as Bezau for Boethos, the first king of the Ilnd Dynasty. C. B.
H. Gauthier identifies the goddess Triphis, known only in late
inscriptions, as a form of Isis. Bulletin, iii. 165.
Spiegelberg writes on the Sekhem-staff as emblem of various gods,
Bee. d>. Trav. xxviii. 163: Thermuth'.! as a goddess of terror in the
Pyramid Texts, ib. 179 : temple of Amenre at Memphis, ib. 180 : form of
Chons "having Authority in Thebes" appearing on the Bentresh stela
(which is probably Ptolemaic), Harsenuphis and Shu = Heracles, ib. 181,
Isis Esenkhebis, i.e. Isis in Khemmis (Buto) ib. 182.
Gardiner prints a full transcript with translations and notes of a very
obscure hieratic text, written in the reign of Barneses II., which has been
published among the Leyden papyri. It is a hymn to Ammon, in regard
to which Goodwin long ago recognized that the chapters were headed
with a numeral, and began and ended with words having a sound similar
to the numeral : no attempt, however, had been previously made to trans-
late the text. Apart from its form, the interest of the hymn is mainly
philological. A. Z. xlii. 12, cf. 145.
In his work entitled Hellenist inch* WundererzaJdungen, p. 103,
Reitzensteix illustrates from non-Egyptian sources the motif of a spell
in the Leyden demotic Magical Papyrus representing Amibis as son and
heir of Osiris fetched from abroad (Syria) by his mother.
The third edition of Maspero's Contes populaires de VEgypte Ancienne
is thoroughly revised from that of 1889, and enlarged by the incorporation
of the newly discovered tales, especially the narrative of the voyage of
TJnamon, the second story of Seton Khamuesi, and Krall's demotic story
of the recovery of Inaros' cuirass. Maspero shows how little account the
popular legends took of actual history, and that Manetho derived his
stories of the kings for his history from the popular legends.
In Molanges Nicole, p. 349, Maspero proposes a new restoration for the
beginning of the second story of Khamuesi.
Wiedemann writes on beginnings of dramatic poetry in ancient Egypt:
he notes the appearance of pantomimic gestures and attitudes in religious
and other scenes, which, however, neglected the truly popular usages.
Mystery plays ai-e known to have been performed for Osiris and for other
deities. Melanges Nicol>>, p. 561.
The Instruction of Ptahlmtep and the Instruction of Keijemni by