And then I like to go once more to the little temple, to enter through its defaced gateway, to stand alone in its silence between the rows of statues with their arms folded upon their quiet b.r.e.a.s.t.s, to gaze into the tender darkness beyond--the darkness that looks consecrated--to feel that peace is more wonderful than triumph, that the end of things is peace.
Triumph and deathless peace, the bugle-call and silence--these are the notes of Karnak.
VIII
LUXOR
Upon the wall of the great court of Amenhotep III. in the temple of Luxor there is a delicious dancing procession in honor of Rameses II. It is very funny and very happy; full of the joy of life--a sort of radiant cake-walk of old Egyptian days. How supple are these dancers! They seem to have no bones. One after another they come in line upon the mighty wall, and each one bends backward to the knees of the one who follows.
As I stood and looked at them for the first time, almost I heard the twitter of flutes, the rustic wail of the African hautboy, the monotonous boom of the derabukkeh, cries of a far-off gaiety such as one often hears from the Nile by night. But these cries came down the long avenues of the centuries; this gaiety was distant in the vasty halls of the long-dead years. Never can I think of Luxor without thinking of those happy dancers, without thinking of the life that goes in the sun on dancing feet.
There are a few places in the world that one a.s.sociates with happiness, that one remembers always with a smile, a little thrill at the heart that whispers "There joy is." Of these few places Luxor is one--Luxor the home of sunshine, the suave abode of light, of warmth, of the sweet days of gold and sheeny, golden sunsets, of silver, shimmering nights through which the songs of the boatmen of the Nile go floating to the courts and the tombs of Thebes. The roses bloom in Luxor under the mighty palms. Always surely beneath the palms there are the roses. And the lateen-sails come up the Nile, looking like white-winged promises of future golden days. And at dawn one wakes with hope and hears the songs of the dawn; and at noon one dreams of the happiness to come; and at sunset one is swept away on the gold into the heart of the golden world; and at night one looks at the stars, and each star is a twinkling hope.
Soft are the airs of Luxor; there is no harshness in the wind that stirs the leaves of the palms. And the land is steeped in light. From Luxor one goes with regret. One returns to it with joy on dancing feet.
One day I sat in the temple, in the huge court with the great double row of columns that stands on the banks of the Nile and looks so splendid from it. The pale brown of the stone became almost yellow in the sunshine. From the river, hidden from me stole up the songs of the boatmen. Nearer at hand I heard pigeons cooing, cooing in the sun, as if almost too glad, and seeking to manifest their gladness. Behind me, through the columns, peeped some houses of the village: the white home of Ibrahim Ayyad, the perfect dragoman, grandson of Mustapha Aga, who entertained me years ago, and whose house stood actually within the precincts of the temple; houses of other fortunate dwellers in Luxor whose names I do not know. For the village of Luxor crowds boldly about the temple, and the children play in the dust almost at the foot of the obelisks and statues. High on a brown hump of earth a buffalo stood alone, languishing serenely in the sun, gazing at me through the columns with light eyes that were full of a sort of folly of contentment. Some goats tripped by, brown against the brown stone--the dark brown earth of the native houses. Intimate life was here, striking the note of coziness of Luxor. Here was none of the sadness and the majesty of Denderah.
Grand are the ruins of Luxor, n.o.ble is the line of columns that boldly fronts the Nile, but Time has given them naked to the air and to the sun, to children and to animals. Instead of bats, the pigeons fly about them. There is no dreadful darkness in their sanctuaries. Before them the life of the river, behind them the life of the village flows and stirs. Upon them looks down the Minaret of Abu Haggag; and as I sat in the sunshine, the warmth of which began to lessen, I saw upon its lofty circular balcony the figure of the muezzin. He leaned over, bending toward the temple and the statues of Rameses II. and the happy dancers on the wall. He opened his lips and cried to them:
"G.o.d is great. G.o.d is great . . . I bear witness that there is no G.o.d but G.o.d. . . . I bear witness that Mohammed is the Apostle of G.o.d. . . .
Come to prayer! Come to prayer! . . . G.o.d is great. G.o.d is great. There is no G.o.d but G.o.d."
He circled round the minaret. He cried to the Nile. He cried to the Colossi sitting in their plain, and to the yellow precipices of the mountains of Libya. He cried to Egypt:
"Come to prayer! Come to prayer! There is no G.o.d but G.o.d. There is no G.o.d but G.o.d."
The days of the G.o.ds were dead, and their ruined temple echoed with the proclamation of the one G.o.d of the Moslem world. "Come to prayer! Come to prayer!" The sun began to sink.
"Sunset and evening star, and one clear call for me."
The voice of the muezzin died away. There was a silence; and then, as if in answer to the cry from the minaret, I heard the chime of the angelus bell from the Catholic church of Luxor.
"Twilight and evening bell, and after that the dark."
I sat very still. The light was fading; all the yellow was fading, too, from the columns and the temple walls. I stayed till it was dark; and with the dark the old G.o.ds seemed to resume their interrupted sway. And surely they, too, called to prayer. For do not these ruins of old Egypt, like the muezzin upon the minaret, like the angelus bell in the church tower, call one to prayer in the night? So wonderful are they under stars and moon that they stir the fleshly and the worldly desires that lie like drifted leaves about the reverence and the aspiration that are the hidden core of the heart. And it is released from its burden; and it awakes and prays.
Amun-Ra, Mut, and Khuns, the king of the G.o.ds, his wife, mother of G.o.ds, and the moon G.o.d, were the Theban triad to whom the holy buildings of Thebes on the two banks of the Nile were dedicated; and this temple of Luxor, the "House of Amun in the Southern Apt," was built fifteen hundred years before Christ by Amenhotep III. Rameses II., that vehement builder, added to it immensely. One walks among his traces when one walks in Luxor. And here, as at Denderah, Christians have let loose the fury that should have had no place in their religion. Churches for their worship they made in different parts of the temple, and when they were not praying, they broke in pieces statues, defaced bas-reliefs, and smashed up shrines with a vigor quite as great as that displayed in preservation by Christians of to-day. Now time has called a truce.
Safe are the statues that are left. And day by day two great religions, almost as if in happy brotherly love, send forth their summons by the temple walls. And just beyond those walls, upon the hill, there is a Coptic church. Peace reigns in happy Luxor. The lion lies down with the lamb, and the child, if it will, may harmlessly put its hand into the c.o.c.katrice"s den.
Perhaps because it is so surrounded, so haunted by life and familiar things, because the pigeons fly about it, the buffalo stares into it, the goats stir up the dust beside its columns, the twittering voices of women make a music near its courts, many people pay little heed to this great temple, gain but a small impression from it. It decorates the bank of the Nile. You can see it from the dahabiyehs. For many that is enough. Yet the temple is a n.o.ble one, and, for me, it gains a definite attraction all its own from the busy life about it, the cheerful hum and stir. And if you want fully to realize its dignity, you can always visit it by night. Then the cries from the village are hushed. The houses show no lights. Only the voices from the Nile steal up to the obelisk of Rameses, to the pylon from which the flags of Thebes once flew on festal days, to the shrine of Alexander the Great, with its vultures and its stars, and to the red granite statues of Rameses and his wives.
These last are as expressive as and of course more definite than my dancers. They are full of character. They seem to breathe out the essence of a vanished domesticity. Colossal are the statues of the king, solid, powerful, and tremendous, boldly facing the world with the calm of one who was thought, and possibly thought himself, to be not much less than a deity. And upon each pedestal, shrinking delicately back, was once a little wife. Some little wives are left. They are delicious in their modesty. Each stands away from the king, shyly, respectfully.
Each is so small as to be below his down-stretched arm. Each, with a surely furtive gesture, reaches out her right hand, and attains the swelling calf of her n.o.ble husband"s leg. Plump are their little faces, but not bad-looking. One cannot pity the king. Nor does one pity them.
For these were not "Les desenchantees," the restless, sad-hearted women of an Eastern world that knows too much. Their longings surely cannot have been very great. Their world was probably bounded by the calf of Rameses"s leg. That was "the far horizon" of the little plump-faced wives.
The happy dancers and the humble wives, they always come before me with the temple of Luxor--joy and discretion side by side. And with them, to my ears, the two voices seem to come, muezzin and angelus bell, mingling not in war, but peace. When I think of this temple, I think of its joy and peace far less than of its majesty.
And yet it is majestic. Look at it, as I have often done, toward sunset from the western bank of the Nile, or climb the mound beyond its northern end, where stands the grand entrance, and you realize at once its n.o.bility and solemn splendor. From the _Loulia"s_ deck it was a procession of great columns; that was all. But the decorative effect of these columns, soaring above the river and its vivid life, is fine.
By day all is turmoil on the river-bank. Barges are unloading, steamers are arriving, and throngs of donkey-boys and dragomans go down in haste to meet them. Servants run to and fro on errands from the many dahabiyehs. Bathers leap into the brown waters. The native craft pa.s.s by with their enormous sails outspread to catch the wind, bearing serried mobs of men, and black-robed women, and laughing, singing children. The boatmen of the hotels sing monotonously as they lounge in the big, white boats waiting for travellers to Medinet-Abu, to the Ramesseum, to Kurna, and the tombs. And just above them rise the long lines of columns, ancient, tranquil, and remote--infinitely remote, for all their nearness, casting down upon the sunlit gaiety the long shadow of the past.
From the edge of the mound where stands the native village the effect of the temple is much less decorative, but its detailed grandeur can be better grasped from there; for from there one sees the great towers of the propylon, two rows of mighty columns, the red granite Obelisk of Rameses the great, and the black granite statues of the king. On the right of the entrance a giant stands, on the left one is seated, and a little farther away a third emerges from the ground, which reaches to its mighty breast.
And there the children play perpetually. And there the Egyptians sing their serenades, making the pipes wail and striking the derabukkeh; and there the women gossip and twitter like the birds. And the buffalo comes to take his sun-bath; and the goats and the curly, brown sheep pa.s.s in sprightly and calm processions. The obelisk there, like its brother in Paris, presides over a cheerfulness of life; but it is a life that seems akin to it, not alien from it. And the king watches the simplicity of this keen existence of Egypt of to-day far up the Nile with a calm that one does not fear may be broken by unsympathetic outrage, or by any vision of too perpetual foreign life. For the tourists each year are but an episode in Upper Egypt. Still the shadoof-man sings his ancient song, violent and pathetic, bold as the burning sun-rays. Still the fellaheen plough with the camel yoked with the ox. Still the women are covered with protective amulets and hold their black draperies in their mouths.
The intimate life of the Nile remains the same. And that life obelisk and king have known for how many, many years!
And so I love to think of this intimacy of life about the temple of the happy dancers and the humble little wives, and it seems to me to strike the keynote of the golden coziness of Luxor.
IX
COLOSSI OF MEMNON
Nevertheless, sometimes one likes to escape from the thing one loves, and there are hours when the gay voices of Luxor fatigue the ears, when one desires a great calm. Then there are silent voices that summon one across the river, when the dawn is breaking over the hills of the Arabian desert, or when the sun is declining toward the Libyan mountains--voices issuing from lips of stone, from the twilight of sanctuaries, from the depths of rock-hewn tombs.
The peace of the plain of Thebes in the early morning is very rare and very exquisite. It is not the peace of the desert, but rather, perhaps, the peace of the prairie--an atmosphere tender, delicately thrilling, softly bright, hopeful in its gleaming calm. Often and often have I left the _Loulia_ very early moored against the long sand islet that faces Luxor when the Nile has not subsided, I have rowed across the quiet water that divided me from the western bank, and, with a happy heart, I have entered into the lovely peace of the great s.p.a.ces that stretch from the Colossi of Memnon to the Nile, to the mountains, southward toward Armant, northward to Kerekten, to Danfik, to Gueziret-Meteira. Think of the color of young clover, of young barley, of young wheat; think of the timbre of the reed flute"s voice, thin, clear, and frail with the frailty of dewdrops; think of the torrents of spring rushing through the veins of a great, wide land, and growing almost still at last on their journey. Spring, you will say, perhaps, and high Nile not yet subsided!
But Egypt is the favored land of a spring that is already alert at the end of November, and in December is pushing forth its green. The Nile has sunk away from the feet of the Colossi that it has bathed through many days. It has freed the plain to the fellaheen, though still it keeps my island in its clasp. And Hapi, or Kam-wra, the "Great Extender," and Ra, have made this wonderful spring to bloom on the dark earth before the Christian"s Christmas.
What a pastoral it is, this plain of Thebes, in the dawn of day! Think of the reed flute, I have said, not because you will hear it, as you ride toward the mountains, but because its voice would be utterly in place here, in this arcady of Egypt, playing no tarantella, but one of those songs, half bird-like, and half sadly, mysteriously human, which come from the soul of the East. Instead of it, you may catch distant cries from the bank of the river, where the shadoof-man toils, lifting ever the water and his voice, the one to earth, the other, it seems, to sky; and the creaking lay of the water-wheel, which pervades Upper Egypt like an atmosphere, and which, though perhaps at first it irritates, at last seems to you the sound of the soul of the river, of the sunshine, and the soil.
Much of the land looks painted. So flat is it, so young are the growing crops, that they are like a coating of green paint spread over a mighty canvas. But the doura rises higher than the heads of the naked children who stand among it to watch you canter past. And in the far distance you see dim groups of trees--sycamores and acacias, tamarisks and palms.
Beyond them is the very heart of this "land of sand and ruins and gold"; Medinet-Abu, the Ramesseum, Deir-el Medinet, Kurna, Deir-el-Bahari, the tombs of the kings, the tombs of the queens and of the princes. In the strip of bare land at the foot of those hard, and yet poetic mountains, have been dug up treasures the fame of which has gone to the ends of the world. But this plain, where the fellaheen are stooping to the soil, and the women are carrying the water-jars, and the children are playing in the doura, and the oxen and the camels are working with ploughs that look like relics of far-off days, is the possession of the two great presiding beings whom you see from an enormous distance, the Colossi of Memnon. Amenhotep III. put them where they are. So we are told. But in this early morning it is not possible to think of them as being brought to any place. Seated, the one beside the other, facing the Nile and the home of the rising sun, their immense aspect of patience suggests will, calmly, steadily exercised, suggests choice; that, for some reason, as yet unknown, they chose to come to this plain, that they choose solemnly to remain there, waiting, while the harvests grow and are gathered about their feet, while the Nile rises and subsides, while the years and the generations come, like the harvests, and are stored away in the granaries of the past. Their calm broods over this plain, gives to it a personal atmosphere which sets it quite apart from every other flat s.p.a.ce of the world. There is no place that I know on the earth which has the peculiar, bright, ineffable calm of the plain of these Colossi. It takes you into its breast, and you lie there in the growing sunshine almost as if you were a child laid in the lap of one of them. That legend of the singing at dawn of the "vocal Memnon," how could it have arisen? How could such calmness sing, such patience ever find a voice?
Unlike the Sphinx, which becomes ever more impressive as you draw near to it, and is most impressive when you sit almost at its feet, the Colossi lose in personality as you approach them and can see how they have been defaced.
From afar one feels their minds, their strange, unearthly temperaments commanding this pastoral. When you are beside them, this feeling disappears. Their features are gone, and though in their att.i.tudes there is power, and there is something that awakens awe, they are more wonderful as a far-off feature of the plain. They gain in grandeur from the night in strangeness from the moonrise, perhaps specially when the Nile comes to their feet. More than three thousand years old, they look less eternal than the Sphinx. Like them, the Sphinx is waiting, but with a greater purpose. The Sphinx reduces man really to nothingness. The Colossi leave him some remnants of individuality. One can conceive of Strabo and AElius Gallus, of Hadrian and Sabina, of others who came over the sunlit land to hear the unearthly song in the dawn, being of some--not much, but still of some--importance here. Before the Sphinx no one is important. But in the distance of the plain the Colossi shed a real magic of calm and solemn personality, and subtly seem to mingle their spirit with the flat, green world, so wide, so still, so fecund, and so peaceful; with the soft airs that are surely scented with an eternal springtime, and with the light that the morning rains down on wheat and clover, on Indian corn and barley, and on brown men laboring, who, perhaps, from the patience of the Colossi in repose have drawn a patience in labor that has in it something not less sublime.
From the Colossi one goes onward toward the trees and the mountains, and very soon one comes to the edge of that strange and fascinating strip of barren land which is strewn with temples and honeycombed with tombs. The sun burns down on it. The heat seems thrown back upon it by the wall of tawny mountains that bounds it on the west. It is dusty, it is arid; it is haunted by swarms of flies, by the guardians of the ruins, and by men and boys trying to sell enormous scarabs and necklaces and amulets, made yesterday, and the day before, in the manufactory of Kurna. From many points it looks not unlike a strangely prolonged rubbish-heap in which busy giants have been digging with huge spades, making mounds and pits, caverns and trenches, piling up here a monstrous heap of stones, casting down there a mighty statue. But how it fascinates! Of curse one knows what it means. One knows that on this strip of land Naville dug out at Deir-el-Bahari the temple of Mentu-hotep, and discovered later, in her shrine, Hathor, the cow-G.o.ddess, with the lotus-plants streaming from her sacred forehead to her feet; that long before him Mariette here brought to the light at Drah-abu"l-Neggah the treasures of kings of the twelfth and thirteenth dynasties; that at the foot of those tiger-colored precipices Theodore M. Davis the American found the sepulcher of Queen Hatshepsu, the Queen Elizabeth of the old Egyptian world, and, later, the tomb of Yuaa and Thuaa, the parents of Queen Thiy, containing mummy-cases covered with gold, jars of oil and wine, gold, silver, and alabaster boxes, a bed decorated with gilded ivory a chair with gilded plaster reliefs, chairs of state, and a chariot; that here Maspero, Victor Loret, Brugsch Bey, and other patient workers gave to the world tombs that had been hidden and unknown for centuries; that there to the north is the temple of Kurna, and over there the Ramesseum; that those rows of little pillars close under the mountain, and looking strangely modern, are the pillars of Hatshepsu"s temple, which bears upon its walls the pictures of the expedition to the historic land of Punt; that the kings were buried there, and there the queens and the princes of the vanished dynasties; that beyond to the west is the temple of Deir-el-Medinet with its judgment of the dead; that here by the native village is Medinet-Abu. One knows that, and so the imagination is awake, ready to paint the lily and to gild the beaten gold. But even if one did not know, I think one would be fascinated. This turmoil of sun-baked earth and rock, grey, yellow, pink, orange, and red, awakens the curiosity, summons the love of the strange, suggests that it holds secrets to charm the souls of men.
X
MEDINET-ABU
At the entrance to the temple of Medinet-Abu, near the small groups of palms and the few brown houses, often have I turned and looked back across the plain before entering through the first beautiful doorway, to see the patient backs and right sides of the Colossi, the far-off, dreamy mountains beyond Karnak and the Nile. And again, when I have entered and walked a little distance, I have looked back at the almost magical picture framed in the doorway; at the bottom of the picture a layer of brown earth, then a strip of sharp green--the cultivated ground--then a blur of pale yellow, then a darkness of trees, and just the hint of a hill far, very far away. And always, in looking, I have thought of the "Sposalizio" of Raphael in the Brera at Milan, of the tiny dream of blue country framed by the temple doorway beyond the Virgin and Saint Joseph. The doorways of the temples of Egypt are very n.o.ble, and nowhere have I been more struck by their n.o.bility than in Medinet-Abu. Set in huge walls of ma.s.sive masonry, which rise slightly above them on each side, with a projecting cornice, in their simplicity they look extraordinarily cla.s.sical, in their sobriety mysterious, and in their great solidity quite wonderfully elegant. And they always suggest to me that they are giving access to courts and chambers which still, even in our times, are dedicated to secret cults--to the cults of Isis, of Hathor, and of Osiris.
Close to the right of the front of Medinet-Abu there are trees covered with yellow flowers; beyond are fields of doura. Behind the temple is a sterility which makes one think of metal. A great calm enfolds the place. The buildings are of the same color as the Colossi. When I speak of the buildings, I include the great temple, the pavilion of Rameses III., and the little temple, which together may be said to form Medinet-Abu. Whereas the temple of Luxor seems to open its arms to life, and the great fascination of the Ramesseum comes partly from its invasion by every traveling air and happy sun-ray, its openness and freedom, Medinet-Abu impresses by its colossal air of secrecy, by its fortress-like seclusion. Its walls are immensely thick, and are covered with figures the same color as the walls, some of them very tall.
Thick-set, ma.s.sive, heavy, almost warlike it is. Two seated statues within, statues with animals" faces, steel-colored, or perhaps a little darker than that, look like savage warders ready to repel intrusion.
Pa.s.sing between them, delicately as Agag, one enters an open s.p.a.ce with ruins, upon the right of which is a low, small temple, grey in hue, and covered with inscriptions, which looks almost bowed under its tremendous weight of years. From this dignified, though tiny, veteran there comes a perpetual sound of birds. The birds in Egypt have no reverence for age.
Never have I seen them more restless, more gay, or more impertinent, than in the immemorial ruins of the ancient land. Beyond is an enormous portal, on the lofty ceiling of which still linger traces of faded red and blue, which gives access to a great hall with rows of mighty columns, those on the left hand round, those on the right square, and almost terribly ma.s.sive. There is in these no grace, as in the giant lotus columns of Karnak. Prodigious, heavy, barbaric, they are like a hymn in stone to Strength. There is something brutal in their aspect, which again makes one think of war, of a.s.saults repelled, hordes beaten back like waves by a sea-wall. And still another great hall, with more gigantic columns, lies in the sun beyond, and a doorway through which seems to stare fiercely the edge of a hard and fiery mountain. Although one is roofed by the sky, there is something oppressive here; an imprisoned feeling comes over one. I could never be fond of Medinet-Abu, as I am fond of Luxor, of parts of Karnak, of the whole of delicious, poetical Philae. The big pylons, with their great walls sloping inward, sand-colored, and glowing with very pale yellow in the sun, the resistant walls, the brutal columns, the huge and almost savage scale of everything, always remind me of the violence in men, and also--I scarcely know why--make me think of the North, of sullen Northern castles by the sea, in places where skies are grey, and the white of foam and snow is married in angry nights.
And yet in Medinet-Abu there reigns a splendid calm--a calm that sometimes seems ma.s.sive, resistant, as the columns and the walls. Peace is certainly inclosed by the stones that call up thoughts of war, as if, perhaps, their purpose had been achieved many centuries ago, and they were quit of enemies for ever. Rameses III. is connected with Medinet-Abu. He was one of the greatest of the Egyptian kings, and has been called the "last of the great sovereigns of Egypt." He ruled for thirty-one years, and when, after a first visit to Medinet-Abu, I looked into his records, I was interested to find that his conquests and his wars had "a character essentially defensive." This defensive spirit is incarnated in the stones of these ruins. One reads in them something of the soul of this king who lived twelve hundred years before Christ, and who desired, "in remembrance of his Syrian victories," to give to his memorial temple an outward military aspect. I noticed a military aspect at once inside this temple; but if you circle the buildings outside it is more unmistakable. For the east front has a battlemented wall, and the battlements are shield-shaped. This fortress, or migdol, a name which the ancient Egyptians borrowed from the nomadic tribes of Syria, is called the "Pavilion of Rameses III.," and his princ.i.p.al battles are represented upon its walls. The monarch does not hesitate to speak of himself in terms of praise, suggesting that he was like the G.o.d Mentu, who was the Egyptian war G.o.d, and whose cult at Thebes was at one period more important even than was the cult of Amun, and also plainly hinting that he was a brave fellow. "I, Rameses the King," he murmurs, "behaved as a hero who knows his worth." If hieroglyphs are to be trusted, various Egyptian kings of ancient times seem to have had some vague suspicion of their own value, and the walls of Medinet-Abu are, to speak sincerely, one mighty boast. In his later years the king lived in peace and luxury, surrounded by a vicious and intriguing Court, haunted by magicians, hags, and mystery-mongers. Dealers in magic may still be found on the other side of the river, in happy Luxor. I made the acquaintance of two when I was there, one of whom offered for a couple of pounds to provide me with a preservative against all such dangers as beset the traveller in wild places. In order to prove its efficacy he asked me to come to his house by night, bringing a dog and my revolver with me. He would hang the charm about the dog"s neck, and I was then to put six shots into the animal"s body. He positively a.s.sured me that the dog would be uninjured. I half-promised to come and, when night began to fall, looked vaguely about for a dog. At last I found one, but it howled so dismally when I asked Ibrahim Ayyad to take possession of it for experimental purposes, that I weakly gave up the project, and left the magician clamoring for his hundred and ninety-five piastres.
Its warlike aspect gives a special personality to Medinet-Abu. The shield-shaped battlements; the courtyards, with their brutal columns, narrowing as they recede towards the mountains; the heavy gateways, with superimposed chambers; the towers; quadrangular bastion to protect, inclined bas.e.m.e.nt to resist the attacks of sappers and cause projectiles to rebound--all these things contribute to this very definite effect.