The Treasury of Ancient Egypt Part 15

[Ill.u.s.tration: PL. XXVII. A Relief representing Queen Tiy, from the tomb of Userhat, Thebes.

--BRUSSELS MUSEUM.

(See PL. xxvi.)]

[_Photo by T. Capart._

In the same museum, and in others also, there are fragments of beautiful sculpture hacked out of the walls of the famous tomb of Khaemhat at Thebes. In the British Museum there are large pieces of wall-paintings broken out of Theban tombs. The famous inscription in the tomb of Anena at Thebes, which was one of the most important texts of the early XVIIIth Dynasty, was smashed to pieces several years ago to be sold in small sections to museums; and the scholar to whom this volume is dedicated was instrumental in purchasing back for us eleven of the fragments, which have now been replaced in the tomb, and, with certain fragments in Europe, form the sole remnant of the once imposing stela.

One of the most important scenes out of the famous reliefs of the Expedition to Pount, at Der el Bahri, found its way into the hands of the dealers, and was ultimately purchased by our museum in Cairo. The beautiful and important reliefs which decorated the tomb of h.o.r.emheb at Sakkara, hacked out of the walls by robbers, are now exhibited in six different museums: London, Leyden, Vienna, Bologna, Alexandria, and Cairo. Of the two hundred tombs of the n.o.bles now to be seen at Thebes, I cannot, at the moment, recall a single one which has not suffered in this manner at some time previous to the organisation of the present strict supervision.

The curators of western museums will argue that had they not purchased these fragments they would have fallen into the hands of less desirable owners. This is quite true, and, indeed, it forms the nearest approach to justification that can be discovered. Nevertheless, it has to be remembered that this purchasing of antiquities is the best stimulus to the robber, who is well aware that a market is always to be found for his stolen goods. It may seem difficult to censure the purchaser, for certainly the fragments were "stray" when the bargain was struck, and it is the business of the curator to collect stray antiquities. But why were they stray? Why were they ever cut from the walls of the Egyptian monuments? a.s.suredly because the robbers knew that museums would purchase them. If there had been no demand there would have been no supply.

To ask the curators to change their policy, and to purchase only those objects which are legitimately on sale, would, of course, be as futile as to ask the nations to disarm. The rivalry between museum and museum would alone prevent a cessation of this indiscriminate traffic. I can see only one way in which a more sane and moral att.i.tude can be introduced, and that is by the development of the habit of visiting Egypt and of working upon archaeological subjects in the shadow of the actual monuments. Only the person who is familiar with Egypt can know the cost of supplying the stay-at-home scholar with exhibits for his museums. Only one who has resided in Egypt can understand the fact that Egypt itself is the true museum for Egyptian antiquities. He alone can appreciate the work of the Egyptian Government in preserving the remains of ancient days.

The resident in Egypt, interested in archaeology, comes to look with a kind of horror upon museums, and to feel extraordinary hostility to what may be called the museum spirit. He sees with his own eyes the half-destroyed tombs, which to the museum curator are things far off and not visualised. While the curator is blandly saying to his visitor: "See, I will now show you a beautiful fragment of sculpture from a distant and little-known Theban tomb," the white resident in Egypt, with black murder in his heart, is saying: "See, I will show you a beautiful tomb of which the best part of one wall is utterly destroyed that a fragment might be hacked out for a distant and little-known European museum."

To a resident in Europe, Egypt seems to be a strange and barbaric land, far, far away beyond the hills and seas; and her monuments are thought to be at the mercy of wild Bedwin Arabs. In the less recent travel books there is not a published drawing of a temple in the Nile valley but has its complement of Arab figures grouped in picturesque att.i.tudes. Here a fire is being lit at the base of a column, and the black smoke curls upwards to destroy the paintings thereon; here a group of children sport upon the lap of a colossal statue; and here an Arab tethers his camel at the steps of the high altar. It is felt, thus, that the objects exhibited in European museums have been _rescued_ from Egypt and recovered from a distant land. This is not so. They have been s.n.a.t.c.hed from Egypt and lost to the country of their origin.

He who is well acquainted with Egypt knows that hundreds of watchmen, and a small army of inspectors, engineers, draughtsmen, surveyors, and other officials now guard these monuments, that strong iron gates bar the doorways against unauthorised visitors, that hourly patrols pa.s.s from monument to monument, and that any damage done is punished by long terms of imprisonment; he knows that the Egyptian Government spends hundreds of thousands of pounds upon safeguarding the ancient remains; he is aware that the organisation of the Department of Antiquities is an extremely important branch of the Ministry of Public Works. He has seen the temples swept and garnished, the tombs lit with electric light, and the sanctuaries carefully rebuilt. He has spun out to the Pyramids in the electric tram or in a taxi-cab; has strolled in evening dress and opera hat through the halls of Karnak, after dinner at the hotel; and has rung up the Theban Necropolis on the telephone.

A few seasons' residence in Egypt shifts the point of view in a startling manner. No longer is the country either distant or insecure; and, realising this, the student becomes more balanced, and he sees both sides of the question with equal clearness. The archaeologist may complain that it is too expensive a matter to come to Egypt. But why, then, are not the expenses of such a journey met by the various museums?

A hundred pounds will pay for a student's winter in Egypt and his journey to and from that country. Such a sum is given readily enough for the purchase of an antiquity; but surely rightly-minded students are a better investment than wrongly-acquired antiquities.

It must now be pointed out, as a third argument, that an Egyptologist cannot study his subject properly unless he be thoroughly familiar with Egypt and the modern Egyptians.

A student who is accustomed to sit at home, working in his library or museum, and who has never resided in Egypt, or has but travelled for a short time in that country, may do extremely useful work in one way and another, but that work will not be faultless. It will be, as it were, lop-sided; it will be coloured with hues of the west, unknown to the land of the Pharaohs and ant.i.thetical thereto. A London architect may design an apparently charming villa for a client in Jerusalem, but unless he knows by actual and prolonged experience the exigencies of the climate of Palestine, he will be liable to make a sad mess of his job.

By bitter experience the military commanders learnt in South Africa that a plan of campaign prepared in England was of little use to them. The cricketer may play a very good game upon the home ground, but upon a foreign pitch the first straight ball will send his bails flying into the clear blue sky.

An archaeologist who attempts to record the material relating to the manners and customs of the ancient Egyptians cannot complete his task, or even a.s.sure himself of the accuracy of his statements, unless he has studied the modern customs and has made himself acquainted with the permanent conditions of the country. The modern Egyptians, as has been pointed out in chapter ii. (page 28), are the same people as those who bowed the knee to Pharaoh, and many of their customs still survive. A student can no more hope to understand the story of Pharaonic times without an acquaintance with Egypt as she now is than a modern statesman can hope to understand his own times solely from a study of the past.

Nothing is more paralysing to a student of archaeology than continuous book-work. A collection of hard facts is an extremely beneficial mental exercise, but the deductions drawn from such a collection should be regarded as an integral part of the work. The road-maker must also walk upon his road to the land whither it leads him; the shipbuilder must ride the seas in his vessel, though they be uncharted and unfathomed.

Too often the professor will set his students to a compilation which leads them no farther than the final fair copy. They will be asked to make for him, with infinite labour, a list of the High Priests of Amon; but unless he has encouraged them to put such life into those figures that each one seems to step from the page to confront his recorder, unless the name of each calls to mind the very scenes amidst which he worshipped, then is the work uninspired and as deadening to the student as it is useful to the professor. A catalogue of ancient scarabs is required, let us suppose, and students are set to work upon it. They examine hundreds of specimens, they record the variations in design, they note the differences in the glaze or material. But can they picture the man who wore the scarab?--can they reconstruct in their minds the scene in the workshop wherein the scarab was made?--can they hear the song of the workmen or their laughter when the overseer was not nigh? In a word, does the scarab mean history to them, the history of a period, of a dynasty, of a craft? a.s.suredly not, unless the students know Egypt and the Egyptians, have heard their songs and their laughter, have watched their modern arts and crafts. Only then are they in a position to reconstruct the picture.

Theodore Roosevelt, in his Romanes lecture at Oxford, gave it as his opinion that the industrious collector of facts occupied an honourable but not an exalted position; and he added that the merely scientific historian must rest content with the honour, substantial, but not of the highest type, that belongs to him who gathers material which some time some master shall arise to use. Now every student should aim to be a master, to _use_ the material which he has so laboriously collected; and though at the beginning of his career, and indeed throughout his life, the gathering of material is a most important part of his work, he should never compile solely for the sake of compilation, unless he be content to serve simply as a clerk of archaeology.

An archaeologist must be an historian. He must conjure up the past; he must play the Witch of Endor. His lists and indices, his catalogues and note-books, must be but the spells which he uses to invoke the dead. The spells have no potency until they are p.r.o.nounced: the lists of the kings of Egypt have no more than an accidental value until they call before the curtain of the mind those monarchs themselves. It is the business of the archaeologist to awake the dreaming dead: not to send the living to sleep. It is his business to make the stones tell their tale: not to petrify the listener. It is his business to put motion and commotion into the past that the present may see and hear: not to pin it down, spatchc.o.c.ked, like a dead thing. In a word, the archaeologist must be in command of that faculty which is known as the historic imagination, without which Dean Stanley was of opinion that the story of the past could not be told.

But how can that imagination be at once exerted and controlled, as it must needs be, unless the archaeologist is so well acquainted with the conditions of the country about which he writes that his pictures of it can be said to be accurate? The student must allow himself to be saturated by the very waters of the Nile before he can permit himself to write of Egypt. He must know the modern Egyptians before he can construct his model of Pharaoh and his court.

In a recent London play dealing with ancient Egypt, the actor-manager exerted his historic imagination, in one scene, in so far as to introduce a _shadoof_ or water-hoist, which was worked as a naturalistic side-action to the main incident. But, unfortunately, it was displayed upon a hillside where no water could ever have reached it; and thus the audience, all unconsciously, was confronted with the remarkable spectacle of a husbandman applying himself diligently to the task of ladelling thin air on to crops that grew upon barren sand. If only his imagination had been controlled by a knowledge of Egypt, the picture might have been both true and effective.

When the mummy of Akhnaton was discovered and was proved to be that of a man of twenty-eight years of age, many persons doubted the identification on the grounds that the king was known to have been married at the time when he came to the throne, seventeen years before his death,[1] and it was freely stated that a marriage at the age of ten or eleven was impossible and out of the question. Thus it actually remained for the writer to point out that the fact of the king's death occurring seventeen years after his marriage practically fixed his age at his decease at not much above twenty-eight years, so unlikely was it that his marriage would have been delayed beyond his eleventh year.

Those who doubted the identification on such grounds were showing all too clearly that the manners and customs of the Egyptians of the nineteenth and twentieth centuries, so many of which have come down intact from olden times, were unknown to them.

[Footnote 1: Weigall: Life of Akhnaton, p. 56.]

Here we come to the root of the trouble. The Egyptologist who has not resided for some time in Egypt is inclined to allow his ideas regarding the ancient customs of the land to be influenced by his unconsciously-acquired knowledge of the habits of the west. Men do not marry before the age of eighteen or twenty in Europe: therefore they did not do so in Egypt. There are streams of water upon the mountains in Europe: therefore water may be hoisted upon the hillsides in Egypt. But is he blind that he sees not the great gulf fixed between the ways of the east and those of his accustomed west? It is of no value to science to record the life of Thutmosis III. with Napoleon as our model for it, nor to describe the daily life of the Pharaoh with the person of an English king before our mind's eye. Our European experience will not give us material for the imagination to work upon in dealing with Egypt.

The setting for our Pharaonic pictures must be derived from Egypt alone; and no Egyptologist's work that is more than a simple compilation is of value unless the sunlight and the sandy glare of Egypt have burnt into his eyes, and have been reflected on to the pages under his pen.

The archaeologist must possess the historic imagination, but it must be confined to its proper channels. It is impossible to exert this imagination without, as a consequence, a figure rising up before the mind partially furnished with the details of a personality and fully endowed with the broad character of an individual. The first lesson, thus, which we must learn is that of allowing no incongruity to appear in our figures. A king whose name has survived to us upon some monument becomes at once such a reality that the legends concerning him are apt to be accepted as so much fact. Like John Donne once* says--

"Thou art so true, that thoughts of thee suffice To make dreams truth, and fables histories."

*Transcriber's note: Original text read "one".

But only he who has resided in Egypt can judge how far the fables are to be regarded as having a nucleus of truth. In ancient history there can seldom be sufficient data at the Egyptologist's disposal with which to build up a complete figure; and his puppets must come upon the stage sadly deficient, as it were, in arms, legs, and apparel suitable to them, unless he knows from an experience of modern Egyptians how to restore them and to clothe them in good taste. The substance upon which the imagination works must be no less than a collective knowledge of the people of the nation in question. Rameses must be constructed from an acquaintance with many a Pasha of modern Egypt, and his Chief Butler must reflect the known characteristics of a hundred Beys and Effendis.

Without such "padding" the figures will remain but names, and with names Egyptology is already overstocked.

It is remarkable to notice how little is known regarding the great personalities in history. Taking three characters at random: we know extremely little that is authentic regarding King Arthur; our knowledge of the actual history of Robin Hood is extremely meagre; and the precise historian would have to dismiss Cleopatra in a few paragraphs. But let the archaeologist know so well the manners and customs of the period with which he is dealing that he will not, like the author of the stories of the Holy Grail, dress Arthur in the armour of the thirteenth century, nor fill the mind of Cleopatra with the thoughts of the Elizabethan poet; let him be so well trained in scientific cautiousness that he will not give unquestioned credence to the legends of the past; let him have sufficient knowledge of the nation to which his hero or heroine belonged to be able to fill up the lacunae with a kind of collective appreciation and estimate of the national characteristics,--and I do not doubt that his interpretations will hold good till the end of all history.

The student to whom Egypt is not a living reality is handicapped in his labours more unfairly than is realised by him. Avoid Egypt, and though your brains be of vast capacity, though your eyes be never raised from your books, you will yet remain in many ways an ignoramus, liable to be corrected by the merest tourist in the Nile valley. But come with me to a Theban garden that I know, where, on some still evening, the dark palms are reflected in the placid Nile, and the acacias are mellowed by the last light of the sunset; where, in leafy bowers, the grapes cl.u.s.ter overhead, and the fig-tree is burdened with fruit. Beyond the broad sheet of the river rise those unchangeable hills which encompa.s.s the Valley of the Tombs of the Kings; and at their foot, dimly seen in the evening haze, sit the twin colossi, as they have sat since the days of Amenhotep the Magnificent. The stars begin to be seen through the leaves now that the daylight dies, and presently the Milky Way becomes apparent, stretching across the vault of the night, as when it was believed to be the Nile of the Heavens.

The owls hoot to one another through the garden; and at the edge of the alabaster tank wherein the dusk is mirrored, a frog croaks unseen amidst the lilies. Even so croaked he on this very ground in those days when, typifying eternity, he seemed to utter the endless refrain, "I am the resurrection, I am the resurrection," into the ears of men and maidens beneath these self-same stars.

And now a boat floats past, on its way to Karnak, silhouetted against the last-left light of the sky. There is music and song on board. The sound of the pipes is carried over the water and pulses to the ears, inflaming the imagination with the sorcery of its cadences and stirring the blood by its bold rhythm. The gentle breeze brings the scent of many flowers to the nostrils, and with these come drifting thoughts and undefined fancies, so that presently the busy considerations of the day are lulled and forgotten. The twilight seems to cloak the extent of the years, and in the gathering darkness the procession of the centuries is hidden. Yesterday and to-day are mingled together, and there is nothing to distinguish to the eye the one age from the other. An immortal, brought suddenly to the garden at this hour, could not say from direct observation whether he had descended from the clouds into the twentieth century before or the twentieth century after Christ; and the sound of the festal pipes in the pa.s.sing boat would but serve to confuse him the more.

In such a garden as this the student will learn more Egyptology than he could a.s.similate in many an hour's study at home; for here his five senses play the student and Egypt herself is his teacher. While he may read in his books how this Pharaoh or that feasted o' nights in his palace beside the river, here, not in fallible imagination but in actual fact, he may see Nilus and the Libyan desert to which the royal eyes were turned, may smell the very perfume of the palace garden, and may hearken to the self-same sounds that lulled a king to sleep in Hundred-gated Thebes.

Not in the west, but only by the waters of the Nile will he learn how best to be an historian of ancient Egypt, and in what manner to make his studies of interest, as well as of technical value, to his readers, for he will here discover the great secret of his profession. Suddenly the veil will be lifted from his understanding, and he will become aware that Past and Present are so indissoluble as to be incapable of separate interpretation or single study. He will learn that there is no such thing as a distinct Past or a defined Present. "Yesterday this day's madness did prepare," and the affairs of bygone times must be interpreted in the light of recent events. The Past is alive to-day, and all the deeds of man in all the ages are living at this hour in offspring. There is no real death. The earthly grave will not hide, nor the mountain tomb imprison, the actions of the men of old Egypt, so consequent and fruitful are all human affairs. This is the knowledge which will make his work of lasting value; and nowhere save in Egypt can he acquire it. This, indeed, is the secret of the Sphinx; and only at the lips of the Sphinx itself can he learn it.