At the guardian's gate by which you go in there sits not a watch dog, nor yet a crocodile, but a watch cat, small, but very determined, and very attentive to its duties, and neatly carved in stone. You try to look like a crocodile-worshipper. It is deceived, and lets you pa.s.s. And you are alone with the growing morning and Kom Ombos.

I was never taken, caught up into an atmosphere, in Kom Ombos. I examined it with interest, but I did not feel a spell. Its grandeur is great, but it did not affect me as did the grandeur of Karnak. Its n.o.bility cannot be questioned, but I did not stilly rejoice in it, as in the n.o.bility of Luxor, or the free splendor of the Ramesseum.

The oldest thing at Kom Ombos is a gateway of sandstone placed there by Thothmes III. as a tribute to Sebek. The great temple is of a warm-brown color, a very rich and particularly beautiful brown, that soothes and almost comforts the eyes that have been for many days boldly a.s.saulted by the sun. Upon the terrace platform above the river you face a low and ruined wall, on which there are some lively reliefs, beyond which is a large, open court containing a quant.i.ty of stunted, once big columns standing on big bases. Immediately before you the temple towers up, very gigantic, very majestic, with a stone pavement, walls on which still remain some traces of paintings, and really grand columns, enormous in size and in good formation. There are fine architraves, and some bits of roofing, but the greater part is open to the air. Through a doorway is a second hall containing columns much less n.o.ble, and beyond this one walks in ruin, among crumbled or partly destroyed chambers, broken statues, become mere slabs of granite and fallen blocks of stone. At the end is a wall, with a pavement bordering it, and a row of chambers that look like monkish cells, closed by small doors. At Kom Ombos there are two sanctuaries, one dedicated to Sebek, the other to Heru-ur, or Haroeris, a form of Horus in Egyptian called "the Elder," which was worshipped with Sebek here by the admirers of crocodiles. Each of them contains a pedestal of granite upon which once rested a sacred bark bearing an image of the deity.

There are some fine reliefs scattered through these mighty ruins, showing Sebek with the head of a crocodile, Heru-ur with the head of a hawk so characteristic of Horus, and one strange animal which has no fewer than four heads, apparently meant for the heads of lions. One relief which I specially noticed for its life, its charming vivacity, and its almost amusing fidelity to details unchanged to-day, depicts a number of ducks in full flight near a ma.s.s of lotus-flowers. I remembered it one day in the Fayum, so intimately a.s.sociated with Sebek, when I rode twenty miles out from camp on a dromedary to the end of the great lake of Kurun, where the sand wastes of the Libyan desert stretch to the pale and waveless waters which, that day, looked curiously desolate and even sinister under a low, grey sky. Beyond the wiry tamarisk-bushes, which grow far out from the sh.o.r.e, thousands upon thousands of wild duck were floating as far as the eyes could see. We took a strange native boat, manned by two half-naked fishermen, and were rowed with big, broad-bladed oars out upon the silent flood that the silent desert surrounded. But the duck were too wary ever to let us get within range of them. As we drew gently near, they rose in black throngs, and skimmed low into the distance of the wintry landscape, trailing their legs behind them, like the duck on the wall of Kom Ombos. There was no duck for dinner in camp that night, and the cook was inconsolable. But I had seen a relief come to life, and surmounted my disappointment.

Kom Ombos and Edfu, the two houses of the lovers and haters of crocodiles, or at least of the lovers and the haters of their worship, I shall always think of them together, because I drifted on the _Loulia_ from one to the other, and saw no interesting temple between them and because their personalities are as opposed as were, centuries ago, the tenets of those who adored within them. The Egyptians of old were devoted to the hunting of crocodiles, which once abounded in the reaches of the Nile between a.s.suan and Luxor, and also much lower down. But I believe that no reliefs, or paintings, of this sport are to be found upon the walls of the temples and the tombs. The fear of Sebek, perhaps, prevailed even over the dwellers about the temple of Edfu. Yet how could fear of any crocodile G.o.d infect the souls of those who were privileged to worship in such a temple, or even reverently to stand under the colonnade within the door? As well, perhaps, one might ask how men could be inspired to raise such a perfect building to a deity with the face of a hawk? But Horus was not the G.o.d of crocodiles, but a G.o.d of the sun.

And his power to inspire men must have been vast; for the greatest concentration in stone in Egypt, and, I suppose, in the whole world, the Sphinx, as De Rouge proved by an inscription at Edfu, was a representation of Horus transformed to conquer Typhon. The Sphinx and Edfu! For such marvels we ought to bless the hawk-headed G.o.d. And if we forget the hawk, which one meets so perpetually upon the walls of tombs and temples, and identify Horus rather with the Greek Apollo, the yellow-haired G.o.d of the sun, driving "westerly all day in his flaming chariot," and shooting his golden arrows at the happy world beneath, we can be at peace with those dead Egyptians. For every pilgrim who goes to Edfu to-day is surely a worshipper of the solar aspect of Horus. As long as the world lasts there will be sun-worshippers. Every brown man upon the Nile is one, and every good American who crosses the ocean and comes at last into the sombre wonder of Edfu, and I was one upon the deck of the _Loulia_.

And we all worship as yet in the dark, as in the exquisite dark, like faith, of the Holy of Holies of Horus.

XVI

PHILAE

As I drew slowly nearer and nearer to the home of "the great Enchantress," or, as Isis was also called in bygone days, "the Lady of Philae," the land began to change in character, to be full of a new and barbaric meaning. In recent years I have paid many visits to northern Africa, but only to Tunisia and Algeria, countries that are wilder looking, and much wilder seeming than Egypt. Now, as I approached a.s.suan, I seemed at last to be also approaching the real, the intense Africa that I had known in the Sahara, the enigmatic siren, savage and strange and wonderful, whom the typical Ouled Nail, crowned with gold, and tufted with ostrich plumes, painted with kohl, tattooed, and perfumed, hung with golden coins and amulets, and framed in plaits of coa.r.s.e, false hair, represents indifferently to the eyes of the travelling stranger. For at last I saw the sands that I love creeping down to the banks of the Nile. And they brought with them that wonderful air which belongs only to them--the air that dwells among the dunes in the solitary places, that is like the cool touch of Liberty upon the face of a man, that makes the brown child of the nomad as lithe, tireless, and fierce-spirited as a young panther, and sets flame in the eyes of the Arab horse, and gives speed of the wind to the Sloughi. The true lover of the desert can never rid his soul of its pa.s.sion for the sands, and now my heart leaped as I stole into their pure embraces, as I saw to right and left amber curves and sheeny recesses, shining ridges and bloomy clefts. The clean delicacy of those sands that, in long and glowing hills, stretched out from Nubia to meet me, who could ever describe them? Who could ever describe their soft and enticing shapes, their exquisite gradations of color, the little shadows in their hollows, the fiery beauty of their crests, the patterns the cool winds make upon them? It is an enchanted _royaume_ of the sands through which one approaches Isis.

Isis and engineers! We English people have effected that curious introduction, and we greatly pride ourselves upon it. We have presented Sir William Garstin, and Mr. John Blue, and Mr. Fitz Maurice, and other clever, hard-working men to the fabled Lady of Philae, and they have given her a gift: a dam two thousand yards in length, upon which tourists go smiling on trolleys. Isis has her expensive tribute--it cost about a million and a half pounds--and no doubt she ought to be gratified.

Yet I think Isis mourns on altered Philae, as she mourns with her sister, Nepthys, at the heads of so many mummies of Osirians upon the walls of Egyptian tombs. And though the fellaheen very rightly rejoice, there are some unpractical sentimentalists who form a company about her, and make their plaint with hers--their plaint for the peace that is gone, for the lost calm, the departed poetry, that once hung, like a delicious, like an inimitable, atmosphere, about the palms of the "Holy Island."

I confess that I dreaded to revisit Philae. I had sweet memories of the island that had been with me for many years--memories of still mornings under the palm-trees, watching the gliding waters of the river, or gazing across them to the long sweep of the empty sands; memories of drowsy, golden noons, when the bright world seemed softly sleeping, and the almost daffodil-colored temple dreamed under the quivering canopy of blue; memories of evenings when a benediction from the lifted hands of Romance surely fell upon the temple and the island and the river; memories of moonlit nights, when the spirits of the old G.o.ds to whom the temples were reared surely held converse with the spirits of the desert, with Mirage and her pale and evading sisters of the great s.p.a.ces, under the brilliant stars. I was afraid, because I could not believe the a.s.servations of certain practical persons, full of the hard and almost angry desire of "Progress," that no harm had been done by the creation of the reservoir, but that, on the contrary, it had benefited the temple. The action of the water upon the stone, they said with vehement voices, instead of loosening it and causing it to crumble untimely away, had tended to harden and consolidate it. Here I should like to lie, but I resist the temptation. Monsieur Naville has stated that possibly the English engineers have helped to prolong the lives of the buildings of Philae, and Monsieur Maspero has declared that "the state of the temple of Philae becomes continually more satisfactory." So be it! Longevity has been, by a happy chance, secured. But what of beauty? What of the beauty of the past, and what of the schemes for the future? Is Philae even to be left as it is, or are the waters of the Nile to be artificially raised still higher, until Philae ceases to be? Soon, no doubt, an answer will be given.

Meanwhile, instead of the little island that I knew, and thought a little paradise breathing out enchantment in the midst of t.i.tanic sterility, I found a something diseased. Philae now, when out of the water, as it was all the time when I was last in Egypt, looks like a thing stricken with some creeping malady--one of those maladies which begin in the lower members of a body, and work their way gradually but inexorably upward to the trunk, until they attain the heart.

I came to it by the desert, and descended to Sh.e.l.lal--Sh.e.l.lal with its railway-station, its workmen's buildings, its tents, its dozens of screens to protect the hewers of stone from the burning rays of the sun, its bustle of people, of overseers, engineers, and workmen, Egyptian, Nubian, Italian, and Greek. The silence I had known was gone, though the desert lay all around--the great sands, the great ma.s.ses of granite that look as if patiently waiting to be fashioned into obelisks, and sarcophagi, and statues. But away there across the bend of the river, dominating the ugly rummage of this intrusive beehive of human bees, sheer grace overcoming strength both of nature and human nature, rose the fabled "Pharaoh's Bed"; gracious, tender, from Sh.e.l.lal most delicately perfect, and glowing with pale gold against the grim background of the hills on the western sh.o.r.e. It seemed to plead for mercy, like something feminine threatened with outrage, to protest through its mere beauty, as a woman might protest by an att.i.tude, against further desecration.

And in the distance the Nile roared through the many gates of the dam, making answer to the protest.

What irony was in this scene! In the old days of Egypt Philae was sacred ground, was the Nile-protected home of sacerdotal mysteries, was a veritable Mecca to the believers in Osiris, to which it was forbidden even to draw near without permission. The ancient Egyptians swore solemnly "By him who sleeps in Philae." Now they sometimes swear angrily at him who wakes in, or at least by, Philae, and keeps them steadily going at their appointed tasks. And instead of it being forbidden to draw near to a sacred spot, needy men from foreign countries flock thither in eager crowds, not to worship in beauty, but to earn a living wage.

And "Pharaoh's Bed" looks out over the water and seems to wonder what will be the end.

I was glad to escape from Sh.e.l.lal, pursued by the shriek of an engine announcing its departure from the station, glad to be on the quiet water, to put it between me and that crowd of busy workers. Before me I saw a vast lake, not unlovely, where once the Nile flowed swiftly, far off a grey smudge--the very d.a.m.nable dam. All around me was a grim and cruel world of rocks, and of hills that look almost like heaps of rubbish, some of them grey, some of them in color so dark that they resemble the lava torrents petrified near Catania, or the "Black Country" in England through which one rushes on one's way to the north.

Just here and there, sweetly almost as the pink blossoms of the wild oleander, which I have seen from Sicilian seas lifting their heads from the crevices of sea rocks, the amber and rosy sands of Nubia smiled down over grit, stone, and granite.

The setting of Philae is severe. Even in bright sunshine it has an iron look. On a grey or stormy day it would be forbidding or even terrible.

In the old winters and springs one loved Philae the more because of the contrast of its setting with its own lyrical beauty, its curious tenderness of charm--a charm in which the isle itself was mingled with its buildings. But now, and before my boat had touched the quay, I saw that the island must be ignored--if possible.

The water with which it is entirely covered during a great part of the year seems to have cast a blight upon it. The very few palms have a drooping and tragic air. The ground has a gangrened appearance, and much of it shows a crawling ma.s.s of unwholesome-looking plants, which seem crouching down as if ashamed of their brutal exposure by the receded river, and of harsh and yellow-green gra.s.s, unattractive to the eyes. As I stepped on sh.o.r.e I felt as if I were stepping on disease. But at least there were the buildings undisturbed by any outrage. Again I turned toward "Pharaoh's Bed," toward the temple standing apart from it, which already I had seen from the desert, near Sh.e.l.lal, gleaming with its gracious sand-yellow, lifting its series of straight lines of masonry above the river and the rocks, looking, from a distance, very simple, with a simplicity like that of clear water, but as enticing as the light on the first real day of spring.

I went first to "Pharaoh's Bed."

Imagine a woman with a perfectly lovely face, with features as exquisitely proportioned as those, say, of Praxiteles's statue of the Cnidian Aphrodite, for which King Nicomedes was willing to remit the entire national debt of Cnidus, and with a warmly white rose-leaf complexion--one of those complexions one sometimes sees in Italian women, colorless, yet suggestive almost of glow, of purity, with the flame of pa.s.sion behind it. Imagine that woman attacked by a malady which leaves her features exactly as they were, but which changes the color of her face--from the throat upward to just beneath the nose--from the warm white to a mottled, greyish hue. Imagine the line that would seem to be traced between the two complexions--the mottled grey below the warm white still glowing above. Imagine this, and you have "Pharaoh's Bed" and the temple of Philae as they are to-day.

XVII

"PHARAOH'S BED"

"Pharaoh's Bed," which stands alone close to the Nile on the eastern side of the island, is not one of those rugged, majestic buildings, full of grandeur and splendor, which can bear, can "carry off," as it were, a cruelly imposed ugliness without being affected as a whole. It is, on the contrary, a small, almost an airy, and a femininely perfect thing, in which a singular loveliness of form was combined with a singular loveliness of color. The spell it threw over you was not so much a spell woven of details as a spell woven of divine uniformity. To put it in very practical language, "Pharaoh's Bed" was "all of a piece." The form was married to the color. The color seemed to melt into the form. It was indeed a bed in which the soul that worships beauty could rest happily entranced. Nothing jarred. Antiquaries say that apparently this building was left unfinished. That may be so. But for all that it was one of the most finished things in Egypt, essentially a thing to inspire within one the "perfect calm that is Greek." The blighting touch of the Nile, which has changed the beautiful pale yellow of the stone of the lower part of the building to a hideous and dreary grey--which made me think of a steel knife on which liquid has been spilt and allowed to run--has destroyed the uniformity, the balance, the faultless melody lifted up by form and color. And so it is with the temple. It is, as it were, cut in two by the intrusion into it of this hideous, mottled complexion left by the receded water. Everywhere one sees disease on the walls and columns, almost blotting out bas-reliefs, giving to their active figures a morbid, a sickly look. The effect is specially distressing in the open court that precedes the temple dedicated to the Lady of Philae. In this court, which is at the southern end of the island, the Nile at certain seasons is now forced to rise very nearly as high as the capitals of many of the columns. The consequence of this is that here the disease seems making rapid strides. One feels it is drawing near to the heart, and that the poor, doomed invalid may collapse at any moment.

Yes, there is much to make one sad at Philae. But how much of pure beauty there is left--of beauty that merely protests against any further outrage!

As there is something epic in the grandeur of the Lotus Hall at Karnak, so there is something lyrical in the soft charm of the Philae temple.

Certain things or places, certain things in certain places, always suggest to my mind certain people in whose genius I take delight--who have won me, and moved me by their art. Whenever I go to Philae, the name of Sh.e.l.ley comes to me. I scarcely could tell why. I have no special reason to connect Sh.e.l.ley with Philae. But when I see that almost airy loveliness of stone, so simply elegant, so, somehow, spring-like in its pale-colored beauty, its happy, daffodil charm, with its touch of the Greek--the sensitive hand from Attica stretched out over Nubia--I always think of Sh.e.l.ley. I think of Sh.e.l.ley the youth who dived down into the pool so deep that it seemed he was lost for ever to the sun. I think of Sh.e.l.ley the poet, full of a lyric ecstasy, who was himself like an embodied

"Longing for something afar From the sphere of our sorrow."

Lyrical Philae is like a temple of dreams, and of all poets Sh.e.l.ley might have dreamed the dream and have told it to the world in a song.

For all its solidity, there are a strange lightness and grace in the temple of Philae; there is an elegance you will not find in the other temples of Egypt. But it is an elegance quite undefiled by weakness, by any sentimentality. (Even a building, like a love-lorn maid, can be sentimental.) Edward FitzGerald once defined taste as the feminine of genius. Taste prevails in Philae, a certain delicious femininity that seduces the eyes and the heart of man. Shall we call it the spirit of Isis?

I have heard a clever critic and antiquarian declare that he is not very fond of Philae; that he feels a certain "spuriousness" in the temple due to the mingling of Greek with Egyptian influences. He may be right. I am no antiquarian, and, as a mere lover of beauty, I do not feel this "spuriousness." I can see neither two quarrelling strengths nor any weakness caused by division. I suppose I see only the beauty, as I might see only the beauty of a women bred of a handsome father and mother of different races, and who, not typical of either, combined in her features and figure distinguishing merits of both. It is true that there is a particular pleasure which is roused in us only by the absolutely typical--the completely thoroughbred person or thing. It may be a pleasure not caused by beauty, and it may be very keen, nevertheless.

When it is combined with the joy roused in us by all beauty, it is a very pure emotion of exceptional delight. Philae does not, perhaps, give this emotion. But it certainly has a lovableness that attaches the heart in a quite singular degree. The Philae-lover is the most faithful of lovers. The hold of his mistress upon him, once it has been felt, is never relaxed. And in his affection for Philae there is, I think, nearly always a rainbow strain of romance.

When we love anything, we love to be able to say of the object of our devotion, "There is nothing like it." Now, in all Egypt, and I suppose in all the world there is nothing just like Philae. There are temples, yes; but where else is there a bouquet of gracious buildings such as these gathered in such a holder as this tiny, raft-like isle? And where else are just such delicate and, as I have said, light and almost feminine elegance and charm set in the midst of such severe sterility?

Once, beyond Philae, the great Cataract roared down from the wastes of Nubia into the green fertility of Upper Egypt. It roars no longer. But still the ma.s.ses of the rocks, and still the amber and the yellow sands, and still the iron-colored hills, keep guard round Philae. And still, despite the vulgar desecration that has turned Sh.e.l.lal into a workmen's suburb and dowered it with a railway-station, there is a mystery in Philae, and the sense of isolation that only an island gives. Even now one can forget in Philae--forget, after a while, and in certain parts of its buildings, the presence of the grey disease; forget the threatening of the altruists, who desire to benefit humanity by clearing as much beauty out of humanity's abiding-place as possible; forget the fact of the railway, except when the shriek of the engine floats over the water to one's ears; forget economic problems, and the destruction that their solving brings upon the silent world of things whose "use," denied, unrecognized, or laughed at, to man is in their holy beauty, whose mission lies not upon the broad highways where tramps the hungry body, but upon the secret, shadowy byways where glides the hungry soul.

Yes, one can forget even now in the hall of the temple of Isis, where the capricious graces of color, where, like old and delicious music in the golden strings of a harp, dwells a something--what is it? A murmur, or a perfume, or a breathing?--of old and vanished years when forsaken G.o.ds were worshipped. And one can forget in the chapel of Hathor, on whose wall little Horus is born, and in the grey hounds' chapel beside it. One can forget, for one walks in beauty.

Lovely are the doorways in Philae, enticing are the shallow steps that lead one onward and upward; gracious the yellow towers that seem to smile a quiet welcome. And there is one chamber that is simply a place of magic--the hall of the flowers.

It is this chamber which always makes me think of Philae as a lovely temple of dreams, this silent, retired chamber, where some fabled princess might well have been touched to a long, long sleep of enchantment, and lain for years upon years among the magical flowers--the lotus, and the palm, and the papyrus.

In my youth it made upon me an indelible impression. Through intervening years, filled with many new impressions, many wanderings, many visions of beauty in other lands, that retired, painted chamber had not faded from my mind--or shall I say from my heart? There had seemed to me within it something that was ineffable, as in a lyric of Sh.e.l.ley's there is something that is ineffable, or in certain pictures of Boecklin, such as "The Villa by the Sea." And when at last, almost afraid and hesitating, I came into it once more, I found in it again the strange spell of old enchantment.

It seems as if this chamber had been imagined by a poet, who had set it in the centre of the temple of his dreams. It is such a spontaneous chamber that one can scarcely imagine it more than a day and a night in the building. Yet in detail it is lovely; it is finished and strangely mighty; it is a lyric in stone, the most poetical chamber, perhaps, in the whole of Egypt. For Philae I count in Egypt, though really it is in Nubia.

One who has not seen Philae may perhaps wonder how a tall chamber of solid stone, containing heavy and soaring columns, can be like a lyric of Sh.e.l.ley's, can be exquisitely spontaneous, and yet hold a something of mystery that makes one tread softly in it, and fear to disturb within it some lovely sleeper of Nubia, some Princess of the Nile. He must continue to wonder. To describe this chamber calmly, as I might, for instance, describe the temple of Derr, would be simply to destroy it.

For things ineffable cannot be fully explained, or not be fully felt by those the twilight of whose dreams is fitted to mingle with their twilight. They who are meant to love with ardor _se pa.s.sionnent pour la pa.s.sion_. And they who are meant to take and to keep the spirit of a dream, whether it be hidden in a poem, or held in the cup of a flower, or enfolded in arms of stone, will surely never miss it, even though they can hear roaring loudly above its elfin voice the cry of directed waters rushing down to Upper Egypt.

How can one disentangle from their tapestry web the different threads of a spell? And even if one could, if one could hold them up, and explain, "The cause of the spell is that this comes in contact with this, and that this, which I show you, blends with, fades into, this," how could it advantage any one? Nothing could be made clearer, nothing be really explained. The ineffable is, and must ever remain, something remote and mysterious.

And so one may say many things of this painted chamber of Philae, and yet never convey, perhaps never really know, the innermost cause of its charm. In it there is obvious beauty of form, and a seizing beauty of color, beauty of sunlight and shadow, of antique a.s.sociation. This turquoise blue is enchanting, and Isis was worshipped here. What has the one to do with the other? Nothing; and yet how much! For is not each of these facts a thread in the tapestry web of the spell? The eyes see the rapture of this very perfect blue. The imagination hears, as if very far off, the solemn chanting of priests and smells the smoke of strange perfumes, and sees the long, aquiline nose and the thin, haughty lips of the G.o.ddess. And the color becomes strange to the eyes as well as very lovely, because, perhaps, it was there--it almost certainly was there--when from Constantinople went forth the decree that all Egypt should be Christian; when the priests of the sacred brotherhood of Isis were driven from their temple.

Isis nursing Horus gave way to the Virgin and the Child. But the cycles spin away down "the ringing grooves of change." From Egypt has pa.s.sed away that decreed Christianity. Now from the minaret the muezzin cries, and in palm-shaded villages I hear the loud hymns of earnest pilgrims starting on the journey to Mecca. And ever this painted chamber shelters its mystery of poetry, its mystery of charm. And still its marvellous colors are fresh as in the far-off pagan days, and the opening lotus-flowers, and the closed lotus-buds, and the palm and the papyrus, are on the perfect columns. And their intrinsic loveliness, and their freshness, and their age, and the mysteries they have looked on--all these facts are part of the spell that governs us to-day. In Edfu one is enclosed in a wonderful austerity. And one can only worship. In Philae one is wrapped in a radiance of color and one can only dream. For there is coral-pink, and there a wonderful green, "like the green light that lingers in the west," and there is a blue as deep as the blue of a tropical sea; and there are green-blue and l.u.s.trous, ardent red. And the odd fantasy in the coloring, is not that like the fantasy in the temple of a dream? For those who painted these capitals for the greater glory of Isis did not fear to depart from nature, and to their patient worship a blue palm perhaps seemed a rarely sacred thing. And that palm is part of the spell, and the reliefs upon the walls and even the Coptic crosses that are cut into the stone.

But at the end, one can only say that this place is indescribable, and not because it is complex or terrifically grand, like Karnak. Go to it on a sunlit morning, or stand in it in late afternoon, and perhaps you will feel that it "suggests" you, and that it carries you away, out of familiar regions into a land of dreams, where among hidden ways the soul is lost in magic. Yes, you are gone.

To the right--for one, alas! cannot live in a dream for ever--is a lovely doorway through which one sees the river. Facing it is another doorway, showing a fragment of the poor, vivisected island, some ruined walls, and still another doorway in which, again, is framed the Nile.

Many people have cut their names upon the walls of Philae. Once, as I sat alone there, I felt strongly attracted to look upward to a wall, as if some personality, enshrined within the stone, were watching me, or calling. I looked, and saw written "Balzac."