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access to Journal of Near Eastern Studies
Put song and music before thee, vised, but they aptly indicate the ques-
Cast all evil behind thee; tions which the song raises and which can
1 I acknowledge in profound gratitude the many be stated as follows: (1) What is the na-
valuable suggestions and critical observations made
ture and purpose of the song? (2) At what
by Professors John A. Wilson, Henri Frankfort,
and Keith C. Seele. I am especially indebted to Pro- occasion or occasions was it performed?
fessor Seele, who has generously placed at my dis-
2 Historische Inschriften altaegyptischer Denkmdler,
posal his hand copies and photographs of the two
II, 40.
hitherto unpublished harpers' songs from the Theban
tombs of Paser and Piay and additional hand copies 3 ZAS, XI (1873), 58-63 and 72-73.
and photographs of several of the other harpers' 4 TSBA, III (1874), 380-81 and 385-87.
texts. 5 Herodotus ii. 78.
178
At the time of Stern's writing the Antef and Neferhotep songs,8 which in-
Egyptian literary and archeological ma- cluded two additional harpers' texts from
terial which has a bearing on the prob- Neferhotep's tomb, which, though pub-
lems of harpers' songs was not sufficiently lished,9 had remained untranslated, the
known. Hence too much weight was ac- pendulum swings back from the worldly
corded to the observations of the Greek banquet of Goodwin to the funerary ban-
writers led by Herodotus. Ever since quet of Stern. In addition, Maspero is the
Stern, the "banquet" of Herodotus has first to acknowledge the existence of a
loomed large in the discussion, althoughproblem in the fact that the "make-
the Greek writer had made no mention merry" advice of the Neferhotep song is
of harpers and although we have no addressed not to the guests attending the
Egyptian evidence to bear out his descrip- funerary feast but to the deceased him-
tion of Egyptian banqueting custom. self. This difficulty, however, he quickly
Thus the application of this Herodotus resolves by telling us that the Egyptian
passage has prejudiced the inquiry into dead were not dead in our sense of the
the nature of the feasts at which the word.'0 Maspero believed that the harp-
harpers' songs were supposedly performed
ers' songs were sung in the tomb at funer-
-an inquiry which can have results only
ary feasts over which the deceased were
if based on Egyptian, not on Greek, felt to preside, that the songs contain a
sources.
carpe diem message which is addressed
Goodwin in his publication to ofallthe Antef
attendants of the banquet, the liv-
song6 also referred to Herodotus ing and the
butdead, and that this message
dif-
fered from Stern in believing that
originated the feast songs as part
in worldly
feast in question is the worldly, of a customnot theas a reminder of
intended
funerary, banquet. According to Again
death. him, thethe argument is clinched by
theme of the song "is the the words which
Herodotus passage.
Herodotus tells us were pronounced at were adopted by
Maspero's ideas
feasts when a mummied image was carried
Benddite, who re-edited the three Nefer-
round and presented to each of the hotep texts in his publication of the whole
guests." He further remarks that the songtomb." fle, too, affirms that the harpers'
is "one of those solemn and lugubrious songs were sung at mortuary feasts in the
compositions by which the Egyptians in tombs, having been adapted from worldly
the midst of their feasts were reminded of
drinking songs whence they derive their
the shortness of human joys." With this praise of life, which, though originally
shifting of the scene from the tomb to conceived as advice to the living, is not
the banquet hall, the character of the song out of place in the funerary context,
appears in a different light: What for since, in the Egyptian mind, there is no
Stern was merriment in the midst of sharp distinction between life and death.
gloom is for Goodwin a solemn note intro-
Hence these songs are well within the
duced at a merry occasion.7 boundaries of Egyptian religion.
With Maspero's new edition of the Similar opinions were voiced by
6 See n. 4 above. 8 Etudes tgyptiennes, I (1886), 162 if.
The objection might be raised that the Antef
9 Dilmichen, Hist. Inschr., II, 40a.
song which Goodwin deals with is different in spirit
from Stern's Neferhotep text. This difference, how- o10 Etudes 6gyptiennes, I (1886), 171.
ever, was not taken into account by the early com-
mentators. 11 Memoires de la Mission Frangaise, V, 489-540.
that
Brugsch"2 and by Wiedemann,13 "Maneros"
both mak- was the opening phrase
ing light of the incongruity of
ofa recording
banquet song urging enjoyment of
carpe diem songs in the tombs.
the pleasures of life.5 The many scholars
The anticlimax to these harmonizing
who have used the term "Maneros" for
one Max
interpretations is provided by or another
Mtl- of the harpers' songs have
ler's comments to his editionunsuccessfully
of harpers' striven to discover the
songs (Antef and NeferhotepEgyptian
I),14 where,
etymology of the word.16 In
with more erudition than sympathy, he
spite of the complete failure of these ef-
dwells on what he considers their
forts,brazenly
some recent commentators con-
heretical character, their closeness to tinue to use it."7 Toward an understanding
Epicurean songs from all over the world, of harpers' songs the label has contributed
and the illogicality and superficiality of nothing except confusion.
the Egyptian mind as apparent in the The skeptic or agnostic character of
use of such songs for funerary purposes. the songs, which Milller was the first to
Thus MUiller inaugurated the view that emphasize, now begins to hold the atten-
the Antef and Neferhotep songs are dis- tion of the commentators. Breasted at-
tinctly heretical and hedonistic drinking tached the two songs (Antef and Nefer-
songs. He treats the two texts as being hotep I) to a skeptic movement in the
essentially one and the same song, the First Intermediate Period and the early
Neferhotep variant having been expanded Middle Kingdom. But whereas Milller re-
by pious interpolations in order to render garded them as secular drinking songs,
the heresy harmless. The original song Breasted believed them to have been
from which they derive he equates with songs of mourning sung at funerary feasts
the "Maneros" song mentioned by Herod- in the tombs.'8 Summarizing the content
otus (ii. 79). of the Antef song, he concludes that the
The introduction of this Herodotus song reveals a
passage is as unfortunate as the use made
scepticism which doubts all means, material or
of Herodotus' banquet. For there exist
otherwise, for attaining felicity or even sur-
various Greek explanations of the word
vival beyond the grave. To such doubts there
"Maneros," none of which is bjorne out
is no answer; there is only a means of sweeping
by Egyptian sources. According to Herod-
them temporarily aside, a means to be found
in sensual gratification which drowns such
otus, "Maneros" is a song of mourning
lamenting the death of the son of the first
15 Sitzgsber. Bayer. Ak., 1869, pp. 163-94.
king of Egypt who bore that name. But
16 Wilkinson, Manners and Customs of the Ancient
Plutarch (De Iside et Osiride 17) gives
Egyptians (1st ed.), II, 252; Brugsch, Die Adonissage,
p. 24; Moret, La Mise 4 mort du dieu en Egypte, p.
three different explanations of the word,
22; Mariette, Le Serapgum de Memphis, p. 125;
one of them being that it is an Egyptian
Miller, Liebespoesie, p. 37; Moller, ZAS, LVI (1921),
78; Gressmann, Tod und Auferstehung des Osiris, p.
formula of greeting uttered by drinkers at
20. For a refutation of Mb1ler's etymology, which had
feasts. Miller's equation of the harper's
been adopted by Gressmann, see Scharff and Heng-
stenberg in ZAS, LXXII (1937), 143.
song with the Maneros was foreshadowed
17 Notably Kees in Totenglauben und Jenseitsvor-
by Lauth, who, as early as 1869 (i.e., four
stellungen der alten Aegypter, p. 451, and ZAS, LXII
years before the publication of the first
(1927), 77. For an energetic protest against the use
of the term see Rusch's article on Maneros in Pauly-
harper's song), claimed to have proved
Wissowa, Real- Encyclopadie der classischen Altertums-
12 Die Aegyptologie, p. 162. wissenschaft (1927).
13 Herodots zweites Buch mit sachlichen Erldute- 18 Development of Religion and Thought in Ancient
rungen, p. 331.
Egypt, pp. 181-82; The Dawn of Conscience, pp. 162-
14 Die Liebespoesie der alten Agypter, pp. 29-37.
63.
doubts in forgetfulness. "Eat, drink, and be heretical bent; and (4) funerary laments
merry, for tomorrow we die.""'9 born of skepticism. Finally, they have
A hitherto neglected aspect was been divided into two classes, one skeptic,
brought to the fore when, in 1913, Gar- pessimistic, and primarily secular; the
diner re-edited and translated the second other pious, optimistic, and primarily
funerary.
Neferhotep song under the title "In praise
of death."20 It could then no longer be II. THE ORCHESTRA SONGS OF THE
overlooked that this song contains no EIGHTEENTH DYNASTY AND
skepticism and no "make-merry" advice THEIR SIGNIFICANCE AS PART OF
but that, quite on the contrary, it praises THE DECORATED TOMB
death as the blessed eternal existence. In
consequence, most subsequent comments The seemingly simple term "harper
on harpers' songs tell us that there exist song" for a song accompanied by the har
two types of harpers' songs, the one- is ambiguous; for it neither includes,
skeptic-hedonistic-urging enjoyment of outrightly bars admittance to, the m
life, the other piously praising death. Ac- little songs recorded chiefly in priva
cording to Erman, the pious song from the tombs of the Eighteenth Dynasty wh
tomb of Neferhotep was intended as a are either sung in unison by several mu
protest against its impious counterpart.21 cians playing various instruments of
And for Kees the two Neferhotep songs which the harp is one or divided among
reflect the struggle between the forces of the different musicians, each singing his
skepticism and those of traditional faith.22 part. On the whole, these little songs have
When, in 1935, Varille published three been excluded from the discussion of
harpers' songs of the Nineteenth Dynasty, harpers' songs and have not been looked
which are wholly devoted to the praise of upon as possibly having a bearing on the
death, he fitted them into the schematism question of origin, purpose, and content
of the two-type theory: They represent of those songs which are recorded with
the pious attitude which exalts the here- the figure of a single harpist or attributed
after, in contrast to the pessimism of theto a harpist by means of an introductory
Antef-Neferhotep class of song which phrase and which alone have come to be
urges enjoyment of life while it lasts.23 known as "harpers' songs."
To sum up the main viewpoints which In this section we propose to deal with
we have encountered in our review: The these short songs from Eighteenth Dynas-
ty tombs, and we shall call them "orches-
songs of the harpers have been interpreted
tra songs" as distinct from "harpers'
as: (1) secular drinking songs developing
a "make-merry" motif combined with songs."
a We shall discuss them from two
reminder of death; (2) mortuary songs angles: (1) their literary affinities and (2)
derived from secular drinking songs andtheir pictorial context. When their place
in the scheme of the decorated tomb has
fitted to religious belief and practice;
(3) secular drinking songs of skeptic- thus been outlined it will be possible to
19 The Dawn of Conscience, p. 165.
define their relation to "harpers' songs."
20 PSBA, XXXV (1913), 165-70. A scene in the hall of the tomb of I.ena-
21 The Literature of the Ancient Egyptians, trans- mun (No. 93 at Thebes; north side of
lated into English by A. M. Blackman, p. 253.
west wall) shows Amenhotep II as a
22 ZAS, LXII (1927), 77; also Totenglauben, p. 451.
23 BIFAO, XXXV (1935), 153-60. See also Weill,
young prince sitting on the lap of the
Egyptian Religion, III (1935), 127.
royal nurse Amenemopet, who is .I ena-
with drink
mun's mother.24 Two officials by his wife, who says: "Take,
approach
drink,
him and are followed by two and make
girls holiday within thy
carrying
house ofaeternity!"
wine cups and a third playing Above the man's head
lute. The
is written:
legend above the girls reads:
Diverting the heart and seeing good Sitting down to divert the heart by a holi-
day in the interior of his house of the west,
things, song, dance, and music; rejoicing and
gladness of heart when [the troupe of] his his abode of eternity, which is in the precinct
majesty is seen in the pleasure-ground of of Hathor, mistress of Djesrut. May she give
Peru-nufer; perfumed with myrrh, anoirited thee leave to come up to earth and to the
open forecourt of the tomb so that thou
with oil, making holiday (irt hrw nfr); decked
with garlands from thy plantation, lotus mayest
at see the sun when he rises.
thy nostril, O king Amenhotep. Make for us b) In the banquet scene from the tomb
an eternity of [years]. How fair is thy face in
of Amenhotep-si-se (No. 75 at Thebes;
royal appearance when thou art seated on
main hall; west side of north wall)27 the
the great throne ..... He who rejoices over
master and his wife are seated in front
Re when he sees him has life so that he does
not [die]. of the offering table with musicians and
guests attending. The legend above the
This representation of the entertainments man's head reads:
provided for the young prince is a purely
Sitting down in the hall to divert the heart
secular scene, free from all funerary allu-
according to the practice of existence on earth,
sions. Both picture and text invoke the perfumed with myrrh, adorned with garlands,
hrw nfr, the "holiday" or "feast day," making [holiday] in his house of justification
with its standard paraphernalia of wine, which he made for himself in the west of
music, flowers, and ointment. Secular as Thebes.
the occasion is, the gods are not forgotten, c) The tomb of Nebamun (No. 90 at
for they are the bestowers of all life and
Thebes)28 contains two parallel banquet
happiness. scenes on the east wall of the hall, in both
In the following we shall study the ap- of which the deceased is seated with his
plication of that same "make-holiday"
wife and receives the cup from a daughter.
phraseology to a funerary25 context, i.e.,
In the south scene the daughter addresses
to wishes for, and descriptions of, the life
her father thus: "For thy ka! In life, in
after death. The setting for these texts is
health, thou praised of Amun, in thy
either the simple daily meal of the dead,
beautiful house of eternity, thy dwelling
the "offering-table" scene, or the more
of everlastingness." The legend above his
elaborate "banquet" scene, the signifi- head in the north scene reads:
cance of which we shall discuss later.
Diverting the heart and passing a happy
a) The banquet scene in the hall of the
moment in [his] beautiful [house] of eterrfity
tomb of Ipuki and Nebamun (No. 181 at one - of favor, great in the palace;
by the
Thebes; west side of south wall)26 he shows
is happier today than yesterday.
the deceased Nebamun being presented
d) In one of the two banquet scenes in
24 See Davies, The Tomb of Jen-Amifn at Thebes, the tomb of Haremhab (No. 78 at Thebes;
P1. IX.
the deceased. Behind them are three main hall)3" the master and his wife sit in
women musicians. The legend above the
front of a flower stand. Two daughters
two serving women reads: present flowers and drink. Behind them
are seven women musicians and a dancing
For thy ka! Make holiday in thy beautiful
girl. The daughters express the familiar
house of eternity, thy dwelling of everlasting-
ness. Thy face is turned to Re, thy good wish: "For thy ka! Make holiday, 0
lord who loves thee .... Receive garlands,scribe of the grain, in thy house of justifi-
anoint thyself with fine oil. Take part incation,
a which thou hast made for thyself
holiday in the favor of that good god of the
on the side of the City." As in the case of
west of Thebes.
Amenhotep-si-se, the feasting in the here-
after is expressly stated to be a replica of
e) Two parallel scenes on the north and
south walls of his shrine depict the de-the earthly custom; for the legend above
ceased User (owner of tomb No. 21 at the seated pair reads: "Sitting down in the
Thebes)30 seated with his wife in front of hall to divert the heart as was his wont
the offering table. A daughter presents while being on earth." As to the song of
the cup and says: the musicians who play harp, lute,
For thy ka! Drink, be happily drunken, and
double-flute, and lyre, it runs thus:
make holiday! ... Thou shalt never cease Holiday! One constantly recalls the beauty
to enjoy thyself within thy beautiful house. of [Amun]. The heart is glad and praise is given
to the height of heaven unto thy exalted face.
These samples should suffice to make
it clear that there exists a certain class of Hearts say at the sight of it: Do it, 0 measurer
of the grain [of Amun], every day!
tomb texts which apply the "make-holi-
day" motif to the deceased's existence in b) In the banquet of Rekhmire (tomb
the hereafter. The texts name the tomb No. 100 at Thebes; north wall of pas-
as the place in which the dead man will sage)32 two orchestras, one consisting of
enjoy the "holiday"-"house of eternity" men, the other of women, entertain the
and "house of justification" are, in this large gathering of feasters. The songs are
context, quite unambiguous terms for thedivided among the various musicians,
tomb-and the feasting which is the chiefeach singing a part. The male harper
content of the "holiday" is described andsings:
depicted in the manner of the feasts ac-
How prosperous are they, these years which
tually celebrated in life. Thus a secular
the god decrees for thee! Thou passest them
phraseology is consciously applied toendued with blessing, healthy and happy.
strictly funerary wishes, which conjureThou existest, thy voice being justified and
up the happiness of the life after death by thine enemy fallen, in thy house united with
picturing it in terms of earthly joys.eternity, partaking of everlastingness.
So far the "holiday" has been invoked
The lute player sings:
through speeches of those participating in
the feasting or through descriptive legends. Thou hast life endued with blessing, thou
It remains to be seen how the orchestra hast holiday .... making holiday, 0 prefect.
songs recorded with the banquet scenes Thy goodness is remembered .....
compare with these two forms of prose. 31 Scheil, Memoires de la Mission FranCaise, V,
a) In the banquet scene from the tomb571-79, P1. II. For the texts see BIFAO, XXI, 128.
of Djeserkerasonb (No. 38 at Thebes; 32 Virey, Memoires de la Mission Frangaise, Vol. V,
Fase. I, Pls. XL-XLIII; Davies, The Tomb of Rekh-
0o Davies, Five Theban Tombs, Pls. XXV-XXVI. mi-R?c at Thebes, Pl. LXVI and p. 61.
In the lower
The three men who beat the rhythm register a male orchestra con-
sing:
North wind sweet to thy nostril, sisting of a harpist,
breath of a lutist, and a blind
what thy nose loveth. Partake ofsinger who beats the rhythm accompany
the offering
which the king gives which has gone the preparation
up on theof food with their song:
altar of the lord of eternity, that thy ka fine
Incense, mayoil, oxen, the best of what
be satisfied by it, 0 prefect blessed of Amun.
belongs to Amun, the morning of his rising
c) Some painted blocks from whena he appears in Karnak to receive the
Saqqara
tomb of the late Eighteenth Dynasty33 good things which are received from the hand
show a group of four womenofmusicians, the blessed royal scribe every day. To thy
beautiful face, lord of food! thou hast reached
one of them a harpist, standing behind a
the land of the god.
girl who presents drink to the deceased,
who is seated beside his wife. Above the e) At a banquet in the tomb of Amen-
musicians is written: emhet (No. 82 at Thebes; north wall of
Thy ka is upon thee, thou who hast spentpassage)6 a male harper sings:
thy lifetime in happiness, (though now) thou How well it goes with the temple of Amun,
art consigned to the west. How prosperouseven she that spendeth her clays in festivity
with the king of the gods within her
are thy (things), 0 lord of eternity! ... Thy
She is like to a [woman] drunken, who sitteth
house stands firm bearing thy name. The chil-
dren of thy children rcarry thy &ierl.34 outside the chamber, with loosened rhairi
and upon her beauteous [rbreast'],
d) The arrangement of the figures in the
and she possesses .37
banquet scene on Wall D of the hall in
f) In another banquet scene from the
the tomb of Haremhab35 is slightly dif-
same tomb (hall; south side of west wall)38
ferent from that of the parallel scene pre-
a male harper and two women who beat
viously described. In this scene the text
does not end above the head of the second the rhythm sing:
serving girl but continues above the two How well it goes with the temple of [Amun]
women lutists who stand behind them. on New Year's Day, at the renewal of - all
Hence it is difficult to decide whether we in its entirety, when he receives its good things,
and its oxen are slaughtered by hundreds, its
are dealing with a speech or a song-or a
wild game of the mountains by thousands,
combination of both. The text runs thus:
even for A[mun as his due off]erings at the
For thy ka! Make holiday in thy beautifulfestivals of the seasons.
house of eternity, thy dwelling of everlasting-
g) The song from the banquet scene
ness .... decked with garlands, anointed on the British Museum fragment No.
with fine oil, taking part in a holiday. Thy
3798431 runs thus:
heart is glad, thy heart is in joy. Thou seest
Amun; he accords thee to be among mankind, [Flowers of sweet1] odor rgivenl by Ptah and
blessed in the land of the living. Mut has comeplanted by Geb. His beauty is in every body.
Ptah has made this with his hands to enter-
.... in order to give rwhat is asked of her1
tain his heart. The canals are filled with water
and to carry the sistrurm and mix the drink in
anew, and the earth is flooded with his love.
the cup of gold ..... 36 Davies and Gardiner, The Tomb of Amenemhet,
34 Quibell and Hayter, Teti Pyramid North Side, Pl. XV, p. 63.
P1. XV.
37 This is Gardiner's translation except for the
3' For the word ifd.t see Davies and Gardiner, The initial words, for which see Gardiner, Egyptian Gram-
Tomb of Amenemhet, p. 56, and Peet, The Great Tomb mar, ? 141, n. 6.
Robberies (Text), p. 174.
3s Davies and Gardiner, op. cit., PI. V, pp. 40-41.
'3 Bouriant, Mimoires de la Mission Franqaise, "9 See Wreszinski, Atlas zur altadgyptischen Kultur-
Vol. V, Fasc. III, P1. II, p. 426; Wreszinski, Atlas zur
geschichte, I, 91; Davies and Gardiner, Ancient
altdgyptischen Kulturgeschichte, I, 39a, c. Egyptian Paintings, II, 70.
funerary rites of offering together with needs to be made between them, even when
the ancients failed to observe it and added
the banquet that they aimed at securing
elements of confusion. Three separate classes
for the deceased,"40 while the latter is the
of banquets are perhaps depicted; one is the
representation of an earthly feast and thus
regular meal of the dead, which he would
a scene of daily life. The difficulty of dis-
hope to enjoy daily, but which, for the com-
tinguishing between the two types is, ac- mon man at least, could only be so provided
cording to Gardiner, due to the fact that pictorially or by written spell .... The sec-
the worldly feast had acquired a second- ond depiction reflects an actual presentation of
40 Davies and Gardiner, The Tomb of Amenemhet, food and a real assembly of living relatives
p. 38.
on the occasion of the New Year, or some
also the
other anniversary. Here, too, the case in thewas
food banquet of Nebamun
with
ritually offered to the dead; which
not inDavies deals. To quote from
privacy
and silence, however, but inDavies'
the description:
company ofridiculous trun-
"The
friends and to music and laughter. The
cheon which third
he [Nebamun] carries,
kind of meal is such as we are now to con-
against all earthly habit, gives a sepulchral
sider. Placed in the chamber of records it
heaviness little befitting the scene."
commemorates primarily the pleasures of the
Describing the relatives participating in
past. No priest needs to intervene here ..
The daughters of the house come forward withfeast, Davies says:
the
the cup, the garland, the ointment, the joy In the uppermost row a young woman
bringing emblems of Hathor . . . . The offers
meat the menat and symbolical flowers to a
married pair, and by this attention betrays a
and drink are material things . . .. and if they
are offered to the ka, that anima blandula rank which they had probably won by age or
death . . . . Both are given the epithet ma-
was a familiar spirit that began its protective
or other offices with birth not death. The dis-
kheru commonly applied to the dead, and in
tinction between these occasions of feastingagreement with this their table is of the form
was, however, not observed strictly byreserved
the for mortuary feasts.43
decorators. The actions and words proper to
Has Nebamun then invited the dead to his
the one crept often into the other. The shadow
house?
of death naturally stole over the happiness of
It seems to us entirely unconvincing
earth; on the other hand the familiar realities
of the known world pleasantly tinged the assume that all these funerary texts
to
monotonous expanse of eternity. With and this elements of representation are out of
place and merely the outcome of confu-
word of warning against too rigid an interpre-
tation of words and details, we may turn sion.
to In other words, we believe that a
banquet which has explicitly funerary
the picture itself and enjoy its very incon-
gruities.4A legends is a funerary banquet. When the
We are not in agreement with this presence or absence of such legends is
point of view. In the first place, the ban- made the criterion for the distinction of
quet which Davies treats as an example the funerary from the worldly biographi-
of the worldly biographical type contains cal banquet, it becomes apparent that
the explicitly funerary legends which we the overwhelming majority of banquets
have discussed.4 Refusal to accept the in tombs belongs to the funerary class.
literal meaning of those "holiday" wishes Such literal approach to the material may
which place the "holiday" squarely in the be rigid but is not arbitrary. It further-
hereafter could be justified only if they more results that all texts gathered in this
were isolated remarks cropping up errati- chapter, legends, speeches, and songs, with
cally in an otherwise distinctly worldly the exception of the legend from the
context, but not when they are so per- "holiday" scene of Amenhotep II,44
sistently used and echoed in song and which was chosen as an example of a secu-
prose as to constitute a definable part of lar entertainment, derive from strictly
the funerary repertoire. Moreover, all the funerary feasts. In other words, the back-
banquets from which the funerary "holi- ground for the orchestra songs recorded
day" texts derive exhibit one or more than in the private tombs of the Eighteenth
one funerary element of representation, Dynasty is the funerary banquet.
usually the ritual offering table. This is It remains to inquire into the meaning
41 The Tomb of Two Sculptors at Thebes, pp. 51-53. 43 The Tomb of Two Sculptors at Thebes, p. 55.
42 See above, p. 182 (tomb of Ipuki and Nebamun). 44 See above, p. 181 (tomb of IKenamun).
musicians,
borne out by the character of such as flutists and lutists, are
the harpers'
songs, for which we now have several not depicted as blind. Furthermore, if
examples. such practical consideration had been
Before discussing these texts, a word so important as to dominate the mode of
should be said about a peculiarity of representation, it is surprising that it
representation, namely, the habit of de- should not have been reflected in the very
picting male harpers as blind. This mode numerous Old Kingdom depictions of
of representation is fairly common in theharpers but that it should have been left
Middle Kingdom and very widely applied for the more refined Middle Kingdom to
in the New Kingdom. Knowledge of theemphasize such primitive precautions.53
social standing of harpers would help Whatever
to the origin of the practice, it is
determine the reasons behind this prac- likely that in the course of time it became
tice. But we have little information about an artistic formula of characterization
the harper's profession and his standing.
and, as such, independent of observed
reality or of a specific meaning.
Max Miiller has made much of the demot-
ic satirical poem which describes him as The harpers' songs of the Middle King-
lowly and despicable.49 But, being meant dom, by which we understand songs re-
as a satire, that description has little corded
in- on monuments dating from the
formative value. What evidence we have Middle Kingdom, come from private
would indicate that there were the
tombs as well as from funerary stelae.
honored and well paid as well asTheir
the number
hum- is small, and they are short
ble and poor.50 If we assume thatand
thesimple
rep- compositions. We possess the
resentation of harpers as blind following:
was based
on observed reality-blind men would1. Stelabe
in Cairo from Abydos
likely to turn to the musical profession as Stela V 68
2. Leyden
the most adequate means of livelihood-
3. Leyden Stela V 71
we would have to ask ourselves whether 4. Tomb of Senbi at Meir
heads ofof
dom which furnishes a number an harpers'
officiating priest-and a group
of four musicians
songs which are closely related to the led by a blind harpist.
Antef song. These are goodTheyindications
face the deceased and his wife, who
not only that the song wasare popular
seated at thein the table. The tomb
offering
New Kingdom but that it dates from the
actually reign of Amenhotep IV,
started
a literary fashion. And itAkhenaten.
is in order This is the tosong:
point to its literary affinities with the
(2) Song which is in the housea of King Antef
New Kingdom, and not inthe order
justified
to deny
its Middle Kingdom origin, that we
(And) which is in fronthave
of the (3) harpist.
placed the Antef song at Flourishing
the head indeedb is thisour
of good lord!
list of harpers' songs of the New
A kindly fateKingdom.
has come to pass.c
These are the texts: (One) generation passes away
And others (4) remain (in its place)
1. The Antef Song: Papyrus Harris 500 and
Tomb of Paatenemheb Since the time of the ancestors.
2. Song from the Tomb of Neferhotep, The gods that were aforetime
Thebes No. 50, north wall of- passage; Rest in their pyramids;
Nobles (5) and glorified likewise
hereafter called "Neferhotep I" (P1. VII)
3. Song from the Tomb of Neferhotep, Are buried in their pyramids.
Thebes No. 50, left rear wall of hall; They that built houses,
hereafter called "Neferhotep II" Their places are no more;
4. Song from the Tomb of Neferhotep, Whatd (6) has been done with them?
Thebes No. 50, left rear wall of hall; I have heard the sayings of Imhotep and
following on Neferhotep II; hereafter Djedefhor,e
called "Neferhotep III" (Pls. I, II) With whose words men (still) speak (7) so
5. Song from the Tomb of Khai-Inheret, much;f
Der el Medineh No. 359, second chamber What are their places?
6. Song from the Tomb of Paser, Thebes Their walls have crumbled,
No. 106, on pillar in hall (Pls. III, V) Their places are no more,
7. Song from the Tomb of Piay, Thebes No. As if they had never (8) been.
263, left door reveal (Pls. IVa, VIa) None cometh from thenceg
8. Song from the Tomb of Neferrenpet, That he might tell their circumstances,
Thebes No. 178, south wall of hall That he might tell their needs
9. Song from the Tomb of Penniut, Thebes And content our heart
No. 331, left door reveal Until we have reached (9) the place
10. Song from the Tomb of Tjanefer, Thebes Whither they have gone.
No. 158, left door reveal7" May thy heart be cheerful
To permit the heart to forget
1. THE ANTEF SONG The making of (funerary) services for thee.
Follow thy desire while thou livest!
The text occupies columns VI, 2, to
(10) Put myrrh upon thy head,
VII, 3, of Papyrus Harris 500 (Brit. Mus.
Clothe thyself in fine linen,
Pap., No. 10060) and also exists, in a Anoint thee with the genuine wonders
fragmentary state, in the tomb of Paa-(11) Which are the god's own.
tenemheb from Saqqara, now in Leyden.Increase yet more thy happiness,
The tomb copy was engraved on the And let not thy heart languish ;h
right-hand wall of the hall above the Follow thy desire and thy good,
70 For the bibliography of these songs see the Ap-
(12) Fashion thine affairs on earth
pendix. After the command of thy heart.i
SOr "words
That day of lamentation will come related
toasthee,
their own utterances-
verydoes
When the Still (1) of Heart much." not hear their
lamentation, g Apparently for bw ii.tw. The Leyden variant
And mourning does not deliver a man from bn ii im, "nonexistent is one who comes from
thence," is better.
the netherworld.)
rRefrain':k (2) Make holiday! h imi h.w nfr.w.k, etc. The usual procedure is
Do not weary thereof!
to interpolate
the the preposition
negative imperative hr big3y.
m before after h.w
Bothand
Lo, none is allowed to take his goods with emendations are based on the Leyden text; see
him,I also Neferhotep I, line 28.
Lo, none that has gone has (3) come back! im wd ib.k iw n.k hrw, etc. The Leyden text
a The "house of King Antef" is, of course, the has m hd ib.k r iw n.k hrw. Both readings provide
royal tomb. an adequate meaning. When the reading wd of
Harris 500 as against hd of Leyden is retained,
b wid pw: the writing is clearly wad, and the
the phrase "after the command of thy heart"
meaning of wd suits the context. The dead are
is the conclusion of the preceding sentence; and
often referred to as being flourishing and pros-
then the interpolation of the preposition r before
perous, cf. w-d.wy nn 6pr n.f (Davies, The Tomb
iw n.k to obtain the meaning "until that day of
of Neferhotep at Thebes, P1. XXIII); w-d.wy st n3 lamentation comes to thee" is unwarranted.
n rnp.w.t wd ntr hr.k (Virey, Le Tombeau de
Rekhmara, Memoires de la Mission Frangaise, i The Leyden text gives the correct reading
for this phrase.
Vol. V, P1. XLII with wd for w3d; see also Leyden
Hymn to Amon, VI, 10 (ZAS, XLII, 41). k The Wbrterbuch (Erman and Grapow,
S3w nfr hdy: Ow nfr clearly is a euphemism for
Wirterbuch der agyptischen Sprache) has adopted
the translation "refrain" for m3wt, basing it on
death, but hdy presents a problem, since no
satisfactory meaning can be obtained from it. We
m wt.f m h.t.f of P. med. London, 16, 4; 17, 5;
have adopted the attitude of previous translators18, 5, 11; but it remains guiesswork.
who have treated it as a corruption and substi- I A very similar saying is sm s im bt.f, "when
tuted kpr from the parallel phrase in Neferhotep man goes his belongings go" (Lefebvre, Le Tom-
I, line 2. beau de Petosiris, II, 90).
d ptr here and in line 7 seems to be the inter-
rogative pronoun "what" rather than the im- The opening phrase of the song has a
twofold intention. On the one hand, it is a
perative "behold," despite the wrong determina-
tive in the first occurrence; so also Sethe, Im-
simple statement of the fact that the per-
hotep der Asklepios der Aegypter, p. 10 (Unter-
son in whose honor the harper sings is
suchungen zur Geschichte und Altertumskunde
dead; on the other hand, it is an affirma-
Aegyptens, II, 4).
tion, made with exclamatory emphasis,
eThe recently published fragment of the
that the state of death is one of prosperity
teachings of Djedefhor (Brunner-Traut, ZAS,
LXXVI, 3-9) perhaps suggests that the two Oldand happiness. As indicated by the paral-
Kingdom sages are introduced here not merely lels quoted above, the terms "to flourish"
because of their general fame but because of a and "to be happy" are commonly applied
more specific connection between their teachings to the dead man's existence in the here-
and the musings of the harper. For the Djedefhor
fragment recommends the traditional provisions
after, and the exclamatory form is often
for survival: "Make excellent thy dwelling placeused as a greeting extended to the dead
of the west .... the house of death is for life." upon his arrival in the beyond.
The harper, however, reflects on the vanity of
The theme of death having thus been
these efforts. See ibid., p. 7, on the reading
introduced is now further elaborated:
"Djedefhor" instead of previous "Hordedef."
The singer points to the transitoriness to
On the two wise men see also Gardiner, Hieratic
which
Papyri in the British Museum (3d ser.), Vol. I: all life is subject, and this, in turn,
Text, pp. 39-40. leads him to observe that all-embracing
(1) Thus
a Read m hb.f nfr n n'mt; the n ofspeaks
thethegenitive
musician who is in
has coalesced with the n of n'mt. For the same
the tomb of the Osiris, the scribe of the god's
and similar cases of coalescence see Erman, income,
ZAS, scribe of the treasury of the estate of
LVI, 61. For the whole passage cf. sms wnn nfr m (2) Kenro the justified, he says:
Amun,
w pkr m hb.f nfr n n'mt, Brit. Mus. Stela No. 295,
Thou callest to heaven,
3; also Brit. Mus., Stela No. 170, 6. The feast
Thy voice is heard,
of the Neshmet bark and the district of Peker
And Atum answers thee.
are mentioned in countless funerary inscriptions;
(3) Thou raisest thy voice as godly (4) heron,a
e.g., Louvre C 3, C 54, C 69, C 166, C 232; Brit.
And he (5) whose name is hidden greetsb
Mus. Stela No. 155. See also Schtfer, ZJAS,
XLI, 107, for a discussion of Peker. (thee).
b Read m-rw.ty? Thou turnest (6) over on thy right side,
SThere is room for an f after hm-k'; so Thou
per-placest (7) thyself on thy left side,"
haps "his ka-priest " as in Piehl, Inscr. hierogl.,
Thou sittest down (8) on thy seat d
I,(altering
121k: pr bi.i Piehl's
hr hrw hm-k3.f
to ) r 'sp h.t wh. n.f a The heron or "phoenix" of later times was
believed to have power of speech; see Book of the
This song shares its phraseology
Dead, 77, 7;with
125, 9 (Ani); 145, 77 (Budge).
the mortuary inscriptions on bstelaew'd tw has
andcoalesced into w'ddw; cf. Tjane-
fer, 1. 3.
tomb walls. Only the form of delivery is
c This motif has a long tradition in which two
different. Here it is the harper who
ideas speaks
seem to be combined; one is the resurrec-
and affirms that the favors which the tion, the other is the deceased raising himself
owner of the mortuary inscription prayed
from his sleep to partake of the food offered
for have been granted, while the otherhim; see Pyr. ? 730a, and Sethe's commentary
to the passage; it recurs in Coffin Texts, I,
class of texts gives the prayers them-
6b-c; I, 234a; Book of the Dead, 68, 13-14; 152,
selves. Typical mortuary motifs are the
10 (Naville).
wishes to attend, as formerly in life,d the
Perhaps the "great seat," i.e., the throne of
feast of Osiris in Peker, also to see the
thesun
gods on which the dead wishes to sit (cf.
at his rising, and to become one ofPyr.
the391c); but an additional element must have
been present in the text, for there is too much
followers of Horus. It is noteworthy that
space between it.k and the final r for wr or
these particular motifs are very common
wr.t alone.
in the Middle Kingdom. In other words,
we do not meet here with motifs character- 9. SONG OF PENNIUT
istic of the New Kingdom mortuary texts. The song comes from tomb No.
Thus there is the suggestion of an archa- Thebes, where it is recorded on
izing tendency in our song. door reveal. The harper faces the de-
The remaining three harpers' songs ceased couple; there is no offering table.
form a closely related group and will, The tomb is Ramesside. For the text see
therefore, be discussed together. Varille's publication.
8. SONG OF NEFERRENPET (1) Thus speaks the musician who is in the
tomb of the first priest of Month, (2) Penniut
The song comes from tomb No. 178 at
the justified:
Thebes. Its owner, Neferrenpet, also
How sweet is the dwelling in Thebes,
bears the name Kenro, and the latter
The heart is in joy every day!a
name is used in our text. The song is re-
On the day - (3) - thy arms to him
corded on the south wall of the hall. The
When he comes to thee.
harper faces the deceased couple, who are
Come (4) to him
seated in a kiosk and play a game. The When he comes to thee;
tomb dates from the reign of Ramses II. So shall one say (5) [concerning
For the text see Varille's edition. Thou praisest Amun,
Thou seest Re at his rising, Thou takest thy forms (8) as thou mayest
Thou givest (6) praise in the early have wished,
morn,
Every day without ceasing.0 Thou givest praise to the Rich-in-Forms,e
Thou flyestd (7) to heaven like They are complete
the noble forvul-
thee, (9) all of these
tures, (forms).
Thou raisest thy voice like the godly (8) heron, All thy limbs are whole,
Atum answers thee. Thou art justified before Re
For the ka of the Osiris, (9) the first priest ofAnd established before (10) Osiris.
Month, Take the offerings of excellence
(10) Penniut the justified (11) who is called That thou mayest eat as on earth.
(12) Sunra. Thy heart is glad (11) in the necropolis,
a For this praise of Thebes cf. w3d.wy mn m Thou joinest thy tomb in peace.
hnw.4 of the Leyden Hymn to Amon, VI, 10 (ZAS, The gods of the underworld say to thee:
XLII, 41), which refers to the happiness of burial "Wel[come]f to (12) thy ka in peace."
in Thebes. The passage in the harper's song has All the people who are in the necropolis,
the same funerary significance. They are given to thee as reward.
b Restore r.k.
(13) Thou art called to say the prayers of a
SFor this passage cf. di.f m3 itn dgg ich nn Great One
3bw rnb, P. of Ani, P1. I, 17. So that thou mayest establish right,
d Cf. 1hy.i m, bik, Book of the Dead, 17, 74
Osiris Tjanefer the justified.
(Naville).
a Cf. wbn r' n b pn hr ?nbt.f, Book of the Dead,
10. SONG OF TJANEFER 100, 8 (Naville); see also Coffin Texts, I, 254d-e,
The song comes from tomb No. 158 at with "cheeks" instead of "breast"; Urk. IV,
p. 117,1. 4; p. 148,1. 14; p. 499,1. 10.
Thebes, where it is recorded on the left b I follow W6rterbuch, IV, 478, in taking mnC
door reveal in front of the harper's figure. as being the verb "to sing," here referring to the
For the text see the publication. Improvedsound of the wind. Varille has "Le vent du sud
readings, based on a hand copy and a se fait pour toi un vent du nort," which is un-
photograph are given in our notes. grammatical; note also that rdw (not Wmc) is
the counterpart of mhy.t in Cqfin Texts, II,
(1) Thus speaks the musician who is in 389 ff.; also Pyr. ? 554.
the tomb of the Osiris, the priest of Amun, o Cf. Florence Stela No. 1617; Pyr. ? 381a-d.
Tjanefer the justified: dCf. Pyr. ? 1140a-b.
Thou callest (2) to Re, Cf. C'8w fpr.w m pt m tl, Cairo Stela No.
Khepri hears 34057, 1; C8'w pr.w c irw.w applied to Wnn-nfr
And Atum answers thee. Harakhte in Book of the Dead, 15, 1 (Hymn to
Osiris); see also Book of the Dead, 147, 2 (Na-
The Lord of All does (3) the things which
ville); and Coffin Texts, I, 324.
please thee,
And he whose name is hidden greets thee.
SProbably to be read - kI.k.
The sun shines (4) upon thy breast,a The three last songs are related to each
He illuminates thy cave. other not merely through a general simi-
The west wind (comes) straight to thee (5) larity of content but because they use the
to thy nose, same vocabulary. The song of Piay shares
The north wind blowsb for thee. their tendency but differs considerably in
Thy mouth is guided to the breast of the (6)
Hesat-Cow,o
its phraseology. Thus, while all four texts
can be grouped together when compared
Thou art reverent at the sight of the sun-
disc, to the "make-merry" songs, a distinction
needs to be made between them. Whereas
Thou cleanest thyself in (7) divine water,d
Thou minglest with them who adore (the the song of Piay resembles the mortuary
sun at dawn). prayers from tombs and stelae, the last
three texts have more in common with song consists of a melancholy reflection
the coffin texts and the funerary papyri. on the transitoriness of life coupled with
The songs of the Antef-Neferhotep skepticism concerning immortality and
type discussed problems which concerned urging enjoyment of the fleeting moment.
everyone. They contain argument andIts ad-deprecation of death recurs in the
vice on a scale and in a manner which sug- "Dialogue of the Man Weary of Life,"
gest that they represent reflections which but the situation there is quite different
everybody was invited to share. Not so our and its solution is the opposite of Antef's.
last four songs. Their whole concernNor is is the melancholy of our song akin to
with the well-being in the hereafterthe oflamentations of the Admonitions and
the one particular individual to whom similaf prophetic writings. For there it is
they address themselves. No other audi- actual social and political misery which
ence is assumed. Thus the scope and pur- has led to pessimism; but the value of life
pose of harpers' songs has been narrowed, as such is not questioned. As to the teach-
and the songs again assume the function ings of the type of Merikare, wherever
which they had in the Middle Kingdom they deal with the relation of life to death
prior to the development of the "make- their attitude is positive and pious and
merry" songs: They are mortuary texts. thus contrary to the Antef song. Life on
However, the "make-merry" songsearth of is short, says the sage who instructs
the kind represented by the songs of King Merikare, but existence in the be-
Khai-Inheret and Paser, that is, the late yond is eternal.79 Nevertheless, in content
type which has been purged of reflective as well as in form, the Antef song is related
skepticism, continue alongside the mortu- to these reflective writings known as wis-
ary songs. And it is still possible to have dom literature; but its attitude is unique
more than one song in one tomb; for the and its advice runs counter to the letter
tomb of Tjanefer contains a second harp- and spirit of that literature.
er's song, and this one displays the "make- The "make-holiday" motif did not
holiday" motif. The text is a hopeless originate with, and is not peculiar to, the
fragment; but it must have been a "make- Antef song. It is the main theme of the
merry" song. banquet texts, orchestra songs as well as
prose speeches and legends, which are re-
V. THE PLACE OF HARPERS' SONGS
corded in the tombs.8s Although most of
IN EGYPTIAN LITERATURE
this material comes from the Eighteenth
It will have become clear that harpers' Dynasty, there is sufficient evidence to
songs cannot simply be classified show that the motif antedates the New
as being
of two kinds, worldly and funerary, Kingdom.
as has There is the "make-holiday"
been done in the past. The situation song isfrom the tomb of Sebeknekht of the
much more complicated. The different Second Intermediate period8l and, in addi-
songs have different antecedentstion, and, thein "holiday" without "make" fre-
addition, they have an internal develop- quently occurs in Middle Kingdom in-
ment.
79 Merikare, 11. 55-57; ibid., 11. 123-24 (transitori-
ness of the body).
The development of the "make-merry"
80 so I do not know of any such "make-holiday"
songs can be summarized as follows. They
texts with scenes other than of feasting. But these
begin with the Antef song, which, though
scenes are not restricted to tombs; they occur even
on objects of daily use, as, for instance, on a little
extant in New Kingdom copies only,
toilet box in the Brooklyn Museum.
originated in the Middle Kingdom. That81 See above, p. 191.
o0 Of. Gardiner, Hieratic Papyri in the British 94 The harp was the religious instrument par ex-
Museum (3d ser.), Vol. I: Text, pp. 38-41. cellence. A few instances where this is evident are
Recueil de travaux, XIII, 1; Urk. IV, p. 174; Papyrus
91 Lefibvre, Le Tombeau de Petosiris, II, 90, and I,
161.
Chester Beatty, No. IV, recto 7, 3. See also Schott,
Der Gott des Harfenspiels in M6langes Maspero, pp.
92 Brit. Mus. Stela of year 42 B.c., Brugsch, 457 ff. But the harp also occurs as a secular instru-
Thesaurus, p. 926. ment (see Piankhy Stela, 1. 134).
one, and only one, Egyptian text which BIBLIOGRAPHY OF HARPERS' SONGS
reveals a clear, sustained, and radical FROM MONUMENTS OF THE
pessimism; that is the "Dialogue of the NEW KINGDOM
Man Weary of Life," which rejects life 1. THE ANTEF SONG
and glorifies death. The Egyptian pro-
a) Papyrus Harris 500, VI, 2-VII, 3 (Brit.
phetic literature and the teachings of
Mus. Pap., No. 10060).
Egypt's sages and kings are shot through
Published:
with pessimistic remarks. But these re-
Goodwin, TSBA, III (1874), 380-81 and
marks are due to the observation of spe- 385-87.
cific social and political miseries and do
not amount to any rejection of life as "9 Cf. Langdon, Babylonian Wisdom, pp. 3 ff.
9 Landsberger, Die babylonische Theodizee, ZA,
such. XLIII (1936), 32.
If we turn to Babylonia in our search 99 Langdon, op. cit., pp. 67 ff.
Kees, Totenglauben und Jenseitsvorstel- Weill, Egyptian Religion, III (1935), 130.
lungen der alten Aegypter, pp. 414-15.
Breasted, Development of Religion and 4. NEFERHOTEP III
Thought in Ancient Egypt, pp. 182-83. Published:
, The Dawn of Conscience, p. 163. Diimichen, Historische Inschriften, II,
Weill, Egyptian Religion, III (1935), 40 a.
127-28.
Maspero, Etudes igyptiennes, I (1886),
167-71.
b) Tomb of Paatenemheb from Saqqara now
in Leyden. Ben6dite, Mem. Miss. fr., V (1894),
Published: P1. II, pp. 507-10.
Leemans, Monuments egyptiens du Musde 5. KHAI-INHERET
d'antiquites des Pays-Bas & Leide,
Published:
Vol. III, P1. XII (No. K 6).
Boeser, Beschreibung der aegyptischen Bruyere, Fouilles de l'Institut Frangais,
Sammlung .... in Leiden, IV, P1. VI. VIII (1930), Fasc. III, Pls. XXII, 3
and XXIII, p. 70.
MiAller, Liebespoesie, P1. XVI.
Translation: None.
2. NEFERHOTEP I
6. PASER
Published:
Previous publication: None.
Dtimichen, Historische Inschriften alt-
dgyptischer Denkmdler, II, 40.
7. PIAY
Stern, ZAS, XI (1873), 58-63 and 72-73.
Previous publication: None.
Maspero, Etudes egyptiennes, I (1886),
172-77.
8. NEFERRENPET
Benedite, Memoires de la Mission Fran-
Published:
raise, V (1894), P1. IV, p. 529. Varille, Trois nouveaux chants de har-
Miller, Liebespoesie, P1. I, pp. 31-33.
pistes, BIFAO, XXXV (1935), P1. III,
Translations (selected): pp. 157-58.
Brugsch, Die Aegyptologie, p. 162.
9. PENNIUT
Maspero, Etudes de mythologie, III
(1898), 405-6. Published:
Erman, Literatur, pp. 314-15. Varille, op. cit., P1. III, pp. 158-59.
Breasted, Development, pp. 185-87.
, Dawn of Conscience, pp. 166-67. 10. TJANEFER
Weill, Egyptian Religion, III (1935), Published:
129-30.
Varille, op. cit., P1. I, p. 154-57.
,,, Th=Jh: OI ?z ,_
I 1 14%.-2..-
(2- g " 2
S h / , - z,, 44 , fi,
ftObfA&
-ata 4z 0 4MS
So *0
NEFERHOTEP III" TOMB OF NEFEHOTEP, THEBES No. 50, LEFT REAR WALL OF HALL
t~A111
f a' ?. Ai - 0 -- -
40A-, 0, ' ol o" q
<11) 10) 9 da cm 8 ,,
~ Bak? M4= l
40z
NE&D2OTP II oi
0 7
NEFERHOTEP Ill-Continued
ts
9~~~~~ 1 1:+4 fd
2-21 Z2
JUL AP A-
Sff
(1)= ,=
r' -9~,. < ? - '.A_
ig),.<-.-
a&
-4E o-~~~2
I 4=11 IS O
meweP 94IZ2H'1 1~
VD / 4'= (10) No
2 3 7 8 ' to
qq' u4=
a Jk
SONG FROM ToMB Of PIAY, THEBEs No. 263, LEFT DOOR REVEAL
-PLATE IVb
Ok
?7 --t-
16
Wou AN'*1
,c IV
Sw kvm *Zw.-
%n 4 -A. V4, do
Nft
kk?
Pr lw Alo
4,
IV', b
-------------- A.A:
?2' It
41
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