my mother in law fills me with such rage. aset, i beg you, take this anger away from me before i do something i regret
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@spiritotel
my mother in law fills me with such rage. aset, i beg you, take this anger away from me before i do something i regret
"I know everything about ancient Egyptian theology" okay bet
not my younger sister asking me to "throw a čari bari" for her matura exams... 🤣
whether they're Good Media™ or whatever aside, I think mainstream liveplay ttrpg shows have been a fucking disaster for the hobby. it's hard to imagine anything that could have fucked the expectations:results differential for people more than having celebrities do college improv with dice (and an entire media production team behind them) and telling a generation of new players that's what tabletop gaming is like
liveplay ttrpg shows are not 'professional gaming', that's the whole problem I'm talking about. they're entertainment products which make format, content and form choices that would be nonsensical or obstructive at an ordinary table. it's not just "oh if only 'hobbyist' gaming groups (🤮) could pay for all that kit and lighting and professional writers and voice actors".
liveplay production involves story meetings aimed at making the narrative maximally entertaining to a watching audience (not the players, who are also professionals who are there to entertain that audience!). It involves editing (trimming out downtime, uninteresting mistakes, technical issues, moments where the vibe is wrong or there's friction in the room). it involves a room full of production crew watching every move the GM and players make, sensitive to wastage of their time and effort if things don't go to plan. and not for nothing, it involves an entire team of people who need to keep game publishers happy by playing and displaying their products correctly and certainly never criticising them or openly adapting around their shortcomings for the sake of the group's enjoyment.
I've played at tables where we've been lucky enough to have fun props and miniatures and printed maps and sound systems and even a bit of lighting, and where everyone in the group was a seasoned player with writing and performance backgrounds, and the experience was still full of normal natural constructive frictions that are largely if not completely absent from entertainment liveplay shows. player disagreement is normal. stopping mid flow to argue about a rule and look it up and help each other with system technicalities is normal. the music just not working today is normal. the party choosing a direction the GM didn't prepare for and having to adjust their in-character choices a little and tolerate some hastily cobbled together fluff to meet them halfway is so normal it's a running joke. someone finding a scene a little too much and asking for a break or redirection is normal. someone saying something a little ill judged in the moment and having to walk it back with as much grace as possible is normal. storylines not going to plan and petering out without major dramatic resolution, or npcs being ignored and cast off with a shrug is normal. all this shit and more is normal because a normal table is structured around the organic decision-making of a bunch of players who are primarily in it for their own fun and sense of transport, not for an invisible imaginary fandom slash consumer market. which are all the things that make ttrpg play inherently a pretty bad vehicle for storytelling, incidentally!
someone else in the tags expressed their frustration at these shows 'professionalising' the hobby, and while I do recognise and sympathise with the feeling that these shows normalise a level of polish and commercial buy-in that's destructive to the diy culture of tabletop gaming, I still have to push back on the idea that these shows are representative of 'professionalised gaming'. they're not. they're sports anime.
- ”Myth and Symbol in Ancient Egypt”. R.T Rundle Clark
O' Lady of Truth,
Your breath is my breath
My heart beats with the joy of your beauty
Your wings surround me,
shielding me from the horrors of isfet.
O' Ma'at,
without you,
the solar Barque would not sale,
and the sun would never see the Two Lands.
Dua Ma'at!
Hello! Hope your day is well! If you're still accepting devotional poetry, may I have some about Sekhmet or Sutekh, as I'm just venturing into worshipping them :))
Lady of Flames,
You dance in the light of the sun,
Ka strengthened by your Father's light.
O' Sekhmet,
you destroy my foes with the heat of your breath,
and bring the rebel and enemy down to their knees.
Dua Sekhmet!
The worst part of those stepparent forums is that they refuse to admit that being a stepchild sucks. Not because you want your mommy and daddy to get back together soooo bad or because you’re jealous that you’re not daddy’s only baby in the world anymore. It sucks because you are a child with absolutely zero agency. It sucks because you have no say on who your parents choose to bring into your life and you can’t do anything about it if that person hates you, mistreats you, has beef with you, a literal child. It sucks because you can’t even choose where you lay your head at night, you are bound by court order to go stay in a house you know you are not welcome in. It sucks because adults often take their hatred of another adult out on you and there is nothing you can do about it. Being a child sucks in a lot of ways, beyond the childlike wonder and the lack of financial responsibilities. It really does suck to be dependent on the adults in your lives and have them fail you. Being icy to your dad’s girlfriend of the month is sometimes the only way you can exert your power and hopefully warn her to get away, even if you can’t.
Everytime I see that Ptahhotep 'party girl' translation it hurts my soul. That's a very difficult text, and that passage in particular is of debateable translation. The grammar and vocab are tricky, we're not entirely sure what it's saying, and there's some cultural context we're lacking too.
So seeing it reduced to 'party girl' makes me tinabelchernoise.mp3
I was reminded of the 'party girl' quote, so here's what the passage actually says (lacunae are filled by other copies of the text).
This sounds far more like "If you found a good woman don't fumble her." Than it does party girl. And I dunno how anyone came to the party girl conclusion.
Yes, that's pretty much the line and would read well in the rest of the context of the Maxims of Ptahhotep. It's a wisdom text, passed down from father to son (Ptahhotep being the father speaking) about how to live a good Egyptian life. Something from the original is always lost in translation, and that goes doubly so for ancient texts. We're missing a lot of context and social norms that would have made this an easy read for someone back then.
So here's the translation I hate:
The first line (from both my image and this one in transliteration reads as follows: ir iri=k Hm.t m Spn.t
'ir' (the first two signs, one reed leaf, one mouth sign) is a conditional clause marker, giving the sentence the meaning of 'if'.
'iri' (the eye) is the verb 'to do/to make/to possess'. This is followed by pronoun =k 'you' (the basket beneath the eye).
Hm.t (the well with water, the semi circle of bread, and the seated woman) is 'woman'.
m (the owl) is a preposition meaning 'in' but...there's grammar stuff here I'm not gonna explain. It's unnecessary for the context.
Spn.t (the oblong pool of water, the seat sign beneath, the water sign beneath that, the semi circle of bread, and a pustule) is a relative form of the verb Spn and means 'one who is voluptuous woman'.
I'm not kidding, this is the dictionary entry for it on the Thesaurus Linguae Aegyptia.
We know it means that a) because it's used in other contexts to describe voluptuous woman (fatness is a sign of health and wealth in Ancient Egypt) and b) the pustule determinative marks it out as word that has something to do with the body or bodily functions. It's a word that describes the body, not a personality.
Here's a different translation, but for the same passge of the same text:
So, with that said, a translation of 'party girl' is so far removed from the context and meaning of the original text that the translator has simply written what they liked as a meaning. There's really no justification for it. It is quite literally nothing at all like the original text and it infuriates me to see a wisdom text from a civilisation whose culture modern discussion on barely gets out of 'they're obsessed with death and cats, and oh did we mention aliens and curses' reduced to 'party girl'.
If you wanted a better, idiomised translation, I'd go with:
'Find a wife from a wealthy family, one who is liked by all those in the town. Never divorce her! Treat her well! Life will be good for both of you.'
It's simple, it fits the context of a father imparting wisdom to his son, and doesn't wildly extrapolate from the meanings of the words themselves.
Bringing this back to remind you all that while the literal translation says 'voluptuous woman' it doesn't really mean 'marry a fat woman' in the cultural context.
In Ancient Egypt, fatness was relatively positive and was considered a sign of health and wealth. It's that last part that's key to understanding what Ptahhotep was trying to impart to his son. Since this is a wisdom text, Ptahhotep wants his son to marry well, and this would generally mean 'marry rich'.
But that's considered rather gauche. You can't just come out and say 'son marry a girl who's daddy's got money'. So, the language here is couched. He's using a well known (for the Egyptians) idiom (a word or phrase that has a different meaning to the words by themselves) to say it instead.
Since fatness = this person has wealth and prosperity in Ancient Egypt, we know that Ptahhotep isn't saying 'marry a fat woman' he's instead implying, through the choice of idiom, that his son should 'marry a rich woman and treat her well' and therefore he'll have a happy life.
I know it's tempting to take things at their literal meaning, but, particularly with ancient texts, it's necessary to see if the choice of words or phrases holds any cultural significance before trying to derive meaning from them.
TL;DR: translation hard, especially when you have to sift through ancient cultural context too
Lintel of Amenemhat I and Deities
Metropolitan Museum of Art, Egyptian Art Collection
On view at The Met Fifth Avenue in Gallery 108
Period: Middle Kingdom
Dynasty: Dynasty 12
Reign: reign of Amenemhat I–Senwosret I
Date: ca. 1981–1952 B.C.
Geography: From Egypt, Memphite Region, Lisht North, Pyramid Temple of Amenemhat I, MMA excavations, 1907
Medium: Limestone, paint
Dimensions: H. 36.8 × W. 172.7 × D. 13.3 cm, 183.7 kg (14 1/2 × 68 × 5 1/4 in., 405 lb.)
Accession Number: 08.200.5
𝔞𝔠𝔞𝔡𝔢𝔪𝔦𝔠 𝔴𝔦𝔱𝔠𝔥𝔶 𝔱𝔢𝔵𝔱𝔰 𝔦 𝔲𝔰𝔢 (𝔦𝔫𝔰𝔱𝔢𝔞𝔡 𝔬𝔣 𝔪𝔞𝔰𝔰 𝔪𝔞𝔯𝔨𝔢𝔱 𝔱𝔯𝔞𝔡𝔢 𝔟𝔬𝔬𝔨𝔰)
[Alt Text for Screen Readers: "Academic Witchy Texts I Use (Instead of Mass Market Trade Books)"]
These are certainly not the only academic texts available for those looking to advance past mass-market trade books. This list is just a few of the books that I own and that I have found useful for my own practice. Some of these are specific to my own ancestral practice; some are more generally European.
Witchcraft in Europe , 400-1700: A Documentary History (Kors & Peters)
Witchcraft & Magic in the Nordic Middle Ages (Mitchell)
The Witchcraft Reader (Oldridge)
The Witch-Hunt in Early Modern Europe (Levack)
Witch Craze: Terror & Fantasy in Baroque Germany (Roper)
Wicked Arts: Witchcraft & Magic Trials in Southern Sweden, 1635-1754 (Per Sorlin)
The Witch: A History of Fear, from Ancient Times to the Present (Hutton)
The Penguin Book of Witches (Howe)
Witchcraft in Russie & Ukraine, 1000-1900: A Sourcebook (Kivelson & Worobec)
The Witchcraft Sourcebook (Levack)
European Magic & Witchcraft: A Reader (Rampton)
Witchcraft Confessions &Accusations (Douglas)
Witchcraft & Sorcery (Marwick)
Witchcraft in Early Modern Europe: Studies in Culture & Belief (Berry & Hester)
Witches & Neighbors: The Social & Cultural Context of European Witchcraft (Briggs)
The Voices of Women in Witchcraft Trials: Northern Europe (Willumsen)
Premodern Beliefs & Witch Trials in a Swedish Province, 1669-1672 (Malmstedt)
Cunning-Folk & Familiar Spirits: Shamanistic Visionary Traditions in Early Modern British Witchcraft and Magic (Wilby)
Cunning Folk: Life in the Era of Practical Magic (Stanmore)
Tidebast Och Vändelrot: Magical Representations in the Swedish Black Art Tradition (Johnson)
golden calf
By the time this night is over the stars are gonna shine on two lovers in love By the time this night is over two hearts are gonna fly to the heavens above We get closer, and closer, and closer by the time this night is over
~ Cosmetic Spoon.
Date: 1550-1353 B.C.
Period: beginning of 18th Dynasty; reign of Amenhotep III
Place of origin: Gourna, Thebes
Renenutet Kitchen prayer
Primeval One in the house of offerings Daughter of Ra, She who gives the name (Ren) She who creates the great throne of Ra At the beginning of all things that the horizon holds Lady of the harvests, She created food and barley She who increases the grain and makes it sprout Lady of the residence and Merciful to visitors Great One of Feasts The beautiful divine serpent who slays evil
Cursed AI image of Horus suckling from Isis cannot hurt me. Jeezy boy and Horus aren't the same. Cursed AI image of Horus suckling from Isis cannot hurt me. Jeezy boy and Horus aren't the same. Cursed AI image of Horus suckling from Isis cannot hurt me. Jeezy boy and Horus aren't the same. Cursed AI image of Horus suckling from Isis cannot hurt me. Jeezy boy and Horus aren't the same. Cursed AI image of Horus suckling from Isis cannot hurt me. Jeezy boy and Horus aren't the same. Cursed AI image of Horus suckling from Isis cannot hurt me. Jeezy boy and Horus aren't the same.
The hieroglyphs aren't real, Isis has six fingers, Horus is a full grown man in a pose I have *never* seen these two in and conveniently doesn't have a beak. He's got a man face but bird eyes. I hate it.
Dua Sutekh-Amun-Ra, Divine Light!
Burn all ifset in the heart of your people,
Burn all your enemies and Children of the Sna/ke,
As you cross in the Solar Barque.
As your arrows and blows strike true,
As your enemies fade,
Let you be rejuvenated and strengthened!
May none doubt your power and strength,
May all those who see your brightness
Sing your praise and worship you!