The Theology of Hathor of Dendera:

Aural and Visual Scribal Techniques in the Per-Wer Sanctuary

By

Barbara Ann Richter

A dissertation submitted in partial satisfaction of the

requirements for the degree of

Doctor of Philosophy

in

Near Eastern Studies

in the

Graduate Division

of the

University of California, Berkeley

Committee in charge:

Professor Jacco Dieleman, Co-Chair

Professor Carol A. Redmount, Co-Chair
Professor Niek Veldhuis
Professor Todd M. Hickey

Spring 2012
 2012 by Barbara Ann Richter
All rights reserved.
 Abstract
The Theology of Hathor of Dendera:
Aural and Visual Scribal Techniques in the Per-wer Sanctuary

by

Barbara Ann Richter

Doctor of Philosophy in Near Eastern Studies

University of California, Berkeley

Professor Jacco Dieleman, Co-Chair

Professor Carol A. Redmount, Co-Chair

The Ptolemaic temples are some of the best-preserved examples of Egyptian religious
architecture; they represent the culmination of a long line of development, reflected in an
increase in the number and polyvalency of hieroglyphic signs and iconographic elements in the
wall reliefs. This development widened the scribal playing field for creating expressions that
function on multiple aural, visual, and thematic levels.
There have been few scholarly studies of these plays on words, signs, and iconography;
despite the intrinsic relationship of texts, reliefs, and architecture in Egyptian monuments, there
have been no comprehensive studies of these techniques within a unified architectural space. I
was therefore motivated to study these scribal methods within the most important cult chamber
of the Temple of Hathor at Dendera: the Per-wer Sanctuary. Building upon the work of Gutbub,
Guglielmi, and Derchain, I extended their approaches to the material in several ways: examining
these techniques on both micro- and macro-levels, from their smallest details to their broadest
thematic connections; foregrounding individual techniques to determine the words and phrases
singled out for emphasis; synthesizing their use in the interconnections formed between scenes
and texts within the three-dimensional space of the cult chamber.
I found that these scribal techniques support the three main themes of the Per-wer: Hathor
as Creator and solar goddess; the Myth of the Distant Goddess; the King as Intermediary
between the human and divine worlds. The myth creates the context for the King's interaction
with the goddess, allowing his ritual actions to restore cosmic balance and activate the creative
process. By communicating across boundaries, the scenes link complementary pairs, creating a
network of interrelationships that mirrors the perfection of the divine Creation.
The results of my study suggest that this three-pronged approach could profitably extend
to those of other cult chambers at Dendera, and to other Graeco-Roman temples, whose reliefs
also contain plays on words, signs, and iconography. By studying these complex techniques of
the ancient scribes, we can thereby come closer to understanding how they envisioned the
universe and the place of humankind within it.

1
For Roger

i
 Table of Contents
Dedication ..................................................................................................................................... i
Table of Contents ......................................................................................................................... ii
Acknowledgements ......................................................................................................................vii

Chapter 1: The Myth of the Wandering Goddess and the Per-wer Sanctuary .......................1
1.0 Introduction...............................................................................................................................1
1.1 The Myth.......................................................................................................................2
1.2 Methodology.................................................................................................................5
1.3 Ptolemaic Temples........................................................................................................7

Chapter 2: Word Play in the Per-wer .............. 11

2.0 Introduction.. ..................................... 11
2.0.1 Previous Studies ..........................................12
2.0.2 Methodology .............................................. 16
2.0.3 Importance of Effective Speech ................................................. 16
2.1 Repetition Same Root, Same Form, Same Meaning .............................................. 19
2.2 Antanaclasis Same Root, Same Form, Different Meaning .................................... 22
2.3 Polyptoton Same Root, Different Form, Different Meaning .................................26
2.4 True Pun Same Root, Same Form, Different Meaning (no repetition) ...... 29
2.5 Close Homophones Different Roots, Close in Sound, Different Meaning 32
2.5.1 Antanaclasis with Close Homophones ... 33
2.5.2 Polyptoton with Close Homophones . 33
2.5.3 True Pun with Close Homophones .... 34
2.6 Types and Distribution of Word Play in the Per-wer........ 36
2.7 Multi-layered Example in the Per-wer ..... 39
2.8 Summary ........... 41

Chapter 3: Sign Play in the Per-wer .................... 42

3.0 Introduction .. 42
3.0.1 Previous Studies.. 44
3.0.2 Methodology .. 48
3.1 Visual Emphasis by Ideograms . 48
3.1.1 Rebus and Visual Puns .. 49
3.1.2 Reversals 52
3.2 Visual Emphasis by Arrangement of Signs ...... 55
3.2.1 Symmetrical Arrangement of Signs in Two Words 55
3.2.2 Graphical Opposition . 58
3.3 Emphasis by Visual Alliteration ... 59
3.3.1 Repetition of Same Sign 59
3.3.2 Repetition of Signs of Similar Shape . 60
3.3.3 Repetition of Signs of Similar Type .. 61
3.4 Sign Play between Parallel Texts .. 64
3.5 Visual Emphasis by Attraction ..... 66
3.6 Types and Distribution of Sign Play in the Per-wer ................................................. 68

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 3.7 Multi-layered Example of Sign Play in the Southern Niche .................................... 70
3.8 Summary ................................................................................................................... 72

Chapter 4: Plays on Iconography and Epithets .............................................. 74

4.0 Introduction ........................................................................................ 74
4.0.1 Previous Studies .................................................................. 75
4.0.1.1 Crowns and Headdresses ..................................... 76
4.0.1.2 Cult Objects, Clothing, and Gestures ................... 78
4.0.1.3 Interplay between Iconography and Texts ........... 79
4.0.2 Methodology ....................................................................... 80
4.1 Crowns and Headdresses in the Per-wer ............................................ 81
4.1.1 Variations of the Horns and Disk Headdress .......................81
4.1.2 Variations of the Atef Crown .............................................. 86
4.1.3 Variations Built on Red Crown ................................................................... 91
4.1.3.1 Crown of Geb ......................................................92
4.1.3.2 Arsinoe Crown ...................................................95
4.1.4 Variation Built on White Crown: "Lady of the Per-wer"........ 99
4.1.5 Variations Built on Double Crown ....................................... 101
4.1.5.1 Hepty-Crowns: Royal Crowns of Horus and Hathor . 102
4.1.5.2 Royal Crown of Isis ............................................... 105
4.1.5.3 "Hathor the Menit" ......................................................... 111
4.1.5.4 "Hathor the Navigator" .............................................................. 112
4.1.6 Double-Feather Crowns ............................................................................ 114
4.1.6.1 Variations of the Double Falcon-feather Crown ........................ 115
4.1.6.2 Anedjty Crown ............................................................................121
4.2 Types and Distribution of Crowns in the Per-wer ................................................... 124
4.2.1 Frequency of Crowns in the Per-wer ........................................................ 125
4.2.2 Correlation between Type of Crown and Wearer ..................................... 127
4.3 Interplay between Iconography and Epithets ........................................................... 131
4.3.1 Iconography Play between Sistra and mnw-jar ......................................... 132
4.3.2 Iconography Play between Menit and Wensheb ....................................... 133
4.3.3 Iconography Play in the Return of the Udjat in Southern Niche............... 135
4.4 Summary................................................................................................................... 138

Chapter 5: The Per-wer Sanctuary ........................................................................................ 139

5.0 Introduction ............................................................................................................ 139
5.0.1 Organization of Wall Reliefs in the Per-wer ........................................................ 140
5.0.1.1 Excursus: Decoration of the Frieze in the Per-wer ............................... 145
5.1 The Myth of the Wandering Goddess in the Per-wer Sanctuary ............................ 146
5.1.1 Chronocrators on Outer Entrance ............................................................. 146

5.1.1.1 Excursus Discussion of the toponyms and

............................................................................................150
5.1.2 Pacification of the Goddess ......................................................................152

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 5.1.3 Purification of the Goddess ......................................................................167
5.1.4 Returning the Udjat ................................................................................. 172
5.1.5 Summary .................................................................................................. 183
5.1.6 Distribution of Scenes in the Per-wer Relating to the Myth .................... 184
5.2 Hathor as Creator .................................................................................................... 186
5.2.1 Ruler of Heaven and Earth ...................................................................... 187
5.2.2 Primordial Creator of Heaven and Earth ................................................. 191
5.2.3 Primordial Creator of the Inundation ........................................................195
5.2.4 Primordial Creator of Light....................................................................... 205
5.2.5 Hidden of Image ...................................................................................... 210
5.2.6 Ancestral Goddess ................................................................................... 218
5.2.7 Summary .................................................................................................. 234
5.2.8 Distribution of Scenes in the Per-wer Relating to Hathor as Creator ...... 235
5.3 King as Intermediary ............................................................................................... 237
5.3.1 Affirmation of Legitimacy ....................................................................... 238
5.3.2 Effectiveness of Speech ........................................................................... 250
5.3.3 Maintenance of Ancestor Cults ................................................................ 265
5.3.4 Summary .................................................................................................. 269
5.3.5 Distribution of Scenes Relating to King as Intermediary in Per-wer ...... 270
5.4 Analysis of Distribution of Themes in the Per-wer ................................................ 272
5.4.1 Outer Entrance ......................................................................................... 272
5.4.2 North Wall ............................................................................................... 273
5.4.3 East Wall .................................................................................................. 275
5.4.4 West Wall ................................................................................................. 277
5.4.5 South Wall ............................................................................................... 279
5.4.6 Southern Niche .........................................................................................280

Chapter 6: Conclusions ........................................................................................................... 282

Chapter 7: Translation of the Texts in the Per-wer Sanctuary ........................................... 284

7.0 Introduction ............................................................................................................ 284
7.1 Outer Entrance ....................................................................................................... 286
Doc 1 Upper Frieze, E. Side: D II, 31, nos. 17-26 ........................................ 288
Doc 2 Upper Frieze, W. Side: D II, 61, nos. 17-22 ....................................... 289
Doc 3 Bandeau of the Frieze, E. Side: D II, 3, 6-7 ....................................... 291
Doc 4 Bandeau of the Frieze, W. Side: D II, 4,2-3 ....................................... 292
Doc 5 Upper Cornice above Winged Disk: D III, 45,6 ................................. 293
Doc 6 Upper Cornice East of Winged Disk: D III, 45,8-9 ............................ 294
Doc 7 Upper Cornice West of Winged Disk: D III, 45,10 ............................ 294
Doc 8 Door Frame, E. Side, Outer Column, Text A: D III, 45,13 46,1 ..... 295
Doc 9 Door Frame, W. Side, Outer Column, Text B: D III, 46,3-7 .............. 296
Doc 10 Door Frame, E. Side, Inner Column, Text C: D III, 46,10 47,4 ..... 297
Doc 11 Door Frame, W. Side, Inner Column, Text D: D III, 47,6 48,3 ...... 299
Doc 12 Scene below Bandeau of Frieze, E. Side: D III, 48,11 49,11 .......... 301
Doc 13 Scene below Bandeau of Frieze, W. Side: D III, 49,14 50,15 ........ 303
Doc 14 Cornice, E. Side: D III, 51,5-6 ........................................................... 306
Doc 15 Cornice, W. Side: D III, 51,8 ............................................................. 306
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 Doc 16 Lintel, E. Side: D III, 51,12 52,4 ..................................................... 308
Doc 17 Lintel, W. Side: D III, 52,7 53,3 ..................................................... 309
Doc 18 Inner Lateral Framing, E. Side: D III, 53,5-14 ................................... 311
Doc 19 Inner Lateral Framing, W. Side: D III, 53,16 54,9 .......................... 313
Doc 20 Thickness of Door Jamb, E. Side: D III, 54,12 54,17 ..................... 315
Doc 21 Thickness of Door Jamb, W. Side: D III, 52,2 55,8 ........................ 316
Doc 22 Door Jamb, E. Side: D III, 55,11 56,10 ........................................... 319
Doc 23 Door Jamb, W. Side: D III, 56,13 57,9 ........................................... 321
7.2 Bandeaux of the Base and Frieze in the Per-wer ..................................................... 323
Doc 24 Bandeau of the Base, E. Side: D III, 59,10 60,2 ............................. 324
Doc 25 Bandeau of the Base, W. Side: D III, 60,4 60,9 .............................. 326
Doc 26 Bandeau of the Frieze, E. Side: D III, 61,3-8 ..................................... 329
Doc 27 Bandeau of the Frieze, W. Side: D III, 62,2-7 ................................... 330
7.3 North Wall of the Per-wer ........................................................................................ 332
Doc 28 Lintel, E. Side: D III, 57,15 58,8 ..................................................... 333
Doc 29 Lintel, W. Side: D III, 58,11 59,5 ................................................... 334
Doc 30 N. Wall, 3rd Register, E. Side: D III, 71,16 72,8 ............................. 336
Doc 31 N. Wall, 3rd Register, W. Side: D III, 83,12 84,6 ............................ 339
Doc 32 N. Wall, 2nd Register, E. Side: D III, 68,11 69,2 ............................. 343
Doc 33 N. Wall, 2nd Register, W. Side: D III, 80,4-10 ................................... 345
Doc 34 N. Wall, 1st Register, E. Side: D III, 63,14-18 ................................... 347
Doc 35 N. Wall, 1st Register, W. Side: D III, 75,15 76,2 ............................ 347
7.4 East and West Walls of the Per-wer..........................................................................348
Doc 36 E. Wall, 3rd Register: D III, 72,11 73,13 ......................................... 349
Doc 37 W. Wall, 3rd Register: D III, 84,9 85,9 ............................................ 352
Doc 38 E. Wall, 2nd Register, 1st Scene: D III, 69,5-13 .................................. 356
Doc 39 W. Wall, 2nd Register, 1st Scene: D III, 80,13 81,2 ......................... 357
Doc 40 E. Wall, 2nd Register, 2nd Scene: D III, 69,15 70,5 ......................... 360
Doc 41 W. Wall, 2nd Register, 2nd Scene: D III, 81,4-12 ............................... 361
Doc 42 E. Wall, 2nd Register, 3rd Scene: D III, 70, 7-18 ................................. 364
Doc 43 W. Wall, 2nd Register, 3rd Scene: D III, 81,14 82,11 ....................... 365
Doc 44 E. Wall, 1st Register, 1st Scene: D III, 64,3 65,3 ............................. 369
Doc 45 W. Wall, 1st Register, 1st Scene: D III, 76,5-13 .................................. 370
Doc 46 E. Wall, 1st Register, 2nd Scene: D III, 65,5 66,3 ............................ 373
Doc 47 W. Wall, 1st Register, 2nd Scene: D III, 77,2-9 ................................... 374
Doc 48 E. Wall, 1st Register, 3rd Scene: D III, 66,5 67,3 ............................. 377
Doc 49 W. Wall, 1st Register, 3rd Scene: D III, 77,11 78,12 ....................... 379
7.5 South Wall of Per-wer ............................................................................................. 381
Doc 50 S. Wall, 3rd Register, E. Side: D III, 73,16 74,7 .............................. 382
Doc 51 S. Wall, 3rd Register, W. Side: D III, 85,12 86,4 ............................ 383
Doc 52 S. Wall, 2nd Register, E. Side: D III, 71,3-12 ..................................... 386
Doc 53 S. Wall, 2nd Register, W. Side: D III, 82,14 83,8 ............................ 387
Doc 54 S. Wall, 1st Register, E. Side: D III, 67,6 68,7 ................................ 390
Doc 55 S. Wall, 1st Register, W. Side: D III, 78,15 79,15 ........................... 392
Doc 56 S. Wall, Base, E. Side: D III, 62,12 63,10 ....................................... 395
Doc 57 S. Wall, Base, W. Side: D III, 74,12 75,11 ..................................... 396

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 Doc 58 S. Wall, Text above Solar Disk: D III, 86,12 ..................................... 398
Doc 59 S. Wall, Text below Solar Disk: D III, 86,13 ..................................... 399
Doc 60 S. Wall, Base of Door, E. Side: D III, 86,17 ...................................... 399
Doc 61 S. Wall, Base of Door, W. Side: D III, 87,2 ....................................... 399
7.6. Southern Niche ........................................................................................................ 400
Doc 62 S. Niche, Thickness of Jamb, E. Side: D III, 87,7-9 .......................... 401
Doc 63 S. Niche, Thickness of Jamb, W. Side: D III, 87,12-13 ..................... 401
Doc 64 S. Niche, N. Wall, Lintel, E. Side: D III, 88,18 89,9 ...................... 403
Doc 65 S. Niche, N. Wall, Lintel, W. Side: D III, 89,12 90,8 ..................... 405
Doc 66 S. Niche, Door Jamb, E. Side: D III, 88,1-5 ....................................... 407
Doc 67 S. Niche, Door Jamb, W. Side: D III, 88,8-12 ....................................408
Doc 68 S. Niche, N. Wall, Door Frame, E. Side: D III, 90,10 91,4 ............ 409
Doc 69 S. Niche, N. Wall, Door Frame, E. Side: D III, 91,6-10 .................... 410
Doc 70 S. Niche, Bandeau of Frieze, E. Side: D III, 92,5-8 ........................... 411
Doc 71 S. Niche, Bandeau of Frieze, W. Side: D III, 92,10-13 ...................... 413
Doc 72 S. Niche, Base, D III, 93, 6 and 9 ....................................................... 415
Doc 73 S. Niche, E. Wall, 2nd Register: D III, 94,14 95,7 ........................... 417
Doc 74 S. Niche, W. Wall, 2nd Register: D III, 97,13 98,2 .......................... 418
Doc 75 S. Niche, E. Wall, 1st Register: D III, 93,15 94,4 ............................ 421
Doc 76 S. Niche, W. Wall, 1st Register: D III, 96,22 97,7 .......................... 421
Doc 77 S. Niche, S. Wall, Frieze: D III, 96,10 ............................................... 424
Doc 78 S. Niche, S. Wall, 2nd Register, E. Side: D III, 95,10-18 ................... 426
Doc 79 S. Niche S. Wall, 2nd Register, W. Side: D III, 98,5-13 ..................... 427
Doc 80 S. Niche, S. Wall, 1st Register: D III, 94,7 ......................................... 429

References ................................................................................................................................. 430

Abbreviations ................................................................................................................. 430
Journals and Series ......................................................................................................... 430

Bibliography ............................................................................................................................. 433

Appendices ............................................................................................................................... 487

Appendix 1 - Table of Word Plays in the Per-wer Sanctuary ....................................... 487
Appendix 2 - Table of Sign Plays in the Per-wer Sanctuary ......................................... 513

vi
 Acknowledgements
I owe a debt of gratitude to my long-time teacher and mentor, Prof. Cathleen Keller, who
first encouraged me to pursue graduate studies in Egyptology at U.C. Berkeley. Besides laying
the foundation for my future research with her many courses in the art, architecture, and
language of ancient Egypt, she also impressed upon me the importance of the intrinsic
relationship between texts, reliefs, and architecture in Egyptian monuments. This idea motivated
me to explore these connections in the Temple of Hathor at Dendera.
After her untimely passing in 2008, only a few months after I had completed my
comprehensive Ph.D. exams, Prof. Jacco Dieleman of UCLA kindly agreed to guide my
dissertation research on the texts at Dendera. His advice, wisdom, and expertise helped me to
solidify my approach to the topic; his insightful questions led me to delve deeper into texts,
searching for ways to "untie the knots" of the scribal practices. I cannot thank him enough for his
help and support, which was essential in bringing this project to completion.
My heartfelt thanks also go to the other members of my dissertation committee: Prof.
Carol Redmount, who has provided such excellent guidance and support throughout my graduate
studies; Prof. Niek Veldhuis, who offered helpful advice concerning my data collection, as well
as insight into ancient scribal practices; Prof. Todd Hickey, who motivated me to explore the
meaning behind the composition of the Ptolemaic temple texts. I thank all of them for reading
this dissertation and for providing helpful, insightful comments and suggestions.
For financial support during my years as a graduate student, I would like to thank the
Near Eastern Studies Department and the Regents of U.C. Berkeley. I am also grateful to the
following organizations, whose financial help gave me the opportunity to present the results of
my research to wider audiences: U.C. Berkeley's Center for Middle Eastern Studies; UCLA's
Department of Near Eastern Languages and Civilizations and the Center for the Study of
Religion; the American Research Center in Egypt; the Vancouver chapter of the Society for the
Study of Egyptian Antiquities.
The following individuals also deserve a word of thanks for their helpful suggestions
directly related to my dissertation research: Professors James Allen, Kara Cooney, Richard
Jasnow, Colleen Manassa, Kasia Szapowska, and Dr. Catharine Roehrig. Special thanks goes to
Prof. Thomas Schneider, for his enthusiasm and encouragement of my work, and his perceptive
ideas concerning ways to convey the polyvalent aspects of ancient scribal techniques.
For permission to reproduce images in this dissertation, I am grateful to Dr. Richard
Fazzini and Mary McKercher of the Brooklyn Museum Mut Expedition, Sionan Guenther and
Denise Bastien of the Museum of Art, Rhode Island School of Design, Dr. Joanna Kyffin of the
Egypt Exploration Society, Julie Scott of the Rosicrucian Museum, San Jose, CA, Nadine
Cherpion and Nevine Kamal of the Archives scientifiques of the IFAO, Cairo, Monica Velez of
the Oriental Institute of the University of Chicago, Bert Verept of Peeters Publisher, and Karen
Zander of CNG Coins. Many thanks also go to Su Bayfield, Erik Gustafson, Vicky Jensen, and
Duncan Sprott, for kindly contributing photos, and to Rachel Domm, Caris Reid, and David
Rager, for their excellent illustrations.
In addition, I would like to thank the staff of the Near Eastern Studies Department at U.C.
Berkeley for their excellent support over the years. Shorena Kurtsikidze, in particular, provided
invaluable help, making all of the administrative tasks connected with my degree go smoothly.

vii
 The long journey that led to the completion of this dissertation would not have been
possible without the love, encouragement, and support of my dear friends and family, especially
my husband Roger and our four children. I am particularly grateful for their patience and
understanding during these last eight months of intense writing.

viii
 Chapter 1
The Myth of the Wandering Goddess and the Per-Wer Sanctuary
at Dendera

1.0 Introduction

The Ptolemaic temples are some of the best-preserved examples of Egyptian religious
architecture; their features represent a continuation and expansion of earlier trends in
architecture, writing, and reliefs. The hieroglyphic writing system used in their texts experienced
an enormous increase in the number and polyvalency of signs, which the ancient Ptolemaic
scribes exploited to create word and sign plays, emphasizing key phrases. Concurrent with this
expansion in the writing system was a similar increase in the complexity of temple iconography,
especially for composite crowns, headdresses, and ritual objects. The scribes also exploited the
polyvalency of the iconographic elements, creating links between those elements and epithets.
Such connections could also exist between the crown or element of one scene and an epithet in
another; in a few key symmetrical scenes, these interconnections form chiastic relationships,
binding the two scenes together. The clustering of these three aural and visual scribal
techniquesword plays, sign plays, and iconography playsin the most important scenes for
the function of the Per-wer Sanctuary in the Temple of Hathor at Dendera, shows agency by the
scribes and reveals the themes that they wished to emphasize: Hathor as solar goddess and
primordial Creator; the Myth of the Wandering Goddess; and the King as Intermediary between
the human and divine worlds. These three themes are interconnected, with the myth creating the
context by which the King approaches the goddess in order to carry out the crucial rituals that
will restore cosmic order and active the continuation of creation. By studying these complex
scribal techniques, we can come closer to understanding how the ancient scribes envisioned the
universe and the place of humankind within it. We will examine each of these scribal techniques,
but first, we will briefly explore the myth that plays such an important role in this chamber.
During the Ptolemaic Era, one of the most important festivals was the Return of the
Wandering Goddess. Joyous processions and navigations of divine barques on the sacred lakes,
accompanied by singing, dancing, eating, and drinking, commemorated the happy return from
the Nubian desert of the daughter of the sun god Ra, his Eye. Evidence of this festival, or the
myth from which it derives, appears in at least twenty-two Ptolemaic-era temples, spanning the
length of the Nile from Bubastis in the north to Dakka in the south, and leading Junker to collect
traces from various temples to put together an ideal version of the myth.1 The story is

1
The earliest traces of the myth appear in the PT, with allusions to the morning star, Sirius, the New Year, and the
Inundation (PT 405), as well the identification of the Eye of Ra with the uraeus on the brow of the sun god (PT 689).
By the MK, protagonists such as the Eye, Shu, and Tefnut are brought together (CT 76), and the goddess of the myth
is equated with the lioness Sekhmet (CT 890). The NK story in the Book of the Heavenly Cow, inscribed on the
gilded shrine of Tutankhamen, describes how Ra sent out his daughter Hathor to annihilate his enemies; she
transforms into the lioness Sekhmet and almost destroys mankind in the process (see Piankoff, Tut-Ankh-Amon).
Pacification rites, including navigations on sacred lakes, thus arose in the NK to appease angry lioness goddesses
(see Schott, Festdaten, 94-95). For a more complete discussion of the myth's traces prior to the Ptolemaic Era, see
Richter, Wandering Goddess, 157-159; Junker, Auszug, 1911; idem, Onurislegende, 1917; cf. Sethe, Sage vom

1
particularly important in the main temple of Dendera in Upper Egypt, where it provides the
context for the King's interaction with Hathor, who is a daughter of Ra and thus equated with the
Wandering Goddess.
In Egyptian thought, the concept of Ma'attruth, order, justice, and balanceis the
foundation of the cosmos, as well as society; the two are inextricably intertwined. If one
becomes imbalanced, the other is disastrously affected.2 The Egyptians thus worried that if Ma'at
was not maintained on earth, the natural cycles of the sun and moon might one day cease.
Because the celestial bodies were equated with deities (and the sun and moon, in particular, with
a goddess having both benevolent and wrathful sides), certain appeasement rituals were
essential. These and other ideas became conflated into a myth, explaining what needed to be
done.
Although the gods lived in heaven, they also resided on earth in the templea
microcosm of the universe, where the king, as representative of mankind, could approach them.
The temple walls record this encounter, with the intricate relationships between the texts and
reliefs reflecting the complexities of the natural world and the important role that humans play in
maintaining its balance. The kings actions, appeasing the goddess and demonstrating that he
rules the land in Ma'at, restore cosmic order and assure the creation of light and life on earth.

1.1 The Myth

The Legend of the Wandering Goddess (also called the Distant Goddess, or Sun Eye)
takes place when the Creator, the sun god Ra, still lived on earth and governed Egypt. His Eye
(the symbol of his all-seeing power, personified as the lioness Tefnut) becomes angry for some
reason and wanders south to Nubia. Missing his daughter and needing her protection against his
enemies, Ra enlists the aid of her brother Shu, a powerful lion, and the wise Thoth, to help bring
her back. Thoth promises her entertainment, offerings, and temples, and presents her with mnw-
jars of beer and the wensheb, the symbol of ordered time. Finally persuaded to return, the
goddess arrives in a festival procession at Philae, where she purifies herself in the sacred waters
of the Abaton, transforming into a beautiful woman whom Ra welcomes into his arms.3
With her pacification, the order of the cosmos is also restored. She enters her divine
barque and journeys northwards down the Nile, a great festival greeting her at every place she
stops. In honor of his daughters return, Ra decrees that a festival should be made so that she
might see the inundation and all the marvels of Egypt, with great offerings of meats, fragrant
substances, and wine.
Within this deceptively simple framework, the myth combines both cosmic and earthly
themes.4 These multiple layers of meaning give us clues to the myths importance.

Sonnenauge, 1912. The only connected version of the myth is the 2 nd c. CE Demotic Myth of the Sun Eye, Pap
Leiden I 384 rto (see Spiegelberg, Mythus; Smith, Sonnenauge; de Cenival, Mythe), and its 3 rd c. CE Greek version
(see Pap BM 278, in West, Tefnut, 161-183).
2
Having come into existence through the divine act of creation, humankind and nature were a "Schpfungseinheit."
As a result, "Der Zerfall der staatlichen Ordnung lst die Korrespondenz zwischen Himmel und Erde auf," as noted
by Assmann, Ma'at, 220.
3
This recounting of the myth also appears in Richter, Wandering Goddess, 156-157.
4
For a discussion of the various myths connected with the theme of the Distant Goddess, see Richter, Wandering
Goddess, 156-161; Schenkel, Kultmythos, 99ff.; Hornung, Himmelskuh, 93.

2
 Her sojourn in Nubia may be compared to the suns apparent shift southwards, from summer
to winter. Her return can be seen as its shift northwards from winter to summer.5 In fact, she
returns precisely at the summer solsticethe time when the days were longest.6
Her journey south may also reflect the disappearance of the star Sirius (equated with Isis),
and its return, which heralds the New Year and the Inundation.7
The bringing back of the Eye after it had gone away, can be compared to the waxing of the
moon and its culmination at the full phasealso the time of our festival.8
The pacification of a lioness goddess in sacred waters (e.g. the isheru lake in Fig. 5.32),
relates to the cycle of the inundation, when the lioness goddess Sekhmet, who brought
disease and death when the Nile was lowest, needed to be appeased.9

Earthly themes include

The bringing back of the lioness from the south, which relates to the motive of the
conquering hero bringing back a subdued animal, as suggested by Junker.10
Finally, the Eye of Ra myth in the Ptolemaic temples may also symbolize the maintenance
of power over Egypt and Nubia by the Ptolemies, as suggested by Inconnu-Bocquillon,11

5
Quack, Goddess Rising, 286-287, although observing that this interpretation has become standard among
Egyptologists (for a list, see his note 13), argues against the identification of the goddess (the daughter of the sun
god) with the sun, because it would require the sun to play two roles. However, Leitz, Astronomie, 7-17; 90,
observes that calendars of lucky and unlucky days ("Tagewhlerei") contain references to all four points of the
annual course of the sun (solstices and equinoxes) as well as allusions to the Myth of the Sun Eye in texts for the
days of the summer and winter solstices, as Leitz notes in Tagewhlerei, 257-258 (II pr.t 19: winter solstice,
referencing the search for the distant Sun Eye) and 408-409 (IV Smw 19: summer solstice, referencing the coming of
the Horus Eye, which is filled and healed). See also Leitz, Gtter, 308-311; Sternberg, Mythische Motive, 228;
Spiegelberg, Sonnenauge, 877; Junker, Onurislegende, 165-166; Wells, Astronomy, 146-147, who notes that as
early as the predynastic period, the Egyptians keenly observed the annual motion of the sun along the horizon at
sunrise, with its northernmost and southernmost turning points, the solstices. At Dendera, Hathor is specifically
equated with the Right and Left Divine Eyes (the sun and the moon). Therefore, due to the conflation of several
myths and the fondness for a multiplicity of approaches and explanations in Egyptian thought, it is possible that all
of the interpretations suggested in the present section would have been considered valid by an ancient Egyptian. See
Frankfort, Ancient Egyptian Religion, 18, for a discussion of the "juxtaposition of views," which western thought
would consider multually exclusive.
6
Spiegelberg, Mythus, 2; Junker, Onurislegende, 166.
7
Quack, Goddess Rising, 283-294; idem, Rckkehr, 145-146. Wells, Astronomy 146-147, notes that the heliacal
rising of Sirius, heralding the inundation, was a regulating factor for Upper Egypt due to its agrarian dependency on
the annual flood; the rising of the star Sothis (Sirius) became the principal festival of the last month of the year at the
Temple of Satet at Elephantine, the mythical source of the Nile. Spalinger, Calendars, 224, notes that GR period
sources place great emphasis on the rising of Sothis for the commencement of the year. Texts at Dendera emphasize
the importance of Sirius and the inundation, as we discuss in Sections 4.0.1.3 and 5.2.5.
8
Bleeker, Hathor and Thoth, 120. However, Quack, Goddess Rising, 287, objects to the identification of the Distant
Goddess with the moon because that role is carried out by Thoth, who brings her back, although he notes that
specific phases of the moon (in an ideal schema) are significant for the return of the goddess. At Dendera, Hathor is
equated with the Left Eye of Ra, which is the moon.
9
Leitz, Tagewhlerei, 205-206; Gessler-Lhr, Die heilige Seen, 401.
10
Junker, Onurislegende, iii.
11
Inconnu-Bocquillon, Desse Lointaine, 335.

3
 with Eye of Horus themes being the initial struggle for power over Egypt, and Eye of Ra
themes being the maintenance of this power.12

Studies of the myth in the Ptolemaic temples have focused on its origins and
development, without regard for the placement of scenes within buildings. However, because of
the intrinsic relationship between texts, reliefs, and architecture in Egyptian monuments, I was
motivated to study the myth within its architectural setting. I chose one of the best preserved and
well-documented temples, the Temple of Dendera (Fig. 1.3) in Upper Egypt (Fig. 1.1), focusing
my research on the Per-wer Sanctuary (Fig. 1.2), the main cult chamber of Hathor, the temples
principal deity.
In order to determine if a scene or text referenced the myth, I developed a list of the
following criteria: the main protagonists (Thoth, Shu/Onuris, Hathor, Tefnut, and the Uraeus);
locales (Keneset, Bugem, Punt, Land of the Gods, Nubia); offerings given to the goddess
(wensheb, mnw-jars of beer, wine, menit, sistrum, makeup, the udjat, and fragrant substances,
especially from Punt); and rituals or actions: sHtp (pacification), in-tw=s (she is brought back),
making an isheru lake, purifying in waters, taking her place on her father's brow). If at least two
factors were contained within a scene or text, I considered it as referencing the myth. Of the 80
text groups in the Per-wer Sanctuary, I found that 31% (i.e. 25 text groups) referenced two or
more myth-related factors.

12
See Dunand, Propagande, 287; 301 (cited in Cauville, Ftes d'Hathor, 38 n. 32), in relation to the influence of the
Ptolemies on the temple of Dendera.

4
 Per-wer Sanctuary

Fig. 1.2. Plan of the Temple of Hathor

at Dendera13

Fig. 1.3. Temple of Hathor at Dendera14

Fig. 1.1. Plan of Egypt15

13
Illustration by the author, after D I, pl. 45, IFAO.
14
Photo by Ian J. Anderson, <en.wikipedia.org/wiki/File:Dendera_7_977.png>, accessed 4-20-12.
15
Illustration by David Rager.

5
 I found that in the temple reliefs, the king and local gods take on the roles of the
characters in the myth.
Actions taking place in the myth are replicated in offering scenes
The placement in the most sacred part of a temple of the culminating scene of the myth
(when the goddess returns to her father) shows how the myth became integrated into the
main function of the temple: the restoration and maintenance of cosmic order.

This preliminary research on the myth at Dendera, which was published in the
proceedings of the 8th Egyptological Tempeltagung,16 became the foundation for the present
study, in which I delved deeper into the texts and reliefs, which contain such an extraordinary
wealth of creative aural and visual techniques. These plays on sound and sight exploit the
inherent ambiguity in the pictorial hieroglyphs; working together with the complex iconography
of the reliefs, they emphasize important themes and add multiple layers of theological meaning.
They also create a network of interrelationships, which mirrors the interconnection between the
human and divine worlds and defines the theology of Hathor of Dendera.
In order to understand the meaning behind the texts and reliefs in the Per-wer, I first
separated the scribal techniques into three main fields of study: word plays, which exploit
thematic ambiguity and the language's potential for aural patterning; sign plays, which exploit
visual polyvalency and the hieroglyphs' potential for visual patterning; iconography plays, which
link epithets to the vast repertoire of symbolic elements in crowns, regalia, and offerings. For
each of these techniques, I dedicate a chapter of the present study; before presenting the results
of my research on each topic, I survey the work of previous scholars.17 The following section
will therefore focus only on the study that informs my work concerning the interrelationships
between these three techniques.

1.2 Methodology

Although earlier scholars recognized the interdependence of texts, reliefs, and

architecture in Egyptian monuments,18 there have been few studies that synthesize these three
aspects.19 Derchain, who coined the phrase, Grammaire du temple, to describe the patterns in
temple decoration,20 was also the first to observe that neighboring or symmetrical scenes can
evoke the same myth by means of similar structure, allusion, or the play of substitutions, which
he characterizes as calembours.21 To date, he offers the best presentation of the interconnections
between the multitude of systematic decorative practices employed in the Graeco-Roman
temples. Using textual, iconographic, and thematic material, Derchain explores the principles of

16
Richter, Wandering Goddess.
17
The following sections in the present paper cover previous studies by scholars: 2.0.1 (word play); 3.0.1 (sign
play); 4.0.1 (iconography-epithet play). These sections are followed by examples of the different scribal methods
and their use in the Per-wer.
18
Rochemonteix, Oeuvres diverses, 194. Discussed in 4.0.1.3.
19
Derchain, Pome parital; Preys, Complexes, 465-493; idem, Catalogue d'Hathor, 135-141. Preys describes
interconnections but does not take the final step in determining the meaning behind the relationships. He mentions
word plays only in passing and does not consider sign plays in his discussion. Morenz, Sinn und Spiel, considers
sign plays in earlier material, but does not consider their use in temple texts or in their architectural environment.
20
Derchain, Manuel, 31-44.
21
Derchain, Manuel, 34.

6
symmetry and contiguity at Esna, revealing a tightly constructed network of similarities and
contrasts that constitutes a framework of meaning, comparable to the way in which syntax
connects words;22 his work inspired my own study of the Per-wer Sanctuary.
However, I decided to take his work one step further, carrying out a deeper analysis of
the ways in which word-, sign-, and iconography-plays highlight important concepts and create
interconnections between themes. I also wanted to show how the complex interrelationships of
these three techniques work together in the three-dimensional environment of an enclosed unit
like the Per-wer Sanctuary. Because so many of these relationships work on visual levels, a
particular challenge was to devise the appropriate means of graphical representation. The result
is the many perspective renderings of the Per-wer, which I believe are an improvement over bare
schematics. It was only by means of a thorough study of these intricate scribal techniques, and
the synthesis of their interconnections, that the primary message of the sanctuary became clear:
the exposition of the theology of Hathor, as presented through the world-view of the ancient
scribes. They saw in this great goddess the Tentyrite equivalent of the Theban solar god Amun-
Ra. Like Amun-Ra, her roles of creating and maintaining life, ordered time, and balance in the
universe, were not carried out alone, but required that the King, as the representative of
humankind, play a pivotal role. The Myth of the Wandering Goddess interweaves the actions of
these two players together. By showing that the relationship between the human and divine
worlds is reciprocal, with important responsibilities on both sides of the equation, the ancient
scribes communicated the idea that the maintenance of Ma'at on earth is essential for the
continuation of the cosmos.
For the remainder of this study, I first review the major characteristics of Ptolemaic
temples. Then, I illustrate the three main aural and visual techniques that I studied in Denderas
texts and reliefs: word plays, sign plays, and plays between iconography and epithets. After an
introduction to the Per-wer, with its layout and unique characteristics, I then show how these
techniques create interconnections between scenes, emphasizing the three most important themes
in the sanctuary: the Myth of the Wandering Goddess, Hathor as a Primeval Creator, and the
King as Intermediary, which together convey the theology of Hathor of Dendera.

1.3 Ptolemaic Temples

The temples built by the Ptolemies are some of the best-preserved examples of Egyptian
religious architecture. In addition to their outstanding artistic value, they "still convey the
unforgettable idea of proximity to ancient times, when ceremonial life still filled their
interiors."23 Temples of the Late and Ptolemaic eras were characterized by two seemingly
conflicting intentions: maintaining the traditional, while developing contemporary forms.
Their main features thus continue and expand on earlier trends: For example, the typical
faade with screen walls, seen in the Temple of Hathor at Dendera (Fig. 1.7) can trace its origin
back to the White Chapel of Senusret I at Karnak in the 12th Dynasty (Fig. 1.4). The later use of
screen walls in the 25th Dynasty kiosk of the Edifice of Taharqa at Karnak24(Fig. 1.5) is a direct
precursor of similar constructions of the Graeco-Roman period.

22
Derchain, Pome parital, 121. His schematic diagrams would have more clearly shown the visual
correspondences between crowns and persons if the images of individual scenes had been included.
23
Arnold, Temples, 4.
24
See Lauffray, Kiosque de Taharqa, 111-164; idem, Taharqa Karnak.

7
 Fig. 1.4. White Chapel of Senusret I Fig. 1.5. Kiosk of Taharqa
Karnak, 12th Dynasty25 Karnak, 26th Dynasty26

Three hundred years before the construction of the Temple of Hathor, during the late 30th
Dynasty, Petosiris used a similar faade in his private tomb at Tuna el-Gebel (Fig. 1.6). The
screen walls open up the temple to more participation by laymen in cultic activities, flooding the
hypostyle hall with light and providing a cult stage in front of the temple doors (Fig. 1.7).27

Fig. 1.6. Tomb of Petosiris Fig. 1.7. Temple of Hathor, Dendera

Tuna el-Gebel, 30th Dynasty28 Ptolemaic Period29

In contrast to most New Kingdom temples (Fig. 1.8), Late Period and Ptolemaic temples contain
a circular arrangement of subsidiary rooms and corridors surrounding a single main sanctuary
housing the divine statue (Fig. 1.9).

25
Photo by Olaf Tausch, 2011, <http://commons.wikimedia.org/wiki/File:Karnak_Wei%C3%9Fe_Kapelle_02.jpg>,
accessed 4-21-12.
26
"Rendering of Taharqo Kiosk," photo by Digital Karnak Project, UCLA, 2008,
<http://dlib.etc.ucla.edu/projects/Karnak/feature/TaharqoKiosk>, accessed on 4-2-12, which states that the screen
walls, built under Taharqa, were decorated under Ptolemy IV Philopator. Cf. Arnold, Temples, 51, who states that
the columns connected by the screen walls were built first during the reign of Ptolemy IV Philopator.
27
Arnold, Temples, 44, discusses the creation of these new forms, reflecting changes in ritual practices.
28
Photo by Su Bayfield, 2009.
29
Photo by Ian J. Anderson, 2008, <en.wikipedia.org/wiki/File:Dendera_7_977.png>, accessed 4-20-12.

8
 Fig. 1.8. Temple of Seti I at Deir el-Medina, Fig. 1.9. Radiating Chapels at Dendera,
New Kingdom30 Ptolemaic Period31

In addition, underground crypts, accessible only by hidden entrances, provided secret

storage areas for sacred statues. The earliest known temple crypts date to the 18th Dynasty, but
the Ptolemaic period greatly expanded and elaborated this architectural idea. At Dendera,
decorated crypts surround the heart of the temple on three sides and three levels (Fig. 1.10).
Their texts and reliefs function magically, protecting not only the sacred statues stored within
them, but also the sanctuary and other important rooms on the main floor.

Fig. 1.10. Plan of the Temple of Hathor at Dendera and Section of Crypts32

30
Illustration by David Rager, after Bruyre, DeM, pl. 10.
31
D V, pl. 316, IFAO.

9
This architectural trend of crypts and cult chambers radiating around the central naos reflects a
Late Period desire to isolate and protect the main sanctuary with shells of protection, possibly as
a reaction to the Persian invasions, with their looting of temple treasure and costly statues.
Surrounding the sanctuary with the shrines of associate gods also allowed these divinities to add
their protection to the principal god of the temple.
Two other architectural features distinguish Ptolemaic temples: roof chapels and
mammisi. An important ritual was the Union of the Sun Disk (Xnm-itn) on New Years Day,
when the statue of the main deity of the temple was taken to the roof and exposed to the life-
giving rays of the sun. In order to carry out this ritual, chapels were built on the temple roofs,
like this one at Dendera (Fig.1.11). Staircases lead to the roofs of many of the Ptolemaic temples,
such as Edfu and Deir el-Medina, but, other than those connected with the Khoiak rituals,33 the
only roof chapel still in existence today is the one at Dendera.

Fig. 1.11. Kiosk, Roof of Dendera34 Fig. 1.12. Roman Mammisi at Dendera35

A separate building, the mammisi, or birth house, was considered the birthplace of the
divine child of the temple triad (Fig. 1.12). By identifying with the divine child, the ruling king
assured his legitimacy, because as the son of divine parents, he would have the right to rule
Egypt. At Dendera, the temple triad consisted of Hathor, her consort Horus of Edfu, and the child
god Ihy. Her counterpart at Dendera, Isis, was linked with Harsomtus and Harsomtus the Child.
Another difference between Greco-Roman temples and their earlier predecessors is the
enormous increase in the number of texts written on every available surface, representing the
entire scope of ancient Egyptian religion and scholarship. In addition to the ritual and festival
scenes typical of earlier temples, they encompass cosmogonies, hymns, myths, festival rites,
geographical lists, and dedication texts. The divine nature of the script and the importance of
effective speech in Egyptian culture encouraged the use of word play, which exploits the
ambiguity in sound and meaning. Beginning with the Pyramid Texts, it appears in both secular
and religious literature, but it was especially popular during the Graeco-Roman Period. During
this era, the hieroglyphic writing system also reached its peak, with a ten-fold increase in the
number of signs and the values that they could hold. This development greatly expanded the
scribal playing field for creating expressions that function on multiple phonetic, semantic, and
visual levels.

32
D V, pls. 316 and 320, IFAO.
33
Osirian roof chapels connected with the rituals in the month of Khoiak exist at Hibis, Edfu, Philae, and Dendera,
as noted to me by Prof. Jacco Dieleman, private communication, April 1, 2012.
34
Photo by Su Bayfield, 2009.
35
Photo by Bernard Gagnon, 1989, <commons.wikimedia.org/wiki/File:Dendera_Temple.jpg>, accessed 4-20-12.

10
 Chapter 2
Word Play in the Per-wer

2.0 Introduction

The pun, or word play, has a somewhat dishonorable reputation in Western literature.
Although Shakespeare (Fig. 2.1) was particularly fond of it (using over 3,000 in his plays),36
Samuel Johnson (Fig. 2.2) disparagingly called it the lowest form of humor.37

Fig. 2.1. William Shakespeare38 Fig. 2.2. Samuel Johnson39

Indeed, we usually think of a pun as a witty, but trivial, turn of phrase, best used in slogans or
newspaper headings. However, in the Ancient Near East,40 and particularly in Ancient Egypt, a

36
Unattributed informal estimate.
37
Samuel Johnson, A Dictionary of the English Language, Vol. II, 6th ed., London, 1785, states, Quibble a slight
cavil; a low conceit depending on the sound of words; a pun, in
<http://www.archive.org/details/dictionaryofengl02johnuoft>, accessed 12-27-09. Hodge, Ritual and Writing, 337-
338, notes that the condescending attitude of western culture towards the pun has led to a comparative lack of
interest in its history. He offers this insightful observation: Punning is considered silly or trivial in a culture that is
alien to the magical properties of language, because a pun works precisely by linking two unrelated objects of
experience by the ostensible logic of their phonetic shapes, the logic of a myth, citing Andras Hamori, Notes on
paronomasia in Abu Tammams Style, JSS 12 (1967): 83-90, esp. 90.
38
Etching of William Shakespeare by Edward Scriven after the Chandos portrait, in Knight's Gallery of Portraits,
London: Charles Knight, 1835.
39
Portrait of Samuel Johnson by Evert A. Duyckinick, in Portrait Gallery of Eminent Men and Women in Europe
and America, New York: Johnson, Wilson & Company, 1873. Adapted by the author.
40
In addition to ancient Egyptian, word play appears in Greek, Sumerian, Akkadian, Ugaritic, Hebrew, Syriac, and
Sanskrit literature. Sawyer, Root Meanings, 42, suggests that recurring sequences of sounds in Semitic languages (in
contrast to Indo-European) encourage the creation of puns. For word play in Sumerian, Akkadian, Ugaritic, Hebrew,
Syriac, and Arabic, see Noegel, Puns and Pundits, 2000. Veldhuis, Cow of Sn, 1991, considers word and sound
play in a Mesopotamian childbirth incantation. For word play in Sanskrit poetry, see Ingalls, Sanskrit Poetry, 20-21.
Word play has an important role in magical and divinatory texts. See Szpakowska, Behind Closed Eyes, 61-122;

11
pun (more properly called paronomasia41) had more serious purposes, functioning not just as a
simple rhetorical device, but as a formal framework for producing an understanding of the world
and transmitting theological knowledge.42 As early as the Pyramid Texts,43 plays on words
formed multiple layers of meaning, alluding to mythology, explaining etymologies, and creating
associations between the seen and unseen worlds.44
Word plays occur in both religious and secular literature, but they were especially
popular during the Graeco-Roman period. During this time, the hieroglyphic writing system
reached its height of complexity, with a ten-fold increase in the number of signs and the values
that they could hold.45 This expansion of the scribal "playing field" facilitated the creation of
expressions functioning on multiple phonetic, semantic, and visual levels. Combining a desire to
elaborate and systematize Egypts religious heritage46 with a tendency to elaborate and refine,47
the scribal schools produced masterpieces of textual creativity.

2.0.1 Previous Studies

In the following brief survey, we will look at the progress made in two main areas of
research, both of which are relevant to the present topic: the identification and classification of

Noegel and Szpakowska, Dream Manual, 193-212. Cf. word play in ancient Greek in Artemidorus' Oneirocritica,
which interprets dreams by means of puns: Pack, Artemidori Daldiani, 1963; White, Interpretation of Dreams, 1990.
41
Paronomasia (Gr. paronomasi/a play upon words which sound alike, but have different senses, from the
verb, paronoma/zw, to call with a slight change of name, in Liddel and Scott, Lexicon, 1342; Grapow, Sinuhe
117, defines paronomasia as "(syntaktsche) Beziehung zwischen zwei stammverwandten Wrtern gleicher oder
verwandter Bedeutung." I follow Grapow's definition in my use of the term, "paronomasia."
42
Loprieno, Puns, 8-9.
43
Firchow, Stilistik, 220-235, forms a solid foundation for the further study of these figures in Egyptian texts.
44
Englund, Lhorizon, 48, notes that les Egyptiens avaient lhabitude dassocier des phnomenes appartenant des
niveaux ou des domains differents et, par ces filires dassociation, de crer tout un rseau de correspondence de
phnomenes. (Translation: the Egyptians customarily associated phenomena belonging to different levels or
domains, creating a network of correspondences by these series of associations.)
45
Some scholars follow old estimates of an increase from 700 to 7000 signs during the Ptolemaic Period: Assmann,
Kulturelle Gedchtnis, 182; idem., Mind of Egypt, 417-418; Hornung, Hieroglyphen, 422; Zivie, pigraphie, 174-
175; Kurth, Treffpunkt, 285-286. Newer studies, taking into account variations and combinations of the same signs,
suggest a revised estimate of around 2000: Cauville, Dend Fonds, 2; Leitz, Quellentexte, 10-11.
46
Derchain-Urtel, gypten, 112; Finnestad, Temples, 198; Wilson, PL, xvi.
47
Some stylistic features of Ptolemaic Egyptian temple texts, such as density of meaning, exploitation of
ambivalence, and technical refinement, recall poetic techniques used by Ptolemaic Alexandrian epigrammatists such
as Callimachus, Posidippus, and Theocritus. For a discussion of Alexandrian poetry and style, see Gutzwiller,
Hellenistic Literature, 26-49; Stephens, Seeing Double, passim. Opportunities for highly-trained bilingual Ptolemaic
Egyptian hierogrammatists to interact with the literate intelligentsia of Alexandria would have occurred during the
during the annual priestly synods that met there from the reign of Ptolemy II to Ptolemy V (ca. 285-180 BCE), as
noted by Otto, Priester und Tempel, 72-75. The Alexandrian school of Greek poets of the third and second centuries
BCE influenced the jeweled style of Late Antique Latin verse and prose, characterized by an attention to sound,
variation, and word choice, and which began in the first century CE., exemplified by the works of Catullus. See
"Alexandrianism, Latin," in M.C. Howatson and Ian Chilvers' The Concise Oxford Companion to Classical
Literature, Oxford: Oxford University Press, 1996, as well as the excellent discussion in Roberts, Jeweled Style, 8;
38-65. A comparison of Alexandrian poetics with Ptolemaic Egyptian stylistics would be a fruitful avenue for
research. Stephens, Seeing Double, shows the interaction between the Greek and Egyptian worlds in Ptolemaic
Alexandrian poetry, primarily in terms of mythological allusions and the definition of kingship, but she does not
consider that the long tradition of stylistic devices (e.g. word play) in Egyptian hieroglyphic texts may also have
influenced Alexandrian poetic techniques.

12
various types of word play in Egyptian texts, and the interpretation of their function and
meaning.
Hermann Grapow initiated the study of Egyptian stylistic devices with his early
investigations of similes and metaphors in the 1920's,48 based on material collected for the
Wrterbuch der gyptischen Sprache.49 His subsequent broader treatments, spanning a multitude
of genres and all stages of the Egyptian language, also highlighted examples of word plays and
figures of repetition.50 Although observing that repetition could have a structuring role in texts,
he was ambivalent about the purpose of word play. He suggested that plays on a root and its
derivatives, such as xpr ("become"), could be "something magical," or a "sound-painting" that
we can no longer appreciate, or perhaps even something "without any special meaning."51
However, he did recognize their potential for further study:

"Es gibt hunderte von Wortspielen dieser und hnlicher Form, die einmal genau
untersucht werden mssen; ich bin berzeugt, da mehr in ihnen steckt als bloer
Klingklang52

Although often appearing in Egyptian stories, as shown by Hintze,53 word plays and
figures of repetition occur most frequently in religious literature, as Schott demonstrated in his
study of Egyptian myth in 1945.54 He showed that they function not only as literary devices, but
also as a means of connecting cult and myth, which in some cases even influences the creation of
the myth itself. He observed that the masterly use of this technique became such a characteristic
of divine speech, that "im Wortspiel wird die Welt erschaffen"an idea realized in the
Memphite Theology, in which creation lay in the mouth of the god.55
Although scholars up to this point had noted the existence of word plays in various
Egyptian texts and had attempted to evaluate their meaning, significant advances in our
understanding of their use and function did not occur until Sander-Hansen's exhaustive study of

48
Grapow, Vergleiche, 1920; idem, Bildlichen Ausdrcke, 1924. Each example, though referenced, is given only in
German translation, omitting the original hieroglyphs and their transliteration.
49
The material for the Wrterbuch was collected by Grapow, Sethe, Junker, Gardiner, Breasted, and Lange, as noted
by Grapow, Bildliche Ausdrcke, x.
50
Grapow, Sprachliche Formung, 1936, which, unlike his previous work, includes hieroglyphs for all examples, as
well as transliterations of relevant passages; idem, Untersuchungen ber die altgyptischen medizinischen Papyri,
MVAG 40,1; 41,2, Leipzig: J.C. Hinrichs'sche Buchhandlung, 1935-1936; idem, "Untersuchungen ber Stil und
Sprache des koptischen Kambyses-Romans," Z 74 (1938): 55-68; Studien zu den Annalen Thutmosis des Dritten
und zu ihnen verwandten historischen Berichten des Neuen Reiches, Abhandlungen der DAWB, Philophisch-
historische Klasse 1947, Nr. 2; idem, Stilistik Sinuhe, 1952; idem, "Beitrge zur Untersuchung des Stils gyptischer
Lieder," ZS 79 (1954): 17-27.
51
Grapow, Sprachliche Formung, 20.
52
Grapow, Sprachliche Formung, 17.
53
Hintze, Stil und Sprache, 274, notes that the various means of "Ausdrucksverstrkung," including repetition and
paronomasia, occur more frequently in the speech than in the narration of Late Egyptian stories, e.g. in the speech of
Isis in "The Contendings of Horus and Seth," in Pap. Chester Beatty I, recto, 6.11 (=LES, 45): she tricks Seth by
means of a true pun, in which iAw.t means both "cattle" and "office."
54
Schott, Mythe und Mythenbildung, 44; 59-60, suggests that in a reference to the death of Osiris, the editor of the
Ramesseum Papyrus deliberately chose "drown" (mH) over "die" (Sm) so that it would create a word play with a
previous statement about "Lower Egypt" (mHw).
55
Schott, Mythe und Mythenbilding, 62. In the Memphite Theology, the organs of the creator god Ptah (the heart
and tongue) are the tools of speech, with which he brought the world into existence. See Morenz, Wortspiele, 24.

13
the Pyramid Texts in 1947, which contain a great number of examples.56 His study of the formal
characteristics of Egyptian word play in the Pyramid Texts identified various types and analyzed
their effects;57 his research showed that they not only added harmonious sound to a text, but also
carried special meaning:

"In verschiedener Weise dienen sie dazu, die Hauptpunkte der Erzhlung auf Kosten
weniger wesentlicher Einzelheiten hervorzuheben um dadurch Sinn und den
Zusammenhang des Ganzen mit Absicht deutlicher zu machen,"58

an observation that agrees well with their use in the texts at Dendera. Several years after Sander-
Hansen published his work, Firchow carried out a comprehensive philological study of the
stylistic devices in the Pyramid Texts.59 Their funerary origin led him to suggest that the purpose
of the word plays was to increase the effectiveness of the utterances for transforming the
deceased King in the Afterlife.60 His analysis demonstrated that the mythologizing of ritual
actions, offerings, and officiants allowed word plays to create new meanings and connections. 61
Firchow's meticulous treatment of figures of repetition, alliteration, paronomasia,62 as well as
implicit and explicit word plays, provided a solid foundation for their further study in Egyptian
texts.
In the following years, several scholars presented further thoughts, though still on a
somewhat preliminary level. In 1957, Siegfried Morenz,63 while noting that word play in
Egyptian has need of a monograph, concentrated primarily on broad themes. In discussing the
analogous use of word plays in other ancient Near Eastern languages, he observed that aural and
visual plays function especially well when a sign and sign-group can indicate the same
syllablea characteristic of logographic writing systems like Egyptian hieroglyphs and
Sumerian-Akkadian cuneiform.64 He also noted the identity between "word" and "thing" in Near
Eastern thought,65 showing how this connection creates an important role for word plays in
myth-making and religious texts, thus echoing Firchow's sentiments.

56
Sander-Hansen, Wortspiele, 1946-1947, excludes true puns, which play on the multiple meanings of similar-
sounding (homophonic) words. His study was a preliminary work for his later Studien zur Grammatik der
Pyramidentexte, Analecta Aegyptiaca 6, Copenhagen: Ejnar Munksgaard, 1956.
57
His classifications include word play by alliteration, resemblance of syllables (i.e. close homophones), alteration
of consonants, and the utilization of grammatical rules (e.g. gemination, reduplication, s-causative prefix, etc.), and
the syntactic tying of two or more words in a sentence. See Sander-Hansen, Wortspiele, 3-13.
58
Sander-Hansen, Wortspiele, 14.
59
Firchow, Stilistik Pyramidentexten, 1953, which includes couplets, several types of parallelism, chiasmus, ellipse
and disjunction, tri- and quadri-partite groupings, and the structure of litanies.
60
Firchow, Stilistik Pyramidentexten, 216.
61
As Assmann would later explain, these mythological explanations of objects in the seen world were meant to
connect to events in the unseen world of the gods, showing the "power of language to create relationships." See
Assmann, Search for God, 83-87.
62
His definition of paronomasia more closely fits my category of "true puns."
63
Morenz, Wortspiele, 1957.
64
Morenz, Wortspiele, 28-29. The use of word play in other ancient Near Eastern cultures led me to explore their
study by scholars in languages such as Hebrew, Sumerian, and even Sanskrit, opening a window to new
methodologies and interesting perspectives on their use. See references listed above in n. 40.
65
Morenz, Wortspiele, 24: amtu (Akkadian); , dabar (Hebrew); md.t (Egyptian).

14
 Several decades passed without much apparent interest in the topic, until Fecht published
his short article on stylistic "Kunstmittel" in 1970.66 Although mostly summarizing the work of
previous scholars, he brings up this important point:

"Es wre deshalb sinnlos, viele aus ihrem Kontext gerissene Einzel- 'Beispiele' zu
zitieren, deren Wesentliches in der Vereinzelung verlorengeht,"67

thus suggesting that stylistic devices are best studied in the context of a complete work.68 Even
Firchow's foundational work, though drawn from a single genre like the Pyramid Texts, had
concentrated on individual examples isolated from their thematic and textual milieu. Fecht's
observation is relevant not only to literary works, but also to texts inscribed within architectural
units in a temple. Oddly, few scholars seemed inclined to take up the challenge.
The 1980's saw some new studies on topics related to stylistic devices, including
Watterson on alliteration,69 Malaise on puns in myth,70 and Derchain-Urtel on word plays of
"place" and "movement,"71 but only Foster's study of word play in The Eloquent Peasant72
treated its use in a unified text. Dealing with the fundamental questions of life, conduct, success,
and justice, this eclectic text employs specific linguistic strategies to highlight important themes;
in passages concerned with Ma'at, the basis of Egyptian society, its stylistic patterning of sound,
word choice, and verse structuring is particularly striking. Foster's analysis demonstrated that
specific rhetorical techniques not only highlight key ideas but also unify the text.
After Foster's study, more than a decade passed before Guglielmi73 resumed the topic in
1996, further advancing our knowledge of the various types of stylistic figures used in Egyptian
texts. Basing her research on the system of rhetorical classification by Lausberg and Plett,74 she
presented a more systematic approach to their study than had previously been carried out, as well
as filling a gap by including many devices not treated by Firchow. With the eye and the ear of a
linguist, Guglielmi also demonstrated an awareness of the aural links created by sound and
pattern, the recurring lexemes not only structuring the text but also providing emphasis for
important points, thereby confirming Foster's earlier findings. She also observed the unfortunate
inconsistency with which Egyptologists tend to treat style and form, frequently mixing it with
textual criticism and commentary on content.75
Over the past 90 years, the topic of word play and other stylistic devices in Egyptian texts
has thus enjoyed only a small amount of attention; although Firchow laid the foundation for its
study, and Foster and Guglielmi demonstrated how these figures can highlight important themes,
there have been few studies of a unified text.76 In most cases, scholars do not give stylistic

66
Fecht, Stilistische Kunst.
67
Fecht, Stilistische Kunst, 36.
68
In his own studies of Egyptian metrics, Fecht prefers to analyze complete texts, e.g. Fecht, Frmmigkeit, 1965.
69
Watterson, Alliteration in Ptolemaic, 167-169
70
Malaise, Calembours, 97-112.
71
Derchain-Urtel, Ort und Bewegung, 66-61. Interestingly, the studies of both Watterson and Derchain-Urtel
concern Ptolemaic texts.
72
Foster, Eloquent Peasant, 61-76.
73
Guglielmi, Rhetorischer Stilmittel, 1996.
74
Lausberg, Handbuch der Rhetorik, 125-165.
75
Guglielmi, Rhetorischer Stilmittel, 465.
76
Some welcome exceptions include Rendsburg, Shipwrecked Sailor, 13-23, and Noegel and Szpakowska, Dream
Manual, 193-212. An interesting study by Lepper, Papyrus Westcar, 1125-1136, statistically analyzes the frequency
of stylistic devices in texts, in order to clarify the picture of their use in different genres and by different authors.

15
devices major consideration, merely noting them in passing77 or listing them without analysis of
their function or meaning.78 Because they played such an important part of the scribal repertoire
of poetic techniques, a comprehensive study of word plays and other rhetorical figures in the
ancient texts is therefore long overdue.

2.0.2 Methodology

An investigation of word play within a single architectural unit, such as the Per-wer
Sanctuary at Dendera, thus presents the opportunity to examine the ways in which these stylistic
devices function within a closed unit, how they relate to each other within and between scenes,
and how they transmit multiple layers of meaning. Utilizing the publications of Chassinat and
Cauville79 and modifying the classifications of Guglielmi to correspond with the devices
observed at Dendera,80 I proceeded to identify and classify every example of word play in the
Per-wer, creating a database organized according to typology. Next, I correlated the ways in
which individual examples of word play related to the scenes in which they were found. Of the
80 scenes and text groups in the Per-wer, 69% (i.e. 55) contained paronomasia; in those 55
scenes, I found a total of 179 individual examples. I found that each example of word play
related to the offering or the action depicted, or elaborated on a pertinent characteristic of one of
the divine or human actors. Furthermore, unless it elaborated on a concept directly related to the
scene, paronomasia was usually not employed (even if it could have been easily inserted),
suggesting that its use was intentional rather than ad hoc. The categories into which I divided the
various types of paronomasia in the Per-wer originate in classical antiquity and do not represent
classifications from ancient Egypt itself. Nevertheless, I found that classifying the various
phenomena allowed a fuller appreciation of the sophisticated techniques used in the ancient
texts.81

2.0.3 Importance of Effective Speech

Beautiful speaking, in a rhetorically persuasive and clever way, was a highly desired
quality in ancient Egypt.82 This idea originates in the concept of heka, the creative power

77
E.g. Preys, Complexes, passim.
78
E.g. Leitz, Aussenwand, 2001, 153-167.
79
Chassinat, D III; Cauville, Dend Trad III.
80
I also adapted definitions from the New Princeton Encyclopedia, 916 and 968, defining the various classes of
paronomasia for this study as follows: ploce (same root, same form, same meaningi.e. simple iteration of a word
without shift in grammatical form or meaning); antanaclasis (same root, same form, different meaning); polyptoton
(same root, different form, same or different meaning); close homophones (roots almost the sameconsidered
antanaclasis if same form, polyptoton if different form); true pun (same root having two or more lexical or
grammatical meanings, both of which work in the context).
81
As Loprieno, Puns, 3, notes, the study of the stylistic devices of an ancient language creates a quandary: the need
to identify a stylistic device emically (from within the cultures own practice), while at the same time relying on
categories derived etically (from the researchers own horizon).
82
The myth of the creator god, who used his authoritative utterance to bring the cosmos into existence, may have
contributed to this attitude, or perhaps the cultural attitude towards the importance of language led to the creation of
this myth. In order to "ward off the blow of events," the gods gave mankind this power of words, personified as the
god Heka, as stated in a text from the 10th Dynasty, "Instructions for King Merikare," cited in Ritner, Mechanics, 20.

16
contained in words, which the Creator used to bring the cosmos into existence. Extended to
mankind as a benefaction,83 the act of authoritative utterance with its performative power was
particularly important in temple ritual. The King (or the priest acting on his behalf), would
present offerings and words of praise to the resident deity, who in return would assure his reign,
the prosperity of the land, and the renewal of the cosmos. When acting in this capacity, the King
identified with the god Thoth, master of eloquent speech and inventor of language itself.
Texts at Dendera emphasize this role and the importance of effective speech. In the
entrance to the Per-wer sanctuary (Fig. 2.3), Hathor praises the Kings recitation and chanting of
the liturgy, calling him Ax rA, "effective one of speech,84 spd DAisw, "clever one of discourse,
and mnx tp.yw rA, "excellent one of utterances. In return for his effective speech, she promises
to protect him daily.85

Divine
Randzeile
with Hathors
speech

Fig. 2.3. Entrance to the Per-wer Sanctuary in the Mysterious Corridor, D II, pl. 9486

Texts thus originate in words spoken or sung during the performance of a ritual.87 This oral
element is apparent not only from the phrase, Dd mdw (recitation), beginning each utterance,

83
The MK "Teaching for Merikare," line 47g, designates the purpose of HqA as a xsf-a-n-xpry.t, "a weapon to ward
off the blow of what happens," cited by Parkinson, Dream and the Knot, 75; Ritner, Mechanics, 20. For translation,
see Lichtheim, Ancient Egyptian Literature I, 106.
84
See Otto, Gott und Mensch, 96-97, for attestations of this epithet in scenes at Edfu, Dendera, Kom Ombo, and
Philae. For thoughts on the rhetoric of efficacy, see Coulon, Rhtorique et stratgies, 137-142.
85
The words of Hathor appear in the Divine Randzeile, the column of text behind the goddess, in D III, 50, 14-15,
states, Welcome, wab-iHy priest, effective of speech (Ax rA), clever of discourse (spd DAisw), excellent of utterances
(mnx tp.yw-rA). I hear what you say, beautifully and in peace. I protect your body every day. Concerning the
epithet, Ax-rA, see Otto, Gott und Mensch, 76-77; 96-97. Wilson, PL 13, notes that the king carries this epithet in
scenes where hymns and words are important, such as in the dwA-nTr scenes.
86
Throughout the present study, line drawings from Chassinat's publication of Dendera (including D I, pl. 45; D II,
pl. 94; D III, pls. 180, 184, 190, 200, 201, 202, 219; D V, pl. 316, 320; D VIII, pl. 793), many of which are adapted
by the author, are IFAO.
87
Texts accompanying scenes in Graeco-Roman temples are far more detailed than the spare captions and epithets in
the scenes of the earlier NK temples. Cf. the amount of text in the NK Ma'at offering scene in Seti I's temple at

17
but also in the use of numerous types of paronomasia, playing on both sound and meaning.88
These multi-leveled expressions have the ability to foreground ideas and impart additional
meaning in succinct, dense statements.89 Not only would its effect have worked upon its human
listeners, such as the king or lector priest, or any other attendants, but also upon the divine
recipient. Hathor would no doubt have been pleased with this type of effective, multi-layered
speech.
Word plays in the Per-wer function primarily as figures of repetition, ranging from the
simple to the complex. We will now look at examples from each of the categories of word play
that I studied at Dendera, after which we will examine a scene in which the stylistic devices
function on multiple levels. In rendering the transliterations and translations of the texts, bold
font indicates the presence of one of these stylistic devices.90

Abydos, in Calverley and Gardiner, Abydos IV, pl. 10, with that of a similar scene in the Per-wer at Dendera, e.g. 1st
register, south wall, D III, pl. 190.
88
Parkinson, Dream and the Knot, 71, notes the use, beginning in the MK, of the term Tsw, not only to describe
"problems," but also for metrical verse; wHa, "untie" denoting the "untying," or "solving" of problems, as well as
textual interpretation.
89
Danica Seleskovitch, Interpreting for International Conferences: Problems of Language and Communication,
Washington: Pen & Booth, 1978, passim, notes that utterances consist of several layers: at the primary level, we
discern words and their lexical meanings; at the secondary level, we are aware of the semantic content of the
expression as a whole; at the third level, there is the implied meaning. Separating the layers and seeking out
meanings beyond the primary and secondary levels is a particularly useful approach in studying paronomasia and
other multi-layered devices.
90
These include repetition, antanaclasis, polyptotons, and true puns.

18
2.1 Repetition (Ploce) Same Root, Same Form, Same Meaning

The simplest form of "sound play" used in the Per-wer is repetition, known in Greek
rhetoric as ploce, (Gr. plokh/, "twining, twisting," "interweaving"; Lat. iteratio).91 Besides
creating aural patterning by means of alliteration, it can highlight particular words by the use of
similar sounds in unusual places. A striking example occurs in the well-known speech of the
distraught lover in Edgar Allen Poe's melodic narrative poem, "The Raven" (Fig. 2.4):

"While I nodded, nearly napping,

suddenly there came a tapping,
As of some one gently rapping,
rapping at my chamber door." 92
- Edgar Allen Poe, "The Raven," 1858

Fig. 2.4. "The Raven"93

The recurrence of "rapping" aurally mirrors the raven's incessant tapping on the door, its
repetition strengthening and fulfilling the pattern begun with the initial rhyming of "napping"
and "tapping." As Shapiro notes,94 "when a line, phrase, or even a sound is repeated, the
experience of the first occurrence is continuously maintained in the present in each subsequent
recurrence," as shown in the immediacy experienced by the listener in this example.
In the Per-wer, repetition accounts for 20.7% (37) of the word play, occurring most
frequently in divine and royal epithets, where the semantic context changes slightly in the second
iteration. For example, Hathor's title, Sps.t, "Noble Lady," often appears repeated within the
epithet,

Sps.t xnt aH-Sps.t

"The Noble Lady in the Palace of the Noble Lady" (D III, 57,5).

In the first instance, Sps.t denotes the goddess; in the second, it forms part of a compound
substantive indicating her sanctuary. Because the repetition emphasizes the nobility of the
goddess and extends that characteristic into the name of her chapel, it is not surprising that this
epithet appears most often in text groups framing the Per-wer's entrance door (Fig. 2.5),95 where
91
plokh/ also has the connotation of complication, e.g. of a plot. See Liddell and Scott, Lexicon, 1422; Brogan,
Ploce, 916.
92
Poe, Raven,143.
93
Painting by John Tenniel, 1858, <en.wikipedia.org/wiki/File:Tenniel_TheRaven.jpg>, accessed 4-20-12.
94
Shapiro, Repetition, 1036.
95
D III, 55,7 (thickness of jamb); 56,5 (jamb); 57,5 (jamb); 60,1 (east bandeau of base); 71,11 (cloth); 79,10
(Ma'at); 91,6-7 (montants).

19
it can function as a label of ownership. In this example, the scribe added some visual variation by
writing the first Sps.t with the sign of the hippopotamus goddess Taweret,96 who is often
identified with Hathor, and the second, with the more traditional image of the seated noble
holding a flail. In this way, the scribe could visually allude to Hathor's apotropaic associations
with birth and motherhood, as well as to her role as the wet-nurse who provides sustenance
through her milk.97 We will see more use of visual allusions in the following chapter on Sign
Play.

"Noble and Powerful Lady in "Noble Lady in the Palace of

the Sanctuary of the Noble the Noble Lady"(D III, 57,5)
Lady" (D III, 56,3) W. Side of Door Jamb
E. Side of Door Jamb

"Noble Lady in the Sanctuary

of the Noble Lady" (Isis)
(D III, 55,7)
W. Thickness of Door Jamb

Fig. 2.5. Entrance of Per-wer, D II, pl. 94, IFAO; Repetitions of Sps.t, "Noble Lady"

When employed in one of the King's epithets, the repetition of an element often sets up an
equivalency between the King and his forebear. For example, again on the entrance, on the east
side of the door jamb, he is called

twr sA twr
"The Purifier(-priest), son of the Purifier(-priest)" (D III, 56,3).

The verb, twr, "to purify," functions here as a perfective active participle used as a noun of agent,
translated as "He who purifies," or "Purifier(-priest)." The "purifier" can refer to Horus, who
carries out the rituals for his deceased father Osiris;98 it can also refer to the King as the Living
Horus on earth. By placing this epithet at the Per-wer's entrance, it not only highlights the King's
possession of the necessary purity to approach the divinity, but also establishes his priestly
lineage, and thereby his legitimacy and authority to carry out the rituals.99 In addition, the
repetition of twr brings to mind the phrase, twr twr, "very pure" (lit. "twice pure"), a heightened
degree of purity especially appropriate for the King's role as high priest. This epithet appears

96
Gundlach, Thoeris, 495.
97
Hathor's role in providing milk for the sustenance of gods and people is explored further in 5.2.3.
98
Wb V, 255,1-3.
99
As we will see, epithets establishing the King's legitimacy often appear at transition points like doors, as discussed
in 5.3.1.

20
twice in the Per-wer, its second occurrence being in the scene of "Ascending the Steps," in which
the King approaches the naos of the goddess.100
Repetition can also function as a structuring mechanism, developing a parallelism that
contributes to the progression and intensification of a thought. In the Per-wer, this use of
repetition occurs most often in hymns, such as the following example in the door framing, again
on the east side of the entrance (Fig. 2.6):

smn p.t smn tA smn rmT

"The sky is stable,
the earth is stable,
the people are stable"
(D III, 52,13).

Fig. 2.6. Entrance of the Per-wer, D II, pl. 94, IFAO

The context of this statement is a hymn of welcome to the goddess, requesting that she take up
residence in the temple made for her by the King. The repetition of the verb smn, "be stable,
establish, maintain," emphasizes the stability that she brings to her creation, here described
vertically, as well as in the order in which she created it: heaven, earth, and people. Furthermore,
the triple repetition of anything in Egyptian thought represents plurality; it may thus allude to
stability extending into all realms, a very desirable quality. Despite the lacunae, one can also
discern an alternation of tall and horizontal signs, suggesting that there may be emphasis through
visual symmetry, as well.101
Although my analysis of word play in the Per-wer primarily concerns the level of the
lexeme (word), it is worth noting how repetition can also structurally divide larger units. The
previously mentioned hymn forms a symmetrical pair with another hymn on the west side of the
door framing; both hymns contain three repetitions of the epithet, tAy=n Hnw.t nfr.t, "Our
Beautiful Mistress," whose surprising use of the possessive plural pronoun, tAy=n, recalls
contemporary usage in Demotic. The repetition of this phrase occurs each time at the end of a
stanza. On the west side (which is without lacunae and can thus be better analyzed), this vocative
phrase divides the hymn into three parts, each concerned with a domain of Hathor's

100
D III, 64,7-8, east wall, 1st register, 1st Scene of the Per-wer, in which the root, twr, enjoys further emphasis, in an
example of antanaclasis: twr twr m D.t=f, "The Purifier, purified in his body" (D III, 64,7). The stylistic trope of
antanaclasis is discussed in the following section (2.2).
101
We will discuss visual symmetry in Section 3.2. My suggested restoration of the lacunae: ; ; ; .

21
responsibility: priests and temple property; the divine world of gods and goddesses; the
inundation and the resulting fertile fields on earth. The recurrence of the epithet thus structures
the hymn while simultaneously invoking Hathor's attention.
Although simple in concept, repetition can be a powerful rhetorical tool. It generally
highlights important qualities of the goddess or the King by repeating key words in their epithets;
visual variation in the signs writing the repetitions can bring in additional allusions. In hymns
inscribed on the entrance, it not only adds intensity to a statement but can also act as a
structuring principle, binding together several thematic units.

2.2 Antanaclasis Same Root, Same Form, Different Meaning

The next category of word play in the Per-wer is antanaclasis (Gr. a/ntana/klasij,
reflection), a stylistic trope formed by repeating the same root, in the same form, each time
with a different sense. An example is Franklin Delano Roosevelts statement in his first
inaugural address (Fig. 2.7),

The only thing we have to fear is fear itself.

- Franklin Delano Roosevelt, 1933

Fig. 2.7. Franklin D. Roosevelt102

In the first instance, fear is used as a verb; in the second, it is a substantive. Its repetition acts
as an attention-getter; the additional turn in meaning (from verb to noun) emphasizes the
message that we have nothing to fear but the paralysis that fear itself can bring.103 Antanaclasis
accounts for in 17% (30) of the 179 examples of paronomasia in the Per-wer, making it one of
the lesser-used types in this cult chamber. However, when it does appear, it emphasizes either an
offering presented or a characteristic of one of the actors in the scene.
An example appears on the east wall of the Per-wer, in which the King offers incense to
Hathor, Horus Behdety, Nekhbet, and Hathor, Lady of the Per-wer (Fig. 2.8). The deities reply,

Ssp=n snTr r snTr snn=n

"We receive the incense in order to cense our statues" (D III, 73,12-13).

102
Photograph of F.D.R taken December 27, 1933, by Elias Goldensky (1868-1943), now in the Library of
Congress, Prints and Photographs Division, digital ID: cph.3c17121.
103
F.D.Rs quote continues, "nameless, unreasoning, unjustified terror which paralyzes needed efforts to convert
retreat into advance." Inaugural Address, March 4, 1933.

22
The statement is located in the Divine Randzeile, the column of text behind Hathor, Lady of the
Per-wer, on the far right (Fig. 2.8).

Fig. 2.8. East Wall, 3rd Register; D III, pl. 180, IFAO

The antanaclasis works with two meanings of snTr: first as the substantive, "incense," and then as
an infinitive, "to cense," in a pseudo-verbal construction. The repetition of snTr in these two
syntactical variations thus emphasizes the incense as well as the action of censing. In addition,
the verb, snTr, can be understood as its homonym, the s-causative, "make godly,"104 thus lending
the allusion that the incense is also sanctifying their statues. Together with the four-fold
alliteration on the consonant s (perhaps subtly alluding to the causative nature of the offering),
the repetition of snTr and its turn of meaning from substantive to verb thus emphasize the
offering, the action, and its result.
Another example of antanaclasis emphasizing the offering occurs in the second register
of the east wall of the Per-wer, in which the King offers two sistra (a naos sistrum and an arched
sistrum) to Hathor, seated before him on a throne (Fig. 2.9). In carrying out this ritual act, he is
equated with her son, the god of music:

sw mi IHy ir iHy n Hnw.t=f

"He is like Ihy
who makes music for his mistress"
(D III, 70,13).

Fig. 2.9. East Wall, 2nd Register,

1st Scene; D III, pl. 180, IFAO

In this example, the antanaclasis works with two meanings of iHy: first as the proper name of
Hathor's son, and then as the substantive, "music." The turn of meaning between the god's name,
and the music that he makes, emphasizes the role of the King as the music-maker who pacifies
the heart of the goddess with what she loves. The equation of Ihy with the King also appears

104
Wb IV, 180, 3-6.

23
visually. Each repetition of iHy employs the sign of a man presenting an arched sistrum, thus
mimicking the stance of the child god as well as the action of the King, holding the sistra; the use
of the red crown as the preposition, n, "for," also alludes to the King. Furthermore, Ihy's sistrum
with a falcon perched on top105 (Fig. 2.10) is similar to the alabaster sistrum of Teti I, from the
6th Dynasty (Fig. 2.11). Both sistra recall the image of the Horus falcon atop a serekh containing
the name of the King,106 as shown by the 1st Dynasty limestone stela of Djet (Fig. 2.12). The
equation of the King with Ihy thus carries a subtle visual reminder that the King is the Living
Horus.

Fig. 2.10. Ihy's Falcon-topped Sistrum107

Fig. 2.11. Sistrum of Teti I, Fig. 2.12. Serekh of Djet,

Memphis, 6th Dynasty108 Abydos, 1st Dynasty109

105
Ihy holds the falcon-topped naos sistrum in the following relief scenes: outer entrance of Per-wer, west side of
lintel (D II, pl. 94; sistra); south wall of the Per-wer, 2nd register, east side (D III, pl. 190; cloth); in the H.t-wab
(Chassinat's Chamber K), north wall, 3rd register (D III, pl. 211; natron); in barque sanctuary (Chassinat's Chamber
A), south wall, 1st register (D I, pl. 61; Ma'at offerings). Harsomtus the Child holds the falcon-topped arched sistrum
in the Pr-nw (Chassinat's Chamber H), west wall, 2nd register, 1st scene (D II, pl. 165; funerary offering menu).
106
The serekh is a schematic representation of the palace faade of the King's Residence, containing his name in
hieroglyphs.
107
D III, pl. 180; photo detail of falcon-topped sistrum in Cauville, Dend Trad III, pl. 34, IFAO by A. Lecler, no.
98-2204, and courtesy of Peeters Publishers.
108
Alabaster sistrum of King Teti I from Memphis, now in the Metropolitan Museum of Art, Nr. 26.7.1450. Image
The Metropolitan Museum of Art, courtesy of ARTstor Collection. The model sistrum was a votive offering to
Hathor; the inscription notes the King's epithet, "beloved of Hathor, Lady of Dendera." See Hayes, Scepter of Egypt
I, 125 and fig. 76.
109
Illustration by Caris Reid of the Serekh of King Djet from Abydos, now in the Louvre, E 11007. Djet's name
means "cobra."

24
 In addition to highlighting an offering and its desired result, antanaclasis can also call
attention to the quality of a divine or human personage. For example, on the west wall of the Per-
wer (Fig. 2.13), in which the King offers Hathor the wensheb, the symbol of ordered time, he is
described as
twt m irw=f n hqA tA.wy Hr twt &Ay.t
"complete in his form as the Ruler of the
Two Lands, perfecting Tayet"
(D III, 81,7).

Fig. 2.13. West Wall, 2nd Register, 2nd Scene; pl. 190, IFAO

The antanaclasis plays on two forms of the verbal root twt, meaning "be complete": the first as a
stative, 'being complete," the second as an infinitive in a pseudo-verbal construction,
"perfecting," or "making complete."110 The turn in meaning between the two forms of twt
contrasts the King's intransitive state ("be complete") with his transitive action ("making
complete"), thus emphasizing the change that he brings about in the state of the goddess.
However, the question arises why Tayet, a goddess of weaving, should need to be "completed."
A clue lies in the fact that twt as a transitive verb can also mean "to collect together, assemble,"
thus alluding to the filling (or "completing") of the Udjat Eye with all of its necessary partsan
action carried out in the myth by Thoth, with whom the King is equated in this scene.111
Although Tayet is primarily a goddess of weaving and clothing, she can also take the form of the
uraeus,112 acting as a guardian of the crown and protectress of the King.113 This role thus
explains the King's epithet, because as the Uraeus, Tayet is therefore equated with the Eye of
Horus, which was injured by Seth and needed to be healed and restored. In "perfecting" or
"completing" Tayet, the King is thus making the Udjat whole, an action that also restores cosmic
order. This action agrees perfectly with his offering of the wensheb, itself the symbol of cosmic
order, whose restoration comes about when Hathor, as the uraeus (and Divine Eye), returns to
her proper place on the brow of her father, Ra. The use of antanaclasis to emphasize the turn in
meaning between the two forms of the verb, twt, therefore not only calls attention to the King's

110
Wb V, 259,5 260,10; PL 1131.
111
The text continues, stating that the King is Hr snb sty Hr sanx %Sm.t-rmT sw mi Isdn apr wDA.t, "making the Eye (of
light) healthy, making the uraeus (lit., "She who leads mankind") live, for he is like Isden (=Thoth), who provisions
the Udjat" (D III, 81,7-8).
112
Tayet as the uraeus of the King appears in a wensheb offering at Edfu, in which the text similarly states that the
King is "perfecting," or "assembling," his uraeus, Tayet (E IV, 82,6 83,2). See Sambin, Clepsydre, 43; 311.
113
Bonnet, RRG, 764.

25
quality and his action in restoring order, but also enriches the statement by bringing in layers of
mythological meaning.
Whereas simple repetition can highlight key words or lend structure to larger thematic
units, antanaclasis plays with shifts in meaning, exploring and amplifying chosen themes. In the
Per-wer, the scribes employ it primarily to emphasize cause and effect, creating a link between
an offering and its result, or between a divine or royal characteristic and an action. Although not
appearing as frequently in the Per-wer as the other figures of repetition, antanaclasis and its
homophonic puns construct thematic connections in a clever and succinct manner.

2.3 Polyptoton Same Root, Different Form, Different Meaning

The third category of word play is the polyptoton (Gr. polu/ptwton, "many
(grammatical) cases." It is a stylistic scheme in which words derived from the same root are
repeated in different forms, cases, numbers, and genders, bringing powerful emphasis to the
subject being discussed. The peanut butter tagline (Fig. 2.14),

"Choosy mothers choose Jif,"

Fig. 2.14. Jif Peanut Butter, TV Commercial114

is a polyptoton. The root, choose, appears first as an adjective, choosy, and then as the verb,
choose. Polyptotons, accounting for 50% (89) of the word plays, are the most frequently used
type in the Per-wer.
An example occurs in a scene on the east wall of the Per-wer's Southern Niche (Fig.
2.15). Standing on the left, the god Shu offers the Udjat Eye to Hathor, saying,

114
Jif peanut butter commercial, first aired in March, 1977, by J.M. Smucker Company. Illustration by Rachel
Domm, after screen capture from video at www.youtube.com/watch?v=_OTsqVKmjAw, accessed 1-21-12.

26
 m-n=T wDA.t wDA.ti m irw=s
Take for yourself the Udjat-Eye,
(being) whole in its form
(D III, 94, 14-15).

Fig. 2.15. S. Niche, 2nd Reg., E. Wall; D III, pl. 201, IFAO

The root, wDA, is an intransitive verb meaning be healthy, whole, and complete. It stands out,
being repeated twice, first as a substantive (the udjat-eye), and then as the stative (being whole).
It refers to the whole, healthy Eye of Horus, having been healed and restored after its injury
during the struggle with Seth.115 Additionally, it denotes the right Eye of Ra, the solar form of
the goddess Hathor. The polyptoton, with its alliteration on the root, wDA, and its syntactical
changes, emphasizes the offering of the Udjat Eye and its healthy condition. We will return to
this scene later, for more analysis.
Even more striking is a triple polyptoton on the west wall of the Per-wer, appearing in an
offering of the mnw-jar (Fig. 2.16), in which the King says,

nfr.t nfr.wy nfrw=T

"Beautiful One,
how beautiful is your beauty!"
(D III, 81,15)

Fig. 2.16. West Wall, 2nd Register, 3rd Scene; D III, pl. 190, IFAO

The root, nfr, which is both an adjective, "beautiful," and a verb, "be beautiful," appears first as
the feminine substantive, nfr.t, "Beautiful One,"116 followed by the dual exclamatory, nfr.wy, and
ending with the substantive, nfrw, which can be interpreted either as "beauty" or "perfection," or
as the plural, "beauties," or "good things." The patterning created by the triple alliteration of nfr,

115
Otto, Augensagen, 563. Griffiths, Eyes of Horus, 182-193, maintains that the Udjat originally referred to the
uninjured Eye of Horus, but that from the NK onward, the term was also used to denote the eye injured by Seth,
contra Mller-Winkler, Udjatauge, 825 n. 7, who observes that in the udjat's earliest attestations (e.g., CT VII,
373b; 378c) it already appears in connection with the injury by Seth. Wilson, PL 286, perhaps following Griffiths,
denotes the udjat as the uninjured eye of Horus, which Seth did not damage in the struggle.
116
nfr.t can be considered either as a feminine adjective used as a substantive, or as the feminine perfective active
participle, "She who is beautiful," or "Beautiful One (f.)." See Allen, Middle Egyptian, 6.4 and 23.3.

27
together with the syntactical changes of the root, would arrest the attention of the goddess, which
was undoubtedly its intention. Its energetic repetition leads to a focus on the final nfrw,
emphasizing Hathor's beauty and goodness. In the myth, the offering of the mnw-jar with its
intoxicating beverage helped transform the angry lioness into the beautiful woman; the
invocation of the goddess with these epithets at the beginning of the scene thus foreshadows the
expected result of the offering.
A relatively rare but interesting polyptoton appears on the south wall of the Per-wer, in an
offering of cloth (Fig. 2.17). Hathor is described as

smnx mnx.t
"who makes excellent the cloth"
D III, 71,10

Fig. 2.17. South Wall, 2nd Register, East Side; D III, pl. 190, IFAO

The root mnx, "be excellent, effective," appears first as the causative verb, "make excellent."
followed by the feminine substantive, mnx.t, "cloth."117 The purpose of the cloth is to protect and
conceal Hathor's body; the offering recalls the cloth bandages used in mummy wrappings for
Osiris, thus symbolizing regeneration. As we will see later, the cloth itself also has connections
with Hathor's illumination, allowing the offering to allude to the cyclical regeneration of the sun.
Because the root, mnx, can also carry the connotation of magical effectiveness,118 its iteration in
these two grammatical inflections thus emphasizes Hathor's power to transform the cloth into an
effective substance that protects, conceals, and illuminates her body.119
Whereas antanaclasis repeats a root with different meanings, each repetition of a
polyptoton exhibits a variation on the root. This form of paronomasia thus takes advantage of the
differing functions, energies, and positioning of various word-classes, highlighting the key
element in an expression. Wilson120 notes that polyptotons are particularly effective because the
pun and alliteration serve the same purpose of explaining and emphasizing the meaning of the
phrase.

117
Although it is not certain that mnx.t, "cloth," derives from the same root as mnx, "be excellent," the idea that
cloth is something excellent/effective," does not seem unreasonable. However, even if the two words have different
roots, it does not preclude their use in figures of repetition, which function aurally.
118
Wb II, 85, 30, mnx HkAw is "effective magic."
119
There may also be an allusion to Hathor as Tayet, the goddess of weaving, another uraeus goddess who can be
identified with Hathor, as we saw in an example of antanaclasis in Section 2.2.
120
Wilson, PL xxvii.

28
2.4 True Pun Same or Different Root, Same Sound, Different Meaning (no
repetition)

Puns, which play with sound and meaning, derive their power from their ambiguity.
Identical or similar sounds can bring together two or more meanings, thus revealing that two
things having the same name also share deeper affinities. As noted earlier, Shakespeare was
particularly fond of them, as shown in the famous opening line from "Richard III" (Fig. 2.18):

"Now is the winter of our discontent,

Made glorious by this sun of York."
- Shakespeare, "Richard III"121

Fig. 2.18. Richard III122

The "sun" refers to Richard III, who was the son of the Duke of York. Richard III is notorious
for his skill at manipulating words to suit his own purposes; it is therefore appropriate that the
play introduces him with a pun.
Texts in the Per-wer also exploit the ambiguity of homonyms, creating puns that
communicate layers of theological meaning. However, perhaps because they are not as easily
constructed as antanaclasis or polyptotons, true puns account for only 8% (14) of the word plays.
Returning to the cloth offering on the south wall, we see a good example of this technique in the
text in the Royal Randzeile (Fig. 2.19), describing the King as

Hr sHD Haw m psD

"illuminating (her) body with the
nine-stranded linen"
(D III, 71,6).

Fig. 2.19. South Wall, 2nd Register,

East Side; D III, pl. 190, IFAO

121
Act 1, Scene 1 of "Richard III," first performed in 1594.
122
Anonymous portrait of Richard III, ca. 1520, now in the National Portrait Gallery, London, ref. no. NPG
4980(12), <en.wikipedia.org/wiki/File:Richard_III_earliest_surviving_portrait.jpg>, accessed 4-20-12.

29
The term for "nine-stranded linen" derives from psD, "nine," but its homonym,

psD, means "light." The secondary meaning of the statement can thus be "illuminating
(her) body with light," not only alluding to Hathor's own radiance as a solar goddess, but also to
the fine quality of the linen, called sSp.t, "bright cloth," and HD.t, "bright white cloth," in the
following line (D III, 71,7). Furthermore, HD.t, "Bright One (f.)," is an epithet of Nekhbet, the
goddess with whom Hathor is identified as Lady of the Per-wer, and who flies protectively over
the King in her form as a vulture. This multi-layered pun thus brings in allusions to Hathor's
solar qualities, the quality of the offering, and the connection to the tutelary goddess of Upper
Egypt; it also connects well with the idea that the King is clothing the goddess with brightness,
which is appropriate to her role as Rayet, the female sun.
Continuing the idea of brightness, we see another effective pun on the east wall of the
Southern Niche (Fig. 2.20). In a scene with allusions to the Myth of the Wandering Goddess, the
god Shu returns the Udjat Eye to Hathor, while Ra-Horakhty raises his arms in adoration, stating,

dwn.n=i a.wy=i HA Hr.t-tp m HD=s

"I extend my arms around the
uraeus in her shrine"
(D III, 95,6),

Fig. 2.20. Southern Niche, E. Wall, 2nd Reg; D III, pl. 201, IFAO

the sun god thus embracing his daughter upon her return. The use of HD for "shrine" has an

additional allusion by means of its homonym, HD, meaning "be light, bright."123 Wilson124
suggests that there may be a connection between the two words, due to the "divine glow given
off by images of gods in their shrines." Another writing of HD, "shrine," even employs the sign of

two Divine Eyes residing within a structure, (O337),125 thus visually alluding to the
Right and Left Eyes residing within their chapel. Furthermore, the idea of the uraeus in her
shrine, mentioned the present text, also brings in the image of brightness surrounding the fiery
cobra. By exploiting the aural ambiguity within a single word, the scribe thus created a
multiplicity of allusions, all of which connect to aspects of the goddess.
123
Wb III, 209, 1-8. This writing is attested since the MK. It appears in the expression r-pa.t r Hd n Gb, "hereditary
prince of the shrine of Geb" (Wb III, 209, 5); in a speech of Ma'at from the reign of Ptolemy III Euergetes II at Bab
el-Abd (Urk VIII, 13m).
124
PL 696.
125
Wb III, 1-8.

30
 Another true pun in the Per-wer further enhances our understanding of Hathor's role as a
solar goddess. It appears in a scene from the daily temple ritual, in which the King pulls the door
bolt to open her shrine (Fig. 2.21). In the Divine Randzeile behind the goddess, the epithets
describe her as

nsw.t bi.ty.t Ax.ty.t xa m Ax.t

"The Female King of Upper and
Lower Egypt, the Horizon-
Dweller (f.) who appears in the
horizon."
(D III, 76,12).

Fig. 2.21. West Wall, 1st Reg., 1st Scene; D III, pl. 190, IFAO

The polyptoton on the root, Ax, with Ax.ty.t as the feminine singular nisbe, Ax.ty.t (literally, "She
who is in the horizon"), plays against the feminine substantive, Ax.t, "horizon." As a solar
goddess who rises and sets in the horizon, the epithet suits Hathor quite well. Additionally, Ax.t,
also spelled with the sign of the sun in the horizon, also can designate "temple,"126 thus creating
a homophonic pun. In the context of the present text, the epithet would then describe the
appearance of the goddess as the King pulls the door bolt to open the door and reveal her in the
naos. The idea that the temple is the "horizon" appears as a visual trope in the form of the pylon
at the entrance to the sacred precinct, which is shaped like a horizon with two mountains. As the
liminal space between the human and divine worlds where the deity dwells, the temple can thus
be considered the "horizon," thus lending validity to both translations.
Although Ax.t can mean "horizon" or "temple," its root, Ax, usually spelled with the sign

of the crested ibis, either (G25) or (H2), actually means "to be effective."127 The
quality of being Ax, which can apply to both gods and people, also extends to magical utterances
full of effective power, and thus called Axw. Although Ax.ty.t is usually translated as "Horizon-
Dweller (f.),"128 one could therefore also interpret it as "She who is effective," and Ax.t, as "the
effective place." The idea that she is the "Female Effective One" who dwells in the "Effective
Place" agrees perfectly with the conception of Hathor as the Creator Goddess who dwells in the
Southern Niche of the Per-wer Sanctuary, the seat of Creation.129
Playing with sound and meaning, puns exploit the polyvalence of the Egyptian language.
In the Per-wer, they can help forge connections between an offering and its recipient, or between
an action and its actor. By highlighting and contrasting several techniques in the same
expression, the ancient scribe created striking examples of paronomasia that function on multiple
levels.

126
Allusions to the temple as the horizon are attested as early as the Ramesside Period. See Kitchen, Ramesside
Inscriptions II, 325,9; 361,5, cited in PL 18.
127
Wb I, 13,7 14,25. The root Ax has many homophones, as we will see in a multi-layered example in 2.7.
128
Wb I, 18, 4-5; NK.
129
The god Heka gives Hathor the power of effective speech, as noted in 5.3.2

31
2.5 Close Homophones Different Roots, Close in Sound, Different Meaning

Another type of word play includes paronomasia that works on roots that are different,
but sound almost the same (known as close homophones, heterophones, or imperfect puns).
Some people would call them bad puns. An example is the statement (Fig. 2.22),

A shotgun marriage is a matter of wife or death.

- Anonymous

Fig. 2.22. "Shotgun Wedding" Cake Topper130

The words, wife, and life, sound different, but they are similar enough for one to suggest the
other. This type of paronomasia is usually restricted to instances where there is a reason to
highlight the different sound. In this case, it emphasizes the result of a forced marriage. At
Dendera, there are examples of close homophones in antanaclasis, polyptotons, and true puns.131
The following section looks at an example from each of these three categories.

130
"Shotgun Wedding" Cake Topper, displayed at brideorama.com, accessed 1-21-12.
131
In the statistical analysis of word play in the Per-wer, an example of close homophones is considered a sub-
category of the larger category in which it occurs: antanaclasis, polyptotons, or true puns; its percentage within that
category is indicated.

32
2.5.1 Antanaclasis ("fear is fear") with Close Homophones (Similar-sounding
Roots, Same Form, Different Meaning)

An example of antanaclasis on close homophones occurs in an offering of nms.t-jars of

primordial water in the base of the south wall (Fig. 2.23). Ihy, who stands before his mother, Isis,
says,

Fig. 2.23. South Wall, Base, West Side; D III, pl. 190, IFAO

mni.t m iAb(=i) Hr dr [m]n.t

"the menit is in (my) left hand, driving away distress"
(D III, 75,6).

The term, mn.t, "distress," or "sadness,"132 is a negative quality that must be driven away from
the goddess, so that she will be in a pure state and thus able to return to her sanctuary and resume
her place on her father's brow as the uraeus. The similarity in sound of mni.t ("menit") to mn.t
("distress") gives magical effectiveness to the menit, intensifying the statement that it drives
away the negative qualities of impurity, sadness, and disease inherent in mn.t. Due to its
apotropaic qualities, an offering of the menit to the goddess usually causes her to give protection
in return.133

2.5.2 Polyptoton ("choosy choose") with Close Homophones (Similar-

sounding Roots, Different Form, Different Meaning)

An example of a polyptoton with close homophones occurs in an adoration text spoken

by the king for Hathor, located on the east door jamb of the Per-wers entrance door (Fig. 2.24).
He says,

132
The scribe erroneously wrote mn.t as rather than perhaps , although the more usual spelling of mn.t

at Dendera is (e.g., D I, 39,8; 131,12; 136,7; 154,4 ). However, mn.t and mni.t regularly appear together
in word play; the expression dr mn.t, "drive away distress," is frequent in menit offerings. For example, the speech
of Ihy in an offering of the sistra and menit to Hathor in the Temple of the Sistrum (the H.t mni.t, Chassinat's
Chamber L) includes the expression, dr mn.t m ib n nb(.t) mni.t, "driving away the distress from the heart of the lady
of the menit" (D III, 131,12). The term, mn.t, can denote both mental and physical distress. See Wb II, 67, 6-18.
133
In the menit offering in the 2nd register of the east wall of the Per-wer, Hathor gives protection against the
enemies of Osiris and protects her father Ra (D III, 70,3-5).

33
 sqA=i kA=t r qA n p.t
I make high your
ka to the height of
heaven
(D III, 56,7).

Fig. 2.24. Per-wer Entrance; D II, pl. 94, IFAO

The two occurrences of root, qA ("be high"), first as the causative verb, sqA (make high), and
then as the substantive, qA (height), create a polyptoton. These two forms of be high bracket
the word, kA (the soul" or "embodiment of Hathor), thus emphasizing the height to which the
king praises her. The word, kA, sounds very similar to the root meaning be high, but it comes
from a different root and has a different initial consonant. There is a rhythm to this expression,
emphasizing the element, kA, three times. Additionally, the hieroglyph of a man raising his arms
in adoration, on either side of the kA of the goddess, creates the visual image that she is
surrounded by praise.134

2.5.3 True Pun ("sun/son") with Close Homophone (Similar-sounding Root,

Same Form, Different Meaning) (no repetition)

An example of a true pun on a close homophone occurs on the east side of the bandeau of
the frieze on the outer entrance of the Per-wer (Fig. 2.25). Functioning as a label of identification
and ownership is the following description of the Per-wer:135

134
Other close homophones in the Per-wer sanctuary include the following: m-n=t mni.t, "Take for yourself the
menit necklace" (D III 52,7); Hnw.t nb.t hy, nb.t hnw, "Mistress and Lady of Exultation, Lady of Jubilation(D III,
58,11); dwA.n=i kA=t r qA n p.t, "I praise your ka to the height of heaven (D III, 68,11). There are also close
homophones over a colon: wr.t bAw r nTr.w nb.w, Dd.tw nbw.t nb.t iwn.t, "whose power is greater than all the gods,
one calls you Lady of Dendera (D III, 80,4); sqA kA=s, "who makes high her ka" (D III, 76,9). It is interesting that
the menit offering in the Per-wer contains two examples of close homophones: m-n=t mni.t, "Take for yourself the
menit necklace" (D III, 69,15); nbw.t nb.t mni.t, "Golden One, Lady of the Menit (D III, 69,16).
135
Note that the hieroglyphs are read from right to left, but that the second and third instances of Nbw.t, "Golden
One," are written so that the ideogram faces in the opposite direction from the rest of the glyphs. This technique,
called "reversal," allows the image of the goddess to face away from the center of the door, as if she is looking
outwards from her sanctuary. We will discuss this example of "sign play" in the next chapter, in Section 3.1.2.

34
 (Read from right to left)

pr-nbw.t n nbw.t nbi m nbw,

nbw.t nTr.w wbn m-xnt=f
"The sanctuary of the Golden One (is) for
the Golden One, gilded with gold, the
Golden One of the gods shines in it"
(D II, 3,6)

(D II, 3,6).

Fig. 2.25. Per-wer Entrance; D II, pl. 94, IFAO

This complicated construction contains several interwoven stylistic figures, all of them playing
on words associated with gold: nbi, "to gild," and the substantive, nbw, "gold." There is a triple
repetition of Hathor's ubiquitous epithet, nbw.t, "Golden One," which also appears in pr-nbw.t,
"Sanctuary of the Golden One." The addition of nbw, "gold," creates a polyptoton; nbi, "gild,"
then adds an imperfect pun. The fivefold repetition of nb and the additional turns in meaning
between "Golden One," "gold," and "gild," are insistent in their emphasis on the solar nature of
the goddess. Not only is she golden, but the sanctuary is also gilded with gold (nbi m nbw).
The decoration of the chapel thus mimics Hathor's radiance. The net effect is that everything
"shines like gold" because psD.t, "the Shining Uraeus" shines within it (D II, 3,7).
By employing close homophones in figures of repetition, like antanaclasis and
polyptotons, as well as in true puns, the ancient scribes increased the possibilities for creating
paronomasia. Although the sounds of the roots are not identical, there is enough similarity for
the stylistic figures to function properly; plays on different roots add additional layers of
meaning. The combination of repetitive sounds and turns of meaning thus cleverly emphasize
important themes and actions, creating statements that are dense with theological meaning.

35
2.6 Types and Distribution of Word Play in the Per-wer

Having defined the major categories of paronomasia that I studied in the Per-wer, we can
now take a brief look at their overall use in the sanctuary (Fig. 2.26).136

Types of Word Play in the Per-wer

Antanaclasis
8% (14)
("fear is fear")
17% (28)
Polyptotons
("choosy choose")
22% (37)
Repetition
("rapping, rapping")
54% (90)
True Puns
("sun/son")

Fig. 2.26. Types of Paronomasia in the Per-wer Sanctuary

Of the 80 scenes and text groups in the Per-wer, 69% (55) contain word play, for a total of 179
individual examples. Repetition (ploce) occurs in 21% (37); Antanaclasis makes up 17% (30), of
which 37% (11) occur on close homophones. Polyptotons make up 50% (89), of which 9% (8)
are on close homophones. True puns make up 8% (14), of which 7% (1) is on close homophones.
Polyptotons make up such a large percentage of the word play perhaps because syntactical
variations on a root are particularly versatile.

136
A more detailed listing of word play in the Per-wer appears in Appendix 1.

36
 Frequency of Word Play in a Single
Scene
16
14
Number of Scenes

12
10
8
6
4
2
0
1 2 3 4 5 6 7 8 9 10
Examples of Word Play

Fig. 2.27. Frequency of Word Play in a Single Scene

As shown in this chart, most scenes in the Per-wer sanctuary with word play contained
only a few examples of word playusually a polyptoton reflecting some aspect of the offering
given. There was, however, one scene that contained an astounding ten examples of
paronomasia, including eight polyptotons and two examples of antanaclasis. It shows the king
making a funerary offering of fresh bread.137 The use of word play in funerary offerings has a
long history, beginning with the Pyramid Texts, so its frequency in this scene may simply reflect
this tradition.

137
West wall, 3rd register of Per-wer, in D III, 84,13, pl. 190; Cauville, Dend Trad III, 158-161.

37
 Frequency of Roots Used in Word Play

12

10
Number of Examples

0
nb Ax Sps nTr mAa psD qA wDA iHy
Roots

Fig. 2.28. Frequency of Roots Used in Word Play in the Per-wer Sanctuary

In addition to some scenes having more examples of paronomasia than others, some word
roots appear more often as well. Word play can be created more easily on some roots than others,
especially if they have a high number of homonyms. Fig. 2.28 shows the frequency of the "top
ten" most "popular" roots for forming paronomasia in the Per-wer sanctuary. The root nb/nbw
(meaning "lady," and by close homophone, "gold"), with its many uses in Hathor's epithets
concerning gold, has the highest number of word plays, appearing in eleven separate examples.
The root, Ax, ("shining," or "effective") is a close second; we will see more of this root in an
important scene from the Per-wer. The next most common root is Sps ("noble"), with ten
examples.
We will now examine a scene at Dendera to see how the layers of meanings, carried on
aural and visual levels within paronomasia, work together to transmit important theological
information.

38
2.7 Multi-layered Example in the Per-wer

Fig. 2.29. Southern Niche, East Wall, 2nd Register; D III, pl. 201, IFAO

Returning to our udjat offering scene from the Per-wer (Fig. 2.29), which we saw in 2.3,
we recall that the text began with the Kings words to Hathor:

m-n=T wDA.t wDA.ti m irw=s

"Take to yourself the Udjat-Eye, whole in its form." (Dendera III, 94, 14-15)

It continues with

Ax.t Ax.ti m Axw=s

"the Divine Eye, effective in its Axw-power" (Dendera III, 94,15)

This example is even more striking than our previous ones, because it contains three elements,
all of which are syntactical variations on the verbal root, Ax, meaning "effective" or "shining."
The first instance is the feminine substantive, the Ax.t, or "Divine Eye," followed by the stative
"(being) effective," and ending in an adverbial phrase with the substantive, Axw ("divine,
magical, or creative power").
This scene is particularly important, since it recalls the moment when Hathor, who had
wandered south to Nubia as the lioness Tefnut, finally returns to Egypt in the company of
Thoth and Shu; she is welcomed home by her father Ra, the sun god. This southern sojourn and
northern return mirrors the yearly path of the sun; her arrival in Egypt marks the summer
solstice, when the sun reaches its northernmost point. Not only are the main protagonists from
the myth present in this scene, but the text states that Horus Behdety, equated with Ra-
Horakhty, enfolds the goddess in his arms, as the Eye is returned and protected. Thus, the
offering of the udjat to Hathor symbolizes the return of the goddess (as the Udjat) to her
rightful place as the Uraeus on the brow of her father Ra, allowing the restoration of cosmic

39
order. The polyptoton brings this important offering into prominence, but a closer look reveals
some additional allusions related to the goddess and her role in Egypt and the cosmos.
In Ptolemaic, the phonogram, Ax, often written with the head of a crested ibis, as noted
earlier, can be used to write a number of homonyms, their different meanings sometimes
distinguished by the appropriate determinatives (Fig. 2.30). Therefore, the first element in the
phrase, Ax.t, can, by allusion, be any of the following:

Ax.t Ax.t Ax.t Ax.t

Divine Eye Shining One Uraeus Akhet-cow

Fig. 2.30. Homonyms for Ax.t

It can be the "Divine Eye," as we saw, but also, "the Shining One," both of which are epithets of
Hathor as the Eye of Ra, who illuminates the land with her light. In our text Hathor is
specifically called "The Solar Feminine Disk"; in the symmetrical scene on the west wall, she is
called, Ax.t m p.t, "The Shining One in the sky." Her role as the uraeus, another homonym of Ax.t,
appears in our text in her epithet, "The uraeus who shines on the forehead of Ra." One of her
most well-known manifestations is a cow, also called an Ax.t. She is Ax.t mnx.t m nTr.w, "the
Excellent Cow among the Gods," in an offering scene of milk on the east wall of the Per-wer (D
III, 69,12). Additionally, the word Axw (used at the end of the statement), also has a number of
homonyms (Fig. 2.31):

Axw=s Axw=s Axw=s

Her Creative Her Spells Its Elements
Power (Divine Eye)

Fig. 2.31. Homonyms for Axw=s

It means "magical, creative power," as we saw in the primary translation. Hathor transfigures
her body by means of Axw=s ("her magic") in a text in the chapel immediately west of the Per-
wer (D III, 5,5); Axw can also mean "glorifications," or "spells"the effective words spoken by
the king to the goddess. On the interior framing of the door jamb at the entrance to the Per-wer,
the king invokes her statue with DAis.w Ax.w, "magical formulas"138 (D III, 57,7). Finally, Axw
can be "elements," referring again to the parts needed to make the Eye of Horus whole and
complete.

138
DAis.w are personified spells or words, regarded as gods of writing. See Cauville, Essai dHorus, 129.

40
 Thus, our simple phrase, Ax.t Ax.ti m Axw=s, by means of the many homonyms on the
elements of the polyptoton, has the ability to allude to the goddess in her different aspects and
roles (Fig. 2.32). For example, one could interpret the phrase as "The Uraeus is luminous in her
divine power," or "The Cow is effective in her creative power," or even, the "Shining One is
luminous in her magical spells."

Ax.t Ax.ti m Axw=s

Divine Eye in its elements (Divine Eye)

Shining One is effective
in her creative power
Uraeus is luminous
in her magical spells
Cow

Fig.2.32. Multiple Interpretations of Dendera III, 94,15.

These implied meanings behind the kings speech connect his offering of the udjat with Hathors
multiple manifestations and with her protective power. His own words thus become Axw (magical
spells) that are Ax.ti (effective). By calling to mind so many of her aspects and characteristics, the
Kings words would have pacified and delighted the goddess, causing her to reward and protect
him and his people.

2.8 Summary

The tradition of effective speech and the oral element in ritual texts encouraged the use of
paronomasia functioning on multiple phonetic and semantic levels. Due to an increase in the
number of hieroglyphic signs during the Ptolemaic era, expanded possibilities arose for word
play, which could emphasize important concepts, characteristics, and roles. Homonyms and
visual puns added allusions, supported by statements elsewhere in the texts, and unless the
paronomasia elaborated on a concept directly related to the scene, it was not employed. These
observations suggest that paronomasia in the texts was intentionally added by the ancient scribes
in order to emphasize important themes and actions, and create statements that carry within them
a wealth of theological meaning.

41
 Chapter 3
Sign Play in the Per-wer

3.0 Introduction

Whether in print or on the web, the combination of text and image can be an effective
way to convey a message. By changing the shapes of letters, a word can be made to visually
embody the idea behind it, as in these three examples of the words, wave, snap and
mummy (Fig. 3.1). The manipulation of the letters thus extends the communicative potential of
the writing.

Fig. 3.1. Words visually embodying their meaning through graphic means139

Being a pictorial writing system, Egyptian hieroglyphs naturally integrate both text and image to
convey a message.140 However, in Egyptian thought, the signs were not just symbolic
representations, but equal to the objects they depicted, and thus capable of action.
The belief in the efficacy of written images was so strong that from the Old Kingdom
onward, a special practice developed for texts in funerary monuments. Images of men and
animals considered dangerous would be truncated, nullified with knives, or even cut in half, just
so that they would not present a threat to the deceased (Fig. 3.2).

Fig. 3.2. Quail chick, man, crocodile, and viper nullified by various graphic means.141

139
Examples from www.logopond.com. The undulating font of the word, "wave," in the first example visually
replicates the meaning of the word. "Wave" logo by Jan Zabransky; "Snap" logo by George Bokhua,
www.creative.ge; "Mummy" logo by Gustav "Hemisferiod."
140
See Baines, Communication, 471-482.
141
Examples from WinGlyph, H39; D77; C13; Lacau, Suppressions, 56. Some animals were considered
"dangerous" to the deceased, because they might try to eat the offerings. In Fig. 3.2, the spears piercing the crocodile
would cause its incapacitation. See also Teeter, Writing, 156, with a photo depicting the writing of the verb, dn,
meaning "cut off (the head)," in the 18th Dynasty Theban tomb of Kheruef (TT 192), its determinative being the
sign of a snake with a knife cutting off its head, as well as two more knives slicing through its body, thus rendering
it harmless to the tomb-owner.

42
 The written name, as the embodiment of a person's existence, was also more than mere
identification. Its erasure on a tomb wall or monument would prevent the deceased's enjoyment
of the offerings depicted; the systematic destruction of the name could even deny him an
Afterlife.142 The idea of damnatio memoriae also extended to kings and gods. Late in his reign,
Thutmose III tried to obliterate the memory of Hatshepsut's rule by removing her name and
image from any monument representing her as a female king.143 Similarly, during his ruthless
promotion of the exclusive worship of the Aten, Akhenaten had the name of Amun-Ra erased
throughout the Nile Valleyeven within the tombs of private individualsin order to deface
any name (or word) that happened to include the element, "Amun."144
The performative power inherent in the writing of a name or the drawing of a hieroglyph
was therefore an important consideration, especially in the composition of funerary and religious
texts. When an ancient scribe chose to write a word with particular signs, or rearranged them to
form visual patterns, he was not manipulating mere symbols, but constructing an effective,
magically powerful statement. Furthermore, because temple texts also originated in words
spoken or sung during the performance of a ritual, the inscriptions on the walls powerfully
worked on both aural and visual levels.
As early as the Pyramid Texts, the scribes employed such visual poetry, or sign play, in
both religious and secular literature,145 but it was especially popular during the Ptolemaic and
Roman eras.146 Because the hieroglyphic writing system at this time reached its zenith of
complexity, with a ten-fold increase in the number of signs and the values that they could hold,
the scribal "playing field" for creating polyvalent expressions increased as well. This textual
creativity extended not only to plays on sound and meaning, as we saw in the word plays of the

142
Wendrich, Archaeology, 206. For a criminal convicted of a serious offense against the State, this idea extended to
changing his name to a negative form, e.g. the name of the pantry chef, who took part in the Harem Conspiracy that
resulted in the death of Ramesses III, was listed in the official record as Pai-bak-kamen ("that blind servant"), which
was probably a corruption of the more positive, Pa-bak-amun ("the servant of Amun"). In this way, the real name of
the convicted criminal would be forgotten; he would also be denied the protection of his patron deity. See Redford,
Harem,72-73. Erasures of the name of the tomb owner occur in almost every inscription in TT 147; we only know
that it belonged to a man named Neferrenpet because one was overlooked. Ockinga, Theban Tomb 147, 121-129;
idem, Erasures Revisited, 139-144. Similarly, the name and figures of Hezi, the Vizier of King Teti during the 6 th
Dynasty, were chiseled out everywhere in his tomb at Saqqara except on the lintel in his chapel. Kanawati suggests
that Hezi may have plotted against the king and was thus punished so that his access to the world of the living would
be denied. See Silverman, Threat Formula, 1-3, Fig. 2a; Williams, Death on the Nile, 2-25; Kanawati and Abder-
Razik, Tomb of Hezi.
143
Depredations of Hatshepsut's monuments took place no earlier than Regnal Year 42 of Thutmose III, at least 20
years after her death; her figure was usually replaced not by that of Thutmose III, but by the name of his father or
grandfather, leading Dorman, Hatshepsut, 267-269, to suggest that the king was trying to rewrite the recent history
of his dynasty, perhaps to discredit the legitimacy of a rival for the succession to the throne (who may have been
related to Hatshepsut through her mother, Queen Ahmose). See also Robins, Art, 129, and fig. 145, showing the
removal of Hatshepsut's Horus name, throne name, and given name on the lintel of a statue niche in her funerary
temple at Deir el-Bahari, with the names of Thutmose III on the symmetrical inscription remaining intact.
144
This systematic effort to erase the name of Amun-Ra began in earnest during Akhenaten's 9th Regnal Year; many
private tombs suffered damage, including TT 54, 56, 75, 82, 90, and 127, as noted by Eaton-Krauss, Erasures, 198.
After his death and the restoration of the traditional religion, Akhenaten himself suffered much the same fate, with
the demolition of his monuments (ending up as fill in Karnak's Tenth Pylon) and the omission of his name from the
King's List in the Tomb of Seti I at Abydos. See Eaton-Krauss, Erasures, 196. For the mutilation of texts in a
broader historical and cultural context, see van Peer, Mutilated Signs, 38-55; Hari, Demnatio Memoriae, 95-102.
145
Pierre-Croisiau, Jeux graphiques, 355-362.
146
It was also popular during the NK. Vernus, L'ambivalence, 61-65, discusses scribal exploitation of polyvalent
signs, with examples from OK through LP. See also Morenz, Sinn und Spiel.

43
previous chapter, but also to sign plays, which can add visual emphasis and mythological
allusions, forming observable patterns that arrest the reader's attention.

3.0.1 Previous Studies

During the 19th century, many of the scholars who took the first tentative steps towards
understanding the ancient Egyptian language did not hold the hieroglyphic inscriptions of the
Graeco-Roman era in high esteem. Even though Ptolemaic Egyptian had played a key role in
Champollion's decipherment of the Rosetta Stone,147 in comparison to the writing on more
ancient monuments, he found it to be "mauvaise" and "barbare," concluding that it must be a
type of "l'criture secrte."148 This opinion held sway among subsequent scholars, such as Roug,
who in 1867 remarked that the graphical plays of uncommon signs and new phonetic values
were "vritables nigmes," intentionally unintelligible to the ordinary reader.149 Brugsch also
considered it to be "secret writing," but noted that many of its signs carried values that could be
traced to the Ramesside Era.150 In 1889, Loret suggested that the Graeco-Roman hieroglyphs
became so increasingly complicated that eventually they were indecipherable even for the
Egyptians themselves."151 This limiting attitude discouraged the search for system within the
complexity; it has persisted despite later advances in our knowledge of Ptolemaic writing.152
Although Lepsius corrected and expanded Champollion's system of interpreting the
hieroglyphs,153 it was only with the publication of a vast quantity of Ptolemaic texts during the
latter half of the 19th century that scholars began to have the resources necessary to carry out a
more thorough examination of the laws governing the writing, particularly that of Ptolemaic
inscriptions.154 Exploiting this new source material, Junker initiated the scientific study of the

147
See Parkinson, Cracking Codes, 12-45.
148
Champollion, Grammaire, 1836, 535.
149
Roug, Chrestomathie I, 1867, 112, p. 144.
150
Brugsch, Grammaire, 1872, 114-132. The purpose of the playful Ramesside-Era "cryptographic" writings were
not for concealment but to gain attention, and perhaps admiration, for their ingenuity, since parallel texts in "plain
writing" usually appeared together with them. Darnell, Solar-Osirian Unity, 3-4, states that the "increases in the
numbers of signs and values resulted directly from the incorporation into the normal hieroglyphic sign list of sign
values derived through principles earlier applied most freely in cryptography." However, certain signs that became
cryptographic in the hieroglyphs did not become so in the hieratic; the use of cryptographic signs vs. normal signs
depended on genre and decorum, as noted by Prof. Jacco Dieleman, February 26, 2008, private conversation. Thus,
if the cryptographic choice was not available in the hieratic and the scribe chose to employ it in the hieroglyphs,
there was a conscious decision to do something with it. See also Baines, Decorum, 7-21.
151
Loret, Manuel, 1889, 19.
152
Erman, Religion, 368, referring to Ptolemaic temple inscriptions, states that in place of the ancient hieroglyphs,
the priests put a new type of writing, "which was so arbitrary that it was readable only for initiates." Remarkably,
this idea persists even today, as shown by Kurth, Treffpunkt, 13-14, who discourages the reading of the inscriptions
of Edfu, "Denn ein uerst eigenwilliges Schriftsystem macht die Texte schwer zugnglich."
153
Parkinson, Cracking Codes, 42, notes that Lepsius established the existence of bi- and tri-consonantal signs, as
opposed to a system consisting of a multitude of alphabetic signs. Champollion's Grammaire gyptienne was
published posthumously in 1836[-1841].
154
These early publications include Dmichen, Tempelinschriften, 1867; idem, Baugeschichte Denderatempels,
1877; Naville, Mythe d'Horus, 1870; von Bergmann, Inschriften, 1879, de Roug, Edfou, 1880; Mariette, Dendrah,
Vol. 1-5, 1870-1874; Rochemonteix, Edfou, Fasc. 1, 1897. The earlier publications were an eclectic mixture of
material from diverse sources, assembled according to the interest and whim of the scholar. In 1894, Rochemonteix,
Oeuvres diverses, 1-38, observed that each temple, being a unified whole representing the cosmos, required its own
publication; the layout of his first volume of Edfu encouraged other scholars to integrate texts, reliefs, and
architectural plans in their publications (e.g. Bndite, Philae). Together with the IFAO, Chassinat created a

44
writing system at Dendera with his 32-paged, hand-written doctoral thesis, defended in 1903.155
He judged that the writing, especially in the bandeaux,156 was "decorative," rather than purposely
cryptic, noting that parallel texts elsewhere in the temple expressed the same things in "normal"
writing.157 He rightfully asked, "Welchen Zweck htte es vollends gehabt, in den Crypten, in die
kein Unberufener eindringen durfte, Texte, dazu ganz belanglosen Inhaltes, also zu
verschleiern?"158 He noted the abundance of signs carrying alphabetic values, derived
metaphorically;159 he observed that graphic peculiarities, rather than being "sinnlose Spielerei,"
were an expressive medium for visually conveying additional meaning.160 A few years later,
Junker followed up these preliminary observations with a comprehensive investigation of the
texts at Dendera,161 resulting in the only grammar of Ptolemaic writing until Kurth's publication
in 2008.162
The next great leap in our understanding of the Ptolemaic writing system came several
decades later in the work of Fairman, who made a systematic study of the phonetic values of

standard font for reproducing hieroglyphs (Chassinat, Catalogue des signes, 1907; idem, Supplement, 1930); his
publication of Dendera, beginning in the 1930's, increased the scholarly standard for accuracy. See Kurth, Research,
154; Sauneron, L'criture ptolmaque, 30.
155
Junker, Schriftsystem Dendera.
156
The bandeaux, or "stringcourses," are located above and below the ritual scenes on a wall. See Fig. 3.3.
157
Junker, Schriftsystem Dendera, 13.
158
Junker, Schriftsystem Dendera, 12, with reference to Mariette, Dendrah III, 15 and 70. For a discussion of
literacy, especially among various classes of priests, see Baines and Eyre, Literacy, 71, who notes that in Appeals to
the Living (inscriptions on funerary stelae encouraging passersby to read offering formulae), there are cryptographic
texts meant to spur the reader to solve the puzzle. See Scharff, Denkstein, 104-105 (line 11 of the stela), discussed
by Darnell, Solar-Osiris Unity, 477-478 and n. 117. In religious texts, the purpose of cryptography is usually not to
conceal meaning, as shown by parallel texts in plain writing of the Amduat in NK royal tombs (e.g. KV 34 of
Thutmose III; see Richter, Amduat, 82) and in the cryptography at the base of the four walls of the Southern Niche
in the Per-wer (D III, 96,10), which is repeated in ordinary writing in the columns framing its east and west walls (D
III, 96,15). Darnell, Solar-Osirian Unity, 479-480, observes that NK cryptography appears in texts concerning solar
regeneration and the crossing of cosmic boundaries; it is located in liminal areas associated with the crossing of
boundaries between this world and the next. The cryptography in the Per-wer's Southern Niche suggests a similar
association, as discussed in 3.7.
159
Junker, Schriftsystem Dendera, 23-40.
160
Junker, Schriftsystem Dendera, 23 and 32, notes that groupings of Ptolemaic signs can convey meaning beyond
the phonetic information carried by the sign. Despite this observation by Junker, a disdainful attitude toward
Ptolemaic hieroglyphs persisted among scholars. In 1934, Erman, Religion, 368, complains that the system was
"arbitrary," stating that the GR priests "hatten an die Stelle der alten Hieroglyphen eine neue Art gesetzt, die sich so
willkrlich handhaben liess, dass sie nur fr Eingeweihte lesbar war," adding sarcastically, "Wie schn, wenn sie
nun ein und dieselbe Inschrift zehnmal nebeneinander schrieben und dabei doch bei jedem Male sich anderer Worte
bedienten." In 1937, Grapow, Sprachliche Formung, 55, had much the same opinion, expressing disappointment that
a list of Hathor's names at Dendera began each column with a different writing of @.t-Hr, so that the "harmonisches
Schriftbild" was "absichtlich zerstrt," evidently not aware that the variations in signs allow visual allusions to the
different manifestations of the goddess, e.g. her form as the uraeus, when writing her name as (Mariette,
Dendrah I, 25-26 = D IX, 26-29). For an interesting study of the epigraphic aspects of Ptolemaic script and its
development over time, see Derchain-Urtel, Epigraphische Untersuchungen.
161
Junker, GdD, 1906. Although Dendera's texts have much in common with those of Edfu, there are still some
nuanced differences; the examples in Junker's grammar come entirely from Dendera, so it is still a useful resource
when studying these texts. Junker followed these grammatical studies with important analyses of myths in the
temples of Dendera, Edfu and Philae: Junker, Stundenwachen, 1910; idem, Auszug, 1911; idem, Abaton, 1913;
idem, Onurislegende, 1917.
162
Kurth, EP, which focuses primarily on examples from the Temple of Horus at Edfu.

45
signs in the texts at Edfu.163 By careful analysis of their means of derivation, he showed that the
writing system, rather than being "willkrlich,"164 has a logical foundation, employing the same
procedures that had always governed the use and selection of hieroglyphic signs. Fairman
stressed that the major difference between Ptolemaic Egyptian writing and the writing of earlier
stages of the language was its greater number of signs and its archaistic tendencies, which
revived processes no longer used in classical Egyptian.165 The result was a system that
foregrounded three characteristics reflecting the earliest stages of hieroglyphic writing: its origin
in pictures (leading to the increased use of ideograms); its consonantal nature; the use of rebus or
puns to form signs and their values.166 Fairman's classifications and explanations of phonetic
derivations, accompanied by numerous examples, were the first step in providing the necessary
philological tools for deciphering unusual signs and understanding the principles behind their
creation.
Almost a decade later, Gutbub explored Junker's earlier suggestion that groupings of
signs can add meaning beyond phonetic information, presenting an important study of graphical
plays in the texts of Edfu and Dendera, which he labeled "jeux de signes."167 He showed that just
as word play can bring together similar-sounding words, sign play can also unite the signs used
to write the words. Although a frequent phenomenon of Ptolemaic temple texts, this technique
had not yet been investigated. Gutbub's analysis of sets of signs, grouped typologically, revealed
a wealth of visual strategies employed by the scribes. Some of these devices are well known,
such as the strings of ideograms in the decorative bandeaux of the temple walls. Others, such as
the "attraction" to a sign influencing the choice of a phonogram or determinative in nearby word,
are more obscure.168 Many of these techniques involve types of visual repetition, recalling the
alliterative aspect of word play, discussed in the previous chapter. All of these factors led Gutbub
to stress that sign play is a true stylistic process that is comparable to figurative expressions and
thus cannot be neglected in the interpretation of a text.169

163
Fairman, Alphabetic Signs, 1943; idem, Ptolemaic Signs, 1945. As noted in idem, Alphabetic Signs, 194-195,
Fairman limited his examples to E III-VII due to the poor accuracy of the first two volumes and the scribal
"corruptions" of E VIII. Cauville and Devauchelle published a corrected edition of E I-II in 1984-1990; Kurth
published E VII and VIII in 2004 and 1998, respectively.
164
Erman, Religion, 368, notes that although the walls of the Ptolemaic temples were filled with inscriptions
containing sacred knowledge, the priests did not fear that these great secrets would be read by laymen, "denn sie
hatten an die Stelle der alten Hieroglyphen eine neue Art gesetzt, die sich so willkrlich handhaben liess, dass sie
nur fr Eingeweihte lesbar war."
165
Many of these signs and values first appear in the NK, when such principles had been freely applied to create
"cryptographic" texts, as noted by Darnell, Solar-Osirian Unity, 4. These came into the "repertoire" of values from
which a temple scribe could choose when writing a particular phrase, the polyvalency of the values facilitating the
creation of aural and visual puns. Drioton, Acrophonique, 339-340, who specialized in Egyptian cryptography of
various eras, maintains that the values in Ptolemaic writing are fossilized cryptography from earlier eras, which was
incorporated into normal writing. Sauneron, L'criture ptolemaque, 55, disagrees, citing the fact that Ptolemaic
writing continued to develop and diversify itself throughout its five centuries of use, with various schools in each
temple having individual peculiarities in the choices of signs and their values. Fairman, Ptolemaic Signs, 55, sees
the development of Ptolemaic as a logical continuation of a manner of writing that became increasingly common in
the Late Period, rather than a prefabricated type of writing with loans from more ancient lists of cryptographic
values. This evaluation agrees with that of Sauneron.
166
Fairman, Ptolemaic Signs, 131.
167
Gutbub, Jeux de signes, 1953.
168
Attraction is discussed in 3.5.
169
Gutbub, Jeux de signes, 99-100.

46
 Since Gutbub, the most important contribution to our understanding of Graeco-Roman
orthography has been Sauneron's study of the litanies at Esna, published posthumously in
1982.170 He agreed with Fairman that the writing was the renewal and enrichment of an ancient
graphical system, whose increase in the numbers of signs and their polyvalency encouraged the
creation of orthographic puns; he demonstrated this tendency by a list of divine names in which
the spellings correlate with ideas expressed in the epithets.171 He noted some interesting features
at Esna, such as the "perturbation" of signs,172 the existence of "parasite" signs,173 and the use of
group writing, recalling a similar technique in Demotic.174 He also showed that Esna's writing
exhibits an increase in the use of alphabetic signs, compound signs, and the insertion of one sign
within another, similar to Dendera's texts. In the context of the present study, Sauneron's research
was informative in showing the individuality of scribal practices from temple to temple (Esna's
texts displaying some visual techniques not present at Dendera), as well as the continuing
development of the system.175
Since Sauneron's publication, only a handful of scholars have continued the exploration
of visual techniques in Ptolemaic writing. The most useful for the present study has been Kurth's
much-needed update and expansion of Fairman's derivation principles for assigning sign
values.176 Other studies include those of Felber,177 Derchain-Urtel,178 Cauville,179 Morenz,180 and
Preys.181 Except for Sauneron's study of the litanies at Esna,182 the usual practice is to select
individual examples in order to illustrate a particular technique, thus separating them from their
context. In the case of temple texts, which function in relation to their architectural placement on
a wall, the scene in which they are found, and the scene's symmetrical partner, this lack of
context can obscure much of the function and meaning of the expression. These factors
motivated me to make a comprehensive analysis of sign play in a unified architectural unit such

170
Sauneron, L'criture figurative.
171
Sauneron, L'criture figurative, list of epithets: 59-79; discussion: 56-58.
172
Placement in a different order than usual for the signs spelling a word. See Sauneron, L'criture figurative, 87-88.
173
Inclusion of phonetic complements of bi- and tri-literals, which are not part of the writing of the word. See
Sauneron, L'criture figurative, 89-90.
174
Inclusion of the phonetic complement and determinative of a word, whose cryptographic value is only a simple
alphabetic or bi-literal value. In Demotic, some words are reproduced by means of a ligature that may include
unnecessary phonetic complements or determinatives. See Sauneron, L'criture figurative, 96-98; Pestman, Jeux de
dterminatifs, 1973; Zauzich, Schreibungen, 1987.
175
Esna's texts were composed around 100 years after Dendera's.
176
Kurth, Lautwerte, 1983, plus its supplement, idem, Lautwerte Nachtrag, 1988. Kurth updates Fairman's list by
including the acrophonic principle, a concept that was the focus of an acrimonious debate between Fairman and
Drioton during the 1940's. Drioton insisted that Ptolemaic signs acquired their values by means of the acrophonic
principle (by which the sign retains the first consonant only, whether strong or weak); Fairman dismissed Drioton's
claim, insisting that only the consonantal principle (by which the semi-vowels A, i, w, and final r and t fall away,
leaving only the strong consonant) was involved. Sauneron's work with Esna's texts proved that both principles
exist. For the debate, see Fairman, Ptolemaic Signs, 51-54; 133-137; Drioton, Procd acrophonique, 319-349.
Kurth, Lautwerte, 307, also discusses the purpose behind the development of the complex Ptolemaic writing,
suggesting that the scribes wanted the signs to carry meaning, in addition to the phonetic and syntactic information.
177
Felber, Mischschreibungen, 1990.
178
Derchain-Urtel, Schriftspiel, 1974, and idem, Schrift und Spiel, 1978, concerning sign plays at Esna; idem,
Epigraphische Untersuchungen, 1999, which compares the hieroglyphs on GR stelae from Akhmim.
179
Cauville, Exigence dcorative, 2002.
180
Morenz, Sinn und Spiel, 2008, and idem, Visuelle Poesie, concentrate mostly on pre-Ptolemaic cryptographic
inscriptions.
181
Preys, Jeu de signes, 2009.
182
Sauneron, L'criture figurative, 56-79.

47
as the Per-wer Sanctuary, in order to gain a fuller understanding of the function and purpose of
this visual scribal technique in the Ptolemaic temple texts.

3.0.2 Methodology

For the study of sign play in the Per-wer, I employed a methodology similar to the one
used in the analysis of word play. Utilizing the texts and photographs in the publications by
Chassinat183 and Cauville,184 and selecting the classifications of Gutbub185 that corresponded
with devices observed at Dendera, I proceeded to identify and classify every example of sign
play in the Per-wer, creating a database organized according to typology. Next, I correlated the
ways in which individual examples of sign play related to the scenes in which they were found.
Of the 80 scenes and text groups in the Per-wer, 76% (i.e. 61 scenes) contained sign play. In
those 61 scenes, I found 254 individual examples, each of which either emphasized a key phrase
related to the offering, or elaborated on a pertinent characteristic of one of the divine or human
actors. Furthermore, unless it elaborated on a concept directly related to the scene, sign play was
usually not employed (even if it could have been easily inserted), suggesting that its use was
intentional rather than ad hoc. The categories into which I divided the various types of sign play
do not represent classifications from ancient Egypt itself. Nevertheless, as with the word plays, I
found that classifying the various visual phenomena allowed a fuller appreciation of the
sophisticated scribal techniques used in the ancient texts. We will now look at some
representative examples from the most interesting and frequently-used categories of sign plays
that I studied at Dendera.186

3.1 Visual Emphasis by Ideograms

As noted earlier, one of the characteristics of Ptolemaic writing is the enormous increase
in the number of ideograms (signs signifying the object depicted). It is therefore not surprising
that 62% (157) of the sign plays in the Per-wer are formed with ideograms.187 More than half of
the examples in this category occur in the bandeaux of the frieze and the base, above and below
the ritual scenes (Fig. 3.3), as well as in cryptographic texts in the Southern Niche.

183
Chassinat, D III.
184
Cauville, Dend Trad III.
185
Gutbub, Jeux de signes.
186
Examples of sign play are designated in the transliterations and translations by blue font.
187
This number includes rebus/visual puns (115) and reversals (42); there is, however, some overlap between these
two subcategories, because many of the examples of rebus/visual puns also appear as reversals, especially in the
bandeaux.

48
 Bandeau of the Frieze

Ritual Scenes

Bandeau of the Base

Fig. 3.3. Decoration of a typical wall in the Per-wer, highlighting the bandeaux above and below
the ritual scenes in the middle; D III, pl. 190, IFAO

3.1.1 Rebus and Visual Puns

The signs in the bandeaux, like those in the example below (Fig. 3.4), are about twice as
large as those in the inscriptions accompanying the ritual scenes. Therefore, they make a
substantial visual impression in the context of the overall wall decoration. Many of the
ideograms, newly created during the Ptolemaic Period, signify various manifestations or epithets
of the gods, at the root of which often lies some type of pun or rebusthe writing of a word with
a picture of something having the same sound. Ideograms in this way account for 29% (115) of
the 157 examples in our category of visual emphasis by ideograms.

Fig. 3.4. Portion of the Bandeau of the Frieze, North Wall, Per-wer Sanctuary;
D III, pl. 184, IFAO

For example, in the bandeau of the frieze in the Southern Niche (Fig. 3.5) are Hathors
name and two of her most common epithets at Dendera:

49
 @.t-Hr, nb.t Iwn.t, Ir.t-Ra
"Hathor Lady of Dendera, Eye of Ra"
(D III, 92,7).

Fig. 3.5. South Wall of Southern Niche; D III, pl. 202, IFAO

The first sign, a seated woman with Hathors horns-and-disk headdress, is a direct representation
of the goddess, so it reads as "Hathor." The second sign, the cow-headed cobra, is a visual pun
on two of her forms: as a cow, or as the uraeus on the brow of the sun god. The composite of
these two forms playfully represents nb.t Iwn.t, "Lady of Dendera."188 Finally, the last sign, a
seated figure of Ra holding the udjat eye, is a composite ideogram for Ir.t-Ra, "Eye of Ra,"
Hathors role as the daughter of the sun god. The three signs form a kind of hieroglyphic
shorthand, succinctly conveying aspects of the goddess on both visual and aural levels. Long
lines of such ideograms form epithet strings of the major deities at Dendera. The figures stand
out from the rest of the text, calling attention to the importance of the gods, while maximizing
the visual effect. Such strings of ideograms in the Late Period and Graeco-Roman temples led to
the mistaken ideabeginning with the ancient Greeks and lasting more or less until their final
decipherment by Champollion189 in the 19th centurythat hieroglyphs were purely symbolic and
metaphorical.190
An interesting example with another one of Hathor's frequent epithets, Hnw.t nTr.w nb.w,
"Mistress of all the gods" (D III, 61,4), appears in the bandeau of the frieze on the south wall of
the Per-wer (Fig. 3.6).

188
Fairman, Ptolemaic Signs, 100. See also Junker, Textentlehnung, 127-128.
189
Iversen, Hieroglyphs, 136-147.
190
Iversen, Hieroglyphs, 43-44.

50
 Hnw.t nTr.w nbw
"Mistress of all the gods"
(D III, 61,3-4)

Fig. 3.6. South Wall, Per-wer Sanctuary; Fig. 3.7. Predynastic Slate Palette191
D III, pl. 190, IFAO

The seated woman holding a papyrus scepter wears (W10), a Hn.t-cup, on her head, thus
allowing the sign to represent Hnw.t, "mistress," by rebus.192 The cow with the star between its
horns is a composite ideogram, the cow carrying the phonetic value, nb, and the star as the
ideogram for nTr, "god." By placing the star between the horns of the cow, the scribe not only
alludes to Hathor's celestial qualities, but also to the Predynastic slate palette that prefigures the
goddess Hathor of the historical period (Fig. 3.7). The writing of this epithet with the simpler,
more straightforward signs of classical Egyptian does occur in the Per-wer,193 but not in the
bandeaux, where there is a preference for the multi-layered decorative writing using strings of
ideograms.194

191
Illustration by Rachel Domm of Predynastic slate palette from Gerzeh tomb 59, now in the Cairo Museum 34173.
See Petrie, Palettes, pl. B5; Midant-Reynes, Prehistory, 193; fig. 10c.
192
Fairman, Alphabetic Signs, 213 and 290.
193
The writing of Hnw.t, "mistress," with the H-twisted-wick, Hn.t-cup, and t-loaf first appears in the MK; with the
Hn.t-cup alone as its ideogram, in the LP; with the seated woman wearing the Hn.t-cup on her head, in the GR. See
Wb III, 107.
194
The writing of nTr.w nb.w with the simpler signs of classical Egyptian, , appears in two scenes in the Per-
wer: 1st register, east side, north wall (D III, 63,17); 1 st register, 1st scene, east wall (D III, 65,1). Written with the
same signs, but with the repetition of three nTr-signs or three nb-baskets for the archaic plural: 2nd register, 3rd scene,
east wall (D III, 70,16); 2nd register, east side, south wall (D III, 71,9); 2 nd register, 3rd scene, west wall (D III, 78,9);
nb.w with three nb-baskets: east side of the base of the south wall (D III, 62,12). In these scenes, the scribal focus is
on the action or offering of the King, or the characteristics of the King or goddess related to the offering or action.

51
3.1.2 Reversals

One of the simplest, and oldest, visual techniques involving ideograms is the reversal, in
which the direction of a sign or group of signs is changed from the usual direction in which it is
read.195 This type of visual technique occurs in 27% (42) of the 157 examples in the category of
visual emphasis by ideograms. Fischer observes that reversals, which appear as early as the Early
Dynastic Period, are "an ever-potential and recurrently exploited aspect" of the hieroglyphic
script, reflecting the complementary relationship between texts and ideographic
representations.196 In the Per-wer, the most frequent type of reversal is what Fischer calls the
"concordant reversal," in which the signs writing the name of a divinity, or a subject or object of
an offering or action, are reversed from the normal direction of reading.197 Although these
reversals are linked to the direction of an action, this direction is sometimes only implied.
Reversals are most evident on the east and west sides of the Per-wer in the two
continuous lines of text in the bandeaux, which are united at the center of the south wall by a
single ankh-sign serving as the first word of each text (Fig. 3.8). From this center point, the two
lines proceed in opposite directions around the walls of the sanctuary. The bandeaux give a
summary of the chapel's function, welcoming the goddess to her sanctuary; the signs of her name
and epithets are reversed from the general direction of the rest of the inscription, causing them to
face out and away from the Southern Niche. The reasoning behind this orientation is that for the
deity, the shrine in the sanctuary is the threshold between heaven and earth.198 When the King,
acting as doorkeeper, opens the doors of the naos, he admits the goddess, who comes from the
divine realm, crosses the threshold, and enters her earthly abode.199 The hieroglyphs of Hathor's
name, which embody the goddess, similarly enter the sanctuary from the central point of the
niche and are thus depicted facing away from it in the inscriptions.

195
Signs representing persons or animals face the beginning of the inscription in which they occur; the normal rule
is to read "into" the signs. The signs in the bandeaux of the south wall therefore generally face towards the central
niche, because the symmetrical inscriptions in which they appear are read beginning at this central point. See
Fischer, Hieroglyphen, 1192-1993; idem, Reversals, 9; 12-13; GG, 16.
196
Fischer, Reversals, 134-135.
197
Fischer, Reversals, 63-111.
198
The text in the scene of pulling open the door bolt of the naos, in the 1 st register of the west wall of the Per-wer,
refers to the doors of the naos as aA.wy nn.t, "the door-leaves of heaven" (D III, 76,8).
199
Doors in ancient Egypt are usually constructed with horizontal battens on the inner sides. However, on the
surviving examples of naos doors, these horizontal battens on the doors face into the temple rather than into the
shrine's interior. Therefore, instead of being the "front door," the doors of the naos are the "back door" of the temple,
through which the deity enters to come into his or her house on earth. See Robins, Cult Statues, 7-8; Fischer, Doors,
98.

52
Fig. 3.8. Layout of the Bandeau of the Frieze, East and West Sides. (A similar layout exists for
the Bandeau of the Base. See 7.2). Hieroglyphs face the same direction as the arrows.

anx nTr nfr sA @.t-Hr iwa mnx n BHd.ty

"The Good God lives, son of Hathor,
excellent heir of Behdety" (D III, 61,3).
(Read from right to left)

Fig. 3.9. South Wall, Per-wer Sanctuary;

D III, pl. 190, IFAO

53
 Reversals of Hathor's name also occur in the epithets of the King, as shown in an
example on the east side of the bandeau of the frieze on the south wall (Fig. 3.9).200 The

ideogram of her name, (O10),201 a falcon within a temple enclosure, visually representing
@.t-Hr, "House of Horus," faces away from the central naos, unlike the rest of the signs of the
King's epithets, which face towards it.202 This visual confrontation between Hathor's ideogram
and the signs pertaining to the King's epithets thus replicates on a micro-level the respective
orientations of the goddess and the King as he approaches her divine image in her shrine.
Another type of "concordant reversal" occurs in the phrase, dwA nTr, "adoring the god,"
the title of each of the two symmetrical adoration scenes on the outer entrance of the Per-wer, in
which the King and the Ogdoad of Hermopolis pay homage to Hathor, seated on a throne (Fig.
3.10).

dwA nTr
"Adoring the god"
(D III, 48,11 and 49,14)

Fig. 3.10. Outer Entrance of Per-wer; D II, pl. 94, IFAO

The reversal of the nTr-flag, the ideogram for "god,"203 forms a miniature tableau in which the
man faces the divine flag, his arms raised in praise of the deity that it represents. The star
(functioning as the ideogram for dwA, "adore") subtly recalls the celestial nature of his object of
worship. The arrangement thus forms a visual representation of the action that it conveys
linguistically; in the present context, it replicates the actions of the King, as well as those of each
member of the Ogdoad, as they raise their hands in adoration before the goddess. Interestingly,
although there are three other adoration scenes in the Per-wer with this same phrase in their
200
The sign of the baboon, his arms raised in adoration, is a playful Ptolemaic writing of nfr. See Wb II, 253.
201
The sign of the Horus-falcon (@r) within a temple enclosure (H.t) is the most frequent spelling of Hathor's name;
it is also a rebus, since @.t-Hr literally means, "House (or Temple) of Horus."
202
In the phrase sA @.t-Hr, "son of Hathor," there is honorific transposition of the name of the goddess, so in the

reversed unit of sA @.t-Hr, the sign for @.t-Hr, is placed before , which writes sA, "son."
203
nTr appears before the infinitive, dwA, "adoring," due to honorific transposition. See GG 57.

54
titles,204 the two examples in the Ogdoad scene are the only ones in which the nTr-flag is
reversed. Due to the importance of these scenes, which we will discuss further in 5.2.1, the scribe
may have wished to emphasize the adoration of the goddess by this visual play of signs.205

3.2 Visual Emphasis by Arrangement of Signs

Besides ideograms, the arrangement of signs can also create emphasis and add layers of
meaning to texts. Such arrangements include the symmetrical grouping of the signs in two or
more words, and the alternation of similarly-shaped signs, the latter called "graphical opposition"
by Gutbub.206 Although this category makes up only 11% (28) of the 254 sign plays in the Per-
wer, it is a visually striking technique. The patterning effect, which allows the group of words to
stand out from the rest of the text in a line or column, is like the hieroglyphic equivalent of a
bold font.

3.2.1 Symmetrical Arrangement of Signs in Two or More Words

The symmetrical grouping of signs occurs in 29% (8) of the 28 examples of visual
emphasis by the arrangement of signs. An example of this symmetrical grouping of signs occurs
on the west wall of the Per-wer, in a scene from the daily temple rite in which the king
approaches the naos containing Hathors statue and opens its doors. In the Royal Randzeile, the
column of text behind the king (Fig. 3.11), he is equated with Thoth,

204
The two symmetrical scenes in the 2nd register of the north wall (D III, 68,11; 80,4); the 3 rd scene of the 1st
register of the west wall (D III, 77,11).
205
The reversal of the nTr-sign in dwA-nTr came into vogue in the NK, probably evolving in the context of adoration
scenes. See Fischer, Reversals, 13; 33a. The use of concordant reversals is far more frequent at Edfu (e.g. E IV,
18), where it often presents a mini-tableaux of signs in which one figure presents an offering or performs an act
while facing the other figure, thus visually expressing the meaning of the text. See Gutbub, Jeux de signes, 70.
206
Gutbub, Jeux de signes, 73. When possible, the signs in a single word are also often grouped symmetrically. The

three most striking examples in the Per-wer are anx.wy, "door leaves" (D III, 57,7); wDA.ty, "udjat-

eyes" (D III, 84,2; 86,4; 97,13); Hp.ty, "extreme limits" (D III, 48,14); Hn.ty, "span of time" (D III, 62,6);

papa, "shine, illuminate" (D III, 46,10). The symmetrical writing of anx.wy and wDA.ty are standard at
Dendera, but Hp.ty is a hapax legomenon, usually appearing with different signs. Although papa occurs four times in
the Per-wer, it is written symmetrically only once (D III, 46,10), perhaps to emphasize Hathor's shining quality in
that particular sentence. Because the symmetrical arrangement of signs in a word is such a common technique (with
many other potential examples), it is not included in the table or statistics of sign plays in this study.

55
 sqr aA.wy Iwn.t
"who unbolts the doors of Iunet"
(D III, 77,4-5),

Fig. 3.11. 1st register, West Wall, D III, pl. 190, IFAO

Iunet being the name of Dendera as the southern, feminine counterpart of Heliopolis. The
arrangement of the signs in these words creates a picture within a picture, visually representing
the naos itself, with the signs of the door framing the two faces within. As the doors are opened,
the two faces are revealed. In fact, the title of the scene, wn Hr, literally means to open (or
reveal) the face (D III, 77, 2). Grdseloff207 suggests that this Ptolemaic writing of Iunet probably
arose from a rebus on the idea of Hathor as a sistrum with two faces (Fig. 3.12), which is actually
the central image in the Southern Niche (Fig. 3.13). Thus, our visually symmetrical phrase not
only emphasizes the main act of the scenethe unbolting of the doors of the naosbut also
alludes to Hathors manifestation as a sistrum, the image in the Southern Niche, the holiest part
of the sanctuary.

Fig. 3.12. Late Period Sistrum208 Fig. 3.13. 1st reg., S. Wall, S.Niche; D III, pl. 202, IFAO

Another example of the symmetrical arrangement of signs, this time involving three
words, occurs in the same scene, again in the Royal Randzeile, just below the previous example
(Fig. 3.14). The text continues the description of the King,

207
Fairman, Alphabetic Signs, 252 and n. 2.
208
Egyptian Late Period Saite (Dynasty 26, ca. 664-525 BCE) ritual rattle, made of glassy faience; RISDM No.
1995.050. Photography by Erik Gould, courtesy of the Museum of Art, Rhode Island School of Design, Providence,
RI. See also Friedman, Gifts of the Nile, Nr. 91; 215-217.

56
 wp aA.wy nn.t=s
who opens the door-leaves of her heaven
(D III, 77,5).

Fig. 3.14. 1st Register, West Wall; D III, pl. 190, IFAO

At the top, the grouping of wp-horns and the p-stool209 recalls Hathor's horns-and-disk headdress.
It floats above three door-signsthe lower two forming the shape of a shrine with double
doorsthus labeling it as hers. The whole arrangement stands above the signs writing nn.t=s,
"her heaven," bringing to mind the idea that Hathor's shrine is in heaven, the world of the divine.
The balanced arrangement of signs is therefore not only visually striking, but also presents a
multi-layered schematic of the naos, whose doors the King opens as part of the daily ritual.
As a final example of this technique, we turn to a noteworthy example of symmetry with
six elements, located in the 1st register of the east wall (Fig. 3.15). The King sees Hathor, while
Ma'at approaches the goddess and pays homage to her. The text notes that the King performs the
daily ritual for the goddess as the heir of am-tA.wy, "He who knows the Two Lands" (D III,
66,12), the All-knowing Thoth,

aq m Htp pr m xntS
"who enters in peace,
who exits in joy"
(D III, 66,13)

Fig. 3.15. 1st Register, 3rd Scene, East Wall; D III, pl. 180, IFAO

In Chassinat's publication, the signs are in a line, , although the second sign of
the snake exiting a shelter is incorrect and should be reversed. However, the actual arrangement
is in a column; both shelters face towards the right, clearly revealing the contrasting directions of
the snakes. The playful Ptolemaic writing of aq and pr, "enter" and "exit," with the entering and
exiting serpents thus alternates between left and right. There is also symmetry around the central

209
The p-stool functions as the phonetic complement of wp.

57
Htp-sign, framed above and below by the opposition present in the pairs consisting of the
snake/shelter and the horizontal-m, which itself is the mirror image of the shelter's shape. The
horizontal shape of each sign lends visual unity to the expression while foregrounding the subtle
differences in each animal's direction of movement. It is interesting that the final sign, the horse
head, faces the same direction as the snake exiting the shelter, thus visually implying a
connection between leaving the shrine and being in a state of xntS, "joy." The ancient scribe thus
exploited the parallelism to create a multi-layered visual expression emphasizing the King's
movement into and out of the sanctuary. He enters in peace, performing the rituals that will
please and pacify the goddess; in return, she bestows blessings upon the King and his people. As
he leaves her presence, he is thus filled with joya gift from Hathor, who is herself nb.t xntS,
"Lady of Joy."210

3.2.2 Graphical Opposition

In addition to symmetry, visual emphasis can also be created by the alternation of

similarly-shaped signs or sign-groups, the technique of "graphical opposition." This technique
appears in 71% (20) of the 28 examples of visual emphasis by arrangement of signs. When used
in phrases without repeated words spelled the same way, this arrangement of signs suggests that
the scribes made a deliberate choice to employ it. An example occurs in the 2nd register of the
east wall, in an offering of two sistra by the king to Hathor (Fig. 3.16). Her son, the child god
Ihy, also makes music for her with his sistrum. Referring to the king, the text states,

sSS.t m wnmy=i sxm m iAby=i

"the sSS.t- sistrum is in my right
(hand), the sxm-sistrum is in my (left)
hand" (D III, 70,7),

Fig. 3.16. 3rd Scene, 2nd Register,

East Wall; D III, pl. 180, IFAO

a precise description of the king in the scene, who shakes the sistra to "pacify the heart" of the
goddess with "what she loves." The ancient scribe exploited the parallelism in the phrasing to
create graphical opposition by means of repeated groups with similarly shaped signs, consisting
of two sets of sign-pairs: one with the sistrum and tall m-sign; the other with the signs for right or
left, plus the seated man (the ideogram for the possessive pronoun, "my"). Therefore, the
graphical opposition of the mostly figurative, similarly-shaped signs, arrests the gaze of the

210
As nb.t xntS, "Lady of Joy": Hathor (D II, 70,11; 186,15); Isis (D II, 88,16; 226,3).

58
viewer and emphasizes the description of the kings action in the scene. Furthermore, because
the signs for "right" and "left" can also mean "west" and "east,"211 there is also the implication
that the sound of the sistra, and therefore the pacification of the goddess, extends to those
cardinal directions as well (west, where the sun sets and the realm of the dead; east, where it rises
and the realm of the living). Thus, his actions would affect both the human and divine worlds,
both of which are the domains of the goddess Hathor.

3.3 Emphasis by Visual Alliteration

The stylistic technique of alliteration, in which a consonant or consonant-cluster is

repeated,212 plays an important role in word play, as we saw in the previous chapter. Because
hieroglyphic writing is a visual script, it can create visual alliteration by the repetition of a sign.
Just as aural alliteration can emphasize key words and phrases, highlight a pun, or simply create
a pleasant pattern of sound,213 visual alliteration can also call attention to a particular word or
phrase and create a visual pattern. In the Per-wer, visual alliteration makes up 26% (60) of the
254 sign plays.214 In the following sections, we will look at examples from each of the three
types of visual alliteration that I found in the Per-wer: repetition of the same sign; repetition of
signs having the same shape (e.g. horizontal signs; tall signs); repetition of the same sign-type
(e.g. animals, musical instruments, man rejoicing, etc.).215 These repetitions suggest a deliberate
choice by the scribe when the following two factors are present: the words could have been
easily written without the repetitions of the signs; the resulting visual play carries a mythological
or thematic allusion that makes sense in the context of the expression.

3.3.1 Repetition of Same Sign

An effective technique of visual emphasis is the repetition of the same sign in two
different words. This type of repetition occurs in 43% (26) of the 60 examples of visual
alliteration. A good example occurs in a wine-offering scene in the lintel of the north wall of the
Per-wer (Fig. 3.17).

211
The correspondence of the two cardinal directions, west and east, to right and left, is understandable if one
imagines oneself on a boat on the Nile, looking upstream. Then, west would be on the right, and east on the left.
212
Evident in almost every major poetry of the world, except Arabic, Hebrew, and Persian. See New Princeton
Encyclopedia, 37.
213
William Bedell Stanford, Aeschylus in his Style: A Study in Language and Personality, Dublin: University Press,
1942, cited by Percy G. Adams, "Alliteration," in New Princeton Encyclopedia, 37.
214
These 60 examples include 26 examples of repetition of the same sign; 6 examples of repetition of similar-shaped
signs; 28 examples of repetition of signs of similar type.
215
In my survey of sign plays, I did not count the repetition of a sign as sign play if it occurs merely due to the
repetition of the same word, because I was looking for examples that show a deliberate choice by the scribe to create
visual repetition where it would otherwise not occur.

59
 Hnk irp n mw.t=f
Offering wine to his mother
(D III, 58,11).

Fig. 3.17. West Side, Lintel, North Wall; D III, pl. 180, IFAO

In the title of the scene, Hnk irp n mw.t=f, "Offering wine to his mother," the sign of the arm
holding the nw-jar, (D39), is repeated twice: first as the ideogram for Hnk, "offer," and then
in the Ptolemaic spelling of the word mw.t, "mother."216 The more traditional writing of mw.t
with the vulture sign is still frequently used at Dendera, so the scribe made a deliberate choice to
spell it here with the arm holding the jar. This "visual alliteration" of the repeated sign arrests the
attention of the viewer, especially since it also creates a clever visual pun. In addition, the
repetition of this particular sign also emphasizes the act of offering a bowl of liquid, thus
perfectly fitting the context of the scene, in which the king offers jugs of wine to his motherin
this case, Isis.

3.3.2 Repetition of Signs of Similar Shape

Another type of repetition creates a striking visual affect by the patterning of similarly-
shaped signs (Fig. 3.18), appearing in 10% (6) of the 60 examples of visual alliteration. An
example appears in the sistra offering on the east wall (seen earlier in the example of graphical
opposition), in which the King describes his actions in praise of the goddess, stating,

216
Note that the repetition of the arm with the nw-jar often appears in the title of an offering scene beginning with
the verb Hnk, "offering," because Hnk can be written with this sign; at Dendera, Hathor-Isis is often called the mother
of the King. Other examples in the Per-wer with this repetition include an offering of cloth in the 2 nd register, east
side of the south wall: Hnk mnx.t n mw.t=f wsr.t, "Offering cloth to his mother, the Powerful One" (D III, 71,3); an
offering of the udjat in the 2nd register, west wall of the Southern Niche: Hnk=i wDA.t n mw.t=f wsr.t, "I offer the
udjat to his mother, the Powerful One" (D III, 97,13).

60
 swAS=i kA=t m-pXr tA.wy
"I praise your Ka (all) around the
Two Lands" (D III, 70,9),

Fig. 3.18. 3rd Scene, 2nd Reg., East Wall; D III, pl. 180, IFAO

The phrase, m-pXr tA.wy, "(all) around the Two Lands," is written entirely with horizontal signs.
The decision to use these signs was a deliberate choice by the scribe, because he could have

easily chosen to write the preposition, m, with the owl, (G17), or pXr, "go around," more

traditionally as (D III, 108,1; 124,12; 158,16), or even with (E277) (D VII, 3,5;
217
26,9), the composite sign of a lion and a sheath-covered dagger. There are also many other

ways in Ptolemaic to write tA.wy, "the Two Lands": (S48 and S50) (D III, 54,3);

(M13 and M127) (D III, 49,4; 79,6); (L1 and N21, repeated) (D VI, 168,7).218 Thus, the
scribe's decision to write m-pXr tA.wy entirely with horizontal signs allowed the creation of an
undulating pattern suggestive of a maze, going around and around, back and fortha visual
alliteration representing the King's progress throughout all of Egypt, giving praise to Hathor
everywhere in his realm.

3.3.3 Repetition of Signs of Similar Type

The third type of visual alliteration in the Per-wer involves the repetition of signs of
similar type, such as birds, mammals, leg-signs, men praising, crowns, or musical instruments.
This type of repetition occurs in 47% (28) of the 60 examples of visual alliteration. Like the
other types of visual alliteration, repetition of sign-type is visually arresting, drawing the reader's
attention to the phrase.
An interesting example appears in the Southern Niche, where each door jamb of its
entrance has five lines of text with various epithets of the King's titulary (Fig. 3.19). On the third
line of the west jamb is the following epithet:

217
Fairman, Ptolemaic Signs, 129.
218
Wb V, 212,6 216,7, places the earliest writing of tA.wy with two scarab beetles in the 21st Dynasty, during the
reign of Pinedjem I at Medinet Habu. See Lepsius, Denkmler III, 25 e-g; Text III, 164.

61
 mry @.t-Hr mHny.t n(.t) Ra
beloved of Hathor, uraeus of Ra
(D III, 88,10).

Fig. 3.19. North Wall, Southern Niche; D III, pl. 201, IFAO

The door jambs have limited space; the strings of epithets use primarily ideograms. The term for
the uraeus, mHny.t, consistently uses the ideogram of a cobra encircled by its tail,219 but for
Hathor's name, the scribe had a variety of signs from which to choose: a falcon in the temple

enclosure, (O10)220 the seated goddess wearing the horns and disk and holding a papyrus

scepter, (C9A),221 Hathor seated on a throne, (C154),222 or a uraeus wearing the horns and

disk, (I62).223 He also could have chosen other signs to serve as the ideogram for Ra. The fact
that he chose to use the cobra sign with the horns and disk for Hathor, and the sun disk with the

uraeus suggests that he wanted to create visual alliteration with signs containing a cobra:

(I62); (I71); (N6). Together, these three signs in the King's epithet make a powerful
visual statement that Hathor is the uraeus on the brow of the sun god, thus emphasizing this
particular manifestation of the goddess.
Another striking example of visual alliteration includes the use of birds and mammals to
write the ubiquitous phrase, nTr.w nb.w, "all the gods." It appears on the east side of the door
219
Wb II, 129,3-6; PL 455. The term, mHny.t, as uraeus is attested since the NK.
220
D III, 33,14; 45,13; 51,12.
221
D III, 82,1; 95,16; 98,7.
222
D III, 59,11. , which can write nb.t-Iwn.t, "Lady of Dendera" (D III, 92,7; discussed in 3.1.1) can also write
@.t-Hr, "Hathor" (D X, 163,9).
223
D III, 51,7; 52,7; 88,3.

62
jamb of the Per-wer's entrance (Fig. 3.20), in a long string of epithets known as Hathor's "great
titulary," which begins, @.t-Hr wr.t nb.t Iwn.t Ir.t-Ra nb.t p.t, ending with

Hnw.t nTr.w nb.w

"Mistress of all the Gods"
(D III, 56,8)

Fig. 3.20 Outer Entrance of Per-wer; D II, pl. 94, IFAO

As we noted in the section on concordant reversals (3.1.2), the ideograms in her titulary,
including those of the gods, face outward, away from the sanctuary. The archaic practice of
writing a sign in triplicate to designate the plural is extended here by writing three different birds
on standards, each of which write nTr, "god" in Ptolemaic, and all three together, the plural,
nTr.w. A similar practice is again modified by writing three different types of signs: the cow,
sphinx, and nb-basket, all of which are ideograms for nb, "all," to write the plural, nb.w. In
addition, each of these ideograms carries theological meaning that adds allusions to the epithet of
the goddess. The first bird is a falcon, designating Horus; the second is an ibis, representative of
Thoth; the third is the benu-bird, which perched on the mound of creation as it rose out of the
primeval waters. The cow with horns is, of course, Hathor; the sphinx represents Ra-Horakhty,
or perhaps the King in the god's guise. The basket, the oldest representation for the phonogram
nb, could perhaps allude to offerings, or with the addition of a lozenge painted in the middle,
even to the Hb-basket used to write the word for festivals. This example of visual variety by
repetition of sign-type (birds; mammals) thus allows the allusion to a multitude of divine
manifestations resident in the temple. As part of Hathor's epithets, they, too, cast their gaze
outward, towards the world of humans.

63
3.4 Sign Play between Parallel Texts

Sign plays occur not only within a phrase of an inscription, but also between phrases in
symmetrical scenes, or within complementary phrases of a single scene.224 Returning to the outer
entrance, where we just saw an example of visual alliteration in Hathor's epithets on the east door
jamb (3.3.3), we notice that the parallel phrase of these same epithets on the west jamb reveals a
different choice of signs for the same words (Fig. 3.21).

Fig. 3.21. Outer Entrance of Per-wer (e. jamb on left; w. jamb on right); D II, pl. 94, IFAO
Hnw.t nTr.w nb.w
"Mistress of all the Gods"
(D III, 56,8; 57,9)

Instead of choosing three different signs for each of the plurals of nTr, "god," and nb, "all," the
scribe chose to write the epithets on the west jamb following the more "usual" archaic practice,
repeating the same sign three times to write the plural. However, he still chose not to employ the

traditional signs for nTr, (R8), or nb, (V30), instead choosing the falcon on a standard for
the former, thus alluding to Horus, and the cow with horns for the latter, alluding to Hathor. By
this simple choice, the scribe thus emphasized the presence of the goddess and her divine
consort, as well as setting up visual variety in the parallel phrasing of the door jambs of the outer
entrance. Both strings of epithets also face outward, away from the central naos in the rear of the
chapel, reflecting the direction of movement by the goddess in entering her chapel.

224
Although noted in Appendix 2 (in examples of this form of sign play occurring between parallel texts), it is not
counted as a separate category for statistical purposes. Instead, the two texts that together make up the parallel texts
are counted separately, according to the types of sign plays that they contain.

64
 For an example of this technique in complementary phrases within a scene, we turn to the
episode of the daily temple ritual in which the King opens the naos of the goddess, where we
observed the technique of visual symmetry and saw earlier that the placement of the door signs
in the expression, wp aA.wy nn.t, "who opens the door leaves of heaven," creates a miniature
representation of the naos itself (3.2.1). This statement appears on the viewer's right in the Royal
Randzeile, as indicated by the red arrow in Fig. 3.21.

wpS (mAw.t=s ndb) wp aA.wy (nn.t)

"her rays (illuminate "who opens the door
the whole earth)" leaves (of heaven)"
(D III, 77,9) (D III, 77,5)

Fig. 3.22. 1st Register, West Wall; D III, pl. 190, IFAO

In approximately the same place in the Divine Randzeile behind Hathor, on the viewer's left, the
text states, wpS mAw.t=s ndb, "her rays illuminate the (whole) earth." The alignment of both
statements, almost exactly parallel with each other in their respective Randzeile, and the use of
many of the same (or similar-shaped) signs, creates a visual equivalency between the two
expressions (Fig. 3.22). This equivalency suggests that the action of the King brings about the
action of the goddess: i.e. his wp ("opening") causes her wpS ("illuminating"). By opening the
doors of the naos, the King lets in Hathor's divine light, which illuminates the earth; the
determinative of wpS, the sun disk surrounded by dots of light, recalls the glistening of "gold
dust," as light rays reflect off particles of dust in the air.225 Comparing the writing of the two
phrases (Fig. 3.23), we see that the glittering disk of the sun stands in the place of the naos doors,
because they have now been opened by the King, thus revealing her radiance.

wpS (illuminate) wp (open)

Fig. 3.23. Visual Equivalency of wpS and wp

225
This imagery recalls the festival of "spreading the gold dust,", attested during the Ptolemaic Period at the Temple
of Mut at Karnak. During a procession through the fields, priests would sprinkle gold dust mixed with green THn.t-
powder, in order to guarantee a prosperous harvest. See 5.2.4 and Goyon, Rpandre l'or, 85-100.

65
3.5 Visual Emphasis by Attraction

A more subtle type of repetition is the technique called attraction. I find it the most
fascinating of all the types of sign play, because it often goes undetected, with scholars simply
noting an unusual spelling as a scribal error.226 However, Gutbub recognized that the spelling of
a word can be deformed in order to create this type of visual alliteration.227 I believe that the key
to determining whether it is a scribal error, or a deliberate change in the spelling, lies in whether
its use adds meaning that is relevant to the context. Attraction occurs in 6% (15) of the 254
examples of sign play in the Per-wer.
An interesting example occurs on the east side of the lintel on the north wall of the Per-
wer. In the Divine Randzeile (Fig. 3.24), Hathor is characterized as

nb(.t) tx nb(.t) Aw.t-ib

Lady of Drunkenness,
Lady of Joy
(D III, 58,8)

Fig. 3.24. East Side of Lintel, North Wall of Per-wer; D III, pl. 180, IFAO

The context of the scene is the King's presentation of a mnw-jar of an intoxicating beverage to
the goddess, recalling the episode in the myth of the Distant Goddess in which Thoth presents
her with a similar drink. The usual writing of the expression, Aw.t-ib, "joy," lit., "wideness of

heart," is , with the ideogram, (F34), for ib, "heart." In the present text, the wine-
jar, (W59) is used in its place. Chassinat marks it as an error, with "sic" above the sign.228
However, the choice of this sign may actually be deliberate, due to attraction with the previous
word, tx, "drunkenness," determined with the wine-jar. Considering the following statement,
wHm.tw nwH n Hm.t=s, "one repeats drunkenness for her Incarnation," the use of the wine-jar as
226
e.g. Chassinat, D III, 58,8; Cauville, Dend Trad III, p. 134, notes an error with an asterisk next to qfA.t (D III,
66,6).
227
Gutbub, Jeux de signes, 62-65. It is interesting that Mesopotamian scribes employed a similar technique when
creating sophisticated graphical puns in the polyvalent writing system of cuneiform. In his study of a childbirth
incantation, Veldhuis, Cow of Sn, 6;18-19, observes that the interplay of signs and sound can take priority over
grammatical accuracy; "even an impossible word or a mistake is, as such, a sign and a bearer of meaning."
Therefore, rather than correcting a text by comparison with other versions (to which the ancient scribe would not
have had access), Veldhuis prefers to read a questionable passage unaltered, searching for an interpretation that the
user of the text would have understood (e.g. a double entendre, sound play, etc.). This approach is also applicable to
the texts in the the Per-wer.
228
D III, 58,8.

66
an ideogram makes sense. It implies that one's heart (i.e. mind) is completely taken over by the
effect of the drink. The visual alliteration of the repeated wine jars also calls attention to the
passage, particularly since they alternate with the horizontal signs (the pool, the nb-basket, the
Aw.t-sign, and the book roll), thus creating graphical opposition. Drunkenness is thus equated
with joy in the revelry that would have taken place during the festivities celebrating the return of
the Wandering Goddess.
Another excellent example of attraction appears in a scene of "seeing the god," located in
the 1st register of the east wall of the Per-wer (Fig. 3.25). The king, having opened the naos, is
now face-to-face with the goddess. At the moment of this theophany, the king states that he has
perceived her awe-inspiring presence, saying, sbAq.n=i qfA(.t) n(.t) kA=s, I have brightened the
dignity of her kathe embodiment of the goddess (D III, 66,6-7).

sbAq.n=i qfA(.t) n(.t) kA=s

I have brightened the
dignity of her ka
(D III, 66,6-7)

Fig. 3.25. 1st register, East Wall;

D III, pl. 180, IFAO

Dendera Spelling Usual Spelling

Word

sbAq to brighten

qfA.t - dignity

Fig. 3.26. Comparison of spellings of the words, sbAq and qfA.t.

Cauville229 notes the spelling of the word qfA.t, dignity, with the determinative of the painted
eye, as an error (Fig. 3.26). In fact, it is usually written with a rams head, a sign used in similar
words of honor, like Sfy.t, meaning prestige. However, the previous word, the verb, sbAq,
brighten, make clean, can be written with the painted eye, although it is a less common
spelling. The choice to write it with the eye is significant for several reasons.

229
Dend Trad III, p. 134.

67
 First, by writing sbAq with the painted eye, an allusion is made to another word written
with an eye-sign, the word bAq.t, meaning Egypt (Fig. 3.27). Thus, the brightening of
Hathors ka can be equated with the brightening of Egypt itself, i.e. keeping it in good
conditionthe duty of a good ruler that would certainly please the goddess.

Words Related by Allusion

an.t
bAq.t Egypt Beautiful One (f.)

Fig. 3.27. Words related to sbAq and qfA.t by allusion.

In choosing to write the word qfA.t with the painted eye, the scribe was employing the technique
of attraction to the spelling of the previous word sbA.q, thus creating visual alliteration that
foregrounds this phrase. Also, by employing the painted eye sign for both sbAq and qfA.t the
scribe makes an additional allusion to Hathor herself, who is often called, an.t, the beautiful
one, which is most often written with the same sign of the painted eye (Fig. 3.27).
Furthermore, the use of an eye sign in both words is particularly appropriate in this scene,
because the main context is the seeing of the god. All of these allusions suggest that the use of
the painted eye in the word qfA.t was not a scribal error, as scholars have thought, but a deliberate
use of sign play to emphasize visually this important phrase and add multiple layers of meaning
to the expression.

3.6 Types and Distribution of Sign Play in the Per-wer

Having defined the major categories of sign play that I studied in the Per-wer, we can
now take a brief look at their overall use in the sanctuary (Fig. 3.28). As noted earlier, the
ideograms (formed with puns, rebus, or by direct representation) make up 57% (115) of the 254
examples of sign play. Symmetry, and the related technique of opposition, both of which rely on
the graphical arrangement of signs, together account for 11% (28) of the sign plays, whereas
repetition of signs, and attraction--the latter actually a subset of repetitionmake up 26% (60)
and 6% (15), respectively. The large percentage of sign play employing repetition is probably
due to the fact that in Ptolemaic Egyptian, the scribes enjoyed such an extensive repertoire of
signs and spellings from which to choose. Creating visual repetition was therefore simply a
matter of choosing the right signs with which to spell a series of wordsthough not an easy task,
with so many signs from which to choose.

68
 Sign-Play in the Per-wer Sanctuary
Attraction
(eyes) 6% (15)

Ideograms (Hathor)
Repetition
(arm with jar) Symmetry (faces)
24% (60) Ideograms
(Hathor) Opposition (sistra)
62% (157) Repetition (arm with jar)
Opposition
(sistra) 8% (20) Attraction (eyes)

Symmetry
(faces) 3% (8)

Fig. 3.28. Types of Sign Play in the Per-wer Sanctuary

Fig. 3.29. Frequency of Sign Play within a Single Scene.

69
As shown in the chart in Fig. 3.29, most of the scenes and text groups in the Per-wer had from 1
to 8 examples of sign playusually some playful ideograms or the repetition of a sign in several
adjacent words. Six texts, however, had from 9 to 12 examples. Considering the reputation of the
bandeaux for having so many sign plays with ideograms, one would think that they should
contain the most examples. A closer look at these six texts gives a more nuanced view.
The table in Fig. 3.30, listing these Top Six texts with the most sign plays, shows that
the two bandeaux of the frieze (on the east and west sides of the Per-wer) are, indeed, included.
However, all of the other texts are located either on the south wall or in the Southern Niche.

Type of Scene Location Sign Plays

Maat Offering S. Niche, of Per-wer, 2nd Register, west side 12

Maat Offering S. Niche of Per-wer, 2nd Register, east side 12

Bandeau of Frieze Per-wer, East side 12

Cryptographic S. Niche of Per-wer, Base of South Wall 11

Inundation Water Per-wer, South Wall, base 10

Cryptographic S. Niche of Per-wer, Frieze of South Wall 9

Fig. 3.30. Scenes with the most examples of sign play in the Per-wer Sanctuary

3.7 Multi-layered Example of Sign Play in the Southern Niche

A look at the south wall of the Per-wer (Fig. 3.31) shows that in the base, below the
entrance to the Southern Niche, there are two symmetrical scenes of the king offering inundation
water: to Hathor on the left, and Isis on the right. The scene with Isis has ten sign plays, mostly
ideograms relating to the inundation and the source of the Nile. The location of these scenes in
the base of the wall visually emphasizes the idea that the inundation, a gift from the gods, is the
foundation and source of all life and fertility; the sign plays visually emphasize the offering and
its source.
Higher up, on the rear wall of the Southern Niche, are two scenes of the king offering
Maat to Hathor. Because Maat is the foundation of order and harmony in the universe,
established at Creation, its offering is the most essential, legitimizing the rule of the king and
showing his willingness to govern according to divine law. Together with the cryptographic
column between them, these two scenes contain 24 sign plays, most of which are epithets of
Hathor. Two additional texts with cryptographic ideograms appear in the frieze at the top, and
the base at the bottom of the south wall of the Southern Niche. The question is, why were so
many sign plays used in these texts? I believe that the use of cryptic ideograms in the Southern
Niche emphasizes the hidden, mysterious aspect of the goddess in this most sacred part of the
sanctuary.

70
 Cryptographic
Texts

NICHE

Offering
of Ma'at

South Wall, Per-Wer Sanctuary South Wall, Southern Niche

D III, pl. 190, IFAO D III, pl. 202, IFAO Cryptographic
Text

Fig. 3.31. South Wall of Per-wer, with Enlargement of Rear Wall of Southern Niche

Also, just as cryptography in New Kingdom royal tombs is associated with the crossing of
cosmic boundaries, according to Darnell,230 its use in the southern niche suggests the liminal,
boundary-crossing aspect of this space, which is the point of contact between the human and
divine spheresmuch like a false door in a tomb. In fact, the cryptographic inscription on the
base equates the Per-wer Sanctuary with the horizonthe boundary between day and night, and
the entrance to the Duat and the unseen world of the gods. This hidden protected space is,
however, accessible to the King, the representative of mankind. He knows the sacred language
and can please the goddess with his speech and the plays on sight and sound. In return, she
assures his reign, the prosperity and well-being of his people, and the stability of the cosmos.

230
Darnell, Solar-Osirian Unity, 479-480.

71
3.8 Summary

The importance and effectiveness of the image and the divine nature of the hieroglyphic
script thus encouraged the use of sign play functioning on multiple visual and thematic levels.
Due to an increase in the number of signs during the Ptolemaic era, expanded possibilities arose
for sign play, which could emphasize important concepts, characteristics, and roles, and lend
additional meaning perceptible only to the eye. Unless it elaborated on a concept directly related
to the scene, sign play was usually not employed; its most concentrated use appears in the
chamber's important, boundary-crossing area, between the human and divine worlds (Fig. 3.32
3.34). This thematic and spatial use of sign play in the Per-wer is therefore evidence of active
agency on the part of the ancient scribes.

Fig. 3.32. South Wall of Per-wer with Fig. 3.33. Rear Wall of Southern Niche
Southern Niche Reached by Ladder231 D III, pl. 202, IFAO

231
Photo by Su Bayfield, 2009.

72
 Fig. 3.34. 1st Register, Rear South Wall of Southern Niche232

232
Photo by Vicky Jensen, 2010.

73
 Chapter 4
Plays on Iconography and Epithets

4.0 Introduction

As we have seen in the previous two chapters, the expansion in the number and
polyvalency of hieroglyphic signs facilitated the creation of word and sign plays, which the
ancient scribes employed to emphasize important theological ideas. Concurrently with this
growth in the writing system was an increase in the complexity of the iconography, especially in
terms of crowns and headdresses in the relief scenes. These complex creations reflect a trend first
begun in the New Kingdom by Amenhotep III, who added multiple disks and uraeii to his
crowns in order to emphasize his connection with the sun god.233 In the Ptolemaic Era, there are
dozens of permutations of composite crowns, with complex arrangements of added elements.
A brief look at 2nd register of the east wall of the Per-wer gives an idea of the visual
complexity of these constructions, with various arrangements of individual elements (Fig. 4.1).

Hepty Crown Anedjty Crown Crown of Geb

Fig. 4.1. East Wall, 2nd Register, Per-wer Sanctuary; D III, pl. 180, IFAO
.

233
Kozloff and Bryan, Dazzling Sun, 76-77.

74
In the middle scene of this relief, Hathor wears her well-known horns-and-disk headdress,234 but
the other crowns in the three scenes may be unfamiliar. In the far left scene, she instead wears
the so-called Hepty-crown: a double crown with two ostrich feathers and a small horns-and-disk
headdress, all atop a pair of rams horns.235 In the far right scene, she wears the Crown of Geb":
an Atef crown with solar disks and rams horns perched atop the red crown of Lower Egypt. 236
Accompanying Hathor in the same scene, the King wears the Anedjty or Tjeny crown,
consisting of two ostrich feathers, a sun disk and uraeii atop a pair of rams horns.237 In the far
left scene, he wears a white crown framed by two ostrich feathers, resting upon a pair of ram's
horns with uraeii topped by sun disks on the tips of both horns; in the middle scene, the King
wears an Atef crown of rushes, a pair of ram's horns, and two small solar disks.238 In the present
chapter, we will discuss each of these complex constructions, explaining the symbolism of the
individual elements and the connection of each crown with the epithets in the accompanying
texts. In addition, we will see how the ancient scribes exploited this complex vocabulary of
iconography, creating plays between crowns and their related epithets to form links between
scenes.

4.0.1 Previous Studies

The study of iconography in the Ptolemaic temples, with its multiplicity of composite
crowns and cult objects, has suffered from a reputation of being impossibly complex, with no
apparent system or logic behind its use. This estimation permeates the attitude of Egyptologists
over the past 130 years: in 1882, Rochemonteix declared, "La multitude des reprsentations ainsi
accumules sur les murs de Dendrah et d'Edfou effraye l'imagination";239 in 1952, Bonnet
cautioned, "Sie aufzuzhlen, wrde zu weit fhren und zudem nicht frdern, da uns ihre
Symbolik und damit die Voraussetzungen, unter denen die einzelnen Kronen jeweilig verwendet
werden, verborgen sind";240 and as recently as 2002, Derchain-Urtel could state, "Es ist fraglos
nicht mglich, das gesamte Kronenmaterial aus den Tempeln der griechisch-rmischen Zeit mit
einem Schlage zu dem Zwecke seiner Przisierung zu sichten und zu erklren."241 Scholars
interested in iconography therefore tended to focus their efforts on the more common regalia
from the New Kingdom or earlier; for those brave enough to tackle the Ptolemaic material, most
followed Derchain-Urtel's recommendation to limit their studies to individual objects, with the
hope of "etwas Licht in die verwirrende Flle dieses ikonographischen Materials zu bringen."242
The following section surveys the progress that scholars have made in our understanding
of Graeco-Roman iconography, divided into three main topics: crowns and headdresses; cult
objects and gestures; interrelationships between iconography and texts. For each topic, I briefly
discuss the historical development of the research, with a focus on works that either contribute
major insight to our understanding, or are particularly relevant for the present study.
234
Discussed in 4.1.1.
235
Discussed in 4.1.5.1.
236
Discussed in 4.1.3.1.
237
Discusssed in 4.1.6.2.
238
Both crowns, which are variations of the Atef, are discussed in 4.1.2.
239
Rochemonteix, Ouevres diverses, 202, originally published in RevTrav 3, 1881, 72-86.
240
Bonnet, "Kronen," RRG, 394-395.
241
Derchain-Urtel, Nebenformen, 1.
242
Derchain-Urtel, Nebenformen, 1.

75
4.0.1.1 Crowns and Headdresses

In the 1880's, Rochemonteix initiated the study of Graeco-Roman iconography in his

treatment of the small Ptolemaic temple of Opet at Karnak. Despite his above-mentioned
statement concerning the "unimaginable" complexity of the representations in the reliefs, he
observed an underlying system amidst the apparent chaos: a fixed number of elements arranged
in various combinations forming composite crowns, which symbolically represent the attributes
and titles of the wearer.243 Although his line drawings of 116 individual examples attested an
abundance of complex variations,244 he limited his discussion to the simpler, more common
crowns and their elements.245 His ideasthat the architectural features of the temple are an
image of the world,246 and that symmetrical scenes, joined by logical links, work together to
convey a religious thoughtare still valid today.247
Works on crowns from subsequent decades either lacked analysis248 or were narrowly
focused treatments of an individual ornament, primarily royal.249 Abubakr's important study in
1937 was an exception, remaining the only synthesis of royal crown iconography until Collier's
in 1996.250 By examining monuments, inscriptions, and material in the Berlin Museum up
through the New Kingdom, Abubakr was able to form ideas about the origin and development of
royal crowns and their composite forms. Although some of his conclusions bear revision,251 and
his limited focus excludes many of the crowns in the Per-wer, his observations of three of the
more complex variations252 offered insights that were useful for the present study.
It was not until the last two decades of the twentieth century that a flurry of activity arose
in the study of crowns. Although an interest in the more common forms still remained,253 many
more scholars took the opportunity to explore the meaning behind the more unusual crowns of

243
Rochemonteix, Oeuvres diverses, 213-214.
244
Rochemonteix, Oeuvres diverses, pl. 2 (48 crowns of male divinities); pl. 3 (48 crowns of female divinities); pl. 4
(20 crowns of the King). Some of these crowns also appear in the Per-wer Sanctuary.
245
Rochemonteix, Oeuvres diverses, 217-224: Atef, ostrich feathers, falcon feathers, ram's horns, uraeus, double
crown, horns and disk.
246
Rochemonteix, Oeuvres diverses, 182-185, esp. 183, cites Maspero, who showed in his course at the Collge de
France that the temple is "s'tendait l'Univers entier."
247
Rochemonteix, Oeuvres diverses, 194, notes the logical links between scenes in the same register.
248
Prinz, Symbolik, 46-52; pls. 8 and 9, with an illustrated list of twenty-four crowns that gives only their wearers
and references to Lepsius' Denkmler. He does, however, include a short discussion of solar and lunar symbolism in
crowns and its connection to the Right and Left Divine Eyes. Osing, Ritualszenen, 1981, attempts to show vertical
relationships between ritual scenes on the northern enclosure wall of the mortuary temple of Seti I at Gurna, based
solely on the gods appearing within them. Lacking any discussion of their context, his mere listing of these gods is
meaningless. Derchain, BiOr 36 (1979), 170, criticizes his findings, stating that vertical relationships are
"extrmement difficile tablir, mme en partant des temples grco-romains."
249
Studies focus on the double crown (Pierret, Pschent, 1906; Steindorf, Doppelkrone, 1932); the red crown
(Wainwright, Red Crown, 1923); and most of all, on the blue khepresh crown (Bissing, Kriegshelm, 1904;
Borchardt, Kriegshelm, 1905; Mller, Kriegshelm, 1908; idem, Nachtrag, 1955; Steindorf, Blaue Knigskrone,
1917; lie-Lefebvre, Couronne bleue, 1979; Davies, Blue Crown, 1982). An exception is Hommel, Couronne de
plumes, 1900, a short piece discussing the feather crowns of Bes and Anuket.
250
Abubakr, Kronen, 1937.
251
Collier, Crowns, 8, suggests that some of his conclusions require reconsideration, especially those concerning the
Osiris crown and the double crown.
252
The Anedjty-crown, the falcon-feather crown, and the Atef crown.
253
Pecoil and Maher-Taha, Seched, 1983; Barta, Stirnband-Diadem, 1984; Goebs, Nemes, 1995.

76
the Late and Ptolemaic periods.254 Among the more notable works are investigations of the
double-feather crowns,255 Hathor's crown of gold,256 the crown of Arsinoe,257 and the Anedjty
and Hepty crowns, the latter two studies by Derchain-Urtel.258 All of these works were helpful in
determining the significance of the crowns in the Per-wer, but Derchain-Urtel's treatment of the
Hepty crown was particularly relevant, because both Horus Behdety and Hathor wear it in the
Per-wer. Her comprehensive methodology was also a model to follow. She began her
investigation by first determining the precise placement of scenes in which either Hathor or
Horus wears the crown, after which she examined the textual descriptions of the crown at Edfu,
paying particular attention to the naming of individual elements and their associations.259 By
connecting these themes with information gleaned from additional texts at Edfu and earlier
papyri,260 she was then able to draw some conclusions about the crown's symbolism. Tying these
ideas together with the context and placements of the scenes in which the crown appears, she
then made some convincing conclusions about its purpose and meaning. Her methodology thus
improved upon Abubakr's due to her investigation of a wider range of textual connections and
the synthesis of the themes within the context of the ritual scenes. Because it provides a
comprehensive way to study the relationship between the iconography, texts, and scenes, I
followed this model in my own methodology in the Per-wer.
Unlike most other scholars who focused their research on a single type of crown, Preys
chose to analyze all of the crowns of Hathor engraved in the 2nd and 3rd registers of the lateral
walls of the barque sanctuary at Dendera.261 Drawing upon his previous study of several cult
chambers at Dendera,262 he classified each type according to the associations found in the
accompanying epithets and in other texts at Dendera and Edfu. His analysis showed that each
crown carried a specific theological message, thus creating a summary of Hathor's qualities
through the multiplicity of her crowns. Due to the broad nature of his study, he was unable to
analyze in depth each scene in which a crown appears; although he demonstrates textual and
thematic links, his conclusions are therefore not always convincing. Although he overlooks a
number of important allusions, this oversight may be due to space limitations in such a short
articlethe topic really deserves a monograph. Therefore, although useful for pointing out many
correspondences and themes, his work best serves as a springboard from which to carry out
further study.
After a slow start at the beginning of the twentieth century, the investigation of crowns
and headdresses has thus made significant progress, particularly in our understanding of the more
complex creations of the Ptolemaic Period. Applying Derchain-Urtel's methodology on a broader
base, such as an enclosed unit like the Per-wer, I examined the multiplicity of crowns and their
components, not only for Hathor, but also for the King and all of the other characters depicted.

254
Vassilika, Philae, 1989, includes a discussion of crowns and headdresses in her study of the iconography at the
Temple of Isis at Philae; idem, Edfu, 937-957, compares crowns in the pronaos at Edfu with those of Philae.
255
Myliwiec, Couronnes, 1985, which examines the NK predecessors of these crowns in the Ptolemaic period;
Budde, Doppelfederkrone, 2002.
256
El-Kordy, Couronne d'or, 1986.
257
Dils, Couronne d'Arsino, 1998; see now Nilsson, Arsino II, 2010, who provides a thorough study of this crown.
258
Derchain-Urtel, Krone und Nebenformen, 1990; idem, Hptj-Krone, 1994.
259
For example, the double crown signifies the Two Lands and coronation; the tall falcon feathers, light; the ostrich
feathers, the two Divine Eyes.
260
pBerlin 3055; pBrooklyn Museum 47.218.50.
261
Preys, Catalogue d'Hathor, 2003.
262
Preys, Complexes, 2002.

77
By taking into consideration the composition of the crowns, their connections with epithets, and
the thematic links to other texts, I was able to gain new insights into their function and meaning,
as well as the reasons for their placement in particular scenes in the Per-wer.

4.0.1.2 Cult Objects, Clothing, and Gestures

Like crowns and headdresses, the many cult objects appearing in the ritual scenes in the
Per-wer also carry theological meaning, which has been explored extensively by scholars over
the past century. In terms of the objects appearing in the Per-wer, investigations thus exist for the
offerings from the daily temple rite (incense,263 cloth,264 and jars of inundation water265), for
objects recalling the gifts made by Thoth to the Distant Goddess (menit,266 sistrum,267
wensheb,268 udjat,269 mirror,270 crown of electrum,271 milk,272 wine,273 and the mnw-jar274), and
symbols of power and protection (wAs-scepter,275 wAD.ty-scepters,276 and the xAdb-symbol277). I
have integrated the function and meaning of cult objects, clothing, jewelry, and gestures into the
analysis of the scenes in which they appear, rather than dedicating a separate descriptive section
in this chapter to each item.
For the most part, the attire of the King, Queen, and deities in the Per-wer follows the
usual conventions for Ptolemaic temple scenes, with females wearing a narrow sheath, and
males, a short kilt. Deviations from this norm signal the need for further investigation,278 because
the scribe will often make a deliberate change in order to create allusions that will connect with
texts or other iconographic elements.279 Although the study of Egyptian costume has a long
history, beginning in 1900 with Gayet,280 and more recent studies have appeared,281 the best

263
See Blackman, Incense and Libations, 1912; Beinlich, Rucherarm, 1978; abkar, Hymn to Incense, 1992.
264
See Ryhiner, toffes, 1995.
265
See du Buisson, Vases, 1935; Altenmller-Kesting, Reinigungsriten, 1968; Traunecker, Rites de l'eau, 1972;
Tawfik, Cult Objects, 1979; Bonheme, Eaux rituelles, 1995.
266
See Barguet, Contrepoids, 1953; Daumas, Objets sacrs, 1970; Gosline, Menit, 1994; Preys, Sistre et menat,
2002. See now Budde, Gtterkind, 109-114.
267
See Reynders, Sistrum, 1998; Quack, Sistrumspiel, 2001; Preys, Sistre et menat, 2002.
268
See Sambin, Clepsydre, 1988; idem, L'offrande de clepsydre, 1989.
269
See Darnell, Apotropaic Goddess, 1997.
270
See Husson, Miroir, 1977.
271
See El-Kordy, Couronne d'or, 1986.
272
See Daumas, Mammisi, 175-206; Leclant, Lait, 1951.
273
See Sternberg-El Hotabi, Trankopfer, 1992; Poo, Wine Offering, 1995; von Lieven, Wine, Weib, Gesang, 2003.
274
See Sternberg-El Hotabi, Trankopfer, 1992; Dils, Wine, 1993; Poo, Wine Offering, 1995.
275
Held by Hathor in the mirror-offering scene on the west side of the 3rd register of the south wall of the Per-wer,
and in the Ma'at-offering scene on the east side of the 2nd register of the south wall of the Southern Niche. Preys,
Sceptre-ouas, 2002, discusses these scenes.
276
PL 208-209.
277
Briefly discussed in Daumas, Objets sacrs, 1970, 74; Preys, Objets, sacrs, 2008, 305-309. See now Budde,
Gtterkind, 376-406.
278
Vassilika, Philae, 1989.
279
Notable exceptions to the norm include the King's festival attire in the 1 st register of the north wall (presentation
of the wAD.ty by Nekhbet and Wadjet), discussed in 5.3.1; Hathor's panther skin worn over her dress in the 3rd
register of the north wall (nms.t-jar of primordial water) and the 3rd register of the south wall (mirror offering).
280
Gayet, Costume, 1900.
281
For the OK: Staehelin, Untersuchungen zur Tracht, 1966; NK: Janssen, Costume, 1995; general studies:
Staehelin, Tracht, 1986; Voselsang-Eastwood, Clothing, 1993.

78
resource for costumes appearing in the Ptolemaic temple reliefs is Vassilika's inventory of
Philae's iconography, mentioned earlier. To the best of my knowledge, there are no studies
specifically treating the costumes worn in the scenes at Dendera.
Besides crowns, cult objects, and costumes, the hand stance of a king or divinity in the
presentation of an offering or a blessing also conveys visual information relevant to a scene's
theological message. Studies on gestures include examples from Old Kingdom reliefs,282 musical
performance,283 mourning,284 and jubilation.285 Brunner-Traut286 provides an excellent summary
of the different types of gestures, but I found the more comprehensive work by Dominicus287 to
be the most useful for my research at Dendera, especially in determining the meaning behind two
of the gestures in the Per-wer.288 Although she focuses on mostly Old and Middle Kingdom
reliefs, her work remains relevant for the ritual scenes in the Per-wer because the scribes at
Dendera reproduced gestures in their traditional forms. Her methodology of researching the
context, texts, and determinatives of each gesture, as well as comparing expressions describing
praise and speech, works well with the data;289 her systematic grouping of the gestures into
categories, providing detailed drawings with their subtle variations, creates a convenient
reference work. Dominicus found that many of the gestures were polyvalent, with specific
meanings revealed only by the captions in a reliefan aspect of iconography that fits well with
the multiple meanings of sound and sight also inherent in the hieroglyphic script.
In general, we now have good resources for analyzing the crowns, cult objects, costumes,
and gestures in the ritual scenes of the Per-wer, thanks to the hard work of scholars over the past
century. When such sources are not sufficient, as in the case of some of the more unusual crowns
or cult objects, I was usually able to draw some conclusions about their symbolism and meaning
by investigating other occurrences at Dendera and Edfu and examining related texts, thus
following Derchain-Urtel's methodology, as noted earlier. With this information secured, I was
then able to look for connections between iconographic details and the accompanying texts.

4.0.1.3 Interplay between Iconography and Texts

Just as the scribes exploited the hieroglyphic writing system to create plays of sound and
sight, they also manipulated the iconography of the reliefs, forming plays between scenes to
create patterns and connections. Early on, Rochemonteix recognized the existence of "logical
links" between "symbolic scenes" of the same register, which together represent the development
of a religious concept.290 Derchain elucidated it further by observing that neighboring or
symmetrical scenes can evoke the same myth by means of similar structure, allusion, or the play

282
Mller, Gebrden, 1937; Garnot, L'Hommage, 1954;
283
Hickmann, Chironomie, 1958; Hermann, Singen, 1958; Careddu, L'art musical, 1991.
284
Werbrouck, Pleureuses, 1974.
285
Hermann, Jubel, 1963; Ogdon, Gesture, 1979-1980; Dunand, Gestes, 1987.
286
Brunner-Traut, 1977.
287
Dominicus, Gesten, 1994.
288
Hathor's hand-stance on the south side of the 3rd register of the east wall and the east side of the 3rd register of the
south wall; the King's gesture in the funerary offering of the 3 rd register of the east wall.
289
Dominicus, Gesten, 1.
290
Rochemonteix, Oeuvres diverses, 1894, 194: "Les tableaux symboliques, dans un mme registre, ont entre eux un
lien logique, et reprsentent dans leur ensemble le dveloppement d'une pense religieuse."

79
of substitutions, which he called calembours.291 Osing was more specific, singling out interplays
between specific elements of iconography that create chiasmus and alternation between crowns
and clothing at Karnak.292
Even though scholars may have been aware of the existence of such iconography plays,
the focus on a single iconographic object (which, as noted earlier, had become the norm for
studies of crowns and cult objects) hampered further progress in this area.293 Most scholars
treating interplays in general tended to concentrate on either iconography or texts, without
considering that they both work together. For example, even though Vassilika mentions in the
introduction to her study of Philae that the placement of scenes and texts are equally
important,294 she chose to focus primarily on iconography, with little or no engagement with the
accompanying texts. As a result, although she is able to show the mutual relationships between
crowns, skirts, and offerings, her discussions of the various temple rooms lack thematic synthesis
and evaluation of purpose. Likewise, although Derchain-Urtel presents a clever interplay
between royal and divine epithets in ritual scenes,295 she does not consider that the crowns or
offerings depicted may also play a significant role.
On the contrary, Derchain296 and Preys297 include both iconographic and textual material
in evaluating ritual scenes. Their research has thus made significant contributions to our
understanding of the interrelationships that exist between epithets and iconography; it became a
foundation for my study of the ritual scenes in the Per-wer.

4.0.2 Methodology

Building upon the work of previous scholars,298 I examined the crowns, scepters,
clothing, and cult objects appearing in the relief scenes in the Per-wer Sanctuary, creating a
database organized according to typology. Next, I correlated the ways in which each element
related to the epithets and offerings of the scenes in which they appear. I found that these
relationships divide into three types: (1) "normal" connections, in which the iconographic
elements carried by a character relate to the identity and role of that character in the scene; (2)
connections within a scene, in which an iconographic element of one character relates to the
iconography or epithet of another character in the same scene; (3), connections between scenes,
in which the epithet of a character in one scene relates to a crown, attribute, or offering in the
symmetrical scene. When this last type of connection works in both directions between the
291
Derchain, Manuel, 1962, 34.
292
In Osing, Ritualszenen, 1970, 162-164, in his review of Wolfgang Helck, Die Ritualszenen auf der
Umfassungsmauer Ramses' II in Karnak, A 18, Wiesbaden, Harrassowitz, 1968.
293
As noted by Vassilika, Philae, 7.
294
Vassilika, Philae, 6.
295
Derchain-Urtel, Gott oder Mensch, 25-41, which investigates two common formula from late temples that
introduce royal or divine epithets in offering scenes: sw mi X (He is like X) and sw m X (He is X). She found that a
King was usually designated as mi (like) a god, whereas the latter m of equivalency was used to identify two gods
with each other. Thus, a King was never truly equal to a god.
296
Derchain, Pome, parital; Preys, Complexes; idem, Catalogue d'Hathor.
297
Preys, Jeux de titulatures.
298
As noted in 4.0.1.1 and 4.0.1.2, 4.0.1.3, particularly the work of Derchain, Derchain-Urtel, and Preys. Several
crowns in the Per-wer, which are not discussed individually in the following sections, are treated in the scenes in
which they appear: the falcon-crown of Hathor in 3rd register of the east wall (5.2.6); the large disk with ostrich
feathers of the King in the 3rd register of the south wall (5.1.4).

80
symmetrical scenes,299 it forms a chiastic relationship between the iconography and epithets of
the two scenes, binding them tightly together. The added layers of theological meaning carried
by the visual attributes in these complementary scenes work together with the aural and visual
aspects of the accompanying texts, creating a rich tapestry of sound and sight. These complicated
interrelationships appear in key scenes within the Per-wer, helping to carry out its function and
purpose.300

4.1 Crowns and Headdresses in the Per-wer

This section takes a closer look at individual crowns worn by divine and royal figures301
in the relief scenes of the Per-wer, grouped according to one of the following elements that
serves as a base for additional components: sun disk, Atef, red crown, white crown, double
crown, and double feathers.302 The discussion of each type of crown begins with its description,
history, and the symbolism of its components, followed by examples from the Per-wer that show
how it relates to the role of the wearer and the context of the scene in which it appears. Although
the following study is limited to the crowns and headdresses observed in the Per-wer Sanctuary
at Dendera, observations about the patterns of use suggest an underlying systematic behind the
choices of the priestly scribes.303

4.1.1 Variations of the Horns and Disk Headdress

Hathor's traditional cow horns and solar disk is the third most frequently worn crown or
headdress in the Per-wer,304 accounting for 12% (17) of the 142 individual crowns depicted, and
appearing in 38% (17) of the Per-wer's 45 ritual scenes. The bovine element recalls her primary
manifestation as a cow goddess, whose worship extends back to prehistoric times. Forerunners of
her iconography305 include a Predynastic slate palette depicting a cow with stars on the tips of its
horns (Fig. 4.2), as well as a 1st Dynasty stone vessel with a cow-eared female wearing horns.306

299
I.e. the epithet of one character in a scene relates to an iconographic element in the symmetrical scene; the epithet
of a character in the symmetrical scene relates to an iconographic element in the first scene.
300
We will examine the three pairs of symmetrical scenes having chiastic relationships between epithets and
iconography in 4.3.
301
Including Hathor, Isis, Horus Behdety, Ra-Horakhty, Thoth, Shu, Ihy, Harsomtus, Nekhbet, Wadjet, the King,
and the Queen.
302
The double feathers and sun disk also serve as additional components in other crowns. I classify them as a "base"
when they appear as the largest element in a crown, e.g. the double feathers in the Anedjty crown, or the sun disk in
Hathor's horns-and-disk headdress.
303
Comparative studies of iconography in other chambers at Dendera, Edfu, and the later Graeco-Roman temples
would be necessary in order to determine if the scribal techniques observed in the Per-wer extend to other chambers
and temples, and if there was a progression and elaboration of these techniques over time.
304
The double crown appears the most frequently, with 28 examples; the simple cloth headdress (for statistical
purposes, defined as the cap, short wig, bag wig, or nemes, worn by Ihy or the King), 23 examples.
305
Other forerunners include the cow-eared female heads wearing horns on the upper part of the Predynastic Narmer
Palette, which may belong to Bat, the goddess of the 7 th Upper Egyptian nome (Sheshesh, or Sistrum Nome).
Already in the PT (1096b), Hathor is called "Bat with her two faces"; by the 12 th Dynasty, she had completely
assimilated Bat's iconography. See Pinch, Votive Offerings, 134; Fischer, Bat, 12-14.
306
Arkell, Hathor Bowl, 5, and pl. 8-9, cited in Daumas, Hathor, 1024; 1030 n. 1.

81
She first appears in her iconic form with the horns-and-disk headdress in the 4th Dynasty, as
shown in the statue group of Menkaure from Giza (Fig. 4.3). The elements of her headdress
recall the myth in which the celestial cow carries the sun god to heaven;307 the cow horns and
solar disk thus combine both her bovine and solar manifestations.308

Fig. 4.2. Predynastic Slate Palette309 Fig. 4.3. Hathor, Menkaure, Nome Goddess310

Although most often appearing in the Per-wer in its most simple, classic form,311
variations of her headdress can also occur with the addition of small elements (Fig. 4.4), such as
a pendant uraeus312 or the throne sign in the name of Isis.313 A smaller version of the horns and
disk can also serve as the female emblem in other composite crowns.314

307
In the Book of the Celestial Cow, first attested on the outer gilded shrine of Tutankhamen. In the myth, after the
punishment of the rebels of mankind by the sun god's Eye (Hathor as Sekhmet), Ra withdraws to the sky on the back
of the celestial cow. See Hornung, Books of Afterlife, 149. Bleeker, Hathor and Thoth, 31, notes a later myth telling
of MH.t wr.t, a cow goddess personifying the Great Flood, who rose out of the primeval waters to perform acts of
creation, including the birth of the sun god, whom she placed between her horns. The texts at Esna elaborate this
theme: "When she [Neith in the form of the Akhet-cow] had saved her son Ra from the hands of his children, she
placed him between her horns and she swam on the water while carrying him." See Sauneron, Esna V, p. 277, lines
77, 15-16; Bleeker, Hathor and Thoth, 31, 33, and 58.
308
As Atenet, the female sun disk, or Rayt, the female sun.
309
Illustration by Rachel Domm of Predynastic slate palette, Cairo Museum Inv. No. 34173.
310
Triad from Menkaure's funerary temple at Giza, 4 th Dynasty, now in the Cairo Museum, Nr. 46499, photo
SCALA, Florence/Art Resource, N.Y., courtesy ARTstor Collection. The nome goddess of Diospolis Parva on the
viewer's right wears the archaic symbol of Bat on her head, consisting of a woman's face, cow ears, and cow horns.
By the New Kingdom, Hathor had assimilated Bat and taken on her iconography. See Fischer, Bat, 7-23.
311
In 64% (9) of the 14 representations with the horns and disk in the Per-wer.
312
On the 1st register, 1st scene of the west wall in the Per-wer. It is probably an abbreviated representation of the
uraeus encircling the solar disk, as in depictions of the solar disk adorning the head of the sun god Ra.
313
Isis appears twice with the additional throne sign of her name on the horns and disk: on the west side of the lintel
of the north wall; on the west side of the base of the south wall. She appears once wearing the horns and disk
without the throne, in a scene in which the emphasis is on the offering and not her individual characteristics, as in
the 1st register of the north wall, where the emphasis is on the geographical symmetry of the offerings by Nekhbet
and Wadjet of the two wAD.ty (uraeus scepters) to the King. Hathor and Isis, appearing on the east and west,
respectively, are secondary characters in the scenes, not actively involved in the offering; both wear identical horns-
and-disk headdresses.

82
 Horns and disk Horns and disk Horns and disk Horns and disk Horns and disk
on low modius; with throne sign with pendant on low modius; on low modius
vulture atop disk on low uraeus on low tripartite wig of uraeii;
headdress and modius; vulture modius; vulture tripartite wig
tripartite wig headdress and headdress and with entwined-
tripartite wig tripartite wig uraeus seshed
band
Worn by Hathor Worn by Worn by Worn by Worn by
(10) and Isis (1) Isis (2) Hathor (1) Hathor (1) Isis (1)

Fig. 4.4. Variations of Horns and Disk in the Per-wer Sanctuary315

In the Per-wer, Hathor appears with the simple horns and disk most often in the 1st
register: in the daily temple rite on the east and west walls, and in the symmetrical scenes with
Nekhbet and Wadjet on the north wall.316 The episodes of the rite emphasize the King's actions
in approaching the naos, opening its doors, and revealing the goddess within. Hathor's divine
energy then streams out, illuminating the sanctuary and the world. With such a strong emphasis
on her solar qualities in these scenes, conveyed both aurally and visually by word and sign plays
in the texts, Hathor's depiction with the horns and solar disk is quite appropriate. The addition of
the uraeus to her crown in the episode of "pulling the (door) bolt" adds an allusion to her
fearsome aspect as the uraeus on the brow of the King's crown, expressed in the accompanying
text.317
The throne sign, signifying that the horns and disk belongs to Isis, appears in two scenes
in the Per-wer; in each, she plays an important role. The first is an offering of primordial water
on the west side of the south wall's base, in which she is equated with Sothis, the star heralding
the inundation; she "pours out" the flood from the cavern of Hapy, the personification of the
Nile.318 The second is the offering of mnw-jars of beer on the west side of the north wall's lintel,
in which Isis carries her full titulary319 and an epithet designating her as Iwny.t, "She of Iunet,"
the feminine form of Iuny, a manifestation of Osiris at Edfu. The King's offering of the
intoxicating beverage pacifies the Distant Goddess so that she will return and restore cosmic
order. It is therefore important that Isis also take part in this pacification, because she is the

314
Examples include the Arsinoe crown (4.1.3.2), the Hepty-crown (4.1.5.1), the female version of the Falcon-
feather crown (4.1.6.1), and as a large-scale addition to the double crown (on the west side of the lintel of the Per-
wer's entrance on the Mysterious Corridor.
315
Numbers in parenthesis indicate the total number of scenes in which a particular variation appears in the Per-wer.
316
See 5.3.1.
317
In the 1st scene of the 1st register of the west wall, Hathor's speech to the King states, di=i snD.t=k pHr m tA.wy
nrw=k m-xt Hr.w, "I cause that dread of you goes around in the Two Lands, the dread of you among people" (D III,
76,11-12).
318
D III, 74,12-13, discussed in 5.2.3.
319
As.t wr.t mw.t-nTr nb.t IA.t-di Hr(y.t)-ib Iwn.t, "Isis the Great, Mother of the god, Lady of Iatdi, who resides in
Iunet" (D III, 59,4). See also 5.1.2.

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representative of the Left Eye of Ra (the moon), which also must return to its proper place.320 On
the contrary, when the scribe omits the throne sign on Isis' horns-and-disk headdress, he
indicates the suppression of her individual characteristics. For example, in the 1st register of the
north wall, in the symmetrical offerings of the two uraeus scepters to the King, the emphasis is
on the geographical symmetry between Nekhbet and Wadjet. Being secondary characters in the
scenes, both Hathor and Isis thus stand behind the two tutelary goddesses of Upper and Lower
Egypt, respectively. Because they are not actively involved in the offering, the individual
characteristics of Hathor and Isis are not stressed; both wear identical horns and disk
headdresses. Thus, the scribes did not randomly place the throne sign on the horns and disk of
Isis in the Per-wer, but rather used it selectively to signal an important role for the throne
goddess in the context of the scene.
In the ritual scenes of the 2nd register, where the emphasis is on the King's offering of
Hathor's sacred objects, her wearing of the horns and disk signals iconography play. As a
"neutral" headdress, it serves merely as an indicator, pointing out that the true crown actually lies
in the symmetrical scene. There are two sets of iconography-epithet plays in the 2nd register of
the east and west walls, both of which feature Hathor wearing the horns and disk in one of the
symmetrical scenes. We will take a closer look at these scenes in 4.3.
In the 3rd register, interplays with the horns and disk are more subtle, sometimes
occurring within the same scene. Isis, seated over the Isheru lake in the 3rd register of the west
wall (Fig. 4.5), wears the horns and disk headdress. Although the throne sign is omitted, the
seshed band with the entwined uraeus, tied around her head, is a characteristic element of her
royal crown, and thus subtly identifies her as Isis.321 Seated two places behind her is the goddess
Mut, whose traditional epithet is "Lady of the Isheru," referring to her Isheru lake at the Temple
of Mut at Karnak;322 she wears her characteristic double crown.323 The depiction of Isis with the
horns and disk thus signals a link to Mut, who wears the proper crown for the role that Isis plays.

320
Osiris, to which Isis' epithet of Iunyt in this scene alludes, also has associations with the moon, thus adding
another layer of meaning.
321
The entwined-uraeus seshed band also alludes to her rising of Isis-Sothis, which heralds the coming of the
inundation. See discussion in 4.1.5.2.
322
See Fig. 5.32.
323
Under Hatshepsut, Mut's iconography changed, linking her not only with Hathor and Amun , as mother, matron,
and divine mistress, but also with the double crown of Atum, the masculine symbol of kinship. Mut thus combined
in one goddess the ideas of power, kingship, and the feminine principle. See Richter, Hatshepsut, 36.

84
 Mut, "Lady of the Isheru" Isis seated over Isheru Lake

Fig. 4.5. 3rd Register, West Wall, Per-wer Sanctuary, D III, pl. 190, IFAO

Another interesting example, showing how the interplay of iconography can unite two
symmetrical scenes, is in the 3rd register of the south wall (Fig. 4.6). The two mirror offerings
emphasize light, their shape recalling the disks of the sun and the moon.

East Side324 West Side

Fig. 4.6. Symmetrical mirror offerings in the 3rd register of the S. Wall, D III, pl. 190, IFAO

The King's offering, supplemented by the additional disks in his crown, thus visually represents
the return of the two Divine Eyes. The visual symmetry of the scene is striking; the King's
stance, dress, and accoutrements are identical in both. On the contrary, Hathor's representations
have subtle differences, thus signaling the presence of important allusions. Her wearing of the
horns and disk in the west scene agrees well with the solar theme; her accompanying epithet,
itn.t, "Atenet" (Female Solar Disk), not only supports this imagery visually, but is itself another
word for "mirror."325 However, in the east scene, she wears a modius instead of the horns and
disk, which at first glance seems to have little connection to the theme. However, a closer
inspection reveals that it consists of a series of uraeii, thus visually representing her epithet, nb.t
iar.wt, "Lady of the Uraeii" (D III, 74,2 and 85,14-15),326 which appears in both scenes and thus
helps link the scenes together. Because the modius and the epithet recall Hathor's role as the
uraeus on the sun god's brow, they support the solar emphasis of the scenes; Hathor's plain wig
in both scenes also helps join the two symmetrical images. Her two headdresses in the

324
Enlarged detail from Mariette, D II, pl. 67.
325
See Husson, Miroir, 38; Bndite, Miroirs, iv; PL 121.
326
The modius in the symmetrical scene on the west side of the 2 nd register (upon which Hathor's horns and disk
stands) is a simple low platform without any uraeii. See D III, pl. 199.

85
symmetrical scenes are thus complementary, each recalling an aspect of her solar nature: as the
shining uraeus on the brow of the sun god, and as the solar disk in the sky.
In the Southern Niche, there are two important scenes in which characters from the Myth
of the Wandering Goddess return the Udjat-Eye to Hathor (Fig. 4.7). In both scenes, Hathor
wears the horns and disk, but over a vulture headdress on the east, and a tripartite wig on the
west. The scribe may have chosen to alternate wigs in order to avoid rigid symmetry."327

2nd Register, East Wall; D III, pl. 201 2nd Register, West Wall; D III, pl. 202

Fig. 4.7. Udjat Offering Scenes on the Lateral Walls of the Southern Niche, IFAO

Each of the symmetrical scenes has two prominent disks: the solar disks of Hathor and Horus
Behdety (as Ra) on the east wall; Hathor's solar disk and Ihy's lunar disk (and crescent) on the
west wall. Because the theme is the return of the two Divine Eyes to their proper places, the dual
disks in each scene visually represent the idea of two Eyes being returned; Hathor's wearing of
the horns and disk in both scenes thus contributes to this emphasis.328
Hathor's signature horns-and-disk headdress thus carries dual functions in the Per-wer:
emphasizing her solar qualities and serving as a marker for iconography play. In the daily temple
rite, the headdress recalls her radiant, illuminating presence; in offerings of the mirror or udjat, it
alludes to the return of the Eyes. Variations in details, like the addition of the uraeus or the
throne sign for Isis, point to additional layers of meaning that are important for the context of the
scene. In key scenes, where the horns and disk signals the presence of iconography play with the
symmetrical partner, the resulting allusions enrich the theological message of the two
complementary scenes.

4.1.2 Variations of the Atef Crown

The Atef (Atf) crown in its simplest version consists of two ostrich feathers flanking a
middle elementeither the white crown or a similarly-shaped bundle of plant stems.329 The

327
Hornung, Symmetrie, 131.
328
These scenes and their iconography plays are discussed in more detail in 4.4.3.
329
Vassilika, Philae, 88, prefers to call it the "Rush Crown," in order to distinguish it from other constructions using
it as an additional element, e.g. the Crown of Geb, discussed below in 4.1.2.1. The middle element of the Atef crown
resembles the headdress worn by Muu dancers. See Junker, Tanz der Mww, 23-39. When designating the middle
element of this crown, I follow Vassilika in calling it the "rush crown." However, I add the indication of the number
of ostrich feathers in the figure above to note their presence in the configuration.

86
Atef makes up 5% (7 out of a total of 142) of the crowns in the Per-wer, appearing in 16% (7)
of the 45 ritual scenes in the Per-wer, with four different variations in form and elements (Fig.
4.8).

Rush crown, 2 Rush crown Rush crown White crown Rush crown
ostrich feathers, 4 framed by 2 framed by 2 framed by 2 framed by 2
disks, 2 uraeii, ostrich feathers, 2 ostrich feather, 2 ostrich feathers, 2 ostrich feathers,
ram's horns uraeii with disks, uraeii with disks, uraeii with disks, and topped with
ram's horns with ram's horns with ram's horns; disk, ram's horns
central disk; central disk; short nemes headdress with disk; fits
vulture headdress wig, seshed band closely to head
and tripartite wig
Worn by Worn by Worn by Worn by Worn by
Thoth (2) Hathor (1) King (1) King (1) King (2)

Fig. 4.8. Variations of the Atef in the Per-wer Sanctuary

Attested since the 4th Dynasty, it belongs to the cosmic ruler Ra,330 who may wear it
himself331 or bestow it upon other gods who act as his deputies, such as Osiris,332 Herishef,333
or Thoth.334 As the pre-eminent crown of Osiris, it is a visible emblem of his legitimate rule
and authority; it represents his rule over earth335 as well as the Netherworld.336 The Atef
therefore connects the wearer with the authority of Ra, mediated through Thoth, as well as with
Osiris and the funerary cult. A text on the east wall of Dendera's Wabet describes the power
behind this crown:

330
The text accompanying an Atef offering, in the 1st register of the east wall of the Wabet at Dendera, states, Hp.t
pw n Nb-Dr, iT n=s Xnm=t im=f sdAdA xfty.w n snD.t=T, "It is the (Atef) crown of the Lord to the Limit (=Ra). Take
possession of it. You are united with it. Enemies tremble due to (their) fear of you" (D IV, 240,11; pl. 307). Note

that Hp.t, "crown" is determined with the sign of the Atef: . Cf. Wb 3, 69,16.
331
Ra appears in the Atef crown at the Temple of Seti I at Abydos, Calverley and Gardiner, Abydos, pl. 24.
332
Osiris says to Horus: "May you see me in my great Atef crowns, which Re has given me, which Atum [has
established for] me." See CT 313; Goebs, Crowns, 62; Faulkner, CT I, 233; de Buck, CT IV, 87. The bestowal of
this crown by Ra confers the rule of Osiris at Herakleopolis, where the crown was said to be located, as noted by
Goebs, Crowns, 64. Other references to the bestowal of this crown upon Osiris include the following: Ra gives
Osiris the Atef, but its heat caused him much suffering in his head (BoD 137); the Atef of Ra is on the brow of
Osiris, who is "Lord of the Two Banks" (BoD 183, 77).
333
In BoD 175 the Atef crown is given to Osiris in his form as Herishef, the unified Ra-Osiris at Herakleopolis. In
CT 420 (de Buck V, 257i), Herishef is crowned with the Sw.ty of Sopdu and the Atfw of Ra. See Hornung,
Totenbuch, 104-106; 369.
334
Goebs, Crowns, 374.
335
In BoD 175, Osiris possesses this crown as a sign of his earthly rulership. See Goebs, Nemes, 172 n. 141.
336
The deceased, taking over this symbol as part of his own insignia, identifies with the god of the dawn (HD-tA) at
the prow of the solar barque. See Goebs, Crowns, 81.

87
 "Take the Atef crown (that permits) making your prestige powerful. It is the Atef Crown of the
Lord to the Limit. Take it. You are united with it (i.e. you wear it). Enemies tremble in fear of
you" (D IV, 240,9-11).

From the New Kingdom onward, the Atef regularly takes on additional elements, such as ram or
bull horns, sun disks, and uraeii.337
A careful examination of the scenes in which the Atef appears shows a connection
between the wearer and the context; the crown also usually carries an additional layer of
meaning supporting the theological message. For example, on the west side of the lintel in the
outer entrance, Thoth wears the Atef crown supplemented by two uraeii, four sun disks, and a
pair of ram's horns (Fig. 4.9). He shakes the two types of sistra338 before Hathor, seated on a
throne; his speech identifies him as ib n Ra sHtp nb[.t] Iwn.t, "the heart of Ra who pacifies the
Lady of Iunet" (D III, 52,9). These epithets, his wearing of the Atef, and his playing of the sistra,
all recall his role as the deputy of Ra, sent to pacify the Distant Goddess so that she would return
to Egypt.

Fig. 4.9. West Side of Lintel, Entrance of Per-wer; D II, pl. 94, IFAO

Similarly, on the west wall of the Southern Niche, Thoth again wears the Atef in an
offering of the udjat to Hathor (Fig. 4.10). The text describes him as nb #mnw sHtp nTr.w m
mdw=f, "Lord of Hermopolis, who pacifies the gods with his words" (D II, 97,15), thus
alluding to his powers of persuasion in convincing the Wandering Goddess to come home.

Fig. 4.10. 2nd Register, West Wall of Southern Niche; D III, pl. 202, IFAO

337
The addition of sun disks and uraeii to "solarize" regalia gained momentum under Amenhotep III, who
characterized himself as "The Dazzling Sun Disk." See Kozloff and Bryan, Dazzling Sun, 134-135.
338
The arched sistrum (sxm) (Fig. 5.15) and the naos, or bxn, sistrum (sSS.t) (Fig. 5.14). See also Fig. 4.20.

88
Interestingly, both of Thoth's appearances in the Per-wer occur on the westthe side of the Per-
wer reserved for Isis, who is identified with the Left Eye (the moon). Thoth's role as Lord of
Time also gives him a strong connection with the moon and its phases.339 Therefore, his presence
in the two scenes show two stages of the return of the Distant Goddess: her pacification through
his playing of the sistra on the outer entrance; her return as the Left Divine Eye, due to his
persuasive words, in the Southern Niche. We will continue our discussion of this important scene
later.340
Besides signifying a role as Ra's deputy, the Atef can also suggest an association with the
funerary cult and Osiris, who often wears this crown. Even when not explicitly stated in the text,
the presence of the Atef on a figure carries allusions that can help explain the meaning of a
scene. For example, in an adoration scene on the outer entrance of the Per-wer, in which the
Ogdoad and the King worship Hathor (Fig. 4.11), she wears a tall Atef crown, elaborated with
the same elements worn in the crown of Thoth that we just saw.

Fig. 4.11. West Side of Outer Entrance, Below Bandeau of Frieze; D II, pl. 94, IFAO

A clue to the connection with Thoth, as well as with the funerary cult, appears in the Coffin
Texts, in which the deceased (most likely equated with Thoth) states, ink qA Xr ab.wy nb Atfw, "I
am high beneath the horns of the Lord of the Atef."341 Hathor's wearing of the Atef thus provides
a visual connection to her dual roles: as deceased primordial creator goddess, who receives the
adoration of her progeny; as the daughter who carries out the funerary cult of the ancestral
gods.342 This funerary theme continues on the east wall of the Per-wer, in which the King also
honors the deceased ancestral gods, by offering them incense.343
The Atef makes other interesting allusions in a scene in the 2nd register of the east wall
(Fig. 4.12). While offering milk to Hathor as Isis, the King again wears the Atef crown, but this
time, the central portion is clearly the White Crown of Upper Egypt.344 Although the white
crown can substitute for the bundle of reeds, as noted earlier, it only appears once in the Per-wer,

339
Because Thoth represents the moon, which can sometimes appear in the early evening (the liminal phase between
day and night), he plays an important role as the link between the spheres of day (Ra), evening (Atum), and night
(Osiris), acting as Ra's mediator to transfer the kingship between these sovereigns. See Goebs, Crowns, 69.
340
In 4.4.3.
341
CT 1028, in de Buck (=CT VII, 251u). Goebs, Crowns, 146, notes that this epithet alludes to the moon, with the
horns of a bull being equated with its crescent. See also Derchain, Dieux lunaires, 20.
342
We will discuss her roles, and this particular scene, in more detail in 5.2.1 and 5.2.6.
343
See Fig. 5.76 and Section 5.5.3.
344
Note that in theory, this crown could also be considered a variation of the white crown. However, since the white
crown as worn by the King usually fits closely around the head, I classify the present crown as a variation of the
Atef.

89
in the present scene. Why would the scribe choose this particular form? The answer may lie in
the associations of the crown with the context of the offering.

Fig. 4.12. 1st Scene, 2nd Register, East Wall; D III, pl 180, IFAO

One of the names of the white crown is HD.t, meaning "white" or "bright one";345 HD.t is also a
designation for milk, thus connecting the white-crown element with the offering. Furthermore, in
this scene the King is equated with Anubis, ity n wSb.wt, "Sovereign of the Milk Cows" (D III,
69,9), an epithet alluding to Isis, whose epithet, wSb.t, means "mourner." The King's Atef crown,
strongly recalling Osiris, for whom Isis mourns, thus visually connects to the offering as well as
its recipient.
In addition to Thoth and Osiris, Horus can also wear the Atefa tradition going back at
least as early as the New Kingdom.346 The King takes on the role of Horus when wearing the
crown in a menit offering in the 2nd register of the Per-wer's east wall (Fig. 4.66). The text
describes him as Hr HD Hm.ty, "destroying the Coward" (D III, 69,18), a euphemism for Seth,
whose testicles are equated with the beads of the menit necklace that the King offers to Hathor.
The power that the Atef gives the wearer for vanquishing enemies is clear from an Atef offering
in the Wabet:

Hp.t pw n Nb-Dr, iT n=s Xnm=t im=f sdAdA xfy.yw n snD.t=T

"It is the (Atef) crown of the Lord to the Limit (=Ra). Take possession of it. You are united with
it. Enemies tremble in fear of you" (D IV, 240,11; pl. 307).347

The Atef's connection to Osiris also agrees well with the idea of Horus as the avenger of his
father, a role played by the King in this scene. Furthermore, Hathor carries the epithet, nDty.t Hr
sn=s, "Protectress for her brother," another allusion to Osiris. The Atef worn by the King in this
scene thus works on multiple levels, tying together strands of the Contendings of Horus and

345
Abubakr, Kronen, 28-29.
346
Abubakr, Kronen, 20-21, cites a passage from BoD 183, which may originate in the MK; the NK temple of
Ramesses III at Medinet Habu contains a text referring to the King as tw.t Xry Atf mi @r-Ax.ty @r wr mrw.t mi it=f Ra,
"an image under (=wearing) the Atef-crown, like Horakhty, Horus, Great one of love like his father Ra." See Lacau,
Textes religieux, 222a.
347
Note that Hp.t, "crown" is determined with the sign of the Atef: . Cf. Wb 3, 69,16.

90
Seth,348 as the King vanquishes the enemy of Osiris and presents Hathor with the trophy of his
success.
Although the King wears an identical Atef crown in the symmetrical scene on the west
wall (Fig. 4.66), he is equated there with Thoth, agreeing well with his offering of the wensheb,
the symbol of ordered time. Just as we saw on the west wall of the Southern Niche, there is again
an allusion to the Left Eye of Ra, with the accompanying text describing Hathor as Hr Xnm iAb.t
Hr sHD idb.w, "uniting with the Left Eye, brightening the Banks" (D III, 81,12), a reference to
moonlight illuminating the two banks of the Nile. Thus, the King, wearing the crown of Thoth,
again fulfills the task of Ra's deputy, returning the Left Eye to its proper place and thereby
restoring the ordered time that his offering symbolizes. Also, just as Hathor's horns-and-disk
headdress can signal an iconography play in the symmetrical scene, which we saw earlier, the
wearing of the identical crown by the same character in two symmetrical scenes can also signal
the existence of an iconography play between the other figures in the scenes. This situation
occurs with the menit and wensheb offering scenes; we will return to them for a closer look in
4.3.2.
The Atef crown thus carries out versatile roles in the Per-wer. It adorns the god Thoth in
his role as Ra's deputy, pacifying or cajoling the Distant Goddess to return, especially in her
form as the moon, his symbol. With its strong funerary and Osirian connotations, the crown
naturally appears in scenes concerning the deceased ancestral gods; visual plays on the name of
its white-crown component allow it to allude to milk offerings.349 Finally, when the same figure
wears it in two symmetrical scenes, it can also point to iconography plays among the other
crowns and objects. Its many connotations and multiple variations thus give it a breadth of use
that enriches the scenes in which it appears.

4.1.3 Variations Built on the Red Crown

In the Per-wer, the Lower Egyptian red crown, worn alone, appears opposite the Upper
Egyptian white crown in scenes of geographical symmetry.350 The red crown carries associations
with Wadjet, the tutelary goddess of Lower Egypt, and with Geb and Atum. It can also serve as
the foundation for more complex creations. We will now look at the two variations appearing in
the Per-wer: the Crown of Geb, worn by either the King or Hathor; the Arsinoe Crown, worn by
the Queen.

348
For the Contendings of Horus and Seth, see Blackman, Myth of Horus, 1943; Griffiths, Horus and Seth, 1960;
Fairman, Triumph of Horus, 1974.
349
Interestingly, milk offerings were also an important part of the ritual at the traditional burial place of Osiris in the
Abaton, on the island of Biggeh across from Philae. See Griffiths, Iside et Osiride, 367; Junker, Abaton, 56-57;
Diodorus Siculus, I, 22,3-6.
350
The individual crowns of Upper and Lower Egypt are worn by the King in the following scenes in the Per-wer:
two symmetrical offerings of the wAD.ty to the King by Nekhbet and Wadjet in the 1st register of the north wall; two
symmetrical offerings of Ma'at in the 1st register of the south wall; two symmetrical offerings of Ma'at in the 2 nd
register of the south wall of the Southern Niche.

91
4.1.3.1 Crown of Geb (Red Crown, Atef)

The so-called Crown of Geb consists of the Atef (a complex bundle of reeds, ram's horns,
and disks), placed atop the red crown of Lower Egypt. Of the 142 individual crowns appearing in
the Per-wer, 4% (5) of them are the Crown of Geb; the crown appears in 11% (5) of the 45 ritual
scenes in the Per-wer.351 When worn by the King, the red crown fits closely to the head; when
worn by Hathor, it stands atop her wig or headdress (Fig. 4.13).

Red crown, Atef Red crown, Atef Red crown, Atef

crown (rush crown crown (rush crown crown (rush crown
framed with 2 ostrich framed with 2 ostrich framed with 2 ostrich
feathers and topped feathers and topped feathers and topped
with disk, 2 uraeii with disk, 2 uraeii with disk, ram's horns
with disks, ram's with disks, ram's with disk); vulture
horns with disk) horns with disk); headdress and
tripartite wig tripartite wig
Worn by King (3) Worn by Hathor (1) Worn by Hathor (1)
Fig. 4.13. Variations of the Crown of Geb in the Per-wer Sanctuary

Geb, the personification of the earth, is responsible for all of its products, including
plants, minerals, and the inundation, which springs from deep within it.352 He is also the ancestor
and father of the gods, and the first terrestrial ruler. Although in earlier depictions he usually has
a goose (the phonogram of his name) as a headdress, in the Ptolemaic temple reliefs he wears his
eponymous crown.353 The Atef- and red-crown components represent his authority over Upper
and Lower Egypt, respectively;354 this composite crown became so closely associated with him
that it can serve as the determinative of his name in Ptolemaic Egyptian.355

351
Three times by the King: in each of the symmetrical lintel scenes of the north wall (offerings of mnw-jars of beer
and a jar of wine); in the 3rd register of the west wall (funerary offering); twice by Hathor: 3 rd register of the north
wall (HD.t-jar of primordial water); 2nd register of the east wall (sistra offering).
352
Preys, Catalogue d'Hathor, 129.
353
Two exceptions are LD IV, 59; E VI, 293-4 and E XIV, pl. 600. Depictions before the Ptolemaic Era of Geb
wearing this crown include a stela of Ramesses II (see Yoyotte, Tanis, 47-62) and a relief in the Temple of Hibis
(Davies, Hibis, pl. 5, VII), cited in Bedier, Geb, 171.
354
Abubakr, Kronen, 17, and Vassilika, Philae, 88, suggest that the Atef, with its central element of the white crown
(or a similarly-shaped bundle of reeds) represents Upper Egypt; the composite crown with the Atef on the red crown
thus represents both Upper and Lower Egypt. The Atef-element may also allude to his roles as judge of the dead and
as an intermediary to whom offerings were made for the benefit of the deceased. See Te Velde, Geb, 428. Yoytte,
Tanis, 58-62, suggests that Geb, as one of the oldest of the Lower Egyptian gods, red crown around the Atef and
gave it to his son Osiris. See Bedier, Geb, 171.
355
On the east wall of Chamber C, Crypt West 1: D VI, 85,8, cited by Bedier, Geb, 160. During this
period, Geb's name can also be written without the composite crown on the seated god.

92
 In the Per-wer, Hathor wears the Crown of Geb in two scenes, both related (either
directly or by iconography play) to products of the earth. In the 3rd register of the north wall, she
sits on a throne placed over 16 jars of water, representing the height in cubits of a perfect
inundation; the King presents her with a nms.t-jar of primordial water (Fig. 4.14).

Fig. 4.14. East side, 3rd Reg., North Wall; Fig. 4.15. 3rd Scene, 2nd Reg., East Wall;
D III, pl. 180, IFAO D III, pl. 180, IFAO

As the daughter of Geb, Hathor is the guarantor of the inundation and the bounty of the earth that
it brings. Thus, she rightfully wears the Crown of Geb in this scene.356 A similar connection with
the fruits of the earth occurs in the 2nd register of the east wall, where she again wears the Crown
of Geb in a sistra offering scene (Fig. 4.14). However, in this case, her crown links neither to
theme of the sistra scene, nor to any of its epithets, but rather to the offering of the mnw-jar of
beer (a product of the earth) in the symmetrical scene on the west wall, in which she carries the
epithet, "Lady of bread, who makes beer"357 (D III, 82,11). It is interesting that Hathor's crown in
the nms.t-jar offering has two uraeii, while her crown in the sistra offering has none. I believe
that the reason lies in the fact that the two uraeii, or wAD.ty, represent the Two Lands;358 when
designing the nms.t-jar offering scene, the scribe may have wanted to place additional emphasis
on the benefaction of the inundation for both Upper and Lower Egypt, whereas he found this
emphasis unnecessary in the sistra offering (or its linked partner, the mnw-jar offering), because
the emphasis there is on Hathor's pacification.
The King's appearance with the Crown of Geb in the Per-wer is more straightforward
than Hathor's. He wears it in two symmetrical offering scenes on the lintel of the north wall, in
offerings of mnw-jars of beer (Fig. 4.16) and a jar of wine (Fig. 4.17), carrying the epithets,
"Lord of Imet and Senu" (D III, 59,1), which connect him with the wine-producing regions of the
Delta.

356
See more discussion of this scene in 5.2.3.
357
We explore the iconography and epithet plays between these two scenes in 4.4.1, with further discussion in 5.1.2.
358
As noted earlier, Nekhbet and Wadjet, the tutelary goddesses of Upper and Lower Egypt, respectively, offer the
wAD.ty-scepters to the King in two symmetrical scenes in the 1st register of the north wall.

93
 Fig. 4.16. W. Side, Lintel, North Wall; Fig. 4.17. East Side, Lintel, North Wall;
D III, pl. 180, IFAO D III, pl. 180, IFAO

In the 3rd register of the west wall, he also wears the Crown of Geb while presenting a funerary
repast to the deceased ancestral gods (Fig. 4.18); in return, Isis offers him "the field producing
for you its products, the storehouse flooded with good things" (D III, 84, 15).

Fig. 4.18. 3rd Register, West Wall; D III, p. 190, IFAO

In all three examples, King's crown crown perfectly fits the context of the offerings: wine, beer,
meat, and breadall products of Geb's domain, the earth. In addition, the Atef-element of the
crown, with its own strong Osirian and funerary connotations, connects well with the idea of
maintaining the funerary cult of the ancestors.359
The Crown of Geb thus imbues the wearer with the powers of Geb over the earth and its
products; its use in the Per-wer highlights this theme. When worn by Hathor, the crown indicates
that she is the guarantor of the inundation and fabricator of bread and beer; when worn by the
King, it shows that he is in charge of the production of the wine and beer needed to pacify the
Distant Goddess, as well as the products necessary to maintain the cults of the human and divine
ancestors. Hathor's use of the crown in the 2nd register, where the emphasis is on the offering of
her sacred objects, involves iconography and epithet play. The King's use in the lintel and in the
3rd register underlines his responsibility for the offerings he presents to Hathor and the ancestral
deities. In all of these examples, the crown gives the wearer the power of Geb to carry out the
necessary actions in the respective scenes.

359
This scene is explored in more detail in 5.5.3.

94
4.1.3.2 Crown of Arsinoe (Red Crown, Falcon Feathers, Horns and Disk)

A variant of the Crown of Geb is the distinctive creation made for the deified Arsinoe II
(Fig. 4.19), sister and wife of Ptolemy II Philadelphus. Its components include the red crown,
two falcon feathers,360 a small horns-and-disk emblem atop a pair of ram's horns, a modius of
uraeii, and a second pair of ram's horns at the base (Fig. 4.20).361 In the Per-wer, this unique
crown appears makes up only 1% (2) of the 142 individual crowns, appearing in only 4% (2) of
the 45 ritual scenes (Fig. 4.22). Besides Arsinoe II, Cleopatra III and VII also wore the crown; its
unique iconography has encouraged several scholarly studies362 and inspired some lively
debate.363 Although designed in the Ptolemaic Period, the crown has New Kingdom antecedents,
beginning with Seti I and including Ramesses II and III.364 The earth god Geb is one of the few
gods to wear it;365 when worn by a god or king, the crown lacks the feminine horns and disk.366

360
Dils, Couronne d'Arsino, 1307, labels the straight feathers on the Arsinoe crown as ostrich, rather than falcon,
contra Vassilika, Ptolemaic Philae, 87, 94. I follow Vassilika in considering the ones curled at the top and splaying
slightly at the base to be ostrich feathers, whereas the straight-but-tapered ones are falcon feathers.
361
This variation of the Crown of Arsinoe also appears in the staircase at Dendera (D VIII, pl. 793).
362
Quaegebeur, Ptolemaic Queens, 1989; Dils, Couronne d'Arsino, 1998; see now Nilsson, Arsino II, 2010.
363
Two points of discussion are whether the crown was an emblem of Arsinoe II's deification, and if her deification
took place during her lifetime or after her death. Bennett, Arsinoe II, 2012, gives the date of her incorporation into
the dynastic cult of the Qeoi\ A))delfoi/ as Ptolemy II's regnal year 13 or 14 (=273/2 or 272/1), which is several years
before her death in the month of Pachons in regal year 15, as reported in the Mendes Stela (CGC 22181). The date
of her death, "the most involved in Ptolemaic chronology," according to Bennett, loc. cit., has estimates ranging
from 268 -270 BCE. See idem, Arsinoe II. Buraselis, Sibling Marriage, 297, suggests that the reason for Ptolemy II's
characterization of himself and his sister-wife as "brother-sister gods" was to raise themselves to the level of
divinities, thereby equating their marriage with that of Isis and Osiris and thus making it more acceptable. Nilsson,
Arsino, 477, argues that Arsinoe II was co-ruler with her husband, and that her crown, given to her during her
lifetime, marks her as the political equal of her husband. However, Nilsson bases her conclusions only on
iconographical evidence from Ptolemaic temples, without sufficiently employing other sources such as stelae and
papyri; some of her suggestions (e.g. if Arsinoe II is playing a sistrum before a god, as an "active benefactor," she
must be alive to do so) are not convincing. Deceased personages (e.g. Pepi I on the lateral walls of the Per-wer) do
present offerings to divinities at Dendera. In any event, the establishment of Arsinoe's posthumous cult on the
Mendes Stela in regnal year 15 does not preclude her earlier use of the distinctive crown, because the decree does
not indicate the creation of a crown, as in the Canopus Decree for Berenice, the deceased daughter of Ptolemy III
Euergetes II. Until new evidence arises that specifies the exact time at which Arsinoe II's crown first appears, I
consider the matter to be still unsettled.
364
For Seti I's depiction on the exterior north wall at Gurna, see Osing, Gurna, pl. 4. Ramesses II wears it at Karnak,
Temple of Ptah, interior north framing of door (=Urk VIII, 139-140, no. 201); Ramesses III wears it in on the south
door jamb of the Migdol at Medinet Habu (MH VIII, pl. 619).
365
From the NK onward, Geb occasionally wears a variation of what becomes the Arsinoe Crown, with the red
crown and double falcon feathers, but without ram's horns or a solar disk, as shown on pillar B in room A of the
tomb of Ramesses III (PM I/2, p. 525), cited by Dils, Couronne d'Arsino, 1314.
366
E.g., at Hibis, Edfu, Dendera, Kom Ombo, the small Temple of Opet at Karnak, Deir el Chelouit, the Roman
Mammisi at Dendera, and Esna. See Dils, Couronne d'Arsino, 1327-1330 for a list of Kings wearing the "crown of
Arsinoe." As noted by Nilsson, Arsino, 284 n. 557, the earlier predecessor to the Arsino crown probably needs its
own designation, rather than subsuming into the category of Arsino's female version, as in Dils' list. Nilsson calls it
the "Ramesside Crown," thus avoiding the designation, "male variant of the crown of Arsino," despite the fact that
kings other than Ramesses II and III wear it.

95
 Fig. 4.19. Gold Oktadrachm Fig. 4.21. Hathor's Hepty Crown
of Arsinoe II367 D III, pl. 190, IFAO

Fig. 4.20. Arsinoe Crown at Dendera368

As a variant of the Crown of Geb, and one worn occasionally by the god himself, Arsinoe
II's composite creation thus links her with the founding father of Egypt's divine dynasty. This
connection agrees well with Ptolemy II's systematic promotion of her identification with Isis, the
daughter of Geb;369 it may allude to the great agricultural projects undertaken during his reign in
the Fayum, whose local god Sobek could be identified with Geb. 370 Arsinoe's deification, which
formed part of Ptolemy II's establishment of the Dynastic Cult,371 also involved setting up her
statues in temples throughout Egypt, with a priesthood appointed to maintain their offering
cult.372 Due to her identification with the beloved goddess Isis, Arsinoe II's worship was
particularly popular among women.373
Individual components of her crown carry important symbolic meaning. The ram's horns,
which often function merely as a structural support for additional components,374 may allude to

367
Gold oktadrachm of Arsinoe II, struck under Ptolemy II, ca. 253-252 BCE. Photo by permission of CNG Coins,
at <www.cngcoins.com/Coin.aspx?CoinID=208347>, accessed 4-19-12.
368
Worn by the Queen in Staircase X (D VIII, pl. 793), IFAO. The configuration of this example is the same as
those in the Per-wer.
369
Arsinoe's identification with the goddess gave her epithets such as "the image of Isis," "daughter of Geb," and
"Female King of Upper and Lower Egypt; Isis carries these epithets at Dendera: sA.t Gb, "daughter of Geb" (D III,
2,6, in the Temple of the Sistrum, Chassinat's Chamber I); nsw.yt-bi.ty.t, "Female King of Upper and Lower Egypt"
(D III, 79,14, in the Per-wer, on the west side of the base of the south wall, a scene in which the Queen also
appears). Quaegebeur, Ptolemaic Queens, 45-48 and fig. 19, shows a colossal statue of Arsinoe II (Vatican 31)
whose back-pillar inscription is "daughter of Geb" and "image of Isis." See also Buraselis, Sibling Marriage, 298.
370
Dils, Couronne d'Arsino, 1326-1327.
371
The main purpose of Ptolemy II's "Dynastic Cult" was to establish his legitimacy as ruler of Egypt for both his
Greek and his Egyptian subjects. His plan included deifying his parents and claiming descent from the Greek god,
Dionysus, thereby not only making him a living, divine king, but also legitimizing his kingship by the connection
with Alexander's royal house, which claimed descent from Heracles, Dionysus' son-in-law. Ptolemy II took on the
traditional titulary of an Egyptian King, but added epithets like "brother-loving" (Philadelphos), also translating
them for Egyptian inscriptions, to make the marriage to his sister more acceptable. Arsinoe II's deification was part
of this process of legitimizing; by identifying her with an already-popular goddess, Isis, he increased the chances of
its success. See Fraser, Ptolemaic Alexandria, 213-236.
372
Statues placed in Greek temples were in Greek style; those placed in Egyptian temples wore the Crown of
Arsinoe discussed in this section.
373
Fraser, Ptolemaic Alexandria, I, 237-246.
374
As noted by Derchain-Urtel, Krone und Nebenformen, 2, who suggests, however, that they subsequently carry no
symbolic meaning.

96
Banebdjedet,375 the ram god of Mendes, for whom Arsinoe II served as a high priestess.376
Because he was connected to the solar cult (based on an assimilation with Amun, Ra, and
Horus), his horns can also symbolize fertility and eternal rejuvenation.377 Furthermore, the ram
itself symbolizes power, respect, and kingship; the sign of a ram's head is the ideogram for Sfy.t,
"dignity."378 The two feathers, equated with the two Divine Eyes,379 symbolize luminosity; they
endow the wearer with a divine cosmic nature.380 Interestingly, the tall feathers were also an
essential part of the characteristic crown of the God's Wives of Amunhigh priestesses who
assumed royal iconography and titularies, many of which were taken over by Arsinoe II in her
own titulary.381 The small horns-and-disk component, serving as a female emblem,382 connects
with Hathor in her bovine and solar aspects. Together, these multiple components convey
fertility and rejuvenation, power and authority, and divine luminosityall qualities appropriate
for the deified queen.383

Red crown, 2 falcon Red crown, 2 falcon

feathers, small horns and feathers, small horns and
disk on ram's horns placed disk on ram's horns placed
on platform of red crown, on platform of red crown,
ram's horns at base of red ram's horns at base of red
crown; tripartite wig with crown; vulture headdress
entwined-uraeus seshed and tripartite wig
band
Worn by Queen (1) Worn by Queen (1)

Fig. 4.22. Variations of the Arsinoe Crown in the Per-wer

On the lintel of the outer entrance of the Per-wer, the Queen wears the crown in two
symmetrical sistra offerings (Fig. 4.23). Standing behind the King, she shakes the menit in one
hand and raises her other in adoration before Hathor. Although the configuration of the Arsinoe

375
Lit., "the Ba of the Lord of Djedet," the city of Mendes. See Wb I, 414,9.
376
Arsinoe II's nsw.t-bi.ty.t name was (Banebdjedet)|, attested in a stela from Mendes, Zagazig 228 (=Herriat
Raznah Museum Nr. H 854), engraved during the reign of Ptolemy II Philadelphus. See Nilsson, Arsino II, 78, 243.
377
As suggested by Nilsson, Arsino, 444.
378
Wb IV, 457,3 459,7; PL 1004; Brunner-Traut, Horn, 9. Discussed as part of an example of sign play in 3.5.
379
Assmann, Liturgische Lieder, 193-194; BoD 17.
380
Goebs, Cosmic Aspects, 459-460. Tall feather crowns are treated in more detail in Section 4.1.5.
381
Ayad, God's Wife, 1-2. Arsinoe II also carried the title, "God's Wife," as indicated on a statue base; she took on
the epithets of earlier God's Wives, such as those of Akhnesneferibe and Amenirdis I. See Nilsson, Arsino II, 409-
411 and 497.
382
Derchain-Urtel, Hptj-Krone, 64, also considers the small horns-and-disk emblem on the Hepty-crown (discussed
in 4.1.2.2) as the crown's "female" component.
383
Nilsson, Arsino, 400-404, suggests that Arsinoe II was proclaimed Female King in her lifetime, the crown
reflecting her three main cultural positions: Female King of Lower Egypt, high priestess, and Thea Philadelphus.

97
Crown is the same in both scenes, her wig arrangement varies: on the west side, a vulture
headdress; on the east, a plain wig with an entwined uraeus around a seshed band.384 The vulture
and the uraeus of the two headdresses allude to Nekhbet and Wadjet, the tutelary goddesses of
Upper and Lower Egypt, respectively, thus providing protection in both depictions and
connecting the wearer to each of the Two Lands.

Queen Hathor Queen

East side of Lintel; D II, pl. 94 West Side of Lintel; D II, pl. 94

Fig. 4.23. Lintel on Outer Entrance of Per-wer Sanctuary, IFAO

Her epithets in both scenes also emphasize rule over both regions: HqA.t ( )| nb(.t) tA.wy ( )|,
"Female Ruler ( )|, Lady of the Two Lands ( )|," the cartouches in each case being empty (D III,
51,16; 52,13). However, because the Per-wer was decorated during the reign of Cleopatra VII,
these anonymous images represent the famous queen.385 An interesting aspect of the scene on the
east side is the similarity of the Queen's crown to the one of Hathor. Although built around the
double crown rather than the red crown, Hathor's so-called Hepty-crown nevertheless has the
same falcon feathers and horns-and-disk emblem on ram's horns (Fig. 4.21); Arsinoe II's crown
may therefore have been its inspiration.386 We will examine Hathor's crown in more detail in
4.1.5, but here it is sufficient to note that it symbolizes kingship and the dignity of the goddess as
a female king.387
The complex crown designed for Arsinoe II thus visually represents her roles as queen
and goddess, supporting qualities that Ptolemy II wished to emphasize as part of his overall plan
to legitimize the rule of the royal couple. The components of the crown link her to fertility,
rejuvenation, and divinity, while emphasizing that she was a powerful ruler in her own right.
These connotations were not overlooked by the later Cleopatra VII, who recognized their value
and reused the crown for her own iconography in the Per-wer at Dendera.

384
Vassilika, Philae, 95, also observed this convention at Philae. Nilsson, Arsino II, 234-235, notes that the
tripartite wig does not have any exclusive regional connotations, being used by both Upper and Lower Egyptian
deities. On the other hand, the vulture cap is associated with Upper Egypt and the goddess Nekhbet, who can also
represent an aspect of Hathor, and represents divine protection for its wearer.
385
Noted by Dils, Couronne d'Arsino, 1310. See also Quaegebeur, Cloptre VII et Dendara, 49-72. At Dendera,
she wears this crown in four other scenes at Dendera: D II, 40-41, pl. 98; D III, 131-132, pl. 218; D VIII, 116, pl.
767; D VIII, 96, pl. 793 (which we saw earlier in Fig. 4.13). There does not seem to be any geographical connotation
with this crown because the Queen wears it on both east and west sides
386
As suggested by Nilsson, Arsino, 512.
387
The theme of kingship for Hathor is also evident in the Ma'at offering on the east side of the 1 st register, south
wall, in which she wears the Hepty-crown and carries the same epithet as Arsinoe: nsw.yt bi.ty.t, "Female King of
Upper and Lower Egypt" (D III, 63,3).

98
4.1.4 Variation Built on White Crown: "Lady of the Per-wer" (White Crown,
Ostrich Feathers)

The white crown, like its red-crown counterpart, also appears in scenes of geographical
symmetry in the Per-wer.388 Symbolizing Upper Egypt, the crown thus carries associations with
the region's tutelary goddess, Nekhbet. In the Per-wer it has only one composite form, framed by
two ostrich feathers. Although this form makes up only 2% (3) of the 142 crowns and appears in
only 7% (3) of the 45 ritual scenes, it is an important indicator of Hathor's role in the Per-wer.
In the 3rd register of the east and west walls of the Per-wer, Hathor, denoted as nb.t pr-wr,
"Lady of the Per-wer" (D III, 73,9; 85,7),389 wears this crown in both symmetrical scenes, each
time seated before a representation of the Per-wer, the archaic shrine of Upper Egypt (Fig. 4.24
and 4.25). Nekhbet, seated before her, wears the same crown.

Nekhbet Hathor

Fig. 4.24. 3rd Register, East Wall; D III, pl. 180, IFAO

Hathor

Fig. 4.25. 3rd Register, West Wall; D III, pl. 190, IFAO

388
The individual crowns of Upper and Lower Egypt are worn by the King in the following scenes in the Per-wer:
two symmetrical offerings of the wAD.ty to the King by Nekhbet and Wadjet in the 1st register of the north wall; two
symmetrical offerings of Ma'at in the 1st register of the south wall; two symmetrical offerings of Ma'at in the 2 nd
register of the south wall of the Southern Niche.
389
Hathor, wearing the usual horns and disk on a vulture headdress, also carries this title in an offering of the mnw-
jar and band of electrum, in the 3rd scene of the 2nd register of the west wall (D III, 81,17); wearing the Hpty-crown
(See 4.1.5.1) in a Ma'at offering in the east scene of the 1 st register of the south wall (D III, 68,2). Hathor also
carries this title in texts not accompanying relief scenes, e.g., the east door jamb of the outer entrance of the Per-wer
(D III, 56,10).

99
As the tutelary goddess of Upper Egypt and the mythical mother of the King, Nekhbet is the
original "Lady of the Per-wer," having associations with this crown going back to the Pyramid
Texts.390 In her form as a vulture, she wears it in two symmetrical scenes on the Upper Cornice
of the outer entrance, framing the King's cartouche with the help of her Lower Egyptian
counterpart, Wadjet (Fig. 4.26).

Fig. 4.26. Nekhbet wearing Similar Crown on Upper Cornice of the Per-wer's Outer Entrance
D II, pl. 94, IFAO

Although Nekhbet and Hathor both wear the crown in the incense offering scene in the 3rd
register of the east wall (Fig. 4.24), there are subtle differences: Nekhbet's crown fits closely to
her head, reaching down to the nape of her neck, whereas Hathor's is perched atop her long
tripartite wig in both symmetrical scenes (Fig. 4.27). Nekhbet's crown thus mimics the one that
she wears as a vulture on the cornice; Hathor's suggests that its symbolism is supplementary to
her own characteristics.

White crown framed by 2 White crown framed by 2

ostrich feathers; fits ostrich feathers; sits atop
closely to head tripartite wig
Nekhbet (1) Hathor (2)

Fig. 4.27. Variations of White Crown and Ostrich Feathers in the Per-wer

Hathor's reciprocal gift for the King's incense offering is the Upper Egyptian crown (D III, 73,1),
thus giving him rule over the southern areas of Egypt, from which his offering originates. His
offering, as well as her reciprocal gift, thus correspond to the crown that she wears, due to the
crown's associations with Nekhbet and her cult center at El-Kab in the south, and the regions
generally south of Egypt, from which aromatic substances originate. For this reason, Hathor
wears the same crown elsewhere at Dendera in offerings of incense, myrrh, and perfume,391 all of

390
PT 470 of Pepi I ((910a-b ): rx (P.)| pn mw.t=f n xm (P.)| pn mw.t=f HD.t sSp.t wTt Hry.t-ib Nxb nb.t pr-wr, "This
Pepi knows his mother. This Pepi is not ignorant of his mother, the Bright One, the Thick One who resides in
Nekheb, Lady of the Per-wer." Cf Allen, PT, p. 125 (line 321 of Pepi I); Faulkner, PT, p. 159 (910).
391
Preys, Catalogue d'Hathor, 121-123, notes the following attestations of this crown elsewhere at Dendera: Barque
Sanctuary (Chassinat's Chamber A), D I, 45,9-18 (offering of mD-perfume); Chamber of Appearance (Chassinat's
Chamber Z), D IX, 51,2 52,2 (myrrh); Per-Neser (Chassinat's Chamber M), D III, 179,17 180,11; 189,2-13

100
which are substances offered to her by Thoth in the Myth of the Wandering Goddess. By
offering her products from the south, Thoth demonstrates to the Distant Goddess that if she
returns to Egypt, she will not lack any of the things she had enjoyed during her sojourn in Nubia.
In the reciprocal scene on the west wall (Fig. 4.25), in which the King presents a funerary
offering to the deceased ancestor gods, the allusion to the south is more subtle. Among the
products that he presents are Sps.w nb.w, "exotic provisions" (D III, 84,12), the products of
foreign lands.392 Hathor, speaking for all of the ancestor gods, states, Ssp=n Sps.w=k , "We
receive your exotic provisions" (D III, 85,8). The polyptoton by metathesis between Ssp,
"receive," and Sps.w, "exotic provisions," emphasizes the gods' acceptance of the foreign goods;
Hathor's white crown with its double ostrich feathers thus connects to these offerings, as well.
As Lady of the Per-wer, the archaic shrine of Upper Egypt, Hathor takes on the crown of
the tutelary goddess of this region as her own, although wearing it in a slightly different fashion
to mark its borrowed nature. Because of its allusions to the south and the exotic products that the
Distant Goddess would have enjoyed during her sojourn, the crown is especially appropriate for
Hathor to wear when receiving offerings of incense and other foreign products. The twofold
importance of these products--in maintaining the ancestor cult and in recalling the myth of the
Sun Eye's returnconnects well with Hathor's iconography in these scenes, as well as making
the Per-wer Sanctuary an ideal place to present the theme of her pacification and return.

4.1.5 Variations Built on Double Crown

The double crown, or pA sxm.ty (lit., "the Two Powerful Ones") is the symbol of the
union of Upper and Lower Egypt.393 In its most simple, classic form, it appears in the Per-wer
on the heads of gods, goddesses, and the King; it has more variations than any other crown in the
Per-wer.394 The simple form of the double crown makes up 20% (28), and the composite forms
based on it count for 8% (11) of the 142 crowns, for a total of 28% (39) of the crowns in the Per-
wer. The versatility of symbolism and meaning carried by the different variations may explain
why the ancient scribes employed so many of its versions in the ritual scenes; the wearing of
different versions by multiple characters within the same scene can create subtle links between
them.395

(censings); Kiosk, D VIII, 60,7; 60,10. However, on the lintel of interior door of Throne of Ra (Chassinat's Chamber
N; D IV, 4,13 6,8), in a scene of a ritual run with a jar of inundation water. Kurth, Pepi I, 22, notes that Isis wears
this crown in Crypt South 1, Chamber E, north wall (D V, 158,7 160,8, pl. 443).
392
Wb IV, 453,1-8.
393
D IV, 240,3-5, which gives a description of the double crown: ""Offering the Double Crown: Take the white
crown united with the red crown. Your head is equipped with your beautiful crowns, you [illuminate] with the white
crown, you shine with the red crown, the Ennead shines in seeing you" (D IV, 240,3-5).
394
Its variations can be divided into two main categories, according to the added elements in common: the Hepty-
crown (with falcon feathers and ram's horn) and crowns having two ostrich feathers.
395
Eight scenes have more than one character weraing some form of the double crown: e. side, lintel, outer entrance
(sistra): 4 (King, Ihy, Hathor, Horus Behdety); w. side, lintel, outer entrance (sistra): 4 (Horus Behdety, Hathor, Ihy,
King); e. side, 1st reg., south wall (Ma'at): 3 (Ihy, Hathor, Horus Behdety); e. side, base, south wall (primordial
water): 2 (Ihy, Horus Behdety); 1st scene, 2nd register, west wall (xAdb): 2 (Horus and Hathor as Isis); w. side, 1st
reg., south wall (Ma'at): 2 (Isis and Ihy); w. side, 2 nd reg., south wall of Southern Niche: 2 (Isis and Ihy).

101
4.1.5.1 Hepty-Crowns Royal Crowns of Horus and Hathor

One of the most interesting composites built upon the base of the double crown is the so-
called Hepty-crown.396 Its basic form consists of the double crown, two falcon feathers, and a
pair of ram's horns. It accounts for 4% (6) of the 142 crowns in the Per-wer, appearing in 22%
(5) of the 45 ritual scenes.397 Worn by both Hathor and Horus Behdety, it has three variants (Fig.
4.27), including an optional ostrich feather placed behind the red crown (for either Horus or
Hathor), and a small horns-and-disk emblem for Hathor.398

Double crown with Double crown, 2 falcon Double crown with ostrich
ostrich feather at back, feathers, small horns and feather at back, 2 falcon
2 falcon feathers, disk on ram's horns at base; feathers, small horns and
ram's horns at base; divine vulture headdress and disk on ram's horns at base;
tripartite wig tripartite wig vulture headdress and
tripartite wig
Horus Behdety (1) Hathor (4) Hathor (1)

Fig. 4.27. Variations of the Hepty-Crown

For the crown's ancient name and a description of its components (in Hathor's female version),
we turn to a text on the east wall of the Wabet399 at Dendera:

"Offering the Hp.t: Take for yourself the white crown united with the red crown, the sun
disk joined behind it, the two feathers upon them, the curl in the middle of them, the
horns of the disk inside them" (D IV, 240,12 241,3).

The offering of the crown confirms the King's legitimacy to rule; Hathor receives the crown and
returns it to the King as a reciprocal gift, thus showing that he is the rightful ruler of the Two
Lands.400 The term, Hp.t, written with the signs of the sunshade sign and the double crown,
396
Studies of the Hepty-crown include those of Derchain-Urtel, Hptj-Krone, 1994; Preys, Catalogue d'Hathor, 2003,
126-127; Nilsson, Arsino II, 2010, 288-289, and 503-509, which discusses the historical background for the
creation of the Hepty-crown, which Nilsson calls, "The Later Hathoric Crown." Cauville translates Hp.t as "couronne
de fte." The general term for crown, Hp.t (Wb III, 69,16, GR; PL 639-640), represents the extent of the King's rule;
it is thus related to Hp.ty, the extreme limits of the earth to which the rays of the sun and moon reach (PL 639). See
discussion in 5.2.1.
397
Both Horus and Hathor wear versions of the crown in one scene: the Ma'at offering on the east side of the 1 st
register of the Per-wer's south wall.
398
The texts call this additional ostrich feather the nfr.t (using an ostrich-feather ideogram), "the beautiful feather,"
in a description of the Hepty-crown in D VII, 201,4, cited by Derchain-Urtel, Hptj-Krone, 29.
399
D IV, pl. 307, 1st register of east wall of the Wabet (Chassinat's Chamber S). Another offering of the Hepty-
crown also occurs in the 3rd scene, 1st register, south wall, of the 1st Chamber East (Chassinat's Chamber D), D II,
85,7 86,6, pl. 114.
400
Wilson, PL 640.

102
 (S36), is a general term for crown.401 It is related to Hp.ty, meaning "extreme limits,"

also spelled with the sunshade, , the two disks alluding to the course of the sun and the
moon.402 This term for "crown" thus represents the extent of the King's rule on earth.403
The history of the Hepty-crown is particularly interesting. During the reign of Ptolemy
IV, a time of political instability in Upper Egypt, the male and female variants of the Hepty-
crown appeared simultaneously for Horus and Hathor in the decoration of the naos of the Temple
of Edfu.404 In her study of the Crown of Arsinoe, Nilsson explains the probable political
motivation behind the creation of the crowns,405 suggesting that by taking on the iconography of
Arsinoe II's crowns, Horus and Hathor symbolically assimilated the ruling Ptolemaic dynasty,
thereby becoming representatives of the dynastic rule. The substitution of Arsinoe II's red crown
by the double crown also underlined the rule over a united Upper and Lower Egyptsomething
that Ptolemy IV would have wanted to stress, considering the unrest in the South. This new
iconography, intrinsically linking Horus and Hathor to the dynastic cult of the Ptolemies,
allowed Ptolemy IV and Arsinoe III to strengthen their own legitimacy by identifying with the
divine co-regents. Despite this clever visual propaganda, the rebellion in the South held sway for
some two decades; further work on the Temple of Edfu did not resume until reign of Ptolemy
VI.406
The legacy of Arsinoe II in these crowns is apparent in selected scenes from the Per-wer.
On the east side of the 1st register of the south wall, the King offers Ma'at to Hathor and Horus,
who both wear a form of the Hepty-crown (Fig. 4.28). Arsinoe II took on the epithet of "Female
King" from the earlier God's Wives that she emulated; in this scene, Hathor carries the title,
nswy.t-bi.ty.t, "Female King of Upper and Lower Egypt" (D III, 68,6). As if to counteract any
disorder brewing during the reign of the Ptolemaic King, Horus Behdety states, di=i n=k mAa.t
Xnm.ti m tA, n xpr grg m rnp.wt=k, "I give you Ma'at united with the land, without falsehood
coming into being during your years (of rule)" (D III, 68,5). The visual image of Horus and
Hathor wearing almost identical crowns underlines their co-regency, an idea emphasized earlier
during the reign of Arsinoe II and Ptolemy II.

401
Wb III, 69,16, GR. Wilson, PL 639-640, suggests that Hp.t is a general word describing the crowns of Egypt's
kingship, rather than referring to a particular crown.
402
Discussed in 5.2.1.
403
Suggested by Wilson, PL. 639.
404
The naos is the rear core of the temple (not to be confused with the other meaning of "naos," the small shrine of
the god in a sanctuary) and includes the central barque sanctuary and the subsidiary chapels opening onto the
corridor surrounding it. This holiest part of the temple is always the first part to be built. In front of it is the
hypostyle hall ("pronaos"), followed by the peristyle court and the entrance pylon. See discussion of Ptolemaic
temple architecture in Section 1.4. Kurth, Treffpunkt, 26-27, notes that the decoration of rear part of the temple (the
area behind the pronaos) took place from Regnal Years 10 to 16 of Ptolemy IV (212 207/206 BCE).
405
Nilsson, Arsino, 503, 508.
406
The revolt successfully installed native rule for 20 years in Upper Egypt, but during this time, work on the
Temple of Edfu halted, not resuming until 176 BCE, during the reign of Ptolemy VI. See Kurth, Treffpunkt, 26-27.

103
 Fig. 4.28. East Side of 1st Register, South Wall; D III, pl. 190, IFAO

With this background in mind, the relationships between characters wearing various
forms of the double crown in the Per-wer take on new meaning. On the east side of the lintel of
the Per-wer's outer entrance (Fig. 4.29), at the viewer's far left, we see the Queen wearing the
Crown of Arsinoe and shaking the menit; as noted earlier, this figure represents Cleopatra VII,
her crown thus linking with her illustrious deified ancestor, Arsinoe II.

Queen King Ihy Hathor Horus

Fig. 4.29 East Side of Lintel, Outer Entrance of Per-wer; D II, pl. 94, IFAO

Before her stands the King, representing Caesarion, her son by Julius Caesar. Wearing the
double crown adorned with a seshed band of uraeii, he shakes the sistrum, offering Hathor a stalk
of papyrus.407 In an unusual depiction, Hathor's son Ihy appears as a full-sized adult, wearing a
double crown fitted closely to his head, without his usual sidelock of youth. His representation,
strikingly similar to the King's, thus creates a visual link between the two figures. Because the
King identifies with Ihy, the ancient designer's depiction of the child god as an adult creates a
performative statement, perhaps meant to secure Caesarian's future adulthood. Turning towards
Horus Behdety at the far right, we see that he also wears the double crown, thus creating yet
another visual link to both Ihy and the King, and thus strengthening Caesarian's identification
with the divine co-regent, Horus Behdety. Keeping the historical reality in mind, we can thus
read the tableau of royal and divine figures on the lintel of the Per-wer's entrance on multiple
levels. On the cultic level, the figures pacify Hathor with the shaking of sistra and menit, so that
the Distant Goddess can return and restore cosmic order. On the iconographic level, the
similarity in crowns links the Queen and the King to Hathor and Horus, connecting the terrestrial
407
The papyrus (wAD) forms a visual pun on his epithet, wAD n %xm.t, "Offspring of Sekhmet," discussed in Section
5.1.2.

104
rulers with their divine counterparts, who are also co-regents of the Two Lands. On the historical
level, Cleopatra, following in Arsinoe II's iconographic footsteps, proclaims her lineage to her
distant ancestor, who also ruled Egypt as a strong "Female King"; Caesarian, her young son,
visually proclaims his identity not only as the adult son of the divine ruling couple, but also as
Horus Behdety himself, the legitimate divine ruler of Egypt.
According to Egyptian belief, these performative visual statements engraved in stone
should have come into being. Cleopatra should have continued to rule as Female King, and
Caesarian should have reached adulthood as the Living Horus. However, having left the
cartouches in the relief blank, without the names of either Cleopatra and Caesarian inside them,
the heka was left incomplete. An ancient Egyptian might have explained the eventual demise of
the royal mother and son by noting that the magic in the relief could not take effect on
anonymous figures.
The Hepty-crown intrinsically identifies with Hathor as Female Ruler, leading scholars to
call it her "Royal Crown."408 Her use of the crown in the Per-wer focuses particularly on the
south wall,409 where it occurs in offering scenes of cloth and unguent410 (originally connected
with the maintenance of the Osirian cult), and in offerings of Ma'at. Especially in the scenes of
Ma'at, the visual symbolism subtly communicates the connection between Ptolemaic rule and
stability in the realm. Even the symbolism in the crown's two tall feathers, representing the
Divine Eyes (sun and moon), guarantees duration and stability without interruptionsomething
that Cleopatra VII was also eager to emphasize, one hundred and fifty years after the priestly
scribes first created this complex crown during the reign of her ancestor, Ptolemy IV.

4.1.5.2 Royal Crown of Isis (Double Crown, Ostrich Feathers, Seshed Band)

The Isiaic counterpart to Hathor's Hepty-crown also employs the double crown as its
base, but with different supplementary elements: two ostrich feathers and a seshed band with the
entwined tail of the uraeus, tied around the base of the red crown. When worn by Isis, the crown
consistently carries these elements, varying only in the headdress worn beneath (Fig. 4.30).
Although the second example in Fig. 4.30 appears to have an omitted uraeus-seshed band, a
closer inspection of the actual relief (Fig. 4.31) proves that it is only an error in the line
drawing.411 The third example in Fig. 4.30 is a combination of the royal crowns of both Hathor
and Isis, worn by Hathor as Isis in an offering of milk.412 Including the Hathor-Isis crown noted
above, the crown of Isis accounts for a mere 2% (3) of the 142 crowns in the Per-wer, appearing

408
Preys, Catalogue d'Hathor, 126.
409
Four of the five scenes with Hathor wearing the Hepty-crown occur on the south wall of the Per-wer: e. side of 1st
register (Ma'at); e. side of 2nd register (cloth); w. side of 2nd register (unguent); or the south wall of the Southern
Niche: e. side, 2nd register (Ma'at).
410
The daily temple ritual contained both solar and Osirian elements; the offering of cloth and unguent recalls the
funerary rituals performed upon an Osirian mummy for the purpose of revivification. In the context of the temple
ritual, it would thus revivify the cult image. See Davies, Ritual at Abydos, 89; Blackman, Incense and Libations, 73.
411
Chassinat, D III, p. 202.
412
See discussion in Section 4.1.2. The Isis-element appears due to the King's epithet, ity n wSb.wt, "Sovereign of
the Milk Cows" (D III, 69,9), which alludes to her epithet of wSb.t, "mourner." Hathor as Isis wears the Royal
Crown of Isis, with the addition of Hathor's small horns-and-disk on ram's horns (an element of Hathor's Hepty-
crown).

105
in 7% (3) of the 45 ritual scenes in the Per-wer. Two of these examples occur in symmetrical
offerings of Ma'at, with the opposing scene featuring Hathor wearing her royal Hepty crown.413

Double crown, 1 ostrich Double crown, 1 ostrich Double crown, 1 ostrich

feather behind red crown, 1 feather behind red crown, 1 feather behind red crown, 1
ostrich feather on white ostrich feather on white ostrich feather on white
crown, seshed band with crown, seshed band with crown, small horns and
entwined uraeus; vulture entwined uraeus (not in disk on ram's horns;
headdress and tripartite drawing, but in photo vulture headdress and
wig below); tripartite wig. tripartite wig
Isis (1) Isis (1) Hathor as Isis (1)

Fig. 4.30. Variations of the Royal Crown of Isis

Fig. 4.31. West Side, 2nd Reg., S. Wall, Southern Niche; D III, pl. 202, IFAO414

A cult statue found in the sebakh within Dendera's temple enclosure415 gives an idea of the
crown's appearance in the round (Fig. 4.32); although the ostrich feathers appear to be missing,
holes in the crown indicate that real feathers (or separate feather elements) would have been
inserted. Unlike the Royal Crown of Isis in the ritual scenes of the Per-wer, the statue's seshed
band with the entwined uraeus appears on the statue's wig instead of the red crown.416
413
Symmetrical Ma'at scenes opposite Hathor's Hepty-crown: Mysterious Corridor, 1st register, south wall, directly
west of Per-wer entrance (D II, pl. 94).
414
Photo on left by Erik Gustafson, 2009, taken in the Southern Niche of the Per-wer Sanctuary, shows the seshed
band with the entwined uraeus on the red crown.
415
Discovered in 1918 in a "votive ritual hoard" consisting of statuettes of hawk figures, the child god Ihy, Hathor-
Isis, mirrors, sistra, incense burners, altars, bracelets, and collar necklaces, near the sacred lake of the Temple of
Dendera. See Abdalla, Sebbakh Dendera, 22 and 25.
416
However, it is not clear from the photograph if there is also a seshed band with entwined uraeus on the red crown
of the statue.

106
Scholars designate the crown of Isis in various ways, calling it "la couronne Hp.t," "la couronne
de fte d'Isis,"417 and "la couronne de fte de la desse en tant que reine,"418 The term, Hp.t, from
the texts at Dendera, is the same general term used to describe the royal crowns of Horus and
Hathor, discussed earlier in 4.1.5.1. For the present purposes, I have chosen to call this crown the
"Royal Crown of Isis," in order to distinguish it from the "Hepty" crowns of Horus and Hathor,
which have different elements in common. However, because the three crowns have close
associations to kingship, I designate all of them as "Royal Crowns."

Fig. 4.32. Cult Statue of Isis from the Temple of Hathor at Dendera419

For clues to the meaning behind the crown's iconography, we turn to a text accompanying
the King's offering of this crown to Isis in the "Temple of Birth" at Dendera.420

ir.t Hp.t Dd mdw m-n=t sSd mDH.n=f HA.t=t Hr.t-tp Xnm.ti m wp.t=t
n.t sTnw snsn=sn m HA.t=t Sw.ty dmD r=gs=sn
"Wearing421 the (royal) crown. Words to say: Take for yourself the seshed band.
It has encircled your forehead. The uraeus is united (Xnm) with your head.
The red crown and the white crownthey join together (snsn) on your forehead,
the two feathers united (dmD) beside them" (D II, 112,12 113,2).

Immediately noticeable are the text's three different verbs employed for "unite" (Xnm, snsn,
dmD), thus emphasizing the metaphorical union of the crown's components with the wearer, who

417
Preys, Complexes, 57 n. 558.
418
Gutbub, Hathor, 344.
419
Cairo Museum JE 46382; Photo by A. Lecler, IFAO, in Cauville, Statues cultuelles, pls. 18, 19. Except for its
material (silver instead of gold) and some minor details (44 cm. vs. 45 cm.; lowered arm rather than raised), this
statue is identical with the depiction of Isis on the west side of the 2 nd register on the south wall of the Southern
Niche, in the Temple of the Sistrum (Chassinat's Chamber I), D III, pl. 179. Other similar depictions include D III,
pl. 211; D V, pls. 418 and 443.
420 st
1 scene, 2nd register, north wall of the H.t-msxn.t ("Temple of Birth," Chassinat's Chamber E), D II, 112,12
113,11, pl. 117.
421
Following Wilson, PL 640, who translates ir.t Hp.t as "wearing the crown."

107
is imbued with their qualities. The term, Hp.t, "(royal) crown,"422 also forms a pun with Isis'
epithet, ity.t m Hp.ty, "Female Sovereign in the Extreme Limits"423 (D II, 113,8), thus
emphasizing the extensive realm of her divine kingship. The mDH, "encircling" of the brow
describes the physical joining of the two crowns (and thus the Two Lands) by the seshed band.424
An allusion to the crown's feathers exists in the description of Isis as nb.t mAa.t mHn.t m HA.t=s
xa.ti m MAa.t mi ra nb, "Lady of Ma'at, the uraeus on her forehead, appearing with Ma'at every
day" (D II, 113,10-11). By repeating "Ma'at" twice, the text recalls the two ostrich feathers,
which also symbolize the two Divine Eyes; the uraeus between them alludes to the role of
Hathor-Sekhmet in maintaining Ma'at. This statement, together with the entwining of the uraeus
around the seshed band, visually conveys the message that the uraeus, in helping to maintain
Ma'at, also keeps the Two Lands united. We therefore see a number of ideas embedded in the
iconography of the Royal Crown of Isis: the realm of her divine rule, the union of the Two
Lands, the maintenance of Ma'at by the uraeus, and the union of the crown's qualities with the
wearer. Having received the offering of the Royal Crown, Isis returns it to the King as a
reciprocal gift. In the process, she thus transfers to him all of the qualities that it represents,
conferring upon him the legitimacy to rule Egypt.
In the Per-wer, the offering of Ma'at by the King on the west side of the south wall
features Isis wearing her Royal Crown; an examination of the accompanying text reveals even
more allusions underlying the iconography. In the Divine Randzeile, Isis is called

Ity.t m Sn n itn
papa m Iwn.t m
grH nxn m sS=f
"Female Sovereign in the
circuit of the Aten,
who is born in Iunet in the
night of the child in his nest"
(D III, 79, 9-10).

Fig. 4.33. West Side, 1st Register, S. Wall, D III, pl. 190, IFAO

The text literally surrounds the crown of Isis, being placed in columns 11-13 in the scene (See
top left-hand corner of Fig. 4.33). Another inscription in the Per-wer, on the west side of the door
jamb, further explains the meaning:

papa.n sy mw.t=s r tA m IA.t-di m hrw grH nxn m sS=f

wa.t pw%pd.t m p.t HqA.t n(.t) xAbA=s wD mdw m Sn n itn

422
Wb III, 69,16.
423
Wb III, 11-12, as a designation for the world. Wilson, PL, 639, defines it as "the extreme limits of the earth to
which the rays of sun and moon penetrate." See earlier discussion concerning the Hepty-crown (4.1.5.1).
424
Wilson, PL 935, notes that the ritual of tying the seshed band on the King during the Sed Festival is a physical
symbol of the unification of the Two Lands and his rule over them. See Edfu XIV, pl. 594, depicting the King
wearing the Sed Festival cloak and double crown encircled by the seshed band, while Thoth inscribes a long
kingship for him, with many jubilees. See also Bruyre, Deir-el-Medineh, 181 and n. 1, for more discussion of the
significance of the seshed band; Goyon, Confirmation, 87-88 and fig. 3; Moret. Culte, 189 and n. 1.

108
 "Her mother bore her on earth in Iatdi the Day of the night of the infant in his nest.
She is the Unique UraeusSothis in the Sky, the Female ruler of the stars, who decrees words in
the circuit of the sun disk" (D III, 55,5-6).

Leitz425 explains that the reference to the "Day of the Night of the Child in his Nest," plays on
the double meaning of the word msi, which can mean "be born," as well as "heliacal rising." The
dawn ("the day of the night"), occurring 40 minutes before sunrise and thus technically still the
5th Epagomenal Day, is therefore the heliacal rising of the star Sirius (with which Isis is equated)
just before New Year's Day. This moment is thus the msi, or "birth" of Isis.426 References to her
birth on this day occur mostly on the south and west walls of the main Temple of Hathor and the
small Temple of Isis at Dendera; the small temple itself stands at the southwest corner of the
main temple.427 Furthermore, the ancient architects aligned the axis of the small temple precisely
to the point of the horizon where Sirius would rise just before New Year's, when the msw.t Ra,
"birth of Ra," takes place at dawn, as the new-born sun god, the falcon, comes forth from his nest
and rises at dawn.428
The rising of Sirius also connects to the Royal Crown of Isis through its seshed-band
component in "The Ritual of Presenting the Seshed Band," which takes place precisely on the
"Day of the Night of the Child in his Nest."429 Such seshed bands, presented for New Year's,
include inscriptions for "A beautiful yeara million and a hundred-thousand times."430 El-
Kordy431 suggests that the verb sSd is an active participle of the s-causative of Sd, "to pull out,
take out," thus alluding to the "pulling out," or "the causing to come" of the flood from its source
in the mythical cavern at Elephantinean event that takes place at the rising of Isis-Sothis, the
time of the ritual. He therefore sees the seshed as an "aide" to help bring forth the Nile.432 The
coming of the flood would, in turn, naturally fulfill the wishes for a prosperous New Year.
The seshed band also carries connotations of protection, birth and renewal. Tied around
the head and knotted in the back, with the ends hanging down as streamers, it forms the shape of
an archaic ankh sign.433 Together with the magical properties of the knot, the seshed band thus
guarantees protection and life. In birth scenes, the mother, wise-women, and protective

425
Leitz, Nacht des Kindes, 136-157.
426
This "birth" is not to be confused with the birth of Isis, the daughter of Nut and Geb, on the 4 th Epagomenal Day.
Multiple texts at Dendera, including three in the Per-wer, refer to the "birth" (i.e. heliacal rising) of Isis on the "day
of the child in his nest": D III, 55,5-6, west side, thickness of door jamb; D III, 79,9-11, west side of 1st register,
south wall (Ma'at); D III, 98,11-13, west side of 2nd register, south wall (Ma'at); Isis wears her Royal Crown in the
both of these offerings of Ma'at.
427
Leitz, Nacht des Kindes, 138.
428
Leitz, Nacht des Kindes, 138, suggests that the two Divine Eyes in this context are the morning sun (Left Eye)
and the star Sirius (Right Eye), the intensity of the sun's rising that overshadows Sirius being the union of the Left
and the Right Eyes. This idea, however, does not follow the textual tradition of equating Isis with the Left Eye
(moon) and Hathor as the Right Eye (sun).
429
Letiz, Nacht des Kindes, 156.
430
D II, 110, 15-16 and Cauville, Dend Trad II, pl. 30; Daumas, Mammisis de Dendara, 191,15 - 192,9 and pl. 68
(3rd register, east wall); LD II, 209, text (=Brugsch, Thesaurus, 103, Raum G'), cited in Leitz, Nacht des Kindes,
156.
431
El-Kordy, Bandeau, 125-133.
432
El-Kordy, Bandeau, 131.
433
Wilson, PL 935.

109
goddesses often wear seshed bands around their heads;434 this connection extends to the
protective role of Isis as the mother of Horus. The ritual of "Bringing the Seshed Band" at dawn,
just before the birth of Ra on New Year's Day, would therefore guarantee that the newly born
sun will rise successfully.
The multiple allusions carried in the iconography of the entwined-uraeus seshed band
thus relate to the many mythological roles of Isis: she guarantees protection and life, birth and
renewal; she rises as Sirius and heralds the inundation; she helps bind together the Two Lands,
by identifying with the Eye of Ra. All of these associations make the addition of the seshed band
an appropriate and effective element of her royal crown;435 its rich symbolism led to its
becoming one of her identifying markers.
A final question remains: the reason behind the different configurations in the Royal
Crowns of Horus, Hathor, and Isis. The key element seems to be the type of supplementary
double feathers: falcon feathers for the royal couple; ostrich feathers for Isis (Fig. 4.34).

Royal Crown of Horus Royal Crown of Hathor Royal Crown of Isis

("Hepty-crown") ("Hepty-crown")

Fig. 4.34. Comparison of the Royal Crowns of Horus, Hathor, and Isis

I believe that the answer lies in the role that each divinity plays in the mythology. The falcon
feathers relate to Horus as the Living King; Horus and Hathor are the living divine couple who
actively rule the earth and the universe. The ostrich feathers (symbolizing Ma'at) relate to Osiris,
who judges the dead;436 Osiris and Isis rule over the Netherworld. Being deceased, Osiris cannot
rule over the Two Lands as a living King; therefore, he no longer wears the double crown. Isis,
on the other hand, who actively plays a part in both worlds, may wear it. Therefore, in terms of
the kingship, the falcon feathers in their crowns equate Horus and Hathor with the living royal
couple ruling over Egypt; the ostrich feathers equate Isis (and Osiris) with the royal
predecessorsthe deceased parents of the living king.

434
In the Mammisi of Armant (LD, Part IV, pls. 59c and 60a); in the birth-giving of Amenhotep III by Mutemwia at
Luxor, in which the two assisting goddesses, Serqet and Neith, wear seshed bands (Brunner, Geburt des Gottknigs,
pl. 4, Scene IV L; Ayad, God's Wife, 7).
435
The association with the inundation also explains why Isis wears the uraeus-entwined seshed when sitting over
the isheru lake in the 3rd register of the west wall.
436
The heart of the deceased is weighed against the feather of Ma'at in the Judgment.

110
4.1.5.3 "Hathor the Menit" (Double Crown, Ostrich Feathers)

Hathor can take the form of the menit necklace, considered an incarnation of the
goddess,437 but when she appears as a woman in the context of its offering, she often wears a
double crown flanked by two ostrich feathers (Fig. 4.36). This crown accounts for only 1% (1) of
the 142 crowns in the Per-wer, appearing in only 2% (1) of the 45 ritual scenes.

Double crown,
2 ostrich
feathers; fits
closely to head
Hathor (1)

Fig. 4.35. Hathor the Menit Fig. 4.36. 3rd Reg., S. Wall, Temple of Menit;
D III, pl. 219, IFAO

In the Temple of the Menit, where she appears three times wearing this crown, the
accompanying texts label her as tA mni.t, "The Menit."438 In the Per-wer, Hathor wears this crown
only once, in a wensheb offering, where it functions as part of an iconography-and-epithet play,
discussed below in Section 4.4.1.
When identifying with Isis or Nephthys, Hathor employs the menit's apotropaic powers439
to protect Osiris from his enemies.440 This connection to Isis may explain the similarities of the
crown of Hathor the Menit to the Royal Crown of Isis, which also consists of a double crown
framed by two ostrich feathers.441 However, although allusions to Isis exist, the crown clearly
belongs to Hathor; the uraeus-entwined seshed band of Isis is therefore lacking. Unlike the
crown worn as Lady of the Per-wer, borrowed from Nekhbet and placed on top of Hathor's head,
the crown that she wears as The Menit fits closely to her head. This manner of wearing suggests
that the qualities carried by the crown are intrinsic to Hathora fact demonstrated by her
incarnation within the instrument itself. Her use of "The Menit" crown thus gives her an
alternative depiction when the context requires that she represent her sacred instrument. These

437
Gosline, Menit, 37-46.
438
Preys discusses this form of Hathor in his Catalogue d'Hathor, 134.
439
An early attestation of this power appears in Urk IV, 287,8, during the reign of Hatshepsut. Barguet, Contrepoids,
107, notes that the menit also expresses fertility because it represents the testicles of Seth that were cut off. Preys,
Catalogue d'Hathor, 134, attributes the protective power to the identification of the menit's beads with the testicles of
Seth; Barguet, Contrepoids, 104-105, compares the circular area at the end of the counterpoise ( the "rosette") to a
lotus or a pubic triangle, thus also representing fertility and rebirth. See 5.1.2.
440
In the 3rd scene of the 3rd register of the east wall of the Barque Sanctuary, Hathor, receiving an offering of the
menit by the King, is described as nb.ty.t rxyt xnt Iwn.t Sps.t wsr.t aHA Hr sn=s ir nht=f r sby.w=f, "Mistress of
Humankind in Iunet, the Noble and Powerful Lady who fights for her brother, who makes his protection against his
enemies" (D I, 51,10). See also Colin, Objets sacres, 287.
441
See 4.1.5.2.

111
options are most clearly presented in the relief in the Temple of Menit (Fig. 4.36), where she
appears in both forms: as the necklace, and as its human incarnation.

4.1.5.4 "Hathor the Navigator" (Double Crown, Ostrich Feathers, Horns)

The unusual composite crown worn by Hathor in the Per-wer consists of the double
crown, two ostrich feathers framing the white crown, and a pair of antelope horns at the base of
the red crown (Fig. 4.37). Like the previous crown, this crown accounts for only 1% (1) of the
142 crowns, appearing in only 2% (1) of the ritual scenes in the Per-wer. The crown is also quite
rare at Dendera, appearing in a total of only three scenes: in the Southern Niche of the Per-wer,
the Barque Sanctuary, and the Chamber of Appearances.442 The accompanying epithets in these
scenes led Preys to name the form of Hathor wearing this crown as "la Navigatrice,"443 which I
follow here. A closer look at these epithets and the associated offerings of their scenes helps to
clarify its meaning.

Double crown,
2 ostrich feathers,
antelope horns;
tripartite wig
Hathor (1)

Fig. 4.37. "Hathor the Navigator"

Fig. 4.38. 1st Reg., E.Wall, S. Niche; Fig. 4.39. Satet at Elephantine444
D III, pl. 201, IFAO

442
This is the only appearance of this crown in the Per-wer. Preys, Catalogue d'Hathor, 125, notes that it also
appears in D I, 50,6-7, pl. 51; D IX, 74,9 75,2. Some scholars identify the horns as "cow horns."
443
Preys, Catalogue d'Hathor, 125.
444
Photo by Duncan Sprott, 2008.

112
 In the Southern Niche of the Per-wer, Hathor bears the epithets, @.t-Hr nb.t Iwn.t imy(.t)
wiA=s, "Hathor, Lady of Iunet, who is in her barque" (D III, 94,1), as well as nbw aA.t nbt, "Gold.
Every fine stone" (D III, 94,1), thus indicating that the image is a statue. The second example in
which Hathor wears the crown at Dendera is on the east wall of the Barque Sanctuary, in an
offering of four nms.t-jars of primordial water by the King. In this scene, Hathor carries an
epithet with a similar barque reference: Hr(y.t)-ib wiA=s, "who resides in her barque" (D I,
50,6).445 In addition, she is characterized as sA.t Ir-tA qmA m Haw=f xpr Hr=f m HA.t, "the daughter
of Ir-ta, who created his body, who came into being with him at the beginning" (D I, 50,5-6). Ir-
ta is a primordial serpent, a creator god who emerged from the primeval waters of the Nun (see
5.2.2). The King's offering of primordial water, brimming with potential life, thus rejuvenates
her statue. In return, she uses it to purify the King's body from anything evil. In the third example
at Dendera, Hathor wears the "Navigator" crown in an incense and sistrum offering in the
Chamber of Appearance,446 where she is again called sA.t Ir-tA qmA m Haw=f, "daughter of Ir-ta,
who created his body" (D IX, 74,16-17). However, following her epithet, Hr(y.t)-ib wiA=s, "who
resides in her barque," she now carries one with an Isiaic flavor: nb.ty(.t) rxy.t, "Mistress of
Humankind" (D IX, 74,16).447
The allusions carried in the epithets of these three scenes show a strong connection to the
inundation and purification. The offering of the four nms.t-jars of water recalls an episode from
the Pyramid Texts, in which the deceased King Pepi I is purified with inundation water by Satet,
Lady of Elephantine (Fig. 4.39).448 Satet, whose name has connections with the root sti, "shoot,"
or "pour out,"449 defends the southern border with her bow and arrow, as well as sti, "pouring
out" the inundation from its origin in Elephantine.450 This mythical source is the sti, or "leg" of
Osiris,451 which is thus a homonym of her name. As the guardian of the southern border, Satet
wears the white crown of Upper Egypt; the addition of antelope horns suggests that she was at
one time worshipped in the form of an antelope.452 Because she is connected with the arrival of
the inundation, Satet naturally became identified with Sothis, who heralds the flood by the
heliacal rising of the star Sirius, and therefore also with Isis, who protects Osiris.453 By this chain
of allusions and connections, the antelope horns on Hathor's crown in the Southern Niche thus
link her with Satet and the coming of the inundation.454 Satet's own connections to Isis and
Sothis also help to explain the addition of Hathor's Isiaic epithet of nb.ty(.t) rxy.t, "Mistress of
Humankind," in the Chamber of Appearance. The strong ties to the inundation and the primeval
creator Ir-ta suggest that the Navigator is a primordial form of Hathor, who is thus responsible
for creating and maintaining the inundation. Her characteristic epithet, and this form of Hathor,

445
1st scene, 3rd register of the east wall of the barque sanctuary (D I,49,18 50,9; pl. 51), where her epithet is
hr(y.t)-ib wiA, "who resides in the barque" (D I, 50,3); Hr(y.t)-ib wiA=s, "who resides in her barque" (D I, 50,6)
446
Chassinat's Chamber Z, 1st register, west side of south wall (D IX, 74-9 75,2; pl 849).
447
The epithet, nb.ty.t-rxy.t, belonging primarily to Isis, emphasizes her role as the queen who guarantees the
passage of royal power from the father Osiris to his son Horus. At Dendera, Hathor especially carries this title on the
proper left side of a chapel when there is a desire by the scribe to emphasize her Isiaic connections. See Preys, Isis et
Hathor, 351.
448
PT 1114-1115.
449
Wb IV, 328,9 329,16; PL 955.
450
Valbelle, Satis, 136.
451
See 5.2.3.
452
Bonnet, RRG, 670-671.
453
Valbelle, Satet, 488.
454
Preys, Catalogue d'Hathor, 124-126, notes the connection of Hathor with Ir-ta and recognizes that crown contains
antelope horns, but he does not mention the link to Satet or the inundation.

113
also have connections to our myth, because imy(.t) wiA=s, "who is in her barque," can
additionally allude to Hathor's navigations on the sacred lake during the festival of the Return of
the Wandering Goddess in the month of Tybi. These festivities commemorated the purification
and transformation of the angry lioness into a beautiful woman, as she bathed in the sacred
waters of the Abaton upon her return from Nubia.455
The crown of Hathor the Navigator thus connects to the inundation, purification, and
navigations on the sacred lake, its unusual iconography also linking to Satet and the source of the
Nile at Elephantine. Although the scene in the Southern Niche in which Hathor wears this crown
contains little text, by virtue of its connections to the inundation, it links to several other
important scenes in the Per-wer Sanctuary: the symmetrical offerings of primordial water at the
base of the south wall; the offering of a nms.t-jar of primordial water on the east side of the 3rd
register of the north wall; the depiction of Isis surrounded by her "isheru lake" in the third
register of the west wall. These scenes further illustrate Hathor's roles as primordial goddess and
creator of the inundation, as well as the Distant Goddess who must be pacified in order to return
to Egypt and restore cosmic order.456

4.1.6 Double-feather Crowns

As the attribute of a powerful or divine bird, the feather has symbolized cosmic and
earthly power since prehistoric times.457 Pairs of tall feathers, either falcon or ostrich, adorn
several types of Egyptian crowns, worn by divinities, the King, or the Queen. Such feather
crowns make up a relatively large proportion of the various crowns depicted in the Per-wer,
accounting for 8% (11) of the 142 crowns, and appearing in 22% (10) of the 45 ritual scenes. The
general scholarly consensus is that depictions of tall, straight feathers represent falcon tail-
feathers; those curled at the top, ostrich feathers.458 Texts generally apply the term Sw.ty, "double

feathers," to both types, distinguishing them only by the appropriate determinative, (S9) or

(S78B).459 We will now take a look at the variations of these crowns in the Per-wer,
beginning with those having falcon feathers.

455
See 5.1.3.
456
We will discuss these scenes in more detail in Section 5.2.3.
457
Grumach-Shirun, Federkrone, 142.
458
Scholars following this interpretation include Abubakr, Kronen, 1937, 43; Vassilika, Philae, 1989, 87; Derchain-
Urtel, Krone und Nebenformen, 3; idem, Nilsson, Arsino, 2010, 255. By contrast, Dils, Couronne d'Arsino, 1300-
1301, insists that the straight feathers in the Arsinoe crown and in the traditional Queen's (or "female") crown were
ostrich feathers. Nilsson, Arsino, 259 n. 474, discusses the issue at length.
459
Abubakr, Kronen, 43, suggests that in the Ptolemaic Period, the texts use Sw.ty for falcon feathers and mAa.t for
ostrich feathers. However, the texts at Edfu and Dendera seem to follow the older tradition, with Sw.ty for both types
but distinguished by the determinative.

114
4.1.6.1 Variations of the Double Falcon-feather Crown

In the Per-wer, there are six variations of the double falcon-feather crown (Fig. 4.40);
except for the unusual crown worn by Hathor, all of the examples have an additional solar disk.
The components in these variants are familiar from crowns that we examined earlier; in general,
these elements carry the same meanings as before: the disk connecting with the solar cult, the
ram's horns symbolizing fertility and rejuvenation, the two feathers representing the Divine Eyes;
the small horns-and-disk, Hathor's bovine and solar manifestations. The crowns with double
falcon feathers account for 6% (8) of the 142 total number of crowns in the Per-wer, appearing in
16% (7) of the 45 ritual scenes. The crowns divide themselves into two groups: those worn
originally by the King, Horus, and other falcon gods; those worn by the Queen. The history
behind their use helps explain the choice of crown for a particular figure.

2 tall falcon 2 tall falcon 2 tall falcon 2 tall falcon 2 falcon 2 tall falcon
feathers, disk; feathers, 2 feathers, sun feathers, feathers feathers, disk;
divine uraeii with disk, 2 uraeii horns and (foreshortened long wig with
tripartite wig disks on with sun disk; long by artist to fit seshed band
ram's horns; disks on wig with scene), horns
vulture ram's horns; seshed band and disk;
headdress squared cap tripartite wig
and tripartite
wig
Harsomtus (3) Hathor (1) King (1) Queen (1) Queen (1) Queen (1)

Fig. 4.40. Variations of the Double Falcon-Feather Crown

The earliest depiction of a double falcon-feather crown is a 4th Dynasty inscription from
the Sinai, depicting Sneferu smiting an enemy (Fig. 4.41). He wears an unusual composite
headdress made of falcon feathers, cow horns, and ram's horns. The falcon feathers naturally
connect to Horus, representing authority and power over the enemy; the ram's horns, to success
in battle and the hunt.460 The high feathers give honor and respect to the wearer; scholars suggest
that the feathers also represent Lower Egypt, due to the connection of Horus with Heliopolis.461
As noted earlier, the double feathers can also represent the two Divine Eyes, through which the
falcon god (either Horus or Ra) can observe the world. By the 6th Dynasty, Horus of

460
Vassilika, Philae, 86, 94.
461
Abubakr, 42-43, and figs. 14-15, states that Horus originated at Heliopolis, which later became sacred to Ra; he
cites an 11th Dynasty Upper Egyptian white crown with two attached falcon-feathers, which he interprets as a Lower
Egyptian element, so that composite represents the Two Lands. Grumach-Shirun, Federkronen, 143, and Vassilika,
Philae, 87, concur with Abubakr.

115
Hierakonpolis in Upper Egypt also wears the tall feathers, as shown in a cult statue whose
feathers display the strongly stylized veining so typical of Amun's later crown (Fig. 4.42).
At Dendera, the tall falcon-feather crown with a sun disk is the characteristic headdress
of Harsomtus;462 he wears it as his Royal Crown, especially when appearing with his consort,
Isis. In the Per-wer, the royal pair appear together three times wearing their royal crowns, in
scenes whose symmetrical partners feature their counterparts, Horus and Hathor.463

Fig. 4.41. Sneferu Smiting Enemy464 Fig. 4.42. Horus Falcon465

The characterization of Harsomtus at Dendera is primarily as a primeval creator, who

first comes into being as a serpent emerging from a lotus that has risen out of the Nun.
Harsomtus thus identifies with Ra, who takes part in a similar myth;466 by adding the sun disk to
his crown, he underlines this solar connection. Harsomtus is also Lord of Khadi, the necropolis
across from Dendera, where he maintains the funerary cult for the deceased ancestor gods.
We see this characterization clearly in the text that accompanies his image on the west
side of the base of the Per-wer's south wall (Fig. 4.43). The King stands before Isis, offering two
tall Hs-vases of flood water. Harsomtus, standing behind her, wears his characteristic crown. His

462
Vassilika, Philae, 90, suggests that the sun disk links a crown with kingship; when worn by a god, it represents
"divine dominion."
463
As we noted earlier, the main deity (Hathor) of a temple is generally given priority on the proper right side of the
axis; the secondary deity (Isis), the proper left side. In the Per-wer, Hathor thus appears on the east side of the axis;
Isis on the west. When Hathor appears on the west side of the axis, she often carries Isiaic-flavored epithets. The
three scenes in the Per-wer in which Harsomtus wears the falcon-feather crown with the sun disk are as follows: On
the west side of the base of the south wall (primordial water); on the west side of the 1st register of the south wall
(Ma'at); in the 3rd register of the west wall (funerary offering).
464
Image from Gardiner and Peet, Inscriptions of Sinai, pl. 2, fig. 5, showing a rock tablet from Wadi Maghara (lit.,
"Valley of the Caves" in Arabic) in South Sinai, where Djoser established a turquoise mining center in the 3 rd
Dynasty, known as xty.w mfkA.t, "Terraces of Turquoise." MK rock inscriptions from the site refer to Hathor, to
whom turquoise was sacred. See Mumford, Wadi Maghara, 875-876.
465
A cult center of Horus existed at Hierakonpolis since the Predynastic Period. This illustration by Caris Reid of
the gold portion of a 6th Dynasty cult statue, discovered in 1897 by J.E. Quibell in the "Main Deposit" cache at
Hierkonpolis, in the Cairo Museum, now sits on a falcon body restored by Chris Eckmann. See Archaeology's
Interactive Dig, Jan.-Aug., 2006, at <http://www.archaeology.org/interative/hierakonpolis/field/tombs06.html>,
accessed 3-2-12.
466
Discussed in 5.3.1.

116
epithets emphasize his primeval connections, especially with the Nun, the source of the
inundation water offered by the King:

sA-tA wr pr m nxb nTr nTry [xpr] xnt [sA-tA]* pr m nwn

"The Great Snake,467 who came forth from the lotus, the Divine God [who came into being] in
the beginning, [the snake] who came forth from the Nun" (D III, 75,1-2).

Harsomtus Isis King Queen

Fig. 4.43. West Side of Base, South Wall; D III, pl. 190, IFAO

Word and sign plays in the epithets emphasize important theological ideas. The sign play on sA-tA
wr pr m nxb, "the Great Snake who came forth from the lotus," visually highlights his origin as
the primeval snake; the word play on nTr nTry, "Divine God," with a polyptoton on the root, nTr,
stresses the divinity of the serpent. Among his epithets, Harsomtus also carries nb #Adi, "Lord of
Khadi" (D III, 75,1), thus showing that he is not only a primordial god, but also the descendent
who carries out the funerary cult for the deceased ancestor gods in the necropolis.468
Interestingly, in this scene the crown of the Queen, who represents Cleopatra VII,469
mimics the one worn by Harsomtus (but with a slightly smaller sun disk), thus setting up a visual
equivalency between them and subtly suggesting her divine origin. The Queen's tall falcon
feathers, representing the dignity of her kingship, agree with her epithets, HqA.t nb(.t) tA.wy,
"Female Ruler, Lady of the Two Lands" (D III, 75,10), the latter being the female counterpart of
the King's well-known, nb tA.wy, "Lord of the Two Lands." The epithets recall the similarly
powerful female titles carried by Arsinoe II, who emulated the epithets of the Saite-period God's
Wives of Amun.470 Unlike Arsinoe, the Queen not only carries epithets similar to the God's
Wives, but also wears a crown similar to the one worn by these powerful women, who reigned as
pharaohs in the theocratic "God's State of Amun" at Thebes. The inspiration for this crown may
thus go back to the New Kingdom, to the crown worn by Amun himself.
Amun's characteristic headgear consists of tall falcon feathers rising from a square cap
(reminiscent of the Lower Egyptian red crown), bound with a seshed band trailing behind (Fig.
4.44); the addition of an optional sun disk can reflect his syncretism with the sun god, as Amun-

467
The epithet, sA-tA, literally means "son of the earth."
468
We will explore this idea further in 5.2.6.
469
The Queen is not labeled as Cleopatra VII in the accompanying text, but the reliefs of the Per-wer Sanctuary
were engraved during her reign, as noted earlier.
470
See 4.1.3.2.

117
Ra. Like the crown of Horus at Hierakonpolis (Fig. 4.42), Amun's feathers acquired a highly
stylized appearance. Without these characteristic "cells," they reappear in the headdresses worn
by God's Wives of Amun in the New Kingdom. Ahmose I, the founder of the 18th Dynasty,
established this sacerdotal office for his Great Royal Wife, Ahmose-Nefertari (Fig. 4.45).471 Her
distinctive crown includes a sun disk and tall falcon feathers 472 rising from a low modius on a
vulture headdress, alluding to Mut, the consort of Amun.

Fig. 4.44 Amun-Ra of Karnak473 Fig. 4.45 Ahmose-Nefertari474 Fig. 4.46. Nefertari475

Nefertari, the Great Wife of Ramesses II and also a God's Wife of Amun, wears a similar crown
(Fig. 4.46); except for the vulture headdress, both crowns bear a striking resemblance to the
Queen's crown in the Per-wer, which we saw in the inundation offering at the base of the south
wall (Fig. 4.43).
Similarly, the crown typically worn by the powerful God's Wives of Amun during the
Saite Period (Fig. 4.47) may have inspired the priestly scribe who designed Hathor's crown in the
Ogdoad adoration scene on the Per-wer's entrance (Fig. 4.48). Its stark feathers, rising at a

471
Ahmose I drove out the Asiatic Hyksos herdsmen from the Delta and founded the 18 th Dynasty. By placing an
immediate family member as God's Wife of Amun, he helped consolidate his control over the newly reunited
country and promoted the cult of Amun. His decree, made public in the Donation Stelae, generously endowed the
estate of the God's Wife of Amun, establishing the rights of its income to her successors (her own daughter or
daughter-in-law) in perpetuity, independent of any future king. See Harari, Stle de donation, 139-201; Gitton,
Divines pouses, 1984; Ayad, God's Wives, 6.
472
Also worn by queens of the 13th Dynasty. See Macadam, Royal Family, 20-28.
473
Illustration by Caris Reid of granite block depicting Amun-Ra, from the Tenth Pylon at Karnak. See Schwaller de
Lubicz, Karnak, pl. 410.
474
Ahmose-Nefertari, the first God's Wife of Amun and mother of Amenhotep I. Considered the traditional founders
of the workmen's village at Deir el-Medina, Ahmose-Nefertari and Amenhotep I became posthumously deified and
had a very popular cult lasting hundreds of years. This illustration by Rachel Domm of a fragment from the 20 th
Dynasty tomb of Kynebu (TT 113), now in the British Museum (EA 37994), attests the longevity of her cult. The
color of her skin denotes rebirth.
475
Queen Nefertari, the Great Wife of Ramesses II, on the west wall, south side of Chamber G, in her tomb in the
Valley of the Queens (QV 66). Image from the Yorck Project: 10.000 Meisterwerke der Malerei,
<http://commons.wikimedia.org/wiki/File:Maler_der_Grabkammer_der_Nefertari_004-2.jpg>, accessed 4-22-12.
Notice that the tall feathers in Nefertari's crown also "pierce" the sky-sign in the painting, as does Hathor's crown in
the Ogdoad adoration scene on the outer entrance of the Per-wer. See 5.2.1.

118
slightly oblique angle from the modius placed over the vulture headdress, are identical with those
on Hathor's crown. However, Hathor's crown includes an additional set of uraeii with sun disks,
placed on a pair of ram's horns. The uraeii represent her role as the Right and Left Eyes of Ra;
the ram's horns, her divine power and authority. The top of the feathers are so high that they
literally "pierce the sky," intersecting the horizontal sky-sign at the top of the scene; the tall
feathers thus represent Hathor's rule over heaven, signifying that she is the highest divinity in the
scene.476
A third variation of the falcon feathers on a Queen's crown in the Per-wer appears on the
east side of the base of the south wall, in the symmetrical partner of the inundation offering scene
that we examined earlier (Fig. 4.43). Bryan477 suggests that the crown may associate the Queen
with Hathor, the daughter of the sun god, thus making her the appropriate consort for the King,
who was himself the son of Ra.

Fig. 4.47. Amenirdis478 Fig. 4.48. Hathor Fig. 4.49 Queen Tiye479 Fig. 4.50. Queen
in Per-wer in Per-wer

Unlike the previous female variants with the falcon feathers, this crown also includes cow horns
framing a solar disk, thus creating a Hathoric horns-and-disk emblem (Fig. 4.50). An early
predecessor of this crown appears in the 18th Dynasty, in a sculpture of Queen Tiye, the mother
of Akhenaten (Fig. 4.49). The crown became emblematic for queens from the New Kingdom
onward, leading scholars to label it "the female crown."480 In the Per-wer, the Queen's image
with this crown appears on the east side of the base of the south wallthe side reserved for
Hathor; her wearing of the horns and disk thus connects her with the goddess, who also appears
in the scene.
The final variation of the tall falcon-feather crown appears in the 3rd register of the north
wall (Fig. 4.51), where the King offers the Udjat to Hathor. He wears the double feathers, a sun
disk, and two uraeii with sun disks, all atop a pair of ram's horns that sits on a squared cap. The

476
This crown, and the scene in which it appears, is discussed further in Section 5.2.1.
477
In Kozloff and Bryan, Dazzling Sun, 171. See also Robins, Royal Family, 10-14.
478
Amenirdis, a God's Wife of Amun, from her 26 th Dynasty (Saite Period) tomb chapel at Medinet Habu. Photo by
"JMCCI", <http://commons.wikimedia.org/wiki/File:Amenirdis_Med_Habou_1_c.jpg>, accessed 4-22-12. The
God's Wives of Amun reached their height of political and religious power during this period, writing their names in
cartouches and taking on royal iconography. See now Ayad, God's Wives, 2009.
479
Illustration by Rachel Domm of the head of Queen Tiye, now in the Egyptian Museum, Berlin, Nr. 21834.
480
See discussion in Malaise, Coiffure hathorique, 215-236.

119
reason for adding the sun disk and uraeii is undoubtedly the connection with the udjat offering,
equated with the healthy Divine Eye (the Udjat). The uraeii represent the two Divine Eyes: the
Left Eye (moon) and Right Eye (sun) of Ra; Derchain-Urtel also suggests that they represent the
two halves of Egypt, which the King protects with his rule.481 In return for his offering, Hathor
offers the King ir.ty=k(y) Hr mAA D.t, "your eyes, (with the ability) to see D.t-eternity" (D III,
84,4), thus giving him divine sight. The ram's horns allude to his power to dispel evil and
disorder, thus allowing his offering to be free of all impurity, or, as the text states: DfD=s aD.ti
n(n) Dw, "its pupil being intact, without evil" (D III, 83,14). In return, Hathor guarantees the
King that evil will not enter the presence of his eyes (D III, 84,4).

Fig. 4.51. West Side of 3rd Register, North Wall; D III, pl. 180, IFAO

The multiplicity of meanings carried by the variations in the double falcon-feather crown
allow it to connect the wearer with concepts essential to the wearer's role in the scene. In the Per-
wer, four different figures wear one of its variations: Harsomtus, Hathor, the King, and the
Queen. For Harsomtus, the double feathers and solar disk constitute his characteristic crown, the
height of its feathers representing his primacy as a primordial god, and the sun disk, his
connections to Ra, with whom he shares mythological origins. On a slightly smaller scale, the
Queen's crown mimics the one of Harsomtus, representing her dignity as a female sovereign and
recalling the powerful God's Wives of Amun of an earlier era. The God's Wives' crown may also
have been the inspiration for Hathor's tall falcon-feather crown in the Per-wer's entrance, the tops
of its feathers piercing the sky-sign at the top of the scene, thus visually representing her rule
over heaven. In another variation of the Queen's crown, an additional horns-and-disk emblem
connects her with Hathor, the daughter of Ra, emphasizing her divinity. When worn by the King
in an udjat offering, the tall feathers are the two Divine Eyes, and the ram's horns, his power to
eradicate disorder. The crown's associations thus reflect his role in returning the Sun Eye to its
proper place, restoring cosmic order. Each of the elements in these various configurations adds
nuances of meaning to the scene, enriching the connections between the crown and the wearer,
and between the actor and the offering.

481
Derchain-Urtel, Krone und Nebenformen, 3.

120
4.1.6.2 Anedjty Crown (Ostrich Feathers, Sun disk, Ram's Horns)

The final crown in this survey is a composite that is very similar to the double falcon-
feather crown that we just discussed, except that it uses ostrich instead of falcon feathers.
Besides the ostrich feathers, it also includes a solar disk framed by two uraeii with sun disks, all
of which sits atop a pair of ram's horns. In the Per-wer, the King is the only figure to appear with
this crown; he wears it atop a short wig tied with a seshed band. The crown accounts for only 1%
(2) of the 142 crowns in the Per-wer, appearing in only 4% (2) of its 45 ritual scenes (Fig. 4.52);
these two scenes form a symmetrical pair on the east and west walls.
The King's double ostrich-feather crown can also be described as Tni, from the verb Tni,
"to distinguish, raise up," alluding to its feathers raised high on the head. However, its
designation as the Anedjty crown traces its origins to a local god attested in the Delta since the
Old Kingdom.482

PT 220c, Pepi II

2 tall ostrich feathers, sun

disk, 2 uraeii with sun
disks, ram's horns; short
wig with seshed band PT 1833c PT 220c,
King (2) Pepi II Merenre

Fig. 4.52. Anedjty Crown in Per-wer Fig. 4.53. Ideograms of Anedjty in the Pyramid Texts
PT 1833d,
Neferkare

His name, , anD.ti, is a nisbe: "He of Anedjt," the Ninth Nome of Lower Egypt,
which is also known as +dw and by its later Greek name, Bousiri/thj, or Bousi~rij.483 His
iconography includes two ostrich feathers fixed to the head with a seshed band484 and a peasant's
crook and flail in his hands, as shown by his ideograms from the Pyramid Texts of the 6th

482
I follow Vassilika, Philae, 91, in transcribing his name as "Anedjty." Other spellings include "Anedtj," in
Abubakr, Kronen, 7; "Anedjti," in Nilsson, Arsino, 259, and Otto, Anedjti, 269-270; "Andjety," in Griffiths, Iside
et Osiride, 269; " 'Andjeti," in Gardiner, Onomastica I, 179*; "Andjty," in Favard-Meeks, Behbeit el-Hagar, 452.
483
Montet, Gographie I, 100; Gauthier, DG, 198; Brugsch, DG, 250; Wb I, 207, 10 and 12. Bousiri/thj derives
from pr-wsir (Coptic, pousiri), "House of Osiris," and was used from the time of Herodotus onward, as noted by
Gardiner, Onomastica II, 177*-179*. See also Herodotus, II, 59, 61; Griffiths, Iside et Osiride, 369.
484
Anedjty also appears with a stylized version of the feathers, in the 5 th Dynasty mastaba of Ptahhotep, in Davies,
Ptahhetep, pl. 4, no. 22, which Griffith interprets as a bicornate uterus of a heifer, as a symbol of birth. See
discussion and further references in Gardiner, Onomastica II, 179*.

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Dynasty (Fig. 4.53).485 In these texts, the deceased king is equated with various gods, including
anD.ty Hry-tp spA.wt=f, "Anedjty, the chief of his nomes" (PT 182), and anD.ty is xnty spA.wt
iAb.t.(w)t, "as Anedjty who is foremost of the eastern nomes" (PT 220c).486 These factors have
led some scholars to suggest that Anedjty may have originally been a deified shepherd
chieftain.487
Osiris, already characterized in the Old Kingdom as nb +dw, "Lord of Busiris,"488 seems
to have taken over Anedjty's crook-and-flail, as well as his two ostrich feathers, adding the latter
to his own crown to form the Atef.489 By the 19th Dynasty, in the Temple of Seti I at Abydos, we
see the syncretized Osiris-Anedjty, wearing a stylized version of Anedjty's ancient double-
plumed headdress (Fig. 4.54). In the same chapel, the deceased Seti I wears a composite crown
built around Anedjty's ostrich feathers (Fig. 4.55), with the same elements as the one worn by the
King in the Per-wer (Fig. 4.52).

Fig. 4.54. Osiris-Anedjty at Abydos490 Fig. 4.55. Seti I at Abydos491

The god Anedjty thus has funerary associations, due to his connections with Osiris,492 but
well into the Graeco-Roman Period he remains an independent deity. The scenes in the Per-wer
in which the King wears the Anedjty crown also have a different context: the pacification of the
Distant Goddess, who must return to Egypt and restore cosmic order. In searching for the
meaning behind the Anedjty crown in the Per-wer, we turn to an intriguing observation by
Griffiths, who suggests that the living King may have originally taken over the insignia of

485
Sethe, PT, p. 127: Spell 224 (=200c) of Merenre and Pepi II; p. 449: Spell 650 (=1833d) of Pepi II. See also
Sethe, PT, p. 329, Spell 364 (=614a) of Merenre for another example of the ideogram, varying slightly from the
others, and a parallel text writing the name phonetically. Vassilika, Philae, 91 n. 20, notes that the goddess of Buto
appears crowns Niuserre (5th Dynasty) with this crown. See also Barguet, Strauenfeder, 78.
486
Both quotes are from the PT of Pepi II Neferkare: Sethe, PT, p. 103: Spell 219 (=182a); p. 127: Spell 224
(=220c). See also Gardiner, Onomastica II, 176*-180*.
487
For example, Otto, Anedjti, 270.
488
Mariette, Mastabas, 149, 214, and 230, cited by Gardiner, Onomastica II, p. 178*; Griffiths, Osiris, 131 n. 175, in
5th and 6th Dynasty stelae from Giza.
489
Abubakr, Kronen, 7, suggests that since the two ostrich feathers originate in the crown of Anedjty from the Delta,
they form the Lower Egyptian component of the Atef crown, the Upper Egyptian element being Osiris' white crown.
490
Calverley and Gardiner, Abydos I, Vol. III, pl. 15. Image courtesy of the Egypt Exploration Society.
491
Calverley and Gardiner, Abydos I, Vol. III, pl. 36. Image courtesy of the Egypt Exploration Society.
492
Favard-Meeks, Behbeit el-Hagara, 454-456, discusses Anedjty's funerary associations in the reliefs of the
Ptolemaic Temple of Isis at Behbeit el-Hagara in the Delta.

122
Anedjty; after the dead King became Osiris, they became attributes of the god of the dead.493
Although it may not be possible to prove this assertion, the important point is that Anedjty
originally represented kingship, as signified by the crook and the flail in his early ideograms. In
designing the scenes of the Per-wer with this crown, the scribes seem to have reached back to
Anedjty's ancient roots; the texts and images at Dendera support this interpretation.
In the 3rd scene of the 2nd register of the east wall (Fig. 4.56), the King, wearing the
Anedjty crown, offers two sistra to Hathor. The text in the Royal Randzeile describes him as

Hr ns.t=f m pr-wr m ity wr HqA tA.wyHr sHtp ib=s m mr=s sw mi Ihy ir iHy n Hnw.t=f
"upon his throne in the Per-wer as the Great Sovereign who rules the Two Landspacifying her
heart with what she loves, for he is like Ihy, who makes music for his mistress"
(D III, 70,12-13).

The text characterizes the King as the ruler of the Two Lands, and equates him with Ihy, Hathor's
son. Therefore, not only does he rule Egypt, but he is also the divine heir; he possesses the full
legitimacy to carry out the ritual of pacification for the Distant Goddess.

Fig.4.56. 3rd Scene, 2nd Reg., East Wall; Fig. 4.57. 3rd Scene, 2nd Reg., West Wall;
D III, pl. 180, IFAO D III, pl. 190, IFAO

The connection to Ihy is an important element in the scene, emphasized both aurally and
visually. The antanaclasis on iHy, first as the proper noun, Ihy, and then as the verb, iHy, "to make
music," highlights the child god and his actions, which mimic those of the King. Ihy's double
crown, which he wears in place of his more usual close-fitting cap, also emphasizes the King's
rule over the Two Lands; the falcon on top of his sistrum in the scene on the east wall recalls the
Horus falcon perched on the King's serekh.494
In the symmetrical scene, in which the King again wears the Anedjty crown, he offers a
mnw-jar of beer and a band of electrum (Fig. 4.57). The text in the Royal Randzeile again
emphasizes his kingship, stating that he is

493
Griffiths, Osiris, 138.
494
The serekh is a schematic representation of the palace faade of the King's Residence, containing his name in
hieroglyphs. See discussion in Section 2.2.

123
 Hr p=f m Hry-tp tA.wy m xA-wr Hr bw.t snm n Ir.t-Ra sw mi @r dr StA n itn.t
"upon his throne as Chief of the Two Lands in the Great Hall, hating the sadness of the Eye of
Ra, for he is like Horus, who drives away impurity from the Atenet, who dispels evil"
(D III, 82,4-5).

The text characterizes the King as the head of Egypt, but this time he acts as Horus, driving away
impurity and evil from the Female Sun Disk, so that the Udjat, the Healthy Eye, can return to its
proper place.
Other texts at Dendera also emphasize the connection between Anedjty and the kingship.
For example, on the west exterior wall of the barque sanctuary, in a procession of the nome gods
of Lower Egypt bearing offerings for Isis, each accompanying text describes Isis in a different
way.495 Only in the text for the Nome of Anedjty is she characterized as rdi sA=s Hr ns.t it=f,
"who places her son on the throne of his father" (D I, 125,12); the name of Anedjty and the
Nome of Anedjt are both written with ideograms featuring the figure of the god wearing the

double plumes and holding the crook and the flail: and , respectively, just like the
signs that we saw earlier in the Pyramid Texts (Fig. 4.53). The Anedjty crown thus also alludes
to the King's role as heir and royal successor to Osiris.
Another reason for the scribal choice of the Anedjty crown for the King may relate to the
symbolism of the two ostrich feathers. As symbols of Ma'at, as well as the two Divine Eyes, their
use in the King's crown in the two symmetrical offering scenes in the Per-wer is entirely
appropriate. By pacifying the goddess, he enables the return of the two Divine Eyes, which in
turn allows the restoration of Ma'at. Furthermore, the King's wearing of the same crown in both
scenes signals the existence of an iconography play between the other figures, thus linking the
two scenes.496 We will explore this interconnection further in 4.4.1, as well as their important
role in the larger theme of Hathor's pacification, in 5.1.2.
The Anedjty crown, whose double ostrich feathers originate in the crown of a local god
of the Delta, represents kingship. Osiris takes over its iconography for use in funerary contexts,
but in the Per-wer, the earlier associations with the living king are still valid. The King wears it
in contexts in which he must act as Ihy or Horus, pacifying the goddess or driving away evil. The
symbolism carried by the crown's two ostrich feathers, representing Ma'at and the two Divine
Eyes, is always subtly present, carrying the visual message that the King's action, taken as the
legitimate heir of Osiris, facilitates the return of the Eyes and the restoration of order.

4.2 Types and Distribution of Crowns in the Per-wer

Having examined the most important composite crowns in the Per-wer, we will now take
a look at their use within the Per-wer. We begin with the general use of crowns, considering all
types of crowns and headdresses, including the more simple, classic types (e.g. red crown, white
crown, blue crown, and double crown) in the statistics, as well as the simple wigs and head
495
Some examples: 8th nome: "who sees Seth reversed before her son"; 10th nome: "who opens her arms in order to
protect her lord"; 11th nome: "who inflicts punishment on him in the place of internment" (D I, 125,9 126,6).
496
Similar to the secondary function of the horns-and-disk headdress, which can also serve as the marker for an
iconography-epithet play between other elements in the scene, which we discussed earlier (4.1.1).

124
cloths worn without crowns."497 After examining the frequency and use of the most frequently
observed types of crowns, we will then look at the correlation between crown and wearer. These
sections provide an opportunity to make some comments about crowns not previously discussed.
There are many examples in which connections exist between the iconographic element of one
character and the iconography or element of another character within the same scene; 498 these are
discussed throughout the examples given in the present chapter and in Chapter 5. However, there
are only three pairs of iconography-epithet plays in the Per-wer that form chiastic relationships
between symmetrical scenes; these are treated separately in 4.3.

4.2.1 Frequency of Crowns in the Per-wer

The graph in Fig. 4.58 shows the "top ten" most frequently observed crowns, tallied from
a total of 142 individual crowns. The most frequently depicted crown is the simple double
crown, with 28 examples.499 This frequency attests an underlying emphasis within the Per-wer
on the union of the Two Lands, governed by either royal or divine rulers. It appears most often
on Horus Behdety (5), Hathor (5), and the King (4), who wear in their roles as rulers of Egypt.

Frequency of Crowns and

Headdresses in the Per-wer
30
Number of Crowns

25
20
15 28
10 23
17
5 11 9 8 7 6 5 4
0

Type of Crown or Headdress

Fig. 4.58. Frequency of Crowns and Headdresses in the Per-wer

497
The simple wigs and head cloths are subsumed under the category called "simple headdress," which includes the
close-fitting cap worn by Ihy, and the short wig, bag wig, and nemes worn by the King. An individual element, like
one ostrich feather, is only considered a "crown" if it is the only component worn on an individual's head, such as
the single ostrich feather adorning the head of Shu or Ma'at.
498
The second type of interrelationship between iconography and epithets, as discussed in Section 4.0.2.
499
Subsequent "numbers of examples" are denoted as roman numerals placed in parenthesis.

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 The next most prevalent category of head covering is the "simple headdress" (23), which
includes the simple wigs and headdresses worn without a crown by Ihy or the King. The reason
for its high number in the Per-wer is twofold. Ihy, the divine son of Hathor with whom the King
identifies, appears in a majority of the scenes (26 of the 45 ritual scenes); he wears a simple cloth
cap with his sidelock in over half of them. Secondly, the King wears a simple head covering
when carrying out most of the rituals of the daily temple rite, signifying his role as high priest.
Hathor's ubiquitous horns-and-disk headdress (14), the third most-frequently observed
crown, not only represents her solar and bovine qualities, but can also serve as a marker for
iconography play between two symmetrical scenes. Isis frequently wears it with the addition of
the throne sign of her name, but she can also wear it without this sign, especially when the
context of the scene requires that her individual characteristics be suppressed.500
The single ostrich feather is worn by Ma'at (10) and Shu (1); its relatively high frequency
attests the importance of the goddess, and the concept that she embodies, in the foundation of the
theological conceptions conveyed by the texts and reliefs in the Per-wer. She wears her
characteristic feather both as a full-sized goddess and as a small figure, which the King offers to
Hathor or Isis,501 representing the justice and order that he maintains in his kingdom. In the case
of Shu, the ostrich feather that he wears signifies his name, rather than the concept of Ma'at.
The fifth most frequently used crown in the Per-wer is the blue crown (9), which the
King wears in a variety of ritual scenes: adoration (3), water offerings (2) and double-crown
offerings (2). It also appears on the heads of two kneeling king-figures in a scene featuring
statues (2). Despite its reputation as a "war helmet," it was in reality a symbol of the King's
coronation;502 its name, xprS, from the root xpr, "to become," may allude to the transformation
that the King undergoes at coronation, when he is invested with the Kingly Ka. As such, it is
appropriate that the King wears it in so many ritual scenes in the Per-wer, where it substitutes for
other crowns of coronation (e.g. the red crown, white crown, and double crown).
The next four most frequently-appearing crowns are composites: the double falcon-
feather crown (8); the Atef (7), Hepty (6), and Geb-crowns (5). The double falcon-feather crown
plays an important part in the iconography of the Per-wer, connecting to ideas of dignity and
kingship, as well as to divinity. These factors make variations of this crown suitable as a
headdress for Harsomtus, Hathor, the King, and the Queen. Although Thoth wears the Atef as
Ra's deputy,503 it most often appears in funerary contexts. The King wears it when making
offerings to the deceased ancestor gods; Hathor wears it in an adoration scene with the
Ogdoad,504 where it alludes to her role as the divine daughter who maintains their funerary
cult.505 Hathor and Horus both wear the Hepty as their Royal Crowns, primarily in offerings of

500
For example, in the scenes in which Nekhbet and Wadjet present the wAD.ty-scepters to the King, in the 1st
register of the north wall of the Per-wer. See 4.1.1.
501
Note that in the presentation of Ma'at, the King is no longer just high priest, but rather the sovereign King, whose
legitimacy gives him the authority to present this special offering to the gods. Therefore, when he presents Ma'at in
an offering scene, he wears one of the royal crowns instead of a simple head covering. The offerings of Ma'at in the
Per-wer and its Southern Niche all occur as symmetrical offerings, with a geographical emphasis. Therefore, the
King wears the white crown in the scene on the east side of the axis, and the red crown on the west side of the axis.
Offerings of Ma'at in the Per-wer always occur on the south wall, which, being the rear wall of the sanctuary, has
priority of place.
502
Steindorff, Blaue Knigkrone, 60; Davies, Blue Crown, 69-76.
503
In the sistra offering on the west side of the Per-wer's lintel on the outer entrance; in the offering of the udjat to
Hathor in the 2nd register of the west wall of the Southern Niche.
504
In two symmetrical scenes on the outer entrance of the Per-wer, beneath the bandeau of the frieze.
505
In the 3rd registers of the east and west walls of the Per-wer.

126
Ma'at by the King, on the south walls of the Per-wer or the Southern Niche.506 The King and
Hathor both wear the Geb-crown in contexts related to products of the earth, including the
inundation.507
The higher frequencies of the simpler crowns and the lower frequencies of the composite
types may have a simple explanation. The simpler crowns, carrying theological significance, are
capable of making connections within or between scenes, just like the composite crowns.
However, because of their ubiquity, the simpler crowns also can "fade into the background,"
signaling the existence of iconography plays between other characters and allowing the more
visually complex, composite crowns to stand out.508 Because of the multiplicity of elements held
within these more complicated constructions, the composite crowns can carry many more
allusions than the simpler crowns, thus facilitating the construction of iconography and epithet
plays.509 It is thus not surprising that the number of simpler crowns is greatest, because by their
sheer numbers, they focus attention on the more unusual, composite creations, which carry the
interplays that weave together the most important scenes.

4.2.2 Correlation between Type of Crown and Wearer

An analysis of the frequency and use of crowns in the Per-wer sheds light on the
processes the scribes used to chose which crown to use in a particular scene. The following
discussion applies to the charts below, which show the types of crowns worn by the major
characters in the Per-wer. Correlating crowns to wearer was particularly helpful in my research
on iconography-epithet plays, which are sometimes signaled by the appearance of an
uncharacteristic crown or headdress on a figure. Further investigation then reveals whether the
play links together two symmetrical scenes or adds important allusions.510
As the intermediary between the human and divine worlds, the King (Fig. 4.59) wears the
greatest variety of crowns in the Per-wer. In the ritual scenes he regularly identifies with various
gods, allowing his actions to take on mythological significance; the variety of crowns reflects
these multiple roles. However, because he also plays the role of high priest in so many scenes of
the daily temple rite, including adoration scenes, in which he wears either the simple headdress
or blue crown (in adoration scenes), these two types of crowns account for 54% of his headgear.
As the primary recipient of offerings, and a goddess bearing multiple aspects and
manifestations, Hathor (Fig. 4.60) also wears a great variety of crowns, although her
506
In symmetrical scenes in 1st register of the south wall of the Per-wer; in the symmetrical scenes in the 2nd register
of the south wall of the Southern Niche.
507
Hathor wears the Crown of Geb in two scenes: an offering of a nms.t-jar of primordial water, on the east side of
the 3rd register of the west wall; her wearing of this crown in a sistra offering scene in the 2 nd register of the east
wall, which forms part of an iconography play with its symmetrical scene, an offering of a mnw-jar of beer. The
King wears the Crown of Geb in three scenes: in the two symmetrical lintel scenes of the north wall, which are
offerings of wine or beer; in the funerary offering of bread, beer, and "all good things" in the 3 rd register of the west
wall.
508
Just as the sign plays stand out visually in the texts.
509
This characteristic of composite crowns recalls the multiplicity of values held by Ptolemaic hieroglyphs, which
facilitates the construction of aural and visual plays.
510
E.g., in the 2nd register of the east wall of the Southern Niche, Horus Behdety wears the sun disk of Ra-Horakhty
as part of an iconography-epithet play with Harsomtus in the symmetrical scene on the west wall, discussed in
Section 4.4.3. In the east side of the 3rd register of the south wall of the Per-wer, Hathor wears a modius of uraeii,
which visually illustrates her epithet in the symmetrical scene, on the west side of the 3 rd register.

127
characteristic horns and disk appears 38% of the time. The emphasis on her divine rule is the
reason that she frequently wears the Hepty and double crown, which make up 30% of her various
crowns.
Horus Behdety (Fig. 4.61) wears the double crown in 71% of his depictions, emphasizing
his role as Osiris' legitimate heir, with whom the King identifies. This identification strengthens
the King's own legitimacy as sovereign, thus giving him the authority to carry out the important
daily temple ritual and the appeasement of the goddess. When Horus and Hathor appear together
in symmetrical Ma'at offerings, they both wear their royal crowns,511 emphasizing their rule over
the cosmos and the importance of Ma'at in its maintenance. As part of an iconography-epithet
play between the east and west walls of the Southern Niche, Horus Behdety also wears the sun
disk.512
As Hathor's counterpart in the Per-wer, Isis (Fig. 4.62) wears the horns and disk in 66%
of her depictions, divided equally between those with or without her throne sign. The rest of her
images bear her Royal Crown; these occur in the offerings of Ma'at on the south walls of the Per-
wer and its Southern Niche.513 As the counterparts to Horus Behdety and Hathor, Isis and
Harsomtus appear in the Ma'at scenes on the south wall, again indicating their roles as rulers of
the cosmos, whose stability is assured by the King's offering.
Ihy, the divine son of Hathor with whom the King identifies (Fig. 4.63), is quite
ubiquitous in the Per-wer.514 Except for a few examples of iconography play,515 his headgear
divides itself almost equally between his usual close-fitting cap or the double crown. However,
the scribal choice between one or the other seems to have been quite deliberate. Ihy's wearing of
the double crown signals that a scene is particularly important in establishing cosmic stability, as
in scenes of purifying and pacifying the Distant Goddess, returning the Eye, or offering Ma'at.516

511
For example, in the 1st register of the south wall of the Per-wer.
512
In symmetrical offerings of the udjat, in the 2nd register of the east and west walls of the Southern Niche. See
discussion in Section 4.4.3.
513
In the 1st register of the south wall of the Per-wer; the 2nd register of the south wall of the Southern Niche.
514
Ihy appears in 26 of the 45 ritual scenes.
515
Ihy wears the moon disk of Thoth, who stands behind him, while offering the udjat to Hathor, in the 2 nd register
of the west wall in the Southern Niche (4.1.1 and 4.4.3); he wears the adult version of the double crown (without his
sidelock) in the sistra offering on the west side of the lintel of the outer entrance of the Per-wer (see 4.1.5.1).
516
He thus wears the double crown in the following scenes: the two symmetrical offerings of sistra in the lintel of
the outer entrance; the two symmetrical offerings of (primordial or inundation) water at the base of the south wall;
the two symmetrical offerings of sistra and mnw-jar in the 2nd register of the east and west wall; the two symmetrical
offerings of Ma'at, in the 1st register of the south wall, and in the 2nd register of the south wall of the Southern Niche.

128
 King's Crowns in the Per-wer
Simple Headdress

Blue Crown Simple Double Crown

27% (9) Headdress
27% (9) Atef Crown

Geb Crown
Double Crown
Miscellaneous
12% (4) Anedjty Crown
21% (7)
Atef Crown White Crown
12% (4)
Geb Crown Miscellaneous
9% (3)
Blue Crown
White Crown Anedjty Crown
9% (3) 9% (3)

Fig. 4.59. King's Crowns in the Per-wer

Hathor's Crowns in the Per-wer

Geb Crown
6% (2)
Lady of Per- Horns and Disk
wer
6% (2) Miscellaneous

Horns and Double Crown

Hepty Crown
Disk
15% (5)
38% (13) Hepty Crown
Double Crown
Lady of Per-wer
15% (5)
Miscellaneous Geb Crown
18% (6)

Fig. 4.60. Hathor's Crowns in the Per-wer

129
 Horus Behdety's Crowns
in the Per-wer

Hepty Crown
14% (1)
Double
Sun Disk Crown
14% (1)
Sun Disk
Double Crown
71% (5) Hepty
Crown

4.61. Horus Behdety's Crowns in the Per-wer

Isis' Crowns in the Per-wer

Royal Crown Horns and Disk Horns and Disk

of Isis with Throne- with Throne-sign
33% (2) sign
Horns and Disk
33% (2)

Royal Crown of
Horns and Disk Isis
33% (2)

4.62. Isis' Crowns in the Per-wer

130
 Ihy's Crowns in the Per-wer
Moon Disk
4% (1)

Cloth Headdress
Simple
Double Crown Headdress
Double Crown
44% (12) 50% (13)
Moon Disk

Fig. 4.63. Ihy's Crowns in the Per-wer

4.3 Interplay between Iconography and Epithets

Interplays between iconography and epithets exist in many forms within the Per-wer.
Some of them create visual puns between epithets and offerings, regalia, or crowns within a
single scene.517 Other scenes show two characters wearing the same type of crown, thus forging
a link between them.518 These connections add multiple layers of meaning to the scene, enriching
the message that the scribe wished to convey. In other cases, the iconography of one scene
connects with the text of another, linking the two. This situation can occur between any two
scenes, many of which are non-symmetrical, sometimes lying adjacent or diagonal to one
another. The link in these cases is usually one-sided, i.e. the second scene has no other
relationship to the first. However, in some pairs of symmetrical scenes, there is a more complex
connection. In these scenes, the iconography of one scene connects with the text of another, but
then, the iconography of the second scene, in turn, connects with the text of the first scene, thus
creating a chiastic relationship that tightly binds the two scenes together. I observed that in these
rare cases, the scenes in question have a particularly important role in the Per-wer. There are
three such pairs in the Per-wer, all of which play a crucial role in the pacification and return of
the Wandering Goddess. The first two are on the lateral walls of the Per-wer; the third is in the

517
E.g., the visual pun on the wAD-papyrus offered by the King, whose epithet is wAD n %xm.t (east side of lintel of
the outer entrance of the Per-wer); the visual pun on wAD.ty offering made by the pendant uraeii on the King's
pectoral, in the 1st register of the north wall; the visual pun on Hathor's epithet, "Lady of the uraeii," formed by her
modius of uraeii.
518
On the east side of the lintel of the outer entrance, the King wears the double crown, which is mimicked in the
adult double crown worn by Ihy.

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Southern Niche. We will now examine the iconography and epithets of these three pairs of
scenes, showing how their interrelationships create complementary pairs, transmit theological
meaning, and help to restore the stability of the cosmos.

4.3.1. Iconography Play between Sistra and mnw-jar

We return again to the two symmetrical scenes in the 2nd register of the Per-wer, in which
the King offers two sistra to Hathor on east wall, and a mnw-jar of beer and a band of electrum
on the west wall.

E. Wall, 2nd Reg., 3rd Scene; D III, pl. 180 W. Wall, 2nd Reg., 3rd Scene; D III, pl. 190

Fig.4.64. Sistra and mnw-jar Offering Scenes in the Per-wer, IFAO

Although the King wears the Anedjty crown519 in both scenes, Hathor wears her signature horns-
and-disk in the mnw-jar scene, but the crown of Geb in the sistra scene. Why were different
crowns chosen for her? The answer may lie in the symbolism connected to each crown. The
crown of Geb, the earth god, is often worn in scenes in which the goddess is responsible for the
products of the earth or the inundation. Thus, Hathor's appearance with it in the scene on the east
wall relates to the beer (and its associated drunkenness) that she offers to the King in return for
his offering of the sistra on the west wall: di=i n=k tx wHm=k tx pxA-ib nn ir(.t) Ab, "I give you
beer, you repeat drunkenness and joy without stopping" (D III, 70,15).
Because the symmetrical scene on the west wall is itself an offering of an intoxicating
beverage (the mnw-jar of beer), its texts also contain references to drunkenness, as well as to
beer, such as Hathors epithet, mHn.yt wr.t xnt s.t-txn.t, "The Great Uraeus in the Place of
Drunkenness (=Dendera)" (D III, 82,8). Besides the drunkenness that connects with her gift to
the king in the sistra scene, her epithet, nb.t t ir H(n)k.t, "Lady of bread who makes beer" (D III,
82,11)520 clearly connects with her wearing of the Crown of Geb in the same scene.521

519
Discussed in 4.1.6.2.
520
A one-cubit-high, gold statue of Hathor, identified by the same epithet ("Hathor, Lady of the Two Lands, Lady of
bread who makes beer"), appears on the wall of the Chapel of Purification (Chassinat's Chamber K; D III, 118,7). In
a scene in the 1st register of its south wall, Hathor also receives the offering of the mnw-beverage and carries this
epithet (D III, 111,10; pl. 204). See also Cauville, Ftes d'Hathor, 55.
521
Noted by Preys, Catalogue d'Hathor, 127-129.

132
 di=i n=k tx wHm=k tx pxA-
ib nn ir(.t) Ab
"I give you beer;
you repeat drunkenness
and joy without stopping."
(D III, 70,15)
E. Wall, 2nd reg, 3rd scene
E. Wall, 2nd reg, 3rd scene

nb.t t ir H(n)k.t
"Lady of bread,
who makes beer"
(D III, 82,11)
W. Wall, 2nd reg, 3rd scene

W. Wall, 2nd reg, 3rd scene

Fig. 4.65. Iconography/Epithet Play between the Sistra and mnw-jar Offering Scenes

In a chiastic relationship, Hathors Crown of Geb in the sistra-offering scene thus connects with
her epithet, Lady of Bread who makes beer, in the symmetrical mnw-jar offering, and the mnw-
jar itself connects with Hathors statement, I give you beer, you repeat drunkenness in the
sistra-scene. The interplay between text and iconography allows the two symmetrical scenes to
form a unit, each scene supporting the other.

4.3.2. Iconography Play between Menit and Wensheb

Another set of symmetrical scenes in the 2nd register of the east and west walls of the Per-
wer works in a similar manner. In the scene on the east wall, the king offers the menit to Hathor;
on the west wall, he offers the wensheb, the symbol of ordered time. Although the King wears
the rush crown (a type of Atef crown) in both scenes, Hathor wears a different crown in each
scene. In the menit offering, she wears her signature horns-and-disk; in the wensheb offering, she
wears the double crown framed by ostrich feathers, the typical crown for "Hathor the Menit."

133
 2nd Scene, 2nd Register, East Wall 2nd Scene, 2nd Register, West Wall
D III, pl. 180 D III, pl. 190

Fig. 4.66. Menit and Wensheb Offering Scenes in the Per-wer, IFAO

This crown would thus be more appropriate for her to wear in the menit-offering scene, where
she is specifically called tA-mni.t, "The Menit" (D III, 70,3). However, in the offering of the
wensheb on the west wall, the text makes a direct reference to the god Seth, stating, whi sp=f n
wnn=f, "He who fails at his time (=Seth), (he) does not exist" (D III, 81,5). The reference to the
opponent of Horus thus connects directly to the menit, its beads being equated with Seth's
testicles, which were cut off during an episode of the Contendings of Horus and Seth.522 It also
connects to the description of the King in the menit offering, stating that he is upon his throne in
strength, "destroying the Coward, slaughtering the Watchful One, and slaying the Angry One"
(D III, 69,18 70,1). In the same scene, Hathor is also characterized as nD.ty.t Hr sn=s ir nh(.t)=f
r xfty.w=f, "the Female Protector for her brother, who makes his protection against his enemies"
(D III, 70,3-4).
In a chiastic relationship similar to the one we observed in the previous example, Hathor's
epithet, tA-mni.t, in the menit scene on the east wall connects to her crown in the wensheb scene
on the west wall; the statement concerning Seth in the wensheb scene connects to the menit itself
on the east wall.

522
The menit's associations with fertility and protection made it an important apotropaic object for the deceased
Osiris, symbolizing the vindication over his enemy as well as rebirth.

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 nb.t Iwn.t tA-mni.t
"Lady of Iunet, The Menit"
(D III, 70,3)
E. Wall, 2nd reg, 2nd scene

E. Wall, 2nd reg, 2nd scene

whi sp=f n wnn=f

"He who fails at his time
(=Seth), (he)
does not exist"
(D III, 81,5)
W. Wall, 2nd reg, 2nd scene

W. Wall, 2nd reg, 2nd scene

Fig. 4.67. Iconography/Epithet Plays in the Menit and Wensheb Offering Scenes

The iconography plays between the two sets of symmetrical scenes on the Per-wer's east and
west walls highlight key themes of the myth. The naos-sistrum and the menit are incarnations of
the goddess Hathor; when shaken, their sound, and the intoxicating drink of the mnw-jar, pacify
the angry lioness goddess. Together with the wensheb, the symbol of ordered time, they
represent the offerings given to the Distant Goddess by Thoth in order to convince her to return
to Egypt. The final step in her return to Egypt and the restoration of ordered time comes next, in
two symmetrical scenes in the Southern Niche, also linked by iconography and epithet plays.

4.3.3. Iconography Play in the Return of the Udjat in Southern Niche

On the east and west walls of the Southern Niche, characters from the Myth of the
Wandering Goddess appear in two important symmetrical scenes. In the scene in the 2nd register
of the east wall, the god Shu offers the Udjat Eye to Hathor (Fig. 4.68). We remember Shu from
the myth, where he took on the form of a lion and helped bring home the Distant Goddess. Here,
he wears a single ostrich feather, denoting his role as an air god. Behind Hathor stands Horus
Behdety, who in this scene takes on the role of Ra-Horakhty, his arms raised in adoration before
the goddess. Although he wears the double crown in almost every other scene in the Per-wer in

135
which he appears,523 he now exchanges it for the sun disk of Ra. His statement, dwn.n=i a.wy=i
HA Hr.t-tp m HD=s, "I have extended my arms around the Uraeus in her shrine" (D III, 95,6),
recalls the scene in the myth in which Hathor's father Ra embraces her upon her return home.

2nd Reg., E. Wall, S. Niche; D III, pl. 201 2nd Reg., W.Wall, S. Niche; D III, pl. 202

Fig. 4.68. Udjat-Offering Scenes in the Southern Niche, IFAO

In the symmetrical scene on the west wall of the Southern Niche we see more
connections to the myth, as well as additional iconography plays. Although still depicted as a
child, Hathor's son Ihy now appears in an adult-sized representation.524 Unlike his usual
depiction with a close-fitting cap or double crown, Ihy now wears the lunar crescent and disk, a
crown more properly belonging to Thoth, the lunar god standing behind him. In fact, Thoth
wears the same crown on the west thickness of the door jamb in the Southern Niche (Fig. 4.69).

Ihy (2nd Reg., W. Wall; D III, pl. 202) Thoth (W. Door Jamb; D III, pl. 200)

Fig. 4.69. Comparison of Lunar Disk worn by Ihy and Thoth in Southern Niche

On the west wall of the Southern Niche, Thoth instead wears the Atef crown, which Ra can
bestow upon his deputy. We recall that in the myth, Ra charged him with bringing home his
daughter, his Eye. Ihy, wearing the lunar crown, is the one who now offers the Udjat Eye to
Hathor; it is appropriate that he now carries the epithet, nb wDA.ty, "Lord of the Two Udjat-Eyes"
(D III, 97,13). We also recall that Isis, who is connected with the left Eye of Ra (the moon) is
often prominent on the west side of the room. To continue the allusion to Isis, even when Hathor
appears in her place, Hathor often carries an epithet referring to Isis. Here, she carries the epithet,
nb.ty.t rxy.t, "Mistress of Humankind," a designation of Isis.
523
Horus Behdety appears once wearing the Hepty crown, in the Ma'at offering on the east side of the 1st register of
the south wall of the Per-wer.
524
This adult-sized depiction mirrors his representations in the symmetrical lintel scenes of the north wall of the
Southern Niche, although in these scenes, he wears the double crown, which connects with the King's offering of the
same crown.

136
 A further allusion to Isis in this scene is the presence of Harsomtus, her consort at
Dendera. In all of his other depictions in the Per-wer, he wears the tall falcon-feather crown, but
here he wears the double crown, usually assigned to Horus Behdety.525 Why did the scribe
decide to depict him with this crown? I believe that the reason for this change is due to an
iconography-play, in which the Myth of the Distant Goddess takes precedence over all other
considerations. We saw Horus Behdety in the symmetrical scene, wearing the sun disk of Ra.
Although this headdress is appropriate for Horus in this scene, since he is equated with
(Ra-)Horakhty, it also connects to the epithet of Harsomtus, Ra Ds=f xnt pr-Ra, "Ra himself in the
Sanctuary of Ra," in the symmetrical scene on the west wall (D III, 98,1). Likewise, the label, @r
BHd.ty, "Horus Behdety" (D III, 95,5), which accompanies Horus in the east scene, links to the
double crown worn by Harsomtus in the west scene. The elimination of the tall feather crown
from his iconography thus allows the identity of Harsomtus, who does not have a role in the
myth, to be more fully subsumed into that of Ra, who welcomes home the Distant Goddess. The
interplay between crowns and epithets by Horus Behdety and Harsomtus connects the two scenes
and highlights the important allusions to the myth (Fig. 4.70).

@r BHd.ty
"Horus Behdety
(D III, 95,5)
E. Wall, 2nd reg, S. Niche

Shu Ihy Hathor Horus Behdety

2nd reg, East Wall, Southern Niche

Ra Ds=f xnt pr-Ra

"Ra himself in the
Sanctuary of Ra"
(D III, 98,1)
W. Wall, 2nd reg, S. Niche

Harsomtus Hathor Ihy Thoth

nd
2 reg, West Wall, Southern Niche

Fig. 4.70. Iconography-Epithet Plays in the Udjat Offering Scenes in the Southern Niche

525
As the chief god of Egypt, the wearing of the double crown by Horus designates him as ruler of the Two Lands.
The crown's two components also allude to the Upper Egyptian Horus Behdety as well as to the Lower Egyptian
Horus of Mesen. See Vassilika, Edfu, 941.

137
 The emphasis on the myth and the return of the two Divine Eyes is now complete. The
disks in the crowns of Hathor and Ihy on the east wall, together with the offering of the Udjat
Eye by Shu, emphasize the return of the Right Eye, the sun. In the text, Horus (as Ra), embraces
the goddess on her return (D III, 95,6). The crescent disk in the crown of Ihy on the west wall,
along with the allusions to Isis (in Hathor's epithet and the presence of Harsomtus) and the
presence of the lunar god Thoth, emphasize the return of the Left Eye, the moon. The text states
that Harsomtus (the consort of Isis, the moon, but here acting as the sun god Ra) places his arms
around the returning goddess, welcoming her home.
The iconography and epithet plays on the east and west walls of the Per-wer thus occur in
four scenes that are particularly important for the pacification of the Distant Goddess. The
shaking of the menit and sistra, and the intoxicating beverage of the mnw-jar, help calm her
anger. The offering of the wensheb foreshadows the restoration of ordered time, which will come
about with her return. The preparation for her homecoming having been set, the two symmetrical
scenes on the east and west walls of the Southern Niche now show the actual return, reuniting the
main characters of the myth: Hathor, Shu, Ra, and Thoth. Hathor on the east wall receives the
Udjat Eye representing the sun; on the west wall, the Udjat representing the moon. Because the
goddess is the incarnation of both celestial bodies, the presentation of the two Udjat Eyes
symbolizes her homecoming to Egypt. The return of the sun and the moon to their proper places
thus allows the restoration of cosmic stability and ordered time.

4.4 Summary

The increase in the complexity of crowns, headdresses, and other iconographic elements
in the Ptolemaic relief scenes expanded the scribal playing field for creating interrelationships
between texts and reliefs. Some of the crowns have ancient origins;526 others were created to
fulfill political and religious strategies.527 By layering components onto the base of a simpler
crown, the scribes created complex structures capable of carrying additional mythological
meaning. They further enhanced this meaning by forming links with epithets carried by the
wearer, thus visually presenting in the headdress the role of the wearer within the scene. These
interconnections could exist between the characters of two scenes; the scribes devised various
ways to signal the existence of these "iconography plays." By cleverly switching a crown with
that of a character in a symmetrical scene, they formed a link, binding the two scenes together.
Although such complementary pairs are uncommon, they carry particular significance when they
appear in the Per-wer, helping to bring back the Distant Goddess from her wanderings so that she
can restore ordered time and cosmic stability, and continue the creation of the world.

526
For example, the Anedjty crown originating in the OK. See 4.1.6.2.
527
For example, the Arsinoe crown created during the reign of Ptolemy II. See 4.1.3.2.

138
 Chapter 5
The Per-wer Sanctuary

5.0 Introduction

Located at the rear of the temples main axis, behind the barque sanctuary, is the Per-wer
Sanctuary (Fig. 5.1). As the most important focal point of the temple, it was the traditional place
of residence for the temples main deity; a niche,528 arranged high in the thickness of its south
wall, contained a 2-meter-high gold statue of Hathor, the largest in the temple.

Per-wer
Sanctuary

Fig. 5.2. Hathor Image on Rear Wall529

Barque
Sanctuary

Fig. 5.1. Plan of the Temple of Hathor530 Fig. 5.3. Hathor Image on Rear Wall531

528
The Temple of the Sistrum, the chapel located directly east of the Per-nu chapel, is the only other chapel to
contain a niche, with one small niche on its north wall and a larger one on its south wall. However, neither the
chapel nor the niches are located on the main axis of the temple, there is no sacred image directly behind either of
the niches, and the texts do not contain cryptographic inscriptions, as in the niche of the Per-wer. Preys, Complexes,
143-255, discusses the texts and reliefs of this chapel, but without regard for the large number of word and sign
plays contained within its texts, which are worthy of study.
529
Photo at <http://commons.wikimedia.org/wiki/File:DenderaHathorTempleComplexQenaEgypt529-
2007feb10PhotoByCsorfolyDaniel.jpg>, by Daniel Csorfoly, accessed 4-14-12.

139
Directly behind this niche was a large, gold-plated head of Hathor532 carved onto the outer rear
wall, which served as a hearing ear shrine for the populace (Fig. 5.2 and 5.3).533 The name of the
sanctuary, Per-wer (lit., "Great Sanctuary"), recalls the archaic Upper Egyptian shrine of the
goddess Nekhbetthe place of the kings coronation, thus signaling the importance of the room
in emphasizing the kings legitimacy.534
Approaching the Per-wer from the Mysterious Corridor,535 one immediately notices that
the decoration of its grand entrance dwarfs those of the chapels on either side and is even more
elaborate than the entrance to the central barque sanctuary.536 In addition to its location and
unique architectural features, the texts of the Per-wer also attest the high quality of its materials
and workmanship.537 Along with those of the other chapels of the naos, its texts were all
composed during, or shortly after, the reign of Cleopatra VII, 538 giving them a unity that is
apparent in their compositional style and their use of word and sign plays. This situation
contrasts, for example, with the Osirian chapels on the roof, whose texts are drawn from many
sources and time-periods.539 These unique architectural and textual factors led me to choose the
Per-wer as the focus for my study of the Myth of the Wandering Goddess, which I expanded to
include the aural and visual techniques of the ancient scribes.

5.0.1 Organization of Wall Reliefs in the Per-wer

Before analyzing some individual scenes from the Per-wer, we will first take a brief look
at the organization of the wall reliefs (Fig. 5.4). At the top, the decoration of the frieze gives
information about the principal personages of the room. For example, in chapels consecrated to

530
Illustration by the author, after D I, pl. 45, IFAO.
531
Photo by Su Bayfield, 2009.
532
The image of Hathor as the top of a sistrum not only adorns the rear wall of the temple, but also the rear (south)
wall of the niche and the south walls of the two lower crypts hidden in the crypts beneath it, which provided
protection for Hathor's sacred images above.
533
A place of popular piety for the laity, who were not allowed entrance into the innermost chambers of the
temples.
534
Cauville, Inscriptions ddicatoires, 89, suggests that Dendera's Per-wer carries notions of Upper Egypt, as well as
of royalty, "qui s'appliquent parfaitement Hathor, reine du pays mridional." Chapels on either side of the Per-wer
bear the names of the two archaic shrines of Lower Egypt: Per-neser ("Sanctuary of the Flame") and Per-nu
("Sanctuary of the nw-jar').
535
The ancient name of the Mysterious Corridor is , Sm(m)y.t (Wb IV, 472, 5-6). Cauville, Inscriptions
ddicatoires, p. 101, suggests that the egg carries the value of S and the snake, m.
536
Unlike the other cult chambers, whose doors consisted of a single leaf, the Per-wer had double doors (Cauville,
Dend Trad III, p. 8). Although no longer in existence, they are attested textually: the text in the inner column of text
on the east side of the door frame clearly refers to double doors by its dual substantive: rw.ty xm=s, "the entrance
doors of her chapel" (D III, 46,10).
537
Cauville, Dend Trad III, p. 9, also notes that the relief carving in the Per-wer is the highest quality of the temple.
538
Cauville, Guide archologique, 3-5, notes that the construction of the main Temple of Hathor began on July 16,
54 BCE, under Ptolemy XII Auletes (88-51 BCE), but his name is inscribed only in the subterranean crypts. The
elements above the crypts, though anonymous, evidently date to the period between his death and the co-regency of
Cleopatra VII and her son Caesarion, of which the first attestation is 42 BCE. The relief of Cleopatra VII and
Caesarion on the south rear wall of the temple probably dates from the last years of her reign, which ended in 29
BCE with her death.
539
Cauville, Chapelles osiriennes, 273-276.

140
Hathor, the frieze is decorated with heads of the goddess.540 Bandeaux (or stringcourses) of the
frieze and the base contain mostly foundation texts, describing the construction by the King; the
goddess, pleased with the work, agrees to join each day with her images engraved on the walls.
The horizontal registers of the wall are read from bottom to top, with the lowest registers (the
base and 1st register) containing ordinary cultic actions done on earth, including the daily temple
rite. The upper registers refer to the celestial aspects of the deity.

Frieze
Bandeau of the Frieze

3rd Register

2nd Register

1st Register

Bandeau of the Base

Base

Fig. 5.4. Horizontal Decoration of a Typical Wall at Dendera; D III, pl. 190, IFAO

Fig. 5.5. 1st Reg. on East, South, and West Walls of Per-wer, after D III, pls. 180;190, IFAO

Horizontal relationships thus exist between the scenes of a room. Along the 1st register of
the east, south, and west walls of the Per-wer, the king performs the daily temple rite, its

540
See the following excursus, 5.0.1.1, for a more detailed description of the frieze in the Per-wer.

141
successive rituals alternating between the east and west walls (Fig. 5.5). Approaching the naos to
greet the goddess, he wears mostly the simple bag wig, indicative of his role as high priest on
earth.541 The daily temple rite serves as the foundation of the relationship between the Divine and
mankind, whose intermediary and representative is the King.

Fig. 5.6. 2nd Reg. on East, South, and West Walls of Per-wer, after D III, pls. 180; 190, IFAO

The second register is the air the space between heaven and earth where the falcon
flies (Fig. 5.6); and in fact, the Horus falcon or Nekhbet vulture fly protectively over the kings
head in six of the ten scenes in this register.542 Having entered into the presence of the goddess in
the lower register (characterized in the texts as opening the doors of heaven543), the King in the
2nd register presents Hathor with her ten sacred objects. Among those, the menit, wensheb, mnw-
vase, and wine jars correspond to offerings made by Thoth to the Distant Goddess of our myth.
Unlike his headdresses in the daily temple rite, the kings crowns here are mostly complex,
composite ones, imbuing him with the divine characteristics of the gods he represents when
presenting the offerings.

541
Abubakr, Kronen, 67-68, makes a similar observation about the head covering worn by the King in depictions of
the daily temple rite at the Temple of Seti I at Abydos.
542
See Binkowski, Geier und Falke, 83-89.
543
D III, 77,4; 77,5.

142
Fig. 5.7. 3rd Reg. on East, South, and West Walls of Per-wer, after D III, pls. 180; 190, IFAO

The third register is the celestial realm of the gods (Fig. 5.7). Scenes in the main room of
the Per-wer focus on the veneration of ancestral, primeval gods, and Hathors responsibility for
light and the inundation.

The scenes are organized in symmetrical pairs:

Offerings of purification (incense and water)
Offerings of same nature for the same goddess (menit and sistra)
Offerings for complementary deities (Hathor and Isis)
Offerings for deities representing complementary geographical locations (Upper and
Lower Egypt; Nekhbet and Wadjet)

North Wall Niche on S. Wall Symmetry of Opposing E. and W. Walls

Fig. 5.8. Symmetry around a Central Axis, after D III, pls. 180; 190, IFAO

143
 These relationships can exist around a central axis, as in the entrance or niche, or between
two opposing walls (Fig. 5.8). Symmetrical pairs are linked linguistically and iconographically,
complementing each other. As we saw in the example of iconography play, epithets in one scene
can link to the crown worn by an actor in the symmetrical scene, and vice-versa. Word plays and
puns can function between the two scenes, and parallel expressions in each scene are often
written with homonyms or with visual variation in the choice of signs.
Vertical relationships can also exist between scenes, but the links are often more subtle.
There are even relationships between scenes connected to each other horizontally or diagonally
on adjacent walls (for example, in three scenes referencing milk and Hathors bovine
manifestation). These interplays of epithets and iconography, supported by layers of meaning in
the word- and sign-plays, work harmoniously in three dimensions.

144
5.0.2 Excursus: Decoration of the Frieze in the Per-wer

A decorative frieze of two alternating elements (the Hathor-headed sistra and royal
cartouches) adorns the top of each interior wall above the bandeau of the frieze (Fig. 5.9).

Fig. 5.9. Alternating Hathor-headed sistra and cartouches on the frieze; D III, pl. 180, IFAO

The Hathor-heads support bxn, a pylon-like structure framed by two tendrils, whose
central doorway contains a cobra,544 thus indicating that Hathor's form as the uraeus resides
within it. The cartouches are surmounted by the sw.ty, the double ostrich feathers (alluding to

the two Eyes of Ra, the sun and the moon), and a sun disk: (S76). Framing each of these
two alternating elements are two rearing cobras: the one on the viewer's left wearing the white
crown of Upper Egypt, the one on the right, red crown of Lower Egypt; pendant ankhs dangle
from the lower curve of each cobra. The Hathor-heads, as well as the cartouches, stand upon
gold signs, whose central element contains a lozenge, recalling a hb purification basin. These
alternating elements are arranged so that on any individual wall, a cartouche appears in the
middle. Within the Per-wer's square chamber, each wall thus contains four545 Hathor-headed
sistra and five cartouches, for a total of 16 Hathor-heads and 20 cartouches on the four walls.
This complex, repetitive border is not, however, merely decorative. As noted by
Brunner,546 the iconography of a frieze in a Ptolemaic temple reflects the function of the room or
hall in which it appears. In this frieze, the repetition of sistra, cobras, and gold signs links to
manifestations and epithets of Hathor: her image as a sistrum, appearing as the central motif in
the southern niche, as well as on the outer rear wall directly behind it; her ophidian form, as the
protective Eye of Ra on the brow of the sun god; her ubiquitous epithet as the Golden One,
referring to her radiance as the female sun. The protective pairs of cobras wearing the crowns of
Upper and Lower Egypt, and the cartouches crowned with the double feathers and disk, allude to
the kingship of the Two Lands as well as the role of the archaic Per-wer shrine as the place of the
king's coronation. The ankhs carried by the cobra emphasize that life is in the power of the
goddess, infusing her image as well as that of the king's cartouche.

544
WinGlyph Y21&O39\t1.
545
The "number of completion" in Egyptian thought. Dunand and Zivie-Coche, Gods and Men, 34.
546
Brunner, Luxor, 83, first recognized this relationship, which is supported by the later brief study in Kurth, Friese,
198.

145
5.1 The Myth of the Wandering Goddess in the Per-wer Sanctuary

Every scene in the Per-wer Sanctuary at Dendera thus contains multiple, interlacing
themes connecting with other scenes. These relationships are expressed through the links created
not only by means of architectural placement (e.g. symmetrical scenes around a door or on
opposing walls), but also through plays on aural and visual elements: words, epithets,
hieroglyphic signs, and iconography. In order to gain a better understanding of the ways in which
these interconnections function, we will follow several main themes throughout the Per-wer. The
first theme concerns Hathor's role as the Wandering Goddess: her pacification and purification,
her return as the Divine Eye, and the subsequent re-establishment of Ma'at. The second theme,
which underlies the first, is her universal role as Primordial Creator and Ancestral Goddess. The
third theme is the King's role as intermediary between the human and divine worlds, with an
emphasis on his legitimacy, his performative speech, and his maintenance of the funerary cults
for the divine and royal ancestors. These three themes are tightly interwoven, because the King's
authority to approach the Divine is a prerequisite for his performance of the rituals necessary for
Hathor's pacification and return. These acts, in turn, reestablish Ma'at and cosmic order, because
Hathor is not only the two Eyes of Ra, but also the Creator of light and all life on earth.

5.1.1 Chronocrators on Outer Entrance

Already in the entrance to the Per-wer, the texts and reliefs show that the Myth of the
Wandering Goddess plays an important part in its theology.547 The first indication is in the frieze
at the very top of the door framing, where chronocrator godstwo for each day of the yearsit
facing away from a central Hathor-headed sistrum.548 They extend all around the Mysterious
Corridor, encompassing every day of the first six months of the year.549
The designers arranged the layout of the chronocrators so that the month of Tybi would
be divided in half by the central sistrum (Fig. 5.10): the first half on the east side; the last half on
the west.550 Hathor's great festival commemorating the return of the Wandering Goddess lasted
from the 19th of Tybi until the 4th of Mechir,551 but a hint of the myth behind the festival is
already apparent in the names of chronocrators for earlier days of the month.

547
Scenes and text referring to the myth are highlighted in the wall drawings in pink.
548
Placed atop the hieroglyphic sign for gold, this emblem alludes to Hathor's frequent epithet at Dendera, Nbw.t
(Golden One). On either side of the sistrum stand the wAD.ty (Two Uraeii), wearing the white and red crowns, thus
representing the tutelary goddesses of Upper and Lower Egypt, Nekhbet and Wadjet, respectively.
549
This row of divinities extends along both walls of the Mysterious Corridor (Chassinat's Chamber C), the
horseshoe-shaped hallway surrounding the central barque sanctuary on its east, south, and west sides. These six
months include the months of Thoth, Paophi, and Athyr of the season of Akhet (Inundation); the months of Khoiak,
Tybi and Mechir of the season of Peret (Emergence). See diagram in Cauville, Dend Trad II, p. 4.
550
Because all sixty gods for the month of Tybi do not fit the width of the south wall, those for the first and last two
days of Tybi were placed on the south ends of the east and west walls, respectively.
551
The first four days of Mechir, on the west wall, are added to the diagram. The festival, which was the longest one
of the year, is attested since the NK; it enjoyed particular patronage after the death of Berenike, the young daughter
of Ptolemy Euergetes III, which occurred during the month of Tybi 238 BCE. For a description of the festival, see
Cauville, Ftes d'Hathor, 28-29; Preys, Complexes, 563-565; Preys, Matresse des seize, 259-268; Richter,
Wandering Goddess, 168-169; 174-175.

146
 Lord Tefnut Onuris "Reunion
of Ma'at is with her"
(=Thoth)

Days circled in red reference the myth

Outer Entrance

Fig. 5.10. Chronocrators on Outer Entrance of Per-wer after D II, pl. 94, IFAO

For example, the god for the 6th of Tybi, Mry.t-it=s, "Beloved of her father," is an epithet
of Hathor referring to her father Ra, who missed his beloved daughter when she wandered off to
Nubia;552 the chronocrator for the 13th of Tybi, located over the Per-wer entrance, is Nb-mAa.t,
"Lord of Ma'at," a frequent epithet of the god Thoth, whose persuasive words convinced the
Wandering Goddess to return to Egypt. The divinity presiding over following day is Tefnut, the
lioness-form of Hathor in the myth; on the 17th, the chronocrator is Onuris,553 the god who

552
The writing of this name, whose second sign is incorrect (as noted by Chassinat, D II, 31, no. 8), was

corrected by means of the following parallel texts of chronocrators: (D VII, 64, no. 2);
(E XV, 47, no. 6); and (KO 702 =Gutbub, KO 303,23), as well as similar phrases in D VIII, 114,15
and D IX, 29,12.
553
The distinctive four-feathered crown (which can belong to either Shu or Onuris) appears in the relief, although
the accompanying text with the name is destroyed. Grumach-Shirun, Federkrone, 143, suggests that the crown may
go back to hunting magic; cf. Bonnet, RRG, 545, for Onuris as hunter and fighter. The same crown is worn by the
gods listed for Tybi 22 (D II, 61 no. 13) and Tybi 29 (D II, 60, no. 63), with the name in both cases clearly written as

, In-Hr.t (Onuris), suggesting that the chronocrator for Tybi 17 over the Per-wer Entrance is also Onuris.
Additionally, Leitz, LGG I, 373-4, lists the chronocrator for I pr.t 17 (=Tybi 17) as In-Hr.t. This crown can,
however, also belong to the god Shu; the chronocrator for the 17 th of Tybi in the bandeau of the base, west outer

147
helped bring the goddess home, and whose name, In-Hr.t, literally means "He who brings back
the Distant One." Onuris also reappears as a chronocrator for the 22nd and 29th days of Tybi, both
of which fall within the festival.
Two additional chronocrators, located on the south wall to the west of the Per-wer's
entrance, also fall within the time-frame of the festival. However, scholars do not agree on the
name of the first one, who presides over the 26th of Tybi (D II, 61, no. 6). The signs writing the
name are ,554 which both Leitz and Cauville transliterate as #ns(.t)-%Tt.555 However,
Leitz reads "She who traverses Asia," whereas Cauville, "She who traverses Nubia."556 This
goddess is succeeded on the following day by PD.t-nmt.t, "She who is wide of stride" (D II, 61,
no. 4). Leaving aside for the moment the disputed toponym,557 we can see that the theme of
traveling is nevertheless clear; both chronocrators preside over days occurring during the
festival, suggesting that their "movement" alludes to the Sun Eye's journey.
However, the most significant is the chronocrator for the 19th of Tybi, the first day of the
Festival of the Wandering Goddess, who is called %xn[-m-a=s], "Reunion/uniting is with her," or
perhaps, "She who is reunited,"558 alluding to Hathor-Tefnut, who returns to her father precisely
on that day.559 In addition to the chronocrators in the frieze, the columns of text on either side of
the entrance door (below, highlighted in pink) also relate to the myth, describing the jubilation
greeting the goddess upon her return. Thoth opens the ways for her,560 and both heaven and earth
rejoice.561 The text in the west column states,

wall of the Pronaos (D XV,100, no. 27), is indeed ^w (Shu). In any event, both gods play important roles in the
legend of the Distant Goddess; either interpretation would allude to the myth.
554
WinGlyph E128 and S22.
555
Leitz, LGG V, 760; Cauville, Dend Trad II, p. 614.
556
Note that Cauville's chronocrator list (Dend Trad II, p. 98) transliterates it as #ns-%Smt.t, "Celle qui parcourt la
Nubie," unlike her Index (Dend Trad II, p. 614), which has #ns.t-%Tt, through with the same translation. The latter
transliteration agrees better with her translation, suggesting that %Smt.t may be a typographical error.
557
See excursus below (5.1.1.1) for a discussion of issues raised by scholars concerning its writing and translation.
558
For %xn-m-a=s, Leitz, LGG VI, 570b, suggests "Bei der das Umfassen ist (?)"; Cauville, Dend Trad II, p. 614,

gives %xn-[], "Celle qui est runie []." I was able to restore the lacuna in D II, 61, no. 20, , by means

of the following parallel texts: %xn-m-a=s (D XV, 100, no. 24) and , %xn[-m-a]=s
(D VII, 63, no. 38). An additional parallel is Leitz (LGG VI, 570): %xr.w-m-a=s, "Plans are
with her" (E XV, 48, no.19).
559
The importance of this date is also apparent in the architectural arrangement of the light shaft in the ceiling of the
Per-wer, which allows the sun to stream into the sanctuary precisely at noon on the summer solstice, visually
showing the return of the Right Eye of Ra on this day. The photograph taken in 2006, in Zignani, Enseignement, 56,
pl. 2.32, strikingly illustrates this moment.
560
West side of door frame (Text B): wp n=t +Hwty wA.wt, "Thoth opens the ways for you (f.)" (D III, 46,4).
561
East side of door frame (Text A): nhm n=t p.t Hr xAbA=s m pr=t m Ax.t swAS tw(=t) tA Dr=f, "The sky and the stars
rejoice for you as you go forth from the horizon. The entire land praises you" (D III, 45,14-15).

148
 sxn <n>=t Ra m a.wy=fy iw=t sxn.ti m aH Sps
"Ra embraces you with his arms;
you are installed in the noble palace"
(D III, 46,4-5).

Fig. 5.11. Outer Entrance of Per-wer; D II, pl. 94, IFAO

The polyptoton,562 with its variation on the root sxn, "embrace, unite, install," first as a perfective
sDm=f , "embraces," and then as a stative, "installed," calls attention to the union of the Distant
Goddess with her father Ra, and her subsequent joyful installation in her sanctuary. This
statement perfectly agrees with the name of the chronocrator we just saw for the 19th of Tybi,
sxn m-a=s, "Reunion is with her," the first day of the festival commemorating the return of the
goddess (Fig. 5.12).563

%xn-[m-a=s]
"Reunion [is with Her]" (D III, 61, no.20)

Fig. 5.12 Chronocrators on Outer Entrance of Per-wer; after D II, pl. 94, IFAO

By placing the chronocrators for the month of Tybi over the entrance to the Per-wer, the
ancient designers emphasized the importance of Hathor's great festival in this month for the
theology of that sanctuary.564 Nine of the gods in the frieze allude to the myth, their names
referencing important personages, characteristics, or actions of the legend; four of those appear
over the center of the entrance: two each on either side of the central sistrum. The name of one of
these four gods, presiding over the first day of Hathor's festival in Tybi, characterizes the climax

562
Word plays are denoted by bold font; sign plays by blue font. Examples in which words function simultaneously
in both word and sign play are thus rendered in bold blue font.
563
At Edfu, Hathor also sxn, "unites" with the head of the All-Lord (E III, 146,10).
564
Leitz, Chronokratenliste Edfu, 153, notes that the assigning of chronocrators at Edfu to particular dates is not
"willkrlich," and "jede Zuordnung wohlbegrndet war." This appraisal also holds true for the chronocrators in the
Mysterious Corridor at Dendera. In Leitz's study of the exterior walls of the barque sanctuary at Dendera (idem.,
Aussenwand, 335), he notes that chronocrators in the frieze have connections to the scenes below, events in the
festival calendar, and texts around the entrance and within the room over which they stand. However, to the best of
my knowledge, the connection between the chronocrators over the Per-wer's entrance with Hathor's great festival in
Tybi, and its allusions to the Myth of the Sun Eye, have not received scholarly notice.

149
of the storythe reunion of the goddess with her father, the sun god, marking the restoration of
cosmic order.

5.1.1.1 Excursus Discussion of the toponyms and

Disagreement exists among scholars concerning the transliteration and translation of

these two toponyms, which appear in the calendar texts of Dendera and Edfu, as well as in the
name of the chronocrator for the 26th of Tybi, located on the south wall of Dendera's Mysterious
Corridor. The confusion seems to stem from the fact that in the Late and Ptolemaic Periods, the
same sign represents different toponyms, and different signs represent the same sounds. For
example, the shoulder knot, (S22), carries the phonetic values of s, st, sT, and %Smt.t and
%Ty.t (the goddesses, Shesmetet and Satet, respectively),565 leading to its use as a phonogram in

the writing of %Tt, and its variation, %tt,566 both of which can write
"Asia," and "Sehel" (Gr. Shtij), the cataract island near Elephantine. Some scholars also
translate both writings as "Nubia."567 Further ambiguity arises with the advent of a new sign in
the LP, (T58), a shield or animal skin with an arrow, which can also carry the values of
st,568 sT,569 and sty,570 allowing it to substitute for (S22) in the spelling of the previously
cited toponyms.
The calendar texts at Edfu and Dendera contain parallel phrasing in a passage describing
the ritual carried out on first day of Hathor's great festival, on the 19th of Tybi. Noting the
mythical basis for the ritual act of turning her statue so that she faces the north, texts state that
the goddess, having come from Bugem, and in order that she might see the Nile (or "inundation")
of Egypt with all its marvels, turns her back to the named toponym; each text spells this toponym

with a different sign. For example, ir=s sA=s r NN, "so that she turns (lit.

places) her back to ,"571 employs the shoulder knot; rdi=s

sA=s r NN, "so that she might turn (lit. place) her back to ,"572 uses the shield.
Because of the multiple values that these two signs can hold, scholars even today do not agree on
the transliteration and translation of the toponyms in these two passages. Should the toponyms in
both passages be translated the same? Is the toponym in question Asia, Nubia, or the island of
Sehel? We will now take a brief look at how previous scholars have interpreted these passages.

565
Kurth, EP I, 378, no. 40, and 386, n. 1.
566
GG, p. 506; Wb IV, 348, 3-5.
567
In Cauville's Dend Trad II, there is confusion concerning her transliteration of the chronocrator for the 26 th of
Tybi. In the running translation of the text (p. 98) the transliteration given is #ns-%Smtt, "Celle qui parcourt la
Nubie," but in the Index (p. 614), the same chronocrator is #nst-%Tt, which agrees better with her translation. The
former entry may therefore be a typographical error.
568
Wb IV, 333,2-3.
569
Kurth, EP I, 394, no. 45.
570
Cauville, Dend Fonds, 211.
571
E V, 351, 8 (= Col. 11).
572
D XII, 185, 1-2.

150
Hermann Junker, in his early study of the Distant Goddess myth,573 discusses the toponym CT.t,
noting that it can denote either Nubia, Asia, or Sehel. In his subsequent work, Die

Onurislegende,574 he notes that the signs (F29), (T58), and (S22) can be
interchanged in the three toponyms, just as in the subtantive, stw.t, "rays."575 Using examples
from Dendera,576 he localizes CT.t, together with Kns.t and Pwn.t, in the southeastern area of
Egyptall places that figure in the texts at Edfu, Dendera, and Philae, and which refer to the
myth of the Distant Goddess. Later scholars, with a few exceptions,577 mostly follow Junker:
Alliot,578 who translates %T.t in the Edfu calendar as "La Nubie ou le Soudan oriental";
Germond,579 who quotes Alliot's translation; Preys,580 who references both calendars, stating,
"Celle-ci, venant de Bougem tourna dfinitivement le dos la Nubie," adding, "ce qui explique
pourquoi pendant le rituel on place la desse face au nordpour voir les merveilles de Ta-meri."
Two scholars with contrary views are Grimm,581 who connects the toponym in the
aforementioned Edfu text to the cataract island of Sehl, and Leitz,582 who argues that the
goddess of the Edfu and Dendera calendar texts on I prt 19 turns her back on %Tt, "Asien," and
not %ty, "Nubien." His reasoning is based on his calculation that the festival would have fallen in
the middle of November, when the direction in which the Sun Eye was traveling would be the
opposite of a "homecoming" towards Egypt (i.e. the direction of the sun's elliptical would be
towards the south; following its southernmost position at the winter solstice in December, it
would then turn northwards, i.e. in the direction of Egypt). He maintains, however, that this
translation applies only to the calendar texts, noting that Junker's reading583 of %ty, "Nubien," is
valid for most of the other passages.
I do not find Leitz's argument compelling for translating the term %t.t as "Asia" in the
calendar texts and as "Nubia" elsewhere. The sojourn of the goddess takes place in the southern
regions in the myth; nowhere does it say that Hathor-Tefnut wanders north to Asia. It thus does
not seem logical that the calendar texts, which base this important festival's ritual indications
upon its mythological underpinning, would change the location of her sojourn to its opposite
cardinal direction. The mythological context of Hathor's festival, as well as the specific ritual
indication to turn Hathor's face away from %t.t, so that she can see the wonders of Egypt, both
argue for a southern or southeastern location. Additionally, the chronocrators (as we have seen
above, and which Leitz has suggested584) play an important role in the frieze above the Per-wer
entrance, connecting with themes important for the purpose of the room over which they stand.
All of these factors therefore support the translation for the name of the goddess presiding over
the 26th of Tybi, as "She who traverses Nubia."585

573
Junker, Auszug, 24-27.
574
Junker, Onuris, 72.
575
As also noted in Wb IV, 331, 2-18.
576
Mariette, D I, pl. 23 (= D IX, 81,10 82,10).
577
Sethe, Sonnenauge, 8.
578
Alliot, Culte, 227 and n. 29.
579
Germond, Sekhmet, 227.
580
Preys, Complexes, 564.
581
Grimm, Festkalender, 191 and n. o; 390.
582
Leitz, Tagewhlerei, 213 n. 35.
583
Junker, Onuris, 71-73.
584
See n. 564.
585
Following Cauville, Dend Trad II, p. 64.

151
5.1.2 Pacification of the Goddess

Allusions to the myth continue in the decoration of the outer entrance. Two symmetrical
scenes in the lintel show the pacification of the goddess by the shaking of the sistrum, one of her
sacred instruments (Fig. 5.13). Among the personages in the scenes are Hathor, Ra-Horakhty,
and Thothall characters in the myth.

Fig. 5.13. Outer Entrance of Per-wer; D II, pl. 94, IFAO

East Side of Lintel West Side of Lintel

saHa sxm n mw.t=f

wAD n %xm.t "who raises the
"Offspring of sxm-sistrum for his
Sekhmet" mother"
(D III, 51,4) (D III, 52,11-12)

The king in the east scene bears the epithet, wAD n %xm.t, "offspring of Sekhmet" (D III,
51,4), which forms a visual pun with his offering of a papyrus stalk, also called a wAD. The
assimilation of the King with the son of the dangerous lioness goddess gains him protection from
her fury.586 The epithet is thus appropriate in sistra-offering scenes,587 whose purpose is to
586
Goyon, Conjuration, 80; Germond, Sekhmet, 159-160, notes that Sekhmet's protection of the sun god (as his Eye)
also extends to his successor, the king, suggesting that the reason may lie in the LP assimilation of Isis and Wadjet,
perhaps due to the proximity of Buto, the traditional cult center of Wadjet to Khemmis, where Isis hid her son Horus

152
appease the goddess. Additionally, both "Sekhmet" and the sxm-sistrum are based on the same
root, sxm, meaning "power." In fact, in the parallel text of the symmetrical scene on the west
side, the kings epithet is saHa sxm n mw.t=f, "who raises the sxm for his mother" (D III, 52,11-
12), thus describing his offering of the sistrum image to Hathor. Therefore, a word play on the
root sxm exists between the two scenes, in the epithets of the king.
Interestingly, the naos-sistrum588 held cupped in his hand by the king in the right scene is
unlike that of any other sistrum offered in the Per-wer Sanctuary, because it does not have a
handle like a usual sistrum. Also, the naos-sistrum in Ptolemaic is generally specified as the sSS.t
(Fig. 5.14), rather than the sxm, the name reserved for the arched sistrum (Fig. 5.15).589 Thus, the
image he is offering is truly the sxm, the incarnation of the goddess, and not just a normal
sistrum.590
Naos Sistrum Arched Sistrum

Fig. 5.14. sSS.t-sistrum591 Fig. 5.15. sxm-sistrum592

in the thicket of papyrus. As an Eye of Ra, Wadjet (=Sekhmet) could thus take on the maternal, protective aspects of
Isis towards her son. An additional allusion lies in the wAD itself, as shown by a passage in the Demotic Myth of the
Sun Eye: "Ra names the green stone, which one makes into the Eye, which is Sekhmet-Bast, in order to please and
pacify her" (pLeiden I, 384,5, 3-6,11; Spiegelberg, Mythus, 22, 23). As Flessa, Schtze, 20, observes, this amulet
can also take the form of a wAD (like the King's offering in the present scene), which then has the ability to calm
Sekhmet's divine anger (with word play on wAD, since swAD can mean "pacify," as well as "make healthy"). By
means of his offering, with its allusions to health, pacification, and the King's role as Sekhmet's son, the offering not
only appeases the angry goddess but also enables the rejuvenation of his own health. My thanks to Prof. Jacco
Dieleman for calling my attention to Flessa's book and for the citation from the Myth of the Sun Eye.
587
The epithet, wAD n %xm.t, appears in the following sistrum-offering scenes: D III, 70,8 (Per-wer, east wall, 2nd reg,
rd
3 scene); V, 42,1 (Crypt East 1, Chamber G, east wall); V, 57,5 (Crypt East 2, Chamber A, east wall).
588
The top of this type of sistrum is sometimes referred to as the bxn. See Excursus 5.0.2.
589
Reynders, Sistrum, 1013-1026, discusses the use of the terms, sSS.t and sxm, suggesting that the onomatopoeic
sSS.t refers to both the naos and the arched sistrum, although the term sxm probably also denotes the arched form.
She proposes that the term sxm, "divine incarnation" refers to sistra in general, because whatever the type, the
sistrum is a representation of Hathor's divine appearance. However, texts in the Per-wer consistently connect sSS.t
with the naos-sistrum and sxm with the arched sistrum, e.g. D III, 70, 7-8, discussed below in the present section.
590
The supplementary double ostrich feathers and uraeii on the King's double crown mimics elements of Thoth's
Atef, crown, which he wears as the deputy appointed by the sun god to return the Distant Goddess. The King's
crown thus alludes to his role in helping to return the Sun Eye to her rightful place in the Southern Niche, on the
brow of her father, Ra.
591
Faience naos-type sistrum, Late Period, Dynasty 26, OIM 10718. Photo courtesy of the Oriental Institute of the
University of Chicago. See also Teeter and Johnson, Life of Meresamun, p. 30, fig. 23.

153
 The kings unusual offering actually replicates the sacred sistrum image of Hathor in the
Southern Nichethe focal point of the Per-wer (Fig. 5.16).

Southern Niche, S. Wall, 1st Register W. Scene above Lintel

Rear Wall of
Southern Niche

Outer Entrance of
Per-wer Sanctuary

Fig. 5.16. Connection between King's Offering of Sistrum on Outer Entrance and
Hathor's Sistrum Image on the Rear Wall of the S. Niche, after D II, pl. 94; III, pl. 202, IFAO

592
Bronze Sistrum, Rosicrucian Museum, RC 1765, 26 th 30th Dynasty. Top of loop has a reclining cat nursing two
kittens. Photo by the author, 1991, courtesy of the Rosicrucian Museum, San Jose, CA.

154
Additionally, if one were to imagine that the walls are transparent (as often suggested by
scholars, such as Gutbub,593 Cauville,594 and Derchain595), the two symmetrical sistra scenes on
the lintel of the outer entrance, which we just saw, line up directly with the sacred image of
Hathor as a sistrum, in the center of the south wall of the Southern Niche. We will return to this
image later.
The kings offering of this image on the outer entrance of the Per-wer thus foreshadows
his actions within the sanctuary, where he is shown presenting offerings that will pacify the
Distant Goddess and convince her to return to Egypt. In essence, he is returning the Eye (in her
form as a sistrum) to its holiest place within the Southern Niche. We will see more of this
important theme.
On the lintel of the north wall, we see two symmetrical scenes recalling Thoths offering
of wine and beer in order to pacify the Distant Goddess (Fig. 5.17). In the scene on the right, the
king presents Hathor with a mnw-jar of beer.596 Her epithet, nb.t tx (D III, 58,8), can be
translated as either Lady of Beer, or Lady of Drunkenness;597 the ambiguity of the word is
probably deliberate. The drunkenness refers to Hathors Festival of Drunkenness in the month
of Thotha navigation ritual for pacifying angry lioness-goddesses,598 thus linking to our myth.
On the left, the king offers two jars of wine599 to Isis, who often appears as Hathors counterpart
at Dendera, distinguished here by the throne sign of her name on her horns-and-disk headdress.
In both scenes, the king wears the composite Crown of Geb,600 imbuing him with the earth gods
power to create and produce food and nourishment. This crown agrees well with the kings
epithet, Lord of Imet601 and Senu,602 two wine-producing areas of the Delta, and thus with his
offerings of wine.

593
Gutbub, Rmarques, 123-136.
594
Cauville, Dend Trad V-VI, pp. 67-68.
595
Derchain, Quadrifrons, 16-18. Cf. Preys, Complexes, 466.
596
Cauville, Ihy-Noun, 108, notes that drink offered in the mnw-jar was a mixture of beer, wine, and aromatic herbs.
The litany recited by the king on the occasion of the offering contains words unused since the OK. For a summary,
see Yoyotte, Religion, 195-197; for a similar litany inscribed in the small temple of Hathor at Philae, see Morardet,
Philae, 139-155. Sternberg-El Hotabi, Trankopfer, 115-117, connects the ritual of offering the mnw-jar with the
Festival of Drunkenness celebrated on I Akhet 20. Cf. Budde, Blitzen, 105-112.
597
Wb V, 325,7-9.
598
The festival commemorating "the inebriety for Hathor," taking place on 20 Thoth (I Akhet 20) is attested since
the Middle Kingdom, in a papyrus from Illahun. See Schott, Festdaten, 82, Nr. 27; cf. Grimm, Festkalender, 374.
599
The two wine jars in the relief, , are almost identical to the two jars in the logogram for irp, "wine":
(W21A), which appears in the title of the west scene of the lintel: Hnk irp n mw.t=f, "Offering wine to his
mother" (D III, 58,11).
600
Bedier, Geb, 170-171; 173-182; 206.
601
Wb I, 78,12: name of the city of Buto in lower Egypt; its nisbe, im.ty (lit. "He of Imet') means "wine," reflecting
its renown as a wine-producing region. A homonym of im.t is "pupil," which can refer to the pupil of the Divine Eye
as well as to the eye of Apep (Wilson, PL 65-66). Although the reference to im.t (as "pupil") may create a
connection with the udjat offering on the opposing wall), the word im.t as "pupil" is not used in D I-IV. However,
there is aural and visual play on the homonym im.t ("child") in a "Striking of the Ball" scene in the Court of the New
Year's Chapel (Chassinat's Chamber R), D IV, 193,12, because the ball is equated with the im.t ("pupil") of the eye
of Apep. Wilson, PL 65-66, notes similar word play with the two meanings of im.t in E IV, 137,3: "the pupil of the
eye/child is with you."
602
Pelusium (Tell el-Farama), located NE of Delta in a wine production area. Hannig, -D 1381; Baines and Malek,
Cultural Atlas, 167.

155
 Hathor-
headed
Harp

Fig. 5.17. North Wall of Per-wer; D III, pl. 180, IFAO

Crown of Geb

Behind the king in each scene, one of two Meret603 goddesses plays the harp,604 the music
soothing the heart of the Wandering Goddess. Decorating the top of each harp is a Hathor-
headed figural wearing a small horns-and-disk headdress with double falcon feathers, thus
alluding to the two Divine Eyes.605 As a songstress, the goddess Meret has associations with
Hathor, who restores order through music;606 each of the Meret goddesses carries an epithet
meaning Mistress of the Throat,607 written with two different Egyptian words for throat:
aSaS608 and Hty.t.609 Meret also became identified with Maat, who was considered the throat of

603
Wb II, 107,2-6. As early as the OK, Meret is a songstress presiding over music and singing, particularly during
funerary rituals.
604
For a discussion of the development in Egypt of the harp, or bin.t, see Sachs, Musical Instruments, 92-95. A fine
example of a carved and painted model harp, made of wood, bone, and faience and having figural ends (the head of
a falcon; the head of a king wearing the double crown), from the NK tomb of Ani at Thebes (EA 24564), appears in
Anderson, Egyptian Antiquities, p. 82, fig. 145.
605
Budde, Doppelfederkrone, 61. The Right Eye represents the sun; the Left Eye, the moon.
606
Wilson, PL 445.
607
D III, 58,4; 58,14.
608
aSaS: Wb I, 229,14.
609
Hty.t: Wb III, 181,4-16.

156
the god through which he obtains air and food--the sustenance of life.610 Furthermore, because

the words mr.t (singer), mr.t (another word for throat), and MAa.t (Maat) probably
had similar pronunciation at this time, they form an effective pun. Wilson notes that they seem to
be interchangeable and are more powerful because one word incorporates the aspects of the other
two.611 The two lintel scenes with the Meret goddesses directly face the Southern Niche within
the opposing south wall, their names linking linguistically with the two winged images of Maat
standing protectively on either side of the sacred sistrum (Fig. 5.18).

Fig. 5.18. Meret Goddesses on Lintel Link with Ma'at Images in Southern Niche,
after D III, pls. 180 and 190, IFAO

Also, if we then look across diagonally from the two lintel scenes, towards the 1st register of the
south wall, we see another connection as well (Fig. 5.19).

610
In this role, Hathor is actually Ma'at-Tefnut, the daughter of Atum who provides him with air and life, as noted
by Klotz, Kneph, 160-161, citing Bickel, Cosmogonie, 172-173. For more discussion on Ma'at and Meret as the
throat of the sun god, see Guglielmi, Gttin Mr.t, 105-148.
611
Wilson, PL 445.

157
 Fig. 5.19. Link between North Wall's Lintel and South Wall's Ma'at Offerings,
after D III, pls. 180; 190, IFAO

South Wall Fig. 5.20. Offerings of Ma'at, S. Wall, 1st Reg.; D III, pl. 180, IFAO

Not only do these two symmetrical scenes show the king offering Maat to the goddess (Hathor
on the left; Isis on the right) (Fig. 5.20), but the Kings words in the scene on the left clearly
reproduce our pun. Speaking to Hathor, he says,

158
 MAa.t rn=t MAa.t pw kA.tw r Hm.t=t mr.t pw
"Ma'at is your (f.) name, it is Ma'at that one calls your (f.s.) Incarnation, it is the throat"
(D III, 67,7).

We know that mr.t means the throat in this text (and not the songstress) because of the flesh

determinative. It is usually written , with the head and neck of a long-necked animal.
However, by employing the sign of the Meret-goddess as the phonogram of her name, the
ancient scribe can also allude to the divine songstress, thus adding another layer of meaning to
the word play.
The play on the close homophones of MAa.t and mr.t, and the turn of meaning (the
offering, the name of the goddess, and throat), emphasize the equivalencies of the concepts. A
solid link is also made with the wine offerings in the north lintel, where we saw the Meret
goddesses playing the harp. The offering of wine and the soothing music would pacify the
Distant Goddess, thus leading to a restoration of Maat, symbolized by the kings offerings in
these scenes.
In these two symmetrical scenesthe culmination of the daily temple ritual carried out
on earththe King dons the white crown of Upper Egypt on the left and the red crown of Lower
Egypt on the right, not only reflecting the geographical symmetry on either side of the axis, but
also underlining his right and duty as King to maintain Maat throughout the Two Lands. His
kingship is further emphasized by the Hepty crowns worn by Hathor and Horus of Edfu, which
we saw earlier as symbols of kingship, as well as symbols of the light of the sun and the moon
(the right and left divine Eyes).
The importance of Maat as the foundation of Ras heaven, is also shown in the
placement of these scenes directly under the entrance to the Southern Niche (Fig. 5.21), where
they serve as the base for the four goddesses holding up the sky.612

South Wall Fig. 5.21. Offerings of Ma'at, S. Wall,1st Reg.; D III, pl. 190, IFAO

612
D III, 86,17; 87,2. The name of each goddess consists of a cardinal direction plus a synonym for "She who
carries," as follows: East: IAb.t.t #y.t; South: Rsy(.t) aHay.t; West: Imn.t.t FAy.t; North: MH.t.t &wAy.t.

159
 We will return to the important role played by Ma'at, but first we will continue looking at
some more offerings that help bring about the pacification of the goddessa prerequisite for
reestablishing cosmic order. This appeasement extends to the lateral walls of the Per-wer, in four
symmetrical scenes in the 2nd register (Fig. 5.22). The offerings in these scenes have a pleasing,
calming effect on the goddess, thus thematically linking with the intoxicating beverages offered
on the lintel of the north wall.

Fig. 5.22. Pacification of the Goddess,

after D III, pls. 180; 190, IFAO

Peering out from her seat in the southern niche, Hathor would thus see pacifying
offerings on the three walls before her. We begin with the two symmetrical scenes on the far
south sides of the east and west walls: in the scene on the east wall, the king offers two sistra
(Fig. 5.23); on the west, he again offers the mnw-jar, this time accompanied by a circlet of
electrum613 (Fig. 5.24).

613
Electrum is a mixture of gold and silver. See Nicholson and Shaw, Materials, 162.

160
 Fig. 5.23. E. Wall, 2nd Reg.,3rd Scene Fig. 5.24. W. Wall, 2nd Reg., 3rd Scene
Offering two sistra; D III, pl. 180, IFAO Offering mnw-jar, circlet; D III, pl. 190, IFAO

In the sistra offering scene, Hathor wears the crown of Geb; in the mnw-jar offering, her
usual horns and disk. As we discussed earlier,614 there is "iconography play" at work, with
Hathor's Geb crown, which alludes to her power over products of the earth, linking with her
epithet of "Lady of Bread who Makes Beer," in the mnw-jar scene.615 By contrast, the King
wears the Anedjty crown in both scenes,616 its iconography alluding to his role as heir and royal
successor to Osiris, as we saw earlier.617 This characterization is appropriate, since in both scenes
he takes on the role of Horus. In the sistra offering on the east wall, he begins by indicating his
offerings:

sSS.t m wnmy=i sxm m iAby=i

"The sSS.t-sistrum is in my right hand,
the sxm-sistrum is in my left hand"
(D III, 70,7-8).

The graphical opposition of the tall, similarly-shaped signs highlights the phrase, calling

attention to the ideograms of the two types of sistra, sSS.t (Y8) and sxm (Y18), and the

respective hands in which each is held: wnmy (right), and iAby (left). He follows this
description by stating,

614
See 4.4.1.
615
As noted by Preys, Catalogue d'Hathor, 134.
616
The Anedjty crown consists of two tall ostrich feathers, a sun disk, and a pair of ram's horns. See 4.1.6.2.
617
See 4.1.6.2.

161
 ink @r wAD n %xm.t
"I am Horus, offspring of
Sekhmet" (D III, 70,7-8),

an epithet that we saw in the lintel scene on the outer entrance, in which the term, wAD,
"offspring," makes a visual pun with the King's offering of a stalk of wAD, or "papyrus."618 The
polyptoton on the root sxm, "power," appears first as the masculine substantive, sxm, designating
the arched sistrum in the previous statement, and then as the name of the lioness goddess, %xmt.
The repetition of the root thus plays across the border between the two statements, juxtaposing
the two ideas: sxm, the power inherent in the shaking of the sistra, which not only incarnates but
also pacifies the goddess; %xm.t, the incarnation of this power as the lioness in whom Hathor
transforms to become "the Powerful One," so that she can destroy the enemies of Ra.619 This
double meaning of sxm is even more apparent later in the scene, where an aurally striking set of
parallel epithets calls the goddess

Hnw.t Hm.wt nb.t sSS.t

Hnw.t sxm.w nb(.t) Hs.t
"Mistress of Women, Lady of the sSS.t-sistrum,
Mistress of the sxm-sistra, Lady of Music"
(D III, 70,16).

The four sistra in close proximity to each other, combined with the image of the man playing the
harp, visually emphasize the theme of music and Hathor's power over it; the rhyme and rhythm
of the couplet complement it aurally. The elements of each statement form several connections
with each other. The natural connections between women and music,620 and between the two
types of sistra, form a chiastic relationship. We can also see a parallel connection between the
domain of music and its realization by playing the sSS.t-sistrum; the connection of the domain of
women and their playing of the sxm-sistra. Even more striking is that sxm.w also creates a true

618
For discussion of this epithet, see Section 5.1.2.
619
This episode appears in the Destruction of Mankind, part of a longer text, The Book of the Heavenly Cow,
inscribed in five NK royal tombs (Tutankhamen, Seti I, Ramesses II, Ramesses III, and Ramesses VI). See Piankoff,
Tut-Ankh-Amon, 27-29. The story is related to the Myth of the Wandering Goddess in its characterization of Hathor
as the Eye of Ra who can transform into a vengeful lioness. Derchain, Temps et l'Espace, 48-56, interprets the Myth
of Horus, located on the interior enclosure wall of the Temple of Edfu, as a structural parallel to the Myth of the
Destruction of Mankind.
620
Women provide music for the temple in the form of singing and playing the sistra, harp, and frame drum. See
Manniche, Music and Musicians, 57-83; Lexov, Dances, 40-45; Brunner-Traut, Tanz, 22, 48.

162
pun, because its homonym, meaning "power," can allude to Hathor's powerful presence. Thus,
she is also "Mistress of Sekhem," i.e. "Mistress of Power." A further allusion to power exists in
the mnw-jar scene, where she is called,

bA.t r sxm.w xAx.t bA.w spd.t HkAw

"Female Ba, more (immanent) than the (divine) powers,
Speedy One of (Divine) Power, Effective One of Magic"
(D III, 81,16),

thus again making a connection between the two symmetrical scenes. In this case, the sxm.w are
the deceased ancestor gods, discussed in the section on Hathor as Primeval Goddess. However,
Hathor's own power is unmistakable in the epithets, xAx.t bA.w spd.t HkAw, "Speedy One of
Divine Power, Effective One of Magic."621 The polyptoton on the root bA, "manifestation, being
present," first as the feminine singular substantive, bA.t, "Female Ba," and then as the plural
substantive, bA.w, "(divine) Power," emphasizes Hathor's immanent presence622 in terms of being
present and being powerful. The visual imagery of the winged, walking canine and the three ba-
birds to write xAx.t bA.w reinforces the concept of speed, the wings of the canine perhaps added
by attraction to the signs of the ba-birds.623 Thus, Hathor's sxm is present, it is swift, and it is
powerfulqualities that agree with Hathor's manifestation in her lioness form as Sekhmet, the
restorer of Ma'at. Another allusion to this role appears in the Divine Randzeile, where Hathor is
described as

nb(.t) sSS.t Hnw.t sxm.w Hr dr Sp.t Hr rw(.t) nSn Hr ss[wn] Hrst hAw Hr=s
"Lady of the sSS.t sistrum, mistress of the sxm-sistrum, driving away anger, dispelling rage,
destroying evil before her face" (D III, 70,17-18).

The string of pseudo-verbal Hr + infinitive constructions (Hr dr, "driving away," Hr rw(.t),
"dispelling," and Hr sswn, "destroying") emphasizes "action in progress"; the five-fold repetition
of Hr (as the preposition, and as the first syllable in Hrs.t) adds an aural urgency to the statement.
The action described is the ongoing effort by Hathor in her Ma'at-restoring manifestation to
destroy all things that impinge upon happiness and ordera purification also necessary for her
own joyous festival of return to take place.

621
Translating in a slightly less literal fashion, these two epithets could also be rendered as, "whose divine power is
speedy, and whose magic is effective." See Wb IV, 109,17: "tchtig im Reden, von Zaubersprchen, u.a."; PL 833:
spd-HkA, "effective of magic."
622
Sauneron, Remarques, 49-51; Preys, Complexes, 186; 194; 247; cf. Borghouts, Divine Intervention, 49-51.
623
See Section 3.5 on Attraction.

163
 The symmetrical offering scene on the west wall also emphasizes the destruction of
disorder, thus linking the two scenes. The King, who presents the goddess with the intoxicating
mnw-jar and the circlet of electrum, states that he is

Hr ia(.t) a.wy Hr wab Dba.w Hr bw.t snm n Ir.t-Ra

"washing the hands, purifying the fingers, hating the sadness of the Eye of Ra" (D III, 82,4-5).

Again, we have a string of pseudo-verbal constructions, but this time, by contrast, they actively
soothe and pacify: Hr ia(.t), "washing," Hr wab, "purifying," Hr bw.t snm, "hating the sadness."
The root snm, "sadness, grief," may derive from the root nm, "shout," as in the "wail of grief."624
Frandsen625 suggests that snm may thus be the emotional misery and pollution associated with
bereavement and deathelements that must be removed or cleansed because they are
incompatible with Hathor's festivals of joy, and rejoicing in general. Having actively driven
away anger, dispelled rage, and destroyed evil, Hathor as Sekhmet (who almost destroyed
mankind in her fury) must now be pacified.626 The imagery of washing and purifying also recalls
the ablutions made by priests before entering service in the temple, agreeing well with the role of
the King as high priest, who must assure that absolute purity surrounds the goddess in her
temple.
These duties combine in the Royal Randzeile where the King again has the role of Horus,
heir of Osiris, who drives away disorder: sw mi @r dr StA n itn.t rwi sDb.w, "He is like Horus,
who drives away impurity from the Female Sun Disk, who dispels evil" (D III, 82,5). This
"driving away of impurity" from the goddess, together with the previous statement about
washing and purifying, recalls the scene in the Myth in which the Distant Goddess purifies
herself in the sacred waters of the Abaton, thus bringing about her transformation into a beautiful
woman.627 The reference to itn.t, the Female Sun Disk, reminds us that the Distant Goddess is
also the Right Eye of Ra, who must return to her proper place for cosmic order to be restored.
The role of the King in both scenes, hinted at by his wearing of the Anedjty crown,628 thus
actively brings about the pacification of the goddess and restoration of Ma'at.
The theme of pacification continues in another pair of symmetrical scenes in the 2nd
registers of the east and west walls. In the scene on the east wall, the King offers Hathor the
menit necklace, one of her sacred symbols (Fig. 5.25); on the west wall, he offers the wensheb,
the symbol of ordered time (Fig. 5.26).

624
Wb IV, 165,4-9; Wilson, PL 864.
625
Frandsen, Fear of Death, 131-133, notes that snm is related to StA; both carry the same determinative as several
words meaning "mourning."
626
The anger of the Distant Goddess must also be assuaged in order for her to return.
627
Purification of the Distant Goddess is discussed further in Section 5.1.3.
628
Which can be worn by Horus, the heir and successor of Osiris, who avenges his father. See 4.1.6.2.

164
 Fig. 5.25. E. Wall, 2nd Reg., 2nd Scene Fig. 5.26. W. Wall, 2nd Reg., 2nd Scene
Offering of Menit; D III, pl. 180, IFAO Offering of Wensheb; D III, pl. 190, IFAO

In both scenes, the King wears an Atef crown formed from stalks of rushes gathered together,
tied at the top, and surmounted by a small solar disk, which is then supplemented with a pair of
ram's horns with an additional small solar disk. The Atef crown belongs to the cosmic ruler Ra,
who may wear it himself629 or bestow it on other gods who act as his deputies, such as Osiris630
or Thoth;631 it may be handed down to the heir, Horus, who wears it particularly when
performing funerary rituals or avenging his father. In the two symmetrical scenes the King takes
on similar roles. In the menit offering scene, he is equated with Horus, who avenges the death of
his father,

Hr HD @m.ty Hr inin Nhs Hr xbxb #ar.ty

"Destroying the Coward (=Seth), slaughtering the Watchful One (=Seth),
slaying the Angry One (=Seth)" (D III 69,18 70,1).

The insistent repetition of the h-phonemes (h, H, and x) emphasizes the same sounds in Seth's
negative epithets: @m.ty (Coward632); Nhs (Watchful One633); #r.ty (Angry One). The use of
epithets in place of the god's actual name is appropriate in a sanctuary context, in which anything
impure, in either text or image, must be avoided. The reference to Seth agrees with the
identification of the menit with his testicles, usually present in offerings of the necklace to Isis.634

629
Ra wears the Atef crown at the Temple of Seti I at Abydos, in Calverley and Gardiner, Abydos, pl. 24.
630
Osiris says to Horus: "May you see me in my great Atef crowns, which Ra has given me, which Atum [has
established for] me" (CT 313; Goebs, Crowns, 62; Faulkner, CT, 233; de Buck, CT IV, 87). The bestowal of this
crown by Ra confers the rule of Osiris at Herakleopolis, where the crown was said to be located. See Goebs,
Crowns, 64. Other references to the bestowal of this crown upon Osiris include the following: Ra gives Osiris the
Atef, but its heat caused him much suffering in his head (BoD 137); the Atef of Ra is on the brow of Osiris, who is
"Lord of the Two Banks" (BoD 183, 77).
631
Goebs, Crowns, 374.
632
Literally, "Effeminate One."
633
Referring to Seth's "lying in wait" for Horus.
634
Preys, Catalogue d'Hathor, 134, identifies Seth's testicles with the beads of the menit. In the Myth of Horus and
Seth, Horus cuts off the Seth's testicles. For an extensive analysis of the story, see Broze, Horus et Seth, 1996.
Scenes at Dendera equating Seth's testicles with the menit offering include the following: D I, 51,6 (to Hathor in

165
Hathor's epithet, nDty.t Hr sn=s, "Female protector for her brother (=Osiris)" (D III, 70,3-4), also
connects her to Isis in the present scene; this protection extends to her father Ra,635 reflecting the
apotropaic aspects of the necklace itself. The Isiaic connection in the menit offering also creates
"iconography play" by linking to the crown worn by the goddess in the symmetrical scene of the
wensheb offering. This particular crown, consisting of a double crown framed with two ostrich
feathers, has similarities with the royal crown of Isis;636 it is worn by Hathor in her aspect as the
Menit.637 The offering of the menit to Hathor thus represents the triumph of Horus over disorder
(in the form of Seth), as well as her own pacification, as the text in the Royal Randzeile makes
clear: sw mi Hr Hnk Hm.t=s m ix.t=s sHtp ib=s ra nb, "He is like Horus, who presents her
Incarnation with her offering, who pacifies her heart every day" (D III, 70,1).
Turning now to the wensheb offering, in which the king again wears the Atef crown (Fig.
5.26), we see that the text in the Divine Randzeile appropriately equates him with Thoth, the
deputy of Ra, 638 stating,

sw mi Isdn apr wDA.t sAx Ax.t m dbH.w=s

"He is like Isden (=Thoth), who provisions the Udjat,
who makes shine the Shining Eye with its parts"
(D II, 81,8).

The polyptoton on the root Ax, "to shine, be effective," emphasizes the King's action due to the
use of the s-causative form of the verb as the perfective active participle, "who makes shine,
makes effective," followed by the feminine active participle used as the substantive, Ax.t, the
"Shining/Effective (Eye)." The entire phrase shows that by the King's restoration of the Eye's
missing parts, he makes it "Shining," and "Effective."639

Barque Sanctuary); III, 153,9 (to Isis in Temple of the Menit); IV, 87,12 (to Isis in the Vestibule, Chamber O); V,
45,7-8 (to Isis in Crypt East 1).
635
In the Divine Randzeile, Hathor is Hr xw it=s, "protecting her father" (D III, 70,5).
636
The royal crown of Isis consists of a double crown framed by two ostrich feathers, with the addition of a uraeus
seshed band; it is usually placed higher on her head, e.g. in the 2 nd register, west side of the south wall in the Per-
wer's Southern Niche. See discussion of this crown in Section 4.1.5.2.
637
Preys, Catalogue d'Hathor, 133-135, fig. 3/6, notes that Isis appears in her function of protecting Osiris in the
Temple of the Menit at Dendera.
638
Altenmller, Synkretismus, 241, suggests that Thoth as Isdn (or Isds) is a syncretization with Anubis, in the role
of the judge at the weighing of the heart of the deceased. The epithet occurs as early as the CT (e.g. de Buck, CT III,
61b); Anubis commands Thoth to be in the "form" of Ra during the night (Faulkner, CT 347 = de Buck, CT IV,
380a) as the "nightly sun," i.e. the moon. See Goebs, Crowns, 126; Altenmller, Synkretismus, 238.
639
Otto, Augensagen, 562-567, defines two threads in the myth of the Sun Eye: the concept of the sun and moon as
Divine Eyes, which must be healed (thus linking them also to the Contendings of Horus and Seth); the Eye goddess
who must be returned to her father, the sun god. Stadler, Weiser, 243, notes that Thoth's responsibility to heal and
bring back the Eye thus binds together these two threads. See also Altenmller, Synkretismus, 238, who similarly
observes that the role of Thoth (with whom the King is identified in this scene), as protector, healer, and bringer of
the Moon Eye, becomes conflated with the myth in which he brings back the Distant Goddess.

166
 The idea that both Eyes (the sun and the moon) must be returned to their proper places
for Maat to be restored, appears in the Divine Randzeile. As a result of the King's offering,

Xnm.n=s iAb.t m tp n it=s

"She has united with the uraeus on her father's brow" (D III, 81,10-11).

Probably not by accident, the word, iAb.t (uraeus), can also mean Left
Eye, thus referring to the Eye of Horusthe moon, which is equated with Isis. This idea is
more explicitly stated in the Divine Randzeile, where Hathor is characterized as

Hr Xnm iAb.t Hr sHD idb.w

"Uniting with the Left Eye, brightening the Banks" (D III, 81,11-12).

Hathor's return as the Left Eye, the moon, thus brightens the banks of the Nile at night, her gentle
light illuminating the landscape. Derchain-Urtel eloquently conveys the idea of cosmic stability
with the restoration of the sun and the moon in their proper places, as well as noting the imagery
carried by the King's Anedjty crown in the two symmetrical scenes we examined earlier:

"'das link Mondauge in der Nacht' (westl.) und das 'rechte Sonnenauge am Tag' (stl.)
umreien die Ewigkeit im stetigen Wechsel der Bewegungen, die doch letzten Endes
Dauer und Stabilitt ohne Unterbrechnung guarantieren, an welchem das Knigtum,
materialisiert durch die Krnungsfedern Swtj als Kraft des Lichtes selbst, teilhat."640

Obviously, if the moon and the sun are returned to their proper places, ordered time (represented
by the wensheb) would be restored, as well. The concept of eternity, especially as expressed by
the cyclical changes of the sun and moon, reappears in other texts in the Per-wer, as we will see.

5.1.3 Purification of the Goddess

The final step in the pacification of the Distant Goddess is her purification in the sacred
waters of the Abaton. There, she transforms herself from a lioness into a beautiful woman, whom
Ra welcomes into his arms. Several scenes in the Per-wer allude to this purification, including
the two symmetrical scenes in the base of the south wall, in which the King offers the goddess
jars of primordial water (Fig. 5.27).641 On the east side, the Royal Randzeile states, sHtp=f ib=t

640
Derchain-Urtel, Hptj-Krone, 51 (my translation): "The left moon-Eye in the night (west) and the right sun-Eye in
the day (east) transcribe eternity in the constant change of their movements, which in the end guarantees duration
and stability without interruption, and in which the kingship, materialized through the Sw.ty coronation feathers as
the power of light itself, participates."
641
We will examine these scenes in more detail in Section 5.5.3. Although allusions to the purification of the
goddess appear in these scenes, the emphasis of their linguistic techniques more properly places them in the context
of Hathor as a primeval/solar goddess.

167
m mw-rnp, "it pacifies your heart with the water of rejuvenation" (D III, 63,7); on the west side,
the Divine Randzeile states, Htp Hr=t m pr m nwn, "your (f.s.) face is pacified with what comes
forth from the Nun" (D III, 75,10-11). While the King presents his offerings, in both scenes Ihy
shakes the sistra and menit, driving away anger and evil from the goddess.642

South Wall East Side of Base West Side of Base

Fig. 5.27. Base of the South Wall; D III, pl. 190, IFAO

As we will see in our discussion of Hathor as primordial goddess (5.5.3), the two scenes at the
base of the south wall also connect with the offering of the nms.t-jar of primordial water in the
3rd register of the north wall (Fig. 5.28). In this scene, Hathor, nursing her child Ihy, sits on a
throne over sixteen vases of inundation water, alluding to a perfect inundation, sixteen cubits in
height (Fig. 5.29).643 Again, the texts mention Hathor's purification by the water. The title of the
scene states, Htp=T Hr pr(.t) m nwn, "You are pacified with what comes forth from the Nun" (D
III, 71,17); in the Divine Randzeile, Hathor says, swab=i Haw=i [m] mw-rnp, "I purify my body
[with] the water of youth" (D III, 72,8).

642
D III, 75, 5-6: sSS.t=i m wnmy=i sn=i n=t nSn mni.t m iAb(=i) Hr dr [mn.t],* "The sSS.t-sistrum is in my right
hand. I make rage pass away from you. The menit-necklace is in (my) left hand, driving away evil." The close
homophones of mnit/mn.t emphasize the power of the menit (mni.t) to drive away evil (mn.t).
643
See Preys, Matresse des seize, 263. Similar scenes of Hathor seated over sixteen vases, appear in two other
places at Dendera: on the north wall of Chamber D of Crypt South 1, D V, pl. 438; on the south wall of the Per Nu,
D II, pl. 142.

168
 Fig. 5.28. Theme of the Purification and Pacification, after D III, pls. 180; 190, IFAO

Royal
Randzeile

Fig. 5.29. N.Wall, 3rd Reg., E. Scene; D III, pl. 180, IFAO North Wall

The King's utterance in the Royal Randzeile is particularly interesting. The first half is
filled with visual plays; the second half, with aural plays.

in=i n=t HD.t Hna.ti m Hapy r sqbH ib=t m qbH.w

"I bring you the vessel filled with inundation water
in order to refresh your heart with the (cool) libation water" (D III, 72,5).

169
The first half of the expression describes the offering, emphasized by the choice and arrangement
of the signs. Tall signs alternate with short signs, creating graphical opposition; almost every

sign is connected in some way with water or vessels: (W 25), the walking nw-jar, the
ideogram for the verb ini, "bring"; (W24), the nw-jar, the ideogram for the preposition, n,
"to"; (W70), the nms.t-jar, serving as a determinative for HD.t, "vessel"; (D26B), the
spewing mouth, the phonogram for p, in Hapy (inundation water); (N36), the pool of water,
the determinative for Hapy. Although either sign would allude to water or vessels, by choosing
(W24) the nw-jar, rather than the water sign (N35), the scribe was able to maintain the
opposition between short and tall signs. The second half of the expression continues some of the
visual play with the repetition of the Hs-jar, in sqbH, "to refresh" and qbHw, "libation water"; it
also emphasizes the purificatory and refreshing qualities of the water with the polyptoton on the
root qbH, "to cool," first in the s-causative verb, sqbH, "to make cool, refresh," and then in the
plural substantive, qbH.w, "cool water" or "water libation." The offering of cool water, especially
when designated as water of the Nun (primeval waters), is purifying and refreshing, restoring life
to the recipient.644 The Distant Goddess would thus be rejuvenated, purified, and pacified, and
thus in a proper state to return to her sanctuary in the temple.

Fig. 5.30. Theme of Purification

with Sacred Water,
after D III, pls. 180; 190, IFAO

644
The king's role in life-restoring incense and libation offerings, especially in the context of funerary offerings to
deceased ancestor gods, shows that he is the legitimate heir and ruler of Egypt. See Wilson, PL 1054; Blackman,
Incense and Libations, 69-75. The King's iconography in this scene also connects with his offering: the double
crown emphasizes his legitimacy, giving him the authority to present the rejuvenating offering to Hathor; the ostrich
feathers represent Ma'at, alluding to his restoration of Ma'at by pacifying the goddess; the ram's horns allude to
Khnum, Lord of Elephantine, the mythical source of the Nile and the inundation.

170
This idea connects to the image of Isis seated over a basin in the shape of an isheru lake, in the
3rd register of the west wall (Fig. 5.30 and 5.31). As we noted earlier in the interpretation of the
myth, the pacification of a lioness in sacred waters relates to the cycle of inundation. At the time
when the Nile was lowest, the goddess Sekhmet would bring disease and death. Therefore,
navigations took place on the sacred lakes at this time of the year in order to repel the anger of
lioness goddesses.645
Mut, "Lady of the Isheru" Isis seated over Isheru

Fig. 5.31. 3rd Register, West Wall; D III, pl. 190, IFAO

An iconography play is in action in this particular scene. Although Isis sits over the isheru lake in
the relief, the goddess Mut, who sits behind and can also take the form of a lioness, carries the
title, nb(.t) iSrw, "Lady of the Isheru" (D III, 85,3), referring to her horseshoe-shaped isheru lake
at the temple of Mut at Karnak (Fig. 5.32).

Fig. 5.32. Isheru Lake, Temple of Mut, Karnak646

A clue to the significance of the depiction of Isis on the isheru in this scene lies in the text
of a similar depiction of her in Crypt South 1, Chamber D, in which the text states, As.t wr.t
645
Richter, Wandering Goddess, 172-174. See also discussion of iAd.t-rnp.t, "pestilence of the year," in Flessa,
Schtze, 22-31; Leitz, Tagewhlerei, 134-135; 213-214.
646
Photo courtesy of the Brooklyn Museum Mut Expedition.

171
snDm.t m iSrw nty m Snw=s sAb sS xnt wiA=s, "Isis the Greatis seated (or "pacified") in the
isheru that is around her, who crosses the lake within her barque."647 The texts poetically
describe the ritual navigation as a meeting of the goddess (Hathor as Isis) with her father Nun,
the personification of the primordial water: it=s nwn a.wy=f(y) m pXr=s, "her father Nun, his
arms embracing her."648 Furthermore, the text of Mut in the scene on the west wall of the Per-
wer characterizes her as baH pr-nbw.t m tHHw.t, "who floods the sanctuary of the Golden One
with joy." The sign of the benu-bird perched over a primeval mound, rising out of the waters,
writes the word baH.649 The visual imagery of the sanctuary being "flooded," thus alludes to the
inundation; it agrees well with the depiction of Isis seated over the isheru lake. By means of
aural and visual plays, the image of Isis seated over the isheru lake thus symbolizes the return of
the Distant Goddess in the purifying waters of the Nun, as well as the inundation that returning
goddess brings with her arrival.

5.1.4 Returning the Udjat

Returning to the north wall, we see another interesting scene related to the myth and the
return of the Sun Eye (Fig. 5.33). In the west scene of the third register, Ihy pacifies Hathors
kathe embodiment of the goddesswith the sistrum and menit-necklace, because she is Ir.t-Ra
Hnw.t nTr.wt mH dhn.t n(.t) Ra m nfrw, "the Eye of Ra, the Mistress of Goddesses, who adorns the
brow of Ra with beauty (D III, 83,16-17), thus equating her with the right Eye of Ra, the Sun
Eye, and uraeus on Ras brow. The King, who again wears the Anedjty crown, this time atop a
square cap, offers Hathor the Udjatthe whole, healthy Eye.

Fig. 5.33. N. Wall, 3rd Reg.,W. Side;

D III, pl. 180, IFAO
North Wall of Per-wer

647
D V, 147,1-2; pl. 438.
648
Richter, Wandering Goddess, 174 n. 128. The festival calendar in the Ptolemaic Gateway to the Mut Precinct at
Karnak recounts her festive reception in Egypt, with Nwn Hr dwA=s Sw Hr wAS kA=s, "Nun extolling her and Shu
paying homage to her ka," in Sauneron, Porte Ptolmaque, pl. 9, line 26, cited in Smith, Primaeval Ocean, 203 and
n. 659.
649
We will examine this aural and visual play in more detail in 5.3.3, in the section on the King's maintenance of the
funerary cult for the deceased ancestor gods.

172
In an offering of the Udjat, one expects to find references to eyes, but this particular scene is
extraordinary, with six different terms for "Eye" in a single statement by the King. A closer look
at these different designations can shed light on the multifaceted qualities of the Eye. We begin
in the Royal Randzeile, where the King addresses Hathor as

nb.t wDA.ty nTr.t n.t DfD-n-wDA.t

"Lady of the Udjat-Eyes, the (Divine) Eye, of the Pupil of the Udjat Eye " (D III, 84,2),

The visual emphasis on eyes is immediately apparent, with the four-fold repetition of the eye-

sign, (D10A). It appears as two symmetrically opposed ideograms in the dual substantive,
wDA.ty, "the two Udjat Eyes," as the determinative for nTr.t, "(divine) Eye," and as an ideogram in
the sun god's epithet, DfD-n-wDA.t, "Pupil of the Udjat Eye." Aural emphasis appears in the
polyptoton on the root wDA, "be healthy, be whole," first as the dual, wDA.ty, and then as the
feminine singular substantive, wDA.t, as part of the compound phrase, DfD-n-wDA.t. The term,
wDA.t, with its aural and visual repetition, calls attention to the health (and thus the health-giving)
aspect of the right Eye of Ra, the solar form of the goddess Hathor; it also alludes to the episode
of the Horus myth in which the god's Eye was healed of its injury in the struggle with Seth. The
term nTr.t, in turn, highlights the Eye's divine nature. The intertwining of sound and sight in this
multi-layered expression effectively emphasizes the health and wholeness of the sacred Eye, an
aspect of the sun god Ra. Hathor would certainly be pleased with such effective speech by the
King.650 He continues his address by describing his offering:

in=i n=t Ax.t Ax.ti m D.t=s

"I bring you the Shining/Effective-eye, shining/effective in its body"
(D III, 84,2),

Here, emphasis is on the root Ax, "be shining/effective," a quality often ascribed to Hathor as the
Sun Eye, which we saw earlier in the polyptoton in the wensheb offering.651 It first appears as the
feminine substantive, Ax.t, "Shining/effective Eye," and then as the stative, "(in a state of being)
shining/effective." The syntactical changes of the root Ax emphasize Eye's luminous quality; the
expression, m D.t=s, which can also be interpreted as "in its entirety," 652 alludes to the
completeness of its state of being. Thus, the expression conveys the idea that the Eye effectively
and completely shines its luminous rays upon the earth. However, the Eye is also

Tn.ti m tp-rd=s nb
distinguished in all its ritual (D III, 84,2),

650
This important aspect of the King's speech when communicating with the goddess is discussed further in Section
5.3.2.
651
Discussed in 5.1.2.
652
Meeks, An Lex, 78.4852, suggests that m-D.t=f is an adverbial phrase meaning "totally, entirely."

173
The stative, Tn.ti, from Tni, "to distinguish, raise up, is often written in Ptolemaic with the
ideogram of the double ostrich feather crown on the ram's horns. In the present text, the
description of the Udjat as Tn.ti, "distinguished," and its writing with the crown-sign, thus creates
both an aural and a visual pun on the Anedjty crown worn by the king in this scene, also called
Tni because its feathers are raised up high on the head. The crown itself has associations with the
divine Eye, its two feathers being equated with the right and left Eyes of Ra. This multi-layered
expression thus emphasizes the importance of the kings rituals carried out for the goddess
specifically, those concerning the return of the Eyes. Finally, the King states why the goddess is
imbued with all of the aforementioned qualities:

tw=t wnmy(.t) n(.t) PsD-m-nbw anx.t n.t Itmw

"for you are the Right Eye of He Who Shines Like Gold, the Living Eye of Atum."
(D III, 84,2-3)

The seated figure of the sun god as the determinative in PsD-m-nbw, "He who shines like gold,"
shows that the epithet belongs to Ra.653 It is the male counterpart of Hathor's frequent
designation, Wbn.t-m-nbw, "She who shines like gold,"654 thus equating the two solar deities. In
addition to being the Right Eye of Ra, Hathor is also the Living Eye of Atum, the evening form
of the sun god. The designation of the Eye as anx.t, derived from the root anx, "to live,"
emphasizes her life-giving quality.
The long string of epithets in the King's speech, with its clever use of aural and visual
plays, thus presents the Eye in its broad range of attributes. Being wDA, "healthy," the Udjat can
give health; being anx, "living," the Living Eye can give life. In addition, the Eye is Ax,
"shining," and "effective"; its sacred rituals by the king also make it Tni, "distinguished." The
luminous daughter of Ra-Atum thus represents all of these qualities, spreading light, life, and
health upon everyone and everything on earth.
In return for the King's offering, Hathor gives him protection and the ability to see
forever:

di=i n=k ir.ty=k(y) Hr mAA D.t n ii Dw m-aqA=sn

"I give you your eyes (with the ability of) seeing D.t-eternity.
Evil will not come655 into their presence" (D III, 84,4),

a benefaction mirrored in its parallel expression in the Divine Randzeile:

653
Wb I, 557,3, GR: "der in Gold (golden) strahlt," an epithet of the sun god Ra. Cauville, Dend Trad III, p. 440,
translates as "Celui qui replendit comme l'or." This epithet also appears in an episode of the Daily Temple Ritual, in
the scene of "revealing the face," in the 1st register of the Per-wer's west wall (D III, 77,8).
654
Hathor bears this epithet multiple times in the Per-wer: D III, 56,5; 66,6; 71,11; 78,9; 97,15.
655
Kurth, EP II, 788-790, notes that, just as in Middle Egyptian, the construction nn sDm=f (in Ptolemaic,
interchangeably with n sDm=f) often has future meaning (cf. GG 105; 457), leading to the translation, "evil will not
come into their presence." In the context of the present text, translating n sDm=f as future also makes more sense
than as a negated narrative past, n sDm=f (used in Middle Egyptian to negate the narrative sDm.n=f).

174
 di=i n=k ir.ty=k(y) Hr mAA nHH n(n) igp m Hr=k
"I give you your eyes (with the ability) to see nHH-eternity, without clouds in your face"
(D III, 84,6).

The mention of the two complementary aspects of eternity, nHH and D.t, is particularly
significant, because together they represent the idea of "temporal stability without end."656
Hathor commands both aspects, shown by her epithet, ity.t n.t nHH Hr D.t, "Female Sovereign of
nHH-eternity and D.t-eternity" (D II, 68,5), thus allowing her to offer them to the king. The
concept of nHH is equated with Ra and the morning sun; D.t, with Osiris and the evening sun.657
In fact, there is such a strong identification between the two gods with these aspects of time, that
the ideogram for Ra can represent nHH, and the ideogram for Osiris, D.t.658 Assmann659 clarifies
these eternal aspects of duration and change, which play such an important part in the Egyptian
concept of time. He notes that in contrast to humans, the gods exist outside earthly temporality,
but are nevertheless subject to change; rather than being "always in existence," they are "always
becoming." The gods thus live, age, die, and are reborn, in a constant, eternal metamorphosis.
This cyclical aspect of divine existence also contains within it the idea of the reversibility of
timean aspect contrasting quite dramatically with human time, whose "irreversible" phases
lead inexorably towards a single, finite goal. As Assmann explains,

"Das Geheimnis dieser Reversibilitt der Zeit, in der das Ende mit dem Anfang
koinzidiert und die Zeitlinie der Existenz eine Kreisbahn beschreibt, liegt in der
Fhigkeit, vorbergehend aus der Zeit herauszutreten in die vorweltlich-ausserzeitliche
Sphre des Nun, der die Welt umgibt."660

This ability to "step out" of time is exemplified by the sun god, who usually carries the epithet,
nb nHH, "King of nHH-eternity" (D VI, 93,11);661 his Netherworldly counterpart, Osiris, bearing
the epithet, HqA n D.t, "Ruler of D.t-eternity" (D VI, 42,8). Assmann explains that the eternity of
the sun god does not lie outside of time, but rather is time. Eternity stands "in the god's face" (i.e.
the god in his totality), manifesting itself in the consciousness of the god as a "simultaneous
present" of every point in time.662 Thus, the joining of the ba of Ra with the body of Osiris in the
Netherworld, during the 5th and 6th Hours of the Amduat,663 not only rejuvenates the sun god, but

656
Wilson, PL 1250.
657
Assmann, Zeit und Ewigkeit, 44.

658
as nHH (E IV, 12,1); as D.t (E IV, 18,8). Harsomtus appears as the falcon rising in the horizon,
(N92), for nHH (D III, 62,6; 79,13, 172,3; D VI, 108,3; D VII, 9,5; D VIII, 62,4); Osiris as a mummy within the
mehen-snake, (I32), for D.t (D II, 152,7; X, 396,15; XI, 143,5).
659
Assmann, Ewigkeit, 47-54, esp. 49-50.
660
Assmann, Ewigkeit, 50.
661
Ra carries the epithet HqA D.t when syncretized as Ra-Somtus (D VI, 107,8). It seems (at least at Dendera) that in
order to have mastery over the D.t-aspect of eternity, the deity must have a connection with a Netherworldly state of
being. Thus, Osiris (D VI, 42,8), Ptah (D VI, 91,2), Harsomtus (D II, 193,12), Hathor (D II, 68,5), Harsiesis (D II,
23,11), and Isis (D II, 110,16) can all carry epithets designating them as ruler/sovereign/lord of D.t.
662
Assmann, Ewigkeit, 50.
663
Richter, Amduat, 83-90.

175
also joins together nHH and D.t, the "before" and the "after." His rising as the newborn sun at
dawn thus represents the eternal repetition of Zep Tepi, the first moment of Creation.
Hathor not only embodies time, but also commands and transcends it.664 Her reciprocal
gift to the King is therefore a powerful offering: sight in both directions of time, the past and the
future, giving him the ability to "see" like a god, with all points of time in his consciousness
blending together into a simultaneous present.665 As the terrestrial incarnation of the god Horus,
the King thus partakes of some of the divine aspects of the god, who also carries the epithet, ity n
nHH HqA D.t, "Ruler of nHH and D.t."666
The udjat offering scene in the 3rd register of the north wall faces two mirror offering
scenes located in the third register of the south wall, on either side of the entrance to the
Southern Niche (Fig. 5.34); the three scenes are linked thematically.

Fig. 5.34. Theme of Returning the Udjat,

after D III, pls. 180; 190, IFAO

664
Assmann, Ewigkeit, 50, describing the role of Amun.
665
At Edfu, Horus gives the king a similar offering: ptr nHH m hrw dgA n D.t m grH, "seeing nHH in the day,
perceiving D.t at night" (E IV, 137,13-14), cited in Wilson, PL 536.
666
E IV, 110,18, which writes nHH as , a depiction of the sun disk between the two horizons that alludes to the
infinite repetition of the solar cycle.

176
In both scenes, the king kneels before Hathor, who is seated within the Per-wer (Fig. 5.35). His
distinctive crown consists of a large disk framed by two Maat feathers, which are symbolic of
the right and left Eyes of Ra. In his hand, he offers the goddess a mirror with a Hathor-headed
handle. The double Maat feathers, as well as the two large disks in his iconography (in the
offering and in the crown) thus allude to the two Eyes of Ra.
As one would expect in a scene emphasizing Divine Eyes, there is an abundance of visual
imagery and allusions in the accompanying texts. In the scene on the east side, the King
addresses Hathor as

sSp(.t) stw.t mi it=s

"Luminous One (f.) of Rays667 like her father" (D III, 74,2).

The streaming rays (N8A) in the ideogram for stw(.t), "rays," combined with the sign of the
hand, (D46D) in sSp(.t),"Luminous One (f.)," recalls Amarna-period art, in which the rays
of the Aten, depicted as ending in hands, embrace the royal family with light, warmth, and
blessings;668 in both mirror offering scenes Hathor is called Itn.t, the "Female Aten" (D III, 74,1;
85,14). Interestingly, the mirror is also described in both scenes as being fashioned by the god
Henu,669 "created by his own hands" (D III, 74,1; 85,14).

667
Or, less literally, "whose rays are luminous."
668
An example is the scene on a limestone slab from the royal tomb at Amarna, showing the king, queen, and
daughters offering flowers to the Aten, in the Egyptian Museum Cairo, RT 10.11.26.4, in Robins, Art, fig. 172; cf.
figs. 173, 276, 180, 181, 182.
669
Henu is the craftsman aspect of Sokar, which is comparable to Ptah, and also a personification of Sokar himself.
(Wilson, PL 160; 652). As early as the PT (620b-c), Henu can be represented ideographically by Sokars Hnw-

barque, (WinGlyph P61B) (Leitz, LGG, 159-160), as in this scene, with or without phonetic complements,
and with or without an additional seated-god determinative. References to Henu in Ptolemaic temples frequently
occur in the context of offering the mirror(s), which he is said to create (D III, 17,7; 74,1; 151,14; 192,13); he fulfills
this function at Kom Ombo (KO 492), as noted by Husson, Miroir, 206. The king is also called the child (D III, 142,
1-2) or son (D III, 142,2) of Henu, or engendered by Henu (D III 192,16).

177
 South Wall of Per-wer

3rd Register, East Side 3rd Register, West Side

Fig. 5.35. Symmetrical Mirror Offering Scenes on South Wall; D III, pl. 190, IFAO

In the east scene, words referring to "throne" also employ the hand-sign: in the east scene,

Hathor is seated on a gold bHdw,670 "throne" (D III, 74,6); in the west scene, the king

is the "good ruler upon the TnTA.t,671 "throne dais" (D III, 74,6). Furthermore, at
the final moment when the goddess accepts the king's offering of the mirror, she states,

Ssp.n=i anx wn tp a=k Xnm stw.t=f Haw=[i]*

"I have received672 the mirror that was on your hand,
its light united with (i.e. reflects) my673 body" (D III, 74,6-7),

670
Wb I, 470,3-5; PL 325-326.
671
Wb V, 384,14 385,9. Kuhlmann, Thron, 76 n. 4, suggests that it is a loan word, with the original word perhaps
meaning "mound," or something similar. Wilson, PL 1168, notes that its form as a throne dais with a single staircase
may represent the primeval mound.
672
The sign (W13) is a scribal error (noted by Chassinat, D III, 74,6) and should be replaced with (W24).

178
with the verb Ssp, "receive," again employing the hand-sign. There may even be a subtle
reference to the repetition of this motif in her statement that she has received the mirror that was
on his hand. The sign of the hand-sign, (D46D), thus makes a connection between Hathor's
luminosity as the Female Aten, the handicraft of the god Henu, royalty, and the giving and
receiving of reciprocal offerings.
Further allusions exist with several other words in Hathor's statement. The homonym for
mirror, anx, "mirror," is "life"; it has direct bearing on the expression, Xnm stw.t=f Haw=[i]. In the
context of the mirror offering, Xnm means, "reflect," since the light of the mirror "reflects" the
image of Hathor's body. However, the expression also has the unmistakable allusion to the ritual
of the Union with the Sun Disk on New Year's Day, when Hathor's statue is exposed to the light
of the sun so that life and energy are infused into her Ba. This moment can also be seen as a
reunion of the Distant Goddess (as the Solar Eye) with her father Ra.
The confirmation that the King is in fact offering both Eyes is apparent in Hathor's
reciprocal offering, as seen in her statement on the east side:

di=i n=k Ax.ty=k(y) Ax.ti m s.t=sn

I give you your two Effective Eyes, effective in their place" (D III, 74,7),

The polyptoton on the root Ax, "be effective, be shining" again emphasizes the shining
effectiveness of the Two Eyes, when they are installed in their proper place. Her parallel
statement on the west side also emphasizes the dual return:

di=i n=k wDA.ty mn.ti m s.t=sn

I give you the two (Healthy) Eyes fast in their place (D III, 86,4).

There is even a little sign-play in the text, with the writing of the wDA.ty with the two
symmetrical eyesquite appropriate, since the scene deals with eyes and sight!

673
The 2nd f. s. suffix pronoun = T, seems to be an error, which should be replaced by =i, "my," as suggested by
Cauville, Dend Trad III, pp. 144-145.

179
 Southern Niche

East Wall, 2nd Register West Wall, 2nd Register

Fig. 5.36. Symmetrical Udjat Offering Scenes on East and West Walls of Southern Niche,
after D III, pls. 201; 202, IFAO

The theme of returning the Eye reaches its climax in the two symmetrical scenes on the
east and west walls of the Southern Niche (Fig. 5.36). The scene on the left shows Shu offering
the Udjat to Hathor, who is called, Ir.t Raanx.t n.t Itm psD Hr wp.t n.t it=s, the Eye of Rathe
Uraeus who shines on the head of her father (D III, 95,2-3). Horus of Edfu (identified with Ra-
Horakhty) stands behind her, saying, dwn.n=i a.wy=i HA Hr.t-tp m HD=s, I have extended my
arms around the Uraeus in her naos (D III, 95,6). In the symmetrical scene in the same register
of the west wall, Hathors son Ihy offers the Udjat to her while Thoth raises his arms in praise.
Harsomtus (equated with Ra-Horakhty) says, Ra Ds=f xnt pr-Ra di=i a.wy=i HA Ray.t hnw.t tA.wy,
Ra himself in the Sanctuary of RaI place my arms around the Female Sun (itn.t), the Mistress
of the Two Lands (D III, 98,1-2). Thus, the main protagonists from the myth are present:

180
Hathor, Shu, and Thoth; in both scenes, Ra enfolds his daughter in his arms, as the Eye is
returned and protected.
Both scenes are filled with word plays and sign plays, all of them emphasizing the
importance of the offering and the various aspects of the Eye: the wDA.t (healthy Eye); the Ax.t
(shining/effective Eye); the nTr.t (the divine Eye). Interestingly, there are more word and sign
plays, and the text is longer and more elaborate, in the scene on the left, the proper right side of
the sanctuary, suggesting a subtle priority of the Right Eye (Hathor) over the Left (her subsidiary
aspect of Isis).
Therefore, not only is the offering of the udjat depicted on both sides of the rear image,
but the two scenes above this image are both offerings of Maat (Fig. 5.37). The Maat scene on
the left shows the offering made to Hathor; on the right, it is made to Isis. Thus, cosmic order
(i.e. Maat) is finally restored because the Right Eye (the sun) and the Left Eye (the moon), have
been returned to their proper places.

South Wall, Southern Niche

Symmetrical
Ma'at Scenes

South Wall, Per-wer

Fig. 5.37. Ma'at Surrounds Hathor's Central Image on Four Sides; D III, pls. 190; 202, IFAO

Furthermore, if we recall that symmetrical scenes with the King offering Maat also appear in the
1st register, beneath the niche on the south wall, then Maat, and therefore "order" in both heaven
and earth, surrounds the central image of Hathor on all four sides: above and below, in the form
of the offering scenes, and on either side, by the two winged images of Maat personified as a
goddess. With the return of the Eye to Hathors place upon her Fathers brow, she is able to
protect Ra from his enemies in all directions.
Even more interesting is that in the hidden crypt, located directly below the Southern
Niche, two more scenes of the King offering Maat flank another image of Hathor as a sistrum

181
(Fig. 5.38), who tells him, di=i wsx mAa.t m tA m rk=k,I cause that Maat shall spread over the
earth during your time (i.e. reign) (D VI, 38,5). Maat thus protects Hathors sacred image not
only on all sides, but in three dimensions. This architectural arrangement of texts, reliefs, and
architecture underscores the importance that the maintenance of Maat on earth, represented by
the King's offering, plays in the stability of the cosmos.

After Cauville, D V-VI, fig. 10,

courtesy of Peeters Publishers

Fig. 5.38. Protection in 1st Floor Crypt

After D V, pl. 317; VI, pl. 461, IFAO

Furthermore, a text in this same scene, located directly behind the place where supplicants to
Hathor would have stood before her great sacred image on the rear wall, states that the goddess
sDm sprw* nw HHw, hears the supplications of the multitude (D V, 33,11), thus underlining the
function of her Hearing Ear shrine and her relationship with the people on earth.674
The importance of the myth at Dendera is shown in the assimilation of its symbolism into
the two other great festivals of the temple. The Festival of the Beautiful Reunion of Hathor and
Horus of Edfu is characterized as the festival of She is brought back, when the Eye of Ra
returns from Punt. Her visit to Horus, who is equated with Ra, is thus seen as a return of the
uraeus to her fathers brow. The New Years Festival, mentioned earlier, when the statue of
Hathor was carried to the roof for exposure to the suns life-giving rays, was also seen as a
reunion of the goddess with her father, the sun god Ra.
The myth, with its cosmic and earthly themes, worked its way into other festivals at
Dendera, but its great importance in the theology of Hathor is shown by its presence in the
holiest part of the temple, where Shu and Thoth participate in the return of the Eye to Ra so that

674
In the 2nd register, west side, of the north wall of the Per-wer, facing directly opposite the Southern Niche and (by
transparency of walls) the image of Hathor on the outer wall, one of Hathor's epithets is ndb nis n Hr-nb, "who hears
the prayers of everyone (lit. every face)" (D III, 80,10).

182
Hathor can resume her place on his brow, thus bringing about a restoration of Maat to the
country and to the cosmos.

5.1.5 Summary

References to the Myth of the Wandering Goddess appear throughout the decoration of
the entrance, the sanctuary proper, and the Southern Niche of the Per-wer, Hathor's most
important cult chamber in the temple. Aural and visual plays in the texts and iconography
highlight important themes of the myth, creating interconnections that work harmoniously
between the scenes. By placing the chronocrators for the month of Tybi directly over the Per-
wer's entrance, the ancient scribes signaled the importance of the navigation festival at that time,
which recalls Hathor's return as the Distant Goddess; columns on either side of the entrance
celebrate her festive homecoming by gods and humans alike. Overhead on the lintel, the playing
of sistra pacifies her ka; the king's offering of her image as a sxm-sistrum, her incarnation,
foreshadows her return to her sacred image within the chamber's niche.
Inside the Per-wer on the lintel over the entrance, the King offers wine and mnw-jars of
beer while the Meret goddesses soothe her with music. Linguistic connections between the Meret
singers and the offering of Ma'at convey the idea that Hathor's pacification and return results in a
restoration of Ma'at. Aural and visual techniques of emphasis, as well as interplays of
iconography and epithets, characterize the symmetrical offering scenes on the lateral walls.
Replicating offerings from the myth, the King presents wine and sistra, and the menit and
wensheb. Mention Eye's need of purification from all disorder, as well as allusions to the two
Divine Eyes, suggest that both must be purified and returned for Ma'at to be restored. These
pacifying offerings on either side of the chapel then lead to the King's purifying offering of
primordial water at the chapel's rear, in the base of the south wall. There, the water recalls not
only Hathor's purification in the waters of the Abaton and her subsequent transformation into a
beautiful woman, but also the coming of the inundation, which she brings with her return. This
idea is reinforced by the image of Hathor seated over sixteen jars of inundation water on the
north wall, its number recalling the height in cubits of a perfect rise in the Nile. Similarly, Isis
seated over the isheru on the west wall recalls the navigations on sacred lakes that pacify leonine
goddesses, like Hathor-Tefnut of the myth.
The theme of the return of the Eye takes on more urgent emphasis in the decoration
approaching the Southern Niche. Beginning on the north wall, the King's offering of the Udjat
invokes a reciprocal offering of sight in both directions of time, giving the King the power to see
like a god. This offering links with the King's offerings of mirrors on the two sides of the south
wall, replicating the return of the Right and Left Eyes of Ra, the sun and the moon. Finally, on
the east and west sides of the niche, Thoth and Shu help return the Udjat, and Ra embraces her in
his arms. With the sun and the moon again in their proper places, ordered time is restored.
The interrelationship between the offerings and the needs of the country and the people,
such as the bringing of the inundation and the resulting fertility of the land, expresses the
connection between the human and divine worlds; the King plays a crucial role as the
intermediary in actualizing this link. By maintaining Ma'at on earth and performing the proper

183
rituals for the goddess, he receives reciprocal offerings that guarantee the longevity of his reign,
the fertility of the land, and the stability of the cosmos.675

5.1.6 Distribution of Scenes in the Per-wer Relating to the Myth

Including the outer entrance, 42% (19) of the 47 scenes with figural representations in the
Per-wer have textual references to the characters, offerings, or actions taking place in the myth.
This percentage is the lowest of the three themes in the Per-wer, showing that the myth plays a
role behind those of the King as intermediary, and Hathor as Creator and solar goddess.
However, the myth naturally interweaves with the theme of Hathor as solar goddess; two
important scenes in which both themes intersect are in the Southern Niche, the theological heart
of the temple. In most cases, references to the myth occur in symmetrical pairs; they concern
offerings given in order to purify, pacify, or please the Distant Goddess. Among all 80 text
groups, which include texts without accompanying scenes, references to the myth occur as
follows: outer entrance, 7; Per-wer proper, 15; Southern Niche, 3, for a total of 25 text groups, or
31%. There is overlap between themes, but generally, the remainder of the text groups focus on
Hathor as Primeval Creator and Solar Goddess, and the Legitimacy of the King. These themes
are discussed below, in Sections 5.2 and 5.3.

675
Further discussion of the King's role appears in the third part of this chapter, in Section 5.3.

184
 Scenes Relating to Myth

Fig. 5.39. Outer Entrance, Fig. 5.40. Scenes in Per-wer,

after D II, pl. 94, IFAO after D III, pls. 180; 190, IFAO

Fig. 4.41. Scenes in Southern Niche, after D III, pls. 201; 202, IFAO
185
5.2 Hathor as Creator

We have seen how the texts and iconography highlight important themes of the myth,
creating harmonious interconnections between the scenes. However, Hathor is not only the
Distant Goddess who must be returned to her father Ra in order to restore cosmic order. She is
also a primordial creator, responsible for land, water, and lightessential elements for life on
earth. Beginning again in the outer entrance of the Per-wer, we will follow this theme into the
sanctuary proper, showing how the ancient scribes manipulated the aural and visual devices to
emphasis important concepts. We will then look at the reason for hiding her image, as well as her
role as the divine descendent who maintains the funerary cult of the deceased ancestor gods. We
will also consider how these roles add significance to her return as the Distant Goddess, creating
some particularly interesting symbolism within the architectural arrangement of the Per-wer.

5.2.1 Ruler of Heaven and Earth

Hathor's characterization as a primordial creator, and thus the first and "highest" of the
gods, already appears in the outer entrance of the Per-wer. In the uppermost reaches of the
decoration, just below the row of chronocrator gods and the bandeau of the frieze, there are two
symmetrical scenes676 containing the four pairs of elemental deities of the Hermopolitan
Ogdoad,677 followed by the king (Fig. 5.42). Hands raised in adoration, they face the enthroned
goddess, her son Ihy standing before her.678 The characteristics of these frog-headed males and
snake-headed females define the pre-creation state: Nun and Naunet (primeval waters); Heh and
Hauhet (infinite space); Kek and Kauket (infinite darkness); Amun and Amaunet (hiddenness).679
Their depiction as reptiles and amphibians, appearing frequently in Ptolemaic temples, not only
reflects their watery origins, but also "their place in the liminal primeval state between chaos and
ordered creation."680

676
D II, pl. 94; scene on east side: D III, 49,11 49,11; scene on west side: D III, 49,14 50,15.
677
L I, 56-7: The earliest attestation of the Ogdoad appears in CT 76 from the MK, although #mnw, "Eight(-
town)," the name of Hermopolis since the OK, indirectly attests the existence of the Ogdoad in the OK. See photo
by Beato from the Temple of Philae, in Lepsius Denkmler IV, pl. 66c.
678
The worship of Hathor by the Ogdoad recalls similar images of their worship of the new-born solar child, who
first illuminated the earth for them. Klotz (Kneph, 251) describes creation accounts specifying that an egg and
semen placed in the Nun by the Ogdoad (either as mating bulls and cows, or male and female frogs) gave rise to a
lotus blossom containing Ra as a luminous child, an iconic image in the Late Period. See Klotz, Adoration of the
Ram, 69-73. More imagery related to the birth of light, in terms of Hathor's relationship to Opet, is discussed below.
679
Amun and Amaunet (hiddenness), or Nia and Niaut (emptiness), are later replacements for the earlier Tenem and
Tenemet (infinite hiddenness). See Altenmller, Achtheit, 56.
680
Klotz, Kneph, 243.

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 Outer Entrance of Per-wer

East Scene West Scene

King Heh Hauhet Nun Naunet Ihy Hathor Hathor Ihy Kauket Kek Nia Niaut King

Fig. 5.42. Adoration by King and Ogdoad on Outer Entrance of Per-wer; D II, pl. 94, IFAO

In this lofty space on the wall,681 occupying a fourth register in the Mysterious Corridor that is
even higher than the frieze at the tops of the walls in the Per-wer and its niche (Fig. 5.43),682 we
are thus in the realm of the primordial gods and the unformed pre-creation state. Only the
chronocrators, protectors of each day of the year and personifying time itself, are above, subtly
alluding that their endless cycle of repetition governs everything below.683

681
Zivie-Coche, L'Ogdoade, 180, observes that the upper register is consecrated to the primordial deities and those
of the world beyond.
682
The baseline of these symmetrical scenes is at the same height as the ceiling of the Per-wer and its southern
niche. See Zignani, Temple d'Hathor, pl. 20; idem, Enseignement, fig. 3.28.
683
Interestingly, in the Great Hymn to Amun, inscribed in the Temple of Hibis during the reign of Darius I, the
Right and Left Eyes of the Creator (equated with the sun and the moon) each stand for "Time." The reason for this
equivalency may lie in the use of both celestial bodies for the marking of time. Hathor's equation with both Divine
Eyes thus connects her with ordered time, as shown by the offering of the wensheb, the symbol of ordered time. See
also Goyon, Edifice of Taharqa, 40-42 and pl. 27; Assmann, Hymnen und Gebete, Hymn Nr. 128, pp. 297-304;
compare with a Demotic parallel text published by Smith, Egyptian Hymn, 115-149; cf. now Lorton, Hymn at Hibis,
159-217.

187
 Fig. 5.43. Adoration of Ogdoad on Outer Faade, Located Higher than Ceiling of Per-wer,
after D II, pl. 94; D III, pls. 180; 190, IFAO

Hathor's unusual headdress in the east scene contributes to this sense of height, as well as
carrying important theological significance. The double falcon feathers of her crown stretch high
above two ram's horns, each supporting a uraeus wearing a sun disk. The uraeii indicate her solar
nature, while the tall feathers symbolize the loftiness and grandeur of her power, as well as
signifying that she is the highest divinity in the scene.684 Ideally, the crown is so tall that it
reaches into heaven, "puncturing" the sky; in this scene, Hathor's tall feathers literally "cut into"
the sky-sign overhead, thus symbolizing her rule over heaven. Nun pays homage to the goddess,
stating,

swAS.n=i kA=t r qA n p.t

"I have praised your Ka to the height of heaven" (D III, 48,15-16),

thus linking to the image of Hathor's tall crown (and her associated exalted status), rising into the

684
Budde, Doppelfederkrone, 63-64.

188
sky.685 The height to which the god praises Hathor is also emphasized, aurally by the
antanaclasis of the close homophones, kA (soul) and qA (height), and visually in the arrangement

of the signs themselves, , the men's arms raised in praise literally surrounding
the kA of Hathor in the center with their adoration.
The Ogdoad's adoration of Hathor recalls their worship of the newborn sun, a frequent
motif during the Late Period.686 According to this cosmogony, the Ogdoad cause a fertilized egg
to enter the waters of the Nun, resulting in a lotus that contains Ra as a solar child.687 As the lotus
opens and Ra shines forth at his rising,688 the Ogdoad worship their "heir" because he illuminates
the earth for them.689 After the sun god's birth, the Ogdoad then proclaim him King of Egypt. In
the scene on the west side of the Per-wer's entrance, Kauket similarly praises Hathor as the sun:

inD Hr=t Ray.t Hnw.t n(.t ) ra.w

"Hail to you, Female Sun, Mistress of Suns" (D III, 49,16-17).

The polyptoton on the root ra, "sun, " first as the feminine singular substantive, Ray.t, "Female
Sun," and then as the plural substantive, ra.w, "suns," emphasizes not only that Hathor is the sun,
but also that she is mistress of all other solar deities. Furthermore, because Kauket represents
darkness, it is appropriate that she praises Hathor as the "Female Sun," the bringer of light. Seen
in the context of the Ogdoad's worship of the sun at sunrise, the text, iconography, and imagery
of the adoration scene on the Per-wer entrance allude to Hathor as the rising sun at its first
illumination of the earth, the cosmogony from Hermopolis having been adapted to fit the
theology of Dendera.690

685
Interestingly, Nun himself can also appear wearing the double-feather crown, although with ostrich feathers

rather than those of the falcon. The figure of a seated god wearing two ostrich feathers and ram's horns, (C18F),
appears as the determinative of his name in the east scene on the base of the South Wall of Per-wer (D III, 63,3), a
scene linking to our present Ogdoad scenes, as we will see below. Other depictions of Nun with the two feathers
appear on the east wall of Crypt East 4 (D V, 118,8; pl. 409), where he is depicted as a wooden statue wearing the
double ostrich-feather crown and sun disk (without ram's horns), and, similarly, on the east wall of Chamber B,
Crypt East 1 (D V, 9,1; pl. 329). Preys (Hathor fille de Noun, 202) notes similar depictions of Nun in the Temple of
Hibis (See Davies, Hibis, pl. 2, 7th register). The primordial creator god Tatenen can wear a similar crown, which

also appears in his ideogram, (C18C). Nun's depiction in this crown may thus signal a link with Tatenen and
emphasize Nun's primordial aspects.
686
Klotz, Kneph, 252; idem, Adoration of the Ram, 69-73. Mendel, Kosmogonischen Inschriften, 84.
687
Ptolemaic cosmogonic texts describe the Ogdoad as the "fathers and mothers who came into being at the
beginning, who gave birth to Ra" (Medinet Habu, PM II 2, p. 469 [45b] = Dmichen, Inschriften II, pl. 36 a ()
688
Mendel, Kosmogonischen Inschriften, 83-84 (Tafel 7, cols. 44-47), cited in Klotz, Kneph, 251.
689
Clre, Porte, pl. 67 (= Urk VIII, 90c), cited in Klotz, Kneph, 252.
690
The imagery of the Ogdoad's adoration of Hathor continues on the thicknesses of the door of the Southern Niche,
as we will see in Section 5.3.2.

189
 Hathor's tall crown also carries solar connotations. It appears in only two places in
Dendera's main temple,691 the second being an udjat offering scene on the south wall of the
Throne of Ra.692 The accompanying text in that scene specifies Hathor's roles, describing her as
wnmy.t n.t Ra psD m dwA HAy Hr-nb m HDDw.t=s, "the Right Eye of Ra who shines in the morning,
who brightens every face with her rays" (D IV, 15,5); the Atenet, the female solar disk who
shines in the horizon, Hr Xnm iAb.t Hr sHD idb.w Hr sSp tA wn m kkw, "uniting with the Left Eye,
brightening the banks, and illuminating the land that was in darkness" (D IV, 15,5-6). Hathor is
thus the sun during the day and the moon at night. The text in another cult chamber693 equates
the offering of a similar crown with the restoration of the two Divine Eyes: wnmy.t mH.ti iAb.t
ip.ti, "the Right Eye is filled, the Left Eye is completed" (D II, 76,1-2). Hathor's double feather
crown thus agrees well with these characterizations, because its two feathers (as well as the two
uraeii) can be equated with the Right and Left Eyes of the solar god.694
A subtle allusion to these two Divine Eyes also occurs in our Ogdoad scene in the speech
of Naunet, in which she addresses Hathor:

dwA.n=i Hr=t m Hp.ty m Ax.w nfr.w mr=t

"I have adored your face at the extreme limits with the beautiful spells that you love"
(D III, 48,14).

Wilson (PL 639) suggests that origin of the term Hp.ty, written with the sunshade and two
disks,695 may be the "dual course" (i.e. the paths of the sun and the moon), and thus the extreme
limits to which these two heavenly bodies can penetrate with their light. A text at Edfu supports
this interpretation, stating that the wDA.ty, the two Udjat Eyes, can see as far as the Hp.ty (E III,
195,6). Thus, not only does Naunet continue the idea of praising Hathor to the limits of the
universe, but she also alludes to the two Eyes of Ra and their almost unlimited sight; the two
disks in the writing of Hp.ty add a visual component as well. These ideas connect well with our
previous observations on the Eye symbolism of the feathers of Hathor's tall crown, suggesting
that the sight of the two Divine Eyes penetrates both heaven and earth. An explicit expression of

691
Hathor wears similar crowns with the tall falcon feathers at Dendera, but aside from the two examples mentioned,
they do not have the same configuration with ram's horns and uraeii. In the Hall of Appearance (Chassinat's
Chamber Z), Hathor carries the epithet, Hnw.t Sw.ty, "Mistress of the double-plume crown" (D IX, 26,17; pl. 827).
692
The southwest rear chamber (Chassinat's Chamber N); D IV, pl. 250, as noted by Preys, Complexes, 380.
693
D IV, pl. 109, in an offering by the King to Harsomtus in the chamber called, War.t-xpr-XA.t, "The Leg Created
from the Corpse." This crown has falcon feathers, but it includes a sun disk and lacks the ram's horns and uraeii of
Hathor's crown in the Ogdoad adoration scene on the outer entrance of the Per-wer. Another offering of the double-
feather crown (with ostrich-, rather than falcon-feathers, plus a sun disk) appears in the 1 st register of the east wall of
the Wabet (D IV, pl. 307), with the accompanying text emphasizing the shining quality of the one who wears it.
694
The two feathers had been associated with the right and left Divine Eyes since the New Kingdom (Budde,
Doppelfederkrone, 101).
695
Chassinat (D III, 48,14) writes "sic" next to ; Cauville (Dend Trad III, p. 108) is uncertain in her transliteration
as Hp.ty. Wb III, 69,11-15, shows that Hp.ty, "die Erde in ihrer ganzen Ausdehnung," can be spelled with the
sunshade, although the examples given do not contain the two disks. However, the spelling in our text represents
perfectly Wilson's suggestion (PL 639) that the word may have originated in the idea of the dual courses of the sun
and moon. See discussion of Hp.ty in Hermann Kees, "Kulttopographische und mythologische Beitrge," ZS 77
(1941): 24-27.

190
her extensive dominion appears in the text of the symmetrical Ogdoad scene on the west side of
the entrance, where Hathor's titles include aA.t m p.t HqA.t m tA, "Female Great One in Heaven and
Female Ruler on Earth" (D III, 50,12). The feathers on Hathor's crown, "piercing the sky," thus
visually communicate her rule over heaven; their symbolism, connecting her with the two Divine
Eyes, alludes to her rule over earth, which she accomplishes by seeing everything that goes on in
the world through the "eyes" of the sun and the moon.

5.2.2 Primordial Creator of Heaven and Earth

The reason that Hathor can claim sovereignty over heaven and the earth is because she is
the creator of everything in existence.696 Assmann clearly explains this relationship between the
creator and the world:

"Die Beziehung von Gott und Welt wird als eine Beziehung der Herrschaft
gedacht. Die anderen Gtter gehren zur Welt hinzu. Sie empfangen wie alle
anderen Lebewesen ihr Leben und ihren Lebensunterhalt von Gott, ihrem
Schpfer, von dem alles Geschaffene abhngig ist. In dieser totalen Abhngigkeit
manifestiert sich die Herrschaft des Schpfers ber sein Geschpf sowie der
Zusammenhang alles Seienden. Dieser Zusammenhang ist vertikal gedacht: als
hierarchische Abhngigkeit von der Spitze, die Gott bildet als die eine Quelle
allen Lebens."697

This description precisely defines Hathor's relationship to her creation. The texts at Dendera
describe her as a primordial goddess, having come into being at the beginning of creation. Her
worship by the primeval snake- and frog-headed Ogdoad, as well as the height of her tall crown,
suggest this primacy, but for more explicit statements, we must look inside the Per-wer sanctuary
itself. If we imagine the transparency of the walls, we can discern several links between the
Ogdoad scenes on the entrance and the two scenes at the base of the South Wall, in terms of
Hathor's role as primordial goddess and her connection with Nun, the god of the primeval waters
(Fig. 5.44).

696
Eloquently expressed by Preys, Catalogue d'Hathor, 239: "En tant que cratrice de tout ce qui existe, elle rclame
galement la souveraintet sur tout ce qu'elle a cre."
697
Assmann, Verknden und Verklren, 330. These concepts appear in the Cairo Hymn to Amun, possibly dating to
the late MK; they also appear in Assmann, Hymnen und Gebete, Nr. 87.

191
 West Wall

South Wall Outer Entrance

Fig. 5.44. Theme of Primordial Creator of Land and Water,

after D II, pl. 94; D III, pls. 180; 190, IFAO

South Wall; D III, pl. 190, IFAO East Side of Base West Side of Base

In these two symmetrical scenes, the King, followed by the Queen,698 offers jars filled
with primordial water: nms.t-jars to Hathor on the east side,699 and Hs-jars to Isis on the west.

698
Because the Per-wer Sanctuary was decorated during her reign, the queen depicted here would have been
Cleopatra VII; the King is her son Caesarion by Julius Caesar.
699
Although the text accompanying the scene on the east side of the south wall specifies that the king is offering
nms.t-jars, in=f n=T nms.ty Hna.ti m nwn, "He brings you two nms.t-jars filled with primordial water" (D III, 63,7),

192
Behind Hathor stands her consort, Horus of Edfu; behind Isis, her consort, Harsomtus. Hanging
from the tall jars are the stems of plants ending in anx-signs alternating with buds and blooms,
thus visually showing that life emerges from the water. This theme of emerging life is also
emphasized in the accompanying text, with multiple repetitions of the verb, xpr, "come into
being," which we will encounter frequently in the texts of the following discussion.
Emerging from the primordial water is not only life, but also Hathor herself, who is
described in the Divine Randzeile of the east scene on the base as

sA.t Ir-tA xnt H.t-sSS.t xpr xnt Hr it=s Nwn

"Daughter of Irta in the Temple of the Sistrum (=Dendera),
who came into being at the beginning700 with701 her father Nun" (D III, 63,3).

Hathor's designation as the daughter of both Irta and Nun may seem surprising, since she is
usually described as the daughter of Ra.702 However, in addition to being evidence of Egyptian
polyvalent thinking,703 these epithets merely specify her multiple roles as a creator goddess.704
Irta, a primordial creator god whose name means, "Earth-maker" or "He who created the earth,"
emerges from the primeval waters of the Nun in the form of a snake, as shown by the

determinative of his name: Ir-tA.705 The concept of a shining, primeval uraeus (like Hathor)
coming into being simultaneously with Irta appears frequently in other Graeco-Roman

the vessels look more like (W14) Hs-jars than (W70) nms.t-jars. The latter is depicted more traditionally in the
offering scene of the nms.t-jar in the 3rd register, east side, of the north wall of the Per-wer.
700
PL 737; Wb III, 304,6-9, esp. 8: "im Anfang entstanden." The adverb, xnt, literally means "(temporally) before,
earlier, formerly"; the set phrase, xpr xnt, "come into being before (i.e. at the beginning)," occurs frequently at
Dendera in relation to the creation of a god, e.g. D III, 62,13; 63,3; 95,17 (Hathor); 20,1 (Thoth); 75,1 (Harsomtus);
102,7 (Ihy).
701
Following Cauville, D X Index, 387, reading as the preposition Hr. Cf. PL 652-653.
702
Hathor is sA.t tp.yt n.t it=s Ra, "first daughter (i.e. eldest) of her father Ra," on the north wall, 2nd register, w. side,
of the Per-wer (D III, 80,9-10).
703
Described by Frankfurt, Ancient Egyptian Religion, 4, as "multiplicity of approaches," in which ancient,
mythopoeic thought could recognize certain limited insights as being simultaneously valid, each in its own context.
704
As noted by Wilson (PL 90) in relation to Hathor's epithet as "daughter of Irta." Preys, Hathor fille de Noun, 207,
sees the two epithets ("daughter of Nun" and "daughter of Irta") as complementary.
705
At Thebes, Irta is the son of Kematef, the first primordial chthonian snake, as well as a form of Amun (Zivie-
Coche, L'Ogdoad, 205). Because Irta appears frequently in epithets of Ptah, he may have originated in Memphis, as
noted by Klotz, Kneph, 164, and Sandman Holmberg, Ptah, 185-186. See also Reymond, Children of Tanen I, 117
n.11. At Edfu, Ptah-Tatenen-Irta is called qmA pAw.ty.w, "he who created the primeval ones" (E II, 37,9); he is also
considered to be self-created, as shown by a text from the Gate of Euergetes at Karnak in which he is called pAw.ty-
tA.wy xpr Ds=f, "the Primeval One of the Two Lands, who made himself" (Clre, Porte, pl. 21; Urk VIII, 79h). Klotz,
Kneph, 171-172, suggests that at Thebes, the two cosmogonic stages (i.e. creation of the earth, and creation of the
first generation of primeval deities) were performed by two different forms of Amun: Amun of Karnak as Irta-
Tatenen, an active solar god who created the earth and began existence; Amun of Luxor as Amenemope-Tatenen,
the primeval creator god who fashioned the Ogdoad in Luxor Temple. After emerging from the Nun, the primeval
serpents of Mut and Irta (created by Kematef) remained closely associated with one another in their neighboring
temples at Karnak.

193
temples.706 Klotz notes that Irta's emergence from the Nun is a singularly significant cosmic
event, representing "the first divine entry into the physical world," and an essential act for the
subsequent creation of the cosmos.707 As the daughter (or "Eye")708 of a chthonic god, Hathor
thus possesses creative power related to the earth and its products.709 A text in the 2nd register of
the east wall of the Southern Niche confirms this ability, describing her as

SAa.t SAa tA m [xpr]=s

"The Female Creator who created the earth (or "land") when she came into being710
(D III, 95,3).

The epithet, SAa.t, which can be translated as "She who begins," "Female Creator," or "Primordial
Goddess," derives from the third-weak verb, SAa, meaning "begin, initiate, create (in the
beginning)."711 The polyptoton on the root, SAa, first as a feminine active participle used as the
substantive, SAa.t ("Female Creator"), followed by the feminine active participle used in a
participial phrase, SAa tA ("who created the land"), emphasizes Hathor's ability to make land,
which agrees well with her epithet as the daughter of the primeval Irta, the "earth maker."
For further clarification of Hathor's role as daughter of Irta and creator of land, we turn to
texts describing the goddess Mut, an Eye goddess who encircles the sun disk as the uraeus, and
who is thus equated with Hathor.712 In the form of a primeval snake, Mut carries epithets similar
to those of Hathor: xpr(.t) m HA.t, "who came into being at the beginning,"713 bs(.t) m Nwn Hna Ir-
tA, "who burst forth from Nun together with Irta,"714 and SAa(.t) xpr m Nwn, "who began creation

706
Texts alluding to the Divine Eye of Irta emitting light when he emerges from the primeval Nun include the Gate
of Euergetes at Karnak, the Propylon of Amun-Ra-Montu at Karnak-North, and the temples of Esna, Kom Ombo,
and Edfu. See Klotz, Kneph, 165-169, for further references. The role of the Divine Eye as the first emitter of light
is an important aspect of Hathor as a creator goddess, which is discussed below.
707
Klotz, Kneph, 165; 169. The creator of Irta is Kematef (km A.t=f, "He who completes his moment"), his name
referring to the initial moment of creation by Atum, the Heliopolitan creator. Having come into being by himself,
Kematef creates the demiurge Irta and the primeval uraeus, Mut; he then remains in the Nun while his successor
Irita, his body (D.t), manifests in the physical realm (Klotz, Kneph, 182). Irta (alluding to Tatenen of the Memphite
tradition), or Atum (possibly referring to Kematef), then creates the Ogdoad (E IV, 140,14). See Klotz, Kneph, 244-
245, for more discussion and further references.
708
Note that the verb iri, "to do, make, create," is represented by the ideogram of an eye. The role of a Divine Eye
thus implies the power to carry out action.
709
A similar allusion to this capacity exists in her role as the daughter of Geb, as we saw earlier in Section 5.1.2,
though this title more properly belongs to Isis, who is the daughter of Geb and Nut. In the text of the west montant
of the interior door framing of the southern niche of the Mansion of the Sistrum (H.t-sxm, Chassinat's Chamber I; D
III, pl. 178) Isis is sA.t tpy.t n.t it=s Gb, "first daughter (i.e. eldest) of her father Geb" (D III, 38,4). However, because
Isis is an aspect of Hathor at Dendera, Hathor can take on her epithets and characteristics, as needed.
710
Lit., "in her coming-into-being."
711
Wb IV, 406,4 407,6; PL 987-988.
712
Mut, the Theban consort of Amun, not only bears many epithets in common with Hathor (e.g. Eye of Ra, Lady of
Heaven, Mistress of All the Gods, e.g., D III, 85,3-4), but also takes on the leonine aspects of Sekhmet, Tefnut, and
Bast (references in Klotz, Kneph, 232), all of whom can be equated with Hathor, as well as the role of the
Wandering Goddess of the Sun Eye. See Inconnu-Bocquillon, Desse Lointaine, 325-237. We will see more of Mut,
Lady of the Isheru, in the section on Hathor as an ancestral goddess (5.2.6).
713
Opet I, 116; Esna II, 16; Deir Chelouit III, 143,11, as noted in Klotz, 237 n. 1099.
714
E V, 154,4, noted in Klotz, Kneph, 237.

194
in Nun."715 Hathor herself carries the epithet, wr.t n.t pAw.ty tpy, "the uraeus of the first
primordial god."716 Furthermore, Mut and Irta emerged from the Nun as the first creations of
Kematef, making them the first generation of primeval beings.717 Graeco-Roman texts from the
temples of Kom Ombo and Esna vividly describe the process used by this primeval uraeus to
create the earth, by nbi ("melting") the waters of the Nun with her fiery Divine Eye,718 and qfn
("baking") the earth "with the fire of her eyes and the breath of flame which came forth from her
mouth."719 The latter verb can also mean "to turn a liquid into a solid."720 As the uraeus, Hathor
certainly has this power, as attested by a text in the outer entrance of the Chamber of Purification
at Dendera, directly to the west of the Per-wer's entrance, where she is iar.t aA.t nby.t, "the uraeus
whose fire is great" (D III, 99,16). We will see more imagery of Hathor's ability to create fire and
light in Section 5.2.4, Primordial Creator of Light.

5.2.3 Primordial Creator of the Inundation

As the daughter of Nun, the personification of the primordial waters, Hathor also has
power over the inundation and its life-giving, rejuvenating qualities. Returning to the scene at the
base of the south wall, the text in the Royal Randzeile emphasizes these qualities both textually
and visually, describing the king's offering of the nms.t-jars as

nms.ty Hna.ti m nwn sHtp=f ib=t m mw-rnp

"The two nemset-jars filled with primordial water
it pacifies your heart with the water of rejuvenation" (D III, 63,7).

The repetition of the two child signs, in the writing of nwn ("Nun," or "primordial

water") and mw-rnp ("water of rejuvenation"), underlines the water's capacity for
rejuvenation of the land, bringing forth plant and animal life. We saw earlier that the waters of
the Nun pacify and cool the anger of the Wandering Goddess; as the daughter of Nun, Hathor
can guarantee its waters to the King, which she promises in the form of the inundation:

di=i n=k @apy Hr Hw(.t) r nw=f

"I give you Hapy,721 rushing at his time" (D III, 62,13-14).722
715
E II, 76,8-9, noted in Klotz, Kneph, 237.
716
Outer entrance of Per-wer, west side of door frame, outer column, Text B (D III, 46,7).
717
Klotz, Kneph, 233-236.
718
De Morgan, Kom Ombo III, 958, Divine Randzeile, describing Sobek, cited by Klotz, Kneph, 167-168.
719
Esna III, 252,26 (=Sauneron, Esna V, 110), in a text referring to Neith, cited by Klotz, Kneph, 168 and n. 715.
720
As noted by Klotz, Kneph, 168 n. 715. For a discussion of the verb qfn, "to cook," see Sauneron, Germe, 22-23
and n. 8.
721
The god Hapy is the personification of the Nile; he appears as a man with a pendent breast (shaped differently
from that of goddesses), from which Nile water flows, as depicted in Junker, Abaton, 51, figs. 21 and 22. See also
Kurth, Nilgott, 488, n. 28 and 30. The text on the exterior of the naos at Edfu states that Hapy is it mw.t n nTr.w rmT

195
Hathor's designation as the daughter of both Irta and Nun thus indicates her responsibility for the
products of the earth as well as the inundation that allows their production in the well-watered
fields.
In the symmetrical scene on the west side of the base, the speech of Isis brings additional
imagery, equating her with Sirius (Sothis), the star whose annual reappearance heralds the
inundation:

%pd.t sty Hapy m TpH.t=f

"Sothis, who pours out Hapy from his cavern" (D III, 74,12-13).

The writing contains several sign-plays, calling attention to the phrase and adding multiple layers
of meaning. The repetition of the signs (D53) sty (pour out), and @apy (Hapy), both
depicting liquid spewing forth, emphasizes the coming forth of the flood water from its mythical
source in the two caverns at Elephantine;723 the phallus sign in particular alludes to fertility, an
important result of Egypt's annual inundation. Secondly, the writing of TpH.t (cavern) with the
thorn sign, (Z22), shows an attraction to the spelling of the previous word %pd.t (Sothis). The

latter is almost always written with the thorn, (M44), the ideogram for spd ("sharp") and thus
the phonogram for spd, used to write %pd.t. However, TpH.t is usually written with the tusk of an
elephant, (F18), which carries the phonetic value of H.724 The use of the thorn-sign in both
words thus draws a visual connection between the goddess as %pd.t and the inundation, which
originates in the TpH.t, Hapy's cavern.725 Therefore, statements in the symmetrical scenes
emphasize the responsbility of both Hathor and Isis for the inundation and what exists on earth:
Isis as Sirius (Sothis) pours out Hapy in his cavern, "in order to flood the Two Lands with what
exists" (D III, 75-3-4); Hathor, as primordial creator, not only creates the earth, but also "all
things came into being after she came into being" (D III, 62,13).
The themes of the inundation and the earth's subsequent fertility form a link from the two
symmetrical scenes low in the base of the south wall to another scene, high in the third register
of the north wall (Fig. 5.45).

ATy.t n tA-Hr-ndb=f, "Father and mother of the gods and humans, wet-nurse of the whole land" (E IV, 268,17). He
thus shares the epithet, "Father of the Gods," with the god Nun, as noted in Bonnet, RRG, 525-526. See also de
Buck, Hapj, 1-22.
722
In the speech of Hathor, east side of the base of the South Wall of the Per-wer.
723
In the pr-nsr, "Sanctuary of the Flame," the cult chamber west of the Per-wer (Chassinat's Chamber M), Hathor 's
epithet, nb.t qr.ty, "Lady of the Caverns" (D III, 168,5), refers to these two gaps in the earth from which the
inundation water breaks through at Elephantine.
724
The elephant tusk, ibH, "tooth," can serve as the phonogram for bH or H, via the consonantal principle (Fairman,

Alphabetic Signs, p. 235, no. 236). The thorn sign may be mimicking the shape of (N21\t3), the tongue of land,
which itself can substitute for (F18), the tusk of an elephant, in the writing of the word TpH.t.
725
The text accompanying the nms.t-vase offering in the 3rd register of the north wall of the Per-wer indicates that
the source of primordial water of the inundation is the leg of Osiris, with aural and visual puns on the word sty,
"leg." An analysis of this scene appears later in this section.

196
 Fig. 5.45. Theme of the Inundation, after D III, pls. 180 and 190, IFAO

Here we see the King, offering a nms.t-jar of primordial water, standing before the goddess
Hathor, seated on a throne while nursing her child (Fig. 5.46). Below the throne stand sixteen
vases of inundation water, recalling the sixteen cubits of a perfect inundation, as we saw
earlier.726

North Wall

Fig. 5.46. North Wall, 3rd Register, East Scene; D III, pl. 180, IFAO

726
In 5.1.3. See also Preys, Matresse des seize, 263. Similar scenes of Hathor seated over sixteen vases appear in
two other places at Dendera: on the north wall of Chamber D of Crypt South 1 (D V, pl. 438); on the south wall of
the Per Nu (D II, pl. 142).

197
The accompanying text describing the king's offering is filled with additional imagery embedded
within aural and visual puns.

nD=i Hr=T m bs(.t) m sty xntS ib=T m wbn(.t) m war.t

"I greet you with what emerges727 from the leg, your heart rejoices over728 what appears729 from
the leg" (D III, 71,18).

Immediately noticeable is the visual emphasis on legs, with four signs containing one or more

legs: (K18A); (D56); (F98); and another (D56). The source of this emphasis
is the imagery in which the mythical source of the inundation is equated with what comes forth
from the leg as a relic of Osiris, believed to be kept at Elephantine. A closer look at the words
using these signs shows that the scribe deliberately chose them to emphasize the mythological

theme. The verb bs ("emerge") is usually written with , the sign of a fish with walking-legs,
reflecting the idea of motion. This ideogram is especially appropriate in the present context,
because it carries with it the idea of fish in motion, swimming in the waters of the emerging

inundation. The "leg" of Osiris, called both sty and war.t in our text, naturally
employs the leg-sign as a determinative. Interestingly, the word chosen to write "rejoice" is xntS,

which can be represented by , the forepart of a horse whose forelegs are clearly visible.
There are other ways of writing "emerge" or "come forth" that do not employ a leg-sign;730
"rejoice" has any number of synonyms that also do not use leg-signs.731 Therefore, the presence
in this text of so many words employing leg-signs suggests that the scribe deliberately chose
them in order to emphasize visually the leg of Osiris, as well as the motion of the flood waters
emerging from it.
In addition to the visual imagery, the text also contains several aural plays, which also
add layers of meaning. The substantive sty ("leg") puns with the close homophone of the verb sTi
("pour out water"), emphasizing that it is the leg that pours out the inundation. In addition, the
southern nome where the inundation has its mythical source is tA-sti, "Land of the Bow," or
"Land of the sti-mineral,"732 thus adding geographical information. Because of the leg-
symbolism associated with the annual flood, the words sti ("leg") and war.t ("leg") can represent
the flood in Upper and Lower Egypt, respectively;733 the presence of both words in our text thus
alludes to the inundation covering the entirety of Egypt's Two Lands.

727
bs(.t) is the feminine singular perfective active participle of the 3rd weak verb, bsi, "emerge."
728
xntS ib m, "delight in, over," (CDME 195).
729
wbn(.t) is the f.s. perfective active participle of the tri-literal verb wbn, "appear," "rise."
730
For example, with a snake coming out of a shelter for pr: (I24A) .
731
For example, wnf: (D III, 60,1); mfk: (D III, 54,15); nhm: (D III, 45,14); hn:

(D III, 54,16); Haa: (D III, 74,3).

732
Beinlich, Osirisreliquien, 209-213..
733
Beinlich, Osirisreliquien, 210 and n. 29.

198
 Allusions to the life-giving, rejuvenating qualities of the flood waters appear in Hathor's
speech in the Divine Randzeile:

swab=i Haw=i [m] mw-rnp di=i ii n=k Hapy r tr=f n rnp.t tp-rnp.t n(n) Ab
"I purify my body [with] the water of youth, I cause that the inundation shall come to you in its
season of the year,734 at the beginning of the year, without ceasing" (D III, 72,8).

The reference to mw-rnp, "water of youth," creates an aural and visual link to the nms.t-jar
offering in the base of the South Wall, which we saw earlier. In addition, a triple polyptoton with
the repetition of the root rnp, which can mean "youth" as well as "year," creates layers of
meaning. The root appears in the first clause, as part of the compound substantive, mw-rnp
("water of youth"); in the succeeding clause, it appears in the substantive, rnp.t ("year"),
followed by another compound, tp-rnp.t ("beginning of the year"). The turn of meaning between
"youth" and "year" in the repetition of rnp emphasizes the rejuvenating qualities of the
inundation when it arrives at its appointed time. Its allusion to "youth" is also appropriate in the
present context of "year," because the inundation arrives during the first month of the Egyptian
year, when the year is "young."
As we noted earlier, the offerings of water in the scenes on the north and south walls of
the Per-wer recall the episode of the Wandering Goddess myth in which the angry lioness,
having arrived at Philae, purifies herself in the nearby waters of the Abaton, a location not far
from Elephantine, the mythical source of the Nile. The rejuvenating waters cool her anger,
transforming her into a beautiful woman. In the scene on the north wall, the waters of the Nun
purify and rejuvenate the goddess;735 on the south wall, they also pacify her.736
In addition to the texts, with their aural and visual layers of meaning, the iconography
within the water offering on the north wall is also significant. Hathor wears the Crown of Geb,
which we encountered previously in the sistra-offering scene on the east wall.737 As we have
seen, it is associated with the Geb's power over the earth's fertility, its produce, and the
inundation, which springs from the earth.738 The King's composite crown, consisting of the
double crown, two ostrich feathers and a pair of ram's horns, also carries significance. Although

734
The vulture sign (G14) is the phonogram for nr (GG, p. 469), perhaps due to the fear (nr.t) caused by the bird (PL
526). Fairman, Ptolemaic Signs, 107, notes that with the addition of a small disk, it can write nri, "year," thus
leading to its use for the synonym, rnp.t. Caminos, Late Egyptian Miscellanies, 380, citing Papyrus Lansing, 2.6,
notes the Coptic nei, "time"; he interprets nri in the sense of "return of the year." Context can help in deciding
whether to read the vulture and disk as nri or rnp.t, as complementary pairs (nri/rnp.t) in parallel phrasing, or in a
polyptoton with variations on the root rnp, as in the present example. See Blackman and Fairman, Myth of Horus,
23-25, for more discussion.
735
D III, 72,8: "I purify my body [with] the water of youth."
736
D III, 63,7: "it pacifies your heart with the water of rejuvenation."
737
We recall that in the sistra scene on the east wall (Section 5.1.2), Hathor's wearing of the Crown of Geb connects
by means of an iconography play with the symmetrical scene on the west wall, an offering of the mnw-jar of beer.
The Crown of Geb thus relates to the fabrication of beer, requiring the products of the earth.
738
Preys, Catalogue d'Hathor, 129, describes the particular form of Hathor wearing the Crown of Geb in the Per-Nu
as guaranteeing the inundation, which results in the means to purify and maintain the cult of the ancestor gods, as
well as providing Egypt with water so that navigation rituals can be carried out. We will look at Hathor's aspect as
ancestral goddess in Section 5.2.6. Navigation rituals play an important part of celebrations relating to the myth of
the Distant Goddess, such as the festival of drunkenness and the festival in the month of Tybi.

199
lacking the double falcon feathers, it is otherwise similar to the Hp.ty-crown of Horus, which we
also saw earlier, symbolizing kingship and the dignity of the royal office.739 A text from Edfu
describes Horus wearing the crown as "son of Isis, ruler of the Two Halves (=Egypt) on his
throne, King of Upper Egypt, King of Lower Egypt, with high feathers and sharp horns."740
Additional clues to its meaning appear in the epithets with which Hathor addresses the King:

ii.ti m Htp iwa n Ra mw-nTry n Itmw

"Welcome in peace, heir of Ra, divine seed of Atum!" (D III, 72,8)

Atum, the god who created the Heliopolitan Ennead, is also the evening form of the sun god Ra;
the two often syncretize as Ra-Atum.741 The King's epithets thus show his divine parentage and
trace his lineage directly from the Creator. It is probably not a coincidence that mw-nTry
("divine seed"), both aurally and visually recalls mw-rnp ("water of youth"),
encountered earlier. The element mw- ("water"), written with triple undulating-wave signs and
contained in both words, continues the focus on water; the idea of fertility (alluded by "youth,"
and "seed") fits well with the theme of the inundation.
An additional sign of a child appears in the relief picture itself, in the form of the son
nursed by the goddess. The accompanying text, focusing on the offering of the inundation water,
has no references to this action. However, the nursing of a child not only has connections with
the nms.t-jar offering, but it also contains multiple layers of meaning. To shed more light on its
significance, we turn to two other scenes, each linked by the common thread of milkan
offering often presented to Hathor due to her manifestation as a nurturing cow.742
We begin with the milk-offering scene in the 2nd register of the east wall, located
diagonally from the nms.t-jar offering just examined (Fig. 5.47). The king, wearing a white
crown with ostrich feathers, ram's horns, and uraeii, offers two jugs and a situla743 of milk to
Hathor, wearing the Hepty-crown744 and seated on a throne. The king clarifies the importance of
his offering, saying,

739
The King's crown is also similar to the Royal Crown of Isis, but with the addition of ram's horns.
740
E II, 71,17, referenced in Derchain-Urtel, Hptj-Krone, 32.
741
The Right Eye of Ra (Hathor, as the sun) thus has its counterpart in the Left Eye of Atum (Isis, as the moon).
742
Cow-goddesses, including Hathor, are mentioned as early as the PT (PT 466a; 707a; 734b; 1375a; 2098a); since
the OK, royal funerary temples show a goddess nursing the king. On a relief fragment from the MK funerary temple
of Nebhepetre Mentuhotep II at Deir el-Bahari, the King drinks directly from Hathor, in Irmgard Woldering,
Sammlung Hannover, fig. 27 (Kestner-Museum Inv. Nr. 1935.200.82). Depictions of the king being nursed by a
goddess also appear in the mammisi of the Late and GR periods. Kingship can be passed down by the nursing
crown-goddesses (Leclant, Lait, 126), as well as through the milk of Isis (PT 370a 372e), who is first depicted
nursing in a relief with Seti I (Calverley-Gardiner, Abydos IV, pls. 16 and 20). Frankfort discusses the underlying
conceptions of the "mother cow," and its basis in the economic dependence on cattle in early Egyptian society, in
Frankfort, Kingship and Gods, 162-180. Contexts include birth, coronation, and rebirth after death. See Leclant,
Suckling of Pharaoh, 138-145; Brunner, Geburt des Gottknigs, 131; Seipel, Sugen, 339-342.
743
The situla, a milk jug with a handle, can be offered in addition to milk jugs without handles. See drawing in
Junker, Abaton, 10, fig. 2. As a possible precursor to the milk libation, see Gayet, Louxor, pl. 49.
744
In the present scene, Hathor's Hp.ty-crown, representing kingship and her role as female ruler, more properly
connects to the symmetrical scene with the offering of the xAdb-symbol of power, in a play of iconography.
However, it also may have a connection to the king's hp.ty-crown (also without the two falcon feathers) in the east

200
 Hnk irT.t anx-wAs nn ms.n=i m Hr=T baH=t im=sn
"Offering milk: it is milk745 that I have presented before you, your inundation is in them"
(D III, 69,5-6).

The title of the offering scene thus begins with the more common term for cow's milk,

irT.t, followed by its Ptolemaic synonym, anx-wAs, a play on its inherent components of
"life" and "power." Whereas for children milk serves as nourishment, for adult gods and kings it
imparts rejuvenation. By offering it to the deity, the king could thus expect a reciprocal gift of
strength, rejuvenation, and power over his enemies.746 The statement that "the inundation" is in
the milk implies that the flood waters also contains anx and wAsqualities graphically
represented in the anx and wAs symbols of the stems hanging from the offering jars of primordial
water, which we saw in the symmetrical scenes at the base of the south wall.747 The writing of

baH, "inundation,"748 adds further layers of meaning, recalling the primeval benu-bird
perched upon the mound of creation rising up from the field flooded with the waters of the
Nun.749 Even the final phrase continues the imagery, whereby the boat-sign, , used to
write the preposition, im,750 makes a visual allusion to the rising water level caused by the flood,
allowing navigation of the river. In fact, the boat sign in the text column stands over the water
sign of the plural suffix pronoun, thus continuing the visual pun.751
Multiple allusions also appear in the text of the Royal Randzeile, describing the King as

HqA mnmn.t Hr Hnk HDw

"Ruler of the Herd, offering white milk" (D III, 69,8).

side of the 3rd register of the north wall (containing the image of Hathor nursing her child), thus forming another link
between the two scenes.
745
Taking nn to be the copula in a nominal sentence. See Kurth, EP II, 89d and n. 1, who gives a similar example
from Edfu, mnw nn iri Hm=f, "dies sind die Monumente, die Seine Majestt geschaffen hat" (E VII, 11,8).
746
Wb I, 197,7 and 204,1. See also Guglielmi, Milchopfer, 127-128.
747
In purification scenes of the King, deities pour water over his head, which become streams of ankhs and wAs-
symbols. For example, Seti I is purified with ankhs and wAs-scepters by Seth and Horus on the lintel of Seti I from
Heliopolis (formerly Brussels E 407), in Brand, Seti I, pl. 72; on the inner cartonnage of the early 22nd Dynasty
coffin of the Chantress of Amun and Lady of the House, Tjentmutengebtiu, she is depicted being purified with
ankhs and wAs-scepters by Horus and Thoth, BM 22939, Andrews, Egyptian Mummies, fig. 10.
748
Wb I, 448,1-8.
749
As a verb, baH appears in the Hs-jar offering of primordial water seen previously at the west side of the base of the
south wall. Sopdet "pours out Hapy from his cavern in order to flood (baH) the Two Lands with what exists" (D III,
75,3-4).
750
The preposition im is derived from imw, "boat," by the consonantal principle. See Fairman, Alphabetic
Signs, p. 240, no. 263.
751
The IFAO photo by A. Lecler, no. 98-2202, in Cauville, Dend Trad III, pl. 32, clearly shows the arrangement of
the signs in this text in a column.

201
The counterpoise serves as the phonogram for the sound mn, having dropped the weak
consonants i and t, by means of the consonantal principle, from the word mni.t. Because the
menit was one of Hathor's ritual instruments, the spelling of "herd" with the menit-sign not only
alludes to Hathor herself in her bovine manifestation, and also to her herd of sacred Ax.t-cows,
who produce divine milk.752 Plays on the root HD ("white") create additional allusions, with the

designation of the milk as HDw suggesting not only its white color but also its connection
with HD.t, the white crown of Upper Egypt worn by the king in the scene.
Hathor's responsibility for giving life through her milk is apparent in two more
statements, the first from the speech of Hathor, which equates her with Isis:

As.t wr.t mw.t n.t bik Hnw.t nfr.t bnr.t bnrw Sd nTr.w m HDw=s
"Isis the great, mother of the falcon, beautiful young girl,753 sweet one of (sweet) milk, who
nourishes the gods with her white milk" (D III, 69,11-12).

The polyptoton on the root bnr ("sweet"), with its turn of meaning from the feminine substantive,
bnr.t, "sweet one," to the masculine substantive, bnrw, "sweet milk," calls attention to the
benevolent nature of the goddess and the sweetness of the life-giving sustenance that she creates
and gives to the gods. The second statement appears in the Divine Randzeile:

Ax.t mnx.t m nTr.w Hr Sd.t tA pn Hr sanx Hr.w Hr srnp nn=s m bnrw=s

"The excellent cow among the gods, nourishing this land, making the people (lit. "faces") live,
rejuvenating her child with her sweet milk" (D III, 69,12-13).

The expression contains both aural and visual emphasis on life and rejuvenation. The two
successive s-causative verbs, sanx ("make live") and srnp ("rejuvenate") foreground her life-
giving actions; the repetition of the child-sign in the verb, srnp, and in the substantive, nn=s,
"her child," underlines the rejuvenating aspect of the milk754 and emphasize the active role
Hathor plays in bestowing life and renewal. Both statements bring us back to the depiction of
the nursing goddess in the nms.t-offering on the north wall (Fig. 5.46). With the identification of
Hathor with Isis, who nurses her child Horus ("the falcon"), the equivalence between the King
(the "living Horus") and the child becomes more explicit. His legitimacy thus assured, the King
draws life, power, and sustenance from the divine milk.

752
Wb I, 17,3-5; PL 16.
753
The feminine substantive, Hwn.t, "young girl," is an epithet of goddesses such as Hathor and Isis. It can also be
written with the ideogram for a cat: (D III, 69,13), which can denote Tefnut as a young lioness (Wb III, 54,2),
thus alluding to the Myth of the Wandering Goddess. Additionally, it appears in the expression, Hwn.t m wdA.t, "the
young girl in the Eye," designating the pupil (Wb III, 53,22), especially in the ritual of the "Pupil of the Horus Eye."
The term, "Pupil of the Eye," DfD-n-wDA.t, appears as an epithet of Hathor in an udjat offering scene in the Per-wer,
in the 3rd register, north wall (D III, 84,2). See Borghouts, Evil Eye, 141 n. 11, cited by Kurth EP I, 212 n. 150.
754
As we saw earlier in the offering of primordial water on the base of the south wall, a similar visual emphasis on
the rejuvenating powers of the Nun occurs in the use of child-signs to write nwn, "primordial water," and mw-rnp,
"water of rejuvenation" (D III, 63,7).

202
 Fig. 5.47. Interconnected Themes of Nursing, Divine
Milk, and the Inundation,
after D III, pls. 180; 190, IFAO

Adoration Scene Milk-offering Scene

North Wall, 2nd reg., east side East Wall, 2nd reg., 1st scene

More importantly, because the divine milk can also be equated with the inundation,755 which
Hathor also causes to flow forth, her image as a nursing mother shows she not only rejuvenates
and sustains her son (i.e. the King), but also, by extension, provides nourishment for both the
human and divine worlds.
An additional link connecting the three scenes appears in the second register of the north
wall, directly below the scene of Hathor nursing her child. The king, standing before the
enthroned Hathor, raises his hands in adoration (Fig. 5.47). In words similar to those of the god

755
Junker, Abaton, 10-11, notes that milk can play the same role as water in rituals: as offerings that the gods can
drink; for purification and sanctification.

203
Nun, which we saw in the Ogdoad scene on the outer entrance, he praises the goddess to the
height of heaven. This time, however, his praise also extends to the breadth of the earth:

dwA.n=i kA=t r qA n{t} p.t sn(.n)=i n=t tA r wsx n tA

"I have praised your Ka to the height of heaven, I have kissed the earth for you to (the extent
of) the breadth of the earth." (D III, 68,11-12)

The antanaclasis on the close homophones of kA (the "embodiment" of Hathor) and qA ("height"),
together with the repetition of the substantive, tA ("earth") in the verbal expression sn-tA ("kiss the
earth," i.e. "ground"), as well as in wsx n tA ("breadth of the earth"), emphasizes the height and
the breadth of the king's praise. As we will see, after examining the texts in the rest of the scene,
this statement can allude to more than just Hathor's rulership over heaven and earth.

Standing before the King is a small shrine containing a child, symbolizing the mammisi, one of

Hathor's ten sacred objects: , the divine child's place of birth. The connection of the birth
house with the goddess appears in the King's speech, who addresses her as

Sps.t wsr.t xnt H.t-nmi.t

"Powerful and Noble Lady in the Temple of the Bier" (D III, 68,14),

the H.t-mni.t, "Temple of the Bier," being a synonym for the mammisi. The nmi.t, meaning "bier"
or "bed," consists of a bed with a lion head, feet and tail. The term appears frequently in the
Osirian texts at Dendera; the image of the bed thus contains the dual concepts of birth and
rebirth.756 These allusions fit well with the idea of the nursing goddess, because her milk not
only can provide sustenance for her child, but also can rejuvenate the dead, as shown by the
ritual of milk offerings to Osiris, carried out at the Abaton.757
However, the most important statement for our understanding of Hathor's role in relation
to the divine child, nursing, and the inundation, appears in the following speech of Hathor:

SAa.t SAa(.t) papa n(n) k.t Hr xw=s Sd nn=s m HDw=s

756
Wb. II, 266,2-5; LP; GR; the verb (nm, "sleep") and later noun (nmi.t, "bed, bier") may originate from an earlier

term, mnm.t (Wb II, 80,13-14). Compare with pr-msy.t, "Sanctuary of the Bier," another name of
"mammisi," which appears in a menit offering in the 4 th register of the south wall of the Offering Hall (D VII, 92,1).
Wilson (PL 517) notes that the term, nmi.t, very common in Osirian texts at Dendera, can also denote the "sleep of
death."
757
Just as the milk of his mother Isis constantly renews the young god Horus (equated with the King), it can also
rejuvenate Osiris, who must never age and must also be constantly renewed. Daily rituals of renewal with milk
offerings thus took place at the Abaton (See Junker, Abaton, 9-15, esp. 14-15), as well as annual rituals that took
place during the Mysteries of Osiris in the month of Khoiak. See Chassinat, Khoiak, passim.

204
"Female Creator, who was the first to be born, without another except for her, who nourishes her
child with her white milk" (D III, 69,1-2).

The antanaclasis on the root SAa, "initiate; create," which we saw earlier in the offering of
primordial water, again emphasizes Hathor's primacy as creator goddess. In that scene, the
statement emphasized Hathor's creation of the land. Here, the imagery of nursing her child with
her milk can also be understood as emphasizing her creation of the inundation. In fact, a subtle

allusion to the inundation appears in the writing of nn, "child": , recalling the writing of

the primeval waters of the Nun, , which we encountered earlier,758 and which can be
transliterated as either nwn or nnw. Bringing together the ideas expressed in the previous milk-
offering scene, these statements show that as the creator of the inundation, Hathor provides the
anx-wAs, "life and power"759 to sustain and rejuvenate the living King, while Hr Sd nTr.w,
"nourishing the gods,"760 and Hr sanx Hr.w, "making everyone live."761 In addition, we can now
understand the king's praise of the goddess "to the height of heaven" and "to the breadth of the
earth," which, as we saw earlier, not only alludes to her rule over both gods and men,762 but also
to her sustenance of the divine and the human worlds.763

5.2.4 Primordial Creator of Light

The previous text referring to the rejuvenating powers of Hathor's milk also contains a
subtle allusion to another aspect of her creative powers. Although in the present context, the

verb, papa, means "be born," by substituting the sign of the birthing mother with the

sign of sun rays as the determinative, it becomes papa, "shine." Aurally, the phrase,
SAa.t SAa(.t) papa, could thus also be understood as "Female Creator, who was the first to shine."
The verb papa ("shine") frequently refers to the shine of gold,764 recalling Hathor's well-known
epithet as nbw.t, "The Golden One (f.)." Wilson765 observes that papa ("bear; be born") and papa
("shine") are probably the same words, "for the shining of the sun is also its birth and the shine of
gold implies life and birth."766
758
D III, 63,7, in the offering of primordial water on the east side of the base of the south wall of the Per-wer.
759
D III, 69,5.
760
D III, 69,12.
761
D III, 69,12-13.
762
As we saw in the Ogdoad scene on the outer entrance.
763
As we saw in the milk-offering scene.
764
For example, in the statement in the bandeau of the frieze on the Per-wer's outer entrance: pr-wr n Ipy.t papa m
sA.wy, "the Per-wer is for the Uraeus, shining like gold" (D II, 3,6-7); in the description of the Per-wer's decoration,
in the inner column of the east side of the door frame on the outer entrance: papa m nbw, wHa.ti m Drwy, "shining
with gold, decorated with color" (D III, 46,10).
765
PL 346-7.
766
The birth imagery of light also appears in the GR temple of Opet at Thebes in the characterization of the goddess
Opet-Nut, who gives birth to Osiris as a replica of the sun. Opet, the Theban form of the sky goddess Nut, derives
her role from the latter's birth-giving of the solar disk at dawn, e.g. pap(.t) Sww m-Xnw pr Ip.t wr.t, "who gave birth
to light within the Temple of Opet the Great" (Clre, Porte, pl. 30; Urk. VIII, 74c, cited in Klotz, Kneph, 265). Opet

205
 We see more explicit expressions of this idea interwoven throughout other texts of the
Per-wer, beginning with a statement engraved on the outer entrance, in the outer column (Text
B) of the door frame's west side:

PsD.t sanx767 rxy.t

"The Shining One (f.) makes people live" (D III, 46,6).

The sun-rays sign, now appearing as the determinative in PsD.t, "Shining One (f.)," adds visual
imagery to Hathor's epithet. As we saw in the milk-offering scene, where successive s-causative
verbs emphasized Hathor's active role in causing people to live due to her milk (= inundation),
we now see this role attributed to her "shining" aspect as well. Once again imagining the
transparency of the walls, we can follow this theme into the Per-wer itself, where it links to the
offering of primordial water at the base of the south walla scene whose thematic importance
within the Per-wer is becoming increasingly apparent (Fig. 5.48).

"The Shining
One (f.) makes
people live"
(D III, 46,6)
"What exists,
came into
being when she
shines" (D III,
63,3-4)

Fig. 5.48. Theme of Primordial Creator of Light, after D II, pl. 94; D III, pls. 180; 190, IFAO

and Hathor were closely associated, as shown by the Hathoric horns-and-disk worn by Opet (Clre, Porte, pls. 30
and 42), as well as her Hathoric epithets, such as ir.t-Ra, nb.t p.t, Hnw.t nTr.w nb.w, "Eye of Ra, Lady of Heaven,
Mistress of All the Gods" (Opet I, 33, Sud; 77; 165; 168C) and nb.t iar.wt, "Lady of Uraeii" (Opet I, 63). See Klotz,
Kneph, 265-266.
767
Restored by Chassinat (D III, 46,6 n. 12), following Dmichen and Mariette.

206
There, in the Divine Randzeile, the text states,

xpr wnn.t m wbn{r}=s

"what exists comes into being when she rises/shines" (D III, 63,3-4),

thus specifying the role in creation played by Hathor in her solar aspect, familiar to us as the
Right Eye of Ra. She is the catalyst that sets the whole process in motion, light from the sun
being the key element for creating everything that exists.
Indications of the sun's life-giving role appear in other scenes within the Per-wer, thus
forming additional links with the statement in the base of the south wall. Three of these scenes
form part of the daily temple rite performed by the King in his role as high priest (Fig. 5.49).

Fig. 5.49. Theme of Primordial Creator of Light and Life, after D III, pls. 180; 190, IFAO

207
 E. Wall, 1st Reg. S. Wall, 1st Reg. e. side W. Wall, 1st Reg.

Fig. 5.50. Scenes from Daily Temple Rite Emphasizing Life from Hathor's Light,
D III, pls. 180; 190, IFAO

On the east wall (Fig. 5.50), the adoration scene explicitly states the result of Hathor's life-giving
rays:

Ray.t sA.t Ra Itn.t m Sn n Itn anx Hr-nb n mAA=s
"Rayt, daughter of Ra, the Atenet in the circuit of the Ateneveryone lives in seeing her."
(D III, 67,2-3)

Polyptotons on the roots, ra, "sun," and itn, "sun disk," juxtapose the feminine forms, Ray.t, "Rayt
(Female Sun)," and Itn.t, "Atenet (Female Solar Disk)," with the male forms, Ra, "Ra," and itn,
"Aten." Again, everyone lives due to seeing the (female) sun. However, this time the expression
used is Hr-nb, literally, "every face," adding the imagery of people turning their faces towards the
light of the solar disk.
A text on the opposing west wall (Fig. 5.50) reiterates this dependence upon the sun, in
the scene of "Revealing the Face." The king opens the door of the naos, revealing Hathor's sacred
statue, an action which allows her streaming, radiant light to fill the chamber. The accompanying
texts emphasize this visual encounter with the divine radiance by means of an extraordinary
number of visual plays on light in the hieroglyphs. The Divine Randzeile continues the idea that
her illumination gives life:

wpS mAw.t=s ndb anx nTr.w rmT n mAA=s

"her rays illuminate the (whole) earth, gods and people live in seeing her." (D III, 77,9)

The first instance of visual imagery in this statement exists in the verb, wpS, meaning
"strew or sprinkle light," and thus "illuminate." The determinative appears to be a sun disk
surrounded by a ring of dots, which may represent particles of light reflected by tiny particles of
dust.768 The imagery of illumination continues with the sun rays determinative in the following

768
Wilson, PL 227, suggests that this sign (N55) represents a ring of incense scattered around a disk, which could
thus also represent a "hazy cloud of incense smoke or incense burning brightly," citing its use with bsn-incense in

208
substantive, mAw.t, meaning "rays." The writing of ndb, "the (whole) earth,"
with the flesh determinative, (F51B), adds the implication of living beings. Furthermore, the
statement shows that the life-giving quality of Hathor's streaming rays now extends to the divine
as well as the human sphere.
A very beautiful allusion to this golden light, sprinkled over the land, appears in the
offering of Ma'at in the 1st register of the south wall (Fig. 5.50), where Hathor is characterized as
the female sun disk,

Itn.t mH tA m nqr nbw

"the Atenet who fills the earth with gold dust" (D III, 68,3).

The gold dust is, of course, the light of the sun seen sparkling through the air, as alluded in the
determinative of the verb wpS, "to sprinkle light," in the previous text. This imagery recalls the
ancient ritual of "spreading the gold dust," attested in the calendar texts of the Ptolemaic gate in
the Mut Temple precinct at Karnak.769 Dedicated to Mut and Hathor as guarantors of the annual
agricultural cycle, the rite took place on the first day of the month of Epiphi, near the end of the
agricultural year, just before the harvest. In a procession that wound its way into the fields,
priests would sprinkle a mixture of green THn.t-powder and gold dust, rendering the fields green
and glittering.770
Indirectly, Hathor's counterpart, Isis, also participates in the creation of light. The text in
the symmetrical scene on the west side of south wall's base (Fig. 5.44) indicates that the goddess
was born on "the night of the child in his nest," the well-known description of the fifth
epagomenal day just before New Year's. The texts specify that her birth took place at Iatdi, the
small temple of Isis at the (geographic) southwest corner of Hathor's main temple at Dendera.
Accompanying her birth, which is equated with the rising of the star Sirius, is the first morning
light of the sun: wbn Ra m p.t m AxAx Dr pr=s m X.t m A-rr, "Ra rises in the sky at dawn, after she
has come forth from the womb at Tarer" (D II, 105,12). Leitz771 observes that the verb msi (to be
born) can also mean "to rise heliacally," thus alluding to the rising of Sirius (equated with Isis) at
the time of the inundation. Additionally, because the young sun god can be considered the
falcon in his nest, the birth of Isis can also be equated with the rising of the sun on New Year's
Day.772 Basing his interpretation on the text on the northern doorpost of the Temple of the
Birth,773 Leitz sees Sothis as the Right Eye, and the morning sun as the Left Eye, with the union

the ritual of wpS-bsn (E II, 32,17). Nevertheless, its imagery also agrees with the idea of sunlight shining through
particles of dust.
769
See Goyon, Rpandre l'or, 85-100. At Esna, the verb wpS also appears in connection with the imagery of this
festival: wn.n=s p.t m THn.t wpS.n=s tA m THn.t, "when she opened the sky with a sparkle of light and strewed the
ground with sparkling green powder." See Goyon, Rpandre l'or, 96; Esna III, no. 236,19, p. 102.
770
An additional allusion to Hathor's "filling the land with gold dust" occurs in the east thickness of the door jamb of
the outer entrance: wr.t n.t p.t sHD tA.wy m st.wt=s itn.t mH tA m nkr nbw, "Great One of heaven, who brightens the
Two Lands with her rays, the Atenet who fills the land with gold dust" (D III, 54,16-17).
771
Leitz, Nacht des Kindes, 138.
772
We explore this topic further in Section 4.1.5.2.
773
The H.t-msxn.t, the 2nd Chamber East (Chassinat's Chamber E) in the main temple of Dendera; D II, 99,2 99,3;
Leitz, Nacht des Kindes, 140.

209
of the two divine Eyes taking place when the sun's brilliance overshadows the lesser brightness
of the more distant star at dawn.
Hathor's primacy as ruler of heaven and earth derives from her role as the source of all
life. Not only are all of her creations dependent upon her for sustenance, they are also
interconnected with each other. Coming into existence at the beginning, Hathor created land in
her form as a primeval serpent. In her form as Hathor-Isis, she heralds the inundation, which is
equated with the divine milk with which she sustains both the human and divine worlds. As the
female sun, she provides light for the world, filling the earth with her golden rays and causing
life to spring forth from the warmth of her touch.

5.2.5 Hidden of Image

Hathor's manifestation as the sun disk is highly visible, but in order to have contact with
humans (mediated by the King), her invisible divine spirit must have a place of residence on
earth. The bandeau of the base on the west wall of the Per-wer clearly states the King's
accomplishment in providing this secure place:

arq.n=f pr-wr n Sps.t m Iwn.t m kA.t nfr.t n.t D.t r xwt Ssp.w n Hm.t=s
"He has completed the Per-wer of the Noble Lady in Iunet (=Dendera) as a beautiful work of
eternity in order to protect the images of her Incarnation within it." (D III, 60,5-6)

Pleased with the excellent work of her sanctuary,

Hd=s m bik.t THn.t msxa xn=s Hr bs=s xnt xm=s

"She flies as the female falcon, the bright one (f.), she alights on her image in her sanctuary"
(D III, 61,6-7).

The sign (G204A), employed in the text as the ideogram for bik.t, "female falcon," is a
direct representation of Hathor's bA-bird,774 her divine spirit that descends from heaven to install
itself in her sacred statue, protected within the Per-wer sanctuary of her temple.775 Interestingly,

774
Hathor as a female falcon appears in Crypt East 1, Chamber C, East Wall, D V, pl. 336, where the text identifies
it as @.t-Hr nb.t Iwn.t ir.t-Ra Hry.t-ib pr=s bik.t nTry.t m mk.t kAr, "Hathor, Lady of Iunet, Eye of Ra, who resides in
her sanctuary, the divine falcon in the protection of the shrine." Specifications of material and dimensions indicate
that it is a statue: itn m nbw, xt mrH qA mH 1, Ssp 3, Dba 1, "sun disk in gold, plated wood, 1 cubit, 3 palms, 1 finger"
(76,9 cm) (D V, 15,10-11). Similar falcon statues of Hathor (but wearing a menit necklace) appear in Crypt South 1,
Chamber A, North Wall (D V, pl. 418) and in Crypt South 1, Chamber B, North Wall, (D V, pl. 424); the statues are
designated as @.t-Hr wr.t nb.t Iwn.t Ir.t Ra nb.t p.t Hnw.t nTr.w nbw nb.t mni.t Hnw.t sSS.t, "Hathor the Great, Lady of
Iunet, Eye of Ra, Lady of Heaven, Mistress of All the Gods, Lady of the Menit, Mistress of the sSS.t-sistrum" (D V,
124,5-6), and @.t-Hr nb.t Iwn.t tA-mni,t, "Hathor, Lady of Dendera, the Menit" (D V,133,5), respectively.
775
The ba of the deity installs itself not only in the cult statue, but also in the images engraved on the walls.
Assmann traces the origin of the concept of the" indwelling" of the divine spirit in an image to beliefs about the
dead, in which the ba of the deceased would descend from heaven and alight on the mummy, stressing that "the
statue is not the image of the deity's body, but the body itself. It does not represent his form, but rather gives him
form." Assmann, Search for God, 43; 46.

210
her epithet THn.t, "bright one," also alludes to the shining green powder, also called THn.t, spread
over the fields during the ancient ritual of "spreading the gold dust," mentioned earlier.776
Already in the texts engraved on the Per-wer's outer entrance, there is an emphasis on the
importance of keeping this image hidden, as shown in the west framing column, where she is
called

nb.t (r) Dr imn.t sStA

"Lady (to) the Limit, hidden of image" (D III, 46,5).

The epithet, nb.t r Dr, is the feminine counterpart of nb r Dr, literally, "Lord to the Limit." The
"limit" is the extent of the universe; the male version of the epithet belongs to the sun god Ra.777
Often translated as "Master of the Universe," or "All-Lord," Hathor's title thus indicates that she
is the Female Ruler of the Universe, as well as its Creator.778 The sign for imn.t, "hidden,"
represented as a man hiding behind a wall, his arms raised in adoration, calls to mind the worship
of Hathor's Incarnation, which is securely hidden behind the south wall of the Per-wer Sanctuary.
The Ogdoad, whom we met earlier in the symmetrical adoration scenes on the outer
entrance, reappear adoring the goddess on the thicknesses of the door jambs of the Southern
Niche. Following them into the niche, we see a subtle allusion to the importance of keeping
Hathor's image hidden (Fig. 5.51).

776
See Section 5.2.4 and note 769.
777
The feminine version of this epithet is attested since the MK and was applied to Hathor since GR. The title can
also designate the Eye of Horus and is the name of one of the seven heavenly cows. See Wb II, 230,15 231,2; 232
233,1-5; V, 591.
778
Wb II, 232 233,1-5: "Allherrin." It was applied to Hathor since the GR and can also designate the Eye of Horus
as well as one of the seven heavenly cows. See also Wb II, 230,15 231,2; V, 591. Hathor's epithets of Rayt (the
female Ra) and Atenet (the female sun disk) support her conception as the sun god's female counterpart.

211
 West Wall

"Lady (to) the

Limit, hidden
of image"
(D III, 46,5)

South Wall Outer Entrance

Fig. 5.51. Connection between Ogdoad Scenes on Outer Entrance and Southern Niche,
after D II, pl. 94; D III, pls. 180; 190, IFAO

In each of four narrow registers on the jambs, pairs of standing figures face towards Hathor's
sacred image in the niche, their hands raised in adoration. In the upper two registers are the male
and female pairs of the Ogdoad: Heh/Hauhet779 (infinite space) and Amun/Amaunet
(hiddenness) on the east jamb; Nia/Niaut780 (emptiness) and Kek/Kauket (darkness) on the west
jamb. We recall that the gods included on the outer entrance were Naunet/Nun (primeval waters)
and Hauhet/Heh (infinite space) on the east side; Kauket/Kek and Niaut/Nia on the west side.
Therefore, the distribution of gods on the east and west sides of the faade is the same as on the
east and west jambs of the niche,781 with one important difference: Nun/Naunet are now missing,
having been replaced by Amun/Amaunet. The Nun, being the source from which all creation
springs, is more properly placed at the base of the south wall, where it appears in the two
symmetrical offering scenes of primeval water, which we examined earlier. By including
Amun/Amaunet in its place on the door jambs of the niche, the ancient scribes thus indicated the
importance of infinite hiddenness for the female Creator residing within.

779
Sethe, Amun, 126-137.
780
Sethe, Amun, 133-137.
781
The distribution is the same except for the fact that the females stand ahead of their male counterparts on the
faade, whereas in the niche they stand behind.

212
 Having entered into the Southern Niche, and passing by the Ogdoad on the door jambs,
we notice that the text on the east montants of the north wall also emphasizes the hidden quality
of this space (Fig. 5.52), stating,

n rx.tw Ssm=s StA(.t) irw txn(.t) sStA

"One does not know her statue, secret one (f.) of form,
hidden one (f.) of secret representation."782
(D III, 90,10 91,1)

This multi-layered expression contains both aural and visual puns. Beginning with the root StA,
an intransitive verb meaning, "be secret, hidden,"783 we see that it stands out, being repeated
twice within Hathor's two epithets: StA(.t) irw txn(.t) sStA, "secret one of form, hidden one of
image." It occurs first as a participle, "secret one (f.)" or "She who is secret," and then as a
substantive, "image" or "form." The polyptoton, with its alliteration on the root, StA,784 and its
syntactical changes, emphasizes the two words while also linking them in meaning, showing that
the divine image is also hidden.785
In addition to the emphasis in sound, there is also visual imagery that adds meaning to the
expression. As we noted earlier for the ideogram of imn.t (hidden one), the seated man with his

arms raised in adoration, , can allude to the worship of Hathor's hidden image behind the

south wall, in the Southern Niche. In the present text, the sign serves as the ideogram for

txn(.t), meaning "hidden one." The verb txn, "be hidden, conceal,"786 is related to txn,
787
"obelisk," the monumental representation of the primeval mound, as well as an obelisk-shaped
casket used for relics, similar to a portable shrine.788 Because a shrine conceals sacred objects
from profane eyes, txn thus emphasizes the idea of concealment from those not authorized to
look. In addition, the root, Txn,789 can function as the verb, "be bright," describing sun rays,790

782
As noted in the chapters on word plays and sign plays, bold font indicates word play; blue font indicates sign
play; bold blue font thus indicates the intersection in a text of both word and sign play.
783
Wb IV, 551,3 553,5. Wilson (PL 1035) notes that the abbreviated form of StA appears frequently at Edfu, as if
the scribes consciously desired to bring the ideas of stA, "secret" and StA, "form" closer together, in order "to heighten
the air of mystery in the images of the gods."
784
In addition to the alliteration of S, including the previous word, Ssm=s ("her statue").
785
PL 1035. This emphasis on the hidden quality of the divine image works whether we transliterate as sStA or
StA, both of which create a polyptoton with StA(.t). Cauville (D X, Index, 528-529; 564) distinguishes the possible

transliterations by grammatical function, rendering as sStA when it functions as a noun (secret representation;
mystery), transitive verb (hide) or s-causative verb (make secret); as StA when it functions as a noun (mystery),
transitive verb (hide), intransitive verb (be secret), or adjective (secret). Therefore, I am following Cauville by
translating the present example (secret representation) as sStA.
786
Wb V, 327,8-18; GR, which transliterates it as Txn.
787
Wb. V, 326,15-24; Martin, Obelisk, 542.
788
Wb V, 326,15-22. The relationship between txn (hide) and txn (obelisk) is noted by Wilson (PL 1150-1151).
789
The interchange between txn and Txn in GR is evident by the spelling of Txn with the tall-t: (Wb V,

391; since Dyn 18); playfully, with the tA-sign in GR: (Wb V, 392,3).

213
and as the noun, "bright one," personifying one of the characteristics of the sun god.791 Since
Dynasty 21, Txny also refers to the Eye of Ra. Appropriately, Txn.t, "She who is bright," or
"Bright One (f.)," is also an epithet of Hathor.792

Fig. 5.52. Location of text on east montant of Southern Niche (D III, 90,10 91,1),
after D III, pls. 200-202, IFAO

Therefore, this simple expression, describing the hidden, secret nature of Hathor's statue,
also alludes to the niche as the primeval mound, her role as the Eye of Ra, and her shining
quality as a solar goddess. Furthermore, the root THn can also mean "be joyful"793a perfect
description of Hathor, as the pacified, returning goddess, nb.t THn, "Lady of Joy."
Hathor, as well as the associate gods of the temple,794 possessed multiple statues. When
the statues were participating in ritual appearances, the bas of the gods did not inhabit their

790
Wb V, 393,12; GR.
791
Wb V, 393,24. Attested since PT; frequently used in GR as a transitive verb meaning, "illuminate."
792
Wb V, 394,1-2; GR. In the Per-wer, Txn.t Hr, "Bright One (f.) of Face," meaning "happy," mostly applies to
Hathor (D III, 63,13; 68,2; 70,18;81,11), but also to Isis (D III, 79,14): The Bright One (f.): .
793
Wb V, 392,12-16; GR.
794
According to Cauville, Dieux et prtres,70-71, the pantheon of Dendera includes the following eleven divinities:
Hathor no. 1 (Hathor the Great, Lady of Iunet, Eye of Ra, Lady of Heaven, Mistress of All the Gods); Hathor no. 2
(Hathor, Lady of Dendera, Eye of Ra, Chief of the Great Seat); Hathor no. 3 (Hathor, Lady of Dendera, the Uraeus
of Ra); Hathor no. 4 (Hathor, Lady of Dendera, the Menit); Horus (Horus of Edfu, the Great God, Lord of Heaven,
Dappled of Plumage, who goes forth from the horizon); Ihy (Ihy the Great, Son of Hathor); Harsomtus no. 1
(Harsomtus, the Great God, who resides in Dendera); Harsomtus no. 2 (Harsomtus the Great God, Lord of Khadi);
Harsomtus no. 3 (Harsomtus, the Child, son of Hathor); Isis (Isis the Great, Mother of God, Lady of Iatdi, she who

214
"bodies"; their statues (having become "corpses") rested in the underground crypts,795 equated
with the Duat, or Netherworld.796 Each cult chamber on the main floor of the temple links by
name to a specific underground crypt in which the cult statues belonging to corresponding
chamber above were preserved. The one exception is the Per-wer Sanctuary, which has no
associated underground crypt. In fact, a text in the most secluded part of the Per-wer, the east
side of the 2nd register of the rear wall of the Southern Niche (Fig. 5.53), clearly states where
Hathor's D.t, or "body," perpetually resides:

D.t=T pw Dd.tw m HD=t {m} n Hr=s r=t ra nb

"It is your body (that is) installed797 in your shrine. It is not798 far from you every day"
(D III, 95,11).

Hathor's D.t, or "body," thus perpetually resides in the Southern Niche, suggesting that the reason
behind the omission of a corresponding crypt for the Per-wer is that the Southern Niche is the
repository for Hathor's 4-cubit-high gold statue, making a crypt for it redundant.799 Arranged in
the thickness of the wall, in a similar arrangement to Dendera's wall crypts, the Southern Niche
thus exists in the liminal space of the Duat, just like a crypt. Furthermore, because Hathor is the
main deity of the temple and a creator goddess in her own right, her "body" must be constantly
present and accessible to her, so that she can reside in it and continually carry out the process of
creation from within her earthly residence. The idea that the temple's principal naos is the
primeval mound of creation800 thus takes on greater significance. At Dendera, it is indeed the
place from which all creation begins. The niche must therefore be protected, not only because it
is the earthly residence of the goddess, but also because the delicate process of creation, carried
out within its dark, liminal space, requires absolute purity.801

resides at Dendera); Osiris (Osiris Wennefer, the Great God, who resides at Iunet). Cf. "Ennead of Dendera," listed
by Preys, n. 1441.
795
The ka-statues of the deities seem to have been stored in East Crypt 1 at Dendera. See Cauville, Dend Trad V-VI,
pp. 21-28; Waitkus, Krypten, 254-255.
796
Statues of deities would be awakened and reborn by means of a procession to the roof, where the Xnm itn ("Union
with the Sun Disk") ritual would take place. See Waitkus, Krypten, 268-269. Assmann, Theologie und Frmmigkeit,
55-56, sees the forerunner of this ritual in the Opening of the Mouth ceremonies carried out for the mummy in the
forecourt of the tomb complex, where it was "united with the sun" before being interred.
797
Kurth, EP II, 198 notes that a nominal sentence with pw is more explicit than a nominal sentence without pw.
The present expression is an A pw nominal sentence followed by a verbal clause introduced by a stative. This
construction (which is uncommon in the Per-wer's texts) thus strongly emphasizes the subject. For a translation into
German, Kurth recommends adding denn, ja nmlich, wahrlich, or translating, "Es ist so, da" .
798
(Aa13) is a scribal error and should be omitted.
799
We will examine wall reliefs depicting this statue in the next section.
800
This imagery forms part of the idea that the temple as a microcosm of the universe, with the island of creation at
its heart. This place of residence for the principal deity is called the s.t wr.t, "Great Seat"; at Dendera, Hathor is thus
Hry.t s.t wr.t, "Female Chief of the Great Seat" (D III, 80,9). See Shafer, Rituals, 7-8. See also Section 1.4 on
Ptolemaic temples.
801
This situation can be compared with the importance of hiding and protecting the D.t of Osiris, so that Ra can join
with it during the fifth hour of the Amduat in the dark, hidden cave of Sokar. The pre-creation energy preserved in
the cave acts as the catalyst that unites Ra and Osiris; the resulting renewal of the sun allows Ra to rise again at
dawn. See Richter, Amduat, 86-87.

215
 Southern Niche

Fig. 5.53. "It is your body (D.t) that is

installed in your shrine. It is not far from
you every day." (D III, 95,11);
after D III, pls. 201; 202, IFAO

Interestingly, the texts of bandeaux of the base and the frieze in the Per-wer suggest that
Hathor unites with two different images in the southern niche. Each bandeau contains two
expressions related to Hathor's images: on one side, a reference to her cult image; on the other, to
her image engraved on the wall. The expressions on each side of the bandeau of the frieze stand
in a chiastic relationship with those on bandeau of the base, linked by reference either to her cult
statue or her wall image (Fig. 5.54 and 5.55).

216
 Bandeau of the Frieze - east side Bandeau of the Frieze - west side
xn=s Hr bs=s xnt xm=s, "She alights on her snDm=s Hr sSm=s Hr sA.t, "She alights upon

image (bs=s) in her sanctuary." her image (sSm) on the wall."

(D III, 61,6-7) (D III, 62,5-6)
[i.e. her statue] [image on wall]

Bandeau of the Base - east side Bandeau of the Base - west side
xn=s Hr sStA=s xt Hr sA(.t), "She alights on Xnm=s ti.t=s xnt H.t=sSS.t, "She unites with

her (secret) image (sStA) engraved on her image (ti.t=s) in the Temple of the
the wall" (D III, 60,2) Sistrum (=Dendera)." (D III, 60,8)
[image on wall] [i.e. her statue]

Fig. 5.54. Chiastic Relationship between Bandeaux of the Frieze and Base

bs=s (D III, 61,6-7)

sSm=s (D III, 62,6)

sStA=s (D III, 60,2)

ti.t=s (D III, 60,8)

Fig. 5.55. Words Meaning "Image" in the Bandeaux

Whereas the expressions designating her image as bs or ti.t specify that it is "in her
sanctuary," those designating it as sSm or sStA indicate that it is "on the wall" or "engraved on the
wall." More importantly, although there are many images of Hathor engraved on the walls of the
Per-wer and in the niche, the statement, "on the wall," in each of these two expressions render it

in the singular, as sA.t,802 "wall": (D III, 62,6); (D III, 60,2); Although

802
The writing of sA.t with the curl and oblique lines may be due to an earlier incorrect transcription of the t-loaf.
See Faulkner, CDME, 208; PL 289.

217
scholars have "amended" the translation, rendering sA.t as plural,803 I believe that the choice to
use the singular was deliberate, suggesting that the scribe was referring to Hathor's sacred
emblem, as the top of a naos-sistrum, engraved in the center of the niche's rear wall.804 This
emblem, the manifestation of her "sekhem," or physical power, as we saw earlier in the section
on the myth in the Per-wer (5.1.2), stands directly behind the similar image carved deeply into
the outer rear wall of the temple and plated in solid gold, a focus of popular piety.

5.2.6 Ancestral Goddess

Hathor's statue must be kept hidden not only from profane eyes, but also from "the
ancestors," or "the ones who came before." Texts within the Per-wer are quite explicit about this
necessity, as shown in the bandeau of the base on the east wall, where it states that the King
constructed the sanctuary for Hathor,

r sStA D.t=s r tpy.w-a

"in order to conceal her body from the ancestors" (D III, 59,12).

The verb, sStA, is the causative of StA, "to be secret, hidden, mysterious; it thus means, "make
secret," "hide," or "conceal."805 A secret image, such as the cult statue of a deity, is also called a
sStA,806 as we just saw in the previous example.
Inside the Southern Niche, there is a similar statement on the east wall, where the
bandeau of the frieze describes Hathor as

SAa.t StA(.t) irw txn(.t) xprw r tpy.w-a

"Primordial Goddess, secret one of form, hidden one (f.) of manifestation from the ancestors"
(D III, 92,5-6).807

The determinative for txn.t ("hidden one") is a man hiding behind a wall, thus visually
representing the idea of concealment. Derived from the verb txn, "be hidden, conceal," it can also
refer to the hiding of corpses of the dead, such as the body of Osiris.808 Because the root txn can
also designate an obelisk-shaped casket similar to a portable shrine, as we saw, the use of the
word txn(.t) here not only visually represents the meaning of "hidden," but again alludes to the

803
Cauville, Dend Trad III, pp. 128-129 (D III, 62,56), using sAwt ("walls"): "elle s'installe sur son image (place)
sur les parois"; idem, Dend Trad III, pp. 126-127 (D III, 60,2), again using sAwt: "elle se pose sur sa reprsentation
grave sur les parois."
804
As suggested to me by Prof. Jacco Dieleman, private conversation, October 12, 2011.
805
StA: Wb IV, 551,3 553,5; PL 1034. sStA: Wb IV, 296-297; PL 933.
806
Wb IV, 299,14 -16; GR; PL 934.
807
This expression contains an emphasis on secrecy with the antanaclasis on StA.t/StA(.t), "secret one/secret of
representation"; emphasis on concealment by the sign play and homonyms of txn.t, similar to the phrase on the
north wall of the Southern Niche (D III, 90,10 91,1) , which we examined earlier.
808
E I, 173,10; PL 1151. We saw a similar use of this word in a text examined in the section on Hidden of Image,
5.2.5.

218
shrine in which Hathor's secret statue resides. The question that remains to be asked is why
Hathor's image must be concealed from the "ancestors." To help solve this puzzle, we step
outside the Per-wer once again, for another look at the Ogdoad adoration scene on the outer
entrance.
Having completed their work of creation, these personifications of the primordial
elements died and were buried in a mound, receiving a funerary cult according to the model of
deceased humans.809 A number of sites possessed such mounds, most notably at Edfu, Esna, and
Medinet Habu, to which Amun of Luxor traveled every ten days for rejuvenation during the
"decade festival." Although deceased and buried in the mound, these primordial gods still played
a role in the continuation of life. We recall that, having inseminated the primordial lotus, the
Ogdoad caused light to shine forth, with the sun god emerging from the blossom in the form of a
child. Thus, the Ogdoad is intrinsically connected to Creation, as well as to the funerary cult of
the ancestral gods.

Outer Entrance

Atef Crown

East Scene on Outer Entrance West Scene on Outer Entrance

Fig. 5.56. Adoration Scene of King and Ogdoad on Outer Entrance of Per-wer;
D II, pl. 94, IFAO

The Atef crown worn by Hathor on the west scene of the Ogdoad adoration scene (Fig.
5.56) makes a visual link with this divine funerary cult, due to the crown's intrinsic connection

809
Dunand, Gods and Men, 50.

219
with Osiris, the ancestral god par excellence, and whose theology stresses not only his own
protection and the regeneration of life from death, but also the cult of the ancestors.810 The
Ogdoad scene on the entrance faade thus makes a connection with the two scenes of funerary
offerings in the 3rd register of the east and west walls inside the Per-wer (Fig. 5.57).

Fig. 5.57. Theme of Ancestor Gods, after D II, pl. 94; D III, pls. 180; 190, IFAO

810
Preys, Catalogue d'Hathor, 129.

220
 Fig. 5.58. Offerings to the Ancestors,
after D III, pls. 180; 190, IFAO

3rd Register, East Wall, Per-wer 3rd Register, West Wall of Per-wer
Incense Offering Funerary Offering

At first glance, the most striking feature of the two scenes is the two symmetrical images
of Hathor (Fig. 5.58), each seated on a throne in front of an intricately latticed naos, symbolizing
the archaic Per-wer shrine of Upper Egypt. Egyptian artistic conventions allow us to understand
that these images depict the goddess facing directly outward from her naos, an arrangement
replicated by the arrangement of the two images on the east and west walls, which both lie at a
90 angle in relation to the south wall (Fig. 5.59). In fact, these images appear to show two sides
of the same statue; the texts accompanying the two scenes specify its owner as @.t-Hr nb.t pr-wr,
"Hathor, Lady of the Per-wer," its height, 4 cubits (2.10 m) and its material, nbw, "gold" (D III,

221
73,9-10; D III, 85,7).811 In both texts, the ideogram,812 , writes "Per-wer." It is obvious that
the statue depicted here is the principal one of Hathor at Dendera; furthermore, it permanently
resided in the Southern Niche.813 Hathor's white crown with flanking ostrich feathers associates
her with Nekhbet, the tutelary goddess of Upper Egypt who was also the mythical mother of the
King,814 and is depicted wearing the same crown in the scene on the east wall.

South Wall of Per-wer

East Wall West Wall

Fig. 5.59. Hathor's 4-cubit-high statue, represented as if she were facing outwards
from the Southern Niche; after D III, pls. 180; 190, IFAO

811
It is questionable whether a solid gold statue of these dimensions could have been lifted into the southern niche
situated so high on the wall, so the statue may have been hollow-cast. It is unlikely to have been merely gold-plated
wood, because the texts at Dendera specify when a statue is plated, e.g. in Crypt East 1, Chamber C, East Wall, D V,
pl. 336, where the description of Hathor's falcon statue states, itn m nbw, xt mrH qA mH 1 Ssp 3 Dba 1, "sun disk in
gold, plated wood, 1 cubit, 3 palms, 1 finger" (76.9 cm) (D V, 15,10-11). Note, however, that the height and width
of the naos are each 2 cubits, 2 palms, 2 fingers (= 1.24 cm), so it could not have accommodated the 4-cubit-high (=
2.10 m) statue of Hathor. Daumas, Mammisi de Nectanbo, 171, suggests that the measurements for the Hathor
statue are incorrect, and that qA mH 4, "height: 4 cubits," should be corrected to read qA mH 1 Ssp 3, "height: 1 cubit, 3
palms" (= 75 cm), to which Waitkus, Krypten, 241,14, agrees. However, Cauville, Statues cultuelles, 85, makes the
point that such an error in measurement would be astonishing for the most finely decorated and most important
room of the temple. Instead, she suggests (and I agree) that the naos depicted is rather the ancient model (due to the
lattice decoration) of the Per-wer, symbolically representing the Southern Niche. She also notes that when viewed
from below (since the niche is located 3 meters above the floor level), the statue with its 1-meter-high golden crown,
would have been an impressively beautiful sight. Furthermore, such a cult statue measuring 2.10m would have
easily fit into the Southern Niche, which measures 3.28m in height (dimensions calculated from Zignani, Temple
d'Hathor, pl. 20).
812
The diagonal line inside the image of the shrine in the hieroglyph (probably denoting the linen drapery
concealing the statue) should extend to the upper left inside corner of the opening.
813
Once installed in the Southern Niche, the statue's large size and undoubtedly considerable weight would have
precluded removing it.
814
An example of Nekhbet with the white crown and flanking plumes includes the inlaid pectoral from the tomb of
Tutankhamen, 18th Dynasty, Cairo Museum. See Aldred, Jewels of the Pharaohs, pl. 65.

222
The two scenes are complementary, each concerning a different type of offering to the dead:
incense on the east wall; a Htp-di-nsw.t offering of bread, meat, and beer on the west wall. In
addition, both scenes contain symmetrical sub-scenes. The living king offers to the three gods
seated on a common base before him, as well as to Hathor, Lady of the Per-wer, seated in front
of her naos. In addition, the kneeling King Pepi I815 offers a gold statuette of Ihy to Hathor, Lady
of the Per-wer in each of the sub-scenes. On the east wall, the recipients are Hathor, Horus
Behdety, Nekhbet and Hathor, Lady of the Per-wer; on the west wall, Isis, Harsomtus, Mut, and
Hathor, Lady of the Per-wer (Fig. 5.60).

King Hathor Horus Behdety Nekhbet Pepi I & Ihy Hathor

Fig. 5.60. Incense Offering, 3rd Register, East Wall, Per-wer; D III, pl. 180, IFAO

We begin with the scene on the east wall, focusing on the information it reveals about
Hathor's relationship to the ancestor gods and the role played by the King in this constellation.
Wearing the Atef crown of Osiris, and thus connecting him with funerary offerings, the King
places balls of incense in an arm-shaped censer,816 offering their fragrance to the gods seated
before him. He says,

ii snTr snTr=f Haw=T pD pD.n=f tpy.w-a=T

"The incense comes, it censes your (f.s.) body.
The incense, it has censed your (f.s.) ancestors." (D III, 72,11-12)

The alliteration on the roots, snTr and pD, both meaning "to cense," arrests the listener's attention,
calling attention to the King's action. The words stand out, first as substantives (incense) and
then as verbs (censes; has censed).817 The variation on the root created by each repetition makes
the word play particularly effective, because the pun and the alliteration simultaneously explain
and highlight the meaning of the phrase. The use of the 2nd person feminine singular pronoun

815
Pepi I reigned during the 6th Dynasty of the OK; his devotion to Hathor is attested by an inscribed vase lid, found
at Qena, in which he carries the epithet, "son of Hathor, Lady of Dendera." See Daumas, Pepi I, 170, n. 2, citing
Petrie, Tanis, pl. 12.
816
Depictions of such censers go back to the NK, as shown on a stela from Deir el-Medina in Demare, Ax iqr
Stelae, pl. XII, A49.
817
snTr=f as a perfective sDm=f, "it censes," and pD.n=f as a perfect sDm.n=f, "it has censed."

223
indicates that the King is addressing Hathor. However, he offers the incense not only to her, but
also to her "ancestors." The rest of his speech, which employs plural pronouns, addresses the
group as a whole, as in this example:

in=i n=tn sHtp r sHtp ib=tn

"I bring you (pl.) incense in order to pacify/satisfy your (pl.) heart." (D III, 72,17)

This statement is particularly effective, because the antanaclasis plays on two meanings of the
word sHtp: "incense" and "pacify." In addition, by using the sign of the arm-shaped censer as
the ideogram for each word, the text directly connects to the relief scene, where the king holds
the identical ritual implement. The ideogram thus calls attention to censer used in the offering;
by representing both words, it sets up an equivalency between "incense" and "satisfy,"
emphasizing that by means of the offering, the gods are pleased.
The incense offering scene and its symmetrical partner on the west wall together
contain an extraordinary number of word plays: six in the present scene, eight in its
counterpart. It is not, however, surprising. Incense, along with the food and drink offerings of
the other scene, are typically offered to the dead; the King's Atef crown and the mention of
"ancestors," also suggest the ritual's mortuary character. This type of linguistic emphasis has a
long history in such offerings, going back to the Pyramid Texts.818 The tradition may have
arisen because the magical effectiveness of words spoken is so important in this context. The
King's words and gestures in this scene emphasize his role as Horus, who embraces his
deceased father Osiris and performs magic like that of Thoth, pronouncing the powerful
utterances over the body of the dead god. Activated by the King's performative speech, the
offering of incense would revivify the body, restoring its lost moisture through the powers
inherent in the "living" incense, whose grains were the "crystallized exudations from a divine
body."819
Another clue to Hathor's role in this scene lies in her unusual headdress, consisting of a
falcon wearing the horns and disk. It recalls the ba-bird encountered earlier, which alights as a
female falcon upon her cult image in the sanctuary. 820 The depiction of a person's ba in the form
of a bird, descending from heaven to join its mummy, is a frequent theme in New Kingdom
funerary art,821 as shown in the painting below from the New Kingdom tomb of Irynefer at Deir
el-Medina (Fig. 5.61). It visually conveys the idea of the soul's mobility between the seen and
unseen worldsan ability also possessed, of course, by the goddess.

818
PT 200 (=116a-d): inD Hr=k snTr inD Hr=k sn-nTrpD Tw m rn=k pD, "Hail to you, incense! Hail to you, brother
of the god...cense yourself in your name of incense." The incense offering at Dendera also bears similarities to the
Ritual of Amun, possibly dating to the 22nd Dynasty. See Moret, Culte, VII, 9 VIII,5.
819
Blackman, Incense and Libations, 73-79.
820
In D III, 61,6-7, described at the beginning of the section, "Hidden of Image."
821
Depiction of the ba in the 19th Dynasty tomb of Nefertari in the Valley of the Queens, in McDonald, Tomb of
Nefertari, 58-59; 19th Dynasty tomb of Inherkha, TT 359, in Valbelle, Artistes, 162-163; the scribe Ani and his wife
Tutu as ba-spirits in his Book of the Dead, Thebes (19th Dynasty), British Museum, EA 10470/7, in Taylor, Death
and Afterlife, fig. 8.

224
 Fig. 5.61. Ba-spirit in Tomb of Irynefer TT 290, Deir el-Medina, 19th Dynasty822

In the context of the King's incense offering, these observations agree with the idea,
suggested by Kurth, 823 that Hathor's falcon headdress designates her as a deceased primeval
goddess, thus placing her into dual roles: a deceased primordial goddess who was "first to come
into being"; the dutiful daughter maintaining the cult for "her ancestors," similar to Horus who
maintained the funerary cult for his father, Osiris.824 The first role is familiar from the previous
discussion of Hathor as the creator of land, water, and light. The second role derives from her
identification as the daughter of various primordial creator gods, such as Irta,825 Nun,826 Atum,827
and Atum's daytime counterpart, Ra.
At Dendera and Edfu, various terms can denote the deceased divine ancestors, who are
often characterized as serpents, alluding to their existence in the watery Nun. Some of the

designations indicate their position in the line of creation, such as tpy.w-a, whose literal

822
Located on vaulted ceiling in Irynefer's tomb, TT 290. PM I/1, p. 373 (12). Illustration by Caris Reid, after a
photo of this scene kindly contributed by Kasia Szpakowska. The painting shows two images of the ba: one standing
before a disk; the other flying towards the "shadow" of the deceased in a shrine.
823
Kurth, Pepi I, 18-19, who analyzes Hathor's depictions with the falcon headdress in Crypt South 1, Chamber E,
North Wall (D V, 158,7 160,8; pl. 443), Chamber U on the east side of the Outer Vestibule (D VII, 136,14-137,9,
pl. 649), as well as the present scene in the 3rd register, East Wall, of the Per-wer. He also notes the seven forms of
Mehet-weret, resting in the necropolis of the gods in the form of a falcon at Esna (Esna V, 351). See also D V, pl.
445 and 448, for the feather garb of divinities; Spiegelberg, Falkenbezeichnung, 27-34.
824
Preys, Complexes, 533-534, notes that these two roles are reflected in the ambiguity inherent in Hathor's epithet,
tp.t n(.t) tpy.w-a (D III,9,2), which can be translated as "first one of the ancestors," as well as "first (daughter) of the
ancestors. This ambiguity was probably deliberate, showing that Hathor can function in both roles simultaneously.
825
sA.t Ir-tA, "Daughter of Irta" (D III, 63,3).
826
sA.t Nwn, "Daughter of Nun" (D III, 63,3).
827
Itm.t sA.t Itm, "Temet, Daughter of Atum" (D III, 100,15); sA.t=f Ir.t-Ra, "his daughter, the Eye of Ra" (D VI,
96,9). Hathor's many connections with Atum and the Heliopolitan tradition goes back to at least the Ramesside
Period, when the name Iwnw (Heliopolis) was sometimes replaced with Iwn.t (Dendera) in Theban epithets of the
god's name. From the Third Intermediate Period onward, Dendera became known as the "Southern Heliopolis"; texts
at Dendera, especially in the Per-wer, refer to Dendera as tA n Itm, "Land of Atum." See Myliwiec, Atum, 123-124.
Hathor also connects to Atum through her role as Hathor-Tefnut, in the Myth of the Wandering Goddess, because
Shu (air) and Tefnut (moisture) were Atum's first emanations.

225
meaning is "those who were before,"828 or Dr.ty.w, "those at the limit,"829 referring to

the "limit," or "end," of time. Other terms emphasize their powers, like sxm.w, "(divine)

powers"830 and kA.w, "(divine) kas,"831 or bA.w anx.w ("living bas").832 In

the last example, the snake determinative reflects their primeval, serpentine form; "living"
indicates that even though they have completed their lifespans, they continue to live forever.833
Finally, they can be characterized as the emanations of either Ra or Atum as their creator, being

called ms.w Ra, "children of Ra,"834 or ms.w Itm, "children of Atum."835 Texts at
Dendera list the names of the "dead gods" of both Dendera and Edfu.836 Because the crypts at
Dendera represent the Duat, as well as functioning as archives for festival calendars, they contain
many references to deceased gods, as well as to the rituals carried out for them throughout the
festival year. For example, on the north wall of Chamber F in Crypt East 1, the text describes
them as

bA.w anx.w m &A-n-Itm Dr.ty.w nTry.w m &A-rr xpr Ds=sn m aHa.w (i)pn nfrw wa nb m Dsr s.t
"The living bas in the Land of Atum (=Dendera), the divine forefathers in Tarer (=Dendera),
who created themselves as these837 good aHa-snakes, each one in the sacred place" (D V, 33,7-8).

828
Wb V, 283,12; PL 1139-1140: tpy.w-a stresses the connection with sp tpy, "the First Time," of creation.
829
D III, 60,6; Wb V, 598,6-9; Meeks, An Lex 78,4947; Gundlach, Vorfahren, 1067-1069; Waitkus, Krypten, 186,
n. 10, defines Dr.ty.w as "ancestors, primeval gods," like tpy.w-a, noting that the adjective wr.w used in their
description can refer to time, i.e. their extreme age. Wilson, PL 1245, notes fifteen gods at Edfu designated as
Dr.ty.w, "the ancestors in the mansion of the bik-falcon" (E I, 562,10).
830
D III, 89,3. Often qualified with the adjective, Sps ("noble"), as in sxm.w Sps.w, "noble (divine) powers" (D III,
84,13).
831
D III, 72,16. Often appearing in the epithet, kA.w nb.w kAw, "(divine) kas, lords of provisions" (D III, 84,13); also
qualified as kA.w anx.w, "living kas" (D III, 60,2), esp. in the epithet of the King: xnt kA.w anx.w D.t, who is "at the
head of the living kas forever" (D III, 60,2), which refers to "his kingship on earth, under the auspices of the
ancestor kas" (PL 1074).
832
In Crypt East 1, Chamber F: bA.w anx.w m tA-n-Itm Dry.w nTry.w m tA-rr, xpr Ds=sn m aHa.w ipnw nfrw wa nb m
Dsr s.t, "The living bas in the Land of Atum (=Dendera), the divine ancestors in Tarer, who came into being
themselves as good serpents, each one in the sacred place" (D V, 33,7-8). See also Chassinat, Khoiak I, 288-290;
Goyon, Dieux-gardiens I, 468; 488; Waitkus, Krypten, 67, n.33.
833
Klotz, Kneph, 254-255.
834
D V,16,12. See also E V, 175,10-11; E VIII, 160,10.
835
D II, 47,3.
836
At Dendera, there are ten dead gods, listed on the exterior lintel of Passage E'-H' (D XI, 107,20 108,5): qA(?)-aA-
n-BHd.t (human-headed); @r.w (falcon-headed); Wr.w (human-headed); aA.w (falcon-headed); #nt-HA-di (human-
headed); .wt (bull-headed); ^ps.w xnt (human-headed); _wA.t StA (jackal-headed); @H (crocodile-headed); NDm-anx
(crocodile-headed). At Edfu, there are nine dead gods, listed on the exterior lintel of Passage C'-H' (D IX, 241) and
on the exterior lintel of Chamber E' (D XI, 58,14 59,8). See Cauville, Ftes d'Hathor, 31.
837
For , Waitkus, Krypten, 66, n. 24, omits the p-stool and reads m, translating it as the preposition, "in": m aHa
n(=m) nfrw, "als aHa-Schlange in Vollkommenheit"; Cauville, Dend Trad V-VI, pp. 116-117, reads ipnw, translating
it as a plural demonstrative pronoun, "ces": m aHa ipnw nfrw, "sous (la forme de) ces beaux serpents." Allen, Middle
Egyptian, 5.10, notes the older m. pl. demonstrative pronoun: jpw, "these, those," which appears after the
noun and is used mostly in religious texts. Reading as ipnw, after Cauville, requires switching the position of
the two signs. This spelling does not appear under the demonstrative pronouns listed in Kurth, EP II, 70-73.

226
 The idea that a funerary cult was necessary for the primeval gods owes a great deal to the
Greco-Roman theology at Thebes, with which both Dendera and Edfu were closely connected.838
According to the Theban tradition, after the first emanations of the primeval serpent Kematef839
expended their energy in creating the world, they died and were buried at the primeval mound of
Djeme, located under the small temple of Hatshepsut and Thutmose III at Medinet Habu. In
order to renew their creative energy, Amun of Luxor (Amenemopet), taking on the identity of
Horus, son of Isis, journeyed there every ten days to bring them a variety of funerary offerings,
including water, food, and incense. These offerings rejuvenated and renewed their kas, allowing
them to continue their creative work from within the Nun, located under the primordial mound
where they were buried.840 At the same time, the offerings not only renewed Amun-Ra's divine
kingship (and thus the kingly ka held by the reigning monarch), but also activated Amenemopet's
own cyclical regeneration.841 Known as the Decade Festival842 and thus carried out once every
Egyptian week,843 this ritual formed the basis for similar offerings given to the deceased ancestor
gods at Dendera and Edfu, where it was integrated into other festivals celebrated throughout the
year.
At Dendera, rituals for the ancestor gods took place primarily in the divine necropolis of

#Adi, "Khadi,"844 situated at present-day Naga el-Guzariya across the Nile from

However, Junker, GdD, 44, notes the the existence at Dendera of the m. pl. demonstrative pronoun, ipn, which I
have chosen to employ as the reading, switching the two signs as in Cauville's interpretation.
838
Cauville, Dend Trad V-VI, p. 65, characterizes the traditions at Dendera as a vast "crucible," combining
influences from Heliopolis, Memphis, and Thebes. Klotz , Kneph, 312, shows convincingly how the Theban priests
incorporated elements of the three major cosmogonies (Heliopolis, Memphis, and Hermopolis) and reshaped them to
reflect their local pantheon, centered around Amun. It would therefore seem more likely that this amalgamation of
traditions, taking place at Thebes, was exported to Dendera and Edfu, where it was again adapted to fit the local
gods. Examples of Theban influence at Dendera include the equating of the following gods at Dendera with their
Theban counterparts: Hathor = Amaunet; Ra = Amun-Ra, king of the gods, who is in Thebes; Harsomtus = Ra or as
a primeval serpent similar to Kematef; Horus of Edfu = Shu. Texts equating Hathor with Amaunet appear in the
crypts: D VI, 156,3-4: ir @.t-Hr nty m s.t tn nb.t Iwn.t &fn.t sA.t Ra Imn.t pw, "As for Hathor, who is in this place: the
Lady of Iunet, Tefnut, Daughter of Ra, she is Amaunet," cited in Kockelmann, Toponymen, 102-103. Klotz
(Kneph, 90) notes that Amaunet was the "primeval mother par excellence," and mw.t mw.wt iwt.t snw=s, "mother of
mothers without her peer" (text in Clre, Porte, pl. 48; =Urk VIII, 100b); at Dendera, Hathor carries similar epithets:
mw.t mw.wt, "the mother of mothers" (D III, 133,13); nbw.t m mw.t mw.wt, "The Golden One as the mother of
mothers" (D V, 155,4); mw.t mw.wt Hry.t-ib NTry.t, "mother of mothers who resides at Dendera" (D VI, 152,9).
839
The first textual evidence of Amun manifesting himself as a serpent appears in Thebes during the Ptolemaic
Period, in which he appears as Kematef at Medinet Habu and is described as "the father of the fathers of the
Ogdoad." See Sethe, Amun, 38; 108.
840
The most thorough and insightful explanation of the various theological threads that combine to form the Theban
tradition behind the celebration of the Decade Festival is in Klotz, Kneph, 242-259.
841
Bell, Royal Ka, 290.
842
See Doresse, Dcade 1; idem, Dcade 2; idem, Dcade 3. Klotz, Kneph, 572-573, notes that the periodicity of
Amenemopet's trips to Djeme with the gods' offerings appears to have astronomical implications. The time of his
arrival at Djeme, at the end of the decade, was "precisely when a decan star would die and enter the Netherworld,"
quoting Pap. Carlsberg I, 3,26, which states, "just as one (star) dies/sets, so does another come alive/rise every ten
days." See also von Lieven, Nutbuch, 71, 150, 402.
843
The ancient Egyptian week consisted of ten days, with four weeks in a month and four months in each of three
seasons: Akhet (Inundation); Peret (Emergence, or Winter); Shomu (Harvest, or Summer).
844
See Chassinat, Khoiak I, 279; E I, 339,3; Daumas, Temple d'Hathor, 12-14. Alliot, Culte I, 254-256, discusses
Khadi and the etymology of its name.

227
Dendera. Both Horus and Harsomtus carry the title, nb #Adi, "Lord of Khadi,"845 suggesting their
participation in its funerary cult. Harsomtus, in particular, presents offerings to the deceased
ancestor gods during three annual festivals,846 as well as during Dendera's Decade Festival. The
text in the bandeau of the frieze in Chamber G of Crypt East 1, begins by describing him as

mHn wr m p.t m mskt.t nb snD.t m s.t=f <m> manD.t nb-(r)-Dr m Iwnw Tn D.t=f m Tnn it nTr.w
"The great serpent in the sky in the day barque, the lord of fear in his place847 <in> the night
barque, Lord to the Limit in Heliopolis, raised up of body as Tjenen, Father of the Gods."
(D V, 44,10-12)

These epithets equate Harsomtus with the gods of the Heliopolitan pantheon: Ra (in his day
barque) and Atum (in his night barque). The text also identifies him with the Memphite creator
god Tjenen, with a pun on the god's name (Tn D.t=f m Tnn, "whose body is raised up as He Who
is Raised Up), evoking the image of the god rising up from the Nun as the primeval mound. The
epithet, "Father of the Gods," belongs to Geb, personification of the earth. These epithets thus
assimilate Harsomtus to two forms of the sun god and two earth-based creator gods. In addition,
his designation as mHn wr, "great serpent," alludes to his primordial status as the snake who
came forth from a lotus at Creation.848 These characterizations reflect an amalgamation of
Heliopolitan and Memphite traditions, probably passed on to Dendera via the Greco-Roman
Theban synthesis. The continuation of the text in Crypt East 1 then makes a specific reference to
the Decade Festival at Dendera:

tp hrw mD wAH-x.t n sA=f Wsir sSm pr.t-xrw n bA.w anx.w m Htp.w m kA.w Hr DfA.w
"On the first day of the Decade: Placing offerings for his son, Osiris.
Distributing the funerary offering for the living bas with offerings of food and provisions."
(D V, 44,12-13)

Thus, Harsomtus maintains the funerary cult of Osiris as well as that of the deceased primeval
gods.

845
D V, 43,1; in the Per-wer, both Horus (D III, 98,1) and Harsomtus (D III, 75,1; 79,12; 85,1; 88,4) are nb #Adi.
846
10 Thoth (I Akhet 10): "Procession of Harsomtus, the Great God, Lord of Khadi, going to the house of reception
in order to pour [water] for the dead (gods) who are in Khadi" (D IX, 164,2-5); 30 Paophi (II Akhet 30): "Procession
of Harsomtus, Lord of Khadi toward the house of reception, pouring water for the gods who are in Khadi" (D IX,
163,2-4); New Moon of Pachons: "Going out to Khadi, procession of the noble god, Harsomtus, the Great God,
Lord of Khadi" (D IX, 203,5-8). Also a reference to "Decade"-type offerings: "Harsomtusgreat of honor among
the Ennead, with living brightness on the horizon on the first of the decade, when he gives an offering for his son
Osiris and presents the funerary offering for the living bas consisting of food and provisions, which are offered for
their names as wDA.t-Eye, with earth-hacking and fire on their altars" (D V, 55,10-15). See also Cauville, Ftes
d'Hathor, 7-10. Waitkus (Besuchsfesten, 156, n. 11) suggests that rituals for the deceased ancestor gods may have
also taken place at the DADA-building at Dendera, as an "Ersatzritus" for the ritual at Khadi.
847
Cauville, Dend Trad V-VI, p. 131, translates s.t here as "ncropole."
848
Wbn-m-nxb m bA anx, " 'He who emerges from the lotus' as a living ba" (D V, 141,1-2); bA anx m nxb, "the living
ba in the lotus" (D V, 144,10). The lotus from which he comes can also be characterized as ir.t-Ra, the Eye of Ra":
(D V, 37,3; 86,13; 92,3; VI, 122,1; 122,10). See also Morenz and Schubert, Gott auf Blume; Ryhiner, Lotus;
Quaegebeur, Somtus l'Enfant, 113-121.

228
 Hathor Pepi I & Ihy Mut Harsomtus Isis King

Fig. 5.62. Funerary Offering, 3rd Register, West Wall, Per-wer; D III, pl. 190, IFAO

Returning to the symmetrical scene in the 3rd register of the west wall of the Per-wer (Fig.
5.62), the epithets of Harsomtus now hold more meaning:

KA nb kA.w rdi x.t n sxm.w sSm anx n anx.w

The Ka,849 Lord of Provisions who gives offerings to the (divine) powers,
who distributes life to the living. (D III, 85,2)

Word and sign plays abound in this expression,850 which begins with the appearance of both
types simultaneously. There is a polyptoton on the root kA,851 which imperfectly translates into
English as "life-power," or "vital dynastic force"; it also means the power to produce and supply
food and protection.852 In the present context, it designates the primordial manifestation of
Harsomtus. Appearing first as the substantive, kA, and then in its plural form, kA.w, "provisions,"
its repetition emphasizes the turn in meaning between "primordial power" and "provisions,"
which is even more striking because kA.w itself can also be characterized as "food for the ka."853
In addition, there is visual repetition, with the kA-sign repeated twice in two visual puns: the first
with god's ka embracing his serpentine form as a primeval deity; the second, with the kA-arms
"holding" a bread loaf. The expression ends with another polyptoton, this time on the root anx,
"to live," appearing first as the substantive, anx, "life," and then as the masculine plural
perfective active participle used as a noun of agent, anx.w, meaning "living ones," or simply, "the
living." The aural emphasis in the expressions with polyptotons creates an intertwining between
kA/kAw and anx/anx.w, highlighting the fact that Harsomtus, with his connections to the earth-god
creators, has command over the products of the earth, and thus the ability to distribute food. This
nourishment, in turn, gives "life to the living." Furthermore, these "living" are not just humans

849
Cauville, Dend Trad III, p. 161, translates (D169) kA, as "le bon gnie."
850
There are two more sign plays in his speech that are not included in this example. See the entries for Doc 37 in
the Table in Appendix 2.
851
Kaplony, Ka, 275; Assmann, Search for God, 110.
852
Bedier, Geb, 173-174, and n. 7. See Schweitzer, Wesen des Ka, 46-48, for the ka as a nourishing power.
853
The expression, n kA=k, "for your ka," can introduce funerary offerings as well food for the living. See Hornung,
Idea into Image, 175-178.

229
and animals on earth, but also the kA.w anx.w, "the living kas" who are the primeval ancestor
gods. The aural and visual plays with their multiple layers of meaning thus communicate all of
these theological concepts, as well as presenting Harsomtus in dual roles, like Hathor: as the
primordial creator as well as the descendent who provisions the cult of his divine ancestors.
Whereas Harsomtus attends to their offerings throughout the year, Hathor seems to
participate in such rituals only during the two most important events of her festival year:854 the
Return of the Wandering Goddess, celebrated at Dendera during the month of Tybi;855 the
Festival of the Beautiful Reunion in the month of Epiphi,856 when she travels to Edfu to visit her
consort Horus.857 During the festival in Tybi,858 after making the ceremonial navigations in her
barque on the sacred lake, Hathor proceeds with her "divine court"859 to the hypostyle hall,
followed by a libation carried out by Harsomtus "for those who are in Khadi."860 During her visit
to Edfu, she participates more directly in the ancestor rituals, as the text in the bandeau of the
frieze in East Crypt 1, Chamber C, indicates:

sSm=s pr.t-xrw n Wsir m s.t=f

nTr.w aA.w ms.w Ra qaH=s n kA=s(n) m kA.w Hr DfA.w
"She distributes the funerary offerings to Osiris in his place. The great gods, the children of Ra
she extends (her arm) to their kas with food and provisions." (D V, 16,11-13)

In the text, her gesture of qaH-Dr.t, "extending the arm," for the food offerings indicates that
Hathor is the officiant of the ritual.861 The statement also shows that recipients include Osiris, as
well as the primeval gods. For more specific information about Hathor's role in this ritual, we
turn again to the texts at Edfu. In the bandeau of the frieze on the outer east side of Edfu's
enclosure wall, the text states that

spr=s r BHd.t xr ms.w Ra nhs=sn Hr s.t=sn n ii[=s] xy aA wr r-Hna=s mit.t r sfsf Aw=sn

854
However, Waitkus, Fahrt nach Edfu, 105-111, and Egberts, Praxis und System, 18-19, suggest that Hathor made
another annual voyage to Edfu during a festival celebrated from 18 24 Paophi, citing E VII, 27,1-2. Egberts
interprets the text as follows: after arriving at Edfu, she would first circle around the great temple. Then, she would
proceed to the Mammisi, where she would stay seven days with Horus, Harsomtus, and the Horus Harpoon. At the
end of the festival, she visited the necropolis at Edfu, giving an offering to the ms.w Ra (children of Ra), the
deceased primeval gods. Egberts translates "der sehr grosse Erhabene," which accompanied her, as the Horus
Harpoon.
855
19-12 Tybi and 28 Tybi 4 Mechir (= I Peret 19-21 and I Peret 28 II Peret 4).
856
III Shomu, New Moon.
857
Alliot, Culte II, 443-560; E V, 230 236,4; Favard-Meeks, Behbeit, 422-423.
858
See Richter, Wandering Goddess, 174-175.
859
The associate gods of Dendera. See n. 794 above.
860
D IX, 202,4-9; Cauville, Ftes d'Hathor, 9.
861
PL 1049; E III, 75,13, pl. 57. It is similar to the nis-offering gesture that summons the recipient of funerary
offerings: Wb II, 204,1-19; Blackman, Consecration of Egyptian Temple, 81 n. 2. Wilson, PL 491, translates nis
dbH-nTr.w, as "calling out the menu of the offering," a ritual in the daily service that takes place before the Htp-di-
nsw.t offering. See also Cauville, Osiris, 157 n. 1. There does not seem to be significant difference in the depiction
of the nis- and qaH-gestures. The King performs a similar gesture in his offering of the Htp-di-nsw.t in the
symmetrical scene in the 3rd register of the west wall of the Per-wer.

230
 She (=Hathor) arrives at Behedet862 (=Edfu) in the presence of the children of Ra and they
awaken in their places at her coming. The very lofty one863 (=Horus of Edfu) is with her864 also,
in order to present funerary offerings865 (E VII, 27,3-4).

The imagery of the ancestor gods "awakening," as Hathor arrives with their offerings, reinforces
the idea of their rejuvenation, an important result of the maintenance of their funerary cult.866
During the festival in Epiphi, a particular form of Hathor travels to Edfu, as attested on
the west wall of Crypt East 1, Chamber A, where the statue of this manifestation867 was also
preserved:

@.t-Hr nb.t Iwn.t tA mni.t Ir.t-Ra Hry(.t)-ib BHd.t xnt r Msn tp tr=s n rnp.t Abd 3 Smw <hrw>
in.tw=s Nbw, qA mH 1.
"Hathor, Lady of Iunet, the Menit, the Eye of Ra who resides in Behedet, who sails to Mesen
yearly the third month of summer (at the time of) the festival, 'She is Brought Back.' Gold,
height 1 cubit" (D V, 5, 17-18).

Although this form of Hathor is not identical with tA mni.t Ir.t-Ra m &A-rr, "the Menit, Eye of Ra
in Tarer,"868 who does not travel to Edfu, the designation, tA mni.t, nevertheless has significance.
Besides the strong association with protection, as we saw earlier,869 the ritual instrument also has

862
Kurth, Reise der Hathor, 214-215, argues that "Behedet" specifically refers to the necropolis of deceased gods at
Edfu, located in the southwestern part of the Temple of Edfu's sacred precinct. He also sees the visit to this
necropolis, and the subsequent rejuvenation of the primeval gods (and of Horus, Hathor, the King, nature, and all of
Egypt), as the primary purpose of the festival in the month of Epiphi, ruling out the idea of a "Heilige Hochzeit"
between Horus and Hathor. On the other hand, Altenmller, Fahrt der Hathor, 760; 764-765, accepts the idea of the
"Heilige Hochzeit" of Hathor and Horus following the necropolis visit, seeing it as a ritual of rebirth equivalent to
the high point of the Mysteries of Osiris in Khoiak, when Osiris is reborn as Horus. Kurth's suggestion that
rejuvenation is the main theme of the festival at Edfu in Epiphi does not preclude the idea of a i(ero\j ga/moj and a
reunion of Hathor and Horus (who is also equated with the sun god, thus adding the allusion of the Distant Goddess
reuniting with her father). Polyvalent Egyptian thinking would allow the intertwining of all three themes within the
festival. Furthermore, the celebration in Dendera's mammisi of the birth of Ihy (equated with the King, the Living
Horus) by Isis in the month of Pharmuthi, exactly nine months after Hathor's visit to Edfu, would seem to support
Altenmller's suggestion. See Alliot, Culte I, 246 n. 5; Cauville, Panthon d'Edfou, 7.
863
Waitkus, Krypten, 186 n. 1, and Egberts, Praxis und System, 18-19, suggest that the xy aA wr may designate the
Horus Harpoon.
864
Wb III, 112,1-4: r-Hna=s, "with her"; following Kurth, E VII, p. 48 (E VII, 27,4 ).
865
Waitkus, Besuchsfesten, 158-169, connects this text with another journey of Hathor to Edfu during the month of
Paophi, contra Alliot, Cult I, 444, who sees it as part of the festival in Epiphi. See Cauville, Ftes d'Hathor, 8; 104-
107, and Kurth, Treffpunkt, 156-179. Grimm, Festkalendar, 376-377, notes separate festivals during the month of
Paophi at Dendera and Edfu, but with no indication of a voyage by Hathor to Edfu . In any event, the text in E VII,
27,3-4, describes Hathor's maintenance of the ancestor cult at Edfu.
866
Klotz, Kneph, 229-230, attests similar textual imagery at the Temple of Montu at Tod: the living bas "come alive
from beholding him" (Td I, 89,5); a description of the Ogdoad on the arrival of Amun of Luxor: "the Inert-ones
comes alive from beholding their father. See Clre, Porte, pl. 64 (= Urk VIII, 87b).
867
"Hathor the Menit, Eye of Ra who resides in Behedet" appears as a woman wearing the horns and disk with the
addition of a rearing cobra in D V, pl. 323, west wall, the fourth seated deity. However, an image of Hathor with the
same epithets, appearing in the Throne of Ra (Chassinat's Chamber N), D IV, pl. 250, south wall, 3 rd register, shows
her with the usual horns and disk without the cobra. Cf. "Hathor the Menit, the Eye of Ra in Tarer," who wears the
double crown with ostrich feathers, shown in D III, pl. 219, 3 rd register, east side.
868
D I, 51,12; 71,1-2; VI, 60,8-9; VI, 171,1-2; E I, 572,1-2, cited in Cauville, Panthon d'Edfou, 10. The principal
form of Hathor in the Temple of the Menit (Chassinat's Chamber L). See Preys, Catalogue d'Hathor, 134 n. 134.
869
In the menit offering scene discussed in Section 5.1.2, in which Hathor the Menit protects "her brother" Osiris.

231
revivifying power.870 Barguet871 suggests that the counterpoise represents the stylized female
body of Hathor; the lotus often appearing on the disk may symbolize female genitals, with
allusions to both birth and rebirth.872 The theologians at Dendera thus wisely chose this form of
Hathor to visit Edfu, because the revivification of the deceased primordial gods there plays such
an important role in the festival of Epiphi. This form of Hathor also agrees well with the
corresponding form of Amenemopet, a creator god associated with the fertility god Min, 873 who
visits the deceased gods at Medinet Habu during the Decade Festival.The funerary offerings,
combined with the revivifying power of Hathor as the Menit, thus restore the vital energy of the
deceased primeval gods in their burial places at Behedet, allowing them to continue their creative
work from within the Duat.
The question remains as to why Hathor carries out the ancestor rituals at Edfu, whereas
Harsomtus carries them out at Dendera. As an androgynous creator, Kematef contained both
genders, ensuring "generation and regeneration by its capacity to impregnate, conceive, and give
birth to itself."874 The primordial emanations of Irta (=Harsomtus) and Mut (=Hathor),
representing the male and female principles, are thus essential for cosmic renewal. I would
suggest that Harsomtus and Hathor carry out complementary roles in maintaining the funerary
rituals for the deceased ancestor gods. At Dendera, Harsomtus (identified with Ra) is the male
complement to Hathor's primeval female form buried in Khadi; at Edfu, Hathor is the female
complement to the male primeval form of Harsomtus buried at Behedet. It is probably not by
chance that the symbol of Hathor the Menit represents female generative power, whereas the cult
image of Horus of Behedet is an ithyphallic falcon.875 Furthermore, Horus of Edfu is equated
with Kematef himself.876 The male-female complementarity thus has a generative function, not
only in creating the heir equated with the living King, but also in the maintenance of the ancestor
cult; it reflects both the generational cycle and the androgynous source from which it originates.
The renewal of the primeval forms of both genders therefore allows the restoration and
regeneration of the perpetual dynamic of the cosmos.877

870
Bonnet, RRG, 450-451. An image of a menit with the counterpoise of a scarab appears in TT 359 at Deir el-
Medina, in Cherpion and Coreggiani, Inherkhouy I, 95-97; II, 49, pl. 76. The accompanying text states that the
deceased has the power to take on every form that he desires, the image visually representing the transformative
power of the menit. Whereas the image pertains to BoD 30B, the title belongs to BoD 76, thus showing the free use
of texts and images from the BoD prior to its codification in the 26th Dynasty.
871
Barguet, Contrepoids, 104-105, cited in Leclant, Contrepoids, 271, and Pinch, Votive Offerings, 279. The lotus
also alludes to the primeval lotus containing the Divine Child.
872
Whereas other gods routinely hold the ankh to the nose to impart life, Hathor holds out the menit, as she does to
the deceased king in the well-known scene from the tomb of Seti I (KV 17), in Robins, Art, p. 168, fig. 197. See also
Staehelin, Menit, 52-53.
873
Otto, Amun, 239-240. However, Amun of Luxor's cult image is not ithyphallic. See Brunner, Gtter, 644.
874
O'Connor, City and World, 147.
875
Depicted in the 3rd register, north and south walls of the Throne of Ra (Chassinat's Chamber N): D IV, 20, 3-6
and pl. 250; 30, 15-17, and pl. 260. The principal form of Horus in this chapel is the gmHs, the ithyphallic falcon.
The joining at the Festival of the Beautiful Reunion of these two sexualized forms of Hathor and Horus of Edfu
generates the son equated with the living King.
876
E VIII, 59,3-5: iw=n nsw.t bi.ty (Ptol. XII)| xr=k Hr BHd.ty nTr aA nb p.t (59,4) ini=f n<=k> [ix.t] <nfr(.t)> nb(.t)
<kAw> Spsw Hr ms n kA=k ra-nb <ntk Km-A.t=f> iri nn (59,5) r Aw xpr pr(.t) nb(.t) im=k, "The King of Upper and
Lower Egypt (Ptolemy XII)| has come to you, Horus Behdety, Great God, Lord of Heaven. He brings <you> all
good things, food, and delicacies, offering to your Ka daily, for you are Kematef, who created everything and every
seed came out of you."
877
Troy, Queenship, 9.

232
 Textual indications at Dendera and Edfu, together with Hathor's iconography, thus
confirm the dual roles for both Hathor and Harsomtus: deceased primeval deities; children who
maintain the mortuary cults of their divine forefathers, as well as that of Osiris.878 This duality
allows Hathor and Harsomtus to have a presence in the Duat as well as on earth. Harsomtus
carries out the rituals for the ancestor gods at Dendera, whereas Hathor fulfills this function at
Edfu.879 The maintenance of the funerary cult of the divine ancestors also figures into the King's
legitimacy, which we will explore further in the following section on the King as
Intermediary.880
This brings us back to the text at the beginning of this section, which stated that Hathor's
D.t, or body, must be hidden from the "ancestors." I believe that the reason is connected with her
role as the female sun, and can be explained by a comparison with Ra's nightly journey through
the Netherworld. During the 5th Hour of the Amduat, the sun god must undergo an important
transformation in the secret cave of Sokar, lying deep in the earth beneath a "primeval mound"
vaguely resembling a pyramid. There, in the dark, hidden space, the ba of Ra joins with the
secret D.t of Osiris, the fusion taking place by means of the pre-creation energy in the cave. By
uniting with his "body" and becoming the dbA-dmD, the "united one," Ra is renewed and
transformed, able to rise again, reborn, at dawn. The body of Osiris, however, remains protected
and hidden in the Duat, ready to unite again the next night with Ra in a perpetual transformative
process that allows the sun to rise again each dawn. Similarly, Hathor's secret D.t must remain
hidden and protected in the Southern Niche, whose architectural arrangement high in the wall
likens it to a hidden crypt as well as the primeval mound of creation. By joining her divine ba
with her secret D.t, the same transformative process can take place, aided by the pre-creation
energy she possesses as a primeval deity (renewed by the cult of the ancestor gods). As a result,
Hathor is renewed and rejuvenated, rising again at dawn in the horizon and continuing her
creative acts that make possible life on earth. As the Creator, Hathor's secret body must thus be
kept secluded from her progeny, as well as from anyone not authorized to approach it, for a
violation of its sanctity would endanger creation and thus life itself. The texts in the Southern
Niche confirm that the ancestor gods are in the Per-wer, but not in the Southern Niche, where her
body is hidden. The cryptographic text at the base of the Southern Niche states, pr-wr n Nbw.t
Dd.ti Xr sxm.w wr.w mi Ax.t Xr itn, "The Per-wer is for the Golden One, being enduring,
containing the great divine powers (=ancestor gods), like the horizon containing the Aten" (D III
93,6). However, as we saw, the bandeau on the east wall of the Southern Niche states that SAa.t
StA(.t) irw txn(.t) xprw r tpy.w-a, "Primordial Goddess, secret one of secret representation, hidden
one (f.) of form from the ancestors" (D III, 92,5-6). These texts suggest that the ancestor gods are
present in the Per-wer (perhaps in the Nun, in the base of the south wall), but not above in the
Southern Niche, where Hathor's secret body is concealed from them.

878
Favard-Meeks, Behbet, 424, observes that Osiris at Edfu does not seem to be associated with the cult of the
ancestor gods during their rites of censing and libation.
879
Favard-Meeks, Behbeit, 422.
880
In 5.3.3.

233
5.2.7 Summary

The multiplicity of Hathor's characterizations as a primordial goddess at Dendera seems

to be a local reflection on the Ptolemaic Theban synthesis of the three major cosmogonies from
Heliopolis, Memphis, and Hermopolis.881 This unified theory at Thebes focused on the god
Amun, equating him with various primeval forms: Atum, the son of Atum, a member of the
Ogdoad, the creator of the Ogdoad, and as the Ogdoad's own solar child. At Dendera, Hathor has
similar primeval forms, making her the female counterpart of the great god Amun at Thebes:
Temet882 (the female Atum); the daughter of Atum;883 a member of the Ogdoad (as Amaunet);884
and as the Ogdoad's solar child,885 Rayt or Atenet886 (the female counterpart of Ra). Hathor,
together with Harsomtus, can be also equated with the first emanations of the Kematef: Hathor as
the fiery female uraeus, and Harsomtus as the earth snake, the equivalent of Irta. After Kematef
returns to the Nun, the two primeval serpents, functioning as demiurges, then carry out the work
of creating the world.
The cult of the deceased gods at Dendera is reminiscent of the Decade Festival celebrated
for the primordial gods at Thebes. Dendera's own divine necropolis at Khadi, located "in the
west" (the traditional place of burials) across the river from Hathor's temple, is similar to the
primordial burial mound at Djeme, on the west bank across from Thebes. The purpose of both
cults is to activate the renewal of the cosmic energy needed for creation to continue. At Thebes,
it renews Amun of Luxor so that he can continue creation; at Dendera, it renews Hathor in all of
her primordial manifestations, allowing her to continue creating all of the necessities of life:
land, water, and light.
The funerary cult for the divine ancestors also serves as a model for that of the royal
ancestors, in which the King honors his divine lineage as the Living Horus, the legitimate heir
going back to Atum, the original Creator. The king thus possesses the divine authority to act as
the intermediary between the human and divine worlds. On a daily basis, he (or his priestly

881
Klotz (Kneph, 64-314, esp. 311-314) discusses how the major cosmogonies were adapted to fit the local Theban
pantheon.
882
In the interior door framing of the 1 st Chamber East (Chassinat's Chamber D), Hathor is ir.t Ra Hnw.t tA.wy Itm.t
sA.t Itm, "Eye of Ra, Mistress of the Two Lands, Temet, daughter of Atum" (D II, 70,13).
883
Besides D II, 70,13 (noted above), Hathor is also "daughter of Atum" in D III, 101,15, in the H.t-wab (Chassinat's
Chamber K). Interestingly, Hathor's relationship to Atum is explicitly expressed in the Per-wer only in the Southern
Niche, by the epithets, Hwn.t mnx.t n.t Itm, "excellent young girl of Atum" (D III, 92,6) and "Living Eye of Atum"
(D III, 95,3).
884
East wall of Crypt West 3: ir @.t-Hr nt.t m s.t tn nb.t Iwn.t &fn.t sA.t Ra Imn.t pw, "As for Hathor who is in this
place, Lady of Iunet, Tefnut, Daughter of Ra, she is Amaunet" (D VI, 156,3-4). Klotz, Kneph, 90, sees Amaunet as
the "primeval mother par excellence," due to her epithet mw.t mw.wt iw.t.t snw=s, "mother of mothers without her
peer" (Clre, Porte, pl. 48; also in Urk VIII, 100b). At Dendera, Hathor carries similar epithets: Nbw.t m mw.t
mw.wt, "The Golden One (f.) as the Mother of Mothers" (D V, 155,4); mw.t mw.wt Hry.t-ib NTry.t, "mother of
mothers, who resides at Netjeret (=Dendera)" (D VI, 152,9). In addition, Amaunet's role at Thebes as the cow who
births Ra, which invokes the Ogdoad mythology, also fits in with Hathor's roles. Kockelmann, Toponymen, 103,
notes that Isis, as an aspect of Hathor at Dendera, can also be identified with Amaunet. See Jan Bergman, "Isis," L
III, 186-203, esp. 197; Mnster, Isis, 80-93.
885
As discussed in the section on Hathor as Ruler of Heaven and Earth, in the analysis of the adoration scene of the
Ogdoad on the outer entrance of the Per-wer.
886
In the Mansion of the Sistrum (Chassinat's Chamber L), Hathor is itn.t sn.w(.t) n(.t) itn, "the Female Aten, the
equal (lit. "second") of the Aten" (D III, 132,3), showing her equality with the sun god.

234
stand-in) comes into the presence of the divine incarnation of the goddess, his ritual actions and
effective, magical speech putting into motion the complex machinery of cosmic renewal.

5.2.8 Distribution of Scenes Relating to Theme of Hathor as Primordial

Creator and Solar Goddess

Including the outer entrance, 77% (37) of the 48 scenes with figural representations887 in the Per-
wer have textual references concerning Hathor's role as Primeval Creator and Solar Goddess.
This is the highest percentage of the three themes in the Per-wer, attesting to the importance of
this theme in the sanctuary. On the outer entrance, these themes are the focus of the two
symmetrical adoration scenes high on the wall (thus emphasizing Hathor's celestial nature), and
and in the texts on either side of the door. Within the Per-wer, the themes of Hathor as Creator
and solar goddess appears in every register, although it is particularly evident in the 3rd register,
the celestial realm of the gods. Within the Southern Niche, these themes appear in almost all of
the ritual scenes of the 2nd register, thus overlapping with the textual references to the myth,
which also appears in these scenes. This overlap occurs naturally, because the purpose of the
myth is the return of the solar (and lunar) goddess. Among all 80 text groups, which include texts
without accompanying scenes, references to Hathor as Primeval Creator and Solar Goddess
occur as follows: outer entrance, 10; Per-wer proper, 18; Southern Niche, 9, for a total of 37, or
46%. There is additional overlap with the other two main themes of the Per-wer, which are
discussed in 5.1 and 5.3.

887
Not including the frieze and the base of the Southern Niche.

235
 Scenes Relating to Theme of
Hathor as Primordial Creator and
Solar Goddess

Fig. 5.63. Outer Entrance Fig. 5.64. Scenes in Per-wer,

after D II, pl. 94, IFAO after D III, pls. 180; 190, IFAO

Fig. 6.65. Scenes in Southern Niche, after D III, pls. 201-202, IFAO

236
5.3 King as Intermediary

The divine kingshipthe central underlying principle of the social, political, and
economic structures of Egyptendured for more than three millennia.888 Ordained by the gods,
it also became woven into the fabric of the ancient cosmogonies. Since the 4th Dynasty of the
Old Kingdom, the king carried the epithet, "son of Ra," thus inheriting the office of the sun god,
which the Ogdoad proclaimed at the birth of the solar child;889 the king could also trace his
genealogy back to the creator god Atum, as the earthly incarnation of the falcon god Horus890
and thus the son of Osiris. As the "living Horus," the mortal king carried within him the kingly
ka, a divine element making him more than human but not quite a god.891 Thus, he was ideally
suited to be an intermediary between the human and divine worlds.
In order for the gods to continue to dwell on earth and take an interest in human affairs,
the king needed to fulfill certain duties, considered essential for carrying out his royal office. The
text of a sun hymn inscribed in Theban Tomb 33 best describes these expectations:

Ra has placed the King

upon the land of the living
forever and ever,892
judging mankind,
satisfying the gods,
realizing Ma'at and destroying Isfet.
He (=the King) gives offerings to the gods
and funerary offerings to the deceased.893

Furthermore, when interacting with the deities, it was important for the king to make full use of
the sacred power of the word. Performative, magically effective speech is the hallmark of the
deities, especially of creator gods like Ra, Thoth, and Ptah, who used it to bring the world into
existence. In performing the ritual acts of festivals, funerary offerings, and the daily temple rite,
the king accompanies his actions with this powerful "language of the gods." By means of the
888
Bell, Divine Temple, 137-138. The Egyptian kingship lasted from the 4th millennium BCE into the Roman Era.
Baines, Kingship, 6, notes that even though the Roman emperors were absentee rulers, the office of kingship itself
did not dissolve, but was eventually overtaken by events in the Roman Empire.
889
Noted in the previous section on Hathor as Ruler of Heaven and Earth. The mythology of the Ogdoad creating
the sun first appears in the NK, in BoD 17 (=Urk V, 6,17); the sun god appearing in a lotus rising from the Nun
appears in Urk VIII, 90c; 149b. See also Sethe, Amun, 96.
890
In the Heliopolitan cosmogony, Atum first creates Shu (air) and Tefnut (moisture), who mate and produce Geb
(earth) and Nut (sky). Nut then gives birth to five children: Osiris, Isis, Seth, and Nephthys. Each living king is the
incarnation of Horus, the son of Isis and Osiris. See Assmann, Search for God, 121. A striking visual image showing
how the king fulfills his earthly role under the protection of Horus is the 4 th Dynasty diorite statue of Khafre from
Giza, now in the Cairo Museum, in which the Horus falcon embraces the back of the king's head with his wings.
891
Texts distinguish the king as nTr nfr, "the good god," in contrast to a divinity of the divine pantheons, known as
nTr aA, "the great god." Examples in the Per-wer: king as nTr nfr (D III, 64,7; 65,9; 66,12; 67,12; 76,8; 77,4; 78,6;
79,6); gods as nTr aA include Ihy (D III, 51,12; 89,5; 89,7), Harsomtus (D III, 56,3; 75,1; 98,1); Ra-Horakhty (D III,
51,13); Horus and the winged disk (D III, 51,5; 52,3; 53,1; 57,3; 63,1; 68,4; 73,3; 80,8; 81,9; 83,3; 86,12; 86,13;
88,11; 94,7; 95,5).
892
Assmann, Sonnenhymnen, Nr. 37, p. 49 (TT 33 of Padiamenopet), line 33: r nHH Hna D.t, "for an endless time and
an unchanging duration."
893
Assmann, Hymnen und Gebete, Nr. 11, p. 98-99; Assmann, Sonnenhymnen, p. 48-49 (TT 33 of Padiamenopet).
See also Betr, Testi solari, 1990.

237
aural and visual plays in his words, his effective utterances connect the two spheres: the seen
world, in which he carries out his actions; the unseen world of the Divine, where his actions are
duplicated.894 These multi-layered expressions not only describe his actions in mythical terms,
but also transfigure them, making the Divine approachable and allowing interaction between the
two planes of existence.
The King's multi-layered speech is especially appropriate in funerary offerings, whose
ritual utterances have a long history of such use, as noted earlier. By exploiting the ambiguity
between similar-sounding words and repeating verbal roots in various forms, the King
pronounces words of extraordinary power, giving his offerings the ability to renew and
transfigure the dead. By rejuvenating the kas and bodies of the royal and divine ancestors, he
also ensures that their primordial energy will continue to flow. In return for his actions, his
offerings, and his speech, the gods guarantee his own rejuvenation, as well as a stable reign and a
good inundation.
The following section examines the texts, reliefs, and architecture of the Per-wer,
showing how their content and linguistic devices work together to affirm the king's legitimacy,
display his effective speech, and maintain the cults of the ancestors.

5.3.1 Affirmation of Legitimacy

Texts affirming the king's legitimacy appear at architectural points of transition within
the temple, such as the lintels or sides of doorways through which the king would pass in order
to carry out rituals within a cult chamber. The scribes exploited the natural symmetry between
the two sides framing a door or niche, creating complementary scenes that sometimes play on the
geographical opposites of the Two Lands.
In the outer entrance of the Per-wer, the inner columns of text framing the sides of the
door contain symmetrical phrasing attesting the King's legitimacy and assuring his rule (Fig.
5.66). After describing the fine workmanship of the Per-wer, made of "beautiful white limestone,
shining with gold, decorated with color" (D III, 46,10), the text in the east inner column states
Hathor's reaction to the King's accomplishment:

xf.n=s mnw pn nfr ir n=s nsw.t-bity ( )| di=s n=f rnp.wt n.t Itmw Xr sxm.ty
She has seen this beautiful monument that the King of Upper and Lower Egypt ( )| made for
her. She gives him the years of Atum, under895 the Double Crown." (D III, 47,2-3)

Pleased with the fine construction of her temple, Hathor accepts it as a gift of the "King of Upper
and Lower Egypt," thus implicitly acknowledging his legitimacy. In return, she gives him "the
years of Atum" (i.e. an infinity of years) as ruler of Egypta reference to the extreme longevity
of the Creator of the Heliopolitan Cosmogony.

894
Assmann, Search for God, 88-89.
895
I.e. "bearing" the double crown on his head.

238
 East Inner West Inner
Column Column
"She (=Hathor) sees "She (=Hathor) sees
this beautiful the excellent work
monument that the that the son of Ra
King of Upper and made for her; she
Lower Egypt made gives him the
for her. She gives kingdom of Shu
him the years of []." (D III, 48,1-2)
Atum under the
Double Crown."(D
III, 47,2-3)

Fig. 5.66. Outer Entrance of Per-wer; after D II, pl. 94, IFAO

The symmetrical text in the west inner column contains a similar description of the fine
materials used in the Per-wer's construction, noting "the beautiful limestone of Tura," and "the
doors in real cedar of the best wood of Lebanon." Hathor's response is similarly positive:

mAA=s kA.t mnx.t ir n=s sA Ra ( )|di=s n=f nswy.t n.t ^w [4 squares ]

"She sees the excellent work that the son of Ra made for her. She gives him the kingship of Shu
[ 4 squares ]." (D III, 48,1-2).

The "kingship of Shu" refers to the rule of Egypt by the heir of the sun god, his eldest son. As we
saw earlier, the Ogdoad had established Ra as the King of Egypt shortly after his birth from the
lotus rising out of the Nun. This statement thus connects the rule of the living king to a line of
divine rulers going back to the Creator. Although ending with a lacuna, the text's parallelism
with the symmetrical text on the east side suggests that it would also have ended with Xr,
"under," or "possessing," plus a synonym for the double crown.
Expressions of the king's legitimacy also continue in places of transition inside the Per-
wer, such as the two symmetrical scenes in the 1st register of the North Wall, on either side of the
doorway (Fig. 5.67). The tutelary goddesses of Upper and Lower Egypt, Nekhbet and Wadjet,
respectively, welcome the king to the Per-wer. Marking the festive occasion, the king appears in
elaborate ceremonial dress, with fine pleating on his kilt and overdress, a pectoral around his
neck, and a seshed band tied around his double crown.

239
 Fig. 5.67. North Wall of Per-wer; D II, pl. 180, IFAO

Isis Wadjet King King Nekhbet Hathor

st st
1 Register, North Wall, West Side 1 Register, North Wall, East Side

Made from a long, folded strip of linen and tied around the forehead or a crown, the tying of the
seshed band was one of the steps in the coronation ritual, having associations with divine
sight.896 Its connection with rebirth and regeneration897 suggest that the images of the king
wearing it on the east and west sides of the North Wall may also allude to the east-west course of
the sun, its rebirth at sunrise being equated with Creation.
Continuing the usual distribution of Hathor on the east and Isis on the west, behind
Nekhbet stands Hathor; and behind Wadjet, Isis. Because Hathor and Isis both wear the same
horns-and-disk headdresses, only the texts distinguish between them. The pairing of the

896
Goyon, Confirmation, p. 55 (I, line 15): "Faire approacher le diadme-sSd: J'ai incrust pour toi tes yeux, je n'en
ai pas spoil ton visage!"; p. 87-88 n. 34-35 and fig. 3. It was also worn by the king on the occasion of his Sed
Festival and during the New Year's Festival. See also Moret, Rituel, 189 n. 1, and Alliot, Chasse au filet, 68 n. 3.
897
Pecoil and Maher-Taha, Seshed, 79.

240
goddesses is appropriate, because Hathor's main temple at Dendera is in the south, whereas Isis
raised her son Horus in the marshes of the Delta, in the north. Each tutelary goddess presents the
king with a scepter representative of her own geographic area, consisting of its heraldic plant
upon which a uraeus sits, wearing its respective crown: a white-crowned uraeus on the sw.t-plant
of Upper Egypt; a red-crowned uraeus on the papyrus of Lower Egypt. Together, the two

scepters form the wAD.ty (I60), the Two Uraeii, symbolizing the Two Lands united. The
uraeii recall the myth in which Horus, having been victorious over his rival Seth for the kingship,
reunites the two halves of Egypt and receives the two uraeii: the cobra-headed Nekhbet and the
vulture-headed Wadjet.898 By transmitting the wAD.ty to his heir, the god Horus thus establishes
the living king as the ruler of the Two Lands.
Interestingly, the king's epithet on the west door jamb of the Per-wer's entrance is

wr wAD.ty
" Great One of Uraeii" (D III, 55,2),

thus forming a textual connection between the door jamb and the two scenes on the north wall.
This epithet refers to another episode in the myth, in which Horus places himself between the
two cobras for protection, causing his enemies to fall down from fear. Ra-Horakhty describes
Horus as wr wAD.tyr mn pn, "Great One of Uraeiidown to this day" (E VI, 128,10-12).
For additional connotations carried by the two uraeii, we turn to a text in the 1st Chamber
East,899 in an offering of the wAD.ty to Harsomtus900 by the king. In the title of the scene, the

ideograms for wAD.ty, ,901 are the identical uraeus-scepters presented to the king on the North
Wall of the Per-wer. The text describes him as

Hr nD nTr.ty Hr mAwy mr.ty Hr sHtp HA.t=f m wr.ty

sw mi Hr nb HD.t n.t mDH tp=f m wr.ty-HkAw
"protecting the Eyes, renewing the Eyes, decorating902 his forehead with the Uraeii, for he is like
Horus, Lord of the White and the Red Crowns, who girds903 his head with the Two Uraeii"
(D II, 79,9-10).

898
The wAD.ty are often represented as two snake-headed cobras, as in the hieroglyphs above, or as cobras wearing

their respective crowns, (I60), as in the scepters presented to the King. However, as the nb.ty, "Two
Ladies," which forms part of the King's five-fold titulary, they appear as the vulture and the cobra perched on two
nb-baskets.
899
The name of the chamber is war.t-xpr-XA.t, "The Leg Created from the Corpse" (Chassinat's Chamber D).
900
Harsomtus is often the recipient of the wAD.ty offering, due to the meaning of his name as "Horus who Unites the
Two Lands." See PL 208.
901
WinGlyph M118 and M119.
902
Lit., "making peaceable his forehead." Wb IV, 221,10 222,20.
903
mDH, "to tie a band around the head," "encircle," "gird": Wb II, 190,2-5; PL 483-484, who notes Faulkner's
suggestion that mDH has the more ritualistic sense of "investing with insignia." See CDME, 124; de Buck, Reading
Book, p. 112, line 4; Lichtheim, Ancient Egyptian Literature II, 81-86; Great Hymn to Osiris, Stela of Amenmose,
Louvre C 286.

241
 An extraordinary variety of terms designate the Eyes and Uraeii in this text, as shown in
the table below (Fig. 5.68):

Signs Transliteration Translation Verbal Root

wAD.ty904 Two Uraeii wAD, "be green"

and

nTr.ty905 Two (divine) Eyes nTr, "be divine"

mr.ty906 Two Eyes mrt, "throat"

wr.ty907 Two Eyes (lit. "Two wr, "be great"

Great Ones")

wr.ty-HkAw908 Two Uraeii (lit. "Great wr, "be great";

of Magic" Goddesses) HkA, "magic"

Fig. 5.68. Table of Terms for Eyes and Uraeii in D II, 79,9-10

These terms, designating the two uraeii, the king's double crown, and the two divine Eyes, are
interchangeable. Furthermore, each term carries allusions that impart additional meaning to the
offering of the wAD.ty in the symmetrical scenes on the north wall of the Per-wer. The dual
substantive, wAD.ty, derives from the root, wAD "to be green, fresh"; it connects not only with the
papyrus (wAD) and the verdant green of the Delta, but also with the name of that area's goddess,
WAD.t, "Wadjet." The nTr.ty are the "Eyes of Horus that illuminate the earth" (E I 284,10), the
root, nTr, emphasizing the divinity of the sacred Eyes. The mr.ty-Eyes (whose singular form can
also denote the Eye of Tefnut and thus the Wandering Goddess) connect with the Meret-
goddesses, as attested by the use of Meret's image for the phonogram, mr. The close
homophones of Mr.t, "singer," mr.t, "throat," and MAa.t, "Ma'at," with their intertwining of
connotations,909 allow mr.ty to allude to the restoration of cosmic order by means of the fiery
uraeii, who strike down the king's enemies. The name of the uraeii, called wr.ty, derive from the
root, wr, "be great," thus emphasizing their power to protect the king. With the addition of HkA.w
("magic") to the epithet, it becomes the wr.ty-HkAw, "Great of Magic Goddesses," showing that

904
wAd.ty, lit., "the two of the wAD-plant," Wb I, 269,1-4, MK; PL 208-209.
905
nTr.ty, Wb II, 366,1-6, PT; PL 560-561.
906
mr.ty, Wb II, 107,10-15, BoD; GR; PL 446.
907
wr.ty, lit., "the two great ones (f.)," Wb I, 332,1-2, PT; PL 246.
908
wr.t-HkAw, Wb I, 328, 7-9; PL 241-242.
909
As we saw in the lintel scenes on the north wall of the Per-wer, in Section 5.1.2, where the music of the Meret-
goddesses calms the heart of the Distant Goddess.

242
their magical utterances have great effectiveness and power. In the dual, the epithet refers to
Nekhbet and Wadjet; in the singular, it can belong to Isis, Seshat, and Hathor at Dendera.
Interestingly, Pap. Salt 825 contains an invocation to four uraeii,910 each facing a cardinal
direction: two are called nTr.ty; two are wAD.ty. Their purpose is to protect the king in all
directions. Derchain compares them to Hathor's Four Faces, an epithet reflecting her ability to
look to the four directions of the earth, conveyed architecturally by her four-faced columns at
Dendera.911 The intertwining of so many allusions thus makes the goddesses' offering of the two
uraeii to the king profoundly significant, conjuring ideas of divinity, cosmic order, magical
efficacy, and protection.
Returning to the symmetrical scenes on the North Wall of the Per-wer (Fig. 5.67), we see
a visual pun in the king's jewelry (Fig. 5.69). A close inspection of the image shows that in both

scenes he wears a pectoral consisting of a temple pylon (S100A) accompanied by two

pendant uraeii. The amulet's name, wDA (derived from the root wDA, "be whole, healthy"),
indicates its function of bringing well-being and protection to the wearer. By hanging around the
king's neck, the two uraeii visibly protect his body. Their placement on either side of the sign of
the pylon, a type of watchtower, emphasizes their protection of the temple and palace, as well.
The pectoral thus visually conveys the idea of wDA wAD.ty, "the protection of the Two Uraeii,"
which is also a polyptoton on wDA/wAD (by metathesis), emphasizing the well-being that the
uraeii provide for the king.

Fig. 5.69. King's Pectoral Forms a Visual Pun; after D III, pl. 180, IFAO

Homonyms of the two roots provide additional allusions. The wDA.t can also designate
another Divine Eye, the whole Eye of Horus, as well as the Eye of Ra who went away as the
Distant Goddess. On the other hand, wAD, which can also mean "offspring," appears in the King's
epithet, wAD n WAD.t, "offspring of Wadjet."912 Itself a polyptoton on the root wAD, the expression
highlights this protective aspect while connecting the King with the goddess of Lower Egypt
who presents him with one of the wAD.ty. The King's pectoral thus visually represents the
offering of the Two Uraeii and its associated protection, given to him in the two symmetrical
scenes.
The offering of the two uraeii by the goddesses of Upper and Lower Egypt, aided by
multiple meanings in the scene's iconography, thus confirms the King's legitimacy, his rule over

910
Derchain, Pap. Salt 825, 84-86, cited incorrectly in PL 561. See also E I, 312,13-15. The four uraeii also protect
the solar barque in all directions.
911
Derchain, Hathor Quadrifrons, passim.
912
In D III, 23,2, in the H.t-sxm, "Temple of the Sistrum," the SE Rear Chamber (Chassinat's Chamber I). The king
also carries the epithet, wAD n %xm.t, "offspring of Sekhmet," as we saw in the lintel of the Per-wer's outer entrance
(D III, 51,14), in Section 5.1.2.

243
the Two Lands, and his right to wear the double crown. Allusions to Eye Goddesses and Divine
Eyes emphasize the protective powers of the uraeii, who can extend their fiery power and
effective magic in all directions, protecting the King and restoring Ma'at.
Imagining the transparency of the walls, we can see a connection of these themes with
another point of transition: the lintel of North Wall inside the Southern Niche, located behind the
niche's entrance (Fig. 5.70).

Fig. 5.70. Theme of the King's Legitimacy,

after D III, pls. 180; 201, IFAO

244
 North Wall, Lintel, West Side North Wall, Lintel, East Side

Fig. 5.71. Symmetrical Scenes on Lintel of N. Wall of S. Niche; D II, pl. 201, IFAO

In these two symmetrical scenes (Fig. 5.71), the king, wearing the blue crown, offers the double
crown to the child god Ihy, the son of Hathor and a solar god who is equated with Ra and the
living king. On receiving the offering, Ihy reciprocates by giving him the land of Egypt and the
crown (i.e. its rule). As befits the topic, the texts in both scenes contain an extraordinary number
of words related to crowns or kingship.913 For words having alternate spellings, the scribe made a
deliberate choice to employ signs depicting royal regalia:914 dmD, "unite," written with ram's
horns (a component of composite crowns), (F107),915 instead of (S23);916 the 2nd
singular masculine suffix pronoun, =k, written with the king's bag wig: (S56)917 instead of
918
(V31). For geographical areas, the scribe also chose spellings with crowns: Sma, "Upper

913
For example, words for crowns include sxm.ty, "double crown" (D III, 88,18; 89,8; 89,9; 89,12); Sma=s,
"southern crown" (D III, 89,1; 89,13); mHw=s, "northern crown" (D III,89,1; 89,13); nfr.t, "white crown" (D III,
89,14); HD.t, "white crown" (D III, 89,2); n.t, "red crown" (D III, 89,2; 89,14); Hp.t, "crown" (D III, 89,9); wrr.t,
"Upper Egyptian crown" (D III, 90,8).
914
Writings of these words with signs depicting royal regalia are frequently used elsewhere at Dendera in similar
contexts of crowns and royalty.
915
D III, 89,2.
916
D III, 182,2; D X, 248,7.
917
D III, 88,18; 89,2; 89,5.
918
D III, 63,18.

245
Egypt," with (S50)919 instead of (M159)920 or (M140B);921 mHw, "Lower Egypt," with

(S50)922 instead of (M15)923 or (M139B),924 thus employing compound signs that

emphasize the king's rule over each area.
Beginning with the scene on the east side of the lintel (Fig. 5.71), we see several
linguistic techniques of emphasis having a similar focus on kingship. As the King offers the
double crown to Ihy in the east scene of the lintel, he says,

tp.t Tn.ti m tp=k HD.t n(.t) dmD m hn=k nswy.t=k nswy.t n(.t) Ra
"the uraeus is distinguished on your head, the white crown and red crown are united
on your head, your kingship is the kingship of Ra" (D III, 89,1-2).

The first example is a polyptoton on the preposition, tp, meaning "upon," or "atop." It appears
first as a feminine singular nisbe used as the substantive, tp.t, "uraeus," lit., "she who is upon,"
referring to the uraeus goddess who is upon the king's brow. It then appears as the masculine
singular substantive, tp, "head." The alliteration, combined with the turn in meaning from
"uraeus" to "head," emphasizes the position of the uraeus on the king's head, marking him as
ruler. The second example is the repetition of nswy.t, "kingship." By repeating it twice, an
equivalency is set up between "your kingship" and "the kingship of Ra," thus emphasizing that
Ihy is the heir to the Ra, whose kingship was first established by the Ogdoad, as we saw earlier.
In an expression filled with visual puns, Ihy greets the King,

ii.ti m Htp nsw.t Sma ity bi.ty mHw

"Welcome in peace, King of the South, Sovereign and King of the North" (D III, 89,8-9).

Each sign in the highlighted words pertains to kingship. The sw.t, the heraldic plant of Upper
Egypt, serves as a phonetic complement to the seated king wearing the white crown, the
ideogram for nsw.t, "King (of Upper Egypt)." It is followed by the white crown atop the city-
sign, as the compound ideogram writing Sma, "South." The sign of a man wearing the double-
feather crown atop a pair of ram's horns and holding a staff of office writes ity, "Sovereign."
Next comes the bee, the heraldic symbol of Lower Egypt, serving as the ideogram for bi.ty,
"King (of Lower Egypt)," followed by the red crown atop the city-sign, for mHw, "North." The
expression is a bit redundant, because it could also be interpreted as "King of Upper Egypt and
the South, Sovereign and King of Lower Egypt and the North." However, the combination of
human figures, heraldic emblems, and crowns forms a pleasing visual tableau, showing the
geographical range of the king's rule.

919
D III, 89,9.
920
D I, 91,2.
921
D II, 33,8.
922
D III, 89,9.
923
D X, 287,3.
924
D II, 33,8.

246
 Ihy ends his speech by stating his reciprocal gift to the king,

di=i n=k tA pn Xr nfr.w=s

"I give you this land, possessing its925 good things" (D III, 89,9).

This expression plays on two meanings of the word nfr.w. In the present writing, , it can
926
mean "good things" or "beauties." However, nfr.w is also a homonym for "crowns," written

with the determinative of the white crown: (D III, 22,9), thus forming a true pun. By
possessing the crowns (i.e. the rulership) of the land, the King naturally gains possession of all of
its "good things." The double meaning held by the word nfr thus emphasizes that Ihy's reciprocal
offering to the king includes both the rule and the bounty of Egypt.
An allusion to filling the Divine Eye appears in the Royal Randzeile, where the King says
to Ihy,

in=i n=k Hp.t apr.ti m irw=f

"I bring to you the crown, equipped with its components" (D III, 89,5).

In the scene on the lintel, the King is referring to his offering of the double crown, probably
indicating that it possesses the components of both Upper and Lower Egypt). However, the
phrase, apr.ti m irw=f, more commonly refers to the "equipping" of the Udjat Eye with all of its
parts. This expression refers to the episode in the Contendings of Horus and Seth during which
Seth wounds (or even gouges out) the Eye of Horus; Thoth heals the Eye and restores it to
Horus. One of the methods ascribed to Thoth was the "filling" of the Eye, so that it was whole,
intact, and again in possession of all of its parts. Texts in the Per-wer state that Thoth apr anx.t n
nb=s, "equips the Eye for its owner."927 The Eye thereby became the wDA.t, the "whole, healthy"
Eye, with none of its parts missing.
Interestingly, the scene in which this text appears, on the east lintel of the Niche's north
wall, lies adjacent to an udjat offering in the 2nd register of the east wall (Fig. 5.72).

925
Cauville, Dend Trad III, p. 167, notes that the feminine suffix pronoun, =s, is an error, because it refers to the m.
s. substantive, tA, "land." (Perhaps the scribe was thinking of Km.t, the feminine substantive for "Egypt"?)
926
Wb II, 262,5: nfr, "crown of Upper Egypt"; Cauville, Dend Trad III, p. 167, translates the phrase in D III,
89,9, as "ses (sic) belles couronnes." Note that it can also appear with the feminine ending: nfr.t (Wb II, 262,6; D III,
89,14).
927
D III, 65,9, in the scene of "releasing the bolt," in the daily temple ritual, 1 st register, east wall, 2nd scene. Bleeker,
Hathor and Thoth, 117, suggests that the myths surrounding the wounding of the Eye and its restoration, in which
Thoth plays an important role, arise because the moon(-eye) continually changes its shape, unlike the sun, which is
constant.

247
 Fig. 5.72. Theme of the King's Legitimacy,
after D III, pls. 201-202, IFAO

Although not employing the exact phrase (apr.ti m irw=s, "equipped with its parts"), it does
emphasize the wholeness of the Udjat with similar phraseology:

m-n=t wDA.t wDA.ti m irw=s

"Take for yourself the udjat-eye, healthy in its form" (D III, 94,14-15),

Tn.ti m iry.w=s n(n) wn dbHw m-rw.ty=s

" distinguished in its parts,928 there are no requirements absent from it"929 (D III, 94,15-16).

The polyptoton on the root wDA emphasizes the well-being of the Udjat-Eye, as we saw earlier.930
Several terms in the statement refer to the "form" or "parts" of the Eye: irw ("form" or "parts");
iry.w (lit. "those pertaining to it"), and dbHw ("requirements"). These elements are "healthy,"
"distinguished," and, with none "absent," respectively.
The subtle thematic connection between the two scenes suggests that there may be a link
between the offering of the double crown and the offering of the udjat. Both offerings reestablish

928
Lit., "those pertaining to it." See Allen, Middle Egyptian, 8.6.
929
Lit., "at its gate," i.e. outside of it.
930
Section 2.2.

248
order and return Ma'at: the first on a terrestrial level; the second on a cosmic level. In order to
have order in the Two Lands, the legitimate king must be on the throne, ruling in justice and
upholding Ma'at; Ihy's reciprocal gift to the king actualizes this legitimacy. In order to have order
in the cosmos, the Eye must be returned to its rightful place on the brow of the sun god. Shu,
Tefnut's brother, brings her home from her wanderings; his offering of the Udjat to Hathor
establishes that the Eye has been returned to its proper place. Therefore, both offerings cause the
reestablishment of order: the king on his rightful throne, and the Eye on the brow of the sun god.
Statements and images thus affirm the king's legitimacy at architectural points of
transition. On the outer entrance to the Per-wer, Hathor defines his position in a long line of
divine rulers stretching back to the Creator at the beginning of time. On the north wall of the Per-
wer, through whose doorway the King passes to enter the sanctuary, Wadjet and Nekhbet offer
him the Two Uraeii, symbolizing his rule over the Two Lands and alluding to the sacred Eyes of
Horus, the restoration of Ma'at, and divine power. Even elements of his regalia give him
confirmation of his rule, as well as divine sight and protection. Finally, on the north wall of the
Southern Niche, the point of transition between the Per-wer proper and Hathor's sacred
residence, Ihy's reciprocal offering of the double crown, equipped with all of its elements and
thus alluding to the whole Eye of Horus, confirms the king's legitimacy and thus reestablishes
cosmic order because the rightful ruler is on the throne.

249
5.3.2 Effectiveness of Speech

Besides being the legitimate heir to the throne of Egypt, recognized by the gods and the
people as the Living Horus, the King must also possess effective speech in order to approach the
gods. His authoritative utterances with their performative power are important in temple ritual,
especially in adoration scenes, which set up his initial contact with the divinity. We begin again
on the outer entrance of the Per-wer with the adoration of Hathor by the Ogdoad, a scene which
introduces so many of the sanctuary's relevant themes (Fig. 5.73). Being symmetrical, the
expressions in one scene complement those in the other.

Outer Entrance of Per-wer

East Scene West Scene

King Heh Hauhet Nun Naunet Ihy Hathor Hathor Ihy Kauket Kek Niaut Nia King

Fig. 5.73. Adoration by King and Ogdoad on Outer Entrance of Per-wer; D II, pl. 94, IFAO

For example, in the scene on the east side, the King is

sA nb sS nbi n am-tA.wy
"Son of the Lord of Writing (=Thoth),
whom He Who Knows the Two Lands931 (=Thoth) created"
(D III, 49,3-4).

931
Klotz, Kneph, 305, translates am-tA.wy as "Earth-Knower."

250
The first epithet, nb sS, "Lord of Writing," designates the King as the son of the inventor of the
sacred script, thus alluding to the command of ritual texts and their proper performance. The
second, nbi n am-tA.wy, "created by He Who Knows the Two Lands," refers to Thoth's extensive
knowledge and wisdom, which the King inherits as his son. The writing of this phrase entirely
with ideograms foregrounds it visually, aided by the repetition of the three tall signs with similar

shapes, . The papyrus and the lotus, , represent Lower and Upper Egypt,

respectively; the seated ibis-headed man, , is, of course, Thoth. However, the first sign, ,
consisting of the head and neck of a long-necked animal,932 is the most interesting. It represents
the verb am, "eat," or "swallow"; the derivation of the sign follows the Ptolemaic convention of
substituting cause (throat) for effect (eat, swallow). Figuratively, "to swallow" something means
"to know" it,933 a concept at work in magical rituals whereby words written on papyrus and
dissolved in water become part of oneself when drunk.934 In addition, there is a connection to
Ma'at, a concept inextricably associated with Thoth, who carries the epithet nb MAa.t, "Lord of
Ma'at." Just as one can "swallow" knowledge, one can also "swallow" Ma'at. Hatshepsut, in her
well-known inscription from Speos Artemidos, states t=i pw sam=i m THn=s, "It (=Ma'at) is my
bread, I swallow its brightness."935 Therefore, the king's epithet, nbi n am-tA.wy, alludes not only
to his extensive knowledge of his kingdom, but also to Ma'at, a quality that must fill him and
govern all of his actions.
Similar allusions occur in the king's epithets on the west column of the entrance, where
he is

iwa n anan wtT n wpw

"Heir of the Baboon (=Thoth), engendered by the Judge (=Thoth)" (D III, 50,7-8).

A frequent manifestation of Thoth, statues of the god as a baboon became popular objects of
veneration by scribes.936 Besides the alliteration of an in iwa n anan, "Heir of the Baboon," which

highlights it aurally, anan holds an additional layer of meaning. Its homonym,

anan, again written with the long-necked animal, but with the added flesh determinative, also

932
WinGlyph F11A, similar to Gardiner Sign List F11.
933
Fairman, Alphabetic Signs, 101.
934
The same concept is at work in the Late Period practice of pouring water over a Horus cippus, a stela depicting
the child god standing on crocodiles and inscribed with healing magical texts. The patient would drink the water in
the hope of a cure. See Ritner, Mechanics, 31-32 n. 144, for the standard text of such stelae. Ritner, op. cit., 103-
110, esp. 102-103, observes that there was no distinction made between the "physical" swallowing of food for
nourishment, the "medical" swallowing of prescriptions, and the "magical" swallowing of water imbued with the
properties of the dissolved ink. See also Pinch, Magic, 70.
935
Urk IV, 385,1.
936
For example, an 18th Dynasty steatite statue of a scribe writing at the feet of the god Thoth in the form of a
baboon wearing a lunar disk on his head, from Amarna, now in the Egyptian Museum Cairo, JE 59291, depicted in
Wilkinson, Gods and Goddesses, 217. A similar statuette group from the time of Amenhotep III shows the scribe
Nebmerutef writing at the feet of Thoth in the form of a baboon, in the Louvre in Paris, no. E 11154, in Kozloff and
Bryan, Dazzling Sun, 247.

251
means "throat."937 Like other words for "swallow" or "throat," it can metaphorically mean the
throat by which one eats or swallows Ma'at938; similar associations exist with mr.t, as we saw
earlier in the lintel scenes on the North Wall of the Per-wer. As in the example in the
symmetrical column on the outer entrance, the subtle reference to Ma'at in both of Thoth's
epithets suggests that this essential quality is also inherent in his "son," the king.
The epithet, wpw, "Judge," derives from Thoth's role in the Contendings of Horus and
Seth, in which he acts as supreme adjudicator between the two combatants.939 Sometimes

written with the determinative of a seated baboon, , wpw can also be translated as
"messenger,"940 agreeing well with Thoth's epithet as "Herald of Ra in Heaven."941 As the son of
a divine judge, the king's actions and judgments would similarly be held to the highest standard.
The four epithets distributed between the texts of the two symmetrical adoration scenes
thus provide a wealth of details about Thoth, his mythological associations, and the qualities
deemed necessary for the king. While associating the god with writing, knowledge, and
judgment, they also show that the concept of Ma'attruth, justice, order, and impartiality
always lies behind his actions. As the god's son and heir, the king would possess these qualities
as well.
The speeches of the Ogdoad emphasize their effective speech in addressing the goddess,
with complementary phrasing: Kek praises Hathor with "the beautiful spells of her heart" on the
east side (D III, 50,1); Naunet, with the "beautiful spells that she loves" on the west (D III,
48,14). On the east side, where Hathor is equated with Seshat the Great, Lady of Writing, she
welcomes the King as

HqA sA HqA nws.t mnx bnr DD.t

"Ruler, son of the ruler, excellent king, sweet one of speech." (D III, 49,10).

The repetition of HqA highlights the king's legitimacy by affirming his lineage; bnr Dd.t, "sweet
one of speech," recalls the Hathor's own epithet, bnr mrw.t, "sweet one of love." In addition to
describing the King's eloquence, it suggests that the goddess would appreciate douceur in his
utterances. On the west side, she welcomes him with another series of epithets:

937
Wb I, 191,14.
938
In a Ma'at offering in the Temple of Sokar chamber at Dendera (Chassinat's chamber F), Ma'at is equated with
aSaS an <m>-a nDA, "the throat that turns back thirst" (D II, 146,11).
939
E VIII, 123,3-4: +Hwty aA aA nb <#mnw>* wp <rH.wy> xnt P-Msn sAb-TAyty <n>* bXn Snw sHtp nTr.w m rA-
awy=f, "Thoth, the Twice Great, Lord of Hermopolis, who separates the two combatants in Pe-Mesen (=Edfu), the
Vizier (lit., "He who belongs to the curtain": Martin-Pardey, Wesir, 1227-1235), who accepts no gifts (i.e. bribes),
who pleases the gods with his deeds," thus showing Thoth's incorruptible nature. See also Kurth, E VIII, p. 221;
Otto, Gott und Mensch, 122. Thoth appears in groups of divine judges (e.g. E VIII, 122,6 123,14). See Kurth,
Thot, 506. See also Bleeker, Hathor and Thoth, 145; PL 225; Wb I, 302,7-8 (wp); Wb III, 421,7 422,2 and PL 789
(sAb-TAyty); PL 329 (bXn); Wb IV, 509,10-11 and PL 1020 (bHn Snw); 572; Wb II, 395,13-18 and PL 572 (rA-awy).
940
Boylan, Thoth, 183; Junker, Auszug, 66.
941
Kees, Mondsagen, 1-15. See also Hornung, BoD, 347, 95f (Spell 169, line 96).

252
 wab-IHy Ax rA spd DAis.w mnx tpy.w-rA
"Wab-Ihy priest, effective one of speech, clever one of (magical) utterances, excellent one of
(magical) utterances" (D III, 50,14-15).

Each phrase holds a wealth of meaning and allusions. The title, wab-IHy, refers to a wab
("purification") priest of Ihy;942 the King frequently holds this epithet in adoration scenes.
Although primarily a musician, depicted shaking the sistrum and menit before his mother
Hathor, Ihy as a child god also has connections to primordial beginnings. He is linked with the
Nun and thereby purification,943 which is especially appropriate for a wab-priest in his service.
Additionally, he is identified with the primeval god Heh ("infinity"),944 thus linking him with the
Ogdoad in the present scene. Even more interesting is the fact that he can appear in the place of
Hu ("utterance") next to Sia ("perception"),945 which the Creator used to "speak" the world into
existence. The epithet, wab-IHy, is thus particularly appropriate for the king to carry in adoration
scenes, and particularly in the present one, with its strong emphasis on effective, performative
speech.946
As we saw in the chapter on Word Play, the root Ax, written with the crested ibis, means
"be bright, shining" or "be effective"; the texts play on the alternate meanings. Ritner 947 observes
that Ax is a fundamental property of spoken magic, translating Ax rA not only as "effective of
spells," but also as "magical of spells," emphasizing their creative power. At Dendera, Heka, the
god of magic, bestows this quality to Hathor in her form as Seshat, the Goddess of Writing (with
whom she is equated in the present scene).948 Being Ax rA is thus a desired quality in the
performance of ritual. Not only would the King's words please the goddess, but by their very
effectiveness and performative power, they would bring into being his ritual actions.
The third epithet of the King, spd DAis.w, "clever one of utterances," is also a clever
example of scribal technique, containing both a visual play and multiple layers of meaning. The
root spd, "be sharp," can also figuratively mean "be alert," or "be clever." The King is thus spd
Hr, "sharp of face" in battle,949 where alertness is crucial. The word DAis.w, "utterances," or
"spoken words," derives from one of the seven manifestations of the primordial cow, Mehet-
weret, representing the seven creative words (DAis.w) that brought the world into existence.950
942
The son of Hathor and Horus of Edfu at Dendera. Hoenes, Ihy, 125, notes that although Ihy is translated as
"musician," and Ihy is usually depicted holding the sistra and menit, making music for his mother Hathor, the word
may actually mean "calf," deriving from iH, "bull."
943
Reflected in his two manifestations of Ihy-Nun and Ihy-Wab. See Cauville, Ihy-Noun, 108-112.
944
Hoenes, Ihy, 126; CT IV, 182n.
945
Hoenes, Ihy, 126; CT IV, 161f; cf. CT I, 236h-237a, and PT 307a.
946
The subtle connection of the King's epithet to Hu and Sia creates an additional link between this scene and the
Ogdoad adoration scenes on the thicknesses of the door of the Southern Niche. We will be examining the latter
scenes later in this section.
947
Ritner, Mechanics, 31, 35; 46.
948
Dmichen, 1981, pls. 133 and 189 (=Porter and Moss 1939, p. 78), cited in Ritner, Mechanics, 36. See now
Cauville, D XIII, 273,13-15.
949
E IV, 57,16; V, 151,14-15, cited in PL 832.
950
Esna III, 33,9, cited in Rochholz, Schpfung, 43 n. 218. Ritner, Mechanics, 46-47, with refs to secondary
literature. The seven DAis.w are attested as early as CT 407; 691; later in BoD 71. Cf. Rochholz, Schpfung, 42-44.
Ritner, Mechanics, 47 and n. 223, who notes that they are attested as early as CT Spell 407: rA n Ts.wt 7 nw MH.t-
wr.t, "Spell of the 7 Utterances of Mehet-weret." Ritner, Mechanics, 47, suggests that it is incorrect to translate the
older Ts, "saying," as "knot." However, the expression "untying a knot," can also mean "deciphering a difficult

253
The DAis.w are closely associated with Thoth; as Ritner shows in a text from Esna, they contain
not only creative but also protective power.951 The word spd, meaning "sharp" is always spelled
with the thorn-sign. However, DAis.w, which often appears with the thorn-sign, can also be
spelled without it.952 Therefore, the scribe probably made a deliberate choice to write both words
with the thorn sign, thus creating visual alliteration.953 By so doing, he alludes to the "cleverness"
inherent in the DAis.w, allowing to statement to mean "clever one of (clever) utterances." The
epithet of the King thus alludes to several essential qualities: cleverness, creativity, and
protectivenessall of which would imbue his ritual utterances with performative power. It is
also probably not by chance that in this scene, Hathor's reciprocal gift to the King is to protect
his body "every day" (D III, 50,15).
In the last epithet, mnx tpy.w-rA, "excellent of utterances," the second element literally
means, "(what is) on the mouth," thus emphasizing that the ritual words are to be spoken aloud.
As we have seen, the aural quality of the liturgy, in both funerary and temple texts, led to the use
of linguistic figures of repetition, like alliteration, antanaclasis, and polyptotons, as well as true
puns that play on the multiple meanings of homophones. Multilayered expressions are effective
expressions, and thus well suited for magical utterances.
Taken together, the string of epithets holds many allusions to the qualities required of the
king's performative utterances in carrying out the temple ritual. Based in Ma'at and full of
creative potential, they must be AX (effective), spd (clever), and mnx (excellent). They derive
their great power from the Creator, who first used Hu and Sia to bring the world into being.
Coming before the goddess in purity and truth, the King's words and deeds activate the temple's
function of renewing the universe. In so doing, he taps into primeval, divine power. As Rochholz
observes, "Durch die schpferische Gesamtheit aller gttlichen Krfteist die umfassende Welt-
und Tempelschpfung gesichert."954
Again imagining the transparency of the walls, we see that the two adoration scenes of
the Ogdoad on the outer entrance connect thematically with two smaller adoration scenes on
either side of the doorway, in the second register of the north wall (Fig. 5.74).

passage," and thus has relevance for multi-layered, magically effective utterances. See Parkinson, Dream and Knot,
78.
951
Sauneron, Esna III, p. 33 (no. 206/12-13; text) ; Esna V, pp. 268-269 (translation), cited in Ritner, Mechanics, 47
n. 226.
952
An examination of the spelling of DAis.w in D I-IV shows two examples in which DAis.w is spelled without the

thorn-sign: D I, 6,17: DAis.w stp.w, "choice spells"; D II, 32,7: spd DAis.w,
"clever of utterances" (note that the thorn sign serves only as the ideogram for spd).
953
It is not a case of attraction, however, because the thorn-sign does often appear in DAis.w. It would be a case of
attraction if the writing of DAisw did not normally include this sign. See Section 3.5 on attraction in the chapter on
Sign Play.
954
Rochholz, Schpfung, 44. English translation: "Through the creative totality of all divine forcesthe
comprehensive creation of the world and the temple are secured."

254
 N. Wall, 2nd Reg, W. Side N. Wall, 2nd Reg, E. Side
Adoration Adoration

Fig. 5.74. Connection between Adoration Scenes of Outer Entrance and North Wall of Per-wer,
after D II, pl. 94; D III, pl. 180, IFAO

255
Visually, these symmetrical scenes are almost identical: Hathor, wearing the double crown, sits
on a throne; the king, wearing the blue crown, stands before her, his hands raised in adoration.
Over his head in the east scene, the Nekhbet vulture flies protectively; in the west scene, the
falcon of Horus of Edfu. Before the King in both scenes stands a temple structure topped with a
cavetto cornice: in the east scene, the presence of a child within marks it as the mammisi, the
birth house of the divine child; in the west scene, it represents the bxn-gate of the temple. Both
the mammisi and the temple gate belong to Hathor's ten sacred symbols, the rest of which appear
as offerings on the Per-wer's east and west walls.
Echoing Nun's words in the east Ogdoad scene on the outer entrance, the King in the east
scene of the North Wall offers his adoration to the goddess:955

dwA.n=i kA=t r qA n p.t

I have praised your Ka to the height of heaven"
(D III, 68,11-12).

Just like the speech of Nun, the antanaclasis on the close homophones of kA and qA ("ka," and
"height," respectively) emphasize the roots and the height to which his praise extends. The raised
arms of the determinative of qA mimic the arms of the kA-sign above it; the arrangement of the
text in a column accentuates the vertical direction of the praise.
The King continues his adoration, saying,

sn=i n=t tA r wsx n tA

"I kiss the earth for you to the breadth of the earth"
(D III, 68,12).

"Kissing the earth"956 is the act of fully prostrating oneself in submission before a king or god.
Usually, the sign of a man performing the act, , serves as the determinative. Here, it is
omitted, perhaps so as not to interfere with the symmetrical arrangement of the horizontal signs,

955
I have displayed the text of each of the following examples in a column, as in the original relief, because the
visual the arrangement of signs in the column has bearing on the interpretation.
956
The expression is usually translated, "I have kissed the ground for you, to the breadth of the earth." I have
translated tA both times as "earth" in order to replicate the repetition of the Egyptian.

256
 tA r, and n tA, which frame and highlight the square ideogram, wsx, "breadth,"
in the middle.
The parallelism of the two expressions is striking: both verbal expressions (sDm.n=f or
sDm=f) are followed by a direct object (kA, "ka"; tA, "earth") and a prepositional phrase indicating
direction (r qA n p.t, "to the height of heaven"; r wsx n tA, "to the breadth of the earth"). The first
expression emphasizes qA, "height," both aurally and visually; the second emphasizes tA, "earth,"
both aurally and visually, but the latter's symmetrical arrangement around wsx, highlights
"breadth" as well. In addition, the scribe has employed the poetic device of rhyme between kA/qA
and tA, simultaneously bringing into prominence their phonic similarity and difference. This
highlighting of the two dimensionsthe vertical and the horizontalis exactly what the King's
praise accomplishes as well: extending his adoration to the height of heaven and the breadth of
the earth.
The King also declares his capability of delivering the proper magical utterances:

rA=i Xr sns(.w) Hry-mk.t=i Xr tpy.w-rA

"my mouth possessing the prayers,957 my958 heart possessing the (magical) utterances"
(D III, 68,13).

The word used for heart, Hry-mk.t,959 is particularly interesting. Its origin goes back to the
Pyramid Texts,960 where the phrase refers to the position of the heart being "in the proper place."

Although Chassinat's publication reproduces the text as , he notes that in the original
relief the heart sign, (F34), actually appears under the extended wing of the vulture,961

forming a striking visual message: . This placement emphasizes the protective stance of
the vulture, showing that the "right place" for the heart is in a place of protection. It is probably
not by chance that the bird flying protectively over the king's head in this scene is the vulture of
Nekhbet, the Upper-Egyptian crown goddess. The word, mk.t, "heart," by the subtle arrangement
of its signs, and the visual connection with Nekhbet overhead, thus carries connotations of
magical protection.962 Furthermore, Hathor's aspect as "Lady of the Per-wer" is actually Hathor-
Nekhbet, shown by her principle statue's wearing of Nekhbet's white crown and ostrich feathers,

957
Wb IV, 171,11-13: "Lobpreis, Verehrung, Gebet (immer mit Bezug auf einen Gott)." Cauville (Dend Trad III, p.
109) translates sns.w as both "rituels" (D III, 49,2) and "prires" (D III, 49,10).
958
Note that the 1st person singular suffix pronoun, =i appears as the vertical line under the right end of the p.t-sign
959
Wb II, 161,9.
960
Sethe, PT Kommentar I, 286d; cf. Wreszinski, Durchwandeln der Ewigkeit, 116; Vernus, Athribis, 201 n. (c).
961
D III, 68 n. 2.
962
Ghattas, Schutz des Leibes, 89-94; 92, who notes the richness of the mythological allusions in the text of the
protective book. The text emphasizes the protection of the divine image, standing at the center of the temple cult and
serving as the living form of the god, thereby requiring constant protection.

257
which we saw earlier.963 A further allusion exists in the connection between heart and utterance,
recalling the Creator God in the Memphite Cosmogony, who conceived (siA) an idea in his heart
and expressed it in an utterance (Hw), thus causing it to come into being.964 Interestingly, the
primeval god Heh makes the identical statement in the Ogdoad adoration scene on the outer
entrance,965 creating yet another connection between the adoration scenes, as well as the subtle
allusion to Hu and Sia, who play such an important part in performative speech.966 Thus, the
King's heart (= mind) not only carries the utterances necessary to approach the goddess, but the
goddess herself protects this sacred, magical knowledge within him.
Interestingly, the symmetrical scene on the west side of the north wall continues this
theme of protection, stating that the goddess is

nb(.t) mk.t Hr mk(.t) qmA s(y)

Lady of Protection, protecting the one who created her"
(D III, 80,5-6).

The visual symmetry of the repeated vulture-sign (the ideogram for mkt, "protection") appears
more striking in the column of the original relief967 than in the line of text in Chassinat's
publication, where the size of the vulture-signs is unequal.968 The visual prominence is also
carried aurally in the linguistic emphasis on "protection," taking the form of antanaclasis on the
root, mk, "protect," first as the feminine substantive, mk.t, "protection" and then as the infinitive,
mk.t, "to protect," appearing in a pseudoverbal Hr + infinitive construction, "protecting." The turn
of meaning from substantive to verb highlights Hathor's role as protectress (in this case, for her

963
In Section 5.2.6, where Hathor wears this crown as "Lady of the Per-wer," seated before a latticed naos, in the
two large scenes of offerings to the deceased primeval ancestor gods in the 3 rd register of the east and west walls of
the Per-wer. Another allusion to Hathor as Nekhbet appears in the Bandeau of the Frieze on the west wall of the Per-
wer, in which the text, referring to Hathor, states, "She flies as the noble vulture" (D III, 62,5).
964
The pairing of mAA (to see) with dgA (to perceive) represents total sight, as in di.n=i n=k mAA nb n Itn dgi nb n
Iwn=Haa, "I have given you the totality of (the ability of) seeing of the sun disk, the totality of (the ability of)
perceiving of the moon" (E V, 275,16-17), in Husson, Miroir, 64 n. 9.
965
D III, 49,1-2: dwA.n=i m Hr<=t> rA=i Xr sns.w Hry-mk.t(=i) Xr tpy.w-rA, "I have praised <your> face, my mouth
possessing the prayers, (my) heart possessing the (magical) utterances." Chassinat (D III, 49,1) again notes that the
heart-sign should be placed under the extended wing of the vulture.
966
We will see more allusions to Hu and Sia on the thicknesses of the door jambs of the Southern Niche, where they
appear together with members of the Ogdoad.
967
As shown here, type-set in WinGlyph.
968
D III, 80,6.

258
father Ra969), linking with the king's expression in the symmetrical scene, stating that his magical
utterances are Hry-mk.t, in the "right place," protected in his heart.

Ogdoad Adoration Scene

on Outer Entrance

Fig. 5.75. Theme of Effective Speech:

Adoration Scenes Surround Hathor with Praise on
Three Sides; image after D III, pls. 180; 190, IFAO

West Wall, 1st Reg. 3rd Scene East Wall, 1st Reg. 3rd Scene

969
The masculine singular perfective active participle, qmA, "the one who created," is written with (G81), the

ideogram for qmA, and determined with (C2B), the sign of the sun god Ra, thus clearly indicating the god who
created Hathor.

259
 Even stronger links to the Ogdoad adoration scene on the outer entrance exist in the two
symmetrical scenes in the 1st register of the east and west walls of the Per-wer, which form part
of the series depicting steps in the daily temple rite (Fig. 5.75). In both scenes, Hathor stands
holding the papyrus scepter and wearing the double crown over the vulture headdress. Before her
is Ma'at, her hands raised in adoration, followed by the King, wearing the bag wig on the east
wall, and the blue crown on the west wall.
The presence of Ma'at standing between the King and Hathor is significant, signaling her
importance in the encounter between him and the temple's principal goddess. The king's epithets,
variations of the ones we saw in the Ogdoad scenes on the outer entrance, again link him to
Thoth: iwa n am-tA.wy, "Heir of He who knows the Two Lands" on the east wall (D III, 66,12);
sn.nw n Isden aqA Ddw twt Hmw, "Equal of Isden970 (=Thoth), exact of speech, complete in his
craft" on the west (D III, 78,6-7). As we saw previously, this identification with Thoth strongly
connects him with the concept of Ma'atits justice, order, and balance always at the heart of his
words and deeds. Ma'at's presence between the King and Hathor in both scenes thus visually
represents the idea that only through Ma'at may the King may approach the Divine.
We turn first to the scene on the east wall, entitled "Seeing the God." The King has just
opened the naos and now stands before the awesome, radiant power of the goddess emanating
from her naos. In response, he states, sbAq.n=i qfA.t n(.t) kA=s, "I have brightened the dignity of
her ka," a multi-layered expression filled with aural and visual allusions, discussed earlier.971
Having presented such a complex expression of praise, the King notes that Hathor is pleased,
saying

pXr ib=s m tpy.w-rA=i

"Her heart rejoices (lit. "goes around") with my (magical) utterances"
(D III, 66,7-8).

Interestingly, the expression, pXr ib, lit. "the heart goes around,"972 itself has magical
implications. In Demotic, the verb, pXr,973 and its Coptic descendent, Bvajer,974 mean "to
enchant"; its origin lies in rituals of encirclement that define, purify, and protect a sacred
space.975 The idea of encircling and controlling can also explain the idea behind the sun god's
control of the universe, which he maintains by means of pXr, "going around" and hqA, "rule."976
As Rayt, the Female Sun, this encircling can also apply to Hathor, who rules both heaven and
earth. To this idea, I would observe (with a pun on close homophones!) that her rule (HqA) also
depends on her magic (HkA). Conversely, one could say that the king's clever, multi-layered

970
Under the name, Isdn/Isds, Thoth is syncretized with Anubis, as early as de Buck, CT III, 61b, noted by Goebs,
Crowns, 126, citing Altenmller, Synkretismus, 241. Anubis commands Thoth to be in the "form" of Ra during the
night in Faulkner, CT 347 (= de Buck, CT IV, 380a).
971
In Section 3.5.
972
Wb I, 544,12: "umwenden, umdrehen"; 544,14: "das Herz jemds. Umwenden (zum Guten)."
973
Erichsen, Demotisches Glossar, 139,4: "bezaubern."
974
Boharic. Crum, Coptic Dictionary, 282b; ern, Coptic Etymological Dictionary, 131: "charm, bewitch."
975
See Ritner, Mechanics, 57-63, esp. 61-62. Ritner notes that in an oracular statement of the Demotic Chronicle,
the use of the determinative of "to enchant" in the verb pXr, "to go around," suggests that both nuances were
probably intended.
976
Ritner, Mechanics, 62.

260
expressions of praise, filled with aural and visual allusions, also have the capacity to "charm,"
thus bringing about the desired effect of pleasing and pacifying the goddess.
The mention of tpy.w-rA, "(magical) utterances," connects with the symmetrical scene on
the west wall, repeating an expression seen earlier in the adoration scene on the east side of the
north wall:977

rA=i Xr sns.w Hry-mk.t=i Xr tpy.w-rA=t

"my mouth possessing the prayers, my heart possessing your (f.s.) (magical) utterances"
(D III, 77,12 78,1).

However, this time the text omits the visual pun in the writing of Xry-mk.t; the writing of tpy.w-rA
contains the t-loaf and egg-sign at the end, clearly marking it with the feminine suffix pronoun,
=t.978 Is the feminine suffix a scribal error, or is the King actually referring to his knowledge of
Hathor's own magical utterances, the heka that created the world?
For help in answering this fascinating question, we turn to Hathor's speech in the same
scene, in which she carries the following epithets:

%SA.t SAa.t SAa spXr nb.t sS HqA.t mDA.wt

"Seshat, the Female Creator who created writing, Lady of Writing, Female Ruler of Scrolls"
(D III, 78,10-11).

The triple alliteration on SA creates a striking aural emphasis,979 highlighting the phrase. The
polyptoton on the root SAa, "begin, initiate, create (in the beginning)," encountered earlier in a
text in the Southern Niche,980 emphasizes Hathor's creation of writing, an accomplishment
usually attributed to Thoth. The epithet string elaborates further by naming her "Lady of
Writing," and "Female Ruler of Scrolls," alluding to the temple scriptorium where sacred texts
are composed, and the temple library housing the liturgies and festival calendars. The emphasis
on the written word is unmistakable, but this idea is at once broadened by the revelation that

pr(.t) m rA=s xpr Hr-a

"What goes forth from her mouth comes into being at once" (D III, 78,11),

a statement that puts her squarely in line with the Creator of the Memphite Cosmogony, who
used Sia (Perception) and Hu (utterance) to create the world. This important facet of her creative
ability and its relevance for the King's performative speech, together with the King's connections
to Thoth and Ma'at, create a connection between these two symmetrical scenes with the door
jambs of the Southern Niche (Fig. 5.76).

977
In the present Section 5.3.2.
978
Cauville retains the .t in her transliteration but ignores it in her translation, rendering tpyw-rA.t as simply, "les
pires."
979
If one includes spXr nb.t sS, there is also a five-fold alliteration on the consonant, S.
980
D III, 95,3, in the 2nd register of the east wall of the Southern Niche. Discussed in 5.2.2.

261
 Fig. 5.76. Theme of Effective Speech, after D III, pls. 180; 190, IFAO

As we saw earlier, the four narrow registers on the door jambs contain pairs of standing
figures facing towards Hathor's sacred image in the niche, their hands raised in adoration; the
two upper registers on both jambs contain male and female pairs of the Ogdoad (Fig. 5.77).

262
 Southern Niche

Statue of
Hathor in
Southern
Niche

Fig. 5.77. Praise of Ogdoad directed towards Hathor's Statue in S. Niche,

after D III, pls. 200-202, IFAO

However, on the lowest register of east jamb we find the figures of the king and the
981
queen, their counterparts on the west being Thoth and Ma'at (Fig. 5.78). Above them, in the
second register, stand the personified characteristics of the Memphite Creator: Hu (utterance)
and Sia (perception) on the east jamb; Iri (doing) and Sedjem (hearing) on the west.982

981
It is interesting that the Queen, undoubtedly Cleopatra VII, due to the time-frame during which the Per-wer was
decorated, is called, HqA.t, "female ruler," perhaps alluding to her role as a queen who exercised royal power.
982
The connection of Hu and Sia with the creator god seems to have originated in Heliopolis; passages in the PT
(300c; 307) and CT (IV, 62f; VII, 222c) attribute both to the sun god Ra, where they later number among his 14 Ka-
powers. See Gardiner, Personifications, 95; Schweitzer, Wesen des Ka, 73ff, including Iri and Sedjem. See also
Schott, Krnungsboten, 55. Hu and Sia appear with the sun god in his solar barque. See Hornung, Unterweltsbcher,

263
 Niche

East Thickness South Wall West Thickness

of Door Jamb of Door Jamb

Fig. 5.78. Thicknesses of Door Jambs of Entrance to S. Niche, after D III, pls. 190; 200, IFAO

The appearance of Hu and Sia recall the hymn in the outer entrance,983 which addresses the
returning goddess as "your Ka behind you, Hu and Sia in your following" (D III, 46,4); her
creative will and the power to "speak" things into existence are confirmed in the text in an
adoration scene in the 1st register of the west wall of the Per-wer, which we just examined:
"what goes forth from her mouth comes into being at once" (D III, 78,11). On the door jambs of
the Southern Niche, the appearance of Thoth and Ma'at opposite the king and queen suggests that
the earthly rulers must emulate Thoth in approaching the goddess with effective, eloquent
speech, as well as living and ruling in Ma'at. We can also see a vertical relationship between the
figures of the jambs: the first register being concerned with just, effective words and actions on
earth; the second showing the will of the Creator putting thoughts into words and deeds; the third

27; 34: Amduat I, 20 (no. 44); 20 (no. 50); 201. By at least the time of the CT (VI, 268o), Hu and Sia were also
associated with the creative powers of Ptah. By the MK, Hu and Sia seem to have also become important
characteristics of every god; they accompany Thoth. See de Wit, Opet I, 165; II, pl. 8. Altenmller, Hu, 66-67, notes
that since the MK, Hu and Sia were thought to exist before creation, being placed, along with Atum, in the
primordial time. For an early Ptolemaic Era variation of the creation story, compare Papyrus Bremner-Rhind (BM
10188), in Faulkner, Bremner-Rhind IV, pp. 41-42, lines 28,20 29,6.
983
Outer column of door frame, w. side, Text B.

264
and fourth, the divine primordial entity still in its primitive, unformed stage. The thicknesses of
the niche's door jambs thus succinctly illustrate how the Creator employs the creative process to
take the raw material of the universe and transform it into everything in the worldexactly what
Hathor, as the female Creator, does within the niche of the Per-wer. In addition, the placement of
these figures facing the incarnation of the goddess in adoration shows their constant involvement
in the creation and maintenance of the cosmic balance of the universe.
These observations now clarify the King's assertion that his heart possesses Hathor's
"magical utterances."984 He is referring to the creative ability inherent in heka, the power used by
the Creator to create the world, given to mankind as a benefaction. In possessing Hathor's (i.e the
Creator's) heka, the King thus has at his disposal the tools necessary to create, to cause things to
come into being. When performing the rituals, his powerful words thus access the primeval
energy used to create the universe.
In addition, by placing both epithet strings in the same speech by Hathorthe one
emphasizing the written word,985 the other emphasizing the spoken word986the ancient scribe
shows the interconnectedness of both the visual and the aural in magical, performative
utterances. Nowhere is this more apparent than in the multi-layered expressions in Dendera's
texts, which often working simultaneously on aural and visual levels. Although the King would
have spoken the ritual words aloud, they had their written counterparts in the sacred scrolls.
These statements show the importance that the ancient scribes placed on both techniques,
considered to be essential to effective heka in the temple. As a divinity, Hathor would be capable
of seeing, hearing, and understanding all of the levels of meaning simultaneously, which would
please her heart and pacify her ka.

5.3.3 Maintenance of Ancestor Cults

The King's maintenance of the divine and royal ancestor cults shows the intersection of
the two previous themes. His ritual actions help affirm his legitimacy; the aural and visual
techniques in his statements are a tour de force of effective speech. Nowhere is this more
apparent than in the two offering scenes in the 3rd register of the East and West Walls (Fig. 5.79),
discussed earlier in terms of Hathor's role as an ancestral goddess.987 This section will explore
these themes within the two scenes, showing how they intertwine and mutually support each
other.

984
In the adoration scene in the 1st register of the east wall: "my mouth possessing the prayers, my heart possessing
your (f.s.) (magical) utterances" (D III, 77,12 78,1).
985
In the adoration scene in the 1st register of the east wall: "Seshat, the Female Creator who created writing, Lady
of Writing, Female Ruler of Scrolls" (D III, 78,10-11).
986
In the adoration scene in the 1st register of the east wall: "What goes forth from her mouth comes into being at
once," (D III, 78,11).
987
In Section 5.2.6.

265
 Fig. 5.79. King's Maintenance
of Ancestor Cults,
after D III, pls. 180; 190, IFAO

3rd Register, East Wall, Per-wer 3rd Register, West Wall of Per-wer
Incense Offering Funerary Offering

As noted previously, each of the symmetrical scenes contains a sub-scene in which Pepi I
offers a gold statue of Ihy to Hathor, Lady of the Per-wer, who can also take on the role of a
deceased ancestral goddess. In the east scene, the King offers incense; in the west scene, he
presents a funerary offering. His offerings in both scenes are directed toward all of the deities

266
present, including the now-deceased Pepi I, who promoted Hathor's cult at Dendera during the
Old Kingdom; the scenes can thus be considered representative of the maintenance of both the
divine and royal mortuary cults. His performative speech is filled with linguistic techniques
emphasizing his offerings to the deceased ancestor gods. In the incense scene on the east wall,
antanaclasis and polyptotons play on turns of meaning in the repetitions of roots describing the
offering: snTr988 and pD989 (incense), sTy (perfume),990 and sHtp991 (pacify). In the funerary scene
on the west wall, similar techniques focus on roots with dual meanings: kA (soul; provisions),992
Sps (noble; riches),993 and Htp (pacify/satisfy; offering).994 The alliteration of the roots and their
multiple layers of meaning make the King's declarations clever and effective, showing that he is
spd DAis.w, "clever of (magical) utterances," and mnx tpy.w-rA, "excellent of (magical)
utterances"995qualities that would not only please his divine recipients, but also give his speech
performative power to actualize the meaning behind the offerings and thus make them effective
in rejuvenating the deceased beings.
The king's epithets affirm his legitimacy, such as: Ssp anx r-pa.t nTr.w iwa n PsD.t aA.t,
"Living Image and Hereditary Prince of the Gods, Heir of the Great Ennead" (D III, 84,12-13).
The epithet, r-pa.t nTr.w, "Hereditary Prince," belongs to Geb, the father of Osiris, thus showing
that the king is his legitimate descendent. His epithet, iwa n PsD.t aA.t, "heir of the Great Ennead,"
traces the King's (mythological) ancestry back to the Creator God, Ra-Atum. The term, "Living
Image of the Gods," places the King, in the form of the living Horus, as their terrestrial
representative. In addition, Hathor gives the King the Upper Egyptian crown,996 Nekhbet claims
him as her son,997 and the deceased ancestor gods address him as

ity n itr.ty HqA n Sma mHw

"Sovereign of the Two Sanctuaries,
Ruler of the South and the North"
(D III, 85,8).

988
ii snTr snTr=f, "the incense comes, it censes your (f.s.) body" (D III, 72,11-12); snTr r snTr s.t=tn, "incense, in
order to cense your (pl) place (D III, 72,17).
989
pD pD.n=f tpy.w-a=T , "the incense, it has censed your (pl.) body" (D III, 72,12).
990
fnD=tn m sTy=fii sTy=s r=tn, "your (pl.) nose breathes its perfumeits perfume comes to you" (D III, 72,13-
14).
991
sHtp r sHtp ib=tn, "incense in order to pacify your (pl.) heart" (D III, 72,17).
992
kA nb kA.w, "Ka-spirit, Lord of Provisions" (D III, 85,2).
993
sxm.w Sps.w nb.w Sps(.w), "noble (divine) powers, lords of riches" (D III, 84,13).
994
Htp ib=n m Htp.w=k, "Our hearts are satisfied with your offerings" (D III, 85,8-9).
995
D III, 50,14.
996
Hathor: di=i n=k wrr.t mn.ti m tp=k Hr rdi.t nrw=k r xfty.w=k, "I give you the Upper Egyptian crown, fast on
your head, causing fear of you to your enemies" (D III, 73,1).
997
Nekhbet says that the King is sA dmA.t-pD.t Sd n SA.t m Nxn, "son of She binds the bows together (=Nekhbet),
nourished by the Vulture in Nekhen (=Hierakonpolis)" (D III, 73,12).

267
The statement consists almost entirely of ideograms related to kingship and the Two Lands. The

first sign, (A311), consisting of a man wearing two ostrich feathers on ram's horns and
carrying the staff of office, represents ity, "sovereign"; the crown (minus the sun disk) recalls the
Anedjty crown of the King, which associates the wearer with Osiris and kingship.998 Each of the
elements of the dual substantive, itr.ty, the "Two Sanctuaries" of Upper and Lower Egypt,999

depicts a sacred serpent, (O196),1000 representing the divine being dwelling within it. Below
the crook, the ubiquitous part of the King's regalia and the phonogram for HqA, "ruler," are the
geographical areas of the South and the North, Sma and mHw, represented by their respective
crowns placed over the city-sign.1001 This statement of legitimacy, rendered in a striking example
of visual shorthand and proclaimed by the primeval ancestor gods, thus carries particular
importance.
Not only is the King confirmed as the legitimate ruler by the gods, but his reign is assured
of prosperity and stability,1002 with his prestige placed in the hearts of his people.1003 An allusion
to this prosperity appears in the west scene in the speech of Isis, who sits atop her isheru lake,1004

baH pr-nbw.t m THHw.t

"who floods the sanctuary of the Golden One with joy" (D III, 85,4).

The visual imagery of the sanctuary "being flooded" with joy carries additional connotations
because the verb baH, "floods" alludes to the inundation, as well as creating a pun with the waters
of the isheru lake over which Isis sits in the relief. A further allusion appears in the signs that
write the word, baH, consisting of the benu-bird perched over the primeval mound rising out of
the Nun.1005 Because the waters of the isheru lake, like other sacred lakes, are equated with the
Nun, several aural and visual connections thus exist in the expression, alluding to the annual
flood and the bounty it brings to the land.
One of the reciprocal offerings by the ancestor gods is particularly interesting:

998
As we saw earlier, in the offering scene of two sistra in the 2 nd register of the east wall of the Per-wer.
999
The two rows of shrines lined up on either side of the Sed Festival Court. See PL 123-124.
1000
Cat. IFAO 314,7 (1974b).
1001
As we saw in the offering of the double crown on the north wall of the Southern Niche, in Section 5.3.1.
1002
Hathor: Di=i n=k mnqb mn Xr nfr.w=k Hr-nb (Hr) nhm n=k, "I give to you (that) the (cool) palace is enduring,
possessing your good things, everyone rejoicing for you" (D III, 73,9); Isis: di=i n=<k>Ax.t Hr ms.t n=k ix.t=s Sna
bah m nfr.w, "I give you the field, producing for you its products, the storehouse flooded with good things" (D III,
84,16).
1003
Hathor: di=i Sfy.t=k m ib.w rmT, "I place your prestige in the hearts of the people" (D III, 85,7).
1004
As we saw in the section on the Myth, the isheru lake recalls the areas left after rains in the wadis, where lions
would come to water, thus referring to the pacification of lioness-goddesses that takes place during the Festival of
Drunkenness and the Return of the Wandering Goddess. Although Isis, taking the place of Hathor as the Distant
Goddess, sits atop the isheru lake, the role more properly belongs to Mut, who carries the epithet, nb.t iSrw, "Lady of
the Isheru" (D III, 85,3) in the scene, wearing her characteristic double crown and sitting behind Harsomtus. See
4.1.1.
1005
We saw a similar example in Section 5.2.3.

268
 di=n n=k x.t nb.t dd.t p.t qmA.t tA
"We give to you all of the things that heaven gives and the earth produces." (D III, 85,8-9)

The phrase, x.t nb.t dd.t p.t qmA.t tA, "all things that heaven gives and the earth produces," comes
directly from the standard funerary offering formula for the dead.1006 These performative words
would provision the deceased in the afterlife, rejuvenating his body; the King's offering of
funerary provisions and incense to the deceased ancestor gods would likewise renew their kas
and their bodies. Their reciprocal offering, a literal replica of the well-known funerary formula,
would thus also rejuvenate the King. This interpretation is supported by a similar scene in Crypt
East 1, Chamber E, in which Pepi I offers a similar gold statue of Ihy to the three deceased
goddesses seated before him, one of whom wears the same falcon headdress that marks Hathor
as a deceased primeval deity on the east wall of the Per-wer.1007 The key speech for our
understanding of the present scene belongs to Harsomtus, who promises the King, Hwn(=i) Ha=k
m rnp ra nb swDA=i DAmw=k m pr=k , "(I) make your body young, as a youth, every day. I
preserve your generation in your temple" (D V, 159, 8). The king's offerings, which maintain the
funerary cults of the deceased primeval gods and his royal predecessors, thus bring rejuvenation,
a good inundation, and the blessings of heaven and earth, to the dead as well as to the living.
In addition, the primordial ancestors promise,

bAq=n BAq.t m rk=k

"We make Egypt bright in your time," (D III, 85,9)

The polyptoton on the root bAq, "make bright,well, verdant," first as the perfective sDm=f, "we
maintain," and then as the feminine substantive, BAq.t, "Egypt," emphasizes their promise to keep
the King's land healthy and green during his reign. In addition, there is visual play in the writing
of "Egypt" with the Udjat-Eye, thus equating the land with the sacred Eye of the god.1008
Because the Udjat itself represents wholeness and health, it thus graphically (and thereby,
magically!) shows that through the gods' blessings, Egypt will possess those qualities, too.

5.3.4 Summary

Because the King is the legitimate intermediary between the human and divine worlds,
his ritual actions and performative words have power and authority. By offering to the ancestor
gods and renewing their Kas, the King feeds their creative energy, allowing its use in the
perpetual re-creation of the universe. Through his interaction with Hathor, whose own energy as
a Creator Goddess is thus renewed, he is able to set in motion the cosmic machinery of the
temple, reestablishing cosmic order and renewing the world.

1006
Stela of Nakhti from Abydos, 12th-13th Dynasty, in Collier and Manley, Egyptian Hieroglyphs, 110.
1007
Kurth, Pepi I, 20, who cites the scene in the Crypt East 1 as a parallel to the symmetrical scenes in the Per-wer.
1008
Wb I, 425,18; LP, often in GR.

269
5.3.4 Distribution of Scenes Relating to King as Intermediary in Per-wer

Including the outer entrance, 54% (26) of the 48 scenes with figural representations1009 in
the Per-wer have textual references that affirm the King's role as intermediary between the
human and divine worlds. This percentage is the second highest of the three main themes in the
Per-wer, attesting the importance of his legitimacy, effective speech, and maintenance of the
ancestor cults. The theme of his legitimacy is especially apparent in places of transition, like the
lintel and door framing of the outer entrance, the scenes on the sides of the north wall, and the
thicknesses of the door jambs in the Southern Niche. Because these texts scenes frame a door or
niche, they appear in symmetrical pairs. In addition to these areas, the bandeaux of the frieze and
the base, running around all of the walls of the Per-wer, focus on the King's completion of its
construction and decoration. Among all 80 text groups, which include texts without
accompanying scenes, references to the King as intermediary occur as follows: outer entrance,
10; Per-wer proper, 22; Southern Niche, 6, for a total of 38/80, or 48%. There is overlap between
themes, but generally, the remainder of the text groups focus on the Myth of the Distant Goddess
and Hathor as Primeval Creator and Solar Goddess. These themes are discussed in Sections 5.1
and 5.2.

1009
Not including the frieze and the base of the Southern Niche.

270
 Scenes Related to King as
Intermediary in the Per-wer

Fig. 5.80. Outer Entrance, Per-wer, Fig. 5.81. Scenes in Per-wer,

after D II, pl. 94, IFAO after D III, pls. 180; 190, IFAO

Fig. 5.82. Scenes in Southern Niche; after D III, pls. 201-202, IFAO

271
5.4 Analysis of Distribution of Themes in the Per-wer

In the following section we will look at the distribution of the three main themes studied
in the Per-wer: the Myth of the Wandering Goddess, Hathor as Primeval Goddess, and the King
as Intermediary. The scenes and texts containing these themes are highlighted in the diagrams in
pink, yellow, and blue, respectively. The order of discussion moves from the outside of the Per-
wer to the inside of the sanctuary, examining the walls in the following order: north, east, west,
and south. Topics of particular interest include areas with a single, prominent theme,
overlapping themes, and the possible reasons behind their architectural arrangement.

5.4.1 Outer Entrance

The color-coded diagrams clearly show that on the outer entrance, the emphasis on
Hathor as a primeval, solar goddess coincides with expressions of the King's legitimacy and
effective speech.

Myth Goddess King

Fig. 5.83. The Three Themes on Outer Entrance of Per-wer Sanctuary, after D II, pl. 94, IFAO

The overlap is especially noticeable in the montants and the Ogdoad adoration scene.1010 The
adoration of Hathor by the primordial deities, as well as her tall crown's "piercing the sky,"
signal her pride of place; her Atef crown suggests her role as the daughter who maintains their
funerary cult. The scene's emphasis on effective words, appearing not only in the King's speech,
but also in the utterances of the primordial gods, is a characteristic of adoration scenes in general.
The reason for this emphasis may be that during a worshipper's first encounter with a deity, the
proper approach is adoration made with effective speech.
Word play thus naturally occurs in the words of the worshippers, with repetition on the
roots, kA/qA (ka/height) and ra (sun), emphasizing the height of their praise as well as Hathor's
solar nature.1011 The King's speech is effective because Thoth, as the inventor of language, is
characterized as his father. Sign play visually represents the meaning of epithets, with the
1010
Discussed in 5.2.1 (Hathor as Ruler of Heaven and Earth) and 5.3.2 (King's Effectiveness of Speech).
1011
kA/qA (ka/height): D III, 48,15-16; ray.t/ra.w (Female Sun/suns): D III, 49,17.

272
repetition of the spd-sign emphasizing the idea that his speech is "clever."1012 Because Thoth was
also the chief deity of Hermopolis, the Ogdoad's place of origin, an emphasis on effective speech
in a scene of their adoration is also quite appropriate. Interestingly, the bandeau of the frieze
focuses primarily on Hathor's solar aspects, with word play on roots for "gold" and "shine"; sign
play on words meaning "gold,"1013 perhaps because it signals the importance of her role in the
sanctuary as the Eye of Ra.
The emphasis on the King's legitimacy appropriately appears around the three sides of the
entrance through which he would pass in order to enter the sanctuary: on the lintel, the montants,
the two inner columns, and the thicknesses of the jambs. Hathor rewards his building activity for
her by giving him "the years of Atum under the Double crown,"1014 and the "kingship of
Shu,"1015 thus affirming his right to rule.
The placement of the chronocrators for the month of Tybi directly over the Per-wer's
entrance denotes the importance of the festival celebrating the return of the Distant Goddess in
this month; many of their names allude to characters or actions in the myth. 1016 The two outer
columns framing the door describe her joyous return, with Thoth opening the way for her, and
Ra embracing her in his arms.1017 Overhead, in the symmetrical scenes of the lintel, Thoth and
Ra-Horakhty are again present, shaking the sistra as she returns.1018

5.4.2 North Wall

Although there is some thematic overlap on the outer entrance, the north wall's themes
are distinctly separated. As if to underline the King's legitimacy as he walks through the
doorway, the bandeaux of the frieze and the base, as well as the two symmetrical scenes at his
eye-level, all concern his legitimacy. In both of these bandeaux, the goddess exalts the King for
the fine workmanship of her sanctuary, placing him "at the head of the living (divine) kas" (i.e.
the ancestor gods) forever.1019 In the two symmetrical scenes of the 1st register, in which Nekhbet
and Wadjet present the festively dressed king with the north and south scepters of rule, there are
many visual allusions in the iconography, to the Two Uraeii, their associated protection, and the
King's rule over the Two Lands.1020

1012
Visual repetition of meaning in Thoth's epithet, am-tA.wy (He who knows the Two Lands): D III, 49,3; Repetition
of the spd-sign: D III, 50,14.
1013
For example, in D II, 3,6-7 (east side of bandeau of the frieze), polyptotons occur on the root nbw, "gold" (Pr-
Nbw.t/Nbw.t/nbw) and psD, "shine" (psD.t/psD.ti). Sign play occurs with signs for gold and sun rays.
1014
D III, 47,2-3.
1015
D III, 48,1-2.
1016
D II, 31, nos. 17-26; 61, nos. 22-17.
1017
D III, 46,4.
1018
D III, 51,12 52,4; 52,7- 53,3.
1019
Bandeau of the Frieze: D III, 61, 7-8; 62,7; Bandeau of the Base: D III 60,2; 60,8-9.
1020
D III, 63,14-18; 75,15 76,2.

273
 Myth Goddess King

Fig. 5.84. The Three Themes on North Wall of Per-wer Sanctuary, after D III, pl. 180, IFAO

The adoration scenes in the 2nd register again praise Hathor with eloquent speech,
containing word plays similar to those in the Ogdoad adoration scene. There is also aural
emphasis on the root SAa, "first," referring to Hathor as a primordial goddess.1021 Sign plays
visually represent the surrounding of Hathor's ka with praise,1022 as well as the protection of the
King's heart, in which he safely holds the sacred utterances that please the goddess.1023
Allusions to the myth occur in the four symmetrical scenes of the 3rd register and the
lintel. In the 3rd register, the Udjat offering on the west side alludes to the return of the Eye; the
offering of water on the east alludes to her purification in the waters of the Abaton. Abundant
aural and visual devices emphasize these two strands of the myth, with polyptotons and sign
plays emphasizing qualities of the Eye in the west scene1024 and qualities of the primordial water
in the east.1025 Below, on the lintel, the important offerings of wine and the mnw-jar of beer
pacify the goddess, while alluding to the restoration of Ma'at resulting from her pacification by
means of linguistic connections with the Meret singers, who soothe Hathor's heart with music.
The four scenes thus present a condensed version of the myth: Hathor is pacified with the wine
and beer; she is purified in the waters; the Eye is returned; Ma'at is restored (via the Meret/Ma'at
connection). Because these scenes all appear above the doorway, they create a festive
atmosphere and succinctly recount the myth as the procession of the goddess returns to the
sanctuary. Furthermore, all of them remain in her line of sight once her ka alighted upon her
statue in the Southern Niche.

1021
D III, 68,12.
1022
D III, 68,11-12.
1023
D III, 68,13.
1024
D III, 82,12 84,6. Polyptotons on the roots nTr (divine), wDA (udjat), and Ax (effective); visual pun on Tni
(raised/Anedjty crown); many sign plays involving eyes.
1025
D III, 71,16 72,8. Polyptotons on qbH (refresh), rnp (youth/year); sign plays involving leg-signs and water
(because the inundation is said to come from the leg of Osiris).

274
5.4.3 East Wall

Turning to the east wall, we see a great deal of overlap in the three major themes. Most
striking is that the King plays a prominent role in all of the scenes. The top and the bottom of the
walls, in the inscriptions of the bandeaux of the frieze and the base, describe the excellent work
of the King's construction of the Per-wer for the goddess,1026 who in return exalts the King and
places him "at the head of the living (divine) kas" (i.e. the ancestor gods) forever.1027 In the 1st
register, he carries out the steps of the daily temple ritual; in the 2nd , he offers the goddess her
sacred objects, which take the place of the usual accoutrements presented to the resident deity of
a temple.1028 In the 3rd, he presents incense as an offering to the deceased royal and divine
ancestors.

Myth Goddess King

Fig. 5.85. The Three Themes on East Wall of Per-wer Sanctuary, after D III, pl. 180, IFAO

On the east wall, the first scene from the daily temple rite emphasizes the King's lineage
as a purity priest and his "measured steps"1029 in performing the ritual, with aural emphasis
appearing on the roots, twr (pure)1030 and Dsr (sacred).1031 The aural emphasis on the latter root
also intertwines with a visual play, in Hathor's epithet of Dsr.t (sacred one).1032 As the King
releases the bolt in the second scene, he states that he is the Heart of Ra, equating him with
Thoth,1033 who makes the Eye effective. The mention of the Sun Eye brings in the theme of
Hathor as a solar goddess, with word plays on roots like Ax (shining/effective) and psD

1026
D III, 59,10 60,2; 60,4 60,9.
1027
D III, 60,2; 60,8-9.
1028
These include such adornments as the wsx (broad collar) and iry-Snb.t (pectoral). See Moret, Culte, 244; PL 94.
1029
D III, 64,4.
1030
D III, 64,7; 64,7-8.
1031
D III, 64,8; 65,3.
1032
D III, 65,3.
1033
D III, 65,6-7.

275
(Ennead/shine). References to Thoth and the return of the Eye1034 also connect it to the myth.
The third scene, "Seeing the God," contains themes of the King's legitimacy as well as Hathor's
solar aspect. He is again the heir of Thoth, but also the ti.t Dsr(.t) n nb.w twr, "Sacred Image of
the Lords of Purification," again emphasizing his purity; polyptotons on the roots ra (sun) and itn
(sun disk) highlight Hathor's solar qualities. In many ways, the scene is similar to an adoration
scene, with proclamations of kissing the ground to the breadth of the earth, enhanced by signs
representing meaning,1035 and the intertwining of aural and visual plays on the idea of
brightening the dignity of Hathor's ka and exalting her perfection.1036
The second register of the east wall again emphasizes the King's legitimacy in each
scene, because King is equated with the appropriate divinity for each offering. In the first scene
of the milk offering, he is equated with Anubis, sovereign of the milk cows;1037 in the second, the
menit offering, he is like Horus destroying Seth, who can be equated with the menit's
counterpoise; in the third, an offering of sistra, he is like Ihy, who plays music for his mother and
pacifies her heart. The offering of milk has no connection with the myth, unlike the menit and
the sistra, which are objects offered to the Distant Goddess. However, the milk alludes to
Hathor's command of the inundation; in this scene she is equated with Isis,1038 who heralds the
inundation as Sopdet. Therefore, the connections of the scene agree with the theme of Hathor-
Isis as primordial goddess, who "nourishes the gods with her white milk."1039
Moving on to the 3rd register of the east wall, we see that all three themes play a
prominent role in this multi-layered incense offering scene. Attesting to his right to offer incense
to the ancestral gods, the King carries the epithet, "overseer of the foremost place," the title of a
censer-bearer. His legitimacy is emphasized in Nekhbet's speech, in which she calls him sA dmA.t-
pD.t Sd n SA.t m Nxn, "son of She Who Binds the Bows Together,1040 nourished by the Vulture in
Nekhen," thus calling him her son.1041 The identification of Hathor as a primordial goddess
derives from her unusual falcon-headdress, a mark of the deceased, as well as the texts that
address all of the seated gods in the plural, as kA.w Sps.w, "noble (divine) kas," a term for the
deceased primordial ancestor gods. Allusions to the myth of the Wandering Goddess come from
the pacifying qualities of the incense, as well as the references to Punt, the Valley of Myrrh, and
the Land of God, all areas of incense and exotic riches that connect with the wanderings of the
Distant Goddess.1042 An extraordinary number of word plays in this particular scene make the
speech of the king especially effective and clever. His kingship is assured by Hathor, who in
return gives him the Upper Egyptian Crown, "causing fear of you to your enemies," as well as
the stability of his palace and the rejoicing of his people. In addition, she gives him Byblos1043

1034
D III, 65,8-9: The King is snn n !b in wDA.t n nb=s rdi Ax.t r s.t wnn=s, "the image of the Ibis who brings the
Udjat-Eye to her lord (=Ra), who places the Shining Eye at the place where it should be (lit. "where it is").
1035
D III, 66,10.
1036
D III, 66,6-7.
1037
D III, 69,8.
1038
D III, 69,11.
1039
D III, 69,12.
1040
Wilson (PL 1195) notes that this epithet refers to the union of the Nine Bows (the traditional enemies of Egypt)
under the rule of the Egyptian King. See also Borchardt, Sahure II, 84.
1041
Hathor-Nekhbet is the Lady of the Per-wer in both scenes in the 3rd register of the east and west walls: D III,
73,9, on the east wall; D III, 85,7, on the west wall. The syncretization comes about due to her wearing of Nekhbet's
white crown with double ostrich feathers, while seated in front of the archaic Per-wer shrine.
1042
Punt: D III, 73,4; Valley of Myrrh: D III, 72,17; Land of God: D III, 73,13.
1043
Egyptian trade with Byblos goes back to the 2 nd Dynasty; since the MK, Hathor carries the epithet,"Lady of
Byblos," where she was worshipped as a Hathor of foreign areas, like the Sinai or Punt, probably due to the

276
and the Land of God, the areas that produce the incense and myrrh given to the gods in the
offering. The presence of Pepi I and his offering of the statue of Ihy reminds us that by means of
the King's offering, he also maintains the funerary cult of the deceased royal ancestors, on the
model of Horus who offered to his deceased father, Osiris.

5.4.4 West Wall

On the west wall, there is a similar overlap of the King's theme with the other two
themes. Beginning again in the 1st register, we see that in contrast to the west wall, references to
Hathor's primordial or solar aspects occur in every scene of the daily temple rite. The reason is
probably due to the King's action in the first scene, "Pulling the (door) bolt,"1044 which opens the
doors of the shrine and allows her radiance to stream into the room. It also explains word plays
on roots like psD (shine), itn (sun disk), and Ax.t (horizon), as well as the visual plays in her
epithets.1045 In this scene, his epithets equate him with Geb,1046 as well as alluding to his
maintenance of the funerary cult of the ancestor gods,1047 which is appropriate considering the
scene's placement on the west wall.

Myth Goddess King

Fig. 5.86. The Three Themes on West Wall of Per-wer Sanctuary, after D III, pl. 190, IFAO

influence of Egyptian settlers. Since the Roman general Pompey added Syria and Phoenicia to the Roman Empire in
64 BCE, any reference to Hathor's "giving Byblos" to the King in Dendera's texts must be due to her religious
influence in the area and does not reflect the political reality. See Helck, Byblos, 889-891.
1044
Cf. Bartel, Fortziehen der Riegel, 55-81.
1045
D III, 76,13: nswy.t-bi.ty.t Ax.ty.t xa m Ax.t, "Female King of Upper and Lower Egypt, the Horizon-Dweller (f.)
who appears in the horizon."
1046
D III, 76,8: r-pa.t nTr.w, "Hereditary Prince of the Gods."
1047
D III, 76,8: sqA sxm.w m s.t=sn, "who exalts the (divine) powers in their place."

277
 In the following scene of "Revealing the Face," the King's epithets again equate him with
Geb as well as the son of Thoth.1048 The scene again emphasizes the shining quality of Hathor's
presence, with plays on the multiple meanings of roots like psD (shine/Ennead) and sSp
(light/chapel). Symmetrical arrangements on the signs for aA.wy (doors) also emphasize the
King's action in thus "opening the light in her chapel."1049 The final scene in the series of the
daily temple rite episodes in the 1st register is the scene of "Adoring the God." As in other
adoration scenes, the King is equated with Thoth, who is "exact of speech"; aural and visual
plays emphasize the recitation of the hymns and knowledge of the prayers.1050 The mention of
the King's reading of the "festival book" leads to the identification of Hathor with Seshat, the
goddess of writing, who is also characterized as a creator, bringing forth the world by her
words.1051
The second register of the west wall again emphasizes the King's legitimacy in bringing
Hathor her sacred objects, equating him with the appropriate deity in each case; two of the
offerings, the mnw-jar and wensheb, connect with the myth. In the first scene, the presentation
of the xAdb, the symbol of rule over the earth, the King takes on the role of Horus who seized the
Two Lands."1052 In the offering of the wensheb, he is naturally equated with Thoth, the Lord of
Time.1053 Because the moon and the sun both play a part in ordering time, the accompanying text
mentions both the Right and the Left Eye, thus connecting the scene with the theme of Hathor as
a solar goddess.. The offering of the mnw-vase and circlet of electrum in the third scene equates
the King with Horus, who dispels evil and drives away impurity from the Female Sun Disk; 1054 a
multitude of polyptotons emphasize roots such as Ax (effective/shining), nfr (beautiful), tp
(uraeus/head), thus connecting to her roles as solar goddess as well as the uraeus. Sign plays
highlight the swiftness of her divine power1055 and add multiple allusions to her other
epithets.1056
Moving up to the 3rd register of the west wall, we again see an overlap of all three
themes, as in its symmetrical scene on the east wall. The offering of funerary provisions to the
deceased ancestor gods solidifies the King's legitimacy, as he carries the epithet of Geb1057 and
takes on the role of Horus who provisions the funerary cult of Osiris. A wealth of aural and
visual techniques play on the double meanings of roots, thus highlighting both the offering and
its recipients: kA (divine kas/food), Sps (noble powers/riches), DfA (provisions), anx (life), Htp
(satisfy). In return for his offering, the gods promise to maintain Egypt, with a play on the two
meanings of bAk (maintain/Egypt). The image of Isis seated over the Isheru Lake, as well as
Mut's related epithet,1058 connects with the myth. Although not expressly stated, Hathor again

1048
D III, 77,5: sA SmA-mAa.t, "son of He who unites with Ma'at" (Thoth); snn n r-pa.t nTr.w, "image of the Hereditary
Prince of the Gods" (Geb).
1049
D III, 77,8: wn.n=i sSp m sSp.t=k, "I have opened the light in your chapel."
1050
D III, 77,12: rA=i Xr sns.w Hry-mk.t=i Xr tpy.w-rA=t, "my mouth possessing the prayers, my heart possessing the
(magical) utterances," the latter expression with the heart-sign protected by the vulture, discussed in Section 5.3.2.
1051
D III, 78,11: pr(.t) m rA=s xpr Hr=a, "what goes forth from her mouth comes into being at once," discussed in
Section 5.3.2.
1052
D III, 80,17: sw mi @r it.n=f tA.wy, "He is like Horus, he has seized the Two Lands."
1053
D III, 81,8: sw mi Isdn apr wDA.t, "He is like Isden (=Thoth), who provisions the udjat."
1054
D III, 82,5: sw mi @r dr StA n itn.t rwi sdbw, "He is like Horus who drives away impurity from the Female Sun
Disk (i.e. Atenet), who dispels evil."
1055
D III, 81,16.
1056
D III, 82,7-8, with visual plays on six epithets.
1057
D III, 84,12.
1058
D III, 85,3: nb.t iSrw, "Lady of the Isheru."

278
has the role of a deceased ancestor goddess because of her presence as a recipient of the funerary
offerings.

5.4.5 South Wall

The south wall, with its extra register at the base, has less overlap of themes than the
lateral walls. The bandeaux of the frieze and the base contain the titulary of the king,
characterizing him as beloved of Hathor1059 and beloved of Isis.1060 Beginning with the lowest
register, the two symmetrical scenes of primordial water at the base connect to two major
themes: the myth, due to the water's purifying, pacifying effect on the Distant Goddess;1061
Hathor as the female creator and bringer of the Nile, due to her characterization as the daughter
of Nun and of Irta, and her identification with Isis.1062 The text emphasizes the root xpr,
"become," in descriptions of Hathor as primordial goddess who brings the world into
existence.1063 Visual plays highlight characteristics of the water: child-signs alluding to
rejuvenation;1064 leg-signs alluding to the leg of Osiris, the mythical source of the inundation.1065

Myth Goddess King

Fig. 5.87. The Three Themes on South Wall of Per-wer Sanctuary, after D III, pl. 190, IFAO

In the 1st register, the two symmetrical offerings of Ma'at appropriately equate the King
with Thoth1066, who carries the epithet, "Lord of Ma'at." In return for the King's offering, Hathor

1059
On the east side of the bandeau of the frieze and on both the east and west sides of the bandeau of the base (D
III, 59,10-11 and 60,4-5.
1060
On the west side of the bandeau of the frieze (D III, 62,2-3).
1061
D III, 63,8, in the Royal Randzeile: in=f n=T nms.ty Hna.ti m nwn sHtp=f ib=t m mw-rnp, "He brings you the two
nms.t-jars filled with primordial water (lit. Nun), it pacifies your heart with the water of rejuvenation."
1062
Hathor is the demiurge who brings everything that exists into being when she shines (D III, 63,3-4); Isis as
Sopdet heralds the coming of the inundation (D III, 74,12-13).
1063
Five examples of word play on the root xpr in the east scene (D III, 74,12 75,11).
1064
D III, 63,5: IHy-nwn, "Ihy-nun"; D III, 63,5; mw-rnp, "water of rejuvenation."
1065
D III, 71,18, discussed in 5.2.3.
1066
D III, 67,12-13; 79,5-6.

279
places Ma'at in his heart, "in order to do (what is right) for the gods, forever."1067 The mention of
Thoth, as well as the statement that Ihy's pacifies her heart with the sistrum1068 connects to the
myth. There are multiple plays on sound and meaning between Ma'at and mr.t (throat), as
discussed earlier.1069 Visual plays appear in the epithets of Thoth, Harsomtus the Child, Hathor.
The 2nd register contains two symmetrical scenes, arranged on either side of the Southern
Niche: cloth on the east side, unguent on the west. Both offerings correspond closely to funerary
rites, reflecting the combination of solar and Osirian motives in the daily temple ritual.1070
Traditionally, the white cloth symbolizes the strength of the Eye of Horus.1071 The Ptolemaic
scribes adapted it for Hathor, exploiting the aural connections of the words to her solar qualities.
For example, the name of the nine-strand linen offered, psD, can also mean "shine"; its whiteness,
HD, also means "bright," thus leading to many aural and visual puns.1072 The symmetrical
offering of unguent also connects to funerary rites for Osiris, in which the perfumed oil,
containing magical properties, would bind the limbs together and give the mummy renewed
strength. The statements referring to the God's Land and Valley of Myrrh connect to the myth.
Just as Hathor "unites" with the light of the mirrors,1073 she "unites" with the fragrance in her
chapel.1074
Proceeding to the 3rd register, the two symmetrical offerings of the mirror naturally stress
Hathor's solar qualities. The king's offering, and his crown with the large sun disk and double
ostrich feathers, allude to the two Eyes of Ra. There is only one word play in both scenes
together, a polyptoton on the root Ax (effective/shining), designating the Eyes of Hathor's
reciprocal gift to the King. However, there are many visual plays, on the signs writing sSp.t
(luminous one), and emphasis on hand-signs in bHdw (throne), TnTA.t (throne dais), and Ssp
(receive), perhaps emphasizing the offering that was on the "hand' of the king.1075 The King's
offering of the mirrors, though not explicitly stated in the texts, is the royal equivalent of the
divine offering of the two Eyes to Hathor by Shu and Thoth in the Southern Niche. Both of them
emphasize the importance of the return of the Udjat to its proper place.

5.4.6 Southern Niche

Entering the Southern Niche, we again see an emphasis on the King's legitimacy in the
transition to the highly sacred space, in the decoration framing the entrance on the north wall .
On the lintel, the King offers the double to Ihy, who, in turn, give the King rule over the Two
Lands. The lower halves of the door jambs allude to the King's effective speech and his

1067
D III, 68,3: di=i n=k mAa.t m ib=k r ir.t s n nTr.w D.t, "I place Ma'at for you in your heart, in order to do it (i.e.
what is right) for the gods forever."
1068
D III, 79,4.
1069
Section 5.1.2.
1070
Davies, Ritual at Abydos, 89.
1071
Moret, Culte, 178-189.
1072
D III, 71,6-7.
1073
On the east side of the 3rd register, south wall: D III, 74,7, discussed in 5.1.4.
1074
D III, 83,6: Xnm=s Abx m HD=s, "she unites with the fragrance in her chapel."
1075
D III, 74,2; 74,4; 74,7. Discussed in 5.1.4.

280
maintenance of Ma'at.1076 As shown in the diagram below, the predominant theme of the niche
is Hathor's qualities as solar goddess and primordial creator. This emphasis is apparent on the
east and west walls, where the linguistic devices in the udjat offering scenes highlight the turns
in meaning in roots like wDA (udjat/healthy); Ax (Eye, effective/shining); SAa (primordial/create);
and HD (shrine/light).1077 Sign plays visually emphasize eyes (wDA.ty).1078 This theme continues in
the bandeau of the frieze as well as the cryptographic inscription of the base, where the Per-wer
"for the Golden One" is "like the horizon containing the Aten."1079
This solar emphasis ties in perfectly with the myth. The two Udjat offerings, in the 2nd
register of the east and west walls, have unmistakable links to the myth. On the east wall, Shu,
the brother of Tefnut who helps bring her back, offers the healthy Eye to Hathor; Horus of Edfu
takes on the role of her father Ra, "who places his arms around the mistress and Lady of Iunet in
his beautiful form of nb (r) Dr, "Lord to the Limit."1080 On the west wall, Thoth greets the
goddess, Ihy returns the Eye, and Harsomtus is called, "Ra himself in the Sanctuary of Ra."1081

Myth Goddess King

Fig. 5.88. The Three Themes in the Southern Niche of the Per-wer Sanctuary,
after D III, pl. 200-201, IFAO

1076
The lower door jambs include images of the King and Queen, Thoth and Ma'at, and the personifications of Hu
(utterance), Sia (perception), Ir (doing) and Sedjem (hearing), qualities used by the Memphite Creator God.
Discussed in 5.3.2.
1077
wDA: D III, 94,14-15; Ax: 94,15; SAa: 95,3;
1078
wDA.ty: D III, 97,13.
1079
D III, 93,6; 93,9.
1080
D III, 95,6. An epithet of the sun god, Ra.
1081
D III, 98,1.

281
 Chapter 6
Conclusions

The Egyptian temple, a microcosm of the universe, replicates in stone the natural
1082
world. The Ptolemaic temples expand and elaborate this conception, aided by an enormous
growth in the number, complexity, and polyvalency of hieroglyphic signs and iconographic
elements in the reliefs; the scribes exploited this enlarged "playing field" to construct texts and
reliefs that function on multiple aural, visual, and thematic levels. The present study explores
these techniques in great detail, but its overarching purpose is ultimately a search for meaning.
Did the multitude of puns, plays on signs, and complex iconographic creations have a purpose
beyond a simple intellectual game of learned scribes? What were the ancient scribes trying to
achieve? In order to answer these questions, we examined each of these techniques in depth,
exploring their use in the Per-wer Sanctuary at Dendera, the most sacred cult chamber of Hathor.
We found that word plays exploit the power of the spoken word, recalling the
authoritative utterance by the Creator, whose speech brought the world into existence; scribes
used them in a number of creative ways: repetition, which highlights key words and lends
structure to larger thematic units; antanaclasis, whose shifts in meaning emphasize cause and
effect; polyptotons, whose puns and alliteration simultaneously explain and emphasize the
meaning behind a phrase; true puns, whose power derives from their ambiguity, forging
connections on multiple levels. The scribes employed each of these devices to link an offering
with its result, or an action with its actor.
We saw how pictorial hieroglyphs naturally integrate both text and art to convey a
message, the performative power inherent in writing giving them magical effectiveness. The
scribes exploited the polyvalency of the signs in a number of ways: new ideograms, which
convey multiple aspects of the deity; changes in orientation, which mimic the visual
confrontation between characters; creation of symmetrical arrangements, which replicate action
and result; visual alliteration, which, like aural alliteration, emphasizes key words and phrases. In
each of these techniques, the scribes link the actor with his offering or the result of his action,
visually foregrounding important theological concepts.
Finally, we saw the many links between texts and reliefs, facilitated by the increase in the
multiplicity of crowns, cult objects, and regalia. Forming connections between iconography and
epithets, the scribes not only created links to the wearer, but also to other actors and objects, both
within and between scenes. By switching crowns between characters in two symmetrical scenes,
the scribes not only bound together those scenes, but also highlighted the complementary pairs of
scenes that are essential for the return of the Distant Goddess and the restoration of cosmic order.
These three types of scribal techniques thus lie at the heart of the meaning within the
main thematic threads of the Per-wer: the Myth of the Wandering Goddess, Hathor as Creator,
and the King as Intermediary. Furthermore, these techniques recreate and emphasize on both
aural and visual levels two essential things: the complex, interconnected environment of the

1082
The undulating wall enclosure = the waters of the Nun; pylon = the mountains of the horizon; hypostyle hall =
the primeval swamp; plant life and offerings on lower registers of walls = products and plants of the earth;
astronomical ceiling = sky; the sanctuary with its enclosed naos = the primeval mound of creation.

282
natural world and the interaction that takes place between the two main actors within this
environmentthe King, representing humankind, and the goddess, representing the Divine.
The scribes showed the interconnectedness of the natural environment through the links
formed between words, signs, and iconography, as well as between symmetrical scenes.
However, these connections between complementary pairs did not exclude one, or even both of
these scenes, from forming relationships and connections with other scenes. This heightened
complexity of an interlinked network of relationships is intentional; by its creation, the scribes
sought to replicate in the texts and reliefs the complexity and perfection of divine creation.
Similarly, the scribes used these techniques to emphasize the interconnection between the
King and the goddess, showing the importance of his actions and offerings in gaining the desired
divine response. By means of offerings that pacify the Distant Goddess and convince her to
return to Egypt, the King accomplishes a number of things simultaneously: her return heralds the
coming of the inundation, with its attendant prosperity and joy; the return of the sun and the
moon restore ordered time; her return to the brow of the sun god guarantees protection against all
forces of destruction. Furthermore, her return restores cosmic order, or Ma'at.
The importance placed by the scribes on the restoration of Ma'at cannot be overstated.
Figures of Ma'at appear four times (the "number of completion") on the south walls of the Per-
wer and of the Southern Niche. The goddess Ma'at also accompanies the King as his adores
Hathor on the Per-wer's lateral walls. As we saw earlier, since the offerings of Ma'at in the floor-
level crypt lie directly beneath the Southern Niche, images of Ma'at protect Hathor's sacred
image not only on all sides, but also in three dimensions. The reason for this constant emphasis
on Ma'at and on the offerings that the King makes to restore it, is due to the constant threat that
chaos will overtake order,1083 requiring the constant nurture of balance and order, represented by
Ma'at. The wall reliefs, whose multiple aural and visual plays cluster in these critical areas of the
Per-wer, underline the importance of this concept and attest the agency of the ancient scribes.
Furthermore, by returning the goddess to her proper place and restoring Ma'at, the King also
ensures the continuation of creation, because the the naos within the Per-wer is not only the
mound of creation, but Hathor herself is also the Creator.

1083
Modern physics recognizes this tendency in the concept of entropy, in which everything naturally tends towards
a state of disorder; equilibrium is a state that is difficult to achieve and maintain.

283
 Chapter 7
Translation of the Texts in the Per-wer Sanctuary

7.0 Introduction
The transliterations and translations (as in the previous chapters) employ the following
symbols and conventions:

Underline = reversal
Red = parallelism; alliteration (unless otherwise indicated)
Blue = sign play
Bold = word play
Bold Blue = overlap of word and sign play

[ ] marks a restoration of the original text

< > shows that a word omitted in the original has been supplied
( ) marks English words inserted to clarify the sense
[] marks lacunae
. indicates inability to translate.
{ } indicates scribal error that should be omitted
* uncertain

In transliterations, proper names of divinities (e.g. @.t-Hr, "Hathor") and toponyms (e.g
Iwn.t, "Iunet") are capitalized. Compound names are hyphenated in transliteration but not in
English, e.g. Wbn.t-m-nbw, "She who shines like gold." Except for a few epithets, like Nbw.t
(Golden one), Wbn.t-m-nbw (She who shines like gold), and Ir.t-Ra (Eye of Ra), most epithets
and titles are capitalized only in the English translation; longer epithets capitalize only the first
word in English. The epithet, "the Great," is capitalized, but not separated from the main name
by a comma, e.g. "Hathor the Great," as it is usually considered a unit in English. "Ka" and "Ba"
are always capitalized in English, though not in transliteration.
As far as possible, I try to reflect in the English what is happening grammatically in the
Egyptian. To this end, prepositional nisbes (adjectives made from prepositions) functioning as
substantives are translated to reflect their role, e.g. xnt, derived from the preposition meaning "at
the head of," is translated as "foremost one"; if feminine, "(f.)" is added, e.g., xnty.t Iwn.t,
"Foremost one (f.) of Iunet" (D III, 50,12).
In order to convey more meaning and allusions, some words are transcribed into English,
rather than translated. For example, the male and female sun disks, Itn and itn.t are always given
as Aten and Atenet; the male and female suns, Ra and Ray.t, as Ra and Rayt. Occasionally, the
words will be rendered so that they replicate in English the word play present in the Egyptian,
e.g. Rayt n Ra.w, "female sun of suns." The four main names of Dendera, Iwn.t, IAd.t-di, &Arr,
QAb-tA.wy, and NTry.t, are given as "Iunet," "Iatdi," "Tarer," and "Qab-Tawy," and "Netjeryt,"

284
respectively, to maintain their distinctions.1084 "Iunet," being especially ubiquitous, is discussed
in a footnote only in the first text in which it appears (Doc 2). Likewise, the two types of eternity,
D.t and nHH, are translated as "D.t-eternity" and "nHH-eternity," rather than the more traditional
(and imprecise), "forever," and "eternally."
The male and female titles, Hm and Hm.t, are translated as "Incarnation," rather than
"Majesty," in order to convey the idea that the deity is manifest in the physical vehicle of the
statue of the god or the body of the living King. The term, "King," the office-holder on earth
carrying the Ka of the Living Horus, is always capitalized.

1084
Kockelmann, Toponymen, 65; 221-232, notes that the different designations for Dendera (Iunet, Iatdi, and Tarer
being the most frequent) function as synonyms, chosen to provide variation between parallel texts and to make word
plays in epithets. The frequent occurrence of word plays with toponyms suggests that the scribes used the toponym
lists in their construction. Thus, the epithet in a text seems to determine the choice of the toponym, e.g., in the
antanaclasis in these two epithets: Nbw.t m-xnt pr-Nbw.t, "The Golden One (f.) in the Sanctuary of the Golden One
(f.)" (D III, 72,5); rmn.n=i Ax.t r-tp pr-Ax.t, "I carry the Ax.t (cow) to the House of the Ax.t (cow)" (D VII, 181,2).

285
7.1 Outer Entrance

OUTER ENTRANCE IN
MYSTERIOUS CORRIDOR,
D II, pl. 94, IFAO

Upper Frieze
Docs 1-2
Bandeau of the Frieze
Docs 3-4
Scenes between Bandeau of the
Frieze and frieze of uraeii
Docs 12-13
Upper Cornice below frieze of
Uraeii
Above the Solar Disk: Doc 5
Texts on either side of Solar Disk:
Viewers Left side (east): Doc 6
Viewers Right side (west): Doc 7
(destroyed)
Lateral Columns of Text
A: Doc 8; B: Doc 9
C: Doc 10 D: Doc 11
Lower Cornice
Texts on either side of Solar Disk:
Viewers left (east): Doc 14
Viewers right (west): Doc 15
destroyed
Lintel (immediately above door
opening)
Viewers right (east): Doc 16
Viewers left (west): Doc 17
Lateral Columns of Text under
Lintel (montants)
Viewers Left (east): Doc 18
Viewers Right (west): Doc 19
Thickness of the Door Frame
(paisseur des montants):
Viewers left (east): Doc 20
Viewers right (west): Doc 21
Door-Jambs (pieds-droit de
lembrasure)
Viewers left (east): Doc 22
Viewers right (west): Doc 23

286
 Outer Entrance, Upper Frieze

Outer Entrance, Upper Frieze, East Side (D II, 31, nos. 17-26)1085

No. 17 18 19 20 21 22 23 24 25 26
Tybi 11th 11th 12th 12th 13th 13th 14th 14th 15th 15th

Outer Entrance, Upper Frieze, West Side (D II, 61, nos. 17-22)

No. 26 25 24 23 22 21 20 19 18 17
Tybi 16th 16th 17th 17th 18th 18th 19th 19th 20th 20th

1085
Each deity's "number" (appearing in D II) is given below the seated image, to prevent confusion with the column
numbers listed above in line drawing. D II, pl. 94, IFAO.

287
Doc 1 Upper Frieze, East Side: D II, 31, nos. 17-261086

Translation Transliteration
EAST WALL EAST WALL
61. Osiris [1st Tybi] 61. Wsir
62. Hathor [1st Tybi] 62. @.t-Hr
63. She who is hidden/secret1087 [2nd Tybi] 63. ^tA.t
64. Sole one (f.) (=uraeus) [2nd Tybi] 64. Wa.t
SOUTH WALL SOUTH WALL
1. Sopdu [3rd Tybi] 1. %pdw
2. She possesses her face [3rd Tybi] 2. Iw-n=s-Hr=s
3. Herishef (lit. He who is upon his lake) [4th Tybi] 3. @ry-S=f
4. Lady of her mother [4th Tybi] 4. Nb.t-mw.t=s
5. She of the wrr.t-Crown [5th Tybi] 5. Wrr.t
6. Lady of sweetness [5th Tybi] 6. Nb.t-bnr.t
7. Neith [6th Tybi] 7. N.t
8. Beloved of Her Father [6th Tybi] 8. Mry.t-it=s
9. Lord of Mesen (=Edfu) [7th Tybi] 9. Nb-Msn
10. Lady of Keben (=Byblos) [7th Tybi] 10. Nb.t-Kbn
11. Isis [8th Tybi] 11. As.t
12. She who leads the goddesses [8th Tybi] 12. #rp(.t)-nTr.wt
13. Ra-Horakhty [9th Tybi] 13. Ra-@r-Ax.ty
14. Lady of Khemnis [9th Tybi] 14. Nb.t-Ax-bi.t
15. Lady of heaven [10th Tybi] 15. Nb.t-p.t
16. She who creates her perfection [10th Tybi] 16. WtT.t-nfrw=s
17. Wadjet1088 [11th Tybi] 17. WAD.t
18. Whose power exists1089 [11th Tybi] 18. Wnn-bA.w=s
19. Lady of Imau1090 [12th Tybi] 19. Nb.t-ImAw
20. Ka of the Great one (f.) [12th Tybi] 20. KA-wr.t

1086
Entries in red are located directly over the entrance to the Per-wer Sanctuary.
1087
An epithet of Hathor in D III, 62,5; E V, 332,9. Leitz, LGG VII, 140-142, notes that ^tA.t is identical with ^tA.t-
irw, "She who is hidden of form," an important aspect of Hathor in the Per-wer. See 5.2.5.
1088
Seated woman holding a papyrus scepter. Transliteration follows that of Leitz, LGG VII, 127, and Wb I, 268,
17, which notes the use of the double reed leaf since the 18 th Dynasty. Cauville, Dend Trad II, pp. 428-429,
transliterates the name as WADyt, no doubt to reflect the double reed-leaf in some of the writings. Wb I, 269, 6-8,
distinguishes between the name of the goddess (WAD.t) and the word for a columned hall in a temple (wADy.t), also
attested since the 18th Dynasty, which is additionally a designation for Dendera's roof chapel.
1089
Seated lion-headed woman holding an ankh. Wb. I, 413,2 414,6, translates bAw as "fame," "power," and "will."
Cauville, Dend Trad II, p. 56, translates bAw as "numen"; Leitz, LGG II, 375, translates it as "Macht."
1090
Seated woman wearing horns-and-disk headdress and holding a wAs-scepter. The word, ImAw, can designate one
of two toponyms: Imau or Momemphis (now Kom el-Hisn and al-Tud); Hannig -D, 1304, determined with three
tree-signs); ImA, Ima, or Yam, a region in Nubia near Kerma (Wb I, 81,8; Hannig -D, 1304). Leitz, LGG VIII, 355:
Nbt-ImAw, "Die Herrin von Kom el-Hisn"; Nbt-ImAw-mHwt-Nt, "Die Herrin von Kom el-Hisn im tempel der Neith";
Nbt-ImAAw, "Die Herrin von ImAAw (Ortsnamen unbekannter Lokalisierung in Nubien)." It is not clear to me which
toponym is referenced in this epithet, but the references in LGG seems to suggest Kom el-Hisn as the most likely.
Homonyms of imAw having meanings that relate to Hathor include imAw, "the radiance of the sun" (Wb I, 80,9; since
NK), and imAw, "red color," "red cloth" (Wb I, 80,16-17; since NK). See also Galvin, Priestesses, 228-231;
Staehelin, Tracht, 175-176.

288
 21. Lord of Maat (=Thoth) [13th Tybi] 21. Nb-mAa.t
22. Lady of heads owing to her Ka (power) [13th Tybi] 22. Nb.t-tp.w-m-kA=s
23. Tefnut1091 [14th Tybi] 23. fn.t
24. Lady of the eastern mountains1092 [14th Tybi] 24. Nb.t-bAXw
25. Neith1093 [15th Tybi] 25. N.t
26. She who is sublime with rejoicing1094 [15th Tybi] 26. +sr(.t)-hnw

Doc 2 Upper Frieze, West Side: D II, 61, nos. 17-221095

Translation Transliteration
26. She who is beautiful to see1096 [16th Tybi] 26. Nfr.t-mAA
25. Nut [16th Tybi] 25. Nw.t
24. She who gives what she wants1097 [17th Tybi] 24. _i.t-mr(=s)
23. [Onuris]1098 [17th Tybi] 23. [In-Hr.t]
22. [Naunet] [18th Tybi] 22. [Nn.t]
21. [Mut] [18th Tybi] 21. [Mw.t]
20. [With her] is the reunion1099 [19th Tybi] 20. %xn-[m-a=s]
19. [She of the unguent (?)]1100 [19th Tybi] 19. [MD.t(?)]
18. She who is joyous1101 [20th Tybi] 18. (Imy.t)-hy
17. [He who is unique (?)]1102 [20th Tybi] 17. [Wa (?)]
16. Whose Ka is in her heart [21st Tybi] 16. KA=s-m-ib=s

1091
Seated lion-headed woman wearing sun disk with uraeus and holding papyrus scepter.
1092
Seated lion-headed figure holding papyrus scepter. Since the BoD (NK), bAX is "the place where the sun rises"
(Wb I, 422,9), in LP and GR it is also a verb meaning "rise (of the sun)," or "shine brightly" (Wb I, 423,1-2).
1093
Seated woman wearing the red crown (Neith) and holding an ankh.
1094
Seated lion-headed woman holding papyrus scepter.
1095
Entries in red are located directly over the entrance to the Per-wer Sanctuary. Entries in bold font allude to the
Myth of the Wandering Goddess.
1096
Parallel text: D XV, 101 no. 30; Cauville, Dend Trad II, p. 528, lists the 16 th of Tybi.
1097
Wb V, 420,1-3 GR: used particularly at Dendera for "sky," the place of the stars; also as the image of height,
beauty, etc.; Parallel text: D XV, 100, no. 29; Cauville, Dend Trad II, p. 723, lists the 17 th of Tybi.
1098
Parallel text: D XV, 100, no. 27: ^w, together with the four-feathered headdress in our text, which is

characteristic of Shu: (C95), confirms the restoration. Also, the reference in no. 20 to "reunion" is a strong
allusion to the Return of the Distant Goddess, which Shu facilitates in the myth.
1099
Parallel text: D XV, 100, no. 24. The 19th of Tybi is the first day of the Festival of the Return of the Distant
Goddess; the name, "[with her] is the Reunion," or, "She who is reunited," alludes to this festival, which
celebrates the reunion of Hathor (as the Distant Goddess) with her father Ra, the sun god. The verb sxn can also
mean "install," as in iw=t sxn.ti m aH Sps (D III, 46,4), "you are installed in the noble palace."
1100
D III, 82,14 83,8, is an offering scene of the king's presentation of mD.t (unguent) to Hathor.
1101
The caption above the lion-headed woman wearing the sun disk is , which Cauville, Dend Trad II, pp. 98-
99, transliterates as ihy.t (La Joyeuse). Cf. Wb I, 117,15 118,1, which gives ihy as a substantive, with ir ihy

meaning "to rejoice"; Wb II, 483,1-13 gives hy as the verb, "rejoice." Both entries use (A28) as a determinative,
but not as an ideogram.
1102
Parallel Text: D XV, 100, no. 21.

289
 15. Wadjet [21st Tybi] 15. WAD.t
14. Lady of the account [22nd Tybi] 14. Nb.t-Ipy.t
13. Onuris [22rd Tybi] 13. In-Hr.t
12. She who is green of field1103 [23rd Tybi] 12. WAD.t-sx.t
11. Iah (=Moon) [23rd Tybi] 11. IAH
10. [Lady of light]1104 [24th Tybi] 10. [Nb.t-Ssp]
9. Amun-Ra [24th Tybi] 9. Imn-Ra
8. Shining Eye [25th Tybi] 8. Ax.t
7. Montu [25th Tybi] 7. MnTw
6. She who traverses Nubia1105 [26th Tybi] 6. #ns.t-%Tt
5. Wadjet [26th Tybi] 5. WAD.t
4. She who is wide of stride [27th Tybi] 4. PD.t-nmt.t
3. Khonsu1106 [27th Tybi] 3. #nsw
2. Whose silence does not exist [28thTybi] 2. N-gr=s
1. Anubis [28th Tybi] 1. Inpw
WEST WALL WEST WALL
64. She of the palace [29th Tybi] 64. Mnqb.t
63. Onuris [29th Tybi] 63. In-Hr.t
62. Lady of the sanctuaries (?) [30th Tybi] 62. Nb.t-pr.w (?)
61. [Sokar] [30th Tybi] 61. [%kr]
60. Lady of white limestone [1st Mechir] 60. Nb.t-inr-HD
59. Sekhmet [1st Mechir] 59. %xm.t
58. Lady of trembling [2nd Mechir] 58. Nb.t-sdAw
57. Sekhmet [2nd Mechir] 57. %xm.t
56. Lady of the son of Ra [3rd Mechir] 56. Nb.t-sA-Ra
55. Osiris [3rd Mechir] 55. Wsir
54. Swift (f.) of the pillar1107 (?) [4th Mechir] 54. #Ax.t-iwn
53. Hathor, Lady of Iunet1108 [4th Mechir] 53. @.t-Hr-nb.t-Iwn.t

1103
Parallel text in D XV, 99, 16: WAdy.t. There may be confusion between the double reed-leaf of Wadjet and the
three reed leaves used to spell sx.t, "fields."
1104
The epithet nb sSp (Lord of Light) is held by a genie (Edfou I, 511,4); Ihy (D III, 12,13); the King (D II, 22,6;
48,3; III, 160,11); Harsomtus (D VI, 127,4); Horus (D VI, 58,2).
1105
See discussion in Excursus, 5.0.1.1.
1106
Parallel text: D XV, 99, no. 3: $nsw m WAs.t (Khonsu in Thebes).
1107
The adjective xAx appears in epithets of gods who move or strike quickly (PL 705): Horus is xAx-nmt.t, "swift of
steps" (E I, 76,3); Horus-Behdety is xAx-msw, "swift of births" (E I, 239,7; Wb III, 233,11); Isis-Hathor is xAx bAw,
"swift of Ba-power," or "swift and mighty" (E I, 306,1; Wb III, 233,12).
1108
The most well-known and oldest name of Dendera, attested since the 4 th Dynasty. Bonnet, RRG, 155, suggests
that Iwn.t (Iunet) may have originally meant "Pfleilerstadt," "Pfeilerhof," or "Sulensaal." Fischer, Dendera, 33,
notes that in the late periods, Dendera was considered the feminine counterpart of Iwnw (Heliopolis), as attested by
texts at Dendera, e.g. "Hathor, for whom one made Iwn.t in place of Iwnw (Heliopolis)," as noted by Junker, Sechs
Teile, 103. Murray, Temples, 53, derives the name, Dendera (Tentyra), from the phrase, tA-Iwn.t-nTr.t, "The (female)
pillar of the goddess." However, Kockelmann, Toponymen, 54, gives the correct transcription as Iwn.t-tA-nTr.t,
"Iunet of the goddess" (D VI, 168,8 = No. 111). It would seem more likely that "Tentyra" derives from tA-nTr.t, "The
Goddess." See also El-Kordy, Noms de Dendara, 391, who gives the names of the temple complex and its parts
listed in Dendera's Crypt West 3, the so-called "Crypt of the Archives."

290
 Outer Entrance, Bandeau of Frieze

Bandeau of the Bandeau of the

Frieze, East Side Frieze, West Side
Doc 3 D II, 3,6-7 Doc 4 D II, 4,2

D II, pl. 94, IFAO

Doc 3 Bandeau of the Frieze, East Side: D II, 3, 6-7

Translation Transliteration
3,6 The Sanctuary of the Golden One (f.)1109 is for the 3,6 pr-Nbw.t n Nbw.t nbi m
Golden One (f.),1110 gilded with gold,1111 the Golden nbw Nbw.t nTr.w wbn m-xnt=f
One (f.) of the gods shines within it. The Per-wer is for pr-wr n Ipy.t 3,7 papa m sA.wy
the uraeus,1112 3,7 shining like gold. The Shining psD. T psD.ti m-qAb=f
(Uraeus) shines in its midst.1113

1109
The designation, pr-nbw.t n nbw.t, "Sanctuary of the Golden One," can apply to a special part of the temple,
such as the Per-wer, or to the temple as a whole. See Kockelmann, Toponymen, 75-79; Gauthier, DG, 93. Note the
various ways that scholars transliterate "gold": Wb II, 237,6 - 239,13: nb, but nbw when referring to the ore; Kurth,
E VII, 306,13, nb; Wilson, PL 503-504, nbw; Cauville, D I-XV, nbw; Preys, Complexes, 621, nbw; Kockelmann,
Toponymen, 75-76: nwb, which comes closest to the Coptic, noub (Crum, 221b). I follow Wilson, Cauville, and
Preys in transliterating it as nbw.
1110
Preys, Complexes, 246-248, discusses the many epithets of Hathor (and her counterpart, Isis) that include the
element, nbw, "gold."
1111
I have chosen to translate nbi as "gilded," rather than "plated," in order to replicate in English the alliteration and
polyptoton of the Egyptian (nbi m nbw): "gilded with gold." The verb, nbi, "to fashion, work, make," may be
connected etymologically with nbw, "gold." Wilson, PL 502, notes that nbi derives from the older term, nbi,
meaning "to melt (metal)." See Wb II, 236, 6-9. Because the gold determinative is present in both nbi and nbw, they
may both derive from the root nb (gold).
1112
psD.t derives from psD, "to shine"; it denotes the (shining) uraeus when determined by (I64).
1113
The preposition m-qAb, written with the coil-sign, literally means "in the coils," thus alluding to Hathor's
manifestation as the cobra on the brow of her father Ra.

291
Doc 4 Bandeau of the Frieze, West Side: D II, 4,2-3

Translation Transliteration
4,2 The Sanctuary of the Golden One (f.)1114 is for the 4,2 pr-Nbw.t n Nbw.t nTr.w inH m
Golden One (f.) of the gods, plated in gold.1115 She who nbw Wbn.t-m-nbw wbn m-xnt=f
shines like gold1116 4,3 shines1117 in it (=the sanctuary), twt 4,3 mAA=f r Ax.t n.t p.t aq=s
(which) resembles1118 seeing (it) (=the sanctuary) the [ 2 squares] nb.w\
horizon of heaven. She enters [2 squares] all.

1114
The designation, pr-nbw.t n nbw.t, "Sanctuary of the Golden One," can apply to a special part of the temple,
such as the Per-wer, or to the temple as a whole. See Kockelmann, Toponymen, 75-79; Gauthier, DG, 93. Note the
various ways that scholars transliterate "gold": Wb II, 237,6 - 239,13: nb, but nbw when referring to the ore; Kurth,
E VII, 306,13, nb; Wilson, PL 503-504, nbw; Cauville, D I-XV, nbw; Preys, Complexes, 621, nbw; Kockelmann,
Toponymen, 75-76: nwb, which comes closest to the Coptic, noub (Crum, 221b). I follow Wilson, Cauville, and
Preys in transliterating it as nbw.
1115
The phrase, inH m nbw, is attested since the 18th Dynasty, but the writing of inH with the tusk of an elephant
(F18) is typically GR (Wb I, 99).
1116
The consensus among scholars is that the expression, , should be considered a participial
phrase beginning with a feminine singular perfective active participle, thus wbn.t m nbw, which can be translated as
"She who shines like gold." Nuances of translation exist as follows: Cauville, Dend Trad II, pp. 18-19, "Celle qui
brille comme l'or"; Preys, Complexes, 78 n. 700, as "Celle qui apparat comme l'Or"; Leitz, LGG VIII, 349, "Die als
Gold aufgeht"; Wb I, 293,7, as "die als Gold erglnzt." Whereas Wb I, 293,6, transliterates the masculine version

referring to the sun god, , as wbn m nb, "der in Gold aufgeht," it translates the feminine
version, , as "die als Gold erglnzt." The presence of the t-loaf and egg determinative at the end of
the phrase, following the sign for nbw, suggests that the feminine ending applies to the participle rather than to the
substantive nbw. In our example in D II, 4,2, the t-loaf and egg directly follow the bull-sign, (E1), which stands
in honorific transposition to the rest of the phrase.
1117
The intransitive verb wbn can be either a participle, "who shines" or a stative, "(in a state of) shining." In both
cases, the participial phrase, wbn.t m nbw, can function as the nominal subject of the stative of wbn.
1118
Wb 257,14-17: the expression, tw.t + r, "be like, resemble," used in the LP and GR, replaced the earlier tw.t + n.

292
 Outer Entrance, Upper Cornice

D II, pl. 94, IFAO

Upper Cornice East of Upper Cornice Above Upper Cornice West

Winged Disk Winged Disk of Winged Disk
Doc 6 D III, 45, 8-9 Doc 5 D III, 45,6 Doc 7 D III, 45,10

Doc 5 Upper Cornice above Winged Disk: D III, 45,6

Translation Transliteration
45,6 Dappled One of Plumage,1119 who goes forth from 45,6 sAb Sw.t pr m Ax.t
the horizon. Dappled One of Plumage, who appears1120 sAb Sw.t wbn m nn.t
in the sky.1121

1119
Frequent epithet of Horus Behdety, referring to his multi-colored plumage as a falcon. Wilson, PL 790-791,
observes that when light strikes the feathers at an angle, they appear rainbow-colored.
1120
Wb I, 292,9 294,3: wbn can mean rise," "appear, and shine, all of which are applicable in this context.
1121
Wilson, PL 525, suggests that the word nn.t, "sky," may be a confusion between the Heliopolitan Nut (goddess
of the sky) and the Hermopolitan Naunet (female counterpart of the Nun, the primeval waters).

293
Doc 6 Upper Cornice East of Winged Disk: D III, 45,8-9

Translation Transliteration
45,8 Nekhbet,1122 White One (f.)1123 of Nekhen,1124 45,8 Nxb.t HD.t Nxn Hwn.t tA-Sma
Mistress of Upper Egypt. 45,9 Wadjet, Lady of Pe, 45,9 WADy.t nb.t P Hnw.t Dp
Mistress of Dep.1125

Doc 7 Upper Cornice West of Winged Disk: D III, 45,10 (destroyed)

1122
The vulture representing Nekhbet in this scene wears the white crown of Upper Egypt, flanked by two ostrich
feathers, recalling the crown of Hathor of the Per-wer, in her form as Nekhbet. See discussion in 4.1.4.
1123
Wb III, 211,3-7. The term, HD.t, meaning "White one," is an epithet of Nekhbet as well as a name for the crown
of Upper Egypt, derived from its color.
1124
Hierakonpolis in Upper Egypt.
1125
Wadjet is traditional the local cobra goddess of the ancestral towns of Lower Egypt, Pe and Dep (Buto). As a
reflection of this association, one of her epithets since the 18 th Dynasty is _p.t, "the One (f.) from Dep" (PL 1193;
Wb V, 443,2-4). At Dendera, Hathor takes over this epithet in her role as the Lower Egyptian cobra (vis--vis
Nekhbet, the Upper Egyptian vulture): D III, 38,10; D V, 113,1.

294
 Outer Entrance, Framing of Doors

East Side, Outer West Side, Outer

Column, Text A Column, Text B
Doc 8 Doc 9
D III, 45,13 46,1 D III, 46,3-7

Text C Doc 10

East Side, Inner West Side, Inner

Column, Text C Column, Text D
Doc 10 Doc 11
D III, 46,10 47,4 D III, 47,6 48,3

D II, pl. 94, IFAO

Doc 8 Door Frame, East Side, Outer Column, Text A: D III, 45,13 46,1

Translation Transliteration
45,13 Words to say: How beautiful is your face! You 45,13 Dd mdw nfr.wy Hr=t xa=t m
appear in1126 your sanctuary, Hathor, the Great (f.), pr=t @.t-Hr wr.t nb.t Iwn.t Ir.t-Ra
Lady of Iunet, Eye of Ra. You come forth (in pr=t r-HA nb(.t) sSp xsr kkw
procession), Lady of Light1127 who repels the darkness. sHD.n=t 45,14 tA.wy m nfrw=t
You have 45,14 brightened1128 the Two Lands with your Ra Ds=f Hr swAS=T Hr ir(.t) iAw m
beauty.1129 Ra himself is praising you, making adoration Hr=t nfr nTr.w Hr ir(.t) n=t iAw
before your beautiful face. The gods are making nTr.wt Hr ir.t n=t hnw nhm n=t
adoration for you. The goddesses are making 45,15 p.t Hr xAbA=s m pr=t m Ax.t
jubilation1130 for you. swAS tw(=t) tA Dr=f r{t}-rA-a wbn

1126
In Ptolemaic Egyptian, the water sign (N35) can also stand for the preposition m, due to a dissimilation by
contact with the sound m, which also occurs in Demotic, as noted by Kurth, EP I, 17.4 and n. 9, who adds that
genitival-n can dissimilate to m as well, which occurs below in the present text in line 45,15: wbn Htp n itn.
1127
Wilson, PL 924, suggests that the reed-leaf at the beginning of sSp may have been an error for the folded
cloth sign, , which scribes copied and repeated in later texts.
1128
Following Kurth, EP II, 908-909, who discusses the academic controversy surrounding the interpretation of
sDm.n=f constructions in Ptolemaic. In this case, Hathors appearance has brightened the land, thus earning Ras
(and the rest of the divine worlds and humanitys) praise.
1129
Wb II, 259,20 260,17: nfrw can mean "beauty," "perfection," or, as the plural, nfr.w, "beauties," "good things,"
all of which are appropriate in the present context.
1130
Wb II, 493,15-23; PL 606. In this text, (A8), the ideogram denoting hnw, "jubilation," depicts a kneeling
man raising one fist above his head and placing the other upon his chest. This gesture is characteristic of the Souls of
Pe and Nekhen, attested as early as PT 1005ab, and appearing in the Per-wer in D III, 91,8. In the wine offering on
the east side of the lintel on the north wall of the Per-wer, Isis carries the epithet, nb.t hnw, "Lady of Jubilation" (D

295
 The sky and1131 the stars1132 are rejoicing for you 45,15 Htp n itn wn n=t HH.w gAb.ty=sn
as you go forth from the horizon. The entire land praises sn n=t 46,1 Hfn.w tA {in}<ii>.n
you1133 as far as1134 the rising and the setting1135 of1136 nsw.t-bi.ty ( )| xr=t @.t-Hr nb.t
the Aten. Millions open their arms for you, hundreds of Iwn.t ir=f n=t Hb pn nfr wHm=f
thousands1137 46,1 kiss the ground for you. The King of sw n-nr(.t) r D.t
Upper and Lower Egypt ( )| <has come> before you,
Hathor, Lady of Iunet. He makes this beautiful festival
for you. He repeats it annually,1138 for D.t-eternity.

Doc 9 Door Frame, West Side, Outer Column, Text B: D III, 46,3-7

Translation Transliteration
46,3 Words to say: the Uraeus1139 appears within the 46,3 Dd mdw xa wr.t m-xnt Ax.t
temple, she <shines>1140 upon the brow of [her] <wbn>=s Hr wp.t n.t it[=s] nmt=t
father.1141 You walk in the place of your desire. You m s.t-ib=t pHrr=t r nTr.w nb(.w)
run1142 towards all the gods who abide1143 in 46,4 the Dd m 46,4 aH kA=t m-xt=t @w %iA
palace, your Ka behind you,1144 Hu and Sia in your m Smsw=t wp n=t +Hwty wA.wt

III, 59,5), employing as the determinative for hnw. See Dominicus, Gesten, 61-65; 87; Abb. 14, with reliefs
depicting the gesture.
1131
Wb III, 131,25. Hr coordinates two substantives, p.t, "heaven," and xAbA=s, "stars," having a closer connection
than Hna.
1132
The expression, xAbA=s, usually translated as stars, means lit., a thousand are her Bas, in a reference to the
sparkling Bas of Nut, the sky goddess (PL 704). See also von Lieven, Himmel ber Esna, 167-171, for xAbA(w)=s
as a collective term for the decanal stars, cited in Goebs, Crowns, 17 n. 24.
1133
Following Kurth EP II, 31, for 2 nd f. s. dependent pronoun. Cauville, Dend Trad III, p. 104, transliterates as tw.
1134
Wb III, 394,1-7. Wilson, PL 570, notes becomes r due to phonetic change. Junker, GrD 239, p. 173-174,
translates r-rA-a to mean as far as, in terms of place or time. The apparently extraneous t-loaf here (noted by curly
brackets in the transliteration) is puzzling and must be a scribal error.
1135
Coordination of two similar verbs: Kurth, EP II, 184.
1136
Dissimilation of m to genitival-n, as discussed above in n. 1121.
1137
Hfn.w, "hundreds of thousands": , written with the sign of a frog (I7).
1138
n-nrt, annually, year by year, following Blackman and Fairman, Myth of Horus, 23-25; Kurth, E VIII, 4,3.
1139
Following Cauville, Dend Trad III, p. 105, who translates wr.t as uraeus, instead of great one even though
wr.t here does not include the cobra determinative. The following phrase, Hr wp.t n.t it[=s], "on the brow of [her]
father," suggests that a translation of "uraeus" is appropriate.
1140
Restoration of missing <wbn> follows Cauville, Dend Trad III, pp. 104-105.
1141
Cauville, Dend Trad III, p. 329, restores s-bolt (O34) beneath f-viper (I9).
1142
Wb I, 541,2-10: pHrr is a 3rd geminating verb meaning to run. Gods run towards (+ r) a place (Wb I, 541,7),
and to help someone (CT II 96i). The use of pHrr in this context implies that Hathor hurries back to her temple, so
that she may take her place on her fathers brow as the uraeus.
1143
Cauville, Dend Trad III, p. 105, translates Dd here as installs. I prefer the translation abide or endure,
because the djed pillar at the root of the word, as the symbol of permanence and stability, suggests that the associate
gods at Dendera are ever-present in Hathors following.
1144
The phrase, "your Ka behind you," recalls the image of the king with his kA standing behind him, which appears
in the painted scene in the well shaft of the NK Theban tomb of Amenhotep III, KV 22.

296
 following.1145 Thoth opens for you the ways. Ra sxn <n=>t Ra m a.wy=f(y)
embraces you in his arms. iw=t sxn.ti m aH 46,5 Sps xa=t m-
You are installed in the noble 46,5 palace. You appear xnt Ax.t tw=t nb.t (r) Dr imn.t sStA
within the temple, for you are the Lady (to) the xsr Dw Hr nb kAr wTs sxm.ty m pr-
Limit,1146 Hidden One (f.) of image, who drives away wr sHD 46,6 Atf.ty m{m} wbn.t iw
evil from the Lord of the shrine,1147 who wears1148 the nfr.w=t xr Ra PsD.t sa[nx] rmT iw
double crown1149 in the Per-wer, who brightens 46,6 the Ax.t m wAD r s.wt Hb.(w)t n.t 46,7
Atef-wearer1150 as the Shining One (f.). Your beauties D.t wr.t n.t pAw.ty tpy xw=t @r ( )|
are before (i.e. in the presence of) Ra, the Shining One ntf Ra pr.n=t im=f
(f.) who makes people live. The temple is more
prosperous than the places of the festivals of 46,7 D.t-
eternity. The Uraeus1151 of the First Primordial God,1152
you protect Horus ( )|. He is Ra, from whom you have
come forth.

Doc 10 Door Frame, East Side, Inner Column, Text C: D III, 46,10 47,4

Translation Transliteration
46,10 The doors of the heaven of the Beautiful One (f.) 46,10 aA.wy p.t n(.t) an.t rw.ty

1145
It is not clear to me why the scribe chose to write Sms-sign (T74) upside down. The presence of Hu and
Sia, the deifications of utterance and perception, in Hathor's following emphasizes the importance of these two
qualities, not only in Hathor's speech, but also in the words spoken by the king during his recitation of the liturgy.
1146
Hathor's epithet, nb.t (r) Dr, "Lady (to) the limit," is attested since the MK (Wb II, 232 233,1-5: "Allherrin")
and used for Hathor since GR. It is the feminine counterpart of a similar epithet belonging to the sun god Ra, nb (r)
Dr, "Lord (to) the limit," i.e. to the limit of the universe. It can also designate the Eye of Horus and is the name of
one of the seven heavenly cows. See also Wb II, 230,15 231,2; Wb V, 591.
1147
According to Cauville, Dend Trad III, p. 636, the "Lord of the shrine" is Ra. The statement that Hathor "drives
away evil" from him agrees well with her protective role as the uraeus on his brow.
1148
Lit. lifts up. See PL 272-273.
1149
Wb IV, 250,10 251,10: (S5) sxm.ty, as the ideogram for "double crown" since 18 th Dynasty, contra
Cauville, Dend Trad III, p. 107, who instead transliterates as xaw, although in Dend fonds, 192, she notes that this
sign can be transliterated as pA sxmty or nswt-bity. Wb III, 241,17, observes that since the 19th Dynasty, the double
crown plus three plural strokes can also serve as the logogram for xa.w, "crowns."
1150
The Atef-wearer is Ra. He can wear the Atef crown himself or bestow it on other gods who act as his deputies,
such as Osiris or Thoth. See Goebs, Crowns, 374; Cauville, Dend Trad III, p. 348.
1151
Again, as in D III, 46,3, there is no determinative to secure the translation of wr.t as "uraeus" rather than "great
one." However, because pAw.ty tpy is an epithet of the sun god (see note immediately below), the translation of
"uraeus makes sense (so in Cauville, Dend Trad III, p. 107).
1152
Wb I, 497,4, pAw.ty tpy: since the 21st Dynasty, a designation of the sun god, especially in contrast to other
primeval gods, and who is considered their creator. D I, 75,2, clarifies the equation of Ra with this epithet: Hs n=t Ra
r shry ib=s sHtp tw pAw.ty tpy, Ra plays the harp for you in order to appease your heart. The First Primordial God
satisfies you, Hathor, Lady of Dendera.

297
 and the entrance doors of her chapel are in joy, (made) xm=s m Hknw m inr HD nfr n anw
in beautiful white (lime)stone of Tura,1153 shining in papa m nbw, wHa.ti m Drwy 47,1
gold, decorated with color, 47,1 sanctified by the work Dsr.ti m kA.t n.t nn aA.wy=f(y) m
of Tenen, its door leaves in beautiful cedar of aS nfr n #nty-S nb.ti m biA %tt wn
Lebanon,1154 gilded with copper1155 of Asia.1156 Opening 47,2 aA.wy aH wTs HD Sps wpS tA.wy
47,2 the doors of the palace, raising up the noble m HDDw.t @.t-Hr nb.t Iwn.t wbn.ti
shrine,1157 illuminating the Two Lands with light m pr=s mi Ra wbn m nn.t xf.n=s
beams,1158 Hathor, Lady of Iunet shines1159 in her 47,3 mnw pn nfr ir n=s nsw.t-
sanctuary like Ra who shines in the sky. She has seen bi.ty ( )| di=s n=f rnp.wt n.t Itm
47,3 this beautiful monument that the King of Upper and Xr sxm.ty iw=f m Bik mn Hr srx
Lower Egypt ( )| made for her. She gives him the years xnty kA.w 47,4 anx.w D.t
of Atum, carrying (i.e. bearing) the double crown. He is
the Falcon, Firm upon the serekh, Foremost One1160 of
the living (divine) 47,4 Kas, for D.t-eternity.

1153
Wb. I, 191, 1: anw, although in the present text, it is written with the painted eye (D138), and thus

alluding to Hathor 's epithet of an.t, "Beautiful one," appearing at the beginning of this text (D III, 46,10). GG,
p. 451, notes that a(i)nw, 'Ainu, is the quarry at modern Tura, from which inr HD nfr n anw, "fine white (lime)stone of
'Ainu" was obtained.
1154
Wb III, 310,13; PL 740: #nty-S is a mountainous region in Lebanon renowned for its forests of pine and cedar.
Brugsch, Geog Inscrift III, 72-73, mentions Chentes as the source of wood for temple door leaves, which were
plated with gold and fitted with copper.
1155
The erroneous sign in line 47,1 should be (N34). PL 306 notes that the spelling means copper in all
periods, contra Cauville Dend Trad III, p. 107, who translates the word as bronze. Faulkner, CDME, 169,

transliterates as Hmt (?) copper.

1156
Wb IV, 348,3-5: %T.t, the old designation for the lands NE of Egypt, "Asia." However, cf. discussion in 5.1.1.1.
1157
HD in this context refers to the portable shrine holding the image of the goddess. Wilson (PL 696) suggests that
there may be a connection with the word HD, meaning light, or bright, referring to the divine radiance emitted by
gods images in their shrines.
1158
Wb III, 215, notes that since Dynasty 22, HDDw.t is mostly written HDDwy, as here in line 47,2. Nevertheless,
Cauville, Dend Trad III, p. 106, and PL 698, transliterate this writing as HDDw.t.
1159
Wb I, 292,9 294,3: wbn can mean rise," "appear, and shine.
1160
Prepositional nisbe (an adjective made from a preposition), derived from xnt, "at the head of"; translated as
"foremost." In this epithet, the nisbe functions as a substantive, "foremost one." Hathor is often described as xnty.t
Iwn.t, "Foremost one (f.) of Iunet" (D III, 50,12); the King is xnty kA.w anx.w, "Foremost one of the Living (divine)
Kas." (D III, 47,3-4).

298
Doc 11 Door Frame, West Side, Inner Column, Text D: D III, 47,6 48,3

Translation Transliteration
47,6 The doors of the heaven of Rayt,1161 framing her 47,6 aA.wy p.t n(.t) Ray.t HA HAy.t=s m
chapel in joy, are in beautiful limestone1162of Haaw.t m inr HD nfr RA-Aw Hts m irw=f
Tura,1163 completed in its requirements,1164 <papa.ti>47,7 m nbw <apr>.ti m rA-
<shining1165> 47,7 in gold, <provided1166> by the a.wy ^w anx.wy=f(y) m aS mAa n tp-xt
handiwork1167 of Shu, its door leaves in real cedar of mk sk1174 m nbw nfr sS 48,1 aA.wy
the best wood of Lebanon,1168 plated in beautiful Ssp.t rmni HD Sps mH tA m nqr nbw
gold. Opening 48,1 the doors of the shrine,1169 @.t-Hr xnty.t Iwn.t psD pr=s [m]
carrying the noble chapel, filling the land with dust of Ax<.ty.t> xn.t Ax.t mAA=s 48,2 kA.t
gold,1170 Hathor, Foremost One (f.) of Iunet, who mnx.t ir n=s sA Ra ( )| di=s n=f nswy.t
illuminates her sanctuary [as] the Female horizon- n(.t) ^w [4 squares] mn xnty kA.w
dweller1171 in the horizonshe sees 48,2 the 48,3 anx.w D.t
excellent work that the son of Ra made for her. She
gives him the kingship of Shu [ 4 squares ],
firm,1172 Foremost One of the living 48,3 (divine)
Kas,1173 eternally.

1161
Rayt (Ray.t) is the female counterpart of the sun god, Ra. Devauchelle, Notes, 190, 3, observes that the title,
Rayt, first appears as a designation of Hatshepsut in the function of the King; it is attested for Ptolemaic queens. In
the Ptolemaic period, goddesses such as Hathor and Isis carry it; the title often appears parallel to itn.t, Atenet, "the
female sun disk." See Gutbub, Rait, 87-88.
1162
Limestone is inr HD, lit. white stone.
1163
Wb II, 393,12; Gr. troi/a; Hannig, -D, 1357: Ancient RA-Aw, another name for Tura, a limestone quarry south
of modern Cairo across from ancient Memphis. Compare in the parallel text of D III, 46,10, in which the quarry is
called anw, " 'Ainu."
1164
This idea of being completed in its requirements recalls other expressions used in describing the healed Divine
Eye of Horus, characterized as completed," or "equipped in its parts," e.g. apr m irw=f (D I, 107,15). Additionally,
the word, Hts, often written with the seal-determinative (S20), carries in it the sense of concealing, thus alluding to
the secluded, secret nature of Hathors sanctuary at Dendera. See Wilson, PL 690-691.
1165
Cauville, Dend Trad III, p. 329, corrects the signs in D III, 47,6, to , transliterating as papa.ti.

1166
In line 47,7, the doubtful sign should be (Aa20), transliterated apr, bestow, equip, provide, as suggested by
Cauville, Dend Trad III, p. 106.
1167
Following the transliteration in Wb II, 395. Cf. PL 572, which transliterates it as r-aawy.
1168
Wb V, 266,14: tp, meaning "best of Lebanon"; thus, tp-xt, "best wood of Lebanon."
1169
Wb IV, 535,10-16; PL 1030: Ssp.t, "room, chamber." Cf. sSp.t, "heaven, sky" (Wb IV, 284,7; GR), a homophone
by metathesis, thus creating a subtle allusion to Hathor's shrine as "heaven."
1170
Allusion to the ritual of sti THn.t, which took place towards the end of the agricultural year on the first day of the
month of Epiphi. Green powder, made sparkling by the addition of gold, was sprinkled on the ground in front of
Hathor's statue, which went out in procession. The whole earth "sparkled with her radiance" (THn tA Dr=f <m>
axw=T), thus guaranteeing the agricultural cycle. See Goyon, Rpandre l'or, 85-100. Wb II, 117,5, notes that mH tA m
nqr nbw, "fill the land with gold dust," refers to sunbeams.
1171
Chassinat (D III, 48 n. 1) states that both Dmichen and Mariette saw a in the upper part of the lacuna,

suggesting a restoration of , for the word Ax.tyt: , contra Cauville, Dend Trad III, p. 106, who
transliterates it as Ax.ty. Note that Ax.t can also mean temple, giving the additional allusion that Hathor illuminates
her temple just as she illuminates the horizon in her role as Ax.ty.t.
1172
Cauville, Dend Trad III, p. 107, translates install.

299
 Outer Entrance, Scenes below Bandeau of Frieze

Scene below Scene below

Bandeau of Frieze, Bandeau of Frieze,
East Side - Doc 12 West Side Doc 13
D III, 48,11 49,11 D III 49,14 50,15

D II, pl. 94, IFAO

King Heh Hauhet Nun Naunet Ihy Hathor Hathor Ihy Kauket Kek Nia Niaut King

Adoration of the King and Ogdoad on Outer Entrance of Per-wer Sanctuary

1173
The kA.w anx.w, "living (divine) kas," are the ancestral gods. See discussion in 5.2.6.
1174
Non-enclitic particle, used here to compare mk m nbw nfr with the previous description of the cedar as the best
from the forests of Lebanon (GG 119,3; 230; Kurth, EP, 778-781).

300
Doc 12 Scene below Bandeau of Frieze, East Side: D III, 48,11 49,11

Translation Transliteration
TITLE AND DESCRIPTION TITLE AND DESCRIPTION
48,11 Adoring the God.1175 Words to say:1176 Hail to 48,11 dwA nTr Dd mdw nD Hr=t Sps.t
you, Noble Lady, 48,12 Female Ruler, Mistress of 48,12 HqA.t Hnw.t nTr.wt %SA.t wr.t
Goddesses, Seshat the Great,1177 Lady of Writing. nb.t sS
NAUNET NAUNET
48,13 Naunet,1178 who pays homage to Hathor, Lady 48,13 Nwn.t di iAw n @.t-Hr nb.t
of Iunet. 48,14 I have adored your face at the extreme Iwn.t 48,14 dwA.n=i Hr=t m Hp.ty m
limits1179 with the beautiful spells that you love. Ax.w nfr.w mr=t
NUN NUN
48,15 Nun,1180 who pays homage to Hathor, Lady of 48,15 Nwn di iAw n @.t-Hr nb.t H.t-
the Temple of Purification.1181 I have praised 48,16 abw swAS.n=i 48,16
your Ka to the height of heaven, I have made your kA=t r qA n p.t swr.n=i bAw=t r nTr.w
Ba-power greater than (that of) the gods.
HAUHET HAUHET
48,17 Hauhet,1182 who pays homage to Hathor, Lady 48,17 @h.t di iAw n @.t-Hr nb.t Iwn.t
of Iunet. I have made homage to your Incarnation Hfn.n=i

1175
The dwA-nTr ritual is attested from the 4th-5th Dynasties (Urk I, 10; 70; 44,9). In the daily temple ritual, it was
performed in the morning at the rising of the sun; in the evening, its counterpart was the di-iAw ritual. Wilson, PL
30-31, notes, "in the Ptolemaic period, iAw was a simple sung prayer of praise, while dwA was accompainied by
singers and music." See also PL 1184-1186; Barucq, Louage, 31-37; Labrique, Stylistique, 213-220; Beinlich,
Frbitte, 349-351.
1176
The expression, Dd mdw, consisting of the narrative infinitive (Dd) plus direct object (mdw), lit., "saying words,"
or "words to say." Its function is to introduce the text proper or the speech of the participants in a scene, as in the
present scene. Allen, Middle Egyptian, 14.9, translates Dd mdw as "Recitation." In the present text, Dd is playfully
written with (H18A), the head of a bird with an open mouth.
1177
In adoration scenes, Hathor is frequently equated with Seshat, the Goddess of Writing, because the eloquence
and effectiveness of writing and speech in these scenes is especially important.
1178
Nwn.t, "Naunet" (Fr. Nounet or Nouit; Ger. Naunet). One of eight primeval gods of the Hermopolitan
cosmogony; female counterpart of Nun, the primeval waters. In the Magical Papyrus of Leiden, Naunet is called
Nani. See Sethe, Amun, 127; Wb II, 215,18; Altenmller, Achtheit, 56.
1179
Wb III, 69,11-14. Cauville, Dend Trad III, p. 108, gives an uncertain, "Hp.ty?"; Chassinat has "sic" next to the
signs. However, Wilson, PL 639, notes that Hpty may mean "dual course," i.e. the course of both the sun and the
moon, thus denoting the extreme limits of the earth to which the rays of these two celestial bodies can penetrate,
which agrees with the depiction of two disks in , the logogram for Hp.ty in the present text.
1180
Nwn, "Nun" (Coptic noun; Fr. Noun or Nou; Ger. Nun), the personification of the primeval waters that
covered the earth at Creation; one of the eight primeval gods of the Hermopolitan cosmogony. Wilson, PL 497,
notes that "it could be envisaged as a vast dark, muddy, seething body of water inert, yet full of life-force and in
this respect, the Coptic noun (Abyss; hell) embodies only its negative aspects." The god Nun is also attested in the
CT. See Wb II, 214,18 215,12; Assmann, Liturgische Lieder, 317 n. 6; Grieshammer, Nun, 534-35; Sethe, Amun,
127 and Tf. 1.
1181
The Temple of Purification (H.t-abw) is the 1st Chamber West (Chassinat's Room K) at Dendera, D III, 99-129. It
is appropriate that in the speech of Nun (=waters of creation, which purify), Hathor 's epithet is "Lady of the Temple
of Purification."
1182
@H.t, "Hauhet" (Fr. Hehit; Ger. Hehet), the female counterpart of Heh, the personification of infinite space; one
of the eight primeval gods of the Hermopolitan cosmogony. See Wb III, 152,12; Altenmller, Achtheit, 56; Sethe,
Amun, Sethe, 128.

301
 48,18 in the sacred chapel. I make your Ka content
with the sacred texts.1183 Hm.t=t 48,18 m ti.t Dsr.t shr=i kA=t
HEH m sp-n-siA
49,1 Heh,1184 who pays homage to Hathor, Lady of HEH
Iunet. I have praised to your face, 49,2 my mouth 49,1 @H di iAw n @.t-Hr nb.t Iwn.t
possessing the praises, my heart possessing the dwA.n=i m Hr<=t>49,2 rA=i Xr
(magical) utterances.1185 sns(.w) Hry-mk.t(=i) Xr tpy.w-rA
KING KING
49,3 The King of Upper and Lower Egypt ( )| son of 49,3 nsw.t-bi.ty ( )| sA Ra ( )| sA nb sS
Ra ( )| son of the Lord of Writing,1186 49,4 created by 49,4 nbi n am-tA.wy BEHIND HIM:
the One who knows the Two Lands.1187 BEHIND sA anx wAs nb HA=f mi Ra D.t 49,5 Dd
HIM: All protection and life are behind him, like Ra, mdw ii.n=i xr=t Ax.tyt m Ax.t nb(.t)
for D.t-eternity. 49,5 Words to say: I have come before sS HqA.t mDA.wt twt an.t Hr nb.t mrw.t
you, the Female horizon-dweller in the horizon, anx nTr.wt 49,6 n mAA Hr=s
Mistress of Writing, Female ruler of books,1188 for you
are the Beautiful One (f.) of face, Mistress of Love.
The goddesses live 49,6 in seeing her face.
IHY IHY
49,7 Ihy the Great, son of Hathor 49,7 Ihy wr sA @.t-Hr
HATHOR HATHOR
49,8 Words to say by Hathor the Great, Lady of Iunet, 49,8 Dd mdw in @.t-Hr wr.t nb.t Iwn.t
Eye of Ra, Lady of Heaven, Mistress of all the gods, Ir.t-Ra nb.t p.t Hnw.t nTr.w nb.w %SA.t
Seshat 49,9 the Great, Lady of the Library, the gods 49,9 wr.t nb.t pr-mDA.t dwA nTr.w (r)
rise in the morning in order to pay homage to her. rdi.t n=s iAw.
DIVINE RANDZEILE
49,10 Words to say: Welcome in peace, Ruler, son of DIVINE RANDZEILE
a ruler, Excellent King, Sweet one of speech. I have 49,10 Dd mdw ii.ti m Htp HqA sA HqA
heard <your> praises, effective in my heart. 49,11 I nws.t mnx bnr DD.t ndb.n=i
make your Ka great among the living ones. ns.w<=k> Ax m ib=i 49,11 swr kA=k
xnt anx.w

1183
Wb IV, 300,2-21; PT; PL 795. Lit., "deeds of Sia," or "acts of perception." siA, meaning "perception," is an
action of the heart and is complementary to Hw, the spoken manifestation of that which is perceived. Both Hw and siA
are qualities of the Creator God and are themselves personified as gods; they accompany the barque of Ra (See
Gardiner, Hu and Sia, 43-54, 83-95, "understanding"). Cf. E IV, 57,5-6: Ax.w=k nn sw m sp-n-siA=k m mtr-r-imy=k,
"These your good deeds, they are the deeds of Sia and your songs (of praise)," indicating that the king has spoken
the correct spells. See PL 14; Junker, Textentlehnung, 123.
1184
@H, "Heh" (Coptic xax; Fr. Hehou; Ger. Heh), the personification of infinite space; one of the eight primeval
gods of the Hermopolitan cosmogony. See Wb III, 152,11; Altenmller, Achtheit, 56; Sethe, Amun, 128.
1185
Wb V, 287,4-12, esp. 11: spells, recited utterances. Ritner, Mechanics, 42, notes that tp-rA (Coptic, tapro)
literally means, "(what is) on the mouth"; it can be translated as either "spells" or "magic." To include this
connotation, I translate tpy.w-rA as "(magical) utterances."
1186
Kurth, Thot, 506-507; Boylan, Thoth, 99.
1187
Wb I, 184,2: am-tA.wy, "the One who knows the Two Lands," is an epithet of Thoth, alluding to his role as "All-
Knowing," a characteristic already apparent in the MK (e.g., CT V, 306a.d.); See also Kurth, Thot, 506; Boylan,
Thoth, 103;183.
1188
I.e. scrolls. Cauville, Dend Trad III, p. 109, translates mDA.wt as des rituels. However, Kurth, in a passage from
Edfu referring to Seshat, translates HqA.t mDA.wt as Herrin der Bcher (Edfou VII, 287, 1-2), and mDA.wt wr.wt nt
ixt nTr as the illustrious books of the ritual (Edfou VII, 298,17).

302
Doc 13 Scene below Bandeau of Frieze, West Side: D III, 49,14 50,15

Translation Transliteration
TITLE AND DESCRIPTION TITLE AND DESCRIPTION
49,14 Adoring the God. Words to say: Hail to you in 49,14 dwA nTr Dd mdw nD Hr=t m
peace, 49,15 Hathor, the doors of the temple1189 are Htp 49,15 @.t-Hr wn n=t aA.wy Ax.t
opened for you.
KAUKET KAUKET
49,16 Kauket,1190 who pays homage to Hathor, Lady of 49,16 Kk.t di iAw n @.t-Hr nb.t Iwn.t
Iunet. 49,17 Hail to you, Rayt,1191 Mistress of Suns.1192 nD Hr=t 49,17 Ray.t Hnw.t n(.t ) ra.w
KEK KEK
50,1 Kek,1193 who pays homage to Hathor, Foremost 50,1 Kkw di iAw n @.t-Hr xnty.t
one (f.) of Iunet. I have adored your Ka in Qab- Iwn.t dwA.n=i kA=t m QAb-tA.wy
tawy1194 50,2 with the beautiful spells of your heart. 50,2 m Ax.w nfr.w nw ib=t
NIAUT NIAUT
50,3 Niaut,1195 who pays homage to Hathor, Lady of 50,3 Niw.t di iAw n @.t-Hr nb.t &A-rr
Tarer.1196 50,4 I pay homage to you1197 with the sacred 50,4 Hfn=i m Hr=t m sp-n-siA m
texts,1198 day and night1199 without end. D.t=f X.t=f n Ab.

1189
Ax.t can also be translated as "horizon," the metaphorical designation for the temple. By opening the doors of the
temple, the doors of the "horizon," i.e. the liminal space between the realms of humans and gods, is thus also
opened.
1190
Kk.t, "Kauket" (Fr. Kekit; Ger. Kekujt), the feminine counterpart of Kek, the personification of infinite darkness;
one of the eight primeval gods of the Hermopolitan cosmogony. See Wb V, 144,6 (kkj.t; kkw.t); Altenmller,
Achtheit, 56; Sethe, Amun, 128.
1191
Ray.t, which I usually translate as "Rayt," is here translated as "female sun," so that the English translation will
properly convey the polyptoton present in the Egyptian (Ray.t/ra.w).
1192
Cauville Dend Trad III, p. 109, translates ra.w as soleils masculins. Because the masculine plural can include
both masculine and feminine members, I prefer the translation suns, which does not specify gender.
1193
Kkw, "Kek" (Coptic, kake; Fr. Kekou; Ger. Keku), the personification of infinite darkness; one of the eight
primeval gods of the Hermopolitan cosmogony. In E IV, 16,3, the King is given his rule over all of Egypt and north
to the limits of the kkw-darkness (cited by Wilson, PL 1091). See Wb V, 142 144,6; Hornung, Licht und
Finsternis, 73-83; Altenmller, Achtheit, 56; Sethe, Amun, 129.
1194
QAb-tA.wy, "Qab-tawy," a name of Dendera (Wb V, 10,2). Kockelmann, Toponymen, 197, cites D VI, 168,7,
, as a firm basis for its transliteration as QAb-tA.wy. The toponym means lit., "Insides of the Two
Lands"; because qAb can also be interpreted as "coils" (CDME 175, qAb.w, "coils of snake"; PT 1146), designating
Dendera as Qab-tawy (i.e. "Coils of the Two Lands") alludes to Hathor in her form as the uraeus serpent.
1195
Niw.t, "Niaut" (Fr. Niou; Ger. Niau), feminine counterpart of infinite emptiness; one of the eight primeval gods
of the Hermopolitan cosmogony. See Wb II, 202,13; Altenmller, Achtheit, 56; Sethe, Amun, 133.
1196
&A-rr, "Tarer," a name of Dendera (Wb V, 226,1; GR). Kockelmann, Toponymen, 65-66, discusses the name,
noting that according to Dmichen (Bauurkunde, 30), Iunet and Tarer are the most frequently-used names in the
inscriptions of the Temple of Dendera. Because they are used interchangeably, Kockelmann (65) argues against the
idea that Tarer is the "profane name" and Iunet is the "theological name" (contra Dmichen, Bauurkunde, 30; Preys,
Complexes, 49). Myliwiec, Atum, 52, suggests that when written as a rebus with serpents, Tarer alludes to &A-n-Itm
("Land of Atum," another name of Dendera) and Atum's form as a primeval snake. Examples include D III, 57,5,

; D IV, 232,2, ; D VIII, 122,13: .

1197
Lit., "to your face."
1198
Wb IV, 300,2-21; PT; PL 795. Lit., "deeds of Sia," or "acts of perception." siA, meaning "perception," is an
action of the heart and is complementary to Hw, the spoken manifestation of that which is perceived. Both Hw and siA

303
 NIAU NIAU
50,5 Niau,1200 who pays homage to Hathor, Lady of 50,5 Niw di iAw n @.t-Hr nb.t Iwn.t
Iunet . I pay homage to you 50,6 to the height of di=i n=T iAw 50,6 r qA n p.t sn
heaven, (I) kiss the ground as far as the breadth of the tA(=i) r wsx n tA
earth.1201
KING KING
50,7 The King of Upper and Lower Egypt ( )|, son of 50,7 nsw.t bi.ty ( )| sA Ra ( )| iwa n
Ra ( )|, heir of the Baboon1202 50,8 engendered by the anan 50,8 wtT n wpw BEHIND
Judge1203 BEHIND HIM: All protection and life are HIM: sA anx wAs nb HA=f mi Ra D.t
behind him, like Ra, for D.t-eternity. 50,9 [Words to 50,9 [Dd mdw] ii.n[=i] xr[=t] itn[.t]
say:] [I] have come before [you], Aten[et], Lady of the nb(.t) Ax.t [8 squares] 50,10 n
horizon, [8 squares] 50,10 without (another) Hr-xw=s dwA sy nTr.w nTr.wt m aA n
except for her. The gods and goddesses adore her on bAw=s
account of the greatness of her Ba-power.
IHY IHY
50,11 Ihy the great, son of Hathor 50,11 IHy wr sA @.t-Hr
HATHOR HATHOR
50,12 Words to say by Hathor, Foremost One (f.)1204 of 50,12 Dd mdw in @.t-Hr xnty.t Iwn.t
Iunet, Powerful One (f.), Mistress of the gods and wsr.t Hnw.t nTr.w nTr.wt aA.t m p.t
goddesses, the Great One (f.) of heaven, Female ruler HqA.t 50,13 m tA nhm n=s nTr.w m
50,13 on earth, the gods rejoice for her when she xa=s
appears.
DIVINE RANDZEILE DIVINE RANDZEILE
50,14 Words to say: Welcome in peace, wab-Ihy priest, 50,14 Dd mdw ii.ti m Htp wab-IHy Ax
Effective of Speech, Effective One of (magical) rA spd DAis.w
utterances, Excellent of (magical) utterances. I hear

are qualities of the Creator God and are themselves personified as gods. They accompany the barque of Ra (See
Gardiner, Hu and Sia, 43-54, 83-95, "understanding"). Cf. E IV, 57,5-6: Ax.w=k nn sw m sp-n-siA=k m mtr-r-imy=k,
"These your good deeds, they are the deeds of Sia and your songs (of praise)," indicating that the king has spoken
the correct spells. See PL 14; Junker, Textentlehnung, 123.
1199
Wb V, 506,7-12. The phrase, D.t=f X.t=f, literally means "in his body, (in) his stomach." Wilson, PL 1250,
explains that "D.t is the pupil of the sun eye and a number of phrases were constructed around the pair D.t 'morning' =
sun eye and X.t 'evening' = womb of the sky." Thus, m D.t=f X.t=f means "in the morning and evening," or "by day
and night," i.e. "always."
1200
Niw, "Niau" (Fr. Niou, Ger. Niau), the personification of infinite emptiness; one of the eight primeval gods of
the Hermopolitan cosmogony. Niau and his feminine counterpart, Niaut, sometimes replace the pair Tenem and
Tenemet (infinite hiddenness) in the Hermopolitan cosmogony. See Altenmller, Achtheit, 56; Sethe, Amun, 133.
1201
Wb I, 365,11: "so weit die Erde ist."
1202
The baboon is a frequent manifestation of Thoth, the god of wisdom (Kurth, Thot, 511). Thoth as a baboon
became an object of popular veneration, e.g., the 18th Dynasty steatite statue of a scribe writing at the feet of the god
Thoth in the form of a baboon wearing a lunar disk on his head, from Amarna, now in the Egyptian Museum Cairo,
JE 59291, depicted in Wilkinson, Gods and Goddesses, 217.
1203
Stadler, Weiser, 333-334, notes the role of Thoth as judge and lawyer, who helps the deceased gain justice and
always maintains a sense of fairness. Thoth is not the only god who is a judge; he exercises this role alongside other
judiciary divinities, e.g., in the conflict between Horus and Seth.
1204
Prepositional nisbe (an adjective made from a preposition), derived from xnt, "at the head of"; translated as
"foremost." In this epithet, the nisbe functions as a substantive, "foremost one." Hathor is often described as xnty.t
Iwn.t, "Foremost One (f.) of Iunet" (D III, 50,12); the King is xnty kA.w anx.w, "Foremost One of the Living (divine)
Kas." (D III, 47,3-4).

304
what you say, 50,15 beautifully and in peace. I protect mnx tpy.w-rA ndb=i Dd.t=k 50,15
your body every day. nfr m Htp mk(=i) Ha=k ra nb

305
 Outer Entrance, Lower Cornice

Lower Cornice
Lower Cornice West Side
East Side Doc 15
Doc 14 D III, 51,8
D III, 51,5-6 (destroyed)

D II, pl. 94, IFAO

Doc 14 Lower Cornice, East Side: D III, 51,5-6

Translation Transliteration
51,5 Behdety,1205 the Great God, Lord of Heaven1206 51,5 BHd.ty nTr aA nb p.t
51,6 Behdety, the Great God, Lord of Heaven 51,6 BHd.ty nTr aA nb p.t

Doc 15 Lower Cornice, West Side: D III, 51,8 (destroyed)

1205
BHd.ty, lit. "The One from Behdet." Gardiner, Horus the Behdetite, 59-60, suggests that in the Predynastic
Period, this epithet originally belonged to a falcon god worshipped in a northernmost Egyptian town, whose people
conquered Upper Egypt, where Seth of Ombos was worshipped; "Behdet" was later incorporated into the epithet of
the national god Horus to stress his northern origin and provide a counterpart to the southern Ombite, Seth.
1206
The texts in Columns 1 and 3, above the wing tips of the two falcons, are destroyed. The translations given
above therefore apply only to Columns 2 and 4 (D III, 51,5, and 51,6, respectively), on either side of the central
cartouche.

306
 Outer Entrance, Lintel

Lintel, East Side Lintel, West Side

Doc 16 Doc 17
D III, 51,12 52,4 D III, 52,7 53,3

D II, pl. 94, IFAO

Doc 16 - Outer Entrance, Lintel, East Side

Doc 17 - Outer Entrance, Lintel, West Side

307
Doc 16 Lintel, East Side: D III, 51,12 52,4

Translation Transliteration
(NO TITLE) (NO TITLE)
IHY IHY
51,12 Ihy the Great, son of Hathor, the Great God. 51,12 IHy wr sA @.t-Hr pA nTr aA
RA-HORAKHTY RA-HORAKHTY
51,13 Words to say by Ra-Horakhty, the Great God 51,13 Dd mdw in Ra-@r-Ax.ty nTr
who resides in1207 Iunet, the (divine) Noble Power, who aA Hry-ib Iwn.t sxm Sps sHtp Nbw.t
pacifies the the Golden One (f.) of the gods. nTr.w
KING KING
51,14 King of Upper and Lower Egypt ( )|, son of Ra 51,14 nsw.t-bi.ty ( )| sA Ra ( )|
( )|, Offspring of Sekhmet,1208 son of 51,15 Hathor.1209 wAD n %xm.t sA 51,15 @.t-Hr
BEHIND HIM: Protection. BEHIND HIM: sA
QUEEN QUEEN
51,16 The Female Ruler1210 ( )|, Lady of the Two Lands 51,16 HqA.t ( )| nb(.t) tA.wy ( )|
( )|.
ROYAL RANDZEILE ROYAL RANDZEILE
51,17 The King of Upper and Lower Egypt ( )| is on his 51,17 wnn nsw.t-bi.ty ( )| Hr
throne, pacifying the heart of his mother. ns.t=f Hr sHtp ib n mw.t=f
[6 squares] 51,18 [4 squares] [6 squares] 51,18 [4
squares]
HATHOR HATHOR
52,1 Words to say by Hathor the Great, Lady of Iunet, 52,1 Dd mdw in @.t-Hr wr.t nb(.t)
Eye of Ra, Lady of Heaven, Mistress of all 52,2 the Iwn[.t] Ir.t-Ra nb(.t) p.t Hnw.t
gods. nTr.w 52,2 nb(.w){nb.t}
HORUS OF EDFU HORUS OF EDFU
52,3 Words to say by Horus Beh[dety] [5 squares] 52,3 Dd mdw in @r BH[d.ty] [5
squares]
DIVINE RANDZEILE DIVINE RANDZEILE
52,4 Is [3 squares] her sanctuary, filling heaven 52,4 wnn [3 squares] xm=s
and earth with her good things,1211 she is [7 Hr mx p.t tA m nfr.w=s sy m [7
squares] squares]

1207
Wb III, 136-137; PL 663: Hry-ib, lit. in the middle," translated "resides in" or "sojourns in," refers to a deity
worshipped in a cult center of another deity. See Haring, Divine Households, 71 n. 3; Budde, Epithets, 3. The
erroneous nw-jar here in the text (D III, 51,13) should be replaced by the frontal face (D2), as correctly written in D
III, 56,3.
1208
See discussion of this epithet in 5.1.2.
1209
Written with the sign of a cobra wearing the horns and disk headdress: (I62).
1210
The decoration of the Per-wer took place during the reign of Cleopatra VII, who would have been the "queen" in
this scene. It is therefore particularly interesting (and appropriate) that the queen takes on the epithet of HqA.t,
"Female Ruler," the female equivalent of the King and an epithet of Hathor herself.
1211
Wb II, 259,1-2: nfr.w can also mean "beauties" or "good deeds"; transliterated nfrw (without the point),
"goodness," "beauty."

308
Doc 17 Lintel, West Side: D III, 52,7 53,3

Translation Transliteration
(NO TITLE) (NO TITLE)
IHY IHY
52,7 Ihy the Great, son of Hathor,1212 Ra himself: I 52,7 IHy wr sA @.t-Hr Ra Ds=f
have played the sSS.t-sistrum before your beautiful face ir.n=i sSS.t m Hr=T nfr [] 52,8
[] 52,8 I satisfy your Ka with the menit-necklace in sHtp=i kA=t m mni.t m aA.w[y]=i
my hands.
THOTH THOTH
52,9 Words to say by Thoth the twice great, Lord of 52,9 Dd in +Hwty aA aA nb #mnw
Hermopolis, the Heart of Ra,1213 who pacifies the Lady ib n Ra sHtp nb[.t] Iwn.t ir(.t) sSS.t
of Iunet: Playing the sSS.t-sistrum and the sxm-sistrum. 52,10 sxm Dd mdw
Words to say.
KING KING
52,11 King of Upper and Lower Egypt ( )|, son of Ra, 52,11 nsw.t-bi.ty ( )| sA Ra ( )| saHa
who raises the sxm-sistrum for 52,12 his mother. sxm n 52,12 mw.t=f BEHIND
BEHIND HIM: All protection, life, and dominion are HIM: sA anx wAs nb HA=f mi Ra D.t
behind him like Ra for D.t-eternity.
QUEEN QUEEN
52,13 The Female Ruler ( )|, Lady of the Two Lands 52,13 HqA.t ( )| nb(.t) tA.wy ( )| m-
( )|. Take for yourself 52,14 the menit-necklace of n=t 52,14 mni.t n<.t> nbw Hr
gold and faience. THn.t
ROYAL RANDZEILE ROYAL RANDZEILE
52,15 The son of Ra ( )| is upon his throne, making 52,15 wnn sA Ra ( )| Hr p=f Hr THn
bright1214 the face of his mistress, for he is like Ihy who Hr n Hnw.t=f sw mi IHy ir sSS.t n
plays the sSS.t-sistrum for 52,16 his mother, who 52,16 mw.t=f sHtp kA=s m mr=s
pacifies her Ka with what she loves.
HATHOR HATHOR
52,17 Words to say by Hathor, Foremost One (f.) of 52,17 Dd in @.t-Hr xnty.t Iwn.t
Iunet, Rayt1215 the Great, Lady of the Two Lands Ray.t wr.t nb(.t) tA.wy

1212
In contrast to the parallel phrase in the symmetrical scene, which writes @.t-Hr with (O10), it is here

written with (I62), thus allowing the scribe the allude to two of Hathor's manifestations (as a female falcon, and
as the cobra, or uraeus), as well as exhibiting variety in the writing of parallel phrases.
1213
Wb I, 59,16-17; GR: ib n Ra, "Heart of Ra," is an epithet of Thoth, as well as of Khonsu. Stadler, Weiser, 18,
notes that this epithet seems to allude to the Creation, although not explicitly. Because the heart in Egyptian thought
is the seat of intelligence and decision-making, this epithet identifies Thoth with the knowledge and realization of
the creator god. See Stadler, Weiser, 376; 380.
1214
The use of THn, "make bright," creates a connection with the previous speech of the Queen, who indicates that
the menit is made of THn.t, "faience"; the epithet, THn.t, "bright one (f.)" is an epithet of Hathor (Wb V, 394,1-2; PL
1171; D III, 68,2; 70,18; 81,12; 90,10). Thus, in making Hathor's face THn, the King is alluding to her inherent
brightness, as well as to her connection to the menit, the cult object that is also a manifestation of the goddess.
1215
Rayt (Ray.t) is the female counterpart of the sun god, Ra. Devauchelle, Notes, 190, 3, observes that the title
Rayt first appears as a designation of Hatshepsut in the function of the King; it is attested for Ptolemaic queens. In
the Ptolemaic period, goddesses such as Hathor and Isis carry it; the title often appears parallel to itn.t, Atenet, "the
female sun disk." See Gutbub, Rait, 87-88.

309
HORUS OF EDFU HORUS OF EDFU
53,1 Words to say by Horus Behdety, [the Great God], 53,1 Dd mdw in @r BHd.ty [nTr aA]
Lord of Heaven: [I] have praised [2 squares] 53,2 nb p.t dwA.n[=i] [2 squares]
[2 squares] 53,2 [2 squares]
DIVINE RANDZEILE DIVINE RANDZEILE
53,3 Is [] shines in [4 squares] 53,3 wnn [] wbn m [4
all, for she is [4-1/2 squares] squares] nb.w sy m [4-1/2
squares]

310
 Outer Entrance, Inner Framing

Inner Lateral Inner Lateral

Framing, E. Side: Framing, W. Side
Doc 18 Doc 19
D III, 53,5-14 53,16 54,9

D II, pl. 94, IFAO

Doc 18 Inner Lateral Framing, East Side: D III, 53,5-14

Translation Transliteration
53,5 [18 squares] for your Ka, 53,6 received, 53,5 [18 squares] n kA=t
praised, and desired,1216 Hathor, Lady of Iunet,1217 our 53,6 Ssp(.w) Hs(.w) mr(.w) @.t-
Beautiful Mistress.1218 Be very satisfied, be content with Hr nb.t Iwn.t tAy=n Hnw.t nfr.t
the great offering that your son made for you, King of Htp sp sn.nw hrw Hr aAb.t ir n=T
Upper and Lower Egypt ( )|, 53,7 your beloved, [15 sA=t nsw.t-bi.ty ( )| 53,7 mry=T
squares] the Throne of Horus1219 Behdety. 53,8 You [15 squares] WTs.t-@r
alight in the noble great house in joy. Protect them,1220 BHd.t 53,8 xn=T pr aA Sps m
preserve them (=the offerings), arrange them, establish Haaw.t xw st mk st Ts st grg st mi
them. Come, inundate them with food offerings 53,9 and baH=w m kA.w 53,9 DfA.w [14
supplies [14 squares]. 53,10 Come, make them firm squares] 53,10 iw mi mn=w
for nHH- and D.t- eternity, our Beautiful Mistress. You are r nHH D.t tAy=n Hnw.t nfr.t iw=T
doing1221 well for Iunet, Iatdi,1222 the Throne of Horus, (Hr) ir(.t) nfr r Iwn.t IAt-di WTs.t-

1216
Plural endings on the passive participles (Ssp.w, Hs.w, mr.w) refer to offerings presented by the king to Hathor,
following Cauville, Dend Trad III, p. 114.
1217
The signs of Hathors name and epithet face towards the east, away from the center of the door.
1218
Late Egyptian/Demotic tAy=n for the 1st person plural possessive pronoun, our. Repetition of the phrase, tAy=n
Hnw.t nfr.t, "Our beautiful mistress," is highlighted in red.
1219
wTs.t-Hr, "Throne of Horus," is the nome of Edfu, attested since the 5th Dynasty in the sun temple of Niuserre;
the name was extended to include the town of Edfu and its main temple of Horus. See Kees, Gaulisten, 35-36. At
Edfu, it can refer to the town, the temple, or the throne. Wilson, PL 273-274, suggests that the ambiguity was
intentional, so that the other connotations would also be understood.
1220
Following EP II, 56a: 3rd person plural dependent pronoun, st: , used often as a direct object. Note:
Cauville, Dend Trad III, p. 114, transliterates as swt.
1221
Late Egyptian/Demotic constructions in this text and its symmetrical counterpart (Doc 18), highlighted in red,
combine with traditional Middle Egyptian constructions to create an interesting mixture of old and new. In this text
there is a frequent use of Hr + infinitive pseudo-verbal constructions (with omitted preposition, Hr) for First Present,

311
 Behdet,1223 53,11 the Hall [of Thebes],1224 Khadi,1225 @r BHd.t 53,11 #A-[WAs.t] #Adi
Shabet,1226 and all of the temples in which they are [7 ^Ab.t rA.w-pr.w nb.w imy.tw=sn
squares]. 53,12 The sky is established, the earth is [7 squares] 53,12 [s]mn p.t
established, the people (?) are established, [] their smn tA, smn rmT (?) []
young men 53,13 are all their artisans. The enemies DAmw=sn 53,13 m Hmw=sn
among them fall under your massacre according to what nb.w tAr.w im=sn xr n Say.t=T m
your Incarnation1227 ordered concerning it, 53,14 our wDt Hm[=t] Hr=s 53,14 tAy=n
Beautiful Mistress. Hnw.t nfr.t

common in Late Egyptian and Demotic, although here introduced by the Middle Egyptian, iw=t, rather than by the
proclitic pronoun, tw=t. The context suggests that they should be interpreted here as First Present rather than as
circumstantial or future, even though the latter two constructions do employ iw=t + inf. in Late Egyptian and
Demotic.
1222
Iatdi, one of the three main names of Dendera (together with "Iunet" and "Tarer"), is particularly associated with
the small sanctuary located directly south of the main Temple of Hathor, considered to be the birthplace of the
goddess Isis. See Kockelmann, Toponymen, 60-64.
1223
BHd.ty, lit. "The One from Behdet." Gardiner, Horus the Behdetite, 59-60, suggests that in the Predynastic
Period, this epithet originally belonged to a falcon god worshipped in a northernmost Egyptian town, whose people
conquered Upper Egypt, where Seth of Ombos was worshipped; "Behdet" was later incorporated into the epithet of
the national god Horus to stress his northern origin and provide a counterpart to the southern Ombite, Seth.
1224
D VI, 168,9 (no. 120) gives the full writing of the toponym: ; it also appears in D X, 119,5: ,
listed in Cauville, D X Index, 410, who translates as "Salle-de-Thbes [Dendera]." See also Kockelmann,
Toponymen, 184, for discussion of earlier misunderstandings of the name by Gauthier and Dmichen.
1225
Naga el-Guzariya across from Dendera (Hannig -D, 1373).
1226
The city of SAb.t was located west of Dendera. See Fischer, Dendera, 12, cited by Kockelmann, Toponymen, 54
n. 128. See also Cauville, Dend Trad III, p. 616.
1227
The term (U36) Hm (fem. Hm.t) usually translated as "majesty" when referring to the king (or goddess), is more
properly rendered as "incarnation," as suggested by Allen, Middle Egyptian, Essay 3, 31-32. In reference to the
King, Hm designates the incarnation of the Kingly Ka in the individual carrying the office of kingship; for the
goddess, Hm.t refers to her physical manifestation.

312
Doc 19 Inner Lateral Framing, West Side: D III, 53,16 54,9

Translation Transliteration
53,16 You are giving life to your1228 Hm-nTr 53,16 iw=t (Hr) di(.t) anx n (t)Ay=t
priests,1229 gods fathers,1230 wab-priests1231 and lector Hm.w-nTr it.w-nTr wab.w Xry.w-
priests.1232 Your list of property 54,1 in its entirety is Hb(.t) tAy=t imy.t-pr 54,1 r-Dr=s
fixed without perishing for nHH-eternity and D.t- wAH nn sk r nHH D.t tAy<=n> Hnw.t
eternity,1233 our1234 Beautiful Mistress. You are doing nfr.t iw=t (Hr) ir(.t) nfr r nTr nb nTr.t
good for every god and every goddess of 54,2 the nb(.t) n.t 54,2 SAa r(?) Sn n Ax.ty m
origin as far as the two eyes (can see) in heaven and pt tA tAy=n Hnw.t nfr.t iw=t (Hr)
earth, our Beautiful Mistress. You are bringing the in(.t) Hapy m-xd r tr=f iw=f nfr
inundation downstream at its time. It is good, it is iw=f wab 54,3 r ab nb r di.t biH=f
pure 54,3 of any impurity, in order to cause that it tA.wy iw=t (Hr) di.t ir tA p.t mHy.t m-
inundate the Two Lands. You are causing the sky to sA=f r sxnty=f r tm di.t Hna sw hym
create the north wind (following) behind it (=the 54,4 iw=t (Hr) di.t ir nA Hn.wt rA-
inundation), in order to cause it (=the inundation) to Haw.t dny.w HA.t=f r tm di.t Ssp sw
ebb1235 and prevent the flood1236 from filling it. 54,4 wAD-wr iw=t (Hr) di.t Ssp sw wAD-wr

1228
Late Egyptian/Demotic constructions in this text and its symmetrical counterpart (Doc 18), highlighted in red,
combine with traditional Middle Egyptian constructions to create an interesting mixture of old and new. In this text
there is a frequent use of Hr + infinitive pseudo-verbal constructions (with omitted preposition, Hr) for First Present,
common in Late Egyptian and Demotic, although here introduced by the Middle Egyptian, iw=t, rather than by the
proclitic pronoun, tw=t. The context suggests that they should be interpreted here as First Present rather than as
circumstantial or future, even though the latter two constructions do employ iw=t + inf. in Late Egyptian and
Demotic.
1229
Hm-nTr is the highest ranking class of priests, attested since OK royal funerary temples through the GR. They
carried out the daily temple ritual in place of the king, having access to the shrines of the gods within the temple.
See Helck, Priester, 1086; 1091-1092; Meulenaere, Priester, 1097; Meeks, Donations, 645 n. 178; Gardiner,
Onomastica I, 47*- 49*; Sauneron, Priests, 57-60; Wb III, 88,19 90,7.
1230
Gardiner, Onomastica I, 47*-49*, notes that it-nTr, "god's father" is the second-ranked class of priests, between
Hm-nTr and wab. Helck, Priester, 1089, cites the biography of the high priest, BAk-n-#nsw (Plantikow-Mnster,
Inschrift, 117-135), which notes that the it.w-nTr walked ahead of processions sprinkling water (to purify the way).
1231
Attested from OK through GR, wab is the third-ranked class of priests, below Hm-nTr and it-nTr, according to
Meeks, Donations, 654 n. 178. The title derives from wab, "to be pure," wab-priests had a secondary role in the daily
ritual, purifying the temple with water and incense, as well as carrying the sacred barque during processions. See
Helck, Priester, 1086; 1089; Meulenaere, Priester, 1097; Sauneron, Priests, 70-71; Wb I, 282,13 283,12.
1232
Xry-hb.t, "lector priest," or "ritualist," means lit., "He who is under (i.e. carrying) the (festival) scroll." Lector
priests utilized their knowledge and linguistic skills in a variety of settings, recording prescriptions in the medical
papyri, officiating at funerary rituals, and composing magical utterances for state rituals as well as for the use of
private individuals. Their renown as magicians entered the literary tradition, coloring the perception of the Egyptian
priesthood in the GR, with references to Egyptian priestly knowledge becoming a rhetorical strategy that would give
prestige and authority to spells in the Greek magical papyri. See Dieleman, Priests, 280-284. Sauneron, Priests, 61-
62, notes that the Greeks called lector priests pterofo/roi, due to the two large feathers worn on their heads. See
also Haring, Divine Households, 4-5; Wb III, 395,4-10 (Hrj-Hb); Meeks, An Lex 78.3235 (Xry-Hbt); CDME 167
(Hry-Hbt); Erichsen, Glossar, 388 (Xr-Hb). Gardiner, Onomastica I, 55*, notes that the second word in the compound
(Hry-Hb(t) is feminine, but the -t ending is almost always omitted.
1233
See 5.1.4 for discussion of nHH-eternity and D.t-eternity.
1234
Inscription erroneously has tAy=t instead of tAy=n, as corrected by Cauville, Dend Trad III, p. 116.
1235
sxn.ty, lit. "to cause to go south," perhaps meaning, "to bring to the front."
1236
The word hym , "flood, wave." See Erichsen, Glossar, 268: hjm; Crum, 674a: xoeim, pl. ximh ;
Example: i pA im m-ir hjm O Sea, do not make waves! cited in Z 49 (1911): 35; Wb II, 481, 11-12: hAnw, waves,

313
 You are causing the streams of water (in the canals)1237 r 54,5 sw=f n aHa.n nmt.t=f tAy=n
and the mouths (of the Delta rivers) to make dykes Hnw.t nfr.t iw=t (Hr) di.t (?) tA sx.t r
(at) its (=the inundation) meeting, in order that the nw=s is THn.ti m pr.t=s nb.t 54,6
Great Green1238 does not receive it (too soon). You are iw=w DdA iw=w nfr.t iw=w wab(.t)
causing the Great Green to receive it in 54,5 its time, iqr(.t) sp sn.nw iw=t (Hr) di.t skA=w
its course not having stood still, our Beautiful sy m nDm=ib iw=t (Hr) di.t awA.w sy
Mistress. You are giving (?) the field in its time, m 54,7 nDm-ib iw=t (Hr) nHm=s r
bright1239 in all of its crops. 54,6 They are ripe, they Snn.w nb.w nw p.t ab.w nb.w nw tA
are beautiful, they are very pure and excellent. You are iw=t (Hr) di.t xrp s.t n.t sA Ra ( )| r
causing that they (= men) cultivate it (= the field) in nAy 54,8 Htp.w aA.w wr.w iw=t (Hr)
joy. You are causing that they reap it in 54,7 joy. You di.t=w n Dr.t=f m dit nfr iw=t (Hr)
are preserving it (= harvest) from all taints of the sky di.t n=f xpS nxt naS ir sxr.w rnp.wt
and all impurities of the earth. You are causing the son aA.wt iw=t (Hr) di.t n=f 54,9 nA
of Ra ( )| to conduct them to 54,8 the very great wr.w nw tA nb xAs.wt nb.wt hnn.w
offering tables. You are giving them back into his sp sn.w iw mdw=f Hr tp=sn
hand in a just return. You are giving him strength,
power, and fortitude to make plans for many years.
You are giving him 54,9 the great ones of all the land
and all the foreign lands, very bent (in submission), his
mace upon their heads.

flood (of sea or other waters); with the article pA. Cauville translates this line as, pour empcher que les vagues
marines lavalent en son moment (in order to prevent the sea waves from swallowing it in its time).
1237
Small streams of water, coursing through the dry fields, would be the first noticeable effect of the inundation.
Wilson, PL, 659, suggests choosing Hnt rather than Drt or Sspt when it alliterates better with other elements of the
sentence, as it does in our phrase: nA Hn.wt rA-Haw.t: the streams (and) the mouths (of the Delta rivers).
1238
Wb I, 269,12-19: wAD-wr, "Great Green," is a designation for "sea"; it can refer to the Mediterranean Sea, the
Red Sea, or waters in the nome of Dendera or Edfu, depending on the context.
1239
The characterization of the fields as THn.t, "bright," alludes to the ritual of "rpandre l'or," during which sparkling
green powder was strewn on the fields during the month of Epiphi in order to guarantee the agricultural cycle. See
Goyon, Rpandre l'or, 85-100; discussion in 5.2.4. The term, THn.t, also alludes to Hathor's epithet, THn.t, "Bright
One (f.)," which agrees well with her responsibility for the fertility of the fields.

314
 Outer Entrance, Thickness of Jamb

Thickness of Door Thickness of Door

Jamb, East Side Jamb, West Side
Doc 20 Doc 21
D III, 54,12 54,17 D III, 52,2 - 55,8

D II, pl. 94, IFAO

Doc 20 Thickness of Door Jamb, East Side: D III, 54,12 54,17

Translation Transliteration
54,12 [12 squares] 54,13 Great one of dread among 54,12 [12 squares] 54,13 wr
all those on earth, Lord of Maat who makes a nrw m tpy.w-tA nb.w nb mAa.t ir
monument in Iunet, King of Upper and Lower Egypt, mnw m Iwn.t nswt-bity nb tA.wy
Lord of the Two Lands, ( )|, beloved of 54,14 [Hathor ( )| mry 54,14 [@.t-Hr wr.t nb.t
the Great, Lady of Iunet, Eye of Ra], Lady of Heaven, Iwn.t Ir.t Ra] nb.t p.t Hnw.t nTr.w
Mistress of all the gods, Great One (f.) of love, Mistress nb.w wr(.t) mr(w.t) Hnw.t Hm.wt
of Women, Beautiful One (f.) of face among the braided nfr.t Hr m Hnks.wt Sps.t 54,15 wr.t
ones, Noble and 54,15 Great Lady, Lady of the noble nb.t Sps.wt an.t an.ti n mAA=s mfk
ladies, the Beautiful One (f.) is beautiful1240 in seeing ptr=s nDm.wy Sms=s nfr.wy pA
her. How joyful to see her! How sweet to follow her! di=s m ib 54,16 hn n=s nTr.w iHy
How beautiful is what she places in the heart! 54,16 The n=s Ihy.w nTr.wt Hr dwA kA=s
gods rejoice in her, the Ihy-children1241 make music
for her, the goddesses are praising her Ka, the Great One

1240
The transliteration and translation of the phrase in line 54,15 is ambiguous, because an.tw (one turns) can also be
read as an.ti (stative meaning be beautiful). However, the use of the eye with makeup (D138) as the determinative
suggests the stative an.ti, rather than turn around, which is usually written with backwards walking legs (D55).
Cauville, Dend Trad III, p. 117, translates it as La Belle, on se retourne pour la voir. I prefer to translate an.t an.ti n
mAA=s, as The Beautiful One is beautiful when seeing her." GG 305 suggests that it can also be translated with the
English passive: The Beautiful One is beautiful when she is seen. The expression may be purposely ambiguous; if
an.ti is translated as "turn," its writing with the painted eye alludes to Hathor as an.t, "the Beautiful One."
1241
Blackman, Meir I, pl. 18,2, attests IHyw, musician-priests of Hathor, as early as the Middle Kingdom, in a tomb-
chapel at Qis where they are depicted wearing menit-necklaces, dancing, and playing castanets. An inscription
clearly states that they belong to the Temple of Hathor of Qis (Meir II, p. 23). Blackman (Meir I, 23 n. 7) notes a
similar scene in the tomb chapel of Amenemhet at Thebes (TT 82), from the reign of Thutmose III, depicting a
festival of Hathor in which two Ihyw-priests are playing castenets: the first with the caption,"IHwyw of the Golden
One, Mistress of Dendera"; the second with "the IHwyw of Hathor, Mistress of Dendera."

315
 (f.) of Heaven, who brightens the Two Lands with her wr.t n(.t) p.t sHD tA.wy m st.wt=s
rays, the Atenet who fills the land with 54,17 gold itn.t mH tA m 54,17 nkr nbw it=s
dust.1242 Her father Rahis arms are around her Ra a.wy=f(y) HA Hm.t=s sXkr sy
Incarnation. Tenen adorns her with her adornments. nn m Xkr.w=s

Doc 21 Thickness of Door Jamb, West Side: D III, 52,2 55,8

Translation Transliteration
55,2 The Good God [lives],1243 Great One of the Two 55,2 [anx] nTr nfr wr wAD.ty
Uraeii,1244 who ascends upon his throne in the palace. aHa Hr ns.t=f m stp-sA nsw.t mnx
The Excellent Kingone rejoices 55,3 in seeing him Haa.tw n 55,3 mAA=f wr Sfy.t xr
Great One of awe-inspired terror1245 before every face, Hr.w nb(.w) Xnty n Ra ir mnw m
the Image of Ra who makes a monument in Iunet, son of Iwn.t sA Ra nb xaw ( )| 55,4 mry
Ra, Lord of Crowns ( )|, 55,4 beloved of 55,5 Isis the 55,5 As.t wr.t mw.t nTr ir.t Ra nb.t
Great, Mother of the God, the Eye of Ra, Lady of p.t Hnw.t nTr.w nb(.w) papa.n sy
Heaven, Mistress of all the gods. Her mother bore her on mw.t=s r tA m IA.t-di m hrw grH
earth in Iatdi1246 the day of the night 55,6 of the infant in 55,6 nxn m sS=f wa.t pw Hnw.t
his nest.1247 She is the Unique Uraeus, the Mistress of nTr.w nTr.wt n(n) nTr m sn(.t) r=s
the gods and goddesses. No god is like her, Sothis in the %pd.t m p.t HqA.t n(.t) xAbA=s

1242
Wb II, 117,5, notes that mH tA m nqr nbw, "fill the land with gold dust," refers to sunbeams. It is an allusion to
the ritual of sti THn.t, which took place towards the end of the agricultural year on the first day of the month of
Epiphi. Green powder, made sparkling by the addition of gold, was sprinkled on the ground in front of Hathor's
statue, which went out in procession. The whole earth "sparkled with her radiance" (THn tA Dr=f <m> axw=T), thus
guaranteeing the agricultural cycle. See Goyon, Rpandre l'or, 85-100.
1243
Following Cauville, Dend Trad III, p. 118, who inserts a missing anx at the beginning of the line. The standard
phrase, anx nTr nfr, although grammatically a subjunctive and often translated as "May the good god live," is,
however, a performative statement, and therefore carrying no uncertainty. A better translation is "The good god
lives," as suggested by Prof. Jacco Dieleman, private communication, October 12, 2011.
1244
The wAD.ty, "the Two Uraeii," refer to the two tutelary goddesses of Upper and Lower Egypt, Nekhbet and
Wadjet, as cobras. The first attested example of the offering of the wAD.ty is in the reign of Hatshepsut, in which they
are given to the queen by Pakhet at Speos Artemidos (Urk IV, 287,6; Fairman and Grdseloff, Speos Artemidos, 12-
33). Nekhbet and Wadjet present the King with wAD.ty scepters in symmetrical scenes in the 1st register of the north
wall of the Per-wer. See discussion in 5.3.1.
1245
Wb IV, 457,2 459,7; PL 1004. Sfy.t, "awesomeness; awe-inspired terror, fear, majesty," is regarded as a
synonym of Ma'at in Ma'at offerings, due to its representation by the forepart (and thus throat) of the ram, because
the word for throat (mr.t) is a close homonym of Ma'at, who was considered the throat of the god through which he
obtains air and food, i.e. the sustenance of life. See discussion in 5.1.2. The reference to Sfy.t of the King is thus also
a subtle allusion to his responsibility in maintaining Ma'at, with the use of his awesome power to do so. Van der
Plas, L'Hymne la Crue du Nil, Leiden, 1986, 92-93, suggests that mysterium tremendum perhaps best evokes the
underlying emotional response to the Sfy.t of a god or king.
1246
Iatdi, one of the three main names of Dendera (together with "Iunet" and "Tarer"), is particularly associated with
the small sanctuary located directly south of the main Temple of Hathor, considered to be the birthplace of the
goddess Isis. See Kockelmann, Toponymen, 60-64.
1247
Reference to the "Day of the Night of the Infant in his Nest," which plays on the double meaning of the word,
msi, which can mean "birth," as well as "heliacal rising." The dawn, occurring 40 minutes before sunrise, and thus
technically still the 5th epagomenal day, is therefore the heliacal rising of Isis-Sothis just before New Year's Day,
which can be considered her msi (though not to be confused with the birth of Isis, daughter of Geb and Nut, on the
4th Epagomenal Day). See discussion of this event, and its associated ritual of presenting the seshed band, in Leitz,
Nacht des Kindes, 136-157.

316
 sky, the Female Ruler of the stars, who decrees words in wD mdw m Sn n itn 55,7 Sps.t pw
the circuit of the sun disk. 55,7 It is the Noble Lady m-xnt pr-Sps.t rpy.t an.t n(.t) pr-
within the Sanctuary of the noble lady, the Beautiful rpy.t nTr.t tn ity.t r tpy.w-a HqA.t n
Noblewoman in the Sanctuary of the Noblewoman.1248 ii Hr-sA=s nswy.t 55,8 n(.t) tA-Sma
This goddess is the Female Sovereign more than the bi.ty.t n(.t) tA-mHw BA.t m imn.t.t
ancestors. The Female Rruler, no one comes after her, iAb.t.t
the Female King 55,8 of Upper Egypt, the Female King
of Lower Egypt, the Female Ba in the west and the
east.1249

1248
Wb II, 415,11-14; MK. rpy.t, meaning "female statue," is related to the OK term for "noblewoman" (Wb II,
415,1-10). Wilson, PL 581, notes that it may have been "She of the palanquin," thus referring to a palanquin
carrying the statue of a female goddess. See Ward, Miscellanies, 266-267. See also Wilkinson, Early Dynastic
Egypt, 269, fig 8.3 (1) and (2), for representations of early dynastic cult images: a female figure on a sledge; a
female figure in a carrying-shrine.
1249
The four cardinal directions are thus mentioned: north (Lower Egypt), south (Upper Egypt), the west, and the
east, alluding to Hathor's Four Faces, an epithet reflecting her ability to look to the four directions of the earth. This
idea is conveyed architecturally by her four-faced columns at Dendera. See Derchain, Hathor Quadrifrons, passim.

317
 Outer Entrance, Door Jambs

Door Jamb Door Jamb

East Side West Side
Doc 22 Doc 23
D III, 55,18 D III, 56,13
56,10 57,9

D II, pl. 94, IFAO

318
Doc 22 Door Jamb, East Side: D III, 55,11 56,10

Translation Transliteration
55,18 The Good God lives,1250 the Purifier-priest,1251 55,18 anx nTr nfr ab Sd n an.t
nourished1252 by the Beautiful One (f.),1253 who adores swAS Hnw.t=f m mr=s nsw.t-
his mistress with what she loves, the King of Upper and bi.ty ( )| mry @.t-Hr wr.t 55,19
Lower Egypt ( )|, beloved of Hathor the Great, 55,19 nb(.t) Iwn.t
Lady of Iunet.

1250
The standard phrase, anx nTr nfr, although grammatically a subjunctive and often translated as "May the good
god live," is, however, a performative statement, and therefore carrying no uncertainty. A better translation is "The
good god lives," as suggested by Prof. Jacco Dieleman, private communication, October 12, 2011.
1251
Wb I, 175,11-12 notes ab as a priestly title attested since Dyn 18, especially in the phrase, ab pr wr, "Purifier of
the Per-Wer." Wilson, PL 144, suggests that ab may be part of the title of the Iwn-mw.t=f priest in the phrase, ab pr
wr, "one who purifies the Per-Wer, attested from the reign of Hatshepsut (Urk IV, 262,10; in Coming out of the
palace texts, eg. E II, 59,16). Note that Cauville, Dend Trad III, p. 120, transliterates as ab-nTr. This epithet is the
first of many on this door jamb relating to the King's role as high priest who carries out the daily temple ritual before
the image of the goddess in the sanctuary. Interestingly, the order of these epithets mirrors the stages in the rite
depicted inside the Per-wer in the 1st register of the east, south, and west walls. Each epithet, connecting to a fuller
description of the scene within the sanctuary, thus summarizes the king's roles and actions.
1252
Wb IV 564 notes the GR writing of the word Sd, "nourish, bring up," with (signs V102 and X1); the use of
(A2) as a determinative in this word is attested since the MK, thus suggesting this reading for the word in line
55,18. The epithet recalls the mythological image of Isis suckling her son Horus; being nourished by a goddess thus
affirms the king's divine descent and equates him with Horus. One of the earliest images of a divine cow suckling
the King appears in the Hathor Chapel of Hatshepsut at Deir el-Bahari. This imagery is duplicated in a text on the
west side of the south wall of Dendera's Mysterious Corridor, not far from the Per-wer's entrance (D I, 130,5), in
which Hathor is Sekhat-Hor in the Temple of the Cow," and "the mother of the God who protects her son, who
nourishes his Incarnation with milk." Similarly, the text in the adoration scene of the 2 nd register of the north wall of
the Per-wer (D III, 69,2) gives Hathor's epithet as Sd nn=s m Hdw=s, "who nourishes her child with her milk."

1253
Correction in line 55,18: determinative of an.t is (C9) instead of (C9A), noted in Cauville Dend Trad
III, p. 329 and pl. 35, in IFAO photo no. 98-2224-25 by A. Lecler.

319
 55,20 The Good God lives, who protects the 55,20 anx nTr nfr swDA iwnn sfx
sanctuary,1254 who loosens the seal1255 in order to see the xtm r mAA Nbw.t sA Ra ( )| mry
Golden One (f.), son of Ra ( )|, beloved of Ihy the Great, IHy wr sA 55,21 @.t-Hr
son of 55,21 Hathor.
56,1 The Good God lives, who unbolts the doors1256 of 56,1 anx nTr nfr sqr aA.wy H.wt
the temples, who opens the door leaves of the Per-Wer, wp anx.wy n pr-wr nsw.t-bi.ty
the King of Upper and Lower Egypt ( )|, beloved of ( )| mry @.t-Hr nb.t Iwn.t 56,2
Hathor, Lady of Iunet 56,2 the Menit.1257 tA- mni.t
56,3 The Good God lives, child of Hapy, the Purifier, 56,3 anx nTr nfr id n @apy twr sA
son of the Purifier,1258 son of Ra ( )|, beloved of twr sA Ra ( )| mry @r-smA-tA.wy
Harsomtus, the Great God who resides1259 in Iunet. nTr aA Hry-ib Iwn.t.
56,4 The Good God lives, engendered by Shu, exact of 56,4 anx nTr nfr wtT n ^w aqA
feet in the secret places, the King of Upper and Lower rd.wy m s.wt StA.wt nsw.t-bi.ty
Egypt, ( )|, beloved of Hathor, Lady of Iunet, Eye of Ra ( )| mry @.t-Hr nb.t Iwn.t Ir.t-Ra
56,5 Words to say: Adoration to you, Golden One, Lady 56,5 Dd mdw iAw n=T Nbw.t
of Iunet, the Noble and Powerful Lady in the Sanctuary nb(.t) Iwn.t Sps.t wsr.t xnt pr-
of the Noble Lady, She who shines like gold1260 56,6 in Sps.t Wbn.t-m-nbw 56,6 xnt H.t-
the Temple of the Sistrum, the Atenet in the Land of sSS.t Itn.t m tA-n-Itmw swAS=i
Atum. I adore your Incarnation with what your heart Hm.t=t m Ab.t ib=t Sn=i saH=t m
desires. I invoke your statue with the sacred texts. 56,7 I sp-n-siA 56,7 sqA=i kA=t r qA n
exalt your kA to the height of heaven. I praise your p.t dwA=i smn=t r rA-a st.wt itn
statue to the extent of the rays of the Aten. May you mi=t m 56,8 Htp Sm=t m Hknw
come in 56,8 peace. May you go in joy. Sweet is your nDm ib=t Hr ndb sns(.w), 56,9
heart in hearing the praises.1261 56,9 Hathor the Great, @.t-Hr wr.t nb.t Iwn.t Ir.t-Ra
Lady of Iunet, Eye of Ra, Lady of Heaven, Mistress of 56,8 nb.t p.t Hnw.t nTr.w nb.w
all the gods, 56,10 the Great Uraeus, Lady of the Per- 56,9 Hr.t-tp wr.t nb.t pr-wr
wer, your beautiful face is satisfied with your beloved Htp Hr=t nfr n sA=T mry=T nsw.t-
son, the King of Upper and Lower Egypt, Lord of the bi.ty nb tA.wy ( )| 56,10 D.t
Two Lands ( )|, for D.t-eternity.

1254
The GR spelling has the t-loaf; Cauville, Dend Trad III, p. 118, transliterates as iwnnt. However, Wb. I, 55,12-
13, includes the GR writing but transliterates only as iwnn, as does Wilson, PL 54.
1255
sfx Htm, "loosens the seal," recalls the scene from the daily temple rite of sfx Dba, "loosening the seal," in the 1st
register, 2nd scene of the east wall in the Per-wer (D III, 65,5 66,3). Cf. Bartel, Fortziehen der Riegel, 55-81.
1256
sqr aA.wy, "unbolts the doors," recalls the scene from the daily temple rite of sTA idr, "pulling the door bolt," in
which the text in the Royal Randzeile states that the King sqr aA.wy nn.t, "opens the doors of heaven," in the 1st
register, 1st scene of the west wall in the Per-wer (D III, 76,8).
1257
Hathor as the manifestation of her cult object, the menit-necklace. See Gosline, Mnjt, 40; Preys, Manifestations,
357-362; Staehelin, Menit, 52-53; Bonnet, RRG, 450-451; Barguet, Contrepoids, 107. Cauville, Dieux et prtres,
71, notes that at Dendera there are two forms of "Hathor the Menit": one specific to Edfu, which is integrated into its
pantheon; the one connected with Dendera.
1258
twr sA twr, "Purifier, son of the Purifier," is a priestly title carried by the King in his identification as Horus,
showing that the King has the requisite purity and legitimacy to approach the goddess. The title also appears in the
1st scene of the 1st register of the east wall of the Per-wer, in a scene from the daily temple rite in which the King
ascends the steps to Hathor's shrine (D III, 64,3 65,3).
1259
Wb III 136-137; PL 663: Hry-ib, lit., in the middle," translated "resides in" or "sojourns in," refers to a deity
worshipped in a cult center of another deity. See Haring, Divine Households, 71 n. 3; Budde, Epithets, 3.
1260
See footnote on wbn.t-m-nbw in Doc 4.
1261
Cauville Dend Trad III, p. 121, translates as prires (prayers). PL 869, sns.w: praises; Wb IV, 171,11-13,
attested in Dyn 18. In a sistrum text from E I, 523,12, Hathor hears the sns.w of the king.

320
Doc 23 Door Jamb, West Side: D III, 56,13 57,9

Translation Transliteration
56,13 The Good God lives, Master of Secrets,1262 56,13 anx nTr nfr Hry-sStA ab n
Purifier-Priest of the Golden One, He who is open of Nbw.t pxA-ib iqr Dba.w nsw.t-bi.ty
heart,1263 Excellent One of fingers, the King of Upper ( )| mry @.t-Hr nb.t Iwn.t Ir.t-Ra
and Lower Egypt ( )| beloved of Hathor, Lady of Iunet, nb(.t) p.t
Eye of Ra, Lady of heaven.
57,1 The Good God lives, who preserves the Two 57,1 anx nTr nfr Hn itr.ty sTA idr r
Sanctuaries,1264 who pulls the (door) bolt1265 in order to mAA Hnw.t(=f) sA Ra ( )| mry
see (his) mistress, son of Ra ( )| beloved of Har[somtus] @r[smA-tA.wy] pA Xrd sA @.t-Hr
the child, son of Hathor.
57,2 The Good God lives, who opens the doors of 57,2 anx nTr nfr wn aA.wy p.t sS
heaven,1266 who opens the doors of the Temple of the sbA.w nw H.t-sSS.t nsw.t-bi.ty ( )|
Sistrum, the King of Upper and Lower Egypt ( )| mry As.t wr.t mw.t-nTr
beloved of Isis the Great, Mother of the god.
57,3 The Good God lives, [5 squaresthe son of 57,3 anx nTr nfr [5 squares sA
Ra1267] ( )| beloved of Horus Behdety, the Great God, Ra] ( )| mry @r BHd.ty nTr aA nb p.t
Lord of heaven.
57,4 The Good God lives, the overseer of the Hm-nTr- 57,4 anx nTr nfr mr Hm.w-nTr n
priests of the Mighty One (f.), Measured of steps1268 in wsr.t qb nmt.t m

1262
Wb IV, 298,22 299,13; Erichsen, Glossar, 321; PL 666: Hry-sStA, lit. "foremost one of secrets," or "master of
secrets," is a priestly epithet, used of the King when he recites the contents of the temple library (E III, 347,10). See
also Baines, Decorum, 9-14; cf. DuQuesne, Master of Secrets, 25-38.
1263
Wb I, 542,16-18; 18th Dyn., pxA-ib, lit. "split" or "open" of heart," is an virtue given by the gods, a joyful
condition. Otto, Gott und Mensch, 124-125, suggests that it implies a state of being "kundig," as well as "froh,"
which can be a gift from the divinity. Interestingly, the characteristic is typical of the king's state of mind when
approaching the goddess for the daily temple rite, as well as the state in which he will be as a result of the
"drunkenness and joy" that Hathor gives the King in a sistra offering in the 3rd scene of the 2nd register, east wall of
the Per-wer (D III, 70,15). In both cases, the idea of pxA-ib seems to imply the joy and heightened state of perception
when encountering the Divine.
1264
itr.ty, "the Two Sanctuaries," written (O196). Gardiner, Horus the Behdetite, 27-28, connects itr.ty with
itr.w, "river channel," thus meaning a "line" or "row" of water. The itr.ty thus denote the two shrine rows on either
side of the Sed Festival court: the itr.t-Sma.t for Upper Egypt, itr.t-mH.t for Lower Egypt. The two itr.ty, or shrine
rows, thus designate Egypt as a whole. See also PL 123-124.
1265
sTA idr, "pull the (door) bolt," recalls the episode of the daily temple rite in the 1 st scene, 1st register, west wall of
the Per-wer, in which the King pulls upon the bolt of the naos and opens the doors to reveal the goddess. See Wb IV,
352,10-12, and 17; PL 967; Graefe, Versiegelung, 147.
1266
sS aA.wy p.t, "open the doors of heaven," recalls the episode of the daily temple rite in the 1 st scene, 1st register,
west wall of the Per-wer, in which the Royal Randzeile states that the King sqr aA.wy nn.t, "opens the doors of
heaven" (D III, 76,8), describing his opening of the doors of Hathor's naos, thus revealing the goddess within.
1267
Following Cauville, Dend Trad III, p. 120, who restores sA Ra in the last square of the lacuna in D III, 57,3.
1268
Wb V, 23,15-16; Late; GR. m qb nmt.t means lit., "in coolness of pace." Wilson, PL 1050, notes that the phrase
often characterizes priests or gods as they approach the sanctuary in procession; she cites other translations: Otto,
Gott und Mensch, 156, "mit khlem, beherrschtem Schritt"; Alliot, Culte I, 242, "en marche lente," and Daumas,
Nout Dendara, 391, "marcher lentement." The mention of being qb nmt.t, "measured of steps" in the sacred place
(D III, 57,4) recalls the scene from the daily temple ritual of pr r xndw, "going up the steps," in the 1st register, east
wall of the Per-wer, in which the King states, Ts=i xndw n Nbw.t m qb nmt.t, "I go up upon the stairs of the Golden
One (f.) with measured steps" (D III, 64,3-4).

321
 the sacred place, the King of Upper and Lower Egypt bw Dsr nsw.t-bi.ty ( )| mry @.t-Hr
( )|, beloved of Hathor, Lady of Iunet, the Eye of Ra. nb.t Iwnt Ir.t-Ra
57,5 Words to say: Adoration to you, the Atenet in 57,5 Dd mdw iAw n=T Itn.t m &A-rr
Tarer,1269 the Noble One (f.) in the Palace of the Noble Sps.t xnt aH-Sps.t Hr.t-tp n.t Ax.ty
one (f.), the Uraeus of the Horizon-Dweller 57,6 in the 57,6 m-xnt pr-nbw.t ity.t m-xnt
Sanctuary of the Golden One (f.), the Female sovereign IA.t-di sqA=i D.t=t r snDm ib=t
in Iatdi.1270 I exalt your body in order to sweeten your swr=i bAw=t r nTr.w nb.w nis=i
heart. I make your Ba-power greater than (that of) the 57,7 n sm=T m Ssr.w nw %iA m
gods. I invoke 57,7 your statue with the formulas of Sia DAis.w Ax.w n xprw=t mi=t m
and with the (magical) utterances for your manifestation. Haaw.t nm.t=T m 57,8 Aw.t-ib xntS
May you come in joy. May you walk in 57,8 joy. Your Hm.t=t m nfrw=T 57,9 @.t-Hr wr.t
Incarnation is joyful in your beauty/perfection. 57,9 nb.t Iwn.t Ir.t-Ra 57,8 nb.t p.t
Hathor the Great, Lady of Iunet, Eye of Ra, Lady of Hnw.t nTr.w nb.w Sps.t wsr.t 57,9
Heaven, Mistress of all the gods, the Noble and xnt H.t-sSS.t Htp Hr=T nfr n sA=t
Powerful Lady in the Temple of the Sistrum, your mry=T sA Ra nb xaw ( )| D.t
beautiful face is satisfied with your beloved son, the son
of Ra, Lord of Crowns ( )|, for D.t- eternity.

1269
&A-rr, "Tarer," a name of Dendera (Wb V, 226,1; GR). Kockelmann, Toponymen, 65-66 discusses the name,
noting that according to Dmichen (Bauurkunde, 30), Iunet and Tarer are the most frequently-used names in the
inscriptions of the Temple of Dendera. Because they are used interchangeably, Kockelmann (65) argues against the
idea that Tarer is the "profane name" and Iunet is the "theological name" (contra Dmichen, Bauurkunde, 30; Preys,
Complexes, 49). Myliwiec, Atum, 52, suggests that when written as a rebus with serpents, Tarer alludes to &A-n-Itm
("Land of Atum," another name of Dendera) and Atum's form as a primeval snake. Examples include D III, 57,5,

; D IV, 232,2, ; D VIII, 122,13: .

1270
Iatdi, one of the three main names of Dendera (together with "Iunet" and "Tarer"), is particularly associated with
the small sanctuary located directly south of the main Temple of Hathor, considered to be the birthplace of the
goddess Isis. See Kockelmann, Toponymen, 60-64.

322
7.2 Bandeaux of the Base and the Frieze in the Per-wer

The bandeaux of the base and the frieze each consist of two continuous lines of text
located on the east and west sides of the Per-wer. The bandeau of the base is located below the
1st register; the bandeau of the frieze, above the 3rd register. A single ankh-sign unites the two
sides of each inscription at the center of the south wall, serving as the first word of the two lines
of text, proceeding in an opposite direction around the walls of the sanctuary, ending at the
center of the north wall.1271 The bandeaux provide a summary of the chapel's construction and
decoration, welcoming the goddess to the beautiful sanctuary made for her by the King, and
making allusions to the archaic Per-wer of Upper Egypt. The two sides of each bandeau contain
parallel expressions, varied by synonyms or alternate signs in the writing. The two names of the
sanctuary, Per-wer and Temple of the Sistrum, also appear in parallel. Ideograms designating the
goddess generally face away from the center of the south wall, as if she is looking out from the
inside of her naos in the Southern Niche; ideograms designating the King face towards the niche.
This arrangement mirrors the larger wall reliefs of the king and the goddess, as well as the reality
of the three-dimensional cult image that would have stood within the niche, and the living King
facing towards this sacred image.

Bandeau of the Base

Layout of the Bandeau of the Base, East and West Sides

Hieroglyphs face the same direction as the arrows.

1271
In the case of the bandeau of the base, it ends on either side of the door opening.

323
 Bandeau of the Base in the Per-wer, East Side
D III, pls. 180; 190, IFAO

North Wall East Wall South Wall

Doc 24 Bandeau of the Base, East Side: D III, 59,10 60,2

Translation Transliteration
SOUTH WALL SOUTH WALL
59,10 The Good God lives,1272 son of Hathor, heir of 59,10 anx nTr nfr sA @.t-Hr iwa n apy
the Winged Disk,1273 Highest of the gods,1274 the King Hry nTr.w nsw.t-bi.ty nb tA.wy ( )|
of Upper and Lower Egypt, Lord of the Two Lands, mry 59,11 @.t-Hr wr.t nb.t Iwn.t Ir.t-
( )| beloved of 59,11 Hathor the Great, Lady of Ra nb.t p.t Hnw.t nTr.w nb.w xws.n=f
Iunet,1275 Eye of Ra, Lady of Heaven, Mistress of all pr-wr
the gods. He has built the Per-wer

1272
The standard phrase, anx nTr nfr, although grammatically a subjunctive and often translated as "May the good
god live," is, however, a performative statement, and therefore carrying no uncertainty. A better translation is "The
good god lives," as suggested by Prof. Jacco Dieleman, private communication, October 12, 2011.
1273
The sun disk with wings, whose mythological explanation lies in the Myth of Horus, in which Behdety unites
with the sun disk and flies to the sky in order to conquer the enemies of Ra-Horakhty. See Fairman, Triumph of
Horus, passim.
1274
Wb III, 133,2: Hry-nTr.w: highest god, or "chief" of the gods. At Dendera, this epithet can refer to the following
deities: Ra-Horakhty (D IV, 265,1); the Ram, Lord of the Sky (D II, 65,13); Horus Behdety (D II, 136,14; IV, 66,3;
173,12; VI, 28,3); Harsiesis (D IV, 74,7); Harsomtus (D II, 20,4; 33,10; 188,13; IV, 69,14; VI, 18,11).
1275
Iwn.t is the most well-known and oldest of Dendera's names, attested in the tombs of private individuals since
the 4th Dynasty, e.g. in the rock-cut tomb of Mri=s-anx III at Giza. See Kockelmann, Toponymen, 53- 59; Fischer,
Dendera, 23.

324
 EAST WALL EAST WALL
for her Incarnation1276 as a joy in an excellent work n Hm.t=s m Haaw(.t) m kA.t mnx.t n.t
of1277 nHH-eternity, in order to protect 59,12 the nHH r mk(.t) 59,12 qmA.ty n kA=s m-
(divine) image of her Ka within it,1278 in order to qAb=f r sStA D.t=s r tpy.w-a saHa.n=f
conceal her body from the divine ancestors.1279 He has sH-nTr n ity(.t) m IA.t-di Hts m mnw
erected the divine hall1280 of the Female Sovereign in nfr snT.tw=f m-Hb 60,1 sps.tw=f m
Iatdi,1281 completed as a beautiful monument. It is Haaw.t arq.tw=f m nDm-ib pr-^ps.t n
founded1282 in festival. 60,1 It is built in joy. It is ^ps.t Ssp=s sw m Htp wnf n(n) nSn
completed in sweetness of heart. The Sanctuary of the xr=s 60,2 Xni=s Hr sStA=s Xt Hr sA.t
Noble Lady for the Noble Ladyshe receives it in
peace, rejoicing,1283 without anger in her. 60,2 She
alights on her (secret) image1284 engraved on the
wall.1285
NORTH WALL NORTH WALL
She rejoices in1286 seeing her city. She increases the xntS=s [n] mAA niw.t=s swr=s nswy.t
royalty of the King on his throne, Foremost One1287 n(.t) nsw.t Hr ns.t=f xnty kA.w anx.w
of the Living (divine) Kas,1288 for D.t-eternity. D.t

1276
GR spelling (C9D) with seated goddess wearing horns and disk headdress and holding (U36), the club
phonogram for Hm.
1277
Wb II, 301,4 gives n nHH, "for eternity," but spelled simply with the preposition n; Cauville, Dend Trad III, pp.
126-127, transliterates as n, pour (lternit). However, the t-loaf in n.t suggests that the phrase is genitival.
1278
The preposition m-qAb, written with the coil-sign means lit., "in the coils," thus alluding to Hathor's
manifestation as the cobra on the brow of her father, the sun god Ra.
1279
Wb V, 283,12: gttliche Wesen im Tempel in GR. See Section 5.6.2 for discussion of the ancestor gods.
1280
sH-nTr (Wb III, 465,1-13), denoting the temple sanctuary since Dyn 18; it refers to individual temple rooms
in GR. Cauville, Dend Trad III, pp. 126-127, transliterates it as sH, sanctuaire.
1281
Iatdi, one of the three main names of Dendera (together with "Iunet" and "Tarer"), is particularly associated with
the small sanctuary located directly south of the main Temple of Hathor, considered to be the birthplace of the
goddess Isis. See Kockelmann, Toponymen, 60-64.
1282
Passive form of the perfective sDm=f of snTi, "to found." The looped rope (V5A, used as the ideogram for snT
in GR) alludes to the ceremony of "stretching the cord," by which the building area is measured with a rope or cord.
See Wb IV, 177,10 -178,12, esp., 177,13; PL 874-875.
1283
Interpreted as the stative, "being in a state of rejoicing."
1284
In the GR, the word sStA means both secret, and image; in this context it refers to the image of the goddess,
hidden from public view. See Wb IV, 298,1 299,13; Wb IV, 299,14-16 GR.
1285
Wb IV, 14,4-14, which notes that in LP and GR, it also appears without the t-loaf. My translation of as
singular sA.t is contra Cauville, Dend Trad III, pp. 126-127, who translates it as sAwt, "les parois," even though there
is no indication in the signs that it is plural. See discussion in 5.2.5.
1286
Cauville Dend Trad III, p. 329, restores n, (S3), in the lacuna in line 60,2.
1287
Prepositional nisbe (an adjective made from a preposition), derived from xnt, "at the head of"; translated as
"foremost." In this epithet, the nisbe functions as a substantive, "foremost one." Hathor is often described as xnty.t
Iwn.t, "Foremost One (f.) of Iunet" (D III, 50,12); the King is xnty kA.w anx.w, "Foremost One of the Living (divine)
Kas." (D III, 47,3-4).
1288
The kA.w anx.w, "living kas," are ancestor gods, discussed in 5.2.6.

325
 Bandeau of the Base, West Side
D III, pls. 180; 190, IFAO

North Wall West Wall South Wall

Doc 25 Bandeau of the Base, W. Side: D III, 60,4 60,9

Translation Transliteration
SOUTH WALL SOUTH WALL
60,4 The Good God lives, child of Iunyt,1289 the eldest 60,4 anx nTr nfr nn n Iwny.t sA
son of Sematawy, son of Ra, Lord of Crowns ( )| smsw n %mA-tA.wy sA Ra nb xa.w ( )|
beloved of 60,5 Hathor the Great, Lady of Iunet, Lady mry 60,5 @.t-Hr wr.t nb.t Iwn.t
of humankind,1290 Mistress of the Two Lands. He has nb.ty.t rxy.t Hnw.t tA.wy arq.n=f
completed
WEST WALL WEST WALL
the Per-wer of the Noble Lady in Iunet as a beautiful pr-wr n ^ps.t m Iwn.t m kA.t nfr.t
work of eternity in order to protect the images 60,6 of n.t D.t r xw.t Ssp.w 60,6 n Hm.t=s
m-xnt=f r Dsr bs n PsD.t=s r swr
1289
Lit."She of Iunet," an epithet of Isis (Cauville, Dend Trad III, p. 357); Wb I, 55,1, GR: "Hathor-Isis von
Dendera." Cauville, Inscriptions ddicatoires, 101 and 106 n. 17, notes that Iunet, the name of Isis, is derived from
the name of the city and is a feminine form of Iuny, a form of Osiris at Edfu. The emphasis on Isis in this inscription
is due to its location on the west side of the bandeau, as opposed to the emphasis on Hathor on the east side. A statue
of the goddess Iunyt, depicted as a woman wearing a long wig and seated on a throne, was dedicated at Luxor
Temple by King Amenhotep III. See El-Saghir, Luxor Cachette, 31-34.
1290
The epithet, nb.ty.t-rxy.t, belonging primarily to Isis, emphasizes her role as the queen who guarantees the
passage of royal power from the father Osiris to his son Horus. At Dendera, Hathor especially carries this title on the
west walls of the temple, where she takes the place of Isis. See Preys, Isis et Hathor, 351, who notes the necessity of
a deeper study into the following issues: the reason for placing Hathor nb.ty.t-rxy.t in a particular scene; the
processes by which Hathor is identified to Isis (via the latter's epithets, e.g. nb.ty.t rxy.t or xnty.t Iwn.t) or vice versa
(with Isis carrying Hathor's epithets, e.g. nbw.t or part of Hathor's great titulary).

326
 her Incarnation within it, in order to sanctify the bA.w=s xr Dr.ty.w tm.w Dr wr 60,7
image1291 of her Ennead,1292 in order to make her Bas rn=s Hr nTry n it=s Hts.tw aAy.t=s
great in the presence of all the ancestor gods,1293 m aAy sp sn.nw nhm ibA xntS pr-
because1294 great 60,7 is her name in the heart1295 of her an.t n Hnw.t an.t aq=s sw 60,8 m
father.1296 Her chapel is completed in very great1297 Htp THn.ti m D.t=s r nTr.w
jubilation, rejoicing,1298 dancing, and rejoicing (in) the
Sanctuary of the Beautiful One for the Beautiful
Mistress.1299 She enters it 60,8 in peace, being brighter
in her body than the gods.
NORTH WALL NORTH WALL
She unites with her image in the Temple of the Sistrum. Xnms=s ti.t=s xnt H.t=sSS.t
Her Incarnation rejoices at seeing her sanctuary. She Aw=ib Hm.t=s n mAA pr=s
magnifies the King upon the serekh of [his] Ka at the saA=s nsw.t tp srx n kA[=f] xnty
head of the living 60,9 (divine) Kas, for D.t-eternity. kA.w 60,9 anx.w D.t

1291
Wb I, 474,1-4. Wilson, PL 331, notes that bs is the image or cult statue of a god, derived from the MK bsw,
which, like sStA, denotes something secret that must be kept away from ordinary eyes. See Sethe, Lesestcke MK,
70,17.
1292
Preys, Protection, alimentation, 353, defines the Ennead of Hathor at Dendera (listed on the north montant of the
Staircase Chamber, D VI, 140,2-6) as the following: Hathor the Great, Lady of Iunet; Horus of Edfu, the Great God,
Lord of Heaven; Hathor, Lady of Iunet, Uraeus of Ra; Harsomtus, the Great God who resides in Iunet; Ihy the Great,
son of Hathor; Harsomtus the Child, son of Hathor; Hathor, Lady of Iunet, Eye of Ra, Chief of the Great Seat;
Hathor, Lady of Iunet, the Menit; Harsomtus, the Great God, Lord of Khadi; Osiris-Wennefer, justified, the Great
God who resides at Iunet; Isis the Great, Mother of the God.
1293
The Dr.ty.w are ancestor gods, discussed in 5.2.6. See also Wb V, 598,6-9; GR; PL 1245; Meeks, An
Lex, 78,4947. Wilson (PL 1245, citing L VI, 1067-1069 n. 7) suggests that the name may derive from Dr,
"boundary, limit," because they exist at the "limit" or "end" of time.
1294
Wb V, 593,11: Dr functions as a conjunction before a verbal or nominal clause since MK.
1295
Wb II, 365,5-7; PL 559: nTry is the heart of the Creator God; it can also designate the heart of the King.
1296
Wb I, 141,10-19: it, "father," written with (W10), a vase with bread, attested since OK.
1297
Written aAy sp sn.nw, lit., "jubilation, jubilation," or translated as "very great jubilation."
1298
Cauville, Dend Trad III, p. 127, translates as "tambourine." I prefer to read nhm as the verb, "rejoice," following
PL 530, though perhaps it could be interpreted as "rejoicing with tambourine."
1299
Cauville, Dend Trad III, p. 126-127, transliterates as simply an.t, la Belle. The glyphs, however, suggest
Hnw.t an.t.

327
 Bandeau of the Frieze

Layout of the Bandeau of the Frieze, East and West Sides

Hieroglyphs face the same direction as the arrows.

Bandeau of the Frieze, East Side

D III, pls. 180; 190, IFAO

North Wall East Wall South Wall

328
Doc 26 Bandeau of the Frieze, E. Side: D III, 61,3-8

Translation Transliteration
SOUTH WALL SOUTH WALL
61,3 The Good1300 God lives, son of Hathor, Excellent 61,3 anx nTr nfr sA @t-Hr iwa mnx n
heir of Behdety,1301 King of Upper and Lower Egypt, BHd.ty nsw.t-bi.ty nb tA.wy ( )| mry
Lord of the Two Lands ( )|, beloved of 61,4 Hathor the 61,4 @.t-Hr wr.t nb.t Iwn.t Ir.t-Ra
Great, Lady of Iunet, Eye of Ra, Lady of Heaven, nb.t p.t Hnw.t nTr.w nb.w Hts.n=f
Mistress of all the gods.1302 He has completed
EAST WALL EAST WALL
the Temple of the Sistrum for the Golden One (f.), Lady H.t sSS.t n Nbw.t nb.t Iwn.t n mitt=s
of Iunet, without its likeness in the Two Shrines,1303 the m itr.ty sxm.w wr.w spXr m-xnt=s
great images engraved in it, 61,5 chiseled excellently by 61,5 AXa r mnx m kA.t gnw.ty.w
the work of sculptors,1304 adorned in gold illuminated sXkr.ti m nbw papa.ti m Drwy Ax
with painting,1305 more luminous1306 to see (it) than the mAA=s r nn.t n.t Ra 61,6 psD
heaven of Ra. 61,6 The Shining One (f.) shines in the PsD(.t) m p.t m-aqA niw.t=s Ax.t n.t
sky before her city, the temple of her Ka since the kA=s Dr bAH Hd=s m bik.t THn(.t)
beginning.1307 She flies as the Female Falcon, the msxa
Shining One (f.)1308 of brightness.
NORTH WALL NORTH WALL
She alights on 61,7 her image in her sanctuary. She xn=s Hr 61,7 bs=s xnt xm=s Hs=s
praises Ra for her city in joy.1309 It is established for an Ra r niw.t=s m pr-m-qd sDd=s m
infinity of years. She has rewarded the One of the Two HH n rnp.wt fqA.n=s nb.ty Hr rA-
Ladies for the work of his hands, 61,8 at the head of the awy=f(y) 61,8 xnt kA.w anx.w D.t
Living (divine) Kas eternally.

1300
nfr, "good," or "perfect," is written with the ideogram (E51), depicting a standing baboon, arms raised in
praise; in Ptolemaic Egyptian it holds the value, nfr. See Wb II, 253,1; Kurth, EP I, 218 n. 327.
1301
BHd.ty, lit. "The One from Behdet." Gardiner, Horus the Behdetite, 59-60, suggests that in the Predynastic
Period, this epithet originally belonged to a falcon god worshipped in a northernmost Egyptian town, whose people
conquered Upper Egypt, where Seth of Ombos was worshipped; "Behdet" was later incorporated into the epithet of
the national god Horus to stress his northern origin and provide a counterpart to the southern Ombite, Seth.
1302
Writing faces east, away from the naos.
1303
itr.ty, "the Two Sanctuaries," written (O196). Gardiner, Horus the Behdetite, 27-28, connects itr.ty with
itr.w, "river channel," thus meaning a "line" or "row" of water. The itr.ty thus denote the two shrine rows on either
side of the Sed Festival court: the itr.t-Sma.t for Upper Egypt, itr.t-mH.t for Lower Egypt. The two itr.ty, or shrine
rows, thus designate Egypt as a whole. See also PL 123-124.
1304
CDME 290; PL 1102.
1305
Wb V, 601,5-7.
1306
Ax, with the polyvalent connotation of being shining, luminous, effective, magnificent. See Friedman, Root
Meaning Ax, 39-46.
1307
This statement alludes to the great antiquity of Hathor's cult center at Dendera.
1308
Wb V, 393,23-26: THn, "das Glnzen, der Glanz," as a characteristic and an epithet of the sun god. As a solar
goddess, Hathor is thus the feminine counterpart, THn.t. Cf. PL 1170.
1309
Wb V, 77,9-11; PL 1071: pr-m-qd, "to rejoice," "joy."

329
 Bandeau of the Frieze, West Side
D III, pls. 180; 190, IFAO

South Wall West Wall North Wall

Doc 27 Bandeau of the Frieze, W. Side: D III, 62,2-7

Translation Transliteration
SOUTH WALL SOUTH WALL
62,2 The Good1310 God lives, son of the Powerful 62,2 anx nTr nfr sA sxm-^ps.t Ssp-
Noble Lady,1311 the Living image1312 of Somtus, son of anx n %mA-&A.wy sA Ra nb xaw ( )|
Ra, Lord of crowns, ( )| beloved of 62,3 Isis the Great, mry 62,3 As.t wr.t mw.t nTr nb.t IA.t-
Mother of the god,1313 Lady of Iatdi who resides1314 in di Hry.t-ib Iwn.t arq.n=f
Iunet. He has finished

1310
nfr, "good," or "perfect," is written with the ideogram (E51), depicting a standing baboon, arms raised in
praise; in Ptolemaic Egyptian it holds the value, nfr. See Wb II, 253,1; Kurth, EP I, 218 n. 327.
1311
As an epithet, sxm-Sps can refer to a number of male deities at Dendera: Horus (D III, 176,3); Horus of
Heliopolis (D III, 183,1); Osiris (D III, 28,15); Ra-Horakhty (D III, 51,13); Thoth (D III, 20,1); sxm specifically
refer to the power of a god (Cauville, Dend Trad III, p. 600). In the plural, sxm.w Sps.w, refer to the ancestor gods (D
III, 84,13; 182,10). The feminine counterpart, %xm-^ps.t, is an epithet of Hathor (D III, 62,2; 98,8, 141,2).
1312
Wb IV, 533,6-7; PL 1028-1029. Ssp-anx is the image of the King as a recumbent sphinx, the image of the sun
god, holding an ankh in his paws. Wilson, PL 1029, notes that Ssp-anx can appear in parallel to the epithet, snn=Hr,
"image of Horus," in reference to the King. See also Hornung, Mensch als Bild, 142,
1313
The epithet, mw.t-nTr, "mother of the god," features honorific transposition of nTr, the falcon on
standard.
1314
Wb III 136-137; PL 663: Hry-ib, lit. in the middle," translated "resides in" or "sojourns in," refers to a deity
worshipped in a cult center of another deity. See Haring, Divine Households, 71 n. 3; Budde, Epithets, 3.

330
 WEST WALL WEST WALL
the Per-wer for the Female Sovereign in the Sanctuary pr-wr n ity(.t) m pr-rx.t n sn.nw=f
of the One (f.) who knows,1315 without its equal1316 in m Is.ty Ssp.w nw nTr.w sS.ti m-xnt=f
the Two Palaces.1317 The images of the gods are xt 62,4 r-mnx m-a nn HT m sA.wy
inscribed in it, carved 62,4 excellently1318 by the hand wHa.ti m ti.t nHr=s r Hr.t wab.t wbn
of Tenen,1319 plated in gold, decorated with pigments. It 62,5 Iwny.t m p.t m HA.t wiA m-sty-n
resembles the pure sky. Iunyt1320 62,5 shines in the sky s.t papa.tw=s aX=s m StA.t Sps.t
at the prow of the barque, in the sight of1321 the place mfk.t xaw snDm=s 62,6 Hr sSm=s
where she was born.1322 She flies as the noble
vulture,1323 turquoise of appearance. She alights 62,6
upon her image
NORTH WALL NORTH WALL
on the wall. She thanks the god for her city until the end Hr sA.wt dwA-nTr=s r niw.t=s r xnty
of time.1324 She is installed until the end of nHH-eternity. Aw smn=s r km nHH 62,7 swr=s ity
62,7 She makes the sovereign great on account of the Hr mnw ir.n=f xnty kA.w anx.w D.t
monument that he has made, Foremost One of the
Living (divine) Kas, for D.t-eternity.

1315
WB II, 446,6, attested in GR as a name for Hathor. Kockelmann, Toponymen, 78-79, notes that it can designate
the temple as well as the town of Dendera, attested by a text referring to the New Year's procession to the roof,
which states, sS=i Hr xndw r=tp Pr-rx.t, which Kockelmann translates as, "ich schreite ber die Treppe hinweg auf
das Haus-der-Wissenden" (D VII, 181,4). Wb II, 445,10, and Boylon, Thoth, 99, both note rx-sw as an epithet of
Thoth since the 19th Dynasty, meaning, "the One who knows himself" (PL 590). In the present context, with
reference to Isis, the epithet rx.t may allude to her great magical knowledge, and the fact that she was able to
discover the secret name of Ra in the myth. Hathor, as Seshat, carries the epithet, "Lady of the Library," in the
Ogdoad adoration scene on the Per-wer's outer entrance (D III, 49,9), which agrees well with this epithet.
1316
Wb IV, 149,13: lit. without its second.
1317
Wb I, 127,10; PL 113. , is.ty, "the Two Palaces," is a term for the whole of Egypt since GR. See also
Gauthier, DG I, 106.
1318
PL 434: r-mnx, adverb meaning "excellently."
1319
The name of &A-Tnn (Tatenen; Tenen) means "the risen earth," from the verb, Tni, "to raise up" (PL 1165-1166).
1320
Literally, "She of Iunet," an epithet of Isis (Cauville, Dend Trad III, p. 357); Wb I, 55,1, GR: "Hathor-Isis von
Dendera." Cauville, Inscriptions ddicatoires, 101 and 106 n. 17, notes that Iunyt, the name of Isis, is derived from
the name of the city and is a feminine form of Iuny, a form of Osiris at Edfu.
1321
Wb IV, 332,7-10; Dyn. 21; PL 956: m-sti-n is lit., "in the sight of"; it means "before," "in the presence of." See
Junker, GrD 226, p. 166.
1322
The word papa means shine as well as born; PL 346 notes that the shining of the sun is also its birth.
1323
StA.t is an epithet of Nekhbet, the vulture goddess of El Kab, as well as the nurse of divine offspring and the
protectress of Horus. Homonyms of StA.t include the one who is secret, womb, and female image, all of which
are appropriate epithets of Hathor-Isis. Wilson, PL 1037, notes that StA.t at Edfu is associated with El Kab, especially
when emphasizing it as an incense-producing area.
1324
Hn.ty (Wb III, 106,1-10) carries within it the idea of an infinite limit of time and space. PL 661 notes that the
road determinative in some spellings of Hn.ty implies something with two sides or boundariesmetaphorical for
past and future; there may be a semantic link with the word Hn.ty (horns), with the distance between the tips of the
horns symbolizing spatial and temporal spans. Note the parallelism between xnty Aw, "end of time," and km nHH,
"end of eternity (or cyclical time)," in D III, 62,6.

331
7.3 North Wall of the Per-wer

North Wall, Lintel

North Wall North Wall

Lintel Lintel
Doc 29 Doc 28
D III, D III,
58,11 59,5 57,15 58,8

D III, pl. 180, IFAO

Doc 29 North Wall, Lintel, W. Side Doc 28 North Wall, Lintel, E. Side

332
Doc 28 Lintel, East Side: D III, 57,15 58,8

Translation Transliteration
TITLE TITLE
57,15 Presenting the mnw-jar1325 to Hathor. 57,15 ms pA mnw n @.t-Hr
IHY IHY
58,1 Ihy the Great, son of Hathor. Playing the sistrum 58,1 IHy wr sA @.t-Hr ir(.t) sSS.t
for his mother. n mw.t=f
KING KING
58,2 King of Upper and Lower Egypt ( )|, son of Ra ( )| 58,2 nsw.t-bi.ty ( )| sA Ra ( )|
BEHIND HIM: 58,3 All protection, life, and dominion BEHIND HIM: 58,3 sA anx
are behind him, like Ra, for D.t-eternity. wAs nb HA=f mi Ra D.t
MERET OF THE SOUTH MERET OF THE SOUTH
58,4 Meret of the South,1326 Mistress of the Throat. 58,4 Mr.t Sma Hnw.t aSaS
ROYAL RANDZEILE ROYAL RANDZEILE
58,5 The King of Upper and Lower Egypt ( )| is upon 58,5 wnn nsw.t-bi.ty ( )| Hr
his throne, pacifying his mistress with beer,1327 for he is bkr=f Hr sHtp Hnw.t=f m Dsrw
like Ihy 58,6 who makes music for his mother, his sw mi IHy 58,6 ir iHy n mw.t=f
mother rejoices at seeing him. HntS mw.t=f n mAA=f
HATHOR HATHOR
58,7 Words to say by Hathor the Great, Lady of Iunet, 58,7 Dd mdw in @.t-Hr wr.t
nb(.t) Iwn.t

1325
As Wilson (PL 426, citing du Buisson, Nomes et signes, 7-9) observes that the mnw-jar is a container used for
wine, beer, fruit, and water, as well as for plaster and incense. Texts specify that the mnw-drink required preparation
with carefully measured ingredients. In a beer offering in Crypt West 3, the text states, Hnk H(n)q.t Dd mdw nfr.wy
nn, wnw r pA mnw SbSb atx r tp-Hsb bAH n kA=t r nw n mrr=t xntS ib=t ra nb, "Offering Beer. Words to say: How
good this is, the beer for the mnw-jar, brewed and filtered according to the exact calculation, overflowing for your ka
at the time you love, your heart rejoices every day" (D VI, 163,13-15). The polyptoton on the close homophones of
Hnk/H(n)q.t, emphasizes the offering of beer. The texts also stress that the contents of the mnw are sweet, as in an
offering of the mnw-jar to Hathor on the exterior of the Pronaos at Edfu: nfr.wy m x.t=f apr m imy.w x.t=f nb(.t)
bnr.wy bnrw=f nDm.wy mw=f Haw nb.w r tp-Hsb, "How lovely it is in its contents (x.t), supplied with all its
ingredients (wnDw), how sweet is its sweetness, how pleasant is its liquid, all its spices (xAw) are exactly calculated
(tp-Hsb) (E IV, 348,7-8). The polyptoton, here on the root bnr (bnr.wy/bnrw=f), emphasizes the drink's sweetness.
1326
Wb II, 107,2-6: Attested since the OK as one of two songstresses: Mr.t Sma (Meret of Upper Egypt) and Mr.t
mHw (Meret of Lower Egypt). Wilson, PL 445, notes that Meret presided over music and singing at rituals and
funerals; due to her association with Hathor, who restores order with her music, Meret became identified with Ma'at,
the goddess (and concept) of order and justice. Ma'at was also considered as the throat of the god through which he
obtains the sustenance of life (i.e. air and food), leading to the use of the word, mr.t, as the "throat" over which the
songstress Meret had authority. Wilson, PL 445, also notes that mr.t (singer), mr.t (throat), and mAa.t (Ma'at) may
have sounded the same, thus forming an effective pun, because "they seem to be interchangeable and are the more
powerful because one word incorporates the aspects of the other two." At Dendera, Hathor incorporates all three
concepts: singer, throat, and Ma'at. See G. Lefebvre, Tableau des parties du corps humain mentionnes par les
gyptiens, Cairo, Supp. ASAE 17 (1952): 22; Blackman and Fairman, Faade of Edfu, 420; Berlandini, Meret, 80-
88.
1327
A drink called Dsr.t in 4th Dynasty offering lists (Wb V, 616,7-13) was probably also a type of beer, according to
Helck, Bier im gypten, 18-19. Wilson, PL 1248, observes a possible confusion between Dsrw (a drink) and dSrw (a
vessel). As a ritual offering at Dendera, it is interesting that Dsrw (beer) is homophonic with Dsrw, "sacredness."

333
 Eye of Ra, Lady of Heaven, Mistress of all the gods, Ir.t-Ra nb(.t) p.t Hnw.t nTr.w
Lady of Drunkenness1328 (or, "beer"), Lady of Myrrh,1329 nb.w nb.t tx nb(.t) antyw nb(.t)
Lady of Music, the Mistress 58,8 who ties1330 the Hs.t Hnw.t 58,8 Ts mAH
headband.
DIVINE RANDZEILE DIVINE RANDZEILE
The Eye of Ra is in the Per-Wer sanctuary, bestowing wnn Ir.t-Ra m-xnt pr-wr Hr
music and love,1331 for she is the Lady of Drunkenness, rdi(.t) Hs.t mrw.t sy m nb(.t) tx
the Lady of Joy.1332 One repeats drunkenness for her nb(.t) Aw.t-<ib> wHm.tw nwH n
Incarnation. Hm.t=s

Doc 29 Lintel, West Side: D III, 58,11 59,5

Translation Transliteration
TITLE TITLE
58,11 Offering wine to his mother. 58,11 Hnk irp n mw.t=f
KING KING
58,12 King of Upper and Lower Egypt ( )|, son of 58,12 nsw.t-bi.ty ( )| sA Ra ( )|
Ra ( )| BEHIND HIM: 58,13 All protection, life, BEHIND HIM: 58,13 sA anx wAs nb
and dominion are behind him, like Ra, for D.t- HA=f mi Ra D.t
eternity.
MERET OF THE NORTH MERET OF THE NORTH
58,14 Meret of the North, Mistress of the Throat 58,14 Mr.t mHw Hnw.t Hty.t
ROYAL RANDZEILE ROYAL RANDZEILE
59,1 The King of Upper and Lower Egypt ( )| is 59,1 wnn nsw.t-bi.ty ( )| Hr ns.t=f Hr
upon his throne, gladdening the heart of his mistress, wnf ib n Hnw.t=f sw m nb Im.t %nw
for he is Lord of Imet1333 and Senu,1334 59,2 who 59,2 xb inw m tA.wy xAs.wt

1328
Wb V, 325,7-9; GR: tx can mean both "beer" and "drunkenness." Wilson (PL 1150) suggests that the ambiguity
is deliberate.
1329
Wb I, 206,7 207,3. The ideogram of the man turned backwards, (A31B), carries the value an, meaning,

"turn away," "go back." In Ptolemaic, with the addition of three grain signs, it writes antyw (myrrh). Myrrh is
the fragrant gum resin from the Commiphora tree, originating in Punt and the God's Land (i.e. Arabia, Somalia, and
Ethiopia). Interestingly, it can also be written with an eye: , as in D III, 72,17 (Doc 36), perhaps in reference to
the Eye of Horus, with which offerings in general are identified.
1330
Wb V, 396,12 399,3. The verb, Ts, "fix, tie on, attach," occurs in texts accompanying rituals of tying on wsx-
collars, wDA.t- and sAw-amulets, and mAH (also transliterated as mH) garlands; the act of tying thus has ritual
significance. Ts can also denote the "joining" of the bones of Osiris by Isis and Nephthys (E I, 221,15), thus adding
to its power by allusion to this act.
1331
Hs.t and mrw.t often appear as a pair (D III, 22,7; 131,14; 136,4), and in the compound ideogram: (W44).
They also appear together Demotic magical papyri, as noted to me by Prof. Jacco Dieleman, private conversation,
October 11, 2011.
1332
Wb I, 5,1: lit. "wideness of heart." Aw.t-ib (spelled with the three-grain determinative) is a LP homonym for
"myrrh," thus agreeing well with her epithet of "Lady of Myrrh" in D III, 57,7.
1333
Wb I, 78,12: im.t, name of the city of Buto in Lower Egypt; Wb I, 78, gives its nisbe, im.ty, as "the one of Buto"
(meaning "wine"), reflecting its renown as a wine-producing region. Other toponyms of the area include Tell

334
 collects1335 tribute in the Two Lands and the foreign
lands.
IHY IHY
59,3 Ihy the Great, son of Hathor.1336 59,3 IHy wr sA @.t-Hr
ISIS ISIS
59,4 Words to say by Isis the Great, Mother of the 59,4 Dd mdw in As.t wr.t mw.t-nTr
god, Lady of Iatdi, who resides in Iunet, Lady of nb.t IA.t-di Hr(y.t)-ib Iwn.t nb(.t) xb
dance, Mistress of Joy (lit. wideness of heart). Hnw.t Aw(.t)-ib
DIVINE RANDZEILE DIVINE RANDZEILE
59,5 Iunyt1337 is rejoicing1338 in her chapel,1339 59,5 wnn Iwny.t Haa{f}.t<i> m
making glad1340 her heart with its beauties, for she is HAy.t=s Hr sxntS ib=s m nfr.w=s sy m
the Mistress, the Lady of Gladness,1341 Lady of Hnw.t nb(.t) hy nb(.t) hnw nb(.t) xntS
Jubilation,1342 Lady of Joy every day. ra nb

Nabasha, Tell Bedawi, and Tell Far'un in the Delta, located SE of Tanis and NE of Qantir; site of the Ramesside
temple of Wadjet, a temple built by Amasis, and the remains of a Late Period cemetery, as well as a Graeco-Roman
town. See CDME 18, Baines and Malek, Cultural Atlas, 166-70; Gardiner, Onomastica II, 171; Cauville, Dend Trad
III, p. 124, who transliterates as Imty. Wilson, PL 65, notes that im.t is also the pupil of the eye; it can refer to the
pupil of the Divine Eye as well as the eye of Apep. Although the reference to Im.t in the present text may create a
connection with the udjat offering on the opposing wall (due to the homonym, im.t, "pupil" of the Eye), the word
im.t as "pupil" does not appear in D I-IV. However, there is word play (and a visual pun) on im.t, "child," in a scene
of "Striking the Ball" by the king in the Court of the New Year's Chapel (Chassinat's Chamber R; D IV, 193,12),
because the ball is equated with the eye of Apep. Wilson, PL 65-66, notes similar word play with the two meanings
of im.t, "the pupil of the eye or child is with you," in E IV, 137,3.
1334
Pelusium (Tell el-Farama), located NE of the Delta near the Mediterranean Sea in a wine production area.
Hannig -D, 1381; Baines and Malek, Cultural Atlas, 167.
1335
Use of (U104) crescent moon for xb (Wb I, 91,16: xb inw; III, 252,1-5; xbi, "collect (tribute)") is frequent in
GR. It is especially appropriate in the Per-wer due to the role of Thoth (who is associated with the moon and its
phases), who "assembles" the parts of the wDA.t-Eye. In the present context, it refers to the King's collection of
tribute, but perhaps it also subtly alludes to the King's role as Thoth, "collecting (the elements) of the Eye."
1336
Note the variation in writing "Hathor" in Ihy's epithet in the two symmetrical scenes. In Doc 28 (D III, 58,1), the
ideogram used is the seated goddess with horns and disk; in Doc 29 (D III, 59,3), the ideogram used is the rearing
cobra, thus alluding to her role as the uraeus. The variations in writing thus allude to two of her manifestations.
1337
Lit."She of Iunet," an epithet of Isis (Cauville, Dend Trad III, p. 357). Wb I, 55,1, GR: "Hathor-Isis von
Dendera." Cauville, Inscriptions ddicatoires, 101 and 106 n. 17, suggests that Iunet, the name of Isis, is derived
from the name of the city and is a feminine form of Iuny, a form of Osiris at Edfu.
1338
The erroneous should be replaced with , to form .ti to form the proper Ptolemaic stative ending of Haa.ti,
"being in a state of rejoicing."
1339
Wb III, 16,3-5: HAy.t is a room in a shrine, sanctuary, or temple. Its homonym, HAy.t (D III, 91,2) means
"luminous one." A close homophone is HAy.t, the designation for the roof kiosk at Dendera, where the Xnm itn (union
with the sun disk) ritual takes place on New Year's Day.
1340
Wb IV, 256,17 257,1: causative of xntS, "make glad, please," especially the heart of a god by means of an
offering.
1341
Wb II, 483,1-13; MK: hy means "gladness, joy"; nb.t hy (lady of joy) is a frequent epithet of Hathor at Dendera,
held by Isis in this wine offering scene. Wilson, PL 601, notes that at Edfu, the determinative used to write hy is a
man with hand to mouth, representing emotion, but at Dendera, it is a man dancing (as here, in D III, 59,5),
"suggesting a more active expression of joy."
1342
nb.t hnw, "Lady of Jubilation," is an epithet of Isis at Dendera (Cauville, Dend Trad III, p. 478). The

determinative is a man performing the hnw rite (A8), seen also in textual representations (D III, 91,8) of the

Souls of Pe (C21) and the Souls of Nekhen (C40).

335
 North Wall, 3rd Register

North Wall North Wall

3rd Register 3rd Register
West Side East Side
Doc 31 Doc 30
D III, D III,
83,12 -84,6 71,16 -72,8

D III, pl. 180, IFAO

Doc 31 North Wall, 3rd Register, W. Side Doc 30 North Wall, 3rd Register, E. Side

Doc 30 North Wall, 3rd Register, East Side: D III, 71,16 72,8

336
 Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
71,16 Greeting1343 with the nms.t-vessel.1344 Words to 71,16 nD-Hr m nms.t Dd mdw
say: Take for yourself 71,17 the libation vessel.1345 I m-n=t 71,17 Spsy abA=i n=t
offer1346 you the nms.t-vessel. You are satisfied with what nms.t Htp=T Hr pr(.t) m nwn
comes forth1347 from the Nun (primordial waters). 71,18 I 71,18 nD=i Hr=T m bs(.t) m sty
greet you with what emerges1348 from the leg (sty). Your xntS ib=T m wbn(.t) m war(.t)
heart rejoices with what appears1349 from the leg
(war.t).1350
HORUS HORUS
72,1 Horus as Ihy, he has equipped him(self)1351 with his 72,1 @r m IHy apr.n=f sw m
ornaments. Gold. Height: 1 cubit. Xkr.w=f nbw qA mH 1
72,2 The sxm-sistrum1352 is in my right hand, it has 72,2 sxm m wnmy=i sS.n=f
caused your anger to pass away.1353 The menit-necklace is nSn=T mni.t m iAb.t=i Hr dr
in my left hand, driving away your rage, Noble and dndn=T Sps.t wsr.t xnt H.t-sSS.t
Powerful Lady in the Temple of the Sistrum,1354 the itn.t wbn m nn.t wr.t 72,3 mrw.t

1343
Wb II, 372,8-23: inD-Hr, lit. "ask the face," used in the formula at the beginning of a festival speech. Wilson, PL
564, notes that the true form of nD is written with the prothetic i (inD); it appears as a formal greeting for gods and
the King, used from PT through GR. Alliot, Culte I, 109 n. 3, observes that the ritual can also be performed with
other vessels, e.g., the dSr.t, (W11A). Cf. PL 519-520.
1344
Greeting with the nms.t-vessel, attested since PT (1140), in which four nms.t-jars (for the four cardinal
directions) are used to purify the body and restore lost fluids of the deceased King. A ritual for temple gods is pXr HA
tp sp-fdw m ifd.t nms.t n.t mw, "going around four times with four nms.t-jars of water"(E III, 336,3-7). See PL 520.
1345
Spsy designates both a libation base and a container for relics of Osiris in the LP. Its choice as the libation vase
in the offering of primordial water in this scene is particularly appropriate, because the Nile's inundation is said to
come forth from the "leg of Osiris," a relic kept at Elephantine. See du Buisson, Noms et Signes, 118.
1346
Wilson, PL 145-146, notes that abA, written here as ab, does not introduce ritual offerings, but is rather an archaic
survival providing an alternate word for "to offer." See also Wb I, 177,2-3.
1347
pr(.t) is the feminine singular perfective active participle of the 3 rd weak verb, pri, "come forth."
1348
bs(.t) is the f. s. perfective active participle of the 3rd weak verb, bsi, "emerge."
1349
wbn(.t) is the f. s. perfective active participle of the tri-literal verb wbn, "appear," "rise," or "shine."
1350
The terms for the sacred leg of Osiris, sty and war.t, sometimes refer to the flood in Upper and Lower Egypt,
respectively. See Beinlich, Osirisreliquien, 210 and n. 29. The scribe who composed this text may thus be making a
subtle allusion to the flood in the Two Lands. The term, sty, puns with sTi, "pour out (water)," as well as the nome
that is the source of the inundation, tA-sti, "land of the bow" or "land of the sti-mineral." Interestingly, the scribe
does not exploit the possibility for puns on sti in this text.
1351
The correct dependent pronoun here is ambiguous, because the s-bolt can stand for either the f. s. or the m. s.
dependent pronoun. See Kurth, EP I, 52-53, p. 604. Cauville, Dend Trad III, p. 143, transliterates it as sy, meaning
that Horus Ihy has equipped her (=Hathor) with his ornaments. If the word is meant to be sw, then the sentence
would mean that Horus as Ihy has equipped himself with his ornaments, perhaps referring to the sistrum and menit
that he carries in his hands.
1352
Following Cauville (Dend Trad III, p. 1), I read sxm for the arched sistrum and sSS.t for the naos-sistrum, as was
the practice during the LP and GR. During the NK, the reading was the opposite. See Reynders, Sistrum, 1013-1026.
1353
The transitive use of the verb sS, "cause to pass away," is often used to describe anger driven away by the sound

of the sistrum (Wb III, 48,2; PL 921). Since the MK, the writing, , can also be used for the verb sni, "pass by;
cause to pass away," which interchanges with sS in the same formulas. See Wb III, 454. Note that Cauville, Dend
Trad III, p. 142, transliterates the verb in this passage as sn.
1354
The H.t-sSS.t, Temple of the Sistrum, is the rear SE chapel at Dendera (Chassinat's chamber I; D II, 1-43); the
name can also apply to the village where the Temple of Dendera is located, as noted by Cauville, Dend Trad III, p.
1.

337
 Atenet1355 who shines in the sky, Great One (f.) 72,3 of Hnw.t nTr.w nTr.wt mH p.t tA m
love, Mistress of gods and goddesses, who fills the sky nfr.w=s
and the land with her beauties.
KING KING
72,4 King of Upper and Lower Egypt ( )| son of Ra ( )| 72,4 nsw.t-bi.ty ( )| sA Ra ( )|
ROYAL RANDZEILE ROYAL RANDZEILE
I have come 72,5 before you, Female Ba1356 among the Dd mdw ii.n=i 72,5 xr=T bA.t r
(divine) Powers, Noble Lady in the Temple of sxm.w Sps.t xnt H.t-abw
Purification.1357 I bring you the HD.t-vessel filled with in=i n=t HD.t Hna.ti m Hapy r
Hapy (=inundation water) in order to refresh your heart sqbH ib=t m qbHw tw=t Nbw.t
with the libation water, for you1358 are the Golden One m-xnt pr-Nbw.t 72,6 in Hapy m
(f.) within the Sanctuary of the Golden One (f.), 72,6 Hnw.t=f
who brings Hapy in his canals.1359 BEHIND HIM: All BEHIND HIM: sA anx wAs nb
protection, life, and dominion are behind him like Ra, for HA=f mi Ra D.t
D.t-eternity.
HATHOR HATHOR
72,7 Hathor, Lady of Iunet. Gold. Height: 1 cubit. 72,7 @.t-Hr nb.t Iwn.t nbw qA
DIVINE RANDZEILE mH 1
72,8 Words to say: Welcome in peace, heir of Ra, Divine DIVINE RANDZEILE
Seed of Atum! I have received1360 your libation that came 72,8 Dd mdw ii.ti m Htp iwa n Ra
forth from the Nun. I purify my body [with] the water of mw nTry n Itmw Ssp.n=i qbHw=k
youth. I cause that the inundation comes1361 to you at its pr m nwn swab=i Haw=i [m]
season of the year,1362 at the beginning of the year, mw-rnp di=i ii n=k Hapy r tr=f
without end. n rnp.t tp-rnp.t n(n) Ab

1355
The itn.t is the female sun disk, the feminine counterpart of itn, "Aten," the sun disk.
1356
Hathor at Dendera is the female Ba, perhaps in parallel to Horus Behdety as the Ba of Ra (PL 306). Derchain,
Hathor Quadrifrons, 5 n. 13, suggests that it was confused with bA.t, a symbol of Hathor. See also Fischer, Bat, 7-23.
1357
The "Temple of Purification" is the Temple of Hathor at Dendera (Cauville, Dend Trad III, p. 520).
1358
Twt (tw=t) is the f.s. independent pronoun, whose form goes back to the PT of the OK, in which the 2 nd and 3rd
person singular independent pronouns were formed by adding the ending t to their dependent pronouns (GG 64).

notes that the later version is written twt. In Middle Egyptian, its use was restricted mainly to religious texts
(Wb. V, 360,5ff; Allen, Middle Egyptian, 5.5, p. 50). Note that Kurth, EP I, 63-64, uses the transliteration, Twt,
conforming to the OK spelling with the T-tether: .
1359
The writing of for Hn.wt, "canals" or "streams of water" is common at Dendera, according to Fairman, JEA
54 (1968): 236-8, esp. 237 n. 12. Wilson (PL 659) suggests choosing Hn.t as the translation, instead of Dr.t or Ssp.t,
when it alliterates better with other elements of the sentence, as in the present phrase: in Hapy m Hnw.t=f, "who
brings Hapy in his canals."
1360
Note that Ssp, "receive," is spelled with the same hand-sign used to spell Hnw.t, "canals," in D III, 72,6. Perhaps
the scribe was making a subtle allusion to the inundation water in the canals, which the goddess receives.
1361
ii is a grammatical subjunctive but is best translated without any uncertainty (e.g. "might come," or "may
come"), because it is a performative statement by a deity.
1362
The vulture sign (G14) is the phonogram for nr (GG, 469), perhaps due to the fear (nr.t) caused by the bird (PL
526). With the addition of a small disk, it can write nri, "year" (Fairman, Ptolemaic Signs, 107), thus leading to its
use for the synonym, rnp.t. Caminos, Late Egyptian Miscellanies, 380, citing Papyrus Lansing, 2.6, notes the Coptic
nei, "time"; he interprets nri in the sense of "return of the year." Context can help in deciding whether to read the
vulture and disk as nri or rnp.t, as complementary pairs (nri/rnp.t) in parallel phrasing, or in a polyptoton with

338
Doc 31 North Wall, 3rd Register, West Side: D III, 83,12 84,6

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
83,12 Offering the Udjat-Eye. Words to say: Take for 83,12 Hnk wDA.t Dd mdw m-
yourself the Udjat-Eye, 83,13 the (divine) Eye, n=t wDA.t 83,13 nTr.t nTr.ti r
purified1363 of pain, ennobled1364 by the work of the Ahw Sps.ti m kA.t n(.t) @sb-inw
Reckoner of tribute,1365 83,14 its white and its black 1366 83,14 HD=s km=s mn m s.t=sn
installed in their place, its pupil being intact without evil. DfD=s aD.ti n(n) Dw
IHY IHY
83,15 Ihy. Gold. Height: 1 cubit. I have played music 83,15 IHy nbw qA mH 1 iHy.n=i
before your beautiful face, Golden One (f.). 83,16 I make m Hr=T nfr Nbw.t 83,16 sfn(=i)
calm1367 your heart with praises.1368 I have pacified your Ka ib=T m sns(.w) sHtp.n=i kA=t
in the Sanctuary of the Noble Lady, the menit-necklace and m-xnt pr-Sps.t mni.t sSS.t m
the sSS.t-sistrum in my hands, for you are the Eye of Ra, a.wy=i tw=t [r]*=t Ir.t-Ra
83,17 Mistress of Goddesses, who adorns1369 the brow1370 83,17 Hnw.t nTr.wt mH dhn.t
of Ra with beauty. n(.t) Ra m nfrw
KING KING
84,1 King of Upper and Lower Egypt ( )|, son of Ra ( )|: 84,1 nsw.t-bi.ty ( )| sA Ra ( )|
ROYAL RANDZEILE ROYAL RANDZEILE
Words to say: I have come 84,2 before you, Lady of the Dd mdw ii.n=i 84,2 xr=T nb.t

variations on the root rnp, as in the present example. See Blackman and Fairman, Myth of Horus, 23-25, for more
discussion.

1363
The sign in line 83,13, (O124), serves as the determinative for nTr.t (divine Eye), as well as

the ideogram nTry in nTry.ti (stative of "divinzed, purified"). Wb II, 363,1 364,18, esp. 364,15-18: nTry can
serve as a transitive verb meaning, "be holy, divine," or "make holy" in the sense of purifying (from evil).
1364
The adjective-verb Sps, meaning, "provision, enrich," has the original nuance of "one who provides, according to
Wilson (PL 1002), who notes that in an epithet, it can imply either "one who provided with" goods, food, etc., or
"one who provides" such things. In the present context, the Reckoner of Tribute (=Thoth) provides the divine Eye
with all of its elements (its white and its pupil), so the stative, Sps.ti, could be read as either "provisioned" or
"ennobled."
1365
The Reckoner of Tribute, @sb-inw, is Thoth: Wb III, 167,16, Late, GR: "der die Abgaben zhlt," or, "who
distributes the offerings." See Cauville, Dend Trad III, p. 550. Wilson, PL 667, suggests, "the name of a god brought
by Hathor to reckon up the kingship."
1366
km=s, "its black," being the pupil of the divine Eye. Referring to the word im.t ("pupil of the eye"; Wb I, 75,23),
Wilson, PL 65, observes, "If the Eye of Re is Hathor, then the black dot in it is her child, Horus."
1367
Wb IV, 442,3-4, since MK. Wilson (PL 834) notes that sfn is analogous to sHtp, "make calm, pacify." It never
appears with determinatives of "joy" words, such as the lotus, with only (F63) to indicate emotion, suggesting
that it is more likely to mean "make happy" rather than "rejoice."
1368
Wb IV, 171,11-13; Dyn 18: praise, veneration, prayer, with reference to a god. Cauville, Dend Trad III, p. 109,
translates sns.w as "rituels" (D III, 49,2) and "prires" (D III, 49,10).
1369
Wb II, 3-4: mH, lit., "fill," means "to decorate, adorn" the brow with (m) the diadem."
1370
Wb V, 478,6; MK; often written without the t-loaf in GR. Cauville, Dend Trad III, p. 158, transliterates as dhn,
despite the t-loaf that appears in the text.

339
 Udjat-Eyes, the (divine) Eye of the pupil of the Udjat- wDA.ty nTr.t n.t DfD-n-wDA.t in=i
Eye.1371 I bring you the Effective-eye, effective in its n=t Ax.t Ax.ti m D.t=s Tn.ti m tp-
body,1372 distinguished1373 in all its ritual,1374 for you are rd=s nb tw=t wnmy(.t) n(.t)
the Right Eye of He who shines like gold,1375 84,3 the PsD-m-nbw 84,3 anx.t n.t Itmw
Living Eye of Atum.1376 BEHIND HIM: All protection, BEHIND HIM: sA anx wAs nb
life, and dominion are behind him, like Ra, for D.t-eternity. HA=f mi Ra D.t
HATHOR HATHOR
84,4 I give you your eyes (with the ability) to see D.t- 84,4 di=i n=k ir.ty=k(y) Hr
eternity.1377 Evil will not come1378 into their presence.1379 mAA D.t n ii Dw m-aqA=sn @.t-Hr
Hathor. Gold in 84,5 embossed work.1380 Height: 3 palms. nbw m 84,5 qmA qA Ssp 3
DIVINE RANDZEILE DIVINE RANDZEILE
Words to say: Welcome in peace, Image of Isden,1381 the Dd mdw ii.ti m Htp snn n Isdn
Living image of the heart of Ra!1382 I have received the Ssp-anx n ib-n-Ra Ssp.n=i wDA.t

1371
Wb V, 573,6 defines DfD-n-wDA.t as "Pupil of the Udjat-Eye," of the sun god, Horus, or of Hathor, as mother of
the "pupil of the wDA.t-eye." Wb V, 573,7, adds that at Dendera, it can designate an epithet of Ra. The nTr-sign
serving as a determinative at the end indicates the divine nature of the bearer. In the present context in the Royal
Randzeile, the king is addressing Hathor as nb.t wDA.ty nTr.t n.t DfD-n-wDA.t, "lady of the two Udjat-Eyes, the (divine)
Eye of the pupil of the Udjat," suggesting that the Pupil of the Udjat here is Ra, because Hathor is the (divine) Eye
of Ra. Emphasis on the entire phrase occurs through four repetitions of the udjat-sign (D10A): doubled
symmetrically as the ideogram for wDA.ty; used as the determinative in nTr.t; serving as the ideogram for wDA.t.
1372
Meeks, An Lex, 78.4852, suggests that m-D.t=f is an adverbial phrase meaning, totally, entirely.
1373
Wb V, 374,1 375,28; PL 1165. The stative, Tn.ti, from Tni, "to distinguish, raise up," is often written in
Ptolemaic Egyptian with the ideogram of the double ostrich feather crown on ram's horns. In the present text, the
description of the udjat offering as Tn.ti m tp-rd=s nb, "distinguished in all its ritual," makes a pun on the crown
worn by the king in the scene, which can be called Tni, since its feathers are raised up high on the head. The crown
itself also has associations with the Eye.
1374
Wb V, 288,2 289,23, esp. 3-5: ceremonial regulations for a god or temple, attested since MK. The expression,
tp-rd, lit. "upon the feet," or "head and feet" probably refers to the diligence of the priests entrusted with the ritual.
1375
Wb I, 557,3, GR: "der in Gold (golden) strahlt," an epithet of the sun god Ra. See Cauville, Dend Trad III, p.
440.
1376
Wb. I, 205,7; PL 161. Epithet of Hathor; synonym for the wDA.t-eye. The Eye of Atum is also mentioned in the
udjat-offering scene on the East Wall of the Southern Niche, in D III, 95,3.
1377
The pseudoverbal construction with Hr mAA functions as the object of the main clause ("I cause for you that your
eyes (are able) to see eternity"). See Kurth, EP II, 253, esp. (b), p. 951). Cf. Cauville, Dend Trad III, p. 159,
translates the phrase as "pour voir la perennit."
1378
Kurth, EP II, 788-790, notes that, just as in Middle Egyptian, the construction nn sDm=f (in Ptolemaic,
interchangeable with n sDm=f) often has future meaning (see GG 105; 457), leading to the translation, "evil will not
come into their presence." In the context of the present text, translating n sDm=f as future also makes more sense
than as a negated narrative past, n sDm=f (used in Middle Egyptian to negate the narrative sDm.n=f).
1379
Lit., "opposite them."
1380
PL 1057: qmA.ti, stative from qmA, "to beat out metal"; Wb V, 37,4-6: embossed, chassed work (in gold or
silver).
1381
Wb I, 134,9. Isdn is an epithet of Thoth since the end of the NK; originally an independent god, he became (like
Isdes) a manifestation of Thoth, attested from NK to GR, determining the lifetime of humans, judging, and giving
written and oral instructions. The King can be characterized as the descendent, heir, or "image" of Isden. See
Grieshammer, Isden, 184-185; Boylan, Thoth, 201; Bonnet, RRG, 326.
1382
Wb I, 59,16. The epithet, ib n Ra, "heart of Ra," belongs to Thoth, with whom the king is identified in this text.
Because Thoth is "lord of rituals," the text thus emphasizes the King's efficacy and legitimacy in carrying out the
rituals within the Per-wer. Boylan, Thoth, 60, suggests that Thoth and Ma'at within the barque of Ra represent the
methods of Ra's government: Ma'at denoting the fairness and justice of Ra's rule; Thoth, "its business-like and
efficient character."

340
 Udjat-Eye, healthy in its body, complete,1383 84,6 wDA.ti m D.t=s ip.ti 84,6 DbA.ti
provided with its parts. I give you your eyes (with the m iry.w=s di=i n=k ir.ty=k(y)
ability) to see nHH-eternity,1384 without clouds in your Hr mAA nHH n(n) igp m Hr=k
face.1385

1383
Wb I, 66,1-21, esp. 2: ip.ti (lit. "counted"), stative of ip, "to count, reckon," refers to the inventory of the Eye's
constituent parts, all of which the healthy Eye (wDA.t) possesses.
1384
See previous explanation for D III, 84,4 (n. 38). Parallel construction of lines 84,4 (Hr mAA D.t) and 84,6 (Hr mAA
nHH) include eternity in each of the dualities of Egyptian time: linear (D.t) and cyclical (nHH). Hathor's gift to the
King thus encompasses all of eternity. Harsomtus carries the epithet nb nHH (Lord of nHH-eternity) in D III, 79,13
(Doc 55), in 1st reg, w. side, S. Wall, Per-wer, in Ma'at offering); Osiris is characterized as nb nHH HqA D.t (Lord of
nHH-eternity, Ruler of D.t-eternity), in 3rd reg, 1st scene, S. Wall, Temple of the Sistrum (Chassinat's Chamber I), in
the H.t sxm (Chassinat's Chamber I), in anx-wAs-Dd offering.
1385
Rain clouds obscure the light of Horus Behdety, so they must be removed. See Ward, Overflow, 230. As the Sun
Eye, Hathor dr igp, "drives away the clouds" (PL 118).

341
 North Wall, 2nd Register

North Wall North Wall

2nd Register 2nd Register
West Side East Side
Doc 33 Doc 32
D III, D III,
80,4 80,10 68,11 69,2

D III, pl. 180, IFAO

North Wall, 2nd Register, W. Side North Wall, 2nd Register, E. Side

342
Doc 32 North Wall, 2nd Register, East Side: D III, 68,11 69,2

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
68,11 Adoring the god. Words to say: I have praised 68,11 dwA nTr Dd mdw dwA.n=i
68,12 your Ka to the height of heaven, I have kissed 68,12 kA=t r qA n{t} p.t sn(.n)=i
the ground1386 for you to (the extent of) the breadth of n=t tA r wsx n tA nD.n=i Hr=T
the earth, I have greeted you,1387 68,13 my mouth 68,13 rA=i Xr sns(.w) Hry-mk.t=i
possessing the prayers,1388 my heart1389 possessing the Xr tpy.w-rA 68,14 swAS=i Hm.t=t
utterances. 68,14 I praise1390 your Incarnation in Qab- m QAb-tA.wy Sps.t wsr.t xnt H.t-
tawy,1391 Noble and Powerful Lady in the Temple of the nmi.t
Bier.1392 .

1386
The expression, sn-tA (lit. "kiss the ground") , is written here with the calf-head determinative and
phonetic complements; it means "to prostrate oneself (before King or deity)." An example appears with the
ideogram, (A87A), in an "Adoring the God (dwA-nTr)" scene on the outer faade of the Per-wer (D III, 50,6,
Doc 13), where the Ogdoad are adoring Hathor; with the ideogram, (A92&Aa12), in the "Seeing the God
(mAA-nTr)" scene, as part of the daily temple ritual carried out by the King, in the 1 st reg, 3rd scene, E. Wall of the Per-
wer (D III, 66,10, Doc 48).
1387
Wb II, 372,8-10, "to greet someone," lit., "ask the face.' Although the GR spelling appears without the prothetic
i, the traditional spelling is inD-Hr. As Wilson (PL 564) observes, "The true form of nD is written with the prothetic i
and is a stereotyped formula used from the Pyramid to GR texts. It is a very formal greeting used on meeting gods
and the king." See also Griffiths, Meaning of nD and nD-Hr, 36-37; Caminos, Gruformeln, 915-917; Grapow,
Anredeten, grssten sprachen, 73 and 113ff. In offerings of "greeting vessels (nD-Hr.w)," it appears in puns at Edfu:
Greeting with the "greeting" vessels (nD-Hr=k m nD-Hr.w), E II, 231,16. Wilson, PL 564, suggests that it does not
appear in Demotic or Coptic due to its religious formality.
1388
Wb IV, 171,11-13; Dyn 18: praise, veneration, prayer, with reference to a god. Cauville, Dend Trad III, p. 109,
translates snsw as "rituels" (D III, 49,2) and "prires" (D III, 49,10).
1389
Wb II, 161,9. Wilson (PL 665) observes that the word's origin may lie in the phrase Hry-mkt, which is frequently
applied to the heart being "in the right place": "your heart rests in Hr-mk.t=f (its place)," noted by Wrezinski, ZS
45 (1908): 116. The word mk.t became a synonym for "heart," with the heart determinative then added to the
writing. As noted by Chassinat (D III, 68 n. 2), the heart in D III, 68,13 is actually placed under the extended wing

of the vulture, . This arrangement is an example of sign play, in which there is a visual representation of
meaning. Placement of the heart-sign under the wing visually emphasizes the protective stance of the vulture,
showing that the "right place" for the heart is in a place of protection.
1390
The 1st person singular suffix pronoun, =i, is placed before the determinative (A30).
1391
Wb V, 10,2: name of Dendera. Kockelmann, Toponymen, 197, cites , the writing in D VI, 168,7,
as a firm basis for its transliteration as qAb-tA.wy. The toponym is lit. "Insides of the Two Lands" Because qAb can
also be interpreted as "coils" (CDME 175, qAb.w, "coils of snake"; PT 1146), by designating Dendera as Qab-tawy
(i.e. "Coils of the Two Lands"), an allusion is made to Hathor in her manifestation as the uraeus serpent.
1392
Wb II, 266,2-5; LP, GR. The term, nmi.t, "bed, bier," is written with the lion-bier, which includes a lion head,
tail, and feet. Wilson (PL 517) suggests that the term, very common in Osirian texts at Dendera, derives from nm,
"to sleep," which can also mean the "sleep of death." The verb and later noun may originate from the earlier term,
mnm.t (Wb II, 80,13-14). The compound substantive, H.t-nmi.t (Temple of the Bier), designates the mammisi at

Dendera. Compare with pr-msy.t, (Sanctuary of the Bier), another name for "mammisi," in a
menit offering in the 4th register of the S. Wall of the Offering Hall (D VII, 92,1).

343
 KING KING
68,15 King of Upper and Lower Egypt ( )| son of Ra 68,15 nsw.t-bi.ty ( )| sA Ra ( )|
BEHIND HIM: 68,16 All protection, life, and BEHIND HIM: 68,16 sA anx wAs
dominion are behind him, like Ra, for D.t-eternity. nb HA=f mi Ra D.t ABOVE HIM,
ABOVE HIM, VULTURE OF NEKHBET: Nekhbet, VULTURE OF NEKHBET:
68,17 White One (f.) of Nekhen. Nxb.t 68,17 HD.t Nxn
HATHOR HATHOR
69,1 Words to say by Hathor, Lady of Iunet, Eye of Ra, 69,1 Dd mdw in @.t-Hr nb.t Iwn.t
Uraeus1393 of Ra in Iunet, the Female Creator1394 who Ir.t-Ra Hr.t-tp n Ra xnt Iwn.t SAa.t
was first to be born, 69,2 without another except for SAa papa 69,2 n(n) k.t Hr xw=s Sd
her,1395 who nourishes1396 her child with her white nn=s m HDw=s
milk.1397

1393
Wb III, 141,9-11: Dyn 18, GR. Often written with the cobra determinative, Hr.t-tp (uraeus) literally means, "she
who is upon the head," and is particularly associated with Hathor at Dendera.
1394
Wb IV, 409,3-4; GR. Derived from the verb sAa (be first, create), SAa.t is an epithet of Hathor, representing the
goddess as the first female creator deity. It appears among Hathor's epithets in the Per-wer: SAa.t STA.t irw (Primordial
Goddess, secret one of form (D III, 92,5); SAa.t SAa tA m xpr=s (Female Creator, who created the earth when she came
into being, D III, 95,3). See PL 988-999.
1395
Wb III, 216,3: Hr x.w, an epithet in the sense of being unique of its kind, usually of persons. PL 710: n ky xr
xw=f (There is no other except for him). This expression emphasizes Hathor's status as a unique being, which is also

alluded in her epithet, wa.t (unique uraeus) in D III, 82,9 (mnw-vase offering in 2nd reg, 1st scene of West
Wall, Per-Wer); for Isis in D III, 55,6 (montants of the west side of the Outer Faade of the Per-wer).
1396
Wb IV, 564,17 565,15; PT. Wilson, PL 1040, notes, "ideally, Sd is the action of a mother nourishing or
suckling her child, but it can be applied to other situations. Gods and goddesses provide nourishment, especially
Isis." The verb Sd appears in D III, 69,12 and 69,13 (milk-offering in 2nd reg, 1st scene, of E. Wall of Per-wer); D III,
73,12 ( incense-offering in 3rd reg., E. Wall of Per-wer). Hathor's act of nourishing her divine child alludes to her
nourishment of the land.
1397
Wb III, 212,12; GR. The substantive, HDw (white milk), derives from HD (white), due to its color. Frequently
used in milk offering scenes at Dendera, Edfu, and Philae, especially in the mammisi, where it is offered to the
divine child as a "life giving or renewing substance" (Wilson, PL 696). See also Helck, Bier, 18.

344
Doc 33 North Wall, 2nd Register, West Side: D III, 80,4-10

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
80,4 Adoring the god. Words to say: Greetings to 80,4 dwA nTr Dd mdw nD Hr=t
you,1398 80,5 Noble Lady, my Mistress, whose divine 80,5 Sps.t Hnw.t=i wr(.t) bA.w r
power is greater than (that of) all the gods,1399 you are nTr.w nb.w Dd.tw [n]=T Nbw.t
called the Golden One (f.), Lady of Iunet, 80,6 Lady of nb(.t) Iwn.t 80,6 nb(.t) mk.t Hr
Protection, protecting the one who created1400 her. mk(.t) qmA s(y)
KING KING
80,7 King of Upper and Lower Egypt ( )|, son of Ra ( )| 80,7 nsw.t-bi.ty ( )| sA Ra ( )|
BEHIND HIM: 80,8 All protection, life, stability, and BEHIND HIM: 80,8 sA anx Dd
dominion are behind him, like Ra, for D.t-eternity. wAs HA=f mi Ra d.t ABOVE
ABOVE HIM, FALCON OF HORUS: Behdety, the HIM, FALCON OF HORUS:
Great God, Lord of Heaven, the Dappled One of BHd.ty nTr aA nb p.t sAb Sw.t
plumage.
HATHOR HATHOR
80,9 Words to say by Hathor the Great, Lady of Iunet, 80,9 Dd mdw in @.t-Hr wr.t nb(.t)
Eye of Ra, She who is Highest1401 of the Great Seat,1402 Iwn.t Ir.t-Ra Hry(.t) s.t wr.t nb(.t)
Lady of Heaven, Mistress of all the gods, the First p.t Hnw.t nTr.w nb.w sA.t tp(y.t)
daughter 80,10 of her father Ra, who hears the 80,10 n(.t) it=s Ra ndb nis n Hr-nb
prayers1403 of everyone.1404

1398
Wb II, 372,8-10, "to greet someone," lit., "ask the face.' Although the GR spelling appears without the prothetic
i, the traditional spelling is inD-Hr. As Wilson (PL 564) observes, "The true form of nD is written with the prothetic i
and is a stereotyped formula used from the Pyramid to GR texts. It is a very formal greeting used on meeting gods
and the king." See also Griffiths, Meaning of nD and nD-Hr, 36-37; Caminos, Gruformeln, 915-917; Grapow, Wie
sie sprachen, 73 and 113ff. In offerings of "greeting vessels (nD-Hr.w)," it appears in puns at Edfu: Greeting with the
"greeting" vessels (nD-Hr=k m nD-Hr.w), E II, 231,16. Wilson, PL 564, suggests that it does not appear in Demotic or
Coptic due to its religious formality.
1399
Lit., "great one (f.) of power with respect to all the gods."
1400
qmA, masc. sing. perfective active participle, "the one who created her," is written with (G81), the ideogram

for qmA, and determined with (C2B), the sign of the sun god Ra, thus clearly indicating the god who created
Hathor.
1401
Lit., "the highest"; can be translated as "Female Chief."
1402
Gabolde, Linteau tentyrite, 199-200 and n. 24, observes that the epithet, Hry s.t wr.t, generally denotes that the
divinity is in a sanctuary personally consecrated to him, but its meaning can extend to any place where a divine
statue can receive a cult. Frequently, the term, s.t wr.t, applies to chapels for divinities who are not in their main cult
center, e.g. Amun at Speos Artmidos, which is dedicated primarily to the goddess Pakhet.
1403
Wb II, 205,1-4, the infinitive nis (invoke, call, summon), used here as a substantive (invocation, call, summons).
It appears in phrases like sDm nis (hear a calling); xrw nis n wAH-ix.t (the sound of the invocation of the offering
ritual). Compare with sns(.w), "praise, veneration, prayers, with reference to a god" (Wb IV, 171,11-13), appearing
in Docs 31 and 32, in the 3rd and 2nd registers, respectively.
1404
Lit., "every face." This scene faces the south wall at the level of the sistrum image of Hathor on the outer rear
wall, which served as a focus of popular peity. In the 1 st floor Crypt South 2, Chamber B, a similar text on the west
side of the south wall states that Hathor sDm spr.w nw HHw, "hears the supplications of the multitude" (D VI, 33,11).
In contrast, this scene in the crypt stands directly behind the level of the supplicants who would have stood under the
sistrum image on the rear wall. Imagining the transparency of the walls, the two inscriptions are thus at the level of
Hathor's sistrum image, and at the same level of those praying below that image.

345
 North Wall, 1st Register

North Wall North Wall

1st Register 1st Register
West Side East Side
Doc 35 Doc 34
D III, D III,
75,15 76,2 63,14-18

D III, pl. 180, IFAO

North Wall, 1st Register, W. Side North Wall, 1st Register, E. Side

346
Doc 34 North Wall, 1st Register, East Side: D III, 63,14-18

Translation Transliteration
KING KING
63,14 King of Upper and Lower Egypt ( )|, son of 63,14 nsw.t-bi.ty ( )| sA Ra ( )|
Ra ( )| BEHIND HIM: Protection BEHIND HIM: sA
NEKHBET NEKHBET
63,15 Words to say by Nekhbet, White One (f.) of 63,15 Dd mdw in Nxb.t HD.t Nxn Hr.t-
Nekhen,1405 the Uraeus of all the gods. 63,16 Come tp n nTr.w nb.w 63,16 mi m Htp aq=k
in peace! You enter the Temple of the Sistrum.1406 H.t sSS.t
HATHOR HATHOR
63,17 Words to say by Hathor the Great, Lady of 63,17 Dd mdw in @.t-Hr wr.t nb.t Iwn.t
Iunet, Eye of Ra, Lady of Heaven, Mistress of all the Ir.t-Ra nb(.t) p.t Hnw.t nTr.w nb.w ii.ti
gods. Welcome! Welcome, my beloved son! My sp sn.nw sA=i mry=i Haa 63,18 ib=i n
heart 63,18 rejoices in seeing you. mAA=k

Doc 35 North Wall, 1st Register, West Side: D III, 75,15 76,2

Translation Transliteration
KING KING
75,15 King of Upper and Lower Egypt ( )|, son of 75,15 nsw.t-bi.ty ( )| sA Ra ( )|
Ra ( )| BEHIND HIM: Protection BEHIND HIM: sA
WADJET WADJET
75,16 Wadjet, Lady of Pe and Dep.1407 Come in 75,16 WADy.t nb(.t) P _p mi m Htp
peace! You enter the Per-Wer. aq=k r pr-wr
ISIS ISIS
76,1 Words to say by Isis the Great, Mother of the 76,1 Dd mdw in As.t wr.t mw.t-nTr
God, Lady of Iatdi1408 who resides in Iunet. 76,2 nb(.t) IA.t-di Hry(.t)-ib Iwn.t 76,2 ii.ti
Welcome! Welcome, young man of my Incarnation! sp sn.nw Hwn n Hm(.t)=i THn Hr=i n
My face brightens in seeing you. mAA=k

1405
HD.t Nxn, "White One (f.) of Nekhen (Hierakonpolis)," a frequent epithet of Nekhbet, plays on its homonym
meaning "White Crown," which Nekhbet represents as tutelary goddess of Upper Egypt. See Leitz, LGG V, 606-
608.
1406
H.t sSS.t is here an alternate name for the Per-wer Sanctuary. Depending on the context, it can also designate the
Rear SE Chapel (Chassinat's Chamber I; D III, 9,1; 97; 10,4), or the main Temple of Hathor at Dendera (D III, 1,15;
29,6; 64,6; 177,1).
1407
Wadjet is traditional the local cobra goddess of the ancestral towns of Lower Egypt, Pe and Dep (Buto). As a
reflection of this association, one of her epithets since the 18th Dynasty is _p.t, "She of Dep" (PL 1193; Wb V,
443,2-4). At Dendera, Hathor takes over this epithet in her role as the Lower Egyptian cobra (vis--vis Nekhbet, the
Upper Egyptian vulture): D III, 38,10; D V, 113,1.
1408
IA.t-di means literally, "the mound of birth," which is the birthplace of Isis-Sothis. At Dendera, it is equated with
the small temple located in the (geographic) southwest corner of the temple enclosure. See Leitz, Nacht des Kindes,
138.

347
7.4 East and West Walls of the Per-wer

East and West Walls, 3rd Register

D III, pls. 180; 190, IFAO

East Wall
3rd Register
Doc 36
D III,
72,11 73,13

West Wall
3rd Register
Doc 37
D III,
84,9 85,9

348
Doc 36 East Wall, 3rd Register: D III, 72,11 73,13

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
72,11 Doing the censing. Words to say: the incense 72,11 ir(.t) snTr Dd mdw ii 72,12
comes, 72,12 it censes your (f.s.) body. The incense, it snTr snTr=f Haw=T pD pD.n=f
has censed your ancestors. 72,13 The beautiful incense is tpy.w-a=T 72,13 Xms nfr r
for your (pl.) nostrils, your (pl.) nose breathes in 72,14 its Xnm.ty=tn nSp fnD=tn m 72,14
perfume. Take for yourselves1409 the Eye of Horus,1410 its sTy=f m-n=tn Ir.t-@r ii sTy=s
perfume comes to you (pl.). r=tn
KING KING
72,15 The King of Upper and Lower Egypt ( )|, son of Ra 72,15 nsw.t-bi.ty ( )| sA Ra ( )|
( )|, the Censer-bearer,1411 72,16 who does the censing for mr s.t-xnt 72,16 ir snTr n
his mother. mw.t=f
ROYAL RANDZEILE ROYAL RANDZEILE
Words to say: I have come before you (pl.), (divine) Dd mdw ii.n=i xr=tn sxm.w m
Powers in Iunet, Noble (divine) Kas,1412 Lords of the Iwn.t kA.w Sps.w nb(.w) tA-nTr
God's Land.1413 I bring to you 72,17 incense1414 in order to in=i n=tn 72,17 sHtp r sHtp
pacify your (pl.) heart, incense in order to cense your ib=tn snTr r snTr s.t=tn tw=t
place(s), for you (pl.)1415 are the Ennead1416 of the Land of PsD.t m tA n Itm Sms ib=sn m
Atum,1417 who follow their heart(s) in the Valley of in(.t) antyw BEHIND HIM:

1409
In Middle Egyptian, religious texts make use of the imperative m, "Take," followed by the dative, e.g.
n=k, "for yourself." Allen, Middle Egyptian, 16.3 notes that the imperative and following dative were apparently
pronounced as one word, so that they were usually written together with the bi-literal sign (S42\r1). I follow
Allen's suggested transliteration, m-n=k .
1410
Writing of , "Horus," with the eye (D4) and road-with-bushes sign (N31F) alludes to the "distance" of the
Distant Goddess, because Hri, "be far away, distant" (Wb III, 145,1-19, esp. 1), is written with variations of this sign

as its ideogram, e.g. (N31) or (N31F).

1411
mr (from Middle Egyptian imy-rA) s.t-xnt (lit., "overseer of the foremost place") is a designation for censer-
bearer (Cauville, Dend Trad III, p. 577).
1412
sxm.w, "(divine) powers" and kA.w Sps.w, "noble (divine) Kas," are designations for ancestor gods. See
discussion in 5.2.6.
1413
tA-nTr, "God's Land," is a reference to Punt, and thus alludes to the Myth of the Distant Goddess.
1414
For an arm-shaped censer found in the temple of Shoshenq at el-Hiba and now in the Egyptological Institute in
Heidelberg (Inv. No. 2419), see Beinlich, Rucherarm, 15-31.
1415
tw=t can be singular or plural, but the other plural pronouns in this passage suggest a plural reading here.
1416
Preys, Hathor Protection, 353, defines the Ennead of Hathor at Dendera as the following (listed on the north
montant of the Staircase Chamber, D VI, 140,2-6): Hathor the Great, Lady of Iunet; Horus of Edfu, the Great God,
Lord of Heaven; Hathor, Lady of Iunet, Uraeus of Ra; Harsomtus, the Great God who resides in Iunet; Ihy the Great,
son of Hathor; Harsomtus the Child, son of Hathor; Hathor, Lady of Iunet, Eye of Ra, Chief of the Great Seat;
Hathor, Lady of Iunet, the Menit; Harsomtus, the Great God, Lord of Khadi; Osiris-Wennefer, justified, the Great
God who resides at Iunet; Isis the Great, Mother of the God.
1417
tA n Itm, "Land of Atum," refers to Denderaboth the temple enclosure and the main temple within it. The
association of Hathor of Dendera (Iwn.t) with Atum of Heliopolis (Iwnw) goes back to the OK, in which Pepi I
places both deities together as his forefathers. See Fischer, Dendera, 32; Kochelmann, Toponymen, 174-175.

349
 Myrrh.1418 BEHIND HIM: 72,18 All protection, life, and 72,18 sA anx wAs nb HA=f mi Ra
dominion are behind him, like Ra, for D.t-eternity. D.t
HATHOR HATHOR
73,1 I give you the Upper Egyptian crown,1419 fast1420 on 73,1 di=i n=k wrr.t mn.ti m
your head, placing the dread of you against your enemies. tp=k Hr rdi.t nrw=k r xfty.w=k
73,2 Hathor. Height: 1 cubit, 1 finger. 73,2 @.t-Hr qA mH 1 Dba 1
HORUS OF EDFU HORUS OF EDFU
73,3 Words to say by Horus Behdety,1421 the Great God, 73,3 Dd mdw in @r BHd.ty nTr aA
Lord of Heaven, the Dappled One of Plumage, who goes nb p.t sAb Sw.t pr m Ax.t Bik nTry
forth from the horizon, the Divine Falcon,1422 Chief of Hry-tp 73,4 Pwn.t Sms ib=f m
73,4 Punt, who follows his heart1423 in the Valley of in.t an.tyw wa wa.w iw.ty
Myrrh, the one and only,1424 he who does not have his sn.nw=f xpr <xpr.t>* nb.t im=f
equal,1425 all that comes into being, comes into being in
him.
NEKHBET NEKHBET
73,5 Words to say by Nekhbet, the White One (f.) of 73,5 Dd mdw in Nxb.t HD.t Nxn
Nekhen, Outstretched of Arm,1426 Lady of Fag,1427 Uraeus Aw(.t)-a nb.t Fag mHny.t m tp n
on the head of all 73,6 the gods, Noble Lady in the nTr.w 73,6 nb.w Sps.t xnt pr-
Sanctuary of the Noble Lady, who fills the palace with Sps.t mH aH m nfr.w=s
her beauties.1428
STATUE OF PEPI I, ABOVE IMAGE OF IHY STATUE OF PEPI I, ABOVE
73,7 Gold IMAGE OF IHY
73,7 nbw

1418
The writing of antyw, "myrrh," with an eye ( , although note that here the eye is erroneously written upside-
down) alludes to the offering of the Eye of Horus, as well as to a frequent epithet of Hathor, an.t, "beautiful one,"
written with the painted eye: (D138). Junker, Onurislegende, 78, suggests that in.t antyw, "Valley of Myrrh," is
a poetic name for Punt.
1419
Wb I, 333,11-12; PT; PL 244: As the geminating form of wr.t, meaning literally, "der gre werdende," thus
implying the domination of Upper over Lower Egypt when designating the white crown of Upper Egypt. Since the
19th Dynasty, wrr.t can also designate the double crown. Abubakr, Kronen, 30-31; 53.
1420
mn.ti, stative of mn, "to remain, be firm," so the crown is "fast" on the King's head. Wb II, 60,2 62,26; PL 422.
1421
BHd.ty, lit., "The One from Behdet." Gardiner, Horus the Behdetite, 59-60, suggests that in the Predynastic
Period, this epithet originally belonged to a falcon god worshipped in a northernmost Egyptian town or village,
whose people conquered Upper Egypt, where Seth of Ombos was worshipped; Behdet was later incorporated into
the epithet of the national god Horus to stress his northern origin and provide a counterpart to the Ombite, Seth.
1422
The bowl of burning incense (R7), employed as the phonogram, b, in Bik, "Falcon," alludes to the
censing by the King in this scene, as noted to me by Emily Cole, private conversation, November 14, 2011.
1423
I.e. "is content."
1424
wa wa.w, lit., "the unique one of the unique ones."
1425
Lit., "he who (there is) not his second," with iw.ty being the masculine singular relative adjective, meaning
"(there is) not." See Allen, Middle Egyptian, 12.9.
1426
I.e. "generous." The expression Aw.t-ib can also mean myrrh (Wb I, 5,1; LP), as suggested by Emily Cole,
private conversation, November 14, 2011.
1427
Wb I, 576,7: fag; Hannig, A-D, 1341: fagt (Faget), cult center of Nekhbet in or near El-Kab. Note that Hannig
adds the feminine t-loaf to the transliteration. The literal meaning of fag is "fingernail, claw"; the name therefore
means, "City of the Claw."
1428
nfrw=s can also be translated as "her perfection."

350
 KING KING
73,8 (Pepi)|. Gold. Height: 1 cubit. 73,8 (P(p)y)| nbw qA mh 1
HATHOR HATHOR
73,9 I cause for you that the (cool) palace1429 is enduring, 73,9 Di=i n=k mnqb mn Xr
possessing your beauties, everyone is rejoicing1430 for you. nfr.w=k Hr-nb nhm n=k @.t-Hr
Hathor, Lady of the Per-wer, 73,10 height: 4 cubits. Gold. nb.t pr-wr 73,10 qA mH 4 nbw
NAOS NAOS
73,11 Height: 2 cubits, 2 palms, 2 fingers; Width: 2 73,11 qA mH 2 Ssp 2 Dba 2 wsx
cubits, 2 palms, 2 fingers mH 2 Ssp 2 Dba 2
DIVINE RANDZEILE DIVINE RANDZEILE
73,12 Words to say: Welcome in peace, son of She who 73,12 Dd mdw ii.ti m Htp sA
binds together the bows,1431 whom the Vulture in dmA(.t)-pD(.wt) Sd.n SA.t m Nxn
Nekhen1432 has nourished. We receive the incense in order Ssp=n snTr r snTr snn=n 73,13
to cense 73,13 our statues. Our body rejoices with the xntS Haw=n m mnwr di=n n=k
incense. We give you Byblos,1433 possessing what is in it, Kbny Xr imy(.t)=f &A-nTr Xr
and the Land of God,1434 possessing what comes forth pr(.t) im=f
from it.

1429
Wb II, 90,15-21. The word can carry various meanings, including a cool room in a house for sleeping, a type of
chapel in a temple, the entire temple, or the royal palace. The last definition fits the present context.
1430
nhm is a stative; "every face (i.e. everyone) is (in a state of) rejoicing."
1431
The reference to "binding together the bows" refers to the Nine Bows, the traditional enemies of Egypt, united
under the King's rule. This epithet, which primarily refer to Nekhbet, appears as early as the temple of Sahure. See

Borchardt, Sahure II, 84; PL 1195. The sign, (Aa52), originally carrying the value tmA, becomes dmA by phonetic
change in Nekhbet's epithet, dmA(.t)-pD.wt, "She who binds together the bows." See Fairman, Ptolemaic Signs, 111.
1432
The "Vulture in Nekhen" is Nekhbet in Hierakonpolis.
1433
Wb V, 118,2; Hannig -D, 1395: Kpny, is Keben or Gubla (=Byblos); Hebrew: . Egyptian trade
with Byblos goes back to the 2nd Dynasty; since the MK, Hathor carried the epithet, "Lady of Byblos," where she
was worshipped as a Hathor of foreign areas, such as the Sinai or Punt, probably due to the influence of Egyptian
settlers. Since the Roman general Pompey added Syria and Phoenicia to the Roman Empire in 64 BCE, any
reference to Hathor "giving Byblos" to the King in Dendera's texts must be due to her religious influence in the area,
rather than reflecting the political reality. See Helck, Byblos, 889-891.
1434
The "Land of God" refers to Punt, a "cultural geographical place" (where the Sun Eye travels and where incense
and exotic products originate), rather than an actual place, as suggested to me by Prof. Jacco Dieleman, private
conversation, November 14, 2011.

351
Doc 37 West Wall, 3rd Register: D III, 84,9 85,9

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
84,9 Doing the funerary offering. Words to say: 84,9 ir(.t) Htp-di-nsw.t Dd mdw
84,10 The funerary offering, I have placed1435 (it) for 84,10 Htp-di-nsw.t wd.n=i n
your (pl.) Ka with all good and pure things.1436 kA=tn m bw-nfr nb twr xAw 84,11
Thousands1437 (of them) 84,11 are before you (pl.) of all xr=tn m x.t nb(.t) nfr(.t) wab(.t)
things good, pure, pleasant, and sweet. nDm(.t) bnr(.t)
KING KING
84,12 King of Upper and Lower Egypt ( )| son of Ra ( )| 84,12 nsw.t-bi.ty ( )| sA Ra ( )|
Living Image, Hereditary prince 84,13 of the gods,1438 Ssp-anx r-pa.t 84,13 nTr.w iwa n
heir of the Great Ennead.1439 PsD.t aA.t
ROYAL RANDZEILE ROYAL RANDZEILE
Words to say: I have come before you (pl.), (divine) Kas, Dd mdw ii.n=i xr=tn kA.w nb(.w)
Lords of Provisions, Noble (divine) Powers, Lords of kAw sxm.w Sps.w nb.w Sps(.w)
exotic provisions.1440 I bring you (pl.) 84,14 thousands in=i n=tn 84,14 xA.w m t iwf
of bread, meat, and beer in order to supply your place of H(n)q.t r sDfA s.t=tn m DfAw tw=t
provisions, for you (pl.) are the Ennead1441 of the Land of PsD.t n(.t) tA n Itm wd anx n
Atum,1442 who give life to the living. BEHIND HIM: All anx.w BEHIND HIM: sA

1435
Wb I, 385,1: The verb wd, "to place," used in the PT, but after the OK is only attested in religious texts.
Synonymous with rdi (give).
1436
Note that the straight leg, (D58), has the phonetic value bw. Cauville, Dend Trad III, p. 159, translates, "tous
bons pains frais" (all good, fresh breads).
1437
Wb III, 221,8-10. Note that xAw is a true pun, because it not only means "thousands" but also "incense." The
powdered dry "leaves" (xAw) from the incense trees of Punt were used in manufacturing the fragrant incense. See
Raymond, Medical Book, 169, and 272, no.116, cited by Wilson, PL 702.
1438
Wb II, 416,5: r-pa.t nTrw, "hereditary prince of the gods," is a title of the earth god Geb. This epithet agrees well
with the "crown of Geb" worn by the king, denoting his responsibility for products of the earth, such as the bread,
meat, and beer that he presents in this funerary offering. The king also carries this epithet in the 1 st and 2nd scenes of
the 1st register of the West Wall of the Per-wer (Docs 45 and 47).
1439
The Great Ennead of Heliopolis, attested already in the early OK (Urk I, 153) but probably already existing
earlier (Bonnet, RRG, 521), consists of a "family tree" of nine gods, with creator god Atum at its apex. He exhales
Shu (wind) and sneezes out Tefnut (moisture), who then (by sexual reproduction) produces Nut (heaven) and Geb
(earth), who in turn produce the siblings Osiris, Isis, Seth, and Nephthys. Horus, the son of Isis and Osiris inherits
the kingship from his father; the king, as the "living Horus" is thus the heir of the PsD.t aA.t, "the Great Ennead."
1440
Wb IV, 453,1-8: also the produce of foreign lands, exotic things. It can also be transliterated as Spssw, with the
double s-bolt sometimes written out. See PL 1002; E II, 48,9.
1441
Preys, Hathor Protection, 353, defines the Ennead of Hathor at Dendera as the following (listed on the north
montant of the Staircase Chamber, D VI, 140,2-6): Hathor the Great, Lady of Iunet; Horus of Edfu, the Great God,
Lord of Heaven; Hathor, Lady of Iunet, Uraeus of Ra; Harsomtus, the Great God who resides in Iunet; Ihy the Great,
son of Hathor; Harsomtus the Child, son of Hathor; Hathor, Lady of Iunet, Eye of Ra, Chief of the Great Seat;
Hathor, Lady of Iunet, the Menit; Harsomtus, the Great God, Lord of Khadi; Osiris-Wennefer, justified, the Great
God who resides at Iunet; Isis the Great, Mother of the God. Cf. Cauville's "pantheon of Dendera," in n. 794.
1442
tA n Itm, "Land of Atum," refers to Denderaboth the temple enclosure and the main temple within it. The
association of Hathor of Dendera (Iwn.t) with Atum of Heliopolis (Iwnw) goes back to the OK, in which Pepi I
places both deities together as his forefathers. See Fischer, Dendera, 32; Kochelmann, Toponymen, 174-175. At
Dendera, Hathor is Itm.t sA.t Itm, "Temet, daughter of Atum" (D III, 101,15), wDA.t n.t Itm, "the Udjat-Eye of Atum"
(D III, 97,16), and anx.t n.t Itm, "the Living Eye of Atum" (D III, 84,3; 95,3).

352
 protection 84,15 life, dominion are behind him, like Ra, 84,15 anx wAs nb HA=f mi Ra D.t
for D.t-eternity.
ISIS ISIS
84,16 I give to <you> the field producing for you 84,16 di=i n=<k>Ax.t Hr ms.t
its products, the storehouse flooded with good things. n=k x.t=s Sna baH m nfr.w As.t
Isis. Beautiful gold, 84,17 height: 1 cubit. Her isheru-lake nbw 84,17 nfr qA mH 1 iSrw=s m
is all around her. qd=s nb
HARSOMTUS HARSOMTUS
85,1 Words to say by Harsomtus, Lord of Khadi,1443 85,1 Dd mdw in @r-smA-tA.wy nb
the Great God who resides1444 in Iunet, Divine Falcon on #Adi nTr aA Hry-ib Iwn.t bik nTry
the serekh, 85,2 Ka-spirit,1445 Lord of Provisions who Hry srx 85,2 KA nb kA.w rdi ix.t n
gives offerings to the (divine) Powers, who distributes sxm.w sSm anx n anx.w
life to the living.
MUT MUT
85,3 Words to say by Mut the Great, Lady of the Isheru- 85,3 Dd mdw in Mw.t wr.t nb(.t)
lake, Eye of Ra, Lady of Heaven, Mistress of all the gods, iSrw Ir.t-Ra nb.t p.t Hnw.t nTr.w
85,4 Noble and Powerful Lady in the Sanctuary of the nb.w 85,4 Sps.t wsr.t xnt pr-Sps.t
Noble Lady, who floods1446 the sanctuary of the Golden baH pr-Nbw.t m THHw.t
One with joy.1447 STATUE OF PEPI I, ABOVE
STATUE OF PEPI I, ABOVE IMAGE OF IHY IMAGE OF IHY
85,5 Gold 85,5 nbw
KING KING
85,6 (Pepy)|. Gold, height: 1 cubit 85,6 (P<p>y)| nbw qA mH 1
HATHOR HATHOR
85,7 I place your awe-inspired terror1448 in the hearts of 85,7 di=i Sfy.t=k m ib.w rmT.t
the people, the gods are (in a state of) rejoicing1449 in nTr.w Haa n mAA=k @.t-Hr nb.t pr-

1443
Kockelmann, Toponymen, 208, defines #Adi (Khadi), the present-day el-Gozireiya across from Dendera, as the
cult center of Harsomtus, who is the child of Hathor at Dendera as well as the Lord of Khadi. He carries this epithet
already in the Middle Kingdom chapel of Nebhepetre Mentuhotep II at Dendera. See Habachi, Nebhepetre
Mentuhotep, 24, fig. 7. This epithet of Harsomtus in the present text, along with the double-feather crown that he
wears in the scene, agrees well with a listing in the inventory of toponyms on the west wall of Crypt West 3 (D
VI,169,4; Kockelmann, Toponymen, 118; 208): Pr-nb-Sw.ty-xnty #A-di, "House of the Lord of the Double-feather
Crown in Khadi." Preys, Complexes, 27, mentions a Festival of Khadit, in which Harsomtus visits the necropolis of
the ancestor gods. Other listings of Khadi are in Brugsch, DG, 336; Gauthier, DG, 93.
1444
Wb III 136-137; PL 663: Hry-ib, lit. in the middle," translated "resides in" or "sojourns in," refers to a deity
worshipped in a cult center of another deity. See Haring, Divine Households, 71 n. 3; Budde, Epithets, 3.
1445
Cauville, Dend Trad III, p.161, translates kA, (D169), as "le bon gnie." It refers to the primordial Ka-
spirit. See discussion in 5.2.6.
1446
The image of the benu-bird on the primeval mound in the writing of baH alludes to the inundation.
1447
The writing of THHw(.t) employs (V14), the phonogram for T in both hieroglyphs and in
hieratic, although only in a few words whose value T had not changed into t. See GG, p. 523.
1448
Wb IV, 457,2 459,7; PL 1004. Sfy.t, "awesomeness; awe-inspired terror, fear, majesty," is regarded as a
synonym of Ma'at in Ma'at offerings, due to its representation by the forepart (and thus throat) of the ram, because
the word for throat (mr.t) is a close homonym of Ma'at, who was considered the throat of the god through which he
obtains air and food, i.e. the sustenance of life. See discussion in 5.1.2. The reference to Sfy.t of the King is thus also
a subtle allusion to his responsibility in maintaining Ma'at, with the use of his awesome power to do so. Van der

353
 seeing you. Hathor, Lady of the Per-wer, height: 4 cubits. wr qA mH 4 nbw
Gold.
DIVINE RANDZEILE DIVINE RANDZEILE
85,8 Words to say: Welcome in peace, Sovereign of the 85,8 Dd mdw ii.ti m Htp ity n
Two Sanctuaries,1450 Ruler of Upper and Lower Egypt. itr.ty HqA n sma mHw Ssp=n
We receive your exotic provisions of bread, meat, and Sps.w=k m tA iwf H(n)q.t Htp
beer. Our hearts are satisfied with 85,9 your offerings. ib=n m 85,9 Htp.w=k
We give to you all the things that heaven gives and the di=n n=k x.t nb.t dd.t p.t qmA.t tA
earth produces.1451 We make Egypt bright1452 in your bAq=n BAq.t m rk=k
time.

Plas, Crue du Nil, 92-93, suggests that mysterium tremendum perhaps best evokes the underlying emotional
response to the Sfy.t of a god or king.
1449
Haa is the stative, thus the gods are "in a state of rejoicing."
1450
The two State Sanctuaries of Upper and Lower Egypt.
1451
Well-known phrase from the standard funerary offering formula, which is what is usually wished for the
deceased. Hathor gives it as her reciprocal offering to the King. For an example of the formula, see the Stela of
Nakhti from Abydos, 12th-13th Dynasty, in Collier and Manley, Egyptian Hieroglyphs, 110.
1452
bAq, "be bright, clear," thus making Egypt bright, well, and fertile. See PL 303-304.

354
 East and West Walls, 2nd Register, 1st Scene

D III, pls. 180; 190, IFAO

Doc 38 Doc 39
D III, 69,5-13 D III, 80,13 81,2

East Wall, 2nd Register, 1st Scene West Wall, 2nd Register, 1st Scene

355
Doc 38 East Wall, 2nd Register, 1st Scene: D III, 69,5-13

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
69,5 Offering milk. Words to say: this milk1453 69,6 that 69,5 Hnk irT.t Dd mdw anx-wAs
I have presented before you,1454 your inundation1455 is in 69,6 nn ms.n=i m Hr=T baH=t
them, they are pure.1456 im=sn iw=w wab.
KING KING
69,7 King of Upper and Lower Egypt ( )|, son of Ra ( )|. 69,7 nsw.t-bi.ty ( )| sA Ra ( )|
ROYAL RANDZEILE ROYAL RANDZEILE
The son of Ra 69,8 ( )| is upon his throne,1457 as the great wnn sA Ra 69,8 ( )| Hr hdmw=f m
king, Ruler of the Herd,1458 offering white milk (HDw), nsw.t wr HqA mnmn.t Hr Hnk HDw
presenting1459 sweet milk (bnrw), giving milk (anx-wAs) Hr siar bnrw Hr rdi(.t) anx-wAs n
to the Eye of Ra, 69,9 for he is like Anubis, Sovereign of Ir.t-Ra 69,9 sw mi Inpw ity n
the milk cows,1460 heir of him, of the Overseer1461 of the wSb.w(t) iwa im=f n mr Snw.t
Storeroom.1462 BEHIND HIM: All protection, life, and BEHIND HIM: sA anx wAs nb
dominion are behind him, like Ra, for D.t-eternity. HA=f mi Ra D.t ABOVE HIM:
ABOVE HIM: 69,10 Wadjet, Lady of Pe and Dep. 69,10 WAD.t nb(.t) P _p

1453
Wb I, 197,7 and 204,1. This alternative word for milk is obviously a word play on its individual elements,
meaning "life" and "power," which the texts exploit. For example, in the Royal Randzeile (D III, 69,8), the king's
offering of milk (anx-wAs) to the Eye of Ra can also be characterized as a gift of life and power. These powers of
renewal and strengthening inherent in the milk usually lead to the deity in return giving the king strength and might
against his enemies, as well as rejuvenation of his body and limbs. See Guglielmi, Milch, 127-128.
1454
Wb III, 123,1-13; PL 661-2. m-Hr, before + suffix (lit. "in the face of")
1455
The ideogram for baH, "flood," is the image of the benu-bird perched upon a mound standing above the flooding
fields. Wb I, 443,11 449,8; PT).
1456
The purity of the milk renders it appropriate as a divine offering.
1457
Wb II, 505,17-19; 18th Dynasty: derives from the Semitic loanword:. Wilson, PL 609, notes that in GR
texts it was a "block throne." See Kuhlmann, Thron, 15; ern, Naunakhte, 39 n. 1.
1458
The writing of mnmn.t, "herd," is by rebus with the menit counterpoise, mn<mni.t, plus the cow
determinative.
1459
The writing of the s-causative verb siar (cause to go up, i.e. lift up, present) with the double stairway,
(O41), gives the visual idea of height, as the king raises the offering that he presents to the deity. The sign also
alludes to the raised location of the naos, which in turn represents the primeval mound.
1460
Anubis is considered the lord of cows and cattle. See Grenier, Anubis, 19-20; Blackman and Fairrman, 65;
Roeder, Dakke, pl. 58; Mammisi d'Edfou, 87,9-10; 146,2; Mammisis de Dendara, 32. His title, ity n wSb.wt,
"Sovereign of the Milk-cows," alludes to Isis, who has the epithet wSb.t, "mourner" (Wb I, 373,1-2; GR). Wilson, PL
267, notes that a text at Edfu states that after the head of Isis had been cut off, Anubis offers cows to Isis on "the day
of establishing her head" (E II, 168,8-9); Thoth replaces the head of the wSb.t in Papyrus Jumilhac. See Vandier,
Jumilhac, XXI, 4-5. Both statements link to the Contendings of Horus and Seth, in which Horus cuts off the head of
Isis.
1461
Wb I, 74,11-13; II, 94,5-13: the title began as imy-r and was abbreviated to mr. At Dendera, it is usually written
with the recumbent lion, (E23) or the schematic owl, (G17A).
1462
The king's epithet, iwa mr-Snw.t, heir (i.e. son) of the overseer of the storeroom implies his control of the
agricultural produce of the entire land. The Swnt was the magazine or storeroom primarily for grain, but also for
other products. See L V, 591-8; Wb IV, 507,1-16; PL 1020.

356
 HATHOR HATHOR
69,11 Words to say by Hathor the Great, Lady of Iunet, 69,11 Dd mdw in @,t-Hr wr.t nb.t
Eye of Ra, Isis the Great, Mother of the Falcon,1463 Iwn.t Ir.t-Ra As.t wr.t mw.t n.t Bik,
Beautiful young 69,12 girl,1464 Sweet One (f.) of (sweet) Hwn.t 69,12 nfr.t bnr.t bnrw Sd.t
milk, who nourishes the gods with her white milk. nTr.w m HDw=s
DIVINE RANDZEILE DIVINE RANDZEILE
The Eye of Ra is powerful in Iunet as the Excellent cow wnn Ir.t-Ra wsr.ti m Iwn.t m Ax.t
among the gods, nourishing this land, 69,13 making the mnx.t m nTr.w Hr Sd.t tA pn 69,13
people (lit. faces) live, rejuvenating her child1465 with Hr sanx Hr.w Hr srnp nn=s m
her sweet milk, for she is the Beautiful Feline,1466 bnrw=s sy m Hwn.t nfr.t bnr.t
Sweet One (f.) of love, who protects the body of her mrw.t aD Haw n IHy.w=s
IHy-priests.1467

Doc 39 West Wall, 2nd Register, 1st Scene: D III, 80,13 81,2

Translation Transliteration
TITLE TITLE
80,13 Presenting the xAdb to his mother, the Powerful 80,13 ms pA xAdb n mw.t=f wsr.t
One.
KING KING
80,14 King of Upper and Lower Egypt ( )|, son of Ra ( )| 80,14 nsw.t-bi.ty ( )| sA Ra ( )|
ROYAL RANDZEILE ROYAL RANDZEILE
The son of Ra ( )| is 80,15 upon his throne as the Ruler wnn sA Ra 80,15 ( )| Hr Hmr=f m
of the circuit of the earth, satisfying his mistress, making HqA n Sn n tA Hr sHtp Hnw.t=f swr
her son great, placing the dread of her in the Banks of sA=s Hr rdi(.t) nrw=s m 80,16
80,16 Horus (=Egypt),1468 for he is like Horus. He has idb.w @r sw mi @r iT.n=f tA.wy
Sma mHw Hr mw n Hm=f

1463
Hathor's equation with Isis in this milk-offering scene emphasizes her nourishing, motherly qualities. The
mention of the Falcon (Bik) in conjunction with Isis makes an allusion to the myth of rearing her child Horus in the
marshes of Khemmis. The Falcon is said to be created by the sacred HsA.t cow and born of the wSb.t cow, an epithet
of Isis (E IV, 220,4; VII, 285-286). See PL 308-309; 677; 266.
1464
The noun, Hwn.t (young girl) can also be written with the ideogram for a cat: (D III, 69,13), which can
denote Tefnut as a young lioness (Wb III, 54,2) and thus alludes to the Myth of the Wandering Goddess. It is also
used in the expression, "the girl in the Eye," to designate the pupil (Wb III, 53,22), especially in the ritual of the
Pupil of the Horus Eye. See Borghouts, Evil Eye, 141 n. 11, cited by Kurth, EP I, 212 n. 150.
1465
The question of whether to read nw or nn for has been debated, but Fairman, Alphabetic Signs, 249,
suggests that by the Ptolemaic Period, the old word for "child" had become nn, with the child-sign used to
write nn-nsw.t, the name of Herakleopolis.
1466
Wb III, 53,10 54,1; PL 626. The writing of Hwn.t, "young girl," with the cat alludes to Hathor's manifestation
as a lioness. I follow Cauville (Dend Trad III, p. 155) in translating it as "feline" to reflect this allusion.
1467
Wab priest in the service of the child god Ihy. See Cauville, Ihy-Noun, 99-117.
1468
Wb I, 153, 7: written with two tongues-of-land signs (instead of three, in the present example), it is more
properly idb.wy @r, "the (two) Banks of Horus."

357
 seized the Two Lands. Upper and Lower Egypt are upon BEHIND HIM: sA anx wAs nb
the water1469 of his Incarnation. BEHIND HIM: All HA=f 80,17 mi Ra d.t
protection, life, and dominion are behind him 80,17 like
Ra, for D.t-eternity.
HATHOR HATHOR
80,18 Words to say by Hathor, Lady of Iunet, Eye of 80,18 Dd mdw in @.t-Hr nb.t Iwn.t
Ra, Lady of Heaven, Mistress of all the gods, Isis the Ir.t-Ra nb.t p.t Hnw.t nTr.w nb.w
Great, Mother of the Falcon, 81,1 Female Sovereign in As.t wr.t mw.t n.t Bik 81,1 ity.t m
the circuit of the Aten.1470 Sn n itn
DIVINE RANDZEILE DIVINE RANDZEILE
The Lady of the Two Lands, appears/shines in her wnn nb(.t) tA.wy wbn.ti m
chapel in "This is the nome of Horus,"1471 making bright iwnn.t=s xnt spA.t-pw-n.t-@r
the son of Osiris, rejuvenating 81,2 her child, nursing Hr sAx sA Wsir Hr srnp 81,2 nn=s
her child in the place that she loves, for she is the Hr rr sA=s m s.t-Ab(.t)=s sy m
Beautiful Feline who protects1472 Egypt to its totality,1473 hwn.t nfr.t Hn.t BAq.t r Aw=s wD
who decrees words in the circuit of the Aten. mdw m Sn n itn

1469
I.e. dependent on him. See Wb II, 52,17; PL 418, noting, "this metaphorical expression alludes to the inferior
position of someone whose water supply is dependent upon the good will of anyone in control of the upper part of
an irrigation canal. It implies 'to be dependent' rather than 'to be loyal,' " citing Westendorf, Auf Wasser, 47-48. Cf.
earlier discussion by Clre, Recherches, 288 and n. 4; CDME, 105, "loyal."
1470
itn, "Aten," is the male sun disk; one of Hathor's frequent epithets at Dendera is Atenet, "the Female Sun Disk";
examples in the Per-wer include the following: D III, 54,16; 56,6; 57,5; 66,2; 67,3; 68,3; 71,10; 74,1; 76,12; 78,11;
82,5; 82,8; 85,14; 95,17.
1471
Perhaps a reference to Dendera. Cauville, Dend Trad III, p. 587, is uncertain of its meaning.
1472
Wb III, 101,7-11. Hn.t is the f. s. perfective active participle of Hn, "protect."
1473
Lit., "in its length."

358
 East and West Walls, 2nd Register, 2nd Scene

D III, pls. 180; 190, IFAO

Doc 40
D III, Doc 41
69,15 D III,
70,5 81,4-12

East Wall, 2nd Register, 2nd Scene West Wall, 2nd Register, 2nd Scene

359
Doc 40 East Wall, 2nd Register, 2nd Scene: D III, 69,15 70,5

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
69,15 Offering the menit.1474 Words to say: Take for 69,15 Hnk mni.t Dd mdw m-n=T
yourself the menit, 69,16 Golden One (f.), Lady of the mni.t 69,16 Nbw.t nb.t mni.t Htp
Menit. Your heart is satisfied/pacified upon seeing what ib=T Hr mAA ir(.t).n=i
I have done.
KING KING
69,17 King of Upper and Lower Egypt ( )|, son of Ra ( )| 69,17 nsw.t-bi.ty ( )| sA Ra ( )|
ROYAL RANDZEILE ROYAL RANDZEILE
The King of Upper and Lower Egypt 69,18 ( )| is upon wnn nsw.t-bi.ty 69,18 ( )| Hr bkr=f
his throne, in strength1475 in the Temple of the Menit, m Tnr xnt H.t-mni.t Hr HD @m.ty Hr
destroying1476 the Coward,1477 slaughtering 70,1 the inin 70,1 Nhs Hr xbxb #ar.ty sw
Watchful one,1478 slaying the Angry one,1479 for he is mi @r Hnk Hm.t=s m x.t=s sHtp
like Horus who presents her Incarnation with her ib=s ra nb BEHIND HIM:
offering, who pacifies her heart every day. BEHIND 70,2 sA anx wAs nb HA=f mi Ra d.t
HIM: 70,2 All protection, life, and dominion are behind SOLAR DISK ABOVE HIM:
him, like Ra, for D.t-eternity. SOLAR DISK ABOVE BHd.ty nTr aA nb p.t
HIM: Behdety, the Great god, Lord of heaven.
HATHOR HATHOR
70,3 Words to say by Hathor, Lady of Iunet, the Menit, 70,3 Dd mdw in @.t-Hr nb.t Iwn.t
Eye of Ra, the Beautiful One (f.) in all her names,1480 the tA-mni.t Ir.t-Ra nfr.t m rn(.w)=s
Shining and Powerful One (f.), the Protectress nb.w Ax.t wsr.t nDty.t 70,4 Hr sn=s
70,4 for her brother,1481 who makes his protection ir nh(.t)=f r xfty.w=f
against his enemies.

1474
Hathor can appear in the form of a menit necklace, as shown in Crypt South 1, Chamber B, North Wall (D V, pl.
424). The menit holds the power of renewal, thus fitting well with themes of temple foundation, the New Year, and
the birth of the divine child, as noted by Kurth, Pepi I, 10.
1475
Wb V, 382,6 383,15. Wilson, PL 1168, notes that Tnr is only used of the King or Horus Behdety at Edfu when
strength is required in order to slay a foe or required for an offering. The writing of Tnr in this passage
employs the tall-t (U33) as the phonogram for T and the aleph-vulture (G1) as the phonogram for n.
1476
Note the insistent alliteration of x and H (highlighted in red), which emphasizes the destruction of Seth.
1477
Te Velde, Seth, 44, suggests that Hm.ty means "effeminate one" as a derogatory term for Seth.
1478
Wb II, 287,14-16; 18th Dynasty, GR. Nhs, "Watchful One," possibly derives from the verb, nHsi, "be awake,"
referring to the watchful god at the prow of the sun bark (as noted in Amduat texts), which in later texts is Seth.
Wilson, PL 531, notes that in GR temples, Nhs denotes Seth in his manifestation as an animal.
1479
Wb III, 244,2-7; 18th Dynasty, LP, GR. #ar.ty, "Angry One" derives from the verb xar, "be angry, furious," as an
epithet of Seth.
1480
Gutbub, Hathor, 341-342, notes that nfr.t m rn.w=s nb.w, "the beautiful one in all of her names," is an epithet of
Isis; an analogous epithet, H.t-Hr m sp.t nb.t, "Hathor in all of the nomes." The phrase, "in all of her nomes," is used
after the list of the different names of Isis in the various sanctuaries. Gutbub suggests that the use of this phrase by
Hathor means that the names given to Isis are equivalent to Hathor, so that at Dendera, Isis can also be called
Hathor.
1481
If the king is the son of Ra and Hathor is the daughter of Ra, then they could be considered as siblings. This is
the only reference in the Per-wer to the King's being Hathor's brother, but it appears elsewhere at Dendera. Hathor is
often characterized as the protector of her brother, as in the H.t-sxm (Temple of the Sistrum, Chassinat's Chamber I;

360
 DIVINE RANDZEILE DIVINE RANDZEILE
70,5 The Lady of Gladness is within the Temple of the 70,5 wnn nb.t hy m-xnt H.t-mni.t
Menit, the Lady of Joy in her places, protecting1482 her nb(.t) Haaw.t m s.wt=s Hr xw.t
father, increasing the awe of him, placing the dread of it=s Hr swr Sfy.t=s Hr rdi.t nrw=s
her in the gods, for she is Lady of Jubilation, Mistress of m nTr.w sy m nb(.t) THHw.t
Dance, Lady of Drunkenness, Mistress of Joy. Hnw.t n.t Hpg nb(.t) nwH Hnw.t
Aw(.t)-ib

Doc 41 West Wall, 2nd Register, 2nd Scene: D III, 81,4-12

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
81,4 Offering the wensheb. Words to say: The Udjat- 81,4 Hnk wnSb Dd mdw wDA.t
Eye, being healthy, 81,5 the Shining one (f.),1483 wDA.ti 81,5 wbn.t wbn.ti whi sp=f
being shining, He who fails at his time,1484 he does not n wnn=f
exist.
KING KING
81,6 King of Upper and Lower Egypt ( )|, son of Ra ( )| 81,6 nsw.t-bi.ty ( )| sA Ra ( )|
ROYAL RANDZEILE ROYAL RANDZEILE
The King of Upper and Lower Egypt 81,7 ( )| is upon his wnn nsw.t-bi.ty 81,7 ( )| Hr p=f
throne, complete1485 in his form as Ruler of the Two twt m irw=f n hqA tA.wy Hr twt
Lands, perfecting Tayet,1486 making healthy the Eye (of &Ay.t Hr snb sty Hr sanx 81,8
light), making live 81,8 the Uraeus,1487 for he is like %Sm.t-rmT sw mi Isdn apr wDA.t sAx
Isden,1488 who provisions the Udjat-Eye, who makes Ax.t m dbH.w=s BEHIND HIM:

D III, 6,6; 6,7; 29,10); H.t-wab (Temple of Purification, Chassinat's Chamber K; D III, 123,2); and H.t-mni.t (Temple
of the Menit, Chassinat's Chamber L, D III, 135,1; 154,5).
1482
Cauville, Dend Trad III, p. 138, reads Hr Hwt, presumably taking the t-loaf of it ("father") as also serving as the
ending of the infinitive.
1483
Wb I, 294,5; GR. An epithet of Hathor, the feminine counterpart of wbn, "Shining One," an epithet of the sun
god, Ra. See Cauville, Dend Trad III, p. 404; Wb I, 294,4, the latter listed under wbnj.
1484
Wb I, 339,15: whi sp=f, lit., "He who fails at his time," an epithet of Seth in GR, complementing the King or
Horus, "who does not fail," as noted by Wilson, PL 248. The earliest example is in Urk VI, 15,7. Goyon, Dieux-
Gardiens, 39 n. 9, observes that the epithet can apply to Seth as well as to Apep (Apophis, the evil serpent who
attempts to halt the solar barque in the Amduat). The term, whi sp, often appears in alliteration with w, as in the
present passage, which emphasizes his non-existence. The presence of this epithet in the wensheb offering relates to
the symmetrical scene of the menit offering, which emphasizes the destruction of Seth.
1485
Wb V, 258,9; implying that nothing is lacking. This epithet recalls the Udjat-Eye and the necessity of restoring
all of its parts.
1486
Although principally a goddess of weaving, Tayet can take the form of the uraeus. Thus, the "perfecting" of
Tayet (using the verb twt, which in its transitive form can also mean "to collect together, assemble") alludes to the
filling (or "completing") of the Udjat Eye with all of its necessary parts, an action carried out by Thoth in the myth,
and with whom the King is equated in this scene. See discussion in 2.2.
1487
Wb IV, 289,9: sSm.t-rmT, "She Who Leads Mankind," is an epithet referring to the royal uraeus, attested since
the MK. Wilson, PL 928, notes that this epithet appears in the Hymn to the Diadem (4,4).
1488
Wb I, 134,9. Isdn is an epithet of Thoth since the end of the NK; originally an independent god, he became (like
Isdes) a manifestation of Thoth, attested from NK to GR, determining the lifetime of humans, judging, and giving
written and oral instructions. The King can be characterized as the descendent, heir, or "image" of Isden. See
Grieshammer, Isden, 184-185; Boylan, Thoth, 201; Bonnet, RRG, 326.

361
 effective/shining the (effective/shining) Eye with its 81,9 sA anx wAs nb HA=f mi Ra d.t
parts. BEHIND HIM: 81,9 All protection, life, and SOLAR DISK ABOVE HIM:
dominion are behind him, like Ra, for D.t-eternity. BHd.ty nTr aA nb p.t
SOLAR DISK ABOVE HIM: Behdety, the Great God,
Lord of Heaven.
HATHOR HATHOR
81,10 Words to say by Hathor the Great, Lady of Iunet, 81,10 Dd mdw in @.t-Hr wr.t nb.t
Eye of Ra, Lady of Heaven, Mistress of all the gods, She Iwn.t Ir.t-Ra nb.t p.t Hnw.t nTr.w
who takes the inventory,1489 Lady of Protection, she has nb.w snh.t nb.t mk.t Xnm.n=s
united with 81,11 the Uraeus1490 on the head of her 81,11 iAb.t m tp n it=s
father.
DIVINE RANDZEILE DIVINE RANDZEILE
The Uraeus1491 is within the Temple of the Wensheb, wnn Hr.t-tp m-xnt H.t-wnSb Thn.t
Bright One (f.) of face in her sanctuary that she loves, Hr m iwnn.t=s mr=s Hr Xnm iAb.t
uniting with the Left Eye, 81,12 brightening the Banks, 81,12 Hr sHD idb.w Hr sSm tA.wy m
leading the Two Lands with her beauties, for she is Lady nfr.w=s sy m nb.t anx bnr.t mrw.t
of Life, the Sweet One (f.) of Love, who illuminates1492 wpS tA pn m Ax.ty=s(y)
this land with her shining eyes.

1489
Wb IV, 167,13; GR, "epithet of Hathor." It is probably derived from snHi, "to take inventory, registration."
Although not written with the sign of the right angle, (O38), as in the verb, nhi, "protect," there seems to be a
subtle allusion to protection, because the following epithet of Hathor is nb.t mk.t, "Lady of Protection." The idea of
Hathor's "taking the inventory" agrees well with the theme in this scene of completing the Eye and making certain
that it has all of its parts.
1490
iAb.t, "Uraeus," an epithet of Hathor, is also the homonym for "Left Eye," thus alluding to the Eye of Horus,
which needed to be restored.
1491
There is a subtle play between the end of Hathor's speech, in which she is said to be iAb.t m tp n it=s, "the
Uraeus on the head of her father" (D III, 81,11) and the first line of the Divine Randzeile, wnn Hr.t-tp m-xnt H.t-
wnSb, "the Uraeus (lit. She Who is on the Head) is within the Temple of the Wensheb" (D III, 81,11), thus
emphasizing Hathor's role as the uraeus on Ra's brow. Interestingly, these two epithets are combined in the offering
of the mnw-vase in the 2nd register, 3rd scene of the west wall, in D III, 82,10: Hr.t-tp m tp n it=s, "the Uraeus on the
head of her father," thus linking the two adjacent scenes (2 nd and 3rd scenes, of the wensheb and mnw-jar,
respectively) in the 2nd register of the west wall.
1492
Wb I, 305,11-19; PT; PL 227: wpS, "scatter with light," becoming a general term meaning "to illumine"; the
sign, (N55), may represent a "hazy cloud of incense smoke or incense burning brightly." The idea of "scattering
light," alludes to the ritual of "rpandre l'or," during which sparkling green powder was strewn on the fields during
the month of Epiphi in order to guarantee the agricultural cycle. See Goyon, Rpandre l'or, 85-100; discussion in
5.2.4.

362
 East and West Walls, 2nd Register, 3rd Scene

D III, pls. 180; 190, IFAO

Doc 42 Doc 43
D III, D III,
70,7-18 81,14
82,11

East Wall, 2nd Register, 3rd Scene West Wall, 2nd Register, 3rd Scene

363
Doc 42 East Wall, 2nd Register, 3rd Scene: D III, 70, 7-18

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
70,7 Playing the sSS.t- and the sxm-sistra. Words to 70,7 ir(.t) sSS.t sxm Dd mdw
say: the sSS.t-sistrum 70,8 is in my right hand, the sSS(.t) 70,8 m wnmy=i sxm m
sxm-sistrum is in my left hand. I am Horus, offspring iAby=i ink @r wAD n %xm.t swAS=i
of Sekhmet.1493 I praise (swAS) 70,9 your Ka in Qab- 70,9 kA=t m QAb-tA.wy Htp.n=i
tawy.1494 I have satisfied your beautiful face.1495 Hr=t nfr
IHY
70,10 Ihy the Great, son of Hathor, child1496 of the IHY
Golden one (f.), Lady of Iunet. I have played1497 the 70,10 Ihy wr sA @.t-Hr nn n Nbw.t
sSS.t-sistrum before your beautiful face. nb.t Iwn.t ir.n=i sSs.t m Hr=t nfr
KING KING
70,11 The King of Upper and Lower Egypt ( )|, son of 70,11 nsw.t-bi.ty ( )| sA Ra ( )| IHy
Ra ( )|, Ihy of the Golden One (f.), 70,12 who makes n Nbw.t 70,12 ir iHy n Hnw.t=f
music for his mistress.
ROYAL RANDZEILE ROYAL RANDZEILE
The son of Ra ( )| is upon his throne in the Per-wer wnn sA Ra ( )| Hr ns.t=f m pr-wr m
Sanctuary as the Great Sovereign who rules the Two ity wr HqA tA.wy Hr swAS Hm.t=s Hr
Lands,1498 praising her Incarnation, adoring 70,13 her dwA 70,13 kA=s Hr sHtp ib=s m
Ka, pacifying her heart with what she loves, for he is mr=s sw mi Ihy ir iHy n Hnw.t=f
like Ihy who makes music for his mistress. Her sfn Hm.t=s n mAA Hr=f
Incarnation rejoices in seeing his face. BEHIND HIM: BEHIND HIM: sA anx wAs nb
All protection, life, and dominion are behind him, 70,14 HA=f 70,14 mi Ra D.t
like Ra, for D.t-eternity.

1493
For discussion of the epithet, @r wAD n %xm.t, "Horus, Offpsring of Sekhmet," see Germond, Sekhmet, 91 n. 21;
95 n. 57. It appears in the following sistrum-offering scenes at Dendera: D III, 70,8 (Per-wer, East Wall, 2nd reg, 3rd
scene); V, 42,1 (Crypt East 1, Chamber G, East Wall); V, 57,5 (Crypt East 2, Chamber A, East Wall).
1494
Wb V, 10,2: name of Dendera. Kockelmann, Toponymen, 197, cites , the writing in D VI, 168,7,
as a firm basis for its transliteration as qAb-tA.wy. The toponym is lit. "Insides of the Two Lands" Because qAb can
also be interpreted as "coils" (CDME 175, qAb.w, "coils of snake"; PT 1146), by designating Dendera as Qab-tawy
(i.e. "Coils of the Two Lands"), an allusion is made to Hathor in her manifestation as the uraeus serpent.
1495
Cauville, Dend Trad III, p. 139, gives Htp n.i Hr.t nfr, and translates as, "Your beautiful face is satisfied with
me." Both translations are theoretically possible; Cauville's translation does agree well with the statement in the
Royal Randzeile, sfn Hm.t=s n mAA Hr=f, "Her Incarnation rejoices in seeing his face" (D III, 70,13).
1496
Wb II, 272,4-6. nn, "child," appears in the OK in the name of the city of Herakleopolis, nn-nsw.t (becoming Hnn-
nsw.t in MK CT; h.t-nn-nsw.t in LP). Fairman, Alphabetic Signs, 249-250, discusses the issue of reading it as nw or
nn, suggesting that in Ptolemaic it was probably read nn, due to the long tradition of its use in the name of
Herakleopolis. However, Fischer, Ehnasaya, 423-425, maintains that there is no clear evidence for nn as an
independent word for "youth" in the earlier periods, and that the child does not appear in the name of Herakleopolis
until the Ptolemaic texts. See also Tawfik, Priest Stela, 135 n. 1.
1497
The signs in D III, 70,10, , suggest a translation of ir.n=i sSS.t m Hr=T nfr, "I have played the
sSS.t-sistrum before your beautiful face," contra Cauville, Dend Trad III, pp. 138-139, who gives irt sSSt m Hr.T nfr,
"jouer du sistre devant ton beau visage."
1498
HqA tA.wy could also be translated as "Ruler of the Two Lands," instead of the perfective active participle, "who
rules the Two Lands," which Cauville, Dend Trad III, p. 141, prefers.

364
 HATHOR HATHOR
70,15 I give you beer,1499 you repeat drunkenness and 70,15 di=i n=k tx wHm=k tx pxA-
joy (lit. openness of heart) without stopping.1500 Words ib nn ir(.t) Ab Dd mdw in @.t-Hr
to say by Hathor the Great, Lady of Iunet, Eye of Ra, wr.t nb.t Iwn.t Ir.t-Ra nb.t p.t
Lady of Heaven, 70,16 Mistress of all the gods, she who 70,16 Hnw.t nTr.w nb.w iw.t.t
does not have her equal in heaven and on earth, Great sn.nw=s m p.t tA wr(.t) mrw.t
One (f.) of love, Mistress of Women, Lady of the sSS.t- Hnw.t Hm.wt nb.t sSS.t
sistrum, Mistress of the sxm-sistra,1501 Lady of Music, Hnw.t sxm.w nb(.t) Hs.t
Lady of Gladness, Lady of Jubilation, 70,17 Lady of nb(.t) hy nb(.t) Haaw.t 70,17 nb(.t)
Joy, Mistress of the ibA-dance, Lady of Myrrh who ties Aw(.t)-ib Hnw.t ibA nb(.t) an.tyw Ts
the headband.1502 mAH
DIVINE RANDZEILE DIVINE RANDZEILE
The Lady of Iunet is satisfied/rests in Iunet as Lady of wnn nb.t Iwn.t Htp.ti m Iwn.t m
the sSS.t-sistrum, Mistress 70,18 of the sxm-sistra,1503 nb(.t) sSS.t Hnw.t 70,18 sxm.w Hr
driving away1504 anger, dispelling rage, destroying evil dr Spt Hr rw(.t) nSn Hr ss[wn] Hrst
in front of her face, for she is the Bright One (f.) of face, hAw Hr=s sy m THn.t Hr bnr.t mrw.t
the Sweet One (f.) of Love. Her father is satisfied in Htp it=s n mAA=s
seeing her.

Doc 43 West Wall, 2nd Register, 3rd Scene: D III, 81,14 82,11

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
81,14 Presenting the mnw-vase. Words to say: the 81,14 ms pA mnw Dd mdw Ax(.t)
Effective/Shining one (f.) 81,15 in Iunet, your Axw- 81,15 m Iwn.t Ax.w=t

1499
Wb V, 325,7-9; GR. There is a true pun on tx, which can be translated as either "beer" or "drunkenness."
Wilson, PL 1150, admits that the word may be deliberately ambiguous.
1500
Cauville, Dend Trad III, p. 140, transliterates as n ir Ab, "sans interruption." I prefer nn ir(.t) Ab because the
water-sign below the negative arms gives nn, followed by the infinitive ir(.t) with feminine .t unwritten, similar to D
III, 82,7.
1501
Hnw.t sxm.w, "Mistress of the sxm-sistra," creates a true pun with sxm.w, "powers." The two phrases, Hnw.t
Hm.wt nb.t sSS.t and Hnw.t sxm.w nb(.t) Hs.t (highlighted in red), stand in a chiastic relationship to each other. See
discussion in 5.1.2.
1502
This epithet of Hathor, "who ties the headband" connects with the east scene of the lintel of the north wall inside
the Per-wer, where she carries a similar epithet: Ts mAH (D III, 58,8).
1503
Hnw.t sxm.w, "Mistress of the sxm-sistra" (D III, 70, 17-18), which appears above in D III, 70,16, is repeated
here, again with a true pun on sxm.w, "powers."
1504
Wb V, 473,12; PT. Wilson, PL 1202-1203, notes that dr, "to drive away, repel," often written with the sign , as

in the present example, , is not the determinative of the word but rather the phonogram for dr. It may have been
confused with (M31A), the sign for rwD, having become dr by means of metathesis. The object of this verb is
usually something hostile or chaotic that would disturb the order of the world if not driven away.

365
 power (or shining deeds) are shining, Beautiful one Ax.ti nfr.t nfr.wy 81,16 nfr.w=T
(f.), how beautiful 81,16 is your beauty! Female bA.t r sxm.w xAx.t bA.w spd.t HkAw
Ba1505 among the (divine) powers, Speedy One (f.) of 81,17 nb.t pr-wr Hnw.t pr-nsr
divine power,1506 Effective One (f.) of magic 81,17
Lady of the Per-wer, Mistress of the Per-Neser.
HARSOMTUS THE CHILD HARSOMTUS THE CHILD
82,1 Harsomtus the Child, son of Hathor, Noble Child 82,1 @r-smA-tA.wy pA Xrd sA @.t-
of the Eye of Ra 82,2 I have played the sSS.t-sistrum Hr sfi Sps n Ir.t-Ra 82,2 ir.n=i
before your beautiful face. Your heart is pacified with sSS.t m Hr=T nfr sHtp ib=t m mr=t
what you love.
KING KING
82,3 King of Upper and Lower Egypt ( )|, son of Ra: 82,3 nsw.t-bi.ty ( )| sA Ra ( )|
ROYAL RANDZEILE ROYAL RANDZEILE
The son of Ra 82,4 ( )| is on his throne as chief of the wnn sA Ra 82,4 ( )| Hr p=f m Hry-
Two Lands in the Great Hall, washing the hands, tp tA.wy m xA-wr Hr ia(.t) a.wy Hr
purifying the fingers, hating the sadness of 82,5 the Eye wab Dba.w Hr bw.t snm n 82,5
of Ra, for he is like Horus, who drives away impurity Ir.t-Ra sw mi @r dr StA n itn.t rwi
from the Atenet, who dispels evil, who releases the debt. sDb.w wHa xbn.t BEHIND HIM:
BEHIND HIM: All protection, life, and dominion are sA anx wAs nb HA=f mi 82,6 Ra D.t
behind him, like 82,6 Ra, for D.t-eternity.
HATHOR HATHOR
82,7 I give you your heart resting in its place, joy 82,7 di=i n=k ib=k Htp Hr mk.t=f
without ceasing.1507 Words to say by Hathor the Great, XntS nn ir(.t) Ab Dd mdw in @.t-Hr
82,8 Lady of Iunet, Eye of Ra, Lady of Heaven, wr.t 82,8 nb(.t) Iwn.t Ir.t-Ra
Mistress of all the gods, the Great Uraeus in the Place of nb(.t) pt. Hnw.t nTr.w nb.w mHny.t
Drunkenness (=Dendera) of the Atenet, the Golden One wr.t xnt s.t-txn.t itn.t Nbw.t 82,9
(f.) 82,9 Lady of Music, Lady of the xb-dance, Lady of nb(.t) iHy nb(.t) xb nb(.t) rSw.t
Joy, Mistress of the ibA-dance, she is content with what Hnw.t ibA Htp=s ir.tw n Hm.t=s
one does for her Incarnation, the (unique) Uraeus, Great wa.t wr.t xnt s.t-nfr.t Hnw.t nb.t
one (f.) in the Place of the Beautiful One (f.), Mistress wAH 82,10 n Dam
and Lady of the headband1508 82,10 of electrum.1509

1505
Wb I, 412,11; GR. Wilson, PL 305-306, suggests that this epithet, referring to Hathor of Dendera, was perhaps a
parallel to Horus Behdety as the Ba of Ra. Derchain, Hathor Quadrifrons, 5 n. 13, however, suggests that it was
confused with bAt, a symbol of Hathor. Cf. Fischer, Bat, 7-23.
1506
xAx-bA.w (fem. xAx.t-bA.w) is an epithet describing gods "who move quickly or strike at speed" (Wilson, PL 705).
1507
Cauville, Dend Trad III, p. 156, transliterates as n ir Ab, "sans interruption." I prefer nn ir(.t) Ab because the
water-sign below the negative arms gives nn, followed by the infinitive ir(.t) with feminine .t unwritten. A similar
case occurs in D III, 70,15.
1508
Wb I, 257,13-14, attested since the PT; PL 196-197. PL 196 notes that by the MK, the term wAH (probably
derived from the verb wAH, "to put, place") was superseded by mAH, possibly with some degree of confusion. The
wAH garland may be placed around the throat or on the head. An example of such a circlet is the beautiful floral
crown of Princess Khnumet from Dahshur, a cloisonn version made with gold, carnelian, lapis lazuli, and
turquoise. See Aldred, Jewels of Pharaohs, pl. 14, and the description on p. 115, where he notes that it is "one of the
triumphs of the Egyptian goldsmith, a happy combination of fragility and strength, of formalized flower shapes
scattered in the random profusion of nature."
1509
This offering specifies that the headband is made from Dam, but other texts at Dendera specify the material as nb
or sAwy (D III, 25,8-16). Wb V, 537,13, specifies Dam as lighter-colored gold, equated with the Greek xruso/j
(gold). El-Kordy, Couronne d'or, 445-446, observes that by the GR, Dam was simply a synonym of nb; sAwy was

366
 DIVINE RANDZEILE DIVINE RANDZEILE
The daughter of Ra is within the Place of wnn sA.t Ra m-xnt s.t-tx Hr.t-tp m
Drunkenness (=Dendera), the Uraeus on the head of tp n it=s Hr rdi.t Hs.wt Hr swr
her father,1510 bestowing favors, increasing love, giving mrw.t Hr rdi.t Haaw.t 82,11 Hr HntS
joy, 82,11 rejoicing. She is the Lady of the Two Lands, sy m nb.t tA.wy nb.t t ir H(n)q.t
the Lady of bread who makes beer, Mistress of the Hnw.t n.t wAH n Dam
headband of electrum.1511

another material used to make the headband, being an inferior quality of gold, perhaps mixed with silver. Texts at
Dendera mentioning a wAH n sA.wy include D III, 25,8; 149,9, and 175,8. I follow Cauville's (Dend Trad III, p. 157)
translation of Dam as "electrum." Because sAwy originates in a region of Nubia called Hh (Heh), the offering of the
wAH headband in this scene may indirectly allude to Nubia, the place where the Distant Goddess sojourned. In an
offering scene of two vases of gold and lapis-lazuli in the lintel of Dendera's Treasury (Chassinat's Chamber Q),
Hathor says to the King, di=i n=k !h Xr sAwy im=f, "I give you Heh, possessing the gold that is in it" (D IV, 148,3),

with the toponym, Heh, written as . Characterized as the "flesh of the gods," and in particular that of the sun
god Ra, the gold used to make this headband would have rejuvenating qualities.
1510
The epithet, Hr.t-tp m tp n it=s, "the Uraeus on the head of her father" (D III, 82,10), combines two epithets (tp n
it=s and Hr.t-tp) appearing successively in the adjacent wensheb-offering scene, thus linking the two scenes: iAb.t m
tp n it=s, "the Uraeus on the head of her father" (D III, 81,11) and wnn Hr.t-tp m-xnt H.t-wnSb, "the Uraeus (lit. She
Who is on the Head) is within the Temple of the Wensheb" (D III, 81,11). The repetition of tp in the epithets
emphasizes Hathor's role as the uraeus on her father's brow.
1511
El-Kordy, Couronne d'or, 441-452, omits the present scene in his list of attestations of the offering of the "crown
of gold" at Dendera, perhaps because this offering is not mentioned in the title and formula. However, Hathor's
epithet here in the Divine Randzeile (D III, 82,11), Hnw.t n.t wAH n Dam, "Mistress of the Circlet of Electrum," as
well as her epithet in her speech (D III, 82,9-10), nb.t wAH n Dam, "Lady of the Circlet of Electrum," clearly refer to
the King's offering of this crown.

367
 East and West Walls, 1st Register, 1st Scene

D III, pls. 180; 190, IFAO

Doc 44 Doc 45
D III, D III,
64,3 76,5-13
65,3

East Wall, 1st Register, 1st Scene West Wall, 1st Register, 1st Scene

368
Doc 44 East Wall, 1st Register, 1st Scene: D III, 64,3 65,3

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
64,3 Going up the stairs1512 (of the shrine). Words <to 64,3 pr r xndw Dd <mdw> Ts=i
say>:1513 I go up 64,4 upon the stairs of the Golden one 64,4 r xndw n Nbw.t m qb nmt.t r
(f.) with measured steps1514 in order to see 64,5 her mAA 64,5 Hm.t=s m HD=s
Incarnation in her shrine.1515
KING KING
64,6 King of Upper and Lower Egypt ( )|, son of Ra ( )|, 64,6 nsw.t-bi.ty ( )| sA Ra ( )| mr
Overseer of the Hm-nTr priests1516 within 64,7 the Hm.w-nTr m-xnt 64,7 H.t-sSS.t twr
Temple of the Sistrum,1517 the Purifier, 1518 purified in twr m D.t=f
his body.
ROYAL RANDZEILE ROYAL RANDZEILE
The Good God shall live, the Hm-nTr priest, son of <a anx nTr nfr Hm-nTr sA <Hm-nTr>
Hm-nTr priest>, the Purifier, son of 64,8 the Purifier, twr sA 64,8 twr wbn Hr xndw m
who appears upon the throne in (a state of) great purity, abw wr aq bw Dsr m Dsr spr xr
who enters the sacred place in (a state of) sacredness, Hnw.t r snfr ib=s nb xa.w 64,9
who approaches the mistress in order to make her heart sA Ra ( )| BEHIND HIM: sA anx
rejoice,1519 Lord of Crowns, 64,9 son of Ra ( )|. wAs nb HA=f mi Ra D.t

1512
Wb III, 314,4-15; PL 743. For a discussion of the beginning episodes of the daily temple ritual, see Guglielmi
and Buroh, Eingangsprche, 101-166; Moret, Culte, 31-56.
1513
Wb V, 618,9. The playful writing of Dd, "to say," with a crouching baboon, (E35), the manifestation of the
god Thoth, or +Hwty, retains the initial D of his name through the consonantal principle and is interpreted as Dd. By
alluding to Thoth, the god of wisdom and inventor of language, this writing underlines the importance of the King's
effective speech as he approaches the deity in the shrine. The compound ideogram of the baboon holding the mdw-
staff (walking stick) (E42) more fully writes Dd mdw, "words to say." See Fairman, Ptolemaic Signs, 121.
1514
Wb V, 23,15-16; Late; GR. The phrase, m qb nmt.t, means lit., "in coolness of pace." Wilson, PL 1050, notes that
the phrase often characterizes priests or gods as they approach the sanctuary in procession; she cites other
translations: Otto, Gott und Mensch, 156, "mit khlem, beherrschtem Schritt"; Alliot, Culte I, 242, "en marche
lente," and Daumas, Nout Dendara, 391, "marcher lentement."
1515
Wb III, 209,1-8; PT; GR. The term HD, "shrine, chapel," carries with it the connotation of light, due to its
homonym that means "light, bright." Wilson, PL 696, suggests that it may thus reference "the divine glow given off
by images of gods in their shrines."
1516
Wb III, 88,19 90,7. Highest-ranking class of priests, attested since OK royal funerary temples, who carried out
the daily temple ritual in place of the king, having access to the shrines of the gods within the temple. This category
of priesthood continued into the GR. See Helck, Priester, 1086; 1091-1092; Meulenaere, Priester, 1097; Meeks,
Donations, 645 n. 178; Gardiner, Onomastica I, 47*- 49*; Sauneron, Priests, 57-60.
1517
Kockelmann, Toponymen, 146-148, notes that H.t-sSS.t, "Temple of the Sistrum," is the name given to the rear
SE chapel at Dendera (Chassinat's chamber I; D II, 1-43); Crypt South 1, Chamber A. Cauville, Dend Trad III, p. 1,
notes that the sH-nTr (divine hall) can apply to the main temple of Hathor at Dendera, as well as to the village where
the Temple of Dendera is located. The designation, H.t-sSS.t is often used in parallel with pr-wr in the inscriptions in
the Per-wer Sanctuary, e.g. on the door jambs of its entrance: Hr.t-tp wr.t nb.t pr-wr, "Great Uraeus, Lady of the Per-
wer" (east door jamb, D III, 56,10); Sps.t wsr.t xnt H.t-sSS.t, "Powerful Noble Lady in the Temple of the Sistrum"
(west door jamb, D III, 57,8-9).
1518
Wb V, 253,5 254,16. twr, "purifier," "pure one," is a priestly title carried by the King in his identification as
Horus. Wilson, PL 1129, notes that the twr.w made up a class of priests ranking between God's Fathers and the
Chief Lector Priest (E V, 30,1), substituting for the King and performing purification rituals within the temple.
1519
Lit., "make her heart beautiful."

369
 BEHIND HIM: All protection, life, and dominion are
behind him, like Ra, for D.t-eternity. HATHOR
HATHOR 65,1 Dd mdw in @.t-Hr wr.t nb.t
65,1 Words to say by Hathor the Great, Lady of Iunet, Iwn.t Ir.t-Ra nb.t p.t Hnw.t nTr.w
Eye of Ra, Lady of Heaven, Mistress of all the gods: I nb.w di=i n=k xa m 65,2 xndw
give you the appearance on 65,2 the great throne,1520 wr mi @r xnt TnTA.t
like Horus upon the throne dais.1521
DIVINE RANDZEILE DIVINE RANDZEILE
The Female King of Upper and Lower Egypt, Female nsw.t-bi.ty.t HqA.t m QAb-tA.wy
ruler in Kab-tawy (=Dendera), the Beautiful one (f.) of nfr(.t) Hr sHb(.t) mnD.ty Sps.t wsr.t
face, Festive one (f.) of eyes,1522 Noble and Powerful 65,3 n rx D.t=s
Lady, 65,3 there is no knowing her body.1523 The Dsr.t xnt PsD.t Htp m HD=s m
Sacred One (f.) among the Ennead, who rests in her iwnn=s Dsr @.t-Hr wr.t nb.t Iwn.t
shrine1524 in her sacred sanctuary,1525 Hathor the Great,
Lady of Iunet.

Doc 45 West Wall, 1st Register, 1st Scene: D III, 76,5-13

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
76,5 Pulling the (door) bolt.1526 I have pulled 76,6 the 76,5 sTA idr sTA.n=i 76,6 idr m HD
(door) bolt of the shrine1527 of your Incarnation. I release n Hm.t=t sfx=i Dba r mAA D.t=T
the seal1528 in order to see your body.
KING KING
76,7 King of Upper and Lower Egypt ( )| son of Ra ( )| 76,7 nsw.t-bi.ty ( )| sA Ra ( )| snn

1520
Wb III, 314,4-15; PL 743. The term, Xndw denotes either a throne or a stairway; its use for the xndw wr, "great
throne," of Horus (D III, 65,2) thus connects with the title of the present scene, pr r xndw, "going up the stairs" (D
III, 64,3).
1521
Wb V, 384,14 385,9; MK. Kuhlmann, Thron, 76 n. 4, suggests that TnTA.t may be a loan word; the original
word may have meant "mound," alluding to the primeval mound. Wilson, PL 1168, notes that the throne dais can
also consist of a more elaborate kiosk with the two thrones of Upper and Lower Egypt, used in the coronation or the
King's Sed Festival.
1522
Wb II, 93,11-14; BoD; GR. Wilson, PL 440, explains that mnt in general refers to something spherical in shape,
such as breasts, cheeks, and eyeballs. See also Meeks, Notes de lexicographie, 81 n. 1, mnDt.
1523
Alternatively, "without (anyone) knowing her body (D.t)." See discussion in 5.2.5.
1524
See D III, 64,5, for discussion of HD.
1525
The GR writing includes the t-loaf; Cauville, Dend Trad III, p. 118, thus transliterates as iwnnt. However, Wb I,
55,12-13 includes the GR writing but transliterates as iwnn, following the more traditional writing. Wilson (PL 54)
and CDME 13 agree with Wb, which I follow here.
1526
The ritual unbolting of the naos, in which the king withdraws the bolt to the door and then breaks the seal so that
the shrine door can be opened. See Graefe, Versiegelung, 147; cf. Moret, Culte, 35-36 (pBerlin, III, 3; Abydos I, p.
35, 2nd Scene).
1527
Wb III, 209,1-8; PT; GR. The term HD, "shrine, chapel," carries with it the connotation of light, due to its
homonym that means "light, bright." Wilson, PL 696, suggests that it may thus reference "the divine glow given off
by images of gods in their shrines."
1528
sfx Dba means lit., "release/remove the finger," referring of the finger of Seth being removed from the Eye of
Horus, so that the door to the shrine can be opened. See Te Velde, Seth, 49.

370
 Living Image of 76,8 the Hereditary prince of the anx n 76,8 r-pa.t nTr.w sqA sxm.w
gods,1529 who exalts the (divine) powers in their place. m s.t=sn
ROYAL RANDZEILE ROYAL RANDZEILE
The Good God lives, He who unbolts the door-leaves of anx nTr nfr sqr aA.wy nn.t wn aA.wy
heaven, who opens the door-leaves of the horizon Ax.t n(.t) Nbw.t sS 76,9 pr Nbw.t r
(=temple) of the Golden one (f.), who opens 76,9 the psD Hm.t=t wbn psD.t=s m-xt=s
sanctuary of the Golden one (f.) so that her Incarnation sqA kA=s Hr s.t wr.t nb xaw nsw.t-
shinesHer Ennead1530 shines behind herwho bi.ty ( )| BEHIND HIM: 76,10 sA
exalts her Ka upon the Great Seat, the Lord of crowns, anx wAs nb HA=f mi Ra D.t
the King of Upper and Lower Egypt ( )|. BEHIND
HIM: 76,10 All protection, life, and dominion are
behind him like Ra, for D.t-eternity.
HATHOR HATHOR
76,11 Words to say by Hathor, Lady of Iunet, Eye of Ra, 76,11 Dd mdw in @.t-Hr nb(.t)
Mistress of Humankind,1531 Mistress of the Two Lands: Iwn.t Ir.t-Ra nb.ty.t rxy.t Hnw.t
I cause that dread of you 76,12 goes around in the Two tA.wy di=i snD.t=k 76,12 pHr m
Lands, the dread of you among people.1532 tA.wy nrw=k m-xt Hr.w
DIVINE RANDZEILE DIVINE RANDZEILE
76,13 Female King of Upper and Lower Egypt, the 76,13 nswy.t-bi.ty.t Ax.ty.t xa m
Horizon-Dweller (f.) who appears in the horizon Ax.t xntS psd.t n mAA=s itn.t twt=s
(=temple), the Ennead rejoice to see her. The Atenet, r itn Haa Hr.w n mAA stw.t=s StA.t
she is like the Aten, people rejoice to see her rays, more xprw r nTr.w nTr.wt @.t-Hr wr.t
Hidden One (f.) of manifestation than (that of) the gods nb.t Iwn.t
and the goddesses, Hathor the Great, Lady of Iunet.

1529
Wb II, 416,5: r-pa.t nTrw, "Hereditary Prince of the Gods," is a title of the earth god Geb.
1530
Preys, Hathor Protection, 353, defines the Ennead of Hathor at Dendera (on north montant of Staircase
Chamber, D VI, 140,2-6) as follows: Hathor the Great, Lady of Iunet; Horus of Edfu, the Great God, Lord of
Heaven; Hathor, Lady of Iunet, Uraeus of Ra; Harsomtus, the Great God who resides in Iunet; Ihy the Great, son of
Hathor; Harsomtus the Child, son of Hathor; Hathor, Lady of Iunet, Eye of Ra, Chief of the Great Seat; Hathor,
Lady of Iunet, the Menit; Harsomtus, the Great God, Lord of Khadi; Osiris-Wennefer, justified, the Great God who
resides at Iunet; Isis the Great, Mother of the God. Cf. Cauville's "pantheon of Dendera," in n. 794.
1531
The epithet, nb.ty.t-rxy.t, belonging primarily to Isis, emphasizes her role as the queen who guarantees the
passage of royal power from the father Osiris to his son Horus. At Dendera, Hathor especially carries this title on the
left walls of the temple, where she takes the place of Isis. See Preys, Isis et Hathor, 351, who notes the necessity of
a deeper study into the following issues: the reason for placing Hathor nb.ty.t-rxy.t in a particular scene; the
processes by which Hathor is identified to Isis (via the latter's epithets, e.g. nb.ty.t rxy.t or xnty.t Iwn.t), or vice versa
(with Isis carrying Hathor's epithets, e.g. Nbw.t or part of Hathor's great titulary).
1532
Wilson, PL 878, suggests that dread of the king and gods in the land "is a tool used by the king and gods to
subjugate people." See Vazquez-Presedo, Schreckens.

371
 East and West Walls, 1st Register, 2nd Scene

D III, pls. 180; 190, IFAO

Doc 46
Doc 47
D III,
D III,
65,6
77,2-9
66,3

East Wall, 1st Register, 2nd Scene West Wall, 1st Register, 2nd Scene

372
Doc 46 East Wall, 1st Register, 2nd Scene: D III, 65,5 66,3

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
65,5 Releasing the bolt (lit. removing the finger).1533 65,5 sfx Dba Dd mdw 65,6 sTA.n=i
Words to say: 65,6 I have undone the earth (clay?) tA sfx.n=i Dba ink ib 65,7 n Ra
(seal), I have released the bolt. I am the Heart 65,7 of
Ra.1534
KING KING
65,8 King of Upper and Lower Egypt ( )|, son of Ra, 65,8 nsw.t-bi.ty ( )| sA Ra ( )| snn
Image of the Ibis1535 65,9 who brings the Udjat-Eye to n !b 65,9 in wDA.t n nb=s rdi Ax.t
her lord, who places the Shining Eye at the place where r s.t wnn=s
it habitually is.1536
ROYAL RANDZEILE ROYAL RANDZEILE
The Good God lives, Image of Isden,1537 who equips the anx nTr nfr iwa n Isdn apr anx.t n
(living) Eye of her lord, who saves 65,10 the Eye of nb=s nHm 65,10 Ir.t-@r m-a ir
Horus from the one who does it harm, who fills the qn=s mH wDA.t m dbH.w=s sip
Udjat-Eye with its parts, who inspects the (bright/clear) sb(A)q.t sAx Ax.ty nb xa.w nsw.t-
Eye,1538 who makes the shining/effective Eyes bi.ty ( )| BEHIND HIM: 65,11
shining/effective, Lord of crowns, King of Upper and sA anx wAs nb HA=f mi Ra d.t
Lower Egypt ( )| BEHIND HIM: 65,11 All protection,
life, and dominion are behind him, like Ra, for D.t-
eternity.
HATHOR HATHOR
66,1 Words to say by Hathor the Great, Lady of Iunet, 66,1 Dd mdw in @.t-Hr wr.t nb.t
Eye of Ra, Lady of Heaven: I give you the palace (lit. Iwn.t Ir.t-Ra nb.t p.t di=i n=k
cool place), 66,2 stable (due to) possessing your good mnqb 66,2 mn Xr nfr.w=k Ax.t-
deeds, the Horizon of the Two Lords possessing the nb.wy Xr Sfy.t=k
awe-inspired terror1539 of you.

1533
Cf. Moret, Culte, 42-43 (pBerlin, III,8).
1534
Wb I, 59,16-17; GR: ib n Ra, "Heart of Ra," is an epithet of Thoth, as well as of Khonsu. Stadler, Weiser, 18,
notes that this epithet seems to allude to the Creation, although not explicitly. Because the heart in Egyptian thought
is the seat of intelligence and decision-making, this epithet identifies Thoth with the knowledge and realization of
the creator god. See Stadler, Weiser, 376; 380.
1535
The king's epithet, snn n !b, "image of the Ibis," refers to Thoth.
1536
Lit., "where it is," i.e. to the place where the Eye should be.
1537
Wb I, 134,9. Isdn is an epithet of Thoth since the end of the NK; originally an independent god, he became (like
Isdes) a manifestation of Thoth, attested from NK to GR, determining the lifetime of humans, judging, and giving
written and oral instructions. The King can be characterized as the descendent, heir, or "image" of Isden. See
Grieshammer, Isden, 184-185; Boylan, Thoth, 201; Bonnet, RRG, 326.
1538
sbAq.t or sbq.t, derived from sbq, "to be clear, bright" (Wb IV, 94,13-13; GR; PL 817).
1539
Wb IV, 457,2 459,7; PL 1004. Sfy.t, "awesomeness; awe-inspired terror, fear, majesty," is regarded as a
synonym of Ma'at in Ma'at offerings, due to its representation by the forepart (and thus throat) of the ram, because
the word for throat (mr.t) is a close homonym of Ma'at, who was considered the throat of the god through which he
obtains air and food, i.e. the sustenance of life. See discussion in 5.1.2. The reference to Sfy.t of the King is thus also
a subtle allusion to his responsibility in maintaining Ma'at, with the use of his awesome power to do so. Van der
Plas, Crue du Nil, 92-93, suggests that mysterium tremendum perhaps best evokes the underlying emotional
response to the Sfy.t of a god or king.

373
 DIVINE RANDZEILE DIVINE RANDZEILE
The Female King of Upper and Lower Egypt, the Atenet nsw.t-bity.t itn.t
in the temple (or "horizon"), Hidden One (f.) of form xnt Ax.t txn(.t) sSm=s r tpy.w-tA
from the living, the Great (living) Eye, 66,3 preserved in anx.t 66,3 wr.t Hn.ti m HD=s sStA.t
her shrine, whose brightness1540 is hidden1541 from the msxa r psD.t psD m nn.t m xrt-hrw
Ennead, who shines in the sky daily, Hathor the Great, @.t-Hr wr.t nb.t Iwn.t
Lady of Iunet.

Doc 47 West Wall, 1st Register, 2nd Scene: D III, 77,2-9

Green words for "open"

Orange words for "shine," "light," etc. (also by allusion)

Translation Transliteration
TITLE TITLE
77,2 Revealing (lit. opening) the face of the Golden 77,2 wn Hr n Nbw.t m HD=s Sps
One (f.) in her noble shrine.1542
KING KING
77,3 King of Upper and Lower Egypt ( )| son of Ra ( )| 77,3 nsw.t-bi.ty ( )| sA Ra ( )| IHy
Ihy of the Golden One (f.), 77,4 who opens (reveals) the n Nbw.t 77,4 wn Hr n Hnw.t=f sS
face of his mistress, who opens the doors of heaven of aA.wy n p.t n pr=s
her sanctuary.
ROYAL RANDZEILE ROYAL RANDZEILE
77,5 The Good God lives, son of He who unites with anx nTr nfr sA %mA-mAa.t snn n r-
Ma'at (=Thoth), the Image of the Hereditary Prince of pa.t nTr.w sqr 77,5 aA.wy Iwn.t r
the gods,1543 who unbolts 77,5 the doors of Iunet in wbn Nbw.t wp aA.wy nn.t=s r
order that the Golden one (f.) shines/appears, who pr=s psD PsD.t=s m Hb=s nfr nb
opens the door-leaves of her heaven in order that she xaw nsw.t=bi.ty ( )| BEHIND
goes forth, her Ennead1544 shines during her beautiful HIM: 77,6 sA anx wAs nb HA=f mi
festival, Lord of crowns, the King of Upper and Lower Ra D.t
Egypt ( )|. BEHIND HIM: 77,6 All protection, life,
and dominion are behind him like Ra, for D.t-eternity.

1540
Cauville, Dend Trad III, p. 132, transliterates as StAt.
1541
Lit., "Hidden one (f.) of brightness."
1542
Cf. Moret, Culte, 49 (pBerlin, IV,3), described by Moret as "Apparition du dieu la lumire."
1543
Wb II, 416,5: r-pa.t nTrw, "hereditary prince of the gods," is a title of the earth god Geb.
1544
Preys (Hathor Protection, 353) defines the Ennead of Hathor at Dendera as the following (listed on the north
montant of the Staircase Chamber, D VI, 140,2-6): Hathor the Great, Lady of Iunet; Horus of Edfu, the Great God,
Lord of Heaven; Hathor, Lady of Iunet, Uraeus of Ra; Harsomtus, the Great God who resides in Iunet; Ihy the Great,
son of Hathor; Harsomtus the Child, son of Hathor; Hathor, Lady of Iunet, Eye of Ra, Chief of the Great Seat;
Hathor, Lady of Iunet, the Menit; Harsomtus, the Great God, Lord of Khadi; Osiris-Wennefer, justified, the Great
God who resides at Iunet; Isis the Great, Mother of the God. Cf. Cauville's "pantheon of Dendera," in n. 794.

374
 HATHOR HATHOR
77,7 Words to say by Hathor, Lady of Tarer,1545 Eye of 77,7 Dd in @,t-Hr nb(.t) &A-rr Ir.t-
Ra, Lady of heaven: I have opened the light in your Ra nb(.t) p.t wn.n=i sSp m Ssp.t=k
chapel. 77,8 I have dispelled the darkness in your 77,8 dr.n=i kkw m pr=k
sanctuary.1546
DIVINE RANDZEILE DIVINE RANDZEILE
Female King of Upper and Lower Egypt, Rayt in nswy.t-bi.ty.t Ray.t m _i(.t)-
heaven (lit. She Who Gives Love), Beautiful One (f.) of mr(w).t an.t xaw m tA-n-Itmw wbn
appearance in the Land of Atum (=Dendera), who m tA mi psD-m-nbw 77,9 wpS
shines on the earth like He who shines like gold (=Ra), mAw.t=s ndb anx nTr.w rmT n
77,9 her rays illuminate the (whole) earth, gods and mAA=s @.t-Hr wr.t nb.t Iwn.t
people live in seeing her, Hathor the Great, Lady of
Iunet.

1545
&A-rr, "Tarer," a name of Dendera (Wb V, 226,1; GR). Kockelmann, Toponymen, 65-66 discusses the name,
noting that according to Dmichen (Bauurkunde, 30), Iunet and Tarer are the most frequently-used names in the
inscriptions of the Temple of Dendera. Because they are used interchangeably, Kockelmann (65) argues against the
idea that Tarer is the "profane name" and Iunet is the "theological name" (contra Dmichen, Bauurkunde, 30; Preys,
Complexes, 49). Myliwiec, Atum, 52, suggests that when written as a rebus with serpents, Tarer alludes to &A-n-Itm
("Land of Atum," another name of Dendera) and Atum's form as a primeval snake. Examples include D III, 57,5,

; D IV, 232,2, ; D VIII, 122,13: .

1546
It is interesting that Hathor calls the Per-wer Sanctuary "your" (=King's) chapel, rather than "my" chapel.

375
 East and West Walls, 1st Register, 3rd Scene

D III, pls. 180; 190, IFAO

Doc 48 Doc 49
D III, D III,
66,5- 77,11
67,3 78,12

East Wall, 1st Register, 3rd Scene West Wall, 1st Register, 3rd Scene

376
Doc 48 East Wall, 1st Register, 3rd Scene: D III, 66,5 67,3

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
66,5 Seeing the god.1547 Words to say: I have 66,5 mAA nTr Dd mdw dg.n=i 66,6
perceived1548 66,6 the dread1549 of She who shines like snD.t n.t Wbn.t-m-nbw sbAq.n=i
gold. I have brightened the dignity of 66,7 her Ka, I qfA.t n(.t) 66,7 kA=s sqA.n=i
have exalted her perfection to the height of heaven, her nfrw=s r qA n p.t pXr 66,8 ib=s m
heart 66,8 rejoices1550 with my utterances (recitations, tpy.w-rA=i
spells?)
MA'AT MA'AT
66,9 Words to say by Ma'at the great in the Temple of 66,9 Dd mdw in MAa.t wr.t xnt H.t-
Ma'at, daughter of Ra in the Sanctuary of the Noble MAa.t sA.t Ra xnt pr-Sps.t 66,10
Lady. 66,10 How beautiful is your face, Golden One nfr.wy Hr=t Nbw.t nb(.t) Iwn.t sA.t
(f.), Lady of Iunet, daughter of Ra in the Sanctuary of Ra xnt pr Sps.t di=i n=T iAw r qA n
the Noble Lady. I pay you homage to the height of p.t sn-tA(=i) r wsH n tA
heaven, I kiss the ground to the breadth of the earth.
KING KING
66,11 King of Upper and Lower Egypt ( )|, son of Ra ( )|, 66,11 nsw.t-bi.ty ( )| sA Ra ( )| ti.t
the sacred image 66,12 of the lords of purification, who Dsr(.t) 66,12 n nb.w twr mAA
sees the Golden One (f.) in (a state of) great purity. Nbw.t m abw wr
ROYAL RANDZEILE
The Good God lives, heir of the One who knows the ROYAL RANDZEILE
Two Lands,1551 who sees the Golden One (f.) in 66,13 anx nTr nfr iwa n am-tA.wy mAA
her sacred form,1552 who leads to the palace in great Nbw.t m 66,13 ti.t=s Dsr(.t) bs r
purity, who clothes with his clothes of "seeing the god," aH m abw wr ST m ST=f n mAA nTr aq
who enters in peace, who exits in joy, Lord of m Htp pr m xntS nb abw sA Ra
Purification, son of Ra 66,14 ( )| BEHIND HIM: All 66,14 ( )| BEHIND HIM: sA anx
protection, life, and dominion are behind him, like Ra, wAs nb HA=f mi Ra d.t
for D.t-eternity.
HATHOR HATHOR
67,1 Words to say by Hathor the Great, Lady of Iunet, 67,1 Dd mdw in @.t-Hr wr.t nb(.t)
Iwn.t

1547
Moret, Culte, 55-56 (pBerlin, IV,6).
1548
The word dgi, "to see," also means "to perceive" (Wb V, 497,4 498,24; PL 1212), i.e. to become aware of
through the senses, thus alluding to the experience of the priest upon opening the shrine of the goddess, described in
the text at: D III, 42,12: mAA.n=i Sfy.t n.t Bik-n-Nbw.t wArx snD.t=f m Ha=i, "I have seen the awe-inspired terror of the
Falcon of the Golden One (f.), and the dread of him is flooded in my body."
1549
I.e. the awesome, fear-inducing presence of the goddess.
1550
pxr-ib, lit. "the heart goes around." Wilson (PL 366) notes that comparison with Demotic and Coptic suggests
the meaning, "charming of the heart."
1551
Wb I, 184,2: am-tA.wy, "the One who knows the Two Lands," is an epithet of Thoth, alluding to his role as "All-
Knowing," a characteristic already apparent in the MK (e.g. CT V, 306a.d.). See also Kurth, Thot, 506; Boylan,
Thoth, 103;183.
1552
The word ti.t is written , "image, form" (Wb V, 239,1 240,11), rather than , "chapel" (Wb V,
240, 12). Thus, m ti.t=s Dsr.t may be read as, "in her sacred form," or (assuming a scribal error in the determinative),
"her sacred chapel."

377
 Eye of Ra, Lady of Heaven, Mistress of all the gods, the Ir.t-Ra nb(.t) p.t Hnw.t nTr.w
Noble Primordial One (f.) in Tarer,1553 67,2 gods and nb(.w) Sa.t Sps.t xnt tA-rr 67,2 anx
men live to see her. I cause for you that men are praising nTr.w rmT n mAA=s di=i n=k TA.w
the awe-inspired terror of you1554 and women hasten in (Hr) dwA n Sfy.t=k Hm.wt Hw=sn r
order to see you. mAA=k
DIVINE RANDZEILE DIVINE RANDZEILE
The Female King of Upper and Lower Egypt, Rayt, nsw.t-bi.ty.t Ray.t sA.t Ra Itn.t 67,3
daughter of Ra, the Atenet 67,3 in the circuit of the sun m Sn n Itn an.t xaw m NTry imytw
disk, the Beautiful One (f.) who appears in Netjery PsD.t=s anx Hr-nb n mAA=s dwA.tw
(=Dendera) among her Ennead, everyone lives in seeing r dwA=s ra-nb sp sn.nw @.t-Hr
her . One rises early in the morning in order to adore wr.t nb(.t) Iwn.t Ir.t-Ra
her every single day, Hathor the Great, Lady of Iunet,
Eye of Ra.

1553
&A-rr, "Tarer," a name of Dendera (Wb V, 226,1; GR). Kockelmann, Toponymen, 65-66, discusses the name,
noting that according to Dmichen (Bauurkunde, 30), Iunet and Tarer are the most frequently-used names in the
inscriptions of the Temple of Dendera. Because they are used interchangeably, Kockelmann (65) argues against the
idea that Tarer is the "profane name" and Iunet is the "theological name" (contra Dmichen, Bauurkunde, 30; Preys,
Complexes, 49). Myliwiec, Atum, 52, suggests that when written as a rebus with serpents, Tarer alludes to &A-n-Itm
("Land of Atum," another name of Dendera) and Atum's form as a primeval snake. Examples include D III, 57,5,

; D IV, 232,2, ; D VIII, 122,13: .

1554
Wb IV, 457,2 459,7; PL 1004. Sfy.t, "awesomeness; awe-inspired terror, fear, majesty," is regarded as a
synonym of Ma'at in Ma'at offerings, due to its representation by the forepart (and thus throat) of the ram, because
the word for throat (mr.t) is a close homonym of Ma'at, who was considered the throat of the god through which he
obtains air and food, i.e. the sustenance of life. See discussion in 5.1.2. The reference to Sfy.t of the King is thus also
a subtle allusion to his responsibility in maintaining Ma'at, with the use of his awesome power to do so.Van der Plas,
Crue du Nil, 92-93, suggests that mysterium tremendum perhaps best evokes the underlying emotional response to
the Sfy.t of a god or king.

378
Doc 49 West Wall, 1st Register, 3rd Scene: D III, 77,11 78,12

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
77,11 Adoring the god.1555 Words to say: I have paid 77,11 dwA nTr Dd mdw HfA.n=i
homage 77,12 to your (f.) face, my mouth possessing 77,12 m Hr=t rA=i Xr sns.w Hry-
the prayers, my heart possessing 78,1 your (magical) mk.t=i Xr 78,1 tpy.w-rA=t dwA.n=i
utterances. I have adored your Incarnation, I have Hm.t=t sqA.n=i nfrw=T 78,2 swr=i
exalted your beauty/goodness, 78,2 I make your Bas bAw=t r ntr.w ntr.wt
greater than (those of) the gods and goddesses.
MA'AT MA'AT
78,3 Words to say by Ma'at the great, daughter of Ra in 78,3 Dd mdw in MAa.t wr.t sA.t Ra
the Place of Ra, the gods and men live to see her. 78,4 m s.t Ra anx nTr.w rmT n mAA=s
How beautiful is your face, daughter of Ra in the 78,4 nfr.wy Hr=t sA.t Ra n pr-Ra
Sanctuary of Ra, Noble Lady in the Sanctuary of the SpS.t xnt pr-Sps.t a.wy=i m iAw m
Noble Lady, my arms are in adoration before your Hr=t nfr swAS=i Hm.t m mrr.t=t
beautiful face, I praise your Incarnation with what you
love.
KING KING
78,5 King of Upper and Lower Egypt ( )|, son of Ra ( )|, 78,5 nsw.t-bi.ty ( )| sA Ra ( )| wab-
Ihy-w'ab, Effective One 78,6 of mouth, who reads IHy Ax 78,6 rA Sd Hb.t bnr ns Hr nis
(aloud) the festival book, Sweet one of tongue in Hknw
reciting the (hymns of) praise.
ROYAL RANDZEILE ROYAL RANDZEILE
The Good God lives, Equal of Isden,1556 Exact one of anx nTr nfr sn.nw n Isden aqA Ddw
speech, Complete one 78,7 of craft, who exalts the twt 78,7 Hmw sqA nfrw n Nbw.t
perfection of the Golden One (f.), Lady of Iunet, who nb.t Iwn.t dwA-nTr n Wbn.t-m-nbw
"praises the god" for the One (f.) who shines like gold, dwA kA n mw.t=f m rn(.w)=s nb.w
who praises the Ka of his mother in all of her names,1557 nb.t xaw sA Ra ( )| 78,8 BEHIND
the Lord of crowns, son of Ra ( )|, 78,8 BEHIND HIM: HIM: sA anx. wAs nb HA=f mi Ra
All protection, life, and dominion are behind him, like D.t
Ra, for D.t-eternity.
HATHOR HATHOR
78,9 Words to say by Hathor the Great, Lady of Iunet, 78,9 Dd mdw in @.t-Hr wr.t nb.t
Eye of Ra, Lady of Heaven, Mistress of all the gods. The Iwn.t Ir.t-Ra nb.t p.t Hnw.t nTr.w
gods and goddesses praise her for the greatness of her nb.w dwA sy nTr.w nTr.wt n wr n
78,10 Ba-power. I cause for you that the pa.t-people are 78,10 bAw=s di=i n=k pa.t Hr
praising your Incarnation and the rxy.t-people are swAS n Hm=k rxy.t (Hr) dwA n=k
thanking the god for you. nTr

1555
Cf. Moret, Culte, 67-68 (pBerlin, V, 3).
1556
Wb I, 134,9. Isdn is an epithet of Thoth since the end of the NK; originally an independent god, he became (like
Isdes) a manifestation of Thoth, attested from NK to GR, determining the lifetime of humans, judging, and giving
written and oral instructions. The King can be characterized as the descendent, heir, or "image" of Isden. See
Grieshammer, Isden, 184-185; Boylan, Thoth, 201; Bonnet, RRG, 326.
1557
Gutbub, Hathor, 341-342, notes that a similar epithet, nfr.t m rn.w=s nb.w, "the beautiful one in all of her
names," is an epithet of Isis.

379
 DIVINE RANDZEILE DIVINE RANDZEILE
The Female King of Upper and Lower Egypt, nsw.t-bi.ty.t ^SA.t SAa.t SAa 78,11
Seshat,1558 the Primordial One (f.) who invented spXr nb.t sS HqA(.t) mDA.wt Sps.t
78,11 writing,1559 Lady of writing,1560 Female Ruler of wsr.t n k.t Hr xw=s Itn.t psD m
scrolls, Noble and Powerful Lady, without another nn.t pr(.t) m rA=s xpr Hr-a @.t-Hr
except for her, the Atenet who shines in the sky. What wr.t nb.t Iwn.t
goes forth from her mouth comes into being at once,
Hathor the Great, Lady of Iunet.

1558
Assimilated with Seshat, Hathor takes on the role of Thoth's partner. See Bleeker, Hathor and Thoth, 69; Budde,
Seschat, 11 and n. 64. See also Klotz, Kneph, 160, who notes that as the partner of Khonsu and Khonsu-Thoth at
Thebes, "Hathor within the Benenet" was also partially or directly assimilated with the goddess Seshat. See also
Dargardin in Luft's The Intellectural Heritage of Egypt, 104-112. This epithet of Hathor appears at Edfu (E II, 99,7;
100,14), as well as at Qasr el-Ghueita in the el-Kharga Oasis. See Klotz, Kneph, 158-159 n. 661.
1559
Wb IV, 106,11 107,6; OK. The term, spXr, "to write, inscribe," in GR refers to a variety of different types of
inscriptions. Wilson, PL 830, notes that spXr is most often accomplished by gods, such as Thoth or Seshat, who are
associated with writing. In the present text, in which Hathor is assimilated to Seshat, she is characterized as the
inventor of writing (a feat usually attributed to Thoth).
1560
Wb III, 475,6 476,15; PT; also transliterated as sX. This word seems to have a more restricted context than
spXr (discussed in the previous footnote), referring to the writing of texts on papyrus, wooden boards, or temple
walls (PL 920).

380
7.5 South Wall of Per-wer

South Wall, 3rd Register

Doc 50 Doc 51
D III 73,16 D III 85,12
74,7 86,4

D III, pl. 190, IFAO

South Wall, 3rd Register, East Side South Wall, 3rd Register, West Side
Mariette D II, pl. 67a D III, pl. 190

381
Doc 50 South Wall, 3rd Register, East Side: D III, 73,16 74,7

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
73,16 Presenting the mirror1561 to his mother, the 73,16 siar wn(.t)-Hr n mw.t=f
Powerful one (f.). wsr.t
KING KING
73,17 The King of Upper and Lower Egypt ( )|, son of 73,17 nsw.t-bi.ty ( )| sA Ra ( )|
Ra ( )|.
ROYAL RANDZEILE ROYAL RANDZEILE
Words to say: I have come1562 74,1 before you, Dd mdw ii.n=i 74,1 xr=T Itn.t
Atenet,1563 Lady of the Horizon, Noble and Gentle Lady nb.t Ax.t Sps.t imA.t ib n Ra in(=i)
of the Heart of Ra,1564 I bring to you the mirror1565 that n=t anx nbi.n @nw qmA m
Henu fashioned,1566 created by his own hands, for you are a.wy=f(y) Ds=f tw=t wr.t nb.t
the Great one (f.), Lady of the Uraeii, 74,2 Luminous one iar.wt, 74,2 sSp(.t) stw.t mi it=s
(f.) of rays like her father. BEHIND HIM: All BEHIND HIM: sA anx wAs nb
protection, life, and power are behind him, like Ra, for HA=f mi Ra D.t
D.t-eternity.

1561
The term wn.t-Hr, frequently used in mirror-offering texts of the Graeco-Roman period, first appears during the
Saite Period, where it is found on the base of a 26 th dynasty statue of a woman, found at Mendes (Husson, Miroir, 37
n. 200, citing Piehl, Mends, 27-31). Husson (37) notes that one ideogram of a mirror (used here) can be
transliterated as either wn-Hr or wn.t-Hr; two ideograms as wn.wy-Hr or wn.ty-Hr, transliterating with the t only when
it appears in the hieroglyphs. I have chosen to transliterate it here as wn.t-Hr (placing the .t in parenthesis if the t-loaf
does not appear in the writing. This choice follows Wb. I, 313, and is supported by the fuller writing in the parallel
mirror-offering scene (Doc 51: D III, 86,3).
1562
Reading the sDm.n=f here as perfect, following Kurth, EP II, 236, contra its translation as an emphatic relative
clause (compare Cauville, Dend Trad III, p. 145).
1563
The Itn.t (Atenet) is the female Aten, or sun disk, an epithet of Hathor in her role as the Right Eye of the sun god
Ra. The word, itn.t, is also another word for mirror, which is itself a symbol of the sun. See Husson, Miroir, 38;
Bndite, Miroirs, iv; PL 121. The use of this epithet thus creates a link between the offering and its divine recipient.
1564
Wb I, 59,16-17; GR: ib n Ra, "Heart of Ra," is an epithet of Thoth, as well as of Khonsu. Stadler, Weiser, 18,
notes that this epithet seems to allude to the Creation, although not explicitly. Because the heart in Egyptian thought
is the seat of intelligence and decision-making, this epithet identifies Thoth with the knowledge and realization of
the creator god. See also Stadler, Weiser, 376; 380.
1565
The term anx for mirror is attested since the Old Kingdom, where it is called anx mAA Hr (miroir, vision du
visage) in a mastaba from the reign of Pepi II (Husson, Miroir, 35 n. 178, citing Jquier, Saqqara, 51, fig. 55).
1566
Henu is a craftsman aspect of Sokar comparable to Ptah (PL 160), as well as the personification of the god
Sokar himself (PL 652). As early as the PT (620b-c), Henu can be represented ideographically by Sokars Hnw-

barque, (P61B) (LGG 159-160), as in this scene, with or without phonetic complements, and with or without
an additional seated-god determinative. A text in the 19th Dynasty tomb of Neferhotep (TT 50) equates Henu with
Sokar: Dd.tw r=s st.n=f %kr. Di-k Hnw Hr m-a xdt=f, pHr=k inb.w m Smsw.t=f, "One says concerning you: He has
drawn the Sokar barque.' You have placed Henu on his sledge; you have circled the walls in his following," in M.
Lichtheim, The Songs of the Harpers, JNES 4 no. 3 (1945): 178-212, pl. I, line 6, from left rear wall of hall).
References to Henu in Ptolemaic temples frequently occur in the context of offering the mirror(s), which he is said
to create (D III, 17,7; 74,1; 151,14; 192,13); he fulfills this function at Kom Ombo (KO 492), as noted by Husson,
Miroir, 206. The king is also called the child (D III, 142, 1-2) or son (D III, 142,2) of Henu, or engendered (D III
192,16) by Henu. See also Aufrre, L'univers minral, 1991; P. Munro, ZS 95 (1969): 92-109; Piehl, RecTrav 3
(1882): 28.

382
 HATHOR HATHOR
74,3 I cause (that) everyone rejoices in seeing you, and 74,3 Di=i Haa Hr-nb n mAA=k
(that) the love of you goes about in (their) hearts. Hathor. mrw.t=k pXr m ibw @.t-Hr biA
Bronze plated in gold, 74,4 throne in gold, her limbs in sam m nbw 74,4 bHdw nbw
gold. Ha.w=s m nbw
NAOS NAOS
74,5 Cedar, height: 3 cubits, 1 palm; width: 1 cubit, 3 74,5 aS qA mH 3 Ssp 1 wsx mH 1
palms; depth: 2 palms. Ssp 3 Aw(.t) Ssp 2
DIVINE RANDZEILE DIVINE RANDZEILE
74,6 Words to say: Welcome in peace, Good God, 74,6 Dd mdw ii.ti m Htp nTr nfr
Beautiful One of face, Good Ruler upon the throne dais. I an Hr HqA nfr xnt TnTA(.t) Ssp.n=i
have received the mirror that was on your hand. 74,7 Its anx wn tp a=k 74,7 Xnm stw.t=f
light unites with (i.e. reflects) my body. I give you your Haw=[i]* di=i n=k Ax.ty=k(y)
(whole, uninjured, divine) Eyes, (being) effective in Ax.ti m s.t=sn, sbAq=i Haw=k r
their place. I make clean (or "protect") your body from Dw
evil.1567

Doc 51 South Wall, 3rd Register, West Side: D III, 85,12 86,4

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
85,12 Presenting the mirror1568 to his mother, the 85,12 siar wn.t-Hr n mw.t=f
Powerful one (f.). wsr.t
KING KING
85,13 King of Upper and Lower Egypt ( )|, son of Ra ( )|. 85,13 nsw.t-bi.ty ( )| sA Ra ( )|
ROYAL RANDZEILE ROYAL RANDZEILE
Words to say: I have come1569 85,14 before you, Dd mdw ii.n=i 85,14 xr=T Itn.t
Atenet,1570 Lady of the Horizon, Noble and Gentle Lady of nb(.t) Ax.t Sps.t imA(.)t ib n Ra

1567
Literally, I make clean your body from evil. Interestingly, sbAq (protect/make clean) may be related to the
word sbAq.t eye (the clean Eye, as opposed to the whole Eye, wDA.t). Note that the word used for Egypt in
the 3rd Register of the west wall is bAk.t, spelled with the wDA.t-sign.
1568
The term wn.t-Hr, frequently used in mirror-offering texts of the Graeco-Roman period, first appears during the
Saite Period, where it is found on the base of a 26 th dynasty statue of a woman, found at Mendes (Husson, Miroir, 37
n. 200, citing Piehl, Mends, 27-31). Husson notes that the indeogram of a mirror (used here) can be transliterated as
either wn-Hr or wn.t-Hr; two ideograms as wn.wy-Hr or wn.ty-Hr, transliterating with the t only when it appears in the
hieroglyphs. I have chosen to transliterate it here as wn.t-Hr, following Wb. I, 313, and as well as the fuller writing in
the parallel mirror-offering scene in the Per-wer, located in the 3rd register at the west side of the south wall, at D III,
86,3, whose fuller writing of the word does include the t-loaf (contra Cauville, Dend Trad III, p. 406, who renders it
wn-Hr).
1569
sDm.n=f here as perfect, following Kurth, EP II, 236, contra a translation as present tense. Cf. Cauville, Dend
Trad III, p. 145.
1570
The itn.t (Atenet) is the female Aten, or sun disk, an epithet of Hathor in her role as the Right Eye of the sun god
Ra. itn is another word for mirror, which is itself a symbol of the sun, whose often elliptical appearance is copied in
the shape of the mirror's disk. See Husson, Miroir, 38; Bndite, Miroirs, iv; Wilson, PL 121. The use of this epithet
thus creates a link between the offering and its divine recipient.

383
 the Heart of Ra, I bring to you the mirror1571 that Henu in=i n=t anx nbi.n @nw qmA m
fashioned,1572 created by his own hands, for you are the awy=f(y) Ds=f tw=t wr.t nb(.t)
Great One (f.), Lady 85,15 of the Uraeii, Luminous one 85,15 iar.wt sSp(.t) stw.t mi Ra
(f.) of rays like Ra. BEHIND HIM: All protection, life, BEHIND HIM: sA anx wAs nb
and dominion are behind him, like Ra, for D.t-eternity. HA=f mi Ra D.t
HATHOR HATHOR
86,1 I place the love of you in the hearts of men. Women 86,1 Di=i mrw.t=k m ib.w TA.w
rejoice to see you. Hathor, Lady of Iunet. Gold. (Scepters xntS Hm.wt n mAA=k @.t-Hr
of) life 86,2 and dominion in gold and every fine stone. nb(.t) Iwn.t nbw anx 86,2 wAs m
Height: 6 palms. nbw aA.t nb.t qA Ssp 6
DIVINE RANDZEILE DIVINE RANDZEILE
86,3 Words to say: Welcome in peace, Image of the 86,3 Dd mdw ii.ti m Htp, snn n
Luminous one,1573 Child of the Moon. I have received the iAxw, id n iwn-Haa Ssp.n=i wn.t-
mirror from the hand of your Incarnation. I see the 86,4 Hr m awy Hm=k mAA=i nfr.w
beauties of my body. I give you the Two (healthy) Eyes, 86,4 nw D.t=i di=i n=k wDA.ty
(being) firm in their place, complete, (there being) no mn.ti m s.t=sn aD.ti n xb im=sn
lessening in them.

1571
The term anx for mirror is attested since the Old Kingdom, where it is called anx mAA Hr (miroir, vision du
visage) in a mastaba from the reign of Pepi II (Husson, Miroir, 35 n. 178, citing Jquier, Saqqara, 51, fig. 55.
1572
According to LGG, 159-160, @nw is the personified Sokar barque, often written ideographically, as it is here,

(P61B); it can also signify the god Sokar himself (PL 652). At Dendera, the king is called the son of Henu (in
Room L, the Ht-mnit, D III, 142,2). At Dendera, references to Henu frequently occur in offerings of the mirror,
which he is said to create (D III, 17,7; 74,1; 141,12, 142,1; 151,14; 192,13; 192,16); he also fulfills this function at
Kom Ombo (KO 492). See also Husson, Miroir, 206.
1573
IAxw is sunlight, personified as the sun god Ra (Wb I, 33,4; PL 34).

384
 South Wall, 2nd Register

Doc 52 Doc 53
D III, D III,
71,3-12 82,14
83,8

D III, pl. 190, IFAO

South Wall, 2nd Register, East Side South Wall, 2nd Register, West Side

385
Doc 52 South Wall, 2nd Register, East Side: D III, 71,3-12

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
71,3 Offering cloth to his mother, the Powerful One (f.). 71,3 Hnk mnx.t m mw.t=f wsr.t
IHY IHY
71,4 Ihy the Great, son of Hathor: Playing the sistrum 71,4 IHy wr sA @.t-Hr ir(.t) sSS.t n
for his mother. mw.t=f
KING KING
71,5 King of Upper and Lower Egypt ( )|, son of Ra ( )|. 71,5 nsw.t-bi.ty ( )| sA Ra ( )|
ROYAL RANDZEILE ROYAL RANDZEILE
The King of Upper and Lower Egypt 71,6 ( )| is upon wnn nsw.t-bi.ty 71,6 ( )| Hr
his throne, illuminating the body with the nine-strand xndw=f Hr sHD Haw m psD Hr DbA
linen,1574 clothing his mistress, covering her body, Hnw.t=f Hr sTAm Haw=s Hr rdi.t
giving 71,7 the bright cloth to Rayt, for he is the one 71,7 sSp.t n Ray.t sw m HAp iqr m
who conceals,1575 excellent in his duty, tying on his irw=f Hr arq Hnw.t=f m HD.t
mistress the bright white cloth. BEHIND HIM: All BEHIND HIM: sA 71,8 anx wAs
protection, 71,8 life, and power are behind him, like Ra, nb HA=f mi Ra D.t ABOVE HIM:
for D.t-eternity. ABOVE HIM: Nekhbet, the White Nxb.t HD.t Nxn
one (f.) of Nekhen.
HATHOR HATHOR
71,9 Words spoken by Hathor the Great, Lady of Iunet, 71,9 Dd mdw in @.t-Hr wr.t
Eye of Ra, Lady of Heaven, Mistress of all the gods, nb.t Iwn.t ir.t-ra nb.t p.t Hnw.t
Maat the Great, who is equipped with ornaments. nTr.w nb.w MAa.t wr.t apr.t Xkr.w
Bright one (f.) 71,10 of appearance in the Sanctuary of 71,10 THn.t xaw m pr-WADy.t
Wadjet,1576 the Lovely and Beautiful One (f.), who an.t nfr.t smnx-mnx.t Ray.t nb.t
makes excellent the cloth, the Atenet, Lady of Suns, ra.w Sps.t wsr.t n k.t Hr xw=s
the Noble and Powerful Lady, without another except itn.t 71,11 sSp tA.wy m HDD.wt=s
for her, the Atenet 71,11 who brightens the Two Lands
with her rays of light.
DIVINE RANDZEILE DIVINE RANDZEILE
She who shines like gold shines in Iunet as the <Noble wnn Wbn.t-m-nbw wbn.ti m Iwn.t
Lady>*1577 in the Sanctuary of the Noble Lady, 71,12 m <Sps.t>* xnt pr-Sps.t Hr 71,12
protecting the one who created her, driving away her mk.t qmA sy Hr dr xf.tyw=s Hr rdi.t
enemies, inspiring terror of her among the gods, for she nrw=s m nTr.w sy m nb.t Haa.wt
is the Lady of Joy, Mistress and Lady of Clothing, Lady Hnw.t nb.t wnx nb.t MAa.t THn.t
Xkrw
of Maat, the Bright One (f.) of ornaments.

1574
The word play in this line is discussed in Section 2.4.
1575
This statement refers to the concealing of Hathor's body (i.e. her statue) with the cloth.
1576
Kockelmann, Toponymen, 100-101 (citing Gauthier, DG II, 64-65) notes that due to Hathor's identification with
Wadjet, who is also a daughter of Ra, Dendera can be designated "the House of Wadjet."
1577
Error noted by Cauville, Dend Trad III, pp. 140-141. The signs in Chassinat D III, 71,11 are , which do not
make sense here.

386
Doc 53 South Wall, 2nd Register, West Side: D III, 82,14 83,8

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
82,14 Preparing the unguent. Words to say: Take for 82,14 ir(.t) mD.t Dd mdw m-n=t
yourself 82,15 the myrrh prepared by Shesmu,1578 your 82,15 antyw nwd n ^smw wArx
nose is flooded with its fragrance. fnD=t m 82,16 xnm=f
KING KING
82,17 King of Upper and Lower Egypt ( )|, son of Ra ( )|. 82,17 nsw.t-bi.ty ( )| sA Ra ( )|
ROYAL RANDZEILE ROYAL RANDZEILE
The King of Upper and Lower Egypt 83,1 ( )| is upon wnn nsw.t-bi.ty 83,1 ( )| Hr
his throne in the Great Sanctuary (i.e. Per-wer) as the bHdw=f m pr-wr m rw wr HqA tA-
Great lion and ruler of the Land of God, rejoicing the nTr Hr snDm ib Hr smar id.t Hr rdi.t
heart, clothing with perfume,1579 giving the divine id.t-nTr n Hr.t-tp sw mi 83,2 ^smw
perfume to the uraeus, for he is like 83,2 Shesmu, Lord nb is in Ir.t-@r apr m iry.w=s
of the workshop, who brings the Eye of Horus equipped BEHIND HIM: sA anx wAs nb
with its elements. BEHIND HIM: All protection, life, HA=f mi Ra D.t ABOVE HIM:
and power are behind him, like Ra, D.t-eternity. ABOVE 83,3 BHd.ty nTr aA nb p.t
HIM: 83,3 Behdety, the Great God, Lord of heaven.
IHY IHY
83,4 Ihy the Great, son of Hathor. Playing the sistrum 83,4 IHy wr sA @.t-Hr ir(.t) sSS.t n
for his mother, the Powerful one (f.). mw.t=f wsr.t
HATHOR HATHOR
83,5 Words spoken by Hathor the Great, Lady of Iunet, 83,5 Dd mdw in @.t-Hr wr.t nb.t
Eye of Ra, Lady of Heaven, Mistress of all the gods, Iwn.t Ir.t-Ra nb.t p.t Hnw.t nTr.w
Noble and Great Lady, Mistress of the God's Land nb.w Sps.t wsr.t Hnw.t tA-nTr 83,6
(=Dendera), 83,6 who follows her heart in the Valley of Sms ib=s m in.t antyw nDm sTi
Myrrh. Pleasant One (f.) of perfume, Sweet One (f.) of bnr.t mrw.t xnm=s Abx m HD=s
Love, she unites with the fragrance in her chapel. 83,7 MAa.t wr.t 83,7 THn.t xa.w itn.t wd
Maat the Great, Bright One (f.) of appearance, the st.wt mi it=s
Atenet, who shoots forth rays like her father Ra.
DIVINE RANDZEILE DIVINE RANDZEILE
The Eye of Ra, who shines in heaven, illuminating the wnn Ir.t-Ra psD m Hr.t Hr sSp p.t tA
sky and the land with her beauty,1580 83,8 giving joy, m nfrw=s Hr 83,8 rdi.t Aw.t-ib Hr
dispelling sadness, protecting her father from the enemy, rw.t HAw-ib Hr nD it=s m-a sbi

1578
Wb IV, 537,14 538,6. Shesmu is attested since PT as a god of wine and oils; his name is usually represented

by the ideogram of a wine press, (Aa23L), as in the present text. From the 19th Dynasty through GR, he is also
characterized as god of unguents and perfumes, carrying the title nb iswy, "Lord of the Laboratory" (E IV, 200,5)
and also associated with embalming. In his more fearsome aspect, he is a guardian deity who strikes down rebels
(Junker, Stundenwachen, 124 no. 5, in the 12 th Hour of the Night); he can be depicted as a lion (Ciccarello, Shesmu,
48). This leonine association agrees well with the King's epithet of "Great Lion" in the previous line (D III, 83,1).
See Ciccarello, Shesmu, 43-54; Helck, Schesemu, 590-591.
1579
Wb IV, 130,15 131,10. smar, "to clothe," can also include "clothing the body with oil" (E 187,18-19), as well
as meaning "to make happy" (E I, 116,4, cited by Wilson, PL, 845). Cauville, Dend Trad III, p. 157, translates the
phrase, Hr smar id.t, as "en train d'adoucir l'odeur."
1580
Alternatively, nfr.w, "good things."

387
 for she is the Female Falcon, the Dappled One (f.) of sy m bik.t nTry.t sAb.t Sw.t BHd.ty.t
Plumage, Behdetyt,1581 Lady of Punt. nb.t Pwn.t

1581
BHd.ty.t, the feminine form of "Behdety," means "She (who comes) from Behdet." Together with "Female
falcon," and "Dappled one (f.) of plumage," these epithets equating Hathor with the female counterpart of Horus
Behdety connect well with his image as a falcon, flying protectively over the head of the King.

388
 South Wall, 1st Register

1st Register 1st Register

East Side West Side
Doc 54 Doc 55
D III, 67,6 D III, 78,15
68,7 79,15

D III, pl. 190, IFAO

South Wall, 1st Register, East Side South Wall, 1st Register, West Side

389
Doc 54 South Wall, 1st Register, East Side: D III, 67,6 68,7

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
67,6 Offering Ma'at. Take for yourself Ma'at, 67,7 67,6 Hnk mAa.t m-n=t 67,7 mAa.t
Ma'at is your (f.) name, it is Ma'at, that one calls your MAa.t rn=t MAa.t pw kA.tw r Hm.t=t
(f.) Incarnation, it is the throat,1582 I have presented (it) mr.t pw siar.n=i 67,8 m Hr=t n
67,8 to your face. She is not far from you every day. Hr=s r=T ra nb
IHY IHY
67,9 Words to say by Ihy the Great, son of Hathor, the 67,9 Dd mdw in IHy wr sA @.t-Hr
child, one rejoices to see him. I have played 67,10 the xy xntS.tw n mAA=f ir.n=i 67,10
sistrum before your beautiful face, Ma'at the Great in sSS.t m Hr=t nfr MAa.t wr.t xnt H.t-
the Temple of the Sistrum (=Dendera). sSS.t
KING KING
67,11 The King of Upper and Lower Egypt ( )| son of 67,11 nsw.t-bi.ty ( )| sA Ra ( )| ti.t
Ra, Sacred Image of the Heart 67,12 of Ra, who lifts up Dsr.t n.t ib- 67,12 n-Ra siar mAa.t n
(i.e. offers) Ma'at to the Lady of Ma'at. nb.t mAa.t
ROYAL RANDZEILE ROYAL RANDZEILE
The Good God lives,1583 the Equal of Isden,1584 Eldest anx nTr nfr sn.nw n Isdn sA smsw n
son of the One who knows the Two Lands,1585 Excellent am-tA.wy wpw iqr 67,13 n rdi.t Hr
judge 67,13 without being partial (lit. upon a side), who gs smn Hp.w mi #nty-@sr.t ir
establishes laws like the Foremost One of Heseret,1586 mtw.t-kA sqA (?) nfr.w nw &A-mry
who does Ma'at (lit. the semen of the bull),1587 who nb mAa.t nsw.t-bi.ty ( )|

1582
Considered as the sustenance upon which the gods live, Ma'at could thus be regarded as the throat of the god by
which air and food were given to him (PL 445). The songstress Meret, attested as early as the OK, presides over
music and singing at rituals (Wb II, 107,2-6); her name can also mean "singer" and "throat," and by extrapolation,
"Ma'at." Wilson (PL 445) notes that because the three concepts (singer, throat, and Ma'at) may have sounded the
same in pronunction, they would have created an effective pun: "they seem to be interchangeable and are more
powerful because one word incorporates the aspects of the other two." For more discussion on Ma'at and Meret as
the throat of the sun god, see Guglielmi, Gttin Mr.t, 105-148; Lefebvre, Tableau, 22; Blackman and Fairman,
Faade of Edfu, 397-428, esp. 420; also Berlandini, Meret, 80-88.
1583
The standard phrase, anx nTr nfr, although grammatically a subjunctive and often translated as "May the good
god live," is, however, a performative statement, and therefore carrying no uncertainty. A better translation is "The
good god lives," as suggested by Prof. Jacco Dieleman, private communication, October 12, 2011.
1584
Wb I, 134,9. Isdn is an epithet of Thoth since the end of the NK; originally an independent god, he became (like
Isdes) a manifestation of Thoth, attested from NK to GR, determining the lifetime of humans, judging, and giving
written and oral instructions. The King can be characterized as the descendent, heir, or "image" of Isden. See
Grieshammer, Isden, 184-185; Boylan, Thoth, 201; Bonnet, RRG, 326.
1585
Wb I, 184,2: am-tA.wy, "the One who knows the Two Lands," is an epithet of Thoth, alluding to his role as "All-
Knowing," a characteristic already apparent in the MK (e.g. CT V, 306a.d.). See also Kurth, Thot, 506; Boylan,
Thoth, 103;183.
1586
#nty-@sr.t, "Foremost One of Heseret," is an epithet of Thoth, @sr.t being the necropolis at Hermopolis, the cult
center of Thoth (Wb III, 168,12: @sr.t is attested since MK). Stadler, Weiser, 17, suggests that this epithet, which
occurs frequently in Ma'at-offering scenes, stresses the legislative aspect of Thoth's office and his impartiality in
making decisions.
1587
Ma'at is equated with mtw.t-kA, "semen of the bull," pr.t im=f bnbn(.t) Hna=f m sp-tpy, "who came forth from
him and sprung up together with him at the First Time." See Mendel, Kosmogonische Inschriften, pl. 8, col. 48; 85-
86.

390
 exalts the beauties of Ta-mery,1588 the Lord of Ma'at, the BEHIND HIM: 67,14 sA anx wAs
King of Upper and Lower Egypt ( )|. BEHIND HIM: nb HA=f mi Ra D.t
67,14 All protection, life, and dominion are behind him,
like Ra, for D.t-eternity.
HATHOR HATHOR
68,1 Words to say by Hathor the Great, Lady of Iunet, 68,1 Dd mdw in @.t-Hr wr.t nb.t
Eye of Ra, Lady of heaven, Mistress of all the goods, Iwn.t Ir.t-Ra nb.t p.t Hnw.t nTr.w
Ma'at the Great 68,2 daughter of Ra, Mistress of the nb.w MAa.t wr.t 68,2 sA.t Ra Hnw.t
Goddesses, Noble and Powerful Lady in the Temple of nTr.wt Sps.t wsr.t xnt H.t-sSS.t Ipy.t
the Sistrum, Ipyt,1589 Lady of the Per-wer, equipped with nb.t Pr-wr apr.t Xkr.w THn.t Hr xnt
her regalia, Bright One (f.) of face among the Ennead, PsD.t 68,3 an.t nfr.t imy-tw nTr.wt
68,3 the Very Beautiful One (f.) among the goddesses, Itn.t mH tA m nqr nbw di=i n=k
the Atenet who fills the earth with gold dust,1590 I place mAa.t m ib=k r ir.t=s n nTr.w D.t
Ma'at for you in your heart, in order to do it (=what is
right)1591 for the gods for D.t-eternity.
HORUS OF EDFU HORUS OF EDFU
68,4 Words to say by Horus Behdety, the Great God, 68,4 Dd in @r BHd.ty nTr aA nb p.t
Lord of heaven, the Dappled One of Plumage, who goes sAb Sw.t pr m Ax.t nTr nTry m tA
forth from the horizon, the Divine God in the Land 68,5 68,5 n Itmw Snb.ty Htp Hr [mAa.t]*
of Atum, the Falcon satisfied with [Ma'at.]* I give you di=i n=k mAa.t Xnm.ti m tA, n xpr
Ma'at united with the land, without falsehood coming grg m rnp.wt=k
into being during your years (of reign).
DIVINE RANDZEILE DIVINE RANDZEILE
68,6 The Female King of Upper and Lower Egypt, the 68,6 nswy.t-bi.ty.t Nbw.t nb.t
Golden one (f.), Lady of Iunet, Ma'at the Great in the Iwn.t MAa.t wr.t xnt H.t-sSS.t Sa.t
Temple of the Sistrum. She is the Primordial Goddess, pw n wn tw.t.n=s n nTr m sn.t r=s
there is no equal to her, no god is equal to her, 68,7 68,7 Sps.t Htp Hr mtw.t-kA @.t-Hr
Noble Lady, satisfied with Ma'at (lit. the semen of the wr.t nb.t Iwn.t
bull), Hathor the Great, Lady of Iunet.

1588
Lit. "the beloved land," referring to Egypt.
1589
Cauville, Dend Trad III, p. 360, identifies Ipy.t with Wadjet, Lady of Pe; her name is determined by a rearing
cobra. Hathor is also equated with her in D III, 95,4; 95,17.
1590
Allusion to the "spreading the gold dust," a ceremony attested in the calendar texts of the Ptolemaic gate in the
Mut Temple precinct at Karnak. Dedicated to Mut and Hathor as guarantors of the annual agricultural cycle, it took
place on the first day of the month of Epiphi, near the end of the agricultural year and just before the harvest. The
fields were made green and glittering with a mixture of green THn.t-powder and gold dust. See Goyon, Rpandre l'or,
85-100.
1591
Wb II, 20, 3-4; Cauville Dend Trad III, p. 137, translates, "afin de l'exercer pour les dieux ternellement."

391
Doc 55 South Wall, 1st Register, West Side: D III, 78,15 79,15

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
78,15 To offer Ma'at. Words to say: Take for yourself 78,15 Hnk mAa.t Dd mdw m-n=T
Ma'at, 79,1 Ma'at in Iunet (=Dendera), awe-inspired mAa.t, 79,1 MAa.t m Iwn.t Sfy.t xr
terror (=Ma'at)1592 belongs to your Ka in your chapel. kA=t xnt xm=T wp=t 79,2 tA pn m
You judge1593 79,2 this land in rectitude (=Ma'at). You tp-nfr Hb=t inw m ifdw nw nn.t
collect the tribute from the four corners of heaven.
HARSOMTUS THE CHILD HARSOMTUS THE CHILD
79,3 Words to say by Harsomtus the Child, son of 79,3 Dd mdw in @r-smA-tA.wy pA
Hathor, Beautiful child 79,4 of the Golden One (f.). I Xrd sA @.t-Hr nxn 79,4 nfr n
have played the sistrum in front of your beautiful head, Nbw.t ir.n=i sSS.t m tp=T nfr r
in order to satisfy your Ka with the ritual of your sHtp kA=t m ix.t Hm.t=t
Majesty.
KING KING
79,5 The King of Upper and Lower Egypt ( )|, son of Ra 79,5 nsw.t-bi.ty ( )| sA Ra ( )| iwa
( )|, heir of the Baboon,1594 79,6 engendered by the n aan 79,6 wtT n wpw Haw-anx n
Judge,1595 the Living flesh (i.e. son and successor) of the am-tA.wy
One who knows the Two Lands.1596
ROYAL RANDZEILE ROYAL RANDZEILE
The Good God lives, son of the Lord of Hermopolis,1597 anx nTr nfr sA nb #mnw iwa mnx n
Excellent heir of the Judge of the combatants,1598 the wp-rH.wy imy-r niw.t 79,7 n rdi.t
Overseer of the city 79,7 who is impartial1599 and devoid Hr gs Sw m iT-in bHn grg swr Sfy.t
of wavering,1600 who triumphs over inequity, who nb mAa.t nsw.t-bi.ty ( )| BEHIND
increases awe-inspired terror1601 (=Ma'at), the Lord of HIM: 79,8 sA anx wAs nb HA=f mi

1592
Wb IV, 457,2 459,7; PL 1004. Sfy.t, "awesomeness; awe-inspired terror, fear, majesty," is regarded as a
synonym of Ma'at in Ma'at offerings, due to its representation by the forepart (and thus throat) of the ram, because
the word for throat (mr.t) is a close homonym of Ma'at, who was considered the throat of the god through which he
obtains air and food, i.e. the sustenance of life. See discussion in 5.1.2. The reference to Sfy.t of the King is thus also
a subtle allusion to his responsibility in maintaining Ma'at, with the use of his awesome power to do so. Van der
Plas, Crue du Nile, 92-93, suggests that mysterium tremendum perhaps best evokes the underlying emotional
response to the Sfy.t of a god or king.
1593
Lit. "divide, separate," as in separating ma'at from isfet (wrongdoing) in the land.
1594
The baboon is a frequent manifestation of Thoth, the god of wisdom (Kurth, Thot, 511). Thoth as a baboon
became an object of popular veneration, e.g., the 18 th Dynasty steatite statue of a scribe writing at the feet of the god
Thoth in the form of a baboon wearing a lunar disk on his head, from Amarna, now in the Egyptian Museum Cairo,
JE 59291, depicted in Wilkinson, Gods and Goddesses, 217.
1595
Stadler, Weiser, 333-334, notes the role of Thoth as judge and lawyer, who helps the deceased gain justice and
always maintains a sense of fairness. Thoth is not the only god who is a judge; he exercises this role alongside other
judiciary divinities, e.g. in the conflict between Horus and Seth.
1596
Wb I, 184,2: am-tA.wy, "the One who knows the Two Lands," is an epithet of Thoth, alluding to his role as "All-
Knowing," a characteristic already apparent in the MK (e.g. CT V, 306a.d.); See also Kurth, Thot, 506; Boylan,
Thoth, 103;183.
1597
Hermopolis is the cult center of Thoth.
1598
Horus and Seth are the "combatants"; the Judge is Thoth.
1599
Lit. "not giving to a side."
1600
Lit. "taking and bringing."
1601
See footnote on Sfy.t in previous line, D III, 79,1.

392
 Ma'at, the King of Upper and Lower Egypt ( )|. Ra D.t
BEHIND HIM: 79,8 All protection, life, and dominion
are behind him like Ra, for D.t-eternity.
ISIS ISIS
79,9 Words to say by Isis the Great, Mother of the god, 79,9 Dd in As.t wr.t mw.t nTr nb.t
Lady of Iatdi, who resides in Iunet, the Female IA.t-di Hry.t-ib Iwn.t ity.t m Sn n
Sovereign of the circuit of the Aten, 79,10 who is born itn 79,10 papa m Iwn.t m grH nxn
in Iunet in the night of the child in his nest, the Female m sS=f HqA.t Htp Hr MAa.t Sps.t
ruler who is satisfied with Ma'at, the Noble and wsr.t xnty.t aH-Sps.t 79,11 wd
Powerful Lady in the Palace of the Noble Lady, 79,11 mdw n nTr.w nTr.wt di=i n=k tA pn
who decrees words to the gods and the goddesses. I give Xnm.ti m anx r nb apr.ti m mAa.t
you this land, united with life, every mouth equipped
with Ma'at.
HARSOMTUS HARSOMTUS
79,12 Words to say by Harsomtus, Lord of Khadi, the 79,12 Dd mdw in @r-smA-tA.wy nb
Great God who resides1602 in Iunet, the Divine Falcon on #Adi nTr aA Hry-ib Iwn.t Bik nTry
his serekh, 79,13 Lord of nHH-eternity, who lives in Hr srx 79,13 nb nHH anx m mAa.t
Ma'at.
DIVINE RANDZEILE DIVINE RANDZEILE
I cause for you that people (lit. faces) rejoice (Hngg) to di=i n=k Hr.w Hngg n mAA=k
see you and that the Two Lands rejoice (nhm) for you. tA.wy nhm n=k 79,14 nsw.yt-
79,14 The Female King of Upper and Lower Egypt, the bi.ty.t ity.t n.t ity.w HqA.t HqA ifd.w
Female sovereign of the sovereigns, the Female Ruler nw nn.t Sps.t wsr.t Hnw.t nTr.wt ir
who rules the four corners of heaven, the Noble and tp-nfr m Sn n itn THn.t Hr 79,15
Powerful Lady, Mistress of the Goddesses, who does hrw Hr mAa.t As.t wr.t mw.t nTr
good things in the circuit of the Aten, the Bright one (f.)
of face, 79,15 satisfied with Ma'at, Isis the Great,
Mother of the God.

1602
Wb III 136-137; PL 663: Hry-ib, lit. in the middle," translated "resides in" or "sojourns in," refers to a deity
worshipped in a cult center of another deity. See Haring, Divine Households, 71 n. 3; Budde, Epithets, 3.

393
 South Wall, Base

Base Base
East Side West Side
Doc 56 Doc 57
D III, 62,12 D III, 74,12
63,10 75,11

D III, pl. 190, IFAO

South Wall, Base, East Side

South Wall, Base, West Side

394
Doc 56 South Wall, Base, East Side: D III, 62,12 63,10

Translation Transliteration
(NO TITLE) (NO TITLE)
HATHOR HATHOR
62,12 Words to say by Hathor the Great, Lady of Iunet, 62,12 Dd in @.t-Hr wr.t nb.t
Eye of Ra, Lady of Heaven, Mistress of all the gods, Iwn.t Ir.t-Ra nb.t p.t Hnw.t nTr.w
Noble 62,13 and Great Lady in the Temple of the nb.w Sps.t 62,13 wsr.t xnt H.t-
Sistrum, shining one (f.) of face among the Ennead, who sSS.t THn(.t) Hr xnt PsD.t xpr xnt
came into being at the beginning with her father Nun. Hr it=s Nwn xpr ix.t nb.t m-xt
All things come into being after she came into being. I xpr=s di=i n=k 62,14 @apy Hr
give you 62,14 Hapy (the inundation), rushing at his Hw.t r nw=f
time.
HORUS OF EDFU HORUS OF EDFU
63,1 Words to say by Horus Behdety, the Great God, 63,1 Dd in @r BHd.ty nTr aA nb p.t
Lord of Heaven, Ra-Horakhty in the Great Seat, who Ra-@r-Ax.ty xnt s.t wr.t wbn 63,2
shines 63,2 in order the make the rx.yt-people live. I give r sanx rxy.t di=i n=k nwn wr.ti r
you the primordial water, abundant at its time. tr=f
DIVINE RANDZEILE DIVINE RANDZEILE
63,3 The Female King of Upper and Lower Egypt, Great 63,3 nsw.yt bi.ty.t wr.t m Iwn.t
one (f.) in Iunet. Daughter of Ir-ta (=Creator God) in the sA.t Ir-tA xnt H.t-sSS.t xpr xnt Hr
Temple of the Sistrum, who came into being with her it=s Nwn xpr wnn.t 63,4 m
father Nun; what exists, 63,4 came into being when she wbn{r}=s
shines.
IHY IHY
63,5 Ihy-nun,1603 son of Hathor: Playing1604 the sistrum 63,5 IHy-nwn sA @.t-Hr ir(.t) sSS.t
for his mother. n mw.t=f
KING KING
63,6 The King of Upper and Lower Egypt ( ), son of Ra 63,6 ii.n nsw.t-bi.ty ( )| sA Ra ( )|
( )| has come before you, 63,7 Hathor the Great, Lady of xr=T 63,7 @.t-Hr wr.t nb.t Iwn.t
Iunet, Eye of Ra. Ir.t-Ra
ROYAL RANDZEILE ROYAL RANDZEILE
He brings you (f.) the two nms.t-jars filled with in=f n=T nms.ty Hna.ti m

1603
Ihy-nun and his counterpart, Ihy-wab, are child-god musicians who appear with Hathor, especially in festivals
like the navigation in Tybi and the Festival of Drunkenness (Cauville, Ihy-Noun, 104). Ihy-nun's earliest attestation
is in CT IV, 179t ("in this my good name of Ihy-nun," with translation suggested by Cauville, Ihy-Noun, 110). They
belong to the oldest religious traditions of Dendera, but it is uncertain if they originated there or were imported from
Thebes. They also are linked to the regeneration of the dead (e.g., the statuettes in the tomb of Tutankhamen. See
Chr. Desroches-Noblecourt, Vie et mort d'un pharaon, 1963, p. 250 and fig. 248; Abitz, Statuetten, 83ff.). Their
importance is shown by their presence in Per-wer's Southern Niche (west wall, D III, 97,1-2), the most sacred part of
the principal chapel of Hathor at Dendera. Ihy-nun also appears on the west wall of the Per-wer's Southern Niche, D
III, 97,1
1604
This phrase is appears in its own column, separated from Ihy's name and epithets in the previous horizontal line,
suggesting that the verb form is a narrative infinitive (ir(.t), "making") rather than a perfective active participle (ir,
"who makes") modifying Ihy-nun.

395
 primordial water, it satisfies your heart with the water of nwn sHtp=f ib=t m mw-rnp r-pa.t
rejuvenation, the Hereditary Princess is behind him,1605 r-xt=f rxy.t 63,8 Hr sA=f Hr
the rxy.t-people 63,8 are behind him. BEHIND HIM: rdi(.t) iAw n kA=t BEHIND
All protection, life, and dominion are behind him, like HIM: sA anx wAs nb HA=f mi Ra
Ra, for D.t-eternity. D.t
QUEEN QUEEN
63,9 Female Ruler, Lady of the Two Lands: receive 63,9 HqA.t nb(.t) tA.wy ( )| Ssp m-
(them) from his hand, (of) the one who created your (f.) a=f wtT Hm.t=t sHtp=f 63,10 ib=t
Incarnation, it (=primordial water) satisfies 63,10 your m qbH.w
heart with the libations.

Doc 57 South Wall, Base, West Side: D III, 74,12 75,11

Translation Transliteration
(NO TITLE) (NO TITLE)
ISIS ISIS
74,12 Words to say by Isis the Great, Mother of the 74,12 Dd in As.t wr.t mw.t nTr
God, Lady of Iatdi, who resides in Iunet, Sopdet nb(.t) IA.t-di Hry(.t)-ib Iwn.t %pd.t
(=Sothis), who pours out Hapy 74,13 in his cavern, who sty @apy 74,13 m TpH.t=f di(.t) r tA
was put on earth upon the Land of Atum by her mother tp tA-n-Itmw in mw.t=s Nw.t m
Nut in the Temple of Nut: I give you the Two Caverns, H.t-Nw.t di=i n=k qr.ty Hr qAa
pouring out what is in them (lit. in it). imy=f
HARSOMTUS HARSOMTUS
75,1 Words to say by Harsomtus, Lord of Khadi [the 75,1 Dd mdw in @r-%mA-tA.wy nb
Great God]* in Iunet,1606 the great snake (lit. "son of the #Adi [nTr aA]* Hry-ib Iwn.t sA-tA wr
earth") who came forth from the lotus,1607 the Divine pr m nxb nTr nTry 75,2 [xpr] xnt
God 75,2 [who came into being]1608 in the beginning,1609 [sA-tA]* pr m nwn di=i n=k nwy
[the snake1610]* who came forth from the Nun: I give to nn.ti
you the flood water subsided.

1605
r-xt=f, "behind him." Cf. r-sA=f, "behind him" in the following clause.
1606
This string of epithets is well attested for Harsomtus at Dendera, allowing the insertion of nTr aA in the lacuna. In
the Per-Wer Sanctuary, it appears in D III, 79,12; 85,1; 98,1; elsewhere in the Naos, in D I: 4,5; 35,12; D III: 24,6;
29,13; 40,13; 115,6; 116,11; 125,14; 153,1; 156,15; and D IV: 40,3.
1607
See Quaegebeur, Somtous l'Enfant, 113-121; Waitkus, Geburt des Harsomtus, 272-294.
1608
Cauville, Dend Trad III, p. 330, corrects Chassinat's D III, 75,2, so that Chassinat's first lacuna in the line now

holds the signs (L1:D153).

1609
This epithet refers to the origin of the gods. Parallel phrasing at Dendera suggests that the lacuna held the word
xpr, in the epithet, nTr nTry xpr xnt (the divine god who came into being in the beginning), which is also attested for
Thoth (D III, 20,1). In the Per-Wer, the phrase nTr nTry is attested for Horus (D III, 68,4); the phrase xpr xnt for
Hathor (D III, 62,13; 63,3; 95,17).
1610
This lacuna may have held sA-tA ("snake," lit. "son of the earth"), an epithet of Harsomtus as a primeval

snake, (D III, 133,1: @r-smA-tA.wy m sA-tA, "Harsomtus is the snake"). Alternatively, it may be ir-tA (DIII, 75,2),
a creator god in the form of a snake, which can also be equated with Harsomtus (D II, 166,12). At Edfu, sA-tA has

396
 DIVINE RANDZEILE DIVINE RANDZEILE
75,3 The Female King of Upper and Lower Egypt, the 75,3 nswy.t-bi.ty.t ity.t n.t tA
Female Ruler of the land, she was born in Iatdi. Sothis papa.tw=s m IA.t-di %pd.t wr.t sty
the great, who pours out Hapy from his cavern in order @apy m TpH.t=f r baH 75,4 tA.wy m
to flood1611 75,4 the Two Lands with what exists. wnn.t
IHY IHY
75,5 Ihy-wab,1612 son of Hathor: the sSS.t-sistrum is in 75,5 IHy-wab sA @.t-Hr sSS.t=i m
my right hand, I make pass away from you 75,6 rage, wnmy=i sn=i n=t 75,6 nSn mni.t
the menit-necklace is in (my) left hand, driving away m iAb(=i) Hr dr [mn.t]*
evil.1613
KING KING
75,7 The King of Upper and Lower Egypt ( )|, son of Ra 75,7 ii.n nsw.t-bi.ty ( )| sA Ra ( )|
( )| has come before you (f.), 75,8 Isis the Great, Mother Xr=T 75,8 As.t wr.t mw.t nTr
of the god
ROYAL RANDZEILE ROYAL RANDZEILE
He brings you the Hs-vases supplied with flood water1614 in=f n=T Hs.wt sDfA.ti m srf r sqbH
in order to refresh your heart with the flood water, the ib=t m nwy wr.t-Hts 75,9 m-xt=f
great one (f.) of the Hts1615 75,9 is following him, the rxy.t Hr sA=s Hr di(.t) iAw m Hr=t
rxy.t-people are behind her, paying homage to your face. BEHIND HIM: sA anx wAs nb
BEHIND HIM: All protection, life, and dominion are HA=f mi Ra D.t
behind him, like Ra, for D.t-eternity.
QUEEN QUEEN
75,10 The Female Ruler, Lady of the Two Lands ( )|: 75,10 HqA.t nb(.t) tA.wy ( )| Ssp m-
Receive (them) from his hand, (of) your beloved son. a=f sA=t mry=t Htp Hr=t m 75,11
Your face is satisfied with 75,11 what comes forth from pr m nwn
the Nun.

primordial connections, since the ancestral gods of Edfu are the sA-tA Dsrw, sacred snakes protecting the One dappled
of plumage (=Horus Behdety) (E VII, 107,16); the cosmological god of Edfu has sA-tA on his head (E VI, 186,5).
1611
Cauville, Dend Trad III, p. 146, transliterates the infinitive as baHy.
1612
Ihy-nun and his counterpart, Ihy-wab, are child-god musicians who appear with Hathor, especially in festivals
like the navigation in Tybi and the Festival of Drunkenness (Cauville, Ihy-Noun, 104). Ihy-wab's earliest attestation
is in the 11st dynasty stela of Intef II (MMA 13.182.3) from Thebes, in a hymn to Hathor: "O Ihy-wab of Hathor,
Ihy of millions of ornaments!" (Cauville, Iny-Noun, 110). They belong to the oldest religious traditions of Dendera,
but it is uncertain if they originated there or were imported from Thebes. They also are linked to the regeneration of
the dead (e.g., the statuettes in the tomb of Tutankhamen. See Chr. Desroches-Noblecourt, Vie et mort d'un pharaon,
1963, p. 250 and fig. 248; Abitz, Statuetten, 83ff. Their importance is shown by their presence in the Southern Niche
of the Per-wer (west wall, D III, 97,1-2), the most sacred part of the principal chapel of Hathor at Dendera.
1613
The scribal error, recognized as such by Chassinat (D III, 75,6), are , suggesting that the correct writing

should have been , which appears in D X, 108,4, or perhaps simply, , correcting an erroneous top sign
and the direction in which the pustule, (Aa2), faces.
1614
The noun, srf, "flood water" (Wb IV, 197,11-13), derives from the verb srf, "to rest" (Wb IV, 197, 5-9), bringing
to mind the image of water that comes to "rest" upon the land (as suggested by Wilson, PL 885).
1615
wr.t-Hts, the title of a queen, applied also to goddesses in GR (Wb III, 202,9-12), translated as "Great One of the
Hts-scepter" by Troy, Queenship, 81. See also Grdseloff, Notes, 107-125. The Hts is an object offered to a deity upon
completion of a divine edifice as a guarantee for the future performance of the rites therein. It often has the
appearance of a Xkr (Aa30) and may actually be part of a Xkr frieze formalized as an offering, as suggested by
Wilson, PL 691.

397
 South Wall, Framing of Entrance to Southern Niche

Text above Text below

Solar Disk, Solar Disk,
Door Lintel, Door Lintel,
S. Niche S. Niche
Entrance Entrance
Doc 58 Doc 59
D III, 86,12 D III, 86,13

Base of Door Base of Door

E. Side W. Side
S. Niche S. Niche
Entrance Entrance
Doc 60 Doc 61
D III, 86,17 D III, 87,2

D III, pl. 190, IFAO

Doc 58 South Wall, Text above Solar Disk: D III, 86, 12

Translation Transliteration
86,12 Behdety, the Great God, Lord of Heaven, the 86,12 BHd.ty nTr aA nb p.t sAb
Dappled One of plumage, who goes forth from the Sw.t pr m Ax.t nb Msn nTr aA nb
horizon. Lord of Mesen, the Great God, Lord of Heaven, p.t sAb Sw.t pr m Ax.t
the Dappled One of plumage, who goes forth from the
horizon.

398
Doc 59 South Wall, Text below Solar Disk: D III, 86,13

Translation Transliteration
86,13 The great image of Horus Behdety, the Great 86,13 sStA wr n @r-BHd.ty nTr aA nb
God, Lord of heaven. The noble image of Horus p.t sStA Sps n @r-BHd.ty nTr aA nb p.t
Behdety, the Great God, Lord of heaven.

Doc 60 South Wall, Base of Door, East Side: D III, 86,17

Translation Transliteration
86,17 East: She who carries. South: She who carries 86,17 IAb.t.t #y.t Rsy(.t) aHay.t

Doc 61 South Wall, Base of Door, West Side: D III, 87,2

Translation Transliteration
87,2 West: She who carries. North: She who carries 87,2 Imn.t.t FAy.t MH.t.t &wAy.t

399
7.6 Southern Niche

Thickness of Door Jambs, Southern Niche

D III, pl. 190, IFAO

Thickness of
Thickness of
Door Jamb,
Door Jamb,
West Side
East Side
Doc 63
Doc 62
D III, 87,12
D III, 87,7-9
87,13

400
Doc 62 Southern Niche, Thickness of Door Jamb, East Side: D III, 87,7-9
For discussion of the figures depicted in Docs 62 and 63, see Section 5.3.2.

Translation Transliteration
87,7 FIRST REGISTER 87,7 FIRST REGISTER
no. 1 King of Upper and Lower Egypt ( )| son of Ra ( )| no. 1 nsw.t-bi.ty ( )| sA Ra ( )|
no. 2 Female ruler ( )| no. 2 @qA.t ( )|
87,8 SECOND REGISTER 87,8 SECOND REGISTER
no. 1 [without caption] no. 1 [without caption]
no. 2 [without caption] no. 2 [without caption]
87,9 THIRD REGISTER 87,9 THIRD REGISTER
no. 1 Heh no. 1 @H
no. 2 Hauhet no. 2 @H.t
FOURTH REGISTER FOURTH REGISTER
no. 1 Amun no. 1 Imn
no. 2 Amaunet no. 2 Imn.t

Doc 63 Southern Niche, Thickness of Door Jamb, W. Side: D III, 87,12-13

Translation Transliteration
87,12 FIRST REGISTER 87,12 FIRST REGISTER
no. 1 Thoth no. 1 +Hwty
no. 2 Ma'at no. 2 MAa.t
SECOND REGISTER SECOND REGISTER
no. 1 Ir no. 1 Ir
no. 2 Sedjem no. 2 %Dm
87,13 THIRD REGISTER 87,13 THIRD REGISTER
no. 1 Niau no. 1 Niw
no. 2 Niaut no.2 Niw.t
FOURTH REGISTER FOURTH REGISTER
no. 1 Kek no. 1 Kkw
no. 2 Kauket no. 2 Kk.t

401
 Southern Niche, North Wall, Lintel

Lintel, Lintel,
West Side East Side
Doc 65 Doc 64
D III, D III,
89,12 90,8 88,18 89,9

D III, pl. 201, IFAO

Southern Niche, North Wall, Lintel, West Side Southern Niche, North Wall, Lintel, East Side

402
Doc 64 Southern Niche, North Wall, Lintel, East Side: D III, 88,18 89,9

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
88,18 Offering the double crown. Words to say: Take 88,18 Hnk sxm.ty Dd mdw m-n=k
for yourself 89,1 the white crown of Upper Egypt1616 89,1 Sma=s Xnm.ti m mHw=s tp.t
united with the red crown of Lower Egypt, the uraeus is Tn.ti m tp=k 89,2 HD.t n(.t) dmD
distinguished1617 on your head. 89,2 Your kingship is m hn=k nswy.t=k nswy.t n(.t) Ra
the kingship of Ra. You are similar to 89,3 them (=the stwt.n=k 89,3 sn ntk nb=sn
crowns), you are their lord, they increase the awe- swr=sn Sfy=k r sxm.w
inspiring terror of you more than (that of) the (divine)
powers.
KING KING
89,4 The King of Upper and Lower Egypt ( )| son of Ra. 89,4 nsw.t-bi.ty ( )| sA Ra ( )|
ROYAL RANDZEILE ROYAL RANDZEILE
Words to say: I have come 89,5 before you, child in Dd mdw ii.n=i 89,5 xr=k xi xnt
Iunet, I bring to you the crown equipped with its Iwn.t in=i n=k Hp.t apr.ti m irw=f
components, for you are the Great God, the Beautiful tw=t nTr aA an xaw m NTry.t nb
one of appearance in Netjeryt,1618 Lord of the sSS.t- sSS.t HqA mni.t BEHIND HIM:
sistrum, Ruler of the menit-necklace. BEHIND HIM: 89,6 sA anx wAs nb HA=f mi Ra D.t
89,6 all protection, life, and dominion are behind him,
like Ra, D.t-eternity.
IHY IHY
89,7 Words to say by Ihy the Great, son of Hathor, the 89,7 Dd mdw in IHy wr sA @.t-Hr
Great God, the Shining One, one lives in seeing him, pA nTr aA wbn anx.tw n mAA=f spd
Effective one of form, Great one of awe-inspired irw aA Sfy.t xnt 89,8 nTr.w nb (r) Dr
terror1619 among 89,8 the gods, Lord to the Limit, Ruler HqA PsD.t sA Sps sDty n Ir.t-Ra mH
of the Ennead,1620 Noble Son, Youth of the Eye of Ra, HA.t=f m sxm.ty
who fills his brow with the double crown.
DIVINE RANDZEILE DIVINE RANDZEILE
Words to say: Welcome in peace, 89,9 King of the Dd mdw ii.ti m Htp 89,9 nsw.t Sma
South, Sovereign and King of the North. I have received ity bi.ty mHw Ssp.n=i sxm.ty=k

1616
The feminine suffix =s, though undentified, appears with words for royal regalia; in this case may refer to the
patron goddess of the Upper Egyptian crown, Wadjet. Wb IV, 476,3-7, attested since MK.
1617
Lit., "raised up." See discussion of the verb Tni, "raise up" in 5.1.4.
1618
NTry.t, "the (female) Divine," or "Netjeryt," as a name for Dendera, created from the root nTr, "divine," carries
allusions to its homonyms: heart (nTri, Wb II, 365,5-7; GR), censer (nTri, Wb II, 365,4; GR); natron (nTri, Wb II,
366,8-11; PT), beer (nTri, Wb II, 365,8); sacred Eyes (nTr.ty, Wb II, 366,16; PT), all of which relate to the daily
temple rite or to Hathor as the Distant Goddess. The term, NTry.t, as a toponym for Dendera appears in the lists of
Gauthier, DG III, 110, and Brugsch, DG, 367 (cited by Kockelmann, Toponymen, 224 n. 943).
1619
Wb IV, 457,2 459,7; PL 1004. Sfy.t, "awesomeness; awe-inspired terror, fear, majesty," is regarded as a
synonym of Ma'at in Ma'at offerings, due to its representation by the forepart (and thus throat) of the ram, because
the word for throat (mr.t) is a close homonym of Ma'at, who was considered the throat of the god through which he
obtains air and food, i.e. the sustenance of life. See discussion in 5.1.2. The reference to Sfy.t of the King is thus also
a subtle allusion to his responsibility in maintaining Ma'at, with the use of his awesome power to do so. Van der
Plas, Crue du Nil, 92-93, suggests that mysterium tremendum perhaps best evokes the underlying emotional
response to the Sfy.t of a god or king.
1620
Wb I, 559,2-14. Playful writing of the Ennead. See discussion in Beinlich, Osirisreliquien, 302-304.

403
 your double crown, I shine in it. I give you this land, wbn(=i) im=s di=i n=k tA pn Xr
possessing its crowns/good things.1621 nfr.w=s

1621
Wb II, 259,23; The word, nfr.w, can also mean "riches," "beauties," and "good things," all of which are
applicable to the products of Egypt.

404
Doc 65 Southern Niche, North Wall, Lintel, West Side: D III, 89,12 90,8

Translation Transliteration
TITLE TITLE
89,12 Offering the double crown. Words to say: Take 89,12 Hnk sxm.ty Dd mdw m-n=k
for yourself 89,13 the southern crown, you have seized 89,13 Sma Amm.n=k mHw Ssp.n=k
the northern crown, you have received the Two psS.ty m bw-wa 89,14 xfa.n=k
Halves1622 (=Egypt) together,1623 89,14 you have seized nfr.t inq.n=k n.t xa.w aA.w nw Ra
the white crown, you have joined the red crown, the 90,1 iT.n=k sn Hr s.t n.t it=k r
great crowns of Ra. 90,1 You have taken them upon the xa(.t) im=sn m 90,2 nsw.t-bi.ty ii
throne of your father in order to appear in glory with sk nb.w itr.ty r mAA=k Sfy.t=k pXr
them as 90,2 King of Upper and Lower Egypt, thus the m tA.wy
Lords of the Two Sanctuaries1624 come in order to see
you, and your awe-inspired terror1625 goes around in the
Two Lands.
KING KING
90,3 King of Upper and Lower Egypt ( )| son of Ra ( )|. 90,3 nsw.t-bi.ty ( )| sA Ra ( )| Dd
ROYAL RANDZEILE ROYAL RANDZEILE
Words to say: I have come 90,4 before you, child of mdw ii.n=i 90,4 xr=k sfy n
Egypt (%n.w.t). I have brought you southern and %n.w.t in.n=i n=k dmD m sp tw=t
northern Egypt joined together, for you are the child xy xnt PsD.t THn xa.w BEHIND
among the Ennead, bright one of crowns. BEHIND HIM: sA 90,5 anx wAs nb HA=f
HIM: All protection, 90,5 life and dominion are behind mi Ra D.t
him, like Ra, for D.t-eternity.
IHY IHY
90,6 Words to say by Ihy the great, son of Hathor, 90,6 Dd mdw in IHy wr sA @.t-Hr
Noble Child of the Eye of Ra, Beautiful lotus1626 of the sfy Sps n Ir.t-Ra nxb nfr n Nbw.t
Golden One (f.), 90,7 Living Image of Atum, child of 90,7 snn anx n Itmw xy n Ax.ty
the Horizon-Dweller, one rejoices to see him, Beautiful xntS.tw n mAA=f nfr Hr bnr mrw.t
one of face, Sweet one of love.
DIVINE RANDZEILE DIVINE RANDZEILE
Words to say: Welcome in peace, 90,8 Ruler in Egypt, Dd mdw ii.ti m Htp 90,8 HqA xnt
BAk.t
1622
See discussion of psS.ty in Te Velde, Seth, 60.
1623
Lit., "in one place."
1624
itr.ty, "the Two Sanctuaries," written (O196). Gardiner, Horus the Behdetite, 27-28, connects itr.ty with
itr.w, "river channel," thus meaning a "line" or "row" of water. The itr.ty thus denote the two shrine rows on either
side of the Sed Festival court: the itr.t-Sma.t for Upper Egypt, itr.t-mH.t for Lower Egypt. The two itr.ty, or shrine
rows, thus designate Egypt as a whole. See also PL 123-124.
1625
Wb IV, 457,2 459,7; PL 1004. Sfy.t, "awesomeness; awe-inspired terror, fear, majesty," is regarded as a
synonym of Ma'at in Ma'at offerings, due to its representation by the forepart (and thus throat) of the ram, because
the word for throat (mr.t) is a close homonym of Ma'at, who was considered the throat of the god through which he
obtains air and food, i.e. the sustenance of life. See discussion in 5.1.2. The reference to Sfy.t of the King is thus also
a subtle allusion to his responsibility in maintaining Ma'at, with the use of his awesome power to do so. Van der
Plas, Crue du Nil, 92-93, suggests that mysterium tremendum perhaps best evokes the underlying emotional
response to the Sfy.t of a god or king.
1626
Perhaps an allusion to the child rising from the primordial lotus (birth of Ra).

405
I have taken the crown that was in your hand, I shine iT.n=i Hp.t wn m a=k psD(=i)
with it every day. I give you the crown, fast on your im=s ra nb di=i n<=k> wrr.t mn
forehead. m HA.t=k

406
 Southern Niche, North Wall

Door Jamb Door Jamb

West Side East Side
Doc 67 Doc 66
D III, 88,8-12 D III, 88,1-5

D III, pl. 201, IFAO

Doc 66 Southern Niche, Door Jamb, East Side: D III, 88,1-5

Translation Transliteration
88,1 The Good God lives, [] of [], the King of Upper 88,1 anx nTr nfr [] n []
and Lower Egypt ( )|, beloved of Hathor, Lady of Iunet. nsw.t-bi.ty ( )| mry @.t-Hr nb.t
Iwn.t
88,2 The Good God lives, born of the Powerful one (f.), 88,2 anx nTr nfr msy n wsr.t sA
son of Ra ( )|, beloved of Harpocrates. Ra ( )| mry @r-pA Xrd
88,3 The Good God lives, child of the Eye of Ra, King of 88,3 anx nTr nfr xy n Ir.t-Ra
Upper and Lower Egypt ( )|, beloved of Ihy the Great, son nsw.t-bi.ty ( )| mry IHy wr sA
of Hathor. @.t-Hr
88,4 The Good God lives, heir of Ra, son of Ra ( )| 88,4 anx nTr nfr iwa n Ra sA Ra (
beloved of Harsomtus, Lord of Khadi. )| mry @r-%mA-tA.wy nb #Adi
88,5 The Good God lives, nursed by the Golden One (f.), 88,5 anx nTr nfr rr n Nbw.t
King of Upper and Lower Egypt ( )| beloved of Hathor, nsw.t-bi.ty ( )| mry @.t-Hr nb.t
Lady of Iunet. Iwn.t

407
Doc 67 Southern Niche, Door Jamb, West Side: D III, 88,8-12

Translation Transliteration
88,8 The Good God lives, engendered by Isis,1627 the 88,8 anx nTr nfr wtT n As.t*
King of Upper and Lower Egypt ( )| beloved of Isis the nsw.t-bi.ty ( )| mry As.t wr.t
Great.
88,9 The Good God lives, child of the Golden One (f.), 88,9 anx nTr nfr xy n Nbw.t sA
son of Ra ( )|, beloved of Ihy, son of Hathor. Ra ( )| mry IHy sA @.t-Hr
88,10 The Good God lives, nursed by the uraeus, the 88,10 anx nTr nfr rr n Hr.t-tp
King of Upper and Lower Egypt ( )| beloved of Hathor, nsw.t-bi.ty ( )| mry @.t-Hr
the Uraeus1628 of Ra. mHn(y).t n(.t) Ra
88,11 The Good God lives, heir of Behdety, son of Ra ( 88,11 anx nTr nfr iwa n BHd.ty sA
)|, beloved of Horus Behdety, the Great God, Lord of Ra ( )| mry @r-BHd.ty nTr aA nb
heaven. p.t
88,12 The Good God lives, son of Hathor, the King of 88,12 anx nTr nfr sA @t-Hr nsw.t-
Upper and Lower Egypt ( )|, beloved of Hathor, Lady of bi.ty ( )| mry @.t-Hr nb.t Iwn.t
Iunet.

1627
Cauville, Dend Trad III, pp. 163-164, suggests that the goddess should be Iunyt instead of Isis. An examination
of D I-IV shows no comparable phrase, with either wTT As.t or wTT Iwny.t.
1628
The sign, (I71), is the ideogram for mHn and the abbreviation for mHny.t, a designation for the uraeus on the
brow of the sun god, other gods equated with him, or the king (Wb II, 129,3-6). Cauville (Dend Trad III, p. 163-
164), however, translates it as Hr.t-tp, "uraeus." The phonetic writing of the word as mHn(y).t appears in D III, 82,8.

408
 Southern Niche, North Wall, Door Frame

Door Frame Door Frame

West Side West Side
Doc 69 Doc 68
D III, D III, 90,10
91, 6 91,10 91,4

D III, pl. 201, IFAO

Doc 68 Southern Niche, North Wall, Door Frame, East Side: D III, 90,10 91,4

Translation Transliteration
90,10 Words to say: Hail to you, Eye of Ra, whose 90,10 Dd mdw inD Hr=t Ir.t-Ra
manifestations are numerous, [Lady]* of Names aSA(.t) xpr.w [nb.t]* rn.w m-xt
throughout the Two Lands,1629 Bright One (f.) of tA.wy THn(.t) msxa m-xnt nTr.w n
brightness among the gods, one does not know 91,1 her rx.tw 91,1 Ssm=s StA(.t) irw
statue. Secret one (f.) of form, Hidden one (f.) of image, txn(.t) sStA wsr.t bAw xr it=s
Powerful one (f.) of Ba-power for her father, Great one (f.) wr.t m p.t sHD tA.wy m nfr.w=s
in heaven, who brightens the Two Lands with her nTr.t iwt.t sn.nw=s 91,2 nb(.t)
beauties, the goddess who does not have her equal, 91,2 mrw.t xntS.tw n mAA=s tfn nTr.w
Lady of love, one rejoices at seeing (mAA) her. The gods n dg(.t)=s HAy.t m Ax.t HAy tA.wy
rejoice at seeing, Luminous One (f.) in the horizon, who m st.wt=s itn.t 91,3 tpy.t n(.t)

1629
This epithet recalls @.t-Hr m sp.t nb.t, "Hathor in all of the nomes," an epithet of Isis mentioned by Gutbub,
Hathor, 342. The phrase, "in all of her nomes," often appears after the list of the different names of Isis in the
various sanctuaries. Gutbub suggests that the use of this phrase by Hathor means that the names given to Isis are
equivalent to Hathor, so that at Dendera, Isis can also be called Hathor.

409
 illuminates the Two Lands with her rays, the Atenet itn rpy(.t) nfr.t n k.t Hr xw=s n
91,3 First daughter1630 of the Aten, the Beautiful mit.t=s m nTr.wt an.t nfr.t an(.t)
Noblewoman, without another except for her, Without her xaw m NTry.t 91,4 @.t-Hr wr.t
likeness among the goddesses, the Very Beautiful One nb(.t) Iwn.t Htp Hr=t nfr n
(f.), Beautiful One (f.) of appearance in Netjeryt,1631 91,4 nsw.t=bi.ty ( )|
Hathor the Great, Lady of Iunet, your beautiful face is
satisfied with the King of Upper and Lower Egypt ( )|

Doc 69 Southern Niche, North Wall, Door Frame, East Side: D III, 91,6-10

Translation Transliteration
91,6 Words to say: Hail to you, Female sovereign in the 91,6 Dd mdw inD Hr=t ity.t m
horizon, Lady to the Limit, Female Ruler of the Ennead, Ax.t nb(.t) Dr HqA(.t) PsD.t iAw
praise to you within the palace, Noble Lady and Mistress n=t m-Xnw aH Sps.t Hnw.t 91,7
91,7 of the noble ladies. The gods and men praise you, Sps.wt swAS tw ntr.w TA.w dwA tw
the goddesses and women adore you. How beautiful is nTr<.w>t Hm.wt nfr.wy Hr=T m
your face in the Per-wer Sanctuary! Ra rejoices (being) pr-wr Haa Ra m xsf=T
near you, the sky and the stars 91,8 rejoice for you, nhm n=t p.t 91,8 Hr xAbA=s
the sun and the moon adore you, the Souls of Pe and the dwA tw itn iaH bA.w P bA.w Nxn
Souls of Nekhen are making jubilation1632 for your Ka. (Hr) ir.t hnw n kA=t Hwty wr
Thoth the great is praising1633 your Incarnation, the Hr swAS Hm.t=t PsD.t Ra (Hr)
Ennead of Ra is paying homage 91,9 to your Ka, (who di(.t) iAw 91,9 n kA=t nTr.w xp(r)
are) the gods who come into being in the Nun, the Lords m nwn nb.w itr.ty (Hr) di(.t) iAw
of the sanctuaries are paying homage to your name, n rn=T Hr-nb Xr Hry.t=T @.t-Hr
everyone is possessing dread of you, Hathor, Lady of nb(.t) &A-rr Htp Hr=t nfr n sA Ra
Tarer,1634 your beautiful face is benevolent1635 to the son 91,10 ( )|
of Ra, 91,10 ( )|.

1630
Wb V, 278,7-8.
1631
NTry.t, "the (female) Divine," or "Netjeryt," as a name for Dendera, created from the root nTr, "divine," carries
allusions to its homonyms: heart (nTri, Wb II, 365,5-7; GR), censer (nTri, Wb II, 365,4; GR); natron (nTri, Wb II,
366,8-11; PT), beer (nTri, Wb II, 365,8); sacred Eyes (nTr.ty, Wb II, 366,16; PT), all of which relate to the daily
temple rite or to Hathor as the Distant Goddess. The term, NTry.t, as a toponym for Dendera appears in the lists of
Gauthier, DG III, 110, and Brugsch, DG, 367 (cited by Kockelmann,Toponymen, 224 n. 943).
1632
hnw, illustrated by the stance of thefigure in (A8), which is a gesture of acclamation. See Dominicus,
Gesten, 61-65.
1633
Instead of the two flesh signs in the verb swAS ("to praise"), there should be two w-curls . The error is noted
by Chassinat in D III, 91,8.
1634
&A-rr, "Tarer," a name of Dendera (Wb V, 226,1; GR). Kockelmann, Toponymen, 65-66 discusses the name,
noting that according to Dmichen (Bauurkunde, 30), Iunet and Tarer are the most frequently-used names in the
inscriptions of the Temple of Dendera. Because they are used interchangeably, Kockelmann (65) argues against the
idea that Tarer is the "profane name" and Iunet is the "theological name" (contra Dmichen, Bauurkunde, 30; Preys,
Complexes, 49). Myliwiec, Atum, 52, suggests that when written as a rebus with serpents, Tarer alludes to &A-n-Itm
("Land of Atum," another name of Dendera) and Atum's form as a primeval snake. Examples include D III, 57,5,

; D IV, 232,2, ; D VIII, 122,13: .

410
 Southern Niche, Bandeau of the Frieze, East Side
D III, pls. 201; 202, IFAO

North Wall East Wall South Wall

Doc 70 Southern Niche, Bandeau of Frieze, East Side: D III, 92,5-8

Translation Transliteration
SOUTH WALL SOUTH WALL
92,5 The Female King of Upper and Lower Egypt, 92,5 nswy.t-bi.ty.t Ray.t wn-Xnw
Rayt who reveals the interior,1636 Female Ruler who HqA.t HqA ifd.w nw nn(.t)
rules the four corners of heaven, the Primordial One (f.), SAa.t StA(.t) irw
Secret One (f.)1637 of image,
EAST WALL EAST WALL
Hidden One (f.) of form from the 92,6 ancestors, who txn(.t) xprw 92,6 r tpy.w-a mH ib n
fills the Heart of Ra1638 when she shines.1639 Excellent Ra m wbn=s Hwn.t mnx.t n.t Itmw,
young girl of Atum, Powerful One (f.) of Ba-power wsr.t-bAw xr it=s aA.t mA.ti
before (i.e. in the presence of) her father, the Great one m=Xnw aH=t ns.t=T 92,7 pw n D.t
(f.) seen within your (f.) palace, your throne 92,7 is for
D.t-eternity,

1635
Wb III, 189,11.
1636
The sun opens or reveals the interior, with its daytime light (PL 767 and Wb III 369,12). In this context, the
solar goddess (Rayt) reveals the interior of the sanctuary with her shining appearance.
1637
Alliteration of SA/S(t)A.
1638
The epithet, ib n Ra, is ambiguous; it could refer to the heart (mind) of Hathor's father Ra, who is joyful when he
sees her, or to the god Thoth, who is characterized as the "heart of Ra." See n. 1213.
1639
Lit., "in her act of shining."

411
 NORTH WALL NORTH WALL
It is the Lady to the Limit1640 among the Ennead. Ra nb(.t)-(r)-Dr pw imy-tw PsD.t dwA
praises her with his own mouth. For a very great nHH- sy Ra m rA=f Ds=f nHH sp sn.nw
eternity (you) shine in your sanctuary, Hathor, Lady of wbn.ti m pr=t @.t-Hr nb.t Iwn.t
Iunet, Eye of Ra. Protect your son, your beloved, 92,8 Ir.t-Ra xw sA=t mry=T 92,8 nsw.t-
the King of Upper and Lower Egypt ( )|, for D.t-eternity. bi.ty ( )| D.t

1640
The limit of the universe.

412
 Southern Niche, Bandeau of the Frieze, West Side
D III, pls. 201; 202, IFAO

South Wall West Wall North Wall

Doc 71 Southern Niche, Bandeau of Frieze, West Side: D III, 92,10-13

Translation Transliteration
SOUTH WALL SOUTH WALL
92,10 The Female King of Upper Egypt and Lower 92,10 nswy.t-bi.ty.t nswy.t n.t
Egypt, the Female King of Senut (=Egypt), the Atenet %nw.t Ray.t r rA-a st.wt itn ity.t
to the limit of the rays of the Aten, Female Sovereign of n(.t) p.t HqA(.t) xAbA=s imn(.t)
Heaven, Female ruler of the stars, Hidden One (f.) of sStA=s r 92,11 sxm.w
form from 92,11 the (divine) powers,
WEST WALL WEST WALL
The Female Ba, Great One (f.) of Ba-power among the bA.t aA(.t) bAw m-xnt nTr.w n nTr m
gods, no god is like her. Excellent tyet-symbol, enduring sn(.t) r=s ti.t mnx.t Dd.ti m
in her shrine, the gods rise early in the morning in Dry.t=s dwA nTr.w r dwA=s ra nb
order to adore her every day. the Unique One (f.), the nTr.t wa.t HH Hr 92,12 Sms=s
multitude are 92,12 following her.
NORTH WALL NORTH WALL
Lady of the cities of the nomes, for a very great D.t- nb(.t) n(.t) niw.wt spA.wt D.t sp-
eternity, D.t-eternity, (you) shine in your sanctuary, Isis sn.nw psD m pr=t As.t wr.t mw.t
the Great, Mother of the God. Protect your beloved son, nTr xw sA=t mry=T sA Ra ( )| 92,13
the son of Ra ( )|, 92,13 for D.t-eternity. D.t

413
 Southern Niche, Base
D III, pls. 201; 202, IFAO

East Wall South Wall West Wall

Southern Niche, Base

Doc 72
D III, 93,6; 93,9

414
Doc 72 Southern Niche, Base, D III, 93, 6 and 9

Translation Transliteration
93,6 The Per-wer Sanctuary is for the Golden One (f.), 93,6 pr-wr n Nbw.t Dd.ti Xr
(being) enduring/permanent/stable, containing the great sxm.w wr.w mi Ax.t Xr itn
(divine) powers, like the horizon containing the Aten. 93,9 [repeated in ordinary
93,9 [repeated in ordinary writing in two columns, one on writing]
each side of south wall's base]

415
 Southern Niche, 2nd Register, East and West Walls

East Wall South Wall West Wall

2nd Register East Wall 2nd Register, West Wall

Doc 73 Doc 74
D III, 94,14 95,7 D III, 94,13 98,2

East Wall, 2nd Register West Wall, 2nd Register

416
Doc 73 Southern Niche, East Wall, 2nd Register: D III, 94,14 95,7

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
94,14 Offering the Udjat-Eye. Words to say: Take for 94,14 Hnk wDA.t Dd mdw m-n=t
yourself the Udjat-Eye, 94,15 healthy in its form, the wDA.t 94,15 wDA.ti m irw=s AX.t
Ax.t-Eye, effective in its Axw-power, provided with 94,16 AX.ti m Axw=s DbA.ti m 94,16
its ritual (lit. its head and feet), distinguished in its parts, tp-rd=s Tn.ti m iry.w=s n wn
there are no parts absent from it (lit., "at its gate," i.e. dbHw m-rw.ty=s
outside of it).
IHY IHY
94,17 Ihy the Great, son of Hathor, Ra himself in the 94,17 IHy wr sA @.t-Hr Ra Ds=f
Sanctuary of Ra: playing the sSS.t-sistrum for his mother, xnt pr-Ra ir(.t) sSS.t n mw.t=f
the Powerful one (f.). wsr.t
SHU SHU
95,1 Words to say by Shu, son of Ra [in the Place of 95,1 Dd mdw in ^w sA Ra {n sA
Ra(?)], Excellent king among the gods. Ra t} [m s.t-Ra(?)]* nsw.t mnx
HATHOR xnty nTr.w
95,2 Words to say by Hathor the Great, Lady of Iunet, HATHOR
Eye of Ra, Lady of Heaven, Mistress of all the gods, Lady 95,2 Dd mdw in @.t-Hr wr.t nb.t
of the Udjat-Eyes, She of the 95,3 festively decorated Iwn.t Ir.t-Ra nb.t p.t Hnw.t nTr.w
eyes, the Living Eye of Atum, the Uraeus who shines on nb.w nb.t wDA.ty sHb.t 95,3
the brow of her father, the Primordial One (f.) who mnD.ty anx.t n.t Itm ipy.t psD Hr
created the land when she came into being, the Beautiful wp.t n.t it=s SAa.t SAa tA m
mistress, beautiful to see, the Young Lady, 95,4 the [xpr]*=s Hnw.t nfr.t nfr mAA
Living Eye of Eternity, Ipyt, Lady of Pe, the Atenet, Lady sDty.t 95,4 anx.t n.t D.t Ipy.t nb.t
of the Horizon (i.e. also temple), the Beautiful Image, P itn.t nb.t Ax.t ti.t nfr.t mry.t Ra
beloved of Ra.
HORUS OF EDFU HORUS OF EDFU
95,5 Words to say by Horus Behdety, the Great God, 95,5 Dd mdw in @r BHd.ty nTr aA
Lord of Heaven, Horakhty in Wetjeset-Hor, who places nb p.t @r-Ax.ty xnt WTs.t-@r rdi
his arms around 95,6 the Mistress and Lady of Iunet in his a.wy=f(y) HA 95,6 Hnw.t nb.t
beautiful form of Lord to the Limit: I have extended my Iwn.t m irw=f nfr n nb Dr
arms around the Uraeus in her shrine. (I) protect her Ka dwn.n=i a.wy=i HA Hr.t-tp m
among 95,7 the (divine) Kas. HD=s mk(=i) kA=s xnt 95,7 kA.w

417
Doc 74 Southern Niche, West Wall, 2nd Register: D III, 97,13 98,2

Translation Transliteration
(NO TITLE) (NO TITLE)
IHY IHY
97,13 Words to say by Ihy the Great, son of Hathor, Lord 97,13 Dd mdw in Ihy wr sA @.t-
of the Two Udjat-Eyes,1641 Lord of the Cartouche:1642 I Hr nb wDA.ty nb mnS Hnk(=i)
offer the Udjat-Eye 97,14 to his mother,1643 the Powerful wDA.t 97,14 n mw.t=f wsr.t
one (f.).
THOTH THOTH
97,15 Words to say by Thoth, the Thrice Great,1644 Lord 97,15 Dd mdw in Hwty aA aA wr
of Hermopolis, who pacifies the gods with his words: Hail nb #mnw sHtp nTr.w m mdw=f
to you, She who shines 97,16 like gold, the Udjat-Eye1645 nD Hr=t wbn.t - 97,16 m-nbw
of Atum! wDA.t n.t Itmw
HATHOR HATHOR
97,17 Words to say by Hathor, Lady of Tarer,1646 Mistress 97,17 Dd mdw in @.t-Hr nb.t &A-
of Humankind,1647 Mistress of the Two Lands, the Shining rr nb.ty.t rxy.t Hnw.t tA.wy Ax.t m

1641
There is some uncertainly in the translation of , which could be an epithet of either Ihy or Hathor in this
sentence. Cauville (Dend Trad III, pp. 176-177) translates it as nb wAD.ty (Lord of the Two Udjat-Eyes), thus
assigning it to Ihy. However, as nb.t wAD.ty (Lady of the Two Udjat-Eyes), it is an epithet more commonly held by
Hathor (D III, 84,2; 95,2) or Isis (D III, 152,6).
1642
A similar dilemma occurs with , an epithet that, again, can be translated as either masculine or
feminine: nb mnS (Lord of the Cartouche), or nb(.t) mnS (Lady of the Cartouche), and thus attributed to either Ihy or
Hathor.
1643
mw.t=f (his mother) in the text is ambiguous because it is not clear if the suffix pronoun =f refers to Ihy or to the
King. If it refers to the King, then Cauville's translation (Dend Trad III, pp. 176-177) of the entire sentence, "I offer
the udjat-eye to his mother," makes sense. However, if the suffix pronoun =f instead refers to Ihy, then the sentence
would be better rendered as, "Offering the udjat to his mother," taking Hnk as an infinitive rather than as a sDm=f
with an omitted 1st singular suffix pronoun. One indication that Cauville's translation may be correct is the stroke
above the first instance of the arm with the nw-jar (D39), which (although placed before, rather than after, the
sDm=f), can be read as the 1st s. pronoun, =i.
1644
Boylan, Thoth, 182, translates as 'the thrice great," contra Cauville Dend Trad III, p. 177, who translates
aA aA wr as "Thot dismgiste" (Thoth, the Twice Great). I am following Boylon, taking wr as the third instance of
"great."
1645
Preys, Complexes, 81 n. 749, transliterates as ir.t, rather than wDA.t. Preys, Complexes, 81, notes that "Eye
of Atum" is a reduction of the epithet "Left Eye of Atum," an extremely rare designation of Hathor encountered only
twice in the temple (D III, 148,13, in Mansion of the Menit; D IX, 92,1-2, in Chamber of Appearances), both of
which concern the offering of the Udjat-Eye and where the epithet is associated with the "Right Eye of Ra." Preys,
Complexes, 81 n. 749, notes these references to the Eye of Atum: D I, 64,14; 120 no. 36; III, 97,16; V, 150,3; VI,
133,12; VII, 164,3-4; IX, 28,13.
1646
&A-rr, "Tarer," a name of Dendera (Wb V, 226,1; GR). Kockelmann, Toponymen, 65-66, discusses the name,
noting that according to Dmichen (Bauurkunde, 30), Iunet and Tarer are the most frequently-used names in the
inscriptions of the Temple of Dendera. Because they are used interchangeably, Kockelmann (65) argues against the
idea that Tarer is the "profane name" and Iunet is the "theological name" (contra Dmichen, Bauurkunde, 30; Preys,
Complexes, 49). Mysliwiec, Atum, 52, suggests that when written as a rebus with serpents, Tarer alludes to &A-n-Itm

418
 One (f.) in the sky at the front of the 97,18 (solar) barque, p.t m-HA.t 97,18 wiA wDA.t nTry.ti
the Udjat-Eye, divinized in the Divine (=Dendera). m NTry.t
HARSOMTUS HARSOMTUS
98,1 Words to say by Harsomtus, Lord of Khadi, the 98,1 Dd mdw in @r-smA-tA.wy
Great God1648 who resides1649 in Iunet, Ra himself in the nb #Adi nTr aA Hry-ib Iwn.t Ra
Sanctuary of Ra: 98,2 I place my arms around Rayt, Ds=f xnt pr-Ra 98,2 di=i a.wy=i
Mistress of the Two Lands, in (my) great HA Ray.t Hnw.t tA.wy m xprw(=i)
manifestation1650 of Meh-wer.1651 wr n MH-wr

("Land of Atum," another name of Dendera) and Atum's form as a primeval snake. Examples include D III, 57,5,

; D IV, 232,2, ; D VIII, 122,13: .

1647
The epithet, nb.ty.t-rxy.t, belonging primarily to Isis, emphasizes her role as the queen who guarantees the
passage of royal power from the father Osiris to his son Horus. At Dendera, Hathor especially carries this title on the
left walls of the temple, where she takes the place of Isis. See Preys, Isis et Hathor, 351, who notes the necessity of
a deeper study into the following issues: the reason for placing Hathor nb.ty.t-rxy.t in a particular scene; the
processes by which Hathor is identified to Isis (via the latter's epithets, e.g., nb.ty.t rxy.t or xnty.t Iwn.t), or vice
versa (with Isis carrying Hathor's epithets, e.g. Nbw.t or part of Hathor's great titulary).

1648
I am not entirely convinced that (A239A) should be read as nTr Aa, as suggested by Cauville, Dend Trad III,
pp. 176-177. I would like to see further evidence of the reading (perhaps from other examples of this title, or the full
spelling of the word). Another reference for this term is D VII, 14,16, cited in Cauville, Dend fonds, 22.
1649
Wb III 136-137; PL 663: Hry-ib, lit. in the middle," translated "resides in" or "sojourns in," refers to a deity
worshipped in a cult center of another deity. See Haring, Divine Households, 71 n. 3; Budde, Epithets, 3.
1650
The spelling of xprw, which includes the flesh sign (F51B) in the original, is probably correct, despite
Chassinat's indication of "(sic)." Wilson, PL 721, cites a similar spelling from Edfou IV, 13, 6-7.
1651
Leitz (LGG 361-362) suggests that this epithet of Harsomtus may mean "der grosse Fllende." In the Khonsu
Temple's barque chapel at Karnak, the Creator God entered the Nun as MH-wr (Mendel, Kosmogonische Inschriften,
W 35, cited in Leitz, LGG, 362).

419
 Southern Niche, 1st Register, East and West Walls

East Wall South Wall West Wall

D III, pls. 201; 202, IFAO

East Wall
1st Register
Doc 75
D III,
93,15 94,4

East Wall, 1st Register

West Wall
1st Register
Doc 76
D III,
96,22 97,7

West Wall, 1st Register

420
Doc 75 Southern Niche, East Wall, 1st Register: D III, 93,15 94,4

Translation Transliteration
IHY IHY
93,15 Ihy, electrum. 93,15 IHy HD
HATHOR HATHOR
94,1 Hathor, Lady of Iunet, who is in her 94,1 @.t-Hr nb.t Iwn.t imy(.t) wiA=s nbw
barque.1652 Gold and every fine stone. aA.t nb.t
TWO PERSONNAGES BEHIND TWO PERSONNAGES BEHIND
HATHOR HATHOR
94, 3 Black bronze, head and kilt in gold. 94, 3 biA km, tp SnDy.t m nbw
ON BASE: ON BASE:
94,4 Base in electrum. 94,4 xAs.t m HD

Doc 76 Southern Niche, West Wall, 1st Register: D III, 96,22 97,7

Translation Transliteration
TITLE TITLE
96,22 Offering unguent and cloth to his mother, the 96,22 Hnk mD.t mnx.t n mw.t=f
Powerful One (f.). wsr.t
IHY #1 IHY #1
97,1 Ihy-nun in the Temple of Ihy. 97,1 IHy-nwn xnt H.t-IHy
IHY #2 IHY #2
97,2 Ihy-w'ab in the Temple of Purification. Gold, height 97,2 IHy-wab xnt H.t-abw nbw qA
of each one of them: 1 cubit. <n>* wa im mH 1
KING KING
97,3 King of Upper and Lower Egypt ( )|, son of Ra ( )|, 97,3 nsw.t-bi.ty ( )| sA Ra ( )|
the equal of Shesmu 97,4 raised by Tayet. snw n ^smw 97,4 rr n Ay.t
HATHOR HATHOR
97,5 Hathor, Lady of <the Two Lands>, Lady of bread, 97,5 @.t-Hr nb(.t) <tA.wy>
who makes beer.1653 Gold, height: 1 cubit. nb(.t) t ir H(n)q.t nbw qA mH 1

1652
Hathor wears the same crown (double crown, two ostrich feathers framing white crown, one behind red crown;
antelope horns), carrying a similar epithet Hry.t-ib wiA=s, "who resides in her barque" in an offering of four jars of
primordial water, in the 1st scene, 3rd register, of east wall of the Barque Sanctuary (D I, 50,6; pl. 51), in which
Hathor is sA.t Ir-tA qmA m Haw=f xpr Hr=f m HA.t, "the Daughter of Ir-ta who created his body, who came into being
with him at the beginning" (D I, 50,6-7). The antelope horns may allude to Satet, the Lady of Elephantine and
female protector of the southern border, who was identified with Sothis when she pours out the annual flood, and
with Isis, who protects Osiris (Valbelle, Satet, 488). In the PT of Pepi I, Satet purifies the deceased King with four
jugs of water (PT 114), thus linking to the above-mentioned scene on the east wall of the Barque Sanctuary in
which the King offers the four nms.t-jars to Hathor wearing the crown with the antelope horns. See note on nms.t-
jars in Doc 30.
1653
This epithet also appears in the 3rd scene of the 2nd register of the west wall (Doc 43), in an offering of the mnw-
jar (D III, 82,11).

421
HORUS HORUS
97,6 Horus, Lord of the Crown. Wood: height: 1 cubit, 3 97,6 @r nb wrr.t imA qA mH 1
palms, 1 finger. Ssp 3 Dba 1
ON BASE: ON BASE:
97,7 White (lime)stone; height: 1 cubit, 1 finger. 97,7 inr HD qA mH 1 Dba 1

422
Frieze of the Southern Niche
The decorative, cryptographic inscription is inscribed on all of the walls in the Southern Niche. It
is repeated a total of six times (D III, 96,10): twice on the wider north and south walls; once on
each of the east and west walls. In addition, it is repeated in ordinary writing on the columns that
frame the east and west walls (D III, 96,15).

Southern Niche, Frieze

D III, pls. 201; 202, IFAO

East Wall South Wall West Wall North Wall

East Wall West Wall

South Wall

North Wall

423
Doc 77 Southern Niche, South Wall, Frieze: D III, 96,10; 96,15

Translation Transliteration
96,10 96,10
An infinity of festivals in the Temple of the Sistrum, @H n Hb.w m-xnt H.t-sSS.t
Hathor the Great, Lady of Iunet, Eye of Ra. @.t-Hr wr.t nb.t Iwn.t Ir.t-Ra

424
 Southern Niche, South Wall, 2nd Register

Text Column
in Common,
Docs 78 & 79
D III, 96,6

West Side
East Side 2nd Register
2nd Register Doc 79
Doc 78 D III,
D III, 98,5-13
95,10-18

D III, pl. 202, IFAO

East Side, 2nd Register West Side, 2nd Register

425
Doc 78 Southern Niche, South Wall, 2nd Register, East Side: D III, 95,10-18

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
95,10 Offering Ma'at. Words to say: Take for yourself 95,10 Hnk mAa.t Dd mdw m-n=t
ma'at, Ma'at in Iunet, 95,11 it is Ma'at that one will mAa.t MAa.t m Iwn.t 95,11 MAa.t
say1654 to your Incarnation, it is your body, installed in pw (Dd) kA.tw r Hm.t=t D.t=T pw
your shrine, 95,12 she is not far from you, every day. DD.ti m HD.t 95,12 {m} n Hr=s
r=t ra nb
IHY IHY
95,13 Ihy the Great, son of Hathor: playing the sistrum 95,13 IHy wr sA @.t-Hr ir(.t)
for his mother, the Powerful One (f.). sSS.t n mw.t=f wsr.t
KING KING
95,14 King of Upper and Lower Egypt ( )|, son of Ra ( )|, 95,14 nsw.t-bi.ty ( )| sA Ra ( )|
son of He who unites Ma'at 95,15 heir of Ma'at. sA %mA-mAa.t 95,15 iwa n MAa.t
BEHIND HIM: All protection, life, and dominion are BEHIND HIM: sA anx wAs nb
behind him, like Ra, D.t-eternity. HA=f mi Ra D.t
HATHOR HATHOR
95,16 Words to say by Hathor the Great, Lady of Iunet, 95,16 Dd mdw in @.t-Hr wr.t
Eye of Ra, Ma'at the Great in the Horizon of Eternity. She nb.t Iwn.t Ir.t-Ra MAa.t wr.t xnt
is the First One (f.) of the Hathors, the Atenet without Ax.t-nHH tpy.t pw n.t @.t-Hr.w
(another) except 95,17 for her. She is the Primordial One Ray.t n Hr 95,17 xw=s SAa.t pw
(f.), the First One (f.) who came into being at the SAa xp(r) xnt Itn.t mH tA m nqr
beginning, the Atenet, who fills the earth with gold dust, nbw sA.t %fy sDty.t an.t xaw
the daughter of the Child,1655 the young woman, the <sdAdA> nTr.w m snD.t=s Ipy.t
Beautiful One (f.) of appearance. The gods <tremble>1656 nb.t P 95,18 nDty.t n.t it=s aA.t
before the dread of her, Ipyt, Lady of Pe, 95,18 Protectress nrw m nTr.w
of her Father, Great One (f.)1657 of (placing) dread among
the gods.

COLUMN IN COMMON1658 WITH SYMMETRICAL COLUMN IN COMMON

SCENE: WITH SYMMETRICAL
96,6 Words to say: Great Lady, Beautiful One (f.) in SCENE
96,6 Dd mdw rpy(.t) wr(.t)
1654
Following Allen, Middle Egyptian, 22.19, and taking the phrase (Dd.)kA.tw as sDm.kA=f.
1655
The Child, sfy, is the solar god (Cauville, Dend Trad III, p. 588). It indoubtedly refers to the creation myth in
which the sun god can be depicted as a child coming forth from the lotus, as shown in the sculpture found at the
entry of the tomb of Tutankhamen (see Desroches-Noblecourt, Tutankhamen, 6; 294).
1656
The word, sdA,"to tremble," and its reduplicated form, sdAdA, are written with a bird sign whose head is encircled
by dots to signify trembling. Gardiner tentatively identifies the bird as a "buff-backed egret" (GG, p. 470, G33,
citing Urk IV, 616,8 and PT 2152); see also Wb IV, 365,14 ("die Rohrdommel"). Chassinat notes that the ibis in line
95,17 is an error. Although the ibis looks very similar to the egret, the circle of dots is essential for this meaning.
1657
Cauville's Corrigenda, Dend Trad III, p. 331, corrects the lacuna to (O29).
1658
This column unites Docs 78 (on the east) and Doc 79 (on the west). Chassinat (D III, 96) notes that it has a
unique arrangement, with certain elements repeated and adapted for the appropriate scene they face, whereas others
are written only once. For example, in the group of two seated back-to-back goddesses, Hathor faces east and Isis
faces west, which is appropriate because the scene on the east (Doc 78) concerns Hathor, whereas the scene on the
west (Doc 79) concerns Isis.

426
 Iunet, Noble and Divine Lady, Lady of the Sanctuary of nfr(.t) xnt Iwn.t Sps.t nTry.t nb.t
the Golden One (f.), the Feline, the Powers and the pr-Nbw.t Hwn.t sxm.w nb.w
Lords of the Two Sanctuaries1659 who are united in Iatdi. itr.ty Xnm xnt IA.t-di

Doc 79 Southern Niche South Wall, 2nd Register, West Side: D III, 98,5-13

Translation Transliteration
TITLE AND FORMULA TITLE AND FORMULA
98,5 Offering Ma'at. Words to say: awe-inspired terror 98,5 Hnk mAa.t Dd mdw Sfy.t
(=Ma'at)1660 belongs to you, Mistress 98,6 and Lady of xr=t Hnw.t 98,6 nb(.t) Sfy.t sHtp
awe-inspired terror (=Ma'at), the satisfying of the god nTr Hr sHtp ib=t
(=Ma'at) is satisfying your (f.) heart.
HARSOMTUS THE CHILD HARSOMTUS THE CHILD
98,7 Harsomtus the child, son of Hathor: I have played 98,7 @r-smA-tA.wy pA xrd sA
the sistrum 98,8 in front of the face of the Lady of the @.t-Hr ir.n=i sSS.t 98,8 m Hr n
Sistrum, I repel your anger, Powerful and Noble One nb.t sSS.t dr=i sxm=t %xm-Sps.t
(f.). KING
KING 98,9 nsw.t-bi.ty ( )| sA Ra ( )| sr
98,9 King of Upper and Lower Egypt ( )|, son of Ra ( )|, n <mAa.t> nb mAa.t BEHIND
prince of <ma'at>, lord of ma'at. BEHIND HIM: 98,10 HIM: 98,10 sA anx wAs nb HA=f
All protection, life, and dominion are behind him, like Ra, mi Ra d.t
D.t-eternity.
ISIS ISIS
98,11 Words to say by Isis the Great, Mother of the God, 98,11 Dd mdw in As.t wr.t mw.t-
Lady of Iatdi, who resides in Iunet, Eye of Ra, Lady of nTr nb(.t) IA.t-di Hry.t-ib Iwn.t
Heaven, Mistress of all the gods, Lady of Ma'at, who Ir.t-Ra nb(.t) p.t Hnw.t nTr.w
lives on ma'at, 98,12 she is satisfied that one does it for nb.w nb(.t) mAa.t anx n mAa.t
her ka, (she) who was born in Iunet on the night of the 98,12 Htp=s ir.tw=s n kA=s bX
child in his nest of the great festival of the entire land. The m Iwn.t m grH nxn m sS=f Hb aA
unique goddess, 98,13 the multitude acclaims her, who n tA Dr=f nTr.t wa.t nhm 98,13
ordains commandments to the extent of the rays of the n=s HHw wD mdw r-rA-a st.wt itn

1659
itr.ty, "the Two Sanctuaries," written (O196). Gardiner, Horus the Behdetite, 27-28, connects itr.ty with
itr.w, "river channel," thus meaning a "line" or "row" of water. The itr.ty thus denote the two shrine rows on either
side of the Sed Festival court: the itr.t-Sma.t for Upper Egypt, itr.t-mH.t for Lower Egypt. The two itr.ty, or shrine
rows, thus designate Egypt as a whole. See also PL 123-124.
1660
Wb IV, 457,2 459,7; PL 1004. Sfy.t, "awesomeness; awe-inspired terror, fear, majesty," is regarded as a
synonym of Ma'at in Ma'at offerings, due to its representation by the forepart (and thus throat) of the ram, because
the word for throat (mr.t) is a close homonym of Ma'at, who was considered the throat of the god through which he
obtains air and food, i.e. the sustenance of life. See discussion in 5.1.2. The reference to Sfy.t of the King is thus also
a subtle allusion to his responsibility in maintaining Ma'at, with the use of his awesome power to do so.Van der Plas,
Crue du Nil, 92-93, suggests that mysterium tremendum perhaps best evokes the underlying emotional response to
the Sfy.t of a god or king.

427
 Aten. COLUMN IN COMMON1663
COLUMN IN COMMON1661 WITH SYMMETRICAL WITH SYMMETRICAL
SCENE: SCENE:
96,6 Words to say: Great Lady, Beautiful One (f.) in 96,6 Dd mdw rpy(.t) wr(.t)
Iunet, Noble and Divine Lady, Lady of the Sanctuary of nfr(.t) xnt Iwn.t Sps.t nTry.t nb.t
the Golden One (f.), the Feline, the Powers and the Lords pr-Nbw.t Hwn.t sxm.w nb.w
of the Two Sanctuaries1662 who are united in Iatdi. itr.ty Xnm xnt IA.t-di

1661
This column unites Docs 78 (on the east) and Doc 79 (on the west). Chassinat (D III, 96) notes that it has a
unique arrangement, with certain elements repeated and adapted for the appropriate scene they face, whereas others
are written only once. For example, in the group of two seated back-to-back goddesses, Hathor faces east and Isis
faces west, which is appropriate because the scene on the east (Doc 78) concerns Hathor, whereas the scene on the
west (Doc 79) concerns Isis.
1662
itr.ty, "the Two Sanctuaries," written (O196). Gardiner, Horus the Behdetite, 27-28, connects itr.ty with
itr.w, "river channel," thus meaning a "line" or "row" of water. The itr.ty thus denote the two shrine rows on either
side of the Sed Festival court: the itr.t-Sma.t for Upper Egypt, itr.t-mH.t for Lower Egypt. The two itr.ty, or shrine
rows, thus designate Egypt as a whole. See also PL 123-124.
1663
This column unites Docs 78 (on the east) and Doc 79 (on the west). Chassinat (D III, 96) notes that it has a
unique arrangement, with certain elements repeated and adapted for the appropriate scene they face, whereas others
are written only once. For example, in the group of two seated back-to-back goddesses, Hathor faces east and Isis
faces west, which is appropriate because the scene on the east (Doc 78) concerns Hathor, whereas the scene on the
west (Doc 79) concerns Isis.

428
 Southern Niche, South Wall, 1st Register

South Wall, 1st Register, Doc 80, D III, 94,7

Southern Niche, South Wall

D III, pl. 202, IFAO

Doc 80 Southern Niche, South Wall, 1st Register: D III, 94,7

Translation Transliteration
94,7 Hathor, Lady of Iunet. Behdety, the Great God, Lord 94,7 @.t-Hr nb.t Iwn.t BHd.ty
of Heaven. Lord of Mesen, the Great God, Lord of nTr aA nb p.t nb Msn nTr aA nb p.t
Heaven. 94,8 The divine dresser: I have enfolded in [] 94,8 Hbs.t-nTr sbx.n=i* n []
Lady of (divine) Powers in protection, I protect your ka nb.t sxmw m xw.t mk=i kA=t m
with all(?)1664 protection. 94,9 The Protectress: I have mk.t nb(.t)(?) 94,9 xwy.t
extended my arms around your body with my wings, I dwn.n=i a.wy=i HA D.t=t m
surround the body of 94,10 your Incarnation. dmA.ty=i inH=i Haw n 94,10
Hm.t=t

1664
Chassinat D III, 8, notes "(sic)" below the last group of signs in this line, which probably refers to the nb-basket,
because mk(.t) can be spelled with the kA-arms and arm (E VI, 84,5). Cauville, Dend Trad III, pp. 172-173, omits nb
from her transliteration and does not translate it. Could it be mk.t nb(.t), "all protection"?

429
 References
Abbreviations
OK Old Kingdom
FIP First Intermediate Period
MK Middle Kingdom
SIP Second Intermediate Period
NK New Kingdom
TIP Third Intermediate Period
LP Late Period
GR Graeco-Roman Period

BoD Book of the Dead

BM British Museum
CT Coffin Texts
DeM Deir el-Medina
IFAO Institut franais d'archologie orientale
KV Kings Valley (designates royal tomb in the Valley of the Kings)
PT Pyramid Texts
QV Queen's Valley (designates royal tomb in the Valley of the Queens)
TT Theban Tomb

Journals and Series

A gyptologische Abhandlungen (Wiesbaden)
AT gypten und Altes Testament (Wiesbaden)
F gyptologische Forschungen (Glckstadt-Hamburg-New York)
AH Agyptiaca Helvetica (Genve)
AHAW Abhandlungen der Heidelberger Akademie der Wissenschaften (Heidelberg)
AO Acta Orientalia (Leiden-Copenhagen)
APAW Abhandlungen der Preussischen Akademie der Wissenschaften (Berlin)
ASAE Annales du Service des antiquits de l'gypte (Le Caire)
ASE Archaeological Survey of Egypt (London)
BA Bibliotheca Aegyptiaca (Bruxelles)
BACE Bulletin of the Austrialian Centre for Egyptology (Sydney)
Bd Bibliothque d'tude (Le Caire)
BE Bibliothque gyptologique comprenant les oeuvre des gyptologues franais disperses
dans divers recueils et qui n'ont pas encore t runies jusqu' ce jour (Le Caire-Paris)
BES Bulletin of the Egyptological Seminar (New York)
BIFAO Bulletin de l'Institut franaise d'archologie orientale (Le Caire)
BSEA British School of Egyptian Archaeology (London)
CASAE Cahiers. Suppl. aux ASAE (Le Caire)
Cd Chronique d'gypte (Bruxelles)
CHAN Culture and History of the Ancient Near East (Leiden-Boston)
CRIPEL Cahier de recherches de lInstitut de papyrologie et gyptologie de Lille (Lille)
DAWB Deutsche Akademie der Wissenschaften zu Berlin (Berlin)

430
DAWW Denkschriften der kaiserliche Akademie der Wissenschaften in Wien, Philosophisch-
historische Klasse (Vienna)
DE Discussions in Egyptology (Oxford)
DAWW Denkschriften der sterreichischen Akademie der Wissenschaften in Wien (Vienna)
EEF Egypt Exploration Fund (London)
FIFAO Fouilles de l'Institut franais d'archologie orientale (Le Caire)
GOF Gttinger Orientforschungen, IV. Reihe: gypten (Wiesbaden)
GM Gttinger Miszellen: Beitrge zur gyptologische Diskussion (Gttingen)
HB Hildesheimer gyptologische Beitrge (Hildesheim)
JAOS Journal of the American Oriental Society (New Haven, Connecticut)
JARCE Journal of the American Research Center in Egypt (Boston-New York-San Antonio)
JEOL Jaarbericht von het vooraziatisch-egyptisch Genootschap, Ex Orient Lux (Leyde)
JNES Journal of Near Eastern Studies (Chicago)
JSS Journal of Semitic Studies (Manchester)
JSSEA Journal of the Society of the Study of Egyptian Antiquities (Toronto)
KSG Knigtum, Staat, und Gesellschaft frher Hochkulturen (Wiesbaden)
L Lexikon der gyptologie (Wiesbaden)
LS Leipziger gyptologische Studien (Glckstadt-Hamburg-New York)
MS Mnchner gyptologische Studien (Mainz)
MIFAO Mmoires publis par les membres de l'Institut franais d'archologie orientale (Le
Caire)
MMAF Mmoires publis par les membres de la Mission archologique franaise, IFAO (Le
Caire)
MPSNB Mitteilungen aus der Papyrussammlung der Nationalbibliothek in Wien (Vienna)
MVG Mitteilungen der vorasiatisch-gyptischen Gesellschaft (Leipzig)
OBO Orbis Biblicus et Orientalis (Freiburg-Gttingen)
OIMP Oriental Institute Museum Publications (Chicago)
OIP Oriental Institute Publications (Chicago)
OLA Orientalia Lovaniensia Analecta (Leuven).
OLZ Orientalische Literaturzeitung: Monatsschrift fr Wissenschaft vom Vorderen Orient und
seine Beziehungen zum Kulturkreis des Mittelmeers (Leipzig)
ORA Orientalische Religionen in der Antike: gypten, Israel, Alter Orient (Leipzig-
Heidelberg-Gttingen)
P Probleme der gyptologie (Leiden-New York-Kln)
PIFAO Publications de l'Institut franais d'archologie orientale du Caire (Le Caire)
PSBA Proceedings of the Society of Biblical Archaeology (London)
RAPH - Recherches d'archologie, de philologie et d'histoire (Le Caire)
RecTrav Recueil de travaux relatifs la philologie et l'archologie gyptiennes et
assyriennes (Paris)
RevEg Revue gyptologique (Paris)
SAGA Studien zur Archologie und Geschichte Altgyptens (Heidelberg)
SAK Studien zur altgyptischen Kultur (Hamburg)
SAOC Studies in Ancient Oriental Civilization (Chicago)
SDAIK Sonderschrift, Deutsches Archologisches Institut Abteilung Kairo (Mainz am Rhein)
Wb Wrterbuch der gyptischen Sprache (Leipzig)

431
WVDOG Wissenschaftliche Verffentlichungen der deutschen Orient-Gesellschaft (Berlin-
Leipzig)
ZS Zeitschrift fr gyptische Sprache und Altertumskunde (Leipzig-Berlin)

432
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Aldred, Jewels of Pharaohs

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Altenmller, Achtheit
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486
 Appendix 1 Table of Word Plays in the Per-wer Sanctuary
The following table includes the outer entrance of the Per-wer. Discussion of individual
examples is indicated by section number listed in the column, "Type." For example, a discussion
of the repetition and true pun on mAa.t/mr.t in Doc 54 (South Wall, 1st register, east side) appears
in Section 5.1.2.

Types of Word Play

Repetition (ploce) (same root, same form, same meaning)
Antanaclasis (same root, same form, different meaning)
o Antanaclasis on close homophones (different roots, close in sound, different meaning)
Polyptoton (same root, different form, same or different meaning)
o Polyptoton on close homophones (different roots, close in sound, different meaning)
True Pun (one word with two or more lexical/grammatical meanings that fit the context)
o True Pun on close homophone (different roots, close in sound, different meaning)

Doc No. Text Ref Location; Type Example Purpose

Location Scene
Exterior
Entrance
Doc 1 D II, pl. Chrono- none
Entrance 94 crators for
Frieze Tybi 11-15
E. Side
Doc 2 D II, pl. Chrono- none
Entrance 94 crators for
Frieze Tybi 16-20
W. Side
Doc 3 D II, 3,6; Frieze Polyptoton pr-nbw.t n nbw.t nbi m nbw, Emphasizes
Entrance D II, pl. East Side on nbw nbw.t nTr.w wbn m-xnt=f, "The gold: nbw
Bandeau 94 (gold); sanctuary of the Golden One (gold), nbw.t
of Frieze imperfect (is) for the Golden One, gilded (golden one),
E. Side pun on nbi with gold, the Golden One nbi (gild).
(close shines in it.
homophone)
nbi (gild) creates imperfect pun
See 2.5.3. with Nbw.t and nbw.
Nbw.t is repeated 3x.
Doc 3 D II, 3,7; Frieze Polyptoton psD.t psD.ti m-qAb=f, "The Emphasizes
Entrance D II, pl. East Side on psD shining (uraeus) shines in its Hathor's radiant
Bandeau 94 (shine) (=Per-wer's) midst." nature.
of Frieze
E. Side Polyptoton on root psD (shine):
f.s. active participle, with cobra
determinative indicating shining
(uraeus); stative psD.ti
(shining).

487
Doc 3 D II, 3,7; Frieze True pun on psD.t psD.ti m-qAb=f, The Allusion to
Entrance D II, pl. East Side m-qAb=f shining (uraeus) shines in its Hathor's
Bandeau 94 (lit. "in its (=Per-wer's) midst. manifestation as
of Frieze coils") Prepositional phrase, m-qAb=f , uraeus.
E. Side (lit."in its coils") alludes to
Hathor's manifestation as uraeus.
Doc 4 D II, 4,2; Frieze Repetition pr-Nbw.t n Nbw.t nTr.w Emphasizes
Entrance D II, pl. West Side of Nbw.t The Sanctuary of the Golden Hathor's epithet
Bandeau 94 (Golden One (=Dendera) is for the as the "Golden
of Frieze One) Golden One of the Gods One."
W. Side
Doc 4 D II, 4,2; Frieze Repetition inH m nbw Wbn.t-m-nbw, wbn Emphasizes that
Entrance D II, pl. West Side of nbw m-xnt=f the Per-wer's
Bandeau 94 (gold) over plated in gold, She Who Shines decoration in
of Frieze two cola Like Gold shines in it. gold mimics
W. Side Hathor's
radiance.
Doc 4 D II, 4,2; Frieze Polyptoton Wbn.t-m-nbw, wbn m-xnt=f Emphasizes
Entrance D II, pl. West Side on wbn She Who Shines Like Gold Hathor's
Bandeau 94 shines in it. radiance.
of Frieze
W. Side
Doc 5 D III, none
Entrance 45,6; pl.
Cornice 94
Above
Winged
Disk
Doc 6 D III, none
Entrance 45,8-9; pl.
Cornice 94
E. Side
Doc 7 D III, none
Entrance 45,10; pl.
Cornice 94
W. Side
Doc 8 D III, Outer Antanaclasis xa=t m pr=tpr=t r-HA Aural emphasis
Entrance 45,13; D Column on pr=t You appear in your with visual
E. Side II, pl. 94; Text A (with sanctuary You go forth meaning;
Door Mariette, multiple outside (in procession). emphasizes
Frame D II, pl. meanings) Hathor's
60a Aural emphasis (repetition of procession from
pr=t), with different meanings her sanctuary.
shown visually:

pr=t
your sanctuary

pr=t
you go forth
Doc 9 D III, Outer Polyptoton Emphasizes
Entrance 46,4-5; D Column on sxn, Hathor's
W. Side II, pl. 94; Text B intensified sxn <n=>t Ra m awy=f(y) iw=t embracing by
Door Mariette, by visual sxn.ti m aH Sps Ra and her
Frame D II, pl. alliteration Ra embraces you in his arms, installation in

488
 60b of you are installed in the noble the sanctuary.
embracing- palace.
arms sign
(D32) Visual alliteration with the two
embracing-arms ideograms
See 5.1.1. (D32), used twice to represent the
verb sxn, but with a different
meaning for each repetition.
Doc 10 D III, Inner Polyptoton @.t-Hr nb.t Iwn.t wbn.ti m pr=s Emphasizes
Entrance 47,2; D II, Column on wbn mi Ra wbn m nn.t Hathor's solar
E. Side pl. 94; Text C Hathor, Lady of Dendera nature and
Door Mariette, shines/appears/rises in her compares her to
Frame D II, pl. sanctuary like Ra who Ra in the sky.
60d shines/appears/rises in the sky.
Doc 11 D III, 47,7 Inner Alliteration sS aA.wy Ssp.t rmni HD Sps Emphasizes the
Entrance 48,1; D column on variation Opening the doors of the shrine, words,
W. Side II, pl. 94; Text D combin- carrying the noble chapel "opening,"
Door Mariette, ations of "shrine," and
Frame D II, pl. sS/Ss/sp/Sp "noble."
60d
Doc 11 D III, Inner Polyptoton Ax<.ty.t> xn.t Ax.t Equates
Entrance 48,1; D II, column, on Ax; true the Horizon-dweller in the Hathor's
W. Side pl. 94 Text D pun on Ax.t horizon illumination of
Door Mariette, her temple with
Frame D II, pl. The word Ax.t (horizon) is a the illumination
60d homophone for "temple." Spelled of the horizon.
only with the horizon-sign
(N27), Ax.t in this phrase is thus
ambiguous and can allude to both
meanings.
Doc 12 D III, Adoring Antanaclasis swAS.n=i kA=t r qA n p.t Emphasizes that
Entrance 48,15-16; the god of close I have praised your ka to the the King praises
E. Side D II, pl. (Hathor); homophones height of heaven Hathor to the
below 94 speech of (kA/qA) greatest extent.
bandeau Nun Note: there is also a visual play
of frieze See 5.2.1. on this phrase. See Doc 12 in
Sign Play Table, 3.9.
Doc 12 D III, Adoring Polyptoton ii.n=i xr=t, Ax.ty.t m Ax.t Emphasizes
Entrance 49,5; D II, the god on Ax; true I have come before you, Hathor's solar
E. Side pl. 94 (Hathor); pun on Ax.t Horizon-dweller (f.) in the nature, and her
below speech of Horizon residence in
bandeau the King horizon (i.e. her
of frieze Ax.t can also mean "temple." temple).
Doc 12 D III, Adoring Repetition HqA sA HqA Emphasizes the
Entrance 49,10; D the god of HqA Ruler, son of the ruler king's royal
E. Side II, pl. 94 (Hathor); lineage.
below speech of See 5.3.2.
bandeau Hathor
of frieze
Doc 13 D III, Adoring Polyptoton Ray.t Hnw.t n(.t ) ra.w Emphasizes
Entrance 49,17; D the god on ra Hail to you, Rayt, Mistress of Hathor's solar
W. Side II, pl. 94 (Hathor); See 5.2.1. Suns. nature and her
below speech of primacy over
bandeau Kauket the other
of frieze "suns."

489
Doc 13 D III, Adoring True pun on iwa n anan wtT n wpw Makes allusion
Entrance 50,7-8; D the god anan Heir of the Baboon (=Thoth), to Ma'at being
W. Side II, pl. 94 (Hathor); engendered by the Judge inherent in the
below speech of See 5.2.2. (=Thoth) King.
bandeau King
of frieze anan ("baboon") is homophonic
with the word for "throat," thus
alluding to the throat that eats or
swallows Ma'at.
Doc 14 D III, none
Entrance 51,5-6; D
Lower II, pl. 94
Cornice
E. Side
Doc 15 destroyed none
Entrance
Lower
Cornice
W. Side
Doc 16 D III, none
Entrance 51,12-14
E. Side D II, pl.
Lintel 94
Doc 17 D III, (no title) Antanaclasis Word and sign
Entrance 52,13-14; sistra on close play emphasize
W. Side D II, pl. offering homophones m-n=t mni.t n(.t) nbw the offering of
Lintel 94 (Hathor ); (m-n=t/ Take for yourself the menit- the menit-
Queen's mni.t) necklace of gold necklace to
Also listed speech Hathor by the
under Queen.
Sign Play
Also in
Doc 40
(69,15)
Doc 17 D III, (no title) Antanaclasis Repetition of
Entrance 52,15; D sistra on Hr (face face sign
W. Side, II, pl. 94 offering; sign) with wnn sA Ra ( )| Hr p=f Hr Txn Hr n emphasizes
Lintel center Royal multiple Hnw.t=f meaning of
Randzeile meanings The son of Ra ( )| is upon his sentence: king
Also listed throne, brightening the face of his is brightening
under mistress. the face of
Sign Play Each Hr has a different meaning: Hathor.
prep in prep. phrase (upon his
throne); Hr + inf. (brightening);
substantive (face).
Doc 18 D III, Text Repetition smn p.t smn tA, smn rmT Repetition of
Entrance 53,12; D Column of smn The sky is established, the earth the verb smn
E. Side II, pl. 94 (montant) is established, the people are emphasizes that
Door See 2.1. established. heaven, earth,
Framing and people are
established.
Doc 19 D III, Text Antanaclasis iw=f wab r ab nb Emphasizes the
Entrance 54, 2-3; D Column on close It is pure of any impurity. purity of the
W. Side II, pl. 94 (montant) homophones inundation
Door Alliteration on ab and turn of water.

490
Framing meaning from wab (pure) to ab
(impure) emphasizes the purity of
the water.
Doc 20 D III, Text Polyptoton wr nrw m tpy.w-tA nb.w nb mAa.t Repetition of nb
Entrance 54,13 Column on nb Great One of Fear among all emphasizes that
E. Side (montant) (all/lord) those on earth, lord of Ma'at the king creates
Thickness over two fear in everyone
of door cola on earth; he is
jamb lord of Ma'at.
Doc 20 D III, Text Polyptoton Sps.t wr.t nb.t Spsw.t Emphasizes
Entrance 54,14-15 Column on Sps The noble and great lady, lady of Hathor's
E. Side (montant) the noble ladies nobility and her
Thickness rule over the
of door noble women.
jamb
Doc 20 D III, Text Polyptoton an.t an.ti n mAA=s Emphasizes
Entrance 54,15 Column on an The beautiful one is beautiful in Hathor's beauty.
E. Side (montant) seeing her
Thickness
of door
jamb
Doc 20 D III, Text Polyptoton iHy n=s iHyw Emphasizes
Entrance 54,16 Column on iHy The Ihy-children play music for music and its
E. Side (montant) you playing.
Thickness
of door
jamb
Doc 20 D III, Text Polyptoton sXkr sy nn m Xkrw=s Emphasizes
Entrance 54,17 Column on Xhr Tenen adorns her with her Hathor's
E. Side (paisseur adornments adornments.
Thickness des
of door montants)
jamb
Doc 21 D III, 55,6 Text Polyptoton Hnw.t nTr.w nTr.wt n nTr m snt r=s Emphasizes
Entrance Column on nTr Mistress of the Gods and the Hathor's rule
W. Side (paisseur Goddesses, no god is comparable over all the
Thickness des to her gods.
of door montants)
jamb
Doc 21 D III, 55,7 Text Repetition Emphasizes the
Entrance Column of Sps.t epithet, "noble
W. Side (paisseur Sps.t pw m m-xnt pr-Sps.t lady."
Thickness des The noble lady in the sanctuary
of door montants) of the noble lady [=Isis]
jamb
Note use of different sign for
each instance of Sps.t.
Doc 21 D III, 55,7 Text Repetition Emphasizes the
Entrance Column of rpy.t epithet, "noble
W. Side (paisseur rpy.t an.t m pr-rpy.t woman."
Thickness des The beautiful noblewoman in the
of door montants) sanctuary of the noblewoman
jamb
Doc 22 D III, Pied-droit Repetition twr sA twr Emphasizes the
Entrance 56,3; de of twr The purifier, son of the purifier king's lineage as

491
E. Side IFAO l'embrasure purifier-priest.
Door photo no. See 2.1.
Jamb 98-2224-
25;
Mariette,
D II, pl.
60e
Doc 22 D III, Pied-droit Repetition Sps.t wsr.t xnt pr-Sps.t Emphasizes
Entrance 56,5; de of Sps.t the noble and powerful lady in Hathor's
E. Side IFAO l'embrasure the Sanctuary of the Noble nobility.
Door photo no. Lady
Jamb 98-2224-
25;
Mariette,
D II, pl.
60e
Doc 22 D III, Pied-droit Antanaclasis swAS=i Hm.t=t m Ab.t ib=t Emphasizes
Entrance 56,6; de on close I adore Your Majesty with what what the
E. Side IFAO l'embrasure homophones your heart desires goddess desires.
Door photo no. (Ab.t/ib=t)
Jamb 98-2224-
25;
Mariette,
D II, pl.
60e
Doc 22 D III, Pied-droit Polyptoton Emphasizes the
Entrance 56,7; de on close height to which
E. Side IFAO l'embrasure homophones sqA=i kA=t r qA n p.t Hathor's ka is
Door photo no. (kA/qA) I make high your ka to the praised.
Jamb 98-2224- height of heaven.
25; See 2.5.2. Surrounding the word kA by signs
Mariette, of man raising arms reinforces
D II, pl. the idea of raising the kA of the
60e goddess in praise.
Also listed
in Sign
Play
Doc 23 D III, Pied-droit Repetition Sps.t xnt aH-Sps.t Emphasizes
Entrance 57,5; de of Sps.t Noble Lady in the Palace of the Hathor's
W. Side IFAO l'embrasure Noble Lady nobility.
Door photo no. See 2.1.
Jamb 98-2222-
23;
Mariette,
D II, pl.
60a
Per-wer
Interior
Doc 24 D III, East Wall Repetition pr-^ps.t n ^ps.t Emphasizes
E. Side 60,1; pl. of Sps.t The Sanctuary of the Noble Hathor's
Bandeau 184 Lady is for the Noble Lady nobility.
of Base
Doc 25 D III, West Wall Polyptoton Hts.tw aAy.t=s m aAy aAy (full Emphasizes
W. Side 60,7; pl. on aAy writing of aAy sp sn.nw) jubilation on

492
Bandeau 185 Her chapel is completed in very completion of
of Base great jubilation (lit. twice the Per-wer.
jubilation)
Doc 25 D III, West Wall Antanaclasis xntS pr-an.t n Hnw.t an.t Emphasizes
W. Side 60,7; pl. on an rejoicing (in) the Sanctuary of the Hathor's beauty.
Bandeau 185 Beautiful One for the Beautiful
of Base Mistress.

Shift in meaning of an from

substantive to adjective.
Doc 26 D III, East Wall Polyptoton psD PsD.t m p.t m-aqA niwt=s Emphasizes
E. Side 61,6; pl. on psD The Shining One shines in the Hathor's radiant
Bandeau 184; sky before her city. quality.
of Frieze Mariette,
D II, pl.
61a
Doc 27 D III, South, none
W. Side 62,2-7; pl. West, and
Bandeau 185; North
of Frieze Mariette, Walls
D II, pl.
61b

North
Wall
Doc 28 D III, mnw-vase Antanaclasis Emphasizes the
N. Wall 58,5-6; (Hathor); on iHy king's role as
E. Side pls. 180 Royal (Ihy/music) sw mi IHy ir iHy n mw.t=f Ihy, making
Lintel and 181; Randzeile He (=King) is like Ihy who music for his
Mariette, See 2.2. makes music for his mother. mother Hathor.
D II, pl.
66b
Doc 29 D III, Wine to his Polyptoton Hnw.t nb.t hy, nb.t hnw Emphasizes
N. Wall 59,5; pl. mother on close Mistress and Lady of exultation, Hathor's role in
W. Side 181; (Isis); homophones Lady of jubilation jubilation.
Lintel Mariette, Divine (Hnw/hnw)
D II, pl. Randzeile Wb. II 493; PL 606 (hnw)
66a (Isis)
Doc 30 D III, Greeting Polyptoton Emphasizes the
N. Wall 72,5; pl. with nmst- on qbH refreshing
E. Side 184; jar r sqbH ib=t m qbHw quality of
3rd Reg. Mariette, (Hathor); See 5.1.3. in order to refresh your heart libation water.
D II, pl. Royal with the libation water
66a Randzeile
Wb IV, 305,14; PT (sqbH)
Doc 30 D III, Greeting Repetition tw=t Nbw.t m-xnt pr-Nbw.t Emphasizes
N. Wall 72,5; pl. with nmst- of Nbw.t You are the Golden One in the Hathor's epithet
E. Side 184 jar sanctuary of the Golden One. as the Golden
3rd Reg. (Hathor); One.
Royal
Randzeile
Doc 30 D III, Greeting Polyptoton Haw=i [m] mw-rnp di=i ii n=k Emphasizes the
N. Wall 72,5; pl. with nmst- on rnp Hapy r tr=f n rnp.t tp rnp.t n Ab rejuvenating
E. Side 184 jar I purify my body [with] the water qualities of the
3rd Reg. (Hathor); See 5.2.3. of youth, I cause that the inundation

493
 Royal inundation might come to you in water, arriving
Randzeile its time of the year, at the at its proper
beginning of the year, without time.
ceasing.
Doc 31 D III, Udjat Polyptoton nTr.t nTr.ti r Ahw Emphasizes the
N. Wall 83,13; pl. offering on nTr The (divine) eye, purified of purity of the
W. Side 185 (Hathor); pain Divine Eye.
3rd Reg. title and
formula
Doc 31 D III, Udjat Polyptoton nb.t wDA.ty nTr.t n.t DfD-n-wDA.t Emphasizes
N. Wall 84,2; pl. offering on wDA Lady of the Udjat-eyes, the Hathor's
W. Side 185 (Hathor); Divine Eye of the Pupil of the connections to
3rd Reg. Royal See 5.1.4. Eye the Udjat and
Randzeile Pupil of the
Eye.
Doc 31 D III, Udjat Polyptoton in.n=i n=t Ax.t Ax.ti m D.t=s Emphasizes the
N. Wall 84,2; pl. offering on Ax I have brought to you the effectiveness of
W. Side 185 (Hathor); effective-eye, effective in its the Eye.
3rd Reg. Royal See 5.1.4. body (i.e. entirely).
Randzeile
Doc 31 D III, Udjat True pun Emphasizes the
N. Wall 84,2; pl. offering (and visual "raised up"
W. Side 185 (Hathor); pun) on Tni Tn.ti m tp-rd=s nb quality of the
3rd Reg. Royal distinguished (lit. "raised up") in Udjat and
Also listed Randzeile See 5.1.4. all its ritual connects it with
in Word the king's high
Play table. The word Tni, written with the double feather
sign of the double ostrich feather crown (having
crown, describes the udjat as associations
"raised up" (by the king's hand with the Eye).
raised in offering it to Hathor);
the word Tni (as well as the
ideogram used to write it) also
designates the crown worn by the
king in this scene.
Doc 31 D III, Udjat Polyptoton snn n Isdn Ssp-anx n ib-n-Ra Emphasizes that
N. Wall 84,5; pl. offering on Ssp over Ssp.n=i wDA.t the king is the
W. Side 185 (Hathor); two cola. image of Isden (=Thoth), the image of Thoth
3rd Reg. Divine replica of the heart of Ra! I have and Hathor has
Randzeile received the udjat-eye, healthy in received the
(Hathor) its body Healthy Eye.
Doc 31 D III, Udjat Polyptoton Ssp.n=i wDA.t wDA.ti m D.t=s Emphasizes the
N. Wall 84,5; pl. offering on wDA I have received the udjat-eye, healthiness of
W. Side 185 (Hathor); healthy in its body the Eye.
3rd Reg. Divine
Randzeile
(Hathor)
Doc 32 D III, Adoring Polyptoton dwA.n=i kA=t r qA n p.t Emphasizes the
N. Wall 68,11-12; the god on close I praise your ka to the height of height to which
E. Side pl. 31; (Hathor); homophones heaven. the king praises
2nd Reg. IFAO title and (kA/qA) Hathor's Ka.
photo no. formula
98-2211 See 5.2.3;
5.3.2.
Also listed

494
 in Sign
Play
Doc 32 D III, Adoring Repetition sn.n=i tA r wsx n tA Emphasizes the
N. Wall 68,12; pl. the god of tA I have kissed the ground for you extent to which
E. Side 31; IFAO (Hathor); to (the extent of) the breath of the the king pays
2nd Reg. photo no. title and See 5.2.3; earth homage to
98-2211 formula 5.3.2. Hathor.

Doc 32 D III, Adoring Polyptoton SAa.t SAa(.t) papa n k.t Hr xw=s Emphasizes the
N. Wall 69,1-2; pl. the god on SAa The Primordial One (f.), who primacy of
E. Side 31; IFAO (Hathor); was first to be born Hathor, as
2nd Reg. photo no. title and See 5.2.3. primordial
98-2211 formula goddess.

Doc 33 D III, Adoring Polyptoton wr.t bA.w r nTr.w nb.w Dd.tw [n]=T Emphasizes
N. Wall 80,5; pl. the god on nb nbw.t nb(.t) Iwn.t Hathor's
W. Side 183; (Hathor); (all/golden greater than all the gods, you greatness over
2nd Reg. IFAO title and one/lady) are called the Golden One, Lady all the gods and
photo no. formula over two of Iunet. her epithet as
93-2210 cola the Golden
One.
Doc 33 D III, Adoring Polyptoton nb(.t) mk.t Hr mk(.t) qmA s(y) Emphasizes
N. Wall 80,6; pl. the god on mk Lady of Protection, protecting Hathor's
W. Side 183; (Hathor); the one who created her. protective
2nd Reg. IFAO title and See 5.3.2. qualities.
photo no. formula
93-2210
Doc 34 D III, no title none
N. Wall 63,14-18; (Nekhbet
E. side pl. 182; and Hathor
1st Reg. IFAO welcome
photo no. King)
97-2221
Doc 35 D III, no title none
N. Wall 75,15- (Wadjet
W. Side 76,2; and Isis
1st Reg. pl.180; welcome
IFAO King)
photo no.
98-2220
E. and W.
Walls
Doc 36 D III, Doing the Polyptoton ii snTr, snTr=f Haw=T Emphasizes
E. Wall 72,11-12; censing; on nTr The incense comes, it censes purification
3rd Reg. pls. 188- title and (i.e. purifies) your body with incense.
189 formula See 5.2.6.
Doc 36 D III, Doing the Polyptoton pD pD.n=f tp.yw-a=T Emphasizes
E. Wall 72,11-12; censing; on pD The incense, it has censed (lit. censing with
3rd Reg. pls. 188- title and stretches/diffuses) your incense.
189 formula See 5.2.6. ancestors.

Doc 36 D III, Doing the Repetition nSp fnD=tn m sTy=f m-n=tn Ir.t- Emphasizes the
E. Wall 72,11-12; censing; of sTy over @r ii sTy=s r=tn incense's
3rd Reg. pls. 188- title and two cola Your (pl.) nose breathes its fragrance.
189 formula (m.s.) perfume. Take to

495
 yourselves the Eye of Horus, its
(f.s.) perfume comes to you
(pl).
Doc 36 D III, Doing the Antanaclasis Visually and
E. Wall 72,17; pls. censing; on sHtp aurally
in=i n=tn sHtp r sHtp ib=tn
3rd Reg. 188-189 Royal emphasizes the
See 5.2.6. I bring you incense in order to
Randzeile King's act of
pacify/satisfy your (pl.) heart.
censing and its
Also listed role in
in Sign The incense arm (R42) satisfying the
used both times to spell sHtp
Play gods.
(pacify) is the same type of
ritual instrument held by the
king in the scene. Its use in
either word could have attracted
the spelling of the other word.
Doc 36 D III, Doing the Antanaclasis Emphasizes
E. Wall 72,17; pls. censing; on snTr censing with
3rd Reg. 188-189 Royal snTr r snTr st=tn incense.
Randzeile (I bring) incense in order to
cense your (pl.) places
Doc 36 D III, Doing the Antanaclasis Emphasizes
E. Wall 73,12-13; censing; on snTr censing with
3rd Reg. pls. 188- Divine Ssp=n snTr r snTr snn=n incense.
189 Randzeile See 2.2. We receive the incense in order
to cense our statues
Doc 37 D III, Funerary Antanaclasis Emphasizes the
W. Wall 84,13; pls. Offering; on kAw divine powers
3rd Reg 195-197 Royal in charge of
Randzeile provisions
(food).
Also listed
in Sign
Play kA.w nb(.w) kA.w
divine powers, lords of
provisions

Aural and visual plays on kA.w

(divine powers) and kAw
(provisions).
Doc 37 D III, Funerary Antanaclasis Emphasizes the
W. Wall 84,13; pls. Offering; on Sps.w noble powers in
3rd Reg 195-197 Royal sxm.w Sps.w nb.w Sps(.w) charge of
Randzeile The noble powers, lords of provisions.
riches/provisions

Different writings,

(noble powers), and

(riches/provisions),
distinguish the homonyms of
Sps.w.
Doc 37 D III, Funerary Polyptoton r sDfA s.t=tn m DfAw Emphasizes the
W. Wall 84,14; pls. Offering; on DfA in order to provision your (pl.) provisioning of

496
3rd Reg 195-197 Royal place(s) of provisions the gods' places.
Randzeile
Doc 37 D III, Funerary Polyptoton Emphasizes the
W. Wall 84,14; pls. Offering; on anx life-giving
3rd Reg 195-197 Royal wd anx n anx.w qualities of the
Randzeile who ordains life to the living Ennead of
Atum
Doc 37 D III, Funerary Polyptoton Emphasizes
W. Wall 85,2; pls. Offering; on kA Harsomtus' role
3rd Reg 195-197 speech of KA nb kA.w as Lord of
Harsomtus See 5.2.6. ka-spirit, Lord of Provisions Provisions.
Doc 37 D III, Funerary Polyptoton Emphasizes the
W. Wall 85,2; pls. Offering; on anx ability of
3rd Reg 195-197 speech of sSm anx n anx.w Harsomtus to
Harsomtus See 5.2.6. who distributes life to the provide
living sustenance to
living beings.
Doc 37 D III, Funerary Polyptoton Ssp=n Spsw=k m t iwf H(n)q.t Emphasizes the
W. Wall 85,8; pls. Offering; on Sps We receive your riches of bread, reception of the
3rd Reg 195-197 speech of meat, and beer. offerings by the
Mut Polyptoton functions by gods.
metathesis on Ssp and Spsw.
Doc 37 D III, Funerary Polyptoton Htp ib=n m Htp.w=k Emphasizes the
W. Wall 85,8-9; Offering; on Htp Our heart(s) are satisfied with satisfaction of
3rd Reg pls. 195- Divine your offerings. the gods with
197 Randzeile the offerings.
(Hathor)
Doc 37 D III, Funerary Polyptoton bAq=n bAq.t m rk=k Emphasizes that
W. Wall 85,9; pls. Offering; on bAk We maintain in good condition the gods'
3rd Reg 195-197 Divine Egypt in its time. maintenance of
Randzeile See 5.3.3. Egypt.
Also listed (Hathor) The writing of Egypt with the
in Sign udjat-eye sign (Wb I, 425,18)
Play equates the land with the sacred
Eye of the god.
Doc 38 D III, Offering Polyptoton bnr.t bnrw Emphasizes
E. Wall 69,12; milk on bnr whose milk is sweet Hathor's sweet
2nd Reg. IFAO (Hathor); milk
1st Scene photo no. Divine See 5.2.3. Lit., "sweet one of (sweet) milk."
93-2202 Randzeile
(Hathor)
Doc 38 D III, Offering of Polyptoton Hr srnp nn=s m bnrw=s, sy m Emphasizes
E. Wall 69,13; milk on bnr over Hwn.t nfr.t bnr.t mrw.t Hathor's sweet
2nd Reg. IFAO (Hathor); two cola Rejuvenating her child with her milk and love.
1st Scene photo no. Divine (sweet) milk, she is the
93-2202 Randzeile beautiful feline whose love is
(Hathor) sweet.
Doc 39 D III, pl. Offering none
W. Wall 193; xAdb
2nd Reg. IFAO (Hathor)
1st Scene photo no.
98-2207
Doc 40 D III, Offering Antanaclasis Word and sign
E. Wall 69,15; menit on close play emphasize
2nd Reg. IFAO (Hathor); homophones m-n=t mni.t n(.t) nbw the Queen's

497
2nd Scene photo no. title and (m-n=t/ Take for yourself the menit- offering of
98-2203 formula mni.t) necklace of gold menit-necklace
to Hathor.
Also Doc See 2.2. Horizontal signs alternate with
17 (52,13- small round signs to create
14) graphical opposition.
Doc 40 D III, Offering Antanaclasis Nbw.t nb.t mni.t Emphasizes
E. Wall 69,16; menit on close The Golden One, Lady of the Hathor's
2nd Reg. IFAO (Hathor); homophones menit epithets of
2nd Scene photo no. title and (nbw.t/nb.t) Golden One and
98-2203 formula Lady of Menit.
Doc 41 D III, Offering Polyptoton wDA.t wDA.ti Emphasizes the
W. Wall 81,4; pl. wensheb on wDA The Udjat Eye, being healthy health of the
2nd Reg. 194; (Hathor); Udjat Eye.
2nd Scene IFAO title and
photo 98- formula
2206
Doc 41 D III, Offering Polyptoton wbn.t wbn.ti Emphasizes the
W. Wall 81,5; pl. wensheb on wbn The Shining One, being shiny radiance of the
2nd Reg. 194; (Hathor); Udjat Eye.
2nd Scene IFAO title and
photo 98- formula
2206
Doc 41 D III, Offering Antanaclasis twt m irw=f n hqA tA.wy Emphasizes the
W. Wall 81,7; pl. wensheb on twt over Hr twt &Ay.t completeness
2nd Reg. 194; (Hathor); two cola Complete in his form as the and perfection
2nd Scene IFAO Royal ruler of the Two Lands, of the King's
photo 98- Randzeile See 2.2. perfecting Tayet form and
2206 action.
Doc 41 D III, Offering Polyptoton sAx Ax.t m dbHw=s Emphasizes the
W. Wall 81,8; pl. wensheb on Ax who makes effective the effectiveness of
2nd Reg. 194; (Hathor); Udjat-Eye with its elements the Udjat Eye.
2nd Scene IFAO Royal See 5.1.2.
photo 98- Randzeile
2206
Doc 41 D III, Offering True pun on Subtle allusion
W. Wall 81,10-11; wensheb iAb.t to the left Eye
2nd Reg. pl. 194; (Hathor); Xnm.n=s iAb.t m tp n it=s of Horus, the
2nd Scene IFAO Divine See 5.1.2. She has united with the uraeus moon (equated
photo 98- Randzeile on her father's brow. with Isis).
2206
iAb.t is homophonic with "left
Eye," connecting the uraeus
with the Eye of Horus.
Doc 41 D III, Offering Antanaclasis iAb.t m tp n it=s wnn Hr.t-tp m- Repetition and
W. Wall 81,11; pl. wensheb on tp over xnt H.t-wnSb explanation
2nd Reg. 194; (Hathor); two cola The uraeus is on the head of her emphasize that
2nd Scene IFAO Speech of fatherthe uraeus (lit. "She who Hathor is the
photo 98- Hathor and is on the head") is within the uraeus on the
2206 Divine Temple of the Wensheb. head of the sun
Randzeile god Ra.
The term for "uraeus" (Hr.t-tp, lit.
"she who is on the head") is
explained in the previous
statement that the uraeus (iAb.t) is
m tp n it=s, "on the head of her

498
 father."

Doc 42 D III, Playing Polyptoton sxm m iAby=i ink @r wAD n %xm.t Emphasizes the
E. Wall 70,8; pl. sSS.t and on sxm over The sxm-sistrum is in my left king's role as
2nd Reg. 180; sxm-sistra two cola hand. I am Horus, the offspring of son of Sekhmet,
3rd Scene IFAO (Hathor); Sekhmet playing the
photo no. title and See 5.1.2. sistrum.
98-2204 formula
Doc 42 D III, Playing Antanaclasis IHy n nbw.t ir iHy n Hnw.t=f Emphasizes the
E. Wall 70,11-12; sSS.t and on iHy The Ihy of the Golden One, who King's role as
2nd Reg. pl. 180; sxm-sistra makes music for his Mistress Ihy, making
3rd Scene IFAO (Hathor); music for
photo no. speech of Hathor.
98-2204 King
Doc 42 D III, Playing Antanaclasis sw mi IHy ir iHy n Hnw.t=f Emphasizes
E. Wall 70,13; pl. sSS.t and on iHy He is like Ihy who makes music King's role as
2nd Reg. 180; sxm-sistra for his Mistress. Ihy, making
3rd Scene IFAO (Hathor); See 2.2. music for
photo no. Royal Hathor.
98-2204 Randzeile
Doc 42 D III, Playing Antanaclasis di=i n=k tx wHm=k tx Emphasizes
E. Wall 70,15; pl. sSS.t and on tX I give you beer; you repeat drunkenness
2nd Reg. 180; sxm-sistra drunkenness. through beer.
3rd Scene IFAO (Hathor);
photo no. speech of
98-2204 Hathor
Doc 42 D III, Playing Antanaclasis nb(.t) Aw(.t)-ib Hnw.t ibA Subtle equation
E. Wall 70,15; pl. sSS.t and on close Lady of Joy (Awt-ib), Mistress of of "joy" and the
2nd Reg. 180; sxm-sistra homophones the ibA-dance. ibA-dance, both
3rd Scene IFAO (Hathor); (ib/ibA) of which occur
photo no. speech of The alliteration of ib in the two in epithets of
98-2204 Hathor epithets suggests the equivalency Hathor.
of joy and the ibA-dance.
Doc 42 D III, Playing True pun on Hnw.t sxm.w Emphasis on
E. Wall 70,16; pl. sSS.t and sxm.w Mistress of the sxm-sistra Hathor's power
2nd Reg. 180; sxm-sistra manifested
3rd Scene IFAO (Hathor); True pun on sxm.w, which can within the sxm-
photo no. speech of also be translated "powers." sistra.
98-2204 Hathor
Doc 42 D III, Playing True pun on Hnw.t sxm.w Emphasis on
E. Wall 70,17-18; sSS.t and sxm.w Mistress of the sxm-sistra Hathor's power
2nd Reg. pl. 180; sxm-sistra manifested
3rd Scene IFAO (Hathor); True pun on sxm.w, which can within the sxm-
photo no. Divine also be translated "powers." sistra.
98-2204 Randzeile
Doc 43 D III, Offering Polyptoton Ax.t m Iwn.t, Axw=t Ax.ti Emphasizes the
W. Wall 81,14; mnw-vase on Ax Effective/Shining One (f.) in shining
2nd Reg. IFAO (Hathor); Iunet (=Dendera), your Axw- effectiveness of
3rd Scene photo no. title and power is effective Hathor's Axw-
98-2205 formula power.
Multiple meanings are embedded
Also listed in the polyptotons. See more
in Sign detailed analysis in Word Play
Play chapter.

499
Doc 43 D III, Offering Polyptoton Nfr.t nfr.wy nfrw=T Emphasizes
W. Wall 81,15; mnw-vase on nfr Beautiful One, how beautiful Hathor's beauty
2nd Reg. IFAO (Hathor); is your beauty/perfection! and perfection.
3rd Scene photo no. title and See 2.3.
98-2205 formula
Doc 43 D III, Offering Polyptoton bA.t r sxm.w xAxt bA.w Emphasizes
W. Wall 81,16; mnw-vase on bA Female Ba among the (divine) Hathor's swift
2nd Reg. IFAO (Hathor); powers, speedy one of (divine) divine power.
3rd Scene photo no. title and See 5.1.2. power
98-2205 formula
Doc 43 D III, Offering Repetition Hr.t-tp m tp n it=s Emphasizes the
W. Wall 82,10; mnw-vase of tp The uraeus on the head of her place of the
2nd Reg. IFAO (Hathor); father uraeus on the
3rd Scene photo no. Divine head of her
98-2205 Randzeile The uraeus, Hr.t-tp, is lit. "She father.
(Hathor) who is on the head."
Doc 44 D III, Ascending Antanaclasis twr twr m D.t=f Emphasizes
E. Wall 64,7; pl. steps on twr The purifier, purified in his King's purity.
1st Reg. 186; (Hathor's body
1st Scene IFAO shrine);
photo no. speech of
98-2212; King
Mariette,
D II, pl.
65a
Doc 44 D III, Ascending Repetition Hm-nTr sA <Hm-nTr> Emphasizes
E. Wall 64,7; pl. steps of Hm-nTr; Hm-nTr priest, son of a Hm-nTr King's purity.
1st Reg. 186; (Hathor's possible priest
1st Scene IFAO shrine); elipsis of
photo no. Royal Hm-nTr The first Hm-nTr may do double
98-2212; Randzeile duty, with the second (omitted)
instance understood (elipsis).
Doc 44 D III, Ascending Repetition twr sA twr Emphasizes the
E. Wall 64,7-8; pl. steps of twr The purifier, son of a purifier king's unbroken
1st Reg. 186; (Hathor's lineage as
1st Scene IFAO shrine); purifier-priest.
photo no. Royal
98-2212; Randzeile
Doc 44 D III, Ascending Antanaclasis aq bw Dsr m Dsr Emphasizes the
E. Wall 64,8; pl. steps on Dsr who enters the sacred place in king's state of
1st Reg. 186; (Hathor's (state of) sacredness sanctity when
1st Scene IFAO shrine); entering the
photo no. Royal Antanaclasis on Dsr, with first sacred shrine.
98-2212; Randzeile instance as adjective, the second
as substantive.
Doc 44 D III, Ascending Polyptoton Dsr.t xnt PsD.t Htp m HD=s m Emphasizes the
E. Wall 65,3; pl. steps on Dsr iwnn=s Dsr sacred character
1st Reg. 186; (Hathor's The sacred one among the of Hathor and
1st Scene IFAO shrine); Ennead, who rests in her naos in her shrine.
photo no. Divine her sacred shrine
98-2212; Randzeile
(Hathor)
Doc 45 D III, Pulling Polyptoton sS pr-nbw.t r psD Hm.t=s, wbn Emphasizes the
W. Wall 76,9; pl. (door) bolt on psD over PsD.t=s m-xt=s radiance that
1st Reg. 191; (Hathor's two cola who opens the sanctuary of the emanates from
Golden One, in order to make

500
1st Scene IFAO shrine); radiant Her Majesty; her the sanctuary
photo no. Royal Ennead shines behind her. when the King
98-2217; Randzeile opens the doors,
Mariette, In reference to the King, who revealing the
D II, pl. opens the sanctuary to reveal sacred statues
64b Hathor's (and her Ennead's) of Hathor and
radiance. her Ennead.
Doc 45 D III, Pulling Polyptoton sqA kA=s Emphasizes the
W. Wall 76,9; pl. (door) bolt on close who makes high her ka height to which
1st Reg. 191; (Hathor's homophones the King praises
1st Scene IFAO shrine); (qA/kA) Hathor.
photo no. Royal
98-2217; Randzeile
Mariette,
D II, pl.
64b
Doc 45 D III, Pulling Polyptoton Emphasizes
W. Wall 76,12; pl. (door) bolt; on Ax; true Hathor's role as
1st Reg. 191; Divine pun on Ax.t nswy.t-bi.ty.t Ax.ty.t xa m Ax.t solar goddess;
1st Scene IFAO Randzeile the Horizon-Dweller (f.) who equates temple
photo no. (Hathor) See 2.4. appears in the horizon with horizon.
99-2217; (=temple).
Mariette,
D II, pl. Hathor's role as solar goddess
64a (Ax.ty.t , the horizon-dweller) is
emphasized; a pun on Ax.t equates
Also listed the horizon with the temple.
in Sign
Play
Doc 45 D III, Pulling Polyptoton itn.t twt=s r itn Emphasizes
W. Wall 76,13; pl. (door) bolt; on itn The solar feminine disk Hathor's role as
1st Reg. 191; Divine (Atenet)--it resembles the Aten a solar goddess.
1st Scene IFAO Randzeile
photo no. (Hathor)
99-2217;
Mariette,
D II, pl.
64a
Doc 46 D III, Unfasten- Polyptoton sAx Ax.ty Emphasizes the
E. Wall 65,10; pl. ing the seal on Ax who makes the Two (Shining) King's role in
1st Reg. 187; (Hathor's Eye shining making the two
2nd Scene IFAO shrine); Divine Eyes
photo no. Royal Multiple meanings of the root Ax magically
98-2213; Randzeile allow other interpretations: "who effective.
Mariette, makes the Two (effective) Eyes
D II, pl. "effective," "magically
65b powerful," etc.
Doc 46 D III, Unfasten- Polyptoton StA.t msxa r PsD.t, psD m nn.t m Emphasizes that
E. Wall 66,3; ing the seal on psD over Xr.t-hrw although
1st Reg. pl. 187; (Hathor's two cola whose image is hidden from the Hathor's sacred
2nd Scene IFAO shrine); Ennead, who shines in the sky image is
photo no. Divine daily hidden, she
98-2213; Randzeile shines daily.
Mariette, (Hathor) Play on two meanings of psD
D II, pl. (nine; shine), in Psd.T (Ennead,
65b "the Nine") and psD (shine).

501
Doc 47 D III, Revealing Polyptoton psD PsD.t=s m Hb=s nfr Emphasizes the
W. Wall 77,5; pl. face of the on psD her Ennead shines during her radiance from
1st Reg. 192; Golden beautiful festival Hathor's
2nd Scene IFAO One Ennead.
photo no. (Hathor);
98-2216; Royal
Mariette, Randzeile
D II, pl.
64a
Doc 47 D III, Revealing Polyptoton wn.n=i sSp m Ssp.t=k Emphasizes the
W. Wall 77,7; pl. face of the on close I have opened the light in your light emanating
1st Reg. 192; Golden homophones chapel from Hathor's
2nd Scene IFAO One sSp/Ssp shrine.
photo no. (Hathor);
98-2216; speech of
Mariette, Hathor
D II, pl.
64a
Doc 47 D III, Revealing True pun on Emphasizes
W. Wall 77,8; pl. face of the Di.t-mrw.t Hathor's nature
1st Reg. 192; Golden Ray.t m _i(.t)-mr(w).t as one who
2nd Scene IFAO One Rayt in heaven gives love.
photo no.
98-2216; The literal meaning, "She who
Mariette, gives love," for _i(.t)-mr(w).t,
D II, pl. "heaven," is used at Dendera to
64a allude to Hathor's loving nature.
(e.g. D III, 54,14; 58,8; 70,16;
72,2). LGG IV, 612; Wb 420,1-3;
PL 1183.
Doc 48 D III, Seeing the Triple sbAq.n=i qfA.t n(.t) kA=s sqA.n=i Emphasizes the
E. Wall 66,6-7; god polyptoton nfrw=s r qA n{.t} p.t height to which
1st Reg. IFAO (Hathor); on qA and on I have brightened the dignity of the King praises
3rd Scene photo no. title and close her Ka. I have exalted her Hathor.
98-2214; formula homophone perfection to the height of
Mariette, kA over two heaven.
D II, pl. cola
63b
Doc 48 D III, Seeing the Repetition Dd mdw in MAa.t wr.t xnt H.t-MAa.t Emphasizes the
E. Wall 66,9; god of MAa.t Words to say by Ma'at the great goddess Ma'at.
1st Reg. IFAO (Hathor); in the Temple of Ma'at
3rd Scene photo no. speech of
98-2214; Ma'at
Mariette,
D II, pl.
63b
Doc 48 D III, Seeing the Antanaclasis nfr.wy Hr=t Nbw.t nb(.t) Iwn.t Emphasizes
E. Wall 66,10; god on close How beautiful is your face, Hathor's
1st Reg. IFAO (Hathor); homophones Golden One (f.), Lady of Iunet epithets as
3rd Scene photo no. speech of (nbw.t/nb.t) (=Dendera) Golden One and
98-2214; Ma'at Lady of Iunet.
Mariette,
D II, pl.
63b

502
Doc 48 D III, Seeing the Antanaclasis ST m ST=f n mAA-nTr Emphasis on
E. Wall 66,13; god on ST who clothes with his clothes of the king's act of
1st Reg. IFAO (Hathor); "seeing the god." clothing the
3rd Scene photo no. Royal divine statue.
98-2214; Randzeile
Mariette,
D II, pl.
63b
Doc 48 D III, Seeing the Polyptoton Ray.t sA.t Ra Emphasizes
E. Wall 67,2; god on ra The female sun, daughter of Ra. Hathor's role as
1st Reg. IFAO (Hathor); solar goddess.
3rd Scene photo no. Divine See 5.2.4.
98-2214; Randzeile
Mariette, (Hathor)
D II, pl.
63b
Doc 48 D III, Seeing the Polyptoton Itn.t m Sn n Itn Emphasizes
E. Wall 67,2-3; god on itn the female sun disk in the circuit Hathor's role as
1st Reg. IFAO (Hathor); of the sun disk solar goddess.
3rd Scene photo no. Divine See 5.2.4.
98-2214; Randzeile
Mariette, (Hathor)
D II, pl.
63b
Doc 48 D III, Seeing the Polyptoton dwA.tw r dwA=s ra-nb sp sn.nw Emphasizes the
E. Wall 67,2; god on dwA one rises early in the morning daily morning
1st Reg. IFAO (Hathor); in order to adore her every single worship of
3rd Scene photo no. Divine day Hathor.
98-2214; Randzeile
Mariette, (Hathor)
D II, pl.
63b
Doc 49 D III, Adoring Antanaclasis bnr ns Hr nis Hknw Emphasizes
W. Wall 78,6; the god on close Sweet of tongue, reciting the King's action of
1st Reg. IFAO (Hathor); homophones (hymns) of praise praising Hathor
3rd Scene photo no. speech of (ns/nis) with his sweet
98-2215; King words of praise.
Mariette,
D II, pl.
63a
Doc 49 D III, Adoring Polyptoton sSA.t SAa.t SAa spXr Emphasizes
W. Wall 78,11; the god on SAa; Seshat, the Primordial One who Hathor's role as
1st Reg. IFAO (Hathor); alliteration initiated writing Seshat, who
3rd Scene photo no. Divine on SA invented
98-2215; Randzeile writing.
Mariette, (Hathor) See 5.3.2.
D II, pl.
63a
South
Wall
Doc 50 D III, Mirror Polyptoton di=i n=k Ax.ty=k(y) Ax.ti m s.t=sn Emphasizes the
S. Wall 74,7; offering on Ax I give you your (whole, uninjured,
3rd Reg Mariette, (Hathor); uninjured, divine) Eyes, effective state
E.Side D II, pl. Divine See 5.1.4. effective in their place. of the Divine
67a Randzeile Eyes, which are

503
 (Hathor) equated mirror
of the offering.
Doc 51 D III, none
S. Wall 85,12
3rd Reg. 86,4
W. Side
Doc 52 D III, Offering True pun on Hr sHD Haw m psD Emphasizes the
S. Wall 71,6; pl. cloth to psD brightness of
2nd Reg 190; Hathor; illuminating (sHD) (her) body the cloth
E. Side IFAO Royal See 2.4. with the nine-strand linen (psD) offering;
photo no. Randzeile secondary
98-2208 The word for nine-stranded linen, meaning of
psD, is a homonym for psD, light, "illuminating
thus creating a true pun and with light" is
lending the secondary meaning, especially
"illuminating the body with appropriate for
light," which alludes to the "the female
quality of the fine linen, called, sun."
sSp.t, "bright cloth," and HD.t,
"bright white cloth" in the next
line (D III, 71,7). This description
connects with the idea that the
king is clothing his mistress with
cloth that is appropriate to her
role as Ray.t, the female sun,
mentioned at the end of the
phrase (D III, 71,7).
Doc 52 D III, Offering Polyptoton Hr sHD Haw m psDarq Hnw.t=f m Emphasizes the
S. Wall 71,6-7; 8; cloth to on HD across HD.t. Nxb.t HD.t Nxn shining quality
2nd Reg pl. 190; Hathor; several illuminating (sHD) her body with of the white
E. Side IFAO Royal colons the nine-strand linen (the cloth being
photo no. Randzeile "shining" cloth).tying on his offered.
98-2208 mistress the bright white cloth
(HD.t)Nekhbet, White One of
Nekhen.

The play on the root HD,

describing the king's action as
well as his offering, emphasizes
the shining quality of the cloth,
while also connecting to the
epithet of Nekhbet, HD.t ("White
One" of Nekhen), who as a
vulture flies protectively over his
head.
Doc 52 D III, Offering Polyptoton smnx-mnx.t Emphasizes that
S. Wall 71,10; pl. cloth to on mnx who makes excellent the cloth Hathor makes
2nd Reg 190; Hathor; the cloth
E. Side IFAO speech of See 2.3. excellent
photo no. Hathor (perhaps by
98-2208 imparting her
radiance to it).
Doc 52 D III, Offering Polyptoton Ray.t nb.t ra.w Emphasizes
S. Wall 71,10 cloth to on ra the female sun, lady of (male) Hathor's solar
2nd Reg Hathor; suns nature.

504
 E. Side speech of
Hathor
Doc 52 D III, Offering Polyptoton Wbn.t-m-nbw wbn.ti m Iwn.t Emphasizes
S. Wall 71,11; cloth to on wbn The One Who Shines Like Gold Hathor's shining
2nd Reg IFAO Hathor; shines in Dendera quality, which
E. Side photo no. Divine illuminates
98-2208 Randzeile Dendera.
(Hathor)
Doc 52 D III, Offering Repetition wnn Wbn.t-m-nbw wbn.ti m Iwn.t Emphasizes
S. Wall 71,11; cloth to of Sps.t m <Sps.t>* xnt pr-Sps.t Hathor's solar
2nd Reg IFAO Hathor; The One Who Shines Like Gold nature and her
E. Side photo no. Divine shines in Dendera as the <noble nobility within
98-2208 Randzeile lady>*1665 in the Sanctuary of the her sanctuary.
(Hathor) Noble Lady,
Doc 53 D III, Preparing Repetition wnn nsw.t-bi.ty 83,1 ( )| Hr Emphasizes the
S. Wall 83,1; pl. unguent of wr bHdw=f m pr-wr m rw wr HqA tA- King's role as
2nd Reg 198; (Hathor); nTr "Great Lion" in
W.Side IFAO Royal The King of Upper and Lower the Per-wer.
photo no. Randzeile Egypt 83,1 ( )| is upon his throne
98-2209 in the Great Sanctuary as the
great lion and ruler of the Land
of God

Word play between Great

Sanctuary (pr-wr) and the
metaphor of Great Lion (rw wr)
for the King.
Doc 53 D III, Preparing Repetition Hr smar id.t Hr rdi.t id.t-nTr n Hr.t- Emphasizes the
S. Wall 83,1; pl. unguent of id.t tp offering of
2nd Reg 198; (Hathor); clothing with perfume, giving perfume, whose
W.Side IFAO Royal the divine perfume to the uraeus. divine scent
photo no. Randzeile makes it an
98-2209 Parallel phrasing (Hr + inf.), with appropriate
the object of the inf. in each case offering for the
being perfume: id.t (perfume) or goddess.
id.t-nTr (divine perfume):
Doc 54 D III, Offering Repetition mn n=t mAa.t mAa.t rn=t mAa.t Emphasizes the
S. Wall 67,6-7; Ma'at; title of mAa.t; true pw kA.tw r Hm.t=t mr.t pw offering of
E. Side IFAO and pun between Take for yourself Maat, Maat Ma'at, equating
1st Reg. photo no. formula mAa.t and is your name, it is Maat (that) it with the
98-2218; mr.t one calls Your Majesty. It is the throat.
Mariette, throat.
D II, pl. See 5.1.2
62a The words mAa.t and mr.t
probably had similar
pronunciation at this time.
Doc 54 D III, Offering Repetition ir.n=i sSS.t m Hr=t nfr MAa.t wr.t Emphasizes
S. Wall 67,9-10; Ma'at; of sSS.t over xnt H.t-sSS.t Ihy's playing of
E. Side IFAO speech of two cola. I have played the sistrum before the sistrum at
1st Reg. photo no. Ihy your face, Ma'at the Great in the Dendera.
98-2218; Temple of the Sistrum
(=Dendera).

1665
Error noted by Cauville, Dend Trad III, pp. 140-141. The signs in Chassinat D III, 71,11 are (H6 A4),
which do not make sense here.

505
 Mariette,
D II, pl.
62a
Doc 54 D III, Offering Repetition siar mAa.t n nb.t mAa.t Emphasizes the
S. Wall 67,12; Ma'at; of mAa.t who lifts up (i.e. offers) Ma'at to offering of
E. Side IFAO speech of the Lady of Ma'at Ma'at.
1st Reg. photo no. the King
98-2218;
Mariette,
D II, pl.
62a
Doc 54 D III, Offering Polyptoton Emphasizes that
S. Wall 67,13; Ma'at; on close "doing Ma'at"
E. Side IFAO Royal homophones ir mtw.t-kA sqA (?) nfr.w nw &A- increases the
1st Reg. photo no. Randzeile (kA/qA) mry beauties of
98-2218; who does Ma'at, which exalts the Egypt.
Mariette, beauties of Ta-mery (lit. "beloved
D II, pl. land"=Egypt).
62a
mtw.t-kA means lit., "seed of the
bull" (PL 474-475).
Doc 54 D III, Offering Polyptoton Emphasizes the
S. Wall 68,4-5; Ma'at; on nTr divinity of
E. Side IFAO speech of nTr nTry m tA n Itmw Horus of Edfu.
1st Reg. photo no. Horus of The divine god in the Land of
98-2218; Edfu Atum
Mariette,
D II, pl.
62a
Doc 54 D III, Offering Antanaclasis Nbw.t nb.t Iwn.t Emphasizes
S. Wall 68,6; Ma'at; on close The Golden One (f.), Lady of Hathor's
E. Side IFAO Divine homophones Iunet (=Dendera) epithets of
1st Reg. photo no. Randzeile (Nbw.t/nb.t) Golden One and
98-2218; (Hathor) Lady of
Mariette, Dendera.
D II, pl.
62a
Doc 55 D III, Offering Repetition m-n=T mAa.t, mAa.t m iwn.t Emphasizes the
S. Wall 78,15 Ma'at; title of mAa.t Take for yourself Maat, Maat in offering of
W. Side 79,1; and Iunet (=Dendera) Ma'at.
1st Reg. IFAO formula
photo no.
99-2219;
Mariette,
D II, pl.
62b
Doc 55 D III, Offering Repetition Sps.t wsr.t xnty.t aH-Sps.t Emphasizes the
S. Wall 79,10; Ma'at; of Sps.t the noble and powerful lady in nobility of Isis.
W. Side IFAO speech of the Palace of the Noble Lady
1st Reg. photo no. Isis
99-2219;
Mariette,
D II, pl.
62b

506
Doc 55 D III, Offering Polyptoton ity.t n.t ity.w Emphasizes the
S. Wall 79,14; Ma'at; on ity the female sovereign of the role of Isis as
W. Side IFAO Divine sovereigns the female
1st Reg. photo no. Randzeile sovereign.
99-2219; (Isis)
Mariette,
D II, pl.
62b
Doc 55 D III, Offering Polyptoton HqA.t HqA ifd.w nw nn.t Emphasizes
S. Wall 79,14; Ma'at; on HqA the female ruler who rules the role of Isis as
W. Side IFAO Divine four corners of heaven sovereign of
1st Reg photo no. Randzeile heaven.
99-2219; (Isis)
Mariette,
D II, pl.
62b
Doc 56 D III, Primordial Repetition xpr xnt Hr it=s Nwn xpr ix.t nb.t Emphasizes
S. Wall 62,13 water in of xpr over m-xt xpr=s Hathor's origin
E. Side nms.t-jars; two cola who came into being at the in the Nun.
Lower speech of beginning with her father Nun.
Base Hathor All things came into being after
she came into being.

The repetition of xpr emphasizes

Hathor's origin in the Nun, thus
lending added importance to the
King's offering of primordial
water.
Doc 56 D III, Primordial Repetition xpr xnt Hr it=s Nwn xpr wnn.t m Emphasizes
S. Wall 63,3-4 water in of xpr over wbn{r}=s Hathor's origin
E. Side nms.t-jars; two cola who came into being with her in the Nun; the
Lower Divine father Nun; what exists, came creation of the
Base Randzeile into being when she shines. world due to
(Hathor) her radiance.
Doc 57 D III, Inundation Repetition Nw.t m H.t-Nw.t Emphasizes
S. Wall 74,13 water in Hs- of Nw.t Nut in the temple of Nut Nut, the mother
W. Side jars; speech of Isis.
Lower of Isis
Base
Doc 57 D III, Inundation Polyptoton nTr nTry [xpr] xnt Emphasizes
S. Wall 75,1-2 water in Hs- on nTr The divine divinity who [came Harsomtus as
W. Side jars; speech into being] at the beginning (lit. divine primeval
Lower of formerly--i.e. at the primordial god.
Base Harsomtus time of the first creation)
Doc 57 D III, 75,6 Inundation Antanaclasis mni.t m iAb(.i) Hr dr [mn.t]* Emphasizes that
S. Wall water in Hs- on close The menit-necklace is in my left the menit can
W. Side Also listed jars; speech homophones hand, driving away distress. drive away mn.t
Lower in Sign of Ihy (mni.t/mn.t) (distress).
Base Play The closeness in sound of menit
See 2.5.1. to mn.t (evil) lends magical
effectiveness to the menit against
the negative force.
S. Niche
Exterior
Framing
of Door

507
Doc 58 D III, Text above none
Lintel 86,12 Winged
Above disk
Solar Disk
Doc 59 D III, Text below none
Lintel 86,13 Winged
Below Disk
Solar Disk
Doc 60 D III, Four none
E. Side 86,17 goddesses
Base of who hold
Door up the sky
Doc 61 D III, 87,2 Four none
W. Side goddesses
Base of who hold
Door up the sky
Doc 62 D III, Eight none
E. Side 87,7-9; pl. figures in
Thickness 200 four
Door registers
Jambs
Doc 63 D III, Eight none
W. Side 87,12-13; figures in
Thickness pl. 200 four
Door registers
Jambs
S. Niche
N. Wall
Interior
Framing
of Door
Doc 64 D III, Offering Polyptoton tp.t Tn.ti m tp=k Emphasizes the
E. Side 89,1; double on tp The uraeus is distinguished on uraeus on the
Lintel pl. 201; crown; title your head. head of the
Mariette, and See 5.3.1. king.
D II, pl. formula
68b
Doc 64 D III, Offering Repetition nswy.t=k nswy.t n(.t) Ra Emphasizes the
E. Side 89,2; double of nswy.t Your kingship is the kingship of divine kingship.
Lintel pl. 201; crown; title Ra
Mariette, and See 5.3.1.
D II, pl. formula Balanced sentence with repetition
68b of nswy.t, "kingship."
Doc 64 D III, Offering True pun on di=i n=k tA pn Xr nfr.w=s Emphasizes
E. Side 89,9; pl. double nfr.w I give you this land, possessing Ihy's offering to
Lintel 201; crown; its crowns/good things. the King of the
Mariette, Divine See 5.3.1. rulership and
D II, pl. Randzeile Plays on two meanings of nfr.w: the bounty of
68b "crowns" (i.e. rule over Egypt Egypt.
stated in Doc 65) and "good
things" (Egypt's bounty), both of
which Ihy gives as a return for
the king's offering of the double
crown.

508
Doc 65 D III, Offering of none
W. Side 89,12- double
Lintel 90,8; crown
pl.201;
Mariette,
D II, pl.
68a
Doc 66 D III, Horizontal none
E. Side 88,1-5 lines of text
Pied-droit
Doc 67 D III, Horizontal Repetition iwa n BHd.ty sA Ra ( )| mry @r- Emphasizes the
W. Side 88,11 lines of text of BHd.ty BHd.ty King's role as
Pied-droit heir of the One of Edfu, son of son and beloved
Ra ( )|, beloved of Horus of Edfu of Horus of
Edfu.
Doc 68 D III, Text Polyptoton StA(.t) irw txn(.t) sStA Emphasizes the
E. Side 91,1; pl. column on StA secret one (f.) of form, hidden secret, hidden
Montants 201 one of image form of
Hathor's image.
sStA is the causative of StA (CDME
248).

Doc 68 D III, Text Polyptoton HAy.t m Ax.t, HAy tA.wy m stw.t=s Emphasizes
E. Side 91,2; pl. column on HAy over The Shining One in the horizon, Hathor's
Montants 201 two cola who lights up the land with her radiance.
rays

Doc 68 D III, Text Polyptoton itn.t tpy.t n(.t) itn Emphasizes

E. Side 91,2-3; pl. column on itn Female sun disk, eldest Hathor's solar
Montants 201 (daughter) of the sun disk nature, and role
as eldest the
sun's eldest
daughter.
Doc 68 D III, Text Repetition an.t nfr.t an.t xaw m NTry.t Emphasizes
E. Side 91,3; pl. of an.t The very beautiful one, whose Hathor's beauty.
Montants 201 apparition is beautiful in
Netjeryt (=Dendera)
Doc 69 D III, Text Polyptoton Sps.t Hnw.t Sps.wt Emphasizes
W. Side 91,6-7; pl. on Sps The Noble Lady, Mistress of the Hathor's
Montants 201 Noble Ladies nobility.
S. Niche
Walls
Doc 70 D III, South Wall Polyptoton HqA.t HqA ifdw nw nn.t Emphasizes
Bandeau 92,5; pl. on HqA The female ruler who rules the Hathor's
of Frieze 201-202 four corners of the sky. sovereignty
E. Side over the entire
sky.
Doc 71 D III, South Wall Repetition nswy.t-bi.ty.t nswy.t n.t %nw.t Emphasizes the
Bandeau 92,10; pl. of nswy.t The female King of Upper and rule of Isis over
of Frieze 201-202 Lower Egypt, the female King all of Egypt.
W. Side of Senut (=Egypt)
Doc 71 D III, West Wall Polyptoton bA.t aA.t bAw Emphasizes the
Bandeau 92,11; pl. on bA The female Ba, great one of greatness of the
of Frieze 201-202 Bas (divine power) (among the Ba of Isis.
W. Side gods)

509
Doc 71 D III, West Wall Polyptoton dwA ntr.w r dwA=s ra nb Emphasizes the
Bandeau 92,11; pl. on dwA The gods rise early in the gods' praising
of Frieze 201-202 morning in order to adore her of Isis.
W. Side every day.
Doc 72 D III, pl. Crypto- none
Base 201 graphic
inscription
Doc 73 D III, Udjat Polyptoton m-n=t wDA.t wDA.ti m ir.w=s Emphasizes the
E. Wall 94,14-15; Offering on wDA Take for yourself the Udjat- health of the
2nd Reg. D III, pl. Eye, healthy in its form Udjat Eye.
201 See 2.3, 2.7,
5.3.1.
Doc 73 D III, Udjat Polyptoton Ax.t Ax.ti m Axw=s Emphasizes the
E. Wall 94,15; pl. Offering on Ax The Divine Eye, effective in its effectiveness of
2nd Reg. 201 See 2.7. elements the Divine Eye.
Doc 73 D III, Udjat Polyptoton SAa.t SAa tA m xpr=s Emphasizes
E. Wall 95,3; pl. Offering on SAa The Primordial One (f.), who Hathor's role as
2nd Reg. 202 created the earth when she female
See 5.2.2. came into being primordial
Creator.
Doc 73 D III, Udjat Polyptoton Hnw.t nfr.t nfr mAA Emphasizes
E. Wall 95,3; pl. Offering on nfr The beautiful Mistress, Hathor's beauty.
2nd Reg. 202 beautiful to see
Doc 73 D III, Udjat True pun on dwn.n=i a.wy=i HA Hr.t-tp m HD=s Emphasizes the
E. Wall 95,6; pl. Offering HD I extend my arms around the light of the
2nd Reg. 202 (shrine/be uraeus in her shrine. uraeus in her
bright) shrine.
The word HD (shrine) has an
See 2.4. additional allusion because its
homophone means, "be light,
bright" (Wb III, 209,1-8; PT; GR;
PL 696). The mental image of the
uraeus in her HD also conjures up
the idea of the bright light
surrounding the fiery cobra. The
two words, being written
differently, are not homographs,
but they are homophones; their
aural ambiguity is thus exploited
in the text, with the additional
meaning, Hr.t-tp m HD=s, "the
uraeus in her light."
Doc 73 D III, Udjat Polyptoton mk(=i) kA=s xnt kA.w Emphasizes
E. Wall 95,6; pl. Offering on kA I protect her Ka among the Hathor's Ka,
2nd Reg. 202 (divine) Kas. which must be
protected.
Doc 74 D III, No title Polyptoton nb wDA.ty nb mnS: Hnk=i wDA.t n Emphasizes the
W. Wall 97,13; pl. (Udjat on wDA mw.t=f wsr.t King's
2nd Reg. 202 Offering) The Lord of the Two Udjat Eyes, legitimacy to
Lord of the Cartouche: I offer the offer the Udjat.
Udjat Eye to his mother the
Powerful One.
Doc 74 D III, No title Polyptoton nTr.t nTry.ti m nTry.t Emphasizes
W. Wall 97,18; pl.. (Udjat on nTr The Eye Goddess, divinized in Hathor's
2nd Reg. 202 Offering) the Divine (=Dendera) divinity as the

510
 Eye Goddess.

Doc 74 D III, No title Antanaclasis m xprw(=i) wr n mH-wr Emphasizes that

W. Wall 98,2; pl. (Udjat on wr in (my) great manifestation of the manifest-
2nd Reg. 202 Offering) Mehwer (=Harsomtus) ation of
Harsomtus is
expansive.
Doc 75 D III, No title none
E. Wall 93,15 (statues)
1st Reg. 94,4; pl.
201
Doc 76 D III, Offering none
W. Wall 96,22 unguent
1st Reg. 97,7 pl. and cloth
202
Doc 77 D III, Crypto- none
N., S., E., 96,10; pls. graphic
W. Walls 201-202 Inscription
Doc 78 D III, Offering Antanaclasis m-n n=t mAa.t, MAa.t m iwn.t, Emphasizes
S. Wall 95,10-11; Ma'at; title on mAa.t MAa.t pw kA.tw r Hm.t=t Ma'at as both
E. Side pl. 202 and Take for yourself maat, Maat offering and
2nd Reg. formula in Dendera, then one will say goddess.
Maat to your Majesty

Note: taking phrase (Dd.)kA.tw as

sDm.kA=f, following Allen,
Middle Egyptian, 22.19)
Doc 78 D III, Offering Antanaclasis sA %mA-mAa.t iwa n MAa.t Emphasizes the
S. Wall 95,14-15; Ma'at; on mAa.t son of He who unites with King's
E. Side pl. 202; speech of Ma'at (=Thoth), heir of Ma'at relationship to
2nd Reg. speech of King Ma'at.
King
Doc 78 D III, Offering Polyptoton SAa.t pw SAa xpr xnt Emphasizes that
S. Wall 95,17; pl. Ma'at; on SAa It is the Primordial Goddess, Ma'at came into
E. Side 202 speech of who first came into existence at being with the
2nd Reg. Hathor the beginning. Creator.
Doc 78 D III, Offering Polyptoton nb.t pr-Nbw.t Hwn.t sxm.w nb.w Emphasizes the
S. Wall 96,6; pl. Ma'at; on nb and itr.ty Xnm xnt IA.t-di goddess, her
E. Side 202 column in close The lady of the Sanctuary of the sanctuary, and
2nd Reg. common homophones Golden One, the feline, the the gods of the
with sym- (nb.t/Nbw.t) Powers, lords of the Two Two
metrical over two Sanctuaries who are united in Sanctuaries at
scene cola Iatdi (=Dendera) Dendera.
Doc 79 D III, Offering Repetition Sfy.t xr=t, Hnw.t nb.t Sfy.t Emphasizes the
S. Wall 98,5-6; pl. Ma'at; title of Sfy.t The awesomeness (of Maat) is awesomeness of
W. Side 202 and for you, Mistress and Lady of Ma'at and its
2nd Reg. formula Awesomeness. recipient.
Doc 79 D III, Offering Repetition sHtp nTr Hr sHtp ib=t Emphasizes the
S. Wall 98,6; pl. Ma'at; title of sHtp the satisfying of the god (=Ma'at) satisfaction that
W. Side 202 and is satisfying your (f.) heart. the offering of
2nd Reg. formula Ma'at brings.
Doc 79 D III, Offering Repetition ir.n=i sSS.t m Hr n nb.t sSS.t Emphasizes
S. Wall 98,7-8; pl. Ma'at; of sSS.t I have played the sistrum in front playing the
W. Side 202 speech of of the face of the lady of the sistrum.
2nd Reg. Harsomtus sistrum

511
 the Child

Doc 79 D III, Offering Polyptoton dr=i sxm.t, sxm-Sps.t Emphasizes the

S. Wall 98,8; pl. Ma'at; on sxm I repel your (f.) fury (?), power of the
W. Side 202 Speech of Powerful-Noble One (f.) angry goddess,
2nd Reg. Harsomtus who must be
the Child appeased.
Doc 79 D III, Offering Repetition sr n <mAa.t> nb mAa.t Emphasizes that
S. Wall 98,9; pl. Ma'at; of mAa.t prince of <ma'at>, lord of ma'at. the King abides
W. Side 202 speech of by Ma'at.
2nd Reg. King
Doc 79 D III, Offering Repetition nb(.t) mAa.t anx n mAa.t Emphasizes the
S. Wall 98,11; pl. Ma'at; of MAat lady of Ma'at, who lives on importance of
W. Side 202 speech of ma'at Ma'at to the
2nd Reg. Isis goddess.
Doc 80 D III, pl. No title Polyptoton mk=i kA=t m mk.t Emphasizes the
S. Wall 202 (protection) on mk I protect your (f.) ka with protection of
1st Reg. protection the goddess.

512
Appendix 2 Table of Sign Plays in the Per-wer Sanctuary

Types
Visual Emphasis by Ideograms
Playful writings (including rebus and visual puns, representation of meaning)
Reversal of sign(s) to represent action
Visual Emphasis by Arrangement
Symmetrical Arrangement in two more words
Graphical opposition of signs
Emphasis by Visual Alliteration
Repetition of same sign (not due to repetition of same word)
Repetition of similar-shaped signs (horizontal, tall, etc.)
Repetition of same sign-type (e.g. crowns, birds, etc.)
Sign Play between Parallel Texts
Visual Emphasis by Attraction (Writing of word repeats sign (or similar-shaped sign) from
nearby word)
Aural and Visual Alliteration Combined
Aural and visual alliteration in same passage (only alliteration, not word play)
Sign play plus word play (repetition/symmetry of signs + word play, e.g. polyptoton,
antanaclasis, etc.)

Doc No. Text Ref Location Type Example Purpose

of Scene
Exterior
Entrance
Doc 1 D II, pl. Chrono- none
Entrance 94 crators for
Frieze Tybi 11-15
E. Side
Doc 2 D II, pl. Chrono- none
Entrance 94 crators for
Frieze Tybi 16-20
W. Side
Doc 3 D II, 3,6 Frieze, East Reversal Allows Hathor's
Entrance Side bovine form to
Bandeau Nbw.t look outward
of Frieze Golden One from the
E. Side sanctuary
Doc 3 D II, 3,6 Frieze, East Reversal Allows Hathor's
Entrance Side bovine form to
Bandeau Nbw.t nTr.w look outward
of Frieze Golden One of the Gods from the
E. Side Sanctuary
Doc 3 D II, 3,6 Frieze, East Repetition Emphasizes the
Entrance Side of gold Pr-Nbw.t golden radiance
Bandeau sign Sanctuary of the Golden One of Hathor

513
of Frieze (S12A) in
E. Side variations nb, gilded

nbw, gold
Doc 3 D II, 3,6-7 Frieze, East Repetition Verbs meaning
Entrance Side of sun rays wbn, shine (D "shine" visually
Bandeau sign II, 3,6) emphasizes the
of Frieze (N8A) streaming
E. Side radiance of
papa, shine (D II, 3,7) Hathor as a
solar goddess
psD.ti, is shining (D II,
3,7)
Doc 3 D II, 3,6 Frieze, East Repetition Emphasizes
Entrance Side of bull Nbw.t, Golden One Hathor's bovine
Bandeau sign (E1) manifestation
of Frieze
E. Side Nbw.t nTr.w
Golden one of the gods
Doc 3 D II, 3,6-7 Frieze, East Repetition Emphasizes
Entrance Side of cobra ipy.t, uraeus (D III, 3,6) Hathor's
Bandeau sign (I64) manifestation as
of Frieze the uraeus on
E. Side psD.t, the shining one (D Ra's brow
III, 3,7)
Doc 3 D II, 3,7 Frieze, East Visual Use of f-viper
Entrance Side represent- m-qAb=f for m. s.
Bandeau ation of in its midst (lit. in its coils) pronoun is play
of Frieze meaning on phrase "in its
E. Side with f- Note: there are multiple ways to coils" and
viper write the suffix =f in Ptolemaic, so emphasizes
the viper is a deliberate choice. Hathor's snake
manifestation
Doc 4 D II, 4,2 Frieze, Reversal Allows Hathor's
Entrance West Side manifestation
Bandeau Nbw.t nTr.w (bovine) to look
of Frieze Golden one of the gods outward from
W. Side sanctuary
Doc 4 D II, 4,2 Frieze, Reversal Emphasizes that
Entrance West Side Hathor's
Bandeau Wbn.t-m-nbw radiance is like
of Frieze She who shines like gold gold; allows her
W. Side manifestation
(bovine ) to
look outward
from sanctuary
Doc 5 D III, none
Entrance 45,6; pl.
Upper 94
Cornice
Above
Winged
Disk

514
Doc 6 D III, none
Entrance 45,8-9; pl.
Upper 94
Cornice
E. Side
Doc 7 D III, none
Entrance 45,10; pl.
Upper 94
Cornice
W. Side
Doc 8 D III, Outer Reversal Allows Hathor's
Entrance 45,13 Column manifestations
E. Side Text A @.t-Hr wr.t nb.t Iwn.t Ir.t-Ra (falcon and
Door Hathor the Great, Lady of Dendera, horned cobra)
Frame Eye of Ra to look outward
from the
sanctuary
Doc 8 D III, 46,1 Outer Playful Allows Hathor's
Entrance Column writing nb.t Iwn.t Lady of Iunet cobra and cow
E. Side Text A (rebus); (=Dendera) manifestations
Door reversal to look outward
Frame The sign of a full bull or cow figure from the
sanctuary.

(E 92) carries the value of nb

or nb(.t). The uraeus (I64) is one

of Hathor's forms that dwells in Iunet
(i.e. Dendera). A composite sign
made from parts of both signs can
thus carry both values, forming nb.t
Iwn.t. The resulting cow-headed
snake thus alludes to the bovine and
orphidian manifestations of the
goddess.
Doc 9 D III, 46,5 Outer Playful Emphasis on
Entrance Column writing imn.t sStA the hidden
W. Side Compare Text B (rebus) hidden (one) of image aspect of the
Door with Doc goddess.
Frame 71 (92,10) See 5.2.5.
The word sStA also means hidden,
so the use of this word, meaning
image (of a god), emphasizes the
hidden aspect of the statue of the
divinity. The recumbent jackal on the
platform is also the ideogram for sStA
(verb conceal), so this writing
doubly emphasizes the hiddenness of
the image (e.g. it could also be
translated as imn.t sStA.t - hidden one
of hidden thing or hiddenness).
Doc 9 D III, Outer Repetition wTs sxm.ty m pr-wr sHD Atf.ty m wbn.t Repetition of
Entrance 46,5-6; Column of crown who wears the double crown in the crown signs
W. Side Mariette Text B signs Per-wer, who brightens the Atef- emphasizes
Door D II, pl. wearer (=Ra) as the Shining One (f.) Hathor's rule
Frame 60b over Egypt

515
 (from the Per-
(S5) sxm.ty wer); the word
double crown (D III, 46,5) sHD alludes to
her role as the
shining uraeus
(S1) sHD on Ra's brow.
brighten (D III, 46,5)

(S186&F107) Atf.ty
Atef-wearer (D III, 46,6)
Doc 9 D III, Outer Visual pun Emphasizes the
Entrance 46,5-6; Column (rebus); King's rulership
W. Side Mariette Text B writing of wTs sxm.ty m pr-wr sHD Atf.ty m wbn.t by repetition of
Door D II, pl. sHD by [who wears the double crown in the crowns; alludes
Frame 60b attraction Per-wer], who brightens the Atef- to Hathor's
to other wearer (=Ra) as the Shining One shining
crown appearance.
signs The use of attraction in spelling of
the verb sHD (brighten) with the white

crown, instead of the mace, (D

III, 91,1), brings multiple meanings
to the sentence in which it appears. It
writing is influenced by the crown
signs employed elsewhere in the

sentence, e.g. sxm.ty, double

crown (S5), and Atf.ty, wearer

of the Atef-crown (S8).

The text states that Hathor "wears the

double crown in the Per-wer"; Ra's
epithet, "Atef-wearer," also
emphasizes his own rulership. By
writing the word sHD with the white
crown, Hathor's description, "who
brightens the Atef-wearer as the
Shining One," not only alludes to her
shining appearance as the fiery
uraeus on her father's brow (as Wbn.t,
the Shining One), but also to her
divine rule over Upper Egypt
specifically, by the wearing of its
white crown in her seat in the Great
Sanctuary--itself named for the
archaic shrine of Upper Egypt.

Doc 9 D III, Outer Writing of Links the

Entrance 46,5-6; Column anw with anw, "limestone" is beauty of the
W. Side Mariette Text B painted limestone used
Door D II, pl. eye by spelled with the painted eye (D138), to build the
Frame 60b attraction sanctuary with
to an.t beauty of the

516
 goddess who
due to attraction with an.t, an resides there
epithet of Hathor.
Doc 10 D III, Inner none
Entrance 47,2; D II, Column
E. Side pl. 94; Text C
Door Mariette,
Frame D II, pl.
60d
Doc 11 D III, 47,7 Inner none
Entrance 48,1; D column
W. Side II, pl. 94; Text D
Door Mariette,
Frame D II, pl.
60d
Doc 12 D III, Adoring Reversal Reversal of nTr-
Entrance 48,11 the god of nTr-sign flag allows the
E. Side (Hathor); in dwA nTr dwA nTr man to face the
below title and adoring the god divine flag in
bandeau formula 3.1.2 worship, thus
of frieze mimicking the
action in the
phrase, dwA-nTr.
Doc 12 D III, Adoring Sym- Symmetrical
Entrance 48,12 the god metrical arrangement of
E. Side (Hathor); arrange- HqA.t Hnw.t nTr.wt signs visually
below title and ment of Female ruler, Mistress of Goddesses highlights the
bandeau formula signs in phrase
of frieze two or Symmetrical arrangement of signs
more around the cup-sign (W24).
words
Doc 12 D III, Adoring Reversal Allows Hathor's
Entrance 48,13 the god manifestation
E. Side (Hathor); @.t-Hr nb.t Iwn.t (falcon) to look
below speech of Hathor, Lady of Iunet outward from
bandeau Naunet the sanctuary
of frieze
Doc 12 D III, Adoring Reversal Allows Hathor's
Entrance 48,15 the god manifestation
E. Side (Hathor); @.t-Hr nb.t H.t-abw (falcon) to look
below speech of Hathor, Lady of the Temple of outward from
bandeau Nun Purification the sanctuary.
of frieze
It is appropriate that in the speech of
Nun (=waters of creation, which
purify), Hathor's epithet is "Lady of
the Temple of Purification."
Doc 12 D III, Adoring Visual Men with arms
Entrance 48,15-16 the god represent- raised in praise
E. Side (Hathor); ation of swAS.n=i kA=t r qA n p.t literally
below speech of meaning I have praised your ka to the height surround
bandeau Nun of heaven. Hathor's ka with
of frieze See 5.2.1. praise.
Signs of men with arms raised in
praise surround the kA-sign of Hathor.

517
Doc 12 D III, Adoring Reversal Allows Hathor's
Entrance 48,17 the god manifestation
E. Side (Hathor); @.t-Hr nb.t Iwn.t (falcon) to look
below speech of Hathor, Lady of Iunet outward from
bandeau Hauhet the sanctuary
of frieze
Doc 12 D III, 49,1 Adoring Reversal Allows Hathor's
Entrance the god manifestation
E. Side (Hathor); @.t-Hr nb.t Iwn.t (falcon) to look
below speech of Hathor, Lady of Iunet outward from
bandeau Heh the sanctuary
of frieze
Doc 12 D III, 49,2 Adoring Visual Placement of
Entrance the god represent- the heart-sign
E. Side Also in (Hathor); ation of under the wing
below Doc 32 speech of meaning Hry-mk.t(=i) my heart visually
bandeau (68,13) Heh (in text) emphasizes the
of frieze in Hry-mk.t Complete phrase: protective
Hry-mk.t(=i) Xr tpy.w-rA stance of the
See 5.3.2 my heart possessing the (sacred) vulture,
for similar utterances showing that
phrase the "right place"
The word Hry-mk.t is often applied to for the heart is
the heart, being "in the right place" in a place of
(See Wb II, 161,9; Sethe, PT protection.
Kommentar, 286d; PL 665).
Doc 12 D III, 49,4 Adoring Playful Emphasizes that
Entrance the god writing am-tA.wy the King is son
E. Side Also in (Hathor); (rebus); He who knows the Two Lands of Thoth ("who
below Doc 54 speech of repetition (=Thoth) knows the Two
bandeau (67,12); King of similar- Lands")
of frieze Doc 55 shaped Epithet of Thoth uses the sign for the
(79,6) signs throat, in which the cause is used for
the effect (i.e. the throat represents
See 5.3.2. am, "eat" or "swallow"; Fairman
Ptolemaic Signs, 101), figuratively
representing "knowing." (In magical
rituals, by "swallowing" words
written on papyrus and dissolved in
water, they become a part of oneself.)
The papyrus and lotus represent
Upper and Lower Egypt,
respectively, by means of metonymy
(sign = thing meant). (Fairman
Ptolemaic Signs, 100)
Doc 13 D III, Adoring Reversal Reversal of nTr-
Entrance 49,14 the god dwA nTr flag allows the
W. Side (Hathor); See 3.1.2 adoring the god man to face the
below title and divine flag in
bandeau formula worship, thus
of frieze mimicking the
action in the
phrase, dwA-nTr.

518
Doc 13 D III, Adoring Reversal Allow Hathor's
Entrance 49, 15 the god @.t-Hr Hathor manifestation as
W. Side (Hathor); the uraeus to
below title and The uraeus is identified with Hathor look outward
bandeau formula by the horns-and-disk headdress. from the
of frieze sanctuary.
Doc 13 D III, Adoring Reversal Allows Hathor's
Entrance 49,16 the god manifestation to
W. Side (Hathor); @.t-Hr nb.t Iwn.t look outward
below speech of Hathor, Lady of Iunet (=Dendera) from the
bandeau Kauket sanctuary.
of frieze
Doc 13 D III, 50,1 Adoring Reversal Allows Hathor's
Entrance the god manifestation to
W. Side (Hathor); @.t-Hr xnty.t Iwn.t look outward
below speech of Hathor, Foremost One (f.) of Iunet from sanctuary
bandeau Kek (=Dendera)
of frieze
Doc 13 D III, 50,3 Adoring Reversal Allows Hathor's
Entrance the god manifestation to
W. Side (Hathor); @.t-Hr nb.t &A-rr look outward
below speech of Hathor, Lady of Tarer (=Dendera) from sanctuary
bandeau Niaut
of frieze
Doc 13 D III, 50,5 Adoring Reversal Allows Hathor's
Entrance the god manifestation to
W. Side (Hathor); @.t-Hr nb.t Iwn.t look outward
below speech of Hathor, Lady of Iunet (=Dendera) from sanctuary
bandeau Niau
of frieze
Doc 13 D III, Adoring Visual Visual
Entrance 50,14 the god represen- wab-iHy represents the
W. Side (Hathor); tation of w'ab-priest-musician king's actions as
below speech of meaning purifying priest
bandeau Hathor and musician
of frieze playing the
sistrum.
Doc 13 D III, Adoring Repetition Emphasizes that
Entrance 50,14 the god of spd- king's "clever"
W. Side (Hathor); sign spd DAis.w speech is
below speech of clever of discourse pleasing to the
bandeau Hathor See 5.3.2. goddess (and
of frieze Both words, spd and DAisw, can be magically
written without the spd-sign, so the effective).
scribe made a deliberate choice to
create visual alliteration with the
repetition of the spd-sign,
emphasizing the "sharpness" (i.e.
cleverness) of the king's speech. It is
almost as if the statement says
"clever one of (clever) speech."
Doc 14 D III, none
Entrance 51,5-6; D
Lower II, pl. 94
Cornice

519
E. Side

Doc 15 destroyed none

Entrance
Lower
Cornice
W. Side
Doc 16 D III, (no title) Visual pun Emphasizes the
Entrance 51,12-14; sistra on wAD King's offering of wAD (papyrus) in king's role as
E. Side D II, pl. offering the relief is a visual pun on the the offspring of
Lintel 94 (Hathor); 5.1.2 epithet written above his head: Sekhmet by a
speech of visual pun.
King
wAd n %xm.t, "offspring
(lit. offshoot) of Sekhmet."
Doc 17 D III, (no title) Graphical Emphasizes the
Entrance 52,13-14 sistra opposition offering of the
W. Side offering (and word m-n=t mni.t n(.t) nbw menit-necklace
Lintel Also (Hathor); play on Take for yourself the menit-necklace to Hathor by the
listed in Queen's close of gold Queen
Word speech homo- Three horizontal signs (similar-
Play phones) shaped ideograms) at top and small
round signs at bottom create
graphical opposition.
Doc 17 D III, (no title) Repetition Repetition of
Entrance 52,15 sistra of Hr-sign face sign
W. Side, offering; (D2) with Hr p=f Hr Txn Hr n Hnw.t=f emphasizes that
Lintel Also Royal multiple upon his throne, brightening the face the face (of
listed in Randzeile meanings. of his mistress. Hathor) is what
Word the king is
Play Referencing the King, each instance brightening.
of Hr in this statement has a different
meaning: preposition in a
prepositional phrase (upon his
throne); preposition in Hr + inf.
(brightening); substantive (face).
Doc 17 D III, (no title) Writing of Emphasizes the
Entrance 52,16; D sistra sHtp by act of offering
W. Side II, pl. 94 offering; attraction mw.t=f sHtp (embedded
Lintel Royal to arm- Complete sentence: sw mi IHy ir sSS.t pictorially in
Randzeile sign in n mw.t=f sHtp kA=s m mr(r.t)=s the Ptolemaic
mw.t He is like Ihy who plays the sSS.t- writing of mw.t,
(across a sistrum for his mother, who pacifies "mother"),
colon) her Ka with what she loves. which results in
the pacification
Attraction to forearm holding nw-jar of the goddess.
in previous word mw.t influences the
writing of sHtp with the incense arm.
Doc 18 D III, Text Reversal Allows Hathor's
Entrance 53,6; D II, Column manifestation to
E. Side pl. 94 (montant) @.t-Hr nb.t Iwn.t look outward
Door Hathor, Lady of Iunet from the
Framing Sanctuary
The nb-basket for placed directly
under the @.t-Hr sign, recalls an

520
 image placed over a Hb-basin,
(W3) during festivals.
Doc 18 D III, Text Graphical The contrast
Entrance 53,8; D II, Column opposit- between the
E. Side pl. 94 (montant) ion xw st mk st Ts st grg st horizontal signs
Door Protect them, preserve them, arrange and the large
Framing them, and establish them. vulture
emphasizes the
Having alighted in her great noble latter, and thus
house, built for her by the King, and the word
received the great offering presented "protect." The
to her by the King, Hathor is invoked series of
to protect them, preserve them, imperatives, all
arrange them, and establish them. with the same
direct object,
The beating arm appears three times: highlights the
in the ideogram xw at the beginning, expression and
and as the determinative in Ts and lends urgency
grg. The word st (them), the 3rd per to it.
dependent pronoun that is the direct
object of each imperative, appears
together with the first imperative
(xw) and then alternates with the
successive verbs. Except for the
protective vulture with outstretched
wings (mk), all of the signs are
horizontal, top signs appearing nearly
identical. The contrast of the large
bird and the smaller, horizontal signs
emphasizes the vulture, and thus the
word mk in the expression.
Doc 19 D III, Text Graphical Emphasizes that
Entrance 54,7; D II, Column opposit- Hathor will
W. Side pl. 94 (montant) ion preserve the
Door In hypothetical column fields from all
Framing impurities of
the sky and the
earth, i.e. from
anything that
can harm them.

[iw=t (Hr) nHm=s r] Snn.w

nb.w nw p.t ab.w nb.w nw tA
[You (i.e. Hathor) are preserving it
(the cultivated fields) from] all taints
(Snn.w) of the sky and all impurities
(ab.w) of the earth.

The similarly-shaped groups on

either side of ab.w (impurities)
emphasizes this word in the text.

521
Doc 19 D III, Text Repetition Repeated hand-
Entrance 54,8; D II, Column of hand signs emphasize
W. Side pl. 94 (montant) sign iw=t (Hr) di(t)=w n Dr.t=f m di(t) nfr the reciprocal
Door You are giving them back into his process of
Framing hand in a just return. (lit. you are giving: king
giving them to his hand in a good gives produce
giving). of land to the
goddess and in
As part of the reciprocity of return she gives
offerings, the King brings products of him a bountiful
the harvest to the great offering harvest for his
tables, which the goddess accepts and land and
returns to the King's hand as a just people.
return.
Doc 19 D III, Text Repetition Repetition of
Entrance 54,8; D II, Column of arm arm-signs
W. Side pl. 94 (montant) signs emphasizes
Door power and
Framing fortitude, which
is the meaning
nxt naS Power and fortitude carried in the
phrase.
Repetition of arm-signs in words of
power.
Doc 20 D III, Text Repetition Signs for
Entrance 54,13 Column of birds different living
E. Side (montant) and wr nrw m tpy.w-tA nb.w nb MAa.t beings (birds,
Thickness mammals great one of fear among all those on mammals, man
of door earth, Lord of Ma'at and woman)
jamb allude to the
Repetition of three birds in a row: wr meaning of
(swallow, G36), nrw (head of sentence: "all
vulture, H4), m (owl, G17); four those on earth,"
different mammals: tp (head of man), not only
nb.w (recumbent lion, E23), and nb showing the
(cow, E92), plus MAa.t (seated different living
woman,C10A). beings on earth,
but also
including Ma'at
as their basis
for harmony
and balance.
Doc 21 D III, 55,7 Text Writing of Writing of the verb ii (come) with the Use of walking
Entrance Column ii with jackals "west"
W. Side (paisseur jackal sign jackal sign, due to writing of and "east,"
Thickness des by the toponyms in the continuation of connects back
of door montants) attraction the expression in D III, 55,8: bA.t m to previous
jamb to Imn.t.t imn.t.t iAb.t.t (the female Ba in the statement that
and IAb.t.t west and the east) with jackal signs: no one can
come upon Isis
by surprise
Imn.t.t (west) ("come" with
walking jackal
IAb.t.t (east) sign); this
statement

522
 The context is a phrase describing applies to land
Isis (D III 55,7): n ii Hr-sA=s, "no of dead and
one comes after her" (lit. no one land of living--
comes upon her back), i.e. takes her no one,
by surprise; the verb ii, "come" is anywhere, takes
written here with the walking jackal. the great
At the end of the epithet string, in goddess Isis by
line 55,8, Isis is called, bA.t m imnt.t surprise!
iAbt.t (the female Ba in the west and
the east); these two toponyms also
employ the walking jackal sign, as
shown above. The West signifies the
western side of the Nile, where the
dead are buried (lit. the "hidden
place"); the East is the eastern side,
where the sun rises in the morning--
the land of the living. Both toponyms
are more commonly written with the

standards for west (R14B), and

east, (R15), rather than with the

jackal sign (e.g. D III, 33,4; 86,17;
159,14; 170,10; 187,6. The use of the
walking jackal to write these words is
therefore a deliberate choice by the
scribe; it allows a link back to the
idea that no one takes Isis by
surprise--in either the land of the
dead or the land of the living (i.e.
everywhere).
Doc 22 D III, Pied-droit Playful Playful writing
Entrance 55,20 de writing sA Ra son of Ra succinctly
E. Side IFAO l'embrasure (rebus) conveys epithet
Door photo no. child sitting (on lap) with hand to and draws
Jamb 98-2224- mouth, wearing sun disk with uraeus attention to it.
25 on his head as composite ideogram,
Mariette sA Ra (son of Ra)
D II, pl.
60e; Also
in Doc 66
(88,2)
Doc 22 D III, Pied-droit Repetition Writing nTr.w
Entrance 56,8; de of bird and nb.w (all the
E. Side IFAO l'embrasure mammal nTr.w nb.w gods) with six
Door photo no. signs for all the gods different signs
Jamb 98-2224- nTr.w and gives visual
25; nb.w Writing reflects the archaic practice variety and
Mariette of trifold repetition of signs to alludes to the
D II, pl. See 3.3.3. express plural, but with three different
60e different bird signs for nTr.w: falcon, manifestations
ibis, benu-bird; three different signs of the divinities
for nb.w: cow, sphinx, nb-basket. in the temple.
The falcon represents Horus of Edfu
or Hathor of Dendera (as female

523
 falcon); the ibis as Thoth; the benu-
bird on the mound of creation as the
naos in the temple.
Doc 22 D III, Pied-droit Reversal Allows Hathor's
Entrance 56,9-8; de manifestation
E. Side IFAO l'embrasure See 3.3.3 (and those of
Door photo no. the gods
Jamb 98-2224- depicted) to
25; @.t-Hr wr.t nb.t Iwn.t Ir.t-Ra nb.t p.t look outward
Mariette Hnw.t nTr.w nb.w from the
D II, pl. Hathor the Great, lady of Iunet Sanctuary
60e (=Dendera), Eye of Ra, lady of
heaven, mistress of all the gods

Doc 23 D III, Pied-droit Playful Playful writing

Entrance 57,1; de writing itr.ty calls attention
W. Side IFAO l'embrasure (rebus) the Two Sanctuaries to the Two
Door photo no. Sanctuaries
Jamb 98-2222- Sign of serpent within shrine
23; represents all gods and goddesses
Mariette who rest within it (PL 124); the sign
D II, pl. also personifies the being that dwells
60a within the itr.t (Wb I, 147,14).
Also in
Doc 26
(61,4);
Doc 65
(90,2)
Doc 23 D III, Pied-droit Playful Allusion to
Entrance 57,5; de writing &A-rr primeval snake
W. Side IFAO l'embrasure (rebus) Tarer (=Dendera) in the writing of
Door photo no. Dendera's name
Jamb 98-2222- Fairman (ASAE 43, 1943, 272) does of Tarer.
23; not explain why the scarab beetle
Mariette sign is read tA; he suggests that it
D II, pl. some king of pun. Wilson (PL 1118)
60a notes that the scarab beetle, living in
burrows, has close affinities with the
earth and may have come to
symbolize it; its generative powers
may have also symbolized the
fertility of the earth.
The serpent (I80A) carries the
phonetic value r and may represent a
primeval snake (e.g. Ogdoad).

524
Doc 23 D III, Pied-droit Graphical Repetition of
Entrance 57,7; de opposition groups
W. Side IFAO l'embrasure with %iA m DAis.w emphasizes
Door photo no. chiasmus with the formulas of Sia's effective
Jamb 98-2222- Sia and with the spells
23; effective spells.
Mariette
D II, p.
60a

The chiasmus between the nTr-sign

and the DA-sign (of DAis.w) suggests
the divine origin of the effective
spells.
Doc 23 D III, Pied-droit Reversal Allows Hathor's
Entrance 57,9-8; de manifestation
W. Side IFAO l'embrasure (and those of
Door photo no. the gods
Jamb 98-2222- depicted) to
23; @.t-Hr wr.t nb.t Iwn.t Ir.t-Ra nb.t p.t look outward
Mariette Hnw.t nTr.w nb.w Sps.t wsr.t from the
D II, pl. Hathor the Great, lady of Iunet Sanctuary
60a (=Dendera), Eye of Ra, lady of
heaven, mistress of all the gods, the
noble and powerful lady
Doc 23 D III, Pied-droit Playful Playful (and
Entrance 57,8; de writing Hnw.t mistress succinct)
W. Side IFAO l'embrasure (rebus) writing of
Door photo no. "mistress" in
Jamb 98-2222- See 3.1.1. The seated woman wears a cup, Hathor's
23; Hn.t, on her head, thus allowing the titulary.
Mariette sign to represent Hnw.t, "mistress,"
D II, pl. by rebus.
60a
Doc 23 D III, Pied-droit Repetition Allusion to
Entrance 57,9-8; de of signs Horus/Hathor
W. Side IFAO l'embrasure (falcons nTr.w nb.w as falcons and
Door photo no. and cows) all the gods Hathor as cow
Jamb 98-2222-
23; Archaic practice of trifold repetition
Mariette to denote plural, here using three
D II, pl. falcons on standards (alluding to
60a Horus or Hathor) for nTr.w; three
cows (=Hathor) for nb.w, since the
cow sign can carry the value nb.
Per-wer
Interior
Doc 24 D III, South Wall Reversal Allows Hathor's
E. Side 59,10; sA @.t-Hr son of Hathor manifestation to
Bandeau IFAO See 3.2.1. look outward
of Base photo no. Epithet of the King. Sign for Hathor from the center
98-2212; (falcon in temple enclosure) is placed of the Per-wer's
98-2213; in honorific transposition as well as S. Wall, the
Mariette being reversed in direction, so that location of the
D II, pl. her image faces away from the center S. Niche.

525
 61c of the Per-wer's South Wall.

Doc 24 D III, South Wall Reversal Allows Hathor's

E. Side 59,11; manifestations
Bandeau IFAO @.t-Hr wr.t nb.t Iwn.t Ir.t-Ra nb.t p.t to look outward
of Base photo no. Hnw.t nTr.w nb.w from the
98-2212; Hathor the great, lady of Iunet, Eye Sanctuary
98-2213; of Ra, lady of heaven, mistress of all
Mariette the gods.
D II, pl.
61c
Doc 24 D III, South Wall Playful Playful writing
E. Side 59,11; writing @.t-Hr wr.t Hathor the Great calls attention
Bandeau IFAO (rebus) to the epithet
of Base photo no. Writing of wr.t by rebus with the "Hathor the
98-2212; image of the hippotamus goddess Great."
98-2213; Taweret (losing the semantic value
Mariette but keeping phonetic value; dropping
D II, pl. the f.s. article tA).
61c

Also in
Doc 25
(60,5);
Doc 26
(61,4);
Doc 77,
(96,10);
for Isis,
Doc 27
(62,3);
Doc 71
(92,7)
Doc 24 D III, South Wall Playful Composite of
E. Side 59,11; writing nb.t Iwn.t Lady of Iunet Hathor's cobra
Bandeau IFAO (rebus); (=Dendera) and cow
of Base photo no. reversal manifestations
98-2212; calls attention
98-2213; See 3.1.1. to her epithet,
Mariette The sign of the cow (E 92) "Lady of
D II, pl. carries the value of nb or nb(.t); the Dendera."
61c.
uraeus (I64) is one of the forms
Also in of Hathor dwelling in Iunet
Doc 25 (=Dendera). A composite sign made
(60,5); from parts of both signs can thus
Doc 70 carry both values, forming nb.t Iwn.t.
(92,7); This cow-headed snake thus alludes
Doc 77 to Hathor's bovine and orphidian
(96,10) manifestations.

526
Doc 25 D III, South Wall Playful Playful writing
W. Side 60,4; writing of nn n Iwny.t draws attention
Bandeau IFAO nn n; child of Iunyt to the King's
of Base photo no. repetition epithet, "child
97-2221; of nw-jars Playful writing places the genitival n, of Iunet."
Mariette written with the nw-jar, under the
D II, pl. child-sign, as if he is sitting on it.
61d

See also
Doc 42
(70,10);
Doc 55
(79,3)
Doc 25 D III, South Wall Visual pun Visual pun
W. Side 60,4; (rebus) on sA smsw n %mA-tA.wy created by
Bandeau IFAO smsw and the eldest son of Somtus attraction calls
of Base photo no. smA-tA.wy; attention to the
97-2221; attraction The word smsw (eldest) is composed King's role as
Mariette of smA- of a smA-sign (phonogram for sm by eldest son of the
D II, pl. sign. the consonantal principle, in which god Somtus.
61d smA loses its semi-vowel of A, with
only its strong consonants remaining)
sA smsw and the sw.t plant (the phonogram for
with rebus
sw, again by the consonantal
also in
principle, by the loss of its final t),
Doc 54
held by the man. A composite
(67,12)
ideogram (itself a playful writing; see
Doc 27, D III, 62,2) then represents
%mA-tA.wy ("Uniter of the Two
Lands," i.e. Somtus), consisting of
the smA-sign and the heraldic plants
of U. and L. Egypt on either side.
This smA sign thus attracted the
spelling of the previous word, smsw,
allowing the formation of a visual
pun.

Doc 25 D III, South Wall Reversal Allows Hathor's

W. Side 60,5; manifestations
Bandeau IFAO @.t-Hr wr.t nb.t Iwn.t nb.ty.t rxy.t to look outward
of Base photo no. Hnw.t tA.wy from the center
97-2221; Hathor the Great, Lady of Dendera, of the
Mariette Lady of the Rekhyt, Mistress of the sanctuary.
D II, pl. Two Lands.
61d
Doc 25 D III, South Wall Playful Playful writing
W. Side 60,5; writing @.t-Hr wr.t calls attention
Bandeau IFAO (rebus); Hathor the Great to the epithet
of Base photo no. reversal "Hathor the
97-2221; Writing of wr.t by rebus with the Great."
Mariette image of the hippotamus goddess
D II, pl. Taweret (losing the semantic value
61d but keeping phonetic value; dropping
the f.s. article tA).

527
 Also in
Doc 24
(59,11);
Doc 26
(61,4);
Doc 77,
(96,10);
Isis: Doc
27 (62,3);
Doc 71
(92,12)
Doc 25 D III, South Wall Playful Composite of
W. Side 60,5; writing nb.t Iwn.t Lady of Iunet Hathor's cobra
Bandeau IFAO (rebus); (=Dendera) and cow
of Base photo no. reversal manifestations
97-2221; calls attention
Mariette See 3.1.1. The sign of the cow (E 92) to her epithet,
D II, pl. carries the value of nb or nb(.t); the "Lady of
61d Dendera."
uraeus (I64) is one of the forms
Also in of Hathor dwelling in Iunet
Doc 24 (=Dendera); A composite sign made
(59,11); from parts of both signs can thus
Doc 70 carry both values, forming nb.t Iwn.t.
(92,7) This cow-headed snake thus alludes
to Hathor's bovine and orphidian
manifestations.
Doc 25 D III, South Wall Playful Playful writing
W. Side of 60,5; writing nb.ty.t-rxy.t emphasizes
Bandeau IFAO (rebus) Lady of the Rekhyt Hathor's role as
of Base photo no. Lady of the
97-2221; This epithet, prinicpally belonging to Rekhyt which
Mariette Isis, emphasizes her role as the queen she takes over
D II, pl. who guarantees the passage of royal from Isis on
61d power from the father Osiris to his west walls of
son Horus. At Dendera, Hathor the temple.
Also in carries this title on the proper left
Doc 45 (i.e. west) walls of the temple, where
(76,11); she takes role of Isis (e.g. D III,38,2;
Doc 74 38,14; 76,11; 97,17, 156,2; 190,4;
(97,7) and here, on the west side of the
bandeau of the base). The epithet is
formed by signs of the Nb.ty, the two
tutelary goddesses of Upper and
Lower Egypt, and the rxy.t-bird,
which stands for humans. The nb.ty
element is made feminine by means
of the t-loaf- and egg-signs at the end
of the word.
Doc 26 D III, 61,3 South Wall Playful Playful writing
W. Side of writing nTr nfr the good god of nfr
Bandeau Also in (rebus) emphasizes the
of Base Doc 27 The word nTr appears in honorific King's epithet,
(62,2) transposition. The baboon with arms nTr nfr.
raised in adoration holds the value

528
 nfr in Ptolemaic Egyptian. Note that
this epithet is not put in reversal
(even though nTr is an ideogram for
"god"), because only the epithets of
the goddess are put in reversal so
they face outwards from the naos.
Doc 26 D III, 61,3 South Wall Reversal Allows Hathor's
W. Side of manifestations
Bandeau See 3.1.2. anx nTr nfr sA @.t-Hr to look outward
of Base The Good God lives, son of Hathor from the center
of the
Sanctuary.
Doc 26 D III, South Wall Reversal Allows Hathor's
E. Side 61,3-4; manifestations
Bandeau Mariette @.t-Hr wr.t nb.t Iwn.t Ir.t-Ra nb.t p.t to look outward
of Frieze D II, pl. Hnw.t nTr.w nb.w from the center
61a Hathor the Great, Lady of Iunet, Eye of the
of Ra, Lady of Heaven, Mistress of Sanctuary.
All the Gods
Doc 26 D III, South Wall Playful Playful writing
E. Side 61,4; writing @.t-Hr wr.t calls attention
Bandeau Mariette (rebus); Hathor the Great to the epithet
of Frieze D II, pl. reversal "Hathor the
61a Writing of wr.t by rebus with the Great."
image of the hippotamus goddess
Also in Taweret (losing the semantic value
Doc 24 but keeping phonetic value; dropping
(59,11); the f.s. article tA).
Doc 25
(60,5);
Doc 77,
(96,10);
Isis: Doc
27 (62,3);
Doc 71
(92,2)
Doc 26 D III, 61, South Wall Playful Composite of
E. Side 4; writing nb.t Iwn.t Hathor's cobra
Bandeau Mariette (rebus); Lady of Iunet (=Dendera) and cow
of Frieze D II, pl. reversal manifestations
61a calls attention
See 3.1.1. to her epithet,
Also in The sign of the cow (E 92) "Lady of
Doc 24 carries the value of nb or nb(.t); the Dendera."
(59,11);
Doc 25 uraeus (I64) is one of the forms
(60,5); of Hathor dwelling in Iunet
Doc 70 (=Dendera). A composite sign made
(92,7) from parts of both signs can thus
carry both values, forming nb.t Iwn.t.
This cow-headed snake thus alludes
to Hathor's bovine and orphidian
manifestations.

529
Doc 26 D III, 61, South Wall Playful Playful writing
E. Side 4; writing calls attention
Bandeau Mariette (rebus); Ir.t-Ra Eye of Ra to Hathor's
of Frieze D II, pl. reversal frequent epithet,
61a The sun god Ra (C2B) holds the Ir.t-Ra.
See 3.1.1. Divine Eye (Ir.t) (D10), to form the
Also in composite ideogram, Ir.t-Ra.
Doc 70
(92,7)
Doc 26 D III, South Wall Playful Horns and disk
E. Side 61,4; writing nb.t p.t Lady of Heaven allude to
Bandeau Mariette (rebus); Hathor; throne
of Frieze D II, pl. reversal Seated figure of Hathor, wearing alludes to Isis;
61a horns-and-disk headdress and allows Hathor's
holding papyrus scepter, stands for manifestation to
nb.t, a frequent epithet of the goddess look out from
(See Kurth EP I, p. 164 n. 606: Wb the center of the
II, 232, 4ff; E III, 353,13; D I, 31,6). Sanctuary.
The seated figure of Isis, wearing the
throne sign on her head and also
holding a papyrus scepter, stands for
p.t (See Kurth EP I, p. 165, n. 636:
Kurth GM 19 (1976), 35ff, with E I,
59,12, corrected as ref.; D III,
165,14, with p.t tA).
Doc 26 D III, South Wall Playful Playful (and
E. Side 61,4; writing Hnw.t mistress succinct)
Bandeau Mariette (rebus); writing of
of Frieze D II, pl. reversal "mistress" in
61a The seated woman wears a cup, Hathor's
See 3.1.1. Hn.t, on her head, thus allowing the titulary.
sign to represent Hnw.t, "mistress,"
by rebus. (ref: Fairman, Ptolemaic
Signs, 213; 290)
Doc 26 D III, South Wall Playful Playful writing
E. Side 61,4-3; writing nTr.w nb.w all the gods of nTr.w nb.w
Bandeau Mariette (rebus); hearkens back
of Frieze D II, pl. reversal Cow with star between horns is to Predynastic
61a composite ideogram: cow = nb(.t); imagery,
See 3.1.1. star = nTr. This imagery recalls the emphasizes
Predynastic slate palette, prefiguring Hathor's role as
the goddess Hathor of the historical celestial
period, with stars perched above the goddess.
crown of the head, on the ends of the
horns, and by each ear.
Doc 26 D III, 61, East Wall Playful Composite of
E. Side 4; writing nb.t Iwn.t Hathor's cobra
Bandeau Mariette (rebus); Lady of Iunet (=Dendera) and cow
of Frieze D II, pl. reversal manifestations
61a calls attention
See 3.1.1. to her epithet,
Also in The sign of the cow (E 92) "Lady of
Doc 24 carries the value of nb or nb(.t); the Dendera."
(59,11);
Doc 25 uraeus (I64) is one of the forms

530
 (60,5); of Hathor dwelling in Iunet
Doc 70 (=Dendera). A composite sign made
(92,7) from parts of both signs can thus
carry both values, forming nb.t Iwn.t.
This cow-headed snake thus alludes
to Hathor's bovine and orphidian
manifestations.
Doc 26 D III, East Wall Playful Playful writing
E. Side 61,4; writing itr.ty The Two Sanctuaries calls attention
Bandeau Mariette (rebus) to the Two
of Frieze D II, pl. Sign of serpent within shrine Sanctuaries
61a represents all gods and goddesses
who rest within it (PL 124); the sign
Also in also personifies the being that dwells
Doc 23 within the itr.t (Wb I, 147,14).
(57,1);
Doc 65
(90,2)
Doc 26 D III, East Wall Playful Hathoric
E. Side 61,6; writing headdress and
Bandeau Mariette (rebus) Bik.t female falcon female wig
of Frieze D II, pl. visually
61a See 5.2.5. Falcon sign, with woman's head emphasizes
wearing horns-and-disk headdress, Hathor's role as
visually personifies Hathor as female female falcon.
falcon.
Doc 27 D III, 61,3 South Wall Playful Playful writing
W. Side writing nTr nfr the good god of nfr
Bandeau Also in (rebus) emphasizes the
of Frieze Doc 26 The word nTr appears in honorific King's epithet,
(61,3) transposition. The baboon with arms nTr nfr.
raised in adoration holds the value
nfr in Ptolemaic Egyptian.
Doc 27 D III, South Wall Playful Visually
W. Side 62,2; writing Ssp-anx living image emphasizes that
Bandeau Mariette (rebus) the king is the
of Frieze D II, pl. Occurring in the following phrase: living image of
61b Ssp-anx n %mA-tA.wy sA Ra the sun god (as
the living image of Somtus, son of sphinx)
Ra

King as living image of the sun god

(sphinx) is shown by the ankh-sign
held in the sphinx's paws. Note that
the word occurs in an alliterative
series on s and S.
Doc 27 D III, South Wall Playful Represents the
W. Side 62,2; writing Uniter of the
Bandeau Mariette (rebus) %mA-TA.wy Two Lands with
of Frieze D II, pl. Somtus (Sema-tawy), lit. "Uniter of visual
61b the Two Lands shorthand.

Sign consists of the smA sign with

heraldic plants of Upper and Lower

531
 Egypt, the sedge and the papyrus, on
either side.
Doc 27 D III, South Wall Reversal Allows Isis-
W. Side 62,3; Hathor's'
Bandeau Mariette As.t wr.t mw.t-nTr nb.t IA.t-di Hry(.t)-ib manifestations
of Frieze D II, pl. Iwn.t (and those of
61b Isis the Great, Mother of God, Lady the gods of
of Iatdi, in the midst of Iunet. Dendera) to
look outward
from the center
of the
sanctuary.
Doc 27 D III, South Wall Playful Playful writing
W. Side 62,3; writing As.t wr.t Isis the Great calls attention
Bandeau Mariette (rebus); to the epithet of
of Frieze D II, pl. reversal Writing of wr.t by rebus with the "great" for the
61b image of the hippotamus goddess goddess.
Taweret (losing the semantic value
Also in but keeping phonetic value; dropping
Doc 71 the f.s. article tA).
(92,12);
Hathor:
Doc 24
(59,11);
Doc 25
(60,5);
Doc 26
(61,4);
Doc 77
(96,10)
Doc 27 D III, South Wall Playful Ideogram for
W. Side 62,3; writing nb.t IA.t-di Hathor is direct
Bandeau Mariette (rebus); Lady of Iatdi (=Dendera) representation
of Frieze D II, pl. reversal of the goddess.
61b Seated figure of Hathor, wearing
horns-and-disk headdress and
holding papyrus scepter, stands for
nb.t, a frequent epithet of the goddess
(See Kurth EP I, p. 164 n. 606: Wb
II, 232, 4ff; E III, 353,13; D I, 31,6).
IAt.di is spelled the usual way, with
phonograms spelling iA.t and di.
Doc 27 D III, South Wall Playful Composite
W. Side 62,2; writing ideogram for
Bandeau Mariette (rebus); "Dendera"
of Frieze D II, pl. reversal Iwn.t Dendera written with the
61b images of the
Composite ideogram with the three major divinities
major divinities of Dendera on a of Dendera.
standard: Osiris, Horus, and Hathor-
Isis.
Doc 27 D III, West Wall Playful The sign for wiA
W. Side 62,4-5; writing wiA barque visually
Bandeau Mariette (rebus) represents the
of Frieze D II, pl. The complete sentence is wbn Iwny.t sun as it sails

532
 61b m p.t m HA.t wiA, "Iunyt shines in the through the sky.
sky at the prow of the barque." The
sign for wiA is a visual representation
of solar barque as it sails through the
sky.
North
Wall
Doc 28 D III, mnw-vase Graphical Emphasis on
E. Side 58,6; pls. (Hathor); opposit- "his mother,"
[ir iHy] n mw.t=f xntS
Lintel 180-181; Royal ion over using the sign
mw.t=f [n mAA=f]
Mariette Randzeile two cola of the arm
[who makes music] for
D II, pl. holding cup, a
his mother, his mother
66a frequent
rejoices [at seeing him]
spelling of the
word in offering
scenes of wine
Graphical opposition of the two or beer.
repetitions of mw.t=f, each spelled
with the arm holding nw-jar, and one
or two small, short signs (t-loaf, or t-
loaf + egg), and f-viper.

Doc 28 D III, mnw-vase Repetition Visual

E. Side 58,7; pls. (Hathor); of nb- emphasis on the
Lintel 180-181; speech of signs nb-signs calls
Mariette Hathor @.t-Hr wr.t nb(.t) Iwn.t attention
D II, pl. Ir.t-Ra nb(.t) p.t Hnw.t Hathor's
66a nTr.w nb.w nb.t tx epithets.
nb(.t) antyw nb(.t) Hs.t

Hathor the great, lady

of Iunet, Eye of Ra,
lady of heaven,
mistress of all the
gods, lady of
drunkenness (or,
"beer"), lady of
myrrh, lady of music

Several other signs (e.g. recumbent

cow, lion) could have been chosen
for nb.t, so use of the repeated nb-
signs seems deliberate.
Doc 28 D III, mnw-vase Writing of Visual
E. Side 58,8; pls. (Hathor); ib by sy m nb(.t) tx nb(.t) Aw.t- alliteration of
Lintel 180-181; Divine attraction <ib> wHm.tw nwH n repeated wine
Mariette Randzeile to wine jar Hm.t=s jars calls
D II, pl. in tX for she is the lady of attention to the
66a drunkenness, the lady of passage,
See 3.5. joy (lit. wideness of highlights the
heart), one repeats idea that the
drunkenness for her wine takes over
Incarnation. one's heart (i.e.

533
 Writing of the wine-jar sign in Ax.t- mind)
ib, "joy," rather than the heart-sign, completely.
though marked as an error by
Chassinat, is probably attraction to
the wine-jar sign in tx,
"drunkenness." thus emphasizing that
the wine takes over one's heart (i.e.
mind) completely. Graphic
opposition also present in alternation
of wine jars with horizontal signs.
Doc 29 D III, Wine to his Repetition Emphasizes the
W. Side 58,11; pl. mother of arm act of offering
Lintel 180-181; (Isis); title with nw- Hnk irp n mwt=f the wine.
Mariette and jar in Hnk Offering wine to his mother
D II, pl. formula and mw.t
66a The process of "attraction" takes
See 3.3.1. place in the choice of signs in this
Also in statement. The sign of the forearm
Doc 52 with the hand holding a rounded nw-
(71,3, jar, (D39), functions as the
cloth); ideogram for the verb Hnk (to offer).
Doc 74 In Ptolemaic, the same sign can also
(97,13-14, be the ideogram for the substantive
udjat) mw.t (mother). The more traditional
writing of mw.t, the vulture sign1666

(G14), is still used quite often

in the texts at Dendera; the scribe had
a choice in which signs to employ in
writing it. By choosing to write mw.t
with the same sign as Hnk, he created
"visual alliteration," which arrests the
attention of the viewer. Furthermore,
by repeating this particular sign, the
act of offering a bowl of liquid is
thus emphasized, which in this
context fits perfectly with the title of
the scene: "Offering wine to his
mother."
Interestingly, the same sign,
(D 39), forms part of a composite
ideogram to write one of epithets of
Hathor-Isis, in her speech in the
columns above her head: (D III,

59,4): mw.t-nTr:

1666
GG, p. 469, notes that the vulture is read as mw.t (mother) for an obscure reason, referencing N. de G. Davies,
The Mastabas of Ptahhetep and Akhethetep at Sawwareh, Part I, in Archaeological Survey of Egypt, London; Egypt
Exploration Fund, 1900-1901, p. 19.

534
Doc 29 D III, Wine to his Graphical Strong
W. Side 58,14; pl. mother opposition Mr.t Mhw Hnw.t hty.t graphical
Lintel 180-181; (Isis); Meret of the North, opposition calls
Mariette speech of Mistress of the Throat attention to the
D II, pl. Meret of words, "Meret,"
66a the North Note that in original "North," and
text, the throat-sign "throat": the
(F11A) is rather goddess and her
foreshortened, domains of
suggesting that the action in the
scribe ran out of room scene.
at the end.
Graphical opposition of similarly-
shaped groups (3 tall signs
alternating with 2 small signs)
Doc 29 D III, Wine to his Graphical Emphasizes
W. Side 59,5; pl. mother opposition Hathor's
Lintel 180-181; (Isis); and epithets as Lady
Mariette Divine repetition nb(.t) hy nb(.t) hnw of Gladness,
D II, pl. Randzeile of sign nb(.t) xntS ra nb Jubilation, and
66a (Isis) groups the lady of gladness, Joy, which
lady of jubilation, lady come about as a
of joy every day. result of the
wine offering.

Two groups with similarly-shaped

signs highlight them from the rest of
the text:

hy (gladness)

hnw (jubilation).
Both groups have small signs at the
top (reed shelter and either two reed
leaves or nw-jar) and the lively
dancing man as the determinative.
The nb-basket (an ideogram for nb.t,
"lady," is underneath both of the
dancing men:

so that the men almost look as if they

are dancing on the nb-basket, which
itself recalls the similar-shaped sign

535
 of the alabaster purification basin,
called a hb-basin (W3), which
is the ideogram for "feast," or
"festival"--thus alluding to the
festival of drunkenness celebrated for
the goddess. The two groups of signs,
with the repetition of the dancing
men catches the eye and emphasizes
the gaiety and rejoicing taking place
because of the wine-drinking. The
following word, xntS (joy), is written
with the forepart of a horse, with his
two front legs kicking, thus
mimicking the motions of the
dancing men with their legs. Note:
photo of relief (D III, pl. 181) shows
the horse kicking his legs up higher,
and the men have both arms raised in
joy and they seem to be dancing
more vigorously.
Doc 30 D III, Greeting Repetition Emphasizes the
E. Side 71,18; with nms.t- of leg- origin of the
3rd Reg. pl.184 jar signs inundation from
nD=i Hr=T m bs(.t) m
(Hathor); the leg of
sty xntS ib=T m wbn
title and See 5.2.3. Osiris, the
m war.t
formula movement of
I offer you what
the water and
emerges from the leg
fish.
(sty), your heart
rejoices with what
appears from the leg
(war.t).

Each of the words (in bold blue font)

above have a leg in one of their
signs:

(K18A); (D56);

(F98); and another

(D56).
The emphasis in this passage is on
what "comes emerges from the leg"
[of Osiris], i.e. the inundation. The
word bs (emerge) usually has
walking-legs determinatives, which
is natural because the verb concerns
motion. This particular ideogram is

536
 especially appropriate because it
carries the idea of a fish in motion,
which the fish would do in the waters
of the emerging inundation. The
"leg" of Osiris, called alternatively
sty and war.t, naturally uses the leg-
determinative. Interestingly, for
"rejoice," the word xntS was chosen,
which can be represented by the
forepart of a horse whose legs are
visible. There are other ways of
writing "emerge," or "come forth,"
which do not use walking legs (e.g. a
snake coming out of a shelter, as
used in the previous phrase, in line
71,17); "rejoice," has any number of
synonyms that do not employ a leg-
sign. Therefore, unless this was a set
phrase that could not be altered, the
writing suggests that the scribe
deliberately chose words such as bs
and xntS, and wrote them with signs
having legs. The use of multiple leg-
signs in the words serves to
emphasize visually the leg of Osiris,
as well as the idea of the motion of
the water emerging from it. This
emphasis is particularly appropriate
in an offering of primordial water.
Doc 30 D III, Greeting Graphical Graphical
E. Side 72,5; with nms.t- opposition in=i n=t HD.t Hna.ti m opposition
3rd Reg. pl,184 jar Hapy highlights the
(Hathor); See 5.1.3. I bring to you the text stating the
Royal vessel (Hd.t) filled topic of the
Randzeile with inundation water scene, "I bring
you the vessel
filled with
inundation
water."
Tall signs are in (W25), HD (T3), Hna
(F11A), and m (Aa56)
Alternating with pairs of short signs:
n=t (W24:X1), t-loaf and vase-
determinative (X1&W70), and w-curl
and t-loaf (Z7:X1)
The graphical opposition occurs by
alternating signs of similar shape.
Doc 31 D III, Udjat Repetition Emphasizes the
W. Side 83,12-13; offering of eye sign offering of the
3rd Reg. pl. 185 (Hathor); Hnk wDA.t Dd mdw m-n=t wDA.t nTr.t Udjat-Eye.
title and nTr.ti r Ahw
Offering the udjat-eye. Words to say:
formula
Take for yourself the udjat-eye, the
(divine) eye, purified of pain.
Doc 31 D III, Udjat Visual pun Emphasizes the
W. Side 84,2; pl. offering on Tni "raised up"

537
3rd Reg. 185 (Hathor); Tn.ti m tp-rd=s nb quality of the
Royal distinguished (lit. "raised up") in all Udjat and
Randzeile its ritual connects it with
the king's high
The word Tni, written with the sign double feather
of the double ostrich feather crown, crown (having
describes the udjat as "raised up" associations
(by the king's hand raised in with the Eye).
offering it to Hathor); the word Tni
(as well as the ideogram used to
write it) also designates the crown
worn by the king in this scene.

Doc 31 D III, Udjat Repetition Emphasizes

W. Side 84,2; pl. offering of eye Hathor's
3rd Reg. 185 (Hathor); signs nb.t wDA.ty nTr.t n.t DfD-n-wDA.t relationship to
Royal Lady of the udjat-eyes, the divine the Udjat Eyes
Randzeile See 5.1.4. Eye of the Pupil of the Eye and the sun god.
Doc 32 D III, Adoring Visual Visual (and
E. Side 68,11-12; the god represent- aural) emphasis
2nd Reg. IFAO (Hathor); ation of on praise
photo no. title and meaning surrounding the
98-2211 formula Ka of the
goddess.
See also Also in
dwA.n=i kA=t r qA n p.t
Doc 22 Word Play I have praised your Ka to the height
(56,7) of heaven

The signs of men praising, (A30)

and (A28), standing on either

side of the Ka of the goddess, create
the visual image that she is
surrounded with praise.
Doc 32 D III, Adoring Sym- Emphasizes the
E. Side 68,12; the god metrical great extent to
2nd Reg. IFAO (Hathor); arrange- which the king
photo no. title and ment of pays honor to
98-2211 formula signs Hathor.
around a tA r wsx n tA
word the ground to the breadth of the
earth

Complete sentence: sn.n=i n=t tA r

wsx n tA
I have kissed for you the ground to
the breadth of the earth

The symmetrical arrangement of

horizontal signs, tA r and n TA, frame
and highlight the large, square sign
for wsx, "breadth."
Doc 32 D III, Adoring Visual Placement of
E. Side 68,13; the god represent- the heart-sign

538
2nd Reg. IFAO (Hathor); ation of under the wing
photo 98- title and meaning visually
2211 formula emphasizes the
See 5.3.2. protective
Hry-mk.t=i my heart
Also in stance of the
Doc 12 vulture,
Complete phrase:
(49,2) showing that
Hry-mk.t=i Xr tpy.w-rA
the "right place"
my heart possessing the (sacred)
for the heart is
utterances
in a place of
protection.
The word Hry-mk.t is often applied to
the heart, being "in the right place"
(Wb II, 161,9; Sethe, Pyr Komm
286d; PL 665).
Doc 32 D III, Adoring Visual Visually
E. Side 68,14; the god represent- H.t-nmi.t represents the
2nd Reg. IFAO (Hathor); ation of Temple of the Bier (=Mammisi) mammisi.
photo 98- title and meaning
2211 formula The sign of a lion-bed within a
See 5.2.3. temple enclosure represents the
Mammisi, the birthplace of the child
god.
Doc 33 D III, Adoring none
N. Wall 80,5; pl. the god
W. Side 183; (Hathor);
2nd Reg. IFAO title and
photo no. formula
93-2210

Also
listed in
Sign Play
Doc 34 D III, no title none
E. side 63,14-18; (Nekhbet
1st Reg. pl. 182; and Hathor
IFAO welcome
photo no. King)
97-2221
Doc 35 D III, no title none
W. Side 75,15- (Wadjet
1st Reg. 76,2; pl. and Isis
180; welcome
IFAO King)
photo no.
98-2220
E. and W.
Walls
Doc 36 D III, Doing the Visual pun The writing of
E. Wall 72,14; pl. censing Writing of , "Horus," with the the name of
3rd Reg. 188-189 eye (D4) and road-with-bushes sign Horus alludes to
(N31F) alludes to the distant Eye the Distant
Goddess, because Hri, "be far away, Goddess.
distant" (Wb III, 145,1-19, esp. 1),
can also written with variations of the
same sign as its ideogram, e.g.

539
 (N31) or (N31F).

Doc 36 D III, Doing the Repetition Emphasizes the

E. Wall 72,17; pl. censing; of King's act of
3rd Reg. 188-189 speech of incense- in=i n=tn sHtp r sHtp ib=tn censing
King arm sign; I bring you incense in order to (visually and
Also visual pacify/satisfy your (pl.) heart. aurally) and the
listed in representat result of the act
Word ion of Spelling of sHtp (incense; pacify.) (pacification)
Play meaning both times with incense arm
(R42); this sign is the same type of
See 5.2.6 ritual instrument held by the king in
the scene. Use of (R42) in either
word could have attraction on the
spelling of the other word.
Doc 36 D III, Doing the Sym- Symmetry
E. Wall 73,10; pl. censing; metrical highlight's
3rd Reg. 188-189 speech of arrange- Hathor's role as
Hathor ment of @.t-Hr nb.t pr-wr Lady of the Per-
(in two or Hathor, Lady of the Per-wer wer.
horizontal more
line) words In the original inscription (D III, pl.
189), pr-wr (O21B) has a
rectangular shape, thus forming
symmetry with @.t-Hr (O10).
Doc 37 D III, Funerary Graphical Emphasis on
W. Wall 84,13; pl. Offering; opposition the divine
3rd Reg 197; Royal and powers who are
Mariette Randzeile repetition in charge of
D II, 67b of similar- nourishment.
shaped
Also signs
listed in (with kA.w nb(.w) kAw
Word word play Divine powers, lords of nourishment
Play of antana-
clasisa) Aural and visual plays on kA.w
(divine powers) and kAw
(nourishment).
Doc 37 D III, Funerary Sym- May allude to
W. Wall 84,14; Offering; metrical waters of
n(.t) tA n Itm
3rd Reg pl. 195; Royal arrange- of the Land of Atum creation above
Mariette Randzeile ment of and below the
D II, 67b two or Complete sentence: earth.
more tw=t PsD.t n(.t) tA n Itm
(in words You are the Ennead of the Land of
column) Atum

Omission of feminine ending of

genitival n.t creates symmetry of the
two water signs above and below the
tA-sign, which may allude to the
waters of creation above (Naunet)
and below (the Nun) the earth.

540
Doc 37 D III, Funerary Sym- Columns
W. Wall 85,1; Offering; metrical Bik nTry Hry srx relating to
3rd Reg pl. 195; Royal arrange- divine falcon Harsomtus
Mariette Randzeile ment of upon the serekh stand out due to
D II, 67b signs in their visual
parallel @r-smA-tA.wy nb symmetry.
texts #Adi
See also Harsomtus, lord
Doc 55 of Khadi
(79,12)

The Horus falcon in the first column,

adorned with the nxxw flagellum, a
symbol of rulership, stands over plant
motifs: the smA-tA.wy motif
representing the unification of Upper
and Lower Egypt (lotus for U.E. and
papyrus for L.E.); followed by the
nb-basket (lord) and the name of the
place called #A-di--present-day Naga
el-Guzariya across from Dendera,
also written with a plant symbol, the
leaf, stalk, and rhizome of a lotus.
(find out more about this place).

In the second column, the Horus

falcon stands atop a crenellated
temple enclosure containing the
netjer-sign (O124), indicating the
residence of a divinity, followed by
the heaven sign (standing for the
preposition Hr, upon r, meaning
"above"); palace faade, the serekh
symbol. The group (which itself has
visual symmetry, because nTry and
srx have similar shapes both being
square representations of buildings)
emphasizes visually the dominion of
Horus over three domains: the temple
(as god in the place of interaction
between men and gods), heaven (as
god), and the palace (as king on
earth) thus, he is over everything!

Taken together, the two Horus

falcons at the top of each column
stand out, each followed by a
symmetrical group one of buildings
(temple & palace) and one of plants
(the natural world of the Two Lands,
and the specific area near Dendera).
Horus is thus lord of the temple (the
world of the gods, with which the
king interacts); the palace (world of
temporal administration); the natural
world of growing plants bringing

541
 fertility to the Two Lands in
exchange for the king's offerings.
Doc 37 D III, 85,2 Funerary Repetition Emphasizes the
W. Wall pl. 195; Offering; of similar- ability of the Ka
3rd Reg Mariette Speech of shaped KA nb kA.w of Harsomtus to
D II, p. Harsomtus signs; The Ka-Spirit, Lord of Provisions provide food.
67b visual The kA-arms with the serpent
represent- represents the primordial
ation of manifestation of Harsomtus; it plays
meaning visually with kA.w, "provisions," with
the kA-arms "holding" a bread loaf.
See 5.2.6.
Doc 37 D III, Funerary Repetition Columns
W. Wall 85,3-4; pl Offering; of bird- relating to Mut
3rd Reg 195; Speech of signs stand out due to
Mariette Mut the repetition of
D II, p. Mw.t wr.t Mut the Great bird signs.
67b

nTr.w nb.w all the gods

biH who floods

Doc 37 D III, 85,8 Funerary Graphical Emphasis on
W. Wall pl. 195; Offering; opposition the Two State
3rd Reg Mariette Royal of itr.ty Sanctuaries, and
D II, 67b Randzeile and Sma their regions of
mHw Upper and
Lower Egypt,
See 5.3.3. of which the
king is
sovereign and
ruler.

ity n itr.ty HqA n Sma mHw

Sovereign of the Two Sanctuaries,
Ruler of Upper and Lower Egypt.

Sovereign written with man

wearing double-plumed headdress,
carrying staff of office
Red crown (n.t) functions as
genitival n by acrophony
Two Sanctuaries two primordial
serpents in sanctuaries, alluding to
the deities in residence.
Heka ruler written with
shepherd's crook
Shorthand for South and North of
Egypt, written with the respective
crowns of each of the "Two Lands,"

542
 placed on city-signs.

The arrangement features an

alternation between ruler signs (ity,
red crown; heka-crook) and dual
signs for the Two Lands (itr.ty with
snakes; two crowns on city-signs).
The idea of rule over the two lands is
thus repeated twice, with different
signs, but each group in a
symmetrical arrangement.
Doc 37 D III, Funerary Playful Playful writing
W. Wall 85,9; Offering; writing BAq.t Egypt of Egypt with
3rd Reg pl.198; Divine (rebus) Udjat eye,
Mariette Randzeile The writing of Egypt with the udjat- which visually
D II, 67b See 5.3.3. eye sign (Wb I, 425,18) equates the equates the land
land with the sacred Eye of the god. with sacred Eye
Also part of the god.
of Word
Play
Doc 38 D III, Offering Playful Playful writing
E. Wall 69,5; milk writing of Dd mdw calls
2nd Reg. IFAO (Hathor); (rebus) attention to the
Dd mdw Words to say
1st Scene photo no. title and recitation.
98-2202 formula
Note that that mouth of the bird is
open, as if he is "speaking."
Doc 38 D III, Offering Playful Emphasizes
E. Wall 69,5; milk writing; anx-wAs milk life-giving
2nd Reg. 69,8; (Hathor); visual properties of
1st Scene IFAO title and represent- Ptolemaic designation for milk (Wb milk
photo no. formula ation of I, 204,1). In D III, 69,8, the text
98-2202 (69,5); meaning states, anx-wAs n Ir.t Ra (the milk of
speech of the Eye of Ra). Life and dominion
counted King (69,8) See 5.2.3. come from Hathor's milk. Note also
twice the formulaic text behind the king:
anx wAs nb HA=f, "all life and
dominion are behind him."
Doc 38 D III, Offering Playful Equates
E. Wall 69,6; milk writing baH=t im=sn Hathor's
2nd Reg. IFAO (Hathor); (rebus) Your inundation is in them (i.e. in flowing milk
1st Scene photo no. title and the milk). with the
93-2202 formula See 5.2.3. inundation
Use of the boat to write the
preposition im (from imw, "boat," by
consonantal principle: Fairman,
ASAE 43, p. 240 no. 263) connects it
visually with the idea of the
inundation raising the water level,
allowing the navigation of the boat.
The boat sign also stands over the
water sign, continuing visual pun.
Doc 38 D III, Offering Playful Allusion to
E. Wall 69,8; milk writing Hathor's bovine
2nd Reg. IFAO (Hathor); (rebus) manifestation

543
1st Scene photo no. Royal hqA mnmn.t and her herd of
98-2202 Randzeile ruler of the herd sacred cows.

The counterpoise serves as the

phonogram for the sound mn, having
dropped the weak consonants i and t,
by means of the consonantal
principle, from the word mni.t.

Because the menit was one of

Hathors ritual instruments, the
spelling of herd with the menit-
sign not only alludes to Hathor
herself in her bovine manifestation,
but also to her herd of sacred cows
Doc 38 D III, Offering Repetition Emphasizes the
E. Wall 69,13; milk of child- rejuvenating
2nd Reg. IFAO (Hathor); sign aspect of
Hr srnp nn=s m bnrw=s
1st Scene photo no. Royal Hathor's milk.
rejuvenating her child with her sweet
98-2202 Randzeile
milk

Repetition of the child sign in srnp

("rejuvenating") and nn ("child")
underlines the rejuvenating power of
Hathor's milk.
Doc 38 D III, Offering Playful Allusion to
E. Wall 69,13; milk writing Hathor as the
2nd Reg. IFAO (Hathor); (rebus?) Hnw.t nfr.t young lioness
1st Scene photo no. Divine Beautiful young girl Tefnut in the
98-2202 Randzeile Myth of the Sun
(Hathor) Use of cat-ideogram for Hwn.t (young Eye.
Also in girl) alludes to Hathor's form as the
Doc 39 young lioness Tefnut (Wb III, 54,2),
(81,2) who turns into a beautiful woman on
her return from Nubia. This writing
of Hwn.t is also used in the
expression, "the young girl in the
Eye," as the designation for the pupil
of the eye, especially the Horus Eye
(Wb. III, 53,21).
Doc 39 D III, Offering Graphical Emphasizes the
W. Wall 80,15; pl. xAdb opposition actions of the
2nd Reg. 193; (Hathor); Hr sHtp Hnw.t=f swr king: satisfying
1st Scene IFAO Royal sA=s Hr rdi(.t) nrw=s Hathor,
photo no. Randzeile satisfying his mistress, magnifying her
98-2202 magnifying her son, son, and
placing the terror of her spreading the
(in the Banks of fear of her
Horusi.e. Egypt) throughout
Egypt

544
 Graphical opposition of horizontal
signs with small round signs with
determinative stroke highlight this
passage visually.
Doc 39 D III, Offering Attraction; Emphasizes
W. Wall 80,18; pl. xAdb repetition Hathor's bovine
2nd Reg. 193; (Hathor); of cow nb.t p.t Hnw.t nTr.w nb.w manifestation in
1st Scene IFAO speech of signs Lady of Heaven, Mistress of All the her epithets.
photo no. Hathor Gods
98-2202
Recumbent cow spelling nb.w takes
its form by attraction to the previous
use of the recumbent cow to spell
nb.t. The two words, nb.t and nb.w
can be spelled other ways (e.g. most
commonly with the nb-sign). By
choosing to write both with the
recumbent cow, the text visually
emphasizes Hathor's bovine
manifestation. The presence of the
Hathoric cow in the text in a scene
emphasizing Isis may be a subtle way
to include Hathor in the scene.
Doc 39 D III, Offering Playful Allusion to
W. Wall 81,2; pl. xAdb writing Hathor as the
Hwn.t nfr.t
2nd Reg. 193; (Hathor); (rebus?) Beautiful young girl young lioness
1st Scene IFAO Divine Tefnut in the
photo no. Randzeile Myth of the Sun
Use of cat-ideogram for Hwn.t (young
98-2202 (Hathor) Eye.
girl) alludes to Hathor's form as the
young lioness Tefnut (Wb III, 54,2),
who turns into a beautiful woman on
her return from Nubia. This writing
of Hwn.t is also used in the
expression, "the young girl in the
Eye," as the designation for the pupil
of the eye, especially the Horus Eye
(Wb III, 53,21).
Doc 40 D III, Offering Playful Playful writing
E. Wall 70,1; menit writing Nhs Seth of the name of
2nd Reg. IFAO (Hathor); (rebus) The word may derive from the verb Seth depicts
2nd Scene photo 98- Royal nHsi (Wb II, 287,3-9), referring to him as a
2203 Randzeile Seth's role in later texts as the slaughtered
watchful god at the prow of the sun donkey.
barque. GR temples depict Seth as a
donkey (Wb II, 287,17), shown here
slaughtered as the determinative.

545
Doc 41 D III, Offering Graphical Emphasizes the
W. Wall 81,7; pl. wensheb opposition phrase relating
2nd Reg. 194; (Hathor); twt m irw=f n hqA to the King
2nd Scene IFAO Royal tA.wy while alluding
photo no. Randzeile complete in his form to the Udjat
98-2206 as ruler of the Two Eye.
Lands

Alternation of groups with

tall signs and horizontal signs
emphasizes the phrase. The phrase
relating to the King, twt m irw=f,
"complete in his form," alludes to the
whole and healthy Udjat Eye, which
is frequently referenced in this scene
of offering the wensheb.
Doc 42 D III, 70, Playing Graphical Emphasizes the
E. Wall 7-8; pl. sSS.t and opposition sSS.t m wnmy=i that the king's
2nd Reg. 180 IFAO sxm-sistra and sym- sxm m iAby=i offering of the
3rd Scene photo no. (Hathor); metrical The sSS.t-sistrum is two sistra is in
98-2204 title and arrange- in my right hand; his hands.
formula ment of the sxm-sistrum is
similar- in my left hand.
shaped
signs

See 3.2.2;
5.1.2. The parallelism in the text is
naturally mirrored in the parallelism
in the signs. In the original
inscription, each pair of signs is the
same height as the other pairs. There
is an alternation between two sets of
pairs: one with the sistrum and the
tall-m; the other with either the west
or the east symbol plus a seated man.
The visual symmetry of the four pairs
arrests the gaze and adds emphasis to
the statement visually. (also perhaps
implying that the sound of the sistra
spreads to the west and the east).
Doc 42 D III, Playing Repetition Emphasizes
E. Wall 70,9; pl. sSS.t and of similar- king's journey
2nd Reg. 180; sxm-sistra shaped around Egypt,
3rd Scene IFAO (Hathor), signs [swAS=i kA=t] m-pXr tA.wy praising Hathor
photo no. title and (I praise your ka) all around the two throughout
98-2204 formula See 3.3.2. lands Egypt.

The multiple horizontal lines suggest

a maze, going around and around,
and thus visually representing the
king's travel throughout Egypt to
praise Hathor.

546
Doc 42 D III, Playing Playful Playful writing
E. Wall 70,10; pl. sSS.t and writing; nn n Nbw.t draws attention
2nd Reg. 180; sxm-sistra repetition Child of the Golden One to Ihy's epithet,
3rd Scene IFAO (Hathor); of nw-jars "Child of the
photo no. speech of The genitival n, represented by the Golden One."
98-2204 Ihy
nw-jar, (W24) is placed under the
Similar to child as if he is sitting on it. (similar
Doc 25 to the stool (Q3) in Doc 55, D III,
(60,4); 79,3)
Doc 55
(79,3)

Doc 42 D III, Playing Graphical Emphasis on

E. Wall 70,13, pl. sSS.t and opposition pacifying the
2nd Reg. 180; sxm-sistra and sym- heart of the
3rd Scene IFAO (Hathor), metrical goddess with
photo no. Royal arrange- what she loves.
98-2204 Randzeile ment of
signs in
two or
more
words (Hr dwA) kA=s Hr sHtp ib=s
m mr(r.t)=s
[adoring] her ka, pacifying her heart
with what she loves

The four-fold repetition of the sign

(O34) divides the intervening
signs into three groups, but the most
striking, because they are almost
identical, are the first two groups:
and . The words in
these two groups are Hr sHtp ib=s,
which are visually emphasized by the
symmetrical arrangement of signs.
Doc 42 D III, Playing Repetition Emphasis on
E. Wall 70,16; pl. sSS.t and of same nb.t sSS.t Hnw.t sxm.w Hathor as Lady
2nd Reg. 180; sxm-sistra sign-type nb.t Hs.t of various types
3rd Scene IFAO (Hathor), Lady of the sSS.t- of music
photo no. speech of See 5.1.2. sistrum, Mistress of the
98-2204 Hathor sxm-sistra, Lady of
Singing

The four sistra within close

proximity of each other (and
especially the three together in one
group) emphasize Hathor's musical
domains and the offerings given to
her in this scene.
Doc 43 D III, Offering Playful Emphasis on
W. Wall 81,16; mnw-vase writing xAxt bA.w Hathor's swift
2nd Reg. IFAO (Hathor), (rebus); She who is speedy of (divine) power power.

547
3rd Scene photo no. title and possible
98-2205 formula attraction Complete sentence:
bA.t r sxm.w xAxt bA.w
Also in Female Ba among the (divine)
Word powers, she who is speedy of
Play (divine) power

Playful writing of "speedy" with a

winged walking canine, whose wings
are perhaps due to attraction to the
bA.w-birds.
Doc 43 D III, Offering Sym- Visual
W. Wall 81,17; mnw-vase metrical pr-nsr emphasis on
2nd Reg. IFAO (Hathor), arrange- Sanctuary of the Flame "Sanctuary of
3rd Scene photo no. title and ment of the Flame"
98-2205 formula signs in
pr-nsr
Doc 43 D III, Offering Repetition Playful writing
W. Wall 82,1; mnw-vase of child draws attention
2nd Reg. IFAO (Hathor), sign @r-%mA-tA.wy pA Xrd sA H.t-Hr sfi Sps to Harsomtus'
3rd Scene photo no. speech of Harsomtus the child, son of Hathor, role as Hathor's
98-2205 Harsomtus noble child child.
the Child
Child sign (A17) is repeated twice in
two synonyms for "child": as the
ideogram in Xrd and as the
determinative in sfi.

Doc 43 D III, Offering Playful Playful writing

W. Wall 82,1; mnw-vase writing of @r-smA-tA.wy pA succinctly
2nd Reg. IFAO (Hathor), stool Xrd conveys epithet
3rd Scene photo no. speech of under Harsomtus the Child and draws
98-2205 Harsomtus child attention to it.
the Child
Also in Stool of reed matting (Q3) in pA
Doc 55 Xrd is arranged so that the child
(79,3); appears to be sitting on it.
Doc 66
(88,2)
Doc 43 D III, Offering Playful Bag wig sign
W. Wall 82,7; mnw-vase writing; di=i n=k I give you "personalizes"
2nd Reg. IFAO (Hathor), visual the suffix
3rd Scene photo no. speech of represent- Speech of Hathor (D III, 82,7) to the pronoun for the
98-2205 Hathor ation of King.
meaning King uses the bag wig (S56) as
the 2nd m.s. suffix pronoun, which is
appropriate, as it depicts his regalia.
Doc 43 D III, Offering Visual Visually shows
W. Wall 82,7; mnw-vase represent- di=i n=k ib=k htp Hr the protective
2nd Reg. IFAO (Hathor), ation of mk.t=f action of the
3rd Scene photo no. speech of meaning I give you your vulture upon the
98-2205 Hathor heart, which rests in "flesh" of the
its place. king's heart.

548
 The original text shows the vulture
with the flesh-sign placed under the

extended wing , which

Chassinat reproduces (inaccturately)

as , thus obscuring the

visual pun.
Doc 43 D III, Offering Visual Bag wig sign
W. Wall 82,7; mnw-vase represent- di=i n=k ib=k "personalizes"
2nd Reg. IFAO (Hathor), ation of htp Hr mk.t=f the suffix
3rd Scene photo no. speech of meaning I give you your pronoun for the
98-2205 Hathor heart, which rests King.
in its place.

The 2nd m.s. pronoun =k (you) is

written twice with the bag wig in the
text; worn by the king as part of his
regalia, it thus "personalizes" the
pronoun.
Doc 43 D III, Offering Repetition Signs of living
W. Wall 82,7-8; mnw-vase of same beings in most
2nd Reg. IFAO (Hathor), sign-type of the words of
3rd Scene photo no. speech of (living Hathor's epithet
98-2205 Hathor beings) string show her
dominion over
Dd mdw in @.t-Hr wr.t nb.t Iwn.t Ir.t- the living
Ra nb.t p.t Hnw.t nTr.w nb.w mnH.t world, as well
wr.t as illustrating
Words to say by Hathor the great, many of her
lady of Iunet, Eye of Ra, lady of manifestations
heaven, mistress of all the gods, the (falcon, lioness,
great uraeus. woman, uraeus,
cow, sun disk) .
The following living beings (or parts
thereof) appear in this epithet-string:
Hawk (@.t-Hr)
Swallow (wr.t)
Lion (nb.t)
Human Eye (Ir.t)
Sun disk with uraeus (Ra)
Cow (nb.t)
Falcon (on standard) (nTr.w)
Sphinx (nb.w)
Uraeus (mnH.t)

549
Doc 44 D III, Ascending Playful Playful writing
E. Wall 64,3; pl. steps writing; emphasizes the
1st reg 186; (Hathor's visual pr r xdnw King's action of
1st Scene IFAO shrine) represent- Going up the steps (of the shrine) climbing the
photo no. ation of steps of the
98-2212; meaning Playful writing of pr (go) with snake shrine.
Mariette emerging from the shelter.
D II, pl.
65a
Doc 44 D III, Ascending Playful Allusion to the
E. Wall 64,3; pl. steps writing Dd (mdw) Words (to say) King's role as
1st reg 186; (Hathor's (rebus) Thoth and the
1st Scene IFAO shrine); Ptolemaic writing of Dd is derived importance of
photo no. title and from +Hwty (Thoth, represented by effective speech
98-2212; formula his form as a baboon), in which, by means of the
Mariette according to the consonantal playful writing
D II, pl. principle, only D remains. As a on "words to
65a representative of Thoth, the baboon say."
also alludes him as the inventor of
Also languagea role taken on by the
(written King when approaching the shrine of
more the goddess with his "effective
fully) in speech." More fully written (with
Doc 49 baboon holding mdw-sign) in Doc 49
(77,11) (D III, 77,11)
Doc 44 D III, Ascending Playful Playful writing
E. Wall 64,8; pl. steps writing; aq bw Dsr emphasizes the
1st reg 186; (Hathor's visual who enters the sacred place King's action in
1st Scene IFAO shrine); represent- entering the
photo no. Royal ation of Playful writing of aq (enter) with sacred shrine.
98-2212; Randzeile meaning snake entering the shelter.
Mariette
D II, pl.
65a
Doc 44 D III, Ascending Repetition Allusion to
E. Wall 65,2; pl. steps of similar- m QAb-tA.wy Hathor's
1st reg 186; (Hathor's shaped (Female ruler) in Dendera manifestation as
1st Scene IFAO shrine); signs; uraeus
photo no. Divine visual pun Complete phrase:
98-2212; Randzeile HqA.t m QAb-tA.wy
Mariette Female ruler in Dendera
D II, pl. The use of m QAb-tA.wy for "in
65a Dendera" (lit. "in the coils of the
Two Lands") alludes to Hathor's
important manifestation at Dendera
as the uraeus.
Doc 44 D III, Ascending Visual pun Visual pun
E. Wall 65,3; pl. steps Dsr(.t) sacred one (f.) alludes to
1st reg 186; (Hathor's Hathor's hidden
1st Scene IFAO shrine); The jackal determinative in Dsr(.t) image
photo no. Divine alludes to Hathor's hidden nature,
98-2212; Randzeile because the recumbent jackal (E15)
Mariette is the ideogram for sStA
D II, pl. (secret/hidden); the previous line
65a

550
 states, n rx D.t=s, "without (anyone)
knowing her body."
Doc 45 D III, Pulling the Playful The writing
W. Wall 76,5; pl. (door) bolt; writing alludes to Thoth
1st Reg. 191; title and (rebus) and the respect
1st Scene IFAO formula sTA idr pulling the (door) bolt accorded sacred
photo no. cult statues in
99-2217; Ptolemaic writing of sTA (pull, drag), procession.
Mariette with a jackal looking backwards,
D II, pl. implying that one pulling a sled looks
64b. backward (PL 967). The seated
baboon carries the value i, derived by
acrophony from Isden, an epithet of
Thoth (who can be depicted as a
baboon). In this arrangement of
signs, an additional allusion is made:
the jackal appears to be looking back
at the baboon ("Thoth") just as in
processions, the bearers look back at
the sacred cult statue being carried,
out of respect.
Doc 45 D III, Pulling Repetition Repetition of
W. Wall 76,8; pl. (door) bolt; of door- door-leaf sign
1st Reg. 191; Royal leaf signs visually
1st Scene IFAO Randzeile emphasizes the
photo no. action of
99-2217; opening the
Mariette door, which is
D II, pl. appropriate in
64b. this scene of
"pulling the
sqr aA.wy nn.t wn aA.wy Ax.t n.t (door) bolt."
Nbw.t sS pr-Nbw.t
who unbolts the door leaves of
heaven, who opens the door leaves
of the horizon (= temple) of the
Golden One, who opens the
Sanctuary of the Golden One

Each phrase uses a different word

for "open": sqr, wn, and sS; each of
these verbs uses the door-leaf sign
as determinative. In addition, aA.wy
(door leaves) is a dual noun,
spelled with two door-leaf signs.
Altogether, these three successive
phrases contain seven door-leaf
signs.
Doc 45 D III, Pulling Repetition The sentence begins: sS pr-Nbw.t Emphasizes the
W. Wall 76,8; pl. (door) bolt; of sun rays (who opens the sanctuary of the radiance of the
1st Reg. 191; Royal signs in Golden One), goddess and her
1st Scene IFAO Randzeile two Ennead, which
photo no. words. shines forth
99-2217; when the King
Mariette opens the
D II, pl. shrine's doors.

551
 64a r psD Hm.t=s wbn psD.t=s m-xt=s
in order that her Majesty might shine,
Also her Ennead shines behind her
listed in
Word Polyptoton on root psD (as verb psD
Play and as substantive PsD.t=s); visual

variation in writing psD and

psD.t=s combines with

the visual alliteration of (N8A)

in the writing of psD (shine) and wbn
(shine).
The interweaving of these aural and
visual connections creates a tapestry
of sound and sight, calling attention
radiance of the goddess filling the
room when the King opens the doors
of her naos.
Doc 45 D III, Pulling Playful Playful writing
W. Wall 76,11; pl. (door) bolt; writing emphasizes
nb.ty.t-rxy.t
1st Reg. 191; speech of (rebus) Lady of the Rekhyt Hathor's role as
1st Scene IFAO Hathor Lady of the
photo no. This epithet, prinicpally belonging to Rekhyt which
99-2217; Isis, emphasizes her role as the queen she takes over
Mariette who guarantees the passage of royal from Isis on
D II, pl. power from the father Osiris to his west walls of
64a son Horus. At Dendera, Hathor the temple.
carries this title on the proper left
Also in (i.e. west) walls of the temple, where
Doc 25 she takes role of Isis (e.g. D III,38,2;
(76,11); 38,14; 76,11; 97,17, 156,2; 190,4;
Doc 74 and here, on the west side of the
(97,17) bandeau of the base). The epithet is
formed by signs of the Nb.ty, the two
tutelary goddesses of Upper and
Lower Egypt, and the rxy.t-bird,
which stands for humans. The nb.ty
element is made feminine by means
of the t-loaf- and egg-signs at the end
of the word.
Doc 45 D III, Pulling Repetition Emphasizes that
W. Wall 76,12; pl. (door) bolt; of sign- Hathor is a
1st Reg. 191; Divine type (sun nswy.t-bi.ty.t Ax.ty.t xa m Ax.t solar goddess.
1st Scene IFAO Randzeile disks) Female King of Upper and Lower
photo no. Egypt, the Horizon-Dweller (f.) who
99-2217; appears in the horizon (=temple).
Mariette
D II, pl. Signs and the words in which sun
64a disks appear:

Also (N6B): nswy.t (female king)

listed in

552
 Word
Play (N27): Ax.ty.t (horizon
dweller); Ax.t (horizon)
(N28): xa (appear)
Doc 46 D III, Unfasten- Playful Playful writing
E. Wall 65,10; pl. ing the seal writing dbH.w parts highlights the
1st Reg. 187; parts that the
2nd Scene IFAO Making the Ujdat Eye complete, so King restores to
photo no. that is has all of its parts. the Udjat Eye,
98-2213; During the festival of the month of making it whole
Mariette Khoiak, the fourteen pieces of the again..
D II, pl. Divine Eye are reunited (See R.
65b Herbin, "Un Hymne la lune
croissante, BIFAO 82 (1982): 237-
282, esp. 274).
Doc 47 D III, Revealing Sym- Emphasis on
W. Wall 77,4, pl. the face of metrical the doors of the
1st Reg. 192; the Golden arrange- sS aA.wy p.t n pr=s shrine as the
2nd Scene IFAO One ment of who opens the doors of heaven of her intersection
photo no. signs in shrine between the
98-2216; two or human and
Mariette more The arrangement gives a visual divine worlds.
D II, pl. words representation that the two doors are
64a the transition between the two
worlds: the world of the king, who is
opening them (sS, written with the
door bolt, pool, and door-leaf); the
world of the gods, pt n pr=s,
"heaven of the shrine." The two
doors thus lie at the intersection of
the human and divine worlds.
Doc 47 D III, 77, Revealing Sym- Visually
W. Wall 4-5, pl. the face of metrical sqr aA.wy Iwn.t emphasizes
1st Reg. 192; the Golden arrange- who unbolts the doors of Iunet Hathor's shrine,
2nd Scene IFAO One ment of (=Dendera) which is being
photo no. signs in opened.
98-2216; two or The two door-leaf signs are placed on
Mariette more either side of the two faces & disk
D II, pl. words (=Dendera). By opening the door-
64a leaves, Hathor's faces (two of which
See 3.2.1. are visually represented here) are
revealed (which is the purpose of this
scene). Spelling of Iunet with the two
faces of Hathor: D IV, 92,11; D VIII,
68,15. The circle in the middle is
more properly the city sign, e.g. D X,
352,5: .

553
Doc 47 D III, 77, Revealing Sym- Visual imagery
W. Wall 5; pl. the face of metrical alludes to idea
1st Reg. 192; the Golden arrange- that Hathor's
2nd Scene IFAO One ment of shrine is in
photo no. signs in heaven, the
98-2216; two or world of the
Mariette more divine.
D II, pl. words; wp aA.wy nn.t=s
64a sign play who opens the door-leaves of heaven
in parallel of her shrine
texts, D
III, 77,9 The wp-horns wth the p-stool
between them recalls Hathoric horns-
See 3.2.1. and-disk headdress.
It floats above three door signs
(forming the shape of a shrine), and
thus labeling it hers. The whole
arrangement stands upon the signs
for nn.t (heaven), bringing to mind
the idea that Hathor's shrine is in
heaven, in the world of the divine.
Doc 47 D III, Revealing Repetition Imagery of
W. Wall 77,9; pl. the face of of sunlight illumination
1st Reg. 192; the Golden signs; sign emphasizes
wpS mAw.t=s ndb
2nd Scene IFAO One play in Hathor's ability
her rays illuminate the (whole) earth
photo no. parallel to create light.
98-2216; texts: D
Mariette III, 77,5
D II, pl.
64a See 5.2.4.
Doc 48 D III, Seeing the Writing of Signs carrying
E. Wall 66,6-7; god qfA.t with multiple
1st Reg. IFAO (Hathor); painted sbAq.n=i qfA(.t) n(.t) kA=s meaning allude
3rd Scene photo no. title and eye by I have brightened the dignity of her to Hathor's
98-2214; formula attraction ka. beauty, "seeing"
Mariette to sbAk The writing of qfA.t (dignity) with the the god, and
D II, pl. painted eye, due to attraction with the maintaining
63b See 3.5. previous word sbAq (brighten), Egypt. See Sign
alludes to Egypt (bAk.t, written with Play chapter for
the painted eye), so that more
"brightening" Hathor's ka can be discussion.
equated with "brightening" Egypt
(i.e. keeping it in good condition).
The eye sign also alludes to Hathor
as the Beautiful One (an.t, also
written with painted eye). The use of
eye signs in both words also alludes
to "seeing the god"--the main context
of this scene.
Doc 48 D III, Seeing the Repetition Signs of
E. Wall 66,10; god of sign- praising,
1st Reg. IFAO (Hathor); type (men jubilating, and
3rd Scene photo no. speech of praising, di=i n=T iAw r qA n p.t sn-tA(=i) r wsH making
n tA
98-2214; Ma'at to jubilating, obeisance
I give you praise to the height of
Mariette Hathor making combine to
heaven. I kiss the ground to the
D II, pl. obeisance) form a tableau

554
 63b breadth of the earth. of activity in
honoring
Hathor.
Doc 48 D III, Seeing the Playful Playful writing
E. Wall 66,10; god writing tA earth, land of land.
1st Reg. IFAO (Hathor); (rebus) Fairman suggests that the scarab
3rd Scene photo no. speech of beetle as tA (earth) was some kind of
98-2214; Ma'at to pun (ASAE 43 (1943): 272). Living
Mariette Hathor in burrows, it has close connections
D II, pl. with the earth; due to its generative
63b powers (xpr), it may have also
symbolized the land's fertility (PL
1118). In D III, 66,10, a tongue of
land stands between the two hind
legs.
Doc 48 D III, Seeing the Sym- Emphasis on
E. Wall 66,13; god metrical the king's
1st Reg. IFAO (Hathor); arrange- coming (in
3rd Scene photo no. Royal ment of peace) and
98-2214; Randzeile signs in going (in joy),
Mariette two or when visiting
D II, pl. more aq m Htp pr m xntS the shrine of the
63b words who enters in peace, who exits in joy goddess to
perform the
See 3.2.1. This text refers to the king, visiting daily temple
the shrine of the goddess to perform rite.
the daily temple rite. The first sign
(aq) is actually reversed, creating a
symmetrical arrangement, with the
two snakes facing each other. In the
column in which the text appears, the
shelters thus both face the same
direction, emphasizing the coming
and going of the snakes (which refers
to the movement of the king, coming
and going from the shrine).

There is also symmetry around the

central Htp sign, framed on either
side by the opposition present in the
directions of the snake- and m-signs,
with the latter sign forming a mirror
image of shape of each shelter above.
When seen in a column, the shelter
always faces the same direction,
emphasizing the going and coming of
the snake; the actual arrangement of
the text in a column emphasizes this
movement more than the linear
arrangement of Chassinat's type-set
hieroglyphs.

[Note: Mariette D II, pl. 63b has an

error in the writing of aq, with the
snake coming out of the shelter
instead of going into it, as noted by

555
 Chassinat, D III, 66 n. 9]

Doc 49 D III, Seeing the Playful Allusion to

E. Wall 77,11; god writing Thoth, master
1st Reg. IFAO (Hathor); (rebus) dwA nTr of eloquent
3rd Scene photo no. title and Adoring the god speech, which
98-2215; formula is an important
Mariette Use of ibis-sign to represent nTr aspect of the
D II, pl. alludes to Thoth, master of eloquent King's
63a speechan important aspect of the recitation
King's recitations in this scene. before Hathor.
Doc 49 D III, Seeing the Playful Allusion to the
E. Wall 77,11; god writing King's role as
1st Reg. IFAO (Hathor); (rebus) Dd mdw Thoth and the
3rd Scene photo no. title and Words to say importance of
98-2215; formula effective speech
Mariette Ptolemaic writing of Dd is derived by means of the
D II, pl. from +Hwty (Thoth, represented by playful writing
63a his form as a baboon), in which, on "words to
according to the consonantal say."
Abbrev. principle, only D remains. As a
writing in representative of Thoth, the baboon
Doc 44 also alludes him as the inventor of
(64,3) languagea role taken on by the
King when approaching the shrine of
the goddess with his "effective
speech." The mdw-sign held by the
baboon completes the phrase.
Doc 49 D III, Seeing the Sym- Emphasis on
E. Wall 78,6; god metrical aqA Ddw the word, aqA
1st Reg. IFAO (Hathor); arrange- exact of speech (exact), an
3rd Scene photo no. Royal ment of important
98-2215; Randzeile signs in a Symmetrical arrangement of signs quality of the
Mariette word. emphasizes the word aqA, "exact," an king's speech
D II, pl. Also in important quality of the King's before the
63a Doc 31, speech to Hathor. goddess.
D III, 84,4
South
Wall
Doc 50 D III, Presenting Repetition Repetition of less usual hand-sign The hand-sign,
S. Wall 74,2-6; the Mirror; of sign, (D46D) in the following (D46D),
E. Side Mariette Royal words: connects
3rd Reg D II, pl. Randzeile (D46D) sSp(.t) (luminous one (f.) (74,2) Hathor's
67a and speech bHdw (throne) (74,4) luminosity, the
of Hathor See 5.1.4. TnTA(.t) (throne dais) (74,6) king's royalty,
Ssp (receive) (74,6) and her
receiving of the
offering from
his hand.
Doc 50 D III, Presenting Visual Emphasizes the
S. Wall 73,17; the Mirror; represent- King's
E. Side Mariette Royal ation of ii.n=i movement in
3rd Reg D II, pl. Randzeile meaning I have come approaching the
67a (rebus) goddess.

556
 Also in Playful use of walking jackal for ii
Doc 51 (come), gives the visual impression
(85,13) of motion.
Doc 51 D III, Presenting Visual Emphasizes the
S. Wall 85,13; pl. the Mirror; represent- King's
W. Side 190; 199 Royal ation of ii.n=i movement in
3rd Reg. Randzeile meaning I have come approaching the
Also in (rebus) goddess.
Doc 50 Walking jackal for ii (come) gives
(73,17) visual impression of motion.
Doc 51 D III, Presenting Rebus Emphasizes the
S. Wall 86,3; pl. the Mirror; king's
W. Side 190; 199 Divine id n iwn-Haa relationship
3rd Reg. Randzeile child of the moon with the moon
(i.e. the Left
Eye of Horus),
The signs of iwn-Haa ( lit. who can also be
"the column that rejoices") also write represented by
IAH (Iah, the name of the moon god) Isis, the mother
by rebus: i<iwn + a<Haa + H<iAH of Horus
Doc 52 D III, Offering Repetition Emphasizes the
S. Wall 71,3; cloth; of arm act of offering
E. Side IFAO title and with nw- Hnk mnx.t n mw.t=f wsr.t cloth.
2nd Reg photo no. formula jar; Offering cloth to his mother the
98-2208 wWriting Powerful One (f.).
of mw.t by The process of "attraction" takes
Also in possible place in the choice of signs in this
Doc 29 attraction statement. The sign of the forearm
(58,11, to arm with the hand holding a rounded nw-
wine); with nw- jar, (D39), functions as the
Doc 74 jar in Hnk ideogram for the verb Hnk (to offer).
(97, 13- In Ptolemaic, the same sign can also
14, udjat) be the ideogram for the substantive
mw.t (mother). The more traditional
writing of mw.t, the vulture sign1667

(G14), is still used quite often

in the texts at Dendera, so the scribe
had a choice in which signs he would
use to write it.
Interestingly, the same sign,
(D 39), forms part of a composite
ideogram to write one of epithets of
Hathor-Isis, in her speech in the
columns above her head: (D III,

59,4): mw.t-nTr:
Doc 53 D III, Preparing Playful (D8) Unusual sign
S. Wall 82,15; unguent of writing antyw for myrhh calls
W. Side pl. 198; myrrh; (rebus) attention to the

1667
GG, p. 469, notes that the vulture is read as mw.t (mother) for an obscure reason, referencing N. de G. Davies,
The Mastabas of Ptahhetep and Akhethetep at Sawwareh, Part I, in Archaeological Survey of Egypt, London; Egypt
Exploration Fund, 1900-1901, p. 19.

557
2ndReg IFAO Title and Myrrh offering
photo no. Formula Sign may derived from an.t
98-2209 (ideogram of "beautiful one," though
usually with makeup) + iw (island),
or perhaps because myrrh is said to
come from the Eye of Osiris. (E II,
205,15 208,10). See Wb I, 206,7
207,3; PL 162-164. See if there is an
explanation of the hieroglyph.
Doc 53 D III, Preparing Playful (D8) Unusual sign
S. Wall 83,6; pl. unguent of writing antyw for myrhh calls
W. Side 198; myrrh; (rebus) Myrrh attention to the
2ndReg IFAO Title and Sign may derived from an.t offering
photo no. Formula (ideogram of "beautiful one," though
98-2209 usually with makeup) + iw (island),
or perhaps because myrrh is said to
come from the Eye of Osiris. (E II,
205,15 208,10). See Wb I, 206,7
207,3; PL 162-164. See if there is an
explanation of the hieroglyph.
Doc 53 D III, Preparing Playful The imagery of
S. Wall 82,15; pl. unguent of writing (Aa23L) ^smw, "Shesmu," Shesmu's
W. Side 198; myrrh; (rebus) god of the laboratory who prepares occupation (god
2ndReg IFAO Title and myrrh for the unguent offering. of the
photo no. Formula laboratory)
98-2209 stands for his
name, calling
Also in attention to the
Doc 76 god
(97,3)
Doc 53 D III, Preparing Repetition Emphasizes
S. Wall 83,5; pl. unguent of of cow Hathor's bovine
W. Side 198; myrrh; sign nb.t p.t Hnw.t nTr.w nb.w manifestation
2ndReg IFAO Speech of lady of heaven, mistress of all the
photo no. Hathor gods
98-2209

Doc 54 D III, Offering Visual pun Visual pun

E. Side 67,12; Ma'at; (rebus) sA smsw the eldest son created by
1st Reg. IFAO Royal attraction calls
photo no. Randzeile Complete sentence: sA smsw am-tA.wy attention to the
98-2218; eldest son of He Who Knows the King's role as
Mariette Two Lands (=Thoth) eldest son of the
D II, 62a god Thoth
The word smsw (eldest) is composed
Also in of a smA-sign (phonogram for sm by
Doc 25 the consonantal principle, in which
(60,4) smA loses its semi-vowel of A, with
only its strong consonants remaining)
and the sw.t plant (the phonogram for
sw, again by the consonantal
principle, with the loss of its final t),
held by the man.

558
Doc 54 D III, Offering Playful Emphasizes that
E. Side 67,12; Ma'at; writing; am-tA.wy the King is son
1st Reg. IFAO Royal repetition He who knows the Two Lands of Thoth ("who
photo no. Randzeile of similar- (=Thoth) knows the Two
98-2218; shaped Lands")
Mariette signs Epithet of Thoth uses the sign for the
D II, 62a throat, in which the cause is used for
the effect (i.e. the throat represents
Also in am, "eat" or "swallow"; Fairman
Doc 12 ASAE 43, 101), figuratively
(49,4); representing "knowing." (In magical
Doc 55 rituals, by "swallowing" words
(79,6) written on papyrus and dissolved in
water, they become a part of oneself.)
The papyrus and lotus represent
Upper and Lower Egypt,
respectively, by means of metonymy
(sign = thing meant). (Fairman
ASAE 43, 100)
Doc 54 D III, Offering Sym- Emphasizes that
E. Side 67,12; Ma'at; metrical nTr.w nb.w all the gods Hathor is
1st Reg. IFAO Speech of arrange- Mistress of All
photo no. Hathor ment signs Symmetrical writing of small sign + the Gods.
98-2218; in two three determinative strokes around
Mariette words nb-basket.
D II, 62a
Doc 55 D III, Offering Repetition Emphasizes the
W. Side 79,3; Ma'at; of child role of
1st Reg. IFAO speech of signs @r-%mA-tA.wy pA Hrd sA @.t-Hr nhn nfr Harsomtus as
photo no. Harsomtus Harsomtus the child, son of Hathor, beautiful child
98-2219; the Child beautiful child of Hathor
Mariette
D II, pl. Child sign serves as logogram for
62b two different words.

(in hori-
zontal
line)
Doc 55 D III, Offering Playful Playful writing
W. Side 79,3; Ma'at; writing of pA-Xrd the child draws attention
1st Reg. IFAO speech of child to the epithet
photo no. Harsomtus seated on Complete phrase: and emphasizes
98-2219; the Child stool @r-%mA-tA.wy pA Xrd sA @.t-Hr Harsomtus as a
Mariette Harsomtus the Child, son of Hathor child (of
D II, pl. Hathor)
62b
Stool of reed matting (Q3) is
Also in arranged so that the child appears to
Doc 43 be seated on it.
(82,1);
Doc 66
(88,2)
Doc 55 D III, Offering Playful Emphasizes that
W. Side 79,6; Ma'at; writing am-tA.wy the King is son
1st Reg. IFAO speech of (rebus); He who knows the Two Lands of Thoth ("who

559
 photo no. the King repetition (=Thoth) knows the Two
98-2219; of similar- Lands")
Mariette shaped Epithet of Thoth uses the sign for the
D II, pl. signs throat, in which the cause is used for
62b the effect (i.e. the throat represents
am, "eat" or "swallow"; Fairman
Also in Ptolemaic Signs, 101), figuratively
Doc 12 representing "knowing." (In magical
(49,4); rituals, by "swallowing" words
Doc 54 written on papyrus and dissolved in
(67,12) water, they become a part of oneself.)
The papyrus and lotus represent
Upper and Lower Egypt,
respectively, by means of metonymy
(sign = thing meant). (Fairman
ASAE 43, 100)
Doc 55 D III, Offering Playful Sign of four of
W. Side 79,6; Ma'at; writing #mnw Khemnu (lit. the primeval
1st Reg. IFAO speech of (rebus) "Eight-town"), Hermopolis gods of
photo no. the King Hermopolis
98-2219; The sign represents the heads of four visually
Mariette of the eight primeval gods of the represents the
DII, pl. Hermopolitan creation myths. The town.
62b gods consisted of four pairs of males
and females personifying the world
before creation, depicted as snakes
(male) and frogs (female).
Doc 55 D III, Offering Repetition Emphasizes that
W. Side 79,12; Ma'at; of similar- @r-smA-tA.wy nb Horus is a
1st Reg. IFAO speech of shaped #A-di nTr aA divine king
photo no. Harsomtus signs; Harsomtus, Lord ruling over
98-2219; similar of Khadi humanity and
Mariette sign-type nature.
D II, pl. (buildings; bik nTry Hry srx
62b plants) divine falcon
upon his serekh
See also Sym-
Doc 37 metrical
(85,1) arrange- In the first column, the Horus falcon
ment of stands over signs depicting the
signs in natural world (repetition of similar
two sign-type): the papyrus and sedge
parallel plant (representing the Two Lands),
columns and the leaf, stalk and rhizome of a
of text lotus (M12B). In the second column,
pertaining Horus stands over two buildings
to (repetition of similar-shaped signs
Harsomtus and sign type): a representation of the
. plan of the temple enclosure, and the
palace faade. The two buildings thus
represent the divine and temporal
rule of the king, a fitting description
of the role of the living Horus in
Egypt. Interestingly, the heaven sign
connects the two visually.

560
Doc 55 D III, Offering Playful Emphasizes
W. Side 79,13; Ma'at; writing nb nHH Thoth's epithet
1st Reg. IFAO speech of (rebus) Lord of Eternity (=Thoth) while
photo no. Harsomtus representing it
98-2219; Eternity is represented as the Horus visually.
Mariette falcon rising in the sun disk in the
D II, pl. horizon, a symbol of the eternal cycle
62b of death (sunset) and rebirth
(sunrise). nHH is equated with Ra, and
therefore with day and the morning
sun; it symbolizes "the eternal
continuation of the first time" (PL
536; see also L I, 47,54; abkar,
JNES 24, 1965, 77-83; Assmann, Zeit
und Ewigkeit, passim).
Doc 56 D III, Primordial Repetition Emphasizes
E. Side 63,5; pl. water in of similar Ihy's role as a
Lower 190 nms.t-jars; sign-type; IHy-nwn, sA @.t-Hr divine child.
Base speech of possible Ihy-nun, son of Hathor
Ihy attraction
The use of the child-sign in "son"
may be due to attraction to the child-
sign in "Ihy."

IHy-nwn (Ihy-nun)

sA (son)
Doc 56 D III, Primordial Reversal Allows Hathor's
E. Side 63,7; pl. water in manifestations
Lower 190 nms.t-jars; @.t-Hr wr.t nb.t Iwn.t Ir.t-Ra (falcon, bird,
Base speech of Hathor the Great, Lady of Iunet Eye, sun disk,
King (=Dendera), Eye of Ra. uraeus) to look
outward from
Standard writing of Hathor's titulary the sanctuary
with no other sign play.
Doc 56 D III, Primordial Repetition nms.ty Hna=ti m nwn sHtp=f ib=t m The repetition
E. Side 63,7; pl. water in of similar mw-rnp of child signs
Lower 190 nms.t-jars; sign The two nms.t-jars are filled with emphasizes the
Base Royal across primordial water; it satisfies your rejuvenating
Randzeile cola heart with the water of rejuvenation. properties of the
King's offering
See 5.2.3. Similar child-signs appear in two of primordial
different words: water.

nwn
primordial water

mw-rnp
water of rejuvenation
Doc 57 D III, Inundation Repetition Emphasizes the
W. Side 74,12; pl. water in Hs- of similar sty @apy spewing out of
Lower 190 jars; speech sign-shape who pours out Hapy the inundation,
Base of Isis and the fertility

561
 See 5.2.3. Signs with liquid spewing forth, that it brings to
(D53) sty (pour out), and the land.
(D26B) @apy (Hapy, the god
equated with the inundation)
emphasize the coming forth of the
inundation water from the caverns at
Elephantine. The phallus sign
additionally alludes to fertility, an
important result of Egypt's
inundation.
Doc 57 D III, Inundation Writing of Attraction of
W. Side 74,12-13; water in Hs- TpH.t by the spelling of
Lower pl. 190 jars; speech attraction %pd.t sty @apy m TpHt.t=f "cavern" with
Base of Isis to spd- Sopdet (=Sothis), who pours out the spd-sign in
sign in Hapy in his cavern Sopdet's name
spd.t visually
Attraction of the spelling of Tpht.t connects the
See 5.2.3. (cavern) to the spd thorn-sign goddess to the
(Z22) in the previous word, %pd.t inundation,
(Sopdet) draws a visual connection which
between the goddess Sopdet, whose originates in
appearance heralds the Inundation, Hapy's cavern.
thus causing Hapy to pour out the
water from his cavern.
Doc 57 D III, Inundation Playful Cryptic writing
W. Side 74,13; pl. water in Hs- writing tA n Itmw of "Land of
Lower 190 jars; speech (rebus) Land of Atum (=Dendera) Atum"
Base of Isis highlights the
Itmw (Atum) is written with the word and may
following cryptic phonetic signs: allude to
Dendera's
hidden aspects.
(E35), carries the phonetic value
i, which Fairman (ASAE 43,252 n.
X) suggests was originally derived
from , a rebus for Thoth due to a
misunderstanding of the hieratic form

of (+Hwty), allowing Thoth's

ideogram to carry the phonetic value
i by the Ptolemaic Period. The
baboon, by its association with
Thoth, then acquired this value..

(Aa52), ideogram for tm, dm, by

confusion with (S23), sign of
knotted strips of cloth as ideogram
for dmD, "unite."
Doc 57 D III, Inundation Playful Playful writing
W. Side 74,13; pl. water in Hs- writing qr.ty the (two) caverns of the source of
Lower 190 jars; speech (rebus) the Nile with
Base of Isis The qr.ty are two holes or gaps in the two serpents
earth from which inundation water alludes to the

562
 breaks through at Elephantine. The inundation's
snakes in the writing of qr.ty are mythological
explained in a depiction of the Nile's origin at
source at Philae, in which a vulture Elephantine.
and falcon are atop a pile of boulders,
under which Hapy kneels, holding
two vessels pouring water while
surrounded by a huge serpent (PL
1066) . Texts at Dendera note that
caverns are the source of the
inundation (D III, 110,14); Hathor is
nb.t qr.ty, "lady of the caverns" (D
III, 168,5).
Doc 57 D III, Inundation Playful Bag wig sign
W. Side 74,13; water in Hs- writing; di=i n=k I give you (m.s.) "personalizes"
Lower 75,2; pl. jars; speech visual the suffix
Base 190 of represent- Speeches of Isis (D III, 74,13) and pronoun for the
Harsomtus ation of Harsomtus (D III, 75,2) to the King King.
Also in meaning
Doc 43 use the bag wig (S56) as the 2nd
(82,7) m.s. suffix pronoun, which is
appropriate, as it depicts the King's
regalia.
Doc 57 D III, Inundation Repetition Emphasizes the
W. Side 75,1; pl. water in Hs- of snake role of
Lower 190 jars; speech signs sA-tA wr pr m nxb Harsomtus as
Base of the great snake (lit. "son of the the "Great
Harsomtus earth") who came forth from the Snake"
lotus [note: lotus stem is curved to
left in original]

The text refers to Harsomtus as the

primordial snake.
Doc 57 D III, Inundation Attraction Emphasizes the
W. Side 75,3; pl. water in Hs- to sty @apy "spewing forth"
Lower 190 jars; Divine (D46) in who pours out Hapy of the
Base Randzeile spelling of inundation
Hapy water.
The use of (D46) in sty is
attracted by its use in the spelling of
Hapy, thus emphasizing the spewing
forth of the inundation water.
(Compare writing of sty in D III,
74,12, also in Doc 57).
Doc 57 D III, Inundation Repetition sSS.t=i m wnmy=i sn=i n=t nSn mni.t Emphasis on
W. Side 75,5-6; pl. water in Hs- of same m iAb(=i) Hr dr [mn.t]* the action of
Lower 190 jars; speech sign-type The sSS.t-sistrum is in my right hand, arms (shaking
Base of Ihy (arms) I make pass away from you 75,6 sistra) to dispel
rage, the menit-necklace is in (my) rage and evil.
left hand, driving away evil.

Arm signs naturally occur in

wnmy=i (my right hand) and

iAb(=i) (my left hand), as well as in

563
 nSn (rage) and dr
(evil), words implying force.
Interestingly, it is the action of the
arm shaking the sistrum that can
counteract the forces (represented by
beating arms) of rage and evil.
Doc 57 D III, Inundation Reversal Allows Isis'
W. Side 75,8; pl. water in Hs- avian
Lower 190 jars; speech As.t wr.t mw.t-nTr manifestations
Base of King Isis the great, mother of the god to look outward
from sanctuary
Doc 57 D III, Inundation Repetition Emphasizes
W. Side 75,8; pl. water in Hs- of same Isis' avian
Lower 190 jars; speech sign-type As.t wr.t mw.t-nTr manifestations
Base of King (birds) Isis the great, mother of the god

Use of sparrow, vulture, and falcon

to write the titulary of Isis.
S. Niche
Exterior
Framing
of Door
Doc 58 D III, Text above none
Lintel 86,12 Winged
Above Disk
Solar Disk
Doc 59 D III, Text below none
Lintel 86,13 Winged
Below Disk
Solar Disk
Doc 60 D III, Four none
E. Side 86,17 goddesses
Base of who hold
Door up the sky
Doc 61 D III, 87,2 Four none
W. Side goddesses
Base of who hold
Door up the sky
Doc 62 D III, Eight none
E. Side 87,7-9; pl. figures in
Thickness 200 four
Door registers
Jambs
Doc 63 D III, Eight none
W. Side 87,12-13; figures in
Thickness pl. 200 four
Door registers
Jambs
S. Niche
N. Wall
Interior
Framing
of Door

564
Doc 64 D III, Offering Playful Playful writing
E. Side 89,8; pl. double writing PsD.t Ennead of "Ennead."
Lintel 201; crown; (rebus)
Mariette speech of Playful GR writing of the Ennead.
D II, pl. Ihy (See Wb I, 559,2-14; discussion in
68b Beinlich, Osirisreliquien, 302-304).

Doc 64 D III, Offering Repetition Ideograms

E. Side 89,9; pl. double of similar pertaining to
Lintel 201; crown; sign-types nsw.t Sma ity bi.ty mHw kingship
Mariette Divine (kingship) King of the South, Sovereign and emphasize the
D II, pl. Randzeile King of the North areas over
68b See 5.3.1. which the king
Each sign in the expression pertains rules.
to kingship. The sw.t , the heraldic
plant of Upper Egypt, plus the king
wearing the crown of Upper Egypt as
determinative, spells nsw.t (King of
Upper Egypt). The bee, the heraldic
emblem of Lower Egypt, serves as
the ideogram for bi.ty (King of
Lower Egypt). The white and red
crowns placed upon city signs
represent Egypt's Sma (South) and
mHw (North), respectively, the
crowns visually emphasizing the
king's rule over these areas.
Doc 65 D III, Offering Playful Emphasizes the
W. Side 89,13; pl. double writing union of the
Lintel 201; crown; (rebus) psS.ty Two Lands
Mariette the Two Halves (=Egypt) under the
D II, pl. legitimate King.
68a The "Two Halves" (i.e. Upper and
Lower Egypt) are represented,
appropriately, as two halves of a
cartouche, the protective circuit
around the king's name. The union of
the two halves of Egypt as a mark of
legitimate kingship is one of the
rewards given by the gods to the king
in return for his offerings (See Te
Velde, Seth, 60).

Doc 65 D III, Offering Playful Playful writing

W. Side 90,2; pl. double writing itr.ty calls attention
Lintel 201; crown; title (rebus) the Two Sanctuaries to the Two
Mariette and Sanctuaries
D II, pl. formula Sign of serpent within shrine
68a represents all gods and goddesses
who rest within it (PL 124); the sign
Also in also personifies the being that dwells
Doc 23 within the itr.t (Wb I, 147,14).
(57,1);
Doc 26

565
 (61,4)

Doc 65 D III, Offering Playful Playful writing

W. Side 90,8; pl. double writing BAq.t Egypt of Egypt with
Lintel 201; crown; (rebus) udjat eye
Mariette Divine emphasizes the
D II, pl. Randzeile word.
68a
Doc 66 D III, 88,2 Horizontal Playful Playful writing
E. Side lines of text writing sA Ra son of Ra succinctly
Pied-droit Also in (rebus) conveys the
Doc 22 Child sitting (on lap) with hand to King's epithet,
(55,20) mouth, wearing sun disk with uraeus "son of Ra" and
on his head as composite ideogram, draws attention
sA Ra (son of Ra) to it.
Doc 66 D III, 88,2 Horizontal Playful Playful writing
E. Side lines of text writing draws attention
mry @r-pA-Xrd
Pied-droit Also in (rebus) beloved of Horus the Child to the King's
Doc 43 epithet, 'beloved
(82,1); Epithet of the King. Stool of reed of
Doc 55 Harpocrates."
(79,3) matting (Q3) is arranged so that
the child appears to be seated on it.

Doc 66 D III, 88,3 Horizontal Playful Playful writing

E. Side lines of text writing xy n Ir(.t)-Ra draws attention
Pied-droit See also (rebus) child of the Eye of Ra to the King's
Doc 25 epithet, "child
(60,4); Playful writing places the genitival n, of the Eye of
Doc 42 written with the nw-jar, under the Ra."
(70,10) child-sign, as if he is sitting on it.

Doc 67 D III, Horizontal Repetition Emphasizes

W. Side 88,10 lines of text of cobra Hathor as the
Pied-droit signs mry @.t-Hr mHny.t n(.t) Ra uraeus of Ra.
beloved of Hathor, uraeus of Ra
See 3.3.3.
By writing @.t-Hr (Hathor) with the
ideogram of a cobra, the scribe
creates visual alliteration, resulting in
three words containing different
cobra signs: @.t-Hr, mHny.t and Ra.

Doc 68 D III, 91,1 Text in Visual Playful writing

E. Side column represent- visually
txn(.t) sStA
Montants Doc 70, ation of hidden one (f.) of image represents the
txn.t xprw meaning hidden quality
(92,5); of Hathor's
The determinative for tHn.t (hidden
Doc 9, image
one) shows a man hiding behind a
imn.t sStA
wall (Wb V, 327,8-18; GR); the verb
(46,5)
txn (be hidden, conceal) is related to

txn, an obelisk-shaped
casket for relics, similar to a portable

566
 shrine. Because a shrine conceals
sacred objects from profane eyes, the
word txn thus emphasizes the idea of
concealment from those not
authorized to look. Thus, the
determinative of txn.t visually
represents the meaning of "hidden,"
as well as alluding to the shrine in
which the the hidden deity resides.
Doc 69 D III, 91,8 Text in Repetition Emphasizes the
W. Side column of same henu-gesture
Montants sign and bA.w P bA.w Nxn (Hr) ir.t hnw n kA=t made by the
sign-type) The Souls of Pe and the Souls of Souls of Pe and
Nekhen are performing henu for your Nekhen.
Ka.

The characteristic writing of the

"souls of Pe" and "souls of Nekhen,"
all of them performing the hnw-
gesture, continues the alliteration
with the following word, hnw, whose
determinative is a figure performing
the gesture.
S. Niche
Walls
Doc 70 D III, South Wall Playful Emphasizes the
Bandeau 92,5; pls. writing txn.t xprw hidden quality
of Frieze 201-202 (rebus) hidden one (f.) of form of Hathor's
E. Side and form.
See also represent- The determinative for tHn.t (hidden
Doc 68 ation of one) shows a man hiding behind a
(91,2) meaning wall (Wb V, 327,8-18; GR); the verb
txn (be hidden, conceal) is related to
Doc 9 See 5.2.6.
(46,5)
imn.t sStA txn, an obelisk-shaped
casket for relics, similar to a portable
shrine. Because a shrine conceals
sacred objects from profane eyes, the
word txn thus emphasizes the idea of
concealment from those not
authorized to look. Thus, the
determinative of txn.t visually
represents the meaning of "hidden,"
as well as alluding to the shrine in
which the the hidden deity resides.
Doc 70 D III, North Wall Playful Composite of
Bandeau 92,7; pls. writing nb.t Iwn.t Lady of Iunet Hathor's cobra
of Frieze 201-202 (rebus) (=Dendera) and cow
E. Side manifestations
Also in See 3.1.1. The sign of a full bull or cow figure calls attention
Doc 24 to her epithet,
(59,11); "Lady of
Doc 25 (E 92) carries the value of nb Dendera."
(60,5)
or nb(.t). The uraeus (I64) is one

567
 of the forms of Hathor that dwells in
Iunet (i.e. Dendera). A composite
sign made from parts of both signs
can thus carry both values, forming
nb.t Iwn.t. The resulting cow-headed
snake thus alludes to both the bovine
and orphidian manifestations of the
goddess.
Doc 70 D III, North Wall Playful Playful writing
Bandeau 92,7; pls. writing calls attention
of Frieze 201-202 (rebus) Ir.t-Ra Eye of Ra to Hathor's
E. Side frequent epithet
Also in See 3.1.1. The sun god Ra (C2B) holds the as Eye of Ra.
Doc 26 Divine Eye (Ir.t) (D10), to form the
(61,4) composite ideogram, Ir.t-Ra.
Doc 71 D III, North Wall Playful Emphasis on
Bandeau 92,12; pls. writing imn sStA=s the hidden
of Frieze 201-202 (rebus) Her form is hidden (from the Divine aspect of the
W. Side Powers) goddess.
Compare
with Doc The word sStA also means hidden,
9 (46,5) so the use of this word, meaning
image (of a god), emphasizes the
hidden aspect of the statue of the
divinity. The recumbent jackal on the
platform is also the ideogram for sStA
(verb conceal), so this writing
doubly emphasizes the hiddenness of
the image (e.g. it could also be
translated as imn.t sStA.t - hidden one
of hidden thing).
Doc 71 D III, North Wall Playful Playful writing
Bandeau 92,12; pls. writing As.t wr.t Isis the Great calls attention
of Frieze 201-202 (rebus) to the epithet of
W. Side Writing of wr.t by rebus with the "great" for the
Also in image of the hippotamus goddess goddess.
Doc 27 Taweret (losing the semantic value
(62,3); but keeping phonetic value; dropping
Hathor, the f.s. article tA).
Doc 24
(59,11);
Doc 25
(60,5);
Doc 26
(61,4);
Doc 77,
(96,10)
Doc 71 D III, North Wall Repetition Emphasis on
Bandeau 92,12; pls. of similar mw.t-nTr epithet of Isis,
of Frieze 201-202 sign-types Mother of God with allusion to
W. Side (birds) her form as a
Vulture stands for mw.t; Horus- bird (a kite).
falcon for nTr. The use of birds for
her epithet alludes to her form as a
bird (a kite).

568
Doc 72 D III, Crypto- Playful pr-wr n Nbw.t Dd.ti Xr sxm.w wr.w mi Equates the Per-
Base 93,6; pl. graphic writing Ax.t Xr itn wer Sanctuary
201 inscription (rebus); The Per-wer Sanctuary is for the with the
visual Golden One (f.), being horizonthe
represent- enduring/permanent/stable, boundary
ation of containing the great (divine) powers, between day
meaning like the horizon containing the Aten and night, and
(sun disk). the entrance to
the Duat and
Individual signs in this inscription the unseen
are treated below. world of the
gods.
Doc 72 D III, Crypto- Visual Succinct
Base 93,6; pl. graphic represent- pr-wr Per-wer Sanctuary writing of Per-
201 inscription ation of wer with
meaning Logogram for pr-wr substitutes for logogram
representing the
shape of the
its ordinary writing: (D III, archaic Per-wer
93,9). shrine.
Doc 72 D III, Crypto- Playful Visual
Base 93,6; pl. graphic writing emphasis on
201 inscription (rebus) Hathor as the
Nbw.t Golden One (f.) Golden One.
Logogram (composite sign) for
Nbw.t substitutes for the ordinary

writing of the epithet: (D III,

93,9).
Doc 72 D III, Crypto- Playful Writing the
Base 93,6; pl. graphic writing Dd.ti stative of Dd.ti
201 inscription (rebus) (stative) be enduring/stable, (be enduring)
permanent with the temple
logogram
emphasizes the
permanence of
The H.t-sign (O6) corresponds Dendera.
to the stative ending .ti in the

ordinary writing of Dd.ti: (D

III, 93,9).
Doc 72 D III, Crypto- Playful Emphasizes that
Base 93,6; pl. graphic writing Xr containing Dendera
201 inscription (rebus) contains the
Golden One,
just as the
The H.t-sign (O6) substitutes horizon
for the ordinary writing of for contains the sun
Xr (D III, 93,9). The H.t-sign to disk.
write, "containing," helps equate the
temple with the horizon that contains
the sun disk.
Doc 72 D III, Crypto- Playful
Base 93,6; pl. graphic writing sxm.w

569
 201 inscription (rebus) (divine) powers; genies

Seated man with the sxm-scepter on

his head substitutes for the ordinary

writing of sxm: (S42), meaning

"power." This logogram is then
tripled in OK-style to form the plural,

which in ordinary writing is

(D III, 93,9).
Doc 72 D III, Crypto- Playful
Base 93,6; pl. graphic writing wr.w great (m.pl.)
201 inscription (rebus)
The seated figure of Thoth can
represent aA due to his very common
title of +Hwty aA aA, "Thoth the Twice
Great" (Fairman, BIFAO 43 (1945):
106). Therefore, Thoth can also
represent the synonym wr, "great,"
rendered here in the plural to agree
with the plural substantive, sxm.w,
"powers." By contrast, the ordinary

writing of wr.w is .
Doc 72 D III, Crypto- Playful
Base 93,6; pl. graphic writing mi like
201 inscription (rebus)
In accordance with the consonantal
principle (Fairman, BIFAO 43
(1945): 110), the sign of the seated

cat, miw, can lose its weak, final

consonant, thus substituting for the

phonogram mi in ordinary
writing (D III, 93,9).
Doc 72 D III, Crypto- Playful
Base 93,6; pl. graphic writing Ax.t horizon
201 inscription (rebus)
The more ambiguous
cryptographically substitutes for

in ordinary writing (D III,

93,9), both of which can mean either
"horizon" or "temple."
Doc 72 D III, Crypto- Playful
Base 93,6; pl. graphic writing Xr containing
201 inscription (rebus)
The H.t-sign substitutes for the

ordinary writing of Xr, (D III,

570
 93,9).

Doc 72 D III, Crypto- Playful

itn Aten (sun disk)
Base 93,6; pl. graphic writing
201 inscription (rebus)
The horizontally stretched logogram
of itn is the same as the ordinary
writing given in D III, 93,9. The
simple, more circular disk, (Y24),
with which it can be easily confused,
is ambiguous, serving as the
logogram or determinative for ra
(sun, or sun god Ra) or hrw (day).
More commonly, the word itn is
spelled out phonetically,

, employing the sun disk

as the determinative.
Doc 73 D III, Udjat Playful
E. Wall 94,16; pl. Offering; writing dbH.w parts
2nd Reg. 201 title and (rebus)
formula
Doc 73 D III, Udjat Playful
E. Wall 95,1; pl. Offering; writing nTr.w gods
2nd Reg. 201 speech of (rebus); Using variations on a multiple of one
Shu repetition sign to represent plurality, the falcon
of similar represents Horus of Edfu or Hathor
sign type of Dendera (as female falcon); the
ibis as Thoth; the benu-bird on the
mound of creation as the naos in
Dendera.
Doc 73 D III, Udjat Repetition
E. Wall 95,2-3; pl. Offering; of nb-sign
2nd Reg. 201 speech of (V30) nb(.t) p.t Hnw.t nTr.w nb.w nb(.t)
Hathor wDA.ty sHb(.t) mnD.ty
Also in lady of heaven, mistress of all the
Doc 31 gods, lady of the Udjat-eyes, She of
(84,2); the festively decorated eyes.
Doc 51
(86,4); Note that the nb-basket in sHb.t
Doc 73 should actually be the Hb-basket
(95,2-3);
(W3). Chassinat has the sign
Doc 74
marked "sic," but it is possible that
(97,13)
the scribe intentionally used the nb-
basket so that it would continue the
visual alliteration (in a form of
attraction), or perhaps the detail
would have been painted. However,

the last sign (N11\r3) should

actually be (Z25), so perhaps it

571
 was a scribal error. If can be the
deter. for mnD.ty: (N11\r3, instead of
Z25), it might allude to the crescent
moon; the moon is also considered
one of the udjat eyes. It is also
possible that the scribe was being
creative, substituting the crescent
sign for one arch of an eyebrow.
Doc 73 D III, Udjat Repetition Emphasis on
E. Wall 95,6-7; pl. Offering; of kA-sign Hathor's Ka
2nd Reg. 201 speech of holding an mk(=i) kA=s among the
Horus of object xnt kA.w divine Kas.
Edfu I protect her Ka
among the
(divine) kas.

Doc 74 D III, No title Attraction Emphasizes the

W. Wall 97,13-14; (udjat to arm act of offering
2nd Reg. pl. 202 offering); holding Hnk=i wDA.t n mw.t=f wsr.t the udjat.
speech of nw-jar I offer the Udjat-Eye to his mother
Also in Ihy (D39) the Powerful One (f.)
Doc 29
(58,11, The sign of the forearm with the
wine); hand holding a bowl (D39)
Doc 52 functions as the ideogram for the
(71,3, verb Hnk (to offer). In Ptolemaic, the
cloth) same sign can also be the ideogram
for the substantive mw.t (mother).
Employing the same sign in two
different words thus creates visual
alliteration.

The following line (D III, 97,15)

makes a further subtle allusion to
"mother" (thereby referring back to
the statement just given by Ihy), in
which the text describes Thoth as
sHtp nTr.w m mdw=f (he who
appeases the gods with his words),
with preposition m now represented

by the vulture sign (G14), the

traditional ideogram for mw.t
(serving as the m by means of
acrophonytaking the initial
consonant from the word represented
by the sign). Even though the sign
now represents the preposition m, its
original meaning of mw.t remains in
the background, thus subtly alluding
to Hathor's role as the mother of Ihy.

572
Doc 74 D III, No title Playful Playful writing
W. Wall 97,17; pl. (udjat writing nb.ty.t-rxy.t emphasizes
2nd Reg 202 offering); (rebus) Lady of the Rekhyt Hathor's role as
speech of Lady of the
Also in Hathor This epithet, prinicpally belonging to Rekhyt which
Doc 25 Isis, emphasizes her role as the queen she takes over
(60,5); who guarantees the passage of royal from Isis on
Doc 45 power from the father Osiris to his west walls of
(76,11) son Horus. At Dendera, Hathor the temple.
carries this title on the proper left
(i.e. west) walls of the temple, where
she takes role of Isis (e.g. D III,38,2;
38,14; 76,11; 97,17, 156,2; 190,4;
and here, on the west side of the
bandeau of the base). The epithet is
formed by signs of the Nb.ty, the two
tutelary goddesses of Upper and
Lower Egypt, and the rxy.t-bird,
which stands for humans. The nb.ty
element is made feminine by means
of the t-loaf- and egg-signs at the end
of the word.
Doc 75 none No title
E. Wall D III,
1st Reg 93,15
94,4; pl.
201
Doc 76 D III, Offering Repetition Emphasis on
W. Wall 97,1; pl. unguent of sign- the god Ihy as a
1st Reg. 202 and cloth; type (child child.
Ihy-nwn xnt H.t-IHy
speech of and Ihy
Ihy-nun in the Temple of Ihy
Ihy playing
sistrum)
Note that in the original relief, the
form of Ihy shaking the sistrum does
not wear a kilt and thus represents a
child.
Doc 76 D III, Offering Playful The imagery of
W. Wall 97,3; pl. unguent writing (Aa23L) ^smw, "Shesmu," Shesmu's
1st Reg. 202 and cloth (rebus) god of the laboratory who prepares occupation (god
myrrh for the unguent offering. of the
Also in laboratory)
Doc 53 stands for his
(82,15) name, calling
attention to the
god
Doc 77 D III, Frieze on Crypto-
N., S., E., 96,10-15; all walls of graphic
W. Walls pl. 201- S. Niche inscription
202 with many
examples @H n Hb m-xnt H.t-sSS.t
playful @.t-Hr wr.t nb.t Iwn.t Ir.t-Ra
writing An infinity of festivals in the Temple
(rebus) of the Sistrum, Hathor the Great,
Mistress of Dendera, Eye of Ra.

573
 Written in ordinary writing in
columns on either side of frieze on
east and west walls. See below for
individual phrases
Doc 77 D III, Frieze on Playful Emphasizes the
N., S., E., 96,10 and all walls of writing multitude of
W. Walls 15; pl. S. Niche (rebus) festivals that
201-202 take place at
Dendera
@H n Hb.w
infinity of festivals

The god Heh, similar to

(C78A), is depicted
graphically. The word Hb

(O23D) appears on either side

of the sun disk upon his head and in
the basket on which he crouches
(with a painted, rather than engraved,
diamond-shape lozenge). These
images create three instances of the
word Hb, to give the plurality, Hb.w.
The preposition, n, in the phrase, HH
n Hb.w, is denoted by the red crown

(S3) (n < n.t, "Red Crown," by

consonantal principle) on the head of

the vulture (S3&G14), at the

right of Heh.
Doc 77 D III, Frieze on Playful The use of the
N., S., E., 96,10 and all walls of writing red crown (for
W. Walls 15; pl. S. Niche (rebus) the previous
201-202 preposition n)
and the vulture
m-xnt in (for the prep. n)
alludes to
Hathor as the
The vulture, (G14) carries the mother of the
value m (derived from mw.t, king.
"mother," by the consonantal
principle). Standing on the xnt-sign,
it visually renders the compound
preposition, m-xnt.

574
Doc 77 D III, Frieze on Playful Hathor's temple
N., S., E., 96,10 and all walls of writing is visually
W. Walls 15; pl. S. Niche (rebus) represented by
201-202 the sistrum and
the sign for
"temple" in its
H.t-sSS.t base.
the Temple of the Sistrum

The logogram (O6\) at the

base of the sistrum represents H.t,
"temple." The Hathor head and naos
at the top of the sistrum represent
sSS.t, "sistrum"
Doc 77 D III, Frieze on Reversal Allows Hathor's
N., S., E., 96,10; pl. all walls of image to look
W. Walls 201-202 S. Niche outward from
the center of the
Also in S. Niche.
Doc 24 @.t-Hr Hathor
(59,11);
Doc 25 As the central, symmetrical element
(60,5); of the frieze of the S. Niche, Hathor's
Doc 26 two representations, each facing
(61,4); outward from the center of the south
Doc 77 wall, occur in reversal to the rest of
(96,10); the cryptographica inscription,
Isis: Doc allowing her image to look outward
27 (62,3); from the center of the most sacred
Also in part of the sanctuary.
Doc 71
(92,12)

Doc 77 D III, Frieze on Playful Playful writing

N., S., E., 96,10; pl. all walls of writing calls attention
W. Walls 201-202 S. Niche (rebus) to the epithet
"Hathor the
Also in Great."
Doc 24
(59,11); @.t-Hr. wr.t
Doc 25 Hathor the Great
(60,5);
Doc 26 Writing of wr.t by rebus with the
(61,4) image of the hippotamus goddess
Taweret (losing the semantic value
but keeping phonetic value; dropping
the f.s. article tA).
Doc 77 D III, Frieze on Playful Composite of
N., S., E., 96,10; pl. all walls of writing Hathor's cobra
W. Walls 201-202 S. Niche (rebus) and cow
manifestations
Also in calls attention
Doc 24 nb.t Iwn.t Lady of Iunet to her epithet,
(59,11); "Lady of
Doc 25 Dendera."
(60,5); The sign of the cow (E 92)

575
 Doc 26 carries the value of nb or nb(.t); the
(61,4);
Doc 70, uraeus (I64) is one of the forms
92,7) of Hathor dwelling in Iunet
(=Dendera). A composite sign made
from parts of both signs can thus
carry both values, forming nb.t Iwn.t.
This cow-headed snake thus alludes
to Hathor's bovine and orphidian
manifestations.
Doc 77 D III, Frieze on Playful Playful writing
N., S., E., 96,10; pl. all walls of writing calls attention
W. Walls 201-202 S. Niche (rebus) to Hathor's
frequent epithet,
Also in Ir.t-Ra.
Doc 26 Ir.t-Ra Eye of Ra
(61,4);
Doc 70 The sun god Ra (C2B) holds the
(92,7); Divine Eye (Ir.t) (D10), to form the
Doc 77 composite ideogram, Ir.t-Ra.
(96,10)

Doc 77 D III, Frieze on Playful Emphasizes

N., S., E., 96,10; pl. all walls of writing Hathor's epithet
W. Walls 201-202 S. Niche (rebus) Ir.t-Ra Eye of Ra of Ir.t-Ra.

The sun god Ra (C2B) holds the

Divine Eye (Ir.t) (D10), to form the
composite ideogram, Ir.t-Ra.
Doc 78 D III, Offering Repetition Emphasizes
S. Wall 95,17; pl. Ma'at of child Hathor's role as
E. Side 202 sign in sA.t %fy sDty.t the young
2nd Reg. two the daughter of the Child, the young woman who is
different woman the daughter of
words (%fy the Child.
and sDty.t)

576
Doc 78 D III, Offering Symmetry Symmetry of
S. Wall 96,6; pl. Ma'at. with two Dd mdw rpy.t wr.t cryptographic
E. Side 202 Crypto- or more nfr.t xnt Iwn.t inscription has
2nd Reg. graphic words; Sps.t nTry.t nb.t double signs,
inscription; playful or pr-Nbw.t Hwn.t allowing it to
Divine cryptic sxm.w nb.w itr.ty refer to the
Randzeile; signs; Xnm xnt IA.t-di scenes on either
reads two represent- Words to say: the side of the
different ation of great column. Hathor
ways: meaning noblewoman, is referenced on
depending beautiful one (f.) the east side;
on scene to Count as in Iunet, noble Isis on the west,
which it 11 and divine lady, as usual.
refers. examples lady of the The union of
of Sanctuary of the the two aspects
ideograms Golden One (f.), of the goddess,
(rebus or the feline (or Hathor-Isis, are
visual "young girl"), the thus united by
puns) for powers and the the column of
statistics. lords of the Two text, which
Sanctuaries are itself states that
united in Iatdi. the powers of
The text employs ideograms mostly the lords of the
known from the texts in the Per-wer. Two
Signs not encountered so far are the Sanctuaries are
ideogram of a standing Thoth for united in Iatdi,
wr(.t), the standing Ptah(?)-figures the place of
for nTry.t and the sxm-scepter flanked birth (at
by two symmetrically seated gods Dendera) of
holding wAs-scepters, carrying sxm- Isis.
scepters on their heads. The writing
of Iunet, with two faces on either side
of a disk (the city-sign when written
fully, though its ambiguity may
allude to Hathor's solar aspect), is
found in other texts in the Per-wer.

Two different signs, functioning as

logograms for rpy.t (noblewoman),
refer to scenes on either side of the
column of cryptographic text: the
sign for Isis on the viewer's left refers
to the east scene; that of Hathor on
the right, to the west scene.
Doc 79 D III, Offering Playful Playful writing
S. Wall 98,8; pl. Ma'at writing pA-Xrd the child draws attention
W. Side 202 to the epithet
2nd Reg. Complete phrase: and emphasizes
Also in @r-%mA-tA.wy pA Xrd sA @.t-Hr Harsomtus as a
Doc 55 Harsomtus the Child, son of Hathor child (of
(79,3); Hathor)
Doc 43
(82,1); Stool of reed matting (Q3) is
Doc 66 arranged so that the child appears to
(88,2); be seated on it.

577
 Doc 79
(98,8)
Doc 79 D III, 96; Offering Symmetry Symmetry of
S. Wall pl. 202 Ma'at. with two Dd mdw rpy.t wr.t cryptographic
W. Side Crypto- or more nfr.t xnt Iwn.t Sps.t inscription has
2nd Reg. graphic words; nTry.t nb.t pr-Nbw.t double signs,
inscription; playful or Hwn.t sxm.w nb.w allowing it to
Divine cryptic itr.ty Xnm xnt IA.t- refer to the
Randzeile; signs; di scenes on either
reads two represent- Words to say: the side of the
different ation of great lady, column. Hathor
ways, meaning beautiful one (f.) in is referenced on
depending Iunet, noble and the east side;
on scene to Count as divine lady, lady of Isis on the west,
which it 11 the Sanctuary of as usual.
refers. examples the Golden One The union of
of (f.), the feline (or the two aspects
ideograms "young girl"), the of the goddess,
(rebus or powers and the Hathor-Isis, are
visual lords of the Two thus united by
puns) for Sanctuaries are the column of
statistics. united in Iatdi. text, which
itself states that
the powers of
It uses ideograms mostly known the lords of the
from the texts in the Per-wer. Signs Two
not encountered so far are the Sanctuaries are
ideogram of a standing Thoth for united in Iatdi,
wr(.t), the standing Ptah(?)-figures the place of
for nTry.t and the sxm-scepter flanked birth (at
by two symmetrically seated gods Dendera) of
holding wAs-scepters, carrying sxm- Isis.
scepters on their heads. The writing
of Iunet, with two faces on either side
of a disk (the city-sign when written
fully, though its ambiguity may
allude to Hathor's solar aspect), is
found in other texts in the Per-wer.

Two different signs, functioning as

logograms for rpy.t (noblewoman),
refer to scenes on either side of the
column of cryptographic text: the
sign for Isis on the viewer's left refers
to the east scene; that of Hathor on
the right, to the west scene.

578
Doc 80 D III, No title Sym- Emphasis on
S. Wall 94,8; pl. (protection) metrical protection of
1st Reg. 202 Central arrange- Hathor's ka,
Scene of S. ment of increased by the
Niche two or spelling of mk.t
more (protection)
words; with the kA-sign.
attraction
with kA-
arms in
last word,
mk.t

mk=i kA=t m mk.t nb(.t)

I protect your ka with all protection

The word mk.t (protection) can be

spelled with the kA-arms and arm (E
VI, 84,5) sign, but it is not common
at Dendera. I believe that the
spelling here is due to attraction with
the previous word, kA.

579