Drawn by Faucher-Gudin, from pictures in the tomb of
Nofirhotpû at Thebes.
This lamentation is neither remarkable for its originality nor for its depth of feeling. Sorrow was expressed on such occasions in prescribed formulas of always the same import, custom soon enabling each individual to compose for himself a repertory of monotonous exclamations of condolence, of which the prayer, “To the West!” formed the basis, relieved at intervals by some fresh epithet. The nearest relatives of the deceased, however, would find some more sincere expressions of grief, and some more touching appeals with which to break in upon the commonplaces of the conventional theme. On reaching the bank of the Nile the funeral cortege proceeded to embark.*
* The description of this second part of the funeral
arrangements is taken from the tomb of Harmhabî, and
especially from that of Nofirhotpû.
Drawn by Faucher-Gudin, from paintings on the tomb of
Nofirhotpû at Thebes.
They blended with their inarticulate cries, and the usual protestations and formulas, an eulogy upon the deceased and his virtues, allusions to his disposition and deeds, mention of the offices and honours he had obtained, and reflections on the uncertainty of human life—the whole forming the melancholy dirge which each generation intoned over its predecessor, while waiting itself for the same office to be said over it in its turn.
The bearers of offerings, friends, and slaves passed over on hired barges, whose cabins, covered externally with embroidered stuffs of several colours, or with applique leather, looked like the pedestals of a monument: crammed together on the boats, they stood upright with their faces turned towards the funeral bark. The latter was supposed to represent the Noshemît, the mysterious skiff of Abydos, which had been used in the obsequies of Osiris of yore.
