Sanehat's appearance was so much changed by his long hair, his age, and
his strange dress, that his former mistress and companions could not
recognise him. The use of collars and sceptres in the song and dance
is not clear to us. The sistra were, of course, to beat or rattle in
time with the song; the sceptres or wands were perhaps the same as the
engraved wands of ivory common in the XIIth Dynasty, or of blue glazed
ware in XVIIIth, and would be used to wave or beat time with; but the
use of the collar and counterpoise, or _menat,_ is unexplained, though
figures of dancers are shown holding a collar and _menat,_ and such
objects were found buried in the ceremonial foundation deposit of
Tahutmes III. at Koptos.
This song of the princesses is clearly in parallel phrases. First are
four wishes for the king and queen, in four lines. Second, an ascription
of wisdom and power, in two lines. Third, a comparison of the king to
Ra, and of the queen to the great goddess, in two lines. Fourth, an
ascription of righting power. Fifth, a petition for Sanehat, winding up
with the statement of fear inspired by the king, as explaining
Sanehat's abasement. To this the king responds by reassuring Sanehat,
and promising him position and wealth.
The account of Sanehat's renewal of his old national ways can best be
appreciated by any one who has lived a rough life for a time and then
comes back to civilisation.
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