
Contents
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2.1 Description of text 2.1 Description of text
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2.2 Survey of previous research 2.2 Survey of previous research
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2.3 Textual unity 2.3 Textual unity
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2.3.1 Redactional interpretations 2.3.1 Redactional interpretations
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2.3.2 Redactional approach of Gerhard Fecht (1972;1974) 2.3.2 Redactional approach of Gerhard Fecht (1972;1974)
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Different sections of the text are datable to different historical periods Different sections of the text are datable to different historical periods
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Internally repeated doublets and quotations from other works suggest that the ‘mass of the text’ is a composite of originally unrelated material (Fecht 1972: 14–5) Internally repeated doublets and quotations from other works suggest that the ‘mass of the text’ is a composite of originally unrelated material (Fecht 1972: 14–5)
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Different sections of the poem portray incompatible situations Different sections of the poem portray incompatible situations
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The text lacks overall structure and development (Fecht 1972: 39–40) The text lacks overall structure and development (Fecht 1972: 39–40)
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2.3.3 Other redactional interpretations 2.3.3 Other redactional interpretations
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2.3.4 Arguments for textual unity 2.3.4 Arguments for textual unity
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2.4 Dating 2.4 Dating
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2.4.1 Historical readings of the poem 2.4.1 Historical readings of the poem
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2.4.2 Linguistic and lexicographic data 2.4.2 Linguistic and lexicographic data
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2.4.3 Relationship with other literary works 2.4.3 Relationship with other literary works
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2.4.4 Conclusion 2.4.4 Conclusion
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2.5 Reception 2.5 Reception
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2.5.1 P. Leiden I 344 recto 2.5.1 P. Leiden I 344 recto
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2.5.2 The ‘Daressy fragment’ 2.5.2 The ‘Daressy fragment’
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2.5.3 P. Athens 1825 2.5.3 P. Athens 1825
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2.5.4 Quotations from, and possible echoes of, Ipuwer 2.5.4 Quotations from, and possible echoes of, Ipuwer
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2.6 Speakers, section boundaries, and setting of the poem 2.6 Speakers, section boundaries, and setting of the poem
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2.6.1 Ipuwer 2.6.1 Ipuwer
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2.6.2 Lord of All 2.6.2 Lord of All
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2.6.3 Ascription of passages to speakers 2.6.3 Ascription of passages to speakers
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2.6.4 The setting of the poem 2.6.4 The setting of the poem
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2.7 Genre and intertext 2.7 Genre and intertext
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2.7.1 Pessimistic laments 2.7.1 Pessimistic laments
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2.7.2 Teachings (sbȝjjt) 2.7.2 Teachings (sbȝjjt)
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2.7.3 Narrative 2.7.3 Narrative
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2.7.4 Magical texts 2.7.4 Magical texts
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2.7.5 Lists 2.7.5 Lists
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2.7.6 Prophecy? 2.7.6 Prophecy?
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2.7.7 Other intertextualities 2.7.7 Other intertextualities
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2.8 Literary style 2.8 Literary style
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2.8.1 Metrics and verse-counting 2.8.1 Metrics and verse-counting
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2.8.2 Anaphoric strophes: performativity and rhetoric 2.8.2 Anaphoric strophes: performativity and rhetoric
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2.8.3 Intertextuality and style 2.8.3 Intertextuality and style
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2.8.4 Style in the Reproaches and Replies 2.8.4 Style in the Reproaches and Replies
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2.9 Style, structure, and meaning 2.9 Style, structure, and meaning
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2.10 Towards a reading of the poem 2.10 Towards a reading of the poem
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2.10.1 Theodicy and royal ideology 2.10.1 Theodicy and royal ideology
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2.10.2 Dissidence or propaganda? Political readings of the poem 2.10.2 Dissidence or propaganda? Political readings of the poem
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2.10.3 Empathy 2.10.3 Empathy
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2.10.4 The conclusion of the poem: resolution? 2.10.4 The conclusion of the poem: resolution?
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2.10.5 The poem as a work of art 2.10.5 The poem as a work of art
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Cite
Abstract
The sole surviving manuscript of The Dialogue of Ipuwer and the Lord of All is the Ramessid P. Leiden I 344 recto. The papyrus is damaged, and it is unclear how much has been lost at both the beginning and end. As currently preserved, the papyrus is divided into seventeen columns, and would originally have contained at least 236 lines of text. Following Gerhard Fecht's metrical analytical principles, this amounts to some 660+ verses. The content of the text may be divided into two literary formats: strophes and more discursive sections of dialogue. The majority of the text consists of strophes (poetic stanzas) of varying lengths, where each strophe is introduced by a repeated refrain (termed an ‘anaphor’). These anaphora are repeatedly written in red ink in the first nine columns of the text, whereas in the later columns rubrics are only used for the first occurrence of each new refrain. The poem has been the subject of considerable debate, including its unity of the text, its compositional date, and the identity of the speakers mentioned in it.
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