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[
"White Queen (Through the Looking-Glass)",
"instance of",
"fictional human"
] |
The White Queen is a fictional character who appears in Lewis Carroll's 1871 fantasy novel Through the Looking-Glass.
| 8
|
[
"White Queen (Through the Looking-Glass)",
"instance of",
"literary character"
] |
The White Queen is a fictional character who appears in Lewis Carroll's 1871 fantasy novel Through the Looking-Glass.Plot
Along with her husband the White King, she is one of the first characters to be seen in the story. She first appears in the drawing room just beyond the titular looking-glass as an animate chesspiece unable to see or hear Alice, the main character. The Queen is looking for her daughter Lily; Alice helps her by lifting the White Queen and King onto the table, leading them to believe they were thrown up by an invisible volcano.
When Alice meets the Red Queen and joins the chess game, she takes the place of a white pawn, Lily being too young to play. She does not meet the White Queen as a human-sized character until the Fifth Square. The White Queen lives backwards in time, due to the fact that she lives through the eponymous looking glass. Her behaviour is odd to Alice. She offers Alice "jam to-morrow and jam yesterday - but never jam to-day." She screams in pain until, rather than because, she pricks her thumb on her brooch, and tells Alice of the King's messenger who has been imprisoned for a crime he will later be tried for and perhaps (but not definitely) commit in the end. The White Queen, aside from telling Alice things that she finds difficult to believe (one being that she is just over 101 years old) says that in her youth she could believe "six impossible things before breakfast" and counsels Alice to practice the same skill. The meeting ends with the Queen seeming to turn into a bespectacled sheep who sits at a counter in a shop as Alice passes into the next square on the board. The Sheep is somewhat different from the Queen in terms of personality and gets "more like a porcupine every time [Alice] looks at her" because she knits with several knitting needles all at once. Two of these needles turn into oars when Alice appears in a boat, and then reappear in the Sheep's shop, where Alice purchases an egg, which becomes Humpty Dumpty as she moves to the next square.
In Chapter 9, the White Queen appears with the Red Queen, posing a series of typical Wonderland/Looking-Glass questions ("Divide a loaf by a knife: what's the answer to that?"), and then celebrating Alice's promotion from pawn to queen. When that celebration goes awry, the White Queen seems to flee the scene by disappearing into a tureen of soup. Martin Gardner's The Annotated Alice points out that the White King is at the time in check from the Red Queen. Alice proceeds to "capture" the Red Queen and checkmate the Red King, ending the game. The White Queen is not seen again, except as one of Alice's white cats, who Alice speculates may have influenced the dream.Other adaptions
The character of Genevieve Heart in Frank Beddor's The Looking Glass Wars series is considered a re-imagining of the White Queen.
The main antagonist of the manga and anime series Pandora Hearts, known as the Will of the Abyss, is based on the White Queen in appearance and mannerisms, and is also identical to another character named Alice, who is based on the Red Queen. It's soon revealed that Alice is her twin sister and her name is also Alice but it's Jack who is the true antagonist and she is the vessel of the Core of the Abyss.
The character of Mrs Wragge in Wilkie Collins' No Name (pub 1864) is considered to be a model for the White Queen.
In the series finale of Once Upon a Time in Wonderland, Alice mentions that the Red Queen (who had redeemed herself over the course of the series) was now known as the White Queen.
In Ever After High, the White Queen (voiced by Stephanie Sheh) is the co-ruler of Wonderland alongside the Queen of Hearts. Since Wonderland has become uninhabitable due to the Evil Queen's actions, the White Queen has fled her realm and taken up a role as teacher at Ever After High replacing Ms. Gold. She teaches Princessology and Kingdom Management. The White Queen is not a kind teacher though, having no qualms about publicly humiliating her students and insisting she is addressed by her full title "Mrs. Her Majesty The White Queen".
| 10
|
[
"White Queen (Through the Looking-Glass)",
"instance of",
"white queen"
] |
The White Queen is a fictional character who appears in Lewis Carroll's 1871 fantasy novel Through the Looking-Glass.Plot
Along with her husband the White King, she is one of the first characters to be seen in the story. She first appears in the drawing room just beyond the titular looking-glass as an animate chesspiece unable to see or hear Alice, the main character. The Queen is looking for her daughter Lily; Alice helps her by lifting the White Queen and King onto the table, leading them to believe they were thrown up by an invisible volcano.
When Alice meets the Red Queen and joins the chess game, she takes the place of a white pawn, Lily being too young to play. She does not meet the White Queen as a human-sized character until the Fifth Square. The White Queen lives backwards in time, due to the fact that she lives through the eponymous looking glass. Her behaviour is odd to Alice. She offers Alice "jam to-morrow and jam yesterday - but never jam to-day." She screams in pain until, rather than because, she pricks her thumb on her brooch, and tells Alice of the King's messenger who has been imprisoned for a crime he will later be tried for and perhaps (but not definitely) commit in the end. The White Queen, aside from telling Alice things that she finds difficult to believe (one being that she is just over 101 years old) says that in her youth she could believe "six impossible things before breakfast" and counsels Alice to practice the same skill. The meeting ends with the Queen seeming to turn into a bespectacled sheep who sits at a counter in a shop as Alice passes into the next square on the board. The Sheep is somewhat different from the Queen in terms of personality and gets "more like a porcupine every time [Alice] looks at her" because she knits with several knitting needles all at once. Two of these needles turn into oars when Alice appears in a boat, and then reappear in the Sheep's shop, where Alice purchases an egg, which becomes Humpty Dumpty as she moves to the next square.
In Chapter 9, the White Queen appears with the Red Queen, posing a series of typical Wonderland/Looking-Glass questions ("Divide a loaf by a knife: what's the answer to that?"), and then celebrating Alice's promotion from pawn to queen. When that celebration goes awry, the White Queen seems to flee the scene by disappearing into a tureen of soup. Martin Gardner's The Annotated Alice points out that the White King is at the time in check from the Red Queen. Alice proceeds to "capture" the Red Queen and checkmate the Red King, ending the game. The White Queen is not seen again, except as one of Alice's white cats, who Alice speculates may have influenced the dream.
| 13
|
[
"Poliespo",
"instance of",
"constructed language"
] |
Goals
The principle of creation for Poliespo was Waldon's belief that certain languages contain words that made communication quicker, which he referred to as "lightning bolts" or "lightning words", and the goal was to combine as many of these as possible into one language. The language was originally referred to as "Anagalisgi," the romanized form of Cherokee word for lightning. Most of Poliespo comes from Cherokee, English, Esperanto, and Spanish, the languages that Waldon could speak.The philosophy behind the language is reminiscent of sound symbolism, and therefore radically differs from the principles of Esperanto.
Waldon also claimed that learning Poliespo is a golden opportunity to acquire an "Iroquoian spirit." In his words, "When one gains a new language, one gains a new soul. Po is your golden chance to acquire an Iroquoian spirit."
| 1
|
[
"Labrador Inuit Pidgin French",
"based on",
"French"
] |
Labrador Inuit Pidgin French, also called Belle Isle Pidgin, was a French-lexified pidgin spoken between Breton and Basque fishermen and the Inuit of Labrador from the late 17th century until about 1760.
| 1
|
[
"Labrador Inuit Pidgin French",
"instance of",
"pidgin"
] |
Labrador Inuit Pidgin French, also called Belle Isle Pidgin, was a French-lexified pidgin spoken between Breton and Basque fishermen and the Inuit of Labrador from the late 17th century until about 1760.
| 3
|
[
"Pe (Cyrillic)",
"part of",
"Cyrillic script"
] |
Pe (П п; italics: П п) is a letter of the Cyrillic script.
It commonly represents the unaspirated voiceless bilabial plosive /p/, like the pronunciation of ⟨p⟩ in "spin".
| 0
|
[
"Pe (Cyrillic)",
"based on",
"Π"
] |
History
The Cyrillic letter Pe was derived from the Greek letter Pi (Π π).The name of Pe in the Early Cyrillic alphabet was покои (pokoi), meaning "peaceful state".In the Cyrillic numeral system, Pe had a value of 80.Form
The capital Cyrillic letter Pe looks exactly like the Greek capital Pi from which it is derived, and small Pe looks like a smaller version of the same, though with a less prominent horizontal bar (Greek Π π > Cyrillic П п). Pe is not to be confused with the Cyrillic letter El (Л л; italics: Л л), which has a hook on its left leg in some fonts (in others El resembles the Greek Lambda (Λ)).
In italics and handwriting, capital Pe looks identical to the Greek capital Pi in these forms. The lowercase forms, however, differ among the languages that use the Cyrillic alphabet. Small italic Cyrillic Pe ⟨п⟩ in the majority of fonts or handwritten styles looks like the small italic Latin N ⟨n⟩. In handwritten Serbian, however, it appears as a Latin U ⟨u⟩ with a bar over it ⟨ū⟩.
| 1
|
[
"Pe (Cyrillic)",
"part of",
"Russian alphabet"
] |
Pe (П п; italics: П п) is a letter of the Cyrillic script.
It commonly represents the unaspirated voiceless bilabial plosive /p/, like the pronunciation of ⟨p⟩ in "spin".
| 2
|
[
"Pe (Cyrillic)",
"described by source",
"Brockhaus and Efron Encyclopedic Dictionary"
] |
Usage
As used in the alphabets of various languages, Pe represents the following sounds:Related letters and other similar characters
Π π : Greek letter Pi
Ԥ ԥ : Cyrillic letter Pe with descender
Ҧ ҧ : Cyrillic letter Pe with middle hook
Л л : Cyrillic letter El
N n : Latin letter N
P p : Latin letter P
Р р : Cyrillic letter Er
| 3
|
[
"Pe (Cyrillic)",
"described by source",
"Explanatory Dictionary of the Living Great Russian Language, Second Edition"
] |
Pe (П п; italics: П п) is a letter of the Cyrillic script.
It commonly represents the unaspirated voiceless bilabial plosive /p/, like the pronunciation of ⟨p⟩ in "spin".
| 4
|
[
"Pe (Cyrillic)",
"topic's main category",
"Category:П"
] |
Pe (П п; italics: П п) is a letter of the Cyrillic script.
It commonly represents the unaspirated voiceless bilabial plosive /p/, like the pronunciation of ⟨p⟩ in "spin".
| 5
|
[
"Pe (Cyrillic)",
"instance of",
"consonant letter"
] |
Pe (П п; italics: П п) is a letter of the Cyrillic script.
It commonly represents the unaspirated voiceless bilabial plosive /p/, like the pronunciation of ⟨p⟩ in "spin".History
The Cyrillic letter Pe was derived from the Greek letter Pi (Π π).The name of Pe in the Early Cyrillic alphabet was покои (pokoi), meaning "peaceful state".In the Cyrillic numeral system, Pe had a value of 80.Usage
As used in the alphabets of various languages, Pe represents the following sounds:voiceless bilabial plosive /p/, like the pronunciation of ⟨p⟩ in "pack"
palatalized voiceless bilabial plosive /pʲ/The pronunciations shown in the table are the primary ones for each language; for details consult the articles on the languages.Related letters and other similar characters
Π π : Greek letter Pi
Ԥ ԥ : Cyrillic letter Pe with descender
Ҧ ҧ : Cyrillic letter Pe with middle hook
Л л : Cyrillic letter El
N n : Latin letter N
P p : Latin letter P
Р р : Cyrillic letter Er
| 6
|
[
"Pe (Cyrillic)",
"described by source",
"Granat Encyclopedic Dictionary"
] |
Usage
As used in the alphabets of various languages, Pe represents the following sounds:Related letters and other similar characters
Π π : Greek letter Pi
Ԥ ԥ : Cyrillic letter Pe with descender
Ҧ ҧ : Cyrillic letter Pe with middle hook
Л л : Cyrillic letter El
N n : Latin letter N
P p : Latin letter P
Р р : Cyrillic letter Er
| 8
|
[
"Pe (Cyrillic)",
"instance of",
"Cyrillic-script letter"
] |
Pe (П п; italics: П п) is a letter of the Cyrillic script.
It commonly represents the unaspirated voiceless bilabial plosive /p/, like the pronunciation of ⟨p⟩ in "spin".History
The Cyrillic letter Pe was derived from the Greek letter Pi (Π π).The name of Pe in the Early Cyrillic alphabet was покои (pokoi), meaning "peaceful state".In the Cyrillic numeral system, Pe had a value of 80.Form
The capital Cyrillic letter Pe looks exactly like the Greek capital Pi from which it is derived, and small Pe looks like a smaller version of the same, though with a less prominent horizontal bar (Greek Π π > Cyrillic П п). Pe is not to be confused with the Cyrillic letter El (Л л; italics: Л л), which has a hook on its left leg in some fonts (in others El resembles the Greek Lambda (Λ)).
In italics and handwriting, capital Pe looks identical to the Greek capital Pi in these forms. The lowercase forms, however, differ among the languages that use the Cyrillic alphabet. Small italic Cyrillic Pe ⟨п⟩ in the majority of fonts or handwritten styles looks like the small italic Latin N ⟨n⟩. In handwritten Serbian, however, it appears as a Latin U ⟨u⟩ with a bar over it ⟨ū⟩.
| 10
|
[
"Pe (Cyrillic)",
"described by source",
"Great Soviet Encyclopedia (1926–1947)"
] |
Pe (П п; italics: П п) is a letter of the Cyrillic script.
It commonly represents the unaspirated voiceless bilabial plosive /p/, like the pronunciation of ⟨p⟩ in "spin".
| 11
|
[
"Inno delle nazioni",
"based on",
"Il Canto degli Italiani"
] |
Inno delle nazioni (Hymn of the nations), a cantata in a single movement, is one of only two secular choral works composed by Giuseppe Verdi. This Hymn incorporates "God Save the King", "La Marseillaise", and "Il Canto degli Italiani". It was the first collaboration between the composer and Arrigo Boito, who, much later, would revise the libretto of Simon Boccanegra and write the original libretti of Otello and Falstaff.
Although written for the 1862 International Exhibition in London, it premiered at Her Majesty's Theatre on 24 May 1862. It became the centerpiece of a 1944 propaganda film, Hymn of the Nations, where it was performed by the NBC Symphony Orchestra conducted by Arturo Toscanini with the Westminster Choir and Jan Peerce as tenor soloist.
| 1
|
[
"Inno delle nazioni",
"composer",
"Giuseppe Verdi"
] |
Background
In December 1858, the Society of Arts in London announced their intention to hold what was to be called the 1862 International Exhibition, seen as a successor to The Great Exhibition of 1851. Wanting to include musical performances (which were excluded from the 1851 exhibition), at the suggestion of the leading music critic Henry Chorley, they solicited new works from Daniel Auber (representing France), William Sterndale Bennett (England), Giacomo Meyerbeer (Germany) and Gioachino Rossini (Italy). Rossini declined the invitation.
Roberta Montemorra Marvin (who edited Inno delle nazioni for The Complete Works of Giuseppe Verdi series) considers that the committee did not initially ask Verdi to compose a piece because of Chorley's antipathy toward the composer's works. Nevertheless, after Rossini's refusal, in 1861 the committee invited Verdi, offering four suggestions as to form: anthem, chorale, triumphal march (for full orchestra), or march (for wind instruments). While honored by the request, Verdi tentatively declined, despite the intervention of fellow Italian and conductor Michael Costa, claiming his duties in preparing La forza del destino left no time available. He promised to consider the question in February 1862, once the preparation of the opera was out of the way.Although Verdi detested writing occasional works, Marvin surmises that since Verdi was informed of the acceptance of the commission by Auber and Meyerbeer, personal pride and the chance at representing Italy at an international exhibition were the key reasons he took up the commission.
| 4
|
[
"Inno delle nazioni",
"based on",
"La Marseillaise"
] |
Inno delle nazioni (Hymn of the nations), a cantata in a single movement, is one of only two secular choral works composed by Giuseppe Verdi. This Hymn incorporates "God Save the King", "La Marseillaise", and "Il Canto degli Italiani". It was the first collaboration between the composer and Arrigo Boito, who, much later, would revise the libretto of Simon Boccanegra and write the original libretti of Otello and Falstaff.
Although written for the 1862 International Exhibition in London, it premiered at Her Majesty's Theatre on 24 May 1862. It became the centerpiece of a 1944 propaganda film, Hymn of the Nations, where it was performed by the NBC Symphony Orchestra conducted by Arturo Toscanini with the Westminster Choir and Jan Peerce as tenor soloist.
| 5
|
[
"Inno delle nazioni",
"based on",
"God Save the King"
] |
Inno delle nazioni (Hymn of the nations), a cantata in a single movement, is one of only two secular choral works composed by Giuseppe Verdi. This Hymn incorporates "God Save the King", "La Marseillaise", and "Il Canto degli Italiani". It was the first collaboration between the composer and Arrigo Boito, who, much later, would revise the libretto of Simon Boccanegra and write the original libretti of Otello and Falstaff.
Although written for the 1862 International Exhibition in London, it premiered at Her Majesty's Theatre on 24 May 1862. It became the centerpiece of a 1944 propaganda film, Hymn of the Nations, where it was performed by the NBC Symphony Orchestra conducted by Arturo Toscanini with the Westminster Choir and Jan Peerce as tenor soloist.
| 7
|
[
"Inno delle nazioni",
"form of creative work",
"cantata"
] |
Background
In December 1858, the Society of Arts in London announced their intention to hold what was to be called the 1862 International Exhibition, seen as a successor to The Great Exhibition of 1851. Wanting to include musical performances (which were excluded from the 1851 exhibition), at the suggestion of the leading music critic Henry Chorley, they solicited new works from Daniel Auber (representing France), William Sterndale Bennett (England), Giacomo Meyerbeer (Germany) and Gioachino Rossini (Italy). Rossini declined the invitation.
Roberta Montemorra Marvin (who edited Inno delle nazioni for The Complete Works of Giuseppe Verdi series) considers that the committee did not initially ask Verdi to compose a piece because of Chorley's antipathy toward the composer's works. Nevertheless, after Rossini's refusal, in 1861 the committee invited Verdi, offering four suggestions as to form: anthem, chorale, triumphal march (for full orchestra), or march (for wind instruments). While honored by the request, Verdi tentatively declined, despite the intervention of fellow Italian and conductor Michael Costa, claiming his duties in preparing La forza del destino left no time available. He promised to consider the question in February 1862, once the preparation of the opera was out of the way.Although Verdi detested writing occasional works, Marvin surmises that since Verdi was informed of the acceptance of the commission by Auber and Meyerbeer, personal pride and the chance at representing Italy at an international exhibition were the key reasons he took up the commission.
| 8
|
[
"Ponaschemu",
"based on",
"Lower Sorbian"
] |
Ponaschemu [lit. among us or our way] is a mixed language that was formed by mixing German and Lower Sorbian. Sometimes it is taken as a dialect of German.
By definition, some linguists would call Ponaschemu not a mixed language (= intertwined language) but rather a code mixing and/or code switching of the last bilingual generation in the formerly monolingual community in Lower Lusatia. At an early stage, the embedding language was Lower Sorbian and laterly Lusatian German substituted by the variety of Berlin.
It was used extensively until the 1950s, especially in Spreewald, in the villages where the Germans and the Sorbs were living together. Today, only about 500 people speak it.
| 2
|
[
"Ponaschemu",
"instance of",
"mixed language"
] |
Ponaschemu [lit. among us or our way] is a mixed language that was formed by mixing German and Lower Sorbian. Sometimes it is taken as a dialect of German.
By definition, some linguists would call Ponaschemu not a mixed language (= intertwined language) but rather a code mixing and/or code switching of the last bilingual generation in the formerly monolingual community in Lower Lusatia. At an early stage, the embedding language was Lower Sorbian and laterly Lusatian German substituted by the variety of Berlin.
It was used extensively until the 1950s, especially in Spreewald, in the villages where the Germans and the Sorbs were living together. Today, only about 500 people speak it.
| 3
|
[
"Leichte Sprache",
"subclass of",
"German"
] |
Leichte Sprache (LS, literally: easy language) is a specific (usually written) version of the German language. It is directed to people who have low competences in German or in reading in general. The rules are published by the German association Netzwerk Leichte Sprache, which was established in 2006. The rules deal with the creation of sentences and the choice of words and makes recommendations about typography and the use of media. The content is often simplified as well, for example, LS encourages to write a long time ago instead of 1871. However, the language as such is not altered. LS is supposed to serve accessibility.
A similar concept is Einfache Sprache, which is less regulated and closer to standard German. Its target group are people with cognitive challenges and people with a different first language than German.Several intellectuals and journalists have criticised texts in LS, for example after it was used additionally by the Bremen authorities for the regional elections of 2015. According to them, LS does not take readers seriously and simplifies the content too much. In 2017, journalist Alfred Dorfer mocked LS on Austrian teletext and apologized later after having spoken to people who benefit from LS texts.Some of the rules of LS:
| 1
|
[
"Leichte Sprache",
"instance of",
"plain language"
] |
Leichte Sprache (LS, literally: easy language) is a specific (usually written) version of the German language. It is directed to people who have low competences in German or in reading in general. The rules are published by the German association Netzwerk Leichte Sprache, which was established in 2006. The rules deal with the creation of sentences and the choice of words and makes recommendations about typography and the use of media. The content is often simplified as well, for example, LS encourages to write a long time ago instead of 1871. However, the language as such is not altered. LS is supposed to serve accessibility.
A similar concept is Einfache Sprache, which is less regulated and closer to standard German. Its target group are people with cognitive challenges and people with a different first language than German.Several intellectuals and journalists have criticised texts in LS, for example after it was used additionally by the Bremen authorities for the regional elections of 2015. According to them, LS does not take readers seriously and simplifies the content too much. In 2017, journalist Alfred Dorfer mocked LS on Austrian teletext and apologized later after having spoken to people who benefit from LS texts.Some of the rules of LS:
| 3
|
[
"Herneith",
"noble title",
"queen consort"
] |
Biography
It is not known who Herneith's parents were. She is thought to be a queen of Djer but there is no conclusive evidence. Tyldesley suggests Herneith as a possible mother of Den, but it is more commonly thought that Merneith was his mother.Grajetzki mentions that even though Herneith is known from her tomb in Saqqara and her name is found together with signs that may refer to her role as a queen, confidently interpreting this information has proven difficult. If the interpretations are correct, Herneith may have held the titles of "The First One" and "Consort of the Two Lords".A large tomb in Saqqara (tomb S3507) is thought to belong to Herneith. Inscriptions on vases found in the tomb mention King Djer, King Den and King Qa'a. The tomb is a mudbrick mastaba. However, a pyramid-like mound was found within the structure, covered with brick. This combination of mastaba and grave mound represents a combination of Northern (mastaba) and Southern (grave mound) tomb architecture.
| 7
|
[
"Betrest",
"time period",
"First Dynasty of Egypt"
] |
Betrest (also read as Batyires, and Batires) was a queen of Ancient Egypt. She lived during the First Dynasty.
| 3
|
[
"Fuxi",
"said to be the same as",
"Taihao"
] |
Origin
Pangu was said to be the creation god in Chinese mythology. He was a giant sleeping within an egg of chaos. As he awoke, he stood up and divided the sky and the earth. Pangu then died after standing up, and his body turned into rivers, mountains, plants, animals, and everything else in the world, among which is a powerful being known as Huaxu (華胥). Huaxu gave birth to a twin brother and sister, Fuxi and Nüwa. Fuxi and Nüwa are said to be creatures that have faces of human and bodies of snakes.Fuxi was known as the "original god", and he was said to have been born in the lower-middle reaches of the Yellow River in a place called Chengji (成紀) (possibly modern Lantian, Shaanxi province, or Tianshui, Gansu province).A possible historical interpretation of the myth is that Huaxu (Fuxi's mother) was a leader during the matriarchal society (c. 2,600 BC) as early Chinese developed language skill while Fuxi and Nüwa were leaders in the early patriarchal society (c. 2,600 BC) while Chinese began the marriage rituals.A divinity Taihao (太皞) appears, vaguely, in sources before the Han dynasty, independent from Fuxi. Later, Fuxi is identified with Taihao, the latter being his courtesy or formal name.
| 5
|
[
"Fuxi",
"mother",
"Huaxu"
] |
Origin
Pangu was said to be the creation god in Chinese mythology. He was a giant sleeping within an egg of chaos. As he awoke, he stood up and divided the sky and the earth. Pangu then died after standing up, and his body turned into rivers, mountains, plants, animals, and everything else in the world, among which is a powerful being known as Huaxu (華胥). Huaxu gave birth to a twin brother and sister, Fuxi and Nüwa. Fuxi and Nüwa are said to be creatures that have faces of human and bodies of snakes.Fuxi was known as the "original god", and he was said to have been born in the lower-middle reaches of the Yellow River in a place called Chengji (成紀) (possibly modern Lantian, Shaanxi province, or Tianshui, Gansu province).A possible historical interpretation of the myth is that Huaxu (Fuxi's mother) was a leader during the matriarchal society (c. 2,600 BC) as early Chinese developed language skill while Fuxi and Nüwa were leaders in the early patriarchal society (c. 2,600 BC) while Chinese began the marriage rituals.A divinity Taihao (太皞) appears, vaguely, in sources before the Han dynasty, independent from Fuxi. Later, Fuxi is identified with Taihao, the latter being his courtesy or formal name.
| 14
|
[
"Seth-Peribsen",
"noble title",
"pharaoh"
] |
Seth-Peribsen (also known as Ash-Peribsen, Peribsen and Perabsen) is the serekh name of an early Egyptian monarch (pharaoh), who ruled during the Second Dynasty of Egypt (c. 2890 – c. 2686 BC). His chronological position within this dynasty is unknown and it is disputed who ruled both before and after him. The duration of his reign is also unknown.Peribsen's name is unusual, in that Set, not Horus, was his patron deity. This goes against the Egyptian tradition of a king choosing the falcon-shaped deity Horus as his royal patron.
Peribsen's tomb was discovered in 1898 at Abydos. It was well preserved and showed traces of restoration undertaken during later dynastic periods.
| 4
|
[
"Cangjie",
"instance of",
"culture hero"
] |
Cangjie [tsʰáŋ.tɕjě] (simplified Chinese: 仓颉; traditional Chinese: 倉頡) is a legendary ancient Chinese figure said to have been an official historian of the Yellow Emperor and the inventor of Chinese characters. Legend has it that he had four eyes, and that when he invented the characters, the deities and ghosts cried and the sky rained millet. He is considered a legendary rather than historical figure, or at least not considered to be sole inventor of Chinese characters. Cangjie was the eponym for the (c. 220 BCE) Cangjiepian proto-dictionary, the Cangjie method of inputting characters into a computer, and a Martian rock visited by the Mars rover Spirit, and named by the rover team.Legend of character creation
There are several versions of the legend.
One tells that shortly after unifying China, the Yellow Emperor, being dissatisfied with the "rope knot tying" method of recording information, charged Cangjie with the task of creating characters for writing. Cangjie then settled down on the bank of a river, and devoted himself to the completion of the task at hand. Even after devoting much time and effort, however, he was unable to create even one character. One day, Cangjie suddenly saw a phoenix flying in the sky above, carrying an object in its beak. The object fell to the ground directly in front of Cangjie, and he saw it to be an impression of a hoof-print. Not being able to recognize which animal the print belonged to, he asked for the help of a local hunter passing by on the road. The hunter told him that this was, without a doubt, the hoof print of a Pixiu, being different from the hoof-print of any other beast that was alive.
His conversation with the hunter greatly inspired Cangjie, leading him to believe that if he could capture in a drawing the special characteristics that set apart each and every thing on the earth, this would truly be the perfect kind of character for writing. From that day forward, Cangjie paid close attention to the characteristics of all things, including the sun, moon, stars, clouds, lakes, oceans, as well as all manner of bird and beast. He began to create characters according to the special characteristics he found, and before long, had compiled a long list of characters for writing.
To the delight of the Yellow Emperor, Cangjie presented him with the complete set of characters. The emperor then called the premiers of each of the nine provinces together in order for Cangjie to teach them this new writing system. Monuments and temples were erected in Cangjie's honor on the bank of the river where he created these characters.Another version of the legend tells that Cangjie was inspired by observing the network of veins on a turtle. This version is particularly interesting relative to archaeology because turtle shells are one of the most common media on which the earliest known Chinese inscriptions are found, including the Jiahu symbols.
| 4
|
[
"Cangjie",
"instance of",
"legendary figure"
] |
Cangjie [tsʰáŋ.tɕjě] (simplified Chinese: 仓颉; traditional Chinese: 倉頡) is a legendary ancient Chinese figure said to have been an official historian of the Yellow Emperor and the inventor of Chinese characters. Legend has it that he had four eyes, and that when he invented the characters, the deities and ghosts cried and the sky rained millet. He is considered a legendary rather than historical figure, or at least not considered to be sole inventor of Chinese characters. Cangjie was the eponym for the (c. 220 BCE) Cangjiepian proto-dictionary, the Cangjie method of inputting characters into a computer, and a Martian rock visited by the Mars rover Spirit, and named by the rover team.Legend of character creation
There are several versions of the legend.
One tells that shortly after unifying China, the Yellow Emperor, being dissatisfied with the "rope knot tying" method of recording information, charged Cangjie with the task of creating characters for writing. Cangjie then settled down on the bank of a river, and devoted himself to the completion of the task at hand. Even after devoting much time and effort, however, he was unable to create even one character. One day, Cangjie suddenly saw a phoenix flying in the sky above, carrying an object in its beak. The object fell to the ground directly in front of Cangjie, and he saw it to be an impression of a hoof-print. Not being able to recognize which animal the print belonged to, he asked for the help of a local hunter passing by on the road. The hunter told him that this was, without a doubt, the hoof print of a Pixiu, being different from the hoof-print of any other beast that was alive.
His conversation with the hunter greatly inspired Cangjie, leading him to believe that if he could capture in a drawing the special characteristics that set apart each and every thing on the earth, this would truly be the perfect kind of character for writing. From that day forward, Cangjie paid close attention to the characteristics of all things, including the sun, moon, stars, clouds, lakes, oceans, as well as all manner of bird and beast. He began to create characters according to the special characteristics he found, and before long, had compiled a long list of characters for writing.
To the delight of the Yellow Emperor, Cangjie presented him with the complete set of characters. The emperor then called the premiers of each of the nine provinces together in order for Cangjie to teach them this new writing system. Monuments and temples were erected in Cangjie's honor on the bank of the river where he created these characters.Another version of the legend tells that Cangjie was inspired by observing the network of veins on a turtle. This version is particularly interesting relative to archaeology because turtle shells are one of the most common media on which the earliest known Chinese inscriptions are found, including the Jiahu symbols.
| 7
|
[
"Sagisu",
"instance of",
"human"
] |
Sagisu (also Sagishu) was a king (Malikum) of the first Eblaite kingdom ruling c. 2680 BC. The king's name is translated as "DN has killed".Eblaites practiced the worship of deceased kings; the cult of Sagisu was maintained in Ebla and was of importance during the enthronement of new kings. Offerings were presented to Sagisu during the coronation festivals of kings Irkab-Damu and Isar-Damu; this prove the continuity of the royal family of Ebla.
| 0
|
[
"A'annepada",
"father",
"Mesannepada"
] |
Votive tablets
Several tablets are known that bear his name, in particular dedicated to Ninhursag, and proclaiming Mesannepada as his father:
𒀭𒊩𒌆𒄯𒊕 / 𒀀𒀭𒉌𒅆𒊒𒁕 / 𒈗𒌶𒆠 / 𒌉𒈩𒀭𒉌𒅆𒊒𒁕 / 𒈗𒌶𒆠 /𒀭𒊩𒌆𒉺𒂅𒊏 / 𒂍 𒈬𒈾𒆕Dnin-hur-sag / a-an-ne2-pa3-da / lugal uri5{ki} / dumu mes-an-ne2-pa3-da / lugal uri5{ki} /Dnin-hur-sag-ra / e2 mu-na-du3
"For Nin-hursag: A'annepada, king of Ur, son of Mesannepada, king of Ur, built the temple for Ninhursag."
| 1
|
[
"A'annepada",
"occupation",
"sovereign"
] |
A'annepada (Sumerian: 𒀀𒀭𒉌𒅆𒊒𒁕, romanized: A'an-na-pad-da) was a king of the First Dynasty of Ur, c. 2600 BCE. He was a son of Mesannepada. It is thought that his tomb may be tomb PG 580 in the Royal Cemetery at Ur.
| 6
|
[
"Dedi",
"country of citizenship",
"Ancient Egypt"
] |
Djedi (also Dedi or Djedi of Djed-Sneferu) is the name of a fictional ancient Egyptian magician appearing in the fourth chapter of a story told in the legendary Westcar Papyrus. He is said to have worked wonders during the reign of king (pharaoh) Khufu (4th Dynasty).
| 0
|
[
"Dedi",
"present in work",
"Westcar Papyrus"
] |
Literary person
Djedi appears only in the fourth story of the Westcar Papyrus – there is no archeological or historical evidence that he existed. Nevertheless, he is an object of great interest for historians and Egyptologists, since his magic tricks are connected to later cultural perceptions of the personality of king Khufu. Djedi is described as a commoner of extraordinary age, endowed with magical powers and talented in making prophecies.
| 3
|
[
"Ptahhotep",
"notable work",
"The Maxims of Ptahhotep"
] |
Life
Ptahhotep was the city administrator and vizier (first minister) during the reign of Pharaoh Djedkare Isesi in the Fifth Dynasty. He is credited with authoring The Maxims of Ptahhotep, an early piece of Egyptian "wisdom literature" meant to instruct young men in appropriate behavior.
He had a son named Akhethetep, who was also a vizier. He and his descendants were buried at Saqqara.
Ptahhotep's tomb is located in a mastaba in North Saqqara (Mastaba D62). His grandson Ptahhotep Tjefi, who lived during the reign of Unas, was buried in the mastaba of his father (Mastaba 64). Their tomb is famous for its outstanding depictions. Next to the vizier's titles he held many other important positions, such as overseer of the treasury, overseer of scribes of the king's document, overseer of the double granary and overseer of all royal works.
| 4
|
[
"Wahtye",
"instance of",
"human"
] |
Wahtye (fl. 25th-century BC) was a high-ranking priest and official who served under King Neferirkare Kakai during the Fifth Dynasty of Egypt. Based on his skull, he was probably 35-years-old when he died.Tomb
In November 2018, it was announced that Wahtye's tomb had been found at the Saqqara necropolis. Inside the tomb were reliefs of Wahtye (he stole the tomb of his brother), his wife Weret Ptah, his 4 children and his mother Merit Meen. The tomb is 10 metres (33 ft) long from north to south and 3 metres (9.8 ft) wide from east to west and was built circa 2415–2405 BC. Wahtye and his family were buried there but not all of them were in wooden sarcophagi. The tomb has an inscription about Wahtye: "Wahtye, Purified priest to the King, Overseer of the Divine Estate, overseer of the Sacred Boat, Revered with the great God, Wahtye". When inspecting the structure of Wahtye's bones, the archeologists found that they were distended, indicating that Wahtye had a disease. One hypothesis by Amira Shahin, professor of rheumatology at Cairo University, is that he had malaria.Wahtye's tomb contains 4 shafts, each filled with the remains of Wahtye and his family. The tombs were separated by gender, the deepest one contained Wahtye's remains which were found in a wooden sarcophagus, another contained the remains of Wahtye's mother Merit Meen who was probably 55-years-old, his wife Weret Ptah who was most likely around her thirties and his young daughter who was probably 6-years-old when she died and the other one contained Wahtye's 3 sons with two of them most likely under 20 and 18.
| 0
|
[
"Wahtye",
"occupation",
"priest"
] |
Wahtye (fl. 25th-century BC) was a high-ranking priest and official who served under King Neferirkare Kakai during the Fifth Dynasty of Egypt. Based on his skull, he was probably 35-years-old when he died.Tomb
In November 2018, it was announced that Wahtye's tomb had been found at the Saqqara necropolis. Inside the tomb were reliefs of Wahtye (he stole the tomb of his brother), his wife Weret Ptah, his 4 children and his mother Merit Meen. The tomb is 10 metres (33 ft) long from north to south and 3 metres (9.8 ft) wide from east to west and was built circa 2415–2405 BC. Wahtye and his family were buried there but not all of them were in wooden sarcophagi. The tomb has an inscription about Wahtye: "Wahtye, Purified priest to the King, Overseer of the Divine Estate, overseer of the Sacred Boat, Revered with the great God, Wahtye". When inspecting the structure of Wahtye's bones, the archeologists found that they were distended, indicating that Wahtye had a disease. One hypothesis by Amira Shahin, professor of rheumatology at Cairo University, is that he had malaria.Wahtye's tomb contains 4 shafts, each filled with the remains of Wahtye and his family. The tombs were separated by gender, the deepest one contained Wahtye's remains which were found in a wooden sarcophagus, another contained the remains of Wahtye's mother Merit Meen who was probably 55-years-old, his wife Weret Ptah who was most likely around her thirties and his young daughter who was probably 6-years-old when she died and the other one contained Wahtye's 3 sons with two of them most likely under 20 and 18.
| 1
|
[
"Wahtye",
"place of burial",
"tomb of Wahtye"
] |
Tomb
In November 2018, it was announced that Wahtye's tomb had been found at the Saqqara necropolis. Inside the tomb were reliefs of Wahtye (he stole the tomb of his brother), his wife Weret Ptah, his 4 children and his mother Merit Meen. The tomb is 10 metres (33 ft) long from north to south and 3 metres (9.8 ft) wide from east to west and was built circa 2415–2405 BC. Wahtye and his family were buried there but not all of them were in wooden sarcophagi. The tomb has an inscription about Wahtye: "Wahtye, Purified priest to the King, Overseer of the Divine Estate, overseer of the Sacred Boat, Revered with the great God, Wahtye". When inspecting the structure of Wahtye's bones, the archeologists found that they were distended, indicating that Wahtye had a disease. One hypothesis by Amira Shahin, professor of rheumatology at Cairo University, is that he had malaria.Wahtye's tomb contains 4 shafts, each filled with the remains of Wahtye and his family. The tombs were separated by gender, the deepest one contained Wahtye's remains which were found in a wooden sarcophagus, another contained the remains of Wahtye's mother Merit Meen who was probably 55-years-old, his wife Weret Ptah who was most likely around her thirties and his young daughter who was probably 6-years-old when she died and the other one contained Wahtye's 3 sons with two of them most likely under 20 and 18.
| 2
|
[
"Wahtye",
"employer",
"Neferirkare Kakai"
] |
Wahtye (fl. 25th-century BC) was a high-ranking priest and official who served under King Neferirkare Kakai during the Fifth Dynasty of Egypt. Based on his skull, he was probably 35-years-old when he died.
| 3
|
[
"Entemena",
"instance of",
"human"
] |
Entemena, also called Enmetena (Sumerian: 𒂗𒋼𒈨𒈾, EN-TE-ME-NA), lived circa 2400 BC, was a son of En-anna-tum I, and he reestablished Lagash as a power in Sumer. He defeated Il, king of Umma, in a territorial conflict through an alliance with Lugal-kinishe-dudu of Uruk, successor to Enshakushanna, who is in the king list. The tutelary deity Shul-utula was his personal deity. His reign lasted at least 19 years.
| 0
|
[
"Entemena",
"father",
"En-anna-tum I"
] |
Entemena, also called Enmetena (Sumerian: 𒂗𒋼𒈨𒈾, EN-TE-ME-NA), lived circa 2400 BC, was a son of En-anna-tum I, and he reestablished Lagash as a power in Sumer. He defeated Il, king of Umma, in a territorial conflict through an alliance with Lugal-kinishe-dudu of Uruk, successor to Enshakushanna, who is in the king list. The tutelary deity Shul-utula was his personal deity. His reign lasted at least 19 years.
| 1
|
[
"Entemena",
"sex or gender",
"male"
] |
Entemena, also called Enmetena (Sumerian: 𒂗𒋼𒈨𒈾, EN-TE-ME-NA), lived circa 2400 BC, was a son of En-anna-tum I, and he reestablished Lagash as a power in Sumer. He defeated Il, king of Umma, in a territorial conflict through an alliance with Lugal-kinishe-dudu of Uruk, successor to Enshakushanna, who is in the king list. The tutelary deity Shul-utula was his personal deity. His reign lasted at least 19 years.
| 2
|
[
"Baranamtarra",
"spouse",
"Lugalanda"
] |
Baranamtarra was the Queen of Lagash during the 24th century BCE.
In 2384 BCE, Baranamtarra and her husband, Lugalanda, seized power in Lagash, one of the oldest cities in Sumer. They became the largest landholders in the city, and Baranamtarra presided over a temple and several estates herself. Queen Baranamtarra managed her own private estates and those of the temple of the goddess Bau. She bought and sold slaves and sent diplomatic missions to neighboring states.Records that still exist today reflect the private business activities of the royal wife during Lagash’s great age of international trade and prosperity. Baranamtara sent woolen clothes and silver to Dilmun and sold copper imported from Dilmun in the neighboring city of Umma. In keeping with the standard practices of international merchants, she dedicated a bronze statue to the goddess Nanshe. For her estates, which marketed milk products, Baranamtara purchased cattle in Elam. The expression “property of Baranamtara” is found on lists of people, animals, estates, and various objects.Due to the political instability at the time, they in turn were overthrown by another ruler, Urukagina, in 2378 BCE.
| 1
|
[
"Dangun",
"country of citizenship",
"Gojoseon"
] |
Dangun or Tangun (단군; 檀君; [tan.ɡun]), also known as Dangun Wanggeom (단군왕검; 檀君王儉; [tan.ɡun waŋ.ɡʌm]), was the legendary founder and god-king of Gojoseon, the first Korean kingdom, around present-day Liaoning province in Northeast China and the northern part of the Korean Peninsula. He is said to be the "grandson of heaven" and "son of a bear", and to have founded the kingdom in 2333 BC. The earliest recorded version of the Dangun legend appears in the 13th-century Samguk Yusa, which cites China's Book of Wei and Korea's lost historical record Gogi (lit. 'Ancient Record') (고기, 古記). However, it has been confirmed that there is no relevant record in the China's Book of Wei. There are around seventeen religious groups that focus on the worship of Dangun.
Koreans regard the day when Dangun founded Gojoseon, Korea's first dynasty, as a national holiday and call it Gaecheonjeol (개천절; 開天節). The Gaecheonjeol is 3 October. It is a religious anniversary started by Daejonggyo (대종교; 大倧教) worshipping Dangun. Gaecheonjeol is a day to commemorate Dangun's founding of Gojoseon, but 3 October is not actually the date when Gojoseon was founded.
Many Korean historians regard Dangun and Tengri as being etymologically identical.The mythical record and its interpretation
Dangun's ancestry legend begins with his grandfather Hwanin (환인/桓因), the "Lord of Heaven". Hwanin had a son, Hwanung (환웅/ Hanja: 桓雄), who yearned to live on the earth among the valleys and the mountains. Hwanin permitted Hwanung and 3,000 followers to descend onto Baekdu Mountain, where Hwanung founded the Sinsi (신시/ Hanja: 神市, "City of God"). Along with his ministers of clouds, rain and wind, he instituted laws and moral codes and taught humans various arts, medicine, and agriculture. Legend attributes the development of acupuncture and moxibustion to Dangun.A tiger and a bear prayed to Hwanung that they might become human. Upon hearing their prayers, Hwanung gave them twenty cloves of garlic and a bundle of mugwort, ordering them to eat only this sacred food and remain out of the sunlight for 100 days. The tiger gave up after about twenty days and left the cave. However, the bear persevered and was transformed into a woman. The bear and the tiger are said to represent two tribes that sought the favor of the heavenly prince.The bear-woman, Ungnyeo, (Hangul; 웅녀/ Hanja: 熊女) was grateful and made offerings to Hwanung. However, she lacked a husband, and soon became sad and prayed beneath a "divine birch" tree (Korean: 신단수; Hanja: 神檀樹; RR: shindansu) to be blessed with a child. Hwanung, moved by her prayers, took her for his wife and soon she gave birth to a son named Dangun Wanggeom.Dangun ascended to the throne, built the walled city of Asadal situated near Pyongyang (the location is disputed), and called the kingdom Joseon—referred to today as Gojoseon "Old/Ancient Joseon" (고조선, Hanja: 古朝鮮) so as not to be confused with the later kingdom of Joseon (조선, Hanja: 朝鮮) that was established roughly 2000 years later. He then moved his capital to Asadal on Mount Paegak or Mount Gunghol.Dangun's biography reflected the interest of the people of Dangun Joseon (Gojoseon) at the time in establishing the legitimacy of the kingship of Gojoseon and the dignity of the country. The king of Gojoseon conducted a ritual in honor of his ancestral god every year. Soon, the myth of Dangun was the political ideology of the Gojoseon period, and the ritual had a function of political assembly.
| 2
|
[
"Eshpum",
"instance of",
"human"
] |
Eshpum (𒀹𒅗 esh18-pum, formerly read Geba) was Akkadian Governor of Elam around 2269–2255 BCE. He was a vassal of the Akkadian Empire ruler Manishtushu.While Eshpum was in charge of Elam, another Governor of Manistushu named Ilshu-rabi was in charge of Pashime, in the coastal area.
| 0
|
[
"Eshpum",
"occupation",
"governor"
] |
Eshpum (𒀹𒅗 esh18-pum, formerly read Geba) was Akkadian Governor of Elam around 2269–2255 BCE. He was a vassal of the Akkadian Empire ruler Manishtushu.While Eshpum was in charge of Elam, another Governor of Manistushu named Ilshu-rabi was in charge of Pashime, in the coastal area.
| 1
|
[
"Ur-Ningirsu",
"instance of",
"human"
] |
Ur-Ningirsu (Sumerian: 𒌨𒀭𒎏𒄈𒍪, Ur-D-nin-gir-su) also Ur-Ningirsu II in contrast with the earlier Ur-Ningirsu I, was a Sumerian ruler (ensi) of the state of Lagash in Southern Mesopotamia who ruled c. 2110 BC. He was the son of the previous ruler of Lagash named Gudea.
| 0
|
[
"Ur-Ningirsu",
"country of citizenship",
"Lagash"
] |
Ur-Ningirsu (Sumerian: 𒌨𒀭𒎏𒄈𒍪, Ur-D-nin-gir-su) also Ur-Ningirsu II in contrast with the earlier Ur-Ningirsu I, was a Sumerian ruler (ensi) of the state of Lagash in Southern Mesopotamia who ruled c. 2110 BC. He was the son of the previous ruler of Lagash named Gudea."For Ningišzida, his (personal) god, Ur-Ningirsu, ruler of Lagash, son of Gudea, ruler of Lagash, who built Ningirsu’s Eninnu, fashioned his (own) statue. I am the one beloved of his (personal) god; let my life be long - (this is how) he named that statue for his (Ningirsu’s) sake, and he brought it to him into his House"
| 2
|
[
"Ur-Ningirsu",
"father",
"Gudea"
] |
"For Ningišzida, his (personal) god, Ur-Ningirsu, ruler of Lagash, son of Gudea, ruler of Lagash, who built Ningirsu’s Eninnu, fashioned his (own) statue. I am the one beloved of his (personal) god; let my life be long - (this is how) he named that statue for his (Ningirsu’s) sake, and he brought it to him into his House"
| 3
|
[
"Ur-Ningirsu",
"sex or gender",
"male"
] |
Ur-Ningirsu (Sumerian: 𒌨𒀭𒎏𒄈𒍪, Ur-D-nin-gir-su) also Ur-Ningirsu II in contrast with the earlier Ur-Ningirsu I, was a Sumerian ruler (ensi) of the state of Lagash in Southern Mesopotamia who ruled c. 2110 BC. He was the son of the previous ruler of Lagash named Gudea.Statue of Ur-Ningirsu
A statue of Ur-Ningirsu, dedicated to Ningishzida (Sumerian: 𒀭𒎏𒄑𒍣𒁕, DNin-ḡiš-zi-da), is shared by The Metropolitan Museum of Art of New York, and the Musée du Louvre, as they own separately the head and the body of the statue, respectively. The statue has an inscription in the back, which reads:
| 4
|
[
"Zariqum",
"instance of",
"human"
] |
Zariqum or Zarriqum was a Sumerian governor (šakkanakkum) of the city of Assur under the Third Dynasty of Ur, attested there between the 44th year of Shulgi (c. 2050 BC) and the 5th year of Amar-Sin (c. 2041 BC).He is the only governor of the city during this time, otherwise poorly known from surviving sources, to be known by name. Though he has also been suggested to have been an independent ruler, this is a minority view, as Assur is not generally regarded to have been independent before the time of Puzur-Ashur I, c. 2025 BC. Under the Sumerian Ur III empire, Assur is generally believed to have formed the northernmost peripheral province. In the ruins of one of the city's temples, dedicated to the goddess Ishtar, an inscription by Zariqum states that he founded a new temple in the city, dedicated to the goddess Bēlat-ekallim (i.e. Ninegal), for the life of Amar-Sin, king of Ur.Zariqum was previously believed to have had a long and wide-spanning career, also having been a military officer and a governor of Susa in Elam, due to the name Zariqum also being attested for contemporary individuals with those positions. Since the Zariqum who governed Susa governed simultaneously with the time Zariqum is attested as the governor of Assur, they cannot be the same person and must instead simply have been contemporary individuals with the same name.
| 0
|
[
"Zariqum",
"sex or gender",
"male"
] |
Zariqum or Zarriqum was a Sumerian governor (šakkanakkum) of the city of Assur under the Third Dynasty of Ur, attested there between the 44th year of Shulgi (c. 2050 BC) and the 5th year of Amar-Sin (c. 2041 BC).He is the only governor of the city during this time, otherwise poorly known from surviving sources, to be known by name. Though he has also been suggested to have been an independent ruler, this is a minority view, as Assur is not generally regarded to have been independent before the time of Puzur-Ashur I, c. 2025 BC. Under the Sumerian Ur III empire, Assur is generally believed to have formed the northernmost peripheral province. In the ruins of one of the city's temples, dedicated to the goddess Ishtar, an inscription by Zariqum states that he founded a new temple in the city, dedicated to the goddess Bēlat-ekallim (i.e. Ninegal), for the life of Amar-Sin, king of Ur.Zariqum was previously believed to have had a long and wide-spanning career, also having been a military officer and a governor of Susa in Elam, due to the name Zariqum also being attested for contemporary individuals with those positions. Since the Zariqum who governed Susa governed simultaneously with the time Zariqum is attested as the governor of Assur, they cannot be the same person and must instead simply have been contemporary individuals with the same name.
| 1
|
[
"Nam-mahani",
"instance of",
"human"
] |
Inscriptions
Nam-mahani is known from various inscriptions, and especially a macehead dedicated by queen Nininimgina and bearing the name of King Nam-Mahani, to god Kindazi:
𒀭𒃱𒍣 / 𒈗𒀀𒉌 / 𒉆𒋾 / 𒉆𒈤𒉌 / 𒑐𒋼𒋛 / 𒉢𒁓𒆷𒆠𒂠 / 𒎏𒅎𒄀𒈾 / 𒌉𒅗𒆬𒆤 / 𒅇𒉆𒋾𒆷𒉌𒂠 / 𒀀𒈬𒈾𒊒 /𒅆𒁕𒁀 / 𒈗𒈬𒁀𒍣𒄀 / 𒃶𒈠𒁕𒍣𒍣 / 𒈬𒁉dkinda2-zi / lugal-a-ni / nam-ti / nam-mah-ni / ensi2 / lagashKI-ka-she3 / nin-inim-gi-na / dumu ka-ku3-ke4 / u3 nam-ti-la-ni-she3 / a mu-na-ru / shita2-ba / lugal-mu ba-zi-ge / he2-ma-da-zi-zi / mu-bi
"To Kindazi, her king. Nininimgina, daughter of Kaku, donated this on account of the life of Nammahani, ruler of Lagash, and also for her life"
| 0
|
[
"Nam-mahani",
"sex or gender",
"male"
] |
Inscriptions
Nam-mahani is known from various inscriptions, and especially a macehead dedicated by queen Nininimgina and bearing the name of King Nam-Mahani, to god Kindazi:
𒀭𒃱𒍣 / 𒈗𒀀𒉌 / 𒉆𒋾 / 𒉆𒈤𒉌 / 𒑐𒋼𒋛 / 𒉢𒁓𒆷𒆠𒂠 / 𒎏𒅎𒄀𒈾 / 𒌉𒅗𒆬𒆤 / 𒅇𒉆𒋾𒆷𒉌𒂠 / 𒀀𒈬𒈾𒊒 /𒅆𒁕𒁀 / 𒈗𒈬𒁀𒍣𒄀 / 𒃶𒈠𒁕𒍣𒍣 / 𒈬𒁉dkinda2-zi / lugal-a-ni / nam-ti / nam-mah-ni / ensi2 / lagashKI-ka-she3 / nin-inim-gi-na / dumu ka-ku3-ke4 / u3 nam-ti-la-ni-she3 / a mu-na-ru / shita2-ba / lugal-mu ba-zi-ge / he2-ma-da-zi-zi / mu-bi
"To Kindazi, her king. Nininimgina, daughter of Kaku, donated this on account of the life of Nammahani, ruler of Lagash, and also for her life"
| 1
|
[
"Khuwyt",
"instance of",
"human"
] |
Khuwyt (c. 1960 B.C.) was an ancient Egyptian musician who is represented in a decorative painting on the tomb of Antefoker, an Egyptian political official during the Twelfth Dynasty. She and a male musician, identified as the singer Didumin, are depicted side by side, playing harps to entertain Antefoker. She is identified on the north wall of the tomb as "chantress, Khuwyt, daughter of Maket." Their songs are about Hathor, the golden goddess, and about the vizier himself, wishing him life and health.
| 0
|
[
"Khuwyt",
"country of citizenship",
"Egypt"
] |
Khuwyt (c. 1960 B.C.) was an ancient Egyptian musician who is represented in a decorative painting on the tomb of Antefoker, an Egyptian political official during the Twelfth Dynasty. She and a male musician, identified as the singer Didumin, are depicted side by side, playing harps to entertain Antefoker. She is identified on the north wall of the tomb as "chantress, Khuwyt, daughter of Maket." Their songs are about Hathor, the golden goddess, and about the vizier himself, wishing him life and health.
| 1
|
[
"Khuwyt",
"place of birth",
"Ancient Egypt"
] |
Khuwyt (c. 1960 B.C.) was an ancient Egyptian musician who is represented in a decorative painting on the tomb of Antefoker, an Egyptian political official during the Twelfth Dynasty. She and a male musician, identified as the singer Didumin, are depicted side by side, playing harps to entertain Antefoker. She is identified on the north wall of the tomb as "chantress, Khuwyt, daughter of Maket." Their songs are about Hathor, the golden goddess, and about the vizier himself, wishing him life and health.
| 2
|
[
"Khuwyt",
"instrument",
"harp"
] |
Khuwyt (c. 1960 B.C.) was an ancient Egyptian musician who is represented in a decorative painting on the tomb of Antefoker, an Egyptian political official during the Twelfth Dynasty. She and a male musician, identified as the singer Didumin, are depicted side by side, playing harps to entertain Antefoker. She is identified on the north wall of the tomb as "chantress, Khuwyt, daughter of Maket." Their songs are about Hathor, the golden goddess, and about the vizier himself, wishing him life and health.
| 6
|
[
"Khuwyt",
"occupation",
"musician"
] |
Khuwyt (c. 1960 B.C.) was an ancient Egyptian musician who is represented in a decorative painting on the tomb of Antefoker, an Egyptian political official during the Twelfth Dynasty. She and a male musician, identified as the singer Didumin, are depicted side by side, playing harps to entertain Antefoker. She is identified on the north wall of the tomb as "chantress, Khuwyt, daughter of Maket." Their songs are about Hathor, the golden goddess, and about the vizier himself, wishing him life and health.
| 7
|
[
"Khuwyt",
"sex or gender",
"female"
] |
Khuwyt (c. 1960 B.C.) was an ancient Egyptian musician who is represented in a decorative painting on the tomb of Antefoker, an Egyptian political official during the Twelfth Dynasty. She and a male musician, identified as the singer Didumin, are depicted side by side, playing harps to entertain Antefoker. She is identified on the north wall of the tomb as "chantress, Khuwyt, daughter of Maket." Their songs are about Hathor, the golden goddess, and about the vizier himself, wishing him life and health.
| 8
|
[
"Sobekhotep (treasurer)",
"instance of",
"human"
] |
Sobekhotep was an ancient Egyptian treasurer in office under king Senusret I, around 1950 BC. The treasurer was one of the leading officials at the royal court, responsible for supplying the palace with all kinds of goods. Sobekhotep is only attested in a rock inscription in Hatnub in Middle Egypt where alabaster was quarried. The inscription dates to year 22 of the reign of Senusret I. Next to title treasurer, Sobekhotep bears the titles royal sealer and sole friend. His successor in office was perhaps Mentuhotep.
| 0
|
[
"Sobekhotep (treasurer)",
"time period",
"Ancient Egypt"
] |
Sobekhotep was an ancient Egyptian treasurer in office under king Senusret I, around 1950 BC. The treasurer was one of the leading officials at the royal court, responsible for supplying the palace with all kinds of goods. Sobekhotep is only attested in a rock inscription in Hatnub in Middle Egypt where alabaster was quarried. The inscription dates to year 22 of the reign of Senusret I. Next to title treasurer, Sobekhotep bears the titles royal sealer and sole friend. His successor in office was perhaps Mentuhotep.
| 2
|
[
"Kudur-Mabuk",
"child",
"Rim-Sin I"
] |
Kudur-Mabuk was a ruler in the ancient Near East city-state
of Larsa from 1770 BC to 1754 BC. His sons Warad-Sin and
Rim-Sin I were kings of Larsa. His daughter En-ane-du was high
priestess of the moon god in Ur.
| 1
|
[
"Kudur-Mabuk",
"child",
"Warad-Sin"
] |
Kudur-Mabuk was a ruler in the ancient Near East city-state
of Larsa from 1770 BC to 1754 BC. His sons Warad-Sin and
Rim-Sin I were kings of Larsa. His daughter En-ane-du was high
priestess of the moon god in Ur.
| 3
|
[
"Ikunum",
"country of citizenship",
"Assyrian Empire"
] |
Ikunum (Akkadian: 𒄿𒆪𒉡𒌝, romanized: I-ku-nu-um) was a king of Assyria c. 1934–1921 BC and the son of Ilushuma. He built a temple for the god Ninkigal. He strengthened the fortifications of the city of Assur and maintained commercial colonies in Asia Minor. The following is a list of the sixteen annually-elected limmu officials from the year of accession of Ikunum until the year of his death.
1934 BC Buzi son of Adad-rabi
1933 BC Šuli son of Šalmah
1932 BC Iddin-Suen son of Šalmah
1931 BC Ikunum son of Šudaya
1930 BC Dan-Wer son of Ahu-ahi
1929 BC Šu-Anum from Nerabtim
1928 BC Il-massu son of Aššur-ṭab
1927 BC Šu-Hubur son of Šuli
1926 BC Idua son of Ṣulili
1925 BC Laqip son of Puzur-Laba
1924 BC Šu-Anum the hapirum
1923 BC Uku son of Bila
1922 BC Aššur-malik son of Panaka
1921 BC Dan-Aššur son of Puzur-Wer
| 1
|
[
"Ikunum",
"father",
"Ilu-shuma"
] |
Ikunum (Akkadian: 𒄿𒆪𒉡𒌝, romanized: I-ku-nu-um) was a king of Assyria c. 1934–1921 BC and the son of Ilushuma. He built a temple for the god Ninkigal. He strengthened the fortifications of the city of Assur and maintained commercial colonies in Asia Minor. The following is a list of the sixteen annually-elected limmu officials from the year of accession of Ikunum until the year of his death.
1934 BC Buzi son of Adad-rabi
1933 BC Šuli son of Šalmah
1932 BC Iddin-Suen son of Šalmah
1931 BC Ikunum son of Šudaya
1930 BC Dan-Wer son of Ahu-ahi
1929 BC Šu-Anum from Nerabtim
1928 BC Il-massu son of Aššur-ṭab
1927 BC Šu-Hubur son of Šuli
1926 BC Idua son of Ṣulili
1925 BC Laqip son of Puzur-Laba
1924 BC Šu-Anum the hapirum
1923 BC Uku son of Bila
1922 BC Aššur-malik son of Panaka
1921 BC Dan-Aššur son of Puzur-Wer
| 3
|
[
"Ikunum",
"position held",
"King of Assyria"
] |
Ikunum (Akkadian: 𒄿𒆪𒉡𒌝, romanized: I-ku-nu-um) was a king of Assyria c. 1934–1921 BC and the son of Ilushuma. He built a temple for the god Ninkigal. He strengthened the fortifications of the city of Assur and maintained commercial colonies in Asia Minor. The following is a list of the sixteen annually-elected limmu officials from the year of accession of Ikunum until the year of his death.
1934 BC Buzi son of Adad-rabi
1933 BC Šuli son of Šalmah
1932 BC Iddin-Suen son of Šalmah
1931 BC Ikunum son of Šudaya
1930 BC Dan-Wer son of Ahu-ahi
1929 BC Šu-Anum from Nerabtim
1928 BC Il-massu son of Aššur-ṭab
1927 BC Šu-Hubur son of Šuli
1926 BC Idua son of Ṣulili
1925 BC Laqip son of Puzur-Laba
1924 BC Šu-Anum the hapirum
1923 BC Uku son of Bila
1922 BC Aššur-malik son of Panaka
1921 BC Dan-Aššur son of Puzur-Wer
| 5
|
[
"Yarim-Lim III",
"instance of",
"human"
] |
Yarim-Lim III (reigned c. Middle 17th century BC - c. 1625 BC - Middle chronology) was the king of Yamhad (Halab) succeeding Hammurabi II.Reign
Yarim-Lim ascended the throne at a time of internal disintegration for Yamhad, combined with foreign threats represented with the rise of the Hittites. He was either the son of Niqmi-Epuh or Irkabtum.
| 0
|
[
"Yarim-Lim III",
"father",
"Niqmi-Epuh"
] |
Reign
Yarim-Lim ascended the throne at a time of internal disintegration for Yamhad, combined with foreign threats represented with the rise of the Hittites. He was either the son of Niqmi-Epuh or Irkabtum.
| 1
|
[
"Belassunu",
"instance of",
"human"
] |
History
Belassunu was the daughter of Samu-addu, King of Karana, perhaps by his wife Ama-duga, and she was sister to Queen Iltani, wife of the usurper King Aqba-Hammu. Details of Belassunu's life are known from surviving letters from the former royal archive at Tell-el-Rimah. She was the wife of Abdu-Suri to whom she bore children. The assertion that Belassunu had been a secondary wife to Zimrilim, king of Mari has now been proved incorrect.
While residing in the city of Karana she was the recipient of royal rations of meat and oil, and she paid visits to the cities of Mari and Andariq. Eventually she retired to her father's court at Karana, being escorted there under the protection of her brother-in-law Aqba-Hammu.
| 0
|
[
"Belassunu",
"noble title",
"princess"
] |
Belassunu (fl. c. 1780–1770 BC) was an Assyrian princess of Karana (modern day Tell al-Rimah).History
Belassunu was the daughter of Samu-addu, King of Karana, perhaps by his wife Ama-duga, and she was sister to Queen Iltani, wife of the usurper King Aqba-Hammu. Details of Belassunu's life are known from surviving letters from the former royal archive at Tell-el-Rimah. She was the wife of Abdu-Suri to whom she bore children. The assertion that Belassunu had been a secondary wife to Zimrilim, king of Mari has now been proved incorrect.
While residing in the city of Karana she was the recipient of royal rations of meat and oil, and she paid visits to the cities of Mari and Andariq. Eventually she retired to her father's court at Karana, being escorted there under the protection of her brother-in-law Aqba-Hammu.
| 1
|
[
"Belassunu",
"sibling",
"Iltani"
] |
History
Belassunu was the daughter of Samu-addu, King of Karana, perhaps by his wife Ama-duga, and she was sister to Queen Iltani, wife of the usurper King Aqba-Hammu. Details of Belassunu's life are known from surviving letters from the former royal archive at Tell-el-Rimah. She was the wife of Abdu-Suri to whom she bore children. The assertion that Belassunu had been a secondary wife to Zimrilim, king of Mari has now been proved incorrect.
While residing in the city of Karana she was the recipient of royal rations of meat and oil, and she paid visits to the cities of Mari and Andariq. Eventually she retired to her father's court at Karana, being escorted there under the protection of her brother-in-law Aqba-Hammu.
| 2
|
[
"Sewadjkare",
"time period",
"Ancient Egypt"
] |
Evidence
No contemporary attestation of Sewadjkare survives to this day and this pharaoh is only known to us thanks to the Turin canon. This king list was redacted during the early Ramesside period from older documents and serves as the primary source for kings of the Second Intermediate Period.
Sewadjkare's name appears on the 7th column, 13th line of the papyrus.
| 1
|
[
"Sewadjkare",
"position held",
"pharaoh"
] |
Sewadjkare (more exactly Sewadjkare I) was an Egyptian pharaoh of the 13th Dynasty during the early Second Intermediate Period. According to Egyptologists Kim Ryholt and Darrell Baker he was the eleventh ruler of the dynasty, reigning for a short time c. 1781 BC. Alternatively, Thomas Schneider, Detlef Franke and Jürgen von Beckerath see him as the tenth king of the 13th Dynasty, with Schneider placing his reign at c. 1737 BC.Evidence
No contemporary attestation of Sewadjkare survives to this day and this pharaoh is only known to us thanks to the Turin canon. This king list was redacted during the early Ramesside period from older documents and serves as the primary source for kings of the Second Intermediate Period.
Sewadjkare's name appears on the 7th column, 13th line of the papyrus.Identity
Sewadjkare should not be confused with two other pharaohs bearing the same prenomen, and who reigned later in the Second Intermediate Period. Sewadjkare Hori II, also known as Hori II, reigned at the very end of the 13th Dynasty, from c. 1669 until 1664 BC. The other ruler with the same prenomen is Sewadjkare III of the 14th Dynasty, who is also known only thanks to the Turin canon. Sewadjkare III reigned for a short while, some time between c. 1699 and 1694 BC.
| 2
|
[
"Sewadjkare",
"noble title",
"pharaoh"
] |
Sewadjkare (more exactly Sewadjkare I) was an Egyptian pharaoh of the 13th Dynasty during the early Second Intermediate Period. According to Egyptologists Kim Ryholt and Darrell Baker he was the eleventh ruler of the dynasty, reigning for a short time c. 1781 BC. Alternatively, Thomas Schneider, Detlef Franke and Jürgen von Beckerath see him as the tenth king of the 13th Dynasty, with Schneider placing his reign at c. 1737 BC.Identity
Sewadjkare should not be confused with two other pharaohs bearing the same prenomen, and who reigned later in the Second Intermediate Period. Sewadjkare Hori II, also known as Hori II, reigned at the very end of the 13th Dynasty, from c. 1669 until 1664 BC. The other ruler with the same prenomen is Sewadjkare III of the 14th Dynasty, who is also known only thanks to the Turin canon. Sewadjkare III reigned for a short while, some time between c. 1699 and 1694 BC.
| 3
|
[
"Rimush of Assyria",
"country of citizenship",
"Assyrian Empire"
] |
Rimush or Rīmu[š], inscribed mri-mu-u[š] on the only variant List of Assyrian kings on which he appears, was the ruler of Assyria or perhaps just the part centered on Ekallatum, a successor to and probably a descendant of Shamshi-Adad I, although the exact relationship is uncertain. He reigned sometime during the middle of the 18th century BC.
| 1
|
[
"Seheqenre Sankhptahi",
"noble title",
"pharaoh"
] |
Seheqenre Sankhptahi was a pharaoh of the late 13th Dynasty, possibly the fifty-fourth or fifty-fifth king of this dynasty. He most likely reigned for a short period over the Memphite region during the mid-17th century BC, some time between 1663 BC and 1649 BC.Attestions
Pharaoh Seheqenre Sankhptahi is named and represented on the stele of royal sealer and overseer of sealers Nebsumenu dating to Year One of his reign. The origin of the stele is not known for certain—the stele was acquired in 1999 by the National Archaeological Museum of Spain from a private collector. However, Kim Ryholt notes that it depicts Sankhptahi offering oil to the god Ptah "He who is south of his wall" (rsy-snb=f) and to Anubis "Lord of bandagers" (nb wtyw), both of which are epithets from the Memphite region. Ryholt concludes that Seheqenre Sankhptahi probably reigned over Memphis and thus belongs to the 13th dynasty, which had control over the region at the time. Furthermore, Ryholt suggests that Sankhptahi may himself have been born in Memphis, as indicated by his theophorous name based on Ptah, the god of the city.
| 3
|
[
"Mersekhemre Ined",
"time period",
"Ancient Egypt"
] |
Mersekhemre Ined was a pharaoh of the late 13th Dynasty, possibly the thirty-fifth king of this dynasty. As such he would have reigned from Memphis over Middle and Upper Egypt for a short time either during the early or mid-17th century, from 1672 until 1669 BC or from 1651 until 1648 BC. He may be the same king as Mersekhemre Neferhotep II.
| 1
|
[
"Mersekhemre Ined",
"noble title",
"pharaoh"
] |
Mersekhemre Ined was a pharaoh of the late 13th Dynasty, possibly the thirty-fifth king of this dynasty. As such he would have reigned from Memphis over Middle and Upper Egypt for a short time either during the early or mid-17th century, from 1672 until 1669 BC or from 1651 until 1648 BC. He may be the same king as Mersekhemre Neferhotep II.
| 3
|
[
"Dedumose I",
"position held",
"pharaoh"
] |
Djedhotepre Dedumose I was an Egyptian pharaoh of the Second Intermediate Period. According to egyptologists Kim Ryholt, Darrell Baker, Aidan Dodson and Dyan Hilton, he was a king of the 16th Dynasty. Alternatively, Jürgen von Beckerath, Thomas Schneider and Detlef Franke see him as a king of the 13th Dynasty.
| 1
|
[
"Dedumose I",
"noble title",
"pharaoh"
] |
Djedhotepre Dedumose I was an Egyptian pharaoh of the Second Intermediate Period. According to egyptologists Kim Ryholt, Darrell Baker, Aidan Dodson and Dyan Hilton, he was a king of the 16th Dynasty. Alternatively, Jürgen von Beckerath, Thomas Schneider and Detlef Franke see him as a king of the 13th Dynasty.
| 2
|
[
"Seqenenre Tao",
"instance of",
"human"
] |
Seqenenre Tao (also Seqenera Djehuty-aa or Sekenenra Taa, called 'the Brave') ruled over the last of the local kingdoms of the Theban region of Egypt in the Seventeenth Dynasty during the Second Intermediate Period. He probably was the son and successor to Senakhtenre Ahmose and Queen Tetisheri. The dates of his reign are uncertain, but he may have risen to power in the decade ending in 1560 BC or in 1558 BC (based on the probable accession date of his son, Ahmose I, the first ruler of the Eighteenth Dynasty, see Egyptian chronology). With his queen, Ahhotep I, Seqenenre Tao fathered two pharaohs, Kamose, his immediate successor who was the last pharaoh of the Seventeenth Dynasty, and Ahmose I who, following a regency by his mother, was the first pharaoh of the Eighteenth. Seqenenre Tao is credited with starting the opening moves in a war of revanchism against Hyksos incursions into Egypt, which saw the country completely liberated during the reign of his son Ahmose I.
| 0
|
[
"Seqenenre Tao",
"child",
"Ahmose I"
] |
Seqenenre Tao (also Seqenera Djehuty-aa or Sekenenra Taa, called 'the Brave') ruled over the last of the local kingdoms of the Theban region of Egypt in the Seventeenth Dynasty during the Second Intermediate Period. He probably was the son and successor to Senakhtenre Ahmose and Queen Tetisheri. The dates of his reign are uncertain, but he may have risen to power in the decade ending in 1560 BC or in 1558 BC (based on the probable accession date of his son, Ahmose I, the first ruler of the Eighteenth Dynasty, see Egyptian chronology). With his queen, Ahhotep I, Seqenenre Tao fathered two pharaohs, Kamose, his immediate successor who was the last pharaoh of the Seventeenth Dynasty, and Ahmose I who, following a regency by his mother, was the first pharaoh of the Eighteenth. Seqenenre Tao is credited with starting the opening moves in a war of revanchism against Hyksos incursions into Egypt, which saw the country completely liberated during the reign of his son Ahmose I.
| 2
|
[
"Seqenenre Tao",
"noble title",
"pharaoh"
] |
Seqenenre Tao (also Seqenera Djehuty-aa or Sekenenra Taa, called 'the Brave') ruled over the last of the local kingdoms of the Theban region of Egypt in the Seventeenth Dynasty during the Second Intermediate Period. He probably was the son and successor to Senakhtenre Ahmose and Queen Tetisheri. The dates of his reign are uncertain, but he may have risen to power in the decade ending in 1560 BC or in 1558 BC (based on the probable accession date of his son, Ahmose I, the first ruler of the Eighteenth Dynasty, see Egyptian chronology). With his queen, Ahhotep I, Seqenenre Tao fathered two pharaohs, Kamose, his immediate successor who was the last pharaoh of the Seventeenth Dynasty, and Ahmose I who, following a regency by his mother, was the first pharaoh of the Eighteenth. Seqenenre Tao is credited with starting the opening moves in a war of revanchism against Hyksos incursions into Egypt, which saw the country completely liberated during the reign of his son Ahmose I.
| 5
|
[
"Seqenenre Tao",
"father",
"Senakhtenre Ahmose"
] |
Seqenenre Tao (also Seqenera Djehuty-aa or Sekenenra Taa, called 'the Brave') ruled over the last of the local kingdoms of the Theban region of Egypt in the Seventeenth Dynasty during the Second Intermediate Period. He probably was the son and successor to Senakhtenre Ahmose and Queen Tetisheri. The dates of his reign are uncertain, but he may have risen to power in the decade ending in 1560 BC or in 1558 BC (based on the probable accession date of his son, Ahmose I, the first ruler of the Eighteenth Dynasty, see Egyptian chronology). With his queen, Ahhotep I, Seqenenre Tao fathered two pharaohs, Kamose, his immediate successor who was the last pharaoh of the Seventeenth Dynasty, and Ahmose I who, following a regency by his mother, was the first pharaoh of the Eighteenth. Seqenenre Tao is credited with starting the opening moves in a war of revanchism against Hyksos incursions into Egypt, which saw the country completely liberated during the reign of his son Ahmose I.
| 7
|
[
"Seqenenre Tao",
"spouse",
"Ahhotep I"
] |
Seqenenre Tao (also Seqenera Djehuty-aa or Sekenenra Taa, called 'the Brave') ruled over the last of the local kingdoms of the Theban region of Egypt in the Seventeenth Dynasty during the Second Intermediate Period. He probably was the son and successor to Senakhtenre Ahmose and Queen Tetisheri. The dates of his reign are uncertain, but he may have risen to power in the decade ending in 1560 BC or in 1558 BC (based on the probable accession date of his son, Ahmose I, the first ruler of the Eighteenth Dynasty, see Egyptian chronology). With his queen, Ahhotep I, Seqenenre Tao fathered two pharaohs, Kamose, his immediate successor who was the last pharaoh of the Seventeenth Dynasty, and Ahmose I who, following a regency by his mother, was the first pharaoh of the Eighteenth. Seqenenre Tao is credited with starting the opening moves in a war of revanchism against Hyksos incursions into Egypt, which saw the country completely liberated during the reign of his son Ahmose I.Reign
New Kingdom literary tradition states that Seqenenre Tao came into contact with his Hyksos contemporary in the north, Apepi or Apophis. The tradition took the form of a tale, nowadays called "The Quarrel of Apophis and Seqenenre", in which the Hyksos king Apepi sent a messenger to Seqenenre in Thebes to demand that the Theban hippopotamus pool be done away with, for the noise of these beasts was such that he was unable to sleep in far-away Avaris. Perhaps the only historical information that can be gleaned from the tale is that Egypt was a divided land, the area of direct Hyksos control being in the north, but the whole of Egypt paying tribute to the Hyksos kings.
Seqenenre Tao participated in active diplomatic posturing, which went beyond simply exchanging insults with the Asiatic ruler in the North. He seems to have led military skirmishes against the Hyksos and, judging from the vicious head wounds on his mummy in the Egyptian Museum in Cairo, may have died during one of them.His son and successor Wadjkheperre Kamose, the last ruler of the Seventeenth Dynasty at Thebes, is credited with launching a successful campaign in the Theban war of liberation against the Hyksos, although he is thought to have died in the campaign. His mother, Ahhotep I, is thought to have ruled as regent after the death of Kamose and continued the warfare against the Hyksos until Ahmose I, the second son of Seqenenre Tao and Ahhotep I, was old enough to assume the throne and complete the expulsion of the Hyksos and the unification of Egypt.
| 9
|
[
"Seqenenre Tao",
"child",
"Ahmose"
] |
Seqenenre Tao (also Seqenera Djehuty-aa or Sekenenra Taa, called 'the Brave') ruled over the last of the local kingdoms of the Theban region of Egypt in the Seventeenth Dynasty during the Second Intermediate Period. He probably was the son and successor to Senakhtenre Ahmose and Queen Tetisheri. The dates of his reign are uncertain, but he may have risen to power in the decade ending in 1560 BC or in 1558 BC (based on the probable accession date of his son, Ahmose I, the first ruler of the Eighteenth Dynasty, see Egyptian chronology). With his queen, Ahhotep I, Seqenenre Tao fathered two pharaohs, Kamose, his immediate successor who was the last pharaoh of the Seventeenth Dynasty, and Ahmose I who, following a regency by his mother, was the first pharaoh of the Eighteenth. Seqenenre Tao is credited with starting the opening moves in a war of revanchism against Hyksos incursions into Egypt, which saw the country completely liberated during the reign of his son Ahmose I.
| 12
|
[
"Seqenenre Tao",
"place of burial",
"Deir el-Bahari"
] |
Mummy
Seqenenre's mummy was discovered in the Deir el-Bahri cache, revealed in 1881. He was interred along with those of later, Eighteenth and Nineteenth Dynasty leaders, Ahmose I (his second son to be pharaoh), Amenhotep I, Thutmose I, Thutmose II, Thutmose III, Ramesses I, Seti I, Ramesses II, and Ramesses IX.
The mummy was unwrapped by Eugène Grébaut when Professor Gaston Maspero resigned his office of directorship on June 5, 1886, and was succeeded in the superintendency of excavations and Egyptian archeology by M. Eugene Grebault. In the same month Grebault started upon the work of unbandaging the mummy of Seqenenre, of the eighteenth dynasty. It was under this monarch that a revolt against the Hyksos had originated, in the course of which the Asiatics were expelled from Egypt. The history of this king had been considered legendary, but from the signs of wounds present in the mummy, it looked likely that he had died in battle. In the same season the mummy of Seti I was unbandaged, and also that of an anonymous prince.A vivid description provides an account of the injury that was done to the pharaoh at his death:
| 15
|
[
"Seqenenre Tao",
"family",
"Seventeenth Dynasty of Egypt"
] |
Reign
New Kingdom literary tradition states that Seqenenre Tao came into contact with his Hyksos contemporary in the north, Apepi or Apophis. The tradition took the form of a tale, nowadays called "The Quarrel of Apophis and Seqenenre", in which the Hyksos king Apepi sent a messenger to Seqenenre in Thebes to demand that the Theban hippopotamus pool be done away with, for the noise of these beasts was such that he was unable to sleep in far-away Avaris. Perhaps the only historical information that can be gleaned from the tale is that Egypt was a divided land, the area of direct Hyksos control being in the north, but the whole of Egypt paying tribute to the Hyksos kings.
Seqenenre Tao participated in active diplomatic posturing, which went beyond simply exchanging insults with the Asiatic ruler in the North. He seems to have led military skirmishes against the Hyksos and, judging from the vicious head wounds on his mummy in the Egyptian Museum in Cairo, may have died during one of them.His son and successor Wadjkheperre Kamose, the last ruler of the Seventeenth Dynasty at Thebes, is credited with launching a successful campaign in the Theban war of liberation against the Hyksos, although he is thought to have died in the campaign. His mother, Ahhotep I, is thought to have ruled as regent after the death of Kamose and continued the warfare against the Hyksos until Ahmose I, the second son of Seqenenre Tao and Ahhotep I, was old enough to assume the throne and complete the expulsion of the Hyksos and the unification of Egypt.
| 23
|
[
"Nubkheperre Intef",
"instance of",
"human"
] |
Nubkheperre Intef (or Antef, Inyotef, sometimes referred to as Intef VI) was an Egyptian king of the Seventeenth Dynasty of Egypt at Thebes during the Second Intermediate Period, when Egypt was divided by rival dynasties including the Hyksos in Lower Egypt.Rise to power
He is known to be the brother of Sekhemre-Wepmaat Intef—and this king's immediate successor—since he donated Louvre Coffin E3019 for this king's burial which bears an inscription that it was donated for king Sekhemre Wepmaat Intef "as that which his brother, king Antef (Nubkheperre Intef here) gives", notes Kim Ryholt. As the German scholar Thomas Schneider writes in the 2006 book Ancient Egyptian Chronology (Handbook of Oriental Studies):
| 0
|
[
"Nubkheperre Intef",
"country of citizenship",
"Ancient Egypt"
] |
Nubkheperre Intef (or Antef, Inyotef, sometimes referred to as Intef VI) was an Egyptian king of the Seventeenth Dynasty of Egypt at Thebes during the Second Intermediate Period, when Egypt was divided by rival dynasties including the Hyksos in Lower Egypt.Rise to power
He is known to be the brother of Sekhemre-Wepmaat Intef—and this king's immediate successor—since he donated Louvre Coffin E3019 for this king's burial which bears an inscription that it was donated for king Sekhemre Wepmaat Intef "as that which his brother, king Antef (Nubkheperre Intef here) gives", notes Kim Ryholt. As the German scholar Thomas Schneider writes in the 2006 book Ancient Egyptian Chronology (Handbook of Oriental Studies):
| 1
|
[
"Nubkheperre Intef",
"sibling",
"Sekhemre-Wepmaat Intef"
] |
Rise to power
He is known to be the brother of Sekhemre-Wepmaat Intef—and this king's immediate successor—since he donated Louvre Coffin E3019 for this king's burial which bears an inscription that it was donated for king Sekhemre Wepmaat Intef "as that which his brother, king Antef (Nubkheperre Intef here) gives", notes Kim Ryholt. As the German scholar Thomas Schneider writes in the 2006 book Ancient Egyptian Chronology (Handbook of Oriental Studies):Intef's father
Nubkheperre Intef and, by implication, his brother Sekhemre Wepmaat Intef, were probably the sons of Sekhemre Shedtawy Sobekemsaf (Sobekemsaf II today) on the basis of inscriptions found on a doorjamb discovered in the remains of a 17th Dynasty temple at Gebel-Antef on the Luxor-Farshut road. The British Egyptologist Aidan Dodson also endorses Ryholt's interpretation of the doorjamb's text and writes:
| 6
|
[
"Nubkheperre Intef",
"family",
"Seventeenth Dynasty of Egypt"
] |
Nubkheperre Intef (or Antef, Inyotef, sometimes referred to as Intef VI) was an Egyptian king of the Seventeenth Dynasty of Egypt at Thebes during the Second Intermediate Period, when Egypt was divided by rival dynasties including the Hyksos in Lower Egypt.
| 7
|
[
"Nubkheperre Intef",
"father",
"Sobekemsaf II"
] |
Intef's father
Nubkheperre Intef and, by implication, his brother Sekhemre Wepmaat Intef, were probably the sons of Sekhemre Shedtawy Sobekemsaf (Sobekemsaf II today) on the basis of inscriptions found on a doorjamb discovered in the remains of a 17th Dynasty temple at Gebel-Antef on the Luxor-Farshut road. The British Egyptologist Aidan Dodson also endorses Ryholt's interpretation of the doorjamb's text and writes:
| 9
|
[
"Nubkheperre Intef",
"different from",
"Sekhemre-Heruhirmaat Intef"
] |
Rise to power
He is known to be the brother of Sekhemre-Wepmaat Intef—and this king's immediate successor—since he donated Louvre Coffin E3019 for this king's burial which bears an inscription that it was donated for king Sekhemre Wepmaat Intef "as that which his brother, king Antef (Nubkheperre Intef here) gives", notes Kim Ryholt. As the German scholar Thomas Schneider writes in the 2006 book Ancient Egyptian Chronology (Handbook of Oriental Studies):From the legend on the coffin Louvre E 3019 (Sekhemre-Wepmaat's coffin), it follows that Inyotef Nebukheperre'...arranged the burial of his brother Inyotef Sekhemre'-upimaat...and must have therefore have followed him on the throne. In his Untersuchungen, Beckerath had viewed Inyotef Sekhemre'-upimaat (VI) and Inyotef Sekhemre-herhermaat (VII) as brothers, whereas he had separated Inyotef Nebukheperre' (VI; coffin BM 6652) from them as a king he considered not necessarily related to them, placing him at the beginning of the dynasty. Ryholt equally bases his arguments upon a consistent paleographic peculiarity (the Pleneschreibung of "j") in the case of the coffin of Inyotef Sekhemre-herhermaat. where only Nubkheperre Intef's nomen contained a reed-leaf of all the three Intef kings."Ryholt does...introduce the new "Desert Roads" evidence from the Darnells' survey to show that Nubkheperrre Inyotef (dubbed by Ryholt "Inyotef N") was a son of [Sekhemre-shedtawi] Sobekemsaf, thus providing a key genealogical link within the [17th] dynasty.The German Egyptologist Daniel Polz, who discovered this king's tomb in 2001, also studied the same doorjamb and reached a similar conclusion in a 2007 German language book. An association between Nubkheperre Intef and a king Sobekemsaf is also indicated by the discovery of a doorframe fragment by John and Deborah Darnell in the early 1990s which preserved part of an inscription naming a king Intef ahead of a king Sobekemsaf; the hieroglyphic spelling of the king Intef here was that used only by Nubkheperre. Unfortunately, not enough of the inscription was uncovered to reveal the nature of the relationship with any certainty here—or which king Sobekemsaf was intended. Nubkheperre Intef is sometimes referred to as Intef VII, in other sources as Intef VI, and even as Intef V.Nubkheperre Intef ruled from Thebes, and was buried in a tomb in the necropolis of Dra' Abu el-Naga'. The grave was originally covered with a small pyramid (approximately 11 m at the base, rising to a height of approx. 13 m.) Auguste Mariette found two broken obelisks with complete Fivefold Titulary, which was then subsequently lost when being transported to the Cairo Museum.
King Intef's wife was Sobekemsaf, who perhaps came from a local family based at Edfu. On an Abydos stela mentioning a building of the king are the words king's son, head of the bowmen Nakht.
| 10
|
[
"Sekhemre Shedwast",
"noble title",
"pharaoh"
] |
Sekhemre Shedwast (also Sekhemreshedwaset) was a native ancient Egyptian pharaoh of the 16th Theban Dynasty during the Second Intermediate Period.His throne name Sekhemre Shedwast, translates literally as "the Might of Re which rescues Thebes", while his personal name is unknown. Sekhemre Shedwast is unattested outside the Turin King List, where he appears as the successor of king Bebiankh.It has been suggested, but not universally accepted, that Sekhemre Shedwast may be identical to Sekhemre Shedtawy Sobekemsaf II, since their throne names are similar. If so, he may have been married to queen Nubkhaes II and they may have had a son named Sekhemre-Wepmaat Intef.
| 7
|
[
"Indilimma",
"residence",
"Ebla"
] |
Indilimma, previously read Indilimgur, was likely the last king of Ebla, in modern Syria, reigning around 1600 BCE.Reign
Indilimma was the son of Sir-Damu according to a seal of his discovered in Cilicia. He is also known from several jars bearing the impression of a cylinder seal of his son, the crown prince Maratewari. The seal impressions are of high quality and show inspirations from the art of the kingdom of Yamhad. On the seals, Indilimma's son is depicted while receiving life (in the form of an ancient Egyptian ankh symbol) by the Yamhadite deities Hadad and Hebat.
The fact that these jars were found within the archaeological context of the final destruction of Ebla, which occurred around 1600 BCE by the hands of the Hittite king Mursili I, suggested to Paolo Matthiae that Maratewari had no time to become king and that his father Indilimma was indeed the last ruler of palaeosyrian Ebla. Alfonso Archi argued that Maratewari (whose name reading is not certain and Archi gives it as Memal...arri) was the last king and noted that Maratewari was not mentioned as king on his seal but neither was Indilimma on his seal from Cilicia. For Archi, the lack of the royal title does not mean that both father and son were not kings, but it is just a sign of subordination to Yamhad, the hegemonic kingdom of Northern Syria during the seventeenth century BCE. Indilimma's name also appears on a legal document found in the western palace at Ebla.
| 1
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