Ir qiet em pa ankh, Nefer sou emem naï hesout, Iryet as, ben sou dy ! Areq inek paï, meroutet, itjes oui
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Hieroglyphs poem, translated by Serge Rosmorduc (Paris 8 university)


A nice translation into hieroglyphs (era Ramses II) of the poem the mirror by Serge Rosmorduc university Paris VIII.


The literal translation:


Quant à ton image dans le miroir,

C'est beau parmi mes poèmes,

Agis vite, elle n'est plus là !

C'est mon dernier ton amour m'a saisi.


The biggest difficulty being to return I love you, it preferred to use an originating periphrasis of love songs.


A vague idea of the pronunciation:

Ir qiet em pa ankh,

Nefer sou emem naï hesout,

Iryet as, ben sou dy !

Areq inek paï, meroutet, itjes oui

(How someone can imagine how the egyptians spoke in these old period .. I do not know!). A love poem translated into these nice egyptian glyphs, is I think, something new ... And this is certainly the first poem in the world translated into hieroglyphs! The hieroglyphic writing appears towards -3200 and the last inscription found date from +394. It was not really invented until the day, or according to the principle of the rebus, it was decided to represent by the same sign two words of different meanings but of identical pronunciation. The phonograms are chosen among the ideograms but are now used not for their visual evocation value but for their phonetic value. Words are written in sequence without separating them, and when you want to read them, animated characters indicate the way of the reading which can be left, right, left, top down, bottom high. Long remained mysterious, Champollion was the first to understand the meaning of hieroglyphic writing. The detailed examination of the Rosetta stone, a decree in honor of Ptolemy, written in Egyptian (demotic version, and hieroglyphic version) and in Greek, allows him with the certainty of proper names to isolate a sure foundation to initiate its Deciphering (1822). The hieroglyphics were not regarded by the Egyptians as simple motionless drawings. According to their beliefs, every sculptured or drawn form could be magically animated, each sign thus being a virtual, potential envelope of life. That is why, from the "texts of the pyramids", certain signs such as the serpent, the crocodile, which might eventually become dangerous, were cut in two by the sculptor: the meaning of the word remained, but the sign became harmless. We can better understand why the scribes who were an elite corps, because they possessed a science whose consequences could eventually prove redoubtable.
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