MAGICAL HERMES: REMARKS ON THE RECIPE OF THE 'LITTLE BEGGAR' (PGM IV, 2373-2440)1

EMILIO SUREZ DE LA TORRE Pompeu Fabra University, Barcelona

ABSTRACT The author focuses on the following items: (a) the order of the successive moments of the magical operation; (b) the correlation between the mythical historiola evoked in the recipe and the recommended practice, paying special attention to several aspects of the role played by Hermes and Isis, and to the more than symbolic detail in the enumeration of the parts of the statue; (c) the details of the rite, with a new proposal regarding the victim of the sacrifice; and (d) remarks on some lexical aspects and on the performance of the rite, emphasizing some of its features.

KEY WORDS: MAGICAL PAPYRI, EGYPTIAN RELIGION, HERMES, ISIS, STATUES, BIRDS, MAGICAL LANGUAGE.

Hermes mgico: observaciones sobre el hechizo del mendiguillo (PGM IV, 23732440)
RESUMEN El autor se centra en los siguientes aspectos: (a) la secuencia de las partes de la ceremonia mgica; (b) la interrelacin entre la historiola mtica evocada en la receta y la prctica recomendada, con especial atencin a los diferentes aspectos del papel desempeado por Hermes e Isis y al detalle en la enumeracin de las partes de la estatua; (c) detalles del rito, con una nueva propuesta sobre la clase de vctima sacrificial ofrecida; y (d) observaciones sobre aspectos lxicos y sobre la puesta en escena del rito, poniendo de relieve algunos de sus rasgos. PALABRAS CLAVE: PAPIROS MGICOS, RELIGIN EGIPCIA, HERMES, ISIS, ESTATUAS, AVES, LENGUA MGICA.

0. Proem Among the many motives of gratitude that the Spanish Classical Philologists have towards Jos Luis Calvo Martnez, the impulse he has given to the study and knowledge of Ancient Greek Magic is but one of the most evident. This is the reason why, for this well deserved homage, I have chosen a group of remarks on a very particular recipe, included in the impressive Papyrus du Louvre, which intended to procure success and welfare to the practitioner. I hope and wish Jos Luis may also

This study has been made under the frame of the research Project FFI2008-05239, financed by the Spanish MICINN.

enjoy at least the same benefits that are promised in the spell for the rest of his life, although not necessarily including an abundant in the total amount. 1. Introduction That each of the recipes reunited in the current editions is a world is an assessment that will not find strong opposition among those who deal with magical papyri. Despite the numerous shared features, there is much work to be done in the analysis of the elements that make an unicum of each spell. This time I have selected a magic charm that combines both common traits and original elements, gathered in a very particular way. It is but one among many other recipes in which the god Hermes/Thoth has a central role2. In this case there are three aspects that gain a particular relief: (a) the fusion of Egyptian and Greek religious elements; (b) its contribution to the much debated question of magic vs. religion; and (c) the different clues it gives concerning the society in which these recipes circulate and the profile of their potential users. 2. Typology of the recipe3 As usual, this recipe shares some features with many other magic charms of the PGM, while showing interesting particularities at the same time. Thus, although it shows the usual combination of word and action (logos and praxis), as well as the indications concerning the circumstances and moment to operate with it, it belongs to the group characterized by the use of a statue to obtain magical effects. This practice has been analyzed in the last few years by Sarah Jonhston4, who has revised the traditions concerning the animation of statues, and Adria Haluzska5, who has focused on the use of statues in the operations included in PGM (17 examples), by means of a semiotic approach. Both studies are important contributions to the subject and I mainly agree with their conclusions. However, Haluzska has intentionally excluded the recipe of the little beggar from her study (but not from the table of spells), because her work focuses on divine statues. As will be deduced from my analysis, I think that this exclusion is only partially justified. Moreover, a particular aspect of this spell is that, instead of recommending the engraving of a petition or a symbolic image, or even the
2

I have gathered the general data and analyzed some of it in detail in several forthcoming publications (E. SUREZ, 2011 and forthcoming 1, 2, 3). 3 Text and translation are given in the Appendix. 4 S. I. JOHNSTON, 2008. 5 A. HALUZSKA, 2008.

insertion into the statue of a papyrus sheet or a lead plate with a magical formula or a petition, the recipe gives detailed instructions to put a strip of papyrus on each part of the body of the statue and on two of its implements (16 strips in total). The text to be written on these strips is composed by voces magicae, adapted in size to the assigned part, and shows interesting differences in the spellings. Summing up, despite its common features, these traits of the spell deserve special attention and I shall return to this point later. As for the content, it does not belong to a very common type of petition, though examples do not lack. To begin with, it has been set in the papyrus immediately after a shorter spell with the same application (IV 2359-72), that is, to get success and prosperity for a workshop or a house. Both are labeled as (), i.e. (fully) effective. They seem in fact two alternative examples representative of a possibly extended practice of looking for success in business thanks to the support of the god of commerce, Hermes. Leaving the extension aside, the most important difference is that in the first case the statue actually represents Hermes and, instead of the addition of papyrus strips stuck on the limbs, the magical spell must be inserted into the statue. Another interesting example of a recipe destined to cause prosperity to a workshop is in PGM VIII 1-63, in the so called Binding love spell of Astrapsoukos, which has nothing to do with amatory or sexual questions, but is clearly a very complex recipe written by a shopkeeper in order to ensure his welfare. The invoked god is again Hermes, and the exact practical benefit expected is clearly presented in the last lines: | , , , 6, | , , , , |. Two more examples can be found in PGM XII 96-106, in the series of three spells labeled as Himerius recipes. One of them (the second one, lines 100-103) bears the title To do well at the workshop ( ), whereas the other (the third one, lines 103-106), described as an , is in fact a similar petition, asking for for the petitioner and his oikia. The common trait of these two spells is the mention of an egg as part of the

This term may have contributed to the wrong title of the recipe. It may have been introduced mechanically, as part of usual series of benefits enumerated by the authors of the spells. However, it must be observed that the link between a workshop and sexual activity is not as strange as it could seem: the undoubtedly erotic spell of PGM LXXVIII is recommended because of its usefulness for any place, either home or workshop ( , ). For a commentary of this papyrus see F. MALTOMINI, 1980.

operation, element that has been related to the primordial egg of Egyptian mythology7. Beside these parallels, we must take into account another recipe with instructions to fashion a three-headed anthropomorphic statue included in the same Louvre Papyrus (PGM IV, 3125-3174). The main features shared with our recipe are that the magical effect is the welfare of the house of the practitioner and that there are some coincidences in the basic substances used in the practice8. 3. Structure and (re)structure of the contents As it is usual in the magical recipes, the order of the indications is not exactly the natural order of the recommended operations. For instance, the logoi are often added at the end of the recipe, but this is not the only alteration of the natural sequence of actions. I will present first the parts of the recipe as they appear in the text, and then arrange them according to the real order of operations. This is more than merely playing with the pieces of a puzzle: to have a clear idea of the real sequence of actions will allow us to approach the magical experience from the point of view of the practitioner. Conversely, it may also help us to appreciate more accurately how a magician works when writing/copying a spell. Structure
Description and advertising: insistence in the strong effects. Guarantee: Hermes made it for Isis. Name: little beggar. First instructions to model a beeswax statue of a begging man. Other details: implements and position of the statue. Where and how to set it: additional implements. Circumstances and occasion to fashion the statue and to recite the logoi. Indications and materials to write on the strips of papyrus. How to proceed before the recitation of the logoi: sacrifice to be accomplished. Detailed description of the magical words written on each of the strips, with specification of the parts of the statue. Main spell for the rite.

If we assign a number to each paragraph to adapt it, step by step, to the magical operations, then the linear sequence of the rite gives this result:

7 8

See the remarks and references in K. PREISENDANZ- A. HENRICHS, 19732 and BETZ, 19922, ad loc. See infra.

A. Fashioning of the statue according to very precise indications of material and form; it must be consecrated in a joyful mood; preparation of the strips of papyri:
1. , | , || | |. , | || , . | ||. | [] | .

2.

3.

B. The statue must be set on a special pedestal or base and the practitioner will add some new elements to prepare the rite.
4. | [], | |

C. Once the formal requirements for the statue have been completed, the practitioner will carry it to the upper part of the workshop or house and make a sacrifice consisting in burning the victim (holocaust) and concluding with the consumption of the (roosted) entrails.
5. || , | | | .

D. After the consecration, the practitioner must read (or recite) aloud the voces magicae inscribed on the papyrus strips stuck to the statue. The recitation must also be done according to precise indications.
6. | , , |

E. It is now time to pass to the petition of success, prosperity and wealth, according to the final logos.
7. || , | . | , |, , , [][], .

4. A commentary of the most relevant aspects Despite the fact that this recipe deserves a deeper treatment, I will focus now on a couple of selected aspects that I consider the most important. (a) Hermes (Thoth) and Isis: the role of the historiola To enhance the efficacy of the spell, the author adduces the success obtained by Hermes with this spell when Isis was wandering (i. e. in search of the body of Osiris). There is more than mere coincidence in the fact that the historiola of Isis wanderings

presides over a recipe where the magical words must be attached to the limbs and other parts of a statue. Hermes and Isis are the divine figures permeating the whole text. As for Hermes, he is in Roman times the natural god of trade and using a more modern term- economy in general; thus, despite the fact that these are not genuine Egyptian functions of Thoth, the fusion accomplished in this period justifies the role of the god in the spells concerning welfare and economic prosperity. Moreover, although the statue is described as representing a human being, I suggest that Hermes is also hidden under the image of the little beggar. It suffices to remember some Hipponactean fragments9, in which the god is invoked as a helper of poor people and a giver of wealth, to see the antiquity of this function of Hermes and the plausibility of my suggestion. Furthermore, despite being conventional implements to depict a beggar, the bag and the staff also relate to travelers, that is, to another activity belonging to the sphere of Hermes. Thus, Hermes appears here as the deity who warrants the efficacy of the recipe, and as the divine model to which the petitioner assimilates himself. What underlies the magical operation is in fact the identification of mortal and god usual of many spells: I am you and you are me. However, as I have said above, the historiola of Isis wanderings conditions the whole spell. First, the role of Hermes-Thoth in the myth of Isis-Osiris is well rooted in Egyptian and Greek sources10. In this case, in a kind of ring-composition, the author mentions at the beginning how the god himself was the first to fashion a statue to help Isis. Then, in the last lines of the spell, the logos includes a mysterious and perhaps ritualistic expression and problematic from the textual point of view11: I receive you in the abode of12 the cowherd who has his cow-shed toward the south, I receive you for the widow and the orphan. Reitzenstein13 had some doubts about a possible identification of the statue with the and hesitated to give him a name. Conversely, he did not hesitate to describe him as the representative of the and to

Specially frs. 42-44 Degani. Specially Plutarch and Diodorus of Sicily (see infra, with notes 26 and 27); as for the Egyptian Toth, see, for instance, the testimonies reunited by P. BOYLAN, 1922. 11 I accept to read and as a reference to Isis and Horus. Although the spelling of the first word is , it can be due to scribes confusion or to a false interpretation or misunderstanding. The reading (i. e. ) was accepted by R. REITZENSTEIN, 1904, 31, but in my opinion the parallel of PGM III 541- 542, with the sequence , discards other alternatives. 12 In H.D. BETZ. 19922, R. F. HOCK translates as. This is more an interpretation than a translation. 13 Loc. cit in n.11.
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link this description with the Christian theme of the Good Shepherd14. From my point of view, and without discarding that this and other similar texts may underlie the composition of some Hermetic works, this connection is unnecessary in order to understand this passage. The solution must be searched inside Egyptian mythology but adding the mixture of Greek elements common in the period of composition of the recipe. First, on the one hand, a well-rooted belief in Egyptian traditions is that herdsmen were endowed with magical knowledge15, though this is perhaps the less relevant argument. On the other hand, it is important to remember that a herdsman (in this case, of calves) is mentioned in some texts of the pyramids16. The identity of the herdsman in these Egyptian texts is not very clear. For Allen it might be Horus17, but it sometimes seems to allude to the defunct after the immortalization ritual18. Another possible candidate might be Anubis, at least according to the appellative with which is invoked in PDM (the good oxherd)19. Thus, there are some Egyptian elements which contribute to the fact that the allusions to a herdsman/oxherd may not be out of place. Second, from a Greek point of view, the relation of Hermes with cattle and herdsmen is abundantly attested in myth and literature20. Third, there is the possibility that the prayer of the logos of the recipe be directed to Hermes. However, the identity of the invoked god is far from being clear. The alternative deity could be the Agathos Daimon, though it is important to take into account that it is a syncretistic god, absorbing Chnum-Aion, and even Harpocrates21 (see here the alternative name Harpocnouphi). In favor of this identification is the fact that in the version that the scribe assigns to Epaphroditos the name of the Agathos Daimon must be written on the snake, the animal through which this divinity is identified22. Nevertheless, it must be observed that if we connect the episode cited at the beginning (Hermes as first user of the recipe), it is then possible that the prayer reproduces the very words uttered by the god in illo tempore. The evoked
14

We must take into account that he was trying to explain the cultural and literary context of the Poimandres and the Shepherd of Hermas. 15 See G. PINCH, 1995, pp. 59-60 and 131. 16 P10, your herdsman in the care of the calves, will guard you, J. P. ALLEN, 2005, pp. 102; 495, When Qebehut has put him on her temple, she will drop him among those who are at the fore of the lake as herdsmen of calves, J. P. ALLEN, 2005, p. 173; having put them within your arms as herdsman of your calves, J. P. ALLEN, 2005, p. 184; N 359: Look (Sun), he has come () Though you do not know him, you will lie within his arms to the limits of your outflow, for he is both your calf and your herdsman, J. P. ALLEN, 2005, p. 268. 17 Thus, J. P. ALLEN, 2005, p. 201, in a note to P10 (Horus, as the king of the living). 18 K. PREISENDANZ (ad loc.) wondered if the herdsman could be Seth, which I find doubtful. 19 PDM XIV 17, 35, 400 20 Since the Homeric Hymn to Hermes onwards. 21 R. MERKELBACH, 1992, pp. 4-5. In PGM I, 1-42, 22 See C. SFAMENI 2009a, pp. 147-148, and J. ALVAR 2001, p. 61.

scene would be one in which the god Hermes pronounces this formula when receiving or hosting the invoked deity and /or the magical image in the epaulis of a mythical oxherd23 to help Isis. At this point of the discussion it is necessary to clarify what might seem an absurdity: is it reasonable that in illo tempore Hermes had directed a prayer to a statue representing a kind of double of himself? The text of the papyrus does not let many possibilities of doubt: | . Then, we should accept that Hermes used this type of double to reinforce the effectiveness: it was perhaps a manner of self-fusion with the dismembered god in order to allow the finding and reconstruction of the body. The alternative solution is to think that the adaptation of the historiola to more practical aims has involved some modifications of the original elements. In the evoked myth, Hermes had made use of a statue perhaps representing Osiris- to accomplish the revivification of the god. In the current recipe, there would be an innovation: the beggar adopts some symbols of hermaic24 mythology to enhance the efficacy of the spells and to reach the aim of the petition. I confess that, having reached this point, I prefer to suspend my judgment to avoid a useless speculation. However, I incline towards the first possibility. An interesting coincidence contributes to reinforce the theory that the operations here described reproduce those done by Hermes when he helped Isis. The parts of the body of the little beggar enumerated in the recipe are 14 25. This is exactly the number of parts in which the corpse of Osiris was dismembered by Seth, at least according to the version of Plutarch26. This cipher must have varied according to the different versions of the myth, as we can deduce from the alternative number of 26 given by Diodorus of Sicily27 or the 42 of the ritual described in the Papyrus Jumilhac28. The witness of Plutarch is by itself, however, a reasonable hint of the possibility of having here a constituent of that episode29. On the other side, the text of Diodorus is a very
23 24

We cannot exclude the possibility that Hermes be the herdsman. I want to differentiate between the profile of Hermes within ancient Greek myths and the hermetic trends of the Imperial period. 25 The other two are complements of the statue: the bag and the staff. 26 De Is. 358A. 27 D. S. I. 21. 2. 28 Where they represent the 42 Egyptian districts; see J. ASSMANN, 2001, pp. 472-73 29 A possible objection: the phallus was not found, and here the morion is mentioned. But the myth mentions a dismemberment in 14 parts. On the other side, the fashioning of the statue is not necessarily reproducing ad pedem litterae the mythical episode. And we must not lost side of the fact that the dismemberment of Osiris is a parallel of the mummification of the dead and that to bring Osiris to life is

interesting witness of a myth perhaps better, a version of the myth- according to which Isis modeled a human figure around each part of Osiris body in order to distribute them among the different religious centers of Egypt and persuaded the priests of each region to venerate each statue as the true corpse of Osiris. The statues were fabricated with aromatic herbs and wax: , , . Thus, I suggest that the reconstruction of the myth points to a magical intervention of Hermes to recover the limbs of the dismembered Osiris by means of a statue. It is a clear procedure of sympathetic magic. The god of writing and magic stuck on each body part of this statue a strip of papyrus with voces magicae whose recitation gave as result the revivification of Osiris body. However, the subsequent utility of the magical operation has lost the link with the original function, enlarged its effects and also -if this alternative is preferred- adapted the statue to new circumstances: consequently, it can be used to get all kind of success and prosperity. As for the goddess Isis30, the recipe mentions her explicitly in the description of the elements of the statue, and some aspects of her ritual underlie also the description of its setting31. The beggar must have a snake coiled around the staff and stand on a sphere (polos) that has also a coiled snake: this iconography is compared explicitly with that of Isis32. Then, the statue will be erected in a trunk of juniper and the petitioner must sustain an asp taken by digging and a basket covered with a lid 33. These details point again to an Isiac ritual and, more exactly, to her mystery cult as, described, for instance, by Apuleius34. Indeed, it is not necessary to think of a concrete ritual, but of an aggregation of elements which evoke Isiac religion. Even the name of the serpent

the mythical model of resurrection or, more exactly, revivification of mortals for the afterlife. See R. MERKELBACH, 1995, p. 6. 30 Basic, Y. BONNEFOY, 1991. 31 See F. DUNAND, 1973, PP. 66-108, for the Hellenisation of Isis (in pp. 91-93 she analyzes the fusion of Isis and the Egyptian goddess Renenutet as Isis-Thermouthis, with agrarian functions, assimilated to Demeter). 32 , | || , . 33 , | || , . It is reasonable to assume that the snake must be put into the basket, as Preisendanz notes. 34 Met. 11, 11.].

(thermouthis) coincides with one of the cult names of the goddess (thermouthis or Hermouthis)35. Nevertheless, the recipe shows a strong condensation of religious elements, combined in order to enhance the power of the spell. Thus, to Hermes and Isis a third divinity is added: the Agathos Daimon. Although it is not an exact replica of the deities mentioned in this recipe, a complementary witness (among others) of the normality of this type of divine association can be found in a magic gem with Isis-Thermouthis and Sarapis-Agathodaimon represented as serpents with human heads36 or on the wellknown Delian relief with the snake representing Agathodaimon flanked by Isis and Serapis37. What remains clear is that the prescribed rite shows substantially a fusion of Hermetic and Isiac elements, creating a particular atmosphere. (b) Some additional remarks concerning the rite (praxis and logos). i. Time of the operation and attitude of the practitioner

The statue must be fashioned during the new moon. The expression seems a condensed form of or something similar; otherwise should be an accusativus durationis. This is a recurrent indication in magical rites38, and can also be related to the lunar character of Hermes/Thoth39. An interesting recommendation of the recipe is that the procedure must be made in a joyful state of mind, or, as Hock translates it40, consecrate it in a celebrating mood41: 42 . These two words deserve some attention. The verb has two main meanings in PGM. On the one hand, it is a general term referred to all kind of magical acts in the sense of to accomplish it. But, on the other hand, it has a more restrictive sense, which reveals that some of these magical acts are charged with a strong religious and symbolic value. In these cases the meaning is to consecrate and
35 36

See above, n. 29. C. SFAMENI, 2009, 148 and fig. 12; G. DESCHNES, 1980. 37 J. ALVAR, 2001, p. 61 with commentary. 38 F. GRAF, 1996, p. 98. 39 P. BOYLAN, 1922, 62-75. 40 In H. D. BETZ, 19922. 41 It would be not farfetched to translate it as enjoy your consecration. 42 F. L. SCHUDDEBOOM, 2009.

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even to endow an object with a magical power (for instance, an amulet). Nor it is excluded the possibility of being referred to the initiation of the practitioner43. Thus, the specific use of this verb in PGM parallels the evolution of the substantive in the post-Alexandrian period, when it becomes almost always a ceremony of a special nature, sometimes with a symbolical meaning, sometimes secret44. At the same time, the participle fulfills a decisive function in the creation of a mystical atmosphere. It is perhaps not a simple coincidence that this middle voice, (enjoy oneself, be happy) well attested in classical Greek literature, increases its rate of use in Christian45 and Jewish (translated) texts of the Imperial period46. The authors/translators of these recipes were well aware of the current Greek terminology. ii. Substances required

A relevant feature of the magical prescriptions is the great precision in the description of the materials to be used. The name of every substance or tool is accompanied by an adjective indicating its provenance or the subclass to which it belongs. I will refer now to some of these substances and their qualities. , . Te use of wax as materia prima to fashion statues is well attested in the papyri47. A particular geographical origin of the wax is sometimes required: for instance, the above mentioned statue with three heads must be made with Thyrrenian wax48. In other cases the qualities or the aspect of the wax is indicated: it should not blow smoke (49), or should be red (50) or orange-tawny (51). In the text analyzed here the wax used to fashion the statue should have not been heated (). Nevertheless, the novelty lies in the fact that it is properly bee

43

All these meanings have been correctly classified in the LMPG. As for the initiation, see MOYER, 2003. 44 F. L. SCHUDDEBOOM, 2009, p. 99; the author adds the remark that in quite a few cases, the magical meaning of the word is evident, especially in the magical papyri. Of course, but this would be only a natural adaptation to the context. 45 R. BULTMANN, TDNT 2 (1976), pp.772-775., s. v. . 46 The recommendation of performing the rite with good cheer (Dillon) while making a sacrifice or an offering reappears at PGM III 24, where the translator quotes in footnote the Plutarchean work De tranquilitate animi, 20, p. 477E. In this passage the commented verb is not used, but it is indeed representative of what could be considered the normal attitude in a religious ceremony. See also that Plutarch makes use in this passage of abundant mystic terminology. 47 See RAVEN, 1983. 48 PGM IV 3131; XII, 17. 49 SM 97,13. 50 PGM XIII, 309. 51 PGM IV, 2359.

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glue, a product with medical applications in Antiquity52 and even nowadays. This is the only occurrence of propolis in PGM. Its protective properties were known by the medical literature of that period and this fact can have contributed to this recommendation: for instance, Galen53 qualifies it as 54 and mentions it combined with wax or resin to make creams or plasters; Dioscorides55 or Oribasius56 know similar utilities of the bee-glue. The combination of these two substances shows a particular interest not only in the purity of the materials, but also in their prophylactic qualities. The statue must stood up erected on a block or trunk of juniper. Translators assign indistinctly the next adjective, , either to the trunk or to the asp (thermouthis): und (darunter) einen Thermuthisschlange, con una thermouthis de la tierra (Calvo-Snchez), a single block of hollowed-up juniper (Hock). The problem is that alludes properly to something that has been excavated, dug. Of the three translations the best one is, in my opinion, that of Calvo-Snchez, because it is supported by a parallel found in other sources: this is the , described in the LSJM dictionary as a fish taken by digging in sand, such as sand-eels57. Thus, the asp must have been taken from the ground. . The adjective hieratic qualifies a kind of papyrus to be used in several of the magical operations58, and also the incense employed for an 59 in a couple of cases. In fact, hieratic means properly used by the priests and emphasizes the religious original environment of the Egyptian magical practice. This requirement contributes to the special solemnity of the whole rite and fits with the rest of the prescriptions. The ink is composed by (), , and . They are substances usually recommended in the recipes, either for the fabrication of ink or for other ritual aims. What is not so usual is the combination of the three products60.
52 53

Varro RR3.16.24, Dsc.2.84, PMag.Par.1.2379, At.15.14,15. 075 12.108, 077 13.372, 548, 13.583, 591, 592, 596, 625, 629 etc. Up to 20 occurrences. 54 077 13, 592. 55 001 2.84.1,; 002 1.51.3; 68. 4; 122.3 etc. 56 Citas 57 Arist.Mir.835b16, Thphr. Fr.171.7, cf. Ath.8.331c, Archestr.Fr.22. 58 PGM I 233, II 61, III 178, IV 2068, 2015, 2512, 3142, V 304, 382, VII 412, 581, 969, XIc 1, XIII 253, XIXb 5. In other examples either there is no specification or it must be simply pure, . 59 As a kind of /: PGM IV 1314, VII 538. 60 The occurrences I will cite can be verified in MUOZ DELGADO, 2001, s.vv.

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Cinnabar61 alone is used as red ink62 Here it is mixed with the , juice of wormwood, usual to make ink or to burn, whereas the plant has some other magical utilities.63 The is mentioned by Pliny64 and Dioscorides65, but the omission in Theophrast, as LiDonnici observes66, excludes this author as the common source. LiDonnici has also suggested that could be a synonym of , which has many similar functions and is treated in detail by Theophrast. Conversely, the absence of any mention of in PGM could support the suspect of interchangeability of both terms67. Whatever it may be, what I want to underline now is the occurrence of this substance in combination not only with the more basic cinnabar, but also with the more symbolic and lavish myrrh68. Most of the occurrences of myrrh in PGM are to make ink (even as the only substance), though it is also employed as or simply to fumigate, together with frankincense69. The result is thus a very powerful and effective mixture, aimed once again to enhance the efficacy of the magical words written on the strips of papyrus. iii. Consecration: the sacrifice

Sacrifice is a normal compound of many magical rites. In general, the sacrifices prescribed in the magical papyri follow the usual pattern of the official religion. As Sarah I. Johnston has observed, the sacrifice included in these magical operations usually neither distorts nor reverses the normal practices, or at least they do not tend to reverse them, unless they want to enhance the effect of the operation. In Johnstons words: the practitioners of the PGM did not intentionally reverse normal ritual patterns or practices simply by the sake of reversal itself70. However, the reversal takes place in very specific circumstances, most of them in public ceremonies, and this is not the case
61

gr. , Arist.Mete.378a26, Thphr.Lap.58, Dsc.5.94; Plin. HN33.116; the form is also attested: Anaxandr.14. 62 PGM III 18, IV 2393, 2695, VII 224, 803, VIII 71, 823. 63 There are 20 occurrences of the in PGM. See L.R. LIDONNICI, 2001, who classifies the applications as eight times as component of ink, six times () in the furnishing of the ritual or offering table, three times it is burned or sacrificed, and once it is made into a paste to be rubbed onto pure lips. It also appears twice in the problematic priestly interpretations list (p. 84 , with references). LiDonnici says that the occurrences are 21, but it may be a mistake. 64 NH XXV, xxxvi 73-74 and passim. 65 III 113. 66 ibidem. 67 L. R. LIDONNICI, 2001, P. 88, comments the use of apsinthia in Isiac rites. 68 See the conclusions of LI DONNICI, 2001, and his analysis of the use of myrrh in PGM. 69 There are 33 occurrences of the word in PGM as the substance and three more personified. See. L. MUOZ DELGADO, 2001, s.v. 70 S. I. JOHNSTON, 2002, p. 347.

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with magical operations. In the recipe I am analyzing, the sacrifice is a holocaust or full burning of the victim, followed by the eating of the entrails, which should be previously roosted. At first sight, no anomaly is observed. Indeed, the variety of holocaust is not the most frequent in the sacrificial ritual, neither in Greece nor in Egypt, but it is by no means an exceptional procedure and it is far from being disruptive71. Just the same can be said of the prescription to eat a part of the victim, in this case the 72. The difficulty lies in the problem created by the text as we read it on the papyrus73. The expression is attested not only in this recipe, but also in the above cited spell of PGM IV 3125-3172. In this case the requirement of the victim reappears, but there is no mention of eating it or a part of it. As far as I know, the solutions adopted to determine which kind of victim must be sacrificed go from the conservation of the original reading, as was proposed by Sicherl74, to the change of to (Jacoby75, supposing a haplography in the sequence ) or even to a more imaginative solution, suggested formerly by Preisendanz76, consisting in the interpretation of the initial alpha of as a numeral, i.e. a abbreviation of -, followed by a misreading that should be changed into ; the result of this imaginative proposal is the ghost word . More reasonably, Eitrem77 suggested the addition of , ram, after ; the ram was also the proposal of Kroll78, but as a substitute of the transmitted . I believe that there is no need to alter the text, as Sicherl suggested. The reality is that there is a probably usual terminology to describe a white fronted wild animal. However, this solution should give a satisfactory answer to the fact that, in that case, must be interpreted as a substantive, not as an adjective. In fact, the attested uses of as adjective are applied either to horses79 or to bulls80.

71 72

PGM XII 36; XII, 214. PGM XIII 35; SM 75, 11 73 I must express my gratitude to my wife, Macarena Lpez de San Romn, for her help in this part of the article. 74 SICHERL, 1937, p. 59. 75 A. JACOBY, in the edition of PGM. See the apparatus criticus of PREISENDANZ ad loc. 76 See the details in the volume of Indexes, s.v. 77 S. EITREM, in the edition of PGM. See the apparatus criticus of PREISENDANZ ad loc. No quotation is given. 78 W. KROLL, See the apparatus criticus of PREISENDANZ ad loc. 79 Hippiatr. 104 80 HSCH., s. v. and () .

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The sacrifice of a horse would be an exception in PGM (and quite unusual even in other contexts)81. Thus, it would seem reasonable to guess that the victim is a bull or another species of bovid. But then, this would be a very problematic sacrifice to be performed in the upper part of a private house. Moreover, to prescribe to eat the entrails of a bovid seems slightly exaggerate when dealing with an individual and not a group (not to speak of other difficulties, as would be to catch a wild bull alive). Thus, it is decisive to find an animal designed as (subst.), susceptible of being classified indistinctly as wild or tame and fitting the requirements of this type of magical operation. The solution comes first from the hand of some papyri of the Ptolemaic period including private letters in which a good variety of birds, some of them wild, other domestic, are mentioned. A simple browsing in the useful database of Papyri.info gives us five texts of this kind82. In four of the five occurrences the is a substantive designing a species of bird included in lists in which they appear side by side with the more general 83 or the specific . In one of the examples, the (secondary) insertion of the word after seems to add a substantive that would transform our substantive in an adjective, unless we interpret it not as an addition but as a clarification of the precedent word, in which case we should think that the scribe identifies the with cranes. We can now go a step further in the identification of the bird with the help of the Hermetic text known as Cyrannides84. His author identifies (3.48) the with the (or ), a well attested name in classical sources 85. The result is that the mysterious is no other than the wild coot (fulica atra, span. focha, fr. poule deau, germ. Wasserhuhn)86. However, I am well aware that the instruction to use a bird for a sacrifice may be astonishing. But the surprise can be reduced if we take into account, first, that the
81

Almost limited to the cult of Poseidon Hippios; see BURKERT, 1985, p. 138 with notes.

\/ , () (BGU 16. 2634, 21 BCE - 5 CE); , [] (Chr.Wilck 411, 225 BCE); , , [ -] [], , , [ ] v [] (P. Cair. Zen. 5. 59820, 253 BCE); [] [] []. (P. Lond7.1997, 250 BCE); [] , [ ] (P. Petr. 3.5, 300 BCE - 201 BCE).
82
83 84

See that this adjective is fully compatible with birds. Ed. KAIMAKIS, 1976. 85 Ar. Ach.875, Av.565 Arist. HA 593b16 (v.l. ), Fr.350, Alex.Mynd. ap. Ath.9.395e; ; Cleomenes ap.eund. 9.393c. See THOMPSON, 1895, 176.
86

G. ARNOTT, 2007, p. 197; GOODMAN & MEININGER, 1989, p. 224. 15

sacrifice of birds is not anomalous in ancient religions87, which supports the above mentioned conception of the magical sacrifice as not disruptive; second, that the best attested religious context in which birds are offered or sacrificed is the cult of Isis 88, which coincides with the rest of the Isiac compounds detected in this recipe89; and last, but not least, that birds are usual as sacrificial victims in magical practice, as Graf has pointed out90. As for the indication of a bird, we can add PGM XII 214 to the two passages commented here. This text reinforces my identification of the animal with a bird, since the instructions for sacrifice prescribe: sacrifice an unblemished goose, and three roosters and three pigeons. Make this whole burnt offerings and burn, with the birds, all sorts of incense91.

iv.

The logoi and their recitation

The reading of the partial logoi written on each part is the core of this ritual. The indication given is (or so seems) that it must be separated in three sections (perhaps intervals: do not forget that it is a kind of epode) and each of them must be repeated four times92. As the parts of the statue are 16, it gives a total of 64 recitations, divided, for example, in sections of 5x4 + 5x4 + 6x4. We have thus a quite logical distribution: a first group formed by the bag and the upper part of the body (head, neck and shoulders); then the middle part (belly, sacred bone, thighs and sex); and finally the lower part (shins, soles, buttocks), ending with the serpent. They constitute a series of much elaborated voces magicae, according to a rich procedure of combination of vowels and consonants, characterized by a particular tendency to the prevalence of a sound or series of sounds in each group. If I have defined this recitation as the core of the ritual, it is because it constitutes the reenactment of the action performed by Hermes in illo
87 88

As for Greek religion, see BURKERT, 1985, p. 55 with notes. The most cited text is perhaps Paus. 10, 34, 14 ss., in a description of the rites in honor of Isis practiced at the sanctuary of Tithorea. See also Ov., Fasti, 1.450-454 (doves for Venus, geese for Io); cf. BURKERT, 1985, 89 Moreover, that the victim must not be a domestic bird coincides with an observation of several ancient authors, concerning the Eleusinian mysteries, who say that this type of birds (the domestic) is prohibited in the rites. Cf. Ael. Hist.. An. IX 61, described as . 90 GRAF, 1996, pp. 74 and 206, with references. 91 , transl. by M. SMITH in BETZ, 19922, p. 161. 92 The texts reads | , , | HOCKS translation is and read aloud the spell over his members, after you have divided him into three sections repeating the spell four times for each member. But him (I surmise that this is the translation of ) cannot be the statue. It must be the logos.

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tempore, despite the more than probable fact that it has been trivialized in some way in its significance or at least reduced to an egoistic ceremony. We should assume that after this litany the final logos, with the petition of personal welfare and success, should be uttered.

5. Final remarks The analysis of PGM IV 2373-2440 shows that this recipe is perfectly representative of the complex amalgamation of ideas, concerns, and believes, as much as of the people interested in those practices as of the authors of the recipes. This recipe is a mixture of usual features of magical operations, but it also has important particular characteristics. The main points to be emphasized are: (a) Regarding the ideological and religious background, the recipe makes

clear that magic works inside a religious system or a network of subsystems- and is inseparably coupled with different religious beliefs and practices93. Moreover, the fusion of Egyptian and Greek elements, together with a special adaptation of the religious background to the practical needs of the procedure, gives as a result a curious adaptation to the prescribed operations. This is the reason why we find a nuclear myth of Egyptian religion or, better to say a part of that myth- as a historiola framing the whole practice. In this case, the initial mention of Hermes (Thoth), as advertising the qualities of the recipe, transforms the practitioner in a second Hermes but the aim of the practice is not exactly a revivification of a dead body, but the obtaining of very mundane benefits. Thus, the typical miniaturization of the magical ritual becomes also a kind of reductionism of the religious scope. I am tempted to say that the magical rite seems to involve a kind of downgrading of the religious tradition. However, this would be perhaps a too subjective appraisal, because the practitioner has undoubtedly a very different approach to this matter. In fact this is a consequence of the divulgation of magic out of the priestly circles and has its correspondence in what has been labeled as domesticization of religious practice94.
93

For the sake of brevity, I renounce here to a detailed discussion of the controversial theme of the relationship between magic and religion; it suffices to say that I do not accept to treat them as separate entities. 94 FRANKFURTER, 1998, pp. 27 and 136-142. Indeed, Frankfurter is not talking about magical practice, but I mean that in Egypt the broadening of this activity out of the temples. On the other side, I wish to specify

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(b)

The mixture or amalgamation of disparate elements adds particular

features to the profile of a magical practice. Thus, on the one hand, the Egyptian myth of Osiris and Isis is decisive to understand the rite, and we have detected many Isiac elements in the recipe. But, on the other hand, Hermes is not a pure religious translation of Thoth. There are a lot of Greek Hermaic elements in a spell that is intended to procure richness and welfare, and even the statue has features of this Hermaic perspective. (c) This is a sophisticated operation. The practitioner becomes the protagonist of an imposing private ceremony, for which a joyful mood is required, almost as in a mystery rite. The substances, materials, and circumstances are carefully selected. To gather all these products is not easy and in addition they are expensive, which may be a sign of a good economic level. The consecration is in accordance with regular religious practice, but the sacrificial victim (which I have proposed that is a bird, the coot), though not abnormal, is not one of the most common. The recitation of the magical words, written on strips of papyri adhered to each part of the statue, is very carefully indicated, and the result should have been an impressive magical performance.

APPENDIX TEXT AND TRANSLATION PGM IV, 2373-2440 | || , [P ] | , | , . [P ] , | , || | | . , | || , . | [P ], | | . | || | , , | | [P ] | . || , | | | . | ||

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| | | | ||: | | || | | | || | | | , , | , | , , , |. | || , | [P ] [P ]. | , |, , , [][], .

TRANSLATION95 Charm for acquiring business and for calling in customers to a workshop or house or wherever you put it. / By having it, you will become rich, you will be successful. For Hermes made this for the wandering Isis. The charm is marvelous and is called the little beggar. Take beeswax that has not been heated, which is known as bee glue, and fashion / a man having his right hand in the position of begging and having in his left a bag and a staff. Let there be around the staff a coiled snake, and let him be dressed in a girdle and standing on a sphere that has / a coiled snake, like Isis. Stand it up and erect it in a single block of hollowed-out juniper, and have an asp covering the top as a capital. Fashion him during the new moon and consecrate / it in a celebrating mood, and read aloud the spell over his members, after you have divided him into three sections repeating the spell three times for each member. For each member write on strips of papyrus made from a priestly scroll, with ink of cinnabar, juice of wormwood, and myrrh. When you have set it / up high on the place you have chosen, sacrifice to it a wild coot and sacrifice it whole and roast the inward parts over the wood of willow and thus eat it. Now this is what is to be written on [each] strip of papyrus. The spell on the bag (VVMM). Upon the head (VVMM). On the neck (VVMM). On the right shoulder (VVMM). On / the left (VVMM). On the belly (VVMM). On the sacred bone (VVMM). On the right thigh (VVMM). On the left thigh (VVMM). On the private parts (VVMM). On the right shin (VVMM). On the left (VVMM). Under the sole of the right foot (VVMM). On the left (VVMM). On the back of the buttocks (VVMM). On the snake the name Agathos Daimon, which is, as
95

I present here the translation of R. F. HOCK in BETZ, 19922, pp. 81-82, but modified in several points. The altered parts are indicated with italics.

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Epaphroditus says, the following (VVMM), but as on the paper which I found the spell was changed thus: Harponknouphi (formula). This is the spell for the rite: I receive / you in the abode of the cowherd who has his camp toward the south, I receive you for the widow and the orphan. Therefore, give me favor, work for my business. Bring to me silver, gold, clothing, / much wealth for the good of it.

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