DOI Page / Citation link:
https://doi.org/10.11588/diglit.4863#0040
THE MIDDLE CHAPEL
life is stable, and thou renewest youth [like] the freshness (?) of water.
Thou, as well as thy ka, art pure ... as Osiris. Thou joinest the gods
of the horizon and they set thy soul among the dwellers there, the
temple-father Puyemre."
This address was probably chanted as a recitative, for in the con-
tinuation of the scene on the east wall (Plate LI I) we find a trio of men
(also "coming from the temple [of Amon]") in an attitude of address
("chanting").1 Accordingly an antiphonal chant is assigned to them.
'Praise to heaven, [exultation in the solar bark], jubilation throughout
Egypt to Amon in . . . his fane of the south, the north, the west, the
east, that he may grant [high and honored age] to the temple-father,
Puyemre, most honorably acquitted before him. The doors of heaven
are opened, the doors of Kebh are thrown wide, the road in [the necrop-
olis] is opened, that Puyemre may be refreshed this day. The called-up
meal is given to him, his heavenly rations are issued to him.2 Anthems are
[chanted] to him in the [evening] bark the while he presents a hotpedens
offering to Amon . . . and to the gods of his train, that they may accept
him who makes it as one who has found favor."3
The parallel texts on the opposite side (Plate LIV) are of the same
tenor. "Said by the priestesses '[Receive thou the ornaments] of the
lady of heaven. 0 gold goddess, lady of carousal, . . . ,M [Place] his
[starp] among the stars, the second priest of Anion, Puyemre. . . . [the
im]perishable stars . . . protecting thee. They open to thee a road
'The word dl}n is almost always associated with the attitude of address here shown. It apparently
denotes a declamation of praise which opens or accompanies ritual, being chanted probably as a recitative,
since the favorite accompaniment was that of the tambourine or sistrum (the word has these determin-
atives in later times). To references in Kees, Opfertanz, p. 226, add the following. In the replica of this
scene in Tomb 109 we have ^T1^ over these three men ("taking up the refrain"P); in Tomb 93
® r*—n is written over the women of Hathor who follow the statue; in Tomb 100 A • is affixed to
a woman in the boat of the dead (with pendent hands), and ssp.t dim to the lector who receives the
funeral procession (Virey, Rekhmara, Pis. XXI, XXIII). It is applied to men in Hathor rites at Deir el
Bahri (unpublished).
2 See note above, p. 20.
3 In face of this clear statement I must accept Dr. Gardiner's view that the 1A=A=- offering is
made to the god at this period as a propitiation.
4 In Tomb 109 we read
we must read
r^aE&^-rrwH^fff-kn"'««
Chants of the
male and
female choirs
An alternate
version
25
life is stable, and thou renewest youth [like] the freshness (?) of water.
Thou, as well as thy ka, art pure ... as Osiris. Thou joinest the gods
of the horizon and they set thy soul among the dwellers there, the
temple-father Puyemre."
This address was probably chanted as a recitative, for in the con-
tinuation of the scene on the east wall (Plate LI I) we find a trio of men
(also "coming from the temple [of Amon]") in an attitude of address
("chanting").1 Accordingly an antiphonal chant is assigned to them.
'Praise to heaven, [exultation in the solar bark], jubilation throughout
Egypt to Amon in . . . his fane of the south, the north, the west, the
east, that he may grant [high and honored age] to the temple-father,
Puyemre, most honorably acquitted before him. The doors of heaven
are opened, the doors of Kebh are thrown wide, the road in [the necrop-
olis] is opened, that Puyemre may be refreshed this day. The called-up
meal is given to him, his heavenly rations are issued to him.2 Anthems are
[chanted] to him in the [evening] bark the while he presents a hotpedens
offering to Amon . . . and to the gods of his train, that they may accept
him who makes it as one who has found favor."3
The parallel texts on the opposite side (Plate LIV) are of the same
tenor. "Said by the priestesses '[Receive thou the ornaments] of the
lady of heaven. 0 gold goddess, lady of carousal, . . . ,M [Place] his
[starp] among the stars, the second priest of Anion, Puyemre. . . . [the
im]perishable stars . . . protecting thee. They open to thee a road
'The word dl}n is almost always associated with the attitude of address here shown. It apparently
denotes a declamation of praise which opens or accompanies ritual, being chanted probably as a recitative,
since the favorite accompaniment was that of the tambourine or sistrum (the word has these determin-
atives in later times). To references in Kees, Opfertanz, p. 226, add the following. In the replica of this
scene in Tomb 109 we have ^T1^ over these three men ("taking up the refrain"P); in Tomb 93
® r*—n is written over the women of Hathor who follow the statue; in Tomb 100 A • is affixed to
a woman in the boat of the dead (with pendent hands), and ssp.t dim to the lector who receives the
funeral procession (Virey, Rekhmara, Pis. XXI, XXIII). It is applied to men in Hathor rites at Deir el
Bahri (unpublished).
2 See note above, p. 20.
3 In face of this clear statement I must accept Dr. Gardiner's view that the 1A=A=- offering is
made to the god at this period as a propitiation.
4 In Tomb 109 we read
we must read
r^aE&^-rrwH^fff-kn"'««
Chants of the
male and
female choirs
An alternate
version
25