# data[].attributes.headline
1. BRAINSTORMING IDEAS: Share your favorite music and favorite book or story you have heard and read.

# data[].attributes.subject
1. BRAINSTORMING IDEAS: Share your favorite music and favorite book or story you have heard and read.

# data[].attributes.body
WAY TO DO IT: Storytelling is an ancient form of communication. Share your favorite kind of music and a story you read that you liked. Explain why you like it. How it makes you feel? (share a link to an instrumental song)

What do books and music remind you of? How is it connected to you and your interests? How can reading and music make us feel better? Share a personal story!

# data[].attributes.headline
2.  Download your favorite Instrumental Music

# data[].attributes.subject
2.  Download your favorite Instrumental Music

# data[].attributes.attachment_link.title
Easy YouTube to Mp3 Converter | EasyMP3Converter

# data[].attributes.attachment_link.description
EasyMp3Converter is a online youtube converter to convert youtube videos to MP3 format. Simply the best!

# data[].attributes.attachment_link.readable_text
Already have an account? Log in.

You understand that we may send you marketing communications, which you can choose to unsubscribe in your personal account settings. To learn more about how Soundtrap collects, uses, shares, and protects your personal data, refer to our Privacy Policy.

# data[].attributes.attachment_link.description
Sign up for your Soundtrap account. Access music making, recording, audio editing, mix & master, loops, vocal tuner, drum kits, beat maker, all you need to create music free.

# data[].attributes.headline
4. Share the audio you recorded with music

# data[].attributes.subject
4. Share the audio you recorded with music

# data[].attributes.body
In order to share your audio, you must make the work public.

# data[].attributes.body
Live Video from FB:
https://www.facebook.com/ResilientVirtualTeaching/videos/223050572516257

# data[].attributes.body
Egyptian Tale

Published by Huwaida.❤️

# data[].attributes.attachment_link.readable_text
The Project Gutenberg EBook of Egyptian Tales, Second Series, XVIIIth To
XIXth Dynasty, by W. M. Flinders Petrie

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org


Title: Egyptian Tales, Second Series, XVIIIth To XIXth Dynasty
       Translated From The Papyri, Second Edition

Author: W. M. Flinders Petrie

Editor: W. M. Flinders Petrie

Illustrator: Tristram Ellis

Release Date: February, 2005 [EBook #7413]
Last Updated: August 27, 2012

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK EGYPTIAN TALES, SECOND ***




Produced by Eric Eldred and David Widger

THE QUEEN'S TRIAL (p. 65)

TRANSLATED FROM THE PAPYRI

SECOND SERIES, XVIIIth TO XIXth DYNASTY

EDITED BY W. M. FLINDERS PETRIE, HON. D.C.L., LL.D.

EDWARDS PROFESSOR OF EGYPTOLOGY, UNIVERSITY COLLEGE, LONDON

ILLUSTRATED BY TRISTRAM ELLIS

SECOND EDITION

First Published . . . September 1895 Second Edition . . . February 1913

PG Editor's Note: This early contribution to Project Gutenberg has been reproofed with many corrections of spelling, scannos and punctuation. The html file has received many hours of work to make the illustrations visible and the file conform to WCA standards. A great deal more work is needed to bring this file to prsent day PG standards. I have hopes another volunteer will find a print copy of this work which can be scanned and digitized to produce a file to replace this, as yet, unsatisfactory edition. DW

PREFACE

AS the scope of the first series of these Tales seems to have been somewhat overlooked, a few words of introduction may not be out of place before this second volume.

It seems that any simple form of fiction is supposed to be a "fairy tale:" which implies that it has to do with an impossible world of imaginary beings. Now the Egyptian Tales are exactly the opposite of this, they relate the doings and the thoughts of men and women who are human-sometimes "very human," as Mr. Balfour said. Whatever there is of supernatural elements is a very part of the beliefs and motives of the

PREFACE

people whose lives are here pictured. But most of what is here might happen in some corner of our own country to-day, where ancient beliefs may have a home. So far, then, from being fairy tales there is not a single being that could be termed a fairy in the whole of them.

Another notion that seems to be about is that the only possible object of reading any form of fiction is for pure amusement, to fill an idle hour and be forgotten and if these tales are not as amusing as some jester of to-day, then the idler says, Away with them as a failure! For such a person, who only looks to have the tedium of a vacuous mind relieved, these tales are not in the least intended. But the real and genuine charm of all fiction is that of enabling the reader to place himself in the mental position of, another, to see with the eyes, to feel with the thoughts, to reason with the mind, of a wholly different being. All the greatest work has this charm. It may be to place the reader

PREFACE vii

in new mental positions, or in a different level of the society that he already knows, either higher or lower; or it may be to make alive to him a society of a different land or age. Whether he read "Treasure Island" or "Plain Tales from the Hills," "The Scarlet Letter," "Old Mortality," or "Hypatia," it is the transplanting of the reader into a new life, the doubling of his mental experience, that is the very power of fiction. The same interest attaches to these tales. In place of regarding Egyptians only as the builders of pyramids and the makers of mummies, we here see the men and women as they lived, their passions, their foibles, their beliefs, and their follies. The old refugee Sanehat craving to be buried with his ancestors in the blessed land, the enterprise and success of the Doomed Prince, the sweetness of Bata, the misfortunes of Ahura, these all live before us, and we can for a brief half hour share the feelings and see with the eyes of those who ruled the world when it was young. This is the real

via

PREFACE

value of these tales, and the power which still belongs to the oldest literature in the world.

Erratum in First Edition, 1st Series. Page 31, line 6 from below, for no It read not I.

CONTENTS

THE TAKING OF JOPPA . . . 1

REMARKS .... 7

THE DOOMED PRINCE . . 13

REMARKS . . . .28

ANPU AND BATA . . . 36

REMARKS . . . -65

SETNA AND THE MAGIC BOOK . . 87

REMARKS . . . .119

INDEX ..... 143

LIST OF ILLUSTRATIONS

SMITING THE FOE . . . . 4

THE TWO HUNDRED SACKS . . -5

THE PRINCE'S HOUSE . . . 14

GOING INTO THE DESERT . . 16

THE CLIMBING SUITORS . . 17

REACHING THE WINDOW . . .21

LOVE'S RESCUE . . . . 23

THE BOWL OF MILK . . . .26

THE RETURN AT EVEN . . '37

GOING TO THE FIELDS . . 39

WAITING FOR CORN . . . .40

THE DARK RETURN . . . -43

THE AMBUSH. . . . 44

THE CANAL OF RA . . . 47

LIST OF ILLUSTRATIONS

THE HOUSE IN THE VALLEY . . . 50

THE PROPHECY . . . -51

THE RAVISHING SEA . . . -53

THE CHIEF FULLER OF PHARAOH . . 54

THE REUNION . . . . 58

ANPU ON THE BULL . . . -59

BATA'S PERSEA TREES . . .62

AHURA'S APPEAL . . . .88

READING THE INSCRIPTIONS . . . 92

SENDING THE SILVER . . -94

THE PRIESTS' WIVES . . . -97

SLAYING THE SNAKE . . -99

READING THE SPELL. . . . 104

REMORSE ..... 105

SETNA DEMANDING THE ROLL . . 108

SETNA VANQUISHED . . . . 109

APPLYING THE TALISMAN . . . 110

SETNA VICTORIOUS . . . .111

SETNA READING THE ROLL . . .113

THERE was once in the time of King Men-kheper-ra a revolt of the servants of his majesty who were in Joppa; and his majesty said, "Let Tahutia go with his footmen and destroy this wicked Foe in Joppa." And he called one of his followers, and said moreover, "Hide thou my great cane, which works wonders, in the baggage of Tahutia that my power may go with him."

Now when Tahutia came near to Joppa, with all the footmen of Pharaoh, he sent unto the Foe in Joppa, and said, "Be

2 THE TAKING OF JOPPA

hold now his majesty, King Men-kheper-ra, has sent all this great army against thee; but what is that if my heart is as thy heart? Do thou come, and let us talk in the field, and see each other face to face." So Tahutia came with certain of his men; and the Foe in Joppa came likewise, but his charioteer that was with him was true of heart unto the king of Egypt. And they spoke with one another in his great tent, which Tahutia had placed far off from the soldiers. But Tahutia had made ready two hundred sacks, with cords and fetters, and had made a great sack of skins with bronze fetters, and many baskets: and they were in his tent, the sacks and the baskets, and he had placed them as the forage for the horses is put in baskets. For whilst the Foe in Joppa drank with Tahutia, the people who were with him drank with the footmen of Pharaoh, and made merry with them. And when their bout of drinking was past, Tahutia said to the Foe in Joppa, "If it please thee, while

THE TAKING OF JOPFA 3

4 THE TAKING OF JOPPA

head of the Foe in Joppa, and he fell helpless before him. He put him in the sack of skins and he bound with gyves the hands of the Foe in Joppa, and put on his feet the fetters

SMITING THE FOE

with four rings. And he made them bring the two hundred sacks which he had cleaned, and made to enter into them two hundred soldiers, and filled the hollows with cords and fetters of wood, he sealed them with a seal,

THE TAKING OF JOPPA 5

and added to them their rope-nets and the poles to bear them. And he put every strong footman to bear them, in all six hundred men, and said to them, "When you come

into the town you shall open your burdens, you shall seize on all the inhabitants of the town, and you shall quickly put fetters upon them."

6 THE TAKING OF JOPPA

Then one went out and said unto the charioteer of the Foe in Joppa, "Thy master is fallen; go, say to thy mistress, 'A pleasant message! For Sutekh has given Tahutia to us, with his wife and his children; behold the beginning of their tribute,' that she may comprehend the two hundred sacks, which are full of men and cords and fetters." So he went before them to please the heart of his mistress, saying, "We have laid hands on Tahutia." Then the gates of the city were opened before the footmen: they entered the city, they opened their burdens, they laid hands on them of the city, both small and great, they put on them the cords and fetters quickly; the power of Pharaoh seized upon that city. After he had rested Tahutia sent a message to Egypt to the King Men-kheper-ra his lord, saying, "Be pleased, for Amen thy good father has given to thee the Foe in Joppa, together with all his people, likewise also his city. Send, therefore, people to take them as captives that thou mayest fill

REMARKS 7

the house of thy father Amen Ra, king of the gods, with men-servants and maid-servants, and that they may be overthrown beneath thy feet for ever and ever."

This tale of the taking of Joppa appears to be probably on an historical basis. Tahutia was a well-known officer of Tahutmes III.; and the splendid embossed dish of weighty gold which the king presented to him is one of the principal treasures of the Louvre museum. It is ornamented with groups of fish in the flat bottom, and a long inscription around the side.

Unfortunately the earlier part of this tale has been lost; but in order to render it intelligible I have restored an opening to it, without introducing any details but what are alluded to, or necessitated, by the existing story. The original text begins at the star.

It is evident that the basis of the tale is

8 THE TAKING OF JOPPA

the stratagem of the Egyptian general, offering to make friends with the rebel of Joppa, while he sought to trap him. To a Western soldier such an unblushing offer of being treacherous to his master the king would be enough to make the good faith of his proposals to the enemy very doubtful. But in the East offers of wholesale desertion are not rare. In Greek history it was quite an open question whether Athens or Persia would retain a general's service; in Byzantine history a commander might be in favour with the Khalif one year and with the Autokrator the next; and in the present century the entire transfer of the Turkish fleet to Mohammed Ali in 1840 is a grand instance of such a case.

The scheme of taking a fortress by means of smuggling in soldiers hidden in packages has often recurred in history; but this taking of Joppa is the oldest tale of the kind yet known. Following this we have the wooden horse of Troy. Then comes in mediaeval

REMARKS 9

times the Arab scheme for taking Edessa, in 1038 A.D., by a train of five hundred camels bearing presents for the Autokrator at Constantinople. The governor of Edessa declined to admit such travellers, and a bystander, hearing some talking in the baskets slung on the camels, soon gave the alarm, which led to the destruction of the whole party; the chief alone, less hands, ears, and nose, being left to take the tale back to Bagdad. And in fiction there are the stories of a lady avenging her husband by introducing men hidden in skins, and the best known version of all in the "Arabian Nights," of Ali Baba and the thieves.

It appears from the tale that the conference of Tahutia with the rebel took place between the town and the Egyptian army, but near the town. Then Tahutia proposes to go into the town as a pledge of his sincerity, while the men of the town were to supply his troops with fodder. But he appears to have remained talking with the

10 THE TAKING OF JOPPA

rebel in the tent, until the lucky chance of the stick turned up. This cleared the way for a neater management of his plan, by enabling him to quietly make away with the chief, without exciting his suspicions beforehand.

The name of the cane of the king is partly illegible; but we know how many actual sticks and personal objects have their own names inscribed on them. Nothing had a real entity to the Egyptian mind without an individual name belonging to it.

The message sent by the charioteer presupposes that he was in the secret; and he must therefore have been an Egyptian who had not heartily joined in the rebellion. From the conclusion we see that the captives taken as slaves to Egypt were by no means only prisoners of war, but were the ordinary civil inhabitants of the conquered cities, "them of the city, both small and great."

The gold dish which the king gave to the tomb of Tahuti is so splendid that it deserves some notice, especially as it has

ranean wars of Tahuti, "satisfying the king in all foreign lands and in the isles in the midst of the great sea," is just in accord with this tale of the conquest of Joppa.

Beside this golden bowl there are many other objects from Tahuti's tomb which must have been very rich, and have escaped plundering until this century. A silver dish, broken, and a canopic jar of alabaster, are in Paris; another canopic jar, a palette, a kohl vase, and a heart scarab set in gold, are in Leyden; while in Darmstadt is the dagger of this great general. This piece of a popular tale founded on an incident of his Syrian wars has curiously survived, while the more solid official records of his conquests has perished in the wreck of history. His tomb even is unknown, although it has been plundered; perhaps his active life of foreign service did not give him that leisure to carve and decorate it, which was so laboriously spent by the home-living dignitaries of Thebes.

CLOSE OF THE XVIIIth DYNASTY

THERE once was a king to whom no son was born; and his heart was grieved, and he prayed for himself unto the gods around him for a child. They decreed that one should be born to him. And his wife, after her time was fulfilled, brought forth a son. Then came the Hathors to decree for him a destiny; they said, "His death is to be by the crocodile, or by the serpent, or by the dog." Then the people who stood by heard this, and they went to tell it to his majesty. Then his majesty's heart sickened

very greatly. And his majesty caused a house to be built upon the desert; it was furnished with people and with all good things of the royal house, that the child

THE PRINCE'S HOUSE

should not go abroad. And when the child was grown, he went up upon the roof, and he saw a dog; it was following a man who was walking on the road. He spoke to his

THE DOOMED PRINCE 15

page, who was with him, "What is this that walks behind the man who is coming along the road?" He answered him, "This is a dog." The child said to him, "Let there be brought to me one like it." The page went to repeat it to his majesty. And his majesty said, "Let there be brought to him a little pet dog, lest his heart be sad." And behold they brought to him the dog.

Then when the days increased after this, and when the child became grown in all his limbs, he sent a message to his father saying, "Come, wherefore am I kept here? Inasmuch as I am fated to three evil fates, let me follow my desire. Let God do what is in His heart." They agreed to all he said, and gave him all sorts of arms, and also his dog to follow him, and they took him to the east country, and said to him, "Behold, go thou whither thou wilt." His dog was with him, and he went northward, following his heart in the desert, while he

i6

THE DOOMED PRINCE

lived on all the best of the game of the desert. He went to the chief of Naha-raina.

And behold there had not been any born

to the chief of Naharaina, except one daughter. Behold, there had been built for her a house; its seventy windows were seventy cubits from the ground. And the chief caused to be brought all the sons

THE CLIMBING SUITORS

THE DOOMED PRINCE 19

of the chiefs of the land of Khalu, and said to them, "He who reaches the window of my daughter, she shall be to him for a wife."

And many days after these things, as they were in their daily task, the youth rode by the place where they were. They took the youth to their house, they bathed him, they gave provender to his horses, they brought all kinds of things for the youth, they perfumed him, they anointed his feet, they gave him portions of their own food; and they spake to him, "Whence comest thou, goodly youth?" He said to them, "I am son of an officer of the land of Egypt; my mother is dead, and my father has taken another wife. And when she bore children, she grew to hate me, and I have come as a fugitive from before her." And they embraced him, and kissed him.

And after many days were passed, he said to the youths, "What is it that ye do here?" And they said to him, "We spend our time

20 THE DOOMED PRINCE

in this: we climb up, and he who shall reach the window of the daughter of the chief of Naharaina, to him will he given her to wife." He said to them, "If it please you, let me behold the matter, that I may come to climb with you." They went to climb, as was their daily wont: and the youth stood afar off to behold; and the face of the daughter of the chief of Naharaina was turned to them. And another day the sons came to climb, and the youth came to climb with the sons of the chiefs. He climbed, and he reached the window of the daughter of the chief of Naharaina. She kissed him, she embraced him in all his limbs.

And one went to rejoice the heart of her father, and said to him, "One of the people has reached the window of thy daughter." And the prince inquired of the messenger, saying, "The son of which of the princes is it?" And he replied to him, "It is the son of an officer, who has come as a fugitive from the land of Egypt, fleeing from before his

REACHING THE WINDOW

THE DOOMED PRINCE 23

stepmother when she had children." Then the chief of Naharaina was exceeding angry; and he said, "Shall I indeed give my daughter to the Egyptian fugitive? Let him go back

LOVE'S RESCUE

whence he came." And one came to tell the youth, "Go back to the place thou earnest from." But the maiden seized his hand; she swore an oath by God, saying, "By the

24 THE DOOMED PRINCE

being of Ra Harakhti, if one takes him from me, I will not eat, I will not drink, I shall die in that same hour." The messenger went to tell unto her father all that she said. Then the prince sent men to slay the youth, while he was in his house. But the maiden said, "By the being of Ra, if one slay him I shall be dead ere the sun goeth down. I will not pass an hour of life if I am parted from him." And one went to tell her father. Then the prince made them bring the youth with the maiden. The youth was seized with fear when he came before the prince. But he embraced him, he kissed him all over, and said, "Oh! tell me who thou art; behold, thou art to me as a son." He said to him, "I am a son of an officer of the land of Egypt; my mother died, my father took to him a second wife; she came to hate me, and I fled a fugitive from before her." He then gave to him his daughter to wife; he gave also to him a house, and serfs, and fields, also cattle and all manner of good things.

THE DOOMED PRINCE 25

But after the days of these things were passed, the youth said to his wife, "I am doomed to three fates-a crocodile, a serpent, and a dog." She said to him, "Let one kill the dog which belongs to thee." He replied to her, "I am not going to kill my dog, which I have brought up from when it was small." And she feared greatly for her husband, and would not let him go alone abroad.

And one went with the youth toward the land of Egypt, to travel in that country. Behold the crocodile of the river, he came out by the town in which the youth was. And in that town was a mighty man. And the mighty man would not suffer the crocodile to escape. And when the crocodile was bound, the mighty man went out and walked abroad. And when the sun rose the mighty man went back to the house; and he did so every day, during two months of days.

Now when the days passed after this, the youth sat making a good day in his house.

THE DOOMED PRINCE

And when the evening came he lay down on his bed, sleep seized upon his limbs; and his wife filled a bowl of milk, and placed it by his side. Then came out a serpent from his hole, to bite the youth; behold his wife

THE BOWL OF MILK

was sitting by him, she lay not down. Thereupon the servants gave milk to the serpent, and he drank, and was drunk, and lay upside down. Then his wife made it to perish with the blows of her dagger. And

THE DOOMED PRINCE 27

they woke her husband, who was astonished; and she said unto him, "Behold thy God has given one of thy dooms into thy hand; He will also give thee the others." And he sacrificed to God, adoring Him, and praising His spirits from day to day.

And when the days were passed after these things, the youth went to walk in the fields of his domain. He went not alone, behold his dog was following him. And his dog ran aside after the wild game, and he followed the dog. He came to the river, and entered the river behind his dog. Then came out the crocodile, and took him to the place where the mighty man was. And the crocodile said to the youth, "I am thy doom, following after thee. ..."

[Here the papyrus breaks off.]

28 THE DOOMED PRINCE

This tale is preserved in one of the Harris papyri (No. 500) in the British Museum. It has been translated by Goodwin, Chabas, Maspero, and Ebers. The present version is adapted from that of Maspero, with frequent reference by Mr. Griffith to the original.

The marvellous parentage of a fated or gifted hero is familiar in Eastern tales, and he is often described as a divine reward to a long-childless king. This element of fate or destiny is, however, not seen before this age in Egyptian ideas; nor, indeed, would it seem at all in place with the simple, easygoing, joyous life of the early days. It belongs to an age when ideals possess the mind, when man struggles against his circumstances, when he wills to be different from what he is. Dedi or the shipwrecked sailor think nothing about fate, but live day by day as life comes to them. There is here, then,

REMARKS 29

a new element, that of striving and of unrest, quite foreign to the old Egyptian mind. The age of this tale is shown plainly in the incidents. The prince goes to the chief of Naharaina, a land probably unknown to the Egyptians until the Asiatic conquests of the XVIIIth Dynasty had led them to the upper waters of the Euphrates. In earlier days Sanehat fled to the frontier at the Wady Tumilat, and was quite lost to Egypt when he settled in the south of Palestine. But when the Doomed Prince goes out of Egypt he goes to the chief of Naharaina, as the frontier State. This stamps the tale as subsequent to the wars of the Tahutimes family, and reflects rather the peaceful intercourse of the great monarch Amenhotep the Third. If it belonged to the Ramessides we should not hear of Naharaina, which was quite lost to them, but rather of Dapur (Tabor) and Kadesh, and of the Hittites as the familiar frontier power.

The Hathors here appear as the Fates,

THE DOOMED PRINCE

instead of the goddesses Isis, Nebhat, Mes-khent, and Hakt, of the old tale in the IVth Dynasty (see first series, p. 33); and we find in the next tale of Anpu and Bata, in the XlXth Dynasty, that the seven Hathors decree the fate of the wife of Bata. That Hathor should be a name given to seven deities is not strange when we see that Hathor was a generic name for a goddess. There was the Hathor of foreign lands, such as Punt or Sinai; there was the Hathor of home towns, as Dendera or Atfih; and Hathor was as widely known, and yet as local, as the Madonna. In short, to one of the races which composed the Egyptian people Hathor was the term for any goddess, or for a universal goddess to whom all others were assimilated. Why and how this title "house of Horus " should be so general is not obvious.

The variety of fate here predicted is like the vagueness of the fate of Bata's wife, by "a sharp death." It points to the Hathors

REMARKS 31

predicting as seers, rather than to their having the control of the future. It bears the stamp of the oracle of Delphi, rather than that of a divine decree. In this these goddesses differ greatly from the Parcae, whose ordinances not even Zeus could withstand, as Lucian lets us know in one of the most audacious and philosophical of the dialogues. The Hathors seem rather to deal with what we should call luck than with fate: they see the nature of the close of life from its beginning, without either knowing or controlling its details.

In this tale we meet for the first time the idea of inaccessible and mysterious buildings; and from the resort to this element or curiosity in describing both the prince and the princess, it appears as if it were then a new motive in story-telling, and had not lost its power. To modern ears it is, of course, done to death since the "Castle of Otranto"; though as a minor element it can still be gently used by the poet and novelist in a

moated grange, a house in a marsh or a maze. Another point of wonder, so well known in later times, is the large and mystic number of windows, like the 365 windows attributed to great buildings of the present age. It would not be difficult from these papyrus tales to start an historical dictionary of the elements of fiction: a kind of analysis that should be the death of much of the venerable stock-in-trade.

We see coming in here, more strongly than before, the use of emotions and the force of character. The generous friendship of the sons of the Syrian chiefs; then the burst of passionate love from the chiefs daughter, which saves the prince's life twice over from her father, and guards him afterwards from his fates; again, the devotion of the prince to his favourite dog, in spite of all warnings-these show a reliance on personal emotion and feeling in creating the interest of the tale, quite different from the mere interest of incident which was employed

REMARKS 33

earlier. The reason which the prince alleges for his leaving Egypt is also a touch of nature, the wish of a mother to oust her stepson in order to make way for her own children, one of the deepest and most elemental feelings of feminine nature.

The mighty man and the crocodile are difficult to understand, the more so as the tale breaks off in the midst of that part. It appears also as if there had been some inversion of the paragraphs; for, first, we read that the wife would not let the prince go alone, and one goes with him toward Egypt, and the crocodile of the Nile (apparently) is mentioned; then he is said to be sitting in his house with his wife; then he goes in the fields of his domain and meets the crocodile. It may be that a passage has dropped out, describing his wife's accompanying him to settle in Egypt. But the mighty man-that is another puzzle. He binds a crocodile, and goes out while he is bound, but by night. The point of this is not clear. It may have 4-

34 THE DOOMED PRINCE

been, however, that the mighty man went back to the house when the sun was high, that he might not lose his shadow. In Arabia there was a belief that a hyena could deprive a man of speech and motion by stepping on his shadow-analogous to the belief in many other lands of the importance of preserving the shadow, and avoiding the shadowless hour of high noon (Frazer, "Golden Bough," p. 143). Hence the strength of the mighty man, and his magic power over the crocodile, would perhaps depend on his not allowing his shadow to disappear. And though Egypt is not quite tropical, yet shadows do practically vanish in the summer, the shadow of the thin branches of a tall palm appearing to radiate round its root without the stem casting any shade.

The use of milk to entice serpents is still well known in Egypt; and when a serpent appeared in some of my excavations in a pit, the men proposed to me to let down a saucer of milk to entice it out, that they might kill it.

REMARKS 35

The close of the tale would have explained much that is now lost to us. The crocodile boasts of being the fate of the prince; but his dog is with him, and one can hardly doubt that the dog attacks the crocodile. There is also the mighty man to come in and manage the crocodile. Then the dog is left to bring about the catastrophe. Or does the faithful wife rescue him from all the fates? Hardly so, as the prediction of the Hathors comes strictly to pass in the tale of Anpu and Bata. Let us hope that another copy may be found to give us the clue to the working of the Egyptian mind in this situation.

ONCE there were two brethren, of one mother and one father; Anpu was the name of the elder, and Bata was the name of the younger. Now, as for Anpu he had a house, and he had a wife. But his little brother was to him as it were a son; he it was who made for him his clothes; he it was who followed behind his oxen to the fields; he it was who did the ploughing; he it was who harvested the corn; he it was who did for him all the matters that were in the field. Behold, his

younger brother grew to be an excellent 36

ANPU AND BATA

37

worker, there was not his equal in the whole land; behold, the spirit of a god was in him.

Now after this the younger brother fol-

lowed his oxen in his daily manner; and every evening he turned again to the house, laden with all the herbs of the field, with milk and with wood, and with all things of

38 ANPU AND BATA

the field. And he put them down before his elder brother, who was sitting with his wife; and he drank and ate, and he lay down in his stable with the cattle. And at the dawn of day he took bread which he had baked, and laid it before his elder brother; and he took with him his bread to the field, and he drave his cattle to pasture in the fields. And as he walked behind his cattle, they said to him, "Good is the herbage which is in that place; " and he listened to all that they said, and he took them to the good place which they desired. And the cattle which were before him became exceeding excellent, and they multiplied greatly.

Now at the time of ploughing his elder brother said unto him, "Let us make ready for ourselves a goodly yoke of oxen for ploughing, for the land has come out from the water, it is fit for ploughing. Moreover, do thou come to the field with corn, for we will begin the ploughing in the morrow morning." Thus said he to him; and

ANPU AND BATA 39

his younger brother did all things as his elder brother had spoken unto him to do them.

And when the morn was come, they went to the fields with their things; and their hearts were pleased exceedingly with their task in the beginning of their work. And

GOING TO THE FIELDS

it came to pass after this that as they were in the field they stopped for corn, and he sent his younger brother, saying, "Haste thou, bring to us corn from the farm." And the younger brother found the wife of his elder brother, as she was sitting tiring her hair. He said to her, "Get up, and give to me

40 ANPU AND BATA

corn, that I may run to the field, for my elder brother hastened me; do not delay." She said to him, "Go, open the bin, and thou shalt take to thyself according to thy will, that I may not drop my locks of hair while I dress them."

The youth went into the stable; he took a large measure, for he desired to take much corn; he loaded it with wheat and barley; and he went out carrying it. She said to

ANPU AND BATA 41

him, "How much of the corn that is wanted, is that which is on thy shoulder?" He said to her, "Three bushels of barley, and two of wheat, in all five; these are what are upon my shoulder: " thus said he to her. And she conversed with him, saying, "There is great strength in thee, for I see thy might every day." And her heart knew him with the knowledge of youth. And she arose and came to him, and conversed with him, saying, "Come, stay with me, and it shall be well for thee, and I will make for thee beautiful garments." Then the youth became like a panther of the south with fury at the evil speech which she had made to him; and she feared greatly. And he spake unto her, saying, "Behold thou art to me as a mother, thy husband is to me as a father, for he who is elder than I has brought me up. What is this wickedness that thou hast said to me? Say it not to me again. For I will not tell it to any man, for I will not let it be uttered by the mouth of any man." He lifted up

42 ANPU AND BATA

his burden, and he went to the field and came to his elder brother; and they took up their work, to labour at their task.

Now afterward, at eventime, his elder brother was returning to his house; and the younger brother was following after his oxen, and he loaded himself with all the things of the field; and he brought his oxen before him, to make them lie down in their stable which was in the farm. And behold the wife of the elder brother was afraid for the words which she had said. She took a parcel of fat, she became like one who is evilly beaten, desiring to say to her husband, "It is thy younger brother who has done this wrong." Her husband returned in the even, as was his wont of every day; he came unto his house; he found his wife ill of violence; she did not give him water upon his hands as he used to have, she did not make a light before him, his house was in darkness, and she was lying very sick. Her husband said to her, "Who has spoken with thee?"

ANPU AND BATA

Behold she said, "No one has spoken with me except thy younger brother. When he came to take for thee corn he found me sitting alone; he said to me, 'Come, let us

stay together, tie up thy hair:' thus spake he to me. I did not listen to him, but thus spake I to him: 'Behold, am I not thy mother, is not thy elder brother to thee as a father?' And he feared, and he beat me to stop me from making report to thee, and if thou lettest him live I shall die. Now

44

ANPU AND BATA

behold he is coming in the evening; and I complain of these wicked words, for he would have done this even in daylight."

And the elder brother became as a panther of the south; he sharpened his knife; he

took it in his hand; he stood behind the door of his stable to slay his younger brother as he came in the evening to bring his cattle into the stable.

Now the sun went down, and he loaded

ANPU AND BATA 45

himself with herbs in his daily manner. He came, and his foremost cow entered the stable, and she said to her keeper, "Behold thou thy elder brother standing before thee with his knife to slay thee; flee from before him." He heard what his first cow had said; and the next entering, she also said likewise. He looked beneath the door of the stable; he saw the feet of his elder brother; he was standing behind the door, and his knife was in his hand. He cast down his load to the ground, and betook himself to flee swiftly; and his elder brother pursued after him with his knife. Then the younger brother cried out unto Ra Harakhti, saying, "My good Lord! Thou art he who divides the evil from the good." And Ra stood and heard all his cry; and Ra made a wide water between him and his elder brother, and it was full of crocodiles; and the one brother was on one bank, and the other on the other bank; and the elder brother smote twice on his hands at not

46 ANPU AND BATA

slaying him. Thus did he. And the younger brother called to the elder on the bank, saying, "Stand still until the dawn of day; and when Ra ariseth, I shall judge with thee before Him, and He discerneth between the good and the evil. For I shall not be with thee any more for ever; I shall not be in the place in which thou art; I shall go to the valley of the acacia."

Now when the land was lightened, and the next day appeared, Ra Harakhti arose, and one looked unto the other. And the youth spake with his elder brother, saying, "Wherefore earnest thou after me to slay me in craftiness, when thou didst not hear the words of my mouth? For I am thy brother in truth, and thou art to me as a father, and thy wife even as a mother: is it not so? Verily, when I was sent to bring for us corn, thy wife said to me, 'Come, stay with me;' for behold this has been turned over unto thee into another wise." And he caused him to understand of all that happened with him and his

ANPU AND BATA

47

wife. And he swore an oath by Ra Har-akhti, saying, "Thy coming to slay me by deceit with thy knife was an abomination." Then the youth took a knife, and cut off of his flesh, and cast it into the water, and the fish swallowed it. He failed; he became

THE CANAL OF RA

faint; and his elder brother cursed his own heart greatly; he stood weeping for him afar off; he knew not how to pass over to where his younger brother was, because of the crocodiles. And the younger brother called unto him, saying, "Whereas thou hast devised

48 ANPU AND BATA

an evil thing, wilt thou not also devise a good thing, even like that which I would do unto thee? When thou goest to thy house thou must look to thy cattle, for I shall not stay in the place where thou art; I am going to the valley of the acacia. And now as to what thou shalt do for me; it is even that thou shalt come to seek after me, if thou perceivest a matter, namely, that there are things happening unto me. And this is what shall come to pass, that I shall draw out my soul, and I shall put it upon the top of the flowers of the acacia, and when the acacia is cut down, and it falls to the ground, and thou comest to seek for it, if thou searchest for it seven years do not let thy heart be wearied. For thou wilt find it, and thou must put it in a cup of cold water, and expect that I shall live again, that I may make answer to what has been done wrong.. And thou shalt know of this, that is to say, that things are happening to me, when one shall give to thee a cup of beer in thy hand,

ANPU AND BATA 49

and it shall be troubled; stay not then, for verily it shall come to pass with thee."

And the youth went to the valley of the acacia; and his elder brother went unto his house; his hand was laid on his head, and he cast dust on his head; he came to his house, and he slew his wife, he cast her to the dogs, and he sat in mourning for his younger brother.

Now many days after these things, the younger brother was in the valley of the acacia; there was none with him; he spent his time in hunting the beasts of the desert, and he came back in the even to lie down under the acacia, which bore his soul upon the topmost flower. And after this he built himself a tower with his own hands, in the valley of the acacia; it was full of all good things, that he might provide for himself a home.

And he went out from his tower, and he 5

50 ANPU AND BATA

met the Nine Gods, who were walking forth to look upon the whole land. The Nine Gods talked one with another, and they said unto him, "Ho! Bata, bull of the Nine Gods, art thou remaining alone? Thou

hast left thy village for the wife of Anpu, thy elder brother. Behold his wife is slain. Thou hast given him an answer to all that was transgressed against thee." And their hearts were vexed for him exceedingly. And Ra Harakhti said to Khnumu, "Behold,

ANPU AND BATA 51

frame thou a woman for Bata, that he may not remain alive alone." And Khnumu made for him a mate to dwell with him.

She was more beautiful in her limbs than any woman who is in the whole land. The essence of every god was in her. The seven Hathors came to see her: they said

with one mouth, "She will die a sharp death."

And Bata loved her very exceedingly, and she dwelt in his house; he passed his time in hunting the beasts of the desert, and brought and laid them before her. He said, "Go not outside, lest the sea seize thee; for I cannot rescue thee from it, for I am a woman like thee; my soul is placed on the head of the flower of the acacia; and if another find it, I must fight with him." And he opened unto her his heart in all its nature.

Now after these things Bata went to hunt in his daily manner. And the young girl went to walk under the acacia which was by the side of her house. Then the sea saw her, and cast its waves up after her. She betook herself to flee from before it. She entered her house. And the sea called unto the acacia, saying, "Oh, would that I could seize her!" And the acacia brought a lock from her hair, and the sea carried it to Egypt, and

ANPU AND BATA

53

dropped it in the place of the fullers of Pharaoh's linen. The smell of the lock of hair entered into the clothes of Pharaoh; and they were wroth with the fullers of Pharaoh, saying, "The smell of ointment is in the clothes of Pharaoh." And the people were rebuked every day, they knew not what they

should do. And the chief fuller of Pharaoh walked by the bank, and his heart was very evil within him after the daily quarrel with him. He stood still, he stood upon the sand opposite to the lock of hair, which was in the water, and he made one enter into the water and bring it to him; and there was

54

ANPU AND BATA

THE CHIEF FULLER OF PHARAOH

daughter of Ra Harakhti: the essence of every god is in her, and it is a tribute to thee from another land. Let messengers go to every strange land to seek her: and as for

ANPU AND BATA 55

the messenger who shall go to the valley of the acacia, let many men go with him to bring her." Then said his majesty, "Excellent exceedingly is what has been said to us;" and they sent them. And many days after these things the people who were sent to strange lands came to give report unto the king: but there came not those who went to the valley of the acacia, for Bata had slain them, but let one of them return to give a report to the king. His majesty sent many men and soldiers, as well as horsemen, to bring her back. And there was a woman amongst them, and to her had been given in her hand beautiful ornaments of a woman. And the girl came back with her, and they rejoiced over her in the whole land.

And his majesty loved her exceedingly, and raised her to high estate; and he spake unto her that she should tell him concerning her husband. And she said, "Let the acacia

56 ANPU AND BATA

be cut down, and let one chop it up." And they sent men and soldiers with their weapons to cut down the acacia; and they came to the acacia, and they cut the flower upon which was the soul of Bata, and he fell dead suddenly.

And when the next day came, and the earth was lightened, the acacia was cut down. And Anpu, the elder brother of Bata, entered his house, and washed his hands; and one gave him a cup of beer, and it became troubled; and one gave him another of wine, and the smell of it was evil. Then he took his staff, and his sandals, and likewise his clothes, with his weapons of war; and he betook himself forth to the valley of the acacia. He entered the tower of his younger brother, and he found him lying upon his mat; he was dead. And he wept when he saw his younger brother verily lying dead. And he went out to seek the soul of his younger brother under the acacia tree, under which his younger brother lay in the evening.

ANPU AND BATA 57

He spent three years in seeking for it, but found it not. And when he began the fourth year, he desired in his heart to return into Egypt; he said "I will go to-morrow morn: " thus spake he in his heart.

Now when the land lightened, and the next day appeared, he was walking under the acacia; he was spending his time in seeking it. And he returned in the evening, and laboured at seeking it again. He found a seed. He returned with it. Behold this was the soul of his younger brother. He brought a cup of cold water, and he cast the seed into it: and he sat down, as he was wont. Now when the night came his soul sucked up the water; Bata shuddered in all his limbs, and he looked on his elder brother; his soul was in the cup. Then Anpu took the cup of cold water, in which the soul of his younger brother was; Bata drank it, his soul stood again in its place, and he became as he had been. They embraced each other, and they conversed together.

58 ANPU AND BATA

And Bata said to his elder brother, "Behold I am to become as a great bull, which bears every good mark; no one knoweth its history, and thou must sit upon my back. When the sun arises I shall be in the place where my wife is, that I may return answer to her; and

THE REUNION

thou must take me to the place where the king is. For all good things shall be done for thee; for one shall lade thee with silver and gold, because thou bringest me to Pharaoh, for I become a great marvel, and they shall rejoice for me in all the land. And thou shalt go to thy village."

ANPU AND BATA

59

And when the land was lightened, and the next day appeared, Bata became in the form which he had told to his elder brother. And Anpu sat upon his back until the dawn. He

ANPU ON THE BULL

came to the place where the king was, and they made his majesty to know of him; he saw him, and he was exceeding joyful with him. He made for him great offerings, saying,

60 ANPU AND BATA

"This is a great wonder which has come to pass." There were rejoicings over him in the whole land. They presented unto him silver and gold for his elder brother, who went and stayed in his village. They gave to the bull many men and many things, and Pharaoh loved him exceedingly above all that is in this land.

And after many days after these things, the bull entered the purified place; he stood in the place where the princess was; he began to speak with her, saying, "Behold, I am alive indeed." And she said to him, "And, pray, who art thou?" He said to her, "I am Bata. I perceived when thou causedst that they should destroy the acacia of Pharaoh, which was my abode, that I might not be suffered to live. Behold, I am alive indeed, I am as an ox." Then the princess feared exceedingly for the words that her husband had spoken to her. And he went out from the purified place.

And his majesty was sitting, making a

ANPU AND BATA 61

good day with her: she was at the table of his majesty, and the king was exceeding pleased with her. And she said to his majesty, "Swear to me by God, saying, 'What thou shalt say, I will obey it for thy sake.'" He hearkened unto all that she said, even this. "Let me eat of the liver of the ox, because he is fit for nought:" thus spake she to him. And the king was exceeding sad at her words, the heart of Pharaoh grieved him greatly. And after the land was lightened, and the next day appeared, they proclaimed a great feast with offerings to the ox. And the king sent one of the chief butchers of his majesty, to cause the ox to be sacrificed. And when he was sacrificed, as he was upon the shoulders of the people, he shook his neck, and he threw two drops of blood over against the two doors of his majesty. The one fell upon the one side, on the great door of Pharaoh, and the other upon the other door. They grew as two great Persea trees, and each of them was excellent.

ANPU AND BATA

And one went to tell unto his majesty, "Two great Persea trees have grown, as a great marvel of his majesty, in the night by the side of the great gate of his majesty." And

BATA'S PERSEA TREES

there was rejoicing for them in all the land, and there were offerings made to them.

And when the days were multiplied after these things, his majesty was adorned with the blue crown, with garlands of flowers on

ANPU AND BATA 63

his neck, and he was upon the chariot of pale gold, and he went out from the palace to behold the Persea trees: the princess also was going out with horses behind his majesty. And his majesty sat beneath one of the Persea trees, and it spake thus with his wife: "Oh thou deceitful one, I am Bata, I am alive, though I have been evilly entreated. I knew who caused the acacia to be cut down by Pharaoh at my dwelling. I then became an ox, and thou causedst that I should be killed."

And many days after these things the princess stood at the table of Pharaoh, and the king was pleased with her. And she said to his majesty, "Swear to me by God, saying, 'That which the princess shall say to me I will obey it for her.'" And he hearkened unto all she said. And he commanded, "Let these two Persea trees be cut down, and let them be made into goodly planks." And he hearkened unto all she said. And after this his majesty sent skilful craftsmen, and they

64 ANPU AND BATA

cut down the Persea trees of Pharaoh; and the princess, the royal wife, was standing looking on, and they did all that was in her heart unto the trees. But a chip flew up, and it entered into the mouth of the princess; she swallowed it, and after many days she bore a son. And one went to tell his majesty, "There is born to thee a son." And they brought him, and gave to him a nurse and servants; and there were rejoicings in the whole land. And the king sat making a merry day, as they were about the naming of him, and his majesty loved him exceedingly at that moment, and the king raised him to be the royal son of Kush.

Now after the days had multiplied after these things, his majesty made him heir of all the land. And many days after that, when he had fulfilled many years as heir, his majesty flew up to heaven. And the heir said, "Let my great nobles of his majesty be brought before me, that I may make them to know all that has happened to me." And they brought

REMARKS 65

also before him his wife, and he judged with her before him, and they agreed with him. They brought to him his elder brother; he made him hereditary prince in all his land. He was thirty years king of Egypt, and he died, and his elder brother stood in his place on the day of burial.

Excellently finished in peace, for the ka of the scribe of the treasury Kagabu, of the treasury of Pharaoh, and for the scribe Hora, and the scribe Meremapt. Written by the scribe Anena, the owner of this roll. He who speaks against this roll, may Tahuti smite him.

This tale, which is perhaps, of all this

series, the best known in modern times, has

often been published. It exists only in one

papyrus, that of Madame d'Orbiney, pur-

6

66 ANPU AND BATA

chased by the British Museum in 1857. The papyrus had belonged to Sety II. when crown prince, and hence is of the XlXth Dynasty. Most of the great scholars of this age have worked at it: De Rouge, Goodwin, Renouf, Chabas, Brugsch, Ebers, Maspero, and Groff have all made original studies on it. The present translation is, however, a fresh one made by Mr. Griffith word for word, and shaped as little as possible by myself in editing it. The copy followed is the publication by Birch in "Select Papyri," part ii. pls. ix. to xix. Before considering the details of the story, we should notice an important question about its age and composition. That it is as old as the XlXth Dynasty in its present form is certain from the papyrus; but probably parts of it are older. The idyllic beauty of the opening of it, with the simplicity and directness of the ideas, and the absence of any impossible or marvellous feature, is in the strongest opposition to the latter part, where marvel is piled on marvel in

REMARKS 67

pointless profusion. In the first few pages there is not a word superfluous or an idea out of place in drawing the picture. That we have to do with an older story lengthened out by some inartistic compiler, seems only too probable. And this is borne out by the colophon. In the tales of the Shipwrecked Sailor, and of Sanehat, the colophon runs-"This is finished from beginning to end, even as it was found in the writing," and the earlier of these two tales follows this with a blessing on the transcriber. But, apparently conscious of his meddling, the author of Anpu and Bata ends with a curse: "Written by the scribe Anena, the owner of this roll. He who speaks against this roll, may Tahuti smite him." This points to a part of it at least being newly composed in Ramesside times; while the delicate beauty of the opening is not only far better than the latter part, but is out of harmony with the forced and artificial taste of the XlXth Dynasty. At the same time, the careful drawing of character is hardly akin to the simple, matter-

68 ANPU AND BATA

of-fact style of Sanehat, and seems more in keeping with the emotional style of the Doomed Prince. If we attribute the earlier part to the opening of the XVIIIth Dynasty-the age of the pastoral scenes of the tombs of El Kab, which are the latest instances of such sculptures in Egypt-we shall probably be nearest to the truth.

The description of Bata is one of the most beautiful character-drawings in the past. The self-denial and sweet innocence of the lad, his sympathy with his cattle, "listening to all that they said," and allowing them their natural wishes and ways, is touchingly expressed. And those who know Egypt will know that Bata still lives there-several Batas I have known myself. His sweetness of manner, his devotion, his untiringly earnest work, his modesty, his quietness, makes Bata to be one of the most charming friends. Bata I have met in many places, Bata I have loved as one of the flowers of human nature, and Bata I hope often to meet again in divers

REMARKS 69

The touches of description of Bata are slight, and yet so pointed. His growing to be an excellent worker; his return at evening laden with all the produce, just as may be seen now any evening as the lads come in bearing on their backs large bundles of vegetables for the house, and of fodder for the home-driven cattle; his sleeping with his cattle in the stable; his zeal in rising before dawn to make the daily bread for his brother, ready to give him when he arose; and then his driving out the cattle to pasture-all contrasts with his elder brother's life of ease. The making of the bread was rightly the duty of Anpu's wife; she ought to have risen to grind the corn long before dawn, as the millstones may now be heard grinding in the dark, morning by morning; she ought to have baked the bread ready for the toiler who spent his whole day in the field. But it was the ever-willing Bata who did the work of the house as well as

yo ANPU AND BATA

the work of the farm. "Behold the spirit of a god was in him."

The driving in of the cattle at night is still a particular feature of Egyptian life. About an hour before sunset the tether ropes are drawn in the fields, and the cattle file off, with a little child for a leader-if any; the master gathers up the produce that is required, some buffalo is laden with a heap of clover, or a lad carries it on his back, for the evening feed of the cattle, and all troop along the path through the fields and by the canal. For two or three miles the road becomes more and more crowded with the flocks driven into it from every field, a long haze of dust lies glowing in the crimson glory of sunset over the stream of cows and buffaloes, sheep and goats, that pour into the village. Each beast well knows his master and his crib, and turns in at the familiar gate to the stable under the house, or by the side of the hut; and there all spend the night. Not a hoof is left out in the field; the last belated stragglers come in

REMARKS 71

while the gleam of amber still edges the night-blue sky behind the black horizon. Then the silent fields lie under the brightening moon, glittering with dew, untrodden and deserted. It is not cold or climate that leads men to this custom, but the unsafety of a country bordered by unseen deserts, whence untold men may suddenly appear and ravage all the plain.

The ploughing scene next follows, on "the land coming out from the water"; as the inundation goes down the well-known banks and ridges appear, "the back-bones of the land," as they were so naturally called; and when the surface is firm enough to walk on-with many a pool and ditch still full-the ploughing begins on the soft dark clay

The catastrophe of the story-the black gulf of deceit that suddenly opens under Bata's feet-has always been seen to be strikingly like the story of Joseph. And-as we have noticed-there is good reason for the early part of this tale belonging to about the beginning of the XVIIIth Dynasty, so it

72 ANPU AND BATA

is very closely allied in time as well as character to the account of Joseph. In this part again is one of those pointed touches, which show the power of the poet-for a poem in prose this is-"her heart knew him with the knowledge of youth."

On reaching the mistaken revenge of Anpu, we see the sympathy of Bata with his cattle, and his way of reading their feelings, returned to him most fittingly by the cows perceiving the presence of the treachery. "He heard what his first cow had said; and the next entering she also said likewise."

After this we find a change; instead of the simple and natural narrative, full of human feeling, and without a touch of impossibility, every subsequent episode involves the supernatural; Ra creating a wide water, the extraction of the soul of Bata, his miraculous wife, and all the transformations-these have nothing in common with the style or ideas of the earlier tale.

Whence this later tangle came, and how

REMARKS 73

much of it is drawn from other sources, we can hardly hope to explain from the fragments of literature that we have. But strangely there is a parallel which is close enough to suggest that the patchwork is due to popular mythology. In the myths of Phrygia we meet with Atys or Attis, of whom varying legends are told. Among these we glean that he was a shepherd, beautiful and chaste; that he fled from corruption; that he mutilated himself; lastly he died under a tree, and afterwards was revived. All this is a duplicate of the story of Bata. And looking further, we see parallels to the three subsequent transformations. Drops of blood were shed from the Atys-priest; and Bata, in his first transformation as a bull, sprinkles two drops of blood by the doors of the palace. Again, Atys is identified with a tree, which was cut down and taken into a sanctuary; and Bata in his second transformation is a Persea tree which is cut down and used in building. Lastly, the mother of Atys is said to have been a

74 ANPU AND BATA

virgin, who bore him from placing in her bosom a ripe almond or pomegranate; and in his third transformation Bata is born from a chip of a tree being swallowed by the princess. These resemblances in nearly all the main points are too close and continuous to be a mere chance, especially as such incidents are not found in any other Egyptian tale, nor in few-if any-other classical myths. It is not impossible that the names even may have been the same; for Bata, as we write it, was pronounced Vata (or Vatiu or Vitiou, as others would vocalise it), and the digamma would disappear in the later Greek form in which we have Atys.

The most likely course seems to have been that, starting with a simple Egyptian tale, the resemblance to the shepherd of the Asiatic myth, led to a Ramesside author improving the story by tacking on the branches of the myth one after another, and borrowing the name. If this be granted, we have here in Bata the earliest indications of the elements

REMARKS 75

of the Atys mysteries, a thousand years before the Greek versions.

Returning now from the general structure to the separate incidents, we note the expression of annoyance where the elder brother "smote twice on his hands." This gesture is very common in Egypt now, the two hands being rapidly slid one past the other, palm to palm, vertically, grating the fingers of one hand over the other; the right hand moving downwards, and the left a little up. This implies that there is nothing, that a thing is worthless, that a desired result has not been attained, or annoyance at want of success; but the latter meanings are now rare, and more latent than otherwise, and this tale points to the gesture being originally one of positive anger, though it has been transferred gradually to express mere negative results.

The valley of the acacia would appear from the indications to have been by the sea, and probably in Syria; perhaps one of the half-desert wadis toward Gaza was in the writer's

REMARKS 77

other races to understand this as the vitality or soul. In the "Golden Bough" Mr. Frazer has explained this part of natural metaphysics; and in this, and the following points, I freely quote from that work as a convenient text-book. The soul or vitality of a man is thought of as separable from the body at will, and therefore communicable to other objects or positions. In those positions it cannot be harmed by what happens to the body, which is therefore deathless for the time. But if the external seat of the soul be attacked or destroyed, the man immediately dies. This is illustrated from the Norse, Saxons, Celts, Italians, Greeks, Kabyles, Arabs, Hindus, Malays, Mongolians, Tartars, Magyars, and Slavonians. It may well, then, be considered as a piece of inherent psychology: and following this interpretation, I have rendered "heart" in this sense "soul" in the translation.

The Nine Gods who meet Bata are one of the great cycles of divinities, which were dif-

78 ANPU AND BATA

ferently reckoned in various places. Khnumu is always the formative god, who makes man upon the potter's wheel, as in the scene in the temple of Luqsor. And even in natural birth it was Khnumu who "gave strength to the limbs," as in the earlier "Tales of the Magicians." The character of the wife of Bata is a very curious study. The total absence of the affections in her was probably designed as in accord with her non-natural formation, as she could not inherit aught from human parents. Ambition appears as the only emotion of this being; her attacks on the transformations of Bata are not due to dislike, but only to fear that he should claim her removal from her high station; she "feared exceedingly for the words that her husband had spoken to her." Her Lilith nature is incapable of any craving but that for power.

The action here of the seven Hathors we have noticed in the remarks on the previous tale of the Doomed Prince. The episode of the sea is very strange; and if we need find

REMARKS 79

some rationalising account of it, we might suppose it to be a mythical form of a raid of pirates, who, not catching the woman, carried off something of hers, which proved an object of contention in Egypt. But such renderings are unlikely, and we may the rather expect to find some explanation in a mythological parallel.

The carrying of the lock of hair to Pharaoh, and his proclaiming a search for the owner, is plainly an early form of the story of the little slipper, whose owner is sought by the king. The point that she could not be caught except by setting another woman to tempt her with ornaments, anticipates the modern novelist's saying, "Set a woman to catch a woman."

The sudden death of Bata, so soon as the depository of his soul was destroyed, is a usual feature in such tales about souls. But it is only in the Indian forms quoted by Mr. Frazer that there is any revival of the dead; and in no case is there any transformation like that of Bata. Perhaps none but

80 ANPU AND BATA

an Egyptian or a Chinese would have credited Anpu with wandering up and down for four years seeking the lost soul. But the idea of returning the soul in water to the man is found as a magic process in North America ("Golden Bough," i. 141).

The first transformation of Bata, into a bull, is clearly drawn from the Apis bull of Memphis. The rejoicings at discovering a real successor of Apis are here, the rejoicings over Bata, who is the Apis bull, distinguished as he says by "bearing every good mark." These marks on the back and other parts were the tokens of the true Apis, who was sought for anxiously through the country on the death of the sacred animal who had lived in the sanctuary. The man who, like Anpu, brought up a true Apis to the temple would receive great rewards and honours.

The scene where the princess demands the grant of a favour is repeated over again by Esther at her banquet, and by the daughter of Herodias. It is the Oriental way of doing

REMARKS 81

business. But the curious incongruity of making a great feast with offerings to the ox before sacrificing it, appears inexplicable until we note the habits of other peoples in slaying their sacred animals at certain intervals. This tale shows us what is stated by Greek authors, that the Egyptians slew the sacred Apis at stated times, or when a new one was discovered with the right marks. The annual sacrifice of a sacred ram at Thebes shows that the Egyptians were familiar with such an idea. And though it was considered by the writer of this tale as a monstrous act, yet the offerings and festivity which accompanied it are in accordance with the strange fact found by Mariette, that in the three undisturbed Apis burials which he discovered there were only fragments of bone, and in one case a head, carefully embalmed with bitumen and magnificent offerings of jewellery. The divine Apis was eaten as a sacred feast.

The reason that the princess desires the liver is strangely explained by a present belief 7

82 ANPU AND BATA

on the Upper Nile. The Darfuris think that the liver is the seat of the soul ("Golden Bough," ii. 88); and hence if she ate the liver she would destroy the soul of Bata, or prevent it entering any other incarnation.

The next detail is also curiously significant. If a bull was being sacrificed we should naturally suppose the blood would flow, and that a few drops would not be noticed. Here, however, two drops are said to fall, and this was when the bull "was upon the shoulders of the people." Now it is a very general idea that blood must not be allowed to fall upon the ground; the eastern and southern Africans will not shed the blood of cattle ("Golden Bough," i. 182); and strangely the Australians avoid the falling of blood to the ground by placing the bleeding persons upon the shoulders of other men. This parallel is so close to the Egyptian tale that it seems as if the bull was borne "on the shoulders of the people," that his blood should not fall to the ground; yet in spite of

REMARKS 83

this precaution "he shook his neck, and he threw two drops of blood over against the doors of his majesty." In these drops of blood was the soul of Bata, in spite of the princess having eaten his liver; and we know how among Jews, Arabs, and other peoples, the blood is regarded as the vehicle of the soul or life.

The evidence of tree worship is plainer here than perhaps in any other passage of Egyptian literature. The people rejoice for the two Persea trees, "and there were offerings made to them."

The blue crown worn by the king was the war cap of leather covered with scales of copper: it is often found made in dark blue glaze for statuettes, and it seems probable that the copper was superficially sulphurised to tint it. Such head-dress was usually worn by kings when riding in their chariots. The pale gold or electrum here mentioned was the general material for decorating the royal chariot.

84 ANPU AND BATA

The miraculous birth of Bata in his third transformation is, as we have noticed, closely paralleled by the birth of Atys from the almond. The idea at the root of this is that of self-creation or self-existence, as in the usual Egyptian phrase, "bull of his mother."

The king flying up to heaven is a regular expression for his death: "the hawk has soared," "the follower of the god has met his maker," so Sanehat describes it (see ist series, pp. 97, 98).

which bears the ka name of the king; and when we see the drawings of the ba bird or soul flying down the well to the sepulchre, it appears as if the hawk were the royal ba bird (ordinary men having a ba bird with a human head); and that the well-known first title of each king represents the royal soul or ba bird perched on the door of the sepulchre, resting on his way to and from the visit to the corpse below. The soul or ba of the king at his death thus flew away as a hawk to meet the sun.

The veil drawn over the fate of the inhuman princess is well conceived. That she should die a sharp death has been foretold; but how Bata should slay the divine creation-his wife-his mother-is a matter that the scribe reserves in silence; we only read that "he judged with her before him, and the great nobles agreed with him." That judgment is best left among the things unwritten.

86 ANPU AND BATA

The strange manner in which we can see incident after incident in the latter part of the tale, each to refer to some ceremony or belief, even imperfect as our knowledge of such must be, and the evidence that the whole being of Bata is a transference of the myth of Atys, must lead us to look on this, the marvellous portion, as woven out of a group of myths, ceremonies, and beliefs which were joined and explained by the formation of such a tale. How far it is due to purely Egyptian ideas, indicated by the Apis bull and the analogies in present African beliefs, and how far it is Asiatic and belonging to Atys, it would be premature to decide. But from the weird confusion and mystery of these transformations, we turn back with renewed pleasure to the simple and sweet picture of peasant life, and the beauty of Bata, and we see how true a poet the Egyptian was in feeling and in expression.

XIXth DYNASTY, PTOLEMAIC WRITING

THE mighty King User-maat-ra (Ra-meses the Great) had a son named Setna Kha-em-uast who was a great scribe, and very learned in all the ancient writings. And he heard that the magic book of Thoth, by which a man may enchant heaven and earth, and know the language of all birds and beasts, was buried in the cemetery of Memphis. And he went to search for it with his brother An-he-hor-eru; and when they found the tomb of the king's son, Na-nefer-ka-ptah, son of the king of Upper

88 SETNA AND THE MAGIC BOOK

and Lower Egypt, Mer-neb-ptah, Setna opened it and went in.

AHURA'S APPEAL.

AHURA'S TALE 89

between them. And Na-nefer-ka-ptah said to Setna, "Who are you that break into my tomb in this way?" He said, "I am Setna, son of the great King User-maat-ra, living for ever, and I come for that book which I see between you." And Na-nefer-ka-ptah said, "It cannot be given to you." Then said Setna, "But I will carry it away by force."

Then Ahura said to Setna, "Do not take this book; for it will bring trouble on you, as it has upon us. Listen to what we have suffered for it."

AHURA'S TALE

"We were the two children of the King Mer-neb-ptah, and he loved us very much, for he had no others; and Na-nefer-ka-ptah was in his palace as heir over all the land. And when we were grown, the king said to the queen, 'I will marry Na-nefer-ka-ptah

90 SETNA AND THE MAGIC BOOK

to the daughter of a general, and Ahura to the son of another general.' And the queen said, 'No, he is the heir, let him marry his sister, like the heir of a king, none other is fit for him.' And the king said, 'That is not fair; they had better be married to the children of the general.'

"And the queen said, 'It is you who are not dealing rightly with me.' And the king answered, 'If I have no more than these two children, is it right that they should marry one another? I will marry Na-nefer-ka-ptah to the daughter of an officer, and Ahura to the son of another officer. It has often been done so in our family.'

"And at a time when there was a great feast before the king, they came to fetch me to the feast. And I was very troubled, and did not behave as I used to do. And the king said to me, 'Ahura, have you sent some one to me about this sorry matter, saying, "Let me be married to my elder brother"? 'I said to him, 'Well, let me marry the son

AHURA'S TALE 91

of an officer, and he marry the daughter of another officer, as it often happens so in our family.' I laughed, and the king laughed. And the king told the steward of the palace, 'Let them take Ahura to the house of Na-nefer-ka-ptah to-night, and all kinds of good things with her.' So they brought me as a wife to the house of Na-nefer-ka-ptah; and the king ordered them to give me presents of silver and gold, and things from the palace.

"And Na-nefer-ka-ptah passed a happy time with me, and received all the presents from the palace; and we loved one another. And when I expected a child, they told the king, and he was most heartily glad; and he sent me many things, and a present of the best silver and gold and linen. And when the time came, I bore this little child that is before you. And they gave him the name of Mer-ab, and registered him in the book of the 'House of life.'

"And when my brother Na-nefer-ka-ptah

92 SETNA AND THE MAGIC BOOK

went to the cemetery of Memphis, he did nothing on earth but read the writings that are in the catacombs of the kings, and the tablets of the 'House of life,' and the

READING THE INSCRIPTION.

inscriptions that are seen on the monuments, and he worked hard on the writings. And there was a priest there called Nesi-ptah; and as Na-nefer-ka-ptah went into a

AHURA'S TALE 93

temple to pray, it happened that he went behind this priest, and was reading the inscriptions that were on the chapels of the gods. And the priest mocked him and laughed. So Na-nefer-ka-ptah said to him, 'Why are you laughing at me?' And he replied, 'I was not laughing at you, or if I happened to do so, it was at your reading writings that are worthless. If you wish so much to read writings, come to me, and I will bring you to the place where the book is which Thoth himself wrote with his own hand, and which will bring you to the gods. When you read but two pages in this you will enchant the heaven, the earth, the abyss, the mountains, and the sea; you shall know what the birds of the sky and the crawling things are saying; you shall see the fishes of the deep, for a divine power is there to bring them up out of the depth. And when you read the second page, if you are in the world of ghosts, you will become again in the shape you were in on earth. You will

94 SETNA AND THE MAGIC BOOK

see the sun shining in the sky, with all the gods, and the full moon.'

"And Na-nefer-ka-ptah said, 'By the life of the king! Tell me of anything you want

SENDING THE SILVER.

done and I'll do it for you, if you will only send me where this book is.' And the priest answered Na-nefer-ka-ptah, 'If you want to go to the place where the book is, you must

AHURA'S TALE 95

give me a hundred pieces of silver for my funeral, and provide that they shall bury me as a rich priest.' So Na-nefer-ka-ptah called his lad and told him to give the priest a hundred pieces of silver; and he made them do as he wished, even everything that he asked for. Then the priest said to Na-nefer-ka-ptah, 'This book is in the middle of the river at Koptos, in an iron box; in the iron box is a bronze box; in the bronze box is a sycamore box; in the sycamore box is an ivory and ebony box; in the ivory and ebony box is a silver box; in the silver box is a golden box, and in that is the book. It is twisted all round with snakes and scorpions and all the other crawling things around the box in which the book is; and there is a deathless snake by the box.' And when the priest told Na-nefer-ka-ptah, he did not know where on earth he was, he was so much delighted.

"And when he came from the temple he told me all that had happened to him. And

96 SETNA AND THE MAGIC BOOK

he said, 'I shall go to Koptos, for I must fetch this book; I will not stay any longer in the north.' And I said, 'Let me dissuade you, for you prepare sorrow and you will bring me into trouble in the Thebaid.' And I laid my hand on Na-nefer-ka-ptah, to keep him from going to Koptos, but he would not listen to me; and he went to the king, and told the king all that the priest had said. The king asked him, 'What is it that you want?' and he replied, 'Let them give me the royal boat with its belongings, for I will go to the south with Ahura and her little boy Mer-ab, and fetch this book without delay.' So they gave him the royal boat with its belongings, and we went with him to the haven, and sailed from there up to Koptos.

"Then the priests of Isis of Koptos, and the high priest of Isis, came down to us without waiting, to meet Na-nefer-ka-ptah, and their wives also came to me. We went into the temple of Isis and Harpokrates; and

AHURA'S TALE

Na-nefer-ka-ptah brought an ox, a goose, and some wine, and made a burnt-offering and a drink-offering before Isis of Koptos and Harpokrates. They brought us to a very

THE PRIESTS' WIVES.

fine house, with all good things; and Na-nefer-ka-ptah spent four days there and feasted with the priests of Isis of Koptos, and the wives of the priests of Isis also made holiday with me.

8

98 SETNA AND THE MAGIC BOOK

"And the morning of the fifth day came; and Na-nefer-ka-ptah called a priest to him, and made a magic cabin that was full of men and tackle. He put the spell upon it, and put life in it, and gave them breath, and sank it in the water. He filled the royal boat with sand, and took leave of me, and sailed from the haven: and I sat by the river at Koptos that I might see what would become of him. And he said, 'Workmen, work for me, even at the place where the book is.' And they toiled by night and by day; and when they had reached it in three days, he threw the sand out, and made a shoal in the river. And then he found on it entwined serpents and scorpions and all kinds of crawling things around the box in which the book was; and by it he found a deathless snake around the box. And he laid the spell upon the entwined serpents and scorpions and all kinds of crawling things which were around the box, that they should not come out. And he went to the deathless snake, and fought with

AHURA'S TALE 99

him, and killed him; but he came to life again, and took a new form. He then fought again with him a second time; but he came to life again, and took a third form. He then cut him in two parts, and put sand

SLAYING THE SNAKE.

between the parts, that he should not appear again.

"Na-nefer-ka-ptah then went to the place where he found the box. He uncovered a box of iron, and opened it; he found then a box of bronze, and opened that; then he found

100 SETNA AND THE MAGIC BOOK

a box of sycamore wood, and opened that; again, he found a box of ivory and ebony, and opened that; yet, he found a box of silver, and opened that; and then he found a box of gold; he opened that, and found the book in it. He took the book from the golden box, and read a page of spells from it. He enchanted the heaven and the earth, the abyss, the mountains, and the sea; he knew what the birds of the sky, the fish of the deep, and the beasts of the hills all said. He read another page of the spells, and saw the sun shining in the sky, with all the gods, the full moon, and the stars in their shapes; he saw the fishes of the deep, for a divine power was present that brought them up from the water. He then read the spell upon the workmen that he had made, and taken from the haven, and said to them, 'Work for me, back to the place from which I came.' And they toiled night and day, and so he came back to the place where I sat by the river of Koptos; I had not drunk nor

AHURA'S TALE 101

eaten anything, and had done nothing on earth, but sat like one who is gone to the grave.

"I then told Na-nefer-ka-ptah that I wished to see this book, for which we had taken so much trouble. He gave the book into my hands; and when I read a page of the spells in it I also enchanted heaven and earth, the abyss, the mountains, and the sea; I also knew what the birds of the sky, the fishes of the deep, and the beasts of the hills all said. I read another page of the spells, and I saw the sun shining in the sky with all the gods, the full moon, and the stars in their shapes; I saw the fishes of the deep, for a divine power was present that brought them up from the water. As I could not write, I asked Na-nefer-ka-ptah, who was a good writer, and a very learned one; he called for a new piece of papyrus, and wrote on it all that was in the book before him. He dipped it in beer, and washed it off in the liquid; for he knew that if it were washed off, and he

102 SETNA AND THE MAGIC BOOK .

drank it, he would know all that there was in the writing.

"We returned back to Koptos the same day, and made a feast before Isis of Koptos and Harpokrates. We then went to the haven and sailed, and went northward of Koptos. And as we went on Thoth discovered all that Na-nefer-ka-ptah had done with the book; and Thoth hastened to tell Ra, and said, 'Now know that my book and my revelation are with Na-nefer-ka-ptah, son of the King Mer-neb-ptah. He has forced himself into my place, and robbed it, and seized my box with the writings, and killed my guards who protected it.' And Ra replied to him, 'He is before you, take him and all his kin.'He sent a power from heaven with the command, 'Do not let Na-nefer-ka-ptah return safe to Memphis with all his kin.' And after this hour, the little boy Mer-ab, going out from the awning of the royal boat, fell into the river: he called on Ra, and everybody who was on the bank raised a cry. Na-nefer-ka.

AHURA'S TALE 103

ptah went out of the cabin, and read the spell over him; he brought his body up because a divine power brought him to the surface. He read another spell over him, and made him tell of all what happened to him, and of what Thoth had said before Ra.

"We turned back with him to Koptos. We brought him to the Good House, we fetched the people to him, and made one embalm him; and we buried him in his coffin in the cemetery of Koptos like a great and noble person.

"And Na-nefer-ka-ptah, my brother, said, 'Let us go down, let us not delay, for the king has not yet heard of what has happened to him, and his heart will be sad about it.' So we went to the haven, we sailed, and did not stay to the north of Koptos. When we were come to the place where the little boy Mer-ab had fallen in the water, I went out from the awning of the royal boat, and I fell into the river. They called Na-nefer-ka-ptah, and he came out from the cabin of the royal

104 SETNA AND THE MAGIC BOOK

boat; he read a spell over me, and brought my body up, because a divine power brought me to the surface. He drew me out, and read the spell over me, and made me tell him

READING THE SPELL.

of all that had happened to me, and of what Thoth had said before Ra. Then he turned back with me to Koptos, he brought me to the Good House, he fetched the people to me, and made one embalm me, as great and noble people are buried, and laid me in the tomb where Mer-ab my young child was.

AHURA'S TALE

105

"He turned to the haven, and sailed down, and delayed not in the north of Koptos. When he was come to the place where we fell

re.

into the river, he said to his heart, 'Shall I not better turn back again to Koptos, that I may lie by them? For, if not, when I go down to Memphis, and the king asks after

106 SETNA AND THE MAGIC BOOK

his children, what shall I say to him? Can I tell him, "I have taken your children to the Thebaid, and killed them, while I remained alive, and I have come to Memphis still alive"?' Then he made them bring him a linen cloth of striped byssus; he made a band, and bound the book firmly, and tied it upon him. Na-nefer-ka-ptah then went out of the awning of the royal boat and fell into the river. He cried on Ra; and all those who were on the bank made an outcry, saying, 'Great woe! Sad woe! Is he lost, that good scribe and able man that has no equal?'

"The royal boat went on, without any one on earth knowing where Na-nefer-ka-ptah was. It went on to Memphis, and they told all this to the king. Then the king went down to the royal boat in mourning, and all the soldiers and high priests and priests of Ptah were in mourning, and all the officials and courtiers. And when he saw Na-nefer-ka-ptah, who was in the inner cabin of the

AHURA'S TALE 107

royal boat-from his rank of high scribe-he lifted him up. And they saw the book by him; and the king said, 'Let one hide this book that is with him.' And the officers of the king, the priests of Ptah, and the high priest of Ptah, said to the king, 'Our Lord, may the king live as long as the sun! Na-nefer-ka-ptah was a good scribe, and a very skilful man.' And the king had him laid in his Good House to the sixteenth day, and then had him wrapped to the thirty-fifth day, and laid him out to the seventieth day, and then had him put in his grave in his resting-place.

"I have now told you the sorrow which has come upon us because of this book for which you ask, saying, 'Let it be given to me.' You have no claim to it; and, indeed, for the sake of it, we have given up our life on earth."

And Setna said to Ahura, "Give me the

108 SETNA AND THE MAGIC BOOK

book which I see between you and Na-nefer-ka-ptah; for if you do not I will take it by force." Then Na-nefer-ka-ptah rose from his seat and said, "Are you Setna, to whom

my wife has told of all these blows of fate, which you have not suffered? Can you take this book by your skill as a good scribe? If, indeed, you can play games with

SETNA AND THE MAGIC BOOK 109

me, let us play a game, then, of 52 points." And Setna said, "I am ready," and the board and its pieces were put before him. And Na-nefer-ka-ptah won a game from Setna; and he put the spell upon him, and

SETNA VANQUISHED.

defended himself with the game board that was before him, and sunk him into the ground above his feet. He did the same at the second game, and won it from Setna, and sunk him into the ground to his waist.

110 SETNA AND THE MAGIC BOOK

He did the same at the third game, and made him sink into the ground up to his ears. Then Setna struck Na-nefer-ka-ptah a great blow with his hand. And Setna called his brother An-he-hor-eru and said to him,

"Make haste and go up upon earth, and tell the king all that has happened to me, and bring me the talisman of my father Ptah, and my magic books."

And he hurried up upon earth, and told

SETNA AND THE MAGIC BOOK 111

the king all that had happened to Setna. The king said, "Bring him the talisman of his father Ptah, and his magic books." And An-he-hor-eru hurried down into the tomb;

SETNA VICTORIOUS.

he laid the talisman on Setna, and he sprang up again immediately. And then Setna reached out his hand for the book, and took it. Then-as Setna went out from the

112 SETNA AND THE MAGIC BOOK

tomb-there went a Light before him, and Darkness behind him. And Ahura wept at him, and she said, "Glory to the King of Darkness! Hail to the King of Light! all power is gone from the tomb." But Na-nefer-ka-ptah said to Ahura, "Do not let your heart be sad; I will make him bring back this book, with a forked stick in his hand, and a fire-pan on his head." And Setna went out from the tomb, and it closed behind him as it was before.

Then Setna went to the king, and told him everything that had happened to him with the book. And the king said to Setna, "Take back the book to the grave of Na-nefer-ka-ptah, like a prudent man, or else he will make you bring it with a forked stick in your hand, and a fire-pan on your head." But Setna would not listen to him; and when Setna had unrolled the book he did nothing on earth but read it to everybody.

[Here follows a story of how Setna, walking in the court of the temple of Ptah, met

SETNA AND THE MAGIC BOOK 113

Tabubua, a fascinating girl, daughter of a priest of Bast, of Ankhtaui; how she repelled his advances, until she had beguiled him into giving up all his possessions, and

SETNA READING THE ROLL.

slaying his children. At the last she gives a fearful cry and vanishes, leaving Setna bereft of even his clothes. This would seem to be merely a dream, by the disappearance of Tabubua, and by Setna finding 9

114 SETNA AND THE MAGIC BOOK

his children alive after it all; but on the other hand he comes to his senses in an unknown place, and is so terrified as to be quite ready to make restitution to Na-nefer-ka-ptah. The episode, which is not creditable to Egyptian society, seems to be intended for one of the vivid dreams which the credulous readily accept as half realities.]

So Setna went to Memphis, and embraced his children for that they were alive. And the king said to him, "Were you not drunk to do so?" Then Setna told all things that had happened with Tabubua and Na-nefer. ka-ptah. And the king said, "Setna, I have already lifted up my hand against you before, and said, 'He will kill you if you do not take back the book to the place you took it from.' But you have never listened to me till this hour. Now, then, take the book to Na-nefer-ka-ptah, with a forked stick in your hand, and a fire-pan on your head."

So Setna went out from before the king, with a forked stick in his hand, and a fire-

SETNA AND THE MAGIC BOOK 115

pan on his head. He went down to the tomb in which was Na-nefer-ka-ptah. And Ahura said to him, "It is Ptah, the great god, that has brought you back safe." Na-nefer-ka-ptah laughed, and he said, "This is the business that I told you before." And when Setna had praised Na-nefer-ka-ptah, he found it as the proverb says, "The sun was in the whole tomb." And Ahura and Na-nefer-ka-ptah besought Setna greatly. And Setna said, "Na-nefer-ka-ptah, is it aught disgraceful (that you lay on me to do)?" And Na-nefer-ka-ptah said, "Setna, you know this, that Ahura and Mer-ab, her child, behold! they are in Koptos; bring them here into this tomb, by the skill of a good scribe. Let it be impressed upon you to take pains, and to go to Koptos to bring them here." Setna then went out from the tomb to the king, and told the king all that Na-nefer-ka-ptah had told him.

The king said, "Setna, go to Koptos and bring back Ahura and Mer-ab." He

116 SETNA AND THE MAGIC BOOK

answered the king, "Let one give me the royal boat and its belongings." And they gave him the royal boat and its belongings, and he left the haven, and sailed without stopping till he came to Koptos.

And they made this known to the priests of Isis at Koptos and to the high priest of Isis; and behold they came down to him, and gave him their hand to the shore. He went up with them and entered into the temple of Isis of Koptos and of Harpo-krates. He ordered one to offer for him an ox, a goose, and some wine, and he made a burnt-offering and a drink-offering before Isis of Koptos and Harpokrates. He went to the cemetery of Koptos with the priests of Isis and the high priest of Isis. They dug about for three days and three nights, for they searched even in all the catacombs which were in the cemetery of Koptos; they turned over the steles of the scribes of the "double house of life," and read the inscriptions that they found on them. But

SETNA AND THE MAGIC BOOK 117

they could not find the resting-place of Ahura and Mer-ab.

Now Na-nefer-ka-ptah perceived that they could not find the resting-place of Ahura and her child Mer-ab. So he raised himself up as a venerable, very old, ancient, and came before Setna. And Setna saw him, and Setna said to the ancient, "You look like a very old man, do you know where is the resting-place of Ahura and her child Mer-ab?" The ancient said to Setna, "It was told by the father of the father of my father to the father of my father, and the father of my father has told it to my father; the resting-place of Ahura and of her child Mer-ab is in a mound south of the town of Pehemato (?)" And Setna said to the ancient, "Perhaps we may do damage to Pehemato, and you are ready to lead one to the town for the sake of that." The ancient replied to Setna, "If one listens to me, shall he therefore destroy the town of Pehemato! If they do not find Ahura and her child

118 SETNA AND THE MAGIC BOOK

Mer-ab under the south corner of their town may I be disgraced." They attended to the ancient, and found the resting-place of Ahura and her child Mer-ab under the south corner of the town of Pehemato. Setna laid them in the royal boat to bring them as honoured persons, and restored the town of Pehemato as it originally was. And Na-nefer-ka-ptah made Setna to know that it was he who had come to Koptos, to enable them to find out where the resting-place was of Ahura and her child Mer-ab.

So Setna left the haven in the royal boat, and sailed without stopping, and reached Memphis with all the soldiers who were with him. And when they told the king he came down to the royal boat. He took them as honoured persons escorted to the catacombs, in which Na-nefer-ka-ptah was, and smoothed down the ground over them.

REMARKS 119

his wife Ahura, and their Mid Mer-ab. It was written in the 35th year, the month Tybi.

This tale of Setna only exists in one copy, a demotic papyrus in the Ghizeh Museum. The demotic was published in facsimile by Mariette in 1871, among "Les Papyrus du Musee de Boulaq; " and it has been translated by Brugsch, Revillout, Maspero, and Hess. The last version-"Der Demotische Roman von Stne Ha-m-us, von J. J. Hess"-being a full study of the text with discussion and glossary, has been followed here; while the interpretation of Maspero has also been kept in view in the rendering of obscure passages.

Unhappily the opening of this tale is lost, and I have therefore restored it by a recital of the circumstances which are referred to in what remains. Nothing has been introduced

120 SETNA AND THE MAGIC BOOK

which is not necessarily involved or stated in the existing text. The limit of this restoration is marked by ]; the papyrus beginning with the words, "It is you who are not dealing rightly with me."

The construction is complicated by the mixture of times and persons; and we must remember that it was written in the Ptolemaic period concerning an age long past. It stood to the author much as Tennyson's "Harold" stands to us, referring to an historical age, without too strict a tie to facts and details. Five different acts, as we may call them, succeed one another. In the first act-which is entirely lost, and here only outlined-the circumstances which led Setna of the XlXth Dynasty to search for the magic book must have been related. In the second act Ahura recites the long history of herself and family, to deter Setna from his purpose. This act is a complete tale by itself, and belongs to a time some generations before Setna; it is here supposed to belong to the time of Amenhotep

REMARKS 121

III., in the details of costume adopted for illustration. The third act is Setna's struggle as a rival magician to Na-nefer-ka-ptah, from which he finally comes off victorious by his brother's use of a talisman, and so secures possession of the coveted magic book. The fourth act-which I have here only summarised-shows how Na-nefer-ka-ptah resorts to a bewitchment of Setna by a sprite, by subjection to whom he loses his magic power. The fifth act shows Setna as subjected to Na-nefer-ka-ptah, and ordered by him to bring the bodies of his wife and child to Memphis into his tomb.

While, therefore, the sentimental climax of the tale-the restoration of the unity of the family in one tomb-belongs to persons of the XVIIIth Dynasty, the action of the tale is entirely of the XlXth Dynasty, for what happened in the XVIIIth Dynasty (second act) is all related in the XlXth. And the actual composition of it belongs to Ptolemaic times, not only on the evidence of the manuscript,

122 SETNA AND THE MAGIC BOOK

but also of the language; this being certified by the importance of Isis and Horus at Koptos, which is essentially a late worship there.

Turning now to the details, we may note that the statement that Setna Kha-em-uast was a son of User-maat-ra (or Ramessu II.) occurs in the fourth act which is here only summarised. Among the sons of Ramessu historically known, the Prince Kha-em-uast (or "Glory-in-Thebes ") was the most important; he appears to have been the eldest son, exercising the highest offices during his father's life. That the succession fell on the thirteenth son, Mer-en-ptah, was doubtless due to the elder sons having died during the preternaturally long reign of Ramessu.

REMARKS 123

nounced Minibptah, the r being dropped in early times. It would seem most like Mine-ptah or Mer-en-ptah, the son and successor of Ramessu II.; but as the date of Mer-neb-ptah is supposed to be some generations before that, such a supposition would involve a great confusion on the scribes' part. Another possibility is that it represents Amenhotep III., Neb-maat-ra-mer-ptah, pronounced as Nimu-rimiptah, which might be shortened to Neb. mer-ptah or Mer-neb-ptah. Such a time would well suit the tale, and that reign has been adopted here in fixing the style of the dress of Ahura and her family.

124 SETNA AND THE MAGIC BOOK

REMARKS 125

There is here also an insight into the arrangement of marriages in Egypt. It does not seem that anything was determined about a marriage during childhood; it is only when the children are full-grown that a dispute arises between the king and queen as to their disposal. But the parents decide the whole question. It is, of course, well known that the Egyptians had no laws against consanguinity in marriages; on the contrary, it was with them, as with the Persians, essential for a king to marry in the royal family, and also usual for private persons to marry in their family. Even to the present day in Egypt, although sister-marriage has disappeared, yet it is the duty of a man to marry his first cousin or some one in the family. The very idea of relationship being any possible impediment to marriage was un-thought of by the Egyptian; his favourite concrete expression for a self-existent or self-

126 SETNA AND THE MAGIC BOOK

created being-"husband of his mother "-shows this unmistakably.

The objection made by the king to the marriage of Na-nefer-ka-ptah and Ahura turns on the point that he has only these two children, and hence, if they marry the children of the generals, there will be two families instead of only one to ensure future posterity. The queen, however, talks the king over on the matter. The cause of Ahura's being troubled at the feast is not certain, but the king evidently supposes that she has been pleading to be allowed to marry her beloved brother, and when taxed with it she only expresses her willingness to give way to his exogamic views. The brief sentence, "I laughed and the king laughed," seems to mean that she pleased and amused her father so that he gave way, and immediately told the steward to arrange for her marriage as she desired. I have here abbreviated a few needlessly precise details. We also learn, by the way, that there was a regular registry of births, in which Mer-ab was entered.

REMARKS 127

128 SETNA AND THE MAGIC BOOK

and hunting up his family genealogy from the tombstones and the registers.

The firm belief in magic which underlies all this tale might perhaps be thought to be inappropriate to the enlightenment of Greek times. We have seen how in the earliest tales magic is a mainspring of the action, and it is at first sight surprising that its sway should last through so many thousands of years. But there may well have been a recrudescence of such beliefs, along with the revival of interest in the earlier history. The enormous spread and popularity of Gnosticism-the belief in the efficacy of words and formulas to control spirits and their actions-in the centuries immediately after this, shows how ingrained magic ideas were, and how ready to sprout up when the counterbalancing interests of the old mythology were gone, and their place taken by the intangible spirituality of Platonism and the early Christian atmosphere.

A most Egyptian turn is given where the

REMARKS 129

priest bargains for a large payment for his funeral, and to be buried as a rich priest. The enclosing of the magic roll in a series of boxes has many parallels. In an Indian tale we read: "Round the tree are tigers and bears and scorpions and snakes; on the top of the tree is a very fat great snake; on his head is a little cage; in the cage is a bird; and my soul is in that bird" ("Golden Bough," ii. 300). In Celtic tales the series-idea also occurs. The soul of a giant is in an egg, the egg is in a dove, the dove is in a hare, the hare is in a wolf, and the wolf is in an iron chest at the bottom of the sea ("Golden Bough," ii. 314). The Tartars have stories of a golden casket containing the soul, inside a copper or silver casket ("Golden Bough," ii. 324). And the Arabs tell of a soul put in the crop of a sparrow, and the sparrow in a little box, and this in another small box, and this put into seven other boxes, and these in seven chests, and the chest in a coffer of marble ("Golden 10

130 SETNA AND THE MAGIC BOOK

Bough," ii. 318). The notion, therefore, of a series of boxes, one enclosing another, and the whole guarded by dangerous animals, is well known as an element in tales. The late date is here shown by the largest and least precious of the boxes being of iron, which was rarely, if ever, used in Ramesside times, and was not common till the Greek age.

The magic engineering of Na-nefer-ka. ptah is very curious. The cabin or air-chamber of men in model, who are let down to work for him, suggests that Egyptians may have used the principle of a diving-bell or air-chamber for reaching parts under water. Certainly the device of raising things by dropping down sand to be put under them is still practised. An immense sarcophagus at Gizeh was raised from a deep well by natives who thrust sand under it rammed tight by a stick, and by this simple kind of hydraulic press raised it a hundred feet to the surface. In this way the magic men of Na-nefer-ka-ptah raised up the chest when

REMARKS 131

they had discovered it by means of the sand which he poured over from the boat.

There is some picturesqueness in this tale, though it has not the charm of the earlier compositions. The scene of Ahura sitting for three days and nights, during the combat, watching by the side of the river, where she "had not drunk or eaten anything, and had done nothing on earth but sat like one who is gone to the grave," is a touching detail.

The light on the education of women is curious. Ahura can read the roll, but she cannot write. We are so accustomed to regard reading and writing as all one subject that the distinction is rare; but with a writing comprising so many hundred signs as the Egyptian, the art of writing or draw-Ing all the forms, and knowing which to use, is far more complex than that of reading. There are now ten students who can read an inscription for one who could compose it correctly. Here a woman of the highest rank is supposed to be able to read, but not

132 SETNA AND THE MAGIC BOOK

to write; that is reserved for the skill of "a good writer, and a very learned one."

The writing of spells and then washing the ink off and drinking it is a familiar idea in the East. Modern Egyptian bowls have charms engraved on them to be imparted to the drink, and ancient Babylonian bowls are inscribed with the like purpose.

An insight into the powers of the gods is here given us. The Egyptian did not attribute to them omniscience. Thoth only discovered what Na-nefer-ka-ptah had done as they were sailing away, some days after the seizure of the book. And even Ra is informed by the complaint of Thoth. If Ra were the physical sun it would be obvious that he would see all that was being done on earth; it would rather be he who would inform Thoth. The conception of the gods must therefore have been not pantheistic or materialist, but solely as spiritual powers who needed to obtain information, and who only could act through intermediaries. Further,

REMARKS 133

nothing can be done without the consent of Ra; Thoth is powerless over men, and can only ask Ra, as a sort of universal magistrate, to take notice of the offence. Neither god acts directly, but by means of a power or angel, who takes the commission to work on men. How far this police-court conception of the gods is due to Greek or foreign influence can hardly be estimated yet. It certainly does not seem in accord with the earlier appeals to Ra, and direct action of Ra, in "Anpu and Bata."

134 SETNA AND THE MAGIC BOOK

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

REMARKS 135

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.

We now reach the third act, of Setna's struggle to get the magic roll. Here the strange episode comes in of the rival magicians gambling; it recalls the old tale of Rampsinitus descending into Hades and play-

136 SETNA AND THE MAGIC BOOK

ing at dice with Ceres, and the frequent presence of draught-boards in the tombs, shows how much the ka was supposed to relish such pleasures. The regular Egyptian game-board had three rows of ten squares, or thirty in all. Such are found from the XIIth Dynasty down to Greek times; but this form has now entirely disappeared, and the man-galah of two rows of six holes, or the tab of four rows of nine holes, have taken its place. Both of these are side games, where different sides belong to opposite players. The commoner siga is a square game, five rows of five, or seven rows of seven holes, and has no personal sides. The ancient game was played with two, or perhaps three, different kinds of men, and the squares were counted from one end along the outer edge; but what the rules were, or how a game of fifty-two points was managed, has not yet been explained.

The strange scene of Setna being sunk into the ground portion by portion, as he loses

REMARKS 137

successive games, is parallel to a mysterious story among the dervishes in Palestine. They tell how the three holy shekhs of the Dervish orders, Bedawi, Erfa'i, and Desuki, went in succession to Baghdad to ask for a jar of water of Paradise from the Derwisha Bint Bari, who seems to be a sky-genius, controlling the meteors. The last applicant, Desuki, was refused like the others; so he said, "Earth! swallow her," and the earth swallowed her to her knees; still she gave not the water, so he commanded the earth, and she was swallowed to her waist; a third time she refused, and she was swallowed to her breasts; she then asked him to marry her, which he would not; a fourth time she refused the water and was swallowed to her neck. She then ordered a servant to bring the water ("Palestine Exploration Statement, 1894," p. 32). The resemblance is most remarkable in two tales two thousand years apart; and the incident of Bint Bari asking the dervish to marry her has its connection with this tale. Had

138 SETNA AND THE MAGIC BOOK

the dervish done so he would-according to Eastern beliefs-have lost his magic power over her, just as Setna loses his magic power by his alliance with Tabubua, to which he is tempted by Na-nefer-ka-ptah, in order to subdue him. The talisman here is a means of subduing magic powers, and is of more force than that of Thoth, as Ptah is greater than he.

The fourth act recounts the overcoming of the power of Setna by Na-nefer-ka-ptah, who causes Tabubua to lead to the loss of his superior magic, and thus to subdue him to the magic of his rival. Ankhtaui, here named as the place of Tabubua, was a quarter of Memphis, which is also named as the place of the wife of Uba-aner in the first tale.

The fifth act describes the victory of Na-nefer-ka-ptah, and his requiring Setna to reunite the family in his tomb at Memphis. The contrast between Ahura's pious ascription to Ptah, and her husband's chuckle at

REMARKS 139

seeing his magic successful, is remarkable. Setna at once takes the position of an inferior by addressing praises to Na-nefer-ka-ptah: after which the tomb became bright as it was before he took away the magic roll. Setna then having made restitution, is required to give some compensation as well.

The search for the tomb of Ahura and Mer-ab is a most tantalising passage. The great cemetery of Koptos is the scene, and the search occupies three days and nights in the catacombs and on the steles. Further, the tomb was at the south corner of the town of Pehemato, as Maspero doubtfully reads it. Yet this cemetery is now quite unknown, and in spite of all the searching of the native dealers, and the examination which I have made on the desert of both sides of the Nile, it is a mystery where the cemetery can be. The statement that the tomb was at the south corner of a town pretty well excludes it from the desert, which runs north and

140 SETNA AND THE MAGIC BOOK

south there. And it seems as if it might have been in some raised land in the plain, like the spur or shoal on which the town of Koptos was built. If so it would have been covered by the ten to twenty feet rise of the Nile deposits since the time of its former use.

The appearance of the ancient to guide Setna gives some idea of the time that elapsed between then and the death of Ahura. The ancient, who must be allowed to represent two or three generations, says that his great-grandfather knew of the burial, which would take it back to five or six generations. This would place the death of Ahura about 150 years before the latter part of the reign of Ramessu II., say 1225 B.C.: thus, being taken back to about 1375 B.C., would make her belong to the generation after Amenhotep III., agreeing well with Mer-neb. ptah, being a corruption of the name of that king. No argument could be founded on so slight a basis; but at least there is no contra-

REMARKS 141

diction in the slight indications which we can glean.

The fear of Setna is that this apparition may have come to bring him into trouble by leading him to attack some property in this town; and Setna is particularly said to have restored the ground as it was before, after removing the bodies.

The colophon at the end is unhappily rather illegible. But the thirty-fifth year precludes its belonging to the reign of any Ptolemy, except the IInd or the VIIIth; and by the writing Maspero attributes it to the earlier of these reigns.

INDEX

ACACIA, 48-57

Ahura tells her history, 89; before the king, 90; marriage of, 91; waiting at Koptos, 100; read, but wrote not, 101, 131; death of, 103; tomb of, 117; re-buried, 118; wanderings of, 124

Amenhotep III., 123

Angels, use of, 133

Anhehoreru, 87; raises Setna, no

Anpu and Bata, 36, &c.; tale composite, 66, 72, 74> 86

Anpu, wife of, 40; ambush of, 44, 72; seeks the soul, 56-7; rides the bull, 59

Apis bull, 60, 80; killed, 61, 81; eaten, 61-81; burials, 81

Atys, myth of, 73-5, 86

BA-BIRD, royal, 84 Bast, priest of, 113

Bata character of, 36, 68-9, 73; a type now seen, 68; temptation of, 41, 73; mutilation of, 47, 73; death of, 56, 79; transformed as a bull, 58, 80; killed, 61, 82; transformed as a tree, 61, 73; killed, 63; trahsiormed as a child, 64, 74, 84; dies, 65; wife of, created, 51, 78; taken away, 55; at the king's table, 61, 63, 80; rides with the king, 63; vengeance on Bata, 61, 63; condemned, 65, 85; nature of, 78

Beer frothing, a portent, 48, 56

Blood, drops of, 61, 73, 82; not to fall on ground, 82; seat of life, 83

Blue crown, 62, 83

Book of the Dead, 124

Boxes nested, 95, 129

Bread-making, 38, 69

Brothers, tale of two, 36

144

INDEX

Bull of Bata, 58

Burial customs, 107, 135

CABIN submerged, 98, 130 Cane of Tahutmes III., 3 Captives made of civilians, 6, 10 Cattle, attention to, 38, 45, 72;

driven in at night, 70 Cemetery, search in, 116, 139 Chip, swallowed by princess, 64 Colophons, 65, 67, 118, 141 Concealment of soldiers, 4, 8 Crocodile, fate of prince, 25, 27,

33-5

27

Dogs eat the dead, 49 Doomed prince, 13-27; date of,

29 d'Orbiney papyrus, 65

EDESSA, scheme for taking, 9

Education, 131

Embalming, periods of, 107,

'35

Emotional element, 32, 68, 72,

131

Enchantment by reading, 93, 100, 133

FATE inevitable, 15, 103, 106, 134; predicted, 13, 25; nature of, 30

77

Frontiers of Egypt, 29 Fullers of Pharaoh, 53

GAME of 52 points, 108, 135 Gesture with hands, 75 Gnosticism, 128 Gods, nine, 50; powers of, 132 "Golden Bough " quoted, 77,

&c. Golden dish of Tahutia, 11

HAIR, lock of, 52-4, 79; tiring,

39.40

Hathor, generic name, 30 Hathor's decree a fate, 13, 29,

51 Hawk, royal ba, 84; on ka

name, 84 Heart, or soul, removed, 76!

two words for, 76 Hero, parentage of, 28 Hospitality of Syrians, 19 House, mysterious, 16, 31

INSCRIPTIONS, reading, 92, 116,

127

Inundation, end of, 38, 71 Iron box, 95, 130 Isis of Koptos, 96, 116, 122

JOPPA, taking of, 1-7

INDEX

Joseph, story of, 71 Judgment of Bata's wife, 65

Ahura at Memphis, 88, 123;

wandering, 123 Khaemuast, 87, 122 Khalu, sons of chiefs of, 19 Khnumu frames a woman, 51,

78

sailing to, 96; priests at, 96;

tombs in, 115, 139 Kush, royal son of, 64

LIGHT in the tomb, 112, 115,

139

Liver eaten, 61, 81 Lock of hair, 52-54 Luck, 31

MAGIC book, 87, 93, 100;

cabin, 98, 130; belief in, 128

Marriage destroys magic power,

US, 137-8 Marriages, consanguineous, 90,

125

Memphis a court-city, 127 Menkheperra, 1-3, 6 Merab born, 91; death of, 102;

reveals the gods, 103; burial

of, 103; reburial of, 118 Merneb ptah, king, 88, 89, 122 Mighty man and crocodile, 25,

33

Milk for serpent, 26, 34 Mourning, 49, 106

NAHARAINA, 16, 29 Naming-day of child, 64 Naneferkaptah, 87; married, 91; reads inscriptions, 92; gets the book, 100; beats Setna, 109; appears to Setna, 117, 140; name of, 122 Nesi ptah, priest, 92, 127

OFFERINGS to Isis, 97, 116 Omnipresence unknown, 134

PARCAE irresistible, 31 Pehematu, 117 Persea trees, 61-3, 73, 83 Ploughing, preparation for, 38,

71 Ptah, talisman of, no

RA, appeal to, 45; swearing by, 24, 47; decrees vengeance, 102; makes a wide canal, 45, 72; the supreme god, 102, 133; not the sun, 132

Ramessu II., 87, 122

Reading and writing, 101, 131

Registry of births, 126

Remorse, 105-6, 135

SACK of skins, 4

Sacks borne on poles, 5

Sand for raising objects, 98,

130 Sea personified, 52, 79

It

146

INDEX

Serpent, fate of prince, 13, 26; enticed by milk, 26, 34; guardians, 98, 129; division of, 99

Setna Khaemuast, 122; tale in five acts, 120; enters tomb, 88; demands the roll, 89, 107; sunk in ground, 109, 137; seizes the roll, in; reads the roll, 112; his power undone, 113, 121, 138; restores the roll, 114; reparation by, 115; goes to Koptos, 116; finds the tombs, 118; reburies Ahura, 118 Sety II., 66

Shadow may not be lost, 34 Silver, hundred pieces of, 95;

box, 95 Sinking of vanquished person,

109, 137

Sister-marriage, 90, 125 Smiting on the hands, 45 Snakes protect box, 95, 98 Soul, extraction of, 48, 76, 77; placing of, 48-9, 52, 77; falls with acacia, 56, 79; in a seed, 57; in water, 57, So; restored to Bata, 57

Spells washed into drink, lot, 132; read over dead, 103, 104; power limited, 133

Succubus, 113

Sutekh, god of Joppa, 6

TABUBUA, 113, 138

Tahutia, 1-12; dish of, 10;

funeral furniture, 12 Tahutmes III., 3 Talisman applied, no, 138 Thoth, magic book of, 87, 93,

100; discovers robbery, 102,

132

Tower of Bata, 49 Treachery of Tahutia, 8 Tree-worship, 62, 73, 83 Two brothers, tale of, 36

WATER, vehicle for soul, 57,

80 Windows, mystic, number of,

16, 32

Woman tempts woman, 55> 79 Writing rarer than reading,

101, 131; washed into drink,

101

End of the Project Gutenberg EBook of Egyptian Tales, Second Series, XVIIIth
To XIXth Dynasty, by W. M. Flinders Petrie

*** END OF THIS PROJECT GUTENBERG EBOOK EGYPTIAN TALES, SECOND ***

***** This file should be named 7413-h.htm or 7413-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/7/4/1/7413/

Produced by Eric Eldred and David Widger

Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License available with this file or online at
  www.gutenberg.org/license.


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation information page at www.gutenberg.org


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at 809
North 1500 West, Salt Lake City, UT 84116, (801) 596-1887.  Email
contact links and up to date contact information can be found at the
Foundation's web site and official page at www.gutenberg.org/contact

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org

Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit www.gutenberg.org/donate

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit:  www.gutenberg.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For forty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

     www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.

# data[].attributes.attachment_link.description
The Project Gutenberg EBook of Egyptian Tales, Second Series, XVIIIth To XIXth Dynasty, by W. M. Flinders Petrie This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever.

# data[].attributes.headline
You learn from every single moment of your life.When you are hurt, when you are scared, when you are overwhelmed,etc.. This is a very personal song that comprises what life is ,indeed.It touches my heart deeply since I feel I´ve experienced all those things Alanis describes in her song.You can feel emotionally beaten up but then you get back on your feet and go on.. Your sorrow,pain or frustration vanishes and  end up learning and moving on <3

# data[].attributes.subject
You learn from every single moment of your life.When you are hurt, when you are scared, when you are overwhelmed,etc.. This is a very personal song that comprises what life is ,indeed.It touches my heart deeply since I feel I´ve experienced all those things Alanis describes in her song.You can feel emotionally beaten up but then you get back on your feet and go on.. Your sorrow,pain or frustration vanishes and  end up learning and moving on <3

# data[].attributes.body
My favorite female singer and songwriter <3

# data[].attributes.attachment_link.title
Alanis Morissette - You Learn (Official 4K Music Video)

# data[].attributes.body
My Favorite movie

The film draws on the story of an actual soldier named Fritz Niland and a U.S. War Department 'sole-survivor' directive designed to keep families from losing every one of their sons. Steven Spielberg's 1998 film Saving Private Ryan may include some of the most horrific fighting scenes ever produced on film

# data[].attributes.attachment_link.title
Saving Private Ryan (1998) - Official Trailer

# data[].attributes.body
Saving Private Ryan

# data[].attributes.attachment_link.title
Saving Private Ryan (1998) Trailer #1 | Movieclips Classic Trailers

# data[].attributes.body
Once upon a time there was a beautiful island with a lot of music. The music was enchanting. There were no humans on that island. But beautiful birds and giant tortoises. In the morning, they make such beautiful music that even soothe the big marlins and the acrobat dolphins. Life is so beautiful on this island of turqoise,diamond-blue sea and clear lagoons protected by picturesque volcanic mountains. One day tragedy comes in the form of humans. They cut down thw fauna and the flora. It's never-ending. Hopefully there are some caring humans who are trying to protect the few remaining fauna and flora. In the mornings, there is another kind of music: the music of hope from guest birds who have made their homes on the island.

# data[].attributes.attachment_link.description
Who are you grateful for? Let's sing it! So grateful for you!

# data[].attributes.body
It's an awesome story based in an Afroamerican man who passed through difficult situations in life, but never, never gave up. His brave heart and courage made him to fulfill his dreams.

# data[].attributes.attachment_link.title
THE PURSUIT OF HAPPINESS (2006) - The pursuit of happyness- the incredible efforts of a single dad

# data[].attributes.body
My favorite music is called “y al final” the author of this song is Liliana Goodman Meregildo, better known as Lilly Goodman, she is a Dominican singer and songwriter of Christian music. I love that song because it makes me see the life with a great optimism. That song gives an awesome message, it says that no matter how difficult can be a situation God will be always with us and we help us to overcome everything. It is totally true because In life many times we have to deal with strong battles but God always gives us victory because every bad situation we go through always has a purpose led by him.

# data[].attributes.body
how do you say this is the most inspiring music that I listen to because every time I hear it I receive positive energy. This is the positivity I want others to feel when there with me and when we collaborate or learn or teach together.

When I run I listen to this music and it gives me a sense of joy and connection and love and happiness. I hope to be able to share that with everyone that I can when I read when I perform when I share my talents and skills and listen to others talents and skills.

I can’t say there’s one story that’s the best story that I’ve read but there is a book that I deeply love called the artist way. I love this book because it talks about affirmations or positive words that we can He was in our life to undo the negativity we may have undergone as children and in schooling systems. And it gives us a sense of creative recovery from possibly suppressing or repressing are true creative urges for self-expression.

https://youtu.be/FIBqr_ZMISU

# data[].attributes.attachment_link.title
Toumani Diabaté & Sidiki Diabaté - Jarabi

# data[].attributes.headline
Gissela De León-Wolfsong by T.J Klune is my favorite book read this year

# data[].attributes.subject
Gissela De León-Wolfsong by T.J Klune is my favorite book read this year

# data[].attributes.body
It’s a fantasy lgbtq+ story that tells us Ox’s story. His father told him he wasn’t worth anything and that people would never understand him. Then he left.
This is a story of love, loss, acceptance and  the value of family.
.
Other favourite books: Misery by Stephen King, It ends with us by Colleen Hoover,The Picture of Dorian Gray by Oscar Wilde, The Hate you Give by Angie Thomas, Pride and Prejudice by Jane Austen, and many many others.
.
I never listen to instrumental music and I do not get distracted by the music I listen to when I’m reading. I’ve listened to genres like rock, punk, pop or even heavy metal. Nowadays songs like: Cassette by Demian, A little piece of heaven by avenged sevenfold and Human by Zico are always in my reading  playlist.

# data[].attributes.attachment_link.title
DEMIAN(데미안) - 'Cassette'(카세트) Official MV

# data[].attributes.body
Eduardo Cortes: This was one of the first books I read, and I loved it. It tells the story of an boy from India who gets lost in a train station when he was five years old and got adopted by an Australian family. When he was twenty five, he decided to come back to India and try to find his family. Reading and Music is a good combination because music creates a perfect environment to stay relax and concentrated.

# data[].attributes.attachment_link.title
Taylor Swift - the last great american dynasty (Instrumental w/ Backing Vocals)

# data[].attributes.body
Daniela Valencia

I like many genres of music but my favorite or the one I have listened to for a long time is Electronic, because this is the music that makes you feel things that no other genre can do, which despite not having lyrics conveys a lot of feeling of peace and joy, hearing each of its sounds makes you want to raise your arms and jump to the beat of it. More than a sound is a music that takes you to another level.

# data[].attributes.attachment_link.title
Kygo - Here For You (Official Instrumental)/ID

# data[].attributes.body
María Flores.
I'm really into music.I listen to it all the time,especially when I clean my house, I love salsa music because this makes me feel good and relax.
About my readings I like to read the last leaf by O.Henry(1862-1910)Also I like Mr.Chairman.

# data[].attributes.attachment_link.title
Viejitas Pero Bonitas Salsa Romantica Eddie Santiago, Willie Gonzales, Jerry Rivera - Éxitos MIX

# data[].attributes.headline
My Favorite Music and Story- Mariane Sánchez 

# data[].attributes.subject
My Favorite Music and Story- Mariane Sánchez 

# data[].attributes.body
My favorite song is called "November Rain".
This is a song that at first seems to be about dealing with unrequited love. However, it has many metaphors within its lyrics that also include themes such as that nothing lasts forever, not even bad days. This is the part that I like the most because in life we must recognize that not everything is always beautiful but not everything will be bad all the time. On the other hand, I like when the lyrics mention that people need their time for themselves and I totally agree with that. It is always good to have time for ourselves and to give each other love. And finally, there is a part that says that even friends can hurt us, that makes me think how much we should value friendships and avoid being that friend who hurts someone else. For these and many other reasons, this song is definitely my favorite to reflect, dance and sing.

https://youtu.be/8SbUC-UaAxE

My favorite story is called "Broken Wings by Lebanese Author Khalil Gibran".
This is a story with a very sad ending, but once you read it, your way of seeing things will change. This story tells you about how beautiful love is and that this is a force that has the ability to change everything. Despite the fact that the two characters in this story cannot stay together, in this story you can discover that life is very short and that you have to value every second with the people you love. It is very realistic because it does not sell you the typical ending where they are happy forever, this story focuses on the reality of life, things are not always fair and not always the one who is good wins, but you have to be brave and very resilient to face many storms. I have read this story more than three times, and the way this author touches my heart always inspires me to want to read it over and over again. I identify myself as this bird with broken wings but I still want to fly and discover a lot.

# data[].attributes.headline
My favorite story and music-Mariluz Cardoze

# data[].attributes.subject
My favorite story and music-Mariluz Cardoze

# data[].attributes.body
The little prince by Antoine de Saint-Exupery  is one of my favorites stories as this is a book that show us adventures and reflects the importance of introspection. This story reflects that there are moments we need to be alone, get away from the frivolities of world, away from noise to truly understand and meet new perspectives of the world. Sometimes when we have a difficult situation, we pigeonhole ourselves, but I think that self-knowledge, trying new things, going out of our comfort zone helps us see that situations can be seen from thousands of points of view.

My favorite music to listen while I read are the Disney classics in piano version, as its relaxing and lets me focus on what I’m reading. Some books and music remind me of my childhood and specific moments of it, for example when I was happy with my siblings without worries. I have always liked simple, romantic stories with real situations that make us analyze our lives.

# data[].attributes.attachment_link.readable_text
Descripción del libro

El Alquimista es, sin duda, una de las obras más importantes y conocidas del fantástico escritor brasileño Paulo Coelho. Entre los temas principales de la novela destacamos el desarrollo y crecimiento personal. La novela narra la historia de un joven pastor llamado Santiago, que decide perseguir sus sueños. Al principio de la novela el joven tienen un negocio de ovejas, con las que viajaba a todas partes, y gracias a las cuales obtenía un dinero con el que podía vivir, pero poco a poco empieza a crecer en el protagonista la ambición y el deseo de viajar y conocer nuevos lugares. Ocurre que, el joven pastor experimenta un mismo sueño varias veces, y para interpretarlo recurre a una adivina, y más tarde a un sabio. Llega a la conclusión de que el sueño le decía que su Tesoro se encontraba en las pirámides de Egipto, y así pues, el joven decide vender sus ovejas, dejar todo atrás, y partir hacia el nuevo continente en busca de su Tesoro.

# data[].attributes.attachment_link.title
[Descargar] El Alquimista - Paulo Coelho en PDF - Libros Geniales

# data[].attributes.attachment_link.description
El Alquimista es, sin duda, una de las obras más importantes y conocidas del fantástico escritor brasileño Paulo Coelho. Entre los temas principales de la novela destacamos el desarrollo y crecimiento personal. La novela narra la historia de un joven pastor llamado Santiago, que decide perseguir sus sueños.

# data[].attributes.headline
3. Sign up for Soundtrap and download it on your phone

# data[].attributes.subject
3. Sign up for Soundtrap and download it on your phone

# data[].attributes.attachment_link.readable_text
Already have an account? Log in.

You understand that we may send you marketing communications, which you can choose to unsubscribe in your personal account settings. To learn more about how Soundtrap collects, uses, shares, and protects your personal data, refer to our Privacy Policy.

# data[].attributes.attachment_link.description
Sign up for your Soundtrap account. Access music making, recording, audio editing, mix & master, loops, vocal tuner, drum kits, beat maker, all you need to create music free.

# data[].attributes.body
Books and music are cultural elements that teach us too much and at the same time fill us spiritually according to our tastes.
-
My favorite book is The Knight of Rusty Armor by Robert Fisher. This is a short story full of adventures that teaches you that ambition and pride are heavy burdens that have to be released along the way so that you can be happy.
-
My favorite genres of music are indie, pop and rock. Despite that, there are many genres that I enjoy listening to, and it depends a lot on my mood. In the end, the result is the same, all the songs fill me with happiness and good vibes. Music is created to be enjoyed and the musical tastes of each person must be respected.This is one of my favorite songs, and I feel very relaxed when I listen to it.

# data[].attributes.attachment_link.title
Citizen - "Yellow Love" (Official Music Video)

# data[].attributes.headline
Krysthel Guerrero - Favorite story and music.

# data[].attributes.subject
Krysthel Guerrero - Favorite story and music.

# data[].attributes.body
I like to read in my spare time. I usually do it in my room where almost everything is silent. Sometimes I read books or articles with instrumental music. This combination of reading and music makes me feel more relaxed and I enjoy more what I am reading.
One of my favorite stories is "The Island of Feelings."
This short story shows us that all emotions and feelings flee in the face of an eventuality but LOVE has a hard time, persists, and refuses to give up. Time helps, but the love of life and those who really love you are the ones who help you see what really matters.

I usually listen to instrumental music of all kinds, one of my favorites is:

# data[].attributes.attachment_link.title
Clean Bandit - Symphony feat. Zara Larsson (Instrumental)

# data[].attributes.body
I listen to varied music but my favorite kind of music is Pop Music. I like listening to this kind of music because I enjoy it, it helps me to concentrate and ideas come to me easier when listening to it. It makes me relax, improves my mood, makes me feel more active and speeds up my learning process.

A story I read that I liked is “Roberto Down the Right Path”. I like this book because it invites the reader to understand the importance of society's search for guidance, the desire to become a better person, and the drive for overcoming poverty. It inspires me to be a better person, to practice values, and to empathize with others.

Books and music remind me of two fundamental pillars in the life of every human being since they make a great difference in it. Both are wonderful forms of communication through which we convey thoughts and feelings. It is connected to our interests, for example, in the process of learning English as a second language, listening to music and reading books in English enriches our vocabulary and improves our pronunciation. Music and reading make us feel better because they keep us company and relax us. They make happy times happier and sad times less painful. I agree with the fact that for every moment of our lives there is a music and a book that we can identify with.

# data[].attributes.headline
My favorite story and music-Eliecer De Gracia 

# data[].attributes.subject
My favorite story and music-Eliecer De Gracia 

# data[].attributes.body
My  favorite stories are 3MSC and TGDT written by Federico Moccia. These two stories catched all of my attention. Because  there you can see how  peple that are loved can change their behavior and all of the pain that a relationship can gives to you. Also, that sometimes, when you feel that you are lost, then you find the love.
My favorite song is Payphone by Maroon Five, I like the rythm and the lyric too.

# data[].attributes.attachment_link.title
Maroon 5 - Payphone ft. Wiz Khalifa (Lyric Video)

# data[].attributes.body
Comments by: Edwin Rojas

The Alchemist is an amazing book that tells the story of a man who makes a marvelous journey with the aim of finding a treasure in the pyramids of Egypt. Throughout his journey he meets different people who transform his life. It was the first bookI read and I like it a lot because of his teaching getting out of the box to pursue our dreams.

# data[].attributes.body
Honestly, I don't have a specific type of music that I like or listen to more, I usually listen to all kinds of music.  For me, music is of great importance to me, when I am studying or doing homework I usually listen to instrumental music, which despite not having lyrics, it helps me to concentrate;  Meanwhile, when I feel sad or angry, I usually listen to electronic music, it relaxes me, and in some free moment, I listen to any type of music that catches my attention at the time.  Music makes me feel good.
On the other hand, about my favorite book or story, I still don't have it, but I would like to start reading books.  A book or story that I have heard and which I would like to read is The diary of a young girl, by Anne Frank.  This is about a raw account of a young girl’s life as she hides from the Nazis.Definitely, music and reading make a perfect combination in our life.

# data[].attributes.attachment_link.title
Alan Walker - Faded (Instrumental Version)

# data[].attributes.body
Music is the most powerful tool humans have whether you are a musician who expresses feelings through playing or creating music or just a listener who got immersed in the beauty of the music and lyrics. Music is so powerful that just by hearing a sad or happy song our mood changes. Music is a huge part of our daily life and for some of us is essential to listen to music when doing a task since it relaxes us and keeps the flow of our work going great.
My favorite song is called "Caracoles" by The Puertorican band Cultura Profética. I found the lyrics of this song really inspiring and the musicality of the song just transports me to a comfortable place full of tranquility.

# data[].attributes.attachment_link.title
Cultura Profética - Caracoles (Video Oficial)

# data[].attributes.body
Books and music are cultural elements that teach us too much and at the same time fill us spiritually according to our tastes.
-
My favorite book is The Knight of Rusty Armor by Robert Fisher. This is a short story full of adventures that teaches you that ambition and pride are heavy burdens that have to be released along the way so that you can be happy.
-
My favorite genres of music are indie, pop and rock. Despite that, there are many genres that I enjoy listening to, and it depends a lot on my mood. In the end, the result is the same, all the songs fill me with happiness and good vibes. Music is created to be enjoyed and the musical tastes of each person must be respected.This is one of my favorite songs, and I feel very relaxed when I listen to it.

# data[].attributes.attachment_link.title
Citizen - "Yellow Love" (Official Music Video)

# data[].attributes.body
One of my favorite films ever!It is about a Jewish girl in an Eastern European village  who loves reading & studying, but she is prohibited from learning due to her religion.So, when her daddy dies, she poses as a man in order to be admitted to a famous Jewish school. ps: music/soundtrack is wonderful as well.

# data[].attributes.body
My favourite music
It was composed by Omar Khayrat.
https://youtu.be/D0dcuopaxP4

# data[].attributes.body
Is there so many songs...
My life has a songbook

# data[].attributes.headline
My favorite music is and movie is Sound of music. Book maybe In cat dont touch  

# data[].attributes.subject
My favorite music is and movie is Sound of music. Book maybe In cat dont touch  

# data[].attributes.body
but I like Russian literature .the last novel I read was Anna karenina written by Tol
stoy.

# data[].attributes.headline
My favorite song is "Flor Palida" and my favorite book is The alchemist written by Paulo Coelho

# data[].attributes.subject
My favorite song is "Flor Palida" and my favorite book is The alchemist written by Paulo Coelho

# data[].attributes.attachment_link.description
Marc Anthony - Flor Pálida (Official Video)

# data[].attributes.body
Hard to choose one favorite... but I love Faulkner's short story "A Rose for Emily". It is about a solitary woman, living in USA when the south was changing with all that thing relate to slavery and freedom (can't explain it very well), and it has an unexpected ending, because she was hiding something really important from everybody.

# data[].attributes.attachment_link.title
Seal  -  Kiss From A Rose (Official Music Video 720p HD) + Lyrics

# data[].attributes.headline
my favourite music is the classical one... 

# data[].attributes.subject
my favourite music is the classical one... 

# data[].attributes.attachment_link.title
نجاة الصغيرة عل اليادي

# data[].attributes.headline
I love bossa nova! It's a Brazilian kind of song. 

# data[].attributes.subject
I love bossa nova! It's a Brazilian kind of song. 

# data[].attributes.body
About books, I am crazy about books in general, but I love Guimarães Rosa, an important Brazilian writer from the Modernism period.

https://www.youtube.com/watch?v=MUgLZ4euUzI