It carried three inscriptions and one of these (oh joy!) was in Greek.

The Greek language was known.

As it was almost certain that the Egyptian part contained a translation of the Greek (or vice versa), the key to ancient Egyptian seemed to have been discovered.

But it took more than thirty years of very hard work before the key had been made to fit the lock.

Then the mysterious door was opened and the ancient treasure house of Egypt was forced to surrender its secrets.

The man who gave his life to the task of deciphering this language was Jean Francois Champollion--usually called Champollion Junior to distinguish him from his older brother who was also a very learned man.

Champollion Junior was a baby when the French revolution broke out and therefore he escaped serving in the armies of the General Buonaparte.

While his countrymen were marching from one glorious victory to another (and back again as such Imperial armies are apt to do) Champollion studied the language of the Copts, the native Christians of Egypt. At the age of nineteen he was appointed a professor of History at one of the smaller French universities and there he began his great work of translating the pictures of the old Egyptian language.

For this purpose he used the famous black stone of Rosetta which Broussard had discovered among the ruins near the mouth of the Nile.

The original stone was still in Egypt. Napoleon had been forced to vacate the country in a hurry and he had left this curiosity behind.

When the English retook Alexandria in the year 1801 they found the stone and carried it to London, where you may see it this very day in the British Museum. The Inscriptions however had been copied and had been taken to France, where they were used by Champollion.

The Greek text was quite clear. It contained the story of Ptolemy V and his wife Cleopatra, the grandmother of that other Cleopatra about whom Shakespeare wrote. The other two inscriptions, however, refused to surrender their secrets.

One of them was in hieroglyphics, the name we give to the oldest known Egyptian writing. The word Hieroglyphic is Greek and means "sacred carving." It is a very good name for it fully describes the purpose and nature of this script. The priests who had invented this art did not want the common people to become too familiar with the deep mysteries of preserving speech. They made writing a sacred business.

They surrounded it with much mystery and decreed that the carving of hieroglyphics be regarded as a sacred art and forbade the people to practice it for such a common purpose as business or commerce.

They could enforce this rule with success so long as the country was inhabited by simple farmers who lived at home and grew everything they needed upon their own fields. But gradually Egypt became a land of traders and these traders needed a means of communication beyond the spoken word. So they boldly took the little figures of the priests and simplified them for their own purposes. Thereafter they wrote their business letters in the new script which became known as the "popular language" and which we call by its Greek name, the "Demotic language."

The Rosetta stone carried both the sacred and the popular translations of the Greek text and upon these two Champollion centered his attack. He collected every piece of Egyptian script which he could get and together with the Rosetta stone he compared and studied them until after twenty years of patient drudgery he understood the meaning of fourteen little figures.

That means that he spent more than a whole year to decipher each single picture.

Finally he went to Egypt and in the year 1823 he printed the first scientific book upon the subject of the ancient hieroglyphics.

Nine years later he died from overwork, as a true martyr to the great task which he had set himself as a boy.

His work, however, lived after him.

Others continued his studies and today Egyptologists can read hieroglyphics as easily as we can read the printed pages of our newspapers.

Fourteen pictures in twenty years seems very slow work. But let me tell you something of Champollion's difficulties. Then you will understand, and understanding, you will admire his courage.

The old Egyptians did not use a simple sign language. They had pa.s.sed beyond that stage.

Of course, you know what sign language is.

Every Indian story has a chapter about queer messages, written in the form of little pictures. Hardly a boy but at some stage or other of his life, as a buffalo hunter or an Indian fighter, has invented a sign language of his own, and all Boy Scouts are familiar with it. But Egyptian was something quite different and I must try and make this clear to you with a few pictures. Suppose that you were Champollion and that you were reading an old papyrus which told the story of a farmer who lived somewhere along the banks of the river Nile.

Suddenly you came across a picture of a man with a saw.

[Ill.u.s.tration: saw]

"Very well," you said, "that means, of course, that the farmer went out and cut a tree down." Most likely you had guessed correctly.

Next you took another page of hieroglyphics.

They told the story of a queen who had lived to be eighty-two years old.

Right in the middle of the text the same picture occurred. That was very puzzling, to say the least. Queens do not go about cutting down trees.

They let other people do it for them. A young queen may saw wood for the sake of exercise, but a queen of eighty-two stays at home with her cat and her spinning wheel. Yet, the picture was there. The ancient priest who drew it must have placed it there for a definite purpose.

What could he have meant?

That was the riddle which Champollion finally solved.

He discovered that the Egyptians were the first people to use what we call "phonetic writing."

Like most other words which express a scientific idea, the word "phonetic" is of Greek origin. It means the "science of the sound which is made by our speech." You have seen the Greek word "phone," which means the voice, before. It occurs in our word "telephone," the machine which carries the voice to a distant point.

Ancient Egyptian was "phonetic" and it set man free from the narrow limits of that sign language which in some primitive form had been used ever since the cave-dweller began to scratch pictures of wild animals upon the walls of his home.

Now let us return for a moment to the little fellow with his saw who suddenly appeared in the story of the old queen. Evidently he had something to do with a saw.

A "saw" is either a tool which you find in a carpenter shop or it means the past tense of the verb "to see."

This is what had happened to the word during the course of many centuries.

First of all it had meant a man with a saw.

Then it came to mean the sound which we reproduce by the three modern letters, s, a and w. In the end the original meaning of carpentering was lost entirely and the picture indicated the past tense of "to see."

A modern English sentence done into the images of ancient Egypt will show you what I mean.

[Ill.u.s.tration: eye bee leaf eye saw giraffe]

The [Ill.u.s.tration: eye] means either these two round objects in your head which allow you to see, or it means "I," the person who is talking or writing.

A [Ill.u.s.tration: bee] is either an animal which gathers honey and p.r.i.c.ks you in the finger when you try to catch it, or it represents to verb "to be," which is p.r.o.nounced the same way and which means to "exist." Again it may be the first part of a verb like "be-come" or "be-have." In this case the bee is followed by a [Ill.u.s.tration: leaf] which represents the sound which we find in the word "leave" or "leaf." Put your "bee" and your "leaf" together and you have the two sounds which make the verb "bee-leave" or "believe" as we write it nowadays.

The "eye" you know all about.

Finally you get a picture which looks like a giraffe. [Ill.u.s.tration: Giraffe] It is a giraffe, and it is part of the old sign language, which has been continued wherever it seemed most convenient.

Therefore you get the following sentence, "I believe I saw a giraffe."

This system, once invented, was developed during thousands of years.

Gradually the most important figures came to mean single letters or short sounds like "fu" or "em" or "dee" or "zee," or as we write them, f and m and d and z. And with the help of these, the Egyptians could write anything they wanted upon every conceivable subject, and could preserve the experience of one generation for the benefit of the next without the slightest difficulty.