The Westcar Papyrus (inventory-designation: Papyrus Berlin 3033) is an ancient Egyptian text containing five stories about miracles performed by priests and magicians. In the papyrus text, each of these tales are told at the royal court of King Khufu (Fourth Dynasty, 26th century BCE) by his sons.
The surviving material of the Westcar Papyrus consists of twelve columns written in hieratic script. The document has been dated to the Hyksos period (18th to 16th century BC) and states that it is written in classical Middle Egyptian. Egyptologists think it is possible that the Westcar Papyrus was written during the Thirteenth Dynasty. The papyrus has been used by historians as a literary resource for reconstituting the history of the Fourth Dynasty.
The papyrus is now on display under low-light conditions in the Egyptian Museum of Berlin.
Discovery
In 1823 or 1824, British adventurer Henry Westcar (1798–1868) apparently discovered the papyrus during travels in Egypt. For unknown reasons, he did not note the exact circumstances under which he obtained the artifact.
In 1838 or 1839, German Egyptologist Karl Richard Lepsius claimed to have received the papyrus from Westcar's niece. As Lepsius was able to read some signs of Hieratic, he recognized some of the royal cartouche names of the kings and dated the text to the Old Kingdom.
There are inconsistencies about the true nature of the acquisition and the subsequent whereabouts of the Westcar Papyrus. Lepsius writes that the document was on display in the Oxford Bodleian Library, but public exhibitions have been documented there since the early 1860s and Lepsius' name does not appear in any lists or documents. Furthermore, Lepsius never made the text of the Westcar Papyrus public; he stored the papyrus at home in his attic, where it was found after his death. These inconsistencies have led to widespread speculation; many British historians speculate that Lepsius may have stolen the papyrus.
In 1886, German Egyptologist Adolf Erman purchased the papyrus from Lepsius' son and left it to the Museum of Berlin. As the hieratic signs were still insufficiently investigated and translated, the Westcar Papyrus was displayed as some kind of curiosity. Since Erman's first attempt at a complete translation in 1890, the Westcar Papyrus has been translated numerous times, resulting in different outcomes. The dating of the text also varies.
Material description
Papyrus Westcar is a reused papyrus made of the plant Cyperus papyrus. The scroll of Westcar has been separated into three parts. During the life of Lepsius and Erman it was in two parts; it is not known when and why the scroll was separated into three fragments. The text written on the papyrus includes twelve columns in all. The first part contains on the recto (the front) columns one to three, the second part contains on its recto columns four and five and the third part contains on the verso (the back) columns six to nine and on the recto, the final columns, ten to twelve. The papyrus textile is grainy, of greyish-yellowish colour and very fragile. Part one was fixed onto linen and placed between two glass panes. At five spots the papyrus was fixed to the glass with methyl cellulose. Part two was fixed to a cardboard and wooden plate and is covered by a glass pane. Part three was simply placed between two glass panes and was completely glued to them. The adhesive used for this has partially lost its transparency and a whitish haze has appeared. The edges of all three parts were left free for air circulation. Because of the paper lamination during the eighteenth century, all the papyrus fragments are partially damaged; at several spots the material is torn, distorted, and squashed. Some of the fibres are now lying over the inscription. All of the artifact shows large gaps and the rim of the scrolls is badly frayed. Because of the gaps, many parts of the text are now missing.
The text itself is completely written in black iron gall ink and carbon black ink and divided by rubra into ten paragraphs. Between the neatly written sentences red traces of an older text are visible. It looks as if Papyrus Westcar is a palimpsest; the unknown ancient Egyptian author obviously tried but partially failed to wipe the older text off. The clean and calligraphical handwriting shows that the author was a highly educated professional.
Context Surrounding the Papyrus
These stories come to King Khufu from his sons. Khufu was an actual monarch during the 4th Dynasty, but these stories and the papyrus itself were written in the 13th Dynasty. This retelling of life in the 4th Dynasty does not exist in reality. Rather, these stories are meant to entertain the king as he is bored. Each son brings a story to the king detailing past events from other kings, magicians, and a love affair.
Contents of the Story
thumb|Figure of [[Khufu|King Khufu]]
Story No. 1
Very little is left of the first story, only the ending that has been preserved. The first story, told by an unknown son of Khufu (possibly Djedefra) in which Khufu orders blessed offerings to King Djoser. Offerings include items such as bread, beer, an ox, cake and incense. It seems to have been a text detailing a miracle performed by a lector priest in the reign of King Djoser, possibly Imhotep the architect under King Djoser. finds that his wife is having a love affair with a townsman of Memphis. Ubaoner's wife and the commoner had spent a night in the gardens pavilion. A caretaker of Ubaoner reports back details of their night. Upon hearing these details, Ubaoner fashions a crocodile in wax. Ubaoner casts a spell for the figurine to come to life upon contact with water. The spell reads as such.
As Khafre finishes the story, Khufu says to offer blessings similar to the first story; beer, bread, an ox, cake, and incense. from a fictional place called Djed-Sneferu is capable of miracles.
The fourth and fifth stories are written in present tense. The unknown author moves the timeline and also changes his mode of expression from "old-fashioned" into a contemporary form. He clearly distinguishes "long time passed" from "most recently" without cutting the timeline too quickly. The speech of Prince Hordjedef builds the decisive transition: Hordjedef is sick of hearing old, dusty tales that cannot be proven. He explains that a current wonder would be richer in content and more instructive, and so he brings up the story of Dedi. The last section of the fourth story, in which the magician Dedi gives a prophecy to king Khufu, shifts to future tense for a short time, before shifting back to present tense again. This present tense is maintained until the end of the Westcar stories.
The fifth and last story tells about the heroine Rededjet (also often read as Ruddedet) and her difficult birth of three sons. The sun god Ra orders his companions Isis, Meskhenet, Hekhet, Nephthys, and Khnum to help Rededjet, to ensure the birth of the triplets and the beginning of a new dynasty. Lepper and Liechtheim both evaluate the story as some kind of narrated moral that deals with the theme of justice and what happens to traitors. Lepper points out, that the story of Rededjet might have been inspired by the historical figure of Khentkaus I, who lived and may have ruled at the end of the Fourth Dynasty. Since, in the Westcar Papyrus, Rededjet is connected with the role of a future king's mother, the parallels between the biographies of the two ladies has garnered special attention. The role of the maidservant is evaluated as being a key figure for a modern phrasing of indoctrinations about morality and betrayal. The maidservant wants to run her mistress down and is punished by destiny. Destiny is depicted here as a crocodile who snatches the traitor. The whole purpose would be to ensure the beginning of a new dynasty by making the only danger disappear. The author of the Westcar Papyrus artfully creates some kind of happy ending.
Ending of Papyrus Westcar
Since the first translations of the Westcar Papyrus, historians and Egyptologists have disputed whether the story was finished or unfinished. Earlier evaluations seemed to show an abrupt ending after the death of the traitorous maidservant. But more recently, linguistic investigations made by Verena Lepper and Miriam Liechtheim (especially by Lepper) strengthen the theory that the Westcar text is definitely at an end after the story of the maidservant's death. Lepper points out that the crocodile sequence is repeated several times, like a kind of refrain, which is a typical element in similar stories and documents. Furthermore, Lepper argues that the papyrus has a lot of free space after the apparent ending, enough for another short story.