The age, size and good condition of a papyrus in the British Museum with the designation CLOT BEY 9901 are remarkable. In addition the legibility of the writing is a special characteristic. The usual illegibility of many ancient Egyptian papyri requires much orthographical research to be able to read them. The graphical connection between the papyrus writing and the hieroglyphs chiseled in stone promotes the interpretation significantly. In Papyrus 9901 the writing in ink and that in stone is still sufficiently visible and it can be called hieroglyphic. This papyrus must be an important contribution to the interpretation of ancient Egyptian literature altogether. Considering that the known quantity of such legible papyri is low its importance increases accordingly.
The ancient Egyptian culture continues its existence like any other in its transmission or preservation. It is confirmed by the numerous buildings, excavations and especially the sarcophagi. These have religious relevance because they seem to confirm a progressive belief in the afterlife. This belief is accompanied by such a comprehensive and intrusive practice as if it means that the existence of an afterlife is possible. The influence of afterlife myths in interpretation of transmission is not to be underestimated because the attempt to survive death must belong to the most desperate wishes of a conscious mankind. The impressive grave sites above and below earth as well as the comprehensive literature chiseled in stone, painted on walls, carved in wood and written on papyrus indicates an incomparably progressive practice that also because of the incomparable duration of transmission seems to have some practical use to the living. If on the basis of a belief in the afterlife people expended themselves continuously it can seem as if the ancient Egyptian history represents an uninterrupted state of idealism. This cannot be true considering the unequaled progress in literature or science.
The geographical location and the climate of the Nile valley can be counted to the causes of progress. Disregarding the extreme conditions in deserts or polar regions they are however not a sufficient explanation for the duration of progressive human culture. There are comparably suitable locations of human culture that are notably found at river mouths. Although an abundance of resources is a necessary condition for cultural progress it is however not sufficient. The interest in the continuation of culture depends on the control and distribution of resources. A state is required that has socialist properties. Naturally such a state primarily provides for the people that comprise it. The interaction between the state and the population is a decisive factor. The access to the resources of state is preferably a matter of qualification. This explains the system of education and career. It is a popular point of view about the history of world empires that individual acts of war are decisive for their rise and fall. Little attention is drawn to the corruption and neglect of state preceding defeat. It can be expected that a religion will not survive long if it does not address human needs sufficiently and formulates realistic commandments of cohabitation. The uncomparable duration of ancient Egyptian culture can mean that its literature corresponds to a sufficient degree with human reality and promotes this.
Writing must be an important part of ancient Egyptian culture. It awakens the suspicion that because of the desire to self representation historical occurences were exaggerated or even invented. Language is important as long as it is claimed that an unchanged transmission from a superior origin justifies access to the heritage. This claim is a mission of the academic institution because its success is considered as justification of access. Scientific progress and superiority are readily interpreted as confirmation of true belief. Because of the remarkably long existence of the ancient Egyptian Book of the Dead to which Papyrus 9901 belongs it can be expected that the literature is accompanied by an academy the work of which is the teaching, interpretation and transmission thereof. It is to be expected that a claim to a heritage is according to new religious ideas interpreted as resources in the afterlife. But it is more realistic to accept that such literature is intended for the descendants or future generations. A forbidden access to the grave site could serve the purpose that also generations far in the future have the opportunity to receive the literature.
The inscribed buildings in Egypt naturally form the basis of Egyptological work. Apart from the inscriptions that can provide access on a linguistic level it is the character of access and availability of numerous monuments that because of their size already draw attention to themselves. The public character is not to be taken for granted especially if there are indications that free access is not desired. The forced or unskillful opening of grave sites, the removal of their content and trading therewith is questionable if the circumstances are characterized by interests other than scientific. The lack of scientific method is for example demonstrated by an immature or undifferentiated display of antiquities. Although exhibitions and archives generally have a chronological and thematic order there are still important differences with regard to the intention and function of an ancient Egyptian antiquity if this was made for the purpose of transmission. Then it is not comparable to things the life expectancy of which is already surpassed long ago. Even the sarcophagus that is an exemplary demonstration of an intrusive effort to preserve an organic body is prematurely considered a fascinating relic of primitive superstition. This concerns the individual and the idea is that the resting place and the accessories help the individual on the journey in the afterlife. As soon as the destiny there is reached the purpose and function of the sarcophagus is completed and its life expectancy has ended. It is for this reason thought that access to a tomb or burial site is prohibited. The moving or removal of things there could cause dangers to an individual on the journey in the afterlife. This interpretation is very different to the intention of preserving a body for future generations. The questionable interpretation of the sarcophagus is that it is prepared only to the benefit of one person the presence of which in the afterlife is commonly called the soul. Such person orientated culture of devotion does not correspond to the socialist characteristic that the ancient Egyptian state must have had in order to ensure its enduring support. It is generally accepted that religion was completely integrated into this state. The provision of individuals in an afterlife can not be relevant to the state.
It is maybe an expression of political exclusivity if interpretation of a work is only made possible by limited access to education. A work does not seem to be a complete public memorial if the interpretation is reserved only for an educated class. The circumstance of the creation of a class or its relationship with other classes is important to determine if education is relatively accessible to the public. The class character of education cannot be denied and is inevitable. The problem that can arise with less challenged peripheral sciences like modern Egyptology is that the scientific discipline is neglected. Naturally the progress of different faculties cannot be expected to be equal. The public interest in the results of a scientific institution is determined by commercial and military exploitation. A regress of cultural sciences can be expected when these are adapted or even manipulated to justify the progress and success of other sciences.
The correspondence between the forbidden grave site and the exclusive education is interesting because in both cases a religious respect is demanded. If the papyrus of the grave site demands academic competence for the interpretation thereof then the religious respect is explained thereby. The idealization of death which is promoted by resurrection or reincarnation myths can cause some distration from the message of the papyrus. It can be expected that its interpretation will be influenced by widespread ideas of afterlife myths.
Concerning the content of a work the symbol can be considered a widespread myth of classical art. It must be mentioned because it is a conventional sign. Furthermore it is a common piece of the rhetoric accompanying interpretations. If the knowledge of the symbol is finally corrupted by the wrong use of the word it is questionable if it is realy suitable for any interpretation. The sinister characteristic of the symbol is undeniable because its function is the secret. In comparison to the hieroglyph its origin is not easily accessible. In the hieroglyph the association between language and sign is determined by things found in daily life. This association must have contributed significantly to the transmission.
The abstraction of a hieroglyph is superior to its symbol if it still indicates the hieroglyph in a recognizable manner. The hieroglyphic writing of Papyrus 9901 is an example of a low degree of abstraction. A symbol is separated from its hieroglyph in such a way that only in combination with other parts or components the original relationship can be established or seen. It can also be called a manipulation of the sign. Some resistance can be expected if the origin of the letters is to be found in hieroglyphs. The profane identity that is promoted by the common things depicted by the hieroglyphs seems to be rejected by the exclusive identity of a social class. This even raises the claim to the superiority of the symbol. The letters of the alphabet are not sufficiently revealed in comparison to ancient Egyptian hieroglyphs. These represent a connection between language and common things like tools, household goods, plants and animals. Maybe the alphabet was corrupted by trade because it did not reveal the identity of wares except to those who understood to read the letters. The symbol could become a suitable means of communication of the trading class. It is preferred to the abstraction if this still has sufficient graphical detail to reveal the depicted thing. But it does not mean that trading is the cause of the alphabet. Another possible origin is architecture and markings on building material.
There remains the metaphor that cannot actually be confused with the symbol because its meaning is already completely available. This is only transferred. Symbols actually occur far less frequently than mentioned. In conversation metaphors are often called symbols regardless of the fact that their imagery or meaning is completely known and that there should be no occasion for a symbol.
(C) Trustees of the British Museum
The depiction of a man sized pair of scales toward the beginning of Papyrus 9901 is part of a scenery that immediately reminds of judicial proceedings. The pair of scales is up to the present the metaphor for justice. Illustrated in a scene above the Great Pair of Scales is a Juvenile in a white gown who kneels by an offering table and before a row of squatting figures. His hands are raised, their insides directed away from him. In the next scene he is lead by the hand by one of the anthropomorphic figures from the left side to the pair of scales. Finally on the right side thereof he is shown by another anthropomorphic figure to a temple where a male figure is seated on a throne. This seems to float on a pool of water. The illustrated proceedings could be a judicial act that is seemingly divided into three scenes.
The Great Pair of Scales is noticeably characterized by the head of a female ancestral figure that is decorated by a feather. Her head is depicted on top of the stand of the pair of scales. Furthermore there is another feather that is attached horizontally to the stand below the head. From this horizontally attached feather a device is suspended that can be a measuring device. One of the anthropomorphic figures kneels by the stand of the pair of scales and holds the hand up to this device. On the left weighing scale of the pair of scales is a small vessel and on the right a feather. The pair of scales is therefore characterized by three feathers.
Inside the temple there are two female figures who stand behind the throne. Before this there are four small upright standing figures on a lotus flower growing from the pool beneath the throne. These figures look like miniatures. The temple on the right side of the illustration nearly takes up the complete height of the page. There is no doubt that it is a temple because there are significant correspondances to the architecture of the antique temple.
The main text is written in thirty three unequally long columns above the Great Pair of Scales and beneath the first scene.
| Scene 1 | Juvenile kneels before Ancestry |
| Scene 2 | Juvenile goes to Great Pair of Scales |
| Scene 3 | Juvenile goes to Temple |
Apart from the main row of thirty three columns text there are fifteen short columns in the first scene respectively one above each of the fourteen squatting figures and the kneeling Juvenile. It must be their names or titles. Noticeable about figure IV is that the name is repeated outside of the name column. The black margin lines of the text columns probably mark an official area.
There are corresponding to the amount of persons in the first scene including the Juvenile altogether fifteen short text columns. The first text column from the left which indicates the Juvenile can be considered the beginning of the text of the entire act. The reading direction of this column is contrary to the other fourteen columns from right to left. There is also a short line of text appended to the left of the first column. It is concluded by a figure of a man seated on the floor and holding a flail.
The Juvenile can be the recipient of the offering on the small table that stands between him and the row of squatting figures. Only he is in state to take the offering. The figures squatting on the floor are depicted without arms and are bandaged. Also the quantity of the offering that seems to be a small cake is so little that it can only suffice for one person. The act that the Juvenile performs with raised arms towards the row of squatting figures could be a gesture of gratitude. The preposition at the beginning of the first column can indicate the direction to the recipient of the offering. The squatting male and female figures are probably the Ancestry. This will realistically represent the heritage of society and it can be expected that it is characterized by economically relevant or important activities. It could be an important characteristic of the offering to the Juvenile that it has the agreement of the Ancestry. Also for the fulfilment of justice the participation of the entire community could be required.
Figure I like figure VI of the row of fourteen squatting male and female figures is anthropomorphic. Figure I is characterized by a falcon head. On this is a solar disc around which there is wound a cobra. In the name column of figure I there is also a solar disc. This has literal meaning. The difference between literal and metaphorical meaning is indicated by the number. This looks exactly like the first three Roman numerals and indicates singular, dual and plural. Amongst the hieroglyphic signs of the fourteen name columns accompanying the Ancestry there are apart from the solar disc other things that have literal meaning. In the name column of figure VI there is a sign that means the celestial vault or heaven. It looks like a lid of a sarcophagus, possibly made of stone.
A bit further in the name column accompanying figure X there is another vault or building part. It reminds of the roof structure of the temple. On clearer depictions of this sign it can be seen that it has vertical niches as these are found alongside the illustrated temple roof. There seem to be two different types of top structures that are mentioned with the figures VI and X. In comparison to the angular rim of the celestial vault the structure in the name column of figure X has a step shaped rim. The grammatical number thereof is the plural. But this does not confirm the literal meaning if this has to be indicated in the singular first.
The last three figures of the Ancestry - XII, XIII and XIV - have similar names because they each contain a sign that seems to depict a strip of land or path. The literal meaning is confirmed by the Singular. Then follows the grammatical perfect that is indicated by addition of a bread. The perfective meaning of a path can be its destiny. Each of the three name columns is additionally determined by a cardinal direction in the sequence South, North and West. With regard to the geography of the country Egypt the last three figures can mean borders because the Eastern border apart from a small land passage is formed by the Red Sea. Even this land passage that separates the Mediterranean from the Red Sea can relative to Egypt form the Northern border. The whip in the name column of figure XIII seems to be a suitable metaphor for such a narrow land passage. This is a good reason for the duration of ancient Egyptian culture if the military threat by Asian or European empires on land was countered efficiently there. The entire infantery could be concentrated in one small area. It can also be concluded from this circumstance that the increasing sea forces of the Greek and Roman empires meant a new threat. The realisation that a conquest of Egypt was only possible from sea could have contributed significantly to an increase of foreign naval power. The absence of the Eastern border could mean that the Red Sea is not only the natural border but also the original. Again from a military point of view the relative narrow sea passage of the Red Sea has strategic advantages. Although the seafaring of Ancient Egypt is commonly associated with the Nile River a presence on the Red Sea cannot be excluded if it has strategic relevance. Comparable to the narrow land passage in the North also a relative easy surveillance and defence of the Red Sea is possible. This fact leaves to conclude that the ancient Egyptian culture was originally concentrated between the Nile River and the Red Sea.
| Figure I | Solar Disc |
| Figure VI | Vault |
| Figure XII | Border South |
| Figure XIII | Border North |
| Figure XIV | Border West |
The text columns in the illustrated temple can correspond to the quantity of depicted persons. There are altogether six columns and seven persons. It is noticeable that the two female figures behind the throne are painted especially close together. The last column seems to contain the names of both together as if they are name and surname. The first expression in this column is interpreted as a pronoun for the first person singular, as if they introduce themselves together as one person. The column contains the names of figures VIII and IX of the Ancestry that are also female. Their possible functions are indicated by their names. The determining sign of each name is a piece of furniture. This can be interpreted in connection with child raising. The seat above the head of the first female figure can be suitable for a child. The sign above the head of the second figure corresponds sufficiently with the rectangular form of the throne to mean this seat. A closer look at the illustrated throne as well as its writing sign reveals that the first seat is included therein as if to indicate two different sizes. If the Priestesses both introduce themselves unisono it can still mean that they represent different time periods in the raising of the child. On the illustrated throne in the temple are painted strips of different colours.It is possible that the colour pattern indicates time units as it can be accepted for the entire paint work of the temple. The logical function of the temple can be the calculation of time as it is required for a calendar. It must be possible to calculate according to the colour patterns of the throne how long the figure thereon is in the care of his female company.
Each colour pattern consists of four stripes that are each separated by black lines. One pattern of stripes is from top to bottom blue, green, blue and yellow. On the illustrated throne there are eight colour patterns. Possibly each pattern represents one year comprised of four seasons. The green and yellow stripes can respectively represent summer and winter and the two blue stripes the transition seasons autumn and spring. If the point of time from when a child can sit is about two to four years then the illustration of the throne corresponds to a child's age of ten to twelve years. If the figure on the throne has recently completed the illustrated years he will now be at the age of puberty. This is suitable for a prince. It is imaginable that the metaphoric meaning of the furniture is in particular the age.
In the temple there are altogether seven text columns that are divided in three groups. The amount of columns in each group decreases from left to right according to the series 3, 2, 1. The first group of three columns accompanies four upright male miniatures standing on a lotus flower that grows from a pool below the throne. The last two figures like the two Priestesses behind the throne also seem to be named together in the third column. This column is introduced by the star. The second word is comprised of a vulture and bread and can mean an older female relative like grandmother. The bread is interpreted as the female gender. Finally the horned viper is interpreted as pronoun for the third person which forms the genitive: grandmother HIS. The metaphor of the star could mean a distant or unreachable light that can be associated with a person.
Noticeable about the colors of the standing four figures on the lotus flower is again the pattern. The different colors of the headdress, face and trunk are arranged in an alternating manner.
| Figure | I | II | III | IV |
| Head | Black | Blue | Black | Blue |
| Face | Green | Yellow | Yellow | Green |
| Shoulder | Yellow | Yellow | Yellow | Yellow |
| Trunk | Yellow | White | Green | White |
The crook is possibly a device or tool for handling snakes. Considering the twenty eight cobras that are aligned on the roof of the temple it is even imaginable how the figure of the Lord reaches up with the crook to handle one. A comparison to the ancient Greek Zeus who throws lightning about him could reveal that it is snakes that are hurled about. This comparison is confirmed by how the twenty eight cobras on the temple roof each carry a solar disk. It is known that snake poison in the eye can cause blindness. There is a correspondence with the blinding effect of strong light like this is emitted by the sun. Both the crook and the flail can be considered weapons that are required depending on the distance either for close or remote combat.
It is noticeable that the Ancestry is divided into two groups of respectively seven figures of which the first group is characterized by a sign that each figure of this group has. It is an ancient Egyptian cross the top part of which forms a loop like a handle. The numerological connection of the figures seems to indicate a lunar calendar. The twenty eight solar cobras on the temple roof can be the days of the month. Concerning the fourteen figures of the Ancestry that are divided into two groups each can correspond to a week. The seven figures in the temple can also represent the seven days of the week. Noticeable about the illustration of the Great Pair of Scales outside of the temple is that including the pair of scales there are equally seven human figures. The seven figures outside the temple and the seven figures within can correspond to the two groups of the Ancestry. These two groups of seven figures each are characterized by the presence and absence of the ancient Egyptian amulet. The total amount of human figures equals twenty nine including the pair of scales. It is surprising if the illustrated temple is a lunar temple because it is usually expected that ancient civilizations are characterized by a solar cult. It is furthermore possible that for reasons of transmission the text includes means for its interpretation that are given by the numerological correspondences. These are suitable for checking the authenticity of the writing. Any deviations from the numerological integrity could mean uninitiated reproduction of literature or imitation.
| Juvenile | III |
| Ancestry | XIV |
| Officials | IV |
| Temple | VII |
| Total | XXVIII |
Next to its logical function of the measurement of time it is possible that another secondary or tertiary function of the temple is a participation in the judicial process. This is a progressive function compared to the relative primitive function of observation of annual seasons as it is required for agricultural planning. This planning includes the secondary function of administration of harvest and distribution thereof amongst the population. A tertiary function can be concluded from the administration of a developed state and can include judicial practice. This exists on the basis of distribution of resources.
Below the first scene and the illustrated Ancestry are thirty three text columns. As part of the act it is imaginable that the first scene before the Ancestry can be a celebratory introduction or opening. The second and third scenes that are for the most part illustrated below the main column row will represent the main procedure.
The content of the thirty three text columns above the illustration of the Great Pair of Scales can be divided into three parts counted from left to right. Each part is marked by a change of reading direction. This direction corresponds to the direction that the different anthropomorphic figures are stepping into. The first part has nineteen columns and the second and third each seven. The reading direction of the first part is from right to left. So the text begins somewhere in the middle of the entire column row, the nineteenth column from left. The reading direction of the second part to the right of the first is from left to right. The reading direction of the third part to the right of the second is again from right to left. So the story ends somewhere in the last quarter of the entire column row, seventh column from the right.
The illustration to the left of the Great Pair of Scales and below the first part of the thirty three columns can be a scene. The Juvenile is led by the hand and by an anthropomorphic jackal figure from the left side to the pair of scales. There kneels another jackal figure and performs measurements. Of these the first figure by the Juvenile holds the handle amulet in the left hand. Either these jackal figures are two different persons in one scene or the same person performs two different actions. On the right side of the pair of scales stands an anthropomorphic ibis figure that is busy recording something. Its contribution is described in the seven columns of the second part. Finally the Juvenile is shown by a gesture of an anthropomorphic falcon figure to the temple. Apparently the examination is finished and he is on the way to the temple where he maybe receives his sentence or reward. The final scene is probably described in the seven columns of the third part. The three parts probably correspond to the actions of the three anthropomorphic figures. These are distinguished by uniform and jewelry and are interpreted as Officials.
On the scales of the Great Pair of Scales are on the one side a small vessel and on the other a feather. This can mean a virtue. Feathers belong to the ancient Egyptian head dress and can correspond in meaning to the headdress of American tribes. If the feather is a writing utensil then the small vessel on the other side could be the accompanying ink jar. The pair of scales is a suitable metaphor for the examination as well as for justice. It is imaginable that the jar means the quantity of available ink. In this connection the feather could mean the inspiration. The quantity of ink can also mean the amount of words. The process of writing can be comprehended as a constant calculation of words that are required to express thought or spirit.
The grammatical number is indicated by the Roman numerals I, II and III. These are not counted as hieroglyphic signs. The amount is XV.
Column I of the first part begins with an abstract depiction of a human mouth. According to the grammatical number it should have a literal meaning. Following it is a preposition indicated by a flow sign and thereafter a small vessel. This is the same as on the left scale of the illustrated pair of scales. It has like the mouth also the singular. The first two words of column I are written in red. Then following in black is the small vessel and again the preposition. Thereafter follows the name of the Juvenile. The flow can naturally indicate a direction either to or from somewhere. The decision concerning the direction is important for the entire interpretation. In the name column of the Juvenile above the small offering table his name is also introduced by that preposition as if the direction of a gift is indicated thereby.
Depending on the location or content of the text minor differences of the name of the Juvenile that seems to be comprised of a series of titles or attributes are noticeable. These differences probably correspond to the different actions or states of the illustrated scenes. The first name accompanying the first illustration of the Juvenile before the Ancestry is introduced by a bed. This is replaced in another variation of his name by a chair. It was already determined that two furniture pieces, the chair and the throne, can correspond to the age of the child. If the bed indicates a development stage before the chair then it can mean a newborn child. The eye following the bed and qualifying this can mean that the child is still under observation. In the following scene there is a reversal with regard to the first part of the name, in column I. The eye is now followed by the chair. This morphological reversal can mean that the person has progressed from the observed to the observing. It is to be remarked that the supervision by the Juvenile is not characterized by the bed but the chair. It is known that the supervision of youngest children is left to the female members of a community. The chair is followed by a squatting ancestor. This can mean an ancestral title.
To summarize the name of the Juvenile it was noticed that parts of the name change under circumstances. The first part is comprised of the furniture piece and the eye. The second part of the name that is comprised of the pair papyrus and stationary can mean education and class or even nobility. This pair is absent in the name of the Juvenile in the third text part, column XXX. Maybe it means that after he successfully passed the examination of the Great Pair of Scales he is exempted from further scribal duties. The third part is introduced by the sign of a courtyard. This is furthermore qualified by a chicklet. This can mean a small dimension of an estate. But its inability to fly can in particular refer to a lack. It is imaginable that such lack of estate means a camp as it is common for military purposes.
The following sign of a music instrument can be a metaphor for harmony or order. The concluding sign is a man kneeling on the floor. His two arms are stretched out before him of which one holds a flail. This is a suitable weapon for close combat. This weapon can confirm a military or police function of the Juvenile. It is imaginable that the relationship between the figure on the throne and the Juvenile is ruled by the crook. The lack of this instrument on the side of the Juvenile can mean that he is obliged to progress or obedience.
| Column I | Column XXII | Column XXX |
| Eye | Bed | Eye |
| Chair | Eye | Chair |
| Ancestor | Ancestor | |
| Papyrus | Papyrus | |
| Stationary | Stationary | |
| Courtyard | Courtyard | Courtyard |
| Chicklet | Chicklet | Chicklet |
| Instrument | Instrument | Instrument |
| Man with Flail | Man with Flail | Man with Flail |
Although the Oriental syntax according to the pattern predicate, subject and object must be considered because of geographical reasons it can also be expected that because of the transmission strategy of ancient Egyptian literature unnecessary grammatical and syntactical complications were avoided. The complications of modern Oriental writing can burden interpretations in comparison to a preferred simplicity.
The syntax means the pattern of grammatical cases. The relationship between the cases can either be indicated with or without prepositions. These determine the action according to local and temporal circumstances. The expected case that rules the relationship of a random pair of succeeding nouns in absence of a preposition is the Genitive. The syntactical sequence AB means A of B. This sequence corresponds to name and surname. The Genitive expresses relations of possession or belonging.
In column II a man seated on the floor is interpreted as pronoun for the first person singular. This indicates the narrator. In column II this pronoun appears three times and forms one of two grammatical cases. The first case is introduced by the preposition indicated by the flow. This means a direction of action relative to the narrator.
Complications can arise in the choice between grammatical cases if the hypothetical syntax is maintained according to the pattern of modern Oriental grammar. This pattern is described as the sequence predicate, subject and object. According to modern European grammar it can be expected that the sentence is introduced by the nominative or subject. According to the Oriental grammar the suffix of the enclitical noun normally forms the genitive. AB means A of B. But at the beginning of the sentence the suffix of the predicate is instead of the expected genitive interpreted as the nominative. AB means B does A. The predicate is morphologically not to be distinguished from other cases except by hypothetical conclusions that are drawn from its syntactical position, at the beginning of a sentence. But in the absence of punctuation it cannot be expected that according to ancient Egyptian grammar the beginning of a sentence always coincides with the beginning of a column or is indicated by red ink. This probably has emphatic function and not syntactical. The extraordinary function of the hypothetical predicate of the modern Oriental grammar causes a shift of grammatical cases and syntactical ambiguity.
The amount is XI.
If the pronoun for the third person indicated by the Viper at the beginning of column II represents the last relevant noun according to gender and number then it could be the Juvenile who is mentioned in the previous column. It then remains to be concluded for the other pronoun that is indicated by the kneeling man in the same column and represents the first person that the narrator is not the Juvenile. This conclusion could be drawn from the correspondence of the three text parts with the three Officials above which they are respectively written. It can however be suspected in connection with the anthropomorphic condition that is especially characterized by the absence of the human head that these figures are generally excluded from narrating or speaking.
The first pair of signs in red in column II are a thrown cobra and a hand. This can be interpreted in connection with a deed. But this interpretation is not very conclusive. In the temple the hands of the figure of the Lord are clearly revealed. In them he holds the instruments of his power and it can be concluded that the metaphorical meaning of the hand is either the act of holding something or a thing that is held. It is noticeable how the body of the cobra is at the beginning relatively stretched and at the end relaxed. A further characteristic about its body is the perpendicular bend a short distance from its head. Considering that the graphical proportions of hieroglyphs are generally realistic and correspond to natural proportions such a bend seems unnatural. The compliance to natural proportions can be considered another means to promote the methodical reconstruction of content. With regard to the crook it was mentioned that it is suitable for handling snakes. The unnatural bend in the body of the cobra can indicate such handling especially since it is just beneath the head. The combination of the thrown cobra and the hand could mean a common act of throwing. But the metaphorical meaning of the hand mentioned above can refer to a thing that is held by it like the crook.
The next case after the pronoun for the third person in column II is introduced by a small vessel or jar. This is meant literally as is indicated by the numeral. Then another pronoun follows, for the first person: JAR MY. Thereafter follows the preposition of the flow and again the pronoun for the first person. The small vessel belongs to the narrator and is directed to the same: JAR MY TO ME.
The first three cases in red can form genitives up to and including the pronoun for the third person. The thrown cobra, hand and viper could even continue the name of the Juvenile that takes up the greater part of column I. In the absence of certain indications of sentence division such a possibility has to be considered. The first two signs at the beginning of column II before the red ink are a pedestal and a paddle. The pedestal looks like the base structure of the temple. Column I is concluded by a pair of flow signs. These can be interpreted as double preposition that indicates the direction to the temple. It is imaginable that thereby the two illustrated figures of the Juvenile are meant who is stepping to the temple, before and after the Great Pair of Scales.
At this point the syntactical function of the pronoun can be mentioned that exists in determining the accusative. In a sentence the succeeding case after a pronoun is in a unique way predetermined by it. Condition is that the pronoun is introduced by a preposition. It is unlikely that this pronoun is followed by another pronoun or noun in the genitive. The hypothetical conclusion is that the accusative can in a unique way be predetermined by the pronoun if this itself forms a prepositive and is not succeeded by a prepositive. The syntactical function of the pronoun in this regard is certain as it can be observed in modern parlance. The advantages of this function of the pronoun are significant because of the possibility of concluding grammatical cases independent of content.
In column II the jar of the narrator is directed to the same: JAR MY TO ME. The second jar following the pronoun for the first person at the end of this column is the same and also belongs to the narrator: JAR MY TO ME, JAR MY. The following preposition at the beginning of column III indicates the direction to a female relative of the narrator. She is indicated by a vulture and bread. The crooked posture and bold head seem to be suitable to indicate the old age. It can mean a grandmother of the narrator.
Under consideration of the beginning of column II that is distinguished by red ink it can be suspected that this column is not syntactically separated from column I. At this point it is possible to question the existence of a heading. The argument of the incomplete syntax of a heading does not apply if the syntax stays incomplete in the following columns. The nominative simply seems to be absent. The question of the syntactical continuation of the first column is important for determining the narrator. If the Official in the company of the Juvenile can be excluded as narrator then the Juvenile seems to be the candidate. It is with regard to the illustration the first thought as if the Juvenile is obliged to defend his judicial integrity or virtue before his Lord.
If the hypothetical predicate of modern Oriental grammar is replaced by the nominative then this must also have transitive function. Then the direct relationship between the nominative and accusative is transitive. Weather this is formally dependent on a transitive verb or predicate is in the absence of any reliable morphological indications difficult to determine. Different languages treat the verb or predicate differently so that this is hypothetically concluded from the content. A verb can be expressed in the form of a noun. Under consideration of a successful transmission history of ancient Egyptian literature it can be expected that a progressive transmission strategy was developed. It can also be expected that differences of modern language cultures are countered by superior or unambiguous rules.
It is imaginable that the nominative is in comparison to its accusatives the origin of the sentence or syntactical center. The meaning of each accusative on the periphery depends directly on this origin even if it is unwritten. This situation can exist at the beginning of column I that because of the incomplete sentence was interpreted as heading. But column I could simply be starting somewhere in the sentence with an accusative.
If an accusative is introduced by a pronoun that itself is introduced by a preposition then the resulting prepositive case can be described as condition of the accusative. This rule also means that the genitive does not follow the nominative if this is a pronoun. It is preferred that the nominative is only formed by pronouns in order to avoid ambiguity. A is accusative, N is nominative and D Dative.
NA...DA...DA...
The exclusion of the hypothetical predicate from the grammatical interpretation does not mean that transitivity must be affected. It is possible independent from the predicate to conclude the accusative from the pronoun. With regard to the beginning of a sentence the difference between the nominative and accusative is apart from the syntactical position the frequency. This means that the nominative appears once at the beginning of the sentence. According to a reliable transmission strategy the sequence of cases should be set in order to avoid syntactical ambiguity.
It is possible to determine that the transitivity depends on three cases. This amount can actually be the condition of the dative and includes the accusative in the sequence nominative, accusative and dative. This should always be introduced by a preposition to distinguish itself from other cases. Actually, each case should distinguish itself in an unambiguous way. The difference between the dative and prepositive is not explained by morphology but by syntax or syntactical position.
It is at this point relevant to introduce the term of the syntactical delta to represent the transitivity of a sentence. Each theoretical corner is comprised of one of the three base cases, nominative, accusative and dative. Furthermore it can already be determined in the first columns that the genitive can be added to two corners of the delta, the accusative and the dative. With regard to a transmission strategy with the preference for absolutely unambiguous and reliable rules it can be expected that the ancient Egyptian sentence is always transitive if it should be complete. Without this rule it does not seem possible to reliably determine the sentence if intransitive and transitive sentences are mixed.
The amount is X.
In column III after the first pronoun that is indicated by the kneeling man and qualifies the female relative of the narrator follows a genitive or sequence of genitives. These are concluded by another suffixed pronoun for the first person. They are a lion front, a bread and dual. Then follows another vessel. In comparison to the jar of column II that one in column III does not have literal meaning. The metaphorical meaning of a vessel can be its content. The following pronoun for the first person can mean additionally that the content blongs to the narrator. The word that is introduced by the lion front characterizes the mother or grandmother of the narrator and is a suitable metaphor for the breast. It is imaginable that the narrator means the mother or mothermilk. Accordingly the jar of the narrator that is mentioned at the end of column II could be directed to the grandmother on the mother's side.
The last case of column III after the pronoun for the first person is introduced by a flow that indicates a preposition. After this follows the scarab. This can mean the Beast that is depicted in the vicinity of the Great Pair of Scales. In comparison to the other figures it is the only one crawling on the floor. The Beast comprises three animal parts, the head of a crocodile, the forepart of a lion and the backpart of a hippopotamus. To summarize the interpretation of column III, the jar of the narrator is directed to the grandmother on the mother's side and her milk is directed to the Beast. This seems to be a suitable metaphor for early infancy.
In the absence of syntactical conclusion the first case of column I can either be an accusative or genitive, if the dative is introduced by a preposition. The accusative is preferred on the basis of integrity. A is accusative, D dative and G genitive. The name of the Juvenile is represented as three cases.
| Column | Syntax | Content |
| I | ADDGGG | Opening I TO Jar I TO Juvenile |
| II | GGGDAG | Discharge HIS Jar I MY TO ME Jar I MY |
| III | DGGGD | TO Mother MY Breast II Milk MY TO Beast |
The amount is X.
After the scarab at the beginning of column IV follows a mouth. This is interpreted as an independent preposition. Following the mouth is a chicklet and an upright standing male ancestral figure. This is followed by a platform and a plural. On the platform is a thing that looks like the bread. This can confirm its function that corresponds to the function of the table. The bread is maybe one of the first things that ever appeared on a table. It is also noticeable that the weighing scales of the Great Pair of Scales are not round scales but small straight platforms. If the two scales comprise two platforms then the third can mean the small illustrated building where an Official kneels on. This building has about the height of the two scales and is placed between them at the stand of the pair of scales.
Like the scarab the upright ancestral figure is also a metaphor. If it represents the superior ancestor then its metaphor can mean an exemplary figure or idol. The preceding chicklet is suitable to have the function of a diminuitive or indicate a small quantity, size or characteristic of something. But the chicklet is in particular characterized by its inability to fly and can rather mean an immaturity and insufficiency. At this point it is reasonable to suspect that the metaphor of the upright figure means the Great Pair of Scales or the ancestral female figure depicted on top of its stand. Because it can in comparison to the other figures be considered incomplete it is possible that the chicklet means such insufficiency. A probable reason concerns the gender. The upright standing male ancestral figure is distinguished by a long chin beard. It is possible that the Great Pair of Scales is an insufficient idol because of the female gender.
To return to the scarab and mouth and the illustrated Beast that is located by the Great Pair of Scales the questioned preposition at the beginning of column IV can indicate the direction of the Beast relative to the pair of scales. With regard to the Beast it can be seen that although its front is directed toward the pair of scales its head is turned in the opposite direction to the temple behind it. This direction or posture can be important for determinig the direction meant by the preposition that is indicated by the mouth. The following preposition after the platform is indicated by the owl. This preposition is interpreted as the direction or location BY something. The following expression is comprised of a mast, an arm and a step. Together these metaphors can apply to the construction of the pair of scales.
In the interpretation of ancient Egyptian word one is accompanied by modern convention and it seems safer to describe the morphology at first as expression. But it is possible to find some morphological building blocks so that some expressions can be called words with sufficient certainty. The numeral is the most obvious part that can be accepted as a concluding word part. Then there is the grammatical perfect which is indicated by the hieroglyph of the bread and is also interpreted as female gender. Also the perfect can conclude the word. A further building block that can be explained with the example of the chicklet is the addition of word parts that have semantic characteristic like the insufficiency of something. The preposition can actually be a more reliable indication of word division considering that the numeral does not conclude those words or hieroglyphs that have metaphorical meaning and are in the singular. It can be expected that the ancient Egyptian morphology is very conservative or unflexible to not allow confusion of sentence and word structure. Preferably the morphological grammar of a word is only comprised of genitives. To summarize the above mentioned the word division can be indicated by preposition, numeral and perfect.
From column IV onwards follows an account of circumstances that are syntactically characterized by a sequence of datives. Noticeable about the syntactical structure of each circumstance is a pair of prepositions that forms a series of cases according to the pattern A FROM B BY C. Following the scarab at the end of column III the first case pair is introduced at the beginning of column IV by the preposition that is indicated by the mouth. The next preposition is indicated by the owl. The mouth was interpreted in connection with the metaphor of the scarab to mean the direction FROM something. Two of the following prepositions in columns IV to VII describe a direction FROM the narrator: FROM ME. The first circumstance in column IV contains the expression comprised of the mast, arm and step. A connection between these metaphors can be explained by a series of genitives. The mast is qualified by the arm and this by the step. These are suitable to mean the movement or transport of the construction. The most probable correpondence to the mast is the stand of the illustrated pair of scales. The preposition of this circumstance indicates the direction FROM the narrator.
The second circumstance in column V can be a continuation of the preceding circumstance if the pattern of cases is continued like a chain: A FROM B BY C FROM B BY C. The next word following the preposition at the beginning of this column is comprised of a male member and the bread. The member is a metaphor and seems to mean the device in the vicinity of which an Official is located. The perfective meaning of the member can be the female gender. At this point it is possible that the geometric correspondence between text and illustration promotes the interpretation. The device looks like a pair of pliers but can also be described as a needle because of the long pointed bottom end. It hangs from a feather that is horizontally attached to the top of the stand above the cross beam of the Great Pair of Scales. It is noticeable that the suspended device has an oval opening through which the right arm of the cross beam of the pair of scales goes. This opening reminds of the female vulva. The geometric correspondence between the illustration and the text in column V does not seem to be coincidental.
It is at this point relevant to discuss the functioning of the device. The two weighing scales can obviously be associated with weights. The oval opening of the device is indicative of a tolerance. If the right arm of the cross beam touches the rim of the device then the tolerance is reached. It was mentioned that the device looks like a pair of pliers the long extremities of which come together in a V-shaped point at the bottom. It is imaginable that this device is made of a metal that has the property of a spring coil. If the crossbeam moves down and pushes the two sides of the device apart and is then brought back into the original position then also the two sides recoil. What this property means for the measuring procedure depends on the difference of the weight of the two weighing scales. Usually it is expected that one scale will rise and one will drop until one is on the floor. If the difference of weight is little then the device is able to stop the downward movement of the cross beam. The distance that the two sides of the device are pushed apart is relevant for the measurement of the difference of weight. It can be seen that the Kneeling Official holds his hand beneath the device and it is imaginable that he feels if the two points of the device are apart and how much they are apart. Considering that only the downward movement of the right arm of the crossbeam is relevant for the measurement it leaves to conclude that the relevant difference of weight between the two weighing scales is characterized by a greater weight of the feather or right scale. The lesser weight of the vessel on the left weighing scale leaves to conclude that the critical question of the judgement is the waste of ink. If the jar is empty it is certainly not a good sign.
With regard to the female ancestral figure of the Great Pair of Scales it is noticeable that the feather attached to the mast corresponds to her breasts. The attachment of the device to this feather and its correspondence to the female vulva altogether seem to mean a consumption of the female substance that is in particular measured at the breasts and the vulva. Concerning the tension of the device it can be argued that a high tension means that more ink can be wasted before a movement of the crossbeam is noticed. If the small building at the stand of the pair of scales means a school it is possible that an availability of ink is useful for exercise. In this sense the female ancestral figure of the pair of scales can even be considered as Alma Mater.
According to the pattern of grammatical cases there follows after the second preposition in this column a pair of upright pointing Fingers and something that looks like a vertically positioned platform. A string is fastened to its middle as if it is a sealed scroll. Although the numeral indicates the plural it does not confirm the literal meaning. This position in comparison to the horizontal can indicate a correspondence to the stationary of the Official on the right side of the Great Pair of Scales. It can be seen how he holds in the right hand a writing pen and in the left a small writing board that is held upright. The pair of fingers can be a metaphor for the index of the measurement. The Official holds the board in such a way directed to the pair of scales as if he is observing a ratio. If both fingers are interpreted according to the genitive that governs the grammatical relationship between them then they can mean an indication of an indication, or simply index. The second preposition in column V means for the relationship between the device and the writing board that this device is directed away FROM the recordings. The direction possibly means the cause.
It was remarked that the feather is attached to a place on the mast that corresponds to the breast of the illustrated female ancestral figure. This correspondence can be meant by the lion front in column III. Maybe the narrator demands that the jar is directed to the mother whose breasts are consumed by the Beast. It was mentioned with regard to the stationary that the jar can be an ink jar. Maybe the written examination that is associated therewith is a justification of consumption.
The amount is IV.
The third circumstance in columns VI and VII is again directed FROM the narrator: FROM ME. The spindle following in column VI can have the meaning of a turning movement. Noticeable is the ligature that it forms with the viper. It is possible that the pair is combined for the reason of saving space. Because the vertical length in columns is more important and the spindle takes up relatively much space the reason for this ligature is acceptable. It is noticeable that ancient Egyptian ligatures are characterized by the thinness of one of the hieroglyphs, like viper or arm. The viper is interpreted as pronoun for the third person. The sign following the ligature is a depiction of an arm that holds something that looks like a tool. This can be interpreted in connection with the work that is performed at the device. Again a geometric correspondence between column VI and the illustrated pair of scales can be determined. The spindle in this column is on a line with the stand of the pair of scales below it. It can be seen how the Official who is kneeling by the pair of scales extends one arm across the stand to the device. With the other arm he seems to hold the stand. It is possible that the stand is turnable and it can be required for an adjustment.
If the person that is represented by the pronoun can because of the illustrated action of the Official be determined with certainty it is at this point relevant to question the same pronoun in column II. The question concerns the consistency or continuation of the representative function of the pronoun. To strategically promote the interpretation it is prefered that this continuity for a certain part of text or sentence is absolute. If the absolute continuity of the pronoun applies then it can be concluded that also column II describes an action of the same official. This conclusion however does not correspond with the interpretation of the thrown cobra in column II which is preferrably associated only with the crook and the figure of the Lord. More important than the continuity of the pronoun for the third person is the continuity of the person of the narrator. An unexpected change of this person can quickly lead to misinterpretation.
The amount is X.
At the beginning of column VII follows the first preposition of the case pair according to the pattern A FROM B BY C. This is suffixed by the pronoun for the first person: FROM ME. The turning movement of the tool described in column VI is relative to the narrator directed FROM him. In connection with the tool its definition at first does not seem to correspond to the work at the Great Pair of Scales. But the handling of a measuring instrument is in all respects to be equated to that of a tool. The following preposition indicated by the owl localizes the narrator. The next expression is comprised of six signs excluding the numeral. The first is a fire drill that is suspended above a surface. The following pair is a round vessel and a bread. This pair can be identified as a word. It also appears in the name columns of figures IV and VI of the Ancestry. The vessel is a suitable metaphor for its content and seems to be a traditional vessel for storing water. The perfective meaning can be an emptied vessel, the consumption of its content. The drill is a suitable metaphor for the heat or fire that is caused by it. Following the vessel and the bread there is another drill. The repetition seems to be redundant. It is however possible that different degrees of intensity of heat or incandescence are meant. If the first drill is characterized by a complete consumption of water then it can mean the highest intensity. Considering the relative primitive origin of the drill its strongest incandescence can be characterized by the white colour. But this does not explain its repetition. If the second Drill means a normal red incandescence then it is imaginable that the combination of colours means a yellow incandescence: white of red. The subsequent sign of the horizontal measure that has three indexes can correspond to the spectrum of incandescence red, yellow and white. Because of their yellow colour some parts of the pair of scales can be made of gold. These parts are to be seen at the ends of the cross beam and stand. Also the device suspended from the feather has a yellow colour. It is imaginable that the narrator describes the adjustment of the pair of scales with reference to these parts and their yellow shining colour. The expression is concluded by an ancestor and the plural number.
The imagery or metaphoric of incandescence and heat is suitable for the judicial process. It is imaginable how the presence of the Lord and therewith his judgement is accompanied by light and naturally also heat. The logical meaning of the pyramid refers to the element of fire and it is in this connection comprehensible that Egypt is a place of judicial power. The ancestor in column VII can mean that such place is a heritage or judgement of the ancestors. To return to column III and the consumption of the mother breasts by the Beast it is comprehensible that the metaphoric of incandescence is suitable for the level of consumption. The temple to the right side of the Great Pair of Scales represents the highest level of consumption: white incandescence. This can also be represented by the white suite and headdress of the figure of the Lord. It is furthermore noticeable that the female figures behind the throne each hold a hand a short distance from the figure of the Lord as if they are sensing his heat. This posture is comparable to the raised hands of the Juvenile before the Ancestry, as if he is sensing their heat.
If the Great Pair of Scales represents a golden mean then the side left of it can represent red incandescence, or low level of consumption. It is in this connection relevant to refer to the political significance of the white head dress or White Crown that is associated with the rule over Upper Egypt. The rule over Lower Egypt is on the contrary associated with the Red Crown. Figure II of the Ancestry wears a so-called Double Crown that is interpreted as the political unification of Upper and Lower Egypt. It can also be compared to the golden mean or Great Pair of Scales. It is remarkable that the narrator makes use of such pyrotechnical metaphoric. But with regard to the anthropomorphic figures it is possible to conclude on the basis of their habitat that the jackal, ibis and falcon respectively represent the elements earth, water and air. It is imaginable that the figure of the Lord represents in this sequence the element of fire. It can confirm the posture of the female figures behind the throne who hold their hands as if they sense the heat that is radiated by the figure of the Lord. In connection with the zones of incandescence it is possible to confirm the interpretation of column III if the consumption of the female breasts are described there. This consumption surely has less to do with the location of the temple than with the supreme figure in the temple.
The indexes can be interpeted as levels of incandescence.
|--|--|The amount is IX.
In comparison to the preceding pattern of grammatical cases there is from column VII a small deviation. A preposition of the case pair is repeated at the end of this column to increase the pattern by one case: A FROM B BY C BY D. At the beginning of column VIII follows an eye. This has metaphorical and perfective meaning as is indicated by the bread and can be considered as a word. The metaphor of the eye can mean sight that however in the perfective sense can be interpreted as the seen. After the following preposition indicated by the mouth the expression is introduced by a hill. This can be a metaphor for a high place FROM where a view is possible. This metaphor is suitable for the throne. This is raised above the level of the ground before the temple. After the hill follows a pair of reeds. The expression is concluded by a depiction of a fallen who holds a battle ax turned against his head. Obviously a self inflicted injury is meant that can be deadly. The depiction of a man who hits an ax into his own head leaves to suspect that the anthropomorphic figures once used to have human heads. The plural number following the fallen could correspond to the three anthropomorphic types. There remains the suffixed pronoun for the second person: YOUR fallen. At this point it is important to point out that this pronoun is indicated by a ladle instead of a handle basket. This difference concerns the politeness form that characterizes especially the address of the second person. If the address of the figure of the Lord by his Priestesses indicates the politeness form then it can be concluded that the addressed person in column VIII does not mean the Lord.
To return to the two reeds that qualify the hill or high place they can mean two ancestral figures. These are mentioned in column VII where they qualify the horizontal measure or zones of incandescence. In the illustration the zones can be represented by the three anthropomorphic types of the Officials: jackal, ibis and falcon. These can furthermore be identified with the passage before and after the Great Pair of Scales and the temple. Interestingly the name of the Lord is qualified by an ancestor and apart from his ancestral title it can also confirm the zone. If not the figure of the Lord is addressed then there is actually only one figure that is found on a relatively high location, namely the Kneeling Official. The eye at the beginning of column VIII can mean that it is the view of the Kneeling Official. In connection with the fallen it is possible to confirm a hierarchy. The plural that follows the ancestor in column VII is written vertically and it does not seem to be coincidental. The Kneeling Official seems to be in the middle of the hierarchy above the other three Officials who each have a typical step posture.
| Column | Syntax | Content |
| I | ADDGGG | Opening I TO Jar I TO Juvenile |
| II | GGGDAG | Discharge HIS Jar I MY TO ME Jar I MY |
| III | DGGGD | TO Mother MY Breasts II Milk MY TO Beast |
| IV | DGGDGGD | FROM Lack Heritage Floor III BY Structure Step FROM ME |
| V | DDGG | BY Female FROM Index Knowledge III |
| VI | DGG | BY Turning HIS Tool |
| VII | DDGGG | FROM ME BY Incandescence Measure Heritage III BY |
| VIII | DDGGG | Sight FROM Height Fallen III YOUR |
The amount is IX.
At the end of column VIII follows an abstract mouth that is meant literally. In the sequence of genitives this mouth qualifies YOUR fallen three. The syntactical structure corresponds again to the pattern A FROM B BY C. The word following the preposition indicated by an owl at the beginning of column IX is comprised of a male member and singular. The member is therefore meant literally. The next sign is the platform that already appeared in column IV. The platform can be interpreted in connection with the two weighing scales or the small building at the stand of the Great Pair of Scales where an Official kneels.
With regard to the graphic characteristic the mouth is an abstract depiction thereof. In comparison to the usual realistic depiction of body parts and things it is possible that the mouth is an abstraction. This could establish the connection to any body orifice. With regard to the device a comparison can be made to the body orifice and the member. The literal meaning can be explained by how a comparison is not made with regard to the properties of things but with regard to the things themselves. It was mentioned that the device looks like an oar through which the right arm of the crossbeam goes. The shape of the oar even has the oval shape of a female vulva so that a sexual connotation is inevitable. As mentioned above the platform after the member can mean either one of the two weighing scales or the small building at the stand of the pair of scales. With regard to the device and its sexual connotation it is possible that the male member means the feather. The feather that is attached horizontally to the stand and connects the device therewith even reminds of an erect member. It is a suitable metaphor for the member because this is an organ of increasing sensitivity. The platform that qualifies the member in column IX can establish a connection to the right weighing scale where there is another feather.
At the end of column IX the case pair is again increased by an additional preposition: A FROM B BY C BY D. It is concluded by the pair of scales. In the entire text of XXXIII columns three pair of scales are to be found, one in each of the three text parts. In comparison to the next two pair of scales the first in column X is characterized by the absence of the device. In this connection it is relevant to take a closer look at the expression that is concluded by the pair of scales at the beginning of column X. This expression is introduced by an Arm and then followed by a lotus, owl and finally the pair of scales. Hieroglyphs that can be independent prepositions should preferably indicate a word division as is the case with the owl. The lotus is apart from the flower characterized by two shoots. The closest correspondence to this plant in the illustration is the lotus that grows from the pool beneath the throne. If the owl means a preposition then the preceding pair, arm and lotus, will be morphologically separated from the pair of scales. This pair can even be two independent words. The arm is a suitable metaphor for physical support or work. The expression is concluded by the pair of scales at the beginning of column X. If the arm means work then a possible interpretation is the work that exists in performing measurements. The combination of the arm and the lotus reminds of the sensitive care of an exotic plant.
| Column | Syntax | Content |
| I | ADDGGG | Opening I TO Jar I TO Juvenile |
| II | GGGDAG | Discharge HIS Jar I MY TO ME Jar I MY |
| III | DGGGD | TO Mother MY Breast II Milk MY TO Beast |
| IV | DGGDGGD | FROM Lack Heritage Floor III BY Structure Step FROM ME |
| V | DDGG | BY Female FROM Index Knowledge III |
| VI | DGG | BY Turning HIS Tool |
| VII | DDGGG | FROM ME BY Incandescence Measure Heritage III BY |
| VIII | DDGGG | Sight FROM Height Fallen III YOUR Orifice |
| IX | DDDGD | BY Member I FROM ME BY Work Life BY |
| X | Equilibrium |
The amount is X.
In column X it seems as if the sentence ends and another begins. The pronoun for the second person following the pair of scales at the beginning of this column is comprised of three signs and is interpreted as an independent pronoun. In the nominative it can indicate the beginning of the sentence. To explain the difference that exists in how nouns can form sequences and pronouns not is to define these word classes with regard to the grammatical case that they can form. Nouns and pronouns seem to share all cases. It was mentioned that pronouns can introduce the accusative. The prefixed preposition of a pronoun means that no genitive follows. A genitive can follow if instead of a pronoun there is a noun. For the genitive it can be accepted that nouns are qualified by nouns and pronouns but not the other way, pronouns by pronouns and nouns. If it is known that a pronoun appears at the beginning of a sentence and in the nominative it can be concluded that only pronouns form this case. This suspicion is also confirmed by how the independent pronoun is distinguished morphologically. It is generally accepted that this destinction indicates a grammatical function or case. In comparison to nouns it is noticeable that such a destinction is not made.
The sign following the pronoun for the second person in column X is of a connected pair of arms that form the human front. This pair is meant literally as is indicated by the numeral. The next sign looks like a long bread loaf and reminds of an island. The throne in the temple appears to float on a pool of water like an island. If the Kneeling Official is considered then also his position on the building can be compared to an island. It was mentioned that in a hierarchy he is superior to the other Officials who are identified with the fallen in column VIII. The arms can mean the physical integrity of the figure. The suffixed pronoun for the first person following the island can mean that the narrator calls the addressee MY sovereign.
If the independent pronoun is in the nominative then this can mean that column X marks a beginning of sentence. This is also the first beginning of sentence. At this point there seems to be a numerological connection. The independent pronoun marks half the distance of the entire column row of the first part that is comprised of nineteen columns. This division reminds of the illustrated Ancestry of which the figures of the first half have a handle amulet on their knees. It was mentioned that a pair of immediately succeeding nouns is ruled by the genitive. AB means A of B. This rule cannot apply to the pronoun at the beginning of a sentence. It can be concluded that only the pronoun can stand at the beginning of the sentence, form the nominative and predetermine the accusative. Only this conclusion removes the uncertainty of the syntactical position of pronoun and noun. With regard to the independent pronoun it is comprised of three signs, a flow, a bread and a sign that looks like a ladle.
The table excludes the delta exterior cases. From columns III to X there is a long chain of delta exterior cases. N is nominative, A accusative and D dative.
| 10 | 09 | 08 | 07 | 06 | 05 | 04 | 03 | 02 | 01 |
| N | D | A | A | ||||||
| A | D | ||||||||
| D |
Toward the end of column X two prepositions follow the pronoun for the first person. They are a cross and an owl. The cross is interpreted as preposition that in comparison to the owl indicates the direction or location IN something or inside. The owl is interpreted as location BY something. The second preposition is followed by the dual. This is repeated after the following word in column XI. The word is introduced by a female stomach as shown by the teats thereon. Its long thick tail reminds of a fox. The following pronoun for the first person qualifies the two bodies. In summary it seems that the narrator calls the addressee the worker of the island that is IN the company of MY two bodies. According to the illustration of the temple and the presence of the persons there it is possible to confirm that the preposition indicated by the cross means inside, IN the temple. It is at this point possible to suspect who the narrator is. If the two Priestesses behind the throne introduce themselves in the first person singular it is probable that the pronoun for the first person is derived from the pronoun in the name column of the two Priestesses. It is the only independent pronoun for the first person in the entire text.
At this point it is relevant to take a closer look at the name column that accompanies the two Priestesses. Although the names of both figures are mentioned the incense vessel directly following the pronoun at the beginning of the column can characterize the primary relationship between the three figures. According to the illustration these figures are characterized by different skin color so that they cannot be closely related to each other. The metaphorical meaning of the incense vessel can be incense. But more probable is the act that is associated therewith. Although it is imaginable that the Priestesses represent a dedication and devotion to their Lord that manifests the narrator it is also possible that the act of consecration is meant.
The amount is VIII.
In column XI after the pronoun for the first person the following word is comprised of a big vessel that looks like a huge vase or amphora. This can with reference to its content have the metaphorical meaning of an expensive liquid like wine or oil. The owl following the big vessel is interpreted as a preposition. The expression following the preposition is comprised of a chicklet and a squatting ancestor. The chicklet can be an indication of a minor and insufficient characteristic of something. It is possible that it means in connection with the ancestor an insufficient characteristic of the heritage. It is imaginable that the large vessel is intended for the care of the figure of the Lord. According to the syntax the vessel qualifies the two bodies that were identified with the two Priestesses behind the throne. The mission of these to serve their Lord can be described as love. If the figure of the Lord is characterized by the chicklet then he is interestingly characterized by an insufficiency.
The expression following the ancestor is introduced by a suspended rope. This is suspended in such a way that one side is a bit lower than the other. The round curve at the top reminds of the gear of a pulley. This tool has undeniable importance in a country full of megalithic construction. The metaphorical meaning can be the state of hanging or hoisting. In connection with the preceding squatting ancestor that qualifies an insufficiency the rope can mean an obligation to remove the insufficiency. To recall the name column of the two Priestesses in the tempel it was mentioned that the incense can mean the consecration of the figure of the Lord. In columns X and XI it is possible to determine something about this consecration. This seems to exist in the company and the supplication it means to the figure of the Lord. The zones of incandescence or consumption that were mentioned in connection with column VII can also mean the increasing consumption of the female substance. A consumption was already mentioned in connection with column III and the female breasts that are directed to the scarab. This was identified with the illustrated Beast.
The following sign after the rope is again a chicklet. Then at the beginning of column XII follows a word that is comprised of an arm, a bread and the plural. The suffixed pronoun for the first person means again the narrator. It is imaginable that the work by the figure of the Lord is described therewith. The chicklet preceding this word can again mean an insufficiency of this work.
If the chicklet means an insufficient heritage it is comprehensible that the figure of the Lord is still under supervision of the narrator or Priestesses. The rope can also mean a removal of immaturity that corresponds to the raising of a child. The female care for a child is typically accompanied by touching and stroking which is strictly speaking not comparable to physical work like hoisting and carrying. It is in this regard possible to conclude that the Priestesses serve their Lord with tenderness.
The amount is X.
i The next sign following the pronoun for the first person in column XII depicts a rectangular floor plan of a house. In comparison to the building that is found in the name of the Juvenile it seems that the meaning of these two buildings is less related to size than to function. One building appears smaller because it is divided into an entrance area and living area. It seems to mean a private space. The other building has only an entrance and can be characterized as an open and maybe also public building. Wether the temple is a public building is questionable if the consecration of the figure of the Lord means a separation or divorce from profanity.
To continue with column XII the house is followed by a mouth and this can have the function of the preposition that indicates the direction FROM somewhere. Next follows a step that looks like a Greek Lambda. It is a suitable metaphor for locomotion. The metaphorical meaning of the house can be far reaching from accomodation to state. The preposition between the house and the step can mean a direction between these. The figures in the temple sit or stand compared to the figures outside that have a typical step posture that is in most cases directed to the temple. This can also be described as a destination of the progress. The next preposition following the step indicates the direction TO a head that is meant literally. Interestingly the head does not have any sign of gender like a beard. It can be concluded that it belongs to a child. Even the face of the illustrated Juvenile shows a little growth of beard. Then follow a leg and an instrument that looks like a music instrument. The leg can mean a location and actually only corresponds to the posture of the figure of the Lord and the miniatures on the lotus flower. The Instrument can be a metaphor for harmony and beauty. The progress TO the head of the beautiful place can mean the way to the temple. In comparison to the Officials the figure of the Lord in the temple has a human face and this must mean his superiority.
| Column | Syntax | Content |
| X | NAGD | Equilibrium YOU Worker I Island MY IN Company II |
| XI | GGGDGG | Bodies MY Love BY Lack Heritage Lack |
| XII | GGDDGG | Tasks III MY House FROM Progress TO Head Place Beauty |
The amount is VIII and IV.
In column XIII the first word is introduced by a candle wick the metaphor of which could mean light. But this meaning is more suitable for the solar disk. The wick is used in a household to produce light at night. So it can be a suitable metaphor for the night or darkness. If the following sign of a bush or plant that is comprised of three shoots characterizes the condition of night or darkness then it can mean the shade. A plant or bush however gives little shade so that it is rather possible that it refers to the colour. This can naturally be green and is significant for the uniform that most illustrated Officials wear as well as the skin colour of the figure of the Lord. If the wick means night or darkness then this can be specified to mean a dark green. Noticeable about the uniform of three of four Officials is the green harness that covers the abdomen and is carried by shoulder straps. It is imaginable that the green harness is made of a leather that intentionally corresponds to the skin colour of the figure of the Lord.
Then follow two flow signs which are morphologically seen of interest because they can be a pair of prepositions. A pair of flow signs appears at the end of column I where it concludes the name of the Juvenile together with the pedestal and paddle at the beginning of column II. The pedestal was identified with the temple to where the Juvenile progresses in two stages, before and after the Great Pair of Scales. The double preposition is followed by a basket with a handle that is not clearly visible. This basket is interpreted as pronoun for the second person and can be identified with the figure of the Lord.
To return to the two flow signs and if they are prepositions then they can be interpreted as a dative that means that the green colour is directed TO and TO THEE. There are a few explanations for the repetition of the preposition but the most likely is that two of four Officials are stepping to the temple. These two directions are comparable to the first mention of the double preposition at the end of column I where the progress of the Juvenile to the temple is described, before and after the Giant Pair of Scales.
The following expression after the pronoun is intoduced by a reed and as in column X also seems to be comprised of the two prepositions indicated by the cross and the owl. This however has literal meaning as indicated by the singular. The hesitation to accept the presence of a real owl is increased by the preceding preposition that means the direction or location IN something. Additionally the suffixed pronoun for the first person at the beginning of column XIV would mean the owl of the narrator or something in his owl. It does not make sense and it is more acceptable that the meaning of the preposition is maintained. The number will then have a purely grammatical function that exists in transforming the preposition into a noun. This function can however mean that hieroglyphs that can form a preposition belong to a word class that is not affected by the function of the singular to transform metaphors.
The dative formed with the pronoun for the second person means that the following case is accusative. This establishes according to the syntactical delta a direct relationship with the nominative in column X. The accusative is only comprised of the reed that is suitable to have the function of an indefinite pronoun. Then follows the cross, the owl and singular. The narrator addresses the figure of the Lord as someone who is IN the vicinity. The word comprised of the owl and singular is furthermore qualified by the pronoun for the first person, presence I MY. In comparison to column X where the preposition or owl is qualified by the dual this can be explained by the physical presence of the two female bodies. The singular number at the end of column XIII establishes another relationship between the Priestesses and their Lord that is not characterized by their bodies but by a general presence. To recall the name column in the illustrated temple the identity of the narrator is at first determined by the incense. This was furthermore identified with the consecration of the addressee. In column XIII it seems that he is now characterized as someone in the presence thereof, in the consecration.
After the pronoun for the first person at the beginning of column XIV and another preposition indicated by the owl follows an eye. This is followed by a pronoun for the third person. This pronoun is also found in a text line above the illustrated Beast and can with regard to this be interpreted as neuter. In connection with the Beast the metaphor of the eye can mean ITS sight. It seems as if the narrator describes the figure of the Lord from the point of view of the Beast, someone in MY presence who is in particular seen by the Beast. At this point it is important to remark that the reed can be identified with the figure of the Lord.
---||---
| Column | Syntax | Content |
| X | NAGD | Equilibrium YOU Worker I Island MY IN Company II |
| XI | GGGDGG | Bodies II MY Love BY Lack Heritage Lack |
| XII | GGDDGG | Tasks II MY House FROM Progress TO Head I Place Beauty |
| XIII | GGDAD | Dark Green TO TO THEE Someone IN Presence I |
| XIV | GDG | MY BY SIGHT ITS |
The amount is VIII and IX.
Following the suffixed pronoun for the third person neuter at the end of column XIV the first sign of column XV has the shape of a circle. Then follows the flow. The third looks like the pool. The fourth depicts a fish. It is imaginable that the container characterized by the fish means the illustrated pool in the temple. The following pair is comprised of two prepositions that are indicated by the mouth and flow. This pair will indicate the direction FROM and TO something and form a dative with the following noun. This depicts a kneeling man who puts his hand to his mouth. The word can be translated as food or food intake. The suffixed pronoun for the first person at the end of column XV can mean then that it is the nourishment of the narrator.
To turn the attention to the two prepositions before the eating man it seems that they contradict each other, first FROM and then TO. To explain this relationship it can be relevant to describe the act of food intake with regard to infancy. The human being as well as an animal are initially fed. This circumstance means that a mother is inclined or turned towards the child. This receives the food FROM the mother. The relationship between the child and mother as a result of her care is again characterized by an inclination of the child TO her.
The content of column XIV concerns the sight of the Beast. It is imaginable that this sight is characterized by the surrounding of the habitat. The circle is a suitable metaphor for the surrounding or circumference and can have the function of a preposition: AROUND. The preposition following the circle shows the direction TO the pool. This direction can correspond to the posture of the Beast whose head is turned AROUND and TO the temple. It is imaginable that the zone that is watched by the Beast is located between it and the figure of the Lord. If the habitat is furthermore characterized by the nourishment of the narrator then it can mean a zone of abundance. It is imaginable that the temple is the center of this zone and can be characterized by the highest level of consumption.
To summarize columns XIII to and including column XV it can be mentioned that the addressee is characterized by the sight of the Beast. The glance of the Beast is characterized further by the illustrated turn AROUND and TO the temple. It is noticeable that the pool also indicates an island that can correspond to the floating throne. Considering the crocodile head of the Beast it is imaginable that the fish means its nourishment. The subsequent expression that is concluded by the eating man and suffixed pronoun for the first person can mean that it is the nourishment of the narrator. It is also imaginable that the fish applies to the Juvenile. It is surely to his advantage that the Beast turns its head to the temple as if it is distracted from the arrival of the Juvenile. It would be a suitable demonstration of the power of the addressee if he controls the attention of the Beast.
Column XVI is introduced by a flow and forms a dative with the following word that is comprised of a sign of a loop. This has metaphorical meaning and reminds of the rope at the end of column XI except that the two suspended ends are crossed at equal distance. It is possible that it means a snare or trap. But it can in a harmless manner also mean a duty or obligation. In connection with the last case in column XV where the nourishment of the narrator is mentioned it is imaginable that the loop or tie means an obligation to share. In comparison to the rope of column XI that can still mean a hierarchy the loop represents an equality. Maybe its even a sign of friendship. The following expression is comprised of two reeds and concluded by an upright man who carries a mace and a staff. Its number is plural. He is probably a guard. His two weapons correspond to the functions of the military and the police. The mace is a lethal weapon. The staff can mean disciplinary measures in a civilized state. These measures are further located by a male member that corresponds in literal meaning to the member in column IX except that in column XVI additionally an ejaculation is indicated. The intrusive occupation with the human body can mean an exact knowledge of reproduction. Although the ejaculation is a suitable metaphor for the progeny its literal meaning insists on the physical member. Following this there is no pronoun to confirm that it belongs to anybody. In the three illustrations of the Juvenile it is noticeable that he has an erection. It is imaginable that the need for relief is the cause of the entire process. It is possible that the ejaculation is associated with disciplinary measures of state that can be meant with the guard. He can mean a protective measure for sexual intercourse because of associated exposure and vulnerability.
In column VIII the fallen can be associated with the three Officials on the ground. It is possible that the coming of the Juvenile means a danger to the Officials. It is in this regard interesting that the nourishment that is mentioned in column XV is provided for the purpose of the protective measures. It is imaginable that a friendship between the Officials and the Priestesses that is meant with the loop at the beginning of column XVI is advantageous to them. Their service to the Priestesses maybe saves them from the punishment of their Lord.
| Column | Syntax | Content |
| X | NAGD | Equilibrium YOU Worker I Island MY in Company II |
| XI | GGGDGG | Bodies II MY Love BY Lack Heritage Lack |
| XII | GGDDGG | Tasks III MY House FROM Progress TO Head I Place Beauty |
| XIII | GGDAD | Dark Green TO TO THEE Someone IN Presence I |
| XIV | GDG | MY BY Sight ITS |
| XV | DGGDG | AROUND TO Habitat FROM TO Nourishment MY |
| XVI | DDGGD | TO Friendship TO Guard III BY Ejaculation I |
N is nominative, A accusative and D dative.
| 16 | 15 | 14 | 13 | 12 | 11 | 10 |
| A | N | |||||
| D | A | |||||
| D |
The amount is X.
In column XVII the name or main characteristics of the figure of the Lord seem to be recounted as the correspondence to his name column in the illustrated temple shows. At the beginning of both columns is a sign that looks like a Greek Gamma. As can also be concluded from the falling man in column VIII it is an ax. This must have been an important weapon in ancient Egypt. Its association with the most destinguished figures of ancient Egypt can leave to conclude that it means a god. After the ax follows a squatting ancestor that can confirm the ancestral title. The ax and the ancestor relatively frequently designate the figure of the Lord and can be considered as his name. The third sign in correspondence with the name column in the illustrated temple is a pole or pillar. The shape corresponds to that of the pillar standing respectively on both sides of the illustrated temple. This pillar like the top structure of the temple seems to be made of wood. Column XVII additionally contains the arm. Both names are concluded with a platform on which there seems to be a bread. The horizontally positioned pillar can mean a capsized one. Considering that this pillar characterizes the squatting ancestor it is imaginable that in comparison to the upright standing ancestor in column IV the squatting ancestor is afflicted by a loss of vertical stability. If the upright figure represents the superior ancestor then it can be concluded with regard to the ancestral title of the figure of the Lord that it means a lower status or lesser god. It is for this reason possible that he is in need of some supporting company. It can be seen how the two Priestesses behind the throne support his elbow as if they stabilize him. After the capsized pillar in column XVII follows the arm. This is a suitable metaphor for the physical support or work. But it can furthermore mean an obligation. If the title of the figure of the Lord is characterized by a lower ancestor then it is imaginable that his power is incomplete. The fact that the Great Pair of Scales is characterized by a superior ancestor in column IV could mean a resistance or attempt to meet the figure of the Lord on eye level. The chicklet that prefixes the respective ancestor in columns IV and XI respectively indicates an insufficiency of both figures weather they are squatting or standing upright.
The platform following the arm in column XVII can be interpreted in connection with the weighing scales or the small building on which an Official kneels. It is probably this building. The temple is rather identified with the pedestal. To return to the ejaculation at the end of column XVI this is also followed by the platform. Interestingly this platform complements the one in column IX that also qualifies the member. But this member has no ejaculation and it seems possible that the two members mean the two weighing scales. The ejaculation can be associated with the jar on the left.
In the name column in the illustrated temple the capsized pillar is directly followed by the platform, excluding the arm. This exclusion in the name column can mean that the Lord in the temple is superior to any obligations. It can leave to conclude that column XVII even means the Juvenile. In comparison to the figure of the Lord who holds the crook and the flail the name of the Juvenile is only determined by the flail. This can mean a remaining obligation on his side, maybe to fulfil his duty in the lesser temple by the Great Pair of Scales. It is possible to conclude that the ejaculation refers to the Juvenile. This interpretation is promoted significantly by his illustrated erection.
The second half of column XVII is introduced by a basket. This can mean a possessor. In comparison to liquids that are kept in vessels like flasks or pots the basket can hold other things including smaller vessels. The name column that accompanies the two Priestesses behind the illustrated throne is concluded by a sign that depicts a throne beneath a basket. This also appears in the name column of figure IX of the Ancestry who can be the same person. In comparison to the other female figure who is also found amongst the Ancestry as figure VIII and whose name is characterized by a chair the name of figure IX seems to mean the later education of the child.
Following the basket in column XVII is a sign that means the cardinal direction of the West. Then follows a pair of bread. This pair is grammatically interesting because it can indicate a double perfect.The expression is concluded by a landscape that has metaphorical meaning. The landscape is formed by two valleys. It is imaginable that it is related to the sunrise and sunset as if it means a country that stretches from sunrise to sunset. It seems suitable to mean a day. Furthermore it reminds of the horizontal measure in column VII that was interpreted in connection with the zones of incandescence. The three hills of the landscape are comparable to the indexes of the horizontal measure. Interestingly the intensity of incandescence that can be indicated by the three indexes is comparable to the intensity of the sunlight. In comparison to the sunrise at morning the sunset is however characterized by an incomparably lower intensity of sunlight so that a symmetrical comparison is not really possible. But it seems that the Great Pair of Scales still represents a zenith or vicinity thereof. This is suitably represented by the Beast beneath the right arm of the pair of scales.
The temple is comparable to the sunrise. This can mean that in connection with the cardinal directions the temple means the East. The expression in column VIII that is introduced by the hill is concluded by the fallen. The fallen also appears in the lines of text above the illustrated Beast. With regard to the cardinal direction of the West, the two breads and the landscape it is imaginable that each bread means one of the hills to the West: the far and furthest West. These are comparable to the sunset and the fall of night. It must be recalled that the hill in column VIII was identified with the temple so that a correspondence with the landscape is possible. If the first half of column XVII means the Juvenile then he is furthermore characterized by the work of the platform of the Possessor of the Far West. This platform can be identified with the small building or lesser temple at the stand of the Great Pair of Scales. The Possessor of the Far West is probably the Kneeling Official.
The horizontal measure in column VII can be interpreted as index of the three hills of the Landscape.
|__|__|
W W E
At this point it is relevant to consider one of the columns in the illustrated temple. It was mentioned that these columns are divided in three groups. A pair of columns accompany the figure of the Lord. The second column of this pair corresponds as mentioned with the first half of column XVII. In the first column there is also the sign for the West. In comparison to the double perfect this West is only followed by one bread that indicates a simple perfect: the far West. To interpret this it is relevant to describe the entire column. It is introduced by an eye, chair and an ancestor. This expression can be interpreted as observer or supervisor of the child that is distinguished by the ancestral title. The following sign is a shelf that is suitable for keeping flasks. It reminds of a bar. The next case is introduced by a flow and it is imaginable that it indicates the direction TO the recipients of the hospitality. Then follows the sign for the West and its perfect. The column is concluded by a vulture and plural. If the simple perfect of the West means the middle index that can also be represented by the stand of Great Pair of Scales then the Plural after the vulture can mean the three figures in the zone between the temple and the pair of scales. They are the two Officials that are characterised by the ibis and the falcon and the Juvenile between them. These figures can be considered as the prefered guests. The vulture is a large bird and it can mean a large dimension. Considering that these figures are located in a zone of increasing intensity it is imaginable that the vulture characterizes them as Great Ones.
The amount is VIII and XVII.
In column XVIII a claim by the narrator to the far West seems to be confirmed. The first word can mean a present or offering. This word is comprised of an arm that holds a triangular bakery. It is followed by a bread that indicates the perfective meaning: something given. The next sign is a coil. This can mean obligation like the tie in column XVI. The second case is introduced by a preposition that shows the direction TO the narrator. With regard to the end of column XVII the far West can be described as a royal offering to the Priestesses. If the landscape is representative of the day the West can be interpreted as the late part of the day. In connection with the zones of increasing incandescence the temple was described as a zone of high consumption. This means that resources are increasingly directed to the East or claimed by this.
According to the syntactical rule the next case following the pronoun for the first person or the dative should be accusative. This is then grammatically directly connected to the nominative in column X. The next sign depicts a dish. This looks like the conical vessel or pot on the small offering table where the Juvenile kneels before the Ancestry. The accusative means that the narrator calls the addressee such. The next sign is the island that is also mentioned in column X where it is identified with the location of the addressee. Then follows the plural.
With regard to the numerological connection it is noticeable that also the lotus flower floats like an island on the water surface of the pool. It is imaginable that the food of the three islands refers to the flower and the two buds. They are comparable to islands that float in the air. It was already mentioned that the measuring work at the Great Pair of Scales concerns the female breast or substance. With regard to the four ancestors standing on the lotus flower it is possible that they represent the superior ancestors. It was mentioned that the figur of the Lord is burdened by an insufficiency. This can be caused by his association with the squatting ancestor. There is some correspondence between the small offering table of the Juvenile and the lotus flower before the throne. In comparison to the offering table that typically has a food dish on it the lotus flower can be interpreted as an altar. This means a place of sacrifice. It can be expected that the altar stands in the temple and it is imaginable that the figure of the Lord is its Priest.
The owl at the end of column XVIII introduces the dative. At the beginning of column XIX follows a floor plan of a house that has literal meaning and is interpreted as a house. The following expression is a repetition of the metaphor of the food of the three sanctuaries. Altogether it is possible that the temple is meant, the house of the food of three sanctuaries. It is imaginable that this expression means nothing less than sacrifice and it seems that the Kneeling Official is addressed as such. The material characteristic of the dish is solid food in contrast to liquid. Under consideration that the three types of anthropomorphic figures can be associated with the elements the solid food can correspond to earth or the jackal.
It is probable that the food corresponds with the conical dish on the small offering table. On the small offering table the conical vessel is placed between two oval figures that look like bakery. It was already mentioned that the flow in the name column above the small offering table can be identified with the direction TO the Juvenile. It is to be remarked that the two oval shaped figures on each side of the conical vessel also remind of the female vulva. If the vessel in the middle should represent the figure of the Lord then a comparison between the two Priestesses with the bakery is possible. With regard to the illustrated Juvenile and the fact that he has an erection it also seems possible that a sexual pleasure is meant.
The syntax of column XIX is characterized by a repetition of the pattern A BY BA. The metaphor of the island is replaced by an expression that consists of six signs. These are a hill, a leg, a flask and three flow signs. Instead of a dish the metaphor of the flask refers to a drink or refreshment. The hill and the leg seem to correspond to the position of the legs of the figure of the Lord that are above the pool. According to the syntax the case connecting the two passages is the genitive: A BY BA C BY BC. It reminds of a dining room next to a bar, a separation of eating and drinking.
Complete Table of Interpretation
The Juvenile who is mentioned in the first column is interpreted without detailed recounting of his names or titles but at least three genitives can be expected.
Similarly also other columns can have more genitives but for oversight not more than three are indicated.
A is accusative, D dative, G genitive and N nominative.
| Column | Syntax | Content |
| I | ADDGGG | Opening I TO Jar I TO Juvenile |
| II | GGGDAG | Discharge HIS Jar I MY TO ME Jar I MY |
| III | DGGGD | TO Mother MY Breast II Milk MY TO Beast |
| IV | DGGDGGD | FROM Lack Heritage Floor III BY Structure Step FROM ME |
| V | DDG | BY Female FROM Index Knowledge III |
| VI | DGG | BY Turning HIS Tool |
| VII | DDGGG | FROM ME BY Incandescence Measure Heritage III BY |
| VIII | DDGGG | Sight FROM Height Fallen III YOUR Opening I |
| IX | DDDGD | BY Member FROM ME BY Work Life BY |
| X | NAGD | Equilibrium YOU Worker I Sanctuary MY IN Company II |
| XI | GGGDGG | Bodies II MY Love BY Lack Heritage Lack |
| XII | GGDDGG | Task III MY House FROM Progress to Head I Place Beauty |
| XIII | GGDAD | Dark Green TO TO THEE Someone IN Presence I |
| XIV | GDG | MY BY Sight Beast |
| XV | DGGDG | AROUND TO Habitat FROM TO Nourishment MY |
| XVI | DDGGD | TO Friendship TO Guard III BY Ejaculation I |
| XVII | GGG | God Possessor West |
| XVIII | GDAG | Offering TO ME Food Sanctuary III BY |
| XIX | DGGGDGGG | House I Food Sanctuary III Refreshment BY House I Refreshment |
| 19 | 18 | 17 | 16 | 15 | 14 | 13 | 12 | 11 | 10 | 09 | 08 | 07 | 06 | 05 | 04 | 03 | 02 | 01 |
| D | A | A | N | D | A | A | ||||||||||||
| D | A | D | ||||||||||||||||
| D | ||||||||||||||||||
The amount is X.
The next two text parts each seven columns long seem to correspond to the two Officials who are characterized by two different birds: ibis and falcon. They stand between the Great Pair of Scales and the temple and are turned into opposite directions away from each other. The ibis figure looks toward the pair of scales and records measurements. The falcon figure looks toward the temple to where the Juvenile is shown. In this illustration he is located between them. They remind of wardens of the temple entrance. The second part of the text, that starts to the right of the first has an opposite reading direction, from left to right. In the third part the reading direction is again from right to left. This direction corresponds to the direction that the respective Official steps into.
The first question of interpretation concerns the beginning of each part and if it is respectively a heading, a new sentence or continuation. If it is not a heading but a new sentence then the different text parts can have a closer connection between their content. This question is important with regard to the pronouns and especially with regard to the first person or narrator. Because of the corresponding change of reading direction it can be expected like in a theatre piece that the narrator changes his roles. If however the person of the narrator is derived from the only independent pronoun for the first person in the name column of the illustrated temple then it can be accepted to be valid for the entire text. Another circumstance that can be mentioned for determining the narrator is the class difference of the illustrated figures. Under consideration of the anthropomorphic condition of some figures it can mean that they belong to a lower class like that of Officials. It is questionable if their anthropomorphic condition allows for human pronounciation of the word. If the figures of the temple belong to a superior class and the pronoun for the first person is introduced amongst them then it should have preference.
Furthermore it is noticeable that the initial four signs of the second and third parts are the same. The first is the cobra with the unnatural bend in the neck. Then follows a batton, reed and flow. The beginning of the second and third parts is comparable to the expression at the beginning of column II that is destinguished by red ink. This highlights the thrown cobra, the hand and the pronoun for the third person. The metaphorical meaning of the hand was interpreted as a thing that is held by it. Similarly the batton can be interpreted as somebody that holds it or in a general way as a power or office. The batton is a suitable metaphor for a police officer. The pronoun for the third person is replaced by a reed. This seems to have the function of an indefinite pronoun. The thrown cobra can have the metaphorical meaning of a projection or discharge that in connection with the batton can be interpreted as a discharge of power or office.
A reason for considering a syntactical continuation from the previous part is the absence of sufficient indications of the beginning of sentence. It can be concluded that the syntax or the syntactical delta can be continued beyond the text parts if these are only characterized by a change of reading direction. The numbering of columns should despite of a change in reading direction not be interrupted if there is not sufficient reason. A syntactical continuation would mean that the first case of column XX forms a genitive to the last case of column XIX.
After the preposition that is indicated by the flow there seems to follow the name of the ibis figure. Presumably its name is confirmed by the ibis standarte. The following sign after this standarte is a bread and indicates the perfective meaning or female gender. The word is concluded by a dual. This does not seem to confirm a direct correspondence to the illustrated ibis figure. The next correspondence is to the two female figures behind the throne. Maybe the illustrated Official represents these two figures at the Great Pair of Scales. Noticeable about his clothing is that in comparison to the other two Officials he does not wear a green harness, but instead only a thin white robe that only partly covers his torso. He seems to be an especially honorable Official. The following sign after the dual is a basket and is interpreted as possessor. It also appears in column XVII where it was interpreted in connection with the claim of the narrator to the West. Then follows the ax and this can be interpreted as metaphor for warrior, chief or even god. The concluding word is the batton that is completed by the plural. This is written vertically and can correspond to the hierarchy of the Officials. A possible interpretation of this column is that a service, a discharge of power or office, is directed to the two Priestesses. These are qualified by the Possessor of the God of Officials.
In connection with columns XVIII and XIX at the end of the first text part the beginning of column XX should be interpreted as continuation if there is actually no syntactical interruption. With regard to the two name columns that accompany the celebrated figure in the illustrated temple it was mentioned that the shelf is suitable for flasks and could mean a service to the three preferred guests in the vicinity of the temple, the Great Ones of the Near West. One of these guests can be the High Official. If he is the distinguished guest then it seems contradictory that he performs measurements that can be interpreted in connection with consumed substance. The only explanation is that he performs his duty as administrator. In this connection a better interpretation is that the Lord is not so much the host of his Officials but also their supervisor. The delegation of provisions to the two Priestesses is interesting because it seems to be connected to the measuring work at the Great Pair of Scales. To recall how the temple zone in column VII is described with a pyrotechnical metaphoric of incandescence it is possible that also an increasing consumption of the female substance is meant thereby. The metaphor of the ibis standarte seems to be suitable for meaning the enduring exposure to the sun or intense light and can in particular characterize the office of the Priestesses. The narrow black figure of the ibis promotes this interpretation.
The amount is VII, X and VIII.
The beginning of column XXI is introduced by an owl that is interpreted as preposition. Then follows an arm and the basket with the handle. This is interpreted as a pronoun for the second person. After this basket follows a sign that can also be a pronoun. It depicts the kneeling man. Although it seems unusual that two pronouns appear together it is possible that they are interpreted in a similar manner like the pair of prepositions. They are not placed in relationship to each other but in relationship to a preceding word that they both qualify. ABC means AB and AC. In column XXI this word is only comprised of the arm. This is interpreted as work. From the view point of the narrator the pronoun for the second person in column XXI can mean the addressee or figure of the Lord. The subsequent pronoun for the first person means the narrator.
The owl at the beginning of column XXI forms together with the arm a dative that means the location BY something. The last word of column XX is comprised of the batton and the plural. It is then located BY the arm. The batton can refer to the Officials although these are in comparison to the narrator or Priestesses not located in the vicinity of their Lord. According to the plural that qualifies the batton at the end of column XX it is at first imaginable that three official functions or offices are fulfilled by the side of the Lord. It is also imaginable that the three persons by the throne including the figure of the Lord are meant thereby. But then a differentiation of the gender should be indicated. A closer glance at the illustrated flail reveals that it is at one end comprised of three chains each of which has the shape of a batton.
The ax and the batton at the end of column XX can be interpreted in connection with the flail and the left arm of the Lord that is supported by the two Priestesses. The flail is a suitable sign of his command over the offices that are meant by the batton. It is possible to conclude that if the flail is designated by the ax it can have the status of a god. The following word after the last pronoun is comprised of a head and singular numeral that indicates the literal meaning. After that follows the male member that has metaphorical and perfective meaning. This can mean the female gender and altogether the female head. The female gender is also mentioned in column V where it is described in relation to the illustration above the measuring device. Although it is imaginable that the narrator means the female head of the pair ofscales it is according to the interpretation of column XXI located by the two Priestesses by the flail. Maybe it is the function of the flail. If this means the power over the Officials and the cause of their anthropomorphic condition then the female head can be an exception. It is noticeable that the female gender is seldom afflicted by the anthropomorphic condition. The only female anthropomorphic figure is to be found amongst the Ancestry, figure VI. With regard to the Juvenile who is also not afflicted by this condition it can be pointed out that his name is concluded by a man that also holds a flail. This can mean the power of the Juvenile over the Officials and the capability to pass these. The pronoun for the second person following the arm can mean an obligation of the addressee in favour of the female gender. Possibly his contribution consists in the protection of the female head. The addition of the pronoun for the first person can mean that the narrator is participating therein.
The preposition that is indicated by the flow at the beginning of column XXII is followed by a chicklet and pair of fingers. This pair in column V is interpreted as the index that is recorded by the Official on his small writing board. In comparison to column V the chicklet can mean an insufficiency of the index. With regard to the preceding cases in column XXI the preposition can mean the direction or purpose of the care or protection of the female head by the Lord. It is imaginable that an insufficient index or error of measurement means a discharge of the flail that can simply be called punishment.
The next case after the index also appears in column XV where it was interpreted as food intake. This case is introduced by the mouth and flow and concluded by the figure of a kneeling man who raises his hand to his mouth as if he is eating. The concluding case at the end of column XXII is introduced by another preposition that is indicated by the flow. Then follows the entire name of the Juvenile. The name still takes up three quarters of column XXIII. In summary it seems that ultimately the flail serves to promote the food intake or provision of the Juvenile who is maybe supervised by a female figure.
The amount is VII, VI and IX.
The end of column XXIII is concluded by a reed and a chicklet. As mentioned the chicklet could mean a small size or quantity. Decisive however is the characteristic of insufficiency. The next word at the beginning of column XXIV consists of the jar and the singular. It is suffixed by the pronoun for the third person. If the reed means an indefinite pronoun for any person then the chicklet can qualify this person by an insufficiency. This pronoun could be representative for an Official like the Kneeling Official. But he can already be identified with the pair of reeds in columns VIII and XVI. In addition to the gender of the reed that is male another characteristic can be pointed out in comparison to the stepping reed. This is absent in the present text but leaves to conclude that the stepping reed is more suitable for the stepping Officials. With regard to the Great Pair of Scales it is possible that this is despite the female gender meant with the reed if a sexual insufficiency is meant with the chicklet. This insufficiency is already mentioned with regard to the standing ancestor in column IV.
To draw the attention to the measuring device of the Great Pair of Scales it seems to be circumscribed in columns VIII and IX by a sexual metaphoric. The victims of the self inflicted injury who are meant with the fallen in column VIII are furthermore characterized by this metaphoric as if they are failing at the measuring device. It is noticeable that the text lines accompanying the illustrated Beast also contain the fallen. This is additionally qualified by the perfect and can mean that the place of the Fallen is located directly by the pair of scales or the Beast.
The jar that is mentioned at the beginning of column XXIV is qualified by the pronoun for the third person: jar HIS. It is probably the jar on the left weighing scale. According to the illustration of the Kneeling Official it is imaginable that the narrator means the jar in the vicinity of this Official.
In connection with the preceding columns it was mentioned that the flail that was identified with the female head in column XXI can mean a punitive measure with regard to an insufficient index of the nourishment to the Juvenile. It is noticeable that the variation of the name of the Juvenile in columns XXII to XXIII corresponds to the first name column by the illustrated Ancestry that is introduced by the bed and eye. This pair was interpreted in connection with the early childhood and the required supervision of the child. It was already determined that there are two variations of the name. The difference between these variations exists in the first part that is characterized by the eye and a furniture piece, either chair or bed. Both variations appear respectively twice. The first variation appears also in columns XXII and XXIII. It seems that the difference between the variations of name correspond to the direction that the Ibis steps to. He is the only one of the Officials that steps away from the temple. This direction also corresponds to that of the figures of the Ancestry who are looking away from the temple. They share this direction of looking with the figure of their Lord. It is imaginable that the Ancestry and the Ibis look to the past of the Juvenile or his childhood. If the reed and chicklet at the end of column XXIII represent the Great Pair of Scales then this qualifies the name of Juvenile. This interpretation leaves to conclude that the jar belongs to the Juvenile.
The next expression after the pronoun in column XXIV that is comprised of the house, mouth and step also appears in column XII where it is interpreted in connection with the progress to the head of the beautiful place. In column XXIV a bread is added to the mouth. The bread is written inconspicuously at the side of the column and can easily be overlooked. Its grammatical function can correspond to the perfect. It can correspond to the position of the stand of the Great Pair of Scales that seems to mark a passage. The following word after the step in column XXIV is again the head. This word forms a genitive to the preceding case that is concluded by the step. It can therefore mean the progress of the head itself, maybe that of the Juvenile. It is noticeable that the head is not further characterized by a pronoun or gender as in column XXI. It is imaginable that the pair of scales is characterized by the danger of losing the head. The preposition at the end of the column is indicated by an abstract depiction of a shore. This can mean the direction or location AT something.
Column XXV determines the location of the head at the Pair of Scales. This is the same as in column X except for a small graphical difference that consists in the addition of the measuring device. This confirms the additional function of the pair of scales. The expression is also comprised of the arm and the lotus. These two signs are suitable metaphors for a careful operation that is comparable to the care of an exotic plant. After the pair of scales column XXV is concluded by a leg and a chicklet. The expression is completed at the beginning of column XXVI by an ibis bird. This expression can mean the error search. The long thin beak of this bird is suitable for finding food in shallow waters. The leg and the chicklet can mean a place of insufficiency or error. After the ibis bird follows another preposition indicated by the shore. The following word that completes the Prepositive consists of a sign that looks like a writing pen. The metaphorical meaning thereof can mean the written record of the High Official. The suffixed pronoun for the third person can confirm it.
In summary it seems that the progress of the head consists in the measurement that is furthermore characterized by error search. It was mentioned in connection with the functioning of the device that the distance between the two sides of the device that are pushed apart by the lowering crossbeam indicates the difference of weight between the jar and the feather. It was determined that the critical result consists in the waste of the content of the jar that is compared to ink. In this connection the error search that is described in columns XXV and XXVI is to be comprehended as a record of the wastage.
The case after the writing pen and pronoun for the third person in column XXVI is introduced by a young duck or goose. This seems to flap its young wings as if to practice flying. Then follows a male member, an arm that holds a tool and finally two reeds. The young duck can mean the age of the Juvenile. The metaphor of the member can confirm his gender. The arm that holds a tool also appears in column VI where it was interpreted with regard to the stand of the pair of scales that is adjusted by the Official. The following pair of reeds that can be indefinite pronouns can be identified with the Kneeling Official.
| Column | Syntax | Content |
| XX | GGGDGGG | Discharge Office TO Priestess II Possessor God Office III |
| XXI | DGGG | BY Work THY MY Head I Female |
| XXII | DGGDD | TO Index Nourishment TO Juvenile |
| XXIII | GGG | Someone Insufficient |
| XXIV | GGDGD | Jar HIS FROM Progress Head I AT |
| XXV | GDG | Work BY Equilibrium Error Found |
| XXVI | GDGGG | AT Record HIS Boy |
The amount is XIII.
In the third part some repetition in comparison to the second part can be determined. The amount of columns is the same, VII. The beginning is comprised of the same group of signs starting with the thrown cobra. In the following columns also the name of the Juvenile is repeated, as well as the metaphor of the pair of scales. After the first group of four signs follows the falcon. In comparison to the other illustrated animals the habitat of the falcon is the sky. Although it seems to refer to the Official it is also possible that it means the flying figure of the eye inside the temple: the Flying Eye. This figure holds a fan and a ring that seems to be a device of seafaring like an oar or rope spool. It is noticeable that this figure does not have a head as if it is afflicted by the same fate as the Officials. A further indication that the falcon means the Flying Eye is to be found in the Ancestry. There figure VII has the same name, the falcon. Considering that figures VIII and IX designate the two Priestesses it is imaginable that especially these three figures of the Ancestry form a group that is distinguished by their presence in the temple: the figures VII, VIII and IX. Another correspondence can also be confirmed by the handle cross that belongs to figure VII. In comparison to the Flying Eye that carries two things in its claws the Priestesses have nothing in their hands. The first seven figures of the Ancestry including the falcon each have the handle cross on their knees.
To describe the meaning of the handle cross somewhat a reference to column X is relevant. There the addressee is interpreted as worker who is in particular destinguished by his physical integrity. This means the two arms and their coordinated cooperation that is demonstrated by the Kneeling Official. Of the three Officials who step on the ground two respectively carry a handle cross in the hand that has nothing to do. It can be concluded that the handle cross is a sign of guilt or unemployment. It can also mean an availability of that arm for official tasks.
The next expression following the falcon is comprised of three signs. The first looks like a staff the end of which forms a cross. The center of the cross forms a circle or ring. It can be a scepter. Then follows a vessel and finally the arm that holds a tool. This arm also appears in column VI in connection with the adjustment of the stand of the pair of scales. It is imaginable that the cross staff applies to the Flying Eye. It can be seen that apart from the fan this figure holds a ring or cleat that is commonly associated with the royal name. It is imaginable that the cross staff is related to the illustrated ring in the claw of the Flying Eye. Maybe this staff means a name scepter. It was mentioned that the literally meant things of the Ancestry are the vault, the solar disc and three borders. It is imaginable that these things are also meant with the cross staff or symbolically united therin as if it is a scepter of the entire empire.
From the second half of column XXVII follows a word that is comprised of a bread and a viper and is concluded by a singular. The suffixed pronoun for the third person maybe means the father or relative of the falcon figure. The pronoun for the third person in columns II, VI, XXIV and XXVI was interpreted with reference to the respectively illustrated Officials. It seems equally suitable to mean the Flying Eye. This is obviously busy serving the figure of the Lord with a feather fan. The arm with the tool can mean the work of the Flying Eye and the things it holds. It can be seen that the staff of the illustrated fan that is also held in the claws of the Flying Eye has the same decorative colour pattern as the flail and crook. It can therefore belong to the instruments of supreme power.
At the end of column XXVII follows a rabbit. A vertical line crosses the center of its body. In comparison to other ligatures or similar signs the vertical line reminds of the rope. The length of the line corresponds to the short end of the rope that reminds of a pulley. It is imaginable that this rope is only partially integrated in the ligature. The reason for not completing the rope could be to not promote its morphological independence. This means that the two comprising signs would have to be read as two independent words. The rope was with regard to the rope pulley interpreted in connection with the act of hoisting or hanging. As continuation and characterization of the preceding signs in column XXVII that were interpreted as description of the illustrated things that the Flying Eye holds the characteristic of hoisting or hanging is relevant. It is imaginable that the suspended condition of the feather fan is meant by the suspended rabbit. The concluding sign of the column is an arm and this can mean an obligatory work.
The amount is XIII and IX.
At the beginning of column XXVIII follows a meat that is attached to a bone. In combination with the arm at the end of the preceding column it seems to refer to the Flying Eye. This is comprised of a headless body of a large bird that reminds of a fowl dish. Apart from the wings the body is naked as if the feathers were plucked. It is imaginable that the series rabbit, arm and meat respectively mean the feather fan that is held by the Flying Eye. It reminds of classical scenes of Oriental courts where servants surround the throne with such fans. Interestingly the anthropomorphic character of the Flying Eye that seems to be defining the status of the Officials could mean that temple servants also have this status. The meat can mean a large portion that can furthermore be associated with a reserved claim. The second sign of column XXVIII is a game board. With regard to the meat and the reserved claim this can furthermore be characterized as a matter of fate or choice. The game board is surely one of the oldest metaphors for fate. But in comparison to the dice it allows a limited participation and skill.
After the game follows a preposition that is indicated by the flow. Then follows the sign of the circle. This also appears in column XV and was interpreted as a preposition in connection with the glance of the Beast. There the pair of prepositions is also comprised of the flow and circle but in reverse order: circle and flow. The next sign looks like a wooden mallet. This is suitable for stone mason work. In comparison to the ink pen that is mentioned in connection with the record of the High Official in column XXVI the mallet is suitable for stone inscriptions. The expression is concluded by a platform. In a comparison of the last two Officials and their text parts it is possible that the High Official is associated with the pen and the falcon figure with the mallet. The falcon is an imagery that can be associated with the solar temple. This is characterized by megalithic buildings. An interpretation of the double preposition followed by the mallet and the platform can mean that the chosen eye is directed TO the hieroglyphs to dwell there.
The next expression after the platform is introduced by the preposition of the flow and seems to be a name. This is comprised of five signs and is concluded by a squatting male ancestor. After a rabbit follows a pair of flow signs, an Instrument and the ancestor. This expression appears relatively frequently in connection with the figure of the Lord and is interpreted as one of his names. In connection with the Flying Eye that dwells in the temple the subsequent case that is again introduced by the flow can mean the direction or purpose of its presence. It was mentioned that the headless figure of the Flying Eye is afflicted by the same fate as the anthropomorphic figures of the Officials. In connection with the zones of incandescence it is furthermore imaginable that the intensity thereof is the cause of affliction.
The metaphor of the rabbit is followed by two flow signs that can be interpreted as double preposition. The following sign of the instrument can mean the direction of the rabbit. It is noticeable that it has two long ears and these can in a suitable manner be interpreted in connection with the metaphor of the music instrument. This probably means acoustic harmony. The pair of prepositions between the rabbit and the Instrument can in particular concern both ears that are directed TO and TO the harmony. With regard to the jackal figure that is also characterized by noticeably sharp ears it can be expected that this figure also has sensitive hearing. It was mentioned that the Officials that wear the green belt even produce this from the skin of the Lord. Both animals the jackal and the falcon are predators and it is imaginable that rabbits are prefered victims. The headdress of the figure of the Lord is decorated by two long feathers on each side and they are comparable to the two long ears of the rabbit. Finally the squatting ancestor can be interpreted as an ancestral title. Altogether this name of the Lord can mean that he is the Listener.
The next case is introduced at the end of column XXVIII by an owl. This is interpreted as preposition indicating the location BY something. The next two signs at the beginning of column XXIX correspond to the beginning of column XXI. They are the arm and pronoun for the second person. There the arm is interpreted in connection with the flail. In comparison with column XXI the arm and pronoun for the second person is followed by a pair that is comprised of a chicklet and a squatting ancestor. This pair also appears in column XI. There it was interpreted in connection with the big vessel and the insufficient heritage. It is noticeable that the ancestral figures do not have arms and this circumstance can be interpreted as their insufficiency. The service to the Lord described in columns XI and XXI could be caused by this insufficiency. If the arm in column XXI can be identified with the flail then it can be expected that the other arm at the beginning of column XXIX has something to do with the crook. In column XXI the arm is followed by two pronouns that can confirm the additional support by the narrator. Instead of the additional pronoun for the first person as in column XXI the arm and pronoun for the second person in column XXIX is followed by the chicklet and the squatting ancestor. These can mean a lack of support of the arm or the insufficient but independent power of the figure of the Lord. To return to column XXVIII and the name that was interpreted as Listener he is according to the preposition at the end of this column located BY the crook: the Listener by the Crook.
The following word is comprised of the head and the singular. The head is meant literally. In comparison to column XXI it is not characterized by the female gender. The next expression at the end of column XXIX is concluded by a step and can mean the progress of the head. The expression comprises four signs. These are a leg, a rope, a fish and the step. The scew position of the fish seems to mean an emergence and can characterize the progress of the head accordingly. In combination with the preceding rope this pair reminds of fishing. The direction of emergence or progress is confirmed by the preposition and pronoun for the second person at the beginning of column XXX. In summary it is possible to interpret the name of the crook as a Fishing of the Head. It was mentioned that the crook is a suitable instrument for the handling of snakes.
To return to the rabbit it was described in connection with the crook to mean the Listener. It is noticeable that the circle shaped end of the crook is actually very close to his face or mouth. The shape of the crook reminds of an ear and it is imaginable that he speaks into this ear.
The amount is IX and IX.
Following the preposition and pronoun for the second person at the beginning of column XXX is the greater part of the name of the Juvenile. This corresponds to the name in column I except that the middle part, the papyrus and the stationary, are missing. Interestingly the papyrus can be confirmed as writing medium if the absence of one determines the absence of the other. At this point it is imaginable that the Juvenile has completely absolved the written examination. According to the syntactical rule the pronoun that is introduced by a preposition is followed by an accusative. This means that a new syntactical delta is established. In connection with the nominative in column X it can be concluded that the Kneeling Official is addressed by the name of the Juvenile as if he replaces him.
At the beginning of column XXXI follows a reed, a chicklet and a viper. This means the suffixed pronoun for the third person. The reed and the chicklet at the beginning of column XXXI also appear in column XXIII where they are identified with the Great Pair of Scales. The expression following the viper in column XXXI is comprised of four signs. These are a suspended rope, a footstool, a reed and a platform. Starting with the rope this was interpreted in columns XI and XII in connection with the support or raising of the figure of the Lord by the Priestesses that is demanded by his insufficient condition. Similarly the rope in column XXXI can determine the relationship between the pair of scales and the Kneeling Official. The footstool is a suitable metaphor for a low place and can be associated with the small building by the Great Pair of Scales where the Kneeling Official is located. The reed and the platform can confirm his position. It is at this point possible to determine that the vicinity of the two reeds in column XXXI promoted the meaning of the pair of reeds in columns VIII and XVI. This pair was identified with the Kneeling Official and can now be identified furthermore with the pair of scales. In summary the shortened name of the Juvenile in column XXX is qualified by HIS pair of scales and this is qualified by the Official. The pronoun for the third person seems to establish a familiar relationship.
The following case after the Platform is introduced by an owl and this is interpreted as preposition. The subsequent word is comprised only of the arm. The next preposition at the beginning of column XXXII is the shore. This is followed by the expression that is concluded by the Pair of Scales. With regard to the repetition of the arm in columns XXXI and XXXII it can correspond to the work of the Kneeling Official that he performs with both arms, at the stand and at the measuring device.
Because the figure of the Lord is illustrated in a seated posture it is not immediately visible how large he is. If the base of the throne would be removed his eye level would be a small distance below that of the two Priestesses behind the throne at the height of their shoulders, while he still sits. Should he however stand upright it is easily imaginable that his height corresponds to the temple ceiling. In comparison to the other human figures that all more or less have the same size the figure of the Lord can be considered as an extraordinary large human or even small giant. With regard to his green skin colour the hypothesis can be formulated that it is characteristic of a race. The absence of this skin colour in illustrations of contemporary human life in ancient Egypt could mean an unknown race. If this skin colour only appears amongst the figures of the illustrated Ancestry it could mean that it only existed in the memories of a distant past. Although it can be argued that the green skin colour has metaphorical meaning it must be an exception if the other skin colours are illustrated realistically. In the interest of a transmission strategy this exception should be excluded.
A further reference to the hypothetical existence of such an ancient race can be the green harness of the Officials. It was mentioned that the leather of the green harness could even have been made from the skin of their Lord. But it is also imaginable that it is made of the skin of other members of his race who have fallen victim to the Officials. The two types of Officials that wear the green harness are characterized by predators, the jackal and falcon. It is imaginable that they represent hunters. The habit of American war tribes to scalp victims is relevant because the scalps can be considered as honorable decoration. Such decoration like a green harness is disregarding the hostility still honorable not only because it confirms the fighting or hunting skills but is also proof of the existence of an exotic or superior race.
With regard to figure VI of the Ancestry it is remarkable that although it is also characterized by the anthropomorphic condition this figure has a green head. In comparison to the other anthropomorphic figures like the jackal, ibis and falcon these seem to be relative realistic representations. But a green lion's head is not realistic in any sense and can be interpreted as the anthropomorphic condition of the hypothetical ancient race. With regard to the illustrated Officials the relatively realistic representation of their heads can be explained by the fact that their skin colour is visible. Figure VI of the Ancestry like the other figures is nearly completely bandaged so that her head would not reveal the race. In other illustrations of Papyrus 9901 and other papyri also other animals characterize the anthropomorphic condition of the hypothetical race, notably with horns. In the illustrated Ancestry there are apart from figure VI still three human figures that have a green skin colour, figures III, VII and X.
Figure III has a single feather on his head. His name is comprised of a feather, chicklet and a squatting ancestor. Figure VII is called the falcon. It is at this point relevant to determine the origin of the feather on the heads of some figures as well as on the left weighing scale. The feather is clearly depicted in a white colour and is probably a falcon feather. The ibis bird will rather have dark or black feathers. But there is another correspondence between the feather and the habitat of the falcon that can be relevant for the meaning of the feather itself. It was mentioned in connection with the functioning of the Great Pair of Scales that the jar is comparable to an ink jar and the feather to spirit or thought. It was determined that the critical judgement exists in the waste of ink. It can be concluded from this judgement that the aim of the written examination exists in carefully measuring the amount of ink or count the amount of words to express a thought. This can also be described as spirit or even air. In this connection the process of writing can be comprehended as a consumption of spirit or air. To return to figure III the pair feather and chicklet in his name column can be interpreted as an insufficiency of spirit or air.
It is imaginable that a hypothetical ancient race is maybe threatened by extinction that is caused by some environmental catastrophy. One possibility is a climate change that causes oxygen deficiency. This is to be equated to an insuffiency of air or spirit. In connection with a written examination at the Great Pair of Scales it was described how it consists in a careful counting of words. It is imaginable that under normal circumstances the writing is characterized by brevity and a reproduction of facts or truth. The critical judgement that exists in the waste of ink also means for the writing style that this generally evades a waste of words. In connection with figure III of the Ancestry it is imaginable that an insufficiency of spirit means a style of writing that is comparable to mathematical or scientific formulae.
Figure VII of the Ancestry can be identified with the Flying Eye. It can be seen that the Flying Eye has apart from the green colour a naked body that has a light skin colour like that of the Officials and Priestesses. It leaves to wonder if such a mix of colour can also mean a mix of race. At this point it can be mentioned that it does not seem possible that the Priestesses are related to the Lord if they belong to different races. The falcon could be their common son. Actually the darker skin color of the Juvenile also reminds of a racial integration. Maybe he is associated with the falcon because this is an archetype of mixed marriage.
The last of the four figures of the Ancestry who are characterized by a green skin colour is figure X. Its name is comprised of three signs and the plural. The first sign looks like a tusk of an elephant but can be a tool. It appears at a few places in the text in combination with the Arm and is interpreted as work with a tool, in columns VI, XXVI and XXVII. These three places correspond to the three parts of the main text that furthermore describe three acts that are performed with tools or instruments. The first can be the adjustment of the pair of scales. The second is the recording of a result by the High Official and the third concerns the Flying Eye and the things it holds. The tool itself can be interpreted as a person that is working with it, similar to the batton that is identified with the Officials.
The following sign after the tool is a platform that looks like a sealed papyrus scroll. The name is concluded by a structure that looks like a temple roof. Altogether the name could mean a progressive worker, maybe temple architect. It is interesting that also figure VI is associated with a building structure. This is a vault and is meant literally. It is possibly a sarcophagus lid made of stone as it was found in pyramids. Maybe the megalithic structures of ancient Egypt were designed and built by the hypothetical ancient race.
The amount is VII and XI.
Column XXXII is again concluded by a reed and a chicklet. This pair qualifies the pair of scales. It could confirm the identity of the Kneeling Official although he already identified with the reed in column XXXI. Furthermore he is not afflicted by the insufficiency that is meant with the female gender. The following expression at the beginning of column XXXIII is characterized by the measuring device that looks like a pair of pliers. The first word at the beginning of the column is comprised of a flying bird and a bread. Then follow the circle and the device. The metaphor of the flying bird can mean flight or in the perfect sense the landing.
Under consideration that the device has a sexual connotation it is relevant to continue the sexual metaphoric that is described in columns V, VIII and IX. The ejaculation at the end of column XVI was identified with the Juvenile who is illustrated with an erection. If the circle is interpreted as preposition that indicates a direction AROUND the device then it is imaginable that a landing there means sexual intercourse.
It is at this point relevant to mention the fallen in column VIII if they are qualified by the device or fail thereat. The fallen also appears in the text above the Beast so that this can be associated with the device. It is therefore possible that the chicklet and reed at the end of column XXXII mean the Beast.
The expression after the device in column XXXIII is comprised of a courtyard, a rope coil and dual. The coil can mean the obligations of that space and the dual corresponds to the two actions of the Kneeling Official there.
The preposition following the dual that is indicated by the mouth means the direction FROM something. The following expression is comprised of the chair, a bread and a house. This expression is suffixed by a pronoun for the third person. The chair can because of the correspondence with the age of a child mean this. The perfect that is indicated by the subsequent bread can then mean a girl. This interpretation is acceptable in connection with the metaphoric of the measuring device if this means the vulva of a girl. The concluding pair of signs, the house and viper, can mean with reference to the temple HIS house. One of the two names of the Priestesses as well as that of figure VIII of the Ancestry contains the chair and bread. It is therefore imaginable that this Priestess is meant with the girl of HIS house.
| Column | Syntax | Content |
| 27 | GGGDGGG | Discharge TO Wing Scepter Father HIS Fan |
| 28 | GGDDGDD | Chosen to Hieroglyph TO Listener BY |
| 29 | DGGG | Crook THY Heritage Head I Emergence |
| 30 | DAGGG | TO THEE Juvenile |
| 31 | GGGD | She HIS Place Official BY Work |
| 32 | DGDGG | AT Work Life BY Measurement Beast |
| 33 | GDGGDGG | Landing AROUND Vulva Obligation II FROM Girl House HIS |
| 9 | 8 | 7 | 6 | 5 | 4 | 3 | 2 | 1 | 0 | 9 | 8 | 7 | 6 | 5 | 4 | 3 | 2 | 1 | 0 | 1 | 2 | 3 | 4 | 5 | 6 | 3 | 2 | 1 | 0 | 9 | 8 | 7 |
| D | A | N | D | A | A | D | A | |||||||||||||||||||||||||
| A | D | |||||||||||||||||||||||||||||||
| D |
The amount is XXX.
Below the right arm of the Great Pair of Scales and above the illustrated Beast there are three lines of text and four signs that finally form a small column directly below the lines. The last four signs seem to be appended in this way because of space constraints.
In the entire text there are three places that have no bordering. In the first scene where the Juvenile kneels before the Ancestry his name column is appended by a short line that contains the last part of his name. The name of figure IV of the Ancestry is repeated in an additional column that has no bordering. This figure is female. Her name is comprised of four signs. The first two are the same as those that mean the father who is mentioned in column XXVII, the bread and the viper. Then follows a vessel and another bread. This can have perfective meaning and indicate the gender. A logical conclusion is that figure IV means the mother. This conclusion can furthermore mean that the vulture in column III means another relative apart from the mother like the grandmother. The crooked posture and bold head of the vulture seems to be suitable to mean age.
The first line of text above the Beast is introduced by a ligature. This is comprised of an arm and an owl. It is possible that these two signs mean a work BY something. The second sign looks like a standarte the top part of which has a pair of cattle horns. The lower part reminds of an anchor and can mean that the standarte is stuck into the ground. It could be a metaphor for the Great Pair of Scales, although the pair of scales was identified in column IV with the standing ancestor.
For a closer description of the standarte it is relevant to refer to the next case that is introduced by the owl. This expression is comprised of the falling man, the bread and the plural. The bread indicates the perfect and can in comparison to column VIII mean the fallen. The arm can mean the work BY the standarte. This is furthermore located BY the fallen. These are identified with the three stepping Officials on the ground. The owl can mean that the Beast accompanies the work at the pair of scales. The standarte itself seems to be comprised of two parts. The top part is a pair of cattle horn like a trophy that seems to rest on a staff. The staff is of interest because it belongs to one of the instruments of supreme power that is held by various distinguished figures. It is in comparison to the other instruments very long. The top part of the staff forms the head of a rodent, probably a rabbit. This animal can be concluded from the comparison of the Lord with the rabbit in column XXVIII. This comparison left to conclude his characteristic that exists in listening. It is imaginable that a rabbit staff means obedience. It is furthermore noticeable that a feather is attached to the top of this staff. It can correspond to the headdress of the female ancestral figure of the pair of scales. It is imaginable that her obedience is determined by the feather or its significance.
The remaining part of the text seems to be a description of the threefold form of the Beast. The first line is concluded by a word that means its front. This is comprised of the lion front, a bread and singular. The suffixed pronoun for the third person is probably neuter. The second line is introduced by the owl that localises the front. The following expression is comprised of four signs. These are a wick, rope, chicklet and crocodile. This is concluded by a plural. It reminds of mythic beasts that are characterised by three heads. There could also be a correspondence with the three Officials who are characterized by three different animals. These can furthermore correspond to three different habitats like earth, water and air. These are also significant for the life requirements of the organism that respectively exist in eating, drinking and breathing. The metaphor of the crocodile obviously seems to mean the head of the Beast.
The wick was described in connection with column XIII to mean either night or darkness and was interpreted in particular as reference to the dark green colour of the harnesses of three Officials. It is imaginable that a dark appearance of the Beast is meant the head of which after all has the same colour as the harnesses. To return to the crocodile it was mentioned that it is qualified by the plural. Considering that it means the front or head it is noticeable that the illustrated Beast has in fact a head that is divided in three parts. Although the lower jaw has the same length as the upper jaw its colour is yellow like the middle part of the Beast. The top jaw and the greater part of the head is the green crocodile. Finally the red mane can form a third part of the head.
The second line is concluded by the lion hind and obviously means the backpart of the Beast. The expression consists of three signs, the hind, chicklet and rope. Again according to the following preposition that is indicated by the owl in the third line the backpart is located BY something: the hippopotamus. After the owl follows a hand, a leg, a hide and a bread. The hide can confirm the animal and the additional bread the female gender.
In a similar manner the remainder of the text can be described in connection with the middle part or the lion. Interestingly in the text the front part is followed by the back part and then the middle. After the hide and the bread in the third line the next case is introduced by a head and the jar. These can be interpreted as double preposition. The head is suitable to indicate the location or direction ON something. This preposition is relevant because the lion part of the Beast is placed on the backpart. Thereby however the middle position of the lion part is not yet explained. It remains to be concluded that the jar means this position. How this is concluded could be derived from the Great Pair of Scales. It was mentioned that the judgement exists in the use and waste of the jar. The original condition of the jar can therefore mean an equilibrium. This can be compared to a middle position or index. The last pair of signs of the third line are a rope and a bread.
The last four signs form a small column beneath the last line. They are an owl and bow of a boat that form a ligature, another owl and a hide.
| Line | Syntax | Content |
| 1 | DGDGG | BY Work Standarte BY Fallen III Front I ITS |
| 2 | DGGG | BY Beast III Hind |
| 3 | GGDGGDG | BY Hippo thereon |
| 4 | DD | Lion |