Now such a belief implies the presence of magicians,
and shows how familiar must have been the claim to such powers, and
the practising of the tricks of witchcraft, so prevalent in Africa in
modern times. The efficacy of a model, such as this crocodile of wax,
is an idea continually met with in Egypt. The system of tomb furniture
and decoration, of _ka_ statues, of _ushabtis_ or figures to work for
the deceased, and the models placed in foundation deposits, all show
how a model was supposed to have the efficacy of an actual reality.
Even in the latest tale of all (written in Ptolemaic times), Setnau
makes a model of a boat and men, to be sunk in the river to work for
him. The reconversion of the crocodile to wax, on being taken up by
the magician, reminds us of the serpent becoming again a rod when
taken up by Aaron.
The punishment of burning alive is very rarely, if ever, mentioned in
Egyptian history, though it occurs in modern Egyptian tales: and it
looks as if it were brought in here rather as a dire horror for the
climax than as a probable incident. The place of the penalty, in front
of the harem, or the private portion of the palace, was evidently for
the intimi-' dation of other ladies.
At the close of each tale, King Khufu, to whom it is told, orders
funerary offerings by the usual formula, to be presented in honour of
the king under whom the wonder took place.
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