[val hinckley sederholm] papyrus british museum 10(bookfi.org)

Papyrus British Museum 10808 and ItsCultural and Religious Setting

Probleme der gyptologie

General Editors

Wolfgang Schenkel and

Antonio Loprieno

VOLUME 24

Papyrus British Museum10808 and Its Cultural and

Religious Setting

by

Val Hinckley Sederholm

BRILLLEIDEN BOSTON

2006

ISSN 0169-9601ISBN 90 04 14349 1

ISBN 978 90 04 14349 4

Copyright 2006 by Koninklijke Brill NV, Leiden, The Netherlands.Koninklijke Brill NV incorporates the imprints Brill Academic

Publishers, Martinus Nijho Publishers, and VSP.

All rights reserved. No part of this publication may be reproduced, translated,stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior

written permission from the publisher.

Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to

The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA.Fees are subject to change.

printed in the netherlands

This book is printed on acid-free paper.

Library of Congress Cataloging-in-Publication Data

Sederholm, Val, 1963Papyrus British Museum 10808 and its cultural and religious setting / by Val

Sederholm.p. cm.(Probleme der gyptologie, ISSN 0169-9601 ; v. 24)

Old Coptic text in Egyptian transliteration with English and German translations;commentary in English.

Includes the German translation of pBM 10808 found in Der sptgyptischePapyrus BM 10808 by J. Osing.

Includes bibliographical references and index.ISBN 90-04-14349-11. British Library. Manuscript. Papyrus 10808. 2. Incantations, Egyptians. 3.

EgyptReligion. I. Osing, Jrgen. Sptgyptische Payprus BM 10808. II. BritishLibrary. Manuscript. Payrus 10808. III. Title. IV. Probleme der gyptologie; 24. Bd.

PJ2199.S43 2005299.31dc22 2005045689

To my father

CONTENTS

Acknowledgments ........................................................................ ixPreface ........................................................................................ xi

PART ONE

1. Comparative Interlinear Transcription: Sederholm, Crum, Osing .......................................................................... 3

2. Osings Egyptian Transliteration and German Translation (with selections from Crum and Volten) ............................ 18

3. Phrase-by-Phrase Old Coptic Transcription, EgyptianTransliteration, and English Translation ............................ 28

4. Egyptian Transliteration and English Translation with running commentary .................................................... 47

5. Annotated Commentary ........................................................ 94

PART TWO

6. The Ram .............................................................................. 145

7. The Enemy of Osiris ............................................................ 170

8. m.w: The Red Tally of Fate .............................................. 189

9. The rn mA' .............................................................................. 204

Works Cited ................................................................................ 225

Author and Subject Index .......................................................... 233

Index of Comparisons of Words .............................................. 240

Index of Selected Passages ........................................................ 242

viii contents

ACKNOWLEDGMENTS

I wish to thank the Harrassowitz Publishing House for permissionto reproduce J. Osings translation of pBM 10808, as found in hisbook, Der Sptgyptische Papyrus BM 10808. Professor Osings study ofthe papyrus was both the starting point and a continuously consultedguide for my own work.

I also thank the British Museum for making a new infrared pho-tograph of the papyrus, which I reproduce here.

Thank you Mattie Kuiper, Michiel Klein Swormink, Michael J.Mozina, and Katherine Loueditors allat Brill Academic Publishers.

I am deeply grateful for the opportunity that was mine to studyat the Department of Near Eastern Languages and Cultures at UCLA.The department was a treasure-house of gifted teachers, including,Giorgio Buccellati, Herbert Davidson, Robert K. Englund, AndreaM. Gnirs, Thomas Ritter, Yona Sabar, and my advisor, AntonioLoprieno.

It was Professor Loprieno who encouraged me to undertake a newtranslation of pBM 10808. My rst attempts at translating were exer-cises in futility and frustration, but with generous shepherding ProfessorLoprieno led me along. Every page of commentary and every lineof translation bear the impress of his inuence. I thank him for hisbrilliant analyses of every textual and linguistic diculty and for manycheerful assurances of success.

I also thank Professor Wolfgang Schenkel for his careful and caringhelp in bringing a chaotic and poorly formatted manuscript intoorder. His early and continuing encouragement, throughout theseveral stages of production, have been most deeply appreciated.

Then always, in all my academic undertakings, I acknowledge aboundless debt of gratitude to Hugh Nibley, friend and teacher.From childhood on I have studied his books with an ever-increasinginterest. They remain as fresh today as ever. For years to come Ishall continue to draw from those wells of knowledge, even as Iconstantly bask in the sunlight of his cheerful and never-failingenthusiasm.

Hugh Nibley loved Ancient Egypt. At age 89, he all but dancedfor joy upon receiving his own copy of Professor Schenkels Egyptian

x acknowledgments

grammar. And he devoured the books written and edited by AntonioLoprieno, whom he met and highly admired. Page after page ofarticles by Jan Assmann, Andrea Gnirs, Antonio Loprieno, andWolfgang Schenkel were lled with his enthusiastic scribblings. Argu-ment, logic, clarityand a lightning witthese were of the essenceof his studiously detailed and innitely pleasing contributions to theelds of Classics, Patristics, Religious Studies, and Egyptology.

PREFACE

Papyrus British Museum EA 10808 is a Proto-Coptic magical text,a one of a kind, composed in the liturgical language of ancient Egypt(lgyptien de tradition1) but jotted down in Greek scriptwith a fewDemotic signs thrown into the mix. What Ive done is to make afresh transcription (based on a new infrared photograph and image-enhancing software) in order to isolate, and thus read, many of thewords and phrases. What results is a coherent and deeply surpris-ing text that contributes to the illumination of Egyptian thought inthe Graeco-Roman Periodjust before the great shutdown of theancient temple learning. The words and phrases that make up thispapyrus of late vintage, gathered from the ritual remainder of mil-lennia, remain brim with blessing. On the thirsty borders of culturalextinction the magic still works.

What has the papyrus to contribute to our understanding of thesurrounding (and invading) Hellenistic world and its thought? Onthe surface, nothing at all; although it does tell us much about theattitudes of the Egyptian priesthood toward that world. This mostlybilingual class used Greek letters as an aide-mmoire for the correctpronunciation of hieroglyphic spells, while eschewing any intrusionof vocabulary or philosophy. The priesthood lisped their numbers inpure, archaic Egyptian phonemes.2 As the Corpus Hermeticum states,the Egyptian language alone carries the forcible sounds of eectiveenergy. Helen must repair to Egypt to obtain the true pharmakon,the essence of which is a magic of phonemics (A.w tpj-rA). DespiteHelens graces, the theft of Europa is not forgiven. The idea of con-tamination stands. The Greek, welcome at the door as tourist orking, shall not enter the Egyptian temple.

Which is not to say that a few instances of taproot, inter-culturalcorrespondence cannot be found. For instance, lots of ink has been

1 The name given to the classical language when used in postclassical times,Loprieno, Linguistic Variety in Egyptian Literature, 523. This classical form ofthe language is also subject to change. Thus, pBM 10808, although in its gram-matical structure a Late Middle Egyptian text, yet displays contemporary phono-logical outcomes, Loprieno, Ancient Egyptian, 26.

2 The archaic, liturgical Middle Egyptian, the tongue of the gods, is a foreignlanguage to all but the priesthood: Kultsprache ist Gttersprache und damitFremdsprache, Assmann, Tod, 330.

spilled in attempts to explain divine names like Osiris, Isis, and Thothand the obscure hieroglyphs that write them. In my comments onthe rn mAa, I show how the etymology of these names matches theGreek pattern, as that is elucidated by Walter Burkert.

The papyrus features the Ram as the Enemy of Osiris, but inEgypt, as in Greece, the ram is a symbol of the fruitful solar pow-ers (the Golden Fleece). Whence the enmity? The manifestation ofthe divine, which ever presents two faces to mankind, holds the deep-est philosophical interest. Egypt, like Greece, has its uncertain divini-ties. Sekhmet, the patron of healing, indiscriminately shoots the arrowsof sickness into the welter of humanity with Apollonian detachment;and our papyrus three times invokes divine entities for aid againstthe threat of divine sickness. The enemy is the god; hope, the divineenemy. Where is the happy outcome? In order to assuage the sueringof the innocent human patient, the work of magic nds out thetrue enemy upon whose head it xes the cursethat is the dnoue-ment of our spell. A tting title for the papyrus thus comes fromthe invocation, which nely balances threat and reverence: O Ram,Enemy of Osiris.

There are two broad themes in the papyrus: (a) the healing or restora-tion of the whole and integral self; and (b) punishment of the true enemy (inlieu of the victim), an act of escape and victory. Each of the threespells begins with the invocation of a dierent Enemy of Osiris,beginning with the ram, an image of the setting sun bursting uponthe silent Osirian night. These three names turn out to be obscurereferences to Osiris himself (sr = wjr: ram = Osiris); and, by theworkings of magic (in hand with irony), the inimical naming insu-lates him from evil. The three names of the enemy, which alsoallude to the sun god, further reect Osiris complementary relationto an antagonistic Re (night versus day), an Egyptian instance of coin-cidentia oppositorum. Meanwhile, the true enemythe source of thevictims sicknessmeets his fate, as mirrored in the execution of fourcriminals (or simulacra). By means of this punishment the innocentvictim, in his turn, escapes the divine wrath. The escape correspondsto sunrise; for, like Re, the suerer pierces darkness and acquiresspecial names of greatness and victory. Yet the text, describing acomplete circle, also ends, as it begins, with a setting (tp: settingsun, happiness, appeasement) as the victim, now at rest, nds peaceand wholeness in his special names.

xii preface

Despite hints here and there at an underlying inter-cultural cor-respondence between the universes of Egypt and Greece (as foundthroughout the Egyptian record), what the themes reveal is an Egyptiantext, penned in Greek characters it is true, yet betraying not a traceof Hellenism. It is pointless to treat the text as anything less than aproduct of the purest Egyptian thought.

By placing the papyrus within the cultural and religious setting ofLate Period Egypt, I take up the challenge of Ariel Shisha-Halevy,3

the harsh reviewer of Jrgen Osings critical edition.4 Shisha-Halevy,skeptical of over-reliance on readings adduced by the application ofphonological theory to the lexical evidence, disparages the resultantimprobably intricate, often fantastic text postulated by Osing. Yetin such a predicament one feels entitled to parallels, as being our solemeans of breaking free from the procedural cycle. Osings parallelsare amazingly few.5 I agree; but dont feel hampered by Shisha-Halevys argument that use of dictionaries makes for poor method.The ensuing thirty years have seen, in step with much progress inunderstanding Egyptian phonology, much expansion of the knownlexis.

Time is another rod of the reviewerOsings regard for diachronyis wanting. Now, whereas Coptology might be bound by such con-siderations, this is Egypt, of which al-Jamani says even time wasfrightened.6 Not all pertinent textual parallels belong to the laterperiod, and I freely exploit Middle and New Kingdom sources (likethe Con Texts and Netherworld Books). Yet the papyrus is not apiecemeal composition of allusion, a piyyut; it is a learned and care-fully planned work, a scripture that blends lemmata into a rare mixof magic and philosophical insight. The fty-three lines have muchto teach us about the weighty religious inheritance of the post-Pharaonic age.

3 Shisha-Halevy, Review of J. Osing, Der sptgyptische Papyrus BM 10808, JEA66 (1980), 1816.

4 The text has been edited three times: Crum, An Egyptian Text in GreekCharacters, JEA 28 (1942), 2031; Volten, An Egyptian Text in Greek Charactersin Studia Ioanni Pedersen (1953), 36476; Osing, Papyrus BM 10808 (1976). Vycichl,Dictionnaire, xi, encourages yet another try: Texte dicile en gyptien tardif quimrite une nouvelle tude.

5 Shisha-Halevy, JEA 66 (1980), 183; see also p. 183 n. 8.6 Hornung, Idea, 70.

preface xiii

xiv preface

I next consider matters of script and transcription. The Old Copticpapyrus from Oxyrhynchus is properly neither old nor Coptic.7

W. E. Crum dates it from the middle of the second century of ourera, which makes it not only post-Pharaonic but post-Classical.

The papyrus speaks to us in the archaic language of ritual, thetongue of priests, gods, and scripture. It is the language of magic oreven the language of the library; for in Egypt the identity of magicand library is absolute. Papyrus Salt 825 names the library of theCosmic Temple or House of Life the Bas of Re (bA.w raw), mean-ing the sun gods Manifest Power. Here is a library of wrath asmuch as beauty, a wrath manifest night and day in the unceasingpriestly recitations against the enemies of order.8 The spell on ourpapyrus works to counter just some such Manifestations of Wrath(bA.w) that the victim is said to have swallowed. Now for the secret:by swallowing wrath, the victim has also swallowed a magic book.At the controls, like Re, he can now pour out wrath on every enemy.To swallow is to obtain intelligence:9 it is to swallow magic words.Cascading from the Library of Life and crushing every foe, a streamof power and intelligence governs the orderly Egyptian universe.

Nevertheless, the chariot of all this glorythe scriptplunges likePhaeton. The text is alphabetic but not altogether vocalic. Oftenonly the consonantal structure of a word is given, in other placesone or more vowels appear. The Greek vowels at times even writeEgyptian consonants! Whereas Coptic attempts the full phonetic real-ization of the latest stage of the Egyptian language, the Old Copticof our spell is hit and miss la graphemic system of old Demotic.Here it favors vocalic spellings; there consonants. For m.w, thepapyrus employs only the consonantal root tms, with absolutelyno stab at the words vocalic structure. Considering the idiosyncrasyof scribes and the lack of a system for writing Egyptian with Greekletters, just how intelligible, I wonder, even to a second scribe, wouldthe papyrus have been?

7 See Satzinger, Old Coptic in Coptic Encyclopedia, VIII 170, who classes theEgyptian Oxyrhynchus Papyrus (his label) under Comparative Material ratherthan Main Group: Old Coptic Texts.

8 Assmann, Tod, 331.9 For instance, the Coptic verb of knowing, eime, derives from the root 'm

(to swallow).

preface xv

Coptic, a more or less clear alphabetic transcription of the latestform of Egyptian, is also the easiest to translate: the language issimple; the script crystalline; the lexis complete. The papyruss OldCoptic script is an entirely dierent matter. Rather than being easierto translate than the hieroglyphs, the script makes the task nearlyinsurmountable. We can read Ancient Egyptian for only two reasons:the evidence of Coptic and that peculiarity of the Egyptian script insupplying determinatives after every word. Determinatives class wordsin a logical way: seeing takes the eye-sign; hearing, the ear-sign. Take theclassiers away (and absent the logic of the Coptic vocalic system),what is left but an unsignied fragment of text, the key to whichremains in the mind of the author alone? Fragment is an apt descrip-tion of our papyrus, a thing of shreds and patches. Holes, some greater,some lesser, dot the papyrus, and many letters of otherwise preservedwords have been rubbed o. Time does not spare those words ofgreatest import for the reader. The name of the god who recites thespell: vanished; a culminating drama: disappeared. What survives isnot easy to make outeven in Greek script.

The characters are Greek, and the manuscript is written in a goodhand, still Crum and Osing dier on many points of transcription.Each adds, emends, and guesses to the degree that their transcrip-tions bear little resemblance to each other or the papyrus itself. Thenthere are the mistakes: taking h for n, and vice-versa, or seeing aletter where super-magnication shows nothing at all, yet all thatis I see. We have known the papyrus for nearly a century, but wehave never had the text. Any attempt to translate using such a var-ied record of transcription is like taking up the reverse side of theRosetta Stone and afterwards hoping to give the Champollionicwatchword Je tiens laaire.

My transcription has one merit: it is conservative. The method, whereeditorial signs are concerned, follows the lead of crusty papyrologistslike H. C. Youtie and E. G. Turner. I do not transcribe the doubt-ful, and then put a warning dot under the letter. I relegate my guessesto the space below the dot that marks an illegible place of text:

The convention is that a doubtful letter should be given a dot belowthe line to show that it is uncertainly read. But what makes a letterdoubtful? Our examination of errors shows: (1) that dotted lettersmay often be signs of an uneasy conscience; (2) that the most seriouserrors have had no such warning dot. Dots, writes Professor Youtie,

xvi preface

are brought into play only when the editor is uneasy, when he ispushing through a reading against his conscience. When the editor iswithout suspicion that he is missing the mark, false readings are presentedas completely secure.10

I am uneasy with the dots (and lack thereof ) in the earlier transcriptions.I return to the challenge of Ariel Shisha-Halevy, who names Osings

transcription on the whole unsubstantiated as a piece of Egyptianevidence.11 By asserting that the transcription is not an Egyptiantext, Shisha-Halevy doesnt mean that the author is no Egyptian orthat the text lacks all coherence. What he means is that it cannotbe read in the way scholars pretend to read Egyptian texts. By con-fessing his own inability to propose an alternative to Osings trans-lation, he signals the irrelevance of the task for Egyptology.12

Lacking determinatives and grammatical consistency, the papyrushas no place within the Egyptian Seminar. Osings bold attempt togather evidence from the papyrus for a systematic reconstruction ofEgyptian phonology not only fails but bears no repetition. I disagree.The method is proper and in many instances yields fruit. Shisha-Halevy does wrong to label it a life-long dream, now turnedsour.13 Where Osing oversteps is in zeal: he not only tries to trans-late every word (holes and erasures notwithstanding), he subjects allto phonological analysis. For all that, his many studies move for-ward our understanding of the phonological system, and we are for-tunate to have his results. Most of Osings errors lie in transcription,emendation, word division, and the likehe never works withthe text at all.

If we say the papyrus cannot be studied in the way in which westudy hieroglyphic texts, what we mean is that its interpretation isnot a concern of Egyptology. It becomes o limits for theses andmonographs. Should I take Shisha-Halevys critique at face value(his concern over what he calls the methodological frivolity ofpan-Egyptian and panchronic approaches),14 it follows that thetranslator must not even use the tools of the discipline, as if to say:Try it if you will, but you cant use either dictionary or grammar.

10 Turner, Greek Papyri, 70.11 Shisha-Halevy, JEA 66 (1980), 18312 Ibid. 186.13 Ibid.14 Ibid.

preface xvii

In a happier vein Crum, who made but little out of the manuscript(I have spent much time over it, but with the poorest results),predicts, Its successful interpretation would be of no little interest.15

As my fresh transcription reveals, pBM 10808 is not only a pieceof Egyptian evidence, it is of-a-piece with all other Egyptian evi-dence; and, like every other scripture of Egyptian origin, is to beread in the light of all the rest, and all the rest recalled in its ownfading light.

15 Crum, JEA 28 (1942), 20.

PART ONE

Special Symbols

e+n n with a jinkim above the lettere+n+e n with the jinkim both above and below the letterh Middle Egyptian h Middle Egyptian x Middle Egyptian Coptic and Demotic ori. In the papyrus it reads mostly

as an , as in mj Coptic and Demotic !. In the papyrus it reads mostly as

an , as in pr/ n/a: the reading is either n or a{ } Supralinear letter or phrase as a correction[ ] Reconstruction of a lacuna or erased portion of text[ Indicates where papyrus is broken at or near the end of

a line of text(( )) Indicates a circle drawn around the letter by the scribe,

which signies to be deletede A strikethrough indicates that a warning dot should be

placed (or is placed) beneath the letter. For the ayin, thestrikethrough is placed below the letter

e A double strikethrough indicates that the reading is themerest guess (below the dot)

CHAPTER ONE

COMPARATIVE INTERLINEAR TRANSCRIPTION:SEDERHOLM, CRUM, OSING

Line 1

Ssrosbe+nnouenafrxeft[e+nousr]1xntemntm[ou]2tn . . . . . mnf.[Csrosbe+nouenafrxefte+nousrxntemntmotnri . . hmnf.[Osrosbe+nouenafrxefte+nousrxntemnto[u]tne+n[be]emnfe+n[

Line 2

Ss . . . n[e+n]xfte+npsoxne+natoretentronmtetn . . . . smo.Csatn.xfte+npsoxne+natoretentronmitetn . . mxxtn[Osatn3xfte+npsoxne+natoretentronmtetn[be]mxoe+tn[

Line 3

Smeiafhmaue+nwmaamonfaut . . emtorjetnoue'tetn'x.[Cmeiafhmaue+nwmaamonfautmemtarjetnoue'tetn'xa.[Omeiafhmaue+nwmaamonfautmemtorjetnoue'tetn'xa'[

1 Traces only. Reconstruction follows lines 18, 41.2 Traces only. Reconstruction follows lines 18, 41.3 Osing shows (diacritical?) marks after the n.

Line 4

S.ta..tommottetn/peztepkekie+nxftnpnetAx/sbsoue'r.Ce+ntn.ntommottetneztepkekie+nxftnpnetAxbsoue'r . .Oe+nt[x]ntommottetnztepkekie+nxftnpnetAxbsoue'r[

Line 5

Se+nsbmmasoubxte+nnetn.axmfhtaenesn{m}4attf . . hotnze+nCe+nsbmmasoubxte+nnete+nsaxmfhtaenesn{m}attfe+n.rotnze+n[p]Oe+nsbmmasoubxte+nneta[n]axmfhtaenesn{m}attfe +n[ou]r[o/e]tnz

Line 6

Sxere+nxftnmoutfohej . . etetnaofmsnafssA5tetnt.e'e+nnt . .[Cxere+nxftnmoutfohejeetetnaofmsnafssAtetntbe'e+nnt . .Oxere+nxftnmoutfohejeetetnaoumsnafssAtetntbeo'e+nnt[m]

Line 7

Satntetnrbrfehxoe+nwmebestpojx.ta.mhatetnubsnh/r . . bCatntetnrbrfehxoe+nwmebestpojxhtamhatetnubsenhasnbOatntetnrbrfehxoe+nwmebestpojxhtamhatetnubsenhamb

4 Textual correction: m over n, which indicates an m to be placed either beforeor after the n.

5 Demotic logogram, perhaps zA(w): Erichsen, Glossar, 4034.

4 chapter one

Line 8

Ss/obe+nnetepnmourakn6prbr'amre'nbomn.enuo . . ttfpifmCobe+nnetepnmourake+nprbr'amre'nbomnnenuonattfpifmOobennetepnmourake+nprbr'amre'nbomnnenuo[tfm]ttfpifm

Line 9

Ssbtesbtae'afx/asixfmutipirimroftesmrmaCxtesbtae'n/af/ue/asixfmutipirimroftesmrma . . ?Osbtesbtae'aufasixfmutipirimrofte-'mrmam

Line 10

Sepe+nmnn'rmnime+ntmtaeepnetrfmmeutesp.kniubfCepe+nmnn'rmnime+ntmtaeepnetrfmmeutesekniubfOepe+nmnn'rmnime+ntmta'epnetrfmmeutesp[r]ekniubf

Line 11

Snetfeknitfn'rmnimpnimlnim{a}meuni[m][]mr[n]imCnetfeknitfn'rmnimpnimlnim{a}meunimmrnimOnetfeknifn'rmnimpnimlnim{a}meunimmrnim

Line 12

Se+nteueneueran'e+neteuestmrintmhauepnmm.7uno/auetn

6 Possible trace of a jinkim over the n.7 An ink drop follows the m and may stand for a letter.

comparative interlinear transcription 5

Ce+nteueneueran'e+neteuestmrintmhauepnmmouno/auetnOe+nteueneueran'e+neteuestmrintmhauepnmmounouetn

Line 13

Smrmpotne+nersfo/ctakensroumaxous . . e+n . . . iCmrmpotne+nersfetakensroumaxousae+nqouqiOmrmpotne+nersfetakensroumaxou[s]ne+nqouqi

Line 14

Sm'ertprak+snmo8ktproktak+sn.ahitprok.9 . . aftCm'rtprak+snmktproktak+semhahitprokisnaftOm'ertprak+snmktproktak+smhahpitproke[ra]uaft

Line 15

Sjoustne10'tmsnmhautsnhahtmxteprimr[o]arahisnCjoustne'tmsnmhautsnhahtmxteprimroarahisnOjoustne'tmsnmhautsnhahtmxteprimroarahisn

8 What Crum and Osing show as an acute accent over the o is the intrusivetail of an f belonging to the previous line.

9 Unanalyzable marks, including what resembles a small t, appear directly abovethe traces of a possible .

10 Both n and e are letters of three strokes. In writing n, the oblique, secondstroke begins at the head of the rst, left vertical stroke. In writing , the horizon-tal, second stroke stems from the middle of the rst, vertical stroke. Cf. the writ-ing of nb in line 16.

6 chapter one

Line 16

Sesmomtarjeouinbmmahisn'efroartetnbetis[n]11.aCesmomtarjeouinbmmahisn'efroartetnbetisni/aOesmomtarjeouinbmmahisn'efrouartetnbetis[h]ia

Line 17

Siktmhauepneejepqen'aerakai[s]b[e+nouen]12afrCiktmhauepnepqen'aerakaisbe+nou[e]nafrOiktmhauepneejepqen'aerakaisbe+nouenafr.

Line 18

Sxefte+nousr((ouenafr))xentemnte+ntmoutepoe+ntmouten.tetoxiCxefte+nousr((ouenafr))xentemnte+ntmouteroe+ntmoutenbtetoxiOxefte+nousr((ouenafr))xentemnte+ntmouteroe+ntmoutenbtetoxi

Line 19

Se+n+ebenime+ntemnamoumenqxnsnsaxmkxbse+nt.[]13okpriCe+nbenime+ntemnamoumenqxnsnsaxkxbse+ntmokpiriOe+n+ebenime+ntemnamoumenqxnsnsaxmkxbse+ntmokpri

11 Reconstruction follows line 44: betisn.12 See lines 1, 3940.13 Reconstruction follows line 14.


Line 20

Sispete+npiam[.]14. .15. .16. . e+nte+npmtmt17ereraf.kautorafCspete+npiamsne.tare+nte+npmtmtererafukautobfOspete+npiam[s]ne[]tare+nte+npmtmtorerafkautobf

Line 21

Sm.matnete . . kbk . . eunefnauee+ntmie+natouaofCm.matnetenpikbke+nounefnauee+ntmie+natouaofOm.matnetenn[e]kbkounefnauee+ntmie+natouaof

Line 22

Snimh.eiexf.ee+nnabo18ta19rtouma.iepsk.ehxkm.Cnimhaueiexftee+nnaboutartoumaiepst/pehxmiOnimhoueiexftee+nnaboutartoumaiepspehxmi

Line 23

Sba'nspouxftn20[. . .].rre+n+epxere+n+exftnpkekemoura.

14 Trace of broken rounded letter.15 Trace of a left-curving letter.16 Trace of a horizontal stroke (resembling the horizontal stroke of a t) precisely

above a hole in the papyrus.17 There are marks under both the m and the t that belong to an erased text.18 The tail of an f that belongs to the previous line interferes with the o, but the

reading clearly is o, not ou. What Crum takes to be the right fork of a u belongsto the horizontal of the following t.

19 The seems to have an extra, higher dot (as if forming the apex of a trian-gle of three dots). This apical dot likely is an ink splash.

20 Not m-ft-nj as elsewhere in the papyrus.

8 chapter one

Cba'nspouxftn[p]mourre+n+epxere+n+exftnpkekemouraouOba'nspouxftn[pmo]urre+n+epxere+n+exftnpkekemoura'

Line 24

Se+n+ep'ote+nxftnpbe[. .].toutafomet'afjati4ntmseatnCe+n+ep'ote+nxftnpbe[i]ntoutafomet'afjati4e+ntmseatnOe+n+ep'ote+nxftnpbe[ri]ntoutafomet'afjati4e+ntmseatn

Line 25

Smenqantitrinf[. .]oxiafj[a]ti4ntmc/o21ntouxo[e+n]xfte+npCmenqantitrinfeoxiafjati4e+ntmoe+ntouxoe+nxfte+npOmenqantitrinfeoxiafjati4e+ntmce+ntouxoe+nxfte+np

Line 26

Smourre+nwm.n/r.[. . .]tiafjati4e+ntmseatnt[ouxo]22 . . . 23Cmourre+nwmu/nn[.]etiafjati4e+ntmseatntouxe+n4[e+n]Omourre+nwmun[24e]tiafjati4e+ntmseatntouxe+ne+n

21 Lines 24, 26, and 29 suggest a reconstruction as ms; but note the absence ofthe nal three letters of the sequence tmseat. For s/o Crum reads o; and, indeed, aclear right-curved stroke and a partly-executed left-curved stroke are visible. Yetthere are two tiny rounded spots where the ink either has aked o the right-curvedstroke or where the brush never impressed the ink. These spots suggest at a read-ing s, with an ink drop splashed immediately to its right.

22 Reconstruction follows line 25.23 Traces of two to four (or more) illegible letters. The presumed second letter

may be an n with jinkim or tilde-like superlinear stroke. I do not transcribe it.24 There is space for one letter.


Line 27

Ssaxmaxten[. . .]nouseri . . . emto.[. .].e+ntmCsaxmaxtee+n[. .]nouserii/r.atemtore . . . 425e+ntmOsaxmaxtee+n[ m]nouseriratemtore[ a]ue+ntm

Line 28

Sseate+n26xotim'.27[. . .].htajetre'epn..Cseate+nxotim'e[]rhtajetre'epnps . . . [Oseate+nxotim'e[ ]htajetre'epnp[e

Line 29

S

sxamstenefou[. . . .]auemxe{mn28ou}29tmseatn.Csxamstenefou[it]auemxe{mnou}e+ntmseatne.[ ? p]Osxamstenefou[t]auemxe{mnou}etmseatne[

Line 30

Ssoxmnpn30etx.[. . .]na.31tm'er.32.33fr[. . . .]hua.e

25 Crum places a warning dot under the numeral.26 There are drops of ink over the rst vertical stroke of the e+n.27 The letter is broken and leaves only the trace of a left-curving stroke.28 Possible traces of a jinkim over the n.29 The phrase mnou appears above tmseat, with the m over the t; Crum places

the m over an e+n.30 Again, Crum and Osing read for n.31 Left-curved stroke. Trace of horizontal or oblique stroke within the curve.32 Left-curved stroke.33 Curved stroke.

10 chapter one

Csoxmnpetxe[. .]nastm'ers/exr . . . huaueOsoxmnpetx[ ]nastm'34rsxr/if[ ]huaue

Line 31

Ssrm/zeubnomfseishx.piisnr'ms.[. .].s.soxmCsrmeubnomfsei/shxpiisnr'ms. .mspsoxmOsrm35eubnomfse[i]shxpiisnr'ms[ ]mspsoxm

Line 32

Sprome+n+ebeik . . xf.ajnaj.ueftoux[. .]36 . . . . psoxmCprome+n+ebeikuaxfn/taj.eeftoux[] . . . psoxmOprome+n+ebeik'axf.ajnafaueftoux[ ni ]psoxm

Line 33

Sprome+n+ebeikmmesiekbksinentotf . . . . t.uomCprome+n+ebeikmmesiekbksinentotf . . . toux/oOprome+n+ebeikmmesiekbksinentotf[m ]toux

Line 34

Se+n+enefoutauearrasotpmaufto . . . . . . . . eCe+n+enefoutauearrasotpmauftosfmma . . e

34 Note the acute accent over the e.35 With one dot only (on left). Crum has two dots over the i.36 If reconstruction follows touxo (see line 25), I read: x[o][.].


Oe+n+enefoutauearrasotpmaufto[b]fmma[tn]e

Line 35

Sme{n}qubnomef37qi38 . . ueuebke39.kir/u/mCme{n}qubnomefqi/k.aueuebkeekiu/x . . . . ?Ome{n}qubnomefqi[n]aueuebke'kiu[m

Line 36

Ssoue+nsnentotsnmstemre+n[mn] . . r40.41 . . . . . .Csoue+nsnentotsnmstemre+nmn . . r . . . . . ?Osoue+nsnentotsnmstemre+nmn[e+n]r[mnimhbmr]

Line 37

Sn'e+ne+nteueneuerafn'e+nnteuestmrinf . . . . . . aCn'e+ne+nteueneuerafn'e+nnteuestmrinf[. . m]ha[u]On'e+ne+nteueneuerafn'e+nnteuestmrinf[t m]ha[u]

Line 38

Sepne+nmaeer42[.]mmtakierasaks . . . u43

37 The right-curved stroke of an seems to be written over a vertical stroke orvice-versa.

38 A vertical stroke, either i or part of another letter.39 Illegible. One letter overwrites another. Cf. keki in line 48.40 A rounded trace: perhaps the rounded head of an r.41 Traces show an oblique stroke resembling tail of or f. The angle is more

consistent with an x.42 Compare the sequence er in line 37.43 Crum reconstructs as s[ro]u following line 13. I see two diculties: (1) the

traces Crum reads as are really three discontinuous dots or strokes, rather than

12 chapter one

Cepne+nmaeet[n]mmtakierasaki/es[ro]uOepne+nmaeetnmmtakierasakns[r]ou

Line 39

Smaxoun44tmnqouqim'erttepiesbe+nCmaxoue+ntmnqouqim'erttepiesbe+nOmaxoue+ntmnqouqim'erttepiesbe+n

Line 40

Souenafxefte+nousrxntemnte+nbenime+ntemnamouCouenaf(r)xeftnousrxntemnte+nbenimne+ntemnamouOouenafxefe+nousrxntemnte+nbenime+ntemnamou

Line 41

Se+ntoumouteiloue+nmoutenbtetoxipris[n]45mCe+ntoumouteiloue+nmoutenbtetoxiprisnmOe+ntoumouteiloue+nmoutenbtetoxiprisnm

the hook of the ; (2) the traces of ink drops that precede the u show no indica-tion of a curved stroke like that of an o. Although there is space for three letters,which invites the possibility of Crums reading, no clear traces remain.

44 No jinkim as in Crum and Osing.45 Traces only. Compare line 42 for three examples of the sequence isn.


Line 42

Sox46tisnmaisnomf 47eanisnem/u48tpCotisnmaisnofeanisnemoiktpOostisnmaisnofeanisnem{i}ktp

Line 43

Sroeanisnmmat/u49taftjouotnetm.e+ns50Croeanisnmmahtaftjoustnetm51sOroeanisnmmahtaftjoustnetms

Line 44

Se+nmhauepnbetisnatfmxtepiriCe+nmhauepnbetisnatfmxtepiriOnmhauepnbetisnatfmxtepiri

46 The x, cramped between the and the t, is a later insertion.47 A pronounced space separates the letters.48 Osing reads the trace as the overwriting of a k with an i or vice-versa; but

the trace he reads as i consists of only two drops of ink: one above the letter; oneat its base. A third drop stands just to the right of that found above the letter.Although the two oblique strokes that form the right element of the letter k nor-mally ought to originate at the middle of the left vertical, what the papyrus has isa left vertical stroke, a short right horizontal that originates at the middle of theleft vertical, and a left-and-upward-curving stroke attached to the short right hori-zontal. The resulting letter resembles an .

49 Crum reads h; yet what seems to be an oblique stroke of a single letter, run-ning from right to left to join a vertical stroke, is only the tail of an f intrudingfrom the previous line.

50 The trace is more consistent with than n; yet note the jinkim that often goeswith the n in order to write the vowel /e/.

51 Crum and Osing place a macron or jinkim over an e = .

14 chapter one

Line 45

Smroarahisnefsomtmfarje.uinbCmroarahisnesomtmfarjeouinbOmroarahisnesomtmfarjeouinb

Line 46

Smmisne'efrofe52psoxme+ntomnhamsbCmmisne'efrofepsoxme+ntomnhamsbOmmisne'efrofepsoxme+ntomnhamsb

Line 47

Sexopimkekinenouanrinfenen'tmetjt 53Cexopimkekinenouanrinfenen'tmetjtOexopimkekinenouanrinfenen'tmetjt

Line 48

Smenftioue'bkekimiere'rinem'era'e+n+eCmenftioue'bkekimiere'rinem'era'e+n+eOmenftioue'bkekimiere'rinem'era'e+n+e

52 What Crum takes as an acute accent mark over the e is only the intrudingtail of an f belonging to the previous line.

53 The Demotic sign stands for a special phonetic complement, i.


Line 49

Smntpeneferen[.]uf/oemhauepnn54ema'sCmntpeneferenoufemhauepnmema'sOmntpeneferen[o]ufemhauepnnema's

Line 50

Sxoua'smekia[.]smmouatere'temamCxouausmekiausmmouatere'temamOxoua'smekia[']smmouatere'temam

Line 51

Sm.55be+n+emnm[. . . m]nmaeubftm.teberiCm/ebe+n+emnmi[. . . m]nmaeubftmaeberiOme//be+n+emnm[a m]nmaeubftmteberi[e+n]

Line 52

Swm56 jata/ouana[. . . .]ere'efohim'shimhaupnCm-wmjatouana[. . .]ere'efohim'shimhaupnOm-wmjatouana[ ]ere'efohim'ehimhaupn

54 The letter is poorly executed; yet the rst (or left) stroke bears but small resem-blance to that of an m (so Crum).

55 One letter overwrites another: likely over e.56 Note the absence of the e+n before the Demotic signs: wm, not m-wm.

16 chapter one

Line 53

Satefrmn57t[. . . .] jimhaupnCatefrmt[. . .] jimhaupnOatefrmt[e+nou]jimhaupn


57 A nal place where n has been read .

CHAPTER TWO

OSINGS EGYPTIAN TRANSLITERATION AND GERMAN TRANSLATION (WITH SELECTIONS

FROM CRUM AND VOLTEN)

Spell One

(Underlining indicates where the readings of Crum, Volten, andOsing inuence my transliteration and translation.)

Line 1o-srw.t bj n-wnn-nfrwO Sro, Feind des Onnophris,ftj n-Atjrt-ntj-jmnt.tWidersacher des Osiris, des Ersten den WestensCrum (i.e. Gardiner and Gunn): O! ram, rebel [of; against]

Onnophris enemy of Osiris, [Foremost of Westerners](ntj-) r-m n-n[bjj.t]-'m.n.fdie du tief eingesunken bist wegen der Flamme, die er geschluckt

hat,m[tw.-jrt?]-2Aw n-ft-n-pA-sn n-wtrw(-)tA-nr.t-'A.tund die du eine Attacke gemacht hast gegen den Gefhrten der

Hathor, der Groen Gttin,Crum: Hathor Tentyra (or the great goddess)m-m-tA-n[bjj.t] m-.t-jAals die Flamme tief einsank zu einem schmerzbringenden Feuer!n-3mj.f r-mw m-wmEr versank nicht wieder im Wasser, A'-mA'-n.f wtjbis Thot zu ihm kamCrum: Until (so that) Thaut (Thoth) seize him (seems impossible)m-Am-tw (r-) 'r r-jtnw.als einer, der dich packte und gegen deinen Aufruhr schtzte,twt(?)-n-

osings egyptian transliteration 19

m-Ad ht-jtnwbei wtendem Treiben und Verbreiten von Aufruhr.A. tp-pA-kkjw n-ft-n-pA-nr-'AZurck! La ab von der Bedrngnis (o..) des Groen Gottes!bw. r-jrt-'Ay( ?) 5n-bjDeine Gewaltttigkeit bewirkt feindselige Glut(?)m-ms-wbdw(??) n-nr-'A nn-'m.fals etwas, das dem Groen Gott ein unerlschliches Brennen bringt,ht. jnj-wund du ziehst umherdu, die es (sc. das Brennen) gebracht hat,n-mA-jA.t.f n-[w]r.n.damit sein Schmerzen unermdlich brenntm-pA-6r n-ft-n-nm.t.f-Ahj/win dem, der dem davon bewirkten schmerzbringenden Verderben

verfallen ist,jw-Aj-jtnw j.'.w.f mAs.n.f-twenn Aufruhr seine Glieder befallen und sie verwundet hat, Crum: her (its) blood. The cross suggests dem. sA amulet, or may

be mere punctuation.twt n-bA-'w n-ntj-m7dnwund dem es zukommt, (ihm) den Zustand von einem Gesunden

wiederzuverschaen,twt n-rb-jrw.fund dem es zukommt, da sich bei Feuerr-'.t m-wmsein Benden wieder wandelt,jw.-bs.tj '( A)p-'Aindem du eingedrungen bist, du frevelhafter Feind (o..),r-ht. m-ht-jtnw n-jb.und du umherziehst als eine, die nach ihrem Belieben Aufruhr

verbreitet,nA. m-'bwindem du gefhrlich wirkst in bsem Tun,8'bw n-nr

20 chapter two

jrj.-mr.t r-nbj-Am(w)und indem du Bses anrichtest whrend des Brennes einer Glut,nn-nnw.t.[ f ] m-tAy.t.f p'jw.fdie nicht ermattet in ihrer Hitze und ihrem Glhen,m-9bj(w)t. bjin deinem Aufruhr, du Aufrhrer (Feind).(A)hd. r-'Aw.fDu bist (aber) schwach geworden an seiner (sc. des Thot) Grer-A.f m-w(w).t prj-m-rA.faufgrund von dem, was er wirksam machte in dem Befehl, der

aus seinem Munde kam.Crum: go forth from his mouthtA m-jrt-'AyDu, der du hei bist (Hitze verbreitest) durch Verursachen von

Feuersglutm-' m-10jb n-NNim Leib und im Herzen von NNn'-rm-nb ntj-m-tA-pn r-r.fund eines jeglichen Menschen, der in diesem ganzen Land ist,Crum: with every man that is in all this landm-jwdw r-pr.k-n.j jb.finbesondere von dem, dessen Herz du mir zuwendest11ntf.k-n.j Atj.fund dessen Herz du mir lst,n'-rm-nb p'w.t-nb rxw.t-nbund aller Menschen, aller p'w.t, aller rw.t,Crum: With every man, every p't, every ryt11nmmw.t-nb mw.t-rA-nballer nmmw.t und aller brigen,Crum: every nmmt, and so forth,12ntj-jw.w-r-nw-jr.j n'-ntj-jw.w-r-m-rn.jdie mich sehen und meinen Name hren werdenCrum: Who shall see me, with them that (or? and who,) shall

hear my name,m-hrww-pn m-wnw.t-tnan diesem Tag in dieser Stunde!Crum: on this day and in this hour13jm-rnpw-jtn n-r-jw.f-AdNicht soll sich erneuern ein Aufruhr wegen der Vertreibung seinesfurchtbaren Unheils,


Crum: and this year.'A.n-rj.w m-'j.wwenn ihre Befreiung von ihren Brennen Erfolg gehabt hatr-n-nA-Adw 14m-Aw.jdurch Bindung der Flammen durch meine Macht,pr.k-t jrm-hh.k tpj-rA.k(so) da du sie durchziehst mit dem Gluthauch in deinem Mund,djj.k-t m-hh-pw tpj-rA.k-jr.wund du sie in diesen Gluthauch gibst, der in deinem Mund gegen

sie istfd-15w.-tn r-jA-mAw. m-hmwDiese, die ihr Bses ausschickt, indem ihr Brennen Schmerz be-

reitet in Hitze,hwt. n-hh A.t.deren Gluthauch-Flamme und ihre aggressive Kraftm-tj-prj m-rA.jdas ist, was mein Spruch zurcktreibt!jrj-''w. n16rw m-Am(w)Du, deren Stehenbleiben ein Brennen zu Glut macht,t-jrw-Aw.wt n-'bw m-''w.so da es bei ihrem Stehenbleiben keine unheilvollen Taten anrichtetnn-'f A-rA. wrw r-dwn-bhdw.und sein Mund nicht mehr gierig ist, weil er zu schwach ist, ihre

Glut zu verbreiten!hAj. 17kA.jDu sollst fallendu, die ich beschworen habeCrum: My magic? I will say the . . . to thee.m-hrww-pn jw.j-r-jA-pA-njw-'A-jr.an diesem Tag, wenn ich das groe Unheil von dir fortnehme.

Spell Two

kj(?) bj n-wnn-nfrwKai, Feind des Onnophris,18ftj n-Atjrt-ntj-jmn.tWidersacher des Osiris, des Ersten des Westens,ntj-r-md r-rA.jder du tief eingesunken bist bei meinem Spruchm-m r-nb-tA A.t

22 chapter two

in einem tiefen Niedersinken bis das Feuer verzehrend wirkt,Crum: And thou (they) pronounce for me every word19nbjj.t-nb ntj-jw-NN r-'m.wund all ihr Flammen, welche NN geschluckt hat!Crum: In every place where So-and-so ismn-nsw n-m.kBeende das Umherziehen diener Machtbw ntj-m-hh.k-prj 20hAjund die Gewaltttigkeit, die in deinem auf und niedergehenden

Gluthauch ist,pd.tj m-p'jw-'Aindem du stechend bist mit groer Glut!mn-tw jrj-ntj-m-pA-mw mtrw-jr.fWende dich umdu, der du das angerichtet hast, was in der

Tiefe ist, und dort gegenwrtig bist!A.k Awj-tp.f 21m-jtnw-AdZurckdu, der du deinen Kopf ausgestreckt hast als wtender

Feind!'n-nAj.k-'bw-khAj.w.w nn-jfn.wWende deine schlimmen Untaten ab, und sie sollen nicht umkehrenr-nA-dm(w).t n- 'd.w-j.'.w.f-22nbzu den Wunden von dem, dessen smtliche Glieder sie zerschit-

ten haben,wA-Ahw.w r-ft-r-n-nbj.wdie (sc.: Glieder) schlimm schmerzen whrend ihres Brennens,djjw r-jrt-tAw m-''wwenn es (sc. das Brennen) veranlat ist, (nur noch) Glut zu verur-

sachen in einem Stehenbleibenr-pA-sp( j ) r-my.t 23bjn.auf den Heilspruch fr Hitze und deren Bses hin!pA-wA ft-n-pA-mA(w) rrwDer, der schlimm ist whrend des Brennens, ist gebundenCrum: scarabm-pA-r(jw) n-ft-n-pA-kkj mrw-'als der Feind des Kindes mit krankem Krper,24m-pA-jAd(w) n-ft-n-pA-brj ntj-wd.f-Am(w)-Adals der Feind des Kindes, das an furchtbarer Glut leidet.jrj.f-Ay.t r-djt-jfdw n-mwEr hat Unheil angerichtet, indem er vier schlimme Schmerz-Anflle

verursacht hat,


nn-25mn-'-n-tAw. dr.j-n.f r-A.t(doch) gibt es nicht ein Vollenden des Zustands seiner Glut, die

ich ihm vertreibe, zu Feuer.Crum: we have given (made) his name to standjrj.f-Ay.t r-djt-jfdw n-mwEr hat Unheil angerichtet, indem er vier schlimme Anflle verur-

sacht hat,nn-tAw-.t n-ft-n-pA-26mA(w)(doch) es gibt nichts (mehr), das hitzig ist an Feuer whrend des

Brennens,Crum: scarabrrw m-wmwenn er wieder gebunden istw'w m-[m]tjtund aufgehrt hat, Erfolg zu haben.jrj.f-Ay.t r-djt-jfdw n-mw-jAEr hat Unheil angerichtet, indem er vier schlimme Schmerz-Anflle

verursacht hat,nn-tAw-.t n-nA-27m.w-'A.yw .tj(doch) es gibt nichts (mehr), das hitzig ist an Feuer infolge der

groen feurigen Mchte,n[ tj ]-m-nw. r-jrt-jj( j).t jrt-'( j)y.tdie in ihm sind, um Unheil zu schaen und Verwstung anzurichten,mtrw r-[pA - jfd]w n-m28w-jAund die gegenwrtig sind in den vier schlimmen Schmerz-Anfllen,nn-tj m-'w n-ht-'Awohne zu weichen aus einem Zustand, frevelhaftes Tun zu verbreiten,jw.j-r-dr-'w-pn p[-tA-.t m-]29m.w.wenn ich diesen Zustand, den das Feuer durch seine Mchte

erreicht hat, vertreibe.(A)hd-nA-jwf.yw-[t]Aw.w Am-.t m-nw.wDie erhitzten Glieder, in denen Feuer gebrannt hat, sind schwach

geworden,jw-mw-jA r-n[nt.w]indem ein schlimmer Schmerz-Anfall sie matt gemacht hat[m]-30m n-pA-'Aydurch die Macht der Glut,jw-tA-[.t-'A.t?-]ns.tj m-Aw.und indem das (groe?) Feuer umhergezogen war in seiner Macht,.........................

24 chapter two

doch...31 (m-jjt ?) r-Abjw n-Am.f(durch ein Kommen?) zum Aufhren davon, da er brennt,sAy-t r-.twelches sie (sc. die Glieder) bewahrt vor Feuerp'jw. m-rA-'w m-[]m.und auch dessen Glut als seiner Macht.pA-m 32prj-'w-m-jj( j).t n bAw.kDie Macht, die gewaltttig ist in unheilvoller Wirkung wegen deiner

Gewalt,'j.f n-'Aw( ?) jwwihr Brennen (von frevelhaften Tun?) ist beseitigt,Ahw.f tAw-[.t snjw]ihr feuerheier Schmerz ist geschwunden.pA-m 33prj-'w-m-jj( j).t n bAw.kDie Macht, die gewaltttig ist in unheilvoller Wirkung wegen deiner

Gewalt,m-Ahw.-jjj (r-) 'A-jb.kund in deren (sc.: Wirkung) Schmerzen, das nach deinem Willen

kommt,snj-jnd.t.f-m[rw] tAw-.t 34n-nA-jwf.yw-tAw.wgeschwunden ist ihr Schmerz, der schlimm und feuerhei ist fr

die erhitzten Glieder,jw-jrj.j-w r-tpwenn ich sie dazu gebracht habe, Ruhe zu gebenm-Aww.f ( j.Awj.f )-tp.f m-j[tnw]darin, da sie ihren Kopf als Feind ausstreckt,jw.j-r-35mn-Abjw n-Am.fund wenn ich das Aufhren davon, da sie brennt, zum Abschlu

bringe,Aw nwjw r-wbA-kkjwindem sie zunichte und gehindert ist, Finsternis oen wirken zu lassen,r-w' m-[ jrt-.tund indem sie aufhrt, Feuer zu verursachen,m-j]36w(w) n-snt-jnd.t.-'A.t m-mAw.in gleichem Mae, wie dessen Schmerz, der in seinem Brennen

gro ist,geschwunden ist.tA m-jrt-'Ay


Du, der du hei bist (Hitze verbreitest) durch Verursachen vonFeuersglut

n-NN n-rm-nb mw.t-rAdem NN, einem jeglichen Menschen etc.37n'-nA-ntj-jw.w-r-nw-jr.fn'-nA-ntj-jw.w-r-m-rn.fund denen, die ihn sehen und seinen Namen hren werdenCrum: Who shall see him and who shall hear his name . . .d[ j m-] hr[ww]-38pnhier an diesem Tag!Crum: on [this] daynn-mAwj-jtnw m-A.t.j 'A.j-jr.Nicht wird sich erneuern ein Aufruhr durch meine Macht, die

ich dagegen richte,'A.n-rj.w 39m-'j.wwenn ihre Befreiung von ihrem Brennen Erfolg gehabt hatn-m-nA-Adw m-Aw.jinfolge eines Abwendens der Flammen durch meine Macht.

Spell Three

tpj.t bj n-40wnn-nfrwTepie (-Schlange), Feind des Onnophris,ftj n-Atjrt-ntj-jmnt.tWidersacher des Osiris, des Ersten des Westens!nbjj.t-nb ntj-jw-NN r-'m.wAll ihr Flammen, welche NN geschluckt hat,41mtw.w-m r-Ar.wund welche tief eingesunken sind in dem, den sie bedrngen,m-m r-nb-tA-A.tin einem tiefen Niedersinken bis das Feuer verzehrend wirkt!prw. jrm-42hh.Ihr (Sg. f.) Zirkulieren ist zusammen mit ihrem Gluthauch,tAw. jrm-''w.ihre Glut ist zusammen mit ihrem Stehenbleiben,nn-Am.f r-'nnw.(erst) bei ihrer Abwendung brennt sie nicht (mehr)nA m-kAw tpj-43rA.j

26 chapter two

Dies ist der Zauber in meinem Mundr-'nnw. nmtjzu ihrem Abwenden, indem sie zunichte ist.fd-w.-tn r-jA-mAw. 44m-hmw-pnDiese, die ihr Bses ausschickt, indem ihr Brennen in dieser Hitze

Schmerz bereitet,bhdw. n-hh A.t.fderen Gluthauch-Flamme und ihre aggressive Kraftm-tj-prj 45m-rA.jdas ist, was mein Spruch zurcktreibt!jrj-''w. nsrw-Ahj/w m-'AyDu, deren Stehenbleiben ein schmerzhaftes Brennen zu Glut macht,tm.f jrw-Aw.wt n-'bw 46m-''w.so da es bei ihrem Stehenbleiben keine unheilvollen Taten anrichtet,nn-'f A-rA.f r-pA-m n-dmund sein Mund nicht mehr gierig ist nach der Macht zu stechen!nA. m-bj 47j.pr-m-kkjw-nnDu hast gewtet als ein Feind, der Gestalt gewonnen hat in dieser

BedrngnisCrum: Ever to become dark or become a child for thee,wAj.n-rn.f r-n n'-dmy.tsein Name ist vergangen fr Zeit und EwigkeitCrum: as one like him (lit. of his name).Volten: Woe to his name forever and always.48mn-n.f jA.t r-wbA-kkjwum dessentwillen stndig Schmerz da ist und Bedrngnis (o..)

schat.mjw-jrw. rn.-mA'Gefunden ist dein Wesen und dein wahrer Namer -rA n-49NNbei dem Spruch fr NN.tp.-n.f r-rnw.f r-hmw-pn.Du sollst ihm gndig sein wegen seiner Jugend bei dieser Hitze.Crum: Satisfy him(?) with good food this day.nm.-w 50wj.-wDu sollst ihn erretten, sollst ihn schtzen,mkj.-w m-( '-) mwtsollst ihn bewahren davor zu sterben.jrj.-r-jA-mm 51m-jb n-NN


Du sollst es beenden, da Hitze im Herzen des NN Schmerzbereitet,

m[A' ]-NN mA'-jb.fdamit NN in Ordnung kommt, damit sein Herz in Ordnung

kommt,tm-jA r-brj m-52wmwelches nicht wieder von neuem Schmerz bereiten soll.d.w (d.tw.w) jn-[kAw] r-jrt-'wEs (ist) aus(zu)sprechen durch einen Zauberer, um zu behandeln

einen Zustand,jw.f-r-Ahj/w m-Ahw.w m-hrww-pnwelcher schmerzhaft ist an Schmerzen an diesem Tag,53A'-r-jrt.f-jrt-mtj [nn-w]A.t m-hrww-pnbis er restlos in Ordnung ist an diesem Tag.

CHAPTER THREE

PHRASE-BY-PHRASE OLD COPTIC TRANSCRIPTION,EGYPTIAN TRANSLITERATION, AND ENGLISH TRANSLATION

[Line 1]srosbe+nouenafr sro sb e+n ouenafrj sr bj nj wnn-nfr.w

O Ram, Rebel to Wennefer,

xeft[e+nousr]xntemntxeft [e+n ousr] xntemntftj nj wjr ntj jmn.tjw

Enemy of Osiris, Foremost of Westerners!

m[ou]tn . . . . . mnf.[mout n . . . . . mnf.[mdw nj///

This is the spell for . . .

Notes: mdw > moyte (speak, call); mtayB (wizardry, magic); matoy(poison), ern, 93.

[Line 2]s . . . n.xfte+npsoxne+natoretentronms . . . n. xft e+n p soxn e+n atore t entr o nm//m-ft-nj pA sn nj w.t-rw tA nr.t 'A.t//

. . in inimical stance against (or in action of enmity against; or corre-sponding to = n-ft + NP, Wb. III 274, 189 = Osing, 153 n. 197)the Embracer of Hathor, the great goddess . .

tetn . . . . smo.tet n . . . . smo.twt nj////

Perfect Image of (or you are as) . . .

phrase-by-phrase old coptic transcription 29

Notes: The reading twt for tet (Osing, 199 n. 455; Crum, 447: toyoote,toyvt S (idol); Crum 437: tet= S, from the verb of joining, twtw) fol-lows the logic of reading net for noute = nr. A subtle wordplay arisesbetween twt (image) and the OK (and archaizing) independent pronoun(2ms) wt: You are (the Perfect Image of ) xyz. The pronoun, in its MiddleEgyptian spelling, is often identical with the writing of twt (image), whichfact strengthens the likelihood of wordplay. (If the n had the jinkim, Iwould read the phrase twt m, rather than twt nj.) The common formulafor divine statues in Demotic reads twt nj + Divine Name: twt nj wjr(Erichsen, Glossar, 616).

3meiafhmaue+nwmaamonfaut . .mei=af h mou e+nwm aamon=f aut . .mj=f r mw m-wm Aj mA' n=f wtj//

He will (or may he) oat on the water again (or repeatedly) untilThoth comes to him . .

emtorjetnoue'tetn'x.[e mtor jet n oue' tet n ' x.[r mtr d n w'w twt nj A.w//

in order to speak a true word to (or to accuse) the Unique One(?),Perfect Image of an Akh (or of akhu-radiance) . .

Notes: Under the heading statues in the Tebtynis Onomasticon we nda twt nj A (Statue of an Akh-spirit), Osing, Tebtunis I, I, 292. mtr = Dem.mtr, Erichsen, Glossar, 192, 1.

4.ta . . tommottetn/p.ta . . tommottetn/p////twt nj//

. . . Perfect Image of . .

eztepkekie+nxftnpnet'Ax/sbsoue'r.ezte p keki e+n xft n p net 'A x/sbs oue'r.r pA kkw m-ft-nj pA nr 'A b w'w//

against(?) the Dispeller of the Darkness (or the Dark One) in ini-mical stance against the great god, the Unique Lamp (or DecanStar) . .

Notes: b > hbs S, qhbs B (lamp), ern, 272.

30 chapter three

5e+nsbmmasoubxte+nnetn.e+n sb m masou bxt e+n net n.n bj m mj.w b.tw nj nr//

to the Rebel, as (or by means of ) forms (or children) begotten(?) ofgod . .

axmfhtaenesn{m}attf . . hotnze+naxm=f h tae nesn{m}attf . . hotnz e+n'm=f r tA////n

when he extinguishes his light(?) upon earth . . . for

6xere+nxftnmoutfohej . . exer e+n xft n mout=f ohej . . er m-ft-nj mdw=f ///

the Fallen One in inimical stance against that-which-he-speaks (thatis, his spell) . . .

tetnaofmsnafstet n ao=f m sn=af stwt nj '.w=f m snn=f w

Perfect Image of his body, even in his very likeness.

sAtetnt.e'e+nnt . . [sA tet n t.e'e+nnt . . [sA twt nj///

Protect! (or, to introduce a gloss = that is to say) Perfect Image of . . .

Notes: The sA-like sign might alternatively stand for either of two rubric-like markers that are to be read either as: that is to say (a long hori-zontal line with a short vertical intersecting at its center, like the 'A-signor the sA, these intersecting lines appearing over the rA- or mouth-sign:jr: say this, not that); or another reading (the k- or basket-sign overthe same horizontal with intersecting vertical: k.t). (Osing treats the LatePeriod textual markers in Tebtunis I, I, 278.)


7atntetnrbrfehxoe+nwmatn tet n rbr=f eh xo e+nwmjtn twt nj prw=f r 'j m-wm

. . Perfect Image of his shape, which is making manifest again (orrising repeatedly),

Notes: 'j > $ae (ern, 234). For the parallel phrase wm-', see Osing,Tebtunis I, I, 2034: wm-' makes up part of the name of the ThirdHour of the Night, not sunrise at all. The anticipation of dawn inher-ent in the idea of an inverse, nocturnal sunrise into the Netherworldmatches the narrative line of the papyrus.

ebestpojx.ta.mhae bes t p oj x.ta. m har b.tw pA '///m hAj

so that the Wicked (or Hale) One may be lead (or introduced into;or so that I or you or he may be lead by the Wicked One) . . indescent.

Notes: For r with the m=f (so that), see Gardiner, Grammar 163. hAj> e (ern, 270).

tetnubsnh/r . . btet n ub sn h/r . . btwt nj jb n.nw///

Perfect Image of a second (or identical) heart (or of their heart: jb=n). . .

8s/obe+nnetepns/ob e+n net epn'b nj nr j.pn

O Plague (or Impurity) of this god (or 'bw: O Purity or Purier ofthis god),

mouraknprbr'amre'mour ak n p rbr 'a m re'mr=k n pA prw 'A m r'w

32 chapter three

may (or when) you bind the Shape, Great of (or the Great Shape) . .(or the Shape or Manifestation that is great in, m, or like, mj, Re?),

Notes: Bind best matches the spelling mour. Bind is glossed as mwlin the Tebtynis Onomasticon, Osing, Tebtunis I, I, 216; aict (mr) asmhl (in ibid. section Z. 217).

nbomn.enuo . . ttf pifmnb omn .enuo . . tt=f pi=f mnb jmn///twt=f p'w=f jm( ?)

Lord of Hiddenness . . . his Perfect Image, his ery glow thereon(?).

9sbtesbtasb te sb tasbj.tj(?) bj//

You have passed away, O Rebel . .

e'afx/asixfmutipirimroftesmre'a=f x/asixf muti piri m ro=f tes mr'Aj=f ///md prj m rA=f ///

O-May-He-become-Great-in- . . . -coming-out-of-His-Mouth (that is,his spell) . . .

Notes: 'Aj=f is formally the prospective nfr=f of adjective verbs, a verbalform appearing after verbs of volition or in main optative clauses (as here). The prospective nfr=f displays a semantic shift from the staticto the dynamic meaning (he will become good), Loprieno, Ancient Egyptian,125.

ma10epe+nmnm a ep e+n mnm A jb nj mn

around the heart of So-and-so

n'rmnime+ntmtaeepnetrfn' rm nim nt m tae epn e tr=fn' rm nb ntj m tA j.pn r-r=f

and that of every man who is in this land to the border thereof.


mmeutesp.kniubfm meute sp.=k n=i ub=fm md.t pr=k n=j jb=f

With enchanting words, may you divert his attention for my sake.

11netfeknitfnetf=ek n=i t=fntf=k n=j A.tj=f

May you distract (or relax) his heart for my sake

n'rmnimpnimlnim{a}meuni[m][]mr[n]imn' rm nim p nim l nim {a}meu nim []mr [n]imn' rm nb p'.t nb rj.t nb nmm.t nb mw.t-rA nb

and that of every man, every Noble, every Commoner, every mem-ber of the Solar Priesthood, and anyone else

12e+nteueneuerae+nteue neu er=antj.w nw r=j

who might look at me

n'e+neteuestmrintmhauepnn' e+neteue stm rin=t m hau epnn' ntj.w m rn.t=j m hrww j.pn

or hear my name today,

mm.uno/auetn13mrmpotne+nersfmm .uno/aue tn m rmpo tn e+n er=s fm wnw.t tn m rnp.t tn n-r=//

or this hour, or this same year (thereof or in which these things areconcerned) . .

sroumaxous . . e+n . . . isrou m axou s . . e+n . . . irj m A.w///

chasings away by means of that akhu-radiance . . .

34 chapter three

Notes: rj > saoy (to curse), ern, 175.

14m'ertm'e r=tmA' rw=tj

Victorious!

prak+snmoktprokp rak+s nm o=k tp ro=kpA rk nm hh=k tpj-rA=k

O Biter, with your ery breath upon your mouth (that is, your spell);

tak+sn.ahitprok.tak+s n. ahi tp ro=k .tk n//'Aj tpj-rA=k//

O Piercer, with . . weaponry upon your mouth (that is, your spell) . .

. . . aft

. . . aft//f.t

. . snake(?)

15joustne'tmsnmhautsnjous tn e't m =sn m haut=snw.t tn//m A=n m hrww Ad=n

this word of enchantment(?) . . all around them on the day they areburied in a ery pit(?) (or that they make burial in a ery pit),

hahtmxteprimr[o]arahisnhaht m xte pri m r[o]= ar ahi=snm tj.w prj m rA=j jrj 'A=n

by means of those-things-which-come-out-of-my-mouth (that is, myspell or words) and make their battlings

16esmomtarjeouinbmmesmomt ar jeoui n b m m///jrj Aj.t nj Ab.w m///


. . . making a stumbling-block (lit. block of stopping); (or making astumbling-block for (n) the heart, with the spelling b rather than ubfor jb) . . .

ahisn'efroartetnbetis[n].aahi sn '=ef ro= ar tet n beti=s[n] .ajrj 'A.w=n 'Aj=f rA=j jrj twt nj bd.t=n

making their battlings. O-May-He-become-Great-in-respect-of-My-Mouth (that is, O-May-He-become-Great-through-My-Speaking) mak-ing (your or his spell, entitled) Perfect Image of their Flame (oryou are as their Flame).

17iktmhauepneejeik t m hau epn e ejekA.tw(=k) m hrww j.pn yA '.w

It is conrmed by magic today (or you are or it is enchanted today)!Truly, hale!

Notes: For the asseverative exclamation yA or (Dem.) jwy (indeed, truly),see ern, 45; Crum 74a (eie); Wb. I 25, 8.

pqen'aerakai[s]b[e+nouen]afrp qen'a era=k ai [s]b [e+n ouen]afrpA nj-' jrj.w (or jrj) Aj bj nj wnn-nfr.w

[Spell II] O Strong of Arm, which is raised high (or Strong of Arm,Exalted Actor or Doer), Rebel to Wennefer,

18xefte+nousr((ouenafr))xntemntxeft e+n ousr xntemntftj nj wsjr ntj jmn.tjw


e+ntmoutepoe+ntmouten.tetoxie+nt moute po= e+nt moute n. tet oxinjt mdw rA=j nt mdw//nb.tj tA A.t

That-which-my-mouth-speaks (that is, my spell) accords with what-the-Two-Ladies-of-the-radiant-uraeus-speak

36 chapter three

19e+n+ebenime+ntemnamoue+n+e be nim e+nte mn amoum (or jmj ) bA.w nb ntj mn 'm.w

about every Manifestation of Wrath that So-and-so has swallowed.

Notes: Manifestation of Wrath: be (or bei=k in lines 323) compares tothe Coptic bhy (act of violence, crime), Hornung, The One and the Many,61 n. 88 (citing Kasser). Cf. bai SB, bay B (night raven); screech-owl; PNpbaei; bai O in neb bai lord of spirit(s). See further ern, 28.

menqxnsnsaxmk[.] . . . . . .menq xn=s n saxm=k [.] . . . . . .mn nj= n m.w=k////

Done! May it (or it will) descend (or alight) on your Earthly Image(s)(or Powers) . . .

Notes: mn > moynk (ern, 85 = Wb. II 89, 16 = Erman, 164, 5, bringto an end, nish, accomplish; Osing: as imperative, Beende!).

xbse+nt.[]okpri20ispete+npiam[.] . . . . . .xbs e+nt. []o=k pri i spet e+n pia m[.] . . . . . .b ntj m hh=k prj-hAj pd.t m p'w////

a lamp (or decan star) that consists of your ery exhalations dart-ing back and forth (or while the lamp that is in your glowing breathdarts light back and forth)O Spitre . . .

e+nte+npmtmtererafkautorafe+nt e+n p mt mter era=f kauto r=afntj m pA mdw mtr r=f kA.tw r=f

that which works by means of the word (or spell or the speaker)that accuses him; the word conrmed against him.

21m.matnete . . kbk . . eunefnaum.matnete . . kbk . . eu nef nau//////.n=f nw

?

ee+ntmie+natouaof22nimee+n tmi e+n atou ao=f nimjnj dm.t n d.w '.w=f nb


Bring a knife to cut o all his members!

Notes: d.w > vvt (cut, slay), ern, 254.

h.eiexf.ee+nnabotartouma.iepsk.ehxkm.h.eiexf.ee+nnabotartouma.iepsk.ehxkm.///m nb ///pA kj//

. . . as an evildoer(?) . . . the destroyer(?) . .

23ba'nspouxftn[. . .].rrba'n spou xft n[. . .]rrbA' nj p ft-nj//mrr

O Evil (or Great: 'A) One of the Lasso (who is) in inimical stanceagainst . . the Scarab

Notes: Osing, 222 n. 745, favors the reading lasso yet dismisses itowing to an apparent lack of contextual relevance (ergibt im Kontextkeinen Sinn). I link it to the verb of binding (mr), found in the sameline.

e+n+epxere+n+exftnpkekemoura.e+n+e p xer e+n+e xftn n p keke moura.m or jmj pA r m-ft-nj pA kkw mr=k

which is in analogy to (= which is in or in relation to)the FallenOne in inimical stance against the Dark One, bound of limb

24e+n+ep'ote+nxftnpbe[. .].toutafomete+n+e p' ote+n xft n p be[. .].toutafometm or jmj pA ' m-ft-nj pA b////

which is in analogy tothe Wicked One in inimical stance againstthe Evil One . . .

'afjati4ntmseatn'a=f jati 4 n tms eat njrj=f dj.t 4 nj m.w-jAd.t n/m .?]

May he slaughter the Four of Fates Red Tally and Miasma.

25menqantitrinf[. .]oximenq an tit rin=f [. .] oximn jn d.w rn=f //A

38 chapter three

Done in the naming of his name . . being ecacious.

afj[a]ti4ntmc/ontouxoa=f j[a]ti 4 n tmc/o ntou xojrj=f dj.t 4 nj m.w ntj.w Aj.t

May he slaughter the Four of Fates Red Tally, who are Massacreand Plague (or who are expelled or cast away),

[e+n]xfte+np26moure+nwm[e+n] xft e+n p mour e+nwmm-ft-nj pA mrr m-wm

and who are in inimical stance against the Scarab again (or repeatedly).

.n/r.[. . .]ti

.n/r.[. . .]ti?

?

afjati4e+ntmseatnt[ouxo] . . .a=f jati 4 e+n tms eat n t[ou xo] . . .jrj=f dj.t 4 nj m.w-jAd.t ntj.w Aj.t//

May he slaughter the Four of Fates Red Tally and Miasma, whoare Massacre and Plague (or who are expelled or cast away) . .

27saxmaxten[. . .]noussaxm a xte n[. . .] nou=s///tj n//nw=

. . . the killers . . therein

eri . . . emto.[. .].e+ntm28seateri . . . emto.[. .]. e+n tms eat////nj m.w-jAd.t

. . . of Fates Red Tally and Miasma,

e+nxotim'.[. . .].htajetre'epn . .e+n xoti m'.[. . .].htaje tr e' epn . .At.jw mA'///tr 'A j.pn//

the just killers . . in this great epoch . .


29sxamstenefou[. . . .]sxam s ten=efou[. . . .]m(?) w j.n=f //

. . he is, after he has destroyed . .

Notes: j > ite

auemxe{mnou}tmseatn.aue m xe m nou tms eat n.m Aj.t m-nw m.w-jAd.t n//

in a massacre (brought about) through (the slaughter of ) Fates RedTally and Miasma for . .

30soxmnpnetx.[. . .]na.tm'er . . fsoxm n p net x.[. . .]na.tm'er . . fm nj pA nr///mA'-rw=f

O Power (or Image) of god (or by means of the power of god, m(?)m nj pA nr) . . . he is victorious!

r[. . . .]hua.e31srm/zeubnomfseishx.piisnr'ms.[. .].s.r[. . . .]hua.esrm/zeubnomfseishx.piisnr'ms.[. .].s.?

?

soxm32prome+n+ebeiksoxm m p rom e+n+e bei=km pA rm jmj bA.w=k

Power (or Image), the Man, who is in your Manifestation of Wrath(or O Power, here is the Man who is in your Manifestation of Wrath;or, taken together: O Power or Image shield the Man who is inyour Manifestation of Wrath)

Notes: The long nal vowel in rom is perhaps owing to an elision i + i (= jmj ); cf. Osing, 232 n. 853.

. . xf.ajnaj.ueftoux[. .] . . . .

. . x=f. ajnaj.u e f toux[. .] . . . .?

?

40 chapter three

psoxm33prome+n+ebeikp soxm p rom e+n+e bei=kpA m pA rm jmj bA.w=k

the Power (or Image), the Man who is in your Manifestation ofWrath (or O Power, here is the Man who is in your Manifestationof Wrath; or, taken together: O Power or Image shield the Manwho is in your Manifestation of Wrath),

mmesiekbksinentotf . . . . t.uomm me siekbk sine n tot=f . . . . t.uomm m///nj n-t=f ///

in fulllment . . . passing away therewith (or by means of it) . . .

34e+n+enefoutauearrasotpmaufto . . . . . . . . ee+n+e nefoutauearra sotp maufto . . . . . . . e////tp////

. . . pacify(?) . . .

35me{n}qubnomefqi . .me{n}q ub nomefqi . .mn jb////

Done! Heart of . . .

ueuebke.kir/u/mueueb ke.ki r/u/mwbA kkw//

Piercer of (or piercing) Darkness . .

36soue+nsnentotsnmstemre+n+emn . . r. . . . . . .sou e+n sne n tot = s nmstemre+nmn . . r. . . . . . .sw m nj n-t=///n mn////

it(?), in passing away therewith (or by means of it) . . . for So-and-so . . .

n'e+ne+nteueneuerafn' e+ne+nteue neu er=afn' ntj.w nw r=f


together with anyone else who may look at him

37n'e+nnteuestmrinfn' e+nnteue stm rin=fn' ntj.w m rn=f

or hear his name

. . . . . . a38epne+nmaeer[.]

. . . . . . a epn e+n mae er[.]///j.pn m mAwj//

. . to[day] . . in renewings (or renewal) . .

mmtakierasakm mt akierasakm m////

until 10 times(?) (or on the count of 10 days) . . .

s . . . u39maxountmnqouqis . . . u m axou nt mn qouqi//m A.w ntj mn .t or AA

. . by means of that akhu-radiance which surrounds the pupil (orchild or beloved one).

m'ertm'e rtmA'-rw.tj

You are victorious!

tepiesbe+n40ouenaftepie sb e+n ouenaftpj.t bj nj wnn-nfr.w

O Uraeus, Rebel to Wennefer,

xefte+nousrxntemntxeft e+n ousr xntemntftj nj wjr ntj jmn.tjw


42 chapter three

e+nbenime+ntmnamoue+n be nim e+nt mn amoum bA.w nb ntj mn 'm.w

This spell is for every Manifestation of Wrath that So-and-so hasswallowed (or any Manifestation of Wrath that So-and-so might pos-sibly have swallowed),

41e+ntoumouteiloue+n tou moute ilountj mdw r.w (nb.w)

even that-(spell)-which-anyone-speaks

Notes: Crum, 146f.: li, eli, lei B, il A; laay, laoye SF (the indenitepronoun in Coptic, with possible derivation from r.w nb.w, everyone).

e+nmoutenbtetoxie+n moute nb tet oxim mdw nb.tj tA A.t

and which accords with what-the-Two-Ladies-of-the-radiant-uraeus-speak.

pris[n]m42opri=s[n] m oprj=n m hh

May these enchantments swirl about as a ery breath.

xtisnmaisnomfxti=sn m ai=sn omftj=n m 'A=n//

May they go out in their battlings . .

eanisnem/utp43roeani=sn e m /u tp ro=j'n=n jj.w m//tpj-rA=j

May they shout, having gone out of . . upon my mouth (that is, bymeans of my spell or words).


eanisnmmat/utaftjouotnetm.e+ns44e+neani=sn m mat/utaftjouotnetm.e+nse+nj'n=n m//////

May they shout in . . . . . .

mhauepnm hau epnm hrww j.pn

today.

betisnatfmxtepiri45mrobeti=sn a t f m xte piri m ro=bd.t=n///m tj prj m rA=j

May their ame . . as ames coming out of my mouth (that is, myspell or words),

arahisnefsomtmfarahi=sn e=f somtmfjrj 'A=sn jw=f ? m///

making their battlings . . .

arje.uinb46mmisnar je. ui nb m mi=snjrj Aj.t nj Ab.w m mj.t=n

making a stumbling-block (lit. a block of stopping) in their path.

e'efrofepsoxme+ntomne'e=f ro=f e p soxm e+nt omn'Aj=f rA=f r pA m ntj jmn

O-May-He-become-Great-in-respect-of-His-Mouth (or O-May-He-become-Great-through-His-Speaking = O-May-His-Spell-become-Great), (even he who is) against the Power (or Image) that is Hidden:

Notes: Reading omn as jmn follows the context; further, the ntj clearlysignals the beginning of a new word. The spelling Amn is attested inDemotic (for instance, in the Tebtynis Onomasticon: jmn rn=f is spelled

44 chapter three

Amn rn=f, Osing, Tebtunis I, I, 151), and this spelling could well be tran-scribed in Old Coptic as omn.

hamsbha m sbhAj m bj

Descend as a rebel (or descending as a rebel)

47exopimkekinene xopi m keki nenr pr m kkw-nnw

in order to take shape within (or out of ) darkness and obscurity (or againstthe One who takes shape within (or out of ) darkness and obscurity).

ouanrinfenen'tmetjtoua n rin=f e ne n' tmetjtwAj n rn=f r n n' md.jt

May his name be far away from (or toward = against) the eternalcycles of time.

48menftioue'bkekimenfti oue'b kekimAn=f w(?) wbA kkw

May he see you, O Piercer of (or piercing) Darkness,

miere'rinem'mi ere ' rine m'mj jrj 'A rn.w mA'.w

even he who is in the likeness of the Great Ritual Actor (or Doeror Finisher) in respect of (= who works by means of ) the just names(or, taking jrj in its passive mode: the One who is made Great inrespect of just names),

era'e+n+e49mntpeneferen[.]uf/oemhauepnera ' e+n+e mn tpen=ef e ren[.]=uf/o e m hau epnjrj 'A jmj or n mn tp.n=f r rn.w=f m hrww j.pn


even that Great Ritual Actor who (or which) is (absorbed) in ( jmj )So-and-so (or may it also be made great for, n, So-and-so) after hehas set (or when he is satised; or after he makes appeasement) inhis names today.

nema'snem a' snm 'A w

It is a very rescuing spell (or he or it is a great rescuer),

50xoua'sxou a' swj 'A w

It is a very guarding spell (or he or it is a great guard),

mekia[.]smeki a[.] smk.t 'A.t w

it is a very protective spell (or he or it is a great protection).

mmouatmm ouatmm wA

Surely it is refreshing!

Notes: mm > mmon SAB, mman, man F, verily, for, Crum, 169.

ere'temam51m.be+n+emnere ' te mam m .b e+n+e mnjrj 'A//mm m jb nj mn

The Great Ritual Actor . . a fever in the heart of So-and-so.

m[. . . .]mnm[. . . .] mnm///mn

May So-and-so . .

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maeubftm.teberi52wmmae ub=f tm.t e beri wmmAjw jb=f dm.w r brj [m-]wm

May his whole heart be renewed in renewal unceasing!

jata/ouana[. . . .]ere'jata/o ana[. . . .] ere 'd.w jn//jrj 'A

Recited by . . the Great Ritual Actor.

efohim'shimhaupne=f ohi m'shi m hau pnjw=f ' or //m hrww pn//

He stands(?) (or will stand or is in pain = Ahw?) . . today!

53atefrmnt[. . . .]jimhaupnate=f r mnt [. . . .] ji m hau pndj=f r mnt//Aj m hrww pn

May he recite it against pain . . being whole today!

CHAPTER FOUR

EGYPTIAN TRANSLITERATION AND ENGLISHTRANSLATION WITH RUNNING COMMENTARY

In his review of Osings edition, Shisha-Halevy tilts at the validity(that is, recoverability) of the papyrus as an Egyptian text. He dis-counts Osings diachronic search for lexical and grammatical corre-spondences to a 2nd Century papyrusno matter that its languageis that standardized form of Middle Egyptian set apart for religioustexts, an essentially frozen dialect. Shisha-Halevy further argues thatOsing fails to meet the hard test of contextual parallels.

I go further: How well does the papyrus accord with the latestegyptological models and assumptions? A good test would be to meas-ure any new translation against just one book of comprehensive scholar-ship. Tod und Jenseits im Alten gypten, a masterwork of Egyptologys mostprolic intellectual historian, is such a book. In the following com-ments, I draw on Jan Assmannsemic treatment of death in AncientEgypt (a treatment that describes in the Egyptians own words howthey organized their knowledge about the universe) in order to testmy own translation as a piece of Egyptian evidence. A few referencesfrom The Mind of Egypt, Assmanns review of the intellectual historyof Egypt from Naqada to Edfu, help to round o the score.

References to the books are placed in parentheses. An asteriskindicates further discussion in the annotated commentary or in thechapters that make up Part Two.

Vignette

No vignette accompanies the text on the papyrus, so, as was theancient practice, I shall have to borrow one. It is a tall order, butthe choice is not dicult. The papyrus speaks of an inimical Ram,the Manifestations of Wrath (Assmann: Punitive Force) the victimhas swallowed, and the slaughter of four enemies who belong tom.w (fate and wrath). All these coalesce in the depiction of thedecan star, Son of the Ewe (sA sr.t), in the Temple of Esna.

At Esna most of the decans take the shape of Horus, Shu, Thoth,Anubis, Osiris, and so on. But the stars of the Ewe are unlike all

others. The mother constellation, the Ewe, is a goose transxed bythree knives. Her twelve stars hover overhead. Mother Goose onlyintroduces the terror to be found in her Lambstar.

The Son of the Ewe takes the shape of the solar disk, full andovoid, resting heavily on a spacious bark. Inside the disk eight trussedand headless images (in two rows of four) arrest the eye. Twenty-oneknives, surrounding the disk like raysbut pointing in-, not outwardpierce the sun. A single star overlooks the scene.

Do the knives pierce the disk itself or, symbolically, the enemieswithin the disk? It is all one: the knives, like magnetic needles, pointat the suns own inimical naturethat other enemy within.

Spell One

Line 1 j sr bj nj wnn-nfr.w*O *Ram, *Rebel to Wennefer,

The Ram is invoked as the voice of the spell: the power, mouth,mask, and link by which the reciter works.

Spell One opens at twilight with the Ram, like Osiris himself (sr =wjr), a shadowy solar gure. Ram also serves to name a brightstar (sA-sr.t, Son of the Ewe) in the decanal constellation of the Ewe.The distant star mirrors the sun by night. That the poles of the spellare Re and Osiris is not surprising: these are the greatest, most mys-terious, and most holy gods of later Egyptian religion (2567). Thegreat concern of that religion, from the Con Texts on, is the irre-solvable mystery of their meeting (or confrontation) in the Netherworld.

Is the Ram (sr) the Enemy of Osiris or Osiris (wjr) himself ? Thatis, the Enemy of Osirisnot ! A taboo, apotropaic, or euphemisticuse of the word enemy pops up from time to time in Afroasiatic usagein which it serves to block a royal or divine name from the approachof evil. The invocation of Osiris enemy serves, at once, to distanceand protect Osiris from the dangerous aureola of the Solar Ram,as it descends into the Osirian realm, and to link Osiris to that Ram.From the vantage point of day, Osiris and Re stand at opposing poles(chthonic and celestial). Masked by night they meet in the Netherworld.

A like spell (pTurin 1993 vs. 4, 912; 20th dynasty) features theuraeus as Enemy of the Sheep, Son of the Ewe and a loquaciousRam. A divine audience sits attentively while the Ram stands againstthe currents of the north-owing Nile and the south-owing NorthWind and pronounces the solar name of victory (rn=f mA'.t). The

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additional description of the uraeus as Biter-that-does-not-Bite fur-ther shows the irony of the uraeus as Enemy of the Son of theEwe. After all: One acclaims the uraeus snake and spits on Apophis(Amenemope, Mind, 404). (The Rams stance, '', recalls that of thecosmic giant, the Enemy of Osiris in Spell Two, and line 52 of SpellThree: He stands . . . today.)

The title Enemy of Osiris invites, then, both a literal and an ironicreading. A literal reading? I should say a mythological reading: theEnemy of Osiris is Seth. But the papyrus never mentions Seth. Theomission is not for taboo reasons; Seth is absent because Enemy ofOsiris, rather than mythological in its referentiality, has become anabstract reading, abstracted from the Osiris myth as a philosophicallexeme. What Enemy-of-Osiris means is simply Death, that violentattack, the onset of which is illness and the outcome, dissolution.But death in Egypt is never simple. At the onset of illness the victim,on whose behalf the spell is recited, has already diedjust as muchas ever Osiris did (that is, in a liminal, by halves sort of way). Withoutthe great rescue of the spell what awaits is another death, a deathwithin death, that brings about loss of form, name, identity. Thatthreat, that lack, is the Enemy of Osiris.

The Ram, in the image of the setting sun, loudly heralds thatdouble enemy which is deathand more death. Yet the far-seeing(r) ram (sr) also prophesies hope.

ftj nj wjr ntj jmn.tjw

*Enemy of Osiris, Foremost of Westerners!

ftj and ntj form a nice conceptual and etymological pair.

mdw n///

This is the spell for every Manifestation of Wrath that So-and-so has swallowed.

There is just the space for mdw n n.t 'm.n=f (a spell for that which hehas swallowed). Still, this is a shorter title of the ceremony than thatgiven in Spells Two and Three. The rst spell has an abbreviated titlebecause the nature and meaning of the victims aiction is to begradually unfolded as the ceremony progresses: full unfolding = heal-ing. In the longer versions of the title we see more clearly why aram plays the Enemy of Osiris: the Ram (sr and bA) stands for everymanifestation of Ba-power, including both the innite fruitfulness ofthe sun and the wrath (bA.w) that the victim has swallowed. He has

running commentary 49

swallowed the Ram (as netherworldly Osiris nightly swallows the Ramat the Gates of Night: Amduat I), and the Ram now speaks for him.

The spell works to counter the Manifestations of Wrath (bA.w)itcounters the Ram, as Enemy of Osirisswallowed by the victim.But, by swallowing wrath, the victim has also swallowed a book ofsolar power (maybe even a whole library: the bA.w r'w of the Houseof Life). Your bA.w have slain your enemies, just as Re slays his= TT 373 (303). Like the king in the Pyramid Texts, the victimnow has divine powers at his disposal. He has swallowed in orderto swallow.

In fact, Osiris is about to be swallowed himself, in the depths ofthe Nile (line 3), just as the solar Ram presumably has been swallowedup in the gathering darkness of dusk.

2 //m-ft-nj pA sn nj w.t-rw tA nr.t 'A.t//

. . *in inimical stance against (or in action of enmity against; or cor-responding to) *the Embracer of Hathor, the great goddess . . .

The line, which continues the blend of enmity and paradox, intro-duces the formula in inimical stance against or in confrontation with, thatis, facing (o )somewhere between enmity and identity.

The famous Festival of the Beautiful Embrace (at Edfu) reenactsthe rst Sed festival of Horus in which Hathor, in his embrace (m sn=f ), dispenses to the king her royal crowns, graces, and powers(Edfu I 412, 14). To like purpose, Sothis yearly embraces the landwith her renewing ood (I 582, 9; 583, 12). It is Khnum-Re, anothersolar ram and, like Sothis, a dispenser of the Inundation, who usuallybears the title Embracer of Hathor.

The embrace is also a confrontation: Horus versus Hathora coupdtat. The unnamed divinity in confrontation with the Embracerof Hathor really seeks to appropriate her powers.

The lacuna invites speculation about a tting conceptual counterpartfor the Embracer of Hathor. Ram, Son of the Ewe of the Raminvocation spells makes for a good match, even against Khnum-Re.The Ram receives his magical powers from the Ewe (also a Sothianentity) just as the young Horus, his royal powers from Hathor.

The Embracer (sn) of Hathor is also the Seeker (sn) of Hathor,for in her absence he suers lack; in her presence, fullness (444).Embracer of Hathor describes that fullness of powers resident inthe Ram and which the spell now transfers (for good or ill) onto thehead of the victim.

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twt nj////

Perfect Image of (or you are as) . . .

Whose Perfect Image? That of the Ram and of the victim; forboth identify with Osiris, as we shall see in the next line.

The blessing formula twt nj xyz, which here appears for the rsttime, is to be repeated at least seven times in Spell One.

3 mj=f r mw m-wm Aj mA'=f wtj//

*He will (or may he) oat on the water again (or repeatedly) untilThoth comes to him . .

Osiris on the Water makes up the mythological precedent of the spell,that event in the divine sphere which now nds its reection in thelife of a human being. The event is death. Or is it? Osiris on theWater describes a death that isnt yet death, at least not in any per-manent way (91). His limbs have been separated from his body, butthere is hope for a tree, as Job says. Osiris oats between theworlds: his murder is a liminal death, so farif he can escape dis-solution and loss of identity (105).

Does the victim, mn, die? The papyrus never speaks, in the lan-guage of the funerary texts, of an Osiris mn, but the victim surelyis an Osirian mn who nds himself in the same deep water. To besick is to be in a state of death, and the cause of the sickness is anagency of murder; for, in Egypt, death is treated as if a sickness(321), and every death, murder (92).

The sudden shift to the third person pronoun (May he oat) istelling. The third person is the pronoun of narrative, and, thoughit suggests the fate of the victim, points back to the drowning ofOsiris, a key event in Egypts mythological history however iconi-cally abbreviated in presentation (a mere pronoun suces). In thesuering of the victim, he (Osiris) again nds himself in his pri-mordial predicament. A subtle threat is at work here: if the victimdies, Osiris dies a second death. It is that link between Osiris andthe victim which catches (or entraps?) the divine attentionand justin time: Isis and Nephthys turned their heads at the right time.And so they brought him to the shore (Memphite Theology, Mind,349). As Thoth comes to the aid of Osiris at his call, My Enemy!so hastens the Ram (the solar mask of Osiris = a priest masked likeThoth and, like Thoth, horned and crowned like the solar ram) tothe aid of the victim.


The phrase m-wm, which once more buries Osiris in the Nile,ultimately speaks to hope by expressing the idea of a cycle (die Ideedes Kreislaufs). Osiris on the Water is a sign of the coming refresh-ment of the annual (rnp.t, rnpj ) Nile ood (465f.), which ows fromthe body of the god.

r mtr d n w'w twt nj A.w//

to speak a true word to (or to accuse) the Unique One(?), PerfectImage of an Akh (or of akhu-radiance) . .

mtr d can mean several things: to speak a correct or true word, tospeak a counterword (Gegenwort), or to accuse. Thoth speaks a coun-terspell against the Enemy of Osiris. The counterspell, in step withthe interplay of oppositions within the spell, at once works the bless-ing of the victim, who is in the likeness of the Unique One. Theexpression carries the idea of announcement (to announce a magicalword about someone), but there is a hint of shadow: to make anaccusation, counter, convict.

The pronouncement Perfect Image of an Akh (or of akhu-radi-ance) transforms the Osirian victim from a liminal death to a stateof enduring energy. The spell makes of the victim a being of power(ein Machtwesen: 324; see also the twt nj A (Image of an Akh orAkhu-spirit) in the list of statues in the Tebtynis Onomasticon, Osing,Tebtunis I, I, 292.)

Thoth himself is named A pw (that Akh = eective actor) on theDay of the Rams (CT IV 66eg), the date on which the fate of theOsirian dynasty is decided in court.

The name Unique One parallels the title Unique Lamp ofDay in line 4.

4 ////twt nj//

. . . Perfect Image of . .

r pA kkw m-ft-nj pA nr 'A b w'w//

against(?) the *Dispeller of the Darkness (or the Dark One) in inimicalstance against the great god, *the Unique Lamp (or Decan Star) . .

The second instance of the formula X in inimical stance against Y. Thereis more than one way to read the line: (a) pA kkw in inimicalstance against pA nr 'A b w'w or (b) pA kkw in inimical stance againstpA nr 'A b w'w.

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Light against light; but also light against darkness. The rst name(the inimical name, the one who confronts) tells the whole story: theDispeller of the Darkness (lit. the One who brightens the darkness),the paradoxical name of sunset, is now the invisible sun in the nether-worldly struggle. He is the solar ram in the image of enmity andidentity with the Unique Light of Day.

We can but guess at the meaning of the encoded phrase m-ft-nj,which ambiguously reads face to face with: The sun face to facewith the suna mirroring or an expansion of lightfrom light to light.Here is a transmission of light from face to face and form to form.

5 n bj m mj.w b.tw nj nrto the Rebel, *as (or by means of ) forms (or children) begotten(?) of god . .

The Rebel is the Ram. The fruitful Ram, like the sun, produces aninnity of forms, names, and manifestations. mj.w, like prw, expressesthe plurality of the all-encompassing solar manifestation (bA.w = bA,ram). mj.w and prw also express likeness (twt). Because mj.wand b are conceptually linked, the reading of the one strengthensthe other.

'm=f r tA////n

when he extinguishes his light(?) upon earth . . . for

An image of sunset? The reading 'm is strengthened by : pAkkw and 'm=f r tA make up a ne conceptual pair. The followingline continues the idea.

6 r m-ft-nj mdw=f

the Fallen One in inimical stance against that-which-he-speaks (that is,his spell) . . .

Fallen One is a name of cursing and again points to the Ram as Enemy of Osiris. But, as the shape of the setting sun (a fallenone), the Ram is also blessed; for the sun has an appointment withdawn.

The Fallen One confronts a verbal phrase that-he-says or that-he-enchants, which names the spellhis spell. The spell of theFallen One proves his own fall into the darkness; but, as solar Ram,it also works his blessing.


twt nj '.w=f m snn=f w

Perfect Image of his body,even in his very likeness.Or, with wordplay: You are as his body,even in his very likeness.

A beautiful line:

/ x x / x / x /tet n ao=f m sn=af s

which compares to:

/ x x / x / x / xtet n rbr=f eh xo e+nwm

The Perfect Image describes both the victim and the unfolding identity of the Ramthe dropping of his counterfeit guise of enemyin the revelation of his true nature: jnk pw twt nj pr'w t-mjj-sr (orm ): I am that Perfect Image of Re: Sitamesro = the Ram as the self-renewing (-m- ) sun (Grith and Thompson (eds.), DemoticMagical Papyrus, 104. = Col. XV). This unfolding corresponds to the healing of the victim, with whom the Ram also comes to sharean identity: now you (wt) are that Perfect Image of Re: the Ram.

Counterfeit? I lie, I am no counterfeit. To die is to be a counterfeit,for he is but the counterfeit of a man who hath not the life of a man;but to counterfeit dying, when a man thereby liveth, is to be no coun-terfeit, but the true and perfect image of life indeed (Falsta: Henry IV,Part One, V. iv. 115120).

As the spell goes forward the identity of the Perfect Image contin-ues to expand: both victim and Ram now become the Fallen Oneand Dispeller of the Darkness. His refers to a divine entity, cer-tainly solar. The two suns, or solar phases, face to face, mirror aperfect likeness of being. The balancing of the blessings between thePerfect Image and that which it reects matches the precarious bal-ancing of X in inimical stance against Y. These two formulas (twt nj xyzand X in inimical stance against Y ), which somehow correspond, togetherwork out the denouement of Spell One.

The perfect solar body, immune to ill, is what the verset describes.twt nj xyz signals a reintegralization of the Osirian victim after hisdrowning at the Place of Separation (the separation of his limbs, ordeath). The same idea is to be found in the four successive images(also twt nj xyz) of Col. XV of the DMP: Perfect Image of Re, of a

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Captain, of Horus, and of a Drowned Man (twt nj j-nr?), which lastimage recalls Osiris on the Water. The magician (and ultimately thevictim) is to identify himself one by one with each of these four imagesin his struggle to obtain complete (= fourfold) power over disease.

As the blessing unfolds we recognize in the imaginalistic mirror-ings of twt nj xyz a sort of thematic variation on the topos ofGliedervergottung or Divinization of Members (46f.) in which each severalmember of the body is associated with the name or attribute of agod: (PT 213): '.wj=k m tm (Your Arms are Atum, or are complete,perfect: tm = twt), etc. (542 n. 42).

But there is a dierence. The Perfect Image of the victims bodyis in the likeness of the manifestation, and even shape, of the sun(line 7). In the papyrus it is the sun, without the need of other gods,who in and of himself is Atum = com

[val hinckley sederholm] papyrus british museum 10(bookfi.org)

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