Warner Charles Dudley
My Winter on the Nile
The donkey-boy pulls the strings of pathos for his backsheesh, having no beauty to use; he says, “Father and mother all dead.” Seems to have belonged to a harem.
Before we can gain space or quiet either to examine or enjoy a temple, we have to free ourselves of a crowd of adhesive men, boys, and girls, who press upon us their curiosities, relics of the dead, whose only value is their antiquity. The price of these relics is of course wholly “fancy,” and I presume that Thebes, where the influence of the antique is most strong, is the best market in the world for these trifles; and that however cheaply they may be bought here, they fetch a better price than they would elsewhere.
I suppose if I were to stand in Broadway and offer passers-by such a mummy’s hand as this which is now pressed upon my notice, I could scarcely give it away. This hand has been “doctored” to sell; the present owner has re-wrapped its bitumen-soaked flesh in mummy-cloth, and partially concealed three rings on the fingers. Of course the hand is old and the cheap rings are new. It is pleasant to think of these merchants in dried flesh prowling about among the dead, selecting a limb here and there that they think will decorate well, and tricking out with cheap jewelry these mortal fragments. This hand, which the rascal has chosen, is small, and may have been a source of pride to its owner long ago; somebody else may have been fond of it, though even he—the lover—would not care to hold it long now. A pretty little hand; I suppose it has in its better days given many a caress and love-pat, and many a slap in the face; belonged to one of the people, or it would not have been found in a common mummy-pit; perhaps the hand of a sweet water-bearer like Fatimeh, perhaps of some slave-girl whose fatal beauty threw her into the drag-net that the Pharaohs occasionally cast along the Upper Nile—slave-hunting raids that appear on the monuments as great military achievements. This hand, naked, supple, dimpled, henna-tipped, may have been offered for nothing once; there are wanted for it four piastres now, rings and all. A dear little hand!
Great quantities of antique beads are offered us in strings, to one end of which is usually tied a small image of Osiris, or the winged sun, or the scarabæus with wings. The inexhaustible supply of these beads and images leads many to think that they are manufactured to suit the demand. But it is not so. Their blue is of a shade that is not produced now-a-days. And, besides, there is no need to manufacture what exists in the mummy-pits in such abundance. The beads and bugles are of glass; they were much used for necklaces and are found covering the breasts of mummies, woven in a network of various patterns, like old bead purses. The vivid blue color was given by copper.
The little blue images of Osiris which are so abundant are also genuine. They are of porcelain, a sort of porcelain-glass, a sand-paste, glazed, colored blue, and baked. They are found in great quantities in all tombs; and it was the Egyptian practice to thickly strew with them the ground upon which the foundations and floors of temples were laid. These images found in tombs are more properly figures of the dead under the form of Osiris, and the hieroglyphics on them sometimes give the name and quality of the departed. They are in fact a sort of “p.p. c.” visiting-card, which the mummy has left for future ages. The Egyptians succeeded in handing themselves down to posterity; but the manner in which posterity has received them is not encouraging to us to salt ourselves down for another age.
The Memnonium, or more properly Rameseum, since it was built by Rameses II., and covered with his deeds, writ in stone, gives you even in its ruins a very good idea of one of the most symmetrical of Egyptian temples; the vast columns of its great hall attest its magnificence, while the elaboration of its sculpture, wanting the classic purity of the earlier work found in the tombs of Geezeh and Sakkara, speaks of a time when art was greatly stimulated by royal patronage.
It was the practice of the Pharaohs when they came to the throne to make one or more military expeditions of conquest and plunder, slay as many enemies as possible (all people being considered “enemies” who did not pay tribute), cut as wide a swarth of desolation over the earth as they were able, loot the cities, drag into captivity the pleasing women, and return laden with treasure and slaves and the evidences of enlarged dominion. Then they spent the remainder of their virtuous days in erecting huge temples and chiseling their exploits on them. This is, in a word, the history of the Pharaohs.
But I think that Rameses II., who was the handsomest and most conceited swell of them all, was not so particular about doing the deeds as he was about recording them. He could not have done much else in his long reign than erect the temples, carve the hieroglyphics, and set up the statues of himself, which proclaim his fame. He literally spread himself all over Egypt, and must have kept the whole country busy, quarrying, and building, and carving for his glorification. That he did a tenth of the deeds he is represented performing, no one believes now; and I take a vindictive pleasure in abusing him. By some historic fatality he got the name of the Great Sesostris, and was by tradition credited with the exploits of Thothmes III., the greatest of the Pharaohs, a real hero and statesman, during whose reign it was no boast to say that Egypt “placed her frontier where it pleased herself,” and with those of his father Sethi I., a usurper in the line, but a great soldier.
However, this Rameses did not have good luck with his gigantic statues; I do not know one that is not shattered, defaced, or thrown down. This one at the Rameseum is only a wreck of gigantic fragments. It was a monolith of syenite, and if it was the largest statue in Egypt, as it is said, it must have been over sixty feet high. The arithmeticians say that it weighed about eight hundred and eighty-seven tons, having a solid content of three times the largest obelisk in the world, that at Karnak. These figures convey no idea to my mind. When a stone man is as big as a four-story house, I cease to grasp him. I climbed upon the arm of this Rameses, and found his name cut deeply in the hard granite, the cutting polished to the very bottom like the finest intaglio. The polishing alone of this great mass must have been an incredible labor. How was it moved from its quarry in Assouan, a hundred and thirty miles distant? And how was it broken into the thousand fragments in which it lies? An earthquake would not do it. There are no marks of drilling or the use of an explosive material. But if Cambyses broke it—and Cambyses must have been remembered in Egypt as Napoleon I. is in Italy, the one for smashing, the other for stealing—he had something as destructive as nitro-glycerine.
Rameses II. impressed into his service not only art but literature. One of his achievements depicted here is his victory over the Khitas (Hittites), an Asiatic tribe; the king is in the single-handed act of driving the enemy over the river Orontes,—a bluish streak meandering down the wall. This scene is the subject of a famous poem, known as the Poem of Pentaour, which is carved in hieroglyphics at Karnak and at Luxor. The battle is very spiritedly depicted here. On the walls are many side-scenes and acts characteristic of the age and the people. The booty from the enemy is collected in a heap; and the quantity of gold is indicated by the size of a bag of it which is breaking the back of an ass; a soldier is pulling the beard of his prisoner, and another is beating his captives, after the brutal manner of the Egyptians.
The temples at Medeenet Haboo are to me as interesting as those at Karnak. There are two; the smaller one is of various ages; but its oldest portions were built by Amun-noo-het, the sister of Thothmes, the woman who has left more monuments of her vigor than any other in history, and, woman-like, the monuments are filial offerings, and not erections to her own greatness; the larger temple is the work of Rameses III. The more you visit it, the more you will be impressed with the splendor of its courts, halls and columns, and you may spend days in the study of its sculptures without exhausting them.
Along these high-columned halls stalk vast processions, armies going to battle, conquerors in triumphal entry, priests and soldiers bearing sacrifices, and rows of stone deities of the Egyptian pantheon receiving them in a divine indifference. Again the battle rages, the chariots drive furiously, arrows fill the air, the foot-troops press forward with their big spears and long shields, and the king is slaying the chief, who tumbles from his car. The alarm has spread to the country beyond; the terrified inhabitants are in flight; a woman, such is the detail, is seen to snatch her baby and run into the woods, leaving her pot of broth cooking on the fire.
The carving in this temple is often very deep, cut in four or five inches in the syenite, and beautifully polished to the bottom, as if done with emery. The colors that once gave each figure its character, are still fresh, red, green, blue, and black. The ceilings of some of the chambers yet represent the blue and star-sprinkled sky. How surpassingly brilliant these must have been once! We see how much the figure owed to color, when the color designated the different nationalities, the enemies or the captives, the shade of their skin, hair, beard and garments. We recognize, even, textures of cloth, and the spotted leopard-skins worn by the priests. How gay are the birds of varied plumage.
There is considerable variety in sculpture here, but, after all an endless repetition on wall after wall, in chamber after chamber of the same royal persons, gods, goddesses, and priests. There is nothing on earth so tiresome as a row of stone gods, in whom I doubt if anybody ever sincerely believed, standing to receive the offerings of a Turveydrop of a king. Occasionally the gods take turn about, and pour oil on the head of a king, at his coronation, and with this is usually the very pretty device of four birds flying to the four quarters of the globe to announce the event. But whatever the scene, warlike or religious, it is for the glorification of Pharaoh, all the same. He is commonly represented of gigantic size, and all the other human figures about him are small in comparison. It must have kept the Pharaoh in a constantly inflated condition, to walk these halls and behold, on all sides, his extraordinary apotheosis. But the Pharaoh was not only king but high priest, and the divine representative on earth, and about to become, in a peculiar sense, Osiris himself, at his death.
The Egyptians would have saved us much trouble if they had introduced perspective into these pictures. It is difficult to feel that a pond of water, a tree and a house, one above the other on a wall, are intended to be on the same level. We have to accustom ourselves to figures always in profile, with the eye cut in full as if seen in front, and both shoulders showing. The hands of prisoners are tied behind them, but this is shown by bringing both elbows, with no sort of respect for the man’s anatomy, round to the side, toward us, yet it is wonderful what character and vivacity they gave to their figures, and how by simple profile they represent nationalities and races, Ethiops, Nubians, Jews, Assyrians, Europeans.
These temples are inlaid and overlaid and surrounded with heaps of rubbish, and the débris of ancient and modern mud and unbaked-brick dwellings; part of the great pillars are entirely covered. The Christians once occupied the temples, and there are remains of a church, and a large church, in one of the vast courts, built of materials at hand, but gone to ruin more complete than the structure around it. The early Christians hewed away the beautiful images of Osiris from the pillars (an Osiride pillar is one upon one side of which, and the length of it, is cut in full relief, only attached at the back, a figure of Osiris), and covered the hieroglyphics and sculptures with plaster. They defaced these temples as the Reformers hacked and whitewashed the cathedrals of Germany. And sometimes the plaster which was meant to cover forever from sight the images of a mysterious religion, has defeated the intentions of the plasterers, by preserving, to an age that has no fear of stone gods, the ancient pictures, sharp in outline and fresh in color.
It is indeed marvelous that so much has been preserved, considering what a destructive creature man is, and how it pleases his ignoble soul to destroy the works of his forerunners on the earth. The earthquake has shaken up Egypt time and again, but Cambyses was worse; he was an earthquake with malice and purpose, and left little standing that he had leisure to overturn. The ancient Christians spent a great deal of time in rubbing out the deep-cut hieroglyphics, chiseling away the heads of strange gods, covering the pictures of ancient ceremonies and sacrifices, and painting on the walls their own rude conceptions of holy persons and miraculous occurrences. And then the Moslems came, hating all images and pictorial representations alike, and scraped away or battered with bullets the work of pagans and Christians.
There is much discussion whether these so-called temples were not palaces and royal residences as well as religious edifices. Doubtless many of them served a double purpose; the great pylons and propylons having rooms in which men might have lived, who did not know what a comfortable house is. Certainly no palaces of the Pharaohs have been discovered in Egypt, if these temples are not palaces in part; and it is not to be supposed that the Pharaoh dwelt in a mud-house with a palm-roof, like a common mortal. He was the religious as well as the civil head, Pope and Cæsar in one, and it is natural that he should have dwelt in the temple precincts.
The pyramidal towers of the great temple of Medeenet Haboo are thought to be the remains of the palace of Rameses III. Here indeed the Egyptologists point out his harem and the private apartments, when the favored of Amun-Re unbent himself from his usual occupation of seizing a bunch of captives by the hair and slashing off their heads at a blow, in the society of his women and the domestic enjoyments of a family man. Here we get an insight into the private life of the awful monarch, and are able to penetrate the mysteries of his retirement. It is from such sculptures as one finds here that scholars have been able to rehabilitate old Egyptian society and tell us not only what the Egyptians did but what they were thinking about. The scholar, to whom we are most indebted for the reconstruction of the ancient life of the Egyptians, Sir Gardner Wilkinson, is able not only to describe to us a soirée, from paintings in tombs at Thebes, but to tell us what the company talked about and what their emotions were. “In the meantime,” he says, “the conversation became animated,” (as it sometimes does at parties) “and the ladies fluently discussed the question of dress,” “the maker of an earring and the shop where it was purchased was anxiously inquired.” On one occasion when the guests were in “raptures of admiration” over something, an awkward youth overturned a pedestal, creating great confusion and frightening the women, who screamed; however, no one was hurt, and harmony being restored, “the incident afforded fresh matter for conversation, to be related in full details to their friends when they returned home.”
This is very wonderful art, and proves that the Egyptians excelled all who came after them in the use of the chisel and brush; since they could not only represent in a drawing on the wall of a tomb the gaiety of an evening party and the subject of its conversation, but could make the picture convey as well the talk of the guests to their friends after they returned home!
We had read a good deal about the harem of Rameses III., and it was naturally the first object of our search at Medeenet Haboo. At the first visit we could not find it, and all our expectation of his sweet domestic life was unrealized. It was in vain that we read over the description:—“Here the king is attended by his harem, some of whom present him with flowers, or wave before him fans and flabella; and a favorite is caressed, or invited to divert his leisure hours with a game of draughts.” We climbed everywhere, and looked into every room, but the king and his harem were not visible. And yet the pictures, upon which has been built all this fair fabric of the domestic life of Rameses, must exist somewhere in these two pyramidal towers. And what a gallery of delights it must be, we thought. The king attended by his harem!
Upon a subsequent visit, we insisted that the guide should take us into this harem. That was not possible, but he would show it to us. We climbed a broken wall, from the top of which we could look up, through a window, into a small apartment in the tower. The room might be ten feet by twelve in size, probably smaller. There was no way of getting to it by any interior stairway or by any exterior one, that we could see, and I have no doubt that if Pharaoh lived there he climbed up by a ladder and pulled his harem up after him.
But the pictures on the walls, which we made out by the help of an opera-glass, prove this to have been one of the private apartments, they say. There are only two pictures, only one, in fact, not defaced; but as these are the only examples of the interior decoration of an ancient royal palace in all Egypt, it is well to make the most of them. They are both drawn in spirited outlines and are very graceful, the profile faces having a Greek beauty. In one Rameses III., of colossal size, is represented seated on an elegant fauteuil, with his feet on a stool. He wears the royal crown, a necklace, and sandals. Before him stands a lady of his harem, clad in a high crown of lotus-stems, a slight necklace, and sandals turned up like skates. It must be remembered that the weather was usually very warm in Thebes, especially on this side the river. The lady is holding up a lotus-flower, but it is very far from the royal nose, and indeed she stands so far off, that the king has to stretch out his arm to chuck her under the chin. The Pharaoh’s beautiful face preserves its immortal calm, and the “favorite is caressed” in accordance with the chastest requirements of high art.
In the other picture, the Pharaoh is seated as before, but he is playing at draughts. In his left hand he holds some men, and his right is extended lifting a piece from the draughtboard. His antagonist has been unfortunate. Her legs are all gone; her head has disappeared. There remain of this “favorite” only the outline of part of the body, the right arm and the hand which lifts a piece, and a suggestion of the left arm extended at full length and pushing a lotus-bud close to the king’s nose. It is an exhibition of man’s selfishness-The poor woman is not only compelled to entertain the despot at the game, but she must regale his fastidious and scornful nose at the same time; it must have been very tiresome to keep the left hand thus extended through a whole game. What a passion the Egyptians had for the heavy perfume of this flower. They are smelling it in all their pictures.
We climbed afterwards, by means of a heap of rubbish, into a room similar to this one, in the other tower, where we saw remains of the same sculpture. It was like the Egyptians to repeat that picture five hundred times in the same palace.
The two Colossi stand half a mile east of the temple of Medeenet Haboo, and perhaps are the survivors of like figures which lined an avenue to another temple. One of them is better known to fame than any other ancient statue, and rests its reputation on the most shadowy basis. In a line with these statues are the remains of other colossi of nearly the same size, buried in the alluvial deposit. These figures both represent Amunoph III. (about 1500 or 1600 b. c.); they are seated; and on either side of the legs of the king, and attached to the throne, are the statues of his mother and daughter, little women, eighteen feet high. The colossi are fifty feet high without the bases, and must have stood sixty feet in the air before the Nile soil covered the desert on which they were erected. The pedestal is a solid stone thirty-three feet long.
Both were monoliths. The southern one is still one piece, but shockingly mutilated. The northern one is the famous Vocal Statue of Memnon; though why it is called of Memnon and why “vocal” is not easily explained. It was broken into fragments either by some marauder, or by an earthquake at the beginning of our era, and built up from the waist by blocks of stone, in the time of the Roman occupation, during the reign of Septimius Severus.
There was a tradition—perhaps it was only the tradition of a tradition—that it used to sing every morning at sunrise. No mention is made of this singing property, however, until after it was overthrown; and its singing ceased to be heard after the Roman Emperor put it into the state in which we now see it. It has been assumed that it used to sing, and many theories have been invented to explain its vocal method. Very likely the original report of this prodigy was a Greek or Roman fable; and the noise may have been produced by a trick for Hadrian’s benefit (who is said to have heard it) in order to keep up the reputation of the statue.
Amunoph III. (or Amenôphis, or Amen-hotep—he never knew how to spell his name) was a tremendous slasher-about over the territories of other people; there is an inscription down at Samneh (above the second cataract) which says that he brought, in one expedition, out of Soudan, seven hundred and forty negro prisoners, half of whom were women and children. On the records which this modest man made, he is “Lord of both worlds, absolute master, Son of the Sun.” He is Horus, the strong bull. “He marches and victory is gained, like Horus, son of Isis, like the Sun in heaven.” He also built almost as extensively as Rameses II; he covered both banks of the Nile with splendid monuments; his structures are found from Ethiopia to the Sinaitic peninsula. He set up his image in this Colossus, the statue which the Greeks and Romans called Memnon, the fame of which took such possession of the imagination of poets and historians. They heard, or said they heard, Memnon, the Ethiopian, one of the defenders of Troy, each morning saluting his mother, Aurora.
If this sound was heard, scientists think it was produced by the action of the sun’s rays upon dew fallen in the crevices of the broken figure. Others think the sound was produced by a priest who sat concealed in the lap of the figure and struck a metallic stone. And the cavity and the metallic stone exist there now. Of course the stone was put in there and the cavity left, when the statue was repaired, it having been a monolith. And as the sound was never heard before the statue was broken nor after it was repaired, the noise was not produced by the metallic stone. And if I am required to believe that the statue sang with his head off, I begin to doubt altogether. I incline to think that we have here only one of those beautiful myths in which the Greeks and Romans loved to clothe the distant and the gigantic.
One of the means of accounting for a sound which may never have been heard, is that the priests produced it in order to strike with awe the people. Now, the Egyptian priests never cared anything about the people, and wouldn’t have taken the trouble; indeed, in the old times “people” wouldn’t have been allowed anywhere within such a sacred inclosure as this in which the Colossus stood. And, besides, the priest could not have got into the cavity mentioned. When the statue was a monolith, it would puzzle him to get in; and there is no stairway or steps by which he could ascend now. We sent an Arab up, who scaled the broken fragments with extreme difficulty, and struck the stone. The noise produced was like that made by striking the metallic stones we find in the desert,—not a resonance to be heard far.
So that I doubt that there was any singing at sunrise by the so-called Memnon (which was Amunoph), and I doubt that it was a priestly device.
This Amunoph family, whose acquaintance we have been obliged to make, cut a wide swath in their day; they had eccentricities, and there are told a great many stories about them, which might interest you if you could believe that the Amunophs were as real as the Hapsburgs and the Stuarts and the Grants.
Amunoph I. (or Amen-hotep) was the successor of Amosis (or Ahmes) who expelled the Shepherds, and even pursued them into Canaan and knocked their walled-towns about their heads. Amunoph I. subdued the Shasu or Bedaween of the desert between Egypt and Syria, as much as those hereditary robbers were ever subdued. This was in the seventeenth century b. c. This king also made a naval expedition up the Nile into Ethiopia, and it is said that he took captive there the “chief of the mountaineers.” Probably then, he went into Abyssinia, and did not discover the real source of the Nile.
The fourth Amunoph went conquering in Asia, as his predecessors had done, for nations did not stay conquered in those days. He was followed by his seven daughters in chariots of war. These heroic girls fought, with their father, and may be seen now, in pictures, gently driving their chariot-wheels over the crushed Asiatics. When Amunoph IV. came home and turned his attention to religion, he made lively work with the Egyptian pantheon. This had grown into vast proportions from the time of Menes, and Amunoph did not attempt to improve it or reform it; he simply set it aside, and established a new religion. He it was who abandoned Thebes and built Tel-el-Amarna, and there set up the worship of a single god, Aten, represented by the sun’s disc. He shut up the old temples, effaced the images of the ancient gods, and persecuted mercilessly their worshippers throughout the empire.
He was prompted to all this by his mother, for he himself was little better than an imbecile. It was from his mother that he took his foreign religion as he did his foreign blood, for there was nothing of the Egyptian type in his face. His mother, Queen Taia, wife of Amunoph III., had light hair, blue eyes and rosy cheeks, the characteristics of northern women. She was not of royal family, and not Egyptian; but the child of a foreign family then living in the Delta, and probably the king married her for her beauty and cleverness.
M. Lenormant thinks she was a Hebrew. That people were then very numerous in the Delta, where they lived unmolested keeping their own religion, a very much corrupted and materialized monotheism. Queen Taia has the complexion and features of the Hebrews—I don’t mean of the Jews who are now dispersed over the continents. Lenormant credits the Hebrews, through the Queen Taia, with the overthrow of the Pharaonic religion and the establishment of the monotheism of Amunoph IV.—a worship that had many external likenesses to the Hebrew forms. At Tel-el-Amarna we see, among the utensils of the worship of Aten, the Israelitish “Table of Shew-bread.” It is also noticed that the persecution of the Hebrews coincides with the termination of the religious revolution introduced by the son of Taia.
Whenever a pretty woman of talent comes into history she makes mischief. The episode of Queen Taia is however a great relief to the granite-faced monotony of the conservative Pharaohs. Women rulers and regents always make the world lively for the time being—and it took in this case two or three generations to repair the damages. Smashing things and repairing damages—that is history.
History starts up from every foot of this Theban plain, piled four or five deep with civilizations. These temples are engulfed in rubbish; what the Persians and the earthquake spared, Copts and Arabs for centuries have overlaid with their crumbling habitations. It requires a large draft upon the imagination to reinstate the edifices that once covered this vast waste; but we are impressed with the size of the city, when we see the long distances that the remaining temples are apart, and the evidence, in broken columns, statues, and great hewn blocks of stone shouldering out of the sand, of others perhaps as large.
