Westcar Papyrus
In 1823 or 1824, British adventurer Henry Westcar apparently discovered the papyrus during travels in Egypt. He did not note the exact circumstances under which he obtained the artifact for unknown reasons. In 1838 or 1839, German Egyptologist Karl Richard Lepsius claimed to have received the papyrus from Westcar's niece. Lepsius recognized some of the royal cartouche names and dated the text to the Old Kingdom because he could read some signs of Hieratic. There are inconsistencies about the true nature of the acquisition and the subsequent whereabouts of the document. Lepsius writes that the document was on display in the Oxford Bodleian Library, but public exhibitions have been documented there since the early 1860s and his name does not appear in any lists. Furthermore, Lepsius never made the text public; he stored the papyrus at home in his attic where it was found after his death. These inconsistencies have led to widespread speculation among many British historians who suspect Lepsius may have stolen the papyrus. In 1886, German Egyptologist Adolf Erman purchased the papyrus from Lepsius' son and left it to the Museum of Berlin.
The scroll of Westcar has been separated into three parts and is now a reused papyrus made of the plant Cyperus papyrus. The textile is grainy, greyish-yellowish, and very fragile with large gaps and badly frayed rims. Part one was fixed onto linen and placed between two glass panes using methyl cellulose at five spots. Part two was fixed to a cardboard and wooden plate covered by a glass pane. Part three was simply placed between two glass panes and completely glued to them. The adhesive used for this has partially lost its transparency and a whitish haze has appeared over time. Because of the paper lamination during the eighteenth century, all fragments are partially damaged with torn, distorted, and squashed material. Some fibres lie over the inscription while others show significant deterioration. The text itself is written in black iron gall ink and carbon black ink divided by rubra into ten paragraphs. Between neatly written sentences red traces of an older text remain visible as if the author tried but failed to wipe the previous writing off. The clean and calligraphical handwriting shows that the author was a highly educated professional.
These stories come to King Khufu from his sons who tell tales about past events from other kings, magicians, and love affairs. Story No. 1 details a miracle performed by a lector priest in the reign of King Djoser involving offerings like bread, beer, an ox, cake, and incense. Only the ending remains preserved due to damage to the papyrus. Story No. 2 features King Nebka's chief lector Ubaoner who fashions a crocodile in wax to punish his wife's lover. A caretaker reports details of their night spent together in the gardens pavilion before Ubaoner casts a spell for the figurine to come to life upon contact with water. The spell commands the creature to seize the commoner in its mouth when he comes to wash in the pool. Upon catching the townsman, the crocodile takes him to the bottom of the lake where they remain for seven days while the lector entertains visiting King Nebka. When called up again, Ubaoner orders the crocodile to let go of the commoner before the king sends them into the water where they are not seen again. Then he has the adulterous wife brought forth set on fire and thrown in the river. Story No. 3 involves Sneferu finding himself bored in his palace one day unable to find anything to do. He calls for chief lector Djadjaemankh who advises gathering twenty young women to sail him around the palace lake in his barque. Sneferu orders twenty beautiful oars made of ebony sandal wood and gold for the journey. One girl loses an amulet after getting her hair caught on an oar - a fish pendant made of turquoise so dear to her that she will not accept a substitute from the royal treasury. Sneferu goes to Djadjaemankh asking what he should do since neither she nor any other woman will row until it is returned. Using magic Djadjaemankh halves the water in the lake and puts it on top of the other half. After finding the pendant and putting the water back into place Sneferu rewards Djadjaemankh with everything he ever wanted.
The second and third stories are written in a conspicuous old-fashioned style where phrases make heroes' acting stilted and ceremonious. The first three stories are written in past tense and all kings are addressed with the salutation justified which was typical when talking about deceased kings. Heroes are addressed in the second and third stories the same way while all kings are called by their birth names despite this being unusual in the author's lifetime. Living kings were normally called by their Horus name yet King Khufu is nevertheless called by his birth name in the first three stories. In the fourth story he is treated as being still alive and being the main actor. Even future kings Userkaf Sahure and Neferirkare Kakai are called by their birth names. Verena Lepper thinks the reason may be some kind of spelling reform that occurred in the lifetime of the author perhaps trying to fix the spelling rule for naming a deceased king. She doubts that the Westcar stories are based on documents originating from the Old Kingdom because of these anomalies. The fourth and fifth stories are written in present tense where the unknown author moves the timeline and changes his mode of expression from old-fashioned into contemporary form. He clearly distinguishes long time passed from most recently without cutting the timeline too quickly. The speech of Prince Hordjedef builds the decisive transition since he is sick of hearing old dusty tales that cannot be proven. He explains that a current wonder would be richer in content and more instructive so he brings up the story of Dedi. The last section of the fourth story shifts to future tense for a short time before shifting back to present tense again.
King Nebka plays the key role in the second story depicted as a strict but lawful judge who does not allow mischief or misbehaviour to occur. The adulterous wife of the story's hero is punished by being burnt alive while her secret lover eaten alive by a summoned crocodile. Caretaker and crocodile play the role of justice whilst King Nebka plays the role of destiny according to Lepper and Liechtheim evaluations. In the third story King Sneferu becomes a victim of the author's courage to criticize the monarchy. The author depicts Sneferu as a fatuous fool easily pleased with superficial entertainment unable to resolve a dispute with a little rowing maid. Sneferu must go to the extent of having a priest solve the problem making the third story a sort of satire where critiques are hidden cleverly throughout. In the fourth story King Khufu is difficult to assess since he decides to have a condemned prisoner decapitated to test the alleged magical powers of the magician Dedi. He also appears inquisitive reasonable and generous accepting Dedi's outrage and his offer of an alternative for the prisoner. Earlier Egyptologists such as Adolf Erman Kurt Heinrich Sethe and Wolfgang Helck evaluated Khufu's character as heartless and sacrilegious leaning on ancient Greek traditions describing an exaggerated negative image. Other Egyptologists like Dietrich Wildung see Khufu's order as an act of mercy suggesting the prisoner would receive life back if Dedi performed his trick. Wildung thinks Dedi's refusal was an allusion to respect Egyptians showed to human life believing it should not be misused for dark magic.
The final story breaks from format moving focus to Rededjet giving birth to her three sons upon the day of their children's birth. Ra orders Isis Nephthys Meskhenet Heket and Khnum to aid her ensuring these children become great leaders who will worship these gods. They disguise themselves as musicians hurrying to Rededjet's house to help with the difficult birth. The three children are born each described strong and healthy with limbs covered in gold wearing headdresses of lapis lazuli. The maidservant of Rededjet later has an argument with her mistress receiving a beating before fleeing vowing to tell king Khufu what had happened. On the way she meets her brother telling him the story where he beats her too sending her on a path to water's edge where a crocodile catches her. The brother then goes to see Rededjet crying over loss of his sister starting to confess what has happened at which point papyrus story ends. Lepper points out that the story might have been inspired by historical figure Khentkaus I living and possibly ruling at end of Fourth Dynasty among titles given mother of two kings. For long time thought she may have borne Userkaf and Sahure but new evidence shows Sahure had different mother Queen Neferhetepes. Implication from Westcar Papyrus that first three kings of Fifth Dynasty had been siblings seems incorrect according to Tarek El Awady research.
Verena Lepper and Miriam Lichtheim postulate tales of Papyrus Westcar inspired later authors to compose similar tales involving magicians performing tricks and making prophecies to kings. Descriptive examples include papyri pAthen and The prophecy of Neferti showing popular theme of prophesying used during Old Kingdom just as in story of Westcar Papyrus. They also talk about subalterns with magical powers similar to those of Dedi's found in these writings. The Papyrus pBerlin 3023 contains story The Eloquent Peasant where phrase appears See these are artists who create existing anew replacing severed head interpreted as allusion to Westcar Papyrus. Column 232 contains phrase sleeping until dawn appearing nearly word-for-word in Westcar Papyrus strengthening idea many ancient Egyptian writings influenced by it. A further descriptive example appears in The prophecy of Neferti where subaltern addressed by king as my brother while king depicted accostable and simple-minded. Both stories talk about same king Sneferu and contain phrase for wise who can move waters make river flow at mere will clearly referring to wonders Djadjaemankh and Dedi performed. Since pAthen pBerlin 3023 and The prophecy of Neferti use same manner speaking quaint phrases complete with numerous allusions to wonders of Papyrus Westcar Lepper and Lichtheim hold that Dedi Ubaoner and Djadjaemankh must have been known to Egyptian authors for long time.
Continue Browsing
Common questions
Who discovered the Westcar Papyrus and when was it found?
British adventurer Henry Westcar apparently discovered the papyrus during travels in Egypt in 1823 or 1824. German Egyptologist Karl Richard Lepsius claimed to have received the papyrus from Westcar's niece in 1838 or 1839.
Where is the Westcar Papyrus currently located and how was it preserved?
German Egyptologist Adolf Erman purchased the papyrus from Lepsius' son in 1886 and left it to the Museum of Berlin. The scroll has been separated into three parts and fixed onto linen, cardboard, and wooden plates covered by glass panes using methyl cellulose.
What stories are contained within the Westcar Papyrus text?
The text contains five stories told to King Khufu involving magicians like Ubaoner, Djadjaemankh, and Dedi performing miracles for kings such as Nebka, Sneferu, and Khufu. Story No. 1 details a miracle by a lector priest in the reign of King Djoser while Story No. 5 describes Rededjet giving birth to three sons who become future leaders.
Why do some historians suspect the Westcar Papyrus was stolen?
Lepsius never made the text public and stored the papyrus at home in his attic where it was found after his death. Public exhibitions have been documented at the Oxford Bodleian Library since the early 1860s but his name does not appear in any lists leading to speculation among British historians.
How does the writing style change across the different stories in the Westcar Papyrus?
The first three stories are written in past tense with an old-fashioned style while the fourth and fifth stories shift to present and future tenses. The speech of Prince Hordjedef marks a transition from old dusty tales to contemporary form with clear distinctions between long time passed and most recently.