Through the Eras

MusicTHE SONG FROM THE TOMB OF KING INTEFINTRODUCTION: This song is preserved in two New Kingdomdocuments. It is known from a tomb from early in thereign of Amenhotep IV, later called Akhenaten(1352–1336 B.C.E.). It is also known from a Ramesside(1292–1075 B.C.E.) papyrus called Papyrus Harris 500, nowin the British Museum. The text, however, states that itwas written in the reign of King Intef who would havelived in the Middle Kingdom, perhaps 800 to 1,000 yearsearlier. The language of the text is consistent with thisclaim. This song urges people to enjoy life on earth sinceit is not certain what will follow.Song which is in the tomb of King Intef, the justified, infront of the singer with the harp.He is happy, this good prince!Death is a kindly fate.A generation passes,Another stays,Since the time of the ancestors.The gods who were before rest in their tombs,Blessed nobles too are buried in their tombs.(Yet) those who built tombs,Their places are gone,What has become of them?I have heard the words of Imhotep and Hardedef,Whose sayings are recited whole.What of their places?Their walls have crumbled,Their places are gone,As though they had never been!None comes from there,To tell of their state,To tell of their needs,To calm our hearts,Until we go where they have gone!Hence rejoice in your heart!Forgetfulness profits you,Follow your heart as long as you live!Put myrrh on your head,Dress in fine linen,Anoint yourself with oils fit for a god.Heap up your joys,Let your heart not sink!Follow your heart and your happiness,Do your things on earth as your heart commands!When there comes to you that day of mourning,The Weary-hearted hears not their mourning,Wailing saves no man from the pit!Make holiday,Do not weary of it!Lo, none is allowed to take his goods with him,Lo, none who departs comes back again!SOURCE: “Songs and Hymns,” in The Old and Middle Kingdoms.Vol. 1 of Ancient Egyptian Literature. Trans. MiriamLichtheim (Berkeley and Los Angeles: University of CaliforniaPress, 1973): 196–197.Lisa Manniche, Music and Musicians in Ancient Egypt (London:British Museum Press, 1991).EROTIC MUSICNATURAL AND SPIRITUAL SIGNIFICANCE. In artisticrenderings of erotic scenes, the Egyptians placed musicalinstruments such as the lute, oboe, and lyre nearto couples engaged in sexual intercourse. In some casesit appears that the female musician holds her instrumentin one hand during intercourse. At the natural level, theconnection between music and physical love may representa more universal belief in the power of music toinspire love-making, but there is also a spiritual significanceto the inclusion of instruments in erotic drawings.Egyptians incorporated physical love into thereligion of rebirth into the next world, and to that endincluded numerous erotic symbols in their tomb decorations.Music’s role in aiding this sacred act, then, endowsit with powerful meaning and importance. Themost famous examples are found in the Turin Erotic Papyrus,a series of drawings representing couples in varioussexual positions. Many scholars who have remarkedon these scenes believe they represent a brothel. A famousexample of the erotic power of harp music is foundin the tomb of Mereruka, the prime minister of KingTeti ( 2350–2338 B.C.E.). His large tomb at Saqqaracontains a relief sculpture of him sitting on his bed withhis wife Watetkhethor, who plays the harp while Mererukareclines holding a fly whisk, the mark of a high official.Other, nearby scenes show the couple preparingfor bed with special ointments and new hairstyles. Thescene’s erotic force, the Egyptians believed, ensured fertilityand rebirth into the next world, and the harp musicfunctioned as a critical component of the ritual.SOURCESLisa Manniche, Music and Musicians in Ancient Egypt (London:British Museum Press, 1991).178 Arts and Humanities Through the Eras: Ancient Egypt (2675 B.C.E.–332 B.C.E.)