Egyptian Tales, Translated from the Papyri: Second series, XVIIIth to XIXth dynastyPetrie, W. M. Flinders (William Matthew Flinders)
History
Egyptian Tales, Translated from the Papyri: Second series, XVIIIth to XIXth dynasty
Petrie, W. M. Flinders (William Matthew Flinders)
Egyptian literature -- Translations into English
The power of spells is limited, as we have just seen the abilities of
the gods were limited. The most powerful of spells, the magic book of
Thoth himself, cannot restore life to a person just drowned. All that
Na-nefer-ka-ptah can do with the spell is to cause the body to float
and to speak, but it remains so truly dead that it is buried as if no
spell had been used. Now it was recognised that the _ka_ could move
about and speak to living persons, as Ahura does to Setna. Hence all
that the spells do is not to alter the course of nature, but only to put
the person into touch and communication with the ever-present
supernatural, to enable him to know what the birds, the fishes, and the
beasts all said, and to see the unseen.
Modern conceptions of the spiritual are so bound up with the sense of
omnipresence and omniscience that we are apt to read those ideas into
the gods and the magic of the ancients. Here we have to deal with gods
who have to obtain information, and who order powers to act for them,
with spells which extend the senses to the unseen, but which do not
affect natural results and changes.
The inexorable fate in this tale which brings one after another of the
family to die in the same spot is not due to Greek influence, though it
seems akin to that. In the irrepressible transmigrations of Bata, and
the successive risks of the Doomed Prince, the same ideas are seen
working in the Egyptian mind. The remorse of Na-nefer-ka-ptah is a
stronger touch of conscience and of shame than is seen in early times.
There is an unexplained point in the action as to how Na-nefer-ka-ptah,
with the book upon him, comes up from the water, after he is drowned,
into the cabin of the royal boat. The narrator had a difficulty to
account for the recovery of the body without the use of the magic book,
and so that stage is left unnoticed. The successive stages of embalming
and mourning are detailed. The sixteen days in the Good House is
probably the period of treatment of the body, the time up to the
thirty-fifth day that of wrapping and decoration of the mummy
cartonnage, and then the thirty-five days more of lying in state until
the burial.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account