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 133</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">nothing can be done without the consent of Ra; + Thoth is powerless over men, and can only ask Ra, as a sort of universal + magistrate, to take notice of the offence. Neither god acts directly, but + by means of a power or angel, who takes the commission to work on men. How + far this police-court conception of the gods is due to Greek or foreign + influence can hardly be estimated yet. It certainly does not seem in + accord with the earlier appeals to Ra, and direct action of Ra, in "Anpu + and Bata."</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The power of spells is limited, as we have just + seen the abilities of the gods were limited. The most powerful of spells, + the magic book of Thoth himself, cannot restore life to a person just + drowned. All that Na. nefer-ka-ptah can do with the spell is to cause the + body to float and to speak, but it remains so truly dead that it is buried + as if no spell had been used. Now it was recognised that the <i>ka</i> + could move about and speak to living persons, as Ahura does to</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">134 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Setna. Hence all that the spells do is not to + alter the course of nature, but only to put the person into touch and + communication with the ever-present supernatural, to enable him to know + what the birds, the fishes, and the beasts all said, and to see the + unseen.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">Modern conceptions of the spiritual are so bound + up with the sense of omnipresence and omniscience that we are apt to read + those ideas into the gods and the magic of the ancients. Here we have to + deal with gods who have to obtain information, and who order powers to act + for them, with spells which extend the senses to the unseen, but which do + not affect natural results and changes.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The inexorable fate in this tale which brings one + after another of the family to die in the same spot is not due to Greek + influence, though it seems akin to that. In the irrepressible + transmigrations of Bata, and the successive risks of the Doomed Prince, + the same ideas are seen working in the</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 135</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">Egyptian mind. The remorse of Na-nefer-ka-ptah is + a stronger touch of conscience and of shame than is seen in early times.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">There is an unexplained point in the action as to + how Na-nefer-ka-ptah, with the book upon him, comes up from the water, + after he is drowned, into the cabin of the royal boat. The narrator had a + difficulty to account for the recovery of the body without the use of the + magic book, and so that stage is left unnoticed. The successive stages of + embalming and mourning are detailed. The sixteen days in the Good House is + probably the period of treatment of the body, the time up to the + thirty-fifth day that of wrapping and decoration of the mummy cartonnage, + and then the thirty-five days more of lying in state until the burial.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">We now reach the third act, of Setna's struggle + to get the magic roll. Here the strange episode comes in of the rival + magicians gambling; it recalls the old tale of Rampsinitus descending into + Hades and play-</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">136 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">ing at dice with Ceres, and the frequent presence + of draught-boards in the tombs, shows how much the <i>ka</i> was supposed + to relish such pleasures. The regular Egyptian game-board had three rows + of ten squares, or thirty in all. Such are found from the XIIth Dynasty + down to Greek times; but this form has now entirely disappeared, and the + <i>man-galah</i> of two rows of six holes, or the <i>tab</i> of four rows + of nine holes, have taken its place. Both of these are side games, where + different sides belong to opposite players. The commoner <i>siga</i> is a + square game, five rows of five, or seven rows of seven holes, and has no + personal sides. The ancient game was played with two, or perhaps three, + different kinds of men, and the squares were counted from one end along + the outer edge; but what the rules were, or how a game of fifty-two points + was managed, has not yet been explained.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">The strange scene of Setna being sunk into the + ground portion by portion, as he loses</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 137</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">successive games, is parallel to a mysterious + story among the dervishes in Palestine. They tell how the three holy + shekhs of the Dervish orders, Bedawi, Erfa'i, and Desuki, went in + succession to Baghdad to ask for a jar of water of Paradise from the + Derwisha Bint Bari, who seems to be a sky-genius, controlling the meteors. + The last applicant, Desuki, was refused like the others; so he said, + "Earth! swallow her," and the earth swallowed her to her knees; still she + gave not the water, so he commanded the earth, and she was swallowed to + her waist; a third time she refused, and she was swallowed to her breasts; + she then asked him to marry her, which he would not; a fourth time she + refused the water and was swallowed to her neck. She then ordered a + servant to bring the water ("Palestine Exploration Statement, 1894," p. + 32). The resemblance is most remarkable in two tales two thousand years + apart; and the incident of Bint Bari asking the dervish to marry her has + its connection with this tale. Had</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">138 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">the dervish done so he would—according to + Eastern beliefs—have lost his magic power over her, just as Setna + loses his magic power by his alliance with Tabubua, to which he is tempted + by Na-nefer-ka-ptah, in order to subdue him. The talisman here is a means + of subduing magic powers, and is of more force than that of Thoth, as Ptah + is greater than he.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The fourth act recounts the overcoming of the + power of Setna by Na-nefer-ka-ptah, who causes Tabubua to lead to the loss + of his superior magic, and thus to subdue him to the magic of his rival. + Ankhtaui, here named as the place of Tabubua, was a quarter of Memphis, + which is also named as the place of the wife of Uba-aner in the first + tale.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The fifth act describes the victory of + Na-nefer-ka-ptah, and his requiring Setna to reunite the family in his + tomb at Memphis. The contrast between Ahura's pious ascription to Ptah, + and her husband's chuckle at</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">REMARKS 139</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">seeing his magic successful, is remarkable. Setna + at once takes the position of an inferior by addressing praises to + Na-nefer-ka-ptah: after which the tomb became bright as it was before he + took away the magic roll. Setna then having made restitution, is required + to give some compensation as well.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c5">The search for the tomb of Ahura and Mer-ab is a + most tantalising passage. The great cemetery of Koptos is the scene, and + the search occupies three days and nights in the catacombs and on the + steles. Further, the tomb was at the south corner of the town of Pehemato, + as Maspero doubtfully reads it. Yet this cemetery is now quite unknown, + and in spite of all the searching of the native dealers, and the + examination which I have made on the desert of both sides of the Nile, it + is a mystery where the cemetery can be. The statement that the tomb was at + the south corner of a town pretty well excludes it from the desert, which + runs north and</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font18">140 SETNA AND THE MAGIC BOOK</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">south there. And it seems as if it might have + been in some raised land in the plain, like the spur or shoal on which the + town of Koptos was built. If so it would have been covered by the ten to + twenty feet rise of the Nile deposits since the time of its former use.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">The appearance of the ancient to guide Setna + gives some idea of the time that elapsed between then and the death of + Ahura. The ancient, who must be allowed to represent two or three + generations, says that his great-grandfather knew of the burial, which + would take it back to five or six generations. This would place the death + of Ahura about 150 years before the latter part of the reign of Ramessu + II., say 1225 B.C.: thus, being taken back to about 1375 B.C., would make + her belong to the generation after Amenhotep III., agreeing well with + Mer-neb. ptah, being a corruption of the name of that king. No argument + could be founded on so slight a basis; but at least there is no contra-</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">REMARKS 141</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">diction in the slight indications which we can + glean.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">The fear of Setna is that this apparition may + have come to bring him into trouble by leading him to attack some property + in this town; and Setna is particularly said to have restored the ground + as it was before, after removing the bodies.</span><br /> + </p> + <p class="paragraph"> + <span class="font18 c14">The colophon at the end is unhappily rather + illegible. But the thirty-fifth year precludes its belonging to the reign + of any Ptolemy, except the IInd or the VIIIth; and by the writing Maspero + attributes it to the earlier of these reigns.</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font22">INDEX</span><br /> + </p> + <p class="paragraph"> + <span class="font14 c4">ACACIA, 48-57</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Ahura tells her history, 89; before the king, 90; + marriage of, 91; waiting at Koptos, 100; read, but wrote not, 101, 131; + death of, 103; tomb of, 117; re-buried, 118; wanderings of, 124</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Amenhotep III., 123</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Angels, use of, 133</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Anhehoreru, 87; raises Setna, no</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Anpu and Bata, 36, &c.; tale composite, 66, + 72, 74> 86</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Anpu, wife of, 40; ambush of, 44, 72; seeks the + soul, 56-7; rides the bull, 59</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Apis bull, 60, 80; killed, 61, 81; eaten, 61-81; + burials, 81</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Atys, myth of, 73-5, 86</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c47">BA-BIRD, royal, 84 Bast, priest of, 113</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Bata character of, 36, 68-9, 73; a type now seen, + 68; temptation of, 41, 73; mutilation of, 47, 73; death of, 56, 79; + transformed as a bull, 58, 80; killed, 61, 82; transformed as a tree, 61, + 73; killed, 63; trahsiormed as a child, 64, 74, 84; dies, 65; wife of, + created, 51, 78; taken away, 55; at the king's table, 61, 63, 80; rides + with the king, 63; vengeance on Bata, 61, 63; condemned, 65, 85; nature + of, 78</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Beer frothing, a portent, 48, 56</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Blood, drops of, 61, 73, 82; not to fall on + ground, 82; seat of life, 83</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Blue crown, 62, 83</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Book of the Dead, 124</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Boxes nested, 95, 129</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Bread-making, 38, 69</span><br /> + </p> + <p class="paragraph"> + <span class="font11 c4">Brothers, tale of two, 36</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font19">144</span><br /> + </p> + <p class="paragraph"> + <span class="font19">INDEX</span><br /> + </p> + <p class="paragraph"> + <span class="font12">Bull of Bata, 58</span><br /> + </p> + <p class="paragraph"> + <span class="font12">Burial customs, 107, 135</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">CABIN submerged, 98, 130 Cane of Tahutmes III., 3 + Captives made of civilians, 6, 10 Cattle, attention to, 38, 45, 72;</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">driven in at night, 70 Cemetery, search in, 116, + 139 Chip, swallowed by princess, 64 Colophons, 65, 67, 118, 141 + Concealment of soldiers, 4, 8 Crocodile, fate of prince, 25, 27,</span><br /> + </p> + <p class="paragraph"> + <span class="font12">33-5</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">DAILY tasks of <i>the fellah,</i> 69 Daughter of + chief, 16-23 Dervish shekhs, 137 Desertion, wholesale, 8 Dog of doomed + prince, 15, 25,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">27</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Dogs eat the dead, 49 Doomed prince, 13-27; date + of,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">29 d'Orbiney papyrus, 65</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">EDESSA, scheme for taking, 9</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Education, 131</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Embalming, periods of, 107,</span><br /> + </p> + <p class="paragraph"> + <span class="font12">'35</span><br /> + </p> + <p class="paragraph"> + <span class="font12">Emotional element, 32, 68, 72,</span><br /> + </p> + <p class="paragraph"> + <span class="font12">131</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c48">Enchantment by reading, 93, 100, 133</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c47">FATE inevitable, 15, 103, 106, 134; predicted, + 13, 25; nature of, 30</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Favours, asking of, 61, 63, <i>So</i> Firepan on + head, 112, 114 Forked stick, 112, 114 Fortresses taken by stratagem, 8 + Frazer, Mr., "Golden Bough,"</span><br /> + </p> + <p class="paragraph"> + <span class="font12">77</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Frontiers of Egypt, 29 Fullers of Pharaoh, 53</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">GAME of 52 points, 108, 135 Gesture with hands, 75 + Gnosticism, 128 Gods, nine, 50; powers of, 132 "Golden Bough " quoted, 77,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c49">&c. Golden dish of Tahutia, 11</span><br /> + </p> + <p class="paragraph"> + <span class="font12">HAIR, lock of, 52-4, 79; tiring,</span><br /> + </p> + <p class="paragraph"> + <span class="font12">39.40</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c47">Hathor, generic name, 30 Hathor's decree a fate, + 13, 29,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c50">51 Hawk, royal <i>ba,</i> 84; on <i>ka</i></span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">name, 84 Heart, or soul, removed, 76!</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">two words for, 76 Hero, parentage of, 28 + Hospitality of Syrians, 19 House, mysterious, 16, 31</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">INSCRIPTIONS, reading, 92, 116,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">127</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Inundation, end of, 38, 71 Iron box, 95, 130 Isis + of Koptos, 96, 116, 122</span><br /> + </p> + <p class="paragraph"> + <span class="font11">JOPPA, taking of, 1-7</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font20">INDEX</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c48">Joseph, story of, 71 Judgment of Bata's wife, 65</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4"><i>KA,</i> name of kings, 84; of</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Ahura at Memphis, 88, 123;</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">wandering, 123 Khaemuast, 87, 122 Khalu, sons of + chiefs of, 19 Khnumu frames a woman, 51,</span><br /> + </p> + <p class="paragraph"> + <span class="font12">78</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">King flying to heaven, 84 King's <i>ba</i> as a + hawk, 84 Koptos, book in river at, 95;</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">sailing to, 96; priests at, 96;</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">tombs in, 115, 139 Kush, royal son of, 64</span><br /> + </p> + <p class="paragraph"> + <span class="font12">LIGHT in the tomb, 112, 115,</span><br /> + </p> + <p class="paragraph"> + <span class="font12">139</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Liver eaten, 61, 81 Lock of hair, 52-54 Luck, 31</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c47">MAGIC book, 87, 93, 100;</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c47">cabin, 98, 130; belief in, 128</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c47">Marriage destroys magic power,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c51">US, 137-8 Marriages, consanguineous, 90,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">125</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Memphis a court-city, 127 Menkheperra, 1-3, 6 + Merab born, 91; death of, 102;</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">reveals the gods, 103; burial</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">of, 103; reburial of, 118 Merneb ptah, king, 88, + 89, 122 Mighty man and crocodile, 25,</span><br /> + </p> + <p class="paragraph"> + <span class="font14">33</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c47">Milk for serpent, 26, 34 Mourning, 49, 106</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">NAHARAINA, 16, 29 Naming-day of child, 64 + Naneferkaptah, 87; married, 91; reads inscriptions, 92; gets the book, + 100; beats Setna, 109; appears to Setna, 117, 140; name of, 122 Nesi ptah, + priest, 92, 127</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c47">OFFERINGS to Isis, 97, 116 Omnipresence unknown, + 134</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">PARCAE irresistible, 31 Pehematu, 117 Persea + trees, 61-3, 73, 83 Ploughing, preparation for, 38,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c51">71 Ptah, talisman of, no</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">RA, appeal to, 45; swearing by, 24, 47; decrees + vengeance, 102; makes a wide canal, 45, 72; the supreme god, 102, 133; not + the sun, 132</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Ramessu II., 87, 122</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Reading and writing, 101, 131</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Registry of births, 126</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Remorse, 105-6, 135</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">SACK of skins, 4</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Sacks borne on poles, 5</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Sand for raising objects, 98,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c52">130 Sea personified, 52, 79</span><br /> + </p> + <p class="paragraph"> + <span class="font12">It</span><br /> + </p> + <hr /> + <p class="paragraph"> + <span class="font20">146</span><br /> + </p> + <p class="paragraph"> + <span class="font20">INDEX</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Serpent, fate of prince, 13, 26; enticed by milk, + 26, 34; guardians, 98, 129; division of, 99</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Setna Khaemuast, 122; tale in five acts, 120; + enters tomb, 88; demands the roll, 89, 107; sunk in ground, 109, 137; + seizes the roll, in; reads the roll, 112; his power undone, 113, 121, 138; + restores the roll, 114; reparation by, 115; goes to Koptos, 116; finds the + tombs, 118; reburies Ahura, 118 Sety II., 66</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Shadow may not be lost, 34 Silver, hundred pieces + of, 95;</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">box, 95 Sinking of vanquished person,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">109, 137</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Sister-marriage, 90, 125 Smiting on the hands, 45 + Snakes protect box, 95, 98 Soul, extraction of, 48, 76, 77; placing of, + 48-9, 52, 77; falls with acacia, 56, 79; in a seed, 57; in water, 57, So; + restored to Bata, 57</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Spells washed into drink, lot, 132; read over + dead, 103, 104; power limited, 133</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Succubus, 113</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Sutekh, god of Joppa, 6</span><br /> + </p> + <p class="paragraph"> + <span class="font14 c4">TABUBUA, 113, 138</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Tahutia, 1-12; dish of, 10;</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">funeral furniture, 12 Tahutmes III., 3 Talisman + applied, no, 138 Thoth, magic book of, 87, 93,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">100; discovers robbery, 102,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">132</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Tower of Bata, 49 Treachery of Tahutia, 8 + Tree-worship, 62, 73, 83 Two brothers, tale of, 36</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">WATER, vehicle for soul, 57,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">80 Windows, mystic, number of,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">16, 32</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">Woman tempts woman, 55> 79 Writing rarer than + reading,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">101, 131; washed into drink,</span><br /> + </p> + <p class="paragraph"> + <span class="font12 c4">101</span><br /> + </p> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of Egyptian Tales, Second Series, XVIIIth +To XIXth Dynasty, by W. 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