After the envoy and the chief had exchanged compliments, business began.

The Egyptians pitched a tent in which they stored their goods for barter, and to put temptation out of the way of the natives, they drew a guard of soldiers round the tent. For several days the market remained open, and the country people brought down their treasures, till the ships were laden as deeply as was safe. The cargo was a varied and valuable one. Elephants' tusks, gold, ebony, apes, greyhounds, leopard skins, all were crowded into the galleys, the apes sitting gravely on the top of the bales of goods, and looking longingly at the land which they were leaving.

But the most important part of the cargo was the incense, and the incense-trees. Great quant.i.ties of the gum from which the incense was made were placed on board, and also thirty-one of the incense sycamores, their roots carefully surrounded with a large ball of earth, and protected by baskets. Several young chiefs of the Punites accompanied the expedition back to Thebes, to see what life was like in the strange new world which had been revealed to them. Altogether the voyage home must have been no easy undertaking, for the ships, with their heavy cargoes, must have been very difficult to handle.

The arrival of the squadron at Thebes, which they must have reached by a ca.n.a.l connecting the Nile with the Red Sea, was made the occasion of a great holiday festival. Long lines of troops in gala attire came out to meet the brave explorers, and an escort of the royal fleet accompanied the exploring squadron up to the temple quay where the ships were to moor. Then the Thebans feasted their eyes on the wonderful treasures that had come from Punt, wondering at the natives, the incense, the ivory, and, above all, at a giraffe which had been brought home. How the poor creature was stowed away on the little Egyptian ship it is hard to see; but there he was, with his spots and his long neck, the most wonderful creature that the good folks of Thebes had ever seen. The precious incense gum was stored in the temple, and the Queen herself gave a bushel measure, made of a mixture of gold and silver, to measure it out with.

So the voyage of discovery had ended in a great success. But Queen Hatshepsut's purpose was only half fulfilled as yet. In a nook of the limestone cliffs, not far from Thebes, her father before her had begun to build a very wonderful temple, close beside the ruins of an older sanctuary which had stood there for hundreds of years. Hatshepsut had been gradually completing his work, and the temple was now growing into a most beautiful building, very different from ordinary Egyptian temples. From the desert sands in front it rose terrace above terrace, each platform bordered with rows of beautiful limestone pillars, until at last it reached the cliffs, and the most sacred chamber of it, the Holy of Holies, was hewn into the solid wall of rock behind.

This temple the Queen resolved to make into what she called a Paradise for Amen, the G.o.d who had told her to send out the ships. So she planted on the terraces the sacred incense-trees which had been brought from Punt; and, thanks to careful tending and watering, they flourished well in their new home. And then, all along the walls of the temple, she caused her artists to carve and paint the whole story of the voyage. We do not know the names of the artists who did the work, though we know that of the architect, Sen-mut, who planned the building. But, whoever they were, they must have been very skilful sculptors; for the story of the voyage is told in pictures on the walls of this wonderful temple, so that everything can be seen just as it actually happened more than three thousand years ago.

You can see the ships toiling along with oar and sail towards their destination, the meeting with the natives, the palaver and the trading, the loading of the galleys, and the long procession of Theban soldiers going out to meet the returning explorers. Not a single detail is missed, and, thanks to the Queen and her artists, we can go back over all these years, and see how sailors worked, and how people lived in savage lands in that far-off time, and realize that explorers dealt with the natives in foreign countries in those days very much as they deal with them now. When our explorers of to-day come back from their journeys, they generally tell the story of their adventures in a big book with many pictures; but no explorer ever published the account of a voyage of discovery on such a scale as did Queen Hatshepsut, when she carved the voyage to Punt on the walls of her great temple at Deir-el-Bahri, and no pictures in any modern book are likely to last as long, or to tell so much as these pictures that have come to light again during the last few years, after being buried for centuries under the desert sands.

[Ill.u.s.tration: PLATE 13.

THE BARK OF THE MOON, GUARDED BY THE DIVINE EYES.]

Queen Hatshepsut has left other memorials of her greatness besides the temple with its story of her voyage. She has told us how one day she was sitting in her palace, and thinking of her Creator, when the thought came into her mind to rear two great obelisks before the Temple of Amen at Karnak. So she gave the command, and Sen-mut, her clever architect, went up the Nile to Aswan, and quarried two huge granite blocks, and floated them down the river. Cleopatra's Needle, which stands on the Thames Embankment, is 68-1/2 feet high, and it seems to us a huge stone for men to handle. Our own engineers had trouble enough in bringing it to this country, and setting it up. But these two great obelisks of Queen Hatshepsut were 98-1/2 feet high, and weighed about 350 tons apiece. Yet Sen-mut had them quarried, and set up, and carved all over from base to summit in seven months from the time when the Queen gave her command! One of them still stands at Karnak, the tallest obelisk in the temple there; while the other great shaft has fallen, and lies broken, close to its companion. They tell us their own plain story of the wisdom and skill of those far-off days; and perhaps the great Queen who thought of her Creator as she sat in her palace, and longed to honour Him, found that the G.o.d whom she ignorantly worshipped was indeed not far from His servant's heart.

CHAPTER XI

EGYPTIAN BOOKS

The Egyptians were, if not quite the earliest, at least among the earliest of all the peoples of the world to find out how to put down their thoughts in writing, or in other words, to make a book; and one of their old books, full of wise advice from a father to his son, is, perhaps, the oldest book in the world. Two words which we are constantly using might help to remind us of how much we owe to their cleverness.

The one is "Bible," and the other is "paper." When we talk of the Bible, which just means "the Book," we are using one of the words which the Greeks used to describe the plant out of which the Egyptians made the material on which they wrote; and when we talk of paper, we are using another name, the commoner name, of the same plant. For the Egyptians were the first people to make paper, and they used it for many centuries before other people had learned how much handier it was than the other things which they used.

Yet, if you saw an Egyptian book, you would think it was a very curious and clumsy thing indeed, and very different from the handy volumes which we use nowadays. When an Egyptian wanted to make a book, he gathered the stems of a kind of reed called the papyrus, which grew in some parts of Egypt in marshy ground. This plant grew to a height of from 12 to 15 feet, and had a stalk about 6 inches thick. The outer rind was peeled off this stalk, and then the inner part of it was separated, by means of a flat needle, into thin layers. These layers were joined to one another on a table, and a thin gum was spread over them, and then another layer was laid crosswise on the top of the first. The double sheet thus made was then put into a press, squeezed together, and dried.

The sheets varied, of course, in breadth according to the purpose for which they were needed. The broadest that we know of measure about 17 inches across, but most are much narrower than that.

When the Egyptian had got his paper, he did not make it up into a volume with the sheets bound together at the back, as we do. He joined them end to end, adding on sheet after sheet as he wrote, and rolling up his book as he went along; so when the book was done it formed a big roll, sometimes many feet long. There is one great book in the British Museum which measures 135 feet in length. You would think it very strange and awkward to have to handle a book like that.

But if the book seemed curious to you, the writing in it would seem still more curious; for the Egyptian writing was certainly the quaintest, and perhaps the prettiest, that has ever been known. It is called "hieroglyphic," which means "sacred carving," and it is nothing but little pictures from beginning to end. The Egyptians began by putting down a picture of the thing which was represented by the word they wanted to use, and, though by-and-by they formed a sort of alphabet to spell words with, and had, besides, signs that represented the different syllables of a word, still, these signs were all little pictures. For instance, one of their signs for _a_ was the figure of an eagle; their sign for _m_ was a lion, and for _u_ a little chicken; so that when you look at an Egyptian book written in the hieroglyphic character, you see column after column of birds and beasts and creeping things, of men and women and boats, and all sorts of other things, marching across the page.

When the Egyptians wanted any of their writings to last for a very long time, they did not trust them to the frail papyrus rolls, but used another kind of book altogether. You have heard of "sermons in stones"?

Well, a great many of the Egyptian books that tell us of the great deeds of the Pharaohs were written on stone, carved deep and clear in the hard granite of a great obelisk, or in the limestone of a temple wall. When one of the Kings came back from the wars, he generally published the account of his battles and victories by carving them on the walls of one of the great temples, or on a pillar set up in the court of a temple, and there they remain to this day for scholars to read.

When the hieroglyphics were cut in stone, the lines were often filled in with pastes of different colours, so that the whole writing was a blaze of beautiful tints, and the walls looked as if they were covered with finely-coloured hangings. Of course, the colours have mostly faded now; but there are still some temples and tombs where they can be seen, almost as fresh as when they were first laid on, and from these we can gather some idea of how wonderfully beautiful were these stone books of ancient Egypt. The scribes and carvers knew very well how beautiful their work was, and were careful to make it look as beautiful as possible; so much so, that if they found that the grouping of figures to make up a particular word or sentence was going to be ugly or clumsy, they would even prefer to spell the word wrong, rather than spoil the appearance of their picture-writing. Some of you, I dare say, spell words wrong now and again; but I fancy it isn't because you think they look prettier that way.

But now let us turn back again to our papyrus roll. Suppose that we have got it, clean and fresh, and that our friend the scribe is going to write upon it. How does he go about it? To begin with, he draws from his belt a long, narrow wooden case, and lays it down beside him. This is his palette; rather a different kind of palette from the one which artists use. It is a piece of wood, with one long hollow in it, and two or three shallow round ones. The long hollow holds a few pens, which are made out of thin reeds, bruised at the ends, so that their points are almost like little brushes. The shallow round hollows are for holding ink--black for most of the writing, red for special words, and perhaps one or two other colours, if the scribe is going to do a very fine piece of work. So he squats down, cross-legged, dips a reed-pen in the ink, and begins. As he writes he makes his little figures of men and beasts and birds face all in the one direction, and his readers will know that they must always read from the point towards which the characters face.

Now and then, when he comes to some specially important part, he draws, in gay colours, a little picture of the scene which the words describe.

Now, you can understand that this picture-writing was not very easy work to do when you had nothing but a bruised reed to draw all sorts of animals with. Gradually the pictures grew less and less like the creatures they stood for to begin with, and at last the old hieroglyphic broke down into a kind of running hand, where a stroke or two might stand for an eagle, a lion, or a man. And very many of the Egyptian books are written in this kind of broken-down hieroglyphic, which is called "hieratic," or priestly writing. But some of the finest and costliest books were still written in the beautiful old style.

On their papyrus rolls the Egyptians wrote all sorts of things--books of wise advice, stories like the fairy-tales which we have been hearing, legends of the G.o.ds, histories, and poems; but the book that is oftenest met with is one of their religious books. It is nearly always called the "Book of the Dead" now, and some people call it the Egyptian Bible, but neither of these names is the right one. Certainly, it is not in the least like the Bible, and the Egyptians themselves never called it the Book of the Dead. They called it "The Chapters of Coming Forth by Day,"

and the reason they gave it that name was because they believed that if their dead friends knew all the wisdom that was written in it, they would escape all the dangers of the other world, and would be able in heaven to go in and out just as they had done upon earth, and to be happy for ever.

The book is full of all kinds of magical charms against the serpents and dragons and all the other kinds of evil things that sought to destroy the dead person in the other world. The scribes used to write off copies of it by the dozen, and keep them in stock, with blank places for the names of the persons who were to use them. When anyone died, his friends went away to a scribe, and bought a roll of the Book of the Dead, and the scribe filled in the name of the dead person in the blank places. Then the book was buried along with his mummy, so that when he met the demons and serpents on the road to heaven, he would know how to drive them away, and when he came to gates that had to be opened, or rivers that had to be crossed, he would know the right magical words to use.

Some of these rolls of the Book of the Dead are very beautifully written, and ill.u.s.trated with most wonderful little coloured pictures, representing different scenes of life in the other world, and it is from these that we have learned a great deal of what the Egyptians believed about the judgment after death, and heaven. But the common ones are very carelessly done. The scribes knew that the book was going to be buried at once, and that n.o.body was likely ever to see it again; so they did not care much whether they made mistakes or not, and often they missed out parts of the book altogether. They little thought that, thousands of years after they were dead, scholars would dig up their writings again, and read them, and see all their blunders.

Of course, a great deal of this book is dreadful rubbish, and anything more unlike the n.o.ble and beautiful teaching of the Bible you can scarcely imagine. It has no more sense in it than the "Fee! fi! foh!

fum!" of our fairy-stories. Here is one little chapter from it. It is called "The Chapter of Repulsing Serpents," and the Egyptians supposed that when a serpent attacked you on your way to heaven, you had only to recite this verse, and the serpent would be powerless to harm you: "Hail, thou serpent Rerek! advance not hither. Stand still now, and thou shalt eat the rat which is an abomination unto Ra (the Sun-G.o.d), and thou shalt crunch the bones of a filthy cat."

It sounds very silly, doesn't it? And there are many things quite as silly as this in the book. You can scarcely imagine how wise people like the Egyptians could ever have believed in such drivel. But, then, side by side with this miserable stuff, you find really wonderful and n.o.ble thoughts, that surely came to these men of ancient days from G.o.d Himself, telling them how every man must be judged at last for all that he has done on earth, and how only those who have done justly, and loved mercy, and walked humbly with G.o.d, will be accepted by Him.

CHAPTER XII

TEMPLES AND TOMBS

Anyone travelling through our own land, or through any European country, to see the great buildings of long ago, would find that they were nearly all either churches or castles. There are the great cathedrals, very beautiful and wonderful; and there are the great buildings, sometimes partly palaces and partly fortresses, where Kings and n.o.bles lived in bygone days. Well, if you were travelling in Egypt to see its great buildings, you would find a difference. There are plenty of churches, or temples, rather, and very wonderful they are; but there are no castles or palaces left, or, at least, there are next to none. Instead of palaces and castles, you would find tombs. Egypt, in fact, is a land of great temples and great tombs.

[Ill.u.s.tration: Plate 14 GATEWAY OF THE TEMPLE OF EDFU. _Pages_ 74, 75]

Now, one can see why the Egyptians built great temples; for they were a very religious nation, and paid great honour to their G.o.ds. But why did they give so much attention to their tombs? The reason is, as you will hear more fully in another chapter, that there never was a nation which believed so firmly as did the Egyptians that the life after death was far more important than life in this world. They built their houses, and even their palaces, very lightly, partly of wood and partly of clay, because they knew that they were only to live in them for a few years.

But they called their tombs "eternal dwelling-places"; and they have made them so wonderfully that they have lasted long after all the other buildings of the land, except the temples, have pa.s.sed away.

First of all, let me try to give you an idea of what an Egyptian temple must have been like in the days of its splendour. People come from all parts of the world to see even the ruins of these buildings, and they are altogether the most astonishing buildings in the world; but they are now only the skeletons of what the temples once were, and scarcely give you any more idea of their former glory and beauty than a human skeleton does of the beauty of a living man or woman. Suppose, then, that we are coming up to the gates of a great Egyptian temple in the days when it was still the house of a G.o.d who was worshipped by hundreds of thousands of people.

As we pa.s.s out of the narrow streets of the city to which the temple belongs, we find ourselves standing upon a broad paved way, which stretches before us for hundreds of yards. On either side, this way is bordered by a row of statues, and these statues are in the form of what we call sphinxes--that is to say, they have bodies shaped like crouching lions, and on the lion-body there is set the head of a different creature. Some of the sphinxes, like the Great Sphinx, have human heads; but those which border the temple avenues have oftener either ram or jackal heads.

As we pa.s.s along the avenue, two high towers rise before us, and between them is a great gateway. In front of the gate-towers are two tall obelisks, slender, tapering shafts of red granite, like Cleopatra's Needle on the Thames Embankment. They are hewn out of single blocks of stone, carved all over with hieroglyphic figures, polished till they shine like mirrors, and their pointed tops are gilded so that they flash brilliantly in the sunlight. Beside the obelisks, which may be from 70 to 100 feet high, there are huge statues, perhaps two, perhaps four, of the King who built the temple. These statues represent the King as sitting upon his throne, with the double crown of Egypt, red and white, upon his head. They also are hewn out of single blocks of stone, and when you look at the huge figures you wonder how human hands could ever get such stones out of the quarry, sculpture them, and set them up.

Before one of the temples of Thebes still lie the broken fragments of a statue of Ramses II. When it was whole the statue must have been about 57 feet high, and the great block of granite must have weighed about 1,000 tons--the largest single stone that was ever handled by human beings. Plate 10 will give you some idea of what these huge statues looked like.

Fastened to the towers are four tall flagstaves--two on either side of the gate--and from them float gaily-coloured pennons. The walls of the towers are covered with pictures of the wars of the King. Here you see him charging in his chariot upon his fleeing enemies; here, again, he is seizing a group of captives by the hair, and raising his mace or his sword to kill them; but whatever he is doing, he is always gigantic, while his foes are mere helpless human beings. All these carvings are brilliantly painted, and the whole front of the building glows with colour; it is really a kind of pictorial history of the King's reign.

Now we stand in front of the gate. Its two leaves are made of cedar-wood brought from Lebanon; but you cannot see the wood at all, for it is overlaid with plates of silver chased with beautiful designs. Pa.s.sing through the gateway, we find ourselves in a broad open court. All round it runs a kind of cloister, whose roof is supported upon tall pillars, their capitals carved to represent the curving leaves of the palm-tree.

In the middle of the court there stands a tall pillar of stone, inscribed with the story of the great deeds of Pharaoh, and his gifts to the G.o.d of the temple. It is inlaid with turquoise, malachite, and lapis-lazuli, and sparkles with precious stones.

At the farther side of this court, another pair of towers and another gateway lead you into the second court. Here we pa.s.s at once out of brilliant sunlight into semi-darkness; for this court is entirely roofed over, and no light enters it except from the doorway and from grated slits in the roof. Look around you, and you will see the biggest single chamber that was ever built by the hands of man. Down the centre run two lines of gigantic pillars which hold up the roof, and form the nave of the hall; and beyond these on either side are the aisles, whose roofs are supported by a perfect forest of smaller columns.

Look up to the twelve great pillars of the nave. They soar above your head, seventy feet into the air, their capitals bending outwards in the shape of open flowers. On each capital a hundred men could stand safely; and the great stone roofing beams that stretch from pillar to pillar weigh a hundred tons apiece. How were they ever brought to the place?

And, still more, how were they ever swung up to that dizzy height, and laid in their places? Each of the great columns is sculptured with figures and gaily painted, and the surrounding walls of the hall are all decorated in the same way. But when you look at the pictures, you find that it is no longer the wars of the King that are represented. The inside of the temple is too holy for such things. Instead, you have pictures of the G.o.ds, and of the King making all kinds of offerings to them; and these pictures are repeated again and again, with endless inscriptions, telling of the great gifts which Pharaoh has given to the temple.

Finally we pa.s.s into the Holy of Holies. Here no light of day ever enters at all. The chamber, smaller and lower than either of the others, is in darkness except for the dim light of the lamp carried by the attendant priest. Here stands the shrine, a great block of granite, hewn into a dwelling-place for the figure of the G.o.d. It is closed with cedar doors covered with gold plates, and the doors are sealed; but if we could persuade the priest to let us look within, we should see a small wooden figure something like the one that we saw carried through the streets of Thebes, dressed and painted, and surrounded by offerings of meat, drink, and flowers. For this little figure all the glories that we have pa.s.sed through have been created: an army of priests attends upon it day by day, dresses and paints it, spreads food before it, offers sacrifices and sings hymns in its praise.

Behind the sanctuary lie storehouses, which hold corn and fruits and wines enough to supply a city in time of siege. The G.o.d is a great proprietor, holding more land than any of the n.o.bles of the country. He has a revenue almost as great as that of Pharaoh himself. He has troops of his own, an army which obeys no orders but his. On the Red Sea he has one fleet, bringing to his temple the spices and incense of the Southland; and from the Nile mouths another fleet sails to bring home cedar-wood from Lebanon, and costly stuffs from Tyre. His priests have far more power than the greatest barons of the land, and Pharaoh, mighty as he is, would think twice before offending a band of men whose hatred could shake him on his throne. Such was an Egyptian temple 3,000 years ago, when Egypt was the greatest power in the world.

But if the temples of ancient Egypt are wonderful, the tombs are almost more wonderful still. Very early in their history the Egyptians began to show their sense of the importance of the life after death by raising huge buildings to hold the bodies of their great men. Even the earliest Kings, who lived before there was any history at all, had great underground chambers scooped out and furnished with all sorts of things for their use in the after-life. But it is when we come to that King Khufu, who figures in the fairy-stories of Zazamankh and Dedi, that we begin to understand what a wonderful thing an Egyptian tomb might be.

Not very far from Cairo, the modern capital of Egypt, a line of strange, pointed buildings rises against the sky on the edge of the desert. These are the Pyramids, the tombs of the great Kings of Egypt in early days, and if we want to know what Egyptian builders could do 4,000 years before Christ, we must look at them. Take the largest of them, the Great Pyramid, called the Pyramid of Cheops. Cheops is really Khufu, the King who was so much put out by Dedi's prophecy about Rud-didet's three babies. No such building was ever reared either before or since. It stands, even now, 450 feet in height, and before the peak was destroyed, it was about 30 feet higher. Each of its four sides measures over 750 feet in length, and it covers more than twelve acres of ground, the size of a pretty large field. But you will get the best idea of how tremendous a building it is when I tell you that if you used it as a quarry, you could build a town, big enough to hold all the people of Aberdeen, out of the Great Pyramid; or if you broke up the stones of which it is built, and laid them in a line a foot broad and a foot deep, the line would reach a good deal more than halfway round the world at the Equator. You would have some trouble in breaking up the stones, however; for many of the great blocks weigh from 40 to 50 tons apiece, and they are so beautifully fitted to one another that you could not get the edge of a sheet of paper into the joints!

Inside this great mountain of stone there are long pa.s.sages leading to two small rooms in the centre of the Pyramid; and in one of these rooms, called "the King's Chamber," the body of the greatest builder the world has ever seen was laid in its stone coffin. Then the pa.s.sages were closed with heavy plug-blocks of stone, so that no one should ever disturb the sleep of King Khufu. But, in spite of all precautions, robbers mined their way into the Pyramid ages ago, plundered the coffin, and scattered to the winds the remains of the King, so that, as Byron says, "Not a pinch of dust remains of Cheops."