DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.6444#0112
99
ADDITIONAL NOTES, &c.
Pis. I.-IV. Reviewed by Maspero, Journal des
Savants, Avril, 1897, pp. 206 et seqq.
PL L, LI. m m>" hrw (cf. L. D., ii., 135/t;
1. 4 (Spieg.), and Br., Thes., 1154, 1. 16), lit.
" as true of voice." The expression, as Maspero
has pointed out, must be derived from the belief
in the magic power of incantation ; the right
word or formula, rightly pronounced with the
true intonation at the proper moment, ensuring
triumph over opposition. Translate " success-
ful," " triumphant."
/. 2. Note the use of v\ belonging: to the
"Horus title," in " our Horns."
I. 3. r'w, cf. Breasted, Hymn, in Solem,
pp. 22-24.
II. 4, 5. sht ht is difficult, and _n_ (not ~JL~)
following is inexplicable if correct. Perhaps
" without wielding club or shooting arrow or
tightening (?) a knot (for strangling, or in
binding captives)." For nod cf. Hieroglyphs,
p. 44.
I. 6. s't, det. by knife, is "sword" ; but here,
as often, it is some quality inspiring fear—
" renown " (?), " valour "; cf. Mar., Ah., ii., 32,
left side, 1. 7.
I. 10. sdr r ssp; cf. also Berl. Pap., ii.,
1. 200.
n Jcddiv-sn. Spiegelberg quotes sdr n kdw-sn,
L. I)., hi., 175,9, 1. 8; Merenptah Stela (A. Z.,
1896), 1. 23 {n kdw-w); also rsio'i n Jcdd, "dream
in sleep," S-phinx Stela, 1. 8 (L. I)., iii., 68),
and remarks that we have here the orio-in of
mkot. That the n was at first a true pre-
position is shown by the reduplicated form of
the verb in the two earliest instances.
PI. II., I. 4. "Egyptians," Kmtiw (?); hps
not " scimetar," but " strength of arm," v.
Hieroglyphs, p. 17; isivt[_-sn\, "their ancient
rights" (Masi\).
I. 8. Correct to rnpy-sn (?), but there is no
trace of sn in the original.
I. 10. hiyt-f. Erman suggests that this may
mean that the stanza is to be sung to the tune
of Hnv swsh, &c, "its tune"; Spiegelberg
that the following words are to be repeated at
the end of each line. But it seems that a
stanza of ten lines is required, so that 1. 10
must be retained as part of the stanza. A
detail to be noted in the artificial construction
of the stanzas (not recurring in the Thothmes
hymn) is that the last line of the second stanza,
1. 10, the first of the third, 1. 11, and the last
of the fourth, PI. hi., 1. 10, depart somewhat
from the fixed forms, evidently by intention.
The first stanza, PI. i., is obviously a separate
introduction, and the fifth and sixth are really
short separate hymns. It should also be
observed that after the words inyt'f the hymn,
so far addressed directly to the king, refers to
him in the third person, inyt'f may therefore
be the " carrying away " of the king or of the
royal insignia representing him.
I. 11. The original does not admit of
p
ADDITIONAL NOTES, &c.
Pis. I.-IV. Reviewed by Maspero, Journal des
Savants, Avril, 1897, pp. 206 et seqq.
PL L, LI. m m>" hrw (cf. L. D., ii., 135/t;
1. 4 (Spieg.), and Br., Thes., 1154, 1. 16), lit.
" as true of voice." The expression, as Maspero
has pointed out, must be derived from the belief
in the magic power of incantation ; the right
word or formula, rightly pronounced with the
true intonation at the proper moment, ensuring
triumph over opposition. Translate " success-
ful," " triumphant."
/. 2. Note the use of v\ belonging: to the
"Horus title," in " our Horns."
I. 3. r'w, cf. Breasted, Hymn, in Solem,
pp. 22-24.
II. 4, 5. sht ht is difficult, and _n_ (not ~JL~)
following is inexplicable if correct. Perhaps
" without wielding club or shooting arrow or
tightening (?) a knot (for strangling, or in
binding captives)." For nod cf. Hieroglyphs,
p. 44.
I. 6. s't, det. by knife, is "sword" ; but here,
as often, it is some quality inspiring fear—
" renown " (?), " valour "; cf. Mar., Ah., ii., 32,
left side, 1. 7.
I. 10. sdr r ssp; cf. also Berl. Pap., ii.,
1. 200.
n Jcddiv-sn. Spiegelberg quotes sdr n kdw-sn,
L. I)., hi., 175,9, 1. 8; Merenptah Stela (A. Z.,
1896), 1. 23 {n kdw-w); also rsio'i n Jcdd, "dream
in sleep," S-phinx Stela, 1. 8 (L. I)., iii., 68),
and remarks that we have here the orio-in of
mkot. That the n was at first a true pre-
position is shown by the reduplicated form of
the verb in the two earliest instances.
PI. II., I. 4. "Egyptians," Kmtiw (?); hps
not " scimetar," but " strength of arm," v.
Hieroglyphs, p. 17; isivt[_-sn\, "their ancient
rights" (Masi\).
I. 8. Correct to rnpy-sn (?), but there is no
trace of sn in the original.
I. 10. hiyt-f. Erman suggests that this may
mean that the stanza is to be sung to the tune
of Hnv swsh, &c, "its tune"; Spiegelberg
that the following words are to be repeated at
the end of each line. But it seems that a
stanza of ten lines is required, so that 1. 10
must be retained as part of the stanza. A
detail to be noted in the artificial construction
of the stanzas (not recurring in the Thothmes
hymn) is that the last line of the second stanza,
1. 10, the first of the third, 1. 11, and the last
of the fourth, PI. hi., 1. 10, depart somewhat
from the fixed forms, evidently by intention.
The first stanza, PI. i., is obviously a separate
introduction, and the fifth and sixth are really
short separate hymns. It should also be
observed that after the words inyt'f the hymn,
so far addressed directly to the king, refers to
him in the third person, inyt'f may therefore
be the " carrying away " of the king or of the
royal insignia representing him.
I. 11. The original does not admit of
p