The Ancient Egyptian Pyramid Texts

«Recitation by Nut, the greatly beneficent: The King is my eldest son who §: split open my womb; he is my beloved, with whom I am well pleased.» — Utterance 1, la primera del volumen, en el grupo que Faulkner rotula *The sarcophagus texts*: habla la diosa Nut y declara al rey hijo mayor suyo, nacido de su vientre abierto; el *§:* dentro del verbatim es el parágrafo 1 de Sethe, impreso al margen y caído a media frase por el escaneo.

«Recitation by Géb: The King is my bodily son [. . .]» — Utterance 2: habla Géb y declara al rey hijo de su cuerpo; los corchetes con puntos son la laguna del original, según la convención de la p. 13.

«Recitation by Nit the great who dwells in the Lower Mansion:! The King 52 is my beloved son, my first-born? upon the throne of Géb, with whom he? is well pleased, and he has given to him his heritage in the presence of the Great Ennead.! All the gods are in joy, and they say: How goodly is the §3 King! His father Géb is pleased with him.» — Utterance 3, §§ 2 y 3: habla Nit, que dice al rey hijo amado y primogénito en el trono de Géb y le entrega su herencia ante la Gran Enéada, y los dioses celebran; las llamadas de nota de Faulkner van pegadas a la palabra por el escaneo y los *52* y *§3* son sus parágrafos marginales.

«Recitation by Nit: O King, I have given! to you your sister Isis, that she may lay hold of you and give to you your heart for your body.» — Utterance 4: Nit entrega al rey a su hermana Isis para que lo sostenga y le devuelva el corazón a su cuerpo.

«Recitation by Nit: O King, I have given to you your sister Nephthys, that she may lay hold of you and give to you your heart for your body.» — Utterance 5: la misma fórmula con Nephthys en lugar de Isis; el par de hermanas funciona en los dos casos como quien restituye el corazón al cuerpo.

«Recitation by Nit the Great Fruitful One:’ The King my son is my beloved; §4 I have given to him the two horizons? that he may have power in them as Harakhti. All the gods say: It is the truth that the King is your best-beloved among your children; watch over him eternally.» — Utterance 6, § 4: Nit entrega al rey los dos horizontes para que tenga poder en ellos como Harakhti, y los dioses declaran que es el más amado entre sus hijos.

«Recitation by Niit the great! who dwells in the Mansion of Snit:? The King is my son of my desire; I have given to him the Netherworld} that he may preside over it as Horus who presides over the Netherworld.. All the gods say: Your father Shu knows that you love the King more than your mother» — Utterance 7: Nit entrega al rey el Netherworld para que presida en él como Horus, y los dioses invocan a Shu como testigo; el tramo se corta en el renglón y sigue con *Tefénet*.

«Recitation by Nit: I enfold your beauty within this soul! of mine for all life, permanence, dominion and health for the King—may he live for ever!» — Utterance 11: Nit envuelve la belleza del rey dentro de su propia alma, y pide para él vida, permanencia, dominio y salud.

«I' give you your head, I fasten your head to the bones for you.» — Utterance 13, primera del bloque que Faulkner rotula *Restoration of the corpse and presentation of food and water*: el oficiante devuelve la cabeza al difunto y se la fija a los huesos.

«I give him his eyes, that he may be content—a htp-offering.» — Utterance 14: se devuelven los ojos al difunto y la fórmula se cierra nombrando la ofrenda concreta, una htp-offering; el volumen imprime así, con la ofrenda tras raya, toda la serie del ritual.

«Géb has given you your eyes, that you may be content [. . .]» — Utterance 15: la misma restitución de los ojos, ahora con Géb como agente; el libro imprime la fórmula tres veces palabra por palabra y se ancla aquí en la primera.

«O Thoth, put for him his head on him—water, a ds-jar.» — Utterance 17: se invoca a Thoth para que reponga la cabeza, y la fórmula se cierra con el objeto ritual, una jarra ds de agua.

«O King, I have come in search of you, for I am Horus; I have struck your § 1 mouth for you, for I am your beloved son; I have split open your mouth for you.! [I announce him to his mother when she laments him, I announce § 12 him to her who was joined to him. Your mouth is in good order(?), for I have adjusted your mouth] to your bones [for you]. Recite four times: O Osiris the King, I split open your mouth for you with the . . .' of the Eye of Horus —1 foreleg.» — Utterance 20, primera del *Ritual of Opening the Mouth*: quien recita se identifica con Horus, hijo amado, y abre la boca del rey muerto con el Ojo de Horus; los *§ 1* y *§ 12* son los parágrafos marginales caídos dentro de la frase, y los corchetes marcan lo restituido.

«(Your mouth is in good order(?), for I split open your mouth for you, I split open your eyes for you. O King, I open your mouth for you] with the adze of Wepwawet, [I split open your mouth for you]' with the adze of iron which spilt open the mouths of the gods. O Horus, open the mouth of this King! [O Horus, split open the mouth of this King! Horus has opened the mouth of this King, Horus has split open the mouth of this King] with that wherewith he split open the» — Utterance 21: la boca se abre con la azuela de Wepwawet y con la azuela de hierro que abrió la boca de los dioses, y luego Horus la abre con lo mismo con que abrió la de su padre; el paréntesis de apertura es la lectura que el escaneo da al corchete de restitución, y el tramo se corta antes del reclamo de plana.

«mouth of Osiris,! with the iron which issued from Seth, with the adze [of iron which split open the mouths of the gods. The King’s mouth is split open with it, and he goes and himself? speaks with the Great Ennead in the» — continuación de la Utterance 21 en la plana siguiente: el hierro de la azuela procede de Seth, y una vez abierta la boca el rey va y habla por sí mismo con la Gran Enéada.

«O King, the arm of your double is in front of you! O King, the arm of your double is behind you! O King, the foot of your double is in front of you! O King, the foot of your double is behind you !» — Utterance 25, la letanía del doble: el brazo y el pie del doble del rey van delante y detrás de él; el volumen imprime esta clase de texto en líneas cortas, que es como Faulkner distingue lo poético y las letanías de la prosa corrida.

«O Osiris the King, I give to you the Eye of Horus, that your face may be provided with it; the perfume’ of the Eye of Horus is diffused over you— incense and fire.» — cierre de la Utterance 25: se entrega el Ojo de Horus para proveer el rostro del rey y se difunde su perfume, y la fórmula termina nombrando la ofrenda material, incienso y fuego.

«O Horus who is? Osiris the King, take the Eye of Horus to yourself, even the Eye of Horus which he has diffused abroad by means of its perfume.» — Utterance 26: el rey es llamado a la vez Horus y Osiris, y recibe el Ojo de Horus difundido por su perfume; la llamada de nota queda pegada a *is* por el escaneo.

«O Osiris the King, take the Eye of Horus and provide yourself with its perfume.» — Utterance 27: misma entrega del Ojo, con el perfume como el modo en que el difunto se provee.

«O Osiris the King, Horus has given you his Eye; provide! your face with it.» — Utterance 28: Horus da su Ojo al rey para que se provea el rostro con él.

«O King, I have come and I bring to you the Eye of Horus. May you provide your face with it, that it may cleanse you, its perfume being on you. The perfume of the Eye of Horus is on this King, it removes your efflux and protects you from the sweat(?)» — Utterance 29: el Ojo de Horus limpia al rey, le retira el flujo y lo protege del sudor de la mano de Seth; el signo de interrogación entre paréntesis es de Faulkner y marca la lectura dudosa.

«O Osiris the King, Horus has filled you with his complete Eye.» — Utterance 31: Horus llena al rey con su Ojo completo.

«This cold water of yours, O Osiris, this cold water of yours, O King, has gone forth to your son, has gone forth to Horus. I have come and I bring to you the Eye of Horus, that your heart may be refreshed possessing it; I bring it to you under your sandals.» — Utterance 32: el agua fría del difunto sale hacia su hijo Horus, que trae el Ojo para refrescarle el corazón y se lo pone bajo las sandalias.

«Take the efflux which issued from you; your heart will not be inert, possessing it. Recite four times: Take what comes forth at the voice to you!—cold water and two pellets of natron.» — cierre de la Utterance 32: el rey toma el flujo que salió de él, con la rúbrica de recitar cuatro veces y la ofrenda material, agua fría y dos bolitas de natrón.

«Horus has caused the gods? to assemble for you at the place? where you have gone, Horus has caused the Children of Horus to muster for you at the place where you drowned.» — Utterance 33, § 24: Horus reúne a los dioses y hace formar a los Hijos de Horus en el lugar donde el rey se ahogó, que es como el texto nombra la muerte de Osiris.

«your natron that you may be divine, for Nit has caused you to be a god to your foe in your name of God; Har-renpi recognizes you, you being young in your name of Fresh Water.» — cierre de la Utterance 33, § 25: el natrón hace divino al rey, Nit lo vuelve dios frente a su enemigo y Har-renpi lo reconoce joven bajo el nombre de Agua Fresca; el mecanismo es el del nombre, no el de la sustancia sola.

«Zmin, zmin' which splits open your mouth!? O King, taste its taste in front §2 of them of the God’s Booth. What Horus spits out is zmin, what Seth spits out is zmin, what reconciles} the Two Gods is zmin. Recite four times: You are purified in the company of the Followers of Horus—Upper Egyptian natron of Nekheb, 5 pellets.» — Utterance 34: el zmin abre la boca del rey y es a la vez lo que escupen Horus y Seth y lo que reconcilia a los Dos Dioses; la fórmula cierra con la ofrenda, natrón del Alto Egipto de Nekheb, cinco bolitas.

«Your purification is the purification of Horus,! your purification is the puri- § 27 fication of Seth, your purification is the purification of Thoth, your purification is the purification of Dwn-Cnwy,? and your purification is also? among them; your mouth is the mouth of a sucking calf* on the day it was born— Lower Egyptian natron of St-pt,» — Utterance 35: la purificación del rey se iguala una a una con la de Horus, Seth, Thoth y Dwn-Cnwy, y su boca con la de un ternero lactante el día en que nació.

«Your purification! is the purification of Horus, your purification is the purification of Seth, your purification is the purification of Thoth, your purification is the purification of Dwn-tnwy, your purification is the purification of your double, your purification is the purification of your purification,” and this purification of yours also? is among your brethren the gods.! Your purification is upon your mouth; may you cleanse all your bones, and may you provide what appertains to you.» — Utterance 36: la serie de igualdades se alarga hasta incluir la purificación del doble y la purificación de la propia purificación, y termina sobre la boca y los huesos del rey; la nota 2 de Faulkner lee ahí que el rey queda doblemente purificado.

«O King, I fasten for you your jaws which were divided—ps5-kf.» — Utterance 37: se le fijan al difunto las mandíbulas separadas, y la fórmula nombra el instrumento, el ps5-kf, que la nota identifica como instrumento de abrir la boca.

«O Osiris the King, I split open your mouth for you—god’s iron of Upper Egypt, 1 ingot; god’s iron of Lower Egypt, 1 ingot.» — Utterance 38: la boca se abre con hierro del dios, un lingote del Alto Egipto y uno del Bajo.

«O King, take the Eye of Horus for which he goes; I bring it to you and I put it in your mouth for you—zrw' of Upper Egypt and zrw of Lower Egypt.» — Utterance 39, primera del bloque que Faulkner rotula *Ritual of Offering; the preliminary repast*: el Ojo de Horus se pone en la boca del rey, y la ofrenda material es zrw del Alto y del Bajo Egipto.

«Take the tip of Horus’ own breast,! take what is for your mouth—milk, 1 jar.» — Utterance 41: lo que se lleva a la boca es el pecho del propio Horus, y la ofrenda material es una jarra de leche; toda la serie del banquete funciona así, emparejando un miembro divino con un alimento.

«Take the breast of your sister Isis the milk-provider(?),! which you shall take to your mouth—an empty mnz?-jar.» — Utterance 42: el pecho de Isis como dadora de leche, con la ofrenda de una jarra vacía; el interrogante entre paréntesis marca la lectura insegura de Faulkner.

«Take the two Eyes of Horus, the black and the white; take them to your forehead that they may illumine your face—the lifting up of a white jar and a black jar.» — Utterance 43: los dos Ojos de Horus, el negro y el blanco, se llevan a la frente del rey para iluminarle el rostro, y la ofrenda son una jarra blanca y una negra.

«O Osiris the King, take the Eye of Horus which was wrested from Seth and which you shall take to your mouth, with which you shall split open your mouth—wine, a hets-jar of white mnw-stone.» — Utterance 47: el Ojo de Horus arrancado a Seth es lo que se lleva a la boca del rey y lo que se la abre, y la ofrenda material es vino en jarra de piedra mnw blanca; el binomio Ojo arrebatado a Seth es el eje de toda la serie de ofrendas.

«O Ré¢, if you dawn in the sky,’ you dawn for the King, lord of all things; if all things belong to? yourself, then all things will belong to the double of the King, all things will belong to himself—the lifting up before him of a sanctified offering.» — Utterance 50: si Ré amanece en el cielo amanece para el rey, y la posesión de todas las cosas por el dios pasa al doble del rey; la condicional traza la correspondencia entre el orden solar y el destino del difunto.

«O you who are put under the earth and are in darkness !!—an +h-cake.» — Utterance 52: la fórmula se dirige al que está puesto bajo la tierra y en tinieblas, que la nota de Faulkner lee como el rey en su cámara funeraria.

«O King, take the Eye of Horus, rescued for you; it will never escape from § 40 you—beer, an iron /nt-bowl.» — Utterance 56: el Ojo rescatado no volverá a escapar del rey, con la ofrenda de cerveza en cuenco de hierro; la cifra tras § dentro del verbatim es el parágrafo marginal de Sethe, no un folio.

«Bring the two Eyes of Horus—a iwnt-bow.» — Utterance 57A, primera del bloque que Faulkner rotula *Presentation of weapons, garments, and insignia*: la serie empareja cada vez los Ojos de Horus con una pieza del ajuar real, aquí un arco iwnt.

«O Osiris the King, take the Eye of Horus and prevent him! from destroying § 40+13 it—a belt.» — Utterance 57M: el Ojo se entrega para impedir que él, que la nota identifica como Seth, lo destruya, y la ofrenda es un cinturón.

«O Osiris the King, take the Eye of Horus which was guarded from Géb—a § 40+16 stool( ?).» — Utterance 57P: el Ojo guardado de Géb, con una ofrenda que Faulkner declara conjetura basada en el determinativo.

«O Osiris the King, take the Eye of Horus on account of which Seth has § 40+17 rejoiced—a mtpn(t)-dagger.» — Utterance 57Q: el Ojo por el que Seth se alegró, con la ofrenda de una daga.

«O Osiris the King, take the water which is in the Eye of Horus, do not let go of it. O Osiris the King, take the Eye of Horus, the water in which Thoth has seen'—a hrs-sceptre, a db?-sceptre and a mace.» — Utterances 62 y 62A: el agua que está en el Ojo de Horus y el agua en que Thoth vio, con cetros y maza como ofrenda.

«O Osiris the King, may you love (him), for he is Horus!—a hrs-sceptre.» — Utterance 65: la fórmula manda amar al que es Horus; los paréntesis son las palabras inglesas que Faulkner añade para dar el sentido, según la convención de la p. 13.

«O Osiris the King, take the water which is in the Eye of Horus. O King, fill your hand with the frs-sceptre, provide yourself with the /rs-sceptre, that it may equip you as a god. Do not let go of it! Beware lest you let go of it !» — Utterance 68: el cetro hrs equipa al rey como dios, y la fórmula insiste dos veces en no soltarlo.

«O Osiris the King, take the white Eye of Horus which illumines the tip of the finger of Seth—z2 lumps of electrum.» — Utterance 70: el Ojo blanco de Horus ilumina la punta del dedo de Seth, con dos pellas de electro por ofrenda.

«O Osiris the King, be holy, be holy’ upon his fingers—a forked staff.» — Utterance 71B: la fórmula manda ser santo sobre sus dedos; Faulkner declara en nota que *be secluded* también es posible, de modo que la elección entre santidad y reclusión queda abierta.

«O Osiris the King, live, live—a pendant.» — Utterance 71C: la fórmula entera es el imperativo de vivir dicho dos veces, con un pendiente por ofrenda; es el ejemplo más corto de la serie y muestra su forma mínima.

«Recite four times:' O Osiris the King, I have filled your eye for you (with)? § so the ointment—festival perfume.» — Utterance 72, primera del bloque que Faulkner rotula *Presentation of unguents. The anointing*: se llena el ojo del rey con el ungüento, y la rúbrica manda recitar cuatro veces.

«O Osiris the King, take the ferment(?) which is in his face'—hknw-oil.» — Utterance 73: el fermento que está en su rostro, que la nota adjudica a Horus, se empareja con el aceite hknw.

«Recite four times: O Osiris the King, I paint an uninjured Eye of Horus on your face for you—green eye-paint, 1 bag.» — Utterance 79, primera del bloque *Presentation of eye-paint*: pintar el ojo del rey es pintarle en el rostro un Ojo de Horus intacto; la ofrenda material es una bolsa de pintura verde.

«O Horus who is this Osiris the King, take the uninjured Eye of Horus. O Horus who is this Osiris the King, I paint it on your face for you, for Horus painted his uninjured Eye. O King, I attach your eyes to your face for you intact, so that you may see with them—black eye-paint, 1 bag.» — Utterance 80: el oficiante pinta el Ojo intacto en el rostro del rey porque Horus pintó el suyo, y le fija los ojos al rostro para que vea con ellos; la operación ritual repite la del dios.

«May you! awake in peace! May Tait awake in peace! May Taitet awake in peace! (May) the Eye of Horus which is in Dep (awake) in peace! May the.Eye of Horus which is in the Mansions of the Nt-crown awake in peace!» — Utterance 81, el himno para despertar al rey adaptado a la presentación de servilletas: la letanía del despertar en paz va dirigida sucesivamente a la diosa del tejido Tait, a Taitet y a los Ojos de Horus de Dep y de las Mansiones de la corona Nt; Faulkner imprime esta clase de texto en líneas cortas por ser letanía.

«cause the T'wo Lands to dread this King even as they dread Seth; sit in front of this King as his god, open his path at the head of the spirits, that he may stand at the head of the spirits as Anubis who presides over the Westerners.» — cierre de la Utterance 81: las Dos Tierras han de temer al rey como temen a Seth, y el dios ha de abrirle el camino a la cabeza de los espíritus como Anubis que preside a los Occidentales; el temor se pide por equiparación, no por mérito.

«It is Thoth who brings himself with it;! he has come forth with the Eye of Horus—an offering-table.» — Utterance 82, primera del bloque *Presentation of the morning meal*: Thoth se trae a sí mismo con el Ojo de Horus, de modo que el dios y la ofrenda llegan juntos.

«O Osiris the King, take the Eye of Horus and absorb it into your mouth—the morning meal.» — Utterance 87: el Ojo de Horus se absorbe por la boca, y la ofrenda material es la comida de la mañana.

«Lift up your face, O Osiris; lift up your face, O King, whose spirit goes! Lift up your face, O King, be strong and effective; look at that which issued from you, the faeces(?) which were formed(?)! thereby.! Wash yourself, split open your mouth by means of the Eye of Horus, invoke your double as Osiris, that he may protect you from all wrath of the dead.» — Utterance 93: el rey ha de alzar el rostro, lavarse, abrirse la boca con el Ojo de Horus e invocar a su doble como Osiris para quedar protegido de toda ira de los muertos; el difunto necesita defensa frente a otros difuntos.

«O Osiris the King, this is this Eye of Horus which he has demanded from Seth.» — Utterance 97: el Ojo es lo que Horus reclamó de Seth; el pleito entre los dos dioses es lo que da su fuerza a la ofrenda.

«O Osiris the King, I give to you the Eye of Horus; give me! your hand that I may give it to you.» — Utterance 99: la entrega exige la mano del difunto, es decir, un gesto del muerto, no solo del oficiante.

«I am Horus, O Osiris the King [. . .] give me your hand [. . .] take possession» — Utterance 102: el oficiante se identifica con Horus ante el rey muerto identificado con Osiris; los corchetes con puntos son lagunas del original.

«O King, I am your son, I am Horus; I have come and I bring to you Horus’ § 69 own Eyes; seize them and join them to yourself.' I have joined them to §7° you and have united them to you, for they are complete.» — Utterance 106, del bloque *Presentation of sandals*: el oficiante como hijo trae los Ojos del propio Horus y los une al rey ya completos.

«O Osiris the King, absorb the water which is in it'—a bowl of water.» — Utterance 108: se absorbe el agua que está en el Ojo, y la nota de Faulkner declara que esta Utterance y la siguiente son la limpieza de la boca con agua y natrón antes de la comida ritual.

«O Osiris the King, take the Eye of Horus which Seth has trampled'—a tw-loaf.» — Utterance 111: el mismo pan que en la Utterance 88 se pedía impedir que Seth pisara, aquí se recibe ya pisado por él; Faulkner remite en nota a la fórmula paralela, y el desacuerdo entre las dos versiones queda sin armonizar.

«O Osiris the King, take the Eye of Horus and prevent him from suffering because of it—4 pzn-loaves.» — Utterance 116: se pide impedir que Horus sufra por causa de su Ojo, y la ofrenda son cuatro panes pzn; la serie 110 a 171 empareja así una fórmula corta con una cifra y un tipo de pan.

«O Osiris the King, take those who rebelled against you—4 ribs.» — Utterance 130: lo que se pone ante el rey son los que se rebelaron contra él, emparejados con cuatro costillas; la ofrenda alimentaria es a la vez el enemigo vencido.

«O Osiris the King, take the severed(?)' heads of the followers of Seth—a r-bird.» — Utterance 136: las cabezas cortadas de los seguidores de Seth se emparejan con un ave r, y Faulkner anota que en el testigo W el determinativo de la ofrenda es un ave desplumada y decapitada.

«O Osiris the King, take the Eye of Horus which they have spat out; prevent him! from swallowing it—z2 jars of b§-wine.» — Utterance 154: el Ojo escupido se entrega al rey y se pide impedir que él, que la nota identifica como Seth, lo trague.

«O Osiris the King, take the pupil which is in the Eye of Horus, for your mouth is split open by means of it—z bowls of imt-wine.» — Utterance 155: lo que abre la boca del rey es la pupila que está dentro del Ojo de Horus; el escaneo lee *z* por la cifra 2 de la ofrenda.

«O Osiris the King, take the Eye of Horus; it will not be loosed! from you— 2 bowls of snw-wine.» — Utterance 157: el Ojo, una vez entregado, no se soltará del rey.

«O Osiris the King, Horus has come that he may join you, for you are his father—bt-grain.» — Utterance 173: Horus viene a unirse al rey porque el rey es su padre; la relación padre-hijo entre Osiris y Horus es lo que sostiene la entrega.

«O Osiris the King, you are his' double—a kh:-loaf.» — Utterance 176: el rey es declarado el doble de él, que la nota adjudica a Géb.

«Your face is content because of Horus, for you are his father—a hipnt-loaf.» — Utterance 179: el rostro del rey queda contento a causa de Horus, y otra vez por la relación de paternidad.

«O Osiris the King, this Eye of Horus is strong, I give! it to you that you may be strong? and that your foe may fear you; the morning bread is in its due time.» — Utterance 197: el Ojo de Horus es fuerte y al entregarse hace fuerte al rey y temible a su enemigo; la nota de Faulkner discute largamente la lectura *morning bread*.

«O Osiris the King, turn yourself on account of this bread of yours, accept it from me. Recite four times: May the Eye of Horus belong(?) to you—the reversion! of the god’s offering.» — Utterance 199: el rey ha de volverse hacia su pan y aceptarlo, con la rúbrica de recitar cuatro veces y la ofrenda declarada como reversión de la ofrenda del dios.

«Hail to you, Incense! Hail to you, Brother of the God!! Hail to you, Marrow? (?) which is in the limbs of Horus! Be great, my father, extend yourself in your name of ‘Pellet’. May your perfume be on the King, may your savour(?) be on the King; O Eye of Horus, be high and great» — Utterance 200, rotulada *The king is censed*: el incienso es saludado como Hermano del Dios y como médula en los miembros de Horus, y se le manda extenderse en su nombre de Pellet; las notas de Faulkner declaran que la fórmula juega con la homofonía de *sa ntr*, hermano del dios, y *sntr*, incienso, y con la de *pd*, extender, y *prd*, pellet.

«O my father the King,' take the Eye of Horus, the pyt-cake of the gods, for § 117 they feed thereon.» — Utterance 201, primera del bloque *Further Utterances connected with food*: el Ojo de Horus es el pastel pyt de los dioses y aquello de lo que se alimentan; el *§ 117* dentro del verbatim es el parágrafo marginal de Sethe caído a media frase, y la nota de Faulkner declara que aquí habla el hijo del rey como oficiante dirigiéndose a su padre muerto.

«O little finger of the King, pull out this which is in the navel of Osiris.! The King ¢ 119 will not thirst, he will not hunger, the King will not be sad(?), for it is the arms of Ha which drive away his hunger, say(?) they who are filled,3 say(?) they whose hearts are filled.» — Utterance 204: el rey no tendrá sed ni hambre porque son los brazos de Ha los que le apartan el hambre, y lo dicen los que están saciados.

«O you who are over the baked foods, O you who are concerned with the § 120 supplies of drink,’ the King is committed to Fetket the butler of Ré‘, for Ré¢ himself has committed him to him, and Ré‘ commits him to him who is over the catering for this year. They? seize and give to him, they grasp and give to him barley, emmer, bread, and beer,! because what belongs to the King, § 121 it is his father who gives to him, it is Ré‘ who gives to him barley, emmer, bread, and beer, because he is the Great Bull who smote Kenzet,} because the King is he who is at the quintet of meals in the Mansion.» — Utterance 205: el rey queda encomendado a Fetket, el copero de Ré, porque el propio Ré lo encomendó, y de esa cadena de encargos salen la cebada, la escanda, el pan y la cerveza; la provisión del difunto se funda en un vínculo jerárquico, no en un acto mágico suelto; las cifras tras § dentro del verbatim son los parágrafos marginales de Sethe, no folios.

«is in the sky with Ré¢ and the pair is on earth with the Two Enneads,! for he belongs to the looser, and it is he who looses; he belongs to the seer, and it is he who sees. O R&;, it is better with him today than yesterday.! The King has copulated with Mowet,4 the King has kissed Shuset,’ the King has joined with Nekhebut,® the King has copulated with the Beauteous One, for his dread is the lack of food and drink(?).? Assuredly it is the Beauteous One who cares for the King, she gives bread to the King and she treats him well» — continuación de la Utterance 205 en la plana siguiente: la comida del rey se reparte entre cielo y tierra, tres en el cielo con Ré y dos en la tierra con las Dos Enéadas, y la Hermosa cuida del rey y le da pan; las cópulas con Mowet, Shuset y Nekhebut van dichas en el mismo aliento que el alimento.

«A meal for me, O butcher! A meal for me, O butcher! A meal, O you who are in the Eye of Ré‘! A meal for me, O fowler who is in the Eye of the God! O butler, bring water and light the fire, for the calf of leg is with the roast meat—4 handfuls of water.» — Utterance 207: la fórmula reclama la comida al carnicero, al que está en el Ojo de Ré y al cazador de aves que está en el Ojo del Dios, y manda al copero traer agua y encender el fuego; el difunto ordena, no suplica.

«If Want flourishes, the King cannot take his meal; if the King flourishes, § 125 Want cannot take his meal. May the eastern porters regularly bring this bread» — Utterance 209: la Carencia y el rey se excluyen, y el texto lo dice como alternativa exacta en los dos sentidos.

«Awake, O Wpiw!' Be high, O Thoth!? Awake, you sleepers! Rouse up, you § 126 dwellers in Kenzet, who are before the Great Egret who went up from the cultivation and the Wepwawet-jackal which emerged from the tamarisk» — Utterance 210: la fórmula despierta a los dioses y a los durmientes, y nombra a la Gran Garza que subió del cultivo y al chacal Wepwawet que salió del tamarisco, expresiones que la nota de Faulkner refiere al propio rey muerto.

«What I detest is faeces,7 I reject urine,® I detest my own detestableness.! What I detest is these two, and I will never § 128 eat the detestableness of these two,» — la misma Utterance 210: el rey declara su detestación de los excrementos y de la orina, y jura no comerlos nunca; la pureza se enuncia como rechazo nombrado, Faulkner advierte en nota que aquí el original habla en primera persona, y las cifras 7 y 8 pegadas a las palabras son llamadas de nota suyas, releídas en el crudo.

«you two Companions" who cross the sky, who are Ré‘ and Thoth," take me!? with you,! that I may eat of what you eat, that I may drink of what you drink, § 129 that I may live on what you live on, that I may sit on what you sit on, that I may be strong through that whereby you are strong, that I may sail in that in which you sail.» — cierre de la Utterance 210: el rey pide a los dos Compañeros que cruzan el cielo, que la nota identifica como Ré y Thoth, que lo lleven consigo para comer, beber, vivir, sentarse, ser fuerte y navegar en lo mismo que ellos; la petición es de igualdad de condición, no de favor.

«My! detestation is hunger, and I will never eat it. My detestation is thirst, and I will never drink it. It is indeed I who will give bread to those who exist, for my foster-mother is Iat,? and it is she who nourishes me, it is indeed she who bore me.» — Utterance 211: el hambre y la sed son lo detestado y lo que nunca se comerá ni beberá, y el rey se declara dador de pan a los que existen porque su nodriza es Iat, la diosa de la leche.

«I was conceived in the night, I was born in the night, I belong to those who are in the suite of Ré‘, who are before the Morning Star. I was conceived in the Abyss, I was born in the Abyss; I have come and I have brought to you the bread which I found there.» — la misma Utterance 211: el rey se declara concebido y nacido en la noche y en el Abismo, y trae de allí el pan que encontró; el origen abisal es lo que justifica la provisión.

«O King,’ you have not departed dead,? you have departed alive; sit upon the throne of Osiris, your sceptre in your hand, that you may give orders to the living; your lotus-bud sceptre in your hand, that you may give orders to those whose seats are hidden.» — Utterance 213: la fórmula niega expresamente que el rey se haya ido muerto y afirma que se fue vivo, y lo sienta en el trono de Osiris con el cetro para mandar sobre los vivos y sobre los que tienen ocultos sus asientos, que la nota glosa como los muertos.

«Your arm(s) are Atum, your shoulders are Atum, your belly is Atum, your back is Atum, your hinder-parts are Atum, your legs are Atum, your face is Anubis. The Mounds‘ of Horus serve you, the Mounds of Seth serve you.» — la misma Utterance 213: los miembros del rey se identifican uno a uno con Atum y su rostro con Anubis, y los Montículos de Horus y de Seth le sirven; es la forma canónica de la correspondencia entre cuerpo y dios.

«O King, beware of the lake!'!—recite four times. The messengers of your double come for you,? the messengers of your father come for you, the messengers of Ré‘ come for you,» — Utterance 214, primera del bloque que Faulkner rotula *The king goes to the sky*: se advierte al rey del lago y se le anuncian los mensajeros de su doble, de su padre y de Ré.

«But you shall bathe in the starry firmament, you shall descend upon the iron bands on the arms of Horus in his name of Him who is in the Hnw-bark.! The sun-folk® shall call out to you, for the Imperishable Stars have raised you aloft. Ascend to the place where your father is, to the place where Géb is, that he may give you that which is on the brow of Horus,’ so that you may have a soul thereby and power thereby and that you may be at the head of the Westerners thereby.» — cierre de la Utterance 214: el rey se baña en el firmamento estrellado, desciende sobre las bandas de hierro en los brazos de Horus, las Estrellas Imperecederas lo alzan y Géb le da lo que está en la frente de Horus, que la nota identifica como el uraeus real, para que tenga alma y poder.

«O King, your messengers go, your heralds run to your father, to Atum. O Atum, raise him up to you, enclose him within your arms. There is no star-god who has no companion, have you your companion?» — Utterance 215, rotulada *The king ascends to the sky as a star*: Atum ha de alzar al rey y encerrarlo en sus brazos, y la fórmula enuncia la regla del cielo: ningún dios-estrella carece de compañero; la nota de Faulkner lee la pregunta como el examen con que Atum exige al rey sus títulos para entrar en la jerarquía celeste, y el compañero como su ka.

«Spit on the face of Horus for him, that you may remove the injury which is on him; pick up the testicles of Seth, that you may remove his mutilation; that one is born for you, this one is conceived for you.» — la misma Utterance 215: se manda escupir en el rostro de Horus para quitarle la lesión y recoger los testículos de Seth para quitarle la mutilación; la nota de Faulkner declara que escupir sobre lo herido es remedio popular conocido.

«If this one has no mutilation and if that one has no injury—and vice versa—then you will have no injury and you will have no mutilation.» — la misma Utterance 215: la indemnidad del rey se hace depender de que ninguno de los dos dioses quede mutilado ni herido; la condición vale en los dos sentidos y el texto lo dice con la fórmula *and vice versa*.

«Ré‘-Atum will not give you to Horus, and he shall not claim your heart nor have power over your heart.» — la misma Utterance 215: se niega que Ré-Atum entregue al rey a Osiris o a Horus, y que ninguno de ellos reclame su corazón ni tenga poder sobre él; Faulkner declara en nota que lee estas frases como promesa de futuro y no como acción cumplida, contra Sethe.

«Your head is Horus of the Netherworld, O Imperishable. Your face is Mhnt-irty, O Imperishable. Your ears are the T'win Children of Atum, O Imperishable. Your eyes are the Twin Children of Atum, O Imperishable. Your nose is the Jackal,'* O Imperishable. Your teeth are Sopd, O Imperishable,» — la misma Utterance 215: la letanía identifica cada parte del cuerpo del rey con un dios —la cabeza con Horus del Netherworld, el rostro con Mhnt-irty, las orejas y los ojos con los Hijos Gemelos de Atum, la nariz con el Chacal, los dientes con Sopd— y cierra cada verso con el vocativo Imperecedero.

«Your hands are Hapy and Duamitef— You demand that you ascend to the sky and you shall ascend— Your feet are "Imsety and Kebhsenuf— You demand that you descend to the Lower Sky and you shall descend—» — cierre de la letanía: las manos del rey son Hapy y Duamitef y sus pies Imsety y Kebhsenuf, y entre un verso y otro se intercala la consecuencia: pide ascender al cielo y ascenderá, pide descender al Cielo Inferior y descenderá.

«You shall not perish and your double shall not perish, For you are a double.» — cierre de la Utterance 215: ni el rey ni su doble perecerán, y la razón que da el texto es que el rey es un doble.

«Orion is swallowed up? by the Netherworld,3 Pure and living in the horizon. Sothis is swallowed up by the Netherworld, Pure and living in the horizon.+ I am swallowed up by the Netherworld, Pure and living in the horizon. It is well with me and with them,5 It is pleasant for me and for them, Within the arms of my father, Within the arms of Atum.» — Utterance 216: la triple estrofa dice que Orión es tragado por el Netherworld puro y vivo en el horizonte, luego Sothis, luego el propio difunto; la desaparición de las estrellas al alba, que es lo que la nota de Faulkner lee ahí, se enuncia como el modelo de la muerte del rey; llamada de nota de Faulkner pegada al cuerpo, releída en el crudo.

«O Ré‘-Atum, this King comes to you, an imperishable spirit, lord of the affairs(?)' of the place of the four pillars ;? your son comes to you, this King comes to you. May you! traverse the sky, being united in the darkness; may you rise in the horizon, in the place where it is well with you.» — Utterance 217, rotulada *The king joins the sun-god*: el rey llega a Ré-Atum como espíritu imperecedero y señor del lugar de los cuatro pilares, que la nota identifica con los cuatro puntos cardinales; el estribillo se repite cinco veces a lo largo de la Utterance.

«O Seth and Nephthys, go and proclaim to the gods of Upper Egypt and their spirits: “This King comes indeed, an imperishable spirit. If he wishes you to die, you will die; if he wishes you to live, you will live.’» — la misma Utterance 217: Seth y Nephthys han de proclamar a los dioses del Alto Egipto que el rey viene, y con él el poder de decidir quién muere y quién vive.

«O Thoth, go and proclaim to the western gods and their spirits: “This King comes indeed, an imperishable spirit, adorned with Anubis on the neck,* who presides over the Western Height. He claims hearts, he has power over hearts. Whom he wishes to live will live; whom he wishes to die will die.’» — la misma Utterance 217: a Thoth le toca proclamarlo a los dioses occidentales, y el rey aparece adornado con Anubis al cuello, presidiendo la Altura Occidental y reclamando corazones.

«O Rét-Atum, your son comes to you, the King comes to you; raise him up, enclose him in your embrace, for he is the son of your body for ever.» — cierre de la Utterance 217: la petición última es que Ré-Atum alce al rey y lo encierre en su abrazo, porque es hijo de su cuerpo para siempre.

«O Osiris, this King comes indeed, importuning(?) the Nine,! an imperishable spirit; he claims hearts, he takes away powers and bestows powers. Every grant(?) of his is what compels (to duty) him whom he has summoned to his side,? (even) him who has appealed to him, and there is none who shall escape;! he shall have no bread, his double shall have no bread, and his bread shall come to an end for him. Géb has spoken the pronouncement of the Ennead: ‘A falcon when he takes possession’, say they: ‘Behold,3 you have a soul and you are mighty.’» — Utterance 218, rotulada *The king assumes authority in the Beyond*: el rey reclama corazones, quita y otorga poderes, y Géb pronuncia el dictamen de la Enéada; el interrogante entre paréntesis marca que Faulkner declara dudosa la traducción de la palabra.

«See what Seth and Thoth have done, your two brothers who do not know how to mourn you.! O Isis and Nephthys, come together, come together! Unite, unite!» — la misma Utterance 218: se señala lo que hicieron Seth y Thoth, los dos hermanos que no saben llorar al muerto, y se llama a Isis y Nephthys a juntarse; la nota de Faulkner declara que aquí el rey toma el papel de Osiris como rey de los muertos.

«This King comes indeed, importuning(?) the Nine, an imperishable spirit, and the Westerners who are on earth belong to this King. This King comes indeed, importuning(?) the Nine, an imperishable spirit, and the Easterners who are on earth belong to this King. This King comes indeed, importuning(?) the Nine, an imperishable spirit,! and the Southerners who are on earth belong to this King. This King comes indeed, importuning(?) the Nine, an imperishable spirit, and the Northerners who are on earth belong to this King. This King comes indeed, importuning(?) the Nine, an imperishable spirit, and those who are in the Lower Sky belong to this King.» — la misma Utterance 218: la fórmula se repite punto cardinal por punto cardinal y adjudica al rey los occidentales, los orientales, los del sur, los del norte y los del Cielo Inferior.

«O Atum, this one here is your son Osiris whom you have caused to be restored that he may live. If he lives, this King will live; if he does not die, this King will not die; if he is not destroyed, this King will not be destroyed ; if he does not mourn, this King will not mourn; if he mourns, this King will mourn.» — Utterance 219, rotulada *The king is identified with Osiris*: la suerte del rey se ata condicionalmente a la de Osiris en cinco cláusulas, vivir, morir, ser destruido y llorar, y la serie se repite luego con Shu, Tefénet, Géb y Nit.

«O Seth, this one here is your brother Osiris, who has been caused to be restored that he may live and punish you; if he lives, this King will live, etc.» — la misma Utterance 219, en la sección dirigida a Seth: el texto añade a la fórmula el fin de la restauración de Osiris, vivir y castigarte, de modo que la resurrección se enuncia como pleito contra el hermano; el *etc.* es abreviatura de Faulkner por el estribillo repetido.

«In your name of Dweller in Orion, with a season in the sky and a season on earth. O Osiris, turn your face and look on this King, for your seed which issued from you is effective.» — la misma Utterance 219: la serie de nombres de Osiris lo sitúa en Orión con una estación en el cielo y otra en la tierra, y le pide volver el rostro al rey porque la semilla que salió de él es eficaz.

«Your body is the body of this King, your flesh is the flesh of this King, your bones are the bones of this King; when you go, this King goes (also), and when this King goes, you go (also).» — cierre de la Utterance 219: la identificación del rey con Osiris se enuncia miembro por miembro y se cierra con la reciprocidad del movimiento, que uno vaya cuando vaya el otro.

«The doors of the horizon are opened, its bolts are drawn back.» — Utterances 220 y 221, que Faulkner traduce como una sola: el ritual de la corona del Bajo Egipto abre con las puertas del horizonte y los cerrojos descorridos.

«He’ has come to you, O Nt-crown; he has come to you, O Fiery Serpent; he has come to you, O Great One; he has come to you, O Great of Magic, being pure for you and fearing you.! May you be pleased with him, may you be pleased with his purity, and may you be pleased with his speech which he says to you.» — la misma Utterance: el sacerdote presenta al rey ante la corona nombrada como Serpiente Ígnea, Gran Uno y Grande de Magia, y pide que ella se agrade de él, de su pureza y de su discurso.

«Ho Nt-crown!? Ho Jni-crown! Ho Great Crown! Ho Crown great of magic! § 196 Ho Fiery Serpent!! Grant that the dread of me be like the dread of you; § 197 grant that the fear of me be like the fear of you; grant that the acclaim of me be like the acclaim of you; grant that the love of me be like the love of you.» — la oración del rey a la corona, § 196 y § 197: pide que el pavor, el miedo, la aclamación y el amor que él inspire sean como los que inspira la corona; la nota de Faulkner declara que este pasaje estaba originalmente en primera persona.

«If Ikhet the Great has borne you, Ikhet the Serpent has adorned you; If Ikhet the Serpent has borne you, Ikhet the Great has adorned you,* Because you are Horus encircled with the protection of his Eye.» — la respuesta de la corona divinizada, en la que el orden de los dos nombres se invierte de un verso al siguiente y se cierra con el rey identificado como Horus ceñido por la protección de su Ojo.

«Stand upon it, this earth which issued from Atum, this spittle’ which issued § 199 from Khoprer; come into being upon it, be exalted upon it, so that your father may see you, so that Re‘ may see you.» — Utterance 222, rotulada *The king joins the sun-god*: el sacerdote manda al rey estar de pie sobre esta tierra que salió de Atum, este esputo que salió de Khoprer; la tierra es saliva del dios y no materia neutra.

«I have come to you, my father, I have come to you, O Ndi.3 I have come to you, my father, I have come to you, O Pndn. I have come to you, my father, I have come to you, O Dndn. I have come to you, my father, I have come to you, O Great Wild Bull.» — la letanía del rey, § 200: el mismo verso se repite con un nombre distinto del dios solar en cada línea, Ndi, Pndn, Dndn y el Gran Toro Salvaje, y sigue con el Gran Usuario de la Balsa y Sopd; el verso inicial, dirigido a Ré, queda fuera del verbatim porque el escaneo imprime ahí un guillemet, y la nota de Faulkner declara que traduce la letanía en primera persona porque la segunda persona del sacerdote lo obliga; llamada de nota de Faulkner pegada al cuerpo, releída en el crudo.

«Grant that I may seize the sky and take possession of the horizon. Grant that I may rule the Nine and provide for the Ennead. Place the crook in my hand, that the head of Lower and Upper Egypt may be bowed. I charge my opponent and stand up, The great headman in my great waters.® Nephthys has favoured me, And I have captured my opponent.» — la misma letanía: el rey pide apoderarse del cielo y del horizonte, regir a los Nueve y proveer a la Enéada, y que se le ponga el cayado en la mano para que se incline la cabeza del Bajo y del Alto Egipto.

«Provide yourself? with the Great of Magic, (even) Seth dwelling in Nibet, Lord of Upper Egypt;® nothing is lost to you,? nothing has ceased(?)!° for you; behold, you are more renowned and more powerful than the gods of Upper Egypt and their spirits.! O you whom the Pregnant One ejected,"! you have terminated(?)!? the night, being equipped as Seth who broke forth violently,'3 (even) you whom Isis has favoured.» — la respuesta del sacerdote: el rey queda provisto de la Grande de Magia y se le identifica con Seth señor del Alto Egipto, más renombrado y poderoso que los dioses del Alto Egipto; la nota de Faulkner objeta la lectura de Sethe y prefiere leerlo como consejo de lo que el rey ha de hacer, no como relato de lo hecho.

«Ascend and descend; descend with Ré‘, sink into darkness with Ndi. Ascend and descend; ascend with Ré‘, rise with the Great Float-user.22 Ascend and descend; descend with Nephthys, sink into darkness with the Night-bark. Ascend and descend; ascend with Isis, rise with the Day-bark.» — la misma Utterance 222: las cuatro órdenes pareadas reparten el subir y el bajar entre Ré, Nephthys y la barca nocturna, Isis y la barca diurna; el difunto no asciende de una vez, sino que se incorpora al ciclo; llamada de nota de Faulkner pegada al cuerpo, releída en el crudo.

«Go up, open your way by means of the bones of Shu,?! the embrace of your mother Nit will enfold you. Be pure in the horizon and get rid of your impurity in the Lakes of Shu.» — la misma Utterance 222: el camino se abre con los huesos de Shu, el abrazo de la madre Nit envuelve al rey, y la impureza se deja en los Lagos de Shu.

«O Atum, raise this King up to you, enclose him within your embrace, for he is your son of your body for ever.» — cierre de la Utterance 222: la petición última es la misma con que abría la Utterance 215, que Atum alce al rey y lo encierre en su abrazo por ser hijo de su cuerpo para siempre.

«O King, raise yourself up to me, betake yourself to me, do not be far from me, for the tomb is your barrier against me.‘ I give you the Eye of Horus, I have allotted it to you; may it belong(?) to you.! O King, arise, receive this your bread from my hand. O King, I will be a helper to you.» — Utterance 223: se llama al rey a levantarse y salir, y el texto declara que la tumba es su barrera contra el oficiante; la nota de Faulkner lee ahí que se urge al rey a dejar la tumba.

«Rouse yourself, O King! Turn yourself about, O King! Go,' that you may govern the Mounds of Horus; go, that you may govern the Mounds of Seth; go, that you may govern the Mounds of Osiris.» — Utterance 224, rotulada *The king becomes the universal governor*: el rey ha de despertar, volverse e ir a gobernar los Montículos de Horus, de Seth y de Osiris, los tres por igual.

«A boon which the King grants in all your dignities! wherever you may be:2—May your lotus-bud sceptre be at the head of the living, may your staff be at the head of the spirits as Anubis who presides over the Westerners, as ‘Andjety who presides over the eastern nomes.» — la misma Utterance 224: el don del rey pone su cetro de capullo de loto a la cabeza de los vivos y su báculo a la cabeza de los espíritus, como Anubis que preside a los Occidentales y como Andjety que preside los nomos orientales.

«How happy is your condition! Your spirit, O King, is among your brothers the gods. How changed it is, how changed it is!! Protect? your children3 and beware of this boundary of yours which is on earth. Recite four times:4 Clothe your body, that you may come» — epílogo de la Utterance 224, que el testigo T usa además como introducción: el espíritu del rey está entre sus hermanos los dioses, se le manda proteger a sus hijos y guardarse de su frontera en la tierra, y vestirse el cuerpo para ir con ellos; llamada de nota de Faulkner pegada al cuerpo, releída en el crudo.

«The old man goes that he may protect his son.* Clothe’ your body that you may come to me; [may the Eye of Horus] belong(?) to you.» — cierre de la Utterance 225, variante de la 224: el viejo va para proteger a su hijo, y se manda al rey vestirse el cuerpo para venir; Faulkner propone en nota enmendar la frase de modo que el viejo sea el propio rey, a quien se ordena ir a proteger a su hijo.

«One snake is enveloped by another when is enveloped the toothless calf § 225 which came forth from the pasture.' O earth, swallow up what went forth» — Utterance 226, primera del bloque que Faulkner rotula *A series of spells against snakes and other noxious creatures*: el conjuro manda a la tierra tragar lo que salió de ella; el tramo se corta en el cambio de plana y sigue en la p. 68 con *from you; O monster, lie down*.

«The Majesty of the Pelican has fallen into the water; O snake, turn round, for Ré¢ sees you.» — cierre de la Utterance 226: la Majestad del Pelícano cae al agua y a la serpiente se le manda darse la vuelta porque Ré la ve; lo que desarma al animal es la mirada del dios.

«The head of the great black bull is cut off. O kpnw-snake, I say this against you; O god-repelling scorpion,! I say this against you.» — Utterance 227: la fórmula repite tres veces *I say this against you* contra la serpiente kpnw y contra el escorpión que repele a los dioses; la eficacia se pone en el acto mismo de decirlo.

«This here is the fingernail of Atum which is (pressed) on the spine! of Nhbw-k:w, and which stilled the turmoil in Unu; fall down, crawl away!» — Utterance 229: la uña de Atum apretada sobre la espina de Nhbw-k:w es lo que aquietó el tumulto en Unu, y por eso la serpiente ha de caer y arrastrarse; el precedente mítico es el que da fuerza al conjuro.

«water! while the Two Kites stand by; your mouth is closed by the instrument of punishment,? and the mouth of the instrument of punishment is closed by Mafdet.» — Utterance 230: la boca de la criatura queda cerrada por el instrumento de castigo y la boca del instrumento por Mafdet, en una cadena de cierres encajados; el tramo arranca tras el corte de chunk, que parte la frase *Pour out the water*.

«It is this person who has bitten me, I did not bite him;! it was he who came against me, I did not go against him, (he bit me) at the second instant of seeing me,‘ at the second instant of looking at me.» — la misma Utterance 230: quien recita declara que fue mordido y no mordió, y que el otro vino contra él; Faulkner declara en nota que la primera persona ha de ser original porque estos conjuros los pronuncia el propio difunto contra los peligros del camino.

«The male serpent is bitten by the female serpent, the female serpent is bitten by the male serpent; the sky is enchanted, the earth is enchanted, the Male who protects’ the plebs is enchanted,!' the god whose head is blind is enchanted, and you yourself are enchanted, O you scorpion here! These are the two knots of Elephantine which are in the mouth of Osiris, which were knotted for Horus on the spine.» — cierre de la Utterance 230: la mordedura se devuelve entre serpiente macho y hembra, y quedan encantados el cielo, la tierra, el Varón que protege a la plebe, el dios de cabeza ciega y el propio escorpión; los dos nudos de Elefantina están en la boca de Osiris y fueron anudados para Horus.

«Fall, O serpent which came forth from the earth! Fall, O flame which came § 237 forth from the Abyss! Fall down, crawl away!» — Utterance 233: la orden de caer se dirige a la vez a la serpiente salida de la tierra y a la llama salida del Abismo.

«My eye’ is on you, O you who are on your coils ;? get down, O you who are on your spine, you who are in your nszt-bush. Turn back because of me,} you (serpent) rejoicing in* two faces.» — Utterance 234: el conjuro pone el ojo sobre la serpiente enroscada y le manda retroceder; Faulkner declara en nota que objeta la versión de Sethe y que traduce *rejoicing in* en el sentido coloquial inglés de poseer.

«O spittle which has come to naught(?), which is in the dust(?), which has fled into your mother’s house:' O monster, lie down!» — Utterance 237: el veneno se nombra saliva y se le manda echarse; Faulkner declara en nota que su versión difiere de la de Sethe y es igualmente conjetura, y lee la casa de la madre como el agujero de la serpiente.

«The White Crown goes forth, having swallowed the Great One,! the tongue of the White Crown gulped down the Great One, but the tongue was not seen.» — Utterance 239: la Corona Blanca devora al Gran Uno; la nota de Faulkner declara que el texto es un grito de triunfo del Alto Egipto sobre el Bajo y que su uso como conjuro contra serpientes es secundario, por estar el Bajo Egipto representado por la cobra.

«The serpent is in the sky, the centipede of Horus is on earth. The ox-herd is Horus when he treads; I! have trodden in the path? of Horus, and what I do not know, he does not know. My eye is on you,! O you who are in your nzwt-bush, and you are dragged off,* O you who are in your cavern, O cookingpot of Horus’ which pervades® the earth. O monster, crawl away.» — Utterance 240: la serpiente pertenece al cielo y el ciempiés de Horus a la tierra, y quien recita declara haber pisado el camino de Horus y que lo que él no sabe, Horus tampoco lo sabe; span() une el guion de fin de renglón de *cooking-pot* y el verbatim sale *cookingpot*, donde el impreso separa las dos mitades.

«O you expectoration of a wall, you vomit of a brick," what comes out of your mouth is turned back against yourself.» — Utterance 241: al bicho que sale de la grieta se le devuelve lo que sale de su boca; la nota de Faulkner lee que la criatura cae víctima de su propio veneno.

«The flame is extinguished, no light is found in the house of him who possesses Nibet. The biting snake pervades! the house of him whom it would bite, and it dwells in it.» — Utterance 242: apagada la llama, la serpiente que muerde recorre la casa de aquel a quien mordería y habita en ella.

«I! come to you, O Nit, I come to you, O Nit, I have cast my father to the earth,? I have left Horus behind me, my wings have grown into those of a falcon, my two plumes are those of a sacred falcon, my soul has brought me and its magic has equipped me.» — Utterance 245, rotulada *The king joins the stars*, en la parte que Faulkner asigna al rey: le han crecido alas de halcón y plumas de halcón sagrado, y lo que lo equipa es la magia de su propia alma.

«Open up your place in the sky among the stars of the sky, for you are the Lone Star,* the companion of Eu; look down upon Osiris’ when he governs the spirits, for you stand® far off from him, you are not among them and you shall not be among them.» — respuesta de la diosa del cielo en la misma Utterance 245: el rey es la Estrella Solitaria y ha de mirar desde arriba a Osiris cuando gobierne a los espíritus, porque queda lejos de él y no está entre ellos; la nota de Faulkner explica que Osiris rige en el Netherworld, muy por debajo del cielo estrellado donde el rey toma ahora su sitio.

«See among whom this King stands,! the horns on his head being those of two wild bulls, for you? are a black ram, the son of a black ewe (sic), whom a» — Utterance 246, rotulada *The king is a ruler in the Beyond*: el rey lleva en la cabeza los cuernos de dos toros salvajes y es carnero negro, hijo de oveja negra; el *(sic)* es de Faulkner y marca la contradicción del propio original, que en la plana siguiente lo hace parir por una oveja blanca.

«The gods are silent before you, the Ennead have put their hands on their mouths, before this One in you, of whom Dwn-cnwy says: ‘He shall give orders to the fathers of the gods.’» — la misma Utterance 246: los dioses callan y la Enéada se lleva las manos a la boca ante el que está en el rey, de quien Dwn-Cnwy dice que dará órdenes a los padres de los dioses.

«Someone stands behind you, your brother stands behind you, your relative'? stands behind you, and you shall not perish, you shall not come to an end, but your name shall endure(?)!3 among men and your name shall come into being among the gods.» — cierre de la Utterance 246: el rey no perecerá ni llegará a su fin, y su nombre perdurará entre los hombres y llegará a ser entre los dioses; la permanencia se enuncia como permanencia del nombre.

«O King, O King, see!3 O King, O King, behold! O King, O King, hear! O King, O King, be yonder! ' O King, O King, raise yourself on to your side and do my command.» — Utterance 247: la serie de imperativos llama al rey muerto a ver, contemplar, oír, estar allá y alzarse; la nota de Faulkner objeta la preferencia de Sethe por los participios y sostiene que el sentido exige imperativos, porque al rey se le llama a reejercer sus sentidos corporales.

«O you who hate sleep but who were made limp, arise, O you who were in Nedit! Your good bread is prepared in Pe, take your power in On,! for it is Horus who commanded that men help his father.» — la misma Utterance 247: al rey se le nombra el que odia el sueño y fue dejado flácido, y lo que manda ayudar al padre es una orden de Horus.

«The King is a great one, the King has issued from between the thighs of the Ennead. The King was conceived by Sakhmet, and it was Shezmétet who bore the King,! a star brilliant’ and far-travelling, who brings distant products? to Ré¢ daily. The King has come to his throne which is upon the Two Ladies? and the King appears as a star.» — Utterance 248, rotulada *The king becomes a star*: el rey sale de entre los muslos de la Enéada, lo concibe Sakhmet y lo pare Shezmétet, y es estrella brillante y de largo viaje que trae productos lejanos a Ré cada día.

«come into the Island of Fire, I have set Right in it in the place of Wrong, and I am on my way to the linen garments’ which the uraei guard on the night of the great flood which came forth from the Great One.® | I appear as Nefertem, as the lotus-bloom which is at the nose of Ré¢; he will issue from the horizon daily and the gods will be cleansed at the sight of him.» — Utterance 249, rotulada *The king is a flower in the sun-god's hand*: el rey pone lo Recto en lugar de lo Torcido en la Isla del Fuego y aparece como Nefertem, la flor de loto que está en la nariz de Ré; los dioses quedan limpios con verlo.

«This is the King who is over the spirits, who unites hearts—so says! he who is in charge of wisdom, being great,2 and who bears the god’s book,» — Utterance 250, rotulada *The king is announced by Sia*: quien anuncia al rey es el encargado de la sabiduría, grande, que lleva el libro del dios; el nombre de Sia y su puesto a la derecha de Ré quedan fuera del verbatim porque el escaneo imprime ahí un guillemet.

«I have come to my throne* which is over the spirits, I unite hearts, O you who are in charge of wisdom, being great. | become Sia who bears the god’s book, who is at the right hand of Ré‘.! O you who are protected by my hand, it is I who say what is in the heart of the Great One® in the Festival of Red Linen. I, even I, am Sia who is at the right hand of Ré‘, the haughty one(?)® who presides over the Cavern of the Abyss.» — segunda parte de la Utterance 250, en que el rey se declara Sia: dice lo que está en el corazón del Gran Uno en la Fiesta del Lino Rojo y se proclama Sia a la derecha de Ré, presidiendo la Caverna del Abismo.

«O you who are over the hours, who are before R&‘, prepare a way for me! so that I may pass within the patrol of those with warlike faces,! for I am bound for this throne of mine, (even I) the pre-eminent of thrones who am behind the great god,? whose head is set in place, who has assumed a sharp strong horn as one who bears a sharp knife which cuts throats.» — Utterance 251, rotulada *The king departs to join the sun-god*: el rey pide paso a los que están sobre las horas para pasar entre la patrulla de rostros guerreros, y se describe con cuerno fuerte y afilado como quien lleva un cuchillo que corta gargantas.

«Lift up your faces, you gods who are in the Netherworld, for the King has come that you may see him, he having become the great god. The King is ushered in with trembling, the King is robed.! Guard yourselves, all of you,! for the King governs men, the King judges the living within the domain of Ré‘,? the King speaks to this pure region in which he has made his dwelling with Him who judged between the two gods. | The King has power on his head, the King wields the sceptre and he* shows respect to the King. The King sits with those who row the bark of Ré‘, the King commands what is good and he’ does it, for the King is the great god.» — Utterance 252, rotulada *The king becomes the supreme deity*: el rey ha llegado a ser el gran dios, gobierna a los hombres, juzga a los vivos en el dominio de Ré, se sienta con los remeros de la barca y ordena lo bueno y se hace; la nota de Faulkner objeta la versión de Sethe y lee que a los dioses se les llama a guardarse del poder del rey, no a que el rey los honre.

«Ré¢ has bathed in the Field of Rushes. Someone has bathed in the Field of Rushes, This King has bathed in the Field of Rushes. This King’s hand? is in Ré¢s hand. O Nit, take his hand! O Shu, lift him up!» — Utterance 253: la letanía repite el baño en el Campo de Juncos de Ré, de alguien y del rey, y termina con la mano del rey en la mano de Ré y la llamada a Nit y a Shu para que lo tomen y lo alcen.

«O Lord of the horizon, make ready a place for me, for if you fail to make ready a place for me, I will lay a curse on my father Géb, and the earth will speak no more, Géb will be unable to protect(?) himself,! and whoever I find in my way, I will devour him piecemeal(?). The hnt-pelican will prophesy, the psdt-pelican will go up, the Great One’ will arise, the Enneads will speak, the earth being entirely dammed up;°! the borders? will be joined together, the river-banks will unite, the roads will be impassable to travellers,’ the slopes? will be destroyed for those who would go up.» — Utterance 254, en la parte que Faulkner rotula *The king threatens a general cataclysm if a place is not made for him*: si no se le hace lugar, el rey maldecirá a su padre Géb, la tierra callará y devorará a quien encuentre en su camino; la amenaza sigue con el pelícano que profetiza, las orillas que se unen y los caminos vueltos intransitables.

«Behold, she comes to meet you,'® does the Beautiful West, meeting you with her lovely tresses,» — la misma Utterance 254: la Bella Occidental viene al encuentro del rey con sus hermosas trenzas, y la nota de Faulkner adjudica el anuncio a Wr-skzt.

«O you female apes who cut off heads, I will escape safely from you; I have affixed my head to my neck, and my neck is on my trunk in this my name of Affixer-of-heads, by means of which I affixed the head of Apis on that day» — el discurso del rey en la Utterance 254: se declara a salvo de las monas que cortan cabezas porque él mismo se ha fijado la cabeza al cuello, en su nombre de Fijador-de-cabezas, con que fijó la cabeza de Apis; el tramo se corta en el límite de chunk y sigue con *when the ox was lassoed*.

«The Serpent of Praise on her sceptre?3 is my Tefénet?# whom Shu supports, she makes spacious my place in Busiris,?5 in Mendes,?® and in Djedut,?” she sets up my two standards in front of the Great Ones,! she excavates a pool for me in the Field of Rushes, she confirms my land in the two Fields of Offerings, and I give judgement in the heavens?’ between the two Contestants,» — la misma Utterance 254: la Serpiente de la Alabanza sobre su cetro es la Tefénet del rey, sostenida por Shu, que le ensancha el sitio en Busiris, Mendes y Djedut, le cava una alberca en el Campo de Juncos y le asegura la tierra, y él juzga en los cielos entre los dos Contendientes.

«I have protected myself from those who would do this against me, who would take away my food from me,!' who when it was in being would take my supper from me and who when it was in being would take the breath from my nose and who would bring to an end3° my days of life.» — la misma Utterance 254: el rey se declara protegido contra los que le quitarían la comida, la cena, el aliento de la nariz y los días de vida; la amenaza al difunto se enumera como privación concreta.

«The horizon! is censed for Horus of Nekhen;? a meal for the Lords! The horizon is censed for Horus of Nekhen, and the flame of its blast is against you who are behind the shrine, the outburst of its blast is against you who have raised up the Great One.» — Utterance 255, que Faulkner declara variante de la anterior: el horizonte se inciensa para Horus de Nekhen y el soplo de su llama va contra los que están tras el sagrario; la nota advierte que *horizon* es error del original por *uraeus*.

«O you hateful one, hateful of character and hateful of shape,! remove yourself from your place and lay your insignia of rank on the ground for me,‘ for if you do not remove yourself from your place or lay your insignia of rank on the ground for me, then I will come, my face being that of this Great One,5 the Lord of power who is strong through the injury which was done to him;» — la misma Utterance 255: al odioso se le manda ceder el sitio y poner en tierra sus insignias, y si no lo hace vendrá el rey con el rostro del Gran Uno, señor del poder, que es fuerte por la lesión que le hicieron; la fuerza viene de la herida.

«I will smite away the arms of Shu which support the sky and I will thrust my shoulder into that rampart on which you lean.! The Great One indeed will rise within his shrine and lay his insignia on the ground for me, for I have assumed authority and have power through understanding.» — cierre de la Utterance 255: el rey amenaza con derribar los brazos de Shu que sostienen el cielo, y declara que ha asumido la autoridad y que tiene poder por el entendimiento.

«There is tumult in the sky; ‘We see something new’, say the primeval gods. O you Ennead, Horus is in the sunlight, the possessors of forms make salutation to him, all the Two Enneads serve him,! for he sits on the throne of the Lord of All.» — Utterance 257, rotulada *The king is identified with the sun*: el tumulto en el cielo y la frase de los dioses primordiales enuncian la novedad como acontecimiento, y Horus queda en la luz del sol sobre el trono del Señor de Todo.

«The King takes possession of the sky, he cleaves its iron;! the King is conducted (on)? the roads to Khoprer,! the King rests in life in the West, and the dwellers in the Netherworld attend him. The King shines anew in the East, and he who settled the dispute will come? to him bowing. Make salutation, you gods, to the King, who is older than the Great One, to whom belongs‘ power on his throne;! the King assumes authority, eternity is brought to him and understanding is established at his feet for him. Rejoice’ at the King, for he has taken possession of the horizon.» — la misma Utterance 257: el rey toma posesión del cielo y hiende su hierro, reposa en el Occidente y vuelve a brillar en el Oriente; se le trae la eternidad y se le asienta el entendimiento a los pies.

«It is his sister the Lady of Pe who laments him, for the King is bound for the sky, the King is bound for the sky on the wind, on the wind! He will not be excluded, and there is nothing through which he can be excluded; there will be no session on him in the Tribunal of the God, for the King is unique(?),4 the eldest of the gods.» — Utterance 260: la hermana, la Señora de Pe, llora al rey, pero él va al cielo en el viento y no puede ser excluido ni habrá sesión sobre él en el Tribunal del Dios; la nota de Faulkner lee la ascensión como un torbellino de polvo.

«The King bestows powers and takes away powers, he imposes an obstacle and removes an obstacle,’ and the King spends day and night propitiating the Two Adzes*in Unu; his foot shall not be opposed nor his desire frustrated.» — la misma Utterance 260: el rey otorga y quita poderes, impone y retira obstáculos, y pasa día y noche propiciando a las Dos Azuelas en Unu.

«O Géb, Bull of the sky, I! am Horus, my father’s heir. I have gone and re- § 316 turned, the fourth of these four gods who have brought water, who have administered purification, who have rejoiced in the strength of their fathers; I desire to be vindicated by what I have done.» — Utterance 260, rotulada *The king claims his rights as Horus*: el rey se declara Horus y heredero de su padre, cuarto de los cuatro dioses que trajeron el agua y administraron la purificación, y desea ser vindicado por lo que hizo; el derecho se enuncia como reclamación en un pleito.

«I the orphan have had judge- § 317 ment with the orphaness,? the Two Truths have judged, though a witness was lacking. The Two Truths have commanded that the thrones of Géb shall revert to me, so that I may raise myself to what I have desired.» — la misma Utterance 260: el huérfano pleitea con la huérfana, las Dos Verdades juzgan pese a faltar testigo, y ordenan que los tronos de Géb reviertan al rey.

«My refuge is my Eye, my protection is my Eye, my strength is my Eye, § 320 my power is my Eye.! O you southern, northern, western, and eastern gods, § 321 honour me and fear me, for I have seated myself in the awning(?) of the Two Courtyards, and that fiery snake the dun-serpent would have burnt you, striking to your hearts.» — la misma Utterance 260: la cuádruple declaración pone refugio, protección, fuerza y poder en el Ojo del rey, y a los dioses de los cuatro puntos cardinales se les manda honrarlo y temerlo; las cifras tras § dentro del verbatim son los parágrafos marginales de Sethe, no folios.

«The King is a heart-tosser(?),' the favourite son of Shu, long-extended,? fierce of brilliance ;3 the King is a flame (moving) before the wind to the end of the sky and to the end of the earth when the hand of the lightning is voided of the King.! The King travels the air and traverses the earth, he kisses the Né-crown, (even he) whom the god cast forth.4! Those who are in the firmament(?)5 open their arms to him, the King stands on the eastern side of the celestial vault, there is brought to him a way of ascent to the sky,° and it is he who performs the errand of the storm.» — Utterance 261, rotulada *The king becomes a flash of lightning*: el rey es hijo favorito de Shu, llama que va delante del viento hasta el fin del cielo y de la tierra, y es él quien cumple el encargo de la tormenta.

«Be not unaware of me,! O God; If you know me, I will know you. (Be not unaware of me, O God; Of me it is said: ‘He who has perished.’)» — Utterance 262, rotulada *The gods are prayed to recognize the king*: el estribillo condiciona el conocimiento, si tú me conoces yo te conoceré, y empareja al dios con el nombre que del rey se dice, aquí el que ha perecido; los paréntesis son de Faulkner y marcan la estrofa que restituye.

«Be not unaware of me, O Thoth; If you know me, I will know you. Be not unaware of me, O Thoth; Of me it is said: ‘He who rests alone.’» — la misma Utterance 262: la serie se repite con Thoth, y el nombre que de él se dice es el que reposa solo; las estrofas dirigidas a Ré quedan fuera del verbatim porque el escaneo imprime ahí un guillemet.

«Behold, I have come; behold, I have come; behold, I have gone up on high,® but I have not come of myself ;7 there was brought a message which came for» — la misma Utterance 262: el rey declara que no vino por sí mismo, sino que le llegó un mensaje; la ascensión se presenta como convocatoria y no como iniciativa.

«Behold, I have reached the height of heaven,!? I have seen the Viper! in the Night-bark, and it is I who row in it; I have recognized the Uraeus in the Day-bark,'5 and it is I who baled it out;! the sun-folk have testified concerning me, the hailstorms of the sky have taken me, and they raise me up to Ré‘.» — cierre de la Utterance 262: el rey ha visto la Víbora en la barca nocturna y es él quien rema en ella, ha reconocido el Uraeus en la barca diurna y es él quien la achica, y las granizadas del cielo lo alzan hasta Ré.

«The reed-floats of the sky are set in place for Harakhti That Harakhti may cross on them to Ré<.» — Utterance 263, rotulada *The king ferries over the sky to Ré*: la estrofa se repite cuatro veces cambiando solo quién cruza, Ré, Harakhti y el propio rey, sobre las balsas de junco del cielo; solo una estrofa entra entera en el verbatim porque el escaneo imprime un guillemet en el nombre del dios.

«It is well with me and my double, I live with my double, my panther-skin is On me, my sceptre is in my arm, my baton is in my hand, and I rule(?)3 for myself those who have gone to it.» — la misma Utterance 263: el rey vive con su doble, lleva la piel de pantera, el cetro y el bastón, y rige a los que se han ido; la nota de Faulkner objeta la lectura de Sethe porque el papel del rey en el Más Allá es mandar, no obedecer.

«The Fields of Rushes are filled (with water), and I ferry across on the Winding Waterway ;! I am ferried over to the eastern side of the horizon, I am ferried over to the eastern side of the sky, and my sister is Sothis, my offspring is the dawn-light.» — cierre de la Utterance 263: el rey pasa el Curso de Agua Serpenteante hasta el lado oriental del cielo, y declara que su hermana es Sothis y su descendencia la luz del alba; Faulkner advierte en nota que en otros pasajes la descendencia es la Estrella de la Mañana.

«The Nurse-canal is opened, The Winding Waterway is flooded, The Fields of Rushes are filled with water, And I am ferried over thereon to yonder eastern side of the sky, To the place where the gods fashioned me, Wherein I was born, new and young.» — Utterance 264, variante de la 263: abierto el canal de la Nodriza, inundado el Curso Serpenteante y llenos los Campos de Juncos, el rey es transportado al sitio donde los dioses lo formaron y donde nació nuevo y joven.

«When there comes this time of the morrow, The time of the fifth day, The time of the sixth day, The time of the seventh day, The time of the eighth day, Summons is made to me by Ré¢, A meal is given to me by Nhbw-kw As Horus, as the horizon-dweller,» — la misma Utterance 264: la enumeración de los días quinto, sexto, séptimo y octavo fija el calendario de la convocatoria de Ré y de la comida que da Nhbw-kw.

«Lo, I stand up as this star which is on the underside of the sky, I give judgement as a god, having tried cases as a magistrate.! I have summoned them,? and these four gods who stand at the staffs of the sky? bring them to me that they may tell my name to Ré¢ and announce my name to Harakhti:» — la misma Utterance 264: el rey se levanta como estrella en la cara inferior del cielo y juzga como dios, habiendo instruido causas como magistrado, y los cuatro dioses de los báculos del cielo dicen su nombre a Ré.

«He’ has saved me from Kherty, he will never give me to Osiris, for I have not died the death,® I possess a spirit in the horizon and stability in Djedut.» — cierre de la Utterance 264: el rey declara que no murió la muerte, que posee espíritu en el horizonte y estabilidad en Djedut, y que nunca será entregado a Osiris.

«And they bring to me these four who pass by, wearers of the side-lock,» — Utterance 265, otra variante de la 263: los cuatro que pasan, con la trenza lateral, son traídos al rey para anunciar su nombre.

«And that they may announce my name, that of the good one, to Nhbw-krw. I am vindicated ; Rejoice over me, rejoice over my double! My sister is Sothis, my offspring is the Morning Star,» — cierre de la Utterance 265: los cuatro anuncian el nombre del rey a Nhbw-krw y, tras el estribillo de la vindicación, se declara que su hermana es Sothis y su descendencia la Estrella de la Mañana, y no la luz del alba de la Utterance 263; la divergencia queda sin armonizar en el propio volumen.

«You have your heart, O Osiris; you have your legs, O Osiris; you have your arms, O Osiris; (so too) my! heart is my own, my legs are my own, my arms are my own.! A stairway to the sky is set up for me that I may ascend on it to the sky, and I ascend on the smoke of the great censing.» — Utterance 267: lo que se afirma de Osiris se afirma en seguida del rey, corazón, piernas y brazos, y la escalera al cielo se sube sobre el humo del gran incensado.

«I fly up as a bird and alight as a beetle; I fly up as a bird and alight as a beetle on the empty throne which is in your bark,» — la misma Utterance 267: el rey vuela como pájaro y se posa como escarabajo sobre el trono vacío que está en la barca del dios solar; el nombre de Ré queda fuera del verbatim por el guillemet del escaneo.

«This King washes himself when Ré< appears, the Great Ennead shines forth, and He of Ombos is high at the head of the Conclave.' This King takes over the nobles as a limb in himself, this King takes hold of the Wrrt-crown from the hands of the Two Enneads.» — Utterance 268, rotulada *The king is crowned and enthroned in the Beyond*: el rey se lava cuando Ré aparece y toma la corona Wrrt de manos de las Dos Enéadas.

«Isis nurses him, Nephthys suckles him,' Horus accepts him beside him,! § 372 he purifies this King in the Jackal Lake,” he cleanses this King’s double in the Lake of the Netherworld,} he wipes over the flesh of this King’s double and of his own by means of that which is on the shoulders of Ré¢ in the horizon,* which he receives! when the Two Lands shine again and he clears» — la misma Utterance 268: Isis lo cría y Nephthys lo amamanta, Horus lo acoge a su lado y lo purifica en el Lago del Chacal y en el Lago del Netherworld con lo que está sobre los hombros de Ré, que la nota de Faulkner glosa, según Sethe, como el viento del alba.

«The fire is laid, the fire shines; § 376 The incense is laid on the fire, the incense shines. Your perfume comes to me, O Incense; May my perfume come to you, O Incense. Your perfume comes to me, you gods; § 377 May my perfume come to you, you gods. May I be with you, you gods; May you be with me, you gods. May I live with you, you gods; May you live with me, you gods. I love you, you gods;» — Utterance 269, rotulada *A censing prayer*: la oración del incienso empareja cada verso con su recíproco, el perfume que viene y el que va, el estar, el vivir y el amar; los *§ 376* y *§ 377* dentro del verbatim son los parágrafos marginales de Sethe.

«Here comes the ascender, here comes the ascender! Here comes the climber, here comes the climber! Here comes he who flew up, here comes he who flew up!3 I ascend upon the thighs of Isis, I climb up upon the thighs of Nephthys, § 380 My father Atum seizes my hand for me, And he assigns me to those excellent and wise gods, The Imperishable Stars.» — Utterance 269: el rey asciende sobre los muslos de Isis y trepa sobre los de Nephthys, y Atum le toma la mano y lo asigna a los dioses excelentes y sabios que son las Estrellas Imperecederas.

«O my mother Ipy, give me this breast of yours, that I may apply it to my § 382 mouth and suck this your white, gleaming, sweet milk.! As for yonder land in which I walk, I will neither thirst nor hunger in it for ever.» — la oración a la diosa hipopótamo Ipy dentro de la Utterance 269: el rey pide el pecho de su madre para mamar su leche blanca y dulce, y declara que en aquella tierra no tendrá sed ni hambre nunca.

«Awake in peace! O HAr-f-hz-f in peace! O M:-h:-f in peace! O Ferryman of the sky in peace! O Ferryman of Nit in peace! O Ferryman of the gods in peace!» — Utterance 270, rotulada *A summons to the celestial ferryman*: el saludo en paz se repite dirigido a Hár-f-hz-f, a M:-h:-f y al barquero del cielo, de Nit y de los dioses.

«There is no one living who makes accusation against me,‘ there is no one dead who makes accusation against me, there is no duck5 which makes accusation § 387 against me, there is no ox which makes accusation against me.» — la misma Utterance 270: el rey declara que nadie lo acusa, ni vivo, ni muerto, ni pato, ni buey; la negativa de acusación funciona como título para cruzar.

«If you do not ferry me over, I will leap up and put myself on the wing of Thoth, and he will ferry me over to yonder side.» — cierre de la Utterance 270: si el barquero no lo pasa, el rey saltará al ala de Thoth y será pasado igual; la amenaza es la forma en que el difunto negocia el paso.

«I' have inundated the land which came forth from the lake, I have torn out the papyrus-plant, I have satisfied the Two Lands, I have united the Two Lands, I have joined my mother the Great Wild Cow.» — Utterance 271, que Faulkner rotula como texto de ascensión: el rey ha inundado la tierra, arrancado el papiro, satisfecho y unido las Dos Tierras y se ha juntado con su madre la Gran Vaca Salvaje.

«and I ascend on this ladder which my father Ré¢ made for me. Horus and Seth take hold of my hands and take me to the Netherworld.» — la misma Utterance 271: el rey sube por la escalera que su padre Ré le hizo, y Horus y Seth le toman las manos y lo llevan al Netherworld; los dos rivales actúan aquí juntos.

«O Height which is not sharpened,! Portal of the Abyss, I? have come to you; let this be opened to me.’» — Utterance 272, rotulada *The king demands admission to the Beyond*: el rey se dirige al Portal del Abismo y pide que se le abra; el pasaje está escrito como diálogo con pregunta y respuesta.

«The sky is overcast,' The stars are darkened, The celestial expanses? quiver, The bones of the earth-gods tremble, The planets(?) are stilled,? For they have seen the King appearing in power* As a god who lives on his fathers And feeds on his mothers; The King is a master of wisdom Whose mother knows not his name.» — Utterances 273 y 274, el llamado himno caníbal: el cielo se nubla, las estrellas se oscurecen y tiemblan los huesos de los dioses de la tierra al ver al rey aparecer en poder como dios que vive de sus padres y se alimenta de sus madres.

«The King is the Bull of the sky, Who conquers(?) at will,® Who lives on the being of every god, Who eats their entrails(?), Even of those who come with their bodies full of magic From the Island of Fire.» — el mismo himno: el rey es el Toro del cielo que vive del ser de cada dios y come sus entrañas, aun las de los que vienen con el cuerpo lleno de magia desde la Isla del Fuego; lo que se come es la magia, no solo la carne.

«It is Shezmu!5 who cuts them up for the King And who cooks for him a portion of them On his evening hearth-stones ; It is the King who eats their magic And gulps down their spirits; Their big ones are for his morning meal, Their middle-sized ones are for his evening meal, Their little ones are for his night meal, Their old men and their old women are for his incense-burning; It is the Great Ones’® in the north of the sky Who set the fire for him To the cauldrons containing them With the thighs of their oldest ones.» — el mismo himno: Shezmu despieza a los dioses y los cocina, el rey come su magia y engulle sus espíritus, y el reparto sigue el tamaño, los grandes para la comida de la mañana, los medianos para la de la tarde, los pequeños para la de la noche y los viejos para el incensado.

«For the King is a great Power Who has power over the Powers; The King is a sacred image, The most sacred of the sacred images?° of the Great One, And whomsoever he finds in his way, Him he devours piecemeal(?).» — el mismo himno: el rey es un Poder que tiene poder sobre los Poderes y la más sagrada de las imágenes sagradas del Gran Uno, y devora a pedazos a quien encuentre en su camino.

«Lo, their souls are in the King’s possession, Their shades are (removed) from their owners, While the King is this one who ever appears and endures,”8 And the doers of (ill) deeds have no power to destroy The favourite place”? of the King among those who live in this land For ever and ever.» — cierre del himno caníbal, Utterances 273 y 274: las almas de los dioses quedan en poder del rey y sus sombras separadas de sus dueños, mientras el rey aparece y perdura y los que obran mal no pueden destruir su sitio preferido.

«The King has come to you, you falcons, for your Horus-mansions! are barred(?)? to the King.! His mrrk3 is on his hinder parts, of the hide(?)* of a baboon; the King opens the double doors, the King attains the limit of the horizon, the King has laid his msdts there on the ground, and the King becomes the Great One who is in Shedet.» — Utterance 275, rotulada *The king goes to the horizon*: el rey abre las puertas dobles, alcanza el límite del horizonte y llega a ser el Gran Uno que está en Shedet.

«Do against yourself what you can do against yourself, you zkzk-snake(?) who are in your hole(?), you hindrance!» — Utterance 276, primera de la segunda serie contra serpientes que Faulkner anuncia en la plana: el conjuro devuelve al animal su propia acción contra sí mismo.

«Horus fell because of his Eye, the Bull’ crawled away because of his testicles; § 418 Fall! Crawl away!» — Utterance 277: Horus cayó por su Ojo y el Toro se arrastró por sus testículos, y de ese precedente sale la orden a la serpiente.

«O Evil-doer, Evil-doer!! O you who creep, you who creep! Your face? be § 421 behind you! Beware of the Great Door !» — Utterance 280: al Malhechor que repta se le manda tener el rostro a la espalda y guardarse de la Gran Puerta.

«Indeed I dart this left thumb-nail of mine against you, I strike a blow’ with it on behalf of Min and the ékiw. O you who are wont to rob, do not rob.» — Utterance 283: el gesto ritual es la uña del pulgar izquierdo lanzada contra el animal, y el golpe se da en favor de Min y de los ikiw.

«That lion is within this lion, and [ fight the two bulls within the ibis.» — Utterance 284: el león está dentro del león y los dos toros dentro del ibis; Faulkner declara en nota que el conjuro es de lo más oscuro.

«O hki-snake, O hkrt-snake, go with your face on the path! O eye of mine, do § 429 not look at him! You shall not effect your errand against me; be off! Out of it!» — Utterance 288: se manda a las serpientes ir con el rostro en el camino y al propio ojo del que recita no mirarlas; el conjuro se vuelve también sobre quien lo dice.

«Get back, you hidden snake; hide yourself, do not let me see you. Get back, you hidden snake; hide yourself,' do not come to the place where I am, that I may not pronounce against you this your name of Nami son of Nmit.' The Majesty of the Pelican falls into the Nile; run away, run away! O monster, lie down!» — Utterance 293: a la serpiente escondida se le manda no venir al sitio donde está el rey, so pena de que él pronuncie su nombre, Nami hijo de Nmit; pronunciar el nombre es la amenaza.

«I am Horus who came forth from the acacia, who came forth from the acacia, to whom it was commanded: ‘Beware of the lion!’; to whom the command went forth: ‘Beware of the lion!’! I have come forth from my dnit-jar after having spent the night in my dnit-jar,' and I will appear in the morning.» — Utterance 294: quien recita se identifica con Horus salido de la acacia, a quien se mandó guardarse del león, y declara que pasó la noche en su jarra dnit y que aparecerá por la mañana.

«Mafdet leaps at the neck of the in-di-f-snake, she does it again at the neck of the serpent with raised head.'! Who is he who will survive? It is I who will survive.» — Utterance 295: Mafdet salta al cuello de la serpiente y la pregunta por quién sobrevivirá la contesta el propio recitante.

«R€¢ arises, his uraeus upon him, against this snake which came forth from § 442 the earth and which is under my fingers. He will cut off your (sic) head with this knife which is in the hand of Mafdet who dwells in the Mansion of Life.!! He will draw out those things which are in your mouth,? he will draw off § 443 your poison with these four cords which belong to} the sandals of Osiris. O monster, lie down! O bull, crawl away!» — Utterance 298: Ré se alza con su uraeus contra la serpiente, y Mafdet le corta la cabeza con el cuchillo y le saca el veneno con las cuatro cuerdas de las sandalias de Osiris; el *(sic)* es de Faulkner y marca el cambio de persona del original.

«The serpent is in the sky, the centipede of Horus is on earth. Horus has(?) § 444 sandals' when he treads down the Lord of the Mansion, the Bull of the Cavern.” O snt-snake, I will not be opposed !3 My sycamore is his sycamore, my refuge is his refuge, and whomsoever I shall find in my way, him I will devour piecemeal(?).» — Utterance 299: se repite el reparto entre cielo y tierra de la Utterance 240, y el recitante declara que su sicomoro y su refugio son los del dios y que devorará a pedazos a quien encuentre en su camino.

«O Kherty of Nezat,' ferryman of the 7kht-bark which Khnum made, bring me § 445 this,? for I am Sokar of Rostau,? I am bound for the place where dwells Sokar who presides over Pdw-§.» — Utterance 300, que Faulkner rotula como texto de barquero: quien pide el paso se identifica con Sokar de Rostau y declara su destino, el sitio donde mora Sokar.

«You have your offering-bread, O Niu and Nénet, You two protectors(?)! of the gods Who protect the gods with your” shadow. You have your offering-bread, O Amiin and Amaunet, You two protectors(?) of the gods Who protect the gods with your shadow.» — Utterance 301, rotulada *An address to the primeval gods*: las parejas primordiales Niu y Nénet, Amún y Amaunet reciben su pan de ofrenda y son nombradas protectoras de los dioses con su sombra.

«You have your offering-bread, O Atum and Ruti, Who yourselves created your godheads and your persons. O Shu and Tefénet who made the gods, Who begot the gods and established the gods:» — la misma Utterance 301: Atum y Ruti crearon ellos mismos su divinidad y su persona, y Shu y Tefénet hicieron, engendraron y asentaron a los dioses.

«Cleanse the King, make the King bright in this your Jackal-lake, O Jackal, in which you cleansed the gods. You have power, you have effectiveness, O Horus, Lord of the green stone! Four times—Two green falcons.» — Utterance 301: se pide al Chacal limpiar al rey en su Lago del Chacal, el mismo en que limpió a los dioses, y se invoca a Horus como Señor de la piedra verde; la rúbrica de cuatro veces y la ofrenda de dos halcones verdes cierran la fórmula.

«My seat is with you, O Ré¢, and I will not give it to anyone else;! I will ascend to the sky to you, O Ré‘, for my face is that of falcons, my wings are those of ducks, my talons are the fangs of Him of the Cerastes-Mountain.» — Utterance 302, en la parte que Faulkner rotula *The king flies to the sky like a bird*: el rey reclama su asiento junto a Ré y describe su cuerpo compuesto, rostro de halcón, alas de pato y garras que son los colmillos del de la Montaña de la Cerasta.

«There is no word against me on earth among men, there is no accusation in the sky among the gods, for I have annulled the word against me, which I destroyed in order to mount up to the sky.! Wepwawet has caused me to fly up to the sky among my brethren the gods. I use my arms as a goose, I flap my wings as a kite; the flier flies, O men, I fly away from you.» — la misma Utterance 302: el rey declara anulada toda palabra contra él en la tierra y toda acusación en el cielo, y es esa anulación la que le permite subir; Wepwawet lo hace volar y él bate las alas como milano.

«Hail to you, Bull of R&é¢ who has four horns, a horn of yours in the west, § 470 a horn of yours in the east, a horn of yours in the south, and a horn of yours in the north! Bend down this western horn of yours for me that I may pass.’» — Utterance 304, rotulada *The king climbs to the sky on a ladder*: al Toro de Ré de cuatro cuernos, uno por cada punto cardinal, se le pide bajar el del oeste para que el rey pase.

«A ladder is knotted together by Ré¢ before Osiris, a ladder is knotted together § 472 by Horus before his father Osiris when he goes to his spirit, one of them being on this side and one of them being on that side, while I am between» — Utterance 305: la escalera la anudan Ré y Horus ante Osiris, uno a cada lado, y el rey queda en medio; el tramo se corta en el límite de chunk y sigue con *them*.

«‘Stand up, O King’, says Horus. ‘Sit down, O King’, says Seth. “Take his hand,’4 says Ré<.» — la misma Utterance 305: las tres órdenes contrarias de Horus, Seth y Ré se consignan una tras otra sin armonizarlas, cada una con su hablante nombrado.

«The spirit is bound for the sky, the corpse is bound for the earth, and what men receive when they are buried is its thousand of bread and its thousand of beer upon the altar of the Foremost of the Westerners.' Poor’ is the heir who has no document, so he® writes with a big finger and does not write with a little finger.» — el texto funerario general que Faulkner separa dentro de la Utterance 305: el espíritu va al cielo y el cadáver a la tierra, y lo que los hombres reciben al ser enterrados son sus mil panes y sus mil cervezas; la nota declara que este pasaje es distinto de lo anterior, y así lo lee ya Sethe.

«‘How lovely to see! How pleasing to behold! say they, namely the gods, when this god ascends to the sky, when you! ascend to the sky! with your power upon you, your terror about you, and your magic at your feet.» — Utterance 306, texto de ascensión: los dioses celebran la subida del rey, que lleva el poder encima, el terror alrededor y la magia a los pies.

«An Onite (character) is in me,! O God; your Onite (character) is in me, O God ;? an Onite (character) is in me, O Ré‘; your Onite (character) is in me, O Re. My mother is an Onite, my father is an Onite,! and I myself am an Onite, born in On when Ré¢ was ruler of the Two Enneads and the ruler of the plebs was Nefertem, (even I) who have no equal, the heir of my father Géb.» — Utterance 307, rotulada *The king declares his right to join the gods*: el rey funda su derecho en el origen heliopolitano, madre, padre y él mismo de On, nacido cuando Ré regía las Dos Enéadas.

«As for any god who shall thrust out his arm3 when my face turns to you that I may worship you and call upon you on my body, O God, on my nose, O God:* he shall have no bread, he shall have no offering-loaf in the company of his brethren the gods;» — la misma Utterance 307: al dios que estorbe al rey se le castiga con la privación del pan y del pan de ofrenda entre sus hermanos los dioses.

«Hail to you, Horus in the Horite Mounds! Hail to you, Seth in the Sethite Mounds! Hail to you, Iaru in the Field of Rushes! § 488 Hail to you, you Two who are reconciled,' You two daughters of the four gods who preside over the Great Mansion, You who come forth at the voice to me,” being naked, § 489 For I have looked on you as Horus looked on Isis,* I have looked on you as the Snake looked on the Scorpion,’ I have looked on you as Sobk looked on Neith,° I have looked on you as Seth looked on the Two who are reconciled.» — Utterance 308, rotulada *The king greets the gods*: la letanía saluda a Horus, a Seth y a Iaru y luego a las Dos reconciliadas, y cierra con cuatro versos de mirada que la nota de Faulkner refiere todos a la relación de hijo y madre.

«I sit before him,! I open his boxes, I break open his edicts, I seal his dispatches, I send out his messengers who do not grow weary, and I do what he says to me.» — Utterance 309, rotulada *The king as secretary to the sun-god*: el rey se sienta ante el dios, abre sus cajas, rompe sus edictos, sella sus despachos y envía sus mensajeros que no se cansan; el papel que reclama es administrativo.

«O you whose vision is in his face and whose vision is in the back of his head, | bring this to me!’ § 494 ‘Which ferry-boat shall be brought to you?» — Utterance 310: el rey convoca al barquero celeste, que ve por delante y por detrás de la cabeza, y el barquero pregunta qué barca ha de traerle; el pasaje está escrito como diálogo.

«I belong to those that know you, so § 495 know me.? If my lord ascends, I will not forget the boon which is given;» — Utterance 311, rotulada *The king requests recognition by the sun-god*: el rey declara pertenecer a los que conocen al dios y le pide que lo conozca, de modo que el conocimiento sea recíproco; la petición inicial de ser visto queda fuera del verbatim por el guillemet del escaneo; la cifra tras § dentro del verbatim es el parágrafo marginal de Sethe, no un folio.

«I will not be blind if you put me in darkness, I will not be deaf even though I do not hear your voice;! take me with you, with you, (even I) who § soo drive away storms for you, who dispel the clouds for you, and who break up the hail for you.» — la misma Utterance 311: el rey se ofrece como quien aparta las tormentas, disipa las nubes y rompe el granizo para el dios; la petición se acompaña de un servicio.

«There flies the bread, there continues to fly the bread, to my mansions, the Mansions of the Nt-crown.» — Utterance 312, que Faulkner rotula como conjuro de alimento: el pan vuela por sí mismo hacia las mansiones del rey.

«The phallus of Babi is drawn back,! the doors of the sky are opened, the King has opened [the doors of the sky]? because of the furnace-heat which is beneath what the gods pour out.! What Horus lets slip(?), what Horus lets slip(?), the King lets slip(?) there into this furnace-heat which is beneath what the gods pour out. They make a road for the King that the King may pass on it, for the King is Horus.» — Utterance 313, rotulada *The sky is opened to the king*: las puertas del cielo se abren y los dioses hacen camino al rey porque el rey es Horus; Faulkner declara en nota que el pasaje entero es sumamente oscuro.

«Here am I,' O ien-baboon, O hyaena, O prtt-baboon; my death is at my own § 50s desire, my honour is upon me, I make acclamation? and rejoicing(?), and I will sit among you,» — Utterance 315, rotulada *The king greets the celestial baboons*: el rey declara que su muerte es a su propio deseo y que se sentará entre los babuinos.

«I' have come today? from out of the waters of the flood; I am Sobk, green of § 507 plume, watchful of face, raised of brow, the raging one who came forth from the shank and tail of the Great One* who is in the sunshine.» — Utterance 317, rotulada *The king becomes the crocodile-god Sobk*: el rey se identifica con Sobk, verde de pluma, vigilante de rostro y alzado de ceja, salido de la pierna y la cola del Gran Uno.

«I appear as Sobk son of Neith, § s10 I eat with my mouth, I urinate and copulate with my phallus, I am the owner of seed? who takes women from their husbands whenever’? he wishes, according to his desire.» — la misma Utterance 317: el rey come con su boca, orina y copula con su falo, y se declara dueño de la simiente que toma a las mujeres de sus maridos cuando quiere; llamada de nota de Faulkner pegada al cuerpo, releída en el crudo.

«[The King is a serpent, the Bull who leads],! who swallowed his seven uraei and his seven neck-vertebrae came into being, [who gives orders] to the seven Enneads which hear the word of the monarch.» — Utterance 318 en la versión del testigo W: el rey es una serpiente que tragó sus siete uraei, de donde salieron sus siete vértebras del cuello, y da órdenes a las siete Enéadas.

«The King has come that he may inhale myrrh, that the King may accept myrrh, for his nostrils(?) are (full) of myrrh, his finger-nail is (full) of myrrh.” The King takes away your power,? you gods; serve the King when he confers* your powers.» — la misma Utterance 318: el rey inhala mirra y con ella toma el poder de los dioses, a quienes manda servirle; el *(sic)* que Faulkner pone en la versión paralela marca la contradicción del original.

«The King is the Bull with radiance in the midst of his eye, the King’s mouth is hale through the fiery blast and the King’s head through the horns of the Lord of Upper Egypt,! the King controls? the god, the King has power over the Ennead, the King makes lapis-lazuli grow, the King makes the twnplant of Upper Egypt sprout up.» — Utterance 319, rotulada *The king is identified with the sun-god*: el rey tiene el resplandor en medio del ojo, domina al dios y a la Enéada, y hace crecer el lapislázuli y brotar la planta twn; span() une el guion de fin de renglón de *twn-plant* y el verbatim sale *twnplant*, donde el impreso separa las dos mitades.

«Humble(?)* yourselves, you lords; hide yourselves, you common folk, from before the King, for the King is Babi, Lord of the night sky, Bull of the baboons’ who lives on those who do not know him.» — Utterance 320: se manda a los señores humillarse y a la gente común esconderse, porque el rey es Babi, Señor del cielo nocturno, Toro de los babuinos, que vive de los que no lo conocen.

«The King speaks: 1! have bathed with Ré< in the Lake of Rushes. The priest replies: Horus will rub your flesh, O King; Thoth will rub your feet.2 O Shu, raise up} the King; O Nit, give your hand to the King.» — Utterance 323, texto de lustración: el rey declara haberse bañado con Ré en el Lago de Juncos y el sacerdote responde que Horus le frotará la carne y Thoth los pies; Faulkner reparte las dos voces con rótulo propio; llamada de nota de Faulkner pegada al cuerpo, releída en el crudo.

«Tell my? name here(?)* to Horus,! for I have come’ with hair-spittle for this hair of his,6 which is ill at [the beginning of] the months? and which is bald at the beginning of the half-months.» — Utterance 324, rotulada *The king comes to Horus as a healer*: el rey llega con saliva de cabello para el cabello de Horus, enfermo al comenzar los meses y calvo al comenzar los medios meses; la nota de Faulkner declara que escupir es medio curativo de la medicina popular.

«The doors of the sky [are opened], The doors of the firmament are thrown open at dawn for Horus of the Gods. He goes up into the Field of Rushes, He bathes in the Field of Rushes.» — Utterance 325, texto de lustración: la estrofa se repite cambiando solo el dios para quien se abren las puertas del firmamento al alba, Horus de los Dioses, Harakhti, Horus del Este y al final el propio rey.

«I am pure, I take to myself my iron bones, [I] stretch out [for myself] my imperishable limbs which are in the womb of my mother Nit.! O Ré<, give me your hand, for Shu takes me to be ‘Companion of Shu’, and I have sucked the milk of the two black cows, the nurses of the Souls of On.» — la misma Utterance 325: el rey toma sus huesos de hierro y sus miembros imperecederos que están en el vientre de su madre Nit, y declara haber mamado la leche de las dos vacas negras nodrizas de las Almas de On.

«I am a holy one who is in the forefront, who lifts the brow, a star to whom the gods bow, at whom the Two Enneads tremble, and it is my hand which will raise me up.» — Utterance 328, rotulada *The king becomes a star*: el rey es un santo a quien los dioses se inclinan y ante quien tiemblan las Dos Enéadas, y es su propia mano la que lo alzará.

«I am! this one who escaped from the coiled serpent,” I have ascended in a blast of fire, having turned myself about. The two skies go to me, the two earths come to me,} I have trodden on the green krd-plant which is under the feet of Géb, I have travelled* the roads of Nit.» — Utterance 332, texto de ascensión: el rey escapó de la serpiente enroscada y ascendió en un soplo de fuego, y los dos cielos van a él y las dos tierras vienen a él; la nota de Faulkner objeta la lectura de Sethe y prefiere el homenaje del cielo y de la tierra.

«I have! cleansed myself upon the earth-hill whereon Ré¢ cleansed himself, I place the stairway(?), I set up the ladder, and those who are in the West? grasp my hand.» — Utterance 333, texto de lustración: el rey se limpia en el mismo montículo en que Ré se limpió, coloca la escalinata, alza la escalera y los del Oeste le toman la mano.

«The sky thunders, the earth quakes, because of the dread of you, O Osiris, § 549 when you ascend.' O you milch-cows who are here,' you nursing cows who § 550 are here, go round about him, beweep him, lament him, mourn him when he ascends and goes to the sky among his brethren the gods.» — Utterance 337, texto de ascensión: el cielo truena y la tierra tiembla por el pavor de Osiris al ascender, y a las vacas lecheras y nodrizas se les manda rodearlo, llorarlo y hacer duelo por él; las cifras tras § dentro del verbatim son los parágrafos marginales de Sethe, no folios.

«I have come to you, you Old One; may you turn back to me as the east wind is turned back behind the west wind; may you come! to me as the north wind comes after the south wind. Recitation: Set down.» — Utterance 340: el retorno del Viejo se pide por comparación con el modo en que el viento del este cede al del oeste y el del norte sigue al del sur.

«Hail to you," immortal she-hippopotamus!!? [Have] you [come] against me as an immortal she-hippopotamus? I have wrenched away'3 one of the two sceptres of Horus from you» — la misma Utterance 324: el rey saluda a la hipopótama inmortal y declara haberle arrancado uno de los dos cetros de Horus; el tramo se corta en el límite de chunk y sigue con el golpe.

«Hail to you, you [monstrous] she-ass! Have you come against me as a monstrous!’ she-ass? I have struck you with the tail [which grows(?)]'® in the Lake of Osiris.» — la misma Utterance 324: al asna monstruosa el rey la golpea con la cola que crece en el Lago de Osiris; la nota de Faulkner lee esa cola como metáfora de una planta.

«Hail to you, Bull of bulls, when you rise!! I? grasp you by your tail, I grip you by the root of your tail(?)» — Utterance 336, rotulada *An address to the sun-god*: el rey agarra al Toro de los toros por la cola y por su raíz cuando se alza; la nota de Faulkner discute el determinativo y lee ahí la raíz de la cola.

«Hail to you, greatest of the gods! Receive me, for I belong to you,’ and your heart is glad. As for my corpse,® it is rejuvenated.» — la misma Utterance 336: el rey se declara propiedad del dios mayor y declara rejuvenecido su propio cadáver.

«My kilt which is on me is Hathor, my plume is a falcon’s plume, and indeed I will ascend to the sky among my brethren the gods.» — Utterance 335, texto de ascensión: el faldellín del rey es Hathor y su pluma es pluma de halcón, y con eso subirá al cielo entre sus hermanos los dioses; el verso inicial, con la cinta tomada de la frente de Ré, queda fuera del verbatim por el guillemet del escaneo.

«O Hunger, do not come for me;! go to the Abyss, depart to the flood! [ am § ss: satisfied, I am not hungry by means of this kmhw-bread of Horus which I have eaten, which my chief woman has prepared for me,» — Utterance 338, primera del bloque que Faulkner rotula *Here begins a series of food-spells*: al Hambre se le manda irse al Abismo, y el rey se declara saciado con el pan kmhw de Horus que preparó su mujer principal; el *§ ss2* dentro del verbatim es el parágrafo marginal leído mal por el escaneo.

«Shu, I will not be hungry by reason of Tefénet; Hapy, Duamitef, Kebhsenuf, and Imsety will expel this hunger which is in my belly and this thirst which is on my lips.» — la misma Utterance 338: son Hapy, Duamitef, Kebhsenuf e Imsety, los cuatro hijos de Horus, quienes expulsarán el hambre del vientre y la sed de los labios.

«The spirits are in Pe, the spirits are indeed! in Pe, the spirits will continue to be in Pe, and my? spirit is in Pe. The flame is red, the Beetle is alive,3 and men are glad;» — Utterance 346: la fórmula repite en cuatro tiempos que los espíritus están en Pe y sitúa ahí el del rey, y declara roja la llama y vivo el Escarabajo; la nota de Faulkner recoge de Sethe que ese simbolismo se refiere a la vida continuada del rey.

«The King’s! mouth is as incense, the King’s lips are as myrrh. Descend, O King, into the field of your double,» — Utterance 347: la boca y los labios del rey se igualan al incienso y a la mirra, y se le manda descender al campo de su doble.

«O you who stride out greatly,’ strewing green-stone, malachite, turquoise of(?)? the stars, if you are green, then will the King be green, (even as) a living rush is green.» — Utterance 350, rotulada *The king flourishes as a growing plant*: la condicional ata el verdor del rey al del que esparce piedra verde, malaquita y turquesa de las estrellas.

«A vulture has become pregnant [with] the King in the night at your horn, O contentious(?) cow. If you are green, then will the King be green, (even as) a living rush is green.» — Utterance 351, rotulada *The king is reborn*: un buitre queda preñado del rey en la noche junto al cuerno de la vaca, y se repite la condicional del verdor.

«O King, your head is knit to your bones for you, and your bones are knit to your head for you. The doors of the sky are opened to you, the great bolts are drawn back for you, the brick is drawn out of the great tomb for you! Your face is that of a jackal, your tail is that of a lion, you sit on this throne § 573 of yours and give orders to the spirits. You come to me, you come to me, indeed you come to me as Horus who protects his father Osiris,! and I am § 574 your wt-Inpw priest.' You set your arm over the land, while your ready fighter? is in the Great Mound, and you go to and fro in it among the spirits. Stand up, raise yourself up like Osiris.» — Utterance 355, texto de resurrección: la cabeza y los huesos del rey se anudan entre sí, se abren las puertas del cielo y se saca el ladrillo de la gran tumba; el rey tiene rostro de chacal y cola de león y da órdenes a los espíritus, y quien habla se declara su sacerdote wt-Inpw.

«Géb has brought your two sisters to your side for you, namely Isis and Nephthys; Horus has caused the gods to join you, so that they may be brotherly to you in your name of ‘Snwt-shrines’,3 and not reject’ you in your name of “Two Conclaves’.» — Utterance 356, rotulada *Horus and Géb support the king against Seth*: Géb trae a Isis y Nephthys al lado del rey y Horus hace que los dioses se le unan, y cada acto va atado a un nombre del rey.

«Horus indeed has a soul, and he recognizes his father in you in your name of ‘Soul of the King’s litter(?)’ ;5 Nit has placed you as a god to Seth in your name of ‘God’; your mother Nit has spread herself over you in her name of St-pt;» — la misma Utterance 356: Horus reconoce a su padre en el rey, Nit lo pone como dios frente a Seth y su madre Nit se extiende sobre él en su nombre de St-pt.

«O Osiris the King, mount up to Horus, betake yourself to him, do not be far from him.' Horus has come that he may recognize you; he has smitten Seth for you bound, and you are his fate(?).3 Horus has driven him off for you, for you are greater than he ;+! he swims bearing you;5 he lifts up one who is greater than he in you, and his followers have seen you, that your strength is greater than his, so that they cannot thwart® you.! Horus comes and recognizes his father in you, you being young in your name of ‘Fresh Water’ ;7 Horus has split open your mouth for you.» — Utterance 357: Horus reconoce al rey, somete a Seth atado y lo lleva a cuestas, y los seguidores de Seth ven que la fuerza del rey es mayor y no pueden estorbarlo.

«O First-born of Shu,' your knotted bonds are loosed by? the two Lords of the Abyss.» — Utterance 358, rotulada *The dead king is freed from his wrappings*: los dos Señores del Abismo desatan las ligaduras anudadas del difunto.

«Horus has cried out because of his Eye, Seth has cried out because of his testicles, and there leaps up the Eye of Horus, who had fallen on yonder side of the Winding Waterway, so that it may protect itself from Seth. Thoth saw it on yonder side of the Winding Waterway when the Eye of Horus leapt up on yonder side of the Winding Waterway and fell on Thoth’s wing on yonder side of the Winding Waterway.» — Utterance 359, rotulada *The king crosses to the Beyond*: el Ojo de Horus salta al otro lado del Curso Serpenteante para protegerse de Seth y cae sobre el ala de Thoth.

«O you gods who cross over on the wing of Thoth to yonder side of the Winding Waterway, to the eastern side of the sky, in order to dispute with Seth about this Eye of Horus:! I will cross! with you upon the wing of Thoth to yonder side of the Winding Waterway, to the eastern side of the sky, and I will dispute with Seth about this Eye of Horus.» — la misma Utterance 359: el rey declara que cruzará con los dioses sobre el ala de Thoth y que disputará con Seth por el Ojo de Horus, en primera persona y en los mismos términos que ellos.

«O Height which is not sharpened,! gate of the sky, I am? Shu who came forth from Atum. O Nu, let these (gates) be opened for me, for behold I have come, a god-like soul.» — Utterance 360, que Faulkner declara variante de la 272: aquí quien pide que se abran las puertas se identifica con Shu salido de Atum y se declara alma semejante a un dios.

«Nu has commended the King! to Atum, the Open-armed has commended the King to Shu, that he may cause? yonder doors of the sky to be opened for the King, barring} (ordinary) folk who have no name. Grasp the King by his hand and take the King to the sky, that he may not die on earth among men.» — Utterance 361: Nu encomienda al rey a Atum y el de brazos abiertos a Shu para que le abran las puertas del cielo, cerradas a la gente común que no tiene nombre, y se le tome de la mano para que no muera en la tierra entre los hombres.

«O my! father, O my father in darkness! O my father Atum in darkness! Fetch me to your side,! so that I may kindle a light for you and that I may protect you, even as Nu protected these four goddesses on the day when they protected the throne, namely Isis, Nephthys, Neith, and Selket-hetu.» — Utterance 362, que Faulkner rotula como la oración a Atum en cuanto sol nocturno: el rey pide ser llevado al lado del dios para encender una luz y protegerlo, como Nu protegió a las cuatro diosas que guardaron el trono.

«O Way of Horus, make ready your tent for me,! make ready your arms for me. O R&‘, come and ferry me over to yonder side even as you ferried over your attendant Weneg whom you love.! If you set your hand to the West, you will set your hand on me; if you set your hand to the East, you will set your hand on me, just as you did for the bnty-ape your eldest son.» — Utterance 363, rotulada *The king crosses the river of death*: el rey pide a Ré pasarlo a la otra orilla como pasó a su servidor Weneg, y la fórmula del Este y del Oeste hace que la mano del dios caiga sobre él en cualquier caso.

«Nephthys has collected all your members for you in this her name of ‘Seshat, Lady of Builders’. (She)® has made them hale for you, you having been given to your mother Nut in her name of ‘Sarcophagus’,”? she has embraced you in her name of ‘Coffin’, and you have been brought to her in her name of “Tomb’.» — Utterance 364, de la serie de cuatro textos de resurrección: Nephthys recoge los miembros del rey como Seshat Señora de los Constructores, y Nut lo recibe con sus tres nombres de Sarcófago, Ataúd y Tumba.

«Raise yourself, O King; run, you who are greatly strong. You shall sit at the head of the gods, you shall do this which Osiris did in the Mansion of the Prince’ which is in On. Receive your dignity, for your foot will not be obstructed in the sky, you will not be opposed on earth,! for you are a spirit whom Nit bore, whom Nephthys suckled, and they put you together. Arise in your strength and do what formerly you used to do,! for you are more spirit-like than all the spirits. You shall go? to Pe and find him whom you will meet there;? you shall return to Nekhen and find him whom you will meet there;! you shall do what Osiris did, for you are he who is upon his throne.» — Utterance 365: el rey ha de hacer lo que hizo Osiris en la Mansión del Príncipe en On, y se declara más espiritual que todos los espíritus; la nota de Faulkner objeta la lectura hostil y sostiene que solo se le manda visitar a los dioses de Pe y de Nekhen.

«O Osiris the King, Géb brings Horus to you that he may protect you and bring to you the hearts of the gods; may you neither languish nor groan. Horus has given to you his Eye that you may take possession of the Wrrt-crown by means of it at the head of the gods.' Horus has reassembled your limbs and he has put you together, and nothing in you shall be disturbed.! Thoth has laid hold of your foe for you, he having been decapitated together with those who are in his following, and he? will have no mercy on him.» — Utterance 367: Géb trae a Horus para proteger al rey y traerle los corazones de los dioses, Horus le da su Ojo para que tome la corona Wrrt, y Thoth le prende al enemigo ya decapitado.

«O Werkaf, butler of Horus, Master of the Hall of Ré‘, Elder of the Palace of Ptah, give me a sufficiency that I may eat according as you give, (even) a sufficiency of my meat.» — Utterance 349: la petición de alimento va dirigida a Werkaf, copero de Horus, Amo de la Sala de Ré y Anciano del Palacio de Ptah, y el rey pide comer conforme a lo que aquel dé.

«O Osiris the King, stand up! Horus has caused you to stand up, for Géb has caused Horus to see his father in you in your name of ‘Mansion of the Monarch’.! Horus has given you the gods, he has caused them to go up to you that they may make you glad; Horus has given you his Eye that you may see with it.» — Utterance 369, rotulada *Horus restores the king*: Géb hace que Horus vea a su padre en el rey, y Horus le da su Ojo para que vea con él.

«O Osiris the King, awake! Horus has caused Thoth to bring your foe to you, he' has set you on his? back that he may not thwart you; take your place upon him,! go up and sit on him, do not let him escape from you. Go down, being holier than he, and set danger against him.» — Utterance 372: el enemigo se convierte en asiento y en montura del rey, que ha de sentarse sobre él y no dejarlo escapar.

«Barley is threshed for you, emmer is reaped for you, and offering thereof is made at your monthly festivals, offering thereof is made at your half-monthly festivals, being what was commanded to be done for you by your father Géb. Rise up, O King, for you have not died!» — Utterance 373: se trilla cebada y se siega escanda para el rey, con ofrenda en sus fiestas mensuales y quincenales por mandato de Géb, y la Utterance cierra negando la muerte.

«Be great,! O King! Ferry over, O King! May your name be notified to Osiris. Your foot is great, your foot is mighty, so traverse the Great Bed;? you will [not] be seized by the earth-gods, you will not be opposed by the starry» — Utterance 374, rotulada *The king travels the Beyond unhindered*: el pie del rey es grande y poderoso, y ni los dioses de la tierra lo prenderán ni el cielo estrellado lo estorbará.

«The great centipede goes down, having cursed Him of the Mansion, and He of the Mansion is cursed by the centipede.» — Utterance 381: la maldición se devuelve entre el ciempiés y el de la Mansión, en la misma forma recíproca que el resto de la serie.

«This hand of mine which comes against you is the hand of the Great Fetterer! who dwells in the Mansion of Life. He whom she grips will not live; he whom she strikes, his head will not remain affixed. Fall! Crawl away!» — Utterance 384: la mano que viene contra la criatura es la de la Gran Encadenadora de la Mansión de la Vida, y a quien ella agarra no vivirá y a quien golpea no le quedará la cabeza fija.

«Ré¢ appears against you, Horus draws his nine bows against this spirit which has come out of the earth with head cut off and tail truncated, (namely) the dsr-snake Ddi son of Selket-hetu.» — Utterance 385: Ré aparece contra la serpiente y Horus tensa sus nueve arcos contra el espíritu salido de la tierra, nombrado con su genealogía, Ddi hijo de Selket-hetu.

«listen to me,? listen to the earth, listen to your father Geb; if you do not listen to me, you will hear my brand which will be(?) on your head.» — la misma Utterance 385: la orden de escuchar se dirige a la serpiente, a la tierra y al padre Geb, y si no escucha oirá la marca de hierro sobre su cabeza.

«Where is' Horus, who escaped from the snt-snake? Behold me, I am Horus who escaped from the srt-snake and ran. No messenger has been given to him,” his boy has been taken from him. As for the snake ‘Festal of phallus’ ,? Horus has shattered his mouth with the sole of his foot.» — Utterance 388: la pregunta por Horus la responde el propio recitante identificándose con él, y Horus aplasta la boca de la serpiente llamada Festiva de falo con la planta del pie.

«My eye! is on you, O you who are in your cavern! Drag yourself off,2 O you god in it, from before me! I am the Great Maiden; he whom I see will not live; he on whom my eye falls, his head will not remain in place. O sriw-snake, crawl away! O you who are in the nswt-bush, turn over!» — Utterance 389: quien recita se declara la Gran Doncella y afirma que a quien vea no vivirá y a quien alcance su ojo no le quedará la cabeza en su sitio; llamada de nota de Faulkner pegada al cuerpo, releída en el crudo.

«‘Down on your face! Be dragged off! This foot of mine [which I put on you] is the foot of Mafdet; this hand of mine which I lay on you is the hand of Mafdet who dwells in the Mansion of Life.! I strike you on your face so that § 686 your venom may fail [. . .j| your jaw. O siw-snake, lie down! O nrw-snake, crawl away!’» — Utterance 390: el pie y la mano que se ponen sobre la serpiente son los de Mafdet, y la nota de Faulkner declara que aquí el rey habla a la serpiente, que a su vez lo interroga.

«Your sycamore be your grain, your grain be your sycamore! Your tail be on § 689 your! mouth, O Snt-snake! Turn, turn yourself about, O Great Bull!» — Utterance 393: el conjuro cruza sicomoro y grano en los dos sentidos y manda a la serpiente ponerse la cola en la boca.

«If the King be hungry, the Double Lion will be hungry; if the King be thirsty, Nekhbet will be thirsty.» — la misma Utterance 400: el hambre y la sed del rey se hacen hambre y sed del León Doble y de Nekhbet; la coacción sobre los dioses funciona por solidaridad de suerte.

«I' have come from Pe, redder than fire, more alive than the Beetle; I have seen the Great Serpent, I have received the Great Serpent, my glance falls on the Great Serpent. Authority has bowed his head to me, and I cross his canal with my serpent behind me.» — Utterance 401, rotulada *The king is alive*: el rey viene de Pe más rojo que el fuego y más vivo que el Escarabajo, y la Autoridad le ha inclinado la cabeza.

«My! seat with Géb is made spacious, my star is set on high with Ré¢, I travel to and fro in the Fields of Offerings, for I am that Eye of Ré¢ which spends the night and is conceived and born every day.» — Utterance 402, rotulada *The king becomes the new-born sun*: el rey se declara el Ojo de Ré que pasa la noche y es concebido y nacido cada día.

«I! am you and you are I.! Rejoice at me and rejoice at my double, for if you shine in me, I will shine in you; make me hale and I will make you hale; make me flourish and I will make you flourish,» — Utterance 405, rotulada *The king is the eye of the sun-god*: la identidad entre el rey y el dios se enuncia en los dos sentidos y se sigue en cuatro pares recíprocos, brillar, sanar y prosperar.

«Horus has split open your eye for you that you may see with it in its name of ‘Opener of Roads’; your foe is smitten by the children of Horus, they have made bloody his beating, they have punished him, he having been driven off, and his smell is evil.» — Utterance 369: el ojo del rey se abre con el nombre de Abridor de Caminos, y a su enemigo lo golpean los hijos de Horus hasta dejarlo sangrante y maloliente.

«O Osiris the King, Horus has placed you in the hearts of the gods, he has caused you to take possession of all that is yours.’ Horus has found you, and it goes well with him through you. Go up against your foe, for you are greater than he in your name of ‘Pr-wr-shrine’.» — Utterance 371: Horus pone al rey en el corazón de los dioses y lo hace ir contra su enemigo bajo el nombre del santuario Pr-wr.

«You are the father of Horus who begot him in your name of ‘Begetter’, and Horus is glad at you in your name of ‘Foremost of the Westerners’.» — la misma Utterance 371: el rey es padre de Horus bajo el nombre de Engendrador y objeto de su alegría bajo el de Primero de los Occidentales; cada acto va atado a un nombre.

«Your water is in the sky, your thousands are on earth.» — Utterance 379: el conjuro entero es un solo verso que reparte el agua en el cielo y los millares en la tierra; Faulkner declara intraducible lo que sigue.

«It is the sailors who row Ré<, and it is they who will row me; it is the sailors who convey Ré‘ round about the horizon, and it is they who will convey me round about the horizon.» — la misma Utterance 407: los mismos marineros que reman para Ré remarán para el rey y lo llevarán en torno al horizonte.

«O you double Horus who presides over the houses, Lord of provisions, Great One in On, give the» — Utterance 400, conjuro de alimento: al doble Horus que preside las casas y Gran Uno en On se le pide dar; el tramo se corta en el cambio de plana y sigue en la p. 145 con el pan y la cerveza del rey.

«I purify myself,' I assume my pure throne which is in the sky, I will endure» — Utterance 407, rotulada *The king takes his place in the Beyond*: el rey se purifica y toma su trono puro en el cielo; el tramo se corta antes del nombre de la Barca de Ré, donde el escaneo imprime un guillemet.

«The King is the Bull of the Ennead,! possessor of five meals, three in the sky and two on earth; it is the Night- and Day-barks which convey this to the King from the nn-shrine? of the god.! Filth is the King’s detestation, he rejects urine? and will not drink it, the King lives on the tree of sweet things and the censing which is on earth.» — Utterance 409, conjuro de alimento: el rey tiene cinco comidas, tres en el cielo y dos en la tierra, y la suciedad es su detestación; vive del árbol de las cosas dulces y del incensado que hay en la tierra.

«O flesh of the King, do not decay, do not rot, do not smell unpleasant. Your foot will not be overpassed, your stride will not be overstridden, you shall not tread on the corruption of Osiris.» — Utterance 412, texto de resurrección: la orden va dirigida a la carne misma del rey, que no ha de pudrirse ni oler mal, y se le prohíbe pisar la corrupción de Osiris.

«You shall reach the sky as Orion, your soul shall be as effective as Sothis ; have power, having power ; be strong, having strength; may your soul stand among the gods as Horus who dwells in Trw.» — la misma Utterance 412: el rey alcanzará el cielo como Orión y su alma será eficaz como Sothis; los dos astros dan la medida de lo que ha de llegar a ser.

«May the terror of you come into being in the hearts of the gods like the Nt-crown which is on the King of Lower Egypt, like the Mizwt-crown which is on the King of Upper Egypt, like the tress which is on the vertex of the Mntw-tribesmen.» — la misma Utterance 412: el terror que el rey inspire a los dioses se mide por tres insignias, la corona Nt, la corona Mizwt y la trenza de los del pueblo Mntw.

«Raise yourself, O King! You have your water, you have your inundation, you have your milk which is from the breasts of Mother Isis.» — Utterance 413: el agua, la inundación y la leche de los pechos de la madre Isis son lo que el rey ya posee al levantarse.

«awake, O King, raise yourself, receive your head, gather your bones together, shake off your dust,! and sit on your iron throne, so that you may eat the foreleg, devour the haunch, and partake of your rib-joints in the sky in company with the gods.» — la misma Utterance 413: el rey ha de recibir su cabeza, juntar sus huesos, sacudirse el polvo y sentarse en su trono de hierro para comer con los dioses.

«Hail to you, Tait, who are upon the lip of the Great Lagoon, who reconciled the god to his brother! Do you exist, or do you not? Will you exist or will you not?!! Guard the King’s head, lest it become loose; gather together the King’s bones, lest they become loose, and put the love of the King into the body of every god who shall see him.» — Utterance 415, oración a la diosa del tejido: a Tait se le pregunta si existe o no y se le pide guardar la cabeza del rey, juntar sus huesos y poner el amor del rey en el cuerpo de todo dios que lo vea.

«While(?) the Great One sleeps upon his mother Nit, your mother Tait clothes you, she lifts you up to the sky in this her name of ‘Kite’. He whom she has found! is her Horus; here is your Horus, O Isis; take his hand to Ré¢ at the horizon.» — Utterance 417, rotulada *The king is clothed*: Tait viste al rey y lo alza al cielo en su nombre de Milano, y a Isis se le pide llevar de la mano a su Horus hasta Ré en el horizonte.

«Hail to you, Unguent! Hail to you who are on the brow of Horus, which Horus has placed on the vertex of his father Osiris! I place you on the vertex of my father the King» — Utterance 418, alocución al ungüento sagrado: el oficiante repite sobre el rey el gesto que Horus hizo sobre Osiris, poner el ungüento en la coronilla del padre.

«Arms are linked for you, feet dance for you, hands are waved? for you.! Isis has grasped your hand and she inducts you into the baldachin. The land is covered(?),3 the mourners wail.» — Utterance 419: los brazos se enlazan, los pies bailan y las manos se agitan por el rey, e Isis lo toma de la mano y lo introduce bajo el baldaquino.

«The doors are opened because of those whose seats are hidden; arise, remove your earth, shake off your dust, raise yourself,! that you may travel in company with the spirits, for your wings are those of a falcon, your gleam(?) is that of a star, the night-demon(?)* will not bend over you, your heart (ib) will not be taken away, your heart (hety) will not be carried off.» — la misma Utterance 419: el rey ha de quitarse la tierra y sacudirse el polvo, y con alas de halcón y brillo de estrella queda a salvo de que le arrebaten el corazón.

«O King, go, that you may be a spirit and have power as a god, as the successor § 752 of Osiris ;! you have your soul within you, you have your power about you, §7s3 you have your Wrrt-crown upon you, you have your Mizwt-crown upon your shoulder.» — Utterance 422, rotulada *The king becomes a spirit*: el rey ha de ser espíritu y tener poder como dios en cuanto sucesor de Osiris, con su alma dentro, su poder alrededor y las dos coronas encima.

«Ascend to your mother Nuit; she will take your § 756 hand and give you a road to the horizon, to the place where Ré¢ is. The doors of the sky are opened to you, the doors of the firmament are thrown open to you,» — la misma Utterance 422: la madre Nut toma de la mano al rey y le da un camino al horizonte, al sitio donde está Ré, y las puertas del cielo y del firmamento se le abren.

«O King, receive this your cold water, for you have coolness with Horus in your name of ‘Him who issued from cold water’. Receive your natron that you may be divine, for Nit has caused you to be a god to your foe in your name of ‘God’.» — Utterance 423, que Faulkner declara tomada del Ritual de Ofrenda: la misma fórmula del agua fría y del natrón que abría el volumen en la Utterance 33, ahora dentro de otra serie; el volumen reimprime así sus propias fórmulas.

«O Osiris the King, may you be protected! I give! to you all the gods, their § 77s heritages, their provisions, and all their possessions, for you have not died.» — Utterance 425: se dan al rey todos los dioses, sus herencias, sus provisiones y sus posesiones, y la razón que da el texto es que no ha muerto.

«O Osiris the King, appear! as King of Upper and Lower Egypt, because you § 776 have power over the gods and their spirits.» — Utterance 426, rotulada *The king assumes the kingship*: el rey aparece como Rey del Alto y Bajo Egipto porque tiene poder sobre los dioses y sus espíritus; la nota de Faulkner objeta la lectura de Sethe porque no tiene sentido decirle al rey que ya apareció.

«O Nit, fall over your son Osiris the King, protect him, O Great Protectress, (even) this great one who is among your children.» — Utterance 428, de la serie de alocuciones a la diosa del cielo Nit: se le pide caer sobre su hijo y protegerlo como Gran Protectora.

«You are violent, moving about in your mother’s womb in your (sic) name of Nit.» — Utterance 430: la diosa se mueve violenta en el vientre de su madre; el *(sic)* es de Faulkner y marca el cambio de persona que el original imprime.

«O Great One! who came into being in the sky, you have achieved power,” you have achieved strength,’ and have filled every place with your beauty; the entire land is yours. Take possession of it, for you have enclosed the earth and all things within your embrace, and you have set this King as an Imperishable Star who is in you.» — Utterance 432: la diosa ha llenado todo lugar con su belleza, ha encerrado la tierra y todas las cosas en su abrazo y ha puesto al rey como Estrella Imperecedera dentro de ella.

«You have taken to yourself every god who possesses his bark, that you may install(?)? them in the starry sky, lest they depart from you as stars. Do not let this King be far from you in your name of ‘Sky’.» — Utterance 434: la diosa instala en el cielo estrellado a cada dios con su barca para que no se aparten de ella como estrellas, y se le pide no alejar de sí al rey.

«Awake for Horus! Arise against Seth! Raise yourself as Osiris, as a spirit, the son of Géb, his first-born! You arise as Anubis who is on the baldachin,! the Ennead tremble at you, the three-day festival’ is celebrated for you, you are pure for the New Moon, your appearing is for the monthly festival, the Great Mooring-post? calls to you as to Him who stands up and cannot tire, who dwells in Abydos.» — Utterance 437, texto de resurrección: el rey se alza como Osiris y como Anubis, la Enéada tiembla, y su aparición queda atada al calendario, la fiesta de tres días, la luna nueva y la fiesta mensual.

«O earth, hear this which the gods have said! Ré‘ speaks, he makes a spirit of this King, who receives his spirit-form in front of the gods as Horus son of Osiris; he gives him his spirit which is among the Watchers of Pe, he ennobles him as a god who is among the Watchers of Nekhen.» — la misma Utterance 437: Ré hace del rey un espíritu que recibe su forma espiritual ante los dioses como Horus hijo de Osiris.

«I am Satis who takes possession of the Two Lands, the Burning One who receives her two shores; I' have gone up to the sky and found Ré¢ standing that I might meet him;! I will seat? myself beside him, and Ré¢ will not permit that I put myself on the ground, for he knows that I am greater than he, I am more spirit-like* than the spirits,» — Utterance 439, rotulada *The king is identified with the goddess Satis*: el rey habla como Satis, sube al cielo, encuentra a Ré de pie y se sienta a su lado, y declara que Ré sabe que él es mayor que él.

«This is an intact garment which Horus made for his father Osiris.» — Utterance 416: la Utterance entera es una sola frase que declara la vestidura intacta y obra de Horus para su padre Osiris.

«The earth is hacked up, the offering is presented! to you before you. May you go on that road whereon the gods go.'! Turn yourself about that you may see this offering which the King has made for you, which the Foremost of the Westerners has made for you; may you go to those northern gods the Imperishable Stars.» — Utterance 441, conjuro de ofrenda: el rey ha de volverse para ver la ofrenda que se le hace y luego ir hacia los dioses del norte, las Estrellas Imperecederas.

«O Nit, the eyes have gone forth! from your head, you have carried off Horus and his greatly-magical, you have carried off Seth and his greatly-magical. O Nit, you have mustered your children in your name of Lady? of On. Assign this King to life, lest he perish.» — Utterance 443, de las cuatro dedicadas a la diosa del cielo Nit: la diosa se llevó a Horus y a Seth con su gran magia, y se le pide asignar al rey a la vida.

«O Thoth, reassemble me,' that what is on me may cease to be.» — Utterance 448, oración a Thoth: la Utterance entera es una sola petición de ser recompuesto para que cese lo que está sobre él.

«O King, stand up, don the Eye of Horus, receive it upon yourself, that it may be joined to you and joined to your flesh;! that you may go forth in it, that the gods may see you clad in it. “Take the great Wrrt-crown’, says the Great Ennead of On.» — Utterance 453, rotulada *The king is clothed*: el Ojo de Horus se lleva puesto y unido a la carne, y la Gran Enéada de On manda tomar la gran corona Wrrt.

«O King, you have enclosed every god within your arms, their lands and all their possessions. O King, you are great and round! as the circle which surrounds the H7w-nbwt.» — Utterance 454, rotulada *The king embraces all lands in his authority*: el rey ha encerrado a cada dios en sus brazos y es grande y redondo como el círculo que rodea a los H7w-nbwt.

«The canals are filled, the waterways are flooded by means of the purification which issued from Osiris. O you sm-priest, you patrician, you ten great ones of the Palace, you ten great ones of On,! you Great Ennead, sit down and see the purification of my father this King as one purified with zmn and with natron,» — Utterance 455, texto de purificación: canales y cursos de agua se llenan con la purificación que salió de Osiris, y se convoca al sacerdote sm, a los patricios y a las dos decenas de grandes a ver la purificación del rey.

«whoever really knows it, this utterance of R&‘, and recites them, these spells of Harakhti, he shall be the familiar of Ré‘, he shall be the companion of Harakhti.» — Utterance 456: la eficacia se enuncia como condición de saber y recitar, y quien conozca y recite estas fórmulas será familiar de Ré y compañero de Harakhti; en seguida el texto declara que el rey lo sabe y lo recita.

«O King, receive this pure water of yours which issued from Elephantine,! § 864 your water from Elephantine, your bd-natron from 7rw,? your hzmn-natron from the Oxyrhynchite nome, your incense from Nubia.» — Utterance 459, rotulada *The king is restored to life*: cada materia del rito lleva su procedencia geográfica, el agua de Elefantina, el natrón bd de Trw, el natrón hzmn del nomo oxirrinquita y el incienso de Nubia.

«May you sit on § 865 your iron throne, your forepart being that of a jackal and your hinder part being that of a falcon; may you devour the haunch from upon the slaughter-block of Osiris and rib-pieces from upon the slaughter-block of Seth.» — la misma Utterance 459: el rey se sienta en su trono de hierro con la parte delantera de chacal y la trasera de halcón, y come de los tajos de Osiris y de Seth; la cifra tras § dentro del verbatim es el parágrafo marginal de Sethe, no un folio.

«O King, may you ascend as the Morning Star, may you be rowed as the Lake-dweller,! may those who are in the Abyss be afraid of you, may you § 872 give orders to the spirits.» — Utterance 461, rotulada *The king becomes a star*: el rey asciende como Estrella de la Mañana y los del Abismo han de temerlo.

«The doors of the sky are opened for you, the doors of the firmament are thrown open for you, that you may travel by boat to the Field of Rushes,| §874 that you may cultivate barley, that you may reap emmer and prepare your sustenance therefrom like Horus the son of Atum.» — la misma Utterance 461: abiertas las puertas, el rey navega al Campo de Juncos para cultivar cebada y segar escanda y hacer de ahí su sustento; el más allá se describe como trabajo agrícola.

«Your wind is incense, your north wind is smoke, you are great in the § 877 Thinite nome, you are this Lone Star which comes forth from the east of the sky, and who will never surrender himself to Horus of the Netherworld.» — Utterance 463: el viento del rey es incienso y su viento del norte es humo, y es la Estrella Solitaria que sale del este del cielo y nunca se entregará a Horus del Netherworld.

«O you gods of the horizon who are in the limit of the sky, if you wish that § 879 Atum should live, that you should smear on oil, that you should don clothing and receive your pk-cakes,'! then take my hand and place me in the Field of § 88 Offerings, for you have caused me to be a spirit among the spirits, you have caused me to have might among the gods.» — Utterance 465, rotulada *The king demands a place in the Beyond*: la petición se plantea como trato condicionado, si los dioses quieren que Atum viva y recibir sus tortas, han de tomar la mano del rey y ponerlo en el Campo de Ofrendas; la cifra tras § dentro del verbatim es el parágrafo marginal de Sethe, no un folio.

«here am I,3 O Ré‘; I am your son, I am a soul, I am strong, I am mighty, active of arms and far-striding.» — Utterance 467, texto de ascensión: el rey responde punto por punto a lo que Ré declaró desear en un hijo, alma, fuerza, poder, brazos activos y zancada larga; llamada de nota de Faulkner pegada al cuerpo, releída en el crudo.

«Someone flies up, I fly up from you, O men; I am not for the earth, I am for the sky.» — la misma Utterance 467: el rey se declara no de la tierra sino del cielo, y lo dice volando ante los hombres.

«O King, whose form is as mysterious as that of Anubis, receive your jackal-face. The Herdsman waits upon you,» — Utterance 468: el rey recibe rostro de chacal y se le declara tan misterioso de forma como Anubis.

«O King, be a soul like the Souls of On! Be a soul like the Souls of Nekhen! Be a soul like the Souls of Pe! Be a soul like a living star at the head of its brethren!» — la misma Utterance 468: la serie de imperativos empareja el alma del rey con las Almas de On, de Nekhen y de Pe y con una estrella viva a la cabeza de sus hermanas.

«I know! my mother, I have not forgotten my mother the White Crown, splendid and stout, dwelling in Nekheb, Lady of the Pr-wr, Lady of the Land of Pastures(?),? Lady of the Secret Land, Lady of the Field of Fishers, Lady of the Valley of the Blessed.» — Utterance 470: el rey declara conocer y no haber olvidado a su madre la Corona Blanca, y la nombra con toda su serie de títulos territoriales.

«‘O Bull of Offerings, bend down your horn and let me pass’, say I. ‘Where are you going ?’!° ‘I am going to the sky"! that I may see my father, that I may see Ré’, say I.» — la misma Utterance 470: el paso se pide al Toro de las Ofrendas y el destino se declara en el diálogo, ir al cielo a ver al padre y ver a Ré.

«O Nit, if you live, then the King will live.» — Utterance 445: la Utterance entera es una sola condicional que ata la vida del rey a la de la diosa.

«She will protect you, she will prevent you from lacking, she will give you your head, she will reassemble your bones for you, she will join together your members for you, she will bring your heart into your body for you,! that you may be at the head of those who are at your feet, that.you may give orders to those who are in your presence, that you may perpetuate your house after you,” and that you may prevent your children from mourning.» — Utterance 450: la protectora devuelve al rey la cabeza, le junta los huesos y los miembros y le trae el corazón al cuerpo, para que perpetúe su casa e impida el duelo de sus hijos; la misma fórmula se imprime dos veces en el volumen, en las Utterances 446 y 450, y se ancla aquí en la segunda.

«O you who are high exalted among the Imperishable Stars, you shall never» — Utterance 464, que Faulkner declara apéndice de la anterior: la Utterance entera es una sola frase que niega la perecibilidad del rey entre las Estrellas Imperecederas.

«‘O my son,’ says she,® ‘take my breast and suck it,’ says she, ‘that you may live,’ says she,” ‘and be little (again)’, says she.» — la misma Utterance 470: la Corona Roja responde ofreciendo el pecho para que el rey viva y vuelva a ser pequeño; el diálogo va marcado con *say I* y *says she* en cada frase, y así lo imprime Faulkner.

«The reed-floats of the sky are set down for Ré¢ by the Day-bark That Ré¢ may cross on them to Harakhti at the horizon. The reed-floats of the sky are set down for Harakhti by the Night-bark That Harakhti may cross on them to Ré¢ at the horizon. The reed-floats of the sky are brought down to me! by the Day-bark That I may go up on them to Ré< at the horizon. The reed-floats of the sky are brought down to me by the Night-bark That I may go up on them to Harakhti at the horizon. I go up on this eastern side of the sky where the gods were born, and I am born as Horus, as Him of the horizon;! I am vindicated and my double is vindicated; Sothis is my sister, the Morning Star is my offspring.» — Utterance 473, rotulada *The king crosses the celestial river*: la estrofa se reparte entre la barca diurna y la nocturna, y el rey nace en el lado oriental del cielo como Horus del horizonte, con Sothis por hermana y la Estrella de la Mañana por descendencia.

«I sit at the head of the Great Conclave and give orders to the spirit whose mouth is the owner of equipment; I sit on the bank of the Lake of Shshk and I give orders to the spirit whose mouth is the owner of equipment.» — la misma Utterance 473: el rey se sienta a la cabeza del Gran Cónclave y en la orilla del Lago de Shshk, y en los dos sitios da órdenes al espíritu de boca equipada.

«‘How lovely to see!’ says she, namely Isis; ‘How pleasing to behold!’ says she, namely Nephthys, to my father,! to the King,' when he ascends to the sky among the stars, among the Imperishable Stars. His power is on him, his terror is about him, his magic is at his feet,! and he goes thereby to his mother Nit, he ascends? upon her in this her name of ‘Ladder’.» — Utterance 474, variante de la 306: aquí la exclamación se reparte entre Isis y Nephthys nombradas, y el rey asciende sobre su madre Nit en el nombre de ella de Escalera.

«Ahoy, Ferryman! Bring this to Horus, bring his Eye; bring this to Seth, bring § 946 his testicles!! There leaps up the Eye of Horus who fell in the east side of § 947 the sky,’ and I? will leap up with it, I will travel3 in the east side of the sky,» — Utterance 475, texto de barquero: lo que se manda traer es el Ojo a Horus y los testículos a Seth, y el rey salta con el Ojo que cayó en el lado oriental del cielo.

«O Keeper of the Way, Warden of the Great Portal, bear witness concerning me? to these two great and mighty gods, because I am Weneg, son of Ré‘, who supports the sky, who guides the earth and judges the gods.» — Utterance 476: el rey pide testimonio al Guardián del Camino y se declara Weneg hijo de Ré, el que sostiene el cielo, guía la tierra y juzga a los dioses.

«Scribe, scribe, smash your palette, break your pens, tear up your rolls!! O Ré<, expel him from his place and set me in his place, that I may be fortunate, bearing the staff. O R&‘, expel him from his place’and set me in his place,5 for I am he.» — la misma Utterance 476: la orden al escriba de romper su paleta, sus plumas y sus rollos precede a la petición de que Ré expulse al otro de su sitio y ponga ahí al rey, porque él es él.

«The sky reels, the earth quakes, Horus comes, Thoth appears, they raise Osiris from upon his side» — Utterance 477, rotulada *Osiris is raised from the dead*: el cielo se tambalea y la tierra tiembla, y Horus y Thoth alzan a Osiris de su costado.

«Now let the ladder of the god be given to me, let the ladder of Seth be given to me, that I may ascend on it to the sky and escort Ré<¢ as a divine guardian(?)® of those who haye gone to their doubles.» — Utterance 478: el rey reclama la escalera del dios y la de Seth, las mismas que se dieron a Osiris, para subir al cielo y escoltar a Ré.

«The doors of the sky are opened, The doors of the firmament are thrown open for Horus of the Gods; He goes forth at dawn and bathes! in the Field of Rushes. The doors of the sky are opened, The doors of the firmament are thrown open for Horus of the East; He goes forth at dawn and bathes in the Field of Rushes.» — Utterance 479, texto de lustración: la misma estrofa se repite cambiando solo el dios para quien se abren las puertas, Horus de los Dioses, Horus del Este, Horus de Shezmet y Osiris.

«How lovely to see, how uplifting to behold, when this god ascends to the sky just as Atum, father of the King,! ascends to the sky! His soul is upon him, his magic is about him, the dread of him is at his feet.» — Utterance 480, otra versión de la 306: el ascenso del rey se equipara al de Atum, con el alma encima, la magia alrededor y el pavor a los pies.

«I ferry across in order that I may stand on the east side of the sky in its northern region among the Imperishable Stars, who stand at their staffs and sit(?)* at their East;! I will stand among them, for the Moon is my brother, § 1001 the Morning Star is my offspring; put your hand on me, that I may live.» — Utterance 481, convocatoria al barquero: el rey queda entre las Estrellas Imperecederas del norte, y declara que la Luna es su hermano y la Estrella de la Mañana su descendencia.

«You shall ascend to the sky, you shall become Wepwawet,! your son Horus will lead you on the celestial ways; the sky is given to you, the earth is given to you, the Field of Rushes is given to you in company with these two great gods who come out of On.» — Utterance 482: el rey llega a ser Wepwawet, su hijo Horus lo conduce por los caminos celestes, y se le dan el cielo, la tierra y el Campo de Juncos.

«A boon which Anubis grants: the im:-tree shall serve you, the zizyphus-tree shall bow its head to you, you shall circumambulate the sky like Zwntw.» — Utterance 483: el don de Anubis pone a los árboles al servicio del rey, el im: sirviéndolo y el azufaifo inclinando la cabeza.

«O Horus who is upon the sdsd, give me! your hand that I may ascend to the § 1036 sky, to Nit. (O Nit,) set your hand on me with life and dominion, that you may assemble my bones and collect my members.» — Utterance 485C: el rey pide la mano de Horus para subir al cielo y la de Nit con vida y dominio para que le junte los huesos y le reúna los miembros.

«Hail to you, you waters which Shu brought, which the two sources lifted up, § 1039 in which Géb bathed his limbs. Hearts (bw) were pervaded with fear, hearts (h3tyw) were pervaded with terror | when I! was born in the Abyss before the § 1040 sky existed, before the earth existed, before that which was to be made firm existed, before turmoil existed, before that fear which arose on account of the Eye of Horus existed.» — Utterance 486, alocución a las aguas del Nilo: el rey declara haber nacido en el Abismo antes de que existieran el cielo, la tierra, lo que había de afirmarse, el tumulto y el miedo nacido por el Ojo de Horus.

«I am! the essence of a god, the son of a god,” the messenger of a god; I have come that I may bathe in the Field of Rushes and that I may go down to the» — Utterance 471, texto de ascensión: el rey se declara esencia de un dios, hijo de un dios y mensajero de un dios, y viene a bañarse en el Campo de Juncos.

«Sharpen your knife, O Thoth, which is keen and cutting, which removes heads and cuts out hearts!! He will remove the heads and cut out the hearts» — Utterance 477, en la parte que Faulkner rotula *The king serves Osiris*: el cuchillo de Thoth, agudo y cortante, quita cabezas y saca corazones a quienes se oponen al rey.

«I have come to you, my lord,® I have come to you, Osiris; I will wipe your face, I will clothe you with the clothing of a god, I will do you priestly service in Djedit.» — la misma Utterance 477: el rey ofrece lavar el rostro de Osiris, vestirlo con ropa de dios y servirle como sacerdote en Djedit; la fórmula se repite tres veces cambiando solo el lugar y el servicio.

«As for any god who will take me! to the sky, may he live and endure; bulls shall be slaughtered for him, forelegs shall be cut off for him, and he shall ascend to the Mansion of Horus which is in the sky;» — Utterance 485, texto de ascensión: al dios que lleve al rey al cielo se le promete vida, toros sacrificados y ascenso a la Mansión de Horus; a continuación el texto niega esos bienes al que no lo lleve.

«O my father the King, be a spirit in the horizon, be enduring in Djedit; may you give orders at the head of the living for ever.! Rise up on your left side, put yourself on your right side, and receive this your bread which I have given! to you, for I am your son and heir.» — Utterance 487, conjuro de ofrenda: quien ofrece funda su derecho a hacerlo en el parentesco, por ser hijo y heredero del rey.

«O King, free course is given to you by Horus, you flash! as the Lone Star in the midst of the sky; you have grown wings as a great-breasted falcon, as a hawk seen in the evening traversing the sky.» — Utterance 488, texto de ascensión: al rey se le da curso libre, destella como Estrella Solitaria y le crecen alas de halcón de gran pecho, como gavilán visto al atardecer.

«Hail to you who are in control of abundance, who guard provisions, who sit § 1059 in front of the Green Field beside the Lord of the sunlight: may you cause me? to eat of the grain? which grew there, like Osirist on the Great Flood.» — Utterance 493, del bloque de cuatro conjuros de alimento: la petición va dirigida a quien controla la abundancia y guarda las provisiones junto al Señor de la luz del sol.

«Hail to you, Food! Hail to you, Abundance! Hail to you, Grain! Hail to you, Flour!» — Utterance 496: el saludo se dirige por su nombre al Alimento, la Abundancia, el Grano y la Harina, tratados como destinatarios.

«Awake, Osiris! awake, O King! Stand up and sit down, throw off the earth § 1068 which is on you! I come and give you [the Eye of] Horus; may it belong(?)» — Utterance 498: se manda al rey despertar, alzarse y sacudirse la tierra que tiene encima, y se le da el Ojo de Horus.

«Sothis goes forth? clad in her brightness(?),3 she censes* the bright ones(?)5 who are among them.® The striking powers of the city are quiet,’ the region is content. I have prepared a road that I may pass on it(?),® namely(?) what Meref? foretold in On.» — Utterance 502A, que Faulkner rotula *Sothis is active*: la estrella sale vestida de su brillo e inciensa a los brillantes, y quedan quietos los poderes de la ciudad.

«The sky is opened, the earth is opened, the apertures of the celestial windows § 1078 are opened, the movements of the Abyss are revealed(?),! the movements of the sunlight are released, by that One who endures every day.» — Utterance 503, texto de ascensión: se abren el cielo, la tierra y las aberturas de las ventanas celestes, y quien lo hace es el que perdura cada día.

«I am back to back with those gods in the north of the sky, § 1080 the Imperishable Stars; (therefore) I will not perish—the Inexhaustibles, (therefore) I will not become exhausted» — la misma Utterance 503: el rey se pone espalda contra espalda con las Estrellas Imperecederas y saca de ahí su propia imperecibilidad, dicha en dos consecuencias paralelas.

«O Thorn-bush, remove yourself from my road,! so that I may take for myself the southern region of the Field of Rushes.» — Utterance 504: el estorbo que se aparta es una zarza, nombrada y tratada como interlocutor.

«Wepwawet opens a way for me, Shu lifts me up, the Souls of On set up a stairway for me in order to reach the Above, and Nit puts her hand on me just as she did for Osiris on the day when he died.» — Utterance 505: Wepwawet abre camino, Shu alza al rey, las Almas de On le ponen una escalinata y Nit le pone la mano como hizo con Osiris el día en que murió.

«‘I have come from swert,3 my companion(?) is the serpent which came forth from the god, the uraeus which came forth from Ré¢,! Ferry me over and put me down at the Field of Rushes ; these four spirits who are with me are Hapy, Duamitef, Imsety, and Kebhsenuf, two on one side and two on the other.» — texto de barquero dentro de la Utterance 505: el rey declara su compañía, la serpiente salida del dios y los cuatro espíritus Hapy, Duamitef, Imsety y Kebhsenuf, dos a cada lado.

«O men and gods, your arms under me! Lift me up, raise me to the sky, just as the arms of Shu are under the sky when he raises it. To the sky! To the sky! To the great throne among the gods!» — Utterance 506: la orden de alzar al rey se compara con los brazos de Shu bajo el cielo cuando lo levanta.

«Someone ascends, I' ascend; the Mistress of Dep rejoices and she who dwells § 1107 in Nekheb is glad on that day on which I ascend to my place,» — Utterance 508: el ascenso del rey se enuncia primero en tercera persona y en seguida en primera, y las diosas de Dep y de Nekheb se alegran ese día.

«She will have compassion on me and will give me her § 1109 breast that I may suck it; ‘My son,’ says she, ‘take this breast of mine and suck it’, says she; ‘turn about, O you who have not yet come to the number of your days.» — la misma Utterance 508: el uraeus vivo, llamado madre del rey, le da el pecho y le habla como a un niño que aún no ha llegado al número de sus días.

«My father, I have come to these two mothers of mine, the two vultures long of hair and pendent of breasts who are on the Mountain of Shsh,! that they may extend their breasts to my mouth and never wean me.» — la misma Utterance 508: el rey nombra madres a los dos buitres de largo pelo y pechos colgantes de la Montaña de Shsh y pide no ser destetado nunca.

«I will lift up my hand to the sun-folk, and the gods will come‘ bowing, with the two great gods watchful beside them;! they will find me among the Two Enneads, doing judgement. ‘He is the magistrate of all magistrates’, say they of me, and they have installed me among the Two Enneads.» — Utterance 509: el rey queda instalado entre las Dos Enéadas impartiendo juicio, y son ellos quienes lo llaman magistrado de todos los magistrados.

«The earth is hacked up for me, the oblation is offered for me;° I appear as King, my dignity is mine, my throne is mine; I cross the Ptrty-water, I travel the Winding Waterway,» — Utterance 510: el rey aparece como Rey con su dignidad y su trono propios, y cruza el agua Ptrty y el Curso Serpenteante.

«Géb laughs, Nut shouts for joy’ before me? when I ascend to the sky.! The sky thunders} for me, the earth quakes for me, the hail-storm is burst apart+ for me, and I roar as does Seth.» — Utterance 511, rotulada *The king goes to the sky in an earthquake*: Géb ríe y Nut grita de alegría, el cielo truena, la tierra tiembla y el granizo se abre, y el rey ruge como Seth.

«It is said: ‘Say that which is, do not say that which is not,! for the god detests falsity(?) of words.’» — la misma Utterance 511: la máxima citada dentro del texto manda decir lo que es y no decir lo que no es, y da por razón que el dios detesta la falsedad de las palabras.

«Be pure; occupy your seat in the Bark of Ré‘, row over the sky and mount § 1171 up to the distant ones; row with the Imperishable Stars, navigate with the Unwearying Stars,! receive the freight of the Night-bark.» — Utterance 513: el rey ocupa su asiento en la Barca de Ré y rema con las Estrellas Imperecederas y con las Infatigables.

«O sounding-poles' of Horus, O wings of Thoth, ferry me across, do not leave me? boatless.! Give me bread, give me beer, from this your bread of eternity, from this your beer of everlasting,! for I am he who belongs to the two obelisks of Ré¢ which are on earth, and I belong to the two sphinxes of Ré¢ which are in the sky.» — Utterance 515, rotulada *The king is to be ferried across and fed*: el rey pide no quedar sin barca y reclama el pan de la eternidad y la cerveza del siempre, alegando pertenecer a los obeliscos de Ré en la tierra y a sus esfinges en el cielo.

«O you who ferry over the righteous boatless as the ferryman of the Field of § 1188 Rushes, I am deemed righteous in the sky and on earth, I am deemed righteous in this Island of Earth to which I have swum and arrived, which is between the thighs of Nit.» — Utterance 517: el rey declara ser tenido por justo en el cielo y en la tierra, y describe la Isla de la Tierra a la que nadó como situada entre los muslos de Nit.

«Iam that pygmy of ‘the dances of god’ who diverts the god in front of his great throne. This is what you have heard in the houses and overheard on the streets on that day when you were summoned! to hear orders.» — la misma Utterance 517: el rey se identifica con el pigmeo de las danzas del dios que entretiene al dios ante su gran trono; el troceo imprime *Iam* sin espacio.

«Behold the two who are upon the throne of the great god and who summon me ; they are Prosperity and Health.» — la misma Utterance 517: los dos que están sobre el trono del gran dios y convocan al rey se nombran Prosperidad y Salud.

«Cross the lake, O Bringer!! Cross the lake, O Bringer! Is it a goose? Then bring it.» — Utterance 521, rotulada *The king calls for a gift*: la petición se hace por enumeración de alternativas, ganso, pato o res de cuerno largo, y la respuesta es la misma en los tres casos.

«May there be brought to you this bread of yours which cannot grow mouldy and this beer of yours which cannot turn sour. May you eat this your sole bread alone; you will not give it to whoever (comes) after you, for you have taken it from the knmt-bird.» — la misma Utterance 521: el pan que no puede enmohecer y la cerveza que no puede agriarse son del rey solo, y no se darán a quien venga después.

«I am he who prevents the gods from becoming weary in seeking the Eye of Horus; I searched for it in Pe, I found it in On, I took it from the head of Seth in that place where they fought.» — Utterance 524: el rey declara haber buscado el Ojo en Pe, haberlo encontrado en On y habérselo tomado a Seth de la cabeza en el sitio donde pelearon.

«I have! bathed in the Lake of Rushes in which Ré¢ bathed; O Horus, rub my back; O Thoth, rub my feet; O Shu,? take me to the sky; O Niit, give me your hand.» — Utterance 526, que Faulkner declara variante de la 323: los oficios se reparten entre Horus, Thoth, Shu y Nit, cada uno con su gesto.

«Atum is he who (once) came into being,! who masturbated? in On. He took his phallus in his grasp that he might create orgasm by means of it, and so were born the twins Shu and Tefénet.» — Utterance 527, rotulada *The creation of Shu and Tefénet*: Atum se masturbó en On y de su orgasmo nacieron los gemelos Shu y Tefénet; es la cosmogonía heliopolitana dicha en una sola frase.

«Hail to the Ladder which the Souls of Pe and the Souls of Nekhen have § 1253 erected and gilded! Set your hand on me! that I may sit between the two great gods, that my seats may be pre-eminent, that my hand may be taken at» — Utterance 530, texto de ascensión: la Escalera la erigieron y doraron las Almas de Pe y las de Nekhen, y el rey pide sentarse entre los dos grandes dioses; las cifras tras § dentro del verbatim son los parágrafos marginales de Sethe, no folios.

«They prevent you (sic) from rotting in accordance with this your name of Anubis; they prevent your putrefaction from dripping to the ground? in accordance with this your name of ‘Jackal of Upper Egypt’; they prevent the smell of your corpse from becoming foul in accordance with this your name of Horus of Hety.' They prevent Horus of the East from putrefying; they prevent Horus Lord of Patricians from putrefying ; they prevent Horus of the Netherworld from putrefying ; they prevent Horus Lord of the Two Lands from putrefying, and Seth will never be free from carrying you, O Osiris.» — Utterance 532: cada uno de los nombres del rey sirve para impedir una forma de la corrupción, la podredumbre con Anubis, el goteo con el Chacal del Alto Egipto y el mal olor con Horus de Hety; el *(sic)* es de Faulkner y marca el cambio de persona del original.

«As for anyone who shall lay a finger on this pyramid and this temple which belong to me and to my double, he will have laid his finger on the Mansion of Horus in the firmament, he will have offended(?)* the Lady of the Mansion?5 everywhere(?) [. . .] Géb;?¢! his affair will be judged by the Ennead and he will be nowhere and his house will be nowhere; he will be one proscribed, one who eats himself.» — Utterance 534: la maldición al que ponga el dedo en la pirámide y el templo del rey lo iguala a poner el dedo en la Mansión de Horus, y lo condena a no estar en ninguna parte y a comerse a sí mismo.

«Thus said Isis and Nephthys:' The ‘screecher’? comes, the kite comes, namely Isis and Nephthys; they have come seeking their brother Osiris, seeking their brother the King» — Utterance 535, que Faulkner declara texto osiriano adaptado al rey: el chillón y el milano son Isis y Nephthys, que vienen buscando a su hermano.

«Isis sits down with her hands on her head,! Nephthys has grasped the tips of her breasts because of their brother the King, who crouches¢ on his belly, an Osiris in his danger(?), an Anubis foremost of grip(?).» — la misma Utterance 535: el duelo se describe por los gestos, Isis con las manos en la cabeza y Nephthys agarrándose las puntas de los pechos.

«‘Endure!”! says Isis; ‘In peace!’ says Nephthys, when they see their brother. Raise yourself, loose your bonds, throw off your dust,» — Utterance 536, texto de resurrección: las dos diosas hablan con una sola palabra cada una al ver a su hermano, y en seguida se manda al rey alzarse, soltar sus ataduras y sacudirse el polvo.

«May you live as a living scarabaeus, may you be long-lasting as the dd-pillar for ever and ever.» — Utterance 537: la duración del rey se dice con dos imágenes, el escarabajo vivo y el pilar dd.

«Get back, you needy long-horn! Your head is in the hand of Horus, your tail is in the hand of Isis, and the fingers of Atum are on your horns.» — Utterance 538, conjuro protector: la res queda sujeta por tres dioses a la vez, Horus en la cabeza, Isis en la cola y Atum en los cuernos.

«My! head is a vulture; I will ascend and rise up to the sky.” The sides of my head are the starry sky of the god; I will ascend [and rise up to the sky].» — Utterance 539, texto de ascensión: la letanía identifica cada parte de la cabeza del rey con un ser celeste y repite tras cada verso la misma consecuencia, que ascenderá al cielo.

«I walk quite unhindered, for the ordinance of the Great Lake protects me.» — Utterance 519, texto de barquero: lo que protege al rey y le deja el paso libre es la ordenanza del Gran Lago, es decir una disposición y no una fuerza.

«lake this favourite harpoon of yours, your staff which penetrates the waterways, whose barbs are the lightnings of Ré‘, whose points are the claws of Mafdet, wherewith I cut off the heads of the adversaries who are in the Field of Offerings.» — Utterance 519: el arpón tiene por lengüetas los relámpagos de Ré y por puntas las garras de Mafdet, y con él se cortan las cabezas de los adversarios; el troceo imprime *lake* por *Take*.

«may you stand at that left Eye of Horus by means of which the speech of the gods is heard.' Stand up! at the head of the spirits as Horus stood at the head of the living; stand up at the head of the spirits? as Osiris stood at the head of the spirits.» — Utterance 523, oración por el rey: el rey se alza a la cabeza de los espíritus como Horus estuvo a la cabeza de los vivos y Osiris a la cabeza de los espíritus; el verso inicial, con el Ojo de Ré, queda fuera del verbatim por el guillemet del escaneo.

«My heart is Bastet; I will ascend and rise up to the sky. My belly is Nit; I will ascend and rise up [to the sky]. [My back(?) is Géb(?)] ;® [I will ascend and rise up to the sky]. [My vertebrae(?)]° are the Two Enneads; I will ascend and rise up to the sky. My hinder-parts are Heket; I will ascend and rise up to the sky. My buttocks are the Night-bark and the Day-bark; I will ascend and rise up to the sky. My phallus is Apis ;» — Utterance 539, texto de ascensión: la letanía identifica cada miembro del rey con un dios —el corazón con Bastet, el vientre con Nit, las vértebras con las Dos Enéadas, las nalgas con las barcas nocturna y diurna, el falo con Apis— y repite tras cada verso la misma consecuencia.

«As for any god who will not set up a stairway for me— I will ascend and rise up to the sky— He shall have no loaf, He shall have no fan, He shall not wash himself in a bowl. § 1323 He shall not smell the foreleg,» — la misma Utterance 539: al dios que no le ponga escalinata se le niegan el pan, el abanico, el lavarse y el oler la pata delantera; la amenaza al dios se enumera pieza por pieza.

«O you children of Horus, Hapy, Duamitef, Imsety, Kebhsenuf, spread the protection of life over your father Osiris the King, since! he was caused to be restored by the gods.! Smite Seth, protect this Osiris the King from him at dawn. Mighty is Horus, he of himself protects his father Osiris the King.» — Utterance 541, de la serie de conjuros del ritual funerario: a los cuatro hijos de Horus se les manda extender la protección de la vida sobre el rey y golpear a Seth al alba.

«It is dangerous to him that the King’s death should be proclaimed(?)! in the establishments of Anubis,” and no one who hears this shall live.! O Thoth, have no pity on anyone who hates the King. O Thoth, go and see if} the King is proclaimed as dead(?), for it is dangerous to him.» — Utterance 542: el peligro no es la muerte sino su proclamación, y por eso se manda a Thoth ir a ver si el rey ha sido proclamado muerto.

«O Osiris the King, I bring to you him who would kill you, he being cut up and a knife made ready for him. O Children of Horus, Hapy, Duamitef, Imsety, Kebhsenuf,! lift up your father this Osiris the King and guide him. O Osiris the King, it is caused that you be restored and that your mouth be split open, so stand up!» — Utterance 545: el que habría matado al rey se le trae ya despedazado y con el cuchillo dispuesto, y los cuatro hijos de Horus han de alzarlo y guiarlo.

«I am Nit who will cause this Osiris the King to mount up to me; give him to me, that I may embrace him.» — Utterance 546: la diosa habla en primera persona y pide que le entreguen al rey para abrazarlo.

«The mouth of the earth is split open for this King, Géb has spoken to him. This King is great like a king and kingly(?)! like Ré*. ‘Be welcome!’ to the King say the Two Enneads.» — Utterance 548, texto de resurrección: la boca de la tierra se abre para el rey y las Dos Enéadas le dan la bienvenida.

«Get back, Babi, red of ear and purple of hindquarters! You have taken the thigh-joint! of your goddess to your mouth! 1. Not the goddess’s own thigh, but the portion allotted to her to eat, which apparently Babi has stolen.» — Utterance 549, conjuro protector: a Babi se le describe por el color de la oreja y de las ancas y se le acusa de haberse llevado a la boca el muslo de su diosa.

«Géb raises you, he awakens this your spirit for you.! Your water-jar is firm, your water-jar is firm,” you are raised aloft on the hands of Shu and Tefénet? in the Mansion of Her who provides(?),4 O King,» — Utterance 553, texto de resurrección: Géb alza al rey y despierta su espíritu, y las manos de Shu y Tefénet lo levantan en la Mansión de la que provee.

«Raise yourself,’ O spirit of this King, sit down and eat; may your double sit down and eat bread and beer with you without cessation for ever and ever.» — la misma Utterance 553: se manda al espíritu del rey sentarse a comer y que su doble coma y beba con él sin cesar.

«The . . . go down to you bent (in obeisance) ;!5 those who belong to the Conclave of Upper Egypt go down to you, the Conclave of Lower Egypt comes to you bowing, you being everlasting at the head of the Powers.» — la misma Utterance 553: los cónclaves del Alto y del Bajo Egipto bajan y vienen inclinados ante el rey; los puntos sueltos son las palabras que Faulkner declara intraducibles.

«I! have gone up in Pe to the gods of Pe. I am girded as Horus, I am adorned § 1373 as the Two Enneads,! I appear as King, I am on high as Wepwawet, I have § 1374 assumed the White Crown and the Green Crown,” my mace is in my hand, my sceptre is in my fist.! My mother is Isis, my nurse is Nephthys, she who § 137s suckled me is the Sh:t-Hr cow, Neith is behind me, and Selket is before me.» — Utterance 555, rotulada *The king is crowned in Pe*: el rey aparece como Rey, alto como Wepwawet, con la Corona Blanca y la Verde, y se rodea de Isis, Nephthys, la vaca Sh:t-Hr, Neith y Selket.

«O King, Hail to you, you Chaos-god!! The travelling of the Great Black One is travelled for you, you stop (with) the stopping? of the Eldest God, there is censed for you the censing of K+i-smk in On.! Be alive, alive! Have dominion, dominion! Life is raised up behind you, so live!» — Utterance 558: al rey se le saluda como dios del Caos y se le manda estar vivo y tener dominio, con la vida alzada tras él.

«O King, come in peace to Osiris! Welcome to Osiris! The fields are filled for you, the banks are inundated for you as a boon which the King grants.' The Foremost of the Westerners takes your hand on the edge of the Hbt-mountain. Osiris makes presentation and gives to you what is upon the s§rzw-cloth.» — Utterance 559: los campos llenos y las orillas inundadas son el don del rey al rey, y el Primero de los Occidentales le toma la mano en el borde de la montaña Hbt.

«The earth is raised on high under the sky by your arms, O Tefénet, and you have taken the hands of Ré‘; take the King’s hand and set him as [a noble one(?)]! among the nobles that the King may sit at the head of the Two § 1406 Enneads! and govern the gods as a king, as the representative of Horus? who protects his father Osiris.» — Utterance 562, rotulada *The king joins the gods*: los brazos de Tefénet alzan la tierra bajo el cielo, y el rey se sienta a la cabeza de las Dos Enéadas y gobierna a los dioses como representante de Horus.

«Horus of the Gods will indeed ascend § 1412 That he may bathe in the Field of Rushes; I will indeed ascend That I may bathe in the Field of Rushes.» — Utterance 563, variante de la 325: la estrofa se repite emparejando en cada caso el ascenso de un dios con el del rey, Horus de los Dioses, Horus de Shezmet, Horus del Este y Harakhti.

«Someone bathes in the Lake of Rushes. Ré¢ bathes in the Lake of Rushes, And I myself! bathe in the Lake of Rushes. Shu bathes in the Lake of Rushes, And I myself bathe in the Lake of Rushes. O Shu, Shu, lift me up to the sky; O Nit, put your hands on me.» — Utterance 564, variante de la 253: el baño en el Lago de Juncos se dice de alguien, de Ré, del rey y de Shu, y cierra con la petición a Shu y a Nit.

«I am! pure, I am conveyed to? the sky thereby, I remain more than human, I appear in glory for the gods. I have appeared with Ré¢ at his appearing,! I have made the third of those two who are with me,* one behind me and one before me; one gives water and one gives sand.» — Utterance 565, texto de ascensión: el rey se declara más que humano y hecho el tercero de los dos que lo acompañan, uno que da agua y otro que da arena.

«Take me! with you, O Horus; ferry me over, O Thoth, on the tip of your § 1429 wing as Sokar who presides over the Bark of Righteousness. Horus is not asleep behind the canal, Thoth is not boatless; nor am I boatless, for I possess the Eye of Horus.» — Utterance 566, texto de ascensión: el rey se declara no falto de barca, como Thoth, y la razón que da es que posee el Ojo de Horus.

«This King has grasped for himself the two sycamores which are in yonder side of the sky: ‘Ferry me over!’3 And they set him on yonder eastern side of the sky.» — Utterance 568: el rey agarra los dos sicomoros del otro lado del cielo y con una sola orden de pasarlo lo ponen en el lado oriental.

«May you live for me, O King, for ever!» — Utterance 552: la Utterance entera es una sola frase de deseo de vida perpetua.

«Your feet are those of a jackal,3 so stand up! Your arms are those of a § 1381 jackal, so stand up!» — Utterance 556: la orden de alzarse se repite tras cada miembro identificado con el chacal, los pies y los brazos.

«O Strong One, son of Géb; O Mighty One, son of Osiris, Hear it, this word which I say to you ;* Be informed concerning me, that I am a great one, the son of a great one; I am with you, take me with you.» — Utterance 571: la estrofa se repite pidiendo a cada dios que oiga la palabra y se entere de que el rey es un grande hijo de un grande, y por eso lo lleve consigo.

«Mount up to me in your name of Ré<, that you may dispel the cloudiness of the sky until® Harakhti shows himself that he may hear my fame and my praise in the mouths of the Two Enneads.! ‘How beautiful you are!’ is what my mother says; ‘My heir!’ is what Osiris says.» — la misma Utterance 571: el rey pide al sol disipar la nubosidad del cielo para que Harakhti oiga su fama, y consigna lo que dicen su madre y Osiris.

«O you gods of the Lower Sky, the Imperishable Stars, who traverse the land of Libya and lean on your drm-staffs ; I lean with you on a wys-staff and a dem-staff,! for I am your fourth.» — Utterance 572: el rey se apoya en el bastón como los dioses del Cielo Inferior y declara ser el cuarto de ellos.

«I am he who grasps the White Crown, Master of the curl of the Green Crown, [ am the uraeus which went forth from Seth, which moves incessantly.!3 Take me and nourish me.» — la misma Utterance 572, rotulada *The king wears the crowns of Egypt*: el rey toma la Corona Blanca y la Verde y se declara el uraeus salido de Seth que no cesa de moverse.

«Horus has offered this King his arms* on his own account and allots this King to Shu, whose arms which are under the sky are upraised. O Ré¢, give this King your hand; O great god, give this King your staff that he may live for ever.» — Utterance 572: la protección de Ré sobre el rey no le será retirada, y Horus le ofrece sus brazos y lo asigna a Shu.

«May you wake in peace, O Purified, in peace! May you wake in peace, O Horus of the East, in peace! May you wake in peace, O Soul of the East, in peace! May you wake in peace, O Harakhti, in peace! May you sleep in the Night-bark, May you wake in the Day-bark, For you are he who oversees the gods, There is no god who oversees you!» — Utterance 573, el himno matinal al sol: el despertar en paz se repite con cada nombre del dios y se cierra con la asimetría, él vigila a los dioses y ningún dios lo vigila a él.

«Hail to you, you tree which encloses the god, under which the gods of the § 148s Lower Sky stand, the end of which is cooked, the inside of which is burnt, which sends out the pains of death:» — Utterance 574, alocución a un árbol sagrado: el árbol encierra al dios, bajo él están los dioses del Cielo Inferior, su extremo está cocido y su interior quemado, y envía los dolores de la muerte.

«‘Behold, he has come; behold, he has come’, says Zhpw. ‘Behold, the son of Ré¢ has come; behold,! the beloved of Re has come’, says Zhpw. ‘I caused him to come; I caused him to come’, says Horus. ‘Behold, he has come; behold,” he has come’, says Zhpw. ‘Behold, the son of Ré‘ has come; behold, the beloved of Ré< has come’, says Lhpw. ‘I caused him to come; I caused him to come’, says Seth.» — Utterance 575, rotulada *The king arrives in the Beyond*: el anuncio se reparte en estrofas con el hablante nombrado en cada línea, Zhpw, luego Horus y luego Seth, que dicen haberlo hecho venir.

«Osiris was laid low by his brother Seth, but He who is in Nedit moves, his head is raised by Ré‘; he detests sleep and hates inertness,!' so the King will not putrefy, he will not rot, this King will not be cursed! by your anger, you gods.» — Utterance 576, texto de resurrección: la caída de Osiris por obra de Seth sirve de precedente al movimiento del rey, que no se pudrirá ni se corromperá ni será maldecido.

«The King has come to you, O mother of the King, he has come to Nit, that you may bring the sky to the King and hang up the stars for him, for his savour is the savour of your son who issued from you, the King’s savour is that of Osiris your son who issued from you.» — la misma Utterance 576: se pide a la madre traer el cielo al rey y colgarle las estrellas, y la razón que se da es el olor del rey, igual al de Osiris.

«Your flail is in your hand, your sceptre is at your hand, the slayers fall on their faces at you, the Imperishable Stars kneel to you.! You it is who prevent them from slipping? from your embrace; come to them in this your name of Mhyt.» — Utterance 578: el mayal y el cetro en la mano hacen caer de bruces a los matadores y arrodillarse a las Estrellas Imperecederas.

«Its upper foreleg is on Khopr(er?), its lower foreleg [belongs to Atum],3 father of the gods, its haunches belong to Shu and Tefénet, its mid: belong to Géb and Nit,! its thighs belong to Isis and Nephthys, its shanks belong to Hnt-irty and Kherty, its back belongs to Neith and Selket, its heart belongs to Sakhmet the Great,! the contents of its udder (sic)* belong to these four gods the children of Horus whom he loves, Hapy, Imsety, Duamitef, Kebhsenuf.» — Utterance 580: las partes del toro sacrificado se reparten una a una entre los dioses, las ancas a Shu y Tefénet, los muslos a Isis y Nephthys, el corazón a Sakhmet y el contenido de la ubre a los cuatro hijos de Horus; el *(sic)* es de Faulkner.

«May you shine? as Ré‘; repress wrongdoing, cause Ma‘et to stand behind § 1583 Ré&‘, shine every day for him who is in} the horizon of the sky.! Open the gates which are in the Abyss.» — Utterance 586, rotulada *The king is urged to be like Ré*: lo que se le manda al rey es reprimir el mal y poner a Maat detrás de Ré, brillar cada día y abrir las puertas del Abismo.

«Hail to you, Eye of Horus, which he has restored with both his hands! § 1588 He will not permit you to obey the Westerners, He will not permit you to obey the Easterners, He will not permit you to obey the Southerners, He will not permit you to obey the Northerners, He will not permit you to obey those who are in the middle of the earth, But you shall obey Horus.» — Utterance 587, donde el Ojo de Horus se lee como Egipto mismo: se le niega obediencia a occidentales, orientales, meridionales, septentrionales y a los del medio de la tierra, y se le manda obedecer solo a Horus.

«It is he who has restored you, It is he who has built you up, It is he who has set you in order, That you may do for him everything which he says to you § 1590 Wherever he goes.» — la misma Utterance 587: la triple declaración de restaurar, construir y poner en orden funda la obediencia que se le exige al Ojo.

«I am the Eye of Horus which was not chewed nor spat out,'S and I am not chewed nor» — la misma Utterance 572: lo que se dice del Ojo de Horus se dice en seguida del rey, no masticado ni escupido; el paralelismo es el argumento.

«‘Here comes the brother of the Oldest One, the first-born of his father, the eldest of his mother’, say they, say the gods.! The sky has conceived him,? the dawn has borne him, and this King is conceived with him by the sky, this King is borne with him by the dawn.» — Utterance 577: el anuncio va con el hablante nombrado y llama al rey hermano del Más Viejo, primogénito de su padre y mayor de su madre, y el rey queda concebido por el cielo y parido por el alba junto con Osiris.

«O Ré¢, turn yourself about and see this King [. . .] this King; she (sic) whom» — Utterance 583: se pide al sol volverse a mirar al rey; el *(sic)* de Faulkner marca el femenino del original, y el tramo se corta antes del guillemet que el escaneo imprime en el nombre del dios.

«I am® Horus who restored his Eye with both his hands: § 1597 I restore you,? O you who should be restored ; I set you in order, O you settlements of mine; I build you, O you city of mine;8 You shall do for me every good thing which I [desire]; You shall act on my behalf wherever I go.» — Utterance 587: aquí habla el rey y repite en primera persona lo que antes se decía de Horus, restaurar, poner en orden y edificar, y de ahí deriva la obediencia que exige a sus ciudades; llamada de nota de Faulkner pegada al cuerpo, releída en el crudo.

«Obey me alone, § 1606 For it is I who made you; You shall not obey Him of the sharp knife.» — Utterance 588: la exigencia de obediencia exclusiva se funda en haber hecho al obedecido, y excluye por su nombre al del cuchillo afilado.

«O King, you are the essence of all the gods, and Horus has protected you, you having become the essence of him.» — Utterance 589, rotulada *The king is the divine essence*: el rey es la esencia de todos los dioses y a la vez la esencia de Horus, que por eso lo protege.

«O Géb, son of Shu, this is Osiris the King ;! may your mother’s heart quiver over you in your name of Géb, for you are the eldest son of Shu, his first-born.» — Utterance 592: se invoca a Géb en favor del rey y se le pide que el corazón de su madre tiemble por él, por ser el hijo mayor de Shu y su primogénito.

«Niit has fallen upon her son, namely you, that she may protect you; she enfolds you, she embraces you, she lifts you up, for you are the eldest among her children.» — Utterance 593: la diosa cae sobre su hijo para protegerlo, lo envuelve, lo abraza y lo alza por ser el mayor de sus hijos.

«Hail to you, O King! I have come to you on this day of yours at night, I have given to you Nwt-:k-nw.?! I bring to you your heart and place it in your body for you, just as Horus brought the heart of his mother Isis and just as (Isis)3 brought the heart of her son Horus.» — Utterance 595, rotulada *The king becomes immortal*: traer el corazón y ponerlo en el cuerpo se hace como lo hizo Horus con el de su madre Isis y como Isis con el de su hijo Horus.

«Atum said of the King: ‘See the clever(?) mouth who is among us; he summons us;-let us go and join! him.’» — Utterance 600: Atum llama al rey boca hábil entre ellos y convoca a los dioses a ir a unírsele; el texto pone la aprobación en boca del dios.

«O Horus, this King is Osiris, this pyramid of the King is Osiris, this construction of his is Osiris; betake yourself to it, do not be far from it in its name of “Pyramid’,» — la misma Utterance 600: la pirámide y la construcción del rey se identifican con Osiris igual que el rey, de modo que la protección del monumento y la del difunto son una sola.

«As the name of Shu, Lord of Upper Mnst! in On, endures, so may the King’s name endure, and so may this pyramid of his and this construction of his endure likewise for ever.» — Utterance 601: la duración del nombre del rey y de su pirámide se ata a la duración del nombre de cada dios, y Faulkner declara que la fórmula se repite muchas veces cambiando solo la deidad.

«Raise yourself, O my father the King, knit on your head, gather together § 167; your members, lift yourself up on your feet, that your will may guide you.» — Utterance 603, texto de resurrección: el rey ha de anudarse la cabeza, juntar sus miembros y alzarse sobre sus pies para que su voluntad lo guíe.

«O my father the King, I have come and I bring!’ to you green eye-paint; I bring to you the green eye-paint which Horus gave to Osiris.' I give you? to my father the King just as Horus gave you to his father Osiris; Horus has filled his empty Eye? with his full Eye.» — Utterance 605, rotulada *The king is offered eye-paint by his son*: el hijo repite con su padre lo que Horus hizo con Osiris, y Horus llenó su Ojo vacío con su Ojo lleno.

«Stand up for me, O my father; stand up for me, O Osiris the King, for I indeed am your son, I am Horus.! I have come for you that I may cleanse you and purify you, that I may bring you to life and collect your bones for you,» — Utterance 606: el hijo se identifica con Horus y enumera lo que viene a hacer, limpiar, purificar, devolver a la vida y recoger los huesos.

«They will bring you into being like Re‘ in this his name of Khoprer; you will draw near to them like Ré¢ in this his name of Ré‘; you will turn aside from their faces like Ré¢ in this his name of Atum.» — Utterance 607: los tres nombres del sol reparten tres movimientos del rey, llegar a ser como Khoprer, acercarse como Ré y apartarse como Atum.

«O King, stand up for your father the Great One, sit down for your mother Nit, give your hand to your son Horus, for behold he has come to meet you.» — Utterance 608: los tres gestos del rey se reparten entre sus tres parientes divinos, alzarse ante el padre, sentarse ante la madre y dar la mano al hijo.

«O King, your mother Nit has borne you in the West ; go down.to the West as a possessor of honour. Your mother Isis has borne you in Chemmis; extend your hands which belong to! the north-wind, that your field(?) may be inundated? behind the north-wind, O my father the King.» — Utterance 609: el rey es parido por Nit en el Oeste y por Isis en Chemmis, y las dos maternidades se consignan una junto a la otra sin armonizarse.

«Awake for Horus! Stand up for Seth! Raise yourself, you eldest son of Géb, at whom the Two Enneads tremble!! Stand up, O Herdsman, for whom the three-day festival is celebrated! May you appear for the monthly festival, may you be pure for the New Moon festival. The Great Mooring-post calls out, because you are he who stands and will never tire in the midst of Abydos.» — Utterance 610, variante de la 437: el despertar del rey se ata al calendario, la fiesta de tres días, la mensual y la de luna nueva, y el Gran Poste de Amarre lo llama.

«May you sit on this iron throne of yours as the Great One who is in On, may you lead the spirits and propitiate the Imperishable Stars.» — Utterance 611: el rey se sienta en su trono de hierro como el Gran Uno que está en On, conduce a los espíritus y propicia a las Estrellas Imperecederas.

«O King, come, don the intact Eye of Horus which is in Weaving-town.» — Utterance 597, rotulada *The king is robed*: la vestidura es el Ojo intacto de Horus, localizado en la ciudad del tejido.

«Gather together your bones, take your members, § 1732 cast off the earth which is upon your flesh,» — Utterance 612: las tres órdenes son juntar los huesos, tomar los miembros y echar fuera la tierra que está sobre la carne.

«Be silent, O men, hear [. . .] to the Foremost of the Westerners.» — Utterance 618: la Utterance entera, tal como el volumen la conserva, es una sola orden de callar y oír, con laguna en medio.

«Raise yourself, O King, raise yourself for the Great Adze,! raise yourself § 1747 upon your left side, place yourself upon your right side,» — Utterance 619, texto de resurrección: la orden de alzarse se repite y se especifica en el giro de un costado al otro.

«O Osiris the King, I have clad you in the Eye of Horus, this Erniitet-garment! of which the gods are afraid, so that the gods may fear you just as they fear the Eye of Horus.» — Utterance 622, rotulada *The king is clothed*: la vestidura es el Ojo de Horus, y su efecto es que los dioses teman al rey igual que temen al Ojo.

«[ have gone up by means of? the staff which is in Grgw-b:-f, I have descended § 1762 upon the hpzwty-pole ;3 I have gone up among the great ones,! I have descended § 1763 among the Szsw ;* I have gone up upon the ladder with my foot on Orion and my arm uplifted,» — Utterance 625, texto de ascensión: el rey sube por la escalera con el pie sobre Orión y el brazo en alto; el impreso abre con un corchete donde va la I.

«The King is an equipped spirit who demands existence, and the sky thunders, the earth quakes [. . .].1! The King was [born]? in the month, he was conceived in the half-month, he has ascended in the body? of a locust among these children of the hornet(?),» — Utterance 627, rotulada *The king is reborn*: el rey es espíritu equipado que exige existencia, nacido en el mes y concebido en el medio mes, y asciende en el cuerpo de una langosta.

«I have put my brother together,! I have reassembled his members.» — Utterance 631, rotulada *The king's body is restored*: la Utterance entera son dos frases en primera persona, juntar al hermano y reunir sus miembros.

«O Osiris the King, I bring to you the Eye of Horus which is in Weaving-town,' this Ernitet-garment of which the gods are afraid,? so that the gods may fear you just as they fear Horus.! O Osiris the King, Horus has put his Eye on your brow in its name of Great-of-Magic. O Osiris the King, appear? as King of Upper and Lower Egypt.» — Utterance 635, rotulada *The king is robed*: la vestidura Ernutet es temida por los dioses, y Horus pone su Ojo en la frente del rey con el nombre de Grande-de-Magia.

«Take its perfume to yourself, that your odour may be as pleasant as that of Ré¢ when he ascends from the horizon and the gods of the horizon are delighted with him.» — Utterance 637: el perfume del Ojo hace que el olor del rey sea tan grato como el de Ré al subir del horizonte.

«O Osiris the King, I have come in [search of]! you, for I am Horus. I have come that I may speak on your behalf, for I am your son.» — Utterance 641, rotulada *Horus champions the king as Osiris*: quien viene se identifica con Horus y declara venir a hablar en favor del rey por ser su hijo.

«O Osiris the King, Horus has granted? that your magic be great in your name § 1825 of Great-of-Magic.» — Utterance 646, rotulada *The king is endowed with magic*: la Utterance entera concede al rey magia grande bajo el nombre de Grande-de-Magia.

«O shining one! O shining one! O Khoprer! O Khoprer! You are for the King and the King is for you; you live for the King and the King lives for you.» — Utterance 662, alocución al sol naciente: la reciprocidad entre el rey y el dios se dice en los dos sentidos, ser y vivir el uno para el otro.

«O Papyrus-plant which issued from Wedjéyet, you have gone forth in the King, and the King has gone forth in you, the King is powerful through your strength.» — la misma Utterance 662: la planta de papiro del Norte y el rey salen el uno en el otro, y de ahí toma el rey su fuerza.

«Hail to you, my father the King! You have your water, you have your flood, you have your milk which is in the [breast] of your mother Isis.» — Utterance 663: el agua, la inundación y la leche del pecho de Isis se enumeran juntas como lo que el rey ya tiene.

«O Osiris the King, I have come rejoicing! for love of you, O King.» — Utterance 629, rotulada *Nephthys rejoices over the king*: la Utterance entera es una sola frase y su motivo declarado es el amor.

«Horus has lifted you into the Hnw-bark, he raises you into the Bark of Sokar, for he is a son who raises up his father,» — Utterance 645: Horus alza al rey a la barca Hnw y a la Barca de Sokar, y la razón que da el texto es que un hijo alza a su padre.

«O my father the King, take this milky fluid of yours which is in the breasts of your mother Isis; O Nephthys, give him your hand.» — Utterance 661, rotulada *The king is nursed by Isis and Nephthys*: la leche de Isis y la mano de Nephthys se piden en la misma frase.

«O Osiris the King, knit together [your] limbs, reassemble your members, | set your heart in its place!» — Utterance 664C: las tres órdenes son anudar los miembros, reunirlos y poner el corazón en su sitio; los corchetes marcan lo restituido.

«Thoth comes to you with the knife which came forth from Seth, he finds you seated on your throne of ebony as Ré¢ at the head of the Ennead,! you give orders to the spirits, their heads bow(?)» — Utterance 665: Thoth viene con el cuchillo salido de Seth y encuentra al rey sentado en su trono de ébano como Ré a la cabeza de la Enéada.

«Raise yourself, O King, to your thousand of bread, your thousand of beer, your thousand of oxen, your thousand of poultry, your thousand of clothing, your thousand of alabaster.» — Utterance 665: la ofrenda se enumera en millares, pan, cerveza, bueyes, aves, vestidos y alabastro.

«O King, collect your bones, assemble your members, whiten your teeth, take your bodily heart, throw off this earth which is on your flesh,» — Utterance 666, texto de resurrección: las cinco órdenes son recoger los huesos, reunir los miembros, blanquear los dientes, tomar el corazón del cuerpo y echar fuera la tierra.

«May you stand at the head of the Imperishable Stars, may you sit on your iron throne from which the dead are far removed,» — la misma Utterance 666: el trono de hierro del rey se describe como aquel del que los muertos están lejos.

«O King, take your head, for your teeth are yours and your hair is yours; open the doors which keep out the plebs, you enduring for ever and ever.» — Utterance 666A: se devuelven al rey la cabeza, los dientes y el cabello, y se le manda abrir las puertas que excluyen a la plebe.

«How good it is for those who see, how comforting it is for those who hear when Osiris the overseer of the gods arises! You have your tomb, O King, which belongs to the heart of Him whose seats are hidden; he opens for you the doors of the sky, he throws open for you the doors of the firmament(?),» — Utterance 667A, texto de ascensión: la buena nueva se dice desde quienes la ven y la oyen, y el que abre las puertas del cielo es aquel cuyos asientos están ocultos.

«O King, raise yourself as Min; fly up to the sky and live with them, cause your wings to grow with your feathers on your head and your feathers on your arms. Make the sky clear and shine on them as a god; may you be enduring at the head of the sky as Horus of the Netherworld.» — Utterance 667A: al rey se le manda hacer crecer las alas con plumas en la cabeza y en los brazos, y despejar el cielo y brillar sobre ellos como dios.

«The prince(?) ascends in a great storm? from the inner horizon; he sees the preparation for the festival, the making of the braziers, the birth of the gods before you in the five epagomenal days,» — Utterance 669, texto de ascensión y renacimiento: el príncipe ve la preparación de la fiesta, la hechura de los braseros y el nacimiento de los dioses en los cinco días epagómenos.

«The doors of the sky are opened, the doors of the celestial expanses are § 1972 thrown open;! the gods who are in Pe are full of sorrow, and they come to § 1973 Osiris the King at the sound of the weeping? of Isis, at the cry of Nephthys,» — Utterance 670, en parte variante de la 482: los dioses de Pe vienen llenos de dolor al son del llanto de Isis y del grito de Nephthys; las cifras tras § dentro del verbatim son los parágrafos marginales de Sethe, no folios.

«How happy are those who see, how content are those who behold, even they who see Horus when he gives life to his father [and extends the wvs-staff] to Osiris in the face of the western gods!» — la misma Utterance 670: la escena se enuncia desde los que la miran, y lo que ven es a Horus dando vida a su padre ante los dioses occidentales.

«O King, you are the son of a great one; bathe in the Lake of the Netherworld § 1987 and take your seat in the Field of Rushes.» — Utterance 671: la Utterance entera es la orden de bañarse en el Lago del Netherworld y tomar asiento en el Campo de Juncos.

«This King has inherited, and § 1989 sorrow ceases, laughter comes into being. I greet you, O King, be welcome!» — Utterance 672, rotulada *The king succeeds to his throne*: la herencia hace cesar el duelo y nacer la risa, y el texto lo dice en una sola frase; las cifras tras § dentro del verbatim son los parágrafos marginales de Sethe, no folios.

«O King, you have no? human father who could beget you, you have no human mother who could bear you;! your mother is the Great Wild Cow who dwells in Nekheb, white of head-cloth, long of hair, and pendulous of breasts, she suckles® you and does not wean you.» — Utterance 675: se niega al rey padre y madre humanos y se le da por madre a la Gran Vaca Salvaje de Nekheb, que lo amamanta sin destetarlo.

«Raise yourself, O King, clothe yourself in this cloak of yours which is out of the Mansion, with your mace on your arm and your sceptre in your hand, your sceptre® on your arm and your mace in your hand,! standing at the head of the Two Conclaves that you may judge the gods.» — la misma Utterance 675: la maza y el cetro se nombran dos veces cambiando de mano, y con ellos el rey juzga a los dioses a la cabeza de los Dos Cónclaves.

«You are indeed god-like, for (you)® have shouldered the sky, you have raised up the earth. The Mourning-Woman cries out to you, §2014 the Great Mooring-post calls to you,' hands are clapped for you, feet are stamped? for you, you ascend here as a star, as the Morning Star.» — Utterance 676: la prueba de que el rey es semejante a un dios es haber echado el cielo al hombro y alzado la tierra.

«You have your water, you have your efflux, you have your flood which issued §2032 from Osiris.! May you... .! them as Horus, may you divide them as Wepwawet, because you are a great one, the son of a great one.» — Utterance 679, rotulada *The king possesses his bodily fluids*: los fluidos del rey son los que salieron de Osiris, y se le manda repartirlos como Horus y dividirlos como Wepwawet.

«You are greeted by Sokar, O King, your face is washed by Dw:-wr. The King soars as a divine falcon, the King flies heavenward like a heron, the King flies up as a goose,! the King’s wings are those of a divine falcon, the King’s wing-feathers are those of a divine falcon.» — Utterance 682, texto de ascensión: el vuelo del rey se dice tres veces con tres aves, halcón divino, garza y ganso.

«O King, how good is this, how great is this which your father Osiris has § 2022 done for you!» — Utterance 677: el bien que el rey recibe de su padre Osiris se enuncia como exclamación antes de nombrarlo, y lo que sigue es la entrega del trono.

«This King ascended when you ascended, O Osiris; his word and his double are bound for the sky, the King’s bones are iron and the King’s members are the Imperishable Stars.» — Utterance 684, texto de ascensión: los huesos del rey son hierro y sus miembros son las Estrellas Imperecederas.

«The waters of life which are in the sky come, the waters of life which are in the earth come, the sky is aflame for you, the earth quakes at you before the god’s birth;! the two mountains are split apart, the god comes into being,» — Utterance 685, rotulada *The king is reborn*: vienen las aguas de vida del cielo y las de la tierra, el cielo arde y la tierra tiembla, y las dos montañas se parten para que el dios llegue a ser.

«O Ointment of Horus! O Ointment of Seth! Horus has taken possession of his Eye and has saved it from his foes, and Seth has no rights over it.» — Utterance 686, rotulada *The king is anointed*: el ungüento se dirige a la vez a Horus y a Seth, y en seguida se declara que Seth no tiene derechos sobre el Ojo.

«Its! timbers have been hewn by? Ss:; the lashings which are on it have been drawn tight with sinews of Grswty, Bull of the sky, the rungs have been fastened to its sides with leather of Tmy-zt,3 born of the Cow-goddess; the Supporter-of-the-Great-One has been set under it by Him who lassoed the Great One.» — Utterance 688: la escalera del cielo se describe pieza por pieza y con sus artífices, las maderas talladas por Ss:, las amarras tensadas con tendones del Toro del cielo y los peldaños fijados con cuero de Tmy-zt.

«O King, Horus has woven his booth on your behalf, Seth has spread out § 2100 your awnings. Be covered, my father, by the God’s Booth, that you may be conveyed? therein to your seats which you desire.» — Utterance 690: Horus teje la cabaña y Seth extiende los toldos, y los dos rivales trabajan aquí juntos para el rey.

«they bring to you this name of yours of ‘Imperishable Star’, and you §2102 will never perish nor be destroyed.» — la misma Utterance 690: los cuatro hijos de Horus traen al rey su nombre de Estrella Imperecedera, y de ese nombre se deriva que no perezca.

«O my father, O Ré‘, this is what you have said: ‘O for a son glorious, § 2123 shining, besouled, strong, mighty, far-reaching, far-striding!’! Here am I, I am your son; here am I, I am the King.» — Utterance 691: el rey responde al deseo que el sol declaró, y lo hace repitiendo palabra por palabra la lista de cualidades que el dios pidió en un hijo.

«I go aboard, for I am pure; I receive the oar, I take my seat § 2125 in the Ennead, I row in the Ennead, I ply my oar in the Ennead.» — la misma Utterance 691: el embarque se dice tres veces con el mismo verbo y el mismo remo, primero en el costado de boga del cielo y luego en la Enéada; las cifras tras § dentro del verbatim son los parágrafos marginales de Sethe, no folios.

«I have cultivated barley, 1 have reaped emmer, which I have prepared for your yearly sustenance, so wake, wake, O my father, for this bread of yours.» — Utterance 693: el sustento anual del rey se declara cultivado y segado por el propio oficiante, y con eso se le manda despertar.

«The Great One has fallen in Nedit, the throne is released by its occupant(?).! She who is in Iseion raises you [. . .] raises you [...!. . .] the god is released, | Horus comes forth from Chemmis; Pe attends on Horus and he is purified there.! Horus comes pure that [he] may protect [his father...!... ‘I am your sister] who loves you’ say? Isis and Nephthys; they lament you, they arouse you.» — Utterance 701: la caída en Nedit deja el trono libre, y las dos hermanas, nombradas, declaran su amor mientras lo lloran y lo despiertan.

«for this mother of yours is the great hwrt-serpent, white of head-cloth, who dwells in Nekheb, whose wings are open, whose breasts are pendulous;» — Utterance 703: negado el padre y la madre humanos, la madre del rey es la gran serpiente hwrt de Nekheb, de tocado blanco, alas abiertas y pechos colgantes.

«This King is the [. . .]* which went forth from Ré‘, this King has come forth from between the thighs of the Two Enneads; he? was conceived by Sakhmet, the King was borne by Shezmétet. This King is the falcon which came forth [from Ré‘] and the uraeus which came forth from the Eye of Ré¢;* the King has flown up and alighted on the vertex of the Beetle in the bow of the bark which is in the Abyss.» — Utterance 704: el rey es concebido por Sakhmet y parido por Shezmétet, es el halcón salido de Ré y el uraeus salido del Ojo de Ré, y se posa sobre la coronilla del Escarabajo.

«Your sceptre is laid in your hand that you may open the bolt in the double Ram-gate which keeps out [the Fenkhu. May you number the slayers, may] you [control] the Nine Bows, and take the hand of the Imperishable Stars.» — Utterance 716: el cetro en la mano sirve para abrir el cerrojo de la puerta doble del Carnero, y con él el rey controla los Nueve Arcos.

«The sky trembles, the earth quakes before the Great One when he arises ; he has [opened] the doors of the sky, he throws open the doars of the firmament; the earth is hacked up for you,? an offering is presented to you, the hands of Horus are given to you, the dancer (dances) for you,» — Utterance 720: el temblor del cielo y de la tierra acompaña la salida del Gran Uno, y el rito se enumera en gestos, la ofrenda, las manos de Horus y el danzante.

«O King, raise yourself upon your iron bones and golden members, for this § 2244 body of yours belongs to a god; it will not grow mouldy, it will not be destroyed, it will not putrefy.» — Utterance 723, texto de resurrección: los huesos del rey son de hierro y sus miembros de oro, y por eso su cuerpo pertenece a un dios y no enmohecerá ni se corromperá.

«The warmth which is on your mouth is the breath which issued from the nostrils of Seth,! and the winds of the sky will § 2245 be destroyed if the warmth which is on your mouth be destroyed; the sky will be deprived of its stars if the warmth which is on your mouth be lacking.” May your flesh be born to life, and may your life be more than the life of the stars when they live.» — la misma Utterance 723: el calor en la boca del rey se ata a los vientos del cielo y a las estrellas, de modo que si ese calor falta el cielo queda privado de sus astros.

«the King is he who prevents] the gods [from becoming weary] when seeking the Eye of Horus, which the King found in Pe, which the King sought in On; the King saved it from the mouth of Seth in that place [where they fought» — Utterance 724, variante de la 524: el rey vuelve a declararse el que impide que los dioses se fatiguen buscando el Ojo de Horus, hallado en Pe, buscado en On y arrebatado a la boca de Seth.

«The bull-snake falls to the sdh-snake and the sdh-snake falls to the bull-snake,? § 2254 which has been put a stop to because of what it has seen; the son-of-earth snake falls with its head beneath it,? the flame goes out against the Earth-god,* | Nhbw-krw burns with the poison. O monster, die!» — Utterance 727, de la última serie de conjuros contra serpientes y peligros: la caída se enuncia recíproca entre las dos serpientes y cierra con la orden de morir.

«Your face which has been knit on is that of a jackal like Wepwawet; take this papyrus-plant sceptre of yours which is over the Great Ones; the Lord of the Nine controls [. . .] the Great Ones like Horus who protects his father. O King, raise yourself upon your left side,! put yourself upon your right side, raise your lid,? strengthen your court, save your children from mourning» — Utterance 734, texto de resurrección: al rey se le anuda el rostro de chacal, se le da el cetro de papiro sobre los Grandes y se le manda salvar a sus hijos del duelo.

«Libate, libate! Dance, dance! Be quiet, be quiet!! Hear, hear the word which Horus said to his father Osiris, so that you may be a spirit thereby, so that you may be great thereby; sit on the throne [. . .] the altar [. . .] and lead the Imperishable Stars.» — la misma Utterance 734: la serie de imperativos duplicados manda libar, danzar, callar y oír la palabra que Horus dijo a su padre Osiris, y de ahí saca el rey su condición de espíritu.

«The King has come to you, you gods, the third of those who protect the Great § 2268 One, who stand at the junction? of the Two Lands, the third of Shu [. . .]; the King will never pull down the High One from his seat. The King is the fourth of these four gods who issue from the vertex of Géb [. . .] the King because of what he? has seen [. . .] the stars which are near Orion.» — Utterance 738, rotulada *The king joins the gods*: el rey se numera dentro de los grupos divinos, tercero de los que protegen al Gran Uno y cuarto de los cuatro dioses salidos de la coronilla de Géb.

«The King is your fifth, you Imperishable Stars; a record? of [. . .] is made.» — Utterance 739: el rey se declara el quinto de las Estrellas Imperecederas; la numeración es la forma en que el texto lo incorpora a cada grupo.

«O Osiris the King, take the Eye of Horus with which I provide you, for Horus has censed himself with his Eye. O King, I cense you with the Eye of Horus, I make you divine because of the Eye of Horus, I provide you with the Eye of Horus, I provide you with [. . .].» — Utterance 741, rotulada *The king is censed*: el oficiante repite sobre el rey lo que Horus hizo consigo mismo, incensarse con su propio Ojo.

«O Osiris the King, take the sole(?) Eye of Horus that you may see with it, which belongs to his body, a collar" [. . .] in the road, that your throat may breathe by means of it—a uraeus-serpent.» — Utterance 746: el Ojo único de Horus sirve para ver y para que la garganta respire, y la ofrenda es una serpiente uraeus.

«O Osiris the King, these Eyes of Horus [. . .] for you as your two doubles. § 2279 O Osiris the King, they shall be upon you [. . .] upon you as the two crowns Great-of-Magic [. . .] its magic is [great] on me'—a ‘Great-of-Magic’ serpent.» — Utterance 749: los dos Ojos de Horus se entregan al rey como sus dos dobles y como las dos coronas Grande-de-Magia.

«O Osiris the King, take the Eye of Horus which Seth had hidden—a émnt- § 2282 vulture.» — Utterance 752: el Ojo que Seth había escondido se empareja con un buitre; la serie de insignias cierra el volumen con las mismas piezas del ajuar con que abría; las cifras tras § dentro del verbatim son los parágrafos marginales de Sethe, no folios.

«The King was conceived in the nose, the King was born in the nostril,®! the King lies down in your coil, the King sits in your circle, the King lives on your life, the King is provided with your peace.» — Utterance 758, rotulada *The king is given breath and food*: la concepción y el nacimiento del rey se sitúan en la nariz del dios del horizonte, y el rey vive de su vida y queda provisto de su paz.

«Collect! what belongs to truth, for truth is what the King says.» — cierre de la Utterance 758: lo que se manda reunir es lo que pertenece a la verdad, y la razón que se da es que lo que el rey dice es verdad.

«O King, behold this which I have done for you; I have saved you from your obstructor, I will never give you over to your attacker,? I have protected you from Nwt-k-nw by means of the power of repulsion(?) which is on my face.» — Utterance 759, la última del volumen, rotulada *A protective spell*: el oficiante declara haber salvado al rey de quien lo obstruye y haberlo protegido con el poder de repulsión que tiene en el rostro.

«Horus has placed gold? on his Eye—a gold collar.» — Utterance 742, primera del bloque *Presentation of insignia*: la serie final del volumen vuelve a la forma de la primera, una fórmula corta emparejada con el objeto que se ofrece.

«O Osiris the King, take the intact Eye of Horus—a razor-case.» — Utterance 756: la fórmula mínima del Ojo intacto se empareja con un estuche de navaja.

«O Osiris the King, dance! Géb will not do wrong to his rightful heir'—a hind-leg (of beef).» — Utterance 127: en medio de la serie de ofrendas aparece una orden de danzar y la declaración de que Géb no agraviará a su heredero legítimo; la ofrenda material es una pata trasera de res.

«O Osiris the King, take those who have come, for they are pacified'—a s(r)-bird» — Utterance 139: lo que se entrega son los que han venido, ya apaciguados, y la ofrenda es un ave; Faulkner declara en nota que *pacify* no está documentado tan temprano y que la alternativa no da sentido.

«O Osiris the King, take the Eye of Horus, for it will not be sundered from you—z Sstt-cakes.» — Utterance 142: el Ojo entregado no se separará del rey; la fórmula corta se empareja con dos pasteles.

«O Osiris the King, take the eye of Horus; they have come. . .! by means of it—2 bowls of sacred milk.» — Utterance 146: la ofrenda son dos cuencos de leche sagrada, y los puntos sueltos son la palabra que Faulkner declara intraducible.

«O Osiris the King, provide yourself with the ferment(?) which issued from you—2z bowls of beer.! 1. Cf. §§ 374; 39¢. Utterance 149 O Osiris the King, provide yourself with the ferment(?) which issued from you —z2 bowls of shpt-drink.» — Utterance 149: la misma fórmula del fermento salido del difunto se repite cuatro veces seguidas cambiando solo la bebida, cerveza, shpt, ph(s) y cerveza nubia.

«O Osiris the King, take the white Eye of Horus and prevent him! from § 9 wearing? it—2 bowls of white s¥t-fruit.» — Utterance 161: el Ojo blanco y el verde se emparejan con fruta blanca y verde; el color del miembro divino decide el color de la ofrenda.

«O Osiris the King, open your eyes that you may see with them—z bowls of zizyphus-bread.» — Utterance 167: la orden de abrir los ojos para ver interrumpe la serie de ofrendas con la misma forma corta.

«O Osiris the King, take the sweet Eye of Horus, make it come back to you'— 2 bowls of all kinds of sweets.» — Utterance 169: el Ojo dulce se empareja con los dulces de toda clase; Faulkner objeta en nota la versión figurada de Sethe y prefiere la literal.

«O Osiris the King, take the green Eye of Horus of which he has taken possession—I give Horus to you—[2(?)] bowls of new bread.» — Utterance 186: en esta segunda serie cada fórmula intercala *I give Horus to you*, de modo que lo entregado es a la vez la ofrenda y el dios.

«Take the Eye of Horus which was allotted to him—I give Horus to you— [2 bowls of] npst-cakes.» — Utterance 191: la misma estructura de tres miembros, el Ojo, la entrega de Horus y la ofrenda material; los corchetes marcan las cifras restituidas.

«O knife of the castrator, O shining one, shining one, Wnty, Wnty !! O sailor(?)? who uses his garments for the Day-bark !» — Utterance 376: el conjuro se dirige al cuchillo del castrador; Faulkner declara en nota que Sethe lee el fragmento como invocación al dios solar, quizá para impedir el uso del cuchillo quirúrgico sobre el rey.

«May you be shut up(?)' in your name of ‘Fortress’, may you be overturned in your name of Zgi, because you are the Apiw-snake who is on his belly, who lives on the hearts of those gods who are in On. Get back! Take yourself off from it!» — Utterance 377: el encierro y el vuelco se piden cada uno bajo un nombre del adversario, Fortaleza y Zgi, que es la serpiente que vive de los corazones de los dioses de On.

«He sets you as the Morning Star in the middle of the Field of Rushes, you being seated on your throne. Your amputated parts are raised up by the Double Crown, Lord of the Bows, your abundance is in the Field of the Gods, whereon they feed.» — la misma Utterance 437: el rey queda puesto como Estrella de la Mañana en medio del Campo de Juncos, con sus partes amputadas alzadas por la Doble Corona.

«May there be benefited(?) the tomb of him whom Osiris respects and Kherty protects. May there be benefited(?) the tomb ot him whom Isis respects and Nephthys protects, (even) the tomb of the chieftain whom Mbnt-irty respects and Thoth protects. May there be benefited(?) the tomb of him whom the slayers respect and those who are among the old ones(?)3 protect. I have come‘ and I have installed(?) this house of mine. The hall of this is purer than the firmament, the door which is on it is two opposing bulls(?),° and its lock is two evil eyes.» — Utterance 534: la protección de la tumba se pide por parejas de dioses que respetan y protegen, y la casa del rey se describe con puerta de dos toros enfrentados y cerradura de dos ojos malos.

«May Osiris not come® with this his evil coming; do not open your arms to him:? ‘Go southward, go to Nedit;» — la misma Utterance 534: se le niega la entrada al propio Osiris si viene con su venida mala, y se le manda ir al sur, a Nedit; la fórmula se repite luego con Horus.

«O First-born, ‘Honour is for the King’,'* say the Souls of On; they provide you with life and dominion.» — Utterance 535: las Almas de On declaran que el honor es para el rey, y son ellas quienes le proveen vida y dominio.

«If he'5 lives among the living, then will Sokar live among the living; if he lives among the living, then will the King live among the living.! O King, come, live your life here from season to season!® in these years when you are content and your desire is at ease.» — la misma Utterance 535: la vida del rey se encadena a la de Sokar por una doble condicional, y se le manda vivir de estación en estación.

«And shall betake himself to the Mansion of Horus which is in the firmament, His double shall be vindicated before Géb.» — cierre de la Utterance 539: el dios que ayude al rey irá a la Mansión de Horus en el firmamento y su doble quedará vindicado ante Géb; es el reverso de la amenaza de la plana anterior.

«I have come to you, my father, I have come to you, Osiris,' I have brought to you this double of yours, which is» — Utterance 540, primera del bloque que Faulkner rotula *A series of spells from the funerary ritual*: quien viene trae al rey su doble.

«I have come to you, O Ré<‘, I have come to you, O Limitless, and I will § 1442 row you, I will escort you, I will love you with my body, I will love you with my heart.» — Utterance 570: el rey se ofrece a remar y escoltar al dios, y declara dos veces que lo amará, con el cuerpo y con el corazón.

«‘May you save this King from the knot which holds back(?) the living and hinders the gods’ (is said) in the mouths of those who have gone to them on that happy day of running.! ‘Seth is offered up,‘ Osiris is in the right’ (is said) in the mouths of the gods on that happy day of going up on the mountain, | and those who are on earth have abundance.» — Utterance 581: las dos frases van citadas con la boca que las dice, la de los que se han ido en el día feliz de la carrera y la de los dioses en el día feliz de la subida al monte.

«Tefénet seizes you, Shu grips you; the Majesty of Ré¢ will not turn back? in the horizon, for every god sees him.» — Utterance 613: Tefénet y Shu sujetan al rey, y la Majestad de Ré no se volverá atrás en el horizonte porque todo dios lo ve; la nota de Faulkner glosa que Ré seguirá brillando.

«at the gateway of the Mansion of the Soul; may you extend your hand to them when they come to you bowing,' may you smite them [. . .] if you are translated to the» — Utterance 614, rotulada *The king receives his subjects*: el rey extiende la mano a los que vienen inclinados ante la puerta de la Mansión del Alma.

«This King is Osiris, whom [Nit] bore, and [she has caused] him [to appear] as King of Upper and Lower Egypt in all his dignities» — Utterance 650, rotulada *The king assumes authority*: el rey es Osiris parido por Nit y hecho aparecer por ella como Rey del Alto y Bajo Egipto en todas sus dignidades.

«The King is the falcon which issued from the Eye of Horus, the uraeus § 1843 which issued from the falcon» — Utterance 655, rotulada *The king flies to the sky*: el rey es el halcón salido del Ojo de Horus y el uraeus salido del halcón, en una cadena de procedencias; las cifras tras § dentro del verbatim son los parágrafos marginales de Sethe, no folios.

«the gods have made you hale, for they love you; the gods who exist(?) crown(?) you in your name of ‘He of Elephantine(?)’ ;? [the gods who exist(?)] have made you into(?) [. . .].3! [He* trembles under you] as the earth trembles ; do not let him escape» — Utterance 658: los dioses sanan al rey porque lo aman y lo coronan bajo un nombre propio, y el enemigo tiembla bajo él como tiembla la tierra.

«Behold, he has come, behold, he has come, behold, your brother has come, § 1864 behold, Mhnt-irty has come.! If you do not know him, in order to stop your § 186s efflux lie in his embrace$ as your calf, for he is your herdsman.» — Utterance 659: el anuncio repetido presenta a Mhnt-irty como hermano, y al rey se le manda yacer en su abrazo como su ternero porque él es su pastor.

«Your foreleg® is in the Thinite nome, your” hind-leg § 1867 is in Nubia, you have descended as a jackal of Upper Egypt, as Anubis upon the baldachin.» — la misma Utterance 659: los miembros del rey quedan repartidos por la geografía, la pata delantera en el nomo tinita y la trasera en Nubia.

«O King, [pass over(?)]? this Great Lake to the spirits and this Hns-water» — Utterance 666B, rotulada *The king crosses to the Beyond*: el paso se reparte entre el Gran Lago, que es de los espíritus, y el agua Hns, que es de los muertos.

«He overthrows the § 1953 ramparts, he removes the ramparts.5! Turn yourself about, O King, whose § 1954 seats are hidden. Will you® not overthrow (the ramparts) nor remove (the ramparts) ?7 [. . .]! the three(?) Amwst and the four [. . .]. They overthrow § 195s the ramparts, they remove the ramparts. Turn yourself about, O King, whose seats are hidden.» — Utterance 667B: el derribo y la retirada de las murallas se dicen primero de uno y luego de varios, con el mismo verbo, y cada estrofa cierra volviendo al rey.

«O Shu, supporter of Nit, raise? the Eye of Horus to the sky, to the stars of the sky, since Horus sits on this iron throne of his . . . who shall beseech(?) Horus because of his Eye.» — Utterance 689: a Shu, sostenedor de Nit, se le manda alzar el Ojo de Horus al cielo, a las estrellas, ya que Horus está sentado en su trono de hierro.

«forget you, I will not be inert until the voice comes forth for you every day, in the monthly festival, in the half-monthly festival, at the Setting down of the Brazier, at the Festival of Thoth, at the W2g-festival, and at the Festival of Carving(?) as your yearly sustenance which you fashioned for your monthly $2119 festivals,27 that you may live as a god.» — Utterance 690: el sustento anual del rey se enumera fiesta por fiesta, la mensual, la quincenal, la Colocación del Brasero, la Fiesta de Thoth y la fiesta Wag.

«you stand before the snwt-shrines as Min, you stand at the head of the people of Athribis(?)’ as Apis,’ you stand in Pdw-§ as? Sokar,» — Utterance 675: el rey se sitúa sucesivamente como Min ante los santuarios snwt, como Apis a la cabeza de la gente de Athribis y como Sokar en Pdw-§.

«says Isis; ‘I have found’, says Nephthys, for they have seen Osiris on his side on the bank [. . .].! Arise? [. . .] my brother, for I have sought you.» — Utterance 694, texto de resurrección: las dos hermanas hablan cada una con su verbo, y lo que ven es a Osiris de costado en la orilla.

«Those who are in the Abyss come to you, the sun-folk go to and fro for you, that you may be Horus [.. .! . . .] with him at your due time and who prepares your yearly sustenance with him at your due season, by the command» — la misma Utterance 694: los del Abismo vienen al rey y la gente del sol va y viene por él, y de ahí se sigue que sea Horus.

«She bears you, O King, like Orion, she makes your abode at the head of the Conclaves. The King shall go aboard the bark like Ré¢ on the banks of the Winding Waterway,! the King shall be rowed by the Unwearying Stars and shall give orders to the Imperishable Stars, the King shall be rowed as a swamp-dweller,? the King shall proceed by boat to the Fields of Hzhz.! Your messengers run, your couriers hurry, and they say to Ré‘: ‘Behold, the King has come, behold, the King has come in peace.’» — Utterance 697: el rey es llevado como Orión, remado por las Estrellas Infatigables y dando órdenes a las Imperecederas, y sus mensajeros anuncian a Ré que ha llegado en paz.

«Do not travel [on] those western waterways, for those who travel thereon do not return, but travel on these eastern waterways» — la misma Utterance 697: la prohibición y el mandato se dan juntos y con su razón, que de los cursos occidentales no se vuelve.

«Lift yourself to the sky in company with the gods because of your name of [. . .] they are destroyed and drowned.3 Smite them, destroy them, drown them on [land] and sea» — Utterance 717: el alzarse al cielo va unido a la orden de golpear, destruir y ahogar a los enemigos en tierra y mar; llamada de nota de Faulkner pegada al cuerpo, releída en el crudo.

«Despite the comparative rarity of corruptions, however, the Pyramid Texts provide problems and difficulties of their own.» — Faulkner acota de entrada el material: los Textos de las Pirámides son el corpus menos corrompido de la literatura funeraria egipcia y aun así plantean dificultades propias, de gramática, de ortografía y de alusión mitológica.

«The first attempt at translation goes back to 1882, when, in vol. iii of the Recueil de travaux relatifs a la philologie et l'archéologie égyptiennes et assyriennes, Maspero began a series of printed hieroglyphic texts and accompanying translations from each pyramid in turn; this was a remarkable achievement when it is realized how little at that time was known of Egyptian grammar» — Faulkner traza la serie de traducciones previas y la arranca en Maspero, 1882, publicando textos jeroglíficos y traducción pirámide por pirámide.

«Sethe’s Ubersetzung und Kommentar is not only very bulky, consisting of six (undated) volumes, but is also exceedingly costly and is still incomplete;» — Faulkner declara por qué hace falta otra versión: la de Sethe es voluminosa, costosa y sigue incompleta.

«Further, Sethe’s copy as handed over dates back something like forty years, and its editors themselves remark that if the author had lived to complete his work and revise it, undoubtedly he would have made many alterations, though even in its imperfect state Sethe’s translation is an indispensable tool for all future students of these texts.» — Faulkner enmienda su propia objeción: pese a lo dicho, la traducción de Sethe sigue siendo herramienta indispensable, y sus editores póstumos ya advirtieron que el autor la habría revisado.

«Speleers’s one-volume translation of 1923 is now outdated, though the vocabulary-index is of value,» — Faulkner objeta la traducción de Speleers por desactualizada y le reconoce el índice de vocabulario.

«Mercer’s version does not represent current knowledge of Ancient Egyptian, and Piankoff’s study refers to only one pyramid out of six.» — Faulkner objeta la versión inglesa de Mercer, de 1952, por no recoger el conocimiento actual del egipcio antiguo, y acota el estudio de Piankoff a una sola de las seis pirámides.

«The answer is that in the last half-century great advances have been made in our knowledge of Ancient Egyptian, thanks largely to the labours of Gunn,» — Faulkner funda la necesidad de una versión nueva en el avance del conocimiento del egipcio antiguo durante medio siglo, y lo adjudica sobre todo a Gunn, Gardiner y Edel.

«In preparing the present translation I have attempted not only to bring to bear on the Egyptian text our current knowledge of grammar and lexicography, but also to produce a work which will be usable by both philologists and students of ancient religion, which will be of modest bulk, and, above all, which will cost as little as circumstances permit.» — Faulkner enuncia el triple propósito de su traducción: aplicar la gramática y la lexicografía actuales, servir a la vez al filólogo y al estudioso de la religión antigua, y costar lo menos posible.

«The notes on the translations have therefore been reduced to the bare minimum; when in doubt the scholar in Ancient Egyptian will in most cases be able to consult Sethe’s books, while the student of religion will not be interested in lengthy philological discussion.» — Faulkner declara que las notas se reducen al mínimo, y da la razón: el filólogo puede acudir a Sethe y el estudioso de la religión no se interesará por la discusión filológica larga.

«The idiom in which the present translation is couched is on the whole that of modern English. 'To a generation of students and scholars not brought up on the Book of Common Prayer and the Authorized Version of the Bible, an idiom based on Tudor or Jacobean English is alien and conveys a sense of unreality and artificiality.» — Faulkner declara la lengua de llegada: inglés moderno, y objeta el inglés isabelino o jacobeo por ajeno a un lector que no se crió con el Book of Common Prayer ni con la Authorized Version.

«I have therefore dispensed with the pronouns ‘thou’, ‘thy’, ‘thee’, ‘ye’ and have employed the current ‘you’, ‘your’, and have dropped such verbal inflexions as ‘makest’, ‘maketh’, ‘didst’.» — Faulkner enumera lo que suprime: los pronombres arcaicos y las flexiones verbales antiguas.

«On the other hand, I have retained a very few archaisms suchas, for example, ‘behold’, which to my mind is more expressive of the original than ‘see’, ‘look’, and which should not disturb the modern reader, even if the linguistic purist does not approve.» — Faulkner declara la excepción a su regla: conserva unos pocos arcaísmos, y da como ejemplo *behold*, que a su juicio expresa el original mejor que *see* o *look*.

«The cartouches of the royal dead have been rendered simply as ‘King’ or ‘the King’; to write ‘King W.T.M.N’ and the like is ugly and clumsy, while ‘King X’ is not much better.» — Faulkner explica la decisión de imprimir simplemente King donde el original lleva el cartucho del rey muerto, y objeta las alternativas por feas y torpes.

«In arranging the translation ] have not split it up into short sentences corresponding to the numbered sections of Sethe’s text as did Sethe himself and Mercer; I have reproduced the prose passages in a continuous text and have confined short lines to poetical texts and ‘litanies’, the section numbers being noted in the margin in all cases.» — Faulkner declara la disposición tipográfica de la que sale el sistema de cita de este volumen: la prosa va corrida, las líneas cortas quedan para lo poético y las letanías, y los números de sección de Sethe van al margen en todos los casos; el troceo imprime un corchete por la I de *I have*.

«Rather than follow the custom usual among translators of simply transcribing the word as ka and thus avoiding committal, I have ventured to translate it into English as ‘double’ in those cases, much in the majority, where it appears to be an entity in its own right in association with the dead king,» — Faulkner declara su decisión sobre k?: en vez de transcribir *ka* y no comprometerse, lo traduce como *double* donde parece entidad propia asociada al rey muerto, y usa spirit, essence o power donde le parece el sentido real.

«Another problem is posed by the term D3t, translated in this book as ‘Netherworld’; in this case it must be remembered that to the early Egyptians it embraced not only the world beneath» — Faulkner declara el término que vierte como Netherworld y advierte que el lector debe recordar su alcance; el tramo se corta en el cambio de plana y sigue en la p. 8 con *the earth but also part of the visible sky*.

«the earth but also part of the visible sky, see Sethe’s discussion in Komm. i, 49 ff. ‘Netherworld’, therefore, though the nearest equivalent in English, is not always to be taken at the foot of the letter.» — continuación del pasaje anterior: Faulkner acota que el Netherworld egipcio abarcaba también parte del cielo visible, de modo que el equivalente inglés no debe tomarse al pie de la letra.

«One of the great difficulties in translating the Pyramid Texts, as in a lesser degree with all but purely formal Egyptian texts, is the ambiguity of the written language and also our imperfect knowledge of it.» — Faulkner nombra la dificultad mayor de la traducción: la ambigüedad de la lengua escrita y el conocimiento imperfecto que se tiene de ella.

«The rules of grammar are well defined so far as they go, but within those rules a doubt must often remain, for example, as to whether a given sentence is to be understood as a statement or as a wish; in such cases a translator can render a passage only as he himself feels it.» — Faulkner acota el alcance de la gramática: dentro de sus reglas queda a menudo la duda de si una frase es enunciado o deseo, y ahí el traductor solo puede verter lo que siente.

«Without doubt many of the divergencies between Sethe’s translation and my own arise from just this necessity of personal interpretation, and it is well that differences of opinion should be ventilated, so that other workers in this field may be made aware of the possibilities and perhaps be enabled to decide between them.» — Faulkner adjudica a esa necesidad de interpretación personal las divergencias entre su versión y la de Sethe, y sostiene que conviene ventilar las diferencias de opinión.

«In order to arrive at the basic form of the Utterances, they have been translated with the pronoun of the 1st person instead of the king’s name wherever there has been warrant for doing so; it is certain that in many cases the original composition was deemed to have been spoken by the dead king.» — Faulkner declara la operación con que fija la forma básica de las Utterances: traducir con el pronombre de primera persona en lugar del nombre del rey siempre que haya fundamento, porque muchas composiciones se tuvieron por dichas por el rey muerto.

«Apart from the very great debt I owe to Sethe’s publications, I have had valuable suggestions from Mr. C. H. S. Spaull, who read a considerable portion of the typescript and raised a number of points, and from Mr. H. S. Smith, Reader in Egyptology at University College, London, with whom I have had a number of fruitful discussions on various points of Egyptian religion.» — Faulkner declara sus deudas: la mayor con las publicaciones de Sethe, y luego con C. H. S. Spaull, que leyó parte del mecanoscrito, y con H. S. Smith, con quien discutió puntos de religión egipcia.

«I must also express my deep gratitude to the Delegates of the Oxford University Press, for undertaking the publication of this book, and to the Council of the British Academy, and the Sir Alan Gardiner Settlement for Egyptological Purposes, for their generous financial subventions towards the cost of printing.» — Faulkner nombra a quienes costean la impresión: los Delegates de la Oxford University Press, el Council of the British Academy y el Sir Alan Gardiner Settlement for Egyptological Purposes.

«CONTENTS ABBREVIATIONS NOTE TO READERS TRANSLATIONS AND NOTES INDEXES 1. Divinities 11. Localities ul. Selected Modern Proper Names Iv. Selected Words Discussed in the Notes» — el índice del volumen declara sus cuatro partes y los cuatro índices finales: divinidades, localidades, nombres propios modernos seleccionados y palabras discutidas en las notas; el OCR lee *II* como *11* y *III* como *ul*.

«Square brackets [ ] denote a restored passage. Square brackets with dots [. . .] denote a lacuna. Angle brackets ( ) denote words or suffixes omitted in the original. Round brackets ( ) denote English words supplied to bring out the sense. Dots ... not in brackets indicate that a word or words are untranslatable.» — la nota al lector fija la convención tipográfica con que hay que leer cada verbatim de esta ficha: corchetes rectos para pasaje restituido, corchetes con puntos para laguna, corchetes angulares para palabras omitidas en el original, paréntesis para palabras inglesas añadidas y puntos sueltos para lo intraducible.

«Utt. 8-10 consist solely of royal protocols and are not translated.» — nota de Faulkner: las Utterances 8 a 10 son solo protocolos reales y quedan sin traducir.

«The ‘soul’ of Nit here is the coffin bearing her name which encloses the body of the king. Although not actually carved on a sarcophagus, this text belongs to the sarcophagus group of Utterances.» — nota de Faulkner a la Utterance 11: el alma de Nit es el ataúd que lleva su nombre y encierra el cuerpo del rey, y aunque el texto no esté grabado en un sarcófago pertenece a ese grupo.

«Introductory dd mdw is omitted henceforward from the translation when it is no more than a formal rubric.» — nota de Faulkner que explica una ausencia sistemática en los verbatims que siguen: el dd mdw introductorio queda fuera de la traducción cuando no es más que rúbrica formal.

«On Det, here translated by ‘Netherworld’, cf. Komm. i, 49 ff.» — nota de Faulkner que remite al comentario de Sethe para el término que vierte como Netherworld.

«The first four gods belong to the cardinal points, cf. JEA 36, 9. On the reading Dwn-cnwy» — nota de Faulkner a la Utterance 25: los cuatro primeros dioses de la letanía corresponden a los puntos cardinales.

«This jingle may mean that the king’s double strides along at his side, arms and legs swinging back and forth.» — nota de Faulkner a la misma letanía: la cantinela puede significar que el doble del rey camina a su lado con brazos y piernas balanceándose.

«The context shows that zmin is a substantive, not an adverb or particle as W4. iii, 453, 6 suggests; it is something that can be spat out, and apparently a pleasant substance which can calm the quarrelling gods. In ZAS 47, 125 Blackman suggested ‘cream’.» — nota de Faulkner sobre zmin: objeta al Wörterbuch que sea adverbio o partícula, lo lee como sustantivo escupible y capaz de calmar a los dioses en riña, y recoge la propuesta de Blackman de verterlo *cream*.

«The king’s mouth is as pure and uncontaminated as that of a sucking calf. For this expression cf. (| “© ‘sucking calf’, Louvre C 17.» — nota de Faulkner a la Utterance 35: la boca del rey queda tan pura como la de un ternero lactante, y remite a un paralelo del Louvre.

«The Utterances numbered here 57A-S, Utt. 58-70 of Sethe’s text, and those numbered below 71-711, form in Nt, 283-328 a continuous offering-text which has been translated in full.» — nota de Faulkner sobre la composición del bloque: las Utterances 57A a 57S, las 58 a 70 de Sethe y las 71 a 71I forman en Nt un texto de ofrendas continuo, traducido aquí íntegro, y su jeroglífico va en el Supplement.

«The fact that Nt is a queen is ignored in the translations, as, with rare exceptions, it is in the hieroglyphic text; these Utterances are of general application to dead kings, and their use for the benefit of queens appears to have been an innovation.» — nota de Faulkner: que Nt sea una reina se pasa por alto en las traducciones, como en el jeroglífico mismo, porque estas Utterances son de aplicación general a reyes muertos y su uso para reinas parece innovación.

«The translation of dsr depends on the notion of privacy inherent in this stem; presumably the king is shut off from his enemy Seth, to whom the pronoun here and in the next clause undoubtedly refers.» — nota de Faulkner a la Utterance 64: adjudica la traducción de dsr a la noción de privacidad del radical y lee que el rey queda apartado de su enemigo Seth.

«Wb. iv, 118, 5 translates sfkk with ‘jem. bestrafen 0.a. (mit 2 des Dativs)’, presumably on the assumption that the suffix :f refers to Seth, but it seems to me that a better sense is obtained by regarding the suffix as referring to Horus and the verb as describing the suffering undergone by Horus when his eye was torn out, in which case isfkkt-n-f will be a relative form.» — nota de Faulkner a la Utterance 74: objeta la traducción del Wörterbuch y propone leer el sufijo como referido a Horus y el verbo como el sufrimiento de Horus al serle arrancado el ojo.

«Fragments of twelve short Utterances corresponding to Sethe’s Utt. 103-5 are recorded in $PII, 390 ff., but none of them 1s sufficiently well preserved to provide an intelligible text.» — declaración de muro de Faulkner: de las doce Utterances cortas que corresponden a las 103 a 105 de Sethe no hay ninguna lo bastante conservada para dar texto inteligible.

«This Utterance and the next represent the cleansing of the mouth with water and natron before the ritual meal. Up to Utt. 171, N (and T from Utt. 142) add after each formula: ‘Recite four times: For the King the lifting up four times.’» — nota de Faulkner: las Utterances 108 y 109 son la limpieza de la boca con agua y natrón antes de la comida ritual, y hasta la 171 los testigos N y T añaden tras cada fórmula la rúbrica de recitar cuatro veces.

«1. Sethe’s translation and commentary begin here.» — nota de Faulkner en la Utterance 213 que fija dónde arranca el aparato con el que discute en el resto del volumen: la traducción y el comentario de Sethe empiezan ahí.

«The king as Osiris is adjured to join his son and protector Horus,» — nota de Faulkner a la Utterance 214: objeta la lectura de Sethe y lee que al rey como Osiris se le conjura a unirse a su hijo y protector Horus.

«With their nails (~~) in grief? The word is otherwise unknown, and my translation is a guess.» — nota de Faulkner a la Utterance 204: declara su traducción como conjetura sobre una palabra por lo demás desconocida, y objeta la lectura de Mercer.

«The text of §§ 144 ff. is confusedly worded, for Horus and Seth are sometimes addressed as separate deities and sometimes jointly in the singular, when the two together embody the king.» — nota de Faulkner sobre la Utterance 215: declara confuso el texto de los parágrafos 144 y siguientes porque Horus y Seth aparecen unas veces como deidades separadas y otras juntos en singular, y entonces los dos encarnan al rey.

«I have translated the text as it stands, rejecting Sethe’s extensive emendations, loc. cit. I find it hard to believe in the probability of such considerable omissions from the text.» — nota de Faulkner: objeta las enmiendas extensas de Sethe y traduce el texto tal como está, porque no cree probable que haya omisiones tan grandes.

«3. The stars vanish at dawn.» — nota de Faulkner a la Utterance 216 que da la referencia astronómica del pasaje: las estrellas se desvanecen al amanecer.

«These two Utterances, which are translated here as one, are closely connected, being part of the ritual accorded to the crown of Lower Egypt. First comes the opening of the shrine containing the crown; secondly an address by the officiating priest to the crown as goddess; thirdly a prayer by the king to the crown which clearly was originally in the Ist person; and finally the crown’s reply to the king’s prayer.» — declaración de Faulkner sobre la estructura de las Utterances 220 y 221: las traduce como una sola y las divide en cuatro momentos, la apertura del sagrario de la corona, el discurso del sacerdote a la corona como diosa, la oración del rey y la respuesta de la corona.

«the ‘City’ is either the tomb of Osiris or Nat ‘the Lower Sky’, but the absence of the det. = speaks against the latter alternative. The sections which follow are all addressed to Osiris in various aspects.» — nota de Faulkner: declara que las secciones que siguen se dirigen todas a Osiris en sus distintos aspectos, y deja abierta la identidad de la Ciudad entre la tumba de Osiris y el Cielo Inferior.

«This ‘litany’ appears to be a speech by the king following on the priestly summons; hence the translation in the 1st person, which is made necessary by the 2nd person of the priest’s» — nota de Faulkner que declara el criterio con que reparte las voces dentro de la Utterance 222: la letanía es discurso del rey tras la convocatoria sacerdotal, y por eso la traduce en primera persona.

«The king is identified with Seth as representing the kingship of Upper Egypt;» — nota de Faulkner a la Utterance 222: adjudica la identificación del rey con Seth a su papel como realeza del Alto Egipto.

«As against Sethe, who translates htm-ty n-k tw as ‘du hast dich ausgestattet’, a hortative old perfective with reinforcing dative gives a better sense, for it is pointless to tell the king what he has done, since presumably he is aware of his own actions; advice as to what he should do is much more to the point.» — nota de Faulkner a la Utterance 222: objeta la versión de Sethe y razona que es ocioso decirle al rey lo que ya hizo, de modo que el consejo sobre lo que debe hacer da mejor sentido.

«Mr. Spaull suggests that the colours of the knife may be those shown by an obsidian blade when flashed in the sun.» — nota de Faulkner a la Utterance 228, con voz de tercero nombrada: recoge la sugerencia de Spaull de que los colores del cuchillo sean los de una hoja de obsidiana destellando al sol.

«The 1st person must surely be original here, since these spells are meant to be uttered by the deceased himself against the dangers he meets on his way, as in Utt. 227 above.» — nota de Faulkner que fija de quién es la voz en los conjuros contra serpientes: la primera persona ha de ser original porque los pronuncia el propio difunto contra los peligros que encuentra en su camino.

«All utterly obscure, and Sethe does not translate. Wilke’s attempt (Z A'S 67, 127) to regard this as a rain-spell hardly carries conviction in the context of a series of spells against snakes and scorpions, which in view of its obscurity is the only real clue we have to its purpose.» — nota de Faulkner a la Utterance 232: declara el pasaje completamente oscuro, consigna que Sethe no lo traduce y objeta el intento de Wilke de leerlo como conjuro de lluvia dentro de una serie contra serpientes y escorpiones.

«This pronoun must refer to the king himself, though the abrupt change of person is curious; as Sethe points out, Komm. i, 243, it is characteristic of this Utterance.» — nota de Faulkner a la Utterance 246, que recoge el cambio brusco de persona del original y lo adjudica, con Sethe, a un rasgo propio de esa Utterance.

«Sethe, Komm. i, 245, equates this being with Ré‘, but the upraised arm also suits Min, with whom the king is identified in § 256a.» — nota de Faulkner: consigna la identificación de Sethe con Ré y propone que el brazo alzado conviene igualmente a Min, con quien el rey se identifica poco después.

«For the 1st person cf. Komm. i, 265; the king is speaking of himself.» — nota de Faulkner a la Utterance 249 que adjudica la voz: la primera persona es del rey hablando de sí mismo.

«The king has broken out of his tomb by means of his knowledge of magic.» — nota de Faulkner a la Utterance 254 que lee el pasaje de la tierra abierta como la salida del rey de su tumba por su conocimiento de la magia.

«we have here an allusion to the burial of a king in the days when he was simply interred in the earth, while ‘Ré‘ in his fetters’ refers to the temporary obliteration» — nota de Faulkner, que recoge la lectura de Sethe: el pasaje alude al entierro del rey en los días en que simplemente se le inhumaba en la tierra, y Ré encadenado a la obliteración nocturna del sol.

«This Utterance, like the last, was doubtless originally in the 1st person,» — nota de Faulkner sobre la Utterance 255: declara que, como la anterior, estaba sin duda en primera persona.

«since it clearly refers to moving objects (Sethe ‘die Bewegungen’) in a celestial context, [ suggest that its meaning may be ‘planets’.» — nota de Faulkner sobre una palabra del himno caníbal: retira su creencia anterior de que se relacione con el copto para las Pléyades y propone leerla como planetas por referirse a objetos que se mueven en contexto celeste.

«Here begins a series of spells against snakes and other dangerous creatures» — rótulo de Faulkner que abre la segunda serie de conjuros contra serpientes y otras criaturas peligrosas.

«An incomprehensible spell which makes mention of the. Nt-crowns; they are praised (hz) and raised up (ntz).» — declaración de muro de Faulkner en la Utterance 286: da el conjuro por incomprensible y solo consigna que menciona las coronas Nt, alabadas y alzadas.

«as Sethe truly remarks, §§ 474-5 constitute a general funerary text quite distinct from what has gone» — nota de Faulkner que recoge la observación de Sethe: los parágrafos 474 y 475 son un texto funerario general distinto de lo que precede, y por eso los separa en la traducción.

«The ‘nakedness’ applies to the readiness of the daughters of the gods to suckle the king.» — nota de Faulkner a la Utterance 308: lee la desnudez de las hijas de los dioses como disposición a amamantar al rey.

«Supplement, p. 77. The text is untranslatable.» — declaración de muro de Faulkner en la Utterance 728: remite al Supplement y da el texto por intraducible.

«3kr, Aker, earth, earth-god, 325. 504. 555. 676. 796. 1014. 1§53. 1713. 2254; plural, 393. 658. 2202. Tt, milk-goddess, 131. 1537.» — muestra del índice I, de divinidades: cada entrada da la transliteración del nombre egipcio, su equivalente inglés cuando lo hay y la lista de parágrafos, con los plurales separados; el índice es la vía por la que se localiza un dios en las 714 Utterances.

«Ntr-dw:w, Morning Star, 132. 357. 732. 805. 929. 935. IOOI. 1104. 1123. 1207. 1295. 1366. 1372. 1707. 1719. 2005. 2014. Ndi, 200. 209.» — muestra del mismo índice: la Estrella de la Mañana, que en la Utterance 265 es la descendencia del rey, aparece aquí con su lista completa de parágrafos.

«Seh, Orion, 151. 186. 408. 723. 802. 819-21. 882-3. 925. 959. 1436. 1561. 1717. 1763. 2116. 2126. 2172. 2180. 2268. Sitwty, 804. 1015.» — muestra del mismo índice: Orión, con el que el rey se identifica en varias Utterances, lleva su serie de parágrafos, y Sothis, su compañera en el cielo, va poco después.

«The references are to section-numbers of the hieroglyphic text» — encabezado de los índices de Faulkner que declara su sistema de referencia: las remisiones no son a la página sino a los números de parágrafo del texto jeroglífico de Sethe, los mismos que el margen de la traducción imprime con §; el volumen imprime la misma advertencia dos veces, al frente de dos de los índices, y se ancla aquí en la primera.

«Tiit, goddess of weaving, 56. 738. 741. Tritt, 56. T(w)ty-ib, 26. 488-9.» — muestra del índice I: Tait, la diosa del tejido a la que se dirige la Utterance 415, aparece con sus tres parágrafos.

«Wnw, Hermopolis, 229. 311. 315; Wnw of the north, 191; Wnw of the south, 190.» — muestra del índice II, de localidades: cada entrada da la transliteración, el equivalente moderno cuando existe y las variantes del norte y del sur.

«S tsrw, Lake of Rushes, 519. 1247. 1421; without ¥ ‘lake’, 1704. — ir, L. of the Evil-doer(?), 1071.» — muestra del índice II: los lagos van agrupados bajo la entrada del genérico, con la raya que sustituye la palabra repetida.

«Duamitef, Dw:-muwt-f, 325. El-Kab, Nhb, 326. Elephantine, 3bw, 325. Ennead, Psdt, 321.» — muestra del índice III, de nombres propios modernos seleccionados: aquí la remisión es a la página impresa del propio volumen y no al parágrafo de Sethe, de modo que este índice devuelve del nombre inglés a la transliteración.

«wbni root of tail(?), 336, n. 3. wpt zenith, 456, n. 5. wnst she-jackal, 506, n. 8.» — muestra del índice IV, de palabras discutidas en las notas: la remisión es a la Utterance y al número de nota, no al parágrafo, de modo que este índice indexa el aparato de Faulkner y no el texto.

«gnmw planets(?), 273-4, n. 3. t dwt morning bread, 197, n. 3. twr reject, 210, n. 8.» — muestra del mismo índice IV: la palabra que Faulkner propone verter como *planets* en el himno caníbal queda indexada por su nota, con el interrogante que marca la propuesta.

«THIs Supplement to my volume of translations of the Pyramid Texts contains those Utterances preserved in Jéquier’s publications Le monument funeraire de Pepi I, hereinafter cited as JPII; Les pyramides des reines Neit et Apouit (Nt); and La pyramide d’ Aba (Aba) which in Sethe’s edition of the Pyramid Texts are damaged too badly to be adequately completed in footnotes to the translations, and also other Utterances which were not included in Sethe’s publication because in 1g1o they had not yet been dis» — Preface del Supplement, plana 347, la única del segundo tomo con capa de texto legible: Faulkner declara que el suplemento contiene las Utterances conservadas en las publicaciones de Jéquier que en la edición de Sethe están demasiado dañadas para completarse en nota, y las que no estaban descubiertas todavía; el troceo imprime *1g1o* por 1910.

«It cannot be too strongly stressed, however, that it has not been my purpose to provide an edition with full apparatus criticus, but only to show the foundation on which have based my translation so that scholars can judge the latter, at the same time keeping the bulk of this volume, and therefore the cost, down to the minimum.» — el mismo Preface: Faulkner acota el alcance del suplemento, que no es una edición con aparato crítico completo sino la muestra del fundamento de su traducción, manteniendo el volumen y el costo al mínimo.

«It will be noticed, therefore, that where there is more than one new source for a text, with but two exceptions (Utt. 502 and 733) I have not set out the texts in parallel, but have copied only the more complete version (usually Nt), so far as possible completing lacunae ‘with the help of the alternative texts, any significant variants being shown in textual notes.» — el mismo Preface: donde hay más de una fuente nueva, Faulkner declara no imprimir los textos en paralelo sino copiar solo la versión más completa, casi siempre Nt, completando lagunas con las otras.

«Nor have I devoted space to additional fragments which are too piecemeal to yield an intelligible sense; these will be best dealt with in a critical re-edition of the whole of the Pyramid Texts which I am glad to learn is in course of preparation by Professor Leclant. The present copies have been made solely as a practical convenience.» — cierre del Preface del Supplement: Faulkner deja fuera los fragmentos demasiado desmenuzados y remite a la reedición crítica que declara en preparación por el profesor Leclant; sus copias, dice, se hicieron solo por conveniencia práctica.

«In the pages of hieroglyphic text which follow, square brackets without cross-hatching indicate that the text has been completed from a parallel text of the same Utterance in Sethe or Jéquier; restorations with cross-hatching are from a source of similar but not identical content.» — el mismo Preface: la convención de las planchas jeroglíficas, corchetes sin trama para el texto completado desde un paralelo de la misma Utterance y restituciones con trama para las de fuente parecida pero no idéntica.

«A. H. Gardiner, Ancient Egyptian Onomastica. Agyptologische Studien, ed. O. Firchow (Festschrift in honour of H. Grapow). T. G. Allen, Horus in the Pyramid Texts. N. de G. Davies and A. H. Gardiner, The Tomb of Amenemhét. K. Sethe, Amun» — muestra de la lista de abreviaturas, planas 11 y 12: las siglas con que Faulkner cita en sus notas se resuelven aquí una a una, de modo que *AEO* es la Onomástica de Gardiner y *Adm.* las Admoniciones.

«Aba, 625 ff. comes in at § 1778a. 10, Supplied from Aba, 626-7, which reads: io irt(?) A pn m nb[t](?) vphw. 11. Sethe’s restoration iw is to be deleted, cf. Aba, 627. 12. In Aba, 628 isft is determined with a single hoof-sign. 13. Dmst(y)-f m Hnt-mnu{t-f] hr-ib § ker-f, Aba, 628-9. 14. Sethe’s restoration iw before hw is to be deleted in favour of rdi, Aba, 629. 15. Or ‘as’. 16, Lit. perhaps ‘him who suffers in his face greatly’; for verbs of suffering pain with direct object of the part affected cf. mn, Concise Dict. 107; sn, ibid. 268. Aba, 629 has zp for znw and at 1, 630 passes to another text.» — nota de Faulkner que declara hasta dónde le sirve cada testigo: el texto de Aba entra en un parágrafo y sale en otro, y el traductor lo dice para que el lector sepa de dónde viene cada tramo.

«Here the ancient editor starts to alter the text to the 3rd person,» — nota de Faulkner que marca dónde el editor antiguo empieza a cambiar el texto a la tercera persona; es la operación que obliga a Faulkner a restituir la primera en otras Utterances.

«K. Sethe, Ubersetzung und Kommentar zu den altdgyptischen Pyramidentexten. R. A. Caminos, Late Egyptian Miscellanies.» — muestra de la lista de abreviaturas: *Komm.* es la Übersetzung und Kommentar de Sethe, la obra con la que Faulkner discute en casi todas sus notas.

«but a curved utensil with a handle which was rocked over the dough to flatten it, after the manner of a rolling-pin. The same word and determinative are used of polishing furniture in 77, 132. 133, which seems conclusive against the interpretation of the determinative as a knife.» — nota de Faulkner a la Utterance 519: objeta la lectura del determinativo como cuchillo y propone un utensilio curvo con mango que se mecía sobre la masa, a la manera de un rodillo.

«Sethe in Komm. v, 386 has seen this, but has not realized that the following # is simply the preposition ‘as to’, ‘concerning’, and so has missed the point of the passage.» — nota de Faulkner a la Utterance 571: consigna lo que Sethe vio y señala que no advirtió que la partícula siguiente es la preposición, con lo que se le escapó el sentido del pasaje.

«nb art, O. Lord of the Netherworld, 8; —fnty imntyw, O. Foremost of the Westerners» — muestra del índice I: bajo la entrada de Osiris los epítetos van como subentradas con la raya que sustituye el nombre repetido, Señor del Netherworld y Primero de los Occidentales.

«Hrw imy pr-f, Horus who is in his house, 1294. 1904. 1921. 2127. [2228. 2263]. Hrw nb prt, Horus Lord of patricians, 14. 737. 1258. 1804. Hrw nb pct ntrw, Horus Lord of men and gods, 895. Hrw nb sd, Horus Lord of the egret(?), 2251. 323 Hrw nb t:wy, Horus Lord of the Two Lands,» — muestra del índice I en la entrada de Horus: los epítetos van cada uno con su transliteración y su equivalente inglés, Horus que está en su casa, Horus Señor de los patricios, Horus Señor de hombres y dioses y Horus Señor de las Dos Tierras.

«The Ancient Egyptian Pyramid Texts 1910 R. O. Faulkner» — cubierta del reprint de archive.org: imprime el título, el año 1910 y el nombre del traductor; ese año no es el de esta traducción sino el de la edición jeroglífica de Sethe que el Preface cita en la p. 5, y así queda declarado en el encabezado de la ficha.

Microcosmos (el hombre-mundo) — El cuerpo del rey se recorre miembro por miembro y cada parte se declara un dios: la cabeza es Horus del Netherworld, la nariz el Chacal, los dientes Sopd, las manos Hapy y Duamitef, los pies Imsety y Kebhsenuf; la letanía de la Utterance 539 repite la operación con el corazón como Bastet, el vientre como Nit, el falo como Apis y los muslos como Neith y Selket. El texto no nombra el principio, lo ejecuta.