Tag Archives: enemy

Pulling the front Lock of Hair in Ancient Egypt.


Group of mourners, one of them making the nwn m gesture of pulling her frontal lock of hair. Relief from the mastaba of Mereruka in Saqqara. VI Dynasty. Photo: Mª Rosa Valdesogo Martín.

Group of mourners, one of them making the nwn m gesture of pulling her front lock of hair. Relief from the mastaba of Mereruka in Saqqara. VI Dynasty. Photo: Mª Rosa Valdesogo Martín.

In ancient Egyptian funerary ceremony mourners also made a different gesture with their hair, it was the nwn m gesture, which was to pull the front lock of hair. In fact, Egyptian language made an exercise of metonymy and the front lock of hair swt/syt was also used in many texts for designating the mourners, considering that it was their most significant part. According to some documents coming mainly from the Old Kingdom the nwn m gesture was a desperation act, since there is iconography showing mourners ripping their clothes, beating their arms and pulling their front lock of hair as a gesture of sadness.

Women pulling lock of hair over the dead. Tomb of Ramses IX. Valley of the Kings. XX Dynasty. Photo: Mª Rosa Valdesogo Martín.

Women pulling lock of hair over the dead. Tomb of Ramses IX. Valley of the Kings. XX Dynasty. Photo: Mª Rosa Valdesogo Martín.

However, thanks to some sources coming from the New Kingdom it could also be a gesture made over the corpse or forward the mummy. It seems that in this case, it could be a way of transferring the life force contained in the hair to the deceased and helping in his final resurrection.

Mourners of Re pulling hair. Section two of the Book of Caverns. Tomb of Ramses VI. XX Dynasty.

Mourners of Re pulling hair. Section two of the Book of Caverns. Tomb of Ramses VI. XX Dynasty.

But in the Egyptian belief the nwn m gesture was not only something made on earth, but also in the Hereafter. Those ones, who also mourned in the divine dimension and pulled their front lock of hair, guided the deceased with their shouts to find the way in the darkness of the death, so they helped him as well, as the mourners did on earth.

Why a front lock of hair? The forehead is a special part of the anatomy in ancient Egypt. According to one version of the episode of Horus and Seth, the lunar disk came out from the forehead of this one. We also know that Re put in his forehead the ureus, the snake which was in origin the eye of Re; the assimilation snake/eye makes us think of a triple similarity: lock of hair swt/ureus/lunar eye. If, as we have seen in this work, eye and snake are closely bound to the idea of resurrection, the front lock of hair might also have regenerating nature. That would reinforce the idea of the nwn m as a gesture made for the benefit of the deceased.

Ramses III holding the enemies. Relief from his funerary temple of Medinet Habu. XIX Dynasty. Photo: Mª Rosa Valdesogo Martín.

Ramses III holding the enemies. Relief from his funerary temple of Medinet Habu. XIX Dynasty. Photo: Mª Rosa Valdesogo Martín.

On the other hand, Egyptian writing shows us the image of the enemy as a man making what we could understand as the nwn m gesture. We have seen the relationship between hair and enemy in the figure of the human victim in the Sed festival (tekenu) and also in the scenes of the Pharaoh killing the enemies of Egypt while holding them from their hair. The idea is that the front lock of hair swt could also represent the adversaries or the evil the deceased needs to eliminate for having access to the eternal life.

As in the case of  the nwn movement of shaking the hair sm3 forwards, we notice that the nwn m gesture of pulling the front look of hair swt/syt had a negative and positive value, since it was a proof of sadness and consternation but also something made for helping in the deceased’s resurrection.

Cutting the s3mt, beheading the Enemy.


S3mt was for Egyptians apparently something more than just “mourning”. What about that s3mt that could be cut, which was related to snake uraeus, which appears in a moment of restoring some parts of the mummy and which was also an offer to the deceased? In chapters 532 and 640 of Coffin Texts the s3mt is cut and also tied around the dead one, when his neck and head are also restored. Do we have any other documents where to find more clues?

Chapter 50 of Book of the Dead was the heir of the chapter 640 of the Coffin Texts and belongs to a group of chapters related to the regeneration of the corpse. In a Ptolemaic version in the Egyptian Museum in Turin we can read: Formula for not entering the butchering hall of the god. Speech said by Osiris, alive and justified: my vertebrae are united in my nape by them, the Ennead. My vertebrae are united in my nape (bis) in the sky and on earth by Re, in that day of reinforce and reconstitute the exhausted ones[1]  over the two legs, in that day of cutting the necks[2]. The vertebrae in the nape are united by Seth with his power, when[3] there was no disturbance”.

But in some other versions of the same chapter we read a very similar text to that one of the Middle Kingdom: “…fours knots have been tied around me by the sky’s guardian, he has fixed a knot to the dead ones over the legs in that day of cutting the lock of hair s3mt….”

At this point it is important to notice that the writing for the Egyptian word nHbwt (necks) had the determinative of hair:neck. It seems that cutting the lock of hair s3mt is interchangeable with cutting the necks. So there was in ancient Egyptian belief assimilation between both hair and necks, which would mean that cutting the necks, would be the same act as cutting the s3mt.

Hair and necks, what can that have to do with the snakes? In this regards it is interesting J.F. Borghouts comment about chapter 532 of the Coffin Texts where we have already read about a Heliopolitan rite: “…Is tied to me a lock of hair in Heliopolis, the day of cutting the lock s3mt” [4]. J. F. Borghouts focus on the beginning of the passage: “Formula for placing a man’s head in the necropolis…” The passage relates how the deceased receives his head and his neck at the same time that the gods receive their heads, and that action happens the same day that the s3bwt snakes (or multi colour snakes) were expelled from Heliopolis, because they caused the gods to lose their heads[5]. The s3bwt snakes where the enemies of the Sun god because they injured the gods and let them headless. We would be facing an archetype “rite of defeating the evil one”, where the Demiurge announces: “I have appeased the Heliopolis’ disturbance after the judgement, I have restored the heads to those ones who had them not, and I have finished the mourning in this country” [6].

Beheading the snake as an image of the evil. The cat of Heliopolis killing the snake Apohis, enemy of Re. Painting from the tomb of Inerkha in Deir el-Medina. XIX Dynasty. Photo: www.osirisnet.net

Beheading the snake as an image of the evil. The cat of Heliopolis killing the snake Apohis, enemy of Re. Painting from the tomb of Inerkha in Deir el-Medina. XIX Dynasty. Photo: http://www.osirisnet.net

The head is the central of the body for all senses, not having head means not having faculties of perception and it is also a lack of identity. In Egyptian funerary belief, the lack of head is, not only the obvious lack of life, it is also the impossibility of resurrection. To restore the head is a step to the new life, since thanks to it the deceased will have again the faculty of breathing, seeing, listening[7]. In line with that is the Egyptian union between headless Osiris and the invisibility of the new moon[8]; the disappearance of the head is like the disappearance of the moon, it is the darkness, and so, it is the death. When a human being dyes he gets into a period of shadows, which fades gradually at the same time of the funerary rites. Among these rites here we need to mention the put of the funerary mask, which was a head’s substitute; with it the dead one will have again access to light, to the new life.

There is a stela found in Abydos and dating from the reign of Ramses VI where we can read: Oh! Horus, I have spitted over your eye, after it was removed by your aggressor…Oh! Isis and Nephtys, I make bring[9] to you your heads, I have put[10] your napes for you in this night of cutting[11] the heads (?) of s3bwt snakes in front of Letopolis…”[12] The text reminds to the former chapters we have already seen about the healing of the damaged lunar eye and the shaving of the two mourners.

The healing of the Udjat eye happens at the same time of the gods’ heads restoring and the revenge over the s3bwt snakes. And cutting the s3mt could be the same as cutting the s3bwt.

According to J. F. Borghouts, the parallel between s3mt and s3bwt could be caused by a deformation in the writing with the passage of the time. But so many times repeating the expression “cutting the s3mt” would maybe respond more to assimilation with “cutting the s3bwt” than just a mistake in the writing. The result would be in line with our research: the lock of hair s3mt would be identified the the s3bwt snakes as a negative element that needs to be eliminated. So, to cut the s3mt would symbolize a sacrifice of a dangerous animal. The hymn to Sobek in Ramesseum Papyrus says:

“Welcome in peace, lord of peace!

Your fury has been eliminated; your anger has passed…

Your s3mt is cut” [13].

Sobek-hymn

 The Egyptian verb whs was used for “cutting hair”, but also for “sacrificing enemies” [14], and that put in the same level to cut the lock of hair s3mt and to sacrifice an adversary. Hair, enemy and sacrifice are already familiar concepts to us.

Beheading the enemies of Osiris. Paiting from the tomb of Tutmosis III in the Valley of the Kings. XVIII Dynasty. Photo: Mª Rosa Valdesogo Martín.

Beheading the enemies of Osiris. Painting from the tomb of Tutmosis III in the Valley of the Kings. XVIII Dynasty. Photo: Mª Rosa Valdesogo Martín.

Let’s compile some ideas to give shape to our post:

  • The day of shaving the mourners is the day of giving the Udjat eye.
  • To equip with a lock of hair s3mt appears at the same time of shaving the i3rty of Sokaris.
  • The s3mt is cut when the deceased is still blind/dead and after that action he has access to light/new life.
  • To spit over the damaged eye of Horus for healing it, to restore the gods’ heads and napes and to cut the heads of the s3bwt snakes, the enemies, happened together.

Summing up, we find four elements together in the deceased’s regeneration:

  1. Slaughter the s3bwt snakes as the evil ones.
  2. Cut the s3mt
  3. Restore the heads
  4. Recover the Udjat eye.

The two first ones are similar actions for eliminating the evil and after them the two last ones are actions which meant the perception and the access to light, so the deceased’s resurrection.


[1] The dead ones.

[2] chapter 50 BD

[3] From XVIII Dynasty on, preposition tp could have a temporal sense.

[4] We have seen this chapter in the first paragraph about the lock of hair s3mt.

[5] J. F. Borghouts, 1970, p. 73.

[6] Urk. VI, 115, 9-15 (D. Meeks, 1991, p. 6. The Egyptians thought that Horus from Letopolis was the one who restored the gods’ heads. The day commemorating that was a festivity in Heliopolis (J.F. Borghouts, 1970, p. 206)

[7] D. Meeks, 1991, p. 6.

[8] D. Meeks, 1991, p. 8

[9] siar means “make go up”, in the sense of “bring” or “give” (Wb IV, 32, 10)

[10] smn means “join”, “bind”, “put” limbs that have been separated (Wb IV, 132, 20)

[11] The generic meaning of sn es “decapitate” (Wb III, 457, 17).

[12] KRI VI, p.24, 3-4; M.Korostovtsev, 1947, pp. 155-173.

[13] A. Gardiner, 1957, p. 46.

[14] Wb I, 351, 14.

The Egyptian word s3mt. “Hair”, “Mourning” or both?


We have read in many chapters of the Coffin Texts that the s3mt was cut -although not destroyed (CT 334) – and offered, and that seems to happen when the mourners were shaved. But, do we know exactly what the s3mt was?

Pharaoh Snofru. Funerary stela from Cairo Museum. IV Dynasty. Photo: Mª Rosa Valdesogo Martín

Pharaoh Snofru. Funerary stela from Cairo Museum. IV Dynasty. Photo: Mª Rosa Valdesogo Martín

The Egyptian word s3mt had different meanings[1]. According to A. Erman and H. Grapow, it meant “sadness” [2]; but s3mt could also be “moan” [3] or “mourning” [4]. Some scholars have translated s3mt as “lock of hair” [5]. Some consider that it could describe “not cut hair” as a sign of mourning[6] or “careless hair” [7]. William A. Ward took as basis chapter 1131 and affirmed that the expression Hdq s3mt meant “cut the dishevelled hair” and for giving this meaning to s3mt he referred to the Prophecy of Neferty[8].

The text relates how the wise man Neferty tells Pharaoh Snofru (IV Dynasty) about the future (First Intermediate Period), as a chaotic time when all rules (natural and cultural) get reversed. Among all the disasters happening to Egypt (the country will be attacked by Asiatics, the sun will not shine, the Nile will dry, and there will be wars…) Neferty says:

“…nobody will cry for the death,

Nobody will fast during for the death,

A man’s hearth will be concerned just about himself,

Today will[9] not be any s3mt carried out,

Neferty

 

 

The heart will be completely away from it…”

W. Helck translated “…today none will dress hairstyle for death” but M. Lichtheim considered that Neferty was saying that the mourning was not done and for G. Lefrebvre Neferty’s words said “…there will not be mourning ceremonies…”[10] Before that Neferty told how none would cry nor fast for the death, that is, would nobody do the orthodox funerary practices; that means that s3mt could be considered as an Egyptian word for the mourning as a funerary custom. So, for us it makes more sense to translate as: “…today will not be the s3mt carried out…” and it would match perfectly with the chaotic image Neferty is describing.

Group of mourning women. Unfinished painting from the tomb of Userhat in Gourna. XVIII Dynasty. Photo: Mª Rosa Valdesogo Martín.

Group of mourning women. Unfinished painting from the tomb of Userhat in Gourna. XVIII Dynasty. Photo: Mª Rosa Valdesogo Martín.

Thanks to some stelas found in Serapeum we know that during the embalming of Apis there was mourning ceremony called s3mt: “… I was among the miserable, being in moan, being in mourningSerapeum-s3mt[11].

The word s3mt could refer to an spect of the mourner's hair or just to the mourning itself.

The word s3mt could refer to an spect of the mourner’s hair or just to the mourning itself.

Everything points to the Egyptian word s3mt as a funerary custom related to hair and mourning, but nothing indicates that it could refer to a special hairstyle. Would it be maybe the two mourners’ hair manipulated during funerals for the deceased’s benefit?


[1] In the Old Kingdom s3mt is documented  as a personal name (P.Kaplony, 1966, p. 68)

[2] Wb IV, 18, 10.

[3] D. Meeks, 1977-1979, p.306, nº 78.3295.

[4] D. Meeks, 1977-1979, p.304, nº 77.3349. Another way of writing s3mt wass3mt-ojo

[5] R.O. Faulkner, 1962, p. 210.

[6] D. Meeks, 1977-1979, p. 239, nº 79.2409.

[7] D. Meeks, 1977-1979, p. 304, nº 77.3349.

[8] W. Helck, 1970

[9] nn sDm.f implies future.

[10] G. Lefebvre, 1988, pp. 101-102.

[11] W. Jansen, 1994, p. 35; J. Vercoutter, 1962, pp. 37-38.

Hair, Enemy and Sacrifice in Ancient Egypt. Part II: Tekenu and Magical Heads.


The gesture made by the enemy is the same as the one made by mourners when they hold the front lock of hair swt. enemy and mournersThe relationship between enemy and hair is not exclusive of Sed Festival. Egyptian iconography always shows how the Pharaoh grabbed the hair of the enemies of Egypt. They were the personification of the evil and the king had to eliminate them for protecting the country from that danger. Was to kill them also to cut their locks of hair? In those scenes we can see the Pharaoh holding the mace but also sometimes a cutting weapon, the sickle. He could with it to cut the enemy’s head or as well his lock of hair.

Ramses III holding the enemies. Relief from his funerary temple of Medinet Habu. XIX Dynasty. Photo: Mª Rosa Valdesogo Martín.

Ramses III holding the enemies. Relief from his funerary temple of Medinet Habu. XIX Dynasty. Photo: Mª Rosa Valdesogo Martín.

If cutting the enemy’s hair symbolizes to eliminate the danger, then the lock of hair swt symbolizes the enemy, the evil. We would be again in a case of metonymy with lock of hair swt. As we saw formerly the lock of hair swt identified the two mourners. Once again the whole (the enemy) is identified with a very significant part (lock of hair). In the renovation/resurrection sphere of ancient Egypt the tekenu, whose image appears in Sed festivals and funerals, would be that malignant being that must be destroyed; to cut and get his lock of hair could symbolize his murder, so the end of the danger, the pass from darkness to light, from death to new life.

Obviously this is just a hypothesis, since the rite of tekenu is still much unknown. Anyway, there are some documents that allow us to approach. The tomb of Montuherkhepeshef in Thebes[1] dates from XVIII Dynasty and has a very valuable scene related to the tekenu.

Funerary scene of the tomb of Montuherkhepeshef in Dra Abu el-Naga. XVIII Dynasty.

Funerary scene of the tomb of Montuherkhepeshef in Dra Abu el-Naga. XVIII Dynasty.

Among the many funerary scenes, there is one showing a hole containing the word tknwtknw; four elements share the place: the skin meska piel msk(apparently where the tekenu was wrapped), the heartheart, a bull leg bull leg and a lock of hairhair. It seems that they are parts of the tekenu[2]. Could we think that the human victim in some moment of the Egyptian history was replaced by an animal victim? All those parts of the victim seem to be very important in the funerary ceremony, at least in Montuherkhepeshef’s burial. Concretely, the lock of hair had to be in the same level of importance as the skin, the heart and the leg and maybe with a very similar function.

If the lock of hair swt in the Egyptian Sed Festival could be a symbol of the evil, and its destruction a symbol of the victory over the meanness, we could also think something similar in the funerary context. To eliminate the lock of hair swt would mean the victory of the good over the evil that the deceased needs for coming back to life. The document has not an easy explanation, but at least we can see how important could be the lock of hair in the mortuary ritual of tekenu; we could consider it as something for providing vital energy to the dead and as a grant of the end of the chaos and the danger; so the beginning of a new life for the deceased.

In this line we consider appropriate to mention the research made by R. Tefnin about the called “magical heads”[3] found in Giza[4]. They are sculptures of heads made in limestone and discovered in non royal tombs from IV Dynasty. The individual features makes think of portraits, but their purpose is not clear.

Magical heads from Giza. IV Dynasty. Cairo Museum. Photo: www.wikipedia.org

Magical heads from Giza. IV Dynasty. Cairo Museum. Photo: http://www.wikipedia.org

R. Tefnin noticed that, although their individuality, they shared many characteristics; actually it seems that a kind a damage was made in those heads before the burial; these damages were deep incisions in neck, top of the head, ears and in the frontal line of the hair. According to R. Tefnin these marks would respond to a ritual made in some moment of the funerary ceremony. We have already said that in Egyptian though the head was the centre of the life, the head has vital faculties as breathing, seeing, hearing, tasting. Not to have head meant the incapacity of making breathing and perceiving, and that was a synonym of death. Funerary texts show Osiris as a death being who needs to recover vital faculties for finishing his resurrection. In that point R. Tefnin refers to “the ambiguous attitude of Egyptians towards their deceased ones” [5].

Magical head of Nofer from his tomb in Giza (G2110A). IV Dynasty. Museum of Fine Arts Boston. Photo: www.mfa.org

Magical head of Nofer from his tomb in Giza (G2110A). IV Dynasty. Museum of Fine Arts Boston. Photo: http://www.mfa.org

On one hand the deceased needs the help of the living ones, but he can also be a danger; the dead ones belong to an unknown dimension, which the living ones cannot control, so the deceased can become a spirit coming back from the beyond to the earth with bad intentions[6]. If the dead could be an adversary, he had to be treated as an enemy. For R. Tefnin this point of view would explain those ritual mutilations made on the “Magical heads”.

The head, as image of the deceased as an enemy, suffers in some moment of the funerals, some ritual damages, which refer to punishments inflicted to adversaries: the incision in the neck would symbolize the beheading, the mark on the skull would be the hit with the mace, the cut of the ears was also a documented war practice, to cut the hair over the front should then also be a punishment made to the enemies.

Again we meet a relationship between cutting the hair and eliminating the danger. It is the same principle of the tekenu; the idea of an expiatory sacrifice materialized in renovating rites through the ablation of a lock of hair.


[1] TT 20.

[2] Spanish mission in the tomb of Dyehuty has discovered a very interesting scene related to the tekenu.

[3] Also known as “reserve heads” or “replacement heads”.

[4] R. Tefnin, 1991.

[5] R. Tefnin, 1991, p. 86.

[6] In fact we there were conjurations and incantations for avoiding the ghosts to annoy the living ones.

Hair, Enemy and Sacrifice in Ancient Egypt. Part I: The Tekenu.


Related to the lock of hair s3mt we have seen two important points:

  • To keep the lock of hair s3mt intact is a hope of new life for the deceased.
  • The lock of hair s3mt seems to be victim of ablation, just in the moment when the dead gets his head back again (see chapter 532 of Coffin Texts).

It is interesting to notice that the Egyptian verb utilised for “cut” the s3mt is Hsq, which also means “decapitate”[1] ; so the whole sentence could also be translated as « behead the lock of hair s3mt ». The act of beheading is very close to sacrifice. The idea of sacrifice is very common in Ancient Egyptian religion, mainly the sacrifice for avoiding dangers or the slaughter as revenge. But our area is funerals, dead, and renovation, resurrection, regeneration. Could we think of a symbolic sacrifice made in funerals for benefitting the deceased? Or do we know sacrifices made in Ancient Egypt with renovation finality? Yes, we do and we know a victim’s name: tekenu. This enigmatic figure appears in Sed Festival rites and also in funerary ceremony[2]. In both cases he is a man wrapped in a kind of shroud sit or in foetal position and his role is still too unknown.

Tekenu wrapped in a shroud and in foetal position over a sledge. Painting from the tomb of Ramose in Gourna.XVIII Dynasty. Photo: Mª Rosa Valdesogo Martín.

Tekenu wrapped in a shroud and in foetal position over a sledge. Painting from the tomb of Ramose in Gourna.XVIII Dynasty. Photo: Mª Rosa Valdesogo Martín.

According to some scholars there was in ancient Egypt a prehistoric rite where a royal adolescent was sacrificed[3] and wrapped into an animal skin[4]. After the young’s death, the king would cover himself with that animal skin obtaining so the vitality the teenager had impregnated[5]. This gesture would symbolize the king’s return to his mother womb and the following rebirth; granting this way the renovation of the sovereign. The human sacrifice of Sed Festival, real or symbolic, is proven from the scenes of some slabs dating from the early I Dynasty. Maybe this practice of murdering was abandoned during that same I Dynasty and had just a symbolic dimension. After a previous symbolic sacrifice (human or animal)[6] the Pharaoh would be wrapped in a skin/shroud for getting the vitality needed.

It seems that in the heb Sed, the sacrifice had two values, one Osiriac and propitiatory and another ones Sethiac and expiatory. Both, although apparently opposed are complementary, since the death of Osiris requires next Seth’s. On one hand Osiris’ death reflects vileness and on the other hand Seth’s death means the victory of the good over the evil. Two faces of the same coin, where the king dies and comes back to life as Osiris did, while the meanness is destroyed as was Seth in the myth[7]. The tknw of some images of New Kingdom as a huddled person on a sledge could be in origin that human victim of archaic times sacrificed for the benefit of the sovereign, replaced in funerals for the benefit of the dead.

One of the first documents of Sed Festival is the tablet of king Djer found in Abydos by Petrie. The entire scene is disposed in there registers and in the first row is one of the little documents in iconography of a human sacrifice in Ancient Egypt.

Tablet of king Djer. Photo: www.ancient-egypt.org

Tablet of king Djer. Photo: http://www.ancient-egypt.org

The second register shows two possible victims represented in a conventional way, the surprising thing is that both have a frontal trace. What did the sculptor want to represent? The answer is not so easy. A priori it could remember the image of the so common Egyptian image of the enemy, usually interpreted as gripping his own stream of blood flowing from his front. EnemyBut, makes it sense to hold a liquid element with both hands? Would not be more logical to think of a more solid element to catch with both hands?


[1] Wb III, 168, 16.

[2] Designation tknw for the victim in funerals appears in New Kingdom.

[3] A king’s son, that is a prince (msw nsw).

[4] The use of animal skins is common in initiation ceremonies (J.L. Le Quellec, 1993, p. 335)

[5] Enel, 1985, p. 204.

[6] J. Cervelló Autuori, 1996, p. 211.

[7] J. Cervelló Autuori, 1996, p. 209.