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Table of Contents Table of Contents Ola El-Aguizy Preface.................................................................................................................... 7 Ola El-Aguizy / Mohamed Sherif Ali Gaballa Aly Gaballa – A Path of Struggle and Accomplishment........................... 9 Scientific Works of Gaballa Aly Gaballa ............................................................... 11 Günter Dreyer (Kairo) Ein neues Fragment eines dekorierten Messergriffes aus Abydos ......................... 15 Ahmed Saied (Kairo) Einige göttliche Attribute in Personennamen der Frühzeit Ägyptens..................... 23 Rainer Stadelmann (Cairo) Snofru – Builder and Unique Creator of the Pyramids of Seila and Meidum ........ 31 Nabil Swelim (Cairo) Reconstructions of the Layer Monument of %nfrw at Seila.................................... 39 Laila M. Azzam (Cairo) Stela of IAm Ppjj ..................................................................................................... 57 Eric P. Uphill (Limpsfield) The Significance of Nile Heights Recorded under the Twelfth Dynasty ............... 67 Dietrich Raue (Kairo) Snofru vor Augen ................................................................................................... 77 Mamdouh Eldamaty (Cairo) Stela of Iuyres in Cairo Museum............................................................................ 91 Hourig Sourouzian (Cairo) Seti I, not Osorkon II. A new join to the statue from Tanis, CG 1040 in the Cairo Museum............................................................................... 97 Kenneth A. Kitchen (Liverpool) Ramses II and his Dynasty as Traditionalists and Innovators ................................ 107 Heba Nouh (Cairo) The Sarcophagus of the Vizier Nfr-rnpt at Saqqara ............................................... 117 Aisha M. Abdalaal (Cairo) A New Kingdom Stela from Memphis................................................................... 129 6 Table of Contents Khaled Gharib (Le Caire) La stèle de Mérenptah élargissant le temple de Ptah à Memphis ........................... 135 Sobhy A. Younis (Mansoura) Unpublished Stela of the Chantress of Amun-Re Tapeshesetenmut ...................... 139 Zeinab Mahrous (Cairo) The Opening Formula of the Tales of the Doomed Prince and of the Two Brothers......................................................................................... 145 Abdel-Rahman Ali Mohamed (Cairo) The Dance for Appeasing Menhyt-Nebtou at Esna................................................ 151 Mahmoud Ebeid (Cairo) A Clay-bowl with Demotic Inscriptions from Tuna el-Gebel ................................ 167 Ola El-Aguizy (Cairo) The Tebtynis Library.............................................................................................. 179 Tahia Shehab (Cairo) The Arabic Equivalent of the Coptic Causative – Infinitive................................... 183 Laila M. Azzam (Cairo) Magical Spells Used in the Treatment of Diseases in Ancient Egypt .................... 187 Fayza Haikal (Cairo) The Mother’s Heart, the Hidden Name, and True Identity. Paternal/maternal Descent and Gender Dichotomy................................................ 199 Contributors list ................................................................................................................. 203 أﺣﻤﺪ ﺳﻌﻴﺪ اﻟﻤﻠﻚ اﻟﻌﻘﺮب واﺣﺪ ﻻ اﺛﻨﻴﻦ ........................................................................ 17 ﺟﻴﻬﺎن زآﻲ اﻟﺼﺮاع اﻟﻜﻬﻨﻮﺗﻲ ﻓﻲ ﻣﻨﻄﻘﺔ اﻟﺸﻼل اﻷول ﻓﻲ اﻟﻘﺮﻧﻴﻦ اﻟﺜﺎﻧﻲ واﻟﺜﺎﻟﺚ ﻗﺒﻞ اﻟﻤﻴﻼد ................................................................ 35 For abbreviations, see: Lexikon der Ägyptologie, Bd. 7: Nachträge, Korrekturen und Indices, begr. v. Wolfgang HELCK u. Eberhard OTTO, hrsg. v. Wolfgang HELCK u. Wolfhart WESTENDORF. Wiesbaden: Harrassowitz Verlag, 1992; add. http://aaew.bbaw.de/tla/servlet/S04?f=h016. The Dance for Appeasing Menhyt-Nebtou at Esna Abdel-Rahman Ali Mohamed Dancing scenes in temples were depicted only from the New kingdom onward; the dances pictured in the temples concern both royal and divine ceremonies. In most temples, during the last five days of the year, dances (with music) were performed to appease Sekhmet1 and to protect the country from attack of her disease-bearing and deadly demons. The New Year was marked by the coming of the Nile flood which was thought to be nothing more than the return to Egypt of the angry and dangerous Sekhmet, so, music and dancing help to transform her into the mild Hathor, With the flood, Sekhmet fertilized Egypt for the year to come2. 1 – Esna III, no. 380 (25–28) The dance to Menhyt-Nebtou: This text was found on the inner part of the column no. 17, it dates back to Emperor Trajan, and is located upon the scene no. 3823. Wrh n MnHyt Nbtww in sA-Ra Pr-aA anx Dt rA n sHtp Hm(t).s Dd mdw hrw nfr nTrw m Hb rmT m rSwt Hr-nb m hy hnw mw mAw.f [r] tr.f qAyt m-qAb MHn wbs ww m wADw nbt sxt Nbtww sxpr(.w) (i)xt nb(t) rr.n.s prt nbw im.s bw-nb Sms ib n nbt Axt idbw @r tx(.w) tpt n Hb.s Hn nbw AxAx(.w) m wbA.s grg.(tw).w(=sn) Xr st Hr.s nfr.wy wrh n kA.s Xt nbw apr m nfr.s TAi.n n.s mAH n Hrr pr.n n.s m wp-Hb ibA.n n Hmt.s iw.n gA.n n.s xsr.tw ixt nbt Dw (i)n tr dwA s(y) m-m nTrwt Irt-Ra pw wbg.n.s tA.wy m Hr.s fqA.s sA-Ra Pr-aA anx Dt mr.s m Axw.s Dd.n.s iry sp-sn m nH.f s(y) Am.s kA.s m Iart imi-tw wp.f ra-nb Dancing(a) for Menhyt and Nebtou by the son of Re, the pharaoh may he live forever, chapter for appeasing her majesty. Recitation: the day is beautiful, (while) The Gods are in festival, the people are in joy and everyone is in acclamation and jubilation(b), the water(c) becomes new in its time, the high land(d) is in the circle of Mehen, the cultivated land flourished with the green plants of the mistress of the field, Nebtou who created every thing, she is nursing all seeds which are coming of her, everyone(e) follows the desire(f) of the mistress of field, the banks of Horus are drunk(g) in the beginning of her festival, all plants make blooms in the front of her forecourt, (because) they (the plants) are prepared(h) under the place of her face, 1 J-C. Goyon, had studied in his book Le rituel du sHtp %xmt au changement de cycle annuel (IFAO 2006) all the texts from Edfou temple and their parallels, but he had not studied the Esna texts which this article deals with. 2 D. MEEKS, Dance, OEAE I, 2000, 359. 3 Esna III, no. 380 (25–28), p. 354–355, V, 61. 152 Abdel-Rahman Ali Mohamed how is beautiful dancing for her ka, all bodies are equipped with her beauty, we held to her the crowns of flowers,4 we go forth to festival(i), we dance to her majesty, we yell(j) and sing(k) to her, driving away(l) every bad thing by prayer(m) and praising her among the Goddesses,(because) she is the Eye of Re who illuminates(n) the two lands with her face, she rewards the son of Re, the pharaoh may he live forever, beloved of her with her effective power, she said: it was done twice the prayer to her, may she control and be high as ureaus on her forehead every day. Comment (a) wrh is Greco-roman verb means “to dance”5, it may be derived from verb wArx “to bloom”, this verb appeared in the texts of the temples of Dendara, Edfou and Esna, specially in the sistra offerings6. Green suggests that the etymology of verb wrh probably is related to the Egyptian word wAnr7 for flute8. (b) hy hnw, “acclamation and jubilation”, this action was performed by the gods, the spirits of Nekhen, Pe and the people, the expression hy hnw used to express the greeting mixed with joy9, for example, we find in Dendara temple the gods and goddesses receiving Hathor graciously10: ii n.s nTrw m hy hnw nTrwt Xry mnit sSSt “the gods come to her (Hathor) in acclamation and jubilation and the goddesses are carrying the Menat and Sistrum”. The spirits of Nekhen and Pe are “in jubilation to the lady of making noise”11, and pat m hy Hnmmt m hnw: people are in joy and folks are in jubilation”12. The same term is used also for things13: wnn pr-Sw m hy hnw Haa.tw m HHw n rnpt “The temple of Shu will be in joy and jubilation rejoicing with (for) thousands of years”. (c) mw strange writing for the word mw, not attested elsewhere with the letters and before the signs , compare: Esna VI1, 520 (2). (d) qAyt “high lying land”: derived from qAi “to be high”, qAyt referred to the high land which was not reached by the annual inundation and had to be artificially irrigated by the basin irri- gation system14, qAyt was thought to be the opposite word to mAwt “low land”15, while T.G. James 4 For the forms and symbolism of the floral crowns, see Ph. DERCHAIN, La couronne de justification, Essai d'analyse d'un rite ptolémaique, in: CdÉ 30 no. 60, 1955, 225–287. 5 Wb I, 334.5,7; AnLex II, 78.1038. 6 P. WILSON, A Ptolemaic Lexikon. A Lexicographical Study of the Ptolemaic Texts in the Temple of Edfu, OLA 78, Leiden 1997, 245 [= WPL]. 7 Wb I, 252.1. 8 L. GREEN, Egyptian words for dancers and dancing, Ancient World VI, 1983, 33. 9 A. GUTBUB, Textes fondamentaux de la théologie de Kom Ombo, BdÉ 47/1, Le Caire 1973, 364–365, a [GUTBUB, Kom Ombo]. 10 Dendara VIII, 110 (10). 11 Dendara VIII, 115 (4). 12 Dendara VIII, 115 (1). 13 Dendara VIII, 22 (11). 14 WPL 1043; AnLex II, 78.4237. The Dance for Appeasing Menhyt-Nebtou at Esna 153 suggested that qAyt was used as an opposite to the word xrw “low lying land”, and compared it in Therefore, the best location of the qAyt land .16أرض اﻟﺸﺮاﻗﻰ modern Egypt to the land known as Sharaqi would be immediately above the mAwt-land situated on the river shore, at the boundaries of the desert , In this text is written with two determinatives, and .17(ﺟﺒﻞ or the hill (Gabel in Arabic the first determinative points at a kind of land irrigated by an artificial tool through canals (in Arabic .the second determinative supports this idea as it refers to the agricultural lands or fields ,(ﺗﺮع (e) bw-nb, compound word which means “every one”18.
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