By Christopher Eyre
The Cannibal Hymn types a self-standing episode within the ritual anthology that makes up the Pyramid Texts, first showing within the tomb of Unas on the finish of the 5th Dynasty. Its sort and structure are attribute of the oral-recitational poetry of pharaonic Egypt, marked through allusive metaphor and the exploitation of wordplay and homophony in its verbal sport of a butchery ritual. Christopher Eyre examines the textual content of the Cannibal Hymn in its performative and cultural context: the targeted mythologization of the sacrificial procedure during this hymn poses key questions on the character of rites of passage and rituals of sacrifice in Egypt, and specifically concerning the mobilization of oral accompaniment to ritual activities.
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Extra resources for Cannibal Hymn: A Cultural and Literary Study (Liverpool University Press - Liverpool Music Symposium)
16 Cf. 17 For the issues in general see Thomas, Religion and the Decline of Magic. ), Encyclopaedia, vol. v. ‘Magic (Egyptian)’. 18 Cf. v. ), Religion, 164–72; Ritner, in Studies Gwyn Griffiths, 189–200; Ritner, Magical Practice, 1, 5–6, 244–47; Koenig, Magie et magiciens, esp. 307–10. For the cliché that liturgy is our ritual, and magic is theirs cf. also Bell, Ritual Theory, Ritual Practice, 6. 30 The Cannibal Hymn compel and not to petition the god. This is more familiar, and perhaps seems more in keeping with the stock in trade of spells in magical and magico-medical works.
Reconstruction of the liturgy as practised must necessarily be an imaginative exercise, requiring a connection to be made between the mythological and ritual context of the individual spell, its position in 1 For the importance of titles to the ritual context of Coffin Texts see Willems, World of the Coffin Texts, 197, 203–07; Heqata, 273–83. v. ‘Dramatischer Ramesseumspapyrus’. , for example, Burkard, Spätzeitliche Osiris-Liturgien, 130–31, 157–58 for the type of directions for use/performance of specifically ‘hymnic’ texts.
8 Blackman and Fairman, JEA 32 (1946), esp. 84. 9 For the royal tomb, see Baines, in O’Connor and Silverman (eds), Ancient Egyptian Kingship, 139 and for the parallel of the palace O’Connor, ibid. 291–93. For the private tomb see Kamrin, Cosmos of Khnumhotep II. 38 The Cannibal Hymn Figure 1 King roasting duck. , Nims, Studies Hughes, 169–75, esp. 173–74 on the relationship between the Ramesseum and Medinet Habu. ), World of the Coffin Texts, esp. 25–27, 30 on the interpretative problems. The Pictorial Format of Ritual 39 communication with the deity is invoked through mythological identification.