40:
549:. The unknown author moves the timeline and also changes his mode of expression from "old-fashioned" into a contemporary form. He clearly distinguishes "long time passed" from "most recently" without cutting the timeline too quickly. The speech of Prince Hordjedef builds the decisive transition: Hordjedef is sick of hearing old, dusty tales that cannot be proven. He explains that a current wonder would be richer in content and more instructive, and so he brings up the story of Dedi. The last section of the fourth story, in which the magician Dedi gives a prophecy to king Khufu, shifts to
491:. The maidservant of Rededjet later has an argument with her mistress, receives a beating and flees, vowing to tell king Khufu what had happened. But on the way, she meets her brother and tells the story to him. Displeased, he beats her, too, and sends her on a path to the water's edge where a crocodile catches her. The brother then goes to see Rededjet, who is crying over the loss of his sister. The brother starts to confess what has happened and at this point the papyrus story ends.
637:: the prisoner would have received his life back if Dedi had performed his magical trick. Wildung thinks that Dedi's refusal was an allusion to the respect Egyptians showed to human life. The ancient Egyptians were of the opinion that human life should not be misused for dark magic or similar evil things. Lepper and Liechtheim suspect that a difficult-to-assess depiction of Khufu was exactly what the author had planned. He wanted to create a mysterious character.
593:. The author depicts Sneferu as a fatuous fool, who is easily pleased with superficial entertainment and who is unable to resolve a dispute with a little rowing maid. Sneferu must go to the extent of having a priest solve the problem. With this narration and embarrassing depiction of a king, the author of Westcar dares to criticise the kings of Egypt as such and makes the third story a sort of
601:
outrage and his offer of an alternative for the prisoner, questions the circumstances and contents of Dedi's prophecy, and rewards the magician generously. The contradictory depiction of Khufu is an object of controversy among
Egyptologists and historians to this day. Earlier Egyptologists and historians in particular, such as
512:
The second and third stories are written in a conspicuous, flowery, old-fashioned style, and the author has obviously tried to make them sound as if handed down from a long time ago, but fantastic at the same time. He uses quaint phrases and makes the heroes' acting stilted and ceremonious. The first
700:
Since the first translations of the
Westcar Papyrus, historians and Egyptologists have disputed whether the story was finished or unfinished. Earlier evaluations seemed to show an abrupt ending after the death of the traitorous maidservant. But more recently, linguistic investigations made by Verena
499:
Papyrus
Westcar is of great interest to historians and Egyptologists since it is one of the oldest Egyptian documents that contains such complex text. Unfortunately, the name of the author has been lost. The most recent translations and linguistic investigations by Miriam Lichtheim and Verena Lepper
316:
during the eighteenth century, all the papyrus fragments are partially damaged; at several spots the material is torn, distorted, and squashed. Some of the fibres are now lying over the inscription. All of the artifact shows large gaps and the rim of the scrolls is badly frayed. Because of the gaps,
503:
The first story is lost due to damage to the papyrus. The preserved sentences merely reveal the main protagonist of the story, King Djoser. The name of the hero, who is said to have performed the miracle, is completely lost, but
Liechtheim and Lepper think it's possible that the Papyrus was talking
439:
beheaded. Dedi reattaches the heads. Khufu then questions him on his knowledge on the shrine of Thoth, and Dedi answers that he does not know the number of rooms, but he knows where they are. When Khufu asks for the wheres and hows, Dedi answers that he is not the one who can give Khufu access, but
391:
to throw it in the stream by which the townsman enters and leaves the lector's estate undiscovered. Upon catching the townsman, the crocodile takes him to the bottom of the lake, where they remain for seven days as the lector entertains the visiting pharaoh. When he tells Nebka the story, and calls
600:
In the fourth story king Khufu is difficult to assess. On one hand he is depicted as ruthless: deciding to have a condemned prisoner decapitated to test the alleged magical powers of the magician Dedi. On the other hand, Khufu is depicted as inquisitive, reasonable and generous: he accepts Dedi's
541:
are called by their birth names. Verena Lepper thinks, that the reason may be some kind of spelling reform that occurred in the lifetime of the author, perhaps trying to fix the spelling rule for naming a deceased king, in order to show that even the future kings in the story were long since dead
717:
Verena Lepper and Miriam
Lichtheim postulate that the tales of Papyrus Westcar inspired later authors to compose and write down similar tales. They refer to multiple, and somewhat later, ancient Egyptian writings in which magicians perform very similar magic tricks and make prophecies to a king.
648:) and her difficult birth of three sons. The sun god Ra orders his companions Isis, Meskhenet, Hekhet, Nephthys, and Khnum to help Rededjet, to ensure the birth of the triplets and the beginning of a new dynasty. Lepper and Liechtheim both evaluate the story as some kind of narrated
407:
advises him to gather twenty young women and use them to sail him around the palace lake. Sneferu orders twenty beautiful oars made, and gives the women nets to drape around them as they sail. However, one of the girls loses an amulet - a fish pendant made of
272:. The scroll of Westcar has been separated into three parts. During the life of Lepsius and Erman it was in two parts; it is not known when and why the scroll was separated into three fragments. The text written on the papyrus includes twelve
664:. Among the titles discovered to have been given to her is the "mother of two kings". For a long time it had been thought that she may have borne Userkaf and Sahure, but new evidence shows that Sahure, at least, had a different mother (Queen
676:, Rededjet is connected with the role of a future king's mother, the parallels between the biographies of the two ladies has garnered special attention. The role of the maidservant is evaluated as being a key figure for a modern phrasing of
795:
use the same manner of speaking and quaint phrases, complete with numerous allusions to the wonders of
Papyrus Westcar, Lepper and Lichtheim hold that Dedi, Ubaoner and Djadjaemankh must have been known to Egyptian authors for a long time.
597:. Lepper points out that the critiques are hidden cleverly throughout. It is not surprising, since the author had to be careful—the Westcar Papyrus was possibly made available for public entertainment, or at least, for public study.
779:
contains the phrase: "...for these are the wise who can move waters and make a river flow at their mere will and want...", which clearly refers to the wonder that the magicians
Djadjaemankh and Dedi had performed in the Westcar story.
561:
Papyrus
Westcar contains hidden allusions and puns to the characters of the kings Nebka, Sneferu, and Khufu. An evaluation of the character description of Djoser is impossible due to the great deterioration within his story.
241:
have been documented there since the early 1860s and
Lepsius' name does not appear in any lists or documents. Furthermore, Lepsius never made the text of the Westcar Papyrus public; he stored the papyrus at home in his
775:. As in the Westcar Papyrus, a subaltern is addressed by a king as "my brother" and the king is depicted as being accostable and simple-minded. Furthermore, both stories talk about the same king, Sneferu. The Papyrus
416:, and until it is returned to her neither she nor any of the other women will row. The king laments this, and the chief lector folds aside the water to allow the retrieval of the amulet, then folds the water back.
573:
wife of the story's hero is punished by being burnt alive and her secret lover, revealed thanks to the loyal caretaker, is eaten alive by a summoned crocodile. Caretaker and crocodile are playing the role of
253:
purchased the papyrus from
Lepsius' son and left it to the Museum of Berlin. As the hieratic signs were still insufficiently investigated and translated, the Westcar Papyrus was displayed as some kind of
701:
Lepper and Miriam Liechtheim (especially by Lepper) strengthen the theory that the Westcar text is definitely at an end after the story of the maidservant's death. Lepper points out that the crocodile
521:), which was typical in Ancient Egypt when talking about a deceased king. The heroes are addressed in the second and third stories the same way. Curiously, all the kings are addressed with their
529:. King Khufu is nevertheless called by his birth name in the first three stories, yet in the fourth story, he is treated as being still alive and being the main actor. And even the future kings
684:. Destiny is depicted here as a crocodile who snatches the traitor. The whole purpose would be to ensure the beginning of a new dynasty by making the only danger disappear. The author of the
709:, which is a typical element in similar stories and documents. Furthermore, Lepper argues that the papyrus has a lot of free space after the apparent ending, enough for another short story.
258:. Since Erman's first attempt at a complete translation in 1890, the Westcar Papyrus has been translated numerous times, resulting in different outcomes. The dating of the text also varies.
487:
and hurry to Rededjet's house to help her with the difficult birth. The three children are born, each described as strong and healthy, with limbs covered in gold and wearing headdresses of
392:
the crocodile up again, the king orders the crocodile to devour the townsman once and for all. Then he has the adulterous wife brought forth, set on fire, and thrown in the river.
233:
There are inconsistencies about the true nature of the acquisition and the subsequent whereabouts of the Westcar Papyrus. Lepsius writes that the document was on display in the
246:, where it was found after his death. These inconsistencies have led to widespread speculation; many British historians speculate that Lepsius may have stolen the papyrus.
582:. Lepper and Liechtheim evaluate the depiction of king Nebka as being fairly positive. A strict but lawful king was ideal for the people of the author's lifetime.
525:, notwithstanding that this was unusual in the author's lifetime. While deceased kings were normally called by their birth name, living kings were called by their
1234:
630:
387:. Upon learning that his unfaithful wife is meeting her lover, he casts a spell for the figurine to come to life upon contact with water, and sets his
325:
500:
reveal interesting writing and spelling elements hidden in the text of the papyrus, which has led them to a new evaluation of the individual stories.
752:
appears: "See, these are artists who create the existing anew, who even replace a severed head", which could be interpreted as an allusion to the
435:. Khufu, intrigued, sends his son to invite this wise man to the court, and upon Dedi's arrival he orders a goose, an undefined waterbird, and a
459:
The final story breaks from the format and moves the focus to Rededjet giving birth to her three sons. Upon the day of her children's birth,
542:
during his lifetime. For this reason Verena Lepper doubts that the Westcar stories are based on documents originating from the Old Kingdom.
1264:
1259:
1229:
332:
into ten paragraphs. Between the neatly written sentences red traces of an older text are visible. It looks as if Papyrus Westcar is a
553:
for a short time, before shifting back to present tense again. This present tense is maintained until the end of the Westcar stories.
1224:
1219:
356:. It seems to have been a text detailing a miracle performed by a lector priest in the reign of king Djoser, possibly the famous
304:
plate and is covered by a glass pane. Part three was simply placed between two glass panes and was completely glued to them. The
280:(the front) columns one to three, the second part contains on its recto columns four and five and the third part contains on the
1254:
1244:
1239:
312:
and a whitish haze has appeared. The edges of all three parts were left free for air circulation. Because of the paper
1249:
1189:
1164:
1108:
1083:
1037:
1012:
987:
949:
865:
844:
336:; the unknown ancient Egyptian author obviously tried but partially failed to wipe the older text off. The clean and
805:
17:
760:
contains another reference that strengthens the idea that many ancient Egyptian writings were influenced by the
665:
1204:
309:
137:
usually is rendered in English as, "King Cheops and the Magicians" and "The Tale of King Cheops' Court". In
176:. The papyrus has been used by historians as a literary resource for reconstituting the history of the
656:. Lepper points out, that the story of Rededjet might have been inspired by the historical figure of
297:
218:
claimed to have received the papyrus from Westcar's niece. As Lepsius was able to read some signs of
184:
161:
738:. They also both talk about subalterns with magical powers similar to those of Dedi's. The Papyrus
764:: column 232 contains the phrase "sleeping until dawn", which appears nearly word-for-word in the
672:
that the first three kings of the Fifth Dynasty had been siblings, seems incorrect. Since, in the
661:
234:
177:
173:
130:
39:
680:
about morality and betrayal. The maidservant wants to run her mistress down and is punished by
449:
284:(the back) columns six to nine and on the recto, the final columns, ten to twelve. The papyrus
204:
828:
352:), is missing everything but the conclusion, in which Khufu orders blessed offerings to king
115:
45:
1153:
Untersuchungen zu pWestcar. Eine philologische und literaturwissenschaftliche (Neu-)Analyse
1097:
Untersuchungen zu pWestcar. Eine philologische und literaturwissenschaftliche (Neu-)Analyse
1026:
Untersuchungen zu pWestcar. Eine philologische und literaturwissenschaftliche (Neu-)Analyse
1001:
Untersuchungen zu pWestcar. Eine philologische und literaturwissenschaftliche (Neu-)Analyse
976:
Untersuchungen zu pWestcar. Eine philologische und literaturwissenschaftliche (Neu-)Analyse
938:
Untersuchungen zu pWestcar. Eine philologische und literaturwissenschaftliche (Neu-)Analyse
744:
731:
629:(because positive) traditions the Egyptians always taught. But other Egyptologists such as
565:
In the second story, king Nebka plays the key role. He is depicted as a strict, but lawful
227:
215:
292:
and placed between two glass panes. At five spots the papyrus was fixed to the glass with
203:. For unknown reasons, he didn't note the exact circumstances under which he obtained the
8:
388:
1279:
1185:
1160:
1104:
1079:
1033:
1008:
983:
945:
861:
840:
538:
141:, into which the text of the Westcar Papyrus was first translated, it is rendered as
148:
The surviving material of the Westcar Papyrus consists of twelve columns written in
622:
293:
153:
825:
The Literature of Ancient Egypt: An Anthology of Stories, Instructions, and Poetry
836:
427:
apparently has the power to reattach a severed head onto an animal, to tame wild
288:
is grainy, of greyish-yellowish colour and very fragile. Part one was fixed onto
268:
138:
625:, who described an exaggerated, negative character image of Khufu, ignoring the
160:(eighteenth to sixteenth century BC) and states that it is written in classical
677:
610:
413:
380:
376:
200:
1274:
1213:
839:
Jr., and William Kelly Simpson. New Haven and London: Yale University Press.
832:
626:
546:
321:
169:
157:
119:
103:
1076:
Ancient Egyptian literature: a book of readings. The Old and Middle Kingdoms
585:
In the third story king Sneferu becomes a victim of the author's courage to
689:
550:
517:
and all the kings are addressed with the salutation "justified" (Egyptian:
488:
404:
337:
1269:
657:
602:
250:
712:
606:
526:
522:
514:
333:
313:
238:
165:
340:
handwriting shows that the author was a highly educated professional.
172:
thinks it is possible that the Westcar Papyrus was written during the
858:
Poetry and Culture in Middle Kingdom Egypt: A Dark Side to Perfection
618:
472:
420:
409:
255:
223:
95:
423:, concerns a miracle set within Khufu's own reign. A townsman named
702:
641:
590:
570:
484:
468:
445:
441:
412:
so dear to her that she will not even accept a substitute from the
349:
305:
219:
149:
107:
900:. Heft V, Staatliche Museen zu Berlin, Berlin 1890. page 10 – 12.
706:
681:
653:
579:
575:
530:
453:
400:
372:
357:
285:
211:
134:
123:
82:
1124:. Münchner ägyptologische Studien 17. Berlin 1969. page 159–161.
183:
The papyrus is now on display under low-light conditions in the
749:
614:
594:
586:
534:
396:
375:
finds that his wife is having a love affair with a townsman of
367:, is set during the reign of one of Khufu's predecessors. King
364:
353:
329:
273:
111:
78:
727:
649:
634:
566:
480:
476:
440:
the first of the three future kings in the womb of the woman
432:
368:
289:
281:
277:
243:
126:
68:
569:, who doesn't allow mischief and misbehaviour to occur. The
507:
504:
about the famous architect and high lector priest, Imhotep.
894:
Die Märchen des Papyrus Westcar I. Einleitung und Commentar
464:
436:
428:
424:
348:
The first story, told by an unknown son of Khufu (possibly
301:
118:. In the papyrus text, each of these tales are told at the
1122:
Die Rolle ägyptischer Könige im Bewusstsein ihrer Nachwelt
652:
that deals with the theme of justice and what happens to
384:
431:, and knows the number of secret rooms in the shrine of
460:
730:
show the popular theme of prophesying used during the
266:
Papyrus Westcar is a reused papyrus made of the plant
713:
Influences of Papyrus Westcar in later Egyptian tales
199:
apparently discovered the papyrus during travels in
965:, vol.1, University of California Press 1973, p.215
133:, 26th century BCE) by his sons. The story in the
660:, who lived and may have ruled at the end of the
640:The fifth and last story tells about the heroine
1211:
1078:, Band 1. University of California Press 2000,
617:. They lean on the ancient Greek traditions of
494:
320:The text itself is completely written in black
1180:, in: M. Barta; F. Coppens, J. Krjci (Hrsg.):
898:Mitteilungen aus den Orientalischen Sammlungen
613:evaluated Khufu's character as heartless and
399:, is set during the reign of his grandfather
226:names of the kings and dated the text to the
695:
545:The fourth and fifth stories are written in
395:The third story, told by another son named
1235:Fiction set in the Fourth Dynasty of Egypt
705:is repeated several times, like a kind of
556:
38:
1205:Translation by Nederof following Blackman
1159:, Band 70. Harrassowitz, Wiesbaden 2008,
1103:, Band 70. Harrassowitz, Wiesbaden 2008,
1032:, Band 70. Harrassowitz, Wiesbaden 2008,
1007:, Band 70. Harrassowitz, Wiesbaden 2008,
982:, Band 70. Harrassowitz, Wiesbaden 2008,
944:, Band 70. Harrassowitz, Wiesbaden 2008,
771:A further descriptive example appears in
508:Linguistic stylistics and changing tenses
403:. The king is bored and his chief lector
1178:The royal family of Sahure. New evidence
483:to aid her. They disguise themselves as
317:many parts of the text are now missing.
145:("the fairy tales of Papyrus Westcar").
1147:
1145:
1143:
1070:
1068:
1066:
932:
930:
928:
926:
276:in all. The first part contains on the
261:
14:
1212:
1167:, page 121–123, 146–148 & 298–302.
1064:
1062:
1060:
1058:
1056:
1054:
1052:
1050:
1048:
1046:
924:
922:
920:
918:
916:
914:
912:
910:
908:
906:
888:
886:
884:
882:
880:
878:
876:
874:
578:, whilst king Nebka plays the role of
308:used for this has partially lost its
1140:
718:Descriptive examples are the papyri
195:In 1823 or 1824, British adventurer
1265:Archaeological discoveries in Egypt
1260:Second Intermediate Period of Egypt
1182:Abusir and Saqqara in the Year 2005
1043:
903:
871:
106:text containing five stories about
24:
1230:Fiction set in the 26th century BC
222:, he recognized some of the royal
190:
44:Westcar Papyrus on display in the
25:
1291:
1198:
823:Simpson, William Kelly. (1972).
448:detailing the beginnings of the
1225:1824 archaeological discoveries
1220:1823 archaeological discoveries
1170:
1127:
1114:
1089:
952:, pp. 41–47, 103 & 308–310.
806:List of ancient Egyptian papyri
633:see Khufu's order as an act of
143:Die Märchen des Papyrus Westcar
1018:
993:
968:
955:
850:
817:
734:– just as in the story of the
688:artfully creates some kind of
13:
1:
811:
513:three stories are written in
249:In 1886, German Egyptologist
57:
1255:Cultural depictions of Khufu
1245:2nd-millennium BC literature
668:). The implication from the
495:Analysis and interpretations
7:
1157:Ă„gyptologische Abhandlungen
1135:Die Geschichten des Herodot
1101:Ă„gyptologische Abhandlungen
1030:Ă„gyptologische Abhandlungen
1005:Ă„gyptologische Abhandlungen
980:Ă„gyptologische Abhandlungen
963:Ancient Egyptian Literature
942:Ă„gyptologische Abhandlungen
799:
10:
1296:
419:The fourth story, told by
363:The second story, told by
343:
296:. Part two was fixed to a
156:dates the document to the
1240:Papyri from ancient Egypt
748:, in which the following
696:Ending of Papyrus Westcar
185:Egyptian Museum of Berlin
74:
64:
53:
37:
32:
1250:Ancient Egyptian fiction
856:Parkinson, R.B. (2002).
793:The prophecy of Neferti
773:The prophecy of Neferti
724:The prophecy of Neferti
557:Depictions of the kings
235:Oxford Bodleian Library
1137:, Band 1. S. 188–190.
860:. London: Continuum.
829:William Kelly Simpson
27:Ancient Egyptian text
745:The Eloquent Peasant
742:contains the story,
644:(also often read as
379:, and he fashions a
262:Material description
216:Karl Richard Lepsius
607:Kurt Heinrich Sethe
1151:Verena M. Lepper:
1120:Dietrich Wildung:
1095:Verena M. Lepper:
1074:Miriam Lichtheim:
1024:Verena M. Lepper:
999:Verena M. Lepper:
974:Verena M. Lepper:
936:Verena M. Lepper:
831:. Translations by
174:Thirteenth Dynasty
46:Ă„gyptisches Museum
1133:Friedrich Lange:
1086:, page 215 – 220.
539:Neferirkare Kakai
210:In 1838 or 1839,
168:and Egyptologist
88:
87:
16:(Redirected from
1287:
1193:
1176:Tarek El Awady:
1174:
1168:
1149:
1138:
1131:
1125:
1118:
1112:
1093:
1087:
1072:
1041:
1022:
1016:
997:
991:
972:
966:
959:
953:
934:
901:
890:
869:
854:
848:
821:
631:Dietrich Wildung
452:, starting with
371:'s chief lector
326:carbon black ink
294:methyl cellulose
154:Miriam Lichtheim
104:ancient Egyptian
75:Present location
59:
42:
30:
29:
21:
1295:
1294:
1290:
1289:
1288:
1286:
1285:
1284:
1210:
1209:
1201:
1196:
1175:
1171:
1150:
1141:
1132:
1128:
1119:
1115:
1111:, page 316–318.
1094:
1090:
1073:
1044:
1023:
1019:
998:
994:
973:
969:
960:
956:
935:
904:
891:
872:
855:
851:
837:Edward F. Wente
822:
818:
814:
802:
766:Westcar Papyrus
762:Westcar Papyrus
754:Westcar Papyrus
736:Westcar Papyrus
715:
698:
686:Westcar Papyrus
678:indoctrinations
674:Westcar Papyrus
670:Westcar Papyrus
559:
510:
497:
346:
328:and divided by
269:Cyperus papyrus
264:
193:
191:Discovery story
162:Middle Egyptian
92:Westcar Papyrus
49:
33:Westcar Papyrus
28:
23:
22:
18:Papyrus Westcar
15:
12:
11:
5:
1293:
1283:
1282:
1277:
1272:
1267:
1262:
1257:
1252:
1247:
1242:
1237:
1232:
1227:
1222:
1208:
1207:
1200:
1199:External links
1197:
1195:
1194:
1184:, Prague 2006
1169:
1139:
1126:
1113:
1088:
1042:
1017:
992:
967:
961:M. Lichtheim,
954:
902:
870:
849:
815:
813:
810:
809:
808:
801:
798:
714:
711:
697:
694:
662:Fourth Dynasty
611:Wolfgang Helck
558:
555:
509:
506:
496:
493:
444:is. This is a
414:royal treasury
345:
342:
338:calligraphical
263:
260:
192:
189:
178:Fourth Dynasty
131:Fourth Dynasty
100:P. Berlin 3033
98:-designation:
86:
85:
76:
72:
71:
66:
62:
61:
55:
51:
50:
43:
35:
34:
26:
9:
6:
4:
3:
2:
1292:
1281:
1278:
1276:
1273:
1271:
1268:
1266:
1263:
1261:
1258:
1256:
1253:
1251:
1248:
1246:
1243:
1241:
1238:
1236:
1233:
1231:
1228:
1226:
1223:
1221:
1218:
1217:
1215:
1206:
1203:
1202:
1191:
1190:80-7308-116-4
1187:
1183:
1179:
1173:
1166:
1165:3-447-05651-7
1162:
1158:
1154:
1148:
1146:
1144:
1136:
1130:
1123:
1117:
1110:
1109:3-447-05651-7
1106:
1102:
1098:
1092:
1085:
1084:0-520-02899-6
1081:
1077:
1071:
1069:
1067:
1065:
1063:
1061:
1059:
1057:
1055:
1053:
1051:
1049:
1047:
1039:
1038:3-447-05651-7
1035:
1031:
1027:
1021:
1015:, p. 317–320.
1014:
1013:3-447-05651-7
1010:
1006:
1002:
996:
989:
988:3-447-05651-7
985:
981:
977:
971:
964:
958:
951:
950:3-447-05651-7
947:
943:
939:
933:
931:
929:
927:
925:
923:
921:
919:
917:
915:
913:
911:
909:
907:
899:
895:
892:Adolf Erman:
889:
887:
885:
883:
881:
879:
877:
875:
867:
866:0-8264-5637-5
863:
859:
853:
846:
845:0-300-01482-1
842:
838:
834:
833:R.O. Faulkner
830:
826:
820:
816:
807:
804:
803:
797:
794:
790:
786:
781:
778:
774:
769:
767:
763:
759:
755:
751:
747:
746:
741:
737:
733:
729:
725:
721:
710:
708:
704:
693:
691:
687:
683:
679:
675:
671:
667:
663:
659:
655:
651:
647:
643:
638:
636:
632:
628:
624:
620:
616:
612:
608:
604:
598:
596:
592:
588:
583:
581:
577:
572:
568:
563:
554:
552:
548:
547:present tense
543:
540:
536:
532:
528:
524:
520:
516:
505:
501:
492:
490:
486:
482:
478:
474:
470:
466:
462:
457:
455:
451:
450:Fifth Dynasty
447:
443:
438:
434:
430:
426:
422:
417:
415:
411:
406:
402:
398:
393:
390:
386:
382:
378:
374:
370:
366:
361:
359:
355:
351:
341:
339:
335:
331:
327:
323:
322:iron gall ink
318:
315:
311:
307:
303:
299:
295:
291:
287:
283:
279:
275:
271:
270:
259:
257:
252:
247:
245:
240:
237:, but public
236:
231:
229:
225:
221:
217:
214:Egyptologist
213:
208:
206:
202:
198:
197:Henry Westcar
188:
186:
181:
179:
175:
171:
170:Verena Lepper
167:
163:
159:
158:Hyksos period
155:
151:
146:
144:
140:
136:
132:
128:
125:
121:
117:
113:
110:performed by
109:
105:
101:
97:
93:
84:
80:
77:
73:
70:
67:
63:
56:
52:
47:
41:
36:
31:
19:
1181:
1177:
1172:
1156:
1152:
1134:
1129:
1121:
1116:
1100:
1096:
1091:
1075:
1029:
1025:
1020:
1004:
1000:
995:
979:
975:
970:
962:
957:
941:
937:
897:
893:
868:. p. 295–96.
857:
852:
827:. Edited by
824:
819:
792:
789:pBerlin 3023
788:
784:
782:
776:
772:
770:
765:
761:
758:pBerlin 3023
757:
753:
743:
740:pBerlin 3023
739:
735:
723:
719:
716:
699:
690:happy ending
685:
673:
669:
666:Neferhetepes
645:
639:
615:sacrilegious
599:
584:
564:
560:
551:future tense
544:
518:
511:
502:
498:
489:lapis lazuli
458:
418:
405:Djadjaemankh
394:
362:
347:
319:
310:transparency
267:
265:
248:
232:
209:
196:
194:
182:
147:
142:
99:
91:
89:
1192:, p. 192-98
1040:, p. 17–21.
990:, p. 15–17.
732:Old Kingdom
658:Khentkaus I
627:paradoxical
603:Adolf Erman
251:Adolf Erman
239:exhibitions
228:Old Kingdom
120:royal court
1214:Categories
847:. Page 15.
812:References
571:adulterous
527:Horus name
523:birth name
515:past tense
334:palimpsest
314:lamination
129:(Cheops) (
65:Discovered
619:Herodotus
587:criticize
485:musicians
473:Meskhenet
421:Hordjedef
410:turquoise
389:caretaker
381:crocodile
298:cardboard
256:curiosity
224:cartouche
116:magicians
96:inventory
1280:Nephthys
800:See also
726:. These
703:sequence
654:traitors
646:Ruddedet
642:Rededjet
623:Diodorus
591:monarchy
469:Nephthys
446:prophecy
442:Rededjet
350:Djedefra
306:adhesive
220:Hieratic
205:artifact
166:Linguist
152:script.
150:hieratic
108:miracles
102:) is an
48:, Berlin
707:refrain
682:destiny
580:destiny
576:justice
531:Userkaf
519:m3ʕ ḫrw
463:orders
454:Userkaf
401:Sneferu
377:Memphis
373:Ubaoner
358:Imhotep
344:Content
286:textile
274:columns
135:papyrus
112:priests
83:Germany
60:1650 BC
54:Created
1188:
1163:
1107:
1082:
1036:
1011:
986:
948:
940:. In:
896:. In:
864:
843:
785:pAthen
783:Since
777:pAthen
750:phrase
728:novels
720:pAthen
609:, and
595:satire
537:, and
535:Sahure
479:, and
397:Baufra
365:Khafre
354:Djoser
302:wooden
212:German
139:German
79:Berlin
650:moral
635:mercy
567:judge
481:Khnum
477:Heket
433:Thoth
429:lions
369:Nebka
330:rubra
290:linen
282:verso
278:recto
244:attic
201:Egypt
127:Khufu
69:Egypt
1275:Isis
1186:ISBN
1161:ISBN
1105:ISBN
1080:ISBN
1034:ISBN
1009:ISBN
984:ISBN
946:ISBN
862:ISBN
841:ISBN
791:and
722:and
621:and
589:the
465:Isis
437:bull
425:Dedi
324:and
300:and
124:king
114:and
90:The
385:wax
383:in
122:of
1270:Ra
1216::
1155:.
1142:^
1099:.
1045:^
1028:.
1003:.
978:.
905:^
873:^
835:,
787:,
768:.
756:.
692:.
605:,
533:,
475:,
471:,
467:,
461:Ra
456:.
360:.
230:.
207:.
187:.
180:.
164:.
81:,
58:c.
94:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.