An epigrapher's copy shows the wall as it is. An edition goes one step further: it gives the text in transliteration or translation, with the editor's restorations, and it uses brackets to show the reader exactly what is on the stone and what the editor supplied.
Key idea
Why it works
| Mark | Meaning | Example |
|---|---|---|
| [ ] | lost; restored by the editor | an offering that the king gives [to Osiris] |
| ⸢ ⸣ | damaged, but traces are visible | ⸢lord⸣ of Abydos |
| ⟨ ⟩ | left out by the scribe; added by the editor | that he may give ⟨bread⟩ and beer |
| { } | written by the scribe in error; to be ignored | to the spirit {spirit} of the official |
| […] | lost; not restored | the official […] |
These marks come from the conventions agreed by classical scholars at Leiden in 1931, which editors of Greek, Latin and Egyptian texts adapted. Details vary between editions, so check the key at the front of any edition you use.
Worked example: Reading an edited line
- "to Anubis" is in square brackets: it is lost and restored.
- "he who is upon" is in half brackets: damaged, but traces are visible.
- "bread and" is in angle brackets: the scribe never carved it; the editor added it.
- Fully certain: "an offering that the king gives", "his mountain", "that he may give" and "beer".
Answer: Only the unbracketed words are fully on the stone.
Worked example: Building on a restoration
- Square brackets mean the name is restored, not seen.
- The restoration may be good (Anubis often follows "the king gives" in this formula), but Osiris is just as common.
- An argument resting only on a restoration is weak until other evidence supports it.
Answer: Weak: it rests on a restoration.
Common mistake