The Ancient Egyptian Book of the Dead

«He says: Hail to you, you having come as Khepri, even Khepri who is the creator of the gods. You rise and shine on the back of your mother (the sky), having appeared in glory as King of the gods.» — el himno introductorio a Re saluda al sol naciente bajo la forma de Khepri, y lo llama creador de los dioses; el paréntesis the sky es restitución de Faulkner para aclarar de quién es la espalda materna.

«Your mother Nut shall use her arms on your behalf in making greeting. The Manumountain receives you in peace, Maat embraces you at all seasons.» — el himno reparte el recibimiento del sol entre Nut, la montaña de Manu y Maat.

«May you give power and might in vindication — and a coming forth as a living soul to see Horakhty — the ka of N.» — la petición del himno a Re: poder, fuerza en la vindicación y salir como alma viva a ver a Horakhty, todo para el ka del difunto.

«O all you gods of the Soul-mansion who judge sky and earth in the balance, who give food and provisions; O Tatenen, Unique One, creator of mankind; O Southern, Northern, Western and Eastern Enneads, give praise to Re, Lord of the Sky, the Sovereign who made the gods.» — el himno convoca a los dioses que juzgan cielo y tierra en la balanza, a Tatenen como creador de la humanidad y a las cuatro Enéadas de los puntos cardinales.

«your serpent-foe has been given over to the fire and the rebel-serpent is fallen, his arms are bound, Re has taken away his movements, and the Children of Impotence are nonexistent.» — el himno declara derrotada a la serpiente rebelde, quemada y maniatada, y a los Hijos de la Impotencia como inexistentes.

«The Mansion of the Prince is in festival, the noise of shouting is in the Great Place, the gods are in joy, when they see Re in his appearing, his rays flooding the lands.» — el himno describe la fiesta que la aparición de Re provoca en la Mansión del Príncipe y entre los dioses.

«May you be gracious to me when I see your beauty, having departed from upon earth. May I smite the Ass, may I drive off the rebel-serpent, may I destroy Apep when he acts,» — el difunto pide al sol benevolencia y capacidad de herir al Asno y destruir a Apep, la serpiente enemiga.

«I have seen Horus as helmsman, with Thoth and Maat beside him, I have taken hold of the bow-warp of the Night-bark and the stern-warp of the Day-bark.» — el difunto declara haber visto a Horus como timonel con Thoth y Maat, y haber tomado los cabos de la barca de la noche y la del día.

«May he grant that I see the sun-disc and behold the moon unceasingly every day; may my soul go forth to travel to every place which it desires;» — la petición central del himno: ver el disco solar y la luna sin cesar y que el alma salga a viajar a donde quiera.

«may my name be called out, may it be found at the board of offerings; may there be given to me loaves in the Presence like the Followers of Horus, may a place be made for me in the solar bark on the day when the god ferries across, and may I be received into the presence of Osiris in the Land of Vindication.» — el difunto pide que su nombre se pronuncie en la mesa de ofrendas, un sitio en la barca solar y ser recibido ante Osiris.

«WORSHIP of Osiris Wennefer, the Great God who dwells in the Thinite nome, King of Eternity, Lord of Everlasting, who passes millions of years in his lifetime first-born son of Nut, begotten of Geb, Heir, Lord of the Wereret-crown, whase White Crowmis tall, Sovereign of gods and men.» — apertura del himno introductorio a Osiris, que lo nombra Wennefer, Rey de la Eternidad y Señor del Sempiterno, y lo filia como primogénito de Nut y engendrado de Geb; el troceo imprime whase White Crowmis tall donde el libro pone whose White Crown is tall.

«May your heart which is in the desert land be glad, for your son Horus is firm on your throne, while you have appeared as Lord of Busiris, as the Ruler who is in Abydos.» — el himno consuela a Osiris con el trono ocupado por su hijo Horus, y lo declara Señor de Busiris y Gobernante en Abidos.

«All that exists is ushered in to him in his name of ‘Face to whom men are ushered’; the Two Lands are marshalled for him as leader in this his name of Sokar; his might is far-reaching, one greatly feared in this his name of Osiris; he passes over the length of eternity in his name of Wennefer.» — el himno encadena cuatro nombres de Osiris y lo que cada uno significa, de Sokar a Wennefer, como serie de etimologías rituales.

«Hail to you, King of Kings, Lord of Lords, Ruler of Rulers, who took possession of the Two Lands even in the womb of Nut; he rules the plains of the Silent Land, even he the golden of body, blue of head, on whose arms is turquoise.» — el himno describe a Osiris gobernando las llanuras de la Tierra del Silencio, de cuerpo de oro, cabeza azul y turquesa en los brazos.

«May you grant power in the sky, might on earth and vindication in the realm of the dead, a journeying downstream to Busiris as a living soul and a journeying upstream to Abydos as a heron; to go in and out without hindrance at all the gates of the Netherworld.» — la petición del himno a Osiris: poder en el cielo, fuerza en la tierra, vindicación en el reino de los muertos y paso libre por todas las puertas del Inframundo.

«May there be given to me bread from the House of Cool Water and a table of offerings from Heliopolis, my toes being firm-planted in the Field of Rushes. May the barley and emmer which are in it belong to the ka of the Osiris N.» — cierre del himno a Osiris: pan, mesa de ofrendas heliopolitana y los pies firmes en el Campo de Juncos para el ka del Osiris N.

«THE HEART OF THE DEAD MAN IS WEIGHED IN THE SCALES OF THE BALANCE AGAINST THE FEATHER OF RIGHTEOUSNESS» — rótulo en versalitas del Juicio de los Muertos: el corazón se pesa contra la pluma de la rectitud.

«O my heart which I had from my mother! O my heart which I had from my mother! O my heart of my different ages! Do not stand up as a witness against me, do not be opposed to me in the tribunal, do not be hostile to me in the presence of the Keeper of the Balance, for you are my ka which was in my body, the protector who made my members hale.» — el conjuro del corazón le pide al propio corazón que no testifique contra su dueño ante el Guardián de la Balanza, y lo identifica con el ka que estuvo en el cuerpo.

«Go forth to the happy place whereto we speed; do not make my name stink to the Entourage who make men.» — continuación del mismo conjuro: el corazón no debe hacer que el nombre del difunto apeste ante el Séquito.

«I have judged the heart of the deceased, and oul stands as a witness for him. His deeds are righteous in the great balance, and no sin has been found in him.» — veredicto de Thoth en el Juicio: el corazón ha sido juzgado, el alma testifica a favor y no se halló pecado.

«He did not diminish the offerings in the temples, he did not destroy what had been made, he did not go about with deceitful speech while he was on earth.» — los tres méritos que Thoth enumera son de culto y de trato: no mermar las ofrendas, no destruir lo hecho, no andar con habla engañosa.

«Thus says the Great Ennead to Thoth who is in Hermopolis: This utterance of yours is true. The vindicated Osiris N 1s straightforward, he has no sin, there is no accusation against him before us, Ammit shall not be permitted to have power over him. Let there be given to him the offerings which are issued in the presence of Osiris, and may a grant of land be established in the Field of Offerings as for the Followers of Horus.» — la Gran Enéada ratifica el dictamen de Thoth, niega a Ammit poder sobre el difunto y le concede ofrendas y tierra en el Campo de las Ofrendas.

«Thus says Horus son of Isis: I have come to you, O Wennefer, and I bring N to you. His heart is true, having gone forth from the balance, and he has not sinned» — Horus presenta al difunto ante Wennefer con el corazón salido de la balanza, y pide pan y cerveza ante Osiris.

«Thus says N: Here I am in your presence, O Lord of the West. There is no wrong-doing in my body, I have not wittingly told lies, there has been no second fault. Grant that I may be like the favoured ones who are in your suite, O Osiris, one greatly favoured by the good god, one loved of the Lord of the Two Lands, N, vindicated before Osiris.» — la declaración del propio difunto cierra la escena: sin mal en el cuerpo, sin mentira consciente y sin segunda falta.

«What should be said when arriving at this Hall of Justice, purging N of all the evil which he has done, and beholding the faces of the gods» — rúbrica de entrada del Spell 125: qué debe decirse al llegar a la Sala de la Justicia, purgado el difunto de todo mal.

«Hail to you, great god, Lord of Justice! I have come to you, my lord, that you may bring me so that I may see your beauty, for I know you and I know your name, and I know the names of the forty-two gods of those who are with you in this Hall of Justice, who live on those who cherish evil and who gulp down their blood on that day of the reckoning of characters in the presence of» — el difunto se presenta ante el Señor de la Justicia declarando saber su nombre y los de los cuarenta y dos dioses que viven de quienes aman el mal.

«Behold, I have come to you, I have brought you truth, I have repelled falsehood for you. I have not done falsehood against men, I have not impoverished my associates, I have done no wrong in the Place of Truth, I have not learnt that which is not, I have done no evil,» — arranque de la declaración de inocencia: traer la verdad, repeler la falsedad, y negar el daño a los hombres y a los allegados.

«I have not daily made labour in excess of what was due to be done for me, my name has not reached the offices of those who control slaves, I have not deprived the orphan of his property, I have not done what the gods detest, I have not calumniated a servant to his master, I have not caused pain, I .have not made hungry, I have not made to weep, I have not killed, I have not commanded to kill, I have not made suffering» — la serie de negaciones toca el trabajo excesivo, el control de esclavos, el huérfano despojado, la calumnia del siervo ante su amo y el hambre, el llanto y la muerte.

«for anyone, I have not lessened the food-offerings in the temples, I have not destroyed the loaves of the gods, | have not taken away the food of the spirits, I have not copulated, I have not misbehaved, I have not lessened food-supplies, I have not diminished the aroura» — la declaración de inocencia sigue por las ofrendas del templo, el alimento de los espíritus, la conducta sexual y la medida de la tierra; el verbatim arranca a media frase porque el troceo parte el renglón entre planas.

«I have not laid anything upon the weights of the hand-balance, I have not taken anything from the plummet of the standing scales,» — dos negaciones sobre el fraude en las pesas: nada añadido a la balanza de mano ni quitado a la plomada de la báscula.

«I have not taken the milk from the mouths of children, I have not deprived the herds of their pastures, I have not trapped the birds from the preserves of the gods, I have not caught the fish of their marshlands,» — la serie pasa al daño contra los seres vivos y contra los cotos divinos: leche de los niños, pastos de los rebaños, aves y peces de las reservas de los dioses.

«I have not diverted water at its season, I have not built a dam on flowing water, I have not quenched the fire when it is burning, I have not neglected the dates for offering choice meats, I have not withheld cattle from the god’s-offerings, I have not opposed a god in his procession.» — cierre de la serie con las faltas hidráulicas y de calendario: desviar el agua en su estación, represar la corriente, apagar el fuego, descuidar las fechas de ofrenda y estorbar la procesión de un dios.

«am pure, pure, pure, pure! My purity is the purity of that great phoenix which is in Heracleopolis, because | am indeed the nose of the Lord of Wind who made all men live on that day of completing the Sacred Eye in Heliopolis in the 2nd month of winter last day, in the presence of the lord of this land.» — la fórmula de pureza cuádruple se iguala a la del fénix de Heracleópolis y se fecha en el día en que se completó el Ojo Sagrado en Heliópolis.

«I am he who saw the completion of the Sacred Eye in Heliopolis, and nothing evil shall come into being against me in this land in this Hall of Justice, because I know the names of these gods who are in it.» — el conjuro cifra la seguridad del difunto en un saber: nada malo podrá contra él porque conoce los nombres de los dioses de la Sala.

«THE DECLARATION OF INNOCENCE BEFORE THE GODS OF THE TRIBUNAL» — rótulo de la segunda parte del Spell 125, la letanía ante los cuarenta y dos dioses del tribunal.

«O Far-strider who came forth from Heliopolis, I have done no falsehood.» — primer par de la letanía: cada dios se nombra por su epíteto y su ciudad de origen, y a cada uno se le niega un pecado distinto.

«O Swallower of shades who came forth from the cavern, I have not stolen. O Dangerous One who came forth from Rosetjau, I have not killed men.» — dos pares seguidos de la letanía, el del Devorador de sombras y el del Peligroso de Rosetjau, con el robo y el homicidio.

«O Flame which came forth backwards, I have not stolen the god’s-offerings.» — par de la letanía sobre el hurto de las ofrendas divinas.

«O Blood-eater who came forth from the shambles, I have not killed a sacred bull. O Eater of entrails who came forth from the House of Thirty, I have not committed perjury.» — dos pares de la letanía con faltas de culto y de tribunal: matar un toro sagrado y jurar en falso.

«O Doubly evil who came forth from Andjet, I have not disputed except as concerned my own property.» — par de la letanía que admite el pleito cuando es sobre bienes propios: la negación lleva su excepción dentro.

«Front cover Scene showing the Opening of the Mouth ceremony carried out on the mummy of Hunefer. See Spell 23. 9901/5» — pie de la cubierta, voz del editor del volumen, que remite la escena de la Apertura de la Boca sobre la momia de Hunefer al Spell 23 y da el número de registro del papiro en el British Museum.

«Half-title page Ani and his wife adore Thoth, the god of wisdom and learning. See Spell 175. 10470/29» — pie de la anteportada; el editor identifica a Thoth como dios de la sabiduría y del saber y remite al Spell 175.

«Title page The hippopotamus-goddess Opet, wearing horns and a disc, and the cow-goddess of the West, Hathor. See Spell 186. 10470/37» — pie de la portada; el editor nombra a Opet con cuernos y disco y a Hathor como vaca del Occidente, y remite al Spell 186.

«His translations of the Pyramid Texts appeared in 1969 and of the Coffin Texts between 1973 and 1978» — T. G. H. James data las otras dos traducciones de Faulkner al fijar su autoridad sobre los estratos de textos funerarios.

«He was in the meanwhile invited to prepare a translation of the Book of the Dead for the Limited Editions Club of New York to accompany a splendid coloured photographic facsimile of a large part of the Papyrus of Ani, one of the finest illustrated texts of the Book of the Dead in the British Museum.» — James traza el origen del encargo: el Limited Editions Club de Nueva York pidió la traducción para acompañar un facsímil fotográfico en color del Papiro de Ani.

«The sumptuous publication of 1972 has since been acknowledged as containing the most reliable translation of this fascinating, but perplexing, compilation of spells, prayers and incantations.» — James califica la publicación de 1972 y describe el Libro de los Muertos como compilación de conjuros, plegarias e invocaciones, a la vez fascinante y desconcertante.

«Dr Faulkner explained in his Foreword that the great majority of spells making up the ancient compilation were represented in his translation. He omitted a few spells at the request of his original publisher because» — James declara los criterios de omisión del propio Faulkner: conjuros duplicados y tramos demasiado corruptos u oscuros para dar traducción inteligible; el tramo se recortó antes del pie de viñeta que el troceo intercala a media frase.

«Of those omitted by Faulkner because they were composed at a far later date than the painted papyri of the Theban Recension on which his version was based, the whole of Spell 162, and the titles and rubrics of Spells 163 to 165 have been newly translated for the present edition, and are illustrated by interesting vignettes from Late Period papyri.» — James consigna la aportación de la edición de 1985: el Spell 162 entero y los títulos y rúbricas de los Spells 163 a 165 se tradujeron de nuevo, con viñetas de papiros de Época Baja.

«As in Faulkner’s original edition, four texts, two of them quite short, have been left out because, as he rightly said, ‘they lack interest except to the professional scholar» — James mantiene cuatro textos fuera y respalda la razón de Faulkner; el entrecomillado interno es cita de Faulkner dentro del Foreword de James.

«Faulkner also pointed out ‘that a few spells were numbered twice over by the scholars of the nineteenth century, and in such cases the texts in question have been allotted here the numbers by which they are generally known.» — Faulkner, citado por James, advierte que la erudición del siglo XIX numeró dos veces algunos conjuros y que la edición usa el número por el que cada uno se conoce.

«The one exception is Spell 78; here, by permission of the Egypt Exploration Society, I have used, with only very minor modifications, the admirable translation published by the late Professor A. de Buck in the Journal of Egyp» — Faulkner, en su propio Foreword citado en bloque, declara el único conjuro que no tradujo él y le adjudica el crédito a A. de Buck; el tramo corta antes del número de volumen, que el troceo imprime aparte.

«It is, of course, clear that in a publication such as the present, which is addressed to the educated layman and not to the professional scholar, the textual and philological commentaries which normally would accompany translations such as these, so as to justify the renderings, would be entirely out of place.» — Faulkner declara el destinatario del libro, el lector culto y no el especialista, y de ahí deriva la ausencia de aparato textual y filológico.

«Likewise at the publisher’s request, the bracketed query-mark has been omitted after words and sentences where there is possible doubt as to the meaning.» — Faulkner explica que se suprimió el signo de interrogación entre corchetes donde el sentido es dudoso, a petición del editor: convención tipográfica que el lector no ve y que cambia lo que la traducción parece afirmar.

«Passages printed in italic type represent the use of red ink on the original papyrus; three dots (...) signify that words have been lost or omitted or are untranslatable» — Faulkner fija dos convenciones del impreso que sí entran en las citas: la cursiva vale por la tinta roja del papiro original y los tres puntos señalan palabra perdida, omitida o intraducible.

«She has translated those spells and parts of spells omitted by Faulkner, which are mentioned above, and she has also made a few other small emendations based on alternative versions and the findings of recent scholarship. In addition, she has selected the illustrations used here, which will give this edition particular interest.» — James enumera lo que aporta Andrews: los conjuros que Faulkner omitió, enmiendas menores sobre versiones alternativas y hallazgos recientes, y la selección de ilustraciones.

«Miss Andrews has also revised and enlarged the Glossary, and provided a new introduction to the translation, including information on the various important papyri in the British Museum, and other details of history and textual development which were not appropriate for the original publication.» — James consigna que el glosario y la introducción de este volumen son de Andrews, con datos de historia y de desarrollo textual que la edición de 1972 no llevaba.

«December 1984 T. G. H. James Keeper of Egyptian Antiquities» — firma y fecha del Foreword; quien lo suscribe no es ni el traductor ni la editora sino el conservador de Antigüedades Egipcias del British Museum.

«The illustrations to this edition are taken from the British Museum papyri listed below. The numbers in the captions refer, in oh case, to the British Museum registration number, followed by the number of the sheet on which. the particular vignette is found.» — nota editorial que explica la clave de los pies de figura: número de registro del British Museum más número de hoja del papiro; el OCR imprime oh donde el impreso pone each.

«BM10470 Hieroglyphic funerary papyrus of the Royal Scribe, Accounting Scribe for Divine Offerings of all the gods, Overseer of the Granaries of the Lords of Tawer, Ani. Nineteenth Dynasty, c.1250» — la lista de fuentes describe el papiro de Ani, el más citado del volumen, con sus cargos de escriba real y contable de las ofrendas divinas.

«BM10477 Hieroglyphic funerary papyrus of the Steward of the Chief Treasurer, Nu son of the Steward of the Chief Treasurer, Amenhotep and the Lady Sensenb. Eighteenth Dynasty, c.1400» — entrada del papiro de Nu, fechado en la Dinastía XVIII, con la filiación que el impreso da para su dueño.

«BM10098 Hieratic funerary papyrus in which the space left for the owner’s name has been filled with the word ‘so-and-so’ written in demotic. Memphis (?). Ptolemaic Period, 1st-2nd Centuries» — entrada del papiro sin comprador, con el hueco del nombre rellenado en demótico con la fórmula fulano de tal.

«translation for the present publication has been kilfully carried out by Miss Carol A. R. Andrews, Research Assistant in the Department of Egyptian Anti» — James adjudica el trabajo editorial a Carol A. R. Andrews, Research Assistant del Departamento de Antigüedades Egipcias; el verbatim arranca después de la palabra que el OCR imprime como guillemet, y el impreso dice skilfully donde el troceo deja kilfully.

«Some of the texts and vignettes are also found on the walls of tombs and on coffins or written on linen or vellum rather than on papyrus.» — Andrews abre la introducción ampliando el soporte: los mismos textos y viñetas aparecen en muros de tumba, en sarcófagos y sobre lino o vitela, no solo en papiro.

«The very rare examples of Books of the Dead written on leather (for example Bm10281) were probably master copies, used by scribes who were commissioned to reproduce their contents.» — Andrews propone que los raros ejemplares sobre cuero fueran copias maestras de taller para escribas que reproducían el texto por encargo.

«These chapters formed a repertoire from which selection was made. If the prospective owner of a Book of the Dead was wealthy and his death not untimely he would commission an expert scribe to write the text for him and it would consist of his own personal choice of chapters.» — Andrews describe el libro como repertorio del que se selecciona: el comprador rico encargaba a un escriba experto su propia selección de capítulos.

«Others, less fortunate, had to make do with a ready written text in which spaces had been left for the insertion of the name and titles of the buyer.» — Andrews consigna el otro extremo del mercado: texto ya escrito con huecos reservados para el nombre y los títulos del comprador.

«the scribe has written on each occasion in demotic, the script in current use for everyday documents, the word men meaning ‘so-and-so’. Presumably the papyrus had never been bought.» — Andrews lee el papiro BM10098 como mercancía no vendida: el escriba escribió fulano de tal en demótico donde iría el nombre.

«Some of the spells in the Book of the Dead originated in the Pyramid Texts which first appeared carved in hieroglyphs on the walls of the burial chamber and anteroom of the pyramid of King Wenis, last ruler of the Fifth Dynasty, about 2345» — Andrews traza la ascendencia de parte de los conjuros hasta los Textos de las Pirámides tallados en la pirámide de Wenis, último rey de la Dinastía V; el troceo imprime sc por BC.

«One Pyramid Text (Spell 662) tells the dead king to cast the sand from his face, a clear allusion to burial in the desert sand which was especially common during the Predynastic Period, before 3100» — Andrews deriva de un detalle del conjuro 662, la arena que el rey se sacude del rostro, una alusión al enterramiento en la arena del desierto anterior a la propia escritura del texto.

«Another utterance (Spell 355) says that bricks have been removed from the great tomb, a reference to mud-brick mastaba tombs of the type discarded by royalty since the early Third Dynasty, about 2680» — Andrews usa la mención de los ladrillos retirados de la gran tumba, en el conjuro 355, para fechar la materia antes de la Dinastía III.

«The Pyramid Texts also reflect a belief in an astral afterlife among the circumpolar stars which predates the ideas of the pyramid-builders who believed in a solar afterlife spent in the company of the sun-god.» — Andrews distingue dos ultratumbas superpuestas en los Textos de las Pirámides: la astral entre las estrellas circumpolares, más antigua, y la solar de los constructores de pirámides.

«The tone of the Pyramid Texts is often threatening: the king almost bullies the gods into allowing him to enter heaven. There is little evidence that he expected to become one of their number automatically.» — Andrews caracteriza el registro de los Textos de las Pirámides como amenazante: el rey casi fuerza a los dioses a dejarlo entrar al cielo y no da por automático hacerse uno de ellos.

«Spell 110 Anhai and her husband undertake various activities in the Field of Rushes including hacking up the earth, pulling flax, reaping grain, ploughing with two teams and paddling across the Lake of Offerings. Four members of the Great Ennead sit on an island, the Heron of Abundance and a god of the Underworld are adored and the bark of Wennefer is shown moored at the end of a» — pie de viñeta de Andrews sobre el Spell 110 en el papiro de Anhai, con las faenas del Campo de Juncos, la Enéada en una isla y la barca de Wennefer; el tramo corta donde el troceo parte el renglón.

«A new development in the Coffin Texts is that the sun-god is no longer supreme: Osiris is the king under whom the blessed dead hope to spend eternity, the god with whom the dead became assimilated as ‘the Osiris so» — Andrews fija el desplazamiento doctrinal de los Textos de los Sarcófagos: el dios solar deja de ser supremo y Osiris pasa a ser el rey bajo quien los muertos bienaventurados esperan la eternidad.

«This new importance of Osiris in the afterlife is best illustrated by his assumption of the role of judge of the dead.» — Andrews liga el ascenso de Osiris a su función de juez de los muertos.

«But the breakdown of order during the political troubles of the First Intermediate Period, which led to tomb-robbery and the desecration of cemeteries, shattered this belief. So, in an attempt to deter such wrong-doing, the idea was encouraged that judgement would be passed on the dead for the actions they had committed on earth.» — Andrews deriva el juicio de los muertos de una crisis social: el saqueo de tumbas del Primer Período Intermedio, y la idea del juicio como disuasión.

«Chapter 125 of the Book of the Dead is entirely devoted to the judgement of the dead and the various vignettes depicting the Weighing of the Heart, by which it was ascertained whether the deceased was worthy to enter the kingdom of Osiris, are among some of the best-known scenes from funerary papyri.» — Andrews identifica el Capítulo 125 como el dedicado por entero al juicio y el Pesaje del Corazón como la escena más conocida de los papiros funerarios.

«Another new concept appearing in the Coffin-Texts is a belief in an afterlife spent in the Field of Reeds where agricultural tasks would have to be carried out by the deceased for all eternity.» — Andrews introduce el Campo de Juncos como ultratumba de labor agrícola perpetua; el troceo imprime Coffin-Texts con guion.

«Hence the shabti-formula makes its first appearance, a spell to relieve the dead of all hard work in the afterlife by providing a magical substitute worker, a shabti figurine.» — Andrews explica el shabti como sustituto mágico del trabajador, y la fórmula como respuesta a esa labor eterna.

«Thus the chapters of the Book of the Dead papyri of the New Kingdom and later incorporate at least three quite separate traditions: there are traces of the earliest beliefs in an astral afterlife, spells in which the sun-god with his associated gods is supreme, and others in which Osiris is all-important.» — Andrews sostiene que el libro incorpora al menos tres tradiciones separadas, la astral, la solar y la osiríaca, sin resolverlas entre sí.