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 t.i.tle 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 quant.i.ty 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 s.p.a.ce 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 G.o.ds; 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 G.o.ddess with a lion's head (some say a cat's). Besides these there were others of great importance: Osiris, the G.o.d of the dead, and Isis, his wife--these were the father and mother of Horus, the hawk-headed G.o.d. But it was to the glory of Amen-ra, the king or chief of all the G.o.ds, 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.

[Ill.u.s.tration: AN EGYPTIAN KING.]

On one of the walls we see a long row of men, all exactly similar, one behind the other--these are some of the numerous sons of Rameses making offerings. You soon notice that in spite of the vigorous and excellent outlines of these pictures there is something funny and stiff about them. That is because the Egyptians had an odd custom of drawing a person sideways, with his two feet in a straight line, one behind the other. No one stands like that in real life, and if you try it you will find how difficult it is not to fall over! Also, though the people they drew were invariably shown from the side, yet the artists used to make them look as if they were squared round in the upper part to show the chest and both shoulders, so that Egyptians in pictures always look oddly wedge-shaped, being very broad at the top and narrow below. The eye was also put into the profile face as if it were seen from the front! Look at any typical Egyptian picture and you will soon pick out these peculiarities. It seems rather a pity they kept so rigidly to these silly notions, as they really drew extremely well; but no artist was original enough to dare to break away from the established custom!

[Ill.u.s.tration: AN EGYPTIAN QUEEN.]

Inside the temple walls all these scenes have something to do with the G.o.ds and the offerings made to them by the king, but come outside and on one of the finest bits of wall still standing you will see a most spirited battle-scene. Look at the king in his chariot with the plunging horses! He is drawing his bow and pursuing his enemies, who are dead and dying under his wheels, and fleeing before him. To show how much more important he was than the enemies he had himself made very large and the enemies shown very small. That is not quite our idea of honour and glory nowadays; we should think it more glorious to overcome enemies larger and stronger than ourselves! This afternoon we are going to visit a still larger and more wonderful temple, a mile or two away, called Karnak, and there you will see pictures of the king of that time holding the hair of his enemies' heads in the powerful grasp of his left hand while he prepares to strike off all their heads at one sweep with his sword.

The original entrance of Luxor temple does not face the river on the side we came in; to find it we have to scramble over heaps of rubbish to one end and there we see a great obelisk, a companion to the one which is now in the princ.i.p.al square of Paris, the Place de la Concorde, and we see also two huge buildings reared up on each side of the ancient entrance--these were called pylons and were always built in Egyptian temples. On festival days they were decorated with flags on tall staves and made very gay.

Then we go out again into the main street amid all the life of the place, and see men cantering past on gaily caparisoned donkeys; we note dancing, capering, gleeful children, guides in gorgeous gowns, shopmen of some mixed nationality from the Mediterranean, who run out of their shops and entreat you to come in. "Only look round, no paying, not wanting you buy," they lie. "Look and be pleased; there is no charge just only to look."

We stop at last and buy two fly-whisks with short bamboo handles and long silvery horsehair tails; of course they do look very smart, but we do not buy them just for that, but because they are useful.

As we have found already, nothing less than physical force suffices to remove an Egyptian fly, who sticketh closer than his English brother. No shake or puff will induce him to stir an eyelid, and yet he is quick on the wing and you rarely get him, sleepy as he appears! He doesn't buzz, and there generally appears to be only one of him, but if, by the aid of a fly-whisk, you get rid of him, another takes his place immediately!

[Ill.u.s.tration: THE TOMBS OF THE KINGS.]

CHAPTER VII

THE CITY OF KINGS

I think this is the gayest scene I have ever looked upon in my life. See those mahogany-coloured boatmen in their brilliant scarlet and white striped jerseys and blue petticoats, grinning so as to show all their milk-white teeth. The boats are apple-green and scarlet, and they are reflected in the clear still water, and the dragoman, who marshals all the party into them, is a very splendid person indeed, in a long overcoat of turquoise blue cloth as soft and fine as a glove, with a striped gown of yellow Egyptian silk underneath.

We are off with a party of Cook's tourists to explore the Tombs of the Kings on the other side of the river It is a pretty stiff day's work, so we are up early, and it is only half-past eight now. As we near the other side of the river we see an excited group of donkey-boys who have brought their animals over earlier, and now stand expectant, looking like a fringe of blue beads.

[Ill.u.s.tration: THE FAT LADY ON HER DONKEY.]

"Lily best donkey--Lily name for Americans, Merry Widow for Engleesh----"

"Come, lady, with me, Sammy best donkey in Egypt, verry good, Sammy my donkey, best donkey----"

"Kitchener, lady, best donkey in Egypt, me speak verry good Engleesh, alla way gallop."

And so on in a continuous yell. The dragoman shouts out the numbers of the donkeys, and helps the ladies of the party to mount. Some ride on side-saddles, others, unused to any form of riding, prefer to get up astride, which they find difficult in the tight modern skirts. One German girl, after a frantic attempt, has to give it up, and sits wobbling on her saddle with her arms round the donkey-boy's neck, agonisingly appealing to him not to move! A very stout lady in black is lifted on to her mount by the united efforts of the dragoman and two donkey-boys, and, held in position by the boys, moves off, threatening a convulsive landslide to one side or the other at every step.

We are lucky in securing two fine greyish-white animals, almost as large as mules and very well fed and kept; yours is named "Sirdar" and has a single blue bead slung on a string round his neck as a charm, while mine, "Tommy Raffles," has a rattling chain of yellow and blue beads and much scarlet wool in his harness. You won't have much difficulty, I know, as you have been used to a pony since you could walk.

At first the soft powdery sand makes the going stiff, and we have much difficulty in restraining our boys, who run behind, from smacking or prodding the donkeys as they plough through. These boys are very proud and fond of their donkeys and treat them well, but it is the ambition of every donkey-boy to see his donkey head the cavalcade, and he is ready to die of envy and mortification if any other boy's donkey gets in front of him. We pa.s.s through clouds of dusty earth and then turn on to uneven narrow ways between tall green stalks of growing dhurra, stuff which looks like maize, except that it has a heavy head of grain which is ground up for making rough bread for the poorest people.

Along by a ca.n.a.l, over a bridge and a railway line we gallop, our animals going well. Their trot is impossible, as we soon find, but the easy loping canter delightful. We pa.s.s many black-clad women working in the fields, with crowds of bright-eyed friendly children who murmur "'Shish" in the vain hope that we may throw them some money. Then we see herds of black goats in among the cut stalks, and a tethered baby camel, who looks at us with innocent wondering eyes.

Far off rise up from the plain two mighty seated statues, the Colossi, set up by Amenhetep III. as part of a temple now vanished. Presently we all stop to see another temple, interesting enough, but not so interesting as those already visited at Luxor and Karnak.

The dragoman, whose work is not easy, brings up the rear of the cavalcade, having managed to keep even behind the fat lady, who has stuck to the slippery surface of her saddle with many a desperate plunge firmly resisted by her escort.

[Ill.u.s.tration: BOATMAN.]

The dragoman describes the temple fluently and intelligently, first in English, then in French, and adds a little explanation in German for the benefit of two men of that race who have talked loudly in their own guttural tongue all the time he has endeavoured to make the rest of the party hear. The dragoman does not reel his words off as if he were repeating a lesson, as, alas, so many of the guides at our own cathedrals do. He is a clever man, well educated and capable. It has taken him years to learn all he knows, and it is only the clever boys who can become good dragomans. One of our donkey-boys, a bright little fellow who speaks far better English than most of his companions, tells us, "I am going to be a dragoman." He says it deliberately, with a pause between each word to get them correctly. "Thus I speak always with the English and the Americans. To the English I speak English, which is what I have learned, but when I am with Americans I can talk to them in their own tongue too."

Laughing, we mount and are off again.

We are now penetrating into the great hills of sandstone we saw afar off from the hotel. The road winds into a gorge, and at each turn displays more vivid beauty. We feel a strange joy rising within us, so that we would like to sing or shout at the tops of our voices. The brilliance of the air shows up every line in the great precipices of orange-yellow, streaked with red and purple, which rise against a sky of thrilling blue. There is not a blade of gra.s.s or a leaf to be seen in these vast solitudes, only the ma.s.sive stones, broken and split and scattered, lie in the fierce sun or black shadow. We can imagine these defiles looking much the same when three or four thousand years ago the funeral procession of one of the mighty Pharaohs wound its way into the heart of the mountains, carrying the man who had never known opposition or denied himself his slightest wish. They were very magnificent these processions, composed of hundreds of people who carried all sorts of things--furniture, chariots, boats, animals, fruit and flowers--with tremendous ceremony.

It is a longish ride before we alight again, and leaving the donkeys under a slight straw shelter penetrate into the fastnesses of the hills.

How many of these rock-tombs were made here will probably never be known, but year by year more are uncovered. The first we step into is like a large well-lighted cave cut out of a cliff-side, from it opens another cave-like room, and from that another, each sloping downward and the whole series giving the impression of a series of puzzle-boxes fitting into one another and then drawn out. The walls are covered with pictures, paintings on plaster, not outline pictures like those we saw in the temples, but filled in with blue and green, orange and terra-cotta, laid on thickly, and as fresh as the day they were done.

Ever descending we pa.s.s on until we reach the last chamber, where the great sarcophagus or coffin of the king was placed right up against the face of the rock. The sarcophagus might be a mighty block of granite, enclosing a wooden case, and that again another case, probably carved and gilt, and finally, as a kernel, there was the body of the king, preserved and dried by spices, lying awaiting the final resurrection.

The Egyptians believed in a future world, but they could not imagine a future world without there being human bodies in it such as we have now, so they took infinite trouble in preserving the dead body that it might be ready for its time of call. Most of the sarcophagi from these tombs have been removed and taken to the museum at Cairo, but in one to which we penetrate, hewn out at a slope so steep that we have difficulty in keeping our feet as we slither down, the mummy has been replaced and is left uncovered.

Lit up by electric light we see King Amenhetep II., with his skin blackened to a parchment, drawn tightly over his chiselled aristocratic features. In the dome-shaped forehead, the Roman nose, and the tightly compressed lips there is an expression of infinite disdain, as if he, in his time the mightiest ruler in the world and the leader of civilisation, knew that now he was exposed to the gaze of a party of outer barbarians whose national histories were but of mushroom growth.

This king struck terror into the hearts of his enemies; he raided the land of Syria, slew seven chiefs with his own hand and brought them back to Thebes, hanging head downward from the bows of his boat!

The very day after a king ascended the throne he used to begin hewing out the sepulchre where he should lie. The scenes drawn on the walls show what he expected to find in the other world. We see a pair of scales with the heart of the dead man in one balance and a feather in the other; a monkey sits on the top and adjusts the weight. The heart must weigh the feather exactly, for to be over-righteous was as bad as being wicked! The dead man also had to pa.s.s before forty-two judges, who each examined him searchingly as to whether he had committed one particular sin. As one of the party remarked in an awe-struck voice, "And if he did pa.s.s them all safely and another started up and asked him if he ever told a lie he'd be done, for no man could deny that he had committed any of the forty-two princ.i.p.al sins and remain truthful!"

To accompany the soul to the other world many things used to be buried in the tombs, clothes and food and utensils and weapons, and, thanks to this custom, numberless things have been saved to show us how the ancient Egyptians lived. These, however, have mostly been taken to Cairo for safe keeping. But here in Amenhetep's tomb one thing has been left.

In a small side chamber, with the light falling full upon them, are three mummies, each with a hole in the skull and a gash on the breast, showing that they were the king's slaves, killed in order that their souls might accompany him and serve him beyond the tomb!

They lie there with their hair still on their heads, and even the false hair, they used to increase it, showing; on their faces is a ghastly grin. We wonder if they submitted quietly, proud of having been chosen, or if each fought fiercely for the life which belonged to him and was not any man's to take away.

It is very hot and close down in the rock-hewn chamber, and we are glad enough to stumble up and out again, though we are blinded by the sunshine as we emerge.

The next part of the day is the hardest of all, for we scramble up a mountain-side to gain a splendid view of gorges and valleys on one side and the flat plain spreading to the Nile on the other. The view is indescribable; from lemon-yellow to orange and saffron are the hills, with blue-grey shadows in their folds. Right opposite is one absolutely perpendicular, with immense rounded columns looking like giant organ pipes rising on its face. A fresh wind is blowing, and when we mount our donkeys, which have come round to meet us another way, and ride along a path a few feet wide, with no fence of any kind and a drop of some hundreds of feet on one side, we are devoutly thankful that the German girl and the stout lady went round the other and longer way by the valley!

Over the summit the donkeys are set free to get down the steep descent as best they may, and they are as sure-footed as goats, but we who follow find considerable difficulty as the loose stone and sand fall away in miniature avalanches from beneath our slipping feet and we get very hot. We are sheltered here from that fresh wind which is such a joy in Egypt, the sun is at its height, and we have done a good morning's work already after an early start. There, far below, looking like a doll's house, is the rest-house where we lunch, and beside it two of the men of the Mounted Police Camel Corps in khaki on their long-legged beasts.

Whew! That last bit was tough! I am glad to get a long drink and equally glad to go on after it to an excellent cold lunch which has been brought to meet us. Hard-boiled eggs, salad, cold meat and fruit! We try them all and then rest on the verandah looking at the towering orange cliffs which hem us in. They seem to hang right over that little temple near, to which we shall presently pay a visit. That is the temple of Der El Bahari and was built by Hatshepset, the greatest of Egyptian queens.

Hatshepset was the daughter of one king and the wife of another, and after her husband's death she ruled for about sixteen years. She made expeditions to the Red Sea and acted in every way like a man. In the drawings of her on the temple wall she is represented as a man and is dressed in man's clothes. When her son-in-law, Thothmes III., who had married her daughter, succeeded her, he scratched out her name wherever he found it and chiselled out the pictures of her. He had evidently had a bad time while she lived, but he must have been a small-minded and spiteful man to take that petty revenge after her death!

[Ill.u.s.tration: A SOLEMN GIRL-CHILD.]

On the way home across the dhurra fields I see you stop riding suddenly and stare intently down at something on the ground. I think at first it is a scorpion you have found on the patch of light-coloured sand, but it is only an immense black beetle, with a strong h.o.r.n.y skin and a horn or trumpet-shaped excrescence on the front part of its head. He belongs to the scarabaeus, or dung-beetles, and big fellows they are; this one would just about cover the palm of your hand. The Egyptians called one of their G.o.ds Khepera, or the beetle, and believed him to be the creator of all things, so they used to make images of these beetles and put them in their temples; you saw a huge one, you remember, on a pedestal at Karnak, and any time you are in London you can see them at the British Museum. There were also tiny images of them made in stone and amethyst and porcelain, and almost anything else, and these were frequently buried in the tombs with the mummies. Sometimes they had the name of the person with whom they were buried inscribed on the back in hieroglyphic writing, or the name of a G.o.d. These scarabs, as they are called, are bought and worn in rings and ornaments by visitors. The natives quickly found out that there was a demand for them, and as they could not always find old genuine ones they set to work to make them! Hundreds of new ones are palmed off as old in this way on unsuspecting tourists.