Round the Wonderful World. Mitton Geraldine Edith
wasps with legs like stilts, which fly around the sweet-scented blooms. In ancient inscriptions this wasp, or hornet, was used as the sign of Northern or Lower Egypt. Across the flower-beds run miniature canals of stone, by means of which the water from the life-giving river is carried all over the ground, so that it can be easily watered; a very large part of the time of the blue-bloused gardeners is spent in watering. A garden which was watered from the sky would be a miracle to them.
We come back again to the hotel and pass through to the other or front entrance, where we catch sight of the majestic Nile, which we could not see in the darkness of our arrival last night. Standing on a high terrace, bounded by a parapet covered with riotous masses of magenta bougainvillea, we see the turquoise-blue river, flecked with boats carrying high, white, three-cornered sails; on the other side rise calm hills of orange-yellow. We shall visit those hills, for in them are buried some of the mightiest kings of Egypt, and the wild fastnesses form a truly royal burial-place, grander than any ordinary mausoleum or cemetery could ever be. On both sides of the river at one time stood the royal city of Thebes, one of the best known of all the capitals of Egypt which sprang up from time to time in its agelong history.
If ever you "do" the ix. book of the Iliad in your schoolwork, you will find that Homer speaks of Thebes as having one hundred gates and possessing twenty thousand war-chariots! It extended for about nine miles along the river-bank.
After breakfast our first plunge into sight-seeing is a visit to the temple of Luxor, which faces the river just five minutes' walk along the street from the hotel. This is the very first Egyptian temple we have examined and it is astonishing how much we can learn from it. That mighty row of columns, larger and higher than any cathedral pillars you have ever seen, makes us feel like midgets. Standing close together the columns spring right into the clear sky, as there is no roof left. Not so very long ago they were covered up to the capitals in sand and débris. The poorer Egyptians had built their mud huts in and around them for generations, and when one hut crumbled away another was put up on the top of it, and thus the level of the accumulated earth grew higher and higher. Then some learned Frenchmen saw the wonder of the buried temple and bought the people out, persuading them to go elsewhere, and they gradually cleared away the rubbish until the original beauty of the temple was visible again. Even now, high up on all sides, you can see the depth of the earth surrounding it like cliffs, and on the top are squalid huts with dirty children and fluffy impudent goats and shrill-voiced, black-clad women, living their daily lives and looking down into the temple.
The ancient Egyptian writing was by signs – a bird meant one thing, a flower another, and a serpent another, and so on, but for a long time the meaning of it had been forgotten, and it was impossible for anyone to read these wonderful signs. But at the very end of the eighteenth century a great stone was found which had upon it an inscription written in Greek and in hieroglyphics, as the sign-writing was called, and also in another writing which used to be employed by the priests, and from this, before many years had passed, clever men were able to understand the language of signs and read the inscriptions on the temples, which told who had built them and much else. This stone was called the Rosetta Stone, after the place where it was found. It is now in the British Museum.
This was long before Luxor was unearthed, and the inscriptions were deciphered as they came to light; by their help it was found that the temple had been built chiefly by two kings, Amenhetep iii. and Rameses ii. who came after him, though not immediately. Rameses added to the existing work and carried it on. So far as we know all this was between three and four thousand years ago. In a village in England people are proud if they can point to any part of their parish church and say, "This is Norman work," and yet the Normans only came over to England less than nine hundred years ago! Go back more than three times that, and try to realise the age of this temple. And even this, as we know, is not old compared with the Pyramids! Doesn't it make us feel that, as a nation, we are rather young after all?
Long before we were a nation these mighty kings flourished in Egypt and lived in pomp and splendour. They each had a different name, of course, and more than one, but yet they were all Pharaohs, just as at one time in the Roman Empire each emperor was a Cæsar.
The Pharaohs had unlimited power in their own dominions, and forced their subjects to work for them as they pleased without giving them any payment. By some means we can't understand these mighty blocks of sandstone composing this temple and many others were brought from a place farther up the river. It is supposed that they were put on great rafts and floated down at flood-time, but the handling of them is still a mystery. The men who dealt with them had no steel tools, no driving force of steam or electricity at their backs, yet they reared buildings which we to-day, with all our appliances, think masterpieces.
Rameses ii. was called the Great; he reigned for over sixty years, and he has a peculiar interest for us because he is believed to have been the Pharaoh who oppressed the Israelites, while his son and successor, Menepthah, was the Pharaoh of the Exodus.
Walk up the great aisle of giant columns into the courtyard at the end, there, between the pillars, stand massive images of granite, most of them headless, but one perfect except for the ends of the fingers and toes.
Sit down on this fallen block and look at that marvellous image; it is the mighty Rameses himself! There is a repressed energy and indomitable purpose about him that tells in every line of a man who never let go and never allowed himself to be thwarted. His almond-shaped eyes and full lips, the proud tilt of his head, are not merely conventional, they are an actual likeness of the man taken from life. He is every inch a king. His successor, who was his thirteenth son, was probably of the same type, and one can well imagine his scornful indignation at being asked to yield up that nation of slaves, the Israelites, whom he treated as we would not treat animals nowadays. The miracle is that Moses was not instantly slain for his boldness in proposing it; he was, of course, screened by his relationship to Pharaoh's daughter, but that would have counted little had he not been protected by a power far above that of the king of Egypt.
Close down under the knee of the standing Rameses is the figure of a plump woman, his favourite wife, Nefertari. The Egyptians had the rather childish idea that size meant importance, and to them now, as well as then, women seemed of much less importance than men, so the wife was represented as being about as high as her husband's knee. In spite of this, however, women of royal blood were treated with great deference, and royal ladies enjoyed a freedom like that of western women to-day. They gave their opinions and transacted business and were seen in public. Many a king only sat securely on his throne because his wife had a better title to it than he had. This did not, however, prevent them from making women very often quite diminutive in size in their statues, though in some cases the king and queen are the same size and are shown seated side by side.
It is very quiet and beautiful here in the temple this Sunday morning; the natives themselves are not allowed to come in, and visitors only on production of a ticket costing twenty-four shillings, which admits to all the temples of Egypt; and, as it happens, there is no one but ourselves. The sparrows twitter overhead in the holes and crannies of the pillars, and the great grey and black crows wheel silently against the blue sky, throwing moving shadows on the honey-coloured columns.
If we walk round the back of these solemn statues we shall see that there is a quantity of deeply cut hieroglyphic writing on a great plaque at the back of each. The name of the king himself is always written enclosed in an oblong space called a cartouche; sometimes this cartouche is supported by two cobras, who are supposed to defend it. The rest of the writing tells of the deeds of the king and all the mighty feats that he performed.
Turning to the walls we find them covered with pictures, not coloured but done in outline by means of deep-cut clean lines. We see the king offering fruit to weird-looking beings with men's bodies and animals' heads – these were the Egyptian gods; there were numbers of them, far too many to remember, but here are a few: Anubis, the jackal-headed; Thoth, the stork-headed; Sekhet, a goddess with a lion's head (some say a cat's). Besides these there were others of great importance: Osiris, the god of the dead, and Isis, his wife – these were the father and mother of Horus, the hawk-headed god. But it was to the glory of Amen-ra, the king or chief of all the gods, who can be recognised in the pictures by two tall feathers like quills standing straight up on his head, that that particular temple was built.
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